62 the acculturation of kentrung “tri setyo budoyo” in dayu village, nglegok district, blitar regency: the theoretical study of cultural change nurisa widikurnia universitas negeri surabaya, indonesia received: december 13, 2017. revised: april 23, 2018. accepted: june 10, 2018 abstract kentrung “tri setyo budoyo” is a traditional performing art of blitar. that is a traditional performing art that can survive in the modern era. one of the factors affecting kentrung “tri setyo budoyo” to survive is adult acculturation on the performing arts. this article aims to (1) describe the acculturation of art of kentrungt “tri setyo budoyo” in dayu village, nglegok district, blitar regency. (2) explains the innovation of kentrung art “tri setyo budoyo” in dayu village, nglegok district, blitar regency. this research is a qualitative research, with the object of research is the art of reog bulkiyo in kemloko village, nglegok district, blitar regency. data collection techniques used through observation, interviews and documentation. data analysis technique used is taxonomic analysis.the results showed that cultural change is universal. if there is a change in the culture of a society, it will affect other aspects such as language, knowledge system, social organization, living equipment system and technology, living livelihood system, religious system, and arts. art kentrung tri sansoso budoyo “experiencing acculturation and renewal or innovation, this happens because the culture in the community around the environment also experience acculturation. in the art that has an open mind, it will be able to get and go through these cultural changes so as to survive and thrive in the midst of changing times. keywords: acculturation; kentrung tri setyo budoyo; cultural change how to cite: widikurnia, n. (2018). the acculturation of kentrung “tri setyo budoyo” in dayu village, nglegok district, blitar regency: the theoretical study of cultural change. harmonia: journal of arts research and education, 18(1), 62-66. doi:http://dx.doi.org/10.15294/harmonia.v18i1.13971 harmonia: journal of arts research and education 18 (1) (2018), 62-66 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v18i1.13971 on the development of information technology, media, and science. syani explained that “change means a process that cause a differentiation between the current situation and the past. the changes could emerge as a deterioration or a progression”. every society surely experience gradual changes either in a general or more specific sense and either they move quickly or slowly (evolution) (1995: 83). the principle of changes among society, either social or cultural change, is a introduction changes and dynamics are parts of the intrinsic character in society and culture. change is a phenomenon that occurs together with historical events of every societies and cultures. however, any changes has two possibilities whether it will bring such positive vibes or the other way around. there are so many ways to keep improving the values and also the other aspects of culture based corresponding author: jl. ketintang, gayungan, surabaya, jawa timur 60231 e-mail: acanurisa@gmail.com p-issn 2541-1683|e-issn 2541-2426 nurisa widikurnia, the acculturation of kentrung “tri setyo budoyo” in dayu village ... 63 continuous process in order to build a developed society. according to davis (in soejono soekanto tth:263-267) “social change is a part of cultural change which includes the whole aspects such as art performance, science, technology, philosophy and so on”. social cultural change is an indication of the structural change on one society’s culture. this change is a general phenomenon that occurs in people’s lifetime. people always adapt to the condition where they belong. they also have the consequence to synchronize both their internal and external relationship based on the society demand which also always change. a cultural change of a society would also give certain effect on the society’s art performance. art is one of the elements of culture. in line with kontjaraningrat’s statement that there are seven elements of culture that could be found around the world. they are (1) language, (2) knowledge, (3) social organization, (4) technology, (5) system of livelihood, (6) religion, (7) arts (1990:203). art is one of cultural aspects that is very important to be studied further. at least people in their personal development should be aware of the importance of understanding art. a life without understanding art is a boring life and could cause a narrow minded generation toward art itself. kentrung is an art performance from java which combine the art of voices and music. it is a narrative art performance that accompanied by musical instrument such as tabuh timlung (kentheng) and terbang besar (rebana). this traditional art always has certain message for the audience or even the society on every performance. therefore, as one of the art performances, this traditional performances always examine the current values in society then delivered the message in the form of art performance whether it deals with politic, morality, social or other issues (sujarno,dkk.2003:47). the history of kentrung actually existed in the era of japanese. at that time kentrung did not use kendang (traditional tambour) on its show. the characters played in kentrung were about the prophet, moslem guardian (wali) and indonesian kingdom. so, it is clear that kentrung is one kind of islamic art performance. summeh (76) is an artist of art performance kentrung from blitar. around 1993-1994 he initiated studying kentrung and develop it with his own version of creativity. he also build kentrung ”tri santoso budoyo”. kentrung ”tri santoso budoyo” is played by four persons and one additional person as sinden (traditional singer) if needed. every persons plays music instrument such as kendang, terbang, small kendang and tipung. the characters played in kentrung ”tri santoso budoyo” are mostly about folklore, legend of certain past event and the story of prophet. these characters will be played by request. the host will determine which character that will be played. according to summeh (76), the popular character played was jaka tingkir. kentrung itself contains local wisdom that represented in the performance. during the show, an artist narrates the story in order using sequence of parikan and puts in several jokes. the rhytmic parikan is sung accompanied by the play of two rebanas. summeh (76) kentrung is original from sanan, dayu village, nglegok district, blitar regency. blitar is one of regions that become home of kentrung development. there used to many kinds of kentrung developed in blitar, but now only summeh (76) kentrung that is able to keep its existence. one of many factors that make kentrung ”tri santoso budoyo” still survive is that it has inovation. the artists of kentrung ”tri santoso budoyo” are able to adapt to the current situation and current demand. it deals with the value of entertainment aspect of art performance itself. in spite of its sacred islamic value, kentrung is able to maintain the value of entertainment so it can fulfil the demand from society as an art performance. now musical instrument used in kentrung ”tri santoso budoyo” are not only kendang, terbang, small kendang and tipung. modern musical instrument also used in kentrung ”tri santoso budoyo”. the modern musical instrumens are keyboard, guitar, bass and a set of drum. this form of innovation is believed as one of kentrung ”tri santoso budoyo” powers in order to survive in the society until now. from that phenomenon we could say harmonia: journal of arts research and education 18 (1) (2018): 62-6664 that kentrung ”tri santoso budoyo” has been experiencing acculturation. therefore, this article will examine, identify and study further the change towards kentrung ”tri santoso budoyo” in dayu village, nglegok district, blitar regency using theory of change and concept of acculturation process as the clue. this article will also discuss the process of acculturation occurred in kentrung ”tri santoso budoyo” art performance in dayu village, nglegok district, blitar regency. method this study is using qualitative research method since the main concern is to search, figure out and explain the indications and relations between every aspects of acculturation process in kentrung ”tri santoso budoyo” in dayu village, nglegok district, blitar regency. so the data used in this study will be based on the actual situation of the object without any manipulation or another intervention from researcher. the object of this study is kentrung ”tri santoso budoyo” in dayu village, nglegok district, blitar regency. the data were collected using observation, interview and documentation technique. validity is the degree of accuracy between the data that occurs on the object of research with data reported by researchers (sugiyono, 2015:363). this study uses the validity of data with triangulation data to obtain valid data, then the researcher did: source triangulation, and triangulation method. the analytical technique used in this study is qualitative analysis. this study uses spradly taxonomy analysis (in sugiyono, 2012: 225) to obtain general image of the social situation of the research object. taxonomy analysis is the analysis towards the whole collected data based on determined domains. the domains were arranged based on the statement of problems. result and discussion acculturation to the of kentrung “tri santoso budoyo” in dayu village, nglegok district, blitar regency kentrung “tri santoso budoyo” in the village district dayu nglegok blitar is a traditional art. an art of performances in the staging consists of 4 players and 1 person as sinden when needed, each holding a musical instrument in the form of drums, flying, small kendang and tipung. since its founding in 1993-1994 the art still survive until 2015 with the fourth instrument. over the course of kesenian kentrung “tri santoso budoyo” was confronted with the growing society. when people can enjoy other forms of art such as music shows on tv, comedy to tv dramas, kentrung art is considered ancient and considered to lack entertainment values. artist kentrung “tri santoso budoyo” is an art lover who has openness to new culture. the artists have a noble purpose, namely that the art of kentrung not disappear eroded by the arts carried by the new cultures. in the year 2015 the artists kentrung “tri santoso budoyo” then began to incorporate elements of modern music in its presentation. modern musical instruments are musical instruments that have gained a touch of technology in the making. in contrast to traditional musical instruments that are made manually with natural materials, in modern musical instruments and manufacturing techniques are getting more recent. modern musical instruments continue to grow and produce some modern musical streams like rock, pop, jazz. musical instruments that can then be included in the presentation of art kentrung “tri santoso budoyo” is the bass, guitar, keyboard and drum set. by not eliminating the main elements in the form of drums, flying, small kendang and tipung and the art of speech that nuanced islam. art kentrung “tri santoso budoyo” at this time can develop following the cultural change of society. this is in line with the concept of acculturation that koentjaraningrat discloses, that: acculturation is a social process arising in which a group of people with a particular culture they have are faced with elements of a foreign culture. so that foreign culture will gradually be accepted / impregnated and processed into its own culture without causing the loss of the original cultural elements nurisa widikurnia, the acculturation of kentrung “tri setyo budoyo” in dayu village ... 65 of the group itself (koentjaraningrat, 1990: 248). kentrung “tri setyo budoyo” currently can be said to have been able to face the current development of the times. incorporate new cultural elements by not abandoning the original essence of the art. despite having a new formation on its presentation form, but artist kentrung “tri setyo budoyo” who wants to showcase the art can choose (request) to look at new formations or original formations. in this way, symbiotic mutualism between artists and art lovers of “tri setyo budoyo”, both of which share a common goal, is to preserve the arts of “kentrung tri setyo budoyo”. figure 1. kentrung “tri santoso budoyo” renewal (innovation) of kentrung “tri santoso budoyo” in the village dayu district nglegok blitar innovation or renewal is a process of renewal of the use of natural resources, energy, new arrangements of labor and the use of new technologies which will all lead to a system of production and cultural renewal especially regarding technological and economic elements. (koentjaraningrat, 1990: 258). the renewal of kentrung “tri santoso budoyo” is in the use of musical instruments. music is an important part in art kentrung, because as an illustration of a story. the definition of music according to kbbi is the science or art of composing tones or sounds in sequences, combinations, and temporal relationships to produce a composition (sound) that has unity and continuity (tt: 3241). art kentrung “tri santoso budoyo” in the village dayu district nglegok blitar add modern musical instruments in the form of bass, guitar, keyboard and drum set. the update has a primary mission so that art kentrung “tri santoso budoyo” can adapt to the development of culture. cultural developments also influence the taste of community entertainment. the community began to be introduced to a new culture that is more able to attract people’s attention, which is feared from the phenomenon is that people can forget or abandon the existing culture. therefore, artist kentrung “tri setyo budoyo” made an update to the instrument used. another thing that becomes the driving force in the renewal of the musical presentation of kentrung art “tri santoso budoyo” is the encouragement of (1) awareness of the artist that there should be an improvement for the sustainability of kentrung art tri setyo budoyo, (2) the quality or quality modern music artists who deserve to be developed talent (3) the stimulation of the community environment to provide a new entertainment but still berpakem on kentrung art. the awareness of artists about the importance of renewal of artistry “kentrung tri setyo budoyo” is something that deserves high appreciation. this is because, not all original artists of an art (who are notaben to have old age) can have an open mind towards a new culture. with the openness to new culture, able to use power as one of art enhancer “kentrung tri setyo budoyo” to continue to live in modern era like nowadays, even can grow more advanced. community support is very important for the artistry of “kentrung tri setyo budoyo”. if the support community has a high spirit to generate arts, then artists will be more motivated to struggle in preserving art “kentrung tri setyo budoyo”. textually, the art of kentrung “tri santoso budoyo” has not changed significantly. however, only the updates are expected to be accepted by the community. the existence of such renewal in addition to the development of the times, also influenced by society. the influence of society is in the form of stimulus or stimulus which is translated as idea by art artist kentrung “tri setyo budoyo”. the idea is an opinion that kentrung art “tri setyo budoyo” is able to show appropriate harmonia: journal of arts research and education 18 (1) (2018): 62-6666 in pottery culture at “kriya nusantara” art studio dalam proceeding 4th international seminar of nusantara heritage, upsi, malaysia. kontjaraningrat. (1990). pengantar ilmu antropologi. jakarta: pt rineka cipta kontjaraningrat. 1990. pengantar ilmu antropologi. jakarta: pt rineka cipta martono, nanang. (2011). sosiologi perubahan sosial: perspektif, klaksik, modern, posmodern dan poskolonial. jakarta: pt raja grafindo persada monroe. tanpa tahun. kamus besar bahasa indonesia lengkap. surabaya: gresindo press persada, jakarta soedarsono, sugiyono. (2010). metode penelitian pendidikan (penelitian kuantitatif, kualitatif, dan r & d). bandung: alfabeta soekanto, soerjono. , 2006. sosiologi suatu pengantar, pt. raja grafindo sudikan, setya yuana. (2000). metode penelitian kebudayaan. surabaya: unipress unesa bekerjasama dengan citra wicaksana. sudikan, setya yuana. 2000. metodepenelitian kebudayaan. surabaya: unipress unesa bekerjasama dengan citra wicaksana sujarno, dkk.2003.seni pertunjukan tradisional, nilai, fungsi dan tantangannya.yogyakarta : kementreian kebudayaan dan pariwisata. syani, abdul. 1995. sosiologi dan perubahan masyarakat. jakarta: pt pustaka jaya triyono bramantyo, susan hung. (22017). the javanese panji story: its transformation and dissemination into the performing arts in southeast asia. harmonia: journal of arts research and education, 17 (2) (2017), 113-119 tudor, a. (1999). theory and method in cultural studies. california: sage publications inc entertainment by cultural development. in other words, the people of dayu village have their own concept in evaluating an entertainment. because of having the same culture, the majority of dayu village residents have the same view of an object of entertainment. this is in accordance with what is expressed by (sudikan, 2000: 11) that cultural change is a change that takes place within the system of ideas shared with a number of concerned citizens, including the rules or norms used as guidelines in the lives of citizens , the technological values of slera sense of beauty or art and language. conclusion cultural change is a universal matter. if there is a change on society’s culture, so it will give effect the other aspects such as language, knowledge, social organization, technology, system of livelihood, religion, and arts. kentrung ”tri santoso budoyo” art performance has been experiencing acculturation, improvement or innvation. this phenomenon occurs because the society where kentrung ”tri santoso budoyo” belong is also experiencing acculturation. the art performance that has more possibilities of innovation will also has more possibilities to survive and keep developing in the midst of changing era. however, it will be great if those acculturated art performance still keep their original identity as traditional art performance. this is one of the efforts to keep the local wisdom, so a traditional art performance will has a strong character that cannot be erased by the cultural change. references dewan redaksi ensiklopedia sastra. 2007. ensiklopedia sastra indonesia. bandung: titian ilmu hutomo, suripan hadi (editor). 1993. pantun kentrung. jakarta: yayasan obor indonesia iriaji. (2015). the meaning, value, and symbol transformation as a phenomenon vol. 2 no. 2 mei_agustus 2001.pdf harmonia jurnal pengetahuan dan pemikiran seni kritik seni pertunjukan (critic of the performing art) m. jazuli* abstrak tiadanya kritik berarti salah satu informasi budaya tak sampai. tiada kritik, maka nilai-nilai dan kualitas karya seni tak dapat dikenali dan dipahami. kritik bukan hanya bermanfaat bagi pertumbuhan dan perkembangan khasanah seni, melainkan juga dapat memacu kreatifitas seni man dan meningkatkan daya apresiasi khalayak luas. namun mengkritik karya seni tidaklah mudah, karena membutuhkan kedewasaan dan kearifan dari pengkritiknya. selain itu, sebuah kritik seni harus mempertahankan aktifitas-aktifitasnya yang memancarkan kejelasan dan kekuatan proporsional dan mampu menyertakan posisinys (stage of the art) di antara jenis karya seni yang menjadi objek kritik . kata kunci : kritik, kritikus a. pendahuluan suaut kenyataan yang dihadapi oleh dunia seni, khususnya seni pertunjukan adalah kesenjangan antara pemikiran konsepsional di lingkungan akademik dengan pemikiran seni yang hidup di dalam diri para seniman tradisional, seni man alam, dan masyarakat luas. dampak dari kesenjangan itu, adalah penulisan-penulisan seni sering terbentur pada kesulitan-kesulitan tertentu untuk dapat tersaji secara ideal. oleh karena itu, harus disadari bila ada informasi analitis tentang seni sering tidak sampai kepada khalayak pembaca. sungguhpun hal itu sebenarnya tak perlu terjadi seandainya resensi dan kritik seni hidup subur seiring dengan perkembangan pemikiran seni yang mampu membuka wawasan baru, serta seimbang dengan lahirnya karya karya seni baru. untuk itu *staf pengajar jurusan sendratasik fbs unnes semarang vol.2 no.2/mei-agustus 2001 78 harmonia jurnal pengetahuan dan pemikiran seni sudah waktunya kritik menjadi suatu kebutuhan yang urgen guna meningkatkan apresiasi dan kepuasan penciptaan karya seni. sebab, tumbuh dan berkembangnya kritik seni bagi sebuah aktifitas seni akan merujuk kepada tingkat motivasi dan apresiasi masyarakat. fenomena di atas mengisyaratkan bahwa peranan kritik seni amatlah krusial dalam perkembangan aktifitas dunia seni. hal ini bukan hanya untuk menumbuhkan dan mengembangkan khasanah seni, melainkan juga untuk memacu kreatifitas seniman dan meningkatkan daya apresiasi khalayak luas. oleh karena itu, dapatlah dikatakan bahwa “tiadanya kritik, maka nilai-nilai dan kualitas karya seni tak dapat dikenali dan dipahami; tiadalah kritik berarti salah satu informasi budaya tak sampai”. namun demikian, apakah sesungguhnya kritik seni itu? sejauhmanakah kritik mampu menunjang perkembangan aktifitas seni? bagaimana cara melakukan kritik? apa saja persyaratan yang diperlukan kritik? bagaimana bisa menjadi seorang kritikus seni? tulisan ini hendak mencoba memaparkan hal ikhwal mengenai kritik seni, khususnya untuk menjawab pertanyaan-pertanyaan tersebut. b. kritik istilah critic (inggris: kritik) berasal dari kata kritikos yang berarti able to discuss. kata “kritikos” dapat dikaitkan dengan kata yunani krenein, yang berarti memisahkan, mengamati, menimbang, dan membandingkan. kritik merupakan penilaian terhadap kenyataan yang kita hadapi dalam sorotan norma (kwant, 1975: 19). konsep itu menunjukkan bahwa di dalam kritik harus ada norma-norma tertentu yang berfungsi sebagai dasar penilaian atau pembahasan terhadap sesuatu yang kita hadapi. dengan persyaratan normatif semacam itu, maka sesungguhnya kata “kritik” bisa juga dikaitkan dengan “kriteria” sebagai ukuran penilaian. artinya bahwa orang yang melakukan kritik selalu didasarkan (terikat) oleh banyak kriteria. dalam dunia seni, konsep kritik oleh para ahli seni masih sering diperdebatkan, sehingga tak pelak bila kemudian muncul berbagai konsep kritik dengan orientasi dan perspektif kajian yang berlainan. agaknya perbedaan pandangan tentang kritik seni disebabkan oleh metode yang digunakan, dan setiap ahli seni merasa dirinya paling sah dalam melakukan aktifitas kritiknya sendiri. selain itu, ada pula anggapan bahwa peranan vol.2 no.2/mei-agustus 2001 79 harmonia jurnal pengetahuan dan pemikiran seni kritik seni sendiri kurang jelas arah dan fungsinya. ketika perdebatan tersebut belum menemukan titik temu telah muncul sebuah aliran pemikiran yang menegaskan bahwa kritik seni harus mempertahankan aktivitas-aktivitas yang memancarkan kejelasan dan kekuatan pamor disiplin ilmu yang mendukung kritik seninya. kondisi ini menunjukkan bahwa kritik seni didalam dunia kritik belum menemukan konsep yang jelas, sehingga amat wajar bila timbul berbagai paham atau aliran kritik. oleh karena itu sangat wajar bila osborne (1955) mengatakan, bahwa kritik adalah kerancuan dan kesimpangsiuran. hal semacam itu bisa dimengerti bila dikaitkan dengan definisi-definisi seni yang dikemukakan para ahli juga berlainan karena perbedaan sudut pandang. beberapa paham tentang kritik dapat dikemukakan berikut ini. menurut sudarmaji (1979: 2), kritik adalah komentar atau ulasan yang bersifat normatif terhadap sesuatu prestasi dan hal ikhwal dengan tujuan apresiasi. bagi stolnitz (1966) kritik seharusnya berupa aktivitas evaluasi yang memandang seni sebagai objek bagi pengalaman estetik. kritik sebagai usaha pemahaman dan peningkatan 'kenikmatan; dalam penghayatan karya seni (feldman, 1981). flaccus (1981) memandang kritik seni sebagai studi rinci dan apresiasi dengan analisis cendekia atas karya seni yang disertai tafsir beserta alasan dari informasinya. bagi dewey (1934), kritik seni tidak perlu sampai pada keputusan nilai karena dengan deskripsi yang lengkap beserta pembahasannya sudha cukup untuk menangkap estetiknya. berbeda dengan aschner (1956) yang berpendapat, bahwa kritik sebagai aktifitas penilaian yang bisa ditransfer secara verbal, seperti memberikan alasan-alasan mengapa sebuah karya seni itu diterima atau ditolak. dia juga berpendapat bahwa kegiatan kritik hendaknya melibatkan metode penelitian dan evaluasi yang bisa menjadi dasar bagi seseorang untuk mengkritik dalam upaya mengangkat karya seni ke jenjang yang tinggi. osborne (1955) senada dengan aschner, bahwa seorang kritikus hendaknya mampu menyajikan suatu nilai mengenai karya seni yang sedang ditulisnya, dan mampu menjelaskan (menyampaikan) kebagusan dan kejelekan serta membandingkannya dengan karya seni lainnya. dengan sasaran penilaian kualitas dan manfaat bagi isi suatu karya seni, maka kehebatan yang khas bisa dihargai. fungsi kritik adalah pemahaman, peningkatan apresiasi, dan evaluasi terhadap kualitas karya seni (bandingkan sutopo, 1991). lain vol.2 no.2/mei-agustus 2001 80 harmonia jurnal pengetahuan dan pemikiran seni halnya dengan alma m. hawkins (1964) yang mengatakan, bahwa kritik tari adalah sebuah aesthetic judgement. kesan pertama dari seorang kritikus terhadap sebuah karya pertunjukan tari belum dapat menghasilkan aesthetic pleasure, karena kesan seperti itu tidak jauh berbeda dengan kesan penikmat umum lainnya, artinya masih sangat subjektif. oleh karena itu, seorang kritikus harus juga mempunyai tujuan yang melampaui kepuasan estetik pribadinya, dan kemudian baru bisa melakukan analisis terhadap karya tari yang dilihatnya. perbedaan batasan kritik di atas merupakan pertanda bahwa untuk melakukan kritik perlu bersandar pada ilmu pengetahuan tertentu sebagai studi pendekatannya, baik yang berupa asumsi-asumsi, konsep-konsep, teori-teori seni. dengan demikian, kritik sebagai kemampuan membahas dan sebagai aktifitas evaluatif bisa sampai pada pernyataan nilai baikburuk, relevan tidak relevan, proporsional atau tidak proporsional, bahkan juga perlu sampai pada penempatan posisinya (stage of the art) dibandingkan dengan karya seni sejenisnya. c. kritik dalam seni pertunjukan dalam dunia seni minimal terdiri atas tiga komponen penunjang kegiatan, yaitu penciptaan atau kekaryaan (seniman), apresiasi atas penikmatan/penghargaan (khalayak penonton dan kritikus), dan karya seni (sebagai produk dan proses). kegiatan penciptaan dilakukan oleh seniman, yang dapat dibedakan antara seniman pencipta karya (creative artist) dan seniman penafsir atau pelaku (interpretative artist). seniman dengan pengalaman kreatifnya mengandung dua sisi, yaitu sisi subjektif dan sisi objektif. sisi subyektif sangat dipengaruhi oleh berbagai faktor psikologis, seperti kepekaan, imajinasi, karakter pribadi, hasrat, dan berbagai pengalaman khususnya. sis objektif dipengaruhi oleh faktor lingkungannya, seperti lingkungan fisik, sistem nilai, pengaruh tradisi, kebutuhan sosial, bahan atau materi, iklim budaya (gotshalk, 1966). apresiasi dilakukan oleh khalayak luas (masyarakat penonton) dan kritikus sebagai penikmatdan penghayat seni. penikmat atau penghayat seni adalah partner dari arya seni, yaitu orang yang secara langsung menghayati dalam berhadapan dengan karya seni. nilai karya seni adalah vol.2 no.2/mei-agustus 2001 81 harmonia jurnal pengetahuan dan pemikiran seni nilai atau makna yang diciptakan oleh penikmat atau penghayatnya, yaitu setelah terjadi inetraksi dengan karya seni. karya seni sebagai proses kreatif mapun sebagai produk yang dihasilkan oleh seniman. suatu karya seni terwujud di dalam bentuknya yang khas dan dapat ditangkap oleh indera. ia merupakan faktor intrinsik dari sebuah karya seni, yang dalam proses kritik disebut immanent atau aktifitas perumusan berbagai faktor objektif. dalam dunia pendidikan, kegiatan berolah seni yang berupa apresiasi dan ekspresi kreatif (penciptaan) merupakan bagian dari proses pendidikan secara menyeluruh). dalam proses tersebut, instrumen pengajaran seni yang berupa bentuk atau modelnya harus senantiasa mempertimbangkan tahap-tahap perkembangan subjek didik beserta lingkungan sosial budayanya (barret, 1982:xi). kehadiran kritik dalam khasanah seni pertunjukan (drama, musik, trai) sesungguhnya sudah lama, yaitu sejak zama yunani kuna (abad x sm). hal ini tampak dari penggunaan kata “kritikos”. kebiasaan mengkritik pada zaman yunani kuna terjadi pada festival-festival drama dengan tujuan untuk menentukan kualitas karya drama yang dianggap terbaik. kini hasil dari aktifitas kritik tersebut dapat disimak lewat nama pengarang drama tragedi yang tersohor, yaitu sophocles dengan karyanya yang berjudul antigone dan tyrannus. diantara sekian cabang seni pertunjukan, tari tampak yang paling miskin dalam memanfaatkan kritik sebagai salah satu faktor penting dalam menunjang perkembangan tari. hal ini bisa dibandingkan dengan seni musik dan seni drama, apalagi dibandingkan dengan seni rupa maupun seni sastra. dalam seni darama di indonesia, ita mengenal tokoh yang mendekati predikat kritikus seperti ws rendra, genthong, riantiarno, dan sebagainya,d alam seni musik kita dapat menempatkan tokoh jaya suprana, idris sardi, dan sebagainya. lain halnya dengan seni rupa telah muncul berbagai aliran kritik beserta landasan teorinya, sedangkan dalam seni sastra meskipun kurang mendapatkan simpati dari khalayak telah pula memiliki beragam jenis kritik. sunguhpun demikian, teori kritik seni rupa maupun seni sastra pada dasarnya berasal dari barat. mengapa problema kritik justru terjadi dalam dunia seni pertunjukan, khususnya seni tari. tentunya ada persoalan yang menghadang atau sekurang-kurangnya ada tiga faktor sebagai vol.2 no.2/mei-agustus 2001 82 harmonia jurnal pengetahuan dan pemikiran seni penyebabnya. faktor yang dimaksud diantaranya adalah pertama, masih miskinnya buku-buku masupun resensi mengenia seni pertunjukan yang tersebar di kalangan masyarakat luas, sedangkan referensi seni pertunjukan yang ada saat ini masih dlam bentuk diktat, artikel maupun catatan-catan yang beredar secara terbatas, terutama di kalangan akademik. persoalan ini berhubungan dengan dua kemungkinan, yaitu : (1) motivasi orang yang mengeluti bidang seni pertunjukan untuk menulis buku maupun pemikiran konseptual sangat rendah (sedikit penulis seni pertunjukan). apalagi tentang kritik tari, belum ada orang yang mengkhususkan diri untuk selalu membuat ulasan-ulasan tentang tari (sedyawati, 1981:132) : (2) persoalan yang berhubungan dengan bisnis buku. sebuah penerbit selalu memperhitunga untung-rugi dalam memproduksi buku, sehingga tidka mau ambil resiko bila hasil buku-buku yang produksinya tidak laku. faktor kedua adalah berkaitan dengan keberadaan seni pertunjukan, khususnya yang menyangkut bentuk dan sifat penyajiannya. bentuk seni pertunjukan memiliki sifat sesaat, artinya seni yang hanya dapat dinikmati untuk satu kali penampilan dan pada saat tertentu saja atau terikat oleh konteksnya (lihat jazuli, 2001). sifat sesaat atau kesementaraan itu tampak ketika sebuah seni pertunjuan itu bisa ditampilkan atau diproduksi kembali, tapi nilainya tentu tidak akan sama dengan ketika pertama kali disajikan karena moodnya sudah lain. kondisi seperti itulah yang membedakan pengamatan antara seni pertunjukan dengan seni lainnya. seni pertunjukan sellau terikat oleh ruang dan waktu, sedangkan seni fiskal (seni lukis dan patung) tidak terikat oleh ruang dan waktu dalam proses pengamatan. oleh karenanya, proses pengamatan terhadap karya seni non-pertunjukan waktunya relatif lama sehingga banyak peluang untuk mengaamati lebih cermat. faktor ketiga, berhubungan dengan lingkungan kampus terutama tentang pengelolaan kesenian. kebiasaan melakukan kritik bagi karya seni pertunjukan yang diselenggarakan di dalam kampus relatif masih jarang. kenyataans eperti itu mengakibatkan karya seni pertunjukan yang lahir di kampus kurang mendapatkan evaluasi secara proporsional. dampak dai situasi seperti itu, adalah dapat menghambat upaya peningkatan kualitas vol.2 no.2/mei-agustus 2001 83 harmonia jurnal pengetahuan dan pemikiran seni karya seni pertujukan dan tingkat kedalaman apresiasi komunitas d lingkungan kampus. d. peranan kritik kritik berperan dalam menjembatani antara kepentigan seniman (pencpta) melalui karyanya dengna kepenitngan penikmatnya (apresiator). dengan kritik penikmat (penonton) merasa memperoleh tuntutan atau klrifikasi bagi pemahaman meeka terhadap karya seni yang dilihatnya, sehingga mereka mampu mengembangkan sensitivitas estetiknya. kritik sebagai aktifitas penerjemahan karya dapat mempercepat dan meningkatkan apresiasi penikmatnya, dan memebri dampak terhadap tumbuhnya kebiasan kritis pada penikmatnya. dengan sikap kritis dari penikmat akan mendorong munculnya kecenderungan untuk membedakan unsur-unsur yanga da dalam karya seni, yang smapai pada tingkat tertentu dapat menilai kualitas seni yang dinikmatinya. abrahams (1953) mengajukan empat komponen sebagai dasar berpikir dalam melakukan kritik, yaitu universe (kesemestaan), works (karya-karya seni), artist (seniman), dan audience (penikmat/penonton). keempat komponen tersebut dapat digambarkan seperti berikut ini: kesemestaan (universe sebagai sumber inspirasi lahirnya karya-karya seni (works). seniman (artist) sebagai pencipta maupun pelaku karya seni selalu memerlukan penikmat (audience). konsep tersebut vol.2 no.2/mei-agustus 2001 84 kritik universe (kesemestaan) works (karya-karya seni) artist (seniman) audience (penikmat) harmonia jurnal pengetahuan dan pemikiran seni kiranya dapat menjadi dasar teoretis kritik seni, karena setiap kritik seni tampaknya akan selalu bertolak dan lebih menekankan pada salah satu dari keempat komponen itu. pemilihan atau penekanan seorang kritikus pada salah satu komponen, maka informas yang dikemukakan akan berorientasi pada komponen yang telah dipilihnya. bertolak dari uraian diatas, kritik dapat berfungsi sebagai pendidikan dan pengembangan seni. indikatornya adalah kritik lebih membuka cakrawala penghayatan penikmat dan menyadarkan kelemahan sekaligus kekuatan yang dimiliki oleh seniman melalui hasil karya seninya. dengan kritik seniman akan lebih bergairah untuk berkembang, yang berarti pula demi pengembangan karya seni akan dihadapi oleh penikmat yangs emakin berkembang dan berminat dalam berdialog dengan seni (sutopo, 1994). dengan demikian, sasaran kritik adalah untuk meningkatkan kualitas karya seni, meskipn tidak jarang kritik menjadi wahana untuk mengangkat seniman yang belum muncul ke permukaan. manfaat kritik sangat bergantung apda fungsinya di masyarakat. contohnya adalah kritik di dalam drama yunani dipakai untu menentukankarya drama yang dianggap paling baik, dan yang terbaik itu akan memperoleh penghargaan berupa daun laurel, sebagai simbol penghargaan tertinggi bagi seseorang penulis drama terbaik. e. kritikus menurut sorell, kritikus harus bersikap sebagai gur yang memiliki kemampuan menjabarkan karya seni dengan kata-kata yang jelas. oleh karena itu eornag kritikus tari hari bisa mneghayati (sense) maksud dari koreografernya (soedarsonom 1984). hal ini berrati kritiku stari harus mempunyai pengetahuan yang matang dan meliputi semua cabang seni pertunjukan, seperti komposisi tari, etnologi, tari, berbagai terminologi yang biasa digunakand alam dunia tari. tentunya berbagai kemampuan seperti itu hanya mungkin dimiliki oleh seorang ahli tari. joan b cass dalam the use of criticism “ (lihat soedarsono, 1984) mengatakan bahwa seorang kritikus tari harus selalu mengadakan observasi terhadap berbagai pertunjukan tari, menganati latihan-latihan di studio tari agar memperoleh pengetahuan tentang segala aspek vol.2 no.2/mei-agustus 2001 85 harmonia jurnal pengetahuan dan pemikiran seni garapan tari, teknik lari, latar belakang budaya gerak-gerak yang digunakan olehs eorang koreografer. kritikus adalah seorang one-way interpreter yang berusaha menjelaskan bahasa seniman kepada penikmatnya.seorang kritikus dengan kemampuannya sebagai penengah antara seniman beserta karyanya dengan penikmatnya mempyunyai tujuan agar proses komunikasi bisa berjalan lancar. dengan poemahaman tersebut, maka kritik sesungguhnya dapat dilakukan oleh kalayak penikmat seni mauun oleh orang yang mengkhususkan pada bidang ini, yakni kritikus. namun demikian, orang yang melakukan kritik harus didasari oleh banyak kriteria yang dimiliki oleh seorang kritikus. atas dasar kriteria yang lebih banyak itulah, seorang kritikus mampu membahas suatu karya seni, dan dengan serta merta lebih mampu mengendalikan aspek subjektifitas dalam dirinya, karena tidaklah mungkin aspek subjektifitas seorang kritikus yang baik diperlukan pengetahuan yang memadai dan kepekaan impresi yang tinggi. seorang kritikus dengan ketajaman visinya dituntut untuk senantiasa bisa melihat sesuatu yang belum banyak dimunculkan atau diungkapkan orang, yang kemudian dituangkan dalam karya kritiknya yang berwibawa. kemampuan seperti itu hanya dapat terwujud bila seseorang mampuiri untuk selalu berlatih bagi kepentingan pengamatan analisis, dan kontemplasi terhadap setiap karya seni yang dihadapi dalam konteks aktifitas kritik. sebab, lahirnya seorang kritikus biasanya berasal dari penghayatan yang terlatih. persyaratan lain bagi seornag kritikus adalah pemahaman tentang kebudayaan, sejarah, psikologi, antropologi, dan penguasaan terhadap struktur penampilan karya seni pertunjukan. pada dasarnya kedudukan kritikus sejajar dengan seniman yang menelusuri kehidupan dan membuat kreasi dalam wujud karya seni. perbedaannya terletak pada peranannya . apa yang ditelusuri oleh seornag kritikus berkaitan dengan karya seni yang kemudian diangkat menjadi kreasi karya, baik verbal maupun tertulis yang merefleksikan pengalaman batinnya sendiri (sutopo, 1994). dengan demikian posisi kritikus harus selalu aktif dan kreatif, sehingga mampu berpean sebagai vol.2 no.2/mei-agustus 2001 86 harmonia jurnal pengetahuan dan pemikiran seni instrumen penerjemah atau jembatan penghubung antar seniman, karya seni, dan penikmat seni. f. penutup kritik pada dasarnya menyangkut kemampuan membahas, able to discus. untuk melakukan kritik perlu bersandar pada ilmu pengetahuan tertentu ebagai studi pendekatannya, baik yang berupa asumsi-asumsi, konsep-konsep, teori-teori seni. dengan demikian, kritik sebagai kemampuan membahas dan sebagai aktifitas evaluatif bisa sampai pada keputusan yang relatif proporsional, bahkan juga sampai pada penempatan posisinya (stage of the art) dibandingkan dengan karya seni sejenisnya. fungsi kritik adalah untuk pemahaman dan peningkatan apresiasi, serta evaluasi terhadap kualitas karya seni. oleh karena itu, kritik berperand alam menjembatani antara kepetningan seniman (pencipta) melalui karyanya dengan kepentingan penkmatnya (apresiator). dengan kritik penikmat (penonton) merasa memperoleh tuntunan atau klarifikasi bagi pemahaman mereka terhadap karya seninyang dilihatnya, sehingga mereka mampu mengembangkan sensitivitas estetiknya. kriti sebagai aktifitas penerjemahan karya untuk mempercepat dan meningkatkan apresiasi penikmatnya, dan memberi dampak terhadap tumbuhnya kebiasaan kritis pada penikmatnya. sikap kritis dari penikmat akan mendorong munculnya karya seni yan berkualitas. kritikus adalah seorang one-way interpreter yang berusaha menjelaskan bahasa seniman kepada penikmatnya. untuk menjadi kritikus yang baik diperlukan pengetahuan yang memadai dan kepekaan impresi yang tinggi. seorang kritikus dengan ketajaman visinya dituntut untusennatiasa bisa melihats esuatu ang belum banyak dimunculkan atau diungkapkan orang yang kemudian dituangkan dalam karya kritiknya yang berwibawa, daftar pustaka abrahams, m.h. 1953. the mirros and the lamp. new york : oxford university. vol.2 no.2/mei-agustus 2001 87 harmonia jurnal pengetahuan dan pemikiran seni barret, maurice. 1982. art education : a strategy for course design. london : henemann educaional books. jazuli, m. 2001. paradigma seni pertunjukan. yogyakarta : kanisius. kwant, r.c. 1975. manusia dan kritik. yogyakata : kanisius sedyawati, edi. 1981. pertumbuhan seni pertunjukan. jakarta : sinar harapan soedarsono. 1984. kritik tari, yogyakarta : lagaligo. sutopo, h.b. 1994. “kritik seni holistik”. makalah seminar nasional pendekatan-pendekatan dalam penelitian seni dan pendidikan seni ikip semarang, tanggal 1 april 1994. vol.2 no.2/mei-agustus 2001 88 vol. 2 no. 2 mei_agustus 2001.pdf harmonia jurnal pengetahuan dan pemikiran seni fungsi tari sebagai seni pertunjukan (the function of dance as a performing art) oleh : endang ratih e.w* abstrak fungsi tari dalam kehidupan manusia, dapat dibedakan menjadi empat, yaitu tari sebagai sarana upacara, sebagai hiburan, seni pertunjukan, dan sebagai media pendidikan. antara keempat jenis tari yang berbeda-beda fungsinya tersebut, masing-masing mempunyai ciri atau kekhasan tersendiri. namun pada saat ini dari keempat jenis tari tersebut secara sepintas perbedaannya semakin kabur. banyak seniman tari yang mengambil inspirasi dari tari-tarian upacara magis menjadi sebuah tari pertunjukan. banyak aspek yang harus diperhatikan, diantaranya adalah: faktor tari sebagai seni (obyek apresiasi), yaitu bagaimana kita menyajikan suatu tarian yang bernilai estetis, tentu saja hal ini didukung dengan media bantu lain seperti iringan, rias dan busana, dekorasi dan tata pentas yang baik dan komunikatif. kedua adalah faktor penonton (apresiator), yang perlu diperhatikan adalah tari yang kita sajikan untuk dokomunikasikan kepada penonton. kedua faktor tersebut harus betul-betul diperhatikan karena keduanya saling mendukung satu sama lain. kata kunci : fungsi, tari, pertunjukan. a. pendahuluan di indonesia perhatian masyarakat terhadap tari cukup besar, terlihat semakin maraknya perkembangan karya-karya tari baru dewasa ini. tari adalah salah satu bentuk seni yang sangat erat hubungannya dengan segi-segi kehidupan manusia, kalau disimak hampir setiap peristiwa yang berhubungan dengan kepentingan hidup manusia seperti pada aktifitas sosial, budaya, ekonomi, banyak melibatkan kehadiran seni tari, baik sebagai pertunjukan maupun sebagai hiburan. dilihat dari sisi jenis/fungsinya, tari dapat dibeda bedakan menjadi beberapa pengelompokan berdasarkan *staf pengajar jurusan sendratasik fbs unnes semarang vol.2 no.2/mei-agustus 2001 67 harmonia jurnal pengetahuan dan pemikiran seni asal/daerah atau kekhasannya dimana tari itu berasa. ada beberapa pendapat yang mengatakan tentang hal ini. kurath (1949) mengklasifikasikan sebanyak 14 jenis fungsi tari dari berbagai suku bangsa di dunia. keempat belas fungsi tersebut diuraikan sebagai berikut: puberty, initiantion, courtship, wedding, occupation, vegetation, astronomical, clown, battlemime, cure, death, esthethic, etc. (soedarsono, 1998: 2). anthony shay, pernah mengemukakan pandangannya tentang 6 (enam) kategori fungsi tari, 1) tari sebagai refleksi dan validasi organisasi sosial, 2) tari sebagai alat untuk upacara keagamaan maupun aktivitas sekuler, 3) tari sebagai aktivitas kreatif, 4) tari sebagai ungkapan kebebasan rasa, 5) tari sebagai ungkapan keindahan ataupun aktivitas keindahan itu sendiri, 6) tari sebagai refleksi dari pola perekonomian. bandem dan fredrik deboer dalam bukunya yang berjudul “balinese dance in transition: raja and kelod” membahas klasifikasi kesenian bali sesuai dengan fungsinya yaitu: wali, bebali dan bali-balian. jazuli (1994: 43) menggolongkan fungsi tari menjadi empat bagian yaitu: tari sebagai upacara, hiburan, pertunjukan, dan media pendidikan. tinjauan lebih jauh tentang fungsi tari kita gunakan pendekatan menurut jazuli adalah sebagai berikut : 1. tari sebagai sarana upacara merupakan media persembahan atau pemujaan terhadap kekuatan gaib yang banyak digunakan oleh masyarakat yang memiliki kepeercayaan animisme (roh-roh gaib), dinamisme (benda-benda yang mempunyai kekuatan), dan totemisme (binatang-binatang yang dapat mempengaruhi kehidupan) yang disajikan dalam upacara sakral ini mempunyai maksud untuk mendapatkan keselamatan atau kebahagiaan. fungsi tari sebagai sarana upacara dapat dibedakan menjadi tiga, yaitu untuk upacara keagamaan, upacara adat berkaitan dengan peristiwa alamiah, dan upacara adat berkaitan dengan peristiwa kehidupan manusia. 2. tari sebagai hiburan dimaksudkan untuk memeriahkan atau merayakan suatu pertemuan. tari yang disajikan dititikberatkan bukan pada keindahan geraknya, melainkan pada segi hiburan. tari hiburan pada umumnya merupakan tarian pergaulan atau social dance. pada tari hiburan ini mempunyai maksud untuk memberikan kesempatan bagi penonton yang mempunyai kegemaran menari atau menyalurkan hobi dan mengembangkan vol.2 no.2/mei-agustus 2001 68 harmonia jurnal pengetahuan dan pemikiran seni keterampilan atau tujuan-tujuan yang kurang menekankan nilai seni (komersial) 3. tari sebagai pertunjukan, yaitu tari yang bertujuan untuk memberi pengalaman estetis kepada penonton. tari ini disajikan agar dapat memperoleh tanggapan apresiasi sebagai suatu hasil seni yang dapat memberi kepuasan pada mata dan hati penontonnya, oleh karena itu, tari sebagai seni pertunjukan memerlukan pengamatan yang lebih serius dari pada sekedar untuk hiburan. untuk itu tari yang tergolonga sebagai seni pertunjukan/tontonan adalah tergolong performance, karena pertunjukan tarinya lebih mengutamakan bobot nilai seni dari pada tujuan lainnya. 4. tari sebagai media pendidikan, yaitu tari yang bersifat untuk mengembangkan kepekaan estetis melalui kegiatan berapresiasi dan pengalaman berkarya kreatif. lebih spesifik lagi kita tinjau tari sebagai seni pertunjukan, banyak aspek yang dapat dibahas dalam tari pertunjukan, namun dalam tulisan ini bukan untuk mengupas semuanya, adapun yang akan dibahas selain mengenai jenis tarinya juga akan dibahas juga tentang dua aspek pokok dalam tari, yaitu faktor penonton sebagai apresiator dan faktor tari sebagai karya estetis. b. fungsi tari sebagai seni pertunjukan seperti yang telah disebutkan dalam pendahuluan bahwa, fungsi tari pada pokoknya dapat digolongkan menjadi empat bagian yaitu tari sebagai upacara, hiburan, seni pertunjukan dan sebagai media pendidikan. antara keempat jenis tarian yang berbeda-beda fungsinya tersebut, pada saat ini sukar untuk dibedakan. banyak seniman tari yang berusaha untuk mengangkat tema-tema magis/religius menjadi sebuah tari pertunjukan. tentu saja dengan cara mengolahnya kembali, sehingga tarian tersebut mempunyai nilai estetis yang tinggi, sebagai contoh pada tari tayub dan pendet. pada mulanya tari endet merupakan tarian pura yang dipersembahkan untuk para dewa, pada masa sekarang tari pendet diangkat menjadi tari pertunjukan yang mempunyai nilai estetis. tari tayub yang semula digunakan sebagai tari kesuburan/hiburan pada saat sekarang tari tayub tersebut telah digarap melalui proses stilisasi maupun distori, sehingga menjadi suatu bentuk tari garapan baru yang halus, mempesona vol.2 no.2/mei-agustus 2001 69 harmonia jurnal pengetahuan dan pemikiran seni dan menjadi sebuah tari pertunjukan yang diberi nama tari gambyong (sedyawati, 1981: 49). seni pertunjukan dengan beragam jenis dan bentuknya dapat terkait dan hadir di dalam bermacam-macam kesempatan. seni pertunjukkan tampil sebagai ungkapan kepentingan yang berlainan. kepentingan tari sebagai seni pertunjukan antara lain: tontonan, hiburan, sarana propaganda atau penyampai pesan tertentu, terapi baik fisik maupun psikis, dan kelengkapan upacara antara lain merupakan tujuan yang digunakan untuk mewujudkan keanekaragaman bentuknya (hermin kusmayati, 1999: 1). pada suatu saat, seni pertunjukan benar-benar ditempatkan menjadi sajian yang dinikmati kadar estetisnya. pada kesempatan yang lain, ungkapan seni dalam seni pertunjukan bersifat menghibur serta mampu ditempatkan sebagai media yang bermanfaat untuk mengemukakan berbagai pesan dan gagasan. seni pertunjukan ditampilkan pula sebagai alat untuk menuju pada kesehatan jasmani serta rohani. adapun yang termasuk dalam jenis tari pertunjukan, diantaranya adalah tari yang tergolong klasik dan tari-tarian yang tergolong baru (modern). tari yang tergolong klasik salah satu cirinya yaitu tari yang sudah mencapai kristalisasi keindahan yang tinggi dimana mempunyai kaidah-kaidah baku yang kuat, contohnya adalah tari bedaya, srimpi, lawung, golek dan sebagainya. sedangkan tari-tarian yang tergolong baru merupakan rentetan perkembangan dari seni tari yang sudah ada, baik tari primitif maupun tari klasik, contohnya pada tari-tarian kreasi baru. kelahiran tari-tarian yang tergolong baru tersebut, menjadi suatu kenyataan dan tuntutan jiwa yang menginginkan kebebasan baik watak, jiwa serta iramanya, lepas dari segala bentuk tradisi. pada tari ini emosi penyusun lebih menentukan atau mempunyai peranan penting dalam mengungkapkan gerak tari sesuai dengan dorongan dari dalam jiwanya dan sasaran pokoknya adalah pembaharuan (jazuli, 1994: 75). c. tari pertunjukan sebagai sarana apresiasi soedarsono (1976) mengemukakan bahwa tari adalah ekspresi jiwa manusia yang diwujudkan dalam bentuk gerak-gerak ritmis yang indah. dari pendapat tersebut bisa ditarik suatu pola pemikiran bahwa tari mempunyai sifat individual dan bersifat sosial. bersifat individual karena tari merupakan ekspresi jiwa dari seorang penari yang bersifat individu. vol.2 no.2/mei-agustus 2001 70 harmonia jurnal pengetahuan dan pemikiran seni bersifat sosial karena gerak-gerak ritmis yang indah merupakan alat komunikasi untuk menyampaikan ekspresi jiwa kepada penikmat atau penghayat. dengan demikian sebuah karya tari sebagai seni pertunjukan harus bisa mengkomunikasikan antara pencipta kepada penonton (jazuli, 1994: 42). penonton sebagai apresiator atau pengamat dalam menyaksikan suatu pertunjukan tari, memberikan penilaian dan apresiasi terhada sebuah tari menurut ukuran kemampuan masing-masing. penonton bisa menyatakan senang atau tidak senang adalah menurut ukuran perasaannya. ada sebagian dari penonton yang kagum dengan kelincahan-kelincahan gerak dari penarinya, atau bisa tergetar perasaannya ketika menyaksikan adegan yang lucu, mungkin ada yang sama sekali tidak tertarik. secara awam umumnya menganggap bahwa tari adalah untuk hiburan saja. melihat pertunjukan tari adalah untuk menyenangkan hati, tanpa memperdulikan bagaimana kedudukan tari tersebut, maka banyak terjadi, bahwa suatu pertunjukan tari yang bernilai estetis, kalah mendapat tanggapan ataupun sambutan dari penonton dengan suatu pertunjukan tari yang kurang nilai estetisnya. hal seperti inilah suatu ironi dalam kehidupan tari dan seni pertunjukan pada umumnya. ada dua faktor yang pelru diperhatikan dalamt ari sebagai pertunjukan, yaitu penonton dan sebagai objek apresiasi. d. penonton sebagai apresiator aspek terpenting dalam seni pertunjukan adalah faktor penonton (apresiator). seni pertunjukan tidak akan berhasil baik apabila tidak didukung oleh penonton (apresiator), kedua saling mendukung satu sama lain. hal-hal yang perlu dipahami bahwa prinsip tahapan-tahapan kemampuan apresiator tari dalam kegiatannya terbagi dalam tiga bagian utama, yaitu a) apresiator tari dalam tahap pengenalan, b) apresiator tari dalam penikmat dan pengagum dan yang ketiga adalah c) apresiator tari dalam tahap penilaian (graha, 1983: 58). dengan demikian, untuk memilih dan menentukan prinsip-prinsip tujuan dalam aktivitas yang bersifat apresiatif akan bertolak dari tujuan pokoknya, yaitu: (1) bertujuan agar apresiator yang tidak mengenal sama sekali atau benar-benar awam akan seni pertunjukan, ditingkatkan menjadi apresiator yang mengenal berbagai seni pertunjukan; 2) agar vol.2 no.2/mei-agustus 2001 71 harmonia jurnal pengetahuan dan pemikiran seni para apresiator tari yang baru memiliki kemampuan mengenal berbagai bentuk karya tari, ditingkatkan kemampuannya dari belum mengenal sampai bisa mengenal berbagai karya tari, sehingga mampu menikmati atau mengagumi berbagai bentuk karya tari; (3) agar para apresiator tari yang masih berkemampuan dalam tahap menikmati/mengagumi berbagai bentuk karya tari ditingkatkan menjadi apresiator tari yang memiliki kemampuan menghargai atau menilai berbagai bentuk karya tari. dari ketiga tujuan aktivitas yang bersifat apresiatif tersebut di atas, saling berkaitan antara subyek apresiator dengan obyek apresiasi dan merupakan tahapan tujuan dari kemampuan apresiator tari. dari kenyataan tersebut, kemungkinan terdapat beberapa apresiator, dalam mengapresiasi tari hanya sampai pada tahap pengenalan, atau sampai tahap penikmatan/pengaguman dari karya tari yang dilihatnya. dalam kegiatan apresiasi tari, akan lebih baik apabila apresiator memiliki kemampuan atau bekal penghayatan yang cukup sehingga mampu menangkap kesan/pesan yang disampaikan lewat karya tari yang dilihatnya. penonton awam dalam menyaksikan suatu pertunjukan menganggap tari sebagai hiburan saja, sehingga dalam hal ini berharapkan hanya untuk memperoleh sesuatu yang menyenangkan, baik dari jenis tarinya, iringan, kostum maupun penarinya. apabila salah satu unsur tari tersebut tidak ada sama sekali, maka tari yang dipertunjukkan tersebut menjadi tidak menarik baginya. dalam menanggapi suatu pertunjukan tari bagi kurang memiliki bekal penghayatan, yang pertama menarik perhatian penonton adalah bukan dari segi gerak tari yang dibawakan oleh penarinya, akan tetapi justru penarinya itu sendiri, kondisi panggung serta dekorasi, dan musik yang mengiringinya. apabila terdapat kurang menarik dalam gerak tari, tidak akant erasa bagi penonton awam, tetapi dalam segi pakaian, dekorasi, iringan dan sebagainya umumnya mereka cenderung memberikan vonis menurut seleranya. yang berhubungan dengan selera, orang tidak lepas dari kebiasaan dimana pengaruh lingkungan serta pengalaman adalah aspek-aspek yang turut menentukan. seorang penonton yang terbiasa dan akrab dengan lingkungan budayanya, dalam menyaksikan suatu pertunjukan tari dari budaya lain, cenderung akan mudah menyatakan bahwa tariannya kurang menarik. lain halnya dengan mereka yang sudah mempunyai pengalaman banyak/bekal penghayatan cukup dalam menyaksikan pertunjukan tari dari berbagai gaya, tentu lebih objektif dalam penilaiannya vol.2 no.2/mei-agustus 2001 72 harmonia jurnal pengetahuan dan pemikiran seni sesuai dengan kebiasaan yang telah dialaminya. akan lebih baik lagi apabila dengan dilandasi bekal pengetahuan serta pengertian yang menyangkut seni tari itu sendiri, akan lebih membantu dalam ketepatan pemberian penilaian ataupun yang apresiasi tari itu sendiri. penonton bebas dalam menyatakan pendapat dan pertimbangan sebagai suatu tanggapan terhadap suatu prestasi seni. baik atau tidak anggapannya mengenai sautu tari yang disajikan, tepat atau tidak cara penilaiannya, itu semua merupakan hak dari pihak penonton. bagi seniman pencipta/penyelenggara menerima, tanggapan, komentar sebagai masukan biarpun mungkin harus menelan pahit, dan itu semua dapat dijadikan sebagai kritik yang membangun. e. tari sebagai obyek apresiasi dalam memilih dan menentukan jenis-jenis seni pertunjukan yang akan dipentaskan, tidak bisa lepas dari tahapan-tahapan apresiasi, yaitu jenis tari perrtunjukan yang bagaimana agar presiator tari memadai dan apresiasi tari juga memiliki kesanggupan di dalam menikmati atau mengagumi dan pada akhirnya bisa menghargai atau menilai berbagai bentuk karya tari. untuk dapat memberikan penilaian secara tepat dan wajar terhadap suatu hasil karya tari dibutuhkan syarat-syarat basis pengetahuan dan pengertian mengenai dan pengertian mengenai seni taro itu sendiri. disamping itu adanya pengertian yang dimiliki oleh seseorang penonton akan meningkatkan pula daya tarik serta menambah puas atau nikmatnya dalam menyaksikan suatu penyajian tari. taria dalah seni yang bermaterikan geraks erta tubuh sebagai medianya. tubuh manusia bersifat orisinil dan tidak pernah abstrak. apabila dibandingkan dengan seni yang lain, tari adalah seni yang paling sederhana dan tidak banyak dalam menggunakan materi. dalam kenyataannya tari adalah seni yang kompleks dan ubarampenya, seakan merupakan seni yang tidak dapat berdiri sendiri. sejumlah faktor ikut mendukung berhasil tidaknya suatu pertunjukan tari. faktor-faktor pendukung keberhasilan pertunjukan tari meliputi : gerak, iringan, rias dan busana, tata pentas, dan pelayanan kepada penonton (lihat jazuli, 1994). vol.2 no.2/mei-agustus 2001 73 harmonia jurnal pengetahuan dan pemikiran seni gerak tari adalah substansi dasar dan sebagai alat ekspresi dari tari. melalui gerak tari, sebuah tari dapat berbicara dan berkomunikasi kepada penghayatan. gerak tari yang baik adalah gerak tari yang telah memenuhi peraturan-peraturan dalam tari sesuai dengan bentuk dan watak yang selaras dengan musik pengiringnya. iringan atau karwaitan merupakan teman yang tidak dapat diipisahkan dengan tari, sebab tari dan musik (karawitan) merupakan paduan yang harmonis. musik atau iingan selain sebagai pengiring atau iringan tari juga berfungsi sebagai pemberi suasana tari yang ditampilkan. faktor tata rias dan busana merupakan faktor yang penting yang perlu mendapat perhatian serta penangan khusus. selain wajah penari, yang pertama kali akan terlihat oleh penonton adalah tata rias dan tata busana yang meliputi warna, bentuk, desain, dan teknik pemakaian. pemilihan desan busana, pemilihan warna tidaklah mudah karena busana atau ostum berfungsi memperjelas peranan-peranan yang mendukung pada tema tari yang ditampilkan. tata rias dan tata rias rambut tidak bisa lepas dari perhatian penonton. oleh sebab itu agar dapat menarik penonton baik tata pakaian, tata rias serta perhiasan yang dipakai, cara menggunakannya memerlukan peikiran, pengalaman dan kepekaan sehingga bentuk keseluruhan merupakan paduan yang serasi dengan tema tari yang ditampilkan serta dapat menciptakan kesegaran bagi penonton. faktor yang tidak kalah pentingnya sebagai daya tarik penonton adalah tata pentas. kondisi pentas beserta dekorasinya serta perlengkapan-perlengkapan lainnya yang menopang suatu pertunjukan ditata sedemikian rupa sehingga dapat memperjelas dan dapat pula menimbulkanengaruh tertentu, sehingga pertunjukan yang disajikan nampak hidup dan menarik, juga menunjukkan gambaran yang diinginkan nampak lebih jelas perwujudannya. faktor-faktor gerak tari, iringan, rias, dan busana serta tata pentas adalah faktor yang menentukan penilaian bagi penonton awam yang lebih kritis dan cepat menentukan vonis menurut seleranya, kurang menarik dari segi geraknya tidak mengurangi daya iringan apabila kurang, akan menguurangi daya tariknya. sebuah tari pertunjukan bisa dikatakan berhasil atau dinilai bagus apabila pakaiannya bagus, wajah penarinya cantik serta bentuk tubuhnya langsung dan selaras dengan iringannya, walaupun kurang memenuhi dari segi gerak tarinya.namun sebaliknya, walaupun vol.2 no.2/mei-agustus 2001 74 harmonia jurnal pengetahuan dan pemikiran seni penari dalam menarikan sebuah tarian telah memenuhi kriteria, menurut ukuran mereka sendiri pasti dikatakan pertunjukannya kurang menarik. sesuai dengan uraian diatas, maka basis pengetahuan atau pengertian yag perlu dimiliki oleh apresiator untuk dapat menikmati sepenuhnya serta dapat memberikan penilaian yang wajar terhadap pertunjukan tari antara lain : pengetahuan tentang gerak tari, rias, dan busana, iringan, tata lampu, tata panggung dan kesemuanya dalam huhungannya dengan fungsinya dalam tari. sedangkan gerakan-gerakan tari atau pola-pola gerakan-gerakan dalam tari tertentu menurut gayanya, adalah perlu untuk diketahui olehs eorang penari. memahami akan jenis tari, gaya yang ada dalam kehidupan seni tari adalah aspek yang penting untuk menjaga ketepatan penggunaan ukuran dalam memberikan pertimbangan atau penilaiannya. adapun yang berhubungan dengan pakaian, dekorasi, tata lampu, iringan, tata panggung, dan sebagainya sifatnya membantu dan menguatkan bukan pokok, substansi dasarnya gerak. sesuai dengan fungsinya yang bersifat membantu atau meguatkan maka unsur-unsur pendukung tersebut harus menyesuaikan dengan substansinya serta isi tariannya. keserasian, keselarasan dalam hubungannya sat sama lain adalah syarat untuk mencapai prestasi seni yang tinggi. pada sebuah tari pertunjukan, untuk dpat memberikan kepuasan terhadap penonton, bukan terletak pada teknik serta isi pertunjukan saja, akan tetapi segala sesuatu yang menyangkut penonton serta cara menyajikan suatu acara harus benar-benar diperhatikan sedemikian rupan, sehingga apresiator atau penonton dengan enak dan mudah dpat mengikuti perunjukan sampai selesai. apabila tari pertunjukan tersebut diselenggarakan dala geudng tertutup, kondisi ruangan jangan sampai terasa panas. penerimaan pelayanan tamu harus ramah dan menyenangkan. pertunjukan diusahakan terlalu lama. pihak penyelenggara jangan memberikan hidangan kepada tamu sampai merasa terlalu kenyang yang akhirnya dapat menjurus terasa membosankan.usahakan agar penonton merasa kurang sehabis menyajikan pertunjukan. susunan acara pertunjukan diatur sedemikian rupa sehingga tidak monoton. cara-cara penyajian seperti ini sebagian dari tuntutan penonton sudah dapat terpenuhi dan akan mempunyai pengaruh yang besar dalam menanggapi isi pertunjukan. vol.2 no.2/mei-agustus 2001 75 harmonia jurnal pengetahuan dan pemikiran seni f. penutup kesuksesan suatu pertunukan tari, perlua danya pendekatan dengan penonton serta menyadari akan fungsi dari pertunjukan tari itu sendiri, maksudnya untuk apa dan siapa tari itu ditujukan. kondisis eperti ini bukan berarti koreografer harus bersifat melayani demikian saja keinginan-keinginan penonton, dan mengorbanan nilai senia, namn dalm hal ini justru kewajiban dari para seniman adalah untuk dapat membudayakan masyarakat ke tingkat yang lebih tinggi, biapun caranya dapat bertahap-tahap. dengan demikian adanya gap-gap antara rakyat yang diharapkan menjadi massa pendukung yang setia dan cita-cita meningkatkan mutu seninya, dlam batas-batas tertentu dapat diselaraskan. tari sebagai seni pertunjukan adalah seni yang hanya dapat dinikmati dan dinilai pada saat pertunjukkan itu saja. sehubungan dengan hal itu maka menciptakan suatu tarian sebagai seni pertunjukkan perlu mempertimbangkan masalah situasi dan kondisi serta tingkat daya apresiasi seni masyarakat yang akan dihidangi. sebab tari sebagai seni pertunjukkan tanpa penonton, artinya tanpa massa pendukung adalah tidak mungkin dalam alam modern ini. dari kenyataan tersebut, seorang koreografer diusahakan jangan membuat tari-tarian yang sekiranya baik untuk waktu 10 atau 20 tahun yang akan datang, tetapi sekarang belum dapat diterima oleh masyarakat. daya apresiasi seni tari masyarakat indonesia pada umumnya masih rendah. perhatian dari seniman terhadap usaha pembinaan kesenian, khususnya seni tari masih kurang. sebagaimana masyarakat masih menganggap tari adalah sama dengan kesenangan atau hiburan yang sifatnya adalah sambilan. silang pendapat antara seniman tari dengan karya-karya tari dengan masyarakat yang diharapkan menjadi massa pendukungnya makin lama makin lebar, karena tidak ada usaha dari para seniman untuk memelihara hubungan itu. akibatnya masyarakat, dalam hal ini justru kaum intelektual dalam kwantitas prosentasenya adalah lebih besar, kurang kenal lagi akan seni budaya sendiri. masih jarnag masalah seni tari disinggung dalam forum pembicaraan yang serius, dan baru dibicarakan apabila tari pertunjukkan dibutuhkan untuk maksud-maksud tertentu. vol.2 no.2/mei-agustus 2001 76 harmonia jurnal pengetahuan dan pemikiran seni daftar pustaka bastomi suwaji. 1988. apresiasi kesenian tradisional. semarang: ikip semarang press. garha oho (ed.). 1983. apresiasi seni tari. jakarta: cv. karya indah jazuli m. 1994. telaah teoritis seni tari. semarang: ikip semarang press. kusmiyati, hermin a.m. 1999. seni pertunjukkan ritual, tumbuh dan kembang ke arah mana. makalah dalam serial seni pertunjukkan indonesia 1998-2001 di stsi surakarta sedyawati, edi. 1981. pertumbuhan seni pertunjukkan. jakarta: sinar harapan ------------. 1984. tari tinjauan dari berbagai seni. jakarta: pustaka jaya soedarsono. 1972. djawa dan bali dua pusat perkembangan drama tari tradisional di indonesia. yogyakarta: gadjah mada university press ------------, 1978. diktat pengantar dan pengetahuan komposisi tari. yogyakarta: akademi seni tari indonesia ------------, 1998. pendekatan dalam penelitian kesenian struktur dan fungsi. yogyakarta: institut seni indonesia vol.2 no.2/mei-agustus 2001 77 87 problematika pelaksanaan pendidikan seni musik di sekolah kejuruan non seni suharto universitas negeri semarang, kampus sekaran gunungpati semarang email: harto1965@gmail.com abstrak pendidikan seni budaya yang termasuk kelompok pelajaran estetika memiliki tujuan khusus yang memiliki keunikan tersendiri. dengan demikian pembelajarannya pun dapat dilakukan secara khusus. sifat seni sang halus, indah ini diharapkan dapat membantuk karakter siswa menjadi siswa yang apresiatif, kreatif seperti dalam proses penciptaan dan penghayatannya. bidang garap yang berbeda ini yang tidak semata untuk mencerdaskan diharapkan dapat menunjang tujuan pendidikan secara umum, yaitu menciptakan manusia yang berbudi luhur, kreatif, dan apresiatif. tujuan pendidikan seni yang luhur ini masih dimarginalkan di sebagian sekolah khususnya di sekolah-sekolah kejuruan non seni. problem in implementation of arts education in nonarts vocational schools abstract arts and culture education as one of aesthetic subjects have its specific goals and unique characteristics. accordingly, the learning and teaching process is done in a specific way. the refined and beautiful qualities of arts are expected to shape students’ characters to be appreciative and creative in their creation and internalization. this special field, not merely made to smarten individuals is expected to support the general education goals, which is to create civilized, creative, and appreciative figures. keywords: pendidikan seni musik, sekolah kejuruan, non seni pendahuluan sewaktu masih ada gbhn kita selalu ingat rumusan tujuan pendidikan nasional yang antara lain bertujuan untuk meningkatkan kualitas manusia indonesia, yaitu manusia yang beriman dan bertaqwa kepada uhan yang mahasa esa, budi pekerti luhur, dan berkepribadian mandiri, maju, tangguh, cerdas, kreatif, terampil, berdisiplin, beretos kerja, profesional bertanggung jawab, produktif serta sehat jasmani dan rohani. manusia yang dianggap ideal menurut gbhn tersebut disebut juga manusia paripurna yang tentu saja manusia yang berkarakter yaitu karakter yaitu esuai dengan cita-cita luhur bangsa indonesia. pendidikan seni diharapkan dapat menjadi bagian dalam pembentukan manusia seutuhnya tersebut. pendidikan seni menurut jazuli (2008:25) merupakan bagian dari rumpun pendidikan nilai. dalam konteks kebangsaan pendidikan nilai erat kaitannya dengan pembentukan dan pengembangan watak bangsa. sehingga, watak yang terbentuk memang bergantung pada fungsi dan tujuan pendidikan bagi bangsa indonesia, yaitu tujuan pendidikan nasional. karakter positif yang dimiliki oleh para generasi muda yang notabene masih diduduk di bangku sekolah sangat penting. dengan demikian, melalui jalur pendidikanlah lahan yang tepat untuk harmonia, volume 12, no.1 / juni 201288 menggarapnya. seni budaya sebagai mata pelajaran di sekolah yang memiliki bidang garap rasa dianggap sangat membantu untuk menanamkan sikap-sikap atau karakter seperti rasa tenggang rasa, disiplin, keindahan (kehalusan), rasa patriotisme, dan lain-lain. pengertian karakter menurut kamus umum bahasa indonesia adalah sifat-sifat kejiwaan, akhlah atau budi pekerti yang menjadi cirri khas seseorang. menurut tadkiroatun musfiroh (uny, 2008), karakter mengacu kepada serangkaian sikap (attitudes), perilaku (behaviors), motivasi (motivations), dan keterampilan (skills). karakter adalah watak, tabiat, akhlak, atau kepribadian seseorang yang terbentuk dari hasil internalisasi berbagai kebajikan (virtues) yang diyakini dan digunakan sebagai landasan untuk cara pandang, berpikir, bersikap, dan bertindak. kebajikan terdiri atas sejumlah nilai, moral, dan norma, seperti jujur, berani bertindak, dapat dipercaya, dan hormat kepada orang lain. interaksi seseorang dengan orang lain menumbuhkan karakter masyarakat dan karakter bangsa. oleh karena itu, pengembangan karakter bangsa hanya dapat dilakukan melalui pengembangan karakter individu seseorang. akan tetapi, karena manusia hidup dalam ligkungan sosial dan budaya tertentu, maka pengembangan karakter individu seseorang hanya dapat dilakukan dalam lingkungan sosial dan budaya yang berangkutan. artinya, pengembangan budaya dan karakter bangsa hanya dapat dilakukan dalam suatu proses pendidikan yang tidak melepaskan peserta didik dari lingkungan sosial,budaya masyarakat, dan budaya bangsa (kemendiknas, 2010). pendidikan merupakan proses pewarisan budaya dan karakter bangsa bagi generasi muda yang juga berfungsi untuk proses pengembangan budaya dan karakter bangsa untuk meningkatkan kualitas kehidupan masyarakat di masa depan. proses ini secara aktif bertujuan untuk mengembangkan potensi dirinya, penghayatan nilai-nilai menjadi kepribadian mereka sampai pengembangan budaya dan karakter bangsa untuk meningkatkan kualitas kehidupan masyarakat yang lebih bermartabat. sehingga pada gilirannya akan meningkatkan kualitas hidup masyarakat dan negaranya. pendidikan karakter merupakan sistem penanaman nilai-nilai kepada warga sekolah yang meliputi komponen pengetahuan, kesadaran atau kemauan, dan tindakan untuk melaksanakan nilai-nilai tersebut. dengan demikian, semua komponen harus dilibatkan, termasuk komponen-komponen pendidikan itu sendiri, yaitu isi kurikulum, proses pembelajaran dan penilaian, penanganan atau pengelolaan mata pelajaran, pengelolaan sekolah, pelaksanaan aktivitas atau kegiatan kokurikuler, pemberdayaan sarana prasarana, pembiayaan, dan ethos kerja seluruh warga sekolah/lingkungan. di samping itu, pendidikan karakter dimaknai sebagai suatu perilaku warga sekolah yang dalam menyelenggarakan pendidikan harus berkarakter. permasalah yang juga sering dihadapi para guru seni budaya smk adalah ketidaktahuan mereka karena dalam menyelenggarakan kegiatan pembelajaran di sekolah yang disebabkan perasaaan keterpinggiran mereka di antara guru-guru bidang lainnya. smk adalah sekolah vokasi yang menyiapkan lulusannya siap terjun di dunia kerja seperti di perusahaan. sedangakan seni budaya bukanlah pelajaran yang dianggap pelajaran bidang yang menunjang keterampilan mereka. akibatnya, ketertekanan merekalah yang menonjol dalam menjalankan kegiatan pembelajaran seni jika tidak bisa memberi terobosan baru dalam pembelajannya. saat ini pelajaran seni budaya hanya mendapat alokasi waktu 128 jam selama 3 tahun. jumlah jam pelajaran ini dianggap masih jauh dari ideal untuk penyelenggaraan pembelajaran di sekolah. perlu ada tambahan jam di luar kegiatan kurikuler misalnya ekstrakurikuler atau kegiatan seni penunjang lain sehingga tujuan pendidikan melalui seni khususnya seni musik ini dapat berjalan baik. kendala lain yang juga masih dihadapi oleh para guru dalam penyelenggaraan ini adalah persepsi para pengambil suharto, problematika pelaksanaan pendidikan seni musik di sekolah kejuruan non seni 89 keputusan baik di tingkat sekolah maupun dinas kabupaten/kota yang masih menomorduakan pendidian seni di sekolah smk non seni ini. keadaan ini masih diperparah dengan anggapan sebagain siswanya yang menganggap pelajaran seni (musik) tidak lebih penting dari pada pelajaran lain yang lebih mendukung keterampilan mereka sesudah lulus. peran pendidikan seni di sekolah dalam kurikulum tingkat satuan pendidikakan (ktsp), cabang mata pelajaran seni budaya yang tediri dari seni rupa, seni musik, seni tari dan seni teater memiliki tujuan antara lain: (1) memahami konsep dan pentingnya seni budaya; (2) memahami sikap apresiasi terhadap seni budaya; (3) menampilkan kreativitas melalui seni budaya; dan (4) menampilkan peran serta dalam seni budaya dalam tingkat lokal, regional maupun global. masing-masing cabang seni tersebut memiliki ruang lingkup sendiri berdasarkan bidang dan karakter seni tersebut. seni musik memiliki ruang lingkup yang mencakup kemampuan untuk menguasai olah vokal, memainkan alat musik, dan apresiasi karya musik. dari ruang lingkup inilah kemudian dijabarkan melalui sk dan kd pada setiap tingkatannya. walaupun mata pelajaran seni budaya mengandung unsur kata “budaya” namun aspek budaya ini tidak dibahas secara tersendiri melainkan terintegrasi dalam seni. mata pelajaran seni budaya merupakan pendidikan seni yang berbasis budaya. budaya meliputi segala aspek kehidupan mulai dari cara hidup (style of life), keyakinan (belief), berbahasa, sampai pada berekspresi termasuk berkesenian. berbicara seni tidak lepas dari budaya yang melingkupinya, seperti halnya kita belajar bahasa yang tak lepas dari budaya yang melatar belakanginya. jika kita mempelajari seni suatu daerah tertentu maka secara otomatis mempelajari pula budaya yang mengasilkan karya seni tersebut. seni budaya memiliki kekhasan atau keunikan tersendiri yang tidak dimiliki mata pelajaran lain sehingga cara pembelajarannya pun berbeda dengan yang lain. hal ini sangat bermanfaat bagi kebutuhan perkembangan siswa. dalam pendidikan seni untuk mencapai kebermaknaan ini dikenal dengan pendekatan “belajar dengan seni”, “belajar melalui seni” dan “belajar tentang seni”. kegiatan dengan pendekatan ini adalah untuk memberikan pengalaman estetik dalam bentuk kegiatan berkreasi atau berekspresi, dan berapresiasi. “belajar dengan seni” mengandung makna bahwa dalam aktivitas belajar apa pun kita bisa melibatkan seni di dalamnya. misalnya, belajar sambil mendengarakan musik. “belajar melalui seni” bermakna bahwa seni bisa digunakan sebagai sarana untuk mempelajari hal-hal atau bidang yang lain. misalnya, dalam mempelajari lagu, di samping belajar musik kita juga bisa sambil mempelajari sastra, sejarah, nasionalisme, sosial, agama dan lain-lain. konsep ini menganut pendapat yang dipopulerkan oleh h. read (1970) yang dikenal dengan pendekatan education through art. dan, “belajar tentang seni” bermakna bahwa untuk mencapai tujuan estetis siswa bisa langsung belajar pada seni tersebut yang meliputi segala aspek yang ada dalam seni tersebut. misalnya, siswa belajar musik diharapkan siswa mampu menguasai musik atau tujuan dari pembelajaran musik tersebut agar mampu menyanyikan atau memainkan musik tersebut sesuai dengan tujuan pembelajarannya. pendidikan seni budaya yang memiliki karakteristik sendiri inilah yang menjadikan pendidikan seni budaya ini memiliki tujuan khusus dalam mencapai tujuan pendidikan secara umum. ada tiga sifat yang dimiliki pendidikan seni budaya yaitu sifat multilingual, multidimensional, dan multikultural. multilingual artinya dalam pengembangannya bisa dilakukan dengan berbagai cara dan media seperti seni rupa, bunyi, gerak, peran, dan perpaduan dari media itu. multi dimensional bermakna pengembangan kompetensi yang meliputi konsepsi, apresiasi, dan kreasi dengan memadukan secara harmonis unsur estetika, logika, kinestetika, dan etika. dan, multikultural bermakna bahwa harmonia, volume 12, no.1 / juni 201290 pengembangan kompetensi bisa melalui kegiatan yang menimbulkan apresiasi terhadap keragaman budaya nusantara dan mancanegara. masalah konsep standar isi kelompok mata pelajaran estetika jika kita perhatikan dan kita simak standar isi kelompok mata pelajaran seni budaya, pengetahuan estetika sebenarnya menjadi basis utama pembelajaran. hal tersebut sama sekali tidak tercantum dalam standar kompetensi lulusan pendidikan dasar maupun menengah. dalam standar isi mata pelajaran, kita baca : mata pelajaran kelompok estetika untuk meningkatkan sensitivitas kemampuan mengekspresikan dan kemampuan mengapresiasi keindahan serta harmopni mencakup apresiasi dan ekspresi baik dalam kehidupan individual sehingga mampu menikmati dan mensyukuri hidup, maupun dala kehidupan kemasyarakatan sehingga mampu menciptakan kebersamaan yang harmonis. ini berarti bahwa struktur keilmuan keindahan (estetika), seperti perasaan estetik, pengalaman atau respon estetik, momen estetik, jarak estetik, nilai estetik, jelas harus muncul dalam standar isi dan standar kompetensi lulusan mata pelajaran seni budaya (puskur, 2007: 16). ini juga berati term estetika hanyalah sebagai ornamentasi saja bukan menjadi kompetensi lulusan. kajian estetika seharusnya tersirat jelas. hal seperti di ataslah mungkin yang menyebabkan banyak guru menafsirkan materi maupun pembelajaran sendiri-sendiri karena antara harapan dan kurikulum yang tersurat tidak sesuai. pada tingkat sekolah menengah pertama (smp/mts) kompetensi lulusan adalah kemampuan menghargai karya seni dan budaya nasional, sedangkan pada tingkat sma/smk terdapat tiga kompetensi lulusan yaitu: (1) mengekspresikan diri melalui kegiatan dan budaya; (2) mengapresiasi karya seni dan budaya; dan (3) menghasilkan karya kreatif baik individual maupun kelompok. standar kompetensi lulusan pembelajaran seni budaya dalam kurikulum berdasarkan kajian dengan demikian mestinya menunjukan kemampuan untuk melakukan kegiatan seni dan budaya lokal, menghargai karya seni dan budaya nasional, mengekspresikan diri melalui kegiatan seni dan budaya, mengapresiasi karya seni dan budaya, menghasilkan karya kreatif baik seni individual maupun kelompok. sayangnya, tujuan ideal ini telah tereduksi menjadi sangat sederhana menjadi dua domain bidang seni, yakni apresiasi seni dan kreasi seni. hal ini jelas tertulis dalam kalimat: …”mengapresiasi dan mengekspresikan diri melalui keartistikan karya seni rupa, seni musik, seni tari, dan seni teater. jadi seni budaya telah direduksi menjadi sangat pragmatis, dan kontekstulal yang hanya berisi pendidikan seni (juga tidak utuh)”. di samping itu, kurikulum belum menempatkan estetika sebagai payung pembelajaran seni yang seharusnya. pengetahuan estetika secara eksplisit tersurat sebagai standar kompetensi dan kompetensi dasar. pendidikan seni musik di smk non seni untuk mencapai tujuan pendidikan umum pendidikan seni budaya memiliki bidang garap sendiri yang tidak sama dengan bidang lain seperti bidang matematika yang menggarap bidang logika. bidang garap seni adalah rasa dan sikap apresiatif yang bisa dicapai melalui kegiatan apresiasi dan kreasi untuk memenuhi kebutuhan pribadi peserta didik yang harmonis. seni budaya merupakan kelompok mata pelajaran estetika yang memiliki karakteristik pembelajaran yang khas dalam pencapaian standar kompetensi dan kompetensi dasarnya. manusia pada hakekatnya memiliki multi kecerdasan yang tidak hanya berdasarkan kecerdasan dan logika tetapi kecerdasan lainnya. menurut gardner (1993) manusia memiliki multi kecerdasaan (multiple intelligences) antara lain (1) kecerdasan linguistik (kemampuan berbahasa yang fungsional); (2) kecerdasan logissuharto, problematika pelaksanaan pendidikan seni musik di sekolah kejuruan non seni 91 penampilannya. dan, itulah yang diharapkan dalam tujuan pendidikan umum. kegiatan seni yang dilakukan siswa termasuk di smk non seni biasanya sebagai kegiatan ekstra kurikuler. lain dengan smk seni seperti (dahulu smki/smm), pendidikan seni merupakan sebuah pendidikan keterampilan yang menyiapkan lulusannya siap memasuki dunia kerja di bidang seni karena pendidikan tersebut termasuk pendidikan vokasi. kegiatan ekstra kurikuler di sekolah non seni ini banyak jenisnya seperti paduan suara, tari, vokal grup, fotografi, pembuatan film pendek, dan lain-lain. kegiatan ini akan mewadahi minat siswa yang pada gilirannya akan mengembangkan rasa kreativitas, percaya diri, daya inovasi, saling menghargai, cinta tanah air dan rasa apresiasi kepada budaya bangsa sendiri. kegiatan lain yang juga sangat penting adalah lomba seni sebagai bagian dari penyaluran minat siswa. kegiatan lomba yang diikuti banyak siswa ini akan menimbulkan kompetisi, sportivitas dan disiplin siswa di samping tetap menanamkan rasa estetis melalui kegiatan menyanyi, menggambar, menari atau mencipta seni. kegiatan yang penting dan utama sebenarnya juga terjadi di kelas yang termasuk dalam pelajaran kurikuler, walaupun jumlah jamnya terbatas. pelajaran seni budaya di smk umum sebenarnya memiliki substansi seni dan budaya yang terdiri dari tiga yaitu substansi ekspresi, substansi kreasi dan keterampilan. substansi ekspresi meliputi melukis, mematung, menyanyi dan bermain musik, dll. substansi kreasi misalnya membuat rancangan reklame, slogan bergambar, mencipta lagu, dan lain-lain. sementara itu keterampikan lebih menitik beratkan pada kemampuan teknis sehingga bisa bersifat produktif. dengan demikian commonground pendidikan seni meliputi cipta, rasa dan karsa. mata pelajaran seni budaya bersifat membantu secara tidak langsung terhadap kebutuhan hidup manusia karena hasil pendidikannya tidak bisa dilihat secara langsung. pendidikan seni budaya yang benar akan lebih bersifat mental damatematis (kemampuan berfikir runtut); (3) kecerdasan musikal (kemampuan menangkap dan menciptakan pola nada dan irama); (4) kecerdasan spasial (kemampuan membentuk imaji mentaltentang realitas); (5) kecerdasan kinestetik-ragawi (kemampuan menghasilkan gerakan motorik yang halus); (6) kecerdasan intra-personal (kemampuan untuk mengenal diri sendiri dan mengembangkan rasa jati diri); dan (7), kecerdasan inter-personal (social). kemampuan bekerja secara efektif dengan orang lain, berhubungan dengan orang lain dan memperlihatkan empati dan pengertian, memeperhatikan motivasi dan tujuan mereka. kecerdasan antarpribadi (kemampuan memahami orang lain). guru seni budaya bisa memanfaatkan sifat kecerdasan manusia ini untuk mendapatkan konsep seni budaya secara utuh dengan mengeksplorasi segala potensi yang ada. segala efek yang diakibatkan dalam pendidikan seni budaya di sekolah memiliki tujuan khusus yang mengarah pada pencapaian tujuan secara umum. siswa yang sudah mencapai taraf apresiasi dan kreasi yang tinggi bisa menjadi anak yang suka menghargai orang lain, kreatif, berperasan halus, toleran, berani tampil dimuka umum, percaya diri, bahkan cerdas. ciriciri manusia yang memilkiki sifat tersebut bukankah merupakan bagian dari tujuan pendidikan umum yang meliputi berbagai macam jenis pendidkian? tidak mungkin tujuan pendidikan umum hanya bisa dicapai melalui jenis pendidikan yang melibatkan otak kiri yang meliputi logika, berpikir analistik, sistematik, dan lain-lain tetapi juga melibatkan otak kanan yang meliputi intuisi, fantasi, inovasi, sintesa (holistis), kreasi dan lain lain yang banyak didapat melalui kegiatan seni seperti irama, nada, warna (suharto, 1999). siswa yang aktif dalam kegiatan paduan suara, misalnya, akan terbiasa dengan sifat bekerjasama, suka membantu, toleran dan suka menghargai orang lain, menyukai keharmonisan, memiliki rasa musikal tinggi, berperasan halus, percaya diri dan disiplin. itu semua akibat langsung yang disebabkan dalam proses latihan sampai pada harmonia, volume 12, no.1 / juni 201292 siswa belajar di smk (3 tahun) harus diberikan dengan tujuan khusus seperti juga di sekolah menengah umum lainnya. tujuan khusus seperti rasa kehalusan, percaya diri, kreatif adalah yang dimiliki pendidikan seni budaya yang mengarah pada tujuan pendidikan secara umum harus diberikan secara benar sesuai dengan kaidah pendidikan seni. sayangnya, jumlah jam 128 jam tidak sepenuhnya deberikan, yang kadang-kadang sekolah hanya member jam hanya 108 atau lebih sedikit, dengan alasan untuk memberi alokasi pelajaran yang bersifat adiktif maupun produktif yang dianggap lebih banyak menunjang keterampilan para siswa. jadi, reduksi pun dilakukan dalam taraf jumlah jam minimal yang seharusnya diberikan di sekolah. hal ini akan berakibat adal kelas-kelas tertentu, missal kelas tiga, tidak mendapatkan pelajaran seni budaya karena menjelang menghadapi ujian nasional, ada juga kelas mendapatkan, atau semua diberikan tetapi hanya mendapat satu jam pelajaran setiap minggunya. tentu sangat sulit bagi guru untuk menyelenggarakan pembelajaran seni yang hanya satu jam pelajaran dalam satu minggu. pendidikan umum tidak sematamata kecerdasan logika tetapi juga mental. kecerdasan mental yang diciptakan melalui pendidikian seni dan kegiatan berkesenian akan bersinergi bersama dalam pembentukan karakter. kegiatan ekstrakurikuler maupun lomba-lomba yang diikuti para siswa smk seperti band, fotografi, multimedia film pendek akan memberikan efek mental yang baik bagi siswa karena mereka akan memiliki pengalaman seni, bersikaf sportif, berkompetisi secara sehat dan lain-lain. tentu akan berbeda jenis siswa smk khusus seni. para lulusan smk seni ini memiliki tujuan yang berbeda tidak seperti smk non seni. smk seni mengarahkan lulusannya untuk menjadi pelaku seni, seniman, praktisi seni, pengelola seni dan lain-lainnya. sementara itu smk non seni fungsi pendidikan seni budaya adalah untuk menunjang pendidikan secara umum yang perannya tidak kalah penting dalam ripada yang ranah lain. sehingga penanamannya akan berefek dalam jangka waktu yang lama seperti halnya pendidikan karakter. pendidikan karakter bukanlah pendidikan instan. penanaman yang mental yang diharapkan dari pendidikan seni akan bisa dirasakan dan dilihat dari siswa setelah mereka melakukan kegiatan seni, berekspresi dan mungkin mencipta. musik dapat membentuk moral dan memperdalam rasa kebangsaan. seperti yang diharapkan dewantara (1977) yang mengemukakan bahwa musik tidak hanya sekedar melatih kehalusan pendegaran, namun juga akan membawa halusnya rasa dan budi serta memperkuat dan memperdalam rasa kebangsaan. lomba-lomba lagu perjuangan yang sudah dilakukan oleh dinas pendidikan provinsi jateng dua tahun terakhir ini melalui kegiatan lomba yang bertajuk lomba lagu-lagu perjuangan seperti vokal grup, vokal tunggal, paduan suara, dan gerak dan lagu untuk seluruh tingkatan sekolah adalah salah satu contoh kegiatan kongkrit usaha untuk menanamkan mental anak-anak. dengan kegiatan bernyanyi bersama anak-anak akan belajar bekerjasama, saling tenggang rasa, mengendalikan diri, merasakan keindahan harmonisasi yang berasal dari harmoni paduan suara maupun vokal grup. karena dalam paduan suara teknik balance dan blending misalnya, hanya bisa dicapai jika pesertanya sudah memiliki rasa harmoni tinggi, kekompakan dan mengendalikan diri. di samping itu, lirik yang menyuarakan semangat nasionalisme akan tertanam dalam diri peserta melalui kegiatan menghayati dan ekspresi saat menyanyikannya. saat ini, di smk ada tiga kelompok mata pelajaran yaitu normatif, adaptif dan produktif. seni budaya termasuk dalam kelompok normatif. kelompok normatif adalah mata pelajaran yang dialokasikan secara tetap yang meliputi pendidikan agama, pendidikan kewarganegaraan, bahasa indonesia, pendidikan jasmani olahraga dan kesehatan, dan seni budaya. jumlah jam pelajaran yang berkisar 128 jam untuk pelajaran seni budaya, selama suharto, problematika pelaksanaan pendidikan seni musik di sekolah kejuruan non seni 93 pembentukan manusia indonesia seutuhnya. namun demikian, bagi siswa yang memiliki kemampuan dan minat lebih di bidang seni harus ada penyaluran dan pembinaan yang memadai walaupun itu bukan jurusan yang diambil di sekolah seperti dalam kegiatan ekstrakurikuler di atas. apalagi jika itu sangat menunjang kompetensi di bidangnya sesuai dengan jurusannya misalnya siswa smk yang berasal dari jurusan multimedia, tentu akan sangat menunjang kompetensinya jika mereka tertarik dan menekuni seni fotograpi maupun film pendek, video klip, dan sejenisnya. mungkin juga dengan daya kreativitas dan kecerdasan musikalnya mereka mengembangkan kemampuan musik dengan menciptakan musik-musik ilustrasinya sendiri. kecerdasan musik yang menurut gagner (1993) mungkin dimiliki seseorang, akan menambah kemampuan daya ciptanya dalam pembuatan karyakarya mereka. dengan kegiatan-kegiatan yang ditekuni inilah akan tercipta karakter siswa untuk menjadi siswa yang kreatif. lomba-lomba seni lain yang diadakan secara rutin oleh kementrian pendidikan dan kebudayaan seperti festival dan lomba seni nasional (fls2n) yang melombakan berbagai cabang seni juga akan memberi dampak positif bagi siswa sebagai smk yang antara lain di samping di bidang apresiasi, dan kreasi, dan kompetisi juga sebagai pembanding kemampuan dengan peserta lain yang pada gilirannya menciptakan suasana kompetitif, dan dorongan untuk berprestasi. sifat-sifat seperti inilah yang antara lainyang diharapkan dari dampak siswa setelah belajar seni di sekolah. penutup pendidikan seni budaya di sekolah termasuk di smk non seni memiliki keunikan tersendiri dan memilki tujuan khusus yang menunjang pada tujuan pendidikan secara umum. pendidikan seni budaya yang antara lain membentuk pribadi dan karakter atau watak yang lembut, halus seperti inovatif dan kreatif yang dapat menunjang tujuan pendidikan jenis lain yang mengarah pada kecerdasan seperti logika dan analisa. sifat-sifat watak atau karakter tersebut yang ditimbulkan dari pendidikan seni di sekolah tersebut adalah untuk mencapai pendidikan secara umum. nilai-nilai karakter atau watak yang sebenarnya sifat yang dimiliki pendidikan seni yang dapat dilaksanakan secara integral dengan pelajaran lain yang relevan seperti fotografi, multimedia, yang ada di sekolah smk non seni, tanpa harus menyelenggarakan pembelajaran seni/musik, maupun pendidikan karakter tersendiri yang menimbulkn kejenuhan siswa. kegiatan pembelajaran yang terintegrasi ini bisa berupa pelajaran metode proyek atau tematik yang merupakan kolaborasi dari beberapa mata pelajaran yang relevan. dapat juga dengan berperan aktif dalam kegiatan ekstrakurikuler dan dengan kegiatan berkesenian seperti lomba-lomba seni. sikap toleran dan perasaan halus, dan kreatif yang diakibatkan dari pendidikan seni budaya, baik dari pendidikan di sekolah maupun di luar sekolah, dengan demikian, dapat menciptakan manusia paripurna. dengan demikian pendidikan (termasuk pendidikan seni budaya) yang pada hakikatnya merupakan proses pembudayaan dan pemberdayaan manusia yang sedang berkembang menuju pribadi mandiri untuk membangun dirinya sendiri dan masyarakat dapat tercapai. daftar pustaka departemen pendidikan nasional. 2007. naskah akademik kajian kebijakan kurikulum smk. jakarta: puskur depdiknas. departemen pendidikan nasional. 2007. kajian kebijakan kurikulum seni budaya. jakarta: puskur depdiknas. dobbs, stephenmark, 1992, the dbae handbook: an overview of diciplinebased art education, santamonika, ca: the getty center for education in the arts. bastomi, suwaji. 1984. kebudayaan, apreharmonia, volume 12, no.1 / juni 201294 iasi seni. semarang: ikip semarang press. gardner, h. 1993. multiple intelligence. from theory to practice. new york: basic book. jamalus.1989. pengajaran musik melalui pengalaman musik. jakarta: depdikbud jazuli, m. 2008. paradigma kontekstual pendidikan seni. surabaya: unesa university press. peraturan pemerintah ri nomor 19 tahun 2005 tentang standar nasional pendidikan. permendiknas, ri no. 22 tahun 2006, teang standar isi untuk satuan pendidikandasar dan menengah. jakarta: depdiknas, 2006. redaksi asa mandiri, standar nasional pendidikan, cetakan pertama, jakarta: asa mandiri, 2006. read, herbert. 1958. education trought art. london: faber and faber. suharto. 2008. “pengembangan materi ktsp seni budaya bidang musik”. makalah bimbingan teknis (bintek, donohudan, 7-9 juli 2008). sri ambarwangi. 2011. “semarang lomba nasionalisme dan karakter bangsa provinsi jawa tengah”. (http://sriambarwangi.wordpress.com/kategori/berita) diunduh tanggal 13 mei 2012. tri hartati retnowati. “membangun karakter bangsa melalui pendidikan seni di sekolah” (prosiding seminar nasional dies natalis ke-46 uny). 168 shamanisme: fenomena religius dalam seni pertunjukan nusantara sunarto jurusan sendratasik, fakultas bahasa dan seni universitas negeri semarang e-mail: 132233483@staff.unnes.ac.id abstrak budaya shamanisme ini telah memberikan kepada nusantara musik ritual dengan waditra: gendang, gong, dan kecrek; dengan pertunjukan yang mempunyai maksud untuk memuliakan arwah para leluhur. bentuk seni yang ditampilkan, seperti: tari topeng. budaya ini juga telah membawa skala pentatonik yang berasal dari tradisi melayu-nusantara untuk wilayah belahan barat, dan tradisi asiatik untuk belahan timur. hal tersebut mirip dengan paham cina kuno (3500 sm), yang memandang musik sebagai seni yang mengungkapkan persatuan sorga dan bumi. konsep seni adhiluhung (yang berarti damai dan agung) dalam gamelan jawa diturunkan dari paham tersebut. sedangkan dalam hinduisme menganggap musik sebagai yoga untuk bersatu dengan brahman dan sarana pengembangan rasa estetis-religius. suhardjo parto dalam disertasinya, folk traditional as a key to the understanding of music cultures of java and bali (osaka university, 1990), membuat peta dengan sebutan wilayah etnomusikologis “indonesia barat daya”: suatu wilayah yang terbentang dari sumatra selatan, jawa (madura), bali, dan lombok. shamanism: a religious phenomenon in indonesian performing arts abstract this shamanism culture has given the archipelago music: ritual music of waditra: drums, gongs, and kecrek; with performances that had the intention to honour deceased ancestors. the form of the performance art shown is tari topeng (mask dance). this culture has also brought a pentatonic scale derived from the malay-indonesian tradition in the western hemisphere to asiatic tradition in the eastern hemisphere. it is similar to ancient china concept (3500 bc), which looked at music as an art that expresses the unity of heaven and earth. this is from which the concept of art adhiluhung (peaceful and great) in javanese gamelan is derived. hinduism considers music as yoga for uniting with brahman and a means of developing a sense of the aesthetic-religious. suhardjo parto in his dissertation, traditional folk as a key to the understanding of music cultures of java and bali (osaka university, 1990), made a map as the ethnomusicologist “southwest indonesia”: an area stretching from south sumatra, java (madura), bali, and lombok. kata kunci: shamanisme; hinduisme; nusantara; seni pertunjukan sunarto, shamanisme: fenomena religius dalam seni pertunjukan nusantara 169 pendahuluan sebelum kedatangan tradisi agama india sebagai entitas multikultural yang terdiri dari indonesia barat daya (southwestern indonesia) yang meliputi kepulauan sumatra selatan, jawa, madura, bali, dan lombok, kepulauan ini telah menerima shamanisme sebagai budaya agama kuno (ancient religious culture), yang dibawa oleh para migran indonesia-melayu mongoloid, dan asiatik mongoloid dari asia daratan. sampai sekarang, moko atau nekara, palu-gendang perunggu prasejarah, yang dianggap sebagai “pembuat-hujan” ajaib (eliade, 1974), tidak pernah sebagai model gong perunggu besar jawa dan sebagai instrument musik inti yang mengiringi pemujaan nenek moyang atau ritus untuk orang mati (rite for the dead) dan dipercaya sebagai sakral oleh masyarakat shamanis kuno, paling tidak di indonesia barat daya. sejak zaman kerajaan china, yang dimulai kira-kira tahun 1766 sm dengan dinasti shang (ch’en, 1973) jauh lebih tua dari kerajaan di kepulauan indoensia yang diwakili oleh kerajaan kalingga di jawa tengah pada abad ke-5 masehi, kepulauan pastilah steril dari pengaruh peradaban kuno asia daratan. shamanisme yang berasal dari siberia (voitgt, 1977) adalah budaya agama pertama tradisi mongoloid yang dibawa ke indonesia, khususnya separuh kepulauan barat dari china selatan (magnissuseno, 1988: 21) dan dari asia tengah sejak kira-kira 3000 tahun sm (poerbatjaraka, 1952: vi, eliade 1974:4; huntington 1959:205-206; beals dan hoijer, 1959: 182, peta 6: 2a, dan heine-geldern, covarrubias, 1972: 16). shamanisme dalam pengertian keras adalah fenomena religius sangat menonjol di siberia dan asia tengah yang menjadi budaya kuno masyarakat indonesia zaman pra-indik; budaya, yang eksis lebih dari 2000 tahun, yang telah dihubungkan dengan praktek pemujaan nenek moyang dan pemujaan orang-orang mati dengan pertunjukan dan musik ritual shamanis (eliade, 1974: 4). ricklefs (2000:115) menulis, bahwa ciri khas kesenian indonesia, baik yang visual maupun seni pertunjukan sering bersifat sakral: ... tampak jelas bahwa kesenian indonesia yang berbentuk visual dan pertunjukan sering bersifat sangat sakral. wayang, keris, batik, serta tari-tarian tertentu memiliki sifat-sifat keagamaan dan memancarkan tenaga-tenaga gaib; kesemuanya itu hanya dapat digunakan dengan memerhatikan kekuatan-kekuatan gaib. oleh karena itulah kesenia-kesenian indonesia dilingkupi oleh ritualritual dan kaidah-kaidah yang rumit. realiatas sejarah yang demikian memungkinkan pemikiran bahwa tradisi musik (di) nusantara tidak terlepas dari kaitan-kaitanvatau relasi dengan dunia supranatural, termasuk budaya shamanisme. perjalanan panjang sejarah musik (di) nusantara memungkinkan beberapa pengaruh masuk dan memberikan warna, baik waditra, teori, dan estetikanya. keterkaitan antara kesenian dengan dunia supranatural, yang selalu melingkupi dalam budaya masyarkakat jawa, juga telah menjadi perhatian serius clifford geetz (1990). wilayah etnomusikologi voigt (1977) mengatakan, bahwa seluruh wilayah nusantara secara historis telah dipersatukan oleh budaya arkais shamanisme yang berpusat di asia utara dan asia tengah. budaya shamanisme ini telah memberikan kepada nusantara musik ritual dengan waditra: gendang, gong, dan kecrek; dengan pertunjukan yang mempunyai maksud untuk memuliakan arwah para leluhur (eliade, 1974). bentuk seni yang ditampilkan, seperti: tari topeng. budaya ini juga telah membawa skala pentatonik yang berasal dari tradisi melayunusantara untuk wilayah belahan barat, dan tradisi asiatik untuk belahan timur. suhardjo parto dalam disertasinya, folk traditional as a key to the understanding of music cultures of java and bali (osaka university, 1990), membuat peta dengan harmonia, volume 13, no. 2 / desember 2013170 sebutan wilayah etnomusikologis “indonesia barat daya”: suatu wilayah yang terbentang dari sumatra selatan, jawa (madura), bali, dan lombok. pemetaan wilayah etnomusikologi kuno tersebut sebagai penulisan sejarah musik (seni pertunjukan) tradisi nusantara berdasarkan teori wilayah budaya menurut wissler dan schmidt (koentjraningrat, 1980). kedatangan agama-agama dari india, islam, kristen, di nusantara sejak abad pertama tarikh masehi telah menciptakan mozaik etnomusikologis, sehingga dalam kerangka teori clark wissler dan wilhelm schmidt tentang wilayah kebudayaan dapat diperoleh tujuh wilayah etnomusikogis dengan dasar prinsip heisenberg: 1) sumatera; 2) kalimantan; 3) sulawesi; 4) nusa tenggara timur; 5) wilayah kepulauan maluku; 6) irian jaya; dan 7) wilayah indonesia barat daya (suhardjo parto, 1990). wilayah indonesia barat daya sebagai kesatuan etnomusikologis ditandai dengan: tradisi nekara dan gong pencon (knobbed gongs), tradisi wayang, tradisi pentatonik (pathet atau modal scales), tradisi resitasi (mocopat). soekmono (1990) me ngatakan, musik nusantara yang diperkirakan mula-mula muncul dalam cakarwala budaya nusantara sejak hadirnya nekara atau moko di sumatera hingga kepulauan kei. prinsip heisenberg kepulauan indonesia adalah wilayah yang sangat luas di mana tidak mungkin kita membatasi masuknya pengaruhpengaruh budaya asing dalam perjalanan sejarahnya. kontras iklim antara wilayah tropis dan non-tropis asia tenggara kepulauan dan asia daratan mengakibatkan adalah “peradaban kecil jawa” (minor civilization java untuk selanjutnya disebut mcj) yang diteorisasikan oleh huntington (1959: 278-279, 404-405) bisa menjadi sebab natural untuk masuknya pengaruh-pengaruh ini. di seluruh kepulauan indonesia, ada suatu daerah yang dikarakteristikan oleh huntington sebagai pembawa “ budaya (tropis) minor” (huntington, 1959: 278279). candi borobudur yang sebangun oleh wangsa syailendra, yang terkenal dan telah dinyatakan sebagai milik dunia, yang dibangun sekitar abad ke-14 dan 15, dan kedatangan islam di jawa. telah digunakan untk mengidentifikasikan bahwa kebudayaan minor pernah ada di pulau jawa. beberapa teori dari prinsip heisenberg menyangkut enam pokok pikiran, yaitu: 1. tidak ada satu pun di dalam 25 derajat di equator jenis kebudayaan yang benar-benar asli 2. kebudayaan minor yang asli di seluruh daerah 25 derajat equator. semuanya seperti akan menjadi terlalu panas ataupun menjadi terlalu dingin pada saat puncak musim. 3. ada lima lokasi untuk kebudayaan minor, yaitu: a) kebudayaan maya di mexico dan guetemala,b) kebudayaan khmer di indocina c) kebudayaan jawa kuno di pulau jawa d) kebudayaan india selatan di india selatan, e) kebudayaan sinhala di srilangka. semua kebudayaan minor tampak keasliannya padasaat cuaca dan sejuk dan menjadi semakin bergairah padasaat sisa dari kebudayaan kuno ini membangkitkan pengakuan kita. mereka dibawakedaerah tropis yang hangat dan lebih nyaman oleh para imigran yang kelihatannya telah terseleksi secara ketat oleh perjalanan yang panjang dan ganas. 4. kebudayaan minor secara alami hilang sedikit demi sedikit . hal ini berarti kita tidak memiliki lagi bukti mengenai perkembangan kebudayaan primitif, seperti apa yang dikemukakan di asiatik dan arab. 5. jika kebudayaankebudayaan yang tumbuh pesat dikebudayaan tropis menjadi terkikis, secara mudah dan pasti dapat diperkirakan bahwa merela dibawa oleh para imigran dari daerah lain. 6. ketiga tipe kebudayaan tropis memiliki karakteristik, yaitu: 1) mereka binasa secara perlahan; 2) tidak ada pengganti yang meneruskan mereka; dan 3) hidup secara terpisah dan sukar dilasunarto, shamanisme: fenomena religius dalam seni pertunjukan nusantara 171 cak dalam kebudayaan sesudahnya. inti shamanisme dalam musik pemujaan orang mati pemujaan orang (the cult of the daed) mati adalah tradisi mongoloid, yang dipraktekkan orang-orang dari ras asia, melayu-indonesia dan indian amerika sebagai cabang-cabang ras mongoloid (belas; hoijer 1959; 18). pemujaan ini memerlukan: a. kuil nenek moyang (cf. hookhman 1972: 39). b. musik sebagai bahasa spesial yang berbeda dari ucapan biasa untuk berko-munikasi dengan para leluhur supranatural (cf. nadel 1956: 7). c. persembahan (cf. hookham 1972: 39). d. pendeta atau shaman . e. instrument musik seperti gendang, instrument penggaruk, rattles, gong, seruling bambu yang kemudian dikembangkan menjadi organ mulut, sheng di china. f. selubung bayangan leluhur (cf. suhardjo parto 1990: 74). seperti pada “musik aztec dan semua musik indian amerika” (hagen 1961: 97), musik untuk pemujaan orang mati di kepulauan indonesia semula dilakukand engan menari (suhardjo parto, 1990: 4). musik di sini mengekspresikan kesatuan langit dan bumi (sedillot 1959: 34), persatuan makrokosmis dan mikrokosmis, atau persatuan leluhur yang mati dengan yang hidup. sebelum kedatangan tradisi-tradisi agama india di indonesia, pemujaan orang mati dipraktekkan di festival-festival candi, terpusat dalam sentraltias pulau-pulau individual shamanic. sihir suara (magic of noise) hakikat musik shamanis adalah sihir suara. (eliade, 1974: 168-176 tentang “gong shamanik”). sifat hinduisme sebagai agama sinkretik (coomaraswamy; nivedita 19676: 3) pasti telah mengakomodasi ide sihir suara di wilayah-wilaah kepulauan yang ter-hindu-sasikan. bebe-beberapa manifestasi kepercayaan di alam sihir suara termasuk yang, berikut: bunyi genderang yang paling keras diikuti dengan cara bermain yang sangat enerjik. instrumen gamelan dasar dalam festival kuil odalan di lereng gunung batukatu, bali tengah). dua kategori nenek moyang cina masyarakat china/asia mongoloid memiliki dua kategori nenek moyang yang berhubungan dengan agama china shamanis, yaitu: konsep yin dan yang di dalam konteks festival-festival primitif china (granet 1977: 20), sebagai klasifikasi utama, lima unsur yang bertindak sebagai klasfiikasi sekunder. lima unsur sebagai klasifikasi kuno kedua dari wilayah china/asiatik pasti telah dibawa ke kepulauan indonesia oleh para migrant asiatik. yin-yang sebagai doktrin mengatakan bahwa semua hal, benda dan kejadian adalah hasil dari dua kekuatan. yin adalah: negatif, pasif, lemah dan destruktif atau merusak. sedangkan yang adalah positif, aktif, kuat dan konstruktif atau membangun. yin-yang membeirkan ide keselarasan di dalam ketegangan kreatif (nauman jr. 1978:354). dikotomi dua gendang gong luwang dengan istilah-istilah: kendang cedugan lanang dan kendang cedugan wadon bisa jadi adalah doktrin yin-yang dalam klasifikasi china (suhardjo parto 1991:92), yang secara simbolis mengharapkan keselarasan mikro-makrokosmos yang menghasilkan kesejahteraan pertanian bagi masyarakat. lima unsur, juga disebut lima kebajikan (needham, 1980: 127, 144) yang memiliki tiga prosedur untuk menghitung unsur-unsur ini satu per satu, yaitu: 1) prosedur yang berhubungan dengan arah; 2) menurunkan unsur-unsur dari tatanan gerakan kalender yang mengitari mansion empat persegi; dan 3) melawankan arah unsur-unsur di dalam tatanan barattimur-utara, (pusat) – logam, kayu, air, api, bumi (granet 1977:106). historisitas dalam musik nusantara sejarah kebudayaan nusantara telah didominasi oleh arkeologi. namun, harmonia, volume 13, no. 2 / desember 2013172 terjadi secara terus-menerus, ras melayu kuno di sebelah selatan asia tengah termasuk ras induk mongoloid meluas ke paruh barat nusantara sejak 3000 tahun sm, hingga ras itu terbentuk menjadi ras (mongoloid) melayu-nusantara (beals; hoijer, 1959:182). invensi pembuatan perunggu muncul sekitar 2500 sm dalam shamanisme asia tengah (eliade, 1974; geishiensha, 1978), telah mengembangkan gendang menjadi hpasi (nekara) dan kyi-wing (lingkaran 16 gong kecil) dalam tradisi birma kuno, yang berwatak shamanik. dalam kurun waktu selama 2000 tahun sejak 2000 tahun sm, ras mongoloid melayu telah mengembangkan diri menjadi ras mongoloid melayu-nusantara dengan wilayah asia bahian tenggara hingga ke paruh barat nusantara dan filipina (beals; hoijer, 1959:182). ras ini telah memberikan tradisi musik dengan gong pencon kepada nusantara dengan persebarannya di paruh barat (becker, 1980), gendang, hpasi (nekara), yang tersebar hampir di seluruh garis kepulauan nusantara bagian selatan hingga irian (soekmono, 1985), dalam konteks shamanisme yang memiliki musik ritual dengan waditra: gendang dan kecrek (eliade, 1874), serta orkes ritual gumlao (becker, 1980), dengan waditra utamanya gong. ras ini lewat perjalanan musikalnya ke pasifik memberi paruhan timur nusantara tradisi musik gendang tifa, yang berasal dari wilayah indocina (lihat persilangan kebudayaan indocina [groslier, 2007; lombard, 2005]). ras mongoloid asiatik dari asia utara dan timur telah memberikan paruhan barat nusantara dengan waditra: genggong, gong datar, kecrek, penggaruk, sheng (seruling 16 bambu), dan seruling (randel, 1986). karena dominannya persebaran gong pencon dan tifa di nusantara, maka wilayah ini dibagi dalam dua tradisi shamanik, yaitu: tradisi musik gumlao di wilayah barat, dan tradisi musik tifa di paruh atau wilayah timur. kedatangan para pedagang hindu lewat patai barat sumatra tengah dan tingkat kebudayaan di jawa pada masa pembentukan kerajaan di jawa tidak dapat dimengerti dengan lebih jelas lewat arkeologis semata. sebagai contoh adalah kegelapan yang menyelimuti peranan potensial dalam kerajaan kalingga (diperkirakan lahir pada abad ke-5 masehi), lewat pendekatan inskripsi arkeologis dan studi literemitik, dalam pembentukan jawanisme (kejawen). hal ini berbeda dengan temuan etnomusikogis, yang mengatakan bahwa dalam kerajaan kalingga dapat ditelusuri tentang budaya oral dan seni-seni pertunjukan di indonesia barat daya. lahirnya kerajaan kalingga (sekitar abad ke-5 m) ini memerlukan ubo rampe (instrumen-instrumen pendukung) utama, sebagai berikut. sejumlah pusaka dalam bentuk (instrumen) musik. adapun istrumen musik tersebut, antara lain: (yang di dalamnya mungkin terdapat) kendang india; mridamga dan gong besar telah memaksa kerajaan hindu di jawa yang pertama dan mengejawantahkan watak sinkretik agama hindu untuk mentransmutasi instrumen musik asiatik, sheng atau instrumen musik tiup bambu menjadi instrumen bilah perkusi, gender. data arkeologis sebagai ilmu empiris dalam konteks ini belum dapat menjelaskan pahatan-pahatan tentang instrumen musik di beberapa candi di jawa, seperti evolusi instrumen sheng yang menjadi gender (suhardjo parto, 1990). teori musik dari hindu telah diperkenalkan sebagai tahaptahap awal tradisi istana jawa-hindu. di sini musik vokal (resitasi) dengan bahasa sansekerta mulai diperkenalkan, sebuah fenomena yang berkaitan dengan himne rig veda. realitas ini menunjukkan perkembangan embrional suatu tradisi besar dari seni-seni pertunjukan di jawa. istilah “raja dhiraja”, dalam masyarakat jawa, dapat dijelaskan secara etnomusikologis sebagai berasal dari himne rig veda, yang diperkirakan telah masuk ke jawa sekitar abad ke-5 masehi dalam tradisi ritual hinduisme dalam kerajaan kalingga (malm, 1967). karena luapan penduduk asia tengah kuno (huntington, 1959:206), yang sunarto, shamanisme: fenomena religius dalam seni pertunjukan nusantara 173 selatan di awal tarikh masehi telah membuka kontak budaya dengan suku-suku bangsa penduduk sumatra, jawa, kalimantan, sulawesi, filipina, yang menjadi jalur lintasan mereka dalam mencari emas dan komoditi lainnya dari asia timur (atmosoedirdjo, 1962). konsentrasi pemukiman migran pendukung musik gumlao di jawa tengah, seperti dibuktikan dangan adanya protohistoric bronze kettle drum/nekara di kedu dan semarang, serta terdapatnya nama tempat garung (yang menunjukkan suku di myanmar kuno, garo), di daerah dieng, telah menaruh minat pedagang hindu untuk bersaing di daerah itu. minat itu dalam kelanjutannya telah melahirkan kompleks candi hindu di jawa tengah utara. minat mereka untuk menjadikan jawa tengah utara sebagai pangkalan perdagangan internasional kuno di nusantara dan asia telah mendorong mereka membangun kerajaan kalingga, yang beragama hindu pada abad ke-5 m (kennedy, 1942). kerajaan itu memerlukan banyak hal, termasuk kharisma religius. peradaban india yang didukung oleh kekaisaran gupta di india utara, yang sudah mekar pada abad ke-4 m (hammonf, 1959), rupanya telah siap dicangkokkan di jawa tengah. drama, tepatnya drama-tari india, masuk ke nusantara pada abad ke-1 m (wickham, 1985) sebagai mata tombak bagi merembesnya pengaruh seni hindu. hadirnya candi-candi dan dramatari itu menandakan bahwa rasa sebagai paham estetika hindu secara integral telah hadir di nusantara (jawa). musik, yang bersama-sama tari ritual vital bagi kelangsungan perdagangan orang-orang hindu, perlu dibangun dengan meg-hindu-kan musik setempat, gumlao menjadi gamelan. tradisi gong pencon sebagai musik sakral shamanik yang sudah mapan itu perlu mendapat perhatian dan penanganan dari para brahmana di kerajaan kalingga. untuk itu konsep estetika hindu, rasa, perlu dikembangkan lebih lanjut. lingkungan kerajaan kalingga menjadi pusat pengolahan gumlao menjadi gamelan. hadirnya kata raja dhiraja menandakan pernah masuknya sebauh himne rig veda (malm, 1967), hingga teknik vokal hidu pernah dilestarikan di kerajaan kalingga demi berfungsinya candi. terkenalnya mutu gong besar dari jawa tengah dikarenakan kualitas bahan dasarnya, perunggu (mcvey [ed.], 1963), menunjukkan adanya trasmutasi nekara pada gong besar, yang semula di kalingga menjadi pemula dan penutup sebuah gending sakral. seperti halnya shamanisme, gong besar dalam hinduisme adalah sarana kontak dari mikro dan makro kosmos; suatu dikotomi yang juga ada dalam hinduisme (avalonm, 1972). sruti, svara, yang dalam bahasa jawa, yang dalam teori musik india berarti interval dan nada, menunjukkan adanya pertada hadirnya peranan kaum brahmana, dalam memasukkan teori musik ke kerajaan kalingga; meskipun dalam perkembangan kemudian karena adanya sekolahan non formal, teori ini menjadi kabur, dan istilahistilahnya bergeser artinya. tiadanya pendidikan formal di zaman kerajaan kalingga dan adanya sitem alih ketrampilan: guru-shishya (avalon, 1972), tiga unsur pokok dalam musik india: raga, tala, dan kharaja (modus, inti sistem ritme, dengung/kombangan dengan rebab dalam wayang kulit jawa) hampir tidak pernah dipahami sebagai pernah diteorikan dalam budaya musik di kerajaan kalingga. menurut kishibe (1984) bahwa rebab baru ada di jawa pada abad ke-9 m, perlu diragukan, sebagaimana dari data arkeologis (konteks etnomuiskologis) rebab sudah ada di kerajaan kalingga (abad ke-5 m). rebab india, yang kemungkinan berasal dari dari kekaisaran gupta di india utara, dalam hinduisasi gumlao menjadi gamelan pada tradisi besara kerajaan kalingga dijadikan waditra untuk menegaskan mudus-modus menurut teori musik asiatik (cina) yang pernah dikenalkan di jawa pada pra-hindu dengan waditra seng, yang juga berfungsi membawakan harmonia, volume 13, no. 2 / desember 2013174 sistem pentatonik berdaur dan beroktaf, ke dalam teori raga. fungsi kedua dari rebab adalah untuk menghadirkan suara “om”, yang melambangkan penghormatan pada trimurti dan mengenalkan khraja dalam rangka sofistikasi gumlao menjadi gamelan. demi kharisma dan kesakralan kerajaan, bangsawan dari kekaisaran gupta yang menjadi suku hindu di jwa ini tentu pernah menghadirkan waditra lainnya di kerajaan kalingga. namun waditra-waditra asing itu sebagaian musnah karena mereka tidak mampu dengan tepat mengungkapkan bahasa musik (lingua musical) penduduk setempat yang sudah akarb dengan gumlao (tran van khe, 1991). peranan penting gendang dalam tarian hindu telah menghadirkan mridamga untuk perayaan di candi. dari kata mridamga inilah agaknya gamelan dibahasahaluskan menjadi pradangga, kata yang lazim terdengar di kalangan karawitan yogyakarta dan surakarta, khususnya sebelum tahun 1942. waditra ini juga berfungsi mengenalkan tala, inti sistem ritme musik india. watak merangkum (all-inclusive) dalam hinduisme (coomarwaswamy, 1967) telah mentransmutasi wadita seng dalam ujud gender (suhardjo parto, 1991) guna memfungsikan pradangga sebagai orkes. sistem kasta dalam hindu agaknya telah mengenalkan cara komposisi gending yang beranjak dari gong besar atau gong lain yang mewakilinya, ide stratifikasi polifonik. drama-tari yang beranjak dari pandava, dan tari topeng agaknya telah menjadi pendukung hidup dan berkembangannya pradangga sebagai tradisi besar, di samping wayang sebagai tradisi grassroot (rakyat). penutup fenomena religius dalam seni pertunjukan nusantara berakar kuat dari tradisi shamanisme arkhais yang berpusat di siberia (asia utara) dan asia tengah. shamanisme telah memberi warna dan ciri khas pada seni pertunjukan (di) nusantara. hal ini merupakan warisan identitas seni pertunjukan nusantara. penambahan budaya kecil untuk lapisan melayu-indonesia di nusantara sampai abad ke-5 m adalah budaya mongoloid asiatik yang dibawa dari asia timur. dalam kira-kira 25 abad (2000 tahun sebelum masehi – abad ke-5 masehi, asia timur memiliki 15 dinasti yang menghasilkan peradaban china terbesar. tidak seperti shamanisme asia tengah dengan gumlao perkusinya, orkestra sakral ditemukan di dalam peradaban birma, china tua dari mongoloid asiatik di asia timur menggunakan ch’in dan p’ip’a (instrumen plucked) dan sheng sebagai instrumen utama untuk orkestranya. tampak bahwa pada zaman shamanik di kepulauan, budaya-budaya musik perkusif berbasis-gong di separuh nusantara bagianb arat tidak bisa digantikan dengan sheng dan instrumen plucked. peradaban china, bagaimanapun, berhasil memperkenalkan dasar-dasar filsafat, yaitu: 1) doktrin yin-yang; 2) lima unsur/ kebajikan; 3) definisi musik dalam konteks persatuan langit dan bumi; dan 4) ide penyesuaian suara yang berhubungand engan kegagalan memerintah dinasti tertentu, pada budaya-budaya musik di dalam mcj. pengenalan mungkin mode asiatik, di dalam gamelan jawa, sebleum pathet penggantinya diilhami dari raga india, menunjukkan bahwa kerajaan-kerajaan china kuno sangat berpengaruh dalam budaya-budaya musik mcj. distribusi budaya gong dengan bunyi lonceng di seluruh dominasi melayu-indonesia ini bagaimanapun lebih dulu disbanding masuknya musik dan peradaban asiatik/ china kuno. daftar pustaka banawiratma. 1977. yesus sang guru: pertemuan kejawen. yogyakarta: kanisius. beals, r. l. & harry hoijer. 1959. an introduction to anthropology. new york: the macmillan company. berger, j. 1980. music in modern java: gamelan in a changing socienty. hosunarto, shamanisme: fenomena religius dalam seni pertunjukan nusantara 175 nolulu: the university of hawai. berger. d. h., & atmosoedirjo. 1962. sejarah ekonomi sosiologis indonesia, jakarta: p.n. pradjaparamita. capra, f. 1980. the tao of physic: an exploration of the paralels beetwen modern physic and eastern mysticism. toronto, new york, london: bantam books. ch’en, k. 1973. buddhism in china: a history survey, princeton: princeton university press. coomarwaswamy, a. 1967. nivedita, sister, myths of hindus and buddhists. new york: dover publication, inc. covarrubias, m. 1972. island of bali. djakarta : pt. indira. crossley-holland, p. new western: southeast asia, dalam alec robertson and denis steven (ed.). 1978. the relican historry of music: ancientfrom to polyphony. england: bantuan books. eliade, m. 1974. shamanism:archaic tecniques of ecstas. new jersey: princenton university press. geertz, c. 1990. abangan, santri, priyayi, dalam masyarakat jawa, diterjemahkan olah aswab mahasin, jakarta: pustaka jaya groslier, b. p. 2007. indocina: persilangan kebudayaan, diterjemahkan oleh ida sundari husen, jakarta: kpg. heine-geldern, robert von.” bede tung und herkunft der altesten hinterindischen mettallrommel (kesselgongs)”. dalam asia mayor, vii. 1933. leipzig. hood, m.”the enduring tradition: its music and theatre in java and bali”. dalam ruth t. mcvey (ed.). 1963. indonesia. new heven: yale university press. huntington, e. 1959. mainspring of civilization. new york: new american library, a mentor book. kishibe, s. 1984. the traditional music of japan, tokyo: ongaku no tomo sha. lewis, i. m. 1986. religion in context: cult and charisma, cambridge: cambridge university press. lombard, d. 2006. nusa jawa: silang budaya (batas-batas pembaratan). terjemahan winarsih partaningrat arifin (et. al.). jakarta: gramedia pustaka utama. mcphee, c. 1980. music in bali. new heven: yale university press. malm, w. p. 1967. music cultures of the pasi, the near and asia. englewood cliffs. new jersey: preticehall inc. marton, d. “ thailand”. dalam stanley sadie (ed.). 1980. the new grove dictionary of music and musicians. macmillan publisher ltd. ricklefs, m. c. 2008. sejarah indonesia modern 1200-2008. terjemahan tim penerjemah serambi, jakarta: pt. serambi ilmu semesta. sedillot, r. 1959. the history of the world. new york: new american library, a mentor book. soekmono, r. 1985. pengantar sejarah kebudayaan indonesia i. yogyakarta: kanisius. suhardjo, p. f. x. “gong luwang of the village of kesiut tabanan in historical perspective”. dalam ko tanimura, 1985, temple festival in bali reseach report of tanimura team. research and exchange program of osaka university with the south pasific region. tran von khe dalam yosihiko tokomaru. et. al (ed.). 1990. tradidition and its futurein music: report of sims ( the 4th symposiun of international musicology). osaka, tokyo: mita. voigt, v. shamanism in siberia. scta ethnographica. vol. 26 hal. 385-395. wicham, g. 1985. a history of the theatre. oxford: paidon. 133 positive paradigm as the barrier of art creativity interpretation susilo pradoko department of arts, drama, dance and music, faculty languages and arts, universitas negeri yogyakarta, indonesia submitted: august 19, 2019. revised: november 4, 2019. accepted: december 28, 2019 abstract in the modern era, during the end of 17 century, appears empiric paradigm in the philosophy field. this paradigm emerges due to the critic towards mythical social thought. the next step appears positivism thought by auguste comte in 1830, which stated that sociology based on science analogy that can be learned in the form of empiric data with exact calculation; out of this is rated as not scientific. the education field also trails the modern thought tradition, along with comte’s positivistic thought. this modern era eventually has been opposed by postmodern philosophers. the frailties in the modern era are criticized by the appearance of the postmodern paradigm. positivistic thought, in reality, could not reveal study beyond human and society, because this study is strong, and can only reach the ontologic stage, in substance of the object. while this could not be revealed because its level involves human and society’s way of thinking, primordial, tradition, and historical aspects, this study focuses on the weaknesses of positivistic research. then it will present post-positivistic-postmodern research through hermeneutika and foucauldian genealogy research. keywords: positivism; creativity; interpretation; hermeneutics; foucauldian genealogy how to cite: pradoko, s. (2019). positive paradigm as the barrier of art creativity interpretation. harmonia: journal of arts research and education, 19(2), 133-140. harmonia: journal of arts research and education 19 (2) (2019), 133-140 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i2.20667 and the specification. (van-peursen, 1988). human is no more bounded by mystical power or invisible power. thus, the positivistic paradigm is the critic of scientific achievement based on supernatural power and metaphysical concepts with no empirical fact in theology. poespowardojo said about positivism idea as follow: “.... positivism is a vision that natural science is the only empiric source. speculative intelligence activity creates unproved statements empirically, and this area is not scientific because it can not be proven empirically, right or wrong. so, positivism focuses on experience and free willingness. experience is provable sensory data; if it is not, we can not say it introduction positivism is a study of how to get ideas based on empiric fact. positivism paradigm appears and puts critics to the scientific tradition which relies on metaphysics, science requisite by thought processes, foucauldian study only. in the history of the human culture stage inline with the present ontological culture stage, if we borrow the culture stage model from van-peursen is the ontology cultural stage, the human takes a space to everything he used to feel as a siege. puersen starts to arrange a theory or theory about the substance of everything (ontology) corresponding author: e-mail: susilo_pradoko@uny.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 19 (2) (2019): 133-140134 is as a fact” (poespowardojo, 2015). the positive paradigm appearance was rejection against the science which is a logical abstraction, ideas and affected by invisible powers, mistic. this appearance is a critic towards metaphysics and mythology culture stage, responding to universe and power rated to have spirits or mith story for solving unanswered nature phenomena at that time (pradoko, 2015). in a study, fact concept usually connected with reality concept. (especially in the social study) and objectivity. many people think the meaning of truth is clear and completely exist in their mind. this turns most scientists believe that their knowledge is exactly due to the provable fact. (sumartono, 2017). ideas considered as scientific if it is provable empirically visible and concreate through human sense, then these facts supported by mathematical calculation will be the background of quantitative research. in a positive stage, human leaves a metaphysical way of thinking. they restrict themselves to positive science; it is the science-based on fact. only in this stage law with provable through experiment can be created. (sumartono, 2017). in this modern era, a theory is raised, that an absolutely correct science is one which based on laboratory work. it is empirical experience or empiricism belief. belief and estimation are not scientific. human knowledge resource about the world is evidence of our sense. empirical community declares that the absolute fact is the one we can see through empirical sight. (benton, 2001). the postmodern philosophers criticize the weakness of the modern world which has positivistic quantification background. it pops out social humanism research thinkers who trace the fact behind empirical facts seen in the society. these speculations create research models which is expected to dig deep behind the spectacle reality, reveal it beyond and in-depth. the modern era which criticizes mythical era idea has passed. now is the postmodern that criticizes the modern thought pattern. philosophers have criticized modern thought by explaining the philosophical base with which will be actualized into the background of society’s study and education field. hence, the education field seems to be stupified by the glory of the modern era with the empirical philosophy concept and actualized in auguste comte positivism study. this study will present the chains of positivistic research in education and art. so it is expected that education society falls into its own rational instrument. the discussion part will give an example of research results that can reveal the empirical reality and beyond society. there are plenty of studies categorized as a postmodern paradigm. however, the researcher will only focus on the kind of paul ricoeur hermeneutika study and foucauldian geneology study. method auguste comte’s positivism theory is based on empiric philosophy and natural science tradition which can solve life problems related to the natural environment where human lives. the universe, mountain, and forest are no more frightening for humans with mystical stories, god and goddess, also spirits. nature is an object whilst human is the subject; this speculation underlined natural sciences and physics. human as a subject who manages and observe while nature is as an object which is being managed and observed. this speculation also underlies the positivistic quantification study method. the laws of exact science and the paradigm procedures in observing humans are adopted and implemented for humans as well. this thought has a consequence that observed human turns into the object like nature thing. the way to treat and the study instrument products will be adjusted like natural science experiment procedure. education study is still stuck to modern positivism research, and it affects the students, college students. they are considered as the object. it is the weakness need to concerned. in the study related to material things and technology, media is properly used in the positivistic study. the susilo pradoko, positive paradigm as the barrier of art creativity interpretation 135 student is not likely non-living thing treated as an object. if it is not developed with postmodern philosophy, it turns into a robotic system. children will be treated as a robot. the relationship that will occur is the researcher as the subject and children as the object. the observed student has no fair position; they will only follow the provided rules from the researcher. meanwhile, post positivistic criticizes and tries to improve this case with philosophical paradigms that end with steps of socio-humanism research. dilthey sees antithesis if the pattern of geistewissenchaften (re: natural science method) could be implemented in understanding mental life and human experience. the dynamics of human mental life in the shape of a complex arrangement of knowledge, feeling and willingness and could not be ruled in the causality of norms and inflexible mechanistic thought using the quantitative pattern. geistewissenchaften (re: natural science method) understands this life through formulas category from the inside (intrinsic category). life is a human experience seen from inside. life should be counted from the experience of interpreting its ownself. it does not only form the theory and scientific knowledge, but a critical history ratio also is not a real critic. we understand ourselves, not through introspection but history. human needs different interpretation model from nature occurrence model. it is a different paradigm. (poespoprodjo, 2004) study with post positivistic paradigm is quite plenty nowadays: hermeneutic, phenomenology, ethnography, post positivistic structuralism, structuration, perce semiotics, roland barthes semiotics, deconstructions, critical discourse analysis, and foucault genealogy analysis. this research will only present two reasearch methods with postpositivism paradigm. they are hermeneutika paul ricoeur and faocauldian genealogy discourse analysis. hermeneutics is the study about interpretation, an interpretation process to understand the source of the problem, to understand that a researcher should be “there,” in the area of his research. understanding the field of hermeneutics is an action word which has a wide range of explanation. it can solve many aspects of the problem and explain all unclear aspects into the clearer one (pradoko, 2015). deep understanding means able to reveal by producing deep descriptions toward the object of the research. for instance, a forensic painter expert in usa could draw the criminal face precisely. he draws based on the story told by the victim. what was told caught in depth by the drawer so it will produce precisely the criminal precise image? referring the expert’s picture, the police have caught 100 criminals. paul ricoeur hermeneutical analysis for research text in language can be used for material art phenomenon research. the diagram for interpreting a text in many connected contexts is presented as follow: figure 1. polysemical text diagram (source hoed, 2011) the ricoeur’s idea about text interpretation can be used in studying social phenomenon object in art material practice and literature resource about it. we change the text with social phenomenon object in art material. the context we need to consider is the researcher, in this case, refers to the artist. the environment is the supporting society that lives and lives the art material object. society ethnic inhabit the area and geographics environment where society lives. another text is theories connected with the social phenomena of cultural art objects being studied and the literature source about it. reader in this term harmonia: journal of arts research and education 19 (2) (2019): 133-140136 is the researcher himself and artist experiences as an object, and artists living in that area (figure 2). figure 2. the understanding of hermeneutical text process by paul ricoeur implemented in art material object phenomenon in a text, meaning study turns into art material phenomenon, considered context for the sharp of art phenomenon analysis is practice of art in local society suitable with research area, artist, natural environment, social and culture, cultural knowledge, another material outside of research range, dialectical relation among researchers, spectators, artists, and supporting society to the material art subject. various context problems to solve a social material art object phenomena will allow understanding and better result interpretation, and the detail on doing context to many aspects produce holistic and profound research. research shows that invisible is revealing, analyzing ideas. this idea could not be seen in a glace. it needs an analysis, searched to find the expression and evidence-based on the experienced and observed. this research can be conducted by the archeology method with foucauldian genealogy analysis system. genealogy, as foucault to study about history through discourse analysis and to observe not who owns power but how the authority rolled through interaction. (kholifah, 2018) foucault genealogy is likely history draws kinds of the science field, discourse, and objects. this history does not create the meaning based on causal continuity which leads to telos. in fact, genealogy is a historical continuity disconnection (rapture) stated as wirkungsgeschicte (effective history) by gadamer. history in foucault is no historical subject. it is a historian and reminder society, disconnection, subject eradication itself happens because subjectivity will lead to domination (hardiman, 2003; kali, 2013). genealogy, as the searching of origin, genealogy of idea, genealogy tries to seek the depth of episteme and put the fact fundamental in each epism in every stage (kali, 2013). michel foucault presents the process base to study discourse in historical through 4 stages, they are: discontinuity arrangement in history, ideas are categorized which element is suitable for each arrangement. the next step is to determine the border of how this specific relation types. the process continued by describing among different arrangements and designing part by part. discontinuity study is done in 3 ways: having prediction enables us to look for level analysis possibility and time periodization at each level; looking for direction distortion from a constant movement or end of the pendulum movement. in short, discontinuity is the moment where the causality cycle paralyzed; discontinuity personalizes a form, and specific function depends on the historical stage being conducted by the historian. the absence of total historical union into new history talks about division, borders, level differences, movement, chronological explanation, particular forms of various rehandling forms of events, and relation type possibility. a new history from archeology idea knowledge system immerses six consequences: corpora are forming from coherence documents and homogeneity; principal forming about element choices analysis; defining the analysis level of relevance element; typical characteristics analysis method, complexity factors based on analyzed differences; group limitation and sub group from analyzed elements; relations certainty possible to put character to a group (foucault, 1976). susilo pradoko, positive paradigm as the barrier of art creativity interpretation 137 results and discussion auguste comte brings positive idea based on empirical observation through laboratory model is a piece of real evidence visible, observable, touchable, and countable. this is what he calls a positive idea for constructing social hegemony. the science is known as social physics or sociology. an unprovable idea empirically is considered unscientific. the characteristics of science are as follows: (1) empirical calculation in science is accepted. (2) science considered as the highest knowledge with the condition that is passing the modern empirical paradigm. (3) a scientific method with empirical study implemented in human social life as firm sociology. (4) social scientific ideas can be implemented to control the individual and society. social problems and conflict can be defined and solved one by one with expert skill similar science experts involved in solving engineering technology. this social scientific project is known as social engineering. empirical positivistic research is not appropriate for research which aims to uncover human thinking and let alone artistic creativity. besides having a visible physical appearance, humans also have invisible thoughts processed in the brain system which has data and networks in a primordial way. humans have been complete since they were born until adulthood; it is bound by the cultural contextual where humans exist. empirical research is only able to see the basic surface without being able to uncover beyond existing thoughts in humans. like we examine a wedding ring, empiricists will only be able to physically examine the ring. according to the positivistic thinking of the paradigm proposed by benton and graib, the things to be examined will be about: what is the diameter, radius of the wedding ring circle? what color is the ring? how many grams does the ring weigh? what chemicals are the rings mixing? how many carats of gold content does it contain? what is the current price of the wedding ring? the weaknesses of calculative positivistic research are that they cannot penetrate historical aspects. physical research at the time of the study being viewed. when it is in contact with humans, physical material will no longer be answered by positivistic research methods. for example is the wedding ring, when it is connected with human thought, it will be more complex and very relative. girl a was married with a 5-gram ring weighing 24-carat gold at the price of buying 3.5 million. after getting married for four months the ring was wanted by someone for 7 million but was not given. on the other hand, girl b, when married, had 3.5 million-ring from her bridegroom. after getting married for four months, the wedding ring reminded her for nothing but sadness, so it was worthless to her, the ring became a sign of suffering for her. this is the example of social sciences must have their methods. the point of all that is positivistic science needs to be refined with other types of research for the children of this nation, especially in the world of art education. humans are not robots; positivistic research starts from research in the natural sciences which are inanimate objects, objects that are considered unable to communicate with humans. positivistic research is research that has a philosophical paradigm of objectivities, nature as objects freely treated by humans. this logic is not appropriate for students, especially students in the arts. humans are not inanimate objects, so humans must be seen as fellow-subjects. positivistic research that dominates the research methods, media, and student-teacher interaction needs to be reconsidered, or at least developed, to explore inter-subject research, not subject and object research. during the research, which glorifying the paradigm of the subject and object, students will be formed as robots. this kind of research never, in-depth, studies the construction of children’s thinking, what construction is needed for children and what is actually their creativity and independence. researches that objectify students will cause a lack of excavation in students’ reasoning harmonia: journal of arts research and education 19 (2) (2019): 133-140138 and student creativity. one example in experimental research, students didn’t have their bargaining position as they were treated like objects. humans exist in this world, ontologically and ontically. ontological means the nature of being seen by the physical body. ontic is being seen from the primordial historical aspects that are inherently contextually integrated with the axiological traditions experienced in their cultural environment. ontologically, the human body is often examined using positivistic empirical research methods. while the primordial ontic reach of human thought, in the context of cultural values, will be unreachable only by quantitative-empirical research. many things of human thought with its cultural complexity do not necessarily appear in research expressions. human thoughts and culture must be explored with research methods that do reveal the realm of human ontic. an alternative to answering the problem is by conducting studies that can reveal beyond begins with the signs that are expressed. two examples of revealing beyond research are paul ricoeur›s hermeneutics research and archeological discourse analysis of thought studies with genealogy by michel foucault. research revealing the empirical facts behind the text as an example in this paper is the research by sulastri with her supervisor, a.m.susilo pradoko, entitled: “ review of berita kepada kawan by ebiet g.ade’s work from a hermeneutic perspective.” to summarize, the purpose of research in number 3 was to reveal the denotative meaning contained in the song berita kepada kawan. in number 4, it reveals the connotative meaning contained in the song berita kepada kawan. the results of the research of the denotative meaning of the song are about someone who tells the story of his lonely journey to a disastrous place. the result of connotative meaning is someone who sympathizes and empathizes with a natural disaster that befell his homeland. the person helped the victims of the disaster in various ways, but unfortunately, no one cared, so the person was annoyed. in the end, the person sees the disaster as an indicator of self-introspection and helps him to keep on remembering his creator (sulastri, 2016). the process of searching for connotative meaning is carried out with various aspects, as has been described in the chart paul ricoeur used to study the text and then adopted by revealing the art phenomenon/art material. research of song meaning that doesn’t implicitly appear in its poetry is also conducted by ayu rachma purnama sari, a thesis with a. m. susilo pradoko as the supervisor. the title of the research is: “educative values and implementation of the senjang petuoh lame song at sanggar senjang budayo sekayu, musi banyuasin regency, south sumatra province”. after conducting the research by using hermeneutic analysis of paul ricoeur, revealing the denotative and connotative meaning of the text as well as doing ethnography in his society, the results of the study showed that the song of the lunar gaps is closely related to the culture of the people. the song has meaning: manners, hard work, responsibility, friendliness, divinity, discipline, and prohibition of drugs (purnamasari, 2018). the meaning of the song values has also been implemented in concrete actions at sanggar senjang budayo sekayu, musi banyuasin regency in which the study of implementation was strengthened through ethnographic observation. in the applied example of this paper, the object of study will be a material culture in the form of the ramayana relief at prambanan temple from 856 ad to the 1996 or ix century to xx century. the following research reveals the archaeological meaning of epistemology of thought regarding the influence of hindu power, the influence of islamic power, the influence of colonial power and the influence of independence in responding to material culture in the form of relief ramayana prambanan temple. after conducting this foucauldian-genealogy-based research, we get archeology of thought that differs susilo pradoko, positive paradigm as the barrier of art creativity interpretation 139 between the periods of power. fundamental ideas in every period affect the point of view material culture art object in the form of different ramayana engravings, occurrence of ideas system episteme which can be tracked in depth in every gap. ideas archeology invention gap in its fragmentation enriches the encyclopedia and use for different fundamental ideas. in analogical terms, although this study put archeology in ramayana engraving as an example, but this archeology foucault model can also be applied for other art like theatre study, dance, music, even for tangible and intangible cultural study. the study of cultural meaning problem of tangible and intangible is not directly visible in physics empirical form. meaning is in the form of denotative and connotative. connotative meaning needs more detail assisted by paradigms or sharp analysis knife to reveal the meaning behind the shown cultural phenomenon. this study is not enough with empirical positivistic. the hypothesis empiric quantification is not adequate to reveal beyond behind the society art phenomenon. study towards humans equalized with instrumental regulation towards natural things is no more adequate in the context of completely humanizing. development of education research and intersubjective paradigm humanity among researchers need to be developed to create an undivided human, not a robotic one. study to dig children’s creativity, children’s way of thinking, teacher’s way of thinking to react to science and all environment aspects should be improved by the improvement of the post positivistic paradigm research method; it is postmodern. the study of constructivist research in children, ways of thinking, critical thinking processes, critical literacy research, until deconstruction research ends in appreciation of the “other.” this can be observed and respected as a friend or subject so that the position is the same. in javanese, he said nguwongke uwong, means to humanize humans. conclusion auguste comte positivism ideas are based on empiric philosophy, and natutable 1. science archelogy 856-1988 ideas of archeology of prambanan temple relief hinduism era: (856-1478) in the era of hinduism, devotion, and worship to god, a tribute to god and the good deed in this world will lead humans into moksa, the beautiful union with the highest god in heaven. this is the epic of ramayana which teaches ethical values for the followers and religious value towards god, human, environment, and country. islam era: (1478-1817) in the era of islam, the story of rama is a king son called betara guru. rama is a human heir of prophet adam, because of that we don’t need to worship him because the only worth worshiped is allah. colonial era: (1817-1945) (in the colonial era, the beginning until the end of 19 century, it is a development era for scientific rationality idea using physical rationality and natural science. at present, ramayana engraving stone is not only become the empirical research object but also used as a memorandum, gift, a diplomatic tool with other countries. independence era: (1945-1988) since the 1960s realized by the government for improving tourism income and the exchange of this country, prambanan engravings were opened as ramayana ballet dancer’s performance. according to undang-undang negara republik indonesia no. 5 about cultural heritage said that it is for the sake of tourism, ramayana was transferred into painting on stone by the engraver, it is also sold as house wall decoration, and a framed painting as a souvenir. characters on ramayana epic story are used as names and business institutions. furthermore, it is also used as the virtuous value in the society. harmonia: journal of arts research and education 19 (2) (2019): 133-140140 ral science works for solving life problem related to the natural environment where human lives. the universe, mountain, and forest are no more scary for humans with the mystical story of god and goddess or spirits. nature is an object while a human is a subject, this idea is the background of natural science and physics. humans, as the subject manages and studies while nature is the managed object and studied. this idea becomes the base on quantification positivistic research method. the law of exact science-nature and paradigm procedure in studying humans is adopted and applied for humans. this assumption affects the observed human placed as the object equal with natural things, the treatment and the research instrument adjusts to natural science experiment procedure. postpositivistc research for revealing human’s meaning of life, cultural meaning, art meaning, or revealing beyond empirical things has been conducted in philosophy field, history of art, social, humanism, cultural study. meanwhile, the education field seems to be stupified by the glory of the modern era; the positivistic study is still normative and focused on education study. constructivist research studies in children, ways of thinking, critical thinking processes, critical literacy research, and deconstruction research end with an appreciation of “the other.” this can be observed and respected as a friend or subject, so that the position is the same. in javanese, he said nguwongke uwong, means to humanize humans. postpositivistics research can be a “tool’ in revealing meaning beyond art phenomenon that has been explained in this paper with paul ricoeur hermeneutica and foucauldian discourse archeology ideas analysis. happy developing study to form fully indonesian human from ontology aspect and ontics. references benton, t. (2001). philosophy of social science newyork. london: palgrave. foucault, m. (1976). arkeologi pengetahuan. terjemahan inyiak ridwan muzir. yogyakarta: ircisod. hardiman, f. b. (2003). melampaui positivisme dan modernitas. yogyakarta: kanisius. hoed, b. h. (2011). semiotik dan dinamika sosial budaya. yogyakarta: komunitas bambu. kali, a. (2013). diskursus seksualitas michel foucault. flores: ledalero. kholifah, s. (2018). genealogi sebagai metode dan alat analisis metodologi penelitian kualitatif berbagi pengalaman dari lapangan. jakarta: rajawali pers raja grafindo persada. poespoprodjo, w. (2004). hermeneutika. badung: pustaka setia. poespowardojo, t. m. s. (2015). filsafat ilmu pengetahuan kritik terhadap visi positivisme logis serta implikasinya. jakarta: kompas. pradoko, a. m. s. (2015). perubahan pemaknaan candi siwa prambanan sejak abad ke-9 hingga abad ke-20: kajian arkeologi pengetahuan. depok: universitas indonesia. purnamasari, a. r. (2018). nilai-nilai edukatif dan implementasi nyanyian senjang petuoh lame di sanggar senjang budayo sekayu kabupaten musi banyasin provinsi sumatera selatan. yogyakarta: program studi pendidikan seni pascasarjana uny. sulastri, r. (2016). kajian lagu berita kepada kawan karya ebiet g.ade ditinjau dari perspektif hermeneutik. yogyakarta: pend. seni musik fbs uny. sumartono. (2017). metodologi penelitian kualitatif seni rupa dan desain. jakarta: universitas trisakti. van-peursen, c. a. (1988). strategi kebudayaan. jakarta: kanisius. 14 ruwatan massal melalui pergelaran wayang kulit tjintariani universitas negeri surabaya, jl. ketintang, surabaya 60231 indonesia email : cinta_unesa@ymail.com abstrak tujuan penelitian ini adalah untuk menemukan: (1) struktur ruwatan massal dengan pergelaran wayang kulit purwa lakon murwakala; (2) makna simbolik yang terkandung dalam ruwatan massal yang dikemas dalam penyelenggaraan dan pergelaran wayang kulit lakon murwakala; dan (3) fungsi sosial ruwatan massal yang dikemas dalam pergelaran wayang kulit lakon murwakala. metode penelitian menggunakan pendekatan teori fenomenologi tentang perilaku peserta ruwatan, teori struktural, teori semiotika, dan teori fungsi sosial. pengumpulan data menggunakan pengalaman terlibat. hasil penelitian menunjukkan struktur lakon dan struktur pergelaran wayang kulit lakon murwakala, makna lakon, jejer atau adegan, terdiri 3 babak permulaan, pertengahan, penyelesaian. setiap babak memiliki unit-unit yang lebih kecil, lengkap dengan eksposisi, komplikasi, konflik dan penyelesaian. mass ruwatan through shadow puppet show abstract the objectives of this research are to find out (1) the structure of mass ruwatan by purwa shadow puppet show entitled murwakala, (2) the symbolic meaning inherent in the mass ruwatan embedded in the show of murwakala shadow puppet. the method of research uses phenomenological approach about the behavior of ruwatan participants, structural theory, semiotic theory, and social function theory. data collection uses the related experience. the finding of the research shows the play structure of murwakala shadow puppet show, the meaning of the play, jejer or scenes, which consists of 3 stages: beginning, middle, and ending. each stage has its smaller units, complete with exposition, complication, conflict and resolution. keyword: ruwatan, wayang kulit pendahuluan ruwatan massal diselenggarakan setiap bulan sura (tahun jawa). dipilih bulan sura, karena bulan sura merupakan bulan awal tahun jawa, merupakan bulan untuk mensucikan diri dan pikiran, agar dalam menapaki bulan-bulan berikutnya dalam tahun yang berjalan. pada bulan sura juga dimanfaatkan untuk mencuci pusaka (keris, tumbak, dsb), yang dalam tradisi jawa dikenal dengan jamasan pusaka (mengkramasi senjata). ruwatan massal dikenal masyarakat surabaya sejak tahun 1987. ruwatan massal diminati masyarakat. karena biaya upacara ruwatan pribadi terlalu tinggi apabila diselenggarakan secara pribadi. ruwatan wajib sesuci terlebih dahulu dan memakai busana kain putih, diadakan tigas rikma (potong sebagian kecil rambut para sukerta oleh dalang ruwatan/dalang sejati sebagai simbol dihilangkannya sukerta) yang dilaksanakan ditengah-tengah pergelaran wayang kulit. selesai upacara ruwatan sesajen diperebutkan oleh penonton. perbedaannya terletak pada (1) pelaksanaannya diselenggarakan oleh event ortjintariani, ruwatan massal melalui pergelaran wayang kulit 15 ganizer (oc), (2) pelaksanaan upacara tigas rikma dilaksanakan secara masal dan diatur secara bergiliran dengan urutan yang diatur oleh event organizer (oc), (3) biaya ditanggung bersama melalui pendaftaran peserta yang jumlah nominalnya ditentukan oleh event organizer (oc). dalam ruwatan massal dalang yang memainkan peran sebagai dalang sejati (dalang kandha buwana), perlengkapan pakeliran, lakon (murwakala), dan sesaji ruwatan harus memenuhi syarat yang telah disepakati oleh masyarakat jawa. oleh sebab itu, ruwatan massal dengan pakeliran lakon murwakala, memiliki struktur pergelaran, makna simbolis, dan fungsi sosial yang berbeda dengan ruwatan yang diselenggarakan oleh perseorangan. ruwatan sebagai salah satu bentuk upacara adat tradisional jawa, penuh dengan simbol dan makna filosofis bagi kehidupan. simbol-simbol yang terdapat dalam ruwatan, mulai dari perlengkapan, sêsaji, sampai pada ceritera yang ditampilkan sangat menarik untuk dikaji (lestari, 2009:5) makna filosofinya penuh dengan nilai-nilai etis yang bermanfaat bagi media penanaman budi pekerti kepada masyarakat. masyarakat jawa yang masih meyakini nilai-nilai tradisi, selalu berusaha untuk melestarikan. dengan jalan itulah akan diperoleh ketenteraman lahir maupun batin bagi para orang tua terhadap anak-anaknya, karena telah melaksanakan amanat dari leluhurnya. ruwatan sukêrta dimaknai sebagai media menghilangkan khawatir, media mensucikan anak-anak dari ancaman bathara kala, serta membangun sugesti masyarakat (lestari, 2009:5-6). lakon murwakala dalam pergelaran wayang kulit purwa yang berperan sebagai wahana komunikasi pesan-pesan moral melalui dalang kepada peserta upacara maupun penonton pergelaran. (lestari, 2009:6) melalui tradisi ruwatan yang diyakini oleh masyarakat pendukungnya sebagai jalan menuju penyucian jasmani maupun rohani. dalam ruwatan ada sesaji untuk upacara bermacam-macam berupa binatang ternak yang hidup di darat, di air, di udara, bermacam-macam hasil bumi, buah, sayur dan lain-lain. sesaji untuk upacara ruwatan memiliki fungsi sosial, pengenalan dan pelestarian lingkungan hidup, serta penuh simbol dan makna filosofi yang sangat berguna bagi kehidupan. pada masa lalu upacara ruwatan menggunakan wayang purwa tujuannya untuk media komunikasi menyampaikan pesan-pesan yang intinya diadakan untuk menolak bala/sial yang dikarenakan secara alami seseorang dilahirkan dengan kondisi membawa ke arah malapetaka atau yang dipercaya akan membawa malapetaka umpamanya, anak tunggal, anak kembar, anak lelaki yang diapit oleh dua anak perempuan dan sebagainya. adapun lakon cerita yang menjadi latar belakang ruwatan adalah bathara kala, seorang raksasa anak bathara guru yang lahir dari kama salah (sperma yang tidak terkendali). kama salah yang berujud raksasa dahsyat digambarkan rakus, serakah semua dimakan baik hewan, tumbuhtumbuhan hutan, hampir habis dimakan, sehingga tidak luput manusia dimangsa (kamajaya, 1992: 19). para dewa di khayangan sangat takut menghadapi keganasan bathara kala, berjanjilah bathara guru untuk menaklukkan anaknya yaitu bathara kala, gigi taring sumber kekuatan dicabut. tetapi bathara kala memohon jatah manusia yang boleh menjadi makannya. bathara guru memberi kurang lebih 60 (enam puluh) jenis manusia, yang disebutkan perinciannya yang terdiri dari anak sukerta dan sengkala (kamajaya, 1992:15). bathara guru yang khawatir jatuhnya banyak korban mengutus dewa wisnu untuk mencegat bathara kala dengan menyamar sebagai dalang maka dikeluarkan mantera-mantera atau mantra-mantra yang merupakan ajian-ajian yang sampai sekarang hanya dipahami oleh para dalang kandhabuwana / dalang ruwatan/dalang sejati. misalnya ajian yang menguraikan pertumbuhan jasad bathara kala dari mulai kama bathara guru terus menjadi janin, kemudian merinci huruf /abjad jawa ha, na, ca, ra, ka yang dimulai dari belakang (caraka balik). bathara kala oleh dalang wisnu (kandabuwana) dibersihkan tubuhharmonia, volume 12, no.1 / juni 201216 nya (dimandikan) dengan diiringi mantera-mantera. dengan mantera-mantera bathara kala pun menyingkir. namun tetap ada dan siap memangsa manusia tertentu. untuk menghindari jatuhnya korban pada manusia, maka digelarlah prosesi ruwatan. pergelaran wayang terdiri atas beberapa unsur yang membentuk suatu rangkaian cerita. secara umum unsur-unsur itu terdiri atas cerita (wacana yang berupa narasi dan cakepan, laras (iringan, sulukan, dhodhogan, dan keprakan), sabet (seluruh gerak wayang). dalam membicarakan unsurunsur pergelaran wayang, secara umum yang berlaku di stsi (sekolah tinggi seni indonesia) surakarta dapat digolongkan kedalam empat bagian, yakni:lakon, catur, sabet, dan iringan (sudarsono,2001:39). perlengkapan maupun peralatan adalah sarana pendukung dalam pergelaran wayang kulit. sudarsono (2001:63) menjelaskan bahwa yang dimaksud dengan perlengkapan meliputi: terop, genjot, meja kursi, sound system, penerangan, dan sajen. sedangkan peralatan meliputi: kotak wayang, wayang, gamelan, gedebog, kelir, blencong, keprak(kepyak), dan cempala. peralatan tersebut merupakan sarana dalang dalam menggelar pergelaran wayang. pada karya drama pun dapat dijumpai pula adanya elemen-elemen tokoh, alur, dan kerangka situasi cerita yang saling menunjang satu dengan lainnya. unsur-unsur struktur lakon ialah : (1) tema dan amanat; (2) alur (plot); (3) penokohan (karakterisasi atau perwatakan); dan (4) latar (setting) (satoto, 1985:15). ada tiga teori yang digunakan untuk memecahkan masalah dalam penelitian ini, yaitu: teori struktural, teori semiotik, dan teori fungsi sosial. strukturalisme pada dasarnya merupakan cara berfikir tentang dunia yang terutama berhubungan dengan tanggapan dan deskripsi struktur-struktur. menurut pikiran strukturalisme, dunia (seni pergelaran merupakan dunia yang diciptakan seniman) lebih merupakan susunan hubungan daripada susunan benda-benda. oleh karena itu, kodrat tiap unsur dalam struktur itu tidak mempunyai makna dengan sendirinya, melainkan maknanya ditentukan oleh hubungannya dengan semua unsur lainnya yang terkandung dalam struktur itu (hawkes, 1978: 17-18). pertama, struktur ini merupakan keseluruhan yang bulat, yaitu bagian-bagian yang membentuknya tidak dapat berdiri sendiri di luar struktur itu. kedua, struktur ini berisi gagasan transformasi dalam arti bahwa struktur ini tidak statis. struktur ini mampu melakukan prosedur-prosedur transformasional, dalam arti bahanbahan baru diproses dengan prosedur dan melalui prosedur itu. ketiga, struktur itu mengatur diri sendiri, dalam arti struktur itu tidak memerlukan pertolongan bantuan dari luar dirinya untuk mensahkan prosedur transformasinya. jadi, setiap unsur mempunyai fungsi tertentu berdasarkan aturan dalam struktur itu. setiap unsur mempunyai fungsi tertentu berdasarkan letaknya dalam struktur itu. menurut amir (1991:50-51), struktur pergelaran wayang pada umumnya mengikuti struktur pementasan drama pada umumnya seperti yang telah diungkapkan oleh aristoteles, yakni terdiri atas 3 babak: permulaan, pertengahan, dan akhir. metode metode penelitian yang digunakan peneliti yaitu penelitian kualitatif. peneliti berusaha berinteraksi dengan subyek penelitiannya secara alamiah, tidak menonjol dan dengan cara tidak memaksa. oleh karena itu cara mengadakan wawancara tidak dilakukan secara formal, antara pewawancara dan responden. wawancara dilakukan dengan cara yang informal. misalnya saat peneliti wawancara dengan para dalang ruwat baik di rumah maupun sebelum waktu pentas meruwat atau pergelaran wayang kulit. hal itu terjadi, maka penafsirannya perlu dilakukan dalam konteks, dengan jalan membandingkan peristiwa yang mungkin berlaku wajar (moleong, 1989:42). teknik pengumpulan data dalam penelitian ruwatan massal melalui pergetjintariani, ruwatan massal melalui pergelaran wayang kulit 17 laran wayang kulit purwa menggunakan (1) teknik penekanan, baik audio maupun audio visual, (2) pemotretan, (3) pencatatan, (4) wawancara dengan dalam ruwat, peserta ruwatan, panitia penyelenggara (5) studi kepustakaan dan analisis dokumentasi (sudikan, 2001:173). peneliti menggunakan teknik pengumpulan data dengan cara (1) mengadakan pengamatan di lokasi penelitian, yaitu gedung balai pemuda surabaya, (2) mengadakan perekaman dan pencatatan data yang didapat dari informan yang berkaitan dengan wayang kulit purwa lakon murwakala (3) mengadakan wawancara dengan informan, panitia penyelenggara, peserta ruwatan massal. teori struktural digunakan untuk mengkaji struktur lakon dan struktur pergelaran wayang kulit purwa lakon murwakala. struktur lakon, terdiri atas: tema, alur, penokohan, latar, dan gaya bahasa. sedangkan struktur pergelaran, terdiri atas: a) jejer pertama, b) adegan paseban njawi, c) jejer di kraton atau pesanggrahan, d) adegan perang pertama, e) jejer ketiga, f) adegan perang kedua, g) jejer keempat. analisis simbol dalam pergelaan wayang kulit purwa lakon murwakala menggunakan teori semiotik (isnaoen, 2006:470) sebagai dasar analisis. kata semiotik atau semiologi berasal dari bahasa yunani, yaitu semion yang berarti tanda (sign), penanda (signifer), petanda (signified). semiotika menuntun peneliti yaitu pemahaman tentang teks yang dibuat, memberikan juga kunci bagaimana masalah ruwatan massal tidak dapat dipisahkan dari pergelaran wayang kulit purwa lakon murwakala. hasil dan pembahasan struktur ruwatan massal pergelaran wayang kulit lakon murwakala. struktur ruwatan masal yang diselenggarakan tahun 2009 di surabaya meliputi: (1) struktur upacara ruwatan, yang terdiri dari (a) persyaratan peserta ruwatan masal (b) urutan pelaksanaan ruwatan masal. (2) urutan lakon murwakala. (3) penokohan (karakterisasi atau perwatakan). (4) latar (setting). persyaratan peserta ruwatan massal persyaratan yang wajib dipatuhi oleh para peserta ruwatan adalah: (a) peserta ruwatan (orang yang diruwat) diwajibkan menyiapkan pakaian “paruwatan” untuk dipakai pada saat upacara ruwatan. peserta laki-laki atau wanita mengenakai jarit/ kain dari kain mori putih tidak perlu dicuci, tidak perlu dijahit, baju warna putih, celana/rok warna putih. (b) setelah selesai kegiatan ritual ruwatan (setelah rambut dipotong dan menarik ketupat luar) kain mori dilipat dan dimasukkan kantong kemudian diserahkan kepada ki dalang. (c) peserta ruwatan boleh memakai alas kaki secara bebas, boleh memakai sandal, selop, atau sepatu, yang penting mudah dilepas dan dipakai lagi. (d) para orangtua/wali yang putra-putrinya diruwat, memakai pakaian bebas rapi dan serasi dengan kegiatan ritual tersebut. (e) para peserta maupun orangtua/wali wajib melakukan laku tarak (tarak brata/puasa) dianjurkan selama 7 (tujuh) hari yaitu tidak melakukan hal yang tercela, tidak makan yang berasal dari daging, ikan dan telor, tidak meminum-minuman beralkohol, sebelum laku tarak/puasa sebaiknya mandi keramas. (f) para orangtua/wali dan peserta ruwatan diharapkan hadir pada pertemuan teknis (technical meeting) yang ditentukan oleh panitia, pertemuan membahas tentang acara ritual ruwatan dan penjelasan lebih lanjut tentang ruwatan serta tanya jawab seputar kegiatan ruwatan. (g) sebagai persiapan untuk mengikuti jalannya upacara ruwatan, para peserta ruwatan diharapkan membasuh wajah, tangan, kaki pada tempat air yang sudah disediakan yaitu yang terdiri dari 7 (tujuh) sumber air yang berasal dari : (1) sumur windu yang diyakini petilasan raja hayam wuruk (majapahit) tempat di candi kedaton trowulan mojokerto; (2) patirtan candi jolotundo dari desa seloliman, trawas, mojokerto; (3) patirtan candi tikus, trowulan mojokerto; (4) tirta empul desa tampak siring, bali; (5) sumber tirta narmada di kabupaten lombok barat; (6) sumber air banyu harmonia, volume 12, no.1 / juni 201218 citra yang telah menjadi menantu prabu gandabahu raja di negara cempalaradya, dan menggantikan kedudukan mertuanya menjadi raja negara cempalaradya. setelah melalui liku-liku kehidupan suka maupun duka akhirnya kumbayana diangkat menjadi guru besar negara astina dan bertugas mengajar dan mendidik kurawa dan pandawa yang masih beruasia remaja. dilaksanakan hari minggu tanggal 18 januari 2009. dimulai dengan penjemputan dalang oleh panitia pukul 08.00 wib. dilanjutkan acara sawur beras kuning dilaksanakan oleh ki dalang dan ny. dahlan iskan menyebarkan beras kuning dan bunga melati, tujuannya acara ruwatan massal dimulai dan diakhiri supaya selamat. (5) membasuh muka dengan air 7 sumber, para sukerta diwajibkan membasuh muka dengan air suci (air prawitasari) dari 7 sumber air yang diambil dari (a) patirtan candi jala tunda (mojokerto), (b) patirtan candi tikus (mojokerto) (c) patirtan candi sumber awan (singosari), (d) patirtan banyu urip (bantul yogyakarta), (e) sumur winongo (yogyakarta), (f) sumber air tirta empul (bali), (g) sumber tirta narmada (lombok barat). (6) pelaksanaan ruwatan, pada pukul 09.00 wib para peserta ruwatan sudah berada di tempat yang telah disediakan dengan mengenakan kain mori warna putih, pembuka acara, pembacaan doa, sambutan pimpinan jawa pos group (dahlan iskan) sungkeman kepada orang tua masing-masing apabila tidak ada orang tua peserta juga diijinkan sungkem kepada pimpinan majalah liberty hananto. alur cerita murwakala alur cerita murwakala dalam upacara ruwatan tersebut dapat diuraikan sebagai berikut: jejer 1: kahyangan jung giri salaka (jungringsalaka) jejer di kahyangan jungringsalaka, bathara narada dan dewi uma menghadap bathara guru. pembicaraan belum selesai datanglah bathara kala menghadap bathara guru untuk meminta jatah makan. urip dari desa jatimulyo, dlingo, bantul, yogyakarta; (7) patirtan candi sumber awan desa singosari malang. (h) sebelum upacara ruwatan dimulai peserta ruwatan wajib sungkeman kepada orang tua/wali untuk mohon doa restu untuk mengikuti acara upacara ruwatan. (i) para peserta ruwatan lengan kiri diberi tanda sehelai daun janur kelapa, sebagai tanda peserta ruwatan. (j) para sukerta menempati tempatnya masing-masing yang telah ditentukan oleh panitia dimulai dari anak tunggal (ontanganting) sampai yang bersaudara 5 (lima) atau pendawa dan tempat duduk yang lain untuk peserta sengkala (lihat lampiran). (k) kurang lebih jam 10.00 pagi sampai jam 14.00 dimulailah upacara ruwatan yang didahului pergelaran wayang kulit dengan lakon murwakala, menceritakan tentang lahirnya bathara kala proses asal usulnya bathara kala memangsa makanan yang tanpa batas sampai makanan yang boleh dimakan yaitu anak yang tidak diruwat. urutan pelaksanaan ruwatan massal ruwatan massal di surabaya tahun 2009 dilaksanakan bersama majalah liberty, bertempat di balai pemuda jl. gubernur suryo no. 15 surabaya. urutan pelaksanaannya secara kronologis adalah sebagai berikut. (1) technical meeting, dilaksanakan hari sabtu tanggal 17 januari 2009, pukul 13.00 wib dilaksanakan technical meeting dan pengarahan dari dalang ruwat ki darmo suwito noyontoko untuk para peserta ruwatan. (2) selamatan, dilaksanakan pukul 19.30 selamatan tumpengan dan sedekah bumi dipimpin oleh ki darmo suwito noyontoko diikuti oleh panitia, peserta dan kru dalang. (3) pergelaran wayang kulit untuk tirakatan, dimulai dengan sambutan pimpinan liberty, dilanjutkan penyerahan gunungan wayang kulit oleh pimpinan liberty kepada dalang ki haryo wijoseno dilanjutkan dengan pagelaran wayang semalam suntuk untuk tirakatan bagi para peserta ruwatan dengan lakon sang kumbayana. lakon ini menceritakan bambang kumbayana dari negara atasangin mencari saudara seperguruannya yang bernama raden sutjintariani, ruwatan massal melalui pergelaran wayang kulit 19 ra narada berunding dengan para dewa yang lain untuk membatalkan keputusan bathara guru. diputuskan bathara wisnu menjadi dalang kandhabuwana, bathara brama menjadi penggender nyi seruni, bathara narada menjadi panjak kendhang ke klungkungan, bathara bayu menjadi jaka tuna bapa dan sapujagat. jejer 3: telaga madirda bathara kala, bathari durga, dan para setan bekasaan anak buah bathari durga, mengenai pencarian makanan yang telah diberi izin bathara guru. di samping itu bathara guru memberi senjata bedhama kepada bathara kala sebagai perlengkapan membunuh mangsanya. bathara kala dilarang menelan (nguntal) mangsanya. kalau hal itu dilakukan bathara kala akan kena hukuman. hukuman dapat batal apabila bathara kala bertemu dengan orang tua, bapa atau dalang kandhabuwana yang dapat membaca keadaan diri bathara kala. jejer 4 : dukuh medangkawit di dukuh medangkawit tempat tinggal mbok randha sumawit atau kembang sore, dengan anaknya yang ontang-anting bersama jaka jatusmati. mbok randha sumawit menyuruh anaknya berendam mandi di telaga madirda dengan harapan badannya biar bersih, hilang suker-nya. sewaktu mau berendam bertemulah dengan bathara guru memberi beberapa jenis makanan bathara kala, antara lain: (1) anak ontang-anting yaitu anak lelaki satu (tanpa saudara); (2) unting-unting, yaitu anak perempuan satu (tanpa saudara); (3) lumunting, yaitu anak yang lahir tanpa ari-ari; (4) sarimpi, yaitu anak empat putri semua; (5) saramba, yaitu anak empat lelaki semua; (6) pandawa, yaitu anak lima lelaki semua; (7) pandawi, yaitu anak lima perempuan semua; (8) pandawa madhangake, yaitu anak 4 laki, 1 perempuan; (9) pandawa ipil-ipil, yaitu anak 4 perempuan; (10) uger-uger, yaitu anak dua laki-laki semua; (11) kembang sapasang, yaitu anak dua perempuan semua; (12) gendana-gendini, yaitu anak dua laki dan perempuan; (13) gendhni gedana, yaitu anak dua perempuan dan laki; (14) sendang angapit pancuran, yaitu tiga anak, dua perempuan satu laki di tengah. di samping yang tersebut di atas, sang hyang guru juga memberi makanan kepada bathara kala namun tidak perlu diruwat, yaitu: (1) jisim lelampah, yaitu orang berjalan sendirian; (2) batang ucap-ucap, yaitu dua orang berjalan jauh; (3) gotong mayit, yaitu orang tiga berjalan jauh; dan (4) orang membuat/mendirikan rumah belum jadi sudah roboh, karena belum ditempati. jejer 2 : kayangan nugarasagara di kayangan ngutarasagara bathagambar 1. adegan bathara kala dengan batari durga (foto : tjintariani, januari 2009) gambar 2. adegan jaka jatusmati dengan ibunya mbok randha kembang sore (foto: tjintariani, januari 2009) harmonia, volume 12, no.1 / juni 201220 bathara kala, ditanyalah jaka jatusmati, “mau apa? daripada kamu berendam mandi, lebih baik aku telan dalam perutku, kamu bisa berendam di dalamnya,” jaka jatusmati menolaknya, berlarilah dengan perasaan takut dimakan bathara kala. terjadilah adegan kejar-kejaran antara bathara kala dengan jaka jatusmati, saat berlari melewati rumah yang belum ditempati sudah roboh/ambruk, karena kontruksi rapuh, salah, kayu blandar miring, tidak ada tutup keong. bathara kala menyuruh temannya merenung bernama baya barat untuk menemani perempuan tersebut. jaka jatusmati berlari lagi masuk ke ruang dapur yang penghuninya sedang menanak nasi dengan dandang, ditabraklah, nasi tumpah, dengan ketakutan menjatuhkan gandhik-pipisan jamu, patah (tugel). setelah keluar dari rumah bertemu dengan orang perempuan yang baru menikah, menunggu suaminya datang dari pekerjaan. di telaga madirda saat itu bathara kala sedang berendam, ditanyalah jaka jatusmati, “mau apa?” jawabnya, “mau mandi”. bathara kala menjawab dan disuruh masuk ke dalam perut bathara kala. jaka jatusmati tidak mau sehingga bathara kala marah. jatusmati berlari, di dalam perjalanan bertemu orang mendirikan rumah belum selesai sudah roboh. jatusmati bersembunyi pada orang membuat jamu, tersandung dan pecahlah gandhik pipisan jamu, berlari lagi terlilit pohon waluh yang pohonnya menjalar. sehingga jatusmati bisa lolos dari kejaran bathara kala. selanjutnya jatusmati bersembunyi di tempat pengantin baru. bathara kala menyuruh bajo barat mencari jatusmati. jejer 5 : dukuh mendang kamulan kyai buyut wangkeng beserta isteri, anak, dan menantunya bernama buyut geduwal ingin bercerai dari suaminya. keluarga tidak mengizinkan bercerai karena dianggap bercerai tidak baik, membuat malu dan sebagainya. anak perempuan buyut wangkeng mau membatalkan perceraian asal minta bebana menanggap wayang kulit. adegan di dukuh mendangkamulan kyai buyut wangkeng beserta isteri dan anak menantu bernama bujut geduwal yang akan bercerai. tetapi batal, karena permintaannya disanggupi menanggap wayang kulit dan terlaksana. jejer 6 : dukuh dhadhapan pembicaraan antara dalang kandhabuwana penggender perempuan namanya seruni, panjak kendang kyai klungkungan, mbok randha dhadhapan. ditanya oleh dalang kandhabuwana, “mbok randha dhadhapan mengapa tidak ke pasar?” jawabnya, “sudah tuwuk (berlebihan)”. karena menjawab tuwuk, maka namanya pun diubah menjadi mbok randha asemsore, anak cucunya memanggilnya dan dipoyoki (dinamakan), “jangan asem lara encok” setelah itu datanglah buyut geduwal mengatakan kepada kyai dalang kandhabuwana akan nanggap wayang kulit atas perintah mertuanya yaitu buyut wangkeng. anak perempuannya tersebut menginginkan diruwat, supaya tidak jadi bercerai. dalang kandhabuwana menyanggupi asal disiapkan perlengkapan wayang kulit antara lain kotak wayang, kelir, dan sebagainya. di samping seperangkat wayang kulit untuk menyempurnakan padhukuhan disediakan pula sesaji (sajen) lengkap. buyut wangkeng dengan penonton yang lain duduk di belakang kelir. dalang kandhabuwana mulai memainkan wayang dengan lakon manik maya. jaka jatusmati mendengar ada orang yang nanggap wayang, maka serta-merta membaur ikut menabuh kethuk. ada juga penabuh yang lain yaitu bekas maling dari desa lain, menjadi penabuh kenong, kecer. jatusmati mendengar ada yang nanggap wayang, bersembunyilah dari kejaran bathara kala, di tempat keramaian pergelaran wayang. bathara kala juga mendengar ada orang yang menggelar wayang, melihatlah bathara kala. jejer 7 : adegan amanat (weling) sapujagad yang akan membersihkan semua bala/teman bathara kala dengan diberikan poleng padi, air badeg taju nasi tjintariani, ruwatan massal melalui pergelaran wayang kulit 21 uduk, jenang baro-baro, setelah selesai semua, maka dalang kanda buwana berpamitan. ucapan sapujagad berpesan kepada bathara kala sebagai lambang (simbol) angkara murka, sapujagad bertugas membersihkan mala petaka yang asahnya dari akibat kelakuan bathara kala. penokohan (karakterisasi atau perwatakan) penokohan adalah proses penampilan tokoh sebagai pembawa peran watak dalam suatu pementasan lakon. penokohan harus mampu menciptakan citra tokoh. tokoh-tokoh harus dihidupkan. penokohan menggunakan pelbagai cara. ki dwidjocarito mengungkapkan bahwa watak atau karakter tokoh dapat dilihat dari berbagai macam seperti yang diutarakan sebagai berikut. bahwa karakter tokoh wayang kulit dapat dilihat dari (a) postur tubuhnya, (b) wajahnya, (c) ujaran atau ucapannya, (d) warna suaranya, (e) penampilannya, (f) busananya. tokoh dalam seni sastra disebut ‘tokoh rekaan’ (dramatis personal) yang berfungsi sebagai pemegang peran watak, baik dalam jenis roman atau jenis lakon. ada empat jenis tokoh peran yang merupakan anasir keharusan kejiwaan yaitu (1) tokoh protagonis peran utama, merupakan pusat atau sentral cerita; (2) tokoh antagonis peran lawan, ia suka menjadi musuh atau penghalang tokoh protagonis yang menyebabkan timbulnya tikaian (konflik); (3) tokoh tritagonis peran penengah, bertugas menjadi pelerai, pendamai atau pengantar protagonis dan antagonis; (4) tokoh peran pembantu, peran yang tidak secara langsung terlibat dalam konflik (tikaian) yang terjadi; tetapi ia diperlukan untuk membantu menyelesaikan cerita. nilai didik yang terkandung pada anak sukerta yang harus di ruwat dapat diuraikan sebagai berikut : sukerta karena kedudukan dalam keluarga, misalnya anak ontang anting, karena tunggal, dimanja orang tua atau anaknya yang manja, fungsi ruwatan, mengingatkan jangan sampai berlarut-larut memanjakan. anak yang saat lahir pada waktu yang istimewa, misalnya anak lahir matahari terbenam, karena waktunya bertepatan saat sholat maghrib, apabila tidak cepat mendapat pertolongan berakibat fatal, karena dianggap anak urip-uripan. anak yang lahir dalam keadaan tertentu, misalnya cacat mental, idiot, abnormal, orang tua merasa malu punya anak yang lain tidak normal. sehingga jiwa anak/mental rendah diri. anak lahir kondisi tempat kelahirannya tidak semestinya, misalnya lahir di jalan (anak margana) orang yang kurang hati-hati bekerja atau tindakan ceroboh, karena bencana. orang yang serakah, apabila tidak diruwat akan dimakan bathara kala atau dewa waktu. jadi, ke 6 (enam) macam orang sukerta perlu diruwat untuk menyadarkan bahwa dalam jiwanya melekat sesuker atau kotoran yang perlu dibersihkan atau disucikan. simpulan hasil penelitian ini dapat disimpulkan sebagai berikut. bathara guru mengadakan pertemuan dengan para dewa, kedatangan bathara kala minta diakui segambar 3: adegan kala dimandikan, dan berjanji dengan dalang kandha buwana (foto : tjintariani, januari 2009) harmonia, volume 12, no.1 / juni 201222 bagai anak dan minta jatah makan. bathara guru mengakui sebagai anak dan memberi makan 60 macam manusia sukerta, kala pamit mencari makan. bathara narada men gingatkan bathara guru bahwa jatah makan bathara kala terlalu banyak dan ini harus dicegah. selanjutnya bathara narada membentuk tim penyelamat manusi sukerta yang terdiri dari bathara wisnu sebagai dalang kandhabuwana, bathara brama sebagai penggender perempuan bernama nyi saruni, dan ba-thara narada sebagai pengendang dengan nama kalungkungan. tim tersebut me-ngadakan upacara ruwatan kepada para sukerta di desa dadapan. pada saat dalang kandabuwana mendalang bathara kala datang akan memakan manusia sukerta. dalang kandhabuwana yang tahu rahasia kelemahan bathara kala membaca semua tulisan yang ada di tubuh bathara kala. akhirnya bathara kala disucikan dan dimandikan oleh dalang kandabuwana dan disuruh kembali ke kayangannya. para makhluk halus anak buah bathara kala diusir semua dan bathara bayu yang bertindak sebagai kyai sapujagat membersihkan desa dadapan dari gangguan segala macam makluk halus, sehingga desa dadapan dan manusia sukerta selamat. dikemas dalam penyelenggaraan ruwatan dengan pergelaran wayang kulit lakon murwakala meliputi: (1) makna simbolis orang sukerto, (2) makna simbolis keberadaan tokoh bathara kala, (3) makna simbolis diselenggarakan ruwatan, (4) makna simbolis sajen ruwatan, (5) makna simbolis perlengkapan/sarana pakeliran, (6) makna simbolis visualisasi tokoh. anak sukerta yang dikemas dalam pergelaran wayang kulit purwa lakon murwakala meliputi fungsi: kegotongroyongan, fungsi sosial, fungsi pendidikan budipekerti, dan fungsi pranata sosial nilai didik yang terkandung di dalam upacara ruwatan masal adalah (1) nilai didik yang terkandung pada sukerta yang harus diruwat. (2) nilai didik yang terkandung dalam upacara ruwatan. (3) nilai didik yang terkandung dalam kelahiran bathara kala. (4) nilai didik yang terkandung dalam cerita murwakala. (5) nilai didik yang terkandung dalam sajen ruwatan. daftar pustaka amir, hazim. 1991. nilai-nilai etis dalam wayang. jakarta: pustaka sinar harapan. aston, elaine and george savona. 1991. theatre as sign-system: a semiotics of text and performance. london and new york: routledge. balai bahasa yogyakarta, 2000, bausastra jawa, yogyakarta : kanisius. bascom, william r. 1965. “four functions of folklore”, dalam the study of folklore. 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(2) understanding; (3) interpreting; and (4) evaluating. the data were then validated by using triangulation. keywords: dance style; choreography; topeng sinok how to cite: rukmi, d. a. s., & indriyanto. (2015). the analysis of topeng sinok dance in brebes regency. harmonia: journal of arts research and education, 15(1), 25-33. doi:http://dx.doi.org/10.15294/harmonia.v15i1.3693 introduction each dance has its own beauty which becomes the characteristic of the dances itself. it makes them different from one to another. the typical characteristic of the dance itself is usually found in its choreography, which consists of both visual and auditive aspects (adshead, 1988, p. 24). the visual aspect comprises: movements, make up, the dancers, as well as the dance properties. whereas the auditive aspect encompasses the music accompaniment as well as the sound system (murgiyanto, 2002, p. 9). those choreography aspects can also be found in topeng sinok dance. topeng sinok dance is one of a traditional dance from brebes regency, indonesia. this dance is created by suparyanto, s. kar, an art council from brebes regency. as other dances, this dance also has meanings and messages in each performance. the term ‘sinok’ from topeng sinok dance is actually the term used by local elder to call for girls from their regency. this dance tells about women to live in brebes regency, who are generally hard-working. with their beauty, flexibility, and elegance, they take care of their nature by working as farmers. this dance is an art combination between cirebon, banyumas, and surakarta. in other words, this dance wants to show 25 26 harmonia : journal of arts research and education 15 (1) (2015): 25-33 to people that women in brebes regency are not spoiled, whiny, and lazy. working as farmers, getting burned because of the sunshine do not limit them to be active, vivacious, and jovial in manners. even though the sunshine is burning their skin, their spirit to work is never burned since they have to help the economy of their family without forgetting their women nature. the creation of this dance is completely the reflection of women in brebes regency who were often seen by the dance creator, suparyanto. topeng sinok dance is a group dance which is showing the cheerfulness of a group of women. therefore, this dance cannot be danced by one dancer. the form of this dance refers to an actual daily activities which is often called as representational. topeng sinok dance is female dance which is clearly illustrated in the term ‘sinok’ itself. further, topeng sinok dance has its own characteristic which is wellknown as topeng sinok dance style. besides the dance style, the audiences are also attracted with the make up and costumes worn by the dancers. both make up and costumes are attractive in colours, design, and the wearing technique. the costumes and colour selection have to be appropriate with the theme of the dance which will be performed. it purposes to strengthen and clarify the role of the dancers. the music is also an integral part of the dance since dance and the music are harmonious combination. besides having a significant role as the musical accompaniment, music also has a role to emphasize the atmosphere of the dance. in addition to costumes or music is the dance properties. this is needed to picturize the meaning behind the dance. the underlined point in topeng sinok dance is the mask used in the performance of the dance. not less important in this dance is the performance technique of the dance which has coloured the performance. according to supanggah (cited in prihatini, 2007, p. 42-43), style is a distinctiveness or specificity which is characterized by physical characteristics, aesthetics (musical), initiative, and individual creativity (music players), group (art society or cultural religion) which their existences are acknowledged or potentially influencing individuals, group (society) or a region (culture, music, art), whether it applies intentionally or not, nor is happening on the results of the various ways or assistance of various means of media. sedyawati (1980, p. 5) explains that the style is the nature of the dance. it closely relates to the way to move on certain movements. dance movement has three basic aspects, there are: power, space, and time. the characteristics of certain dance style are highly influenced not only by the geographical aspect of where the dance is created, but also by the cultural system of the society, the daily activity pattern, as well as the societal value of culture. a dance is based on a certain dance movement technique and imbued by an inner attitude which is called dance technique. the dance technique can be elaborated into several aspects. the dance technique is a way of executing dance movements precisely, so that the desired shape and style can be achieved. as for the aspects comprise, as follows: proper posture, neck, head, arm, and leg. in another word, it means the proper rhythm in doing a series of movement. the next is to create qualities of the movements or the proper feel which is right to the certain parts of the dance. according to jazuli (1994, p. 32), the difference of dance is not in the series of dance without any meaning attached to it, but it presents as a totality. it is the manifestation of a series of the style symbol of space and time. therefore, dance is supposed to be seen as its whole appearance. from the choreographic point of view, there are two kinds of dance: single choreography with a single performer with the free concept in deciding the steps and group choreography which is performed by more than one dancer. usually in a group choreography, dancers have to be the main subject of the dance. the type of group choreography is divided into three. the first is a couple dance which is performed by a couple of male dancers, female dinar ayu sintho rukmi & indriyanto, the analysis of topeng sinok dance in brebes ... 27 dancers, or male and female dancers. in this type of dance, dancers are expected to interrelated and respond to one another. the second is a group dance which is a dance performed by more than three dancers. the last one is mass dance, this type of dance is performed by the massive number of dancers.here, the topeng sinok dance will be studied through the main aspects of movement and the supported aspects, such as: the musical accompaniment, make up and costumes, properties, as well as staging technique. the dance style of the body which has a role as the instruments, comprises: arms, legs, body, and head (hutchinson, 1997, p. 500; suharto, 1990, p. 15). the main aspect of movement encompasses power, space, and time (hadi, 2003, p. 50; hawkin, 1988, p. 5). the power aspect includes intensity, accent or power of movement, and movement quality. space aspect contains volume, line, direction, and level. time aspect includes rhythm, tempo, and duration (murgiyanto, 1983, p. 17). previous study about topeng sinok dance was conducted by kalihna (2015) entitled “the new creation of brebes topeng sinok dance”. in this study, it was explained that topeng sinok dance picturized beautiful, elegant, and skilful women. this dance is also projected as one of the typical dance of brebes regency. yet, the claim delivered by kalihna has not completed therefore, it is expected that this study can complete the previous study from the dance style’s point of view. method in conducting the study, qualitative method is implemented by using a choreography approach to aesthetical structures. based on brown and royce (1976, p. 69), the structure is a unit system of relationships between existing entities. “structure” refers to relationship management between parts of a whole system. the term aesthetic choreography itself was initially used by hersapandi (2007, p.8-10) to analyze the aesthetical aspect of puppets through its choreography element. the second is the aesthetical aspect which is seen from its choreography aspect. thus, choreography approach to aesthetical structures in this study means to analyze the characteristics of beauty of topeng sinok dance through its choreography structures; comprises movement, music accompaniment, costume, staging technique, dancer, and property. data collecting technique which was conducted by researcher were observation, interview, and documentation. moreover, data were validated by implementing the source triangulation technique. the data analysis technique was adopting the theory from adshead (1988, p. 25) which was previously cited by murgiyanto (2002, p. 9-10). the theory is divided the dance analysis into four stages: 1. identifying and describing components 2. understanding relationship between components 3. interpreting the dance based on the concept and sociocultural background, performance concept, style and genre, theme, and specific interpretation concept 4. evaluating. results and discussion review of topeng sinok dance style the following is an explanation of the main aspects of each range of movements in topeng sinok dance: entrakan this movement is done by jumping. in this movement, the dancers are doing menthang, slanting backwards while miwir sampur which is holding the sampur in the very end of the sampur with right hand and the left hand is holding the mask. sampur itself is a cloth used by the dancers. usually it is hung at the dancer’s waist. the way of holding the mask is by holding the chin of the mask. while doing that movements, the dancer is walking aside and jumping by using small movement intensity. in different words, in this movement, the left hand is doing mentang to the right side with the position miwir sampur while the 28 harmonia : journal of arts research and education 15 (1) (2015): 25-33 left hand is folded and holding the mask. furthermore, the right hand is obliquely backwards with medium movement volume. the dancers are standing obliquely to the left side and the body is facing obliquely to the right while their feet are doing left tanjak. during this style, the tempo is slow and dynamic, so that the movements keep steady. this movement gives a calm impression. when the dancer is doing left tanjak, the feet of the dancers are moving in small movement intensity. therefore, slow movement will be seen in this entrakan movement. accent or pressure which is done by dancers while turning their heads is by moving their head facing to the left and right side. the dancers are facing to the oblique side. the line established from this movement is diagonal. the dancer’s right hand is maintained with considerably huge volume. jengkeng this movement is done during the preparation of putting on and off the mask to the dancers. jengkeng is a kind of movement done while the dancers are in sitting position where the body is resting on the right leg and the left leg is folded. the movement intensity in during this movement is small movement and small movement volume. furthermore, medium tempo is employed in this movement. this movement gives the impression of shy since during this movement the dancers are facing backward with the hand is furling to the front of the dancers. small movement intensity with the leg in closed position here gives the delicate impression to the dance. accent or pressure of the movement is placed before and after the dancers are doing jengkeng, particularly when the dancers are turning around the body from the upward to the backward and vice versa. the movement line created in this movement is one straight line and direction toward straight ahead with small movement volume. the position of the hand is folded upward and not widening either to the right or left side. this movement is employing lowlevel movement since the knee is touching the floor. this movement is done in turns between dancers while they are all facing backward. by creating the patterns in turn, therefore, the audiences will not realize that the dancers are about to put on the mask. however, when they are releasing the mask, they do it together while facing backward. gambul and obah bahu the gambul is head movement, precisely, it is the movement while the dancers are shooking their head by heading the head and forming number eight in sleeping position. this movement is done in 3x8 counts, when it comes to count 1 to 4 there will be only the head which is moving then in count 5 to 8, it is done with the shoulder movement. shoulder movement is the movement where the shoulder is moving up and down following the sound of kendhang. the small movement intensity of this movement is only seen in the head and shoulder, the small volume movement realizes in the position malangkerik done by the dancers. malangkerik is the hand movement when the hand is folded and placed aside and usually done in slow motion. impression raised from this movement is teasing since the dancers are moving their shoulders while doing this movement. the intensity of the movement is medium because it only needs the power to move the head and shoulder. the leg movement is only by doing left gejug and the dancers are not moving but staying at their initial place. the accent of pressure of the movement is placed in the shoulder by stomping it following the musical instrument, which is kendhang. the dancers are facing forward. the direction of movement is emphasized on the shoulder movement and it is usually known as obah bahu. the body position of the dancers is mendhak while the leg position is gejug. it is done on the spot using low level movement. lontang sampur this movement is emphasizing on the hand movement, kebyok, and pushing the hand downwards in turn while ended dinar ayu sintho rukmi & indriyanto, the analysis of topeng sinok dance in brebes ... 29 by seblak sampur without releasing the sampur. further, these movements implements parallel position for the leg and mendhak for the body, while the shoulder is moved to the right and left side in turns. the head is then moved, facing to the right and left. accent or pressure employed in this movement is by pushing hard the hand to the waist when taking the sampur right before doing lontang sampur. the dancers are facing forward with the head is placed obliquely facing the hand which is pushed downward. the movement direction of the dancers is a straight line. it is clearly seen as the body of the dancers is upright facing forward. here, the movement volume is emphasized in mendhak position of the leg movement. the power employed in the movement is medium, underlining the hand movement. in the hand movement element, it moves diagonally forward in slow tempo in order to create a delicate impression. jalan balang sampur the impression of cheerful and flirtatious can be seen from this type of movement. the movement demands for high power especially when the dancers throw the sampur and the leg is moving for couple steps (double steps). the movement volume is medium since the movement of the hand while throwing the sampur is fast upward oblique. this movement is the same as the previous movement, balang sampur. the difference is on the moving movement. while balang sampur is done on the spot without moving any single step, in this movement, the dancers need to walk to move. the left hand of the dancer is ngrayung while holding the sampur and the right hand is doing ngolong sampur. this movement is done in with both hands alternately and added with the movement of seblak sampur without releasing the sampur. the movement intensity is high because the dancers need huge power to move from one place into another place. the movement intensity while the dancers are throwing the dancers itself is medium. moreover, the direction in this movement is turning around. round line gives the delicate impression towards this movement. the movement volume employed in this movemnet is medium. the level itself is high level. jinjingan jinjingan comes from the word ‘jinjing’ which means lifting. here, jinjingan means lifting the right and left feet alternately according to the counts. this movement is done while the right hand is doing menthang and the left one is ngrayung in front of the stomach. it is conducted alternately. the leg of the dancers in this movement is stepping aside which is usually called as enjer then one of the leg is lifted. the head is moving to the right and left while the body is doing shoulder movement. it needs fast intensity since in every movement, the dancer moves their legs, two counts to the left and other two counts to the right. medium intensity during enjer is medium since when enjer is done, the slow tempo is employed. medium movement volume is emphasized while stretching their arms. there is also the impression of foppery when the dancers are moving around their waist while doing enjer. accent or pressure of the movement is seen before the dancers are doing enjer, when both arms are streched while moving the head facing the right and left side alternately. at the same time, the palm is facing upward and the leg is pushed to give the show before turning the body around. another quality is seen when the shoulders are pushed quickly while doing jinjingan. the line created from this movement is a straight movement with wide volume especially while menthang. this movement has three directions, which are straight forward, right and left side with the movement is slightly oblique to the right and left. the level of this movement itself is medium. timbangan asta this kind of movement is having the right and left hand in front of the stomach. then, both hands are stretched to the right 30 harmonia : journal of arts research and education 15 (1) (2015): 25-33 and left side then back to the front of the stomach in ngrayung position, while almost in the same time they are doing gedhek and lenggut. the legs are stepping to the right and left then standing parallel and stepping backward to the right and left then standing parallel. timbangan asta movement is conducted while two dancers re facing one another and the hands are ngrayung to the upward and then ngrayung in front of the stomach. the legs are stepping upward and backward from 1 to 4 counts. this movement has big intensity since it tells about happiness between friends. the accent or pressure in this movement is emphasized on the head movement, which are ghedek and lenggut while moving the head to face the right and left side then to face the front. the volume of this movement is wide volume at medium level. lontang asta in doing this movement, the dancers have to do the movement as if they are chopping grass in the indonesian traditional way. while doing this movement, the legs are mendhak and the hands are lontang while the right hand is malangkerik and the left hand is mbabat, and it is conducted alternately. the legs are stepping the floor four times in four counts, then stepping to the right side and stepping the floor as the same as previous counts, and stepping to the left side, and doing the same again in four counts. the impressions emphasized in lontang movement are delicate and flirtatious. in lontang asta, the movement intensity is big, it pictrurizes the movement of chopping the grass with the position of the hand is ngrayung and the other hand is malangkerik. it is done alternately. the movement volume is medium wiht the hand is ngrayung to the front in oblique position and the other is doing malangkerik. the movement tempo is slow but dynamic. the accent or pressure of the movement is emphasized in the head. in this movement, the head is shooked around. the line emphasized in this movement is straight line since the dancers are facing the front, and the movement direction to the right and left side. the movement volume used in this movement is medium. however, while doing mbabat, the position of the hands is oblique to the up front, and the level of the legs is medium since the legs in this position is doing mendhak. ukel karno ngunus tutus this movement is doing ukel on the hand to the side of the right and left ear alternately. the body movement is ogek lambung. the head movement is to move the head to face the right and left side. the leg movement is right gejug where the leg is stepping hard to the floor and on the fourth count, the dancers are timpuh where the legs are folded and the knees are touching the floor while the body stays upright. it is done in four counts alternately. impression raised from this movement is gentle which specifically tells about the gentleness of the women while doing their work. this movement has a slow tempo in every movement done by the dancers. this movement is done with ukel movement where the hand is pulling back to the ears after that it stretched with the right hand ngrayung and the left hand is ngiting. the movement intensity of this movement is small. there is movement accent or pressure in this movement which is when the hands are about to reach the rope attached in the mask. during the time, the changing of music tempo is happened and is faster. therefore, the volume of the movement is getting bigger and the direction of the dancer is facing forward. the movement level is both medium and low. the medium level is when the dancers are mendhak and the low level is when the dancers are timpuh. since the movement is conducted in two levels, so it is done alternately. it is done in four counts for the medium level when the dancers are doing ukel karno while standing and four counts when they are doing obah lambung in sitting position. nandur this movement has its own characteristics in topeng sinok dance. this movement draws a girl who is planting the dinar ayu sintho rukmi & indriyanto, the analysis of topeng sinok dance in brebes ... 31 rice. this movement is also the depection of most of brebes women who are farmers. here, the creator creates the movement at the same as the actual movement of planting rice in order to make people understand the dance easier. the movement here is ngiting, the right hand is moving oblique downward and the left hand is folded in front of the body. the body itself is mendhak with the body standing oblique slightly aside. the impression of the movement is firm and dynamic since the intensity of the movement is big. furthermore, as for the movement volume in this moment is medium with on the spot movement. during the shift of the movement, the dancers are moving slowly with jumping slightly aside. this movement has medium tempo. the movement intensity is medium with cheerful movement. there is medium accent or pressure in seblak movement before getting to nandur movement. it purposes as the distinctive movement before and after the main movement. movement volume during this movement is big. the movement direction in the hand while nandur is heading aside backwardand oblique alternately. the hand is acted as if the dancers are holding the seeds with the position of the hand is folded to the front and the fingers are ngithing in front of the chest. also, while doing this movement, the legs are moving double step to the right and left side while doing gejug alternately. the direction of the dancers are facing to the bottom front and the level is medium. the head is nengkleng or moving to the right and left. kebyok intensity as well as tempo of this movement is big. it can be seen when the dancers are doing tracet oblique backward in order to leave the stage. the movement volume is medium. this movement comprises the movement of the hands by doing ngrayung with the sampur. the legs are tiptoeing and the head is facing the left side. from the intensity point of view, this movement belongs to strong movement in fast tempo. the movement volume is small in medium level. it is because even though the dancers are tiptoeing, however the dancers’ knee are folded. in this movement, the dancers are traced to the backward with the oblique movement direction. the accent or movement pressure in this movement is medium, especially when the dancers are turning around and doing jengkeng when they are about to put off the mask. overall, the range of movement in this dance comprises 24 different movements which are divided into three parts. there are six movements in the initial part of the dance, twelve main movements, and six as the closing movement of the dance. in each range of motion, there are variations to make the dance more interesting. the range of movement gives the impression of flexibility, gentle, and cheerful, so that people will not be bored. in other side, doing all the movements need more time to perform. from the total 8 minutes 30 seconds of performance, the dancers will have to wear the mask for 5 minutes. overall, almost all movements in this dance are in medium tempo since it gives the impression of cheerful but calm at the same time. supporting aspects: topeng sinok dance has several supporting aspects. it encompasses: (1) make up and costume (2) music acompaniment (3) property, as well as (4) staging technique, as follows: make up and costume the dancers on topeng sinok dance are wearing corrective makeup, which is made up emphasizing the beauty of the dancers. it beautifies the face of the dancers in order to make them look fresh and beautiful on the stage. whereas, for the mask, character type makes up is applied. the character raised on the mask is a cheerful but gentle type of women. through the mask’s make up, the creator of the dance can emphasize the character of the tobin sinok dance. in other words, it can be said that the make up which is put on the mask has its own strength and beauty which brings the character of the 32 harmonia : journal of arts research and education 15 (1) (2015): 25-33 dance. moreover, for the costume worn by the dancers on stage, bright colours are chosen. it brings the impression of cheerful and draws female figure well. usually, the colours of the costumes are pink and yellow. music accompaniment topeng sinok dance uses javanese rhythm, irama and tanggung. the tempo is fast the dance is lively. there are high and low tempo dynamics in the middle of the song that makes the dance more attractive. in addition, music accompaniment in topeng sinok dance has its own characteristics. the lyrics are used brebes traditional language, ngapak, and it is sung by a man and woman singers. the aim is to introduce brebes’s traditional language. music is started with kendang, which is to emphasize the starting part of the music. kendang sunda is used in this music to emphasize the cheerfulness of the dance. lancaran sinok pl nem buka: kendang p t p t ppp. . . g1. 1 .1 .12 32 1 .1 .12 35 g6. . 56 . .56 . . 56 54 6 g5 a irama lancar (1)[[ 1 5 5 5 5 4 5 6 6 6 6 5 6 -56 -5 6 5 4 6 g5 ]] gerongan:[[1 5 55 5 45 6 66 6 -5 6 -5 6 -5 6546 5]] sinok noknoknok cah ayu yuyuyu mesem guyu menggoda hati ku b irama tanggung (1/2) “sinok nok nok orang cantik tik tik tik tersenyum tertawa menggoda hatiku sinok nok nok orang cantik tik tik tik tersenyum tertawa menggoda hatiku sinok nok nok orang cantik tik tik tik tersenyum tertawa menggoda hatiku sinok orang cantik siapa namamu tidak senyum tidak tertawa menggoda hatiku gimana inginmu mas apa suka aku kalau suka aku bicara dengan orang tuaku” “beautiful girl is smiling and teasing my heart beautiful girl is smiling and teasing my heart beautiful girl is smiling and teasing my heart beautiful girl what is your name? is not smiling and is not teasing my heart what do you want, dear? do you like me? if you do, go talk to my parents property the properties used in this dance is mask. it is used to support the expression of the dancers. the mask itself is used gentle female make up with white as the colour foundation. an impression of beauty in the mask can be seen from the draw of the curve eyebrow since it picturize cheerfulness in every movement of the dance. there are red and white circles in the ear of the mask. the colour background of the mask is white, the eyes are small but widening picturizes the tenderness and elegance of a princess. different from other masks, the mask has a kind of head ornament attached to the mask. to be noted, in 4 6 5 4 6 5 4 6 5 2 4 5 6 indonesia, the head ornament is normally 6 6 6 5456 6 66 5 4 2 4 worn by the dancers, however, in this dan5 4 2 5 4 2 . 1 2 1 2 3 1 ce, it is attached to the mask instead of the . 2 1 2321 1 2 1 2 1 6 5 dancers. gerongan[ .xxx4c65 .c4c65 .c4c65 245 6 si nok cah ayu sa pa jenengan mu[6666 5456 .6.6 542 4 ora me sem ora gu yu meng go da ha ti ku [ . 5 4 2 . 5 4 2 2 . 1 2 1 2 3 1 kepriben ka rep mu mas a pa se neng aku [ . . 2 1 2 3 2 1 . 1 2 1 2 1 6 5 angger seneng a ku ngmong a wong tu aku stage topeng sinok dance can be performed in procenium type of stage which is stage which can be only view from the front side only. this also can be called as framed stage. further, this dance can be also enjoyed in outdoor stage although the dancers can only face the front side. this dinar ayu sintho rukmi & indriyanto, the analysis of topeng sinok dance in brebes ... 33 dance is also static. it means, it can be only enjoyed when the dancers are on stage and cannot be enjoyed in series of parade. conclusion topeng sinok dance movement is seen in the basic aspect of movement, costume and make up, music accompaniment, and property. movements in topeng sinok dance is done by body elements, such as: hands, legs, shoulders, and head with small intensity, full of movement accent, small movement volume with fast tempo and happy music atmosphere. a costume worn in this dance is bright and the mask has white colour foundation on it with a black gold eyebrow. among all, it shapes a beautiful, elegant, tender, cheerful, and skilful dance. reference adshead, janet (editor). (1988). dance analysis. cambridge: oxford university press. astiri. w. & budiarto, c. (2013). semiotika rupa topeng malangan (studi kasus: dusun kedungmonggo, kec. pakisaji, kabupaten malang). journal ruas, 11(2), 89-98. diah, a. (2007). makna simbolis pada unsur visual kostum tari topeng babakan cirebon keni arja di desa slangit. journal of visual art and design. 1(2), 224-245. hadi, y. sumandiyo. (2003). aspek-aspek dasar koreografi kelompok. yogyakarta: elkaphi hawkins, alma m. (1988). creating through dance. new jersey: princeton book company. hersapandi, (2007). “kehidupan wayang wong sriwedari dalam perspektif seni pertunjukan dan pariwisata. jakarta: penelitian hibah kompetensi dirjen dikti. hutchinson, ann. (1977). labanotation or kinetography laban: the system of analysing and recording movement. new york: theatre arts books 153 waverly place. jazuli, m. 1994. telaah teoritis seni tari. semarang: ikip semarang press murgiyanto, sal. (1983). koreografi. jakarta: dirjen pendidikan dasar dan menengah depdikbud. mugiyanto, sal. (2002). kritik tari bekal dan kemampuan dasar. jakarta: masyarakat seni pertunjukan indonesia. prihatini, s. nanik. (2008). seni pertunjukan rakyat kedu. surakarta: pasca sarjana and isi press ratnaningrum, ika. (2011). makna simbolis dan peranan tari topeng endel. harmonia: journal of arts research and education, 11(2), 125-129 royce, a. p. (2007). antropologi tari. terjemahan f.x. widaryanto. bandung: stsi press. sedyawati, edi. (1980). pertumbuhan seni pertunjukan. jakarta: sinar harapan suharto, ben. (1990). pengamatan tari gambyong melalui pendekatan berlapis ganda. paper presented on temu wicara etnomusikologi indonesia 3, 2/5 february 3, 1987 in medan. harmonia : journal of arts research and education 16 (2) (2016), 163-171 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v16i2.8126 p-issn 2541-1683 e-issn 2541-2426 political practice and its implication on folk art marginalization (case study of wayang orang/ human puppet ngesti pandhowo) restu lanjari department of drama, dance and music, faculty of languages and arts, universitas negeri semarang, semarang, indonesia jl. taman siswa, sekaran, gunung pati, semarang, jawa tengah 50229 e-mail: restulanjari1961@mail.unnes.ac.id received: october 1, 2016. revised: december 4, 2016. accepted: december 11, 2016 abstract the government, political practice, both reflected in the government, politics, policies and the attitude of the public figure, influences the existence of folk art that is overshadowed by changes as the results of modernization and industrialization. the aim of this research is to find out the marginalization of folk art because of political practice. this research was done using a qualitative approach while the subject of this research was ngesti pandhawa human puppet group. the result of this research showed that folk art could be marginalized because of the influence of the changes in economic and politic that was formulated inside the modernization waves and technology development that offered new values. the attention of the government on the existence of folk art was still being questioned because of politic budget. the budget for art was extremely small compared to the budget for sport. the existence of folk art depended on the favor and interest of the local leaders, especially political interest. keywords: political practice; folk art; marginalization; ngesti pandhowo how to cite: lanjari, r. (2016). political practice and its implication on folk art marginalization (case study of wayang orang/ human puppet ngesti pandhowo). harmonia: journal of arts research and education, 16(2), 163-171. doi:http:// dx.doi.org/10.15294/harmonia.v16i2.8126 introduction folk art can attract the interest of the public, if only the government also participates in it. amidst the bitter news about the marginalization of folk art in 2012, the governor of central java commented on jathilan art, “jaran kepang performance is the ugliest art in the world, it is so embarrassing that the mayor of magelang presents this performance in this event” said bibit waluyo in his opening speech for the 14th merapi and borobudur senior’s amateur golf tournament competing hamengku buwono x cup at borobudur international golf and country club magelang, sunday, september 9, 2012 (kompas.com, 9 september 2012). at the event, kuda kepang performance was presented by jathilan art group “kartika harapan” from rojowinangun, magelang. the statement then caused pro and contra, but it also made jathilan performance to grow and develop in kedu area. getting a big attention, jathilan, a dance using a bamboo horse as the property, is a javanese traditional dance themed a warrior dance that describes a horseman troops that was involved in supporting prince diponegoro’s insurrection against netherlands. the governor bibit waluyo who represented the governnment hadn’t seen the meaning of jathilan performance for the local people especially the people 163 164 harmonia : journal of arts research and education 16 (2) (2016): 163-171 in magelang. irianto (2016) stated about the meaning and message inside jatilan performance. jatilan performance contains significant social values of the people such as mutual cooperation, helping each other by seeing a problem as the problem together. in education world, kuda kepang tradition can be used as an expression and creation learning media at school (ambarwangi, 2014). along with the pro and contra on the central java governor’s statement, appears a news on the media about the fall of folk art. “the folk art is dying, for example, classical gambang kromong from betawi losses its stage and audiences. whereas, it is the fondation of culture. the extinction of the folk art is the extinction of our culture”. it was also stated on kompas, “folk art is getting fragile and dying”, sunday, september 30, 2012. according to kompas, the tragedy on folk art did not only happen in betawi, the same tragedy happened on the case of kubro siswo in mendut, magelang, central java. when bentara budaya gave awards to the local artists by regarding them using the term “the marginalized artists”. they did not receive a lot of attention from the people and the policy maker, also had been marginalised from the social realization and economic. the term marginalised used by bentara budaya (gatra, 17 october 2012) does not only referred to those who is economically poor because their art works were under appreciated, but also to those whose art works were not popular in wider forum. the fall of folk art or traditional art was easily found on the case of puppet, ketoprak, and human puppet in central java, or ludruk and reyog in east java. it could be seen from the infrequent performance in the middle of the society when they held a wedding ceremony, circumcision ceremony, ect. ketoprak tobong and human puppet were rarely performed anymore. dirjo wiyono from agung budiaji group yogyakarta (suara merdeka, 5 october 2012) supported that nowadays the frequency of ketoprak performance is deteroriating. he experienced the golden era of ketoprak between 1984-1995 when there were many performances of ketoprak, there could be three orders in three different places a night. now, it decreases to 4-5 times a month. besides, as the effect of the changes in the society is not only because of the influence of modernization and technology, but part of it was also influenced by the politic and policy direction about art. as mentioned by kayam (1981, p. 17), art as a part of culture has to face open challenges that is widely opened so that foreign art elements are able to invade both through economic and politic and in the end over shadowed the art existed in the middle of the society. meanwhile, the government politc and policy also does not favor the protection of traditional art so it increases the fall of folk art. the gap between goals to bulid a tough folk art and the fall of the folk art raised questions that became the main point of this research. the gaps are, first, the gap between the role of the government and the society in providing facilities for folk art. second, the gap between the maintanance policy and facilities provision for art field compared to other fields, for instance, if it is compared to sport field. third, how dominant is the influence of that art politic compared to the influence of the technology and modernization in the case of folk art marginalization. fourth, what is the role of political party that reperesents the people’s aspiration in influencing the government policy practice in protecting and developing folk art the marginalization process of folk art could be the result of social, culture, economic, politic changes or the development of technology, especially information technology. however, this research focused on the political role of the decision maker such as goverment, public figure, politic institution, and parlement institution. the problem of this research was the institution marginalization process of folk art. some researches on this topic that had been done before potrayed the chanrestu lanjari, political practice and its implication on folk art marginalization 165 ging process of the traditional art existance. in the research done by masyhuril (2008) entitled “perubahan apresiasi masyarakat terhadap kesenian tradisional (studi kasus kesenian kubrosiswo di dusun surowangsan margorejo tempel sleman 19722008)”, one of the conclusions derived was that in entertainment world, traditional art failed to compete with modern art. besides, having general genre, modern art was easier to understand because it suited the taste of the market. it was different to the traditioal art that was simple and monotonous (people’s tradition) or if it came from the royal tradition (classic), it seemed complicated and difficult to be understood by the audience. because of this competititon, besides publication, the main demand of the competitor was creativity. these two things became the obstacle for showing the existance of the traditional art the researches related to human puppet ngesti pandhowo were quite a few. one of them was a research titled “upaya inovasi bentuk penyajian wayang orang ngesti pandawa semarang dan pengaruhnya bagi penonton (2001)” written by subiarti, mustikawati (2002) titled “persepsi pemain wayang orang ngesti pandawa semarang dengan kehadiran pemain luar, pengambilan keputusan pemain wanita wayang orang terhadap keputusan menjadi seniman (studi kasus peran ganda pemain wanita wayang orang)” written by ratih (2000), and “pola pewarisan pemain wanita wayang orang ngesti pandawa semarang” written by anik purwati (2005). sainah also had ever written a research titled “tokoh dan fungsi punakawan dalam pertunjukan wayang orang ngesti pandawa di semarang” in 2010. sainah explained about punakawan that was studied from its movement, text, make up and costume of ngesti pandhawa human puppet at semarang. the function of punakawan in a performance of ngesti pandhawa human puppet was as a nurturing figure (symbolic function), the pointer or media of the story, and entertainer. the study that showed a close relation between politic and the existance of traditional art had been done by sutiyono (2010), in the reserach entitled “pertunjukan wayang kulit sebagai media kampanye pemilu 1971-1977: studi tentang hegemoni negara terhadap seni tradisional”, javanese tradional leather puppet (surakarta and yogyakarta style) that was performed in central java, diy, and east java was used as the aspect of the research. meanwhile, this research focused on the human puppet ngesti pandhawa group in semarang as the subject of the research, not only it discussed about the existance of traditional art, but it also answered the questions on how political practice has a big role in the existence of folk art. art is a part of a nation’s culture. according to kuntjaraningrat (1985, p. 2), art is build based on (1) religion system and ceremony; (2) the system and organization of the society; (3) system of knowledge; (4) language; (5) art; (6) the system to earn a living; (7) ecology and equipment system. those elements are so strong that many people misuderstood that culture is the same as art. the order of the elements is also the order of the system from the element that is the hardest to the easiest to change. art is in the fifth order, it is in the category of the element that is easy to change compared to the religion system, the organization of the society, system of knowledge, or language. on the other hand, kuntjaraningrat (1985, p. 117), mentioned that indonesian art such as bali and javanese dance has reached the highest level of development so that they have special position. the consequence of the change is the possibility of the decline in quality. art, according to bekker (1984, p. 46), is part of culture that processes natural potential using sense and aesthetic approach. that process creates an art as a communication media to its society. art as part of culture is born, grown, and developed along with its social environment. kayam (1981, p. 38) said that art never stand-alone separated from its 166 harmonia : journal of arts research and education 16 (2) (2016): 163-171 society. art is the expression of cultural creativity. society as the pilar of the culture gives the chance to create an art work. society, in this case a community, that create an art work claimed it as theirs. this is then the beginning of the folk art or specifically folk song, folk dance, etc. sedyawati (2006, p. 25) differentiate between art as an independent element in cultural system and art as a part of other elements such as religion element. as an independent element, art is shaped by (1) values and concepts devices that are the pointer for all the artful activities (both in creating and enjoying); (2) the artist, start from the designer, the presenter, the advisor (the producer included), and the audience; (3) patterned and systematic action related to art such as practicing, creating, publishing, etc; (4) objects related to process of creating art, both used as media or art work. the relation between art and its society, according to slamet gundono (suara merdeka, 14 october 2012), can be seen through the spirit of the folk art. folk art that grows in coastal area will describe the coastal culture, so does the folk art in the mountainous area. the consequence of the folk art cannot be separated from the role of its society, both as the connoisseur and the protector of the folk art, for example by conserving art tradition. the role of public figure in the society as the protector of the art will also very crucial. particularly for folk art, the peak of the asthetic is not the main goal, even though moral value still becomes the orientation. art as communication media and social expression. art is the symbol of solidarity and social need. therefore, art can only exist because of social willingness. to maintain the folk art, realization of the importance of the tradition is needed so that the art can be the media to communicate and be creative. the character of the society is reflected in the movement, music, and fashion style. to get a clear visison on the chance of the culture field, particularly art, cannot be saperated from the social dynamic of its society, as stated in stuctural fungsionalism theory coined by talcott parsons. according to nasikun (2012, p. 13), a society has to be viewed as a system than a correlated parts. therefore, the relationship of influence-influencing between one part to another is dualism and mutualism. the political condition in orde baru era or the new order era that is known as the authoritarian of soeharto era, was explained by schwarz (1999, p. 1) as, “during three decades of authoritarian rule, soeharto succeeded in restoring political stability to indonesia and putting in place the policies that change indonesia from economic basket case to a thriving, developmental success story”. in this kind of political setting, the influence of patronage is very central, including art field. based on the interest of politic party, a visible position that can be understood by the society is needed. political positioning concept, according to firmanzah (2008, p. 165), is that a party needs to create products and images to differentiate itself to other party. each parties must try to be dominant in controlling the thought of the society. as a result the party will be remembered, become the reference, and be the choice of the society. the role of politic, at least the role of the government in nurturing the folk art will be stated by umar kayam. regarding the case of human puppet of sriwedari solo, kayam (2002, p. 1961) stated that as a package of art, sudha human puppet has been proved as a good art by presenting good materials, and is still be a potential entertainment for its society. it will rely on how the maintainer, the advisor, the goverment wrapped the art work claverly and sensitively suited the taste of the audience. this research focused on the role of political subsystem, in this case government, in maintaining and protecting the existance of folk art because of modernization and technology development. as mentioned by by sudikan (2001, p. 68) and some previous researches, this research aimed to answered some qusetions such as restu lanjari, political practice and its implication on folk art marginalization 167 (1) how a nation, government, manages the politic and the policies to stengthen the existance of folk art, (2) how the political policies of the local government protect folk art from the impact of modernization and technology development. method this research, just like any other social science reasearch, was a qualitative research. it did not involve numbers and statistics. according to rohidi (2011, p. 4) because art must be placed completely in the circle of society so this research used qualitative approach. the secondary data were collected through literature study while primary data were collected through interview and participantory observation. another source of the data were ngesti pandhawa human puppet group, central java and semarang local government, both regarding the opinion and the policies related to art in general and ngesti pandhawa in particular. the data were analyzed using interactive model of miles dan huberman (1984) that starts from the process of collecting data, reducing data, and drawing conclusion. results and discussion ngesti pandhawa as social, cultural, and economic institution several phenomena regarding folk art happened all over indonesia can be seen cleary through the case of ngesti pandhawa human puppet in semarang. as a picture of folk art, ngesti pandahawa is widely known, it even became the icon of art in semarang and represented central java or indonesia. in its golden era, according to muhammad (2007, p. 38), ngesti pandhawa had been widely known by foreign tourist from all over the world. ngesti pandhawa first came to semarang in 1952, it was not the first puppet group in semarang. in 1935, there was sri wanito human puppet group which developed rapidly and in 1952, even owned a building in dr. cipto street. but in 1995, it went bankrupt, the member left and the building was broken down. ngesti pandhawa became more established in 1959, when the performance was recorded by romaco. the recording occur from 1960’s until 1970’s. that era, under sastrosabdho’s leadership, was ngesti pandhowo golden era. they did not only deliver exceptional performance in drama dance or dance but the backsound and its gending-gendingan was also well made by ki nartosabdho. even the stage technique was also well managed, for example, how they picture a flying gatotkaca, transform kresna into a giant, or make other character disappear, etc. the golden age of ngesti pandhowo started to fade when the founder sastrosabdho died on januari 8, 1966. it got even worse in 1980’s when the other founder sastrosudirdjo died on july 9, 1984, and nartosabdho in october 7, 1985. besides internal changing of ngesti pandahwa, there was also social changing that pushed the art of ngesti pandhawa aside because its stategic performing location was replaced as business center such as malls and hotels. even though, they were forced to move from their buliding in 1997, semarang local goverment helped the member of ngesti pandhawa to find another building to perform and housing complex for the member. according to cicuk sastrosudirdjo (portal semarang, 16 december 2011), the leader of ngesti pandhawa, because they were relocated, the members of ngesti pandhawa were scattered. half of them lived in arya mukti area, bandung bondowoso apartment, while the rest of the members lived in housing complex. however, the members of ngesti pandhawa did not give up to choose human puppet as their choice of art. ngesti still exists, having 85 members and fixed performing schedule every weekend at taman budaya raden saleh (tbrs). by purchasing a ticket for idr 10,000 , the audience can enjoy ngesti pandhawa performance for 2 to 4 hours. 168 harmonia : journal of arts research and education 16 (2) (2016): 163-171 even though, ngesti pandhawa only performs once a week, they can still use the goverment’s building in taman budaya raden saleh complex at sriwijaya street, semarang. besides that, they are also funded by apbd of semarang. the need of protection on the existance of art tradition a nation must build its cultural politic based on various cultural elements including the variety of the folk art from all over indonesia (kayam, 1981, p. 45). dahana (2012) mentioned that our culture will be stagnant even degradated if the folk art both modern of contemporary as the foundation of the art is dying. if the local art is marginalized, the producer of art will be extinct. systematically, the effort to interpret cultural values including local culture, inside the amandement, have a strong foundation in the amadement of uud 1945. the government has the responsibility to develop the natioal art of indonesia as stated in article 32 of uud 1945: “pemerintah memajukan kebudayaan nasional indonesia.”. after the amandement, the article was divided in two verses that states: “(1) negara memajukan kebudayaan nasional indonesia di tengah peradaban dunia dengan menjamin kebebasan masyarakat dalam memelihara dan mengembangkan nilai-nilai budayanya; (2) negara menghormati dan memelihara bahasa daerah sebagai kekayaan budaya nasional (sadono, 2011)”. the article implied the government’s responsibility to pay attention on the development of the national culture. the constitution has pointed out the politic of culture including art as the responsibility of the government and the right of the society. the government policy combined with the society’s creativity, aspiration, concern, and resolve will determine the existance and development of folk art. if seen from the existing condition, including the malaysia’s claim on reog ponorogo and tor-tor dance can be the illustration of the nation political practice, both done by the government and the society who are ignorant when it comes to art so that folk art is becoming more marginalized. ngesti pandhawa is lucky because from the beginning they got the support from the mayor of semarang hadisubeno sastrowerdojo who was also, at that time, the leader of nasional indonesia party to use the building of gris foundation at pemuda street, semarang. in 1945, ngesti pandhawa permanently performed at gris building that was renovated to meet the need of the performance. the finest moment of the group was when president soekarno visited semarang and watched ngesti pandhawa performance and then invited them to perform at istana negara. they even got “wijaya kusuma” award from the government, based on government policy 26/1960, that was given on august 17, 1962. however, it raised a question, can the president’s kindness at that time be considered as the government’s attention on the art tradition especially human puppet? is the attention of the president and the mayor enough to maintain the existance of art tradtion especially ngesti pandhawa human puppet? it can be a mere kind gesture of the president by giving a place and award as the genuine expression and appreciation from a president. though, it can also be the implementation of bung karno’s politic regarding culture that at time become the application of his politic attititude as the president who led a nation with variety of cultures as well as became the answer regarding western culture that may become a threat to the local culture. it can be seen that in his reign, soekarno implied his politic regarding culture based on the diferences of indonesia (kebinekaan indonesia) that must be maintained. it was proven by some of the art tradition that were greatly appereciated and invited by soekarno to perform at istana. politic practice and its implication on art (ngesti pandhowo group) the role of the nation, especially the government, in managing art, particularly folk art, can be seen from the politic regarrestu lanjari, political practice and its implication on folk art marginalization 169 ding the budget. wisanggeni (2012) stated that art cannot be controlled only by the help of apbd (local government budget). she stated that the collapse of folk art is at least because of two things. first, the minimum attention from the government and the society that is reluctant in watching art performances anymore. second, the attention of the government is not as big as the government’s attention toward sport, it can be seen from the amount of the budget given to the sport area. refering to the case of pati regency, the development art cannot only be supported by the small amount of the government’s budget. pati art board only gets 50 million rupiahs every year. nationally, the attention on the culture including art is concerning. dahana (2013) said that the budget for culture in 2012 is 600 billion rupiah that is only 0.5 percent given by education and culture department not from apbd. it seems like the government does not do anything regarding culture. thus, the government must be gratefull toward the artists in indonesia that independently create the process, dynamic, and products of culture. based on this, the lack of the government’s attention in developing and maintaining art tradition can be seen. the role of the society and government in maintaining or developing folk art is shown by sedyawati (1981, p. 55). besides artist and the society as the supporter of its existance and development, the development of folk art is also determined by the leader of the government, religion, and the parties that give sponsor, etc. the involvement of the the government’s officials, such as president, king, governor, regent, etc can associate the product of art to prestige and luxury. therefore those leaders can promote new art. in the context of local government, budihardjo (2012) stated that the government must have personal interest towards art so that he can say loudly “if the governor dosen’t care with art, then he is uncivilized.”. this statement is the expression of concern from the observer of art tradition that is concerned toward the critical future of the art traditions. it is undeniable as clark (1997) states that there is the complex relationship between art and politics, showing how works of art can have a political purpose, and explores the ways in which art styles become associated with political systems. as well as state propaganda, discusses the protest art of marxism, pacifism, feminism and anti-colonialism. hariadi saptono, executive director of bentara budaya (2012), discussed about the minimum infrastructure in accomodating art nowadays, the condition is different from the condition in orde lama when president soekarno gave special attention to art and culture. in orde lama era, art was used by the political party as a tool to reach the society. “so there was an infrastructure to the bottom and also maintenance.” the responsibility of the government in facilitating folk art is also reflected from the statement of the the professor of indonesia art institute surakarta, rahayu supanggah. supanggah (2012) stated that the existance of the artist is underestimated. because of that the government must give the opportunity, appreciation, not only in the form of money but also appreciation. moreover, the government must help the artist to perform at a good and strategic place. the role of the government is needed because mostly traditional artists have low education background and are vulnerable in facing industrilization and modernization. it is also portrayed through the case of ngesti pandhawa marginalization, they were cast out from a highly valuable land and the government was also “disinclined” in defending the right to live in prosperity and strategic place. the government economic, politic is more inclined to global economic law than formal law that would grant victory regarding the land dispute that was previously occupied by ngesti pandhawa group for years. unfortunately, this was only done halfway. the puppet marginalized people also could be explored its existence, for example in the field of tourism. the existence of this group can be a work of art tourism as said by adler 170 harmonia : journal of arts research and education 16 (2) (2016): 163-171 (1989). semarang has been often the arrival of cruise ships from around the world is proof that semarang very attractive for foreign tourists. the condition of this group marginalization was worsened by the degradation of local culture that was replaced with globalized and capitalist culture of its society. capitalist culture is the enemy of local culture that contains solidarity value. as a result, the supporter of local culture will also be marginalized. if they are more inclined on the business strategic area, the supporter of local culture will also die. a culture, including art tradition will die if its society does not embroider art as a part of their life, even only as entertainment (ambarwangi & suharto, 2014, p. 41). conclusion the existence and growth of folk art can be facilitated by government’s politics and policy, through the public official and budget policy, especially the budget of local government, both province and city government. the attention of the government toward the existence of folk art is still being questioned because the existence of budget policy. the budget for art is extremely small than the budget for sport. local government is the extension of the orientation and perspective of the central government. the existence of the folk art depends on the favor and interest of the local government especially political interest. local government by the existence of local autonomy focused only on the improvement of infrastructure and industrialization and as a result marginalized the development of the culture. the existence of the art tradition like human puppet is greatly influenced by global culture that influences the life style and point of view of its society. however, the role of the government can lead the flow of globalization by marginalizing or changing the life system of art community in embroidering art tradition as a part of their life because of economic factor. whereas, art tradition can build civilization that is based on local culture. references alfian. 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(1999). metode penelitian kebudayaan. surabaya: unesa dan citra wacana. harmonia: journal of arts research and education 18 (1) (2018), 97-106 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v18i1.15524 p-issn 2541-1683|e-issn 2541-2426 pantun in the text of nyanyian lagu melayu asli (nlma) tengku ritawati department of drama, dance and music education, universitas islam riau, indonesia received: december 13, 2017. revised: april 23, 2018. accepted: june 10, 2018 abstract the purpose of this study is to understand the role of pantun in the text of nyanyian lagu melayu asli (nlma). by using critical descriptive method accompanied by implementation of content analysis theory, the author conducted literature studies (literature studies), namely activities re lating to compilation and critical analysis of literature data, such as books, magazines, docu ments, historical stories and etc. the results of the study found that pantun is an old malay poetry work that is not only full of meaning but also solid with its beauty value. values of beauty can perceived if we are sensitive and susceptible with structure and language style a pack of pantun. the other result of this study found the functionality of the origin creation of pantun associated with; (1) commoners who created pantun through their own living experiences, (2) wise people who issued wise words from their contemplation and (3) wise verses from the holy book, namely the qur‟an. the most important research results above all of them are: 1). pantun as a literary art, which has fulfilled the provisions as one of the highest art works of the malay heritage. 2). pantun as a culture of the malay community confirms that the culture of reciprocating pantun is the culture of the malay people. 3). therefore, as the „soul‟ of nlma, meaning and aesthetic of a pantun should be understood and expressed by all nlma singers. keywords: nyanyian lagu melayu asli (nlma); lingua franca; pantun; pantun functionality; originality of pantun how to cite: ritawati, t. (2018). pantun in the text of nyanyian lagu melayu asli (nlma). harmonia: journal of arts research and education, 18(1), 97-106. doi:http://dx.doi.org/10.15294/harmonia.v18i1.15524 introduction in realizing a form of personal and cultural expression that is fundamental to the field of music, we know one of them in the form of singing. as text and history, songs and musical works use traditional signs and symbols as an alternative both in the offering and in the playing. through singing, we can appreciate and understand cultural diversity and richness and indeed, indirectly through singing, we can also un derstand our identity as a cultured nation. it can be understood in a society, in 97 cluding allied malay people, singing is also a special activity in cultural commu nication. this is certainly in line with the opinion of minette mans (2009) who says: “a song, as well as other human expres sions, is a habitual pattern that is learned, as a common thing for a cultured human being. singing is a special activity of com munication. “ besides that, as one of the various cultures that have been learned from gene ration to generation for centuries, nlma is a symbolic nature of a musical commu nication for the malay people. http://journal.unnes.ac.id/nju/index.php/ http://dx.doi.org/10.15294/ harmonia: journal of arts research and education 18 (1) (2018): 97-106 98 corresponding author: jl. kaharuddin nasution 113 pekanbaru riau 28284, indonesia e-mail: tengku.ritawati@edu.uir.ac.id this research, based on the desire to understand the musical culture and sin ging of the archipelago, which in particu lar is nyanyian lagu melayu asli (nlma) as the ultimate wealth of allied malay cul ture. nlma was chosen as the main aspect in this research because this genre is a le gacy for allied malay people around the world with its own history. in addition, the researcher has also conducted research on nlma specifically related to the transmission (inheritance) of nlma through formal education. this research is for a doctoral program disserta tion entitled “development of curriculum for teaching and learning of nyanyian lagu melayu asli (nlma) for formal edu cation institutions” at university pendi dikan sultan idris (upsi), malaysia. even though it is also related to pantun, but the discussion is not very specific, so that the writer intends to study pantun in the con text of nlma specifically in this research. nlma is a tradition of singing sounds with a certain rhythm. the variety of sounds is adjusted to the meaning that will be conveyed by the text of the song. for example in the song tudung periuk. the text or song lyrics conveyed illustra te the attitude of humility of the malayans in the perspective of life and relationships among human beings. other things also show about the manners and elegance of malayan language in daily life. there are several types of rhythms in nlma that are commonly sung by the ma lay people, including: langgam, inang, zapin and joget rhythm. every rhythm certainly brings its own atmosphere. for example, the type of langgam rhythm is always iden tical with a sad atmosphere, so the pantun used as lyrics is in sad tones too. nlma text or lyrics are very open. there are many nlma whose pantun‟s text is developed and modified according to the location and condition of the count ry where the song was popularized. hasan (2002) notes that malay music is compa tible with the malay community itself, and most have become the universal property of malayans in the world. malay music which home is in riau, or anywhere else has almost the same character. the content contained in music and text certainly gi ves a certain meaning in people‟s lives. this classical malay literature called pantun has played a very special role in the life of malay society. various soul experiences were manifested by malay people into the pantun. of course this is related to the way the malay thinks which tends to express it through the metaphoric way. according to akmal (2015) it was alleged that there were pantuns that were very classic and popular in the malay community, namely pantun which was of ten used in the wedding culture of malay people, for example in reciprocating„the door opener‟. the reciprocating pantun „pembuka pintu‟ (the door opener) is a repying pantun one another in the door of the bride‟s house that is carried out by the male guard. reciprocating the pan tun „door opener‟ is a very exciting acti vity, spontaneous and contains a lot of me taphoric values, which shows the culture of the malay community that views an ob ject or problem through inner depth, then reveals the results of the mind, apprecia tion and desire of the heart by using me taphor, namely symbol and figuration. this condition makes the dimension of language and literature very thick in the life of the malay world. the language con taining symbols and metaphors is like a mirror of the life of the malay people (ha midy, 2011). because of the expansion of sri wijaya‟s kingdom trade activities, in its development of malay language became a kind of lingua franca throughout the ar chipelago. pantun in the nlma text can also be said to be the „soul‟ of nlma. the pantun itself for the malay community have been used from all sides of life, for example, folk songs based on pantun. even classi cal malay songs that were popular in the past also spread to the archipelago such as: dear musalmah, zapin kasih and budi, jalak lenteng, mak inang pulau kampai and so on. these classical malay terms refer to the mailto:ritawati@edu.uir.ac.id tengku ritawati, pantun in the text of nyanyian lagu melayu asli (nlma)… 99 notion of music genres which are based on classical literature which are used as other sciences such as customs, religion, beliefs, literature, social, politics and general cul ture (nicolas, 1994). in the national seminar proceedings organized by ps pbsi fkip jember uni versity, murti (2017) noted that “pantun is a representation of rhetorical intelligen ce in the language and literature of ma lay society that is beautiful with thought, beautiful in rhyme, and graceful in har mony. pantun is born from the game of sound and strict rhythmic consideration with instruments that are „in‟ and „enligh tening‟. pantun includes the values of the wisdom of the local wisdom in reflecting his noble life. this wisdom has attached and symbolizes the identity of the malay nation. “ as a song text, pantun plays a big role in people‟s lives. the songs that are played will certainly indirectly permeate the hearth and have the impression of the audience. the text or lyrics of this song not only can contribute towards the formation of the mind of a society, but also be a docu mentation of the socio-cultural history of a nation. choo ming‟s research (2010) shows that pantun contains a lot of content in cluding advice, ideals, philosophy, tasks, loyalty, ethics, family, respect, filial piety, obedience, memory, and many others for the supporting community such as malay society for centuries. therefore, the song text must also be considered for its creati on so as not to bring negative impressions and as a reflection of identity for the sup porting community. the beauty of the song is determined by the elements that are interrelated bet ween the melody of the song and the lyrics. song lyrics are part of a song that gives a new dimension to music composition. the new dimension is a language that makes a language like poetry feel beautiful to hear. poems such as rhymes used for song lyrics will give the beauty of the song in two aspects, the beauty of the musical and the beauty of the literature. the beauty of sound equation in the rhymes is at the end of the line, according to the poem that is a-b-a-b. at the end of the rhyme, row one is the same as the end of the third row, and the end of the second row is the same as the end of the fourth row (suharto & subroto, 2014). the form of pantun as text or lyrics in nlma is a part that is inseparable from the noble archipelago‟s cultural heritage. as the formulation of the discussion above, in the end the aim of this study was to under stand the role of pantun in the original text of nyanyian lagu melayu asli (nlma) text. this study also wants to know how the role of pantun for malay society is seen from the perspective of literature and ma lay culture. method this research is a qualitative research using critical descriptive method through library research (library research), which is a series of activities related to library data collection methods, such as books, maga zines, documents, historical stories (mah mud, 2011). in this study the author uses a con tent analysis approach model which is de fined as a theory that is used to analyze all forms of communication both in the text of books, newspapers and other documen tation materials. as the implementation of this approach, the research has begun by reading and studying writing material, which is quite significant as a reference especially for the discussion of the study of pantun analysis in the text of nyanyian lagu melayu asli (nlma), then the data is sorted to be easily analyzed to answer the study problems that is exist. the final study provides certainty whether the con clusions are in accordance with the formu lated hypothesis if it exists. in summary, research is a genuine and true scientific contribution to the development of know ledge (takavoli, 2012). results and discussion the researcher wants to note about harmonia: journal of arts research and education 18 (1) (2018): 97-106 100 the rhymes in the nlma text specifically the results of the study from the literature review that has been carried out. for this reason, it will also be explained about the background of malay history so that its re lationship with malay art in general and specifically to the realization and aesthe tics of nlma. it should be stated that the pantun is the „soul‟ of nlma because of the impor tance of its role as described below. pantun as a literary art as a literary work, pantun must have met the criteria as one of the culmination of malay heritage art. pantun is the work of old malay poetry which is not only loa ded with meaning but also dense with its beauty value. the value of its beauty can be seen if we are sensitive and susceptive to the structure and language of the double style of a pantun. the structure of langu age is not created arbitrarily but requires attention and sensitivity from all aspects including lexical selection, syllable syllab les, and a limited number of lines. “ the expression above gives an idea of the sensitivity of feelings that arise du ring the creation and selection of the right words to give meaning to the pantun. not only that, pantun contributes to diversity in malay art treasures. one of them is of course nlma. to understand the nlma text, there are no shortcuts but must un derstand the deep meanings of the rhymes sung. this is not an easy thing, because ac cording to idris (2011) “pantun not only has a profound meaning but its offerings are also interesting with limited syllables and lines, the chosen dictation, and the structured receptions, including the com position of words and phrases.” furthermore, ahmad (as stated by idris, 2011) states that: “the recording of the beauty of feeling is indeed already in every double pantun. in terms of the cre ation of the pantun, aspects of physical beauty and the beauty of language as il lustrated in the first part (intentional ima gery) can be perceived as the pantun skin. the goal seems to provide an opportunity for listeners to understand the content de livered. the second part contains the real intentions about the contents of the rhymes that will be conveyed. shafii & introducti on research (2010) even mentions the two parts between shadow (sampiran) and in tent (content) something that is inseparab le, such as body and soul, birth and mind, outside and inside, even bodies and spirits for malay people. the linking is somet hing nice to sing and hear including from the sound at the end of the line (braginsky, 1998; daillie, 1990). in the rhythm of the final sound in each part of the shadow should be dif ferent while the end sound in each part of the contents should be the same as the end sound on the shadow. nlma singers must understand the description above, because almost all nlma song texts are in the form of rhymes. further knowledge must be elaborated with a further understanding of the concept of the structure of a pantun. according to alisjahbana, pantun is for med of four rows of rhyming and alterna ting two-two (rima a-b-a-b) and sometimes there is a pantun bond which also consists of six or eight lines (idris, 2011). pantun has multiple copies and each double consists of lines or slices. examples of the malay pantun type are pantun two slices, pantun four slices, pantun six slices, pantun eight slices, pantun ten slices, pantun twelve slices, pantun fourteen slices, and pantun sixteen slices. the number of syllables in each row consists of eight to twelve. each double pantun has a shadow section and a purpose section: the shadow is called also as sampiran or imagined intention and the rhyme scheme is a-b-a-b. each double or pantun stanza has (1) complete and perfect unity of mind, (2) has symbols that are in accordance with the norms and values of the local commu nity: (3) and there is a meaning relation ship between the shadow and the intent. the essence of the beauty of this rhy mes is the rhythm in the lines, the sound of words that form the heart, and the contents of the next two lines (idris, 2011; alis jahbana, 2009) tengku ritawati, pantun in the text of nyanyian lagu melayu asli (nlma)… 101 pantun as a malay culture apart from being one of the tops of malay literary works, pantun is also part of the culture of malay society. ap propriately describe this by saying that old poems such as pantun are part of the culture emitted by the malay community (alisjahbana, 2009). idris (2011) revealed that pantun is a container used by the malay community to express their thoughts and feelings about the meaning of life, about human behavior and its relationship with the surrounding environment. pantun is also one of the main aspects in understanding malay civi lization because pantun usually describes the unique character of nature, environ ment, thought and subtlety of the malays. shafii‟s research (2010) even found that there was a love of nature in malay culture through poetry in his contemporary life. the following is the poetry example. tonight the maize for roasting‟s set, to morrow it is a lemon grass, tonight we are together met, tomorrow on the ways we pass. maulina (2015) states that «... pan tun seems to originate from the malay tra dition which has been so firmly rooted and becomes an inseparable part of the daily li ves of its people. pantun may spread along with the development of malay langu age which became the lingua franca in the archipelago. it might be because of that, compared to people in other regions, pan tun for the malay community has been so firmly integrated and as an important me dium in delivering advice regarding social relations in social life. “ piah (1989), asserts that rhyme is not only a communication tool to express emo tions of love and affection. pantun also has educational elements, which contain te achings about social life, advice, religious studies and affirming the oneness of god. andriani (2012) also emphasized: “pantun plays a very important role in the life of the malay community because in the pantun many values of life are in accor dance with islam based on the qur‟an and sunnah. pantun plays a very vital role in the life of the malay people. through pan tun, teaching points were disseminated, inherited and developed. through rhymes also noble values are perpetuated and con veyed to members of the community there is a problem about how to interpret pantun values in the context of malay language and culture. first, pantun interpretation should be based on words, phrases, lines or couplet. there is also a pantun in the form of a story called pantun cohesion (for example there is in ‘dadenda te’, namely the art of traditional music of the people of palu, south sulawesi, indo nesia). this pantun genre interpretation needs to be done in the whole couplet to work on themes, problems, and teaching that might be revealed through dual con tinuity (idris, 2011). then idris further explained how to assess the order of a pantun. according to him, the order of a pantun does not lie in one part but is related to the whole. there are rhymes that are rich with sounds and rhymes that are melodious (poetic) and ot hers are thick with the comparison. even so, the whole becomes strong and steady because of its cohesion and is not due to sound aspects or comparative aspects se parately. the melodious rhymes, but the raw contents will not be considered quali ty. the rhymes are rich in comparison but the meaning of comparison is cheap, the nature of it will also be pinned down. the source related to the origin of the creation of rhymes in the malay commu nity is divided into three sources, namely; 1) commoners who create rhymes through their life experiences, 2) wise people who express phrases of results rather than their reflections and 3) holy book, namely al qu‟ran. then the question also arises about the authenticity of pantun art, whether it is genuine or has other cultural influen ces. to answer that problem, idris (2011) asserts that the culture of acting is malay culture. pantun is favored by the malay community because pantun is a poem that does not have elements of foreign influen102 harmonia: journal of arts research and education 18 (1) (2018): 97-106 ce. this is due to the fact that pantun is a product of true malays who can describe the thinking of the people. with regard to malay culture, nlma is one form of malay identity. pantun which is the most important idiom in the nlma text has great values as the iden tity of the malay community. the pantun text in nlma is formed by the laws con tained in the repertoire including the mu sical theories that frame it. the aesthetic has contextual values related to the musi cal behavior of the community formed by the community who want to express cul tural characteristics (cultural identity), and make it a social identity (hanks, 1989). in the malay republic, various types of lite rary works can be found, but why is the pantun used as an identity of the malay identity. in addition, pantun can become a means to convey noble values including the islamic values of the malay communi ty. pantun as ‘soul’ nlma as noted before this pantun is a „soul‟ which shows that nlma art depends enti rely on the beauty of pantun art. likewise, because of that, as a first step, an nlma singer needs to understand with certainty the meaning of pantun and second, it must be clever to make rhymes when desired at the time of offering. andriani (2012) as serted: “pantun is very close to malay life. pantun is considered as a form of art that was born from the malay cultural ins tinct itself. even pantun survives its use until now in malay life. the rhymes are often made by song lyrics or even used as new expressions.“ andriani (2012) also stated: “for most malays, especially riau malays, they already know the terms of the rhymes, so that only one name is mentioned, they can understand the meaning. because of its va riety, the term for the rhymes that conta in the teaching and religious teachings, the malay elders enter the rhymes into various forms of presentation so that the designati on follows the intended form. for example, pantun which is used as a song or rhyming song, is no longer called pantun teaching or tunjuk ajar, but is called ‘pantun nyanyi an’ or ‘pantun lagu.‟ if the song is a song to put the child to sleep, it is called „pantun lulling a child‟ or pantun „singing to lulling a child‟ or chid hum” besides that, in different nlma pan tun offerings are always sung with the same melody repeated, depending on the atmosphere experienced. below are some examples of rhymes that are always used in the nlma and the meaning of the text within. example 1: lyric of „si hitam manis’ kiri jalan kanan pun jalan, ditengah-ten gah pohon kenari kirim jangan pesan pun jangan kalaulah rindu datang sendiri hitam-hitam si tampuk manggis, walaupun hitam kupandang manis hitam-hitam si gula jawa, walaupun hitam manis tertawa kalau tinggi-tinggi selasih, walau tinggi berdaun jangan kalau pergi pergilah kasih, walaupun pergi bertahun jangan hitam-hitam si tampuk manggis, walaupun hitam kupandang manis hitam-hitam sibe ras pulut, walaupun hitam hati terpaut translated in english: the sweet black the left goes, so does the right in the middle of a walnut tree sending not allowed neither do order whenever missing coming by itself black and black mangosteen even though black is considered sweet black and black the javanese sugar although sweet black laughs if the basil is high even high leaves do not if you go away despite going many years do not the black, black mangosteen although black, it is sweet black, black the glutinous rice although black hearts are linked tengku ritawati, pantun in the text of nyanyian lagu melayu asli (nlma)… 103 this rhyme on joget „hitam manis‟ is very popular, especially among teenagers and young people, even more so for those who are loving. this song is a song that is well known to this day and listeners really enjoy the song, rhythm and lyrics. revea ling the meaning contained in the lyrics of this song, it is a mercy verse that contains expressions addressed to loved ones. example 2: lyric of ‘jalak lenteng’ pukul gendang kulit biawak, sedikit tidak berdentum lagi kemana untung hendak ku bawa, sedikit tidak beruntung lagi jalak lenteng ayam sabungan hatiku rindu mengenangkan tuan sakit sungguh kena je latang, sakit tak boleh kubawa mandi sakitlah sungguh hidup menumpang, sakit tak boleh kehendak hati jalak lenteng melayu lagu melayu hatiku sedih bertambah pilu translated in english: jalak lenteng hit the monitor lizard skin drum, a little bit no more where to go i want to bring, a little unlucky again jalak lenteng chicken brook my heart to remember your master pain really hit nettles, i can‟t take a bath it hurts to live a ride, pain should not be hearted malay jalak lenteng malay song my heart saddened the rhymes in the song „jalak len teng‟ are very popular and are often sung in the nlma genre in areas that still prac tice malay culture, especially in indonesia and malaysia. the first pantun is a symbol of a woman‟s overflowing feeling towards someone who no longer gives attention to her. the second pantun, illustrates the distress of the heart and the feeling of sad ness when remembering the fate that befell. a heart that wants to live a ride becomes increasingly painful when disappointed. that is the feeling of a malay woman who is hurt in love matters. example 3: lyric of (mak inang) „pulau kampai‟ sungguh(lah) indah si pulau kampai, tem pat memancing ikan tenggiri sungguh(lah) sedih kasih tak sampai, rindu kutanggung seorang diri lama(lah) sudah tidak ke ladang, tinggi(lah) rumput dari(lah) lalang apa(lah) saja dapat dibilang, karena lidah tidak bertulang gadis(lah) desa pandai mengukir, pandai(lah) juga bertenun kain kasihan bunga menghadap air, embun menitik di tempat lain anak(lah) dara duduk termenung, sambil menyusun sibunga rampai maksud(lah) hati nak meluk gunung, apalah daya tangan tak sampai translated in english: kampai island really beautiful kampai island, mackerel fishing spot really sad, sad not to arrive, miss the guilt alone old is not in the fields, hight of grass from weeds anything can be said, because the tongue is not boned the village girl is good at carving, she is good at woven cloth too, poor flower fa cing the water, dew drops elsewhere daughter‟s child is sitting pensive, whi le arranging the lofty place i mean my heart is hugging a mountain, what‟s the power of the hand does not arrive the song (mak inang) ‘kampai is land’ is also one of the songs that are also very popular in the malay archipelago. the song text (lyric) is the rhymes that 104 harmonia: journal of arts research and education 18 (1) (2018): 97-106 are simple and easy to understand. this song is also often used to accompany tra ditional malay dance, namely „tari mak inang pulau kampai‟. if analyzed, the whole meaning of pantun above illustra tes a person‟s disappointment because his sincere love does not get a reply. the ly rics or text of this song can sometimes be composed in such a way as to maintain its rhythm, because what is prioritized is not only the text but the rhythm that can satis fy the listeners. example 4: lyric of „sayang musalmah‟ ahai ... sayang musalmah memakai sanggul ahai... turun kesawah menanam padi emas sekoyan dapat kupikul aku tak sanggup menanggung budi ahai ... turun kesawah menanam padi ahai … hendak dijual ke pekan lama jangan se lalu menanggung budi keraplah kali jadi bencana translated in english: dear musalmah ahai ... dear musalmah wearing a bun ahai ...down the field to plant rice sekoyan gold can be carried i can‟t bear the thought ahai ...down the field to plant rice ahai ... want to be sold to the old week don‟t always bear your heart it‟s often a disaster ‘sayang musalmah’ is also one of the most popular songs in riau, north sumat ra and peninsular malaysia. pantun from this song reflects the day-to-day life of a malay woman named „musalmah‟ who always wears a bun going down to grow rice. here there is advice about the im portance for someone so that they are not always consumed with anyone because it will lead to disaster. this shows how eve rything that has been done can be used as an initiative in the future. this provides an illustration of how a malay woman who is in accordance with her traditional cus toms must always think before accepting a person‟s favor so that she will not be remo rse in the future. example 5: lyric of ‘kasih dan budi’ kalau menebang, kalau menebang si pohon jati, papan di jawa, aduhai sayang, papan di jawa dibelah-belah kalaulah hidup, kalaulah hidup tidak berbu di,umpama pokok, aduhai sayang, umpama pokok tidak berbuah bunga selasih, bunga selasih si bunga padi, kembang mekar, aduhai sayang, kembang(lah) mekar di dalam taman pertama kasih, pertama kasih kedua budi, yang mana satu, aduhai sayang, yang mana satu nak diturutkan datuk laksmana, datuk laksmana ke bang ka hulu, berlayar kapal, aduhai sayang, berlayar ka pal membawa dagang bagailah mana, bagailah mana kapal nak lalu, kuala sudah, aduhai sayang, kuala sudah di lekong karam translated in english: love and right-minded if you cut down, if you cut down the teak tree, board on java, what a pity, the boards in java are divided even if life, if life is not right-minded, for example, it is a pity, dear, for examp le the principal does not bear fruit basil flowers, the flower of the rice flo wer, flowers bloom, it‟s a pity, baby, blooms bloom inside the garden first love, first give the two minds, which one is one, what a pity, which one kid is sorted datuk laksmana, datuk laksmana to bangka hulu, sailing ship, wonderful baby, a sailing ship carrying trade tell me where, where did the boat last, kuala already, it‟s a pity, my wife has been wrecked the song (zapin) ‘love and budi’ is a tengku ritawati, pantun in the text of nyanyian lagu melayu asli (nlma)… 105 song that still gets a place in the heart of nlma activists and listeners up to now especially in the malay community. ove rall the meaning contained in the above text contains the instructions, invites, pro hibitions and examples of good and true behaviors. this pantun also gives a lot of teaching about good manners and does not deviate from malay customs. messa ges delivered are very useful for our lives to become a better human being. an in-depth analysis of some of the pantun examples in the nlma above exp lains that the aspects and values of the ma lay community can be described. examp les of some pantun above although short of the bait but contain a solid and brilliant meaning. the malay community in the past but today still makes pantun as one of the entertainment media. nlma-sha ped songs, jogets, zapins and hostages for example still use pantun as the main text to the present, despite the ability to express new pantun as a process of imagination open to a nlma singer. what cannot be ignored is its beauty of the literary. literary elements add to the beauty of song lyrics if sung in a song (suharto & subroto (2014). repetition of the word (repetition) and the equation of sound in the repetition and at the end of the line (rhyme) add to the beauty of the song. the distinctive beauty of this song is because of the shape of the pantun which also has elements of beauty such as mu sical, literary and cultural inherent in the pantun itself. pantun consists of two elements: the first two lines as sampiran and the last two lines as contents. these two parts, accor ding to shafii (2010) and daillie (1990) are inseparable souls and bodies of the malay community. the sampiran in pantun generally reflects the character and culture of malay people. conclusion the results of the analysis of content from various data as described above show that nyanyian lagu melayu asli (nlma) is a tradition of singing sounds with a cer tain rhythm. the variety of sounds is adju sted to the meaning that will be conveyed by the text of the song, for example in the song tudung periuk delivered to describe the attitude of humility of the malays in the perspective of human life and relation ships. pantun literary art as the text or ly rics of nlma is an inseparable part of the realization of nlma. as the art of malay literature, pantun also has cultural values and symbols and communication media of the malay community. this study has found results from the literature study of pantun in the nlma text on the realizati on and aesthetics of nlma. pantun is said to be the „soul‟ of nlma and has an impor tant role such as: 1) pantun as a literary art, which has fulfilled the criteria as one of the culmination of malay heritage. 2) pantun as a malay culture, which confirms that the culture of acting is the culture of the malay community. popular rhymes are caused by the creation of true malays who can desc ribe the thoughts of the people. 3) pantun as the „soul‟ of nlma, which shows that nlma art depends entirely on the beauty of pantun art. therefore, it is important for an nlma singer to understand the mea ning of pantun and express new rhymes as a process of imagination. references alisjahbana, s. 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(2002). perhimpunan pantun melayu. pekanbaru: unri press. seidman, i. (2006). interviewing as a qualitative research: a guide for researchers in education and social sciences. 3rd edition. new york: teachers college press. suardi, m. s. (2008). dari melayu ke indonesia. yogyakarta : pustaka pelajar. suardi, m. s. (1991). budaya melayu dalam perjalanannya menuju masa depan. pekanbaru: yayasan penerbit msi riau. shafii, h., samad, a., & pengenalan, k. (2010). kelestarian unsur alam dalam seni budaya melayu: pantun sebagai bayangan falsafah alam. in seminar sebahtera. johor malaysia: uthm. suharto, s., & subroto, e. (2014). the equivalence of translated songs lyrics and their effects the case of translated ecclesial songs. harmonia: journal of arts research and education, 14(2), 131-139. takavoli, h. (2012). a dictionary of research methodology and statistic in applied linguistics. tehran, iran: rahmana press. http://malaycivilization.ukm/ 183 the concept of balance at sekati ririg gending in tejakula, buleleng regency i ketut aditya putra, hendra santosa, i komang sudirga institut seni indonesia denpasar, indonesia submitted: july 23, 2020. revised: september 19, 2020. accepted: november 4, 2020 abstract this study aims to determine the concept of balance found in playing techniques, tempo, and dynamics (ngumbang-ngisep) at sekati ririg cenik gending in tejakula, buleleng regency. the research is focused on the presentation using the barungan of gong kebyar gamelan, because at the time of handling the beginning observation, it was presented to accompany religious ceremonies at pura maksan tejakula. this research is a qualitative study using several data collection techniques; observation, interviews, documentation, and literature. the approach used is a musicological approach using aesthetic theory. the results obtained from this study are the concept of dualism balance in terms of some of the forming elements in it, such as playing techniques on instruments pemade, kantilan, trompong, reyong, and ceng-ceng kopyak. these are some of the instruments that use the polos-sangsih system in their playing. playing technigue usually play parallel to the tempo, while playing technique sangsih is still playing against the tempo. furthermore, the concept of balance at tempo can be seen from the speed with which gending sekati ririg cenik is presented. the presentation begins with a slow tempo, then after several repetitions of the gending the tempo slowly changes to faster until it reaches the end of the gending, and the tempo is again set to slow. likewise with the concept of dynamic balance which can be viewed from the loudness of the musical presentation. setting the tempo and dynamics is intended to achieve balance and will not cause boredom in the presentation. these three things can be implemented in the gong kebyar gamelan instrument which is used as a medium in presenting sekati ririg cenik gending by the community in tejakula village. keywords: concept; galance; gending; sekati ririg cenik how to cite: putra, i. k. a., santosa, h., & sudirga, i. k. (2020). the concept of balance at sekati ririg gending in tejakula, buleleng regency. harmonia: journal of arts research and education, 20(2), 183-194 harmonia: journal of arts research and education 20 (2) (2020), 183-194 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i2.25412 cept of difference or contradiction that is always one and inseparable from one another. thus, this concept is very much embedded in human life in the universe. rwa bhineda actually explains how god created the universe in a paired condition but in contradiction. for example, the creation of men and women, black and white, and so on. this is written by ida pandita dukuh celagi dhaksa dharma kriti (2019) in his introduction the balinese people believe in a dualism dimension as a concept of life balance or what is known as rwa bhineda. dualism comes from the latin word duo (two), which means teaching that states that reality consists of two different and contradictory substances. (sutrisno, 2014). the word rwa bhineda in bali’s lives is a concorresponding author: e-mail: hendra@isi-dps.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (2) (2020): 183-194184 book “bhaerawa adalah jalanku” states: rwa bhineda in his concept, couples with different characters must be side by side, not mutually exclusive. for life to run in harmony, rwa bhineda teaches that two opposites must balance each other. in their desire to do something, the balinese desire to stick to the concept of balance as the basis for carrying out all their actions. this has been written in the lontar prakempa that the balance of human life in the dimension of duality is to believe in the existence of two terrible forces, such as good and bad, day and night, man and woman, and, at times, and others (bandem, 1986). the duality dimension can be parallel to the concept of rwa bhineda which is believed by hindus in bali, who have differences or resistance but still cause balance and harmony. in general, balinese gamelan also has the concept of dualism balance. as stated by (sugiartha, 2015) that two-dimensional balance is a characteristic of balinese gamelan, because it has the meaning of togetherness and mutual need. as stated by sugiartha (2015), a two-dimensional balance is a characteristic of balinese gamelan, because it means togetherness and needs each other. the terms male and female are also usually used in balinese gamelan, such as the female drum (wadon) and male drum (lanang) instruments. (utomo, 2006). besides, the round gong instrument is also present in balinese gamelan. this reflects the concept of a balance of dualism in balinese gamelan, one of which is in the gamelan barungan gong kebyar. gamelan gong kebyar has several instruments arranged using a two-dimensional concept from a physical point of view, such as the resulting tone being lower and the resulting tone being higher. apart from being seen from a physical perspective, the gamelan gong kebyar uses a two-dimensional concept that can be seen in terms of musicality, such as using the polos-sangsih system in its playing techniques. gong kebyar is one of the many types of gamelan instruments/groups that have developed very rapidly in bali at present. the mutual influence between gong kebyar and other gamelan is due to the fertility of the life of gong kebyar in bali. in accordance with the statement of aryasa (1985) that the gamelan gong kebyar is often used to present music from other gamelan, such as the gamelan semar pegulingan, bebarongan, and the music from the gamelan gong gede. thus, gong kebyar as an identity is often seen as the result of active community efforts to preserve and introduce it to the world. through gong kebyar balinese people get their identity (rismandika, 2018). gending in the musical world has become a common term and is also very popular. the term gending is usually used in the designation for musical composition. gending is a song or contains a sense of having a form and composition (aryasa, 1985). refer to a definition of gending sekati ririg cenik, according to pande gede mustika, if it is seen from sekati, it should have the root word “katih” which in balinese terms means one or single. in music, the word “one” can be viewed from the song pattern and structure of the colotomic instrument. in one gongan gending, there is only one kempul and kempli stroke and the trompong instrument play pattern, which uses the play pattern innocently following the melody’s flow without any progression of the gending. then, the word “ririg cenik” itself is also a balinese term that can be divided into two syllables, namely ririg, which is almost the same as mejejer and mebaris which means sequential or rows. meanwhile, the word cenik in balinese terms means small. meanwhile, the word cenik in balinese terms means small. the sekati ririg cenik gending is musically one of the pieces which as a whole has a single form and structure characterized by one kempur punch, kempli in one gongan and has a series of melodies that lead to higher notes or into smaller octaves (interview monday 24 september 2018). gending sekati ririg cenik is classified as a guardian art or a religious performance of ceremonial gending, that’s becaui ketut aditya putra et al., the concept of balance at sekati ririg gending in tejakula, 185 se the dish only functions to accompany the procession of presenting religious ritual offerings at the time of the dewa yadnya ceremony. the yadnya god ceremony (i) is worship or offering as a form of devotion before god and all its manifestations. the ceremony is determined based on sasih (a ceremony held once a year) and based on pawukon forecast count (putra, 2004). based on the above phenomenon, the researcher is interested in making this object as research material to find out how the concept of dualism balance found in the sekati ririg cenik music in the tejakula, buleleng regency. in accordance with the results of preliminary observations that have been made, the gamelan gong kebyar is used to present sekati ririg cenik gending by the community in tejakula and is also used to show music from the gong gede gamelan such as tabuh telu, tabuh pat, and gilak when performing piodalan at the temple maksan of tejakula village. this research is very important to do because apart from efforts to preserve it, no one has ever researched this case before. so the researchers hope that this paper can provide information to everyone related to the sekati ririg cenik gending in tejakula, buleleng regency. the research focuses more on the concept of balance of dualism dimensions viewed from several elements, such as playing techniques in the polos-sangsih system, the concept of tempo balance, and dynamics in the sekati ririg cenik gending presentation. so that in writing, it is discussed in depth about these three things. methods this study used the descriptive qualitative method. sugiyono (2015) states that the qualitative research method is a method that examines the condition of natural objects, where the researcher is the key instrument. the data collection technique is carried out by triangulation (combined), the data analysis is inductive/qualitative, and the research results emphasize the meaning of more than generalization. this research’s implementation related to data sources can be grouped into two, namely primary data and secondary data sources. furthermore, techniques in collecting data can be done by several methods, including observation techniques, interviews, documentation questionnaires, and a combination of the four (sugiyono, 2009). therefore, from sugiyono’s statement, this study’s data collection techniques used several techniques, including observation, interviews, documentation, and literature. the observation technique was carried out by observing sekati ririg cenik gending directly at the time of the dewa yadnya ceremony held at pura maksan, tejakula village. the interview technique is carried out by interviewing several people influential on the object of research, such as artist figures in the village concerned, musicians involved in the performance of sekati ririg cenik, the head of the gong group, and several residents of the tejakula traditional village. the interview technique is carried out by interviewing several people who are influential on the object of research, such as artist figures in the village concerned, actors or musicians involved in the sekati ririg cenik gending presentation, the head of sekaa gong group, as well as several residents in the tejakula traditional village. interviews were conducted in-depth by asking questions that had been prepared in accordance with the research needs. the documentation technique is done by taking pictures or videos when the people of tejakula present sekati ririg cenik gending. researchers do this by collecting books, journals, and similar research results to understand and add broader insights into the literature technique. in addition, researchers also compare the data obtained in the field with the results of interviews and interviews; researchers compare the results of interviews with main informants and other informants. the approach used in this study is a musicological approach, which is an approach to read problems in musical, scientific fields, including the form of music, the textual music, and the harmonia: journal of arts research and education 20 (2) (2020): 183-194186 musical context. results and discussion sekati ririg cenik gending the implementation of religious ceremonies carried out by the community in the tejakula traditional village is inseparable from social interaction and art performances, both dance and music, that are sacred or entertaining. as social and cultural creatures, humans certainly interact with each other, the environment, and with god. social interaction, in this case, is in expressing art in social life. it is an expression of human culture that is always present as a personal expression and an expression of community groups based on the culture. individuals and community groups can use or use it as a means of social interaction (wadiyo, 2006). social interaction here is an expression of art in social life because art is an expression of human culture that is always present as a personal expression. it also an expression of community groups based on the culture it refers to, from which individuals and community groups can use or exploit as a means of social interaction (wadiyo, 2006). therefore, it can be said that art has a role as a means of social interaction as an example in the gending , which is presented when carrying out social activities for religious ceremonies in tejakula traditional village. the people in tejakula traditional village generally carry out the piodalan ceremony for three days. in connection with sekati’s repertoire presentation, the local community usually performs five sekati repertoires, one of which is sekati ririg cenik gending. suppose the community carries out the piodalan ceremony at pura kahyangan tiga. in that case, the gamelan barungan used is gong gede gamelan; it is because the temple’s existence is classified as the main level in the local village area. meanwhile, when local people carry out the piodalan ceremony at pura maksan, the presentation of the sekati ririg cenik gending is, of course, using the gong kebyar gamelan. given this temple’s existence, apart from having a small area, this temple is classified as an intermediate level in tejakula traditional village area (interview with gede santara, 11 july 2020). so that there is a clear difference in terms of presentation using two different gamelan sets, and it all depends on where the local community holds the religious ceremony. likewise related to sekati’s gending offerings, generally, it can only be found on the second day when carrying out ngebekin ceremony (the peak of the piodalan ceremony) and the third day at the ngelebarang ceremony (the end of the piodalan ceremony celebration). this has indeed become an agreement of the local community to continue the tradition passed down long ago. the presence of sekati ririg cenik gending in tejakula traditional village contextually appears when the community is carrying out religious ceremonies that are similar to the existence of the gamelan sekaten in the three keraton, namely the surakarta, yogyakarta, and cirebon palace. contextually, gamelan sekaten is also used in the traditional ritual ceremonies of each keraton. (utami, 2011), states that the existence of gamelan sekaten, one of which is in the great mosque of surakarta, is a concept that is closely related to sacredness and part of the sekaten ritual in the sacredness of gerebeg maulud. this explanation shows that there are a relationship and an important role between musical offerings and the implementation of religious rituals aimed at god. the concept of balance on playing technique of sekati ririg cenik gending the playing technique or gagebug also has its concept or way when playing a gamelan known as polos-sangsih. polos and sangsih system will move if combined and cause a mix of sounds called ubitubitan, moving up and down or vice versa and filling in empty beats and making interlocking sounds (bandem, 2013). the technique in gamelan in bali is known as ubit-ubitan, kotekan or cecandetan. dibia (2017) explaining textures is one way i ketut aditya putra et al., the concept of balance at sekati ririg gending in tejakula, 187 to build complex but rich sound textures. when playing the kotekan, two or three gamelan players play or have a tight interaction. each player plays intricate rhythmic patterns or strokes to perform the main melody. while the word cecandetan itself comes from the word “candet-candet”, the word means mutually muttering. reproach is meant to respond to a sound with another sound so that it creates a rhythm when the gamelan is played. generally, each instrument in gamelan gong kebyar has ubit-ubitan, kotekan, and cecandetan technique used in the polossangsih playing system. polos-sangsih system explained by dibia (2017) that playing polos strike is often called negtegin (from the word tegteg, the balinesse language means strong) because of this strike move along with kajar strike. sangsih strike is also called nimpalin (from the words timpal in balinesse language means friend) because of this beat’s function as a friend or a couple from polos. based on the above understanding, some instruments of gamelan gong kebyar that are used to present gending sekati riring cenik also uses playing technique with polos-sangsih system as it is mentioned above. some of them apply the oncang-oncangan, norot and twist check five techniques, namely the pemade and kantil instruments, reyong, ceng-ceng kopyak, and trompong (putra, 2019). each of these instruments produces a strand of tones according to their musical needs so that the process can create a complementary balance. pemade and kantil instruments are instruments in the gong kebyar gamelan, which both have a pelawah shape made of wood and a bronze blade; it’s just that the size of the kantilan instrument is smaller than the pemade instrument. in general, the function of pemade and kantil is to work on music with a variety of twists/ties, including oncang-oncangan and norot (sukerta, 2001). pemade and kantil instruments in the sekati ririg cenik gending presentation, using a plain-sangsih system with the types of norot and oncang-oncangan playing techniques. before moving on to definition of norot, it is necessary to know about understanding the meaning of nyocol. nyocol is meant to be a playing technique in a medium tempo, which is done by hitting the same note (with two strokes in one beat). the term nyocol is taken from the balinese language, namely cocolan (from the word cocol) which means one lump. figure 1. description of notation symbols (doc. aditya putra,2020) from the definition of nyocol, it can be seen that the norot strike technique is a compacted nyocol punch. norot can be done by closing the first note or leaving both notes open (dibia, 2017). while the type of oncang-oncangan stroke is the name of a stroke pattern that uses strokes that alternate by hitting two different tones interspersed with one tone. the results of these strokes can be intertwined in one direction, so that the notes that are heard are always sequential. meanwhile, the type of oncang-oncangan stroke is the name of a stroke pattern that uses alternating strokes by hitting two different notes interspersed with one note. this stroke can usually be done in the fast and responsive part of the repertoire (mustika, 1996). apart from the meaning of oncangoncangan in the context of music, the word oncang/ngoncang can also be found in a tradition that still exists today. this tradition is still maintained in many places, such as in buleleng and tabanan areas. in this case, ngoncang can be interpreted as a customary activity carried out in groups, one group usually consisting of five or six people. women only did ngoncang because it was believed that only women pound rice in ancient times. the tradition of ngoncang is done by playing a rice pounding tool or kentungan (listiani, 2014). each harmonia: journal of arts research and education 20 (2) (2020): 183-194188 player has a different rhythm pattern and the strokes are taken alternately regarding how to play it. besides being used in the implementation of the ngoncang tradition, the oncang-oncangan playing technique is also used in the musical concept of the sekati ririg cenik gending in the tejakula traditional village, buleleng regency. the oncang-oncangan technique in the sekati ririg cenik gending is also performed by alternating between polos and sangsih strokes, every musician who plays this technique naturally adjusts the melody that has been composed. so that these patterns of play are intertwined complement each other. before arriving at an explanation of the playing techniques in sekati ririg cenik gending, it would be nice to understand some of the symbolic descriptions used in the notation. the goal is none other than to make it easier to read examples of notation in this paper; figure 2. example of oncang-oncangan playing technique notation on a pemade instrument (doc. aditya putra, 2020) furthermore, below, we can describe examples of oncang-oncangan and norot playing techniques in sekati ririg cenik gending through the notation of playing the pemade instrument in the gamelan gong kebyar. the following is an example of the oncang-oncangan playing technique in sekati ririg cenik gending. figure 3. examples of the notation of the norot playing technique on the pemade instrument (doc. aditya putra, 2020) from the example of the polos-sangsih pemade playing technique notation on the oncang-oncangan stroke type, pemade polos (pp) instrument has a playing technique by hitting two different notes in one beat and line with the melody beat of the gending. while the beat of the pemade sangsih (ps) instrument is played by hitting two different notes in one beat, the strokes are opposite to the beat of the melody which aims to complete the empty space of pemade polos playing. these two game systems are complementary intertwined from each note produce on each beat. so, it is very clear that there is a parallel or opposite playing process between polos and sangsih strokes that cause a balance to arise. likewise, with the norot playing technique, the following is an example of the norot playing technique notation in sekati ririg cenik gending. from figure 3 of the norot playing technique above, you can see the process of balance between polos and sangsih strokes that are produced through a complementary tune in each beat. the norot stroke on a polos pemade instrument plays the same two notes in one beat. it is also noteworthy that in the norot polos strokes above, there are a number of notes played with the blade closed, which is indicated by a ding note that is crossed out with a sound “dit.” likewise in the norot strokes on the pemade sangsih (ps) instrument, the technique of playing it is the same as the polos pemade instrument which is played by hitting the same two notes, and there is also a game by closing the blade like a dong note that is crossed out with a “dot” sound. however, in pemade sangsih the strokes are not parallel or opposite to the beat of the melody gending, it is because pemade sangsih is an instrument that complements the empty space of the pemade polos instrument. so that both of them, when combined, can produce a harmonious tone. based on the description of the two types of playing techniques of the pemade instrument, it is clear that two systems are parallel or opposite to the melody beat between plain and sangsih strokes, but the i ketut aditya putra et al., the concept of balance at sekati ririg gending in tejakula, 189 two strokes still produce a balance of tones or a paired sound. these types of norot and oncang-oncangan strokes are applied to the technique of the sekati ririg cenik gending playing where the norot strokes are played alternately with the oncang-oncangan strokes. so this really reflects the concept of balance in the dualism dimension because from the two strikes, there are significant differences, but both complement each other without leaving empty spaces. reyong / riong or some say riyong (santosa, 2020) is an instrument in the gamelan gong kebyar which has several moncol / pencon as a sound source and is placed in one tungguhan which is an elongated shape. the reyong instrument’s notes are twelve tones, including deng, dung, dang, ding, dong, deng, dung, dang, ding, dong, deng, dung. this instrument is played by four people in which each player has their own designation, including the striker (first player), pengenter (second player), penyelah (third player), and pemetit (fourth player). in the reyong instrument in the music of sekati ririg cenik in tejakula, several playing techniques can be found, namely slow norot (adeng) and fast norot (gencang). these techniques can be visualized through the musical notation as below. figure 4. the example of notation of slow norot (adeng) playing technique in pemade instrument. (doc. aditya putra, 2020) based on the musical notation related to the technique of playing the reyong instrument, this notation is only used to visualize the first (penyorog) and second (pengenter) players. the two games can represent the other two players. the reyong instrument in the sekati ririg cenik gending in terms of the playing technique shows that in the slow norot (adeng) playing technique it runs flat and at a slow tempo in accordance with the naming of the method itself. there is a ngempyung system in the game, namely simultaneously striking two different tones from the first reyong player (penyorog) to hit a dung tone while the second player (pengenter) strikes a ding tone. furthermore, in the fast norot playing technique (gencang) performed by the two players, both the striker stikes dang and ding tones and the pengenter strikes the dong and deng tones with a beat in medium or fast tempo from the slow norot technique that has been previously explained. so that this technique produces a one-tone direction, it is an emphasis on the dong tone. in accordance with the flow of the melody. from the naming of the technique and the relation of the two players, both of them reflect the dualism balance system; these two things remain in the series of gending presentations so as to produce a tone in accordance with the required melody, where both complement each other even though the playing system has differences. figure 5. example of the quick norot (gencang) playing technique notation on a pemade instrument (doc. aditya putra,2020) furthermore, the trompong instrument, has a similar meaning to reyong. the trompong instrument at the gong kebyar barungan is also in the form of a pencon that is placed on an elongated tungguhan, but what distinguishes it from the previous reyong instruments is that the number of pencon in the trompong is ten notes. the intended tones’ composition includes: dang, ding, dong, deng, dung, dang, ding, dong, deng, dung. this instrument is generally played by one player and is usually placed at the front in one barungan gong harmonia: journal of arts research and education 20 (2) (2020): 183-194190 kebyar. the instrument (panggul) used in the trompong instrument has a shape and size that is bigger and longer than reyong, but both are played with both hands. talking about sekati ririg cenik gending in tejakula, the trompong instrument is played by three people in its presentation. the use of three players is that it actually gives a special characteristic in the presentation of the sekati gending. according to what pande made sukerta said, sekati, especially in tejakula, most clearly shows that sekati gending , seen from the use of trompong instrument played by three people, as well as seen from the pattern of play on trompong instrument. this statement was also supported by wirsutha, who said that three peoples played the trompong instrument. it struck a note according to the melody innocently without any variation called sekati gending. the play only strikes notes one by one, which was sekati’s playing technique or katih (one) (interview on 12 july 2020). based on some of the information about sekati above, it can be understood that the protrusion of trompong instrument and the pattern of the play being struck by the three people are characteristic of sekati’s gending offerings in general, one of which is sekati ririg cenik gending. it is so called because only sekati gending in the presentation uses trompong instrument and is played as described figure 6. figure 6. trompong instrument is played by three people in gending sekati ririg cenik (doc. aditya putra, 2018) based on the trompong game technique notation above, it can be seen that the three trompong players complement each other. the game forms a strand of notes according to the melody’s groove, even though the three of them are indifferent tonal areas. the first player plays in the lowest note area, namely dang, ding, and dong, then the second player in the midpitch area includes deng, dung, and dang. the third player is in the lowest or highest area, namely ding, dong, hum, and dung notes. so, the three trompong players hit the tones according to their respective portions, and the combination of the three still creates a complementary balance. figure 7. examples of playing technique notation on trompong (doc. aditya putra, 2020) ceng-ceng kopyak is also in sekati ririg cenik gending presentation. ceng-ceng kopyak is one of the instruments in the shape of a round disc with a diameter ranging from 21-25 cm. the way to play it is by banging it with a partner so that it makes a sound. the instrument of ceng-ceng kopyak similar to acakep (cakupan) ceng-ceng consists of two discs of ceng-ceng in round shape. one player generally uses two discs ceng-ceng kopyak. operationally, the existence of ceng-ceng kopyak in every barungan gamelan gong kebyar is not determined the number, there are at least three to six people who play it, so there are different patterns or techniques in the play. the striking technique of ceng-ceng kopyak is making a braided rhythm that produces kekilitan (braid that is repeated simultaneously). kekilitan ceng-ceng kopyak can be called “cek“ and continue with the number of ceng-ceng kopyak strokes formulated by organizing its kekilitan. ceng-ceng kopyak in the presentation of gending sekati ririg cenik uses five-motif strokes technique. the description of ceng-ceng kopyak playing technique can be seen as figure 8. i ketut aditya putra et al., the concept of balance at sekati ririg gending in tejakula, 191 figure 8. the example of playing technique notation in ceng-ceng kopyak instrument (doc. aditya putra, 2020) the example of the notation in figure 8 indicates that the playing technique in ceng-ceng kopyak instrument also has the concept of dualism balance where gending presentation patterns or the strikes between polos and sangsih have different playing patterns. the polos stroke (pl) is played parallel to the beat while the sangsih stroke (ss) is against the beat, but the two strokes create a relation (cecandetan) or (kekilitan) which blends one player with their partner who is side by side. when one person only plays the play of ceng-ceng kopyak, the need for musicality relations will not be perfect. tempo balance concept of sekati ririg cenik gending the tempo is a term from italian, which literally means time, and in music, it denotes speed. music can move at a certain speed, including very fast, medium, or slow, and music can be at various levels between them (miller, 2017). miller further explained three levels of tempo, including metronome, beats, ritardando, and accelerando. sekati ririg cenik gending can be classified into the beats’ tempo of the three tempo levels mentioned. it discusses two types of tempo, namely fast tempo and slow tempo. there are two types of repetition of the tempo in one series of songs / sekati ririg cenik gending. starting from the beginning, of course, the presentation uses a slow tempo, then after approximately three times of gending rounds, the tempo is gradually faster marked or led by the kendang player. so that other instrument players can follow the course of gending being played. furthermore, after performing several fast tempo gending rounds, sekati ririg cenik gending tempo was returned to slow. to get the end of the gending, kendang instrument again adjusts the speed of the song gradually to a fast tempo and when it reaches the climax, sekati ririg cenik gending presentation ends with a slow tempo and a gong stroke. figure 9 is kendang instrument when setting the tempo in gending presentation sekati ririg cenik. setting the tempo in the presentation is very important to do because in addition to reducing the monotonous taste, these elements can also give soul or energy to the presentation. when fast tempo music/songs are sung, the resulting atmosphere indirectly gives a great impression. meanwhile, when the song’s tempo is slow, it can give a calm, soft and peaceful feeling. all that is not absolutely done depending on the agreement between each player presents sekati ririg cenik gending. therefore, it is clear that the concept of the dualism dimension is seen from the difference in the speed with which a piece is presented so that it can produce a balance. figure 9. kendang instrument in setting the tempo (photo: aditya putra, 2018) dynamic balance concept of sekati ririg cenik gemding furthermore, regarding the volume (dynamics) in music, according to yasa (2016), the dynamics in the gamelan gender wayang compared to gamelan gong kebyar certainly have different dynamics regarding the volume (dynamics) in music. in the gamelan gender wayang, of course, the device dynamics are softer, while the harmonia: journal of arts research and education 20 (2) (2020): 183-194192 gamelan gong kebyar has a louder level of device dynamics. apart from that, the dynamics can also be viewed from the related gending. in line with yasa’s explanation above, when talking about dynamics, especially in balinese gamelan, it is true when viewed physically and musically. in general, gamelan gong kebyar itself is known that every instrument has a dynamic set of sound or commonly known as ngumbang-ngisep. rembang (1984) explains that ngumbang-ngisep sound in gamelan bali is a ngombak sound system. the science of acoustics says that the sound of ngombak occurs due to a certain difference in frequency in one second from the source of the sound (tone) at the same time it is sounded. ngumbang-ngisep shows the same two tones with a slight difference in tone frequency (high-low). the lower notes are called ngumbang, while the higher notes are called ngisep. the two tones are the same, and the slight difference in frequency, if you hit them together, will cause ombak. besides, if observed from a musical perspective, the term ngumbang-ngisep can also be used in setting the loud dynamics of a song when played by a player simultaneously. based on the review above, that in every gamelan and musical composition concerned, when talking about a dynamic, it is clear that there is a very significant and predetermined difference. likewise, sekati ririg cenik gending presentation in the gamelan gong kebyar in tejakula, of course, has a dynamic arrangement that has been determined in terms of the loudness of the musical presentation. the following is an example of setting dynamics in the presentation. figure 10. example of dynamics setting on sekati ririg cenik gending (doc. aditya putra, 2020) in figure 10, the m symbol is a melody; the pk symbol is a drum stroke, namely p means pak and d means dug, and the vol symbol is dynamics. in the dynamics setting on the sekati ririg cenik gending presentation, the dynamics’ loudness or softness is almost the same as the tempo setting above, which is set through the drums (kendang) instrument. on the red table is a sign of a drum stroke when it goes to the melody line of the gong’s fall to adjust the loudness of the dynamic. so with this sign, then each instrument can improve the dynamics of the sound of its hitting, which is according to the green table. when you want to reduce the dynamic quality of the sound of all instruments to a low voice, the settings are the same when you want to improve sound dynamics, which can be seen in the orange table and the yellow table. the dynamic arrangement is not absolute; it means that it can change or be different according to the agreement between each player in the presentation one day at a different show. in sekati ririg cenik’s repertoire, the dynamic usually begins with hard dynamics and then enters the comedian part or the gending content using soft dynamics. furthermore, the dynamics led to the end of the repertoire, which again used hard dynamics and slowly ended with the dynamics becoming soft until the sekati ririg cenik repertoire was finished. the setting of both loud and soft dynamics is also determined by the instrument’s striking in the gong kebyar gamelan when the sekati ririg cenik chant is presented. so, automatically, there is a concept of dualism that is different and can create a balance. conclusion based on the description above, it can be concluded that sekati ririg cenik gending has the concept of a balanced dualism dimension in it. this concept can clearly be seen from polos-sangsih system in norot and oncang-oncangan playing techniques played on pemade and kantil instruments, the slow norot (adeng) and fast noi ketut aditya putra et al., the concept of balance at sekati ririg gending in tejakula, 193 rot (gencang) playing techniques on reyong instrument, the trompong instrument that uses the technique of playing leluangan and tetorotan and ceng-ceng kopyak which form a relation with cek lima motif playing technique. apart from being seen from the plain-sangsih technique in the norot and oncang-oncangan playing techniques, the concept of balance can also be seen from the fast and slow tempo of a gending, loud and soft dynamics presented in the sekati ririg cenik gending which uses gamelan gong kebyar by the people in the village. customs of tejakula, buleleng regency. thus, it is clear that as a whole, what is mentioned above is also indirectly related to the dualism concept of life balance in the beliefs of the hindu community in bali which is called rwa bhineda. acknowledgement we express our deepest gratitude to ristekbrin for providing financial assistance for the master’s thesis research entitled “gending gamelan sekati” and “teknik permainan kendang tunggal dalam kajian seni karawitan bali.” thanks are also addressed to i gde arya sugiartha, as the rector of isi denpasar, the chairperson of the lppmpp isi denpasar and his staff, and all parties who have helped complete this research, which we cannot mention one by one. references aryasa, i. d. 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(2001). jenis-jenis tungguhan karawitan bali. proyek pengembangan media kebudayaan direktorat jenderal kebudayan departemen pendidikan nasional republik indonesia. sutrisno, a. n. (2014). telaah filsafat pendidikan. deepublish. harmonia: journal of arts research and education 20 (2) (2020): 183-194194 utami, h. e. (2011). kidung sekaten antara religi dan ritus sosial budaya. harmonia jurnal arts of research and education, 11(2), 153–162. utomo, u. (2006). gender dan musik: kajian tentang konstruksi peran lakilaki dan perempuan dalam proses pendidikan musik (gender and music: research of men’s and women’s role construction in the music education process ). harmonia jurnal arts of research and education, 7(1), 1–13. wadiyo. (2006). seni sebagai sarana interaksi sosial (art as a tool of social interactions). harmonia jurnal arts of research and education, 7(2). yasa, i. k. (2016). aspek musikologis gender wayang dalam karawitan bali. resital: jurnal seni pertunjukan, 17(1), 46–59. 88 comment and comics artwork by mohd yaman ahmad mus in anak sabah newspaper on 1957 mohd sawari rahim fakulti kemanusiaan, seni dan warisan, universiti malaysia sabah jalan ums, 88400 kota kinabalu, sabah malaysia e-mail: wareyzseni@gmail.com ismail ibrahim fakulti psikologi dan pendidikan, universiti malaysia sabah jalan ums, 88400 kota kinabalu, sabah malaysia e-mail: ismailbinibrahim@yahoo.com suraya hani zakaria jabatan pengajian sains sosial, institut pendidikan guru kampus gaya, 88805 kota kinabalu, sabah malaysia e-mail: surayahani78@gmail.com received: december 4, 2015. revised: december 13, 2015. accepted: december 20, 2015 abstract the aims for producing comics in newspaper is to convey a message instead of just an entertainment for the newspaper readers. it also can be a documentation materials for historical records and civilization history through the situation at that time. these visual images are used by mohd yaman ahmad mus to display the true story about the behavior, attitudes and moral values that apply in everyday life through his creativity and self-expression. this aims to teach and create awareness among public besides of building a harmony and well-being of the community. the display image was analyzed using a theoretical approach of iconography by erwin panofsky (1955). this theory was classified into three levels, which is pre-iconographic, iconography and iconological (iconology interpretation) to explain and demystify the nature and meaning of painting in a holistic manner. the study showed that the content of messages and lessons in painting shows road safety issues which are still happen since the pre-independence era in sabah until now. keywords: analysis; comics; road safety issues; iconography; message; lessons how to cite: rahim, m., ibrahim, i., & zakaria, s. (2015). comment and comics artwork by mohd yaman ahmad mus in anak sabah newspaper on 1957. harmonia: journal of arts research and education, 15(2), 88-100 doi:http://dx.doi. org/10.15294/harmonia.v15i2.4606 harmonia : journal of arts research and education 15 (2) (2015), 88-100 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v15i2.4606 p-issn 1411-5115 e-issn 2355-3820 story, criticism, messages and lessons. presentation of information and messages in the comic focuses on explaining the appearance of expression lines and form an image. line plays an important role in explaining the image character that becomes introduction the purpose of comic’s illustration in printed media such as newspapers and magazines is to communicate through images with the reader by describing the scene, mohd sawari rahim, et al., comment and comics artwork by mohd yaman ahmad ... 89 an important element and the main focus for the painter (ahmad suhaimi, 2007). types of the resulting lines such as thick, thin, circular, vertical, cascade, and others give a lot of uses and various interpretations of the meaning and expressions of artists who attempt to leave a trace of feelings, motions and mind to the viewers. the flexible line will start publishing other elements of arts such as fine art, fabric and design that will give full explanation for the image creation. the images conjured are augmented by the language appearance. image language might seem more honest and display the effect of the evidence in the form of the writing itself. this means that art is the language of communication that is essential for channel feelings (mahamood, 1999). the process of drawing assessments in a newspaper is almost equal with other assessment results in the context of visual art form and meaning. the focus is based on the formalistic characters which include the lines, appearance, color, space, form, weaving, composition, movement, balance and others. the ability to analyze or characterize these formalistic characters will approach the researchers to the iconography questions or the meaning of a work. according to mahamood (1995), both ‘form’ and ‘content’ or often called a ‘rule’ and ‘meaning’ need each other. this research will relate the context of historical, social, literary, political, aesthetic, beliefs and others. thus, the ability of formalistic features can pave the understanding at the iconography level or meaning in the work of arts. some of the appreciation theory and methods can be implemented in the image of the art work. in this article the theory of iconography by panofsky (1892-1968) was used as a scientific approach to understand, interpret and analyze works of art. panofsky (1955) outlined a theory of iconography to get the meaning of detailed information about the issue in a work, explain, and consider the configuration on a work to understand the hidden meaning by all level. panofsky classified three levels of meaning that need to be identified which is basic (primary), secondary and internal (intrinsic) as shown in figure 1. on a basic level, which also known as preiconographic level, the image is seen directly as a natural image and does not require any knowledge about the meaning and be able to be named only. the secondary stage or known as iconography (iconographic) which is conventional will view the images in more detail and in-depth investigation and include more concrete themes, concepts and stories. in the third stage which known as interpretation of iconology (iconological), he must be able to recognize the inner meaning of the entire work including the symbolic aspects of that field. results at this stage will give a clear and comprehensive conclusion. indirectly, this finding led to the message and lessons gained from the painting. messages and knowledge gained will be classified into four criteria, which are criticism and satire, advice and guidance, moral values and motivation. focused issue of the comic the first comic artwork (figure 1) by mohd yaman ahmad mus that use a nickname my 56 was published in anak sabah newspaper when he was 16 years old. at that time he was studying in form 4 at all saint’s school, jesselton, north borneo (now is kota kinabalu, sabah). the work won the grand prize in a painting contest in conjunction with road safety campaign held in 1957. he received a cash prize of 10 ringgit presented by the police commissioner at that time. the work was published in the ‘drawing competition’, which is a monthly column that publishes selected works by drawing competition and open to all residents of the anak sabah newspaper readers. harmonia : journal of arts research and education 15 (2) (2015): 88-10090 figure 1. the artwork of mohd yaman ahmad mus (source: anak sabah, january 1957) textual issue in comic “always be careful when using the road” “never cycle two or three abreast, but ride in single file”. “road narrow” analysis of pre-iconography level this artwork shows the four main figures which are two men and two women that were seen riding a bike on a narrow road. one of them is not in a school uniform, while another three partners wear their own school uniform. the male and female characters in front of the painting looks like they are talking about something as shown by the hand and finger gestures. they talked in a warmth and happy atmosphere by the expression on the face displayed. without realizing their behavior is being watched by two figures in two separate vehicle and heading towards the same path. a truck laden with a heavy load and the driver looks like talking something loudly (by the use of cascade lines on the face figurer) and also a slow-moving car with a calm look driver. besides that, a pedestrian was crossing the road at the back of the drawing room next to buildings and business premises painted with the utmost care. there are signs for the “road narrow” and walkways as paintings background so that it can complement the description of the situation. this painting represents a realistic approach aimed at giving an overview of the actual situation on the roads treated subjects. table 1 shows the details of the pre-iconography issue. almost all subjects in this artwork were given a touch line that shows painter’s skills to form an image. different types of lines are use as shown in figure 1 actually play an important role in reviving the character and background of the artwork. these figures formed by simple table 1. pre-iconography description description explaination subject/ images · road safety themed issues by caption; always take care when using the road dan never cycle two or three abreast, but ride in single file” · four students, two men and two women were riding bikes in the street · a lorry and a car and a pedestrian · signboard · use the grounds of road and building in a city shape processing elements of art ; · smooth lines , simple, bold, repetitive, spout · connect the nature of things · appearance of various poses a tone to clarify the character and nature of objects · the shape is the resulting line art , fabric and appearance · space plays a role in creating the front, middle and rear processing principles of art ; · the balances on the main subject in the middle, side turn on background as a real characterization · confirmation of the character · the rhythm of movement to the movement of the character and bicycle tires mohd sawari rahim, et al., comment and comics artwork by mohd yaman ahmad ... 91 and thick lines with the utmost care so that the action and character can produce maximum effect. men and women figurer can be formed with good highlight that desired expression on the face painter. likewise, the use of the lines on the driver’s face looks calm and aggressive. for the creation of an attractive background, painter using different types of lines such as fine lines, vertical, diagonal and horizontal. vertical lines reflect strength used in compact buildings while long and horizontal lines create form and space perspective of far and near. repeated lines are used to show movement of ‘rim’ and ‘handle’ of the bicycle. repeated use of such lines give an impact of tone and effect can be seen on the uniforms, bicycles and other objects that give a realistic picture. according to othman (2014), the use of the right lines and textures telling will obliterates the image to associate the coinciding average in figure 2 of the drawings. a line efficiency skill means ability to build arm movements that generate ‘stroke’ which actually describes the identity of the artist. furthermore, the use of formalistic elements makes this work has its own strength. apparently this painting using ink pen that is smooth and medium thick as the accuracy of line.these show the maturity and skills, and also prove that the artist is professional. in addition, the use of visual elements to create a dark shadow that ‘fall’ on the road is made with the utmost care. the element of space were emphasized to create the impression of space before the main subject , the living room is the position of the pedestrian and two vehicles, while the back room reserved for the building and the sky. the artist use all available space to put the diversity of object and subject to make this work complete and meaningful. the principle of diversity can be implemented either through the forms of the various compositions are united in this painting. the position of main subject is placed in the middle of the paintings so that it can focus on the reader and at the same time gives the overall balance of the work. the principle of counter used in dark and bright areas such as school uniforms, can give interesting affect to the character. moreover, the emphasis of this paper focuses on a group of students as the main character to explore the meaning and the message conveyed by the artist. analysis for iconography level at this stage, the artwork of mohd yaman ahmad mus reveals some important background to be known in order to facilitate the interpretation done. first is the time setting, the focus of research on the vehicle registration number j792 as shown figure 2. application of formal elements in artwork harmonia : journal of arts research and education 15 (2) (2015): 88-10092 the type of bicycle used around 1957 is a kind of ‘raleigh’. this type of bicycle was brought in by the british around 1890s to the nobility and british personnel who become the main vehicle and quite popular until the early ‘60s before vehicles such as motorcycles, ‘vespa’, ‘ lambret’, and the car began to replace it (utusan malaysia, 20 september 2012). raleigh bike model in 1950 is a type of “raleigh range model 31 boy , 31l girls”, “raleigh dawn tourist model 12 , 12l” and type “carrier model 21” (www.oldroads.bostonbiker.org). in the painting, a bicycle ridden by a female character at the front is the type of “raleigh range model 31l girls” while another three characters using the model type “raleigh range model 31 boy “. based on the subject which is the vehicle used in the drawing above, the description of the road to be taken into account for the nature and structure of connected meanings. road is the important element of transportation after the second world war, which was administered by british after that to rebuild roads to facilitate transportation and trade. in 1949 , the governor made a report which is 130 miles of road in figure 3 describes the use of a registration number that was used around 1950 in jesselton , north borneo. for example, a car type “wolselay” j3612 registration number registered on 18 november 1959 and “austin 13.2cc” was registered on january 7, 1959 with registration number j2952 (doutis gonkit, new sabah times). starting from 1968 until 1980, ej registration numbers of motor vehicles used for the jesselton (sejarah sabah dalam gambar 1881-1981, 1981). car in figure 3 (iv) is matching image of car type “austin a40 cambridge” that use engine capacity of 1200cc that were registered in 1954 and designed by dick burzi (www.simoncar.co.u). the discovery could match the time setting based on the image of the building as shown in figure 3 (ii) , these describes the building is a well known as jesselton hotel which was opened by governor sir roland turnbull in 1954 (jesselton dalam kenangan 18991967, 2014:55). the hotel is located in the heart of jalan gaya kota kinabalu, sabah until now. while in figure 3 (iii) also shows the type of bike used by the main characters. figure 3: analysis of subject and drawing image [source: anak sabah 1957, jesselton dalam kenangan (1899-1967), (www.simoncar.co.uk), (oldroads.bostonbiker.org.)] mohd sawari rahim, et al., comment and comics artwork by mohd yaman ahmad ... 93 have been prepared using the “asphalt” , 23 more miles are tar, etc. 225 miles of road and 578 corresponding lane 6 feet to 8 feet wide was also prepared (sejarah sabah dalam gambar, 1881-1981 (1981:63). in the late 1950s, plans to connect the road from kota kinabalu to papar which was completed in 1964, shows a rapid development of roads in sabah. this is clearly to relate the state of the roads in jesselton at that time when it is already at a good level in terms of smoothness and ease of public relations. at this stage, each subject give the impression that the use of vehicles such as bicycles, cars, buildings and school uniform is suitable with the background at that time and place when the painting was produced. these evidence strengthened when the signatures artist clearly put in 1956 as a timely addition to advertising the drawing competition that advertised in the anak sabah newspaper which also in 1956. the use of english on the road sign and the use of symbols in the caption of this work is a symbol of colonialism that thickened in the community such as students, readers and newspapers publishers. influence and ‘stroke’ artist also has similarities with western comic drawing in local newspapers such as ‘anak sabah’ and ‘the kinabalu news bulletin’ based on participant observation. drawing style that gained control of most of the space by manipulating the pen’s ink artist almost equal force artist nora from malaya (peninsular malaysia) as the drawings show every space is filled with various types of fabric with the appearance of lines and figures that are realistic and attractive landscape, his drawing style are through victorian methods (suhaimi , 2007). analysis of interpretation the drawing is realistic to reflect the reality of the attitude of public members while on the road. realistic approaches in the treatment bring easy understanding to the reader in order to receive messages that convey through this comic. yet despite the message says, researchers can link a deeper meaning as a result of interpretation on the level of iconography as above. riding bikes, talking in a “happy” and warmth atmosphere can give the connotation of a treatment that seeks to turn the mood happy and free without being aware of your surroundings. in fact, cycling is extremely effective and will become a physical fitness training that will reduce stress and can be used as an appropriate activity for all ages. however, if these activities misused or do not care about the safety factors, it can lead to injury from a fall or collision. conversion terms ‘kemalangan’ to the term ‘kecelakaan’ which was decided by the federal traffic police chief datuk supian amat said the term is more significant because it was not linked to the destiny alone but sad and tragic impacts such as the loss of life and destruction of property (the sun, 6 april 1998). the loss of life on the road is an event that cannot be avoided because human life cannot be taken except by a deliberate way. even though there is no accident category featuring a person is considered to be a killer, but he still cannot escape the punishment prescribed. from the islam point of view, perhaps he will be punished “qisas” if proven guilty (norazmah and jaminah , 1999 ). islamic law was applied to cases of negligent driving that causes death. attitude that is less concern to the narrow path actually approaching the tense atmosphere at the same time have implications for others in the vicinity. school children and adolescents represent the target group or the figure which has a big problem when on the road compared to other target groups. in other words, they do not think about safety even revealing to the danger that would be fall to themselves and others. some adolescence at this a stage is not only giving problems in school, even at home, in public places and on the road. adolescence is the most challenging times in human age. no doubt at that age everything will happen as the revolt of the soul, courage and attitude blindly optimistic or too pessimistic (lee, 2004). the harmonia : journal of arts research and education 15 (2) (2015): 88-10094 clash between two views of the opposite corner is often the case, between the requirements and limitations. in crossnatural life, youth is not just issued of warning the others but willing to accept criticism from others. many benefits can be obtained if we practice from the smallest little thing up to more important matters. hence, adolescence must be willing to accept a reprimand from others for the balanced self-development and success from various points in the future. the situation that depicted busy road with other vehicles of various types shows the impact of an accident can happen to anyone regardless of place and time, as the saying goes “unfortunate has no smell”. negligence on the road would bring danger to life and physical injuries as well as long-lasting trauma. the bicycle image that display in the drawing appears to be no any damaged and clearly drawn in detail in terms of completeness describes the physical condition of the bicycle used must be always in good condition. the road is the most important connection tool to develop various human activities. smooth road system function as a network of human relationships with other sectors will expedite the processing. the physical conditions such as severe road damage, holes and so on will be disrupted such dealings delayed, damaged goods and even worse pose a danger to road users. however, even the road conditions are modern and comfortable might also cause problems. the comfortable conditions and opportunities are often leading the target user to speed driving, selfish, and other offenses. hence, even though there is a good road system and quality though, if the attitude and values of humanity are still not prioritized will still give negative implications. awareness about road safety was created to give guidance to road users. this awareness rooted users in human values that can ensure realization to the objective of reducing the rate of accidents on the roads reached. awareness campaigns often remind that when riding a bicycle, stroke carefully, not speed, being careful with slippery road conditions and potholes, and be careful with the vehicle in front and in the back at a safe distance. we are urged to maintain the safety of our colleagues by avoiding talking while walking or joking like pushing on the road. mohd yaman ahmad mus work clearly emphasis on advice from other drivers who also participated as road user. this clearly showed that we should listen to the advice of other road users in the event that we made a mistake and did not comply with the rules on road. attitude to respect older people is one of the manners that should be observed and practiced. like the saying goes, “respect the old men and love the young” to describe the important relationship between these two. for the pedestrian users either individually or collectively, we need to walk the sidewalks provided, always be aware of your surroundings by using the senses of sight and hearing, be careful when crossing, and make sure view to the right and to the left before crossing. we have to wait patiently until there is no longer passing vehicle. sidewalks created to ensure the safety of people while providing smooth road system. one of the character displays as her friends that did not participate in school uniform, which represents the youth that could influence other partners, especially the school. thus, peer influence may be one of the causes which influenced the partnership of school, unemployed and depraved. family factors or lack of control and oversight, troubled family because of divorce and single parents will become a contributing symptom factor of troubled teens on the road. at home, these teens can be seen through the basic family upbringing such as a lack of exposure on religious education, less applied for moral education and no affection from parents, family and relatives. parents also need to be sensitive and aware of children when they were on the road. while the role of road users also need to keep themselves safe on the road so that parents do not give high emotions such as feeling worried and upset. apart from that, there are other factors mohd sawari rahim, et al., comment and comics artwork by mohd yaman ahmad ... 95 that also affect the tendency of teenagers who contributed to the crash. research from western ever made in malaysia by innaci das and wan rafaei in norazmah and jaminah (1999) on the personality of a road user crashes than those who have never experienced a traffic accident. the study found that there are specific characteristics of someone who is more prone to road accidents which is ‘extrovert’, ‘conformity’, ‘neuroticism’ and ‘psychotic’. table 2 below shows the relationship between these characteristics and symbols in the painting image for suitability factors that tend to cause adolescence in road accidents. nature ‘ extrovert ‘ in table 2 above reveals symptoms like teenagers to socialize in their group with activities that are less favorable. they are easier to take the approach of “happy go lucky” and “outgoing” without thinking about other people, their tendency when on the road like no considerate attitude toward others. the ‘conformity’ is closer someone about conformity, an obedient attitude and obey a command and rules. however, this attitude is very different if the person defaults will be costly. this attitude is very important when you are on the road because it requires solidarity in the use of the highway in order table 2. images description and interpretations drawing images psychological characteristics linkage and relationship the attitude of “happy go lucky” and “outgoing”. ‘extrovet’ teens who love to socialize, hang out and socialize with friends. the driver and the pedestrian. ‘conformity’ the conformity of nature obey the rules of the road do not tend to crash, compared to anti -regulation, rebellious and aggressive. the main character against the rules, especially on narrow roads ‘neurotisisme’ modify one’s behavior, anti-social, less responsible and less emotionally mature. active characters, aggressive movements. ‘psikotik’ violent and aggressive and do not understand other people’s problems. teenagers and students. young age and stress level impatient , short-tempered , hasty and mental disorders. male and female characters. gender factor men’s more aggressive, more adventurous and less patient than women who quite courteous and be careful on the road. school uniform education pattern learning from observation and imitation, negative behavior from the influence of the mass media, education of family members and peers. (source: norazmah and jaminah , 1999 ) harmonia : journal of arts research and education 15 (2) (2015): 88-10096 to participate comply with regulations and directives have been set. on the other hand, the ‘neorotisisme’ demand the responsible behavior and emotional maturity. sensitive to the state of the roads surround through the physical and environmental impact to be more tolerant of emotion from all angles. same are ‘psychotic’ which places emphasis on the main character. they appear to be active with bike riding style and looks aggressive which allow teenagers often labeled as violent. so, this attitude will be more likely to commit traffic offenses. teenagers and students are at these age experience high levels of stress that cause an attitude impatient, short-tempered, and hasty in every action and result in mental disorders. male characters are more likely to contribute towards road accidents than females. the attitude of men which is more aggressive, bold and impatient brings much impact on their discipline when on the road. this type of education that can be identified using a school uniform is a symbol of education, either formal or informal. informal education occurs since childhood when at home among family members such as brothers or fathers who like to drive fast and dangerously, these will affect them. in this process, they are quick to imitate through observation and environment that tend towards negative attitude. such influence not only involve family members , and even the influence of the mass media also have an impact such as television , the internet and the latest gadgets, smartphones are the result of advances in technology today. with the great influence of his friends through various aspects of negative symptoms they cause will mimic the behavior without thinking about the good and bad effects. this practice has relationship with ‘social learning theory’ by albert bandura (1969) in norazmah and jaminah (1999) of learning through observation and then copied the action. adolescence is very susceptible to negative treatment because they feel fun without thinking about anything that brings a problem to them. as a result, they lack self-confidence as well as a lower mental preparation will lead to a lack of reasoning makes sense when on the road. comics image and interpretation of issue messages and lessons that can be concluded from the results of image interpretation is derived from four criteria: a) criticism and satire, b) advice and lessons, c) moral values and d) motivation. due to the issue of road safety awareness and its attribution to human, teaching approaches and messages that will be acquired is focused on changing man attitudes. table 2 describes the statement from teenagers and students regarding social problems that was carried away outside school. their problems not give impact on themselves, but will inconvenience other road users. their action is displayed through the painting clearly shows the expression on the face which is cheerful, happy, and talking is an attitude and a value that is negative. proper cycling for recreation and physical fitness in a suitable place such as recreation centers that provide cycling tracks. riding a bike on the road should not be together because these would pose a danger. the painter tries to convey his wishes through comic images that criticize the behavior of adolescents on common interests, improve the social level and do not affect the safety of themselves and the community (see table 3). table 4 describes an indirect advice and guidance as a basis to see change in the attitude of road users. consciousness is one of the psychological actions on the importance of maintaining the self-safety and others while on the road. in addition, good manners should be practice to perceived good from society and a positive impact on the actions and emotions of users. the focus on youth and school students who will become ‘role models’ for others to be the best example and strives to be a good role model, especially children newly increased adult. mohd sawari rahim, et al., comment and comics artwork by mohd yaman ahmad ... 97 table 3. messages, criticism and satire statement on the state of the road relationship of criticism and satire social level youth and schoolchildren on the roads. social problem. self-harm and inconvenience to others. right to self and others fun, happy and talked not located. self value the attitude of drivers in a hurry selfish truckers carrying more illegal road, threatening and damaging way. the threat of life and property. table 4. messages and lessons changes in attitude on the road keywords alerting the public how important it is to keep yourself and others safe on the road awareness maintaining good manners and polite when on the road polite manners school children and adolescents should be examples for other groups. model and example recognize and realize themselves and others about the consequences of an accident realize attempting to take heed to the punishment of the offender laws road . punishment table 5. positive attitude and positive issue values good manners on the road relationship with moral values obey with road laws responsible not speed driving considerate, honest and rational. not talking and joking on the road. concern and trust. does not rushing pateint and rational be careful and be aware of your surroundings responsibility and trust . ensuring a safe distance with the vehicle in front and back. virtuous, tolerant and independent. protect each other. thoughtful, rational and affection. riding for individuals who are not in tandem. responsible, working and caring . sensitive situation around , always see and hear the traffic situation . caring, tolerant and self-esteem. advise other road users with utmost prudence responsibility, honesty , caring , honest and loving. there is a strain that can harass other users. thoughtfulness , patience , tolerance and moderation . not overloading that can pose a danger . responsibility, trust and caring . by using the sidewalks, we can avoid accidents and drivers who are not courteous . responsibility, trust and fairness. harmonia : journal of arts research and education 15 (2) (2015): 88-10098 the messages that conveyed through this illustration is all about awareness of personal safety while on the road with regard to moral values that become the ‘benchmark ‘ important to change human behavior on the road . related values of responsibility, trust, rational and tolerant attitude to dominate the match against road users is as if there is no value at all, making that the level of awareness and concrete action to reduce the rate of road accidents will be unsuccessful. it is, therefore, good values will develop character and personal growth balanced against emotionally, intellectually, physically and spiritually. table 5 describes the attitude of a good pitching that will be connected with the appropriate moral values. values are responsible for the highest level of awareness of human primary responsibility themselves, others and the environment. this includes compliance with the regulations and laws of road, always careful, understand the situation itself and surrounding. become considerate is also important to put yourself always safeguard to the interests of self and others such as not speeding, follow the instructions, advise others and do not give rise to tensions which can harass other users. based on the destination of many artists produce drawing that was interpreted criticism, advice and exposure to moral values that give a significant boost to the elements, catalysts, flame burner or the like to give a negative or positive effect towards the efforts and achievements are referred to as motivation. to obtain the effect of motivation, there are many parties that will be associated not only subjects in this painting are affected. table 6 describes some of the parties involved to relate the motivation could be obtained by the author. law enforcement by the jabatan pengangkutan jalan (road transport department) is to increase enforcement operations due to the increased accident statistics. these factors motivate to strive even harder to give matable 6. messages and relation to motivation action effect motivation competency law enforcement by the road transport department to increase enforcement operations increased due to accident statistics. public users can comply with rules of the road. motivation as the driver road safety education in schools because of social factors of students outside school contribute to road accidents knowledge, awareness and the importance of maintaining the safety of self and others . setting up a road safety club . as the degree of seriousness of motivation the presence of police officers psychologically scary instructs the driver so as not to break the rules . consumers remain vigilant so as not to follow the rule motivation as stimulator education communitydare to show themselves to provide information, to combat bullying and gangsterism on the roads . love and religious education of parents. responsible society would reduce this problem . motivation as catalyst courage penalties and fines . offenders will seek to recognize and repair mistakes in the future . as the degree of seriousness of motivation mohd sawari rahim, et al., comment and comics artwork by mohd yaman ahmad ... 99 ximum effect to the user to better comply with the rules of the road. social factors of students outside the school contribute to road accidents motivate the seriousness of road safety education in schools, which also involved parties such majlis keselamatan jalan raya (road safety council), jabatan pengangkutan jalan (road transport department) polis diraja malaysia (royal malaysian police) and researchers such as psychologists. motivation level of seriousness of this degree will be able to affect the knowledge society and have a high level of awareness. motivation as the degree of seriousness can also be seen through the execution of sentences and fines to the offender laws road. these steps can motivate the offender to repent and will try to repair the errors in the future. the presence of police officers in the field of road psychologically can give lessons to scare drivers not to violate the rules. the motivation for this simulator can educate consumers indirectly to always be careful and follow the laws that have been established. motivation of the community itself is also important to be seen to be responsible as possible to reduce the problem of indifference to other users. for example, someone dared to appear as witnesses to provide information on the outcome, the fight against bullying and gangsterism on the roads. this cooperation should take place not only see this responsibility lies with the authorities only. the people who help are people who care and take appropriate redress and justice. parents and family members should also play an important role in charge of educating children, because young people like this youth is the number of road users. motivation should be given to them in a way to create awareness of personal safety. the motivation level inspired the love between family members than to cut ties and increased the level of high emotional intelligence. conclusion as a conclusion, all walks of life in sabah and malaysia in particular, should take heed and realize the importance of awareness for the safety of themselves, others and the collective. attitude and behavior while on the road is very concerned with the moral values of good , able to advise fellow society , criticism and have a high level of motivation . these criteria are useful as selfdefense and is the main weapon in combating youth social problems and so be able to apply good manners and has a tendency toward greater awareness and public safety on the road. message by community awareness stewardship comics mohd yaman ahmad mus significant back then because he produced such works as are at the age of 16 years. he is well-known as a talented painter since his school days until adulthood often makes social themes in the piece. he is a painter who wisely uses personal experience to expose the social problems of young people and society to be brought to the reader is to give a message and a lesson useful to all. comic mohd yaman ahmad mus in the press media to convey clear messages and social criticism even in the form of a comic image. his paintings seek to meet the slogan “art for the people” that can bring benefits to the global community of harmony and happiness. references ahmad, h. 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(2009). analisis kandungan karya seni halus menerusi pendekatan model ‘organic unity’ in isu-isu seni kontemporari. kota kinabalu. universiti malaysia sabah, p. 293-302. shahir, s. (2011). lukisan: beberapa catatan idea persepsi dan proses dalam 1st malaysian international drawing marathon, pusat pengajian seni, universiti sains malaysia pulau pinang. 290 idris sardi’s influence on musical development and education in indonesia fu’adi fu’adi, putu sudira, kun setyaning astuti universitas negeri yogyakarta, indonesia submitted: 2021-09-28. revised: 2021-11-21. accepted: 2021-12-26 abstract idris sardi is known as a music maestro in indonesia. this study aims to reveal the influence of idris sardi on the development of music and its implications in music education. this study uses a qualitative method with a narrative approach. the data were collected through observation, in-depth interviews, and documentation. the research informants were carefully selected from the family, violin students, and colleagues of idris sardi in jakarta and bogor, west java. the data were analyzed by organizing data and creating codes, describing codes in chronological categories and themes, developing interpretations, and visualizing data. the results showed that idris sardi was influential in developing (1) keroncong music by varying the tempo and expanding the repertoire; (2) the violin playing techniques included unique characters such as vibrato, glissando, and octave variations; (3) ethnic and popular music were made through orchestrations and collaboration with orchestral music. the implications in music vocational education were (1) problem-based learning by creating a new keroncong style to be accepted by society; (2) the improvement capability by exploring skills to play the violin; (3) life-based-learning by raising local and popular music to be qualified while enhancing the level of society’s music appreciation. in conclusion, idris sardi provided a strong influence on the music development in indonesia, and the implication could be a new strategy to improve the quality of music education. keywords: idris sardi, music development, implication, vocational education how to cite: fu’adi, f., sudira, p., & astuti, k. s. (2021). idris sardi’s influence on musical development and education in indonesia. harmonia: journal of arts research and education, 21(2), 290-302 harmonia: journal of arts research and education 21 (2) (2021), 290-302 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i2.32243 buted to preserving the existence of their music. research conducted by yeo (2013) in korea provided a complete description of the korean violinist min kim, including his biography, teachings, and mainly his great influence and achievements in chamber music. in her research, yeo found that min kim had a great influence on the development of western music in korea, particularly on violin and chamber music. no one doubted that kim was one of the most prominent pioneers of chamber music in korea, and the korean chamber orchestintroduction idris sardi is a phenomenal musician in indonesia. it is very interesting to study his existence, dedication, and reputation in the world of music. research on musicians with a major influence and role in music development is very significant to conduct to achieve the main points in the development of music education. the development of music in a country cannot be separated from the significant role of musicians who have contricorresponding author: e-mail: putupanji@uny.ac.id p-issn 2541-1683|e-issn 2541-2426 fu’adi fu’adi, et al., idris sardi’s influence on musical development and education in 291 ra allowed chamber music to take root in korea. yeo suggested the next generation should continue to study and perform chamber music to develop the musical traditions in korea. cuello (2018), in his research in the united states, described the teaching methods, career advice, and main influences that established the professional course of the violinist lynne ramsey. ramsey had taught countless violin students in the united states for more than thirty years while making his full-time career. ramsey taught philosophy and teaching techniques and gave advice on how to make a professional career for future violinists and violin teachers, including topics such as misconceptions about talent and career prospects. the teaching career of african american classical violinist clarence cameron white was clearly described by hill (2015) in her research. discussion on the recital programs, reviews, pedagogical articles, and musical essays written by hill showed an overview of africa about the presence and involvement of americans in classical violin performance and teaching. the cultural and racial markers that were highly intertwined with many styles and genres of american music had also been applied to western art music and classical violin, which warranted discussion of racial and cultural stereotypes in american society. similar to studies in these countries, indonesia also has a violinist who is highly dedicated to his profession. the violin maestro is idris sardi. idris sardi was born in jakarta, june 7, 1938, and died on april 28, 2014. his father, m. sardi, was a violinist at the yogyakarta palace, a tenor saxophonist, and the illustrator of the first indonesian film in 1937. his mother, hadidjah was a film actress in 1936. she was the main actress in action-drama films such as alang-alang, harimau berbisik, and serigala hitam. idris sardi’s grandmother, mak bibah, was also known as a film actress (zon, 2013, p. 14). the portrait of the m. sardi family can be seen in figure 1. figure 1. m sardi’s family; idris sardi stands second to the right. (source: nur risanti sardi, 2021) idris sardi was a concertmaster at the djakarta studio orchestra (osd) under the conductor syaiful bachri. idris had been writing songs, making arrangements for records since 1963, and making over 200 film illustrations and various albums. idris sardi had won various awards, such as ten citra trophies as the best film music illustrator at the indonesian film festival (ffi), asian film festival (aff), and many other charter awards (zon, 2013). his informal music education began when idris sardi was five, and he asked his father to buy him a violin. at that time, it was very difficult to get a small-size violin. m. sardi then gave an example of making violin notes as a basic technique. at eight o’clock in the morning, idris sardi was always invited to see a musical performance at the radio of the republic of indonesia (rri), and in the afternoon, he watched m. sardi teaching violin and piano. in the evening, idris sardi was invited to lokasari (a gathering place for dutch and chinese people) to see musicians playing latin and jazz songs (mulyadi, 1987). idris sardi’s musical talent developed when identifying various musical instruments, various songs, and chord progressions. at the age of nine, he began to learn to play the adult-size violin, which he found difficult to play. his little fingers must be able to reach certain notes on the violin. due to his strong passion, idris sardi tried hard to play it. his try to play the violin at the age harmonia: journal of arts research and education 21 (2) (2021): 290-302292 of nine can be seen in figure 2. figure 2. idris sardi with a violin that was still too large for his age (source: nur risanti sardi, 2021) idris sardi obtained formal music education when nicolai valvolomeyef, a russian cellist who was a part of osd, invited him to study at sekolahmusik indonesia (smind) or the indonesian school of music in yogyakarta. smind was the first formal music school established by the indonesian government. idris sardi played classical records such as humoresque on the radio of the republic of indonesia every sunday at 10 in the morning. however, his period of studying classical music in yogyakarta must end in 1953 as his father passed away, which prompted him to return to jakarta (hardjana, 1976). as the oldest son, idris replaced his father’s role in the family. his music education becomes more vocational, which refers to an education process that directs students to work and meet their needs in life. from the music education he obtained in jakarta and yogyakarta, idris sardi used his competence in music to work as an orchestra musician. idris sardi’s musical competence developed while studying at sekolah musik indonesia or the indonesian school of music (present-day vocational high school smkn 2 kasihan bantul) in yogyakarta. as a vocational education institution, smkn 2 kasihan bantul prioritizes musical competency acquisition for the students so that they may apply their skills to work in music after graduation. vocational education can be defined as education that is oriented to occupation or vocation with the main objective of developing the vocation of an individual so that they have the capacity or capability to do an assignment or a type of work in a certain position (sudira, 2017, p. 7). moreover, rojewski (2009, p. 21) explains that an important part of vocational education is preparing a trained workforce with a high level of skill in delivering what is assigned by the employer. the influence of idris sardi in the development of music may implicate vocational education in the music discipline. his influence may improve the quality of vocational music education, which will help future graduates have a high level of capability and readiness to enter the work sector and even create jobs. the musical career journey of idris sardi is similar to that of ramsey. ramsey is an example of a musician who proves that instead of merely relying on talent, hard work and determination are more crucial to generate positive results in achieving goals (cuello, 2018, p. 76). ramsey’s learning process was, in fact, full of challenges, and it was only due to her hard work that her success began to manifest (cuello, 2018, p. 74). the role of musicians in the music development of their country can be seen in min kim’s work in korea in promoting chamber music. kim and the korean chamber orchestra helps people adapt to the ensemble music concept, which becomes why chamber music is rooted strongly in korea today. it is the task of the younger generation to continue min kim’s musical philosophy, namely to improve the musical tradition of korea (yeo, 2013, p. 49). similarly, idris sardi’s role in music development and its implications in indonesia is highly prominent. therefore, studying his life and legacies, especially from the vocational education approach, is important to inspire and ensure a new generation of musicians with a high level of musical competence. competence in playing the violin may be obtained through quality musical education. in indonesia, music education has yet to generate satisfactory results fu’adi fu’adi, et al., idris sardi’s influence on musical development and education in 293 despite constant government efforts over a period of time. several aspects which affect the development of music education in indonesia are identified by mack (2015, pp. 1–2). firstly, the materials for the arts and music education must be based on the local cultural resources of the students, according to the physiological development. secondly, the role of teachers is correlated to the quality improvement of arts and music education. therefore, teachers must be encouraged to have an open-minded attitude to all forms of artwork. lastly, many curriculum revisions often fail to make changes as the teaching method has not been incorporated into the curriculum. these various issues certainly have an impact on the quality of the output and outcome of music education. further issues in music education are observed in a study by machfauzia, sayuti, & djohan (2018), which found that students’ interpretation skills are very limited because they are not taught the dimension of musical interpretation in the audio form. music education which includes listening to musical works and pieces will allow both teachers and students to have a musical experience while simultaneously improving their higher-order thinking skills. according to mack (2015, p. 7), the competence needed in the music discipline can be defined as the mental representation of music or sound. this mental representation can be obtained through training and audio experience. this becomes a challenge in the effort of regeneration of violinists with the competence and skills of idris sardi, the maestro. one of the approaches to this issue is by conducting an in-depth study on idris sardi’s violin learning process through vocational education methods. this study aims to examine the influence of idris sardi’s music on the development of music in indonesia, and its implications on vocational education. method this study employed the qualitative approach with a narrative method. as a form of qualitative research, narratives usually focus on studying a figure by collecting data through stories, reporting the individual experience, and discussing the meaning of said experience to the individual (creswell, 2012, p. 502). the informants in this study were carefully selected based on their ability to provide detailed information and a true understanding of the figure of idris sardi. reliable informants included close family members, students, and colleagues of idris sardi. the research stage began with a preliminary study of idris sardi and the development of vocational music education in indonesia, especially in violin learning, followed by data collection through observations, interviews with informants, and a study of archives and records from published pieces in print, audio, and video on idris sardi. the authors also conducted an in-depth interview (one to two hours) with each informant and intensive communication via telephone, whatsapp messaging service, whatsapp video calls, and email correspondence. data analysis was carried out by processing and preparing data for analysis by transcribing the interviews on the influence of idris sardi on the development of music, as well as scanning the materials, making field notes, and sorting the data based on the sources. then, the data was read, and data reduction was made by selecting, focusing, simplifying, abstracting, and transforming the data from the field notes or the transcripts (miles & a. huberman, 1994, p. 10). the next stage was coding and making categories as well as understanding the data by identifying the contexts of the materials, followed by presenting and visualizing the data by reconstructing the narrative and giving an in-depth meaning to the narrative (bogdan & bilken, 2007; creswell, j. w., & poth, 2018). finally, data validity was done by triangulation of techniques, sources, and time, checking with the participants, and clarifying bias. harmonia: journal of arts research and education 21 (2) (2021): 290-302294 results and discussion idris sardi’s influence on the development of music in indonesia pioneering the new style of keroncong in 1960, the keroncong music became less and less popular among the young generation who preferred fast-rhythmic and passionate music such as pop and rock (zon, 2013). this, in turn, motivated idris sardi to do something with keroncong. keroncong is one of the original music genres developed in indonesia that must be preserved. according to some scholars, it was initially a type of popular urban music in indonesia brought by the portuguese in the early 16th century. the music gained popularity across the nation both as a music genre of its own and as the accompaniment music for theaters and films (ganap, 2019). in 1965, idris sardi, with brigadier general r. pirngadie, founded a group playing a new style of keroncong with a faster tempo and rhythm named orkes simfoni keroncong tetap segar. the keroncong orchestra with a singing group was a breakthrough against the conventional style music with new beat styles and a complete repertoire which did play not only original keroncong songs, but also regional, classical, and popular western tunes (zon, 2013; fauziah & rachman, 2017; rachman & utomo, 2018). harmunah (1987) affirmed that it was orkes keroncong tetap segar led by brigadier r. pirngadie who first brought the new wave of keroncong with a fast tempo. idris sardi’s ability to grasp the problem with keroncong music at the time has prompted him to conduct a whole deconstruction on the music. he strategically avoided monotonous show concepts which may bore young audience. fundamental modifications on the song tempo and extension of the musical repertoire make his tetap segar keroncong orchestra gain the attention of the public. fresh innovations must be consistently developed to maintain the existence of keroncong. the next generation continues this premise in the form of a fusion keroncong show named “sing penting keroncong” (what matters is keroncong). the innovation can be seen in the representative stage set design with spectacular decoration, lighting, and sound system in the show. the show has a variety of formations, including keroncong jazz (cong jazz), keroncong rock (cong rock), and keroncong orchestra (congchestra) with the addition of several instruments, such as a drum set, keyboards, percussions, a brass section (the trombone, trumpet, and saxophone), and a chamber string section (the violin, viola, cello, and contrabass). the performed songs range from original keroncong tunes to pop songs, dangdut, jazz, and rock songs (rachman & utomo, 2017, p. 47) development of the violin techniques in his instrumental music performances, idris sardi’s idealism is reflected in his violin techniques. the mastery of right and left-hand techniques greatly supports him in playing the instrument beautifully. idris often makes variations when playing a song. these variations come from workshopping the song themes, fingering, switching octaves, playing with the vibrato, dynamic processing, glissando, etc. for the analysis of the study, the song “bing” from the untaiankidung lestari album was chosen. the song was written by titiek puspa and dedicated to her best friend who had passed, another great indonesian artist, bing slamet (leksono, 2003). idris sardi really understands the song he plays. this makes every song he plays very touching and feels alive. “bing” begins with the introduction of four bars, followed by the main melody of the violin on the fourth bar. idris has a good vibrato technique and the ability to use vibrato at the right time. vibrato means to vibrate (kodijat, 1989). in this paper, the “on” vibrato refers to the use of vibrato, and “off” vibrato is when the vibrato is not used. idris sardi’s use of vibrato appropriately addresses galamian’s (galamian, 1964, p. 37) comments on how players must be able fu’adi fu’adi, et al., idris sardi’s influence on musical development and education in 295 to control the speed, width, and intensity with each type, whether doing slow or fast motion, stopping the vibrato when needed, making wide or narrow movements, or changing finger pressure on the strings. in the main song theme (first six notes) idris plays a dynamic piano (soft) with the vibrato on the off position, then on the seventh note (g1), he does a crescendo with vibrato. the next six notes start with the d1 note on the six bars played without vibrato (off), as seen in figure 3. figure 3. the use of on-off vibrato (source: fu’adi, 2021) one of the characteristics of idris sardi’s style in playing the violin is that he often uses the glissando technique. glissando is a technique of moving the finger from one note to the next simultaneously without moving the thumb, although then the thumb can follow the finger (ricci, 2007). glissando is a technique of playing a tone by quickly launching a finger (kodijat, 1989). playing glissando requires a certain speed and accuracy to convey the context of the song. according to idris sardi, it takes years of practice to master this technique. the use of the glissando technique is closely related to interpretation. galamian (galamian, 1964) points out that an interpretation contains a strong subjective element, namely the player’s perception of the music’s sound. subjective elements are influenced by taste, style, and fashion which differ from one individual to another, from one place to another, and from one period to another, in which interpretations can be applied to the elements that can be modified. further, idris sardi’s interpretation is based on his feelings, which is channeled through his techniques, character, and distinctive style. in the song “bing,” idris sardi uses the glissando technique in several places. glissando can be heard in the first six bars from d1 to bes, a large distance, as shown in figure 4. idris sardi creates variations of the melody that is played so that the melody stays in context and does not become tedious. figure 4. glissando from d1 to bes (source: fu’adi, 2021) another technique developed by idris sardi in playing the violin is acciaccatura, which is played using one finger. this can be observed in the seventh bar of the third tap, where the note cis in acciacatura is played with the same finger as the note d with the second finger. acciacatura is a small note with a crossed line, which is read quickly, almost simultaneously with the main note (kodijat, 1989). the acciaccatura technique with one finger can be seen in figure 5. figure 5. the acciaccatura technique with one finger (source: fu’adi, 2021) idris sardi’s ability to recognize the color of the violin sounds was impeccable. idris sardi develops the different sound colors in each register/octave on the violin to make the song have livelier expressions. in part b, idris sardi uses the lower a to bes register (bar 15). the selection of registers with a slightly darker tone of voice fits perfectly with the character of this melody. the melody expresses feelings of deep concern and sadness. idris even uses the harmonia: journal of arts research and education 21 (2) (2021): 290-302296 same method (which he rarely does) in the repetition of part b. this is driven by the strong message conveyed by idris sardi through the melody, which can be seen in figure 6. different moods will arise when the melody of part b is played with one or two octaves higher. figure 6. the use of sound colors of the violin that fits the meaning of the song in part b (source: fu’adi, 2021) in addition to using sound colors that match the meaning of the story in the song, idris sardi develops violin playing with brilliant octave shifts. idris sardi always makes variations in playing the violin, never doing the same thing for a musical theme. to avoid the monotony of the song’s main theme, on the four-bar beat 20 idris sardi plays an octave higher than part a. idris sardi plays the melody in bar 21 directly using vibrato, in contrast to the main theme in part a. vibrato is combined with the glissando technique with one finger. in a more detailed observation, idris sardi plays four notes on the main melody (bar 21) with the technique of one-finger glissando, as seen in figure 7. the mood becomes more dramatic when compared to the main theme in part a. figure 7. four notes played with the one-finger glissando on bar 21 (source: fu’adi, 2021) auer (arney, 2006; auer, 1921) defines glissando as the connector between two notes far from one another, whether sounded by the same or different strings. it is considered one of the greatest violin techniques, which provides animation and expression in a musical sentence. auer further explains when the effect will be appropriate to use. the violinist may understand the proper way of using the effect by listening to the singers. the best positions to place portamento are occasionally between the lower notes and rarely between the higher notes. it is only appropriate that the less frequent these special effects (portamento, glissando, or vibrato) are used, the more special the moments when they appear. auer is sensitive about incorporating too many effects to the point that he will judge musicians who do so as average, regardless of their mastery of other musical techniques or skills (arney, 2006, p. 45). the violin technique developed by idris sardi can be applied by violinists today when they play popular songs, keroncong, jazz, and others. the use of “on and off” vibrato can be adjusted to each violinist’s interpretation and imagination. nevertheless, certainly, not all parts in the song can incorporate vibrato. often, the feel of the song will appear more without vibrato. this is what idris sardi did strategically and cleverly in his violin playing. violinists can play the melodies in different octaves to avoid a monotonous sound color. in addition, musicians today can further develop the violin playing technique by exploring various sound colors in electric violins by using effect pedals. the combination of idris sardi’s technique and current technology may generate an optimal violin performance in playing a musical repertoire. development of ethnic and popular music the richness of arts and culture in indonesia, especially regional and national music, has inspired idris sardi to develop them. indonesian people have diverse levels of music appreciation. idris sardi seeks to increase public appreciation of regional and national music. idris has developed regional and national music with fu’adi fu’adi, et al., idris sardi’s influence on musical development and education in 297 an orchestra formation since 1963 (titiek, 1983). orchestra according to spitzer in sadie eds (fu’adi, 2009; spitzer, 2001) in ancient greece and rome refers to the bottom level of an open stage, which was where the musicians were placed to accompany singing and dancing performances. in the 18the century, the term orchestra was extended into the performers themselves and to their identity as an ensemble. the existence of local and national musical materials in idris sardi’s musical performances has allowed the public to be more familiar with the music of their own country and interested in instrumental music. idris sardi learned from the case of the national television station tvri’s program in collaboration with nhk japan, which presented special broadcasts of classical music. this program was not well received by the viewers. from this experience, idris sardi decided to make classical and instrumental music acceptable to the public. the trick is to make regional music performances without sacrificing the idealism of the music. idris sardi designed a collaboration between regional music and diatonic music in an orchestra format. in 1987 at the opening ceremony of the dutch heritage showberg building (now the jakarta arts building), idris sardi conducted a symphony orchestra with betawi ethnic compositions, namely cokek, lenong, and gambus (kompas, 1989). the efforts made by idris sardi to increase public appreciation toward indonesian folk music are in line with chan’s (2019)creative movement and spectacular choreography with diverse musical sounds. founded in 1997, hands percussion has evolved from a chinese drumming ensemble to a contemporary performing arts ensemble that embraces a myriad of local and global musical styles and movements. this article explores hands percussion’s identity from local to cosmopolitan musicians, whose opportunities for musical alliances are enhanced through international connections and collaborations. while hands percussion is exposed to diverse global musical styles, i argue that their choices for global musical alliances are founded upon three shared philosophies and artistic values including: (1 statement on how musical alliances do not form overnight but develop when creating concert collaborations. alliances are formed through transparency in communication, trust, and integrity between groups and are strengthened through persistence in the creation and collaboration process. idris sardi’s attention to the development of music in indonesia is very intense, especially for the future generation, as shown by his commitment to helping develop children’s songs both in terms of setting and recording. in 1962, idris recorded a children’s song written by ibusud with a chorus in an orchestra format. idris sardi also experimented with bringing together the spirits of various emerging musical genres. idris sardi pioneered the collaboration of rock music and orchestra, which was a breakthrough in the development of indonesian music. idris sardi and his efforts to develop the original music of indonesia have inspired many indonesian musicians today. addie ms and the twilite orchestra are famous for their renditions of indonesian regional songs. however, they are not the only ones. other composers and arrangers have also incorporated regional music in their musical pieces. the unique character of regional music in indonesia is a blessing that must be appreciated by developing the music through various ways and media. the initial step that idris sardi took in promoting regional music and musicians serves as a reference for musicians today in making music. music production must have a good quality, and high appreciation must be given to musicians. this represents idris sardi’s efforts in developing indonesian music. the younger generation must continue his legacies. moreover, the music development in indonesia cannot be separated from other elements of culture. this is something that idris sardi is highly aware of in his musical works. it is also in line with min kim’s belief on how music canharmonia: journal of arts research and education 21 (2) (2021): 290-302298 not develop on its own, as it grows along with other various aspects of culture, such as art, literature, architecture, etc. (yeo, 2013, p. 46). idris sardi’s musical performance can be seen in figure 8. figure 8. idris sardi playing various popular music repertoires and traditional music (source: nur risanti sardi, 2021) implications for music vocational education problem-based learning problem-based learning refers to learning in which a problem serves as a real context for learners to learn. learners think critically, analyze, be creative, collaborate, and solve problems in the process of acquiring knowledge. one of the main characteristics of problem-based learning is student-centered. students practice creating inventions, asking questions, articulating, elaborating, considering, and making decisions (sudira, 2017). from the perspective of vocational education, the efforts made by idris sardi to promote keroncong to be accepted by the general public can be assumed as a form of the problem-based learning concept. idris sardi attempted to figure out the reason keroncong became less popular among the youth at the time. once he analyzed the problem, steps were taken to address the issue, namely by making the tempo faster to attract energetic young people as the target listeners. the optimization of music repertoire with various genres of music, including regional and international popular music, also aims to reach a wider audience. therefore, both the older and younger generations can enjoy the songs performed by orkes keroncong tetap segar. the steps taken by idris sardi address the concept of the pbl model, which emphasizes the problem-solving process rather than the results. problem-solving consists of two sets of thinking processes, namely the process of understanding the problem and the process of solving problems (sudira, 2020, p. 292). idris sardi’s actions are also in line with the problem-solving model by bransford& stein described by jonassen (jonassen, 2011, p. 3), namely (1) identifying potential problems, (2) defining and representing the problem, (3) exploring possible strategies, (4) acting on those strategies, and (5) looking back and evaluating the effect of those activities. idris sardi’s strategy was to attract the attention of the listeners by expanding the materials, namely by strategically choosing western pop songs and playing them in a keroncong rhythm. this proves to be a success as the audience gets excited for a not-so-typical keroncong show that still feels familiar to their liking. moreover, the indonesian people and the international audience also express their interest in the new music style. figure 8 shows international artist harry belafonte inviting orkes keroncong tetap segar to perform in the united states. a parallel can be drawn between idris sardi and min kim with her korean chamber orchestra, as it also attempts to present a variativ range of repertoires in each show (yeo, 2013, p. 34). the extension of repertoires is one of the reasons why the audience’s interest in the show constantly increases each year, even gaining them a solid fanbase and supporters. today, the korean chamber orchestra has over 1,200 regular audience members (yeo, 2013, p. 33). kim’s strategy to increase the number of audience members and raise public awareness on the show includes the following: (1) offering subscription of the show, (2) performing and promoting the show in other countries, and (3) releasing records (ryu, 2005; yeo, 2013). on a similar note, fu’adi fu’adi, et al., idris sardi’s influence on musical development and education in 299 idris sardi, with his keroncong group, also released records and was invited to perform in many countries, including in the united states. figure 9. with harry belafonte in the united states, 1965. idris sardi is shown standing second to the left. (source: nur risanti sardi, 2021) improvement capability idris sardi’s ability to play the violin is achieved through a long learning process and struggles. his consistently improved skills in various violin playing techniques such as the on-off vibrato, one-finger glissando, and changing octaves have shaped his distinct character. moreover, music learning in vocational education can be optimized by exploring all the potentials that students have so that they can develop a natural style of playing as well as their character. idris sardi’s ability to play the violin is in line with what bessant describes as the improvement capability perspective, which refers to a broad organizational process of focused and continuous innovation to maximize creative problem solving (bessant & caffyn, 1997; bessant & francis, 1999). the stages that idris sardi went through in developing and improving his violin skills included various violin learning methods obtained from his father, namely m. sardi, nicolai valvolomeyev, and other violin teachers. life-based learning idris sardi’s awareness to increase public appreciation of instrumental music urged him to search for the right approach. he finally decided to reinvent regional music that is more familiar to the public by using the western orchestra instruments as a form of collaboration. indonesian regional music is greatly diverse, and each has its uniqueness based on the region. idris recognized this as a strength and was inspired to reinvent, reintroduce, and promote regional music through diatonic musical instruments. idris sardi’s work in music reflects the life-based learning model, which is aimed at developing competence in knowledge, skills, abilities, and values. the model stresses the notion of personal responsibility to learn by providing a rich learning environment and learning that benefits individuals and organizations. life-based learning is adaptive, self-facilitated, and based on the perspective of the whole life and reflective practices, as well as uses any strategies that are appropriate to complete certain tasks (staron, m., jasinski, m and weatherley, 2006, p. 7). the importance of learning things outside the school environment must be emphasized to students. idris sardi shows that learning can be done in the surrounding, from which he obtained invaluable knowledge on the various styles of ethnic music, musical instruments, playing styles, or popular music, which can be explored in detail and in-depth to broaden his perspective and skills in playing music. the notion of life-based learning addresses the source of learning aspect by acknowledging the contribution of learning as a whole and identifying various ways in which learning becomes vital for an individual. life-based learning recognizes that what we experience and learn outside the work environment can be equally important for our work (staron et al., 2006, p. 7). this approach focuses on learning based on one’s life as a whole at any point in time or source in that learning (staron, et al., 2006, p. 3). harmonia: journal of arts research and education 21 (2) (2021): 290-302300 conclusion the development of music cannot be separated from the active role of musicians in cultivating various kinds of potential they have. idris sardi’s totality in musical performance is evidenced by the high reputation he has achieved and his influence in the development of music in indonesia. the form and style of keroncong, the collaboration between ethnic music and orchestra, and the state of instrumental music today are all the results of musical performances that idris sardi initiated. idris sardi serves as an example of musicians who apply the concepts of problem-based learning, capacity building, and life-based learning in developing music competence. the learning concept is very important as an effort to improve the quality of vocational education in the field of music expertise so that graduates are competent to perform music optimally, as well as think critically, creatively, collaboratively, and solve increasingly complex problems in the era of industry 4.0 and society 5.0. acknowledgments the authors would like to thank the participants, especially mrs. nrs, for her valuable assistance during the research process. the study reported in this publication is supported by the ministry of education, culture, research and technology, the directorate general of higher education, and the directorate of resources indonesia through the research grant for doctoral dissertation program with a contract number t/4.3.9/un34.21/pt.01.03/2021. references a’yun, w. q., & rachman, a. 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(2013). idris sardi, perjalanan maestro biola indonesia. jakarta: fadly zon library. 98 acting, movements, and the three important components configuration in marginalizing randai as an entertainment show indrayuda indrayuda department of drama, dance, and music, faculty of languages and arts, universitas negeri padang, indonesia received: march 18, 2019. revised: may 18, 2019. accepted: june 19, 2019 abstract the purpose of this research is to reveal how marginalized randai as a performing art in the life of minangkabau’s people and their social culture in west sumatra. this research is based on qualitative methodology with a descriptive method; this research is focused on the marginalization of randai as the consequences of its lack of acting techniques, movement, and configuration. this research involved traditional artists, dance and randai artists, indigenous elites, and the people managing the show. data collection using live monitoring on the randai performance and doing many interviews related to randai as an art performance in minangkabau’s people’s life. besides that, the data also collected from documentary and literature studies. data analysis was done using the ethnography method. the results showed that, in reality, the weakness of the randai show is located on the acting, movement, and its configuration. the weakness of those three key elements is marginalizing the existence of randai as an art show in social culture life. the lack of acting, movement, and configuration in the performance does not match the current demand of the people. keywords: randai performance, acting, movement, configuration how to cite: indrayuda. (2019). acting, movements, and the three important components configuration in marginalizing randai as an entertainment show. harmonia: journal of arts research and education, 19(1), 98-110. harmonia: journal of arts research and education 19 (1) (2019), 98-110 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i1.19185 one of the national cultures even after its change during the colonial era. today, randai becomes a cultural heritage among the minangkabau people and are still performed both in people’s own nagaris, and overseas. these days, the development of randai performances faces obstacles; this can be seen from the decline in the number of spectators and the next generations of randai. the researcher sees that in various villages in districts and cities in west sumatra, randai shows are often left behind by the audience, even though randai is performed in front of its community; thus, introduction the minangkabau society has many pretty popular performance arts, one of which is called randai. randai is a local product that was made by the minangkabau society in many nagari (villages). every nagari has a certain characteristic in the aspect of the movement, costume, and music in its randai arts. to this date, randai performances can be seen in many events by the minangkabau people in their nagari; furthermore, randai also got culturized and taught by the urban society and by many college students. randai has become corresponding author: jl. prof. dr. hamka, no.1 air tawar barat padang 25132, indonesia e-mail: indrayudayusuf@yahoo.co.id p-issn 2541-1683|e-issn 2541-2426 indrayuda indrayuda, acting, movements, and the three important components con99 it can be said that the randai show has lost its audience. although the frequency of performances has not decreased significantly from the early 2000s, the audience has indirectly marginalized randai from the entertainment arena in west sumatra today. researchers obtained information from several informants that the randai show was considered to be less relevant to the rapid development of people’s artistic tastes. indirectly, technological growth has changed the mindset of the public artistic taste in sumatra barat. as time goes by, there has not been any significant changes in randai performances, so that the public assumes that randai is no longer part of their culture anymore. method this study used a descriptive research method. the focus of the research, as well as the object of research, is the issue of the exclusion of randai performances caused by the acting, movement, and configuration aspects. these are the most important aspects of the packaging of the show that need to be highlighted qualitatively. this research was conducted in several rural and urban areas in the province of west sumatra. researchers chose several key informants, namely, randai tuo (elder), randai actors, and randai musicians. other informants are managers of tourism and entertainment performance as well as the general public and customary elites and government elements. in addition, the researchers also selected informants from the owners of art galleries, performance art researchers, academics, and the randai performing arts community. the key instrument in this study is the researcher himself because the researcher acts as the designer and direct actor in collecting research data. the researcher also uses other devices such as audio and audiovisual recording devices; these tools function as an instrument in taking field data at the study site. in addition, in order for the data to remain original, faithful, and easy to store, researchers photographed and videotaped important moments from the randai performances. data is collected through interviews, both structured and unstructured, which were guided by the interview guide sheet. another data collection tool is direct observation, where the researcher observed the flow of each randai show. in his observation, the researcher focused on two aspects, the form of packaging visually displayed on randai, and the social settings as well as audience responses from the randai show. all forms of observation must be guided by observation sheets. the researcher analyzed the data presented by spradley, in ethnographic data analysis techniques which consist of: (1) determining research objects; (2) conducting field observations; (3) conducting domain analysis; (4) conducting focused observations; (5) conducting taxonomy analysis; (6) analyzing themes; and (7) writing a report. the researcher conducted multiple data checks which were carried out repeatedly and carried out discussions with peers to ensure the validity of the data. data triangulation was also carried out when collecting the data on the field so that the researcher obtains data certainty. in addition, the researcher examined the validity of the data with the help of several experts and mentors who were experts in the performing arts, which were conducted in the focus group discussion activities. results and discussion randai marginalization as a performing arts entertainment the desires of people’s tastes have an impact on the form changes and the packaging of performing arts, both modern and folk performing arts. nowadays, the dynamics of people’s tastes are moving forward rapidly; this is due to the ease with which the public accesses all information related to the form, pattern, and style of the performance art intended. thus, the public wants a variety of new styles and variations of the art form. people always want things that are new, even if they reharmonia: journal of arts research and education 19 (1) (2019): 98-110100 quired to be commodified, elaborated, or recycled. this has an impact on the established art; established art does not want to adapt according to the wishes of the audience. in the end, arts like this will be marginalized in the market of entertainment performing arts. referring to the growth and development of information technology, all elements related to the performing arts were affected by the flow of change. indirectly, established traditional arts need to be developed; things that are considered obsolete need to be adjusted and reconstructed, or modified or given a touch of color and other art styles. if this is not done, then the existence of the artwork will be easily eliminated from the arena of entertainment performing art competitions. the market will move from liking the arts to marginalizing them. one of the best ways is to bring about a change in the form of packaging for the art show, just like randai art, where its existence has begun to be reduced by the weakness of its own artistic death. the issue of important elements in the randai work is still structured like that too, and there is no change in the elements of acting, dialogue, configuration, and the legaran movement. as stated by jazuli (2001, p. 189), the occurrence of globalization, which has led to the presence of the entertainment and tourism industry, has an impact on the conceptual framework for the performing arts. this means that the presence of the entertainment and tourism industry has changed the face of performing arts products, which are oriented to the interests and desires of the market. production house or art studio as a manufacturer of works of art will give birth to works of art that focus on working for the needs of tourist consumers and consumers of the entertainment industry. thus, a transaction takes place between the artist as an art creator and the buyer as a connoisseur, which concerns the form of the packaging of the show. as a result, the show’s packaging patterns appear in the form of solid, attractive, demonstrative, and are in a short duration. performance art like this is a form of entertainment performance art concepts that must be addressed by creators from various studios and production houses. desfiarni (2013. p. 128) said that aesthetic elements such as movement, costumes, and other factors that build the value of an art performance, will affect the imagination of the audience. in turn, the performance will be determined by its aesthetic appeal, such as movement that is packaged in a form of work of art. referring to the randai show, it turns out that movement and acting, as well as its configuration, are important elements within a unified composition of the works of randai art. the reality aspects of acting, movement, and configuration that exist in the randai show has not been able to make randai as a cultural focus, both for rural communities and urban communities in west sumatra. the elements of movement, acting, and configuration should be of serious concern by current randai artists in west sumatra. randai, at this time, naturally and gradually began to recede from circulation. this incident means that the performance of randai as an entertainment commodity is declining in value. the randai audience community is increasingly diminishing in every randai event. a randai expert, saparman, said that randai was too rigid with its structure and packaging so that the movement and acting of the actors who acted as characters in the show had not been able to establish good interactions with the audience. the audience felt they had not found any communication and were not entertained from watching the randai show. referring to soedarsono’s statement (1992, p. 12), good entertainment art is to have elements which include: (1) the artwork is a reflection of existing traditional art; (2) from the aspect of presenting the work, the performing arts must have a concise composition structure; (3) full of variety and enjoyable; (4) the work is easily digested by the audience and not too complicated. indrayuda indrayuda, acting, movements, and the three important components con101 referring to what was explained by soedarsono and related to the current condition of the randai performance, there has not been a meaningful relationship. the reality is that the randai performance is still complicated; the narration is too long to be conveyed, which makes the audience bored. the tapping pattern of the galembong often repeated even though the story has changed from one scene to another. on the other hand, variations in terms of showing various combinations of movement techniques, the configuration has not completely changed. in the end, every randai show performed by the randai community has a small audience. when shown as entertainment for the general public, most of those who come to watch the show, are traditional artists and local elites. this means that the community has marginalized randai art as a performing arts show in west sumatra today. efrida (2016, p. 64) says that art in the minangkabau community is something that is considered valuable if it has been given value by the community. this means that the community will provide value to the art if the art is in accordance with community needs. if the minangkabau community considers the art to be irrelevant to the customs and habits of the community, then the art is considered to be of no value, so that the art will slowly be excluded from the community life. the value of art by the community can be caused by the form, use, and benefits of the art. therefore, in the randai show, there are several elements of the composition of randai that are less relevant than the current public taste in art. in turn, the community considers the randai performance to lose its artistic value. therefore, the public has marginalized randai performances unless there has been a fundamental change in the elements of the composition, such as in movement, costumes, music, or in the acting. randai, in its current form, has not changed since the era of independence, or even the order baru (new order) era, where at that time, the randai show was a communication media for government development messages, especially concerning the keluarga berencana (family planning) programs. but what has changed is only at the level of the story script, and not on the structure of the show, acting techniques, appearance techniques, or composition. today, what is inherited by randai artists from their teachers or previous heirs, remains that way and has never changed. along with that, people’s demands for randai performances with innovative packaging are getting higher, so this has become a problem for randai artists. as a result, the inability of these traditional artists to pack with new colors and styles at the randai show has an impact on the marginalization of randai as an entertainment performance art in west sumatra. changes in the randai show are only at the level of the story script, incorporating new song elements in the randai accompaniment music, as well as the presence of a small portion of dance moves and a significant increase in the frequency of the galembong. but it is the tapping pattern of the galembong that often repeats and has been the same since the 1980s, causing the randai show not to be dynamic, especially since it has lost its pencak silat bit. this pencak silat factor causes the randai show to be less attractive to the community because the identity of the village where randai grows and develops is seen from the movements of pencak silat, which are played by the randai artists. eventually, randai lost its pencak silat identity, which resulted in the decline of local fanaticism towards the randai performance. as a result, randai shows have increasingly been marginalized by their own people. randai marginalization from the acting perspective according to the development of the form of performance from traditional entertainment art, there have been many shows that are packaged in an attractive and modern way, namely the presence of stage makeup. the acting done is procesharmonia: journal of arts research and education 19 (1) (2019): 98-110102 sed with gesture techniques and communicative expressions. the development was triggered by the emergence of information technology; it seems that the emergence of various youtube videos that are easily accessed by people in various corners of the region. in turn, it has influenced the mindset of the audience of the traditional performing arts in west sumatra. the impact of some entertainment shows on youtube has stimulated the imagination of the public towards a new spectacle. thus, people will eventually compare what they have just watched on youtube with what they have received as cultural heritage, which they have used as an entertainment art so far. in turn, they concluded that it turned out that the randai entertainment show had lost its aesthetic appeal, this is due to the poor quality of the attractiveness of the actors in acting, their expressions are unable to reveal the role they are playing. as rizal tanjung explained, according to the dramaturgy theory, randai is currently losing actors who are able to act expressively and communicatively. therefore, if the show is successful and responded well by the audience, then the artists must work on their acting techniques because so far, the randai show only features actors with acting techniques who have not been able to explore their body when acting. the artists must work on their acting techniques because the randai show is packed and focuses on the messages and literary art of speech delivered by the randai performers. armeynd also criticized the issue of acting; according to his observations, randai shows have not been able to provide something spectacular in terms of acting. the show director still struggles to direct the players in emulating the characters they play with expressive and communicative acting. the actors or the players often only talk without being able to act well, even when the actors are having a conversation with each other. still, the acting does not appeal to the audience at all and often considered corny. objectively, according to armeynd, in fact, traditional randai is in a literary value better than its acting technique. the speech literature can bring the audience’s imagination more into the past. through literary performances, the actors can manipulate the audience’s feelings, as if they were brought to the past of minangkabau. figure 1. acting techniques performed by the actors in the randai performance (indrayuda’s documentation, 2019) ismar maadis datuak putiah said randai had lost its appeal in the aspect of acting or character. especially at this time, randai players in acting are less able to move to open space, so that the blocking they do feels stiff, and they often stay in one place without doing anything. the issue of acting is bothersome for the audience because the audience does not get any surprises from the expressions and acting styles of the actors. the randai show is considered boring, so the audience feels “tortured” by their feelings and thoughts to understand the randai show, which is considered too long as an entertainment show. the researcher observed that in some traditional randai performances so far, they were too focused on the delivery of the story by packaging the composition of the show so that it takes too long for the audience to watch this not so interesting entertainment. in fact, every actor performs with a rigid appearance; the transition between dialogue places from one room to another is less done. actors are often too long in dialogue with other actors in one room, making the audience bored. the acting from the actors is not done with good gestures that are flexible either so indrayuda indrayuda, acting, movements, and the three important components con103 that their expression can not reach the maximum potential from the aspect of acting. as a result, the audience has not been able to enjoy the acting of the actors fully. ade suyandra said that many traditional directors in randai shows have not been able to develop the talents of their actors in acting. many randai trainers let their actors improvise on the stage without focusing on their acting techniques. they are more focused on dialogue techniques using oral literature. the trainer’s emphasis is only on speaking techniques using good oral literacy so that actors are able to dialogue by using classical minangkabau literary techniques to the full. however, the dialogue without being accompanied by good acting techniques, then the performance randai feels bland, thus making the audience less able to feel the interesting and unique actions by the actors. according to viveri yudi, after randai integrates with drama, which in turn uses story scripts and has actors who will portray the story, the acting of the performers inevitably must make the audience to fantasize so that the randai performances really able to penetrate the minds and feelings of the audience. however, if the players’ acting is sluggish and does not produce good gestures, the show will fail, and there will be a chance of randai to be left behind by its own audience. as rizal tanjung said, that randai needed to transform into an innovative performing art, one of the things that needed to be changed was the acting technique since randai has now been marketed to the tourism market and the entertainment industry both for local, national, regional and foreign tourists. therefore, fundamental changes need to be made from the acting techniques of the actors, so that the theater performances can be enjoyed by the audience. but the reality is that the randai show has begun to be abandoned by the audience; this is due to the weak acting techniques performed by the players. susmiarti (2015) said that the show that was often left by the audience was the phenomenon in the form of the packaging. the packaging that includes elements such as composition, movement, expression, as well as acting, will be the focus of the attention of the audience. so if the acting element is problematic, then the show will disturb the imagination of the audience, and the audience will move from their seats. therefore, the focus of the audience is on the innovative change of a show, meaning that an entertainment show must make an update of its component elements. if there is no renewal, then the performance will be abandoned by the audience. along with that, rusliana (2011, p. 99) said that the marginalization of traditional performing arts in the competitive entertainment performance art market is caused by inaccurate forms, motion design, music, costume design, and dynamics, working patterns, and the performance techniques that never change. in addition, the packaging of the presentation is not neatly patterned, and the elements of the composition have not been explored properly. because composition elements such as the actors’ acting need to be worked on seriously, the actors need to be able to play roles with good quality and are able to express themselves that can make the audience hypnotized. according to rangga & abdillah (2019, p. 7), a search or exploration process to find a form of characterization that wants to be played by each actor needs to be done step-by-step and requires appropriate techniques. some techniques are very necessary so that actors understand well how to approach the character being played. this is inversely proportional to the randai show, where the randai show does not yet have an actor who plays the character with the right technique, so the show is not communicative. in reality, so far, randai shows are often lacking in acting techniques, so the performances are less attractive from the entertainment aspect. thus, the weakness of the acting technique helps to marginalize the existence of randai as a spectacle of public entertainment in various nagari (villages) today in west sumatra. actors’ harmonia: journal of arts research and education 19 (1) (2019): 98-110104 weaknesses in acting have been detrimental to the quality of randai performances as an art of folk entertainment. the issue of actors who have not been able to act properly has an impact on the lack of expressiveness of randai shows, and this has encouraged the audience to marginalize randai performances in various places. referring to the fact that randai art has entertainment value for the minangkabau people, randai cultivation as an entertainment media must be able to provide something of entertainment value to the community, both through movement, music, and the acting of the players. if one element is not able to be presented properly, the minangkabau people, as a critical community, will leave and marginalize the show even if randai is a cultural heritage of the minangkabau people. this means that the aesthetic tastes of the performing arts of the minangkabau community lie in the imagination and personal interpretation related to the objects they see (hidayat, indrayuda, i., & syahrel, 2013). minangkabau society is very dynamic and very responsive to various changes. as kuswarsantyo (2008: 41) says that the growth of art is like a chain; if one breaks, it will break the other. therefore, changes in the performing arts will be interrelated; the relationship between the art form and the tastes of the audience becomes an inseparable link. therefore, if there has not been a change in active techniques to more innovative techniques, then randai performances should not be expected to become the focus of entertainment for people in various villages and cities in west sumatra. referring to kuswarsantyo’s statement above, changes in people’s tastes towards the performing arts essentially and substantially have an impact on people’s desire for improvement of the acting techniques in randai performances. thus, there is a positive response from the community’s criticism of changes in the randai show model; this response needs to be addressed wisely by the randai artists. in turn, randai performances will not turn into a low-audience-count show. therefore, one of the ways that they do is change the old acting techniques by bringing up innovative acting techniques. with hope, if this change can be made, then the randai show will not become a marginal art anymore. the pros and cons of the randai show depended on how the randai players presented the text stories in the sense of having a dialogue and acting and moving on stage or arena (sakti, 2010, p. 166). referring to what was explained by sakti, this time, the public sees the randai show not being able to be delivered by the players well, especially from the acting, aspects of literature, and movement. as a result of the poor performance of the show, the community has slowly marginalized the existence of randai as an entertainment performance art in west sumatra. randai marginalization from the movement perspective based on the study that the researcher had done, the artistic and aesthetic power of the randai show currently lies only in the literary elements and the galembong pattern, while the dominance of the galembong pattern has degraded the pencak silat movement. as a regional art that originally began with the motion of pencak silat, the silat aspect is no longer visible from the randai show. initially, the composition of the movements in the randai show are movements originating from pencak silat, which is one of the identities from which the randai art originated. this means that by only looking at the variance of movement and techniques played by the actors of randai (randai players), the audience can already guess that the randai art originates from a particular nagari (village). by focusing on the galembong pattern on the randai packaging at this time, the impact on the agility and dynamics of the randai show began to diminish, although its uniqueness is still apparent. indrayuda indrayuda, acting, movements, and the three important components con105 figure 2. the dance movement within the randai show. (indrayuda’s documentation, 2019) today’s society feels their regional identity has begun to disappear along with the dominance of the galembong pat movement in randai performances because the galembong pat is not based on silat (silek in the minangkabau language). the galembong pat is merely a displacement of percussion rhythm in music, meaning that it is not a part of the movement but rather a musical sound motif in the form of rhythm that is transferred to the randai players’ pants. the technique of the beating of these pants is done by hand and body movements. still, it is not really the main part of the main movement that is in randai. the randai art originally grew and developed in traditional silat pencak silat colleges in minangkabau; because of that, all the main elements of movement in randai shows are based on the movements of pencak silat with their variations being the galembong pat as the palam (cue). that is why we could call the randai players as warriors. changes that occur in today’s randai performance are mainly in the aspects of movement, namely the loss of diversity of dynamic and varied movements of silat. today in the randai show, what is present is the dominance of the galembong patting motion, which is actually just a sound transfer with additional movement — a rhythm that is transferred from gendang to the clapping and patting of the galembong. this is often done in repetitive amounts with exactly the same motives, which makes the audience bored. in turn, the galembong pat and the sound motif never change during the performance even though the flow has changed. in essence, the motion in the randai show is a manifestation of the content of the story that will be told through dialogue by several actors. according to armeynd, the reality is that randai is simpler in its packaging. in the aspect of the movement, there is often a repetition of motives from one technique of galembong pat to another, and in each transition scene, always uses the same motif. the movement on the legaran (circle configuration) does not change very much from one formation to another. the varying power of pencak silat movements is no longer visible, due to the dominance of the more prominent galembong tap and applause. in turn, the audience will witness a stagnant show, and this will have an impact on the dynamics of the randai show, which will become monotonous from the aspect of the movement. putra (2012, p.169) said that the development of the tourism industry in indonesia had stimulated the emergence of new creativity and new ideas in the form of performance art packaging. therefore, the performance of performing arts in the context of packaging will be a loss for the performance art itself because the performance art is not considered dynamic and attractive and revolves around the same form, so the performance becomes monotonous and is seen as arid from variation. meanwhile, indrayuda (2016), responding to the growth of the performing arts entertainment in the era of tourism, said that artists are required to continue to develop in accordance with the growth of people’s tastes. this means that local artists need not be too idealistic about their work. thus artists are required to be more creative to renew their art from the packaging aspects of the show; therefore, the use of idealism that is still surviving must be adapted to new developments in the aspect of the movement. maadis (2012, p. 85) said that these days, the randai show is still considered unique to foreign tourists because of the galembong pat, but for minangkabau artists and academic artists in general in west sumatra, the movement feels monotonous harmonia: journal of arts research and education 19 (1) (2019): 98-110106 and lacks variety, similar to the views of the supporters themselves in various villages in west sumatra because their identity as the owner of the randai art no longer appears in the movement that exists at the intended randai show. based on maadis’ explanation above, it is relevant to the fact that researchers find today, namely that many supporters of randai arts are less appreciative of the current randai performances. local people who feel that they own the randai art want a change from the element of movement in the randai show, i.e., collaborating the technique of pencak silat movement with various forms with the rhythm of the galembong pat while still giving a large portion to the pencak silat aspect. in the initial tradition, randai is based on the local culture of the owner’s community; it means that if the culture is no longer carried out, then the culture will be marginalized by the community. so that the existence of randai if it is no longer responded to by the community, it means that in the randai show, the people no longer see it as the present heritage of the community’s traditions, which they still acknowledge. as a cultural system, tradition gives meaning to the behavior of the supporting community, both in social life and in the arts (hum, and kuniang, 2015, p. 109). today, people look down on randai and no longer liken it to new cloth, but instead a worn fabric; then randai will be marginalized slowly by the community owner. wendy (2014, p. 36) explains that silek or silat is the identity of a nagari (village) in minangkabau because, in the past, the community was taught in surau (traditional mosque) about the problem of martial arts, dendang music, and kaba or stories. these three aspects are already present in randai art. therefore, the existence of randai cannot be separated from pencak silat, namely pencak silat whose flow refers to the origin of the randai ownership area. it was concluded that the current marginalization of randai in the community is due to the reduction in the various forms of pencak silat movements in the randai show. although the gesture of hand-clapping and the galembong patting is a unique attraction, because it is done with less variety and is always repetitive, makes the audience dislike it. the audience wanted to bring back the collaboration between pencak silat movements with the tapping and the galembong to become an aesthetic and artistic unity in the form of new motifs from the packaging of the randai show. randai marginalization from the configuration perspective according to wendy (2014, p. 39), traditionally, the configuration pattern of randai art is a circle by placing an actor in the middle of the arena of other randai actors. similarly, maadis (2012, p. 53) and harun (1980, p. 79) also said that the formation or configuration of the randai show is a circle called “legaran.” all activities such as performing silat, hand-clapping, and galembong tapping and when the actors are having a dialogue is all done inside the legaran. observing the development of contemporary tastes of art both at the local and regional and global levels, art lovers or connoisseurs of art have never liked the establishment of art. therefore, established arts will become cultural monuments and not become an entertainment consumption for the audience. thus, the randai show is classified by the public today as an established art with its configuration form. based on the study conducted by the researcher in various villages and cities, many viewers give their criticism of the very monotonous configuration elements of the randai show because randai only shows one circle configuration without having any variation that can satisfy the audience when in fact there is an opportunity to provide the audience with a new experiment by increasing the configuration of the circle. this has received a lot of criticism from the audience. along with that, cauto, nasbahri, indrayuda indrayuda, acting, movements, and the three important components con107 and indrayuda (2013, p. 81) said that art is bound to space and time; old art will die and be replaced by new art that is more relevant to the tastes of the people who use the art. old art will be able to survive if old art is given new makeup, so old art is relevant again to the reality of human development that uses it. thus art is not absolute; art is not permanent in the eyes of society, and art is an imitation that is continuously flowing so that art can be said to live in harmony with the lives of people who created and used it. based on the evolution of randai in the 1920s with the appearance of the king’s school in bukittinggi, it introduced elements of drama or story in the randai show (indrayuda, 2013). pramayoza (2012) also stated about the rampant performances of tonil melayu in several areas in minangkabau since 1888. in addition, wendy (2014, p. 40) tells of the presence of malayspeaking tonil (theatrical play) with the minangkabau dialect and the presence of a king’s school, which has triggered the production of drama performances with stories. the kaba (story) has given rise to a new evolution in the randai performance from only a circular movement play by the silat fighters who collaborated with dramas or stories that use plays or actors in their performances. finally, in 1927, a collection of randai groups from payakumbuh emerged and played a form of randai that had evolved earlier with the simarantang story script. the randai show has evolved since the 1920s in west sumatra. referring to the problem of transformation and evolution, right now, the people’s desire to change the order of randai format as performance art is felt to be no harm. therefore, the researcher sees the reality now that the community is saturated with the formations or configurations that never change, meaning the audience wants a change in the configuration aspect. the reality today is that many people complain about the configuration presented in the randai show, the public believes that the show has never changed from one form of legaran. according to the community, if there is an agreement from the community on the changes that should be made, then changes should be made, especially from the aspect of the show. today many randai shows are marginalized by the community people themselves, and they turn to more dynamic shows and innovations such as creative dance or the talempong goyang musical performances (mixed music). sugihartono and falasifah (2016, p. 61) said that in today’s performance show, the most important thing is to do a representation of the cultural forms that are rooted in society. the representation is packaged in a new form so that it is more attractive to the audience. this has been done by traditional artists in jakarta in the case of the lenong show. therefore, the show that is watched by viewers is a show that has been packaged in a new form, so that the show can be of interest to many viewers. the conclusion from the above explanation is that every traditional art performance must be transformed into a new form, which can adjust to the desires of the people’s tastes. referring to sugihartono’s explanation, it should be done by artists and managers of randai in various studios or various regions in west sumatra, so that randai performances can be enjoyed and continue to be sought after by the local community. it turned out that the randai performance, which had been considered a mainstream art, was seen by the public as an established performance art and did not want to leave its establishment state. in the end, the configuration form shown has never changed, so that the randai performance is currently lacking in demand by the local community. current randai representation is still about cultural representations of the past, whereas today, the public wants the representations embodied by the randai performances to represent the present time. harmonia: journal of arts research and education 19 (1) (2019): 98-110108 figure 3. the legaran configuration in the randai performance. (indrayuda’s documentation, 2019) artworks are human endeavors to bring the dream world imagined; when fantasizing, an artist is limited by the reality of the world that already exists. besides, art emerges from a rebellion of souls. in addition to the artist, the audience is also a wanderer in the living space (belvage, 2015, p. 167). therefore, art needs to make leaps that preceded its era. one of the efforts in making those leaps was to make various innovations and modifications to the composition elements of the performance artwork. if they do not make a breakthrough for change, the performance art will become a monument that is only seen as part of past history by the audience. therefore, it can be concluded that the randai show from the aspect of its composition currently has stagnated, eventually impacting the marginalization by the supporting community. one of the aspects of the composition element is the configuration problem. the configuration present in the randai show is very minimalist, meaning that the configuration only consists of one form of legaran. currently, at present, the performing arts are getting richer with variations from various forms of composition elements, the randai show, on the other hand, feels less appealing by the audience by only bringing up one configuration form. thus, the randai show is increasingly losing viewers, despite efforts to bring the randai performance art to schools in west sumatra. conclusion after observing randai performances, the reality is that randai is still convoluted, taking too long for the narration to be delivered, which makes the audience bored. at the same time, variations in the aspects of movement, music, acting, and configuration techniques are still not found. randai performances also have repeating galembong patting patterns even after the story has changed from one scene to another. in the end, every randai show that is performed by the randai community has a low amount of audience from the public or other art connoisseurs. besides that, important composition elements such as pencak silat movements, actors’ performances, and configuration have not been able to be presented to the audience as something of value. in turn, randai performances are increasingly marginalized by the audience. the exclusion of randai at this time in the community is mainly caused by the reduction of various forms of the movements of pencak silat in the randai show. although the gesture and the tapping in galembong pat is a unique attraction, because it is done with less variety and is always repetitive, and almost exist in every randai performance, it makes the audience dislike it. the audience wanted to bring back the fusion between pencak silat movements, hand-clapping, and the galembong pat to become an aesthetic and artistic unity in the form of new motifs in the randai show. it turns out that the randai performance, which had been considered a mainstream art, is seen by the public as an already established performance art and does not seem to want to leave its established state. in the end, the configuration form displayed has never changed, so that the randai performance is currently lacking in demand by the local community. randai images are still about cultural representations of the past. in contrast, today, the public wants representation represented by randai performances as repreindrayuda indrayuda, acting, movements, and the three important components con109 sentations of the present, one of which is through new and artistic and innovative configurations. references belvage, r. h. 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(2014). dramaturgi teater rakyat randai di minangkabau. jurnal kajian seni, 1(1), 32-47. 356 a comparative study of playing patterns on gambang and ranat ek instruments abdul rachman1, pramot teangtrong2, phakamas jirajarupat2, indrawan nur cahyono1 1universitas negeri semarang, indonesia 2suan sunandha rajabhat university, thailand submitted: 2021-07-05. revised: 2021-11-27. accepted: 2021-12-26 abstract gambang semarang is one of indonesia’s traditional music which has an instrument made of wood, namely gambang (xylophone). thai pi phat ensemble has a gambang-like instrument called ranat ek. in the presentation, each of these instruments certainly has a playing pattern that is characteristic of the music itself. this study aims to identify and describe the pattern of traditional music playing in the gambang semarang, especially the gambang instrument and the traditional music of thai pi phat ensemble, especially the ranat ek instrument. the research method used is qualitative with a musicological approach. data collection techniques were carried out by using observation, interviews, document studies, and focused group discussions. data analysis was carried out with the stages of data reduction, data classification, and concluding. the results show that the playing pattern of the gambang instrument in the gambang semarang music contains two types of playing patterns, namely sekaran nglagu and cengkok ajeg. while the playing pattern of the ranat ek instrument in the pi phat ensemble consists of kan ti kro, kan ti kep, kan ti siao mue, kan ti sado, and kan ti sabat. the two instruments have similarities and differences in playing patterns which are most likely due to differences in functions and roles in group play. keywords: comparison, playing pattern, instrument, gambang, ranat ek how to cite: rachman, a., teangtrong, p., jirajarupat, p., & cahyono, i. n. (2021). a comparative study of playing patterns on gambang and ranat ek instruments. harmonia: journal of arts research and education, 21(2), 356-368 harmonia: journal of arts research and education 21 (2) (2021), 356-368 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i2.31037 materials to be useful in musical contexts (spiller, 2004). thailand and indonesia, especially java, have many basic musical characteristics. the background to this large number of similarities is that the two regions belong to the “gong-chime culture” region of southeast asia, which has a characteristic musical ensemble featuring gong-bellssets of small gongs with knobs, xylophones (arrangement of logs) instruments, and metallophones (arrangement of metal introduction southeast asia is very diverse from a historical, cultural, and political point of view. however, southeast asia is connected by a common environment, history, and culture (becker, 2018; lockard, 1995). like music, for example, southeast asian music is strongly influenced by environmental and cultural resources. southeast asian environmental resources such as bamboo, wood, and metal allow these corresponding author: e-mail: dulkemplinx@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 abdul rachman, et al., a comparative study of playing patterns on gambang and ranat 357 rods), wind instruments made of bamboo/ wood, stringed instruments, and rhythmic percussion instruments such as drums, kendang, and simbal. the instruments in musical ensembles in the two countries are very similar to each other (sumrongthong & sorrell, 2000; kanchanapradit & meesawat, 2008; t. e. miller, 1992; morton, duriyanga, 1976; hughes, 1992). thailand has the pi phat ensemble, which is traditional music consisting of the instruments of ranat ek (main xylophone), ranat ek tum (xylophone), khong wong lek (small bonang), khong wong yai (big bonang), gongs, drums (gendang), krui piang oa (flute), rak khang (bell), kim, and ching (thatsanabanjong, 2020; attakitmongcol k., chinvetkitvanit r., 2004; jeeranai et al., 2017; garzoli & binson, 2018; morton, david; duriyanga, 1976). while central java has traditional music, namely gambang semarang which consists of the instruments of gambang, bonang, gong, kendang, flute, sukong, konghayan, kecrek (septemuryantoro, 2020; utama & puguh, 2013; puguh, 2000; raharjo et al., 2021; raharjo & arsih, 2019; utama & puguh, 2013; sadtiti, 2016). although the traditional music of pi phat ensemble and gambang semarang have similarities with each other when viewed from the shape of the instrument, the raw materials of the instrument, but not necessarily the playing patterns of these instruments are similar. they may have similar playing patterns or even very different playing patterns. therefore, it is necessary to conduct a study on the comparison of the playing patterns of traditional thai music with indonesia, especially central java. sumrongthong and sorrell’s (2000) research entitled “melodic paradoxes in the music of the thai pi-phat and javanese gamelan” in which the study discusses the melodic and improvisational systems used in each country. research by hughes (1992) entitled “thai music in java, javanese music in thailand: two case studies” discusses the adaptation of the scale system and melodic improvisation of each traditional music. based on previous studies, research on the comparison of playing patterns between thai and indonesian traditional music has never been carried out. therefore it is necessary to conduct research to know the comparison of each playing pattern. the focus that will be studied is the music of gambang semarang from central java, indonesia, especially the gambang musical instrument, during the thai traditional music, namely the pi phat ensemble, especially the ranat ek musical instrument. method the study used qualitative with a musicological approach. the research was conducted in two countries, namely indonesia and thailand. data collection used three techniques, namely observation, interviews, document studies, and focused group discussion (fgd). the observation method was done by observing, studying, and understanding the phenomenon done by digging up information directly about the playing pattern of the gambang instrument on gambang semarang music and the ranat ek instrument on the pi phat ensemble and then describing it. the interview was conducted by interviewing several respondents, namely several gambang instrument players in the city of semarang and ranat ek players in bangkok, thailand. document studies were carried out by collecting information in the form of written documents, pictures, videos. data analysis was carried out by processing and preparing data for analysis by copying interviews about the playing patterns of gambang and ranat ek, as well as scanning materials, documents, making field notes, and sorting the data based on the source. then, the data was read, and data reduction was done by selecting, focusing, simplifying, abstracting, and transforming data from field notes or transcripts. the data validity technique used triangulation of sources, methods, and theories. the collected data is then analyzed in three steps: reduction, presentation, and harmonia: journal of arts research and education 21 (2) (2021): 356-368358 conclusion. results and discussion in general, the instruments in gambang semarang music are almost the same as javanese karawitan, but not as complete as javanese karawitan. gambang semarang music uses only a few instruments: xylophone, bonang, gong and kempul, kendang (drums), flute, kecrek, konghayan, and tehyan (fiddle), although, in its development, many gambang semarang musical groups began to add saron and demung instruments in their performances. the scales in gambang semarang music use western pentatonic scales, namely: 1 (do), 2 (re), 3 (mi), 5 (sol), and 6 (la), without using 4 (fa), and 7 (si) with the basic tone d = do (rachman, teangtrong, utomo, sinaga, & cahyono, 2021; rachman, teangtrong, utomo, sinaga, & nurcahyono, 2021). the playing pattern of the gambang musical instrument on the gambang semarang music the gambang instrument in the gambang semarang music is played in a sitting position cross-legged facing the instrument, where both hands of the player hold two mallets (percussion). the percussion used is made of wood; at the end of the percussion, there is a circle of wood wrapped in a kind of cloth so that the sound produced becomes soft. the way to hold the gambang percussion is that the fingers of the right and left hands circle/ hold the percussion except for the index finger which is attached straight above the percussion. the playing technique is a way or effort to play a musical instrument with a certain tone or rhythm (banoe, 2003), while the pattern is a model, system, form, or structure. a rhythm pattern is a rhythm pattern that is repeated regularly throughout the song to form a rhythm unit with a specific name. a rhythm pattern that is repeated regularly from various instruments and played throughout the song. this rhythm pattern has its characteristics and has a specific name (banoe, 2003; h. m. miller, 1958; rachman & utomo, 2019; suhaya et al., 2020). so, it can be concluded that the pattern of music playing is a form, structure of music playing by using certain tones and or rhythms that are carried out repeatedly and regularly throughout the song that forms a rhythm unit with a certain name. the playing pattern of gambang semarang musical instruments does not yet have certain standards that characterize semarangan music. most of the playing patterns of gambang semarang musical instruments were adopted from several techniques/patterns of javanese karawitan music playing, and sundanese which the semarang gambang music players later modified. this causes differences in the playing pattern for each player, but it will be the style of each player itself. based on the data obtained from several sources, the gambang playing pattern on gambang semarang music has two playing patterns. the first is the basic pattern of sekaran tabuhan gambang gembyang nglagu, and the second is the basic pattern of tabuhan gambang garap cengkok ajeg. this sub-chapter will discuss the two playing patterns of the gambang musical instrument in semarang gambang music. the basic pattern of sekaran tabuhan gambang gembyang nglagu/octave sekaran is a melodic playing pattern with fixed rhythmic values or combinations that tend to follow the song melody or the development of a song melody (supanggah, 2009; widodo & suharto, 2017). nglagu is a form of wasp pattern that develops from the wasp pattern mipil, where the development is carried out at each seleh, both in the middle of the gatra and the end of the gatra by using tones one bar lower than the tone seleh to serve as a series of songs. gembyang is a wasp pattern by sounding the top and bottom notes of the same notation simultaneously, which in western music terms, this pattern is called an octave—for example, sounding 1 (do) abdul rachman, et al., a comparative study of playing patterns on gambang and ranat 359 low and 1 (do) high at the same time. seleh in karawitan is a sense of stopping at a song sentence, either pausing or stopping (kurniawati, 2019; sugimin, 2018; supanggah, 2009; widodo & suharto, 2017). if translated into western music, seleh shows the chord/harmony region of the song being played, meaning that if the wasp pattern seleh plays ‘do’, so the song melody being sung is in the do chord region or i major chord level. it can be concluded that the basic pattern of the sekaran tabuhan gambang gembyang nglagu/octave is a melodic wasp pattern with a fixed rhythmic value or a combination that tends to follow the song melody or development where the development is carried out at each seleh by sounding the top and bottom notes of the same note at the same time. the basic pattern of sekaran tabuhan gambang gembyang nglagu/oktaf octave consists of five types named seleh, namely, seleh do, seleh re, seleh mi, seleh sol, and seleh la where each pattern plays consistently the same two notes but differs by one octave (nggembyang) in terms of west is called an octave with an eighth notes (quavers). low notes are hit or played by the left hand while high notes are hit/played by the right hand. the basic pattern of sekaran tabuhan gambang gembyang nglagu/oktaf seleh 1 (do) indicates that this pattern is playing a wasp pattern in the i major chord region. seleh 2 (re) shows that this pattern is playing a wasp pattern in the level ii chord region which usually tends to be minor. seleh 3 (mi) indicates that this pattern is playing a wasp pattern in the third level chord region which usually tends to be minor. seleh 5 (sol) indicates that this pattern is playing a wasp pattern in the v major chord region. at the same time, seleh 6 (la) indicates that this pattern is playing a wasp pattern in the vi minor chord region. each basic pattern of sekaran tabuhan gambang gembyang nglagu completely usually requires two bars in each pattern, which is two times four beats because gambang semarang music songs mostly have 4/4-time bars, but this depends on the rhythm of the chord being played. if the chord being played is only one bar long, then only half of the gambang pattern is played (one bar); if the chord being played has two bars long, then the playing pattern can be full, which is two bars. the next important note is that each basic pattern of sekaran tabuhan gambang gembyang nglagu is not just playing one note repeatedly, but in one pattern playing several series of adjacent notes which are ascending and then descending to return to the tone seleh. for example, a series of tones that can be used in the percussion pattern seleh 1 (do) usually the series of tones used are 1 (do), 2 (re), 3 (mi), 5 (sol), and 6 (la). each set of notes is played in eighth notes. the basic pattern of sekaran tabuhan gambang gembyang nglagu seleh 1 (do), seleh 2 (re), seleh 3 (mi), seleh 5 (sol), and seleh 6 (la) can be seen in figure 1 figure 1. the basic pattern of sekaran tabuhan gambang gembyang nglagu seleh 1, seleh 2, seleh 3, seleh 5, and seleh 6 based on the partitur above, the basic pattern of sekaran tabuhan gambang gembyang nglagu seleh 1 (do) on the first bar playing notation 1 (do) on the first two beats, then continued with notation 2 (re) and 3 (mi) on the third beat, return to the notation 2 (re) and 3 (mi) again on the fourth beat, each of which uses the note value of 1/8. the second bar plays notation sol 5 (sol) on the first beat followed by notation 3 (mi) and 5 (sol) on the second beat, harmonia: journal of arts research and education 21 (2) (2021): 356-368360 while on the third beat plays notation 6 (la) and 5 (sol) and continues with notation 3 (mi) and 2 (re) on the fourth beat, each also playing eighth notes. furthermore, seleh 2, seleh 3, seleh 5, and seleh 6 adjust. but this pattern depends on the player’s interpretation because different players will also have different sets of tones that will be used. the basic pattern of tabuhan gambang garap cengkok ajeg garap is cultivating essential elements of the musical and cultural gending following the rules that apply character and presentation functions to form a beautiful musical sound composition. cengkok is one of the most frequently used terms to refer to the wasp pattern in karawitan. cengkok is a configuration of tones and/ or rhythms that have been determined in length, usually one gatra, or multiples, or half, or throughout one sentence of a short song (haris et al., 2017; supanggah, 2009; widodo & suharto, 2017). it can be concluded that the basic pattern of tabuhan gambang garap cengkok ajeg is a wasp pattern that processes musical elements such as tone configurations and or rhythms with a certain length that is fixed or repeated so that a beautiful composition is formed. in the basic pattern of sekaran tabuhan gambang gembyang nglagu, the right and left hands play the same rhythmic and tone, but the different octave. meanwhile, in the basic pattern of tabuhan gambang garap cengkok ajeg, the right and left hands play the different rhythmic and tone. this pattern is only formed in one bar. the right-hand plays a rhythmic half stroke of a constant eighth notes with details on the first and third beats starting with an eighth rest mark followed by eighth notes, on the second and fourth beats playing two eighth notes. while the left hand of the first beat plays the half note then followed by the sixteenth note on the next beat. the basic pattern of garap cengkok ajeg is like playing the kothekan technique, where the right and left hands play a rhythmic pattern that complements each other. kothekan is alternately beating technique complementarities between the two similar ricikan (instruments) or more at a distance wasp of half beat (supanggah, 2009). the underlined thing in the kothekan technique is that this technique is played by two or more instruments, which means that it is also possible to play two or more players, but in the context of pattern of tabuhan cengkok garap ajeg on the gambang instrument, it is played by one person and only one ricikan. this technique has a very high level of difficulty, it requires agility and coordination between the player’s right and left hands. therefore, the writing into musical notation becomes two levels of the stave, such as grand stave. however, both two levels of the stave use the g key, while grand stave (the writing of the partitur for piano) uses the g key for the top stave and the f key for the bottom stave. in the writing of the pattern of tabuhan cengkok garap ajeg, the top stave is a rhythmic/ wasp pattern played by the right hand, while the bottom stave is played by the left hand. the basic pattern of tabuhan gambang garap cengkok ajeg also consists of five types based on the seleh, namely seleh do, seleh re, seleh mi, seleh sol, and seleh la. seleh 1 (do) indicates that this pattern is playing a wasp pattern in the i major chord region. seleh 2 (re) indicates that this pattern is playing a wasp pattern in the level ii minor chord region. seleh 3 (mi) indicates that this pattern is playing a wasp pattern in the iii minor chord region. seleh 5 (sol) indicates that this pattern is playing a wasp pattern in the v major chord region. seleh 6 (la) indicates that this pattern is playing a beat pattern in the vi minor chord region. the basic pattern of tabuhan gambang garap cengkok ajeg completely requires only one bar in each pattern. the wasp pattern is that the right hand consistently plays two notes, namely the quint note (5), and the sect note (6) each with a value of eighth notes. the first beat begins with an eighth rest followed by eighth quint note (5), the second beat begins with a sect (6) eighth note followed by quint (5) eighth note, the abdul rachman, et al., a comparative study of playing patterns on gambang and ranat 361 same as the first beat, the third beat starts with an eighth rest, followed by quint (5) eighth note, then the fourth beat plays sect (6) eighth note and is followed by quint (5) eighth note. the wasp pattern played by the left hand is to play rhythmic consisting of two notations, namely the prim (1) and the quint (5), where the prim note (1) is the tone seleh (tonika), while the quint (5) is the partner. the prim note (1) is played with a half note on the first beat, then on the second beat two quints (5) sixteenth notes are played, followed by a rest and quint (5) with a value of 1/6 and at the fourth beat plays the quint (5) note with a value of 1/6 followed by a 1/16 rest and 1/8 quint (5) note. the basic pattern of tabuhan gambang garap cengkok ajeg seleh 1 (do), seleh 2 (re), seleh 3 (mi), seleh 5 (sol), and seleh 6 (la) can be seen in figure 2. figure 2. the basic pattern of tabuhan gambang garap cengkok ajeg seleh 1, seleh 2, seleh 3, seleh 5, and seleh 6 the playing pattern of ranat ek in thai pi phat ensembles before learning the playing patterns of ranat ek properly, a beginner should practice playing slowly up and down phuen in simultaneous octaves to perfect right and left-hand synchronization. meanwhile, at the earliest stage, a player learns to produce a balanced sound, the same as between his right and left hands, which he completely controls with his arm, not the wrist. when the simultaneous playing of octaves can be done, players then begin light exercises or simple thang (fultz, 1976; ketukaenchan, 1989; kosol et al., 2019; t. e. miller, 1992; yannavut, 2016). ranat ek has two types of playing patterns or techniques related to composition, namely kan ti kep and kan ti kro. however, many compositions in the thai repertoire for ranat ek are played in the kep style, which is the oldest playing pattern. therefore, in this sub-chapter, we will discuss the two playing patterns. kan ti kro kan ti kro is a playing pattern by combining the right hand and the left hand to hit alternately and repeated very quickly with the same weight on both hands (ketukaenchan, 1989; phukhaothong, 1989). the notes that are hit in the kan ti kro playing pattern are two different tones (pairs), for example, tone 1 (do) paired with tone 2 (re), tone 1 (do) paired with tone 3 (mi), tone 1 (do) paired with tone 4 (fa), tone 1 (do) paired with tone 5 (sol), tone 1 (do) paired with tone 6 (la), tone 1 (do) paired with tone 7 (si), tone 1 (do ) paired with a high tone 1 (do), and so on. kan ti kro starts with the left hand hitting a low note and then continues with the right hand repeatedly hitting a high note with the same speed and intensity. this playing pattern aims to produce a tone with a long sound following the wishes of the player and the needs of the song melody. this pattern is made considering the duration of the sound produced by ranat ek instrument that is very short. the playing pattern of kan ti kro can be seen in figure 3. harmonia: journal of arts research and education 21 (2) (2021): 356-368362 figure 3. the playing pattern of kan ti kro based on the score above, we can see that ranat ek plays a series of rising melodies with a length of two bars starting from note 3 (mi) and ending with tone 6 (la) by applying kan ti kro. in the first bar, the first and second beats play kan ti kro in low tone 3 (mi) for the left hand, high tone 3 (mi) for the right hand, by hitting the left hand first, followed by the right hand, very quickly, and so on. kan ti kep kan ti kep is a playing pattern in ranat ek which translates or changes the main melody of the gong ageng into a symmetrical group of four tones (semi-quavers) on each beat of the crossbar (in 2/4 of time signature). the rhythm is constant, but the pitch may be different. this semi-quaver figure played with both hands on the ranat ek in simultaneous octaves is also used by other pitched percussion instruments. the interesting thing about kep is that it is a playing pattern that allows the player a lot of freedom, i.e., he can design his own sequence of notes, in semi-quaver form, according to the basic melody. thang ranat ek in the kep style can appear in compositions with very simple or highly decorative forms, and since kep allows both simple and complex thangs, no special composition is required for use by ranat ek novice players who are learning the simple thang, introduced by their teacher. other instruments also share this characteristic freedom, or it can be said that this playing pattern reflects thai society, which is often described as ‘loose knitting’ (ketukaenchan, 1989; phukhaothong, 1989). a good ranat ek player instinctively knows how to produce the kan ti kep technique but finds it difficult to explain how he does it. furthermore, since thai music is an oral tradition, there is very little material or evidence to study. thus, to understand the playing technique, one must learn it through performance. kan ti kep has several models, starting with the word klon, which refers to the sequence or pattern used in thai poetry. klon klon is a playing pattern that is a model of kan ti kep by performing various types of melodies in relationship and contact with each other by translating from the melody of the gong, which is the song’s main melody. verse/verse/stanza between the first and last paragraphs must be the same poem. one paragraph is a measure of the length of the 4 thai notes. an example of a paragraph can be seen in table 1. table 1. paragraph size in the thai notation writing system length paragraph ซ paragraph 1 ล ล ล paragraph 2 ซ ด paragraph 3 ล ล ล paragraph 4 ซ ด ร ม paragraph 5 ซ ด paragraph 6 ร ม ร ด paragraph 7 ท ล paragraph 8 based on the table above, we can see that the length in one paragraph consists of four beats/tones with a value of ¼ (quarter notes). paragraph one consists of four beats, starting with a silent sign on the first, second, and third beats with a value of ¼ (quarter notes), then followed by the tone ซ on the fourth beat. the second paragraph begins with a quarter rest, then the second and fourth beats are filled with the tone ล, etc. the klon pattern can be seen in the partitur figure 4. abdul rachman, et al., a comparative study of playing patterns on gambang and ranat 363 figure 4. the playing pattern of klon the klon in the partitur above plays a nine-bar melody series with a constant note value of 1/8 (eighth notes), where the left hand and right hand play the same note but are struck at an octave interval apart at the same time. the series of melodies start from tone 6 (la) then move up and down, sometimes step up, step down, jump up, and jump down, which returns to the original note, namely tone 6 (la). kan ti siao mue kan ti siao mue is an octave paired playing pattern commonly called khu 8 with a series of melodies moving ascending along an octave, for example, starting from 1 (do) to 1 (do) high but done very quickly. the way to do kan ti siao mue is that the left hand is on standby on a low tone 1 (do), the right-hand hits a low tone 1 (do) then the mallet is pulled (dragged) quickly to the right (ascending) so note 1 (do) is high, when the right-hand mallet reaches the high tone 1 (do) simultaneously the left hand which is already stand by on the low tone 1 (do) hits the low tone 1 (do), so that the low tone 1 (do) and the high tone 1 (do) will be heard simultaneously (octave). this can also be done to the tone 2 (re), 3 (mi), 4 (fa), 5 (sol), 6 (la), 7 (si) in the same way. this method of ranat ek with a falling ball with the same sound at the end of this note is usually called klon ranat ek. the playing pattern of kan ti siao mue can be seen in figure 5. figure 5. the playing pattern of kan ti siao mue based on the partitur above, it can be described that in the first bar, kan ti siao mue is played in tone 3 (mi). the way to play it is to hit the left hand by flicking (dragging) to the right very quickly as many as eight tones starting from a low tone 3 (mi) to a high tone 3 (mi) then followed by the right hand hitting the high tone 3 (mi) with a note value of 1/4. in the second bar, kan ti siao mue is played in tone 4 (fa) by hitting your left hand by flicking (dragging) to the right very quickly as many as eight notes starting from low tone 4 (fa) to high tone 4 (fa) then continued by the right hand hitting the high tone 4 (fa) with a note value of ¼ (quarter note). kan ti sado kan ti sado is a playing pattern by hitting three times in pairs of khu 8 (same sound) or octaves at the same speed in the western music system. it is based on hitting the spot and subtly increasing the frequency. in real playing, this pattern is also very often used by players. the playing pattern of kan ti sado can be seen in figure 6: figure 6. the playing pattern of kan ti sado the kan ti sado above consistently plays a certain note that is hit three times quickly by the left and right hands simultaneously, the left-hand plays the low note (indicated by the notation that has a downward stem on the partitur), the right-hand plays the same note but one octave higher (indicated by the notation that has an upward stem on the partitur) with a note value of 1/16 (sixteenth note) then followed by a 1/16 rest sign as well. the partitur above plays kan ti sado along four bars with a note value of 1/16 constantly starting from tone 3 (mi) to tone 3 (mi) of the next two octaves. in the first bar, the first beat plays tone 3 (mi), the second beat tone 4, the third beat tone 5 (sol), the fourth beat 6 (la), and so on and are done sequentially harmonia: journal of arts research and education 21 (2) (2021): 356-368364 until it reaches the tone 3 (mi) of the next two octaves on the fourth beat fourth bar. kan ti sabat kan ti sabat is a playing pattern in pairs with an eight (octave) interval of a series of three notes of equal distance quickly. kan ti sabat is played by waving a series of three adjacent notes in quick succession played by the right and left hands simultaneously. the left-hand plays a low note, while the right-hand plays the same note but an octave higher. kan ti sabat has two types of playing patterns; the first is ascending kan ti sabat, the second is descending kan ti sabat. ascending kan ti sabat is a playing pattern performing a series of three tones in sequence with octave intervals (left-hand low tone, right-hand high tone) simultaneously starting from high to low tones, for example starting from tone 3 (mi) – 2 (re) – 1 (do) with a quick flick of the hand, then this pattern moves up to the highest tone. while descending kan ti sabat is a playing pattern performing a series of three tones in sequence with octave intervals (left-hand low tone, right-hand high tone) simultaneously starting from low to high tones for example starting from tone 1 (do) 2 (re) 3 (mi) with a quick flick of the hand, then this pattern moves down to the lowest tone. the playing pattern of ascending and descending kan ti sabat can be seen in figure 7. figure 7. the playing pattern of ascending kan ti sabat figure 8. the playing pattern of descending kan ti sabat ascending kan ti sabat plays a series of three notes with a descending movement quickly performed by the left and right hands simultaneously, the left-hand plays a low tone (indicated by the notation that has a downward stem on the partitur), the right-hand plays the same tone but one octave higher (indicated by the notation that has an upward stem on the partitur). the partitur plays a two-measure kan ti sabat at constant sixteenth notes. in the first bar, the first beat plays a series of notes, namely 5 – 4 – 3, and then the second beat goes up to the next note, which is 6 – 5 – 4, the third beat 7 – 6 – 5, the fourth beat 1 – 7 – 6, and so on. descending kan ti sabat plays a series of three notes with a rising movement performed by the left and right hands simultaneously, the left-hand plays a low tone (indicated by the notation that has a downward stem on the partitur), the righthand plays the same tone but one octave higher (indicated by the notation that has an upward stem on the partitur). the score plays a two-measure kan ti sabat at constant sixteenth notes. in the first bar, the first beat plays a series of notes, namely 1 – 2 – 3, and then the second beat goes down to the next note, namely 7 – 1 – 2, the third beat 6 – 7 – 1, the fourth beat 5 – 6 – 7, and so on. discussion mrázek (2008) and sumrongthong and sorrell (2000) argue that there are several similarities between ranat ek and gambang’s playing patterns, namely, first, both move with a fast and regular tone, second, move mostly with conjunct motion, third, the melody is played in parallel octave. in line with mrazek and sumrongtong’s statement, based on the presentation of the data above, the gambang instrument on gambang semarang music and the ranat ek instrument on the pi phat ensemble music have playing patterns that are almost similar to each other, namely the basic pattern of sekaran tabuhan gambang gembyang nglagu on the gambang instrument with several playing patterns of the ranat ek instrument. the first similarity is moving with a fast and regular tone, it can be shown that gambang and ranat ek have a playing abdul rachman, et al., a comparative study of playing patterns on gambang and ranat 365 pattern that tends to be fast, namely a melodic movement pattern with a constant/ fixed/regular one-eighth notation that fills the entire bar. melodic playing pattern with eighth-note values tends to have fast characteristics when compared to melodic patterns with quarter notes. this can be seen between the basic pattern of sekaran tabuhan gambang gembyang nglagu and kan ti klon. table 2. the similarity of the eighth pattern gambang ranat ek the second similarity is moving mostly by conjunct motion. according to leon (1979), perricone (2002), schmeling (2004), there are two types of melodic motion, namely conjunct motion and disjunct motion. conjunct motion is a melody that moves gradually (stepping) from one note to the next with a second interval, while melodic disjunct motion jumps from one note to the next with an interval greater than the second interval. the movement of conjuncts can be seen in the basic octave song pattern on the gambang instrument and the kanti siau mue, kan ti sado, and kan ti sabat patterns on the ranat ek instrument. the regularity of the melody with conjuncts can be demonstrated by the movement of the melodies of the two instruments regularly ascending and then moving down again to the initial tone (descending). this regularity moves following the flow of the song’s melody. the third similarity is that the melody is played in parallel octaves, which can be seen in the basic pattern of sekaran tabuhan gambang gembyang nglagu and the kan ti kro, kan ti klon, kan ti sado, and kan ti sabat patterns. both instruments constantly play melodies in parallel octaves, i.e., two notes played simultaneously at octave intervals; for example, a low tone 1 (do) is played at the same time as a high tone 1 (do). becker (2018) states that basically, the rhythm between thai music called thaw and javanese music called rhythm has something in common, namely a process of expansion and/or contraction that allows one part to assume different lengths, instrumentation, different styles, and different levels of improvisation depending on the interpretation of each player. this is true because the gambang playing patterns on gambang semarang music and the ranat ek playing patterns on the pi phat ensemble is very varied depending on the feeling/mood/and or interpretation of each player. this means that the playing pattern between one player and another is likely to be different even though they do the same type of basic playing pattern. table 3. the similarity of conjunct motion gambang ranat ek harmonia: journal of arts research and education 21 (2) (2021): 356-368366 furthermore, according to mrázek (2008) and sumrongthong and sorrell (2000), ) there are some differences between the playing patterns of gambang and ranat ek. first, the melodic movements are quite consistent continuously without being interrupted on the gambang instrument, in contrast to the ranat ek instrument, which has several melodic movements with suddenly different rhythms that seem to provide affirmation and tension. this can be seen in the basic pattern of sekaran tabuhan gambang gembyang nglagu, the movement of the melody is very consistent and uninterrupted, conjuncts move up and down with the rhythm of one-eighth smoothly, while the ranat ek instrument sometimes has sudden movements that change in rhythm from one-eighth to suddenly change to the one-sixteenth rhythm as shown in the kan ti sa mue, kan ti sado, and kan ti sabat patterns. second, the ranaat’s melodies sometimes build excitement by taking a 4-beat phrase and repeating it 4 or 8 times, each time turning one note higher (or lower), thereby creating an increased sense of progress. the different types of ranaat kep patterns are more distinct, creating a more diverse sense of melody and emotion and changing musical flow. on the gambang instrument, the emphasis is on smoothness, continuity, and avoiding anything that would stand out. third, the gambang playing pattern only has one style that can be changed slightly to match the atmosphere of a song being played, in contrast to the ranat ek which has many variations of playing patterns, namely various fast-playing patterns and tremolo techniques. this difference is slightly different from the results of this study because, in the case of gambang semarang music, the gambang instrument has at least two playing styles/patterns, namely the basic pattern of sekaran tabuhan gambang gembyang nglagu and the basic pattern of tabuhan gambang garap cengkok ajeg, where both playing patterns are very different from each other. conclusions based on the research and discussion results, it can be concluded that the pattern of playing the gambang instrument on the music of gambang semarang and the ranat ek on the pi phat ansamble has several similarities. the similarities are among others: moving with a fast and regular note, moving mostly with conjunction movements, and the melody being played in parallel octaves, an expansion process that allows one part to assume different table 4. the similarity of parallel octave techniques gambang ranat ek abdul rachman, et al., a comparative study of playing patterns on gambang and ranat 367 lengths, instrumentation, different styles, and different levels of improvisation. it also depends on the interpretation of each player. however, both also have differences. namely, the melody movement is quite consistent continuously without being interrupted on the gambang instrument, in contrast to the ranat ek instrument which tends to have several melodic movements with suddenly different rhythms, the different nuances of the melody being played (joyful, tense, and calm). the differences and similarities may be influenced by the function of each instrument in the group performances. because the gambang instrument in gambang semarang music tends to function as an accompaniment to the song and prioritizes the balance of playing between instruments, while the ranat ek instrument in the pi phat ensemble tends to play a more prominent role compared to other instruments, sometimes it even acts as a soloist. acknowledgments appreciation is conveyed to universitas negeri semarang through lembaga penelitian dan pengabdian kepada masyarakat (lp2m) which has provided financial support for this research. appreciation is also conveyed to music department and thai dramatic arts suan sunandha rajabhat university for being research collaborators in this research. references 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(2016). an exploration of thai traditional music for western percussion instruments [university of iowa]. https://doi.org/10.17077/etd.hrz2wnbk 71 silat as the source and identity of the minangkabau ethnic dance afifah asriati, ahmad kosasih, desfiarni department of drama, dance and music, faculty of languages and art, universitas negeri padang, indonesia received: september 24, 2018. revised: january 4, 2019. accepted: may 28, 2019 abstract this article is intended to get the concept of minangkabau dance movement in the context of ethnic philosophical values. today, ninik-mamak, cadiak pandai, and alim ulama in west sumatra develop ideas about minangkabau philosophy in all aspects of life. how this idea is reflected in dance movements? to answer this question, a qualitative method is used by taking six samples of popular minangkabau traditional dance. the data were collected using focus group discussion, observation, and interviews to confirm previous findings. through the triangulation technique, it is expected to obtain credible data and be analyzed using the models of miles and haberman. the results of this study indicate that the basic movements of minangkabau dance are silat movements. the martial arts movement is the basis of movement used by many traditional dances in minangkabau. every district has its unique cultural values and identities and these values are manifested in dance created by dance activists. keywords: minangkabau dance, martial arts, movement identity how to cite: asriati, a., kosasih, a. & desfiarni. (2019). silat as the source and identity of the minangkabau ethnic dance. harmonia: journal of arts research and education, 19(1), 71-83. harmonia: journal of arts research and education 19 (1) (2019), 71-83 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i1.16106 ethnic, their dance is tradition-based especially in a particular district and becomes a pride for the district and its penghulu (asriati, 2005). therefore, penghulu, cendikiawan, ninikmamak, cadiak-pandai and ‘alim-‘ulama have been evolving minangkabau philosophies called “religion-based customs, al-quran-based religion” (adaik basandi syarak, syarak basandi kitabullah/abssbk) in various aspects of life. however, a question arises on its application towards minangkabau traditional dance. how this philosophical value is considered in the movement of the dances also catches their attention. it indicates that the movement elements in minangkabau traditional dances introduction dance movement is an essential element in a dance, aside from other supporting elements such as dancers, clothing, music, property, and others. likewise in traditional minangkabau dances, the movement showed in the dance is a very essential element. as an essential element, the movement may tell habitual activities pattern of the community. it also expresses the cultural values of its people (asriati, 2005). thus, the movement of minangkabau traditional dance is a movement that tells the pattern of daily living activities of minangkabau people in their respective district contexts and expresses their cultural values. for minangkabau corresponding author: e-mail: afifahasriati@yahoo.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 19 (2) (2019): 71-8372 are not appropriate with the values contained in the philosophy. erlinda (2012) sees that the influence of globalization and the capitalization of life have led to the development of minangkabau dance towards the market demand. their creativity adapts market demand and has even become a tool for industrial and commerce advertising today. indeed, cultural and religious values (the philosophy of abs-sbk) are not obscured by new values, which are not in harmony with traditional and religious values. the existence of the hip shake movement in minangkabau contemporary dance is one example of a movement that is not in harmony with the minangkabau philosophy itself. the development of minangkabau dance movements seems to be dominated by female dancers compared to male dancers. this matter makes minangkabau dance can be uprooted from its cultural roots. historically, there was indeed a movement of minangkabau dance that was not in line with religion (syarak), such as lukah gilo dance (desfiarni, 2004) which expresses and contains the value of shirk. meanwhile, several movement prototypes are in line with the values of religion, such as the movement in pasambahan dance, which has the value of glorifying guests with movement and clothing that reflects the value of religion (asriati, 2012). based on the phenomenon described above, it is necessary to conduct an in-depth study that involves the concept of dance movement in general (dance elements) and the specific forms of minangkabau dance movement. especially in the framework of philosophical values embraced by minangkabau people. specifically, it can be formulated; what is the real basis concept of minangkabau dance? the purpose of this article is to find the minangkabau dance movement concept in accordance with the philosophy of people. in other words, this article aims to prove either the traditional dance movements in minangkabau are based on martial arts movements or other movements aside from martial arts movements. this finding is useful for choreographers as a guideline in creating typical minangkabau dance movements in accordance with the minangkabau people’s identity. dance and its relevance to the community theoretically, this study is classified as a correlational study between dance as values of life and activities of its supporting communities because people’s understanding of dance varies greatly. zile (2014) explained that dance is the movement show from the translation of written notation while preparing a performance becomes the actual appearance or the show itself. in pemalang, wahyuni and hartono (2014) found that the realization of the slendang pemalang dance was in line with the elements of dance in the form of wiraga, wirama, and wirasa. the costumes are also in line with the characteristics possessed by the pemalang community. kaeppler 1991 in kwok (2014) argued that dances can be classified into three major groups; (1) kinesthetic, (2) ethnological approaches, and (3) dance scholars. kinesthetic is a dance that uniquely integrates deep personal experience with cultural structures. thus, culture and individual experiences are inherent in the cultural values of a community. while ethnological approaches are studies of dances that specifically use an ethnological approach. in the us, this study concerns five dimensions of kaeppler; (1) dances as a performing art, (2) dances as a therapeutic method, (3) dances as culture, (4) dances as social, and (5) dances as history. first, as a performing art, a dance educates many strata and levels, especially at the level of philosophical and aesthetic values. both of these values also integrate into one dance performance. thus, the performance dance is a combination of substantive and technical values in a dance movement and form. second, dance as a therapeutic method can be meant as a combination of physical exercise and emotive processing which cannot be inseparable from the huafifah asriati, ahmad kosasih, desfiarni, silat as the source and identity of the minangka73 man self. dances integrate the physical and emotional parts of the self. this means that the human physical and emotions aspects are integrated activities. third, dance as a cultural phenomenon can be meant a symbol that symbolizes habits and non-verbal activities or means to communicate ideas, thoughts, and feelings. this point is very important for the development of human values. in addition, dance provides a code and communicates one’s worldview through non-verbal motion or text. in short, dance is a cultural communication instrument that contains ideas, feelings, and thoughts symbolized in the form of motion and a series of meaningful human movements. fourth, dance as a social phenomenon provides a form of great strength from communal activities, unites and identifies social groups. it means we are able to know that the unity of society through the dance delivered by the community groups is an identity of the community. fifth, dance as a historical phenomenon can be meant as a statement or reflection of past cultural experiences that are explained, presented, and showed until now. it means that the dance that performs today is a record of the past cultural history experienced by a person or community of its supporters. thus, it is pleased as a past state that is still remembered. kaeppler theory mentioned that traditional dances are actually a reflection of past traditions presented today that contain ideas, feelings and thoughts of a person or group of creators as a symbol of past conditions that unite physical and spiritual (emotional) movements, embraced by community supporters or social groups. they are either ideas or meanings of community activities (tradition) or philosophy and aesthetics, both textual and contextual values. therefore, kaeppler theory can be used as a framework of thought or theoretical foundation for conducting a study on traditional dances in minangkabau. especially, in analyzing the contextual meaning of a dance or in the framework of giving the movement meaning of some traditional dances in some areas. the third group approach is the dance scholar approach which emphasizes that the future dance study is focusing on cultural relevance of understanding history, social and ethnic diversity, and cultural understanding in our ever-volatile world. in connection with the concept of dance and society above, kiram (2000: 5) tries to express the concept and orientation of dance movement in general. he states that movements are a change in the place, position, and speed of the body or human body parts that occur in a dimension of space and time and can be observed objectively. the meaning of this movement is certainly not a movement in the meaning of physics but specifically for human movement. for example, changes in the place, position, and speed of the body or the human body part in walking, running, jumping and more. furthermore, changes in the place, position, and speed of the body or parts of the human body in dance according to hutchinson (1974) in labannotation or kinetography laban; the system of analyzing and recording movement, and in the knowledge of dance elements and some dance problems by sedyawati et al. (1986) can be left, right, forward, backward, upward, downward, to the left side, to the right side, and up to 27 types of movements that have been registered for the benefit of this notation. laban made a map and a gesture of movement which he called movement family tree (hutchinson, 1974: 18), which until now is still used as a guide for researchers and practitioners of dance movements. laban’s concept and promises are still relevant for dance research and movement in particular, including for the grand theory of dance research (dance movements) of minangkabau. results of research on minangkabau traditional dance the dance movements in minangkabau are traditionally based on traditional and religious values. it is generally exharmonia: journal of arts research and education 19 (2) (2019): 71-8374 pressed by naim (2004) that the value of abs-sbk as the philosophy of minangkabau people is believed to be their identity. naim sees that the problem is no longer at the level of theoretical concepts, but how their values are manifested in their social actions. according to naim (2004: 50), these philosophical values are systemically and planned to be programmed into various aspects of life so that they become enlighteners and directors (suluah bendang) in minangkabau people life in the future. moreover, four things can be understood from the opinion related to the elaboration of this philosophy in the future, such as (1) concrete steps must be conducted, (2) describing the value of this philosophy in government and social action, (3) doing well-programmed step, not incidental , and (4) do not let it run conventionally. this idea has been used as an official document in west sumatra, that the abs-sbk philosophy has become the philosophical foundation for religious life (regional regulation of west sumatra no.9 of 2000 and no.27 of 2007). in connection with the value of religion in dance movements, gazalba (1977, p. 79) argues that islamic ethics or morality determines whether an element of art (including movement in dance) is worth halal, makruh or haram. then, omar (1983: 57-58) argues that the laws of music art, sound arts, and dance art are legal (permissible), as long as other forbidden things do not follow them. when haram things follow it, then the law becomes haram too. on the contrary, when it is followed by things that allah blesses, then the law becomes sunnah, such as celebrating a wedding party, circumcision, respecting guests, eid fitri, independence day, and others. besides, omar said that the haram value of dance and movement in dance is not because of the substance itself. next, naim (2004) also mentioned that the real custom (adat nan sabana adat) is absolute while supporting custom (adat istiadat and adat yang diadatkan) is a flourishing (ethics and aesthetics), which is elegantly used and adapted to the place and method of the al quran. then, dance movements are classified as an aesthetic classification (adat istiadat/yang diadatkan). at this aesthetic level, naim (2004) argues that the philosophy of abs-sbk is the manifestation of allah law (sunnatullah). thus, customs that have been patterned in the culture must be free from the elements of shirk, khurafat and bid’ah because their main reference is religion and the reference of religion is al quran. from all the explanations above, it can be understood that the movement in minangkabau dance, in fact, must be in line, harmonious, in accordance with and based on the abs-sbk values which become the minangkabau ethnic philosophy. it means that islamic religious values must be shown in all expressions of minangkabau dance movements. it does not express things that contrast with islamic values. this philosophy is very useful for indonesian choreographers to make the aesthetic value of indonesian dance richness hastuti and supriyanti (2012). it can also be a differentiator with the aesthetic value of western dance patterns. method this study used a qualitative approach that was used to collect appropriate minangkabau dance movements data based on cultural values and abs-sbk. the data collection techniques used were (1) fgd, (2) documentation, (3) observation, and (4) interview. the credible data obtained through triangulation, and they were analyzed by the model of miles and huberman (1992). the flow chart of this research can be seen in figure 1. in finding out the minangkabau traditional dance movement concepts, one dance is set for one district in each representative district; (1) land area (darek) and (2) coastal area (pasisie). the land area (darek) is an area that belongs to the luak area. luak is a native area of minangkabau culture. whereas the coastal area (pasisie) is a seacoast area or an area that is influenced by the culture of the naafifah asriati, ahmad kosasih, desfiarni, silat as the source and identity of the minangka75 tive region of minangkabau culture. the state of the coastal area (pasisie) has been influenced by many external cultures such as malay, portuguese and others. figure 1. the conceptualization of minangkabau dance movements furthermore, the land areas (darek) are represented by; (1) mulo pado dance from padang magek, representing the tanah datar district, (2) piriang di ateh kaco dance from bayue representing agam district, and (3) sarompak dance from taeh baruah representing limo puluh kota district. then, the coastal areas (pasisie) are represented by (1) indang dance from iii koto aur malintang, padang pariaman district, (2) pilin salapan dance from air bangis west pasaman district, and (3) rantak kudo dance from south painan pesisir selatan district. result and discussion there were 6 dance samples taken into account in this study. these dances can be used as adequate data information in representing the basic concept of minangkabau traditional dance movement. mulo pado dance movements concept mulo pado dance is divided into the original and the contemporary dance. mulo pado dance movements were derived originally from silat. “most of these dance movements are from silat” said the a.s. dt majo dirajo (fgd, 2 june 2015). meanwhile, other fgd participants stated that mulo pado dance movements performed by female dancers combined tradition and creation. it was revealed from the method and process qualitative, fgd, documentation, observation, in-deep interview. triangulation & member check. analyze using miles dan haberman model. following fgd, “ men don’t want to dance anymore if this dance has mixed with the woman movements style. however, silat can only be done by men “(fgd, as, maji dirajo, june 2, 2015). the point here was that mulo pado dance movement which showed during the fgd had combined the original and improved movement. then, it was defined as women steps because the movements carried out were like people dancing and such movements were not suitable for men anymore. the movement was only suitable for women, while the suitable one for men was silat. the other fgd participants stated that the mulo pado dance had been modified. he said, “the opening of the dance was tradition, yet the show in a whole was a creation” (fgd, syafwardi, 2 june 2015). it means that the opening stage can be categorized as the traditional movements, others were created. in general, mulo pado dance movement danced by women was a contemporary dance. syafwardi added that this dance movement was silat movement at first. then, happy movements followed the rhythm showed that they were heartened after finding the padang magek area as a new settlement. in addition, there were special rules for the movement of this dance, in which there must be pasambahan movements at the beginning of the dance as a symbol of apology to god and humans, as revealed by the a.s. dt majo dirajo (fgd, june 2, 2015). “the opening (the beginning of the movement) was the four steps movements begging an apology to earth and to heaven”. therefore, the fgd above indicated that mulo pado dance movements had two versions that were the original and contemporary creation version. the original one was derived from martial arts movements such as attacking and parrying, while the creation version used silat movements in the opening only. thus, the next movement was referred dancing. this dancing movement was only suitable for women, while the one that was suitable for harmonia: journal of arts research and education 19 (2) (2019): 71-8376 men was silat movement. based on the data presented above, it was known that mulo pado dance was performed by 2 people. initially, the male dancer did silat that was already mastered before they danced mulo pado (a.s. dt. majo dirajo, fgd, 2 june 2015). this statement was justified also by other fgd participants. at first, the movement in this dance was silat style since the skill of silat was only possessed by men who were warriors in silat. however, now it turned into another movement that was not silat. this new movement was only called dancing. now, this dance is only danced by women in pairs (a.s. dt. majo dirajo, fgd, 2 june 2015). the community accepted the gender movement change as it did not violate custom and abs-sbk philosophy (a.s. dt majo dirajo, fgd, 2 june 20115). on the contrary, some ulama in padang magek were reluctant to accept this. he said that the religious did not allow it. however, for the sake of emancipation, it was finally not disputed. thus, there were not even ulama who opposed it (suhaili anwar, interview, 2 june 2015). movements and dancers relation furthermore, suhaili anwar (interview, 2 june 2015) stated that the combination of female and male dancers depended on the permissible movement, as long as it was not striking in terms of their movements. in contrast, silat movements were taboo to be carried out by women in ancient time. even, females were not allowed to go out of the house. it was not a big deal now due to the times and outside influences. suhaili also mentioned that mulo pado dancers were male ideally. it was also noticed that in reality there were no more men who want to dance, and it was difficulty in getting it. based on the above expression, it can be understood that mulo pado dance in padang magek actually needed to be reorganized. ideally, it should have been males as the original dancer who can dance this movement. in fact, because of emancipation, the change in dance needed to be monitored so that it has an inconspicuous movement in the meaning of islam. it could be meant that women were tolerated to move dance as long as they were not against the criteria of islam. whereas, this dance can also be performed by female and male dancers as well. they can be joined together as long as it was not opposed to the abs-sbk value said a.s. dt majo dirajo (fgd, 2 june 20115). the female dancers did not show off their gestures and inappropriate dressing according to customary and religious standards. from the data above, it can be found that the movement carried out by mulo pado dancers in padang magek was martial arts-based movement. men danced this dance at first. however, due to the times, men were no longer willing to dance, so women took over this dance by changing their movements according to appropriate steps and movements for women. it no longer used the martial arts movements performed by male dancers before. because, it is only in the initial movement greeting god, nature, and the audience. this change was tolerated by the community, both by traditional stakeholders, traditional dance activists, and district ulemas. piriang di ateh kaco dance movements concept piriang di ateh kaco dance in bayue reflected community farming activities. the farming movement was the dominant motive for this dance with attractive jumping and rolling on broken glass. this type of dance was a tradition and some were already improved as well. piriang di ateh kaco dance movements illustrated the daily activities of bayue community. this dance told the story of farming activities in the rice fields, from hoeing to harvesting and bringing rice home (dj. b. dt pamuncak, 31 may 2015). it can be seen from its traditional movement originated from silat while women performed the contemporary one. dj. b. dt afifah asriati, ahmad kosasih, desfiarni, silat as the source and identity of the minangka77 pamuncak (fgd, may 31, 2015) stated that this dance should be sent back to the original culture that did not show rocking hip. this dance should not be vulgar. thus, according to them, minangkabau dance should be replaced to its original culture in which no movement rocked the hips, no one swayed in the swing. additionally, piriang di ateh kaco dance also showed the movement of stepping on glass, rolling on glass and other attractions. regarding this matter, the fgd participants included y.e. imam panjang (fgd, 31 may 2015) stated that it was not allowed to use real magic. it was allowed only to use ma’rifat power with prayer. then, both can be applied. in the past, there was a debus man dance that was similar to this dance. later, the music was the original music. some people can do it if there was a handler. there were two kinds of handlers called the sihir kulipah that asked for hak besi katapuang besi and tarekat expert that used the ma’rifat power goes to allah. finally, these men were not eaten iron. as a result, there were two classifications of this dance; sihir and dzikir. there were some impossible movements for normal people in this dance. according to them, it was due to the influence of magic and zikr. ulama in bayue did not accept the influence of magic. while the two basic types of movements (magic and zikr) were in this district. in summary, the piriang di ateh kaco dance depended on its commander (the handler). whether the handler was from surau or lapau. if the handler was a person from surau, then it used dzikir. on the contrast, if the person was from lapau, then it was performed through magic. these approaches were the same concept and purpose that was to provide entertainment to the public in the crowd and showed up the talent. the results of the fgd indicated that piriang di ateh kaco dance movements were carried out to illustrate farming activities in the fields started from hoeing, harvesting and bringing rice home. the style of movement was silat. when the dance performed by women, the rocking movement of the hips and pitch the swing should be avoided. in addition, to farming activities, rolling and stepping on the glass movements, which can be done through dzikir or magic. magic doing was not in line with islamic value, yet zikr was impossible because nowadays there was no one praised god. therefore, the movement through magic was not in line with the minangkabau philosophy. movement and dancers relation piring di ateh kaco dance movements were originally carried out with a pattern of martial arts by men only. however, in its development, their movements adapted to the proper movements for female dancers. with the presence of women dancers, the custom and religion gave limits to movements that do not provoke lust or erotic. as dj. b. dt pamuncak stated in (fgd, 31 may 2015) that the movement of women in public must maintain the honor of being in proper movements and close their genitals. whereas, there were no movements that made women and men in contact. it would be a problem if this happened because the community could not accept it. dj. b. dt pamuncak (fgd, 31 may 2015) said that this is a new problem that should be resolved. ideally, minangkabau female should be replaced as it was before (dj. b. dt pamuncak, fgd, 31 may 2015). the fgd above explained that male dancers performed the original pattern of movements in piriang di ateh kaco dance as it was mentioned by adat and ulama in bayue. they argued that this dance prioritized male dancers, yet in its development, it has now been danced also with the proper movements carried out by women. finally, the fgd participants gave the criterion if women want to be in charge of this dance. this case was also permissible under conditions that the movement must be appropriate traditionally and religiously. ideally, according to them, minangkabau women must be replaced to their nature as minangkabau women. when they move or dance, their movements were deemed apharmonia: journal of arts research and education 19 (2) (2019): 71-8378 propriate and according to islamic values. pilin salapan dance movements concept pilin salapan dance in air bangis illustrated the hard spirit of struggle toward invaders. the most dominant movement used in this dance was the wooden hitting and jerking movements, while the steps were called the malay style moves (maiwalis, interview, june 1, 2015). it turned out that in its development now, this dance was also danced by an adult female. in fact, it was not allowed by ulama, as revealed by an ulama said, “the movement was fast” (idmansyah, fgd, 1 june 2015). unlike idhamsyah’s opinion, a bundo kanduang, who is called “puti”, stated that this dance was in line with abssbk. it had standing up movement only, so it was fine (rosna, interview june 1, 2015). finally, the fgd and interview above showed that the adult female movement criteria based on abs-sbk should not be vulgar. it was fine to be performed by a male dancer because the movement was standing and a step only. movement and dancers relation men danced pilin salapan dance in air bangis pasaman barat at first. as revealed by maiwalis (interview, june 1, 2015) that all dancers were male who struggled against the invaders. the same thing was expressed by asrial (fgd, june 1, 2015) pilin salapan dance was only for men. however, women danced it now. then, female and male dancers were in contact. in fact, they were not muhrim and this matter was actually violated. sometimes there is contact and collision because the movements were getting closer. the data and information above showed that pilin salapan dance movements also changed as mulo pado dance in padang magek. the process of change was also similar. the movements were originally carried out by men. next, it could be performed by women with appropriate movements for women. then, a duet between men and women movements. this duet was generally not permissible according to ulama in air bangis. ideally, as asrial, s.ag. suggested (fgd, june 1, 2015) “pilin salapan dance is ideally danced by men only”. then asrial asserted that “i think this dance should be replaced as it was to the initial form, the dancers were all men”. this statement was supported by aidil haqhi (fgd, june 1, 2015) “in my opinion, this dance should be replaced to the initial form, all-male dancers”. the fact, it was rare for men who wanted to dance. in short, pilin salapan dance was essentially carried out by men because of its dynamic movements. then, it was later danced by women and women-men duet. cerdik pandai, penghulu and alim-ulama who participated in the fgd and interview stated that this dance needed to be replaced to its original value. women who have not yet been mature was one solution. indang dance movements concept indang dance in iii koto aur malintang padang pariaman was a popular dance, known by almost all regions in west sumatra and even outside west sumatra. most people knew this dance. indang dance was used to spread islam in the minangkabau. now, it was also used as entertainment. the very famous creation of indang dance was dindin-badindin. indang dance was danced by sitting cross-legged. dancers’ hands and bodies were centered of the movements and it was carried out with martial arts. the movements of men and women were the same in indang dance. it was not a big deal for them as revealed by rajo rangkayo sardewo (fgd, june 16, 2015). he said that the movement of men was as same as the movement of women, then it was no problem for society. it could be meant that the movement in this dance was not disputed both for male and female. there was nothing against traditional and islamic religious values. previously, indang dance was dominated by men, said rajo rangkayo sardewo (fgd, june 16, 2015). this statement was supported by other fgd participants afifah asriati, ahmad kosasih, desfiarni, silat as the source and identity of the minangka79 (fgd observations, june 16, 2015) that mention “the dominant here could be meant as men dance more often than women ...”. while the combination of men and women dancers, most recently, had been publicly shown up. sirompak dance movements concept sirompak dance movement in taeh baruah was rooted in martial arts movements and performed by one dancer. this dance was performed using music originating from the sound of saluang sirompak. saluang and dance movements were merged with each other and inseparable. formerly, the movement of sirompak dance was full of magic values and done secretly. today, this dance was showed in public because there was no magic anymore. the movement of sirompak dance could be seen in figure 2. figure 2. sirompak dance movement in taeh baruah performed by ute (documentation: afifah asriati, 25th november 2015) the movement was in balance with the accompaniment of the music, “if there is no music, how can i dance? ute said “(fgd, 25 november 2015). ute added that after the music and the saluang were played, he felt as if someone was calling and his hands would move on their own. when the music rises then the movement rises, on the other hand when the music goes down then the motion goes down. the other dance had a title. this dance hangs from the low and high pitch of the chime. if the height of the voice meant high, so did the dance (ute, fgd, 25 october 2015). it was interpreted that the movement was very dependent on music, added to the height of the musical tone and also the level of dance movements and vice versa. the movements were influenced by musical magic instruments, which according to them the poems sung by the accompaniment of sirompak have a distinctive tone that can appeal to those who listen to them. the dancers did not fully realize that they did the movements. the movement and music were supported with silat clothing, namely black clothes, galembong pants and destar. when it was related to custom and religious values, the results of the fgd stated that the dancers knew that this dance was in contrast to adat and religion. however, all elements of dance were not related to women during the performance. then, this matter did not raise a problem in adat and islamic view. moreover, the dancers were really fighter in general (ute, fgd, 25 november 2015). sirompak dance movements concept rantak kudo dance was taken from the name of benten’s wife, rantak kudo, who described to train her child walking. kudo’s face as a mother guides his child’s hand so that he can walk well and quickly. this dance was well-known in the south painan (arita, fgd, 26 november 2015). rantak kudo dance movements were played based on the silat movement. “this dance was indeed the movements of silat, it guided children to walk, practice walking (arita, fgd, 26 november 2015). there was no graceful movement as the researcher showed during this fgd. “there were 4 main movements such as eye movements, head, and incisive steps like in martial arts movements” (rini delvita, fgd, 26 october 2015). thus, this dance had strong power and its motion style based on the silat style. the four basic movements were taken from benten’s activities as father and rantak kudo as a mother who taught their child to walk. the names of the movements were jinjiang bantai, titi harmonia: journal of arts research and education 19 (2) (2019): 71-8380 batang, rantak and lenggang karaia. the four movements had their own meaning. literally, jinjiang bantai interpreted as a father, namely benten had responsibility for his family. there was thursday market in painan where benten went to the market and returned carrying groceries by carrying it. lengang karaia could be described as walking upstream (arita, fgd, 26 october 2015). it was in accordance with minangkabau people’s philosophy “alam takambang jadi guru” (nature is a teacher). the movement in this dance was a daily activity of a new family that has just had children. the movement of this dance was not becoming a big problem according to traditional leaders, yet there was a limitation in the way of shaking and rocking (asril, fgd, october 26, 2015). therefore, it would be discordant if rocking was included in this dance since it was not in line with minangkabau customs. this opinion was strengthened by arita (fgd, november 26, 2015) “there was no hip shaking in rantak kudo dance since shaking hip was forbidden in islam”. the fgd concluded that the basic movement of rantak kudo dance was silat and there was no hip shaking movement because it was contradicted with adat and religion. in ancient times, rantak kudo dancers were male only. “at first, this dance was danced by men only. women should not take part in art because it was taboos for minangkabau people. (arita fgd, 26 november 2015). however, this dance was performed by men and women in its development. “in my opinion, since the beginning of my elementary school, rantak kudo dance was performed by female and male, not male only” (asril, fgd, october 26, 2015). today, rantak kudo dance was performed with the combination of men and women dancers. “it seemed that the traditional leaders did not have a problem, asril (fgd, october 26, 2015) everything was in line with adat and religion “. that was to say, there was no discrepancy in rantak kudo dance based on the view of adat. in fact, this was an asset for the pesisir selatan. this statement was in line with the figure of bundo kanduang hasnidar (fgd, 26 november 2015) who stated that “rantak kudo dance was a good dance without something negative”. this was the same as the traditional figure above, who said that there was nothing contradictory of rantak kudo dance seen from the aspect of adat and religion. on the other side, rantak kudo dance was also danced in pairs. this dance was an even-numbered dance. “there was the only group in pairs for this dance in east painan”(arita, fgd, 26 november 2015). the dancers could be both man and women and they did the movement in the same way. “this dance was a duet dance since there were simultaneous and opposites fend off ”(rini delvita, fgd, nov. 26, 2015). conceptualization and discussion means based on the results of the research described above, it was found that the movements of minangkabau dance were in line with the context of adat and religious values. these movements were derived from martial arts or silat which became the typical style of minangkabau dance. there were some dances as evidence for this fact such as (1) mulo pado dance (2) piriang diateh kaco dance, (3) indang dance, (4) sirompak dance, and (5) kudo rantak dance. on the other hand, pilin salapan dance adapted from malay culture had influenced the minangkabau dance. thus, pilin salapan dance was not included in the stage of analyzing the conceptualization of minangkabau dance. these findings could be mapped in the following schematic description (figure 3). it can be seen from the schemata above that the basic motions of minangkabau dance movements were dominated by silat. then, it could be stated that without silat movement, minangkabau dance would lose its identity. as sedyawati (1986: 64) argued that nature as a world and human as culture unconsciously formed the character motions in dance. these two fundamental settings had a significant effect on afifah asriati, ahmad kosasih, desfiarni, silat as the source and identity of the minangka81 the formation of motions in dance and it turned out to be the identity of the community. this conclusion was in line with asriati’s (2005) findings that the piriang sulueh dance in pariangan also reflected the daily activities of the community and its movements were silat-based movement. figure 3. scematic description of the dances then, the motions drew in figure 3 were also in line with hadi (2006) who noted that the movement of minang dance was derived from silat resulting into various forms of dance, including galombang movement in randai (rustianti et al., 2013). based on adat point of view, silat could only be done by men. hadi’s opinion was in line with the alim ulama and adat figures of padang magek district who stated that the movement of male dance was originated from silat (asriati, 2015). huri adam’s movement for women, for instance, was not erotic and sensual, these movements were not carried out beyond the ethical and aesthetic limits of minangkabau culture which were based on religious and adat values (utama, 2009). based on the data and explanations above, minangkabau dance had an identity of silat in terms of its motions. this silat motion maintained minangkabau dance identity in which without silat it was not the actual minangkabau dance. although there was a change in the life of the minangkabau people to be more modern direction, it did not necessarily change local values. the local values were still retained in the dance. this finding was supported by the indrayuda (2016) study which concluded concluding: “as a result, the change found in minangkabau dance creation is limited only to the visual or formation, but content still reflects and illustrates the cultural identity of minangkabau society through the local wisdom value”. furthermore, local wisdom value for the minangkabau culture was silat that fundamentally based on adat basandi syarah, syarak basandi kitabullah (abs-sbk) that custom was based on religion, and religion was based on al quran. then, yunus (2013) stated that minangkabau customs had four islamic values: polite, kind-hearted, good manner, and elegant. these four values controlled creativity and art performances. this statement was also in line with hadi’s view who said that there were things for women in adat called “discordant” (inept), such as sumbang duduak, sumbang tagak. this could be meant that women had to avoid rocking hips. kadir’s research (in soedarsono (2002, p. 39-43) found that the piriang di ateh kaco dance performance was always led by a person called kulipah who harmonia: journal of arts research and education 19 (2) (2019): 71-8382 was responsible for the performance of the show. it was the same as the researchers found in piriang di ateh kaco dance from bayue district. kadir revealed that the magic spell kulipah during the performance was animism and it resulted in some attractive forms of irrational and mystical. hadi (2006) argued that dances that were used spells can damage the aqeedah and they must be avoided and eliminated “. naim (2004) stated that the philosophical concept of abs-sbk was actually the manifestation of natural law in the form of sunnatullah that contacted with islam. adat was patterned and cultured habit, inevitably had to be free from the elements of shirk, khurafat and bid’ah since they were contrary to islamic values. conclusion based on the traditional dance samples examined in this research-based conceptualization means, it is found that silat movements that generally and fundamentally found in each observed dance were in line with minangkabau philosophical values. they are stylized in an aesthetic form. finally, all the movements observed in the motion of the minangkabau dance are revealed to be concrete and consistent. the value of the abs-sbk philosophy is a substance value (essential) contained in minangkabau customs. the next conclusion is silat as the basic motion of minangkabau dance movements is in line with adat and islamic values. the uniquenesses of silat motion in minangkabau dance movement are attacking, blocking, parrying, rolling, pitunggue, legs and hands movements. these movements are the original basic concept of the cultural movements of a person who performs silat. this fact makes minangkabau dances are performed by men. on the other side, women were initially barred from dancing because their movements were inappropriate for minangkabau women. the appropriate movements for women dancers emerged when they begin to be involved in the dances. in addition, the dance movement concept that is appropriate for women based on adat and religion; it is not rocking hip and erotic in legs, body, hands, head and other movements, such as rolling, attacking and parrying. it is also forbidden to be in contact with men if the dance is performed in combination or duet. (journal & 1985, n.d.) acknowledgment thank you to the ministry of research, technology and higher education (drpm) for funding this research in the fundamental research scheme. references asriati, a. (2005) gaya tari dalam perspektif kontekstual (kajian terhadap tari piriang suluah). jurnal ilmiah pendidikan dan kebudayaan, 11(2), 126-143. asriati. (2015) konseptualisasi bentuk tari minangkabau dalam konteks nilai abs-sbk. research report of universitas negeri padang. erlinda. (2012) diskursus tari minangkabau di kota padang, estetika, ideologi, dan komunikasi. padangpanjang: institut seni indonesia (isi) padangpanjang. gazalba, s. (1977). pandangan islam tentang kesenian. kuala lumpur: pustaka antara hadi, w. (2006) ‘dunia hiburan tanpa perempuan: kekuatan dan ciri utama tari minang’. paper presented on contemporary dance festival (mcdf). 12 december 2006 at stsi padang panjang. hastuti, b, b. dan supriyanti. 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(1986) pengetahuan elemen tari dan beberapa masalah tari. jakarta: direktorat kesenian, departemen p dan k. soedarsono. (2002). seni pertunjukan indonesia: di era globalisasi. the third edision. yogyakarta: gadjah mada university press. utama, i. (2007) “kesenian minangkabau masa kini: antara tradisional dan gagasan modern.” paper presented on 2nd international conference on southeast asia department of southeast asian studies, faculty of art and social sciences. universiti malaya, kuala lumpur, malaysia 3–4 december. wahyuni, e dan hartono (2014). the role of kaloka art studio in traditioning slendang pemalang dance as the region identity in pemalang, catharsis, retrieved from https://journal. unnes.ac.id/sju/index.php/catharsis/article/view/23078 zile, j.v. (2014). what is the dance? implications for dance notation. dance research journal. https://doi. org/10.2307/1478079, published online: 01 july 2014. 333 g. ligeti’s hamburg concerto as a summary of late artistic tendencies valeriya zharkova, oleksandr zharkov, olena antonova, tetiana filatova, ganna rizaieva ukrainian national tchaikovsky academy of music, ukraine submitted: 2023-07-14. revised: 2023-08-05. accepted: 2023-10-05 abstract the relevance of this study is conditioned upon the need to highlight the internal content of the modern academic musical language and, specifically, the features of the late work of g. ligeti. this paper aimed to conduct an in-depth study, comprehensively covering, analyzing, and generalizing the panoramic display of the creative traditions of g. ligeti in the context of world musical art. the materials of this paper are sources that illuminate the path of stylistic search and the evolution of the musician’s composition, as well as information about the leading directions of the modern world academic musical environment. the research methods included a search and collection of information base dedicated to the hamburg concerto by g. ligeti; analysis and compilation of available materials; determination of the leading categories of the phenomenon presented in the late period of the composer’s work; showing his stylistic and compositional principles as a single multifaceted system. the result of the study was the individual author’s concept of vision of the role, significance, and content of g. ligeti’s work in the history of academic musical art. the practical significance of this study was manifested in the demand for the results of this study among students of secondary and higher musical educational institutions, as well as among specialists investigating the processes of transformation and expansion of the boundaries of the melodic, compositional, and technical arsenal of professional musical creativity. keywords: modern academic tradition; sonoristic layer; micropolyphony; timbre dramaturgy; thematic mode how to cite: zharkova, v., zharkov, o., antonova, o., filatova, t. & rizaieva, g. (2023). g. ligeti’s hamburg concerto as a summary of late artistic tendencies. harmonia: journal of arts research and education, 23(2), 333-345 harmonia: journal of arts research and education 23 (2) (2023), 333-345 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.45933 which the composer’s work evolved. the second factor is conditioned upon the uniqueness of the hamburg concerto, which embodies the leading trends and techniques of compositional techniques, styles, and creative philosophy of modern times (berehova, 2022). the hamburg concerto deeply reflected his later work’s stylistic, intonational, rhythmic, timbre, compositional, and technical tendencies. however, all the introduction the problem of summarizing the late tendencies of g. ligeti’s work on the example of his hamburg concerto requires its study due to several factors. one of them is the need to reveal the voluminous, modernized, and complicated musical language of academic music, which was formed by the end of the 20th and beginning of the 21st centuries, and the context in corresponding author: e-mail: valeriya.zharkova@ukr.net p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (2) (2023): 333-345334 listed components have not yet been analyzed as elements of a single composite system. scientists from different countries focused their attention on its various aspects. thus, a. bauer (2020) notes that the legacy of the composer combines intellectual sophistication with respect for the sensual attributes of his musical themes. much of the research related to the music of the hungarian composer revolves around categories such as musical technique, theoretical writings, and lectures. specialist (bauer, 2020) states that for six decades, the musician has been creating solo chamber works, choral compositions, experimental opuses (fluxus), electronic, orchestral works, and examples of various genres of musical theatre. his early orchestral compositions, apparitions (1958–1959) and atmosphères (1961) cemented ligeti’s reputation among the european avant-garde. the scope of his style expanded significantly during the 1970s by turning to polar genres: intimate solo works for harpsichord and the grandiose opera the great death (1974–1977, a new edition appeared in 1996) (bauer, 2020). elements of musical traditions outside of europe and, specifically, african art, as well as the canonical music of conlon nancarrow and fractal geometry, enriched in the 1980s the fund of his intonational language and stylistic system based on the native national language and the traditions of the academic atmosphere, in the field of which g. ligeti was at the dawn of his creative career (bauer, 2020; voyvoda, 2022). m. chemillier (2020) plunges into the study of the updated interpretation of sound in the music of g. ligeti, as a weighty unit that includes many mobile components. in his opinion (chemillier, 2020), the transformation of sound is based on such methods as changing the pitch and its modification in time. in this case, the sound acts both separately, individually, and in the context of a harmonic complex or micropolyphonic construction (chemillier, 2020). i. pace explores the issues of the emergence of a renewed sound field both through the modernization of intonational and technical (interpretative) aspects: meter and rhythm, as well as musical notation, accentuation on the example of g. ligeti’s etudes for piano. he thoroughly examines the principle of touching the piano keyboard, special techniques for using the pedal, and the effects of discontinuity and continuity in the sound of a horizontal musical-thematic line (pace, 2012). a. bauer (2019) is absorbed in the study of ideological content, which is contained in the images of the musician’s works. according to his concept (bauer, 2019), the hungarian composer manifests himself in his own works (“etudes for piano”) as an ideological architect, a symbol of the era of late modernism, where virtuosity in performance is interpreted broadly and polarly: from rejecting its necessity and prevailing, to doubling the effects from the use of its resources. a deep philosophical study of g. ligeti’s work is carried out by e. schreiber (2019). the scientist (schreiber, 2019) analyses the comments of the hungarian composer on his own works of different periods, which helps reveal the creative evolution of the musician more subtly and clearly. specifically, it is noted that in the early stages, ligeti purposefully emphasized the analytical and interpretive aspects of his works, to which he consistently returned later (schreiber, 2019). the musician’s appearance as an original artist was clearly manifested in his retrospectives at the turn of the 1950s and 1960s. (schreiber, 2019; hromchenko, 2022). since the problem of an individual creative style and the use of a wide range of compositional techniques of a musician is voluminous and multi-vector, it requires its study, illumination, and conceptualization, where it will be presented as an integral complex system. to accomplish this task, this publication turns to the materials available in musicology that address this issue; new sources are discovered, and the collected information is analysed; the processes of interpretation of the hamburg concerto are monitored. valeriya zharkova et al., g. ligeti’s hamburg concerto as a summary of late artistic ten335 method the materials of this study included sources investigating several large-scale blocks. the first of them analyses the intonational and compositional-technical fund of academic music of the late 20th and early 21st centuries. the second block covers the characteristics of the work of the hungarian composer. the third block is devoted to extensive coverage of the content, significance, and role of the hamburg concerto both in the context of g. ligeti’s life and professional path and in the world of composer practice. thus, the information provided by the spheres of musicology, orchestration, and performance practice was used. the data of scientific analysis of the methods of creating music were studied. among them, it is necessary to name such elements as melody and rhythm, thematic mode, timbre, dramaturgy, and genre structure. they were applied when correlating g. ligeti’s style and the objective processes of complicating the musical language, expanding the forms of its current presentation. the study analyzed the sources covering the transformation of the hungarian musician’s work, which is reflected in the updated, individualized interpretation of several components of composer practice. these include instruments that have both tempered and untampered tunings semitone divided into microparticles. the aforementioned information was put into practice when compiling a panorama of the hungarian composer’s artistic laboratory, within which the hamburg concerto arose. the publication covered materials directly analyzing the hamburg concerto. they were taken from studies in musicology, history, music theory, and musical pedagogy, specifically, the methodology for performing works by contemporary composers. they highlight the list of composers’ writing techniques used in this study: transformation of folk-national origins and genres (folklore, academic). they were used in defining and deriving the leading categories of the hungarian composer’s musical thinking. among the research methods for the problem of summarizing the late trends in g. ligeti’s work, using the example of the hamburg concerto, it is necessary to name scientific and exploratory, analytical, systemic, ideological, and thesis. the first of them is based on the search and collection of sources on the subject under study. the second aims to study and complete the received base of materials. the third method aims to identify and deduce the categories that form the basis of the creative style in the hamburg concerto. the fourth is responsible for creating an individual author’s concept of a phenomenon that embodies the problem under study in the form of a complex, multifaceted, and holistic system. the first stage in the development of a topic dedicated to modern academic music, the work of g. ligeti and his hamburg concerto was carried out using a scientific exploratory method, the foundation of which is the search and collection of information. on its basis, a database of sources on the research topic was created. the second stage of investigating the problem was the use of the analytical method of its scientific development. it included analysis and compilation of materials of the obtained information base. this stage became a prerequisite for the discovery of significant elements of the system of creative approach to the creation of the hamburg concerto. the third stage summarized the tendencies of g. ligeti’s late work on the example of the hamburg concerto using the systematic method, the essence of which is to find and outline the leading categories of style in general and the compositional features inherent in the hamburg concerto. the fourth (final) stage of the study was based on the implementation of the ideological and thesis method, which became the basis for the formation of an individual author’s concept regarding the vision of the discoveries of the hamburg harmonia: journal of arts research and education 23 (2) (2023): 333-345336 concerto as a single complex system. this method of creating an original concept contributed to the implementation of novelty and prospects, which are contained in the content of the publication. results and discussion when summarizing the tendencies of g. ligeti’s late works on the example of the hamburg concerto, a complex, voluminous, and integral system of compositionaltechnical, stylistic, rhythmic, intonational, and timbre components of his writing was identified and outlined. each of them, as evidenced by the data of the present study, differs in a certain scale and function. table 1 lists the categories, as well as their characteristics, which are inherent in the composer’s style of writing. table 1. the main creative principles of g. ligeti and their description focusing on the instrumental concerto genre attraction to a large concert form, which provides unlimited opportunities for compositional experiments in the field of the formation of thematics; intonation and rhythmic structure; timbre and textural dramaturgy, as well as the structural aspect modernization of the instrumental concerto implementation of artistic compositional and technical means that provide a new vision of musical material, its main themes and episodes of development, dynamics, as well as an individual, unprecedented interpretation of expressive techniques that exist in the practice of creating music synthesis of academic and folklore traditions the principle of referring to compositional structures and writing techniques developed by the academic practice of creating music over several centuries, including ultramodern techniques for designing and developing material in a harmonious and direct combination with elements of folk genres (specifically, interval and metro-rhythmic micromodes, natural tunings) application of avantgarde style the introduction into the genre of instrumental concerto of such categories as microtonality, sonorous vertical, micropolyphony combination of modern complex writing techniques and neo-romantic style elements the desire for a natural and profound combination of the latest compositional and technical fund of the late 20th – early 21st centuries and the integral components of the style of the romantic era in music (specifically, solo instruments, the national folkloregenre basis in the form of imitation of certain rhythms and timbres, as well as a characteristic genre and the structural aspect of the major concerto form) source: created by the authors of this study. thus, ligeti’s creative heritage includes seven instrumental concertos, and this is more than he has written in any other musical genre. the method of end-to-end development of motive groups (cells), inherent in this large-scale form, is being implemented. each of the seven concertos has a unique stylistic, structural (a departure from the traditional three-part form), and timbre-instrumental appearance, reflecting the author’s tortuous trajectory of the author’s creative searches. specifically, he created double (concerto for flute and oboe with orchestra), ensemble (chamber concerto for 13 instruments), and orchestral (concert românesc) concertos. the first concert românesc (1951) chronologically records the impressions of studying folk music at the institute of folklore in bucharest. three concertos, created in the 1960s and early 1970s, capture avant-garde experiments associated with the ideas of sound-colourfulness, micropolyphony, and static composition. the last three instrumental concertos, dated 1988 and 1999, demonstrate the interaction of the full range of previously developed writing techniques with neo-romantic tendencies, indicative of the late period of the musician’s work. the ways of formation and development of the composer’s works are presented in table 2. valeriya zharkova et al., g. ligeti’s hamburg concerto as a summary of late artistic ten337 table 2. categories and methods of formation, as well as development of material by the composer g. ligeti microthemed elements this category acts as the intonational basis of themes in the genre sections of the work and acquires independent significance in sonorous episodes. expanding, frozen and narrowing cluster, sonorous vertical the method of creating a timbre space, the formation of its dramaturgy (episodes of the first movement of the hamburg concerto, completion of its second movement) polyphony (micro polyphonic imitation; combination of different themes) the method of developing and forcing dynamics in the process of deploying the thematic material of the hamburg concerto (the last section of the first movement; the second section of the second movement; the completion of the second section of the third movement; the third section of the third movement; the fourth section of the fourth movement) timbre echo (resonance) the method of deepening expressiveness in showing the image (beginning of the second movement of the hamburg concerto) transposition of thematic source the method of colouring the main material by comparing the different pitches of the scale that makes up the carcass of the theme thematic transformation a method of musical narration based on a change (sometimes radical) in the nature of the material that sounded earlier (completion of the second section of the second movement of the hamburg concerto) variability a method for developing thematic material based on preserving its core and revealing its various facets (first section of the third movement of the hamburg concerto) genre rhythm a category associated with the implementation of the rhythmic basis of folk melodies in modern academic music, specifically the “aksak” dance with its unique relief combination of durations: 4 + 3 + 2 (second section of the third movement of the hamburg concerto) combination of scales the technique of creating a complex sound environment by combining different sound series or modes at the same time (second section of the fourth movement of the hamburg concerto) crosscutting thematic development the method of using the intonational-rhythmic basis of the material of one of the movements of the hamburg concerto in its other movements (re-intonation in the fifth movement of the intonations of the first movements) group technique method for organizing and developing textured cells source: created by the authors of this study. the nature of the images and themes of the hamburg concerto, its genre, and structural foundations, as well as a set of compositional and technical means, form an integral system. it includes such blocks as the thematic modus (sonoristic field; melody in the form of an individual horizontal line; intonational, timbre, and rhythmic resonation); dynamic principles (variability; comparison of modal elements and scales in different pitch contexts; micropolyphony); timbre architecture; interpretation of national traditions combined with modern writing techniques. figure 1 illustrates the structure of g. ligeti’s musical language used in the hamburg concerto. blocks are given that form its basis and at the same time realize the composer’s creative searches, his experiments in the field of applying various techniques and their combinations. figure 1. g. ligeti’s hamburg concerto as an indicator of the modern musical language system thematic material (mode), in combination with dynamic principles, features of timbre design, and rhythmic schemes, concentrates a certain type of presentation of musical thought. when analysing each of the parts of the hamburg concerto, their harmonia: journal of arts research and education 23 (2) (2023): 333-345338 different variants were identified. thus, the first movement – praeludium – opens with the composer’s classic, textbook technique: a microcluster of eflat f for natural horns, which then expands to a fifth of d-flat a-flat. against its background, the soloist sets out a rather lengthy “frozen” melody. in measure 10, the middle section begins, built on the soloist’s wide expressive leaps, with the support and doubling of the french horns and the sonorous clusters of other instruments. in sharp contrast in measure 15, the last section breaks in, built on a unison and cluster line for the strings, which are chanted by all instruments, and the effect of declamation is enhanced by micropolyphonic imitations on woodwinds and brass instruments. the second movement consists of three sections – signale, tanz, choral. its beginning is a spectacular dialogue between the soloist and the horn ensemble, built on a fanfare takeoff along two minor and two major thirds. the horns echo the solo instrument. the middle section is a dance representing a three-part, with the soloist’s stepwise movement of the melody doubled within the interval of a quart of one of the horns (fourth), which creates a special sound effect. at the same time, the second and third horns, in a cancrizans imitation, set out the intonations of the initial fanfare, thanks to which both sections are combined. such a vertical alignment is indicative of ligeti. doubling to a fourth creates a sonoristic effect, on which complex imitation is superimposed by counterpoint. the beginning of the third (lyrical in figurative structure) section – the choral – sounds muffled by four horns, and the abundance of natural overtones gives it a specific sound. like the first movement, the second movement ends with an extended sonorous layer for wood and stringed instruments. the third movement has three small sections: aria, aksak, hoketus. the first of them is a soulful aria, the melody of which is heard by the soloist. it is supported by soft string chords, built as a combination of two fifths: b-flat f and c g, in combination with which the interval of a second b-flat c is observed. the colorful effect is enhanced by the individual phrases of the four bongs. if we talk about the melody in the soloist’s part, then it first builds up as a varied movement along the scale of e-flat f a-flat a b c, which also hearkens back to the first movement. in monophony, the sonorous effect is created by the fact that the sounds of e-flat a-flat a should be played by the performer as natural, untampered. the second section is aksak, a medieval dance performed in the countries of the balkan peninsula, in hungary. in this case, ligeti takes his rhythmic basis and organization of durations: 4 + 3 + 2. the composer builds the horizontal line in parallel fifths, colorfully, from the perspective of timbres, embodying it in the orchestral fabric. the beginning of the second section is distinguished by its relief: the g-d fifth is played, where the lower sound is performed by the bassoon and the upper one – by two flutes. this figure is doubled by a marimba, which is joined by a fifth for basset horns and a fifth pizzicato for strings. the counterpoint to this melodic line is played by separate phrasesechoes from the horns, creating continuity with the first and second sections of the cycle. the third section – hoketus (measure 24) – synthesizes the intonations of aksak, melodic turns from the aria and some linear moves that refer the listeners to the material of the end of the prelude. in this case, hoketus is a natural continuation of the dance, but with maximum polyphonic complication and the combination of various layers that do not coincide in metric terms, creating the illusion of aleatorics. in this case, the composer interprets hoketus as a technique in the context of a complex orchestral texture. the fourth movement consists of four sections: solo, intermezzo, mixtur, kanon. the first section – the horn solo – creates an intonation and genre arc to the first section of the third movement (aria). the melody is built as a free movement of valeriya zharkova et al., g. ligeti’s hamburg concerto as a summary of late artistic ten339 material, with an abundance of expressive jumps and soft progressive moves. as in the previous movements, the soloist’s part retains the imitation of natural horns and implements the techniques of micro dynamics. the sound of a horn with a mute creates the updated timbre colouration. here, the echo effect appears when the same melodic interval is presented first on ff, then on pp. ligeti instructs the soloist to play it at different overtones, adding a timbre-register contrast to the dynamic tone. in figurative terms, this solo is a continuation of the lyrical line from the prelude, the third section of the second and the first section of the concerto’s third movement. intermezzo enters as a striking contrast: fast tempo, variable meter, distinctly accentuated rhythm and ostinato sound of a tambourine combined with a polyrhythmic complex. the opening phrase of intermezzo develops the idea of open strings in bowed instruments. it is echoed by a contrasting phrase in the woodwinds and double bass, which, due to the simultaneous combination of several scales, creates the feeling of using the technique of groups. the third section – mixtur – continues the development of the sections intermezzo, solo, and is built on a new melodic line of a pronounced impulsive nature. the composer creates the note “quasi jazz, parlando” (measure 42). the percussion group is amplified by the bass drum. there is also an expressive timbre development in the form of a comparison of various doublings and mixes. the final section – kanon – is a vivid example of the technique of micropolyphony. starting at the second violins, due to the orchestral crescendo, it grows to tutti (without horns) and then, through the orchestral diminuendo, “calms down” in the parts of the basset horn, bassoon, trombone, and strings. this material is very indicative from the standpoint of using the technique of micropolyphony, first of all, in terms of tempo – prestissimo, which enhances the effect of ostinato sound and irregularity when repeating its elements. the fifth movement is spectra. like the prelude, it represents a single phase of development. the chorale of the ensemble of horns and the soloist is an intonationally updated initial phrase of the soloist in the prelude. the development is built on timbre contrast – a comparison of the sound of horns and other instruments of the orchestra. the sixth movement – capriccio – includes three sections. the first of them is a bright and dynamic dance. the composer builds it as a timbre-textural complex, combining the melodic line of the soloist (occasionally supported by horns) and the accompaniment of the strings (pizzicato), designated by the composer as “quasi guitar”. the second section of this movement, having something in common with the first, is marked by a new melodic figure, which the composer develops polyphonically and through timbre. the beginning of the third section of this movement is a sharp contrast to the earlier material. beginning with a g-flat-d-flat fifth on the basset horns, it revives the material of the third movement of the concerto, and capriccio “melts” in the soft downward stepping motion of the horns’ fifths, which connect with the trembling layer of fifths, and then their upward movement at the trembling strings. the concerto’s seventh movement – hymnus – is interpreted as a postlude, a gradually fading procession, a chorale. not being sonorous in technique, it is replete with special sound effects, thanks to the technique of playing frulato on horns, which, combined with a noticeably quiet sonority, creates a mysterious, enigmatic image. the violins play the sul ponticello tremolo, which reinforces this impression. the internal contrast of thematism is exacerbated by a second interval in c-d for viola and cello, with mute and harmonics. the material in the double bass part has a different genre nature, the stroke of which (pizzicato vibrato) vaguely resembles aksak from the third movement and the dance from the second. such an unexpected artistic turn in the concert finale retharmonia: journal of arts research and education 23 (2) (2023): 333-345340 rospectively changes the ideological and semantic interpretation of the dramaturgy of the work as a whole and each of its movements separately, introducing elements of elegy and sadness. as for the interaction of compositional techniques, in this concerto, ligeti uses almost the entire range of composing techniques he developed earlier: sonorous layers; intonation, rhythmic, and timbre imitations; and in terms of organizing textured micro-complexes – the technique of cells. all this is united by an original sense of texture (horizontal and vertical). unlike other concertos, there is no aleatoric in its pure form in the hamburg concerto, and only some effects arise in the sphere of rhythm and are perceived primarily by ear (figure 2). figure 2. the system of techniques of g. ligeti in the late period of creativity (on the example of the hamburg concert) it is this synthesis of proven elements and techniques, characteristic of the hamburg concerto, with new timbre-harmonic discoveries (including the use of a natural, non-tempered system) that determines the final role of this work in the composer’s work, reflecting the tendencies inherent in his late style. scientists from various countries turned to certain aspects and facets of g. ligeti’s work. thus, the final role of the hamburg concerto allows, according to m. searby (2010), to reveal in the course of analytical procedures the features of the late style of the hungarian musician, noted, according to most researchers, on the one hand, by the synthesis of trends that determined the evolution of the composer at the previous stages of his creative path, and on the other hand, the incessant search for something new, namely harmonic and microtonal ideas. m. searby (2010) points out that the composer used natural overtones in the horn part of the trio for violin, horn, and piano (1982) and even earlier in the third movement of the romanian concerto (1951), but they represented more of a horizontal line than a vertical one. research has been carried out on the conception, creation, and performing fate of the hamburg concerto. it was ordered to ligeti, according to müller, by the german charitable foundation “zeit-stiftung,” established in 1971 by ebelin und gerd bucerius. the customer expressed the wish that the work requested by him be associated with hamburg – the place of registration of the foundation – and for the first time performed there. such a wish, according to the creator himself, gave him the idea to call his concert “hamburg concerto” – by analogy with the “brandenburg concertos” by j. s. bach (muller, 2003). describing the hamburg concerto, researchers first of all emphasize the specific nature of its sound due to the choice of instrumental composition: a chamber orchestra with four natural horns, two basset horns, and a large number of percussion instruments. in the comments to the score, the composer indicates that the soloist must also episodically imitate the sound of a natural horn and prescribes a special sound production on individual overtones in the indicated places. explaining his idea, ligeti emphasizes that he sought to build a musical narrative with the help of a spectrum of tones beyond the traditional temperamental system, formed into a harmonic layer of his composition (muller, 2003). ch. chapman (2012), a member of the ensemble musikfabrik, a contemporary classical music ensemble in cologne, sharing her experience of performing the hamburg concerto at the opening of the international festival of contemporary music “warsaw autumn” in 2014, described this work as a compact necklace of seven pieces, performed for fifteen minutes and distinguished by beauty, mystery, penetration into another world, captivating by the sound of a french horn. valeriya zharkova et al., g. ligeti’s hamburg concerto as a summary of late artistic ten341 as the analysis of the hamburg concerto testifies, the “natural” intonation of the horns is combined with the temperamental tuning of the rest of the instruments of the orchestra, generating not only special timbre colours, but also marking, according to g. kurtág (andrás, 2009), a rapid movement towards a new world of harmony (vertical). the hamburg concerto is perceived as the result of ligeti’s steady movement while searching for a new sonosphere, in which temperamental sounds coexist with natural sounds and the composer himself called “mistuned music” (antonova, 2017). the multipartness of the concerto, based on the contrast of laconic sections (seven parts), evokes various associations among researchers: a. minich (2020) reminds of cyclic instrumental compositions of the seventeenth century. e. schreiber (2019) aims to identify and characterize the key thematic trends in the works of g. ligeti and demonstrate their role in shaping and expanding the understanding of the composer and his works. thus, the attention of the scientist (schreiber, 2019) focuses on visual spatial metaphors, especially those that resemble fabric, web, labyrinth, and mirror surfaces. attention is also drawn to the composer’s desire to describe his own creative processes, which largely contributes to his artistic self-identification (schreiber, 2019). b. levy (2017) explores the evolution of the author’s style from the perspective of the composition techniques he uses, marking the path from the continuity of the traditions of b. bartók, through the experimental sphere associated with electronic music to a unique synthesis of the leading trends in academic music of the 20th and early 21st centuries. the cosmopolitan orientation of g. ligeti’s work is noted by e.-p. salonen, whose words are quoted in his article by a. bauer (2012). therewith, the fact is emphasized that each of the works of the hungarian composer, who survived the second world war, is a theatre of the absurd with a pronounced comic tinge, which connects them with large-scale modernist themes and searches (bauer, 2012; meleshchenko, 2023). c. wilson (2004) concludes that composers’ ideas about themselves – in articles, program notes, and interviews – had a significant impact on the music science of the 20th century, shaping not only the perception of particular works but also broader historiographic concepts of the recent past. specialist (wilson, 2004) traces one particular way of discourse through the published statements of g. ligeti: his “rhetoric of autonomy” seeks to renounce allegiance to “schools” or institutions and downplay stylistic or aesthetic commonality with the work of other composers. it naturally clashes with the already familiar pluralistic cultural paradigm of the late 20th century, a paradigm that many postmodern theories, despite its deconstruction of the “unique self” ideology, did not perceive as antagonistic (wilson, 2004; kim, 2017; nurtazina & toktushakov, 2017). in a cultural sphere increasingly engulfed by commerce, the image of the radical, autonomous creator, once symbolic of the rejection of the mass market, inevitably finds itself captured by its mechanisms as an obvious advertising tool (wilson, 2004; chung, 1987). the purpose of k. īvāne’s study (2015) was to investigate the microtonal intonation in györgy ligeti’s “hora lungă” for viola solo. it is considered from three perspectives: composing, performing, and audience (īvāne, 2015). its special effect, capable of immersing the listener in a strange, magical, nostalgic world, was most clearly manifested in the author’s performance (īvāne, 2015). the researcher of g. ligeti’s work – p. edwards (2015), using the example of the final passacaglia from his opera “the great death”, notes the period of stylistic crisis, which marks the return of the artist to more conventional compositional means. consonances and tonal allusions in music are indicative of a similar retrospective trend (yeboah et al., 2022). however, notions of functional hierarchy or centres of pitch do not fully explain the underlying processes that contribute to passacaglia’s harmonia: journal of arts research and education 23 (2) (2023): 333-345342 sense of constant unfolding. the resistance of tonal teleology contains the process of differentiation of pitch material. in this regard, passacaglia can be considered a further development of ligeti’s efforts to introduce an individual authorial process into musical material, albeit with an increase in the level of interval transparency (edwards, 2015). p. laki (2013) analyses two major works dedicated to g. ligeti as one of the leading representatives of the european academic composer school of the second half of the 20th – early 21st centuries. specifically, the specialist (laki, 2013) offers readers an edited volume of the essay “on foreign lands and strange sounds.” his training brought together scientists and composers from different countries, many of whom were strongly associated with the composer as co-authors or students. the book provides access to crucial source material and sheds light on many questions about the hungarian composer’s biography, analysis of creativity and musical aesthetics (koniukhov, 2022). the most significant revelation comes at the end of the publication, where the author draws a fascinating parallel between ligeti and fellow holocaust survivor i. kertész, winner of the 2002 nobel prize in literature. beginning in the 1980s, the composer’s entire musical universe received vital new impulses from his meetings with two eminent scientists from two vastly different fields. mathematician h.-o. peitgen introduced the composer to fractals and chaos theory, and the ethnomusicologist s. arom introduced the incredibly complex rhythmic polyphony of central africa (laki, 2013). d. chua (2008) considers the importance of complex compositional and interpretation techniques that arose in the twentieth century on the example of the public and musicological science, in particular, music criticism, the perception of i. stravinsky’s ballet “the rite of spring”. the scientist seeks to reveal the significance of the individual beginning, sometimes expressed in an unprecedented form and manner, causing the public a shock that is opposed to the universal and generally accepted in the world of music (chua, 2008). it was in their context that the original, universal, from the standpoint of the synthesis of the latest means of expression, the work of g. ligeti was formed (chua, 2008). papagiannakopoulou (2001) writes about the significance of rhythm as one of the leading categories of the musical language, the compositional technique of writing in the academic art of the 20th and 21st centuries. specialist (papagiannakopoulou, 2001) refers to the works of the outstanding french composer o. messiaen, stating the fact that rhythm appears in the academic music of the 20th century as one of the most original aspects of the work of the authors of this era, specifically the hungarian composer (papagiannakopoulou, 2001). research is being carried out on implementing and developing the traditions of g. ligeti in the musical composition of the 21st century, accompanied by the use of soundscaping (morandi & schiavoni, 2022; 2019). the problem of the formation and functioning of digital art is studied, as the implementation of creative searches and discoveries of unknown areas of music, essential for g. ligeti, as well as the principles of using computers, diverse types of software to create “new” music (schiavoni et al., 2019; vieira & schiavoni, 2020). scientists also investigate the evolution of the intonation fund and the means of recording it and transmitting it to listeners, namely through audio applications, when a mobile portable device becomes a musical instrument, and the audience turns into a part of the soundscape (gomes et al., 2019; teixeira et al., 2019). the sphere of the modernized musical space its sociological and ecological nuances are being studied (vieira et al., 2020a; 2020b). however, showing the musical language of g. ligeti as a single, voluminous, and complex system requires research, coverage, and implementation. valeriya zharkova et al., g. ligeti’s hamburg concerto as a summary of late artistic ten343 conclusions the publication explored the problem of reflecting the later trends in g. ligeti’s work in his hamburg concerto. the stylistic context and the environment of the intonational fund of academic music of the second half of the 20th – early 21st centuries, within which the individual style of the hungarian composer was formed, were analysed. as a result of investigating the subject under study, a set of writing techniques became apparent, using which ligeti’s works and, specifically, the hamburg concerto were created. these include sonorism, micropolyphony, group technique, aleatoric elements. the study of summarizing the late tendencies of the musician’s work on the example of the hamburg concerto helped cover the system of his musical language. it is based on such blocks as thematic mode, dynamic principles, timbre architecture, synthesis of folklore traditions, and modern compositional techniques. in the context of this integral system, the categories and methods of formation and development of musical material by the composer g. ligeti were identified. these categories and methods appear as micro-thematic elements: expanding, frozen, and shrinking clusters; sonorous vertical; polyphony (micropolyphonic imitation; combination of diverse themes); timbre echo (resonation); transpositions of the thematic source; thematic transformation; variability; genre rhythm; combination of scales; through thematic development; group techniques. during the study on the reflection of the tendencies of g. ligeti’s late work in the hamburg concerto, his main creative principles were determined. among them, the following are of leading importance: focusing on the genre of the instrumental concerto; modernization of the instrumental concerto; synthesis of academic and folklore traditions; the use of avant-garde style; a combination of modern complex composing techniques and neo-romantic style elements. all of the above determines the significance and relevance of this paper in various fields, such as musicology, history, methods of 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(2022). demographic challenges for the caucasian race: what can the assimilation of cultures on the european continent lead to? european chronicle, 7(4), 5-13. 82 banyumas people’s characteristics symbolically reflected on calung banyumasan performance suharto department of drama, dance and music, faculty of language and arts, universitas negeri semarang, indonesia received: oktober 19, 2017. revised: april 23, 2018. accepted: june 10, 2018 abstract this research aims at examining how banyumas people’s characteristics are symbolically expressed in calung banyumasan performance. this qualitative research employs a hermeneutic approach to examine any symbolic meanings in calung performance. the data are collected by literary study, document study, observation and interview, which are then analyzed using content analysis and interactive analysis of miles and huberman. the research results show that some song lyrics identify banyumas people’s images and characteristics such as equality and honesty (cablaka) just like the ngoko level language they use. the performance consists of opening, lenggeran, badhudan, and baladewan acts in the process of illustrating the character of banyumas people who love jokes and crowd. some aspects arising in performance reflect banyumas people as an egalitarian, straightforward, like-to-gather, and syncretic society. keywords: calung banyumasan; characteristics symbolically; banyumas people how to cite: suharto. (2018). banyumas people’s characteristics symbolically reflected on calung banyumasan performance. harmonia: journal of arts research and education, 18(1), 82-96. doi:http://dx.doi.org/10.15294/harmonia. v18i1.15524 harmonia: journal of arts research and education 18 (1) (2018), 82-96 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v18i1.11570 round needs to be thoroughly studied. they only study senggakan “in plain view” and technically from musical perspective by mentioning it as an identity, but they have not thoroughly discussed the meaning behind senggakan. therefore, the meaning of “noisy” impression proposed by sutton can be examined. the music of calung used to accompany certain art performance has certain work which is well processed by its supporting artists, thus banyumasan styled karawitan appears with style and work similar to karawitan which uses gamelan ageng. this work model, which is considered typical, is also supposed to appear in adjustment to banyumas people’s senintroduction when we pay attention, many song lyrics and dance moves in lengger, dagelan, and senggakan are very special and reflect banyumas people. the expressions used in senggakan, for example, tend not to have lexical meaning, but do exist in every calung performance (murwaningrum, 2012a). moreover, sutton, (1991a) calls this activity “noisy” or “busy”. repeated appearances of senggakan throughout performance are not necessarily presented without any meaning, primarily in the context of performance and culture as the background. its musical aspect has been discussed by both researchers, but the cultural backgcorresponding author: b2 building, 2nd floor, sekaran gunungpati, semarang 50229, central java, indonesia e-mail: suharto@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 suharto, banyumas people’s characteristics symbolically reflected ... 83 se. this artistic sense may appear based on the character of its supporting society, which is also reflected in a play style like that in calung style, which is not like that in gamelan ageng play. that songs with lyrics in thick banyumas dialect are added into calung play shows its distinctiveness. specific nuance is produced by how quick instruments are struck, complementary plays and senggakans made by nayagas and sindhens. these plays create very ramé (boisterous) impression. however, the word ramé in some studies is considered something positive, not something negative, by certain communities, primarily in the context of art performance (mulyana, haryono, simatupang, & mada, 2012). according to the research conducted by mulyana, the ramé dimension which appears in art world exists in many regions with a meaning far from negative element. this means that the organizer and the players want their performance to be ramé. what does ramé in calung banyumasan art performance with different cultural background mean? the research conducted by priyadi, (2003) proposes that banyumas people’s character may be examined from their daily behavioral elements in social interaction, figures’ character, taboos, and proverbs. these elements may exist in calung performance, including song lyrics, performance presentation, and the content of performance itself. since art is the expression of people’s culture, then art content, including calung, may reflect the character of people who produce such culture. it is very interesting to study their relationship. a cultural analysis is based on an idea that daily life stretches out in a meaningful arrangement (mulder, 1996). this concept explains that esthetic activity through calung performed by banyumas people is something inevitable which has important meaning for their lives. the inevitability and meaning-making takes place in the world of shared knowledge, which is banyumas culture, which may be analyzed as a system of perception, classification and other interpretation they may have. priyadi’s dissertation (2010) entitled “dinamika sosial budaya banyumas dalam babad banyumas versi wirjaatmadjana” shows that the value system of banyumas culture is based on cablaka which produces paradoxical/contradictive values as reflected in its figures’ character. the upheld values tend to be paradoxical, in which thesis is faced with antithesis, which then produces a synthesis. meanwhile, the value orientation of banyumas culture is at traditional and modern positions, which may be observed from banyumas people’s view on the meaning of life, work, perception of time, and relation between human and human and nature. previous researches conducted by priyadi, (2003; 2007) show that banyumas people have a specific character called cablaka. cablaka is the main model of banyumas people’s character. blakasuta, thongmelong, or cablaka has the same meaning, which is to talk as it is or frankly. banyumas people with banyumasan dialect has established an egalitarian culture, which is to acknowledge equality among its people. the researches conducted by priyadi (2003, 2007, 2010), from banyumas people’s character to people’s view on the relation with the nature, have not specifically studied how art and culture as a form of cultural expression take a role in the dynamics of people. do art and culture, including calung banyumasan, also reflect the dynamics of people as observed from the form of performance and performance elements? banyumas people’s character is reflected in the existing value system in their socio-cultural life. calung is born and developed from a dynamic people’s social life, which in its birth is a civilization and part of their cultural system. songs in calung have lyrics in banyumas typical language, which reflect banyumas people’s character (suharto, 2016). according to the rhythm of songs, its gendhing playing style which refers to gamelan ageng is the symbol of low-class people’s culture which represents low-class culture, in which they want to reflect on how the priyayi play gamelan as harmonia: journal of arts research and education 18 (1) (2018): 82-9684 a representation of a bigger culture, which is javanese culture. song lyrics and how they are sung in banyumasan music like calung banyumasan, for example, cannot be separated from those characteristics. the expressions in use –some community groups say it rude– is the reflection of people’s daily life. however, those expressions are considered rude only by ethnocentric people, who view art from the different cultural corner like kraton culture, which is incidentally created from a new culture to restrict themselves (kraton) from low-class culture. culture belongs to people, which is collectively used as guideline or terms of reference for relevant people. people’s behavior is not free from culture, which is essentially the complex of knowledge, values, ideas, and faiths or beliefs which controls them (bachtiar, 1985). the relevant guideline may become model selectively used by supporting people to communicate, to preserve and to connect knowledge, to behave and to act, not only to fulfill life necessities, but also to solve constantly evolving life challenges (geertz, 1993). meanwhile, geerts also defines “culture is a system of arranged meaning and symbol, in the sense that individuals define their world, express their feeling and provide valuation; a meaning pattern historically transmitted, realized in symbolic forms through media where people communicate, monumentalize and develop their knowledge and attitudes toward life; a collection of symbolic equipment to regulate behavior, extra-somatic source of information. since culture is a symbolic system, the cultural process must be read, construed and interpreted (bauman, 1978; kuper, 1999). banyumas is a region smaller than the whole region of javanese culture, which is called bigger culture. differences in character from a bigger culture will usually make banyumas people’s character and behavior different. cultural changes brought from the center of culture only reach the elites, while low-class people who live in the remote area remain to maintain culture hereditarily acquired from their ancestor. because of its local nature, banyumas culture becomes an integral part of a more general culture adopted by the javanese. however, its remote geographical location from the center of kraton‘s power and the inherent view of life make banyumas people’s various cultural aspects different. banyumas people have been established with characters of having popular spirit and acceptance of given condition because of helplessness. these behaviors are then called sense of inferiority from other economically, politically or culturally stronger or superior strata. banyumas culture is also formed from a combination of the elements of old javanese culture and local public life pattern. in its journey, banyumas culture is influenced by new javanese culture as bigger culture, sundanese culture, islamic culture, and western culture. it is prevalent that a bigger culture influences a smaller culture. moreover, the elements of old javanese culture (ancient and middle javanese) is influenced by indian culture (hinduism-buddhism) which has long time ago been disseminated by a priest named aji saka (yusmanto, 2006). based on the background above, the main problem is how the calung banyumasan performance presentation may describe banyumas people according to musical and non-musical meaning in its performance. method approach and focus of study this qualitative research employs a hermeneutic approach with calung banyumasan music and socio-cultural interactive-adaptive patterns underlying the process of emergence of calung music and its development until now as the objects of study. this is on the reasoning that calung music and all of its musical systems which forms calung music develop to acquire support from people of the extensive area from several regencies. suharto, banyumas people’s characteristics symbolically reflected ... 85 in this symbolic study, calung art performance is in this case construed as “text”. this method is made only to understand the analysis in use. in this study, the researcher tries to construe a work as readable text. according to the hermeneutic perspective, a researcher may construe an art performance or event by first paying attention to the views of artists in the community to which the art belongs and then proposing his/her interpretation (ahimsa-putra, 1999). this study focuses on lengger calung performance presentation which contains many symbols such as music, dance, literature, etc. each of these elements has its own symbol system. however, according to (turner, 2008; 1974), visual symbols bear the meaning at two levels: first, where such symbols are placed, and; second, in the social context where such symbols appear. that lengger calung performance is essentially a performance which study is conducted to the elements of performance, constituting the performance. however, formal elements cannot be ignored as its supporting elements. lengger calung performance consists of some formal elements such as music, dance and, sometimes, theater, and for the influence of phenomenological thinking, it focuses on the performance itself. this view emphasizes that music, including songs, is created for singing, thus the event of singing should be the center of all analyses on the song. similarly, dance is created to be performed/ presented, thus the event of dancing, for example during the performance, should be the center of any analyses on dance (simatupang, 2013). calung performance from its start to the end is a series of art performance events which in this approach is considered text. since performance is considered text, it must be read and interpreted. therefore, the approach employed in this research is essentially a study of performance. the study is focused on performance presentation by finding the symbolic meanings in the acts of lengger calung performance often presented. this study is associated with banyumas people’s character to examine whether this performance reflects banyumas people’s life. pursuant to the research problems, the following data are needed. the source of data in the form of the document comprises demographic data of wangon village of banyumas regency, art group’s document, musical notation of songs in possession of group “wahyu sejati”, and photos and recordings in the form of video compact disk. besides offline data, videos are also taken from the youtube page. the document data, which belong to wahyu sejati and studio bintang, are uploaded to the video-sharing website youtube. informant needed in this research constitutes banyumas humanists, calung artists, historians, leader of group “wahyu sejati”, players of “wahyu sejati” and children involved in lengger calung training. societal elements involved in calung preservation and supporting community are also taken as the main sources of data. lengger calung performance becomes the primary source of data in this research. acts in performance presentation are carefully observed. the elements of performance which becomes the source of data involved in performance are calung players, host, and audience. data collection technique observation is conducted to lengger calung performance both at stage and taken from performance document in the form of vcd obtained from the owner of lengger calung group, which is group wahyu sejati of wangon village, banyumas and from some recording studios which often record it. the observation includes songs sung, dance moves and types of accompanying music, with the center is the performance presented. observation is also performed during the group’s trainings. thorough interview is necessary to obtain necessary data. interview is addressed to the players of lengger calung of wahyu sejati and probo laras, supporting community, academicians, local humanists and harmonia: journal of arts research and education 18 (1) (2018): 82-9686 ing, lenggeran act, badhudan act, and baladewan act. pre-opening and opening before show starts, the master of ceremony will give a code to the operator to prepare anything with regard to sound system setting. this is to anticipate any technical error during the performance. after such uborampe are complete, the music players play their instrument for three songs, and after the music instruments stop, the master of ceremony (mc) will call all sindhens to come to the stage, and the opening starts. in this pre-opening act, the calung group always presents songs with vibrant rhythm and happy tone. this part is a symbol of notice to surrounding society that the performance has started. gendhings usually played in an opening include sekar gadung, gudril banyumas, etc. these opening gendhings are chosen for their excitement from lancaran type, aiming at inviting audience or as a mark that calung performance will immediately start (waluyo, 2017; yusmanto, 2006). in the opening of a calung music performance of many group, an mc will open the show by greetings addressed to the host, audience, and guests, and introducing the crews of calung music (group). in this opening, the mc will also congratulate the host for his/her son/daughter’s marriage or circumcision, and pray that allah swt will always bless them. the performance starts when the opening ends. a ritual to pray to god and a thank you note to the audience and guests as well as request for blessing have become tradition and never been missed in any lengger calung or ebeg performance. offerings containing various foods and food ingredients such as kembang telon, banana, and other market snacks are put onto a tampah, and is then placed in the middle of stage. in this act, master of ceremony (mc) plays a quite important role in guiding, giving introduction speech and giving warm tone to the performance. the offerings are placed in the middle of stage to symboliart performance critics. document study. document study is necessary to reveal the history of art in banyumas, types of script, especially of songs and music of calung from time to time, performance recording in the form of audio visual (compact disk video/vcd) in possession of group leader, studio studio bintang, or those distributed in the society. data analysis technique this research employs song composition analysis (content analysis) and interactive analysis of (milles, 1984). the content analysis is needed to analyze the formal data of music works often played in lengger calung performance covering instrumentation (ricikan), songs, play style, etc. data collecting process may be simultaneously performed with qualitative analysis referring to an interactive analysis model as proposed by miles and huberman (1994), including data reduction, data presentation, and conclusion. in data reduction, the researcher selects, focuses and simplifies the data obtained from the interview which are selected based on the designated scope of the problem. as proposed by miles and huberman, reducing data means selecting and summarizing the main things, focusing on important things, and then searching for the theme and pattern based on the collected data. presenting data is a process to arrange information obtained from the interview, document, observation and literary study descriptively presented in the form of description of words and pictures of the development of lengger calung performance form. the last one is the conclusion. results and discussion calung banyumasan presentation order the order of a presentation usually consists of pre-opening, opening, presentation and closing. presentation often performed consists of pre-opening and opensuharto, banyumas people’s characteristics symbolically reflected ... 87 ze their gratitude to god and to pray for smooth course of performance. the host, lengger holds a bowl containing yellow rice and some coins, symbolizing the hopes of all performance supporting parties that they will be blessed and earn living from the performance. likewise, coins are put into a washbasin or plate, which are then disseminated to the audience at the start of performance. this sequence must be performed, particularly when the performance is a promise (ujar kaul) of the host (interview with legono (50). the song sekar gadung is often sung in an opening, particularly during offerings ceremony. gending with wetanan tone gives distinctive nuance during this ritual. in the scene of these acts, the grand ritual nuance is particularly felt to give quite deep meaning for those who understand it. people who usually watch lengger calung will understand that a performance has just started if such songs and offerings scene are played. therefore, any person who is going to become a host of such event will readily perform it. the solemn tone is created by music players, lengger dancers and also audiences. the audiences and music players seem to be used to this kind of ritual in lengger calung performance. a lengger lanang deemed as senior may become “supernaturally very powerful” that some mothers approach the stage to have their children blessed by the lenggers. the lengger then prays for the toddlers and kisses their forehead while their mother brings them to the edge of stage for the lengger’s “blessing”. according to bawor (59), the leader of lengger calung wahyu sejati, some of the people still believe that lenggers have power to bless people and even heal disease. according to some witnessing audiences and the mothers, this supernatural power is caused by indhang that has possessed the lengger, giving him healing power. this opinion is supported by a banyumas humanist, gitosewojo (72). lenggeran act this section takes fairly long time since some audiences participate in singing, dancing and mbancer (tipping). this often called lenggeran act gives opportunity to the audiences to get onto the stage to dance with the dancers (lengger). the communication pattern between audiences and players changes from one-direction to multi-direction. moves used in this part are those commonly played, in the sense that they are self-taught moves since there is no standard (pakem). these moves tend to be monotonous and repeated, as explained by bawor. they are reworked to make moves of each sekaran clear, thus a sekaran will differ from the other. in addition to seblak sampur, gerak ukel and gerak geol, there are now some additional moves such as penthangan tangan, entragan, lampah tigo, kosekan and penthangan sampur. however, this depends on lenggers’ skill. smki students often add more moves to them (interview with bawor, may 2017). meanwhile, lenggeran act usually uses gendhing malangan and sekar gadung. however, those gendhings are of lenggeran standard. when there are many requests for songs, then they will adjust to the rhythm of the performance. lenggeran which is thought to be a hindu influence, as an expression of celebrating after the harvest, is still favored by the banymas community until now. in this loose round, the audience was given the opportunity to dance together (koentjaraningrat, 1994; priyanto & jurusan, 1980; yusmanto, 2006). opportunity to respond to received message comes to an end. the musical communication process is analogized as a tree in which the root is performance players and the audiences are at the top of it which may ramify depending on their aesthetic experience. esthetic experience is, according to (regelsky, 1981), action learning and, according to jamalus, (1988), musical experience, which causes the audience’s various reactions. audiences involvement in an art performance is no a disturbance, but is intentionally created, as proposed by meyerhold (1999) that audience in performance is the harmonia: journal of arts research and education 18 (1) (2018): 82-9688 fourth creator after scriptwriter (mcauley, 2002, p. 238). emigh (1996) considers that performance is not merely an event of self-expression or demonstration of standard techniques, but is an interactive event between performer and others (audience) in the context of the certain show. that the role played by non-performing participants is very important, researchers should pay attention to this aspect in research of art performance (simatupang, 2013). badhudan act bandhudan act performance is always awaited by audience in lengger calung performance. in this act, the audience will be entertained by a combination between music plays, either instrument or songs, and dance as well as banyolan/dagelan (jokes). bandhudan act may take more than an hour depending on how much time the host desires it will take. this will get longer if a high-rated “badud” is hired. this bandhud appearance on the stage marks the end of lenggeran act and beginning of bandhudan part. bandhudan serves to refresh the tone, presented on stage to invite laughter with jokes and funny moves, in which badud may directly interact with the audiences. in this bandhudan part, the audience may also request for songs and dance with lengger and bandhud. a requested song is usually written on a paper and given to bandhud and lengger dancer. this request is sometimes inserted into a box of cigarette or in the form of cash. upon receiving gendhing demand, lengger dancer will sing the requested gendhing and dance with bandhud. bandhudan makes a performance more attractive, of course, if the bandhud is able to balance the playing pattern. a bandhud will perform his/her entertainment duty by teasing lengger, singing songs with funny lyrics, and performing dance moves which are usually his/her own creativity and spontaneous, following the rhythm of music such as kendang playing. that is why, according to (budiarti, 2008), bandhud is a dancer of improvisation. therefore, a bandhud must skillful in dancing, not only lengger dance, but also other types of dance, since he/she has to improvise in various genres of dance to make it attractive and funny. bandhudan is presented using banyumas dialect in its communication, both between co-players and with audiences in a straightforward manner without any partition, symbolizing that all of them on the stage are one. they are considered equal and of the same level, thus anyone will be involved or be targeted, either in the form of satire, greeting, or singing and dancing together. they symbolize themselves egalitarian panginyongan people. anyone including the host must feel it, thus he/she must also sing and tip. host’s participation is indeed expected and he/she will do it with pleasure when so requested during bandhudan or lenggeran. baladewan act baladewa dance is presented in baladewan act. this dance is one of the dances in lengger calung performance growing and developing in the distribution area of banyumas culture, including the administrative regions of banyumas, cilacap, purbalingga and banjarnegara regencies (agustina, 2017). in baladewan act, generally in lengger calung performance, a dancer gets onto the stage after changing to baladewan dancer costume. baladewan dance illustrates the character of baladewa. baladewa also plays the role of king of mandura in mahabharata story. this character is illustrated as a gallant and hot-tempered but funny character. songs used in baladewan act are usually of cheerful and gallant rhythm that the costume, make up and moves presented reflect gallant and vigorous character. in the past, baladewan dance in lengger is performed by highly experienced lengger dancers (senior dancers), since after performing lengger dance, they must perform a gallant baladewan dance. baladewan dance is a male gallant dance, that even if the dancer is female, she has to perform it in a gallant way ( in private interview to suharto, banyumas people’s characteristics symbolically reflected ... 89 legono, januari 2017; agustina, 2017). songs usually presented are those with sigrak rhythms such as bendrong kulon, kulu-kulu and ricik-ricik. these songs are sung in a medley way. however, as dancers are about to enter the stage, gendhing kulu-kulu is often played. kulu-kulu is derived from the word “kuluh” which means kuluh or shabby and rumpled fabric or gombal usually used for kelud/or to clean dirty item. this song must be presented in baladewan act to give the meaning of “cleaning up”. this song also bears the meaning of finishing as cleaning up since the performance is about to end, thus the condition must be clean before leaving (interview with legono, 2017; bawor, 2016). according to bawor, the leader of “wahyu sejati”, baladewan dance must be presented as the closing of performance. however, for some reason, such as for its far distance from residence or in the field, a baladewan dance does not necessarily change her costume. all dancers on stage must perform baladewan dance with songs with gallant rhythm such as bendrong kulon, kulu-kulu, or ricik-ricik. every time baladewan dance is presented, all audiences, host, and all performance crews will understand the meaning, as if it is a symbol that lengger calung performance will immediately end, and they who still want to further dance will understand it. banyumas people’s characteristics in calung performance presentation some of banyumas people’s characteristics are reflected in a calung performance. these characteristics may be in the form of personal matters, social life, nature, or philosophy of life. some of these characters may be described below. syncretic society a supplication reading ritual is made at the start of every calung performance, preceded with mc’s islamic introduction and sentences using opening words such as basmallah with an expectation that allah swt will bless them. however, such islamic recitations are simultaneously made with “spell” reading ritual performed by senior lengger while a plate containing yellow rice and coins is mutually held with the host. they are then disseminated to the audiences from the surrounding area who watch the performance. similarly, lengger’s blessing of toddlers directly brought by their parent to lengger is considered as bringing luck. gitosewojo who is also a dalang (puppeteer) in the 80s and mc in celebration events also performs such ritual, which sometimes starts with burning incense, or fragrance, to start any event he participates in. according to gitosewojo, “frankincense or incense is a symbol of fragrance that is worth giving to respected ancestors” egalitarian society an egalitarian society is reflected throughout calung performance. however, the most prominent act showing egalitarian people’s characteristics is bandhudan act. some art expressions reflecting egalitarian society appear in this act. glowehan or glewehan made by mocking others, host and lengger show that they are equal. they perform glowean but do not intend to offend others, since all of them understand, thus anything happens are considered funny and makes them laugh. straightforward attitude (cablaka) arises in this egalitarian society and even everyone talks straightforwardly without considering any consequence of it (blakasuta). in this bandhudan act, anyone may become object of the joke. egalitarian character also appears in every song played either by sindhen, lengger, penyenggak or bandhud. banyumas songs with banyumasan dialect show such egalitarian character. cablaka is a character spontaneously expressed by banyumas people of any phenomena appearing before them without cover. therefore, banyumas people’s cablaka should be considered as an attitude of frankness, open mind, intimacy, or freedom expression to state anything without anything covered up (tanpa tedheng alingaling). some banyumasan songs are always harmonia: journal of arts research and education 18 (1) (2018): 82-9690 played in every art performance in banyumas, for example, according to bawor, the song ‘eling-eling”. this song describes the life of banyumas people to a large degree, and even describes the philosophy of banyumas people that we may only submit to god, while we are equal among human. we must always be aware of our identity as god’s creation. esthetic society songs with lyrics in banyumas dialect are played during the performance, starting from pre-performance to baladewan act. it is interesting to hear songs with lyrics containing local literature like cakepan. cakepan is a text/lyric form of literature used in sindhenan. such text is played by sindhen or swarawati in a karawitan performance and also by other penayaga (music player), including bandhud in bandhudan act. this cakepan literature usually has a theme of human life containing advice, character education, household life, life guide, etc. this also applies to cakepan of banyumasan songs. although there are only a few of them and no specific attention is given, some cakepan sindhenan also contains advice, ideology and ideals or utopia. utopia is the ideal of an ideology. the concerned ideology constitutes local genious adopted only by a certain society, that is the javanese and, more specifically, banyumas or panginyongan people. the song eling-eling, for example, is a reminder for a human to always be aware of and remember almighty god, that we must only be afraid of god, while we are equal among human. cakepan in banyumasan songs comprises, among others, wangsalan, parikan and isen-isen. cakepan usually employs the beauty element, mainly current songs which has free form. wangsalan means a type of poem in the form of cangkriman (quiz) with answer available within the content. parikan means a poem of which stanza consists of sampiran and content. parikan is divided into two types, which are two lines and four lines. isen-isen means certain phrases useful to fill a vacancy in parts unfilled with wangsalan or parikan. similarly, this should apply to the work of jalungmas dance moves. wangsalan. wangsalan is a type of javanese literary text, particularly western part of central java including banyumas, brebes and cirebon. wangsalan usually played in banyumasan music and cirebon tarling brings cheerful impression. such songs have sigrak rhythm and contain amusing and funny lyrics because of their funny and beautiful puzzle content. wangsalan is beautiful since it is a type of literature. the rhymes appearing in the phrases are beautiful and funny. this reflects the character of banyumas people who love cheerful songs. wangsalan is a sentence of song consisting of two phrases which contain the puzzle of which answer is given in the sentence. since it is a puzzle, the answer will be found by connecting words in the sentence (budiarti, 2016). according to budiarti, there are 4 wangsalan, which are wangsalan lamba, wangsalan rangkep (camboran), wangsalan memet and wangsalan padintenan. in the lyric of song “ricik-ricik”, for example, the phrase “janur gunung, sakulon banjar patoman” is a question and the answer will be found in the next phrase. the phrase “kadingaren, kadingaren wong bagus gasik tekane” is the answer of puzzle in the previous phrase. the word “janur gunung” in banyumas language means “aren” (sugar palm) which is realized in the answer phrase ‘kadengaren’ that has rhyme at the end of word ‘aren’ in the end of word ‘kadengaren’. banjar patoman in banyumas society is known as an area called tasik, the name of an area in eastern part of west java. therefore, the phrase ‘banjar patoman’ is answered by the phrase ‘wong bagus gasik tekane” in which the word ‘gasik’ is a wordplay of the word ‘tasik’. wordplay in javanese society including banyumas usually has rhyme at the end of phrase or word of a parikan. “janur gunung, sakulon banjar patamon/kadingaren wong bagus gasik tekane” is suharto, banyumas people’s characteristics symbolically reflected ... 91 the most popular wangsalan in banyumas society. this wangsalan is also used by sindhen to fill lyrics in similar songs other than “ricik-ricik”. it can even be used to replace any lyric, if sindhen forgets the lyric of a song she is singing and she may freely apply it. if there is more or less syllable, a sindhen may cut lyric or repeat certain word two or three times in adjustment to the song beats (interview with yusmanto, 2017). parikan. parikan is a sentence consisting of two phrases, in which the first phrase and the second phrase has rhyme. most of gendhing banyumasan uses parikan and wangsalan. in addition, some gendhings also use pepantunan, for example: gendhing rengong manis, bendrong kulon, ijo-ijo, malang dhoi and dhober (budiarti, 2016). abon-abon. in sindehenan, abon-abon is often called isen-isen which serves to be intermezzo or complement. abon-abon according to kamus umum basa jawa means ubarampe. ubarampe means completeness or complement. abon-abon is text in the form of word or words in which the meaning of sentence is not related to the text of main sentence (sindhenan), thus we may say it an intermezzo. abon-abon or isen-isen text (cakepan) usually used in banyumasan sindhenan includes rama, rama-rama, ramane, yo mas, kakang, etc. abon-abon text in gendhing banyumasan, besides serving as independent decorator or adornment, is often put in cakepan or wangsalan, either at the start or in the end of cakepan. for example, in gendhings malang dhoi (mas malange dhoi) and renggong manis (man-eman renggong manis, man-eman renggong manis ramane). words appearing in abon-abon, which are intermezzo and complement of sentence in lengger calung performance, include rama-rama, ramane and kakang. it is a reflection of banyumas people’s daily life. according to gitosewojo (72 years old), the words rama or ramane is used more than biyung or biyunge in isen-isen since pesinden symbolizes that a daughter in banyumas people’s culture depends more on her father (rama) than on her mother (biyung), since banyumas people adopt patrilineal principle. it cannot be denied that the work of songs in calung presentation is full of valuable esthetic elements. from the form of songs played to the work reflects banyumas people who have high musical sense, thus it is the people’s character. banyumas culture is known as the junction of two axes, which are javanese cultural axis and sundanese cultural axis (interview with yusmanto, october 2017). this junction of two cultures is caused by the geographical location meeting of java (eastern part) and sunda (western part). in addition, the origin of banyumas people is believed to be from the meeting and movement of some sundanese (from pajajaran kingdom) with javanese (from pasir kingdom) because of a marriage of two individuals from different cultures, banyak catra from pajajaran and ciptarasa from pasirluhur. this marriage causes movement of men of sundanese culture to women of javanese culture (priyadi, 1996). the influence of these two cultures is also reflected on the character of banyumas people’s traditional music as an expression of their cultures and arts, one of which is calung play in banyumasan style. “there are 3 very popular songs in banyumas often played in calung performance, which are ricik-ricik, eling-eling and bendrong kulon. the songs ricik-ricik and eling-eling have thick javanese nuance while bendrong kulon has sundanese nuance. therefore, the songs ricik-ricik and elingeling when played in surakarta style will convey a strong feeling of javanese nuance, and, on the contrary, when played in sundanese will convey the strong feeling of sundanese nuance (interview with yusmanto, october 2018). these two types of rhythm produce banyumas specific color, particularly from the perspective of kendangan style. the song “bendrong kulon” will be suitably accompanied with jaipong rhythm”. these two styles go hand in hand depending on the music players and the area. calung played by a group in the border area harmonia: journal of arts research and education 18 (1) (2018): 82-9692 of west java will tend to play sundanese style, as reflected in kendangan style played (interview with wendo, september 2017). banyumasan gendings have an equal form with surakarta and yogyakarta styled karawitan, which are in the form of gangsaran, lancaran, ketawang, ladrang and gending. according to form perspective, there is gending eling-eling with lancaran form consisting of four gongan. this form is mostly found in banyumasan songs. according to garap (work) perspective, there are two garap irama siji and garap irama loro. agricultural society banyumas regency is spread 1,327.60 km2 in the area or equal to 132,759.56 ha. it has plains & mountains consisting of the valley of serayu river for agricultural land, highland partially for settlement, people’s yard, and mountain partially for plantation and tropical forest located on the southern slope of mount slamet. these various conditions of and wide nature cause new javanese culture brought from the kraton (palace) is unevenly disseminated to all corners of banyumas area. the people keep the culture they have hereditarily adopted with regard to faith, how to communicate, and agricultural technology (priyadi, 2002, 2003, 2010; tohari, 2011). characters like popular spirit, cablaka (transparency), exposure and society-life based culture are the pattern of traditionalagricultural life. this tendency is the result of the distance of banyumas area location from the big kingdoms (jogyakarta, surakarta). this causes their cultures generally develop slower than negarigung cultures. most of native javanese ethnic group is located in rural areas, which are those collectively called kejawen areas, comprising jogyakarta, surakarta, banyumas, kedu, madiun, malang and kediri. (koentjaraningrat, 1984). banyumas people are not really different from the condition of javanese in general. however, as previously explained, the wide geographical condition causes banyumas people’s cultures do not develop as fast as those of other javanese areas, including the development of new javanese language which does not reach rural areas. most of the people in rural areas remain using original language until now. they who live in villages in rural areas distributed in banyumas area use banyumas dialect. they have used this language far before new javanese language arises and is distributed to all areas. they are loyal to their language which is not interfered by any changes made by the kraton (palace) in its period until now. only certain limited people are willing to use it, the priyayi (priyadi, 2010; gitosewojo, 2017). calung instruments as the character agricultural society’s music bamboo has become part of rural people’s life in banyumas, that it is used in many occasions such as house construction, chairs, beds, kitchen utensils, household appliances, esthetic expression media, means of transportation, etc. (yusmanto, 2006). in-house construction, some parts of the house use bamboo as raw material, including: structure (saka, blandar or penglari and pengeret), wall, roof and accessories such as glathak, wall decoration, lamp, etc.). bamboo for rural people in banyumas is identical to simplicity. items made of bamboo are considered simple items. therefore, a bamboo house is considered as a simple house (interview with yusmanto, 2017). calung is a type of musical instrument made of bamboo of grassy type (grassophone) with a different character from music instrument made of metal, in which this grassophone music instrument does not have sustain. for longer sound, it must be played by nritil (repeatedly struck as necessary/necessary not value) thus it will not produce short sound since it has poor sustain (wendo, 2017; yusmanto, november 2017). the sound heard from calung struck in a nritil basis seems to be straightforward and ramé (boisterous). this impression becomes the character of banyumas folk art suharto, banyumas people’s characteristics symbolically reflected ... 93 in general. this straightforward and ramé impression is also identical to banyumas people’s character of straightforward or cablaka (priyadi, 2007). lengger play accompanied with calung will give a very typical nuance. the songs, playing style, dance and senggakan will follow the rhythm of calung playing character. this musical instrument play tends to be sigrak and seems to be cheerful. therefore, most of the songs played have cheerful rhythm. ramé as a reflection of the people who love togetherness senggakan always appears in every song and almost throughout the performance. from the perspective of presentation, senggakan in karawitan has ramé (boisterous) impression. therefore, senggakan may be interpreted as joint or sole vocal using cakepan parikan and or a series of words (sometimes without meaning), and even seems to be saru (less polite) which serves to support the realization of boisterous nuance in a gendhing presentation. this senggakan is quite flexible, of which meaning may be interpreted by anyone in a logical and contextual sense. senggakan in gendhing banyumasan takes a position as vocal gendhing, thus they will be quiet without senggak. senggakan in banyumasan music is banyumas people’s expression of freedom. senggakan with its generation of ramé (boisterous), cheerful and sometimes seemingly vulgar nuances illustrates the expression of the art of banyumas people who love freedom, equality and honesty (murwaningrum, 2012b). senggakan is an element of gendhing banyumasan. lengger performance uses gendhing banyumasan as its accompanying music. an indicator of successful performance for banyumas people is ramé nuance, which will be seen in the expression of songs in lengger, ebeg, or wayang (puppet) performance. it may be created by pesinden or nayaga, including dalang (puppeteer) through this senggakan, and audiences may have themselves involved in this ramé nuance by participating and getting onto stage while mbancer (tipping). in the context of performance itself, performers intentionally create ramé nuance in performance since it is a symbol of the success of a lengger calung performance. that is why an individual is specifically assigned to be penayaga as well as to play senggakan in a lengger calung group. the individual who plays senggakan must have the high musical ability, particularly in mastering banyumasan gendhing and songs. this ramé nuance resulted from senggakan is the concept of banyumas people intentionally formed to fill empty, quiet or meaningless spaces of life. this condition also becomes the symbol of banyumas people who prefer living in group and considering all people as equal, thus any jokes in song lyrics and senggakan are merely intended to be entertainment and expression to create cheerful and ramé nuance. ramé (boisterous) is not merely meaningless noisy as proposed by (sutton, 1991) that senggakan is “noisy” or “busy” since there is indeed crowd which is seemingly busy and noisy. however, ramé has become a standard of success for art performance in banyumas. ramé is also caused by interaction between music players, singers and audiences. the audience becomes an integral part of the art performance in banyumas. the existence of conditioned ramé has never existed without meaning or action. on the contrary, it always exists in the relation of the event between a cause and its effect, or an action and its reaction. the host will also feel his/her “obligation” to create this ramé nuance. a performance may be stated as successful if according to people’s perspective, such performance is ramé (boisterous). many audiences, many individuals tipping and existing interaction between players and audiences are the indicators. that interaction exists means that there is an expression of joy in the form of a smile, laughter, a movement following song rhythm and dancing while tipping. tipping scene for local harmonia: journal of arts research and education 18 (1) (2018): 82-9694 people is not something pornographic, but communication between audiences and lengger dancers, thus all audiences, both they who tip or only watch become an integral part of it. as stated by gay mcauley, energy change occurs between players and audiences in a performance. some of banyumas people’s characteristics identified from calung performance may be summarized in table 1. table 1. banyumas people’s characteristics in calung performance character act type of symbol media of expression meaning egalitarian society bandhudan glewehan clemodan singing/song joke geol equality lenggeran mbancer/nyawer dance song lyrics intimacy baladewan epic dance (baladewan) dance moves respect to hero syncretic society opening of performance offerings spreading yellow rice prays/spells burning frankincense blessing by senior lengger lengger kisses toddlers’ forehead kembang telon (three types of flower) yellow rice coin offerings frankincense human is small in the eye of god respect to ancestors/ elders esthetic society (in literature) pre-opening lenggeran bandhudan baladewan singing wangsalan parikan candaan singing/song banyumas people have highly esthetic sense of literature esthetic society (in music/ work) -senggakan -wangsalan -garap lagu -song composition -song composition -garap lagu banyumas people have highly esthetic musical sense love joking / humor -lenggeran senggakan parikan wangsalan mbancer smile multi-direction communication song lyrics garap lagu cash for mbancer vulgar language/ clemod communication with audience banyumas people have high sense of humor vulgar dance means intimacy -bandhutan glewehan wangsalan garap lagu funny moves multi-direction communication song lyrics garap lagu geyol communication with audience banyumas has a high sense of humor -baladewan imitating hero’s moves dance moves respect to hero is an obligation suharto, banyumas people’s characteristics symbolically reflected ... 95 conclusion songs accompanied with these complete, classic calung instruments appear in every act in calung performance, comprising an opening, lenggeran, bandhudan and baladewan. in the opening, and even preopening, songs played as opening gendhing serve to be the symbol to inform surrounding people that a calung performance has started. in lenggeran act, banyumasan songs are used to accompany gambyongan and mbancer (tipping). in bandhudan act, songs played serve to be guyonan (jokes) to invite audiences and anyone involved in such performance including players. and finally, in baladewan act, songs played serve to be closing. the interaction between calung players and audiences occurs particularly in lenggeran (gambyongan) and bandhudan acts. this interaction is intentionally made by players to make the performance ramé (boisterous), since ramé nuance is the symbol of the success of a performance. ramé nuance may be created by playing instruments with quick tempo (nritil), senggakan, and funny wordplay made by bandhudan players. ramé nuance is not something noisy, but is the character of banyumas people in conversation to talk clemod which is seemingly ramé, which will be rude from the perspective of other culture, but it is a symbol of togetherness and equality for the people’s perspective. it is clear that some aspects of performance covering these four acts in fact symbolize banyumas people’s egalitarian, straightforward, syncretic, love-to-gather, and esthetic characters. references agustina, i. c. 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(2006). calung (kajian identitas kebudayaan banyumas). surakarta:institut seni indonesia surakarta. 242 musical expression of sholawat art in multicultural societies: a study of composition forms luthfi bin yahya1, moh. muttaqin2, ibnu amar muchsin2 1president advisory board, indonesia 2universitas negeri semarang, indonesia submitted: september 16, 2020. revised: november 29, 2020. accepted: december 4, 2020 abstract this study is based on society’s reality about the diversity of musical expressions of the sholawat art which is still ongoing. therefore, this study aims to identify, analyze, and describe the musical expressions of sholawat art that exist in society in the context of a multicultural society. this study is a qualitative descriptive study with a musicology approach as the main approach. this study used several techniques for data collection, namely interview techniques, document and documentation study techniques, and observation techniques. furthermore, the data were analyzed using content analysis with the main musicological approach which refers to the concept of composition, harmony, song form, and presentation form. the results show that in a multicultural society, such as indonesia, there are various kinds of musical expressions of sholawat art. if we look at musicology, the diversity of musical expressions includes several kinds of expressions, which include the variety in characterization, the variety in the scale tradition used, the mixture in the use of song lyrics, and the variety in the technique of using language in composing the lyrics. keywords: musical expression; sholawat art; multiculturalism; composition how to cite: yahya, l., muttaqin, m., & muchsin, i. a. (2020). musical expression of sholawat art in multicultural societies: a study of composition forms. harmonia: journal of arts research and education, 20(2), 242-251 harmonia: journal of arts research and education 20 (2) (2020), 242-251 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i2.27776 forming arts. one of them is the variety of performing arts is the performing arts of sholawat music. the art of sholawat is one of the developing arts in indonesia. in the context of the culture of the muslim community, praying is an order of religious teachings as stated in the qur’an surah al-ahzab: 56, which means: verily allah and his angels pray for the prophet, o believers, pray for the prophet respect to him (surah al ahzab: 56). along with the conditions of the diversity of cultures, ethnicities, languages, arts that exist and develop in indonesia, this situation will influence the introduction indonesia’s territory consists of about 16,000 large and small islands and is inhabited by more than 400 large and small ethnic groups who embrace various major religions (melaletoa & dloyanah, 1995). the major religions are islam, protestantism, catholicism, buddhism, confucianism, hinduism, and belief in the one and only god with various cultural forms and forms (soedarsono, 2001). this amount also means that indonesia has various forms and varieties of art in each of these ethnic groups, including various percorresponding author: e-mail: muttaqinm@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 luthfi bin yahya et al., musical expression of sholawat art in multicultural societies: 243 community in expressing or expressing the art of sholawat music so that there may be various kinds of expressions of sholawat art that occur and develop in society. this art can be expressed in multiple forms of presentation and in a very diverse context, both related to its function and expression itself, as well as in certain moments. many writers have done a number of previous writings on the art of sholawat and its expression, for example by; (1) wahyuni and pujianti (2019), who review sholawat from the semantic side of the connotative meaning of the qasidah salawat of the prophet’s syair in the manuscript of the council of dhikr and salawat pondok rumi for the al-asyiqin jambi council (semantic study) and reviewing sholawat from the perspective of developing sholawat offerings about the media. tutik, et al. (2020) reviewed the relationship between puji-pujian (praise song, adzan (after the call to prayer) and the development of intelligence. fahruroji & azhar (2017) also conducted a review of sholawat from the qur’an and hadith. this study provides an overview of this prayer’s implications in the interpretation and establishment of laws and semantically analyzing the sholawat to the prophet muhammad s.a.w. from some writings on sholawat, it can be argued that there has not been one single article that specifically examines musical expression in prayer offerings in a multicultural society. even if there is, the study carried out is deemed incomplete and still simple. according to poole (1996), as cited by suharto (1996), multiculturalism is a political principle which states that the government should act to protect and maintain social diversity that occurs in plural societies. the maintenance is, at least, by preventing discrimination on the basis of cultural identity and non-discrimination in government practices (negative multiculturalism), and perhaps also by acting positively to ensure the sustainable survival of minority cultures (positive multiculturalism) (poole, 1997). in multiculturism education, it is an idea, movement, educational reform, and educational process that aims to change educational institutions’ structure so that students who are members of various racial, ethnic and cultural groups will have the same opportunity to achieve academic achievement in school (suharto, 1996). a multicultural society consists of different cultural communities with all the benefits and slight differences in the world’s concept, systems of meaning, values, organizational forms, history, customs, and existing habits. a multicultural society is a term used to describe a person’s view or opinion regarding various life on earth, or a policy that emphasizes the acceptance of cultural diversity, as well as a variety of cultures, multiple values of society, systems, cultures, customs, and also their politics (parekh, 2001). the different conditions of society in terms of values, social, ethnicity, religion, and culture are very likely to affect expression activities, including music, which he does. expression in music is the expression of thoughts and feelings that include all the nuances of tempo, dynamics, and tone colors of the main elements of music in the grouping of phrases (phrases) manifested by a musical artist or singer conveyed to the listener. expressions must emerge from the heart. talking expressions in music are about the expression (facial expression) how sad, happy, disappointed, and anxious the face is, but there are other elements in the expression. the aspects of expression in the art of music consist of 1) tempo (song speed and song speed changes), 2) dynamic (volume level or loudness and changes in loudness), 3) tone color is a characteristic of sounds that sound various -sorts, which are produced by different sound source materials and those produced by how to produce different tones (kusuma, 2011). furthermore, jamalus (1988), expression in music is an expression of thoughts and feelings that include the tempo, dynamics, and tone colors of the main elements of music manifested by a musical artist or singer conveyed to the listener. in this way, harmonia: journal of arts research and education 20 (2) (2020): 242-251244 the expression element is an element of feeling contained in a language sentence or a musical sentence. the songwriter or singer expresses the feelings contained in a song. the expression can also be interpreted as inspiration, where through the attitude of the whole person, an artist, singers, or musicians make a song “visible.” posture, hand gestures, and facial expressions of a person or several performers in a musical presentation visually complement what they convey with sound. musical expressions are artistic, emotional expressions using tones, which are arranged according to certain rules, which are in the tradition of western art music; these rules have a scientific character tyasrinestu (2014). in other words, expression, including chanting prayers, will bring out various musical expression forms, considering that musical expression is an artistic, emotional expression using tone as a medium of expression. sholawat in the arabic dictionary is the plural form of the word as found in the munjid dictionary, صِٞادجاُصالحاُصالح which means prayer (ma’luf, 1986). the meaning of sholawat in terms of sholawat is perfect grace, the perfection of grace for his lover. it is called perfect grace because sholawat is not created, except for the prophet muhammad. sholawat also means prayer, blessing, glory, prosperity, and worship (abdillah, 1987). for muslims, the command to pray has actually been written in al-qur’an, namely in the al-ahzab verse: 56, which means “verily allah and his angels pray for the prophet. o you who believe, pray to the prophet and say greetings of respect to him.” regarding the command to pray, in the context of indonesian society, which consists of various cultures, the expression of sholawat will certainly be very diverse. in indonesian society, there are various kinds of sholawat known, which vary in terms of presentation, composition, lyrics, and calendar when viewed in musical terms, sholawat badar, sholawat alfiyah, sholawat tibbil qulub, and sholawat nariyah. several kinds of expressions of sholawat when viewed from the time of expression that can be found around the community, for example: before adzan, in prayer readings, the time between the adzan and iqomah, before prayer, etc., or also in other moments such as in songs, videos, either solo or group performance. in these types of expressions, when viewed musically, it can be said that there are those that are presented acapella by several music groups, accompanied by musical accompaniment, or just present alone with or without musical accompaniment. method this study is a descriptive qualitative study, with the primary approach being musicological. the target of the study is the musical expression of sholawat art in a multicultural society. data were collected using observation, document study and documentation, and interviews. data were analyzed using qualitative data analysis steps from miles and huberman. the technique of checking the validity of the data was carried out in two ways: data triangulation and sources review. furthermore, to analyze the sholawat art expression, it was carried out using several written sources related to composition theory, the science of harmony, and the form of music presentation. results and discussion in the tradition of some muslim communities, the activities of praying to the prophet can be translated into various activities, for example, in reading barjanji, sholawat before congregational prayers, mauludan, and even during other religious events. the community’s initial purpose in conducting sholawat event was solely to get the abundance of grace from allah swt. apart from expecting blessings and mercy from allah, the prayer program also reflects muslims’ love for the prophet muhammad saw. apart from being an expression of the love of the islamic ummah to the prophet muhammad saw which is conluthfi bin yahya et al., musical expression of sholawat art in multicultural societies: 245 tained in sharing forms of good activities in connection with a series of worship or memorials, the art of sholawat is also manifested in several ways, including 1) as part of tasyahud in prayer, 2) sholawat as a prayer after azan, 3) prayers as part of a series of readings in the jenazah prayer (mufidah & farida, 2020). variety of sholawat expressions based on the observations made, in the tradition of sholawat expression that develops especially in indonesian muslim communities, it can be found that the tradition of saying sholawat when viewed from the presence or absence of elemental content in a musical composition can be explained as follows. performed without songs: the expression of sholawat in this tradition is presented without the nuances of a musical composition (it does not contain elements of melody, bar, scale, form, harmony), presented gently. this expression of sholawat generally occurs in one part of the reading during the tasyahud in prayer, the part of the prayer reading during the funeral prayers. performed with a note (song): praying sholawat with the nuances of this song can generally be found at several moments of time, for example, a) before the call to prayer (adzan) is pronounced, b) after adzan, c) humming sholawat (sung at the time between the adzan and iqomah, usually while waiting for the arrival of the imams and congregation), d) part of an agenda at the commemoration of the islamic religious holidays, for example, the observance of the prophet’s birthday, reading the barzanji book in the month of the prophet muhammad’s birth, and e) music presentation, both in life and through recordings, both for business purposes and da’wah, as well as others. furthermore, based on the results of observations on a number of expressions of the art of sholawat both found in the recording media in the form of audio, video, or those found directly in the field, the various types of the sholawat can be categorized into several things as figure 1-4. based on a variety of scales sholawat performance based on the category of scales used in the expression is divided into three types: sholawat using the major scale, sholawat using a minor scale, and sholawat using the pelog pentatonic scale. an illustration of the art of sholawat using major, minor, and pentatonic scales can be illustrated in the following notation. based on lyric expression based on field observations, various expressions of prayer have been found. salawat is expressed in various forms from various sources such as audio recordings, videos, and those that occur directly in the field, for example, during the praising activities between the times of call to prayer and iqomah, the commemoration of religious holidays. the following are a form of expression. the expression of sholawat taking the same verse but manifested in different melodic forms. for example, the song of sholawat badar strung together with the song lir ilir and popularized by emha ainun nadjib (najeeb, 2016), and an anonymous artist (in album sholawat terbaru channel, 2018) and the song popularized by the wali band group (vidiolirik, 2009) are using different melody. the expression of sholawat manifested by taking melodies from songs which popular in society. the song is popular in society, for example: (1) sholawat badar, taking the melody from the song ya thoibah (tekno q, 2018), sulis ya thoybah (malaysia, 2014), and lir -ilir, popularized by the kyai kanjeng group led by emha ainun najib (najeeb, 2016); (2) the song ya rasulullah popularized by ustad jefri (musikindo, 2013b) takes the melody of the jablai song popularized by titi kamal (asmr, 2019); and (3) sholawat as-sa’adah, (nuralamsah, 2020) took part of the melody from the song tombo ati which was popularized by opick (musikindo, 2013a). in summary, the expressions of shoharmonia: journal of arts research and education 20 (2) (2020): 242-251246 lawat manifested by taking melodies from songs that are popular in society can be arranged in the following table 1. based on the similarity of melody and lyrics but different formats and genres based on the existing documents, various expressions of sholawat (sholawat badar) are also found with the same verse and melody but are presented in various different genres. some illustrations of this form can be seen from the following examples. sholawat badar with major scales in the tradition orchestra format (gamelan): indonesian embassy in abu dhabi. the video on https://www.youtube.com/ watch?v=7lepxs6lfvm shows the form and genre (wisnu, 2015). sholawat badar dish with harmonious minor scales in the pop genre by habib syeh. the video link on https://www. figure 1. the melody of sholawat badar in the major diatonic scale figure 2. the melody of sholawat badar in the original minor diatonic scale figure 3. the melody of sholawat badar in harmonious minor scales figure 4. the melody of sholawat badar with pentatonic scales (javanese pelog) luthfi bin yahya et al., musical expression of sholawat art in multicultural societies: 247 youtube.com/watch?v=wxekp6fiwyi shows this format and genre (berdakwah, 2019); and video zuhra-feat 41 project on the major scale on https://www.youtube. com/watch?v=fo4soolp6bi do (official, 2018) sholawat badar presentation in the dangdut genre by lisna et al on https://www.youtube.com/ watch?v=xrq29t8cpbk (pajampangan, 2020); and on https://www.youtube. com/watch?v=d5bm1pca9cg show the format and the genre. sholawat badar in the genre of reggae: fdj emily song on https://www. youtube.com/watch?v=whscu2pgskc shows the format and genre (ard management, 2019). sholawat badar in the kroncong genre: hadad alwi on https://www. youtube.com/watch?v=nk7-pohd6xu (baysem, 2015),: and chrisye (lu’q, 2012) on https://www.youtube.com/ watch?v=hgrd3kjhg1y (lu’q, 2012) sholawat badar in the genre of nasyid: nasida ria on https://www.youtube. com/watch?v=yux8hd1wtic shows this format and the genre of nasyid (najeeb, 2015). the description above can be summarized as in table 2. based on the same melody but different lyrics the expression of sholawat in the form of presenting the same melody but using different lyrics is actually an expression of sholawat where a composition of the song is sung repeatedly. still, in the first repetition, it is presented with different lyrics. serving like this can be in the form of a vocal group or individual presentation. one of the expressions of prayer in this form is the sholawat as-sa’adah performance by the neo sholawat-snada music group, which can be seen on the following youtube page (indonesia, 2020). in simple terms, the expressions of prayer in this category can be written as figure 5. from the lyric expression which uses arabic, then it is presented in the form of an expression with lyrics taken from various different languages, namely: a. indonesian language, b. english, c. mandarin, d. javanese language, e. minangkabau language, with pauses in the presentation as follows ya allah curahkanlah rakmat dan keselamatan / bagi nabi junjungan kami, muhammad / selamanya di dalam keabadian / kekekalan kerajaan-mu, ya allah / / (in indonesian language) ya allah, please shower your blessing and your salvation / to the prophet muhammad who we all adore / may he table 1. title of sholawat, the song title that its melody takes and the artist who performed it title of sholawat the song title that its melody takes and the artist who performed it sholawat badar lir-ilir (emha ainun najib), ya thoibah (nisa sabyan, sulis) ya rasulullah salamun ‘alaika jablay (titi kamal) sholawat as-sa’adah tombo ati (opick) table 2. variety of sholawat badr in different genres type of sholawat artist genre sholawat badar zuhra pop sholawat badar lisna dkk dangdut sholawat badar fdj enily family reggae sholawat badar hadad alwi keroncong sholawat badar chrisyealah pop-keroncong sholawat badar nasida ria nasyid harmonia: journal of arts research and education 20 (2) (2020): 242-251248 always is under your sovereignty / may he forever is under your loving care // (in english) ya allah kei wo men tien an heu keu lien / ken lau se muhammad yeh se aitha /hau hen chiu chai tien an the / allah teu keu lien wou men hau hen chiu / / (in mandarin language) sunda version: ya allah lungsur keun rahmat sinareng salamet / kanggo nabi junjungan kuring muhammad / salawasna aya dina kawilujengan / salawasna ditang tayungan ku allah / / (in sundanese) ya allah paringono rakmat lan keslametan / kagem nabi junjungan kulo muhammad / salamanipun wonten ing keselametan / salamanipun diwelasi gusti allah / / (in javanese) ya allah curahkan jo kasalamatan / taruntuak nabi piturui kami muhammad / sapanjang idui di dalam kabakaan / salamonyo dalam kasiah saying allah / / (in minangkabau language) based on the research results, it can be explained that there are various musical expressions that are found and developed in indonesian society. this means that in the context of a multicultural society such as indonesia, which is rich in various cultures, including a wide variety of artistic expressions, many musical expressions have developed in society. the variety of expressions that have developed in this society can be in the form of pitched prayers (can be categorized as musical expressions) and not pitched. there are also scales that use major and minor diatonic scales and pentatonic scales (pelog), as well as the use of various lyrics and different languages but with the same melody or in one type of musical composition, or different melodies and lyrics. the expression of sholawat that does not use songs is possible if the expression of the prayer is still related to a religious ritual so that the expression in this context is not sung. this means that the chanting of sholawat means that the expression of prayer at that time is an integral part of worship that is being carried out, so that there is a concern that chanting sholawat with songs will affect his specialty in prayer/worship. this is in line with qurrata a’yuni’s opinion that praying sholawat to the prophet contains two main prayers, namely prayers and blessings to the prophet (a’yuni, 2016). as a prayer, of course, in expressing it also according to the existing guidance, namely in a soft and hopeful voice, as recommended in the al quran surah al a’rof verse 55, which means praying to your lord with a humble self and a soft voice. allah does not like people who transcend boundaries (surah al a’raf: 55). furthermore, it is also emphasized that the ethics in performing prayer directly related to a prayer or worship activity is that praying to allah swt cannot be done carelessly. one of the good manners in praying to be granted by allah swt is to read sholawat (zaki, 2020). the use of different lyrics in the sholawat art using melodies in various scales, both diatonic major, minor, and pelog pentatonic scale is possible. this possibility is because of the touch and association figure 5. sholawat sa’adah (popularized by neo sholawat) luthfi bin yahya et al., musical expression of sholawat art in multicultural societies: 249 with the developing arts and often consumed by community members who use the prayer (sholawat) to associate with a music tradition; the music tradition they often associate with will form a musical tradition a person. in short, if someone often associates with music traditions with diatonic levels, either major or minor, then this tradition will appear when he expresses his music. in other words, the appearance of a person’s musical expression is influenced by his association with a musical tradition that he often encounters. this is in line with the opinion that each person/group has their way of expressing music to differentiate between one group and another (shaleha, 2019). likewise, the diversity of music cultures that exist and develop in indonesia is also very likely to even color and influence someone in expressing their music. in other words, the emergence of the diversity of musical expressions in the sholawatan art is thought to be due to the influence of the conditions of musical cultural diversity that develop in the multicultural society. music should also be understood in terms of meaning and value by playing music and listening in a cultural context (elliot, 1995). music is multicultural because, in the societies such as indonesia, all music types exist from various original cultural backgrounds, such as chinese, indian, and jazz, to baroque music (elliot, 1995). because music is everywhere and consists of various musical, cultural differences, music’s nature is multicultural or diverse. the art that is generally played by the muslim community cannot be separated from the influence of the multicultural society. musical compositions and musical expression that emerged was a lot of that comes from cross-genre and cross-culture where the music was coming. conclusion based on the results and discussion, it can be concluded that the musical expression of the sholawat art in a multicultural society gives rise to various musical expressions of sholawat art. some of the musical expressions of sholawat art appear the diversity of presentation in relation to the timing of the melody/scale, and language and musical genres. the variety of expressions of this sholawat art is possible. references album sholawat terbaru channel. 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(1986). al-munjid. dar elmassyriq. malaysia, n. s. r. (2014). sulis ya thoybah (official music video) youtube. youtube. https://www.youtube.com/ watch?v=qybei6hp6r8 mufidah, r. l., & farida, n. a. (2020). tradisi sholawat mansub habib sholeh bin muhsin al-hamid di tempeh tengah, lumajang. jurnal living hadis, 5(1), 59. muhammad bin a. bakrin ayub az-zur’i abu abdillah. (1987). jalaul afham fi fadhlis sholati ala muhammad khoirul anam (jalaul afham ibnu qoyyim) syamilah). (second edi). urubah. musik, c. (2020). sholawat badar versi alunan jawa mantepp youtube. youtube. https://www.youtube.com/ watch?v=pv6lnhdzl7a musikindo, a. (2013a). opick tombo ati | official video youtube. youtube. https://www.youtube.com/ watch?v=ul6ziwz7heq musikindo, a. (2013b). ustad jefri al buchori ya rasulullah | official lyric video youtube. youtube. https://www.youtube.com/ watch?v=qc_2g2hrrgg najeeb, m. a. 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(1997). national identity, multiculturalism, and aboriginal rights: luthfi bin yahya et al., musical expression of sholawat art in multicultural societies: 251 an australian perspective. canadian journal of philosophy, 26(1), 407–438. suharto. (1996). pendidikan multikultural melalui pendidikan seni musik. seminar nasional pendidikan seni, 163–170. tekno q. (2018). ya thoyoibah nisa sabyan ganbus (lirik) youtube. youtube. https://www.youtube.com/ watch?v=d9hagzyefy4 tutik, t., ulfa, u., & fikri, m. t. (2020). pujian setelah adzan untuk perkembangan kecerdasan spiritual anak. at-tuhfah: jurnal studi keislaman, 9(1), 56–65. vidiolirik. (2009). wali mari sholawat (lirik) youtube. youtube. h t t p s : / / w w w . y o u t u b e . c o m / watch?v=ivleghpbe8g wahyuni, u., & pujiyanti, r. (2019). makna konotatif syair qasidah salawat nabi pada naskah majelis dzikir dan salawat pondok rumi untuk majelis al-asyiqin jambi (kajian semantik). aksara: jurnal ilmiah pendidikan bahasa dan sastra indonesia, 3(1), 112–121. wisnu, s. (2015). salawat badar javanese gamelan music kbri abu dhabi [hd] youtube. youtube. h t t p s : / / w w w . y o u t u b e . c o m / watch?v=7lepxs6lfvm zaki, a. g. (2020). keutamaan sholawat kepada nabi saw, berikut hadis-hadis yang mendukungnya portal jember. portal jember. https://portaljember. pikiran-rakyat.com/khazanah/pr16641375/keutamaan-sholawat-kepada-nabi-saw-berikut-hadis-hadisyang-mendukungnya wahyuni, u. & rini p. (2019). makna konotatif syair qasidah salawat nabi pada naskah majelis dzikir dan salawat pondok rumi untuk majelis al-asyiqin jambi (kajian semantik). aksara: jurnal ilmiah pendidikan bahasa dan sastra indonesia, 3(1), 112-121 64 makna gaya bahasa syair lagu perjuangan indonesia pendekatan teks dalam konteks sejarah f.x. nugroho h.p. institut seni indonesia yogyakarta, jl. parangtritis km 6,5 yogyakarta. email: nugroho_hp@ymail.com abstrak this research was done by comparing the texts of the three types of poems, then interpreting the meanings of nationalism according to them. especially, the message of the language styles of the national song lyrics: indonesia raya, bagimu negeri, bhineka tunggal ika, pada pahlawan, and bangun pemudi pemuda, is analyzed symbolically or poetically in the context of nationalism. from this research, some conclusions or results can be drawn. first, colonialism produces nationalism. second, the poem tanah air expresses romantic nationalism which only admires the natural beauty of sumatra. third, the poem aku reveals realistic nationalism which is based on the real resistance of the indonesian people to expel the colonialist from indonesia and reach the independence of the indonesian people. fourth, the song lyrics: indonesia raya, bagimu negeri, bhineka tunggal ika, pada pahlawan, and bangun pemudi pemuda communicates human nationalism which asks the whole indonesian people to do the best for the welfare of the whole indonesian people and country. all language styles of the song lyrics are stuck on and signify the meaning of the human nationalism. meaning of figures of speech in indonesian heroic songs lyrics: tectual approach in view of historical context abstract this research was done by comparing the texts of the three types of poems, then interpreting the meanings of nationalism according to them. especially, the message of the language styles of the national song lyrics: indonesia raya, bagimu negeri, bhineka tunggal ika, pada pahlawan, and bangun pemudi pemuda, is analyzed symbolically or poetically in the context of nationalism. from this research, some conclusions or results can be drawn. first, colonialism produces nationalism. second, the poem tanah air expresses romantic nationalism which only admires the natural beauty of sumatra. third, the poem aku reveals realistic nationalism which is based on the real resistance of the indonesian people to expel the colonialist from indonesia and reach the independence of the indonesian people. fourth, the song lyrics: indonesia raya, bagimu negeri, bhineka tunggal ika, pada pahlawan, and bangun pemudi pemuda communicate human nationalism which asks the whole indonesian people to do the best for the welfare of the whole indonesian people and country. all language styles of the song lyrics are stuck on and signify the meaning of the human nationalism. keywords: makna gaya bahasa, nasionalisme, lagu perjuangan, pendekatan teks dan konteks f.x. nugroho h.p., makna gaya bahasa syair lagu perjuangan indonesia pendekatan teks dalam konteks sejarah 65 pendahuluan memaknai teks syair lagu perjuangan indonesia menuntut cara berpikir simbolik karena gaya bahasanya memang bersifat simbolik atau puitik. menurut jakobson. dalam bahasa puitik, yang penting bukan acuannya tetapi pesannya sehingga kata-kata atau gaya bahasanya dipilih/dirancang sedemikian rupa untuk mengemban/ mewakili pesannya secara tepat (efektif) dan indah (jakobson, dalam teeuw, 1984:73-77). misalnya, hubungan kata-kata ‘aku’ dan ‘ibuku’ dalam teks syair lagu indonesia raya yang merupakan, salah satu teks syair lagu perjuangan indonesia, adalah simbol hubungan cinta kasih antar sesama warga bangsa. dalam contoh ini, cara berpikir simboliknya terletak di mana ? cara berpikir simboliknya dapat dijelaskan sebagai berikut. ‘ibuku’ berarti ‘orang yang melahirkan aku’. orang yang melahirkan aku’ berarti ‘orang yang mempertaruhkan nyawanya atau jiwanya untuk aku’. ‘orang yang mempertaruhkan nyawanya atau jiwanya untuk aku’ berarti ‘orang yang mencintai aku’. dengan demikian, ‘aku wajib untuk mencintai ibuku’. ‘aku’ dan ‘ibuku’ adalah representasi dari para warga bangsa. hubungan para warga bangsa diharapkan seperti hubungan ‘aku’ dan ‘ibuku’ yang didasari oleh semangat cinta kasih untuk mencapai kesejahteraan hidup bangsa indonesia lahir dan batin. gaya bahasa seperti itu disebut gaya bahasa kiasan atau khususnya disebut metafora. menurut peneliti, pesan inilah yang ingin disampaikan oleh teks syair lagu indonesia raya kepada para warga bangsa melalui gaya bahasanya seperti itu. kemudian, ada beberapa sinonim dari kata ‘raya’ yaitu ‘besar . ‘agung’, ‘kuat’, dan ‘megah’, tetapi yang dipilih di antara kata-kata itu adalah kata ‘raya’ agar bunyi /a/ pada akhir kata ‘raya’ berekuivalensi dengan bunyi /a/ pada akhir kata ‘indonesia’ sehingga terdengar indah dan pesannya lebih terasa. gaya bahasa seperti itu dihamakan a-sonansi. namun demikian, agar lebih bermakna, pemaknaan gaya bahasa syair lagu perjuangan indonesia secara simbolik atau puitik itu harus dikaitkan dengan kesejarahan bangsa indonesia karena kesejarahan bangsa indonesia menjiwai gaya bahasa syair lagu perjuangan indonesia. menurut sejarahnya, bangsa indonesia pernah dijajah atau ditindas oleh bangsa kolonial selama kurang lebih tiga ratus lima puluh tahun. sebagai akibat dari penjajahan itu, di satu sisi, bangsa indonesia sangat menderita lahir dan batin karena tidak merasakan kasih sayang, tetapi di sisi lain, menjadi sadar akan identitasnya yaitu tekad dan semangat untuk bangkit dari penindasan dan penjajahan, untuk bersatu dari perpecahan dan perpisahan, dan untuk membangun manusia indonesia baru dengan peradaban dan kebudayaan yang baru pula. kesadaran akan identitas bangsa dan suasana kebatinan seperti inilah yang menjiwai gaya bahasa syair lagu perjuangan indonesia karena gaya bahasa syair lagu perjuangan indonesia memang dilahirkan atau diciptakan untuk kesadaran dan karena suasana seperti itu. dengan demikian, menurut peneliti, pemaknaan gaya bahasa syair lagu perjuangan indonesia secara simbolik atau puitik itu harus ditempatkan dalam kerangka kesadaran dan suasana seperti itu. misalnya, hubungan cinta kasih antar para warga bangsa yang dilambangkan melalui katakata ‘aku’ dan ‘ibuku’ dalam teks syair lagu indonesia raya, dapat dimaknai sebagai hubungan yang saling mengembangkan atau membangun sehingga seorang warga bangsa dapat menikmati harkat dan martabatnya sebagai manusia. kalau begitu, benarlah apa yang dikatakan oleh bronislaw malinowski bahaa mempelajari teks tidak terbatas pada kata-katanya saja, tetapi juga pada kanteks situasi maupun budayanya yang melingkupi teks itu sehingga pemaknaan teks itu akan menjadi lebih bermakna (malinowski, dalam djoharnurani, 1999:94). dalam kaitan ini, memang ada korelasi antara teks dan konteks. uraian di atas menunjukkan betapa pentingnya gaya bahasa syair lagu perjuangan indonesia bagi kemajuan atau pembangunan karakter bangsa karena ajaharmonia, volume 12, no.1 / juni 201266 rannya tentang jiwa dan semangat warga bangsa untuk mencintai bangsa, negara, dan tanah air indonesia demi kejayaan bangsa, negara, dan tanah air indonesia. ajaran seperti itu disebut nasionalisme. karena alasan itulah maka perlu dilakukan penelitian terhadap gaya bahasa syair lagu perjuangan indonesia untuk memahami apa sesungguhnya makna atau ajaran nasionalisme yang terkandung didalamnya. ini artinya, penelitian harus dilakukan melalui analisis simbolik atau puitik, dan historis, karena hanya dengan cara itu makna atau ajaran nasionalisme yang sesungguhnya dapat dipahami atau digali. ada sejumlah teks syair lagu perjuangan indonesia, misalnya: indonesia raya, bagimu negeri, bhineka tunggal ika, pada pahlawan, bangun pemudi pemuda, dan lain-lain. dalam tulisan ini. penulis mengambil satu teks syair lagu sebagai sampel yaitu teks syair lagu indonesia raya (syair pertama) saja. karena teks syair lagu indonesia raya dilahirkan atau diciptakan atas dasar sejarah perkembangan nasionalisme di nusantara, maka di bagian awal penelitian ini dipaparkan latar belakang sejarah kelahiran atau penciptaan teks syair lagu indonesia raya dalam konteks nasionalisme. kemudian, bagian berikutnya adalah perbandingan teks syair lagu indonesia raya karya w. r. supratman dengan teks puisi pujangga baru tanah air karya mohamad yamin, dan puisi angkatan 45 aku karya chairil anwar. perbandingan ini bertujuan untuk mengetahui persamaan/ perbedaan bentuk dan isi teks teks itu, karena syair lagu indonesia raya adalah juga puisi seperti puisi tanah air dan aku yang dilatarbelakangi oleh kolonialisme tetapi dengan reaksi yang berbeda-beda meskipun ada unsur unsur yang tetap dipertahankan atau dilanjutkan. perbandingan seperti itu juga membantu peneliti dalam memahami makna sesungguhnya nasionalisme. setelah itu, di bagian akhir, makna gaya bahasa syair lagu indonesia raya dianalisis secara simbolik atau puitik dalam konteks nasionalisme. metode penelitian ini menggunakan beberapa pendekatan antara lain bahasa (teks dan konteks), histori, musik, dan komposisi, dan sastra. bahan kajian diambil lagu-lagu perjuangan yaitu indonesia raya, bagimu negeri, bhineka tunggal ika, pada pahlawan, and bangun pemudi pemuda dan syair karya para sastrawan sebagai bahan pembanding. data yang terkumpul dianalisis secara deskriptif kualitatif dengan menggunakan pendekatan-pendekatan tersebut di atas. hasil dan pembahasan latar belakang penciptaan teks syair lagu yang pertama dianalisis teks syair lagu indonesia raya yang dilahirkan atau diciptakan pada abad ke-20, tepatnya pada tahun 1928 (siagian, 1975:11). bagi dunia ketiga, termasuk indonesia. abad itu dijuluki sebagai abad nasionalisme (kartodirdjo, 1999:ix). perkembangan nasionalisme merupakan reaksi terhadap imperialisme dan kolonialisme. pada abad itu, sebagai akibat dari penjajahan yang menimbulkan penderitaan lahir dan batin bagi bangsa indonesia, bangsa indonesia menyadari identitasnya sebagai bangsa yang harus bangkit dari penindasan dan penjajahan, harus, bersatu dari perpecahan dan perpisahan, dan harus membangun manusia indonesia baru dengan peradaban dan kebudayaan yang baru pula menuju indonesia yang sungguh sungguh merdeka lahir maupun batin. maka, muncullah berbagai gerakan nasionalisme yang memperjuangkan ideologi nasionalisme seperti itu. oleh karena itu, sudah semestinya apabila teks syair lagu indonesia raya dilahirkan atau diciptakan atas dasar semangat dan ideologi nasionalisme seperti itu sesuai dengan jiwa dan tuntutan zaman pada waktu itu. agar semangat dan ideology nasionalisme yang melatarbelakangi, mengilhami, dan menjiwai penciptaan atau kelahiran teks syair lagu indonesia raya itu lebih dimengerti, maka berikut ini akan dipaparf.x. nugroho h.p., makna gaya bahasa syair lagu perjuangan indonesia pendekatan teks dalam konteks sejarah 67 kan sejarah perkembangan nasionalisme di nusantara secara kronologis dari masa ke masa. sejarah perkembangan nasionalisme itu dapat dibagi menjadi dua tahap, yaitu pertama: tahap antara tahun 1908 sampai tahun 1926, dan kedua: tahap antara tahun 1926 sampai pertengahan abad ke-20. akhir abad ke-19 dan awal abad ke-20 ditandai oleh perubahan politik kolonial yang terkenal sebagai politik etis atau politik balas budi. politik etis ini didasarkan pada keyakinan bahwa sebagai akibat dari penjajahan, bangsa indonesia sangat dirugikan baik moril maupun materiil oleh bangsa kolonial, oleh karena itu sebagai balas budi, bangsa kolonial wajib untuk mensejahterakan bangsa indonesia. salah satu usaha untuk mensejahterakan bangsa indonesia adalah dengan memberi kesempatan kepada bangsa indonesia untuk mengikuti pendidikan di sekolah sekolah di dalam dan luar negeri. sebagai akibatnya, muncullah golongan inteligensia yang sangat berperan dalam perkembangan nasionalisme, seperti dijelaskan oleh kartodirdjo (1999: xi) berikut ini: adalah sangat wajar apabila dalam menghadapi situasi kolonial yang penuh dengan pengingkaran hak-hak manusia, antara lain ketidaksamaan, ketidakadilan, kontras antara yang berkedudukan istimewa dan yang tak berkedudukan, kontradiksi dan konflik, kaum cendekiawanlah yang dalam posisi serta berpengetahuan untuk mendefinisikan situasi, mengidentifikasi permasalahan, serta menyusun perumusan siasat dan cara bagaimana mengatasi situasi itu. golongan elit baru itulah yang mempunyai kemampuan untuk menentukan identitas mereka, semula yang negatif yang dipengaruhi oleh stigmastigma, baru kemudian lambat laun secara positif, yaitu identitas nasionalnya. golongan elit itulah yang kemudian mendirikan berbagai organisasi politik seperti boedi oetomo, partai serikat islam indonesia (psii), partai nasional indonesia (pni), dan lain-lain, yang bertujuan untuk mencapai kemerdekaan dan mengangkat harkat dan martabat bangsa indonesia sesizai dengan semangat dan ideologi nasionalisme itu. dengan demikian, keberadaan berbagai organisisasi politik ini sangat membantu perkembangan nasionalisme di indonesia. sejarah perkembangan nasionalisme pada tahap antara tahun 1926 sampai pertengahan abad ke-20 bersifat sangat krusial tetapi menentukan. kartodirdjo (1999: 158) berpendapat bahwa meskipun nasionalisme sebagai ideologi politik telah merata, namun proses integrasi antar organisasi menuntut politik serta diplomasi tinggi. keadaan seperti ini disebabkan oleh sifat pluralistik masyarakat indonesia sendiri. gerakan nasionalis secara potensial memuat kekuatan yang luar biasa, namun segera mengalami proliferasi, suatu gejala yang merupakan konsekuensi dari sifat pluralistik masyarakat indonesia itu. pada waktu itu, telah terjadi pertentangan pendapat antara golongan nasionalis yang dipelopori oleh partai nasional indonesia (pni), dan golongan agama yang dipelopori oleh partai serikat islam indonesia (psii). di satu pihak, golongan nasionalis menempatkan nasionalisme sebagai ideologi negara, dan di pihak lain, golongan agama memposisikan agama sebagai dasar negara. namun, berkat kearifan para bapak bangsa yang dipelopori oleh bung karno, bung hatta, mohammad natsir, dan lain-lain, pada waktu itu, perbedaan pendapat itu dapat diselesaikan dengan penuh bijaksana. sumpah pemuda yang dicetuskan bersama pada tanggal 28 oktober 1928, berbunyi (muljana, 1986: 95): kami putra dan putri indonesia mengaku bertumpah darah yang satu, tanah air indonesia kami putra dan putri indonesia mengaku berbangsa yang satu, bangsa indonesia kami putra dan putri indonesia menjunjung bahasa persatuan, bahasa indonesia sumpah pemuda itu merupakan bukti kearifan mereka. peristiwa ini sangat menentukan sejarah perkembangan harmonia, volume 12, no.1 / juni 201268 firdaus melayu di atas dunia ! itulah tanah yang kusayangi, sumatra namanya, yang kujunjungi. pada batasan, bukit barisan, memandang ke pantai, teluk permai; tampaklah air, air segala, itulah laut, samudra hindia. tampaklah ombak, gelombang pelbagai memecah ke pasir, lalu berderai, ‘wahai andalas, pulau sumatra, harumkan nama, selatan utara ! (yamin, dalam pradopo, 2003 : 60) aku kalau sampai waktuku ‘ku mau tak seorang ‘ kan merayu tidak juga kau tak perlu sedu sedan itu aku ini binatang jalang dari kumpulannya terbuang biar peluru menembus kulitku aku tetap meradang menerjang luka dan bisa kubawa berlari berlari hingga hilang pedih peri dan aku akan lebih tidak perduli aku mau hidup seribu tahun lagi (anwar, dalam pradopo, 2005 :169) indonesia raya (syair pertama) indonesia tanah airku tanah tumpah darahku disanalah aku berdiri jadi pandu ibuku indonesia, kebangsaanku bangsa dan tanah airku marilah kita berseru: indonesia bersatu nasionalisme selanjutnya, sebagaimana terbukti, menjelang proklamasi kemerdekaan negara kesatuan republik indonesia pada tanggal 17 agustus 1945, ada kesepakatan bersama. dalam kesepakatan itu, disetujui bahwa kata-kata dalam piagam jakarta yang berbunyi ‘ketuhanan dengan kewajiban menjalankan syariat islam bagi pemeluk-pemeluknya’ diubah menjadi ‘ketuhanan yang maha esa’. kata-kata ‘ketuhanan yang maha esa’ ini lalu menjadi sila pertama pancasila yang menjadi dasar negara kesatuan republik indonesia yang diproklamasikan pada tanggal 17 agustus 1945. dalam peristiwa sumpah pemuda dan proklamasi kemerdekaan negara kesatuan republik indonesia, dinyanyikan teks syair lagu indonesia raya. ini artinya, teks syair lagu indonesia raya merupakan simbol semangat dan ideologi nasionalisme sebagai reaksi terhadap kolonialisme. pada tahap inilah sejarah perkembangan nasionalisme mencapai puncaknya. perbandingan lirik lagu “indonesia raya” dengan teks puisi pujangga baru “tanah air”, dan puisi angkatan 45 “aku” sebelum dibandingkan, tiga teks itu diperlihatkan dulu sebagai berikut: tanah air pada batasan, bukit barisan, memandang aku, ke bawah memandang; tampak hutan rimba dan ngarai; lagi pun sawah, sungai yang permai; serta gerangan, lihatlah pula langit yang hijau bertukar warna oleh pucuk daun kelapa; itulah tanah, tanah airku, sumatra namanya, tumpah darahku. sesayup mata, hutan semata, bergunung bukit, lembah sedikit; jauh di sana, di sebelah situ, dipagari gunung satu persatu adalah gerangan sebuah surga, bukannya janat bumi kedua f.x. nugroho h.p., makna gaya bahasa syair lagu perjuangan indonesia pendekatan teks dalam konteks sejarah 69 ‘memandang ke pantai teluk permai’ (baris kedua, bait ketiga). ia masih berpikir dalam alam lief indie, yaitu alam pikiran impian indah yang hanya mengagungagungkan keindahan alam sumatra dan menguntungkan pihak penjajah saja. teks itu memberi kesan bahwa manusia indonesia kurang terdorong untuk berbuat sesuatu yang secara nyata berguna bagi kemajuan bangsa dan negara. peneliti menyebut nasionalisme yang digambarkan oleh yamin melalui teks itu sebagai nasionalisme yang pasif karena dengan nasionalisme semacam itu tidaklah mungkin dihasilkan manusia-manusia indonesia pembangun yang berkualitas. dengan demikian, dipandang dari perspektif kebangunan atau kebangkitan bangsa, teks puisi “tanah air” itu lemah. namun demikian, teks itu tetap mempunyai andil dalam perkembangan nasionalisme selanjutnya karena teks itu menggambarkan awal semangat dan ideologi nasionalisme di nusantara. berbeda dari yamin, chairil anwar mengungkapkan nasionalisme melalui puisinya aku secara realistik. ungkapan nasionalisme secara realistik itu terbaca lewat kata kata dalam teks puisi itu, seperti: ‘aku ini binatang jalang’, dari kumpulannya terbuang’, ‘biar peluru menembus kulitku’, dan ‘aku tetap meradang menerjang’ (baris kelima, keenam, ketujuh, dan kedelapan). dalam puisinya, sebetulnya anwar sedang menanggapi situasi kongkrit bangsa indonesia yang penuh dengan penderitaan lahir dan batin sebagai akibat dari penjajahan pada waktu itu. dalam menghadapi situasi seperti itu, bagi anwar, yang penting adalah memiliki kepribadian yang kuat dan nyata untuk mengusir penjajah dari bumi nusantara dan mencapai / memproklamasikan kemerdekaan bangsa indonesia, seperti kepribadian yang digambarkan oleh puisi aku itu. dengan kepribadian seperti itu, segala rintangan dan tantangan dapat diatasi sehingga mencapai tujuannya yaitu indonesia merdeka meskipun memakan banyak korban jiwa. korban itu tidak sia-sia, maka dari itu tidak perlu ditangisi. namun sehiduplah tanahku hiduplah negeriku bangsaku rakyatku semuanya ! bangunlah jiwanya bangunlah badannya untuk indonesia raya. indonesia raya, merdeka, merdeka tanahku negeriku yang kucinta, indonesia raya, merdeka, merdeka hiduplah indonesia raya, indonesia raya, merdeka, merdeka tanahku negeriku yang kucinta, indonesia raya, merdeka, merdeka hiduplah indonesia raya. (supratman, dalam siagian, 1975: 1112) puisi “tanah air” ditulis oleh mohamad yamin pada tahun 1920 (pradopo, 2003: 57) sedangkan puisi “aku” ditulis oleh chairil anwar pada tahun 1943 budiman, 2007: 99), sementara syair lagu “indonesia raya” diciptakan oleh w.r. supratman pada tahun 1928 (siagian, 1975: 11). tahun-tahun itu, sebagaimana dijelaskan dimuka, menunjukan adanya perkembangan semangat dan ideologi nasionalisme di nusantara. oleh karena itu, sudah barang tentu ketiga puisi itu dijiwai oleh semangat dan ideologi nasionalisme. namun demikian, pandangan tiga penyair itu terhadap semangat dan ideologi nasionalisme berbeda-beda. perbedaan pandangan mereka dapat ditafsirkan dan dijelaskan dibawah ini. bagi yamin, nasionalisme berarti ‘aku’ yang menyanjung, memuja, dan menjunjung tinggi keindahan alam sumatra sesuai dengan gayanya yang romantik dalam mengekspresikan nasionalisme. dalam gayanya yang romantik itu, yamin mendemonstratir perkataan-perkataan seperti: ‘lagi pun sawah, sungai yang permai’ (bar-is keempat, bait pertama), ‘firdaus melayu di atas dunia!’, (baris ketujuh, bait kedua), ‘sumatra namanya yang kujunjungi’ (baris kesembilan, bait kedua), harmonia, volume 12, no.1 / juni 201270 betulnya, puisi aku yang menggambarkan kepribadian seperti itu, juga ditujukan kepada setiap manusia indonesia agar memiliki kepribadian seperti itu dalam melaksanakan pembangunan bangsa selanjutnya meskipun memang dalam wujud atau implementasi yang berbeda. lain halnya dengan w.r. supratman, is mengekspresikan nasionalisme melalui syair lagu “indonesia raya” secara humanis. kata-kata dalam teks syair lagu itu yang menunjukkan cara tersebut adalah ‘indonesia tanah airku’, tanah tumpah darahku’, disanalah aku berdiri’, ‘jadi pandu ibuku’, ‘indonesia kebangsaanku’, ‘bangsa dan tanah airku’, ‘marilah kita berseru:’, dan ‘indonesia bersatu’ seluruh bait pertama dan kedua). bagi supratman, nasionalisme adalah ‘aku yang meng-kita’. ‘aku yang meng-kita’ menggambarkan suasana hubuungan antar para warga bangsa yang diliputi oleh semangat cinta kasih sedemikian rupa untuk kemaslahatan bangsa, negara, dan tanah air indonesia. gambaran itu ditunjukan secara khusus oleh hubungan kata-kata: ‘aku’, ‘ibuku’, dan’kita’ dalam teks syair lagu itu. penjelasan lebih lanjut mengenai teks syair lagu “indonesia raya” diberikan di bagian lain penelitian ini. analisis makna gaya bahasa syair lagu “indonesia raya” secara simbolik/ puitik dalam konteks nasionalisme pemahaman semantik syair pertama indonesia raya indonesia tanah airku tanah tumpah darahku disanalah aku berdiri jadi pandu ibuku indonesia kebangsaanku bangsa dan tanah airku marilah kita berseru: indonesia bersatu hiduplah tanahku hiduplah negeriku bangsaku, rakyatku semuanya bangunlah jiwanya bangunlah badannya untuk indonesia raya indonesia raya, merdeka, merdeka tanahku negeriku yang kucinta, indonesia raya, merdeka, merdeka hiduplah indonesia raya, indonesia raya, merdeka, merdeka tanahku negeriku yang kucinta, indonesia raya, merdeka, merdeka hiduplah indonesia raya (siagian, 1975: 11-12) pemahaman refleksif syair pertama “indonesia raya”: indonesia (strategis maritim, sangat majemuk: banyak agama, golongan, suku bangsa, ras, budaya, dan bahasa), tanah airku; tanah tumpah darahku (ada makna hubungan batin antara aku dengan indonesia sebagai tanah air / tanah tumpah darahku), di sanalah (di negara indonesia), aku (setiap / seluruh warga bangsa / tidak hanya w.r. supratman saja) berdiri (ada makna aktif, serius, dan sungguh sungguh) jadi (menjadi) pandu ibuku (ada makna cinta kasih, kepedulian, dan pengorbanan terhadap bangsa, negara, dan tanah air indonesia). indonesia kebangsaanku; bangsa dan tanah airku; marilah kita berseru; indonesia bersatu (ada makna senasib dan sepenanggungan bagi seluruh warga bangsa sehingga seluruh warga bangsa diajak untuk bersatu mencintai bangsa, negara, dan tanah air indonesia) hiduplah tanahku; hiduplah negeriku; bangsaku, rakyatku; semuanya; bangunlah jiwanya; bangunlah badannya; untuk indonesia raya (tersirat makna bahwa seluruh warga bangsa diharapkan berbuat yang terbaik bagi bangsa, negara, dan tanah air indonesia sehingga bangsa, negara, dan tanah air indonesia menjadi besar dan kuat), indonesia raya, merdeka, merdeka; tanahku negeriku yang kucinta; indonesia raya, f.x. nugroho h.p., makna gaya bahasa syair lagu perjuangan indonesia pendekatan teks dalam konteks sejarah 71 merdeka, merdeka; hiduplah indonesia raya; indonesia raya, merdeka, merdeka; tanahku negeriku yang kucinta; indonesia raya, merdeka, merdeka; hiduplah indonesia raya (ada makna kondisional yaitu bahwa apabila seluruh warga bangsa mencintai bangsa, negara, dan tanah air indonesia, maka seluruh warga bangsa akan terbebas dari perhambaan, perbudakan, dan penjajahan dalam segala bentuk dan manifestasinya sehingga bangsa, negara, dan tanah air indonesia akan mencapai kejayaannya). pemahaman metaforis syair pertama : “indonesia raya” ada seorang anak yang berumur delapan tahun, berbakat dan berminat dibidang fisika dan matematika, berkepribadian baik, dan bercita-cita ingin menjadi ahli pembuat kapal laut. ia berasal dari keluarga miskin, namun demikian orang tuanya tetap mendorongnya untuk meraih cita-citanya dengan mengatakan bahwa ia harus tekun belajar untuk meraih cita-citanya itu. ia menuruti nasihat orang tuanya sehingga di akhir jenjang pendidikan sekolah dasar ia dapat lulus dengan prestasi gemilang. tetapi karena ketiadaan biaya, ia nyaris tidak dapat melanjutkan studinya dijenjang pendidikan selanjutnya. namun, untunglah berkat perjuangan anggota dewan perwakilan rakyat daerah, pemerintah daerah bersama dengan dewan perwakilan rakyat daerah berhasil membuat dan mengesahkan peraturan daerah yang menjamin semua biaya pendidikan sampai jenjang pendidikan tertinggi di luar negeri bagi anak keluarga miskin yang berprestasi, sehingga ia dapat melanjutkan studinya dan bahkan akhirnya ia dapat meraih gelar doktor di bidang teknik perkapalan laut dari luar negeri. kemudian, ia kembali ke indonesia, dan mengabdikan diri dan ilmunya demi kemajuan dan pengembangan dunia kelautan dan perkapalan di indonesia. pemenuhan kebutuhan ahli di bidang teknik perkapalan laut ini sangat tepat bagi indonesia karena indonesia adalah negara bahari atau kepulauan yang membutuhkan dukungan sarana dan prasarana yang berkaitan dengan laut dan kapal laut. tanpa uluran tangan dan kepedulian dari semua pihak, atau dengan kata lain, tanpa mereka saling mencintai dan dicintai, tidaklah mungkin anak itu meraih prestasi, tidaklah mungkin bangsa dan negara indonesia menjadi bangsa dan negara yang besar dan kuat. semangat nasionalisme seperti itu diharapkan dapat ditiru oleh daerah-daerah lain di seluruh indonesia. itulah sebetulnya makna sesungguhnya nasionalisme bagi bangsa dan negara indonesia. menjelang pemilihan umum, banyak organisasi politik berlomba-lomba berkampanye untuk mendapatkan suara terbanyak sehingga dapat meraih kemenangan dalam pemilihan umum nanti. tetapi dalam kampanye itu, organisasi organisasi politik tetap bertindak etis, tidak saling menghasut atau menghujat, mendidik dan tidak menipu rakyat, dan bertanggungjawab dalam pernaparan programnya sehingga kampanye berjalan dengan tertib, aman, lancar, dan simpatik. demikian juga, pada waktu pemungutan dan penghitungan suara, acara berlangsung seperti yang diharapkan karena setiap peserta, panitia, dan petugas keamanan pemilihan umum menunaikan tugasnya masing-masing dengan penuh rasa tanggung jawab. kemudian, berdasarkan hasil penghitungan suara yang fair, apabila nanti ternyata beberapa organisasi politik mengalami kekalahan, organisasi politik itu tidak memboikot, tetapi tetap sportif mengakui kekalahannya dan mendukung sepenuhnya pemerintahan baru hasil pemilihan umum dengan penuh rasa tanggung jawab sampai diadakan pemilihan umum lagi lima tahun mendatang. sikap seperti itu didasari oleh keyakinan bahwa pada hakikatnya kemenangan sebuah organisasi politik adalah sebetulnya juga kemenangan seluruh bangsa indonesia. sikap dan suasana seperti itu sesuai dengan semangat hubungan ‘aku’ dan ‘ibuku’ yang penuh dengan kedamaian dan cinta kasih sehingga persatuan dan kesatuan bangsa sebagaimana diamanatkan oleh teks syair lagu itu, dapat tetap terjaga unharmonia, volume 12, no.1 / juni 201272 tuk terus melaksanakan pembangunan bangsa dan negara indonesia. apa makna menjaga dan memelihara tanah airku? siapa saja yang bertanggungjawab terhadap penjagaan dan pemeliharaan tanah airku? penjagaan dan pemeliharaan tanah airku dilakukan demi keutuhan, keindahan, dan kelestarian lmgkungan alam indonesia, dan merupakan tanggung jawab seluruh warga bangsa .dan negara. sebagai contoh, apabila ada sebuah negara lain yang mengklaim bahwa sebuah pulau terluar dari indonesia adalah miliknya, padahal berdasarkan peranjian internasional dan pemetaan indonesia yang dilakukan oleh lembaga topografi nasional, pulau itu jelas milik indonesia, maka negara harus mengirimkan pasukan ke pulau itu untuk menjaga dan mempertahankannya agar tetap milik indonesia. bahkan, apabila negara atau tanah air dalam keadaan bahaya karena diserang oleh negara lain, maka seluruh warga bangsa wajib membela negara dan tanah air. kemudian, untuk menjaga keindahan dan kelestarian lingkungan alam, pemerintah bersama dengan dewan perwakilan rakyat membuat dan mengesahkan undang-undang yang memberi sanksi atau hukuman sangat berat bagi siapa saja atau lembaga apa saja yang merusak hutan lindung atau konservasi. dari pihak pengadilan pun, hakim betul-betul menegakkan supremasi hukum. dengan demikian, maka para perusak lingkungan hidup akan menjadi jera, dan ekosistem akan tetap terjaga. seorang warga bangsa pun juga harus mempunyai kesadaran terhadap keindahan dan kelestarian lingkungan, misalnya, dengan menanam pohon di halaman rumah, menjaga kebersihan dan mengatur rumah. semua yang dilakukan oleh seluruh warga bangsa dan negara itu menunjukkan kecintaan terhadap tanah air indonesia sebagaimana yang diamanatkan oleh teks syair lagu itu. gaya bahasa syair lagu indonesia raya semua gaya bahasa dalam syair lagu indonesia raya melekat pada dan menandai makna nasionalisme itu. gaya bahasa gaya bahasa dalam syair lagu adonesia raya dijelaskan dibawah ini: simbol / simile / metafora / personifikasi pada prinsipnya, simbol, simile, metafora, dan personifikasi adalah gaya bahasa kiasan. dalam gaya bahasa itu, sesuatu diumpamakan seperti sesuatu yang lain. kutipan berikut ini akan menjelaskan gaya bahasa itu. bait pertama dan kedua : indonesia tanah airku tanah tumpah darahku disanalah aku berdiri jadi pandu ibuku indonesia kebangsaanku bangsa dan tanah airku marilah kita berseru; indonesia bersatu bait pertama, menjelaskan hubungan ‘aku’ dengan ‘tanah airku’. ‘tanah airku’ menyediakan bahan makanan dan minuman untuk menghidupi ‘aku’. ini berarti ‘tanah airku’ mencintai ‘aku’. ‘ibuku’ mempersembahkan hidupnya untuk ‘aku’. ini berarti ‘ibuku’ mencintai ‘aku’. jadi ‘tanah airku’ identik dengan ‘ibuku’. kalau begitu, maka ‘aku’ wajib untuk mencintai ‘tanah airku’. tanah airku’ yang diidentikkan dengan ‘ibuku’ disebut juga gaya bahasa personifikasi yang menggambarkan seolah-olah ‘tanah airku’ seperti manusia yaitu ‘ibuku’. bait kedua, menjelaskan hubungan ‘aku’ dengan ‘bangsaku’. ‘bangsaku’, ‘guruku’ dan ‘sahabatku’ misalnya, mencerdaskan/ membimbing/menolong ‘aku’. ini berarti ‘bangsaku’ mencintai ‘aku’. ‘ibuku’ mempersembahkan hidupnya untuk ‘aku’. ini berarti ‘ibuku’ mencintai ‘aku’. jadi, ‘bangsaku’ identik dengan ‘ibuku’. kalau begitu, maka ‘aku’ wajib untuk mencintai ‘bangsaku’. sinekdoke pars pro toto dan sinekdoke totum pro parte jenis pertama adalah gaya bahasa yang mempergunakan sebagian dari sesuatu hal untuk menyatakan keseluruhan, f.x. nugroho h.p., makna gaya bahasa syair lagu perjuangan indonesia pendekatan teks dalam konteks sejarah 73 sedangkan jenis kedua adalah gaya bahasa yang mempergunakan keseluruhan untuk menyatakan sebagian dari sesuatu hal. misalnya, dalam syair lagu itu, katakata ‘aku’, dan ‘-ku’ berarti setiap warga bangsa (sinekdoke pars pro toto), dan kata ‘kita’ berarti orang perorang warga bangsa (sinekdoke totum pro parte) epizeuksis epizeuksis adalah repetisi yang bersifat langsung, artinya suku kata, kata, atau frasa yang dipentingkan diulang beberapa kali berturut-turut, seperti dalam syair lagu indonesia raya berikut ini. katakata yang digarisbawahi adalah epizeuksis. baris pertama, ketiga, kelima, dan ketujuh/ bait kelima indonesia raya, merdeka, merdeka anafora anafora ialah gaya bahasa pengulangan kata, atau frasa pertama pada tiap baris atau kalimat berikutnya, seperti dalam syair lagu indonesia raya berikut ini. kata-kata yang digarisbawahi adalah anafora. baris pertama dan kedua / bait ketiga: hiduplah tanahku hiduplah negeriku asonansi asonansi ialah gaya bahasa perulangan bunyi vokal yang sama. gaya bahasa ini biasanya digunakan dalam puisi, untuk memperoleh efek penekanan atau keindahan. gaya bahasa ini dapat dijumpai dalam seluruh syair lagu indonesia raya, seperti berikut ini. bunyi vokal yang digarisbawahi adalah asonansi. bait kelima: indonesia raya, merdeka, merdeka tanahku negeriku yang kucinta indonesia raya, merdeka, merdeka hiduplah indonesia raya indonesia raya, merdeka, merdeka tanahku negeriku yang kucinta indonesia raya, merdeka, merdeka hiduplah indonesia raya penutup dari penelitian ini, dapat ditarik beberapa kesimpulan sebagai berikut: kolonialisme menghasilkan nasionalisme yaitu kesadaran bangsa indonesia untuk membangun bangsa, negara, dan tanah air indonesia. kesadaran nasionalisme ini menjiwai teks syair lagu perjuangan indonesia. sebagai puisi balai pustaka pantun “pulau pandan” dan syair “ken tambuhan” masih memegang teguh adat sehingga tidak mendapat pengaruh nasionalisme. dua puisi itu berisi nasihat atau ajaran adat. sistem pembaitan, pembagian baris, dan persajakan akhirnya pun masih sangat ketat. puisi pujangga baru tanah air menganut nasionalisme romantik yang hanya membanggakan keindahan alam sumatra. puisi itu masih tetap melanjutkan ciri ciri puisi balai pustaka seperti pembaitan yang teratur, dan persajakan akhir yang berpola teratur. puisi angkatan 45 “aku” mengekspresikan nasionalisme realistik yang mendasarkan pada kepribadian bangsa yang kuat dan nyata untuk mengusir penjajah dari bumi nusantara, dan mencapai kemerdekaan bangsa. puisi itu masih tetap mempertahankan sistem persajakan akhir yang mirip dengan sistem persajakan akhir puisi balai pustaka, pujangga baru, dan syair lagu perjuangan indonesia. syair lagu perjuangan indonesia serti “indonesia raya” mengandung makna nasionalisme humanis yang mengajak seluruh warga bangsa untuk berbuat.yang terbaik demi kemaslahatan bangsa, negara, dan tanah air indonesia. syair lagu itu masih menggunakan sistem persajakan akhir yang mirip dengan sistem persajakan akhir puisi balai pustaka, pujangga baru, dan angkatan 45. semua gaya bahasa dalam syair lagu perjuangan indonesia melekat pada dan menandai makna nasionalisme humanis itu. harmonia, volume 12, no.1 / juni 201274 daftar pustaka buehler, justus. 1955. philosophical writings of peirce, dover publications, inc, new york. budiman, arief. 2007. chairil anwar sebuah pertemuan, penerbit wacana bangsa, tegal. budiman, manneke. 1990, “jati diri budaya dalam proses nation-building di indonesia mengubah kendala menjadi aset” dalam wacaxa, vol.1, no.l. djoharnurani, sri. oktober 1999. “teks dan konteks: sumber penciptaan” dalam seni, jurnal pengetahuan dan penciptaan seni, vii/02, bp isi yogyakarta, yogyakarta. kartodirdjo, sartono. 1993. pendekatan ilmu sosial dalam metodologi sejarah, penerbit pt gramedia pustaka utama, jakarta. _____________. 1999. pengantar sejarah indonesia baru: sejarah pergerakan nasional, penerbit pt gramedia pustaka utama, jakarta. keraf, gorys. 2000. diksi dan gaya bahasa, penerbit pt gramedia pustaka utama. jakarta. marianto. m. dwi. februari 2007, “relasi luar-dalam antara seni dan metafora” dalam surya seni, jurnal penciptaan dan pengkajian seni, vol.3 no. l, program pascasarjana isi yogyakarta, yogyakarta. peursen, c.a. van. 1976. strategi kebudayaan, penerbit kanisius, yogyakarta. pradopo, rachmat djoko. 2003. beberapa teori sastra, metode kritik, dan penerapannya, penerbit pustaka pelajar, yogyakarta. ______________. 2005. pengkajian puisi, gajah mada university press. yogyakarta. siagian, pardosi. 1975. indonesia yang kucinta, penyebar musik indonesia, yogyakarta. sumaryono e. 1999. hermeneutik, penerbit kanisius, yogyakarta. teeuw a. 1984. sastra dan ilmu sastra, pengantar teori sastra, pt dunia pustaka jaya, jakarta. wardaya, baskara t. november-desember 2002. “nasionalis humanis universal” dalam basis, majalah kebudayaan umum, nomor 11-12 tahun ke 51 november desember 2002, majalah basis, yogyakarta. 179 conservation strategy in preserving the local image existence of wayang topeng endang wara suprihatin, dyah pratamawati department of arts, drama, dance and music, faculty languages and arts, universitas negeri malang, indonesia submitted: may 23, 2019. revised: november 4, 2019. accepted: december 28, 2019 abstract this research studies the strategic conservation efforts to preserve the local image of wayang topeng or mask puppet as a traditional art performance. ten years into the 21st century shows a great effort from the artists who joined the wayang topeng malang dance studio, asmorobangun led by tri handaya (43), in preserving its existence. this research studies the strategy carried out in preserving the association’s existence so it can continue, not only wayang topeng as traditional art performance but also as the professions of its artist. the efforts carried out shows an action which is systematic and modern. therefore, the researcher is interested in exploring tri handaya’s effort in preserving wayang topeng communities to be able to hold monthly regular performances, establishing cooperation with the government and private sector, and serving various training for general public. research method used was qualitative approach of single instrumental case study, which is sanggar wayang topeng asmorobangun. data was collected with the use of interview, observation, and documentation. data verification to establish validity was using source and method triangulation. research results show that there are three strategic aspects in preserving local image: (1) following the tradition patterns of its predecessors, (2) conducting training for young generations, (3) designing an extensive promotional media and building relationships with stakeholders. keywords: strategy; conservation; wayang topeng; sanggar asmorobangun how to cite: suprihatin, e. w., & pratamawati, d. (2019). conservation strategy in preserving the local image existence of wayang topeng. harmonia: journal of arts research and education, 19(2), 179-184. harmonia: journal of arts research and education 19 (2) (2019), 179-184 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i2.24005 ryteller and conducting dialogue, because all anak wayang or characters do not have their own dialogue, except for patrajaya who use half-face mask. (pratamawati, 2016) found that the staging concept follows a predetermined structure and cannot be changed in accordance with the wishes of the puppeteer. in the past, wayang topeng malang grew and spread in several places in malang regency, namely: dampit, precet, wajak, ngajum, jatiguwi, senggreng, puintroduction wayang topeng is a mask dance performance featuring a story or dance drama with masked actors (murgiyanto, 1980). the traditional art of wayang topeng malang in the 70s decade was once an icon of malang city. this art has the characteristics of 1) carrying the panji story, 2) all dancers (anak wayang) wear masks in accordance with the play being played, 3) the puppeteer is played by a man, serving as the stocorresponding author: e-mail: e.w.suprihatin.fs@um.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 19 (2) (2019): 179-184180 cangsanga, jabung and kedungmangga. but now only 4 groups of wayang topeng performers are still active and 3 of them are experiencing cutback and now 4 (four) wayang topeng groups remain (hidajat, 2008). the research subject is wayang topeng malang studio organization in kedungmonggo. rationale behind conducting the research is that the studio has been consistently maintaining and developing wayang topeng malang, both in its performance and also visual mask formed as souvenir products and properties for mask dance besides some accomplishments which have been achieved, and many domestic and foreign tourists who come to see the show, learn to dance or learn to sculpt or to paint a mask which make this studio popular. in addition, asmorobangun studio has a unique character in the presentation of the dance drama, as well as the conservation efforts are undertaken. research by pratamawati (2017), found that for certain interests such as bersih desa or other celebrations, wayang topeng performance is still held conventionally all night long, so that the audience has to prepare to enjoy the whole night show. however, for the sake of tourism, a short presentation is made with a duration of 1-2 hours. as for scientific development related to the school curriculum, several character dances, namely, grebeg sabrang, gunungsari, sekarsari, and patih are packaged in a short duration of 4-6 minutes as rahayuningtyas wida mentioned in her thesis (rahayuningtyas, 2012). the term conservation in this research means an ongoing effort to maintain, develop, manage, and protect the sanggar asmorobangun organization continuously to avoid extinction and preserve traditions. generally, suwandono (sedyawati, 1984) states that: some strategies implemented to maintain the existence of traditional art may be directed to the process of traditional elements which are given a new touch according to the level of its development period without reducing or eliminating the values of tradition and or dissemination so that it can be enjoyed by the wider community environment. the conservation strategy in maintaining the local image of the wayang topeng is a traditional performing art is carried out over the last ten years and shows that there is a strong effort from the artists who are members of the asmorobangun dance group led by tri handaya (43 years). the flow of globalization which is considerably fast becoming a threat to the existence of local culture and local traditional arts can inevitably experience the erosion of cultural values because it is a risk of indonesia’s position as part of the global community. globalization is a necessity that cannot be prevented, but its effects that can kill local culture should not be left alone. local culture needs to strengthen its resilience in the face of globalization of foreign cultures. powerlessness in dealing with the change of culture is tantamount to letting go of the local image. globalization must be addressed wisely as a positive result of modernization that pushes people forward. however, local culture actors must not be careless and complacent because the era of openness and freedom also has a negative influence that will damage the nation’s culture. conservation of traditional performing arts does require hard work cooperatively between artists, the community, the government, and the potential of the art itself. conservation of art performance organizations generally includes preservation and protection. in the context of preservation, some aspects that can be improved are maintenance, rescue, research, excavation, and recording. while in relation to protection, various ways can be done, such as development, and dissemination. the development being discussed in this study is the management of the dance’s main and supported elements by giving a new touch (approach) adjusted to the interests and tastes of the present society without removing the main content of the traditional elements. development can also be interpreted as dissemination, endang wara suprihatin, dyah pratamawati, conservation strategy in preserving the lo181 the intention which makes the art enjoyable and able to be studied by the wider community. this is in line with suwandono’s statement (1984). making it into the content of local curriculum materials can also be included in the dissemination category; doing a creation so that it looks different from the original but with the characteristics that can be categorized as dissemination including creating it as a cultural tourism show. conservation strategies carried out in the studio include maintenance, guidance, management, and protection. maintenance is carried out by maintaining the sustainability of the studio activities, both in the field of performance and also arts (making the malang mask). the aspect of development is carried out by the government and related institution, in this case is universitas negeri malang, by frequently involving the studio in various events and also incorporating malang mask material as a compulsory local content that must be studied by students of dance and music education study program in all study program concentrations (dance, music, drama). the management of the studio is under one family management, which is currently led by handoyo as the heir to the descendants of karimun. in keeping the studio’s presence, protected from global trend that lead to the creation of art, the way to do this is to routinely organize various dance training and mask-making training, both on the basis of established programs and also at the request of stakeholders. method the research method used is qualitative with a holistic single-case study (yin, 1996). the reasons for choosing this research method are: 1) the subject under study is an important activity; 2) it is unique; 3) it is the disclosure of an event carried out by an organized group of people (yin, 1996). this study intends to track phenomenal events and cannot be manipulated because the data obtained are from real events and not experiments. data collection techniques in this study used multiple sources (yin, 1996) which is: 1) interview, 2) observation, and 3) documentation study. researchers conducted in-depth interviews with informants who are considered to be able to provide answers to what and how asmorobangun studio organization carried out the efforts in conservation strategies. the selection of informants is carried out using snowball sampling techniques. in this case, one of the key informants was tri handoyo as the heir of the kedungmonggo wayang topeng studio which has consistently managed and developed the studio until now. other interviewees are wida rahayuningtyas (lecturer and also the head of the art and design department) as well as a researcher who consistently developed research types in the development of malang mask-based learning media, roby hidajat (head of the master degree teacher study program and lecturer) as a qualitative researcher of malang mask art and also researcher, myself, as an active actor who every year (since 2010 till now) cooperates in carrying out various events based on malang mask and is consistent with the research of the management of the tradition studio. the research procedures conducted in this study are: 1) conducting interviews with key informants or people in the form of structured or unstructured questions carried out in-depth; 2) observing an active role; 3) conducting documentation study from several previous research results related to wayang topeng malang. data verification is done through source triangulation and technical triangulation, while data analysis uses a braided analysis model where the data reduction component, data presentation, and conclusion are verified and carried out continuously (sutopo, 2006). result and discussion performing arts in indonesia are very diverse and each has its own uniqueness in accordance with the place and characharmonia: journal of arts research and education 19 (2) (2019): 179-184182 teristics of local communities. therefore, directly or indirectly it will affect the form and genre of the performance art itself. in addition, the existence of colleges with arts majors are spread in several regions of indonesia also made a major contribution to the strengthening of the institutionalization of traditional performance arts, academically it is not only in the undergraduate level but also up to the doctoral level. the fact mentioned is a factor that should be able to make the traditional performing arts still exist in indonesia. however, in reality, we encounter some extinct traditional performing arts due to several factors, for example, the change from a closed society to a more open society, from homogeneous values to pluralism, the existence of globalization and international means of transportation that removes cultural boundaries. likewise, with the existence of a more sophisticated communication technology system, the community is finally open to many alternative entertainment choices that are felt to be more in line with the views and tastes of the community. this has caused more traditional performance arts to be excluded, and one of the traditional performance arts in malang is wayang topeng malang. initially, almost every sub-district in the malang area had a wayang topeng studio, but now only four are active. one of them is the asmorobangun studio located in kedungmangga hamlet, malang regency. formerly led by (now deceased) mr. karimun, but now led by his grandson named tri handoyo. tri handoyo is a young figure who is very keen to preserve the wayang topeng existence in his village, even though academically he is a graduate in communication degree. under his leadership, various things were done for the development of the show, the development of the mask product, and other things. all the efforts were carried out as a conservation strategy in maintaining the existence of local images. from the results of the research, several things related to the strategy carried out by the sanggar asmorobangun organization in maintaining its existence are 1) following the traditional pattern of its predecessors; 2) conducting training for young people; 3) designing promotional media and extending relationships with stakeholders. following the tradition pattern of its predecessors in connection with efforts to preserve traditional art, sanggar asmorobangun still maintains the presentations with the conventional concept and supporting performances namely: the stage concept is still the same as malang style performances or malang style traditions where the initial presentation always starts with the opening music or introduction, commonly called as giro, as stated by (supriyanto & pramono, 1997), that the structure of the wayang topeng presentation follows a certain pattern. after the giro, it proceeds to the opening dance, and continued with the core presentation that is divided into several scenes (jejer). structurally, the order of presentation is also still following the traditional pattern. the duration of presentation time for an act takes an average of 9 hours, from 20.00 to 05.00 (morning). it’s just that the presentation of the whole play is not always done every time, but only at certain times, for example when being asked to play at a celebration and other events. supporters namely the role of the puppeteer (dalang), the role of puppets (anak wayang), the role of panjak (gamelan player), the role of punokawan, is still the same as when it was led by the founding father mr. karimun. the role of the puppeteer in the wayang topeng performance in the studio is still the same which is as the narrator and director whose task is to attract the audience’s attention through his duties in conveying janturan, pocapan, and ontowecono as the description stated by (supriyanto & pramono, 1997) the venue is in the form of proscenium, but sometimes also in the open field, usually when a village celebrates annual endang wara suprihatin, dyah pratamawati, conservation strategy in preserving the lo183 ceremony, like, bersih desa, or a birthday of the studio is held once a year, then the performance is held in two places, namely in the studio and in the punden (tomb). the wayang topeng show was held in studio, while in the punden only a few snippets were shown, namely the ragil kuning dance, gunungsari, demang, and patrajaya. after dancing, the figures were paraded around the hamlet. this is in line with what was conveyed by sal murgiyanto and a.m. munardi that such an act is believed to make the predecessors or pepunden of the village, who was also a dancer, happy and well-pleased so that he will maintain the safety and prosperity of the village and all its citizens (murgiyanto, 1980). accompaniment music, in the form of a set of musical instruments with laras pelog or commonly referred to as the laras sendaren. also, the structure of the scene and the gending it plays still follows the old pattern, starting from the giro and so on. to maintain the quality of gamelan playing skills, routine training is carried out every friday and sunday from 20.00 to 22.00. conducting training for young people the younger generation needs creative space because they have very high talent and desire to represent themselves, but the space to grow is often not comparable to what is called human resources, meaning that the required places to perform the arts are less than the human resources. the young generation should not only enjoy the show but also know the process of the performance arts. handoyo as the successor and manager of the studio conducts dance training activities for sons and daughters who want to be able to do mask dance. the training activities are carried out routinely every sunday starting at 9:00 to 12.00, and participation is free of charge. when a performance activity is near, the training frequency is increased. the training was given not only to improve skills but also as an effort to equip human resources in the team to make maximum contributions in accordance with their position in the team. what was done, is in line with the recommendations of sunyoto danang and susanti eka fathonah (sunyoto, 2015). the training of musicians and dancers were coordinated by handaya himself as the leader of the studio, assisted by his wife without involving outsiders. the applied communication network is in the form of a star as a model of the communication network delivered by gito sudarmo indriyo as shown below (indriyo, 1997). figure 1. communication network chart. source: gitosudarmo & sudita (1997) this is done so that activities are more centralized, effective, and efficient and the enrichment or character style of the presentation form maintained its authenticity, and if there are problems arise, it is more quickly overcome. the person in the middle functions as a leader, who collects information from group members, determines the solution while also organizing it. designing promotional media and extending relationships with stakeholders. through various promotional media used by handaya as studio leader, the area of the studio distribution not only reach the whole country but also penetrated overseas. the communication facilities used by the studios to introduce and market their organizations are by utilizing social networks in the form of facebook, email, whatsapp, websites, and also partners and distribution of business cards as a result of research conducted by pratamawati dyah (pratamawati, 2017). whereas the development of other 345 harmonia: journal of arts research and education 19 (2) (2019): 179-184184 relationships undertaken was to become a lecturer in the dance and music education study program, state university of malang, as a guest lecturer (previously called extraordinary lecturer/extraordinary lecturer). handaya’s involvement is not only in learning but also in implementing various events conducted by universitas malang. also, together, with universitas malang lecturers to package a variety of character dances into a short duration performing art in the hope that the dance will be easier to be taught at school. the dance produced in collaboration with a researcher named rahayuningtyas has become a local content for extracurricular and even curricular activities in several schools in malang raya (rahayuningtyas, 2012) conclusion the conservation strategy undertaken by sanggar asmorobangun in maintaining the existence of local images is through 1) following the traditional pattern of its predecessors, namely by maintaining the presentation of the show with the conventional concept and supporting performances starting from the form of performance, staging, and accompaniment. 2) conducting training for young people by holding training and regenerating the children members to be involved and active in traditional arts. 3) designing promotional media and extending relationships with stakeholders, in this case, it is very necessary for asmorobangun studio to make the studio itself becomes more active in promoting the studio. references hidajat, r. (2008). wayang topeng malang: struktur dan simbolik seni pertunjukan tradisional di malang jawa timur. malang: gantar gumelar. indriyo, g. (1997). perilaku organisasi. yogyakarta: bpfe. murgiyanto, s. (1980). topeng malang: pertunjukan dramatari tradisional di daerah kabupaten malang. jakarta: proyek sasana budaya. direktorat jenderal kebudayaan departemen pendidikan dan kebudayaan. pratamawati, d. (2016). fungsi penampilan wayang topeng asmarabangun dalam perubahan sistem sosial masyarakat desa kedungmangga. pratamawati, d. (2017). strategi promosi sanggar wayang topeng asmara bangun dusun kedungmonggo untuk pentas internasional. rahayuningtyas, w. (2012). pengembangan bahan ajar matakuliah vokasi tari malang. malang: universitas negeri malang. sedyawati, e. (1984). tari: pembinaan dan pengembangan tari tradisi (bunga rampai oleh suwandono). jakarta pusat: pt dunia pustaka jaya. sutopo, h. b. (2006). metode penelitian kualitatif. surakarta: universitas sebelas maret. sunyoto, d. (2015). manajemen pemasaran jasa: merencanakan, mengelola dan membidik pasar jasa. yogyakarta: caps (center of academic publishing service). supriyanto, h. & pramono, m. s. a. (1997). drama tari : wayang topeng malang. malang: padepokan seni mangun dharma tumpang. yin. (1996). studi kasus (desain dan metode). jakarta: pt raja grafindo persada. 32 bentuk pertunjukan orkes dangdut parodi senggol tromol di semarang: kajian bentuk dan fungsi euis septia alviani universitas negeri semarang, kampus sekaran gunungpati, semarang email : schatzi_ziepziep@yahoo.co.id abstrak penelitian ini bertujuan untuk mengetahui bentuk pertunjukan musik dan fungsi musik orkes dangdut parodi senggol tromol bagi masyarakat kota semarang. orkes dangdut parodi senggol tromol adalah orkes dangdut parodi yang berada di kota semarang. orkes dangdut parodi senggol tromol memiliki keunikan yang berbeda diantara orkes musik parodi lainnya. hal ini ditunjukan bahwa keunikan kolaborasi musik dangdut dan parodi merupakan kolaborasi yang sangat menjunjung nilai norma-norma yang berlaku. orkes dangdut parodi senggol tromol memiliki nilai musikalitas yang sangat tinggi karena kelompok musik ini berpendidikan di bidang seni, khususnya seni musik. ide kreatifitas yang tinggi dan menghasilkan warna baru dalam dunia musik dangdut, menjadikan musim senggol tromol menjadi musik yang bisa diterima di semua kalangan masyarakat kota semarang. dangdut orchestra performance of senggol tromol parody in semarang : form and function analysis abstract this research is aimed to find out the form and function of dangdut orchestra of senggol tromol parody for semarang community. this dangdut orchestra is a parody dangdut orchestra in semarang. this orchestra has its unique characteristics, different from those of other parody music. this is shown by the unique collaboration of dangdut music and parody by respecting prevailing norm values. this orchestra has a very high musical value because the members of the orchestra have education background in music. the high creativity and innovative idea in the music make senggol tromol be a favorite music for people from all groups in semarang. keywords: bentuk pertunjukan, orkes, parodi, dangdut, kajian bentuk dan fungsi pendahuluan seni merupakan salah satu bagian dari kebudayaan. kesenian adalah produk manusia yang merupakan cerminan estetis dari olah cipta, rasa dan karsa. seni mempunyai logika tersendiri. logika seni berdasarkan pada keindahan, sesuatu yang sebenarnya tidak mudah untuk dijelaskan meskipun tidak sulit untuk dinikmati. hal itu dijelaskan oleh bastomi (1992: 42), yang menyatakan seni adalah simbol pribadi atau simbol sesuatu antara lain alam, suasana kejadian, harapan, dan lainya sebagai yang berhubungan dengan kejiwaan yang dapat mempengaruhi jiwa seseorang . musik adalah suatu seni yang mengidupkan jiwa manusia. musik mampu menghipnotis kita semua, dengan segala alunan irama dan nada yang berdendang. musik merupakan nafas bagi kehidupan semua orang. musik mampu menyatukan berbagai perbedaan yang ada di antara euis septia alviani, bentuk pertunjukan orkes dangdut parodi senggol tromol di semarang: kajian bentuk dan fungsi 33 manusia. bahkan, musik mampu menjadi media komunikasi diantara semua lapisan masyarakat tanpa memperdulikan perbedaan harkat dan martabat. musik merupakan bagian yang tak terpisahkan dari kebudayaan. dari semua karya seni, mungkin sekali bahwa musiklah yang paling mempengaruhi tradisi budaya untuk menentukan patokan-patokan sosial dan patokan-patokan individu, mengenai apa yang disukai dan apa yang diakui. musik dapat mencerminkan nilai-nilai dan prinsip-prinsip umum yang mendasarinya, yang menghidupkan kebudayaan tersebut secara menyeluruh. berbicara mengenai musik, tentunya berkaitan tentang suatu perkembangan. perkembangan yang terjadi pada musik saat ini sangat berpengaruh terhadap perkembangan tatanan kehidupan manusia. musik saat ini tidak lagi dijadikan sarana peribadatan, tetapi sudah menjadi sarana hiburan, komunikasi dan pendidikan (soedarsono, 1992: 15). musik saat ini telah menjadi sesuatu yang universal dan dapat dinikmati semua orang. tanpa mengenang perbedaan usia. perkemba-ngan musik begitu cepat dan tidak terduga. tapi pada dasarnya perkembangan musik selalu berkembang menjadi lebih baik dan memberikan karya-karya yang lebih luas. musik akan terus berkembang dari tahun ke tahun selanjutnya. perkembangan musik selalu membentuk karya-karya yang lebih baru dan lebih memiliki inovasi dari tahun ke tahun selanjutnya. begitu juga dengan perkembangan jenis-jenis musik di indonesia. mulai musik pop, jazz, keroncong, rock, campursari, metal, underground atau bahkan musik dangdut sekalipun. perkembangan musik dangdut memiliki peningkatan yang pesat. di daerah semarang saat ini cukup banyak komunitas atau kelompok musik yang mencoba untuk memberikan warna baru bagi musik pop-dangdut yaitu dengan memberikan unsur parodi dalam setiap karya-karyanya. antara lain : kelompok musik berkakak plekenyik, kelompok musik ini beraliran pop-dut (pop dan dangdut), “srempet gudal’’, kelompok musik ini beraliran popdut (pop dan dangdut), “mbun-mbunan dengkul’’, kelompok musik ini beraliran congmix (keroncong yang di olah dengan dangdut), dan senggol tromol yang hanya membawakan musik dangdut. senggol tromol memilki aliran musik dangdut. senggol tromol merupakan satu-satunya kelompok musik parodi di semarang yang membawakan lagu-lagu dangdut. karena kebanyakan dari para komunitas parodi lainnya membawakan lagu-lagu pop yang diberi sentuhan musik dangdut. sedangkan senggol tromol membawakan khusus lagu-lagu berganre musik dangdut yang diaransemen dengan sentuhan musik yang harmonis. pada tanggal 9 september 2009, senggol tromol hanyalah kelompok musik yang tergolong kelompok musik biasa pada umumnya. pada mulanya berkumpul, saling berbaur dan mengekpresikan diri melalui kegemaran melantunkan lagu-lagu dangdut. grup musik ini terbentuk pada tahun 2009, yang beranggotakan 7 orang personil. dari pembentukan nama grupnya sendiripun mungkin agak sedikit aneh terdengar, kata orkes dangdut parodi senggol. orkes berarti ‘kelompok musik’ , dangdut berarti ‘lagu yang mereka bawakan adalah jenis lagu dangdut, parodi berarti setiap lagu dan pertunjukan yang mereka bawakan mengandung unsur lawakan, senggol berarti setiap lagu dangdut beridentik dengan joget yang mereka sebut dengan senggol dan tromol berarti ‘ rem dalam bahasa jawa’. istilah humoris ini yang menjadi daya tarik, bahwasanya setiap manusia yang hidup di dunia harus selalu berpikir rasional dengan menggunakan akal pikiran yang normal dan sehat. penggunaan kata istilah ini hanya sebagai simbol dalam kehidupan, dan pada akhirnya kalimat inipun di ambil untuk dijadikan nama group sebuah kelompok musik senggol tromol. musik parodi yang dibawakan senggol tromol, meskipun yang di lantunkan adalah lagu-lagu dangdut, namun kelompok musik ini mampu memberikan sesuatu yang baru dalam memberikan penilaian terhadap masyarakat bahwa musik dangharmonia, volume 12, no.1 / juni 201234 dut bukanlah musik yang kampungan. bukti bahwa musik parodi yang dimiliki senggol tromol cukup mendapat tempat di hati masyarakat, dibuktikan dengan adanya penawaran, pertunjukan-pertunjukan atau tanggapan pada acara pernikahan, pada pentas seni di sekolah menengah atas, pada acara inagurasi di universitas negeri maupun sekolah tinggi swasta di wilayah semarang, dan tanggapan-tanggapan yang lain. kelompok musik senggol tromol sebenarnya mempunyai versi bentuk penyajian atau penampilan tersendiri. yaitu: ada kalanya dengan menampilkan lagu atau jenis musik dangdut asli, ada pula dengan menampilkan lagu karya sendiri, maupun membawakan lagu-lagu group band papan atas, dengan mengemasnya kedalam banyolan atau lawakan khas senggol tromol. dari jenis versi yang dimiliki senggol tromol, semua berdasar atas konsep panggung atau performance yang diinginkan oleh para penanggapnya. keunikan kolaborasi antara musik dangdut dan parodi yang dimiliki senggol tromol menjadikan salah satu upaya kreatifitas anak muda untuk mengembangkan dan memberikan sentuhan yang baru bagi musik dangdut tanpa menyisihkan norma-norma yang berlaku di indonesia. sehingga mampu menarik setiap hati peminat musik dangdut. dimana hanya orkes dangdut parodi senggol tromol yang membawakan lagu-lagu dan musik dagdut dengan parodi sebagai tema dari kelompok musik ini. dengan kualitas musik yang tidak diragukan lagi, bagaimana tidak. pada dasarnya kelompok musik senggol tromol merupakan kelompok musik yang memiliki tingkat musikalitas yang tinggi, tanpa diragukan lagi bahwa kelompok musik senggol tromol merupakan kelompok musik yang semua anggotanya mempunyai latar belakang pendidikan seni musik di universitas negeri semarang. hal ini merupakan salah satu ide kreatifitas yang tinggi dan menarik untuk tetap dilestarikan bagi kehidupan bermusik di tanah air. metode penelitian ini menggunakan pendekatan kualitatif dengan mengambil lokasi di bascame tempat berkumpulnya para pemain orkes dangdut parodi senggol tromol di kafe old atau rumah tua, sekaran, gunungpati, semarang. sumber data diperoleh melaui observasi, wawancara dan dokumentasi. wawancara tentang sejarah terbentuknya orkes dangdut parodi senggol tromol, bentuk pertunjukan orkes dangdut parodi senggol tromol. hasil observasi dan wawancara kemudian ditarik beberapa kesimpulan yang sesuai dengan data yang telah diambil. hasil dan pembahasan sejarah berdirinya orkes dangdut parodi senggol tromol orkes dangdut parodi senggol tromol dibentuk pada tanggal 9 bulan september tahun 2009, berawal dari sebuah kelompok kecil yang tergolong kelompok musik biasa pada umumnya. pada mulanya berkumpul, saling berbaur dan mengekpresikan diri melalui kegemaran memainkan gitar dan melantunkan lagu-lagu iringan musik dangdut. kelompok musik yang beranggotakan 7 orang personil ini adalah kelompok musik yang memiliki latar belakang pendidikan seni musik di universitas negeri semarang. kata senggol tromol sendiri diambil dari istilah jawa, senggol yang artinya kata yang di ambil dari kata joget dimana jika seseorang mendengarkan musik dangdut mereka akan berjoget, dan joget akan menyebabakan saling bersenggolan (saling menyentuh) maka diambilah kata senggol. sedangkan kata tromol berasal dari tromol yang berarti rem (alat untuk memberhentikan kisaran roda) namun maksud bukan kisaran roda yang dihentikan melainkan emosi para pendengar yang ikud berjoged. jadi secara garis besar arti dari senggol tromol adalah berjoget bersama secara damai. euis septia alviani, bentuk pertunjukan orkes dangdut parodi senggol tromol di semarang: kajian bentuk dan fungsi 35 bentuk musik orkes dangdut parodi senggol tromol bentuk musik memiliki 3 macam, yaitu : bentuk musik vokal, instrumental dan campuran. menurut penelitian yang dilakukan penulis, bentuk musik yang dimiliki oleh kelompok musik senggol tromol adalah bentuk musik yang bersifat campuran. bentuk musik campuran merupakan bentuk musik yang didalamnya tergabung antara vokal dan instrumental. orkes dangdut parodi senggol tromol merupakan kelompok musik yang memiliki bentuk musik campuran, dimana disalamnya terdapat komposisi antara vokal dan instrumen alat-alat musik yang dimainkan oleh orkes dangdut parodi senggol tromol. dengan adanya 7 orang anggota didalamnya yang terbagi menjadi : 2 vokal dan 5 pemain instrumen musik (keyboard, gitar, drum, ketipung dan bass), membuktikan bahwa bentuk musik yang dimiliki orkes dangdut parodi senggol tromol ini adalah bentuk musik campuran. bentuk musik campuran orkes dangdut parodi senggol tromol membawakan lagu-lagu atau jenis musik dangdut yang berkolaborasi dengan parodi. menurut hasil penelitian dapat dijelaskan bentuk musik campuran yang dimiliki dangdut parodi senggol tromol dalam sebuah komposisi musik yaitu : irama di dalam jenis irama musik, terkadang jika kita mendengarkan jenis iringan musik kita akan terbawa dengan suasana alur iringannya, salah satu contoh musik dangdut, yang mana irama ini sudah memasyarakat, dengan kita merasakan pukulan-pukulan nada yang dapat menggerakan dada, atau mengajak kaki untuk mengetuk lantai bahkan akan menggerakan badan untuk menari. dalam jenis irama musik orkes dangdut parodi senggol tromol, mereka lebih cenderung untuk membuat ‘beat’ yang sederhana. namun ada beberapa lagu yang menggunakan irama dengan pukulan cepat pada ketipung. dengan irama yang cepat dan klimaks itu akan menghasilkan atau mengundang penonton untuk ikut menikmati dan berjoget bersama. berikut contoh pola irama kendang pada lagu shymponi clubing pada gambar 1. harmoni dalam membawakan setiap lagunya, orkes dangdut parodi senggol tromol selalu memperhatikan bagian-bagian dari unsur musik yang disebut harmoni. hal ini dilakukan supaya terjadi kesesuaian antara irama dan melodi. hal ini ditunjukkan pada orkes dangdut parodi senggol tromol dalam pementasan musik, dengan adanya perpaduan instrumen gitar, keyboard berkolaborasi dengan instrumen ketipung. melodi melodi adalah susunan rangkaian nada (bunyi dengan getaran teratur) yang terdengar berurutan serta bersama dengan mengungkapkan suatu gagasan. melodi merupakan salah satu komponen yang penting dalam suatu komposisi musik. dalam orkes dangdut parodi senggol tromol gitar menjadi salah satu alat yang berfungsi sebagai melodisnya. sehingga dengan adanya melodi, maka bentuk dan nada-nada yang dihasilkan akan terasa enak didengar oleh para audiens. berikut contoh pola melodi pada gambar 1 : pola irama ketipung pada lagu shymponi clubing harmonia, volume 12, no.1 / juni 201236 gambar 3. notasi lagu karya orkes dangdut parodi senggol tromol gambar 2. pola melodi pada lagu shymponi clubing diambil dari coda euis septia alviani, bentuk pertunjukan orkes dangdut parodi senggol tromol di semarang: kajian bentuk dan fungsi 37 senggol tromol adalah bentuk pertunjukan orkestrasi (berdasar jumlah pemusik atau pemain musik) dimana di dalamnya terdapat bentuk musik campuran (berdasar dengan gabungan antara vokal dan instrument) yang bergenre atau jenis musik yang dibawakan adala musik dangdut yang berkolaborasi dengan parodi. urutan bentuk pertunjukkan orkes dangdut parodi senggol tromol sebagai berikut: persiapan sebelum pertunjukan musik dimulai, para pemain datang lebih awal ke tempat dimana pertunjukan akan berlangsung. dimaksudkan untuk memastikan kesiapan tempat-tempat dan perlengkapan pertunjukan. memberi tahu kepada tim penyelenggara atau kru panggung apa saja yang dibutuhkan para pemain yang nantinya berhubungan dengan pertunjukan. meliputi tata panggung, sound system, alat musik dan lain-lain. selanjutnya pemain mengecek ulang alat-alat atau sering disebut dengan cek sound. persiapan seperti ini selalu dipersiapkan lebih awal dari jadwal pertunjukan yang akan ditampilkan. cheksound dilakukan oleh pemain dengan memainkan 1 atau 2 lagu yang nanti akan mereka tampilkan. dimaksudkan untuk mengantisipasi agar dalam pelaksanaan pertunjukan tidak mengalami gangguan teknis. setelah melakukan chek sound, biasanya para pemain bergegas untuk pempersiapan kostum atau busana dan make up atau tata rias. untuk selanjutnya para pemain mepersiapkan diri memulai sebuah pertunjukan musik. pertunjukan inti pertunjukan inti artinya pertunjukan saat para pemain orkes dangdut senggol tromol sudah berada di panggung. pertunjukan inti dibagi menjadi (1) bagian pembukaan, (2) bagian isi, (3) gian penutup. pada bagian pembukaan, kelompok musik orkes dangdut parodi senggol tromol, semua memiliki kesempatan untuk membuka acara. pada acara pembukaan lagu shymponi clubing di ambil dari coda pada gambar 2. bentuk atau struktur lagu bentuk atau struktur lagu merupakan hubungan antara musik dan kalimat, sehingga membentuk makna dalam sebuah lagu. dari pengamatan penulis, maknamakna yang terkandung dalam lirik lagu yang diciptakan oleh grup musik orkes dangdut parodi senggol tromol ini bersifat sederhana. sederhana artinya lirik dan struktur lagu pada umumnya berupa percakapan, dan mengandung makna yang sesuai dengan kehidupan realta yang ada. dengan adanya bentuk struktur lagu yang sederhana, makna yang terkandung dalam lirik akan lebih mudah diterima oleh para pendengar. tema dalam lagu pun akan jelas dan mudah dipahami oleh pendengar. lirik lagu yang dimiliki kelompok musik senggol tromol mengandung unsur parodi di dalamnya. parodi ini merupakan salah satu ciri khas yang ada pada kelompok musik senggol tromol. berikut lirik beserta notasi lagu karya orkes dangdut parodi senggol tromol pada gambar 3. bentuk pertunjukan orkes dangdut parodi senggol tromol jumlah pemusik atau pemain musik, bentuk pertunjukan musik orkes dangdut parodi senggol tromol dapat digolongkan menjadi bentuk pertunjukan orkestrasi. bentuk pertunjukan orkestrasi yang dimaksud adalah bentuk pertunjukan musik gabungan berbagai alat musik yang dimainkan sesuai dengan lagunya. bentuk pertunjukan orkestrasi yang dimiliki orkes dangdut parodi senggol tromol adalah bentuk pertunjukan orkestrasi dangdut. dimana gabungan berbagai alat musik yang dimainkan merupakan alat musik yang memiliki peran untuk me-ngiringi musik-musik atau lagu-lagu dangdut yang dimiliki orkes dangdut parodi senggol tromol. berdasarkan penelitian dapat disimpulkan bahwa bentuk pertunjukan musik yang dimiliki orkes dangdut parodi harmonia, volume 12, no.1 / juni 201238 pementasan musik biasanya membuka dengan penyampaian untuk kegiatan acara, penyelenggara dan penonton. biasanya vokal 1 maupun vokal ke 2 mengajak para penonton untuk saling berkomunikasi, saling memperkenalkan para pemain, tentunya diiringi dengan permainan ketipung. komunikasi atara pemain dan penonton sangatlah penting. dimana komunikasi pada awal bisa memberikan dampak yang positif bagi penonton, yaitu mengundang penonton untuk melihat pertunjukan. sesuai dengan temanya yaitu dangdut parodi, para pemain selalu mengajak berjoged bersama dan memberikan sedikit celotehan yang berupa pertanyaan humoris atau lucu terhadap para penontonnya. bagian inti yaitu dimana musik sudah dimulai. bagian ini para pemain sudah berkonsentrasi membawakan lagulagu yang mereka bawakan. para pemain mulai mempertunjukan ekspresi lagu dengan memasukan unsur parodi di dalamnya. biasanya saat melodi dan ritme ketipung mulai klimaks, para pemain tetap menjaga komunikasi bagi penonton agar tetap bisa bergoyang bersama. secara garis besar pertunjukan inti dibagi menjadi 2 bagian, bagian pertama yaitu pertunjukan awal yang masih membawakan lagu dengan tempo yang lambat. di bagian kedua yaitu bagian dimana pemain sudah membawakan lagu-lagu yang bertempo cepat, riang dan energik. seperti lagu karya orkes dangdut parodi senggol tromol yang berjudul symphoni clubing, orkes semarangan dan lagu-lagu karya senggol tromol. dibagian jeda lagu, pemain orkes dangdut parodi senggol tromol selalu menjaga komunikasi terhadap para penggemar atau penonton dengan banyolan atau lawakan yang mereka punya. disinilah biasanya para penonton tetap terhibur dan mulai mengikuti alunan musik dangdut parodi dengan ikut bergoyang bersama. bagian penutup dilakukan setelah lagu-lagu yang mereka bawakan selesai, vokal 1 dan vokal 2 berkomunikasi terhadap penyelenggara dan penonton untuk mengucapakan terimakasih dan memberikan salam penutup “senggol damai” yang berarti bergoyang bersama dengan kedamaian, tanpa ada kekerasan. seperti itulah garis besar pemaparan mengenai bentuk pertunjukan orkes dangdut parodi senggol tromol di semarang maupun luar kota semarang. pertunjukan orkes dangdut parodi senggol tromol adalah sebuah hasil keterpaduan diatara elemen dangdut dengan memasukan unsur parodi di dalam pertunjukan, lagu dan penampilannya dan saling mendukung atara satu dengan yang lain. bentuk pertunjukan musik orkes dangdut parodi senggol tromol sering diadakan atau dipentaskan secara fleksibel. bentuk penyajian orkes dangdut parodi senggol tromol pada bentuk pertunjukan musik, musik merupakan pencerminan jiwa atau ide dalam bentuk nada-nada yang tertata harmoni. sebuah pertunjukan musik mempunyai beberapa unsur-unsur antara lain : tata panggung, pemain, penonton, materi penyajian, tata suara, tata lampu, tata rias, tata busana dan alat musik. dari hasil pengamatan di lapangan, dirumuskan bahwa pertunjukan orkes dangdut parodi senggol tromol di semarang meliputi beberapa unsur pokok yang mendukung berjalanya sebuah pertunjukan musik. tempat pentas/panggung panggung adalah salah satu sarana penting dalam berlangsungnya suatu pertunjukan musik. letak atau posisi panggung dikondisiskan sedemikian rupa dengan maksud agar pemain maupun penonton dapat melakukan segala aktifitas yang diperlakukan dalam pertunjukan dengan lebih rapi dan leluasa sehingga pertunjukan tersebut dapat berlangsung dan bisa dinikmati dengan nyaman. adanya posisi dan letak panggung juga dapat menjadikan pemain lebih bebas ber ekspresi, sehingga mampu menunjang perfomance pemain agar lebih baik dan lebih rapi. euis septia alviani, bentuk pertunjukan orkes dangdut parodi senggol tromol di semarang: kajian bentuk dan fungsi 39 pemain peran pemain musik dalam pertunjukan musik orkes dangdut parodi senggol tromol adalah memainkan alat-alat musik yang membawakan jenis musik dangdut dan memberikan unsur parodi di dalamnya. pemain musik terdiri atas 5 pemain instrumen musik dan 2 vokal. untuk mengatur kekompakan para pemain membutuhkan waktu yang cukup panjang. dalam memainkan alat musik, para pemain diberi kebebasan untuk improvisasi dan ber eksplorasi sesuai dengan lagu yang dimainkan, karena dalam pertunjukan ini tidak pernah menggunakan partitur. di setiap pertunjukan para pemain bermain dengan kompak dan bagus. penonton suatu pertunjukan tidaklah lengkap tanpa adanya reaksi dari penonton. pementasan sebagus apa pun jika tidak ada penontonnya maka tidaklah menarik. pertunjukan musik orkes dangdut parodi senggol tromol ternyata menarik minat penonton, bahakan ada penonton setia yang selalu menemani para pemain orkes dangdut parodi senggol tromol saat di undang di luar kota semarang. materi penyajian berdasarkan pengamatan penulis, materi penyajian yang sering di dimainkan para pemain orkes dangdut parodi senggol tromol adalah musik dangdut yang menggunakan unsur parodi di dalamnya. materi penyajian dalam setiap pertunjukan sangatlah penting, karena dengan adanya materi penyajian yang terkonsep maka pertunjukan akan berlangsung dengan baik. materi penyajian yang berunsur atau bertema parodi tersebut berada pada lirik dan tata busana serta tata rias yang mereka gunakan. materi lagu yang mereka bawakan adalah lagu-lagu hasil karya atau ciptaan dari grup musik orkes dangdut parodi senggol tromol. karena dalam setiap pertunjukan, para pemain orkes dangdut parodi senggol tromol mengharapakan para penonton untuk bergoyang, maka lagu-lagu yang sering dibawakan adalah lagu-lagu yang memiliki tempo cepat dan bersifat gembira. tata suara ( sound system ) dalam pementasan dangdut tata suara ( sound system ) merupakan sarana penyumbang dari suara yang berfungsi sebagai pengeras suara baik vokal maupun instrument. sound system yang digunakan saat pementasan sesuai dengan apa yang disediakan para tim penyelenggara. untuk pertunjukan yang sederhana, kelompok musik ini biasa menggunakan sound akustik. namun jika dalam pertunjukan musik yang besar, kelompok musik ini menggunakan sound system seperti pada umumnya seperti audio mixer, loud spiker, sound control dan lain-lain. tata lampu ( lighting ) pertunjukan pada setiap pementasan kelompok musik orkes dangdut parodi senggol tromol tidak terlalu memperdulikan masalah tata lampu, perangkat lighting pada umumnya sudah menjadi tanggung jawab dari penyedia sound system itu sendiri, untuk bisa memahami jenis penampilan sebuah group band dengan konsep panggungnya. dari jenis penggunaan tata lampu dalam pementasan orkes dangdut parodi senggol tromol sangat bervariatif, tergantung kebutuhan, format acara, dan kondisi fisik panggung. tata rias pada setiap pertunjukan, grup musik orkes dangdut parodi senggol tromol ini selalu menyesuaikan tata rias pada setuap penampilannya. karena konsep grup musik ini adalah parodi, maka tata rias pun juga disesuaikan dengan tema yang mereka bawakan. tata rias ini berupa bedak, lipstik, kumis palsu, dan rambut yang di selalu disesuaikan dengan tema. tata busana seperti yang sudah dipaparkan pada tema yang diambil oleh musik orkes dangdut parodi senggol tromol adalah harmonia, volume 12, no.1 / juni 201240 tema parodi. dimana parodi yang ada dalam grup musik ini terletak pada lirik lagu yang mereka ciptakan, bentuk pertujukan, komunikasi pada penonton, tata rias dan terletak pada busana yang mereka pakai. berikut merupakan contoh tata busana yang sering mereka gunakan saat pertunjukan pada gambar 2. gambar 4. busana pemain orkes dangdut parodi senggol tromol alat musik alat musik yang digunakan dalam pertunjukan orkes dangdut parodi senggol tromol adalah alat musik yang biasa digunakan pada kelompok musik pada umumnya. dimana masing-masing alat memiliki fungsi sebagai melodis, ritmis maupun harmonis. seperti : gitar listrik, bass, drum, keyboard dan ketipung. berikut alat musik yang digunakan para pemain orkes dangdut fungsi pertunjukan orkes dangdut parodi senggol tromol pada masyarakat kota semarang menurut allan p meriam, fungsi musik dibagi menjadi 10 fungsi. berikut 10 fungsi musik yang berhubungan dengan orkes dangdut parodi senggol tromol : fungsi pengungkapan emosional pada berbagai kebudayaan, musik memiliki fungsi sebagai kendaraan dalam mengekspresikan ide-ide dan emosi. . dengan musik seseorang mampu menunjukan ekspresi yang ada dalam dirinya. dengan musik seseorang mampu menunjukan emosi yang kuat. terbukti pada kelompok musik senggol tromol, pengungkapan emosional dapat dilihat saat mereka menulis lagu-lagu karya mereka. dimana bentuk lagu ini yang merupakan pengungkapan emosional bagi para anggota orkes dangdut parodi senggol tromol. selain itu, pengungkapan emosional dapat berdampak pada penonton yang ikut menari atau berjoget saat menikmati lagu-lagu yang dibawakan oleh para pemain orkes dangdut senggol tromol. fungsi penghayatan estetis untuk menikmati rasa indah (estetis), maka orang perlu belajar dengan cara membiasakan diri mendengarkan musikmusik kesukaannya sendiri. kemudian ia bisa mulai mencoba endengarkan musikmusik jenis lain yang baru didengarnya dan kemudian akan menyukainya. menurut peneliti, hal ini terbukti ketika beberapa anak muda yang kurang menyukai musik dangdut kemudian mencoba untuk mendengarkan musik dangdut yang dibawakan oleh senggol tromol mampu menarik minat para pemuda untuk menyukai musik dangdut dengan unsur parodi di dalamnya. setiap jenis musik memiliki keunikan melodis, ritmis, dan harmonis; maupun terkait dengan komposisi dan instrumentasinya. hal ini yang menjadikan nilai keindaha pada kelompok musik senggol tromol. keindahan musik yang dimiliki senggol tromol merupakan wujud bahwa musik memiliki nilai estetis yang tinggi. fungsi hiburan pada contoh konkritnya, salah satu fungsi musik dari orkes dangdut senggol tromol bagi para penikmat musiknya adalah sebagai sarana hiburan. karena dengan mendengarakan musik yang dibawakan oleh kelompok musik ini meski hanya lewat audio, secara tidak langsung membuktikan bahwa musik yang dibawa oleh kelompok musik ini mampu membawakan suasana hati yang damai dan terhibur dari segala kepenatan pekerjaan, kejeeuis septia alviani, bentuk pertunjukan orkes dangdut parodi senggol tromol di semarang: kajian bentuk dan fungsi 41 nuhan dalam beraktifitas. fungsi komunikasi fungsi musik sebagai komunikasi merupakan sarana komunikasi melalui nusansa musik yang dibawakan, mereka mau mengkomunikasikan perasaannya secara simbolis, baik dalam suasana gembira maupun suasana sedih. musik sebagai sarana komunikasi dapat di lihat dari teks lirik maupun melodi dari sebuah lagu yang dibawakan oleh kelompok musik senggol tromol. fungsi perlambangan fungsi perlambangan atau simbolik merupakan fungsi musik yang dapat menggambarkan kesenangan, kesedihan, kesetiaan, kepatuhan, penghormatan, rasa bengga,dan rasa memiliki atau perasaan khas pera anggota kelompok musik orkes dangdut parodi senggol tromol yang disimbolkan melalui musik. menurut penelitian, musik danggdut parodi yang dimiliki senggol tromol memiliki melambangkan suatu hal. hal ini dapat dilihat dari aspek-aspek musik tersebut, misalnya tempo dari lagulagu yang dimiliki orkes dangdut parodi seenggol tromol. tempo lagu yang dimiliki cenderung cepat dan energik hal ini melambangkan bahwa lagu-lagu tersebut menceritakan tentang kebahagiaan. sedangkan dengan tempo yang lambat, maka kebanyakan teksnya menceritakan tentang kesedihan. sehingga musik yang dibawakan senggol tromol melambangkan kesedihan. fungsi reaksi jasmani dengan musik yang dibawakan oleh senggol tromol. grup musik ini selalu memainkan tempo yang cepat, sehingga musik yang dimainkan mampu merangsang sel-sel syaraf para pendengar dan menyebabkan tubuh penggemar ikut terhanyut dalam irama musik. para penonton ikut berjoget, hal ini lah yang menjadi contoh bahwa musik senggol tromol sebagai musik yang mampu memberikan reaksi jasmani bagi para pendengar maupun para penonton. fungsi kesinambungan budaya fungsi kesinambungan budaya dapat dikatakan pelestari kebudayaan. dengan bermusik seseorang mampu memperkenalkan ataupun melesetarikan kebudayaan mereka. dengan cara memperkenalkan sebuah karya yang dimiliki seseorang. dalam kelompok musik senggol tromol, setidaknya mereka mampu memberikan kelestarian dalam budaya semarang.dengan lagunya yang memperkenalkan kota semarang, setidaknya kelompok musik ini mampu melestarikan kebudayaan yang mereka punya di semarang. fungsi berkaitan dengan norma sosial musik berfungsi sebagai media pengajaran akan norma-norma atau peraturan-peraturan. menurut peneliti, pe-nyampaian norma sosial yang dimiliki oleh orkes dangdut parodi senggol tromol terdapat saat mereka berada dalam sebuah pertunjukan. dengan kata “senggol damai” sebagai salah satu cirikhas lambang kedamaian saat berjoget membuktikan bahwa kelomopok musik senggol tromol mengajak para penontonnya untuk saling berdamai tanpa kekerasan. selain itu, penerapan nilai norma sosial biasanya terkandung dalam teks yang ada pada lagulagu karya senggol tromol. fungsi pengesahan lembaga sosial dalam kaitannya fungsi musik sebagai pengesahan lembaga sosial, tidak terkait di dalam musik yang dimiliki oleh orkes dangdut parodi senggol tromol. fungsi pengintegrasian masyarakat masyarakat adalah sasaran yang tepat dalam media bersosialisasi. karena dengan ada nya masyarakat, maka terkadang timbul rasa kekeluargaan yang begitu erat atar individu. dengan adanya musik dangdut parodi yang dimiliki senggol tromol mampu mempersatukan atara masyarakat satu dengan yang lainnya tanpa mengenal usia dan kalangan dalam sebuah komunitas penggemar musik parodi. harmonia, volume 12, no.1 / juni 201242 sedangkan menurut pendapat r.m soedarsono (2002:94 ) dalam hal ini seni pertunjukan selama perjalanan sejarah memperlihatkan keragaman fungsi yang disandangnya. beragam fungsi ini oleh dikelompokkan ke dalam tiga wilayah yaitu (1) seni pertunjukan yang berfungsi sebagai sarana ritual, (2) seni pertunjukan berfungsi sebagai hiburan pribadi, dan (3) seni pertunjukan yang berfungsi sebagai presentasi estetis. pada umumnya seniman dalam berkrasi selalu memiliki atau mengharapakan tujuan yang jelas. seperti halnya para anggota orkes dangdut parodi senggol tromol, mereka punya pertimbangan apakah yang dilakukan hanya sebatas untuk presentasi estetis, atau hanya sebagai hiburan belaka. hal ini dimaksudkan bahwa apabila bertujuan sebagai sebagai presentasi estetis, maka seorang seniman mengharapkan adanya penikmat. dimana para pemain atau anggota senggol tromol selalu memberiakan sentuhan musik yang indah yang mampu menarik masyarakat pendengar atau penonton untuk ikut menikmati setiap lagu-lagu yang mereka bawakan atau mainkan. simpulan menurut pengamatan, peneliti menemukan beberapa hal yang menjadikan beberapa kesimpulan. selain itu juga saransaran penting yang akan bermanfaat bagi penelitian-penelitian selanjutnya, yang di antaranya sebagai berikut di bawah ini. bentuk pertunjukan musik orkes dangdut parodi senggol tromol adalah salah satu perpaduan antara musik dangdut dan parodi. dimana musik dangdut adalah musik yang bayak digemari oleh masyarakat, hal ini disebabkan banyaknya media khususnya elektronik yang menampilkan musik dangdut sehingga musik dangdut menjadi musik yang fenomenal di masyarakaat indonesia. namun, pertunjukan musik dangdut seringkali mendapat respon yang kurang di kalangan masyarakat pemuda atau remaja. dengan adanya kolaborasi dangdut dan parodi ini lah dibentuk kelompok musik orkes dangdut parodi senggol tromol sebagai wadah musik dangdut yang dikemas dengan komposisi baru sehingga menjadi daya tarik tersendiri dan mendapatkan tempat dikalangan anak muda, remaja maupun orang tua. bentuk penyajian musik yang dibawakan oleh orkes dangdut senggol tromol biasa dipertunjukan pada panggungpanggung pertunjukan pada umumnya. namun yang menarik dalam pertunjukan ini adalah unsur parodi yang ada di dalam setiap lirik lagu, tata busana, tata rias dan komunikasi terhadap penonton saat pertunjukan dimulai. unsur parodi menjadikan salah satu ciri khas musik yang dimiliki oleh kelompok musik orkes dangdut senggol tromol di semarang. fungsi musik orkes dangdut parodi senggol tromol pada masyarakat kota semarang. berdasarkan penelitian, orkes dangdut parodi senggol tromol memiliki beberapa fungsi yang telah diungkapakan. seperti fungsi musik sebagai pengungkapan emosional, funsi penghasyatan estetis, fungsi hiburan, fungsi komunikasi, fungsi perlambangan, fungsi reaksi jasmani, fungsi yang berkaitan dengan norma sosial, fungsi kesinambungan budaya, pengintregasian masyarakat, hiburan pribadi dan penilaian estetis musik. fungsi musik tersebut dimilki oleh orkes dangdut parodi senggol tromol sebagai fungsi musik yang mampu menjadikan satu kesatuan untuk memberikan tanggapan yang positif dan baik bagi masyarakat. daftar pustaka arikunto, suharsimi. 1998. prosedur penelitian 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interpretasi untuk aksi. bandung: penerbit mizan. limantara, cyprianus. 1990. dasar-dasar teori musik. bandung: justika. muttaqin, moh. 2003. “musik dangdut: sebuah kajian musikologis” tesis pasca sarjana. tidak dipublikasikan yogyakarta: universitas gajah mada. pensi. 1983. perjalanan musik di indonesia. jakarta: pt. lithopica. sedyowati.1986. pertunjukan seni pertunjukan. jakarta: sinar harapan rohidi, tjetjep rohendi. 1992. analisis data kualitatif. jakarta penerbit. soedarsono.1991. perkembanagan kesenian kita. yogyakarta. soedarsono, rm. 2003. seni pertunjukan; dari perspektif politik, sosial, dan ekonomi. sumaryanto, totok. 2001. diktat kuliah metodologi penelitian kualitatif semarang: ikip press. tim perumus p3b. 1988. kamus besar bahasa indonesia. jakarta: departemen pendidikan dan kebudayaan. 53 integration of experience and achievements in the development of performing skills of kazakh dance in higher education institutions of the republic of kazakhstan aliya kenzhetaeva, karlgash aitkalieva, tolkyn amreyeva makhambet utemissov west kazakhstan university, kazakhstan submitted: 2023-04-11. revised: 2023-05-09. accepted: 2023-06-24 abstract the main purpose of this research is to study the experience and achievements of previous generations of folk dance performers to improve work with future choreographers who study kazakh folk dance in higher education institutions of the republic of kazakhstan. the study’s methodological approach is the search and theoretical analysis of sources aimed at studying both the history of the kazakh folk dance itself and the development of the performing skills methods of kazakh dance in future choreographers. this research uses typological, historical, and thematic analysis methods from used literature collected during the writing of the article. the author analyzes the historical stages of the development of the professional training of choreographersperformers and the influence of the experiences and achievements of previous generations on the performing skills of future choreographers in kazakh higher educational institutions. this study also found that modern teaching is based on the integration of experience and achievements in the art of choreography for the development of performing skills and choreographer-performer skills of kazakh folk dances in higher educational institutions of the republic of kazakhstan. this research work is of practical importance in the study, as well as training of future choreographers who study dance in various areas of original folk art in higher education institutions of the republic of kazakhstan. keywords: folk dance, choreography, kazak folklore, art, choreographic skills how to cite: kenzhetaeva, a., aitkalieva, k., & amreyeva, t. (2023). integration of experience and achievements in the development of performing skills of kazakh dance in higher education institutions of the republic of kazakhstan. harmonia: journal of arts research and education, 23(1), 53-63 harmonia: journal of arts research and education 23 (1) (2023), 53-63 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i1.43859 zakh dance was especially significant and requires special study. first of all, dance is a form of creative self-expression and communication by a native choreography speaker and a physically complex art form. in accordance with researchers k. carey et al. (2019), who in their study studied the connection between the experience and achievements of choreographers-performers, imagination, and attention in the creative process of movements studying. dance introduction the rapid development in all areas of culture and life of people in the republic of kazakhstan contributes to the great interest of scientists in the history and origins of the folk culture of their native country. given that the national heritage of the kazakhs includes a whole layer of cultural heritage, it should be noted that the development of the performing tradition of kacorresponding author: e-mail: aliyakenzhetaeva2@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (1) (2023): 53-6354 awakens the creativity of a choreographerperformer who adapts rhythmic and aesthetically pleasant movements into dance texts. beautiful words, behind which there is a lot of work and persistence of teachers choreographers, and choreographersperformers who perform this choreography. therefore, to develop performing skills, it is necessary to integrate the experience and achievements of previous generations, particularly kazakh choreographers-performers of folk dances. by studying kazakh dance, its history, development of the performing skills of choreographers-performers and choreographers, it should be noted that the collapse of the union of soviet socialist republics, as well as the gaining of sovereignty by kazakhstan (1991), played an important role in the development of kazakh choreographic art. this is discussed in the study by d. ye. shomayeva and g. t. zhumaseitova (2021), who believe that due to this collapse, the active presence of the russian tradition in the kazakh choreographic school has noticeably decreased. with the change of the choreographer’s younger generation, it was completely rethought under the influence of a multicultural program orientation in choreography. the choreographic text composition of the folk dance of kazakhstan itself takes a significant place in the staging and further performance of the choreography. in accordance with kussanova, tleubayeva, nikolayeva, and shankibayeva (2021), in their study of the director’s interpretation of kazakh dance, dance vocabulary, which is built on traditional postures and classical movements, forms a choreographic text, which is transformed into the symbiosis concept of traditional dance and contemporary choreography. studying gained experience and achievements in the development of the performing skills of kazakh dance, it should be noted that teaching dance art faced the same problems as other areas of life worldwide. despite everything, covid-19 has contributed to the development and modernisation of choreographic education, particularly the methods and means of implementing this training (leonard, 2022). an important link in the integration of folk dance achievements is a teacherchoreographer who passes on their experience to future generations. the work of alaways (2019), who studied the experience of professional performance compared to pedagogical knowledge in the classroom of teaching techniques as a creative process, has an important idea. the researcher states that the pedagogical implementation of former dancers, the meaningful knowledge they possess in practical classes, the value and importance of formal training of teachers-choreographers, their understanding of themselves as teachers and teaching as a creative process are important aspects of the educational process in the choreographic art classroom. if taking into account the modern choreographic art of the republic of kazakhstan, it should be noted the innovative staging of mukaram avahri, the choreographer in chief of the kazakh state academic opera and ballet theater named after abay (bakirova & kussanova, 2022), whose achievements have not yet been studied enough. the skills that choreographersperformers use on stage when performing kazakh folk dance are built on teacherschoreographers’ integration of their personal experience and achievements, which contributes to the development and training of young dancers. considering the fact that the performing skills of folk choreographers-performers are developing and improving, this topic requires more detailed study. therefore, the purpose of this research work is a theoretical study of the kazakh folk dance history, which traces the necessary experience and achievements to improve future choreographers’ choreographic skills in higher education institutions of the republic of kazakhstan. method the methodological basis of this article was the typological, historical metaliya kenzhetaeva et al., integration of experience and achievements in the development 55 hods, and thematic analysis of the used literature that studies the experience integration into the development of the performing skills of choreographers-performers in higher educational institutions of the republic of kazakhstan, as well as the history of kazakh dance, in terms of the achievements of choreographers and their personal experience in the teaching practice of choreography. ways and means of improving education based on the experience and achievements of previous generations of choreographers-performers and teachers of choreographic art are studied with a theoretical understanding of the history of the development of choreographic education in kazakhstan using historical and typological methods. the study of the integration of the experience and achievements of choreographers and choreographersperformers in the development of the performing skills of kazakh dance for future choreographers of higher education institutions of the republic of kazakhstan was carried out in several successive stages for systematisation and in-depth study of the given topic. during the first stages of the research work, the authors of this article collected and carried out a detailed analysis of the collected information, which increased the problem of studying the great experience and achievements in the development of the performing skills of choreographersperformers, which helped to systematise the main historic crucial points in the development of the kazakh folk dance performance. also, at the first stage of the work, the authors of the scientific study analysed the development stages of choreographic education in kazakhstan. at the same stage of the work, the most important stages in the development of the kazakh choreographic school were studied, as well as the basic principles according to which teachers train choreographers-performers who perform choreographic art. at the second stage of the scientific article, an analysis was carried out, according to which the accents were established in the study of the integration of experience and achievements in the development of future choreographers’ performing skills in higher education institutions of the republic of kazakhstan. also, at this stage of the work, the main basis for the development of future choreographersperformers’ performing skills was made through the thematic literature analysis. during this stage, studies were considered that helped to develop new trends in the development of professional choreographic education in higher education institutions of kazakhstan on the example of digital technologies introduction in the learning process of future choreographers of folk choreography. at the last stage of the research work, the authors summarised the results that were formed during the work on integrating the experience and achievements of choreographic art teachers into the development of the performing skills of kazakh dance in higher education institutions of the republic of kazakhstan. these results helped the article’s authors summarise the general study results. the results of this research work can be used to further expand the integrating topic of the experience and achievements of previous generations into the development of the performing skills of young kazakh folk dance performers in higher education institutions of the country. results and discussion due to the rapid growth of national identity, the return to its origins and history of its people, as well as its culture, the process of modern cultural development of the republic of kazakhstan began. taking into account the spirit of cultural reassertion, the specialists training in the field of national choreography has become one of the priority tasks of the choreographers-performers and choreographers’ professional training in higher education institutions of kazakhstan. folk dance as giving to the people is a monument of the country’s great past, which has saved an encrypted code in the movement plasticity harmonia: journal of arts research and education 23 (1) (2023): 53-6356 of (nurmakhamatuly, 2017). the process of development of kazakh dances as a cultural phenomenon is closely connected with the rich folklore of the kazakhstan people, in particular verbal folk, as well as musical works. due to the fact that the main features of the dance vocabulary were preserved in the kazakh culture, national leveling did not occur (sadykova, 2020). the original culture of kazakh folk dance requires teachers to correctly show the dance vocabulary, actively work in the classroom, develop a methodology for working with the accompanist, analysing the choice of suitable musical material, and creatively interact with the accompanist during the preparation and conduction of classes. national cultural traditions are enriched by the achievements of stage dance, which impacts the development of future choreographers’ performing skills in the process of studying at higher education institutions. there is no coincidence that in the methodology of kazakhstani choreographers: seleznev, abirov, raybayev, ayukhanov, tleubaev, baydaralin, and others, the need for studying kazakh folk dance noted to pay attention to the body setting, the positions of the arms and legs, the movements expressiveness, the technique of performing specific positions and movements of kazakh dance and body flexibility (karpenko & karpenko, 2018). by performing a folk dance on the stage, the body should be ready for its performance, and the choreographer-performer should practice it daily. despite this, some teachers do not agree with this because there is an opinion that in this way, the originality and individuality of the performance are lost. this idea is connected with the fact that since the demonstration of the population’s nomadic lifestyle is a distinctive feature of the folk dance style, this emphasises the folk identity in the dance. but constant muscle training is necessary to use the full potential of the choreographer-performer’s body. such training for the performer is daily training at the bar and in the middle of the hall at the classes. however, the practice of the educational process at higher education institutions of culture and arts shows that future choreographers’ performing skills in studying kazakh dance need specific recommendations that are not provided as far as they are necessary for the methodological recommendations of the choreography specialty. considering future choreographers’ performing skills in studying kazakh dance, let’s summarise the experience and achievements in modern kazakh dance schools’ development. the development of a professional national dance school in kazakhstan began in the 1920s of the 20th century, when mass, namely kazakh folk dance, began to develop (alyakrinskaya, 2014) actively. since there were no special schools for folk dance study, the art of dancing the kazakhs was supported in everyday life by individual and mass performances (kulbekova et al., 2016). dance groups performing folk dances were trained in a visual way, where the teacher showed the movements and the dancers repeated them. this is due to the fact that there was no systematised training in choreographic art as such. the next stage in the choreographic school improvement began in 1934 when the ballet department of the music and choreographic school was created under the direction of aleksandrov (martirosyanets). aleksandrov played a significant role in the education and training of national personnel in the professional choreographic performance area. his students are eminent honored artists and ballet masters of kazakhstan choreography: abirov, raybayev, ayukhanov, s. kusherbayeva, manskaya, malbekov, sarynova, tazhibayeva, ultanbayeva, akzhanov, asylmuratov, tulusanov, taganov, akbarova, as well as a galaxy of lead singers of theatre named after abay theater: simagina, vasilyeva, solntseva, krasnova, and many others. the third stage in the development of kazakh folk dance choreographers’ performing skills began in the 1950s of the 20s century, when the young generation aliya kenzhetaeva et al., integration of experience and achievements in the development 57 of kazakh choreographers who received pedagogical education in russia, namely in moscow, were the first ones who integrated gained experience and achievements in the development of dancers’ performing skills in kazakhstan. at this very stage, the national choreographic education system for young dancers of the republic of kazakhstan was created. educational institutions were opened where the discipline “kazakh dance” is studied separately: almaty choreographic school was named after seleznev, and in 1985 a specialization in choreography was opened at shymkent pedagogical institution of culture named after al-farabi (now m. auezov south kazakhstan university). the fourth stage in the development of choreographic education in kazakhstan began in the 1990s of the 20th century and continues at present (nikolaeva, 2012). choreography departments were opened in different cities of kazakhstan: in 1997, zhurgenov kazakh national academy of arts, a choreography department was opened at almaty choreographic school named after seleznev at abai kazakh national pedagogical university, at west kazakhstan arts institute named after dauletkerei (now makhambet utemisov west kazakhstan state university), in taraz, pavlodar, and others. the final stage in the development of professional education in kazakhstan is the stage of mass activity in the choreographer’s training of different levels and directions. in 2010, the faculty of choreography was opened at the kazakh national university of arts in astana; at this university, professional training was conducted in a multi-level system. however, in 2016 a new higher education institution was opened, the first one in central asia with a full cycle of multi-level professional choreographic education, the kazakh national academy of arts. this institution of higher education includes the education levels: primary, technical, and professional, higher (bachelor’s degree program), and postgraduate (master’s and doctoral programs). in addition, personnel training is carried out in the following specialties: “ballet dancer,” “dance ensemble dancer,” “directing,” “choreography,” “art history,” and “art management.” altynai abduakhimovna asylmuratova, people’s artist of russia, award holder of the state prize of the russian federation (2001), headed the kazakh national academy of arts. in april 2018, a kazakh dance research laboratory was opened at the academy, aiming to study kazakh folk dance. on the basis of the laboratory, in january 2021, the kazakh dance guidebook, developed by teachers of the academy of choreography, was presented. this project aimed to generalise and systematise the movements of kazakh dance to determine a single educational material for studying kazakh dance as a major course for educational institutions. implementing such a project is an important historical moment for the history of further development of kazakh folk dance. based on the experience of the formation and development of performing skills of kazakh folk dance, the authors will analyse this experience and achievements integration in the development of choreographers-performers’ performing skills. to master the performing skills of kazakh folk dance and implement their abilities by choreographers-performers during the training of choreographic art, the practice of educational training of performers requires clear recommendations on the complex performing development. but for the performer to understand their uniqueness, the following abilities for choreographic coordination are required (figure 1) ( yastrebova & yuryeva, 2016). figure 1. abilities of choreographers-performers for choreographic coordination for precise control of their body movements during the educational process harmonia: journal of arts research and education 23 (1) (2023): 53-6358 by mastering specific abilities, the choreographer-performer will be more productive and more accurate in performing the choreographic tasks set by the choreographer-teacher. performing skills in all choreographic disciplines are formed as a result of daily systematic, purposeful training. the quality of performing skills depends not only on the repetition of daily movements but also on the individual qualities of the individual, as well as the technical training of future choreographers. in order for the body to be prepared and be able to more expressively show movements and feelings during specific movements performance of the kazakh dance, constant muscle training is necessary. such training takes place in the process of classical training exercises at the bar and in the middle of the hall. kazakh folk dance consists of a big set of specific movements of the arms, and legs, types of moves, graceful female body bends, and fast and high male jumps, which the teacher should know thoroughly and pass them to future choreographers in the systemic unity of verbal delivery and practical demonstration. during the studying of kazakh folk dance, it is important to pay attention to the plasticity and flexibility development of female hands that adorn the dance and help reveal the content using plasticity, and therefore the teacher should correctly consider the combination and connection between the directions hands, and their smoothness and flexibility (zhumagaliyeva, 2022). however, attention should be paid to the teaching methodology itself, which is influenced by classical dance. a folk dance teacher should have a number of necessary skills that will ensure a successful work process, such as practical demonstration and performance techniques and work with an accompanist. for example, the performance of many moves in the kazakh folk dance methodically correct should be performed through the leg positions of a classical dance, or also specific hand movements should be performed through the hand positions of a classical dance. often there are movements of the legs on dance paws, the development of which occurs during the relief and training exercises for foot mobility. the movements of the female dancers are plastic; the inclinations and bends of the body during the dance performance are parallel to the floor, which requires training in body mobility and breathing endurance. the body set, the exact positions, and legs and hands positions during the performance of the movement, the performance expressiveness determine the level of the performer. therefore, teaching academic kazakh folk dance in higher education institutions of culture and arts is necessary. combining national wealth and classical dance as best as possible reveals the essence of a folk character through beauty and performance culture. thus, the development of future choreographers’ performance skills in studying kazakh dance is connected with the integration of experience and achievements in performing arts in the higher education institution’s practice. preserving the traditions of kazakh dance, its inner beauty, and its variety of specific movements, teachers help to learn it and develop performing skills using classical dance. the main methodological principles in the educational process of teaching kazakh dance are the education program, which is an integrated system of kazakh traditional culture, the unity of the emotional and conscious beginning of the performer, the deep content of the teaching methodology and educational material, a multi-level training system and system improvements with innovative methods. thus, the educational program will allow dancers to fulfill themselves in a creative direction, form an artistic performance, and understand plastic culture’s essence as a creative phenomenon. the director-choreographer also plays an important role in choreographic art because the individual vision of the worldview of the ballet master determines the director’s interpretation of the national kazakh dance following the dominant trends and development specifics of the aliya kenzhetaeva et al., integration of experience and achievements in the development 59 creative process itself (moldakhmetova, 2020). it is important to train and stimulate enthusiasm for choreographic art from an early age using accessible and understandable methods to involve more and more young talents in choreographic art (brown, 2022). in higher educational institutions of culture and arts of kazakhstan, kazakh folk dance is a major discipline in the specialty of choreography. performing activity is carried out during the lesson and takes place in several forms: performing exercises at the bar, performing training combinations, etudes of specific kazakh dance movements in the middle of the hall, performing dances from the golden fund of kazakhstan, concert performances. the study of the history and, in particular, the folklore of the republic of kazakhstan by researchers s. sh. tleubayev et al. (2019) allows stating that dances have accompanied the entire process of social development since ancient times, not only in kazakhstan but all over the world. it should be agreed because each country, with its traditions and culture, develops its dance fund during the course of history, as well as other cultural factors. the study of experience and achievements in the historical aspect produces its integration for the performing skills development of kazakh dance by future choreographers today. the work of other researchers of folk dance moldakhmetova (2018), where the dance movements of the baksy, that is, shamans, were studied, as an example of the kazakh art of dancing development, shows the judgment correctness that traditional dances are an inexhaustible treasure for folk choreography researchers. having studied dance movements in ancient drawings, scientists concluded that the phenomena experienced and gained developed concepts and ideas were fixed in the nomads’ minds and transformed into a drawing depicting the dance language. traditional choreographic art is part of the everyday and cultural activities of the kazakh people, its heritage, as well as the rhythm and melody of folk music, arts and crafts, oral poetry, language, rituals, and traditions. for the regeneration of kazakhstan culture, an important role is played by history, kazakh art as a whole of the whole people, as well as the implementation of the huge pedagogical potential of professional choreographic education in the republic of kazakhstan. due to the change in the value orientations of humanity, changes have also come to kazakhstan’s intercultural and social environment. it follows from this that new trends in the educational area of teacher-choreographers have undergone major changes. according to kasimanova (2017), in multinational kazakhstan teachers who teach choreographic art should pay attention to a person, prepare them for life and professional activities in a multicultural society, and exchange the values of these cultures. definitely, teachers who teach choreography, in particular folk dance, in higher education institutions of kazakhstan, first of all, should address the deep problems of the pedagogical craft, in particular, solve the professional activity problems with an individual approach. in turn, d. d. urazymbetov (2016) considers innovation and constant improvement by teachers and choreographers-performers of their art lead to innovative solutions. thus, choreographers move away from traditional interpretations of folk dance vocabulary into the philosophical depth of art. it should be agreed with the opinion of urazymbetov (2016) because it is the history of kazakh culture that provides a unique trail of nobility and valuable experience for folk dance performers. another researcher of the development process of kazakh folk dancers’ performing skills is a. i. kenzhetayeva (2021), who, in their work, where they studied the development of students’ performing skills in the process of studying kazakh folk dance, claims that the introduction to the educational process of the national kazakh choreography in higher education institutions of culture and art of classical ballet had a very positive impact on the development of both the kazakh folk dance itself and the skill of its performers. in harmonia: journal of arts research and education 23 (1) (2023): 53-6360 accordance with kenzhetayeva (2021), it is important to study the traditional dance of the kazakh people in synthesis with the established canons of classical dance. indeed, kazakh ballet using successes and failures in its interpretation, came to the unity of tradition and innovation in the dance-plastic characterisation of ballet images, and the masters of ballet art made a great contribution to the base development of the professional school of folk choreography of the republic of kazakhstan. based on the study of kazakh dance folklore by the former ballet dancer and ballet master d. abirov and ismailov “kazakh folk dances” (1961) and “history of kazakh dance” (abirov, 1997) the following conclusions can be drawn. abirov devoted themselves to a long-term study of kazakh dance; they draw attention to the fact that male and female dances are considered in the same category by the predecessors-researchers of kazakh dance. the study guide “history of kazakh dance” reveals the distinctive features of male and female dances, outlines the history of kazakh dance, and analyses the creative works of ballet masters and performers. but the main thing in their work is a description of the male movements methodology of kazakh dance. the male school of abirov is highly valued and used in all choreographic educational institutions of kazakhstan. dauren tastanbekovich also played a big role in the professional pedagogy development of choreography in kazakhstan; their initiative in 1987 opened a choreography department at makhambet utemisov west kazakhstan university. the invaluable contribution of abirov to the professional education of choreographers-performers of folk dances and their scientific works increased the development of professional choreographic education in kazakhstan. in the modern world of choreographic education, digital technologies play an important role in teaching the art of dancing, particularly folk dance. various teaching methods can be used to learn folk dances in the digital space. in turn, r. lucero (2021), in their work “effects of instructional materials in multimedia computer-assisted instruction in teaching folk dance” studied the transition from traditional methods of teaching folk dances to teaching using advanced technologies. the researcher believes that the technological development in teaching folk dances has helped many teachers create more accessible, innovative, and interactive teaching materials. indeed, the integration of technology into folk dance pedagogy can be an excellent methodology for encouraging students to learn optimally. many teacher-choreographers and performers have come to the conclusion that despite the physical distance from their international colleagues, the boundaries, as well as the categories they once seemed so obsessed with, may no longer have the same meaning. for the convenience of teaching online, future choreographers and teachers can use online platforms such as zoom, cisco webex, google class, panopto, etc. (heyan & martin, 2020). researchers nussipbekov, amirgaliyev, and hahn (2014), in their turn, in their work on kazakh traditional dance gesture recognition, have already developed a virtual kazakh folk dance gesture recognition system that can be used in dance evaluation systems. thus, dance education in kazakhstan has stepped forward to the latest developments. dance training has become even more productive and interactive using virtual reality. thus, relying on the latest developments and traditional dance with its history is integrated into modern society. in accordance with researchers a. kussanova et al. (2021) when creating a choreographic image, the choreographer themselves, choosing vocabulary for staging kazakh folk dance, should necessarily synthesise the movements vocabulary in accordance with the dance context and the performance accents themselves. experience and achievements integration in the development of performing skills for kazakh dance performance is based on the teaching principles: availability and reasonability when choosing the main aliya kenzhetaeva et al., integration of experience and achievements in the development 61 choreographic elements in choreography, combination and well-coordinated composition of the relationship of folk dance with musical accompaniment, song, literature, and fine arts, subtle perception of traditional folk compositions with modern compositions of the art of dancing. conclusions currently, kazakh folk dance plays a leading role in the theater repertoires of the republic of kazakhstan. thus, training young dancers is an important and fundamental task in the educational process of choreographic art. the integration of the gained experience and the achievements of previous generations into the performing skills development of kazakh dance in higher education institutions of the republic of kazakhstan guarantees the successful development of this art area. the article analyses the historical stages in professional education development in the choreographic art of the republic of kazakhstan. also, it analyses the integration of experience and achievements during the development of the educational process into the development of the performing skills of kazakh dance in higher education institutions of kazakhstan. summing up this research work, the authors consider the necessity of paying attention to the fact that the kazakh folk dance school has come a long way, in which the achievements and experience of many generations of the country’s choreographic industry have contributed to the development of professionalism and skills for future generations. in accordance with the results of the scientific study, it should also be noted that the methodological techniques of choreography teachers are valuable. it is important to adopt and use them when teaching new dance students. also, in accordance with the authors of the article, it is important to take into account the fact that the development of the educational process of choreographic art in the republic of kazakhstan has not ended; it is only gaining momentum, which increases the importance of further study of this topic. in the process of studying the integration of experience and achievements in the performing skills development of kazakh dance in higher education institutions of the republic of kazakhstan, the authors of the article consider the necessity of continuing the study due to the rapid development of choreographic education in the country and the world, as well as the active involvement of digital technologies in the process of teaching young talents the art of kazakh folk dance. future researchers should delve into the issue of digital technologies in the educational environment of choreographic art and analyse future developments in the dancers’ education area. references abirov, d. 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(2022). synthesis of national traditions in the stylization of kazakh dance: abstract for the master’s degree. saratov: saratov national research state university named after n. g. chernyshevsky. 415 teaching piano to blind children: an analysis of positive perceptions based on perma framework in qingdao, china jiang xin1, poon chiew hwa1, shelly cooper2, cheong ku wing3 1universiti malaya, malaysia 2university of nebraska omaha, united states 3usci university, malaysia submitted: 2023-03-30. revised: 2023-05-19. accepted: 2023-10-28 abstract blind children can benefit from music education as it enhances their musical skills and auditory abilities. however, blind children in china face challenges in pursuing music education due to issues such as social stigma and lack of qualified teachers. moreover, research in this area is lacking. on the basis of the perma (positive emotion, engagement, relationships, meaning, accomplishment) framework, this study attempts to identify the positive psychology of blind children’s piano learning among teachers, blind students, and parents. this study aims to to fill the research gap of piano learning among blind children. interviews were conducted with piano teachers, blind students, and their parents (n=56) using a qualitative research methodology through perma framework. the data identified that piano teachers’ instruction was influenced by their preparation of teaching and personal attitudes. findings also revealed that the positive emotion, sense of engagement, and positive relationships, impacted the accomplishment and achievement of all participants. this study demonstrates that teachers’ preparation experience and positive attitudes, engagement, and building rapport with blind children and their parents are crucial to promoting their piano learning. this study offers readers the chance to get insight into the field of piano instruction for the blind as well as illumination from thought and empirical support for piano teachers and music educators in inclusive music education in china. keywords: blind students; perma; piano teaching; positive perceptions how to cite: xin, j., hwa, p. c., cooper, s., wing, c. k. (2023). teaching piano to blind children: an analysis of positive perceptions based on perma framework in qingdao, china. harmonia: journal of arts research and education, 23(2), 415-428 harmonia: journal of arts research and education 23 (2) (2023), 415-428 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.43468 dies have shown that blind people have the ability to learn music. china has a considerable number of individuals with vision impairment, which comprises a significant proportion of the impaired population (kong et al., 2021). according to 2010 statistics from the china impaired persons’ federation, there are approximately 85.02 million disabled people in china, of whom 12.63 million have visual impairment and account for approximately 14% of the disaintroduction despite their visual limitations, blind individuals have a strong interest in their aptitude for musicianship (miller et al., 2000). when testing the perception of auditory space, eitan et al. (2012) discovered that the capacity of blind individuals to calibrate the hearing environment with one ear and both ears is equivalent to or better than that of sighted individuals. these stucorresponding author: e-mail: chiewhwa.poon@um.edu.my p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (2) (2023): 415-428416 bled population (kong et al., 2021). the low incidence of schooling among blind individuals limits their ability to study music. feng and sass (2013) discovered that chinese instructors with poor ability and limited passion had more unfavorable perspectives on inclusive education and professional development for students with special needs. faced with the needs of blind students for piano learning, research in this field cannot be ignored. this study attempts to fill the researchgap and broaden the scope of research in the area of the teaching and learning of piano among blind children. this study intend to explore the innate relationships that piano teachers have experienced while instructing blind students, to provide insight and assistance to teachers, students with special needs, and parents. utilizing the perma model to evaluate, enhance, and maintain the foundations of psychological well-being of those who are blind is supported by madeson (2017). the five elements of the perma model include positive emotion, engagement, relationships, meaning, and accomplishment. music instruction for children with visual impairment can be complicated due to nonstandard instructional materials and unprepared educators (wong, 2020). through perma analysis (doyle et al., 2021), this research aims to discover the positive psychology of blind children’s piano learning among teachers, blind students and parents. hence, this article’s research question is as follows: based on the framework of perma (positive emotion, engagement, relationships, meaning, and achievement), what is the positive psychology of blind children’s piano learning from the perspectives of instructors, blind students, and parents? although many countries and regions have introduced policies and measures to promote inclusive education within the past few decades, the development of inclusive classroom practice is not easy to achieve (göransson & nilholm, 2014). slee (2018) proposes that inclusive education means maximizing students’ participation in learning. the purpose of inclusive teaching method is to solve the dilemma of physical and bodily differences. this teaching method can be used by all people (spratt & florian, 2014). furthermore, moriña (2020) and hawkins and weis (2017) discussed differences between the three concepts of inclusive education, inclusive practice and inclusive teaching method. the purpose of inclusive education is to provide common education for all children. inclusive practice refers to the actions and activities taken by professionals in schools and other educational environments to achieve inclusive education (florian & rouse, 2009). inclusive education is intended to eliminate barriers and discrimination. lindsay (2003) believes that because inclusive education has various manifestations in practice, it is necessary to account for conceptual and practical issues as well as the relationships between field during implementation. messiou (2017) emphasized that inclusive education research should focus on changing existing thinking and practice models through a collaborative approach. in addition, researchers frequently concentrate their focus on the roles performed by educators in inclusive instructional strategies. similarly, forlin (2001) believes that teachers need a series of skills, attitudes and knowledge to develop inclusive education. spratt and florian (2014) proposed a model of inclusive teaching methods, focusing on the content, methods and reasons for teachers to engage in inclusive teaching methods. receiving music education is the right of each individual. the availability of music as a participatory activity (beyond passive exposure) in inclusive education guarantees it is a human right and a disability right (lubet, 2011). jellison (2012) noted the consideration of definitions and practices between and within countries largely involved disabled students receiving education from non-disabled students in formal schools and community experiences. darrow and adamek (2018) listed effective music teaching strategies in inclusive classrooms, which are conducive to teachers’ jiang xin et al., teaching piano to blind children: an analysis of positive perceptions 417 ability in adapting adjustments in the environment, teaching, or teaching materials to improve students’ classroom performance. in spite of the progress we have made in the understanding of inclusive education, a significant portion of such an awareness has yet to permeate the everyday inclusive musical education that is catered to blind children. there remains a substantial research gap with what academics understand the emotional conditions in piano classes and the extent to which are effective approaches to reach inclusive musical education for blind children. such incapacity to connect the gaps across the theory and actual inquiry has a negative influence on the progression towards inclusive school education and the capability of musical instructors to cater to the needs of blind students. in the present study, the emotional factors that facilitate the transition of academic knowledge into implementation of inclusive musical educational environments were further investigated. to understand how these blind students perceive their musical education in the classroom, this current study employed the perma framework developed by martin seligman (m. e. seligman, 2002). among the first psychologists to explain well-being of humanity using the traits of a self-actualized individual was maslow (1962) with his hierarchy of needs. the perma framework has been utilized in positive psychology, and specifies the qualities of a thriving person; well-being theories are related to self-actualization (clonan et al., 2004). in perma theory, the “p” represents positive emotion, “e” refers to engagement, “r” represents positive relationships, “m” represents meaning, and “a” refers to accomplishment or achievement (madeson, 2017). the objective of this research was to understand the stakeholders involved in blind children’s piano educational processes, including the teachers, students, and their parents. the perma analysis model is one of the major contributions of positive psychology’s comprehensive psychological approach to comprehending human relationships. positive psychology (ps) is a collection of concepts concerned with the development and structuring of psychological elements within a broader social structure (anglin et al., 2018). it is “a science of positive subjective experience, positive individual traits, and positive institutions that promises to improve quality of life and prevent the pathologies that arise when life is barren and meaningless” (seligman & csikszentmihalyi, 2014, p.5). due to the increasing interdisciplinary of music education research, music education is also intimately related to psychopathology (houben et al., 2015; thomson et al., 2014) but also how their feelings fluctuate across time is crucial for psychological health. the last 2 decades have witnessed a surge in research linking various patterns of short-term emotional change to adaptive or maladaptive psychological functioning, often with conflicting results. a meta-analysis was performed to identify consistent relationships between patterns of shortterm emotion dynamics—including patterns reflecting emotional variability (measured in terms of within-person standard deviation of emotions across time. music has cognitive, emotional, and social benefits for everyone. music’s social functions are embodied in daily life in three primary ways: self-identity, interpersonal interaction, and emotional regulation (hargreaves & north, 1999). in addition, the application of music psychology plays an important role in teaching activities for music educators. music psychology is a multi-disciplinary and interdisciplinary study of music phenomena. hodges (2003) proposed that discussing the relationship between music psychology and music education is necessary. while most previous studies have explored the frequency of children’s educational circumstances in inclusive education, there remains a scarcity of knowledge on the positive psychological levels of music educators, blind students, and their parents. children with visual impairments have far fewer opportunities to attain a professional level of piano instruction. harmonia: journal of arts research and education 23 (2) (2023): 415-428418 thereby, the results of the current research offer fresh insights on blind children’s perceptions in piano learning practice and provide insights for policy-makers who help reduce inclusive music education disparities. there are existing research gaps in the literature regarding inclusive education and positive psychology; therefore, in this study focused on inclusive education and positive psychology to discover the issues and difficulties that chinese piano instructors experience while educating blind piano students. method this research aimed to understand the stakeholders involved in blind children’s piano educational processes, including the teachers, students, and their parents. this research conducted semi-structured interviews with the piano instructors of blind children between the ages of 9 to 12. according to dearnley (2005), openness in semi-structured interviews fosters profundity and vitality, which is favorable to the formation of innovative theoretical conceptions. this increases the efficiency of the research by assisting with the collection of rich data for analysis (doody & noonan, 2013). in addition, semi-structured interviews enable discovery, exploration, and meaning expression, ensuring that complexity and subtleties are considered (magaldi & berler, 2020). data collection and analysis procedure the study was completed at the qingdao school for the blind which was established in 1932 and located in qingdao city, shandong province, china. the participants included teachers (n =22), students (n =17), and parents (n =17). this study was conducted after obtaining the consents from all the interview participants. the interview questions were constructed based on perma and its related areas of social well-being and psychological contentment. interviews were conducted at the teaching site, for a reasonably peaceful environment devoid of disruptions (creswell et al., 2007). this research created an interview protocol, following the code of ethics for qualitative research methodology. each participant was interviewed for approximately thirty minutes, which was conducted with the help of their parents for interviews with participating students and using the semi-structured interview guide questions and suggestions for follow-up. the emphasis of the interview was to discover the teachers’ teaching circumstances, perspectives, and attitudes about the piano learning of blind children. the data analysis of this study is based on the approach of deductive thematic analysis. thematic analysis is flexible and can be applied to a wide range of research interests and theoretical perspectives to analyze data of different sizes and types or to generate data-driven or theory driven analysis (braun & clarke, 2006). this research read and organized the data obtained from each interview and then coded the data. finally, analytical narratives were formed based on the obtained data extracts and combined with the existing literature (braun & clarke, 2006). all interviews were transcribed, coded, summarized, and analyzed according to the classified data. results and discussion positive emotion (p) a majority of participating teachers mentioned their concerns about piano teaching for blind students. the teachers without prior teaching experience with blind students worried that their lack of experience would adversely affect students’ learning. however, when they began their teaching careers, they remarked that they are fully motivated to teach with great enthusiasm, especially when they realized their responsibilities and contribution to the blind students. a participating teacher expressed the following: when i first taught blind students, i was not confident... however, i do believe that they have equal rights to undertake music education, particularly the piano. jiang xin et al., teaching piano to blind children: an analysis of positive perceptions 419 thus, i have a strong passion for teaching them in the classroom. (t4, 2021) several participating teachers expressed that they felt encouraged as the students demonstrated a high interest in piano learning despite their disabilities. participating teacher expressed genuine enthusiasm as follows: surprisingly, i was pretty impressed by the students’ willingness to acquire new knowledge and piano skills as well as their innocent smiles. i believe their struggle to overcome current learning obstacles is due to their enthusiasm for uncovering the beauty of music. (t7, 2022) some teachers held a positive attitude and regarded students who were blind or visually challenged has no different than other students; others believed these individuals had superior auditory abilities in music learning that could be transferred to the piano. i think they (blind students) can learn piano completely...music is an art that relies mainly on auditory learning. (t2, 2021) similarly, this optimistic outlook can influence the psyche of blind students and their parents. some students and parents said that the teacher’s frequent praise made students feel extremely joyful and increased their desire to play the piano: if i finish my homework well, i will receive praise and small gifts from my teacher every time i attend class, so i always practice hard at my usual time. (s12, 2021) every time the teacher praises her in class, i feel that she will be particularly happy after class, and she will also be particularly attentive when practicing at home. (p6, 2021) parents said the instructors’ encouraging approach boosted their determination to allow their children to study the piano. this attitude often occurs before meeting the student or in the early teaching stages. in the beginning, i had no expectations for my child’s piano learning. i felt that he was definitely not as good as other visible children. it was the teacher’s encouragement that gradually dispelled this idea. (p16, 2021) relationships (r) it was identified in the interview that the relationship between piano teachers and blind students at the early stage of teaching was relatively distant. the participating teachers and parents attributed this phenomenon to the students. they thought the visual defect could affect their ability to effectively communicate. when talking about how to improve the relationship between blind students and teachers, piano teachers said that they would design some games in the classroom to build a closer relationship between them. the interview data demonstrated that some teachers are highly compassionate in trying to have a closer relationship with their students despite of their disability. i feel that i am particularly serious about him, and i think i should help him, so whether it is in learning the piano or in life, if he has any problems, i will do my best to help him... (t17, 2021) many participating teachers said that they believed that the best relationship with blind students was to be a teacher and a friend. in addition, the parents of blind children acknowledged that the excellent relationships that developed between instructors and their children’s schools were advantageous. some parents believe that maintaining a good relationship between teachers and students can relieve their children of tension. the students also said they liked the teacher very much, making them more willing to learn the piano. my child is a bit afraid of unfamiliar environments and people, but the teacher is particularly friendly, which made my child relax and quickly enter a learning state. (p5, 2021) i like my teacher very much, which makes me feel like she is my good friend. even if i make a mistake, she doesn’t seriously criticize me. (s10, 2021) the interview with a group of children with visual difficulties also revealed the favorable impact of amiable relationships among the piano educators, blind children, and their parents. the reharmonia: journal of arts research and education 23 (2) (2023): 415-428420 sults indicated that music educators are vital for students’ involvement because their instructional approaches are geared towards satisfying the students’ aspirations for piano expertise and belongingness. for instance, one interviewee shared the following opinion in this research during the interview conversation: if the kids were exposed to some positive interactions with us, they would also experience a positive communication environment. our high levels of engagement are particularly evident and needed by the students and their parents. thus, as their instructors, we would be facilitating these visually impaired children to be more engaged in positive relationships with us. (t16, 2021) engagement (e) engagement in the perma framework is also reflected in the piano teaching of blind students as participation is naturally reflected in the classroom. because of blind students’ visual impairment, teachers utilize touch and body language as the main method for teaching blind students. for example, some piano teachers involved touch in teaching basic skills, such as hand position, strength of sound, and different key-touching methods. during the teaching process, the piano teacher stated that this tactile teaching method increased their interaction with students and promoted their sense of participation. most of the time, our teaching methods are mainly based on touch and imitation. i need to constantly teach the whole class through touch... (t19, 2022) after class, the teachers help their students with other extra-curricular content related to piano learning. for instance, braille-related material. however, due to the lack of teaching resources, teachers must adapt current teaching tools and learning materials in order to properly teach blind students. at present, there are no piano textbooks for blind students, so i can only readjust the existing textbooks for sound students to adapt to the learning of blind students; for example, i will eliminate the parts that need to be learned through vision. (t11, 2022) teachers’ active participation also promoted parents’ and blind students’ sense of participation in piano learning, and they became more active in it. i feel that the teacher is very enthusiastic every time and will still leave a lot of time to communicate with me after class. at the same time, she will also help me purchase some materials related to blind music learning. this gives me more confidence to keep my children learning the piano. (p8, 2022) my instructor will assist me in locating some fascinating pieces, such as a piece of music that requires four hands to perform and playing with my teacher. when they play with me in class, it always makes me extremely happy, and i look forward to it. (s13, 2022) meaning (m) most piano teachers said that they felt that teaching piano to blind students was of great significance to their careers. teachers who participated in the interview stated that when they taught blind children, they gained a new and deeper understanding of the blind population. some piano teachers said that they had some new thoughts in the process of teaching blind students, which are very beneficial to their future teaching ability and innovation of teaching content. i have reconsidered the scope and content of my teaching. i think that in the future, maybe i can let more disabled students learn piano and let them experience the joy of music... (t14, 2022) at the same time, piano teachers believe that their professional values have been further reflected in the process of teaching the blind. they believe that the “sense of mission” of their profession has been strengthened in the teaching process, which has injected more “vitality” into their teaching activities (t20, 2022). in addition, participating teachers also said that they had a “sense of responsibility” for blind students in the process of teaching them. this sense of responsibility may be caused by their own physical condijiang xin et al., teaching piano to blind children: an analysis of positive perceptions 421 tions. this sense of responsibility also puts pressure on participating teachers (t18, 2022). many participating teachers mentioned that they feel the pressure of teaching. this pressure comes first from the lack of experience and teaching materials. during the interview, many participating teachers are “distressed” by both. secondly, their pressure comes from their parents’ “expectations” of teachers. i will feel really obliged to teach these blind kids, because i want to teach them well so that their parents will feel very relieved that their children can do many things like ordinary children. (t9, 2022) accomplishment (a) the interview session revealed that most instructors favor including students with disabilities in piano learning. they have broken through their original unfamiliar understanding of blind students, which has created a psychological sense of achievement for teachers. the study results illustrate the meanings that reside in the guarantee of equal educational opportunity. however, most participating teachers stated their understanding of blind students as unfamiliar, which affected their outlook and caused some teaching obstacles. however, as teaching results emerge, they are proud of their efforts and the performance of their students. i have never interacted with blind people, which led to a lack of understanding before formal teaching began. but later on, i found that he was getting better and better, and the previous strangeness completely disappeared. now that he can play the piano works, i realize that i made the right decision (teach him). (t10, 2021) the participating teachers said a sense of achievement occurs when the blind students complete the designated shortterm goals. usually, these small goals are formulated by piano teachers after communicating with the parents. the participating teachers believe these intuitive goals will help blind students learn piano and create interest in learning and practicing piano. when my student achieves a goal, he will be very happy and feel his enthusiasm for learning the piano has become higher. observing their enthusiasm, we, as their music instructors, are far more motivating (t7, 2021) every time my child achieves a goal, i can feel the teacher’s special joy. she often tells me that if my child can engage in related work in the future, it will prove that she has achieved something. (p3, 2021) in summary, the data analysis revealed that chinese piano teachers have an inclusive and positive attitude towards teaching blind students, but also experience pressure. lack of teaching resources and materials combined with parents’ expectations resulted in teaching and psychological pressure. however, they gained confidence and a sense of achievement during the teaching process. in addition, their passion and sense of responsibility towards the blind students were apparent. abramo and pierce (2013) concluded that early research on music teaching for special groups focused on modifying music teaching to disabled students. its purpose was to describe the unique needs of special learners, formulate terminology, strategies to cultivate group diversity, specific teaching methods, and curriculum planning methods while promoting strategies to reduce the learning gap between disabled and their piano teachers. pino and viladot (2019) stated that educators must adjust their activities and find appropriate strategies to provide information to students. mastering a piece of music is not merely copying or imitating the sound heard in a recording but deciphering and interpreting the detailed symbols in the musical notation. for this reason, park (2015) held that students with visual impairment must use braille music as a substitute for visual input, although it is not the best medium to represent music signals. many students with visual impairment think braille is a difficult medium to learn; it takes longer to process, and there are difficulties in obtaining braille sheet music (baker & green, 2016). harmonia: journal of arts research and education 23 (2) (2023): 415-428422 the perma framework, introduced by positive psychologist martin seligman, delineates five fundamental components of happiness: positive emotion, engagement, relationships, meaning, and accomplishment (seligman, 2011). the perma framework is widely regarded as being intimately associated with human well-being (goodman et al., 2018; kern et al., 2015seligman, 2018). the findings of this study demonstrate that piano teachers exhibit a favorable disposition and active engagement when instructing visually impaired pupils in piano lessons under the perma framework. these positive teaching emotions significantly enhance the parents’ and students’ excitement for learning, hence fostering students’ academic advancement and achievement. numerous past studies have utilized the perma framework to investigate impaired individuals or students, hence playing a crucial role in examining the development of happiness among disabled students (nebrida & dullas, 2018; zuma, 2019). using the perma framework, tansey et al. (2018) discovered that pleasure plays a moderating role in the connection between functional impairment and learning satisfaction. the researchers analyzed and discussed each component of the perma framework per the following research findings. first, in this study, the positive emotion (p) demonstrates that the majority of those who participated in the interview expressed their optimism and enthusiasm regarding the piano instruction of blind students. instructors with a wealth of expertise instructing blind children have claimed that their experiences would facilitate the children’s ability to master the piano. when they first began working as teachers, they remarked that they are incredibly excited to teach since they are keenly aware of the obligations that come with the position. this kind of positive emotions helped the enhancement of instructorstudents relationships. previous studies have verified that within the perma framework, instructors’ favorable sentiments toward interactions with learners serve as the origin of their professional well-being (lagina et al., 2022). kossewska (2000) also found evidence supporting the result. she observed a favorable correlation between the level of empathy teachers displayed and children’s positive attitudes towards educational integration for those with impairments. turner and theilking (2021) employed the perma test to ascertain the beneficial influence of teachers’ positive teaching emotions on both teaching methodology and student academic progress. this aligns with a notable surge in the utilization of positive psychology techniques in professional environments to enhance overall well-being. second, the engagement (e) element indicated that when teachers were involved with their students’ piano education, both parents and blind students experienced engagement as well, and both groups were more devoted. teachers take part in the search for instructional resources and participate in the teaching process. this facilitates their piano learning, encourages parent and blind student involvement, and increases their level of involvement. children’s self-esteem, motivation, and enjoyment are improved with parental support as well as teacher input and influence (mcpherson et al., 2006). the findings also indicate that high teacher engagement contributes to increased student and parent engagement. previous research provides support for this result. using the perma framework, cardwell (2011) discovered that strong teacher involvement improved student progress and encouraged parent involvement as well. in addition, thang and mahmud (2017) asserted that student involvement is a significant factor in evaluating teacher effectiveness and teacher engagement. however, this study could not find evidence supporting this claim. third, the relationships (r) show in the current study indicate that the use of games and active interaction in the classroom have reduced the distance between instructors and students, piqued their interest in learning the piano, and increased jiang xin et al., teaching piano to blind children: an analysis of positive perceptions 423 student engagement. according to lasky (2005), developing positive relationships with teachers helps students become more interested in studying and encourages the process of learning. it also helps the teaching process to move along smoothly when teachers act as friends to their students. dewey (1986) believes that teachers have a very active part in their interactions with and instruction of their students. additionally, the interaction between teachers, students, and their parents has improved as a result of learning the piano. parents have more trust in teachers and more support for learning the piano. macmillan (2004) stresses the significance of the relationship between teachers and parents, which is conducive to promoting piano learning. this study demonstrated that positive interaction relationships play a crucial role in enhancing teachers’ instructional practices and fostering students’ engagement in learning. in their study on perma, lee et al. (2017) also emphasized the role of relationships in their research on perma. cooperation and partnership among teachers, students, and parents are considered crucial aspects of music education. they feel that fostering relationships in music lessons can not only strengthen students’ abilities but also have a positive impact on their emotional well-being. fourth, the meaning (m) indicator can be improved by teaching blind piano to teachers. a feeling of meaning can be characterized as possessing a purposeful trajectory in life, harboring the belief that one’s existence holds significance, and establishing a connection with a higher entity outside oneself (steger, 2012). according to goh et al. (2022), meaningful interactions and positive relationships majorly mediate the road from happy emotions to achievement. significance serves as a more potent intermediary than good connections. nevertheless, the findings indicate that participating teachers have had initial challenges in their teaching due to a limited comprehension of the expectations of blind pupils and their parents. fimian (1986)371, and 371 found that peer or supervisory support can be the key to regulating teacher stress. piano teachers also feel a sense of professional mission and identity from teaching blind children. pursuing specific career goals is crucial in developing a professional identity (moore et al., 2020). some participating teachers provided more in-depth thinking. they said that teaching this student population changed their views on blind students and other disabled students. it is the moral responsibility of educators to identify, confront, and change the oppressive views of the disabled through adult education (mclean, 2008). the study’s findings indicate that the act of teaching elicits a sense of responsibility among teachers and generates pressure associated with teaching. nevertheless, most of the prior research focused on the concept of happiness. kern et al. (2015) examined the perma model’s impact on adolescents. they discovered that, apart from the meaning domain, all four domains (positive emotions, engagement, relationships, and achievement) played a role in fostering happiness and other significant aspects of life and variables related to health and mental wellbeing. this observation was not mirrored in this investigation. hence, it is advisable to thoroughly examine this topic in the future to assess the significance of its components more accurately in the instructional process of piano teachers with visually impaired students. finally, the findings indicate that teachers’ sense of accomplishment (a) is derived from the act of teaching. in the perma framework, the experience of achievement encompasses the feeling of exerting effort to attain a goal, attaining mastery, and demonstrating efficiency in job completion (butler & kern, 2016). educators are responsible for providing accurate information to students and are proud of being a reliable source of information (taylor & pacini-ketchabaw, 2015). the participating teachers said that after their blind students achieved the predetermined interim objectives, they felt a sense of acharmonia: journal of arts research and education 23 (2) (2023): 415-428424 complishment. zimmerman (2018) stated that teachers gain the satisfaction of being completely engaged in their profession when their identity development enables them to practice using their personal talents. hodge et al. (2009) found that they mostly assist students in succeeding out of a sense of accomplishment and satisfaction. nevertheless, their opinions on how simple or difficult it is to teach students who have disabilities vary. this research is consistent with the teachers’ viewpoints on instructing visually challenged pupils in piano lessons, as observed in this study. based on the findings, it seems that piano teachers derive their sense of achievement mostly from assisting special needs students in acquiring piano skills. the current research findings offer conclusive answers regarding the sense of accomplishment derived from instruction, specifically in terms of students’ improvement in piano playing skills. hence, it is imperative to delve further into this matter in future investigations. conclusions the results finding revealed that participating teachers actively engaged in piano lessons for blind children, fostered positive student-teacher interactions, met learning objectives in lessons, and had a feeling of purpose and accomplishment. this study investigated piano learning of blind children in china using the perma framework (positive emotion, engagement, relationships, meaning, accomplishment) in positive psychology. this research examined chinese piano instructors’ professional preparation and emotions to discover the problems and obstacles encountered while instructing blind children. the findings revealed that piano instructors lack suitable teaching expertise, tools, materials, and resources for working with blind students. nonetheless, they have a supportive and responsible attitude toward the blind children and better teacher-student connections through classroom communication. this affirmative mood enhances the caliber of instruction. furthermore, it enhances instructors’ sense of achievement and accountability in the instructional process, which in turn leads to increased teaching pressure. although blind groups are identified as a special population, they should have opportunities to enjoy learning piano. this will only occur if teachers are provided with needed resources and have a positive outlook. teachers are responsible for providing all students with appropriate teaching resources, comprehensive preparation, and responding to individual learning needs. the authors hope that this study can promote further research on piano teaching for blind students and other special needs groups. this study assists teachers in removing obstacles for blind students in their classrooms and assists in dispelling prevalent myths and misunderstandings about this population. this research gathered and evaluated the data on instructors’ preparation in the teaching process of blind students. some piano teachers had a negative attitude towards blind pupils at the beginning of this study. this research hopes these teachers’ experiences will instill confidence in future instructors when teaching piano to blind pupils. at the same time, the results of this research provide guidance to educators on how to avoid perpetuating negative stereotypes about blind children. the perma framework is seen as a model that promotes human well-being and augments happiness. the current research focuses on investigating the readiness and mindset of piano instructors in educating visually impaired students using the perma framework. further investigation and experimentation are needed to address the underlying challenges that blind individuals will encounter when studying piano in the future. prospective researchers have the option to employ qualitative or quantitative methodologies for gathering and examining data from piano instructors who teach visually impaired students. conducting studies encompassing diffejiang xin et al., teaching piano to blind children: an analysis of positive perceptions 425 rent geographical regions and involving greater sample numbers is recommended. furthermore, expanding research on piano education for individuals with visual impairments is imperative to encompass the realm of inclusive education. this approach fosters the dismantling of obstacles and divisions among individuals, while also advancing educational fairness. simultaneously, research in the domain of music education psychology can enrich this research area. the perma framework could be utilized to examine the psychological and emotional challenges faced by visually impaired pupils during the learning process. further investigation is required in the future to address the pragmatic challenges encountered by visually impaired children when acquiring piano skills. these additional investigations on piano instruction for visually impaired learners will contribute to ensuring equitable access to piano education. references abramo, j. m., & pierce, a. e. 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[thesis]. https://researchspace. ukzn.ac.za/handle/10413/19279 172 sundanese traditional tone sensitivity-based audiation model of salendro musical scale diah latifah faculty of arts education and design, universitas pendidikan indonesia, jalan setiabudhi no. 229, isola, sukasari, bandung, jawa barat 40154 e-mail: diahlatifah@upi.edu received: october 1, 2016. revised: december 4, 2016. accepted: december 11, 2016 abstract this study is aiming at finding out the audiation model of salendro musical scale and teaching it to the non-sundanese learners. treatment done to the learners whose hearing sensitivity has not been familiar with salendro tone during the audiation practice. a method implemented in the study was grounded theory. it was used to explore initial audiation theory from edwin e. gordon in syntax learning sequence in music that was adjusted with learning stages of salendro tone. this study resulted in an audiation model of salendro tone to sharpen hearing sensitivity of non-sundanese learners who had not been familiar with salendro tone. keywords: audiation learning stage; salendro learning stage; salendro model learning stage; salendro tone mastery how to cite: latifah, d. (2016). sundanese traditional tone sensitivity-based audiation model of salendro musical scale. harmonia: journal of arts research and education, 16(2), 172-181. doi:http://dx.doi.org/10.15294/harmonia.v16i2.7542 harmonia : journal of arts research and education 16 (2) (2016), 172-181 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v16i2.7542 p-issn 2541-1683 e-issn 2541-2426 is believed that the learning sequences of audiation have a power to familiarize the sensitivity of their hearing with salendro tone, since audiation is defined as dictionary of words that creates sentences of music, chord, modulation, and various events in grammatical music, which is conducted through the sequences of learning syntax learning sequence. gordon (2011, p. 10) in latifah et al (2016, p. 10) reveals “mind is basic dictionary of hearing in language, that creates words to explain dictionary of hearing which is audiation, the listening skill, interpret the music, when the sound is not physically heard or unreal “. edwin e gordon’s audiation grand theory is one of the sequences of learning patterns which is used to imply the language of sound in this case the tone or in western tradition music, called the tonality. woodford (1996) states “there can be introduction the learners were equipped with audiation of salendro tone since we found that some non-sundanese or javanese, and balinese students have not known salendro tone and never listened to it. six students or learners whom we equipped with salendro tone were from papua, nusa tenggara, maluku, south sumatra and also north sumatra. this problem was handled by providing a sense or feeling of salendro through the learning sequences based on the sensitivity of tone or one of sundanese tone languages. those who have never listened to the salendro tone had difficulty in following the learning process of understanding tone since the sensitivity of their hearing is unfamiliar with the sound of salendro tone. why learning sequence skill of audiation activities was carried out? it diah latifah, sundanese traditional tone sensitivity-based audiation model of salendro... 173 no denying that edwin e. gordon has made important contributions to the field of music education in the areas of music aptitude testing and music learning theory”. from this point of view, gordon’s theory contributes significantly to the field of music education in the areas of musical aptitude testing and music learning theory. audiation is one grand theory dealing with implying, strengthening, familiarizing language of sounds, which are tonal sense, sense of rhythmic or rhyme, rhythm and its pattern, sense of melody, through processing of musical sense, perception of music activities called audiation. the audition was conducted through the sequences of learning with the sequence tonal learning headline. woodford (1996) restates “gordon’s music learning theory is premised on a number of assumptions about the nature of musical learning, the first being that musical thinking and learning depend on the ability to “audiate” or image, tonal and rhythmic patterns internally. from the opinion above, it is stated that gordon’s music learning theory is based on arguments in the nature of musical learning, and the initial that musical thinking and learning depend on the internal skill to audiate or image, tonal and rhythmic patterns. this explanation clarifies that audiation is like science that constructs patterns of musical language from musical letters or tones that will form rhythmic or tonal grammatical music. furthermore, gordon (1980) in latifah et al (2016, p. 10) tells audiation of the basic elements of music precedes, though it is further developed in conjunction with, the descriptive and interpretive explanations of the basic music elements, which means audiation of the primary matters of music preludes, despite of collaboration of the descriptive and interpretive clarifications of the basic music matters. audiation activities according to gordon written in the dissertation of christian (2011) (in latifah et al (2016, p. 11) says, there are several kinds of audition activities, such as: • we audiate when we listen to music for syntax or its rhythmic patterns • we audiate when we read notation and listen to what we read, with or without making a sound of music • we audiate when we write music from dictation • we audiate when we recall music from past • we audiate when we write music from what we recall • we audiate when we improvise abruptly • and we audiate when we write music we have created or improvised salendro tone teaching was conducted from the initial process of implying sundanese traditional aesthetics based salendro tone. the teaching model of sundanese traditional aesthetic based salendro tone will be assessed in accordance with the audiation theories which are the learning sequences of familiarizing sense of tone, rhythm and other basic musical elements that form music in line with its style. audition as the sequences of learning process has tonal learning sequence or named by the inventor as learning sequences in music, and this learning sequence is broken down into a skill learning sequence with orders as follows: gordon (1980) in latifah et al (2016, p. 14). aural and oral are the most basic activities which are familiarizing sense of tone through hearing sensitivity and also applied to singing activity. in oral and aural activities, there are sequences of generalization and creativity/improvisation. generalization sequence is where the learners of tone and rhythmic sensitivity learn the fundamentals of music about tone, in this case western tonal law, in which once the tone is recognized, it is voiced. next, creativity and improvisation which are creative processes of improvising by singing without verbal association. verbal association is an activity in which someone learns to name a tone, major, minor, from tones or series of tones, for example, in the range of tonality of c major there are vocabulary such as c, d, harmonia : journal of arts research and education 16 (2) (2016): 172-181174 e, f, g, a, b, c, or we may use other vocabulary in fixing terms such as, do, re, mi, fa, so, la, to do, or even with numbers like 1, 2, 3, 4, 5, 6, 7,... and so on. in addition to tone vocabulary, there are chords like major, minor, diminish and augmented. in terms of keys to determine where the tone should be written in staves we know the g, f, c keys, etc. table 1. syntax learning sequence for audiation aural/ oral generalization aural/oral creativity/improvisation aural/oral (without verbal association) verbal association generalization verbal creativity/improvisation aural/oral theoritical understanding aural/oral-verbal partial synthesis symbolic association reading-writing generalization symbolic creativity/improvisation symbolic composyte synthesis reading-writing generalization aural/oralverbal-symbolic creativity/ improvisation aural/oralsymbolic theoritical understanding aural/oralverbal-symbolic in the rhythmic field, we know, duplet, triplet, quarter note, whole note, half note, sixteenth note, thirty-second note and so on. it is necessary for learners to learn the verbal association to recognize tone, its form and the name of what is written or drawn. in verbal association activity, there are three stages of learning, that is generalization-verbal, creativity/ improvisation-aural/oral,theoretical understanding-aural/oral-verbal. in this learning stage, we implemented only no. 1 activity because the audiation of salendro tone we provided was the most basic one. we, as the researchers have not equipped the learners with the creativity and theoretical understanding stages since the learners whom we taught are beginners who have just known salendro tone. it has been recognized that the process of learning audiation based on sundanese tone sensitivity has distinctive learning sequences, in accordance with the introduction of tone tradition applied. also, there were some differences detected in introducing sundanese salendro tone compared to western tonal learning sequences. the learning sequence based on a sense of sundanese tone was studied as audiation process, to equip non-sundanese learners with salendro tone sensitivity. according to yunus and subadio (1985, p. 89) in latifah et al (2016, p. 15-16), laras or tone is stated as “another meaning of laras is “tuning system”, in javanese gamelan, we have two kinds of main laras, the pelog and slendro laras”. laras in the context of javanese traditional music according to widodo (2015) is (1) laras as the scale designation of sléndro dan pélog; (2) laras refers to tones in sléndro and pélog; (3) laras in nglaras gamelan, the laras manufacture or repair in gamelan; (42) laras in leres, diah latifah, sundanese traditional tone sensitivity-based audiation model of salendro... 175 rempeg, and laras as the parameter to measure the sense quality of karawitan which is developed in garap and gending performance in this study, the term laras or the tone used was taken from points 9 and 10 in which it states that laras is the direction and goal of pelog and salendro scales and tuning system in salendro and pelog. according to jaap kunst (1973, p. 15) in latifah et al (2016, p 16), “according to javanese tradition, salendro is much more ancient than pelog, it was presented to humanity .......”. the magnitude frequency between intervals according to becker, judith (as stated by latifah (2016, p. 16) are exposed as follows: slendro pitch level 1 2 3 5 6 i (upper octave) interval between pitch level 220 280 236 242 248 the tuning system presented above is not tight pitch standardization, but judith becker, as an ethnomusicologist, found this series of intervals when measuring the tunings of salendro tone gamelan in central java. the name of tones in the sundanese tuning system has its own term, which was created by raden machyar angga kusumadinata. van zanten (2014) in latifah (2016, p 16) expresses “kusumadinata supplied two identical relative notational systems for sundanese music in west java: the da-mi-na-ti-la system and the cipher system (1, 2, 3 , 4, 5) in the which da = 1, mi = 2, na = 3, n = 4 and la = 5 “, which means kusumadinata proposed two identical notation systems in sundanese music in west java: da mi na ti la system and encoding system, where da = 1, mi =, na = 3, ti = 4, la = 5. further, van zanten (2014) in latifah et al (2016) restates: these relative notation systems of kusumadinata are still widely used in schools today. that statement means that kusumadinata’s relative notation systems are still applied widely in schools nowadays. there were six non-ethnic learners or students whom kusumadinata gave two relative notation systems which were identical to sundanese music in west java, da mi na system and encoding system, where da = 1, mi = 2, na = 3, ti = 4, la = 5. we found the non-sundanese learners from sbmptn 2016, in the department of art education music fpsd upi bandung. they have not known salendro tone and they are unfamiliar with it. this fact required special handling to imply the ability of salendro tone. it is expected that the power of audiation ability concept applied in salendro tone learning process based on sundanese laras sensitivity, will strengthen the ability to sense salendro tone for non-sundanese ethnic learners. the purpose of the study is to scan the limitations and strengths of salendro tone audiation based on sundanese laras sensitivity, to strengthen the sense of salendro tone. method the method of study used to investigate and test the salendro tone audiation was grounded theory, comprehending theory of audiation and its strengths to imply the sense of salendro tone for the learners who had not known, understood, and listened to salendro tone sense. research design offered to assess the strengths of salendro tone audiation is as figure 1. the expected result of study is salendro tone audiation model which has been assessed through comprehending theory and evaluation of salendro tone audition learning sequence based on sundanese tradition. respondents were six non-sundanese learners or students who have never known and listened to salendro tone. result and discussion research results about students’ difficulty in adjusting hearing sensitivity to salendro tone were collected from interviews done to six non-sundanese ethnic harmonia : journal of arts research and education 16 (2) (2016): 172-181176 was done by suwardi kusmawardi, as a sundanese’ traditional art practicioner, started with singing the tone up and down with the notation of da, mi, na (up and down note interval, da, mi, na, ti, la, da) and introducing kempyung. the first introduction was started by singing the tone da (first tone) and down to the tone ti (the third tone). from this move, the student was then guided to sing other tones both up and down. after that, the interval was applied as a benchmark to find other tones in salendro musical scale, to move forward, move up, or move down. all activities at initial learning meetings were done by doing ngabeo or imitating what were sounded or sung (demonstrated) by the lecturers. after the students understood the up and down interval of salendro, they were given simple model of kakawihan barudak song entitled orai-oraian, and its notation. in this stage, students are asked to sing the tone in an interval way. the interval of the tone is simply without long interval hops. it is used to get students’ hearing to be familiar with the salendro’s note on da, mi, na notation. although in this stage, the instructor was available to give examples to the students, however, students were only obliged to sing the note’s notation. this means, the students imitated the notation sung by the instructors. another reason of teaching orai-oraian song was because the song intervals were not lifted too students who were currently studying basic sundanese musical scale. the results are, as follows: interview on 13 june 2016 revealed that students were generally not familiar with the salendro musical scale. the students’ hearing sensitivity experienced difficulty in interpreting salendro tone. they try to reach the tone by western tonal, one that they had mastered. generally, students found difficulties in interpreting the first tone which was da as the tone center, the was western tonal. students experienced that the initial tone reference in salendro note was unclear, compared to the western tonal. in western tonal, the initial note was in the first one that made it easier to learn. the ranks of salendro tone were named by: da-mi-na-ti-lada. almost all non-sundanese learners argued that they found difficulties in learning salendro tone since it was unifamiliar to them. another finding proved that apart from non-sundanese students, students originated from sundanese ethnic also found it difficult to learn the salendro tone as they rarely listened to it. comparison between the learning stage conception of salendro tone and sequenced-western tonal tone the learning stages of salendro tone (salendro tone audiation) the stage of salendro tone learning figure 1. the research design diah latifah, sundanese traditional tone sensitivity-based audiation model of salendro... 177 far, but was only move some steps. the next acitivity was to feel the salendro tone. by using question and answer activity, students were asked whether there were differences between salendro’s tone with others, for instance, by comparing the tone with pelog. after students were able to express the sounds and interval differences of both pelog and salendro tone, lecturers delivered the learning materials. according to this, it was told that what made salendro and pelog different were, first, the difference in frequency. the different high and low frequency caused the high and low tone in salendro and pelog. another difference lied on the interval. in salendro, the interval between tones was same. this similar interval caused difficulty in singing the note for one who never did it before. activity following the previous one was song material delivery entitled “jalanjalan”, this song was given under certain considerations. among the considerations were rise and down interval with lifting movement and gending pattern. the presence of kenongan and goonan on gending pattern were as the rhythm functionary, and closure of a song. here, students were asked to feel kenongan as the rhythm reference. after ”jalan-jalan” song was able to be sung in salendro tone by students with proper tone, the song material delivery was continued with the song “niron tentara”. the difficulty level of the song was considerably higher for salendro beginner learner because of the interval. the interval was one gambyang or one octave in western musical scale, however the musical scale area of tone was five tones. by giving the students this song, it was hoped that students would have certain auditive experience in every tone lift. three songs were given to give opportunities to students to feel the salendro tone. the reason of why the simple and short songs were given, was because the instructors wanted the song to be used as the basis to determine salendro tone by using hearing sensitivity. the stage of western tonal learning according to gordon audiation concept in audiation learning stage entitled learning syntax taxonomi of tonal patterns, the tone is started with interval lift on major tonal, with interval tonika to the dominant and sub dominant, then it is continued with modulatory, chromatis, and cadential. the tone is continued with minor tonal, with tonika interval to the dominant, and sub dominant, then modulatory, chromatis, and cadential. example in figure 2 shows one of learning stage in the gordon audiation in major tonal, from tonika to the dominant. it shows varied interval movement that is started with rise and falling kwint interval, then is continued with rising and falling terts. the strengthening of tonal feeling in gordon’s learning stage entitled taxonomy of tonal patterns gives one a hearing sensitivity by singing various interval written in figure 2. figure 2. the salendro tone learning process in sundanese song learning learning results of non-sundanese ethnic students after the salendro tone leraning, the non-sundanese ethnic students generally are able to sing simple salendro songs and read salendro tone range in one same gembyang area. the differences between western tonal and salendro tone in general are described in this section. in gordon stages, learning syntax taxonomy of tonal patterns, the stage was started with an interval lift in major tonal, with tonika interval to the dominant and sub dominant, then contiharmonia : journal of arts research and education 16 (2) (2016): 172-181178 nued to modulatory, chromatis, and cadential. everything is then continued until minor tonal, with tonika interval, to the dominant, and sub dominant, and then to the modulatory, chromatis, and cadential. the tonal gives the feeling to the tone centralization, started with the first tone with the system of fix do, with the musical scale ranging from do (i), re (ii), mi (iii), fa (iv), so (v), la (vi), ti (vii), do (i). the feeling of tonika is started with the first tone or the first accord that gives the hearing impression of a song to be back to the initial position (when there is the sentation of the song to end). the dominant feeling is a feeling that pushes one to feel the sensation of completion or closure, it is represented by the fifth tone, or the fifth accord. this sub dominant feeling is a relation that gives the sensation of tension or moving to the dominant accord. sub dominant is represented by the fourth tone or the fourth accord. this feeling, actually, has started to root to the six non-sundanese ethnic learners. therefore, they need to have the sensitive hearing system to get their perception familiar with salendro tone. in salendro learning stages, the learning step is started with listening and singing while reading the basic level of the salendro musical scale. it is then continued with listening to the kempyung da to ti, down to other tones in salendro musical scale by stepping up and down, and lift up and down. the activity is then continued with practicing to sing and read the advanced kempyung circle in a circular movement. in the stage of salendro tone strengthening of pure salendro tone, the instructors used the salendro etude as the teaching material to strengthen the students’ ability in hearing and reading salendro musical scale figure 3. content learning sequence gordon audiation diah latifah, sundanese traditional tone sensitivity-based audiation model of salendro... 179 and tone. in this stage, there is a condition where the students might be able to adjust their hearing sytems to the salendro tone that is continued with mastering kempyung circular movement. in this stage, the hearing sensitivity of the students is improved with kempyung used as the tone reference, but not as the central of tonal like one in western tonal system. for the hearing sensitivity familiarization, gordon (1989) states that: type 1: the most common type of auditions takes place as we are listening to music. when we listen to familiar and unfamiliar music, we edit familiar and unfamiliar tonal patterns and rhythm patterns, and then connect them in order to give syntactical meaning to the music. the activity to familiarize the students’ hearing in salendro tone learning is not only to set the hearing perception of the students towards the tone, but also to get the students to be able to read salendro musical scale with learning sources taken from salendro’s etude material. for this, gordon (1989) delivers that: type 2: the second type of audiation takes place as we are reading the notation of familiar and unfamiliar patterns in familiar and unfamiliar music. it is called notational audiation. we may read silently, or we may perform what we read with our voice or on an instrument, or we may read as someone else performs the music. the next activity is singing the model song entitled “oray-orayan” that has a medium interval which tone interval is not too far from one to another (step interval in salendro tone). it is then continued with question and answer activity to enhance the students’ understanding towards the difference of salendro’s sound and interval with other tones. after finishing learning “oray-orayan”, the next singing is the song niron tentara that has longer interval, the interval in certain motives even up to one gembyang. in this step, learners learn to be familiar with salendro tone and musical scale through the songs, started from simpler songs to the more complex one, in other words, from simpler songs to the stepping movement, and finally the lifting one. different stages of learning show different characters of musical scales of tones heard by both western tonal and salendro. from different learning stages, it shows that tone understanding approach which is based on hearing sensitivity in salendro tone learning moves to be more flexible, since the salendro is naturally modal, does not have tone centralization and cadence as shown in western total. the western tonal itself, the cadence is based on the first (i) accord (tonika), iv (sub dominant), v (dominant) and back to i (tonika). in salendro, the feeling absorbtion of tone is introduced by teaching the salendro musical scale to the learners, mainly by using the kempyung circular, in the form of tone lifting, from da to ti, and is continued by finding proper tone, both in rising and falling interval and in stepping and lifting movements. as explained earlier, the western tonal tones employ tone centralization, there is always tendency for the accord to be back to the first (i) tonika, or, from tonika, to sub dominant, dominant, and back to tonika. meanwhile, for salendro, since the interval is shorter, there is a feeling that the accord keeps moving. to finish a sentence in a musical work, one does not need to be back to the tone i or da, but one can finish the tone in na, ti, or other tones. this study emphasizes on the conclusion that salendro tone can move in a flexible way, it is typically modal. the benchmark for finding the right tone can be done by sensing the feeling of kempyung da, lifting down to ti, but to finish a musical sentence, one doe snot need to be back to the tone i, especially for sundanese songs. zanten states that: in kusumadinata’s relative system, which cipher is given to a particular tone depends on the function of the tone in the modal theory: in different modes the name da (=1) is, for instance, given to a different tone. harmonia : journal of arts research and education 16 (2) (2016): 172-181180 from the citation, it is learned that cipher is used in particular tones, depending on the tone functions in the mode theory. in different condition of modes, the tone da (=1) can be given to other tones. finally, this study learns that what causes the learners to face difficulties in giving tone centralization benchmark in salendro tone is because salendro’s interval which range between tones is close from one to another, besides it also has the tendency to be typically modal. to answer the matter, continuous conditioning to strengthen the hearing perception of learners to the salendro tones is considerably needed. in addition, to strengthen the ability of learners to understand this tone, there is sundanese local wisdom-basedaudiation theory to help them. conclusion this study results in finding, in a form of typical audiation process in teaching salendro, owned by practitioners and instructors that is taught to students to be able to master audiation ability. most of sundanese karawitan artists have their ways to teach the sundanese tone feeling mastery to their students. one of the ways is by teaching the interval lift da, down to ti (kempyung), which is then used as a benchmark to find other tones with the stepping or up and down interval movement. singing the salendro musical scale that is continued by introducing kempyung sense that is started by up and down lifting movement from da to ti, then finding the appropriate tone both in rising and falling interval movement. singing “kaulinan barudak orayorayan” songs to familiarize the students with salendro tone. the song’s melody is short, easy to be remembered, with stepping up and down interval movement that makes the song is easy to be sung. question and answer about the difference between salendro tone with other tones, like, pelog and madenda. teaching the song entitled “jalan” with varied interval lifting; stepping interval and a reasonably short lifting interval. teaching the song entitled “niron tentara” in a difficult interval lifting up to one gembyang (one level up, as one octave in western tonal in eight tones that in salendro is in five tones). the practice of singing salendro tone and its interval variation. practice of finding the appropriate tone of salendro musical scale through tone lifting da to ti (strengthening feeling of kempyung along with the practice of reading salendro tone). singing the model song with the easier interval lifting (stepping) in salendro tone (with the notation reading of model song). question and answer to strengthen the understanding of note and interval difference of salendro compared to other tones (conceptual strengthening of salendro tone). singing the model song with complex and far interval lifting along with the activity of reading notation of model song to strengthen salendro tone (higher difficulty level). audiation model of salendro tone that becomes the finding of this research is only one alternative to strengthen the feeling towards salendro for learners who never listened and known the salendro. the study results towards non-sundanese learners show that after experinceing audiation learning, generally the learners have had the ability to sing simple song in salendro tone and also to sing the salendro musical scale. the advantage of salendro tone audiation model based on the research is that the model has been successful in teaching and implying salendro tone to non-sundanese learners who has never listened and known the tone before. the limitation of the study findings is on the time to familiarize the learner’ hearing sensitivity which considerably needs longer time in about one semester or five months before the model can be implemented. besides, an appropriate audio medium is also needed to fasten the salendro tone teaching to the learners since they are not familiar with the tone. diah latifah, sundanese traditional tone sensitivity-based audiation model of salendro... 181 references becker, 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(2014). encounters in the context of inspiring sundanese music and problematic theories. chapter nine. unported (cc‐by‐nc 3.0) license. woodford, p. g. (1996). evaluating edwin gordon’s music learning theory from a critical thinking perspective. canada: university of western ontario canada widodo. (2011). slendro pelog: suatu keterasingan di dunia anak. harmonia: journal of arts research and education, 1(1), 1-5. widodo. (2015). laras in gamelan music’s plurality. harmonia: journal of arts research and education, 15(1), 34-45. yunus, a. & subadio, h. (1986). ensiklopedia musik indonesia. jakarta: departemen pendidikan dan kebudayaan 100 jarog dance for children with special needs : case study in the celebration of the international dance day in surakarta eko wahyu institut seni indonesia surakarta, indonesia e-mail: ekow.isi@ yahoo.com abstract the international dance day is celebrated every year as a self-expression since dances belong to the world. jarog dance was created to facilitate children with special needs in order to celebrate the international dance day in surakarta in 2013. the research method applied was data collection consisting of observation, interview and documentation. the data analysis was the narrative one by using qualitative approach. the research result shows that jarog is a new creation dance which combines jaranan dance and reog dance. the main functions of jarog dance are character education, entertainment, and self-confidence improvement. persistent learning, special commands by beating kendhang loudly and raising hands highly in every movement change and the rhythm of the instruments supporting the dance are needed. there were internal and external factors which support and obstruct the dance performance. the internal supporting factors were motivation, identification, sympathy and audience’s interest, while the external supporting factors were the influence of the world recognition, the motto ”solo berseri”, and the development of technology. the obstructing internal factors were the difficulties in practicing and adapting the movement, gendhing which was memorized easily, the beats of kendhang and other instruments which should have been louder. the external obstructing factors were the time-consuming rehearsal which interfered the children’s study hours, less attention from their parents, and the poor cooperation with the supporting karawitan musicians. tari jarog anak berkebutuhan khusus: studi kasus dalam rangka hari tari dunia di surakarta abstrak hari tari dunia diperingati setiap tahun sebagai ekspresi diri karena tari dianggap sebagai milik dunia. tari jarog diciptakan untuk memenuhi anak berkebutuhan khusus dalam rangka merayakan hari tari dunia di surakarta tahun 2013. metode penelitian meliputi pengumpulan data yang terdiri atas observasi, wawancara dan dokumentasi. analisis data bersifat naratip, dengan menggunakan pendekatan kualitatif. hasil penelitian yang dicapai, jarog merupakan tari kreasi baru yang menggabungkan antara tari jaranan dengan tari reog. fungsi utama tari jarog adalah sebagai pendidikan karakter, hiburan yang menyenangkan, dan meningkatkan kepercayaan diri. diperlukan pembelajaran yang ulet, aba-aba khusus melalui pukulan kendhang yang keras dengan angkatan tangan yang tinggi pada waktu perpindahan gerak tari serta bunyi irama instrumen sebagai pendukung tari. terdapat faktor yang mendukung dan menghambat dalam pentas tari, baik faktor internal maupun faktor eksternal. faktor internal yang mendukung adalah motivasi, identifikasi, simpati dan animo penonton dari luar. adapun faktor eksternal yang mendukung adalah pengaruh pengakuan dunia, slogan solo berseri, dan perkembangan teknologi. faktor penghambat dari dari dalam antara lain kesulitan dalam eko wahyu, jarog dance for children with special needs 101 introduction the international dance day is an international recognition of the existence of dances. every dancer throughout the world including those in surakarta danced for twenty four hours. since the recognition of the day, a dancing event has been held in surakarta by involving several famous dancers and other participants who dance to celebrate the day. there were also formal education institutions and dance studios in surakarta which participate in the international dance day celebration. as children participants, the students of the special school of panca bakti mulia foundation surakarta also participated by performing a dance for children with special needs. the students actively participated as the dancers, pengrawit or singers. those students needed more specialized means to facilitate their personality which was different from those of students of normal schools. in 2013, the special school performed newly created jarog dance with surakarta style to celebrate the international dance day. the meaning of the selection of jarog dance was the combination of two outstanding powers of horse and lion which are often considered as the symbols of power in javanese culture ( sudarno, interview at april 21, 2013) . the international dance day is a moment in which dance artists, performers, art lovers and art communities gather and share their creativity to the public. in the international dance day 2013 in surakarta, the performance of jarog dance was observed. the questions of this research were why jarog dance for children with special needs was performed in the international dance day 2013 in surakarta and how the composition of the performance was. method the data of this research were collected by conducting observation, interview and documentation. the observation was conducted in the rehearsal and in dance the performance. when observing the process, the researcher participated in it because he was part of the dance arranging team. by actively participating in the process he could understand the function and the meaning of the movements of the dance. based on the observation, before the dance was created, an observation on the students’ initial interest and ability was conducted. the students’ talent, interest and ability in appreciating art of dance needed to be identified from the first time. after the approach, there were some students with the hidden talent and interest which needed to be revealed in the form of a dance. interview was also conducted outside the dance performance. it was done to the trainers, pengrawit and some dancers. the topics which were asked were the movements, the music, the problems in the performance and the supporting and obstructing factors in the activity. from the interview, the meaning and purposes of the activity could be identified; that is to provide good entertainment so that the children can be directed to be independent and responsible. in the data collection, audio visual documentation was needed so that there were no scattered data after the performance. this was because the dance moberlatih dan membiasakan gerak, gendhing mudah yang dihafal, bunyi kendhang dan instrumen tertentu harus lebih keras. faktor penghambat dari luar antara lain pada saat berlatih menyita banyak waktu belajar, kurangnya perhatian orang tua, kerjasama dengan musik karawitan pendukungnya. keywords: jarog; international dance day; children with special needs harmonia, volume 13, no. 2 / desember 2013102 vements were the behavioral expression which could easily change as the time and the place changed. dance could easily change depending on the temporary spiritual need, and therefore a reply was necessary to help the analysis. after the data collection, verification and data processing were conducted. because the data were in the form of behavior, this research applied narrative descriptive qualitative analysis. the qualitative approach applied in this research did not use numerical data. this approach did not merely describe, but it was used to find the meanings contained in it (ratna, 2010: 94). qualitative method is also called naturalistic method because the research is conducted in the real setting so that the object does not change before and after the research. result and discussion the order of the performance the performance of jarog dance started with jaranan dance performed by 5 female dancers using the properties made of woven bamboo which looked like horses or jaran kepang. three special senior high school students, one special junior high school student and 1 special elementary school students. although they were mute and deaf, they had an initial strategy by looking at the kendhang player beating the kendhang bem (the big one) by waving hands. the tempo when they were dancing was relatively constant from the beginning to the end. in the performance of jaranan reog dance, if a dancer looked at a wrong direction so that he/she could not look at the kendhang player, he/she would fell the vibration of the bass sound from the effect of the kendhang beats. the similar thing was also done by other dancers. kendhang player as pamurba irama (the one who controls the tempo) must carefully follow the tempo of the dancers who sometimes missed one beat, so that everything became different. this was done in order to keep the movement in tune with the music. the movement change must often be followed by the musicians. it was necessary to know that some musicians were also children with special needs except the kendhang player, who was the teacher. after jaranan dancers finished, 4 male dancers called ganong started to dance. ganong dancers wore bujanganong masks like the ones in reog. the folk dance movement choice using gecul (funny) vocabularies made the atmosphere of the performance fresh. the attractive movements such as somersaults, headstand/ handstand, bridge pose and lifting other dancers made the audience laughed. the togetherness of the ganong dancers was the symbol of harmony in interacting using gesture. the last performance was barongan dhadhak merak. the lash of the well-arranged peacock feathers on the top of the big tiger head mask was designed like a hibiscus leaf. the splendor of the mask was brought by a dancer by biting the inner part of the mask. the dancer sometimes stretched his arms to show the power of his teeth to lift barongan dhadhak merak, indicating that jarog was very unique. it was not the magic which influenced the power of the dancer. it was because he was welltrained. bending, wagging and spinning on the ground were not easy to do, but the balance in lifting the mask must be felt carefully by the barongan dhadhak merak dancer. the performance ended when barongan dhadhak merak had saluted or bowed to the audience and all dancers came out to salute them. the elements of jaranan reog (jarog) performance the main elements of jaranan reog dance were: movements, floor pattern, makeup and wardrobe and accompanying music. 1. movements the movements were chosen based on the style of surakarta. the performance used more fantasy movements of horses and their riders. such movements eko wahyu, jarog dance for children with special needs 103 were chosen to attract the passion to play with imagination according to their age, in which they imitated things they saw. the characteristics of horse movement with energic leaping movement made the performance merrier. despite the horse movement which was often associated with the gallant movement of cowboy, the dancers showed their characteristics as coquettish and attractive young girls. the folk dance movements which were simple, easy to understand and to do and related to the natural movements in daily life made the dancers look enchanting although they were actually disabled. 2. floor pattern the steps which were in accordance with the rhythm of gamelan made the dancers’ floor pattern change from a spot to another. the shift of position when they were dancing was adapted to the choice of the movement vocabularies. thus, the movement shift seemed to be done unintentionally to form a line formation. some formations which were done were semicircle, circle, v letter, diagonal, straight and groups of 2 and 3 dancers. the stage layout used for the folk dance was a yard in which the dancers were in the same place as the audience. 3. makeup and wardrobe the makeup used was beautiful makeup style. this makeup was used especially for jaranan dancers so that they looked beautiful. special makeup for the dancers was applied by applying white face powder, thickening nad blackening the eyebrows, applying blush-on to the cheeks and lengthening sideboards. the makeup was applied by thickening facial lines using the cosmetics for stage quality. other dancers wore masks, including ganong and dadhak merak. the wardrobe of jarog was different from reog. there was a change on the way of wearing the costumes and the color choice. the costumes worn by jaranan dancer were red shirts and pants and headband using clothing like the one worn by ancient soldiers. ganong wore masks, red and white striped shirts with supit urang model completed with belts and epek timang (buckle). the choice of costumes was based on the cultural style of surakarta. dhadhak merak wore a tiger mask with peacock feather decoration to cover his face, a white shirt, black oants, striped clothing and binggel with klinting (look at figure 1). 4. music music which accompanying the performance of jarog dance was a set of javanese gamelan with titi laras pelog. in jarog, music was used not only as accompaniment but also as an inspiration for the dance arrangement to be adapted to the available music tempo. the patterns of the kendhang beats followed (mematut) the dance movements so that they become a strong unity (mungkus). gendhing used in jarog dance were the following: a) lelagon jaranan to accompany jaranan dance. lelagon jaranan laras pelog gave an impression of fantasy to the children as the dancers so that they could achieve the characteristics of horsemen. b) kendhang gecul to accompany ganong dance. the amusing beats of kendhang led the dancers to perform with unique and funny movement vocabularies. c) ponoragan to accompany barongan dhadhak merak. the choice of tones which was limited resulted in a magical but monotonous athosphere so that it could support the performance of the grim and terrible dance property. description of the the characters’ movements in jarog the movements of jaranan dancers harmonia, volume 13, no. 2 / desember 2013104 figure 1. the performance of jaranan dancers, ganong and dhadhak merak (photo : eko w. collection) 6. lembehan sampur, geol, and the dancers performed nyongklang again. 7. ukel karno, ngeber, nyongklang. the movements of ganong 1. spinning onclang, ndhodhog, jengkeng 2. sembahan sigeg 3. cumpli 4. bridge (attractive movement) 5. somersaults (attractive movement) 6. jenggli (attractive movement) 7. srampangan (attractive movement) the movements of barongan dhadhak merak 1. spinning lumaksono, ndhodhog, jengkeng 2. sembahan sigeg 3. usap jenggot 4. cakaran 5. spinning ddhakuran towards the barongan 6. ngolet mlaku rengkap 7. kebat 8. merak kasimpir 1. jaranan dancers performed the dance by riding horses (nyongklang), formed a circle in the center of the stage and then formed a v formation with kebyok sampur kiri kalang kinantang movement. at the count of four, they took turn on performing kebyok sampur kanan, which was done four times and then performed nyongklang again and circled to the right. 2. laku telu wolak-walik was done four times. after that, banting jaran was performed and the dancers performed nyongklang again. 3. ulat-ulat nibani was done four times. after that, banting jaran was performed and the dancers performed nyongklang again. 4. pandir was done four times. after that, banting jaran was performed and the dancers performed nyongklang again. 5. kebyokan sampur was done four times. after that, banting jaran was performed and the dancers performed nyongklang again. eko wahyu, jarog dance for children with special needs 105 9. kekipu the choice of gendhing the first gendhing or karawitan music performance was in the form of lancaran with a song entitled jaranan, which could inspire the horse dancers. the notation of the selected gendhing could be considered easy to be played by the pengrawit who consisted of children with special needs. the beats with staccato tempo attracted the dancers to perform pounding movements. in order to guide the dancers, a kendhang player beat the kendhang bem harder before the gong and wave his hand highly. in every verse of the accompanied song, the pattern of the beat of kendhang was performed for nyongklang movement as a strategy for children with special needs, for it was easy for both the dancers and the pengrawit. the song lyrics or cakepan tembang of jaranan were the following. 1. jaranan, jaranan, jarane jaran teji sing numpak ndoro bei, sing ngiring para mantri jeg, jeg, nong, jeg jeg gung jeg, jeg gedebug krincing gedebug krincinggedebug krincing jeg, jeg gedebug jedher (rahardjo, 2006: 33). 2. jaranan, jaranan, jarane jaran bopong sing numpak para pamong, sing ngiring semar bagong jeg, jeg, nong, jeg jeg gung jeg, jeg gedebug krincing gedebug krincinggedebug krincing jeg, jeg gedebug jedher 3. jaranan, jaranan, jarane jaran kore sing numpak kanca dhewe, sing ngiring leda-lede jeg, jeg, nong, jeg jeg gung jeg, jeg gedebug krincing gedebug krincinggedebug krincing jeg, jeg gedebug jedher 4. jaranan, jaranan, jarane jaran kentrung sing numpak aji mumpung, sing ngiring mung ngalenthung jeg, jeg, nong, jeg jeg gung jeg, jeg gedebug krincing gedebug krincinggedebug krincing jeg, jeg gedebug jedher 5. jaranan, jaranan, jarane jaran kombor sing numpak pakdhe bedor, sing ngiring gleyar-gleyor jeg, jeg, nong, jeg jeg gung jeg, jeg gedebug krincing gedebug krincinggedebug krincing jeg, jeg gedebug jedher (rahardjo, 2006: 33). the notation of jarog accompaniment can be look at figure 2. the notation returned to ponoragan for dhadhak merak dance, attractive movements and perangan. the supporting and obstructing factors in jarog dance performance based on the analysis, there were two supporting factors, namely internal and external ones. 1. the internal supporting factors came from the surroundings of the artists a. great motivation was raised among the students with the talent in dancing. the jarog performance for celebrating the international dance day 2013 involved the participation of many people. there were at least 12 students with special needs who became the dancers, 15 students as pengrawit 1 teacher became the kendhang player, a trainer, a vocalist, some people who prepared the properties, equipment and everything related to the performance such as dhadhak merak, transportation and other supporting stuff. everyone involved in the performance felt that they were called to succeed the celebration of the international dance day 2013 in surakarta. b. the jarog dance performance became the identification, which means the tendency to feel that they were other people and felt what others felt. the jarog dance performance harmonia, volume 13, no. 2 / desember 2013106 had educational values and it was recognized by foreign society as a result of education conducted by the teacher and the trainer to make education delightful and interesting, a way which was not conducted to other students and attracted others to watch it. the jarog dance was chosen because it was suitable for the students’ ability and the taste of the society so that it could become good entertainment. in art, the most important thing is that the performers feel happy and the people enjothe notation of jarog accompaniment lelagon jaranan . 2 3 5 . 6 5 3 1 2 3 . 5 3 2 g1 . 1 1 1 1 5 6 1 . 1 1 1 6 5 4 g5 . 6 6 5 . 6 6 5 1 . 1 . 5 3 2 g1 . 2 3 1 . 2 3 1 5 . 5 1 2 3 2 g1 tembang/vocal . 2 3 5 . 6 5 3 1 2 3 . 5 3 2 g1 ja ra nan, ja ra nan ja ra ne ja ran te ji ja ra nan, ja ra nan ja ra ne ja ran bo-pong . 1 1 1 1 5 6 1 . 1 1 1 6 5 4 g5 sing numpak nda ra be i sing ngiring pa ra man-tri sing numpak nda ra pa-mong sing ngiring se mar ba gong . 6 6 5 . 6 6 5 1 . 1 1 5 3 2 g1 jrek-jrek nong jrek jrek nong, jrek jrek ge deb ug krincing jrek-jrek nong jrek jrek nong, jrek jrek ge deb ug glenthong b1b b2 3 2 1 1b b2 3 2 1 5 . 5 1 2 3 2 g1 ge-de bug krincing ge-de bug krin-cing, jrek jrek ge de bug krincing ge-de bug glenthong ge-de bug glenthong, jrek jrek ge de bug glenthong ponoragan iddd g 5 2 5 2 5 2 5 g2 repeated more than 3 times kendhangan gecul ganong j i j d j n j . repeated 3 times bdbi j . b . b . . vocal kendhangan gecul ganong b.b b3 b5b b 5 b3b b 5 6 . b3b b6 b6bbb b b3 b5b b 6 1 keplok a me a me bela lang ku-pu kupu .b b3 b5b b 5 b3b b 5 6 b3b b3 b5b b b6 b1b b1 b1b b1 si ang ma kan na si kalau malam minum su-su figure 2. the notation of jarog accompaniment with lelagon (introdution) and kendhangan (coda) eko wahyu, jarog dance for children with special needs 107 ying the performance feel the same thing. people felt that they realized that jarog dance was important in celebrating the international dance day. c. sympathy, a process in which someone feels interested in other party’s behavior and appearance. the dancers were all the students with special needs, while the pengrawit were also the students, except the kendhang player, who was the teacher or the trainer so that he understood the dancers’ characteristics and was able to adapt to the nvironment. d. the audience was not limited to the local people, either male or female, and old or young.some audience were also students and citizens so that this condition increased the spirit to learn more intensely. 2. external factors a. the influence of the world’s recognition the society was satisfied when they could participate in the celebration of the international dance day since they felt that they contributed to the development of dances. dances become the world’s property so that the art lovers feel that they own their identity. b. the influence of the motto “solo berseri” surakarta was considered as the center of culture so that there was an impression that the citizens of the city participated in preserving dances. it was an honor for the students that they could participate in the development of culture in this city. c. the influence of the development of technology the jarog dance performance became a favorite thing for many people especially the dancers, performers and other participants from the society itself. ceremonial entertainment is always related to the norms and ethics of the society. politeness, simplicity, sincerity and harmonu become the guides to preserve the nature and the human in order to make everyone happy. there are many kinds of generally attractive entertainment, but dance performances are still considered to be able to convey messages about the hope and the desire of the society. dance performances will be supported by the technology for recording them so that the documentation can be used for learning independently through audio visual media. the obstructing factors of the jarog dance performance 1. internal factors which obstructed the harmony of jarog dance a. the difficulty in practicing and getting used to the movements faced by the students with special needs was the challenge which demanded teacher’s and trainer’s creativity. the process which was needed was longer than that for teaching dances for normal children. b. the pengrawit who were mostly also children with special needs must be given gendhing which was easy to remember and in accordance with the dance movements, which was sometimes late. the teacher as the kendhang player must always follow the movements so that there was a harmony. c. the beat of kendhang and certain instruments had to be louder so that it could be heard by the dancers. therefore, the music seemed strange and funny. the gestures of the kendhang player and the loud beat sometimes had to be done so that the dancers could see and adapt to the rhythm. 2. the external factors which obstructed the jarog dance performance a. the rehearsal reduced the study hours in other classes, since the dancers and pengrawit were selected harmonia, volume 13, no. 2 / desember 2013108 from various classes with different schedules. b. the lack of attention from some of the parents towards the dance education, so that special treatment had to be done by the teacher in teaching the students. c. the lack of electronic equipment for the rehearsal so that it had to be done with the accompaniment of karawitan music. conclusion the international dance day is celebrated every year in surakarta, involving many studios and dance training institutions. jarog dance is a newly created folk dance with surakarta style created for children with special needs. the dancers and pengrawit are the children with intellectual disability and physical disabilities such as muteness and deafness. jarog dance functions as character education, entertainment, identity and spirit booster for children to be more confident to perform in front of the public. the dance is also the identity of the students with special needs. the dance was involved in the celebration of the international dance day in institut seni indonesia (indonesian art institute) in surakarta. the sequence of jarog dance was arranged according to the levels of intelligence of the children. it was categorized into three parts: jaranan came first with the accompaniment of gendhing dolanan laras pelog with the children vocal song entitled jaranan, followed by ganong dance which performed humorous light acrobatic movements and dhadhak merak dance with the accompaniment of gendhing ponoragan. the movements tended to be funny in slower tempo so that the pengrawit had to direct the dancers by highly raising hands in order to make it easier for them to see it. the participation of dance in the international dance day celebration in surakarta raised the confidence and spirit for learning arts. persistent teacher and special techniques for giving signals using loud kendhang beats and hand signals in the movement transitions were needed in the learning process. the lively music from gamelan instruments were also needed as the accompaniment. there were many supporting factors as well as the obstructing ones in the dance performance, either internally or externally. the internal supporting factors were motivation, identification, sympathy and audence’s interest. the external supporting factors were the influence of the world recognition, the motto”solo berseri”, and the development of technology. the obstructing internal factors were the difficulties in practicing and adapting the movement, gendhing which was memorized easily, the beats of kendhang and other instruments which should have been louder. the external obstructing factors were the time-consuming rehearsal which interfered the children’s study hours, less attention from their parents, and the poor cooperation with the supporting karawitan musicians. references sedyawati, e. 1984 tari: tinjauan dari berbagai segi. jakarta: pustaka jaya. raharjo, e. 2007. musik sebagai media terapi. harmonia jurnal pengetahuan dan pemikiran seni. vol. 8 no. 1 hal. 55-62. jakob, s. 2000. filsafat seni. bandung: intitut teknologi bandung. jazuli, m. 2011. sosiologi seni. surakarta : sebelas maret university. ratna, k. 2010. metodologi penelitian kajian budaya dan ilmu sosial humaniora pada umumnya. yogyakarta: pustaka pelajar. horton, p. & chester l. h. 1993. sosiologi. terjemahan syamsudin ram. jakarta: erlangga. raharjo, s. (editor). 2006. lagu anak-anak untuk tk dan sd. semarang: ikip pgri semarang press. soedarsono. 1999. seni pertunjukan dan pariwisata . yogyakarta: isi. hadi, s. 2005. sosiologi tari: sebuah pengeeko wahyu, jarog dance for children with special needs 109 nalan awal. yogyakarta: pustaka. puspasutardjo, s. 2002. seni dalam pendidikan. naskah seminar international seri “indignasi seni pertunjukan dan ilmu pengetahuan”. surakarta: isi. vol. 2 no. 2 mei_agustus 2001.pdf harmonia jurnal pengetahuan dan pemikiran seni aspek historis wirawanita dalam budaya jawa (the historical aspect of women's bravery in javanese culture) oleh : subandi* abstrak seiring perjalanan waktu , sejarah peradaban manusia mencatat berbagai perisiwa penting dalam hidup manusia. pada budaya jawa pria dan wanita mengalami siklus dalam memimpin masyarakat. wanita bukan lagi dipandang sebagai lambang kesuburan. wira wanita menunjukkan bukti sejarah bahwa kepemimpinan wanita pernah terjadi di lingkungan budaya jawa. berbagai prasasti yang tertinggal, arca dalam candi-candi, legende, karya sastra dan babat merupakan peningalan yang berharga agar mendapatkan makna baru dalam peradaban sekarang. kata kunci : sejarah, wirawanita, budaya jawa, makna baru a. pendahuluan wirawanita sebagai suatu istilah berasal dari kata “wira” dan “wanita”. wira sering dijumpai dengan terkenal sejak seper empat abad terakhir. wirawanita ber awalan per menjadi “perwira”. wira dengan alan dan akhiran an menjadi “kewiraan”. wira artinya berani, teguh, kuat, kuat, tahan, dan tanggung jawab. dalam pergaulan hidup orang jawa, sering terkesan terjadi perbedaan gender yang sebetulnya pandangan itu sudah ketinggalan jaman. di dalam kitab suci al-qur'an disebutkan : ... subhaanal laadzi khalaqal azwaaja kullahaa mi-maa tun-bitul ardhu wa min anfusihim wa mim-ma laa ya'lamuun. (demikian maha suci tuhan yang telah menciptakan segalanya serba berpasangan; baik untuk tumbuh-tumbuhan bumi, baik diri mereka *staf pengajar mkdu stsi surakarta. vol.2 no.2/mei-agustus 2001 2 harmonia jurnal pengetahuan dan pemikiran seni sendiri, maupun sesuatu yang tidak mereka ketahui (q.s. 36 ayat 36). konsep berpasangan ini bermakan wanita dan pria, positif dan negatifm siang dan malam, memiliki kedudukan yang sama di hadapan tuhan. wanita dan pria mempunyai perbedaan kas, akan tetapi keduanya mempunyai hakekat yang sama, dalam meniti hidup dan kehidupan mereka mempunyai hak yang sama. demikian pula dalam meniti karir dan merealisasi cita-cita . jika perbedaan sifat ini dipergunakan sebagai dalih untuk menghinakan yang satu kepada yang lain maka akan membawa kehancuran. jika dalam pergulatan ini kaum perempuan yang menang telak, maka akan terjadi kehidupan hukum matriarkiat yang mutlak, yaitu kaum lelaki dihinakan. sebaliknya jika kaum lelaki yang unggul dan gemilang, yang terjadi adalah hukum patriarkiat yang absolut. dengan pariarkiat yang absolut kaum perempuan akan dihinakan (zarkasi, 1977:87). satu gambaran hukum matriarkat yang mutlak di dalam mahabarata ialah perkawinan santanu maharaja hastina dengan satyawati (lara amis). setyawati perempuan nelayan ini, menjadi permaisuri maharaja santanu dengan mas kawin tahta kerajaan hastina, sehingga bisma (ganggadata/dewabrata) harus menanggalkan kedudukan sebagai putra mahkota (p.lal, 1992:19-20). adapun hukum patriarkat yang absolut kemudian menggantikan kerajaan hastina ialah dimulai oleh bisma sampai pada dastarastra menjadi raja. kelaki-lakian yang mutlak dari bisma menyengsarakan amba sampai dengan kematiannya di tangan nya sendiri. pada waktu itu dastarastra menjadi raja hastina gendari permaisuri dastarastra harus merelakan diri mengikuti pola-pola hidup suami (s. widyatmanto, 1968:113-138). adapun yang saling merendahkan derajat itu, berakibat hancurnya wangsa kuru. b. wanita dalam refleksi budaya tata kemasyarakatan dalam budaya jawa menganut sistem patriarkat, akan tetapi tidak mutlak. hal ini berarti dalam tata kemasyarakatan itu, kaum perempuan ternyata mempunyai kedudukan sesuai dengan sifat dan kodratinya. untuk membangun kerumahtanggan yang harmonis kaum perempuan menjadi mitra kaum lelaki. vol.2 no.2/mei-agustus 2001 3 harmonia jurnal pengetahuan dan pemikiran seni dalam pergaulan hidup ditemukan ungkapan-ungkapan yang membingungkan tentang peran wanita seperti : kabotan pinjung kedawan rambut, suwarga nunut neraka katut. allahe dhuwit nabine jarit, sa-tru mungging cangklakan. (terbebani kain terbebani rambut panjang. surga ikut menikmati neraka tak terbebani, bertuhankan harta berpanutan busana, musuh dalam ketiak). ungkapan-ungkapan itu akan menarik jika dikonfrontasikan dengan : surga di telapak kaki ibu, keturunan sri wedawati, ibu pertiwi, ibu kota, ibu ratu kemitraan dalam membangun peradaban, pria dan wanita di jawa sebenarnya telah dibudayakan sejak jaman silam. peninggalanpeninggalan kuna, seperti prasasti, candi, kesusastraan, babadm sampai dongeng-dongeng banyak menyebut bana-nama kaum wanita mempunyai peran sejajar dengan kaum pria. banyak contoh seperti : 1) arca loro jonggrang di bilik induk komplek candi prambanan, 2) pradnyaparamita yang tersimpan di museum nasional, 3) kisah ratu sima, ratu kencana ungu dalam sejarah, 4) janda girah dalam ceritera calon arang, 5) legenda ratu kidul dalam babad tanah jawi, 6) dongeng tentang galunggung. semuanya itu menunjukkan wira wanita yang tinggi bagi kaum perempuan. pada beberapa contoh lain juga ditemukan bahwa setiap bangunan istana, kesejajaran kaum wanita dengan kaum pria, diujudkan dalam komplek keputran dan keputren. c. wanita dalam bangunan candi 1. arca lara jonggrang di candi prambanan di dalam bilik candi siwa yang menghadap ke utara, dipajang arca wanita cantik bertangan delapan, berdiri di atas seekor mahisa. setiap tangan memegang senjata. tujuh tangan menggengam senjata dan satu tangan yang kiri memegang rambut asura, dan salah satu tangan memegang seekor mahisa. arca inilah sebenarnya mahisasuramardini. mahisasuramardini lahir dari siwa dan wisnu, akibat kemarahannya yang memuncak kepada mahisasura, raksasa yang mengempur kediaman para dewa. oleh karena marahnya yang maha hebat itu, dari mulut dewa vol.2 no.2/mei-agustus 2001 4 harmonia jurnal pengetahuan dan pemikiran seni siwa dan dewa wisnu keluar lidah api menyala dengan bara apinya yang menakutkan. kekuatan yang amat dahsyat itu memberkas jadi satu menjadi cahaya yang menerangi segala penjuru. kumpulan fokus cahaya itu membentuk tubuh wanita yang amat molek lara jonggrang. para dewa lain kemudian memberi senjata untuk membunuh asura yang berbuat makar itu. adapun para dewa tersebut antara lain : � dewa wisnu mempersenjatai cakra � dewa baruna mempersenjatai sangka dan panca � dewa maruta mepersenjatai busur dan anak panah � dewa indra mempersenjatai wajra dan danda � dewa yama mempersenjatai kamandalu � dewa kala mempersenjatai pedang dan perisai � dewa wimakrma mempersenjatai kapak dan erbagai senjata serta baju perang anti senjata tajam. � dewa kuwera membekali mangkuk penuh dengan anggur. dengan berbagai senjata yang digenggamnya disetiap tangan itu gadis cantik itu tampak galak dan garang, lara jonggrang seorang diri menghadapi raksasa mahisasura. dalam perang tanding, mahisasura dihancurkan dengan cara diinjak lehernya dan ditombak tubuhnya dengan trisula. sifat yang garang dan sukar didekati itulah mahisasuramardini kemudian dikenal dengan nama durga (moertjipto, 1994:49-51) 2. arca pradnyaparamita arca pradnyaparamita sebuah candi makam yang dibangun di jalan simpang raya malang singasari. candi ini disebut komplek candi singasari. arca ini merupakan simbol kewaspadaan yang sempurna dalam agama hindu siwaisme dan budha mahayana. dalam siwaisme adalah dewi parwati, adapun dalam agama budha mahayana adalah sakti bodhisatwa (slamet muljana, 1983:183-184). arca pradnyaparamita juga dibangun di kamal pandak. di daerah ni semula merupakan tapal batas kerajaan janggala dan kediri, berupa tugu yang dibangun oleh empu barada pada jaman erlangga. dibangunnya candi pradnyaparamita di tempat itu buka lagi lambang pemisah pada jaman erlagga akan tetapi sebagai lambang pemersatu atas prakarsa vol.2 no.2/mei-agustus 2001 5 harmonia jurnal pengetahuan dan pemikiran seni tribuwana tunggadewi jayawismuwardhani ratu majapahit pada tahun 1284 saka atau 1362 masehi (slamet muljana, 1983: 201). d. wanita dan kesusastraan kesusastraan jawa selain ramayana dan mahabarata, juga berkembang cerita lain sejak jaman erlangga. perguliran jaman kesusastraan juga berkembang dan memuncak pada jaman surakarta. berbagai kesusastraan yang diteliti ternyata banyak yang menampilkan wirawanita tokoh-tokoh wanita. 1. calon arang calon arang adalah nama seorang janda tinggal di desa girah. ia mempunyai anak perempuan bernama retna menggali. sampai dewasa retna menggali belum kawin, hal itu karena ulah ibunya yang jahat, yakni menyebar guna-guna (teluh-jawa) yang menyebabkan banyak penduduk mati. raja kemudian memerintahkan kepada empu barada untuk meneliti kejadian yang menyengsarakan itu. empu barada segera mengetahui, lalu menugaskan putranya yang bernama empu bahula, untuk melamar retna menggali. dengan tugas mulia itu empu bahula berangkat ke desa girah untuk memperistri retna menggali, denagn tujuannya menyelidiki perbuatan jahat janda tua itu. akhirnya empu bahula menemukan kitab mantram epidemi milik janda calon arang. kita itu kemudian dilaporkan oleh empu bahula kepada empu barada. begitu menerima kitab pusaka calon arang janda jahat itu dibunuhnya. dengan kematian calon arang epidemi yang menyengsarakan rakyat itu hilang sama sekali, dan rakyat kembali menikmati kebahagiaan (poerbatjaroko, 1952: 61-63). 2. ken dedes ken dedes gadis panawijen putri empu purwa, seorang brahmana yang sempurna tapanya. ken dedes mempunyai keistimewaan kodat yakni mahkota kewanitaannya memancarkan cahaya. oleh ayahnya ia dibekali ilmu kesempurnaan hidup yakni “karma amamadangi” (1983: 44). ketika ditinggal bertapa oleh ayahnya, ken dedes digelandang oleh tunggul ametung, seorang akuwu di tumapel, dijadikan istrinya. pada vol.2 no.2/mei-agustus 2001 6 harmonia jurnal pengetahuan dan pemikiran seni saat psiar, ia turun dari kereta, kainnya tersingkap hingga betisnya tampak jelas aura yang memancar dari mahkota kewanitaannya. ken arok yang melihat itu, segera pulang dan bertutur kepada dahyang laohgowe, ia menerangkan bahwa wanita yang mempunyai keajaiban seperti itu, disebut “ardhanareswari”. artinya siapa saja yang memperistri wanita itu akan menjadi raja yang besar (1983: 54-55). mendengar keterangan itu, ken arok minta ijin untuk merebut ken dedes dari tunggul ametung. ken arok kemudian minta pertimbangan kepada bangosamparan ayah angkatnya. oleh ayahnya ia disarankan agar memesan pusaka keris kepada empu gandring. dengan keris itu ken arok dapat berhasil membunuh tunggul ametung dan memperistri ken dedes. ken arok kemudian menjadi raja singosari, walaupun akhirnya ia juga mati dengan keris itu, akibat dibunuh oleh nusapati, putra tunggul ametung. ken dedes itulah yang menjadi ibu, menurunkan raja-raja singasari dan majapahit. 3. retna ginubah retna ginubah putri tunggal dari demang wiracapa, seorang wanita yang bertabiat seperti laki-laki. ia hidup di dalam rimba belantara, dengan kuda pacuannya, ditangannya lekat dengan busur dan anak panahnya, serta diikuti anjingnya yang amat setia. sekalipun ia dilahirkan wanita, jiwa ksatriaannya mampu mengatasi segala kesulitan yang disandang oleh keluarganya. menurut cerita ketika jayengresmi, jayengraga. dan kulawirya singgah di kademangan miracapa di dusun lembuasta, kedatangannya itu bersama dengan demang wirancana diikuti oleh rara widuri gadis tunggalnya, bupati trenggalek diiringkan oleh para pengawalnya. untuk menyambut para tamunya itu demang wiracapa menanggap tarian topeng dengan laon narawangsa: jayengraga menjadi kalana sewandana. dengan tarian yang memukau itu rara widuri tak dapat menahan gelora asmaranya. ia naik ke pandapa dan menyekap kaki jayengraga. suasana panggung menjadi geger. bupati trenggalek berlima telah menghunus kerisnya karena amat malu. gertakan itu ditangani oleh kulawirya yang juga terbakar hatinya untuk membela jayegraga. dalam suasana yang mencekam itu datanglah retna ginubah. dengan masih di punggung kudanya, mengancam bupati trenggalek jika tetap bersikeras. para bupati itu akan diserang dengan anjingnya. dengan ancaman itu, para bupati trenggalek akhirnya menyerah. vol.2 no.2/mei-agustus 2001 7 harmonia jurnal pengetahuan dan pemikiran seni keputusan retna ginubah, rara widuri akan dikawinkan dengan jayengraga. setelah rembug masak siang harinya mereka dinikahkan. pesta perkawinan itu dimeriahkan dengan tayuban, mengundang penari gendra, teki dan madu. ketika jayengraga menari tayub dilayani oleh tiga taledek itu, rara widuri mempelai baru iru amat cemburu, rara widuri naik pandapa membawa kayu. tiga penari yang melayani tarian jayengraga itu dipukuli oleh rara widuri, ia kemudian dibawa masuk oleh demang wirancana orang tuanya. jayengraga menyatakan bahwa tidak akan melanjutkan menjadi suami rara widuri. demang wirancana marah, ingin mencegat jayengraga, jayengresmi dan kulawirya, tetapi diancam oleh retna ginubah. dengan ancaman itu maksud jahat yang direncanakan oleh demang wirancana beserta adik-adiknya dibatalkan (paku buwana v, 1990: x-24-29, 167-171). 4. anjasmara serat damarwulan, menampilkan tokoh wanita bernama anjasmara, putri lugender, seorang mahapatih kerajaan majapahit. pada waktu sri ratu kancanawungu bertahta di majapahit, adipati minakjingga bupati blambangan, memberontak terhadap kekuasaan ratu. oleh karena ulah seperti itu sri ratu mengundangkan sayembara, barang siapa kesatria atau lelaki majapahit dari berbagai tingkatan golongan, yang berhasil membunuh minakjingga bupati blambangan akan dinobatkan menjadi raja majapahit serta dipersuami oleh ratu. damarwulan perjaka paluamba yang sejak semula menjadi pemelihara kuda di kepatihan, menjadi pandangan sri ratu berdasar ilham yang diterimanya. berdasarkan ilham itu, patih lugender ditugaskan untuk mencarinya. dengan rasa berat hati patih lugender menghantarkan damarwulan ke hadapan sri ratu. tugas berat yang dipikulkan itu damarwulan menyanggupi. ketika menyerang blambangan, damarwulan berhasil membunuh minakjingga berkat bantuan wanita dan puyengan selir minakjingga. di tengah perjalanan pulang. damarwulan dicegat oleh seta dan kumitir. damarwulan dilumpuhkan dengan cara yang culas, namun tidak sampai mati. untunglah karena anjasmara putri patih lugender, yang gandrung kepada damarwulan itu lari dari kepatihan menyusul damarwulan ke blambangan. lolos anjasmara itu bertemu dengan damarwulan dalam keadaan parah, dan atas pengobatan anjasmara yang berlandaskan cinta vol.2 no.2/mei-agustus 2001 8 harmonia jurnal pengetahuan dan pemikiran seni kasih itu damarwulan sembuh kembali. selanjutnya setelah damarwulan menceritakan semua kejadian itu, karena ulah seta dan kumintir, maka anjasmara sanggup menjadi saksi di hadapan sri ratu kancanawungu. dalam sidang pengadilan sri ratu kancanawungu, anjasmara yang gigih membela damarwulan dan dikuatkan kesaksiannya oleh waita dan puyengan yang membantu ketika menghadapi minakjingga, maka damarwulan akhirnya yang berdiri di atas kebenaran. atas perjuangan anjasmara, waita dan puyengan itu damarwulan dinobatkan menjadi raja majapahit dan menjadi suami sri ratu kancanawungu (1974: 94 – 100). 5. rara mendut dalam cerita rakyat rara mendut adalah gadis boyongan dari kabupaten pati. ia diboyong ke mataram oleh pasukan perang pimpinan tumenggung wiraguna bersama gadis-gadis lain dan sejumlah harta benda. setibanya di mataram harta rampasan dan gadis boyongan itu dibagi-bagikan kepada mereka yang berjasa. tumenggung wiraguna memilih rara mendut untuk diperistrinya. rara mendut menolak untuk dijadikan istri, karena penolakan itu rara mendut harus membayar pajak sebesar tiga real sehari yang dalam perhitungan tidak akan mungkin terbayar. untuk membayar pajak sebesar itu rara mendut minta ijin berjualan rokok, dengan cara yang kas. rokok yang masih utuh harganya lebih murah dari pada rokok yang telah menjadi puntung isapan rara mendut. selama berjualan rokok rara mendut berkenalan perjaka dari batakenceng bernama pranacitra. hubungan itu menjadi akrab dan berubah menjadi cinta kasih yang saling setia. lewat puntung rokok itu, rara mendut menyarankan agar pranacitra mengabdi ke wiraguna guna meningkatkan hubungan percintaannya. kesetiaan cinta kasihnya “pager bumi kotaking wong lampus, luwang siji yogya kang ngleboni, ing (m) benjang wong loro” artinya” satu kubur untuk dua orang”. untuk menghindari tumenggung wiraguna, akhirnya rara mendut lari dari wiraguna dengan pranacitra. malang bagi mereka berdua. tumenggung wiraguna memerintahkan para prajurit untuk menangkap mati atau hidup rara mendut dan pranacitra. dalam pengejaran itu mereka tertangkap kemudian diadili di hadapan ki tumenggung. di hadapan ki tumenggung wiraguna, pranacitra dihukum mati, ditikam sendiri oleh ki tumenggung. rara mendut yang melihat pranacitra vol.2 no.2/mei-agustus 2001 9 harmonia jurnal pengetahuan dan pemikiran seni dibunuh dengan kejam itu, keris yang masih menancap di dada pranacitra dicabutnya kemudian untuk menikam dirinya sendiri. mayat mereka oleh patih wiraguna dikuburkan dalam satu liang lahat (1974: 106-110). e. wanita dalam legenda legenda yang erat dengan tokoh-tokoh wanita di jawa banyak ditemukan, seperti: banyuwangi, nawangwulan, rara kidul, dan ratu sima 1. banyuwangi legenda tentang banguwangi ditemukan dalam kesusastraan (serat) sri tanjung (1952: 90-95) jalan ceritanya: seorang satria bernama sidapaksa, mengabdi kepada raja sulakrama di ekrajaan sindureja. raja mengetahui bahwa sidapaksa mempunyai istri yang cantik bernama sri tanjung, dan raja tergila-gila untuk memperistrinya. oleh karenanya dicari rekayasa untuk memisahkan suami istri itu. sidapaksa ditugaskan untuk minta benang tiga gulung kepada dewa indra di suralaya 9indraloka). upaya itu semata-mata ingin membunuh sidapaksa lewat tangan lain. sidapaksa bernagkat menghadap batara indra, akan tetapi kebingungan cara naik ke suraloka. dewi sri tanjung kemudian memberikan baju anantakusuma peninggalan sadewa. dengan rompi anantakusuma itu sidapaksa bisa mulus naik ke suraloka. akibat rekayasa itu, raja sulakrama memastikan sidapaksa tentu mati oleh dewa indra. oleh karenanya raja sulakrama menemui sri tanjung istri sidapaksa agar menuruti napsunya. sri tanjung menolaknya dengan tegas, sehingga raja sulakrama dengan rasa malu kembali ke keraton. sidapaksa yang diutus ke suraloka ternyata berhasil dengan mulus membawa benang tiga gulung. setelah kembali ke bumi segera menghadap raja. oleh raja sidapaksa ditipu lagi bahwa istrinya ingin diperistri raja, akan tetapi ditolaknya. dengan sangat marah sidapaksa minta diri dari hadapan raja sulakrama. tiba di rumah istrinya digelandang ke ksetra gandamyit lalu ditikam dengan keris. sri tanjung yang hampir mengembuskan napas terakhir, sempat bertutur, “jika darahnya, setelah mati berbau wangi, maka dirinya tidak berdosa”. untunglah bagi sidapaksa karena istrinya hidup kembali, akan tetapi dengan jiwa yang baru.sidapaksa yang ingin menjadi suaminya lagi harus vol.2 no.2/mei-agustus 2001 10 harmonia jurnal pengetahuan dan pemikiran seni memenuhi persaratan yang berat, yakni harus mampu membunuh raja sulakrama yang jahat itu. untuk menebus dosanya terhadap istrinya dan cinta baktinya maka sidapaksa bernagkat pula. dengan niat yang suci itu sidapaksa berhasil membunuh raja sulakrama. kepala raja sulakrama dipenggal kemudian dibawa pulang dan diserahkan kepada istrinya. sejak itulah sidapaksa dan sri tanjung hidup rukun lagi. 2. nyai rara kidul seorang gadis putri pajajaran, lolos dari istana, karena menolak untuk dikawinkan. ia menyusup hutan dan tibalah di gunung kombang, yang ditumbuhi pohon cemara hanya satu batnag saja. ia bertapa disitu kemudian menamakan dirinya ajar cemara tunggal. jaka sesuruh yang tersingkir dari kerajaan pajajaran lari ke timur singgah di gunung kombang menemui ajar cemara tunggal oleh sang ajar, jaka sesuruh disarankan agar melawat ke timur saja sampai mendapatkan pohon maja yang hanya mempunyai satu buah saja dan rasanya pahit. setelah bertutur begitu sang ajar menampakkan diri pada citra semula yakni wanita yang amat cantik. melihat kecantikan wanita di wisma sang ajar itu, jaka sesuruh ingin memperistrinya, akan tetapi wanita itu menghilang kemudian menampakkan lagi sebagai ajar camara tunggal. sang ajar memberitahukan bahwa kelak akan bertemu lagi jika jaka sesuruh telah ebrhasil menjadi raja dan menguasai seluruh jawa. pertemuan itu kelak jika sang ajar cemara tunggal telah beristana di pamantingan, menjadi raja para makhluk halus, di bawha kekuasaan jaka sesuruh. keturunan jaka sesuruh kelak juga akan membuat istana di lembah utara pemantingan sampai gunung merapi, dan akan memperistrinya (sudibjo, z.h. 1981: 483-484). jaka sesuruh setelah membuat istana majapahit, para keturunannya banyak yang menjadi raja besar, sampai dengan mataram. kerajaan mataram dibangun di lembah yang membentang dari pemantingan membentang ke utara sampai kaki gunung merapi. panembahan senapati membuat istana di hutan mentaok, raja inilah yang pertama kali bertapa di pantai selatan, dan kemudian memperistri ki ajar cemara tunggal yang telah kembali pada ujut semula yakni wanita bergelar nyai rara kidul. dalam hubungan suami istri itu panembahan senapati sellau mendapatkan bantuan tentara makhluk halus, yang berujud prahara, atau epidemi penyakit yang menyerang bala vol.2 no.2/mei-agustus 2001 11 harmonia jurnal pengetahuan dan pemikiran seni tentara musuh di dalam pertempuran (1981: 554-555). 3. nawangwulan nawangwulan adalah salah satu nama dari bidadari. ketika nawangwulan berlima dengan empat bidadari yang lain mandi di telaga yang berada di pusat hutan rimba raya, ia dikhianati oleh jaka tarub, dengan cara disembunyikan pakaiannya. dengan cara itu nawangwulan akhirnya menjadi isteri jaka tarub. perkawinan dengan jaka tarub telah dikaruniai satu anak perempuan bernama nawangsih. pada waktu nawangsih masih bayi, nawangwulan setiap pagi mandi di sungai dan mencuci pakaian bayinya. suatu pagi ia ingin mandi di sungai. sebelum berangkat ia pesan kepada suaminya akan bayinya yang masih tidur serta menanak yang belum siap masak. pesan yang penting agar suaminya tidak membuka tutup periuk yang untuk memasak. setelah nawangwulan bernagkat, jaka tarub suaminya sambil mengemban bayinya, menuju ke dapur. dalam hatinya yang heran bercampur haru selalu bertanya, karena lumbung padinya tampak selalu utuh. ia ingin melihat seberapa yang ditanak untuk makan seharinya. ketika membuka tutup periuk, bertambah heran hatinya karena yang ditanak cukup sebutir padi. ia merasa bangga akan kesakitan isterinya. begitu nawangwulan isterinya pulang jaka tarub segera menyambutnya. nawangwulan dengan gembira menerima anaknya itu terus menuju ke dapur. begitu membuka tutup periuk ia kaget, karena padi yang ditanaknya tidak masak dan masih utuh buliran padi. nawangwulan bertanya kepada suaminya: benar bahwa suaminya tidak menepati pesannya. nawangwulan menyadari akan keteledoran suaminya, karena telah terlanjur. untuk selanjutnya nawangwulan minta kepada suaminya agar membuatkan lesung dan antan untuk menumbuk padi. permintaan itu segera dilaksanakan. setelah dibuatkan lesung itu, setiap pagi nawangwulan menumbuk padi untuk dimasak. oleh karena setiap pagi padi dalam lumbung itu ditumbuk maka menipiskah, dan lama-lama habis. ketika nawangwulan mengambil padi yang paling akhir nawangwulan menemukan pakaian kesakitannya di dasar lumbung. pakaian itu diambilnya dan dikenakan, sehingga nawangwulan pulih kembali seperti semula, dan sadar bahwa yang menyimpan ( menyembunyikan ) pakaiannya ketika mandi vol.2 no.2/mei-agustus 2001 12 harmonia jurnal pengetahuan dan pemikiran seni itu dulu adalah suaminya. seketika itu pula nawangwulan menghadap suaminya, memutuskan bahwa hari itu pula ia akan kembalu ke surgaloka menyatu dengan para biddari yang lain. untuk puteranya yang masih bayi itu, harus dibuatkan rumah panggung yang tinggi. sewaktu-waktu nawangsih putrinya itu menangis supaya dinaikkan ke rumah panggung itu, di bawha rumah panggung dibakarkan arang dari padi ketan hitam. dengan cara itu, cara memanggil seorang ibu demi putrinya yang ditinggalkan dan diasuh oleh ayah (sudibjo, z.h, 1981:554-555). 4. ratu sima kisah ratu sima, seorang ratu pada jaman kalingga naik tahta disekitar tahun 674 di wilayah sebelah utara ambarawa. ia dikenal sebagai ratu yang sangat arif, bijaksana, adil dan merakyat. pada di suatu hari seorang ta-zi (1997: 100), ingin mencoba kepada rakyatnya dengan meletakkan pundi-pundi di salah satu perempatan jalan. barangsiapa yang mengambil akan mendapatkan hukuman. ternyata setelah beberapa hari tidak ada rakyatnya yang mengambil. kebetulan pada suatu hari salah seorang keluarga kraton mengambilnya. oleh karena dinyatakan bersalah, walaupun yang melakukan kejahatan itu masih keluarganya tetap mendapatkan hukuman dari ratu sima. f. wanita dalam babad babat adalah kesusastraan yang bernilai sejarah dengan gaya penulisannya yang kas. di dalam babat itu banyak mengungkapkan berbagai peristiwa yang diperankan oleh tokoh laki-laki maupun perempuan. seorang perempuan yang diungkapkan dengan rinci adalah : ratu kalinyamat ratu kalinyamat hidup pada jaman kerajaan demak mulai runtuh dan merupakan awal bangkitnya kerajaan pajang. kerajaan demak setelah sultan tranggana meninggal, terjadi perebutan kekuasaan. sunan kudus yang menjadi kepercayaan dan sesepuh kerajaan merekayasa agar arya penangsang adipati jipang menjadi raja. untuk mensukseskan itu arya penangsang direstui melakukan gerilya hantu maut. para adipati dan sunan yang membahayakan sksesi itu dibunuhnya. sunan prawata suami istri dibunuh. ratu kalinyamat bersama suaminya menghadap sunan kudus untuk menuntut keadilan, akan tetapi jawaban sunan kudus sangat menyakitkan. sekembalinya dari jipang suami ratu kalinyamat dibunuh. vol.2 no.2/mei-agustus 2001 13 harmonia jurnal pengetahuan dan pemikiran seni atas kematian suaminya itu, ratu kalinyamat tidak kembali ke kabupaten kalinyamat, akan tetapi terus bertapa ke gunung danaraja. keputusan batin ratu kalinyamat, ialah: � selamanya takkan berpakaian jika arya penangsang belum mati � akan mengabdikan dirinya serta menyerahkan wilayah kalinyamat berikut harta kekayaannya kepada siapa saja yang bisa membunuh arya penangsang. sumpah tapa batu kalinyamat akhirnya berhasil sultan hadiwijaya (jaka tingkir) dibantu pemanahan dan penjawi serta sutawijaya dengan strategi perang ki jurumertani, berhasil membunuh arya penangsang. sesuai dengan janjinya, ratu kalinyamat menyerahkan wilayah kalinyamat serta prawata kepada hadiwijaya (1985: 31-32) g. penutup dalam sejarah kebudayaan jawa pra islam, banyak tokoh wanita yang telah berhasil menjadi pemimpin seperti yang tertera pada relief candi, legende, tertulispada karya sastra dan babat. pada masa islam terjadilah polarisasi sistem kemasyarakatan,s ehingga relatif sedikit wanita yang memiliki kesempatan dan keberanian untuk duduk sederajat dengan pria. hal ini juga pernah sepertiyang diungkapkan oleh effendy zarkasi dalam karya tulisnya yang berujudul “unsur islam dalam pewayangan” yang menyatakan ... itu semua membuktikan bahwa zaman ke hinduan itu susunan masyarakat rakyatnya matriarchaat. setelah zaman islam dirubah menjadi patriarchaat (1977:88). tokoh dalam babat seperti ratu kalinyamat pada masa sesudah islam merupakan wujud pemberontakan terhadap kungkungan adat yang kolot. wirawanita sebenarnya telah hidup subur dalam budaya jawa sejak dahulu kala. pasang surut manifestasinya terjelma dalam berbagai bentuk, terlukis dalam banyak candis eperti candi prambanan, ken dedes, tertera dalam legende seperti nyai lara kidul, nawangwulan, dalam banyak karya sastra seperti ceritera calon arang, retno ginubah, serat damarwulan dan dalam babat seperti ratu kalinyamat. kini wirawanita memperoleh formulasi baru sesuai dengan semangat jamannya. bebrapa tokoh emansipasi aru mulai muncul sesuai dengan semangat jamannya setelah dipengaruhi budaya modern. berbagai tokoh wanta seperti cut vol.2 no.2/mei-agustus 2001 14 harmonia jurnal pengetahuan dan pemikiran seni nya din dari aceh, dewi sartika dari jawa barat dan r.a kartini dari jawa tengah merupakan sosok wirawanita dalams ejarah pergerakan nasional. dewasa ini tuntutan persamaan derajat dan hak asasi merupakan bagian dari sejarah itu sendiri. simbol-simbol tokoh yang terukir dalam banyak candi, legende, sastra dan baabt mendapatkan makna baru yang bersifat mendidik dalam kehidupan masyarakat jawa dan nusantara. daftar pustaka berg, c.c. 1974. penulisan sejarah jawa. terjmahan s. gunawan. buwana v, paku. 1990. falsafah centini. sala : sadu budi. charis, waddy. 1994. wanita dalam sejarah islam terjemahan faruk zabidi. jakarta : dunia pustaka jaya. de graff, h.j. 1985. awal kebangkitan mataram masa pemerintahan senopati. jakarta : temprint. lal, p. 1992. mahabarata. jakarta : djambatan. marno, d. 1997. sejarah indonesia kuno. surakarta : uns bpk fkip. meinsma, j.j. 1899. babad tanah jawi in proza javaansche geschie demis loopende tot he jaar 1647 der javaansche jaartelling's gravenhage : kitlv. cet.2. mortjipto. 1994. mengenal candi siwa prambanan dari dekat. yogyakarta : kanisius. mulyana, slamet. 1983. negara kertagama dan tafsir sejarahnya. jakarta : bharata karya aksara. murgiyanto, sal. 1970. dramatari damarwulan. yogyakarta l asti konser tari ii. poerbotjaroko. r.m.ng. 1952. kepustakaan djawa. jakarta : djambatan. vol.2 no.2/mei-agustus 2001 15 harmonia jurnal pengetahuan dan pemikiran seni sugiyati, sri. 2001. peran politik perempuan di indonesia. jakarta : pt pelita indonesia baru ed. sabtu 21 april no. 8397 tahun xxviii hal.4 sudibyo, z.h. 1981. babad trunojoyo-suropati. jakarta : pbsid. -------------. 1983. kidung candhini, alih aksara dan bahasa. jakarta : pbsid. surin, bachtiar. 1978. terjemah dan tafsir al qur'an. bandung : fa.sumatra. widyatmanto, siman. 1968. adiparwa. yogyakarta : spring. zarkasi, effendy. 1977. unsur islam dalam pewayangan. bandung : al ma'arif. vol.2 no.2/mei-agustus 2001 16 223 suzuki piano method and flow experience among adult piano beginners: a quasi-experimental study liu xiao chen, wang i ta, wong kwan yie universiti malaya, malaysia submitted: 2023-03-31. revised: 2023-05-04. accepted: 2023-10-16 abstract although the flow experience has been researched extensively in music education, there is limited investigation into exploring the link between the suzuki piano method and csikszentmihalyi’s flow theory. to address this gap, a quasi-experimental study was conducted to examine how the suzuki piano method can promote the flow state of adult piano beginners. the study involved 36 participants assigned to either a treatment group or a control group. both groups underwent an eight-week training program in suzuki piano method and conventional group piano class respectively. after the program, participants from both groups underwent a posttraining performance test and completed a survey, namely learning and performing experience scale (lpes), modified based on the short flow state scale (s-ffs) by martin and jackson to examine their flow experience. the treatment group showed significantly higher flow experience levels than the control group, particularly in dimensions of concentration, unambiguous feedback, timelessness, loss of self-consciousness, sense of control, autotelic experience, and challenge-skill balance. the findings suggested that the suzuki piano method may promote flow experiences among adult beginners in piano learning. the implication of the study signified that the collaborative and interactive learning inherent in the method might be beneficial in achieving flow state and could be a consideration in conducting group piano classes. keywords: flow experience; suzuki piano method; adult piano beginner; group piano class how to cite: chen, l. x., ta, w. i. & yie, w. k. (2023). suzuki piano method and flow experience among adult piano beginners: a quasi-experimental study. harmonia: journal of arts research and education, 23(2), 223-234 harmonia: journal of arts research and education 23 (2) (2023), 223-234 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.43483 of time and emotions are temporarily on halt, and they would feel an uplifting sense of motivation and control. it increases the pleasurable experience and productivity at a task. considering that flow states provide people with a happier and more effective working experience, the researchers have studied and discussed its causal model in depth (csikszentmihalyi, 1990; ghani & deshpande, 1994; ghani et al., 1991; rodriguez-sanchez et al., 2008). through interviews with stakeholders in europe, the united states, australia, and introduction the flow state is described as one of the positive feelings or “optimal experience” of people feeling motivated in work, art performance, and sports (csikszentmihalyi, 1990; csikszentmihalyi et al., 2023; tse et al., 2021). researchers concluded that flow is often felt when people are fully engaged in an activity that matches their ability level. those who are in the state of flow will have no difficulty being at the top of their capabilities. their perceptions corresponding author: e-mail: wangita@um.edu.my p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (2) (2023): 223-234224 parts of asia, csikszentmihalyi (1990) confirmed that when people reflected on what it was like to be in a flow state that they have experienced, they would mention at least one or all of the following feelings: 1) clear aims; 2) timely feedback towards the tasks at hand; 3) adaptation of personal abilities to the task; 4) coordination of action and awareness; 5) focused completion of the task; 6) blurred self-awareness during a task; 7) competence in control of the task; 8) blurred time awareness. ghani et al. (1991) evaluated the degree of flow state entry by utilizing a set of four items on enjoyment and four on concentration. the study revealed that engaging in challenging projects and achieving mastery of the task facilitated the attainment of flow state. ghani and deshpande (1994) suggested that the flow state, in addition to being closely related to challenges, is also related to individual autotelic personality. it refers to a person’s tendency to seek out activities for their own sake rather than for external rewards or motivations. csikszentmihalyi has discussed this concept in relation to the flow theory (csikszentmihalyi, 1997; nakamura & csikszentmihalyi, 2014), and some researchers and writers have included it as a ninth dimension (baumann, 2021; tse et al., 2021). however, it is important to note that not all sources include this dimension, and some may consider it to be more of a personality trait than a component of the flow experience itself (norsworthy et al., 2021). these definitions of the dimensions of the flow experience provide the theoretical foundation for the measurement of the flow state. researchers have been optimizing measurement methods in order to prove that flow states can be found in people’s work and lives. the initial research method for measuring flow was the experience-sampling method (csikszentmihalyi, 1992; csikszentmihalyi et al., 1977; kimiecik & stein, 1992). while the experience-sampling method has been considered time-consuming by many researchers, efforts have been made to optimize and implement this method due to its ability to extract comprehensive information more effectively (hunter & csikszentmihalyi, 2003; moneta, 2004). for instance, researchers have utilized communication technology, such as mobile phones and computers, to enhance the feedback collection process, resulting in increased participation rates and reliable, valid responses from a larger sample size (chen et al., 1998; khan et al., 2009). in addition to quantitative data collection, the qualitative approach to validate flow theory in different fields and populations is of great interest to many researchers (addessi & pachet, 2005; chen-hafteck & schraerjoiner, 2011; cunha & carvalho, 2011; custodero, 1998). this approach involves utilizing interviews to gain in-depth information from participants about their experiences of flow, while observation allows the researcher to observe and record the behavior of participants in a natural setting (hefferon & ollis, 2006; nakamura & csikszentmihalyi, 2014; swann et al., 2015) and to further measure the effect of specific environments on flow (delle fave, massimini & massi, 2011). and, it allows for researchers to observe and record the behavior of participants in real-time and ask questions about their experiences of flow, thus providing more complete information of the flow state. (hong et al., 2019; tordet et al., 2021). researchers can directly adopt or adapt these measurement tools to different research methods and research subjects (cunha & carvalho, 2012; jackson & marsh, 1996; kang, 2022; tay et al., 2021; treviño & bermúdez, 2016; trevino & webster, 1992). most empirical studies assessing mobility have used multiple multi-factor instruments (faulkner et al., 2010; jackson & marsh, 1996; martin & jackson, 2008). however, in some cases, a simple flow measurement is appropriate, for example, the short flow state scale (s-ffs) (jackson et al., 2008; martin & jackson, 2008). the short flow scale can be viewed as a succinct measure of the overall higher-order flow construct by selecting a target item from each of the nine factors associated with flow liu xiao chen et al., suzuki piano method and flow experience among adult piano begin225 experience in the extended version. the sffs comprises nine individual items, each corresponding to one of the nine flow factors described by csikszentmihalyi (1990) in the multi-item multi-factor long scale developed by jackson and eklund (2002), as outlined below: challenge-skill balance (feeling sufficiently competent to meet the demanding situation), action-awareness merging (performing actions spontaneously and unconsciously without conscious deliberation), clearly goals (having a strong sense of direction and purpose), enjoyment (having real-time awareness of one’s own performance during the task execution), concentration (being fully immersed in the present task at hand), sense of control (experiencing a sense of complete control over one’s actions), loss of selfconsciousness (being unconcerned with others’ opinions of oneself), timelessness (perceiving time to pass differently from normal), and autotelic experience (finding the experience to be highly rewarding). by selecting a target item from each of the nine flow factors in the long form, the short flow scale can be considered a brief version of the global higher-order flow construct. martin and jackson (2008) reported on a sample of individuals engaged in work, sports, and musical activities. they argued that measures of flow related to musical activities were most suited for data analysis and that the nine specific dimensions of flow could potentially be more easily mapped onto musical activities, facilitating entry into the state of flow. therefore, this study modified the s-fss, creating a new measurement tool, the learning and performing experience scale (lpes), better suited for measuring flow experience in adult piano beginners. in the broad application of flow theory, researchers constantly explore empirical data in different disciplines. in 1990, csikszentmihalyi further explained the flow state in a musical context. referring to the flow theory, music is a venue for cultivating senses of concentration, enjoyment, satisfaction and immersion. music can counteract boredom and anxiety and can lead people into a flow experience while listening or performing. custodero (1998), who was the first researcher to apply flow theory in the field of music, observed young children’s flow state in the music learning process. in the subsequent studies, custodero (2005) conducted further research to explore the flow state during music learning among two distinct age groups: infants and two-year-olds, as well as school-age children participating in suzuki violin approach and dalcroze classes. children can enter the flow state naturally when they are equipped with the required skills and when the task is challenging enough. meanwhile, the researcher was advised of the importance of exploring new directions in the field of flow in the future. the number of studies on flow theory in the field of music has increased since 2005 (tan & sin, 2021). custodero (2005) found out that the suzuki method applied in violin course and the dalcroze method could induce students to automatically adopt correct posture and proactively imitate the teachers’ action, which indicates the subjects’ flow state. however, the influence of music teaching methods in flow theory has continued to be less mentioned in the previous studies (kang, 2022). the following are the limited studies done in recent years. based on custodero’s “analysis of fima (flow indicators musical activity) coding programmed data” report, researchers (cunha & carvalho, 2012; cunha & carvalho, 2011) used direct observation through video/audio recordings to demonstrate how the orff-schulwerk approach leads to positive emotions in students’ learning, clearly verifying the significant link between the orff-schulwerk approach and csikszentmihalyi’s concept of flow. the researchers from mexico conducted a quasi-experimental study of flow states in a sample of elderly people based on the dalcroze eurhythmics intervention (treviño & bermúdez, 2016). the results showed that dalcroze eurhythmics was validated in inducing a flow state among older people who received the intervention. the findings of a case study of the kodály muharmonia: journal of arts research and education 23 (2) (2023): 223-234226 sic course among grade 8-9 students showed significant results in a sample where immediate feedback, control over the task, and a satisfying experience were effective (veldhuisen, 2017). the teacher’s role, class environment, lesson pace, content level complexity, and differentiation were among the key factors influencing the flow experience when students participated in kodály music lessons. although the suzuki method has been applied to young children in violin courses, its effectiveness in inducing flow state experiences in adult learners has not been fully explored. according to custodero (2005), there is a potential link between suzuki music teaching method and flow theory, suggesting that the method may be effective in facilitating the flow states in adult learners. however, empirical data has not yet been established. therefore, further research is needed to explore the effectiveness of the suzuki teaching method in facilitating flow state among adult learners and examine the theoretical and practical links between them. this article discusses how the suzuki piano method can enhance flow state for adult piano beginners in a group class setting at a chinese public university. the research questions were as follows: 1) does the suzuki piano method improve the flow experience of adult piano beginners effectively? 2) in what ways does the suzuki piano teaching method contribute to the experience of a flow state in adult piano beginners? method research design jennett et al. (2008) have claimed that adopting a small sample size in a study can enhance the reliability and validity of the flow experience. to follow this principle and to ensure teaching quality, a small sample size of 36 piano beginners with no prior piano learning experience participated in this study. to account for the limited sample size, a post-test design with a nonequivalent control group was employed (gribbons & herman, 1997; reynolds & west, 1987). specifically, participants were assigned to either the treatment group or the control group, with the treatment group receiving the suzuki piano method instruction. the control group was instructed under the conventional piano teaching approach. as a baseline of piano playing level did not exist, a pre-test was not feasible. therefore, this quasi-experimental study analyzed only the mean score obtained during piano performance test completed by all participants. to avoid possible confounding variables, demographic information such as age and gender were collected from each participant, and statistical analyses were used to determine whether any significant differences existed between the two groups. additionally, measures such as self-reported enjoyment and engagement in piano playing were collected to assess the treatment program’s effectiveness. participants the research participants were firstyear students majoring in preschool education at a comprehensive university in china. thirty-six participants, who were over 18 years old and from the same class, joined this quasi-experimental study voluntarily in the first semester. they were provided with face-to-face lessons twice a week for 90 minutes each time. the participants were divided into two groups, one receiving the conventional piano teaching method instruction and the other receiving the suzuki piano method instruction, and took a performance test after the eightweek program. they were confirmed as piano beginners, which was validated after completing a personal information questionnaire before the study was carried out. research procedure both groups used the same pieces from the suzuki piano school (suzuki, 1992) as the study material. at the end of the 8-week course, the participants were required to perform two pieces of music by memorization in the post-test performance test. participants in the control group were instructed not to begin practicing the pialiu xiao chen et al., suzuki piano method and flow experience among adult piano begin227 no until they achieved a certain sight-reading level. the technical emphasis for this group was on the “weight playing” method (macritchie, 2015; severini, 2021). at the end of each lesson, the teacher requested that the participants review the music theory knowledge and engage in physical practice. on the other hand, the treatment group was taught by the suzuki piano method, which emphasized teamwork during the teaching process. the main teaching strategies included performance demonstration by the teacher and studio class performance where participants needed to listen to each other. in addition, the participants were instructed to listen to the audio demonstration track repeatedly until they could fully memorize the music and locate keys on the on the keyboard. there was no address on the playing technique and music theory instruction given in the control group. data collection this quasi-experimental study ensured the participants’ privacy and the data’s confidentiality. the order of the 36 participants in the post-test were redistributed to ensure that the three expert piano examiners were unaware of which group the participants were from when they marked the test. after the test, participants were required to complete the learning and performing experience scale (lpes), which was modified after martin and jackson (2008)’ short flow state scale (s-ffs). research instrument and pilot study as shown in table 1, the current study modified the short flow state scale (sffs) from martin and jackson (2008). to facilitate self-evaluation of piano learning and performance experience, the lpes has corresponded each question with specific scenarios of learning and performing the piano. additionally, to reduce subjective evaluation errors and enhance the consistency and objectivity of assessments, the current study used the 5-level richmond agitation-sedation scale (joshi et al., 2015). table 1. learning and performing experience scale (lpes)_modified by s-ffs scale question s-fss i feel i am competent enough to meet the high demands of the situation lpes i felt competent enough to play the piano s-fss i do things spontaneously and automatically without having to think lpes i practice or performance automatically without having to think s-fss i have a strong sense of what i want to do lpes i have a strong sense of what i want to practice or playing s-fss i have a good idea while i am performing about how well i am doing lpes i was clear about what to do during the piano instruction s-fss i am completely focused on the task at hand lpes i was able to maintain my attention during the piano instruction s-fss i have a feeling of total control lpes i felt physical comfort and relaxation during final piano examination performance s-fss i am not worried about what others may be thinking of me lpes i am not worried about what others may be thinking of my performance s-fss the way time passes seems to be different from normal lpes i felt the piano lesson time went by quickly s-fss the experience is extremely rewarding lpes the piano learning experience is extremely rewarding to establish test reliability for the lpes, the pilot study was conducted before the formal research. there were four students without piano learning background participated in the pilot study. two students were taught by the conventional piano teaching method, and the other two were taught by the suzuki piano method. harmonia: journal of arts research and education 23 (2) (2023): 223-234228 after learning “twinkle, twinkle, little star variations a-d after the eight-week lessons, students filled out the lpes, and the data was calculated with cronbach’s alpha. it showed a score of 0.866, which exhibited an internal consistency. data analyses the data collected from lpes were compiled and analyzed using quantitative measures. the sorted data were evaluated using the statistical package for the social science (spss) version 25.0. due to the small sample size, the data obtained in this experiment were analyzed by nonparametric statistical methods. the independent variables in this study were two groups that were instructed by the two teaching methods. the two groups were independent and unrelated. the purpose of this experimental design is to analyze the differences between two different independent samples. all of the above are in line with the experimental hypothesis of the mann-whitney u test (mcknight & najab, 2010). this study aimed to explore the relationship between different teaching methods and students’ learning experiences. data collected through lpes were analyzed for significance according to the nine dimensions of flow (csikszentmihalyi, 1990). result and discussion table 2 presents the variables’ mean and standard deviation (sd) in both the control and treatment groups. concentration, action-awareness merging, unambiguous feedback, timelessness, loss of self-consciousness, sense of control, autotelic experience, challenge-skill balance, and clear goals are the variables listed in the table. the mean (m) and sd values for each variable are shown in separate columns for both the control and treatment groups. the mean value represents the average score for each variable, while the sd indicates the degree of variability in the scores. table 2. mean and standard deviations of the variables of the lpes variables control group treatment group m sd m sd concentration 3.5556 .68361 4.1389 .56375 actionawareness merging 2.4444 .70479 3.1111 .90025 enjoyment 3.6944 .78850 4.3333 .59409 timelessness 3.5278 4.0833 5.5498 .69133 loss of selfconsciousness 2.6111 .97853 2.2778 .57451 sense of control 3.3333 .76696 3.8889 .67640 autotelic experience 3.0833 .66972 3.6389 .37595 challengeskill balance 4.0000 .68599 4.6667 .48507 clearly goals 4.2778 .66911 4.7222 .46089 note: p<0.05* the mann-whitney u test was used to compare the nine dimensions between the control and treatment groups. the results are presented in table 3. it showed some significant differences in concentration scores between the two groups (u = 90.000, z = -2.376, p =.022); action-awareness merging scores between the two groups (u = 90.000, z = -.2.467, p =.022); unambiguous feedback scores between the two groups (u = 86.000, z = -2.456, p =.016); timelessness scores between the two groups (u = 85.000, z = -2.504, p =.014); sense of control scores between the two groups (u = 87.000, z = -2.570, p =.017); autotelic experience scores between the two groups (u = 79.000, z = -2.713, p =.008); challenge-skill balance scores between the two groups (u = 78.000, z = -.2.928, p =.007). liu xiao chen et al., suzuki piano method and flow experience among adult piano begin229 table 3. lpes results of mann-whitney u statistics variables mannwhitney u test z exact sig. [2*(1-tailed sig.)] concentration 90.000 -2.376 .022* actionawareness merging 90.000 -.2.467 .022* enjoyment 86.000 -2.456 .016* timelessness 85.000 -2.504 .014* loss of selfconsciousness 136.000 -.920 .424 sense of control 87.000 -.2.570 .017* autotelic experience 79.000 -2.713 .008* challengeskill balance 78.000 -.2.928 .007* clearly goals 103.000 -.2.127 .064 note: p<0.05* the results of the data from this quasi-experimental research indicate that both the conventional piano teaching method and the suzuki piano method can lead to different levels of flow. however, adult piano beginners who learned through the suzuki piano method displayed a more profound flow experience than the other participants, particularly in the following dimensions: concentration, enjoyment, timelessness, loss of self-consciousness, sense of control, autotelic experience, and challenge-skill balance. there is no significant difference among the two groups between the loss of self-consciousness and clear goals. the following test will further discuss the cause of different results in the two groups in relation to the flow theory. kang (2022) argued that people are most likely to enter a flow state when they are engaged in musical performance activities because they feel concentration or timelessness. consistent with the results of this study, the adult piano beginners instructed under the suzuki piano method demonstrated a significant experience of concentration and timelessness. in the adult piano beginners’ class, students are easily confused by concepts and unclear instructions due to their unfamiliarity with the new field, causing students to fail to understand the teacher’s requirements and follow the teacher’s ideas in class (adamyan, 2018; kataoka, 1996). from a pedagogical standpoint, the suzuki piano method guides students to practice piano by gradually developing their musical abilities from the simplest to the more complex tasks. this method first focuses on fostering their aural skills before moving on to cultivate their performance abilities and eventually developing their note-reading skills (lópez garcía et al., 2021), whereas the conventional piano teaching method is based on the theory and structural knowledge building that link to the performance (severini, 2021). in the current study, the control group teaching focused on music theory before physical practice. the participants in the treatment group were taught the melody by listening to the audio demonstration of the piece. they listened several times until they were able to hum the melody correctly and started playing it on the keyboard. in the control group, the teacher would put forward more requirements on music theory and technical matters in piano playing, while the treatment group was taught through solfeggio, listening comprehension towards musical elements such as tempo and dynamics. the findings also showed a significant difference between the two groups in action-awareness merging. “action-awareness merging,” which is a dimension of flow experience, emphasizes the relationship between self-awareness, spontaneity, and flow (hart & di blasi, 2015). when a person experiences action-awareness merging, they become deeply involved in an activity and lose awareness of themselves. this can lead to increased spontaneity, which means acting on impulses without hesitation. custodero (2005) found that the suzuki music teaching method can harmonia: journal of arts research and education 23 (2) (2023): 223-234230 help participants to spontaneously imitate playing postures and become more involved in group activities. the results of this study also confirmed her statement. in the treatment group, the teacher played a piece of music on a piano and asked the participants to imitate the performance on the other piano after listening to the teacher’s demonstration and carefully comparing teacher’s demonstration and their own playing. the students got familiar with the music by repeated listening and did not play until they could accurately hum the pitches. the students were also required to distinguish the dynamic changes between phrases and imitate them in performance. the physical coordination of adult piano beginners contributes to the effectiveness of piano teaching (meyer & van der merwe, 2017). the participants in the treatment group were at first confused about the concept of distinguishing piano tones during the first lessons: even though they could distinguish the difference between the tones generated by different touches, it was difficult for them to imitate precisely on the keyboard. however, compared to conventional piano teaching methods, they naturally achieved good physical coordination and musicality without being input with complex performance requirements. this is why the participants were able to engage more voluntarily through imitation behavior and subsequently enter the flow state. the sense of control between the two groups was found to differ significantly in the current study. when engaging in an activity, one of the indications of the flow experience is that the participant has a highly confident sense of control over the activity (tse et al., 2021). this confident control can influence participants to get better outcomes in performing the activity. using this approach in teaching adult piano beginners, there seems to be a causal relationship between the performance experience of the teaching and the learning achievements. some researchers have demonstrated that physical control ability is essential for adult beginners’ piano learning (roberson, 1987; udtaisuk, 2005). referring to the suzuki piano method, students are taught to memorize pieces of music from the beginning and develop aural skills to help their performance (talent education research institute, 2018). it believes that students will not be anxious and inflexible during the performance as long as they conduct efficient practice. this simplified piano teaching approach released adult piano beginners’ learning pressure and anxiety felt at the early learning stage (bigler & lloyd-watts, 2016); thus, the treatment group participants achieved a better playing experience. in contrast, a significant number of studies suggest that the lack of confidence in one’s performance abilities in conventional piano teaching methods is due to the multiple technical and theoretical requirements which can negatively impact the quality of performance (da silva pozenatto, 2021; he, 2019). the current research findings indicate that there is a significant difference in the autotelic experience aspect between the treatment group and the control group. the flow experience is associated with a sense of autotelic experience (csikszentmihalyi & larson, 2014; wrigley & emmerson, 2013). this means that when people engage in activities that they find autotelic experience, they are more likely to enter a flow state. the use of demonstration audio in the teaching process is easily and immediately satisfying for the students (lamb & gregory, 1993; russell, 1975). similarly, hart and di blasi (2015) suggested that the feedback of sound when involved in musical activities is a direct autotelic experience, including exhilaration, relaxation and a sense of well-being. as stated in this research, a sense of achievement in musical activities is often the most indispensable condition for people to have a flow experience. however, some researchers concluded that in collaborative or multi-person musical activities, people are more likely to experience flow together as a result of this group musical environment (hart & di blasi, 2015; tay et al., 2021). in a group setting, the value of collaborative liu xiao chen et al., suzuki piano method and flow experience among adult piano begin231 teamwork and the collective practice of active listening can foster positive emotions and a sense of accomplishment among participants. this positivity can fuel individuals to participate in musical activities with greater enthusiasm, leading to a flow state. (gaggioli et al., 2017; koehler et al., 2021; pels et al., 2018). in the suzuki piano method, group teaching is an important element. although being able to play a few notes might not be satisfying for adult beginners, the learning process in the treatment group initiated active listening and observing, which somehow enrich the task complexity that generate positive emotion. according to flow theory, the experience of flow occurs when an individual is fully immersed in a challenging and enjoyable activity (bölen et al., 2021). the current findings also show a significant divergence in the aspect of enjoyment and challenge-skill balance between the treatment and control groups. enjoyable activities often provide intrinsic motivation, meaning that individuals engage in the activity for its own sake rather than for external rewards (veldhuisen, 2017). at the same time, the activity must also be sufficiently challenging to elicit a sense of flow (chen et al., 1998). when individuals are faced with a task that is too easy, they may become bored and disengaged. however, when individuals are faced with a task that is too difficult, they may become anxious and frustrated. therefore, the task must be challenging enough to require a level of concentration and effort, but not so difficult as to be overwhelming (wolfigiel & czerw, 2017). in this study, participants in the control group needed to process both theoretical (note and rhythm) and practical (playing posture) aspects which diverted the attention. the suzuki piano method requires students to be physically and aurally coordinated in their performance (hendricks et al., 2021). although the method of the treatment group appears to be much simpler than that of the control group, the participants experienced enjoyment and a balance between challenge and skill, thereby entering the state of flow more easily. conclusions implications for adult piano teaching the findings suggest that the conventional piano teaching model for nonmusic major adult piano beginner students training classes could be improved by drawing on the suzuki piano teaching method. the key to achieving a state of flow in piano learning and teaching appears to be a high level of interaction between teachers and students and between students themselves. secondly, suzuki piano class provide a supportive environment for adult piano beginner learning, which can help generate a sense of flow. especially, this research suggested that the piano teacher’s role should focus on guiding students towards a flow experience, thereby optimizing their learning outcomes. in this sense, the suzuki music education concept can help reshape the conventional piano teaching method, emphasizing collaborative learning and interaction more, ultimately leading to more effective learning outcomes. by adopting the suzuki piano teaching method, instructors can help their students achieve a sense of flow, enhancing their enjoyment of the learning process and deepening their understanding of music. references addessi, a. r., & pachet, f. 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(2013). the experience of the flow state in live music performance. psychology of music, 41(3), 292-305. 191 kesadaran estetis menurut hans-georg gadamer (1990-2002) sunarto universitas negeri semarang, kampus sekaran gunugpati, semarang e-mail: sunarto_unnes@yaho.com abstrak hans-georg gadamer (1900-2002) adalah seorang filsuf dalam bidang hermeneutika yang sangat terkenal. menjelang pensiunnya tahun 1960, kariernya menanjak dengan diterbitkan bukunya, wahrheit und method atau truth and method. dalam bukunya gadamer memberikan pemahaman pada tingkatan ontologis bukan metodologis. di sini gadamer ingin mencapai kebenaran tidak lewat metode melainkan dengan dialektika. alasannya, dengan dialektika mengandaikan suatu kebebasan dalam mengajukan berbagai pertanyaan dibanding dalam proses metodis. berangkat dari hal tersebut gadamer merambah ke persoalan estetik (seni). gadamer mengatakan bahwa dalam estetis ditemukan kebenaran, tetapi bukan kebenaran melalui metodis (penalaran) melainkan kebenaran yang menurut faktanya “berlainan dengan kebenaran metodis”. gadamer juga mencetuskan tentang konsep “permainan”. asthetic awareness of hans-georg gadamer (1990-2002) abstract hans-georg gadamer (1990-2002) is a famous philosopher in hermeneutics. during his retirement in 1960, his career escalated by the publishing of his book, wahrheit und method or truth and method. in his book, gadamer gives an ontological and not a methodological understanding. in this case, gadamer wanted to achieve the truth, not through method but by dialectics. the reason is that the dialectics enables people to imagine freedom in proposing various questions rather than those in methodical process. starting from these things, gadamer explored more on aesthetic subjects (arts). gadamer said that in aesthetics, he found truth, but not the truth through methodical process (reasoning) but the truth based on its facts, “different from its methodical truth.” gadamer also proposed a concept of “games.” kata kunci: gadamer, filsafat, hermeneutika, estetis, seni pendahuluan seorang filsuf yunani kuno prasocrates, heraclitus (540-480 sm), pernah mengatakan: panta rhei, ouden menei (semuanya mengalir, tidak ada yang diam). semua yang ada bergerak, dinamis, tanpa henti. begitu juga dengan bidang ilmu pengetahuan. ia terus bergerak menuju kepada progresivitas. ilmu pengetahuan mengalami kemujuan sesuai dengan kemajuan rasio manusia. kemajuan dalam bidang ilmu pengetahuan (filsafat) pun berkembang hingga terjadi pemilahan. pemilahan ilmu ini terjadi pada era sesudah immanuel kant, khususnya terjadi pada neo-kantianisme. neo-kantianisme terpecah menjadi dua aliran, yaitu: mazhab marburg dan mazhab baden. mazhab marburg berkembang di universitas marburg, jerman. tokoh-tokoh mazhab ini, antara lain: herman cohen (1842-1918), paul natorp (1854-1942), dan ernst cassirer (1874-1945). harmonia, volume 11, no.2 / desember 2011192 mazhab marburg bercirika pendekatan epistemologi pada filsafat sehubungan dengan analisis ilmu-ilmu secara luas. minat utama mazhab ini adalah epistemologi dan filsafat ilmu pengetahuan. selanjut, mazhab baden atau sering pula disebut mazhab heidelberg atau jerman barat daya. mazhab ini dipelopori oleh wilhelm windelband (1848-1915). wilayah studi mazhab ini adalah “nilai” (value). windelband menolak penitikberatan kant pada ilmu alam dan berupaya mendekonstruksi. ia membagi dua jenis ilmu pengetahuan yang masing-masing mempunyai sifat-sifatnya sendiri, yaitu: ilmu pengetahuan alam dan ilmu pengetahuan budaya atau historis. pemikiran wildelband dilanjutkan oleh wilhelm dilthey (1833-1911). dilthey kemudian membagi ilmu pengetahuan berdasarkan metodenya masing-masing. pertama, ilmu pengetahuan alam (naturwissenchaften), yang metodenya berupaya menjelaskan fenomena yang sifatnya fisik berdasarkan hukum-hukum. kedua, ilmu pengetahuan budaya (geisteswissenchaften), yang metodenya berupaya memahami objeknya dengan berupaya menemukan muatan batiniah adi balik fenomena perseptual semata. dari pemikiran dilthey inilah kemudian muncul hermeneutika. bagus (2002: 283) mendefinisikan hermeneutika, sebagai berikut: inggris: hermeneutic; dari bahasa yunani hermeneutikos (penafsiran). hermeneutika berarti ilmu dan teori tentang penafsiran yang bertujuan menjelaskan teks mulai dari ciri-cirinya, baik obyektif (arti gramatikal kata-kata dan variasi-variasi historisnya), maupun subyrktif (maksud pengarang). dari hermeneutika dilthey inilah kemudian berkembang sampai kepada gadamer. dalam bukunya, truth and method, gadamer merumuskan bahwa pemahaman dalam hermeneutika bukan bersifat metodologi melainkan sebagai tingkatan ontologis. sebab, menurut gadamer, kebenaran menerangi metode-metode individual, sedangkan metode justru atau mengahambat kebenaran (gadamer, 1976:10). sekilas riwayat hidup dan garis besar pemikiran hansgeorg gadamer riwayat hidup hans-georg gadamer lahir pada tanggal 11 februari 1900 dan dibesarkan di breslau, silesia, di pinggiran timur kekaisaran jerman yang subur. ayahnya adalah seorang profesor kimia yang terkenal, dan sementara hans-georg juga berjalan untuk mengarah pada kehidupan belajar, dari usia awal, semangatnya adalah untuk ilmu pengetahuan ‘manusia’ daripada untuk pengetahuan ‘alam’. pada tahun 1919 gadamer pergi ke universitas marburg untuk belajar filsafat dan filologi. setelah menyelesaikan doktoralnya tentang konsep kehendak plato, pada tahun 1923 ia pergi belajar di bawah pengajaran edmund husserl dan martin heidegger di universitas freiburg. gadamer terpesona oleh heidegger dan terus bekerja bersamanya setelah pindahnya heidegger ke marburg setelah tahun itu. ketika heidegger kembali ke freiburg tahun 1927, gadamer baru saja menyelesaikan bukunya, habilitationshrift, sebuah bacaan fenomenologis plato yang pada akhirnya diterbitkan sebagai etika dialektika plato (1931). gadamer ditangkap penjaga saat kebangkitan hitler dalam kekuasaan, tetapi tidak seperti teman-teman dan kolega jahudinya, seperti karl lowith, ia mampu beradaptasi dengan rejim baru dan bahkan karyanya berkembang subur di bawah rejim secara profesional. pada bulan januari 1939 gadamer ditunjuk menjadi profesor filsafat di universitas leipzig, dimana ia bekerja di sana sampai pengunduran dirinya tahun 1947, dan segera dilanjutkan oleh seorang filsuf marxist, ernst bloch. setelah tinggal sebentar di frankfurt, pada tahun 1949 gadamer mengambil kursi yang dikosongkan oleh karl jaspers di heidelberg, sebuah posisi yang akan ia tempati sampai pensiun duapuluh tahun kemudian. meskipun gadamer mesunarto, kesadaran estetis menurut hans-georg ganamer 193 nulis terus-menerus di sepanjang karirnya, namun tidak sampai tahun 1960, dengan publikasi magnus opumnya, truth and method (wahreit und methode) (kebenaran dan metode), dimana ia membuat kontribusi menentukan untuk tradisi teori kritik yang luas. dalam karya ini, gadamer menguraikan ciri-ciri pokok dari apa yang ia sebut ‘hermeneutika filsafat’. gadamer juga telah menulis banyak esai (kebanyakan darinya merupakan transkripsi mata kuliah) dimana ia menarik implikasiimplikasi hermenutikanya untuk etika filosofis, seni, kritikisme sastra, agama dan persoalan-persoalan publik (bertens, 2002: 254-257) garis besar pemikiran (bertens, 2002: 257-268; sumaryono, 1993: 63-79; bleicher, 2003: 157-170; grunfeld, 1989: 101-110) a. lingkaran hermeneutik. “mengerti” memiliki struktur lingkaran. supaya orang mengerti, harus ada prapengertian. untuk memperoleh pengertian, orang harus bertolak dari pengertian. untuk mengerti suatu teks, sebelumnya harus ada prapengertian tertentu tentang yang dibicarakan dalam teks itu. dengan membaca teks tersebut, prapengertian terwujud menjadi pengertian yang sesungguhnya. tidak dapat disimpulkan bahwa lingkaran itu baru timbul jika membaca teks-teks. lingkaran itu sudah ada pada taraf yang fundamental. leingkaran itu menandai eksistensi manusia itu sendiri. b. hermeneutika kesenian. perkembangan ilmu alam mengakibatkan beberapa perubahan dalam penilaian manusia terhadap bentuk-bentuk pengenalan yang lain, misalnya pengenalan tentang estetik. ilmu mulai menopoli pengenalan objektif, sehingga pengalaman tentang karya-karya seni hanya dapat diinterpretasikan subjektif belaka. karya seni tidak lagi mengungkapkan kebenaran bagi manusia, tetapi menyajikan kesenangan dalam memandang “yang indah”. karya seni harus betul-betul menyingkapkan kebenaran kepada manusia. dengan demikian, kesenian pun termasuk dalam wilayah hermeneutik, sejauh hermeneutik membicarkan bagaimana manusia mencapai pengertian tentang yang ada. c. interpretasi: reproduktif dan produktif. arti suatu teks tetap terbuka dan tidak terbatas pada maksud penulis. interpretasi tidak hanya bersifat reproduktif tetapi juga produktif. interpretasi dapat memperkaya arti suatu teks. arti suatu teks tidak hanya terbatas pada masa lampau waktu teks itu ditulis, tetapi terbuka juga terhadap masa depan. penginterpretasian suatu teks merupakan pekerjaan yang tak pernah selesai. d. pengenalan dan prasangka. pengenalan tidak dapat lepas dari prasangka. menghindari setiap prasangka sama dengan mamatikan pemikiran. tidak berarti interpretasi menjadi usaha yang subjektif yang tidak kritis. sebanyak mungkin harus disadari prasangka-prasangka yang menjuruskan pemikiran, tetapi adalah naif sekali jika orang sanggung mengambil sikap tertentu tanpa prasangka. suatu interpretasi baru menyingkirkan prasangka-prasangka kurang baik dari masa lampau tetapi dan menerima begitu saja prasangka-prasangka yang baik dan wajar. harus dibedakan antara prasangka yang sah dan prasangka yang tidak sah. e. tradisi. tradisi memiliki otoritas. tradisi dibentuk oleh prasangka-prasangka yang dimiliki bersama. ini adalah prasangka-priasangka yang benar yang kebanyakan tanpa disadari. f. bahasa mempunyai relevansi ontologi. “mengerti” tidak mungkin tanpa bahasa. “mengerti” dilakukan dengan pergulatan dengan teks-teks masa lampau. hal ini merupakan sikap fundamental dalam eksistensi manusia. dengan demikian, bahasa mempunyai relevansi ontologis. “ada” (being) tampak kepada manusia. jika “ada” menampakkan diri sebagai bahasa. dengan kata lain, bahwa dalam situasi hermeneutik “ada” tampak sebagai percakapan, sebagai dialog. mengeti sama dengan berharmonia, volume 11, no.2 / desember 2011194 cakap-cakap dengan “yang ada”; suatu percakapan di mana sungguh-sungguh terjadi. hermeneutika filosofis pada dasarnya, hermeneutika gadamer adalah refleksi tentang “mengerti” (verstehen). oleh karena itu, dalam konsepsinya hermeneutika sebagai filsafat ingin membahas beberapa pertanyaan, seperti: apa itu mengerti? apa yang terjadi jika manusia menjalan “pengertian”? apakah yang harus diandaikan supaya “pengertian” itu mungkin? untuk menjawab pertanyaan pertama, menurut gadamer, seperti halnya martin heidegger, “mengerti” (understanding), harus dipandang sebagai sikap yang paling fundamental dalam eksistensi manusia. “mengerti” itu tidak lain daripada cara berada manusia itu sendiri; menyangkut seluruh pengalaman manusia. justru hal-hal di atas tersebut hermeneutika mempunyai satu problematika yang universal. dari pemikiran gadamer seperti tersebut, para ahli filsafat mengartikan pemikiran gadamer bukan saja hermeneutika filosofis, tetapi juga merupakan filsafat hermeneutika. maksudnya adalah bahwa pemikiran gadamer tidak hanya memusatkan perhatian pada satu tugas filsafat (hanya teori hermeneutika), tetapi juga memandang semua tema yang ada pada filsafat, dari sudut pandang hermeneutika. dalam menjawab pertanyaan kedua, gadamer seperti juga telah ditekankan heidegger, mengatakan bahwa “mengerti” mempunyai struktur lingkaran. supaya orang mengerti (tentang sesuatu), sudah harus ada prapengertian. untuk mencapai pengertian, satu-satunya cara adalah dengan bertolak dari prapengertian. kalau tidak demikian, maka tidak pernah akan sampai pada pengertian. gadamer memberikan contoh, untuk mengerti tentang teks seseorang sebelumnya sudah mesti ada prapengertian tertentu tentang apa yang dibicarakan dalam teks itu. dengan demikian, membaca teks tersebut, prapengertian tadi menjadi pengertian yang sungguh-sungguh. proses seperti itu , baik oleh heidegger maupun gadamer, disebut “lingkaran hermeneutika” (grunfeld, 1989: 23). adapun untuk menuntaskan pertanyaan ketiga, berkenaan dengan “pengandaian pengertian”, bagi gadamer tidak menutup mata dengan pengadaian (praadaian) dalam metode hermeneutika romantis (termasuk juga pemikiran schcimacher dan dilthey), walaupun di sisi tertentu, kemudian dikritiknya (seperti juga akan diungkapkan dalam hermeneutika ilmu budaya). pengadaian utama yang terdapat dalam hermeneutika romantis adalah bahwa seseorang interpretator sanggup melepaskan diri dari situasi historisnya. interpretator seolah dapat “pindah” ke zaman lain. dengan pengadaian ini interpretator akan mungkin mencapai pengertian dari suatu teks secara maksimal. kemudian, gadamer membedakan bentuk pemahaman, antara pemahaman terhadap isi (substansi) dan pemahaman terhadap maksud. bentuk pertama terarah pada pengetahuan substansi sebuah kalin (dalam sebuah teks). sedangkan yang kedua adalah jenis pemahaman yang mengarah pada pengetahuan tentang latar belakang yang memunculkan pengetahuan (substansi pertama). jenis pemahaman yang kedua meliputi pemahaman tentang kondisi psokologis, biogragis, dan historis, yang mengitari eksistensi pengetahuan substansi penulisnya. pada prinsipnya sasaran pemahaman yang utama adalah pemahaman substansi, tetapi jika seseorang menghadapi kesulitan untuk memperoleh pengetahuan melalui pemahaman ini, maka diperlukan melakukan pemahaman kedua (gadamer, 1976: 87). kedua bentuk pemahaman tersebut memiliki arah untuk menghubungkan antara masa kini dengan masa lalu. jarak waktu antara keduanya menjadi kajian hermeneutika. pemahaman itu sendiri termasuk dalam upaya menghubungkan masa lalu dengan masa kini. di sini antara “yang dikenal” dengan “yang asing” akan berdialog. melalui partisipasi dan keterbusunarto, kesadaran estetis menurut hans-georg ganamer 195 rikan dasar bagai pemahaman dan dapat merangsang pemahaman baru, sementara itu pemahaman baru berusaha memelihara pemahamannya agar tetap hidup (gadamer, 1986: 324). konsep fusi gadamer seperti konsep permainan (game). permainan akan seru dan bagus jika pemain utama turut main dengan serius dan menyatu dengan aturan permainan yang ada. pemain berarti menyerap aturan permainan, lalu disintesiskan (fusi) dengan ketrampilan dan keberanian pemain, maka akan menghasilkan permainan yang bermutu dan layak untuk ditonton. menurut gadamer, cakrawala masa kini tidak dapat dilepaskan begitu saja guna masuk ke masa lalu, sementara masa lalu itu pun tidak dapat dilepaskan begitu saja dari masa kini. dengan demikian, fusi cakrawala (fusion horizon) ini sebagai puncak dari pemahaman dan merupakan proses dialektika interaksi “antar waktu”, dan merupakan pemahaman diri seseorang dengan apa yang dialaminya. pemahaman diri seperti ini bukanlah suatu kesadaran kosong, tetapi dalam konteks sejarah dan tradisi. dan fusi cakrawala initidak bersifat statis, permanen, dan fixed, tetapi sebaliknya. sebab, antara konteks masa lalu (ketika teks ditulis) dan eksistensi masa kini (ketika teks dibaca dan dikaji), keduanya diproyeksikan untuk masa datang. jadi, pemahaman tiga dimensi waktu (masa lampau, masa kini, dan masa depan) (palemer, 2003: 231-233). ide pokok gadamer ditunjukkan dimana-mana di dalam judul karya terbesarnya. ada kecenderungan menonjol dalam pemikiran modern, gadamer percaya, untuk menafsirkan kebenaran dengan menggunakan objektivitas, dimana objektivitas dijamin melalui penggunaan metoda ilmiah yang benar. keberhasilan ilmu kimia, ilmu fisika, biologi modern dan sebagainya menyatakan bahwa ilmuilmu pengetahuan ini benar-benar telah menyatakan metoda benar untuk menilai kebenaran alam. seperti yang diamati gadamer, ilmu pengetahuan alam modern saat ini menikmati ‘otorita tanpa nama kaan, realitas yang asing dapat menyingkap diri. kemudian secara dialektis dapat dihasilkan suatu pemahaman historis. proses pemahaman itu sendiri idak terelakkan dari prasangka (prejudire), karena memang hal itu tidak dapat dihindari. menurut gadamer, permasalahannya bukan bagaimana menjauhkan dari prasangka-prasangka itu, akan tetapi bagaimana prasangka itu dapat bersifat produktif bagi pemahaman. sebab, dengan prasangka itulah seseorang dapat memahami maksud dari sebuah teks. jika prasangka tidak ada, pemahaman tidak pernah ada, dan tidak dapat dimunculkan secara tepat. oleh karena itu, kesadaran akan perlunya prasangka dan pemanfaatannya, perlu dibarengi dengan kesadaran historis yang efektif, sehingga dengan demikian tidak membuah perspektif yang bersifat manipulatif (palmer, 1969: 183). selain itu, gadamer juga mengatakan bahwa pandangan kejiwaan sebagai bagian integral situasi hermeneutika. ia membagi dalam dua cakrawala, yaitu: pertama, cakrawala masa lampau (historis); dan kedua, cakrawala masa kini, yang tidak dapat dibentuk tanpa cakrawala pertama. keduanya saling berkaitan dan berkesinambungan. oleh karena itu, pemahaman tidak lepas dari dua bentu cakrawala tersebut (gadamer, 1976: 34). istilah fusi cakrawala merupakan sintesis kreatif dalam kajian hermeneutika gadamer. dalam hermeneutika filosofis klasik, lingkaran hermeneutika berupa relasi gramatikal keseluruhan bagian. “kata” dipahami dalam konteks satu kalimat. sebaliknya, “makna” suatu kalimat dilihat dari fungsi kata per kata. berbeda dengan itu, hermeneutika romantik justru menjadikan subjektivitas penulis sebagai perhatian utama. teks dipahami sebagai peristiwa kehidupan kreatif penulis, kemudian kehidupan kreatif itu dilihat dengan berdasarkan teks yang dimunculkan. menurut gadamer, lingkaran kajian hermeneutikanya tidaklah seperti hermeneutika klasik, tetapi berupa tradisi hidup dan pemahamannya yang merupakan bagian dari tradisi itu sendiri. tradisi memeharmonia, volume 11, no.2 / desember 2011196 dan tak bisa dibantah’. menurut sebuah wawasan, seringkali disebut sebagai ‘naturalisme’, metoda umum yang diterapkan pada ilmu pengetahuan alam modern yang mampu mengatakan pada kita tentang semua yang ingin kita ketahui tentang realita. tetapi menurut kelompok lain, kelompok dominan di jerman selama masa pelatihan gadamer, pengetahuan dunia manusia harus mengambil jalan yang berbeda. bagi wilhelm dilthey (18331911), formulasi, menurut pandangannya ini khususnya berpengaruh, karena ilmu pengetahuan manusia berhasil dengan mencapai pemahaman ranah objek mereka. karena metoda ilmu fisika, kimia dan seterusnya digerakkan menuju penjelasan sebab akibat daripada pemahaman itu, yang disalahkan jika menganggap bahwa ilmu pengetahuan alam memberikan sebuah model untuk semua pengetahuan. naturalisme dipersalahkan bukan karena ilmu pengetahuan manusia tidak memberikan semangat secara benar dari dirinya terhadap objektivitas. poin dilthey lebih dari pemahaman dan interpretasi di dalam imu pengetahuan dengan haknya sendiri, suatu bentuk penyelidikan dengan aturan dan prosedurnya sendiri yang sah (gadamer, 1968). nama yang diberikan untuk ilmu pengetahuan interpretasi adalah hermeneutika. gadamer setuju dengan dilthey bahwa ilmu pengetahuan manusia pada hakekatnya membicarakan pemahaman, atau interpretasi makna, atas tulisan dari mana ilmu pengetahuan manusia memiliki struktur yang berbeda dengan ilmu pengetahuan alam. namun demikian, pandangan gadamer atas kritik naturalisme dilthey tidak cukup radikal. ini karena menurut dilthey, tradisi teori hermeneutika keseluruhan berasal dari schleiermacher (1768-1834), yang tetap melihat masalah kebenaran hermeneutika sebagai persamaan dengan masalah objektivitas metoda hermeneutika. keterbatasan pendekatan yang terpusat secara epistemologis ini, dipercaya gadamer, merupakan yang pertama dihasilkan dari heidegger. heidegger meyakinkan gadamer bahwa hermenutika jauh lebih dari metoda mengetahui; dalam struktur aslinya, pemahaman merupakan ciri dari existenz ‘badan-di-dalam-dunia’. badan-di-dalam-dunia pada hakekatnya dicirikan oleh bentuk pemahaman yang dilibatkan, yang pra-reflektif dan pra-teoritis, dan disinilah, lebih dari suatu ‘metoda interpretatif’ refleksif atau ‘ilmu pengetahuan’ interpretasi, memberikan titik keberangkatan hermeneutika ‘ontologis’ atau filosofis gadamer (nicholas, 2002). hermeneutika filsafat merupakan tugas penting untuk zaman kita, demikian pikir gadamer, karena hubungan di antara kebenaran dan metoda bertahan melalui epistemologi modern cenderung mengubur, menyimpang atau memotong pengalaman pemahaman. untuk tingkatan yang mana kita ada di bawah kekuasaan epistemologi, kita harus memulihkan pengalaman melalui re-artikulasi filsafat. gadamer mengidentifikasi dua hal dimana kita memerlukan perolehan kembali semacam yang hampir bisa diraba: berhadapan dengan seni dan berhadapan dengan sejarah (gadamer, 1968: 176). kesadaran estetis bagaimana epistemologi modern menaikkan model pengalaman seni yang dipotong? jawaban gadamer untuk pertanyaan ini panjang dan kompleks, tetapi tulisannya bersandar pada munculnya ide ‘estetika’. adalah sudah biasa, demikian gadamer mengamati, menghadapi karya seni seakan karya merupakan tempat dari jenis nilai berbeda: yaitu, nilai ‘estetika’. nilai estetis suatu karya seni adalah nilai yang hanya dimiliki sebagai satu karya seni, nilai yang berbeda, katakan, dari apapun kegunaan praktis atau manfaat moral yang bisa dimiliki karya tersebut. saat ini gadamer mengamati bahwa cara berpikir tentang seni ini sangat dimotivasi oleh perkembangan-perkembagan di dalam epistemologi yang bisa dilacak kembali dari kant. dalam filsafat kritiknya, kant berusaha untuk menentukan dasar validitas ilmu pengetahuan modern dan moralitas. ini bisa dicapai, menurut pandangan kant, dengan secara hati-hati membedasunarto, kesadaran estetis menurut hans-georg ganamer 197 kan bidang aplikasi konsep-konsep dan prinsip-prinsip ilmiah dari aplikasi konsep dan prinsip moral. dan sama seperti ilmu pengetahuan dan moralitas harus membuat perbedaan agar bisa menjamin validitasnya, demikian juga seni harus mengalokasikan bidang nilainya sendiri. legitimasi penilaian estetis, menurut kant, bukan jenis validitas yang dinikmati oleh klaim ilmiah, karena karya seni, tidak seperti dalil dan teori, bukan penyampai kebenaran; juga tidak seperti legitimasi tuntutan moral, yang secara tidak bersyarat dan secara universal mengikat. namun lebih karena, validitas penilaian estetika memiliki dasarnya dari kapasitas obyekobyek indah yang membangkitkan rasa kenikmatan tetapi rasa tidak memihak, ‘kenikmatan estetis’, di dalam subyek penilaian, yang dihubungkan oleh kant dengan saling pengaruh-mempengaruhinya kecakapan-kecakapan mental manusia yang bebas. jadi, apabila dasar validitas ilmu pengetahuan dan moralitas adalah obyektif, maka validitas ‘estetis’ hanya memiliki sumber subjektif. tetapi menurut pandangan gadamer, ‘subjektivisasi’ seni yang dihasilkan dari menganggap karya seni sebagai tempat nilai estetis berbeda tidak benar untuk fenomenologi seni. atau yang lebih baik, subyektivikasi merefleksikan bentuk pemiskinan dan terasing pada mana karya seni ‘muncul’. karena ia membutakan kita untuk potensial yang dalam fakta, inheren dalam semua karya seni besar: kapasitasnya untuk tampak. bukannya membuat jarak sendiri dari karya seni dan menilai ‘manfaat estetisnya’, kita bahkan bisa membuka diri terhadap dunia yang diungkap karya seni, dan dengan berbuat demikian, kita memiliki dunia yang bisa kita alami sendiri yang ditranformasikan. gadamer menggunakan istilah erfahrung untuk menentukan jenis pengalaman transformatif-diri ini, sebuah pengalaman yang ia kontraskan dengan pengalaman erlebnis kesadaran estetis diperpendek secara subyektivis. menurut pandangan gadamer, kita hanya bisa memahami pengalaman erfahrung jika kita memberinya suatu bentuk pamahaman, dan karena alasan ini ‘estetika haru diserap ke dalam hermeneutika’ (gadamer, 1986b:65). menurut pandangan gadamer, penyerapan estetika ke dalam hermeneutika ini bisa memperkuat kita untuk memikirkan kembali sifat karya seni yang itu juga. di bawah pengaruh epistemologi modern, kita terbiasa memikirkan karya seni sebagai obyek diciptakan yang menghadapi subjek, subjek yang mengalami obyek yang dimasukkan ke dalam kesadarannya. atas tulisan ini, untuk tingkat mana kita mampu mengatakan bahwa karya memiliki makna, harus ada sesuatu yang tetap dari ‘keadaan pikiran’. namun bagi gadamer, kesadaran tidak bisa menjadi tempat makna; makna dari artis/penulis atau penonton/pembaca. karena hanya jika, saat kita berada dalam drama, kita dalam pengertian yang diambil alih oleh permainan (jadi diwujudkan oleh sesuatu yang, demikiran dikatakan, memiliki kehidupannya sendiri) demikian juga karya seni melampaui isi setiap kesadaran khusus: karya seni memiliki eksistensi atau ‘model badan’ yang berjalan melampaui bidang representasi mental. selanjutnya, sama seperti drama adalah natural, bentuk presentasi-diri kasar, seni juga pada hakekatnya memiliki karakter ‘dibicarakan’: karya seni eksis secara inheren, jika kurang lebih secara langsung, ‘bagi’ seseorang. kedekatan antara drama dan seni dinyatakan oleh gadamer bahwa karya seni memiliki ontologi kejadian: ‘kejadian badan yang terjadi di dalam presentasi’. menurut pandangan gadamer, secara fundamental salah jika menafsirkan ketahanan temporal karya seni sebagai sesuatu yang menyerupai permanensi obyek substansial. seni adalah drama, seperti gadamer menyebutnya, yang ‘ditransformasi menjadi struktur’. transformasi menjadi struktur memastikan kemampuan karya seni dibuat untuk mewujud dalam banyak cara. transformasi juga memungkinkan karya seni membuat klaim pada yang dituju. tetapi validitas klaim itu tidak independen dari keterlibatan dan kepentingan orang yang dituju sendiri. yang mengikuti adaharmonia, volume 11, no.2 / desember 2011198 lah bahwa sementara tidak ada karya seni yang pernah utuh selengkapnya, namun juga mengundang penyelesaian melalui berbagai macam model manifestasi dan resepsinya (gadamer, 1986a:234). hermeneutika filsafat gadamer mempertanyakan ‘subjektivisme’ kesadaran estetis dengan membuat kita waspada akan fakta bahwa karya seni memiliki kekuatan untuk mengungkap dunia dan karenanya juga mengekspresikan klaim tentang penerima seni (gadamer, 1986b:67). sebagai respon benar terhadap klaim ini, pengalaman seni erfahrung pada hakikinya merupakan bentuk dari pemahaman. tetapi yang penting, pemahaman yang diwujudkan dalam pengalaman seni bukan pemahaman dalam pe ngertian yang dikenal oleh epistemologi modern. kita tidak mengatasi kesadaran estetis dengan gagasan pemahaman orisinal kita secara utuh. sebaliknya, penyerapan estetika ke dalam hermeneutika memaksa kita untuk merevisi ide kita atas apa yang akan memahami sesuatu sama banyaknya seperti ia menantang kita untuk memikirkan kembali model kita akan apa yang harus dialami dalam karya seni. jika gagasan kita dari apa itu adalah untuk memahami sesuatu dengan memasukkan pengalaman seni (dan sesuatu yang lebih kecil, menurut pandangan gadamer, akan berubah-ubah dan dogmatis) maka pemahaman harus cukup komprehensif agar kita bisa mengartikulasikan karakter pengalaman erfahrung yang tidak lengkap, terkait-konteks dan pada dasarnya dialogis (gadamer, 1985:67). dominasi sain modern terhadap jaustifikasi dan klasifikasi konsep kebenaran dan pengetahuan, meskipun tidak dapat dihindari, tidak bersifat legitimitasi. fenomena ini membawa dapak terhadap kalim universal metode saitifik. sebagai konsekuensinya, pengalaman tentang kebenaran berada di bawah kontrol metode seintifik, agar mendapatkan legitimasinya ilmu-ilmu humaniora, seperti: filsafat, seni, dan sejarah, sedikit terabaikan. pengalamn-pengalaman ini menyangkut komunikasi tentang kebenaran, seperti seni yang dipandang tidak dapat diverifikasi secara metodis oleh ilmu-ilmu modern (gadamer, 1986:xii). filsafat kontemporer, menurut gadamer, sangat menyadari hal itu. namun yang lebih penting, menurut gadamaer, adalah pertanyaan sejauh mana klaim kebenaran tentang otoritas pengalamanpengalam yang tidak diakui ilmu itu mendapatkan legitimasinya secara filosofis. gadamer menawarkan fenomena hermeneutika sebagai satu-satunya modus faktual yang lebih hakiki dalam investigasi fenomena pemahaman, yang memberikan legitimasi kebenaran sekali pun terhadap seni (gadamer, 1986a:xii). investigasi tersebut bermula dari suatu kritik terhadap kesadaran estetik, untuk mempertahankan pengalaman tentang kebenaran yang muncul melalui karya seni dari teori-teori estetik yang dibatasi oleh konsep saintifik tentang kebenaran (gadamer, 1975:xiii). gadamer berpendapat bahwa seni tak terpisahkan dari dunia manusia. berkat seni, dunia tampak cerah dan baru, seakan untuk pertama kalinya muncul. suatu karya seni adalah suatu dunia estetis. seni adalah pengetahuan (kunst ist erkenntnis). legitimasi seni adalah bahwa ia mengungkap das sein, bukan hanya semata-mata kesenangan estetik (poespoprodjo, 1987: 112-113). gadamer berusaha mendirikan subjektivisme tentang seni, seperti tercermin dalam persepsi kant dan hegel. kant berpendapat bahwa seni tidak dapat menghasilkan pengetahuan yang benar. hegel memandang seni sebagai penampakan idea belaka (dow, 1996:173). gadamer berpendapat bahwa pengalaman estetik tidak berpusat pada isi atau bentuk seni, melainkan pada apa yang dimaksud. hak tersebut yang seluruhnya diperantai oleh gambar atau visual atau pun bentuk yang berupa “dunia” (welt) dengan segala dinamikanya, berupa suatu kebenaran dari das sein sebagai suatu peristiwa (gadamer, 1986:xii). gadamer tidak hanya berhenti pada justifikasi kebenaran tentang seni. dia berusaha mengembangkan dari titik tolak ini sebuah konsep pengetahuan dan kebenaran yang menghubungkannya dengan seluruh pengalaman-pengalaman hermeneutiknya. pengalaman tentang seni menunjukkan kebenaran-kebenaran esensial yang mengatasi atau melampaui sunarto, kesadaran estetis menurut hans-georg ganamer 199 batas-batas pengetahuan metodi, tentang kebenaran yang menyeluruh dalam ilmu humanora, tentang tradisi historis manusia di mana semua bentuk tertentu membangun objek-objek investigasi (gadamer, 1986:x). penutup gadamer telah memberikan sumbangan pemikiran yang besar, terutama dalam hermeneutika seni. gadamer juga dianggap sebagai filsuf hermeneutik sejati. gadamer secara mendasar menegaskan bahwa persoalan hermeneutika bukanlah persoalan tentang metode dan tidak mengajarkan metode yang dipergunakan untuk geisteswissenchaften. menurutnya, hermeneutika lebih merupakan usaha memahami dan mengiterpretasi sebuah teks. hermeneutik merupakan bagian dari keseluruhan pandangan dunia. hermeneutik berhubungan dengan suatu teknik atau techne tertentu, dan berusaha kembali ke susunan tata bahasa, aspek kata-kata retorik dan aspek dialektik sesuatu bahasa. karena techne atau kunstlehle (ilmu tentang seni) inilah maka hermeneutik menjadi sebuah ‘filsafat praktis’, yang juga berarti sebuah ilmu pengetahuan tentang segala hal yang universal yang mungkin untuk diajarkan (sumaryono, 1993: 78). tujuan pokok dari pemikiran gadamer adalah menemukan kembali pertanyaan tentang kebanaran estetik. dia berpendapat bahwa memahami pengalaman tentang seni dimulai dari kritik terhadap kesadaran estetik. pengalaman tentang seni memberikan pangakuan bahwa seni tidak mencapai kebenaran sempurna, seperti yang dialami di alam term-term pengetahuan final. seni bukan perkembangan absolut dan final. manusia melihat suatu pengalaman sejati di dalam pengalaman tentang seni yang ditampilkan dalam suatu karya, dan manusia menyelidiki tentang “ada” (mode of being) dari pengalaman yang dialami itu. lalu manusia berusaha dapat memahami bentuk kebenaran yang bagaimana yang mempertemukan manusia di alam estetis menurutnya, hermeneutika lebih merupakan usaha memahami dan mengiterpretasi sebuah teks (gadamer, 1986: 89). daftar pustaka bagus, loren. 2002. kamus filsafat, jakarta: pt. gramedia pustaka utama. bertens, k. 2002. filsafat barat kontemporer: inggris-jerman, jakarta: gramedia pustaka utama. bleicher, josef. 2003, hermeneutika kontemporer: hermeneutika sebagai metode filsafat dan kritik, diterjemahkan oleh ahmad norma permata, yogyakarta: fajar pustaka baru. dow, kathleen. 1966. “art and the simbolic elemen of truth: what gadamer’s method conveys”, international philosophical quarterly, vol. xxxvi, no. 2, issue no. 142, 173-182. gadamer, hans-georg. 1976. philosophical hermenutics, trans. and ed. by david e. linge, los angeles: university of california. _______. 1980. dialogue and dialectic: eight hermeneutical studies on plato, trans. by p.c. smith, new heaven: yale university press. _______. 1985. philosophical apprenticeships, trans. by robert r. sullivan, massachussets, cambridge: the mit press _______. 1986a. truth and method, newyork: crossroad publishing. _______. 1986b. the relevance of the beautiful and other essays, trans. by n. walker, ed. by r. bernasconi, cambridge: cambridge university press. grunfeld, joseph. 1989. “gadamer’s hermeneutics”, science et esprit, xli/2, 231-236. palmer, richard e. 2003. hermeneutika: teori baru mengenai interpretasi, yogyakarta: pustaka pelajar. poespoprodjo, 1987, interpretasi: beberapa catatan pendekatan filsafati, bandung: cv. remadja rosda karya. smith, nicholas h, “hans-georg gadamer”, in in jon simon (ed.), 2002. from kant to levi-strauss: the backgraund to contemporary critical theory, edinburgh: edinburgh university press, hal. 181-196. sumaryono, e., 1993, hermeneutik:sebuah metode filsafat, yogyakarta: kanisius. 115 8th century musical instrument on kalasan temple’s relief susilo pradoko, maria goretti widyastuti, fu’adi, birul walidaini universitas negeri yogyakarta, indonesia submitted: 2021-01-17. revised: 2021-03-23. accepted: 2021-04-26 abstract this research aims to unveil the types, size, figures, and functions of musical instruments carved as reliefs of kalasan temple as a way to revitalize the music from the 8th century. this research implements heuristic methods with panofsky’s iconology analysis in three steps, which are preiconography, iconography, and iconology to analyse the reliefs of the temple. the researchers validated the findings through forum group discussion with the cultural heritage preservation board of yogyakarta. the findings show that (1) the relief of musical instruments in kalasan temple is located on the head of kala; (2) the musical instruments on the head are two wind instruments made of shells and a stringed instrument named vina; (3) there are two figures of musicians carved, which are two wind instruments players and a player of stringed instruments. the figures are depicted as heavenly creatures named gandharva; (4) the measurement shows that the wind instruments have 35.98 cm length and 12.85 cm width, another one has 23.13 cm length and 12.85 cm width. meanwhile, the stringed instrument has a length of 92.52 cm and 12.85 cm width; and (5) the musical instruments were performed to worship the goddess of tara. keywords: kalasan temple, musical instruments, relief how to cite: pradoko, s., widyastuti, m. g., fu’adi, & walidaini, b. (2021). 8th century musical instrument on kalasan temple’s relief. harmonia: journal of arts research and education, 21(1), 115-122 harmonia: journal of arts research and education 21 (1) (2021), 115-122 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i1.28530 the location, which is named sari temple. both kalasan and sari have similarities in their fineness and sculptural subtlety. the specific character of the temple is that they have vajralepa (bajralepa), which is a layer that covers the ornaments and reliefs on the outer wall. apart from the characteristics, kalasan temple displays musical instruments on its south relief. the displays attracted the researcher’s attention when a musical performance was held in the area in 2017. hence, the researchers initiated this research based on the curiosity to know detailed information regarding the types, size, figures, and functions of musical instruments carved as reliefs of kalasan temple. introduction kalasan temple is located in kalibening, tirtamani, sleman, yogyakarta. the place is specifically located 10 km south of yogyakarta’s central business district and around 5 km from prambanan temple. in kalasan inscription, kalasan temple is named after its location. the inscription explains that the location is called kalasan, and the place is blessed in a meeting involving important figures, such as pangkur, tawan, and tirip (sets of local javanese leaders) along with the ancestors of the village (source:prasasti kalasan bpcb diy inventory number d 147). there is another temple not far from corresponding author: e-mail: susilo_pradoko@uny.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 21 (1) (2021): 115-122116 from the raised problem, it is a fact that indian culture’s influence in indonesia reached its peak between the 8th and 11th centuries. during the time, there was a development of javanese culture, especially in architecture, fine arts, and music. as an example, a lot of temples were built in the civilization. there are many musical instruments displayed on the temples’ reliefs. some of the instruments came from india or indonesia, such as kledi, flute, siter (javanese violin), angklung, xylophone, sapeq, gendang, bells, gong, saron, bonang, and several wind instruments (prier, 1991, p. 80). the character of a musical instrument is based on the sound that it produces or simply its timbre. according to sach & erick, musical instruments are classified based on how to use them: (1) idiophone (percussions), e.g., xylophone, angklung, belyra; (2) aerophone (wind instruments), e.g., aulos/ flute/flauto, clarinet, fagot, french horn, trombone, tuba, and trumpet; (3) chordophone (stringed instruments) kecapi, siter, harps, rebab, violin, cello, bass; (4) electrophone (electrical music instruments), e.g., electric guitar, electric piano, and keyboard (banoe, 2003). during the erection of prambanan temple, javanese hindu has been identified as using musical instruments like kecapi, kinara, trumpet, drum, and symbals. the kecapi in borobudur’s relief is slim with different variations. it is predicted that the kecapi entered java during syailendran age (c. 725 c. 850). kinara is a musical instrument on the relief which shows the advanced development of music in java. there is a trumpet-like instrument made of shells which represent a vital story of service and war during the time. the instrument is mentioned in old javanese literature under the name of sangka, mara, and sungu. the drum musical instruments on borobudur and prambanan were diverse. they were approximately coming from the year 824 and the second half of the 9th century. cymbals were found on prambanan and borobudy with a trophy-like figure (kunst, 1927, p. 56). this research employed a musical archeology approach. broadly speaking, musical archeology is an approach that covers the history of musical sound art phenomena. the research findings focus on music that is dug and provide sound artefact (ancient musical and sound instruments), instrumental depiction, singer, dancer with musical instruments, posture of performances, and real performance. archeological approach has already provided a sociocultural presentation and historical meaning of ancient music (both, 2009, p. 1). prior studies have analysed some temples in indonesia. a research has been conducted on a historical site in kedulan. kedulan contains the remains from the 9th century on the temple of hindu mataram kingdom at tirtomartani, kalasan, sleman regency, yogyakarta. the temple was found accidentally by a sand digger on november 24th, 1993 under several meters of modern merapi’s vulcanoic deposit. technical studies are required to dig the temple carefully, specifically in geology and geophysics. one of the geophysics methods applied on this study was by the radar of soil penetration (georadar). the method used radar to get the profile from the sub-surface of the temple; thereby, the scientists can explain the soil substrate based on the distinct dielectrical constant. georadar investigation were conducted by geological engineering department of engineering faculty, universitas gadjah mada, on desember 4, 2007. the main aim of this is to identify the location of the stone fence as the approximate measurement of the whole temple’s location (husein et al., 2015, p. 47). research of the goddess of tara has been conducted by gogaoi, who states that the goddess of tara is the second of ten mahavidya (great and magical goddesses in hinduism) (gogaoi, 2011, p. 233). there is minimum information regarding the goddess of tara in buddhism, which shows the origin of the goddess or the influence of the hindu and non-arya tribe elements to the community (jordaan, susilo pradoko et al., 8th century musical instrument on kalasan temple’s relief 117 1997). the rise of the cult was based on the northeast india. there was not any literature or archeological evidence regarding the existence of the goddess before gupta era or in between the third to the fifth century, despite being limitedly mentioned in indian literature. asides, javanese inscription of kalasan on the year 778 becomes the earliest epigraphical reference supporting her existence (jordaan, 1997, pp. 286–287). brandes compared the portrayal of the goddess of tara on the buddhist temples in central java, which are sewu temple, mendut temple, and kalasan temple (1904). the portrayal in mendut and kalasan were most relevant with identical shapes and decoration as clearly depicted in brandes’ articles (jordaan, 1997, p. 289). the goddess of tara has become the main issue to reconstruct the religious worship. according to monk atisa in tibet, the goddess possess 21 characters of god. based on the data, it is impossible to see whether the characters are completely represented on the reliefs in kalasan. beyer states that the 21 positions of taras are usually depicted as people sitting on the same position which is stretched right leg and pulled left leg. the visible difference is only on the colour of bottles on their hands or the existence of lotus attributes (1978, 333-35, 470). in the other temples, the statues sit on the throne and niche. the niches does not have the same size and decoration (jordaan, 1997, p. 294). from the previous researches, this research identifies and focuses on the types, figures, construction, and functions of musical instruments on the relief of kalasan temple. methods this research employs heuristic methods. heuristic comes from greek of heuristiken which means collecting or finding sources. the remains of human civilization, physical or nonphysical, are the trails of which the historians should reconstruct (pranoto, 2014, p. 29). the written sources of history are important documents, inscriptions, scripts, charters, chronicles, newspapers, books, research reports, and academic journals (herdiani, 2016). the understanding supports gottschalk who mentions that heuristic action directs research to an exploration, search, and collection of sources which is going to be researched in the location, whether as an exact thing or only verbal explanation which refers to the historical evident (rahman, 2017; wasino, 2018). the heuristic data collection of written literature on this research cover: (1) kalasan inscription which comes from the saka year of 700; (2) the report of kalasan temple’s reconstruction; (3) the proceedings from the association of archeological expert of indonesia; (4) the international academic journals which cover kalasan temple and widya prabha journals of cultural heritage preservation board of yogyakarta; and (5) relevant reference in the library of the cultural heritage preservation board of yogyakarta (bpcb diy). a field study was conducted as a visit to the kalasan temple, yogyakarta. the musical instruments on the relief were analysed in three steps, which are pre-iconography, iconography, and iconology. pre-iconography is the study of the material object. the analysis of iconography covers the historical contextualization of the object. iconology refers to the analysis which includes the elements of values and symbols (panofsky, 1955). the description of musical instruments in kalasan temple began with the substantial analysis, followed by the measurement of physical and material dimensions along with the articulation of the object. the substantial analysis is the process of describing objects aided with the criteria of human face average from the chin to the head, which is around 25. 7 cm (panero, 1979, p. 12). before redesigning the musical instrument in kalasan temple, the researchers have measured the musical instruments in centimeters. the researchers aim to ease the re-production of the instruharmonia: journal of arts research and education 21 (1) (2021): 115-122118 ments after the research. to ensure the data validity, the researchers conducted a focus group discussion with the cultural heritage preservation board of yogyakarta. result and discussion the identification of musical instruments of the relief on kalasan temple after the literature study, field study, and study of documentation, the researchers found several data regarding the types of musical instruments in kalasan temple. the instruments were projected on the southern relief of the temple, which is on the head of kala. the literature study was done by reviewing the book written by a.j bernet kempers which covers kalasan temple. in general, kempers mentions that the relief in kalasan temple is different from the relief in javanese temples. kalasan temple displays lesser stories than other temples. there is not any relief that provides local stories as on mendut temple and sadjiwan, showcases the history of buddha as on borobudur, nor tells the stories of ramayana and kreshnayana as in loro jonggrang (kempers, 1954, p. 26). kempers also states interesting information regarding the relief on the southern part of the temple. he infers that the musical instruments on the head of kala do not have a background of earthly trees, instead, the background refers to the trees in heaven. the statement is supported by the existence of clouds surrounding the crest of kala. the situation means that kalasan temple’s relief represents the set up in heaven (kempers, 1954, p. 24). following the statement, bawono states that the temple is the replica of meru mountain, which is the resident of god in indian mythology. as the resident of gods, the temple is built by including the elements of heaven (bawono, 2018). besides, the temple is also strongly correlated with the concept of cosmology in hindu (raharjo, 2011). kempers also expresses that the residents of heaven play musical instruments. the identified musical instruments are gendang, rebab, and shells (kempers, 1954, p. 24). the relief of kala on the southern remains of kalasan was carved smoothly in detail. the relief was big in size. the kala was carved with a lower jaw and decorated with heavenly trees. then, there were some elements of buildings, natural scenery, and some heavenly creatures playing wind instruments (sangkha) and stringed instruments (vina) (ferry, 2018, p. 1). there is a difference between the two references above. the first source mentions that the musical instruments on the reliefs are gendang, rebab, and shells. meanwhile, the second source declares that the instruments were wind instruments (sangkha) and stringed instruments (vina). the difference was mainly caused by the gap of time and publication between the first and second research. a field study was conducted in june 2020 to strengthen the findings of the study above. the pictures of kala and the heavenly figures playing musical instruments are still clear and in detail. the depiction was that there was a kala without a jaw surrounded by a heavenly tree. around the situation, there are some heavenly creatures bringing lotus and playing musical instruments (figure 1). figure 1. head of kala (dokumentation of bpcb of yogyakarta, july 20, 2018). there are two musical instruments on the southern part of kalasan temple and the depiction of three heavenly creatures playing sangkha made of shells and susilo pradoko et al., 8th century musical instrument on kalasan temple’s relief 119 stringed instrument with a neck (vina) as seen in figures 2, 3, and 4. figure 2. the sangkha played by a heavenly creature on the left of kala’s head (document of researchers, june 9, 2020) figure 3. the sangkha played by a heavenly creature on the right of kala’s head (document of researchers, june 9, 2020) figure 4. a stringed musical instrument with a neck played by a heavenly creature on the right of kala’s head (document of researchers, june 9, 2020) the identification of heavenly creature on the relief of kalasan temple the heavenly figure on the southern relief of kalasan temple is known as gandharva. several references mention that gandhabba/ gandharva refers to a resident of the heaven, or a musician of the heaven from the group of sakka, which is also mentioned in sakkapañha-sutta as gandhabba with the name of pañcasikha (anālayo, 2008, p. 97). the researchers quoted several statements that the creature is parivāradevatā or a group of gods that are not positioned in garbhagṛha or the temple’s main room, yet the corridor instead (liebert, 1976, p. 214). parivāradevatā is divided into subs parivāra and main parivāra. the small parivāra have specific names, but their existence is not known specifically in the mythology of indian gods (nugrahani, d.s, 2009, p. 9). the small creatures are apsarā, gaṇa, gandharva, kinnara, vidyādara, and ṛṣi (rao, 1971). gandharva is a creature living in heaven as the musician for gods. hence, in the relief, the creature plays some musical instruments (liebert, 1976, pp. 89–90). supporting the statement, nugroho (2018) mentions that gandharva is a half-man and half-god creature who plays music, dance, and share the news to gods (nugroho, 2018, p. 1). gandharva is also mentioned in a quoted praise for the goddess of tara in tibetian as follows. chhag tshäl gya jin me lha tshang pa lung lha na tshog wang chhug chhö ma jung po ro lang dri za nam dang nö jin tshog kyi dün nä tö ma homage to you, tara, venerated by indra, agni, brahma, vayu, and ishvara, and praised by the assembly of spirits, raised corpses, gandharvas, and all yakshas (rigsel, 2014, p. 28) the construction of musical instruments in kalasan temple’s relief the measurement of the instruments was done in four steps as follows. step 1 the researcher made a set of a square in the penile of relief based on the human head’s size under the scale of 1: 25.7 cm. 25.7 cm is the average size of adult male’s head (panero, 1979, p. 112). the square can harmonia: journal of arts research and education 21 (1) (2021): 115-122120 be seen in figure 5 as follows. figure 5. square step 2 dividing the square to 25 squares (see figure 6). figure 6. the division of squares to 25 squares on the same size (5 x 5) step 3 dividing the squares in the division to 100 box based on the same size as seen on figure 7. figure 7. the sub-division of a square to 100 on the same size (small square 10x10) step 4 attaching the square on each box (figure 7) on the picture of the musical insturments’ relief. the following step is the measurement of the instruments’ length and width (figure 8). figure 8. the example of measurement to the size of sangkha shell 1 after the measurement, the researcher then found the exact size of the instruments. the sizes are depicted as follows the size of sangkha shell 1 the musical instrument of sangkha shell 1 on kalasan temple is 35.98 cm in length and 12.85 in width. the measurement is depicted in figure 9. figure 9. the measurement of sangkha shell 1 the wind instrument made of shell can be seen as in figure 10 in real life. susilo pradoko et al., 8th century musical instrument on kalasan temple’s relief 121 figure 10. the imitation of sangkha shell 1 the size of sangkha shell 2 through the same measurement, the second sangkha has the size of 23.13 cm in length and 12.85 cm in width. the second sangkha is smaller than the first one. the size of the stringed instrument the stringed instrument was measured in the size of 92.52 cm in length with the width of resonance tube of 12.85 cm. the process of measurement can be seen in figure 11. . figure 11. the process of measuring the scale of the stringed instrument the musical instrument has a real life imitation as seen in figure 12. figure 12. the imitation to the stringed instrument (vina) the function of the musical instrument in the relief of kalasan temple based on the previous chapters, the musical instruments have a function as the media of worship ritual to the goddess of tara. gogaoi explains in his article on the worship for the goddess of tara as “tara was one of the most important goddesses in this tantric form of buddhism. tara, also known as jetsun dolma in tibetan, appears as a female boddhisattva in vajrayana buddhism. she is known as the “mother of liberation” and represents the virtues of success in work and achievements” (gogaoi, 2011, p. 232). further, goagoi states that “tara is the savior; she protects her devotees from astamhabhaya, the eight great fears. the tibetan tara has as many as 21 different manifestations, both fierce and compassionate” (gogaoi, 2011, p. 232). in the relief, the musical players were the gandharva, the actual musicians of heaven. the kinds of music were played to praise the goddess of tara. conclusion from the findings, it is concluded that the relief of the southern part of kalasan temple projects two musical instruments, which are sangkha (aerophone made of shells) and a stringed instrument with a neck (chordhophone). the finding is interesting since it provides more detailed explanation comparing to the previous studies. further, this research provides the real evident of the instruments which fill harmonia: journal of arts research and education 21 (1) (2021): 115-122122 the gap of difference in the previous literature. the research identifies the existence of gandharva. gandharva, in the kalasan’s relief, is a new discovery since the previous research never came into such details. further, this research finds that the musical instruments were used as the media to worship the goddess of tara. apart of the material and contextual problem, this research has proven that the scaling measurement can be used to reconstruct the musical instrument on kalasan temple’s reliefs. in the end, the researchers could present the design of musical instruments on the relief based on the scale of adult male’s head. references anālayo. 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(2018). metode penelitian sejarah dari riset hingga penulisan. in metode penelitian sejarah. 355 manortor as a solidarity and identity building media of mandailing ethnic group in rokan hulu, riau province elmi novita¹, santosa soewarlan², i nyoman sukerna² 1institut seni budaya indonesia aceh, indonesia 2institut seni indonesia surakarta, indonesia submitted: 2022-06-03. revised: 2022-11-04. accepted: 2022-12-06 abstract this study aimed to explore manortors as a medium for building solidarity and identity for the mandailing community in rokan hulu regency, riau province. the research method was carried out through observation of manortor performances in menaming, bangun purba, and khaiti villages as mandailing ethnic dominions in rokan hulu. the observation focused on the movement aspect of the manortor. in-depth interviews were conducted to reinforce the data obtained through the observation of the manortor and to explore how aspects of the movement in the manortor build solidarity and identity. the results showed that manortor is a dance that embodies kinship relationships with dalihan na tolu. the form of movement, standing position, and order of performance should be in line with the norms of kinship. the group members dance together with movements representing kinship relationships and strengthening kinship relationships, building solidarity and a strong self-identity.english translation. keywords: solidarity, dance, kinship, identity how to cite: novita, e., soewarlan, s., & sukerna, i. n. (2022). manortor as a solidarity and identity building media of mandailing ethnic group in rokan hulu, riau province. harmonia: journal of arts research and education, 22(2), 355-367 harmonia: journal of arts research and education 22 (2) (2022), 355-367 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i2.36753 other activities tend not to have (spencer, 1985, p. 15). this research is based on the assumption that dance as a form of expression symbolizing kinship has an important role in building group solidarity. in china, kinship is an important foundation for the social order of traditional people’s lives. collective rites involving music and dance have a powerful effect, creating intense feelings of respect, love, and loyalty and, thus, are the basis for the confucian social order (roŝker, 2020, p. 1). the chinese philosopher li zehou believed that, at first, the symbolic activities of kinship grew out of genuine shamanistic ritual music and dance (roŝker, 2020, p. 5). introduction kinship refers to family relationships based on descent and marriage. kinship as a cultural system includes the whole way of life that guides the attitude and behavior of ethnic groups. each ethnic group has a different kinship system and determines who is classified as a relative in a different way, with the rights and obligations attached to relatives. relationships among members of kinship groups are expressed through cultural symbols that are carried out together, such as traditional rituals, weddings, dancing, singing, and others. of the various activities that are carried out together, dance has an impetus that corresponding author: e-mail: elminovita@isbiaceh.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (2) (2022): 355-367356 in line with traditional chinese ethnicity with the confucian kinship system, the mandailing ethnicity has a kinship system called dalihan na tolu or ‘three furnaces. dalihan na tolu refers to the three elements of kinship consisting of mora (wife’s family), anak boru (husband’s family), and kahanggi (family relatives). dalihan na tolu as the highest source of law regulates the relationship between mora, anak boru, and kahanggi. the relationship between the relatives is realized through the manortor. manortor is dancing to the accompaniment of a song called onang-onang which tells the family’s history and group. dancing without onang-onang is not called manortor. this is to distinguish it from other dances, such as sabe-sabe and endeng-endeng. the mandailing ethnicity come from north sumatra province and moved to rokan hulu regency, riau province, accompanied by bringing with them their culture, including dance and music. according to historical records, since the end of the xvi century ad, there has been contacted between mandailing and minangkabau in rokan hulu (abdullah, 1990, p. 279). in the new life in riau, as a result of interaction with other groups and adaptation to the environment, various changes occur in social, cultural, and religious life compared to the previous life. however, in these various changes, they maintain family and kinship relations. this is in line with schneider’s view that kinship solidarity is more intense, more widespread, and lasts longer. solidarity also symbolizes special trust (schneider, 1980, p. 116). the persistence of kinship relations in the context of geographic mobility, as happened with the mandailing ethnicity, is motivated by the fact that the family is a useful resource for immigrants (crow & maclean, 2003, p. 71). a relation is very important for the mandailing ethnicity to build a new life in a new place, kinship. as a group of immigrants in rokan hulu, they provide mutual support to their families and fellow ethnicities (vacca, cañarte, & vitale, 2021, p. 5). the similarity of culture in the land of origin certainly provides a lot of convenience in facing various challenges in a new place. the role of dance as a medium to confirm identity and solidarity in a new place does not seem to have been replaced by other forms of cultural expression. in fact, although the dance itself undergoes changes in form, function, and structure, dance consistently creates group solidarity. like the karen, an ethnic group who immigrated from burma to the united states, variations in some aspects of dance occur over time and space, but dance consistently creates a sense of unity, and togetherness, strengthening, and reaffirms their identity as karen, both cultural and ethnic identity and sense of solidarity among karen people around the world (smith, 2018, p. 7). this article analyzed the manortor as a medium for building solidarity and identity for the people of mandailing. the manortor movement, as harvina stated, has certain characteristics, meanings, and purposes. the manortor is performed by several people consisting of two rows, the front row is referred to as the panortor and the back row as the pangayapi (2008, pp. 3–4). although mentioning the kinship system relationship of dalihan na tolu in the manortor, harvina did not explain how the manortor built a sense of solidarity for the people of mandailing. meanwhile, sannur d. f. sinaga also stated that togetherness, or solidarity for the common interest, is a principle inherent with tor-tor in the batak toba culture. the four standard hand positions in tor-tor of the batak toba correspond to the dancer’s position in the batak toba kinship system. it consists of maneanea which means to ask for blessings (to bear the burden), mamasu-masu which means to give blessings, mangido tua which means to ask for and receive blessings, and manomba which means to worship and ask for blessings (sinaga, 2012, p. 194). similar to harvina, sinaga did not elaborate on how elements of the movement brought solidarity and identity in kinship to the batak toba community. dance plays a significant role in building solidarity and identity in kinship groups through anaelmi novita et al., manortor as a solidarity and identity building media of mandailing eth357 lysis between kinship norms, dance movements, solidarity, and identity. to that end, the research is expected to provide an understanding of how dance tied to the norms of kinship relations presents a sense of solidarity and identity for society. english translation. method this research is qualitative. qualitative research is defined as research that aims to explain cultural phenomena, especially values, opinions, and social contexts (soewarlan, 2015, p. 94). correspondingly, qualitative research is also directed at providing a comprehensive understanding and interpreting the meaning of the social world of the community under the study by exploring the social and material environment, experiences, perspectives, and history of a community group (snape & spencer, 2003, p. 3). the research data were obtained through observation of manortor performances in 3 villages, including menaming, bangun purba, and khaiti, which are the territory of the mandailing ethnic group in rokan hulu. the meaning of dance is determined socially, and so are the ways of moving (desmond, 1997, p. 31); therefore, to understand the meaning of movement in the manortor, it is necessary to explore directly from the mandailing community who understands and acknowledges the values contained in the dance. for this reason, the next step is an in-depth interview to explore the meanings of the manortor. dolok hasibuan, 76 years old, is a resident of bangun purba village. he is a paronang-onang or singer in the manortor performance and the main resource person in this study. furthermore, interviews were also performed with safrijon, the head of menaming village. he is highly concerned about the sustainability of the manortor performance as the identity of mandailing. nurhayati nasution and siti duolom, who have experience in manortor performances are the following resource persons to explore how manortor presents a sense of solidarity and identity more intensively. the perspectives used in this study were emic and ethical. an ethical perspective or a scientist-oriented perspective (kottak, 2005, p. 29) aims to look at the manortor from the researcher’s perspective; moreover, the manortor is interpreted from the researcher’s point of view. meanwhile, the emic or native-oriented perspective (kottak, 2005, p. 29) is the perspective of the people of mandailing riau, with more viewing of socio-cultural life, especially the manortor performance as a process as opposed to being a permanent element. manortor as a cultural event representing the thoughts and behavior of the mandailing ethnic is retold verbally. the data obtained through in-depth interviews, observations, and literature studies are then developed through data validity development techniques. data validity used in this study was the principle of data triangulation. data triangulation takes a different perspective in answering research questions. this perspective can be proven using several methods and/ or perspective approaches (flick, 2018, p. 788). the resulting data provides insight into the perspective of the mandailing ethnic who interprets their beliefs and behavior and, most essentially, an understanding of the meaning attached to the manortor performance as the epicenter in building mandailing ethnic identity (ritchie, 2003, p. 36). data analysis is carried out with an interactive model that refers to miles and huberman, that there are three stages of analysis: data reduction, presenting data, and drawing conclusions or verification (miles & huberman, 1994, p. 12). result and discussion dalihan na tolu kinship system the mandailing kinship system is called dalihan na tolu. the word dalihan has the meaning of ‘furnace,’ na tolu means ‘the three’. etymologically dalihan na tolu means three parallel and balanced furnaces. the three furnaces in question are three harmonia: journal of arts research and education 22 (2) (2022): 355-367358 relative elements consisting of 1) mora, namely the family of the wife; 2) anak boru, the husband’s family; 3) kahanggi, family relatives taken from the father’s lineage (patrilineal). the term tungku refers to the stove used for cooking in traditional culture. for cooking, it takes three stoves that have the same size and are arranged in a balanced manner so that they can be used for cooking. if it only consists of one or two stoves, you cannot put cooking tools on the stove. three stoves of the same size symbolize the relationship between mora, anak boru, and kahanggi who have the same high position and synergize with each other in building the life of the mandailing community. as a social system, every element in the dalihan na tolu kinship has the nature of being interconnected with one another (homans, 1950, p. 90). the relationship between the three dalihan na tolu kinship structures is regulated through culture, ethics, morals, and law as part of the mechanism by which the mandailing people maintain their cultural existence (radcliffe-brown, 1940, p. 8). the etiquette between the three elements of dalihan na tolu is expressed in the proverb “manat-manat markahanggi, elek maranak boru, and omba marmora.” it means to be careful with relatives in the same clan so that there are no disputes, wise in treating and repaying the kindness of anak boru; and polite attitude towards morality. for relatives, moral rules and behavior are regulated in the mandailing culture. attitudes and ways of behaving among relatives in the mandailing community are bridged through holong or affection. holong is a rope that unites every kinship group and member of the mandailing community in the dalihan na tolu social system. the nature of having a sense of compassion in the mandailing community is illustrated in the proverb, which reads holong do maroban domu, domu maroban parsaulian (love brings intimacy, familiarity brings common good). holong, is the highest and most abstract cultural value, which is the basis for functional relationships among the three kinship groups (nasution, 2007, p. 19). in addition to rights and obligations, attitudes and ways of behaving in social relations between people who are bound by the dalihan na tolu kinship system are socially regulated and approved by the mandailing community (radcliffe-brown, 1941, p. 6). even though each element has the same position, the anak boru and kahanggi have great respect for mora. mora is the source or base for the realization of relatives and must always be respected (pulungan 2018, 114). a form of respect for mora is to prioritize them in carrying out various tasks and jobs. embodiment of the dalihan na tolu system through the manortor manortor is dancing together based on equal status in mandailing kinship structure. if some people in other cultures have dances that are considered appropriate for a certain age and gender, different ages and different genders dance different dances (royce, 1977, p. 80). in the mandailing people, in every celebration, they dance the same dance, namely the manortor. from time to time, they dance tor-tor with the same movements, music, and rules. the difference is the status in kinship and song lyrics. based on historical records, the manortor is believed to have existed before pre-modern times, where forms of cultural expression were collective expressions. manortor existed when the ancestors of the mandailing ethnicity had not immigrated from toba to the south or the border of west sumatra and rokan hulu. as an art that has existed since pre-modern times, manortor performances until now are always associated with certain celebrations or events such as weddings, family celebrations, appointment of village heads and so on. the artwork is not displayed in pre-modern art without any celebration (sumardjo, 2006, p. 95). the meaning of manortor is only known in the context of a celebration or traditional event. at celebrations or traditional events, elmi novita et al., manortor as a solidarity and identity building media of mandailing eth359 family and relatives gather and dance together. each area occupied by the mandailing community has the names of different manortor. the manortor exhibited in rokan hulu regency consisted of manortor rajaraja, manortor suhut, manortor mora, manortor anak boru, manortor kahanggi, manortor naposo bulung, and manortor pengantin. naming is based on who is dancing, so the manortor raja-raja is the raja-raja or clan leaders. the suhut manortor is danced by the suhut, and others. from the types of manortor which family and relatives mostly perform, it is reflected that the mandailing culture attaches great importance to relationships with family and relatives since dancers reflect the culture (hanna, 2015, p. 28). manortor may not mix men with women. therefore, for each type of manortor, there are at least two appearances, for example, the male host family (suhut), female suhut, and so on. there are exceptions for manortor naposo bulung and manortor pengantin. for the manortor naposo bulung, their purpose in dancing together is to find a partner, so they are combined into one performance. even though they are combined, they are still without touch and eye contact. it is not allowed for men and women to join in one performance is a standard rule wherever the manortor is performed. in line with cultural expressions in islamic culture in other parts of the world, some of which even separate the stage for women and men. dance makes a unique contribution to society and culture based on its form and expression. at the same time, it is bound by kinship (besides religion, social, political, and economic organization) (royce, 1977). in line with this thought, the manortor is a dance that is tied to the kinship of dalihan na tolu. more specifically, the manortor represents the relationship between mora, anak boru, and kahanggi and elements of the mandailing community which are regulated through the norms that apply in the dalihan na tolu kinship system. who is dancing, standing position, form of movement, accessories used, and so on are bound by the norms of dalihan na tolu. the manortor is displayed in the yard or a large area around the family home holding a celebration or event. the area that will be used as a place to dance is covered with a carpet or mat. spectators can watch the manortor from any angle they want. the absence of boundaries between dancers and audiences allows communication between dancers and audiences to be more intense. although sometimes at the venue, there is also a stage used for modern music performances, the manortor is not performed on an existing stage. the pattern of the manortor floor is in the form of parallel rows, whether carried out by traditional leaders, relatives of dalihan na tolu, or naposo bulung. dances performed in a straight line like a manortor show a metaphor for engagement in a wider, dangerous, and unstable world (hanna, 1979, p. 94). the straight-line floor pattern can be connected with the struggle of the mandailing ethnic group to gain recognition for their existence in a new place. however, in the parallel-line floor pattern, the sense of solidarity is also very strongly felt. at first, the dancers face the line of raja-raja as a form of respect for them. in their ideal form, raja-raja, community leaders, relilgious scholars, and the general public occcupy different sides of the manortor’s performance arena. however, currently, that provision is no longer valid. one could watch the manortor from any side and mingle with one another. when a musical phrase is finished, the direction of the face is rotated 90° to the right. then, start dancing again to a new rhyme until the musical phrase ends, and turn your body 90° to the right again. when the musical phrase is finished, rotate the body back 90° to the right. moving left or right, backward or forward, and turning right or left are symbols of space that refer to spiritual rationality (sumardjo, 2006, p. 94). at first, the change of direction facing the manortor was a myth. it is a tribute to the spirits that surround the performance area. but along harmonia: journal of arts research and education 22 (2) (2022): 355-367360 with the various changes, today, the change of facing direction as a symbol to respect the audience who came from every side of the stage in rotation. the four directions of facing the manortor can also be interpreted as respect for the four elements in the mandailing community, which consist of clever people, religious scholars, village officials, and the general public (dolok hasibuan, interview on january 23, 2022). changing the direction to face with the aim of respecting the audience from each side of the performance arena, on the other hand, is also a form of non-verbal communication between relatives who dance with the audience. of course, in the end, it positively influences the broader sense of solidarity, not only for the family or relatives who dance but also for anyone who comes to see the show. this is certainly different if the show is facing one direction. communication is more intense to the audience who is on one side only. the audience who are not in front of the dancers will receive a different message. after facing the four cardinal directions, in the final part, the dancers form a circle, which consists of a large circle and a small circle. the dancers in the back row are in a big circle, while the dancers in the front row are in a big circle. manortor with floor pattern parallel lines and circles basically do not have much difference from the form of movement. however, in the circular floor pattern, there is a slight variation where the dancers in the row perform up and down movements while the dancers in the outer row remain in their usual body position. the embodiment of the relationship between mora, anak boru, and kahanggi in the manortor follows several culturally established rules. cultural rules are similar sets of instructions for constructing behavioral elements (spradley, 1972, p. 20). the rules are summarized through three aspects of behavior in the manortor consisting of (1) the movement form, (2) the manortor sequence, and (3) the standing position. movement form the movement form embodies mutual respect and care among relatives as regulated in the dalihan na tolu kinship system. mutual respect and care are expressed through gestures as a form of nonverbal communication. manortor, from the point of view of dance, is a form of nonverbal communication containing certain meanings depending on the social setting in which it appears (pušnik, 2010, p. 5). what is communicated without words (non-verbal) is the most important thing about dance as a social activity (blacking, 1982, p. 90). as a form of nonverbal communication, dancing relatives communicate various messages through motion symbols, spatial codes, and facial expressions that are in line with the norms of dalihan na tolu. in contrast to dance in western culture, the messages sent by people who dance in a social environment can be seen through the spatial code, touch, facial expressions, and eye contact. (peick, 2005, p. 1). in the manortor, there is no touch and eye contact between dancers. this is closely related to the norms of islamic teachings that apply in the mandailing community. during the dance, each dancer’s gaze focuses on the tips of their fingers. the focus of the gaze on the fingertips also applies to the manortor naposo naposo bulung and manortor pengantin. the manortor is carried out in slow motion, and smooth, symbolizing the gentle and loving character of the mandailing community (holong). the slow movement of the mandailing manortor distinguishes it from the manortor found in the toba batak culture and distinguishes it, in general, from the dances of other social groups. it is because the movement style is a primary social text that has meaning and is constantly changing. articulation signifies group affiliation and group distinction, whether consciously or not. movements serve as markers for the production of gender, racial, ethnic, class, and national identities (desmond, 1997, p. 31). before starting the dance, the dancers elmi novita et al., manortor as a solidarity and identity building media of mandailing eth361 form two parallel rows facing the same direction. the number of dancers in the front row in the back row must be the same. the dancers in the front row, known as the panortor, move like worshipers. position both hands raised to shoulder level and palms facing down, then move to the beat of the music, and focus the movement on the wrist. all the dancers in the front row perform the same movement. movement in the manortor has the meaning of paying respects. panortor movement, as illustrated in figure 1. figure 1. panortor movement photo: elmi novita, february 02, 2022 the dancers in the second row, or pangayapi, move with their hands raised to shoulder level, palms facing up. at first glance, the movement in mangayapi is like the movement of a bird, moving left and right following the dancers in the front row. the mangayapi movement is interpreted as giving protection to the dancers who are in front of him. similar to the panortor, the dancers in the pangayapi line perform the same movement. some variations usually occur between dancers, both manortor and mangayapi due to the different body language of each person (see figure 2). figure 2. hand potition in mangayapi photo: elmi novita, februari 02, 2022. manortor sequence the order of types of manortor shown is based on respected groups in society. the respected group got the chance to dance early. the manortor show begins with the manortor of the raja-raja, followed by suhut, mora, anak boru, kahanggi, napooso bulung, and closed with the manortor of the bride and groom. this shows that the rajaraja or clan leaders are the most respected parties by the mandailing community who are outside the dalihan na tolu kinship element. the order of the manortor performances may vary between the suhut and the raja-raja in some places which means that there are differences in respect for the suhut and the traditional leaders. if conditions in an area are incomplete, the mandailing community structure is incomplete, where there is no clan leader because they only consist of a few families and there are not many clans, then the manortor of raja-raja is abolished. the manortor starts from suhut, the next sequence is still guided by the structure of dalihan na tolu, namely mora, anak boru, and kahanggi, and continues with the manortor naposo bulung and the bride. manortor naposo bulung, like the king manortor, can be held if the dancing youth is sufficient, but it is common in areas with a small population of manharmonia: journal of arts research and education 22 (2) (2022): 355-367362 dailing. this type of manortor is also not performed. apart from the absence of the king manortor of rajas and naposo bulung, there are no other differences with the manortor in areas where the mandailing ethnic group is slightly occupied. all aspects of dance must be guided by the norms of dalihan na tolu, both the form of movement, the sequence of performances, and the standing position. this shows that the norms of dalihan na tolu are very binding on the cultural expressions of the mandailing people. standing position just as the order of the show puts a respected member of the family dancing first, the standing position in the manortor also determines which family member is more respected or has a higher position. in the manortor, the dancers form two parallel lines (with the exception of the king-manortor which is only 1 line). the dancers in the front row are a group of relatives who are more respected and protected than the dancers in the front row. for example, if the mora is in the front row, those in the back row are the anak boru or the manortor naposo bulung. the girls are in the front row, and the young men are in the back row. it is a form of respect for relatives who are in the front row. they are equipped with a sadum scarf. sadum scarf is worn by slinging over the back with one end tied to the right thumb and the other end on the left thumb. the sadum scarf symbolizes a relationship based on holong (love). rules in a standing position, in one line, it is not allowed to mix between relatives of different status. mora who must stand in the front is not allowed to stand behind to join the anak boru, as well as the anak boru is not allowed to join the mora. if there is a violation of this standing position, the person who violates the law will be given customary punishment. as narrated by dolok hasibuan, a flute player and onang-onang singer in bangun purba district, in his area, there was once a violation of standing position, and as a consequence, the person concerned was given the punishment of slaughtering a goat (dolok hasibuan, interview on january 23, 2022). punishment for a wrong standing position is rare, especially in areas where the mandailing community structure is incomplete. nowadays, even if something goes wrong, someone can give a direct reprimand, and the dancers change positions without stopping or interrupting the performance. in khaiti, the dancers were not only family members, the host also brought a group of dancers in a package with music players. these dancers are joined by relatives, helping to direct the shape of the movement and the way it spins. however, the musical groups’ dancers still follow the rules for separating men from women. building solidarity and group identity through manortor the mandailing ethnic group has several territories in rokan hulu. from an ethno-territorial perspective, they, as a cultural group, have patrimonial rights (property rights) over areas that are different from other groups (dahlman & williams, 2010, p. 414). ownership of several territories in rokan hulu is not obtained for free or as a gift. it was forged through a very long process of interaction and struggle. the struggle to have their own territory has a special meaning for them as a group of immigrants and, at the same time, a minority in rokan hulu. in connection with this, robert d. sack, as quoted by elden reveals that territorial ownership is a social construction (not a product) forged through interaction and struggle and thoroughly infused with social relations (2010, 802). the area occupied by the mandailing community is a form of group symbol. the region as a symbol of the group explains how the mandailing people claim ownership of the territory by using territorial markers that signify their presence as ethnic mandailing in rokan hulu. the elmi novita et al., manortor as a solidarity and identity building media of mandailing eth363 claim of territorial ownership is mainly seen through the naming of the area which reflects the identity of mandailing through the names of the areas in mandailing language. the use of the mandailing language in naming regions is a symbol that legitimizes, strengthens, and celebrates the mandailing community’s existence in rokan hulu (martin, 1981, p. 37). in addition to naming territories, group symbols are often abstract expressions of group solidarity that embody the actions of political, economic, and cultural institutions in the continuous reproduction and legitimacy of systems of practice that are characteristic of concern for territorial integrity (paasi, 1991, p. 245). in line with paasi’s thinking, the abstract expression of the solidarity of the mandailing community is manifested through the performance of the manortor, the manortor is a symbol of the solidarity of the mandailing community. solidarity is the bond that holds people together in society. people can be linked together in a number of ways that provide a common sense of identity, a common destiny, and a common commitment to defending the group (fireman & gamson, 1979, p. 22). solidarity is the highest level of group awareness, where there is a balance between collective consciousness and individual autonomy (scheff, 1997, p. 49). that solidarity and unity are important features of village life and are expressed through social gatherings, religious activities, economic activities and the creation of art (soewarlan, 2018, p. 12). for the mandailing community, solidarity is expressed through social gatherings by presenting a manortor performance. one of them is seen in the celebration and welcoming of the new village head in menaming on february 2, 2022. the manortor show starts at 21.00 wib. safrijon, the newly appointed village head, invites clan leaders, relatives and the menaming community to dance together. through performances, the manortor safrijon invites his community to jointly develop their area. after dancing together, it is hoped that the menaming community will reunite, forgetting the differences of opinion that were previously caused by the competition in the village head election. the manortor show continued with the slaughter of cows, cooking together until the early morning hours and closing with a meal together the next day. the solidarity that is built through the manortor’s performance is formed by two elements, namely the presence of the family dancing together and the family story being retold through onang-onang. this was stated by siti duolom, a mandailing resident who lives in pasir pangarayan, rokan hulu. the presence of the family dancing together the presence of relatives dancing together is the main element in building a sense of solidarity through the manortor. in dancing, the relatives perform the same movement, which then strengthens the sense of solidarity. siti duolom shared her experience that when she and her sister danced in the same line with the same movements, their sister-in-law, who was also a woman, danced in the back row. with the same movement, they feel a very strong togetherness and cohesiveness between families. dancing in such a line, the family also realizes how strong the kinship relationship is, both among brothers, between brothers and sisters-in-law, and between in-laws and in-laws (anak boru). siti duolom’s statement about the similar movement between brothers and sisters-in-law that forms a sense of solidarity for the mandailing community is in line with mcneil’s view, which reveals that a sense of togetherness in dance arises as a reaction to movements carried out together in groups. mcneil coined the term muscular bonding, which refers to the human emotional response to moving rhythmically together through dance and exercise (1995, vi). muscle movement rhythmically consolidates group solidarity by changing human feelings (mcneill, 1995, p. viii). mcneil’s view reinforces hanna’s statement, which long before reharmonia: journal of arts research and education 22 (2) (2022): 355-367364 vealed that moving together at one level depends on solidarity while creating solidarity (hanna, 1979, p. 99). mcneil’s opinion can be confronted with the opinion of the mandailing community. the togetherness formed through the movement then causes ecstasy to some relatives, dancing and just watching. some of them wept in a collective movement supported by music, and on several occasions, relatives fell unconscious while the manortor. in connection with this event, losing oneself while dancing is due to being absorbed in a unified community; the dancer reaches a state of joy where he feels filled with energy or power beyond ordinary circumstances (radcliffe-brown, 1964, pp. 252–253). crying or passing out, interpreted as relatives losing themselves during the manortor is not painful but exhilarating. family members find themselves in complete and joyful harmony with all relatives present and experience a great feeling of attachment to the group (radcliffe-brown, 1964, p. 252). the manortor lasts for quite a long time, depending on how many or a few family members dance. the show starts around 21.00 (after isha prayer) and ends early in the morning. the length of the manortor’s performance positively affects togetherness and solidarity among group members. consistent with the view that dance’s distinctive ability to increase group solidarity is dependent on keeping time together for extended periods of time, thus translating individual release from anxiety into collective catharsis (mcneill, 1995, p. 17). for the mandailing community, dancing together with their family makes their minds more open. thus, they can eliminate anxiety. this was expressed by nurhayati nasution. furthermore, nurhayati nasution said that when dancing, there are no more problems between families since, before the performance, the family manortor must gather together to conduct deliberation. if there are problems, they are resolved in deliberation (interview on march 7, 2022). thus, going through a family manortor is no longer repairing a strained relationship. being in a group for hours or even days, maybe for some people, it can’t be done in ordinary life due to their respective activities and busyness. therefore, through the manortor, they were able to stay in the group for a long time. this is one of the interesting aspects of the manortor, which provides a unique experience that is not obtained in everyday life by the mandailing community. thus, they are always enthusiastic about being involved in the manortor, experiencing a different experience from everyday life. family and group stories retold the family is the basic element in the formation of society. the real social unit is the family (comte, 2009, p. 153). each family member has a different story; family stories in addition to group stories, are told through song lyrics or onang-onang. the stories of families and groups that are retold have an important role in shaping the collective memory of the mandailing people. collective memory is a representation of the past that exists in the minds of mandailing community members, contributing to their sense of identity (manier & hirst, 2008, p. 253). there are various stories in onang-onang, since each family member has a different life experience. in addition to the stories of family members, the story of the struggle of the mandailing ethnicity coming to rokan hulu and how they adapt to the environment is also a story in the onang-onang. with the variety of stories in onang-onang, the mandailing people share life experiences, creating positive sentiments towards the group. positive sentiment towards the group strengthens the sense of identity, as the mandailing ethnicity. the stories told in onang-onang are sad stories that relate to the struggles of family and group life, the loss of a parent or other family member, and how they face difficult times together. in the view of the mandailing people, onang-onang evokes sadness and longing not only for family members whose life experiences are told elmi novita et al., manortor as a solidarity and identity building media of mandailing eth365 by the paronang-onang (bearers of onangonang poetry) but also evokes sadness for anyone who listens to onang-onang. people who listen to onang-onang will remember his family and the life journey he has taken. as stated by samsumar nasution, when listening to people, what you feel is sadness. you spontaneously think of your parents who have passed away and how they raised and educated you from a young age. samsumar nasution said that he did not fully listen to the family life story conveyed, but focused more on the sadness and longing for his parents. in expressing his experience, samsumar nasution’s eyes were filled with tears. the sadness caused by the onangonang that is felt not only by the family who has the event but also by other community members who witness the manortor, is a form of sharing emotions. people share emotions with each other since they are both present in the midst of the group. they feel strong emotions together in the manortor. although their stories are different, they share sadness and emotion. sharing emotions is a key element in solidarity (heise, 1998). conclusion as schneider reveals, kinship is a relationship that is more intense, diffused, and lasts longer. the solidarity that symbolizes special beliefs is very relevant to the lives of the mandailing people in rokan hulu, riau, nowadays. as a minority and immigrant group, they maintain forms of kinship. manortor is a form of cultural expression that symbolizes the strong kinship for the mandailing people even though they have moved from their native areas. dancing together in groups strengthens the solidarity of a sense of self-identity of the ethnic mandailings who come from north sumatra. there is a reciprocal relationship between manortors as a cultural expression of strengthening kinship by building solidarity and identity within the group. over time the mixing of the mandailing ethnicity with the riau malays and minangkabau will become a new challenge in the ways how this group maintains kinship ties. how dance is used as a medium to encounter these 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(2021). beyond ethnic solidarity: the diversity and specialisation of social ties in a stigmatised migrant minority. journal of ethnic and migration studies, 48(13), 3113–3141. https://doi.or g/10.1080/1369183x.2021.1903305 77 an aesthetic “touch” for the development of rattan bag handicraft products in indonesia: a systematic literature review dwi cahyadi1,2, siti haida ismail1, roslina mohammad1, mohd yusof md daud1, muh. irwan2 1universiti teknologi malaysia, malaysia 2politeknik negeri samarinda, indonesia submitted: 2023-03-24. revised: 2023-09-21. accepted: 2023-12-01 abstract one of the crucial factors in indonesia’s national industrial development master plan 2015 2035 is enhancing human resources skills and creativity in producing wood/rattan handicrafts. aesthetic factors are the main requirements for these products due to their cultural and artistic value. in determining the direction of the innovations, it is necessary to understand the product’s development, especially in this regard. therefore, this study aimed to assess the aesthetic factors used in developing rattan bag handicraft products using the systematic literature review (slr) approach, guided by preferred reporting items for systematic review and meta-analysis (prisma). the slr was conducted based on the journal and proceedings obtained through the science direct, google scholar, and springer databases. the contribution of this study was to find aesthetic factors considered for the development of bag product innovation. the results showed that six aesthetic factors were applied in developing rattan bag products: materials, motifs, ethnic/culture, shapes, patterns, and colors. keywords: aesthetic; handicraft; rattan; bag; indonesia how to cite: cahyadi, d., ismail, s. h., mohammad, r., daud, m. y. md., & irwan, m. (2024). harmonia: journal of arts research and education, 24(1), 77-87 harmonia: journal of arts research and education 24 (1) (2024), 77-87 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v24i1.43311 2020). rattan is an important economic commodity in endemic countries such as indonesia as raw material or used in furniture and handicraft products (pratono, 2019). this provides an opportunity to develop product innovations made of rattan bags, specifically in indonesia, which has 70-80 percent of the world’s rattan output (octavia & nugroho, 2019). nowadays, handicraft products such as bags made from rattan have evolved into fashion products for a modern lifestyle. historically, bags were used to stointroduction handicraft products are related to cultural values, art, and beauty. the materials and production techniques used in the process are usually passed from generation to generation (hu, xie, yuan, lv, & xiong, 2021). these products can be used for daily functional needs such as clothing, cutlery, and a place to store garden produce (chen, ren, & zhang, 2021). historically, rattan is a well-known material for handicraft products, with inherent flexibility, lightness, and durability (gu & zhang, corresponding author: e-mail: sitihaida@utm.my p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 24 (1) (2024): 77-8778 re garden and forest produce, but now, their function has transformed to focus on tourist attractions and shopping places, as shown in figure 1. a significant transformation is evident from the portable size of the bag, but it is still in line with its original form as an aesthetic product that shows the art and culture of the craftsmen (ichwansyah et al., 2015; roy, fahrizal, & diba, 2017). rattan bags are popular with all ages and genders because of their attractive shape and aesthetic function. moreover, there was an increased interest in handmade products among young people, from 17% under 35 years in 2006 to 32% of buyers in 2020 (council, 2020). this allows the industry to target a young age market share by developing designs that suit the desired needs and products. figure 1. changes in the use of handicrafts in the past and present (ichwansyah et al., 2015) the master plan for indonesian national industry development for 20152035 states the need to increase the skills and creativity of human resources in producing wood/rattan handicrafts, focusing on improving rattan handicraft products’ quality and quantity (industry, 2015). the indonesian furniture and handicraft industry association supports the master plan by conducting project development for the next five years, from 2020 to 2024. this is carried out through the provision of raw materials for rattan and the enhancement of the industry. furthermore, the development in innovation and quality of handicraft products is necessary due to current trends, which serves as a key to market success (himki, 2019). to support indonesia’s national industrial development master plan 20152035, it is necessary to innovate rattan handicraft products to increase competition. rattan bags as handicraft products are subjected to innovation by carefully considering their functional, ergonomic, economic, and aesthetic factors (research and development agency for north sumatra province, 2015). the aesthetic factor is one of the main requirements for innovation because handicrafts are products with cultural and artistic values (gandon, coyle, pous, buloup, & bootsma, 2021; gaspar, fontul, henriques, & silva, 2017; hartono, 2020; sozo & ogliari, 2019). the importance of this factor is needed in today’s world to aid product design and development (annamalai, nagarajan, kumar, & saravanakumar, 2020; jolly, krzywinski, rao, & gupta, 2019). the aesthetic factor can attract the user’s emotions when buying the product through the design seen from the surface shape, color, and pattern (tyan-yu, chueh-yung, & cian-yu, 2017). according to the direction of the master plan, it is vital to know the extent of the role of these factors in the development of rattan bag craft products. this study aimed to determine the aesthetic factors used in developing rattan bag handicraft products by reviewing previous results through a systematic literature review (slr) approach guided by the prisma statement (preferred reporting items for systematic review and meta-analyses). the review of searches was based on journals and proceedings obtained through science direct, google scholar, and springer journal databases. method a systematic review is used to find answers to questions by identifying, integrating, and evaluating the sources of dwi cahyadi et al., an aesthetic “touch” for the development of rattan bag handicraft 79 information obtained. this is conducted by following a set of protocols in reviewing journals to obtain quality results (chakravarty, mehta, & vir, 2022; mallett, hagen-zanker, slater, & duvendack, 2012; triandini, jayanatha, indrawan, putra, & iswara, 2019) and by synthesizing the state of knowledge in the field and provide solutions to unanswered questions (gonçalves, castro, araújo, & heineck, 2018; page et al., 2021). in this study, prisma was adopted to improve the reporting of reviews and to produce more transparent results through a guideline of identification, screening, and feasibility in stages (hulshof et al., 2021; oluleye, chan, & olawumi, 2022). prisma is a reporting guide designed to address the poor reporting of systematic reviews (page et al., 2021). result and discussion the steps taken in using the prisma method are shown in figure 2: figure 2. data collection process using prisma define study questions the initial stage in conducting a systematic review is formulating the study question. the predetermined keywords in this study are the terms “aesthetic,” “handicraft,” “rattan bag,” and “indonesia.” the specific population pertains to handicraft rattan bag production within indonesia. the intervention examined revolves around developing craft products related to rattan bags. furthermore, no direct comparison is addressed within the scope of this review. the primary aim is to discern and identify the factors contributing to aesthetics. therefore, the study question is as follows: what factors contribute to the aesthetics of rattan bag product development in indonesia spanning from 2018 to 2023? the next step is to answer the study question using the prisma through the following four stages: identify articles from databases the first step in conducting prisma is identifying articles using keywords searched in the science direct, google scholar, and springer journal databases. the keywords used are aesthetic, handicraft, rattan, bag, and indonesia. by using these keywords, 575 journal articles and proceedings were obtained, with data ranging from 2018 to 2023. screening process the second procedure in prisma is where the selected articles are screened. the articles that do not follow the objectives and this study’s questions or are unrelated to the aesthetic factor cannot proceed to the next stage. in this stage, only 37 articles were selected and used to proceed to the eligibility stage. eligibility the eligibility stage includes indepth monitoring after the screening process. this was achieved through a rigorous and comprehensive reading of the articles to ensure the inclusion of the study objectives. there were 11 articles resulting from this process through deep scrutiny. harmonia: journal of arts research and education 24 (1) (2024): 77-8780 included this process comprises a thorough and detailed assessment of the articles to determine their quality and ability to address the study questions. a total of 11 articles were appropriate out of the 37 obtained from journals and proceedings. two additional articles were obtained through the snowballing process. these articles will become the basis for answering the study question, namely the aesthetic factor of handicraft products made of rattan bags in indonesia. figure 3 shows the results of the 13 journals obtained from the aesthetic factors of developing rattan handicraft products. these articles prioritized six aesthetic factors in explaining the development of rattan bag products based on the order of presentation, namely materials, motifs, colors, ethnicity/culture, shapes, and patterns. figure 3. aesthetic factors in rattan bag product based on literary review results using the prisma method, the aesthetic factors of rattan bags can be analyzed and concluded as shown in figure 4. the factors could be explained, namely: material rattan is a product of non-timber forest commodities, supporting the economy through direct sales or processing into handicrafts (febrian & loita, 2020). it is a forest product with economic value due to its flexibility, lightweight, and durability. regions endowed with their abundance use them for furniture and handicrafts, making the craftsmen more creative, as the materials have different applications. furthermore, rattan with large roots is mainly used for furniture, while small ones are used for handicrafts such as mats, baskets, and bags (roy et al., 2017). figure 4. aesthetic factors on rattan bags in indonesia one type of rattan bag that continues to enjoy popularity among customers is the anjat. anjat is a bag crafted entirely from rattan, sourced from kalimantan, featuring a backpack design. rattan can also be effectively combined with other materials, such as water hyacinth plants and ketak plants (lygodium circinatum (burm.) sw.) (alamsyah, 2019; ghani, sudiarta, & koriawan, 2021). figure 5. anjat dwi cahyadi et al., an aesthetic “touch” for the development of rattan bag handicraft 81 figure 6 shows a bag product crafted in indonesia, combining water hyacinth and rattan materials to create handmade handicraft bags. the craftsmen chose water hyacinth to complement rattan because it offers material options for making bags, adding an aesthetic touch to the product by combining these materials (alamsyah, 2019). figure 6. rattan bags combined with water hyacinth plants (alamsyah, 2019) the ketak plant is another plant that can be combined with rattan to make bag products. with a fern-like structure like rattan, this plant has strong and elastic texture characteristics and can produce highquality woven handicraft products. the combination of rattan and plant materials can gives buyers a special attraction for handicraft bags. essentially, incorporating additional materials in the crafting of bags, especially handicraft products, can significantly enhance the aesthetic value of the rattan handicraft bags (ghani et al., 2021). in addition to plant-based materials like ketak and hyacinth, other materials such as stone beads, leather, batik cloth, patterned weaving, jewelry stones, shells, or even wood supports can enhance the aesthetics or give extra strength to the rattan bags. these accessories help enhance the product’s aesthetics and reflect the distinctive characteristics of the region where the rattan bag is produced. for example, rattan bags that use stone beads as their accessories signify their origin in the kalimantan region, similar to the shell, which shows the bag was crafted in a coastal area. figure 8 illustrates a sling bag design intended for storing drink bottles or various items, utilizing non-plant-based accessories to elevate the bag’s visual aesthetics and attract buyers. figure 7. rattan bag with additional material accessories from stone beads motif the prominent motifs on indonesian handicrafts, such as rattan bags, are based on their origin, ethnicity, and region. the motifs can symbolize the artistic and cultural identity of the maker. it features a rich array of motifs, including decorative flora, fauna, and mythological creatures inspired by the beliefs of the people who make them. collectively, these motifs imbue the bags with a distinct and unique character, reflecting their origin’s cultural and ecological context. the motifs can also show the social class of the users. historically, using particular motifs on handicraft products, including rattan bags, was often exclusive to specific social strata (febrian & loita, 2020; mu’minah & nugraha, 2020; suhaimy & abdullah, 2019). interestingly, the aesthetic factor of motifs on rattan bags is that other handicraft products, such as cloth products, can inspire the motifs. figure 8 shows an example of motifs on a rattan bag taken from woven boti cloth from east nusa tenggara province, indonesia. to come out with these adaptations, an exploration was conducted by the craftsmen to incorporate the motif in rattan bag crafts, resulting in an attractive aesthetic touch to the rattan bag through the motifs of boti cloth (soedarwanto & maulidia, 2018). harmonia: journal of arts research and education 24 (1) (2024): 77-8782 figure 8. boti woven fabric motifs are used on woven rattan bags. (soedarwanto & maulidia, 2018). ethnic / culture every region in indonesia has its own handicraft products, which shows the cultural characteristics of their ethnic origin. within the diverse array of handicrafts, rattan bags are among the various categories, and they come in several types distinguished by their shapes and functions. an exemplary instance can be observed in the baby sling bag, which originates in the dayak tribe residing in kalimantan, indonesia, as illustrated in figure 9. the bag’s design, accessories, colors, and motifs clearly exhibit the unique characteristics associated with this particular tribe. the bags commonly exhibit vivid hues and incorporate embellishments made from animal teeth sourced from kalimantan. the aesthetic value of a handicrafts is inherently intertwined with the ethnicity and culture visually displayed in the craft (fan & wu, 2020). these products derive their aesthetic value from the fusion of natural materials with shapes, patterns, and colors rooted in the culture of ethnic groups. handcrafted bags like these enhance the cultural identity of these groups and appeal to potential buyers (abdullah, md zain, & maaruf, 2020; chu, 2019). figure 9. the use of boti motifs on woven rattan bags (ichwansyah et al., 2015) shape as a handicraft, rattan bags have a distinct advantage in their material selection, as rattan offers a unique combination of flexibility and durability, making them ideal for shaping and transporting various goods (mu’minah & nugraha, 2020). furthermore, its versatility allows the rattan to be shaped into squares and circles, giving it uniqueness (sas, 2022). shape is one element that defines the aesthetics of a rattan bag, and it can be categorized into two main aspects: geometric configuration and size. for example, the cylindrical shape of the bag is used for smaller items, while circle and square shapes have a larger size for storing goods. the circular rattan bags, in particular, enjoy high demand from local and international customers (yonatia, 2020). shapes that effectively integrate artistic features with practical functioning tend to be highly attractive to consumers (bankah, ciptandi, & viniani, 2021; chu, 2019; febrian & loita, 2020). size is another aspect that defines the aesthetics of rattan bags. the rattan bag products in indonesia can be categorized into three distinct sizes: small, medium, and large. the small size typically measures 15 cm and is available in circular or rectangular shapes. on the other hand, the large size usually comes with measurements of 70 cm and 50 cm circumference and features a cylindrical shape. these large-sized bags are generally anjat bags that originated in kalimantan. dwi cahyadi et al., an aesthetic “touch” for the development of rattan bag handicraft 83 the emergence of various trends in modern lives has led to a wide range of advancements in bag items designed to cater to specific consumer needs and preferences. consider, for example, anjat-type bags, which were initially constructed to accommodate the storage needs of hunting and gardening implements owing to their significant size. nevertheless, in the contemporary day, there has been a reduction in the size of these bags, resulting in the emergence of several versions, such as sling bags that are made explicitly for fashion-related purposes. the retention of the cylindrical shape, brilliant colors, and distinctive designs emphasize and celebrate the enduring ethnic features. figure 10 shows a range of rattan bags that come in different shapes and sizes, catering preferences, and the requirements of its buyers. figure 10. several shapes of rattan bags in indonesia (ichwansyah et al., 2015; yonatia, 2020) however, the final decisions made by buyers are often subjective and might be impacted by their personal fashion preferences and practical needs. pattern in the context of rattan bag craftsmanship, the term “pattern” refers to the visual appearance of the rattan weave on the bag’s surface, which is achieved through the woven arrangement of colors and lines on the product. in indonesia, rattan bags are available in two separate patterns. the first pattern is a solid color design highlighting the woven rattan material without additional embellishments. the second style involves a complex weaving technique that incorporates colored rattan fibers to produce a distinctive and original design on the bag. rattan bags without patterns emphasize the natural material and its color. in contrast, those with patterns feature woven colored rattan fibers, crafting a unique and visually appealing pattern on the bag. patterns on a rattan bag can be designed in the form of flora, fauna, and mythological creatures from the beliefs of the craftsmen. in indonesia, these patterns serve as a representation of the craftsman’s tribal origins, can distinguish social status, and, in some cases, are believed to possess protective qualities against unwanted evils (mu’minah & nugraha, 2020; suhaimy & abdullah, 2019). the design patterns on handicraft products by wavering rattan have their flexibility, which can affect the bag product’s strength. rattan woven patterns commonly found in indonesia are shown in figure 12 (masta, 2020; soedarwanto & maulidia, 2018). a rattan that forms a particular pattern, besides being able to increase the sturdiness of the product, also adds to the aesthetic value of the product through a product appearance that attracts buyers. figure 11. rattan woven pattern (masta, 2020) color the combination of colors used on rattan bags can serve as a geographical marker, showing the product’s identity, social status, age group, and origin (chu, 2019; suhaimy & abdullah, 2019). the product’s color is influenced by the environment where the product is made. for example, mountainous areas tend to have a slightly darker color, while the color is lighter in coastal regions. harmonia: journal of arts research and education 24 (1) (2024): 77-8784 figure 12. rattan bag with aesthetic color (manika, 2021; yonatia, 2020) different color combinations of rattan bags are available in indonesia, which indirectly influence the aesthetic elements of the product. the colors utilized can be broadly categorized into two categories: those sources from natural materials and those used non-natural substances. colors from natural materials are obtained from natural ingredients or through natural processes such as soaking, heating, and mixing natural ingredients in rattan fiber (masta, 2020; yonatia, 2020). meanwhile, colors from non-natural processes, such as chemical dyes, can directly apply to rattan fibers. the coloring process can be carried out on bags before and after the rattan is produced into rattan bags. it’s interesting to note that color has the ability to influence and affect the mood of the person who views it (febrian & loita, 2020). therefore, this highlights the utmost significance of integrating color selections as a vital element in the design of rattan bags. the literature review results obtained six main factors in developing rattan bag products in indonesia. there are several aesthetic factors that are interrelated and support the existing factors. the aesthetic factor of the motif can be influenced by the colors of the rattan bag product. colors that come from natural or unnatural origins can provide a variety of motifs. patterns on rattan bags in indonesia can provide a variety of patterns that are supported by the type of material used and the motifs that appear on the rattan bag. meanwhile, ethnic/cultural aesthetic factors can be seen in other aesthetic factors, namely color, shape, material, and patterns on rattan bag products. the combination of these things can provide a visual that shows the ethnicity/culture of the region and tribe from which the rattan bag product originates in indonesia. thus, in supporting indonesia’s national industrial development master plan, these six factors can be used as a basis for the rattan bag handicraft industry in indonesia to innovate product development based on the aesthetic factors of its products. conclusions the potential for developing rattan bag products is evident in their ability to meet economic and aesthetic demands. aesthetic considerations have a significant role in fostering innovation within the industry of handcrafted products. the significance of handicrafts arises from the acknowledgment of their intrinsic cultural and artistic value. in order to ensure the congruence between the growth of rattan bag goods and indonesia’s industrial master plan, it is necessary to get an in-depth understanding of the degree to which aesthetic factors influence the development of rattan bag handicrafts. therefore, the aesthetic criteria of rattan bag handicrafts in indonesia play a crucial role in meeting consumer demands and ensuring their contentment, ultimately influencing the economic worth of these items. this study aims to analyze the aesthetic elements that contribute to the development of handicraft products for rattan bags in indonesia. this will be achieved by an in-depth study of existing literature using a systematic literature review (slr) approach, following the guidelines outlined by the prisma methodology. following the prisma methodology, 13 scholarly articles published from 2018 to 2023 have been identified as pertinent to the study objectives. the present collection of articles intends to provide a comprehensive understanding of aesthetic factors inherent in rattan handicraft items in indonesia, as previously investigated by scholars engaged in the advancement of rattan bag production. the studies emphadwi cahyadi et al., an aesthetic “touch” for the development of rattan bag handicraft 85 size six primary aesthetic components: materials, motifs, ethnic and cultural characteristics, forms, patterns, and colors. the rattan bag handicraft invention should consider six key criteria that serve as a fundamental framework, with special emphasis on their aesthetic features. acknowledgments the authors are grateful to the students for the ph.d. program at universiti teknologi malaysia (utm) malaysia for all the support towards making this study successful. references abdullah, n., md zain, e., & maaruf, s. z. 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(2020). klasifikasi ilustrasi decoupage tas rotan khas bali sebagai perkembangan desain industri. jurnal rupa, 5(1), 56-65. doi:10.25124/ rupa.v5i1.2886 https://www.bag-affair.com/wp-content/uploads/handbag-guide-bag-affair-en.pdf https://www.bag-affair.com/wp-content/uploads/handbag-guide-bag-affair-en.pdf https://www.bag-affair.com/wp-content/uploads/handbag-guide-bag-affair-en.pdf https://www.bag-affair.com/wp-content/uploads/handbag-guide-bag-affair-en.pdf 46 aesthetic value of wahyu manggolo’s kethoprak performance presenting mahesa jenar series “alap-alap jentik manis” pujiati a teacher and a player of kethoprak in pati regency, indonesia e-mail: puji_ati90@yahoo.co.id received: april 22, 2015. revised: may 5, 2015. accepted: june 13, 2015 abstract the purposes of this research are (1) to find out the aesthetic value of wahyu manggolo’s kethoprak performances presenting mahesa jenar series alap-alap jentik manis in the village of tanjungsari, jakenan in pati regency and (2) to depict the kethoprak performance there. this study uses a qualitative method depicting the aesthetic elements and the forming elements of the value in wahyu manggolo’s kethoprak. the techniques of data collection are an interview, an observation, and a documentation. the results showed that there are five elements as parts of an aesthetic value in the performance. those elements are shape, story, character, content, and characteristic, while seven elements to form the value are unity, complexity, intensity, stimulation or determinant, consequents as a means of recording emotional levels, moods, and characters. keywords: aesthetic value; kethoprak; character how to cite: pujiati. (2015). aesthetic value of wahyu manggolo’s kethoprak performance presenting mahesa jenar series alap-alap jentik manis. harmonia: journal of arts research and education, 15(1): 46-55. doi:http://dx.doi.org/10.15294/ harmonia.v15i1.3726 harmonia : journal of arts research and education 15 (1) (2015), 46-55 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v15i1.3726 p-issn 1411-5115 e-issn 2355-3820 encompasses the aesthetics of human behavior in accordance with the customs. the aesthetics of art includes acting or drama, fine art, music, and dance. kethoprak, tayub, puppets, and barongan belong to this kind of aesthetics. kethoprak is a folk theater that raises legend of past life, such as epic and the life of the royal family (lisbijanto, 2013, p. 1). it also combines acting, fine art, music, and dance into a performance. it grows and develops in the eastern and southern parts of central java which includes the areas of rembang, blora, purwodadi, kudus, demak, pati, and solo. wahyu manggolo is one of the kethoprak groups in the village of tanjungsari in jakenan, pati regency under the direction of mr. sarjimin, otherwise called mogol. he founded this group in 2007 to saintroduction aesthetics is a term that closely relates to human life and as part of it, a human being basically has any desire to enjoy the aesthetics wherever and whenever he is. it makes his life more colorful since it comes to one’s joy, sorrow, affection, fear, and regret. life would be up and down, not in a monotonous degree. aesthetics can reduce a stressful mind, provide entertainment, and create ageless appearance, since it easily affects one’s emotions and human brain as the center of organs that can affect the working of other organs. the scope of aesthetics covers the aesthetics of nature, moral, intellectual, and art. the aesthetics of nature encompasses the aesthetics that exists on the nature of god’s creation. the intellectual aesthetics pujiati, aesthetic value of wahyu manggolo’s kethoprak performance presenting ... 47 tisfy his desire to preserve the culture and has become a site for the artists to work. since it was first established in 2007, it has always had many fans in every region both in and outside pati regency (an interview with sarjimin on march 26, 2014). one of the scenes played out in the show is the character of mahesa jenar series alap-alap jentik manis which tells the story of the abduction of a beautiful woman named jentik manis, who was then rescued by mahesa jenar, whose real name was tumenggung ronggo tohjoyo of demak. jentik manis was the daughter of ki asem gede, an advisor at prambanan kademangan, the story of mahesa jenar series alap-alap jentik manis is different from others as it combines the acts of romance, infidelity, battle, and responsibility. this is the reason of high interest toward the play of mahesa jenar series alap-alap jentik manis, so it is often requested by the audience to play in the stage. another good point is that the story is often inserted some unique scenes that people prefer to see. the aesthetic value comes from the character of mban and dagelan which has its own distinctive characteristics. mban is characterized with her agile motions, following the floor pattern, resembling a dance with expressions fussy (kenes), flexible (luwes), and flirting (menthel). the dagelan is so humorous and funny that can always create funny scenes and stories on the stage. this is the reason behind the conduct of research that is to find out the aesthetic value of wahyu manggolo’s kethoprak performance mahesa jenar series alap-alap jentik manis. the main purpose to conduct the research is to find out first the aesthetic value in the play of mahesa jenar series alapalap jentik manis and second to find out some characteristics of kethoprak wahyu mongolo. menroe beadsley’s and thomas munro’s aesthetic theories are both combined to apply in the research to find out seven elements to form the value, such as unity, complexity, intensity, stimulation or determinant, consequents as means of recording emotional levels, moods, and characters, and the depiction of involuntary physical reactions like unconsciousness. this study formulated two problem statements; they are (1) what aesthetic value can be found in wahyu manggolo’s kethoprak performances presenting mahesa jenar series alap-alap jentik manis in the village of tanjungsari, in jakenan, pati regency? (2) how can the aesthetic value be formed in the play? the purposes of the research are to find out the aesthetic value in wahyu manggolo’s kethoprak performances presenting mahesa jenar series alap-alap jentik manis in the village of tanjungsari in jakenan, pati regency and to depict the kethoprak performance there. widagdho (2004, p. 63) mentioned that value is the psychological reality that should be clearly distinguished from the usability, as it belongs to the human psyche and not to his own will. the value is considered on an object until the truth of it can be proven. it is divided into two, subjective and objective values, or individual and societal values. the value is the background of mutual-cooperation activities among the villagers; it should be classified in the cultural values regarding the basic issue mm (the nature of human relationships). koentjaraningrat (1993, p. 62) stated that the achievement-oriented value is the value which is concerned with exploration, parsimony, and competition. on the basis of mental properties, some changes of values are allowed, but not learning new values, so it’s not a question of afleren, but aanleren. aesthetics an aesthetic is a part of philosophy, derived from a sense of perceptions (kutha ratna, 2007, p. 2). the elements of taste perception according to thomas munro (quoted by haryono, 2010, p. 39) are four; they are (1) the determinant or the stimulus on the reproduction of aesthetics, themes and its parts, time and place; (2) consequents as a means of recording emotional levels, moods, and characters, like in hand movements; (3) moods, depictions of emotional levels (joy, agitation, impatienharmonia : journal of arts research and education 15 (1) (2015): 46-5548 ce); (4) the depiction of involuntary physical reactions, such as unconsciousness. sal murgiyanto (2002, p. 37) described the aesthetic total comprehension requires not only the object, but also the subject that is able to perceive his works of art. of both subjective and objective poles, there is a regular evaluation toward works of art. the observer, menroe beadsley, (subandi, 2010, p. 91) mentioned three main characteristics that become the nature of aesthetic objects; they are unity, complexity, and intensity. performances a performance can be defined as something that is worth in art and always attractive when watched. the satisfaction when enjoying it relies on the extent to which aspects of the souls involved in and the impression to obtain, so it gives rise to any change in himself. a performance has any considerations of artistic values, so that the connoisseur will obtain the aesthetic experience as the results of his observations (jazuli, 2008, p. 59). djoko suryo, et al (wibisana and herawati, 2010, p. 51), divided the javanese performance arts into four; they are folk dance, folk music, folk drama, and folk art recitation. kethoprak the term of kethoprak according to kawindrasusanto (herawati, 2009, p. 7) presented in the workshop on 7-9 february, 1974 in yogyakarta, is derived from the word prak, which is a sound of a traditional musical instrument thiprak. this musical instrument will produce sound ...praak...praak... praak. according to djaka lodang (herawati, 2009, p. 7) kethoprak was initially a children folk game with a musical accompaniment lesung at the time of the full moon. it is nowadays a folk theater using javanese language as a medium (herawati, 2009, p. 7). it is also a form of theatre performed with the main elements of dialogue, tembang (song), and dagelan (slapstick) (wibisana and nanik, 2010, p. 45). it refers to the sound of keprak, a kind of wood percussion, serving as a sign giver and a sign of dynamics (simatupang, 2013, p. 159). the history of kethoprak kethoprak was first published by raden mas tumenggung wreksadiningrat in bengawan, one of the areas in surakarta in 1900s. in 1908, r.m.t. wreksadiningrat held kethoprak performance with traditional music accompaniment lesung, kendang, terbang, and flute. the first group is called sambeng under the direction of wisangkoro. he was a subordinate of r.m.t. wreksadiningrat. after the death of wreksadiningrat, he had an initiative to set up a group of kethoprak as an effort to preserve it (indiyah, 2009, p. 7). aesthetic elements in kethoprak the supporting elements of kethoprak consist of four; they are form, story, actor, connoisseur, and the content to be delivered to the audience. form the element of form in kethoprak mainly concerns more in technical things including the stage, lighting, settings and properties, costumes, makeup, accompaniment and sounds, sound system, and language. story besides form, there is another main element to present in kethoprak. this is a story. the story has elements of theme and title, plot and atmosphere, characters, scenes, dialogue, and blocking. perpetrators and connoisseur perpetrators and connoisseurs are the people involved in the performance both technically and non-technically. those people in the criteria are the art director, actors, crew, and the audience. contents the content is intended to be delivered to the audience through the presented works of art. this element consists of messages and ideas. pujiati, aesthetic value of wahyu manggolo’s kethoprak performance presenting ... 49 method research methods comprise approach, location and objectives, techniques of data collection, data analysis technique, and data confirmation. research approach this study discusses the aesthetic value of kethoprak performances which is a unity of form complexity, aesthetic determinant from the story, intensity committed by the actors and connoisseur as well as the content delivered through the performances. the unity of form includes a stage, lighting, setting, costume, makeup, properties, accompaniment and sounds, and language. an aesthetic determinant of the story includes themes, titles, setting, plot, character, episode, scene, dialogue, and blocking. the intensity of the perpetrators and connoisseurs include art directors, players, crew, and audience. the audience will obtain messages and ideas through the content of the story that is delivered from the show. a qualitative method is used to produce data in the form of implicit description about the forming elements of aesthetic value in wahyu manggolo’s kethoprak performance, which include the form of the show, the story, the perpetrators and the connoisseurs, and the content or messages. the descriptive data about the aesthetic value are obtained without the use of complex calculations. bogdan and taylor (sumaryanto, 2007, p. 75) described the qualitative research as a research procedure generating descriptive data in the form of written or spoken words and behaviors that can be observed. the term of qualitative research is defined as research that does not require the calculation after observation, interviews, or document review (moleong, 2011, p. 9). location and target of research the location of the research is in tanjungsari village jakenan, pati regency and the target are the kethoprak group ‘wahyu manggolo’. location of research this research was conducted in tanjungsari village jakenan in pati regency. this location was chosen as it is the centre of wahyu manggolo’s activities, like getting the placement of the properties, musical instruments, making the property, the stage, and the transit place. in addition, kethoprak is often performed in this village for celebrating marriage, circumcision, and events of gratitude expressions. target of research the research target is to find out the aesthetic value of wahyu manggolo’s kethoprak performances presenting mahesa jenar series alap-alap jentik manis in the village of tanjungsari, jakenan in pati regency. the form includes a stage, lighting, setting, costume, makeup, properties, accompaniment and sounds, language, and sound system. the story includes theme, title, plot, setting, character, episode, scene, dialogue, and blocking. the perpetrators and connoisseurs include an art director, actors, crew, and the audience. the contents include messages and ideas of the stories that can be obtained after watching; then, the audience should give a response after the kethoprak performance. this is due to these elements existing in the aesthetics value of the performance. data collection technique data collection techniques used in this research are the observation, interview, and documentation. observation some observations were intended to observe the activities in the secretariat of ‘wahyu manggolo’ before doing the performance on march 26, 2014. in addition, another observation was conducted during the performance on 29 march 2014 presenting mahesa jenar series alap-alap jentik manis in trikoyo village in jake, pati regency. the activities observed include pre performance – before the stage was harmonia : journal of arts research and education 15 (1) (2015): 46-5550 non-subjective descriptive objects while the validity and truth can be expressed valid. a data triangulation is a verification of information from various sources, using various methods of data collection and often done by some researchers (sumaryanto, 2007, p. 114). there are three triangulation techniques to carry out to ensure the validity of data; they are (1) data checking through sources; (2) data checking through the same sources with different techniques, and (3) data checking through the sources repeatedly in a different time. data analysis techniques the use of data analysis with the inductive approach is intended to take the overall conclusion in the study, of any data obtained through interviews, observation, and documentation. the data are in the form of information on aesthetic values of wahyu manggolo’s kethoprak performance, like the history, form elements, actors, and messages. the data obtained are described on the basis of the happenings in the field during the research activities. the data are analyzed continuously at the time the data are collected in the study. the process is in interconnected cycles and it deals each other, so the less or wrong data will then influence to the false conclusion. completing data is a must before taking the final conclusion. miles and huberman (sugiyono, 2010, p. 91) suggested that the analysis of qualitative data is done interactively and continuously until it has been completed, so the data is already surfeited. the activities in data analysis are data reduction, data display, and conclusion or verification. the data analysis activities according to miles and huberman can be explained as follows: data reduction the data reduction in this study was done and in progress since the determination of the principal issues, the problem statements, and the data collection techniques. the data that have been obtained are aesthetic values of form including the stage, lighting, setting, costume, make-up, founded – until the end of the show. the things to observe are the activities of the people involved in the show, the circumstances around the venues, the state of the stage, the story presented, the role management, and the accompaniment. the observations were also carried out before, during, and after the show. it was done to the actors, spectators, musicians, art director, stage crew, wardrobe, properties, musical instruments, costumes, makeup, sounds, and language. interview some interviews were conducted with people involved in the show; they are the group leader, actors, spectators, musicians, art director, stage crew, wardrobe, and the host. the interview with the group leader is to obtain information about the history of kethoprak, organization scheme, and the schedules of the show. the information about the level of difficulty and the players’ satisfaction were obtained from the interviews with mr. judek prakoso. the interview with mr. sarmin resulted the information about songs and the blend of traditional and modern music. the information on role management in the shows could be obtained from mr. diyan karyono. the interview with mr. man resulted the information about the stage parts. the information about costumes and the treatment was obtained from mr. karnoto, while the information about the reasons behind prefering mahesa jenar series alap-alap jentik manis to perform was from mr. dapur. documentation the use of this technique is to obtain data in the form of video, photographs of the activities, and other information required in this research. technique of data validity a data validity technique is a way to measure the validity of the acquired data. this technique is carried out from the informants through interviews about the research objects. this is intended to get the pujiati, aesthetic value of wahyu manggolo’s kethoprak performance presenting ... 51 properties, accompaniment, sounds, sound and language. the story includes themes, titles, setting, plot, character, act, scene, dialogue, and blocking. the perpetrators and connoisseurs include an art director, actors, stage crew, and the audience. the last is the content that includes messages and ideas. all data were collected through observation, interview, and further documentation, then selected and examined to come to the conclusion and verification. data display the data display is done after the reduction and the classification of the various data of aesthetic values so as to be presented in the form of description. conclusion/verification a conclusion and/or verification is done after data reduction or focusing on related things to support the data, and data display in description; then, drawing conclusions is done in accordance with the existing theory. the aesthetic values of conclusion in the study are relevant to the theory used. however, the data found are sometimes totally different from the existing theory. result and discussion history of kethoprak “wahyu manggolo” kethoprak wahyu manggolo was founded by mogol on march 14, 2007. the word wahyu manggolo has the meaning senopati who gets revelation or guidance from god. the name “wahyu manggolo” means to remain tough and strong in the competition, but still under the guidance from god. mr. mogol said that he got the term ‘wahyu’, after being inspired from the glorious koran, which means the people involved in this group will get fortune in life, whereas manggolo is taken from the name of a senopati, and also having the root name of mogol. aesthetic value of wahyu manggolo’s kethoprak performance presenting mahesa jenar series alap-alap jentik manis aesthetic elements of the play mahesa jenar series alap-alap jentik manis can be seen from the shape of the stage layout, lighting, backdrop, wardrobe, makeup, clear sounds, accompaniment, and sounds created. other important things that affect the aesthetic values in wahyu manggolo’s kethoprak performance are their totality and readiness in preparing all art needs in the performances. the perpetrators are the art activator that is directly related to the aesthetic value of performances that will be achieved. the show is considered perfect if the audience can understand the story; moreover, be able to receive the messages and the positive ideas of the story. however, when the audience feels excited and entertained with performances without knowing the meaning of the story, then the show was still deemed a success. the main purpose of performing arts is actually to provide entertainment to the audience. aesthetic elements of form forming elements of aesthetic value in wahyu manggolo’s kethoprak performance include the stage, lighting, backdrop, property, makeup, wardrobe, accompaniment, sounds, and sound system. the proscenium stage eases the audience to see the object clearly as if it was in the frame. the 6x9 meter-sized stage is very simple and has four wings on the right and left sides, that uses a particular concept, the fabric cover or drape, and a ten-painting backdrop. the first and second front side wings are painted to resemble the arrangement of bricks. the third and fourth back wings are painted to resemble a jungle. most of the paintings on the stage resemble the arrangement of bricks, with the accessories of a statue image for the front part of the frame, and the top of the front stage is painted to resemble the top of the temple. the lighting is used during the scenes of tidar mount at the house of simo lodro panutan and sulastri, at sumasih’s house, at the house of simo lodro panutan’s old wife, and in the scene of mban in the sendang, at samparan’s house, and at wirosobo’s house. the red and harmonia : journal of arts research and education 15 (1) (2015): 46-5552 green lightings are shot from the right and left sides to give the effect of color on the object, even though it is simple, but the effect can increase the atmosphere life. the backlight is the blue sea, which is only rarely used for the scenes of srimpen and war. the backdrops used are rumah keraton (the royal palace), alas bolong, and alas buntu, while the property used is the regular stage property. they are stairs, the patih chair, the king chair, and the decoration board resembling a stone. this performance sometimes presents the properties of animal; they are two tigers, snakes, dogs, and pigs. the property used in war is swords, daggers, spears, keris, and axes. the wardrobe of the performance is a fashion for villagers and self-designed ones since most of the scenes take place in the countryside where the highest social status in the story is a demang as the highest leader in the village. kethoprak players’ dressing in the play is divided into two for the protagonist and antagonist actors. the dressings for the whole figures are almost the same. male players’ dressing is characterized dashing and handsome, while the antagonist players usually use a thick moustache, beard, thick eyeliner, and thick red blush on. woman players both for the protagonist and antagonist have the same pretty dressing, while the differences of both casts are in tone and their wardrobe. sounds are the sound effects created to give emphasis and impression on some certain scenes. the sound effects are produced from a keprak, drums, a pentasan, animal-like human voices, and a keyboard to produce the effect of wind breeze, birds, and water. sounds used are customized with the scenes. the musicians and the music operator should see the condition that occurs on the stage so that they will give the right effect. the sound operator in kethoprak performances teams up with the owner of a sound system around the place of performance. a sound system can also be ordered from the host or the crew; it depends on the agreement between them. a microphone is used as the loudspeaker which is hung above the stage aligned with the lights. all the microphones are well arranged in order to be easy and ready to use; just put it above the stage, and then it is briefly connected with a mixer. the microphone on the stage are particular to use during the performance. it may slightly be closer to the players so that the dialogue among the players could be heard clearly. elements of aesthetic value the play of mahesa jenar series alapalap jentik manis tells about the disappearance of a girl named jentik manis who was kidnapped by ki samparan under the order of his brother watu gunung as he actually fell in love with jentik manis. hearing that ki samparan had already kidnapped his daughter from the nannies (mban), the father of jentik manis, ki asem gede, soon sought his daughter to the residence of watu gunung along with mahesa jenar and ki dalang mantingan. mahesa jenar, whose real name was tumenggung ronggo toh joyo from demak, could kill watu gunung and saved jentik manis to be returned to her father, ki asem gede. meanwhile, mahesa jenar also had another mission to look for the stolen heirlooms kyai nogososro and sabuk inten. after being conquered, ki samparan then became the court servant of mahesa jenar and ki dalang mantingan. the husband of jentik manis, wirosobo, envied mahesa jenar, who had saved his wife. wirosobo was the man who could not walk. he would accept his wife back when he could take her directly from ki samparan. knowing wirosobo’s jealousy to mahesa jenar, eventually ki samparan got an initiative to challenge wirosobo, and finally he died in the hands of wirosobo. wirosobo received his wife back afterwards. the play of mahesa jenar series alapalap jentik manis has 13 acts. each lasts at least 15 minutes, but specifically the scene of dagelan (slapstick) and mban (nanny) takes longer duration about 45 minutes. there are three to five scenes in one round and one scene has a duration of five pujiati, aesthetic value of wahyu manggolo’s kethoprak performance presenting ... 53 minutes. there are 64 scenes in the play of mahesa jenar series alap-alap jentik manis. the moods in the play are romantic, gripping, tense, sorrowful, upset, heartbreaking, frightening, panicky, intimate, formal, and funny. the figures and characters in the play are sinom lodro anom panutan, sulastri, gendon, sekayu, sumarsih, wilis, jentik manis, ki demang penanggalan, garwa, baurekso, gagak ijo, dalang mantingan, mahesa jenar, wiro, ki asem gede, samparan, watu gunung, and wirosobo. the characters in the story are the protagonists and antagonists. the dialog uses javanese language, from the levels of unggah ungguh, like ngoko lugu, ngoko alus, krama alus, to the highest level krama inggil. ngoko lugu is used in the story that deals with the villagers, soldier, dagelan (slapstick), and mban (nannies). the level of ngoko alus is used by the husband to his wife and the king to the queen. the level of krama alus and krama inggil is used from the younger to the older, to the stranger one, and at the scenes based on the title and the social status in the story. the middle blocking deems more profitable and stronger as the audience can see clearly and focus. it is closer to the microphone so the players should not use loud volume in dialogue. other blockings are rarely used because it is considered less strategic and less profitable. players and connoisseurs in the show an art director is the person who sets up the course of the story in kethoprak. this kethoprak group has two art directors; they are mr. diyan karyono and mr. judek prakoso. a player is an artist who has the role of a character in kethoprak. the players also have their own fans from some areas. the permanent players are 38 people comprising 25 men and 13 women. there are 25 male players, comprising eight main players, 14 soldiers, and three men in dagelan. there are 13 female players, four main players and nine women as mban. the crew is a person to provide any things for staging. this group has 22 crew people, consisting of ten stage crew, seven property crew, and five wardrobe crew. the satisfaction of the audience is a benchmark of the success of the show. the audience is the people who can judge whether the show is good or not. they reserve the right to pass judgement in accordance with their points of view. the audience tends to see the show simply to gain entertainment because the show in the village is rare. the main attraction for the people to come is in the dagelan and mban, even though they sometimes come for the good story. content of the play the messages delivered from the performance are on the players’ responsibility and loyalty to the duties and obligations they own in accordance with the level of social status. the story of the play indicates a mutual cooperation among society, as a part of life aspects, which is shown when mahesa jenar helped ki asem gede to free his daughter, jentik manis. the idea or conclusion from the audience after watching the play is that it is a great story, and makes the audience be touched and enjoy the show. characteristics of kethoprak “wahyu manggolo” the scene interlude of mban and dagelan (slapstick) is one of the characteristics of this group’s performance. it is different from other kethoprak groups’ performances. mban is characterized to dance with various motions and floor patterns. those motions and floor patterns are very nice in accordance with the rhythm of the song. in addition, the whole nannies (mban) have power and passion in their motions to look same, cohesive, and clean. the direction of floor pattern is also same. the voice of mban is pretty good like a wedding campursari singer. the selection of songs considers the recent interest in music. mban always sings requested songs so as to make the audience satisfied and not boring. the audience does not feel bored as they have certainly harmonia : journal of arts research and education 15 (1) (2015): 46-5554 known the songs so that they are able to sing together. it makes wahyu manggolo’s kethoprak performance always in great demand. there are three persons involved in the dagelan group, they are sugiyanto, otherwise called sendor, eko santoso or gendon, and sarjimin or mogol. what makes the dagelan very interesting is in its creativity with various concepts, a good presentation with a humorous expression, delivering messages in each performance, and still retaining the etiquette. this dagelan group always presents good funny dynamic comedies that always make the audience laugh. an atmosphere of intimacy is built to entertain the audience. innovations and improvements have always been done to avoid monotony. the innovations in forms, stories, and the players’ quality are aimed to add the quality of the show. another innovation in the stage property and accessories is different from other groups. the innovation also occurs in the accompaniment which the well combination between modern accompaniments and the balungan instruments in gamelan makes it good and harmonious to be heard. the musicians are always ready to carry out modern music quickly to open and to accompany every new song to meet the demand of the audience. the hospitality of the players can be seen on almost all sessions toward the host of the event and the community around, so that people feel cared, valued, and respected. their hospitality will be an extra point which distinguishes this kethoprak group from others. the good impression from society makes it more favored and can always be an option. aesthetic value forming wahyu manggolo’s kethoprak performance presenting mahesa jenar series “alap-alap jentik manis” an aesthetic value forming in wahyu manggolo’s kethoprak performance was the unity of form elements of the story, the perpetrator, the connoisseurs, and the contents to carry toward the audience. the complexity of the play shown in an appropriate scene composition and the selection of players matching for the character makes an impression that this performance has the dynamics. the lighting really supports and blends with the atmosphere. the image backdrop is impressing with its composition of living colors. moreover, other strengths could be seen from the complexity of the shape of the stage with accessories and decoration, a nice blend of fashion and makeup colors in relevance to the characters, an interesting property with nice colors, setting, and proper use, a composition of the accompaniment matching with the moods, and the sounds that give impression and put emphasis on the scenes. the intensity of the players and audience can be seen from their enthusiasm in taking roles in the show. both of them aware of doing their duties and responsibilities in their appropriate portions without grumbling and complaining. the players do their best to create a nice and entertaining performance toward the audience. the determinant to the rural-themed aesthetic reproduction, the time, and place of the events in each round can be clearly seen through the property and backdrop on the stage, while the protagonist and the antagonist characters can be seen through the players’ tone and volume of dialogue, as well as their blocking in the middle of the stage, as the strongest point at the stage. the characters, themes, scenes, and dialogue are the determinants of aesthetic value forming in kethoprak performance. a means of recording the emotional level is seen from every motion the players carry out during the dialog that represents the emotions of the characters. the depiction of emotional levels is clearly seen from the atmosphere at each scene, how the actor deepens his character, how he talks especially in his tone, and the right makeup. while the depiction of physical representations in the play presenting mahesa jenar series alap-alap jentik manis occurs when gagak ijo and baurekso are unconscious after a fight with mahesa jenar, and also the death of watu gunung pujiati, aesthetic value of wahyu manggolo’s kethoprak performance presenting ... 55 and samparan. conclusion an aesthetic value in wahyu manggolo’s kethoprak performance consists of five elements; they are form, story, actors, content, and characteristics. the aesthetic elements of form are related to the technical elements of the show, the story associated with the presentation to the audience and the players involved in the show, and the content, including an implied message, while the characteristics show the strengths of this group’s performance mainly in its scene interlude, innovation, and hospitality. an aesthetic value forming in wahyu manggolo’s kethoprak performance presenting mahesa jenar series alap-alap jentik manis is a good and harmonious combination of the unity of elements, complexity, intensity, determinant, consequent (emotional level recording), moods, depictions of emotional levels and temperaments, and portrayal of involuntary. reference haryono, s. (2010). kajian pragmatik seni pertunjukan opera jawa. surakarta: isi press solo. herawati, n. (2009). kesenian tradisional jawa. klaten: macanan jaya cemerlang. herawati, n. & wibisana, b. (2010). teater rakyat jawa. klaten: ntan pariwira. hendrizal. (2013). studi analisis: nilainilai estetika lokal dalam musik gamat. ekspresi seni, 15(1), 34-42. koentjaraningrat. (1993). kebudayaan mentalitas dan pembangunan. jakarta: pt gramedia pustaka utama. kutha ratna. (2007). estetika sastra dan budaya. yogyakarta: oustaka pelajar lanjari, r. (2007). kethoprak humor: kajian kerja sama dalam dialog antarpemain dalam membentuk cerita ketoprak gobyok h.m. syakirun lakon “jaka kendhil”. harmonia: journal of arts research and education. 8(2), 123-133. lisbijanto, herry. (2013). ketoprak. yogyakarta: graha ilmu. m. jazuli. (2008). pendidikan seni budaya suplemen pembelajaran seni tari. semarang: unnes press. moleong, l. j. (2011). metodologi penelitian kualitatif. bandung: remaja rosdakarya. murgiyanto, sal. (2002). kritik tari bekal & kemampuan dasar. jakarta: mspi. randyo, m. 2009. peran semar dalam pertunjukan wayang kulit purwa gaya surakarta. semarang. harmonia jurnal pengetahuan dan pemikiran seni. 9(2), 112-120. randiyo. (2011). makna simbolis lakon kangsa adu jago dalam pertunjukan wayang kulit purwo. harmonia: journal or arts research and education. 11(1), 67-74. subandi. (2010). filsafat umum. surakarta: tinggi institut seni indonesia (isi) surakarta. sudarsono. (2012). garap lakon kresna dhuta dalam pertunjukan wayang kulit purwa gaya surakarta: kajian tekstual simbolis. harmonia: journal of arts research and education, 12(1), 75-86. sugiono. (2010). metode penelitian pendidikan pendekatan kuantitatif, kualitatif. bandung: alfabeta sumaryanto, f.t. (2007). pendekatan kuantitatif dan kualitatif dalam penelitian pendidikan seni. semarang: jurusan sendratasik fakultas bahasa dan seni universitas negeri semarang widagdho, djoko. (2004). ilmu budaya dasar. jakarta: ilmu budaya dasar. 1 rijoq: vocal music of dayak benuaq from kutai, east kalimantan ester* agastya rama listya** *satya wacana christian university of salatiga, indonesia e-mail: ester_syg@yahoo.co.id **satya wacana christian university of salatiga, indonesia e-mail: agastya123@yahoo.com received: june 2013. accepted: februari 2014. published: maret 2014 abstract rijoq, a dayak benuaq vocal music, has been passed down from generation to generation through oral tradition for hundreds of years. when and how it was founded, developed and preserved in the dayak community remains questionable. but according to some research done by scholars, rijoq has its origin from dayak bawo, a tribe living in the borderlines between central, south, and east kalimantan. rijoq is normally performed during festivities, such as: initiation, reconciliation, menugal (rice planting) and potong kerbau (buffalo slaughtering). rijoq’s texts have very deep messages which are considered still relevant to today’s life context. on the one hand, it speaks about the horizontal relationship—human beings and their fellows, and human beings and its nature—; and on the other hand, the vertical relationship—human beings with their creator. the primary concern of doing this research is to preserve rijoq as written and recorded documents. so far, this research has been successful in notating and recording five kinds of rijoq, that is peket muat bolupm (working together to build lives), rijoq patuk ajer (advice), rijoq natal tautn bayuq (christmas and new year), rijoq isiq asekng sookng bawe (the expression of a man’s feeling who is falling in love with a woman), and rijoq lati tana orekng tepa (forests and lands are disappearing and gone). but this paper is not intended to discuss these five kinds of rijoq. isiq asekng sookng bawe is chosen as it is the oldest and the most difficult rijoq among the rest. © 2014 sendratasik fbs unnes keywords: rijoq; dayak benuaq; bekeleeu harmonia : journal of arts research and education 14 (1) (2014): 1-7 available online at http://journal.unnes.ac.id/nju/index.php/harmonia permalink/doi http://dx.doi.org/10.15294/harmonia.v14i1.2784 p-issn 1411-5115 e-issn 2355-3820 by some physical similarities. ahmad yunus concludes that dayak banuaq originated from the borderlines between central sulawesi and serawak, malaysia (yunus, 1992, p. 31). the ahmad yunus’ conclusion is supported by some similarities found in these two areas, particularly tools used for cultivating the field, battling, hunting the animals, burying the dead bodies, and worshiping the souls of their ancestors. in their original place, dayak benuaq was formerly called “luangan”. due to geographical situation and the pressure introduction in general all dayak tribes were the descendants of chinese immigrants that emigrated from yunnan in south china (commans, 1987, p. 3-4). no wonder that some names such as apui, bi lung and kun dung ga which are very common in south china also used as dayak’s names in east kalimantan (soemargono et. al, 1992, p. 12). some scholars believe that dayak benuaq was a mixture between malay, wedoide and mongoloide, and characterized harmonia : journal of arts research and education 14 (1) (2014): 1-72 brought by an iban tribe from the northern area, dayak benuaq has been forced to move to east kalimantan.in their new home place, they called themselves “benuaq”, which possibly came from the word “benuaqkn”, a name of their new place. according to their belief, benuaq is associated with ningkah or nyingkah oloo, a figure of demigod (dyson, 2008, p. 16-17). the descendants of nyingkah oloo spread from the riverside (close to samarinda, south kalimantan) to the upper course of mahakam, a place known as gunung lipan (centipede mountain). on this mountain, nyingkah oloo built his home, a place where many poisonous centipedes were living (dyson, 2008, p. 19-20). nyingkah oloo was married to a bugis woman, named dayaang beliaant. however the name of tenggarong as the capital of kutai palace did not come from the bugis words “tangga arung” (king’s ladder), but from “wakaai engkaruukng” (benuaq words meaning wooden root that is frequently used for a fireplace when the people are working together to build their new city). benuaq people call tenggarong with “tengkaruukng”. rijoq dayak benuaq sing their songs in the social and the religious events. the texts of these songs are written in the high literary language that only can be understood by the language experts. every singer who wants to master the texts and the songs used in the religious events should go through a ritual process. according to septianus b., dayak benuaq’s songs are divided into two, that is sacred and secular. the sacred pieces are in the form of magic formula or sung story that only can be performed during the religious rites. some kinds of secular pieces are: dodo (sung poetry or fairy tale), dequg (poetry or fairy tale similar to dodo but sung in the faster tempo), loak (songs used during the kampong thanksgiving ceremony), lengot (similar to loak but written in different rhythm and notation), and rijoq (a traditional poetry that is sung during special or wedding ceremonies). the history of rijoq none of the rijoq players know when rijoq was born, but they all are convinced that rijoq has been passed down from generation to generation for hundreds of years. f. setianus b., rijoq is truly convinced that rijoq was originated from dayak bawo living in the borderlines between central, south, and east kalimantan (now is known as north barito district). north barito once was known as a tribe with high cultures and so much influenced by hindu. this tribe is well known as the creator of noble literatures, such as metaphors, aphorism, fairy tales, and rijoq. according to the mythology, all joyful arts including rijoq have its origin in bekeleu ceremony. this ceremony began with the victory of tatau mukng batuqover the aput pererawetn village. after the battle, tatau mukng batuq got a serious illness although beliatn ceremony had been offered. one day, tatau mujaaq tuhaaq, batuq’s father, had a dream. in his dream, an old man with white hair telling him that batuq’s illness was a result of nayuq’s and tiger’s curse. the spirit of nayuq and the tiger got mad at tatau mukng batuq for not holding pesengkeet nayuq eremony as a thanksgiving over the victory he had achieved. this old man, then suggested batuq’s father to hold a bekeleeu ceremony to expel the evil spirits that were sent by nayuq and the tiger (madrah, 1997, p. 136). bekeleeu ceremony has marked the beginning of all joyful dayak arts, including rijoq. it has become a strong reason why performing rijoq during the times of sorrow will result in buhotn (struck down by death) (irwanto, 2010, p. 63). dayak benuaq has adopted a lot of dayak bawo literatures, e.g. rijoq and beliatn ceremony. it was possible because dayak benuaq did a lot of travels to other dayak kampongs. another reason is dayak benuaq lived side by side and intermixed with dayak bawo. ester & agastya rama listya, rijoq: vocal music of dayak benuaq from kutai, east ... 3 the functions of rijoq rijoq is usually performed during joyful ceremonies. it is first an amusement for the performers itself, particularly during menugal (sowing the rice seed), buffalo slaughtering, or when the women preparing the logistic for menugal (irwanto, 2010, p. 63), or when the women picked up doyo leaves for making ulap doyo (piece of cloth made of leave doyo fiber. the making process takes quite a long time because the fibres should be separated first from its leaves before drying and spun). later, rijoq is also sung during the initiation, such as: birth, marriage, expelling calamity (nalitn tautn) and peace ceremonies (nuaak mikaat lait). nalitn tautn is ceremony aims to expel the disaster caused by incest, so that the farmers may harvest rice. the lyrics and the forms of rijoq rijoq is a speech literature—a kind of literature that has been passed down from generation to generation through oral tradition, for instance, a traditional poetry— that is sung without any music accompaniment. therefore, a rijoq singer is required to be able to show his/hermusical ability. in this present day, rijoq is no longer an unaccompanied song, but it has been furnished with musical instruments such as: sapeq, guitar, drum set, synthesizer, sulking (a wooden flute that’s rarely found in the performances today). its verse comprises of two couplets with each line ends with a rhyme. its texts speak about the relationships between human beings and its creator, human beings with their fellows, and human beings with its nature. at the beginning rijoq was written in an archaic benuaq language, but later to adjust to the situation, rijoq’s texts use modern language. rijoq is sung by one singer or two alternates. rijoq has a unique ornament that usually placed on the syllables that are located at the beginning or in the middle, and never in the end of a song phrase. the main feature of rijoq is the absence of refrain. it has a lyrical melody, tempo which is relatively constant throughout the song, and quite a complicated rhythmic pattern. the skill of the singers will determine the complexities of its rijoq’s rhythmic pattern. in the other word, the more skilful the singer, the more complicated the rijoq’s rhythmic pattern will be. rijoq isiq asekng sookng bawe (the expression of a man who is falling in love with a woman) rijoq isiq asekng sookng bawe has three motives (figures 1, 2, and 3) and all texts are set in the strophic form. figure 1. rhythmic motive 1 rijoq isiq asekng sookng bawe figure 2. rhythmic motive 2 rijoq isiq asekng sookng bawe figure 3. rhythmic motive 3 rijoq isiq asekng sookng bawe rijoq isiq asekng sookng bawe is also decorated with some ornaments which in western notation similar to acciaccatura, trill, and slide (figure 4). isik asekng sookng bawe is considered as an old rijoq and demands high skills of its performers. this rijoq is performed without any accompaniment so singer’s creativity and musicality are required. figure 4. rijoq isiq asekng sookng bawe’s ornaments rijoq isiq asekng sookng bawe is a traditional poetry consisting of six stanzas. each stanza has six lines with the rhyme orders as follow: a – a – a and a – b – b. the harmonia : journal of arts research and education 14 (1) (2014): 1-74 sentence dodoi dinang ayoq sayang which does not have any meaning is added to complement the existing melody. its texts talk about the love between a man and a woman. this rijoq may be performed by male and female singers as a responsorial. the message of this rijoq: love relationship is a holy one and it is not merely about sexual relationship. every dayak person should understand the true meaning of love and should find his/her partner seriously. empit incatn mungih ori kakatn mungih manan langit akuq lilikng langit dodoi dinang ayo sayang langit akuq lilikng langit kami kemkepm mungih kami elokng mungih bungaq kami akuq kemkepm lei kami dodoi dinang ayoq sayang kami kemkepm lei kami empit incatn mungih ori oroq mungih manan langit kuq lilikng lei langit dodoi dinang ayoq sayang langit akuq lilikng langit kami kemkepm mungih kami ituq mungih bungaq kami akuq kemkepm lei kami dodoi dinang ayoq sayang kami akuq kemkepm kami empit incatn mungih lewekng epuq mungih manan langit akuq lilikng langit dodoi dinang ayoq sayang langit akuq lilikng lei langit asekng kemkepm mungih asekng elokng mungih bungaq kami asekng akuq kemkepm lei asekng dodoi dinang ayoq sayang asekng empit incatn mungih lewekng oroq mungih manan langit akuq lilikng lei langit dodoi dinang ayoq sayang langit akuq lilikng langit asekng kemkepm mungih asekng elokng mungih bungaq kami asekng akuq kemkepm lei asekng dodoi dinang ayoq sayang asekng ayo butuq mungih umaq amen mungin bungaq konaq akug masengkonaq dodoi dinang ayoq sayang konaq akuq masengkonaq ruku bere mungih ruku ayoq mungih alukng ruku akuq bere lei ruku dodoi dinang ayoq sayang akuq bere lei ruku ayo botuq mungih suru aweq lekaq nyalaq akuq nentakng lei nyalaq dodoi dinang ayoq sayang nyalaq akuq nentakng lei nyalaq ruku bere mungih ruku uhatn mungih olukng ruku akuq bere lei ruku dodoi dinang ayoq sayang ruku akuq bere ruku meaning: a sparrow perches on a house post i wish to wander around the sky i wish to wander around the sky holding hands together to find the flowers to hold on to find a girl to marry a sparrow perches on a house post to walk far away circling around the sky to walk far away to all destinations holding hands together that is the flower to hold on this is the girl that is ready to marry a sparrow perches on a rice winnow have travelled circling around the sky have travelled to all destinations sweetheart to find the flower sweetheart to find a girl, my heart desire a sparrow perches on a rice winnow to walk far away circling around the sky to walk far away to all ester & agastya rama listya, rijoq: vocal music of dayak benuaq from kutai, east ... 5 ventories and to preserve rijoq as a completed written document. references commans, m. (1987). manusia dayak dahulu, sekarang, masa depan. jakarta: pt gramedia. dyson, p.l. (2008). sejarah sendawar 2. surabaya: airlangga university press. irwanto. (2010). kesenian rijoq: fungsi dan keberadaannya. thesis. surakarta: master’s degree at postgraduate program at institut seni indonesia surakarta. soemargono, k. et al. (1992). profil propinsi republik indonesia-kalimantan timur. jakarta: yayasan bhakti wawasan nusantara. madrah, t.d. (1997). tempuutn: mitos dayak benuaq dan tujung. jakarta: puspa swara. yunus, a. (1992). upacara tradisional (upacara kematian) daerah kalimantan timur. jakarta: depdikbud. interviews: interview with f. setianus b. on june 25, 2009. interview with f. setianus b. on august 8, 2011. destinations sweetheart to find the flower, sweetheart this is the girl, my heart desire sweet potatoes in the field if the flower agrees if the flower does not mind to meet could we meet directly? let us make a promise to meet sweet potatoes in the field that has been burned there is nothing wrong there is no need to feel shy and guilty to meet we are about to meet we will meet immediately conclusion the deep moral message of rijoq’s texts is still considered relevant to today’s context. rijoq isiq asekng sookng bawe is just an obvious example of how a hundred-year text could bring a strong message to today’s people who are ignoring the holiness of love. this research is just a beginning indeed. many remain hidden and covered. hopefully, this research will stimulate other researches which try to inharmonia : journal of arts research and education 14 (1) (2014): 1-76 : appendix rijoq isiq asekng sookng bawe ester & agastya rama listya, rijoq: vocal music of dayak benuaq from kutai, east ... 7 301 art discourse in modern fine arts in surabaya: an analytical historical research djuli djatiprambudi1, muchammad bayu tejo sampurno2 1universitas negeri surabaya, indonesia 2universiti pendidikan sultan idris, malaysia submitted: 2023-07-28. revised: 2023-09-20. accepted: 2023-11-04 abstract this research aims to understand the art discourse that is the foundation for developing modern fine arts in surabaya. art discourse represents the fundamental ideas behind the creation of artworks, which are developed and dialectically discussed within the context of the art ecosystem in surabaya. the research design is based on an analytical, historical research method with a sociohistorical approach. the findings reveal the existence of continuity and change in art discourse from the aksera generation (academy of fine arts surabaya) in the 1970s to the post-aksera generations, namely the 1980s and 1990s generations. three bases of art discourse emerged as the core expressions of aesthetics in modern fine arts in surabaya during the 1970s to 1990s: 1. the discourse of nationalism (identity) underlies the art discourse of the aksera generation; 2. the discourse of the market (commodification of art) becomes the main concern of the 1980s generation; 3. the social-political discourse serves as the platform for the art discourse of the 1990s generation. these three discourses demonstrate similarities and differences within the context of art discourse that evolved in modern fine arts in indonesia. keywords: art discourse; modern fine arts; nationalism discourse; market discourse; socialpolitical discourse how to cite: djatiprambudi, d., & sampurno, m. b. t. (2023). art discourse in modern fine arts in surabaya: an analytical historical research. harmonia: journal of arts research and education, 23(2), 301-317 harmonia: journal of arts research and education 23 (2) (2023), 301-317 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.46302 for instance, holt (1967), sudarmaji (1974), yuliman (1976), kusnadi et al. (1979), kusuma atmadja et al. (1990), wright (1994), supangkat (1997), miklouho-maklai (1998 ), and spanjaard (1998). these studies have not provided specific and adequate explanations regarding modern fine arts outside jakarta, bandung, yogyakarta, and bali. however, it is crucial not to interpret this trend as implying that modern fine arts solely flourish in these four regions or exclusively represent the development centers for modern fine arts in indonesia. instead, this phenomenon indicates that introduction the study of modern fine arts in indonesia until the present has been predominantly focused on jakarta, bandung, yogyakarta, and bali, which are considered the primary objects of research. these regions are recognized as indonesia’s development centers for modern fine arts. conversely, other areas such as medan, padang, manado, semarang, solo, and surabaya have yet to receive substantial attention as primary study subjects. numerous studies have exhibited this tendency; corresponding author: e-mail: djulidjatiprambudi@unesa.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (2) (2023): 301-317302 the emergence and interpretation of modern art in a particular region are closely related to the social-historical context and the growth of artistic infrastructure (trafiprats, 2010). sociologically, the foundations for developing modern fine arts are situated in urban areas. this association is linked to the modern infrastructure and superstructure that collaboratively form the art world or art ecosystem, predominantly thriving and evolving in major cities (becker, 1982, p.310). in the context of modern and contemporary fine arts, the components of the art world include artists, art dealers, collectors, critics, art historians, art journal editors, museum directors, gallery owners, and curators (sandler, 1996, p.214). furthermore, modern fine arts emerged alongside the growth of capitalist society and culture centered in major cities as hubs for political, governmental, economic, educational, and trade activities (chua, 2011; romain, 2016). meanwhile, in the context of interpreting art discourse in a particular region, the components of the art world are typically examined based on their growth and roles in facilitating the emergence of art discourse (codell, 2018; romain, 2016; taylor & zitzewitz, 2018). this analysis focuses on how discourse evolves and changes in a specific area, with the functional relationship between the components of the art world seen as a critical factor in shaping the discourse. suppose a region is dominant as a producer of discourse. in that case, it becomes the primary source of study in the field of fine arts and, consequently, in the writing of art history (historiography). this helps to explain why the spatial historiography of modern fine arts in indonesia primarily revolves around jakarta, bandung, yogyakarta, and bali. however, the issue with such a historiographic model is that it tends to be too macroscopic (antoinette, 2020; antoinette & maravillas, 2020). in essence, the historiography of modern fine arts in indonesia focuses mainly on general tendencies occurring in these four regions. however, if the historiography is deconstructed and developed within the context of different regions, other variations of modern art in indonesia may likely be discovered. this is because, from a socio-historical perspective, each study area possesses unique cultural characteristics, intellectual bases, and differing conditions of the components of the art world (chountasi et al., 2021)a field of contemporary art which still remains non-contextualized in a particular sociopolitical environment by art theoreticians in greece. the present study explores the concept of newness in new media arts and provides an overview and a critical reflection on the role of the non-profit and non-governmental organizations (npos/ ngos. therefore, there is a need for research that analyzes discourse and changes in a specific region from a micro perspective, aiming to provide a comprehensive overview of the development of modern fine arts in that area. surabaya, as one of the entities of modernity in indonesia, has historically demonstrated the growth of modern fine arts (djatiprambudi, 2009, 2019). this development is in tandem with the growth of the city of surabaya, which, since the colonial era, was designed as a trading and industrial city and a governmental center after batavia (jones, 2018). surabaya became a hub for asserting direct authority in the eastern indonesian region. based on these grounds, the development of modern fine arts in surabaya from the aksera period to the emergence of alternative art forms reflects continuity and changes based on the evolving discourse during each period. these discourses serve as sources of ideas, subsequently elaborated in the practice of fine arts in surabaya. in connection with the above exposition, this research focuses on the art discourse within modern fine arts in surabaya, from establishing aksera until the emergence of alternative art forms. the changes in discourse will be comprehensively analyzed, encompassing historical backgrounds, socio-cultural contexts, and aesthetic expressions during each decade djuli djatiprambudi et al., art discourse in modern fine arts in surabaya: an analytical 303 (the 1970s to 1990s). this study will address the following research questions: (1) what are the socialhistorical backgrounds of the emergence of modern fine arts in surabaya?; (2) how does the art discourse within modern fine arts in surabaya from the 1970s to the 1990s relate to the discourses of identity, market, and social politics?; (3) how does this discourse influence the creative process and aesthetic expression of surabaya painters during the 1970s to 1990s? the temporal scope of this research, in the context of the chronology of the development of modern fine arts in surabaya, is focused on the 1970s to the 1990s. the spatial limitation of this study is surabaya itself, emphasizing the significance of historiographical studies within local contexts to enrich the understanding of the development of modern fine arts in indonesia. this consideration is based on the development of art discourse in modern fine arts in surabaya exhibits unique and distinctive continuity and changes within the context of modern fine arts in indonesia. method this research is designed as an analytical, historical study (carretero et al., 2017). according to kartodirdjo (2016), analytical history aims to explain the complex structure of phenomena from various dimensions. therefore, it requires a set of theories drawn from social sciences and operationalized within the research concepts. this approach allows for a historical explanation that not only considers the chronological development over time or periods but also proportional attention to social, cultural, economic, and political factors to sharpen the analysis of the multilayered development of fine arts. kartodirdjo (2016) and burke (2003) introduced the paradigm of historical research utilizing social sciences. according to kuntowijoyo (1994, pp.33-39, 1995, p.107), history and social sciences have a reciprocal relationship, benefiting from each other. as burhan (burhan, 2003, p.19) suggests, this paradigm has gradually been adopted in the research of fine arts history, which previously focused more on aesthetic tendencies that shaped styles within periods or the uniqueness of personal styles. john house, as quoted by burhan (2003, p.19), asserts that art studies take on social significance after directing their attention to the institutional context of society. consequently, from a social perspective, the development of modern fine arts can be explained in multiple layers based on the surrounding social factors (wolff, 1983). this research utilizes social theories, such as the theory of hegemony, social change theory, and capitalism theory (agger, 2003; berger, 1990; craib, 1984; patria & arief, 1999; sampurno, 2023). these theories are employed to explain the active social variables that correlate with the phenomena of modern fine arts in surabaya. the research adopts a sociohistorical approach (fernie, 1995; hauser, 1985), aiming to observe fine art phenomena through their encompassing social dimensions. sources of discourse: nationalism sources of discourse : capitalism sources of discourse : modernism socialpolitical discourse market discourse identity discourse post aksera generation 1990 post aksera generation 1980 aksera generation 1970 artwork style form content artwork style form content artwork style form content analysis social historical aesthetics -semiotics analysis life history analysis discourse analysis modern fine arts in surabaya figure 1. model of analysis artworks in this context are viewed as symbolic expressions of society, while society provides the social environment that enables the creation and support of harmonia: journal of arts research and education 23 (2) (2023): 301-317304 art. the analytical, historical research method with a social-historical approach is depicted as follows (figure 1). result and discussion modern fine arts in surabaya according to lombard (2008b, 2008a), surabaya was designed as an entry point for westernization alongside batavia (jakarta) within the context of modernity in indonesia. from 1923 to 1935, modern cultural activities flourished in surabaya, including modern fine arts. under the leadership of the painter maskan, an art community called perkumpulan seni raden saleh (raden saleh art association) was established. some active artists then were soepardi, pik gan, slamet, and djojowisastra (isbandi, 1975). this was followed by the presence of a dutch artist, gerald p. adolfs, who settled in surabaya and worked on his art almost throughout the 1940s. his artistic activities and style influenced several artists in surabaya, such as karjono, kasenda, and kentarjo. adolf’s painting style had a strong impact, particularly on the painter koempoel, who had received direct instruction from adolfs (dermawan t, 1994). as a modern city in the 1950s, surabaya attracted many artists from various regions in indonesia and abroad to showcase their works. pik gan art gallery emerged as an important venue for art exhibitions during that decade. the gallery was owned by a chinese descendant antique trader who had settled in surabaya for a long time. besides being an exhibition space, it also housed a collection of modern european paintings, classical chinese paintings, and various artworks from surabaya and other cities. additionally, there was a group of artists under the name keluarga prabangkara (prabangkara family, 1950-1957), founded by artists karyono js., bandarkoem, and wiwiek hidayat, and later, sanggar angin (wind studio) was established in 1957. the latter group consisted of young painters at the time, such as tedja suminar, daryono, o.h. supono, and krishna mustajab, among others. subsequently, in 1961, the kegiatan kebudayaan indonesia (kki) (indonesian cultural activities) was formed, with several artists actively participating, including tedja suminar, boedi sr, ipe ma’roef, and hardjono. in 1966, kelompok (the group) was formed, consisting mostly of artists who had previously been part of other artistic collectives (isbandi, 1975). however, these successive groups of artists were sporadic or temporal, focusing mainly on organizing exhibitions rather than being ideologically-based movements that could create a distinctive artistic trend. as a result, their historical impact could have been clearer. none of these groups left a lasting impression as a major artistic movement with a particular style. following the establishment of pik gan art gallery, collectors from various professions began to emerge, and their contributions played a significant role in promoting the growth of modern fine arts in surabaya. these collectors included figures such as usman naban (an arab descendant book trader), soedarmadi (a professor of dentistry at airlangga university), soenarjo umar sidik (a civil servant in surabaya), sani (a fabric merchant), pik gan (the gallery owner), and sampan (a garden supplies trader). particularly, the role of sunaryo umar sidik, a prestigious collector, served as a patron. he collected works by surabaya artists and acquired paintings by prominent artists such as affandi, hendra gunawan, s. sudjojono, and basoeki abdullah. sunaryo umar sidik’s extensive collection covered various styles representing the works of modern indonesian artists, making it a point of reference for other collectors and artists. based on these facts, the social art scene for modern fine arts in surabaya began to take shape before the 1970s. this phenomenon was influenced by the discourse of nationalistic fine arts, a sequence of the art discourse that formed the platform of the persatuan ahli gambar indonesia (persagi) (the association of indonesian drawing experts). additionally, art djuli djatiprambudi et al., art discourse in modern fine arts in surabaya: an analytical 305 discourse affiliated with politics, influenced by the debates between the manikebu and lekra groups in the 1950s and 1960s, also played a central role in shaping the art discourse. the works of surabaya artists during this period represented a tendency to explore local cultural values and the spirit of populist nationalism as sources of inspiration to explore national aspirations or national identity (burhan, 2008, 2013; spanjaard, 2018). art discourse of the aksera generation the debate on nationalism in modern fine arts in surabaya continued until the 1970s. nationalism was understood as a search for identity in fine arts, not in the context of the nation’s struggle against colonialism. this shift in understanding was influenced by sudjojono’s statements concerning fine art with a national identity. during the transition from the old order regime to the new order regime in the late 1960s, the debate on nationalism and identity remained strong due to sharp political frictions, reflected in differing views among communist, religious, nationalist, and socialist groups. these frictions affected the diverse views on art ideology, forming the basis of art discourse. as a result, nationalism was perceived as an ideology capable of reconciling these different perspectives (resobowo, 2004; spanjaard, 2018). against the 1950s-1960s political backdrop, the surabaya academy of fine arts (aksera) was established in 1967. aksera was founded by a group of surabaya artists who did not have sharply contrasting artistic ideologies. among them were gatot kusumo, amang rahman, m. daryono, m. ruslan, and krishna mustajab. they viewed art as a universal form of expression without burdening it with political context, although the discourse of national identity served as the primary platform for their artistic pursuits. sociologically, aksera emerged from a culture of camaraderie, making it egalitarian. this allowed aksera to be managed and developed with a free, bold, fearless character without a senior-junior dichotomy. its teaching activities resembled those of an art studio. although a curriculum was present, other supporting elements were absent. the subjects taught included philosophy of art, sociology of art, psychology of art, art criticism, history of fine arts, knowledge of tools and materials, fine arts (painting and sculpture), advertising, and decoration. philosophy of art was initially taught to students to shape their perspectives and sharpen their artistic vision. thus, aksera aimed to nurture artists with strong characters and a distinct sense of self. however, aksera could not maintain its reputation as an art education institution with an egalitarian studio model. with the establishment of the dewan kesenian surabaya (surabaya arts council) as a result of a convention of surabaya artists and later ratified by the mayor of surabaya through decree no. 678/k on december 6, 1971, aksera gradually faded away as an institution. aksera only educated six cohorts of students from 1967 to 1972. nevertheless, it successfully created a myth of artistic prowess that continues to influence surabaya’s modern fine arts scene. several of its alums dominated the practice of modern fine arts in surabaya, particularly during the 1970s and 1980s. some of them, such as makhfoed, dwijo sukatmo, nunung ws., nuzurlis koto, and serudi sera, achieved phenomenal recognition nationally (djatiprambudi, 2009). one influential lecturer at aksera was gatot kusumo (known as a figure of the indonesian socialist party, a cultural scholar, and a film director), who taught the philosophy of art and successfully shaped the character and work ethic of aksera’s students in the realm of fine arts. his words always provoked aksera students: “be yourself!” this teaching inspired students to explore their potential to produce unique aesthetic expressions. the search for personal identity (personal style) was strongly emphasized at aksera. gatot kusumo played a central role as a respected patron in shaping the arharmonia: journal of arts research and education 23 (2) (2023): 301-317306 tistic character of the 1970s-1980s. his thoughts encompassed two poles: the modernist pole, which viewed art as a universal phenomenon, and the nationalist pole, which regarded art as a local phenomenon related to the ideas of cultural identity. these principles were taught pragmatically to form artistic perspectives and attitudes that considered cultural values, social contexts, national ideologies, and national aspirations. this indicates that modern ideas coexisted with a strong indonesian spirit. as an institution aspiring to educate aspiring artists or professionals in painting, sculpture, and advertising, aksera nurtured the tradition of modern fine arts. it introduced various western aesthetic theories, art history, and a multitude of art knowledge, mostly from a western perspective. however, students were also exposed to insights into indonesian culture, history, and multicultural society. during its early development, the artworks of the aksera generation tended to lean toward cubist, abstract, and expressionist styles. this tendency was not only popular among aksera students but was also prevalent outside the institution. for instance, the paintings of o.h. soepono strongly exhibited a cubist tendency in the 1960s, while rudi isbandi produced many abstract paintings. daryono was known for his powerful expressionist style, while amang rahman explored surrealist elements. the expressive works of these artists showcased distinctive aesthetic expressions, resulting in a diverse range of styles and themes within the aksera generation. although their works fell within certain stylistic frameworks, they could manifest strong personal characteristics in both neoplastic and physioplastic aspects. this is how aksera ignited an artistic spirit that was total, independent, and individualistic (djatiprambudi, 2019). from the perspective of modern fine arts in indonesia, the spirit of searching for identity resulted from the significant cultural debates of the 1930s. these debates became more prominent in the world of fine arts with the emergence of persagi, which firmly advocated the birth of nationally distinctive fine arts. the spirit of indonesian-ness, the creed of persagi, can also be understood as a process of modernity in indonesian fine arts. the transformation of modern fine arts, emphasizing individual and universal elements that tended to be hegemonic, encountered a reaction in the context of the persagi spirit. however, this reaction was not dialectical but instead occurred through osmosis. this indicates a transformation of modern western art ideologies or principles by absorbing values considered suitable and representative of ideas, emotions, and cultural backgrounds. in the context of the development of fine arts in surabaya after the 1970s, several trends emerged in the search for artistic identity. these trends were perceived as manifestations of exploring unique aesthetics personally. the first trend involved absorbing the values of traditions close to the heart of each painter. amang rahman (19312001), a painter of arab descent, was born and raised in a devout islamic cultural environment and tended to embrace islam’s cultural and ritualistic values. he internalized this tradition from a young age and deepened his understanding by reading various books on islam, especially those related to sufism and islamic civilization. besides being known as a painter, he was also a poet. for him, painting was like composing visual poetry, and poetry was like painting with verbal language. thus, critic rudi isbandi described amang rahman’s paintings as visible poetry. while being a painter, his soul was that of a poet (nurcahyo & mamannoor, 2001). o.h. soepono (1937-1991) was widely recognized for his strong talent in various fields of art (figure 2). he was a creative painter, unbound by a single style, technique, or theme. in the 1980s, he produced many paintings inspired by the relief sculptures of rupadhatu at borobudur (figure 2). he had admired borobudur for a long time, carefully studied every detail of the temple, understood its historical djuli djatiprambudi et al., art discourse in modern fine arts in surabaya: an analytical 307 narratives, and appreciated its philosophical values, eventually discovering its beauty (figure 2). figure 2. o.h. soepono, relief of borobudur ii, 1990, 100 x 90 cm, oil on canvas (source: catalog of the surabaya painter grand exhibition). the search for identity by returning to traditional roots is also evident in the paintings of m. ruslan (1931-1999) and krishna mustajab (1931-1987), who explored wayang (shadow puppet) icons as their aesthetic idiom. they were artists with extensive knowledge of wayang kulit (leather puppet) art. their interest in wayang kulit was shaped from childhood, as they were born into javanese traditions firmly upheld in their family and community environments. despite both focusing on the theme of wayang, their artistic works exhibit distinct aesthetic differences. this tendency differs from the approach taken by nunung ws, a student of aksera from the 1967 cohort. nunung ws was an abstract artist, and his name is synonymous with his presence in the world of abstract painting in indonesia. he believed that abstraction was the most suitable aesthetic language for expressing his identity, and he found himself in paintings with an abstract style. his use of color was straightforward, arranged in horizontal and vertical layers. occasionally, a single line would appear as an accent while suggesting specific images. such lines often brought a captivating charm to his paintings, making them appear more vibrant. in this context, nunung ws understood the formalist movement that emerged in the united states in the early 20th century. formalism advocated that paintings be freed from storytelling, narrative, or fairytale elements. formalists focused solely on the beauty of visual structures. another interesting tendency was the pointillist works of serudi sera, who belonged to the 1971 cohort of aksera. from the beginning of his artistic exploration, he had a penchant for exploring points. clusters of points could evoke images of something specific. these point clusters appeared as fundamental visual components and proved capable of leading the painter to explore symbols or metaphors. they formed configurations of shapes with particular meanings. some shapes were presented, while others intentionally remained obscure and distant, existing in a horizon of imagery. these tendencies depict the absence of stylistic similarities among the aksera generations in their expression. each of them had a unique language of expression. their paintings did not bear the influence of a teacher (patron) on their students. this highlights how the styles of amang rahman, daryono, krishna mustajab, and o.h. soepono, who were considered patrons, were not “inherited” by their students, the aksera students. this is because there was a strong tradition within aksera of not becoming epigones of other painters. therefore, it is not surprising that artists of the caliber of makhfoed, nuzurlis koto, dwijo sukatmo, and other aksera painters displayed strong individual styles rooted in distinctive artistic discourses (nurcahyo, 1998, pp.24-27). the diverse group of painters discussed above from the 1970s and aksera era collectively contributed to the intriguing tapestry of indonesian art history (table 1). their individual identities were shaped by varying educational backgrounds, artistic harmonia: journal of arts research and education 23 (2) (2023): 301-317308 table 1. discourse representation of identity generation 1970 and aksera painters education aesthetics amang rahman (1931-2001) self-taught amang rahman’s paintings appear pictorially in a surrealist style, but his creative consciousness is not based on surrealist painting techniques. his works are symbolic, with dark blue and dark green colors symbolizing celestial nature, dominantly evoking a serene, isolated, and mystical atmosphere. his paintings exude a poetic quality akin to personified poems. in the mid-1970s, he ventured into painting arab-islamic calligraphy. m. daryono (1933-1992) self-taught daryono steadfastly adhered to a realist-expressionistic style during his career as a painter. his paintings depicted themes drawn from everyday life in his surroundings. his brushstrokes left strong, expressive, and emotional imprints. when painting, he believed in the honesty of his inner vision. objects merely served as stimuli to express the turmoil of his emotions and thoughts. o.h. soepono (1937-1991) akademi kesenian surakarta, 1958. o.h. soepono was a restless painter. his paintings exhibited changing forms of expression, ranging from cubist, surrealist, expressionistic, and realistic styles to the rupadhatu period. the diverse transitions in his style demonstrate a strong elan vital. his paintings always emerged with vitality and remarkable aesthetic achievement. krishna mustajab (1931-1987) self-taught krishna mustajab was an artist with many ideas, often building his paintings on scattered concepts. however, he possessed a strong symbolic sensitivity underpinned by abstract thinking. in his later period, he frequently employed wayang (shadow puppet) as a symbolic language to convey his abstract thoughts. m. ruslan (19311999) self-taught ruslan’s paintings developed along two main tendencies: social realism and javanese calligraphy. his works focused on portraying the lower-class society with all its daily activities, expressions of suffering, and simplicity. anatomy and chiaroscuro were given little importance. the emphasis lay on creating atmosphere and expressing the subjects’ body language. as a javanese culture enthusiast, he also painted javanese calligraphy symbolically. koempoel (19121987) studying painting with gerald p. adolf koempoel’s paintings, from the outset, displayed a tendency towards realism. he painted numerous corners of old surabaya city, capturing buildings, traditional means of transportation, the bustling harbor, markets, and natural landscapes with attention to light, object characteristics, and atmosphere. djuli djatiprambudi et al., art discourse in modern fine arts in surabaya: an analytical 309 nunung ws. (1948) aksera, 1967 the label of abstract art has become synonymous with nunung ws. his paintings tended to reveal calm and uncluttered color strokes. the colors he used were simple in horizontal compositions, with rare explorations of texture. he seemed to believe in the suggestive power of colors, capable of evoking rich inner sentiments. serudi sera (1950) aksera, 1971 he was an artist who strongly believed in the power of dots (points). clusters of points dominated his composition. these points appeared in different pressures and configurations, giving rise to specific forms. these forms then weaved together meanings. although pictorially monotonous, his paintings offered many images resulting from the repetition of dots. rudi isbandi (1937) sanggar pelukis rakyat, yogyakarta (1950-1953) abstraction is rudi isbandi’s most prominent expressive language. before embracing abstraction, his works displayed a tendency toward realism. in abstract art, he truly believed in the minimal use of colors to create specific images. throughout his career, he went through different periods, including early realism, rhythm, irian, nuances, collage, and installations. rudi was an artist who constantly questioned and thought carefully about his art. isbandi’s artistic journey from realism to abstraction and his exploration of various periods added depth to this discourse. together, these artists encapsulate the complex and multifaceted “art discourse of the aksera generation,” exemplifying the era’s artistic dynamism and its contribution to the rich tapestry of indonesian fine arts history. art discourse of the post-aksera generation the painters of surabaya from the 1980s were born into a situation marked by the prevailing surrealist style, which was practiced phenomenally, and the emergence of the art market as a result of the art boom. the significant influence of the art market led most painters to seek aesthetic expressions that resonated with the market’s demands. consequently, this external factor triggered a shift in artistic philosophies, and aesthetics. in the context of the art discourse of the aksera generation, it’s evident that these artists showcased a remarkable spectrum of artistic expressions (table 1). from amang rahman’s symbolic surrealism to daryono’s emotional realist-expressionism, each artist represented a unique facet of this generation’s creative identity. o.h. soepono’s transitions through cubism, surrealism, expressionism, and realism underscored a strong artistic vitality. krishna mustajab and m. ruslan employed symbolism, with the former using shadow puppetry as a language and the latter emphasizing social realism and javanese calligraphy. koempoel’s realistic portrayal of surabaya’s urban life offered a different perspective. meanwhile, nunung ws. and serudi sera ventured into abstract art with distinct approaches serene color strokes and point-based compositions, respectively. lastly, rudi harmonia: journal of arts research and education 23 (2) (2023): 301-317310 styles. the exploration of art discourse also experienced a shallowing of intellectual thought. during the 1980s, paintings tended to exhibit decorative and naturalistic elements with vibrant colors. the main subjects depicted were the underwater world, flowers, horses, landscapes, dancers, and masks. however, in certain instances, this phenomenon led to creative stagnation (dermawan t, 2003; djatiprambudi, 1994). the impact of the powerful art market was fueled by news of several surabaya painters achieving success through solo exhibitions in commercial art galleries in jakarta. in 1989, satya budhi, an artist, sold all his artworks during his exhibition at edwin’s gallery in jakarta. this success was followed by asri nugroho, a selftaught artist who succeeded in the same gallery. such triumphs improved and drastically changed social-economic conditions for these painters (djatiprambudi, 2009, 2019). this reality subsequently created a strong desire among other painters to approach commercial galleries, participate in group exhibitions in jakarta, and engage with painting collectors by holding exhibitions in hotel lobbies and plazas. all these efforts are aimed at achieving financial success. in this situation, they paid less attention to idealism and the exploration of personal authority, a characteristic of the aksera generation. the creative process of the 1980s generation represented the dominant relationship with the commodification of art. however, it is not to imply that no paintings carried the weight of aesthetic composition driven by personal authority, independent of market dictates. such paintings can be seen in the works of hening purnamawati, bilaningsih, sugiarso widodo, and satya budhi. the boom in the art market also influenced the activities of the sanggar sangkakala, which was established in early 1979. this group consisted of young artists, most still art students at ikip surabaya. they included setyoko, kris aw, tiko hamzah, heri suyanto, and hanavi. these young artists represented the continuity of the aksera generation’s tradition. sanggar sangkakala marked the transition between the aksera generation and the post-aksera generation. at its inception, this studio dominated the activities of young artists’ exhibitions until the late 1980s. however, with the increasing impact of the art boom, the studio’s activities gradually declined. subsequently, its activities took the form of individual pursuits, with some joining in the euphoria of the art painting boom. another notable impact was the emergence of several young artists forming a collective called “himpunan pelukis surabaya” (hipbaya). they were established in the early 1990s, with ivan hariyanto as its chairman, a graduate of stsri asri yogyakarta. after organizing touring exhibitions in several cities in 1992, involving 30 painters, their activities became less visible. one of the reasons for this was the divergence of views within hipbaya, with some painters advocating for critical and reflective art discourse. in contrast, others tended to accommodate the market. the ambiguous stance of the 1980s generation raised concerns among senior artists about the development of modern art in surabaya. according to rudi isbandi, this situation can be likened to a swinging pendulum moving from left to right. eventually, this situation will return to normal. in other words, the idealism of art, based on a critical and reflective art discourse, will continue to serve as a reference. the works of the 1980s generation co-opted by the art market are represented in table 2. the artists of the 1980s found themselves in a strong discourse of the art market. this presence resulted in the co-optation of the artistic climate by market forces. the powerful art boom that began in the mid-1980s brought about several phenomena: (1) a shift in the concept of art, marked by changes in style that were exogenously motivated (changed due to external influences), (2) an increase in exhibition activities driven by economic motivations, (3) a decline in the motivation to explore with creative and innovative spirit, (4) a djuli djatiprambudi et al., art discourse in modern fine arts in surabaya: an analytical 311 table 2. 1980s generation market discourse representation painters education aesthetics anang timur (1955) self-taught anang’s paintings initially exhibited a surrealist style, but after the early 1990s, he shifted towards a decorative style. his themes varied, including reliefs, the underwater world, and dancers. all these works were executed enthusiastically to achieve visual beauty, relying on soft, harmonious colors with minimal contrast. salamun k. (1954) seni rupa ikip surabaya and yogyakarta in the early ‘80s, his paintings displayed a strong development in abstraction. in the “rajah” period, he featured paintings sensitive to hatching, carrying the aesthetic weight that delved into traditional themes. subsequently, after the early ‘90s, he extensively explored human themes with cheerful, light, and cohesive colors. his paintings exhibited careful contouring to accentuate the object’s gesture. satya budhi (1959) self-taught budhi’s paintings always portrayed elongated figures faced with blank expressions, slightly enlarged eyes, and narrow faces. they conveyed a sense of constraint and bitter life experiences. pictorially, his works appeared surreal. the forms present always represented symbols of his intended thoughts. the colors tended to be dark, melancholic and often exuded a mystical aura. bilaningsih (1960) stsri “asri” yogyakarta the world of children, full of innocence and fantasy, served as the main subject in bilaningsih’s paintings. with lively, energetic lines and bright colors, her works leaned towards expressiveness, reflecting the dynamic movements of children. in her compositions, there was always a central figure drawing attention, while the rest surrounded it in mutually supportive fields. rilantono (1960) stsri “asri” yogyakarta during the early period, rilantono’s paintings explored the theme of wayang (shadow puppetry). subsequently, he shifted to figures of dancers and reliefs from temples, all depicted with decorative imagery. redundancy in lines, colors, and shapes became dominant features. he has transitioned to deforming figures, creating a sense of caricature. setyoko (1955) fine arts ikip surabaya in the early period, setyoko’s paintings exhibited a surrealist style, although only partially focused on it. the main themes revolved around humans and their problems. human figures could appear alone, with vacant gazes yet holding meaningful connotations. alternatively, they appeared in groups, each with their character. the colors and forms did not intend to depict tangible reality. instead, they served as metaphors, aiming to capture the inner mood rather than presenting the figures as they are. harmonia: journal of arts research and education 23 (2) (2023): 301-317312 heri suyanto (1956) fine arts ikip surabaya the decorative tendency has become a defining trait of heri suyanto’s paintings. his works primarily revolve around graceful female dancers captured with gentle body language. repetitions of line patterns, colors, and fields combine in harmonious compositions. cool and soft colors are regularly applied in successive layers to create a spatial effect. contrasts are absent in his paintings; everything is integrated into harmony. ivan hariyanto (1955) stsri “asri” yogyakarta in the past, he experimented with pop art during his student days. afterward, he inclined towards a surrealist artistic language, possibly influenced by the prevalent trend of surrealistic painting in yogya at that time. to construct surrealistic imagery, he often incorporated wayang golek puppets, statues, books, people, horses, and masks as the central objects imbued with meaning. mas dibyo (1962) fine arts ikip surabaya his favorite objects in his paintings include roosters, cats, tigers, women with braids, flower vases, and barong masks. his dynamic, expressive, and energetic line characters dominate the picture plane, highlighting the main objects in prominent proportions. layered colors create a spatial effect. he is an extremely productive artist, and his aesthetic language leans towards expressiveness while also demonstrating a conscious effort to beautify objects with decorative patterns. sugiarso w. (1960) self-taught mechanical elements resembling machine constructions with a metallic impression are visual elements creatively crafted by sugiarso. sometimes he includes metal pieces or circles to reinforce his aesthetic imagery. the imagery of machines and technology appears strongly in his works, intending to convey meaning about the culture of automatism, mechanization, practicality, and logic prevalent in the contemporary era. gyakarta), rumah nusantara (bandung), and rumah proses (bandung). exponents of the 1990s generation emerged from academic institutions, such as the school of art wilwatikta (stkw) surabaya and the surabaya institute of teaching and education (now unesa). stkw aimed to educate future artists, and thus, its education pattern leaned towards encouraging students to be independent by building networks with artists outside the city, particularly young artists in yogyakarta and bandung. consequently, many stkw students became the new generation that drove alternative art after the generation of saiful, agus koecink, and hary prayitno. the early exposure of the alternative art generation to contemporary art discourse was due to their close association with moeljono, a prominent figure in the dominance of explorations in the form of canvas paintings due to market demand turning art into a commodity. the art practices of the 1980s generation, which tended to follow the fluctuations of the art boom, eventually faced criticism from the subsequent generation, the 1990s generation. the emergence of this new generation was marked by the rise of alternative art in surabaya. this phenomenon was evident in the exhibitions of saiful hadjar, agus koecink, hary prayitno, and hadi mas’ud, held between 1994 and 2000. during this period, contemporary art in yogyakarta and bandung experienced a phenomenal escalation of development. this was concurrent with the growth of the social art field, which supported the development of discourses and practices in contemporary art, exemplified by the emergence of institutions like cemeti (yodjuli djatiprambudi et al., art discourse in modern fine arts in surabaya: an analytical 313 art world. they actively participated in several art projects with moeljono, which influenced contemporary art’s knowledge, paradigms, and practices. moeljono was a noted educator at stkw during that time. additionally, they often invited various artists from yogyakarta to work together, forming workshops with their results presented within the campus. such a campus environment stimulated them to continue creating. small discussions were frequently held to study literature related to contemporary art, and they actively accessed internet sites providing information on sources of contemporary art discourse. in the context of post-aksera art development, alternative art represented an act of rebellion. their discourse base differed from the previous generation. the term “alternative” was understood as a form of real difference in discourse and practice. their works often took the form of installations. while painting was still utilized as a medium of expression, its presence leaned towards representing critical thoughts rather than merely questioning lyrical beauty. the group of young artists, most of whom were graduates of art schools, offered new and more progressive ideas, presenting what they considered new alternatives. they believed that art should originate from the context of societal issues. according to their beliefs, art should reflect the social restlessness experienced by society. they considered art as a means to express the complexities of social issues. the works of this alternative art group highlighted the concept of contextual aesthetics, which resonated with the platform of contemporary art discourse that began to be debated since the emergence of the new art movement. contemporary art possessed a paradigmatic nature that challenged and questioned conventions. this trait often became overly pronounced, overshadowing its artistic nature. the focus tended to be on its provocative aspect. metaphors, symbolism, visual language, unique forms, and aesthetic expressions were sometimes overlooked. this phenomenon was evident among surabaya artists of the 1990s generation, whose birth coincided with the third tendency in post-aksera art discourse, which involved seeking alternative forms of aesthetic expression perceived as new and embracing multimedia and new media (table 3). this quest for alternatives was driven by contemporary art discourse, which emphasized plurality and the synthesis of disciplinary boundaries. the artists of the 1990s generation aspired to bring art into a field of meaning directly related to the social-political conditions of society (table 3). therefore, this generation vigorously explored social-political themes with a new visual language, predominantly through installation art. they tended to depart from conventional visual languages, such as lyrical paintings that often lacked contextual relevance to their surroundings (table 3). the painters of the 1990s generation, as detailed in table 3, were integral to the socio-political discourse of their era, channeling their unique educational backgrounds and aesthetics to offer insightful commentary. adi kaneko’s monochromatic depictions of individuals engaged in power struggles encapsulated his keenly observed social realities. fibri andrianto’s transition from conventional mediums to intricate collages and assemblages with found objects mirrored her evolving engagement with socio-political phenomena. arifin petruk’s innovative use of installation art and multimedia elements amplified her socio-political themes, creating immersive experiences for viewers. jopram’s shift to spatial abstraction and pastel palettes allowed her to explore the subtle intricacies of life within the socio-political context. bambang bp.’s incorporation of found objects, clay, and fiberglass into her installation art portrayed displaced individuals and rulers’ behaviors, all rooted in the socio-political climate. martin’s embrace of electronic mediums like video art and installations breathed life into her sociopolitical concepts, infusing her work with imaginative depth. suharman’s diverse harmonia: journal of arts research and education 23 (2) (2023): 301-317314 table 3. representation of socio-political discourse of the 1990s generation painters education aesthetics adi kaneko (1966) fine arts ikip surabaya the figures with strange faces, some masked, wide-open eyes, and robust bodies, all engaged in wrestling-like interactions as if vying for something. they are often depicted in monochromatic colors, black-brown hues. there are emerging colors, but they still give a minimal and simplistic impression. this is the expressive language tendency of edi kaniko. such depictions of humans represent the social reality he keenly observes. everyone desires power. e.y. fibri andrianto (1974) sekolah tinggi kesenian wilwatikta surabaya fibri is an artist who is not easily satisfied with conventional mediums. her works often display a tendency for diverse techniques, ranging from regular painting techniques to collages and even intricate assemblages. found objects frequently appear in her works, seamlessly integrated into her creations. her ideas are developed from a keen observation of socio-political phenomena. this differs from her earlier period, where she was inspired by cosmological issues and their relationship to her existence. arifin petruk (1965) self-taught initially known as a theater practitioner, she has more recently emerged with installation artworks. the ideas behind her works stem from socio-political themes. she extensively utilizes found objects, electronic assemblies, and video effects to support her concepts. besides manifesting in concrete forms, there are also auditory imageries to strengthen the atmosphere and spirit she conceives. jopram (1975) sekolah menengah seni rupa (smsr) surabaya her early period works reveal a preference for decorative patterns, fully relying on the power of lines. subsequently, the repetitive imagery of lines in specific patterns shifted to spatial images that depended on layered divisions of the surface. the space appears illusory, non-real, and relatively abstract. the colors become soft and pastel, complementing the ideas related to her life. bambang bp. (1980) sekolah tinggi kesenian wilwatikta surabaya in addition to painting, she also engages in installation art. she not only relies on the technique of assembling found objects, but she also crafts these objects using clay and fiberglass, all originating from socio-political themes. displaced people, pursuits by authorities, and various behaviors of arrogant rulers emerge in her works. martin (1975) diskomvis petra surabaya her explorations into new mediums have become familiar to her. her affinity with computers, videos, and various other electronic devices has led her to utilize these objects to visualize her concepts. video art, video installations, and video performances have become her expressive language, believed to be rich in imagination. suharman (1952) fine arts uns surakarta her creative ventures are diverse, manifested in glass paintings, sculptures, and performance art. her works are always infused with sarcastic humor to poke at human behavior. social themes are her primary source of inspiration. the ‘wayang’ figures represent representations of human temperaments that she critiques. djuli djatiprambudi et al., art discourse in modern fine arts in surabaya: an analytical 315 ed on lyricism, while the art discourse of the 1990s embraced non-lyricism. the discourse of the 1980s was formed by the hegemony of the market, which treated paintings as commodities. on the other hand, the discourse of the 1990s was shaped by the discourse of contemporary art, which raised issues of opposition to universal and linear modernism. the aksera generation can be seen as a response to modernism by seeking personal identity based on nationalistic issues. in contrast, the post-aksera generation (especially the 1990s) responded to contemporary art discourse. between these two poles, another point of development responds to the phenomenon of the commodification of painting. thus, the development of visual arts in surabaya over three decades has passed through three phases of historical discourse as the foundation of modern art practices in the city. this phenomenon represents continuity and changes in historical discourses, demonstrating similarities and differences in the art discourses that underlie modern art growth in jakarta, bandung, yogyakarta, and bali. historical research focused on art discourse with a sociohistorical approach was initially challenging for art historians to accept. they were accustomed to confining art issues solely to artworks (formal analysis) and artists (historicism). this approach was criticized for being too focused on social context and neglecting discussions of artworks and their underlying discourses. such critiques typically came from perceptual and formalist thinkers. in contrast, semiotic thinkers tended to remind that a formalist art discourse, or one solely focused on the physical form of the artwork, would be trapped in perceptual, reducing art to a matter of structure (artistic allure). similarly, if art is solely viewed through a social context, it would be confined to pure social history. meanwhile, the social-historical approach emphasizes the study of ideology as the source of art discourse. therefore, in this research, an creative ventures, infused with sarcastic humor and ‘wayang’ symbolism, critically examined human behavior within the socio-political framework. collectively, these artists served as prominent voices in the “representation of socio-political discourse of the 1990s generation,” offering sharp and poignant commentary on their time’s complex social and political dynamics through the language of art. conclusions the construction of art discourse in modern art in surabaya over three decades (1970s-1990s) was initiated by the emergence of the aksera generation in the 1970s. this generation was born from the discourse of nationalism, which pragmatically translated into the search for personal identity in their paintings. the belief in the importance of personal identity (personal style) in art stemmed from the discourse about national art or art with a national personality, which was the credo of persagi. the modern art credo that positioned artists at the center of culture was translated into the dialectic of seeking personal identity. each artist was expected to create a uniquely expressive language or aesthetic idiom. this tendency was pursued in various ways, including (1) returning to traditional cultural roots, (2) exploring visual elements formally, and (3) exploring social reality. the artistic inclination to question personal identity resulted in the works of the aksera generation lacking a direct connection to the realities of life. as an education aimed at nurturing future artists, aksera succeeded in producing artists with strong stylistic originality. the post-aksera generation, comprising the 1980s and 1990s, exhibited tendencies toward (1) decorative and surrealist paintings favored by the market, (2) a market discourse that reduced critical and reflective attitudes in aesthetic expressions, and (3) rebellious art as an antithesis to market-coopted art. the art discourse of the 1980s focusharmonia: journal of arts research and education 23 (2) (2023): 301-317316 effort has been made to include two models of discussion: first, focusing on social context, and second, emphasizing the form of the artwork (form) and the signs, as well as the life history of the artists. the implications of this research are twofold. first, modern indonesian art history is still predominantly written using a linear historical model, limited to certain cities considered centers of modernity, and chronologically inclined towards socio-political events. hence, there is a need to develop a form of historical explanation that sharpens the main focus, expands the areas of development, and diversifies the research models. second, studying art discourse in modern art in indonesia has been relatively scarce. thus, the art discourse as a 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(1983). aesthetics and the sociology of art. george allen & unwin ltd. 221 play-based learning with games as a dance teaching tool nurafiqah diyanah azmi, sang woo ha universiti malaya, malaysia submitted: 2023-03-31. revised: 2024-01-20. accepted: 2024-03-08 abstract this case study focuses on play-based learning with game elements as a new dance teaching tool for young children. the research objective is to verify that the majority of games used by teachers in malaysian preschools are based on guided play, which includes adults’ guidance and mentoring on a play, and that each game is designed to improve students’ cognitive and psychomotor development, social abilities, and academic skills. researchers also emphasize that play-based learning with game elements can be used as a new teaching method of dance for young children who cannot follow teaching contents. to achieve these objectives, researchers discuss how games are used as a teaching method by two different preschools, investigate how these games are suitable for all students aged 4 to 6 years old, and examine the effect of games as teaching tools in music and movement classes. utilizing the qualitative methodology, researchers interviewed teachers to investigate how teachers incorporate games in music and movement classes. researchers conducted participant observation in music and movement classes to identify whether or not the use of games in this case study belongs to free play or guided play. researchers also gathered information through secondary written sources. the findings suggest that games as a teaching method in music and movement classes greatly emphasize students learning how to dance, where games create more excitement for the children and not worry too much about techniques. games used by malaysian preschools can be great examples and guidelines for teachers to incorporate games as a teaching method for preschool students aged 4 to 6 years old. keywords: play-based learning; game elements; dance education, music and movement class; preschools children how to cite: azmi, n. d., & ha, s. w. (2024). play-based learning with games as a dance teaching tool. harmonia: journal of arts research and education, 24(1), 221-235 harmonia: journal of arts research and education 24 (1) (2024), 221-235 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v24i1.43479 year of learning. however, before teaching children to dance, the first thing teachers need to teach them is about movement. in order to achieve this, malaysian preschool teachers have taken the initiative to use games as a teaching tool, as suggested by the ministry of education. games used by teachers in malaysian preschools are categorized as play-based learning. this part can give you a sense of movement activity for children education and the use of games as play-based learning. introduction this research is based on a case study focusing on two preschools in putrajaya, malaysia. most malaysian preschools were found to have problems implementing games as a teaching method, particularly when it comes to teaching dance, as it is one of the compulsory activities for children in preschool where teachers use dance as a platform for children to show their talent and creativity throughout a corresponding author: e-mail: sangwooha@um.edu.my p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 24 (1) (2024): 221-235222 dance is a great activity for young children, and it nvolves a greater range of motion, coordination, strength, and endurance than most other physical activities (copeland et al., 1984). getting their feet and arms used to the rhythm movements is the most basic aspect of teaching dance. exposing young children to movement activities helps them improve their physical awareness, coordination, and concentration and build relationships with those around them. children who participate in movement activities can find it easier to move and progress through complex motor tasks. movement activities are the best fitting activities for children as they learn by moving their bodies, exploring their world, and developing vital connections, leading to improved concentration and thinking skills. rebecca hun ping cheung (2010) stated that movement activity is more than just a physical act; movement can be a powerful tool to promote children’s creativity where they can express themselves through movement which allows them to communicate an image, an idea, or a feeling through their bodily actions (hun & cheung, 2010, p.4.). this means that movement activities encourage young children to explore and learn basic movement skills that can be used to create their own interpretation of their imagination and creativity. gokhan duman, can eda alici & tugba kanmaz (2017) similarly mentioned that movement is the education in which an individual explores, experiences and learns various new movements (duman, g., alici, c.e & kanmaz, t, 2017, p.345349). this statement demonstrates that movement as an educational tool helps to develop physical and motor competencies and movement skills such as locomotor, object control, and balance. that is to say, promoting movement in children’s education can be a key factor for children choosing to lead physically active and healthy lifestyles. it is because movement makes the body aware; such awareness becomes the sum of tactile sensations as the body moves within and through its immediate surroundings. as nikos c. apostolopoulos (2019) argued, movement through physical exploration helps create collective intelligence and gather possibilities and is ultimately responsible for influencing thought (apostolopoulos, 2019, p.9). apostolopoulos continued to explain that through movement, the body orients in a manner allowing for the thought and sensation relative to the subjects. according to moulton (2020), movements are classified into three types: 1) simple involuntary movements (tremors or reflexes, have all of the previously mentioned defining characteristics), 2) simple voluntary movements (looking to the side, have all of the previously defined characteristics, as well as a cognitive component in which the individual makes a choice and consciously initiates the movement), and 3) complex movements (voluntary in nature, including running, jumping, and climbing) (moulton, 2020, p. 20.). through the explanation from moulton, movement can clearly be related to every one of the above. movement is more than just a physical act. it creates a cognitive understanding, an insight, and a primary qualifying aspect of human existence through experience. this shows that movement is more than just a physical act; it creates a cognitive understanding, insight, and a primary qualifying aspect of human existence through experience. in some other countries, movement has been used in the preschool curriculum standard to provide another outlet to express children’s emotions and creativity. for example, in slovak and poland, movement activities are an important part of the music and movement activities of preschool education, which contribute to the subsequent cultivation of movement, a sense of rhythm, and cooperation within a group, especially for children. eva kralova & maciej kolodziejski (2016) stated that music and movement activities provide children with many opportunities for proper motor and musical development, the harmonious development of their personality imagination, and they also contribute nurafiqah diyanah azmi et al., play-based learning with games as a dance teaching tool 223 to friendship reinforcement (eva kralova & maciej kolodziejski, 2016, p.187). kralova & kolodziejski proposed that in order to teach children both music and movement, teachers should coordinate their movement and develop their correct posture, sense of rhythm, elasticity, smoothness, and fluency of motion. a teacher should properly explain and demonstrate each movement activity. this is to ensure that the music and movement used are appropriate for the children’s physical, mental, and social properties. the same goes for kenyan preschools, where music and movement play a great role in the provision of early childhood development education (ece). the ministry of education in kenya, through the kenya institute of education (kie), has recognized that music and movement are important activities in early childhood education around the world. the kie designated the scope of music and movement experiences from performing arts activities such as singing, dancing and listening to music as well as other fields such as language, mathematics, social studies, creative activities and religious studies. in the kenya educational system, it is convinced that while participating in music and movement experiences, children can promote physical development as much as social interactions and development (mwonga & wanyama, n.d.). in a similar vein, malaysian preschools provide movement activities in music and movement classes, especially in private preschools. unlike public preschools, every private preschool has its own specialty while promoting their preschool by offering additional programs upon approval from the ministry of education (moe), such as language classes, music & movement classes, arts & crafts classes, drama classes, or martial arts classes. these preschools are required to use the national preschool curriculum as stipulated in the national education act 1996, and the curriculum focuses on communication skills, social skills, and other skills in order to prepare students for primary (formal) education (curriculum development centre ministry of education malaysia early childhood care and education policy implementation review, n.d, 2007). music and movement class is an intensive class that teaches students how to dance creatively with music. it is also classified as a co-curricular activity for young children because it allows children to enjoy dancing freely. kolodziejski, králová & hudáková mentioned that music and movement classes are frequently used for young children to practice counting and learning other concepts, as they combine a variety of sensory modalities such as vision, hearing, and movement to support learning in a fun way (kolodziejski, králová & hudáková, 2014, p.660). in the music and movement classes, dance is taught based on the ideas or contents that the teachers want to teach. that is, music and movement classes in malaysia are conducted mainly at a teacher’s discretion. the ideas and contents may change for each class, and each teacher depends on what movement skills and dance concepts she or he wants to teach. however, many preschool teachers in malaysia have encountered problems with movement pedagogical knowledge. because they do not major in dance or do not have a teaching certificate for music and dance, for this reason, the teachers have no skills to deliver do not know how to make the music and movement class look interesting for young children. this lack of teaching capability has caused unclear demonstrations that lead children with limited understanding of their age to have difficulties understanding and following the dance. recognizing this situation, some preschool teachers in putrajaya have combined games as a part of play-based learning into preschool education, especially in in music and movement classes. in this research, ‘play-based learning’ or ‘learning through play’ can be an effective and popular method of imparting education to children at the preschool level, particularly when teaching dance. through play-based learning, young children can harmonia: journal of arts research and education 24 (1) (2024): 221-235224 engage and interact with the world around them, allowing them to use their creativity to develop their imagination. danniels & pyle (2018) clarified play-based learning as an early childhood education that is based on child-led and open-ended play which provides opportunities for children to develop a sense of the world around them through inquiry, exploration, interaction, and problem-solving (danniels & pyle, 2018). danniels & pyle also explained that there are two types of play: 1) ‘free play’ and 2) ‘guided play’: ‘free play’ refers as child-directed, voluntary, internally motivated, and pleasurable play which is directed by the children themselves, whereas ‘guided play ‘ refers as activities that include some level of adult involvement in order to embed or extend additional learning opportunities within the play itself which is based on some level of teacher guidance or involvement. this statement shows that games can be either free play or guided play because there are many different types of games, each with its own structure, rules, and learning objectives. catalano (2018) defined games as free play is based on children’s freedom to do whatever they want, when and how much they want, rather than focusing on the curriculum’s objectives and content where children take the initiative while adults provide the necessary space and resources and respond to their needs (catalano, 2018.) this statement demonstrates that games as free play refers to children’s full freedom to play in whatever way they want, they can choose everything, and select their own play to express themselves. on the other hand, guided play refers to a type of play in which children explore within an environment prepared by adults or with adult guidance in which adults select play materials and encourage a certain type of exploration to help shape children’s choices or push children to think about what they are doing. weisberg, hirsh-pasek, golinkoff, kittredge & klahr described guided play as learning experiences that combine the child-directed nature of free play with a focus on learning outcomes and adult guidance (weisberg et al., 2016). this explanation shows that games can be categorized as free play and guided play because they allow children to express their interests in their surroundings and encourage them to continue researching and investigating to find their own solutions in specific situations. another explanation regarding play-based learning explained by vincent iannelli clarified that some games are classified as free play, such as dress-up, drawing, coloring, and painting, because they allow children to pursue their own interests and create an environment that suits their experiences (vincent iannelli, 2021). on the other hand, guided play refers to a type of play in which children explore within an environment prepared by adults or with adult guidance in which adults select play materials and encourage a certain type of exploration to help shape children’s choices or lead children to think about what they are doing. this explanation demonstrates how games can be divided into two types: free play and guided play. games can be applied in guided play because children can express their interests and encourage them to continue investigating their solutions in specific situations of the suggested games. in western countries like the united states, hungary, and sweden, games have served a purpose in dance classes by giving students time to explore their surroundings. according to melina surya dewi & yufiarti (2021), games encourage young students to be creative by allowing them to use movements from the game as inspiration when creating dance (melina surya dewi & yufiarti, 2021, p.103). this demonstrates that students can use games as their base ideas to create movement and to develop new dances. incorporating games into preschool education dance teaching and developing new dance teaching methods can increase students’ enthusiasm and initiative, which will help young children enjoy learning (zhang & liu, 2020). from the statement, combining games into preschool education, especialnurafiqah diyanah azmi et al., play-based learning with games as a dance teaching tool 225 ly dance teaching, can increase children’s interest in learning, effectively cultivate children’s imagination and interpersonal relationships, and enrich children’s emotions. the government promotes the use of games in malaysia as educational tools, especially in early childhood education, as stated in the national preschool standardbased curriculum (npsc) in malaysia. npsc has been the current preschool curriculum since its implementation in 2010. later that year, in 2016, the npsc was revised in tandem with malaysia education blueprint 2013-2025 which aims to develop preschool’s potential in a comprehensive way such as emotional, physical, and spiritual aspects in line with the national education philosophy (nep) (malaysia education blueprint 2013-2025, 2013). in addition, the npsc states that learning through games is established as one of the developmentally appropriate approaches for effective and meaningful learning experiences, alongside child-centred learning, integrated approach, and inquiry-based learning (malaysia education blueprint 2013-2025, 2013). the development of creative and innovative thinking is also emphasized in the npsc in tandem with the current demands of the 21st century, as stated in the ministry of education annual report 2017. this shows that the aim of developing a wholesome child under the npcs is an important goal for the teachers to allocate adequate time for active and discovery learning to ensure a balanced development encompassing all developmental areas. although the use of games as educational tools is still practiced in malaysian preschools, a couple of the preschools have begun to use games in teaching and verified that games include a good approach and direction for young children learning. the application of games in music and movement class started in 2020 after covid-19 pandemic. since the existence of the covid-19 outbreak, all education methods in malaysia changed from physical to online classes. during the covid-19 pandemic, teachers in some preschools relied on using games. in spite of the end-demic in current time, the use of game elements in music and movement class has continued after teachers found that the games attracted the interest of young children. the continuity of using games clearly indicates that incorporating games as teaching tools effectively aids in attracting the attention and interest of young children during music and movement class. although the use of games as teaching tools is still in its early stages, various types of games have been tried in the music and movement class. in putrajaya, out of 25 preschools that officially appeared in google engine, two preschools attempted to incorporate game elements in music and movement classes. however, these preschools still struggle to conduct music and movement classes with game elements. although these two preschools still lack the use of games elements in music and movement classes, their trials of incorporating games into teaching materials can be a good approach that improves music and movement classes in a better direction. observing music and movement classes with game elements in putrajaya, this project aims to examine how game elements in music and movement classes can be a great tool to teach dance to young children and then analyze what impacts teachers can contribute to the children. apart from that, this project helps to clarify that play-based learning with game elements can be used as a new dance teaching tools for young children. method the case study was designed by qualitative methods: 1) interviews, 2) participant observation, and 3) analysis of written sources. based on these methods, researchers put weight on the insider’s approach, known as the emic perspective. the data collected comes from both researchers and research participants. a total of (3) teachers from cedekiawan educare and (3) teachers from atomic kids preschool were involved in harmonia: journal of arts research and education 24 (1) (2024): 221-235226 the interview. during the interview, these teachers were asked to share about how the teachers from these two preschools incorporate game elements in teaching dance to young children. the teachers were also asked to share their opinions about the effect of using game elements in music and movement classes for 4 to 6-year-old students. through the interviews, researchers were able to investigate how the teachers from these two preschools incorporate game elements in teaching dance to young children. through participant observation, researchers directly experienced and observed music and movement classes in two preschools. researcher utilized their own experience to provide experimental information to this case study as the researchers were involved as teaching assistants in music and movement classes of cedekiawan educare and atomic kids preschool. the participant observation lasted 30 to 45 minutes during the music and movement class to observe the class environment when teachers used games in teaching dance to children aged 4 to 6 years. the participant observation was carried out by involving 63 students from cendekiawan educare, aged 4 to 6 years old, and 26 students from atomic kids preschool aged 4 to 6 years old. researchers also utilized their own experience to identify whether the teachers’ games are free to play or guided play. through the observation, both researchers were able to investigate how the teachers incorporate game elements in teaching dance to young children and observe the environment of the music and movement class when teachers use games in teaching dance to children aged 4 to 6 years. in addition to the interviews and participant observation, analysis of written sources played an essential role in this case study as it is the key source to gather information that relates to this study. researchers obtained information from universiti malaya library and online databases such as research gate, jstor, project muse, etc. to understand the potential benefits of using games, the definition of play-based learning, and the impact of play-based learning in education. result and discussion the conceptual framework shown in figure 1 helped researchers to investigate the teaching contents from two different preschools. based on this conceptual framework, the word “game” refers to a variety of activities, including both physical and digital games. figure 1. conceptual framework however, in this case study, researchers focus on physical games, as the games used in the music and movement class require students to move. furthermore, the games used do not all belong to the same genre. using various games can assist students in thinking more broadly and stepping outside of their comfort zone. because it was discovered that the game element used is an effective and popular methodology for imparting education to children, particularly in the teaching of dance, this study om clearly demonstrates the concept of play-based learning. from there, researchers identified physical games as free or guided play. the use of games as educational tools is a method used by teachers in music and movement classes that play a role as a platform or base for the children to learn about movement, enabling them to move. incorporating games in teaching dance instruction can increase student engagement in interactions with people, objects, and their surroundings. this somehow relates to what has been described by danniels & pyle, “when students play nurafiqah diyanah azmi et al., play-based learning with games as a dance teaching tool 227 games that involve strategy, they have an opportunity to make plans and then adjust those plans in response to what happens during gameplay” (danniels & pyle, 2018). danniels & pyle theory about playbased learning is mainly applied in this case study to discuss the game elements used by the teachers’ free play or guided play. however, in this study, researchers focus on guided play. figure 2 is the theoretical framework to help researchers to look into teaching contents and effects through guided play. through this theory, researchers look at guided play in more depth whether the involvement of adults in play activities really extends students’ learning opportunities. furthermore, researchers discussed teacher teaching content used in music and movement classes and which categories teacher teaching content belongs to either free or guided play. figure 2. theoretical framework the application of this theory is to see how this guided play is used in music and movement classes, which researchers look at in terms of teaching content. this is to identify whether the teaching contents used by the teachers are the same and in line with the definition of guided play described by danniels & pyle. what already have been explained previously, there are two types of play explained by danniels & pyle: 1) ‘free play’ refers to groups of children practicing imaginative role-playing through creating and following social rules such as pretending to be different family members, and 2) ‘guided play’ refers to play activities with some level of adult involvement to embed or extend additional learning opportunities within the play itself. by looking at the definition of guided play, we understand that guided play appears to be more influential in the acquisition of academic skills. by structuring the environment, incorporating learning targets, and/or modifying pre-designed games, parents and educators can enhance young children’s learning opportunities. in guided play, adults’ roles are to support children’s choices by gently shaping their behavior without taking control. observing and participating in guided play allows adults to get to know children better, respond to their needs, and strengthen them more effectively. adults in guided play must follow the children’s lead so that children truly have the freedom to explore as they please (danniels & pyle, 2018). this statement is also supported by marie masterson, who addressed that in guided play, learning opportunities focused on how well children can learn from a playful interaction depending on their mental state at the moment, including their level of knowledge, goal, attention, emotion and trust toward the play partner (marie masterson, 2022). masterson added that guided play requires children to be involved in many activities and keep up with the structured schedule to prevent children from falling behind in the learning process. case 1: games as a teaching tool in cendekiawan educare it is not known when games were practiced at cendekiawan educare; however, games were used as a tool to teach movement in music and movement class. in the teaching process, the use of games focuses on activities that require children to move around such as physical games such as ‘musical chair’, ‘musical box’, ‘simon says’, ‘dodge ball game’, ‘movement game’, and ‘freeze game’. these games are inserted with main subject topics such harmonia: journal of arts research and education 24 (1) (2024): 221-235228 as bahasa melayu, english, mathematics, science, quran, and arts & crafts which are intended to evaluate children’s ability to perform more than one task so that the lesson plan and teaching objective can be achieved whether they are 4 years old, 5 years old, or 6 years old. based on interviews with the teachers, content and topic taught are different according to students’ age and must according to kspk curriculum. in the music & movement class, teachers are seen to have used games as a teaching method where games were used as exploration activities to teach dance. the implication of games in music & movement class started in 2019 by one of the teachers. ‘simon says,’ ‘nenek si hungkok tiga,’ ‘pukul berapa datuk harimau,’ ‘zoo animal movement game,’ ‘hopscotch,’ and ‘freeze game’ are an example of physical games used by the teachers to teach movement in music and movement class. the researchers found out from interviews that the teachers have a different set of games that will be played. this is due to the fact that using the same games will quickly bore students. according to the teachers, musical box was the first game they incorporated into the music and movement class. musical box is a game that teachers often use to teach basic movement skills and movement concepts to 4-year-old students since they are in the process of learning new things. basic movement skills are a type of common motor activity that is split into three categories: manipulative motion, non-locomotor motion, and locomotor motion. according to safruddin, nasaruddin, arif widodo, muhammad sobri, and radiusman (2021), these categories are strongly tied to every individual to facilitate and support their daily activities. movement concepts refer to exploration that includes four aspects: body, space, time, and force. this enables students to comprehend movement as a whole and to develop and arrange their knowledge of it (safruddin et al., 2021). in the body aspects focuses on what the body is doing which makes students become skillful in manipulative motion, non-locomotor motion, and locomotor motion. the space focuses on where the body is moving, and students develop skills in the use of personal space and general space. time aspects focus on how the body moves in relation to rhythm and speed. last but not least, force aspects concentrate on how the body is moving which helps students to develop the ability to use weight and energy. anne green gilbert (2018) clarified that these four aspects are the integrated approach to developing students into skilled technicians, critical thinkers, collaborators, and creators (anne green gilbert, 2018). musical box is a type of game that not only focuses on movement skills and movement concepts but is combined with other main subjects such as english, science, and mathematics. during observation, the students can present their tasks very well as they can differentiate each movement skill even though they are still four years old. during the initial admission of 4-year-old students to cendekiawan educare, these children were unable to understand each movement skill and had difficulty moving their bodies even though the teacher has shown the movement. the teachers expressed that 4 years old students mostly have a low level of confidence since they are still small and still in the early stage of schooling. however, after playing the game, students were seen as able to improve their self-confidence as they slowly learned new knowledge and interacted with the world around them. in an interview with the teacher, she stated that she was surprised to see how well these 4-yearold children could perform every movement using the instructions she gave. the students are seen to understand and differentiate each movement skill as they were seen to be more daring to move and dance independently. they no longer seem shy about dancing and actively do every move they learn in the game. she also added that the students showed a cooperative attitude toward one another, especially when they helped each other memorize the songs and nurafiqah diyanah azmi et al., play-based learning with games as a dance teaching tool 229 movements they had to present. the second game incorporated in music and movement class is musical chair, which is used to teach movement skills and concepts combined with the english subject. what can be seen through this game is that a rule of the game was set where all instructions and actions from the students are mentioned in english since this game is combined with an english subject. plus, students who speak or say words in malay also will be out of the game. for example, during the game, the teacher puts written picture cards of animals on one chair, and the students must find the chair with a picture card and sit down. to help students create movement, the teacher will ask students to imagine themselves as animals and use their creativity and ideas to produce animal-themed movements. students are seen to have fun and excitement as they dance to the music with movement skills and concepts they have learned. in the interviews, the teacher in charge of this game explained that playing musical chair games also helps students get exposure to a variety of cultural songs because any song can be used to play this game. different songs can give students different beats and rhythms, which help them use their creativity and ideas to create movement. she added that this game encourages higher-order thinking skills for preschool students because they need to think of the movements or actions they need to present according to instructions. throughout the observation, the researcher also noticed that a variety of ideas and creativity can be seen from the students as they try to create movement based on the song played. the third game used by the teachers as teaching tool is simon says game, a game to engage and enhance students’ cognitive function where it enables students to play the game to make faster decisions and listen carefully. for this game, the teacher combined the science subject by teaching movement vocabulary such as spinning, skipping, marching, crawling, and stomping. as a result of using this game, the researchers found that this game is a good way to teach students movement vocabulary because it makes students active in the learning process. after using this game in the music and movement class several times, the researchers noticed that the students’ concentration level increased, which was seen very differently when they first entered the 6-yearold class. according to an interview with a teacher, she stated that this game helps improve student body awareness and physical development where they can recognize and learn how each body part works. she also added that the students are seen to listen more and respond to the given instruction compared to before. before this, the students could not concentrate on every movement and music class, which caused their motor development to be quite slow. however, through this game, students have improved their motor development, especially those students with poor motor development. additionally, this game can make students active in the learning process as it requires a very high level of concentration, and students must fully participate in acquiring listening, direction-following, and movement skills. case 2: games as a teaching tool in atomic kids preschool in the music & movement class, teachers are seen to have used games as a teaching method, where games were used as exploration activities to teach dance. the implication of games in music & movement class started in 2019 by one of the teachers. ‘simon says,’ ‘nenek si hungkok tiga,’ ‘pukul berapa datuk harimau,’ ‘zoo animal movement game,’ ‘hopscotch,’ and ‘freeze game’ are an example of physical games used by the teachers to teach movement in music and movement class. the researchers found out from interviews that the teachers have a different set of games that will be played. this is because using the same games will quickly bore students. animal movement game is a game that focuses on learning movement skills and movement concepts where through this game students were able to work toharmonia: journal of arts research and education 24 (1) (2024): 221-235230 gether to create and dance based on animal movement. what can be seen throughout the observation, the researchers noticed that the students were able to understand the rules and identify different movement skills like running, jumping, walking, hopping, spinning, and speed between fast and slow, especially for four and 5-yearolds. students can differentiate movement skills like jumping and hopping based on an animal they imitated. students can differentiate movement skills like jumping and hopping based on an animal they imitated. during the interviews, teacher kom shared that they received feedback from parents saying that she noticed her 5-yearold daughter is now more active in dancing and can do all the movements flexibly. this somehow shows that the ‘animal movement game’ can be a great chance for students to work on their physical development. adding on, the teacher shared that using animals to teach movement skills has been shown to accelerate learning and student comprehension; even at the beginning, she was unsure whether this activity could be classified as a game because she created it herself. however, from her point of view, this activity can be considered a game because it involves physical movement. through the interview, she thinks that the ‘animal game’ helps students differentiate movement skills based on animal theme since the theme is applicable to their daily lives, making it easier to understand each movement skill taught by the teacher. ‘pukul berapa datuk harimau’ is one of the games that she and other teachers frequently use, as it is one of the students’ favourite games in atomic kids preschool. to corporate this game in the music and movement class, the teacher made a slight change to the game where the students did not need to line up behind but instead made a circle. the changes were made according to the suitability of the teaching content, where the main objective of this game is to teach the sense of touch as well as movement skills such as spinning and freezing. in this game, one student will blindfold while other students will make a big and small circle in turn around the person. after chanting, others will freeze at random places while the blindfolded will go around trying to catch them. in the interview, the teacher explained that she could see different types and actions shown by the students especially when they freeze. some of them are sitting, some are standing, and some are even squatting. this somehow shows that the students understand the concept of freezing by doing different actions. moreover, during observations, the students were also seen interacting with each other. the interaction clear can be seen when the blindfolded is trying to guess the name of the students caught by touching the body parts of the person. the teacher added that, the interaction between these students can help to improve their social abilities as well as their confidence in dancing because when they dance, they communicate with each other through eye contact. in addition, she noticed throughout this game four-yearold students, to some extent, able to use their sense of touch during learning and dancing even though they need a little time to understand the concept of the sense of touch. another game the teacher incorporated in music and movement class is hopscotch game. hopscotch is a type of game that can stimulate balance and coordination by practicing the activity of standing on one foot and jumping on one foot without holding on several times. in order to fit with the classroom surroundings and teaching contents, the teachers made some changes to the game where the teacher drew two hopscotch diagrams on the floor using markers where both diagrams faced a different direction instead of just one hopscotch diagram. the teacher drew a bridge to connect both diagrams, as seen in figure 3. nurafiqah diyanah azmi et al., play-based learning with games as a dance teaching tool 231 figure 3. hopscotch diagram according to the teachers’ interviews, hopscotch game helps produces a range of movement and increase the flexibility of lower leg muscles. this game helps students develop their gross motor skills and counting skills and improve balance and coordination while teaching them how to wait their turn and follow directions. balance and coordination are more focused when students jump from one square to another and during the bridge, while counting skills are developed when students count while jumping. one of the teachers clarified that hopscotch is one of the games they often use in music and movement class because through this game the teachers can see and evaluate the extent of the students’ flexibility. significant changes can be seen in a 5-yearold student, as shared by the teacher, who previously had a very low level of balancing. when engaging in balanced activities such as exercise or dancing, the student can only balance himself for 1 to 2 minutes at a time. another teacher also shared that this game involves maintaining a regular rhythm as it repeats the same patterns and sequences during playing. furthermore, through this game students can learn to navigate the social environment, especially when played in groups, as it is seen to be more effective for social development because students can form friendships and learn cooperation and compromise according to the rules of the game, which require taking turns. from researchers’ point of view based on observation, hopscotch game helps the student to develop a good sense of rhythm which can be used for dancing. if compared during learning, there are still students who are seen facing balance problems, especially when the speed gradually becomes faster. however, while dancing, the students are seen to be able to balance their bodies and dance according to the type of song played. this somehow shows that hopscocth is a perfect game to teach balancing, which teachers can incorporate into their music and movement classes. the effect of games as teaching tools in music and movement class games have given a very deep effect on students, especially in improving the level of learning and introducing new knowledge to students. students may not realize that they are actively participating in their learning. most of the games used in learning are games played by more than two people, therefore, interaction between students will occur, which leads to enjoyment, passion, involvement, structure, motivation, creativity, social interaction, and emotion. according to eliasa, game can be able to improve the cooperation and social ability of the members by providing values of teamwork and responsibility inside them (eliasa, 2014). this statement demonstrates that games have an important role in realizing active learning because they include both interactive and distinctive elements such as boosting active learning and motivation and encouraging teamwork. after all, students can learn more effectively as they participate in their learning by interacting with other students and peers. another scholar also stated that games in education enhance students learning effectiveness. parmjit singh, teoh sian hoon, akmal md nasir, adlan md harmonia: journal of arts research and education 24 (1) (2024): 221-235232 ramly, syazwani md rasid5, chew cheng meng (2021), explained that children learn best through action rather than instruction, which then leads to first-hand experience (singh et al., 2021). the constructivist philosophy behind pedagogical approaches in mathematical learning places an emphasis on meaning and views the learner’s role as one to construct knowledge. when children enjoy learning, the thirst and motivation for further knowledge come naturally without force, and acquisition of it in this manner is extremely important for kick-starting movement development (p. 201). they also give the same opinion(tarja krögera & anne-maria nupponen, 2019). stated that the use of games in education has the potential to generate communication, support a positive classroom climate, enhance creativity, foster cooperation in and integration into a group, and change attitudes. this potential happens between children and teachers. the improvement of cognitive ability through games is explained by romine, saying that through the activities of games, students get motivated in an organized and creative way; according to their abilities, they get to know the world that surrounds them and their mental and other capacities and characteristics (mcallister & bothman, 2004). this is because games in education have been used to inform and develop a range of skills, including decision-making, creativity, and problem-solving. game provides different inputs depending on the game’s learning purpose. even though each student has a different ability level, using games as an educational intervention can improve learning outcomes and provide the same opportunities to each individual. by using games as a learning medium and method, students improve their deeper understanding, especially when they learned something new. this explains that games provide learners with opportunities to engage in decision-making and analyzing as games serve to make learning more memorable, especially for students. at the same time, students able to feel enjoyment as they play and participate in each game. from there, it can increase students’ interest and make them less stressed. games are essential to attracting student satisfaction and have positive effects that reflect feeling such as pleasure, liking, and fun (rahman et al., 2020). moreover, games are intended to help motivate students with sedentary lifestyles to become physically active because they require students to engage in physical activity such as cycling, dancing, or swinging. when students use their bodies to learn something new, it somehow allows students to experience a realistic situation with social interaction and observable outcomes. according to selvi & cosan, activities and games with repetitive movement patterns are ideal for stimulating the brain and building gross motor skills (selvi & çoşan, 2018). playing games repeatedly or doing repetitive movement patterns helps students understand movement for deepening and the game’s rules. this is because some games have rules that must be followed in order to be played. as a result, repetition in gameplay is critical in assisting children to explore more motor skills and maintain their physical health, as games can also be an exercise activity for them. this statement is also supported by winda puspita, ikhsanudin ikhsanudin & eni rosnija (2021), where games are an interactive technique to improve their understanding of receiving and following rules. this is because using games or playing games repeatedly helps children to interpret and store information in their memory. at the same time, repetition in gameplay also helps children improve their listening (puspita et al., 2018). this is because students’ participation in the classroom is not only oral participation but also non-oral meaningful acts related to the ongoing activity. from there, participation in the classroom can enable students to develop social skills, increase recall of information, improve presentation skills, and increase their scope for improving the quality of work. however, too many games can somehow lead to some disadvantages to nurafiqah diyanah azmi et al., play-based learning with games as a dance teaching tool 233 the student’s learning process and the teacher’s teaching process. throughout the observation, researchers see that combining games in music and movements class demands the teacher to act as a designer, especially in designing content or lesson plans. each time a teacher wants to teach dance, they need to come up with new games, ideas, and learn how to relate the games with dance content. students can get bored easily and lose focus if the teachers use the same activity or games for each class. creating and designing games in teaching dance can be taken as teaching resources because teachers need to reflect on the mechanism of a game for students’ dance learning. teachers need to plan and choose the correct game elements that fit with learning contents that need to be taught. teachers also need to make sure that games used are not too difficult for the students to understand, especially games with rules. this is to ensure that learning objectives can be achieved. too many games as a teaching method also can lead to games that take time to learn. the use of games that are too difficult or have many rules is seen as unsuitable for use as a teaching tool in music and movement classes. this is because more time will be spent playing games rather than teaching dancing. this makes it difficult for teachers to predict how much time students will need to complete all of the levels of a game and thus consider the educational game-related tasks completed. this has caused a bit of chaos for the teachers in teaching dance since they need to teach students in a whole group. games that take a long time can cause other students to easily feel bored as they have to wait, making them lose focus and interest in the game. from the observations and interviews that have been conducted, it can be seen that incorporating games into teaching materials can be a good approach and direction for students. teacher ida noticed that games increase their interest in learning. as for teacher farah, she noticed that learning through games promotes a variety of aspects of student’s development where games encourage students learning and inquiry through interactions that aim to stretch their thinking to higher levels. before, the music and movement class only focused on one learning concept, teacher-centered learning, but everything changed when the teacher used games in music and movement class. the use of this game is more towards student-centred learning where students participate in the decision-making in their learning instead of getting instructions from the teachers. as for teacher kinah, she described that games as a tool in teaching movement or dance help students explore more movement skills and movement concepts because they create a community atmosphere and encourage teamwork. conclusion games as a teaching method in music and movement classes greatly emphasize students learning how to dance. the emphasis in the games creates more excitement for the children and not on worrying too much about techniques. the researchers discovered that game elements used by both preschool teachers are focused on guided play. this is because the games used are more structured and contain rules that need to be followed by students. guided play is a child-directed and structured activity that involves adults’ guidance and mentorships in their play where adults choose their play materials that encourage student creativity and materials that can give students the freedom to explore what they need. teachers from both preschools choose games that fit the learning content that needs to be taught. choosing the right game for the classroom is more difficult than it appears because teachers must select games that are appropriate for the learning content. too much focus on games during music and movement class can somehow lead to some disadvantages in students’ learning process, such as not achieving the learning objectives, students will lose focus during harmonia: journal of arts research and education 24 (1) (2024): 221-235234 the dancing session, and students will easily feel bored. to maximize the advantages of game-based learning in the classroom, need for standardization and regulation of game use in teaching-learning-evaluating. until such regulations are developed and implemented, games will continue to be a great, fun way to teach and learn in class, but only on occasion. this case study can be a good example for future research related to dance education for dance scholars and students. references anne green gilbert. 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(2020). study on the innovation of dance teaching of preschool education specialty. proceedings of the international conference on education studies: experience and innovation (icesei 2020). https://doi. org/10.2991/assehr.k.201128.061 https://hdl.handle.net/10520/ejc127698 https://doi.org/10.26418/jppk.v7i4.25226 https://doi.org/10.26418/jppk.v7i4.25226 https://doi.org/10.37134/jsspj.vol9.1.4.2020 https://doi.org/10.37134/jsspj.vol9.1.4.2020 https://doi.org/10.13189/ujer.2018.060921 https://doi.org/10.13189/ujer.2018.060921 https://doi.org/10.11591/ijere.v10i2.20722 https://doi.org/10.11591/ijere.v10i2.20722 https://www.iejee.com/index.php/iejee/article/view/688/403 https://www.iejee.com/index.php/iejee/article/view/688/403 https://www.iejee.com/index.php/iejee/article/view/688/403 https://www.verywellfamily.com/the-importance-of-free-play-2633113 https://www.verywellfamily.com/the-importance-of-free-play-2633113 https://www.verywellfamily.com/the-importance-of-free-play-2633113 https://doi.org/10.1177/0963721416645512 https://doi.org/10.1177/0963721416645512 https://doi.org/10.2991/assehr.k.201128.061 67 ceprotan performing art: a traditional folkart based on urband legend bagus wahyu setyawan, kundharu saddhono master program of javanese language education, postgraduate, universitas sebelas maret, indonesia received: april 14, 2018. revised: may 23, 2018. accepted: june 10, 2018 abstract traditional arts of born and develops from urban society by keeping a manifestation of its and forms are different in the regions. ceprotan as a traditional arts from sekar village, donorojo sub-district, pacitan regency. form of this research is qualitative descriptive with focused to describe and explain about ceprotan performing art in sekar village, that source from the local history, that is the story of ki godeg and dewi sekar. research object are ceprotan performing art which held once a year, in senin kliwon days, in dulqokdah month. data collected technique using observation, noted, and content analysis. result of research find that ceprotan is a traditional art performed same time with bersih desa ceremony in sekar village society. ceprotan perforiming art held once a year, only in day of senin kliwon, month of dulqokdah in lunar calendar. ceprotan performing art performed the sendratari (dramatic dancing art) telling the story of ki godeg and dewi sekar journies with develop the sekar village. in the end of performing, done attraction throwing the young coconuts from some of young people from sekar village. keywords: acculturation; kentrung tri setyo budoyo; cultural change how to cite: setyawan, b., & saddhono, k. (2018). the acculturation of kentrung “tri setyo budoyo” in dayu village, nglegok district, blitar regency: the theoretical study of cultural change. harmonia: journal of arts research and education, 18(1), 67-73. doi:http://dx.doi.org/10.15294/harmonia.v18i1.9509 harmonia: journal of arts research and education 18 (1) (2018), 67-73 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v18i1.9509 reason, it can be said culture and cultural is the product of thinking patterns of a society who believed to be the truth then done is constantly being in some period of time even bequeathed to their generations. the elements of culture are very much, also have very diverse product. product of the culture that is philosophical and ideological can be seen from society activity that is based on cultural norm from their region (priyadi & mulia, 2013). in javanese society taken a belief that any man who died just their physical who died, but the spirit and their lives were still occurring. javanese people who still life could introduction discuss about culture and cultural wouldn’t have it can be detached with people life in which the cultural was born. a difference in mindset, a social system, trust, genetic, even aspects geographical have the effect culture formation. several factors above who made the culture of regions with each other become different. this phenomenon because culture is about human knowledge who believed to be the truth by the concerned and who are covered by it feelings and emotions, and thought other (sutardjo, 2010). for that corresponding author: jl. ir. sutami no.36a, jebres, kota surakarta, jawa tengah 57126 e-mail: bagusws93@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 18 (1) (2018): 67-7368 involve spirit of their fathers with certain ways (witasari, 2015). one of them is by implementing ceremony to the ancestors. durkheim suggests that this way is a manifestation of respect to those who are dead and must continue. to respect it cannot be significantly, but can only be achieved symbolically shaped in ritual respect to ancestral, (hidajat, 2013). the ceremonies of reverence for ancestors is very diverse and almost in every area there are a differences. some of them such as the slametan, bersih desa, gugur gunung, larung sesaji, umbul-donga, etc. the way and packaging of each region are different. such is the case, bersih desa ceremony that each region is different. in klaten, central java, bersih desa ceremony ordinary conducted by cleaning tombs of the ancestors continued with performances of wayang kulit in the evening. bersih desa ceremony in ponorogo held in lake of ngebel by way of nglarung sesaji into the lake. as for the region of pacitan, bersih desa ceremonial packed within show a performaning art called ceprotan ceprotan tradition is a ceremony already hereditary doing in there, especially in the sekar village, donorojo district, pacitan region. ceprotan tradition be done to keep village from the distress and dangerous thing. this tradition for villager believed containing value of trust, symbol, and magical feeling on the heritage of their culture ancestors. the society of sekar village, though they have received islamic beliefs, but they just kept and uphold culture from their ancestors. it can clearly be seen on particular life, they still do some of ceremony, like slametan, burning the kemenyan (frankincense), doing sesaji (offering) in particular day regarded as the sacred day, (wijaya & supriyono, 2015). ceprotan ceremony routine doing by the society of sekar village once in every year. even this ceremony also performed in certain event, like when birthday of pacitan city or when there are some visitors for foreign country. this because out of a traditional art and culture in pacitan region who have a very important role for the community as works of religious art, for example as a means of appendages ceremony, and as complementary social life needs. in addition, traditional art is also a local culture which always maintained and of cultural values is a traditional inherited, (wiratmoko, djatiprambudi, & sulbi, 2014). regardless have different performing show, a neat thing to be reviewed of the ceprotan it is story which constitute the emergence of this ceremony. head of customary said, that ceprotan ceremony have function to memorialize the ancestors of their village, namely ki godeg and dewi sekar who have discovered sekar village. the wandering story of ki godeg and dewi sekar this is similar to story of panji who are very well known in javanese region. panji story derived from one of figures on the kingdom of jenggala and kediri, namely raden inu kertapati and galuh candrakirana who have did many wandering as their tapa brata (sacirifice way). story about panji scattered on the territory of java island have different versions. panji story evolved into pacitan area, precisely in sekar village who believed to be a settlements builder of the sekar village. the story about ki godeg and dewi sekar version of pacitan people become the other versions of lakon panji (story of panji) that developing in the javanese society. therefore, that story is performed in ballet who telling about wandering of ki godeg and dewi sekartaji when they’ve created and developed sekar village. ceprotan ceremony held once every year, in precisely in day of senin kliwon in month of longkang (in javanese calendar) or month of dulqokdah in lunar calendar. if there are no senin kliwon-day in month of longkang then replaced on sunday kliwon (setyawan, 2016). determination of day and month of ceremony ceprotan by villagers because they’re believe that day considered the birth of dewi sekar. by commemorating the birthday of dewi sekar, local society in there believe she will give blessing for the people in sekar village. this is related to the belief of javanese people who still believe about the power that comes from outside of the human body, that power from almighty bagus wahyu setyawan, kundharu saddhono, ceprotan performing art: a traditional ... 69 god, can also be interpreted as supernatural powers such as spirits of the ancestors like the founder of the village, and could also be considered the ancestor’s spirit still provide protection to him and his descendants, (wijaya & suprijono, 2015). reference of some description about ceprotan performing art and background of research, can be formulated that purposes of research of this paper are to describe and explain about ceprotan performing art as a folk-art from sekar village. on this tell about the form of ceprotan staging. furthermore, description in this paper also telling about journey of ki godeg and dewi sekar, urban legend from desa sekar which being a basis of ceprotan performing art. method the method used in this article was qualitative descriptive method using an ethnographic approach. ethnographic study based on phenomenological view that promotes appreciation of an event. furthermore, the phenomenology tries to depict an event in possible detail way. this previously done by saddhono & rohmadi (2014a) in his research on the phenomenon of culture and tradition in java. ethnographic study according to sukmadinata has particular function to describe and interpret the cultural, social group or system. although the meaning of culture is very large, but ethnographic studies usually focused on activity, language, beliefs, rituals, and ways of living, (mardoyo, 2008). ethnography approach chosen because the research object in this study is ceprotan performing arts as traditional folk-art which develop and staged in sekar village. data resource collected by observation when the ceprotan performing art are showed, in-depth interview with customary chairman and some sekar’s society. data analysis technique using flow model of analysis and interactive analysis, step of data analysis are data reduction, presentation of data, and conclusion drawing. in this research also using triangulation to test the validity of data. result and discussion history of ceprotan ceremony ceprotan own derived from word “ceprot” that in javanese language it means radiating with hard as if sprayed. the word “ceprot” taken from the sound “ceprot” when the players struck young coconuts in the ceremony. another argument said the word “ceprot” derived of the story of the past, where the dewi sekar deliberately shed coconut water when she was drinking (setyawan, 2016). it can be said ceprotan pertaining to story of ki godeg and dewi sekar that envolve in sekar society. ceprotan ceremony derived from story panji asmarabangun/panji wanengpati with dewi sekartaji when they was wandering until in the donorojo area. panji asmarabangun and dewi sekartaji in their sacrifice ways often changed their name and wandering for tricked their enemies. names like andhe-andhe lumut, inu kertapati, joko gudhig, and enthit are some of the pseudonym of panji asmarabangun. the journey of panji asmarabangun is one of symbolizing that to become a king must have requires experience and sacrifice. by doing the journey, panji could see the suffering of his people who are facing. the other source said that the journey to finding his wife (in this context is dewi sekartaji) was a symbol of the king who looking for his people (read: ghozali, fianto, & arwana, 2015). related to some versions of the story about the journey of panji, interviewees also said that when he’s wandering in to region of donorojo, panji asmarabangun renamed to kyai godeg and dewi sekartaji called dewi sekar. ceprotan ceremony itself comes from urband legend of sekar village that is a story when kyai godeg at that time were open agricultural land in sekar village. because it was lunch, he was resting under a tree while waiting for a consignment of dewi sekartaji. when a rest he complained to god closed is as follows “ingsun iki among salugune titah ing donya” because the tree used to lean at that time is no name then by kyai godeg was given the name trees harmonia: journal of arts research and education 18 (1) (2018): 67-7370 “glugu” which is another name of coconut trees. when looked up and said “ingsun iki ning donya ora duwe apa-apa, ora nyekel apaapa” looking toward to the fruit that then the fruit was named “klapa” in javanese language. after he sat under a “glugu”, suddenly his head downfall by young fruit and he “aku kok krasa kelegan atiku ya bareng ketibanan woh iki” then younger coconut fruit was named “degan”. naming the objects by taking partially syllables from the name of event or term scene being regarded as having aptness called kereta basa (sofwan, 2011). the story continues when kyai godeg drank some of young coconut water and leaving some water for his wife. after his wife come for ushered the lunch for him, ki godeg give some of coconut water. however, not even to give it to his wife, suddenly appear the unpermitted sense of ki godeg. in the end, there is a conflict between kyai godeg and dewi sekartaji. the events that formed the basis of the ceprotan show who use young coconut from main media, which is based on the story. after stay for a long time in sekar village, kyai godeg founded reside school and many people who want learned in there. as for the requirement for learned, kyai godeg should bring, cengkir, menyan, kembang setaman, pitik putih mulus, pitik ireng, mori, beras pari, beras ketan, and ayam panggang. all terms proposed by kyai godeg not refers to true, but rather had taken in symbolize of something or in javanese language called “sasmita”. this make some applicants make a wrong interpreted, so many of the student bringing the real requirement which reserved by kyai godeg. after having explained the true meaning, kyai godeg ask someone to gathering all of their ayam panggang (baked chicken) and divides flattened to all students. but, the divider had the trait of not fair or in javanese language this character called “cangak”. this justness activity seen in when he divide ingkung and the other food, he is taken out the part many for him. this indirectly teach about the importance of fairly character when given the mandate (setyawan, saddhono, & rahmawati, 2017). aware of behavior his students is unfair, kyai godeg ask his wife to divide the roasted chicken with flattened. after divided shared equally to all students there are still the remaining two roast chicken, then kyai godeg said “sapa wonge sing wani mlayokake panggang sisane iki mengko banjur balangana nganggo cengkir sing mbok gawa kuwi.” after that, there is a student who courageous to running out the roasted chicken, then the other student pelt with the young coconut. this event as the beginning form of ceprotan ceremony which used the young coconut already soaked procession ceprotan ceremony ceprotan done or held in a space land, starting in the afternoon at about 06.00 pm or could be called time of surup. this reasons, election time of “surup” to start this ceremony because that time believed changing time for new day, whether it is from view islamic and javanese perception. the show begins with praying by elders in sekar village, in this is done by iman tukidjo, former head of sekar village. figure 1. the anchestor of sekar village and his wife after praying have finished, then followed by entering some people who javanese customary dress with bringing the offering (sesaji) that are ingkung (roasted chicken), jadah ketan, beras, and some of local foods which formed like the mountain or be called “gunungan”. sesaji like kembang, dupa, and kemenyan has not changed, because sesaji believed being a sacred bagus wahyu setyawan, kundharu saddhono, ceprotan performing art: a traditional ... 71 formances. figure 3. dewi sekartaji bringing a young coconut ceprotan as traditional ceremonies sourced from urban legend like has been discussed before, that ceprotan is traditional ceremonies sourced of story of panji. panji story already known in the javanese society, especially in east java. as stated by raffles, panji story started to be known since the days of majapahit era who takes background the kingdom of kediri and jenggala. the main figure is panji asmarabangun and dewi sekartaji. in the progress of panji story spread to various regions in indonesia and even until to southeast asia region by displaying variant different, (2008). story of panji is a local story which have been re-interpretation (disanggit) into various version, for examples story timun emas, keong emas, cinde laras, kethek ogleng, enthit, klething kuning, jaka kembang kuning, and the others, (bagyo, 2005). some of panji story developed in many regions and still alive to now for being an icon of that area. story of kethek ogleng derived from wonogiri, central java is also sourced from story of panji. the name kethek ogleng take from one figure in panji story who tell about son of the jenggala’s king named panji gunung sari. at the time of his father are told to look for his broter’s wife, dewi sekartaji who leave the kingdom. to ease in finding dewi sekartaji, panji gunungsari using “kethek ogleng” as his pseudonym. after looking for a long time, finally he met with sekartaji (disguised as rara tompe) in dhadathings and have doing from a while by ancestors, (setyawan, 2016). after that followed by the entry of accompaniment who led by the head of customary bringing character of kyai godeg and dewi sekartaji, who played by his wife. this way followed by a group of young people and residents who described students walk behind him. they’re display ballet performing that is confided the journey of kyai godeg and dewi sekartaji while discovered sekar village. figure 2. entering the sesaji the convoy of kyai godeg before perform a dramatic-dance first take the offering thing to gate which already decorated by janur (young coconut-leaf). around the place of ceprotan ceremony also have been prepared some coconut which already soaked before and placed in a basket. after dramatic-dance have about kyai godeg and dewi sekartaji have been done, young people as students of kyai godeg divide themselves into two groups. according to explanation before, there is someone who running out the ingkung or commonly called “pitik cangakan” then the carrier of ingkung pelted with the coconuts by the other. so on each other throw young coconuts between one groups to the enemies group until the coconut used up. they all believe in that whoever affected by splashing water of coconut can get blessing (saddhono & supeni, 2014b). after all process just finished jointed with the dance together and reading invocations by elders of sekar village. a ceremonial procession ceprotan closed by the distribution of the offerings such as roast chicken (ingkung), jadah ketan, rice, and other local foods to the citizens who is in the area of ceprotan perharmonia: journal of arts research and education 18 (1) (2018): 67-7372 pan village on mbok randha dhadapan’s house, (warto, 2014). figure 4. the dramatic dance art telling the journey of ki godeg and dewi sekar figure 5. some of people throwing the young coconut another version of panji story who became a legend in pacitan, specifically in the sekar village, is story about kyai godeg and dewi sekar. story about journey of the married couple to lime mountainous areas and still quiet population. after developed the village and set up hermitage, slowly the area being rural crowded. then, rural area given names sekar village, taken from one of the founder village, namely dewi sekar. until now, villagers of sekar village to respecting the honor of their ancestor and they’re held ceprotan ceremony which is celebrated once time every year. the story kyai godeg and dewi sekartaji that flourished in sekar village must be unchanged from the ancestors until now. parents are telling the same story to their children, to keep ancestral tradition. this is because inheritance tradition an ancestor as one important thing which showing authentically identity of culture in certain society. authentically of cultural is important to become identity of people who have and develop it (ambarwangi, 2014). for that reason, packaging forms as well as ceprotan ceremonies unchanged and remain the same from time to time. conclusion bersih desa ceremony performed by different in every region. in pacitan region there is bersih desa ceremonies which packed with arts performance called with the term “ceprotan”. ceprotan ceremony done once time every year, in the day of senin kliwon on the month of longkang (in javanese calendar) to commemorate the birth of dewi sekar, one of the ancestral in sekar village. in ceprotan ceremony also means re-actualizing of local history in that village. this can be seen from depiction the journey of kyai godeg and dewi sekar when discovered sekar village. story of kyai godeg and dewi is one kind of panji story. panji story dominant tells about the story of wandering panji asmarabangun and dewi sekartaji. it can be said story of kyai godeg and dewi sekar that develops in the sekar village can add the diversity version of panji story. until now the story of kyai godeg and dewi sekartaji still believed by sekar society as well as not changed in the least the story. it was because the society of sekar village these as cultural heritage of their ancestor. ceprotan ceremony contain value of the manners that can be seen from the tools like cengkir, kembang, ingkung, jenang, and so forth. all of them containing a very deep meaning. with progress in ceprotan ceremonies become cultural event in pacitan who often shown in certain and important event, like birthday of pacitan and in treating when state guests has come. references ambarwangi, s., & suharto, s. (2014). reog as means of students’appreciation bagus wahyu setyawan, kundharu saddhono, ceprotan performing art: a traditional ... 73 and creation in arts and culture based on the local wisdom. harmonia: journal of arts research and education, 14(1), 37-45. bagyo, s. (2005). wayang beber wonosari. wonogiri: bina citra media. ghozali, m. a., fianto, a. y. a., & riyanto, d. y. (2015). penciptaan buku ilustrasi tari topeng panji malangan untuk mempopulerkan budaya tradisional kota malang kepada remaja. jurnal artnouveau, 4(2), 102111. hidajat, r. (2013). transformasi simbolis empat tokoh sentral seni pertunjukan wayang topeng malang di jawa timur. mudra, 28(1), 1-9. mardoyo. (2008). pengendalian mutu kinerja dan kompetensi, jurnal penelitian, 9(1), 1-9. priyadi, s., & mulia, d. s. (2013). unsurunsur kearifan lokal masyarakat pesisir cilacap. paramita: historical studies journal, 23(2), 53-65. raffles, t. s. (2008). history of java. yogyakarta: narasi. saddhono, k., & rohmadi, m. (2014). a sociolinguistics study on the use of the javanese language in the learning process in primary schools in surakarta, central java, indonesia. international education studies, 7(6), 25-31. saddhono, k., & supeni, s. (2014). the role of dutch colonialism in the political life of mataram dynasty: a case study of the manuscript of babad tanah jawi. asian social science, 10(15), 1-9. setyawan, b. w. (2016). eksplorasi nilai sosial dan kearifan lokal dalam pertunjukan kesenian ceprotan di desa sekar, kecamatan donorojo, kabupaten pacitan. spread on cultural nation conference “membangun budi pekerti melalui kesenian daerah” held by upkd fkip uns”. setyawan, b. w., saddhono, k., & rakhmawati, a. (2017). sociological aspects and local specificity in the classical ketoprak script of surakarta style. journal of language and literature, 17(2), 144-151. sofwan. (2011). kawruh aruming basa. surakarta: widya duta grafika. sutardjo, i. (2010). kajian budaya jawa. surakarta: fssr uns. warto, w. (2014). revitalisasi kesenian kethek ogleng untuk mendukung pengembangan pariwisata di kabupaten wonogiri. paramita: historical studies journal, 24(1), 47-62. wijaya, f. a. & suprijono, a. (2015). perkembangan tradisi ceprotan di desa sekar kecamatan donorojo kabupaten pacitan 1981–2013. avatara, 3(3), 469-479. wiratmoko, c., djatiprambudi, d., & sulbi. (2014). suwardi: tokoh pengembang wayang beberdi pacitan. jurnal seni rupa, 2(3), 98-105. witasari, n. (2016). astha brata dan pranata mangsa: alam dan relasi kuasa dalam konteks agraria di jawa. paramita: historical studies journal, 25(2), 225-237. 1 bach and busoni essentials in a chaotic world seow phing lee, c. h. raymond ooi, ku wing cheong universiti malaya, malaysia submitted: 2021-05-06. revised: 2021-05-30. accepted: 2021-06-05 abstract the study analyses the manifestation of structural change from the bach violin chaconne (bwv1004, c.1720) to the bach-busoni piano transcription (c.1897). this article explores the use of two-dimensional music abstraction for vertical (pitch height) and horizontal (time) and its signal insignificant identified bariolage sections in music. bariolage excerpts are chosen for they are implied sounds captured in repeatability and recontextuality. the first part of the article offers an excerpt of the bariolage from violin at bars (113-120) and its parallel piano transcription at bars (118-125). significant expressions of registral change utilizing different voice parts (soprano, alto, tenor) offer a wider expansion with piano. these excerpts were chosen after reviewing the original bach chaconne and its essentials in analytical aesthetics for the projection of beauty in symmetry-asymmetry-chaos in composition. this study captures the aesthetics of the beautiful from the original score of the violin chaconne at (bars 89-96) and (bars 113120) for bach-busoni piano transcription. further, there are recommendations for future studies to explore vertical spaces and mathematical sequences embedded in the music in other sections. the findings of this study were implied through new music analytical formats to be applied in composition, pedagogy, and performance practice. keywords: piano transcription, beauty in music, symmetry, golden section, music aesthetics how to cite: lee, s. p., ooi, c. h. r., & cheong, k. w. (2021). bach and busoni essentials in a chaotic world. harmonia: journal of arts research and education, 21(1), 1-8 harmonia: journal of arts research and education 21 (1) (2021), 1-8 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i1.30152 larly mathematical abstractions were employed. using significant excerpts from scores, pitch distances as measures of height or depth in sound (y-axis) against musical flow in time (x-axis) provides graphics with recognizable features like regular repetitions, symmetry, and asymmetrical forms that span depths and heights. in the process of transcription, music is metaphorically liquified as flowing horizontally in timed series, textural change in vertical spaces transform linear lines in bach violin chaconne to deeper dimensional monuments at the bach-busoni piano transcription. the bach violin chaconne composed introduction the original bach violin chaconne (c.1720) and its transformations to the bach-busoni chaconne piano transcription (c.1897) contain beautiful excerpts that colours (bariolage, fr; multicoloured) multidimensional spaces within symmetrical (voloshinov, 1996, morgan, 1998), repetitive (lester, 2001) or recontextualized forms (hanninnen, 2003). it permeates in timed series with expansions to spatial dimensions. measurable through identification of significant notation of pitch height and distances on 2-dimensional platforms, the utilization of scientific methods, particucorresponding author: e-mail: rooi@um.edu.my p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 21 (1) (2021): 1-82 in 1720, was a creation of linear polyphony with great interpretative diversity (irving, 2007). techniques for “structural expression” were required to perform double, extended arpeggiatic stoppings, thus identifying pitch contours within polyphony (brumbeloe, 2000). their meticulous construct of implied voices and transitions in motives behind the linear sequence is a challenge to virtuosic performers (davies, 2005). in contrapuntal studies, counterpoint marks the eclipse of implied voices within single and multiple voice platforms, thus creating uneven tones. this unevenness permeates significantly within common points in music, where uneven beauty highlights melody as points for exaggeration in music. this study reviews structural expressions through verticalization within symmetrical and asymmetrical patterns that apply from bach violin chaconne (bars 113-120) to bach-busoni piano transcriptions (bars 118-125). for the piano, busoni created a strong sense of texture by reinforcing structure through the extension of forms with repeated materials, transformed fragments, increased leaps, and widened registers dramatizing the piano with illuminated scalar octaves and double parallel chords (kogan, 2010). aesthetics are experiences in music where the art of “the beautiful” occupy spaces of balance, proportion and perfection. according to hanslick (1891), the book entitled “von musicalisch schonen” (the beautiful in music) mentions the lack of relationship in music interpretation when problems arise in complexities of sound and a more scientific method was needed as it was too subjective in inquiry (breakspeare, 1879-80). from “the beautiful in music”, hanslick (1891, p.92) postulates that mathematics controls the intellectual manipulations of primary elements of music and is secretly at work in the most simple relations, especially rhythm where the fundamental in mathematical pattern and the geometrical structures embedded in musical, architectural concepts convey beautiful dynamical forms (knyt, 2012). measurements of beauty in musical signal processing using dimensional platforms in the x and y-axis has been informative by altschuler and phillips (2015) and klapuri and davy (2006). the recent analysis of hanslick’s aesthetic principles in music explored the context of empirical methodologies in clarifying music (wilfing, 2019). musical beauties are manifestations in spatial effect formed by patterns of pitch in vertical distances between them. realizing their properties in counterpoint, composers control distances between voice to achieve the effects of spaces apart from other effects like modulations, symmetry, and repetitions. pitch height (y-axis) against time (xaxis) topologies of musical abstractions are insightful illustrations of graphical presentations of music flowing in time (altschuler & phillips, 2015, klapuri & davy, 2006). within timed series, symmetry is built on principles of characterizing order in structures that control invariances within geometrical encapsulations (voloshinov, 1996). as they are components of smaller parts to a whole, their aesthetic functions in the art are not sufficiently explained though they are thought of as beautiful events. symmetry is man’s comprehension of order, beauty, and perfection in structure. morgan (1998) outlines the three basic symmetrical transformations. while rotational and reflection transformation preserves the positions in spaces, translational property reminds listeners of the multidimensional possibilities of sound in music. as stated by morgan (1998), ‘’translation, displacements in planar spaces can occupy infinite themes at different axis with horizontal, vertical, or angular change. ”translational symmetry displaces a series of elements recurring at regular intervals” (p.7). being translative, the process of elemental displacements recurring at regular intervals can be an extension in periodic patterns. in contrast to symmetry, the disproportioned or asymmetries are signatures of “aesthetics” in the ugly (rosenkranz & hauber, 2011). the understanding of ugly as a reverse of beautiful was incomplete seow phing lee et al., bach and busoni essentials in a chaotic world 3 when the unaesthetic cannot have formed. asymmetries are formed, and their existence carries incongruent sublime beauty. the art in imitation allows a variance in space to linger in music. repetitions of the exact version of a subject are imitation and being a context in form; it is an expression for reinforcing a subject matter and, therefore, enhancing performances (paddisson, 2010). reformulation and reconstruction are translational processes in music that are repetitive in form and structure, are also the means of obtaining the effects of continuity, coherence, order, and symmetry. lester (2001) mentions that repetitive events are ways of amplifying acoustics in the music of bach. reinventive in nature, the placements of these events either at different segments in music or combined with other materials are activities of recurrence. by aligning bariolage movements from the chaconne as parallel sections, the frequency of amplified effects occurs in multiple intensifications of textures by verticalization. hanninnen (2003) described the change with recontextualization whereby being a compositional technique, slight changes in repetition create phenomenal transformations in sound. the bariolage in chaconne is recontextualized in many movements of variations projecting the same materials that occasionally appear different to inform listeners of an implicit change. recontextualizing music transcends style, and its analytical inquiry into diminutive chaos or beautiful sequences are new subjects for interpretation. method the transfer of bach music through transcription leaves the listener with audible-visual impressions as they contain musical structure that theoretically amplifies questions in methods chosen for interpretative research. the violin chaconne by bach, its piano transcription by bach-busoni is essentially a beautiful work that describes music in structural forms. the music is tabulated with pitch height in semitones on the y axis and time series in quaver units on the x-axis. they are challenging to capture graphically, a mathematical abstraction in 2d where different vertical pitches perceptible to the imagination in spaces occupied by their depths or heights in music. it is a testament to the existing spaces of frozen musical texture through horizontal timed series; their scattering points of notes form independent data on the x-axis. while vertical patterns (y-axis) reflect dependent data on time series, their alternation between the free and permanent music notes is recognized spatiality in two-dimensional spaces (bonds, 2020). results and discussion the violin (bars 113-120) from the bariolage section of violin chaconne, scattering plots of notes in alternation between common notes implies a resonance to raindrops in nature. there are perpetual movements with continuous flow in common repetitive notes but never in stagnation, like the rhythm of raindrops. recontextualized towards the end of the movement, the music is visualized as the change in depth, height, or direction. arranging the bariolage sections into parallel bars of 8 in each analysis (bars 113-120), every note in time and distance away from common points in a pointillist manner cumulatively affect aesthetics in sound through heightened musical patterns. bars (113-120) are rearranged as bariolage, (b1a-b8a) in (table 1 & figure 1, 2 & 3). aesthetically beautiful, it projects inspiring architectural landscapes, a way of modernizing ancient patterns of repetitive, symmetrical recipes in musical compositions. the bariolage section is decorated with “falling droplets” of water as the music progressed. altschuler (2005) studied scores referring to the lute and suggested that the bariolage became a compositional technique for the violin with features of string alternation between open strings to subtle melodies. a form of spatial diffusion frozen in time, the violin recontextualizes, struggling with drowning sounds towards the end from (bars118-120) at figure 2. the harmonia: journal of arts research and education 21 (1) (2021): 1-84 aesthetical beauty of the bariolage can be visualized like points where droplets of repetitive notes allow different flowering layers of melody to signify change (table 1 & figure 2). the musical technique bariolage (fr; “multicoloured”) involves the alternation of notes on adjacent strings, one of which is usually open, the other usually accented. the mechanics of quick alternation between a static note and changing one forms melody either above or below the permanent note for forms of repeatability to grow (winold, 2007). the permanent note could be an open string and with the technique of flexibilities in wrist and forearm, separate bow strokes or cross-fingerings present as order or oddness (boyden &walls, 2001). figure 1. bariolage (bars113-120),violin it requires great performative endurance to execute the bariolage sections, where the task is more difficult when structure dives deeper into the score from (bars 118-120), signifying music to its end. measurements from permanent points (pedal/common notes) are demonstrated in (table 1) whereby, a 3d-line graph is produced (figure 2). each point is calculated as pitch semitones from the permanent pedal point in d4 from the initiation (beginning at bar 113). devices like sextuplets (6 demi-semiquavers to 1 quaver beat), create extra-metric groupings for diminution effects. music had to be accelerated within a quaver, creating increased tension. from figure (2) there were repeated notes shaped like flattened peaks, and music plunged deeper into bass at the last three bars of (118,119 and 120) towards the end in the section signifying a change in direction. figure 2. bariolage (bars113-120),violin, x rotation at 130° a rotation on the x-axis (130°) from figure (2) is a testament to the aesthetical appreciation of symmetrical translative forms similar to models estimated by morgan (1998). the aesthetics of perpetual movements are arranged in parallel for easier symmetrical comparison whereby bariolage (b1a) at (bar113), b2a (bar114), b3a (bar115), b4a (bar 116), b5a (bar117), b6a (bar118), b7a (bar119) and b8a (bar 120) all have unique features. identified easily with sharp drops into the negative zone, the corresponding b6a (bar118), b7a (bar119) and b8a (bar120) in figure (2) are recontextualized for deeper timbre signifying a change towards the end. there is an assumption of infinite symmetrical patterns as music in frozen patterns of structure display composers’ thought processes, sounding deeper tensions as transformations work towards endpoints in music. here, music is translated symmetrically and graphically each (b1a) until (b8a) is moved by one element to another by an interval of displacement. here there are 8 sets of multiple fractions (b1a-b8a) of similar patterns on a vertical axis. as imaseow phing lee et al., bach and busoni essentials in a chaotic world 5 ges of perpetual regeneration threaten the evocation of uncertain eternities, the music dives deeper into the baseline signaling a change of direction toward an end. with just 8 bars of graphic display the musical waves overlapping at alternating heights and depths in sound is the beauty to behold. the piano transcription (bars 118-125) the piano transcription (bars 118125) demonstrates larger capacity in sound through modified musical structure. deeper structures by the method of expressing voice entries like soprano (s), alto (a) and tenor (t) with large registers strengthen effects in sound. a spreadsheet with (microsoft excel 2010) is designed to tabulate pitch distances from common points in the music. with data arranged according to pitch distance from the common notes in the y-axis, music flowing in timed series along the x-axis is visualized in graphical form. data stored in sets of 8 bars (b1a-b8a) are identified as forms of beautiful translative symmetry in violin (bars 113-120)(table 1) and piano (bars118125)(table 2). the structural depth in the bach-busoni piano transcription (bars 118-125) in tonal theory, symmetry and asymmetrical patterns are forms of breaking and affirming structure in music. music of the original violin (figure 2 & 3) aesthetically subscribes to the balance and proportion of regular geometrical spaces. asymmetrical presence is a form of geometrical reinvention; their difference in translated patterns is presented from the piano transcription at (bars 118-125){ figure 4}. compared to the violin, the emergence of more asymmetries in the piano informs of the contrast in irregularities, thus changing the rigid forms of old compositions. the weight of the (lh) and (rh) from piano extends its ability to interplay between both forms of symmetry and asymmetry. the basis of 2-dimensional drawings prepares the foundation for musical ornamentation by voicing satb (soprano, alto, tenor, bass) in the different register by the piano. table (2) explains the positions at the different layering of expression in soprano, alto, and tenor. the deep registral change in vertical landscapes is shown in (figure 5). properties of invariance create great potential for methods in composition; their beauty is essentially important to pedagogical and performing pursuits. transfering the same idiom from violin into the piano, busoni’s compositional skills in maneuvering texture became complicated transformational droplets of sound. busoni built this tension with more depth using stronger foundations in the bass (lh piano), and the product resulted in greater accomplishments with immeasurable aesthetics (figure 5). musical abstraction (figure 6) is a landscape of musical depth, highlighting deeper structures in sounds (figure 5). discussion graphing music has unlimited applications when applied to composition whereby topology of better layering of sound spaces can be done in recompositions using the same mathematical derivation from graphical tables. by recomposing old works, we have an area of hybridized creativity that offers limitless performative editions. in particular, the idealized violin chaconne is transformed to deeper sounds in bach-busoni piano transcription. this work stresses the importance of reinterpreting music transcriptions, particularly when comparisons are made through analysis of musical structure as transforms of mathematical order. busoni’s recreation of more asymmetries informs of the contrast in irregularity, thus changing rigid forms of past composition. its significance in pre-recital practice stressing structural verticalities prepare pianists for effective execution of difficult large leaps. the imageries of form in transformed transcriptions offer inspiration in performing practices and postperformative analysis of combined sound and art (architectonics). this study was delimitated to the investigation of violin harmonia: journal of arts research and education 21 (1) (2021): 1-86 figure 3. bariolage (bars113-120),violin: pitch distances in semitones figure 4. the signature of depth from bariolage (bars 118-125, piano transcription) figure 5. abstraction from bars (118-125):soprano, alto, tenor, bass: satb chaconne piano transcription, busoni seow phing lee et al., bach and busoni essentials in a chaotic world 7 to piano transformations which capture the aesthetic of the beautiful from original score of the violin chaconne at bars (113120) to bars (118-125) in the bach-busoni piano transcription. further, there are recommendations for future studies to explore vertical spaces and mathematical sequences embedded in the music in other sections. the findings of this study were implied through new music analytical formats to be applied in composition, pedagogy and performance practice. conclusion this article contributes to new knowledge from traditional music analysis with mathematical acoustic graphing, just as conceptualized by bach, the composer busoni applied them to structural landscapes of depth in his transcription. the aesthetics of transcriptions are musical transforms of 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(2019). hanslick und die analytische philosophie: eine produktive rezeption. title: re-reading hanslick’s aesthetics.book subtitle: die rezeption eduard hanslicks im englischen sprachraum und ihre diskursiven grundlagen. hollitzer verlag. winold, a. (2007). bach’s cello suites, volumes 1 and 2: analyses and explorations, p.19. indiana university. 223 percussion pattern of terebang gede in panggung jati studio, panggung jati village, serang suhaya suhaya1, abdul rachman2, syahrul syah sinaga2, dandi musa alfayad1 1universitas sultan ageng tirtayasa, indonesia 2universitas negeri semarang, indonesia submitted: february 11, 2020. revised: september 29, 2020. accepted: november 4, 2020 abstract the characteristics of a region become an identity that is certainly inseparable from the noble values it adheres to, including religious values as the foundation for the formation of art of terebang gede in the panggung jati studio, panggung jati village, serang, banten. this study aims to describe the percussion patterns in the art of terebang gede both in text and context by using a qualitative paradigm with descriptive analytical methods. as a highlighted theory, ethnomusicology is used to analyze the existence of music in a culture, both from physical aspects and socio-cultural aspects. the data collection technique is done by interview, documentation study, and literature study. the data analysis stages are carried out in the order of data collection, data reduction, data organizing into a pattern, category, and description into basic descriptions that lead to the concluding process. the results showed that the percussion pattern of terebang gede is very simple. the percussion patterns on all existing musical instruments, such as the musical instrument of koneng, kempul, penganak (bibit), interlude, and bass (terebang gede), still follow the framework of the percussion “standard” which is hereditary from previous generations. until now, this accompaniment without the development of rhythmic variations has been used to accompany syair or sholawat al-barzanjiwith with tones of sundanese-style songs of the salendro type. changes in accompaniment were not made because this performance was only performed on special occasions for muslims to broadcast and support worship which was not intended as entertainment music. keywords: art; music; percussion patterns; terebang gede how to cite: suhaya, s., rachman, a., sinaga, s. s., & alfayad, d. m. (2020). percussion pattern of terebang gede in panggung jati studio, panggung jati village, serang. harmonia: journal of arts research and education, 20(2), 223-230 harmonia: journal of arts research and education 20 (2) (2020), 223-230 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i2.18067 have their roots in sundanese culture (peraturan gubernur banten tentang rencana kerja pemerintah daerah provinsi banten tahun 2017, 2017; mulyana, 2001). banten province, acculturationally, has cultural diversity, especially in terms of traditional arts which are inherited from their ancestors from generation to generation. the existence of this typical banten introduction banten is the 33rd province in indonesia, which is a province resulting from the expansion of the province of west java following the decree of law no. 23 of 2000. banten is a new province that was born from west java culture; this can also be seen through its arts who still follow or corresponding author: e-mail: suhaya72puri@untirta.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (2) (2020): 223-230224 cultural heritage has an important role for society, including as an identity in showing the characteristics of an area. the elements that make up a community such as a language, religion, history, art, customs, traditions, and norms, reflect the culture in each ethnic group, including the people of banten. this is reinforced by the statement that every community must have the same cultural values brought from the past (said, 2016; nurhasanah & maryuni, 2012; widyasari, 2014). apart from the similarity of these elements, of course, there are variations in the cultural structure of each existing community. therefore, in the context of art, at its development stage, it is often used as a distinctive and traditional identity that is owned by the community itself and grows in an artistic environment that is different from one another (wicaksono, 2019). along with the times marked by the rapid development of information technology and the global market, people’s interest in maintaining cultural heritage as an identity in shaping the character of the nation has experienced a massive decline. the attachment of digitalization to every aspect of human life today is one of the factors of the moral and ethical crisis in the current generation. it will even result in the elimination of existing traditional arts if conservation efforts are not made through interesting platforms that keep up with the times (harjono & rachman, 2018; rachman & pribadi, 2019; rachman & utomo, 2018, 2019; simeon, 2015; simeon et al., 2017; zahrotul & rachman, 2020). the music of terebang gede is an art that grew and developed during the spread of islam in banten and was seen as new teaching among the people at that time. the music of terebang gede as the folk art was brought by a guardian named syarif hidayatullah with the title sunan gunung jati, who was the first person to spread islam in west java and banten at that time with the help of his students (fauzan & nashar, 2017; nugraha, 2018; viedar, 2018). rebana (tambourine) or terebang is waditra type of leather percussion instrument, played by tapping it with the palm. the function of waditra is as a rhythm presenter whose sound is atonal. tambourine or terebang is a waditra that is incorporated in genjring, rudat, gemyung, tagoni, qasidah, and others (kubarsah, 1994; sinaga, 2001). the function of music is as a communication medium in conveying good values through melodies and song lyrics from music composers to listeners. dalori et al. (2019) explain the function of music, including as a communication tool that applies in a culture, containing certain signals that are only known and understood by those who support that culture. in the context of tambourine music, signs and messages are found in song melodies, poems, or song lyrics that contain religious values as beliefs and values about politeness or norms. at this time, the art of terebang gede among the people of banten is only played and preserved by the elders. the lack of interest of the younger generation in studying the music of terebang gede has contributed to the erosion of cultural heritage, especially in the knowledge of traditional percussion patterns of terebang gede. one of the factors that influence the lack of interest of the younger generation in studying the music of terebang gede is the lack of literacy or teaching materials that include the percussion pattern of terebang gede. therefore, education through music terebang gede can be an effort to improve the existence of local wisdom at the global level. efforts to incorporate traditional music into local curriculum material content are also an effective cultural dissemination effort. moreover, if it is accompanied by creative efforts through broader performances such as cultural tourism performances, the distribution and the existence of traditional music will be maintained (suprihatin & pratamawati, 2019). the phenomenon seen in the learning process at the formal and non-formal levels as a form of preservation is still dominated by the learning of western musical instruments such as pianica, violin, guitar, recorder, keyboard, and others. whereas if there is traditional music learning, the suhaya suhaya et al., percussion pattern of terebang gede in panggung jati studio, pang225 musical instruments usually used still use musical instruments outside the local heritage of the local area. hood (1957) said that ethnomusicology is a field study that the object of the research is on the art of music as a physical, psychological, aesthetic, and cultural phenomenon. based on this, the researchers felt the need to conduct an ethnomusicological study related to the percussion pattern on the instrument of terebang gede, as a parameter of the younger generation’s understanding of the regional traditional art culture. referring to the background above, the research on the music of terebang gede aims that the music of terebang gede can be known and understood deeply by the local community in particular, the wider community, and the world of education in general. besides, it is an effort to preserve traditional arts to remain sustainable during the ever-changing banten society. studying music is inseparable from the aspects of the text related to percussion patterns, and contexts related to aspects outside the percussion patterns such as society, history, and others. the study of percussion patterns both from rhythmic, tempo, and play will help in assessing the character values contained in the music of terebang gede. research related to the problem of percussion patterns in the music of terebang gede has been quite a lot done by previous researchers which of course have a different problem focus. research conducted by khasbullah et al. (2005) research conducted by khasbullah et al. (2005) revealed the problem of percussion patterns that had not been written in western notation, as well as the uniqueness of the traditional percussion instrument pattern “tar” both in text and context. the findings show that there are 20 traditional “tar” percussion patterns used to initiate the art of hadrah which consists of three stages, namely gencat, terosan, and marade, which have a percussion pattern in the form of literal repetition. research conducted by nugraha (2018) reveals that the structure of the terebang gede art performance is a routine in commemoration of the birthday of the prophet muhammad saw, which is a tradition in the serang community. the research was studied using the interpretive qualitative analysis research method, which uses the science of interpretation related to folklore. in some of the previous studies above, it can be ascertained that the focus point of the research is different. therefore, this study aims to analyze the percussion patterns studied using the discipline of ethnomusicology to analyze the text and context in the music of terebang gede. method this research was conducted at panggung jati studio, rt 01/rw 03, taktakan district, serang city, banten, indonesia. the research was conducted using descriptive-analytical methods in a qualitative paradigm with an ethnomusicology approach. this method was chosen because it is considered more suitable to be used to study a phenomenon in natural object conditions, where the researcher acts as a key instrument. data were collected using techniques of interview, documentation study, and literature study. data analysis was carried out inductively which emphasizes finding meaning rather than generalizing (sugiyono, 2016). the data analysis stages are carried out in the order of data collection, data reduction, data organizing into a pattern, category, and description into a basic description leading to the concluding process (moleong, 2017). results and discussion the music of terebang gede in panggung jati studio the music of terebang gede in panggung jati studio estimated to have existed since the time of the empire of sultan ageng tirtayasa in 1650-1651s. the studio was originally led by h. afandi kamal, who died in 1692, then continued by desharmonia: journal of arts research and education 20 (2) (2020): 223-230226 cendants of the leaders of the panggung jati studio, such as (1) mr. nali, the second generation; (2) mrs. kunti, the third generation; (3) mr. darab, the fourth generation; (4) mr. sanudin, the fifth generation; and (5) mr. asmad, the sixth generation. until now, the leader of the panggung jati studio has entered the 7th generation, which is led by h. mistar. although time has gone up to seven generations, the functions of terebang gede music in panggung jati village unchanged. it is proven that until now the music of terebang gede is still being preserved and developed in the panggung jati community. its main function remains as a spiritual means that does not emphasize the entertainment aspect. the efforts made by the members of the studio in maintaining the originality of the music of terebang gede aimed at making the next generation stick to the original culture which is full of character education. this is following the opinion of ramadhani & rachman (2019) that efforts to maintain the originality of a pre-existing art are needed to maintain the cultural character of a nation. the music of terebang gede is usually performed at big events such as welcoming big guests (ageung) who visit the banten area, religious memorials such as muludan, rajaban, ruwutan rumah, and also at other events such as weddings, khitanan, and others. waditra/large musical instrument of terebang gede is made of jackfruit wood and sheepskin. the following are musical instruments used in the music of terebang gede which consists of several parts, namely: koneng, is a large musical instrument of terebang gede that has the smallest size compared to other instruments. this musical instrument has approximately 12 cm to 18 cm high, the width of the upper skin is about 20 cm to 22 cm, and the width of the back circle of wood is about 14 cm to 15 cm. the way to play a musical instrument koneng is to hit it with the palm. this musical instrument produces the sounds of tung and pak. kempul, is a musical instrument that has a higher size than koneng, which is 18 cm to 20 cm. the circumference of the upper skin is 28 cm to 30 cm, and the width of the back wooden circle is about 15 cm to 16 cm. the way to play the kempul instrument is beaten with the palm. this musical instrument produces the sounds like tang and pak. penganak, is a musical instrument which has a height of 15 cm to 17 cm, a width of the upper skin circumference of 40 cm to 42 cm, and a width of the back wooden circle of 20 cm to 22 cm. the way to play this instrument is beaten with the palm. this musical instrument produces the sound of dung, tang, and pak. sela, is a musical instrument with a height of 18 cm to 20 cm, a width of the upper skin circumference of 43 cm to 45 cm, and a width of the back wooden circle of 22 cm to 24 cm. the way to play the musical instrument is beaten with the palm. this musical instrument produces the sounds like dung, tang, and pak. terebang gede (bass), is a musical instrument that has a height of 38 cm to 40 cm, a width of the upper skin circumference of 66 cm, and a width of the back wooden circle of 40 cm to 45 cm. the way to play the musical instrument is beaten with a stick. this musical instrument produces the sound of der. the comparison of the size and shape of the five types of musical instruments is shown in figure 1. figure 1. the form and size comparison of the musical instrument terebang gede suhaya suhaya et al., percussion pattern of terebang gede in panggung jati studio, pang227 percussion patterns of terebang gede in panggung jati studio, panggung jati village, serang the percussion pattern of the music of terebang gede has a very simple motif and distinctive. the standard of percussion patterns that have existed since then until now has not changed. this is in contrast to today’s music, which is constantly evolving and changing dynamically following the demands of the fan community. the songs of terebang gede that are performed at each performance are songs that use the poem sholawat al-barzanji. al-barzanji is a literary work that contains messages that aim to arouse love and imitate the great muslim lord, the prophet muhammad saw. in sholawat al-barzanji, the biography of the prophet muhammad saw is contained from his birth to his death, as well as stories that describe the personal glory of the prophet muhammad saw (chusna, 2015; khasanah et al., 2020). the song of sholawat al-barzanji, sung by the music group of terebang gede of panggung jati studio, is sometimes interspersed with the notation system of sundanese songs. for example, the song gaya and the song buah kawung that use the scale system salendro. this shows how closely a cultural element is related to the issue of a society’s religious behavior. in this context, linkages can be in the form of group identities that are strengthened by religious identity or cultural identity in the form of ethnic identity, traditional local identity, or religious thought identity (tri & haryanto, 2015). the simplicity of percussion patterns of terebang gede on every type of music instrument, which until now retained, can be explained as follows. the percussion pattern of koneng the musical instrument koneng has a very simple pattern, this is shown by the presence of a ¼ notation that fills in every beat that is carried out continuously and repeatedly. the region of the musical instrument koneng is in the middle region, which is represented by the sound tung, and high, which is represented by the sound of tak. the following is the description of the percussion pattern rhythmic of koneng. figure 2. the percussion pattern of koneng based on the notation above, we can see that the percussion pattern of koneng is very constant (monotonous) filling each beat as if it has a role in maintaining the beat or tempo. the percussion pattern of kempul the percussion pattern of the musical instrument of kempul compared with the musical instrument of koneng seems more varied. the repeated percussion pattern were carried out in each rhythmic series along two bars. in the first bar, the percussion pattern of kempul is a large triol pattern that fills the first and second beat. on the second measure, the first beat is filled with two 1/8 notes and the second beat is filled with a single 1/8 note. the following is the description of percussion rhythmic of kempul. figure 3. the percussion pattern of kempul the percussion pattern of penganak the musical instrument of penganak has the pattern more varied when compared with other instruments. the percussion pattern of the musical instrument of penganak consists of two bars that are played repeatedly. in the first bar, the musical instrument plays a combination notation of 1/8 and 1/16, while in the second bar, it plays a combination of notes of 1/4, 1/8, and 1/16. the following is the description of percussion rhythmic of penganak. figure 4. the percussion pattern of penganak harmonia: journal of arts research and education 20 (2) (2020): 223-230228 based on the notation figure 4, we can describe that in the first bar, the percussion pattern of the musical instrument of penganak played twin notes 1/8 on the first and second beats, followed by a combination notation of 1/8 and 1/16 on the third beat, followed by playing the 1/8 notation in a row on the fourth beat. whereas in the second bar, playing the ¼ notation on the first beat, then resting on the second beat, then playing the 1/16 notation repeatedly on the third beat. on the fourth beat, the musical instrument of penganak play a combination notation of 1/16 and 1/8. the percussion pattern of sela the percussion pattern of the musical instrument of sela is repeatedly performed on each set of rhythmic along the two bars. the percussion pattern of sela is divided into two sounds, namely the sound of drum and pak which plays a 1/4 notation only. the following is the description of the percussion rhythmic of sela. figure 5. the percussion pattern of sela the figure 5 is the not of the percussion pattern of sela written into two parts, namely the upper and bottom. the upper part is a notation that represents the sound of dung and the bottom part represents the sound of pak. in the upper not, the percussion pattern of sela plays the 1/4 notation on the second and third beat on the first bar and plays the ¼ notation on the first and second beat on the second bar. while at the bottom of the not music, the percussion pattern of sela plays the 1/4 notation on the first and fourth beat only. the percussion pattern of terebang gede (bass) the musical instrument of terebang gede (bass) has a constant pattern, namely by playing full notation on the first beat of each bar. this represents a strong impression at the start of the beat on each bar during the musical performance. the following is the description of percussion rhythmic of terebang gede. figure 6. the percussion pattern of terebang gede (bass) the simple percussion pattern referred to as a tool or waditra in the music of terebang gede is a percussion pattern that refers to the standard percussion that has been maintained from generation to generation by panggung jati studio. the existing music players do not develop additional rhythmic patterns as variations as is the case in popular music genres today. the percussion pattern standard wholly is still practiced on the musical instruments of koneng, kempul, penganak (bibit), sela, and bass (terebang gede). sinaga (2006) states that traditional music is music that has its origin and roots and it felt like its own by the community in its environment. the life and processing of traditional arts are based on the taste of the supporting community which includes a view of life, values of traditional life, ethical, aesthetic, as well as expressions of environmental culture that are passed on to the next generation. this also happens in the music of terebang gede in panggung jati studio, panggung jati village, serang, banten. maintaining the percussion pattern in the simple music of terebang gede aims to make the beat patterns easy to remember, and also relates to the context of the surrounding environment, where the majority are ordinary people with a lifestyle identical to simplicity. besides, this simple percussion pattern is also intended so that the taste and meaning contained in sholawat can be conveyed properly and wisely and so that the existing spiritual values and the function of art as a means of spreading the islamic religion are maintained. this problem seems to be in line with the statement of juliansyah et al. (2016) that the suhaya suhaya et al., percussion pattern of terebang gede in panggung jati studio, pang229 knowledge of musical instruments, both in terms of form, sound, and how to play them, is adapted to the context in human life and the position of the instrument in an ensemble. how to beat waditra/the musical instrument of terebang gede is done using the right hand. primarily using the index finger to beat the edge of the raray (leather) to produce a bouncing, light, and loud sound. besides, you use the palm by tapping it in the middle of the raray (leather) to produce a bouncing, deep, and thick sound. philosophically, the use of the index finger is defined as a strong, one, and wise character. this is related to the view of islam that the index finger at the time of prophet ibrahim was symbolized as a figure of tauhid teachings for people who seek the truth (qs: 6/61). likewise, the use of the right palm has an image of adab for something good and positive. conclusion based on the results of the study, it can be concluded that the music of terebang gede in panggung jati studio, panggung jati village, serang banten, has interrelated aspects of text and context. the linkages that exist are manifested through the percussion pattern, how to play it, the lyrics of the songs that are sung, and the notation system in the melody of the songs. the simplicity of the percussion pattern reflects the society’s noble values to be maintained and the primacy of the purpose of art as a means of worship. whereas the way to play musical instruments, song lyrics, and the existing song notation system reflects the integration of messages of religious values and local traditional art culture that are believed by the people of panggung jati village, banten. references peraturan gubernur banten tentang rencana kerja pemerintah daerah provinsi banten tahun 2017, 1 (2017). chusna, a. 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(2020). aransemen vokal sebagai identitas o.k congrock 17 di semarang. gondang : jurnal seni dan budaya, 4(1), 38-46. 105 music for hospitalized children in service-learning: academic and personal implications for teachers in training desirée garcía-gil, laura cuervo, carolina bonastre, celia camilli complutense university of madrid, spain submitted: 2023-03-22. revised: 2024-05-09. accepted: 2024-06-14 abstract service-learning methodology seeks to achieve a balance between academic learning and the application of the acquired knowledge for the benefit of the community. our study aims to assess the academic and personal development of the students who participated in the educational experience and identify the benefits it brought to the attended children. the total of 73 participants involved: a) university students of a faculty of education, b) hospitalized children and their families, c) a healthcare worker, and d) several volunteers. we conducted a case study featuring qualitative analysis (based on discussion groups, interviews, and daily narratives), analysis of cooccurrence, and data triangulation. the categories we obtained were related to learning achieved by university students, their personal growth, and the impact of hospital service on the different agents who participated in the experience. findings suggest that service-learning, along with the positive emotional impact of experiential music learning, was associated with student progress in teacher training and personal development. keywords: service-learning; music education; hospitalized children; case study, higher education how to cite: garcía-gil, d., cuervo, l., bonastre, c., & camilli, c. (2024). music for hospitalized children in servicelearning: academic and personal implications for teachers in training. harmonia: journal of arts research and education, 24(1), 105-121 harmonia: journal of arts research and education 24 (1) (2024), 105-121 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v24i1.43375 contexts, s-l does not merely focus on the acquisition of knowledge foreseen in the study syllabus but also encourages the development of critical faculties (chivabartoll & gil, 2018). s-l enables students to acquire future teacher competencies, such as committing themselves to the needs of their social environment, applying critical reflection while responding to real-life service situations, and reinforcing student’s capacity for independent learning. moreover, in s-l environments, beneficial reciprocity is given between their participants (clayton et al., 2013). in this vein, deeley (2016) and yorio introduction the educational model of servicelearning (s-l) is rapidly becoming a global phenomenon. its aspect of social engagement is grounded in concrete daily experience, responding to an increasing need for holistic learning methodologies related to current social reality and encouraging students to reflect ethically (belando-montoro & sánchez-serrano, 2017). as a teaching methodology that can be applied on a variety of educational levels, especially in preservice teachers’ education (camilli et al., 2021) and in many different learning corresponding author: e-mail: desiree.garcia@edu.ucm.es p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 24 (1) (2024): 105-121106 and ye (2012) outline other effects achieved by s-l projects, such as (1) enhanced sense of citizenship, (2) accelerated intellectual development, and (3) personal development, as each student has the opportunity to deepen into their own beliefs of social and ethical values. together with this, students acquire skills that can be transferred to their future professional context (garcía & lalueza, 2019); upcoming teachers, meanwhile, achieve an enhanced perception of their teaching work prior to and after the s-l experience (kovalev et al., 2016), as they are key in its implementation. for all these reasons, an increasing number of authors find that this learning methodology has considerable potential for improving the quality of education (mella-núñez et al., 2015); however, it should be pointed out that it is a highly complex process highly complex (burton & reynolds, 2009; chivabartoll & gil, 2018). according to chiva-bartoll et al. (2019), most benefits stemming from musical s-l activities on the higher educational level are associated with the effectiveness of learning (76.47%), the acquisition of social skills (47.06%), and changes in students’ understanding of global society (17.65%). in reference to benefits for the agents who receive the service, the same authors highlight the acquisition of musical learning (29.41%), personal skills (17.65%), and social skills (17.65%). in other words, the learning achieved by all participating agents is a major advantage of s-l. in this respect, pike (2017) evaluated the positive progress achieved by graduate pedagogy interns which provided the service as well as beneficiaries in a study where social and intellectually disadvantaged students were taught to play musical instruments: the author likewise highlighted the learning achieved by the preservice teachercandidates who participated. moreover, music taught through s-l methodology can improve socio-emotional aspects relevant for future teachers and increase participants’ sensitivity to social problems (riaño et al., 2017). moreover, the experience of a “real” learning environment can help university students understand music’s potential for improving psychological and emotional growth in children (gillanders et al., 2018). a study by sáez and marín (2016) documents the satisfaction expressed by the families of schoolchildren with an s-l project that featured choral singing and traditional dance activities. the experience promoted a series of values that could serve as a bridge between school and society: effort, self-improvement, teamwork, helping others, and empathy. similarly, in another project (parejo et al., 2020), participating teacher candidates in the area of music education developed their social and civic competencies by improving their understanding of socio-cultural diversity and reinforcing their grasp of coeducation. on the other hand, hospitals can provide an appropriate environment for music-based interventions: positive effects on mental and physical health can be achieved by encouraging patients to participate in interactive activities or simply by letting them enjoy music performed live on the premises (facchini & ruini, 2021). the findings of a singing medicine project in a children’s hospital showed that participation in such an ‘arts-in-health’ initiative was associated with benefits for children who suffered from long-term conditions, as well as for their families: specifically, a reduction in negative emotions along with the achievement of enhanced well-being through distraction and the sharing of positive experiences (blackburn, 2020). in this vein, music is regarded as an adjunct method of pain management, as well as a good means of relieving children’s stress and anxiety when they are hospitalized (jonhson et al., 2021). there is evidence of the empowering effects of hearing and/or performing music, leading to positive effects in children in the shortstay observation unit of an emergency department (antonelli et al., 2019). other studies show that music-based activities help children deal with the psycho-emotional effects of chronic diseases (montero-ruiz desirée garcía-gil et al., music for hospitalized children in service-learning: academic 107 et al., 2020). as an art form that features emotional and abstract content, music can express and trigger emotional reactions (orozco, 2013), which is highly important for future teachers. expressing emotions through musical activities becomes important when pain and anxiety inhibit patients from expressing their emotions verbally. occasionally, it is even possible to take a further step and boost patients’ creativity, thereby providing them with satisfaction and positive feelings (tanquerel et al., 2018). ensuring that children who spend prolonged periods of time in the hospital are provided with opportunities to play and express themselves should be a priority for healthcare services (blackburn, 2020). musical intervention can also be seen as a means of improving the well-being of family members, as the hospitalization of their children often tends to be a traumatic and stressful event for them, involving deprivation in the affective and cognitive areas. findings from recent studies show that musical mediation can reduce the level of post-operative anxiety experienced by family members of children submitted to surgery (de oliveira et al., 2018). playful music activities in a pediatric hospital environment also help to distract sick children from the hardships associated with their illness while improving their degree of socialization, engagement, and involvement, their quality of learning, their confidence, as well as their relationship with their families (issaka & hopkins, 2017). this paper’s general purpose is to analyze the impact of the implementation of a s-l experience in the music education portion of a university early childhood education teacher’s degree course during the 2019/20 academic year. our specific objectives are: a) to assess the academic and personal development of the students who participated in the educational experience and b) to discover the social implications for the agents involved in relation to the provided service. method design we used a case study design in which the experience of applying s-l in music education on a university level was taken as a holistic unit of analysis (yin, 2014). this is an intrinsic case study that deals with ‘the case’ without claiming that it is representative, on the grounds that it has value and interest in itself (fusch et al., 2018; stake, 2005). participants the study sample was comprised of 73 subjects: 43 future educators enrolled in public universities in madrid, 20 children interned in public hospitals in madrid, six families, one healthcare worker, and three healthcare volunteers. the 43 students (90.7% female) had an average age of 18.91 (range: 18: 19-23, dt=0.95): 34.6% of them had previously been involved in some form of volunteer work (in associations for the disabled, ngos, community kitchens, residential care facilities for the elderly, and food banks, as well as in activities related to children and sport); 48.8% of the students had prior knowledge of s-l, mainly acquired at university, although 93% of them had not previously participated in such experiences. only 25.6% had engaged in previous musical studies through formal or informal learning. around 20 hospitalized children and six families took part, thereby accounting for ca. 30% of the families of all the hospitalized children in the sample. the informed consent process was applied, and apa ethical standards concerning the treatment of human subjects were fulfilled. data collection and analysis our data collection techniques were personal narratives, discussion groups, and semi-structured interviews, which are frequently used in s-l studies (camilli et al., 2018). the university students wrote personal narratives on a weekly basis throughout the semester, reflecting on their degree of involvement and implication in their learning of the subject and the harmonia: journal of arts research and education 24 (1) (2024): 105-121108 service they performed. we analyzed 80 narratives in total. we also organized two discussion group rounds: one prior to the service and one thereafter. the five informants in these two discussion sessions were selected according to pre-established criteria to form a heterogeneous group. the script focused on three key themes: 1) the training they received in the course, 2) social and crosscutting skills related to the subject, and 3) the social impact generated before and after the implementation of the proposal. the discussion group organized after the service focused particularly on the third theme. the semi-structured interviews were conducted with families, hospital staff, and hospital volunteers, who were asked questions regarding 1) the importance and benefits of the experience, 2) the training of future educators for initiatives of this type, and 3) eventual forms of cooperation between universities and hospitals. in the qualitative phase, we examined the students’ personal narratives, discussion groups, and semi-structured interviews by applying an inductive analysis that established links and associations among the data to find identical or similar patterns of meaning (creswell & plano, 2017). as this is a case study, we applied categorical aggregation and direct interpretation (stake, 2005). emerging categories were subjected to inter-rater evaluation among the four investigators of the study, achieving an 87.5% match. we also obtained a co-occurrence coefficient based on content analysis (lund et al., 1995), and we quantitatively analyzed the final categories with their respective codes (frequencies and percentages). all qualitative analyses were carried out using the atlas.ti software. in the quantitative phase, we applied contingency analysis using cramer’s v measure, which works with nominal variables: this is the same type of analysis carried out in other studies such as ricoy and sánchez-martínez (2020). the v value ranges from 0 to 1, whereby 0 indicates a total lack of association between two variables, and 1 is a perfect match. values above .80 indicate a very strong association, between .60 and .80 a strong association, between .40 and .60 relatively strong, between .20 and .40 moderate, between .10 and .20 weak, and below .10 negligible (rea & parker, 1992). all quantitative analyses were conducted with stata version 13.1. following the indications of stake (2005) and yin (2014), we conducted a triangulation of sources (personal narratives, interviews, and focus groups) designed to improve the credibility of results (fusch et al., 2018) and obtain a more complete understanding of the role of s-l in university musical education. a variety of strategies ensure that this study complies with the quality criteria for educational research proposed by lincoln and guba (2000), such as credibility, transferability, dependability, and confirmability. procedure during four months of the 2019/20 academic year, we applied the s-l methodology in the course entitled “development of musical expression” featured in the third year of the studies toward a university degree in early childhood education at a public university in madrid, as part of an innovation project. we scheduled a service in a children’s hospital (madrid) with the collaboration of the ngo “música en vena” (“music in the vein”). the project’s main goal was to develop civic skills and a spirit of initiative among university students while improving the quality of learning by increasing their motivation. the teacher acted as a guide, and the students participated actively in the entire process, including identifying the sick children’s needs, resolving problems using a multi-perspective approach, and a continual, guided critical reflection on the experience as it progressed. our methodology was experiential and skill-based, while the academic contents were related to the reality of the hospital, supported by ongoing reflective practice. with the goal of preparing the students for their professional lives as part of society, our process desirée garcía-gil et al., music for hospitalized children in service-learning: academic 109 aimed to achieve a significant cooperative learning experience through s-l. throughout the course, small groups of six students were formed to work on creating musical stories as well as composing songs and rap numbers for children, all related to the spanish musical heritage, in particular, to spanish composer manuel de falla. for example, the musician’s biography was sung as a story, and rhythms and harmonies from fallas’ works and themes and characters from his theater works were used. once the activities had been prepared and rehearsed, each small group performed them in the hospital by interacting with the children. as supporting elements for their performance, the course students created appropriate choreographies, dramatizations, stage designs with pictures of falla, and costumes inspired in his theater works. they also built instruments and crafted pictograms and cards to be handed out as gifts to the children. hospitalized children interacted to the best of their ability, following the rhythm with movements, playing the instruments, and singing. in this way, each student had the opportunity to meet their individual goals while participating in common goals, to have the experience of proving themselves responsible by making a fair contribution to the overall group endeavor, to make an effort to maintain positive interpersonal relations, and to analyze the results a posteriori. students wrote down their analyses and reflections in their class notebooks (personal narratives). result and discussion qualitative analysis: emergent categories qualitative analysis yielded a total of nine categories confirmed by 88 codes and 1,584 quotes (table 1). most codes were associated with the following categories: impact on the area of emotions (23.86%), impact on musical knowledge (20.45%), and impact on s-l methodology (19.32%). textual quotes are identified according to the technique we used and the actors involved for ease of reading. specifically: psn = personal student narrative; sdg=student discussion group; fi = semistructured family interview; hsi= semistructured health staff interview and vi= semi-structured volunteer interview. the categories are presented below. s-l methodology. s-l is much more than an activity or a volunteer program: in s-l, the education of participating students is actually the main goal. in our case, the service we provided was associated with a course in the subject of music (“this activity has been very important for our future as teachers, since at some moment or other we will need to feature a song with a dance in order to teach it to the youngest ones” [psn]). the service we provided required a considerable amount of preparation and an active methodology (“moreover, the class is less monotonous; it becomes creative and much more fun” [psn]). it featured a strong connection between theory (curricular content) and practice (“during this session we have dealt with some of the most important concepts in the school subject of music” [psn]). s-l is a methodology unknown to some (“the teacher has explained that we’re going to have a service-learning project during the course. i didn’t know what that is, but she has explained that it is a methodology through which we not only develop curricular content, but also social competencies and values” [psn]). although it has its own set of difficulties, particularly the time required for planning and putting it into practice, it is still thoroughly interesting (“i have found the configuration and presentation of the course quite interesting” [psn]), because it emphasizes organization in workgroups (“organizing our groups to enact the story, we have focused on the service we will provide to the hospital. i’m sure we’re going to do it very well. still, we all have to put in some work if we want to achieve a good final result” [psn]). s-l becomes a way of helping others: it benefits the students who participate in the activity as well as those toward whom the service is directed (“at the hospital, we’re going to help the children feel positive https://1drv.ms/w/s!aocbnejlaod2fwv4v8gacph21mk?e=p8xm4n harmonia: journal of arts research and education 24 (1) (2024): 105-121110 table 1. emergent categories from qualitative analysis categories codes quotes n % n % s-l methodology service, music subject, challenge, active methodology, organizing in groups, theory-practice connection, helping others, benefits, preparation, unfamiliar methodology, difficulties, interesting, experts, suggestions for future projects, experience, putting into practice, activity 17 19.32 355 22.41 impact musical knowledge melody, rhythm, interpretation, creation, songs, manuel de falla, music, complications, expression, instruments, performance, movements, choreograhies, coordination, creativity, dance, accompaniment, instrumental, rap 18 20.45 382 24.12 social group cohesion, working in groups, difficulties, communication, spirit of initiative, society, citizenship, community 8 9.09 67 4.23 cognitive thinking, reflecting, time management, reasoning 4 4.55 62 3.91 emotional enjoyment, empathy, engagement, selfesteem, effort, meaning of life, involvement, implication, commitment, managing frustration, anxiety, stress, critical thinking, memories, pride, gratefulness, happiness, trust, fear, shame, interest, motivation, feeling inspired 21 23.86 274 17.30 development of competencies competencies associated with ece curriculum, competencies associated with the university degree (general competencies, specific competencies, transversal competencies), professional competencies 8 9.09 186 11.74 teaching teacher’s role, faculty, university 3 3.41 31 1.96 the service beneficiaries familiarization with the hospital environment, generosity, involvement 3 3.41 91 5.74 evaluation of the service-learning project level of satisfaction, self-evaluation, co-evaluation, improvement, valuing, importance 6 6.82 136 8.59 total 88 100 1584 100 have acquired” [psn]). the learning experience as such is also acknowledged by the families of the hospitalized children (“i can imagine that it’s also interesting for the students when they’re training, since they learn how to reach out to the children and communicate with them” [fi]). the students positively evaluated emotions”; “it’s incredible to see to what degree music can help people”; “we can help them forget their illness for a while” [both from sdg]). s-l represents an academic challenge that requires a considerable learning effort on the part of young university students who are in initial training (“we can help others while using the knowledge we desirée garcía-gil et al., music for hospitalized children in service-learning: academic 111 that music experts were invited to the course, as this allowed them to broaden their musical knowledge; moreover, the project provided them with deeper insight into what goes on in hospitals, and even led them to think back on their personal life story. as suggestions for future projects, the course students proposed that s-l could be applied in the hospital classroom combined with other subjects included in the syllabus of other educational levels. (“for instance, in history [as a subject in primary school] we might be able to work in a hospital with the children who are interned as patients there: since there are parts of their class content they can’t study while they’re in hospital, you can take it to them as a dramatization, or as a game, or something like that, so that they learn that portion, too” [sdg]) or in other pedagogical university courses (“i want to recommend that you carry out such projects with other students so that they can have the same kind of experience” [psn]), putting s-l into practice in a multitude of different environments, such as student residences (“the older students can help the younger ones, who can thus carry out the activities without any problem” [psn]). music knowledge: implications. the students learned the didactic implications of melody and rhythm, practiced instrumental accompaniment, developed songwriting creativity, and learned how to interpret various musical repertoires. by dealing with the music of manuel de falla, the students were able to grasp the complexity of musical language and how its contents are interrelated. the students positively highlighted the act of playing each instrument, the act of representation through choreographic movement, and the necessary body coordination in dance, particularly in rap. when students acquire musical knowledge, they are able to project themselves into their role as future teachers. s-l and its impact on social coexistence. collaboration among peers was another important learning experience for the students who participated in this project. working in small groups led to good cohesion in the entire class. students affirm this in comments such as the following: “in dealing with such subjects as trying to become better people [referring to s-l], we have a pretty good atmosphere of solidarity in the class” (psn); “today we had our dress rehearsal for all the repertoire we’ll be taking to the hospital. we were very excited, and we have worked together well in groups. we all felt connected by feeling the thrilled anticipation that we’re going to perform in front of the children, and by the idea that we’re going to help them with our compositions” (psn); “knowing this [referring to the importance of the service provided] has motivated us a great deal, and we have good rapport among colleagues; you can sense that we all want the performance to go really well” (psn). nevertheless, group collaboration is not exempt from difficulties, some of which are associated with the problem of finding the right moment to work together: “to prepare and rehearse the story, we need extra hours apart from those we have in music sessions, and it’s hard for us to agree upon a time slot to meet on the same day” (psn). other difficulties lie in maintaining good communication or reaching joint agreements. “besides, when we want to start working together on a certain proposition, it is difficult for all the members of the group to reach an agreement as each person has a different opinion” (psn). certain participants nevertheless point out that such a diversity of viewpoints ultimately enriches the performance project: “it’s positive to note that since there are many points of view, this enriches our collaboration since not everyone comes up with the same ideas, and some of them can be brilliant” (psn). the non-profit organization “music in the vein” (música en vena) aims to use culture and music to improve prolonged stays at hospitals for patients, families, and health staff. the university students’ encounter with this project sparked their sense of social initiative; they felt a greater commitment and responsibility for society, which, in turn, re-energized their concept of citizenship and community: “i’ve truly realized that we can improve everything that has to do with being more responsible and comharmonia: journal of arts research and education 24 (1) (2024): 105-121112 mitted people for the society in which we live” (psn). s-l and its impact on cognition. the s-l experience leads students to reflect upon their concrete practice continually. “today’s practical session made me reflect that the songs need an instrumental accompaniment, which can be quite simple, playing several notes and playing around with the tune and the lyrics” (psn). it also leads to more critical, reasoned thinking: “i liked this a lot; i had never stopped to think that we could acquire further competencies that are less related to curricular content and more with our own personal development” (psn). students likewise improve in the way they manage their time schedule. “i would generally say that we’re on the right path; our efforts and the time we put into this will lead to a good result” (psn). s-l and its impact on emotions. music “draws people together and cheers the heart;” it accompanies people in difficult moments of their lives. “music has helped me in my worst moments; it has helped me relax when i was nervous or when i was particularly sad” (psn). the shared experience provided a welcome occasion for enjoyment. “this initiative to help the children find some distraction is really good, really cool. and it’s true: they have fun, particularly with the music. they love it, especially getting to see the students perform live, which is even better” (fi). it also led to a greater deal of commitment on the part of the students: “we decided to do our best for the performance to turn out as well as possible” (psn); “i hope i don’t let the group down. i want everything to turn out perfect” (psn). there was empathy among the classmates, but they also valued empathy when they imagined themselves in their future role as teachers: “in this way, we can educate the children in values such as empathy and solidarity, taking them to activities in which they will have to help those who are most in need” (psn). they acknowledge the effort and commitment involved in this type of initiative. “the effort has been substantial; the work we put in hour after hour for many days has been taxing, and we’ve constantly been ‘on the edge of our seats’ until the last moment” (psn). the students affirm that the service increases their self-esteem. “this rehearsal turned out pretty well, and our self-esteem increased considerably” (psn). it also improves their self-assurance: “self-confidence is something you can later apply during your university training to situations of public exposure, for example: it’s like when we’re playing music there in hospital, we’re also working in a certain sense: you learn to face an audience and not to worry if you make a mistake. you learn to control your nerves and all that” (psn). it leads them to reflect upon the meaning of life. learning to deal with frustration, anxiety, or stress is also part of life. a feeling of pride, gratitude, and a state of personal contentment were part of the emotional mark left by this experience. s-l and the development of competencies. s-l worked in favor of the development of general competencies, such as understanding the biological and psychological evolution of 0-to-6-year-old children, as well as specific competencies, such as knowing how to recognize and evaluate the use of non-verbal language associated with music. some of the transversal competencies acquired by the students were the following: 1) becoming familiarized with the social and educational dimension of interaction among peers and knowing how to encourage participation in collective activities and cooperative work while applying individual responsibility; 2) promoting educational activities that foster the kind of values that prepare students for the exercise of active, democratic citizenship; 3) valuing the importance of leadership, initiative, creativity, and innovation in the professional world; 4) acquiring a capacity for independent work, finding good methods of collective organization, and promoting independent learning. the students involved in the project learned more about the main stages of musical development in infancy; they used their auditory, vocal, and body language desirée garcía-gil et al., music for hospitalized children in service-learning: academic 113 capacities to acquire the necessary techniques they could subsequently put into practice in performance. they also learned the correct use of basic musical language for didactic adaptation purposes, and they learned to ascertain which are the most appropriate musical instruments for early childhood education. the students highlight the fact that the competencies they need to develop for the service are related to ece curriculum content. s-l and its impact on teaching. the students regard the teaching-learning process as the transmission of knowledge on a subject that plays a role in their training to become future teachers. those who receive the service feel similarly: “it’s fascinating when they teach you something, and you can then teach it to someone else who, at the same time, teaches you something in return” (psn). the students also favorably valued the professor’s role in the experience, and they highlighted the positive role of the advice, follow-up, and feedback with which they were provided in each one of the tasks. for instance, referring to the course professor, one of them stated: “i principally value the importance she has given to our interaction with the children” (psn). they acknowledge the effort and the challenge it represents for university professors to implement the s-l methodology: “i would like to thank the professor […], for the patience she has shown with us for many days, especially since sometimes it was impossible to achieve silence in the class” (psn). furthermore, s-l transcended the classroom context and enabled the students to achieve a greater sense of identity and belonging within the education faculty and the university. beneficiaries of the service. each one of the agents involved in the experience noted not only the personal benefits achieved by their own actions, but also those achieved in favor of others. family members of the hospitalized children acknowledged that student participation brought the families closer to the hospital environment: “it’s important that people from outside the hospital share a moment with us by involving themselves since this is a totally different environment from what they are used to” (fi). s-l encourages the development of qualities such as generosity. “it is a way of applying the generosity the students have; in the end you also learn, and when they share it by presenting it, i think it’s good for them, too” (fi). s-l gives rise to a series of interactions: “well, they learn to share something with the children: they see how the children evolve and deal with the situation. in other words, dealing with the children is a good learning experience, particularly dealing with those who are in hospital, as they are here. this way, [the students] begin to get to know different types of children, and what they are like” (fi). regarding potential benefits for their children, the parents found that the service helped the children enjoy a moment of evasion from their daily routine, providing them insight into musical culture. the students, for their part, noted that staff who work with people with illnesses show a profound commitment, and the staff thanked them for their participation and involvement in the project. “when we arrived at the hospital, the nurses gave us a warm welcome” (psn); “i want to highlight something one of the nurses said to us: she thanked us for our work. but the ones who were most grateful at that moment were we, ourselves, for being able to participate in that project and bring music to hospitals to make the children happy” (sdg). the mother of a boy with functional diversity also said something that caused the young students to reflect: “besides, a family with whom we were talking suggested that in the classroom we should focus more on children with functional diversity” (fi). the health staff valued the experience as an exchange, and a window of opportunity to raise awareness of the work carried out with children in the hospital. hospital volunteers highlighted the musical knowledge acquired by the hospitalized children: for these volunteers, the experience was also a training opportunity since they are not experts in education. “i would say that my evaluation is positive: i particularly see the positive aspect in what they teach. it’s not a mere spectacle that doesn’t add harmonia: journal of arts research and education 24 (1) (2024): 105-121114 anything for the children. today, for instance, they will have learned who manuel de falla was; perhaps when they went into hospital, they didn’t know who he was. that’s the positive aspect i see, apart from the fact that they are entertained, they learn, and they have fun” (vi). evaluation of the s-l experience. the students are also constructively critical of their classmates (co-evaluation), acknowledging the strengths of the project they all worked on together. “on the one hand, i just want to say that i have loved my classmates’ performance. i think their work and effort have been tremendous, and it’s reflected in the results” (psn). they also have suggestions for improvement: “each group’s stories are well thought-out. we’re nevertheless all well aware that there’s room for improvement” (psn). ultimately, the students evaluated the experience as satisfactory. one of them referred to the visit at hospital with the performance in the following terms: “as far as my level of satisfaction, enjoyment, and personal contentment is concerned, this has been one of the most useful days i have ever experienced in the course of my studies” (psn). several of them highlighted the importance of s-l in their initial training: “i find this very good because at university, we don’t think about those things [referring to service and those who receive it], but in the end they’re important for our future profession as teachers, and in helping ourselves to become better people” (psn). qualitative analysis: analysis of co-occurrence the 88 codes that made up the nine categories of the study were subjected to a co-occurrence analysis through the atlas.ti program. the process segmented the text into three educational and social aspects related to our research goals: (1) learning in the university classroom achieved by the students; (2) the personal development of these students, affecting their personal lives; and (3) the hospital service, covering the point of view of the different agents who participated in the service scenario. quantitative analysis: data triangulation with the information obtained from data co-occurrence, we estimated cramer’s v in order to obtain the degree of association between the suggested aspects, thereby determining and completing the strong and weak points of the qualitative and quantitative analysis. we analyzed the codes and grouped them into the categories as explained above. table 2 compares the values grouped by those categories. significant associations were found in the values of 3 out of 4 of the categories that emerged from the qualitative analysis (impact were gathered in a total category): lower percentages in service-learning methodology for the learning in the university group, higher percentage of co-occurrence for this group in the total impact; and higher percentage for the hospital service group in service beneficiaries; with no statistically significant associations for evaluation. for specific categories of impact, there were statistically significant associations for social impact (p<.001) and trends to significance for cognitive (p=.08) and development of competencies (p=.07) (tabla 2). the number of quotes is reasonably lower for co-occurrences than for those that emerged from qualitative analyses. discussion we conducted this study to assess the design and effects of s-l methodology on the preservice training of general teachers who are going to impart educational and musical content in the classroom. regarding s-l methodology, the following aspects need to be taken into account. although the s-l methodology was unknown to most of the participating students, it revealed itself as ideal for the improvement of all kinds of learning. processed through continual critical reflection, these experiences may have aided in transforming the students’ vision of surrounding society, activating their spirit of initiative through their desire to participate actively in the hospital service. the students’ expressions desirée garcía-gil et al., music for hospitalized children in service-learning: academic 115 of gratitude for participating and sharing their learning seem to well reflect the effectiveness of s-l in activating processes of reflection and transformation. these could form the basis for a commitment to social transformation in the future, thereby corroborating results obtained in previous studies in this field (garcía & lalueza, 2019; larsen, 2017). concerning the impact on musical understanding category, the students reported good learning quality in acquiring knowledge and in their application of the service. in support of this idea, larsen (2017) also related such improvement to the development of self-management of time and effort, autonomous planning, and self-assessment of the effort itself. codes such as thinking and time management associated with cognitive processes appear frequently in our study’s quotes. the preparation of the service and its assessment have shown how the learning of skills related to the university course tend to develop, along with their relationship with the early child education curriculum, including professional skills achieved thanks to a spirit of initiative by incorporating the students into work environments and encouraging them in their role as active citizens (mayor & rodríguez, 2016). in addition, the high level of frequency of codes such as group work and group cohesion (56%) reflect this methodology’s experiential and socializing nature through the acquisition of skills, above all in classroom learning, with a significant co-occurrence in the social impact category. the results of our data analysis suggest that attention should be paid to a series of educational, personal and social aspects. in the results in the emotional impact category, statistically significant differences can be observed in certain inherent characteristics of s-l, such as connection to social reality and reflection encouraged by emotional processes and positive feelings, all of which is in line with previous studies (mckay-jackson, 2014). frequent references to effort, enjoyment and gratitude are notable on the part of the students and their families. in addition to these positive perceptions, one can also note the prominence of the generosity code in relation to hospitalized children and their families. swarbrick et al. (2019) explain that the emotional awareness provided by music is particularly strong if the musical activities are experienced live and as a group, as was the case in this study. in table 2. comparison of co-occurrence of the emerging categories between different educational/ social aspects. category 1 2 3 v chi2 (p) n 250 181 90 ----s-l methodology 22 (8.8) 41 (22.7) 8 (8.9) .19 19.2 (<.001) impact (total) 174 (69.6) 102 (56.4) 58 (64.4) .12 8.0 (.018) musical knowledge 43 (17.2) 27 (14.9) 17 (18.9) .04 0.8 (.681) social 43 (17.2) 5 (2.8) 4 (4.4) .23 28.1 (<.001) cognitive 7.5 (3.0) 10.5 (5.8) 0.5 (0.01)1 .10 5.2 (.074) emotional 67 (26.8) 57 (31.5) 30 (33.3) .06 1.9 (.396) development of competencies 13 (5.2) 2 (1.1) 3 (3.3) .10 5.3 (.071) teaching 1 (0.4) 1 (0.6) 1 (1.1) .03 0.6 (.746) the service beneficiaries 22 (8.8) 11 (6.1) 16 (17.8) .14 9.9 (.007) evaluation of the s-l project 36 (14.4) 28 (15.5) 10 (11.1) .04 1.0 (.621) note: 1=classroom learning; 2=personal development; 3=hospital service. values between brackets are percentages of quotes for each category. 1a constant value was added in each cell as recommended by goodman (1970) for avoid problems with empty cells in estimating chi-squared. harmonia: journal of arts research and education 24 (1) (2024): 105-121116 addition, the artistic nature of the subject taught in the course can foster listener involvement, while musical expressiveness can improve connections with emotional responses and vice versa (juslin, 2019). in this respect, cespedes-guevara and eerola (2018) suggest the existence of a shared acoustical-musical code for expressing basic emotions. moreover, the students affirmed that the service experience increased their self-esteem and self-confidence, coinciding with the results of the study by tanquerel et al. (2018): the experience made them reflect about the meaning of life, one of the essential aspects of their personal development. on the other hand, for personal development with respect to the preparation of the activity, in particular, the handling of frustration, nerves, and stress was a relevant aspect, which, in turn, can reflect the project’s degree of importance for the students. students showed greater engagement and group effort, which is in line with the indications of clayton et al. (2013), referring to the development of autonomy and responsibility for the students’ learning experience motivated by s-l. in the same vein as the study carried out by garcía and lalueza (2019) on the subject of s-l, our study’s results show that the students acknowledge this methodology’s capacity for training competencies: in a specific, real-life context, curricular content can be applied via an appropriate realization of activities combined with effective problem-solving. moreover, the process of training competencies (such as music performance and the adaptation of educational activities to the evolutionary process of biological and psychological growth in children ages 0-6) can be associated with the development of professional abilities in these teacher candidates. in this sense, kovalev et al. (2016) indicate the need to develop professional competencies in preservice teachers, such as creative, communicative, social, and personal abilities. the same authors argue that professional competencies in future teachers are determined by the involvement of creative educators, capable of exerting a progressive influence on the spiritual renewal of society, human development, maintaining cultural traditions, and producing innovative ideas (p. 4181). these contributions are in line with the aims of the project presented herein, as it is based on the idea that ethical and civic competencies cannot be ignored nowadays in the integral education of the individual (delano-oriaran et al., 2015; hébert & hauf, 2015). regarding the impact of s-l on teaching, the role and commitment of the professor is key in this type of methodology, as it requires a rigorous prior organization of the process, including holistic aspects that lie beyond the usual academic curriculum (rodríguez-izquierdo, 2018). the professors involved in this project felt called to be part of a personalized teaching process, in which they made a conscious decision to engage in innovative educational strategies and assume the risks involved. their commitment was to try to break away from traditional methodology and address the students’ global educational needs while providing a service to the community. moreover, the social impact of s-l is relevant and tangible, as can be seen in the results. what is learned does not remain in the classroom but can provide benefits for society (burton & reynolds, 2009). the students involved in this project noted the emergence of group cohesion in the classroom as the project progressed; they reflected about problem-solving when faced with challenging tasks or difficulties in communicating among themselves. in those cases, students strived to reach joint agreements, which has not always been easy. they also tackled such difficulties by stating that the group’s diversity was an enriching social factor that could work in favor of productive collaboration. results obtained in previous studies also show the students’ high personal growth score (andrés-romero et al., 2018). by getting to know the hospital environment, our university students felt encouraged to increase their degree of commitment and social responsibility. in desirée garcía-gil et al., music for hospitalized children in service-learning: academic 117 line with former studies, it seems that s-l projects such as this one can provide students with an enhanced understanding of the needs and problems of the community where they live (essa-hadad et al., 2015). as part of this process, the professor sought to assume the role of a guide for the students in their search for knowledge, their understanding of problem-solving, and their decision-making. this perspective is addressed by deeley (2016), who regards s-l as a critically oriented pedagogy that fosters agency and empowers students to explore diverse possibilities on their own terms under guidance provided by the teacher. apart from this, the professor served as a mediator in the reciprocal flow of learning, as the recipients of the service perceived improvements and had a learning experience during the service. at the same time, those same recipients promoted a novel learning experience for the students who carried out the service. benefits achieved in other s-l experiences make reference to this reciprocity: the benefit is indeed for all participants (harwood & radoff, 2009; santos et al., 2018). in this way, the university collective (teachers and students) achieved a sense of belonging to a project of active citizenship in which a connection between learning and social reality was being sought. the s-l approach reinforced their sense of gratitude and belonging to that collective. experiences of this type enable participants to become much better acquainted with the real-life contexts and the true needs of service beneficiaries. this could not be achieved in the classroom alone, particularly in the case of initiatives like this one, which involves hospitalized children. this encourages a certain reciprocity between learning goals and service goals: the project benefits those who carry out the service and those who receive it (ochoa & pérez, 2019). the learning experience is therefore achieved in both directions. at the same time, taking the beneficiaries of s-l into account allows for a more holistic and realistic evaluation of the project (puig et al., 2006), thereby opening up the possibility of developing future programs in which such benefits can be truly increased. in the present study we took family testimonials into account, since the children’s families were the actors most implied in the children’s overall development. aramburuzabala and garcía (2013) point out that the need for the service should also be acknowledged as an aspect that should play a determining role in its effective evaluation. in the evaluation category in reference to co-evaluation, the qualitative results highlight peer assessments of competency acquisition, referring to both academic and service learning (social and civic competencies). deeley (2016) underscores the importance of summative co-assessment for the facilitation of a democratic approach to learning that helps students master and articulate skills that are transferable to the workplace. in the same vein, folgueiras (2019) stresses the importance of developing participatory and self-managed assessment models with the purpose of enhancing students’ control over their own learning and motivation. the students’ perception of evaluation changed from regarding evaluation as a concern to understanding it as a support for learning. this change in their perception requires a change in the attitude of teachers towards evaluation: from presenting knowledge to promoting dialogue, from playing the role of ‘experts’ to understanding themselves as ‘facilitators,’ thereby encouraging students to develop the necessary skills to evaluate their own work (sicherl et al., 2017). the instruments we used for evaluation thus addressed the diverse aspects of intervention and learning. there is no unity in s-l previous research on the method to be used to evaluate the experiences, even though s-l methodology requires a qualitative approach to ensure that researchers understand the complex social phenomena involved therein, although an incipient interest in the use of mixed research designs can be noted (camilli et al., 2021). our study was qualitative in nature, but our data analysis was complemented harmonia: journal of arts research and education 24 (1) (2024): 105-121118 by a quantitative phase, which helped clarify our results. conclusions it has been possible to solve purpose of this study: a) students think that they have increased their academic development (p. e. development of self-management of time and effort, autonomous planning, and self-assessment of the effort itself, skills related to the university course and the early child education curriculum, including professional skills) and social development (p. e through their desire to participate actively in the hospital service). also, b) social implications for the agents involved have manifested as the emergence of group cohesion or sense of gratitude and belonging to that collective). according to results, this type of s-l experience has displayed the organizational capacity to involve all agents concerned, so university faculty members seem to have transmitted content or skills that enable the students to complete a course or a university degree, and more importantly, they are involved in educating students for life. this, in turn, transforms students’ perception of their personal identity and encourages them to exercise active citizenship. social assistance outside the classroom is perceived as a positive act of generosity by the students, and leads to gratitude on the part of the beneficiaries in the hospital environment. acknowledgment this research belongs to the call for projects of learning service at the complutense university of madrid (ucm) 2018– 2019, by means of the moving music project, moving through music (nº 17), carried out in madrid town hall and sponsored by the delegate of the rector for diversity and environment of the ucm. references andrés-romero, m., fernández, m., & pérez, l. 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(2012). a meta-analysis on the effects of service-learning on the social, personal, and cognitive outcomes of learning. academy of management learning & education, 11(1), 9-27. https://doi.org/10.5465/ amle.2010.0072 https://doi.org/10.21703/rexe.20173215116410 https://doi.org/10.21703/rexe.20173215116410 https://doi.org/10.22550/rep78-2-2020-04 https://doi.org/10.22550/rep78-2-2020-04 https://doi.org/10.1080/14613808.2015.1077800 https://doi.org/10.1080/14613808.2015.1077800 https://doi.org/10.3389/fpsyg.2018.02682 https://doi.org/10.3389/fpsyg.2018.02682 https://doi.org/10.1016/j.arcped.2018.03.003 https://doi.org/10.1016/j.arcped.2018.03.003 https://doi.org/10.5465/amle.2010.0072 https://doi.org/10.5465/amle.2010.0072 39 contemporary music and its challenges for music theory martin w. c. link westfälische wilhelms universität münster, germany received: december 13, 2017. revised: april 23, 2018. accepted: june 10, 2018 abstract contemporary music has found different ways in order to realize new methods of compositions in a process of indiviulazitation. many of its phenomenons such as the abandonment of functional tonality have already been announced by composers such as richard wagner and during its development many scholars have come up with different systems in order to add something new to the existing material. the variety of new models such as the center tone-theory or open forms have a new challenge for music theory, which was used to give accurate definitions of a common denominator. this article wants to analyze those new methods and the importance to understand them in order to be able to give a clear analysis. keywords: theory; analysis; wagner; tonality how to cite: link, m. w. c. (2018). contemporary music and its challenges for music theory. harmonia: journal of arts research and education, 18(1), 39-44. doi:http://dx.doi.org/10.15294/harmonia.v18i1.13686 harmonia: journal of arts research and education 18 (1) (2018), 39-44 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v18i1.13686 the different theory conceptions were carried out. therefore, a first look at the classical status of harmonic hierarchy was executed and its gradual transference to more complex structures. finally, three different theory conceptions of contemporary music were analyzed as well and are demonstrated with the help of short illustrations to show their functionality and their new capacity in relation to classical theory. analysis 1: unambigious music theory in the past for centuries, music theory has been an important discipline to highlight structures and composition techniques of the great composers. a very famous term of this profession, which almost every music student has come across, is counterpoint. among other fields, such as harmony teaching and morphology, counterpoint has developed into a scholarship, which investigates how the different parts of a fugue or a motet are put together and how special effects like the treatment of the harmointroduction contemporary music is not something completely new to our ears, unlike the german term „neue musik“ suggests. this genre of music, which had its problems in establishing after 1945, has found its way to the most important concert halls of the world and developed into the maybe most multifaceted category the history of music has ever seen. names like olivier messiaen, karlheinz stockhausen and luciano berio are only a few examples of the broad scale of composers and techniques, that contemporary music has brought to daylight. except the establishment on the stages, there is also another challenge which contemporary music has to overcome – that of a discipline, which is maybe the oldest and most important in understanding the structure of music. method to understand the theory and coherences of contemporary music, 5 analyses of corresponding author: steinbeck 1a, essen, 45239, germany e-mail: martinlink89@hotmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 18 (1) (2018): 39-4440 nic functions and dissonances have been executed. but music theory was not only the study of music of the past but also of music that is composed at the moment. another task among historic study was therefore to set out rules, how music had to be put together properly. this led to very strict examples of musical law like four-part-writing with its prohibition of parallel fifths for instance (figure 1). figure 1. four part-writing with 5th-parallel avoidance the best proof of a strict and definite scholarship of music theory is maybe the publication gradus ad parnassum by austrian composer johann joseph fux in 1725, which is still an essential element of today‘s counterpoint teaching in the maybe most dogmatic sense. theories like the fourt part-sentence in music were not rules that lasted for an eternity and didn‘t had a role like the law of grivity. but they reflect a momentum of music history, where a strict definition of reasonable music could be given and certain strategies of composing were simply inappropriate like the application of unresolved dissonances. this means on the one hand that at the time of j.j. fux, it was quite possible to define well-sounding music. on the other hand, this leads us to the question why such restrictions were made at all and especially a musician of our time would wonder, why at those days sound material like certain dissonances were simply excluded. an easy answer could be that people during the time of palestrina or heinrich schütz were not used to hear such „strange sounds“ like unresolved dominant seventh chords or ii-v-i-progressions and therefore, it would have sounded for them like a mispitched error, while today we can recognize such phenomenons as a natural part of our musical sourrounding. however, we know that already musicians like johann sebastian bach were about to break the dogmatic rules of proper harmony teaching. his technique of including complex harmonies in an interleaved pattern lead to the term of harmonic counterpoint, which defines the network of different harmonic functions related to each other and can be found even in only one part for instance in the arpeggios of the cello suite no. v bwv 1011. another new feature of bach is chromaticism, which means that the complete range of a scale-sector is used, like from a to g-sharp in the first bar of the prelude in präludium & fuge a-moll bwv 889. music theory teaching after bach included his style of composing and rose chromaticism and harmonic counterpoint to a new dogmatic rule of how proper counterpoint-writing should be executed. in other words new complexity, which was unheard of at the time, was integrated and strange habits became a substantial part of musical structure. the maybe best example is the well known sixte ajoutée, which was a very odd habit of the addition of a sixth in a chord on the fourth degree. in 1722, jean philippe rameau give this appearance a proper name and included it in his textbook traité de l‘harmonie. crystallization and shifting of rules has been common practice of music theory since the ancient greek and their first scale theory of the systema teleion. despite the complex additions to the codex of music theory, every new phenomenon could be discribed exactly with one term and clear definition. thus, the appearances in music until the 20th century were successfully added in the catalogue of styles and counterpoint practices. contemporary music however, has a challenge in this perspective. analysis 2: wagner and the announcement of free tonality it is not easy to give an exact definition, when contemporary music started. many scholars start calling music after 1945 contemporary but as we will see, one if its most prominent theoretical phenomenons started already many years earlier. richard wagner composed an opera in 1865, where a strange seventh-chord of the secondary dominant is combined with a diminished fifth in the bass and a sixth as derivation to the seventh, which is resolved again to a dominant seventh-chord with a derivation to the fifth by a sharpened fourth. this chain of derivations leads to the phenomenon that despite the root positions of secondary dominant and dominant, the leading tones in both chords disguise the progressions and moreover, the long duration of the derivating tones, the sixth and the fourth, prevent an accurate comprehension of the proper seventh and fifth – they become martin w. c. link, contemporary music and its challenges for music theory 41 an integral part of the chord itself. wagner‘s often discribed and analyzed tristan-chord is an early example of a structure of music dissolving itself from the gravity of tonality. in other words: the system, which was well constructed by scholars like gottfried weber with his publication versuch einer geordneten tonkunst and simon sechter‘s fundamental bass-theory, is about to be left behind. still, music has not arrived there yet in 1865, but wagner´s extensive application of chordderivations in altered chords and delayed resolutions are a premonition of what is about to happen. unlike the old situation in the time of composers like bach, this time it won‘t be enough simply to include the new dissonancetreatments into our catalogue of harmony teaching, because now music is about to call into question the organization of its foundation: functional tonality. figure 2. scale degrees as the gravity of tonality. the new changes of contemporary music, which have been announced in wagner‘s opera tristan und isolde, are about to be so grave that in order to understand them, we have to develop new analytical tools in music theory. figure 3. tristan-chord with delayed resolution. analysis 3: vagierende akkorde one of the first appearances of this new shift of gravity in contemporary music was in chord-structures, as the previous example demonstrated. in fact, altered chords in general were the starting point of this development, althoug they were not uncommon we can even find the exact elements of the tristan-chord in wolfgang amadeus mozart‘s stringquartet eflat-major kwv 428 in the second movement, measures 18 and 19 (amon, 200). but during these days, the composer was quite reluctant about re-interpreting those complex structures and preferred not to leave the universe of tonality and rather stayed on the ground. the first official textbook, which announced this prospect of ambigious chords and their re-evalutation was arnold schönbergs book harmonielehre. known as the father of the second viennese school, many people today forget about his intellectual input for music theory. it was schönberg, who first investigated complex altered chords and found a name for their ambigious nature: vagierende akkorde. nevertheless, harmonielehre is no manifest for a new theory of avantgarde, but a textbook for the proper harmony teaching student with all dogmatic resolutions and procedures, which scholars used to teach for centuries – except the last part, where he gives a perspective of the future of complex chords. concerning the modern chord structures, which can be found particulary in the works of richard wagner, schönberg says: „later, the student will be able to see the vagierenden akkorde for what they really are, without tracing them back to a root or a function: homeless creatures, between the areas of the keys with a tremendous ability for adaption without independence; spies, looking for weaknesses to create diffusion; deserters, with the purpose to abandon their own personality; troublemakers in any sense, but even more: exhilarating companions“ (schönberg, 1966). in other words, we are talking about a rebellion against the system of functional tonality but at the same time about enrichment for our musical material. it is a fundamental task for the scholar to see such chords beyond the boundaries of their roots, since their true harmonic power has nothing to do with this hierarchy according to schönberg: „if we refrain from explaining the true roots of the chords, their effect will be much clearer for us. we will understand then that such chords don‘t necessarily have to appear in the function they are originally related to, because that climate of their descent has no influence on their true character (which is also the case with many other chords, as we will see).“ the last part of this quote may underline schönberg‘s harmonia: journal of arts research and education 18 (1) (2018): 39-4442 tendency to throw over the complete constructional base of functional harmony, but from today‘s theory teaching methods we know that he was right about the ambigous chords: modulation as the art from getting from one key to another has established besides the method of direct reinterpretation through equal chords of different degrees, also reinterpretation through enharmonic equivalent, especially with an augmented chord on the secondary dominant and the diminished seventh-chord, which has become a classic of modern modulation procedure (schönberg, 1966). these two examples of vagierende akkorde show, how their ambivalent nature can become useful for tonal composing. but as schönberg mentioned as well, to discover their true value, we have to leave the gravity of root-harmony and change to a different perspective: „because the control of a progression in such a case through observation of scale degrees and roots is difficult to handle, the student may try to control the melodic perspective instead.“ in this phrase, schönberg pronounces one of the most important changes of perspective in the history of music, from harmonic paradigm to melody. figure 4. reinterpretation of complex chords. analysis 4: paul hindemith and his center tone-theory in contemporary music, many people found different ways to establish new theories and methods of composing. however, one observation which they all shared was the insight that the material of functional harmony was too limited for a further development and had to be left – or altered. schönberg‘s method was to completely abandon any temptation of hierarchy in tonal structure like the fundamental bass-theory has executed for many centuries. this well known equality led to the twelve tone system and certain harmonic liberty, which was not shared by everybody at the time. one of the most famous opponents of this atonality was german composer and scholar paul hindemith. instead of throwing away any kind of structural tonality, hindemith suggested to keep a structure in music but based on a different level. also for him, the functional scale degrees where not capable anymore to deliver the answer. moreover, according to hindemith they were just inaccurate, because they never considered an acoustic phenomenon of great importance: harmonic series. concerning this phenomenon discovered by pythagoras with his famous monochord-experiment and theoretically described by jean-baptiste fournier in 1801, tones are related to a fundamental according to their frequency. for hindemith, this should be considered as the real point of reference: in the intervall of a fourth from g to c, the c is the real fundamental tone, because g is the sixth harmonic in the overtone row based on c. he also analyzed a range of different intervals according to their melodic and harmonic power: the third, as the old construction base of chords, is the one with the biggest harmonic power and the major second the one with the strongest melodic power. with this arsenal of new analyzed intervals, hindemith constructs chords, which are not anymore based on the third-construction, but consist of many intervals like fourths, fifths or even seconds. the chord-structure is then based on the overtonebasis of the best interval. each chord is then cathegorized into 2 groups regarding their interval-constitution: with tritone or without. this results into a strict control of harmonic gradient. we can see, that hindemith‘s center tone-theory freed music of scale degrees but installed a new form of hierarchy, which is not completely distant from major/minor-tonality. this new approach of music as an alteration can be seen as a challenge of the fundamental bass-theory with its thirds-layering. what in fact hindemith really wanted to avoid with this concept, was the phenomenon schönberg and wagner were so aware of: ambigious chords and especially their inversions (hindemith, 1984). figure 5. harmonic series-frequencies martin w. c. link, contemporary music and its challenges for music theory 43 drastic measure in the process of individualization. however, this technique is not easy to summarize, since there is a certain difference in the degrees of formal freedom in most concepts. one of these possibilities is the oportunity for the performer to choose the beginning of a piece, which is written down and to continue from this point on as dictated by the sheet music. this is the case in karlheinz stockhausen‘s klavierstück xi and what i call macroscopic openness. another way is to choose from different elements the way they are put together then the procedure from start to end has to be as given by the composer. henry pousseur used in scambi a setting of tape excerpts, which segments could be put together individually and then had to be played in a given order. the interesting part of this microscopic openness is, that through every performance, the structural basis of the piece is reinvented every time. through this method, especially scambi has initiated a research project, to collect the executed performances in the past and the individual microstructure, which is related to each of them. the third version of formal openness, is the maybe most popular one: aleatoric. this term, strongly connected with the name of american composer john cage, means in the first place the incorporation of coincidence. while macroscopic and microscopic openness offered some degree of specifiction, aleatoric composition seems to bring the process of musical individualization to a climax and is open on the macroand microscopic level. for instance, mauricio kagel‘s prima vista offers a slide show of symbols, which demand „acoustic events“ and are free in their sequence. what has developed into a variable form through freedom in some performance-aspects, is now a musical impetus, that is almost completely detached from any formal manifestation and leaves even more freedom to the performer. it is very important to mention these aspects of formal openness in context with the development of individualization, which implies the refusal of formal structures and tends to be in formal apparition more fluid than crystalline. this is why the term process becomes almost a surrogate for the term form and which is why italian philosopher umberto eco used the term opera in movimento for this phenomenon in his publication opera aperta (eco, 1977). figure 6. first six notes of the overtone row based on c figure 7. paul hindemith‘s analysis of interval qualities. the center tone theory shows, how complex and different the situation of music theory has become during contemporary composition. however, the examples until now were restricted to the field of harmony and tonal structure. what follows next, will excel every attempt of restoration of music and is still causing debates among artists and scholars. analysis 5: process instead of form the development we could see until now can be discribed as a form of individualism. refinement of the material through the desertion of functional tonality and exploitation of chromaticism, have been methods to get away from a dogmatic universal language that operates through defined procedures, as we could see in the example of the four-part writing (kühn, 2007). schönberg‘s chord evaluation and hindemiths center tone-theory have been ways to find new timbres in music beyond the borders of major and minor. hindemith was one of the few scholars in his time, who were reluctand to take the last step and free music completely from its hierarchy and instead tried to find a compromise with an acoustic reference. these proceses of individualization, which led to individual systems, were about to be taken further up to one of the most radical steps in art history: the renounce of musical form. shift in harmonic reference or abandon of tonality may be one aspect of musical revolution, but the distancing from form can be seen as the most harmonia: journal of arts research and education 18 (1) (2018): 39-4444 figure 8. three models of formal opennes: macroscopic openness, microscopic openness and aleatoric form conclusions the three models of contemporary theory in composing have shown one common demoninator: classic music theory with tonality as the universal gravity has left the stage and therefore new individual systems have arrived that gradually left the old hierarchic structure and even musical form at the end behind. what implications does that have for music theory? on the one hand, this means that it has become more difficult to analyze music by classical means, such as for instance reductionanalysis founded by heinrich schenker or the functional-theory from hugo riemann. some new theories like hindemith‘s center tonetheory have only a limited scope for his own compositions while others, like schönberg‘s dodecaphony or aleatoric forms, have a more broader application in the history of contemporary music. for music theory this means trying to keep up with individual systems and understanding them, without falling back to the classical schemes of analysis but at the same time to execute with clarity and focus. even if contemporary composing has become a kaleidoscope of different theories and techniques, analysis should be able to give a definite result in observing and even interpreting structures, even with the ability to postulate legilities, but of course valid only for a limited area. on the other hand, in order to do this, music theory has to invent new models and schemes to discribe the new compositions and try to extract the structures which are contained in the artworks. it is the task for the future to act like the scholars in the past such as rameau and schenker did and to find out the underlying layers in the most complex and individual works music history has ever seen. references amon r. (2005). lexikon der h a r monielehre, vienna/munich: ludwig doblinger kg, 41-310 eco u. (1977). das offene kunstwerk, frankfurt am main: suhrkamp, 27 dack j. et al. the ‘scambi‘ project, open forms and electroacoustic music, middlesex university london, http://www.scambi.mdx.ac.uk kühn, c. (2007). formenlehre, kassel: bärenreiter, 204-205 hindemith, p. (1940). unterweisung im tonsatz, i. theoretischer teil, mainz: schott, 1139-448 rameau, j.p. (1722). traité de l‘harmonie, bourge la reine: zurfluh editeur schönberg, a. (1966). harmonielehre, vienna: universal edition, 309-310 moore c. et al. (2013). the majesty of music + math, santa fe institute, santa fe symphony, http://tuvalu.santafe.edu/projects/musicplusmath/index.php?id=2 326 the organology of rotenese musical instruments according to the hornbostel-sachs classification system agastya rama listya universitas kristen satya wacana, indonesia submitted: 2022-08-15. revised: 2022-10-21. accepted: 2022-11-05 abstract this article aims to propose a classification of rotenese traditional musical instruments based on the hornbostel-sachs (the h-s) method. the author conducted this ethnographic field research on the island of rote, east nusa tenggara province, from 2015 to 2016. the seven existing rotenese traditional musical instruments analyzed in this article are: 1) meko ai or the meko o (the wooden or the bamboo xylophone); 2) the meko besik or the meko lilok (the hanging iron or brass gongs); 3) the meko besik or the meko lilok (the iron or brass metallophone); 4) the labu kici or the labu so’e (the single-headed, bowl-shaped drum); 5) the tambur or the labu (the single-headed, long cylindrical drum); 6) the bitala (the crash cymbals); and 7) the sasandu (the heterochord tube-zither). the only rotenese traditional musical instrument that is not discussed in this article is kianuk, the twoholed bamboo flute, approximately ten centimeters long. this instrument does not exist anymore. the four aspects discussed in this article are 1) the construction, 2) the materials, 3) the ways of playing, and 4) the size of the instruments. information was gathered from interviews with some key persons and through photography and video recording. this research acknowledges some limitations; for instance, providing exact information is challenging and limiting in the absence of a standard for meko tuning and making. therefore, the information given here about the size, the material, the tuning, and the note intervals is an approximation. keywords: organology, the hornbostel-sach classification system, rotenese traditional musical instruments how to cite: listya, a. r. (2022). the organology of rotenese musical instruments according to the hornbostel-sachs classification system. harmonia: journal of arts research and education, 22(2), 326-336 harmonia: journal of arts research and education 22 (2) (2022), 326-336 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i2.38218 me of his treatise de organographia (dournon, 1992, p. 245). organology is considered as a quite popular topic among researchers, particularly in indonesia. for instance, agustinus irwanto siwe et al. (2022) discuss the organology of foi doa, a double-pipe flute from ngada, along with its playing techniques, materials, dimensions, and its making. gusti muhamad ilham et. al. (2018) study the organology of beruas, a membranophone from north pontianak used to accompaintroduction the word “organology” was first used to classify musical instruments based on their physical features. mantle hood (1971) calls it “organography.” later, organology shifted from studying the physical features of instruments to studying musical instruments in their social context (dournon, 1992, p. 247). this word was coined by a german musicologist, michael praetorius (1571-1621), in the second volucorresponding author: e-mail: agastya.listya@uksw.edu p-issn 2541-1683|e-issn 2541-2426 agastya rama listya, the organology of rotenese musical instruments according to the 327 ny zapin dance. m. abdi baha et al. (2020) investigate the organology of selober, a mouth harp from east lombok. uswatul hakim et al. (2022) examine the organology of a west lampung bamboo flute, serdam. sigit setiawan and aris setyoko (2022) investigate javanese kendhang’s organology and sound. ilham maulana et al. (2022) explore the organology of canang ceureukeh, its production concept, process, and materials. xaverius pala et al. (2022) survey the organology, origin, and the making of a xylophone from ngada, known as ga’a li. along with research on the organology of musical instruments based on its physical features, there have been some research on the ethnomusicology of musical instruments, e.g., suharto and aesijah (2014) studied the social function of lesung (mortar for pounding rice). hidayatullah panakajaya (2017) investigates that the change in social conditions in situbondo has been affected by the change in strékan music (music for welcoming guests in situbondo). irfanda rizki harmono sejati (2012) discusses: a) the historical background of gandrung (one of banyuwangi’s traditional performances); b) the playing techniques of violin in gandrung; and c) the functions of violin in gandrung ensemble. recently, there has been a research article written by deborah lee (2019) on the h-s classification of musical instruments. this article analyzes the scheme’s context, background, versions and impacts. unfortunately, none of these aforementioned studies investigate the organology of rotenese traditional musical instruments. therefore, research on the organology of rotenese classification of traditional musical instruments is to fill the gap. the rotenese traditional musical instruments analyzed in this article only those which still exist. this article discusses the construction, materials, size, and ways of playing rotenese musical instruments according to the hornbostel-sachs (h-s) classification system of musical instruments. rote is an island of 1278 square kilometers in size (rote-ndao, 2017) located to the south of the more oversized island of timor in east nusa tenggara province. the seven rotenese musical instruments discussed in this article are: 1) the meko ai or the meko o (the wooden or the bamboo xylophone); 2) the meko besik or the meko lilok (the hanging iron or brass gongs); 3) the meko besik or the meko lilok (the iron or brass metallophone); 4) the labu kici or the labu so’e (the single-headed, bowl-shaped drum); 5) the tambur or the labu (the single-headed, long cylindrical drum); 6) the bitala (the crash cymbals); and 7) the sasandu (the heterochord tubezither). these instruments are included in the discussion because they are still used and part of meko playing. there are two reasons for choosing the h-s classification system: 1) it is used worldwide, and 2) it uses the dewey decimal system (dds). in the dds, the first number refers to the main category, and the following numbers classify the instrument in detail. for instance, instruments represented by numbers such as 1.1.1 indirectly struck idiophones. the dds is beneficial because it uses figures to replace the combination of numbers, letters, and double letters. adding a new figure to the right end of the row will subdivide further the classification (von hornbostel & sachs, 1961, p. 10). another benefit of the dds, it allows us to pursue the specification of any musical instrument without manipulating the numbers. the position of the last figure shows the ranking of a given term with the system (von hornbostel & sachs, 1961, p. 10). although jaap kunst (dournon, 1992, p. 252) criticizes the h-s classification system for the lack of consistent criteria for its subdivisions, it remains the most popular classification system of musical instruments among museologists, organologists, musicologists, ethnomusicologists, and ethnologists all around the world (knight, 2017, p. 1). for instance, certain scholars have developed the h-s classification system in more varied ways, e.g., hans heinz dräger (1948) developed micro-taxonomical organology. mantle hood (1971) devises an organology that harmonia: journal of arts research and education 22 (2) (2022): 326-336328 enables the readers a visual description of musical instruments in their functional details. rené t.a. lyloff and jim matson develop a non-hierarchical taxonomy (1985). kurt reinhard (1960) bases his taxonomy on two principal categories: the number of sounding bodies and pitch adjustment. tetsuo sakurai (1980) developed his system based on seven major divisions: solid, membrane, reed, air, string, combination, and oscillator-vibrating instruments. as there is little research to date on the music and the musical instruments of rotenese people, this research offers a classification of rotenese traditional musical instruments based on the western perspective proposed by hornbostel and sachs. this research’s novelty lies in the proposed classification system of rotenese traditional musical instruments based on the h-s classification system. method this research applies ethnographic methods, in which the researcher attempts to describe the whole aspects of a studied community, e.g., economically, socially, and culturally (hennink et al., 2011, p. 46). james p. spradley (1980, p. 3) regards ethnography as “hallmark of cultural anthropology.” the h-s classification system of musical instruments is adopted to analyze the qualitative data. primary data was collected through interviews with some research participants, i.e., yusuf mesah, the manager of deta hitu (meaning “seven strings”) music and dance studio; jonas mooy, the manager of dolu inggu (meaning “peace that surrounds the village”) music and dance studio; and chornelis tuy, the chief of fetor tribe. the author also collected data from photography and video recordings during the research. this data was first triangulated with the only available reference on rotenese musical instruments, sasandu: alat musik tradisional masyarakat rote ndao by p.a. haning. second, it was analyzed according to the h-s classification system based on four aspects, i.e., 1) the construction, 2) the materials, 3) the ways of playing, and 4) the size of the instruments. finally, the analyzed data was interpreted and reported as seven tables representing the organology of rotenese musical instruments. results and discussion the meko ai/o the word ‘meko’ initially referred to a wooden or bamboo xylophone, which looks very similar to the kulintang a kayo from the philippines. nitende (rhizophora sp), kula (vitex parviflora), and bina (mallotus repandus) are the most common woods used in meko ai production. among these three, kula is the most preferred by meko manufacturers for its resistance to fungus, termite, and lyctus beetle attacks (orwa et al., 2009). to date, kula wood is also used for shipbuilding. the meko ai/o is a xylophone comprising nine tuned bars made of wood or bamboo arranged from the lowest to the highest: e3-g3-a3-c4-d4-e4-g4-a4-c5. these bars are strung horizontally on a wooden frame called hako. the term ‘hako’ literally means ‘cattle trough.’ although wooden frame has replaced the cattle trough, the term ‘hako’ is still to date. the dimensions of a meko ai range from about ninety to one hundred and ten centimeters long, from forty to sixty centimeters wide, and from forty to fifty centimeters high. figure 1. a meko ai (source: yandri yapi ishak sine 2012) the meko ai/o is usually played by two performers, with each performer holding one or two mangrove mallets. the first player (see figure 2) plays the five lowest notes (e3 to d4), while the second agastya rama listya, the organology of rotenese musical instruments according to the 329 plays the last four highest notes (e4 to c5). in case when the meko is played by three performers, the second performer shares with the third. the second performer plays the first three notes, and the third plays the highest one (see figure 3). the performers usually sit on chairs/small tools or squat on the ground face-to-face. figure 2. the seating arrangement for two meko ai/o performers (illustration: galih aulia 2018) figure 3. the seating arrangement for three meko ai/o performers (illustration: galih aulia 2018) according to the h-s system, the meko ai/o is classified as an idiophone with a set of percussion sticks in a range of different pitches combined into one instrument (111.212). table 1. the h-s classification number for the meko ai/o the dewey decimal system description 1 idiophones 1 struck idiophones 1 idiophones struck directly 2 percussion idiophones 1 percussion sticks 2 sets of percussion sticks the meko besik/lilok the meko besik (iron gong) or the meko lilok (brass gong) is another type of meko. the meko besik/lilok consists of two types: 1) the tuned knobbed metal bars suspended horizontally on a wooden frame; and 2) the hanging tuned knobbed metal gongs, which are suspended vertically on a wooden frame. like the meko ai/o, the meko besik/lilok also comprises nine tuned metal bars or gongs. a set of nipple gongs may range from approximately fifteen centimeters (i.e., the meko ana, the smallest gong) to around thirty centimeters (i.e., the meko ina makamu, the largest) in diameter. figure 4. a set of suspended meko besik (source: agastya rama listya 2015) the dimensions of the meko besik/lilok are similar to those of the meko ai/o, as well as its playing technique. following the h-s classification system, this metallophone (table 2) falls into the idiophone category, more precisely, a set of percussion plaques (111.222). table 2. the h-s classification number for the hanging meko besik/lilok the dewey decimal system description 1 idiophones 1 struck idiophones 1 idiophones struck directly 2 percussion idiophones 2 percussion plaques 2 sets of percussion plaques harmonia: journal of arts research and education 22 (2) (2022): 326-336330 the tuned knobbed metal gongs are similar to a philippine gandingan, but the number of gong pieces. the gandingan comes with four pieces of gongs, whereas the meko besik has nine pieces of gongs. both instruments are suspended vertically on a solid wooden frame, tree trunks, or sometimes between two house posts using a cord. the largest three gongs (i.e., the meko ina makamu, meko ina taladak, and the meko ina tataik) and the medium (i.e., the meko nggasa laik and the meko nggasa daek) are usually suspended vertically on a frame or a cord (figure 5). the rest of the gongs are held in the performers’ hands. since the playing may take several hours, players prefer to sit while playing their instruments. figure 5. a set of hanging meko besik (source: agastya rama listya) according to the h-s classification system, the tuned, knobbed metal gongs are registered under number 111.241.2 (sets of gongs [gong chimes]). table 3. the h-s classification number for a set of hanging meko besik the dewey decimal system description 1 idiophones 1 struck idiophones 1 idiophones struck directly 2 percussion idiophones 4 percussion vessels 1 gongs 2 sets of gongs the labu kici and the tambur there are two kinds of stick percussion instruments acknowledged by the rotenese to provide a rhythmic accompaniment for meko and sasandu playing: 1) the labu kici (small labu) or the labu so’e (see figure 6); and 2) the tambur or the labu (see figure 7). the labu kici is usually to accompany sasandu playing, while the latter is used to accompany meko playing. figure 6. a labu kici (illustration: galih aulia 2018) figure 7. a tambur (source: agastya rama listya 2015) the labu kici is a coconut-shell drum played with two wooden sticks called labu aik. the labu kici ranges from about 20 to 25 centimeters, while the labu aik is about 1,5 centimeters with 25 centimeters in length. in the past, labu’s drumhead (bamba bau ro) was made of bat skin and later has been replaced by goatskin (bamba bau bibiru)(mooy, 2015). the drumhead of the labu kici is stretched on leather strings, which can be adjusted to change the pitch. the labu kici is held between the knees when played. the rhythms played on the labu kici agastya rama listya, the organology of rotenese musical instruments according to the 331 are similar to those played on the tambur. according to the h-s classification system, the labu kici is categorized as a directly-struck single-headed drum in which the drum’s body is bowl-shaped (211.11). table 4. the h-s classification number for the labu kici the dewey decimal system description 2 membraphones 1 struck membraphones 1 directly struck membraphones 1 the body of the drum is bowlshaped 1 single instruments the tambur is a single-headed, long cylindrical drum played with a pair of wooden sticks similar to that of the labu kici. the tambur body was initially made of hollow coconut tree trunks approximately forty to fifty centimeters high. in recent decades, fishing net floats have supplanted the coconut tree trunks. recently, twolegged musical instrument stands made of metal have been installed on the body of the tambur. the drumhead uses the skin of a baby water buffalo, pony, pig, or deer (mesah, 2015). doeskin is preferred over other skins because of its thickness and durability (cf. haning & adu, 2009; lido, 2015; tuy, 2015). the diameter of the tambur ranges from about twenty to thirty centimeters. similar to the playing of the labu kici, the tambur is held between the player’s knees and always played in a sitting position. according to the h-s classification system, the tambur is classified as an individual single-skin cylindrical drum under number 211.211.1. table 5. the h-s classification number for the tambur/la’bu so’e the dewey decimal system description 2 membraphones 1 struck drums 1 drums struck directly 2 tubular drums 1 cylindrical drums 1 single-skin cylindrical drums 1 open cylindrical drums the bitala or the kringtingan the bitala or the kringtingan are a pair of small bossed, crash cymbals ranging from about 5 to 7 centimeters in diameter (see figure 8). this instrument is made of iron and is considered a non-pitched percussion. each cymbal comes with a finger strap, which is grasped between the player’s thumb and first finger. the use of the bitala in meko playing is optional. if played, the bitala’s rhythm usually follows the rhythm of the tambur. figure 8. a bitala/kringtingan (source: agastya rama listya 2015) based on the h-s classification system, the bitala falls under the subcategory of vessel clappers with everted rims (111.142). harmonia: journal of arts research and education 22 (2) (2022): 326-336332 table 6. the h-s classification number for the bitala/kringtingan the dewey decimal system description 1 idiophones 1 struck idiophones 1 idiophones struck directly 1 concussion idiophones or clappers 4 concussion vessels or vessel clappers 2 cymbals the sasandu ‘sandu’ or ‘sanu’ means ‘to vibrate.’ the sasandu or the sandu is a short form of the sandu-sandu or the sanu-sanu, meaning ‘to vibrate repeatedly.’ the sasandu used to be called ‘depo hitu’ (seven strings). this name appears in a poetic saying: “sari sandu la dei depo hitu la dei” (to vibrate the instrument’s strings by scrubbing the fingers and picking the seven-stringed instrument by pressing the fingers on the strings (haning & adu, 2009, p. 14). the sasandu is a rotenese tube zither with a resonator made of lontar (boraissus sundaicus) or palmyra palm leaves (haik). its tube (aon, sandu milak) is made of a hollow piece of bamboo with a half-round lid or head called langga and a foot called mea or sandu iko (the tail). the sasandu ranges from about 6 to 8 centimeters in diameter and 45 to 60 centimeters in height. both the langga and the mea are made of wood. the sasandu’s strings are stretched from the tuning pegs (aidipo, ndikodon) on the langga to the nails on the mea. once the aidipo was made of wood but later was replaced by metal screws. each stretched string is supported by a movable wooden bridge (senda) placed on the surface of the aon. if the sasandu player desires to tune the pitch slightly higher or lower, the senda can serve as another tuner. adding a unique resonator known as haik distinguishes the sasandu from its counterparts (e.g., the malagasy valiha, the cambodian kong rla or the philippine kolitong). formerly, the sasandu strings were made of the roots of the banyan tree (ficus benjamina), but later were replaced by civet cat stomach (haning & adu, 2009, p. 11; kartomi, 2001, p. 54). recently, motorcycle coupling wire strands and metal guitar strings have become the most widely used materials for the sasandu strings because of their availability on the island. there are two kinds of sasandus: 1) traditional (see figure 9); and 2) modern (see figure 10). the traditional sasandu, known as the sasandu gong, is typically a solo instrument that accompanies rotenese traditional songs (the sodak), e.g., mai fali e, mana lolo banda, and ofa langga. as a pentatonic instrument, the tuning of the traditional sasandu follows the tuning of the meko’s scale, i.e., e3 (the meko ina makamu)-g3 (the meko ina taladak)-a3 (the meko ina tataik)-c4 (the meko nggasa lai)-d4 (the meko nggasa dae)-e4 (the meko leko)-g4 (the meko paiseli)-a4 (the meko paimali)-c5 (the meko ana). figure 9. a sasandu gong (source: agastya rama listya 2015) figure 10 a sasandu biola (source: agastya rama listya 2015) agastya rama listya, the organology of rotenese musical instruments according to the 333 the modern sasandu comes with two names, i.e., sasandu biola (popular among the rotenese of the island) and sasando (known among those who live in kupang, west timor). the term ‘biola’ (violin) denotes that the instrument is tuned according to the western diatonic system. the sasandu biola’s strings may vary in number from 22 to 40. the number of strings is closely related to the number of notes altered. in other words, the more the number of strings, the more the number of notes altered. the 22-stringed sasandu consists of g3–c4–d4–e4–f4–g4–a4–b4–c5–d5–e5– f5–f#5–g5–a5–b5–c6–d6–e6–f6–g6– a6. f#5 becomes the only note altered by an accidental one. the 28-stringed sasandu biola comprises g3–c4–d4–e4–f4–g4–a4–b4–c5–d5– e5–f5–g5–a5–bb5–b5–c6–d6–e6–f6– f#6–g6–a6–bb6–b6–c7–d7–e7. here we can see three notes altered by accidentals, i.e., bb5, f#6, and bb6. the 32-stringed sasandu biola is composed of: g3–c4–d4–e4–f4–g4–a4–b4– c5–d5–e5–f5–f#5–g5–g#5–a5–bb5– b5–c6–c#6–d6–e6–f6–f#6–g6–g#6 a6–bb6–c7–d7–e7. in the 32-stringed sasandu biola, four more notes are altered than the 28-stringed, i.e., f#5, g#5, bb5, c#6, f#6, g#6, and bb6. in the modern sasandu, a neck strap made of lontar or, more recently, cloth or nylon has been added to help the player control the movement of the instrument. one end of the strap goes around the player’s neck, while the other is attached to the langga. using a solid metal stand for the instrument has enabled the performer to be less encumbered, and the amplification has enabled the music to be heard more clearly when played outdoor. the strings are plucked using the player’s hands. these two hands play simultaneously with the same intensity and degree of difficulty. the right hand—usually plays the bass and chords—covers the lower notes, while the left hand usually plays the main melody. in the sasandu gong, the right-hand plays the first half of the scale starting from the bottom to the top (i.e., e3-g3-a3-c4-d4-e5), and the lefthand plays the rest of the scale, moving from the top down to the bottom (i.e., e4g4-a4-c5-d5-e5). thus, the notes are arranged in circular order, starting from the bottom right of the circle, and proceeding counterclockwise (see figure 11). this arrangement reminds us of the kora, a west african harp lute. figure 11. the pitching order of the sasandu gong in contrast, the left hand of the sasandu biola moves in two different directions. the first three notes (i.e., f5, g5, and a5) are played downward, while the rest of the notes (i.e., bb5 to e7) are played in the opposite direction (see figure 12). figure 12. the pitching order of the 28-stringed sasandu biola according to the h-s classification system, the sasandu falls in the chordophone category (string instrument) and is subclassified as a heterochord tube zither with an attached resonator (haik). the sasandu is classified under number 312.122. the first three numbers refer to the source of the sound, the instrument type, and the strings’ arrangement. the last three numbers refer to the type of tube used, the harmonia: journal of arts research and education 22 (2) (2022): 326-336334 strings played, and the use of an extra resonator. table 7. the h-s classification number for the sasandu the dewey decimal system description 3 chordophones 1 simple chordophones or zithers 2 tube zithers 1 whole tube zithers 2 heterochord tube zithers 2 with extra resonator conclusion this classification is purely made to fill the gap, particularly in the absence of rotenese traditional musical instruments. besides, this proposed classification of musical instruments will help the readers to understand how rotenese traditional musical instruments are classified according to the western perspective. as this article only discusses the physical aspects and the way of playing of rotenese traditional musical instruments, it opens an opportunity for the future research to study on the social context of these instruments, or borrowing jeremy montagu’s (2003) term “ethno-organology”, meaning a study of musical instruments in connection with their cultural meaning in a researched community. according to the h-s classification system of musical instrument, the seven existing rotenese traditional musical instruments [i.e., meko ai/o, meko besik/lilok (xylophone and metallophone), the labu kici/so’e, the tambur/labu, the bitala, and the sasandu] can be classified as follows: 1) the wooden or bamboo xylophone consisting of nine tuned wooden or bamboo slabs is classified as a set of percussion sticks in a range of different pitches combined into one instrument under number 111.212; 2) the metallophone consisting of nine tune knobbed metal bars is classified as a set of percussion plaques of different pitches are combined to form a single instrument under number 111.222; 3) the hanging gongs consisting of nine tuned knobbed gong pieces is classified as a set of bossed gongs with metal circular discs under number 111.241.2); 4) the small crash cymbal is classified as vessel clappers with everted rims under number 111.142; 5) the small, single-headed and bowl-shaped drum is classified under number 211.11; 6) the long, single-headed and cylindrical drum is classified under number 211.211.1; and 7) the tube zither with an attached resonator made of palm leaf is classified as a heterochord tube zither with an extra resonator under number 312.122. this article does not cover the discussion of the rotenese classification system of musical instruments following the social-cultural meaning of rotenese musical instruments (i.e., the significance and function of rotenese musical instruments). acknowledgements the author would like to acknowledge those who have contributed to this research, primarily to the government of the rote-ndao regency and the author’s research participants 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(1961). classification of musical instruments: translated from the original german by anthony baines and klaus p. wachsmann. the galpin society journal, 3–29. 95 the tryout of dance teaching media in public school in the context of appreciation and creation learning malarsih department of dance education, semarang state university sekaran campus gunungpati, semarang 50229, indonesia e-mail: unnesmalarsih@yahoo.com received: november 28, 2015. revised: december 23, 2015. accepted: january 24, 2016 abstract dance learning through appreciation and creation approach is considered important in public school. this study is aiming at realizing dance media to be used as a tool to educate students as formulated in the school curriculum. specific target to be accomplished in this study is the realization of dance learning media as one of appreciation and creation educational tool in public school. further, this study employed developmental research method. the tryout of the product was done to measure the effectivity and creativity of students while the media is implemented in dance learning. the product’s trial result showed that the use of dance learning media that was designed specifically for appreciation and creation approach has succesfully driven the students to be more active and creative. teacher assistant was less needed by students whenever they have problems related to the dance learning. keywords: dance; appreciation; creation; learning; media how to cite: malarsih. (2016). the tryout of dance teaching media in public school in the context of appreciation and creation learning. harmonia: journal of arts research and education, 16(1), 95-102. doi:http://dx.doi.org/10.15294/ harmonia.v16i1.4561 harmonia : journal of arts research and education 16 (1) (2016), 95-102 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v16i1.4561 p-issn 1411-5115 e-issn 2355-3820 donesian public school, in fact, is created and revised based on the policy that the government has. as a result, the curriculum changes every time the government has a new education policy. however, the role of dance is remaining the same; that is as an education tool. when art is taught as an education tool, the output is the skill of a process which contains a considerable number of educational values, specifically one related closely to character education. previous research entitled “the enhancement of student creativity in dance learning by cooperative learning in public school” by dian trisna mustika, et al. (2013) is employed to support this study. it tells about the lack of students’ creativity in learning school subjects. the result shows that cooperative learning is consiintroduction dance learning in public school needs to be done in accordance with the purpose of art education written in a curriculum, that is as an appreciation and creation educational tool. the first phase of research done by researchers (malarsih, et al., 2015) has produced dance learning media product as appreciation and creation educational tool. in line with the first phase of research, the researcher believes that product produced by the first phase of research needs to be tried out to the practitioners before being used in the actual teaching and learning. it is hoped that after the tryout, a product can be maximally used to achieve the aims of learning. dance education curriculum in inharmonia : journal of arts research and education 16 (1) (2016): 95-10296 derably beneficial in enhancing students’ dance creativity, though the result has not been significant enough to support the study. second supported study is entitled “the dance subject: image and its contribution in shaping children’s character” by kuswarsantyo (2012). the research was conducted in public school in primary, secondary, and high school level in yogyakarta province. the problems discussed in this study are related to the image of dance from textual to contextual understanding. results show that changing the students’ perspective about dance from textual to a more contextual understanding is influential towards the students’ attitude in appreciating social life as one of art education implication at school. in addition to this is a research entitled “learning lampung creation dance through choreography in senior high school 5 bandar lampung” by adzan (2014). the problems raised in this study is related closely to how the process of dance creation learning is held in senior high school 5 bandar lampung. research result shows that the process of dance creation learning is initiated by the activity of understanding the conception of the dance, that is then followed by introduction of choreography using audiovisual media. starting from the activity of introducing through audiovisual media, students can explore and improve further. the enhancement of creativity after the use of audiovisual media is the shift of students’ attitude to be more active and creative. the three previous studies employed in this study are all related to dance learning in public school, ranging from primary, secondary, and high school. even so, all studies conducted before this have not conducted any trial or tryout in the actual field related to the usefulness of inhouse dance teaching and learning media in senior high school to optimize appreciation and creation learning. thus, research statement in this study is how dance teaching media product can be used as a model for dance learning that employs appreciation and creation approach in public schools of high school level. method this study implemented developmental research. developmental research is a study in which product demanded by research subject produced at the end of the study. further, this study adopted and developed a theory from borg & gall (1983). in detail, setting and object of the study, data analysis technique, and research steps are explained as follows: setting and object of study this study was conducted in both semarang city and regency. specifically, the subject of the study was senior high school involving teachers and students in a specific context which was dance learning process. the object of the study, however, was related to the tryout of dance learning media product in order to support the appreciation and creation learning to dance in public school. in accordance with the object of study, components of appreciation and creation became important as components used in learning media to activate and push students to be creative during the learning process. seeing from the perspective of problems that needed to be solved −specifically about appreciation and creation− therefore, the teaching and learning media also had to be filled with appreciation and creation approach. the media of appreciation focused on the introduction of text and context of dance. the text and context of dance then had to be understood, interpreted, innated, and internalized before being evaluated after that. the teaching media of creation were developed from appreciation media that was filled with dance material that was expected to be developed by students, either from the point of view of its movement ideas or its ability to connect and construct all elements, before being arranged into a new creation of appreciation media. malarsih, the tryout of dance teaching media in public school in the context .... 97 data analysis technique and steps of study the data analysis technique was related closely to the data collected from the subject of study. data in this study was all related to the dance appreciation and creation, dance learning, and ways in developing teaching materials. data was collected through observation, interview, and documental study. the data analysis technique employed here had been adjusted to the characteristics of data and its usage in this study. the following explanation presents steps of research in all phases in relation to the tryout of teaching media product for appreciation and creation learning. first was delivering information about the purpose of dance teaching and learning. second, conveying the manifestation of teaching media in relation to dance learning. third, explaining the necessity of using teaching media to raise creativity in dance. fourth, implementing the teaching media to attract students’ interest in dance subject. fifth, observing responds from students on the use of the tried out teaching media. sixth, asking responds from students verbally regarding the teaching media used during the process of teaching and learning dance. result and discussion in this part, steps in trying out the research product that is packaged in a form of dance appreciation and creation learning media will be described. the product’s try out is done qualitatively in collaborative work between teachers and researcher. here, the teacher’s role is to apply the tryout in classroom learning process and the role of the researcher is to observe students’ activity in appreciating and creating the dance. students’ activity in appreciates the dance as written in the method of the study, the first step of media’s try out is conveying information about the purpose of learning dancing. thus, learning dancing for students in public school is aiming at teaching students to appreciate others’ work in the context of dance. appreciation can be identified as a process to interpret meanings contained in an artwork (bahari, 2014). the definition literally means as the meaning of a meaning (pradopo, 1999). specifically, in arts, meaning can be understood as whether the art (1) is enjoyable or not, (2) is sensible or not, (3) is imaginable or not; and (4) embodies a cultural value or not (sedyawati, 1995). up to this stage of learning, it was found that students had not understood the meaning or definition of art appreciation itself. the considerably easiest way to teach the students about appreciation is to explain appreciation as an appraisement or recognizition. in other words is to recognize the existence and value of certain dances. getting students to be able to appreciate dance is indeed not a simple thing to do. there is a set of process that needs to be passed by students to be able to appreciate a dance. the first process is to identify dance from the perspective of text and context. second is to understand the dance from the perspective of text and context. third is to interpret the meaning of dance from text and context perspectives. the fourth is to be able to value or evaluate the dance from the perspective of text and context. this model of appreciation departs from art critic thought pattern that claims to be able to make students appreciate art well and correctly (wadiyo, 2012); ispahami, 2011, p. 27-28). after getting students prepared with the ability of appreciating art, the next step was the implementation of the teaching media in the learning process. the media itself is considered as a learning source component or physical medium that contains instructional material related to the students’ environment that is expected to be able to stimulate the desire of students to study. meanwhile, teaching media itself is a medium that brings messages or information aiming at an instructional purpose of teaching. learning or teaching media encompass tools that are physically used harmonia : journal of arts research and education 16 (1) (2016): 95-10298 to deliver the content of teaching. several examples of teaching and learning media are booked, recording tape, cassette, video, film, slide, picture, graph, television, computer, etc. (hamdani, 2010). for the tryout purposes, the teaching media in this context is created in a form of visual audio containing dances that are set exclusively to stimulate students to be able to actively participate in appreciation activities with explanations and assistance provided by teachers. further, in relation to learning, the dance appreciation taught through teaching and learning media also has the purpose of making students active in learning dance at the level of passive and active appreciation. according to wadiyo (2008), passive appreciation happens when an appreciator only has the ability to enjoy the art, while active appreciation takes place when appreciators not only enjoy the art but also do the art even though up to the level of imitation only. research in this context is employing audio-visual media that allow all students to access and watch it. during the first step of the learning process, students only require watching the video. the next step then gives an opportunity for students to ask and give critic to the video they watch, and finally is a class discussion. during the class discussion, the teacher’s role is as a facilitator that brings freedom to students to give their commentary or responds towards the media used in teaching and learning. according to tukiran taniredja, et al. (2014), the class discussion may happen and run well when students have employed a conception or experience regarding the discussed problems. thus, through appreciation teaching media used in teaching and learning dance, students will have a chance to watch the dance while at the same time develops conception they have already had. discussion or debate may happen since each student has opinions to be heard. if discussion or debate is taking place, thus, the teacher has been profoundly successful in giving space for students to explore their ideas and knowledge about the dance that was watched together earlier. learning is an effort done by teachers to facilitate students. it can be also understood as an effort done by the teacher to assist students optimally to achieve the desired goal (gegne and wager, 1992). related to the understanding of learning conception, it needs to be understood as well that learning is mainly related to the learning material. learning material will be delivered well to students maximally if it is supported by the smart use of teaching and learning media (joice and wheil, 1986). therefore, the teaching and learning media are considered important in a certain learning process. phenomenon happened in the actual teaching and learning during the tryout process was that students had more confidence in delivering responds towards the media. besides responding to the media personalities, students were also able to do it in a group that led to a discussion to occur. during the discussion, some students were in fact attempting to imitate the dance shown in the media. the teacher, in this case, gives all opportunities for students to express themselves, even though some students may do this while joking with their friends. it is considerably in line with theory explained before that in the level of active appreciation, students tend to imitate the presentation given by both the teacher directly and through teaching media. the teacher’s role was paying attention to the students who gave their active appreciation by imitating the dance. the teacher also gave the right explanation or example regarding the correct movement of the dance. giving an example by demonstrating in practical learning is usually seen during the classroom teaching and learning. this type of teaching is referred as the demonstration method by iline (2013). moreover to underline the purpose of teaching appreciation in school is that for students to understand dance from the perspective of text and context. the expected outcome is that the ability of students to enjoy or imitate the movement of malarsih, the tryout of dance teaching media in public school in the context .... 99 involved in creative thinking; the ability of divergent production and transformation. further, creativity also seems to be correlated with flexibility in the process of thinking, that is the presence of ideas which are more directed to the complexity of thinking. it can also defined that creativity is the thought process that generates new concepts or generate problem solving (sumaryanto, 2001; vogel, 1986; ross, 1978; lowenfeld and brittain, 1982; gomez, 2007; tsai, 2012). the concept as proposed by the experts were delivered to the students. after the conception of creativity being delivered in the classroom, the dance creativity teaching media was then shown and introduced to students. the media here is given to be responded by students. this creative teaching media containing local/ traditional, indonesian, as well as an international dance that has been edited/ merged into one. the students were asked to respond the teaching media as well as to think about new dance that must be created or produced by them later. in the process of creativity, students can later use the sample dance to be combined with physical natural phenomena, and cultural/ or social phenomena. the form of dance can be in the form of the new composition or new choreography of dance (compare with the research results from kuswarsantyo, 2012). in a dance lesson that focuses on the creativity of these students, it is emphasized that the necessity of using audio-visual teaching media is to foster the artful dance creativity. without the use of audiovisual media does not mean it cannot foster the creativity of the students, but the use of audio visual media can further enable the creativity of students because students may receive guidelines to maintain the dance movement in accordance with the theme, combined with the phenomena of nature, social, as well as cultural condition that are felt by the students. through audio-visual media, context and concrete example can be seen easily by students. thus, when students are asked to make creations, they did dance as exemplified in audio-visual media provided by teachers. at the end of the learning, the teacher will ask for students’ feedback either personally or classically at the classroom towards the dance that was previously shown through the audio-visual media. the feedback given by students were vary. however, goals of appreciation learning have been accomplished and may give experiences to students that are hoped to be further developed by them. students’ activities in dance creativity the tryout of media to build students’ activity in the process of dance creativity is done through several steps, such as, teaching and learning media try out to support the learning of appreciation. the difference is only in the media that being used. during the demonstration of teaching media appreciation, its local traditional dances are used more in the form of solo, couple, and group dance. as for the purpose of testing of teaching media of creation, a dance that is used as a medium for teaching dance are local dance, indonesian regional (nusantara) dance, and international dance that had been edited into one package of dancing video. the following paragraphs present the process of media testing and results. once the initial pilot test had been done, the information related to the core purpose of the dance was delivered to students. in teaching dance at school, the purpose of the lesson is to teach students to appreciate and create. it is indeed important for students to be creative as well as possible in order to produce the best dance creativity product. however, the more important rather that the product is the process itself. the process is considerably important to train the students to become active and creative to explore their abilities. in this context, however, the product produced from creativity is not a top priority for the outcome of the study. what is seen as creativity is the ability to think about something in a new way in order to be able to find a unique solution? at least there are two skills that are harmonia : journal of arts research and education 16 (1) (2016): 95-102100 not experience difficulties because of existing audio-visual examples can be developed by the students (compare with the results of adzan, 2014). based on an emphasis by the teacher to the students related to the importance of using audio-visual media to foster creativity during the process of dance creation, teacher has attempted to implement the teaching media to be used in the classroom. what is seen by students in the teaching media is used as guidelines by the students in creative dance. the uniqueness of teaching students to be creative here is that the product produced by them were varied, even though the sample of teaching media they used were the same. phenomenon happened during the research was at the end in line with the concept of creativity by starko, 2005 and kozbelt et al., 2010 in which creative means different with the existed phenomenon, but among those differences lied similar usage. what was done by the teachers in the tryout of media was to pay attention and gave response to the activity of students during and after the students watched the audio-visual teaching media. from the observation result, it was found that students were initially imitate the movements shown in the video. however, after the video showed more complex types of dance movement with some varieties in it, students began to develop their own creation of dance. several students created solo dance, others danced it in pairs or groups. all creations here are, in fact, a manifestation of creativity had by students which are resulted from freedom to act and develop. definition of dance according to sachs (1975) is a rhythmic motion or movement. najamuddin (1983) argues that, in principle, the dance has fundamental elements, namely motion, rhythm, and beauty. dance can not be separated from the movement. it is because the raw substance of the dance is movement (soedarsono, 1976; camp, 1996; kalyn, et al, 2015). at the end of the classroom learning, the teacher asked for students’ feedback related to the advantages and disadvantages of teaching media implementation in the classroom. results indicated that students felt the advantage of the media implementation as it may trigger the students’ creativity in creating dance. in general, the students gave positive response towards teaching media and expected the use of teaching media in the form of video to be given at every meeting, especially when the subject is about dance creation. in short, the media were proven to be successfully implemented in the classroom since it may help them in creating dance. the results of the dance creation were varied. some students preferred to create solo dance, while some other students chose to create the couple and a group dance. related to this, the creativity of students had successfully brought diversity in the classroom, which means that the goal of creative teaching has been accomplished. conclusion teaching and learning media were profoundly needed in dance appreciation and creation learning in public school. teaching media in a form of the video had activated the students’ interest in appreciating and creating dance. from the study, it was found that the video may trigger students to both passively and actively appreciate the dance. the passive appreciation was seen when students enjoyed the video, while the active appreciation was seen when they were imitating the movements of dance as shown in the video. in addition, the teaching media related to dance creation also had successfully triggered the interest of students in creating the new dance. products produced by students as a result of creativity were varied from solo to group dance. however, it had been in line with the purpose of teaching dance appreciation and creation at school. the activity of appreciation and creation as explained in this study is hopefully able to place dance as one of education tools in public school. malarsih, the tryout of dance teaching media in public school in the context .... 101 references adzan, n. k. 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(2012). pengembangan bahan ajar apresiasi seni musik ( sertifikasi guru bahan ajar, pendidikan dan pelatihan profesi guru, sertifikasi guru dalam jabatan). semarang: universitas negeri semarang. 117 kroncong orchestration of millennial generation victor ganap institut seni indonesia yogyakarta, indonesia submitted: november 22, 2018. revised: november 4, 2019. accepted: december 28, 2019 abstract kroncong is the urban popular music of indonesia, which some scholars suggest was brought by portuguese in the early sixteenth century. kroncong becomes popular across the archipelago as accompaniment in its musical genre, theatre and film. although popular music has long been an integral part of indonesian cultural domain, genres such as kroncong have been overlooked by music scholars. this article aims to introduce kroncong orchestration that could be performed in an updated style for incorporating repertoire from any other genres into idiomatic kroncong, that will be adopted by the millennial generation. therefore, the reinvention of kroncong will not only be a significant contribution to scholarship on indonesian popular music, but it will also contribute to a wider understanding of the complexities of indigenous ethnicity, political power, social class, and gender. the orchestration that will retain its rhythm pattern and vocal ornamentation, while reinforcing the strings and winds as melodic carriers. keywords: kroncong; orchestration; millennial generation how to cite: ganap, v. (2019). kroncong orchestration of millennial generation. harmonia: journal of arts research and education, 19(2), 117-125. harmonia: journal of arts research and education 19 (2) (2019), 117-125 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i2.16893 has survived to this day as an example of a cultural expression that creatively combines various musical elements from the west and the east. after completing the research, the writer obtained a doctorate from gadjah mada university, with a dissertation title: “krontjong toegoe: history of the existence of community and music in tugu village, cilincing, north jakarta” (ganap, 2011). in may 2018, the writer with an american kroncong researcher named hannah standiford appeared in a panel discussion entitled “reinventing kroncong music”, which was held at the postgraduate school of gadjah mada university in collaboration with the american institute for indonesian studies (aifis) yogyakarta. hannah is a singer and leader of the kroncong introduction kroncong is the music of the urban cultural community that grew and developed in indonesia, which was originally brought by portuguese sailors since the sixteenth century. by the twentieth century, kroncong became popular among indonesian urban communities, as an independent music genre and in its function as musical illustrations for theater and film. the writer began to research kroncong in a group of kroncong musicians in tugu village north jakarta where the community believed to have created kroncong as a combination of portuguese fado elements from islamic moorish and nusantara music. the music which was created produced a genre called krontjong toegoe, which corresponding author: e-mail: victorganap@ymail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 19 (2) (2019): 117-125118 grass orchestra in america, supported by american musicians in playing the kroncong instrument. she is an awardee of fulbright scholarship to conduct research on kroncong in indonesia based in surakarta. the first meeting with hannah made the writer realized that kroncong music had developed outside indonesia, thus this inspired him to conduct research on kroncong orchestration of millennial generation, through a research grant of postgraduate lecturer at gadjah mada university in 2018. typically, scientific research conducted on indonesian music is focused on gamelan music in palace traditions, such as javanese, sundanese, and balinese gamelan. although popular music has long been an integral part of the realm of indonesian culture, still a musical genre such as kroncong is not a topic of concern for researchers in general. this situation also encourages the writer to conduct research in welcoming the possible contribution that can be made by millennial generation to kroncong music, and strives to disseminate the results of his research to international readers. it is believed that the results of this research will not only benefit indonesian music studies, but will also contribute to a broader and more in-depth understanding of the complexity of the study of indonesian indigenous ethnicity, the influence of cultural politics, social groups, and gender in the context of the development of kroncong music in millennial generations. the standard musical source for indonesian kroncong is moresco’s song, which was first written according to the transcription of manusama (1919), in tempo moderato con amore, transcription written in high notes on the first four bars which are challenging to sing like the following example. the high notes in the moresco opening melody groove (a2-e3-d3-b2) cannot be sung by an untrained vocalist, because they are an octave higher than the notes that are common on a high compass, which demands the use of the falsetto technique, imitating nasal vocalization, a moor vocalist who sings without opening his mouth widely according to islamic rules. but the portuguese couldn’t imitate the nasal vocalizations, so they replaced them with the falsetto technique. when moresco was introduced in the east, native vocalists tended to shout to be able to reach these high notes, before they finally used nasal vocalization. moresco’s lyrics describe a melodic atmosphere according to fados, such as the portuguese folk song despedida (farewell song) and saudade (song humming longing) that characterizes the kroncong poetry in general. the uniqueness of east and west cultural interaction is an interesting phenomenon, where the islamic moorish genre brought by catholic portuguese to the east, became popular music in goa, hindustani india, and was introduced by portuguese soldiers from goa who had become catholic to tugu village musicians who were protestants before being known by the people of the city of batavia. in 1933, based on his experience each year watching moresco’s performances at the krontjong concours jaarmarkt night market in surabaja, kusbini wrote a transcription of moresco’s songs based on his creations, which later became the standard repertoire of indonesian kroncong songs in the form of da capo aria, using van ophuisen’s spelling poetry. djikalau tuan mendengarkan ini haraplah supaja, senang di hati ai, memetik gitar, sambil bernjanji membikin pendengar gembira di hati ai, krontjong moritsku aku dendangkan agar hati rindu mendjadi gembira however, kusbini has made history by writing moresco as the first kroncong repertoire in the indonesian music genre group. kusbini created a new form called the original kroncong along 28 bars in the victor ganap, kroncong orchestration of millennial generation 119 form of through-composed (durch-komponiert), interspersed with four instrumental interlude bars that appeared after the opening melody of eight bars. the original kroncong form of the moresco song is recognized as a generic form of indonesian kroncong. the orchestration of the original kroncong form is marked by the playing of the rasguado from the ukulele, as a rhythmic pattern of the musical accompaniment. thus, every kroncong orchestra always uses a ukulele paired with a mandolin in playing the rhythm pattern which is played as follows. kroncong orchestration accompanied chords from ukulele is intended to accompany the melody on the violin or flute. the melody complemented with the countermelody of the guitar through a flowing melody-like of flowing water. kroncong orchestration is also characterized by playing bass on cellos and bass, playing syncopation motifs marking the characteristic pattern of kroncong. as music inherited from moorish islam, tambourine plays as an inseparable complement in the percussion section, which in its development also uses bongo latin american music genre in an eightstroke musical play in each bar, with accentuation that fall on the seventh and eighth blows. the combination of various instruments played above is the standard identity of a traditional kroncong orchestration, the meaning of which will be discussed later. becker (1976) acknowledged that kroncong became a category of a popular genre, sentimental songs and found throughout indonesia. he suspected that the kroncong was introduced by the portuguese since the sixteenth century. european-style vocalizations and simple chords as an accompaniment are usually played on the guitar, have distinguished kroncong from other popular forms of music. kroncong was brought to eastern indonesia, specifically maluku, along with a guitar-like instrument owned by a portuguese sailor, which was apparently accepted by indigenous malukan populations. however, kroncong requires quite a long time before it can set foot firmly on the land of java island. according to some historical sources cited, the new kroncong appeared in java at the end of the nineteenth century, on the coast which is now jakarta. kroncong remains urban music, where in the twentieth century almost every village in jakarta had its own kroncong orchestras and musicians. becker’s statement gives importance to the recognition of the legitimacy of the portuguese element of the history of indonesian kroncong music. castelo-branco (2002) acknowledged that the kroncong guitar is an indonesian adaptation of the portuguese cavaquinho guitar, which in its historical journey throughout the world gained various nicknames such as the braguinha in madeira because it came from the braga district, the nickname of the machette in brazil because harmonia: journal of arts research and education 19 (2) (2019): 117-125120 it became an accompaniment instrument for portuguese dance which was always danced during sailing, the nickname cuatro in the caribbean because the guitar has only four strings, before gaining world popularity as an ukulele, which in hawaiian means jumping fingers as a unique way of picking a string. castelo-branco’s assertion in grove’s big dictionary justifies the existence of indonesian kroncong guitars which are part of the chronology of the history of portuguese cavaquinho guitars, long before ukulele reached popularity. on the other hand, castelo-branco gave recognition of the content of portuguese elements in the history of indonesian kroncong music, according to historical studies of the maritime and postcolonial silk roads. manusama (1919) said that the mardijkers group in tugu village had a different identity from the mardijkers group in batavia. manusama believed that tugu musicians were veterans of the portuguese army from goa, india who decided to stay in tugu village. from the book manusama moresco sheet music that is transcribed into a song that must be performed in every krontjong concours festival in batavia, is also marked by the following painting of a kroncong orchestra in batavia and the instrumentation they used at that time. figure 1. the first formation of kroncong players (from http://rockerstarfuck.blogspot. com/2016/03/perkembangan-musik-keroncong-di.html) franca (1985) stated that tugu musicians were able to achieve a high position in the bureaucracy of the dutch east indies government in batavia around the xvii and xix centuries. they succeeded in introducing a genre of music from cape verde, whose pattern of rhythm became the basis of indonesia’s future kroncong music. based on the consideration that during the colonial period of the dutch east indies, all portuguese cultural heritage was suppressed, the da frança writings became rare literature in expressing various elements of portuguese relics found throughout the archipelago. his recognition of the musician krontjong toegoe, who was considered to have introduced moresco for the first time in indonesia through the transcription he wrote in his book, was extremely important data. kornhauser was the only western researcher interested in the existence of kroncong after post-independence. he went directly to conduct field research in tugu village in 1973 and wrote the results of his research in an essay entitled “in defense of kroncong” published by monash university in 1978 under the title studies in indonesian music, 104-183, with editor margaret j. kartomi. kornhauser acknowledged that tugu musicians were the main actors in the history of kroncong, as living witnesses of portuguese musical heritage in indonesia. he believed that the tugu village is the area from which kroncong music originated, and has been heard there since 315 years ago. kornhauser’s research results are an important source of literature on kroncong, which is never overlooked and much cited by subsequent kroncong researchers because the information provided is very comprehensive and reliable validity (kornhauser, 1978). victor ganap became the first kroncong researcher whose results were made into a doctoral dissertation at gadjah mada university in 2006, with the title “krontjong toegoe: history of the existence of community and music in tugu village, cilincing, north jakarta”. the research proved that tugu village musicians became the pioneers of kroncong music in indonesia. in the journey of its long history, tugu musicians proved their ability to survictor ganap, kroncong orchestration of millennial generation 121 vive through portuguese music which was passed on to them since the xvii century. tugu musicians are minority christian community, yet having strong primordial ties to date based on three important elements that become their identity, namely: (1) musicians who created the music genre as a generic form of indonesian kroncong music; (2) the existence of the tugu church which was built in 1747, which has now been declared as a cultural heritage by the government of dki jakarta, besides being used as worshiping infrastructure; (3) the ikatan keluarga besar tugu (ikbt) organization was founded in 1976 and became a unifying tool for them since the existence of their ancestors as residents of tugu village in 1661 (ganap, 2011). philip yampolsky, an american researcher who has been living in indonesia since 1980, wrote an article entitled “three genres of indonesian popular music: genres, hybridity, and globalization” published in the asian music journal vol. 44/2, 24-80, 2013. he stressed that the portuguese with the support of african, indian and malacca traders and slaves had brought their musical influence on kroncong. yampolsky found that the popularity of kroncong in the community was decreasing, except among generations of veterans. he made important contributions to the recording of kroncong music since the dutch east indies era in the form of the stamboel batavia album in 1906, the krontjong dasima album in 1924, and the krontjong concours album in 1927 which was from the smithsonian institution collection (yampolsky, 2013). method this research approach is done historically and musicologically. the historical approach is used to study the development of kroncong music orchestration from time to time, while the musicological approach is used to study the kroncong music orchestration from the aspect of music. the research is focused on kroncong music orchestration of millennial generation. the object of this research is the kroncong grass orchestra in pittsburgh, pennsylvania, led by hannah standiford, the kroncong orchestra of sri gandhul yogyakarta, led by septi, and the kroncong singgih sanjaya orchestra. the selection of research objects is determined through a purposive method. data collection is done by observation, interview, and documentation techniques. data validation is done by triangulation. data analysis of this research was carried out by analyzing interactive model data developed by miles and huberman which included data collection, data reduction, data verification, and data presentation as seen in the following scheme. figure 2. scheme of data analysis technique (miles and huberman, 2003) results and discussion musicological discursive the term of millennial generation which is the topic of this research refers to the following identities: (1) the generation born after 2000 marking the beginning of the second millennium; (2) a generation that grows up in the middle of popular culture as a result of the rock music revolution in america in 1950, which was pioneered by the appearance of bill haley and the comets with their top hits song rock around the clock, and was appointed to the white screen through a film titled “blackboard jungle”; (3) the generation that creates music as a critic of the social life of the people and rejects mass culture in the form of music commercialism; (4) a generation that has disruptive power to kroncong music according to the soul of the times. the traditional kroncong generation is divided into three categories, namely: (1) krontjong concours generation; (2) kroncong harmonia: journal of arts research and education 19 (2) (2019): 117-125122 bintang radio generation, and (3) kroncong beat generation. the krontjong concours generation appeared since the dutch east indies was supported by nirom (nederlandsch indische radio omroep maatschappij), which began broadcasting since 1925 in major cities in java including batavia and soerabaja. in batavia, the kroncong musicians generally come from the kemajoran village, where there were many kroncong groups there who performed in various markets, especially the night market gambir, or as a street musician in an area that they mutually agreed on. one of the famous kroncong groups from the kemajoran village called themselves the krokodilen group, whose musicians consisted of indo-dutch, had been able to appear to attract the audience’s attention on the road through their unique costumes and behaviour. after independence, the term krokodilen then continued as the nickname “crocodile” for kroncong musicians in general. after independence, radio republik indonesia continued the krontjong concours tradition through the holding of the bintang radio championship since 1950, including the type of kroncong songs. from bintang radio championship, several superior kroncong vocalists were born, such as masnun, sayekti, rita zahara, hetty koes endang, sundari sukoco, and many other vocalists. the bintang radio championship was marked by the use of an orchestra accompaniment in the symphonic orchestration format of the jakarta radio orchestra led by isbandi, and appeared audio-visual in tvri show since 1962. meanwhile, the kroncong beat generation appeared for the first time when the tetap segar kroncong orchestra led by rudi pirngadie appeared on the indonesian performance at the new york world’s fair in 1964. the kroncong beat represented a new style that was able to incorporate the repertoire of various musical genres such as western pop songs into idiomatic kroncong. however, although kroncong has been able to appear in international forums, it still does not receive attention for academic research, due to the view of scientists that kroncong is not a pure musical genre, as well as traditional music that is worthy of research. after observing, it turns out that the actual kroncong beat style has long belonged to tugu village musicians since the xvii century, through their multi-lingual repertoire. in this case, the kroncong beat has the potential to become one of the sources of the study of millennial kroncong, through its flexibility to adapt music from the multicultural cultural sphere. one of the positive effects of the appearance of kroncong beat in america is empirical data which shows that kroncong is starting to be recognized and even favored by the people there. one of the data that can be stated is the establishment of kroncong grass orchestra in pittsburgh, pennsylvania, led by hannah standiford as a vocalist while holding an ukulele as shown in the figure 3. figure 3. the performance of rumput kroncong orchestra. source: https://www. youtube.com/watch?v=tcfycrfwb_a the kroncong rumput orchestra, which plays music while sitting cross-legged on the grass, consists of 9 musicians including hannah as a vocalist, with orchestration arrangements on violins, flutes, ukulele, guitar, cello, and brush scraped ideophone. hannah sang the betawi song jali-jali accompanied by instrument play, demonstrating the high technique that each player possesses, especially on melody-carrying instruments such as violins and flutes. considering that the kroncong orchestration consists of western instruments, it is not difficult for them to play it skillfully, which is usually unheard in the victor ganap, kroncong orchestration of millennial generation 123 instrument playing of indonesian kroncong musicians. performing smoothly without reading scores, the musicians were able to accompany and improvise jali-jali contra-melody in eastern oriental music, even though the song did not originate from the tonality of western culture. the traditional kroncong generation refers to the denotation of the term kroncong as: (1) the name of a guitar musical instrument known as an ukulele adapted from portuguese cavaquinho; (2) the name of an orchestra with its typical stringed instrumentation; (3) the name of the song form called kroncong asli; (4) the name of a typical rhythmic pattern of kroncong accompaniment. after entering the second millennium era, the understanding of traditional kroncong has the following connotations: (1) playing guitar in bringing contra-melody like water flowing; (2) orchestration dominated by string colours; (3) vocalist expression from the heart; (4) instrument playing which is full of ornamentation; (5) adaptive accompaniment art; (6) appearances in traditional and modern costumes; (7) reflects the new art genre or ars nova; (8) urban community music style; (9) multi-lingual repertoire; (10) nusantara hybridity. the traditional kroncong generation that has been stated above in entering the second millennium era has developed into a millennial generation kroncong. the denotations of the millennial generation itself according to this study are: (1) generations born after the second millennium; (2) generations that belong to mass and popular cultural civilizations; (3) the generation cradled in cyberspace through internet technology; (4) generations who have the power of disruption on established cultures. based on the above denotation, the identity of millennial generation orchestration can be stated as follows: (1) symphonic orchestration with expansion in the friction section and the inflatable section as the bearer of the melody; (2) kroncong beat orchestration as an accompaniment art that has multilingual flexibility; (3) aleatoric orchestration which gives more freedom to vocalist expression in bringing minimalist, repetitive, and endless motives; (4) transgenre orchestration which enables integration with other genres such as cong-jazz, cong-rock, cong-rap, including integration in accompanying dances that have never been done before. data from symphonic orchestration was obtained through the sri gandhul kroncong orchestra yogyakarta led by septi whom musicians are all the female performers. figure 4. the performance of sri gandul kroncong orchestra. source: https://www. youtube.com/watch?v=gbt6pjdvr7g the figure 4 shows that the sri gandhul kroncong orchestra consists of 14 players, including 6 violins, 2 cellos, 2 flutes, 2 ukulele, 1 guitar, and vocalist who perform kroncong in chinese mode titled gambang semarang by oei yok siang. symphonic orchestration that expands in the friction section produces attractive strings and colours from two swiped and picked cellos. empirical symphonic orchestration data was also obtained from the singgih sanjaya kroncong orchestra which performed at the independence concert in suryodiningratan village, mantrijeron sub-district, yogyakarta in presenting the song ranngkaian melati, singgih’s orchestration by expansion on the swipe section consisting of violin 1, violin 2, violin alto, cello, and bass, in accompanying the solo alto saxophone. the millennial kroncong orchestration designed in this study is the song bagimu negeri by kusbini, who is also a kroncong figure in indonesian kroncong standards in harmonia: journal of arts research and education 19 (2) (2019): 117-125124 the setting of original kroncong according to the da capo aria format, which is marked by an instrumental interlude in it. kusbini worked on bagimu negeri as a hymn in moderato tempo and in the satb homophonic arrangement. the song is one piece so it is easy to sing because it only consists of 4 musical sentences. the maestoso atmosphere that arose according to the original claim was to be designed to be shifted to a popular classic claim in the pattern of the kroncong rhythmic which is more like marcia tempo, using counter technique as the science of melody in polyphonic fabric. an opening presented in 4 bars was presented by the string section, especially violin 1, violin 2 and alto violin with unisono melodies, but actually functioned as a contra-melody of the main melodies of the last sentence delivered by the inflatable section consisting of flute, oboe, clarinet in bb, bassoon, horn in f. the last three notes in the fermata give more freedom to end the opening and at the same time starting the song theme accompanied by the appearance of a filler on the trumpet in bb, accompanied by bass tones on trombone, tuba, and tympanic. entering the theme of the song, the string section began to play through violin 1, violin 2 and violin alto bring the main melody, which is balanced with the contramelody of cello and bass, as can be seen from the partition score below. thus, millennial generation kroncong designed in this study refers to symphonic orchestration with expansion in the friction section and the metal blown section as a melody carrier, which is thickened by adding tympanic membrane colour to the percussion section, more than just the appearance of a tambourine or rebana. this orchestration still uses the rhythmic patterns of the ukulele 1 and ukulele 2 in the cuk and cak format, or the kroncong and mandolin formats as the generic identity of a kroncong orchestration. this orchestration is certainly designed to accompany the vocalist both in singular and choir form in unisono and in polyphonic. nationalism-themed titles in the kroncong song have been written as kr. pemuda pemudi, kr. bahana pancasila,, so that the victor ganap, kroncong orchestration of millennial generation 125 orchestration design of kr. padamu negeri, whose song was created by kusbini as a kroncong figure, became an alternative to the millennial generation kroncong orchestration. this research gives hope that the development of academic kroncong will be a fundamental and sustainable policy in entering the second-millennium era. conclusion this study concludes that the development of kroncong as millennial generation music still requires academic and creative processes that provide professional appeal for millennial generation music students. the concept of millennial generation kroncong orchestration design leads to the establishment of symphonic orchestration which is arranged academically as a basic study of the source of its cultivation. symphonic orchestration has an advantage based on the consideration that kroncong becomes part of high culture as a contemporary experimental music that is sustainable for further researchers. kroncong symphonic orchestration as an urban popular music is designed in the realm of high culture, which is oriented to the aesthetic beauty of music, and is not part of a mass culture oriented to commercialism. this study explicitly did not design the kroncong beat orchestration, aleatoric orchestration, and trans-genre orchestration, because the orchestration belonged to and created the cultural sphere of the community with various social missions it carried. since long time ago, kroncong has been proven to be able to adapt to various cultures and periods, so it is time to become an interesting material object of musicology research, moving from the formal object of the discipline of humanities in the historical study of the maritime silk roads and postcolonial. references becker, j. (1976). kroncong, indonesian popular music. asian music, 8(1), 14–19. castelo-branco, s. e.-s. (2002). portugal. ”stanley sadie, the new grove dictionary of music and musicians (vol. 1, pp. 1044-1045). london: macmillan. frança, a. p. d. (1985). portuguese influence in indonesia. calouste gulbenkian foundation. ganap, v. (2011). krontjong toegoe. yogyakarta: badan penerbit institut seni indonesia yogyakarta. kornhauser, b. (1978). in defence of kroncong. studies in indonesian music, 7(1), 104–183. miles, m. b. & huberman. (2003). the qialitative research companiaon. usa: sage manusama, a. t. (1919). krontjong: als muziekinstrument, als melodie en als gezang. jakarta: boekhandel g. kolff & co. yampolsky, p. (2013). three genres of indonesian popular music: genres, hybridity, and globalization. asian music, 44(2), 24–80. vol. 2 no. 2 mei_agustus 2001.pdf harmonia jurnal pengetahuan dan pemikiran seni organisasi seni pertunjukan (kajian manajemen) (the organization of performing art (a management study) * oleh hartono abstrak memasuki millenium ketiga, era industri, era teknologi era informasi, atau era gloal, menuntut semua organisasi tidak terkecuali organisasi seni pertunjukan untuk lebih efektif, memenuhi kebutuhan pelanggan, dan peningkatan kualitas terus menerus, pengelolaan organisasi seni harus mengoptimalkan nsi sumber daya manusia dalam mendorong peningkatan pengetahuan dan kecakapan, serta perencanaan secara terpadu. untuk memenuhi harapan-harapan peningkatan kualitas dan kepuasan pelanggan menuntut perubahan manajemen. upaya mengimplementasikan sistem manajemen kontemporer adalah suatu pendekatan yang seharusnya dilaksanakan oleh organisasi masa ini yaitu untuk memperbaiki outputnya, menekan biaya produksi, dan meningkatkan produktifitasnya. kata kunci : menejemen mutu terpadu, organisasi, seni pertunjukan. pendahuluan saat ini bidang seni di indoensia dihadapkan pada tantangan yang berat. tantangan ini berkaitan dengan upaya-upaya seni dapat dijadikan sebagai sebuah industri. seni yang merupakans alah satu cabang kebudayaan memungkinkan dikembangkan sebagai industri, akan tetapi kondisi seni di indonesia keadaannya belum sebagaimana yang diharapkan. perkembangan seni pertunjukan yang ada di indonesia diharapkan sebagai salah satu kesenian yang paling “sip”, “menawan”, mungkin paling dapat terjangkau oleh khalayak yang lebih besar tidak hanya di dalam negeri tetapi di luar negeri. sebuah harapan bahwa kesenian * staf pengajar jurusan sendratasik fbs unnes semarang vol.2 no.2/mei-agustus 2001 49 harmonia jurnal pengetahuan dan pemikiran seni indonesia dapat lebih hidup dam dapat hadir di tengah khlayak yang lebih besar lagi (kayam, 1992:41). untuk dapat mewujudkan itu semua slah satu alternatifnya adalah pembenahan sistem organisasi. organsiasi sangat berperan untuk tumbuh dan suburnya kesenian. harapan ke depan melalui organisasi akan tercipta kualitas baik pelaku maupun produk yang dihasilkannya. pada akhirnya akan selalu berupaya meningkatkan mutu dan memberi kepuasan pada pelanggan. b. manajemen mutu terpadu manajemen mutu terpadu menyangkut barang dan manusia yang terlibat dalam usaha perbaikan terus menerus atau seluruh pengurus di semua tingkat maupun bagian ikut berpartisipasi dan bertanggung jawab terhadap kualitas produk atau jasa yang dihasilkan oleh organisasi/lembaga. mutu menyangkut kualitas semua aspek pekerjaan dalam organisasi. manajemen berarti setiap orang dalam suatu institusi/lembaga apapun status, posisi/kedudukan, dan peran yang mereka miliki, merupakan manajer terhadap tanggung jawab yang diembannya (dalam sallis, 1993:35). empat kriteria untuk keberhasilan program manejemen mutu terpadu yaitu : 1) kesadaran akan kualitas dan berorientasi pada semua tingkat, 2) mempunyai sifat kemanusiaan, 3) memberikan wewenang di semua tingat, dan 4) menejemen mutu terpadu harus diterapkan secara menyeluruh yang meliputi : prinsip, kebijakan, dan tradisi (lihat crecch, 1996:4-5). menejemen mutu terpadu sebagai sistem menejemen kontemorer disebut tqm. tqm adalah suatu sistem manajemen yang berfokus kepada orang yang bertujuan untuk meningkatkan secara berkelanjutan teus menerus (greg bound dalam mulyadi, 1998:10). tqm menurut tjiptono (1998:4) adalah suatu pndekatan dalam menjalankan usaha yang mencoba memaksimumkan daya saing organisasi melalui perbaikan terus menerus atas produk, jasa, manusia, proses, dan lingkungan. kedua pendapat terebut pada prinsipnya mengemukakan bahwa tqm merupakan sistem manajemen yang mengangkat kualitas sebagai strategi vol.2 no.2/mei-agustus 2001 50 harmonia jurnal pengetahuan dan pemikiran seni untuk memuaskan pelanggan dengan melibatkan seluruh anggota organisasi. menurut sallis (1993:34) tqm didefinisikan sebagai berikut : tqm is philosophy of continous improvement, which can provide any educational institusional with a set at practical tool, for meeting and exceeding prsent and future customer needs, wants, and expectation. tqm adalah filosofi kemajuan ters menerus yang dapat memungkinkan institusi/lembaga pendidikan memiliki seperangkat alat yang praktis guna memenuhi kebutuhan , keinginan, dan harapan pelanggan baik pada saat ini maupun pada masa depan). berdasarkan beberapa pengertian tersebut diatas, dapat disimpulkan bahwa tqm adalah kegiatan yang berkaitan dengan suatu usaha yang terus menerus dalam melakukan sesuatu secara benar pada langkah awal dan untuk seterusnya. penerapan unsur-unsur tqm dalam pengelolaan dan pembinaan organisasi menurut sallis (1993l35-41) meliputi : (1) kepemimpinan, (2) fokus pada pelanggan, (3) perbaikan terus menerus, (4) budaya kualitas dalam organisasi. c. kepemimpinan kepemimpinan adalah sesuat aktivitas yang berusaha untuk mengubah perilaku orang banyak agar dpat bekerja sama untuk mencapai suatu tujuan tertentu. dalam proses kepemimpian tersebut, seorang pimpinan mempunyai tugas membimbing, memberi pengarahan, mempengaruhi perasaan dan perilaku orang lain, serta menggerakkan orang lain untuk bekerja mencapai sasaran organisasi. dalam pengelolaan dan pembinaan untuk melaksanakan tugas-tugas dalam kepemimpinan terebut diatas, menurut hanifah (1995:2) seorang pemimpin harus memiliki pengetahuan diatas rata-rata orang yang dipimpinnya dan memiliki integritas pribadi (dapat dipercaya dan berpegang teguh pada kebenaran), berani dan tegas sehingga dapat diterima dan dihormati oleh orang yang dipimpinnya. vol.2 no.2/mei-agustus 2001 51 harmonia jurnal pengetahuan dan pemikiran seni peters dan austin dalam sallis (1993:87) mengatakan bahwa pemimpin harus memiliki pandangan : visi dan simbol-simbol, management by walking about, memperhatikan peserta didik, mendorong otonom dan memberi bantuan, menciptaan rasa kekeluargaan dalam kepemimpinan, dan memiliki kebersamaan. gaya kepemimpinan dapat menimbulkan/menumbuhkan perubahan dalam kualitas. gaya kepemimpinan management by walking about adalah mengkomunikasikan visi dan misinya serta menyerahkan penilaian organisasi/lembaga kepada orang lain serta mengajak anggota oganisasi dan pelanggan untuk mendewasakan diri. menurut sallis (1993:86) pemimpin harus memiliki visi dan misi serta mampu menerjemahkan menjadi kebijakan-kebijakan yang jelas dan mempunyai tujuan khusus. konsep pemimpin pendidikan yang berwawasan menejemen mutu terpadu adalah semua orang yang berada pada berbagai level tanggung jawab poses peningkatan kualitas suatu organisasi lembaga pendidikan. artinya tanpa kepemimpinan di berbagai level dalam lingkungan pendidikan, proses peningkatan dan perbaikan kualitas tidak mungkin dapat lestari. oleh karena itu, manajemen mutu terpadu disebut juga sebagai proses dari atas ke bawah (top down process). pimpinan puncak yang memegang peranan penting dalam menjelaskan misi dan visi kepada bawahannya harus mampu membudayakan kualitas di lingkungannya. misi merupakan salah satu strategi/ cara yang tepat untuk mewujudkan visi organisasi. misi juga merupakan salah satu cara untuk menjaga eksistensi suatu organisasi. misi yang dirumuskan berdasarkan gambaran lingkungan yang mencerminkan realistis akan menjadi suatu organisasi yang dapat menghasilkan produk atau jasa yang berkualitas. arti kata lain pemimpin organisasi seni pertunjukan yang bercirikan menejemen mutu terpadu harus memiliki misi dan visi serta mampu menterjemahkan menjadi kebijakan-kebijakan yang jelas dan mempunyai tujuan khusus. visi untuk memfokuskan aktivitas organisasi yang dapat memberikan arah yang jelas tentang organisasi di masa depan. visi organisasi dapat memberikan gambaran kondisi yang akan dicapai oeh organisasi di masa depan melalui misi yang telah dipilihnya. dengan visi vol.2 no.2/mei-agustus 2001 52 harmonia jurnal pengetahuan dan pemikiran seni yang jelas, diharapkan tiap-tiap anggota organisasi dapat memberikan kontribusinya dengan spesialisasinya masing-masing dalam mewujudkan apa yang digambarkan dalam visinya. organisasi seni pertunjukan jika tidak ingin ditinggalkan oleh para pelanggan hendaknya melembagakan kepemimpinan yang berkualitas. maka pemimpin organisasi seni dalam proses meningkatkan kualitas organisasi harus memiliki komitmen terhadap kualitas. untuk mewujudkan visi dan misi, pemimpin hendaknya memperhatikan hal-hal sebagai berikut: 1. berkomunikasi secara luas sehingga dapat melaksanakan pendekatan top-down dan bottom-up pada waktu dan situasi yang tepat. 2. menjamin bahwa kebutuhan dan harapan pelanggan meurpakan titik sentral kebijaksanaan dalam pelaksanaan program 3. menjamin adanya struktur organisasi yang jelas, begitu pula tanggung jawab dan pendelegasian wewenang yang sesuai dengan keahliannya. oleh akrena itu, seorang pemimpin harus memiliki visi, misi serta tujuan yang jelas. dengan demikian, seorang pemimpin mempunyai landasan kebijakan yang kuat untuk kegiatan organisasi dalam meningkatkan kualitas pengelolaan dan pembinaan sehingga mampu menghasilkan kualitas produk/jasa yang dapat memuaskan pelanggan. berkaitan dengan pengelolaan organisasi seni harus memiliki visi dan misi yang jelas sebagai landasan kebijakan dalam pengelolaan dan pembinaan. d. fokus pada pelanggan organisasi seni saat sekarang menghadapi tantangan dalam membina hubungan keluar (kemitraan) dengan para pelanggan karena pada umumnya pelanggan tidak memperoleh informasi dari organisasi tentang jasa dan kualtias produk serinci mungkin. oleh karena itu, organisasis seni sebagai penyelenggara yang berkaitan dengan out, organisasi seni sebagai penyelenggara yang berkaitan dengan berkesenian perlu membuna hubungan dengan pelanggannya. dengan kata lain bahwa organsiasi seni harus menerapkan manajemen yang mampu memenuhi kebutuhan pelanggan. misi pokok organisasi yang menerangkan menejemen mutu terpadu adalah organisasi dalam aktivitasnya berupaya memenuhi segala kebutuhan dan keinginan pelanggan. menurut demming (dalam sallis, vol.2 no.2/mei-agustus 2001 53 harmonia jurnal pengetahuan dan pemikiran seni 1993 : 48) bulatkan tekad meningkatkan kualitas secara terus menerus untuk menghadapi berbagai persaingan kehidupan di masa depan, khususnya persaingan dalam dunia kerja. artinya, dalam menjalankan organisasi, kualitas pengelolaan dan pembinaan harus mampu memenuhi kebutuhan pelanggan. pelanggan (customer, client, patient) mengisyaratkan adanya pihak yang menyediakann dan menyajikan barang atau jasa. disamping itu, pelanggan memahami dan menghayati barang atau jasa yang diterimanya, dan memberikan imbalan kepada yang menyediakan dan menyajikan barang atau jasa. imbalan yang diterima dari pelanggand apat berupa materi (uang), apresiasi, atau partisipasi. pihak yang menydiakan dan menyajikan barang atau jsa berusaha secara obyektif mengidentifikasikan dan memahami kebutuhan pelanggannya sehingga pihak manajemen dapat menyediakan dan menyajikan yang sebaik-baiknya dalam arti memuaskan pelanggan-pelanggannya. pelanggan menurut tampubolon (1995:2) ialah pihak yang menerima barang atau jasa yang sesuai dengan kebutuhannya, an mempergunakan barang atau jasa itu secara langsung atau tidak langsung, memahami dan menghayati barang atau jasa serta memberikan imbalan sepantasnya kepada pihak yang menyediakan dan menyajikan barang atau jasa. pelanggan pada dasarnya terdiri atas dua macam, yaitu pelanggan internal dan eksternal. pelanggan eksternal terdiri dari tiga kategori, yaitu : pelangan primer, pelanggan sekunder, dan pelanggan tersier. pengurus dalam organisasi seni, tenaga pelatih, dan pembina merupakan pelanggan internal, karena mereka juga berkepentingan atas jasa organisasi. pelatih dan pembina merupakan bagian dalam pembinaan organisasi dan seniman. dalam proses pembinaan organisasi ini pelatih dan pembina merupakan faktor yang menentukan kualitas prodes yang diharapkan akan berdampak pula terhadap kualitas produk sehingga semua pelangan merasa puas. dalam pengelolaan dan pembinan seniman, pihak yang menyediakan dan menyajikan barang atau jasa organisasi seni kepada pelanggan hakikatnya adalah mitra yang masingmasing mempunyai peran partisipatif. pelanggan primer dalam organisasi seni adalah penerima dan pengguna langsung jasa yang diberikan, yaitu : jasa pembinaan, jasa vol.2 no.2/mei-agustus 2001 54 harmonia jurnal pengetahuan dan pemikiran seni admininstrasi, jasa kebijakan umum. pelanggan primer dalam organsiasi seni adalah anggota karena anggota merupakan yang menerima jasa selama di organisasi, dan langsung mempergunakannya. pelangan sekunder adalah pihak-pihka yang berkepentingan atas jasa organisasi seni walaupun tidak menerima atau mempergunakannya secara langsung. pelangan sekunder adalah pemerintah, lembaga (organisasi lain) dan, sponsor, karena mereka juga berkepentingan atas jasa organisasi seni. pelanggan tersier ialah pihak-pihak yang menerima dan mempergunakan jasa organisasi sni ecara tidak langsung, yaitumelalui hasil pembinaan organisasi. duia kerja merupakan pelanggan tersier yang utama. imbalan yang diberikan oleh pelanggan tersier kepada organisasi yaitu partisipasi berupa dana atau peralatan. upaya meningkatkan hubungan dengan pelanggan dalam pengelolaan dan pembinaan dikembangkan erja sama dengan berbagai pihak. hal ini dimaksudkan agar pengelolaan dan pembinaan dapat terus lestari. demming (dalam sallis, 1993:48) enyatakan kembankan kerjasama yang baik dengan pengurus dan semua yang terlibat dalam pengelolaan, serta merencanakan penggunaan semua peralatan dalam rangka usaha meningkatkan sumberdaya manusia dan kualitas produk yang dihasilkan. hal tersebut mengimplementasikan bahwa pengelolaan dan pembinaan seniman, dan mengembangkan hubungan antar seniman, pelatih/pembina dan pengurus. jadi, setiap orang yang terlibat dalam pengelolaan dan pembinaan mempunyai tanggung jawab untuk menghasilkan kualitas sesuai dengan kedudukan atau fungsinya, baik sebagai pimpinan, pelatih, pengurus maupun artis. dengan kata lain, dalam pengelolaan dan pembinaan semua komponen yang terlibat di dalam meningkatkan sumber daya manusia merupakan satu kesatuan yang terpadu. untuk lebih jelasnya hubungan kemitraan dapat dilihat pada gambar di bawah ini : gambar hubungan kemitraan dikembangkan dari gambar proses sirkulasi tampubolon vol.2 no.2/mei-agustus 2001 55 organisasi seni pelanggan sekunder (sponsor) pelanggan tersier (orang lain) pelanggan primer (artis/seniman) harmonia jurnal pengetahuan dan pemikiran seni berdasarkan hubungan kemitraan atau hubungan partisipatif tersebut diatas, hubungan antara organisasi seni dan para pelanggannya pada hakikatnya adalah mitra. e. perbaikan terus menerus pesatnya perkembangan ipteks dan komunikasi, akna berdampak pada perubahan lingkungan eksternal organisasi, pimpinan organisasi harus tangga dan selalu melakukan perbaikan. apabila perubahan lingkungan eksternal semakin cepat, maka pimpinan harus segera melakukan perbaikan. perbaikan terus menerus dilakukan dengantujuan untuk mengubah dan membuat sesuatu selalu lebih baik/. perbaikan terus menerus diterapkan pada proses produk (karya seni) dan organisasi yang melaksanakan prinsip perbaikan, harus terus menerus dilakukan, baik terhadap proses produk maupun orang yang melaksanakan. pendekatan perbaikan terus menerus dimaksudkan untuk mengikut perubahan lingkungan eksternal. maka perbaikan terus menerus dalam menejemen mutu terpadu dapat diselesaikan melalui serangkaian kegiatan dalam skala kecil yang menguntungkan. di jepang untuk mengungkapkan pendekatan perbaikan terus menerus (kaizen) dapat diartikan sebagai perbaikan setahap demi setahap. filsafat menejemen mutu terpadu lebih luas cakupannya dan mengandung sifat inspirasi yang meliputi semua aspek tetapi pelaksanaannya bersifat skala kecil dan emnguntungkan (wellington, 1998:32). salah satu alat yang menjadi sarana untuk memperbaiki sebagaimana yang dikemukakan deming dalam soedarmo (1997:52) adalah plan, do, cek, action (pdac). tahap plan, pada tahap ini pihak pengelola dapat menemukan masalah-masalah yang berkaiatn erat dengan visi dan misi organisasi. dalam menentukan masalah yang akan diperbaiki piminan mengidentifikasi kegiatan pengelolaan dan proses perbaikan. dari kegiata perencanaan ini , ditentukan perbaikan yang menjadi prioritas. tahap do, pada tahap do yang dilakukan adalah mencatat atau mengumpulkan data untuk menentukan perbaikan yang mungkin dilakukan dan diinginkan sebagai bahan dalam analisis. dalam tahap do ini pimpinan harus dapat menganalisis dan menafsirkan informasi sebagai kesimpulan sehingga perbaikan yang dilakukan sesuai dengan rencana vol.2 no.2/mei-agustus 2001 56 harmonia jurnal pengetahuan dan pemikiran seni tahap check, pada tahap ini pimpinan harus dapat menafsirkan informasi yang telah dikumpulkan untuk mengetahui apakah perbaikan yang dilakukan dapat membawa hasil atau tidak. melalui tahap check ini pula pimpinan memperoleh pengetahuan baru mengenai proses yang berada dalam tanggung jawabnya. tahap act, merupakan tindak lanjut pimpinan untuk menentukan langkah berikutnya yang harus dilakukan dari hasil ketiga tahap tersebut di atas. secara tepat tindakan dapat berupa perubahan proses yang telah dipelajari atau dianalisis. pada tahap act pimpinan juga memutuskan apa yang akan difokuskan pada siklus selanjutnya. dengan demikian, dapat disimpulkan bahwa pelaksanaan pdca dalam proses perbaikan terus menerus harus terdapat adanya penentuan masalah dan pemecahannya, pemilihan dan implementasi pemecahan serta evaluasi ulang dan pengulangan proses. dengan menerapkan siklus pdca maka pengelola dan pembina diharapkan dapat membuat perubahan untuk perbaikan agar menjadi lebih baik. berkaitan dengan pengelolaan organisasi seni pertunjukan, pimpinan, seluruh staf, anggota, seniman, peneliti dan lain-lain dapat mengidentifikasi masalah-masalah yang harus diperbaiki dalam pengembangan kualitas karya seni. berdasarkan masalah-masalah yang ada, pimpinan dan pelatih dapat menentukan perbaikan yang akan dilakukan. kegiatan berikutnya melakukan perbaikan yang telah dilakukan dalam pengelolaan dan pembinaan apakah mempunyai dampak terhadap pengembangan seluruh organisasi. apabila terdapat kemajuan perlu ditindaklanjuti untuk menentukan langkah berikutnya. f. organisasi sistem organisasi yang diterapkan menurut menejemen mutu terpadu adalah budaya kualitas berorganisasi. budaya kualitas adalah sistem nilai organisasi yang dapat menghasilkan suatu lingkungan kondusif bagi perubahan dan perbaikan kualitas secara terus menerus ( guestch dan devis dalam tjiptono, 1998 : 45). sedang budaya organisasi merupakan suatu perwujudan sehari-hari dari nilai dan kebiasaan yang mendasari organisasi tersebut. itu semua sebenarnya tercermin pada bagaimana pimpinan berperilaku dan harapan pimpinan terhadap organisasi. budaya itu vol.2 no.2/mei-agustus 2001 57 harmonia jurnal pengetahuan dan pemikiran seni sendiri merupakan ciri khas untuk mempersatukan suatu organisasi dan menjamin bahwa para anggotanya dapat berperilaku sesuai dengan norma. perubahan budaya dalam kehidupan berorganisasi yaitu: perubahan sikap dan metode kerja. perubahan budaya tidak hanya sekedar perubahan perilaku tetapi juga suatu cara pandang dalam organisasi yang diarahkan dan dipimpin. dalam perubahan budaya tersebut komitmen pimpinan terhadap kualitas perlu disampaikan dan didukung semua pihak dalam organisasi. untuk itu, pimpinan harus dapat menunjukkan perilaku dan aktivitas yang sesuai dengan harapan. organisasi yang memiliki budaya kualitas adalah organisasi yang memiliki ciri-ciri: komunikasi yang terbuka dan terus menerus, kemitraan internal yang saling mendukung, pendekatan kepastian dalam proses dan mengatasi masalah, obsesi terhadap perbaikan terus menerus, perbaikan dan pemberdayaan seluruh personil dalam organisasi, menginginkan masukan, dan feedback dari pelanggan (tjiptono, 1997: 84). menurut sallis (1999: 40) pengembangan budaya kualitas dapat dilakukan melalui dua hal, yaitu: 1) staf membutuhkan suatu lingkungan kerja yang nyaman, peralatan, sistem, dan prosedur kerja yang simpel. lingkungan kerja yang mengelilingi atau di sekitarnya dapat berpengaruh terhadap kemampuannya untuk bekerja secara wajar dan efisien. lingkungan kerja yang dapat menghasilkan kualitas tersebut adalah sistem dan prosedur kerja, 2) staf membutuhkan dorongan, penghargaan atas keberhasilan atau prestasi, pemimpin yang menghargai, dan membimbing agar mencapai sukses yang lebih besar. dari uraian di atas, dapat disimpulkan bahwa budaya kualitas mengandung unsur-unsur keyakinan, sikap norma, nilai, tradisi, prosedur, dan harapan yang dapat meningkatkan suatu kualitas. untuk menghasilkan kualitas pengelolaan dan pembinaan, maka pengurus membutuhkan lingkungan kerja yang kondusif dalam sistem dan prosedur kerja semua yang terlibat dalam menciptakan budaya kualitas. selain itu, adanya dorongan dan penghargaan atas prestasi yang dicapai dengan cara meningkatkan dan memberdayakan seluruh elemen yangt erlibat dalam organsiasi secara luas sehingga dapat memiliki kemampuan dalam menghasilkan kualitas. vol.2 no.2/mei-agustus 2001 58 harmonia jurnal pengetahuan dan pemikiran seni g. penutup dunia seni saat ini bila tidak ingin ditinggalkan oleh penikmatnya/pelanggan maka proses pembinaan menuntut setiap organisasi selalu tanggap terhadap perubahan, terutama perbahan eksternal. hal ini disebabkan bahwa pelanggan telah mengalami perubahan yang pesat. dengan demikian, manajemen perlu mengubah paradigma agar sikap dan tindakan dalam menjalankan organisasi dapat menjawab persaingan masa depan. berkaitan dengan upaya peningkatan mutu terus menerus dan kepuasan pada pelanggan, dalam pengelolaan dan pembinaan organsiasi seni juga perlu menyesuaikan dengan perkembangan zaman, khususnya prospek seni pertunjukan dimasa mendatang dapat selalu bersaing dan mengikuti pesatnya kemajuan iptek. daftar pustaka creech, bill. 1996. lima pilar manajemen mutu terpadu. terjemahan jakarta: bina rupa aksara kayam, umar. 1992. pentingnya seni pertunjukan sebagai wahana untuk memahami tempat kita di jagad raya. dalam laporan temu ilmiah mspi tanggal 13 dan 14 november 1992. masyarakat seni pertunjukan indonesia 1992. mulyadi. 1998. total quality management. yogyakarta: aditya media sallis, edward. 1993. total management in education. london: kajian page soedarmo, soewarso harjo. 1997. dasar-dasar total quality management. yogyakarta: andi offset tjiptono, fandi dan anastasia diana. 1998. total quality management. yogyakarta: andi offset tampubolon, dp. 1995. mutu perguruan tinggi . dalam management mutu total di perguruan tinggi. jakarta: proyek heds direktorat pendidikan tinggi wellington, patricia. 1988. strategi kaizen untuk kepedulian pada pelanngan. batam: interaksara vol.2 no.2/mei-agustus 2001 59 278 musical facts and sustainability of trunthung music in eco-cultural studies fajry sub’haan syah sinaga, syahrul syah sinaga universitas negeri semarang, indonesia submitted: 2021-08-07. revised: 2021-11-25. accepted: 2021-12-26 abstract this study aims to review the sustainability of trunthung music that shapes an ecosystem within the context of eco-culture. the study belongs to the nature of qualitative research with an interdisciplinary approach and several ecological concepts that reflect the culture of the peasant community over the slope of merbabu mountain in magelang. the study itself is conducted in warangan hamlet and gejayan hamlet, the regency of magelang. the data are gathered through observation, documentation, and in-depth interviews with the informants related to the trunthung music. then, the source triangulation technique is implemented through the test of trustworthiness by inspecting the data on the development of trunthung music toward the artists in warangan hamlet and the members of lima gunung community. the data that have been attained from various sources are described, categorized, and eventually analyzed so that the ecosystem of trunthung music that has been on the progress can be identified. the results of the study show that trunthung music has been a performance that combines sonoric, kinesthetic, and visual dimensions, including their association with the natural condition and the peasant life over the slope of merbabu. the dialectics of trunthung music and the components of its ecosystem are in interaction with one another, resulting in the sustainability of the music until the present days. then, the components of such ecosystem are the local agents who create the trunthung music and their interaction with the art community, be it with the lima gunung community in the context of the regency of magelang and with the artists living outside the regency of magelang. in addition, the presence of trunthung music is associated with the traditional rites in the warangan hamlet, such as nyadran kali and tapak jaran sembrani. all of these activities have good correlations among music, environment, and culture within the context of eco-culture. keywords: eco-culture, sustainability, trunthung music, ecosystem, musical fact how to cite: sinaga, f. s. s., & sinaga, s. s. (2021). musical facts and sustainability of trunthung music in eco-cultural studies. harmonia: journal of arts research and education, 21(2), 278-289 harmonia: journal of arts research and education 21 (2) (2021), 278-289 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i2.31528 arts that have grown and developed well is trunthung music, which can be found in the middle warangan hamlet community – the province of central java musik. an interesting phenomenon regarding trunthung music dates back to when sutanto mendut and eko sunyoto initiated a colossal musical performance as a introduction music is an entity that will always be present in every line of human life. in a wider context, music has a close association with both the environment and the social life of the supporting community. in relation to the statement, one of such traditional corresponding author: e-mail: fajrysinaga@students.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 fajry sub’haan syah sinaga, et al., musical facts and sustainability of trunthung music in 279 tourism program for the foreign tourists under the cooperation with aman jiwo borobudur hotel. as musical instrument, in the beginning, trunthung accompanies the performance of soreng dance (fitiriasari, 2019; yuliastuti, 2016). trunthung music, invented in 2002, has expecied an enormous development from the perspective of sonoric, kinesthetic, and even visual dimension. the statement is confirmed by the characteristic of trunthung music itself, namely flexibility. as a result, trunthung music can easily collaborate with any music genre. according to antara newspaper in 2016, trunthung has even been performed in borobudur jazz festival under the title kolaborasi jazz trunthung lima gunung (efizudin, 2016). then, 2019 has become the momentum for the community over the slope of merbabu mountain. in this year, the community there had successfully held a performance over the presidential palace under the title “kesenian soreng, tarian dari gunung masuk ke istana” (hidayat, 2019). one of the art performers from the community over the slope of merbabu mountain named slamet even states that soreng art has been going worldwide, especially after its performance on the presidential palace. the performance has dynamic and complete movements such as peasants cultivating rice fields, complete with trunthung music performance that mingles with the highly dynamic movement and beat of the feet (hidayat, 2019). music cannot be separated from the other elements, including dance or movement (nattiez, 1990, pp. 41–44). despite that, the development of performance should have support from several components within an art ecosystem. indeed, some traditional arts in indonesia cannot be separated from the elements of music, dance, and even costume in use, such as the case that has been foud in trunthung music. in the beginning, trunthung music used to be a part of soreng dance. however, nowadays, the music is ready to be designed as a musical performance still with the visual and kinesthetic elements that reflect the peasant life over the slope of merbabu mountain, magelang. the ecosystem that trunthung music has formed is interesting to review by paying attention to the components related to its development. therefore, the discussions related to trunthung music will be based on three aspects/dimensions, namely: (1) sonoric dimension, which is used for textually viewing the performance of trunthung music; (2) visual dimension, which is used for viewing the costumes in use for every performance of trunthung music; and (3) kinesthetic dimension, which is used for viewing the pattern formulation during its performance. (nattiez, 1990; triyanuartha, 2015). a number of studies toward trunthung music have been done. for example, a study by indariyana et al. (2018) has discussed the development of trunthung music in gejayan hamlet by using the functionalism-structuralism approach. their study shows that gamelan truntung has considered a system that holds the possession of several mutually influencing and functioning parts. on the contrary, the present study, which tackles the review toward the ecosystem of trunthung music, has wider coverage because the present study strives to trace the interrelationship between trunthung music and cultural and environmental components. in another context, a study on ecology and music has been conducted by de fretes & listiowati, (2020) and the results of their study show that there has been an interdependent relationship within each performance component. in relation to the statement, the performance transformation becomes the consequences of the natural trait within the network system such as non-linear dynamics, spontaneous appearance, and feedback cycle. despite that, the present study’s focus is related more to the factors that underlie the sonoric and the non-sonoric musical facts. as a result, the novelty in the present study lies in the review of far more complex traditional music since the present study links the harmonia: journal of arts research and education 21 (2) (2021): 278-289280 trunthung music to the factors of the natural condition and the peasant life within the warangan hamlet. in a wider context, a study toward the nature and the culture in the warangan hamlet and the traditional art in the gejayan hamlet contributes the reference in the form of social and art life that has developed up to date (handayani, 2017; hermawan, 2011; indariyana, 2019; khairunnisa, 2016; lestari, 2016; yuliastuti, 2016). unfortunately, there are still few studies discussing the trunthung music, especially in relation to the review that uses ecological concepts that discuss the interrelationship among music, culture, and environment. the eco-culture concept is one of the reviews that discuss art as a product of culture, and thus it is always related to the surrounding nature. one of the studies on the relationship between environment and culture has been conducted by saepuloh (2019). in his study, he reviews a traditional ceremony known as buang jong. this traditional ceremony is performed by the people of sawang tribe in belitung island as part of their offering toward the god of the sea. this traditional ceremony is a reflection of the desire of sawang tribe to live a harmonious life with nature. interestingly, this traditional ceremony is almost identical with several rituals in the warangan hamlet name ritual nyadran kali, aum tandur, and aum panen. despite the similarity, the rituals in the warangan hamlet always involve art as part of the rituals that should be performed to manifest the interaction between human beings and nature. a review on eco-culture is considered appropriate for viewing the components that have been created in the ecosystem space of trunthung music, including the socio-cultural conditions in warangan hamlet, which cannot be set apart from the engagement with the nature and the ritual that the local people perform. a good ecosystem will create sustainability of an art that grows and develops in the middle of a community or nature. departing from the background that has been explained, the current study is expected to identify how the ecosystem of trunthung music has been formed by viewing the sonoric dimension, the visual dimension, and the kinesthetic dimension. in viewing these dimensions, the researcher will implement the concept of ecoculture in order to identify the ecosystem that forms the sustainability of trunthung music in the regency of magelang (allen, 2011; allen et al., 2014; allen & dawe, 2016; edwards, 2015; nattiez, 1990). the subject is deemed to contribute both ontological and epistemological novelty in the material and formal object in relation to the sustainability of trunthung music. thus, the present study is expected to deliver a new discourse with regards to the sustainability of an art with support from an ecosystem. in other words, an ecosystem can be formed out of multiple factors, both in the smaller and the wider scope. method the study has been conducted in warangan hamlet and several other locations of trunthung music performance throughout the regency of magelang. warangan hamlet has been considered as the origin of trunthung music. therefore, it is expected that the background of development for trunthung music can be identified. the study has been conducted under the qualitative method using ecomusicology, namely music, culture, and environment (brewer, 2000; rohendi rohidi, 2011). thus, the focus of the review will be on three dimensions namely sonoric dimension, kinesthetic dimension, and visual dimension. therefore, the approach that has been adopted in the conduct of the study is the interdisciplinary approach. the data gathering techniques that have been implemented in the study are observation, interview, recording, and note-taking. in ethnogaphy, the data are gathered through multiple procedures and fajry sub’haan syah sinaga, et al., musical facts and sustainability of trunthung music in 281 the intensity of these procedures varies according to the ethnography that has been implemented. therefore, in the light of the statement, the researcher will take field notes based on the data that have been gathered from the interview, direct observation toward the activities of the participants in the study, and the observation toward the existence of trunthung music (ninip, 2010). then, the observation method that has been implemented in the study is the direct observation. through this method, the researcher has used direct involvement with the research site or the local people to witness and take notes on both the training process and the community life in the warangan hamlet. the data in the form of documentation are attained from sanggar seni warangan. the documentation itself is the records from the time when trunthung music was performed as a musical performance for the first time and other records from when trunthung music was performed in several important events (rohendi rohidi, 2011, p. 206). the concept of ethnography has also been adopted in the conduct of the present study in order to attain more comprehensive data. ethnography itself can be defined as a written description about social organizations, social activities, symbols, material sources, and interpretation practices of certain groups of people (brewer, 2000; gay y blasco, 2006; wilson, 2001) in analyzing the data that have been gathered, the researcher has established the correlation between the components within the ecosystem of trunthung music based on the musical facts and the data from the relationship between the trunthung music and its cultural and environmental factors. this correlation becomes the background aspects for the determination of musical ideation determination and its linkage to the ecosystem in the context of eco-culture that has been formed within the development of trunthung music (brewer, 2000; ninip, 2010). the multiple data sources attained are later described, categorized, and analysed to identify the ecosystem of trunthung music that has developed up to the present day. result and discussion musical facts of trunthung music in eco-cultural studies etymologically, the term eco-culture is derived from the term ecology and culture. in this regard, there is a dialectics that has been shaped in understanding the life of the community and the accompanying culture and environment. thus, cultural ecology can be defined as a system of human knowledge as a social being in understanding and interpreting the cultural environment, including nature (sudikan, 2016, p. 167). the concept of musical facts explains that there are several components within the performance of trunthung music that have been reviewed from the perspective of three dimensions namely sonoric dimension, visual dimension, and kinesthetic dimension. these components are related to one another within the context of social life and natural environment in which the trunthung music has developed (nattiez, 1990). departing from this understanding, the researcher would like to try to define the theoretical framework of the musical fact in figure 1. figure 1. the concept of musical facts of trunthung music (source: sinaga, 2021) sonoric dimension is one of the elements that has been implemented for textually reviewing the characteristics of trunthung music. thus, a more in-depth discussion in the study will review the characteristic that trunthung music has internalized in correlation with the phenomena in a certain context. for example, through harmonia: journal of arts research and education 21 (2) (2021): 278-289282 the in-depth discussion the researcher will try to find the correlation between the movement in the performance of trunthung music and the costume that should be worn as part of the visual performance. trunthung music is a colossal musical performance that was invented in 2002 under the initiative of sutanto mendut and eko sunyoto. at first, trunthung was used to control for the rhytm and the tempo within the performance soreng dance. however, several patterns in the music that accompanied the soreng dance became the main characteristic that has marked the existence of trunthung music. therefore, the main characteristic of trunthung music is still in tact despite the fact that it can be staged as a musical performance or in collaboration with other music genres. the transition on the pattern of trunthung music that has been usually performed from one part to another can be described in figure 2 as follows: figure 2. trunthung music rhythmic pattern (source: sinaga, 2021) the pattern in figure 2 is one of the peculiar characteristics of trunthung music. this pattern will always be found whether the trunthung music is performed along with soreng dance or the trunthung music is performed a mere musical performance. in terms of quantity, the number of trunthung instruments for the soreng dance performance and for the musical performance is rather different. for the soreng dance performance, the number of trunthung instrument players is usually one person. on the contrary, for the musical performance, which usually takes the colossal form, the number of trunthung instrument players usually ranges between 10 to 30 people, as has been shown in figure 3. the sonoric or sound dimension that has been resulted during the performance of trunthung music is believed to be the representation of the energic peasant life by the people of warangan hamlet. the statement is in accordance with the argument proposed by (mulyana, 2002, p. 71), who states that human beings use symbols within the symbolic interaction in order to represent what they believe with one another and to influence the symbol as well when they establish interaction with both their social environment and their natural environment. figure 3. trunthung music performance at the tapak jaran sembrani ritual at warangan hamlet. (source: sinaga, 2021) figure 4. trunthung as accompaniment in soreng dance (source: sinaga, 2021) organologically, trunthung refers to the tambourine-like musical instrument that has rhymes (irama rampak) and it should be played by using a bamboo stick. the sound generated from trunthung as a musical instrument is widely known by the people of warangan hamlet. therefore, it is no wonder that the beating sound of trunthung can also serve as a medium of communication among the people, giving a signal that an event is about to begin. in a wider review of sound or music that has a relationship with culture or natural environment, the discourse that has been generated can be categorized as a discourse of ecomusicology. the grove dictionary of fajry sub’haan syah sinaga, et al., musical facts and sustainability of trunthung music in 283 american music (oxford university press, 2014) defines “ecomusicology” (or “ecocritical musicology”) as: “… the study of music, culture, and nature in all the complexities of those terms. ecomusicology considers musical and sonic issues, both textual and performative, related to ecology and the natural environment (berndt-morris, 2014).” the people of warangan hamlet are still fond of trunthung performance. such a high level of interest cannot be set apart from the role of handoko as an artist who keeps working on and collaborating trunthung into a very beautiful and harmonious performance. as a musical performance, trunthung music offers the sound and the visual dimension that takes participation in reflecting the condition of both nature and the social life among the people over the slope of merbabu mountain. the visual dimension in trunthung music’s performance is apparent from the costumes to wear during the performance. the eco-cultural condition of the five mountain (lima gunung) is clearly visually represented within the costumes that the performers of trunthung music wear. the condition of the nature in the warangan hamlet, the slope of merbabu mountain, is highly associated with agricultural life. therefore, it is no wonder that the costumes that the performers wear in several events of trunthung music performance use materials made of rice straw, woven bamboo, and alike. the performance of trunthung music in several events throughout warangan hamlet is inseparable from both the ritual and the cultural performance that the local people hold. the natural stage setting also contributes to the impression of agricultural life as the reflective eco-culture among the people of warangan hamlet. several evidence of documentations with regards to the costume and the natural stage of trunthung music are provided in figure 5. referring to figure 5, the performers of trunthung music in the 1110th anniversary of the city of magelang wear the costumes made from the combination of woven bamboo and batik cloth. in another performance, the costumes of the performers are made of straws and dried leaves as the main materials. this kind of costume can be seen in figure 6 as follows. figure 5. trunthung music performance in magelang city anniversary procession by smp n 4 magelang (source: sinaga, 2016) figure 6. trunthung performers use rice straw and dried leaves as performance costumes (source: sinaga, 2018) the use of natural materials as part of the performance is one of the evidence that natural always plays a role in every developing art in a region. a study entitled penciptaan kostum kebo-keboan (sebuah inovasi kostum pertunjukan di luar acara ritual) by (hady, 2016) has found that a costume that has been designed holds the possession of artistic values. these values represent the icon of banyuwangi, such as a motif, art, and tradition. so, it is no wonder that the costumes that have been worn in the performance of trunthung music reflect the condition of the agricultural environment that becomes the main livelihood for the people of warangan hamlet. in figure 7, the musical instrument performers wear surjan, namely the javanese formal upper attire for men. interestingly, figure 7 shows that the musical harmonia: journal of arts research and education 21 (2) (2021): 278-289284 performance’s natural stage is sembrani waterfall, located in the warangan hamlet. the use of a natural stage in several performances of trunthung music becomes the attraction for the discussion on the visual dimension. several sources from mass media show that nowadays, the development of art festivals has favored the natural stage as the performance decoration. such use of natural stage can be found in, for example, dieng jazz festival, festival lima gunung, borobudur international jazz festival, and prambanan jazz (khatrunada & alam, 2019; lubis, 2020 figure 7. trunthung music as soreng dance accompaniment (source: sinaga, 2021) the statement strengthens the concept that has been offered in every performance of trunthung music, which always brings forward the condition of both the agriculture-based natural environment and the harvest around the warangan hamlet. the use of the natural stage as the support for the performance is a musical fact that belongs to the non-sonoric dimension. in addition, the development of the costume for the performers of trunthung music is very apparent when the trunthung music is presented as a musical performance. the only different thing that trunthung music is presented as the accompaniment to soreng dance can be found at the position of the trunthung music performers, namely at the back of the soreng dancers. despite that, when the trunthung music performance is staged as a musical performance, another dimension gives color to every performance, namely the kinesthetic dimension. the kinesthetic dimension in the performance of trunthung music can be seen from the movement and the floor pattern that the performers show. practically, the kinesthetic dimension is related to the movement or the dance that has been created during the performance of the trunthung music. it should be noted that at the beginning, trunthung exists as the accompanying musical instrument for the performance of soreng dance. however, when trunthung is staged as a musical performance, the movement of both soreng dance and topeng ireng dance is still highly attached to the performance of the trunthung music performance up to date. several studies on soreng dance and topeng ireng dance show that trunthung has been the control mechanism for the rhythm of both the movement and the music within every transition that the dancers do (fitiriasari, 2019; mumfangati, 2007). however, when trunthung is staged as a musical performance, several characters belonging to both the soreng dance and the topeng ireng dance can still be found among the performers who move around while beating trunthung. this finding is interesting because the development that handoko has pursued displays the sonoric dimension and develops the movement patterns that the performers of trunthung music show. the finding is shown in figure 8. figure 8. the movements that the trunthung musicians make while forming the floor pattern in their performance (source: sinaga, 2016) several characters of trunthung music performance that can be found in terms of sonoric dimension are in the form of the beating patterns, which have been confajry sub’haan syah sinaga, et al., musical facts and sustainability of trunthung music in 285 templated as the reflection of the cheerful yet energic peasant life. in this regard, the visual dimension is reflected from the costume to wear. in this costume, the natural materials become the main part and this also includes the use of the natural stage. sometimes, the use of natural stage becomes a peculiar attraction within the context of art performance. on the contrary, the kinesthetic dimension of trunthung music performance is apparent from the movement pattern of both soreng dance and topeng ireng dance. before trunthung music is staged as a musical performance, the music used to be the accompaniment to the performance of both soreng dance and topeng ireng dance. therefore, when trunthung music is staged as a musical performance, three aspects become a single unity among the performers: the sonoric dimension, the visual dimension, and the kinesthetic dimension. sustainability of trunthung music in magelang trunthung music is a musical performance that has grown and developed in the middle of the five mountain communities (komunitas lima gunung), and the music has been dominated by agricultural life. therefore, the natural and cultural environment of the people in warangan hamlet have a huge influence over the sustainability of trunthung music up to date. the relationship among music, culture, and environment becomes an interesting review when one views the sustainability of trunthung music. without one having ever realized it, this music has shaped its own ecosystem. figure 9. the concept of the trunthung music ecosystem in the lima gunung society of magelang regency (source: sinaga, 2021) with regards to the statement, handoke has been the local artist from the warangan hamlet, and he is one of the members in komunitas lima gunung. then, one of the art associations in the warangan hamlet is warangan merbabu art studio. warangan merbabu studio is one of komunitas lima gunung members. komunitas lima gunung is a community that consists of traditional artists. in general, these artists are the volcano, merbabu mountain, sumbing mountain, andong mountain, and menoreh mountain (adi & ma’arif, 2020; aswoyo, 2013; hakim, 2015; rukmorini, 2018). komunitas lima gunung is an expression of culture from a village civilization that has enormous power. the peasants from the hamlets that group themselves together in komunitas lima gunung are creative and independent as they don’t rely on anyone else (aswoyo & sularso, 2020). referring to figure 9, the discourse of ecology as a method of analysis that puts emphasis on inter-individual relationship and environmental activities and, consequently, individuals always become the focus of analysis within the scope of their relationship with the abiotic, the biotic, and even the social, economic, and cultural (landoala: 2013). this interaction has shaped a spatial system known as an ecosystem (allen & dawe, 2016; zurlini et al., 2009). one of the ecosystems that have been shaped from such interaction can be found in the educational process amidst the residents of magelang. in the context of education, handoko has been teaching the traditional art to almost half of the schools throughout the regency of magelang. one of the achievements that handoko has with regards to the teaching of trunthung music is the creation of new music in 2011 on smp negeri 4 kota magelang and this music is known as klunthung orchestra. klunthung orchestra collaborates trunthung music and angklung music is always performed in every anniversary of the city of magaleng. once, the klunthung orchestra was harmonia: journal of arts research and education 21 (2) (2021): 278-289286 performed around 2011 in taman mini indonesia indah as the representative for the city of magelang over the pavillion of central java. figure 10. klunthung orchestra performance at tmii (source: doc. smp 4 magelang, 2011) the development of trunthung music in several schools has been one of the ecosystem-forming components tha turn the cultural content into one of the media for honing the students’ creativity and appreciation. the term “ecosystem” refers to a system that has integrated the biotic environment, the abiotic environment, and th interaction between the two environments (salomon, 2008, p. 1155). in the light of the statement, an ecosystem can be classifieid based on the physical contexts and components. however, such classification highly depends on the scale of the focus in the study. then, the term ecosystem itself is a combination of two terms, namely “ecology” and “system,” that was introduced by a.g. tansley in 1935 for the first time (christian, 2009; willis, 1997). the use of the term “ecosystem” was inspired by the same term that ernst haeckel had previously introduced. one of the definitions that have been widely known is proposed by odum (1969) as follows: ecosystem can be defined as any unit that includes all of the organisms in a given area interacting with their physical environment so that a flow of energy leads to exchange of materials between living and non-living parts of the system. the discussion on the sustainability of trunthung music can be focused on two levels of the subject, namely: (1) territory subject (cultural characteristics and geographical conditions of komunitas lima gunung environment); and (2) stakeholder subject (community-based and government-based). despite that, the present study captures several traditional rituals that have been performed in the warangan hamlet that involves trunthung as part of the procession there. for example, trunthung music has been used in the procession of ritual nyadran kali, which is shown in figure 11. figure 11. trunthung in the procession of nyadran kali (source: sinaga, 2021) trunthung music indirectly becomes the element that should exist whenever the procession of ritual nyadra kali is performed. the reason is that soreng dance has been the main requirement for the performance that is directly staged in puyam spring, warangan hamlet, as discussed by (lestari, 2016) regarding the procession of nyadran kali in warangan hamlet. the art development in the middle of the community becomes an interesting discussion to view art as a cultural product. with regards to the statement, festival becomes one of the cultural products that can disseminate and even preserve an art product in the middle of a community. the statement is supported by the presence of jaran sembrani festival festival that is held in warangan hamlet. tapak jaran sembrani festival is one of the art performance sequences that have been held by the warangan merbabu studio and the people of warangan hamlet. in some of these performances, the chief of komunitas lima gunung used to deliver his speech as follows: fajry sub’haan syah sinaga, et al., musical facts and sustainability of trunthung music in 287 “tema festival kami tahun ini, ‘peradaban desa’, untuk menunjukkan kepada dunia bahwa tradisi-tradisi desa dan gunung masih eksis dan jalan, tidak surut walau diterpa pandemi. kita mencari kekuatan alam dan desa. (kasih, 2021)” (the theme of our festival this year is ‘village civilization.’ this theme has been selected to show the world that the traditions in both the villages and the mountains are still in existence despite the pandemic outbreak. through this theme, we are trying to look for the strength of both nature and the village.) the statement delivered by the chief of komunitas lima gunung strengthens further that the sustainability of art will not be invented without support from the ecosystem. conclusions based on the results of and the discussions within the study, the researcher concludes that trunthung music has three interrelated dimensions in its performance: sonoric, visual, and kinesthetic. both the textual and the contextual interaction with the trunthung music form an ecosystem that eventually creates a sustainable condition. the elements that shape the ecosystem of trunthung music in warangan hamlet are the local artist who serves as the agent that creates the trunthung music, the warangan merbabu studio that serves as the medium of art for the people in warangan hamlet, and the komunitas lima gunung as the medium of exchanging information with the people outside the warangan hamlet. the interaction among these elements can be related to both nature and the individual such as the one that has been found in both the ritual and the art festival that the people of warangan hamlet have held. despite the significant findings that might have been found within the study, the researcher still deems that the results of the present study have still been unable to capture several elements of trunthung music more comprehensively. therefore, it is expected that future researchers would like to conduct a more in-depth study with regards to the components that form the ecosystem of trunthung music. acknowledgment the researcher would like to show his gratitude toward all of local artists and people in warangan hamlet who have provided the opportunity to gather information related to the trunthung music. at the same time, the researcher would like to thank the caretakers of the postgraduate program of padang state university who have guided the researcher throughout the article composition. references adi, b. t. k., & ma’arif, s. 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(2009). socioecological systems. encyclopedia of ecology, december, 3264– 3269. https://doi.org/10.1016/b978008045405-4.00706-0 28 integrating parent’s contribution into music class to achieve learning purpose of musical expression slamet haryono1, victor ganap2, totok sumaryanto1, tjetjep rohendi rohidi1 1postgraduate program, unversitas negeri semarang, indonesia 2postgraduate program, institut seni indonesia yogyakarta, indonesia received: december 13, 2017. revised: april 23, 2018. accepted: june 10, 2018 abstract qualitative research has been carried out with the aim of exploring synergy between parents and school in elementary school music education in an urban area. the focus of the research is the synergy pattern of parents and school related to students’ music education. in order to derive the findings, one major attention of the research is parent’s contribution integrated into music class to gain a successful learning goal of musical expression. this paper discusses characteristic of the contribution processes in supporting the successful of music learning related to education components of learning material, facility and supporting the budget, with the topic of playing an ensemble of a particular music instrument. the school’s samples chosen were those which are located in a particular urban area in central java. the data were gathered using observation, interview and documentation methods and analyzed descriptively. based on the data analysis, it was concluded that parent’s contribution is an important element for attaining a qualified students’ achievement of musical expression. it is integrated into learning sessions fulfilling the criteria stated in the used curriculum implemented by the teacher, by three major ways, those are communication, collaboration and cooperation. this becomes a significant reason for its integration into elementary school music instruction to achieve the expected students’ competence. keywords: elementary school; music education; parent how to cite: haryono, s., ganap, v., sumaryanto, t., rohidi, t. r. (2018). integrating parent’s contribution into music class to achieve learning purpose of musical expression. harmonia: journal of arts research and education, 18(1), 28-38. doi:http://dx.doi.org/10.15294/harmonia.v18i1.12288 harmonia: journal of arts research and education 18 (1) (2018), 28-38 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v18i1.12288 study results of musical skill’s benefits to children and young people’ intellectual, social and personal development. it was stated that ones could have the benefits of engagement with music when they enjoy and get a reward from their musical experience. in addition, kraus (2015) discussed the advantage of learning to play musical instruments on disadvantaged children’ reading and language skills. lee (2014), then, informed a study on patriotic song introduction various studies notify that music and arts educations give a positive effect on children, particularly on academic achievements. kinney (2008) reported that since music instruction reinforces or catalyze other forms of cognition, the activities performed in a school did not give any negative effect on other students’ achievements. moreover, hallam (2010) provided other corresponding author: jl. kelud utara 3 semarang, indonesia e-mail: slametharyono@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 slamet haryono et al., integrating parent’s contribution into music class ... 29 for elementary school students mounted in the books used in learning. based on the study it was concluded that the patriotic song is an important medium to form students’ understanding and feeling of patriotism and citizenship spirits. from the different side, miksza & gault (2014) reported their research on music experiences received by elementary school students in the united states. they described that there was a different delivered music lesson between the suburban students of majority race and high levels of ses and the ones of color from urban and rural settings and of low ses. based on that, one of the suggestions was to provide outreach efforts offering access to music programs both in and outside of the school setting, including the availability of music specialist in the classroom to work together with the classroom teacher. in case of benefit of music learning itself, sumaryanto (2000) reported the influence of musical ability on students’ music achievement. it was stated that combination between musical ability and well-directed and regular practices would support students’ musical achievement. related to the use of technology in music class, hernández-bravo, cardonamoltó & hernández-bravo (2016) stated that implementation of a program using new technologies in teaching music increase students’ musical learning as well as the development of musical competence. in case of arts education, julia (2009) said that this kind of education delivered through seni budaya dan keterampilan (sbk) plays a significant role in changing students’ morality. all of the above studies support a statement from dewantara (1977) stating that arts or sense education will lead directly to intellectual education, which eventually leads to the education of character and morals or manners. there are life characteristics differentiating urban community from the rural one in terms of attention of fulfilling of social needs, religion activities, a firm division of labor, economic status, occupation and other life aspects, including education. these characteristics imply the urban community social system, including those of music education. jorgensen (2008) said that music education has societal and cultural characteristics as it interrelates to the other things, either societal, cultural, or whatever with which it interacts (sukanto, 2010). these interrelationships require an openended system infusing each other. furthermore, jorgensen (2008) discussed the institutional agencies of music education. he clarified that the societal institutions, such as family, religion, politics, commerce, and the music profession, play an important role in music education in terms of enforcing value. with regard to the role of the family in music education, gibson (2009) studied two focuses, those were children musical environments created by a parent and the factors influencing a parent to carry out musical parenting. in his study there were four main topics evaluated: singing interactions, musical resources in the home, music gatherings within the complex, and child-oriented concerts and musical enrichments in the community at large. from the study, it was concluded that parents build musical environment at home by singing spontaneously to their children or repeating several kinds of song, such as lullabies, play songs, religious songs, and family songs. it was also found that the built musical environment was influenced by instruments, musical toys and books, the mediated music of cds, dvds, and the internet. in addition, gender, education, religion, and parents’ own memories of their childhoods were investigated as factors contributing to the created musical parenting. as a result of a literature review on the influence of parents on instrumental learning, then, creech & hallam (2003) concluded that from several perspectives, such as parents’ musical background, family interaction, and parental aspirations and values, musical home environments relate positivelly to the musical responsiveness of children from these homes. by taking the point on family’s support on children’s musical development from several references, koops (2012) stated that children’s interest in a variety of music acharmonia: journal of arts research and education 18 (1) (2018): 28-3830 tivities are developed by family through singing to and with children; making music a part of daily routines, cultural expressions, and play; as well as demonstrating enjoyment of music. in another point of view, jorgensen (2008) also explained that pedagogy and various ways of delivering teaching materials, e.g. training, schooling, education, socialization, and enculturation can be implemented in a particular musical course. in this case, the teacher’s leadership of the student in the manner of a parent, tutor, or guide is needed. students follow their teachers with sufficient knowledge to undertake on unfamiliar musical activities. in line with jorgensen’s statement, hamalik (2001) and sudjana (2010) also emphasize the importance of a teacher in an instructional process. from different points of view, tirtarahardja & la ulo (2012:60) also stated that the result of an education process achieved by students is affected by an organized system of elements consisting of a row, instrumental and environmental inputs. they explained more that facilities and infrastructure, curriculum, and cost for supporting learning process belong to the instrumental input. in addition, kelly-mchale, (2013) also revealed that the teacher’s view of the self as musician and educator combined with the choice of instructional approach would create a music classroom environment that successfully met the teacher-directed goals for sequence-centered instruction. moreover, parncutt & mcpherson (2002) stated that encouragement and concern from parents and teachers in giving opportunities and support for students is an important factor in developing child’s musical talent. the above explanations give an idea that the teacher supported by the societal institution, i.e. family/parent who can give contribution for learning is an important component of music education running success in an urban area, which in turn can support students’ achievement, both in musical and non-musical one. the stress of an instruction is a blending system of teaching and learning to grow students’ activity consisting of several components, those are lesson plan, teaching material, learning the purpose, method, assessment and learning scenario (majid, 2016). meanwhile, one of the competence standards of the sbk subject to be reached and stated in the curriculum used in this research, was students’ musical expression. based on that cases, in order to perform such instruction in music properly in an urban area, a teacher needs to consider family (parent) which can contribute for such provisioning the instrumental input and also promotes students’ success in experiencing music education, particularly in achieving students’ musical expression standard competence. how do the elementary school teachers in the research area integrate parents’ contribution into their music instruction? this paper discusses characteristics of the music instruction carried out by teacher in several state elementary schools at urban area which integrates parent’s contribution into the class. the characteristics discussed in this paper involve a series of activities done by the teacher and students during a music lesson, focusing on three main activities, those are 1) teacher’s preparation; 2) teacher’s lesson material delivery and 3) assessment of students’ outcomes. this is followed, then, by the discussion of the integration ways implemented for achieving learning purpose of musical expression. method the research focused on both music instruction accomplished by the classroom teacher and the integration ways of parent’s contribution to achieve learning goal. these two focuses were explored through four research questions: (1) how does the teacher prepare lesson plan?; (2) how does the teacher deliver lesson material?, (3) how does the teacher assess students’ learning outcomes? and (4) how does the integration process work in the lesson. the data were gathered from three different elementary schools located in a particular urban area in central java. theslamet haryono et al., integrating parent’s contribution into music class ... 31 re were eight teachers from eight classes of grade five with overall three hundred and twenty students. the data were collected using observation, interview and documentation methods and analyzed descriptively. results and discussion characteristics of elementary school music instruction carried out in the research areas characteristics of elementary school music instruction carried out by the teachers in the research area can be outlined in the following table. table 1. elementary school music instruction characteristics instruction’ parts teacher’s activities preparation developing lesson plan through a workshop lesson material delivery introduction: greeting, preparing the class for the lesson: praying, checking students’ attendance, taking students’ prior knowledge & explaining learning purposes main activities: delivering teaching material, asking students to play instrument individually, asking students to play an instrument in a class group. closing: concluding lesson, giving an assignment to students to play an instrument at home, and greeting. assessment preparing class by distributing test paper, waiting for students to finish the test, collecting students’ test paper. based on table 1 the following characteristics discussion is divided into three parts, those are teacher’s preparation, teacher’s lesson material delivery and teacher’s assessment activities. teacher’s preparation all elementary school teachers in the research area used kurikulum tingkat satuan pendidikan (ktsp) 2006 which is under the jurisdiction of laws of the national education system and dan government regulation about national standard of education. the implementation of this curriculum has been started from 2007. teaching activities planning is carried out by the teachers based on specified signs in the curriculum including competence standards and basic competencies. based on the specified competence standards and basic competencies the teacher composes a lesson plan with its assigned time allocation. the teacher does not have any authority to change the standards which are same in every education level in indonesia. teacher’s ability in composing the lesson plan is gathered through curriculum development training performed by either province, regency or town level of the education board. meanwhile, lesson plan development in deeper level is carried out through a workshop done by a professional group of teacher in a district level called kelompok kerja guru (kkg). through the workshop, the teachers also discuss all components of the lesson plan. the components of lesson plan consist of school identity, time allocation, purpose of learning, competence standard, basic competence, indicator, teaching material, teaching method, learning media, source(s) of learning, learning stages, and assessment. there was name of the school, subject name, grade and semester information mentioned in the school identity component. they were followed by time allocation which, in this case, was one meeting of 2 x 35 minutes. the learning purpose stated was knowing and playing rhythmic and melody music instrument. in the competence standard and basic competence, harmonia: journal of arts research and education 18 (1) (2018): 28-3832 hered through explaining the relationship between previous and current learning material. it was, then, continued by mentioning learning aim that was student can play an ensemble of rhythmic and melody instrument. the main activities are performed based on the lesson plan. however, there were also many teachers who carried out the activities by following the stages written in students’ worksheet or a music lesson book developed by a particular publisher. there was, even, a certain music lesson book which was used as the only learning source for students and written explicitly in the lesson plan. so, although the lesson plan has already been prepared and owned by the teacher, the learning material delivery was still performed based on the stages written in the book used as the learning source. the lesson plan was only used as the activity guidelines. learning method commonly written in the lesson plan is contextual teaching and learning (ctl). however, practically, there are various difference methods applied among one teacher and others. there were giving an assignment, discussion, group work, and lecturing methods. the method of ctl which was mentioned in the lesson plan, was often not applied in the learning process. the reason for this was that learning requirements of situation and condition contained in the lesson plan made by kkg group did not match with the situation and condition of every class’ condition where the teacher delivered the teaching material. so, there was the different method used by the teachers when they delivered their teaching materials. there will be a change in using the teaching method depending on every class situation and condition and every teacher’s capability in delivering the lesson. the main stage of learning activity was carried out by doing a question and answer session and deriving conclusion which was done orally. the questioning session was performed to give students chance to ask question or explanation and give their opinion related to the discussed self-expression through music and playing simple rhythmic and melody instruments in the form of the ensemble was written. meanwhile, the indicator was stated as students are able to recognize and play simple rhythmic and melody instruments. the learning material was ensemble practice derived from learning sources of the sbk main book and internet, with learning method of contextual teaching and learning (ctl), observation, expository, and demonstration. the learning media stated were music instruments and a picture of the rhythmic and melody instruments. there were three main learning stages: opening, main activities and closing. in the assessment component, the indicator of outcome, assessment technique, instrument form and problem were listed. the workshop produces the lesson plans which are almost similar in all parts, either in its substance or compositions. a positive effect of this kind of lesson plan is efficient and effective supervision toward learning implementation quality. on the other hand, teacher’s creativity in doing learning innovation has killed. however, in order to implement the lesson plan wisely, it is recommended that it is used by the teacher flexibly based on every school’s situation and condition, including the teacher. teacher’s lesson material delivery the elementary school teachers in the research area delivered music lesson based on the lesson plan developed in kkg activities. learning stages in the lesson plan consist of three main activities, those are an introduction, main and clossure. in the introduction, the teacher prepared class situation and condition to receive the lesson by praying, checking students’ attendance, taking students’ prior knowledge (apperception) and mentioning learning purposes for the day’s lesson. the praying activity was lead by either the teacher or one of the students. after this, the teacher checks students’ attendance by calling students’ name and asking students’ condition. students’ prior knowledge was gatslamet haryono et al., integrating parent’s contribution into music class ... 33 material which they think cannot be understood at all. meanwhile, the purpose of the deriving conclusion is to give students chance to remember and take the important points of the material given by the teacher. as additional information, it is common that elementary school teachers were teachers who teach all subjects, such as mathematics, indonesian, science, arts and others, except religion and sport for each grade. this situation caused the same delivery way between the arts and other subjects, meaning that the teachers used same methods which were used for other subjects having different characteristics. this made an unfavorable class of the arts subject, especially music lesson, for students, as the teacher did not have any musical competence support. the music class which needs such explanations and practice of music instruments including singing, cannot be done properly. the teacher cannot give such example(s) of how to sing or how to play the music instruments because they have no supporting abilities and skills in doing them. as a result, the high music lesson, or in general the arts lesson, quality mentioned in the curriculum cannot be reached optimally. students cannot get any enjoyable and rewarded experience in music class, which according to hallam (2010) is possible to be reached through musical activities and is needed to build the foundation of music education (cabedo-masa & dı´az-go´mez, 2013). this also contrasts with richardson (2007) statement telling that students’ ability in covering artistic problems with insight, reasons and technical proficiency can be increased through music education. assessment of students’ outcomes regarding with assessment, the result of the data analysis showed that assessment of students’ outcomes was carried out in the form of formative and summative tests to measure cognitive aspects only. the one which can be used to measure students’ performance related to the use of music instruments has never been done in these two forms of the assessment test. the formative test was given to students at the end session of every competence standard or base competence period. in addition, the summative test was performed to finish lesson activities twice: at the end of mid semester period and the end of a particular semester. although there was no formal measurement for students’ performance achievement, the schools commonly have a schedule of students’ art show to give students opportunities to perform their art ability and skill, including music. all the above results indicate that the teachers teaching music lesson at the school were those who categorized as a classroom teacher. this kind of elementary music teacher was, in fact, also work in utah’s music education, besides other types of the teacher, such as a certified instrumental teacher (walker, 2015). however, although they are not music specialists, the elementary school teachers in the research area have been carried out suitable music teaching preparation with the one which is mentioned in the lesson plan developed by the teachers in the kkg group activity. the lesson plan provided has written all components of an ideal music lesson delivery, although the implementation of the stages of lesson delivery is still based on every teacher’s musical abilities and skills. because they are non-music experts, there were many teachers who still use same methods of material delivery with the one used for other subjects affecting the unexpected music learning result: there are no students’ engagements with music, even though there are many ways to develop them in the class. niland (2009) explained that physical engagement can be accomplished by playing instruments, while vocal engagement can be done by singing. social engagement, then, can be reached as students observe and imitate, and the cognitive one can be gained when students interpret lyrics. when students express feelings and music aesthetic aspect, the emotional engagement occurs. this is in line with research result from holden & button (2006) and alter, hays & o’hara (2009) which staharmonia: journal of arts research and education 18 (1) (2018): 28-3834 ted that there were music teaching problems faced by non-music specialist teachers in primary school due to teacher’s lack of music knowledge and experience. this limited music experience causes the teacher to feel inconfident in teaching. in their research, holden & button (2006) focused on non-specialist teachers’ levels of confidence in teaching music, musical training and qualifications. it was found from the research that the level of teacher’s confidence in teaching music was affected by several reasons, those were teaching experience, less ability to read music and singing well and the teacher’s view of music as a different and exclusive subject. hale & green (2009) explained several principles in music assessment for evaluating student’s performance. the principles are beginning with the end in mind, finding out what students know, assessing during instruction, teaching students to do self-assessment, using rubrics to reinforce learning goals and implementing teacher’s self-assessment. based on these principles, it can be stated that the teachers involved in the research need more additional activities for assessing their students’ performance. since the teachers only assessed students’ cognitive aspects, the above principles can be considered to be implemented in their music class. implementation of parent’s contribution integration in music lesson for achieving learning purpose of musical expression. table 2. parents’ contribution and actions on music class types of contribution parents’ action learning material giving additional music lesson at home by inviting a specialist music teacher. delivering children to music course at a music institution. learning facilities buying the instrument required for the class and asking children to bring it in the class with suitable learning topic. in this research, the music lessons were carried out with the topic of playing a particular music instrument ensemble. in the lesson, students are expected to be able to play an ensemble of a particular melody instrument, which can be seen from the learning indicator. for assisting students to perform this indicator, several difficulties occurred in the lesson implementation. for example, the teacher faced the problem of delivering such material related to how to play a music instrument and how to sing a song in a correct manner due to lack of ability and skill. the unwanted problem of giving an example of how to play a particular instrument caused students to to have no expected performance experience. as a result, the students did the practice by using their own ways which were often incorrect one. in case of playing melodica for example, the students cannot do fingering correctly. this, of course, did not match with the purpose of the learning. furthermore, in terms of giving an example of a good singing problem, the problem effect was the unexpected result of students’ experience of singing. since the teacher only invited the students to sing with their own fashion, there were often observed that the students sang with inappropriate voice, which in turn resulted in the same students’ attainment of unskilled students in singing. the different problem faced for reaching successful learning goals were those related to the availability of music instruments. as the school did not have enough budget to provide facilities of music instrument, in this case is the melody instrument, as many as the number of the students, there was also a problem of procurement of the instruments. as a result, there was no chance to have a music class involving students’ performance together to play the instrument. slamet haryono et al., integrating parent’s contribution into music class ... 35 the difficulties on these aspects of learning led the school to share the problems with the parents. the schools met the parents to have a discussion to solve the problems. the discussion resulted in an agreement that the parents will take part in such activities related to finding successful learning of music for their children. the implementations of the agreement were appeared in at least two general activities of parents’ contributions in performing music learning in a family environment. the first was to have additional music lesson at home by inviting a specialist music teacher or to deliver their children to music course at a music institution. the parents’ aim to have home’s music class or to deliver children to music course was to promote the children to have better music learning material achievements, either in singing or playing kinds of music instrument. the second was supporting the procurements of music facilities. the procurements of music facilities were carried out to help the school to cover the lack of music facilities problem so that the teacher can be able to deliver the lesson with the topic of playing ensemble appropriately. commonly, the parents will buy the instrument required for the class and ask their children to bring it in the class with suitable learning topic. the above result shows parents’ contribution integration in a music lesson. as stated by munib, budiyono & suryana (2016) and tirtarahardja & la sulo (2012), the environment is an important aspect should be considered to gather a successful learning goal. in addition, djohan (2009) explained that children’s musical competences will develop faster through the learning process involving interaction with their environment. the environment, in this case, is represented by the parents and the school. these two learning institutions influence each other to attain education’s goal of qualified students, both in academic or non-academic one, at home (family environment) and in the school. it is explained that the goal of family education is preparing children to be a human having personality and giving benefit for the community (purwanto, 2011), through methods of nurturing (dewantara, 1977) with one of the material is knowledge and skills possessed and controlled by parents (tirtarahardja & la sulo, 2012: 169). meanwhile, one of the goals of education in schools, especially art education, is the formation of an appreciative and creative personalized human as a member of society, with the functioning of art as a means of developing student potency (triyanto, 2017). based on these education goals, it is undeniable that in an attempt to attain the one in music education, that is students’ musical expression, the parents give their contribution to collaborate with the school to facilitate students to have expected experience. this is in line with hornby’s report on practices of parents’ participation in educational processes. it was stated that collaborating with teachers is one aspect of parental involvement to improve educational outcomes in elementary school (hornby, 2011). in developing the collaboration, several communication channels were open by the parents and the teachers through a telephone call, meeting by appointment and informal contact resulting optimum overall home–school communication. mulyana (2013) defined communication as the basic form of human adaptation to its environment which is carried out by parties working together to achieve common goals. in this case, communication was done by the school and parents who work together to achieve the goals of music art education that has been established in the curriculum. communication was performed both on an interpersonal level, with one form being dyadic communication involving only two people (mulyana, 2013), as well as groups, adjusted for the number of participants. group communication is done by the small group, face-to-face and response from emerging feedback can occur. in this context, the teacher as a source conveys a message about music learning materials, for example, to the parent group. by communicating the learning materials, then, as a feedback from this message, paharmonia: journal of arts research and education 18 (1) (2018): 28-3836 rents can take actions to support the achievement of the expected educational objectives, by providing actions at home. another form of communication is done through the actions of teachers to communicate about the source book used as a reference for music lesson. the teacher invites the parents at the beginning of the semester to give an explanation of the planned activities to be performed. hornby (2011) named this kind of parental involvement as sharing information on children. at that time the parents were informed about the materials or subject matter that the students will study, and the source books will be used. parents are asked to provide the books for their children. the purpose of this activity is for running effective and efficient learning process in the classroom. since students take similar material learned at home in which parents can help them with those at the school, the time consumed for learning at school will be more unimpeded. for instance, when the topic material is related to singing and playing instrument, for example, the teacher does not have to take longer time to give rehearsal to students because the students have already learned the material at home. the description of parents’ action also represents their contribution to supporting music class purpose of music expression by doing a collaboration with the school. the collaboration occurred when the school carried out such activity of students’ performance show at the end of academic year. lawson (2004) defines collaboration as a kind of collective action. it is needed under several conditions, two of them are when needs and problems occur at the same time and nest in each other and there is ineffective linear problem solving strategies. in case of students’ performance show, the school collaborates with parents from planning to implementation activities. in this event, the school and parents jointly coordinate in several matters: defining students who will participate in the performances, determining the presentation materials, providing venues and organizing staging schedules, as well as the others related to training schedules, stage performances, providing food, transportation and provision of fees. the next form of implementation of parents’ contribution to music class is cooperation. this term refers to activities or efforts undertaken by several people or institutions to achieve common goals. through cooperation, individuals can contribute to help other parties to solve common problems, so that problems that cannot be solved individually can be solved by the cooperative way. as mentioned in the previous part, the parents gave their contribution to the procurement of such music instrument and other learning facilities. in this case, the school identifies the required music facilities and infrastructure, while the parents seek the procurement. besides that, school as the party who knows the condition of facilities and infrastructure supporting students’ music activities offer parents the types of activities that can be done at school as extracurricular events. parents, then, support the implementation of the events by providing the necessary costs, such as fees for trainer fees, equipment purchases and student participation cost in related competitions held outside the school. hornby (2011) called this with the term of parents’ acting as a resource. conclusion the discussion related to music instruction carried out by a teacher in the research areas directs the authors to the conclusion as follows. as preparation activity, the teacher who did not belong to a music specialist group, prepared learning activities by developing lesson plan through a workshop run by a professional group of an elementary school teacher. the lesson plan produced consisted of components which were similar in all parts, however, the implementation of learning will be based on the teacher own ways. this caused the problem of delivering learning materials which need performance example from the teacher, such as singing and slamet haryono et al., integrating parent’s contribution into music class ... 37 playing music instrument. the problems commonly occurred due to lack of knowledge and skill of the teacher. the problem called the school to communicate with the parents. in order to attain a successful learning goal of music class of musical expression, then, the parents played their significant roles. the roles occurred as a response of the difficulties faced to perform a suitable music learning activities and appeared in the form of providing parent’s contribution on three education components, those were learning material, facility and supporting the budget. giving additional music lesson at home, delivering children to music course outside the school, providing music instruments, supporting the implementation of extracurricular events by providing the necessary costs, such as fees for trainer fees, equipment purchases and student participation cost in related competitions held outside the school were parent’s contribution on the three components. all of the parent’s contributions were implemented in learning activities by three major ways, those were communication, collaboration and cooperation. references alter, f., hays, t. & o’hara, r. 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(2015). do you really want to know? elementary music. personnel and potential in utah. arts education policy review, 116, 201–213. 418 luwes and philosophical: dewaruci puppet performance in suryomentaram’s kasampurnan concept dhoni zustiyantoro, agus nuryatin, teguh supriyanto, mukh doyin universitas negeri semarang, indonesia submitted: 2022-09-26. revised: 2022-10-22. accepted: 2022-12-06 abstract this study explores the performance of ki manteb soedarsono’s dewaruci and bima characters in it. as a carangan play (contemporary), dewaruci is the most popular play. the purpose of this study is to describe the elements of dewaruci puppet performance and how the concept of kasampurnan in javanese cultural psychology was initiated by suryomentaram (1892-1962). this is qualitative research with a psychological approach using the method of reading, taking notes, and studying literature. the data in a form of performances and texts were collected from dewaruci scripts and puppet videos on kanal seni gelar youtube channel. we combine dewaruci script with the puppeteer ki manteb and other sources, in addition, to conduct a critical analysis to identify kasampurnan life concept that bima does in this play from suryomentaram’s perspective. the result of the study shows that the dewaruci puppet show by ki manteb has the advantage of being flexible and able to adapt to the context and needs of the audience. the concept of kasampurnan in dewaruci as a representation of javanese culture can be explained from the perspective of suryomentaram indigenous psychology. this finding contradicts previous psychological analyses in literature and art. previous psychology research used the theory of sigmund freud, c. g. jung, and alfred adler. however, we argue that the theory cannot always explain the cultural context because of cultural differences between theory and objects. therefore, this research is relevant in the spirit of science decolonization to see humans in javanese culture according to their context and culture. keywords: suryomentaram psychology, indigenous psychology, science decolonization how to cite: zustiyantoro, d., nuryatin, a., supriyanto, t., & doyin, m. (2022). luwes and philosophical: dewaruci puppet performance in suryomentaram’s kasampurnan concept. harmonia: journal of arts research and education, 22(2), 418-433 harmonia: journal of arts research and education 22 (2) (2022), 418-433 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i2.39209 theory, a. adler’s personality theory, and c.g. jung’s analytical psychology theory (damajanti, 2013). however, these theories often become a barrier in understanding art and literature as a whole because the justification for the universality of the theory is problematic (zustiyantoro et al., 2022). a perspective of indigenous psychology is needed to explain the uniqueness of local cultural psychology (guimarães, 2020). furthermore, this perspective is also introduction art, like literature, can be analyzed to find a psychological picture of local cultural society using psychological theory (minderop, 2018; wiyatmi, 2011), because both are closely related to psychology (darma, 2019). because it uses multidisciplinary studies, javanese art and literature use pure psychological theory in research, namely sigmund freud’s psychoanalytic corresponding author: e-mail: agusnuryatin@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 dhoni zustiyantoro et al., luwes and philosophical: dewaruci puppet performance 419 encouraged to be used more and more to break free from restraint and colonization in science (budiman, 2021; ciofalo, 2019; siregar, 2022). on the other hand, shadow puppet learning (performance or knowledge of its literary text) can be an effort to maintain the javanese language (zustiyantoro et al., 2020). there is a fear of losing the correct use of the javanese language in javanese society. for javanese people, the javanese language is very important in the formation of their identity (errington, 1998; martin-anatias, 2019). the response of millennial and z generations, the next generation of language speakers, is worrying because they prefer using indonesian or english. despite having 80 million speakers, this language is vulnerable to extinction. in fact, this extinction has been predicted since 1998 (putri, 2018). if there is no systematic effort, it is feared that extinction will actually occur. in shadow puppet, the show is divided into three pathet: pathet nem, pathet sanga, and pathet manyura. in addition to being the order and structure of puppet performances, pathet is a reference space for sound in pakekiran karawitan (wikandaru et al., 2018). philosophically, pathet symbolizes the cycle of human life from birth to death. this division usually includes puppet shows which are held in a dense manner, or the duration is shortened. whole puppet shows take 6-8 hours, usually presented at night, but solid puppets are very flexible according to the audience’s needs. the shortened puppet requires the puppet to present only the story’s main problems (widyastutieningrum, 2018). the short version of puppet also allows for a lot of innovation and modification of plays and story scripts using language that can be better understood by the younger generation, avoiding the use of the old javanese language as it is often used in longduration puppet performances. because of its flexibility, a solid puppet is often used as a learning medium in schools. javanese people also associate puppet shows with wali sanga civilization to link islamic and javanese culture, including using puppets for the propagation of islam (byard-jones, 2008). the functions of puppet shows are very diverse for javanese society, such as education, aesthetic appreciation, entertainment, social integrity, economic activity, and symbols full of meaning. these functions make shadow puppets able to survive. this spirit of preservation requires the cooperation of many parties: the younger generation, society, and the government (hartono et al., 2022). research on javanese art focuses on intrinsic or behavioristic analysis and does not yet have a critical perspective. this is because literature and art, including language in indonesia, were strictly regulated by the government during the new order era and became tools of the regime’s political propaganda (herlambang, 2013; aris setiawan, 2021). research on art also stagnated because, like social science in general in indonesia at the same time, it was controlled and directed to limit criticism (hadiz, 2005). colonialization in science also exists in the softest form, which is western-style thinking and the continuous use of western theory and methodology because it is considered the most scientific (nandy, 2009; said, 1994). colonialism saw javanese people as tame prey and then made various cultural manipulation (florida, 1997). as a result of this inequality, western models and standards are universally used in the world of science, education, art, and others, while local knowledge is marginalized or exotic. even local traditions cannot be separated from colonial influence; the level of language (ngoko-krama) in javanese was developed as a reaction to colonial rule (bandel, 2013). for this reason, a local perspective is needed to see the context and problems (ciofalo, 2019; siregar, 2022). thus, our research on indigenous psychology is an effort to decolonize science. however, this does not exclude western contribution to the humanities science in indonesia (suyanto, 2010). in indonesia, academics from various higher institutions attempted a systematic academic effort, who held harmonia: journal of arts research and education 22 (2) (2022): 418-433420 discussions and eventually published the book menggagas metodologi jawa (2021). in principle, they agreed to push for theoretical and methodological advances from javanese thought. this decolonization effort stems from the anxiety of academics when conducting research using western theories and methods in which the result is shallow and unsatisfactory (sayuti et al., 2021). the researcher found that research on literature and art with psychological theory has been carried out with a tendency to describe its intrinsic elements merely. in this context, art and literature are merely material objects seen from the perspective of western theory. in a sense, they just looked for a match regarding the elements of the id, ego, and superego without explaining the context in the local culture. as a result, the research result cannot explain the cultural context in which the work was created. even in research on javanese art, research with an indigenous psychology perspective has not received good attention. as done by several art researchers in indonesia (aragon, 2012; hidayatullah et al., 2022), research on indigenous knowledge in the art context becomes a unit in encouraging a variety of theoretical discourses originating from local knowledge. for this reason, further research is needed to explore and promote local knowledge from indonesia and provide critical awareness in the context of science decolonization. born on may 20, 1892, in yogyakarta palace, suryomentaram was a hero of republic of indonesia’s independence who staunchly fought against the dutch colonial government. his point of view on breaking the entanglement of the cycle of fearing the future and regretting the past and getting the final result of the intersection between happy and unhappy feelings, one must act based on the six sa principles. the principle is sabutuhe, saperlune, sauntunge, sabenere, samesthine, sapenake (as needed, as necessary, as profitable, as actual, as it is and as appropriate) (fikriono, 2018; gularso et al., 2019; suryomentaram, 1985a, 1985b). the result of the literature review shows that suryomentaram’s psychology has not been used seriously as a theory in research on javanese art and literary texts because, as mentioned earlier, all related studies use theories from western thinkers (zustiyantoro et al., 2022). ki ageng suryomentaraman’s article, javanese prince and philosopher (1892-1962) (bonneff, 1993) describes suryomentaram’s legacy who wants to educate people to understand that life is a movement forward to become a new human being, manungsa tanpa tenger (a human without characteristics), not easy to master temptations offered by the materialistic modern civilization. however, bonneff is limited to elaborating suryomentaram’s main ideas, so they have not been implemented into the study. for this reason, the main psychological ideas developed by suryomentaram need to be applied to the material objects of research. this application proves universality as well as tests suryomentaram’s psychological theory. the indigenous psychology asian perspective article (ho, 1998) states that in order to understand psychological phenomena in a certain society, it is necessary to use an indigenous psychology approach that originates from the local culture. this approach is a scientific study of human behavior and mental processes that are indigenous in nature, not taken from other areas, and intended for the people who are the subject of the research. ki ageng suryomentaram’s philosophical views and its relevance for postmodernity article (salamah, 2016) presents the results of suryomentaram’s philosophical views leading to an accommodative rationality attitude that puts forward the sense of social life in achieving truth and happiness. suryomentaram’s philosophical views related to javanese psychology are relevant to be applied in the postmodern context because they have the principle of liberating and not restricting every individual. suryomentaram’s thinking is relevant for viewing psychological conditions in social culture, even in a postmodhoni zustiyantoro et al., luwes and philosophical: dewaruci puppet performance 421 dern context, which has the characteristics of non-authoritarianism, egalitarianism, and universalism (yosimichi, 2001). this study describes how ki manteb soedarsono’s dewaruci puppet show can be a relevant model in responding to the wishes of modern audiences, in addition to questioning psychological studies through suryomentaram’s view that it can be an alternative to psychological studies in art and literature. this has never been done because previous studies related to puppet characters in a psychological context are identifying the self-identity of fans (handoko & subandi, 2017), reviewing healthy personality aspects (h. setiawan, 2015), or linking them with social functions for javanese society (ras, 2007; storey, 1993). through this research, it can be clearly understood between javanese literature and art and the psychology of its people. thus, javanese literature and art are not only entertainment but also describe the psychological and philosophical conditions of the javanese people. method this research method is qualitative. the primary data was obtained from a video of dewaruci solid leather puppet show performed by puppeteer ki manteb soedarsono uploaded on kanal seni gelar youtube channel. primary data is in the form of words, phrases, sentences, or scenes in the object. secondary data is in the form of books and articles related to suryomentaram’s psychological perspective. the method used is reading, observing, taking notes, and studying literature. the researcher also collected texts related to suryomentaram’s psychology, then verified each other and checked the results from the data obtained. for the validity and credibility of the data obtained, researchers intensify their position in reading and discussing with experts continuously to check its validity first (muhammad, 2014). this research is divided into three stages of analysis, namely (1) analyzing aspects of dewaruci show and formulating them in a flexible conception; (2) analyzing the psychology of the dewaruci leather puppet show using suryomentaram’s psychological perspective, (3) elaborating suryomentaram’s psychological principles so that it becomes justifications in determining its universality as a theory for studying javanese literature and art, and (4) providing context for the importance of decolonization in research related to language and culture in indonesia. the data that has been obtained is classified according to the findings. this allows researchers to find more detail about the psychological issues in the two material objects studied. creative elaboration is part of ethnomethodology to answer this research question (emirbayer & maynard, 2011). after presenting the data, analyzing, and classifying it, the next step is introspection (francis & hester, 2012). introspection not only presents what is known by the researcher but also provides an overview of the progress of indigenous characteristics. all locality forms always appear as unique and particular manifestations, an advantage lost when described in general terms or put into theoretically predetermined categories (bergmann, 2017). to establish updates and map out the position of this research, the researcher has conducted several literature reviews and ensured that the material object of the research has never been studied using suryomentaram’s psychological theory. data in the form of dialog texts in shadow puppet shows have gone through rigorous testing and procedures for classification, analysis, explanation, and ultimately justification to determine the importance of indigenous psychology studies in the context of the science decolonization in indonesia. result and discussion dewaruci play tells the story of bima, thirsty for self-knowledge (soedarsono, 2014). he feels that this life is always filled with a sense of unhappiness. prabu pandu, his father, has died with madrim. misery became daily food with his four brothers, harmonia: journal of arts research and education 22 (2) (2022): 418-433422 yudistira, arjuna, nakula, and sadewa. he asked his teacher, drona, “what is happiness and perfection?” when many things that happened in the world showed injustice. he also concluded that because of this injustice, god was unfair. to answer the anxiety, drona ordered bima to go to mount candramuka to look for tirta perwitasari. however, he was stopped by two giant batara indra and bayu incarnations. the war is over, and the two giants have returned to their form. bima failed to get kawruh kasampurnan drona also suggested him go to samudra minangkalbu looking for tirta perwitasari. after going through many tough challenges, bima meets dewaruci. this meeting made bima understand that happiness and perfection principally arise from within oneself. humans place feelings in the right proportions so that it brings up an identity of independence. he is no longer bound by desire because the happy dimension has been obtained. holiness is a belief that humans can consider what is appropriate and what is not to be carried out. in shadow puppet shows, dewaruci which the puppeteer performs, often refers to several texts. however, in general, based on the readings we did, all of these play scripts have something in common. philosophically, the javanese people desire a figure like bima who is independent, peaceful physically and mentally, a social being, takes care of his family and obeys his teacher (udasmoro, 2012). the warrior figure in the puppet is an ideal image for javanese society, although it is paradoxical in several ways, both internally (semiotic meaning) and in the image that appears from the form of the puppet itself (subiyantoro et al., 2020). table 1 shows some of the dewaruci manuscripts that become the source of reference for the puppet show. dewaruci performances the shadow puppet performance involves 30 people consisting of one puppeteer and 20 gamelan musicians, and the rest are waranggana (female vocalists) and wiraswara (male vocalists). this number can be flexible and depends on needs. in contemporary art, the puppet can even be played by only five people, using a blend of traditional javanese and diatonic musical accompaniment. even though it is played in a concise format, ki manteb soedarsono presents dewaruci in a format that still refers to the standard of puppetry. this standard includes the use of pathet distribution with an orderly plot to support the flow of the drama so that the audience does not get bored. in the context of performance, this is referred to as the concept of flexibility. flexibility in the bausastra definition (poerwadar minta, 1939) is “ora wagu, ora gampangan, kena ditindakake sasenenge”, not messy, not reckless, can be done at will. this understanding tends to have a negative connotation and table 1. the dewaruci script which becomes a source of reference in various purwa shadow puppet shows script title author publisher/ year description serat dewaruci anonymous tan khoen swie, no dated this script contains macapat dhandhanggula, pangkur, sinom, durma, and added by werdi dewaruci scene sumanto aski surakarta, 1983 this script is the text of the chess course in aski surakarta lampahan dewaruci purwa play puppet script pakem caking pakeliran lampahan dewaruci nyawirangka purwa play puppet script serat pedhalangan lampahan dewaruci soedarko 1991 contains scripts of puppetry and gending dhoni zustiyantoro et al., luwes and philosophical: dewaruci puppet performance 423 is oriented toward the female body. that is because luwes often becomes a unit in the phrase gandes luwes, which is associated with beautiful movements and captivates a woman’s heart. the meaning of luwes in the context of art is a character that is interesting and flexible in adapting to certain audiences and contexts. if it is associated with puppet performances, then flexibility can mean that it is easy to adapt to context and needs, appropriate, and interesting to watch (sudarsono, 2007). figure 1. ki manteb soedarsono playing shadow puppet at unnes anniversary, 2012. (document by dhoni zustiyantoro). luwes makes ki manteb’s dewaruci standard not to be strictly implemented in scenes and gending. for example, in the first part of the puppet scene, after gending patalon (opening), ki manteb immediately opens the scene of bima, who is worried because life is unfair because he has to live the same fate as pandu, his father. in puppet performance in classical style, the scene is opened with a scene of jejer kedhaton which describes the condition of a country. jejer means a row, namely a row of puppet characters in a certain position. this scene is the beginning of the introduction of the context and conflict of the story that will take place. musical accompaniment in classical style is also varied, including the amarta gending kawit slendro pathet nem or manik maninten pelog lima; for jejer astina gending kabor slendro nem or logondhang pelog lima; jejer dwarawati gending karawitan slendro nem. surakarta-style pakeliran, as implemented by ki manteb in dewaruci, is luwes. that is, being able to adapt to the circumstances of his time. the flexibility referred to is not only in the content or message conveyed by the puppeteer but also in the form and container (sudarsono, 2007). ki manteb in dewaruci has innovated in the form of presentation packaging, following his competence, so that he appears to work on a luwes pakeliran presentation as an adaptation to the different audience (figure 1). the transition from pathet nem to pathet sanga was made dynamic and flexible. after receiving advice from his grandfather, bathara indra, pathet changed from nem to sanga. the transition was immediately made from srepeg nem to srepeg sanga, mataram style (see figure 2). figure 2. notation of srepeg nem to srepeg sanga meanwhile, in the classical style puppet, pathet sanga begins with the puppeteer’s sulukan, which describes a calming midnight condition. the description of the puppeteer is also a pause after the plot of the drama continues to rise since the scenes of budhalan and war fail. this sulukan is accompanied by gamelan in the form of fiddle, gender, gambang, and flute. the sulukan text of the puppeteer is as follows. sangsaya dalu araras abyor kang lintang kumedhap titi sunya tengah wengi lumrang gandaning puspita karengyaning pudyanira sang dwijawara mbrengengeng lir swaraning madu branta manungsung sarining kembang. keluwesan can also be seen in the transition from pathet sanga to pathet manyura. after bima finished fighting with anoman, his brother who intended to test bima’s harmonia: journal of arts research and education 22 (2) (2022): 418-433424 determination, he immediately continued his journey to find tirta perwitasari. the transition from pathet sanga to manyura is here, starting with the puppeteer’s ada-ada describing bima’s steadfastness in facing danger. figure 3. ada-ada in pathet manyura the structure of wayang dewaruci refers to the division of three pathets in a classic performance for one night but adapted to the short duration of the performance. this makes dewaruci flexible in performance. the performance begins with an introduction to music, followed by a brief ayak-ayak patalon that combines pelog and slendro laras (scale)—an unusual thing in classical wayang performances. this, once again, gives the impression of flexibility and dynamic. after that, in dewaruci’s performance structure, the scenes and pieces are divided into three pathets, as described in table 1. the dewaruci puppet show also emphasizes visual aspects that attract the audience. using the well-known sabet technique, ki manteb presents an enchanting sabet throughout the show. so far, ki manteb has been seen as the antithesis of the puppeteer ki anom suroto, who prioritizes sound. in the hands of ki manteb, puppet seems to “have a soul” (a setiawan, 2021). figure 4. bima fights against an annoying giant when he is looking for kayu gung susuhing angin. dewaruci’s visual aspects, especially in the war scenes, are not made prominent or exaggerated. puppet is a blackand-white depiction of life, where every war means a war between good and evil. there are no harsh words or saru (indecent words) as part of the entertainment, as is popular with today’s puppet audiences. this is understandable because dewaruci table 2. pathet distribution in dewaruci pathet scene gending pathet nem bima has a dialogue with drona, asking for directions in seeking kasampurnan knowledge; bima looks for kayu gung susuhing angin drona advises sengkuni the war fails drona was advised by oleh bathara indra tembang megatruh, slendro manyura srepeg, slendro nem sampak, slendro nem kandhang bubrah, slendro manyura tropong bang, pelog lima pathet sanga gara-gara bima looks for tirta perwitasari bima’s war with anoman tembang pocung, slendro sanga payung agung, slendro sanga srepeg, slendro sanga sampak, slendro sanga pathet manyura bima looks for tirta perwitasari bima meets dewaruci anoman’s war with kartamarma bima sungkem to drona srepeg, slendro manyura sampak, slendro manyura dhoni zustiyantoro et al., luwes and philosophical: dewaruci puppet performance 425 has been carefully prepared for learning for the younger generation. furthermore, it can be used to teach puppets in schools because of its short duration. meanwhile, in today’s full-length puppet, guyon saru is common in all scenes, not especially the limbuhan and gara-gara. guyon saru are needed to maintain economic, social, symbolic, and cultural capital and adjust the audience (himawan, 2019). in the end, dewaruci’s flexibility fulfilled the elements of creating dense pakeliran, tanduk, and tutug (senawangi, 1983). tanduk means that the puppeteer must be clever and skilled in pronouncing janturan, pocapan, and ginem, so that it feels good to be heard and easily understood by the audience. in kamus bausastra, tanduk means “pratingkah, patrap kanggone tumandang; solah bawa sing dicakke; cara utawa patrap sing becik”, behavior, acting, deeds done, ways or good behavior (poerwadarminta, 1939). thus, tanduk means that dewaruci has been adapted to the audience in puppet. the narration no longer uses archaic and difficult word choices in terms of the language used. even if necessary, use indonesian a language that is now more often used by javanese people, especially in urban areas. however, the essence of tanduk is that it is communicative according to the javanese society’s situation and conditions and does not abandon the rules in the puppet world. tutug is a story that is told sequentially and does not overlap. in bausastra, tutug means “dumugi tekan ing pungkasan; wis katok, wis marem”, until the end, it’s finished, satisfying. dewaruci has been staged thoroughly and continuously, coherently and with purpose. the delivered story is compact and concise, not longwinded, and full of entertaining elements. however, dewaruci did not leave the essence of the puppet story. kasampurnan in dewaruci bima’s life journey in the context of nem-sa psychology of raos (feel) is a reflection of the search for identity through a life lesson. bima is a palace prince who has not found happiness. drona as a teacher, provides a way to interpret happiness. bima is given two orders: to go to mount candramuka to look for kayu gung susuhing angin and swim in the minangkalbu ocean to look for tirta perwitasari. in order to feel happiness, one needs to feel sorrow or misery. through this understanding, a paradigm emerges that life is sometimes happy, and there are times when it feels difficult. struggle, sacrifice, concern, and suffering are one form of feeling “hard.” the process of learning, asking questions, and facing obstacles is a way for humans to find a way through kandhatakon (talking-asking) and finally get jawah kawruh, a lot of knowledge (wicaksono, 2016). from this, humans understand that failure will be a valuable experience that will eventually lead to self-improvement efforts. bima’s strong determination to seek happiness manifests the attitude of nyawang karep (seeing desires) (nurhadi & swandayani, 2010). figure 5. bima puppet character figure 6. dewaruci puppet character bima’s meeting with dewaruci is an aspect of pethukan which eventually gives rise to pangawikan pribadi (introspection). there is a field of meaning that needs to be interpreted in viewing the journey of life as happiness or distress. if someone is still bounded by lust (bab ungkul and raos darbe), this makes that humans have not been separated from their emotional ties. he has not found his true identity; in other words, he has not become an independent human being. in the concept of kawruh jiwa, it can be said that kawruh kasampurnan is when a human has reached the stage of being free (manungsa tanpa tenger) so that awareness of their human nature emerges. harmonia: journal of arts research and education 22 (2) (2022): 418-433426 in suryomentaram’s theoretical framework (rusdy, 2014; sugiarto, 2015; suryomentaram, 1985b, 1985a), kasampurnan relation is represented in the concept of happiness in life. there are six concepts (nem-sa) to achieve a perfect life, as explained in table 3. table 3. suryomentaram’s concept of kawruh jiwa nem-sa. suryomentaram’s kawruh jiwa definition indicator sacukupe feeling enough with what you have, not ambitious and chasing the world feeling happy in his life only from what he has now and at the moment. sabutuhe oriented only to what is needed, not greedy and selfish. owning things or achieving things is only based on need, not greed and ambition. saperlune limit yourself to what you need, not what you want. been achieved or owned. able to be happy with what has been achieved or owned. sapenake make yourself comfortable by minimizing desires and ambitions. able to be happy by minimizing the desire to have (raos darbe) for goods or things that bring unhappiness. sabenere understanding what is right in javanese culture’s social context, culture, and norms. happy for acting culturally correctly, not according to oneself or class. samesthine understanding what should be done so there is no wrong step. happy because know what to do and don’t make mistakes source: the results of literature study analysis. in the context of javanese culture, the concept of perfection is unique. the most prominent characteristics are avoiding worldly traits and passions, not being oriented toward material possessions, and surrendering all incidents and events to god. suryomentaram believes that the center of the true perfection of javanese people’s life is centered on the passion for knowing and controlling desires (nyawang kekarepan) and not getting stuck in fulfilling them (kholik & himam, 2015). however, for the javanese, no creature is perfect. because of that, the aspect that must be put forward is self-introspection (pangawikan pribadi), which will be a guideline for measuring one’s abilities and capacities in various contexts and life situations (pratisti & prihartanti, 2012). this dewaruci play puppet, apart from providing an analysis of the relationship between kawruh kasampurnan and kawruh begja, there is also the concept of measurable behavior through nem-sa considerations. sabutuhe the concept of sabutuhe from bima’s point of view is to carry out drona’s orders only to look for kayu gung susuhing angin and tirta perwitasari. he has no hope of seeking happiness through power and wealth. this can be compared to the figure of sengkuni who is so close to duryodhana. bima’s death is a way for sengkuni and kurawa to gain the wealth of the astina country. for drona, sengkuni cannot place olah rasa. as a result, his life goals immediately only think about the world. rasa is a benchmark for someone to be sabutuhe or even dissolve in greed. dalam perspektif suryomentaram, ketamakan sengkuni yang hanya memikirkan semua hal di dunia berlawanan dengan konsep pencarian kebahagiaan. dalam kebudayaan jawa, kebahagiaan bisa diraih dengan merasa cukup dengan apa yang sudah dimiliki saat ini. drona, dalam konsep suryomentaram tentang sabutuhe, mengingatkan sengkuni agar orang tidak tamak dan menuruti nafsu duniawi, tapi mulai dhoni zustiyantoro et al., luwes and philosophical: dewaruci puppet performance 427 memikirkan persoalan rasa. rasa dalam kebudayaan jawa adalah lapisan terdalam yang dapat menjangkau dimensi keilahian (stange, 2008). all his life sengkuni only thought about worldliness and seeking wealth, never thinking about the issue of rasa which for the javanese is an important aspect that must be put forward. for javanese society, the issue of rasa tends to be complicated and very personal (zustiyantoro, 2020). in suryomentaram’s perspective, sengkuni’s greed, which only thinks about all things in the world, contradicts the concept of seeking happiness. in javanese culture, happiness can be achieved by feeling sufficient with what you currently have. drona, in suryomentaram’s concept of sabutuhe, reminded sengkuni not to be greedy and indulge in worldly desires, but to start thinking about rasa. rasa in javanese culture is the deepest layer that can reach the dimension of godliness (stange, 2008). saperlune the sacukupe concept in dewaruci play can be seen in drona’s behavior. regardless of the alibi of cunning nature or not, he has carried out duryudana’s order to harm bima. he ordered bima to go up to mount candramuka and to samudra minangkalbu. however, he himself is not so sure whether the trip to the haunted mountain and the ocean within it will actually kill bima. for him, a person’s life or death depends on the power of the creator, not because of the imagination of ordinary people. this shows that drona has saperlune character or is just as necessary in living life. drona wants bima to pass various tests of life by penetrating danger. the javanese will quickly say that people with no experience with “durung tau nglakoni kok” have never done/experienced it (a comment). thus, experiencing by doing becomes one of the important starting points in practicing perfection. if you only understand concepts and have never practiced them, then a person is not said to be experienced and, thus, is considered durung jawa (has not yet lived javanese values). the concept of saperlune can be explained from suryomentaram’s perspective, which means that humans only need to carry out what is their duty in the world. other things beyond that, including the final results that will be obtained, are not within the authority of humans. this is in line with the islamic view, which states that humans are only authorized to try, but god determines. however, in the same religious tradition, there are also verses that state that god will not change the condition of people without real, hard effort. thus, saperlune, in suryomentaram’s view, contains a reflective dimension that even though humans have tried their best to achieve goals, there are things that their power cannot reach. saperlune will also prevent deep disappointment if later the goal has not been achieved. sacukupe after sinking deep into the ocean and meeting dewaruci, bima was happy and reluctant to go home. according to him, the meeting with dewaruci was fun, but dewaruci explained that there were still other tasks that needed to be completed. as a knight, he must complete the obligations he bears. therefore, he cannot dissolve in happiness and must keep fighting. dewaruci reminded bima to solve other unresolved problems immediately. dewaruci also reminded that what bima is currently experiencing is only temporary. after this (life in the world), there will be a more lasting life that one will experience. human life in this world is only temporary. eternity and peace will be determined by what is done in the world. javanese culture recognizes the expression “urip mung mampir ngombe” (life only stops by for a drink). because of that, it doesn’t take long for people who stop by to drink, just for a moment. in suryomentaram’s perspective, the sacukupe principle makes people aware that they have enough in their daily lives to focus on goals, the future, and other important things. harmonia: journal of arts research and education 22 (2) (2022): 418-433428 sabenere (acting right) dewaruci’s story has a sabenere content through the concept of the teacherstudent relationship. bima carried out drona’s teacher’s orders, even for others, but still obeying the teacher was the right action. likewise for drona, even though he was ordered to kill bima, he still did not have the heart to kill his protégé who was very devoted. he also explained that the meaning of happiness and distress in this life all depends on self-assessment. the scene above shows that bima is trying to act rightly (sabenere) by following the orders of drona’s teacher. in suryomentaram’s perspective, tumindak bener (acting right) means acting in line with values in javanese culture and not going against the grain. various norms, ethics, and principles are not to be violated because javanese society prioritizes harmony in their daily lives (suseno, 2001; widodo, 2017). figure 7. drona orders bima to find out kayu gung susuhing angin in mount candramuka. samesthine seeking knowledge is an obligation that every individual should own. in this context, bima embodies this norm or paugeran through effort. bima’s action reflects samesthine or necessity, which is the action that must be carried out because the action is necessary. the urgency of kayu gung susuhing angin is the answer from samesthine, it is carried out for a life that has great intentions and is oriented towards a longterm vision for the search for perfection. the means is to look for the deepest soul of human beings so that humans can know their purpose (nyawang karep). without this provision, humans will narrowly interpret the joys and sorrows of life. in suryomentaram’s perspective, bima and drona’s dialogue conveys that a student must do what the teacher asks him to do. the order that has to be obliged is also the happiness itself because bima interprets it as an order that must be carried out. bima carried out the order without burden and doubt, so dewaruci’s puppet illustrates the obedience of students to their teachers (udasmoro, 2012). the samesthine’s attitude to obey is part of liberation because there is no need to build dissent and oppose the guru. the samesthine attitude in suryomentaram’s thought construction is represented by bima by positioning himself as a student who obeys the orders of drona as the teacher. sakepenake in this aspect, sakepenake (feeling comfortable, doing the most convenient way as one wants to) is not manifested in the desires of the ego itself but is set forth in the paradigm of how to find comfort within oneself. in dewaruci, kunthi, bima’s mother, is worried that what drona ordered was a mistake that plunged bima into disaster. likewise, bima’s brother, hanuman, is worried for bima’s safety because he is facing an unimaginable situation. even so, bima convinced the two of them that he could only do what he could to answer his anxiety. that was the way out and the answer to what he had been looking for. for bima, comfort is obtained when life is based on submission to god. even though there is fear like an ordinary human being, but he has surrendered to god for him to feel comfortable. bima’s sakepenake principle is carried out by putting aside his own worries and alleviating worries. this is suryomentaram’s way to undergo sakepenake, namely saiki, kene, neng kene (now, like this, here) (sumanto, 2016; suryomentaram, 1985a). in this context, people are required to think critically because sakepenake will certainly play a role as a guide for action. when the action is related to other dhoni zustiyantoro et al., luwes and philosophical: dewaruci puppet performance 429 people with different experiences and insights, it can cause misunderstandings and even disputes because the two have different dimensions. suryomentaram gave an answer to that, namely by feeling other people’s feelings. this is the highest stage of kawruh jiwa, with a willingness to understand others and, on the other hand, accept any results and not disturb the mind. this is called subjective well-being which is related to religious orientation and the choice of meaning in life. subjective well-being stems from sakepenake, the principle of making the soul as comfortable as possible in accordance with predetermined choices. analysis of the dewaruci shadow puppet performance shows that the pinnacle of happiness understands one’s own soul (kawruh jiwa) by being able to act according to the context of the situation, the goals to be achieved, and harmony with culture. by understanding the soul, humans understand true happiness (sulistiani et al., 2020). therefore, the psychological principles of sabutuhe, saperlune, sauntunge, sabenere, samesthine, and sakepenake become dominant in the element of acceptance of bima in dewaruci. the distinctive characters that are built throughout the story show harmony with human principles in javanese culture. this is in line with the quantitative study conducted by wahyuni et al. (2019) which shows that 82.7% of elderly people in yogyakarta have a high quality of life because they practice values in javanese culture (wahyuni et al., 2019). javanese culture is an important part of society and a guardian of social cohesion. some javanese values that are internalized are politeness in a language in the community, harmony, an attitude to accept everything that happens in life that god has predestined, and the routine of carrying out religious and cultural rituals. for this reason, these values must be transformed for the next generation so that they are not extinct by eroding popular culture. decolonization in indonesia, future implications as is done in this research, decolonization in art research provides at least three big hopes in the indonesian context. first, it provides a completely different perspective. mastery of western theory has made saturation in studies related to literature and art because it will continue to be repeated research and stagnate. decolonization implies transformation and changing perspectives about possible futures (twitchin, 2021). decolonization also shifted western domination which has so far determined the level of scientific research. in academic writing, campuses in indonesia refer to english as not only an international language but also a “scientific language.” this shows that sociologically, western nations and civilizations are considered more advanced and superior to eastern nations and civilizations. apart from being measured in a cultural context, progress is further measured from the economic, political, scientific, and technological aspects. progress in this field has created material prosperity, the origin of capitalism. second, providing an equal place for local thoughts and theories to align with the west. this is a fundamental principle in decolonization. the east’s feelings of inferiority and second class are constructions created by the west. third, and this is most important, decolonization means understanding people according to their context. western theories cannot always explain the context and instead uproot culture from its own context by using a western lens to measure, evaluate and interpret it. decolonization in literature and art is important because both are means and representations of a typical local culture, which cannot always be seen and explained using a western perspective. if so, local understanding is needed to understand people according to the context. in indigenous psychology, human behavior can be explained in terms of the goals it sets for itself, the skills it develops, the belief that its behavior can affect outcomes, and the results that determine actions (kim et al., 2006). indigenous psychology advocates examine people’s knowledge, skills, and beliefs harmonia: journal of arts research and education 22 (2) (2022): 418-433430 about themselves and how people work with others in their cultural context. nevertheless, decolonization is an ongoing effort that never ends so people can develop their thinking. conclusion studies show that ki manteb soedarsono’ s dewaruci contains both luwes and philosophical elements. we have shown that decolonization studies can understand art in its cultural context. using a local perspective, this study shows that people can be understood according to context, and thus, make culture more advanced and civilized. the dewaruci shadow puppet performance by ki manteb soedarsono illustrates that people in javanese culture already have their own system to be able to realize happiness and perfection in their lives. as a performance, dewaruci is the ideal form of today’s wayang which is luwes but still philosophical. however, it does not eliminate the philosophical aspects as practiced by bima. perfection in life can only be achieved if javanese people are fully sure that life has been predestined by god, as reflected in the character of bima in dewaruci. at the same time, attention must be paid to the fact that kawruh jiwa also warns of the excessive nature of modern civilization which is too concerned with the progress of the future and shackled to the past. undoubtedly, both of them can endanger the human soul if they are left uncontrolled. thus, kawruh jiwa must be considered a thought capable of saving and liberating humans from the future and unreal and baseless knowledge. decolonization studies raise critical awareness as well as not being caught up in an exaggerated attitude toward colonial culture in all fields. acknowledgments this study is part of my dissertation research at the doctoral program in language education, universitas negeri semarang, with the title characters of the javanese novel from the perspective of suryomentaram’s psychology. i sincerely thank promotor, co-promotor, and co-promotor, who have approved the proposal and guided this research. even though the object of study is different, this study shows that suryomentaram’s theory can be used in art research. i also thank dr. yusro edy nugroho and dr. hari bakti mardikantoro, examiner for the dissertation proposal who provided corrections and input; colleagues in the department of javanese language and literature fbs unnes; dr. udi utomo and dr. suharto from the unnes’ music and dance education department who provided suggestion and correction to this article; also, mas indrawan nur cahyono, s.sn. which has corrected the notation writing. references aragon, l. v. 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(2020). pengembangan novelet berbahasa jawa bertema sejarah semarang untuk pembelajaran sastra jawa sma/sederajat. piwulang : jurnal pendidikan bahasa jawa, 8(2), 134–147. https://doi. org/10.15294/piwulang.v8i2.42672 405 the symbolic meaning of the wireng dance choreography at the kasunanan surakarta palace muhammad jazuli1, suharji2, sestri indah pebrianti1 1universitas negeri semarang, indonesia 2institut seni indonesia surakarta, indonesia submitted: 2022-06-20. revised: 2022-10-19. accepted: 2022-12-06 abstract the aim of this research is to find out the specifications of the choreographic form and the symbolic meaning of wirèng in the kasunanan palace. a qualitative descriptive research design with form-matching techniques was employed; meanwhile, the data collection techniques employed observation, interviews, and literature study. the data analysis includes the form of the wirèng choreography and its symbolic meaning. from the results of the study, it was found that the choreographic form of wirèng in kasunanan was used for pair dances and had a soldier’s theme, while in mangkunagaran wirèng was used to denote the term dance because wirèng is synonymous with the word beksan which means dance. the pattern of the wirèng choreography in kasunanan has specifications, namely: (1) it is performed by male and female dancers in an even number, (2) it consists of three parts, namely the initial part (maju beksan), the main part (beksan), and the final part (mundur beksan), (3) in the main part of the dance there are variations of the dance scenes and variations of war scenes, such as madras wars or gending wars, referring to a typical war dance which is accompanied by slow (lamba) and constant (steady) rhythmic gendhing or music, and ruket wars which are accompanied by fast-rhythmic pieces of music (mipil-lancaran), (4) changes and differences always follow every change of part in the composition of the accompaniment pieces. wirèng’s symbolic meaning reflects the value system prevailing in the palace environment, symbolized by the numbers zero, two, and three, movement characteristics, and movement patterns (gawang) in the choreography. keywords: wirèng, choreography, symbolic meaning how to cite: jazuli, m., suharji, s., & pebrianti, s. i. (2022). the symbolic meaning of the wireng dance choreography at the kasunanan surakarta palace. harmonia: journal of arts research and education, 22(2), 405-417 harmonia: journal of arts research and education 22 (2) (2022), 405-417 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i2.37181 king about the form of court dance choreography feels incomplete without involving the symbolic meaning behind the form of the choreography itself (reason & reynolds, 2010; sunarmi, sri, 2019; kinder, 2021). this is relevant to the statement that to be able to understand a dance; one needs to know the cultural background of the dance itself and how it was formed. the rationale was based on the understanintroduction the existence of dance in the palace (palace, kingdom) environment is not just a beautiful rhythmic movement and is shown to be watched. in the beginning, dance was a human need to find harmony with the environment. therefore, dance is often associated with the sociocultural and religious activities of the nobility. talcorresponding author: e-mail: jazuli61@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (2) (2022): 405-417406 ding that dance is a cultural product as a result of the creative process of its supporting community through the symbols used (kaeppler, 1977; 1992; jazuli, 2014; jazuli & alam, 2020). in his experimental study called choreomatrics, alan lomax proved that artistic style is determined by a nation’s honor, culture, and society (haberman and meisel, 1970; jazuli and paranti, 2020; jazuli. 2021). the perspective of kaeppler and lomax shows that in the context of sociocultural values, it is closely related to the way of understanding a work of art (dance) as a symbolic representation. in surakarta there are two palaces, namely the kasunanan palace which a king leads with the title ingkang sinuhun kanjeng susuhunan (isks) paku buwana and the mangkunagaran palace which was led by an adipati or duke who is also famous as raja kecil or the ‘minor’ king whose title is kanjeng gusti prince adipati arya (kgpaa) mangkunagara. the signing of the salatiga agreement between sunan pakubuwono iii and raden mas said marked the two kingdoms. this agreement was made on march 17, 1757 (ricklefs, 1956; 1995; 2019; santoso, 2011; suharji, 2009). the life activities of the two kingdoms are still ongoing even though their authority is no more than part of the center for the development of javanese culture. in the view of robert redifield, in his field of study includes canon culture and folk culture. the canon culture or tradition for elite society was seen as the tradition of the literate and educated elite (court aristocrats) who were able to analyze, interpret and reflect cultural knowledge. folk culture or populist traditions, on the other hand, relies on passing information, beliefs, and customs by way of oral tradition from one generation to the next. the two palaces have different dance forms, both in terms of choreography and dance style, giving rise to the terms kasunanan style and mangkunagaran style (hadi subagyo 2010). even though both of them have the same dance genre (related to the form, type, and character), such as the bedhaya, srimpi, beksan, and wirèng genres. this is confirmed by the results of research on “spiritualitas budaya jawa dalam seni tari klasik gaya surakarta” or spirituality of javanese culture in the art of classical dance of the surakarta style, that the classical dance of the surakarta style or called the surakarta kasunanan style is a tradition that lives and develops within the ‘great tradition’ environment and has noble values. the surakarta style dance represents a symbol of power, the authority of the king, and at the same time, a barometer of the advancement of javanese civilization (heine & von, 1982); daryono, 2010; jazuli, 2021). for this reason, palace dancers are required to have insight, knowledge, and appreciation of javanese cultural norms with all the values contained therein. this aspect differentiates artists from rural areas who live in a ‘small tradition’ cultural atmosphere (pamardi et al., 2014). in the surakarta palace or kasunanan, there are still various dance genres, namely bedhaya, srimpi, beksan, and wirèng, and the fragmen (drama dance) genre. suharji’s research (2009) informs that at mangkunagaran surakarta palace, a dance has been born and developed which has become a flagship, namely the bedhaya suryasumirat and bedhaya anglirmendhung dances. suryasumirat means the radiance of the sun, which gives life to the universe and everything in it (wahyu santosa prabowo. et al., 2007; rimasari pramesthi putri, wahyu lestari, 2015). this dance is a combination of the previous traditional bedhaya dance and contemporary dance. the surya sumirat bedhaya dance was cocreated between mangkunegara ix and a mangkunegaran relative named sulistyo tirtokusumo. in this dance moves, bedhaya suryasumirat develops some of the dance moves from previous bedhaya dances, such as bedhaya anglirmendhung, bedhaya dirathamerta, bedhaya pulung, bedhaya bedhah madiun, then combines them with movements according to the interpretations of the performers according to contemporary style. bedhaya suryasumirat as a soldier’s dance uses a gun as an accessory tucked muhammad jazuli et al., the symbolic meaning of the wireng dance choreography at the 407 into the slepe which is wrapped around the stomach of nine female dancers. the accompaniment uses a set of slendro and pelog gamelan compiled with drums. based on this phenomenon, this writing is more focused on the study of the wirèng genre, especially on the form of dance choreography and its symbolic meaning. the argument is that previous studies seem fragmentary (separate), so they have not been analyzed as a whole (compare jazuli’s research, 1986; prabowo et al., 2007; hadi subagyo, 2010). besides that, the wirèng genre has its own specifications or uniqueness. the analysis strategy used is by placing two components: knowledge of cultural value systems and dance choreography. a cultural value system is a number of concepts about what lives in the minds of most members of society (palace society) and about things that are considered valuable and influential in their lives (koentjaraningrat, 1980; 1984). the value system is reflected through symbols that function as a guide and gives direction and orientation in the life of the community concerned. the perspective of dance choreography includes aspects of presentation, treatment, and disclosure. method this research is a qualitative descriptive study whose aim is to describe and explain the form and symbolic meaning of the choreography of the wirèng dance from keraton kasunanan surakarta. in analyzing the form and symbolic meaning of the choreography of the wirèng dance, a multidisciplinary approach is used (ahimsa-putra, 2007; soedarsono, 2002; supanggah, 2005). this is because wirèng as a genre of performing arts is multi-layered, and each of its components can be discussed, such as movement patterns, accompaniment patterns, costumes, and venues. structural-functional theory and social action (value system) are used to examine contextual phenomena (jazuli, 2014), while textual approaches are used with choreography and symbolic meaning to analyze the presentation, treatment, and expression patterns of the wirèng dance (m.jazuli, 1994; jazuli, 2008; hadi, 2016). the research procedures and stages in this study include: (1) data collection through direct observation, in-depth interviews, and literature study; (2) the organization and identification of the results of data collection is carried out by a triangulation focus group discussion (fgd) to determine the validity of the data; (3) data analysis includes dance choreography patterns and their symbolic meanings. data collection using direct observation techniques was carried out by observing art-cultural events in surakarta during 2021, especially those featuring the wirèng dance, such as the meeting of four javanese palaces called catur sagotro, commemoration of the 90th anniversary of paguyuban kawula surakarta (pakasa, december 3, 2021), and surakarta arts and culture performance during the jumenengan paku buwana xiii commemoration at the surakarta kasunanan palace exhibition on april 20, 2021. surakarta dance figures which were used as informants were wahyu santoso prabowo, daryono, and s. pamardi. data collection is carried out simultaneously in order to obtain valid, valid data. the validity of the data is determined based on the credibility and accountability of the data that has been obtained. interactive analysis was chosen to analyze data about choreographic patterns and symbolic meanings (value systems), including data presentation, data reduction, verification, and drawing conclusions (lincoln and guba, 1985; m. & huberman, 1992). result and discussion wirèng surakarta dance choreography the dance choreography at the kasunanan surakarta palace can be broadly stated as follows. according to its type, there are two, namely female dances and male dances, each of which is divided into several characters. the female dance consists of the characters luruh (soft) and lanyap harmonia: journal of arts research and education 22 (2) (2022): 405-417408 (galant); the male dance too has the character of alusan (soft) and agalan/gagahan (strong). in defining characters, there are still more complicated details. for example, in the male alusan dance, there is a distinction between branyak and luruh, and there is also the type of dance known as putera agalan which characters are gagahan bergas and gagahan dugangan. in the movement and attitude of dance, there is a normative provision called “hasta sawanda”, which consists of pacak (standardization of attitude and movement); pancat (pattern of continuity); pancat (harmonious pattern); wilet (style, individual creativity); knee (motion); the rhythm (rhythm of movement) such as the ganggeng kanyut rhythm in the bedhaya and srimpi dances, the banyak slulup rhythm in the gagahan dance, the prenjak tinaji rhythm in the smooth lanyap dance, and the kebo gong rhythm in the putera agalan dance; ulat (mimic expression); and gendhing (accompaniment songs) with smooth, ketawang and ladrang songs along with slow (lamba) and fast (seseg) rhythm content (wahyu santosa prabowo. et al., 2007; sugiyarso, 2018). the essence of a work of art (dance) is a construction (structure) of parts that have basic characteristics and functional relationships in the whole or the integrity of the dance choreography building. keraton kasunanan surakarta dance, viewed from a choreographic perspective, includes the form and structure of the dance building, themes, characteristics (pria alus or man’s soft dance, pria gagah or gentle men, princesses), and the number of dancers who are distinguished in several dance genres. the bedhaya genre is danced by nine female dancers; the srimpi genre is danced by four female dancers, and the wirèng genre is danced by an even number of male and female dancers (in pairs). beksan is usually a dance performed by a male or female dancer (single dance) and to mention a dance (beksa) in general, as well as the frahmen genre (dance drama) danced by male and female dancers with the number of dancers depending on the play of the story being told. each dance genre usually has specifications in its choreography so that it differs from one genre to another. these specifications can be seen from the form and structure of the choreographic movements which are composed of varieties, phrases, motives, and movement characters in relation to the composition of the accompaniment, different attitudes, and body positions according to predetermined rules (pathokan). a technical example is in the character of the male dance, the range of strokes consisting of phrases and movement motifs, and the way of demonstrating or dancing is different between the alternating strokes and the dashing strokes; the same applies to other types of movements. for this reason, the bedhaya, srimpi, beksan, frahmen, and wirèng genres are different because of the form and meaning of the choreography. the term wirèng, according to chronicle ila-ila (soemahatmaka, 1928; 1930; jazuli, 1986), is taken from the name of a patih of the kingdom of jenggala kediri, namely patih wirènggati. the duke was clever and skilled at war, so he often taught his soldiers (his men) his skills. so, it is inevitable that the real function of the wirèng is to train soldiers in battle and/or as a way to show off their strength before the king. besides functioning as entertainment, this dance is also a vehicle for demonstrating the power of a kingdom. however, there are some experts (poerbatjaraka, 1964) who argue that wirèng was inspired by ritual ceremonies that took place in the royal square, namely when there were horseback riding exercises carrying spear weapons (sodoran, watang), arrows, swords, and/or when there is a show of tiger fight in the more ancient kingdom. based on this event, it was later appointed to become a war-themed dance genre and function as entertainment, especially entertainment for entertaining guests of royal palaces. during the mataram era in surakarta, wirèng was used to refer to special soldiers (kopasus) who served as the king’s bodyguard. this continued until the reign of sunan pakubuwana x (jazuli, 1986; jazuli, 2021). several dance figures in surakarta muhammad jazuli et al., the symbolic meaning of the wireng dance choreography at the 409 mentioned the following. wirèng is a kind of soldier’s dance performed by dancers in pairs with the theme of war (interview with s. pamardi, june 24, 2021). daryono said that according to the chronicle book in the reksapustaka pura mangkunagaran, apart from the bedhaya dance, the mention of a mangkunagaran style dance is wirèng. however, in development, the mention of it is identified with the word ‘beksan’ (dance), both dance in pairs and solo dance (interview on june 23, 2021). the statement by the dance figures is the same as what the author has received from several dance masters from the kasunanan palace and mangkunagaran temple around 1985 who were deceased, namely rt. jagamanta, rm. joko suharja, r. ng. s. ngaliman, rt. sena suryasumasta, r.ng. rana suripto. when wirèng developed outside the kasunanan palace, the term wirèng was used to refer to dances with warrior or heroic themes and were performed by dancers in pairs, such as wirèng bandayuda or bandabaya, gelo ganjret, bugis twins, lawung, and so on. this is different from what developed in the mangkunegaran surakarta temple. based on the manuscripts in the mangkunagaran library, the term wirèng tends to be used to refer to almost all forms and types of dance in the mangkunagaran, such as wirèng mandrarini, wirèng lambangsari, wirèng golek montro, wirèng kelana topeng, and so on (compare with (malarsih, 2007b);( suharji, 2009)). based on the specifics of the choreography, the wirèng dance is performed/ danced by an even number of dancers, meaning that there can be two, four, six, or eight dancers in pairs. with the number of dancers and the position of the pair, the wirèng at the kasunanan palace includes a pair dance with a soldier’s theme and functions as entertainment and spectacle. the presentation of wirèng is divided into two, namely wirèng, which tells a story and does not tell a story. the wirèng who tells the story is the wirèng who uses storytelling or picking (javanese: methil) from a story originating from the chronicle of panji, mahabarata and ramayana which is then called wirèng pethilan depicting a battle between two characters who have different characters, such as good-bad, fine-tune characters, rude, and totally wrong. for example, wirèng pethilan kelana jayèngsari, karna tinanding, prawiratama, gatutkaca-antasena, srikandi-mustakaweni, anila-prahasta, and so on (jazuli, 1986); hadawiyah & maryani, 2019). the wirèng that doesn’t tell a story depicts two soldiers practicing war, such as the wirèng bandayuda, bugis twins, lawung. the uniqueness of the wirèng choreography is that no one ever loses or wins in war. however, in the wirèng pethilan at the end of the war, characters who are considered to have good, refined, and true characteristics are symbolically superior. the movement patterns of the wirèng seem simpler than other court dance genres, such as bedhaya and srimpi. however, in its development, the wirèng’s movement patterns are increasingly varied. this development also occurs in the form of the accompaniment, from the mild form to the ketawang and ladrang pieces and their displacements, as well as the variations in fast and slow rhythms. the place where it was originally performed was in a pendhapa (a typical javanese building with four pillars as the main support) now it can be staged on any stage, such as the proscenium stage and others. in the war scene of the main part of the dance (the beksan part), the movement variation pattern, which was originally accompanied by two small drums and a large drum develop accompanied by a bar/chiblon drum. an example is the presentation of the bandayuda wirèng as a type of wirèng that does not use stories, performed by two male dancers in the same attire, and carrying shields and short sticks. the structure of the dance consists of: (1) the initial part (maju beksan) is at the gawang sopana (dancer’s position, the place/room where the dance begins). with the motive of the worship movement and the movement of walking forward toharmonia: journal of arts research and education 22 (2) (2022): 405-417410 wards the essence of the dance (beksan); (2) the main part of the dance is that the dancers are in the main gate (middle room/ pendhapa center) doing dances, madas wars, ruket wars, and more dancing. the following is an example of a storytelling wirèng (pethilan wirèng) and a non-telling wirèng (see figure 1 and figure 2). figure 1. wirèng “bandayuda” (non-telling wirèng) (romadecade.org/tari-beksan-wireng 2021) figure 2. wirèng pethilan “bambangan-cakil” (the telling wirèng) in sub-sections or war scenes, there are variations in a spatial formation called gawang prapatan (crossroad spaces), gawang jeblos (opponent space/places), and gawang pojok (pendhapa rectangular corner spaces). after the war scene is finished, they dance again, then it is continued with the final part of the dance (mundur beksan); (3) the final part of the dance is the same as the initial part of the dance, namely, the dancer returns to the starting position, gawang sopana. the difference lies in the intended direction, namely the movement in the early part of the dance from the gawang sopana to gawang pokok, while the movement in the final part of the dance is from the gawang pokok to the gawang sopana. based on this description, it can be said that the form of the choreography of the wirèng dance presented on stage is the form of the pendhapa by making the most of the space but remaining consistent at its center, namely the midpoint of the pendhapa between the two dancers. this kind of development also occurred in other court dance genres that developed outside the palace. the following is a description of the position of the wirèng dancers occupying the sopana, pokok, corner, and prapatan movement patterns (goals) on the pendhapa keraton (the palace’s pendhapa) stage (see figure 3). figure 3. types of gawang kasunanan surakarta palace’s value system the cultural value system in a society is often general in nature and has a fairly broad scope. kluckhohn distinguishes the cultural value system in five variations, namely about the nature of human life, human work, human position in space-time, human relations with the natural surroundings, and human relations with each other (koentjaraningrat, 1980). in simple terms, kluckhohn’s framework concerns human life as a person and socially. such a http://www.romadecade.org/tari-beksan-wireng muhammad jazuli et al., the symbolic meaning of the wireng dance choreography at the 411 universal framework for javanese society, especially court society (nobility), is not surprising; it has even become part of their outlook on life. culture from the perspective of the javanese people is the result of processing “mind and power” including things related to the potential for reasoning (rational), psychological (sense-ethical) and beauty (aesthetic) strengths. within “mind” there is a refinement so that the processing method is called alusan which means kasutapan, pasemèdèn or pamesu budi, namely actions related to concentration of creativity, taste and intention. rationally, budi is a spirit of action based on the nuances of divinity which has a holy, compassionate, and primal nature, so it is inevitable that the palace also has the position and function as the place of the king as the leader of government, relatives of the palace (family) who carried out the king’s orders (geertz, 1960) and were the physical and spiritual protectors – a great tradition (redfield, 1956). the culture of the surakarta palace, as a source of javanese culture, always strives to achieve a noble character and soul that is capable of being self-guided and self-controlled. this is because this noble character and soul is seen as capable of radiating authority or inner strength called prabawa-wibawa, and emits an external power that can be recognized through feeling, smelling, hearing, seeing, and creating (yosodipuro, 1982; gesick, 1989). as said by sapardi yosodipuro, that: “amargi budi punika golonganing ‘alus’ pramila pangolahinipun ugi sinartan ”ke-alusan” tegesipun kasutapan, pasemeden utawi pamesu budi. munggahing tata lahir, budi punika tegesipun pakarti ingkang awewaton sunar, kadosta suci, asih, adil, rahayu, utama lan sasaminipun’ (1982). (“considering that the mind belongs to the mystical class, the processing is also called mystical meaning that it is through asceticism, meditation or to awaken the power of the mind. in its embodiment, the mind means an act based on the holy light, love, fair, safe, sublime, and so on that is equivalent). in the tripama and wedhatama chronicle book by kgpaa, mangkunagara iv (1811 1881), it is clearly stated that the existence of javanese human life was based on three problems, namely: 1) the problem of life in relation to god, relations with oneself and one another, and relations with the universe and the world around it (mangkoenagoro iv, 1931; wibawa, 2010; mulyoto, 1992). in summary, these three problems can be explained that god for the javanese is dat tan kena kinaya ngapa (that cannot be described), cedhak tanpa sénggolan, adoh tanpa wangenan (too close to touch, too far and is not limited). therefore, the javanese in their lives are always looking for knowledge of perfection as a provision for traveling to cyberspace. human existence consists of physical and spiritual. the body is the unity between the elements of flesh, skin, blood; amniotic fluid and placenta (after the placenta); nine holes (breathable air); and the five senses. spiritual is formed from sadular papat kalima pancer which is incarnated in a person’s attitude and behavior that comes from the function of lust, “i” (ego), person, soul. the order of the universe is formed from a hierarchical arrangement that is considered to have things in common with human beings. so the awareness of the javanese towards the order of the universe is often called the macrocosm (jagat gedhé), which is identical to self-awareness as the microcosm (little universe). the brief description above indicates that the life orientation of the javanese always leads to a state of complete harmony, harmony, and balance, in achieving the highest ideals, namely manunggaling kawula gusti. in the life of the javanese nobility (aristocrats, noblemen, especially in the palace), it is believed that people who have a noble spirit will be able to achieve their goals. a virtuous person is a person who is able to control himself in attitudes and behavior for life and always makes other people happy or amemangun karyenak tyasing sasama (pujasworo, 1982; prasetyo and poniman, 2019). therefore, it is natural for the javanese to think that soft and harmonia: journal of arts research and education 22 (2) (2022): 405-417412 calm people become idols and are simultaneously the opposite of those who are rude or arrogant. such is depicted in dance, wayang, and other art forms. soft and rough, right and left, and good and bad are natural dichotomies (binary opposition) that need to be kept in balance. therefore, the process of creating palace dances and their accessories is always based on efforts to cultivate the mind physically and spiritually. the rhythm of the gendhing that accompanies the dance must unite with the (action) of the dancer, the expressions of the dancing soul united with the audience’s vitality, and united in a feeling that penetrates the heart. dance in the palace environment (kraton kasunanan and pura mangkunagaran) surakarta represents the progress of javanese civilization that lives and develops in an environment of ‘great traditions’ with noble values. the existence of dance in the palace has an important meaning because it is a symbol of the authority of the king. palace dancers are required to have insight, knowledge, and appreciation of javanese culture with all the values contained therein. it is this aspect that distinguishes artists outside the palace (people, rural areas) who are in a ‘little tradition’ cultural atmosphere. thus, the art and culture of the palace can become a source of life and development of the arts outside it, although it functions more as a means of entertainment and traditional ceremonies in the countryside (pamardi et al., 2014). in this context, an example can be the wirèng pethilan dance genre which depicts the dichotomy of smooth-coarse, good-bad, right-left, fine-coarse characters, malefemale; while the wirèng without a story describes the balance of a dichotomy that should exist in the universe (a picture of binary opposition). if a fine and good character is won over a rough and bad one it is a purely symbolic choice because there is no such victory that does not last long (lasting) for the balance of the cosmos. viscosity to the cultural value system is reflected in the form of works of art (dance), then giving rise to the notion that good works of art are works of art that are symbolic in nature. this situation shows that cultural values are very essential in the life of the javanese, especially among the palace, even though this has experienced decadence in the present era. therefore, in analyzing javanese art (wirèng dance), it is appropriate to always consider things beyond what appears, namely the symbolic meaning. the symbolic meaning of wirèng’s choreography the discussion of wirèng choreography is inseparable from form and content, although the form and content can be relatively different. from a structuralfunctional perspective, the form in question includes elements or parts that are organized in a unified whole, while content relates to what lies behind the form, which symbolically has certain values and meanings. because, it is impossible to limit the contents of works of art to mere (forms of) beauty. therefore, the contents of works of art need to be assessed and appreciated as a whole, concrete and intact (herusatoto, 1983). this understanding indicates that any value can be represented, connoted, and given a form that the senses can perceive. the basic thing in javanese court dances is the concept of soft-hard movement. this concept has been applied to the presentation, treatment, and disclosure aspects. in a more detailed division, subtlecoarse occurs in the form, nature, character, and type of dance, so it can be said that fine-coarse is the ‘ideology’ of javanese cultural art. for example, the disclosure and treatment in the alus or smooth dance, if the dancer is unable to animate or convey according to the situation (character) being played, can be said to be ‘rough’; conversely, a dancer can be said to be ‘good’ if he is able to play a role/character (even though he has a rough character) in accordance with the character of the character being played. however, all the normative values or rules of dance has functioned more as guidelines that direct the freedom of the muhammad jazuli et al., the symbolic meaning of the wireng dance choreography at the 413 ‘wilet’ or the creativity of the dancers so that they are not rigid to interpret. every dancer has a life capacity (rasa) that is not always the same, so every belief and interpretation of a dance teacher often varies from one another. this difference is caused by a sense of appreciation (personal style), sect (a smaller level division of style and then successive schools) that a dancer adheres to. phenomena like this can be compared with the javanese expression ‘copy the teacher, copy the song (different teachers, different teaching styles)’. from the perspective of presentation, wirèng includes supporting aspects of the dance performance, such as staging, dress, accompaniment, and other accessories. the supporting aspect of the dance itself is inseparable from the intent and purpose of why the dance is performed. suppose the performance of the dance is meant to legitimize power or show the greatness of the state (king of a kingdom). in that case, the performance can appear glamorous, sophisticated, and neatly arranged so that the goal of legitimizing the people’s beliefs can be obtained. if dance at the palace is used for entertainment, ritual, and educational purposes, such as to instill norms, attitudes, ethics, aesthetics, and soul enlightenment, then all the rules in court dance are very important to support that goal. regarding the place for performing dances in the palace environment, a king always provided a place that could be used for dance performances, such as a pendhapa (a rectangular room with four pillars), bangsal-tratag (similar to a proscenium stage), or other places. the place for dance performances is always rectangular in shape, as is the concept of the pendhapa. the place has an important role because it also determines the authority of the dance. it seems that the concept of the pendhapa stage was deliberately used as a reference for the concept of dance with a specific purpose. this is because the four pendhapa pillars have a certain meaning in the javanese cultural concept, namely the symbol of the four cardinal points (east, west, south and north) with a central point in the middle of the four pillars as a symbol of ‘i’ (human self or dancer) commonly called ‘keblat papat limo pancer’. besides that, ‘keblat papat limo pancer’ can also be interpreted as a symbol of the four passions in humans, namely mutmainah, amarah, lauamah, and supiah. the four passions are also considered brothers because they function as guides for the fifth brother, namely ‘i,’ in living life. likewise, the dance costume will refer to interests that show the greatness of the king. the splendor of the implementation of dance performances at the palace and all the equipment presented became a reference for the palace people and ordinary people. the function of dance accompaniment is not solely to accompany the dance but often also determines the structure of the dance movement. for example, a series of dance movements consisting of several motion motifs is always bound by the form of the piece, the sense of pangkatdawah movement (the beginning and end of the movement process) is also determined by the rhythm of the gendhing. understanding the treatment perspective is related to the attitude and movement that a dancer must demonstrate. even though in the previous description, it has been said that the surakarta style dance already has normative provisions, namely hasta sawanda, the eight normative guidelines for a dancer in the kasunanan palace. however, this is only a dancer’s starting point (guideline). so far, no dancer has ever been able to fully achieve hasta sawanda. does this mean hasta sawanda is an ideological requirement, even utopian? it is possible, but hasta sawanda is still needed as a reference material in the effort to create quality dancers (wahyu santosa prabowo. et al., 2007). the wirèng choreography is performed by an even number of dancers (two, four, eight) viewed from the disclosure perspective. the even number is symbolically related to philosophy in human life. two identical dancers with a value of two means dichotomous or binary opposition, such as right-left, male-female, harmonia: journal of arts research and education 22 (2) (2022): 405-417414 good-bad, subtle-coarse, and so on. the four dancers symbolize the four cardinal directions (east, west, north, south, with a central point as a symbol of ‘i’ ‘keblat papat limo pancer’ within (‘i’) human beings. if the wirèng dance is performed by eight dancers, then the value of eight is a symbolic representation of hasta sawanda (eight guidelines for the quality of a palace dancer). although there are also those who relate it to the teachings of hasta brata, namely the eight characteristics and behaviors that must be possessed by a leader who functions as self-control, especially in every action of his leadership (suhari, 2014). shouldn’t a good (quality) dancer be able to lead himself by controlling his creativity, taste, and intention when expressing his dance? as said and discussed by the javanese dancers of the surakarta style daryono, wahyu santoso, and pamardi: a javanese dancer must be able to ngemong rasa lan sumeleh (controlling one’s own emotions and uniting feelings with their role) (interview 23-24 june 2021). the structure of the disclosure of the wirèng dance consists of three parts (maju beksan, beksan, mundur beksan) symbolically related to the journey of the purwa, middle, wasana (beginning, middle, end) life which are represented by three values, namely birth, life, and death. revealing the war scene in the beksan (principal dance) section, the dancers form a circular floor (space) pattern which is revealed in the process of moving from the main goal to the prapatan, corner goal, broken goal, and corner goal. in that battle scene, no one wins or loses, meaning that the strength of the two (characters) of the wireng dancers are equally strong so that the result of the war is zero – a symbol of the state of emptiness (sanskrit). the state of nil or emptiness is interpreted as nothingness, a circle pattern with a value of zero symbolizes emptiness. this is related to the teachings of kejawen that to be able to mulih mulanira dumadi (return to the origin, namely god almighty) leads to sangkan paraning dumadi (return to the origin of life) through nothingness or emptiness. therefore, the end of the battle scene of the wireng dance is nil as a symbolic representation of the state of emptiness which is revealed through the dance floor pattern in the form of a circle, which is interpreted as having a zero value. this is relevant to the statement contained in wirid hidayat jati’s chronicle book, which many teachers of mysticism or kejawèn refer to, especially the section on understanding the teachings about god, which reads as follows: wisikan ananing dat: sejatiné ora ana apa-apa, awit duk maksih awanguwung durung ana sawiji-wiji, kang ana dhingin iku ingsun. ora ana pangéran among ingsun sejatining dat kang maha suci, anglimputi ing sipat ingsun, amartani ing asmaning-sun, amratandhani ing afngal ingsun. (in fact, when it was empty there was nothing, what existed before was i. the word “i” in this case means god, the creator of all. -me signifies my will. god “exists” without being, and god creates everything that is his will. everything that exists is by his power. god’s power encompasses all forms, enlivens all names of his creation, and marks his creations’ attitudes and behavior (suyanto, 2018). starting from the zero value, value two, and value three, philosophically represent human life which is symbolized through cultural artwork activities in the form of wirèng choreography. the value of two as a description of the contents of the world which is always dichotomous (binary opposition), such as good and bad, right and left, and so on, must be in a balance of harmony. wirèng, as a warrior-themed dance depicting war without winners and losers, is a reflection of a symbolic expression of the necessity of that dichotomy, which always ‘exists,’ taken for granted. the even number of dancers who are at war and succumb to each other to achieve real victory is just relativity because the target is not found, just circling or empty, or has zero value. this symbolizes the meaning of oneness between the small and big universe, or ‘manunggaling kawula gusti’. this analysis is more relevant when connected with the muhammad jazuli et al., the symbolic meaning of the wireng dance choreography at the 415 meaning of the three values. in the wirèng dance, three values (maju beksan, beksan, mundur beksan) as a symbol of human existence (purwa, madya, wasana) in living life are bound by three practices, namely behavior in external life, practice in inner life, and practice in natural life. the values two and three are actually framed by a circle (zero value, empty) which can be interpreted as eternal life, a symbol of a rotating world. the central point in the circle is abstract but still ‘existing and eternal’. therefore, at the beginning of the wireng dance, it always begins with the posture of sitting cross-legged and the movement of worship in place as a symbol that humans must know themselves personally and with decency. because in worship, it has the meaning of being one, so beksan is also one, from sitting to standing, usually followed by a dance movement called laras. the movement of the laras is a symbol of the essence of life in harmony between body and soul. this unity is capable of controlling human thoughts and feelings. thus, a true dance can become a symbol of teaching about norms, ethics, and belief in god for the javanese people, especially for the royal family. conclusion the existence of keraton kasunanan surakarta dance is inseparable from the cultural conception of its environment which is always based on ethical-aesthetic, philosophical, and cultural norms (value systems) with divine nuances. the form of dance occurs because there is a unified symbol embodied in the function and structure of its presentation. in terms of the choreographic pattern, the wirèng dance appears simpler and uncomplicated when compared to the bedaya and srimpi genres. however, behind its simplicity, it contains a description of the symbols to be communicated, namely (expressive) symbols in the order of human life personally, socially, and human relations with the environment and god. the pattern or form of wirèng choreography that lives and develops in the kasunanan palace has specifications with certain characteristics, namely: (1) performed by male and female dancers in an even number which symbolically means the achievement of balance and order, (2) consists of three parts, namely the initial part (maju beksan), the main part (beksan), and the final part (mundur beksan) related to the symbolization of the nature of human life, (3) in the main part of the dance there are variations of dancing scenes and variations of war scenes as symbols of a struggle for human life in the world, (4) every change of part is always followed by an adjustment of the composition of the accompaniment music, which means that joys and sorrows, ups and downs, as well as strengths and weaknesses, take place one after another as it happens in the course of life. such symbolic meanings have been presented and confirmed in wirèng’s choreography through movement-spacetime patterns and the symbolization of zero, two, and three values. the implication of studying the choreography and symbolic meaning of the wirèng dance is that dance values and their meanings can cultivate conscious human attitudes and behavior to create peace. references ahimsa-putra, h. s. 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(a case study of magetan east java indonesia) rara sugiarti1, margana2, muthmainah3, laela rizki fauzia4 1tourism research center (puspari), universitas sebelas maret, indonesia 2department of arts education, faculty of teaching and education, universitas sebelas maret, indonesia 3department of accounting, faculty of economics and business, universitas sebelas maret, indonesia 4development of economics, faculty of economics and business, universitas sebelas maret, indonesia submitted: september 18, 2019. revised: november 4, 2019. accepted: december 28, 2019 abstract this article examines how leather craft industry contributes to tourism development in magetan east java indonesia and vice versa. this study applied a qualitative approach and is descriptive in nature. techniques of collecting data include site observation, interview, document review, and focus group discussion. data were analyzed using the interactive model and thematic analysis. research results indicate four themes. first, leather craft industry in magetan that is mostly home industry has been empowered in many ways. several aspects, including a high number of tourist visits, local government policy, abundant human resources, and industrious businessmen have strengthened the industry. some local government policies have been implemented in several programs to develop the industry. second, quality products and new design innovation for leather crafts are limited. most products that are dominated by shoes and sandals are created for lower-middle-income consumers. third, leather craft industries in magetan have contributed to the establishment of local entrepreneurship, small-medium enterprises, and tourism. they create job opportunities for the locals and boost the local economy. fourth, the relationship between leather craft centers and tourism activities is dominated by tourists’ purchase of leather craft products for souvenirs. however, tourism activity in the area is not yet aimed at watching and involving tourists in the process of craft making for educational tourism purposes. keywords: attractions; crafts; leather industry; tourism how to cite: sugiarti, r., margana, m., muthmainah, m., & fauzia, l. r. (2019). leather craft industry and tourism: a symbiotic relationship? (a case study of magetan east java indonesia). harmonia: journal of arts research and education, 19(2), 141-151. harmonia: journal of arts research and education 19 (2) (2019), 141-151 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i2.21124 can perform tourism values. horjan (2011) mentioned that crafts have a mutual relationship with tourism. on the one hand, craft products function as tourist souvenirs which remind them of the places they visit. moreover, the existence of craft cenintroduction craft is one of the representations of culture and functions not only as products that can generate economic return but also as cultural commodities which corresponding author: e-mail: rarasugiarti@staff.uns.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 19 (2) (2019): 141-151142 ters diversifies tourist attractions. the process of making craft products can become a tourist attraction. this is in line with a research conducted by greru & kalkreuter (2017) which mentioned that within the last three decades there has been a shift in tourism and travel pattern from visiting sites, monuments, and other tangible objects or cultural heritages to looking at and participating in the process of making cultural products such as crafts. this has stimulated the emergence of a new type of special interest tourism called craft tourism. hieu & rasovska (2017) describe craft tourism as having some essential characteristics. it combines several interrelated elements including aesthetical, cultural, sociological, and economical aspects. furthermore, it is mentioned that crafts which include textile and arts provide contribution to creating tourism destination image and travel experience. crafts also play an important role in contributing to a country’s economy. the selling of craft products in tourist destinations indirectly create export market for crafts producers. domestic as well as international tourists often set a budget for buying craft products to take home as souvenirs which can tell a lot about the destination visited (baskaran & manikandan, 2016). besides contributing to economic development, crafts support culture revitalization. many craft centers employ artisans to preserve and sustain crafts as cultural heritage. tourism has become one of the key factors to develop a country’s economy (kum, et al., 2015; nkemngu, 2012; proenca & soukiazis, 2008). economic activities can grow from the tourism sector and become the biggest factor in many countries. a study undertaken by proenca & soukiazis (2008) noted that at the regional level, tourism becomes one of the strategies to solve unemployment problems because there is the strong linkage between tourism and other economic sectors, including agriculture, retailing, wholesaling, transportation, manufacturing, as well as arts and crafts. the close relationship between crafts and tourism can be seen in many aspects. this is because human nature always returns from traveling with souvenirs and most souvenirs are handicrafts. according to hieu & rasovska (2017) tourism development without promotion of traditional craft products will result in a loss of the national economy. concerning craft products as souvenirs swanson (2004) mentioned that souvenirs are universal reminders of special moments or events and that returning home with souvenirs validates and prolongs the travel experience. several places have become centers of craft products which provide tourists with diverse souvenirs. the places then become craft villages which are defined as the center of craft production involving artisans and households to sustain traditional heritage as well as produce and sell products in small and medium scope (hieu & rasovska, 2017). huhtamaa (2006) stated that to make crafts essential in tourism market, it is important to develop innovation of new designs, use new colours, choose good materials, and feature the original craft products. the importance of new features was introduced in order to maintain the traditional crafts to be adaptable with the utilities of modern-life. in accordance with the statement ona & solis (2016) described that the ibaloy crafts which have uniqueness can be publicly shared and developed as tourism products. ibaloy crafts are made of rattan and bamboo that can be found in their immediate surroundings. the selling of ibaloys craft products creates the livelihood of the local people. the selling of the functions of the craft to be a means of ibaloy culture promotion and provides some commercial benefits. ballengee-morris (2008) mentioned that it has become necessary for craftsmen to adapt to modern features of crafts in order to make them up to date and ready for sale. craftsmen modify arts and crafts by doing an experiment with their products to make them suitable for the market. according to cohen (1993), commercialized arts belong to ‘changeover’ dynamics which are capable of continuous evolution and rara sugiarti, margana, muthmainah, laela rizki fauzia, leather craft industry and tour143 transformation. the sense of ‘commercialization’ has been considered largely from the perspectives of change and modification to the crafts because the modification is basically the ‘communication’ between the craftsmen and the tourists (chutia & sarma, 2016). george (2010) discussed the ownership of intellectual property, traditional knowledge, copyrights, and forms of protection relating to a community’s intangible cultural heritage which are unresolved issues in the commoditization process. however, et al. (2016) mentioned that the commercialization of crafts does not necessarily entail the degradation of traditional crafts; further, that promotion of traditional crafts in support of tourism may rekindle people’s awareness of their role and importance, as well as vulnerability in the face of modernization. .when a craft is commercially introduced in the tourism system, it changes the shape of the object and gives new meaning to the craftsman and the consumer community craftsmen start distinguishing their products as commercial, traditional, rustic, or fine work. designs, motifs, colour combinations, as well as use of raw materials also differ accordingly (cant, 2012). this paper examines how the leather crafts industry in magetan supports tourism development and whether tourism activities contribute to industry enhancement. many leather craft centers were examined to see whether they can serve as tourism resources which provide craft products for souvenirs and become alternative tourist attractions to diversify tourism products. method the research was undertaken in magetan east java indonesia. the area was rich in raw materials for leather craft products. leather craft work is done in many home industries located in some villages including selosari, candirejo, magetan, mojopurno, and cepoko. all these villages are situated in magetan regency of east java indonesia. selosari is close to the center of the town, while the other four villages are situated in the suburban area. this research utilized descriptive method and applied qualitative approach. the location under study is the center of leather craft industries in magetan regency east java. the region has produced a lot of leather crafts for a wide range of customers. this study explores how leather craft industry in the area supports regional tourism development and how these two agents build mutual relationship through craft tourism. several techniques were employed to collect data including site observation, interview, focus group discussion, and document study. data were analyzed using interactive analysis (miles & huberman, 1984) and thematic analysis (maguire & delahunt, 2017; braun & clarke, 2006). the interactive analysis comprises several steps including data collection, data reduction, data display, and conclusion drawing or verification. in this context data reduction is the process of selecting, focusing, simplifying, and abstracting raw data concerning leather craft industry and tourism in magetan which were obtained from the field notes. data obtained from an interview with stakeholders of leather craft industries and tourism as well as existing documents which had been transcribed were reduced and selected to find out key issues. reducing data provide accurate results because checking for reducing can be done to avoid overlapping. data display relates to the information organization concerning leather craft products. the products were classified and categorized to support a conclusion. in this context, display includes providing graphs, charts, maps, and tables related to leather craft products and tourism. based on the processes conclusion is drawn by organizing all data concerning leather craft industries and tourism which have been collected and analyzed to be the foundation to draw the conclusion of the study. in the analysis process the regularity, rhythm, pattern, statement, configuration, cause-effects, and proposiharmonia: journal of arts research and education 19 (2) (2019): 141-151144 tion concerning leather craft products and tourism were scrutinized. the conclusion is drawn when all the previous processes are done. in thematic analysis the focus was on exploring the themes and patterns that emerge from the data concerning leather craft industries and tourism in magetan. this method facilitates the management of rigorous and transparent data and allows one to move back and forth to look at the raw data concerning leather crafts and tourism in magetan to establish themes. four themes were identified in this research including empowerment of leather craft industry, design innovation, and quality products of leather crafts to support tourism, leather crafts, and local entrepreneurship, and craft centers, tourism, and souvenirs. results and discussion empowerment of leather craft industry magetan is one of well-known regions of leather craft manufacturers in indonesia. the business of producing leather crafts has grown in the area for several years where many of the craftsmen started their businesses from home industry. several aspects have empowered the industry, including government policy, abundant human resources, and industrious businessmen. first, the local government of magetan has empowered the industry development by providing education and training programs as well as assisting business capital, technology, and production equipment. second, leather craft industry in magetan is supported by the abundant human resource that is a substantial element supporting the industry. there are 553 artisans involved in the industry, consisting of 23 female and 530 male workers. third, the existence of industrious businessmen producing leather crafts in the area plays significant role in strengthening the craft industry. there are 201 leather craft industries in magetan producing a variety of craft products. these are great resources, considering that the large number of production houses provides a large production capacity. this is not only an advantage for the artisans to improve their economy but also good opportunities for new tourism businesses. it is in accordance with research findings by hieu & rasovska (2017) which reveal that craft industries create employment, contribute to poverty alleviation, and support tourism. the existence of leather craft home industries in magetan supports tourism development in the region in two ways. firstly, leather products of home industries function to be tourist souvenirs that create a memory of destination. secondly, craft souvenirs become one of tourism promotional tools for magetan tourism. one missed-opportunity is the fact that the process of making leather crafts has not been developed to become alternative tourist attractions for educational purposes. tourists visiting magetan can see how artisans create various leather crafts and try some of the processes. tourists can involve in the activity, and this will be a new travel experience. however, the activity has not been seen and understood by tourism stakeholders in the area as an opportunity in tourism businesses. tourists only come and buy leather products and leave. with regards to buying leather craft products, some tourists visiting magetan comment that there is a lack of product diversity. magetan leather craft centers have not yet produced varied designs of crafts due to the lack of machinery and tools. it is in accordance with a study conducted by srivastava & sharma (2014) on indian handicrafts industry in mojari which mentioned that the diversity of leather products is limited because of the absence of sufficient types of equipment and tools. modern mechanical tools used in the manufacturing process of leather products consist of elementary machines like die-cutting and finishing machines. the usage of machinery to create a product can improve aesthetics as well as finish and reduce drudgery. besides, it increases the variety of leather products. rara sugiarti, margana, muthmainah, laela rizki fauzia, leather craft industry and tour145 a study by tsaknaki, et al. (2014) also supports the argument and mentions that there is a significant difference between handcrafting process and process using laser cutter to develop the form and design of the product. the use of a modern tool such as laser cutter is more practical and saves time. besides the lack of various design, the efforts to empower leather craft industry in magetan has not yet been connected to initiating tourists activities in craft centers. according to a study by chutia & sarma (2016), the expansion of leather craft products through tourism is one of the processes of commercial production modes for the betterment of the poor craftmaking communities. the products that combine culture, tradition, and design are made to attract both domestic and international tourists (zhang & liu, 2011). moreover, gustami, et al. (2014) noted that in indonesia, tourism has been one of the main stimuli for crafts. indonesian artisans even become one of the inspirations for international design magazines, such as elle décor, vogue living, and belle (chotiratanapinun, 2009). in other words, the artisans have entrepreneurial characteristics since there are creativity, innovation, risktaking, and opportunity. in regard to creativity and opportunity many craft home industries in magetan which produce shoes, sandals, belts, and jackets can, in fact, develop new leather craft products for tourist souvenirs. this is because their production process leaves a lot of patches that become waste and that the artisans can make use of these patches to create a new design of crafts for tourist souvenirs. this opportunity has not yet been taken as a new business. at present, however, only a few people have utilized the patches. similarly, new business opportunity to develop educational tourism based on leathercraft industries in magetan has not been developed. in fact, when tourists visit craft centers they can try and experience how to create leather souvenirs for themselves. the artisans can make use of the patches as learning media or trial and practice media to accommodate tourists who are interested in experiencing leather crafts making. a project concerning how to change leather waste or patches to functional leather by palacios, limiñana & ais (2016) supported this argument. the project basically highlights transformation of hides and animal skins into leather and makes use of solid organic waste. (a) < 200.000.000; (b) 201.000.000 400.000.000; (c) 401.000.000 600.000.000; (d) 601.000.000 800.000.000; (e) 801.000.000 – 1.000.000; (f) >1.000.000.000 figure 1. the number of leather craft home industries and the production value (source: magetan government industry and trade office, 2017) figure 1 shows that leather craft home industries in magetan have become great revenue resources for the region. there are 10 biggest production houses of which revenues already reached rp. 1,000,000,000 in 2017. the number of production houses described seems to be small if they are compared to the total 201 production houses of leather craft in magetan. design innovation and quality products of leather crafts to support tourism magetan leather craft centres produce several products that are mostly shoes and sandals. however, there are also other products such as leather belts, jackets, and bags. despite a large number of products, there is only a small variety of products. similarly, quality products and new design innovation for leather crafts are limited. traditional leather craft products of harmonia: journal of arts research and education 19 (2) (2019): 141-151146 magetan have to some extent fulfilled the expectation of some buyers. however, there are some products that do not represent characteristics that meet the needs of either domestic or international tourists for souvenirs. both diversifications of a model and new leather craft design are limited. besides, to some domestic tourists, the price of magetan’s leather craft products is high. most of them want cheap souvenirs. to some others, price does not matter. however, it is difficult to find quality leathercraft products in magetan. it is in line with a study conducted by zhang & liu (2011) on tourist souvenirs in china which reveals that some domestic tourists want cheap souvenirs, while international tourists want quality products. he also mentioned that different backgrounds of tourists tend to have different shopping behaviour, spending level, and cultural knowledge. consequently, craft producers have to create different products based on consumers’ demand. besides price and quality, this market segmentation requires innovation and diversification of leather crafts which represent the uniqueness of the region. according to richards (2011) innovation of new designs of leather craft products for souvenir has significantly contributed to the development of both leather crafts and tourism. with regard to magetan leather industry, limited diversification of leather craft products is due to the lack of machines, tools, as well as competence of the artisans for creation and innovation. a study by srivastava & sharma (2014) about leather crafts in mojari india supports the findings. it is stated that the availability of sufficient machinery and tools, new designs and patterns have contributed to the success of leather craft industries in the region. similarly, the success of leather craft products of garut west java is also determined among others by innovation of contemporary designs to meet customers’ demand (mulyati, 2016). moreover, ballengee-morris (2008) mentioned that new handicrafts which adapt modern patterns are very useful because they benefit two parties, i.e. the consumers and the artisans, and will increase production values in accordance with market desires. according to kesarwani, jahan & kesarwani (2015) customer demand should be fulfilled by the availability of quality and variety of products. figure 2 shows various products of leather crafts in magetan. the products of leather shoes and sandals are still the most produced in the area comprising 85%, followed by leather belt products (14%), and leather jackets (1%). the figure also shows that leather product diversity is limited. restricted design and model constrain buyers to explore and purchase craft products. figure 2. crafts industry in magetan in 2016. (source: magetan government industry and trade office, 2017) figure 3. leather craft products of magetan. creating the new design of leather crafts does not only provide customers to have more choices but also support the revitalization of traditional art and crafts as the tourism sector. this is in line with pratamawati (2016) who stated that revitalization is needed because it can revive rara sugiarti, margana, muthmainah, laela rizki fauzia, leather craft industry and tour147 and boost the artisan to remain concerned with art. her research about mask puppet as traditional art performance and cultural tourism commodity mentions that traditional art performance does not only provide economic benefits for all the parties involved, including the artist and the local government but also give opportunities to the artists to improve their creativity to design art performance as a tourist attraction. further, the creation of a new design also increases the cultural wealth of an area. therefore, new design creation has a symbiotic relationship with the revitalization of art and craft and tourism development. local entrepreneurship, leather crafts, and tourism within the last few years, home industry producing leather crafts have flourished in magetan. as many as 201 leather craft home industries have emerged and sustained their businesses. in 2016 some of the production values even reached rp. 1,000,000,000.00 (see figure 1). they create job opportunities for the locals and boost the regional economy. similarly, this industry has employed as many as 553 artisans. many tourists buy their craft products for souvenir created by these artisans. leather craft industries in the area have contributed to the establishment of local entrepreneurship, small-medium enterprises, and tourism. it supports the growth of local economy. it is in accordance with a study undertaken by baskaran & manikandan (2016) on craft tourism service in tamilnadu india. the study revealed that leather crafts generally contribute to economic growth of an area. by working in the craft industry craftsmen are able to support their family income and send their children to school. besides contributing to the household economy, crafts industry supports the preservation of local culture and enhancement of travel experience (whitford & ruhanen, 2010). hieu & rasovska (2017) underlined that indigenous culture such as crafts functions as a means for livelihood and create indigenous entrepreneurship which establishes small businesses to provide living for themselves and their families. similarly, tourism creates employment and provides entrepreneurship opportunities for the locals by optimizing the use of local resources. in the context of magetan leather craft industry, entrepreneurship activities include producing and selling craft products to both local and foreign tourists. there are 921.031 tourists visiting magetan in 2017. this is a big market for crafts and souvenir production houses. however, the participation of local craft entrepreneurs’ to take this market opportunity is currently limited. local entrepreneurs need to encourage not only the involvement of local artisans but also the involvement of other residents to become entrepreneurial individuals or communities and develop leather craft businesses in magetan to move towards prosperity. local entrepreneurship enhancement on leather craft business can reduce unemployment and contribute to poverty alleviation (hieu & ravonska). figure 4. areas of leather craft production in magetan. figure 4 shows that there are some villages in magetan which become the centers of leather craft industry including selosari, candirejo, magetan, mojopurno, and cepoko. most of the places are locations for leather craft production. selosari is located in the main road to sarangan lake, the most famous tourist destination in magetan. this place which is known as jl. sawo has become important product outlet for local leather crafts. a number of leather shops sell different kinds of leather products, including shoes, sandals, belts, jacket, wallet, and purse produced by local harmonia: journal of arts research and education 19 (2) (2019): 141-151148 home industry. many tourists come to this place after visiting sarangan lake to buy souvenirs. candirejo is a village that produces mostly leather sandals made of natural colouring leather. in mojopurno there are some artisans producing souvenirs made of leather patches. the products are affordable for all tourists both low-budget and the upper-end. the other villages including candirejo, magetan, mojopurno, and cepoko function more as production places. the marketing places include selosasri (jl. sawo) and some tourist attractions in magetan. therefore, some popular tourist attractions in magetan including sarangan lake, wahyu lake, cemoro sewu, and tirtosari waterfall as well those five villages, have a significant role to support craft industries in the region. some of them function as “showroom” or facade for craft products; some others are suppliers of leather crafts purchased by tourists as souvenirs. according to zhang & liu (2011), souvenirs are reminders of the places tourists visit. they pursue things to buy for souvenirs when they visit a destination. for most tourists shopping is their habit. vacation is not complete without shopping. however, different tourists have different shopping habits and patterns. some tourists purchase cheap souvenirs which are usually of low quality. some others seek quality craft products which is often expensive. another research by suryawardani, et.al (2014) mentioned that the availability of souvenirs which are based on local craft products strengthens local souvenirs and reduces imported crafts. one of the reasons why tourists buy local crafts is because they want something authentic which symbolizes local culture. tourists shop souvenirs for themselves, their families, friends, and relatives. therefore, the existence of the craft industry provides support to regional tourism since it accommodates the tourist’s need for shopping activities. similarly, tourism contributes to the development of souvenirs and gifts industry. it also serves as promotional tool of a tourist destination. when a destination is promoted, more tourists come and the locals benefit more from tourism. tourism indeed plays an important role in developing regional economy. furthermore, the success of tourism industry can be seen from the growth of small business of local entrepreneurship and craft markets. leather craft centers, tourism, and souvenirs leather craft centre of magetan provides a lot of products to be purchased by tourists for souvenirs. there is significant increase of 10% in the number of tourists visiting the region from 828.913 in 2016 to 921.031 in 2017. at the same time tourists table 1. tourism facts of magetan east java indonesia. indicators year 2013 2014 2015 number of tourist visits (thousand) 577.3 627.1 752.83 tourist length of stay 2.42 2.35 3.27 tourism revenue (million rp.) 4902.6 5357.5 6425.8 indicators year 2016 2017 number of tourist visits (thousand) 828.913 921.031 tourist length of stay 2.42 2.27 tourism revenue (million rp.) 7.051.8 7.806.5 source: magetan government tourism office (2018). rara sugiarti, margana, muthmainah, laela rizki fauzia, leather craft industry and tour149 shopping habits give opportunities of the craft industry to flourish. these have performed a symbiotic relationship between crafts and tourism and can support the emergence of new type of special interest tourism which is called craft tourism. as can be seen from table 1 the number of tourist visits to magetan gradually increases from 577.373 in 2013 to 921.031 in 2017. similarly, tourism revenues increase from 4.902.613.000 in 2013 to 7.806.471.000 in 2017. this shows that tourism has developed in the area and has become an opportunity for other businesses including leather souvenir industries to grow. however, length of stay of the tourist decreases from 3.27 in 2015 to 2.42 in 2016 and 2.27 in 2017. the tourism authority needs to make an effort for making tourists stay longer in magetan. it can be extended by providing alternative cultural activities such as visiting and participating in the process making of leather craft making for souvenirs. the pattern of tourist visits, where they always stop by in leather craft centers to purchase souvenirs, supports leather craft industries to flourish. it also increases the additional income of the community and boosts the local economy. this is in line with a study conducted by hieu & rasovska (2017) on vietnam’s handicraft villages. the results mention that seen from an economic perspective, craft tourism creates more employment, improve local economy income, alleviate poverty, and play a substantial role in improving product sales because tourists will purchase craft products when they visit craft villages. moreover, handicraft product development has become the cultural pride of the local community and created their income-earning tools. their products have even been exported to more than 100 international markets. some leather craft home industry of magetan produces different craft products that are suitable for souvenirs. the products are small, handy, and cheap. they include various models of key chains and mini wallets. these types of souvenirs are used either for memorial, collection, or gift for friends and relatives. some of the souvenir products are made of patches or waste of the making of shoes and sandals. zhang & liu (2011) mentioned that souvenirs have strong local features. buying meaningful souvenirs can promote tourist destinations and help people understand the tourism region. souvenirs including arts and crafts also support the development of the local economy. a study conducted by nyawo & mubangizi (2015) concerning art and craft contribution to local economic and tourism development in mtubatuba south africa mentioned that natural resources and cultural products such as arts and crafts have successfully drawn tourists to the area. furthermore, it was stated that tourism growth success has impacted the emergence and development of small businesses including restaurants and crafts industries. it shows that tourism plays a significant role in accelerating a country’s economic growth. concerning the development of craft tourism and souvenirs of magetan, there are some tourism places such as sarangan lake, tirtosari waterfall, and cemoro sewu which provide chances for artisans to sell their craft products. currently, it is a good opportunity to create unique souvenir products because tourists always want to bring back souvenirs for several reasons. firstly, souvenir is an important element of travel experience. it is usually perceived as a memory carrier on a vacation that connects someone with experience. secondly, souvenir relates to prestige because it shows people that someone has visited a famous tourism place. thirdly, souvenir reflects history and heritage value which becomes an important learning tool. fourthly, souvenir sales help indigenous people earn money for the betterment of the family economy (hieu & rasovska, 2017; ona & solis, 2017). conclusions based on the explanation above, four main points can be drawn. first, tourists who purchase souvenirs, assistance from harmonia: journal of arts research and education 19 (2) (2019): 141-151150 local government, artisans and businessmen who produce craft products have supported the region’s leather crafts industry. second, leathercraft products created do not perform recent design innovation. many products cannot catch up with the new market trend and cannot fulfill the demand for high quality. third, the locals have opportunities to be entrepreneurs and enhance the local economy by developing a leather home industry that produces souvenirs for tourists. 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(2011). study on design and research of tourist souvenirs on the background of low-carbon economy. energy procedia, 5(1), 2416-2420. 311 paradoxical aesthetics in panji mask visual structure: alusan and gagahan profiles in bobung, yogyakarta yasin surya wijaya, sindung tjahyadi, vissia ita yulianto universitas gadjah mada, indonesia submitted: 2022-06-17. revised: 2022-10-21. accepted: 2022-11-17 abstract this study focuses on panji masks in bobung, yogyakarta region. the study aims to explain the shape, meaning, and paradoxical aesthetic value in the visual form of panji masks focused on alusan and gagahan profiles. a qualitative approach with a multiplecase strategy conducted in the research. data sources derived from documents/archives, informants, and places/events collected by document analysis techniques, in-depth interviews, and participatory observation. data validity was tested by data sources triangulation and review informants. interactive techniques with data reduction procedures, data display, and data verification analyzed data. the results show that the structure of the panji mask in bobung was composed of visual forms which contained philosophical meanings. the shape and meaning of the bobung panji masks in alusan and gagahan profiles contain an aesthetic value that is dualistic antagonistic (paradoxical). the panji masks in bobung contain paradoxical aesthetic values in two patterns, three patterns, four patterns, and five patterns. the conclusion is that the visual form of panji masks in bobung, yogyakarta, is structured by paradoxical aesthetic value. keywords: paradoxical aesthetics, panji mask, visual structure, bobung, alusan, and gagahan profile how to cite: wijaya, y. s., tjahyadi, s., & yulianto. v. i. (2022). paradoxical aesthetics in panji mask visual structure: alusan and gagahan profiles in bobung, yogyakarta . harmonia: journal of arts research and education, 22(2), 311-325 harmonia: journal of arts research and education 22 (2) (2022), 311-325 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i2.37093 the larger community and even throughout the archipelago and southeast asia. panji romance spread and was transformed into various works of regional cultural arts. wayang beber, wayang topeng, wayang golek, wayang thengul, gambuh, wayang gedog, and other traditional cultural arts have emerged as a result of the transformation of the panji story (manuba et al., 2013). subiyantoro et al. (2021) added that roman panji has developed into various forms of art tradition, even in thailand, in the form of a classical performance called introduction the panji story is a legacy of the javanese tradition that has existed since the kediri kingdom and peaked in popularity during the majapahit kingdom (manuba et al., 2013). panji art has significantly impacted the development and creation of cultural arts in java, indonesia, and even southeast asia (manuba et al., 2013). panji is a story with flexibility in ethnic, religious, social, and ideological fields, allowing its existence to be spread and accepted by corresponding author: e-mail: yasin.s.w@mail.ugm.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (2) (2022): 311-325312 ino. the panji romance’s art of mask transformation spread to various regions in indonesia. each region has its shape, function, and significance. the functions are cirebon mask for medium of da’wah, malang masks for magical and mystical rituals, barongan mask for ceremonial medium of rejecting reinforcements, and reog mask for entertainment. panji mask art also spread to neighboring countries, namely semenanjung malaysia, thailand, myanmar, laos, and kamboja (satrya & indrianto, 2018). bobung, more specifically putat village, patuk district, gunung kidul regency, special region of yogyakarta, has a strong panji influence. the spread of the panji culture from the pacitan and wonogiri areas influenced the bobung panji masks in the form of wayang beber. wayang beber is the oldest wayang art in indonesia based on the panji story (rahmawati, 2018). based on this statement, the panji mask in bobung is a mask art that’s very close to panji’s historical sources, and this is very good to study. the panji mask’s current presence is inversely proportional to its popularity during the majapahit kingdom’s golden age. today’s young people are less aware of mask performances, despite beingich in cultural values (putra, 2020). another factor to consider is the presence of the panji mask, which is rapidly becoming extinct. the mask’s expression and color depict human nature, so it’s a shame if this ancient art is lost due to a lack of knowledge (lawrence & kurniawan, 2014). on the other hand, setyaningsih et al., (2020) added that art tradition representcommunity values, knowledge, and beliefs. the form and meaning of each character in the panji mask are unmistakably linked to their profile. there are dozens of panji mask figures, each with its own name and colour, according to nurcahyo & yulianto (2021), and each character is divided into alusan and gagahan characters. this character develops into a paradoxical binary opposition classification that few people realize. not only masks but also figures and characters in other cultural stories are divided into two binary oppositions. the nature of the binary opposition concept, which is paradoxical, is not well understood. the binary opposition system divides everything into two structural and related classifications (supir, 2019). the presence of resistance and contradiction between the two classifications is related to paradox. everything that contradicts it is, in essence, a unity that cannot be separated. the pair of paradoxical oppositions emphasizes the two structures’ contradiction, but the meanings are eventually realised to be complementary (sumardjo, 2006). the panji mask’s paradoxical character is a metaphor for human life, both good and bad, as a lesson learned. there must be a negative to every positive thing, and everything is said to be positive if something negative happens. based on the aforementioned context, the panji mask, particularly panji in bobung, requires further study in order to determine the shape and interpret the meaning manifested behind the paradoxical profile of alusan and gagahan. this study aims to focus on two things: 1) the shape and meaning of the panji mask in bobung, and 2) the paradoxical aesthetics in the visual structure of the panji mask in bobung, the alusan and gagahan profiles. several previous studies have been undertaken on masks in general. suardana (2006) explored the visual structure of traditional balinese masks. ratnaningrum (2011) studied the symbolic meaning and endel mask dance roles. in kelurahan, magelang regency, hapsari (2013) explored the function of the ireng mask. pujiyanti (2013) examines the existence of the ireng mask dance as a fulfillment of the people of pandesari, parakan, and temanggung’s aesthetic needs. murni et al. (2016) looked at the art of barongan masks in kendayakan, tegal, as symbolic expressions of the local culture. martono et al., (2017) studied the archipelago’s ethnic masks in the development of global culture. hidajat (2011) explored the mancapat yasin surya wijaya et al., paradoxical aesthetics in panji mask visual structure: alusan and 313 concept’s reflection on the characterizations of malang masked puppets. in a case study of kedungmonggo hamlet, pakisaji, malang regency, astrini et al., (2013) probed the semiotics of malangan masks. pramutomo (2014) examined the traditional mask performing arts in surakarta and yogyakarta. hikmah (2016) examined the structure of the panji story in the performance of the malang masked puppet dance drama panji reni in relation to panji. setyastuti (2017) conducted additional research on the mask dance of ireng bandungrejo, ngablak, and magelang. several previous researchers have also conducted studies on mask aesthetics. irawanto (2013) examined the representation of javanese aesthetics in the malangan mask dance’s decorative structure. melany & nirwana (2015) conducted an aesthetic study of the malangan mask at the asmorobangun studio in kedungmonggo village, pakisaji district, malang regency. wijayanti & prabowo (2016) probed the aesthetic value of edy kurnia’s wooden masks in bandar lor village, mojoroto district, kediri city. wirawan (2021) uncovered the philosophical theo-aesthetics of the sidakarya mask in balinese hindu religious practice. aside from the aesthetics of the mask, several academics have conducted a study on the panji mask in particular. nurwanti (2009) explored the panji jabung mask’s presence in the phenomenon of the traditional art performance. hidajat (2013) examined the malang mask puppet’s symbolization of the central character of the panji play. yuhanda (2017) explored the meaning of the cirebon panji mask dance. wijaya et al. (2018) probed the value of character education in the visual symbolism of the panji mask and its relevance to high school art appreciation learning. wijaya (2020) examined the significance of characters in the visual symbolic structure of a yogyakarta-style panji mask. the findings revealed that previous researchers had not looked into the aesthetic (paradoxical) of the panji mask, particularly in bobung. prior studies focused on masks from malang, kediri, bali, cirebon, and other indonesian cities. several panji masks studied in yogyakarta show that there is no particular emphasis on aesthetic discipline. paradox aesthetics (binary opposition) has never been used as a scalpel for the study of the panji mask in bobung and has only been used in this scientific work. the material object of the panji mask in bobung, which is studied through the formal object of paradoxical aesthetics (binary opposition), is unquestionably a study novelty. the hypothesis of this study is that the visual structure of panji mask contains values and meanings, both positive and negative. the characters of alusan and gagahan on panji masks represent an aesthetic structure based on the paradox concept. the paradoxical aesthetic value of panji is related to the context of human life. method the study was conducted in bobung, putat village, patuk district, gunung kidul regency, yogyakarta special region. the study used a qualitative approach with a multiple case strategy. this case is based on the interactive analysis of two profiles of alusan and gagahan masks. purposive sampling was used to determine the object and subject of the study, which took specific factors into account. the object of research (panji mask) is related to the category of alusan and gagahan profile masks, whereas the subject is related to relevant informants, namely craftsmen, conservationists, and mask dancers in bobung, gunung kidul, yogyakarta. data sources include documents/archives, informants, and locations/events gathered through content analysis techniques, in-depth interviews, and participatory observation. data was gathered using a voice recorder, a photo recorder, a video recorder, and a notepad. the obtained data were then validated using two techniques: triangulation of data sources and informant review. the data were analysed using interactive analysis techniques in three stages: data harmonia: journal of arts research and education 22 (2) (2022): 311-325314 reduction, data presentation, and verification/drawing conclusions. this analysis technique is determined by the case strategy used, which is multiple cases. panji masks in bobung have a lot of figures, and each figure has different forms and meanings but is related to one another. in addition, the meaning behind the mask is related to the context and needs to be analyzed based on the case’s relationship. results and discussion panji mask is a traditional javanese cultural art form that evolved from panji romance and spread to various regions (subiyantoro et al., 2020). each region has its own shape, function, value, meaning, and significance. the functions are cirebon mask for medium of da’wah, malang masks for magical and mystical rituals, barongan mask for ceremonial medium of rejecting reinforcements, and reog mask for entertainment. there is a mask art that has developed in bobung, specifically in putat village, patuk district, gunung kidul regency, special region of yogyakarta, the panji romance influences that. the spread of the panji culture from the pacitan and wonogiri areas influenced the bobung panji masks in the form of wayang beber. according to hermanu (2012), the beber puppet originated in pacitan (jaka kembang kuning tale) and the karangmojo area of yogyakarta, which is close to the bobung area. panji masks in bobung have their own unique characteristics, both in terms of shape and meaning, and can be divided into two categories: alusan and gagahan. this corresponds to nurcahyo & yulianto (2021) statement that there are dozens of panji mask figures, each with its own name and colour, and each character is divided into alusan and gagahan characters. nurjoyo et al., (2022) added that panji masks contain high cultural values, complex manufacturing techniques, and hidden meanings in the forms. the shape and meaning of the panji mask on bobung alusan and gagahan profile the panji masks carried are classified as panji masks with alusan and gagahan profiles. alusan masks have smooth or slow dance movements, whereas gagahan masks have fast and broken movements. the masks’ visual form shows the character difference between the panji masks and the bobung alusan and gagahan. each part of the mask, whether jamang/crown, brows, eyes, nose, mouth, mustache, beard, or color, has a paradoxical shape and can be classified. this difference in form is undoubtedly related to the meaning embedded in it. almost every panji masked figure in the bobung is crowned, and only a few are not. jamang relung and jamang rujen are the shapes of the jamang found on the alusan profile panji mask, while jamang rujen buto table 1. the form and meaning of the panji mask on bobung alusan and gagahan profiles shapes alusan meanings gagahan meanings crown relung & rujen honor rujen buto & gundul power & greed eyebrow nanggal sepisan & manjangan ranggah soft & strong nanggal sepisan & manjangan ranggah soft & strong eye leyepan good & thorough plolot/melotot evil / meticulous nose walimiring honest pangotan lying mouth mingkem & prengesan simple prengesan & gusen greedy moustache no moustache & thin moustache fine a thick mustache scary/fierce beard no beard fine bearded & some not scary/fierce colour white, yellow, light blue & green holy, cheerful, friendly, and peaceful red, dark blue, orange & yellow anger, depth, energy & cheerfulness (source: document/archive data analysis, 2021) yasin surya wijaya et al., paradoxical aesthetics in panji mask visual structure: alusan and 315 appears in the heroine. tumpal, relung, and kolo, or garuda mungkur, are the three parts that make up jamang (wijaya et al., 2018). tumpal, which is located in the middle of the jamang, is shaped like a jagged pudak flower or resembles the shape of an onion. according to widayanti (2008), the pudak flower’s shape resembles that of a white pandan flower with a fragrant scent, making it a symbol of purity. on the right and left sides of the jamang are tumpal jagged niches (figure1). the garuda mungkur, or garuda kolomakara, is the shape of the garuda’s head facing backwards. in the alusan panji mask profile, the crown itself becomes a symbol of honour (wijaya, 2020). the head is above, its existence is sacred, and no one can hold it because it is a privilege. the shape of the garuda facing backward (garuda mungkur) symbolizes vigilance in both relung and rujen crowns (wijaya et al., 2018). because pudak flowers are basically white and smell good, so they symbolize a pure human heart. relung and rujen crowns also mean holiness. figure 1. tumpal, relung, dan garuda mungkur (alusan) (source: personal documentation, 2020) the alusan profile panji mask has the same jamang (crown) as the gagahan mask. some gagahan masks lack jamang and are simply hairy or bald. the gagahan mask’s tumpal is shaped like a buto with a scary face that resembles a kalamakara. the shape is frightening, with sharp canine teeth symbolising buto’s greed. this is in contrast to the kalamakara symbol, usually found at the temple’s entrance and interpreted as a deterrent to reinforcements and a reminder of death (sahruni & birsyada, 2021). jamang has a jagged shape with terraces called niches on the right and left sides. the kolo is shaped like the garuda facing backward or garuda mungkur on the panji alusan mask. this type of jamang rujen buto embodies the values of power and greed (figure 2). figure 2. tumpal, relung, dan garuda mungkur (alusan) (source: personal documentation, 2020) some gagahan panji mask profiles lack the jamang, leaving them with only blonde or bald hair. this represents the character’s lack of honor. it does not, however, imply that the character is powerless. humans have an honorable relationship with animals that can be treated in this manner (pradnyayanti & safira, 2021). animals, on the other hand, have other abilities when they are threatened, and they are very likely to attack regardless of the human’s status. evil comes from creatures lower than humans such as buto (giants), demons, ghosts, and other sacred creatures that humans can sometimes defeat by these creatures because human hearts are fragile and easily manipulated. this makes humans need protection in the form of getting closer to the creator of the universe (manunggaling kawulo gusti). the brows on the alusan and gagahan profile masks have a slightly different shape. the panji mask in the alusan bobung profile has a nanggal sepisan brow shape, but there are some characters who have manjangan ranggah brows. gagahan mask’s brows are typically long and stoic, but some characters have thin brows. nanggal sepisan’s brows are thinly curved in the shape of a young date’s moon (purwaningrum & pangestu, 2021). according to the alusan mask’s profile, which has a subtle character, these brows have a meaning of softness. on the alusan and gagahan masks, menjangan ranggah brows are strong because they are branched and appear stiff. softness and strength are not mutually exclusive in this brow shape (fiharmonia: journal of arts research and education 22 (2) (2022): 311-325316 gure 3). figure 3. nanggal sepisan & manjangan ranggah eyebrow (source: personal documentation, 2020) the eye shape of the panji mask in the bobung profiles of alusan and gagahan has a distinct personality. the panji alusan mask’s figure has leyepan or kedelen eye shaped, whereas the panji gagahan mask’s profile has plolot or bulging eyes. the leyepan eye is also known as the eye of ndamar kanginen because its shape resembles a flame on the wick of a stove that is blown by the wind (purwaningrum & pangestu, 2021). this eye shape represents a good and thorough personality. unlike plolot eyes, which have a large round shape like a ball. the impression given by these bulging eyes is the evil character’s eyes with great care (figure 4). figure 4. leyepan eyes & plolot eyes (source: personal documentation, 2020) in the profiles of alusan and gagahan, the nose shape of the panji mask in bobung is also different. the panji alusan mask has a walimiring nose with a pointed shape facing downwards that resembles a wulen or cukil knife. this nose shape is also known as irung ngudup mlati, which is shaped like a pointed jasmine flower bud, or mbangir in java (purwaningrum & pangestu, 2021). unlike the gagahan mask, it has a large, forward-facing nose known as the pangotan nose (figure 5). this nose shape represents the meanings of honesty (walimiring) and lies (pangotan). pinocchio’s character becomes an icon of honesty and lies where the nose lengthens when lying. a long nose becomes a symbol of a never-ending lie (muhammad & triyadi, 2021). figure 5. pangotan & walimiring nose (source: personal documentation, 2020) on the bobung profile of alusan, the panji mask’s mouth is shaped like prengesan and mingkem, while the gagahan mask mouth is shaped like a gusen. prengesan mouth is when the mouth is slightly open and shows a row of teeth at the top, whereas mingkem shaped mouth is when the mouth is not open. prengesan and mingkem shaped mouths are symbols of simplicity, implying that only the most important and necessary things can be taken out (speaking) or put in (eating). unlike gagahan’s profile mask, which has gusen fangs for a mouth, this one gives off a scary atmosphere (figure 6). in the shadow puppet world, this mouth shape is found in the kurawa character, which denotes someone who talks a lot, laughs a lot, and lies a lot (subiyantoro et al., 2020). figure 6. prengesan, mingkem, & gusen mouth (source: personal documentation, 2020) the moustache and beard are an important part of the shape of the panji mask in bobung because they give the alusan and gagahan profiles a certain character effect. some alusan masks have thin moustaches, while others have thick moustaches, such as gagahan masks. the profile of the alusan panji mask is mostly beardless, with the exception of the gagahan mask, which has a thick beard on the chin. the presence of a moustache and beard on the alusan yasin surya wijaya et al., paradoxical aesthetics in panji mask visual structure: alusan and 317 mask creates a subtle impression. unlike the gagahan mask, which has a ferocious and violent character (figure 7). figure 7. moustache & beard of alusan & gagahan (source: personal documentation, 2020) the visuals of panji masks in bobung are heavily influenced by color. color is not a way to distinguish one character from another; it also has meaning. the colors on the alusan panji bobung mask’s profile are white, yellow, light blue, and green. red, dark blue, orange, and yellow are the most common colors, unlike gagahan masks. white symbolizes purity, whereas it signifies anger (astrini et al., 2013). yellow color means cheerful; orange color means energy, light blue color means friendliness, and dark blue color means depth (astrini et al., 2013). the last is the green color which means coolness that causes peace. green in islam is the color of heaven which means the center of human goals that is full of peace. paradox aesthetics on the panji mask on bobung alusan and gagahan’s profile the concept of binary opposition, also known as completetio oppositorum, underpins dox aesthetics. completetio oppositorum explains that reality is divided into dualistic pairs that are opposite but complementary, according to sumardjo (sumardjo, 2006). if a binary’s existence is positioned with its binary, it is said to be meaningful and valuable. this is in line with levi strauss’s claim in barker (2004) that the way we understand the essence of life is to look at the objects or symbols that surround us paradoxically. the object or symbol undergoes a structured meaning transformation, culminating in both a symbol and a meaning paradox. the structural table 2. paradoxical aesthetic patterns on panji masks in bobung alusan and gagahan profiles patterns paradox aesthetics pattern ii panji asmarabangun dewi sekartaji masculine feminin panji asmarabangun klana sewandana kindness angkara jamang rujen jamang rujen buto manjangan ranggah brows nanggal sepisan eyebrow leyepan eye plolot eyes / glaring walimiring nose pangotan nose thin moustache thick moustache no beard bearded white & yellow red and blue pattern iii panji asmarabangun dewi sekartaji gunung sari male female both male and female tumpal relung garuda mungkur upper world middle world underworld mingkem mouth prengesan mouth gusen mouth quiet wise too much talk patterns iv/v jenggala daha bantarangin singasari panji asmarabangun dewi sekartaji klana sewandana gunung sari north south west east worldly heavenly death birth (source: document/archive data analysis, 2021) harmonia: journal of arts research and education 22 (2) (2022): 311-325318 way of thinking with the concept of binary opposition, according to roland barthes in barker (2004), results in the naturalisation and mystification of an object’s meaning. black is in opposition to white, but it also represents evil versus good. the bobung panji mask is constructed around symbols that represent local cultural values and meanings. on the mask, finding value and meaning requires looking for forms of opposition among the existing symbols. the aesthetic paradox of pattern two, pattern three, pattern four, and pattern five, which are based on sumardjo (2006) opinion, is reflected in the panji mask in bobung. two-pattern the two-pattern is visible in bobung panji mask figures, particularly in the central figures. there are two patterns in the visual structure of the panji masks in bojong, starting from the shape of the clocking, eyebrows, eyes, nose, mouth, mustache, beard, and color. panji asmarabangun and dewi sekartaji are central characters whose existence is a dualistic symbol of antagonistic male and female power struggles (masculine and feminine). panji asmarabangun and dewi sekartaji’s love story is a picture of true love between male and female opponents. a real man, in essence, will sacrifice everything he has to find his lover, like panji asmarabangun, who was willing to leave the luxury of the kingdom to find dewi sekartaji (figure 8). women in society are ideally described as dewi sekartaji, who are loyal figures, maintain their honor, and have strong determination. sekartaji was willing to leave the kingdom because he did not want to be paired with a man who was not his choice, namely klana sewandana from the seberang kingdom (enggarwati, 2016). figure 8. p. asmarabangun x sekartaji & p. asmarabangun x klana sawendana (source: personal documentation, 2020) panji asmarabangun and klana sewandana, who represent kindness and anger, respectively, are the next opposition figures. according to another version of the story, klana sewandana kidnapped sekartaji but was stopped by asmarabangun thanks to a war between jenggala and singasari. because of the existence of evil, calamity, and anger, good exists, and good is valuable. despite the fact that humans are born in a neutral state, human life cannot be separated from the binary opposition of good and evil. according to koeswara (1991), humans are born neutral, and good and bad development comes from their environment (not innate). the jamang, or crown, on bobung panji masks is also built on the paradoxical aesthetics of pattern two. the jamang is symmetrically arranged, with the center in the shape of a tumpal in the shape of kembang pudak (alusan) and buto (gagahan). jamang tumpal (flower pudak) and jamang buto are binary oppositions with meanings such as good-evil, smell-rot, birth-death, white-black, and so on. humans and other creatures exist in this universe, and their existence cannot be separated from the lights that contradict each other. humans are actually neutral, but they are born into a world full of binary opposition. humans behave in good and bad ways depending on their binary levels, whichs an environmental formation rather than an innate characteristic (koeswara, 1991). figure 9. tumpal kembang pudak & buto (source: personal documentation, 2020) niches and garuda mungkur (facing backward) can be found on the right and left sides of the jamang, indicating that they are in opposition to the mask’s face facing forward. although front and back are diayasin surya wijaya et al., paradoxical aesthetics in panji mask visual structure: alusan and 319 metrically opposed binary oppositions, both must exist because there is no front without back and vice versa. all beings will undoubtedly experience front and back as a symbol of opposition, which represents the future and the past. humans must occasionally reflect in order to correct what was overlooked, lacking, or disastrous. the purpose is unmistakably linked to the desire for a more peaceful, orderly, and perfect future. the bobung alusan mask’s profile does not always shape in nanggal sepisan typical eyebrows, but there is also the shape of an expansive horn. even the masculine masks, not all manjangan ranggah eyebrows, but some figures have the nangal sepisan shaped eyebrows. this shows the paradoxical aesthetics of the panji mask in the form of binary opposition of strength in weakness and weakness in strength. this means that every human being has a soft and strong or hard nature in one individual. the difference is only in the level of weak and strong levels. the eye shape on the panji mask in bobung reflects the structure of the two twin patterns (leyepan and plolot) (dualistic antagonistic). the leyepan eyes are narrow, whereas the plolot eyes are round and wide. characters with leyepan eyes are usually good, while those with bulging eyes are usually evil. the panji mask in bobung is a transformation of the shape and personality of the characters in wayang kulit. the pandawa and the kurawa are opposing twins, with the pandawa representing the good side with leyepan eyes and the kurawa representing the evil side with plolot eyes. the nose shape of the panji mask in bobung, like the eyes, is divided into two patterns: pangotan nose (long) and walimiring nose (short). the pangotan nose is long, so it becomes a symbol of lies in society’s hegemony, whereas a short nose is a symbol of honesty. the legend of pinocchio, for example, is a picture of honesty and lies, implying that when one lies, his nose will lengthen. muhammad & triyadi (2021) emphasize that a long nose is a symbol of a recurring lie. honesty and lies are two binary opposition patterns in social life. humans could indeed grasp the value of honesty in the absence of a lie, and a lie is not thought to exist in the absence of honesty. a paradox of pattern two can also be seen in the shape of the mustache and beard on the panji alusan and gagahan masks’ profiles in the bobung. gagahan’s profile must have a thick and scary moustache, whereas the alusan panji mask must have a thin mustache. the absence of a beard and a thin mustache creates a subtle and thoughtful impression. furthermore, the presence of a thick mustache and beard creates a dashing, scary, and scary impression. smooth, brave, wise, and frightening are binary pairs whose existence contradicts one another. the true contradiction is a unifier in the form of balance, which means that the two opposing twins cannot be separated and instead complement one another. the face color of the panji mask in bobung plays an important role in shaping each character’s personality. the alusan profile panji masks are typically white and yellow, whereas the gagahan profile masks are typically red and dark blue. white is a color associated with purity and goodness, whereas red is associated with rage and bloodshed (nurwanti, 2008). this is undoubtedly a conflict between good and evil, as represented by the colors white and red. the yellow color represents cheerfulness and friendliness, whereas the dark blue color represents depth and coldness (astrini et al., 2013). happiness and depth/coldness, based on their meanings, are paradoxical aspects of human nature. some people are happy, friendly, and easy to get along with, but some are cold, quiet, and difficult to open up. three-pattern the structure of the three worlds, namely the underworld, middle world, and upper world, is the basis for the triple pattern in the farming community. in pre-modern culture, this concept arose in a farming community (sumardjo, 2006). the upper world represents the sky, from harmonia: journal of arts research and education 22 (2) (2022): 311-325320 which rainwater will fall, the middle world represents humans, and the underworld represents the earth, which is home to various living creatures. this three-pattern structure is dualistic and antagonistic, meaning that the world above is paradoxical with the underworld, the world is paradoxical with the middle world, and the middle world is paradoxical with the underworld. the panji mask in bobung is structured in three patterns, though conceptually, it is far from a farming community. the central figure, the shape of the jamang, and the shape of the mouth all display the aesthetics of the triple pattern on the panji mask in bobung (figure 10). panji asmarabangun, dewi sekartaji, and raden gunung sari are the three central figures who serve as the foundation for the aesthetics of the triple paradox. figure 10. three patterns of panji mask (source: personal documentation, 2022) panji asmarabangun and dewi sekartaji are interpreted as male and female symbols in a two-pattern (masculine and feminine). gunung sari, a third character who appears in both male and female forms, arises between men and women. gunung sari is a male character with a preening woman’s aesthetic. gunung sari is a paradox in and of himself, as he can be both a man and a woman in the same body. men and women are diametrically opposed and cannot be separated because they both require and complement each other. men sometimes have a female soul, leading to the term bencong (sissy), whereas women have a male soul, which is often described as boyish. so, a male soul exists in a woman, even if it is a speck, and a female soul exists in a man, even if it is a tiny piece (yin yang). the three-pattern aesthetic is reflected in the shape of the jamang or crown of the panji mask in bobung. the tumpal, niche, and garuda mungkur forms are used to create this pattern based on the crown. garuda mungkur is a supernatural creature whose existence has come to represent the underworld. the perspective from behind and outside depicts how the underworld is full of mysteries guarded by supernatural beings. the shape of a niche in the form of a stylized plant that is stepped and jagged symbolizes the middle world in the panji jamang of bobung. the world is becoming a picture of human life and nature that care for and need each other. the upper world is represented by a tumpal in a pudak flower shaped at the middle of the jamang, which resembles a bowl of onions. the number of tumpal is limited to one, with the middle and top positions symbolising god almighty (the world above). this form exists in the same way that buds on the javanese shadow puppet mountains exist. a bud signifies the beginning of a new life within another life (loita, 2018). humans will die and then reappear in another world, much like buds. in javanese concepts, the underworld, middle world, and upper world represent birth, life, and death (subiyantoro, 2011). three is essentially two opposites organized in a pattern (dualistic antagonistic). birth (bottom) and life (middle) are initially paradoxical entities. the binary opposition to the end of life is also the essence of life (middle) and death (top). the essence that god’s living creatures must experience is the underworld (birth) and the upper world (death). figure 11. three pattern of jamang rujen (source: personal documentation, 2020) yasin surya wijaya et al., paradoxical aesthetics in panji mask visual structure: alusan and 321 the three-pattern structure of the panji mask in bobung can be seen in the three shapes of the mouth of the mask, namely the mingkem-shaped mouth, the prengesan-shaped mouth, and the gusenshaped mouth. the meaning of shaped mingkem mouth means quiet, meaning that not many words and sentences are put forward. the prengesan shaped mouth is a symbol of wisdom, meaning that the words that come out of the mouths of wise people are valuable sentences. the gusenshaped mouth is a symbol of people who talk a lot, laugh a lot, and say a lot of important or hurtful things. the mouth can not only expel but also enter what is outside of the body (food). figure 12. three pattern on panji mask mouth (source: personal documentation, 2020) four and five-pattern the aesthetic pattern structure of patterns four and five is nearly identical, with the exception that the concepts are from different societies. pattern four is inspired by coastal or island communities that rely on soil fertility and marine wealth, while pattern five is inspired by rice fields. according to sumardjo (2006), the four patterns in javanese cosmology are related to the four elements: hilly land, sky (rain), sea, and the human world itself. the concept of pattern-four is used in five-patterns, with the center point being the fifth. mancapat kalimo pancer or papat kiblat kalimo pancer (islamic influence) is a five-pattern in javanese tradition, whereas mancapat is a mandala concept in the hindu-javanese era (sumardjo, 2006). the center of the five-position pattern is very important, as it represents the kingdom (king) or god, and it must be oriented to the kingdom (king) or god by people from all over the world. in java, this concept is known as manunggaling kawulo gusti. the panji masks in bobung and the profiles of alusan and gagahan are made up of a fourand five-pattern structure that cannot be easily separated. the characterizations of the masks and the royal pattern on each character reveal the four-and-five patterns on the panji masks in bobung. the jenggala kingdom (north), daha kingdom (south), singasari kingdom (east), and bantarangin kingdom (west) are the four kingdoms mentioned in the panji legend (west). the kahuripan kingdom, led by airlangga, was originally one of the four kingdoms (pattern-five). an antagonistic dualistic structure is used to create this four-and-five pattern. panji asmarabangun hails from the jenggala kingdom (north), whereas dewi sekartaji hails from the daha kingdom (south). north is a symbol of earthly nature in the javanese concept, while south is a symbol of heaven (sumardjo, 2002). the earthly and heavenly worlds become two opposing binaries, but humans cannot be separated from the two worlds. the concept is symbolised by the symbols of panji asmarabangun and dewi sekartaji, who are unable to be separated despite numerous obstacles and trials. figure 13. four & five pattern on panji mask (source: personal documentation, 2022) northern symbol, panji asmara bangun, jengal kingdom, (worldly) harmonia: journal of arts research and education 22 (2) (2022): 311-325322 dualistic antagonistic patterns can also be found in the panji masks of the klana sewandana and gunung sari figures. the klana sewandana originated in the bantarangin kingdom (west), while gunung sari originated in the singasari kingdom (east). according to the javanese belief, the east and west winds are paradoxical opposites that represent the entities of birth and death (tulistyantoro, 2005). the sun rises in the east in the morning, signaling the beginning of a new life, whereas the sun sets in the west, indicating dusk and the beginning of death. humans work during the day (live) and sleep at night (dead). qur’an surah al-furqan (25: 47) allah says, “it is he who made for you the night (as) clothing and sleep for rest, and he made the day for waking up trying” (juliandi, 2014). gunung sari is depicted as both a male and a female figure simultaneously, symbolizing a child’s birth. the gender of a person is not clear while they are in the womb; it is only after birth that the gender can be determined. with the direction of the wind, that is, west, the klana sewandana can become the gunung sari paradox in the form of a symbol of death. the death flag is represented by the red color on klana sewandana’s face. the death flag is generally yellow, but red is used as a symbol of death in the solo area. birth and death are in opposition to one another, and both become the boundaries of another binary opposition, namely earthly and heavenly. heavenly (spirit) to earthly (physical) must first be born, and earthly to heavenly must first pass-through death, all of which are god’s predestined outcomes. conclusion the results of the study are classified into two parts: 1) the shape and meanings of panji masks in alusan and gagahan profiles, and 2) the paradoxical aesthetics of panji masks in alusan and gagahan profiles. the panji mask in the bobung alusan profile has a niche/rujen crown, nanggal sepisan /manjangan ranggah eyebrows, leyepan eyes, walimiring nose, mingkem/prengesan shaped mouth, no mustache/thin mustache, no beard, and is typically white, yellow, light blue, and green in color. the visual form’s meaning is linked to panji alusan’s character, which is gentle but powerful, honorable, kind, thorough, honest, simple, smooth, holy, cheerful, friendly, and peaceful. in bobung, the panji mask is a gagahan’s profile with rujen buto/bald, nanggal sepisan/manjangan ranggah eyebrows, plolotan eyes, pangotan shaped nose, prengesan/gusen shaped mouth, thick moustache, beard, and red, dark blue, yellow, and orange colours. the gagahan mask’s shape represents greed/power, gentle/strong, evil/careful, lying, fierce/ fierce, anger, depth, energy, and cheerfulness. the paradox aesthetic is based on the concept of binary opposition, which states that everything in the universe is built on opposites that complement and balance each other. the paradoxical aesthetics of the panji masks in bobung refer to four aesthetic patterns: pattern two, pattern three, pattern four, and pattern five. the four aesthetic patterns combine to form a dualistic antagonistic structural pattern or two opposing patterns. the pattern of two on the panji masks in bobung results in two binary masks that contradict both form and meaning. in bobung, the twopanji mask patterns represent the essence of the universe, which is divided into male-female binary oppositions, good-bad, blackand-white, etc. the three-pattern on the bobung panji mask represents the three worlds: the underworld, the middle world, and the upper world. this pattern can be seen in the shape, meaning, and characterization of the panji mask, which is built around three antagonistic dualistic oppositions. the underworld is opposed to the middle world, which is opposed to the upper world, and the upper world is opposed to the underworld. patterns four and five on the panji bobung mask are inextricably linked to the yasin surya wijaya et al., paradoxical aesthetics in panji mask visual structure: alusan and 323 classic javanese concept of kiblat papat limo pancer. the characterizations, mask shape, and meaning of the panji mask in bobung are patterned on four elements with one central point. patterns four and five are still based on the antagonistic dualistic concept of contradictory binary. the four main characters of the panji are from the four kingdoms and the four winds that oppose each other; however, all of the kingdoms were formerly one kingdom, notably kahuripan. the presence of the character panji asmarabangun from the jenggala kingdom (north/duniawi) in opposition to the figure of dewi sekartaji from the daha kingdom (south/haven) exemplifies this dualistic antagonistic pattern in patterns four and five. gunung sari from the singasari kingdom (east/birth) stands opposite klana sewandana from the bantarangin kingdom (west/death). the research results imply that people who read this study will understand the form, meaning, and value contained in the panji mask aesthetics. the results of this study can be used as a source of student learning in the classroom so they know and understand the value contained in the bobung panji mask. finally, the results of the study become a cultural preservation and it’s published, so all local and international communities will know and understand the essence of the panji mask in bobung. references astrini, w., amiuza, c. b., & 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(2017). pesan dalam tarian topeng panji cirebon. komversal: jurnal komunikasi visual, 2(2), 3–22. http://www.jurnal.plb.ac.id/index. php/komversal/article/view/126 235 historical accounts of the indonesian 16th-century music road triyono bramantyo, suryati suryati institut seni indonesia yogyakarta, indonesia submitted: 2023-02-06. revised: 2023-05-08. accepted: 2023-08-12 abstract this research aims to seek clarity from a historical perspective to trace back the transmission and the remains of gregorian chants in eastern indonesia. this study also seeks clarity from a historical perspective to trace back the indonesian situation prior to the arrival of the portuguese. the madjapahit empire (1293-c1520) dominated historical events as the first attempts to unify the country. the research method employed in this study was a critical historical method to analyze treatises of gregorian chants in eastern indonesia, with the remains still being found today and known as the holy friday procession in the islands of flores. under gadjahmada’s hands, an ordinary-ranking officer who succeeded in becoming prime minister (mahapatih) of the madjapahit kingdom, the initial attempt at pan-indonesia was successful, but the whole history of united indonesia was dramatically declined by the death of gadjahmada and since then united indonesia was collapsed. when the portuguese arrived in indonesia, followed by the dutch, british, and japanese, there was no such single authority in indonesia. the foreign powers trickily, exacerbated the situation and transformed themselves to strengthen their stronghold as occupiers. this important historical event was not known by the people of indonesia in general and by the indonesian historian in particular. therefore, this research is more important to be done today than later. keywords: music road; historical accounts; gregorian music how to cite: bramantyo, t., & suryati, s. (2023). historical accounts of the indonesian 16th-century music road. harmonia: journal of arts research and education, 23(2), 235-245 harmonia: journal of arts research and education 23 (2) (2023), 235-245 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.45796 for information and historical facts about the jesuits’ presence in maluku. this article was the result of research funded by the ministry of education, technology and research of the republic of indonesia, fiscal year 2023. the jesuits were the single most influential institution of teachers, academics, preachers, and pastors in early modern europe. however, catholic theologians, jesuit or not, are bound by the demands of a curriculum that has no place for politics or economics. but, the tenet of the jesuit paradigm is that what is important for the introduction in 2018, i wrote an article entitled “early acceptance of western music in indonesia and japan”, published in the arts and social sciences journal (doi: 10.4172/2151-6200.1000408). this article was a result of field research in 2017 as a personal initiative with the research product mentioned above. the writer was astonished to realize that so many remain in the form of folk music found in the islands of maluku. the impression was so deep that the writer needed to further search corresponding author: e-mail: bramantyo.triyono@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (2) (2023): 235-245236 continuity of the common good of the government, principles, and superordination and subordination, that is, relationships of command and obedience. most importantly, jesuit theologians followed these standard topics (hopfl. 2004:5). the formula of the institute, a brief summary of the goals and organization of the society submitted by ignatius of loyola and his companions to paul iii in 1539, describes the main purpose of the new community as simply the progress of souls in life and doctrine of christian and the spread of the faith by the jesuit, spiritual practice and works of charity, especially through the teaching of boys and the illiterate in christianity. it is clear from this that the society originally imagined that its main work was to nominally increase the level of piety, knowledge of doctrine, and morality (hopf. 2004: 9). in 1542, francisco xavier, the cofounder of the jesuit, visited india and provided a vital impetus to the missionary efforts that then took place in the portuguese possessions in asia. over the following decades, xavier, who is called the “apostle of the indies”, successfully carried out mass conversions in india, ceylon, japan, melaka, and indonesia before his death on an island off the coast of china. to facilitate this work, xavier had written to joao iii in may 1545 from the maluku for the establishment of an inquisition in goa ((ames. 2000:60). the liturgy was the basis for practicing and expressing the christian faith in the medieval west, and it is mediated through melody. the liturgical text is not read silently from the page, as is often the case in modern scientific experience, nor is it spoken. that is explicitly understood to mean the range of music from ornate singing soloists to simple weekday hymns sung regularly by entire monastic or clerical communities. beyond this, however, readings and prayers are chanted rather than recited. the melodic articulation of liturgical texts is thus fundamental to any understanding of how they were experienced in the medieval liturgy (hornby and maloy. 2013. preface). this is a critical note on the behavior of the portuguese when they seized malacca in cunning ways as described by subrahmanyam as follows: at night, they lowered the cannons from their ships, and the guns were hidden in boxes, saying that there was cloth inside: that’s how the portuguese misled the people of malacca. and they did that so that the people of malacca would not understand. then, some time passed, the stone house was finished, and all their weapons were ready. one midnight, when everyone was sleeping, the portuguese bombarded the city of malacca and destroyed all the houses of malacca (subrahmanyam. 2012:5. 2nd edition). method this study utilizes historical methods with a particular focus on the existing documents related to the topic, and this involves analyzing documents and records that have been preserved over time, such as individual records, diaries, letters, newspapers, and photographs. according to watanabe (1967:5), historical research is an account of historical events written in chronological order. r. g. collingwood states that historical research is concerned with human actions in the past; meanwhile, more precisely, marc bloch points to human activities in the past (topolski. 1973:52). the historical method must be essentially authentic. the time of its origin and the place to which it refers is known because only such a source can provide data about historical facts with their time and space determinants, which are the fundamental characteristics of those facts (le goff and nora. 1985:433]. interpretation of historical data, on the other hand, should be exclusively based on the written traces of human existence and constitute a new chronological series and would provide a completely new set of materials corresponding to the conceptual broadening that is currently taking place within the discipline (le goff and nora. 1985:18). triyono bramantyo et al., historical accounts of the indonesian 16th-century music road 237 meanwhile, according to muhammad hassan (2022:2), there are several types of historical research, but in this study, the writers only employed two of them. first, descriptive history is a type of historical research that focuses on describing events, people, or cultures in detail. it can involve examining artifacts, documents, or other sources of information to create a detailed account of what happened or existed. second, historical analysis is a type of historical research that aims to explain why events, people, or cultures occurred in a certain way. it involves analyzing data to identify patterns, causes, and effects and making interpretations based on this analysis. therefore, as a descriptive historical study, this article describes the events of the music road in early indonesia chronologically; the people might be involved in the events or cultures in detail if whenever it is applicable. this includes examining artifacts, documents, or other sources of information to create a detailed account of what happened or existed at a certain time or period. secondly, the historical analysis and aims of events, people, or cultures that occurred must also be considered. nevertheless, more importantly, it also involves analyzing data to identify patterns, causes, and effects, and then making interpretations based on this analysis. in addition to hassan’s techniques, it is necessary to use compilation, description, and critical analysis of primary and secondary historical sources with the intention of providing a contextualized explanation and interpretation of the phenomenon of interest found in the process of the music road of early indonesia. primary sources contain unpublished qualitative evidence regarding past events, territories, groups, individuals, and their interactions, originated by private and public individuals and local authorities, as well as information about the actions of such authorities. such sources may be archival or oral in nature. secondary sources are published analyses and descriptions of past events, geographic regions, groups, individuals, and organizations. results and discussion early jesuit music and its pedagogy an account by h.j. spencer (2020) informed us that the society of jesus, which was established in paris, france, by two men, ignatius loyola (1491-1556) and francis xavier (1506-1552) in 1540, had an important intervention for their missionary works around the world for a long time. brás, gonçalves, and robert (2018) proposed a question: their concern was limited to the religious catechism and opposed the teaching and dissemination of science? but accordingly, the jesuits were not only involved in education. they also taught the catechism and engaged in priestly ministries and in charity works. according to zwartjes (2011) in order to enable the people to speak to the local inhabitants, most missionaries had an excellent command of various ‘exotic’ languages. thus, very often, the missionaries knew multiple exotic languages. however, there is an assumption that christian terminology could not be translated and explained by the imposition of latin, portuguese, spanish, etc., as well as the introduction of loanwords from these languages in native languages. in the last part of this article, you might find music examples of the corrupted forms of the holy friday procession in larantuka of flores, east nusa tenggara, indonesia. tomasz jeż, on the other hand, made an inclination that music, considered a spatial phenomenon, had an important function in the mission, mostly due to its rhetorical qualities (jez. 2021:12, 42). he went on to say that the jesuit presence in artistic culture can be defined as a mission and an accommodation. he added that to ensure the widest possible reception of the preached content, the mission’s language and object to the people, times, and places had to be accommodated per the jesuit constitutions. all these subjects are crucial to understanding the jesuit modus operandi, which is also revealed in the musical culharmonia: journal of arts research and education 23 (2) (2023): 235-245238 ture. celenza anna harwell and anthony r. deldonna made almost the same acclaim that jesuits were capable of forming a community from any anonymous social group using an appropriate repertoire. looking for efficacious forms of religious instruction, they supported natural configurative strategies, which allowed a group to become self-directed, such as lay (school or citizens) congregations. furthermore, it is said, that music served in the identification and affirmation of these communities and confirmed its social structure and prerogatives (harwell and deldonna. 2014:43). this method was also applied in ternate when they were focusing on the instruction of boys gathered in processions, in church, school, or musical ensembles. that was supposed to be what had been taught in the collegio of ternate at that time. in addition, christian storch describes more specifically how a musical culture was established, how it interacted with local music traditions, and how both portuguese and local cultures influenced each other over the long term (storch. 2012:208). he cited the musicologists victor coelho and antonio alexandre bispo, who mentioned documents from 1512 and 1514, which give evidence for the beginning of choral singing. one of these documents is a letter of 17 december 1514 written by the malacca-based curator afonso martins to portugal’s king, dom manuel i, in which he asks for chant books to use for sunday masses in goa. martins complains about the lack of chant in one of the churches he visited, most likely the first version of the church of santa catarina, the first and the only church in goa at that time. these chant books, i believe, were transmitted also for the collegio of ternate, and implemented as well in flores. furthermore, according to a letter of 25 november 1514 from friar domingo de sousa to the portuguese king, written that the construction of the main parish church, santa catarina of goa, is about to begin, it is to have three naves, one crossing [sic.], a massively vaulted chapel, a choir loft above the main entrance and a bell tower. we now have evidence that the church of santa catarina was designed for musical purposes (storch. 2012:210). in addition, another account is based on the musicologist cristina urchueguía who has worked on this index for the répértoire international des sources musicales (rism). in her introduction, she argues that some of the compositions can be dated back to the first half of the sixteenth century and therefore would already have been present at court before joão was crowned in 1640. such compositions are worthy of our particular attention since they might be typical of musical culture at the time when portugal began to expand its power in the direction of southeast asia, although we do not know for certain when such compositions reached the court of the portuguese king (storch. 2012:211). she also described that by 1545, musical training and its attendants to the ceremony in goa had to become institutionalized as part of a pedagogical system for the parochial schools that all boys were required to attend (storch, 2012). portuguese settlements in southeast asia surely geared toward teaching children since they were the most open-minded and easy to influence. this is also what might have happened to the boys in the collegio of ternate. convincedly, the key was that music drew people to church, and once in church, the jesuits could preach to them and hear their confessions. musical activity was almost always referred to in these terms; there are terms that help the apostolic effectiveness of the order. first contact with gregorian music between the years of 1536-1539, during the time of antonio galvâo leadership, the number of casados (portuguese men who married native wives), their families and servants those who lived in the fortress of ternate or in the town adjacent to it were reported numbered 1,600 people. ternate then might have become a christian city. predictably in this settlement, the natives maluku have first contact with the triyono bramantyo et al., historical accounts of the indonesian 16th-century music road 239 gregorian chants. when galvâo came to ternate, he was greeted by a large crowd carrying the cross, singing te deum laudamus” (andaya. 1993:124). during his duties, galvâo successfully opened and led a school called collegio ternate (memorandum xavier, in jacobs. 1974: 63. vol. i. d. 21). in this collegio the doctrine of christianity, reading and writing latin and portuguese, and possibly music lessons too, have been taught by the missionaries. thus, this event marked the beginning of the spread of chanting gregorian chants in asia, an important event that occurred when europe was developing gregorian or medieval music. francis xavier, while telling his fellow jesuits in rome (letter of xavier, in jacobs. 1974:35. vol. i, d.10), mentions that he has prepared catechisms translated into malay that were sung enthusiastically by the children and women in ternate, bacan, moro and ambon. the catechism contains the creed, pater noster, ave maria, salve regina, confession, and declaration. another gregorian song, benedictus, is sung in the baptismal procession of the daughter of ternate, who is named dona isabel. during his stay in ternate, xavier wrote additional hymns in portuguese. another gregorian chant was sung at the mass of the ascension of the blessed virgin mary held on august 15, 1549, entitled gloria in exelcis deo. this song was sung with a deep mood and with a deep voice by the imam and followed by the people of the community (letter of perez, in jacobs: 1974: 14. vol. i. d.29). it is often said that the people of maluku were really capable of singing. one example is when xavier began his apostolic work soon after when he came, he went from house to house with a boy who served as his interpreter. people hide themselves or close their houses when xavier comes, but when xavier sings psalms and hymns, they leave their hiding places and come out (schurhammer. 1980: 77. vol. iii). in his daily schedule, xavier gives faith instruction twice an hour every day for children and adults. the result is immediate, in the open field and in the houses, boys, girls, and mothers sing the creed, our father, hail mary, confiteor, the commandments, and the works of mercy, day and night. the farmers in the fields and the fishermen in the sea sing the same songs, not worldly songs the usual ones. these were all sung in the language of the people and thus understood by everyone, both by new converts and by others who are not people christian. xavier immediately won the goodwill of christians and moslem people, and he was called by all as holy priest (schurhammer. 1980: 153. vol. iii). in manado, pero mascarenhas baptized the king and 1,500 souls. he also baptized the king of siau who ruled over 25,000 souls. in kaidipan, he baptized 2,000 men. he reported to the jesuits in portugal how much they loved singing doctrine. it was mentioned that when a new priest came, religious songs were sung as a greeting. in buru, mourning songs were sung at funerals (letter of mascarenhas, in jacobs. 1974:411. vol. i. d. 125). so, the transmission of gregorian chants further reached out to the areas of manado, makassar, and buru islands. it was another evidence of the increasing of the territories of the music road. it was reported in 1548, in the collegio of goa, enrolled four makassar students and six students of maluku. this number was then added by ten maluku boys brought by xavier back from his apostolic work in maluku. so, there were about twenty students from indonesia at that time. they were boys between the ages of thirteen and fifteen and are said to have good aspects and talents (schurhammer. 1980: 460-461). therefore, they had to take latin as a compulsory subject although there are other subjects such as logic, philosophy, theology, reading, written compositions, and the psalms. students assist high mass on sundays and holidays where they sing terce, sext, nones, and vespers. according to xavier’s goals the children would be solidly educated in the christian faith and equipped to work as apostles among their communities (jaharmonia: journal of arts research and education 23 (2) (2023): 235-245240 cobs. 1980: 188. vol. i). they were the first indonesians to be sent abroad as a group of students who officially had their first experience of learning western music at the college of goa, known as the center of the jesuit mission in asia. however, we do not have more information regarding their whereabouts in our resources afterward. if they studied well and returned to indonesia as priests or brothers, they must have played an important role in spreading western music through their apostolic work. throughout the document on documenta malucensia vols. i and ii found no indonesian names listed on the missionaries who were sent back to indonesia. jacobs, in this regard, said that it wasn’t before the twentieth century that people of indonesia would become imam (pastor) (jacobs.1980:104. vol. i). meanwhile, outside the land of maluku, on the islands of flores and timor, portuguese missionaries from the dominican order have also lived there since 1556. at that time, the north coast of solor and timor and larantuka on flores were the centers of commercial and missionary activity in portuguese. to protect the growing portuguese-christian interests, the stone fort was first established in solor. after the portuguese rule in maluku declined, first with the loss of the ternate fort in 1575, then the ambon and tidore forts in the year 1605, it also meant the end of the jesuit mission in maluku. however, the portuguese traders and the dominican fathers remained in the fortress of solor on flores until 1818. this is another place of evidence of further improvement of the music road to the islands of east nusa tenggara, and later on, will also be expanded to the present-day timor leste. as in maluku and ambon islands, the influence of western music was also strong in flores. kunst was fascinated by the musicality of the flores people when he was explained that from musical instruments he did not see much; however, when they were singing, they were more musically gifted than many others. unlike in flores, many sonorous male voices, singing simple songs by the river still sounds like a melody that might also please european ears. kunst said, how could there be flores people who could row without singing the rhymes, complete with soli (several soloists) and the refrain sung in the chorus? among these soloists, several voices might, with better training, become a good tenor, soprano, and bass” (kunst. 1942:11). remains of the jesuit music in larantuka of flores islands back in 16th century maluku, te deum laudamus, a gregorian chant sung in maluku in 1533, for which there are no printed scores, can be considered as one of the ancient hymns for mass sung in the style of antiphonal (i.e., alternating responses between imam (pastor) and jema’at (congregations). willy apel categorizes singing may be of greek origin, supposedly because of the textual similarity with the te deum. moreover, its melodic resemblance to the psalms (apel.1958:478). catechism hymns in malay prepared by xavier for his apostolic work in maluku in 1546-1548, seem probable to be gregorian chants of mozarabic (or visigothic) influence in spain. as we have seen, there are four branches or local styles of western chants: gregorian in roman, ambrosian in milan, gallican in france, and mozarabic (or visigothic) in spain (apel. 1958:5). apel notes a salve regina is also included in xavier’s translation of the malay catechisms. this is one of four types of antiphonals among the most beautiful creations of late medieval hymns in honor of the virgin mary. apel further explains that a large number of such chants were composed during the eleventh, twelfth, and thirteenth centuries, but only four of them have survived in current use: alma redemptorist mater, ave regina caelorum, regina caeli laetare, and salve regina. the first and perhaps the last might have been created by hermanus contractus (1013-1054), but the two other songs might originally from the 12th or 13th century (apel. ibid. p. 404). whereas pater noster and ave maria are triyono bramantyo et al., historical accounts of the indonesian 16th-century music road 241 usually used as the opening of the mass, which essentially consists of singing the psalms and the song of antiphons, lessons, and chapters with responses and hymns (apel. 1958:22). there is also a credo in the translated malay catechism of xavier, but it is not known which, because, there are more than three hundred melodies for the creed alone. gloria in excelcis deo is one of the christian hymns which is also sung in 16th-century maluku. according to apel it is known as hymnus angelicus, or, in distinction from that of gloria patri, or grand doxology, the second chant of the ordinary mass. it is very similar to the later text of the te deum, both are among the few remnants of the once thriving literary works known as psalmi idiotici, a new text based on the general literature of the psalms. this begins with the verse glory to god in the highest, and peace on earth for people of goodwill (apel.1958:409]. there are also portuguese liturgical songs sung at the good friday procession in flores, one of which is called louvado seja, that are now still being preserved by the sikka people of flores today. the settlements of portuguese traders and dominican pastors were stationed on this island as their last outpost in eastern indonesia before disappearing at the turn of the nineteenth century, except for east timor, which they occupied until the 1970s. the first report about these ancient portuguese songs was written by pastor c. le cocq d’armandville, s.j., who became a priest in flores in 1884. he made several visits to sikka until he came across a christmas play with portuguese masquerade dances that went terribly for a long time, and he also had the chance to witness the good friday procession with songs in latin and portuguese. sikka was completely catholic in the early seventeenth century. it is believed that during this century, the masked dances in christmas drama and the good friday procession were introduced there (heerkens, 1953). the songs in the good friday procession were full of obscure stories but everyone loves them. it is assumed that the songs have undergone constant changes over the centuries of creation, passed down from generation to generation orally or without notations. therefore, it is no longer clear where these songs originated after centuries have passed. the songs are not written down on paper; thus, they are so original and alive (heerkens. 1953:6. einleitung). these are very old choral songs that are deeply rooted in the language of the sikka people as we might imagine when they sing soulful songs even though they do not understand the meaning of each syllable but like-wisely they understood the contents” (heerkens. 1953:186). the story went like this. the young people pick up old portuguese crosses with a beautiful corpus (body of christ) and a golden crown on their head. they put it outside the priest’s house and put it on the highest altar. they took small objects with them to be brought to the church. meanwhile, the priest requires no preparation or anything to arrange because everyone knows what to do, and the people organize and do everything. the pastor then put a little powder on the cross, took some with his hand, and turned to the people in the dark church and sang very catchy old portuguese chants with a loud noise the lovado seja (see figure 1). figure 1. lovado seja [transcribed from heerkens. 1953:188]. tempo: slowly and freely, with bar lines indicating the phrase. to this introductory chant, the crowd sings a loud response, although some of them sing without any training or preparation, however, they sing joyfully: figure 2. louvado seja [transcribed from heerkens. 1953: 188]. the priest, while still standing in harmonia: journal of arts research and education 23 (2) (2023): 235-245242 front of the altar, turned the cross upside down by his hands to the people who sing again: figure 3. o santissimo [transcribed from heerkens. 1953:188] then two people replied to the singing in a very soft voice: o santissimo sacramento figure 4. o santissimo sacramento [transcribed from heerkens. 1953:188.]. then the pastor sings again aloud to a mixed text of latin and portuguese: “spell the rosary.” “o santissimo david regem (?) maria senjora nostra consebida sum macula.” figure 5. spell the rosary... [transcribed from heerkens. 1953:188]. then the people repeated the following chant consebida sum macula solemnly and soulfully, and the people began to reduce the volume to become very gentle until it finally comes to the word ‘amen’. figure 6. consebida sum macula ... [transcribed from heerkens. 1953:188]. figure 7. sinjo deus, misericordia. [transcribed from heerkens. 1953:189]. the soprano singer replied in a very sad voice: eli, eli, lamma sabbactani. figure 8. eli, eli, ... [transcribed from heerkens. 1953:190]. when these voices died down, there was a moment of deep silence in the church and then the sopranos sing the same melody one note higher: eli, eli, lamma sabbactani. figure 9. eli, eli, ... [transcribed from heerkens. 1953:190]. after a while there is silence again, they sing again this time also in a tone higher: eli, eli, lamma sabbactani. figure 10. eli, eli, ... [transcribed from heerkens. 1953:190]. during the second time of ‘eli, eli, ...’, four mostly aged people carried over the cross by carrying it on their shoulders and walking slowly and very carefully. they remained silent while walking with their eyes closed, as if about to react the sound is getting less and less. after the mourning song ‘eli, eli, lamma sabbactani’ finished, they moved quietly, not making any sound. now the sopranos sing again a third time, while all four members of the congregation of mary install a picture of maria in a sling and holding it carefully. when they start walking, the members of the jema’at (congregation) started to sing very slowly and monotonously, ‘heu!, hey!, domine!’ pastor heerkens said he had managed to find this text, which survived for hundreds of years in a very corrupted form: heu! heu! domine! heu! woe! wo! to us, oh lord! heu! salvator noster! woe! to us, triyono bramantyo et al., historical accounts of the indonesian 16th-century music road 243 our savior! pupili facti sumus, we are orphaned, absque patre et absque matre. without father or mother, matres nostrae quasi viduae; our mothers are as widows; cecidit corona de capite nostro! the crown has fallen from our heads vae! vae! vae! vae nobis, woe! woe! to us, quia, quia peccavimus! heu! for we have sinned! woe to us! [english translation found in kunst. 1942: 23.] figure 11. heu! heu! domine! [transcribed from heerkens. 1953:190]. meanwhile, the church was getting more and more empty and people were waiting in front church until the pastor left the church as the last person. he took pictures with him called ecce-homo (dying jesus) on the cover. two youths appeared carrying candles in their hands and came to the pastor who was about to unwrap the picture. when this program takes place, the pastor will be for fifteen minutes sing sikka’s ovos omnes in broken portuguese, let go of the cover image and he said: “ovos omnes qui transitis per viam, attendite et videte si est dolor similis sicut dolor meus.” (“oh, you who are here look, she is there, and the same sadness as i am feeling right now!”) figure 12. ovos omnes [transcribed from heerkens. 1953:191]. it should be added here that the people of larantuka, also in flores, have heu domine! and ovos omnes in versions of melodies that are different from those of sikkan. here is the notation: figure 13. heu domine from larantuka [transcribed from kunst.1942:23]. figure 14. ovos omnes from larantuka [transcribed from kunst. 1942:23.]. this next thing is a very special momentum right now. when everyone walked, there were only a few seriously ill, or very old people, and small children that doesn’t move. all others move and or actually become actors in this play. everyone is moving, and during this procession, the congregation now begins to sing another mourning song, heu! heu! domine! then people in front and back sang old songs with their unrehearsed voices, the songs are parts of the compilation responde mihi. the text of this song had become extremely corrupted after hundreds of years of inheritance passed down from generation to generation orally without text. of course, that meaning is actually very difficult to understand. the reason why this song became so broken and difficult texts is, as pastor heerkens conjectures that, “during hundreds of years, people at those festivals got pretty drunk with palm wine and brandy, etc. ., ... that the words quia eduxi te de egypto (‘who leads me out of egypt’), etc., ... should be answered with ‘you led me out of egypt’ but now becomes qui dusti deesto, which doesn’t make sense either in a language neither latin nor portuguese, not even in sikkanese. harmonia: journal of arts research and education 23 (2) (2023): 235-245244 figure 15. responde mihi [transcribed from heerkens. 1953:192]. then veronica, the soloist, climbed to a higher point than the surroundings, accompanied by the youths with lamps in their hands, singing ovos omnes from maumere (a neighboring town of sikka), which sounds absolutely beautiful. figure 16. ovos omnes from maumere [transcribed from heerkens. 1953:192]. the same ceremony is also held here, but now there is a male voice, the mighty one sings rhythmically like the waves of the sea another ovos omnes borrowed from konga, an area also on flores islands. figure 17. ovos omnes dari konga [transcribed from heerkens. 1953:192]. conclusion the results of this research were to prove and to describe the evidence of the history of western music in 16th-century indonesia, beginning with the first arrival of the catholic missionaries, mainly of the jesuits who came along with the portuguese army in 1534. it was during this time that the music road of indonesia took place and this is the focus of this study to elaborate and to search in detail what significant historical events might happen during the introduction and dissemination of western music in indonesia at that period. however, this study’s scope and areas should be limited to that of early 16th-century western music of gregorian chants that are still preserved and sung by the people of flores, east nusa tenggara islands, indonesia. the music road of indonesia was so prosperous that when francis xavier, a co-founder of the jesuits society in lisbon, portugal, came to ternate in 1543, he was astonished to find out how the local children were so capable of singing gregorian chants in both latin and portuguese texts so beautifully. these children have learned to sing gregorian chants at the collegio in the fortress of st. john the baptist in ternate which was founded by antonio galvao, a portuguese captain at that time. it should be noted here that this collegio, a type of school for boys, was the first of its kind in asia after the collegio of goa. the success story of collegio ternate, then by xavier was brought to hirado, a small island of hiroshima, japan, that later on was recorded as even more prosperous that the island was given the name little rome. the music road of 16th-century indonesia reached out in parts of easternmost indonesia from the whole parts of maluku to papua and the present day known as timor leste. but the most impressive one of the remains of this music road was the holy friday procession in sikka and larantuka of the islands of flores, east nusa tenggara, indonesia. this procession has been managed to be performed every year during the ceremony of the easter festival by the catholic people of flores for more than five centuries by now. as a consequence of practicing this ceremony without texts and notations for centuries, it can be understood how these very old gregorian chants have already been in corrupted forms. what can finally be reflected here is that if we more seriously manage our acceptance of western music since then, it might be musical history in indonesia be triyono bramantyo et al., historical accounts of the indonesian 16th-century music road 245 more interestingly developed in a more advanced level of understanding. more importantly, it might be that the history of classical music, as well as musical studies in indonesia, would be very developed rather than what we have achieved today. but, today rather than later, we have to struggle way more bravely and more seriously since historically we have the spirit of our musical background of a five-hundred-of-year music road of indonesia. references ames, g. j. 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(2011). “portuguese missionary grammars in asia, africa and brazil, 1550-1800”. john benjamins b.v. https://researchmethod.net/historical-research/ https://researchmethod.net/historical-research/ https://www.researchgate.net/publication/346296461 https://www.researchgate.net/publication/346296461 48 structural process and impacts of mentoring module in ballet certificate program: a case study on cbts program, royal academy of dance, malaysia xian yuin chen, sang woo ha universiti malaya, malaysia submitted: 2022-02-24. revised: 2022-05-22. accepted: 2022-06-13 abstract this case study aims to give an overview of the structural process of dance mentoring module and investigate its impact in malaysian dance education, exemplifying cbts program, known as certificate in ballet teaching study. for this study, the researchers have employed eric parloe’s mentoring model as a theoretical tool to re-interpret the process of cbts mentoring module. focusing on insider’s approach, also known as the emic perspective, the researchers used qualitative methods, such as interviews, auto-ethnography, and archive analysis. to discuss the necessity of the mentoring module, the researchers have examined the structure and process of cbts 404 mentoring module first. after that, this study scrutinized student-teachers’ purpose and experience while they were enrolling in the cbts program and analyzed the influence of the mentoring module based on the perspective and experience of the currently certified mentors. lastly, the researchers have explored the impacts of the mentoring module based on previous experience of the student-teachers and mentors. based on these analyses, the researchers have argued that the mentoring module, cbts404, plays an actual role in teaching how to apply acquired theoretical knowledge to practical teaching environments. keywords: ballet certificate program in malaysia, mentoring module, cbts program, royal academy of dance how to cite: chen, x. y. & ha, s. w. (2022). structural process and impacts of mentoring module in ballet certificate program: a case study on cbts program, royal academy of dance, malaysia. harmonia: journal of arts research and education, 22(1), 48-61 harmonia: journal of arts research and education 22 (1) (2022), 48-61 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i1.35245 the most popular association among malaysian ballet teachers and students (tallypress, 2020). malaysia, named malaya at that time, accepted the rad system from the united kingdom in 1953. the rad has offered two distance learning programs for participants (hereafter referred to as student-teachers) as follows: 1) certificate in ballet teaching studies (cbts) and 2) professional dancers’ teaching diploma (pdtd). many student-teachers tend to introduction in malaysia, there are currently a few ballet associations that provide several teacher training programs for people who want to be a certified ballet teacher: 1) the royal academy of dance (rad), 2) the imperial society of teachers of dancing (istd), 3) cecchetti, 4) vaganova, and 5) the commonwealth society of teachers of dancing (cstd). among the ballet associations operated in malaysia, the rad is corresponding author: e-mail: sangwooha@um.edu.my p-issn 2541-1683|e-issn 2541-2426 xian yuin chen, et al., structural process and impacts of mentoring module in ballet cer49 choose the cbts rather than the pdtd because the cbts is an online distance learning program available for student-teachers around the world. student-teachers in the cbts do not need to travel to london to attend classes. instead, student-teachers can attend classes online from their homes. on the other hand, the pdtd is a threemonth full-time program for professional dancers who want to teach ballet. the program should be only conducted in london and china. that is, the pdtd participants are required to travel to london or china to complete the required classes. hence, most malaysian student-teachers have preferred to choose the cbts program that can become a token to begin their career in the ballet teaching field. massen & kowalewski defined mentoring as “serving as a wise and trusted counselor to others” (massen & kowalewski, 2010, p. 13). this means that mentoring is the process that offers a wide range of advice with long-term goals and helps instill attitudes that promote achievements and participation. another scholar, queralt, mentioned that academics with mentors have a significantly higher level of career development than academics without mentors (queralt, 1982). this statement proves that a mentoring module is required in the educational setting. similarly, the role of a mentor in the cbts program is to guide each student-teacher in transferring the theoretical knowledge learned in the first year into the real teaching environment in the second year. student-teachers should discuss with their mentors, share ideas, and design his/her lesson plans. while designing and planning the lesson plans, only people who student-teachers can approach to get advice, guidance, and direction are their mentors. before and after the examination, the mentors offer practical advice, guidance, and direction, and their help leads student-teachers to complete the cbts program in the end. according to zachary & fischler, good mentoring depends on a reciprocal learning relationship between a mentor and a mentee by forming a partnership to work together to achieve a mutual goal that focuses on developing skills, knowledge, abilities, and thinking (zachary & fischler, 2009). in other words, a successful mentorship involves that both a mentor and a student-teacher should work together to achieve a goal. from the researchers’ standpoint, student-teachers attitudes toward cbts404 mentoring module would determine whether they achieve skills to transfer theoretical knowledge into practical teaching. that is, student-teachers need to consider the cbts404 mentoring module as a significant learning process to gain practical knowledge from their mentors and help student-teachers apply actual skills to real teaching moments. however, the researchers discovered that some of the student-teachers tend to treat the cbts404 mentoring module as a required course and complete it quickly to get a certificate. of course, the cbts404 mentoring module is one of the mandatory subjects for the ballet teaching certification; however, such a passive attitude toward the cbts404 mentoring module can lead student-teachers not to have the ability to transfer theoretical knowledge into real practice. practically speaking, what student-teachers experienced to learn from online teaching courses of the cbts does not mean that they are already equipped with teaching skills to transfer theoretical knowledge into real practice. in other words, knowledge learned from online courses is not able to be taught skills automatically. berry argued that “the concern with such courses is the implication of a hierarchy of ‘what to teach’ over ‘how to teach’” (berry, 2019). as berry mentioned, some student-teachers might not know how to transfer theoretical knowledge into their practical teaching because they are inexperienced teachers in the beginning stage of the dance education field. the lack of teaching experience could make studentteachers focus only on “what to teach” rather than “how to teach.” shulman argued that a “teacher must further understand why it is so” (shulman, 1986, p. 9). this harmonia: journal of arts research and education 22 (1) (2022): 48-6150 statement indicates that it is important for teachers to understand the rational reasoning behind the subject matter that they are teaching. on the other hand, ‘how to teach’ can be defined as pedagogical content knowledge. kleickmann et al. went on to mention that pedagogical content knowledge is “the knowledge needed to make the subject matter accessible to students” (kleickmann et al., 2012, p. 2). it indicates that teachers need to have skills to transmit knowledge effectively to ensure that their students understand what they are learning. in a similar vein, overlooking how to teach often happens to student-teachers who start teaching ballet with a cbts certificate. even though student-teachers teach based solely on the given syllabus book after gaining an official teaching certificate, at the beginning of the teaching stage tend to face difficulty in applying the theoretical knowledge to their teaching. in most cases, student-teachers are new teachers, so they still lack real teaching experience. hence, student-teachers might not be able to respond to some sudden situations. for example, when a student is unable to follow ballet techniques, a new studentteacher with the certificate might not take prompt action to the student’s learning trouble. in this repsect, it is the fact that many student-teachers tend to rely on what to teach while overlooking how to teach. to overcome this issue, the cbts program has included a mentoring system to help student-teachers expand their experience of real teaching, giving proper advice and guidance face-to-face. kara stated, “positive beliefs of students towards obtaining knowledge support their efforts to learn a subject” (kara, 2010, p. 51). this statement enabled the researchers to indicate that the positive attitude of student-teachers is a key to amplify their knowledge and skills that can be applied in real situations. the studentteachers attitude would keenly affect the outcome that they gain during the cbst mentoring module. in this case study, the researchers first examine the structure and process of cbts 404 mentoring module. secondly, the researchers identify studentteachers’ purpose and experience while enrolled in the cbts program. this article also analyzes the mentoring module’s influence based on the perspective and experience of the currently certified mentors. lastly, this case study aims to analyze how effectively mentors-directed guidance can help student-teachers apply and transform theoretical knowledge into real practices. in this article, the researchers would like to emphasize that accessing the mentoring module is as important as receiving the program certification in that it guides student-teachers to enlarge their real experience before joining the actual teaching field. method this case study is designed by qualitative methodology, including in-depth interviews, auto-ethnography, and archive analysis are used in data collection and data analysis. based on these methods, the researchers put weight on the insider’s approach, known as the emic perspective. murchison stated that researchers become the primary research instrument to collect and record data because of their unique position as participant-observer as well as the oral testimony of research subjects (murchison, 2010, p. 13). this means that the data collected comes from both the researchers themselves and the research participants that the researchers wish to access. of course, there may be questions about the possibility that such information is too subjective data when emic qualitative research methodology is often based on the views of a small number of individuals. to reduce the subjective view of the study, the researchers reinterpreted the cbts mentoring model using parsloe’s mentoring model. the researchers also dealt with the experience of being a mentor as a provider and a student-teacher as a receiver. in addition, the self-reflection of the researcher was inserted in this analysis. the researchers are convinced that such xian yuin chen, et al., structural process and impacts of mentoring module in ballet cer51 methods not only strengthened the study’s objectivity but also reduced bias in data analysis. a total of five (5) mentors and ten (10) student-teachers were involved in the interview. during the interview, the mentors were asked to share their experience working with their student-teachers throughout the cbts mentoring module. the mentors were also asked to share methods used in guiding student-teachers to transform theoretical knowledge into actual teaching environments. in the interview with the student-teachers, they were asked to share their experience under the guidance of their mentors throughout the mentoring module. the student-teachers also shared how they decided to join the cbts program and how the program helped them in their teaching. the researchers’ experience and personal reflections were included as an example to support the researchers’ arguments throughout this case study. as a certified rad ballet teacher, the researchers utilized their own experience to provide experimental information to this case study. hence, the researchers are convinced that we are people to be familiar with the structural process and impacts of the cbts program. in company with the interviews and self-reflection, the rad’s official website played an essential role in this case study as it is the key source to gather information about the cbts program. other online journals and research databases like jstore and project muse also played an important role in discovering related sources on mentoring models. applied theory eric parsloe’s theory about an ideal mentoring model is mainly applied in this case study as a tool to discuss the necessity of cbts404 mentoring module. this model was produced by eric parsloe summarizing the four mentoring stages. due to a copyrights issue, the researchers reconstructed figure 1, summarizing the four stages of the generic coach-mentoring process (parsloe & leedham, 2009, p. 21). figure 1. the four stages of eric parsloe’s mentoring model for the model, parsloe specified four stages: 1) analyzing for awareness of need, desire, and self; 2) planning for self-responsibility; 3) implementing using styles, techniques, and skills; and 4) evaluating for success and learning (parsloe & leedham, 2009, p. 21). based on this model, he emphasized that the mentoring stages are not straightforward processes but continuous movements within the whole process. all stages are overlapped. the following sections will address the detailed application of parsloe’s mentoring model. result and discussion structure and process of cbts 404 mentoring module according to jackson & price, “mentoring delivery exists in a variety of models and has been widely explored both from a pastoral and well-being perspective as well as from a learning perspective. many models draw on adaptions of business sector models to support new entrants into a particular environment” (jackson & price, 2017, p. 101). their statement indicates that mentoring programs play an important role in determining the effectiveness of the program in various fields. therefore, prior to discussion of the effectiveness of the module program, it should explore the structural process of cbts404 mentoring module. the cbts mentoring module occurs in the program’s second year when harmonia: journal of arts research and education 22 (1) (2022): 48-6152 student-teachers are in the fourth module, cbts404 practical teaching. as stated in the cbts program handbook, student-teachers are required to teach at least 45 classes within the duration of the mentoring module of 10 months, from january to october, accompanied by three visits for observation (2020, p. 29). with the practical teaching supervisor (pts), student-teachers visit each different dance studio. upon completion of the module, it is aimed that each student-teacher should be well equipped and ready to begin to teach on their own. figure 2. structure of practical training in the cbts program figure 2 above displays the structure of the practical training in cbts 404. as seen in the figure, observation of each mentor’s teaching is the first step before student-teachers gain opportunities to teach the whole class. a student-teacher observes how his/her mentor teaches other students in class. during this observation, the student-teacher sits at the side of the class and makes a note of what s/he observed. this example indicates that during the observation, the student-teacher learns teaching style of a mentor. in most cases, the mentor asks the student-teacher to observe as much as possible and would encourage him/her to observe different grades. it is because, through more observations about various situations, the student-teacher can recognize those situations and learn to minimize disconcerted conditions. hence, such observations enable all student-teachers to have indirect experience to manage any situations that they might encounter while teaching. after observing a few classes, a student-teacher act as an assistant teacher to assist his/her mentor during class. in this stage, a mentor guides the student-teacher to correct his/her mistakes in class. when the mentor thinks that the student-teacher is ready to teach, the mentor allows him/ her to teach part of the class. for example, the mentor asks the student-teacher to teach one or two exercises based on the syllabus book, or the mentor allows the student-teacher to teach a certain exercise during the last 15 minutes of the class. the mentor then observes how the student-teacher teaches and conducts the class. after a few months, or when the mentor thinks that the student-teacher is ready and well prepared to teach on their own, the mentor asks the student-teacher to prepare his own lesson plans and begin to teach the whole one-hour class. the class that the student-teacher teaches becomes the class that the student-teacher uses for their pts visits. the mentor observes the studentteacher’s teaching and provides feedback and suggestions at the end of the class. unlike the regular structure of the mentoring module, there are cases where student-teachers can skip the first three processes and directly join to teach the full class in cbts404. to have such a fast track, a student-teacher should have one or two years to observe and assist a selected mentor before the official enrolment in the cbts program. after observation and assistance before the official enrolment, a student-teacher usually decides to participate in the cbts program and selects his/her mentor. one of the researchers was also on the fast track when she took the cbts program. the researcher started observing a mentor’s teaching and assisting her in class for two years starting in 2012. after then, the researcher enrolled in the cbts program in 2014. because of completing two years of observation and assisting, the researcher could immediately jump into teaching the full class when the researcher started cbts404. figure 3 presents the whole process of the mentoring module: xian yuin chen, et al., structural process and impacts of mentoring module in ballet cer53 figure 3. process of mentoring module in the cbts program before a student-teacher starts to teach the class to prepare for the pts visits, a mentor meets the student-teacher to talk about his/her aims and objectives in ballet class. the mentor also tells the studentteacher expectations of the mentor. once the mentor and the student-teacher are clear with each other’s expectations, the mentor sets up schedule of the classes for the student-teacher to teach. the mentor should usually allow the student-teacher, who does not have an own class or studio, to use regular classes of the mentor. hence, the student-teacher takes one or two of the mentor’s regular classes to teach during the practical teaching. if a student-teacher can prepare his own studio, his/her mentor comes to the studio on a class day to observe how the student-teacher teaches. before each class, the student-teacher provides the mentor with a copy of the lesson plan so that the mentor has an idea of what the student-teacher had prepared for class in advance. during the observation, the mentor does not interfere or interrupt the studentteacher and just observes until the end of the class. the mentor and the studentteacher have a short discussion after each class. the student-teacher can express his/her thoughts and share ideas with the mentors. the mentor also gives suggestions and guidance based on his/her experience. this helps the student-teacher to minimize non-effective teaching methods and allows the student-teacher to improve lesson plans. the mentor indirectly assesses the student-teacher for improvements based on the following lesson plans and the student-teacher’s responsiveness to a situation in class. for student-teachers to be eligible to take part in the teacher training program, they need to be familiar with the syllabus of the ballet association. student-teachers who participate in the cbts program have usually learned and studied the rad syllabus since childhood and for a long time. hence, when student-teachers participate in a teacher training program, they sign up for the cbts program without hesitation. this is because it takes up a lot of time, cost, and effort for student-teachers to pick up and be familiar with a new syllabus before signing up for other teacher training programs. application to eric parsloe’s mentoring model the structural process of the cbts mentoring module can be re-interpreted according to the stages of parsloe’s model (2009). the first stage of the parsloe’s model (analyzing the awareness of need, desire, and self) happens during the first meeting between a mentor and a studentteacher. before the student-teacher starts to teach class during the pts visit, the mentor meets the student-teacher to talk about the aims and objectives of the student-teacher in ballet class. once the mentor and the student-teacher are accurate with each other’s expectations, the mentor sets up class schedules for the student-teacher to teach. the second stage of the parsloe’s model (planning for self-responsibility) can be applied when the student-teacher begins to take responsibility for his/her actions and execute an action plan. during this stage, the student-teacher is ready to work with the mentor in discussing ideas and designing lesson plans in detail. the student-teacher also needs to set a timetable and ensure that he/she is on the right track. the mentor can monitor the progress based on the schedule provided by the student-teacher. the third stage of parsloe’s model harmonia: journal of arts research and education 22 (1) (2022): 48-6154 (implementing the use of styles, techniques, and skills) demonstrates how the mentor helps the student-teacher put actions into practice. after the studentteacher plans and designs his own lesson plans with the mentor, he/she applies the learned skills to transfer knowledge into real practice. during the observation, the mentor does not interfere with or interrupt the student-teacher. instead, the mentor observes to the end. in the final stage of parsloe’s model (evaluating for success and learning), the mentor has discussion sessions with the student-teacher to evaluate the whole process critically. the student-teacher is allowed to express his/her thoughts to the mentor. after listening to the studentteacher, the mentor gives suggestions and guidance based on his own experience. the mentor indirectly evaluates the studentteacher in terms of his/her improvements and responsive capability to the given situations of class. thus, in an analogous vein to parsloe’s model, the mentoring process in the cbts program is an iterative cycle and ends when student-teachers complete the program. the researchers have considered that there is a similar interlock between parsloe’s mentoring model and the cbts mentoring process. for readers, matching with parsloe’s mentoring model provides a better understanding and clearer visualization of the mentoring process in the cbts program. student-teachers’ viewpoint and experience from the cbts mentoring module as stated by baran, the mentoring process is a resolutely process implemented to support the employees of an organization (baran, 2016). in conjunction of the statement from baran, the cbts provides student-teachers with the mentoring program to student-teachers that help broaden their teaching knowledge and skills. figure 4 below is taken from oral testimonies from ten (10) student-teachers who had completed the cbts program from 2011 to 2020. this result displays the reason student-teachers decide to join the cbts program. student-teachers join the cbts program because they see the program as an opportunity for better career development. figure 4. purpose of student-teachers to join the cbts program according to student-teacher 1, she saw the cbts program as a continuing development to retain a ‘rad registered teacher status.’ the cbts program provided an opportunity for her to take an active role in her career development as a professional dancer to be a qualified ballet teacher (student-teacher 1, personal communication, april 5, 2021). out of ten (10) studentteachers involved in this case study, five (5) of them decided to join the cbts program to become qualified ballet teachers. through the program, they, who had worked as part-time but non-certified ballet teachers, wanted to learn, understand, and know more about techniques and teaching skills. their goals and objective were to complete the program and be able to sign students under their names for examinations in the future. joining the cbts program was not a part of the plan for student-teacher 5, but she decided to join the program as an additional option for her career development (student-teacher 5, personal communication, april 5, 2021). student-teacher 3 and student-teacher 9 also decided to join the cbts program because they wanted to open their dance studio and become certified teachers of the cbts program (student-teacher 3 & student-teacher 9, personal communication, april 5, 2021). as for student-teacher 10, her purpose for joining the program was similar to student-teacher 1, which wanted better career development (student-teacher 10, xian yuin chen, et al., structural process and impacts of mentoring module in ballet cer55 personal communication, april 5, 2021). both student-teacher 1 and 10 were professional dancers, and they decided to venture into teaching dance. for them. joining the cbts program was one of the fastest and easiest ways. another reason that led student-teacher 10 to join the cbts program was that she wanted to teach her students more properly and professionally. kram argues that mentoring fulfills a psychosocial function when there is trust, emotional support, shared problemsolving, role modeling, counseling, acceptance, and affirmation (kram, 1983). this emphasizes that good mentoring covers practical to emotional skills. holloway’s quotation from scott’s statement is similarly addressed: “experience teachers were particularly enthusiastic because they believed that mentoring allowed them to help others, improve themselves, receive respect and profit from the novice teachers’ fresh ideas and energy” (holloway, 2001, p. 85). this statement underscores the importance of receiving “mentoring” even for experienced teachers. in this context, the first thing a new/in-experienced teacher should do before going to the forefront of the educational environment is to experience mentoring firsthand. for example, as a dance graduate, student-teacher 1 could combine her experience and grasp much knowledge and skills given by her mentor through the mentor’s experiences after completing the cbts program. student-teacher 2 learned how to use different ways to break down each exercise for different levels of students, and better understood the fundamentals of ballet from her mentor (student-teacher 2, personal communication, april 7, 2021). as for student-teacher 3, she learned about teaching philosophy of ballet and at the same time acquired philosophy of living life from her mentor. student-teacher 3 applied almost 70 percent of what her mentor taught into her current teaching (student-teacher 3, personal communication, april 5 2021). student-teacher 4 learned how to plan for her students’ progressions and how to set the effective ways and goals for her students (student-teacher 4, personal communication, april 7 2021). student-teacher 5 developed skills and techniques to provide clear and easy explanations to her students from her mentor. with the ability to teach different dances, student-teacher 6 learned different ways to help students with different types of difficulties (student-teacher 6, personal communication, april 7, 2021). throughout the mentoring, the mentor of student-teacher 7 guided her to change her bad habits of not looking at students during the class demonstration (student-teacher 7, personal communication, april 6, 2021). she tended to look at herself instead of making eye contact with her students. student-teacher 8 improved her mentoring skills (student-teacher 8, personal communication, april 6, 2021). she learned how to explain and provide descriptions to students. student-teacher 9 developed skills to create a fun learning environment with her mentor. her mentor was good at communicating with younger students and always created a different, fun learning environment each time. upon completion of the cbts program, studentteacher 9 can create a fun learning environment and continue it for her students. lastly, for student-teacher 10, her mentor taught her a way to look at things differently. her mentor always showed good energy that impacted student-teacher 10 until today. figure 5. influences of the cbts program on student-teachers’ teaching to sum up, figure 5 above shows how the cbts program influenced stuharmonia: journal of arts research and education 22 (1) (2022): 48-6156 dent-teachers in their teaching. this figure reminds the researchers of scott’s three positive influences from mentoring mentioned by holloway on the previous page: 1) helping others, 2) improving and respecting oneself, 3) gaining from the novice teachers’ fresh ideas and energy (holloway, 2001, p. 85). while in the cbts mentoring module, student-teachers acquired how to help others/their students that would match with the first influence of scott. they also learned how to develop teaching know-how for plans, skills, and demonstration, which can relate to the second influence of scott. as in the third influence of scott, student-teachers could learn how to think differently and create fun and non-repeated conditions in teaching. therefore, what the researchers found in the student-teacher’s oral testimonies proves that having a mentoring module positively impacted them, and they still reflect on what they learned from the mentors in their teaching. in other words, it is said that the direct experience of the cbts mentoring module has influenced new/in-experienced teachers. mentors’ viewpoint and experience from the cbts mentoring module the pairing of a good mentorship between a student-teacher and a mentor is important. as argued by greene et al., the mentorship pairing is usually based on an informal evaluation of personal traits (greene et al., 2019, p. 82). in company with the pairing of the mentorship, cesa & fraser argued that a healthy mentorship requires the attention of both a mentor and a mentee to each other’s changing needs and the flexibility to accommodate these needs (cesa & fraser, 1898, p. 127). this means that both mentors and student-teachers need to adapt to each other’s needs throughout the mentoring process. of course, in the cbts mentoring module, student-teachers select their own mentors, but from the mentors’ point of view, it is said that the characteristic and attitudes of student-teachers also play an important role in determining the performance of the student-teachers during the mentoring program. mentor 1 considered that student-teachers need to have passion and desire to pass down knowledge to their students to achieve teaching goals (mentor 1, personal communication, march 15, 2021). student-teachers should also look deeper to understand the process of how students do well in dance. mentor 1 stressed that student-teachers should not teach students without mastering skills and understanding the theory of ballet steps. mentor 2 perceived that student-teachers should have patience as much as passion when they teach. of course, for student-teachers, the teaching job is closely related to their living expenses, but student-teachers should make an endeavor to arouse students’ interest in dance. when student-teachers portray passion for dance to their students, it motivates students to learn dance. as mentor 2 testified, “once we have the passion, we will have the patience to teach” (mentor 2, personal communication, march 16, 2021). this quotation indicates the importance of student-teachers patience while delivering knowledge and skills of ballet. mentor 3 viewed that student-teachers need to be open to teaching and learning and are willing to listen with humility (mentor 3, personal communication, march 16, 2021). student-teachers should also be someone who can accept criticisms and is keen to improve their teaching and learn from their mentors. in addition, studentteachers need to be hardworking and have good time management skills. mentor 4 had the same point of view as mentor 3, who emphasized hardworkingly and a lot of effort to learn (mentor 4, personal communication, march 26, 2021). this is because student-teachers are required to spend time researching by themselves while in the cbts program. student-teachers need to look for information on ways to improve their teaching methods and styles. as for mentor 5, she regarded that student-teachers need to have the initiative to ask questions (menxian yuin chen, et al., structural process and impacts of mentoring module in ballet cer57 tor 5, personal communication, march 25 2021). in the beginning stage, studentteachers may feel shy to ask their mentors questions. however, the mentoring module is the best time and opportunity for student-teachers to ask multi-layered questions and seek advice and guidance from their mentors. sometimes mentors may not be aware of the challenges that each student-teacher is encountering. thus, student-teachers should actively ask mentors for advice or guidance to overcome their difficulties. based on the oral testimonies above, the researchers detected that the attitude of student-teachers determines the effort that the student-teachers put in to complete the cbts program and also determines the willingness of the student-teachers to learn from their mentors. in this respect, the researchers also found that the majority of student-teachers in the cbts program are humble and give full respect to their mentors, and they aim to learn as much as they can from mentors. as evidenced by the research informants, the student-teachers took all advice and guidance from their mentors openly and showed improvements every time. mentors also tried their best to provide full support to their student-teachers. the mentors never turned down their student-teachers and always stood by student-teachers’ side to provide the needed support, guidance, advice, and motivation. the mentoring involved was positive, and no negative comments were mentoring. it can be seen that the studentteachers have applied their real teaching ways and style to the education they learned from their mentors. impacts of the cbts mentoring module through the oral testimonies of student-teachers and mentors who have experienced the cbts mentoring program similar to parsloe’s mentoring model, the researchers have argued that the cbts mentoring module has positive impacts on student-teachers who become novice teachers. through the mentoring model, parsloe expected that the model can build confidence and evaluate the effectiveness of mentoring in all aspects(parsloe & leedham, 2009). as in parsloe’s expectation, the researchers discovered that the mentoring model meets the expectations of the cbts mentoring program. in accordance with parsloe’s argument, gakonga directly argued that mentoring should be composed of three elements: 1) “technical support,” 2) “support with reflection,” and 3) “emotional support” (gakonga, 2019, p. 433). mentoring in technical support is an important aid in developing knowledgeable professionals. the second is as a facilitator of reflection so that mentees themselves identify their shortcomings and enrich the mentees’ reflective practice. in emotional support, mentoring can function effectively in challenging situations that novice teachers can experience. some scholars in humanities science see these aspects of mentoring as impacts of alternative or competing models. the statement of wilson et al. is similar to gakonga’s arguments: a valuable aspect of the mentoring process is the feeling of being involved. this kind of connection helps mentees feel positive about what they are doing, improve their confidence level, and help them deal with the feeling of self-doubt when they feel that they are not qualified for the job (wilson et al., 2002, p. 326). these three impacts – technical support, support with reflection, and emotional support – are clearly demonstrated in the cbts mentoring module. firstly, a major impact of the cbts mentoring module is that mentors provide knowledge and advice whenever student-teachers need it. this can also help student-teachers to minimize the possibility of teaching their students in the wrong way. for example, a mentor teaches grade 1 students how to do proper demi plies. during the class, the mentor decided to use guided discovery as the teaching method. the mentor then demonstrates to the grade 1 students two different versions of doing a demi plies. after that, the mentor asks which version of demi plies is suitable harmonia: journal of arts research and education 22 (1) (2022): 48-6158 for the grade 1 students. when the grade 1 students select the right one, the mentor praises the students and asks the students to show the right demi plies. if the grade 1 students select the wrong one, the mentor demonstrates again and asks the students to look and think carefully about which one is the right one. it can cover the technical support that gakonga emphasized (2019, p. 436). the mentor’s practical and specific teaching contexts help a student-teacher in the cbts program gain insight into how different teaching methods are used when teaching different grades. when the mentor finds that the teaching method used by the student-teacher is not appropriate, the mentor then hints the student-teacher to think of another teaching method that is more suitable and effective. secondly, when student-teachers begin to teach right after being certified, they might not be aware of their own weaknesses. student-teachers can overcome their weaknesses with the help of their mentor as gakonga argued the second element, support with reflection (2019, p. 437). they stated that “ask any successful dancers how they got to where they are today, and they will thank a teacher (or three) for helping them to reach their potential (2013, p. 66). this indicates that everyone can be successful with the help of a teacher or more. for example, when a mentor asks a student-teacher to prepare warm-up or cool-down exercises to teach as part of the class, the student-teacher can gain specific advice from the mentor. the mentor keenly checks whether the student-teacher pays attention to the followings: 1) the proper distance that students keep with one another, 2) the suitability of movements designed in a warm-up or cool-down exercise, and 3) the effectiveness of the exercise designed. with the help of the mentor, it is time for the student-teacher to realize what is his/her lacking parts in teaching and to quickly find a way to flexibly respond to other types of situations that may arise during class. one of the researchers experienced a similar situation when she designed a set of stretching as a warm-up for one of the classes that she taught. after the class, the mentor told the researcher that stretching was not suitable as a warm-up because students had just come for a class, and their muscles had not yet warmed up. the mentor cautioned that students would soon be injured if the researcher continued to use this stretching method to warm up. the mentor’s comments enabled the researcher to recognize the inadequacy of movements. after learning from the mentor, the researcher always conducted stretching sessions 15 minutes before the class ends for each class. thus, the mentor-directed advice enabled the researcher, who was then a student-teacher, to be aware of the effectiveness of the exercises designed for students. this is because ballet requires highly technical movements, and if the designed exercises are not suitable or effective for the class, it will not benefit students, nor will it help the movement progress of the students. lastly, the cbts mentoring module has also impacted student-teachers to increase their confidence in their teaching and ensure the student-teacher unremitting enthusiasm for their teaching as gakonga stressed the third element, emotional support (gakonga, 2019, pp. 434–435). morris quoted schonberg’s sentence:” i am trying to teach the unteachable … in the process of surmounting these hurdles, students learn to think and work creatively” (morris, 2012, p. 10). with the mentoring module, mentors always encourage student-teachers to never give up easily, even when faced with difficulties. in order to respond to the mentors’ requests in a timely manner, student-teachers would sometimes meet tight deadlines. however, in addition to having confidence in student-teachers teaching, it is also important for studentteachers to boost confidence in in-person education. student-teachers must motivate and encourage their students just as mentors do with student-teachers during the mentoring module. furthermore, student-teachers shouxian yuin chen, et al., structural process and impacts of mentoring module in ballet cer59 ld balance stronger and weaker students in their class. this is because each student has different abilities. such an imbalance would affect not only students but also student-teachers. a mentor is a person who shares practical experience and helps student-teachers conduct balanced classes. the mentoring module is an opportunity to meet mentors up close. although the learning process is complicated, such practical experiences with mentors can only be accessed during the mentoring module. through this mentoring process, studentteachers can expand knowledge and experience simultaneously. conclusion the rad ballet association has educated many students to become wonderful ballet teachers for the past 100 years in the united kingdom, malaysia, and other countries. in the case of rad studentteachers in malaysia, the cbts program can be considered one of the fastest ways for better career development. the cbts program has also helped many studentteachers to be qualified and certified ballet teachers in malaysia. in the researchers’ view, while completing the whole program, mentoring is required at the very last stage but plays a significant part in ensuring that student-teachers are well prepared and ready to begin their career as ballet teachers. except for the rad program, other ballet associations in malaysia offer teacher training programs. of course, the researchers do not intend to compare them or say that the rad system is the best. rather, the researchers want to allow readers to get better insights into the long-distance training that is provided to rad students to become qualified ballet teachers as a part of their career development. through this case study, readers can also better understand the mentoring process during the cbts program. in addition, readers can also catch up impacts of the cbts mentoring module. the researchers have demonstrated that the mentoring module effectively produces mentors-directed guidance. the mentor’s practical guidance induces student-teachers to apply and transform theoretical knowledge into real practices. therefore, the researchers would like to argue that accessing the mentoring module cannot be ignored during the cbts program because it is an important process to guide student-teachers to broaden their real experience before entering the teaching field. while conducting this study, the researchers encountered a few limitations. firstly, due to the clashing of timetables, the researchers did not manage to conduct participant observation while collecting data. out of five mentors, only one is currently mentoring student-teachers for the cbts program. for this reason, the researchers could only observe mentoring moments of a mentor while collecting oral testimonies comprehensively from interviews with the other mentors. moreover, the interval of interviewees’ oral testimonies had happened for some time where the majority of student-teachers have completed the cbts program for more than 3 to 5 years. hence, the oral testimonies provided are based on selective memories of the student-teachers and mentors. in future research, the researchers can include data from participant observation and gather oral testimonies from participants who have recently completed the program within a year. on top of that, although mentoring is a general process that occurs in other fields, it has yet to be applied to malaysian dance studies. hence, this would be the first trial of applying the educational mentoring theory to a dance study in malaysia. some people would usually consider the process of dance education to be like the other sectors. however, the dance education sector in malaysia is not that broad and is still growing. therefore, the connection of dance studies with existing theories is limited. in such a context, the researchers’ attempt to apply the existing theory to malaysian dance education studies would be meaningful. this case study can be a good example for future research related harmonia: journal of arts research and education 22 (1) (2022): 48-6160 to dance education for malaysian dance scholars or students. the researchers hope that based on this case study, other dance scholars or students will be motivated to attempt to make a connection between the existing educational theories and apply them to their dance research. the researchers also hope that dance education as academic research is further developed in malaysia and even other asian countries. acknowledgments this article is extracted and revised from a master project on analysis of mentorship in the royal academy of dance. the researchers are immensely grateful to all 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(2009). what we know about good mentoring relationships. in the mentee’s guide making mentoring work for you (1st ed.). wiley. 1 the dynamic phenomena of strékan music from colonial to contemporary era in situbondo panakajaya hidayatullah faculty of cultural science, universitas jember, indonesia received: march 31, 2017. revised: may 6, 2017. accepted: june 3, 2017 abstract this research is an anthropology of music which discusses the dynamics of strékan music from colonial to contemporary era in situbondo. in situbondo, strékan is a term which refers to music for welcoming guests. by ethnography method and postcolonial perspective, this research will discuss social problems and phenomena of strékan music. the result of this research shows that a change of strékan music signifies a change of social condition in situbondo. in colonial era strékan is assumed by people like music for elite class. the field data show that there is unequal power relation between colonized and colonizer. in pasca-colonial era the hierarchy relation becomes ambivalent. it appears negotiation space between colonial signs and madurese culture of situbondo people, considered to be symbolic resistance. strékan music is reinterpreted as music for low class. in the contemporary era, strékan music tends to market oriented. strékan music includes dangdut music, following market taste as a consequence of commercialization of art. keywords: strékan music; colonial, situbondo; madurese; dangdut how to cite: hidayatullah, p. (2017). the dynamic phenomena of strékan music from colonial to contemporary era in situbondo. harmonia: journal of arts research and education, 17(1), 1-12. doi:http://dx.doi.org/10.15294/harmonia. v17i1.9398 harmonia : journal of arts research and education 17 (1) (2017), 1-12 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i1.9398 dutch colonial government made panarukan as an industrial area, central government (besuki residency) and trade center in 1800’s. the project of anyerpanarukan road, by governor general daaendels 1808-1811, was a way for facilitating transportation to this strategic area (arifin, 2008 p. 148). as an industrial area, panarukan had six sugar factories and one arabica coffee factory which operated since the colonial era, which was sugar factory of demas, wringin anom, olean, pandji, mangaran, asembagus and arabika kayumas coffe factory. panarukan city became the end of the daendels road, because it became the most important port in eastern java. the port of introduction since the colonial era, panarukan had been a strategic area and trading center in eastern java. it began with the portugese people arrival in 1580 which then built bastion for hoarding spices of the trade from moluccas, until the dutch arrival in 1743 by voc (arifin, 2008, p. 147). panarukan is an early name of situbondo regency in the colonial era. the name panarukan then changes to be situbondo after issuance of government regulation of republic of indonesia number 28 the year 1972, date 28th september 1972 about change of name and removal of the seat of panarukan regency government (arifin, 2008, p. 155). corresponding author: jalan kalimantan no. 37, sumbersari, jember, indonesia e-mail: panakajaya.hidayatullah@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia : journal of arts research and education 17 (1) (2017): 1-122 panarukan became a center for hoarding agricultural products in a coastwise of bali strait, which then exported to abroad, such as coffee, sugar and tobacco naoogst, which were regularly exported and auctioned in rotterdam dutch and bremen germany (arifin, 2008, p. 153). as a central government which had important role in the colonial era, it indeed has given big effects and influences to social and cultural development in that area. one of the important things to discuss is an appearance of strékan music. strékan music is known by people as colonial music functioned as music for welcoming guest or high officials in regency. today, strékan music still exists and becomes popular, although it has changed, also in the meaning. like other hybrid music which is born from process of cultural encounter like keroncong, tanjidor, dangdut even some national songs (ganap, 2011; yampolsky, 2001; weintraub 2012; mintargo, 2008), strékan music also has the same phenomena which is appropriation result of cultural encounter between western culture and local madurese culture. madura is a dominant culture in situbondo regency (based on statistic data of madurese people in 1845) (arifin, 2008, p. 164). until now, based on filed observation, madurese culture still becomes dominant in situbondo. based on history, madurese people in situbondo were migrants from madura island. according to husson, madurese people migration to the north coast of eastern java happened before the 19th century, and deforestation was a progressive and continual process since the 17th century as a result of big demography pressure. (husson, 1997, p. 79). this article will discuss some research problems related to social phenomena of strékan music which are; 1) how do social context and history influence a change of strékan music from colonial to contemporary era; 2) how do situbondo people interpret the music in each era; 3) how does cultural encounter bear a ‘new’ space in a context of music. some researches that are relevant and correlated with social phenomena of music: article by wadiyo (2011, p. 115) entitled campursari manthous: between new music and social phenomena of supporting community and joko wiyoso (2011, p.: 1-9) article entitled collaboration between jaran kepang (plated horse play) and campursari: an innovation of traditional art. wadiyo’s work focused on social fact aspect people who lived in gunung kidul, klaten, boyolali, and semarang through the manthous campursari phenomenon, meanwhile wiyoso’s work talks about plated horse art performing changing form in people context in kendal regency in the contemporary era. both research relevancy is pinpointed on research topic about social phenomena of music, otherwise the differences are in those objects, perspectives, and used methodologies. method this research talks about musical anthropology using multidiscipline approach. specifically this research uses postcolonial perspective. the multidiscipline approach is required because the qualitative data is quite complex and multidimensional. a method used in this research is ethnography which took steps in research including 1). data collection; and 2). data arrangment. data collection step was technically done following the new ethnography method of james p. spradley which added some supporting elements. the following steps were, 1) participatorist observation; 2) choosing informant; 3) interviewing informant; 4) listing ethnography notes; 5) asking descriptive questions; 6) analyzing interview; 7) musical transcription; 8) lliterature analysis. data which had been collected then classified according to groups and categories for further data arranging and analying. classification is done according to its relevancy with applied theory in research. after being classified, then it’s concluded as following the pattern and data correlation. classified data is then analyzed descriptively using theory as a foundation. panakajaya hidayatullah, the dynamic phenomena of strékan music from colonial ... 3 results and discussion strékan in colonial era (1830’s 1940’s) strékan is a term used by situbondo people to call music functioned for ‘ngambâ’ tamoy’ (welcoming guests) in parlo event (wedding party). parlo is a term in the madurese language which refers to a wedding party of madurese people in situbondo, parlo in the madurese language means ‘interest’. based on history, this term (strékan) comes from the dutch language. strékan players and the people interpret it as a style which has a similar meaning to stijl (kutunuk, personal communication, april 18, 2016). in vocabulary, the word is close to word trek which, in the dutch language, means ‘interesting’. the term strékan had appeared since dutch colonial era. the term early referred to brass band/marching band played by a native soldier (knil) for welcoming guests (officials) in regency (kutunuk, personal communication, april 18, 2016). brass is a term for a group of wind metal music instruments, which generally consist of trumpet, trombone, horn and tuba (banoe, 2003, p. 61). knil (koninklijk nederlandsche oost indische leger) is a colonial soldier, taken from natives, and mercenary army from france, belgium, germany and switzrland. it was formed in 1830 with an early name oost indische leger then changed to knil on king willem i advice in 1836. these soldiers were mostly taken from natives people in nusantara. its recruitment system was by taking a youngster from the village, in collaboration with village chief or local headman. if they passed and became soldiers, they got a cash advance. (matanasi, 2007, p. 23). strékan music was played by dozens of native soldiers, from playing music procession around town square to playing music in the center of the town square in seat format. the music played was mars song in the dutch language (kutunuk, personal communication, april 18, 2016). its music instruments were trumpet, trombone, horn, tuba, bass drum, snare drum, and clarinet. strékan music became identical music played for welcoming guests/officials in certain celebration or formal ceremony in a regency. at that time, situbondo people began to know brass music, but this music was still odd and not really popular. until in late 1940’s, some families from native soldiers then formed their own strékan music group. one of them is strékan music group named “chandra keluarga”. the group is family music group in which some players are ex-colonial soldiers who have ever played strékan music before. a format of strékan music “chandra keluarga” is different to former strékan music. the strékan group of chandra family plays music with a smaller format, which is 7-8 people. the music instruments are also quite different to conventional music instruments which are trumpet, trombone, horn, tuba, bass drum/jidur (in a big size with diameter 1 to 1,5 meter, using leather membrane and accessories of cymbal above), drum (snare drum using leather membrane), clarinet, tambourine and vocal. from these instruments, at a glance it looks similar to tanjidor music, but bass and snare drum used are different to tanjidor music. if it is seen from instruments remnants, some brass instruments are products from germany. there is a brand, armin e voigt markneukirchen sa, printed in the instrument. the use of instrument from germany, at that time, was most likely because situbondo was an area designed by the colonial government as a central port in east java. the port became trade center and current of exchange, transaction, buying and selling goods inter-countries. figure 1. a remnant instrument of brass strékan music orchestra from ‘chandra family’. harmonia : journal of arts research and education 17 (1) (2017): 1-124 ‘chandra family’ group does not only play music with mars rhythm but also some rhythm like bossanova, belero, waltz, ballad and other latin rhythms. a most played song is bésame mucho (marsyiah, personal communication, july 24, 2016). in the beginning, this strékan group was formed to entertain dutchmen and their descendants (indo people) who lived in a dutch cluster area. they play music regularly every sunday in that cluster area. by music, they accompany dutchmen who sing, dance and eat supper (marsyiah, personal communication, july 24, 2016). soekiman explains indies lifestyle and their entertaining music group as follows. “among their servants (man or woman), there are those who specifically have a duty to entertain as music players. from this group, it then forms what is called by f. de haan as slaven concerten or slavenorkest (music players). having slavenorkest shows a luxurious lifestyle with certain degree among landheer at that time” (soekiman, 2011, p. 47). the statement above matches to a player who says that they play music with unfair wages. at that time, strékan music was assumed as elite and modern music. suratno explains hierarchy position between colonized and colonizer in the colonial era. dutch is posited superior and arrogant in front of indonesian people who are natives (colonized) (suratno, 2013, p. 1). domination and hegemony power of colonizer then force the natives to follow and accept every aspect of their culture (koentjoroningrat, 2000, p. 180). the natives express a ‘pride’ of dutch culture assumed as modern and superior by means of strékan music. the existence of “chandra keluarga” music group and its intensity to entertain dutch people then begin to be accepted by natives, and some of them ask them to play in parlo event. until in early independence period, people began to know strékan music as music for welcoming guests in parlo event in situbondo. music strékan in parlo event becomes a signifier of a host social status. those, who are able to have the strékan music in their event, are considered to be high class degree. strékan in pasca kolonial era (1940’s – 1970’s) strékan jiḍur / to’ jher the appearance of strékan brass music in the wedding party of situbondo people becomes a trigger for the birth of other strékan brass music. in situbondo city, there are strékan brass music groups, which are chandra keluarga, chandra kirana and borobudur (marsyiah, personal communication, july 24, 2016). besides in the city area, there are also many strékan brass music groups in asembagus (east situbondo). asembagus is an area where has the most strékan brass music groups. this music is also known as strékan jiḍur or to’ jher. jidur is a term in the madurese language to call bedug (drum) usually used in the mosque. the term jidur is used to call strékan brass music genre because of its similar bass drum model. while to’ jher is onomatophea of the brass music sound. asembagus becomes a place where bears many brass music. it was because in the colonial era, in asembagus there was a theatre named ‘wijaya’ which often showed tonil drama (toneel). tonil drama is a drama/play which uses brass music. besides, in early independence period, drum band music was very popular. almost every community organization such as anshar (youngster community organization affiliated to nahdatul ulama, established in 1934) and lesbumi (lembaga seniman budayawan muslimin indonesia institute of indonesian moslem artist and humanist is an independent organization of nu which houses some artist and humanist groups, established in 1962 (chisaan, 2008, p. 117)) had drum band music group in each subdistrict. therefore in that era, asembagus people became familiar with that brass music (rajana, personal communication, july 23, 2016). in pasca-colonial period (in the late 1950’s), strékan music had changed its instruments. strékan to’jher adds bamboo flute instrument and kendhâng malang (kenpanakajaya hidayatullah, the dynamic phenomena of strékan music from colonial ... 5 from colonialism which is then processed and appropriated by a local sense of situbondo (madurese culture). bhabha said that cultural encounter between colonizer and colonized often occurs conflictual and antagonistic, rather than dialogical and consensual (bhabha, 1994, p. 2). bhabha then explains the concept of cultural difference. cultural difference understands culture as signifying practices (bhabha, 1994, p. 34). cultural difference space enables the emergence of hybrid space, third space, in-between space or beyond space. its consequence causes a process of crossing signifier and involving various cultural expression, communicating each other for the sake of cultural recognition and freedom of dynamic various human expression. by means of cultural difference, dominant discourse can be disrupted, which, in bhabha perspective, can be done by mimicry. mimicry is a mode of representation. it tends to repeat or imitate rather than rerepresent, its similarity is partial, which make it remain difference (camouflage) (bhabha, 1994, p. 86). its presence is incomplete and has multiple articulatory signs. mimicry is produced in liminal space, borderline or around ambivalent discourse, therefore it has the disruptive effect of dominant discourse. its logical consequence makes the discourse split, ambiguous and fractured (bhabha, 1994, p. 86). model of strékan to’ jher music imitates the model of strékan from a colonial soldier. they imitate its colonial music style for welcoming guest but in a local sense. therefore it emerges something difference as a kind of cultural translation. instead of following elite and modern music style of the colonial with a sense of european music, strékan to’ jher even gives a unique style of brass music with a dominant sense of malay music and madurese dangdut. process of imitating, which is not completely the same, then creates hybrid identity in negotiation space (subversive – disruptive) this next concrete example is a use of musical theme when welcoming guest. dang). the most played songs are mars, bossanova, belero, ballad, waltz and other latin rhythms. besides, songs with melayu rhythm like mashabi, ida laila and some madurese dangdut songs also become a must song in parlo event, even more dominant (rajana, personal communication, july 23, 2016). usually, strékan music plays in front of labâng gelidik (gate of a wedding party) by sitting from 8.00 a.m. to 10.00 p.m. labâng gelidik is a local term used by situbondo people to call gate of a wedding party. it usually uses accessories of a banana tree, yellow young coconut leaves and banyan leaves. in asembagus, the first group which initiates strékan to’ jher is strékan al fajar orchestra. al fajar was established by suhamo around 1950’s. according to some players, in the pasca-colonial era, not all strékan players are pure artists. some of them mostly work as officials, unskilled workers, sugar factory workers, wardens, farmers etc (rajana, suhannat and sahamo, personal communication, july 23-24, 2016). it can be said that strékan to’ jher music are working class music. a change of model and interpretation in society signify a change of social condition at that time. people do not call strékan music as elite dutch music anymore. they then reinterpret strékan music as popular music. merriam (1964) explains the relation between music and social condition in his book antropology of music as follows. “music is a uniquely human phenomenon which exists only in the understanding of social interaction; music is created by people and to other people, music is learned behavior. music does not and does not exist only, by, from and for itself.; there must be a human who does something to produce it. simply, music cannot be defined only as sound phenomena, because there is individual behavior inside which wants a social consensus of society who decides what can and cannot be done” (merriam, 1964,.p. 44). the emergence of strékan to’ jher music phenomenon is a result of the cultural encounter, especially western culture harmonia : journal of arts research and education 17 (1) (2017): 1-126 strékan to’ jher has a typical music (melody) theme as signifier when guests are coming. the musical theme becomes basic theme generally played in every parlo by all groups of the strékan orchestra in situbondo. here is a part of theme transcription. figure 2. notation transcription based on rajana speech the part of musical theme above is a melody played when welcoming guests. the melody is played with march rhythm. rajana explains the musical theme as follows. “the melody is a must played by every strékan to’jher orchestra when guests are coming, the melody becomes sign or code which has ‘magnetic’ power. when the melody is played, all people will know that guest are coming” (rajana, personal communication, april 18, 2016). musical theme with march rhythm is a musical theme played by soldier players of strékan music in colonial era for welcoming official guest in the district. use of the melody signifies that a change of strékan music from colonial to pasca-colonnial era does not automatically erase or change the format at all. strékan to’ jher players use/ play the sign assumed as ‘elite’ music in order to be used in different cultural space. they imitate western elite music tradition to present it in cultural space of low/ working class tradition. they play colonial signs with cultural local signs, which make colonial signs slippage. model of march music with the musical theme of a colonial soldier is a model of working class speech by means of imitating (mimicry) music style in welcoming colonial elite guest in cultural space of low class people. bhabha explains that “mimic does not (completely) follow, because in mimicry, it tends to contain a mockery.” (budiawan, 2010: xii). mimicry could mean attitude of admiring as well as resisting, which means that subjects (strékan players) have an agency of interpreting colonial strékan music. the autonomy or agency of subject could mean disobedience of colonial values. mockery explicitly can also be seen in slenge’an act during the break of the play. here is an example of fun dialog in strékan music group al fajar in a parlo event. “one of the players provokes topic of jokes by saying ta’ éberri’ nasé’ niko kang!!, ma’ tadâ’ ka’ angka’na (there is no food for us, no one brings the food). then another player answer, nyaré sé raddhin ka’ angka’ pas (let’s find a beautiful girl, and bring the food together). then they all laugh, even sometimes the jokes become a talk by tokang siaran (mc)” (sahamo, personal communication, july 24, 2016). the joke during the break of the play is a kind of negotiation space of strékan al fajar to strékan music style of a colonial soldier which seems serious and very discipline. instead of imitating very discipline performance style, they even show disobedience attitude by slenge’an act. slenge’an refers to act of disobedience, ignorant and careless. they mock colonial style of strékan music by the jokes. in this case, the subject has shaken system of the sign in colonial discourse, it exists outside the sign and continuously shakes established the structure of meaning. its position leads to movement of ambivalent signifier, undecidable and tense movement which opens hybrid space. they, who are workers, implicitly counter and ‘mock’ its former elite tradition in a ‘new’ space by ambiguous mimicry act. strékan tétét / saronén in the same era, the strékan term is not only interpreted as brass music, but also refers to every music group played for welcoming guests (ngambâ’ tamoy) in parlo event. there are some music groups often called as strékan music which is to’ jher, strékan tétét dan strékan tabbhuwân / klénéngan. klénengan and tabbhuwân refer panakajaya hidayatullah, the dynamic phenomena of strékan music from colonial ... 7 to madurese gamelan music group usually in a wedding event, in situbondo. the group usually plays madurese song with kéjhungan vocal. before strékan to’jher/brass orchestra exists, situbondo people have art music tradition called tétét music or in madura known as saronén. the term tétét is coming from the onomatopea sound of that music instrument. in situbondo, this instrument is popular as tétét rather than saronén. saronén/tétét has been assumed by madurese or non-madurese people as madurese instrument (bouvier, 2002:55). tétét music has been popular music in situbondo, because most situbondo people are madurese who migrate to situbondo since a long time (husson, 1997, p. 86). bouvier explains tétét instrument based on its organology, “saronen is a cone-shaped music instrument made of the teak tree with six holes in front and one on the back. a small annulet made of brass (konéngan) ties the back part to stainless steel part (pessé poté). its tip, made of palm wood, clamps its doubled tongue (pépet) made of sepat or palm leaves (tarébung: borassus flabellifer l). in its tip, it adds a wing from coconut shell (pétok) which looks like player’s moustache when blowing it.” (bouvier, 2002, p. 56). in madura, the saronén orchestra is related to cow (for cow race competition/ karabhân sapé) and beautiful cow competition sapé sono’), and horse (for the ritual ceremony in shrine tomb or wedding party) (bouvier, 2002, p. 56). in situbondo, tétét is often used to accompany bride entourage line. one entourage (rombonganlocal term to call traditional art group in situbondo) tétét usually consists of tétét, kennong tello’ (three kenong), ghung (gong) and cak kocak/ kencér (kutunuk, personal communication, april 18, 2016). in parlo event, tétét entourage line begins the show by playing music instrument by walking, accompanying bride entourage procession. until today (2016), this tradition still continues, even the show sometimes adds jârân kéncha’ (rocking horse) attraction. cultural encounter, which happens antagonistically, also influences model of tétét music show, the change can be seen from costume and its show formation. here is a costume used in the tétét show in situbondo. figure 3. procession of tétét music in parlo event, in kalbut (situbondo). source: misyono documentation in 24th july 2016 figure 3 is an example of tétét entourage show model when parading bride in situbondo. kutunuk explains costume used in the tétét show as follows. “in the past, tétét show in situbondo only used kalambhi pésa’,but now it has changed along with the times, philosophically now its costume is pointless” (kutunuk, personal communication, august 24, 2016). kalambhi pésa’ is typical clothes of madurese people which consist of a white tshirt with red stripped, covered with black shirt unbuttoned and using black trousers (prasisko, 2015, p. 77). the statement explains a change of tétét show costume. from the costume, the entourage uses a uniform with striking red dominant color, which is pink. the striking color use in madurese culture has its own meaning. konstantinos retsikas has explained in his research, that there is a relation between the rough and hard characteristic of madurese people with their favorite color preference which is light and striking. “thermal and colour dispositions are interrelated for the hotness of blood which is directly associated with the colour red, the colour par excellence of ‘madurese’ sifat. harmonia : journal of arts research and education 17 (1) (2017): 1-128 reddish colours and gleaming combinations are commonly interpreted as manifesting the turbulent tentions imagined to inhabit the ‘madurese’ person, its uncontrollability of emotions and extrovert disposition”(retsikas, k., 2007, p. 192). color, especially, of clothes is assumed as a kind of articulation or manifestation of human characteristics. this means that rough and hard characteristic of madurese people are represented by means of striking color. madurese people articulate their characteristic of openness and bluntly through clothes color signifier (prasisko, 2015, p. 60). hub de jonge also explains the same thing about the color preference of madurese color clothes, “either madurese man or woman likes striking and rousing color, such as scarlet, yellow, green, orange, light blue” (de jonge, huub, 2011, p. 66). costume used by tétét entourage at glance is like soldier uniform with accessories on head and bracelet in hand, but it is still incomplete because there are other accessories also used such as wristwatch (used by saronén/tétét blower), sport shoes, soccer socks, sunglasses and black skull cap (used by saronén/tétét blower). nordholt said that “clothes is social skin and our culture” (nordholt, 2005, p. 1). laurie also said that clothes are an expression and identity of the person, because the clothes we wear will describe and define ourselves (nordholt, 2005, p. 1). the use of costume by the tétét group is a way of how they articulate their identity. by means of the costume, they express hybrid identity which is a symbol of modernity, presented through wristwatch, sports shoes, soccer socks, sunglasses, and symbol of tradition seen from soldier uniform. hybrid identity then emerges as something new and ambivalent, it is not something modern, but also not fully traditional. besides costume, the hybrid form is also seen from how they do procession. the procession is done by a tétét group almost the same like what drum band group usually does. they line up tidily while playing instruments. there is something which makes it look different from just only drum band parade, they do not just line up tidily, but also combine it with simple choreography/dance motion (looks like dancing). this hybrid costume and motion often become parody and entertainment for people. the ‘unique’ show spontaneously makes the audience laugh and fun. the phenomena show how mimicry is again used in a ‘new’ space. as bhabha called mimicry as an act of ‘imitating as well as resisting’, which often contains mockery. mockery is seen from their eccentric gesture and show. besides procession, strékan tétét is also appropriated to strékan to’ jher model. strékan is identical to a music performance for welcoming guest with seat format. after strékan tétét finish to parade the bride, they then present music with seat format. in parlo event, the strékan tétét group usually sits beside strékan to’ jher. strékan tétét is placed on left side of the gate and strékan to’ jher on the right side of wedding gate. the two strékan groups are alternately playing the music. here is a photo of the strékan tetet orchestra playing by seat format in a parlo event. figure 4. strékan tétét when playing in seat format. source: misyono documentation in 24th 2016 when these two groups are playing side by side, it actually signifies a contestation. there are two groups directly interact each other. rajana explains it as follows. “in the past, strékan to’ jher and strékan panakajaya hidayatullah, the dynamic phenomena of strékan music from colonial ... 9 tétét were performing side by side when welcoming guest. implicitly, it depicts competition between tradition and modernity. visually, strékan to’ jher tends to call more modern and classy compared to strékan tétét. it is also seen from seat position, we, strékan to’ jher players, usually sit on a chair, while strékan tétét sit crossed-leg on the floor with a mat. the contestation is actually shown from the outside, we are, in fact, mingling each other, we are joking and we, at a certain moment, even play shaking a hand, we call it gudung” (rajana, personal communication, april 18, 2016). agus’ statement explains that there is power relation in strékan music in parlo event. the two strékan group meet in a performance space, which then depicts a contestation between tradition and modern. strékan to’ jher with the western element is assumed as modernity symbol, visually seen from its seat position on the chair, while strékan tétét is assumed as tradition symbol from its seat position, sitting crossed-leg on the floor with a mat. if it is seen visually, it actually shows unequal power relation between modernity (elite) and traditional (subordinate), clearly seen from that space. power relation is not always stagnant, as bhabha said, in some condition phenomena can be bias and ambivalent. it is seen concretely when doing “gudung”. gudung is a term which refers to a musical expression when the two strékan groups together play music emotionally. here is rajana explanation about gudung. “when all music groups sound together, it calls gudung. in asembagus, there were three music groups which are strékan to’ jher, strékan tétét and strékan tabbhuwân. gudung sounds all music groups there, gudung is accompanied by sowing yellow rice. when gudung, the players are very emotional, playing music out loud (nyéng-ranyéngan), the groups compete for each other to play louder”(rajana, personal communication, april 18, 2016). gudung is played when a wedding couple comes to wedding area and there come important guests. when doing “gudung”, the atmosphere becomes emotional, music sound becomes ‘chaotic’ (disorder), western music idiom from strékan to’ jher is mingled with sléndro pentatonic sound, a typical characteristic of strékan tétét music. musically, the sound is actually ‘chaotic’ and disorder, but in the tradition of madurese culture, the sound signifies fun expression. from this phenomenon, it shows how the system of the sign in the position of hierarchy power relation becomes ‘chaotic’ when doing ‘gudung’. gudung shows the phenomenon of hybrid sound which potentially tends to disrupt the system of the sign in established power relation. strékan in contemporary era (1970’s – now) the anti-imperial politic of soekarno in 1960’s which declaimed influence of america and europe commercial culture, opened a gate for popular music from india and the middle east. (weintraub, 2012, p. 64). vigorous film industry from india, malay and arab give their own atmosphere for strékan music. in 1960’s, in situbondo city there were two movie theaters named nirwana and dahlia. this place became the only entertainment for people, while television was still rare, and only owned by rich people (kutunuk, personal communication, april 18, 2016). the movies became sources of inspiration for strékan music. gradually, its instruments have changed, firstly it added accordion, bamboo flute, instrument, kendang, contrabass and tambourine. the additional instruments also change its musical characteristic, from using mars, bossanova, belero and other latin music to dominant malay rhytm. until early 1970’s, when dangdut music begins popular, then strékan music change, following a trend of the times. from its instruments, they continually change to instruments usually used in malay orchestra, which are electric guitar, electric bass, ketipung, tambourine, flute and keyboard. its instrumental change goes in line with a development period of dangdut national music which begins to harmonia : journal of arts research and education 17 (1) (2017): 1-1210 use the electric instrument in 1970’s (sasongko, 2006, p. 20). today (2016) strékan to’jher music in parlo event has transformed to use all instruments of malay orchestra and the songs played are dangdut. the players realize the change because of demands of the times, market and demand from audience taste. they, whether want it or not, must change the outdated music format to modern music and more popular in society (rajana, suhannat and sahamo, personal communication, july 23-24, 2016). according to hauser, something underlies the birth of popular art is boredom. boredom then causes (restlessness) (hauser, 1982, p. 580). the change of performance in strékan to’ jher to strékan dangdut is a logical consequence of commercialization of art. although, it changes musically and instrumentally the name is still the same, by still using the name, strékan music. musically, strékan dangdut does not have a certain musical characteristic, strékan dangdut music usually plays dangdut piur song (dangdut piur is a term used by weintraub to differ rhythm of pure dangdut with ethnic and koplo), with a slow rhythm. especially, the songs played are 1970’s songs, such as songs from rhoma irama, rita sugiarto, ida laila etc. strékan dangdut still continues instrumental characteristic of former strékan music. typical instrumental characteristic of strékan to’ jher style when welcoming guest do not lose at all. strékan dangdut music changes instrumental music with mars rhythm in the style of strékan to’ jher to instrumental dangdut music (the song which deletes its lyric and melody, then changes to instrumental music play). a song usually played instrumentally by strékan dangdut music is entitled ‘pertemuan’ (a meeting) by rita sugiarto. its vocal melody song is played by flute instrument. here is a photo of strékan dangdut orchestra in a parlo event. the figur 5 explains that strékan music has changed many things, also changed interpretation of its performance model. now this strékan music has used a stage usually placed in wedding area, beside kuade (bride seat). the change of performance model also changes its musical function. it formerly places in front of wedding gate and functions as ‘ngambâ’ tamoy’ (welcoming guests), now it changes to entertainment music to accompany guest while enjoying the food. figure 5. strékan dangdut melodi ria source: rasyid melodi ria collection today strékan dangdut and tétét music still exist in situbondo society (based on field observation, in kalbut (north situbondo) in parlo even (wedding party) of yuliyanti and vijri nur rohmatillah in 24th july 2016, there are two strékan groups which are strékan dangdut and strékan tétét). it is different to strékan to’ jher music which has transformed to be strékan dangdut, strékan tétét still maintain its performance model and formation like before. that two strékan music still perform in a performance space in parlo space, but its contestation space has been different to the era before. conclusion the dynamic change of strékan music model from colonial to contemporary era becomes a sign of social condition change in situbondo. in the colonial era, by means of colonial domination and hegemony, strékan music emerges as modernity sign and is interpreted by people as ‘elite’ music. strékan music in colonial style is a brass music group functioned as music for welcoming important guests/officials in the district. there is unequal power relation panakajaya hidayatullah, the dynamic phenomena of strékan music from colonial ... 11 between colonizer (dominant) and colonized (subordinate) seen from strékan music. the birth of strékan group ‘chandra keluarga’ as slavenorkest is an example which can be interpreted as a kind of colonizer’ power to colonized cultural encounter, which occurs conflictual and antagonistic, then opens a negotiation space. established hierarchy position then becomes ambivalent. strékanin pasca-colonial era plays colonial system of the sign by means of imitating a part of the colonial strékan style, which is then appropriated and processed by a local sense of madurese culture in situbondo. this creates a hybrid identity in negotiation space. in a pasca-colonial era, strékan music is reinterpreted as popular/ working class music functioned as music for welcoming guests (ngambâ’ tamoy) in parlo event. government politic of anti-imperialism in 1950’s and popularity of dangdut music in national music industry arena also influence strékan model and function in situbondo, in the contemporary era. model of strékan music has transformed to be malay orchestra (dangdut). the change is a logical consequence of commercialization of art. in the contemporary era, strékan music is then interpreted as entertaining music for commercial people. music and society 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(2001). can the tradisional arts survive, and should they ?. jurnal indonesia, 71, 175 – 185. informants list name: agus rajana as: a music player of strékan jidur/to’ jher and strékan dangdut sandes in asembagus age:about 50 years old name: imam kutunuk as: a cultural observer of situbondo age:about 70 years old name: suhannat as: a music player of strékan jidur/to’ jher al fajar muda in asembagus age:about 60 years old name: sahamo as: a music player of strékan jidur/to’ jher al fajar in asembagus age:about 80 years old name: marsyiah as: a music player of strékan chandra keluarga and chandra kirana in situbondo city age:about 60 years old name: rasyid as: a music player of strékan melodi ria in asembagus age:about 60 years old name: misyono as: a wedding party host in kalbut, situbondo age:about 50 years old 368 cognitive determination of musical thinking and musical selfconcept of students and musicians: comparative diagnostics, aspects of modeling and forecasting iryna mazur1, tеtіana нrinchenko2, olena teplova2, liudmyla onofrichuk2, olena priadko3 1khmelnytsky humanitarian and pedagogical academy, ukraine 2vinnytsya mykhailo kotsiubynskyi state pedagogical university, ukraine 3kamianets-podіlskyi national ivan ohiienko university, ukraine submitted: 2022-10-12. revised: 2022-11-04. accepted: 2022-12-06 abstract the article’s purpose is to define the cognitive determination of musical thinking and musical self-concept of students and musicians, considering the cognitive style of the individual, analytical-holistic thinking, and individual psychological abilities. the study applies the diagnostic technique for the cognitive style of individuality (t. dudnikova, o. volkova), analysis-holism scale (choi, koo, and choi), cattell test (16pf c), musical thinking questionnaire developed by authors (i. mazur, t. нrinchenko, o. teplova, l. onofrichuk, o. priadko). the study presents the first approbation of the musical thinking questionnaire developed by the authors, the integral indicator of which is measured on the following scales: emotional response to music, emotionalintonational (melodic) ear, harmonic ear for music, perceptual ear for music, musical-rhythmic sense, musical memory, performing emotionality, musical-creative imagination – insight into the essence of the musical image, musical-creative imagination – interpretation of the musical image, sense of the whole – sense of tempo-rhythm, sense of the whole – a sense of shape, sense of the whole – sense of style, sense of the whole – the sense of the logical development of the piece of music, cognitive activity, self-regulation, ability to work. the authors empirically determine that the musical thinking of students is based on advanced abilities in terms of the sense of the whole – the sense of shape, emotional response to music, and the sense of the logical development of the piece of music. dominants in musicians’ musical thinking are the emotional response to music, musical-creative imagination – insight into the essence of the musical image, and high cognitive activity. keywords: musical thinking, musical self-concept, cognitive styles, analytical-holistic thinking how to cite: mazur, i., нrinchenko, t., teplova, o., onofrichuk, l., & priadko, o. (2022). cognitive determination of musical thinking and musical self-concept of students and musicians: comparative diagnostics, aspects of modeling and forecasting. harmonia: journal of arts research and education, 22(2), 368-380 harmonia: journal of arts research and education 22 (2) (2022), 368-380 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i2.39518 the behavior of students and musicians with regard to musical practice (schmidt, 2005; spychiger et al., 2009; west, 2013). the study unifies the musical thinking of a musician-instrumentalist in musicologiintroduction modern studies consider the problem of musical thinking as a socio-cognitive factor in regulating and determining corresponding author: e-mail: iryna_mazur@sci-academy.cc p-issn 2541-1683|e-issn 2541-2426 iryna mazur et al., cognitive determination of musical thinking and musical self-concept 369 cal and musical-teaching aspects (suvorov & nazar, 2017). the study emphasizes the necessity to stimulate and develop students’ cognitive capabilities by metaphorizing the content of the object of cognition and forming musical-aesthetical competence as a particular intuitive form of current knowledge (hrynchuk & burska, 2008). active musical thinking is essential for implementing a performer’s creative ideas when working on a piece of music and embodying ideas on the concert stage (zymoglyad, 2019). musical thinking is traditionally considered “a holistic, structured process, unified in its motivational, emotional, cognitive, and operationaland activity-related components. it contributes to the educational process optimization, the activation of students’ mental activity, their movement towards creative self-improvement in the course of education and upbringing” (pikhtar, 2007). accordingly, musical thinking should be considered an integral part of general thinking, reflecting and cognizing reality in specific musical representations. it is a known fact that musical information elements form the content of musical thinking and do not determine the main purpose of its activities but its functioning (kremeshna, 2012). accordingly, it is possible to solve the problem of musical thinking modeling based on cognitive, personality, and activity-centered approaches. the cognitivecentered approach defines cognitive styles as characteristic self-consistent modes of functioning (witkin et al., 1971). according to the personality-centered approach, cognitive styles are interpreted as personal traits (gregorc, 1979). finally, the activitycentered approach treats cognitive styles as a mediator of various forms and activities based on the dynamic and flexible conceptualization of the latter (kolokolov, 2021; dunn & dunn, 1978; renzulli & smith, 1978; schmeck, 1983). in their studies, koptseva and lozinskaya (2012) consider musical thinking as a cognitive activity for the intellectual operation of semantically advanced blocks in relation to musical material. the musical-artistic image and sign specificity of the piece of music assumes importance in this context. notably, musical thinking has the following phenomenological functions: 1) epistemological, 2) ontological, 3) methodological, 4) communicative, 5) axiological, and 6) worldview. the epistemological function of musical thinking involves exercising new ways for organizing spatiotemporal relations in the form of a musical-artistic image, alogical, irrational grounds of culture in the broad sense of the word. at the level of philosophical generalizations, musical thinking builds a connection between the active variability of human existence, abstract concepts, and laws describing this existence, referring us to the concept of “the bosom of culture” and revealing the inner essence of social processes. finally, the ontological function of musical thinking views it as a reflection of the general harmony of the universe and the expression of human content in a given sensual musical and artistic form. the methodological function of musical thinking collides with prognostic and heuristic functions and relies on all previous experience in composing musical material. the communicative function of musical thinking implies the play of a particular semantic system, language and the ability to “decipher” the sign structure into universal meanings embedded in the piece of music. at the same time, musical thinking is the central mechanism that helps to understand the meaning of the piece of music and read it in the context of history, social reality, artistic culture, and public opinion. the phenomenon of musical communication acts as a form of renewal of sociocultural experience and transformation of consciousness and values of the individual. consequently, musical thinking presents the mechanism of the communicative process being a means of communication, cognition, and creative development of the individual (bulatova, 2016). since the historical evolution of musical instrumentation has close ties with the creative processes that occur in the harmonia: journal of arts research and education 22 (2) (2022): 368-380370 composition, performing arts, musicology, education, and the definition of professional communities, the axiological function of musical thinking involves mechanisms for the creation, preservation, and dissemination of cultural values (kong, 2021; velykodna et al., 2022). the worldview function of musical thinking maintains the ancient idea of music as the ideal of the universe, a form of a higher order of human life (koptseva & zhukovsky, 2008). musical thinking manifests at the level of composition, improvisation, performance, listening, writing, and analysis of pieces of music (burnard, 2012; kokotsaki & newton, 2015). in their previous studies, the authors of this article describe musical thinking as an analytical and cognitive activity in the system of perception-analysisinterpretation of music and the artistic and creative process in performing cognition. the main form of musical thinking implies musical and auditory representations and their intonational aspect. musical thinking as an integral personal innovation suggests the existence of a musical self-concept, which l. mawang, e. kigen, and s. mutweleli (2019) view as a structured system of connections between music and the self-concept. accordingly, musical self-concept is under review as an awareness of musical competence based on the interpretation of one’s own experience. it is worth noting that the musical self-concept generalizes the system of beliefs about the musical abilities and potential of the individual (hallam, 2010; morin et al., 2016) formed within the educational process. given the issue under the study, the authors of this article appeal to the approach by c. bennett and k. sena moore (2022) regarding the training of music teachers based on the ideas of norm-disrupting learning. this approach can act as a leading paradigm for the development of musical thinking since it problematizes and transcends previously known philosophies, pedagogical techniques, etc. the heuristic value of this approach is associated with its analytical and meta-analytical focus in relation to the development of new musical competencies. the study aims to define the cognitive determination of musical thinking and musical self-concept of students and musicians, considering the cognitive style of the individual, analytical-holistic thinking, and individual psychological abilities. this study implies defining the models and hierarchy of components of musical thinking and the musical self-concept of students and musicians. method the methodology of this study is based on the fact that the content of musical thinking is reflected in the following concepts: perception and determination of the meaning of the piece of music, perception and comprehension of the integrity of the musical process (musical and auditory representations and interpretations of acoustic impressions); information content; emotional and semantic image of the piece of music; interpersonal metacognition; individual intonation selection of the second level (intonation storage media); melodic idiom; rhythm; practical mental efforts; process and multilevel; individual creative orientation (originality of improvisation, melodic, rhythmic, harmonious, and stylistic priorities); reflective management and reflective modeling (activation of the properties of extensiveness, flexibility, originality, tonal and rhythmic images, and syntax). the authors of this article conducted the study of the determination of musical thinking of students and musicians on the basis of khmelnytsky humanitarian and pedagogical academy, vinnytsya mykhailo kotsiubynskyi state pedagogical university, and kamianets-podіlskyi national ivan ohiienko university. the study implied the formation of two groups, namely, “students” (n 86) and “musicians” (n 75). the study involved the following techniques: the diagnostic technique for the cognitive style of individuality (t. dudnikoiryna mazur et al., cognitive determination of musical thinking and musical self-concept 371 va, o. volkova) provided the empirical determination of the distribution of the following cognitive styles: poly dependence, poly independence, a narrow equivalence range, a broad equivalence range, flexibility of cognitive control, inflexibility of cognitive control, impulsivity, reflectivity, specific conceptualization, abstract conceptualization, tolerance to unrealistic experience, intolerance to unrealistic experience. analysis-holism scale (choi, koo and choi, analytic-holistic scale). the authors of this article used it to measure the analysis-holism of worldviews as one of the ways of interacting with the environment in terms of individual functional components. these functional components include a focus of attention, causal attribution, perception of changes, and tolerance to contradictions and correspond to the following sub-scales: subscale 1. the focus of attention. this parameter describes the tendency of a person to rely on the context, which absorbs them, analyzing various phenomena and social situations (holistic pole). it also distinguishes the tendency of a person to ignore the context and consider each phenomenon as independent and unrelated to others (analytical pole). subscale 2. causal attribution. this scale determines the features of understanding the causes of actions and phenomena. the characteristic of the holistic pole is a tendency to look for causes of events and phenomena in the environment. the analytical pole tends to attribute the causes of events to a person’s internal disposition or the internal components of the phenomenon. subscale 3. tolerance to contradictions. the characteristic of the holistic pole is the synthesis of contradictions into a single non-contradictory whole; thus, two contradictory points of view are perceived as something whole and capable of uniting into a unified whole in one way or another. it is typical for the analytical pole to understand contradictions from the standpoint of formal logic, i.e., when there are two contradictory judgments, one is always true, and the other is false. subscale 4. perception of changes. the parameter describes the tendency to perceive events or phenomena as constant in time or changing linearly and unidirectionally (analytical pole) or non-linear and cyclical (holistic pole). cattell test (16pf c) helped to assess the psychological abilities of the individual and individual-personal relations, summarized in the following groups: 1. group of communicative abilities: a – friendliness, h – courage, e – dominance, l – suspicion, n – diplomacy, q2 – self-dependence. 2. group of intellectual abilities: b intellectuality, m – dreaminess, n diplomacy, q1 innovativeness. 3. group of emotional abilities: c emotional resilience, f – serenity, h courage to social contacts, i emotional sensitivity, o – anxiety, q4 – tension. 4. group of regulatory abilities: q3 – selfdiscipline, g moral normativity. musical thinking questionnaire developed by authors (i. mazur, t. hrinchenko, o. teplova, l. onofrichuk, o. priadko). in accordance with the questionnaire, the authors determined the following factors of musical thinking of the subjects: emotional response to music, emotional-intonational (melodic) ear, harmonic ear for music, perceptual ear for music, musicalrhythmic sense, musical memory, performing emotionality, musical-creative imagination – interpretation of the musical image, sense of the whole – sense of tempo-rhythm, sense of the whole – a sense of shape, sense of the whole – sense of style, sense of the whole – the sense of the logical development of the piece of music, cognitive activity, self-regulation, ability to work, musical thinking – integral indicator. the authors applied mathematical and statistical methods, including statistica (spss-28), to ensure the reliability of the main provisions and conclusions. these methods involve analysis of variance and multiple regression modeling. the basis of this study involves the basic prinharmonia: journal of arts research and education 22 (2) (2022): 368-380372 ciples of the metacognitive and metatheoretical paradigm, the principles of genetic modeling (maksymenko, 2017), and system-structural approaches (rodina, 2017). based on these provisions, the study provided for the analysis-holism of musical thinking concepts and their psychological modeling. result and discussion results according to the diagnostic technique for the cognitive style of individuality (t. dudnikova, o. volkova), the authors established differences in the development of cognitive styles as mental referents of musical thinking (figure 1, table 1). the study group of students mainly tends to the cognitive activity of poly independence type, while poly dependence is more inherent for musicians (f=28.770, p=<0.001). the narrowness of thinking activity is a characteristic of students, while musicians have a broad equivalence range of mental equivalents (f= 6.131, p=0.002). the study group of students predominantly equalizes details in cognitive activity, while musicians focus on relevant details (f= 25.373, p=<0.001). consequently, students mostly tend to scan, while musicians focus on significant aspects in cognitive activity (f= 72.534, p=<.001). according to the analysis-holism scale (choi, koo and choi), the authors determined (figure 2, table 2) that a higher level of focus (f=16.765, p=<0.001) significantly differentiated students compared to musicians. students also have a higher tolerance to contradictions that arise in the process of cognitive activity (f= 43.462, p=<0.001) and are more flexible when it comes to the perception of changes (f=12.824, p=<0.001). analytical thinking is a characteristic of the studied group of students, while holistic thinking is inherent in the musicians (f=49.653, p=<0.001). figure 1. distribution of cognitive styles of students and musicians figure 2. distribution of analysis-holism of students and musicians in the next step, the authors determined the personal profiles of the studied groups according to the cattell test (16pf c) (figure 3, table 3). table 1. comparative analysis of the activity of cognitive styles of students and musicians cognitive styles levine test for equality of variances f р poly independence – poly dependence 28.770 <.001 inflexible – flexible cognitive control .389 .534 narrowness – broadness of the equivalence range 6.131 .002 tolerance – intolerance to unrealistic experience .042 .837 equalization – aggravation 25.373 <.001 focusing – scanning 72.534 <.001 iryna mazur et al., cognitive determination of musical thinking and musical self-concept 373 figure 3. distribution of personal and characterological properties of students and musicians it is possible to state that emotional stability is a primary characteristic of the musicians studied, while emotional instability (f= 42.038, p=<0.001) is more inherent in students. the studied group of students tends more toward serenity, and anxiety is predominantly natural for musicians (f= 43.462, p=<0.001). such personal property as awareness is inherent in musicians, while students possess a greater ignorance (f= 34.940, p=<0.001). consequently, sensitivity is more natural for students, and musicians tend to be resilient (f=31.575, p=<0.001). notably, students are more practical compared to musicians (f=93.059, p=<0.001). at the same time, self-dependence predominantly characterizes musicians, and students tend to conformality (f= 27.149, p=<0.001), which probably explains their high tension table 2. comparative analysis of analysis-holism of students and musicians levine test for equality of variances f р ahs – focus of attention 16.765 <.001 ahs – causal attribution .112 .739 ahs – tolerance to contradictions 43.462 <.001 ahs – perception of changes 12.824 <.001 ahs – total index of analysis-holism 49.653 <.001 table 3. comparative analysis of personal and characterological properties of students and musicians levine test for equality of variances f р pf_a friendliness aloofness .793 .375 pf_b broad thinking – narrow thinking .917 .340 pf_c emotional resilience emotional sensitivity. 42.038 <.001 pf_e independence – desire to please .690 .408 pf_f serenity – anxiety 55.352 <.001 pf_g awareness ignorance 34.940 <.001 pf_h courage – timidness .371 .544. pf_i sensitivity – resilience 31.575 <.001 pf_l suspicion credulity 1.990 .161 pf_m bohemian practical 93.059 <.001 pf_n sophistication – simplicity .690 .408 pf_o inclination to feel guilty calm self-confidence 6.520 .012. pf_q1 radicalism conservatism 1.081 .301 pf_q2 – self-dependence – conformality. 27.149 <.001 pf_q3 self-discipline .946 .333 pf_q4 tension 18.999 <.001 harmonia: journal of arts research and education 22 (2) (2022): 368-380374 (f=18.999, p=<0.001). the musical thinking questionnaire developed by the authors (i. mazur, t. hrinchenko, o. teplova, l. onofrichuk, o. priadko) makes it possible to note that musicians are distinct in their high level of skills (5-6 points) and development of musical thinking components as a whole. at the same time, students have an average level of the development of musical thinking components with a tendency to high in individual indicators (2.5-5 points). the results are presented in figure 4 and table 4. thus, the authors established the following factors of musical thinking of musicians studied were significantly higher compared to students: emotional-intonational (melodic) ear (t=-2.730, p=<.001), harmonic ear for music (t=9.947, p=<.001), musical-rhythmic sense (t=-10.653, p=<.001), musical memory (t= -14.235, p=<.001), performing emotionality (t=-4.613, p=<.001), musical-creative imagination – insight into the essence of the musical image (t= -13.339, p=<.001), musical-creative imagination – interpretation of the musical image (t= -18.110, p=<.001), sense of the whole – sense of tempo-rhythm (t= -10.286, p=<.001), sense of the whole sense of shape (t= -10.779, p=<.001), sense of the whole sense of style (t= -10.557, p=<.001), sense of the whole – sense of the logical development of the piece of music (t= -11.764, p=<.001), cognitive activity (t=-6.466, p=<.001), selfregulation (t=-18.757, p=<.001), ability to work (t=-13.361, p=<.001), and an integral indicator of musical thinking (t= -44.062, p=<.001). the results of multiple linear modeling (spss-28) made it possible to empirically determine the predictors of musical thinking, musical self-concept, and their leading components. thus, the authors identified the following determinants of musical thinking of students of music specialties (figure 5, figure 6) and musicians (figure 7, figure 8). figure 4. distribution of musical thinking components and its integral indicator in students and musicians figure 5. model for the determination of musical thinking and musical self-concept of students the determined model shows that students’ musical thinking is conditioned by the sense of form (0.976), an adequate emotional response to music (0.944), and the sense of the whole, namely, the sense of the logical development of the piece of music (0.912). the following components of musical thinking also become important: perceptual ear for music (0.901), performing emotionality (0.892), the balance of emotional resilience and sensitivity (0.676), broad thinking (0.663), musical self-regulation (0.619), sense of the whole in music, namely, sense of tempo-rhythm (0.573) and personal radical nature (0.542). iryna mazur et al., cognitive determination of musical thinking and musical self-concept 375 table 4. comparative analysis of musical thinking components and its integral indicator in students and musicians t-criterion t degree of freedom significance average difference root-meansquare deviation onesided p doublesided p mus emotional response to music -2.730 103 .004. .007 -.505102 .185008 mus emotional-intonational (melodic) ear -4.801 103 <.001 <.001 -.747449 .155692 mus harmonic ear for music -9.947 103 <.001 <.001 -1.471939 .147977 mus perceptual ear for music -2.570 103 .006 .012. -.400510 .155838 mus – musical-rhythmic sense -10.653 103 <.001 <.001 -1.653061 .155177 mus – music memory -14.235 103 <.001 <.001 -2.076531 .145871 mus – performing emotionality -4.613 103 <.001 <.001 -1.025510 .222310 mus musical-creative imagination – insight into the essence of the musical image -13.339 103 <.001 <.001 -2.028061 .152045 mus musical-creative imagination – interpretation of the musical image -18.110 103 <.001 <.001 -2.701531 .149176 mus – sense of the whole – sense of temporhythm -10.286 103 <.001 <.001 -1.392857 .135413 mus sense of the whole – sense of shape -10.779 103 <.001 <.001 -2.094388 .194295 mus sense of the whole – sense of style -10.557 103 <.001 <.001 -1.882653 .178331 mus sense of the whole – sense of the logical development of the piece of music -11.764 103 <.001 <.001 -1.913265 .162632 mus – cognitive activity -6.466 103 <.001 <.001 -1.168367 .180696 mus – self-regulation -18.757 103 <.001 <.001 -2.844388 .151646 mus – ability to work -13.361 103 <.001 <.001 -2.117347 .158476 muse – musical thinking thinking – integral indicator -44.062 103 <.001 <.001 -1.626435 .036913 harmonia: journal of arts research and education 22 (2) (2022): 368-380376 figure 6. hierarchy of musical thinking components and musical self-concept of students the obtained model shows that music-oriented and music-conditioned sensory-perceptual innovations play a crucial role in the structure of students’ musical thinking, including the sense of the whole – the sense of shape (1.235), the emotional response to music (0.875), and the sense of the logical development of the piece of music (0.711). figure 7. model for the determination of musical thinking and musical self-concept of musicians in order to determine musicians’ musical thinking, it is necessary to pay attention to its components that ensure a high level of development and level of professional skill. these components are as follows: emotional response to music (0.957), musical-creative imagination – insight into the essence of the musical image (0.944), cognitive activity (0.924), musical self-regulation (0.901), sense of the whole – sense of style (0.875), performing emotionality (0.864), tension (0.766), sense of the whole – sense of tempo-rhythm (0.643), ability to work (0.641), and friendliness (0.542). figure 8. hierarchy of musical thinking components and musical self-concept of musicians notably, the crucial components of the hierarchy of musical thinking load the musicians have should include emotional response to music (0.934), musical-creative imagination – insight into the essence of the musical image (0.755), and cognitive activity (0.734). discussion the analysis of the obtained results on the cognitive styles of the studied groups indicates the features of musicians’ thinking activity are the dominance of the whole, insufficient differentiation of parts, the inability to overcome the context, the indivisibility of individual signs from the background in the process of solving the thinking problem. these results complement the results of research on the understanding of cognitive perception in music by d. deutsch, a. gabrielsson, j. sloboda, et al. (2015). at the same time, students of music specialties show the ability to resist the influence of conflicting background signs while perceiving audiovisual forms and connections. the students also possess the ability to perceive the whole and isolate stimuli from the context. the above indicates musicians need to clarify the symbolic component of audiovisual music (sloboda, 1985). a broad equivalence range is a predominant characteristic of musicians’ thinking, which testifies to their ability to form several groups of large volumes from iryna mazur et al., cognitive determination of musical thinking and musical self-concept 377 many objects. on the contrary, a narrow equivalence range is more inherent in students, which characterizes them as able to distinguish many groups with small volumes (holodnaya, 2004). as for the studied students, a cognitive process of preserving the material in memory naturally implies simplifying it, losing details, and falling out of particular fragments. at the same time, musicians highlight and emphasize specific details of the material. also, musicians can focus on the central details of information without getting distracted by obstacles that interfere with the task. notably, the focus of attention of students is low; they cannot highlight important and secondary details or systematically analyze the material. the authors have noticed the tendency of students to rely on the context, which absorbs them, analyzing various phenomena and social situations and considering each phenomenon as independent and unrelated to others (analytical pole). it is worth noting that the musical thinking and musical self-concept of students as a system are based on advanced abilities in terms of the sense of the whole – the sense of shape, emotional response to music, and the sense of the logical development of the piece of music. the foundations for these characteristics are the concepts of musical argumentation and interpretation (sloboda, 2004). accordingly, the authors have established that dominants in the musical thinking of musicians are the ability to emotional response to music, musical-creative imagination – insight into the essence of the musical image, and high cognitive activity, which corresponds with the research by p. juslin (2019). such conclusions are of particular interest in connection with the studies by e. winner (2018). according to these studies, people feel emotions due to music and can distinguish the emotions they feel in music from those triggered by music. it is necessary to attribute the balance of the following continuums to the personal properties that determine the musical self-concept of students: “emotional resilience emotional sensitivity,” “broad thinking – narrow thinking,” and “radicalism – conservatism.” notably, these continuums play a crucial role in the formation of the adaptive capacity of thinking (lytvynenko et al., 2020). at the same time, the significant personal properties that determine the musical self-concept of musicians are personal tension and the balance of such a continuum as “friendliness aloofness.” these characteristics play a significant role in the formation of musical selfconcept (spychiger, 2017), musical identity (elliott & silverman, 2017), and the subjective well-being of musicians (kong, 2021). their connection with the integral indicator of musical thinking reveals the content of the musical self-concept of students (nagorna, 2018). the obtained results demonstrate the prospects for the formation of the following practical mental actions reflected in the process of musical thinking: the ability to determine the purpose of the musical phenomenon, the ability to find or creatively build tactics of relations arising in the process of interaction with subjects; the ability to produce a value-methodical strategy; the ability to assess the relevance, reliability, strength of the developed strategy and tactics of the relationship of the integral process of the musical phenomenon. conclusion the authors consider musical thinking as a socio-cognitive factor in regulating and determining the behavior of students and musicians with regard to musical practice on the grounds of cognitive-centered, personality-centered, and activity-centered approaches. the musical self-concept of a musician mediates musical thinking as an integral personal innovation. it generalizes the system of beliefs about the musical abilities and potential of the individual formed within the educational process. the study presents the musical thinharmonia: journal of arts research and education 22 (2) (2022): 368-380378 king questionnaire developed by the authors, the integral indicator of which is measured on the following scales: emotional response to music, emotional-intonational (melodic) ear, harmonic ear for music, perceptual ear for music, musical-rhythmic sense, musical memory, performing emotionality, musical-creative imagination – insight into the essence of the musical image, musical-creative imagination – interpretation of the musical image, sense of the whole – sense of tempo-rhythm, sense of the whole – a sense of shape, sense of the whole – sense of style, sense of the whole – the sense of the logical development of the piece of music, cognitive activity, selfregulation, ability to work. the authors empirically determine that the musical thinking of students is based on advanced abilities in terms of the sense of the whole – the sense of shape, emotional response to music, and the sense of the logical development of the piece of music. it is necessary to attribute the balance of the following continuums to the personal properties that determine the musical self-concept of students: “emotional resilience emotional sensitivity,” “broad thinking – narrow thinking,” and “radicalism – conservatism.” accordingly, the authors have established that dominants in the musical thinking of musicians are the ability to emotional response to music, musical-creative imagination – insight into the essence of the musical image, and high cognitive activity. at the same time, the significant personal properties that determine the musical self-concept of musicians are personal tension and the balance of such a continuum as “friendliness aloofness.” the prospects of the study are to develop a program for psychological optimization of the balance of such continuums as “emotional resilience emotional sensitivity,” “broad thinking – narrow thinking,” “radicalism – conservatism,” the ability to differentiate parts, overcome the context, and separate signs from the background in the process of solving the musical task. references bennett, c., & sena moore, k. 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(2017). musical thinking of an instrumentalist musician in the modern scientific discourse. youth and the market, 1,137139. velykodna, m., dorozhkin, v., nalyvaiko, n., yevlanova, e., & lunov, v. (2022). life and death of psychoanalytic societies–lessons from history and new prospects for unions: conference report, kyiv, ukraine, 2021. psychodynamic practice. retrieved from https://www.tandfonline. com/doi/full/10.1080/14753634.20 22.2064351 west, c. (2013). motivating music students: a review of the literature. update, 31, 11-19. winner, e. (2018). feeling from music: emotions in the music listener. in how art works: a psychological exploration (pp. 43-56).new york: oxford academic. witkin, h.a., oltman, p.k., raskin, e., & karp, s.a. (1971). embedded figures test, children’s embedded figures test, group embedded figures test: manual. palo alto: consulting psychologists press. zymoglyad, n.yu. (2019). musical thinking as the basis of piano performing art. culture of ukraine, 65, 182-190. https://www.tandfonline.com/doi/full/10.1080/14753634.2022.2064351 https://www.tandfonline.com/doi/full/10.1080/14753634.2022.2064351 https://www.tandfonline.com/doi/full/10.1080/14753634.2022.2064351 45 musical activity in the music learning process through children songs in primary school level syahrul syah sinaga1, tjetjep rohendi rohidi1, soesanto1, victor ganap2 1postgraduate program, unversitas negeri semarang, indonesia 2postgraduate program, institut seni indonesia yogyakarta, indonesia received: december 29, 2017. revised: april 23, 2018. accepted: june 10, 2018 abstract this study aims to analyze and describe the musical activity in the process of learning music through children songs in primary school. a qualitative approach in this research is made by focusing on the field research method. data were collected by observation techniques, interviews, and documentation studies. data analysis was done by following certain stages respectively, i.e. data collection, data reduction, data display, conclusion drawing, and verification. the results showed that musical activities implemented in three primary schools consist of (1) listening to music; (2) singing; (3) playing musical instruments; (4) moving to follow the music; and (5) reading music. however, forms, types, and variations of the musical activities taking place in these schools are different, depending on the schools’ policy, schools’ abilities, and music teachers’ abilities in teaching the music subject. keywords: children song; musical activity; music learning how to cite: sinaga, s. s., rohidi, t. r., soesanto, & ganap, v. (2018). musical activity in the music learning process through children songs in primary school level. harmonia: journal of arts research and education, 18(1), 45-51. doi:http:// dx.doi.org/10.15294/harmonia.v18i1.12508 harmonia: journal of arts research and education 18 (1) (2018), 45-51 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v18i1.12508 ning process of music in cultural arts and craft arts subject, i.e. national songs, folk song, and children song. however, lack of understanding of teaching materials, such as rhythmic and measure (bar), reading and writing the musical notation, as well as the skills of developing and creating teaching materials are the main obstacles among teachers. as a result, students’ experiences of musical activities are varying depending on the teacher’s creativity as a planner, implementer, and curriculum developer. the problem of differences in the execution of a musical activity that occurs in every school, principal policy, and teacher creativity in determining the teaching maintroduction syaodih (1998) in mulyasa (2008) suggests that teachers play an important role in planning and implementing the curriculum. besides the role of teacher as a planner, implementer, and curriculum developer for his class, the teacher also has the task in evaluating each curriculum refinement process. in the context of art education in primary school level, the role is carried out by the subject teacher of cultural arts and craft arts (sbk) and art culture and craft arts (sbdp). in the 2013 curriculum for primary school, there are three types of song that should be taught in the teaching and learcorresponding author: jl. kelud utara 3 semarang, indonesia e-mail: sinagaunnes@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 18 (1) (2018): 45-5146 terials are the reasons why this research is needed. concerned with creativity, csikszentmihalyi (1999) says that creativity will arise when a person makes a change in the realm that will be transmitted by time. some individuals can even make a difference because of their personal qualities or have a lucky position in their realm. in the realm of art education, they are art critics, lecturers or art teachers, school leaders, artists and art galleries. the role of each individual has an enormous influence especially in the development of music that can be enjoyed by the children. according to the implication theory of the perspective system by mihaly csikszentmihalyi, a novelty of creativity can be generated through the process of interaction between the individual with his personal background, his cultural domain, and the community in the field (sternberg, 1999). in addition to that, csikszentmihalyi also reveals that creativity is an ability to create appropriate novelty works. the creativity itself arises through a symbolic system of how the social system responds to the new idea. if the novelty idea passes the selection and is able to provide benefits, then the idea can be manifested. rohidi (2016) in his book entitled art education: issues and paradigms says that art education includes the art of music in a broader context aimed at ensuring every child and adult to get the rights of education and the opportunity to engage in development and participation in the field of culture and artistic. this is a fundamental argument for raising the importance of art education as a major component of educational programs. this is relevant to read (1970, p.1) in his book, “education through art,” that art should be the basis of education. department of national education (yustisia, et al., 2007) suggests that art education is conceptually multilingual, multidimensional, multicultural, and multi intelligence. multilingual means the art of developing the ability of learners in expressing themselves creatively with various languages, such as: form language, word language, voices, language of motion, role language, and the possibility of combination between the two. multidimensional contains the understanding that art is a medium for the development of various competencies of learners, including knowledge, understanding, analysis, evaluation, appreciation, expression, and creation by harmoniously integrating elements of aesthetics, logic, and ethics. culture implies that art as a medium is able to cultivate awareness and ability of learners in appreciating the diverse culture inside the country and among other countries. as for multi intelligence, the role of art in education is to form a harmonious person in accordance with the psychological development of learners in intrapersonal, interpersonal, visual-spatial, verbal linguistic, musical, mathematical, physical-kinesthetic, and so on. in the context of music subject, gough and millar (2015) revealed that giving musical activity is important for children. this activity needs to be done because it allows children to explore feelings and express those feelings using several ways that will support them. in addition, activities also provide opportunities that explain the musical experience of children in classrooms, groups and as an individual. moreover, research from temmerman (1995) showed that the responds of students to the musical experience that was given to four schools from four different regions were the same; although each region has different socio-economic, population, facilities and infrastructure in the learning process. in addition, his research also reveals the stages of activities performed in musical activities include singing, playing games, listening to music, playing musical instrument, and moving by following music that integrates with curriculum or other planning. related to the needs of children in expressing himself through the song, sinaga (radar semarang, friday, 18 march 2016) stated as follows: “nowadays a lot of children’s television shows singing adult songs. it can syahrul syah sinaga et al., musical activity in the music learning process ... 47 affect the child’s own psychological condition.” referring to the statement, it shows that the role of media in serving children’s songs both in the event of talent competition show and entertainment programs at this time is still less. such condition can negatively affect the quality of musical experiences experienced by learners. therefore, barnes (in philpott, 2001) says that teacher training institutions have great challenges in assisting classroom teachers, especially those who teach sbk and sbdp to think creatively in developing teaching materials to give a positive impact for the learning achievement. related to that, this study focuses on teacher’s efforts in designing various musical activities in music learning through children’s songs in primary school. method this research was conducted by using qualitative approach focused on field research method. this approach was chosen because it is relevant to the understanding of musical and teacher creativity in music learning through children songs. referring to the principle of qualitative research, researchers act as a key instrument. therefore, researchers visited the field directly, adjusting to local time and space to obtain data (see milles & huberman, 1992). in addition, researchers attempt to build rapport with the subject and other informants in order to obtain comprehensive information. the research was conducted in three primary schools, namely sd negeri 01 ungaran, sd mardi rahayu 01 ungaran, and sd mardi rahayu 02 ungaran. research subjects include: (1) classroom teachers and music teachers in three schools that teach sbk and sbdp subjects in the field of music; (2) the principal who participates in supporting the realization of subjects in school life; (3) managers of foundations or committees as policy supporters in the learning process of music in schools. data collections techniques used in this study were observation, interviews, and documentation studies. therefore, various data related to musical activity in the learning process of music at primary school level can be obtained completely. data analysis is done in four stages: data collection, data reduction, data presentation, as well as conclusion and verification. results and discussion musical activity in musical lerning process in general, music teachers in primary schools are classroom teachers who are formally prepared to become teachers in various fields of study such as natural sciences (ipa), social sciences (ips), mathematics, language, and art. as a result, while teaching music, some teachers in many schools are experiencing difficulties. based on observations in the field, the teachers who have competence in the field of music are reflected from their mastery of the basic elements of music in musical activities such as singing and/or playing a musical instrument. these competencies are generally not derived from the results of learning in formal education institutions, but because by chance they are born from the family who pursue the field of art (artists). in addition, some other teachers had experience in music since they were either a band player at school or an autodidact who learned music by themselves. basically, musical activities in music learning consist of listening to music, responding to music with rhythmical motion (responding), singing (singing), reading music notation (reading) and recording music (recording), playing instruments (playing), as well as analyzing and appreciating (jamalus, 1988; safrina, 1999; unesco, 2002; temmerman, 1995; and utomo, 2017). therefore, in reference to the theory of musical activity, this research will explain the varieties of musical activity that take place in the process of learning music through children songs at the primary school level in semarang regency. musical activity is an important harmonia: journal of arts research and education 18 (1) (2018): 45-5148 component in music learning to provide a musical experience to the students. however, because of the various school conditions and competence of existing teachers, the capacity and form of musical activity that is held in each school are different. the data obtained from the three primary schools studied showed that listening to music, singing, playing music, reading music notation, and moving following the music are some forms of activities that have taken place in music learning. however, in the context of the use of music as a medium of learning, teachers have used the composition of various musical compositions, musical instruments, and electronic equipment to teach (see utomo, 2017). the practice of all these five musical activities can be described as follows. listening music activites the observation result from sd negeri 01 ungaran showed that the musical activity took place mainly when the teacher gave an example of a song in music learning. for example, when the researcher observed music learning in second and fifth grade. the process of giving musical experience through songs in both classes is done by the teacher through the audio media and singing the song directly. a second grade teacher once said that, teaching the folk song material “sio tantina” and “padang wulan” in accordance with the national curriculum 2013 is done by playing the two recordings of the song. as one of the strategies, the recording is collected by downloading the song through the internet. however, in the sixth grade, the three stanzas indonesian anthem are taught by asking the students to listen to the songs sung by the teacher. however, since the students have mastered the melody of the taught song, the listening activity is focused on the three stanzas lyrics of the song. furthermore, the learning activities are done by the students by imitating the pronunciation of all the lyrics of the songs according to the existing melody sentence. through these two musical activities, comprehensively, the students obtain a meaningful musical experience with regards to song lyrics, tempo, high pitch (tone), and tone value (duration). related to the activity of listening to music, according to the principal of sdn ungaran 01, basically the students have gained experience from the family environment, electronic media, and through their interaction with peers. although, not every song listened by the students are match with the characteristics, development, and needs of students. on the contrary, unlike the students of sd negeri 01 ungaran, listening to music among students of sd mardi rahayu 01 and 02 ungaran is more diverse. as an educational institution incorporated in the catholic foundation, the students have been intensively gained musical experience while attending church services with some additions to other experiences gained from the family environment, electronic media, and interaction with peers. in both schools, the listening activity of music in various forms has been adequately implemented. through extracurricular activities, this activity is obtained through the activities of choir, drumband, and karawitan (javanese traditional music). in fact, according to the principal of sd mardi rahayu, the teachers or school attendants have the task of playing music like national songs, educational themed songs, and mars of the school by using tape recorders equipped with sound system devices every morning. the playback of these songs is an effort to build the character education that must be done in every primary school in semarang regency. even in these two schools, the church songs also played especially at the time before the church mass. in addition to this, playing the javanese song or gendhing (klonengan) is an effort to introduce traditional art to the students. singing activities singing is a tool for children to express their thoughts and feelings through tones and words. therefore, singing is one part of musical activity that is important and dominant to be implemented in the syahrul syah sinaga et al., musical activity in the music learning process ... 49 simultaneously with one voice (unisono) led by the class president. after classroom teachers are present in the classroom, the activity then proceeds with the process of teaching and learning activities in accordance with the schedule of school subjects in each class. playing music activities the activity of playing music in sd negeri 01 ungaran is done both as intracurricular and extracurricular learning activities. in the intracurricular instruction, the teacher teaches the material on how to play a pianica instrument or a soprano recorder. while in extracurricular activities, this activity takes place in the marching band activity. the learning activities of playing musical instruments in sd negeri 01 ungaran are carried out in groups. for example in the fourth grade, to facilitate the implementation of learning, teachers divide the students into two groups. one group of students plays pianica music instruments and one group of other students played a soprano recorder instrument. the learning of playing musical instruments at sd mardi rahayu 01 and mardi rahayu 02 are taught by art teacher from the foundation. this policy is taken because the burdens of existing class teachers that are considered heavy and not all teachers are competent in teaching music. based on the results of research conducted in class 4-a, one of the song material used in learning a pianica musical instrument is the traditional song from central java “gundul-gundul pacul”. before the students learn the notation of the song that will be played, the teacher first teaches about the technique of puffing and fingering of natural scales (c major). moving following the music activities implementation of activities to move following music in sd negeri 01 ungaran can be found every morning before the students go to class and begin the learning activities. all students ranging from grade 1 to 6 should do march accompanied school. singing activities are always be loved by students. through this expressional activity, the students are able to gain satisfaction that is meaningful for themselves as an effort to develop their artistic and aesthetic ability. singing activities in the three primary schools studied were conducted in accordance with the policies of each school. some of the schools routinely do the activity at the time: (1) before the bell rings as a sign of learning begins; (2) when marching with footsteps in place before entering the classroom; (3) when learning cultural art and crafts; (4) before the finish school bell; and (5) when flag ceremonial activities on mondays or national big day flag ceremonies. in sd negeri 01 ungaran, as told by the principal, the routine of learner activities that include singing activities, should be done by first up to sixth grade. every day before all the students enter the class, they have to gather in front of each class, then marching in front of the door led by the chairman of the class. singing activity is done while walking on the spot with the accompaniment of students’ applause along with the rhythm of the song. for example, at the time when the researcher conducted the observation, the song that was sung by the third grade students was the song of indonesian character student. meanwhile, the song which was sung by the fourth grade student was mars of sdn ungaran 01 song entitled “jayalah sd ku” by y subagyo. singing activities conducted at sd mardi rahayu is done in different ways. according to the principal of sd mardi rahayu, this activity is done regularly and together in all classes at 7 a.m. in this school, all class teachers and administrative staff gather in the office and then do prayer activities together. while at the same time, all the students in each class are also doing prayer activities together continued by singing mars mardi rahayu song created by y. subagyo which the notation of the song has been written on the cover of all students’ notebooks. that mars song is sung harmonia: journal of arts research and education 18 (1) (2018): 45-5150 by a classroom teacher before entering the class. the activity is followed by students sang the character education song while performing the movement; following the songs that the students had memorized. the songs sung by the students in each class are not the same, some of them singing mars of sd negeri 01 ungaran, mars ppk siswa berkarakter indonesia, mars pendidikan keluarga, and abita. some of the activities in moving body to follow the music in sd mardi rahayu include the conducting material songs that took place in the 3rd and 4th grade. the song used as a learning medium to is the song of indonesia raya with time signature 4/4. the learning process is done by the teacher, starting with giving examples of hand movement pattern 4/4 while singing indonesia raya song. then, students practice it together with teacher guidance. hand movement is as follows. figure 1. 3/4 graphic hand measure movement 4/4 (source: sinaga, october 2017) reading music notation activity reading musical notation is a musical activity that requires the basic skills of music and musical theory. in the form of activities, this activity can be done by using vocals through singing activities or using musical instruments by playing music activities. implementation of reading music notation activity that took place in sd negeri 01 ungaran has been implemented in all grade levels. however, when teaching grade 1 to grade 3, this activity is only done during singing activities. in practice, at the time of singing activities teachers always write the notation of the song in the form of notes on the board. so indirectly, when the singing activities are done, students also begin to be introduced with tone symbols, tone (picth), tone value, and song tempo. in contrast to those taking place in grades 1 to 3, in grades 4 and 5 students have been taught in more depth about ways of reading music notation especially number notation. in practice, this activity is implemented through the activities of singing and playing musical instruments. at the time of playing a musical instrument, other than students applying their knowledge of tone symbols, tone values, and tempo, they also learn about the position of the tone, how to blow pianica and play recording instruments played, and also fingering techniques. in sd mardi rahayu 01 and sd mardi rahayu 02 ungaran, learning activities that involve reading music notation activity are begun from third grade. this activity is structured in the order of materials, the introduction of the number notation and music symbol notation, how to write notation, and the procedure of transposing the number notation into the music symbol notation or vice versa. after that, it is continued by making the application through the activities of singing and playing musical instruments. the practice of reading music notation through the playing of the musical instrument is done by using pianica. at the time of learning in grade 4, the activity of reading music notation using a musical instrument is done with numbered notation. however, when students learning music in the 5th grade, the application of the use of music symbol notation has started to be taught to the students. based on tarwiyah (2003), in practicing the soprano recorder music instrument, it will be more effective if it is done through the use of music symbol instrument. therefore, when the teacher has the ability to teach the music symbol notation, teaching the music symbol notation can be applied from primary level in a simple way. syahrul syah sinaga et al., musical activity in the music learning process ... 51 conclusion based on the research results, it is shown that the musical activities in sdn 01 ungaran, sd mardi rahayu 01, and sd mardi rahayu 02 ungaran consist of: (1) listening music activities; (2) singing activities; (3) playing music activities; (4) moving following the music activities; and (5) reading music notation activities. those five musical activities are experienced by students outside the learning process, intracurricular, and extracurricular. the intensity and quality of musical activities given to the students in primary schools that were researched are different. those differences are caused by the different school regulations, teachers education, as well as teachers’ musical ability and experiences. different musical activities can be seen from the variety of musical activities which were done outside of the the planned learning activity, intracurricular, and extracurricular acivities. references csikszentmihaly, m. (1996). the creative personality. psychology today, 29(4), 36-40. gough, m. peter millar. (2012) curriculum support teacher for music. london:neelbg jamalus. (1988). panduan pengajaran buku pengajaran musik melalui pengalaman musik. jakarta: proyek pengembangan lembaga pendidikan. miles, h b. & huberman a m. (1992). analisis data kualitatif (terj. tjetjep rohendi rohidi). jakarta: ui press. mulyasa. (2008). menjadi guru professional, menciptakan pembelajaran kreatif dan menyenangkan. bandung: remaja rosdakarya. philpott, c. & charles plummeridge (eds.) (2001) issues in music teaching. london: routledge falmer. read, herbert. (1970). education through art. chicago: university of illinois press. rohidi, t.r., (2016). pendidikan seni: isu dan paradigma. semarang: cipta prima nusantara semarang. safrina, r. (1999). pendidikan seni musik. jakarta: depdikbud. sinaga, syahrul s. (2016, maret 18). prihatin lagu anak minim. radar semarang: 11. sternberg, r. j. (eds.). (1999). handbook of creativity. cambridge: cambridge university press. tarwiyah, t. (2003). perbedaan efektifitas antara penggunaan notasi balok dengan notasi angka dalam meningkatkan ketrampilan memainkan rekorder sopran pada mahasiswa pendidikan anak usia dini (paud) iniversitas negeri jakarta. harmonia: journal of art research and education, 10(1) temmerman, nita. (1995). children’s perceived best and worst classroom music experience. proceeding. dipresentasikan pada seminar ke-10 “australian society for music education”. tim pustaka yustisia. (2007). panduan lengkap ktsp. yogyakarta: tim pustaka yustisia. unesco, (2006). “road map for arts education”. the world conference on art education building creative capacities for the 21st century. lisbon, 6-9 march. utomo, udi. (2017). (2016). musik pendidikan. semarang: jurusan sendratasik fbs unnes 233 renteng dance in saren village, nusa penida as a source of inspiration for the creation of ceremonial dances in bali ni made ruastiti, anak agung indrawan, i ketut sariada institut seni indonesia denpasar, indonesia submitted: 2021-08-20. revised: 2021-10-06. accepted: 2021-12-26 abstract this article aims to discuss the renteng dance in saren village, nusa penida, which is actually the forerunner of the rejang renteng dance performance, which is now widely danced by mothers in the context of the dewa yadnya ceremony in bali. supposedly, as the forerunner of ceremonial dance performances, the balinese people know the renteng dance. however, in reality, this is not the case. balinese people seem to know more about the rejang renteng dance than the renteng dance. (1) what is the form of the renteng dance in saren village? (2) why is the renteng dance the source of the creation of ceremonial dance in bali? this study uses a qualitative method with research data sources such as renteng dance performances, dancers, musicians, traditional elders, community leaders, and journals related to research results. aesthetic theory and structural-functional theory were used to analyze all the data gathered during the observation, interviews, and literature review. the study results show that: (1) the community in saren village presents renteng dance in the form of a freelance dance (without a play). it can be seen from the way of presentation, the structure of the show, the make-up of clothes, and the musical accompaniment of the performance; and (2) the existence of renteng dance is the source of the creation of ceremonial dance in bali because it has a unique appearance that is easy to imitate, according to their aesthetic taste and faith. the new findings of this research show that the level of conflict, aesthetic taste, and faith of the actors greatly influence the development and preservation of the performing arts. keywords: renteng dance, development source, rejang renteng dance, dewa yadnya ceremony in bali how to cite: ruastiti, n. m., indrawan, a. a., & sariada, i. k. (2021). renteng dance in saren village, nusa penida as a source of inspiration for the creation of ceremonial dances in bali. harmonia: journal of arts research and education, 21(2), 232-245 harmonia: journal of arts research and education 21 (2) (2021), 232-245 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i2.31668 part of the dewa yadnya event at penataran temple as an expression of thanks. the renteng dance is identical to the rejang renteng dance, which is fast gaining popularity as a sacred dance in the dewa yadnya ceremonial events. other bali village groups appear to be imitating the popularity of the rejang renteng dance, which evolved from the renteng dance. in fact, because it is a ceremonial dance, introduction renteng dance is a sacred dance performed by a group of adult female dancers at penataran temple, saren village, nusa penida, klungkung, bali, as part of the dewa yadnya. in ceremonial at penataran temple, the renteng dance is kept by the saren villager. every time in a year, folks from farming families do the renteng dance as corresponding author: e-mail: maderuastiti@isi-dps.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 21 (2) (2021): 232-245234 the form and method of presentation must be tailored to the local community’s ceremonial customs. in actuality, several new ceremonial dances have emerged that are identical in structure and movement to the renteng dance in saren village, nusa penida. rejang renteng is known as a dance with a variety of movements, levels, floor patterns, dimensions, and directions that have been adapted to the positive and negative aspects of the location of the performance in the main mandala in the context of the ceremony at the temple. linggih and sudarsana (2020) show that the rejang renteng dance in bali is a ceremonial dance that represents an nymph. rejang renteng dance is presented with circular choreography, building the meaning of holiness (siwam), truth (satyam) and beauty (sundaram). wahyuni and mahendra putra (2020) emphasized that the rejang renteng dance in bali is a form of excitement for religious expression. muneroni (2019), astari & sugiarta (2020) stated that the rejang renteng dance is increasingly becoming a fashion in dewa yadnya ceremonies in bali. ironically, many balinese people, especially the rejang renteng dancers, do not know the point of origin of the rejang renteng dance in bali. as the source of the creation of the rejang renteng dance, which is becoming increasingly popular in bali, the renteng dance can be said to be underdeveloped. the ceremonial dances in the context of the dewa yadnya, who suffered the same fate, are the rejang lilit dance, the rejang kuning dance, the rejang sari dance, and the rejang pakuluh dance. the rejang lilit dance has the same function as the renteng dance in saren village. rejang lilit dance is a ceremonial dance performed by female dancers with a dominant performance choreography, walking in long convoys resembling a rope wrapped around pelinggih-pelinggih (sacred temple buildings, where the gods reside). one similarity between the renteng dance and the rejang kuning dance is that they are both danced by female dancers. rejang kuning is a ceremonial dance performed by female dancers in yellow-yellow costumes or clothing as a symbol of holiness for traditional ceremonies. in the context of the dewa yadnya, the renteng dance and the rejang sari dance are central offering dances (wali). the rejang sari dance is described by maha dewi and agustina (2021) as a ceremonial dance at the sumerta village temple by the people of banjar pande. this dance ceremony is performed with thick makeup and a headdress of gemitir flowers, using kamen wali, yellow scarf, angkin prada to make ngider buana and successful in traditional ceremonies. renteng dance and rejang pakuluh dance are known as ceremonial dances that can be performed by female dancers wearing white clothes. the rejang pakuluh dance is described by mawan and mas (2016) as a ceremonial dance performed by a group of women dressed in white and yellow and accompanied by various kinds of flowers as headdresses in a series of dewa yadnya ceremonies. in addition to the rejang dance as a ceremonial dance, there are also many other ceremonial dances in bali. the balinese, predominantly hindu, have many ceremonial dances (ruastiti, 2019, 17–29). this is because local residents almost always perform dances at every ceremony held. dance is one of the performing arts media, ranging from traditional performing arts to contemporary performing arts, both sacred and profane. besides sacred dance, there are so many types of performing arts in bali. based on its function, balinese people classify their performing arts into wali, bebali, and balih-balihan. wali art can be called a sacred performing art that must be performed in a series of dewa yadnya ceremonies such as the rejang dance, sang hyang dance, and baris dance. gambuh and wayang are classified as bebali arts, namely sacred performing arts that can be performed in a series of traditional ceremonies. meanwhile, profane balih-balihan arts and staged for entertainment include joged, bondres, ruastiti, et al., renteng dance in saren village, nusa penida as source of inspiration for the 235 janger, arja, and drama gong. research on balinese dance has been carried out by many foreign and indonesian researchers, including arini (2014), arshiniwati (2017), beaman (2017), coast & attenborough (2012), dibia (2011; 2017), djelantik (2015), slattum ( 2012), gi (2018), bandem (2014), herbst (2012), magowan & wrazen (2013), mantjika (2015), merkle (2012), sukaryana et al. (2013), kringelbach and skinner (2014), rusmini et al. (2011), subrata (2014), stepputat (2021), cohen (2011), suandi (2018), supartama et al. (2015), kusuma (2015) and zurbuchen (2014). however, based on the results of searches that have been carried out so far, no one has researched the renteng dance in saren village, nusa penida, as a source of inspiration for the creation of the ceremonial dance. it is like rejang renteng dance, which is now rife and popularly danced by women in the context of the dewa yadnya ceremony in bali. based on the observations and literature studies mentioned above, no one has studied the existence of the renteng dance, which is the forerunner of the rejang renteng dance and has inspired many balinese people to create new ceremonial dances in bali. the questions are: 1) what is the form of the renteng dance in saren village? 2) why is the renteng dance a source of inspiration for the creation of ceremonial dances in bali? both problems were solved using a qualitative approach. the hope of revealing the results of this study is to find out the form of the renteng dance performance and identify the characteristics of the renteng dance performance, which is the forerunner to the development of ceremonial dances in bali. methods this research was compiled based on the phenomenon of renteng dance. this article was completed based on the use of qualitative methods. the qualitative method is a method to find the truth based on qualitative data (kumar, 2019). the primary data sources of this research are the performances of the renteng dance itself, dancers, musicians, religious leaders, and the composer of penataran temple, nusa penida. the informants were selected using a purposive sampling technique. purposive sampling is a method of determining informants that was planned from the beginning of the study based on certain qualifications (cresswell and creswell, 2018). the addition of informants was done by using the snowball sampling technique. the level of saturation in snowball sampling becomes a determinant during the data search process (berg and lune, 2018). the secondary data sources of this research are in the form of photos, videos, and research journals that have been produced by previous researchers and were collected through library research. secondary data in qualitative research can be collected through a review of the literature (kumar, 2019). primary data has been successfully collected through observation, interviews, and focus group discussion (fgd). observation is known as a careful observation technique that is useful in recording visual data (berg and lune, 2018). the observations in this study were operationalized in conjunction with interviews and fgds in saren village, klungkung, bali. primary data from informants was successfully collected through an interview process with the help of an interview guide. as a data collection technique, interviews are useful in collecting descriptive data from informants (cresswell and cresswell, 2018). all the informants in this study were actors and temple administrators in saren village who were willing to provide the most relevant information. the qualitative data was then cross-checked by presenting all informants in the fgd. fgd in qualitative research can be done by having a dialogue with several informants at once (cresswell, 2021). all data collected through observation, interview, literature study, and fgd techniques were then elaborated with secondary data with the help of theoretical harmonia: journal of arts research and education 21 (2) (2021): 232-245236 review. all the data that has been collected has been analyzed using aesthetic theory and structural-functional theory. in that context, the validity of the data in this article has also gone through the processes of data reduction, data display, and data verification before being concluded. miles et al. (2020) emphasized that the data collection phase through data reduction, data display, and qualitative data verification is necessary for qualitative analysis before determining conclusions. results and discussion renteng dance performance forms the aesthetic value of a work of art can represent a unity of awareness about the beauty of form and ideology (hogholesen, 2019; ruastiti, 2011). as a sacred dance, the aesthetics of renteng dance are ideologically very relevant in implementing siwam and maintaining the sanctity of temples through traditional ceremonial activities. this dance tends to be easy to do and can even look good when performed by dancers who have not been able to appreciate traditional balinese dance, have good dancing skills, and have a very simple performance structure compared to traditional balinese dance. the renteng dance in saren village is the main sacred dance, as is the wali dance, a traditional balinese dance that is staged in the activities of the dewa yadnya. the renteng dance in saren village has never been positioned as a bebali dance like gambuh and wayang to complete the series of offering ceremonies at the temple. thus, renteng dance has never been positioned like the joged, bondres, janger, arja, and drama gong as public entertainment spectacles. based on the traditional ceremonial tradition in the village of saren, the position and elements of the beauty of the renteng dance so far have emphasized the characteristics of the balinese dance form, which is classified as a wali dance. the meaning of beauty depends on the characteristics of the shape (manns, 2015; ruastiti et al., 2018a). the characteristic form of renteng dance is a performance that has the characteristics of being strung together in a long line. the renteng dance is a ceremonial dance performed by a group of adult female dancers at penataran temple, saren village, nusa penida, klungkung, bali for the purposes of the dewa yadnya ceremony. for the blessing of fertility in saren village, the renteng dance is presented by the local people as an expression of their gratitude. the renteng dance is performed at the penataran temple in saren village, nusa penida, klungkung, bali, a sacred site where the renteng dance is performed in the context of traditional ceremonies. as part of the dewa yadnya ceremony at penataran temple, the renteng dance is performed by an odd number of adult female dancers to the accompaniment of gamelan balaganjur music. as a ceremonial dance, the renteng dance, which is presented in the context of a ceremony, looks less beautiful to the general audience (indrawan et al., 2021). however, in the 1980s, the bali provincial culture service arranged the choreography into a ceremonial dance with a standard presentation concept, no longer improvised based on traditional artistic aesthetics. as a result, the range of movements of the renteng dance is very small. performed repeatedly with balanced compositions on the right and left, accompanied by gamelan balaganjur music with a steady tempo so that dancers could easily follow it. although the balaganjur gamelan accompanies the renteng dance, the characteristics of the renteng dance as a traditional balinese dance are straightforward. this can be seen from the rhythm (wirama), movement skills (wiraga), and appreciation of taste (wirasa), which are relatively small. the range of movements of the renteng dance is very small. the typical movements in the renteng dance consist of ngelikas, nguler, and ngaed movements, which are often performed repeatedly with a balanced composition on the right and left positions within a certain tempo. the movement of ngelikas is ruastiti, et al., renteng dance in saren village, nusa penida as source of inspiration for the 237 accompanied by body swaying and silent movements while stretching out arms or walking. the gulping movement is often accompanied by a straight left-hand movement in a groggy position. the ngaed movement is often performed before or after the right and left body swaying movements that follow the tempo of the gamelan music. the three variants of the movement are arranged into a movement pattern that is carried out repeatedly from the beginning to the end of the dance. the traditional renteng dance performance seemed able to entertain the people of saren village who witnessed the performance at penataran temple, nusa penida, klungkung, bali. the spirit of the dancers in dancing shows that their religious emotions are very strong in responding to the atmosphere of the dewa yadnya ceremony. an enthusiastic audience, supporters of penataran temple, nusa penida, were no less enthusiastic in preparing for and watching the show until the end. the dewa yadnya ceremony at penataran temple has provided an opportunity for its followers, especially the renteng dancers. their creativity and passion for dancing seemed to be welcome when asked to perform the renteng dance. on the other hand, the appearance of the renteng dancers at penataran temple seemed to change the atmosphere of the ritual ceremony. this happy phenomenon seems to have had a distinct impression on the local people since the renteng dance was created. the beauty of renteng dance can be seen from the impression and value of the dance itself. “beautiful impression” means artistic value. dance as a work of art has an aesthetic value, meaning that the work is beautiful (fontanesi and desouza, 2021). beauty in art is a value in renteng dance that can satisfy the desires of the audience. the term “value” is generally used to give meaning to the price or excellence of renteng dance as a result of artistic creativity in saren village, nusa penida, klungkung, bali. aesthetics is a unified form of relationship that exists between conscious beings who appreciate beauty. thus, the aesthetics of the renteng dance are not part of the quality or event, but how the audience understands the beauty that emanates from the renteng dance performance is another question. the beauty of renteng dance refers to its taste and cultural heritage. the aesthetics of this dance can be observed through wirama, wiraga, wirasa, and supporting elements. the simplicity, balance, and harmony of the concept of presenting renteng dance make people fall in love with this ceremonial dance. in general, they stated that the performance of renteng dance displays beauty and pleasure for both the dancers and the audience. the arrangement of various movements that are danced with symmetrical compositions repeatedly can make them calm. furthermore, the balanced relationship between the constituent elements makes ceremonial dance compositions radiate harmony (lyas, 2014; rai s. et al., 2020; rai s., 2020a; ruastiti, 2017). artwork has the nature of beauty that can be seen from its unity, diversity, and intensity (pradana, 2012; pradana, 2018; pradana, 2018a; rai s. et al., 2019; ruastiti et al., 2018; pradana and pantiyasa, 2018; pradana, 2017; pradana and pratiwi, 2020a). likewise, suppose you pay attention to the presentation of renteng dance. in that case, it shows that ceremonial dance performances show beauty through the unity, diversity, and intensity of dance movements carried out in a balanced way. the renteng dance in saren village, nusa penida, bali has a unified composition of motion elements that build it. the intensity in the emphasis on form, characteristics, and serenity of expression has given the impression that the audience has been waiting for (meenakshi, 2021). the hallmark of the renteng dance performance lies in the simplicity of the clothes, the make-up of the costumes, and the manner of presentation, especially the dance movements that have received a touch of aesthetics through the elements of the accompanying music. the movements harmonia: journal of arts research and education 21 (2) (2021): 232-245238 of ngelikas, nguler, and ngaed, as the typical movements in the renteng dance show, seem to have been built according to the people’s aesthetic tastes of saren village by enlivening a variety of transitional movements that are commonly known in traditional balinese dances. it is such as wriggling head movements, stretching movements of the hands, and movements of both hands rotating simultaneously. together, move both hands parallel between the left and right sides and move the right foot forward, parallel to the left big toe. as one of the sacred dances in the context of the dewa yadnya ceremony, the uniqueness of the renteng dance can be seen in the very thin makeup of the dancers and the ngelikas, nguler, and ngaed movements that the dancers often perform repetitively and simply. unity is a primary requirement between one element to create harmony (pradana and pratiwi, 2020; atmaja et al., 2019; dharmika et al., 2020; dyatmikawati and ruastiti, 2020). therefore, it can be understood that in an art object, there is harmony between the elements that build it, connecting them into a single unit. this can be seen in the structure of the renteng dance movement, which includes walking, stationary, and transition movements. units of dance movement include walking, stationary and transitional movements, which are patterns of motion that are intertwined and carried out consistently over and over again to build a one-unit relationship. this strong relationship is needed to create wholeness and harmony. unity is cohesion, consistency, wholeness, which is the main weight of the composition (pradana 2017a; pradana, 2019). harmony between parts is arranged into an interwoven unit (klevan, 2018; arniati et al., 2020). harmony is a relationship between an element and other elements in a composition (swandi et al., 2020). unity in the various movements of the renteng dance is achieved through the intertwining of one element of motion with other elements of motion. the arrangement is intertwined singly and consistently, over and over again, so as to create harmony. the achievement of harmony in the structure of the renteng dance performance is obtained through the unity of a single movement structure and a variety of elements that are danced repeatedly. the structural differences in the elements of the renteng dance movement can be conveyed as follows: ngelikas, nguler, stretching out hands, ngelikas, nguler, stretching out hands, ngelikas, nguler, stretching out hands, ngelikas, nguler, stretching out hands, ngelikas, nguler, stretching out hands, ngelikas, nguler, stretching out hands, intensively continues to be repeated until the ceremony is over. intensity emphasizes aesthetic or artistic effects on an object that occurs at the level of form and expression. as for the intensity of form, renteng dance in saren village is formed by three kinds of dance movements. the top design is the design on the floor from the audience’s direction that is painted on the space above the floor (ife, 2021; gallery, 2019). in general, audiences like quality performances. the quality of the performing arts is built on the meaning of motion and the form of choreography. the horizontal and flat design does not accentuate the extravagant choreography. but artistically, both designs give emphasis through the outstretched hand movement at the end of the movement pattern. a dancer confronts another dancer. the top three designs are designs that give artistic prominence and emphasis so that they become the centerpiece of the renteng dance characteristic. highlights or emphasis can become accents or characteristics of the artwork through rhythm changes (pradana, 2021; ruastiti, 2016). based on the description above, renteng dance performances’ characteristics lie in the simplicity of the presentation method, range of motion, fashion make-up, and musical accompaniment. renteng dance as a source of inspiration culture can be a source of collective satisfaction (tejayadi et al., 2019; zawadzka et al., 2016; ruastiti and pradana, 2020). saren village is one of the villages located ruastiti, et al., renteng dance in saren village, nusa penida as source of inspiration for the 239 in klungkung regency, the eastern part of the island of bali, which is predominantly hindu and has balinese culture. the religious life of the saren villager is a reflection of balinese culture in general. this is similar to balinese people in general, who always carry out ritual ceremonies before carrying out a certain series of ceremonies accompanied by performing arts performances as an expression of gratitude to god (rusmini et al., 2011; nor and stepputat, 2019; pradana et al., 2016; pradana, 2018b; dharmika and pradana, 2020). when they carry out social, political, entertainment, and tourism activities, they always ask for permission and instructions from the temple so that the work carried out can run smoothly. therefore, there are many dance ceremonies, both on a large and small scale socially, in bali. the success of traditional leaders in saren village in managing the renteng dance performance at penataran temple, nusa penida, has encouraged the sekaa, or other communities in bali, to create similar dances in their respective regions. according to local village elders, villagers feel they have an obligation to carry out the harvest ceremony when successful. in the legend of the history of the village, it is stated that the harvest is abundant and sustainably after their ancestors created and performed the renteng dance at penataran temple. the residents of saren village are known to have a traditional heritage of carrying out worship ceremonies for ratu gede sakti, who is believed to have lived at penataran temple, saren village, nusa penida, klungkung, bali. they firmly believe that their success in living as farmers so far is due to the intervention of ratu gede sakti. therefore, the renteng dance is performed by the local people as an expression of gratitude for the abundant harvest and their peaceful life in saren village. the community’s belief that has been imprinted is that every citizen who offers dance during the ceremony will get a blessing (muneroni, 2019; brown, 2014). by becoming dancers in the context of ceremonies, they feel they can be closer to the source of life. on the other hand, sacred art contains and offers miracles (feeser, 2019; muneroni, 2019). the opportunity to appear in the context of traditional ceremonies is considered a blessing for their families. the blessings they receive have an impact on increasing hindu belief, loyalty, and social integrity. the busyness of mothers who struggle with household chores and professional activities every day in public spaces does not make them absent from the staging moments in the context of the ceremony. the development of the rejang renteng dance as a development of the renteng dance can make them feel relieved. the rejang renteng dance performance, which was presented in the context of the dewa yadnya ceremony, was considered to have positively impacted the success of the ceremony. of course, in order to understand the things that make many people interested in using renteng dance as a model for developing their ceremonial dance performances, the basic elements that make up the basic elements of art include form, appearance, weight or content, and appearance. form contains two basic elements, namely form and structure. weight has three aspects, namely atmosphere, ideas, and messages (janis, 2018). while the presentation has three elements, namely talent, skills, and media, used to display a work of art in a moment (earl, 2012). the relevance of practice to the context and cultural capital can result in cultural actualization (pradana and parwati, 2017; pradana and pratiwi, 2020; pradana and pantiyasa, 2018; dharmika and pradana, 2021). renteng dance, as an actualization of the artistic potential of mothers, is considered a cultural element that is relevant to be preserved. through the medium of renteng dance performances, mothers can gather, chat, and learn dance. this means that, apart from expressing their potential in the art of dancing, the renteng dancers can still offer devotion to ratu gede sakti. the term “renteng” for the people of saren village is interpreted as “parent.” harmonia: journal of arts research and education 21 (2) (2021): 232-245240 physically, they were around forty years old. in the kawi language dictionary, renteng is defined as a strand or a line (maharsi, 2012). meanwhile, in the big indonesian dictionary, the term “renteng” is defined as a strand or chain (indonesian language development and development agency, 2017). based on this understanding, it can be understood that the renteng dance is a performance that is performed by being strung together to form a long line. this dance, which is owned by the people of saren village, nusa penida, has been preserved for generations as a ceremonial dance since the farmers’ harvests were abundant and social harmony was established in the saren villager. institutional sustainability shows a functional unity that has been built from the harmony of various components of micro functions that have been structurally committed (atmaja et al., 2020; kalu, 2019; calhoun, 2012). the function of the renteng dance in the traditional structure of the dewa yadnya ceremony at penataran temple seems to have implications for the achievement of better social welfare. amazened by the form of the renteng dance. the renteng dance performance in saren village, nusa penida, klungkung, bali involves women as dancers who are judged according to the context of the ceremony. even monopause women who usually just sit and do work that supports ceremonies in the public sector, in this case, can still actualize themselves to appear as conformist dancers. in general, old women who have even entered menopause are considered inappropriate to balinese dances. however, their actualization as dancers through the renteng dance seems conformist and free from social discrimination among the saren indigenous people. the emergence of the rejang renteng dance, which is easy to imitate ideologically, is able to become a vehicle for aesthetically self-actualizing old women. in traditional balinese culture, older women are more required to take care of the domestic sector, such as taking care of household chores, caring for family members, and supporting the interests of traditional ceremonies. traditionally, the renteng dance is performed in the context of the dewa yadnya ceremony. in addition to the women who volunteered of their own accord to participate in ngayah, the women were also chosen by the organizers of the penataran temple in saren village. all of this is realized by the simplicity of the variety of dance movements. the simplicity of this dance is also seen in the structure of the performance and other elements of art, as shown in the figure 1. figure 1. renteng dance (source : indrawan, 2020) based on the picture of the presentation above, it can be seen that the renteng dance, as the forerunner of ceremonial dances such as the rejang renteng dance, has a simpler appearance. sunardi (2017) said that a simple dance is a type of dance that has a harmonious form of motion. the harmony of movement, along with the musical accompaniment and the make-up of the clothes presented, is stated on the basis of religion. this is what makes the people in saren village, nusa penida, not dare to leave this renteng dance. the success of the people of saren village, nusa penida, in creating and preserving the renteng dance has inspired other communities in bali. in the midst of the industrial-based art revolution in bali, it turns out that there are many new ceremonial dances that have a presentation similar to the renteng dance. some of the new ceremonial dances inspired by the renteng dance are the rejang gede dance, the rejang takilan dance, ruastiti, et al., renteng dance in saren village, nusa penida as source of inspiration for the 241 the yellow rejang dance, the rejang renteng dance, the rejang sari dance, the rejang dedari dance, and the rejang pakuluh dance. the renteng dance as part of the ceremonial offering is a manifestation of the application of divine values, namely siwam. this can be seen from before the performance began in a series of activities that began with offerings on each side and in the middle of the staging area. all of this is believed to function as a form of appeal to ratu gede sakti. as brown (2014) stated, belief plays a role in every practice of religious ceremonies and acts of worship. therefore, it can be understood that the renteng dance is a parameter for the creation of new ceremonial arts in bali because it is in accordance with their faith and aesthetic taste as well as their needs in carrying out traditional ceremonies. however, this renteng dance is most popular among the people of saren, nusa penida because it is most in accordance with customs and faith and is always needed to implement the dewa yadnya at penataran temple, nusa penida, bali. conclusion renteng dance is presented in the form of a free dance by the inhabitants of saren village, nusa penida, according to the description above (without a play). it can be seen in the way the performance is presented, the framework of the show, the clothing make-up, and the musical accompaniment. renteng dance is the source of ceremonial dance in bali, due to the originality of the display structure components that are easy to imitate and in harmony with the aesthetic tastes and religion of the balinese people. the novelty of this research is that every performing art that will be displayed in its form and way of presentation must be arranged to make it more interesting to watch. the level of conflict, aesthetic taste, and faith of the actors greatly influence the development and preservation of the performing arts. acknowledgement the completion of this research was due to the assistance of various parties. for this reason, we from the research team express our gratitude, especially to the ministry of education and culture, research, technology, and higher education, which has funded this national research since the beginning until the establishment of this journal. thanks are also expressed to the chancellor of isi denpasar along with his staff, resource persons, colleagues, and the community who own the penataran temple in saren village, nusa penida who have assisted this research from start to finish. references arini, a.a.a.k. 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(2014). the language of balinese shadow theater. princeton: princeton university press. 103 audience perception of effective communication in nigerian paintings johnson adelani abodunrin department of fine and applied arts, ladoke akintola university of technology, ogbomoso, nigeria e-mail: jaabodunrin@lautech.edu.ng received: november 12, 2016. revised: december 10, 2016. accepted: december 25, 2016 abstract artists in nigeria perceived effective communication differently irrespective of the socio-economic status.communication effectiveness depends largely on the understanding of the message being passed between a sender and a receiver. painting has been used over time to express emotion and feeling to the perceiving audience. the study is audience’s perception of communication in nigeria painting and how it varies with the socio-economic characteristics such as age, education, gender, and being professional artist or art lovers. questionnaires were distributed and administered to examine how the status of the art audience makes or mars effective communication in painting. the inferential statistics that were employed include “chi-square test” to test the relationship between different variables. the data were taken in ordinal form using likert’s scale, and transformed into interval data. this was done by attaching statistical weights to the responses in the order of importance which were summed up for the parametric testing. findings show that gender factor has nothing to do with the understanding of paintings. also, the level of education obtained by the audience does not have much to do with understanding of contemporary nigerian painting but a better exposure to the issue concerning the stylistic development of nigerian painting. art practitioners must adequately be guided on stylistic trend in painting, art education should be more intensified in educational curriculum in nigeria. the paper concludes that audience requires a better exposure to the issues concerning the stylistic development of nigerian painting for effective communication to take place. keywords: audience perception; communication; painting; nigeria how to cite: abodunrin, j. a. (2016). audience perception of effective communication in nigerian paintings. harmonia: journal of arts research and education, 16(2), 103-115. doi:http://dx.doi.org/10.15294/harmonia.v16i2.7824 harmonia : journal of arts research and education 16 (2) (2016), 103-115 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v16i2.7824 p-issn 2541-1683 e-issn 2541-2426 2007). at the beginning of the twentieth century, the school of gestalt psychology emerged in germany as a reaction to structuralism, another school of thought (encyclopedia britannica, 2014). the gestalt school of thought believed that perception is the result of the relation between stimuli, rather than the existence of the stimuli themselves. the word gestalt means ‘form’, ‘shape’, or ‘whole configuration’ in german.there are different levels and aspects of perception, but however inexintroduction perception is the ability or consciousness of understanding something through vision, taste, smell, feelings and hearing. also, it is a high-order function that deals with more complex characteristics. audience uses prior knowledge and experience to interpret and create meaning from what they see, taste, smell, feel or hear. audiences have an innate ability to establish order according to certain laws of perception, such as gestalt psychology (harrigan, harmonia : journal of arts research and education 16 (2) (2016): 103-115104 perienced an artist or audience is, it is impossible to paint without some awareness of the basic elements such as colour and shape. there is an important set of visual properties that are called ‘pre-attentive attributes’ of visual perception. they are pre-attentive in that the process of perceiving them does not involve conscious thought; it is automatic and immediate. this includes properties such as elements and principles of design. visual perception is a function of our eyes and brain. we see images as a whole rather than in parts. however, images can be broken down into their visual elements: line, shape, texture, and color. this element allows the eye to see images of representation with the assistance of the human brain to decode them. seeing objects of art allow us to perceive the meaning of the expression. audience perception of an object depends largely on the reaction of the eye been adequately sensed by the brain for effective communication to take place. communication and perception are two inseparable concepts when it comes to the issue of meaning and interpretation of an object. the way one audience perceives effective communication might be different from the other, thereby creating a multidimensional approach to the perception of an artwork. communication as a means of relaying information is as old as creation itself. it is notably characterized by diverse languages, both verbal and non-verbal. however, as important as language is in the day to day activities of man, and to the humanity of man, its origin was difficult to locate both in time and space (babajide 2000, p. 1). consequently, language can be viewed as the use of words or signs in an agreed way as the method of communication, among a particular group of people or creed (barber 1964, p. 15). communication also exists among different groups of animals, which is the transfer of information on the part of one or more animals that has an effect on the current or future behaviour of another animal (tracii, 2010, p. 25). the study of this sometimes called zoosemiotics (defined as the study of sign communication, or semiosis in animals; distinguishable from anthroposemiotics, the study of human communication). communication has been associated with all living beings from the very beginning. there are many complex feelings which cannot be expressed through verbal means so people all over the word, use arts, particularly painting to express individual experiences and creativity. in this study, effective communication is contextualized, when an expression of visuals is direct, unambiguous, informative and meaningful to people irrespective of social and educational background. painting as a form of communication is an integral part of visual art studies. through painting much is expressed without making a verbal statement. the artists symbolize the intended messages, codify them and allow the audience to decode and interpret the hidden messages or meanings. therefore, painting is not only a tool of recorded human history, but also a tool for conveying a wide range of stories, emotions, feelings, inner world symbolically, didactically or in a hidden mode. existing studies have shown that communication is relatively significant to human existence (oyewo, 2000, p. 77-78; lamidi, 2000, p. 86; adeniji, 2004, p. 64). specifically, oladosu (2000, p. 1) reveals that the history of human development projects communication as the main vehicle exploited to meet life expectation and upon which it gain complete dominance of the immediate environment. communication through visual arts has been extensively explored by various scholars, especially in the area of drawing, graphic design and photography. among such scholars are cleaver (1966), hill (1966), igboanugo (1976), kalilu (1999), folorunso (2001), getlein (2002), davidson (2003), and woods (2011). their works concentrated more on drawing as an instrument of visual communication rather than painting. however, painting differs from drawing with respect to nature, types, and materials. painting is characterized by colour and design and they johnson adelani abodunrin, audience perception of effective communication ... 105 are of different types which include oil on canvas, watercolour, acrylic, and mixed media. the material use in painting also makes a significant difference. however, no specific attentions have been paid to audience perception of effective communication in contemporary nigerian painting, an obvious gap thus filled by this study. method audience’s perceptions of contemporary nigerian painting were analyzed to determine how styles, subject matter and media and how it contributed to the effective communication in nigerian painting. this study utilizes ordinal data using likert’s scale, which ranges between 1 and 5 for strongly disagree (1), disagree (2) uncertain (3), agree (4) and strongly agree (5) respectively. this was aggregated for all the respondents by computing the averages, which also range between 1 and 5 as for the individuals above. this was done by attaching statistical weights to the responses in order of importance. these weights were summed up and were subjected to descriptive statistics of mean and tabulation. respondents’ assessments of different aspects of audience’s perceptions of contemporary nigerian painting were based on eighteen variables which are broadly divided into three, namely style; media and subject matter. this study is limited to analysis of paintings in nigeria by nigerian artists. there are several categories of artists in nigeria. the paintings that were studied in this work were produced by professional painters from diverse tertiary institutions and geographical background in nigeria, who have also distinguished themselves through practices and exhibition over the years both at home and abroad. the study covers the period from 1970 to 2010 (a period of forty years). the media in painting that the study concentrated on are: oil paint, watercolor, gouache, acrylic, pen and ink, pastel, ink and brush, beads and mixed media. the perception of the audience was measured based on the variables, emanated from table 2 this includes style, subject matter, and media which enables effective communication and meaning in painting. the research question addresses how the audience understands the symbolic meaning and emotions of painting in nigeria. the study was carried out in lagos state, nigeria. lagos is the major commercial hub of nigeria, where most of these art stakeholders reside were targeted as the sample frame for proper and comprehensive examination. lagos state has evolved to be considered as the most urbanized and economic nerve center in nigeria (odumosu, 1999, p. 1). furthermore, questionnaires were randomly distributed based on the geographical spread and training of the respondents (table 1). the questionnaires were randomly distributed to graduate from various art schools, both in the teaching profession and professional practice. a total number of 350 questionnaires were distributed out of which 287 were returned for analysis. therefore, 115 questionnaires (40.1%) were retrieved from artists, who combine teaching and practice, this is necessary because they constitute a larger population among the respondents. full-time professional artists returned 86 questionnaires (29.9%), and this could be attributed to the instability in terms of location of various professional artists, while 29 questionnaires (10.1%) were received from 37 registered gallery owners in lagos state (directories of galleries in lagos). however, 57 (19.9%) questionnaires were retrieved from art lovers. the selection of this category was based on those who collect paintings both in private and public sectors in nigeria. as indicated in table 1 below. the data obtained from the questionnaires were then analyzed to determine perceptions of effective communication in painting. in order to achieve the objective of this study, the respondents were categorized into two: professional artists who are in full-time studio practice and those that are combining practice and academics. harmonia : journal of arts research and education 16 (2) (2016): 103-115106 table 1. questionnaire distribution (%) audience frequency percentage professional artist 86 29.9 teaching/practice 115 40.1 gallery owners 29 10.1 art lovers/ audience 57 19.9 chart 1. questionnaire distribution in the study area result and discussion the results of chi-square test for a relationship between socio-economic characteristics and audience perception revealed that a significant relationship was found between education level and audience perception of painting being an aspect of nonverbal communication as one of the best forms of communication and audience understanding of painting in terms of forms and colours as the primary contestant(x2 = 22.30, p= 0.034) (x2 = 33.70, p = 0.01) respectively. also, a significant relationship was found between the age and the way nigerians perceive colour symbolisms as means of communication. (x2 = 34.53, p = 0.01). in addition, age is also a significant factor to how symbolic and thematic characteristics of nigerian paintings are well understood (x2 = 9.63, p = 0.65) and the exposure of students (apprentice) to the relevance of communication in painting (x2 = 9.63, p = 0.65). it is also revealed from the results of the finding that the descriptive details or title of all nigerian paintings and the apprenticeship methods of training are influenced by age (x2 = 26.65, p = 0.013) (x2 = 31.67, p = 0.00) while the pictorial expression in the mind of the viewers and the expression of paintings to collage, mixed media and others are also influenced by age (x2 = 14.32, p = 0.28) (x2 = 47.28, p = 0.00). the results of findings in table 3 revealed that the audience perception is not influenced by gender or whether a professional or an art lover. this study utilizes ordinal data using likert’s scale, which ranges between 1 and 5 for strongly disagree (1), disagree (2) uncertain (3), agree (4) and strongly agree (5) respectively. this shows that gender as a factor does not affect the effectiveness of communication, that is, the transmission of emotional feelings of the artist through painting to the perceiving audience is not influenced by their gender. that is, the female audience can equally understand the content of contemporary nigeria paintings as their male counterpart. the responses when compared among male and female respondents are not significantly different. this implies that they perceive effective communication in the same manner; aside the fact that the percentage of male respondents are higher compared to the female respondents. it was revealed from the findings of the study that there is a need to improve with the development of art education in nigeria so that the appreciable understanding of painting forms could be better understood. also, knowledge about perception and understanding of the content of painting does not have gender affiliation for effective communication to take place and practitioners in the field of art must adequately be guided or informed on stylistic trend in contemporary nigerian painting irrespective of the age difference, so that the confusing nature of the content of painting would be clarified.also, the level of education obtained by the audience does not have much to do with understanding of contemporary nigerian painting but a better exposure to the issue concerning the stylistic development of nigerian painting table 2 reveals that the respondents with university education spoke more afjohnson adelani abodunrin, audience perception of effective communication ... 107 table 2. distribution of respondents by educational levels s/n variables uni poly nce sec total average x2 p-value remark 1 all nigerian paintings are effective in terms of communication 536 151 09 60 756 2.6 16.2 0.184 difference not significant 2 painting as an aspect of non-verbal communication is one of the best forms of communication 656 147 14 61 878 3.0 22.3 0.034 significant 3 nigerian are strongly aware of colour symbolism as means of communications 537 120 08 58 723 2.5 14.9 0.247 difference not significant 4 audience in nigeria are all aware of and look at painting 506 123 09 44 682 2.3 11.4 0.493 difference not significant 5 all artistic spectators can decode the content of painting 347 101 11 58 517 1.8 14.2 0.290 difference not significant 6 communication is one of the functions of nigerian painting 674 145 12 63 894 3.1 13.6 0.339 difference not significant 7 paintings that are produced from 1970till date are expressive 589 125 12 55 781 2.7 11.2 0.514 difference not significant 8 stylistic and thematic characteristics of nigerian painting are well understood 515 119 14 50 698 2.4 20.6 0.056 difference not significant 9 painting expressed in realism or naturalism styles are clearer in content and meaning 654 146 13 67 880 3.0 8.2 0.770 difference not significant 10 student /apprentices are adequately exposed to the relevance of communication in painting. 572 123 12 15 757 2.6 15.6 0.211 difference not significant 11 all nigerian painting should have descriptive details or title 660 145 16 71 892 3.1 11.7 0.472 difference not significant 12 the apprenticeship method of training in art appears to be lost 490 114 08 57 617 2.1 10.8 0.597 difference not significant 13 the individuality and identity issue in contemporary nigerian painting seems to bring clarity of expression. 560 129 10 55 754 2.6 9.7 0.692 difference not significant harmonia : journal of arts research and education 16 (2) (2016): 103-115108 14 paintingconstitutes a veritable bridge between the inner and outer worlds of man 649 138 12 62 861 3.0 20.9 0.052 difference not significant 15 a picture has a better and lasting impression in the mind of the viewer than verbal aids. 722 140 13 64 939 3.2 20.0 0.068 difference not significant 16 everybody is quite aware of painting as an aspect of art. 670 141 12 67 890 3.1 18.0 0.117 difference not significant 17 people have the understanding of painting in terms of forms and colours as the primary content. 620 114 7 70 811 2.8 33.7 0.001 significant 18 paintings done in college, mixed media abstraction, monomedia styles, realistic styles are well known to everybody. 441 71 4 47 563 1.9 12.61 0.398 difference not significant table 3. distribution of respondents by gender s/n variables male female total average x2 p-value remark 1 all nigerian paintings are effective in terms of communication 556 296 852 3.0 1.863 0.761 difference not significant 2 painting as an aspect of non-verbal communication is one of the best forms of communication 572 306 878 3.1 3.320 0.506 difference not significant 3 nigerian are strongly aware of colour symbolism as means of communications 472 261 733 1.6 2.859 0.582 difference not significant 4 audience in nigeria are all aware of and look at painting 441 241 682 2.4 6.002 0.199 difference not significant 5 all artistic spectators can decode the content of painting 407 215 622 2.2 3.879 0.423 difference not significant 6 communication is one of the functions of nigerian painting 602 292 894 3.1 3.339 0.503 difference not significant 7 paintings that are produced from 1970till date are expressive 525 256 781 2.7 5.641 0.228 difference not significant johnson adelani abodunrin, audience perception of effective communication ... 109 8 stylistic and thematic characteristics of nigerian painting are well understood 457 239 698 2.4 5.455 0.244 difference not significant 9 painting expressed in realism or naturalism styles are clearer in content and meaning 588 292 880 3.1 3.275 0.513 difference not significant 10 student /apprentices are adequately exposed to the relevance of communication in painting. 491 274 765 2.7 6.806 0.146 difference not significant 11 all nigerian painting should have descriptive details or title 587 305 892 3.1 4.349 0.361 difference not significant 12 the apprenticeship method of training in art appears to be lost 433 236 669 2.3 9.334 0.053 difference not significant 13 the individuality and identity issue in contemporary nigerian painting seems to bring clarity of expression. 517 243 760 2.6 6.624 0.157 difference not significant 14 paintingconstitutes a veritable bridge between the inner and outer worlds of man 580 281 861 3.0 7.222 0.125 difference not significant 15 a picture has a better and lasting impression in the mind of the viewer than verbal aids. 617 322 939 3.3 3.526 0.474 difference not significant 16 everybody is quite aware of painting as an aspect of art. 595 297 892 3.1 5.526 0.249 difference not significant 17 people have the understanding of painting in terms of forms and colours as the primary content. 545 266 811 2.8 3.418 0.490 difference not significant 18 paintings done in collage, mixed media abstraction, monomedia styles, realistic styles are well known to everybody. 356 217 573 2.0 8.507 0.075 difference not significant harmonia : journal of arts research and education 16 (2) (2016): 103-115110 table 4. distribution of respondents by professional artist and art lover s/n variables professional artist art lover total average x2 pvalue remark 1 all nigerian paintings are effective in terms of communication 317 536 853 3.0 2.265 0.687 difference not significant 2 painting as an aspect of non-verbal communication is one of the best forms of communication 354 524 878 3.1 13.170 0.010 difference not significant 3 nigerian are strongly aware of colour symbolism as means of communications 262 461 723 2.5 7.371 0.118 difference not significant 4 audience in nigeria are all aware of and look at painting 258 424 682 2.4 8.237 0.083 difference not significant 5 all artistic spectators can decode the content of painting 231 391 622 2.2 18.552 0.001 difference not significant 6 communication is one of the functions of nigerian painting 367 527 894 3.1 7.587 0.108 difference not significant 7 paintings that are produced from 1970till date are expressive 302 479 781 2.7 5.031 0.284 difference not significant 8 stylistic and thematic characteristics of nigerian painting are well understood 261 437 698 2.4 12.634 0.013 difference not significant 9 painting expressed in realism or naturalism styles are clearer in content and meaning 347 530 877 3.1 3.849 0.427 difference not significant 10 student /apprentices are adequately exposed to the relevance of communication in painting. 286 479 765 2.7 3.317 0.506 difference not significant 11 all nigerian painting should have descriptive details or title 358 534 892 3.1 41.049 0.000 difference not significant 12 the apprenticeship method of training in art appears to be lost 235 434 669 2.3 6.014 0.198 difference not significant 13 the individuality and identity issue in contemporary nigerian painting seems to bring clarity of expression. 296 462 758 2.6 5.516 0.238 difference not significant 14 paintingconstitutes a veritable bridge between the inner and outer worlds of man 348 507 855 3.0 9.401 0.052 difference not significant 15 a picture has a better and lasting impression in the mind of the viewer than verbal aids. 366 573 939 3.3 3.187 0.527 difference not significant 16 everybody is quite aware of painting as an aspect of art. 332 560 892 3.1 1.296 0.862 difference not significant 17 people have the understanding of painting in terms of forms and colours as the primary content. 307 504 811 2.8 1.661 0.798 difference not significant 18 paintings expressed in collage, mixed media abstraction, monomedia styles, realistic styles are well known to everybody. 188 385 573 2.0 12.885 0.012 difference not significant johnson adelani abodunrin, audience perception of effective communication ... 111 table 5. distribution of respondents by age groups s/n variables 1825yrs 2640yrs 4060yrs >60yrs total average x2 p-value remark 1 all nigerian paintings are effective in terms of communication 401 391 43 03 838 2.9 11.903 0.453 difference not significant 2 painting as an aspect of nonverbal communication is one of the best forms of communication 395 413 55 03 866 3.0 13.492 0.334 difference not significant 3 nigerian are strongly aware of colour symbolism as means of communications 348 323 38 03 712 2.5 34.534 0.001 significant 4 audience in nigeria are all aware of and look at painting 305 323 37 04 669 2.3 7.704 0.808 difference not significant 5 all artistic spectators can decode the content of painting 322 358 30 02 612 2.1 28.004 0.006 significant 6 communication is one of the functions of nigerian painting 394 423 59 04 880 3.1 10.606 0.563 difference not significant 7 paintings that are produced from 1970till date are expressive 350 360 55 02 767 2.7 14.088 0.295 difference not significant 8 stylistic and thematic characteristics of nigerian painting are well understood 350 360 55 02 767 2.7 28.190 0.005 significant 9 painting expressed in realistic or naturalism styles are clearer in content and meaning 333 316 41 03 693 2.4 9.633 0.648 difference not significant 10 student /apprentices are adequately exposed to the relevance of communication in painting. 396 413 54 03 866 3.0 55.753 0.000 significant 11 all nigerian painting should have descriptive details or title 360 358 37 0 755 2.6 25.650 0.012 significant 12 the apprenticeship method of training in art appears to be lost 400 432 48 02 882 3.0 31.675 0.002 significant 13 the individuality and identity issue in contemporary nigerian painting seems to bring clarity of expression. 342 286 32 02 662 2.3 10.044 0.612 difference not significant 14 paintingconstitutes a veritable bridge between the inner and outer worlds of man 341 359 43 03 746 2.6 10.533 0.569 difference not significant 15 a picture has a better and lasting impression in the mind of the viewer than verbal aids. 369 426 52 04 851 3.0 14.325 0.280 significant 16 everybody is quite aware of painting as an aspect of art. 412 458 54 04 928 3.2 18.881 0.091 difference not significant harmonia : journal of arts research and education 16 (2) (2016): 103-115112 17 people have the understanding of painting in terms of forms and colours as the primary content. 418 413 47 04 882 3.1 19.939 0.068 difference not significant 18 paintings expressed in college, mixed media abstraction, mono-media styles,realistic styles are well known to everybody. 384 347 40 4 775 2.7 47.284 0.000 significant table 6. distribution of respondents by degree obtained s/n variables ph.d master bachelor hnd nce o n d ol total average x2 pvalue remark 1 all nigerian paintings are effective in terms of communication 07 41 592 73 05 46 82 846 2.9 45.180 0.006 significant 2 painting as an aspect of non-verbal communication is one of the best forms of communication 14 48 601 77 06 41 87 874 3.0 34.561 0.075 difference not significant 3 nigerian are strongly aware of colour symbolism as means of communications 12 45 493 63 03 34 78 728 2.5 22.333 0.559 difference not significant 4 audience in nigeria are all aware of andlook at painting 13 31 459 71 07 30 67 678 2.4 28.188 0.252 difference not significant 5 all artistic spectators can decode thecontent of painting 09 22 424 41 03 33 80 612 2.1 54.220 0.000 significant 6 communication is one of the functions of nigerian painting 17 55 640 81 06 44 81 924 3.2 30.558 0.167 difference not significant 7 paintings that are produced from 1970 till date are expressive 14 43 531 71 08 41 72 780 2.7 41.147 0.016 significant 8 stylistic and thematic characteristics of nigerian painting are well understood 09 33 481 64 02 36 66 692 2.4 39.062 0.027 significant 9 painting done in realistic or natural is styles are clearer in content and meaning 07 46 598 82 07 36 91 877 3.0 21.570 0.605 difference not significant 10 student /apprentices are adequately exposed to the relevance of communication in painting. 11 34 547 64 03 34 68 761 2.7 40.178 0.020 significant johnson adelani abodunrin, audience perception of effective communication ... 113 11 all nigerian painting should have descriptive details or title 15 41 613 77 04 43 96 889 3.1 24.776 0.418 difference not significant 12 the apprenticeship method of training in art appears to be lost 08 34 456 51 04 36 76 665 2.3 48.908 0.002 significant 13 the individuality and identity issue in contemporarynigerian painting seems to bring clarity of expression. 14 39 525 73 03 32 72 758 2.6 33.884 0.087 difference not significant 14 paintingconstitutes a veritable bridgebetween the inner and outer worlds ofman 16 47 585 77 03 39 90 857 3.0 26.987 0.305 difference not significant 15 a picture has a better and lasting impression in the mind of the viewer than verbal aids. 22 51 648 80 03 44 87 935 3.2 18.956 0.754 difference not significant 16 everybody is quite aware of painting as an aspect of art. 19 42 613 74 04 42 94 888 3.1 22.685 0.538 difference not significant 17 people have to understand of painting in terms offorms and colours as the primary content. 18 36 561 59 03 36 95 808 2.8 38.421 0.031 significant 18 paintings done in college, mixed media abstraction, monomedia styles, realistic styles are well known to everybody. 07 22 418 36 0 21 65 569 2.0 37.791 0.036 significant differences in the responses are not statistically significant. most of the respondents support painting as an effective non-verbal communication. the responses when compared among the educational groups are significantly different from one another. this implies that while some spoke in support, others responded against. the reason advanced for the difference in the responses in this study is their level of education. in other words, advancement in art education influences people in the understanding of the works of painting. in particular, seeing painting as one of the best forms of communication, in understanding the firmatively than other educational groups, as regards effectiveness of communication through painting. this is followed by the graduates of polytechnics and amazingly followed by secondary school leavers. the reason for this pattern may be the numerical composition of the respondents which had favoured the groups in the listed order. another reason may be the difference in art inclination (professional/art lover dichotomy) even among the educational groups. it is important to state that though there are relative differences in the responses of the different educational groups, for some four variables, in particular, the harmonia : journal of arts research and education 16 (2) (2016): 103-115114 the respondents spoke in support of these variables while some stand against it. this could be as a result of different exposures of different levels of the degrees obtained. conclusion this paper has shown that audience perception of painting in nigeria symbolizes the intended message that codifies meaning and expression of emotions of an art piece. it observes that painting is a means to convey a wide range of stories, emotions, and feelings. painting in nigeria is a nonverbal means of expressing an idea creatively through colour, light, size, depth, and textual gradients. effective communication in visual studies and painting, in particular, depends on the understanding of the message being passed through the adequate use of style, media and subject matter between the artist and the audience. rfereences adeniji, a. a. (2004). discourse analysis of convocation speeches of two selected nigerian universities. unpublished m.a. dissertation. department of english, university of ibadan. babajide, a. (2000). studies in english language; ibadan: enicrownfit publishers. barber, c. (1964). the story of language, london: pan books ltd. cleaver, d. (1966). art: an introduction, harcourt brace, and world inc. davidson, m. (2003). how to draw and paint texture. quarto publishing ltd folorunso, f. c. (2001). visual art and communication technology:reshaping nigeria’s development in the new millennium. jindest, 2(2), 25-32. harrigan, c. (2007). abstract and colour techniques in painting. london: anova books company ltd. hill, e. (1966). the language of drawing. englewood cliff: n.j. prentice. getlein, m. (2002). living with art. new york. mcgraw-hill higher educastylistic and the thematic characteristics of contemporary paintings, seeing painting as a connector of the inner and outer world of a man and the understanding of paintings in terms of forms and colours are functions of educational level. gender factor was also considered to determine effective communication in painting. the chi-square and p-values of the test of difference as associated with the gender rating are presented in table 3. what you see stays more in your mind than what is being described through verbal communication. this could be because title given to a painting serves as a guide or tip to the understanding of the content of a painting. however, some titles often go contrary to the visual message of some painting. painting as an aspect of non-verbal communication is one of the best forms of communication. it also receives a certain level of agreement from both respondents. the possible reasons for divergent opinions might be because the two categories of respondents are not equal in population size. art lovers are greater in number than professional artists that responded to the variable. also, it could be due to the fact that art generally is a universal language of communication which should be understood by everybody irrespective of their inclinations. another variable that received divergent views from the two categories of respondents is that all artistic spectators can decode the content of painting in nigeria. those that spoke against this variable might be considering the post-modernism characteristics of painting which enable each artist to go individualistic in style rendition which often times create difficulty in decoding the content of such painting. different age groups were also used to measure the variables as regards the effective communication in painting as been shown in table 5. this shows the respondents’ views about different aspects of painting, and the test of variations across the age groups. the relative differences based on the degree obtained are statistically significant in about six variables (1), (5), (8), (10), (12) (17), in particular. some of johnson adelani abodunrin, audience perception of effective communication ... 115 tion. igboanugo, p. (1976). home to christopher okigbo, an exhibition by obiora udechukwu. nigeria magazine, no. 120. pp. 22-28. kalilu, r. o. r (1999). fundamentals of drawing. ogbomoso: department of fine and applied arts, lautech. lamidi t. (2000). language, varieties and context’ in babajide a.o. (ed) studies in english language. ibadan: enicrownfit publishers. odumosu, t. (1999). location and regional setting of lagos state. in balogun y., odumosu t., ojo k. (ed). lagos state in maps. ibadan: rex charles publication and connel publications. oladosu, i. (2003). review of basic concepts in communication. ogbomoso: new age publications. oyewo, y. (2000). human communication: an introduction in babajide a.o (ed) studies. in english language; ibadan: enicrownfit publishers. tracii, h. (2010). what is verbal communication. retrieved from http://www. livestrong.com woods, h. t. (2011). the factor of drawing in visual communication in nigeria, (1998-2008). an unpublished m.tech. thesis in the department of fine and applied arts, lautech, ogbomoso. 143 the existence of local wisdom value through minangkabau dance creation representation in present time indrayuda department of drama, dance and music, faculty of languages and arts, universitas negeri padang, padang, indonesia jln. prof. dr. hamka air tawar padang, sumatera barat e-mail: indrayudayusuf@yahoo.co.id received: june 9, 2016. revised: november 12, 2016. accepted: december 11, 2016 abstract this paper is aiming at revealing the existence of local wisdom values in minangkabau through the representation of minangkabau dance creation at present time in west sumatera. the existence of the dance itself gives impact to the continuation of the existence of local value in west sumatera. the research method was qualitative which was used to analyze local wisdom values in the present time minangkabu dance creation representation through the touch of reconstruction and acculturation as the local wisdom continuation. besides, this study employs multidisciplinary study as the approach of the study by implementing the sociology anthropology of dance and the sociology and anthropology of culture. object of the research was minangkabau dance creation in present time, while the data was collected through interview and direct observation, as well as documentation. the data was analyzed by following the technique delivered by miles and huberman. research results showed that minangkabau dance creation was a reconstruction result of the older traditional dance, and through acculturation which contains local wisdom values. the existence of mianngkabau dance creation can affect the continuation of local wisdom values in minangkabau society in west sumatera. the existence of dance creation has maintained the minangkabau local wisdom values in present time. keywords: minangkabau dance creation; local wisdom values how to cite: indrayuda. (2016). the existence of local wisdom value through minangkabau dance creation representation in present time. harmonia: journal of arts research and education, 16(2), 143-152. doi:http://dx.doi. org/10.15294/harmonia.v16i2.6146 harmonia : journal of arts research and education 16 (2) (2016), 143-152 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v16i2.6146 p-issn 2541-1683 e-issn 2541-2426 the society supporting the minangkabau dance is spread to several kampongs or jorong and nigari. each nigari has identity and dance style that is different one to another. based on the old tradition till now, the minangkabau society in west sumatera uses minangkabu dance in custom, sociocultural, and entertainment industry events and activities. usually, people coming from the city part of west sumatera also use the minangkabau dance for complementary entertainment in an official hospitable event, private party as introduction besides for custom retention purposes, the minangkabau dance is also used for sociocultural, soul expression, cultural characteristic and ideology of minangkabau tribe manifestation. therefore, the minangkabau dance is indirectly bounded with customs’ rules, values, and norms of society living in it. thus, the minangkabau dance can not be separated from the minangkabu society’s local widom values (susmiarti, 2009, p. 32). harmonia : journal of arts research and education 16 (2) (2016): 143-152144 well as custom ritual. recently, globalization and information technology have penetrated through various sectors within the society’s life., both in the countryside or the city, and one of it is in the sector of art and tourism. globalization has bought an impact to the presence of the entertainment industry and tourism in indonesia in general and in west sumatera in particular. the emerging of the entertainment industry, has pushed the formation of various event organizers and dance studios that emerges like mushrooms in kota padang and bukittinggi as well as padang panjang and other cities in west sumatera. by the presence of entertainment industry growth in some big cities in west sumatera, it affects to the emergence of various new dance creation works. the new dance creations are creative products created by dance artists and creators from west sumatera that are rooted from minangkabau traditional dance. as stated by iriani (2014, p. 47) in her research results, recent minangkabau dance creation is a trend in the society to be used for various ceremonial and entertainment events, in the area of tourism, private, and public entertainment. the popular minangkabau dance told in this context is a new creation of minangkabau dance, resulted from both modification and acculturation. this new dance is a representation of culture and customs of minangkabau that expresses local wisdom. darmawati in her research entitled “transformation of galombang duo baleh dance in sintuak society” (2014) explains that there is a change on the presentation form of gelombang duo baleh dance from symbolic to represent. it means that the representative presentation of the dance has attempted to repromote local values in the gelombang duo baleh dance. in line with this study, a research about the existence of indang dance in the territory of kanagarian pincuran sonsang by indrayuda (2014) found that indang dance as dance creation which was popularized in the nagari (village) area of pincuran sonsang by an academic artist does not meet any challenge coming from the local people. in addition to this, the fact shows that indang dance can be accepted by people in nagari pincuran sonsang as a new culture, even though people have already had the previous indang dance that has become their inherited culture for a very long time. the reasons towards the acceptance was because the indang dance is representation of local wisdom which visually describes local wisdoms of nagari pincuran sonsang society. since the performing art industry is encouraged in west sumatera, there is a form of development on minangkabau dance from the perspective of motive, floor design, musical design, as well as costume design and its performance procedures. this quality development also let to the quantity development. it means that amount of minangkau dance increase along with the increasing number of the dance distribution. the form development has made the custom elite to feel restless, as well as the local artists from nagari and kampong. both the elite and local artists feel terrified that one day the traditional minangkabau dance will be left behind by the supporting society. recently, the fact shows that individual and academic artists have preserved minangkabau traditional dance through dance creation as the source of their works. virginia (2015, p. 56) in her study about “the existence of women in pasambahan syofiani dance” explains that pasambahan syofiani dance is a form of pasambahan dance that has been acculturated with galombang dance, a minangkabau traditional dance with malay dance style. through the dance work of galombang dance creation, syofiani represents the characteristic of the actual minangkabau women. the illustration of character and behavior of minangkabau women is expressed through movement acculturation in malay dance style, so that the personal values of minangkabau women are emerged in the dance. the existence of pasambahan dance in syofiani version is resulted from the widespread of market deindrayuda, the existence of local wisdom value through minangkabau dance creation ... 145 mand on entertainment industry in west sumatera recently. the reality shows that with the improvement of the entertainment industry, new forms of recent minangkabau dance creation have emerged. the creation of minangkabu dance is a reconstruction form of the old version of minangkabau dance, so that with the transformation, the minangkabau dance will always exist within the society life (susmiarti, 2014, p. 72). this is in line with the old philosophy of minangkabau customs “ancak-ancak dipabarui, kain dipakai usang adat dipakai baru”. it means that the development of the old (traditional) dance reconstruction with the process of creativity has developed quality and indirectly have preserved the existence of minangkabau dance in the life of its society. according to this reality, the development still shifts the position of custom values and minangkabau culture in the new valuable forms that are not relevant with the minangkabau customs. since the development is in line with the minangkabau philosophy “walaupun bakisa, tapi tetap bakisa di lapiak nan salai”. it means that even though it is developed, but the development is still made based on its original form and is not far from the initial track. according to wahyuni (2015, p. 97), performing art in minangkabau is the manifestation of local wisdom values that is obeyed by the minangkabau society. it means that the art, like music and dance, is a representation of local wisdom values owned by minangkabau tribes. therefore, art like dance is a medium, the place of continuation and learning media of local wisdom values in minangkabau. in line with the statement, asni (2014, p. 32) states that local wisdom is valued or ideology that is a view of life and life guidance that reflects the characteristic of a nation. thus, in minangkabau, local wisdoms are inherited and culturalized from the ancient times. the local wisdom is inherited and taught in many ways, one of it is by inserting the element of the arts. essentially, the minangkabau traditional arts, as galombang and pasambahan and also other dances are media to deliver local wisdom values to the society. hanefi (2011, p. 11) states that art, like music and dance, are part of the culture of a society, and also an expression of a life reality. therefore, dance and music, from the anthropological perspective, are products of human behavior that relates to the social and cultural lives of the supporting society. because of this, arts like music and dance in minangkabau considered as a means to express message of the existing local cultural values. even, if one day the dance and music of minangkabau culture has been transformed into a new form, but, as long as those dances and musics are still rooted in the manifestation of tradition, then the cultural values and local wisdom in it will still exist in line with the continuation of the art. issues dealing with the local wisdom, values are essential factors to be analyzed in a study, considering the tendency of the dance creation work of minangkabau in present time is oriented mostly on local values. the tendency of the artist working on the dance creation gives impact to the preservation and values included within the work. it considers important to analyze how the existence of local wisdom, values in the recent minangkabau dance creation, considering that the tendency of people is still intensively using the minangkabau dance creation in various events and ceremonial activities in west sumatera, even though the globalization stream affects the thought pattern of west sumatera nowadays. in its time, this dance creation is one of representation medium that needs to be analyzed as a means to make local wisdom values exist. previous researches had given us a picture that the existence of dance creation is one of representation form of minangkabau culture and customs, so that the customs and culture can be communicated to the society in a more modern form. based on the previous research, it can be inferred that the problem, according to the existence of dance creatiharmonia : journal of arts research and education 16 (2) (2016): 143-152146 on needs to be analyzed deeper, especially in its relation to the implication of the dance to the minangkabau local wisdom values for the anticipation of the possibility value extinction in modern life, especially in west sumatera. an art form, like the minangkabau dance, is a publication medium and expression of the cultural values that exists in the owner’s society’s life. because of that, through minangkabau dance creation in present time, the creative artists started to re-represent the values. the impact of the representation is predicted to be able to become a preservation medium towards the existence of minangkabau local wisdom values, both for the present and future societies. referring to the phenomenon of the existence of dance creation recently, and seeing the intensive symptoms of society on using the dance creation, the dance creation becomes popular in the society nowadays. one of the reasons of the art acceptance and the popularity of the dance creation in the society is the cultural identity similarity for minangkabau society. therefore, society values the dance creation’s values as an art bringing the identity of the society. based on the reality, thus, this study is aimed at revealing and explaining the role of minangkabau dance creation as a medium to keep the existence and continuation of local wisdom values in the life of present minangkabau society. method this study is a qualitative research employing descriptive method. in qualitative way, the research question will be revealed in its relation to the existence of minangkabau local wisdom values and to the existence of present minangkabau dance creation in west sumatera. the subject of the research was minangkabau dance creation that focuses on the local wisdom, values that is existed in the dance creation where it refers to. all matters related to the local wisdom, values in minangkabau dance creation are made into the study object of this study. informants for this study are the actors and creators of dance creation, artists, part of custom elite as well as the society, the consumers and managers of the dance creation, community leaders, and government that is related to the existence of the arts in west sumatera. all interviews are recorded both in written and in audio-visual. data was collected through observation, interview, literary study, and documentation study related to minangkabau dance creation and local wisdom. further, the study analysis is done by employing the method by miles and huberman by collecting data, reducing data, and verifying the data so that the data can be interpreted by inferring the results to the research questions which is related to the existence of local wisdom values through minangkabau dance creation work. results and discussion based on the research results, it is found that most of the traditional-oriented dance creations are spread out in cities and regencies around west sumatera, i.e. kota padang, bukit tinggi, payakumbuh, sawahlunto, pariaman, padangpanjang, and in southern coastal regency, solok, south solok, padang pariaman, sijunjung, agam, and dharmasraya. the minangkabau dance creations which are spread out in the cities and regencies throughout west sumatera is a dance creation that consists of two concepts of formations and creations. the first is an acculturation result and the second is the reconstruction result. the two structural concepts produce the new minangkabau dance creation formation that is oriented on the old traditional dances. the dance creation that is oriented in the older and the more traditional dance are the piring dance, indang dance, and galombang. these three dances creations are emerging on various version spread out in may cities and regencies in west sumatera. each region and city in west indrayuda, the existence of local wisdom value through minangkabau dance creation ... 147 dance. as stated by interviewee 1 on april 25, 2015 that the development of dance creation in west sumatera especially in kota padang, the development of dance creation was getting faster in early 2000s. the form of dance creation is created based on various concepts and appearance forms, as well as the work orientations. one that is usually used by the city people in government occasion and custom occasion are dance creations from minangkabau that are tradition-oriented. in half of exclusive hotels, in addition, the minangkabau dance has been widely used as well. the concepts of work are also varied, started from reconstruction, acculturation, modification, and innovative creation as a result of the advantageous results of a photographer’s imagination. based on the researcher’s observation, there are five forms of dance creation from the category of creative concept. the five concepts of arrangement and creation are, (1) reconstruction, (2) modification, (3) acculturation, (4) transplantation, and (5) invention. these five forms of creation are used by the western sumatera choreographer minangkabau dance creation in present time has contributed to the influence distribution of minangkabau cultural value to the society in west sumatera. through various kinds of dance creation that is used by society recent days, indirectly, it has impacted the minangkabau local wisdom value preservation. society uses the dance creation for middle to upper class people of minangkabau that usually live in a modern style that has been given with an understanding of local wisdom values through the dance creation performance. in their turns, gradually but surely, the society can understand and practice the minangkabau local values in their life, although the quality is not like the fanatical society’s one. based on the research findings in the field, several local value wisdoms are found to be included in the present time’s minangkabau dance creation. among sumatera have many versions about new creation of piring dance, new creation of galombang dance, and new creation of indang dance. the three forms of dance creation are new creation piring dance, new creation galombang dance, and new creation indang dance that are kinds of dance that is usually shown in kinds of cultural events and festival, contests, and in various of activities or ceremony both for customs or government purposes. in line with this, the three forms of minangkabau dance creation are also used by dance studios and dance schools and academies as learning materials. figure 1. traditional and creational piring dance rooted from the traditional piring dance the new dance creation forms which are produced by art studios and art schools or art academies in west sumatera are various. from the variety of forms, the local values of minangkabau are still attached. in other words, those dance creations are oriented to the local values that are expressed through new innovative package of harmonia : journal of arts research and education 16 (2) (2016): 143-152148 them is the value of togetherness, the value of respecting one’s existence, the value of honest and discipline, the value of interaction ettiques and integration, like, sadanciang bak basi saciok bak ayam (that is one voice in togetherness), the value of solidarity, the value of empathy and sympathy, as well as the value of strength and courageous. figure 2. dance creation reconstruction product of piring dance. (documentation from research team of sendratasik fbs unp 2015) besides the value described in the previous part, there is also the value of responsible, harmony, balance, tolerance, and appreciation is found. all the values of local wisdom can be sorted one by one on minangkabau dance creation, especially on the dance creation which the work is monumental. this kind of artwork like one in minangkabau dance creation is an information resource of local wisdom values. as stated by widiyono (2013, p. 31), an artwork is one of information sources about behavior, values, and typical dreams of the members of every layer of society to the certain family group or certain generation. an artwork is an artistic work that is formed from a process of imagination and objective reality process. the artwork is an artistic work that is formed through a process of imagination and process of objective reality. artwork likes literature or performing art is usually created related to the problems or events that happened in the society where the artists live and stay that is related to the experience that is owned by the society. therefore, artist of dance creation of west sumatera in present time manages dance creation not far from the knowledge and appreciation towards the value of local wisdom that they have. this fact causes the minangkabau dance creation to be an agent for the preservation of minangkabau local wisdom values that is affected to the continuation of the values in present minangkabau society in west sumatera. based on an interview with interviewee 2 on april, 17th 2015, there is known that the values of local wisdom in the galombang kreasi dance are actually a reflection of minangkabau people’s personality who like to respect guests, or in minangkabau philosophy meaning putiah kapeh dapek di like, putiah hati bakaadaan. it means that with all his pleasure, as a host, one should welcome the guests open handed to the event the host held. as a symbol of honor and happiness to the coming of a guest, a host presents galombang dance as a representation and reflection of the expression of happiness and honored. the local wisdom values can be taken from galombang dance performance, there are: the value of respect that is reflected from the movement of worshipping, the value of protection for the people visiting the host which is looked from the movement of waving hands and standing in line to welcome people coming to the event of ceremony. the form of protection in welcoming guests is by indrayuda, the existence of local wisdom value through minangkabau dance creation ... 149 giving the guests an umbrella as part of performance structure of the galombang kreasi dance. adding the interviews done by the two previous interviewees, an interview on april 25th, 2016 states that the local wisdom, values can be interpreted from the galombang kreasi dance about the existence of the value of politeness, being open to others’ presence, sincere in receiving other’s presence, as well as the feeling of protection, and responsible. both of the dance experts interviewed as interviewee 3 and 4 were senior choreographers from minangkabau west sumatera. they explain that galombang kreasi is part of reflection of local wisdom values, that implicit in the form of the dance performance or work. the local wisdom is a special characteristic that has been inherited and had by all layers of society in minangkabau. the role done by this dance creation in present time is as a medium to deliver or the learning media. although part of the message in the local wisdom values is rarely responded by most of society in west sumatera recent days. since the society has been captivated by the element of entertainment of an artistic and aesthetic dance creation, meanwhile the audiences or society has forgotten to understand that inside the dance is a message from the minangkabau local wisdom values. in addition to this is explained by interviewee 5 in his interview on april, 26th 2015. he explains that dance creation refers to the traditional dance that contains plenty of local wisdom values that happen to be learning media for character learning of minangkabau society. since in past time, dance is used as learning media that is implemented while playing, the most important is to get a lesson from the art performance. because of that, to the minangkabau dance creation, there are also found some local wisdom values, such as the value of cautious, discipline, tolerance, politeness, order, solidarity and responsible, as well as courage. according to one of the interviewees, that one of the reasons that dance creation is accepted by the society is because inside the dance, the minangkabau local wisdom values are existed. the reason causes the dance creation to be cultivated by people of minangkabau in west sumatera these days. because of the cultural identity reason, it causes the dance creation to be popular in the middle of the city and rural people throughout west sumatera in recent times. the reality shows that the indang dance and the new creation of piring dance becomes a choice for public to celebrate sociocultural events and even the custom ceremonial activities. thomas (2014, p. 30-31) states that as a cultural revitalization case in lampung, through the new tradition that is repackaged to be a medium for local value preservation. the local value can keep continued by packaging it into a new form, so that the society can keep enjoying and understanding the local values. in its turn, the local values will keep its actualization if it is packaged in a new form based on the present society’s taste. in relation to what has been said by interviewee 5 before, recently in west sumatera, the local artist has packaged an innovative dance creation without leaving the local values off of their culture. visually, the new dance is more interesting and artistic compared to the traditional dance that they have, but from the content perspective, the dance does not leave their local wisdom values. through the collaboration between new form and traditional cultural values existed in the society’s neighborhood, then the minangkabau dance creation is called as a publicity medium of minangkabau local wisdom values. through the dance creation in west sumatera recently, the influence distribution of local values has affected the cultural and well-mannered livelihood within the minangkabau society. ardipal (2015, p. 17) states that recently in west sumatera, there are the emergence of new artists who oriented mostly on the traditional arts. artists start to use traditional art material to form a new work which is more popular. this is done to fulfill the taste of both local and harmonia : journal of arts research and education 16 (2) (2016): 143-152150 international societies, so that, although a new form of style and local color still can be seen from the work, thus the new music and dance will not be apart from the local society identity. this strategy is used by the artists to attract the sympathy of local audience. the cultural phenomenon that was seen and described by ardipal is the attitude of the artist in deciding the cultural strategy of a local artist to their art work marketing. however, behind that, the strategy has triggered an advantage for the preservation and continuation of the minangkabau local wisdom values. although the dance is created by an innovative new pattern of dance, but the dance is still keeping the content of messages related to the local wisdom values. as a result, the dance work can be accepted and understood by the society of west sumatera. the impact of this artist’s strategy causes the minangkabau local wisdom values to keep remained and continued for future life. murniati (2015, p. 27) explains that the tendency of the performing art artists in west sumatera recently is oriented on the local wisdom and collaborated its work to be more modern. the target of the performing art products is to maintain the local values, and influence the audience’s thought through the modern taste that is created. it means that physically the material shown is new but contains local things and values, so that the performing art still can be accepted, but influenced the imagination of audiences as if they are living inside the identity. in line with that, opsantini (2014, p. 3) states that the arts which were oriented by traditional culture will never ne aparted from the traditional values. the traditional values that is existed within the artwork become the identity of the work, deciding whether the work has emphasized the religious value or social value of the society. those values are shown is that the artwork will be considered as the supporting society’s representation. as also explained by wadiyo (2015, p. 151) that art can build the values existed in the society, such as the value of religion or education. arts, like music and dance can build mental and spiritual, naturally. it means that the values within the arts can affect human, then the impact of the arts is felt through the understanding of human towards values, like all what local wisdom values sontained in the dance creation, as local wisdom values contain in minangkabau dance creation local wisdom values. the reality of minangkabau dance activity in present time shows that the dance has turned to be the agent of local wisdom values and has affected the preservation and continuation of those values in the life of society in minangkabau west sumatera both in present and future time. figure 3. dance creation containing local wisdom values in contemporary art work (documentation of sendratasik research team, 2015) conclusion minangkabau dance creation has experienced acculturation and has been arranged in the form of reconstruction. even though the dance creation is created in various ways, however, the dance essentially contains local wisdom values in its indrayuda, the existence of local wisdom value through minangkabau dance creation ... 151 performance and art work. in fact, almost every week, the dance creation of minangkabau galombang dance is performed at the wedding reception in many big cities around west sumatera. besides galombang dance, there is also the dance creation of piring dance that is also performed in many parts of west sumatera. another reality is the tendency of minangkabau society recently that employs more modern life rather than the old traditional lifestyle, but the context is still bounded with the local wisdom values of their environment. as a result, the change found in minangkabau dance creation is limited only to the visual or formation, but the content still reflects and illustrates the cultural identity of minangkabau society through the local wisdom values. in addition, minangkabau dance creation in present time is also able to act as a medium to implement the local wisdom values. this dance, although experiences modern change, still employs the custom and cultural rules of minangkabau society. in line with this, through the dance creation has provenly able to draw the minangkabau local wisdom values. in west sumatera nowadays, art is employed as a medium to convey meanings related to local wisdom values. it can be inferred that the presence of minangakabau dance creation brings impact to the preservation and continuation of minangkabau local wisdom values both for present and future life. in this study, researcher suggests the society of west sumatera to keep preserving both traditional culture and dance creation side by side in order for the society to have media for local wisdom value delivery. young generation is also suggested to raise the understanding of the importance of keeping art preservation continuation, especially dance. dance here is considered to be an essential medium to be used as a medium for spreading the knowledge about local wisdom values besides also acted as an entertainment medium. therefore, it is suggested for the involved society to realize the importance of dance preservation, both in traditional and creational manifestation which contains cultural meanings to build a nation character. references ardipal. 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(2013). nilai pendidikan karakter tembang campur sari karya manthous. jurnal pendidikan karakter, 2(2), 231-239. 195 the function of pantun in the art performace of batang hari sembilan solo guitar during sedekah bumi ceremony held in batu urip hamlet, south sumatera imelda tri andari, suharto suharto universitas negeri semarang, indonesia submitted: august 13, 2020. revised: september 9, 2020. accepted: november 4, 2020 abstract this study aims to describe the form and function of the solo guitar performance of batang hari sembilan in batu urip hamlet, batu urip taba village, lubuklinggau city, south sumatra. this study used a qualitative de-scriptive approach. data collection techniques using observation, interviews, and documentation. the collected data were then analyzed using analytical and interactive techniques with data reduction, data presentation, and conclusion drawing. based on the discussion that has been done, this study found that the single batang hari sembilan guitar is a rhythm of guitar strings containing rhymes. pantun is an identity and plays a very important role in the life of the community. the function of the pantun in the solo guitar performance of batang hari sembilan was originally used as a communication function. currently, this art performance has developed, namely as a ritual function, a function of preserving culture, a function of entertainment, a function of cultural continuity, a function of means of communication, and a function of emotional expression. keywords: pantun; solo guitar; sedekah bumi how to cite: andari, i. t., & suharto, s. (2020). the function of pantun in the art performace of batang hari sembilan solo guitar during sedekah bumi ceremony held in batu urip hamlet, south sumatera. harmonia: journal of arts research and education, 20(2), 195-204 harmonia: journal of arts research and education 20 (2) (2020), 195-204 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i2.28057 people’s expertise in arranging expressions has been long admired by many people, such as gentle character, high morality and politeness, and other true values. those can be commonly listened from their utterances. malay literary culture is not separable from gurindam, pantun and syair. thus, it is not surprising if each malay wedding ceremony ritual stage, pantun and syair are frequently used. according to sayekti (2009), malay classic literature’s typical characteristics are seen in both intrinsic and extrinsic elements and shown in the writers’ appearance who never attach their names in their writing compositions. introduction culture is a behavior that has become ritual, symbol, icon, and others and eventually has a structural function in social life (gill 2013). malay culture, as one of the various cultures, should first learn what the meaning of culture is. malay culture is anything resulted from the malay humans’ creation, feeling, and inten-tion (andriani, 2012). in malay culture, expressions have important roles since these literary forms usually are full of and rich with advice and learning values. according to (akmal, 2015), malay corresponding author: e-mail: suharto@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (2) (2020): 195-204196 they considered that literary work did not belong to an individual writer but mutually belongs to society. tenas effendy expressed those in risalah journal (akmal 2015), stating that malay cultural practitioners illustrated malay people’s life without pantun is just like a crowded city yet felt quiet. thus, malay people cannot be separated from pantun as it is a part of malay people’s souls. according to erwina (2011), pantun is one old and extensive malay poem known in many languages throughout indonesia. the most general characteristic is that pantun consists of four lines (when written), also known as a stanza in the theory of literature—having each line/stanza pattern of a-b-a-b or a-a-a-a. pantun for malay people has been used in all life aspects, including pantunbased traditional songs. the most frequently appearing malay pantun couplets are the plant, fruit, region, river, animal, natural formation (mountain, hill, river, cliff), and daily activity (firmansyah, 2015). artists use natural phenomena and their regional traditions as the pantun couplet materials. the beauty of a song is determined by the related elements between song melodies and lyrics. lyric is a part of the song giving new dimensions in music composition; making language, such as pantun and poem, is more beautiful to listen (suharto & subroto, 2014). music’s function is an essential issue in ethnomusicology since dealing with music’s meaning, yet not related to the facts that deal with music. however, ethnomusicology always tries to collect facts related to music (merriam, 1964). culture (in its society) is its efficacy in fulfilling the existing needs or in achieving certain goals. however, we recently try to find music’s function in general, not only in a certain community. the functions of music, as stated by (merriam, 1964), include emotional disclosure, esthetical appreciation, entertainment, communication, symbolic representation, physical reaction, social norm, social institution legalization and religious ceremony, cultural sustainability, and community integration. according to (soedarsono, 1995) some art performances also have the function of a ritual. the ritual function of the art performance in indonesia, which has been developing in society, still refers to the rules and regulations of life referring to agricultural and cultural values. the society that believes in certain religions with religious activities greatly involves art performances. one traditional art still existing in indonesia is the art performance of batang hari sembilan solo guitar. the art performance of batang hari sembilan solo guitar has been growing and developing in the areas of south sumatera said (firmansyah 2015). in each sedekah bumi ceremony, the hamlet people perform an art belonging to their community to realize and express gratitude. the art performance of batang hari sembilan solo guitar is one form of the traditional art of which lyrics are in the form of pantun sung and accompanied by a musical instrument of acoustic guitar. this art in the society serves as entertainment, economical vehicle, suggesting media, and the requirement for holding sedekah bumi. as one medium to express the creativities of art workers and society, this can be seen when the society together watches the art performance of batang hari sembilan solo guitar and interacts with each other after listening to the sung pantun lyrics. after noticing the role of pantun in the art performance of batang hari sembilan solo guitar in the social life in batu urip hamlet, this article is written to disclose the functions of pantun in that art performance and describe the role of pantun as the true self-identity of malay people and the role of pantun in malay people’s life in batu urip hamlet. this is one of the interesting reasons to research why malay people cannot be separable from pantun and pantun has become part of the soul. method the method employed in this reseimelda tri andari & suharto suharto, the function of pantun in the art performace of 197 arch was the qualitative method with the descriptive approach, which means that this research was conducted by giving a description or picture of data pursuant to the fact of objects studied. the research’s form is qualitative. the research procedure was one which produces descriptive data in the form of meaning and functions of pantun in the batang hari sembilan solo guitar art and to be followed up by implementing learning pantun at school. the research’s source of data was pantuns read by hj. saliyam when performing the batang hari sembilan solo guitar art in sedekah bumi activities. the data were collected through interviews and documentation techniques. the interview technique was conducted with the informants, namely hj. saliyam and rohana. further data collection was conducted using documentation study technique on the video of batang hari sembilan solo guitar art performance obtained by the researcher from silampari tv and from the informants. the documentation study technique is one data collection technique using the document as the source of research data, private documents, and official documents. the purpose of using the documentation study technique is to conclude the data with the following steps: 1) watching a video of batang hari sembilan solo guitar art performance 2) writing the pantuns listened from the video; 3) reading the collection of pantuns intensively; 4) identifying the data pursuant to the research problem, namely meaning and functions of pantun; 5) classifying the data into meaning and functions of pantun; and 6) noting the data of pantuns which are pursuant to the research problem. based on the data analysis technique, the data were analyzed with the following steps: 1) analyzing and interpreting the meaning of pantun; 2) analyzing and interpreting the function of pantun; 3) discussing the research result together with an academic adviser; and 4) concluding the data analysis result of the research on the function of pantun in batang hari sembilan solo guitar art performance in sedekah bumi activities in batu urip hamlet, batu urip taba village, lubuklingau city, south sumatera. result and discussion customary culture in batu urip hamlet the culture of the people of lubuklinggau city is identical to the malay community’s culture because this community is a malay ethnic. this community is the same culture as ethnic malays in various regions, such as in riau, jambi, lampung, south sumatra, bangka belitung, kalimantan, and others. the same also applies to malay people in the peninsulas of malaysia, sabah, serawak, pattani, cambodia, sri lanka, madagascar, etc. in addition, as stated by (erwina, 2011) the custom (adat) of malay ethnic is divided into four, namely adat yang sebenar adat, adat yang di adatkan, adat yang teradat, and adat istiadat. the customary activity which is still performed by the people of urip hamlet is the sedekah bumi activity. the sedekah bumi activity is performed annually in batu urip hamlet, batu urip taba village. the customary ceremonial activity of sedekah bumi is believed by the people batu urip hamlet to summon the spirits that have passed away so that the people of batu urip hamlet will be given safety express their gratitude. it is believed by the people of batu urip taba to repel misfortune. the belief of batu urip hamlet people in sedekah bumi activity has existed from their ancestral period. this activity is the cultural legacy of their ancestor that causes syncretism. syncretism is a process of fusion between some religious concepts or schools or beliefs. as stated by geertz (1964), the majority of the javanese people’s belief system may be divided into three categories, namely abangan, santri, and priyayi. geertz states that abangan represents the emphasis on the animistic aspect of javanese syncretism in its entirety and is widely related to the farmer element, the santri population harmonia: journal of arts research and education 20 (2) (2020): 195-204198 represents the emphasis on islamic aspects of syncretism and is generally related to the trade element, and priyayi emphasizes hindu aspects and is related to a bureaucratic element. sedekah bumi or sedekah rame or lepung dusun is a customary ceremony performed hereditarily by the people of south sumatera, particularly the people of batu urip, aiming at repelling misfortune and inviting fortune (sustenance). in addition, sedekah bumi also serves to keep the hamlet tradition so that it will not get extinct and will be passed down to the next generation. sedekah bumi may also strengthen the connection between the people of batu urip hamlet. sedekah rame is usually performed at least biannually but may also be performed when there is a disaster or a good event such as constructing a bridge, mosques, etc. sedekah bumi is the tradition aiming at surrendering to the creator, expressing gratitude for any fortune and grace bestowed. sedekah bumi has been performed from their ancestral period and is passed down hereditarily. a sedekah bumi or sedekah rame ceremony starts by performing the arts of batu urip hamlet such as sekapur sirih dance and batang hari sembilan solo guitar. sekapur sirih dance is one of the existing cultures often performed in the life of the people of batu urip taba village. sekapur sirih dance is a dance marking that a sedekah bumi or sedekah rame ceremonial event will soon start. batang hari sembilan solo guitar art is a traditional art which is still developing in batu urip hamlet, batu urip taba village, east lubuklinggau i subdistrict, lubuklinggau city, south sumatera province. the people serve as the actor, creator, and organizer of the art. generally, batang hari sembilan solo guitar art is held to gather the people and as private entertainment for its actor. this art is usually performed in sedekah bumi, wedding reception, circumcision events, etc. this art is also always performed annually in sedekah bumi/ sedekah rami event. in batang hari sembilan solo guitar art performance, there is a song sung along with it. the song is in the form of pantun, and pantun song of gitar tunggal batang hari sembilan sung in this art has its function. although there are various songs of batang hari sembilan solo guitar art, the music played is the same (interview with saliyam, 28 december 2018). the characteristic of malay pantun is that the first couplet takes words from the environment. this is also said by (ritawati 2018, firmansyah 2015) that the words are often emerging in the first couplet of malay pantun are names of plant, fruit, region, animal, natural formation such as mountain, hill, river, and hill. below is an example of pantun using natural name. dakya dayang jeribat tarak tebekur gunung bukuk menjelma jadi malaikat empat satu malaikat ngajum tepuk as we may see in the second line, “tarak tebekur gunung bukuk,” the first couplet of the pantun above uses the word “gunung”. gunung (mountain) is the name of a natural formation. according to saliyam (interview on 28 december 2019), the characteristics of pantun of malay culture, to be exact in batu urip hamlet, tend to frequently use names of the surrounding environment, such as region names, culture, and nature since it is deemed to respect them. as stated by (shafii, 2010) that pantun and natural elements actually cannot be separated since the concerned natural element refers to flora and fauna. people who live in the village, by the river, near the forest, often use natural elements since they live with nature and the scope of a natural element. in batang hari sembilan solo guitar art, there are some kinds of pantun songs, but the music used is the same, and there is no standard sequence. the musical instrument used is only hitar (guitar). according to kadalik, pantun has become a tradition and habit for the people of batu urip hamlet. the people of batu urip hamlet has from their ancestral period until imelda tri andari & suharto suharto, the function of pantun in the art performace of 199 now consistently used pantun everywhere. to them, talking by exchanging pantun will make the atmosphere different. a tense atmosphere will become relaxed. figure 1. pattern of accompanying batang hari sembilan solo guitar figure 2. musical score of silampari song of batang hari sembilan solo guitar art figure 3. batang hari sembilan solo guitar player with traditional malay dress batu urip hamlet people cannot be separated from pantun in batang hari sembilan solo guitar art, since if the people in batu urip hamlet do not recite pantun even only a day, they will feel hollow and something is missing (interview, kadalik, 04 december 2018). thus what is stated by (sayekti, 2009) is correct that malay cultural literature cannot be separated from gurindam, pantun and poem. thus it is not surprising that each stage of the ritual of malay wedding ceremony is also loaded with the use of pantun and poem. each poem and pantun reveals meaning in-depth, as reflected in berinai, berandam, mandi damai ceremonies, etc. the function of pantun in batang hari sembilan solo guitar art an art which grows in the society has some important functions to the people who preserve it. art is one element of culture, occurring since humans initially want to satisfy their instinctive desire for beauty. batang hari sembilan solo guitar art performance, for example, has a number of functions behind the pantun songs, which are closely related to fertility and safety. the existence of batang hari sembilan solo guitar art in sedekah bumi activity in batu urip hamlet is the medium to give advice, express the gratitude, trust, and belief of in batu urip hamlet through art. the lyrics of pantun sung in batang hari sembilan solo guitar art have a number of ritual function and emotional expression function in sedekah bumi activity to the people in batu urip hamlet as follows: ritual function since the beginning, it is stated that batang hari sembilan solo guitar art is an art for ritual since the lyrics of pantun of the art song in the opening serves to summon ancestral spirits to attend the sedekah bumi ceremonial activity. this art performance is believed to have magical power. batang hari sembilan solo guitar art performance in sedekah bumi activities in batu urip hamlet has a number of ritual functions; that each time sedekah bumi activity is held, the sekapur sirih dance art and batang hari sembilan solo guitar art must be performed since they are to open the activity in order to live. batang hari sembilan solo guitar art must be performed every time sedekah bumi activity is performed since, in this art, there are pantuns. the pantuns sung aims at opening the activity by summoning the one luhur through pantun sung (interview kosim, 2 january 2019). harmonia: journal of arts research and education 20 (2) (2020): 195-204200 likewise, as stated by soedarsono (1993), many ritual functions of art performance according to the ritual function of art performance in indonesia develop in the society whose life order still refers to agrarian cultural values, and the society with religion whose worship activities often involves art performance. figure 4. mantra recitation at sedekah bumi ceremony byline, ritual art performance has distinctive features of needing chosen performance location which is often deemed sacred, needing chosen day and time which usually are also deemed sacred, needing selected players who are usually deemed holy or those who are spiritually cleansed, needing a set of offerings which are sometimes of various types and kinds, the objective is prioritized over aesthetic display, and need special clothing. the lyrics of pantun sung in this activity are deemed to invite the ancestors to attend the activity. the people believe that their leluhur (ancestral) spirits join the joy in the sedekah bumi activity. this performance is also used to invite leluhur spirit to bless the people. in addition, pantun in this art is also a media to greet that the sedekah bumi has started. below is an example of lyrics of pantun song to summon the ancestors: dakya dayang jeribat tarak tebekur gunung bukuk menjelma jadi malaikat empat satu malaikat ngajum tepuk due malaikat ngajum tari tige malaikat ngajum nyanyi empat malaikat ngajum sambai lime malaikat milu kebumi njede lebah oy beseng lebah lebah behahang gok buluh-buluh njede nyembaj oy beseng nyembah nyembah beharang jehai sepuluh (source: saliyam, 28 december 2018) the sedekah bumi customary ceremonial activity is believed by the people of batu urip hamlet to summon spirits that have passed away ahead of the people in batu urip hamlet to give them safety, to express their gratitude, and to repel misfortune. in the sedekah bumi customary ceremonial activity, the people float food on which spell has been recited by the customary leader. the food that is floated on kelingi river is believed by the people of batu urip hamlet to be received by their ancestors. thus the people of batu urip hamlet’s wish for safety and avoidance of misfortune will be granted by them, and the floated food serves as their expression of gratitude and respect to the ancestors. this balances between religious and cultural beliefs. this belief has existed within batu urib hamlet’s society since it has become their cultural tradition that is still performed until now. according to buana (interviewed 3 january 2019 ) in islam, there is no worship or praying other than allah swt, as performed in batu urip hamlet to ask protection and express gratitude to the ancestors by reciting spells while burning frankincense. this belief has existed long in the life of the people in batu urip hamlet. this activity is a custom passed down by their ancestors. in the past, the religions of the people in this region were hindu and buddhism. however, these two religions did not survive long among common people, that only kings were allowed. then, the common people might freely receive new elements. the history of the introduction of islam into south sumatera is that in the past, south sumatera was a path passed by islam propagators during sriwijaya kingdom. imelda tri andari & suharto suharto, the function of pantun in the art performace of 201 the batu urip hamlet people’s belief in sedekah bumi activity has existed from their ancestral period, and this activity is a cultural legacy from their ancestors, resulting in syncretism. syncretism is a process of fusion between various religious concepts or beliefs, as stated by geertz (1964) that the majority of javanese people’s belief system may be divided into three categories, namely abangan, santri, and priyayi. geertz states that abangan represents the emphasis on the animistic aspect of javanese syncretism in its entirety and is widely related to the farmer element, the santri population represents the emphasis on islamic aspects of syncretism and is generally related to the trade element, and priyayi emphasizes hindu aspects and is related to bureaucratic element. meanwhile, according to burhani (2017), javanese people divide themselves into two categories: bangsa putihan and bangsa abangan (putih and merah). the former refers to a group that considers islam as their way of life from inside to outside, while the latter refers to the majority of javanese people who receive islam as their formal religion, but other religions still guide their ideas and practices; thus syncretism occurs. as stated by eriswan (2011) that culture is the outcome of human cipta, rasa, and karsa, thus islamic teaching is god’s revelation. although some malay people frankly do not perform islamic practices, it is viewed only as a tradition that has no religious essence of religion, and if there is, it is only a belief level. emotional expression function each time batang hari sembilan solo guitar art is performed, batu urip hamlet people immediately gather to watch it. in the sedekah bumi activity, after the artist’s greeting and summoning of ancestral spirits, the pantun later contains gratitude, a sense of joy, and a reminder of past occurrence. the lyrics of pantun sung by the artist makes those who watch it get carried away and remember their relatives who have passed away and the past, making them shed tears. merriam (1964) stated that the emotional expression function is that the music has big power as a medium to express the singer’s and players’ feeling/emotion, which may raise listeners’ feeling/emotion. the feeling expressed varies, including the feeling of admiring the world that god created, sad feeling, feeling of missing, proud feeling, calm feeling, etc. emotion expression is sometimes needed for the soul’s health since negative emotion expressed in daily life may be expressed in a song. such an expression may reduce a person’s feelings of frustration. pantun with a meaning of happy expression in general, pantun has happy nuances, but in this art, it can have sad nuances. pantun that usually means an expression of happiness in the art of guitar tunggal batang hari sembilan has the meaning of a happy expression. it exists in pantun song. an example of pantun with a happy expression is in the following part of pantun benyak nia wang gelak majo majo gulai di mesak pindang benyak nia wang henyum honjo ulasa linjang bujang heberang the meaning of the pantun above is that many girls in batu urip hamlet belinjangan (fall in love) with young men of other villages, and the girls are happy. pantun with a meaning of sad expression pantun with a meaning of sad expression exists in pantun song. an example of pantun with a sad expression is in the following part of pantun: panjang nia ikok ikan pari padek nia nijingok mate hedih nia nyolongla diri nak ngahape nak becerite in the pantun above, the third and fourth lines “hedih nia nyolongla diri, nak ngahape nak becerite” means that it is quite harmonia: journal of arts research and education 20 (2) (2020): 195-204202 sad to cry alone, whom to talk to. thus, the pantun above is a sad expression. pantun with a meaning of restless expression pantun with a meaning of relentless expression in the batanghari sembilan solo guitar art also exists in the following lyric of pantun: umak-umak ayam ku luput ayam ku luput hakoe jerang umak-umak atiku kusut atiku kusut ku linjang suhang the meaning of pantun above is an expression of a person who is still alone, as may be observed in the fourth line “atiku kusut ku linjang suhang” which means that his heart gets confused since he is alone. the example above is a pantun to express relentless feeling. thus this pantun of the batang hari sembilan solo guitar art contains the emotional expression function. according to (erwina, 2011) malay pantun is the identity of malay people and the medium to express personal feeling to entertain oneself and an aesthetic presentation. function of medium of communication in social life batang hari sembilan solo guitar art which is a traditional art in batu urip hamlet cannot be separated from the society’s role as the one involved in its preservation, organization, and audience. as a culture society, it is appropriate that respect is kept to their ancestors’ history and heritage, one of which is by organizing batang hari sembilan solo guitar art performance in every sedekah bumi activity. batang hari sembilan solo guitar art in sedekah bumi activities is an art to express their gratitude, thus it is expected that the people who perform the ritual of sedekah bumi activity attempt to communicate with “they who are invisible”, which means that the message contained in batang hari sembilan solo guitar art itself reminds humans to always thank god for that they have obtained. with batang hari sembilan solo guitar art performance in sedekah bumi activities, people’s connection may be maintained and strengthened. this may be observed in the activities before the batang hari sembilan solo guitar art ceremony and performance. all people of batu urip hamlet held a discussion and cooperated to build the place where the performance was to be held and also prepared anything to be used in the ceremony together (interview, kosim, 2 january 2019). merriam (1964) stated that the communication function in music applicable in a cultural area contains its own signals that only the culture supporting society knows it. local song delivering the message contained in the text of the song is a type of communication. besides, however, the music itself (without text) may communicate something. music is not a universal language that anyone and everywhere may understand since each type of music is born and growing in a society with its culture. the communication function in this art also covers where malay people are used to using pantun as a socialization media, pantun of (belinjangan) love, and so on. according to (saliyam, interview, 28 december 2018) pantun has been used as a socialization media, for belinjangan since a long time ago. by expressing through pantun, the atmosphere may be less awkward and easier to get familiar with. below is an example of pantun belinjangan: betang hagu umban di tebang betang duku di buat hahang jengan ragu jengan bimbang linjang ku tuk ngas suhang we may observe that the third and fourth lines are the content. the meaning of the pantun above is that a person is seducing his idol that his love (linjang) is only for her. thus, pantun in the batang hari sembilan solo guitar art may be taken as batu urip hamlet people as a medium of communication and medium of socialization. imelda tri andari & suharto suharto, the function of pantun in the art performace of 203 the function of pantun as communication also exists when the artist advises pantun as the media to society. the meaning of advice expression in the batang hari sembilan solo guitar art is in the part of pantun in the content of the batang hari sembilan solo guitar art. below is an example of pantun of advice: bukannye senang duduk di tangge ciriku duduk jauh pikiran jangan takut membujang tue tue diluar mude di dalam the meaning of pantun above is an expression of advice to young men in batu urip hamlet who have not met their partner. below is an example of pantun of advice: ketintang membawe taji kemane ncakak sarungnye selop jepang dikde tebeli jangan bemance bebini due the meaning of pantun above is an advice and also serves the entertainment function to married men. in the third and fourth lines “selop jepang dikde tebeli, jangan bemance bebini due” means that one is unable to afford flip-flops, do not even think to have two wives. as stated by akmal (2015) pantun is not only appropriate to convey entertaining matters, but it may also deliver serious discourse such as advice. at the highest level, pantun delivers noble values to the society in its own way. entertainment function besides as ritual function and preservation function, batang hari sembilan solo guitar art in the sedekah bumi activity in batu urip hamlet is also used as an entertainment function for those who participate or only watch it. the other function of malay pantun is entertainment. the term entertainment here is not one of islamic teaching. the entertainment here is one to fulfill the human desire of beauty through various dimensions. human naturally likes beauty. after enjoying the beauty, they will be entertained, and their souls will be filled with enlightenment. the people who watch batang hari sembilan solo guitar art in sedekah bumi activities in batu urip hamlet usually want entertainment. similarly, the audience who only want entertainment, they obtain entertainment after listening to the lyrics of pantun sung. with the batang hari sembilan solo guitar art performance in hamlet sedekah bumi activities, all people may watch the free entertainment. such an art performance is infrequently held; thus, it may become entertainment that is greatly longed by the people in batu urip hamlet (interview with yesi, 25 december 2018). as stated by merriam (1964), the entertainment function is that in any community in the world, music serves as an entertaining instrument. music naturally contains entertaining elements, which may be observed from its melody or lyric. below is an example of a lyric of entertaining pantun. bukannye senang duduk di tangge ciriku duduk jauh pikiran jangan takut membujang tue tue diluar mude di dalam in the third and fourth lines, we may observe in the content of pantun that the meaning of the pantun is that an artist says that an old-young man who has not found a partner should not be discouraged, old on the external but young on the inside. with the pantun the audience instantly gets entertained with advice, which also serves as a media of entertainment. conclusion the batang hari sembilan single guitar art is a traditional art that is still developing in batu urip hamlet, batu urip taba village, east lubuklinggau i district, lubuklinggau city, south sumatra province. batang hari sembilan is a term for music rhythm with solo guitar strumming developing in south sumatera region containing pantuns of daily life. harmonia: journal of arts research and education 20 (2) (2020): 195-204204 pantun is the identity of the people of batu urip hamlet since pantun is the original literary work of malay people and plays a big role in their life since pantun contains life values which are appropriate to islam, and it is through pantun that tunjuk ajar is distributed, passed down and developed. the functions of pantun in the batang hari sembilan solo guitar art performance in the sedekah bumi activities in batu urip hamlet are as the ritual function, emotional expression function, communication function, and entertainment function. references akmal. 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(2014). the equivalence of translated songs lyrics and their effects : the case of translated ecclesial songs. harmonia: journal of arts research and education, 14(2), 131–139. preludium harmonia jurnal pengetahuan dan pemikiran seni ���� ���� ���������� ���� �� �� ��� �� �&��������������-����� ��'��������#������&�� ���� ����������>���=������ � � �∗ abstrak +������������� �� � �������� ��#��� �#� �� ��������������� ����� ��-��.���� �������� �������������������������������� ���������������� ������������ �� ������������#����#���� ��� �*�;�.� ����� � � ����������������� ��� � � ���� *���� ��.���#��� �� � �� ����������������� �� ���� #���� ��� �*�;�.� ��������������#� � ����������.������������?.���� � .������������� � � ������ ������ ��� ����������������������� � � ����� �������(���� ���� �.�.�� ��������� ���� ���� � � ��.�����.���� ���� �� ������������������ �� ����������#�� ��� ��#���� ����� ��#��������� � ����#��� � ���� ������#�� ��� ���� ��� ��� ��#�� � �� ��#����� 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�����98�,���������(����������:��/9#�������$$�� ���� :� � �������� � ��...�� � �=��� ��� � ���(������:� � ���4���� � � ���������� (��� � ��� �"�� ������ �=:"��� � � #��1 ���� � �d � 9 � �..)c�...:� �����559�.1�� -��(����.)���&��� ���-��� ���.� � ��8�"�� �g� �� �"��8�&��� �&��(�:�-� &�� ��� �� �: � +�"(���...� � =�� ��"�� ������ � � (��� � ��� ��� ��� � ����g������������ �"����(��"�(��n��&�"�� �=:"��� �� #��1������d�9�..)c�...:�������.59�$1� �������� �: � �� � �.)�� �. � ��. � � � &���� � � ��� � � ����"�� �g� %�(&�(� �� ��(�: � �� � � �� � �.)*� �; �� �; �� � $���� � �� � 8�"�� �g � ������ 3��� ��� vol. 2 no. 3/september – desember 2001 28 290 the development of moral values of school children with visual impairments folk music assiya b. darkembayeva1, laura a. butabayeva1, moldir a. urazaliyeva2, maira s. sultanova2, elmira d. konysbayeva2 1abai kazakh national pedagogical university, republic of kazakhstan 2kazakh national women’s teacher training university, republic of kazakhstan submitted: 2023-10-12. revised: 2023-11-06. accepted: 2023-12-03 abstract the relevance of the presented paper is conditioned upon the fact that today, the subject of the development of moral values in children with visual impairment through musical motifs of folklore is a very understudied issue. however, based on the statistics of the world health organisation for 2021, about 2.2 billion people worldwide have visual impairments. the purpose of this paper is to study the features of the psychological and pedagogical characteristics of children with visual impairments, their moral development, and the development of ways of spiritual and moral education through folk music. to achieve this purpose, the following methods were used: analysis, synthesis, comparison, induction, statistical analysis, and deduction. in particular, the method of statistical analysis of sources of american, kazakh, and russian researchers within the boundaries of the subject was used. the practical basis was the statistical data of the who company for 2021. the result of the study was a complete analysis of the statistics of children with visual impairment in the territory of the republic of kazakhstan. the study’s main conclusion is that modern methods of teaching children with visual impairment are based on the musical accompaniment of educational activities since the musical form allows the development of moral values. visually impaired students are characterised by insufficient development of the visual-imaginative level of mental activity, which determines the uniqueness of specific conceptual thinking due to visual perception disorders and limited visual experience. the alienation of a child with visual impairments from others entails secrecy and lack of communication, which can be expressed in a large volume of complexes in the future. the applied value of this paper lies in the development of recommendations for improving the system of pedagogical education of children with visual impairment through folklore-applied developmental classes. keywords: folk music; pedagogy; teaching; visual impairment; moral value how to cite: darkembayeva, a. b., butabayeva, l. a., urazaliyeva, m. a., sultanova, m. s., & konysbayeva, e. d. (2023). the development of moral values of school children with visual impairments folk music. harmonia: journal of arts research and education, 23(2), 290-300 harmonia: journal of arts research and education 23 (2) (2023), 290-300 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.48118 dies of kazakh scientists and in the works of american, russian, german, and other researchers. the main developments in the issue of such children’s psychological portraits were made in the 90s. today, the main task of pedagogy is to develop funintroduction currently, the issue of teaching children with visual impairment in educational institutions is insufficiently studied in the scientific literature, both in the stucorresponding author: e-mail: assiya.darkembayeva@gmail.com p-issn 2541-1683|e-issn 2541-2426 assiya b. darkembayeva et al., the development of moral values of school children 291 damentally new approaches and concepts to the development of such a category of students’ attitudes to moral principles and ideals. to solve this issue, a comprehensive analysis of theoretical, statistical, and practical sources of russian, american, kazakh, and other researchers was carried out in the paper. considering the who statistics for 2021, it can be stated that visual defects are common among adults and children, leading to the correction of an educational programme for teaching students who have faced this problem. most accurately, the problem in this area was expressed by english scientists who studied the communication of children with visual impairment in the educational process. their work reflects that, to date, there are few studies devoted to the study of understanding skills of the surrounding world in visually impaired children. however, the studies conducted prove that this category of students lags behind their peers by this criterion (sullivan and oakhill, 2020). in addition to that, it is noted that the characteristics of a child other than children without visual impairment can play an important role during play and peer interaction and that individual variations should be considered when providing support in playing with peers (verver et al., 2020; schott et al., 2021). in this paper, arguments were given stating the fact that children who are limited in the source of information have a distorted view of the world around them. a lack of emotional attachment to the object of cognition characterises these children. notably, visual perception is crucial for developing multisensory information processing abilities. for this reason, early visual impairment may interfere with the transmission of various sensory information during environmental exploration (purpura et al., 2021). this fact is confirmed by studies conducted in 2018 and 2020. notably, visually impaired students have lower discrimination thresholds for native speech and music (arnaud et al., 2018; alamos and williford, 2020). thus, based on the position of this approach, the authors state that the obstacle to obtaining an accessible source of information is the main problem for the development of moral attitudes for children with visual impairment. in the subject under study, music is the main source of conveying information and teaching moral norms to children with visual impairment. music can positively influence the development of a cognitive connection between the heard and the learned image. one of the proofs of this thesis is a study by german scientists who focused on comprehensive music lessons at school, which led to positive performance indicators for visually impaired students (frisen et al., 2021). since music lessons can positively influence learning, it should also be noted that without a meaningful part, music cannot form such emotions as responsiveness and goodwill in children. these concepts are formed in children with visual impairment in a specific form, so it is necessary to develop special methods of interaction. one of these methods is the introduction of folklore into the teaching structure. using folk songs, fairy tales, and instruments, the student will be able to form moral beliefs and categories. for example, the experience of kazakhstan proves that folk instruments are a symbol of the history and culture of people, therefore, they can be used in lessons for educational purposes. the relevance of the study subject is conditioned upon the fact that in modern society, the development of value orientations in children is a very problematic issue, especially in children with visual impairment. in this paper, the main aspects of the development of such children’s psyche and the reaction of teachers to interactions with them were studied. the originality of the research lies in the comprehensive study of the approaches of various authors to this issue. the research subject is considered from the perspective of global and national trends in educational programmes. the main elements of scientific originality consist of deharmonia: journal of arts research and education 23 (2) (2023): 290-300292 veloping recommendations for improving approaches to developing children’s emotional structure using folk music. method the work involved statistical and system analysis methods of data from the world health organisation, and data applied to the territory of the republic of kazakhstan. a comprehensive approach to the study of the material was applied. the logic of this study’s construction is to consider the psychological and pedagogical characteristics of children with visual impairments. the first stage of the study allows understanding how the psyche of such a group of children perceives sources of information, what connections it can form, and how fundamental conclusions about the world are formed. at the first stage of the study, the following conclusions were made: firstly, the classification of visual impairments was highlighted, which includes blind, visually impaired, and children with strabismus and amblyopia. secondly, according to data for 2020, there are 161 156 children with special educational needs in the territory of the republic of kazakhstan, of which 8 312 are visually impaired children. thirdly, the study established that children with visual impairment struggle to establish connections between objects depicted in the picture and classify objects. in the first stage, the main method of research was the method of statistical analysis. the first stage is characterised by the use of who statistics for 2021. the second stage studied the features of the moral development of children with visual impairment. as a result, the following results were established: firstly, it was identified that modern psychology distinguishes three main periods in the development of universal values in a child: (1) infancy, (2) early childhood (from 1 to 3 years), and (3) preschool childhood (from 3 to 7 years). secondly, it was established that children with visual impairments have negative moral qualities to a greater extent, such as eccentricity, selfishness, and lack of a sense of duty and partnership due to the lack of sufficient information from visual receptors. thirdly, it is concluded that including children of this category in musical activity is a necessary condition for developing moral values in visually impaired younger schoolchildren since music stimulates the emotional experience of higher moral values. in this regard, recommendations for teachers on the education of these moral values through folk music are proposed. at this stage, the method of induction and comparison was used. the theoretical basis was the research of such scientists as a. litvak, v. varaksina, and others. in the third stage, the experience of such countries as the united states of america (hereinafter referred to as the usa), italy, france, and germany was studied. recommendations for improving the educational system of the republic of kazakhstan were proposed. at this stage, the induction method was used. in this paper, recommendations were proposed for the inclusion of the following stages in the learning process of children with visual impairment: (1) development of moral ideals, (2) implementation of a set of educational activities, and (3) development of children’s creative potential through the use of folk art in the form of music. results and discussion features of psychological and pedagogical characteristics of children with visual impairments children with visual impairments represent a diverse category in terms of the characteristics of their visual functioning and the origin of diseases and conditions of social development. according to the well-known classification, there are the following categories of children with visual impairment: (1) the blind. this category of children should be taught with assiya b. darkembayeva et al., the development of moral values of school children 293 correction based on the braille system (plaksina, 2003), (2) visually impaired. visually impaired – a subcategory of people with visual disorders and visual acuity in the better-seeing eye from 0.05 to 0.2 (plaksina, 2003), and (3) children with strabismus and amblyopia. notably, visual impairments cause deviations in all types of cognitive activity. there are qualitative changes in the system of relationships between analysers; there are specific features in the process of forming images, concepts, speech, the ratio of figurative and conceptual thinking, and orientation in space (polepkina, 2014). consequently, a peculiar psychological system is formed in the child. according to the world health organisation, for 2021, about 2.2 billion people worldwide have near or far vision impairment. this group includes people suffering from the following diseases (figure 1): figure 1. analysis of data on indicators of visual impairment according to who statistics for 2021 there are 161 156 children with special educational needs on the territory of the republic of kazakhstan (inform. kz, 2020). this statistic includes children with the following diseases (figure 2). based on statistical analysis, the authors state that in the republic of kazakhstan, children with visual impairment do not occupy the last place in terms of the number of this disease. therefore, it is necessary to develop a special psychological and pedagogical approach to the education of these children. notably, speech is not impaired in most children with visual impairments, but the sphere of active communication, cognitive activity, and imitation is narrowed. therefore, it is necessary to pay attention to this and use visibility more often when possible to teach the practical use of knowledge and skills (dubrovina, 2004). the difficulties of establishing logical links between the objects in the picture and classifying objects should also be noted. visually impaired older preschoolers are characterised by the underdevelopment of visual-figurative and visual-effective levels of mental activity, which determines the originality of specific conceptual thinking, which leads to visual perception impairment (dubrovina, 1998). therefore, children with visual impairment should be provided with unique educational needs, which are best addressed at an early age. for example, one of the concepts of introducing children with visual impairment into the educational programme is inclusive education. it is recognised worldwide as a philosophy of achieving equality, justice, and quality education for all children, especially those who have conventionally been excluded from basic education due to disability and other characteristics. inclusive education has become a well-known form of education in the usa and france. figure 2. analysis of disease indicators in the republic of kazakhstan for 2020 thus, based on statistical data analysis and psychologists’ research, it is noted that visual diseases in school-age children harmonia: journal of arts research and education 23 (2) (2023): 290-300294 are quite common in the republic of kazakhstan. this circumstance affects the cognitive activity of children. therefore, in pedagogical activity, it is necessary to implement new approaches in teaching this group of students. features of the moral development of children with visual impairment to determine the range of work for teachers with such a group of children, it is necessary to understand the mechanism of functioning of moral beliefs and ideas. modern psychology identifies three main periods in the development of universal values of a child: (1) infancy (the first year of life), (2) early childhood (from 1 to 3 years). by age 2-3, children are kind-hearted, attentive to the elders, and care about nature. in addition, they greet and say goodbye (at the reminder of an adult), and calmly state personal wishes using the words “thank you” and “please” (dobrovolskaya, 2011). (3) preschool childhood (from 3 to 7 years). in this category, it is necessary to highlight the periods: at the age of 3-4, the child has an image of “i”, that is, self-awareness. at this age, children correctly evaluate good and bad actions; at the age of 4-5 years, the child has a personal attitude to the observance (and violation) of moral norms. at this age, the child has such qualities as modesty, responsiveness, and the desire to be fair, strong, and brave. by the age of 6-7, children desire to know their people’s culture (through fairy tales, proverbs, sayings), show a caring attitude towards it, and respect the culture of other peoples (litvak, 1998). at this stage of the child’s development, the fundamental principles of morality must be laid. the topic of educating children with visual impairments is very relevant for modern pedagogy since the moral development of children with visual impairments is qualitatively different from the moral development of normally developing peers (dobrovolskaya, 2011). in turn, the consequences of visual impairment are insufficient information about the world around them, which reduces cognitive interest, which is why there is a violation in the emotional and behavioural attitude of children to various fields of activity, relatively narrow contacts of the child with others, which entails secrecy, lack of communication, the desire to retire into their own world. in this regard, modern pedagogy should be focused on the needs of this category of children. the spiritual and moral education of children with visual impairments using music musical activity promotes emotional responsiveness and creative self-expression of children with visual impairments. musical activity includes three components: 1. listening to music involves the student’s perception of its general concept. the teacher in this situation should help the student with visual impairment to describe the perceived sensory indicator; 2. musical and performing activities. at this stage, the child must divide emotions from the perceived into categories to separate positive feelings from negative ones; 3. musical and creative activity. at this stage, it is necessary to move on to more complex concepts of understanding the moral actions of the characters. it is necessary to diversify the repertoire with tales and complex, multifaceted works (varaksina, 2013). within the framework of this training, the teacher must necessarily control the material’s acquisition process. first, folk art is connected with national and cultural characteristics that require additional interpretation. according to the murager programme, compiled by scientists, teachers, and musicians, children are taught to play not only a traditional musical instrument but also improvisation. the main purpose of the programme is to teach schoolchildren the skills of performing kui on dombra and combining playing dombra and singing (dzherdimalieva, 2007). children, along with acquiring the musical tradition of the kazakh people, get acquainted with myths and legends. thus, along with music, native history, and poetic folklore, the fate of assiya b. darkembayeva et al., the development of moral values of school children 295 folk musicians penetrates into children’s souls (amanov and mukhambetova, 2002). thus, based on research on the influence of folk music on the development of moral ideals in children with visual impairment, it should be noted that education through musical instruments and specialised classes should be introduced into educational institutions and correctional classes (dzherdimalieva, 2007). since a child with a visual impairment perceives information worse than children without visual defects. folk music will help convey fundamental principles such as love for the motherland, courage, honour, and dignity. in addition, there is a huge amount of folklore and fairy tales in the folk music of kazakhstan. it will be easier for children to associate themselves with understandable characters that are used in folklore. works of literature and folklore contribute to the development of speech, give samples of the russian literary language, and enrich the vocabulary with new words, poetic vocabulary, and figurative expressions (alekseev, 2006). it is known that younger preschoolers are characterized by a craving for a rhythmically organised constitution of speech, sonorous major rhymes, so they are happy to listen to folk songs, jokes, nursery rhymes, and fairy tales (alekseev, 2006). using small folklore genres in their work, children get acquainted with the colourfulness and imagery of their native language. as a means of expression, music is inevitably woven into the fabric of human thoughts and actions. music can deeply reduce sensitivity, influence, condition, and inspire the audience. throughout history, theorists have agreed that music can profoundly influence human character and shape morality. music awakens feelings and tells stories through the listener’s musical perception. thus, music is a powerful source of human virtues, character, and emotions. thus, italian scientists’ research identified that early visual impairment can interfere with the transmission of various sensory information during the study and recognition of the environment. russian scientists also noted this fact and confirmed the development of unfavourable emotions in children with visual impairment, as opposed to children without visual impairment. visual-tactile transfer for object recognition occurs early in typically developing children but slowly matures during school age. subsequently, it was found that the object recognition processes were studied in 11 visually impaired children and compared with the results of 22 control children. the participants were tested using a clinical protocol that includes visual examination of black-and-white photographs of ordinary objects, tactile examination of real objects, and visual-tactile transmission of these two types of information. the results show the normal development of tactile unisensory processing in children with poor sight and a considerable difference in multisensory transmission between the two groups. in children with visual impairment, multisensory processes do not contribute to the recognition of common objects as in ordinary children, probably because early visual impairment can affect cross-sensory calibration of vision and touch (purpura et al., 2021). this study shows that children with visual impairment need a special attitude and a qualified approach. the development of adequate educational programmes for blind children provides a stimulating opportunity for those who wish to creatively act in a specialised field of a wide area of education. there is always an incentive to combine the knowledge and methods used in general education with thoughtful experience and best practices introduced by qualified specialists and apply this combination to the education of blind children. in another work by german scientists, it was discovered that although the development of motor images has been widely studied in sighted children, it is unclear how children with varying degrees of visual impairment represent motor actions through motor representations constructed using the remaining intact sensory organs, especially touch (schott et al., 2021). there are few studies devoted to the harmonia: journal of arts research and education 23 (2) (2023): 290-300296 study of reading comprehension skills in visually impaired children, despite evidence indicating that they lag behind their typically sighted peers in reading comprehension. comparing the performance of children with visual impairments with peers without visual impairment corresponds to chronological age during the performance of a task that requires them to make emotional, temporal, and spatial conclusions from short texts. the data obtained show that children with visual impairment demonstrate a certain deficit in conclusions about spatial information in narratives, as opposed to emotional or temporal information. the results are discussed concerning the role of visual acuity in image skills and how this affects the construction of a mental model of a text (sullivan and oakhill, 2020). hearing or visual impairments can negatively affect a child’s development and involvement. however, there is not enough literature on the involvement of children with hearing or visual impairments. in one of the studies of the causal relationship between music learning and emotions in children with visual impairment, it was established that musical accompaniment improves some components of emotional intelligence in children from 6 to 7 years old (frisen et al., 2021). this study shows that children in this age category are most active in forming spatial thinking and attitudes to events in the outside world. thus, music influences the development of fundamental values. visual impairment in childhood often has lifelong consequences. to strive for the highest level of functioning, involvement, and quality of life and to ensure children’s well-being, children should have the right to the most effective rehabilitation programmes (elsman et al., 2019). children with visual impairment have lower discrimination thresholds for native speech and music (arnaud et al., 2018). the impact of the impairment on learning will vary considerably depending on the nature and degree of vision loss: some students will be born without vision, others will lose it gradually; some will have no vision at all; others will have some vision, they will be photosensitive or will have limited peripheral vision. it is also possible that vision and photosensitivity will change day after day. the role of music in the lives of visually impaired people can be expanded to provide more opportunities for groups through practical experience, outdoor activities, and psychosocial survival strategies. group music programmes should be considered to enhance interpersonal and collective experiences for both visually impaired and sighted people. learning music can not only improve the intelligence and morality of children, which contributes to the development of their personality, but also can improve their aesthetic abilities. music education for children is an important step in promoting universal education. for example, the experience of teaching children with visual impairment in germany shows that the country has created integrative classes for children with and without visual impairment, in which a special teacher is invited for 4 hours a week: 2 hours for teaching a child and 2 hours for teacher consultations (chvanova and dubrovina, 2018). in france, the system of school inclusion with a special teacher is actively used (dzherdimalieva, 2007). in the usa, a team of specialists is formed to work with a blind child, consisting of teachers for children with visual impairment (american..., 2021). living with a visual impairment leads to such problems as impaired ability to read, write, understand nonverbal signals, and understand a language with a large number of visual images. working in the classroom can also cause psychological stress. this may expose the child to isolation. some researchers consider these emotions as learned social behaviour. moreover, the appearance of desolate behaviour depends on higher levels of the cognitive process. it is known that this behaviour is the result of incomplete or inaccurate modelling due to inadequate and assiya b. darkembayeva et al., the development of moral values of school children 297 poor communication with others. people with disabilities, especially the blind, are at a higher risk of acquiring inappropriate and ineffective behaviours. children with disabilities often cannot take part in social interaction with peers and adults, and their social and emotional adaptation to future interactions is difficult. according to who, blindness in school-age children is less common than in adults, and its prevalence increases with increasing age. visually impaired children remain more detached and isolated and may exhibit immature and inappropriate behaviour. blind teenagers worry more about their future, are less able to suppress their anger and aggression, have a negative attitude toward themselves, and suffer from “acquired helplessness”, which exacerbates frustration. many studies show that music has a large positive effect on people’s behaviour. music therapy is used to treat some physical, emotional, and psychological disorders. pain, anxiety, grief, and relationship problems are the most common problems that people try to solve using music. playing and listening to music can release endorphins, modulate emotions, and relieve pain. in addition, music changes the functions of the nervous, hormonal, and vegetative nervous system, which positively affects stress, satisfaction, and self-confidence. as the research of kazakh, american, and italian scientists in this field shows, music is a tool for conveying a certain information message to children. psychologists note the relationship between a child’s spiritual development and his emotions and feelings (tribushnaya, 2006). due to the fact that today children with visual impairment are the most vulnerable category of students, in addition to musical instruments, new progressive technologies have been introduced into the teaching methodology in the republic of kazakhstan (tribushnaya, 2006). thus, within the framework of the project “special books for special children”, which is being collectively implemented by the open world youth volunteer house and the samruk-kazyna trust social project development fund, tactile books for blind and visually impaired preschool children have been developed. in accordance with the state programme for the development of education and science of the republic of kazakhstan for 2016–2019, it plans to develop textbooks for children with visual impairment (in braille) and children with intellectual disabilities (social projects ..., 2021). many creators of progressive musical and pedagogical systems based on folk musical traditions paid great attention to children’s musical creativity, represented in such forms as instrumental performance (chvanova and dubrovina, 2018). the analysis of numerous existing programmes on the musical education of children has shown that in recent years, music pedagogy has increasingly turned to children’s performance as one of the leading methods of teaching and upbringing, and the development of musical and creative abilities of children is currently one of the important musical and pedagogical tasks. children’s musical creativity has become much more widely represented in various programmes, and methodological recommendations for secondary schools and in kazakhstan. consistent introduction to the world of national musical culture in such an area as playing national musical instruments available for an untrained child contributes to the development of respect for the historical past (chvanova and dubrovina, 2018). in the conditions of increasing national consciousness, a music teacher should skilfully introduce all children to the musical culture of kazakhstan, thereby implanting love for its people and folk cultural traditions. thus, teachers need to work with this category of children in a following way: (1) to form highly moral ideas in children about the rules and norms of behaviour in society, (2) to prepare a complex of direct educational activities focused on the establishment of moral principles harmonia: journal of arts research and education 23 (2) (2023): 290-300298 by introducing children to the folklore of the republic of kazakhstan, and (3) to use this set of activities in the creative activities of children. based on this analysis, the authors of the paper state that the development of moral ideas is considered in pedagogy as a system of moral principles, norms, and rules that a student is obliged to learn through folklore methods of conveying information. conclusions this study is primarily aimed at a complete and comprehensive study of the subject of the development of moral beliefs in children with visual impairment through folk music. the following conclusions were made based on the obtained statistical and practical results. firstly, in this study, the features of the psychological and pedagogical characteristics of children with visual impairments were identified. based on the limited sources of perception of information, the psychological portrait of students is built based on an indifferent attitude to what is happening, thereby forming such qualities as secrecy and indifference. thus, the main point of the development of a closed personality type in children with visual impairment is the absence of an emotional-figurative connection with the surrounding reality. secondly, modern research in the field of psychology has shown that the main age of development of moral beliefs and ideals falls on the category of children aged 6-7 years old. therefore, teachers need to implant the basic principles of morality in children starting from the first grade. folk music is most suitable for this since one can easily convey the fundamental categories of good and evil, love and hate, and good and bad deeds through simple categories of songs and fairy tales. thirdly, the spiritual development of a child with visual impairment can be carried out using a music programme in the classroom. to do this, the teacher must include kazakh folk instruments in the educational process, play simple and complex works, and focus the student’s attention on the emotional and sensual component of the image. a necessary element of the student’s involvement in this educational process will be musical improvisation, when the child independently tries to express feelings through playing a traditional instrument. folk music promotes understanding and reflection of the mentality of kazakhs in the personality of the child, as well as the development of such a deeply emotional feeling as love for the motherland. this learning process should be clearly structured since children without visual impairment also take part in educational activities. therefore, it is necessary to make the following recommendations for improvement in pedagogical activity: (1) to explain complex moral categories to children through folk music using fairy tales and songs, 2) to use traditional kazakh tools in the process of studying the history of the republic of kazakhstan, (3) to promote the popularisation of historical literacy of schoolchildren in the republic of kazakhstan through the folk epic and folklore. references alamos, p., & williford, a. p. 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(2021). https://www.who.int/ru/newsroom/fact-sheets/detail/blindnessand-visual-impairment https://www.who.int/ru/news-room/fact-sheets/detail/blindness-and-visual-impairment https://www.who.int/ru/news-room/fact-sheets/detail/blindness-and-visual-impairment https://www.who.int/ru/news-room/fact-sheets/detail/blindness-and-visual-impairment 1 membangun industri kreatif di maluku melalui pendidikan seni victor ganap isi yogyakarta, jl. parangtritis km. 6,5 panggungharjo, bantul yogyakarta e-mail: victorganap@ymail.com abstrak bagian timur indonesia khususnya kepulauan maluku terdiri dari banyak pulau, sementara orang-orangnya juga dianugerahi dengan musikalitas yang luar biasa, dilihat dari keterampilannya dalam menyanyi, perbendaharaan folksong besar, dan kekayaan aktivitas sehari-hari yang bersentuhan dengan musik. namun, keberkahan bakat sejauh ini sudah dianggap sebagai seni yang memiliki tujuan, dimana orang-orang maluku dengan gembira melakukan kehidupan estetika mereka hanya untuk tujuan mereka sendiri. pendidikan seni formal telah didirikan di maluku, di mana kemauan politik pemerintah daerah untuk mencapai seni dengan akulturasi dan metamorfosis nampak belum terpenuhi. sekarang, waktunya bahwa orang maluku harus memberdayakan budaya yang kaya mereka terutama kemampuan luar biasa mereka di dunia seni dengan memproduksi seniman-seniman lokal terpadu, yang tidak hanya profesional di bidangnya, tetapi juga mungkin dapat mencari nafkah melalui karya mereka sendiri. oleh karena itu, pembentukan sebuah sekolah seni formal di maluku adalah penting, tidak hanya untuk tujuan melestarikan dan menyebarluaskan kearifan lokal maluku, tetapi juga untuk meningkatkan pengembangan provinsi maluku dalam mepromosikan sektor industri kreatif secara ekonomis. building creative industry in maluku through arts education abstract the eastern part of indonesian archipelago particularly maluku province consisted of many islands, while its people are also blessed with their incredible musicality, seen from the skillful ability in singing, vast folksongs repertory, and the enrichment of daily activities with musical touch. however, such a talented gift has been so far considered as the art by destination, where maluku people are happily conducting their esthetical life only for their own purposes. formal arts education has been scarcely established in maluku, in which the political will of local government to attain the art by acculturation and metamorphosis seems not in conformity as yet. now, the time has come that maluku ethnic people must empower their rich culture especially their outstanding ability in the art world by producing the integrated local artists, who are not only professional in their fields, but may also be able to earn living through their own works. therefore, the establishment of a formal arts school in maluku is of important, not only for the purpose of preserving and disseminating maluku local wisdoms, but also to enhance the development of maluku province in economically promising sector of the creative industry. kata kunci: pemberdayaan budaya maluku, industry kreatif, pendidikan seni harmonia, volume 12, no.1 / juni 20122 pendahuluan kawasan timur indonesia khususnya provinsi maluku terdiri dari banyak kepulauan, sehingga kehidupan bahari dan sarana transportasi laut menjadi sangat dominan. faktor geografi kemaritiman yang amat luas itu membutuhkan komunikasi antar pulau di antara berbagai sub-kelompok etnik di maluku. upaya komunikasi dalam kondisi alam pesisir pantai yang bergunung seperti itu menjadikan penduduk maluku memiliki sonoritas suara dan musikalitas yang tinggi, yang diekspresikan dalam kegiatan bernyanyi sebagai bagian dari kehidupan mereka sehari-hari. segenap lapisan masyarakat maluku memang dikenal gemar bernyanyi, aktivitas yang selalu mewarnai berbagai peristiwa religi dan budaya, seperti ibadah gereja, upacara adat, pesta pernikahan, pesta olahraga, pesta kesenian tradisi, dan acara penyambutan tamu. predikat masyarakat maluku sebagai the singing society juga terbukti dari banyaknya penyanyi populer asal maluku seperti broery pesolima, bob tutupoli, harvey malaiholo, dan ruth sahanaya yang menempati papan atas dalam kancah musik industri secara nasional. maluku juga amat kaya dengan repertoar lagu-lagu daerahnya, seperti lagu: ole sioh, gunung salahutu, ayo mama, buka pintu, burung kakatua, sayang kene, burung tantina, ombak putih-putih, goro-gorone, huhate, kole-kole, lembe-lembe, o ulate, saule, sudah berlayar, kupu-kupu sepanjang pantai, waktu hujan sore-sore, mande mande, dan tanase. kegiatan kemasyarakatan yang diekspresikan secara musikal dalam kehidupan sehari-hari di maluku menunjukkan bahwa masyarakat maluku secara tradisional sejak masa lampau menjadikan khazanah lagu sebagai ekspresi kehidupan sosial mereka, ekspresi tentang lingkungan alam mereka, tentang kisah percintaan dan petualangan, yang kesemuanya menjadi saksi sejarah akan kekayaan budaya lokal mereka yang diwariskan secara turun-temurun. demikian pula dengan pembuatan waditra maluku yang memanfaatkan sumber-sumber alam seperti bambu, kayu, dan kerang laut yang memiliki warna suara yang pastoral menyatu dengan bunyi deru ombak di pesisir pantai, yang menggambarkan bahwa suasana berkesenian tidaklah terlepas dari kehidupan bahari masyarakat maluku. sejak masa kemerdekaan lebih dari enam dasa warsa yang lalu, dapat dikatakan bahwa lembaga pendidikan seni di maluku belum menampakkan jatidirinya selaku salah satu pilar yang mendukung bangunan budaya tradisi maluku. kebijakan otonomi daerah yang telah diberlakukan sejak masa reformasi belum menyentuh kepentingan pembangunan dalam bidang pendidikan seni secara memadai. musikalitas masyarakat maluku telah memberikan kepuasan dan percaya diri akan kemampuan mereka berkesenian secara alami, sehingga eksistensi lembaga pendidikan seni dianggap tidak relevan dengan kebutuhan masyarakat. pendidikan seni lebih banyak dilakukan secara informal dengan tujuan instruksional yang sesaat untuk kepentingan ibadah keagamaan, upacara tradisional, dan sarana pergaulan. roadmap penelitian peneliti sebagai penerima hibah kompetitif penelitian sesuai prioritas nasional tahun 2009 memiliki komitmen untuk mengejar ketertinggalan kawasan timur indonesia dengan membangun industri kreatif di maluku melalui pendirian lembaga pendidikan seni. penelitian dilakukan tim peneliti terdiri dari para narasumber, yaitu agustinus gaspersz, mahasiswa s-3 ugm; semy toisuta, kepala taman budaya ambon; maynard alfons, mahasiswa s-2 ugm; dan dani pattinaya, mahasiswa s-2 isi yang menetapkan roadmap penelitian melalui penetapan empat kategori sasaran, yaitu: (1) pejabat pemerintah daerah; (2) para seniman sanggar seni; (3) para guru lembaga pendidikan seni; dan (4) para peserta festival kesenian maluku. penelitian ini bertujuan untuk menggugah kesadaran masyarakat maluku victor ganap, membangun industri kreatif di maluku 3 akan arti penting kekayaan seni tradisi mereka agar dapat dimanfaatkan melalui program pemberdayaan budaya sebagai industri kreatif yang berbasis pendidikan seni. pendirian lembaga pendidikan seni pada berbagai jenjang pendidikan menurut kemampuan sarana dan sumber daya yang tersedia di maluku menjadi sasaran utama dari penelitian ini. bagan alir proses pembangunan industri kreatif program pemberdayaan budaya pengadaan sumber daya manusia lembaga pendidikan seni industri kreatif materi dan kearifan lokal seniman profesional karya seni tradisional tim peneliti pertama-tama mengadakan survei pada dinas pendidikan pemuda dan olahraga provinsi maluku, dan memperoleh pemahaman bahwa faktor geografis provinsi maluku yang dijuluki “provinsi seribu pulau” mampu menimbulkan dampak tersendiri yang sangat mendasar dalam bidang pendidikan seni. kepala dinas dikpora bertekad memberdayakan pendidikan seni pada sekolah menengah kejuruan (smk-7) ambon, sebagai satu-satunya lembaga pendidikan seni tingkat menengah yang menyajikan program seni termasuk kompetensi musik non-klasik. kepala dinas segera menindaklanjuti dengan mengundang smk-7 dalam suatu rapat koordinasi dengan tim peneliti. pertemuan dihadiri staf dinas dikpora dipimpin oleh robby tahalele, kepala bidang dikjur, dari pihak smk-7 diwakili achmad kubangun, kepala sekolah; lodewijk alfons, ketua komite sekolah; eka octosea, ketua multimedia; rosina haurissa, ketua kompetensi musik non-klasik; dan para guru musik terdiri dari ridho tomasoa; marlon alfons; louhanapessy; novan salamena, dan inez alfons. situasi yang dihadapi smk-7 pada saat ini adalah: (1) produktivitas lulusan yang minim; (2) sarana dan fasilitas yang minim; (3) kemampuan sumber daya manusia yang belum memenuhi syarat sebagai guru yang berkualifikasi s1 bidang musik pop-jazz yang memiliki kompetensi musik non klasik dengan tujuan pendidikan yang mampu menghasilkan lulusan yang memiliki kemampuan wirausaha; (4) kearifan lokal maluku sebagai karakter orang ambon pada umumnya yang bersifat tradisi lisan dalam bermusik, dan tidak lazim dengan tradisi membaca notasi; (5) model pembelajaran seni yang diterapkan amat bergantung pada konteks manajerial kegiatan berkesenian, selain tersedianya aransemen yang disusun, teknik keterampilan musik, dan tersedianya alat musik secara memadai; (6) terlepas dari masalah sumber daya manusia dan peralatan, animo masyarakat untuk mengikuti program musik dari tahun ke tahun semakin meningkat. saat ini jumlah siswa musik mencapai 66 orang, dengan penerimaan siswa baru di kelas 1 tahun ajaran 2009-2010 sebanyak 34 siswa. kebijakan pembinaan dan pengembangan smk-7 diarahkan melalui upaya reposisi, reengineering, dan rekonstruksi, sambil menjalankan program link and match, menurunkan siswa ke lapangan untuk praktik magang. program musik dibuka sejak tahun 2003 dengan program pendidikan musik yang wajib membaca not balok, dan mencipta lagu khusus dengan sarana dan peralatan yang seadanya. pada tahun 2009 meski dengan peralatan yang minim sekolah telah mampu menghasilkan lulusan sebagai pemain keyboard yang siap pakai di masyarakat. silabus pelajaran praktik keyboard siswa smk-7 ambon lebih diarahkan ke musik jazz sebagai salah satu jenis musik non-klasik yang dianggap lebih berpeluang dalam membangun industri kreatif di maluku. pelajaran praktik keyboard diasuh oleh ridho tomasoa, setelah memperoleh pelatihan pada universitas kristen immanuel yogyakarta di bawah harmonia, volume 12, no.1 / juni 20124 asuhan robby meka. smk-7 telah memiliki kelompok drumband khas maluku, serta tengah mempersiapkan berdirinya sanggar seni yang representatif. penelitian menghasilkan kesepakatan untuk membuka jalinan kerjasama dengan taman budaya maluku yang memberikan kesempatan bagi siswa musik smk-7 untuk tampil secara reguler dalam calendar of events taman budaya maluku. demikian pula kesediaan bidang dikjur dinas dikpora memberikan separuh dari 20% anggaran dikjur bagi program kesiswaan untuk pembinaan bakat seni para siswa smk-7. diharapkan para guru smk-7 dapat dikirim ke yogyakarta untuk dididik dan memperoleh kualifikasi s1 dari lembaga institut seni indonesia atau kompetensi guru musik dari p4tk seni dan budaya. penelitian selanjutnya dilakukan pada kantor gubernur maluku untuk memperoleh data primer tentang kebijakan pemerintah daerah terhadap pengembangan industri kreatif di maluku. tim peneliti diterima oleh assagaff selaku wakil gubernur yang secara positif me nyambut baik pengembangan industri kreatif di samping industri kelautan yang akan diresmikan pada tahun 2010 saat maluku menjadi penyelenggara festival pelayaran internasional sail banda, sebagai kelanjutan dari festival sail bunaken tahun 2009. wakil gubernur kemudian menugaskan semy toisuta untuk menyusun program peningkatan kualitas sumber daya manusia para guru musik di seluruh provinsi maluku untuk memperoleh kualifikasi yang memadai melalui pendidikan lanjut dan pelatihan, yang penyebarannya harus mencermikan keterwakilan seluruh provinsi maluku. berdasarkan kebijakan yang telah disampaikan oleh wakil gubernur provinsi maluku, penelitian berikutnya dilakukan pada kantor walikota ambon dengan mengajukan sebuah pertanyaan penelitian yang mendasar bahwa mengapa di kota ambon tidak ada sekolah musik padahal orang ambon dikenal sangat musikal dan menyukai musik? marcus jacob papilaya selaku walikota ambon mengakui bahwa prestasi dalam dunia musik yang diraih oleh para seniman maluku telah menyebabkan mereka lupa diri dan merasa tidak perlu lagi bersekolah. namun walikota tetap menyatakan bahwa sekolah musik perlu didirikan di ambon, dengan pertimbangan terbalik bahwa apabila secara alami orang ambon pandai bermusik, apalagi bila mereka bersekolah. gambar 1. koor dan orkes simfoni bambu maluku pimpinan maynard alfons membawakan lagu spirit ambon ciptaan marcus papilaya. (foto: agustinus gaspersz) walikota ambon yang juga seorang pemusik dan pencipta lagu bertekad untuk memberikan prioritas pada smk-7 yang notabene letaknya berada dalam wilayah kota ambon, dan menugaskan ahmad kubangun untuk membuka program kursus musik bagi masyarakat umum yang dikelola secara swadaya, yang dapat menghimpun dana dari masyarakat untuk dimanfaatkan membiayai pengadaan berbagai instrumen musik yang dibutuhkan. walikota ambon mengemukakan geografi dan keindahan pulau ambon yang bentuknya mirip octopus. teluk ambon berbentuk huruf u berombak tenang mirip sungai yang lebar, namun saat ini teluk ambon sudah tercemar limbah industri maupun rumah tangga. itu sebabnya walikota ambon mencanangkan program ambon sebagai water front city, dengan tujuan menjadikan perairan teluk ambon menjadi bersih kembali dan nikmat untuk dilayari sebagai salah satu aset wisata kota victor ganap, membangun industri kreatif di maluku 5 del pembelajaran seni dilakukan sebagai kelanjutan dari tahap ketiga proses sintakmatik model pembelajaran sinektiks, melalui pelajaran sejarah musik kepada seluruh siswa kompetensi musik non-klasik smk-7. pelajaran diberi tema my beautiful maluku sebagai terjemahan dari ekspresi “ambon manise”. pelajaran menggambarkan popularitas maluku secara historis sejak abad keenambelas, ketika maluku menjadi tujuan utama dari para pelaut, pedagang, misionaris portugis dan belanda untuk memperoleh rempah-rempah. mengapa mereka begitu gigih mengerahkan segala kemampuan navigasi berlayar ke maluku, dan mengerahkan kemampuan militernya untuk dapat memperoleh rempah-rempah? jawabannya adalah bahwa rempah-rempah merupakan komoditas yang penting bagi bangsa eropa ketika teknologi pertanian saat itu hanya mampu memanen rumput makanan ternak sekali setahun pada musim panas, sehingga pakan ternak itu tidak tersedia pada musim dingin. untuk itu semua ternak disembelih selama musim dingin dan dagingnya perlu diawetkan dengan rempah-rempah agar tetap segar dan dapat dikonsumsi. penelitian tentang model pembelajaran seni dilakukan dengan melanjutkan tahapan ketiga proses sintakmatik model pembelajaran sinektiks, peneliti kembali mengadakan pelatihan terhadap para siswa smk-7 berupa lokakarya teori musik berdasarkan teori lingkaran kwint temuan johann sebastian bach. teori itu telah diaplikasikan dalam ilmu melodi berupa teknik penyusunan kontrapung untuk dua suara khusus bagi penciptaan karya instrumental. siswa dilatih untuk menyusun melodi kedua dari melodi yang telah disediakan pada suara atas maupun suara bawah. pelatihan yang berlangsung selama dua jam berhasil menyelesaikan dua soal yang dituliskan di papan tulis. siswa smk-7 pada umumnya dapat menyerap pelajaran yang diberikan tentang interval konsonan dan interval disonan yang berjalan secara vertikal. data yang diperoleh adalah bahwa siswa smk-7 tidak menemui kesulitan untuk membaca dan menuliskan not balok ambon. model pembelajaran seni penelitian terhadap lembaga pendidikan seni difokuskan pada model pembelajaran seni yang dilakukan melalui tatap muka dengan siswa smk-7 kelas 2 dan 3. tatap muka ini merupakan proses sintakmatik tahap ketiga berupa analogi personal terhadap kemampuan musikalitas siswa. pada dasarnya musik non-klasik adalah bagian dari musik industri yang produknya berorientasi pada pasar. untuk memenuhi selera pasar, musik yang disajikan adalah musik masa kini yang berdasarkan pada genre musik rock dengan berbagai variasinya. gambar 2. gedung smk-7 ambon bidang seni dan kerajinan (foto: agustinus gaspersz) demonstrasi permainan keyboard siswa kelas 2 dan 3 cukup memadai, di mana salah satu siswa memainkan musik klasik untuk piano für elise karya beethoven, akan tetapi karya itu dimainkan tanpa membaca partitur. ini mencerminkan tidak tersedianya guru piano di smk-7, meski profil lulusan yang dibutuhkan masyarakat adalah pemain keyboard untuk tampil di hotel secara reguler, maupun untuk melayani permintaan masyarakat yang mempunyai hajat. permainan keyboard dengan gaya jazz sudah dibuktikan kebolehannya oleh salah seorang alumni yang hadir. selain itu juga dipertunjukkan permainan drum dan vokal dari para siswa, juga lagu maluku waktu hujan sore-sore yang dilantunkan peneliti. penelitian tentang moharmonia, volume 12, no.1 / juni 20126 meningkat. waditra tradisional maluku penelitian tentang model pembelajaran seni dilakukan terhadap grup musik perkusi anak-anak asuhan maynard alfons, yang diundang untuk mengisi acara pembukaan penerimaan gubernur maluku untuk peserta sail bunaken 2009 yang singgah di ambon. grup musik perkusi ini terdiri dari 14 pemain anak-anak dengan susunan: (1) satu totobuang; (2) empat tifa; (3) tiga suling bambu; (4) tiga vokalis; (5) dua gong bumbung; (6) satu chimes dan tambourine yang ditabuh. data yang diperoleh adalah: (1) totobuang sebagai waditra tradisional maluku semuanya ternyata dibuat dan didatangkan dari jawa tengah (klaten), karena maluku belum memiliki pandai besi yang mampu menjadi pengrajin waditra logam. bentuk totobuang itu persis seperti bentuk bonang gamelan jawa yang telah dituning dalam sistem nada diatonik dan diletakkan di atas meja dengan ketinggian satu meter; (2) grup perkusi ini tidak memiliki sense of balance dan cenderung untuk bermain dengan sekeras-kerasnya terutama pada permainan tifa, sehingga vokalis dan suling tidak terdengar, kecuali totobuang itu sendiri. penelitian tentang model pembelajaran seni dilakukan melalui observasi ke desa tuni yang berada di kecamatan nusaniwe, kota ambon, mengunjungi sanggar hanessa etnika yang diasuh oleh keluarga besar alfons. hadir dalam acara itu max alfons, ayah dari maynard, beserta segenap anggota keluarga besar alfons yang seluruhnya berjumlah 24 orang. mereka kemudian menggelar tarian katreji yang diyakini merupakan peninggalan portugis, tarian berpasangan dalam lingkaran charamba azores, namun dengan pengaruh belanda berupa tarian ballroom sebagai hiburan bagi masyarakat indies pada masa hindia belanda. tarian katreji ini diiringi oleh max alfons pada tifa, tonny alfons mahasiswa musik uny pada biola, dan seth alfons pada gitar. para penari yang berpasangan itu dipimpin oleh gustrein alfons sebagai yang dibuktikan dengan maju satu persatu ke papan tulis untuk menuliskan jawaban. pemahaman tentang interval karena untuk pertama kalinya diberikan kepada mereka, maka masih memerlukan pelatihan dan pendalaman untuk menuliskan dan mendengarkan berbagai jenis interval. data menunjukkan bahwa musikalitas siswa smk-7 cukup tinggi, sebagai cerminan musikalitas yang pada umumnya dimiliki semua orang ambon. kendala yang mereka hadapi adalah pada kualitas pembelajaran yang amat minim disebabkan materi pengajaran, kualitas guru, dan peralatan musik yang menunjang proses belajar mengajar musik di smk-7 sangat tidak memadai. seandainya mereka belajar musik dengan fasilitas yang sama seperti di jawa, hasilnya akan jauh sangat memuaskan. penelitian tentang model pembelajaran seni diarahkan pada proses sintakmatik tahapan keempat dan kelima berupa konflik yang dipadatkan dan analogi konflik dari model pembelajaran sinektiks pada smk-7 kali ini melalui dialog dengan para guru musik menyangkut spektrum dari standar kompetensi dan kompetensi dasar smk untuk musik non klasik. hadir dalam acara dialog ini achmad kubangun, rosina haurissa, lodewijk alfons, dan para guru musik ridho tomasoa, gerry waas, dan ade talompo. data yang diperoleh adalah kendala dari proses pembelajaran musik di smk-7 meliputi sumber daya manusia yang sebagian besar adalah guru honorer dengan honor sangat kecil. rekrutmen guru lainnya adalah marlon alfons, frans haumase, ade talompo, gerry waas, sedangkan ridho tomasoa menunggu sk pengangkatan sebagai pns non guru. disepakati untuk mempromosikan program musik smk-7 melalui penyelenggaraan konser dalam rangka acara festival kesenian gebyar maluku, didukung kurikulum yang mensyaratkan siswa semester v wajib melakukan praktik kerja industri. acara konser merupakan sarana promosi yang efektif, terbukti sejak konser terakhir juni 2008, animo generasi muda maluku masuk ke smk-7 semakin victor ganap, membangun industri kreatif di maluku 7 dance-master yang memberikan komando dalam berbaris, dan aba-aba terhadap perubahan gerakan tariannya. penelitian tentang model pembelajaran seni dilaksanakan dengan mengadakan observasi pada sanggar boy rattan yang diasuh maestro totobuang maluku yaitu chepu siloi, yang keahliannya telah diwarisi oleh putranya jonas siloi, bahkan menurun pada cucunya nano pemain totobuang cilik yang terampil. sanggar berada di pinggir pantai teluk ambon dengan grup perkusi anak-anak dari sekitar kampung di situ. data yang diperoleh dari penelitian ini adalah totobuang maluku yang mereka miliki memang dibawa dari di jawa. koleksi totobuang keluarga siloi bahkan memiliki jenis yang berasal dari abad kesembilanbelas dan logamnya masih cukup tebal. kendala yang dihadapi adalah tidak adanya pandai besi yang mampu memproduksi waditra totobuang secara lokal. koleksi totobuang siloi banyak yang sudah perlu dituning, namun menurut chepu hanya ia sendiri yang boleh tuning karena harus dilakukan dengan hati-hati agar logamnya tidak pecah. keluarga siloi termasuk keluarga seniman totobuang yang terkemuka di ambon, putranya jonas bahkan pernah tampil dalam pasar malam besar tong tong di den haag tahun 2008 sebagai anggota kontingen kesenian maluku yang diundang ke negeri belanda. musik gerejawi penelitian tentang model pembelajaran seni dilakukan terhadap peran gereja dalam kehidupan berkesenian, sehingga diadakan observasi pula pada gereja protestan maluku jemaat rehobot untuk menyaksikan latihan paduan suara ibuibu yang akan berangkat ke samarinda mengikuti pesparawi 2009 untuk kelompok paduan suara sejenis. paduan suara ini dilatih oleh agustinus gaspersz, dan memperoleh predikat teladan pada pesparawi 2008 yang lalu. dalam pesparawi nasional kontingen maluku senantiasa menjadi juara umum dengan meraih medali emas terbanyak dari 11 kategori yang dilombakan. data yang diperoleh memperkuat hipotesis bahwa orang maluku memiliki sonoritas suara yang tinggi dalam bernyanyi. akan tetapi individualisme juga menjadi sangat besar sehingga pada saat bernyanyi mereka tidak pernah mempertimbangkan keseimbangan suara atau balans secara menyeluruh dalam sebuah grup. paduan suara ibu-ibu terdiri dari sopran 1-2, dan alto 1-2, di mana suara alto dan sopran 2 rata-rata memiliki sense of balance dan mencapai homogenitas yang memadai. namun sopran 1 cenderung untuk mendominasi keseimbangan suara sehingga selain ketimpangan dalam balans juga mempengaruhi kadar homogenitas mereka. selain itu interpretasi dalam membawakan lagu-lagu dengan gaya yang sesuai zamannya perlu dipertajam, bahwa ada perbedaan yang hakiki antara homogenitas lagu yang ditulis menurut jalinan polifonik modal gereja gaya abad pertengahan, dengan jalinan homofonik musik diatonik gaya klasik. penelitian diarahkan pada gereja protestan maluku (gpm) yang dikelola oleh sinode yang terbesar di ambon, yang mengkoordinasikan banyak kelompok jemaat, termasuk jemaat silo dengan gedung gerejanya yang megah setelah direnovasi pasca kerusuhan, dan berdiri di pusat kota ambon. penelitian dilakukan dalam kebaktian gereja gpm jemaat silo pukul 09.00 wit yang dipimpin oleh pendeta ny. gaspersz, istri dari agustinus gaspersz. selain pelayanan sakramen baptisan yang kudus, kebaktian yang berlangsung selama dua jam itu diisi dengan penampilan tiga kelompok paduan suara, yaitu: (1) paduan suara ibu-ibu yang akan mewakili maluku dalam pesparawi 2009; (2) paduan suara mahasiswa sekolah tinggi agama kristen protestan negeri (stakpn) ambon; (3) paduan suara jemaat silo. data menarik yang diperoleh dari penelitian ini adalah penggunaan instrumen tiup logam seperti trompet dan tuba untuk mengiringi ibadah liturgi gereja. liturginya mirip dengan gereja reformasi lainnya di indonesia seperti gereja protestan indonesia bagian barat (gpib). harmonia, volume 12, no.1 / juni 20128 musik komunitas muslim peneliti mengamati bahwa dampak kerusuhan di maluku pada tahun 1999 masih nampak pada bangunan pertokoan yang berada di kota ambon. dampak secara fisik itu menjadikan laju perekonomian di kota ambon belum pulih benar meski telah menggeliat bangun. banyaknya bangunan gereja dan masjid di kota ambon mencerminkan kehidupan toleransi beragama yang tinggi di kalangan masyarakat maluku, dan merasa nyaman dalam menjalankan ibadah mereka sesuai aqidah agama masing-masing. masjid agung alfatah merupakan masjid terbesar di kota ambon yang pada sholat jumat 7 agustus 2009 diikuti oleh ribuan umat yang memadati masjid. demikian pula ketika takmir masjid membacakan laporan keuangan sebelum sholat dimulai sekitar pukul 14.00 wit, diperoleh informasi jumlah saldo kas sebesar 1,5 milyar rupiah. data penting yang diperoleh dari tempat penelitian ini adalah tumbuh suburnya kehidupan bermusik di kalangan remaja masjid yang tergabung dalam berbagai grup qasidah maupun nasyid. komunitas muslim banyak menghuni pemukiman di sekitar masjid yang menjadi salah satu wilayah pusat perdagangan di kota ambon. demikian pula rumah makan muslim yang menyajikan kulinari padang, maupun ternate bertebaran di sekitar masjid. sebagian besar komunitas muslim ambon pada umumnya menempati kawasan pemukiman batu merah di sepanjang pantai teluk ambon bagian timur yang menuju ke arah bandara pattimura di pantai teluk ambon bagian barat. peneliti ditemani oleh achmad kubangun, pribumi bandaneira yang beragama islam. setelah usai sholat jumat peneliti melengkapi rasa syukur dengan mengundang staf pimpinan smk-7 untuk bersantap siang di salah satu rumah makan kulinari bandaneira di sekitar masjid. penelitian juga dilakukan pada komunitas muslim ambon yang berdiam secara berkelompok tidak jauh dari masjid al-fatah. mereka menamakan diri sebagai grup qasidah mayang sari dengan sanggar yang berada di waihaong. kelompok itu mengandalkan musik mereka pada instrumen ritmik seperti ensambel rebana atau terbang, tifa, yang dilengkapi dengan suling dan gitar. grup mayang sari ini menurut laporan senantiasa meraih juara pertama dalam lomba qasidah di ambon, sehingga mereka memutuskan tahun ini untuk tidak ikut lomba agar memberikan kesempatan kepada grup qasidah lainnya. data yang diperoleh dari penelitian lapangan ini adalah dominasi instrumentasi permainan suling yang lebih bernuansa arabesque daripada seni vokal qiro’ah yang islami dalam membawakan shalawat nabi, selain dynamic balance rebana dan tifa yang dominan, sehingga permainan suling, gitar, dan bahkan vokalisnya itu sendiri hampir tidak dapat terdengar. betapapun juga grup qasidah ini mampu memainkan pola interlocking di antara berbagai instrumen rebana dan tifa, sehingga menimbulkan permainan poliritmik yang bervariasi. peneliti menyarankan agar grup mayang sari mau berbagi keahlian dan pengalaman mereka pada grup-grup lainnya. sarasehan musik penelitian tentang model pembelajaran seni dilakukan melalui proses sintakmatik tahapan keempat, kelima, dan keenam berupa pengujian kembali menurut model pembelajaran sinektiks dilaksanakan melalui acara sarasehan seni budaya maluku di smk-7 dengan mengundang berbagai kelompok seniman mewakili sanggar seni di ambon. sarasehan ini juga bertemakan my beautiful maluku yang dibuka dengan resmi oleh porwas dinas dikpora kota ambon hermanus soukotta, diiringi doa yang dipimpin seorang kyai ambon. rosina haurissa sebagai ketua panitia menyampaikan laporan bahwa pada acara sarasehan seni budaya maluku telah diundang dan hadir para seniman ambon yang mewakili kelompok: (1) sanggar bahari diwakili oleh noni; (2) sanggar yamuyaka diwakili oleh arsyad; (3) sanggar huele diwakili oleh angel tentua; (4) sanggar waihaong diwakili oleh saimima; (4) sanggar kota ambon diwakili oleh taha; (5) sanggar tifa passa diwakili victor ganap, membangun industri kreatif di maluku 9 oleh johanis; (6) karang taruna mekar rumah tiga diwakili oleh leonard; (7) kelompok insan artis asal maluku diwakili oleh gysye. data yang diperoleh dari penelitian ini adalah masukan dari para seniman maluku diawali dengan sambutan porwas kadis dikpora kota ambon bahwa di kota ambon terdapat 10 smk, 40 program keahlian, dan 133 kompetensi, di mana smk-7 satu-satunya yang menyajikan program keahlian bidang seni, khususnya kompetensi musik non-klasik. pengembangan pendidikan seni di ambon tetap berdasarkan pada kearifan lokal maluku, dan tugas dari dinas dikpora adalah mempromosikan para lulusan sltp untuk melanjutkan studi ke smk-7. porwas merasa bangga atas kehadiran peneliti sebagai guru besar, yang merupakan sebuah nilai plus bagi smk7. program guru besar masuk sekolah memang mulai dicanangkan di beberapa daerah termasuk diy, khususnya pada smu-8 yogyakarta. ferdinandus, guru seni smk-7 berpendapat bahwa potensi seni anak maluku cukup tinggi namun belum memiliki kreativitas yang dapat dijual. pemda maluku harus ikut berperan agar karya seni mereka dapat dipasarkan, dengan mengundang para seniman kreatif untuk diberi pelatihan agar karya seni mereka dapat dijual dan memiliki daya saing yang tinggi. kamal dari forum taruna ambon mengeluhkan bahwa belum ada lembaga pendidikan tinggi seni yang dapat menampung para lulusan smk. untuk itu pemda maluku perlu memberikan perhatian yang serius terhadap peningkatan pendidikan seni melalui forum masyarakat, selain perlu ada pelatihan khusus bagi para seniman di maluku, yang disosialisasikan kepada semua kelompok dan sanggar seni. yusuf mengatakan bahwa sebuah yayasan pendidikan musik pernah berdiri di ambon semasa orde baru. sayangnya orang maluku kurang menghargai seniman lokal karena hanya dibayar rendah, yaitu rp.25.000,sekali pentas, sedangkan seniman dari luar dapat dibayar dengan harga yang lebih tinggi. setelah pasca kerusuhan kehidupan berkesenian mulai menggeliat dan memperoleh binaan dari dinas dikpora dan dinas pariwisata, namun sayangnya generasi muda kurang berminat pada musik tradisi seperti musik keroncong, sehingga perlu dipikirkan metode yang tepat digunakan untuk menggali seni-seni yang masih terpendam. angel pendiri sanggar huele tahun 2003 juga mengharapkan peranan pemda maluku yang lebih besar terhadap pendidikan seni, karena banyak generasi muda yang ingin melanjutkan studi mereka, namun menghadapi kendala tidak adanya sekolah musik, sehingga pendirian sebuah lembaga seperti sekolah tinggi seni di ambon amat strategis. gysye mewakili organisasi insan artis asal maluku yang sejak lima tahun lalu telah melakukan kegiatan seni untuk mengembalikan kejayaan maluku di masa lalu dan memperjuangkan agar para seniman maluku dapat memperoleh royalti seumur hidup mereka. hasil yang diperoleh dari sarasehan seni budaya maluku ini adalah penekanan pada kearifan lokal yang mendasari setiap seniman maluku dalam berkarya. maluku diharapkan menjadi palungan bagi renaissance musik keroncong dari masa lalu untuk dapat dihidupkan kembali dengan gaya irama oceania melalui alunan hawaiian gitar dalam irama keroncong, sesuai jatidiri musik maluku. festival kesenian maluku penelitian tentang model pembelajaran seni dilakukan melalui penugasan peneliti sebagai pengamat oleh dinas kebudayaan dan pariwisata maluku dalam menggelar festival kesenian maluku dan mengundang grup kesenian dari seluruh wilayah provinsi maluku. penampilan mereka tidak dimaksudkan untuk memperoleh peringkat kejuaraan, namun lebih pada pemaparan hasil evaluasi dan pengamatan tim pengamat, yang terdiri dari peneliti sebagai ketua tim pengamat, dengan anggota agustinus gaspersz dan hasan karim. pada hari pertama tampil sebanyak delapan grup dengan urutan sebagai berikut: (1) grup tari dari maluku tenggara harmonia, volume 12, no.1 / juni 201210 yang melibatkan 12 penari anak-anak dalam ekspresi bermain. penampilan anakanak merupakan kebijakan yang visioner dari pemda maluku tenggara, yang sekaligus mempersiapkan generasi mendatang di maluku tenggara tetap memiliki apresiasi terhadap kesenian lokal. tariannya sangat sederhana dan tetap mencerminkan kegiatan anak-anak bermain; (2) musik barimbang dari kepulauan aru berupa penampilan waditra sejenis harpa mulut yang dimainkan oleh tiga musisi untuk melodi dan ostinato. kesenian jenis ini juga terdapat di papua nugini, mindanao, filipina selatan, dan di kalangan kaum aborigin di australia. pemerintah kota dobo harus bangga memiliki kesenian yang langka seperti ini, dan perlu tetap dilestarikan di kalangan generasi muda; (3) grup kesenian alaka dari desa ronggomoni, kabupaten maluku tengah berupa penampilan ensambel musik perkusi islami dengan 4 rebana, 1 gambus, 3 calung bambu, 1 suling bambu, 1 harmonika, dan 1 maracas. gambar 3. grup kesenian islami alaka desa ronggomoni kabupaten maluku tengah (foto: dani pattinaya) pola ritme yang dimainkan mencerminkan permainan interlocking dengan poliritmik yang kaya; (4) grup tifa totobuang dari dusun kusu-kusu, ambon dengan penampilan ensambel perkusi khas maluku, dimainkan musisi dewasa dan anak-anak pada totobuang dengan keterampilan yang tinggi diiringi berbagai jenis tifa; (5) grup tari ritual esi dari desa tiang darat kabupaten seram timur menampilkan 13 penari putra yang menggenggam pedang dalam tari peperangan, diiringi resitasi yang unisono dengan ritme yang menggambarkan simbol heroisme. meski pada dasarnya merupakan tari ritual, namun penampilan ke atas panggung tetap membutuhkan sentuhan koreografi; (6) grup tari markele dari kota tual kepulauan kei yang menampilkan mitos burung maleo dan produk pertanian lokal embal yang konon dapat tumbuh di tanah gersang bahkan batu sekalipun. tari dibawakan 5 penari putri dan 2 penari putra dengan iringan waditra etal ciptaan pimpinan grup bernama eki talaut, berupa sejenis siter berbentuk perahu berdawai dari bambu yang digesek dengan penggesek dibuat dari puluhan tali yang digabungkan, sehingga menimbulkan warna suara yang khas. musiknya secara keseluruhan menggambarkan kombinasi melodi dan harmoni dengan permainan akor dominan tujuh. waditra etal itu perlu dipatenkan, sebagai waditra ciptaan baru musik etnik kepulauan kei; (7) grup perkusi masha yang islami dipimpin oleh iwan jamal dari pesisir pantai waihaong, teluk ambon berupa shalawat, hadrat, dan marwas, dengan komposisi ensambel rebana, tabla, suling bambu, gitar dan biola. repertoar campuran secara medley dari musik arab hingga latin, namun permainan biola cukup dominan meski intonasinya terkadang tidak tepat; (8) grup tari orielalela dari kepulauan tanimbar, kabupaten maluku tenggara barat dengan penampilan seorang dance-master dan 2 penari putra dan 6 penari putri. dance master juga memainkan tifa, dan semua penari menyanyi sambil menari, diselingi display pelemparan dan penangkapan waditra tifa kecil. festival kesenian maluku bertepatan juga dengan festival tari dan perkusi yang untuk pertama kali digelar taman budaya maluku. upacara pembukaan oleh gubernur maluku yang diwakili staf ahli bidang sumber daya, didahului sambutan kepala dinas kebudayaan dan pariwisata provinsi mavictor ganap, membangun industri kreatif di maluku 11 luku, dan laporan kepala taman budaya maluku. festival kesenian maluku hari kedua menampilkan sepuluh peserta, yaitu: (1) grup perkusi islami dari seram timur dipimpin oleh amin rumbai menampilkan 3 pemain rebana, 2 pemain tifa, 1 gong bumbung, dan 1 seruling bambu. permainan seruling tunggal yang begitu terampil memerlukan pelestarian melalui upaya pengkaderan kepada generasi muda; (2) grup tari sosoke dari pulau buru sebagai tarian yang lazimnya dipersembahkan kepada raja ambalao. tarian ini dibawakan oleh 6 penari putra dan 6 penari putri yang berpasangan. pengiring musik terdiri dari vokal dan keyboard harmonik disertai perkusi tifa. tarian sosoke ini memiliki pengaruh dari tarian portugis abad keenambelas; (3) grup yang mempersembahkan “totobuang berpantun” melalui penampilan grup perkusi waimahu dari kecamatan nusaniwe, kota ambon. para pemain terdiri dari 6 pemain tifa, 1 pemain totobuang, yang mengiringi 1 penyanyi putra dan 1 penyanyi putri sambil menggenggam saputangan atau lenso berwarna merah.. perpaduan antara ritmik perkusi dengan nyanyian duet para vokalis mencermikan arti totobuang berpantun yang sebenarnya. pantun yang dibawakan bertemakan so talalu manise, ekspresi tentang keindahan dari masyarakat maluku yang sangat berlebihan; (4) grup tari gamang atau kuskus, sejenis hewan nocturne yang hidup di lubang batang pepohonan, hewan yang takut kena hujan karena bulunya yang basah akan sulit mengering. tarian ini berasal dari kepulauan aru yang dibawakan oleh seorang penari kuskus dan 12 penari putra, diiringi seorang penyanyi laki-laki yang membawakan melodi secara responsorial dengan para penari. melodi lagu dalam banyak suara diiringi ritmik tifa menghasilkan perpaduan yang harmonis. demikian pula display penari dengan kostum hewan kuskus yang menari dengan memanjat dan bergelayutan di atas dahan berupa barisan lengan para penari; (5) grup tari terini mamal, atau dikenal juga dengan sebutan tari bambu gila dari kota ambon dipimpin oleh boetje sapturi. tarian ini menggambarkan simbol hidup gotong royong masyarakat maluku. gerakan tariannya mampu mengimbangi semaraknya ritmik tifa dengan ayunan langkah kaki dan lengan para penari yang melompat dan tidak sekedar melangkah. ada pengaruh dari gerak tari di luar maluku seperti tari zapin dari riau; (6) grup perkusi shalawat hatukang yang islami dari negeri batu merah, di kota ambon yang dikenal sebagai pusat pemukiman kaum muslim ambon. para pemain terdiri dari 1 pemain suling bambu, 1 pemain bende, 3 pemain rebana dan tambourine yang dipukul bukan diayunkan. permainan rebana dan tambourine terlibat dalam dialog dengan pergantian warna suara yang inovatif dengan berbagai variasi interlocking. pemain suling bambu kemudian berubah menjadi conductor; (7) grup lawomina maju terus pimpinan max sopacua kembali menyajikan totobuang berpantun hiti-hitihola-hola. tifa dan totobuang mengiringi tari mako-mako diiringi 1 pemain totobuang, 1 pemain bongo, 3 pemain tifa ditambah 1 bas tifa, 1 tambourine yang dipukul dengan stick beserta chimes, dan 1 gong bumbung. pemain tambourine merangkap sebagai vokalis dengan resitasi yang responsorial dengan grup. pemain totobuang menggunakan partitur yang berfungsi sebagai hiasan saja, karena pada dasarnya mereka tidak membaca notasi musik; (8) grup tari mapia malate dari desa rohomoni, kabupaten maluku tengah. tari ini menggambarkan masyarakat rohomoni yang turun ke laut mendulang loor, sejenis kerang laut. penampilan para penari terdiri dari seorang penari membawa obor, 3 penari putra membawa tanggok untuk menangkap loor, sejenis ikan sungai dan 3 penari putri membawa bakul untuk menampung hasil tangkapan. tarian ini digarap dengan baik dan gerakannya disesuaikan dengan ritmik musiknya; (9) grup tari limakalikui dari seram barat. tari ini dinamakan timba katon yang menggambarkan salah satu kegiatan penduduk seram barat yang beramai-ramai turun ke sungai sambil membawa baribui harmonia, volume 12, no.1 / juni 201212 atau timba. tarian ini dibawakan oleh 5 penari putri yang sedang menangkap ikan di sungai. pola gerak tangan dan kaki mirip dengan pola ritmik iringan musiknya yang off-stage; (10) grup perkusi boy rattan tampil sebagai peserta terakhir. pemain totobuang cilik nano kembali menunjukkan kebolehannya diiringi 10 instrumen tifa dari berbagai ukuran. permainan ritmik tifa sangat bervariasi dengan interlocking yang penuh dengan sinkopasi, sedangkan satu-satunya totobuang yang mereka gunakan sudah memerlukan tuning yang cermat. hasil evaluasi ketua tim pengamat adalah sebagai berikut: (1) pola lantai yang telah disiapkan oleh panitia di atas panggung harus dicermati dan dipatuhi agar tercapai simetrisasi gerak tariannya; (2) totobuang dikenal dan diakui dengan waditra tradisional maluku yang seyogyanya juga dibuat oleh pande besi maluku, bahan logam dari bumi maluku, bentuk khas maluku, yang penampilannya secara keseluruhan mencerminkan keharmonisan dengan meja penyangganya; (3) musik perkusi tifa totobuang merupakan ikon maluku yang harus dilestarikan dan dikembangkan. melodi seruling bambu merupakan warna lokal yang mengandung kekayaan musik etnik maluku; (4) gemuruhnya ritmik perkusi seyogyanya diimbangi dengan gerak tarinya; (5) penalaan totobuang dalam sistem nada diatonik memerlukan tuning dari waktu ke waktu, sehingga dibutuhkan standarisasi dan ahli tuning; (6) pola ritmik grup islami lebih kaya dengan berbagai interlocking dalam mengiringi shalawat atau melodi arab. namun masuknya instrumen barat seperti biola dan gitar harus ditala secara tepat; (7) meski banyak tarian yang menggambarkan sebuah upacara ritual, namun penampilannya ke atas panggung memerlukan sentuhan koreografi; (8) teater tradisional maluku adalah bentuk arena, bukan prosenium sehingga antara penari dan pengiring musik seyogyanya tidak dipisahkan, melainkan menyatu di atas panggung; (9) musik etnik pada dasarnya tidak memerlukan amplifikasi, penggunaan microphone tidaklah dominan, dalam arti terdapat persamaan manajemen panggung antara waktu pentas dan latihan. simpulan 1. pengembangan lembaga pendidikan seni pada berbagai jenjang dan strata merupakan kunci bagi keberhasilan upaya membangun industri kreatif di provinsi maluku. 2. penerapan program pembangunan industri kreatif di maluku harus dilakukan melalui pengamatan secara komprehensif terhadap semua unsur budaya dan komponen masyarakat maluku dalam menetapkan program pendidikan seni yang paling dibutuhkan serta mampu meningkatkan kesejahteraan hidup para guru seni dan seniman maluku. 3. membangun industri kreatif memang dapat membuka lapangan kerja baru di maluku, namun konsep pembangunannya melalui lembaga pendidikan seni harus tetap didasarkan pada kearifan lokal. 4. konsep tradition and modernity yang mengamanatkan bahwa pendidikan seni yang disajikan kepada generasi muda maluku hendaknya dapat meningkatkan upaya pelestarian dan pemberdayaan budaya maluku, dan seyogyanya tidak menjadikan mereka tercerabut dari akar budayanya. ucapan terimakasih ucapan terima kasih disampaikan kepada dp2m, ditjen dikti, kemdiknas yang telah mendanai penelitian hibah kompetitif sesuai prioritas nasional tahun 2009. ucapan terima kasih juga disampaikan kepada setda provinsi maluku, dinas kebudayaan dan pariwisata provinsi maluku, taman budaya maluku, dan smk-7 ambon, atas partisipasi dan dukungannya, sehingga penelitian ini mencapai hasil sebagaimana yang diharapkan. victor ganap, membangun industri kreatif di maluku 13 daftar pustaka brandts-buys, j.s. 1921. “over de ontwikkelingsmogelijkheden van de muziek op java”, prae-adviezen. bandoeng. bukofzer, manfred. 1977. the place of musicology in american institutions of higher learning. new york: the liberal arts press. ganap, victor. 1992. “musik diatonis”, r.m. soedarsono (ed), pengantar apresiasi seni. jakarta: balai pustaka, pp.39-80 ganap, victor . 1998. “music for the nation”, edi sedyawati (ed), indonesian heritage vol. 8. singapore: archipelago press edition didier millet, pp.122-123 ganap, victor . 2008. “sumbangsih ilmu pengetahuan musik dalam pembentukan jatidiri bangsa”, pidato pengukuhan guru besar musikologi, isi yogyakarta. gaspersz, agustinus c.w. 2004. “fungsi ansambel suling bambu dalam liturgi ibadah di gereja protestan maluku jemaat getsemani”, tesis untuk memperoleh derajat magister, program pascasarjana isi yogyakarta. kunaefi, tresna dermawan, et al. 2007. paradigma baru dan rambu-rambu akademik pendidikan tinggi seni indonesia edisi kedua. jakarta: direktorat akademik, ditjen dikti, depdiknas. nattiez, jean-jacques. 1990. music and discourse toward a semiology of music. terj. carolyn abbate, princeton, new jersey: princeton university press. riwu tadu, johny ebenhaezer. 2005. “inkulturasi musik liturgi di gereja masehi injili di timor”, tesis untuk memperoleh derajat magister, program pascasarjana isi yogyakarta. rumengan, perry. 2007. musik vokal etnik minahasa: kontinuitas dan perubahan dalam struktur dan fungsi, disertasi untuk memperoleh derajat doktor, sekolah pascasarjana universitas gadjah mada. soedarsono, r.m. et al. 2001. “profil kompetensi sarjana seni”. jakarta: komisi disiplin ilmu seni, ditjen dikti, depdiknas. sternberg, robert j. (ed). 1999. handbook of creativity. cambridge: cambridge university press. wolff, janet. 1981. the social production of art. new york: st. martin’s press. 157 makna simbolik seni begalan bagi pendidikan etika masyarakat peni lestari smp wiradesa pekalongan, jawa tengah, indonesia e-mail: peni_lestari@yahoo.com abstrak kesenian begalan merupakan seni pertunjukan yang memberi keuntungan pada masyarakat karena di dalam acara inti seni hiburan tersebut mengandung nasehat perkawinan dengan mengungkapkan arti simbolik tersirat yang ditunjukkan dalam bentuk properti, seperti ian, ilir, kukusan, pedaringan, layah, muthu, irus, siwur, beras, wangkring, sapu sada, suket, cething, daun salam, dan tampah. tujuan penelitian ini adalah untuk menentukan: (1) bentuk seni pertunjukan begalan, (2) arti simbolsimbol yang terkandung dalam brenong kepang (properti pertunjukan), (3) nilai etika masyarakat begalan yang terkandung dalam seni pertunjukan. digunakannya metode kualitatif dalam penelitian adalah agar terdapat diskusi dengan mengekspos subyek dan obyek penelitian sesuai dengan fakta-fakta yang ditemui di lapangan. pengumpulan data menggunakan teknik observasi, wawancara dan dokumentasi. sarannya adalah agar pemerintah banyumas perlu membuat kebijakan untuk mengembangkan seni begalan, nilai-nilai pendidikan etika dapat diterapkan dalam kehidupan. seni begalan dapat dimasukkan sebagai materi subjek seni dan budaya di sekolah, khususnya di banyumas. symbolic meanings of begalan for learning ethics for society abstract begalan is an art performance that gives benefits to the community because the essence of the show contains the advice of marriage by breaking the symbolic meanings implied in the form of show properties, such as ian, ilir, kukusan, pedaringan, layah, muthu, irus, siwur, rice, wangkring, sada broom, suket, cething, laurellike leaves, and tampah. the study aims to determine: (1) the forms of begalan performance, (2) the meaning of the symbols contained in brenong kepang (the properties of the performance), (3) the value of ethics for begalan people reflected in the performing arts. the use of qualitative method in research intend to get the discussion of the issue conducted by exposing a state subject and object of research in accordance with the facts encountered in the field. the collection of data uses observation techniques, interviews, and documentation. the suggestion is that banyumas government should create policies to preserve and develop begalan performing arts in which ethical values can be applied in life. begalan performing arts can be included as a subject of art and culture in schools, especially in banyumas. kata kunci: makna simbolis; seni begalan; pendidikan etika harmonia, volume 13, no. 2 / desember 2013158 pendahuluan pernikahan merupakan hal yang sangat penting bagi pria dan wanita dalam lintasan hidupnya. dengan perkawinan orang akan memperoleh keseimbangan hidup baik secara sosial dan secara biologis. pernikahan akan merubah status dari status bujangan menjadi status berkeluarga, diakuisebagai pasangan suami-istri yang sah menurut hukum, sehingga dalam kehidupan bermasyarakat diperlakukan sebagai anggota masyarakat penuh. salah satu alasan yang melatar belakangi keberhasilan dalam membina perkawinan adalah dasar atau alasan menikah yang cukup baik. salah satu alasan itu antara lain ingin membina keluarga yang dalam agama islam disebut sebagai keluarga yang sakinah mawadah warokhmah, sehingga akan menjalani kehidupan berumah tangga yang dalam istilah jawa sampai kakenkaken dan ninen-ninen. jika sepasang calon pengantin dalam memasuki jenjang perkawinan dasar tujuannya kuat maka mereka akan berusaha untuk mempertahankan keutuhan rumah tangga dengan melaksanakan hak dan kewajibannya secara seimbang antara suami dan istri. dijaman sekarang alasan sebuah pernikahan sangat bermacam-macam. ada sepasang calon pengantin yang memasuki jenjang pernikahan dengan dasar tujuan yang sangat kuat, akan tetapi tidak sedikit calon pengantin menikah dalam kondisi sangat tidak siap, bahkan terpaksa. tidak jarang sepasang calon pengantin menikah sebagai akibat pergaulan bebas karena era global seperti sekarang ini pergaulan bebas sudah sangat menggejala. arus teknologi informasi yang sangat mudah diakses, ikut andil dalam merubah pola dan gaya hidup masyarakat dari tradisional menjadi mengikuti trend gaya hidup era global, sehingga berdampak kepada terjadinya dekadensi moral, kemerosotan dan kerusakan tata nilai etika, moral dan akhlak manusia. tingkah laku, sikap, perbuatan manusia sudah tidak sesuai lagi dengan norma agama, norma masyarakat dan norma lain yang mengatur kehidupan manusia untuk berperilaku sesuai etika dan norma yang berlaku dalam masyarakat. perbedaan latar belakang seseorang memasuki jenjang kehidupan keluarga inilah yang membuat nasihat perkawinan sangat dibutuhkan. nasihat perkawinan bermanfaat memberi gambaran dan arahan kepada calon pengantin untuk memasuki kehidupan berkeluarga, sehingga calon pengantin mengetahui hak dan kewajiban sebagai suami dan istri dalam berumah tangga. nasihat perkawinan idealnya diberikan oleh kedua orang tua calon pengantin, tetapi tidak menutup kemungkinan diperoleh dari orang lain dengan media berbeda-beda. salah satu cara memperoleh nasihat perkawinan adalah dengan media hiburan. dengan media hiburan nasihat-nasihat perkawinan disampaikan secara ringan dan menghibur tanpa mengesampingkan inti dari nasihat perkawinan. salah satu contoh hiburan yang berisi nasihat perkawinan adalah seni begalan. pertunjukan seni begalan tidak hanya membahas nasihat perkawinan akan tetapi juga memberikan ajaran yang harus dilakukan dalam proses sosialisasi hidup bermasyarakat serta kewajiban yang harus dilakukan kepada tuhan. secara tidak langsung pertunjukan seni begalan merupakan media transfer nilai pendidikan yang bermanfaat sebagi tuntunan perbuatan sehari-hari manusia baik sebagai mahluk ciptaan tuhan dan sebagai anggota masyarakat. seni begalan sebagai hasil kebudayaan berkaitan dengansimbol. kebudayaan sebagai sistem simbol merupakan acuan dan pedoman bagi kehidupan masyarakat. pemberian makna dan model kebudayaan ditransmisikan melalui kodekode simbolik. pengertian kebudayaan sebagai sistem simbol, memberikan konotasi bahwa kebudayaan merupakan ekspresi masyarakat berupa hasil gagasan dan tingkah laku manusia dalam komunitasnya (rohidi, 2000:3). simbolisme pada budaya jawa digunakan sebagai media atau perantara. seperti halnya bahasa jawa yang penuh peni lestari, makna simbolik seni begalan bagi pendidikan etika masyarakat 159 dengan kembang, lambang dan sinamuning samudana atau tersembunyi dalam kiasan harus dibahas dan dikupas dengan perasaan yang dalam, serta tanggap ing sasmita atau dapat menangkap maksud/makna yang sebenarnya, yang tersembunyi. hal ini dapat dilihat dalam bahasa religiusnya, orang jawa tidak pernah atau jarang menyebutkan kata tuhan atau allah secara langsung dan terus terang. orang jawa mengambil istilah khas sendiri yang personifikatif sebagai simbol tuhan, seperti gusti kang maha agung, pangeran kang murbeng dumadi, pangeran kang maha tunggal dan gusti allah. dan sifat mistis dan magisnya dicetuskan dalam istilahistilah sing mbahu rekso, sing momong dan mbahe (sedyawati, 1981: 40). bentuk-bentuk simbolisme dalam budaya jawa sangat dominan dalam segala hal dan dalam segala bidang. hal ini terlihat dalam tindakan sehari-hari orang jawa, sebagai realisasi dari pandangan dan sikap hidupnya yang berganda. bentuk bentuk simbolis itu dapat dikelompokan dalam tiga macam, yaitu: tindakan simbolisme dalam religi, tindakan simbolisme dalam tradisi dan tindakan simbolisme dalam kesenian (herusatoto, 1987: 88). tindakan simbolis religius orang jawa dikelompokan dalam tiga golongan yaitu: (1) tindakan simbolis religius yang terbentuk karena pengaruh jaman mitos, atau yang disebut sebagai jaman kebudayaan asli jawa, (2) tindakan simbolis religius yang terbentuk karena pengaruh jaman kebudayaan hindu-jawa, (3) tindakan simbolis religious yang terbentuk karena pengaruh jaman kebudayaan hindu-jawa dan hindu-islam. tindakan simbolis tradisi orang jawa dibagi dalam empat tingkatan, yaitu: (1) tingkatan nilai budaya berupa ide-ide, mengkonsepsikan hal-hal yang paling bernilai dalam kehidupan masyarakat dan berakar pada emosi dari dalam jiwa manusia, misalnya gotong royong, atau sifat kerjasama berdasarkan solidaritas yang besar. (2) tingkatan nilai norma, berupa nilai-nilai budaya yang sudah terkait dengan peran sebagai atasan dan bawahan dalam jenjang pekerjaan, sebagai orang tua dan anak, guru dan murid. masing-masing peranan memiliki sejumlah norma yang menjadi pedoman tingkah laku dan dalam bahasa jawa disebut unggah-ungguh. (3) tingkatan hukum, (4) tingkatan khusus, mengatur kegiatankegiatan yang terbatas ruang lingkupnya dalam masyarakat dan bersifat kongkrit, misalnya aturan sopan santun. tindakan simbolisme dalam kesenian, terdiri atas unsure seni rupa, seni sastra, seni suara, senitari dan seni drama (herusatoto, 1987: 88-105). seni begalan merupakan bagian dari kesenian tradisional merupakan warisan nenek moyang yang diwariskan secara turun temurun, merupakan bentuk kesenian yang sangat menyatu dengan masyarakat, sangat berkaitan dengan adat istiadat dan berhubungan erat dengan sifat kedaerahan. kesenian tradisional yang tumbuh dan berkembang dari masyarakat mempunyai fungsi yang sangat penting dalam masyarakat pendukungnya (sedyawati, 1981: 40). kesenian tradisional kerakyatan disebut juga kesenian rakyat. kesenian tradisional kerakyatan adalah tarian yang sudah mengalami perkembangan sejauh jaman masyarakat primitif sampai sekarang. tarian-tarian tradisional kerakyatan sangat sederhana dan kurang begitu mengindahkan norma-norma keindahan dan bentuk-bentuk yang standar, sehingga memiliki banyak fariasi antara satu tempat dengan tempat lainnya. tarian rakyat merupakan tarian sakral yang mengandung kekuatan magis. gerakan-gerakan tariannya sangat sederhana karena yang dipentingkan adalah keyakinan yang terletak di belakang tarian tersebut, misalnya tarian untuk minta hujan (soedarsono, 1972: 2021). simbol adalah suatu hal atau keadaan yang merupakan pengantaran pemahaman terhadap obyek. manifestasi serta karakteristik simbol tidak terbatas pada isyarat fisik, tetapi dapat juga berwujud penggunaan kata-kata, yakni simbol suara yang mengandung arti bersama serta bersifat standar. simbol berfungsi memimpin harmonia, volume 13, no. 2 / desember 2013160 pemahaman subyek kepada obyek. pada makna tertentu simbol, memiliki makna mendalam, yaitu suatu konsep yang paling bernilai dalam kehidupan masyarakat. simbol merupakan komponen-komponen utama dalam kebudayaan. setiap hal yang dilihat dan dialami manusia diolah menjadi serangkaian simbol yang dimengerti oleh manusia. di dalam simbol, termasuk simbol ekspresif tersimpan berbagai makna, antara lain berupa gagasan, abstraksi, pendirian, pertimbangan, hasrat, kepercayaan, serta pengalaman tertentu dalam bentuk yang dipahami. oleh karena itu, kesenian sebagaimana juga kebudayaan dapat ditanggapi sebagai sistem-sistem simbol (rohidi, 2000: 31). berdasarkan beberapa pendapat pengertian pendidikan masyarakat, dapat disimpulkan bahwa pendidikan masyarakat adalah pendidikan jalur pendidikan keluarga dan lingkungan yang berbentuk kegiatan belajar secara mandiri. warga belajar tidak sengaja belajar dan pembelajar tidak sengaja untuk membantu warga belajar. salah satu contoh pendidikan informal adalah pendidikan yang diperoleh melalui menonton pertunjukan seni. etika adalah pemikiran sistematis tentang moralitas, yang dihasilkan secara langsung bukan kebaikan, melainkan suatu pengertian yang lebih mendasar dan kritis. etika adalah sebuah ilmu, bukan sebuah ajaran. jadi etika dan ajaran-ajaran moral tidak berada di tingkat yang sama. untuk memahami etika, kita harus memahami moral. etika pada hakikatnya mengamati realitas moral secara kritis. etika tidak memberikan ajaran, melainkan memeriksa kebiasaan-kebiasaan, nilai-nilai, normanorma dan pandangan-pandangan moral secara kritis. etika menuntut pertanggung jawaban dan mau menyingkapkankan kerancuan. etika tidak membiarkan pendapat-pendapat moral begitu saja melainkan menuntut agar pendapat-pendapat moral yang dikemukakan di pertanggung jawabkan. etika berusaha untuk menjernihkan permasalahan moral (suseno,1989). kaidah rukun mengharuskan manusia agar bersikap sedemikian rupa sehingga tidak menimbulkan konflik. rukun bertujuan untuk mempertahankan keadaan harmonis. rukun berarti berada dalam keadaan selaras, tenang dan tentram tanpa perselisihan dan pertentangan (suseno. 2001: 39). kaidah hormat menyatakan agar manusia dalam berbicara dan membawa diri selalu menunjukkan sikap hormat terhadap orang lain sesuai derajat dan kedudukannya. kaidah hormat didasarkan pada pendapat bahwa semua hubungan dalam masyarakat teratur secara hierarkis. keteraturan hierarkis itu bersumber pada diri masyarakat, sehingga setiap orang wajib untuk mempertahankan dan menyesuaikan diri sesuai dengan derajat dan kedudukannya (suseno, 2001: 60). metode penelitian ini menggunakan metode kualitatif, sasaran utama penelitian ini adalah: 1) bentuk pertunjukan seni begalan di kelurahan pabuwaran kecamatan purwokerto utara kabupaten banyumas. 2) makna simbol yang terkandung dalam pertunjukan seni begalan di kelurahan pabuwaran kecamatan purwokerto utara kabupaten banyumas. 3) nilai pendidikan etika masyarakat yang terkandung dalam pertunjukan seni begalan di kelurahan pabuwaran kecamatan purwokerto utara kabupaten banyumas. untuk memperoleh data yang diperlukan dalam penelitian ini, dilakukan dengan cara observasi, wawancara terarah dan tidak terarah, serta studi dokumen. analisis data yang digunakan dalam penelitian ini mengacu pada analisis miles dan huberman (rohidi, 1992: 16-20), yaitu mereduksi data, menyajikan data dan menarik kesimpulan atau verifikasi. langkah terahir adalah verifikasi atau pemeriksaan keabsahan data menggunakan triangulasi. hasil dan pembahasan bentuk pertunjukan seni begalan pembahasan tentang bentuk pertunjukan seni begalan di kelurahan pabuwaran peni lestari, makna simbolik seni begalan bagi pendidikan etika masyarakat 161 hingga memahami semua isi nasihat yang diuraikan oleh pemain begalan. kedua juru begal kemudian menari diiringi sajian gendhing banyumasan. setelah sajian gendhing suwuk (berhenti), para pemainpun berhenti menari. pemain yang bertugas membawa brenong kepang meletakkan bawaannya. pada bagian ini kedua pemain sudah berada di arena pertunjukan, tetapi yang aktif baru pemain ke satu saja. pemain kedua bertindak seolah-olah belum masuk ke arena pementasan. pemain ke satu (utusan dari pihak puteri) selanjutnya melakukan monolog. pertunjukan selanjutnya menggambaran perjalanan utusan besan (pihak mempelai pria), lalu dilanjutkan dengan perkenalan antara kedua utusan. pada bagian ini pemain ke dua sudah mulai aktif berinteraksi dengan pemain pertama. salah satu pemain (biasanya pembawa brenong kepang) memperkenalkan diri dengan nama surantani, utusan dari kerajaan medang kamulan, sedangkan pemain kedua (pembegal) mengaku bernama sura dhenta, utusan dari kerajaan kahuripan. gerak pertunjukan gerak yang digunakan pada seni begalan tidak ada patokan gerak tertentu. gerak yang digunakan adalah gerak-gerak improvisasi atau spontan, monoton, dan terlihat seenaknya sendiri, yang penting sesuai dengan irama yang ada. contoh ragam gerak seni begalan antara lain adalah gerak: jalan atau lumaksana, sindhetan banyumasan, geyol, entrakan, dan lain-lain. gerak yang digunakan tidak terpola urut dan dilakukan diulang-ulang. iringan seni begalan iringan pada kesenian tradisional ada yang menggunakan iringan internal saja, eksternal saja dan ada yang menggunakan ke dua-duanya. pada pertunjukan seni begalan iringan yang digunakan tergolong iringan eksternal. sebelum teknologi berkembang pesat iringan dilaksanakan secara langsung, seiring berkembangnya teknologi, iringan dapat digunakan iringan tidak langsung, misalnya menggukecamatan purwokerto utara kabupaten banyumas, menguraikan segala sesuatu yang berhubungan dengan pertunjukan seni begalan dan kehadiran pertunjukan dapat dirasakan secara indrawi. pembahasan tentang bentuk pertunjukan seni begalan akan menguraikan: waktu pertunjukan waktu pertunjukan seni begalan di kabupaten banyumas menyesuaikan dengan upacara panggih pengantin. jika upacara panggih pengantin dilaksanakan pada siang hari, maka seni begalan dipentaskan siang hari. akan tetapi jika upacara panggih pengantin dilaksanakan malam hari, maka seni begalan dipentaskan malam hari. waktu untuk pementasan tersebut tidak bersifat keharusan, melainkan sangat tergantung pada kehendak si penanggap atau menyesuaikan situasi dan kondisi yang ada. urutan pertunjukan pertunjukan seni begalan dimulai dari masuknya mempelai pengantin ke tempat atau lokasi upacara, didampingi oleh kedua orang tuanya dan dipandu oleh penata rias pengantin. biasanya pelaksanaannya bertempat di halaman depan rumah mempelai wanita dengan diiringi gendhing kebogiro, dikawal oleh kedua pemain seni begalan (juru begal) lengkap dengan brenongkepang-nya. pemain seni begalan pembawa pedang (pembegal) mengawal pengantin wanita, sedangkan pemain seni begalan pembawa brenong kepang mengawal pengantin pria. sampai di tempat yang siapkan, kedua mempelai duduk di dampingi oleh orang tua masing-masing pengantin. setelah sampai pada tempat yang disiapkan, pengantin pria duduk di samping kedua orang tuanya, dan pengantin wanita duduk didampingi kedua orang tuanya dengan posisi duduk berhadap-hadapan untuk bersama-sama menyaksikan seni begalan. pertunjukan seni begalan dipentaskan di tengah-tengah agar kedua orang pengantin dan orang tuanya semua dapat dengan jelas mengikuti pertunjukan, seharmonia, volume 13, no. 2 / desember 2013162 nakan kaset dan cd. tata rias pertunjukan seni begalan di kelurahan pabuwaran banyumas pada pertunjukan seni begalan tata rias yang digunakan termasuk rias karakter karena bertujuan untuk membentuk karakter tokoh yang dikehendaki. ada dua tokoh dalam begalan yaitu tokoh pembegal dan yang dibegal. secara keseluruhan tat arias yang digunakan pada seni begalan bersifat sederhana dan apa adanya baik dari sisi bahan yang digunakan, tata warna, serta cara pemakainnya. alat rias yang digunakan antara lain: (1) bedak tabur, sinwit putih (sebagai pengganti bedak tabur), (2) pensil alis, dan (3) lipstick. sinwit dan bedak tabur digunakan untuk memoles wajah agar tampak putih. pensil alis dipakai untuk mempertegas alis, cambang, kumis dan jenggot (jika dibuat) untuk memunculkan karakter gagah. lipstick digunakan untuk pemerah bibir dan rona merah pada wajah. secara keseluruhan rias wajah adalah jenis tata rias gagah. rias rambut penari putra cukup dibiarkan terurai kemudian diberi iket atau blangkon sebagai penutup kepala. tata busana tata rias dan tata busana yang digunakan pada seni begalan bersifat sangat sederhana dan apa adanya dari sisi penampilan dan bahan yang digunakan. kostum pemain seni begalan terdiri atas: (1) iket, (2) beskap, (3) stagen, (4) jarit, dan (5) celana panjang. iket dipakai di kepala sesuai dengan selera pemain. pemakaian iket tidak ada ketentuan pasti, disesuaikan dengan kemampuan pemain. pada beberapa pertunjukan begalan pemakaian iket dengan cara nempean (diikatkan di kepala membentuk seperti blangkon). namun demikian pada pertunjukan lain hanya diikatkan dengan cara sederhana di kapala. kostum yang lain dipakai seperti halnya pakaian adat jawa, hanya bedanya pemakaian kain cenderung longgar untuk memudahkan tarian dan di dalamnya dipakai celana panjang. pola lantai pola lantai yang digunakan dalam penyajian seni begalan di kelurahan pabuwaran kecamatan purwokerto utara kabupaten banyumas yaitu pola lantai berhadap-hadapan. pola lantai berhadaphadapan dipakai hampir pada seluruh penyajian seni begalan. tempat pertunjukan tempat pertunjukan seni begalan biasanya dilakukan di halaman rumah sebelum pengantin menuju pelaminan atau gedung resepsi. seiring perkembangan jaman seni begalan juga sering dipentaskan di dalam gedung, dengan posisi di depan pengantin. tata cahaya pertunjukan seni begalan apabila dipentaskan pada siang hari hanya mengandalkan sinar matahari, dan apabila dipentaskan malam hari memanfaatkan pencahayaan sumber listrik. menggunakan lampu jenis neon sebagai penerangan. sebelum era penggunaan penerangan listrik pertunjukan seni begalan dimalam hari dengan memanfaatkan penerangan petromaks, senthir, dan blencong. agar pertunjukan lancar pementasan pertunjukan seni begalan harus memperhatikan unsur tata suara. perlengkapan peralatan sound system sangat diperlukan dalam suatu penyelenggaraan penyajian seni begalan sound system yang dipakai antara lain mike yang langsung dibawa oleh pemain seni begalan. properti pertunjukan seni begalan berupa beberapa peralatan dapur. antara grup seni begalan yang satu dengan lainnya dapat berbeda jenisnya tetapi masih poperty yang digunakan pada pertunjukan seni begalan antara lain: ian, ilir, kukusan, pedaringan, layah atau ciri, muthu, irus, siwur, padi, wangkring, sapu sada suket, muthu, cething, daun salam, dan tampah. barang bawaan ini biasa disebut brenong kepang. pembegal property berupa pedang kayu yang disebut wlira. makna simbolik pertunjukan seni begalan makna simbolik pertunjukan seni begalan di kelurahan pabuwaran kecamatan peni lestari, makna simbolik seni begalan bagi pendidikan etika masyarakat 163 purwokerto utara kabupaten banyumas antara lain terdapat pada syair tembang dan property pertunjukan. contoh makna simbolik syair tembang pada pertunjukan seni begalan adalah syair tembang elingeling. makna simbolik property pertunjukan seni begalan antara lain: ian menggambarkan jagad gumelar (makro kosmos), ilir menggambarkan sumber angin, kukusan menggambarkan empat nafsu yaitu amarah, luamah, supiah, dan mutmainah, pedaringan menggambarkan sifat gemi artinya pandai menghemat, layah atau ciri menggambarkan ajaran mawas diri, muthu merupakan penggambaran ajaran untuk mampu memecahkan persoalan, irus menggambarkan sifat mersudi (berupaya), siwur menyimbolkan ajaran agar orang tidak ngawur, padi sebuah harapan kemakmuran, wangkring menggambarkan toleransi dalam kehidupan berumah tangga, sapu sada menggambarkan gotong-royong (kerja sama), suket merupakan harapan agar kehidupan keluarga yang dibangun kekal, cething menggambaran suatu wadah atau organisasi dalam masyarakat, daun salam menggambarkan harapan keselamatan, tampah menggambarkan tempat untuk memisahkan hal yang baik dan buruk. nilai pendidikan etika berdasarkan hasil analisis peneliti, salah satu nilai pendidikan yang termuat pada pertunjukan seni begalan adalah pendidikan etika masyarakat. pendidikan etika masyarakat yang dimaksud, dalam pertunjukan seni begalan adalah pendidikan etika atau pendidikan mengenai ajaran baik buruk yang harus dipahami oleh masyarakat untuk diaplikasikan dalam kehidupan bermasyarakat. pendidikan etika pada pertunjukan seni begalan bertujuan untuk memberi pembelajaran kepada masyarakat hususnya calon pengantin agar dapat hidup selaras dan seimbang dalam menempuh kehidupan yang baru sebagai pasangan suami istri. pendidikan etika yang terkandung dalam pertunjukan seni begalan termasuk pada golongan etika normatif karena menjelaskan sebuah penilaian baik dan buruk, serta menunjukkan apa yang sebaiknya diperbuat oleh manusia. etika jawa secara garis besar disampaikan melalui dua cara. pertama melalui pituduh (wejangan, anjuran) yang isinya memberikan nasihat berupa anjuran. kedua melalui pepali (wewaler) artinya larangan agar orang jawa menjauhi perbuatan yang tidak baik. nasehat dan larangan merupakan inti budi pekerti atau etika. tujuan pemberian nasehat dan larangan adalah keadaan selamat atau slamet. budi pekerti atau etika bagi masyarakat jawa merupakan suatu keharusan. budi pekerti atau etika jawa disampaikan dari pihak tertentu kepada pihak lain yang memiliki posisi tidak sama (bertingkat). etika jawa dijalankan sebagai usaha untuk menjaga keselarasan hidup manusia (endraswara, 2003: 37). nilai pendidikan etika pada hasil penelitian ini merujuk pada etika jawa yang meliputi dua aspek yaitu prinsip rukun dan hormat. prinsip rukun prinsip rukun merupakan prinsip kerukunan hidup mencegah terjadinya konflik bagi masyarakat. prinsip kerukunan hidup akan berkesan secara mendalam dan selalu diingat atau sukar dilupakan. pendidikan etika yang tersirat pada pertunjukan seni begalan dan sesuai dengan prinsip rukun antara lain: pasrah lan eling ajaran pasrah lan eling merupakan ajaran agar manusia, khususnya calon pengantin dalam menjalani kehidupan berumah tangga selalu berserah diri dan selalu ingat kepada tuhan, dan menjalankan semua konsekwensi sebagai umat ciptaan tuhan. dengan sikap pasrah laneling manusia menjadi terarah dan tidak sekedar hidup mung melik gebyar, mencari hal-hal yang bersifat duniawi. sikap eling juga memupuk kesadaran diri. pemahaman eling lan pasrah mengajak manusia jawa agar selalu ingat kepada tuhan. dengan ingat kepada tuhan manusia senantiasa berbuat kebaikan. manusia sebagai harmonia, volume 13, no. 2 / desember 2013164 mahluk ciptaan tuhan harus salalu ingat asal mula kehidupan, bahwa dunia seisinya merupakan ciptaan tuhan. pada pertunjukan seni begalan nasihat untuk calon pengantin agar selalu pasrah lan eling tersirat pada property ian, ilir, kukusan, dan gendhing eling-eling. gotong royong gotong-royong telah menjadi perekat masyarakat. masyarakat merasa tidak enak jika tidak menjalankan gotongroyong. gotong-royong masih sering diwujudkan dalam bentuk kerja bakti dan gugur gunung yaitu upacara tradisional yang bertujuan untuk menjaga keselamatan desa dan semacamnya. sikap gotongroyong pada pertunjukan seni begalan dapat dicermati pada makna simbolik properti sapu sada dan padi tepa selira tepa artinya meletakkan, selira artinya diri pribadi, jadi tepa selira adalah sikap individu untuk mengontrol pribadi berdasarkan kesadaran diri. tepa selira membuat masyarakat meletakan dirinya dalam tata pergaulan sosial berdasarkan keputusan diri dan kesukarelaan hati (suseno, 2001: 61). tepa salira merupakan sikap dan perilaku seseorang yang mampu memahami perasaan orang lain. tepa salira pada pertunjukan seni begalan tercermin pada property: cething, wangkring, siwur, layah atau ciri, muthu, irus, suket, daun salam, tampah. gemi sifat gemi artinya pandai berhemat. gemi selalu memperhitungkan secara cermat untuk mengeluarkan uang. pengertian gemi atau hemat pengeluaran bukanlah pelit, melainkan dapat membedakan apa yang perlu dibeli dan apa yang belum perlu dibeli. pelit adalah tidak mau memberi bantuan berupa uang meskipun sangat diperlukan, padahal kaya. orang yang mempunyai sifat gemi jika ada orang lain membutuhkan pertolongan maka dengan senang hati akan memberikan pertolongan tanpa mengharapkan sesuatu. gemi berarti dapat mengatur keseimbangan antara pendapatan dan pengeluaran. sifat gemi pada pertunjukan seni begalan tercermin pada property pertunjukan pedaringan. pedaringan dikonotasikan bahwa sebagai istri harus pandai berhemat. gemi berarti dapat mengatur keseimbangan antara pendapatan dan pengeluaran keuangan keluarga. seorang istri yang dapat menjadi mampu menjadi tempat menyimpan segala macam rejeki yang diperoleh suami. artinya istri harus mampu membedakan antara kebutuhan dan keinginan agar dapat menyimpan penghasilan suami dan mampu nanjakna (membelanjakan) untuk hal-hal positif dan berguna bagi kebutuhan rumah tangga dengan penuh kontrol tidak terkesan boros. dalam pandangan masyarakat banyumas, istri yang berlaku boros sering diibaratkan dengan ungkapan kaya pedaringan bolong (seperti pedaringan bocor) yang berarti wanita yang boros, tidak dapat menyimpan harta benda atau rejeki yang diperoleh suami. istri yang boros tidak dapat menjadi tempat bersemayam rejeki dari suaminya, karena seberapapun penghasilan yang didapatkan akan “bocor” (habis) untuk hal-hal yang kurang perlu. prinsip hormat prinsip hormat termasuk kaidah sosial yang berperan dalam interaksi masyarakat jawa. prinsip hormat merupakan kaidah sosial untuk menjaga keselarasan hubungan antar anggota masyarakat. implikasi sikap hormat akan terkait dengan etika yang menyangkut unggah-ungguh dan tata karma jawa. prinsip hormat pertama-tama akan dipelajari anak dalam keluarga. hubungan anak dengan orang tua secara tidak langsung juga mencerminkan aplikasi hormat. anak-anak jawa belajar prinsip hormat melalui tuga situasi, yaitu: wedi, isin, dan sungkan (geertz, 2003) ketiga situasi ini merupakan kesinambungan perasaan yang mempunyai fungsi sosial untuk memberi dukungan psikologis terhadap tuntunan prinsip hormat. sikap hormat merupakan cerminan pendidikan etika yang dapat dipelajari anak melalui peni lestari, makna simbolik seni begalan bagi pendidikan etika masyarakat 165 komunikasi dalam keluarga. dalam keluarga akan terjadi kontak yang selalu terkait dengan etika. hubungan antara suami, istri, ayah dengan anak laki-laki, hubungan keluarga inti dengan keluarga yang lain banyak memberi manfaat dalam belajar etika. sikap hormat seseorang kepada orang lain di luar keluarga, dilakukan sebagai langkah menuju keselarasan sosial. sikap saling hormat-menghormati dalam segala aspek kehidupan, akan mampu menjaga keutuhan sosial. sikap hormat merupakan bentuk penghargaan seseorang kepada orang lainmelalui tutur kata dan tindakan. karena itu jika seseorang ingin kajen (terhormat) dimasyarakat juga harus mau menghormati orang lain. sikap hormat yang murni tidak terbentuk karena paksaan karena status atau struktur sosial. sikap hormat bukan lahir dari rasa takut atau sebuah kewajiban struktural sikap hormat-menghormati harus lahir dari kedua belah pihak. misalnya seorang bawahan harus hormat kepada atasan, demikian juga atasan harus menghormati bawahannya. pada pertunjukan seni begalan prinsip hormat tersirat pada: salam pembuka, dan syair tembang ricik-ricik, dialog pembukaan atau salam pembuka yang dilakukan oleh pemain begalan. pada waktu membuka pertunjukan pemain membuka dengan menggunakan bahasa karma inggil, karena ditujukan kepada tamu undangan dan penonton secara keseluruhan. penggunaan basa karma inggil pada salam pembuka merupakan suatu penghormatan. dalam kehidupan masyarakat banyumas penghormatan bisa dilakukan kepada orang yang lebih tua atau dituakan, dan orang yang belum dikenal. sedangkan dengan orang yang dianggap setara akan menggunakan bahasa ngoko. pertunjukan seni begalan yang sesuai dengan prinsip hormat yang lain tersirat pada syair gendhing ricik-ricik. syair gendhing ricik-ricik menggambarkan hubungan yang harmonis antara alam dengan masyarakat banyumas. ricik-ricik dalam bahasa banyumas berarti suara gemericik air. pada gendhing ricik-ricik menceritakan suara gemericik air pada saat hujan gerimis. gendhing ricik-ricik gerongan irama siji merupakan penggambaran tentang alam lingkungan. melalui alur melodi gendhing dapat digambarkan imajinasi tentang hujan gerimis, saat-saat terindah yang dialami oleh kaum tani yang berarti hadirnya kembali harapan hidup. dengan datangnya gerimis maka kaum tani berkesempatan menggarap sawah atau ladang yang menjadi lahan tanaman pangan sebagai gantungan hidup dan sumber mata pencaharian. simpulan seni begalan merupakan bentuk kesenian tradisional kerakyatan yang tumbuh dan berkembang di lingkungan masya rakat kabupaten banyumas. seni begalan dalam penyajiannya ditarikan oleh dua orang penari yang berperan sebagai pembegal dan yang dibegal. seni begalan dapat diadakan pada siang maupun malam hari. seni begalan memiliki kesederhanaan dari sisi gerak, pola lantai, tata rias dan busana, serta adanya gerak yang diulangulang sesuai dengan ciri-ciri yang dimiliki oleh kesenian tradisional kerakyatan pada umumnya. gerak tari yang digunakan dalam seni begalan tidak ada patokan tertentu, karena seni begalan pada dasarnya termasuk seni tradisional kerakyatan, sehingga gerak yang digunakan adalah gerak-gerak improvisasi atau spontan, monoton, dan terlihat seenaknya sendiri, yang penting sesuai dengan irama yang ada. iringan pertunjukan seni begalan biasanya diiringi dengan perangkat gamelan jawa maupun calung banyumasan. selain iringan langsung, ada juga beberapa kelompok seni begalan yang menggunakan kaset. iringan yang digunakan pada pertunjukan seni begalan ada yang menggunakan iringan langsung, seiring perkembangan jaman lebih banyak menggunakan iringan tidak langsung berupa kaset taperecorder dan kaset cd. gendhing-gendhing yang digunakan untuk mengiringi pertunjukan seni begalan diklasifikasikan menjadi tiga yaitu: harmonia, volume 13, no. 2 / desember 2013166 gendhing klangenan, gendhing popular, dan gendhing sesaji. syair gendhing diklasifikasikan menjadi dua yaitu syair gendhing gawan dan syair gendhing srambahan. tata rias dan busana pemain seni begalan dalam pertunjukannya memakai alat rias dan busana yang sederhana. alat rias yang digunakan dalam pementasan biasanya terdiri atas: (1) bedak tabur, kadang ada yang menggunakan sinwit putih, (2) pensil alis, dan (3) lipstick. secara keseluruhan rias wajahnya menggunakan jenis rias gagah. tata busana pemain seni begalan terdiri atas: (1) iket, (2) beskap, (3) stagen, (4) jarit, dan (5) celana panjang. pola lantai pertunjukan seni begalan banyak menggunakan pola lantai berhadap-hadapan. pola lantai berhadap-hadapan dipakai hampir pada seluruh penyajian seni begalan. tempat pertunjukan seni begalan biasanya dilakukan di halaman rumah sebelum pengantin menuju pelaminan atau gedung resepsi. tata cahaya apabila dipentaskan pada siang hari hanya mengandalkan sinar matahari, dan apabila dipentaskan malam hari memanfaatkan pencahayaan sumber listrik. tata suara pada pertunjukan begalan pemain membawa mike yang langsung pada waktu pertunjukan berlangsung. pertunjukan begalan mengandung makna simbolik yang tersirat pada property pertunjukan yang isinya berupa nasihat perkawinan yang ditujukan kepada calon pengantin yang akan memasuki rumah tangga baru. makna simbolis yang tersirat pada property pertunjukan begalan antara lain: (1) ian dikonotasikan dunia atau dalam bahasa jawa disebut jagat gumelar. (2) ilir dikonotasikan susuhing angin (sarang angin atau sumber angin), (3) kukusan dikonotasikan kadang papat lima pancer yang merupakan nafsu empat macam yaitu amarah, luamah, supiah, dan mutmainah.(4) pedaringan simbol istri yang harus mempunyai sifat gemi, (5) layah atau ciri suami dan istri harus mampu untuk mawas diri, (6)muthu mampu memecahkan segala macam persoalan yang menghadang, (7) irus mampu mengolah berbagai macam rasa, (8) siwur dalam hidup berkeluarga maupun bermasyarakat orang tidak boleh ngawur, (9) padi mengajarkan pasangan suami istri untuk bersedia kerja keras mengolah lahan pertanian, (10) wangkring mampu bersikap toleran terhadap segala keadaan agar tidak sampai terjadi terputusnya hubungan antara suami dan istri, (11) sapu sada dalam kehidupan berumah tangga harus mempunyai sifat gotong royong, (12) suket dalam kehidupan berumah tangga harus mempunyai sifat setia, (13) dalam hidup bermasyarakat sebagai pasangan suami istri harus dapat bersosialisasi dengan lingkungan dan masyarakat melalui wadhah-wadhah tertentu yang ada di masyarakat (14) daun salam dalam kehidupan berumah tangga harus selalu mencari keselamatan, (15) tampahdalam kehidupan berumah tangga harus dapat menyaring perbuatan baik dan buruk. nilai pendidikan etika masyarakat yang terkandung dalam pertunjukan seni begalan sesuai dengan prinsip etika jawa yaitu prinsip rukun dan prinsip hormat. prinsip rukun adalah suatu prinsip yang mempertahankan suatu keadaan agar keadaan menjadi selaras, penuh kedamaian, tanpa adanya pertentangan dan perselisihan. rukun membawa konsekuensi logis dalam berbagai perbuatan atau perilaku. prinsip rukun dapat diketahui dan dirasakan dengan adanya tampilan rukun. tampilan rukun yang ada pada pertunjukan seni begalan antara lain: (1) pasrah lan eling tercermin pada property ian, ilir, kukusan, gendhing eling-eling. (2) gotong royong, tercermin pada property sapu sada dan padi, (3) tepa seliratercermin pada property cething, wangkring, siwur, layah atau ciri, muthu, irus, suket, daun salam, tampah, (4) gemi tercermin pada property pedaringan. prinsip hormat merupakan kaidah sosial yang berperan dalam interaksi masyarakat jawa. prinsip hormat merupakan kaidah sosial untuk menjaga keselarasan hubungan antar anggota masyarakat. implikasi sikap hormat akan terkait dengan etika yang menyangkut unggah-ungguh dan tata karma jawa. pada pertunjukan seni begalan prinsip hormat tercermin pada: (1). salam pembuka, (2) syair tembang ricik-ricik, peni lestari, makna simbolik seni begalan bagi pendidikan etika masyarakat 167 berdasarkan hasil penelitian dan fenomena yang ditemukan di lapangan ada beberapa saran antara lain, hendaknya para pelaku begalan terus mensosialisasikan nilai-nilai yang tergandung dalam makna begalan kapada masyarakat, dengan cara memberikan penekanan dalam menarasikan ajaran-ajaran setiap pertunjukan kepada para pengguna maupun penonton seni begalan. daftar pustaka endraswara, s. 2003. budi pekerti dalam masyarakat jawa. yogyakarta: hanindita. geertz, c. 2003. kebudayaan dan agama. terjemahan the intepretation of culture. yogyakarta: kanisius herusatoto, b. 1987. simbolisme dalam budaya jawa. yogyakarta: pt hadinata graha widia. mathew, b. m dan huberman, m. a. 2000. analisis data kualitatif . terjemahan tjetjep rohendi rohidi. jakarta: universitas indonesia. sedyawati, e. 1981. pertumbuhan seni pertunjukan. jakarta: sinar harapan. rohidi, t. r. 2000. kesenian dalam pendekatan kebudayaan. bandung: stsi press. soedarsono. 1972. djawa dan bali dua pusat perkembangan drama tari tradisional di indonesia. yogyakarta: gajahmada university press. suseno, f. m. 1985. etika jawa. jakarta: gramedia pustaka utama. _______. 2001. etika jawa. jakarta: gramedia pustaka utama. harmonia : journal of arts research and education 15 (1) (2015), 9-15 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v15i1.3691 p-issn 1411-5115 e-issn 2355-3820 the analysis of meanings and forms in the a.t. mahmud’s song lyrics prastiana ekaningrum teacher of junior high school 7 magelang, central java indonesia e-mail: preshtea.mail@gmail.com suharto music department, universitas negeri semarang received: april 22, 2015. revised: may 5, 2015. accepted: june 13, 2015 abstract the purpose of this study is to describe the analysis of meanings in the a.t. mahmud’s song lyrics. this research used the approach of music compositions and the language approach in semantics to find out the meanings of the lyrics. this research used content analysis techniques. the analysis includes two aspects; they are: (1) the analysis of the meanings of the song lyrics based on the language aspects; and (2) the analysis based on the aspects of the music compositions. the songs to be analyzed are bintang kejora, pelangi, and cicak. the lyrics of these songs indicate that in the process of creation, mahmud focused on the beauty of the language, such as the diction, figure of speech, rhyme, and repetition. the songs use children words that correspond to the child’s development, so that children understand and memorize easily. the songs created by a.t. mahmud are mostly about daily life; the suitable themes for children’s characteristics and world. based on the analysis in the music compositions, most of the songs form two parts and each part of the song consists of two phrases or sentences. keywords: analysis of meaning; figure of speech; form analysis; song lyrics; music composition how to cite: ekaningrum, p. (2015). the analyses of meanings and forms in the a.t. mahmud’s song lyrics. harmonia: journal of arts research and education, 15(1), 9-15. doi:http://dx.doi.org/10.15294/harmonia.v15i1.3691 introduction viewed from the characteristics of melody and lyrics, there are many kinds of songs that thrive in the community, one of which is a children’s song. in the typography view of text or lyric arrange ments, children’s songs are actually a kind of modern poem as a result of an adult’s creation. the lyrics are written in short and simple words, but easy to understand so the songs will be meaningful for children. the listeners of the songs not only enjoy the tones of the music, but also the lyrics. the lyrics represent the writer’s mind and help the listeners to understand what is in the writer’s mind. in addition, the listeners sometimes prefer a song for the lyrics. therefore, the lyrics can also take a role in determining whether a song will be favored or not. music for children viewed both vocal and instrumental is the idea and the fee ling of the children since it is something in their subjective world which is simple, and also uses simple language, but interesting to perform. music in the song needs lyrics. the lyrics are sometimes in the form of literatu re, especially a poem, even in the children’s songs. however, the literature featured in the children songs’ lyrics is normally as simple as the melody. according to nur giyantoro (2005, p. 6), children’s literature is a literature that in the emotional psycho logical view is addressed and can be easi ly understood by children. it usually goes from facts and easy to imagine. 9 http://journal.unnes.ac.id/nju/index.php/ mailto:mail@gmail.com http://dx.doi.org/10.15294/ 10 harmonia : journal of arts research and education 15 (1) (2015): 9-15 the literature can be seen in the use of figures of speech. types of these figures according to tarigan (1986) can be clas sified into four: (1) the figures of compa rison including the parables, metaphor, personification, allegory, and antithesis, (2) the figures of contradiction including the hyperbole, irony, litotes, oxymoron, paronomasia, zeugma, and paralysis, (3) the figures of conjunction including the metronome, synecdoche, allusion, euphe mism, ellipsis, inversion, and grads, and (4) the figures of repetition consisting of alliteration, antanachlasys, chiasmus, and repetition. the figures of speech in the children’s songs are still limited adjusted to children’s psychology and their power of imagination. the results of wahyuni’s study (2012) about the meaning of figures in song lyrics, one of which concluded that the functions of figures are to give a powerful effect, to concrete a statement, to clarify or confirm an intention, and to beautify a statement. in addition, they also serve to provoke mind power, smooth tones, hide the intention, deliver a message, refine the language, and enrich the meaning. the melody in the children’s song ly rics also have educational functions. one of those functions is to introduce the vo cabulary as well as the musical experien ce required for the child’s development. thornbury (2002, p. 23) said that learning vocabulary is not only learning the num bers of words, but also remembering them. therefore, any vocabulary in the lyrics for the intention to educational purpose should educate students to understand the vocabulary through the beauty of the melody as well as enrich vocabulary. the words in the song lyrics will always mean to touch the children’s soul as the melody is in harmony with the lyrics. therefore, the lyrics are not only beautiful, but also meaningful to the children’s soul. the lyrics and the melody in the music compositions can be created at the same time, or separately. however, the ly rics will usually synchronize with the mea ning of melody when they are created at the same time. this is due to suharto’s sta tement (2004: 49) that melodies and lyrics are a unity in the song. a song really helps students to achie ve their full mental, intelligence, and crea tivity as they learn through repetition, i.e. the lyrics that use a figure of repetition and multisensory activities. the song can be helpful in considering the concept of the language skills from speech to listening and speaking skills (intani, 2012). based on the needs and characteris tics of the child, abdullah totong mah mud, or commonly known as a.t. mah mud is one of the children’s song writers whose songs are still popular to this day. he is really concerned with the theme, meaning, and form of the music. upon doing so, this article contains the analy sis of three songs of a.t. mahmud; they are bintang kejora, pelangi, and cicak. the analyses of these song lyrics are reviewed from the aspects of the language and the meaning of the song from the analysis of the music composition. method this research uses the approach of musicology to analyse the music compo sition. in addition, the study also uses the language approach, especially its seman tics, to find out the meaning of the lyrics. the songs to analyse are the children’s songs of a.t. mahmud entitled bintang ke jora, pelangi, and cicak. the data of the re search are the analyses of children’s songs of a.t. mahmud. the technique to collect data is library research. the data are ana lysed using a content analysis technique as this analysis aims to point out the mea nings in the lyrics and to describe elements in the songs. results and discussion this chapter will describe the ana lyses of meaning in the lyrics of a.t. mahmud’s songs based on the beauty of language and the music composition in the songs bintang kejora, pelangi, and cicak. prastiana ekaningrum, the analyses of meanings and forms in the a.t. mahmud’s song 11 analysis of the meaning of the lyrics based on the language beauty aspects the analysis of the meaning of lyrics in a.t. mahmud songs based on the langu age beauty are as follows. the song bintang kejora here is the song notation and the lyrics of bintang kejora that consists of 16 sections bars. bintang kejora f=do, 4/4 a.t. mahmud moderato lyrics: kupandang langit penuh bintang bertaburan berkelap-kelip seumpama intan berlian tampak sebuah lebih terang cahayanya itulah bintangku bintang kejora yang indah slalu the song lyrics explain that the the me of the song bintang kejora is the majes ty of god expressed through the beauty of the night with full of stars. in general, this song tells a story of a child who is looking at the night sky. this explains the lyrics ku pandang langit penuh bintang bertaburan. the lyrics berkelap-kelip seumpama in tan berlian on the second verse show that the stars flicker like a diamond, which is also flickering. the lyrics use a figure of comparison, simile. the explicit compari son can be expressed using prepositions and conjunctions, such as layaknya, bagai kan, umpama, ibarat, bak, and bagai. these characteristics indicate that the lyrics are a poem that includes the figure of speech in it to embellish. the poems used in the lyrics of a.t. mahmud songs are simple since it is intended to children. the lyrics of the song bintang kejora describe that at that time the sky looked bright and there were many stars. there were small and big stars, forming a cluster of stars. there was a bright star, and it was brighter than others. this brighter star was what he’s pointing to and what he consi dered as his own star. he wanted to be like the star due to its beauty, always be special in his family and the environment. that inspired him to be a good one. in two early verses of the song lyrics, the final words ‘bertaburan’ and ‘berlian’ are the repetition of the sound ‘an’, indicating that there are elements of beauty. there is a similar rhyme at the end of the sentence. the lyrics ‘intan’ and ‘berlian’ also have a similarity of the sound ‘an’ that indicates elements of the beauty of sound which is beautiful when it is sung. the repetition of sound on both verses is as follows. kupandang langit penuh bintang bertaburan berkelap-kelip seumpama intan berlian there is a word repetition in the song bintang kejora. the repeated word is bin tang on the lyrics of the third verse. a repe tition is a repeated sound, syllable, word, or parts of sentences that are considered essential to put stressing in the context (ke raf, 1996: 127). the repetition is intended to reaffirm, as the focus or the main object of this song is bintang kejora. in addition, the lyrics are suitable for children since they are expected to be easier to memorize. the song pelangi the notation and lyrics of the song pelangi consist of 16 sections bars as fol lows. 12 harmonia : journal of arts research and education 15 (1) (2015): 9-15 lyrics: pelangi f=do, 4/4 a.t. mahmud moderato sing the song, they will get to know the va riety of colors through the medium of a na tural phenomenon; that is a rainbow, and feel any god’s majesty; a god who create the universe and its contents. in the song pelangi at the first verse, there is also a repeated word pelangi-pe langi alangkah indahmu. those lyrics show that there is a word repetition. words are repeated to affirm those words to be more explicit as the main object to point out from this song is pelangi (a rainbow). in ad dition, the lyrics are very suitable for the children’s world so it is very easy for them pelangi-pelangi, alangkah indahmu merah, kuning, hijau di langit yang biru pelukismu agung, siapa gerangan pelangi-pelangi, ciptaan tuhan. the theme of the song pelangi is the majesty of god. the lyrics pelangi-pelangi alangkah indahmu show an admiration to god’s creation. it is a beautiful rainbow with seven colors; they are red, orange, yellow, green, blue, indigo, and violet. the writing of lyrics merah kuning di langit yang biru is intended to introduce co lors to the children. the color diversity in a rainbow will be known and understood when children sing the song. in addition, the end of the song’s lyrics also explains that the color of the sky is mostly blue. the lyrics ‘pelukismu agung, siapa ge rangan’ show that a rainbow is very beau tiful like a painting. to inquire the creator of a rainbow, through this song, a.t. mah mud chose beautiful phrases in the lyrics ‘siapa gerangan?’ instead of using the words ‘siapa yang menciptakan’, or something. the next song lyrics are pelangi-pe langi ciptaan tuhan indicates that a rain bow is one of the god’s creations; a god who creates the universe and its contents, including the earth, sky, and the rainbow. based on the meaning of the song lyrics, a.t. mahmud hoped when the children to memorize and sing the songs. on the first and second verses, there are similarities of sound at the end of the sentence. the lyrics above are a u-u poet, so that it sounds beautiful to be sung. sound similarities in both songs’ lyrics are as follows. pelangi-pelangi alangkah indahmu merah kuning hijau di langit yang biru here are the sound similarities at the end of the sentence of the third and fourth verses. pelukismu agung siapa gerangan pelangi pelangi ciptaan tuhan the lyrics above are an-an or a-a poetics. the whole song pelangi has a u u-a-a poetic. the underlined word on the lyrics pelukismu agung siapa gerangan indi cates that god is treated like pelukis (the painter). it uses the figure of metaphor. this figure is a metaphorical language as a comparison, but it does not use compa ring words, such as bagai, laksana, seperti, etc. the metaphor sees something through other objects, or expresses something as being the same thing, but those are not ac tually the same (becker, 1978: 317; and al ternbernd, 1970: 15). prastiana ekaningrum, the analyses of meanings and forms in the a.t. mahmud’s song 13 the song cicak here is a notation and the lyrics of cicak which consists of 16 sections bars. cicak c=do, 2/4 a.t. mahmud allegretto lyrics: cicak cicak di dinding, diam diam merayap. datang seekor nyamuk, hap lalu ditangkap.. the lyrics describe that the theme of the song is about an animal as one of the god’s creations. a.t. mahmud revealed that cicak (a small lizard) is a fascinating animal. the song lyrics describe about a small lizard which attaches, creeps on the wall, and catches a mosquito. it also shows that all living things have their nature, like mosquitoes that become a prey for small lizards. the lyrics hap, lalu ditangkap describe how the small lizard catches a flying ani mal as a prey. the lyric of ‘hap’ is a sound to express when the small lizard sticks its long tongue out to catch its prey. like the previous two tracks, there is also a word repetition in the first verse in the song cicak that shows an affirmati on that cicak is something essential in this song. the characteristics of small lizards when creeping on the wall and how to catch it preys have been the contents of song lyrics that are intended to communi cate with children. song analysis from the aspects of music composition song analyses of a.t. mahmud based on aspects of music composition are as follows. the song bintang kejora the song bintang kejora uses the sca le f major with a 4/4 bar. it consists of two parts; they are sentence a and sentence b. sentence a consists of eight bars, which are further divided into antecedent and consequent phrases. the antecedent ph rases in sentence a lie on the first to the fourth bars, while the consequent phrases sentence a lie on the fifth to eighth bars. the division of sentences in the song can be described as follows. part b consists of eight bars, which are further divided into antecedent and consequent phrases. the antecedent phra ses, sentence b lies on the ninth to twelfth bars, while the consequent phrases, sen tence b lies on the thirteenth to sixteenth bars. the division of sentences in the song can be described as follows. the music notation indicates that bintang kejora uses the tone interval bet ween c1 to d2. the motion of the melody is stepping and leaping. the form of song with a pattern (a, x) and b pattern (b, y) means that section a consists of two diffe rent phrases or sentences that are given the symbol a and x. whereas section b consists of two different phrases or sentences, so it is given the symbol b and y. 14 harmonia : journal of arts research and education 15 (1) (2015): 9-15 the song pelangi the song pelangi uses the scale f ma jor with a 4/4 bar. it is a song that consists of two parts: part a and part b. part a con sists of eight bars, which are further divi ded into antecedent and consequent phra ses. the antecedent phrases lie on the first to the fourth bars, while the consequent phrases lie on the fourth to eight bars. the division of sentences in the song can be described as follows. jor with a 2/4 bar. it is a song that con sists of two parts: part a and part b. part a consists of eight bars, which are further divided into antecedent and consequent phrases. the antecedent phrases in part a lie on the first to the fourth bars, while the consequent phrases lie on the fifth bar to the eighth bar. the division of sentences in the song can be described as follows. part b also consists of eight bars that are divided into antecedent and conse quent phrases. the antecedent phrases lie on the ninth bar first count to the twelfth bar, while the consequent phrases lie on the twelfth to sixteenth bars. the division of sentences in the song can be described as follows. part b consists of eight bars, which are further divided into antecedent and consequent phrases. the antecedent phra ses sentence b lie on the eighth to twelfth bars, while the consequent phrases senten ce b lie on the thirteenth to sixteenth bars. the division of sentences in the song can be described as follows. the music notation indicates that pe langi uses the tone interval between c1 to c2. the motion of the melody is stepping and leaping. the form of song with a pat tern (a, x) and b pattern (b, y) means that section a consists of two different phrases or sentences that are given the symbol a and x. whereas section b consists of two different phrases or sentences, so it is gi ven the symbol b and y. the song cicak the song cicak uses the scale c ma the music notation indicates that bintang kejora uses the tone interval bet ween c1 to c2. the motion of the melody is stepping and leaping. the form of song with a pattern (a, x) and b pattern (b, y) means that section a consists of two diffe rent phrases or sentences that are given the symbol a and x. whereas section b consists of two different phrases or sentences, so it is given the symbol b and y. conclusion the songs of a.t. mahmud most ly has any themes about daily life in ac prastiana ekaningrum, the analyses of meanings and forms in the a.t. mahmud’s song 15 cordance with the characteristics and the world of children. the songs use the lan guage that corresponds to the children’s development, so that it is easily performed and memorized. the forms of the songs by a.t. mahmud mostly consist of two sec tions each of which consists of two phrases or sentences. the interval of the tones ad justs to the ability of the child which ran ges from c1 to c2. the motion of a melody uses variations of stepping and leaping with easy tones. references chaer, a. 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(2002). how to teach vo cabulary. series editor: jermy harmer. malaysia: longman 138 fungsi topeng ireng di kurahan kabupaten magelang lisa hapsari mahasiswa pascasarjana isi yogyakarta, jalan borobudur magelang 56553 e-mail: sardjust@yahoo.com abstrak tujuan penelitian ini adalah untuk menunjukkan kedudukan kesenian rakyat di kurahan kabupaten magelang indonesia. topeng ireng merupakan salah satu seni pertunjukan rakyat yang hidup dan berkembang di tengah-tengah masyarakat pedesaan. kehidupan seni ini tergantung masyarakat pendukungnya. seni rakyat bisa tetap eksis apabila masyarakat masih mendukung, baik secara pasif maupun aktif. keberadaan topeng ireng menjadi suatu bentuk terapi bagi masyarakat pendukungnya, terapi secara fisik maupun psikis. ditengah arus modern yang melanda masyarakat kita dewasa ini, membuat beberapa bentuk seni rakyat semakin kabur keberadaanya. kehidupan seni rakyat semakin memprihatinkan secara kuantitas maupun kualitas. akan tetapi tidak sama halnya bagi masyarakat kurahan kabupaten magelang. bagi mereka kesenian topeng ireng menjadi sarana penyaluran ekspresi yang pada akhirnya akan berkembang terkait dengan paradigma masyarakat mengenai kesenian rakyat. upaya-upaya pelestarian tetap dilakukan dari waktu ke waktu sebagai bentuk kepedulian masyarakat terhadap kesenian yang hidup di kurahan magelang ini. pertumbuhan seni tradisi di kurahan magelang selalu menyertakan banyak aspek, diantaranya seniman dan masyarakat pendukungnya. functions of topeng ireng in kurahan magelang regency abstract the aim of this research is to show the position of folk art in kurahan magelang regency. topeng ireng is one of the folk performing arts alive and thriving in the middle of rural communities. the survival of this art depends on the community support. folk arts can still exist in the community that still supports, either actively or passively. the existence of topeng ireng can be a form of physical and psychological therapy for the community supporters. in modern life nowadays, folk arts are precisely hard to find. its existence is increasingly concerned in quantity as well as quality. however, this condition does not occur in the society of kurahan magelang regency. here, topeng ireng has become a means of channeling the expression that will eventually develop along with the paradigm of society of folk art. the efforts of preserving folk arts are undertaken from time to time as a form of people’s attention toward arts existing in kurahan, magelang. the growth of artistic traditions in kurahan always includes many aspects, including artists and community supporters. © 2013 sendratasik fbs unnes kata kunci: kesenian; tradisi; masyarakat; topeng ireng; intrance; tayuban harmonia : jurnal pengetahuan dan pemikiran seni 13 (2) (2013): 141-147 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v13i2.2779 p-issn 1411-5115 e-issn 2355-3820 harmonia : jurnal pengetahuan dan pemikiran seni 13 (2) (2013): 138-144139 pendahuluan kesenian sebagai proses kreatif adalah salah satu dari budaya manusia. kesenian merupakan suatu proses dari cipta, rasa dan karsa pada pola-pola perilaku manusia yang diwujudkan sebagai kondisi lingkungan serta tuntutan zaman. hal tersebut dikarenakan adanya perkembangan kesenian dari waktu ke waktu terasa sangat berpengaruh terhadap perkembangan seni dalam masyarakat. perkembangan ilmu pengetahuan, teknologi, dan seni budaya manusia dapat menimbulkan berbagai fenomena baru dalam kehidupan budaya masyarakat. pada dasarnya seni tari dapat dikelompokkan dalam tari tradisi dan tari modern. tari tradisi sendiri dapat dibagi menjadi tari tradisi klasik dan tari tradisi kerakyatan. menurut soedarsono (1976: 10) tari kerakyatan dapat dikelompokkan menjadi empat jenis yaitu jenis jathilan, jenis tayuban, jenis salawatan dan jenis sendratari kerakyatan. dari keempat jenis tari kerakyatan tersebut mempunyai ciri khusus pada bentuk pertunjukkannya. ciri khusus itu misalnya pada jenis jathilan biasanya terjadi intrance atau kesurupan pada salah seorang penarinya. jenis tayuban yaitu jenis tari berpasangan (pria dan wanita) yang berhubungan dengan upacara kesuburan. pada jenis salawatan biasanya banyak menggunakan iringan salawatan nabi. jenis sendratari kerakyatan yaitu jenis penyajiannya bercerita sama dengan kethoprak. tari rakyat menurut jazuli (1994: 63) adalah suatu tarian yang hidup, tumbuh dan berkembang di kalangan rakyat kebanyakan. pada zaman feodal perkembangan tari terjadi pada dua lingkungan yaitu lingkungan istana dan lingkungan rakyat. kedua lingkungan itu masing-masing mempunyai bentuk dan corak yang khas selaras dengan struktur sosial kehidupannya. bentuk dan tujuan tarian kerakyatan mencerminkan berbagai kepentingan yang ada pada lingkungannya. sebagai contoh tari salawatan sebagai simbol keagamaan selalu hadir dalam upacara agama yang bertujuan untuk menyebarkan agama islam, biasanya mengembangkan dari tarian primitif bersifat kebersamaan gerak serta pola lantainya masih ringan dan diulang-ulang, contohnya tari jathilan, topeng babakan, angklung, sintren, dan ronggeng. metode penelitian ini merupakan jenis penelitian kualitatif. teori yang digunakan adalah fungsionalisme struktural. sumber data dalam penelitian ini adalah anggota kesenian topeng ireng kurahan kabupaten magelang. adapun teknik pengumpulan data dilakukan. dengan cara observasi, wawancara dan dokumentasi. data yang diperoleh di lapangan dianalisis secara deskriptif analisis, artinya mendeskripsikan data-data melalui kata-kata dan membentuk kesimpulan. hasil dan pembahasan asal-usul kesenian topeng ireng salah satu jenis kesenian rakyat yang dikenal oleh masyarakat sekitar desa kurahan adalah kesenian topeng ireng. di kabupaten magelang khususnya di dusun kurahan, seni rakyat topeng ireng sudah tidak asing lagi bagi masyarakatnya, karena tari tersebut sudah sejak lama dipertunjukkan. tari rakyat topeng ireng muncul pertama kali di dusun kurahan dengan wadah komunitas kesenian tradisional topeng purba, pada tahun 1988. dari tahun 1988 hingga sekarang, tari topeng ireng sudah mengalami banyak perubahan. perubahan tersebut antara lain terdapat pada bentuk penyajian dan fungsinya. dalam bentuk penyajian terdapat beberapa aspek-aspek dasar yang mengalami perubahan antara lain, motif gerak. motif gerak kesenian topeng ireng yang sebelumnya hanya sebuah gerak tanpa teknik, setelah terdapat proses perubahan timbul faktor komposisi yang diolah menjadi gerakan yang beragam. selain gerak, aspek-aspek yang mengalami perubahan adalah pola lantai dan bentuk rias busana yang digunakan. lisa hapsari, fungsi topeng ireng di kurahan kabupaten magelang 140 topeng ireng biasa disebut dengan dayakan atau topeng hitam muncul dalam masyarakat pedesaan pada tahun 1950an. kesenian ini menceritakan pola hidup orang pedalaman yang masih sangat melekat atau bergantung dengan alam. komunitas kesenian tradisional topeng purba terbentuk 30 maret 1988. pada saat terdapat acara pembangunan masjid pertama kali di dusun kurahan. generasi muda dusun kurahan berada di tengah lingkungan masyarakat yang masih menjunjung kesenian tradisional beserta nilai-nilai sakralnya. ini dapat diamati ketika diadakan pertunjukan kuda lumping turonggo mudo, peristiwa intrance pasti bisa dinikmati. keadaan lingkungan yang kondusif untuk berkesenian dan kesempatan inilah yang kemudian mendorong beberapa generasi muda pada saat itu untuk mendirikan perkumpulan sebagai wadah berkesenian. kesenian topeng ireng berisi beberapa jenis bentuk kesenian yaitu rodat, monolan dan kewan-kewanan. pengembangan unsur-unsur artistik yang ada dikreasikan dan dikemas, serta disesuaikan dengan tuntutan kualitas garapan koreografi seni pertunjukan yang inovatif. sehingga, seni topeng ireng memiliki daya tarik tersendiri. bentuk penyajian kesenian topeng ireng penyajian dapat berarti proses pembuatan atau cara menyajikan, pengaturan penampilan tentang pertunjukkan. penyajian ini menyangkut kepuasan atau kenikmatan sebuah tontonan pertunjukkan. lebih jelasnya bentuk penyajian adalah suatu keseluruhan yang menunjukkan suatu kesatuan integral yang terdiri dari beberapa komponen yang saling terkait. terdapat 7 komponen dalam satu kesatuan bentuk penyajian, komponen-komponen tersebut adalah (1) tema, (2) gerak, (3) pola lantai, (4) iringan, (5) rias dan busana, (6) properti, (7) jumlah penari. bentuk penyajian topeng ireng yang dimaksud adalah bentuk penyajian dari kesenian topeng ireng yang asli dan tertua yang dijadikan ciri bagi pertunjukkan tari yang ada di kurahan cawangsari. tema yang digarap dalam kesenian topeng ireng ini adalah tentang proses penyebaran agama. hal ini terkait dengan mayoritas penduduk di kurahan yang mayoritas menganut agama islam. hal ini dapat dilihat dari keseluruhan gerak topeng ireng yang bermakna persembahan (gerak hormat, jengkeng, melingkar) dan gerak dinamis yang mengekspresikan rasa kebersamaan, kekompakan, kesatuan tekad serta semangat untuk terus membangun dan menegakkan kebenaran serta menyingkirkan kemungkaran (gerak silat). pola lantai yang digunakan adalah pola sejajar dan pola lingkaran. pola sejajar merupakan salah satu pola bentuk atau formasi kelompok yang menimbulkan kesan sederhana tetapi tegas sedangkan pola lingkaran menggambarkan makna kebersamaan dan sifat berkesinambungan. tari sebagai desain gerak dalam penyajiannya tidak terlepas dari musik pengiring, karena dalam hal ini tari dan musik berhubungan erat (hadi, 1996:31). musik akan selalu memberi tekanan ekspresi suatu gerak, seperti yang dikatakan sumarsam (2002:8) musik adalah manifestasi proses pengolahan kedalaman rasa dari penciptanya. jadi musik adalah partner dari sebuah karya tari yang tak bisa ditinggalkan. iringan dalam kesenian topeng ireng terdiri dari beberapa alat musik yaitu: kecrek, jidhor, seruling, dhogdog, dan bendhe. melalui beberapa alat musik yang mudah dijumpai tersebut, komunitas ini mempertahankan tradisinya. dengan tujuan awal sebagai alat syiar agama islam, para pemusik membuat beberapa lagu sebagai pengiring tarian. lagu-lagu tersebut berisikan ajakan bagi para masyarakat sekitar untuk lebih giat beribadah. dalam setiap pertunjukan, pemusik menggunakan tiga sampai empat lagu sebagai pengiring kesenian topeng ireng yang dibunyikan secara bersambung atau non stop. pada saat pertama kali tari ini dipertunjukkan, musik yang digunakan adalah musik religi (nuansa islam yang kental). walaupun syair mengandung nilai agama yang kuat harmonia : jurnal pengetahuan dan pemikiran seni 13 (2) (2013): 138-144141 tetapi warga sekitar kurahan kabupaten magelang maupun dari dusun lain tetap tertarik untuk menikmati penyajian tersebut. berikut merupakan salah satu contoh lagu yang digunakan utk mengiringi pementasan topeng ireng di kurahan. ayo poro konco ayo poro konco olah rogo supoyo badane roso. sinambi moco erang-erang kawulo miturut agama. ayo poro sedulur islam sedoyo bebarengan ngormatono, maring mi’ roj’ e junjungan nabi kito nabi muhammad kang mulyo. ayo poro kaum muslimin muslimat sarto pemudo fatayat, podo giato anggone menghormati maring mi’ raj’ nabi muhammad lamun wong urip ra gelem menghormati, mbesuk yen ono akhirat bakal kaparingan sikso lan laknat geni naroko kang mbulat namun kang podo golong menghormati maring mi’ raj’ njeng nabi, mbesok yen kito tumeko ing pati di ganjar suwargo kang edi lafal inadiina indalohil islam iku dhawuhe pangeran, agomo mungguhe gusti alloh islam iku den lakoni tenan milo ayo podo seduluran, natepono ing kewajiban. ayat kang kasebul ono ing dalem qur’an terang dhawuhe pangeran. milo sadulur kang samyo mrikso mugi enggal lan tindakno. agomo islam kang luwih utomo iku dadi kewajibannya. artinya; mari teman-teman berolahraga supaya badan sehat. sambil membaca lagu-lagu saya menurut agama. mari saudara islam semua bersama menghormati mi’ roj’ nya sembahan nabi kita nabi muhammad yang mulia. mari para kaum muslimin dan muslimat serta pemuda remaja giatlah menghormati kepada mi’ raj’ nabi muhammad. jika orang hidup tidak mau menghormati besok jika ada akhirat akan mendapatkan siksa api neraka yang berkobar. tetapi yang termasuk orang yang menghormati kepada mi’ raj’ nabi besok jika saatnya meninggal dibayar dengan surga yang indah. lafal inadiina indalohil islam itu perintah pangeran agama gusti allah islam itu harus dilakukan serius. karena itu mari saudara semua lakukanlah kewajiban jika saudara yang sudah mengetahui lebih baik segeralah lakukan agama islam yang lebih utama itu jadi kewajibannya syair lagu di atas merupakan salah satu lagu yang digunakan dalam pementasa topeng ireng. secara garis besar berisi ajakan untuk memperdalam sisi religius masyarakat penyangganya. selain iringan rias busana juga merupakan hal yang sangat diperhatikan dalam sebuah pementasan tari, sama halnya rias busana yang digunakan dalam pementasan topeng ireng. pengertian busana yang dimaksud adalah pakaian yang digunakan secara khusus dalam suatu suasana atau peristiwa tertentu. pemakaian busana tari tidak sama dengan busana sehari-hari atau harian, lebih-lebih busana yang digunakan untuk tarian yang mengambil tema wayang atau cerita klasik. sedangkan dalam bentuk dan warna telah memiliki aturan yang baku disesuaikan dengan cerita. bastomi (1985:45) mengatakan bahwa warna memiliki arti simbolis, sebab secara umum setiap bangsa secara turun temurun telah memberikan pengertian yang bersifat simbolis pada warna-warna tertentu. arti simbol warna bila dihubungkan dengan kepentingan tari, adalah: 1. warna merah merupakan simbol keberanian dan agresif. 2. warna biru merupakan simbol kesetiaan. 3. warna kuning merupakan simbol keceriaan atau kesan ceria. 4. warna hitam merupakan simbol kebijaksanaan atau kemantapan jiwa. 5. warna putih merupakan simbol kesucian atau bersih. busana yang digunakan yang memilisa hapsari, fungsi topeng ireng di kurahan kabupaten magelang 142 kaitannya dengan masyarakat kurahan magelang. fungsi topeng ireng dalam masyarakat menurut soedarsono (2002: 19) seni pertunjukan menurut fungsinya dibagi menjadi 3 bagian yaitu; (1) sebagai sarana upacara, (2) hiburan, (3) tontonan. apabila di gambarkan maka perkembangan kesenian topeng ireng dari segi fungsi adalah sebagai berikut. gambar 1. skema perkembangan fungsi topeng ireng sesuai dengan skema di atas fungsi kesenian topeng ireng memang telah mengalami metamorfosis yang cukup maju. dalam hal ini fungsi topeng ireng dalam masyarakat antara lain; sebagai sarana keagamaan fungsi kesenian topeng ireng sebelumnya adalah sebagai sarana upacara adat di kurahan kabupaten magelang misalnya upacara pembangunan masjid, nyadran,mertri desa, dengan kata lain secara tidak langsung kesenian topeng ireng saat itu hanya menjadi saran penyebar agama islam saja. setelah mengalami perkembangan kesenian topeng ireng kini memiliki fungsi sekunder. fungsi sekunder yang dimaksud yaitu selain digunakan sebagai sarana interaksi sosial juga digunakan sebagai salah satu penunjang sarana politik dan ekonomi masyarakat kurahan magelang. liki kemiripan dengan kostum dayak. hal ini memang sengaja dilakukan sebagai penguat tema kesenian ini. busana yang digunakan antara lain (1) mahkota dayak, (2) iket, (3) kaos hitam, (4) kalung rumbai, (5) klat bahu rumbai, (6) celana, (7) rok rumbai, (8) binggel (krincing), dan (9) sepatu. sementara itu, untuk rias menggunakan fantasy make-up yang berarti rias wajah agar wajah berubah sesuai dengan fantasi perias, dapat bersifat realistis atau non realistis, sesuai dengan kreativitas periasnya (wahyu, 2006: 66). sebuah perubahan atau perkembangan terhadap segala bentuk seni dapat terjadi kapan saja dan oleh siapa saja, mengingat sebuah karya seni tidak saja melibatkan seniman tetapi juga melibatkan lingkungan sosial budaya masyarakat ditempat kesenian itu tumbuh dan berkembang. seperti dalam bukunya restorasi seni tari dan transformasi budaya, sumaryono menyatakan bahwa; ruang dan waktu memiliki arti dan makan serta terkait dengan kehidupan dan perkembangan dunia tari, apalagi dikaitkan dengan permasalahan dan hakikat tari itu sendiri, yang di dalamnya terkandung gerak, ruang dan waktu. penyajian gerak yang merupakan media ungkap melalui tubuh manusia, dalam hal ini lewat tubuh penarinya, sedangkan ruang adalah space atau tempat dengan segala infrastruktur yang diciptakannya, di mana penari mengekspresikan suatu koreografi, sedangkan waktu merujuk pada pengertian bahwa tari dalam pengertian sosio-budaya makro senantiasa memberikan kesaksian pada kehidupan dan perkembangan tari. berakar dari konsep tersebut menghasilkan suatu kesimpulan bahwa kesenian topeng ireng merupakan hasil kreativitas masyarakat dalam bingkai ruang dan waktu. banyak sekali perkembangan dan perubahan terjadi dalam unsur-unsur pementasan kesenian topeng ireng di kurahan kabupaten magelang ini, tidak memungkinkan apabila objek tersebut dibahas secara keseluruhan. oleh karena itu, tulisan ini memfokuskan permasalahan kepada perkembangan fungsi topeng ireng harmonia : jurnal pengetahuan dan pemikiran seni 13 (2) (2013): 138-144143 saat ini kesenian topeng ireng dipentaskan tidak hanya pada saat upacara adat ataupun pada saat perayaan ritual yang berbau keagamaan. misalnya isra’ miraj, topeng ireng ditarikan sebelum dan setelah khotbah dilakukan. tari yang dilakukan sebelum khotbah tersebut berisi tentang ajakan bagi masyarakat sekitar yang mengikuti perayaan tersebut agar segera berkumpul, ajakan tersebut berupa instrumen musik yang dihasilkan dari instrumen sederhana. setelah berkumpul syiar tentang agama dimulai. dengan menggunakan tari dan musik tersebut tidak mengurangi tujuan khotbah tersebut dilaksanakan, justru dengan rangkaian acara yang tidak membosankan dan rangkaian tarian yang dipaket bersama musik yang berlirik keagamaan, masyarakat lebih mudah mengerti inti dari khotbah tersebut. sekarang kemajuan tari topeng ireng sangatlah pesat. dengan adanya pementasan demi pementasan yang dilakukan, dari waktu ke waktu kesenian topeng ireng semakin berkibar dan berkembang menjadi salah satu kesenian ciri khas kabupaten magelang. dengan berbagai fungsi tersebut, tari topeng ireng dalam pertumbuhannya tidak menutup diri untuk sebuah perkembangan. justru semakin mampu menunjukkan diri kepada masyarakat umum bahwa mereka mampu berkembang tanpa merubah inti dan tujuan dari tari tersebut. sebagai media interaksi sosial media interaksi sosial disini dimaksudkan segala kegiatan yang melibatkan banyak individu yang saling berkomunikasi. salah satunya sebagai hiburan, biasanya merupakan hiburan ringan pelepas lelah untuk menghilangkan kejenuhan dari rutinitas sehari-hari. kesenian topeng ireng merupakan sarana pengikat solidaritas, melalui kesenian ini masyarakat dapat meningkatkan solidaritas antar pemain dan masyarakat penyangganya sekaligus melakukan upaya pelestarian kesenian rakyat kurahan magelang. topeng ireng aki sutopo sebagai media interaksi sosial, terwujud dari adanya hubungan antar anggota kesenian, anggota kesenian dengan pengurus, dan anggota kesenian dengan warga. fungsi hiburan di sini juga dapat dilihat bagaimana peran serta masyarakat dalam pertunjukkan ini. di lihat dari bentuknya kesenian topeng ireng merupakan tari kelompok yang ditarikan oleh sekelompok laki-laki dewasa. pada bagian ini timbul kembali suasana kebersamaan antara masyarakat pendukungnya. dengan begitu interaksi antar satu dengan yang lain selalu terjaga sehingga mereka terhanyut dalam suasana gembira. dengan adanya salah satu komponen pendukung dalam pementasan kesenian topeng ireng yaitu adegan lawakan atau guyon-guyon yang dilakukan oleh para punakawan, hal ini sangat menghibur sekali bagi masyarakat kurahan. dengan adanya kesenian topeng ireng mereka juga dapat menikmati kegembiraan yang juga dirasakan oleh para penari. selain menghibur kesenian topeng ireng melalui syiarnya merupakan petuah-petuah bagi kaum muda-mudi atau masyarakat lainnya untuk menjadikannya pelajaran yang berharga tentang agama. fungsi kesenian topeng ireng yang paling menonjol adalah sebagai media hiburan bagi masyarakat dan bagi sarana penyaluran ekspresi bagi penarinya. bagi masyarakat yang hidup di pedesaan sangat penting menyalurkan ekspresi sebagai sarana melepas kepenatan dari rutinitas pekerjaan. dengan adanya pertunjukan topeng ireng ini masyarakat dapat berkumpul, saling berinteraksi, tertawa, menari,dan bernyanyi bersama. masyarakat tidak hanya mendapat asupan religi tetapi juga mendapatkan hiburan dan pencerahan sebelum kembali beraktifitas. sebagai penunjang faktor ekonomi dan sarana politik fungsi ketiga ini memang tidak begitu diprioritaskan akan tetapi dalam saat-saat tertentu memang dipikirkan. walaupun keberadaan topeng ireng hanya merupakan sebuah kesenangan dan hilisa hapsari, fungsi topeng ireng di kurahan kabupaten magelang 144 buran belaka, namun dibalik itu ada hal yang didapatkan dari pendukung kesenian tersebut yaitu materi, seperti dengan mendapatkan honor dari setiap pentas dan mengajar kelompok kesenian dari desa lain. selain itu juga dapat dimanfaatkan oleh masyarakat sekitar untuk berjualan dan pengelolaan lahan parkir oleh pemuda setempat. mengingat masyarakat kurahan sebagian besar berprofesi sebagai petani, maka tanpa disadari masyarakat memikirkan berbagai cara untuk mendapatkan keuntungan dari kesenian rakyat ini. salah satunya bisa didapatkan dengan menjadi bagian langsung dari pementasan kesenian topeng ireng, atau mengambil keuntungan dengan kegiatan berdagang di sekitar lokasi pementasan dan lain sebagainya. selain ekonomi sarana politik juga menjadi prioritas berikutnya. dalam situasi sosial tertentu terkadang kesenian topeng ireng digunakan sebagai salah satu cara untuk menyampaikan pesan sebagai respon terhadap kondisi tertentu. misalnya kritik sosial terhadap status kesenian rakyat saat ini, yang disampaikan lewat lagu-lagu pengiring topeng ireng dengan harapan pihak tertentu melakukan tindakan atau memberikan solusi. kemudian juga apabila kesenian topeng ireng dipentaskan di tempat hajatan maka melalui penampilan montholan dapat disampaikan pesan-pesan yang diinginkan oleh pihak pengundang dengan cara menggunakan adegan dan cerita yang lucu. pesan-pesan yang disampaikan bisa topik-topik politik, kepariwisataan, ekonomi, kekuasaan, kepahlawanan, kebersamaan, kesetiakawanan, bahkan dapat pula berupa kritikan sosial yang cenderung banyak dilakukan oleh masyarakat pada masa sekarang ini. simpulan keberadaan topeng ireng atau dayakan yang terdapat di kurahan kabupaten magelang sangat berarti bagi masyarakat sekitarnya. mengingat kondisi kesenian tradisional saat ini, yang membuat beberapa bentuk seni rakyat semakin kabur keberadaannya, semakin tidak mendapat perhatian serius. akan tetapi, topeng ireng membuktikan esksistensinya bagi masyarakat pendukungnya dalam hal ini masyarakat kurahan, kabupaten magelang. berdasarkan pengalaman estetis dari pelaku kesenian, terdapat dua fungsi pokok dalam pertunjukan topeng ireng yaitu sebagai media ritual dan media ekspresi seni pertunjukan (hiburan). sebagai media ritual yang didalamnya terdapat syiar agama yang sangat diperlukan oleh masyarakat dan sebagai media ekspresi estetis bagi para penari, pemusik dan masyarakat. pada kesimpulannya masyarakat kurahan membuktikan seni sebagai santapan estetis bagi psikologinya sekaligus dapat memperdalam santapan religiusnya. daftar pustaka bastomi, s. 1988. apresiasi kesenian tradisional. semarang: ikip semarang press. hadi, s. 1996. aspek-aspek koreografi kelompok. yogyakarta: manthili yogyakarta. indriyanto. 2000. lengger banyumas kontinuitas dan perubahan, yogyakarta: yayasan lentera budaya. jazuli. 1994. telaah teoritis seni tari. semarang: ikip semarang press. lestari, w. 2006. teknologi rias panggung. semarang: ikip semarang press. murgiyanto, s. 1984. koreografi. jakarta: departemen pendidikan dan kebudayaan. putra, b.a. 2009. fungsi dan makna kesenian barongsai bagi masyarakat etnis cina semarang. harmonia. vol. 9 no. 1 hal. 20-31. ratih. e.e.w. 2001. fungsi tari sebagai seni pertunjukan (the function of dance as a performing art). harmonia. vol. 2 no. 1 hal. 67-77. soedarsono. 1976. pengantar dan pengetahuan komposisi tari. yogyakarta: asti yogyakarta sumaryono. 2003. restorasi seni tari dan transformasi budaya, yogyakarta: elkaphi. sumarsam. 2002. hayatan gamelan: hayatan lagu dan perspektif. surakarta: stsi press. tjintariani . 2012. ruwatan massal melalui pergelaran wayang kulit. harmonia. vol. 12 no.1 hal. 14-23. 52 dimensi rame: gejala, bentuk, dan ciri *aton rustandi mulyana, **timbul haryono, ***g.r. lono lastoro simatupang universitas gajah mada, bulaksumur, yogyakarta 55281, *email: atonrustadi@gmail.com **email: timbulharyono@yahoo.com ***email: simatupang@yahoo.com abstrak umumnya rame dianggap sebagai hal wajar, biasa, dan lumrah. namun di balik itu, rame adalah sebuah kebutuhan hidup. rame justru sengaja dibentuk untuk mengisi ruang-ruang hidup yang kosong, sepi, atau nirmakna. kehadiran rame sendiri di(ter-) kondisikan, tidak pernah hadir tanpa sebab atau aksi. sebaliknya, kehadirannya selalu ada di dalam hubungan peristiwa antara apa yang menjadi sebab dan apa akibatnya, atau apa aksinya dan apa reaksinya. tulisan ini membahas dimensi rame berdasarkan atas gejala, bentuk, dan ciri-cirinya. secara gejala, rame berbeda dengan noise, di dalam upacara justru ini disengaja untuk mempertebal lapis simbolis, ritus, agama sekaligus sosialnya. bentuknya selalu dapat dialami dengan indera, dapat dilihat, didengar, dihirup, dicecap, disentuh/diraba, atau dirasakan. dimention of rame: phenomena, form, and characteristics abstract in general rame is considered a commonplace thing. yet, beyond all this, rame is a life necessity. rame is indeed created to fill up vacant, lonely, or meaningless living spaces. rame is always present by some causes or actions. in other words, it is present because of cause and effect relationship, or action and reaction process. this article discusses the dimension of rame based on phenomena, form, and its characteristics. phenomenologically, rame is different from noise, because in ceremonies rame functions to solidify symbolic, ritual, religious, and social layers. the form could always be experienced by senses it is perceivable, smellable, tasteable, and touchable. keywords: rame, bentuk, ciri pendahuluan sulit dibantah, bahwa jarang ada ruang di dunia yang tidak menghadirkan rame (keramaian). rame terdapat pada alam, makhluk hidup, benda-benda yang dibuat oleh manusia, maupun dari kehidupan lampau hingga sekarang. itu semua diungkap secara visual, aural, kinetis, atau penggabungan diantara ketiganya. i.b.m. widja, pelukis dari batuan bali, pernah membabar keramaian melalui lukisannya tentang kehidupan di bali, pada tahun 1954. pada lukisan berukuran 33 x 50 inci, ruang kanvasnya sarat dengan aneka garis dan bentuk gambar. sepintas terlihat seperti sebuah belukar. namun, apabila dicermati lebih detil lukisan tersebut penuh dengan berbagai macam hal yang terdapat di dalam kehidupan orang bali. ada gambar alam tentang tanah, kebun, sawah, hutan, pohon-pohon. ada aton rustandi mulyana dkk, dimensi rame: gejala, bentuk, dan ciri 53 gambar binatang berupa dua kerbau, dua anjing yang berkelahi, dua burung yang hinggap di pohon. ada juga gambar-gambar lain seperti kegiatan di pura, di pasar, di jalan, di warung, di halaman atau pelataran, dengan menghadirkan gambargambar orang bersaji, menari, menabuh gamelan, menonton, berjualan, bercengkerama, berjalan, memanjat, bermain. termasuk, gambar-gambar seperti gamelan, gerabah, penjor, aneka sesaji dan banten, aneka makanan dan minuman, dan lainnya (holt, 2000:263). sementara itu, cristhoper small (1998:1-2) menggambarkan peristiwa keramaian aural. dalam kaitan ini, suara, bunyi, atau musik sengaja dihadirkan untuk mengisi ruang-ruang, entah publik atau pribadi, entah terbuka atau tertutup, seperti gedung konser, gedung opera, tempat ibadah, pasar/mal/supermarket, stadion yang besar, jalan, di dalam kendaraan, hingga di dalam rumah atau kamar-kamar pribadi. rame bisa disebutnya dengan all sound and always sound (seluruh bunyi dan selalu bunyi). perilaku menebalkan keramaian dapat pula diamati pada peristiwa-peristiwa adat dari yang bersifat festa maupun feria (falassi, 1987:2). upacara-upacara di nusantara seperti sekaten, suro, padusan, ruwahan, ngarot, ngunjung, nadran, odalan, tabuik, dan lain-lainnya, merupakan tema sejenis di mana rame menjadi bagian dari prasyarat dan penentu sukses atau tidaknya sebuah upacara (howe, 2000). perayaan tersebut tidak luput dari penghadiran beraneka tindakan, kegiatan, ataupun pertunjukan yang kompleks. kadang, seperti keramaian sekaten, bahkan maknanya menjadi ambigu (budi susanto, 1992:195-224). di kota-kota besar atau pusat-pusat industri di eropa, amerika, atau asia, keramaian sudah seperti “noise” atau “bustle”. keramaian tidak berbeda dengan lalulalang yang penuh dengan kehiruk-pikukan, kesibukan, serba tergesa-gesa dan merepotkan. terhadap situasi demikian attali (1985:3) berkomentar, masyarakat masa kini banyak diatur oleh suara, bunyi, atau kebisingan yang ada di sekitarnya. namun demikian, masyarakat atau orangorang pun harus mulai belajar menilai sebuah masyarakat berdasar suara-suara yang terdengar daripada hanya berdasar pada kumpulan statistik; seperti telah dilakukan robert wilson dalam karya i la galigo-nya sebagai reaksi kontras atas keramaian tersebut, atau 4’33’’ karya john cage sebagai sebuah dekonstruksi bunyi yang mempersoalkan antara silence dan silencing (kahn, 1999:161-199). tulisan ini merupakan usaha mendalami lebih dekat gejala rame yang umumnya kerap dianggap sebagai, sesuatu yang lumrah (common sense). persoalannya tentu andaikan itu lumrah dan biasa lalu kenapa orang dengan sengaja menghadirkan banyak keramaian dan seringkali justru serius? adakah prinsip-prinsip khusus yang menjadi pola rame? lingkup ramai di kawasan nusantara, istilah rame tergolong umum dan banyak digunakan dengan arti yang berlainan, secara arti positif atau kebalikannya. kata tersebut dapat ditemukan di beberapa kelompok/sub kelompok etnik, seperti: melayu, sunda, jawa, bali, dan lombo, atau seperti yang sudah diserap di dalam bahasa indonesia. alton becker (1979:234) menyatakan rame sebenarnya merupakan kata serapan. asalnya bukan dari nusantara tetapi dari asia selatan. bermula dari kata ramya (bahasa sanskrta), yang berarti cantik atau indah. pendapat alton becker memiliki kemiripan dengan arti kata ramro di dalam bahasa nepal. bahkan, di nepal ciri-ciri yang berhubungan dengan rame diungkapkan lewat kata-kata seperti ramnu atau ramaunu, artinya adalah menjadi senang, merasa gembira, merasa bahagia (krämer: 2007:107). catatan ini berbeda dengan kata ramya yang diartikan oleh purwadi dan eko priyo purnomo (2008:125) sebagai ramai dan meriah, maupun arti rame yang didefinisikan poerwadarminta (1939:518) bahwa rame searti dengan njawara seroe (bersuara keras), goemeder (gemuruh), akeh harmonia, volume 12, no.1 / juni 201254 wonge (banyak orang). gambaran agak lengkap mengenai arti rame dan hubungannya dengan kata ramya dapat ditelusuri dari kamus jawa kuna indonesia yang ditulis zoetmolder dan robson (1995:957). ada tiga lapis arti yang ditulis keduanya, yaitu: (1) indah, cantik, mempesona, menarik, menyenangkan, keindahan, pesona, dan lain-lain; (2) senang, gembira, riang, kesenangan, keriangan, kegembiraan; (3) bersuka cita (banyak bersama-sama), ramai, sibuk, gembira, riang. dalam bahasa jawa kuna, variasi penggunaan kata ini dapat ditemukan pada kata-kata seperti rinamyan/rinamen (menambah kecantikan, menyebabkan makin ramai, menggembirakan), karamyan/karamen (keindahan, kesenangan, keriangan), akaramyan (mengadakan pesta), aramya-ramyan/aramen-ramen (bergembira berpesta), atau ramyaracana (tempat yang diatur dengan indah, hiasan indah) (1995:916-7). diduga, kesamaan maupun penyebaran istilah tersebut ke nusantara tidak dapat dipisahkan dari keterpengaruhan masyarakat nusantara atas perkembangan bahasa sanskrta dan agama hindu/ budha di nusantara. paling tidak, dugaan tersebut dapat dihubungkan dengan bukti-bukti tertulis pada naskah/piagam/prasasti era abad 8-14 m yang mencantumkan kata ramya sebagai nama lain dari kata rame. di dalam kosa kata bahasa indonesia sendiri, rame bersepadan dengan kata ramai (kata sifat) dan keramaian (kata benda). sebagai kata sifat, sepadan dengan kata banyak, riuh, meriah, riang gembira, serba giat/sibuk. sebagai kata benda, kata tersebut menunjuk pada sebuah keadaan/ hal ramai atau sebuah tontonan (tim penyusun kamus pusat bahasa, 2001:924-5). rame banyak pula diartikan sebagai sesuatu yang menghibur, menyenangkan, enak ditonton dan dinikmati, baik, bagus, dan tidak membosankan. pemaknaan ini mirip dengan yang terjadi di madura dan bali. kualitas makna rame umum disebut orang madura dengan lèbur. lèbur dijadikan indikator penentu keberhasilan dari sesuatu yang dianggap bagus atau menghibur secara konkrit. sebaliknya, sesuatu yang membosankan ditontonkan dapat dibilang: “ta lèbur!”. malah pada makna yang lebih dalam, lèbur dipandang sebagai inti pengalaman estetis orang madura (bouvier, 2000:10). di bali, seperti disebut howe (2000:73), rame merupakan sesuatu yang paling menghibur, selain sebagai prasyarat dan penentu keberhasilan upacara. sebaliknya, jika tidak rame maka dianggap dapat memicu kekecewaan dan komentar negatif mengenai kompetensi dan status tanggung jawabnya penyelenggaranya. ketidakmampuan menghadirkan rame dipandang sebagai sebuah ketidakberdayaan seseorang. di dalam praktek keseharian, rame kadang dapat digunakan untuk sesuatu yang bersifat negatif. dipadankan dengan istilah onar, ribut, atau gaduh. “ayo! kita bikin rame saja” atau “kamu bikin rame saja!” merupakan contoh provokasi atau peringatan dengan memposisikan rame sebagai kata yang sama artinya dengan kata-kata onar, ribut, atau gaduh. vicker (1991:94) malah menunjukkan satu sisi lain dari rame sebagai sesuatu yang asusila, tidak santun, dan kacau-balau. situasi rame memungkinkan terjadinya pertengkaran, perkelahian, pencurian, kecabulan, atau pelupaan atas moral (1991:96-7). di dalam kosa kata bahasa inggris, gejala kata rame ini dapat disejajarkan (namun harus hati-hati) dengan kata-kata yang bermakna fun, busy, chaotic, lively, crowded, bustling, lively festive, energetic, interesting, noise/noisy, congested, tangled (sutton, 1996). ini berlawanan dengan kata quiet, lonely, inherently sad yang bermakna sepi. maupun, dengan kata calm (tenang) (benamou, 1998:128). di dalam penerapannya, rame kerap dihubungkan dengan kualitas yang terjadi di dalam kemacetan lalu lintas, pesta-pesta, pasar-pasar, jalan-jalan malam di pusat kota, pertunjukan musik, hingga makanan (williams, 2006:96). di dalam budaya (karawitan) jawa, benamou (1998: 132-3, 373, 375) menggolongkan ramé sebagai sebuah sub kluster rasa. secara umum, rame diartikan sama aton rustandi mulyana dkk, dimensi rame: gejala, bentuk, dan ciri 55 seperti lively; bustling; atau loud and fast. secara khusus, di dalam konteks rasa musikal artinya dibatasi sebagai bustling, bersepadan dengan kata gobyog dalam bahasa jawa. ini merupakan sub dari rasa bérag (exuberant, joyful, merry, spirited, rambunctious, lighthearted) dan prenés atau pernés (coquettish; titilallating; appealing, lighthearted; erotic, seductive). bentuk rame rame dapat hadir dalam bentuknya yang nyata atau abstrak. namun, bentuknya dapat dialami dengan indera. dapat dilihat, didengar, dihirup, dicecap, disentuh/diraba, atau dirasakan. bentuknya dapat terkait dengan aspek-aspek perupaan, pendengaran, perasaan, pemikiran, tindakan, atau penggabungan dari berbagai macam aspek-aspek tersebut. dimensinya meruang dan mewaktu. ada terlingkung oleh bidang dan masa. di antara kehadirannya ada batas-batas penanda ukuran tempat dan tempo selama peristiwa tersebut berlangsung. pada situasi keseharian, mungkin sering didengar orang berkata: “di situ rame!” atau “itu ada rame-rame”. makna kalimat-kalimat tersebut merujuk pada posisi dan keadaan ruang dan waktu rame yang terpisah dari posisi dan keadaan ruang dan waktu yang dialami oleh penunjuknya. demikian pula pada kalimat “di sini malah rame”, yang jelas menyatakan dua posisi dan keadaan yang berbeda antara rame dan tidak rame. pernyataan “di sini malah rame” dapat pula dimaknai sebagai sebuah pengalaman keruangan dan kewaktuan rame secara nyata. kiranya contoh tentang bingkai dan lukisan “kehidupan orang bali”-nya i b widja dapat dijadikan penjelas posisi dan keadaan ruang dan waktu rame. dengan melihat atau mengalami kembali lukisan tersebut dapat digambarkan bahwa pengalaman ruang dan waktu rame dapat dialami pada waktu penglihatan diarahkan ke dalam lukisan yang dibatasi oleh bingkainya. dengan menelusuri setiap gambar-gambar yang ada maka dialami secara konkrit bahwa ruang dan waktu rame berada di dalam dan bukan di luar bingkainya. kalaupun terjadi di luar bingkai, posisi dan keadaannya hanya dapat terjadi di dalam ruang dan waktu dari tubuh penglihatnya. namun demikian, batas-batas ruang dan waktu dari rame relatif. itu akan sangat bergantung pada kondisinya. terutama, pada kualitas dan intensitas dari sejumlah relasi yang berada di dalamnya. kehadiran rame sendiri di(ter-)kondisikan, tidak pernah hadir tanpa sebab atau aksi. sebaliknya, kehadirannya selalu ada di dalam hubungan peristiwa antara apa yang menjadi sebab dan apa akibatnya, atau apa aksinya dan apa reaksinya. dikondisikan sama artinya dengan dibuat secara sadar dan secara sengaja untuk jadi rame. sedangkan, terkondisikan mengandung arti bahwa rame dapat juga terjadi akibat dari sebuah sebab atau aksi yang pada awalnya tidak disengaja tetapi kemudian menimbulkan akibat dan reaksi yang sinambung. kiranya contoh-contoh pakaian gypsi atau karya-karya orkestrasi musik klasik dan gamelan dapat digunakan sebagai contoh-contoh rame dibuat dengan sengaja dan sadar. demikian pula, contoh-contoh kepanikan sejumlah pengungsi korban merapi, korban tsunami aceh/nias/miyagi, atau kecelakaan kendaraan yang mengakibatkan kemacetan panjang di jalan merupakan contohcontoh bahwa rame itu terkondisikan. dari contoh-contoh ini dapat ditarik nalar kondisinya, bahwa rame itu berelasi. dikondisikan dapat memperjelas nalar bahwa rame merupakan kondisi yang dibutuhkan. relasi ini dapat diterapkan pada hubungan gypsi dan rame: rame merupakan sebuah kondisi yang dibutuhkan jika dan hanya jika gipsi. jika tidak rame maka bukan gipsi. sedangkan, terkondisikan menjelaskan bahwa rame merupakan kondisi dasar atau secukupnya yang terbentuk. di dalam kaitannya dengan bencana, rame menjadi sebuah kondisi dasar yang terbentuk akibat bencana. ciri-ciri rame apabila dicermati lebih dalam, model dan ciri-ciri rame sama seperti kompharmonia, volume 12, no.1 / juni 201256 sifat kompleks dan kompleksitas kerap dikontraskan dengan sifat sederhana atau simplicity (kesederhanaan). kompleks kadang dianggap berbeda dengan simple. demikian pula kompleksitas kadang dianggap berbeda dari simplisitas. simpel dan simplisitas merujuk pada sesuatu atau keadaan tidak banyak. kondisinya bersahaja, biasa, dan tidak dilebih-lebihkan. kedua hal simpel dan simplisitas jelas berkebalikan dengan kompleks dan komplesitas, yang cenderung mengarah pada sesuatu atau keadaan banyak, sarat pernik, tidak biasa, dan berlebihan. namun, simpel atau simplisitas ini tidak dapat dijadikan ukuran mutlak sebagai sesuatu kontras terhadap rame. ketidaktentuannya ditentukan oleh cara melihat dan memaknainya. sebagai ilustrasi dapat digambarkan melalui kisah sepotong roti dilihat dengan mata telanjang dan melalui bantuan mikroskop. hasil dari kedua amatan tersebut menunjukkan dua kualitas amatan yang berbeda. sesuatu yang dianggap simpel dapat berubah menjadi sesuatu yang detil apabila dilihat dengan cara yang berbeda. demikian sebaliknya, sesuatu yang detil dapat berubah sebagai sesuatu yang dianggap simpel hanya karena cara melihat dan memaknainya berbeda. proses ciri kedua dari rame adalah proses. ini menjadi satu cara tepat untuk memahami pembentukan rame. proses menjadikan rame sebagai sebuah rangkaian tahap yang dibentuk dari awal hingga akhir dan jadi lebih jelas wujudnya. tidak ada rame yang terbentuk seketika atau sudah langsung jadi. kemaujudannya selalu dibentuk dari sesuatu yang tidak ada menjadi ada. kemudian, sesuatu yang telah ada itu bertambah, berlipat, atau bertumpuk. cara, tindakan, atau proses demikian dikenal dengan nama multiplikasi di mana ketunggalan dibuat banyak atau digandakan. proses rame dapat dikenali melalui tiga pola: (a) penggandaan, (b) pemeragaman, dan atau (c) percampuran. leksitas, tidak pernah hadir sebagai sesuatu yang kosong, atau hampa, kecuali isi. di dalamnya selalu terkandung muatan atau unsur-unsur yang mengisinya. isinya tidak tentu, tidak mesti selalu sama atau seragam, dan dapat dipastikan selalu lebih dari satu. malah, isinya cenderung berakumulasi: berlipat, berhimpun, dan bertumpuk. meski demikian, unsur-unsur dari pengisi tersebut dapat tidak saling berdiri sendiri tetapi justru saling berinteraksi satu sama lain. antara unsur-unsur tersebut terkandung saling aksi, saling hubungan, atau saling pengaruh. keadaan ini tentu saja tidak berbeda jauh dengan arti complexus (bahasa latin) yang menjadi akar dari kata komplesitas itu sendiri. artinya kurang lebih meliputi banyak hal, jalinan bersama, dan kompleks (prent cm dkk, 1969:161; periksa juga morin, 2002:125). ada empat ciri umum dari rame, antara lain: kompleks, proses, dinamis dan sistem dinamis, dan framing (meruang and temporal). kompleks arti kompleks dimaksud adalah tidak tunggal atau majemuk, dibentuk atau disusun dari interaksi sejumlah unsurunsur. rame tidak pernah hadir sebagai sesuatu yang tunggal. ketunggalan seolah menjadi bagian kontraproduktif, oleh sebab itu ketunggalan cenderung dihindari, bisa juga ditentang atau dilawan, dan dibuat untuk menjadi tidak lagi tunggal. multi(banyak, lebih dari satu, lebih dari dua, atau berlipat ganda) menjadi bentuk terikat dari ciri ketaktunggalannya. oleh sebab itu sifatnya pun multipel/multipleks, terdiri atas lebih dari satu atau banyak bagian/lapis(an). bagian-bagian atau lapis(an)-lapis(an) tersebut tidak sama tetapi beragam atau bermacam-macam. malah, di dalam bagian/lapis(an) pun terdapat sub-sub bagian/lapis(an) yang menyusunnya. susunannya dapat terbentuk dari bagian atau lapisan dari kecil hingga besar. di dalam tontonan pertunjukan, sifat ini kentara baik pada materi, gaya sajian, pemain, penonton, maupun orangorang yang terlibat di dalamnya. aton rustandi mulyana dkk, dimensi rame: gejala, bentuk, dan ciri 57 ritual atau ke-tuhan-an. penggandaan atau pengulangan dapat pula ditemukan pada praktik-praktik musik di dunia, termasuk musik ritual atau sekular. di dalam ritus-ritus belian dayak tonyooi dan benuaq di kutai barat, kalimantan timur, misalnya, komposisikomposisi musiknya yang pendek selalu diulang-ulang sebagai sebuah bagian dari ritual belian. pola penggandaan atau pengulangan selalu digunakan di dalam setiap permainan alat-alat musik seperti klentangan, bebeneq, selepukng, lesung, sukatn, agong papan, agong selepung, mebang (mulyana, 2010). hal hampir sama dapat ditemukan pada pola petikan (tabeuhan) kacapi pantun sunda yang biasa digunakan oleh juru pantun pada saat ngaruwat (meruwat). pola-pola musikal seperti tabeuhan rajah, putri dangdan, putri angkat, lengser midang, pangapungan, perang, merupakan pola-pola di mana penggandaan atau repetisi selalu dilakukan. gejala musikal ini dilakukan untuk mempertegas suasana musikal dari nyanyian resitasi juru pantun yang free rhytm. atau, seperti di dalam jentreng, sebuah tarian ritual petani sumedang untuk merayakan panen dan terimakasih kepada nyi sri, bentuk musik tarawangsa pada dasarnya sangat sederhana umumnya terdiri dari dua hingga empat frase musikal tetapi selalu digandakan atau diulangulang (hastanto, 2003:130-1). malah, pada musik jawa, fenomena penggandaan atau pengulangan musik dapat dilakukan dengan hanya menggunakan dua nada. kasus ini dapat diamati pada pertunjukan gending kodok ngorek sebagai sebuah gending pakurmatan di kasunanan surakarta, atau pada pertunjukan gendhing jathilan yang biasa dilakukan oleh masyarakat di dekat borobudur, magelang. musik terakhir ini dikenal sebagai musik ndadi (kerasukan, trance). gendhingnya tergolong minimalis. menggunakan dua nada 6 (nem) dan 5 (mo) tetapi dua nada ini diulangulang untuk memfasilitasi penari jathil mencapai kondisi ndadi. penggandaan atau pengulangan bahkan merupakan tema penting di dalam budaya musik afrika atau diaspora musik penggandaan penggandaan dapat ditafsirkan sebagai sebuah proses diubahnya ketunggalan menjadi kegandaan. prinsipnya sederhana, unsur asal dipertahankan tetapi jumlah unsur asal digandakan. ciri, bentuk, atau struktur unsur asal diusahakan tetap dan tidak diubah. namun demikian, unsur asal dicipta kembali, dibuat sama dan lebih dari satu, menjadi bentuk ganda, atau kembaran dari unsur asalnya. penggandaan ini dapat dilakukan dengan cara peniruan dan peragaan kembali di mana unsur asal ditiru dan diperagakan kembali. cara ini dapat disebut pula sebagai pengulangan; satu unsur asal diulang terus-menerus hingga berlipat. kesatuan rame dibentuk oleh pengulangan/pelipatan dari unsur asal. hugo leichtentritt menyatakan pengulangan merupakan salah satu asas penting pada awal tahap perkembangan peradaban manusia. kontruksi ide ini tersembunyi di dalam pikiran tetapi diterapkan secara naluri. ini konstruksi gagasan estetik paling sederhana dan elementer (1945:67). di dalam dunia religi, bentuk-bentuk resitasi free rhytm dari tradisi teks-teks religius kristen, yahudi, islam, hindu, budha, shinto, maupun tradisi shaman di korea tidak juga luput dari gejala penggandaan dan pengulangan (clayton, 1996:329; periksa juga leichtentritt, 1945:69). pola penggandaan atau pengulangan ini dapat ditemukan pada praktek-praktek seperti japa pada hinduisme dan sikhisme (bohn, dalam “japa– continuous mantra repetition” dalam http://www.suite101.com/ japa – continuous mantra repetition the spiritual practice of repeating mantras and divine names.htm), atau dzikir di dalam islamisme. keduanya merupakan praktik spritual di mana nama-nama ilahi diulang secara konstan. biasanya, kedua hal tersebut dirapalkan dengan cara diulang-ulang atau dibaca dengan jumlah hitungan tertentu. umumnya ditujukan sebagai sebuah praktik untuk mencapai identifikasi diri secara utuh berupa pengalaman atas realitas spiharmonia, volume 12, no.1 / juni 201258 afrika. john miller chernoff (1979), dalam studinya tentang musik dagomba dan ewe selatan di ghana, menegaskan pengulangan merupakan kunci utama yang berfokus pada pengaturan ritme-ritme sebuah ansambel musik dan berhubungan dengan pemahaman sosial, moral, etika, dan estetika masyarakatnya. dengan mengacu pada chernoff, justru monson (1999:31 dan 36) menjelaskan bahwa pola pengulangan malah diberi jalur dan digabung, digunakan untuk mendukung pertukaran call-respons secara improvisasional dan sekaligus berbagi ruang bagi hadirnya pola-pola pribadi. salah satu pola pengulangan ini dapat diamati pada riff, yang dikenal sebagai bagian-bagian bunyi yang diulang-ulang secara singkat. bunyi-bunyi tersebut disebar satu-satu, di dalam bentuk musik call-respons, di dalam jalur-jalur musikal sebagai melodi, akompanemen, atau bas. gejala musikal ini dapat dikenal melalui genre musik-musik seperti: blues, punk, soukus, zouk, reggae, mbalax, rumba, plena, soca. lichtentreitt (1945:67) menegaskan pengulangan dalam musik merupakan sebuah dampak dari keberlanjutan, koherensi, aturan, dan simetri. ini jauh berbeda dengan kritik adorno (1941) bahwa repetisi sebagai penggandaan atau pengulangan seperti yang ditunjukkan musik populer merupakan hantu industri musik, sejajar dengan industri, membelenggu musikalitas musisinya, leichtentritt telah memetakan tiga tipe pengulangan berdasarkan kriteria waktu. tiga tipe pengulangan ini, yitu: (1) pengulangan simultan; (2) pengulangan suksesif; dan (3) pengulangan kanonik. pengulangan simultan adalah pengulangan yang dilakukan bersamaan dalam waktu yang tepat sama. pengulangan suksesif adalah pengulangan yang dilakukan setelah sumber asal selesai dibunyikan. pengulangan kanonik adalah pengulangan berjarak, ini dilakukan setelah sumber asal berbunyi tetapi sebelum bunyi tersebut berakhir sudah disambung dengan bunyi pengulangannya. pemeragaman ini merupakan proses meragam atau menjadi majemuk, dari yang tunggal menjadi awatunggal, beragam dan bervariasi. prinsipnya berbeda dengan contoh yang pertama. unsur asal tidak dipertahankan secara ketat dan baku tetapi dikembangkan, diberi ragam atau diberi variasi. ketaksamaan dari unsur asal dikembangkan dari taraf yang sederhana hingga taraf yang lebih rumit. ciri, bentuk, atau struk-ciri, bentuk, atau struktur dari unsur asal diusahakan menjadi berbeda dari unsur asalnya. pengembangan ini tentu saja mengakibatkan hadirnya unsur-unsur lain yang tak sama dengan unsur asal. semakin lama, pengembangan ini dapat menghadirkan unsur yang tidak lagi tunggal, tetapi menjadi unsur-unsur yang beragam dan bervariasi. pada dunia musik, variasi merupakan proses menyusun bahan dan pola dari materi musik yang telah ada atau sebagai turunan dari bahan dasar atau unsur asal yang telah dikembangkan (sutton, 1987:65). kuncinya, unsur asal dijadikan acuan atau titik tolak pemeragaman. di dalam bahasa, gejala pemeragaman dapat diamati pada konstruk pengembangan kata menjadi frase, kemudian frase menjadi kalimat. atau, di dalam musik dike-atau, di dalam musik dikenal dengan pengembangan motif menjadi frase, kemudian frase menjadi kalimat musikal atau periode musikal. contoh lain dapat ditemukan dari hubungan musikal antar instrumen dalam sebuah sajian gending jawa. pemeragaman dicontohkan anderson sutton (1988:174) melalui komposisi permainan gambangnya suhardi pada balungan ketawang puspawarna. suttton (1987:65) menjelaskan pemeragaman atau variasi umumnya dapat ditata dengan menghadirkan bunyi-bunyi, harmoni-harmoni, atau pola-pola ritmik yang ada. ini dilakukan dengan berlandaskan pada dua konteks: pertama, sebagai satu bentuk respons atas situasi yang mendesak ; kedua, satu hasil penting menata keseimbangan (1988:171). tujuannya adalah membangun kondisi musikal dengan kokoh (1987:91) dan diapresiasi secara estetis (1988:197). aton rustandi mulyana dkk, dimensi rame: gejala, bentuk, dan ciri 59 pencampuran proses rame yang lain adalah terjadi melalui pencampuran. ini menyerupai peragaman, terutama dalam hal menghasilkan unsur yang beragam dan bervariasi, akan tetapi pencampuran melibatkan lebih dari satu unsur di dalam prosesnya, saling berbaur satu sama lain, dan pada akhirnya menciptakan penyatuan. contoh paling jelas dapat diamati dari kasus pencampuran musik diantara komunitas bali dan sasak pada upacara pujawali di lingsar, lombok. sebuah peleburan dan penyatuan yang lebih mendalam telah ditempa melalui percampuran musik di antara kedua kelompok di dalam festival tersebut (harnish, 2006). juga, seperti yang ditunjukkan pada ngarot di lelea, dengan memadukan jenis-jenis pertunjukan topeng, ronggeng ketuk, dan jidor/organ tunggal secara bersamaan. prinsip utama pencampuran adalah tersedianya wadah atau ruang yang dapat mengakomodir proses tersebut. wadah atau ruang ini sama dengan katalis, yaitu media pengikat. katalis ini dapat pula menjadi semacam bingkai yang membatasi ranah-ranah ditolelirnya proses pencampuran. melalui peran katalis ini lah, kemudian pencampuran dapat menghasilkan satu kumpulan unsur baru dari unsurunsur yang membentuknya. namun demikian, di dalam satuan kumpulan baru ini tidak berarti bahwa unsur asal menjadi tidak dapat dikenali kembali. sebaliknya, masing-masing unsur asal masih dapat dikenali tetapi dalam satuan yang berbeda. dinamis dan sistem dinamis sifat ini tertera pada interaksi dan keaktivan di antara unsur-unsur yang terlibat di dalamnya. interaksi yang dibentuk atau terbentuk cenderung luwes, penuh dengan penyesuaian-penyesuaian. demikian pula hubungan penggerak dengan benda yang digerakkan maupun hubungan antar sesama penggerak cenderung aktif dan bertenaga. di dalam dunia pertunjukan musik, contoh demikian dapat diamati pada tataluan (orkestrasi pengantar menuju sajian utama) sunda. tataluan sunda merupakan sajian musikal sebelum pertunjukan inti dimulai. biasanya seluruh alat musik ditabuh bersama-sama, keras, dan bergemuruh. prinsipnya, alat bunyi yang tadinya diam dirubah oleh pemusik dengan tenaganya hingga alat bunyi tersebut jadi aktif berbunyi. fungsi awalnya adalah sebagai tanda pemberitahu pertunjukan inti akan segera dimulai. dalam kaitan hubungan ini, suara yang banyak, keras, dan bergemuruh dipandang sebagai media efektif untuk menarik perhatian orang untuk datang ke lokasi sumber suara. malah, bunyi yang semakin banyak, semakin keras, dan semakin bergemuruh dipandang lebih mampu memikat perhatian orang untuk mengetahui dan mendatanginya daripada bunyi yang sedikit, pelan, dan lirih. bandingkan gejala serupa dengan dentuman bom atau lemparan kerikil. namun di dalam prosesnya, tataluan diawali dengan serangkaian penyesuaian. kesesuaian bunyi dan jalinan antar bunyi dilakukan pemusik selama tataluan berlangsung, maupun kesesuaian bunyi diantara pemusik dan penata suara apabila pertunjukan diperkeras dengan alat pengeras suara elektronis. ini adalah ajang penampil menyesuaikan dirinya dengan alat dan situasi pertunjukan rame, meskipun dapat teramati secara acak, senyatanya memiliki kaidahkaidah sistemis. ini agak sejalan dengan tesa-tesa parsonian bahwa ada organisme biologis. di dalamnya terkandung pengorganisasian sejumlah tindakan-tindakan individu, atau kolektif, secara bersamaan. tindakan-tindakan ini bukanlah tindakantindakan sembarang, tetapi tindakan-tindakan yang bersistem (craib, 1984:57-8). sistem tindakan terbentuk dari hubunganhubungan antar pelaku, atau lebih luas lagi dari jalinan antara pelaku, alat-alat, tujuan-tujuan, dan lingkungan baik berupa obyek fisik dan sosial, norma-norma, dan nilai-nilai (craib, 1984:61). antar tindakan tersebut saling berkaitan dan membentuk totalitas. namun, totalitas yang terbentuk adalah bukan sistem yang mapan. harmonia, volume 12, no.1 / juni 201260 totalitas yang dihadirkan adalah sistem yang lebih daripada sekedar kumpulan dari bagian-bagiannya. burns dan deville menyebut sistem tersebut sebagai sistem dinamis. dinamika sistem terfokus pada bagian-bagian berbeda dan tingkat-tingkat sebuah sistem dan interelasi antara lembaga-lembaga, kolektif dan pelaku-pelaku individu, dan proses-proses interaksi berlangsung pada kompleks-kompleks yang multilevel. dengan kata lain totalitas yang terbentuk merupakan sistem dinamis dari tindakan individu, kolektif, dan interaksi (burns and deville, 2007:569). lebih jauh burns dan deville menyatakan, bahwa tindakan dapat memformasi dan mere-formasi sistem. pada satu masa antar tindakan ini dapat memformasi sebuah sistem. namun, pada masa lain antar tindakan ini mere-formasi sistem yang telah dibentuk (2007:569). oleh sebab itu, kedinamisan sistem yang dibentuk oleh relasi dan interaksi dari tindakan individu dan kelompok mengakibatkan bagian-bagian pembentuk rame cenderung tidak sama. proses-proses interaksinya menegaskan bahwa rame itu kompleks dan memiliki saling keterhubungan yang beragam. struktur sistemnya majemuk. sistem dinamis rame terbentuk karena ada proses antar setiap elemen. dinamika proses terjadi melalui pengulangan turunan yang sama, pembentukan turunan yang mirip, atau pembentukan unsur lain yang sama sekali berbeda dari unsur asalnya. dengan kata lain, proses dinamis ini mengubah ketunggalan menjadi kemajemukan dan menjadikannya sebuah sistem kompleks. sistem yang ada tidak hanya dibentuk oleh satu struktur tetapi juga oleh struktur-struktur yang lain. jalinan dari jaringan-jaringan di dalamnya sekali lagi membentuk sistem majemuk. di dalam sistem terdapat sistem-sistem lain. pada sisi lain, kedinamisan ini dapat mengimbas perubahan di dalam dirinya. dapat juga menuntun pola-pola baru dari kemunculan tatanan dan stabilitas. bila dicermati lebih dalam, fluktuasi yang dinamis ini dapat menciptakan saat dan arah perubahan yang penting: apakah rame akan terpecah ke dalam chaos atau melampaui menuju sesuatu yang baru dan lebih berbeda dari keadaan sebelumnya (emergence). pada tahap-tahap permulaan dapat terjadi proses dinamis ini menimbulkan ketakseimbangan. kompleksitas yang ada dapat tidak terkontrol. namun demikian, di dalam tahap berikutnya gejala ketakseimbangan dan tidak terkontrol ini berkembang adaptif menuju pola keseimbangan. prigogine menjelaskan pencapaian pola keseimbangan ini diakibatkan dari dissipative structure atau umum dikenal dengan kemampuan mengorganisasi diri. ini merupakan struktur dasar kehidupan di mana pada fase tertentu memiliki kemampuan untuk menyesuaikan dengan situasi atau perubahan yang ada demi mencapai keteraturan kembali. dengan kemampuan ini dapat terjadi apakah mengulang bentuk yang sama atau menjadi bentuk lain. apabila ditelaah lebih jauh, dinamika proses ini dapat berlangsung di dalam ranah: keteraturan (order) dan ketakteraturan (disorder). keteraturan seperti yang terjadi di dalam penggandaan memiliki sifat pemantapan (equilibirium) dan pengulangan (periodik). sementara itu, ketakteraturan memiliki sifat tak menentu, tidak dapat diramalkan arah perubahannya, dan tidak dapat dikontrol. pada fase tertentu, ketakteraturan ini bisa menjadi chaos. namun demikian, di dalam upacara ketakteraturan yang menjadi chaos ini tidak pernah dapat berakhir menjadi chaos. ini hanya bagian dari sebuah proses yang sejatinya dibingkai. ada frame meskipun tak terlihat tetapi membatasi antara order dan disorder ini. bahkan, di dalam pola ritual kosmogoni, penggambaran chaos justru sengaja diupayakan untuk kemudian dipulihkan kembali pembingkaian (framing) pembingkaian berhubungan dengan pelingkungan dari ruang, waktu, dan aktivitas keramaian. di dalamnya, terdapat batas-batas yang mengelilingi ruang, waktu, dan aktivitas. namun demikian, batas-batas yang menjadi pelingkung aton rustandi mulyana dkk, dimensi rame: gejala, bentuk, dan ciri 61 rame ini tidak terjadi di awal prosesnya. pelingkungannya tidak sama seperti sebuah bingkai lukisan kosong yang sudah tersedia sebelum lukisan dibuat. batas-batas pelingkung justru terjadi di dalam atau bersama dengan aliran proses itu sendiri. batas-batas pembingkai ini kadang tidak dapat dilihat dengan jelas tetapi dapat dirasakan citranya. setidaknya ada dua ciri pembingkaian rame, yaitu: meruang dan temporal. meskipun rame sendiri adalah satu pusat perhatian, rame bukanlah sebuah noktah melainkan kumpulan dari noktah-noktah yang membentuk keruangan. keruangan dibentuk melalui jalinan interaksi dan interelasi dari dan di antara noktah-noktahnya atau unsur-unsurnya. peruangan dapat terjadi akibat dinamika internal atau pengaruh dari dinamika internal tersebut terhadap unsur lain di luarnya. ruang keramaian ini tidak kaku tetapi ini sangat lentur dan cair. luas atau sempitnya ruang tersebut akan sangat bergantung pada jumlah unsur yang terlibat dan intensitas dari interaksi dan interelasi dari unsurunsur pembentuknya. umumnya, ruang keramaian dapat meluas apabila jumlah dari unsur-unsur yang terlibat dan intensitas dari interaksi dan interelasi dari dan diantara unsur-unsur tersebut kian bertambah. sebaliknya, apabila jumlah dari unsur-unsur yang terlibat dan intensitas dari interaksi dan interelasi dari dan diantara unsur-unsur tersebut cenderung berkurang maka ruang keramaian dapat menyempit dan akhirnya pudar. temporal yang dimaksud adalah prosesnya rame. rame bukan proses kekal, sebuah proses yang tidak mengenal kapan memulai dan kapan berakhir, atau proses panjang yang tidak pernah dapat dihentikan. aktivitasnya justru mengenal adanya batasbatas waktu. kesementaraannya sangat berhubungan dengan kegiatan dan daya tahan pelaku mengalaminya. daya tahan orang untuk berpartisipasi atau menyaksikan rame tidak bisa kekal tetapi temporal, rame dan pelakunya dapat bertahan jika dan hanya jika rame itu sementara. rame menjadi bermakna mana kala kesementaraannya justru dijaga. simpulan umumnya rame dianggap sebagai hal wajar, biasa, dan lumrah. malah kerap terjadi rame disejajarkan dengan sebuah kegaduhan, kebisingan, atau hal-hal yang sifatnya menggangu ketentraman atau kenyamanan. namun dibalik itu, rame adalah sebuah kebutuhan hidup. rame memiliki akar sejarah yang panjang dalam kehidupan manusia. hadir dalam setiap aspek kehidupan dari yang spiritual hingga fisikal, dari yang sakral hingga sekuler, dari yang arkais hingga yang mutakhir. rame justru sengaja dibentuk untuk mengisi ruang-ruang hidup yang kosong, sepi, atau nirmakna. r. murray schafer (1977) menyatakan keramaian merupakan kebutuhan untuk menyatakan ketaksendirian sekaligus pembanding dari keheningan yang dianggap kosong dan negatif. dalam sejarah asia tenggara, seperti ditulis reid, pesta keramaian dan hiburan tidak dapat dipisahkan dari kehidupan masyarakatnya. keduanya tidak hanya penting di lapis upacara, simbolis, ritus, agama tetapi juga sosialnya (2011:210). keduanya memperkuat lapis-lapis sosial dan bukan mengikisnya (2011:200). kehadiran rame sendiri di(ter-) kondisikan, tidak pernah hadir tanpa sebab atau aksi. sebaliknya, kehadirannya selalu ada di dalam hubungan peristiwa antara apa yang menjadi sebab dan apa akibatnya, atau apa aksinya dan apa reaksinya. dengan sifatnya yang kompleks, rame memproses dirinya secara dinamis tetapi dalam batas tertentu, untuk kembali pada tatanan sebelumnya. dengan kata lain, rame seperti limen yang memfasilitasi transisi dari order menuju chaos dan untuk kembali ke order. daftar pustaka adorno, theodor w. 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java”, dalam yearbook for traditional music, vol. 19 (1987). tim penyusun kamus pusat bahasa. 2001. kamus besar bahasa indonesia, edisi ketiga. jakarta: balai pustaka. van vliet, jeremias. 1975/1640. the short history of the kings of siam, terj. leonard andaya. bangkok: siam society. vickers, a. 1991. “ritual written: the song of ligya, or the killing of rhinoceros” dalam h. gertz, in state and society in bali. leiden: kitlv. williams, sean. 2006. the ethnomusicologists’ cookbook. new york & london: routledge-taylor&francis group. w.j.s. poerwadarminta.1939. baoesastra djawa. groningen, batavia: b. wolters uitgevers maatschappij n.v. zoetmolder, p.j., dan s.o. robson. 1995. kamus jawa kuna indonesia. jakarta: gramedia pustaka utama. harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 1 /januari-april 200682 bedah buku musikus yang berkompromi dengan ideologi dan berbaju barat judul buku : ismail marzuki, musik, tanah air dan cinta penulis : teguh esha, dkk. pengantar : dieter mack penerbit : pustaka lp3es indonesia cetakan : pertama, agustus 2005 tebal buku : xiii + 195 halaman harus kita akui bahwa karya musiknya yang berupa lagu yang diciptakan selama tiga jaman, yaitu jaman penjajahan belanda, penjajahan jepang, dan jaman kemerdekaan (revolusi) masih menggema sampai saat ini. jumlah lagu yang dihasilkan ismail marzuki selama jaman itu diperkirakan tiga kali lipat dari umurnya yang hanya 44 tahun. lagu-lagu yang dihasilkan hampir mewakili jamannya, semangat patriotisnya, cinta, dan perasannya yang romantis. rayuan pulau kelapa, indonesia pusaka, gugur bunga, sepasang mata bola, aryati, dan juwita malam, adalah beberapa contoh lagu yang mewakili karyanya. sangat disayangkan, sampai sekarang belum bisa dipastikan berapa jumlah karya lagu yang benar-benar digubah sendiri. seperti disinggung dalam bab 5, ada beberapa lagu yang diakui sendiri oleh ismail marzuki sebagai karya orang lain, misalnya lagu panon hideung, yang merupakan saduran dari lagu bangsa kozak yang digubah oleh ruskykorsov berjudul dark eyes. demikian juga dengan lagu-lagu seperti als de orchideen bloeien, ole-ole bandung, dan halohalo bandung, sampai sekarang masih kontroversial, siapa pencipta sebenarnya. kenyataanya, ismail m. tetap “diam” saat menerima penghargaan-penghargaan, sehubungan dengan lagu-lagu kontroversial tersebut. ia mendapat piagam penghargaan dari markas besar angkatan darat pada 17 maret 1971 karena mencipta lagu-lagu perjuangan. salah satu lagunya adalah auld lang syne. padahal seluruh masyarakat musik hampir tahu bahwa lagu tersebut adalah lagu rakyat skot. komposisi yang medunia ini dicipta tahun 1799 oleh robert burns (suara merdeka, 16 oktober 2005). namun demikian menurut penulis buku ini, begitulah kehidupan musik pop, seperti halnya musik pop saat ini. ismail m adalah musikus yang berekspresi dengan memainkan musik, karena ia memang pemimpin orkes studio djakarta, yang bebas memainkan lagu-lagu apa saja baik yang diciptakan sendiri maupun lagu hasil saduran. bukan salahnya jika orang akhirnya mengenal lagu-lagu kontroversial itu sebagai lagu ciptaaanya sebagai akibat lagu itu sering dimainkannya. namun demikian, kedasyatan sejumlah lagu ciptaan ia sendiri yang membangkitkan semangat patriotis, melodis, dan romantis telah menutup “kecacatan” namanya. penghargaan-penghargaan lain yang pernah didapat dari pemerintah indonesia antara lain piagam widjaya kusuma dari presiden soekarno (1961), sekaligus sebagai pahlawan budaya, satya lencana kebudayaan i (1964), dan yang terakhir mendapat gelar pahlawan nasional melalui keputusan presiden nomor 089/ tk/tahun 2004. ismail m adalah seniman otodidak yang mengembangkan bakat musiknya hanya berdasarkan harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 1 /januari-april 2006 83 naluri perasaannya yang ingin mengekspresi-kan apa yang dirasa, dilihat, dan yang diharapkan. namun demikian, pengetahuan (teori) musik dan keterampilan musik dasarnya telah ia miliki, yang mendukung bakat musiknya. ia merasakan rasa musikal yang menggelegak dengan memunculkan melodi-melodi sederhana tetapi indah yang sangat diterima telinga masyarakat pada umumnya. ia melihat kejadian, penderitaan masyarakat pada umumnya yang tertindas pada jaman kolonial, ketimpangan yang terjadi masyarakat, ia tergerak hatinya untuk memberi sumbangsih yang ia kuasai dan miliki dengan membuat komposisi lagu yang menggugah semangat untuk berjuang. mungkin karena jiwanya yang lembut banyak syair-syair lagu perjuangannya tidak prontal, mengajak untuk berontak atau melawan. rayuan pulau kelapa adalah salah satu contoh lagu yang dianggap para kritikus musik tidak mencerminkan atau mengajak orang untuk “bergerak”. isi syair lagu tersebut memang hanya memuja alam, meng-gambarkan keindahan dan kekayaan indonesia. namun sebenarnya jika didalami syairnya dan perpaduannya dengan harmoni alur melodinya, maknanya sangat dalam dan lebih dari semangat mencintai tanah air. di samping itu, ia juga mengantisipasi keadaan. jika diekspresikan secara pulgar maka lagu tersebut tentu akan dilarang oleh penguasa pada saat itu yaitu jepang. gambaran situasi politik mulai dari hindia berlanda 1930-1942 sampai pendudukan jepang 19421945 dan aktivitas ismail m digambarkan panjang lebar dalam bab 3 oleh teguh esha, salah satu penulis buku ini. dalam bab ini penulis juga menggambarkan saat dramatis, saat di mana ismail m berkiprah dalam bidang musik yang digelutinya pada saat revolusi tahun 1949 hingga akhir hayatnya. sub judul yang berbunyi “revolusi pun usai : periode akhir ismail marzuki” mengajak pembaca untuk menyimaknya. bab 4 lebih banyak menyorot beberapa kritikan beberapa kritikus musik seperti amir pasaribu, ja dungga, liberty manik, dan franki raden. dengan gaya jurnalistik tetapi ilmiah, penulis bab ini merangkai secara sistematis kritikan para kritikus tersebut yang diambil dari berbagai sumber. namun demikian, penulis bab ini, yang juga seorang jurnalis dan juga seniman, dikritik oleh pengantar buku ini, dieter mack, seorang tokoh pendidik dan peneliti musik berkebangsaan jerman, yang menyangkut konsep keindonesiaan dan kemerdekaan. dalam pengantarnya dieter mack banyak menyoroti isi bab 4, yang dianggap menarik tetapi dianggap “lucu” terutama bagi orang eropa, termasuk ia sendiri. sesuatu yang “lucu’ ini misalnya pendapat bagaimana musik mewakili “keindonesiaan” dan “kemerdekaan” jika gramatika musik yang dipakai justru milik para penjajah. ia juga balik “mengecam” sekaligus “tertawa” pada para kritikus musik yang dianggap “sombong” dengan pendidikkan akademik musik barat yang dimilikinya yang menganggap musik ismail m sebagai musik yang tidak bermutu. para kritikus musik yang oleh penulis buku ini dianggap sebagai kacung-kacung kebudayaan penjajah bagi dieter mack tidak penting. dalam mengukur “kadar” kesenimanan seseorang tidak bisa dilihat dari latar belakang akademis. sekali lagi dieter mack “heran’ bagai-mana musik bisa mewakili kein-donesiaan dan kemer-dekaan jika gramatika musik yang dipakai adalah bagian dari unsur budaya si penjajah? sebuah pertanyaan besar yang sering di sampaikan orang-orang barat pada bangsa indonesia sehubungan dengan musik dan per-juangan. kita memang sering lupa bahwa indonesia memiliki kesenian daerah sendiri yang bermacam-macam dan bernilai tinggi. anehnya kita selalu berkutat dengan “pencarian kesenian nasional”. musik gamelan, misalnya, baik gamelan sunda, jawa, maupun bali adalah jenis kesenian yang bernilai seni tinggi yang diakui dunia. dunia telah mengakui kehebatan dan keindahan harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 1 /januari-april 200684 musik gamelan dan telah mempelajarinya. festival gamelan i yang berlangsung di vancover kanada tahun 1986 yang diikuti berbagai negara di dunia membuktikan itu. seharusnya kesenian-kesenian daerah yang ada di pelosok indonesia diang-gap sebagai kekayaan kesenian nasional. bukankah keanekaragaman itu sendiri merupa-kan inti keindonesiaan dan kemer-dekaan. indonesia ada karena adanya keanekaragamanan budaya. bab 5 dan bab 6 salah satu kelebihan buku ini. analisis intrinsik yang lebih membahas isi syair lagu-lagu ismail m disajikan dalam bab 5, sedangkan analisis musik dibahas secara sederhana dalam bab 6. dianggap sederhana karena hanya menganalisis struktur dan bentuk (form) dengan beberapa lagu yang dijadikan model. sangat disayangkan bahwa salah satu lagu modelnya adalah lagu “halohalo bandung”, sebuah lagu yang dianggap kontroversial karena diragukan bukan ciptaan ismail m. yang asli. jika demikian apakah ini akan menggabarkan ismail m. sebuah karya seni seperti puisi, lagu, dan karya seni lainnya biasanya mewakili penciptanya. ismail m. adalah musikus tetapi belum menggambarkan sebagai sosok seniman sejati. seorang seniman biasanya selalu mencari “penyim-pangan fungsional”. menurut dieter mack “penyimpangan fungsional” ini mengacu pada norma-norma demi keunikan ekspresi yang dituangkannya. dalam buku ini justru membuk-tikan hal di atas, apalagi tulisan penulis yang hanya memaparkan format formal musik ismail marzuki ketimbang penjelasan atau interpretasi estetis para penulis dalam konteks tertentu. dari beberapa judul lagu yang juga ditulis syairnya secara lengkap pada bab 5 dapat disimpulkan bahwa ismail marzuki adalah seorang yang sangat peka dan peduli dengan bangsanya. beberapa syair lagunya mencerminkan semangat patriotisme, walaupun kadangkadang dengan bahasa yang halus, tidak seperti c.simanjuntak yang selalu meng-ungkapkan syair lagu-lagu dengan tegas, misalnya lagu maju tak gentar. walaupun setiap penyair memiliki kebebasannya (licencia poetica) dalam mewujudkan idenya, namun sebenarnya syair-syair lagu ismail marzuki termasuk “ketinggalan jaman”, seperti syair pujangga lama. musik-musik ismail marzuki dianggap sederhana dilihat dari kacamata gramatika barat. musik yang ia pakai adalah yang bergramatika barat yang menggunakan sistem tangga nada diatonik. namun bukankah lagu kebangsaan kita juga menggunakan sistem barat termasuk juga semua lagu wajib dan lagu nasional kita. memang sebuah ironi di tengah kekaguman bangsa barat terhadap musik tradisional kita. adalah dieter mack yang selalu memberi “dorongan”, dalam setiap kesempatan, pada bangsa kita untuk melirik dan memperhatikan “musik negeri sendiri” sebagai salah satu materi pendidikan musik di sekolah-sekolah. jika tidak, suatu saat kita akan belajar musik kita sendiri di negeri orang. ismail m adalah salah satu contoh musikus yang mengenakan “baju musik barat” walaupun berdalih baju itu hanyalah sebagai wahana pengantar jiwa patriotismenya dalam membela negara. saya dapat menarik pesan yang tersirat dalam buku ini bahwa ismail marzuki adalah seorang musikus, yang berusaha mekompromikan ideologi dengan musiknya. ideologi yang ia anut adalah musik yang tidak bersifat absolut dan ia tidak perlu “egois” dengan prinsip kesenimanan yang harus “setia” dengan prinsip tersebut seni yang bersifat kritis, demi tujuan yang ia inginkan. tujuan yang ia inginkan adalah musik sebagai medium untuk mengekspresikan rasa nasionalismenya. itulah sebabnya, ia harus melakukan kompromi-kompromi musiknya menjadi musik fungsional. dilihat dari sifatnya, memang ini dapat menciderai kebebasan musik itu sendiri. musik sederhana tanpa gramatika yang rumit tetapi mampu mengekspresikan dirinya dan menyampaika ideologinya. harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 1 /januari-april 2006 85 bagaimana pun, kita harus menghargai usaha para penulis yang telah berani membuat tulisan ini yang dianggap cukup komprehensif, minimal sebagai pembanding dengan tulisantulisan sejenis yang dimuat di media lain. dikatakan pembanding karena kenyataannya sumber data yang didapat dalam menggali informasi dalam sebuah kajian bisa saja berbeda, atau gaya penyampaian tulisan yang berbeda, sehingga dapat memberi kesan berbeda pula. sebagai contoh, di harian suara merdeka tanggal 8, 15, dan 29 februari 2004 (dibuat dalam 3 bagian) dalam artikelnya yang berjudul “jejak ismail mazuki”, heru emka, menggambarkan ismail marzuki dalam hidupnya serba kekurangan. tetapi dalam buku ini mengatakan sebaliknya. lain pula dengan tulisan remy sylado yang berjudul “budaya nyolong dalam komposisi musik”, yang juga ditulis dalam tiga bagian dan dimuat dalam harian suara merdeka tanggal 2, 9, dan 16 oktober 2005, yang menggambarkan sikap sinis penulis yang menyalahkan pemerintah yang serta merta memberi penghargaan pada ismail marzuki tanpa data yang benar. suharto daftar pustaka harjana, suka. 1996. “festival gamelan sebagai premis kebudayaan” dalam artikel seminar heru emka, 2004. “sindiran paman lengser” dalam suara merdeka 2004 hoed, m, 2004, “komponis berjiwa romantis” dalam suara merdeka 2004. remy sylado. 2005. “budaya nyolong” dalam suara merdeka 9 september. rangkuti. 1985. lagu-lagu pilihan ismail marzuki.jakarta: titik terang. 204 ryuji kunimatsu guitar arrangement on the oblivion by astor piazzolla: a critical analysis andre indrawan, nur iskandar albarsani, kustap kustap, suryati suryati institut seni indonesia yogyakarta, indonesia submitted: 2021-08-25. revised: 2021-11-21. accepted: 2021-12-26 abstract this study examined the characteristics of kunimatsu’s guitar arrangements in astor piazzolla’s oblivion by comparing aspects of musical form, melody, and harmony. as with other arrangements’ performances, the primary motif of astor piazzola’soblivion melodic theme in kunimatsu guitar arrangement has always been played differently from the original version. this performance phenomenon could responsibly risk blurring the identification of structural boundaries within its musical form. the purpose of this study is to prove the basic construction of oblivion melody, including its form structure and rhythmic characteristics, by comparing kunimatsu’s arrangements against the composer’s original score. this study uses musicological research methods. the approaches applied in studying this work are analytical, theoretical, and comparative. this study compares the two data to reveal the musical forms and the differences in the primary motive rhythmic characteristics. the results of this study are findings of the oblivion musical forms in both publications and the differences in primary motives rhythmic patterns in both sources. the difference in musical form is impressive, possibly caused by the insertion of auxiliary members. as a result, kunamitsu arrangement includes using the two-part song form, originally a three-part song form. with the revelation of the original melodic structure that is clear from the results of this study, the musicians who will present the oblivion will at least have the essential reference in their interpretation. this research contributes to expanding studies in classical guitar performance and musical forms and new approaches in textual musicological analysis that are still infrequent. keywords: musical form, arrangement, classical guitar, piazzolla, interpretation how to cite: indrawan, a., albarsani, n. i., kustap, k., & suryati, s. (2021). ryuji kunimatsu guitar arrangement on the oblivion by astor piazzolla: a critical analysis. harmonia: journal of arts research and education, 21(2), 204-220 harmonia: journal of arts research and education 21 (2) (2021), 204-220 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i2.31750 guitarists. this study takes the arranged version of japanese guitarist ryuji kunimatsu by comparing it with the original composer’s script on its melody. this research primarily relates to two subjects that the first author teaches in the department of music, faculty of performing arts, yogyakarta indonesian institute of the arts (institut seni indonesia, or isi), musical form theory and guitar introduction this study explores the characteristics of astor piazzolla’s oblivion performance interpretation in the guitar solo arrangement version. the oblivion melody is so famous that many musicians perform it with different instruments and arrangements. in addition, the melody has also been arranged for guitar solos by many corresponding author: e-mail: indrawan_andre@isi.ac.id p-issn 2541-1683|e-issn 2541-2426 andre indrawan, et al., ryuji kunimatsu guitar arrangement on the oblivion by as205 studies. another reason for choosing this topic is the second author’s undergraduate thesis, whereas the first author was his supervisor. meanwhile, the third and the fourth authors’ roles were as an examiner and a thesis reader. the similarity of this research to the thesis is using the same sample, namely kunimatsu’s guitar arrangement on astor piazzolla’s oblivion. however, this research differs from the thesis because it focuses on analyzing musical forms as the performance interpretation, while the thesis on kunimatsu’s harmony aspects on the piece. music is like the human body that it has a form as its skeleton. the form in music consists of melody as its soul, harmony or counterpoint as mind, and rhythm as its heart pulse (ewen, 1954; maconie, 2010; rachman, 2013; rachman & lestari, 2013). musical form range from figures as the smallest elements—combining two or more figures will result in a motif. these motif elements then form more meaningful units, such as semi phrases and phrases. for example, a pair of two phrases, namely antecedent and consequent, results in a sentence or a period. this combination constructs various forms of musical work (rubio, 2019; stein, 1979). in current scientific journals, it is still hard to find the topic concerning musical forms. however, textual studies on music still exist. for example, a publication by moseley (2019) examined the primary forms of anton webern’s twelve-tone music. the other studies on the musical form have widely developed and are associated with physiology and the psychology of music. bader (2021a) examines the correlation of musical form elements, i.e., musical phrases, to the capacity of human memory. meanwhile, deliège & mélen (1997) investigate the listener’s perception of understanding the musical forms. although not as many studies as in the psychology of music, recently, several theoretical studies of musicology have sought to uncover the application of musical forms in society. boonplian et al. (2020) analyze a musical form of the mon ethnic groups’ lullaby singing in thailand. the other multi-discipline studies on musical form and media culture practiced by hadi et al. (2021) analyze banjar’s popular song in south kalimantan. another study contextualizes musical form study with stage communication strategy. hudson (2021) analyzes banjar popular song in south kalimantan. another study contextualizes musical form study with stage communication strategy. hudson (2021) studies compound ternary musical form’s characteristic that heavy metal music has applied. he contextually looks at the strategy of musicians in manifesting the musical form, which is known as the compound aaba. such an approach allows for musical form differences as the significance of aesthetic poses or social positions, which contrasts programmed communication. in the context of music education in the digital era, supiarza et al. (2021) examine the competence of the z generation students in interpreting poetry into the creation of the keroncong, indonesian popular music in the 50s style. while his focus is on students, ghozali (2020) examines the competence of teachers in learning music. meanwhile, another study of indonesian popular music by raharjo et al. (2021) examines the conservation and transmission of gambang semarang music in the people of semarang in central java. unlike bowed instruments that also use strings, even other guitars, the classical guitar has widely functioned as an instrument that performs solo works (bader, 2021b). since the late romantic period, many classical guitar repertoires have been arrangements, or transcriptions, from the works for instruments of other former non-guitar composers. from the 1970s to the present, classical guitars have even used a wide repertoire range (o’toole, 2019). this study discusses musical form, motif, and harmony characteristics of astor piazzolla’s work, oblivion for various instruments, by comparing the original score and its guitar arrangement by ryuji harmonia: journal of arts research and education 21 (2) (2021): 204-220206 kunimatsu. generally, musical elements, such as forms, and the other performance aspects, such as techniques, instrumentation, interpretations, arrangements, and composition, have recently been studied. there are many famous argentine composers, but piazzolla is legendary due to his unique musical style. illustration images cover various musical forms and genres in an article labeled as an essay not intended for piazzolla fans. the illustration depicts argentina’s musical life; however, pattern details of their musical forms are not available (vavilov, 2021). besides, a book explores the historical traces of tango instrumental music in argentina, including piazzolla’s tango style (link & wendland, 2016). the book offers a view of the argentine tango in developing instrumental art forms and musical style innovations. however, it does not specifically review the results of the analysis of their musical form. although publication of the piazzolla studies is recently minimal, his works have attracted some college academic studies as companion reports on graduate recital final assignments. for example, in his doctoral dissertation on instrumental tango idiom, drago (2008, pp. 107, 114) used works by piazzolla orchestra, including oblivion, among the tango nuevo’s presentation and rhythm pattern samples. the specific comparison between the arrangement results and the original melody of piazzolla’s oblivion is still hard to find. however, drago’s research (2008) shows that the study uses extracts of original melodies on piazzolla’s works for comparison, including oblivion. drago(2008) analyzed the tango style in the context of ornamental processing. from many analyzes of ornaments, oblivion motif extracts were the ones to describe the grupetto ornament type. oblivion extracts as the grupetto ornaments examples in comparing performance to its original melody are from bars 12-13 and 16-17. the other explanation of arpeggio-diminution application is in bars 17-21. in completing her master’s studies, molazadeh (2013) examined astor piazzolla’s histoire du tango as a phenomenon of latin musical influence on flute repertoire. in addition, to increase the loyalty of the style, cosano (2019), a doctoral candidate, wrote new transcriptions of the three piazzolla’s saxophone quartets for critical writing assignments to complete his doctoral study. technical analysis of piazzolla’s music is a topic discussed in two of cardoso’s works. his first work examined incorporating jazz elements into the tango of astor piazzolla (cardoso, 2018). the other one explored the fourth intervals phenomenon that characterized piazzolla’s compositions (cardoso, 2021). however, these studies relate to the style of music and composition techniques of the tango. although there are studies concerning various musical aspects in astor piazolla’s compositions, including his new-tango style, no one directly studies his original guitar works or their arranged guitar versions, especially oblivion. zhovnir (2018) discusses the creative influence of piazzolla’s guitar works on the mainstream style trends of latin american music but does not guarantee the authenticity of the composer’s guitar version. although astor piazzolla was not a guitarist but an instrumental virtuoso for bandoneon (britannica, 2021), we assume that almost all of his guitar works are, in fact, arrangements by famous guitarists (see vincens, 2020). currently, not many researchers are interested in the musical form of piazzolla’s works and the originality characteristics of his melodic motifs. this is because music form and thematic motif can only be known through melody, while studies that discuss piazzolla’s original pieces, oblivion, do not yet exist. although the study of harmony in piazzolla’s works, particularly oblivion, was not found, other jazz studies assumption no doubt that it is in the jazz style (cardoso, 2018, 2021). jazz elements integrated into piazzolla’s music indicate that the harmonies of his works should contain andre indrawan, et al., ryuji kunimatsu guitar arrangement on the oblivion by as207 modified conventional chords. the chords with various extra-tones and conventional harmonic movements with several alternatives to the dominant seventh are prevalent in jazz harmony (aravena, 2020; hedges et al., 2014; pinheiro, 2020; yamamoto et al., 2020). however, no research has proven the piazzolla’s harmony basis, both in the arrangement and original melody in particular. this study analysis is similar to drago’s(2008) method, which compares the arrangement version to the original oblivion melody. the difference is that he used a particular extract of oblivion as one among other composition examples, while this study examines specifically the oblivion. another similarity is with vincens’s (2020) study, which compares two arrangements of the same piazzolla’s composition. however, while he focuses on the creativity of two guitarists in producing an arrangement of a piazzolla’s work, this study focuses not only on the guitarist but also on the composition. therefore, this study looked at how the interpretation of a composer’s composition in its performance. this research reveals how the creativity and complexity of kunimatsu arrangements in interpreting the work through performance. to meet the demands of accurate interpretation, a musician needs to understand the actual structural boundaries within the form of a work he performed. in the context of this study, the research should formulate problems as a limitation of discussion. therefore, the authors need to answer the research questions: 1) what musical form does the composer apply to the oblivion melody? 2) why do kunimatsu’s melody arrangements indicate a different musical form compared to the original version? 3) why are oblivion’s primary motifs played differently in many performances, including piazzolla? 4) what is astor piazzolla’s harmonic style in oblivion? the purpose of revealing answers to these questions is to clarify oblivion’s musical form and understand the performance interpretation of this melody that refers to its source. this study needs to refer to the original score representing the composer version to approach and solve the problems. method this study uses a musicological research method with approaches that encompass an analytical (al-mashakbeh, 2018; shokotko, 2020; watanabe, 1967), a theoretical (cabria, 2021; watanabe, 1967), and a comparative (björk et al., 2021; nettl et al., 1992; nettl & bohlman, 1991; watanabe, 1967). as a field of musical science, musicology applies a comprehensive methodology so that it is equivalent to science in general (winters et al., 2016). the field has been treated as a visualmusicology among the current development. the discipline then has been a subdomain of established musicology with appropriate analytical and visualization tasks (miller et al., 2019). novara (2020) states that musicology is a field of research that has methods and concepts. the field demands the development of methodological standards that are no less strict than natural sciences. cherniavska (2019) theoretically explores musicology as a method. the musicological scope encompasses the form and notation of music, the lives of composers and performers, the development of musical instruments, and musical theory (such as harmony, melody, rhythm, and scale). musicology then has evolved from the discipline of historiography to a new research system. the system crosses the fields of acceptance history that encompasses: institutional history, structural and genre analysis, acoustics, critical reflection, semiological analysis, hermeneutical reflection, and epistemology (barbo, 2020). the musicological method applied in this study seeks to uncover the proper musical form of piazzolla’s oblivion melody based on two sources, the original melody and the transcription of kunimatsu’s perforharmonia: journal of arts research and education 21 (2) (2021): 204-220208 mance. the sample of this study is ryuji kunimatsu’s solo guitar arrangement publication on piazzolla’s oblivion. the reason for choosing this arrangement was, first of all, the connection classical guitar education background of the authors. this option made it easier for researchers to analyze if they were more familiar with instrumental sounds than others they did not know. secondly, piazzolla’s oblivion melody is trendy among 20th-century musicians, even today. the performance of various arrangements, both from the composer himself and from other musicians ranging from an instrumental solo up to orchestras, show a tendency towards the same rhythmic flexibility in performing the primary motif of this melody. the performances of the primary motif deviated from the essential characteristics of the written motif based on the original notation. according to the authors, kunimatsu’s arrangement as a sample in this study may represent this general trend in performing the motives. this musicological study used analytical methods to interpret parts of oblivion’s melody and reconstruct them to determine the relationship between one part and another. this study examined kunimatsu’s arrangements through theoretical methods and confirmed with the theories in musical form. at the same time, this approach also looked the harmonic progression applied in the original manuscript. after analyzing oblivion’s original melodic motifs, a comparative approach was applied to compare it to the theoretical interpretations of the motifs contained in kunamitsu’s arrangement. by observing similarities and differences in two versions of oblivion motifs, this study identifies kunamitsu’s interpretation of oblivion’s melody. this assessment covers several stages. the first was to determine the research sample, in this case, the oblivion melody of the kunimatsu arrangement version. the second stage was to find the original script of the melody to find out the exact musical form of piazzolla’s oblivion melody. it was crucial to refer to the original manuscript, or at least from the publication of the original copy, to ensure the proper musical form of this melody. in this relationship, the third stage attempts to re-copied the original melody independently of this work to facilitate analysis. the fourth stage was to identify the main part of the oblivion melody based on an independent copy of the score. the fifth stage was to identify the harmonic movements that clarify oblivion’s musical form. the six stage was to analyze kunimatsu’s melodic version by extracting it from the guitar score. the seventh stage was to compare the musical forms of kunimatsu arrangement to its source version. after going through these seven procedures, finally, the eighth stage was to identify the creativity of kunimatsu’s performance in astor piazzolla’s oblivion arrangement. result and discussion the result of this study is an analytical description of the musical form based on the original melody score of the composer’s version arrangements. in this result and discussion section, the analysis of the musical form and comparisons between the two melodic versions are confirmed with theories about musical forms. in addition, confirmation of the findings of this musical form is reinforced by the analysis of the harmonic progression of oblivion melodies. the piazzolla’soblivion is a melody that is very popular among musicians of the current century. various arrangements by other musicians cannot be separated from the strong association between this melody and the composer. the manuscript, which is presumed to be original of the oblivion composition found in this study, was not in the form of an ensemble or a solo instrument but the original single melody with chord accompaniment symbols. the melody is in the key of c minor with its three flats key signature, a minor relative to the key of e-flat major. andre indrawan, et al., ryuji kunimatsu guitar arrangement on the oblivion by as209 musical form and melody the original version of the oblivion melody length is 64 bars. the melody uses a three-part song form, consisting of section a as part i (the opening), then section b as part ii (the middle), which is a contrast, and back to section a as part iii (the return). the return of section a in part iii follows the da capo al fine phrase at the end of part ii; the back from beginning up to finish sign. therefore, there is no change whatsoever. figure 1.the repetition of period in part i. part i consist of three conventional construction of periods. thus, each of these periods consists of four bars of the antecedent phrase and four consequent bars. because each period has a significant difference, identifying the periods in this part uses numbers as the coding, namely a1, a2, and a3 (see figure 1). the primary motif of the oblivion formed in the first antecedent semi-phrase, from a series of five descending notes of the c minor scale, from its dominant to the tonic, or from g to c notes (see figure 2). the second antecedent’s semi-phrase continues in the following third and fourth bars. the second motif appears in the lower sequent at the minor third interval in the next semi-phrase, moving down from e-flat to a-flat notes. thus, an antecedent phrase has been confirmed (see figure 2). the following four bars, starting from the fifth bar up to the eighth, are the second phrases of the first period. the first note of this second phrase starts from the tonic of c minor that lasts as long as a dotted half note equals the same duration as the three quarters. although it may appear to be different from the primary motif at the antecedent phrase, it derived from its diminution. consequently, the motif in the first semi-phrase does not serially decrease by five notes, but the fourth note stepped up one level. figure 2. normative periodical construction of the first two periods in part i if the antecedent first phrase used five notes, then the consequent’s first semiphrase used four notes only. the fourth note seems to have been dropped on purpose and immediately closes with the fifth note so that this semi-phrase uses only four notes. the next semi-phrase completes the consequent. this semi-phrase motif develops the last three notes of the previous semi-phrase, which continued with a series of notes within the framework of a half cadence (bars 7-8). this condition formed the entire period, which is the theme of this oblivion melody. meanwhile, at the end of period a1, a half cadence shows that this period expects a period repetition. the next period following the primary theme of oblivion is a complement to the double period type. the first semi-phrase of the second period is not precisely the same as the consequent’s first semi-phrases of the oblivion’s theme. in contrast to the first-period construction, where the two phrases tend to differ due to diminution, the consequent’s second phrase of the second period (13th to 16th bars) has a more similar motive to its antecedent. it is the consequent phrases from interval below the tonic of c minor of its antecedent. however, the end of the antecedent’s second bar forms the perfect cadence to conclude a series of double periods. this harmonia: journal of arts research and education 21 (2) (2021): 204-220210 cadence brings the semi-phrase modulates to the subdominant key, the f minor, in the third bar of this phrase. so that this is uncommon that there is no second semi-phrase in this consequence. the three upbeat notes at the end of this consequent phrase as if would usher to part iii but, in fact, not happen. the first phrase from the third period is a sequent in the upper minor second position above the primary motif. from the perspective of melody direction, these fluctuations were closely synonymous with the primary motif. however, from the harmonic perspective, the movement of harmony decorates this melody dynamically. the consequent phrases from this period use very emphatic harmonic dynamics with authentic cadences that lead to the tonic of the c minor key. thus, this phrase provides certainty for the end of a three periods unit of the double periods. figure 3 shows the continued construction of part i from the expanded double period. the three periods of this section are composed of the usual arrangement of phrases. the first two periods almost showed a perfect double period but were interrupted by unexpected cadences. the cadence instead of going to the basic key of c minor but patterned to the subdominant, namely f minor. it was only at the end of the third period that the cadence brought back the basic key of this work. as the departure part, part ii consists of two contrasting periods: the first new period and its repetition. therefore, to differentiate between the two, the identification uses code b1 and b2, respectively. part ii comprises the repetition of the first period as the beginning of period b2. using this approach that presents noticeable cadence at the end of each period, the half cadence in the first period, and the authentic cadence in the second period, there is no doubt that this is a solid double period of part ii. figure 3. the third period of part i is the consequent phrase’s extension of the second period. figure 4. the contrasting part that resembles a development section. part ii forms a standard double period that comprises two four-bars unit phrases. however, in terms of its harmony, it is not merely a contrasting section but also resembles a development section. figure 5. modulation by authentic cadences in part ii. the part ii of the oblivion melody comprises the development sections, containing a series of authentic cadences that accompany modulation sequences (see figure 5). this section is mainly from the apparent repetition of periods. theoretically, each of these periods should be the combination of two contrasting phrases. however, only the first period appears ultimately in its notation while the second only features its second semi phrase, the consequent. the repetition written with an ending in the first and second chambers clearly shows a perfect double peandre indrawan, et al., ryuji kunimatsu guitar arrangement on the oblivion by as211 riod construction due to the similarity in their antecedent. this development section ends with the da capo (d.c.) al fine phrase, which means going back to the beginning up to the fine sign (final/ end). the concluding mark of the composition at the end of the exposition section as the third part, confirms that this piece is in three-part song form. kunimats’s musical form and melody this section compares musical form and motif which are applied in kunimatsu’s arrangement to the original version applied by composer. ryuji kunimatsuis a japanese guitarist who is very professional in his field. kunamitsu was born in kyoto in japan in 1977. he went to spain to study guitar and composition. among the learning processes he went through, the most important was his study at the luthier art music school. the second analysis source of this study is the guitar arrangement by ryuji kunimatsu. as a composer, his works are numerous and varied, and he uploads them to his website to download them freely. likewise, this research material makes use of these facilities (kunimatsu, 2021b). figure 6. part i of kuimatsu’s version. kunimatsu’s guitar arrangement has the same parts as the original version, namely part i, part ii, and part iii. however, the difference encompasses: firstly, he added the introduction and coda parts; secondly, he does not use the d.c. (da capo) instruction sign, i.e., to return to the beginning of part i, or d.s. (dal segno) back to the segno sign, but rather rewritten as a continuation of part ii. while the original version uses d.c., he did not stop after part iii but instead re-played part ii before entering coda. as seen in figure 6, part i, the overall picture of part i of kunimatsu’s arrangement is no different from the structure in the original melodic version. except for the additional introduction, the entire part ii form is exactly the same as its original version, that it has three equal periods. in addition to auxiliary members in the beginning, i.e., introduction or prologue, the use of key signatureisno longer c minor but being e minor. kunimatsu’s guitar arrangement of the oblivion includes a 16 bars unit of introduction. as a result, rhythmical tango characteristics appear in the introduction melody. a half cadence then concludes this section and expects the coming of the main tune in the tonic key (see figure 7). harmonically, the e-minor ninth chord wraps the groove of the introductory melody towards its dominant in the last two bars as a closing that leads to the main part of the work. figure 7. the short prologue with its unique figurative rhythmical pattern. part i, which comes after the introduction, consists of three consecutive periods. the motifs in this introduction section, or prologue, will reappear again in the coda section or epilogue in the same way. figure 8. the first part of kunimatsu’s version in e-minor. harmonia: journal of arts research and education 21 (2) (2021): 204-220212 in kunimatsu’s guitar arrangement, the central figure features the melodic motive representing oblivion musical interpretations in many performances (figure 8). the second motive at the second semiphrase does not start from the third bar but pulls a half-beat before the thesis beat to the end of bar 1 (see figure 9). kunimatsu version: original version: figure 9. motif comparison between kunimatsu version and the original melody this condition could cause the semi phrases borders to blur and the debatable whether it consists of five or six notes. meanwhile, part ii promotes a parallel double period with the same characteristic of its antecedent. kunimatsu version original version figure 10. periodical construction comparison of part ii in kunimatsu’s score, the antecedent phrase is re-written separately. if the work is in three-part song form, the work should resume at the end of part i. however, kunimatsu continues to part ii for the second time up to the coda. this condition makes the musical form of this work resemble the two-part song form. the part ii of kunimatsu’s arrangement is not essentially different from the original version. however, he cut one bar of the consequent phrase of the second period in part ii. kunimatsu re-performs this part again after the return that makes it fall into a repeated two-part song form. the use of repeat marks here is a kind of reduction that aims to understand its musical form’s essence. the use of the d.s. al coda in this analysis is not coming from the original printed arrangement score but the authors’ idea. even though obeying the printed score that was published without repetition, it does not change the essence from the perspective of musical form. figure 11. sketch of part ii presenting double periodical construction. figure 12. the consequence appearance of part ii for the second time this treatment caused the antecedent to consist of a single phrase. so the use of three bars phrase has happened previously that the combination of two three-bars phrase units forms a single period of the introduction and the coda. chord progression comparison in the discussion of theory, it can be understood that jazz elements are integrated into the works of piazzolla (cardoso, andre indrawan, et al., ryuji kunimatsu guitar arrangement on the oblivion by as213 2018). among other jazz elements, harmony and chord movement are characteristics that can be easily traced because they move along with the movement of melodies. the chord analysis result will appear in the following three tables. due to the limited space of columns in the tables, the use of symbols for major and minor chords applies capital and lowercase letters. for example, d-major will appear as “d,” while d minor as the “d.” the additional sharp symbol will use the upper case so that the b-flat chord will appear as “bb,” and the raised seventh chord, e.g., the seventh fsharp chord, will symbolize the “f#7”. the symbol of major seven chords that sometimes use the “maj7” symbol following a chord. however, the triangle sign( ) will replace it instead. the slash after a chord followed by a capital letter means the additional bass note to the chord. for example, “g7/d”, or g dominant seventh bass d, is a synonym term for the second inversion of g7. in this construction, the lowest note of the chord is the third note level of the g7 triad. the last symbol appears in the following tables is a minus sign (-). the use of a minus sign between two chords shows a chord’s progression within a bar. therefore, “g7sus 4 g7” means a movement from the dominant seventh g chord with additional sustain on the fourth note (the c) to the next following original dominant seventh chord where the fourth, which is the dissonance note, is solved to the third (the b). table 1 illustrates harmony that strengthens the formal construction of the oblivion original melody of the first and part iis. the border between the first two periods is the half cadence that brings the melody to the original tonic of c minor. in part ii, the melody modulates in the cycleway through several subsequent authentic cadences. finally, the dominant-tonic chord progressions of the authentic cadence appear in sequent in part ii. the f-minor arrival at the last progression in f-minor brings to the period section repetition marks the beginning and the end of the b1 period. the third period brings the melody to the f-minor key, which is the sub-dominant of c minor. the repeated antecedent passes the first ending and jumps to the second ending, to the sequent of the b2 period. the second period of the double period takes its antecedent’s second turn as the b2. table 1. chord progressions defining harmonic setting of the source in the key of c minor. period phrase bars of each phrase 1 2 3 4 a1 ant c c c c con f7 bb 7 eb ab d7 -5 g7 a2 ant c c c c con g7 -5 c7 f f/eb a3 ant d7 -5 g7 c c/bb con d7/a g7 sus 4g7 c c b1 ant f7 bb 7 eb ab con d7 -5 g7 c-g7/d-eb c7/e b2 ant f7 bb 7 eb ab con d7/a g7 c c kunimatsu transposed the olivion’s original key signature from c minor to in e minor. however, he does not change the basic idea of its harmonic progression. table 2 comprises a harmonic comparison between kunimatsu’s arrangement and the original melody version. the harmonic symbol accompanies the chord’s presentation. therefore, the position of the chords in the key of c minor as the representation of original score and e minor for kunimatsu’s arrangement would easily be recognized. the comparison of both versions shows no significant harmonic changes between the two sources except modifications caused by the key-signature transposition. however, some technical adjustments are inevitable due to the challenge of the limited capacity of the guitar. the types of harmonies used in oblivion indicate the integration of jazz elements. jazz chords are formed from conventional chords added to other tones, and these different tones are obtained from harmonia: journal of arts research and education 21 (2) (2021): 204-220214 table 2. harmonic progression of the first part of kunimatsu’s version compared to the source period phrase keys bar of each phrase 1 2 3 4 a1 ant 1 # e e e e 3 b c c c c symbol i i i i con 1 # a7-d7 g c f#7 -5 b7 3 b f7-bb7 eb -ab d7 -5 g7 symbol iv7-vii7 iii -vi ii7 -5 v7 a2 ant 1 # e e e e 3 b c c c c symbol i i i i con 1 # b7 -5 e7 a a/g 3 b g7 -5 c7 f f/es symbol v7 -5 i7 iv iv4/2 a3 ant 1 # f#7 -5 b7 e e/g 3 b d7 -5 g7 c c/bb symbol ii7 -5 v7 i i4/3 con 1 # f#7/c# b7 sus 4-b7 e e 3 b d7/a g7 sus 4-g7 c c symbol ii(4/3) v7 sus 4-g7 i i table 3. harmonic progression of the second of kunimatsu’s arrangement compared to the source. period phrase keys bar of each phrase 1 2 3 4 b1 ant 1 # : a7 d7 g c 3 b : f7 bb 7 eb ab symbol: iv7 vii7 iii vi con 1 # : f#7 -5 b7 e-b/f#-g e7/g# 3 b : d7 -5 g7 c-g7/d-eb c7/e symbol: ii7 (-5) v7 i v(4/3) i(4/3) b2 ant 1 # : a7 d7 g c 3 b : f7 bb 7 eb ab symbol: iv7 vii7 iii vi con 1 # : f#7/cis b7 e e 3 b : d7/a g7 c c symbol: ii(4/3) v7 i i andre indrawan, et al., ryuji kunimatsu guitar arrangement on the oblivion by as215 multiples of third intervals over traditional triads. suppose the increase or decrease of conventional triad elements impacts major, minor, augmented, and diminished nuances. in that case, triad elements will form the seventh chord so that the triad element becomes four tones. the increase or decrease of one of its elements will produce a wealth of harmony. another exciting thing about the harmonic aspect of this work is the transfer of cadres by modulation. by increasing its multiples to ninth chords, the triad element becomes five tones. the addition of the seventh tone will produce a unique tonic chord, the major seventh chord, while the decrease will change the chord status to dominant seventh. the increase, decrease, and reversal of the position of the triad tone sequence will produce a variety of unique and rich chord nuances. however, oblivion jazz harmony is not up to the ninth chord. therefore, the jazz chords used are the standards applied, including major seventh, minor seventh, and fifth tone drop in minor chords and fourth tone suspense on dominant chords. the rest is triad reversal and the addition of another bass tone to a chord. discussion the form is an essential element in music as a framework that unites melody, harmony, and rhythm (ewen, 1954; maconie, 2010). as a language construction in a musical system, musical forms combine melodic sentences or periods. the three-part song form is the aba pattern, also known as ternary form, characterized by statement, departure, and restatement. theoretically, the length of the a is at least one period, while the b is from one phrase to one period (see rubio, 2019; jo stein, 1979). the result of this study shows that the musical form of oblivion melody is a three-part song form. part i or the a in oblivion is an extended double period, while the b is a double period. however, in this study, the kunimatsu arrangement version has been identified as a two-part song form. since oblivion is a piece of popular music, it is natural to use a three-part song form. moreover, as seen from its lyrics, lullabies music from mon ethnic group in thailand also uses ternary form (boonplian et al., 2020). meanwhile, heavy metal music uses a three-part song form, which he refers to as aaba (hudson, 2021). thus, the finding of form shift in kunimatsu’s arrangement confirms hudson’s (2021) theories as well as boonplian (2020) related to the three-part song form (ternary form or aba form) in popular music. oblivion’s main parts comprise three periods of the double period type in exposition and two parallel periods in its departure or contrasting parts. following the part ii, the melody goes back to the beginning and repeats the first part to meet the ternary form pattern and finish requirements. however, in the kunimatsu arrangement version, there is a shift from a three-part song form to a two-part one, where the repetition occurs in all of the two main parts. musical forms are sometimes confusing in performance, whereas piazzola’s oblivion is available in various versions, including solos and ensembles. however, except for kunimatsu’s arrangement, all versions of the work performances on the youtube media, such as orchestral, chamber music, piano, and guitar solo, mostly apply a three-part song form. in addition, all of them use similar introductions and codas. specifically, for guitar arrangements versions, guitarists who refer to these standard forms include roland dyens (international, 2016), kossinskaja (guitars, 2016), and bardesio (2017). however, kunimatsu’s version was not only presented by himself (kunimatsu, 2021a) but also by other professional guitarists such as mathews (2014) and trintschuk (siccasguitars, 2020) and amateur guitarists; among them is hong (2018). the musical forms identified in the kunimatsu arrangement use introductions and coda that utilize the same melodic pattern. at first glance, we would think that kunimatsu applies a fully repeated twopart form (excluding introduction). hoharmonia: journal of arts research and education 21 (2) (2021): 204-220216 wever, if we take a closer look, kunimatsu might also agree with the three-part form. the appearance of part ii for the second time after the repetition of the first part could be on purpose. it might be possible that kunimatsu likely placed part ii towards the end of the work as part of an epilogue. the section then was ended by a coda that uses the motif adopted from the introduction. the melody that becomes the material of part ii has the characteristics of loose expressions, such as the celebration of freedom following the former repetition of three periods in the previous sections. if this happened in a popular music band, it seems that this part ii would be in repetition until it finally faded away. if so, then it was enough to conclude the work without including a coda anymore. however, instead of making it fade out, kunimatsu chooses to display it for what it is and closes with motifs stemming from the introduction. thus, this motif will lead the audience to the rhythm pattern of piazzolla’s tango nuevo. so, after kunimatsu displayed his creativity through melodic elaboration, the audience would likely admire him. to end this arrangement, he wanted to return it to the composer, astor piazzolla, the originator of the tango nuevo. the change in musical form in the kunimatsu arrangement confirms the results of hudson’s (2021) studies on the implementation of aaba compound form presentation, or three-part song form, on heavy metal music. the presentation of heavy metal music allows for a shift in form as an expression of communication between musicians and audiences. furthermore, the arrangement performance of piazzolla’s works, both from kunimatsu and other musicians, generally falls into entertainment music. thus, three-part song form and the shift in musical form in performance are natural phenomena in entertainment music. the comparative approach carried out in this study agrees with drago’s (2008) method. the presentation of oblivion melodic motifs on kunimatsu arrangements that tend to outwit the structural boundaries of semi-phrases from the main motif is reasonable in the context of interpretation. on the kunimatsu arrangement, the first tone of each motif repeat appears first in the last beat of the previous bar by syncopating and holding the tone past the first beat. as a result, the audience would think the tone was part of the first semiphrase piece. in jazz, such a thing is prevalent in bossa-nova (de lima &ramalho, 2008; ricci, 2018), so it should not affect the structure. the changes made by performers in jazz music should be correct interpretation as long as the player understood the essence of its original version as its composition background (see shanks, 2020). while interpretation is often associated with the way a work performs (meissner, 2021), the arrangement plays a significant role as another form of performance interpretation. arrangements that are widespread with various instrument formations present oblivion melody quite differently from the original. however, even the composer himself performing this melody on the bandoneon did the same. therefore, although not precisely the same as the other arrangements, this study has considered kunimatsu’s musical arrangement to represent the other’s presence of the work performance interpretation. the melodic motif in this arrangement sounds like a phrase with five descending notes and ended by one opposite upper note. however, according to the original melodic notation, it only has five notes in two bars. therefore, theoretically, from the analysis of the original melody, a period becomes very clear, consisting of four two-bars units, which is equal to a combination of two four-bar unit phrases (ewen, 1954; maconie, 2010). determining precise structural boundaries between semi-phrases, phrases, and periods is challenging due to the arranger’s improvisation or elaboration. harmonic progression analysis could solve the structural identification problem as andre indrawan, et al., ryuji kunimatsu guitar arrangement on the oblivion by as217 a supplement in comparison to the original version. chord progression turns out to be able to lead us to clarify these boundaries. however, the best way is to analyze the original melody so that an artist can estimate the structural limitations of the arrangements he plays. musical form differences between the original version and the others arrangements do not occur. there should be an explanation behind the change. first, possible reasons would be the inclusion of auxiliary members, in this case, the unique introduction and coda. the arranger’s creativity in ornamental improvisation, as in the kunimatsu’s arrangement, and possible uses of part ii after the returned part iii on purpose as an epilogue that ended up with coda, was the other reason. conclusions the contribution of this research is specific to the expanding studies in classical guitar performance and musical forms as a device of interpretation. however, this study has revealed the productive creativity in showing the uniqueness of his composition. at the same time, this study has also revealed the reproductive creativity of performers in interpreting the composition. in addition, the performer has successfully exhibited his excellence as a musician in his guitar arrangement. besides its contribution to the development of guitar study, this research will positively impact future studies in musicology. based on the literature review in this paper, studies of music analysis have friction on two opposing musicological sides, namely the increasingly sparse textual classical on one side and the increasingly widespread contextual on the other side, which can be compromised. thus, the classical approach can be associated with real contemporary contexts in society to compensate for the contextual studies of musicology that depart from non-musical science. acknowledgments our appreciation presents to yogyakarta indonesian institute of the arts (isi yogyakarta), especially the research institute and the department of music. their support in facilitating this research has contributed to completing this article published as our education outcome. 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(2018). astor piazzolla’s creative activity representation in guitar art of the late 20th and early 21st centuries. bulletin of kyiv national university of culture and arts. series in musical art, 0(2), 125–134. https://doi.org/10.31866/26167581.2.2018.153386 132 sejarah musik sebagai sumber pengetahuan ilmiah untuk belajar teori, komposisi, dan praktik musik hari martopo institut seni indonesia yogyakarta, parangtritis km 6,5 yogyakarta, indonesia e-mail: harimartopo.isi@gmail.com abstrak dalam ranah pendidikan music, mata sejarah musik memiliki fungsi paling dasar dan penting sebagai pengetahuan ilmiah bagi semua mata pelajaran dan minat-minat studi yang terkait dengan bidang studi musik. sejarah musik sangat bermanfaat untuk belajar teori-teori (musicology), atau penciptaan musik (composition), dan juga praktik-praktik vokal maupun instrumen musik (performance). sekalipun sejarah musik penting sebagai pengetahuan ilmiah, tetapi perlu dilengkapi dengan sumber informasi tambahan antara lain pengetahuan tentang kebudayaan; sejarah filsafat; sejarah umum; perkembangan teknologi dan sains; bahkan mitologi. artikel ini diharapkan akan dibaca dan bermanfaat bagi siapa saja terutama para pelajar musik dan juga termasuk para pengajar sejarah musik. pembelajaran sejarah musik dapat dieksplorasi agar menjadi lebih menarik, menyenangkan, dan mencapai tujuannya yakni sebagai ilmu pengetahuan ilmiah musik. history of music as a source of scientific knoledge to learning theories, compositions, and music practices abstract in the domain of music education — the history of music has the most basic and important function as scientific knowledge for all subjects and interests – the interests of related subjects with majors in music. it is very beneficial to learning theories (musicology), or music creation (composition), and also practices of vocals and music instruments (performance). though it is important as scientific knowledge, but it needs to be complemented by additional information sources like knowledge of culture, the history of philosophy, public history, the development of technology and science, and even mythology. this article will hopefully be useful for anyone, especially the students and also teachers of music history. learning music history can be explored in order to become more attractive and fun, and achieve the goal of learning; that is a source of scientific knowledge. kata kunci: sejarah; musik barat; klasik; pengetahuan ilmiah donesia yogyakarta khususnya di jurusan musik sekitar 26 tahun hingga kini; penulis meyakini bahwa penyampaian mata pelajaran sejarah musik harus dilengkapi dengan berbagai informasi pengetahuan tambahan agar murid bisa memahami pendahuluan berdasarkan atas pengamatan yang cukup lama pada pengalaman mengajarkan sejarah musik di jurusan musik pada fakultas seni pertunjukan institut seni inhari martopo, sejarah musik sebagai sumber pengetahuan ilmiah untuk belajar teori ... 133 perkembangan musik dari setiap periode waktu dengan lengkap. pada umumnya mata pelajaran sejarah musik dipahami sebagai suatu pengetahuan tentang musik yang berisi terutama cerita atau paparan lahir dan berkembangnya musik-musik secara kronologis dari awal hingga kini. ada beberapa buku sejarah musik yang ditulis dengan penekanan yang berbeda-beda pula, misalnya penulisnya lebih menekankan aspek bentuk musik (musical form), atau perkembangan gaya musik (musical style), tetapi juga ada yang memilih penekanan pada aspek pencipta (composer) dan gaya hidup (life style) masyarakat sekitarnya pada waktu itu dalam suatu paparan lengkap gambaran kebudayaannya. bagi para pelajar musik terutama tingkat-tingkat pemula, mereka acapkali belajar sejarah musik dengan sekadar mengikuti pelajaran saja, tidak berupaya memiliki buku, jika punya buku pun hanya dibaca dengan hafalan saja. membaca buku sejarah musik dengan teknik membaca pemahaman sungguh belum terbiasa. hal itu bisa dipahami karena para pelajar tingkat pemula itu belum bisa berkonsentrasi penuh membaca dengan cara memahami isi buku. mereka masih bergulat dengan tugas-tugas praktikal berlatih keras memainkan instrumen musik pilihannya untuk mengejar ketertinggalan atau meningkatkan kualitas psikomotoriknya. dari pengalaman mengajar di depan kelas bertahun-tahun, pertanyaan kepada mahasiswa baru apakah mereka masih ingat bagian dari sejarah nasional kita, atau mereka tahu bagian dari sejarah dunia, ternyata mayoritas tidak menjawab. hanya sedikit sekali yang masih mengingat tentang perang kemerdekaan, atau hampir tidak berminat untuk mengingat kembali apa yang sesungguhnya mereka telah pelajari di tingkat sekolah sebelumnya. jika sejarah bangsa sendiri saja diabaikan, bagaimana dengan sejarah dunia dan atau sejarah kebudayaan dunia? padahal sejarah musik berlatarbelakang peradaban dan budaya barat sejak periode yunani kuno hingga sekarang. istilah-istilah seperti ‘yunani’, ‘romawi’, ‘barat’, ‘abad pertengahan’, ‘renesan’ atau nama-nama sokrates, plato, aristoteles, alexander agung, paus gregorius agung, napoleon dan seterusnya—hampir tidak diketahui para pelajar pemula. uniknya mereka sudah mengenal sedikit tentang mozart dan beethoven, tetapi lebih banyak yang tahu tentang musisi-musisi sekarang dan gaya musik antara lain pop, rock, jazz, dan sejenisnya. dari pengetahuan dasar tentang jenis dan gaya musik yang diketahui, jelas bahwa motivasi belajar musik pada umumnya sebatas untuk meningkatkan ketrampilan memainkan instrumen dan menguasai musik-musik kekinian saja. namun mereka juga sadar bahwa belajar musik apa pun perlu tahu tentang musik klasik sebagai satu-satunya sumber pengetahuan musik. ada keyakinan bahwa sejarah musik merupakan ilmu pengetahuan dasar yang penting dan diperlukan untuk belajar semua aspek musik, mata pelajaran yang wajib dikuasai sejak awal hingga purna dalam belajar musik; namun pembelajaran sejarah musik tidak dapat dilaksanakan sekadar membacakan isi paparan buku saja melainkan harus dilakukan penambahan informasi banyak hal dan pemaparannya pun harus lebih menarik dengan mengeksplorasikan menggunakan powerpoint, pemutaran musik audio-visual, film, menampilkan peta-peta wilayah, dan lain sebagainya. defenisi dan ruang lingkup sejarah musik sejarah musik sesungguhnya sama seperti sejarah-sejarah pada umumnya, namun sedikit berbeda karena yang dipaparkan adalah ‘musik’ yang mengandung aspek bunyi (audible). sejarah yang mencatat semua peristiwa dan fenomena penting terkait dengan adanya musik sejak zaman kuno hingga kini yang meliputi periodeperiode secara kronologis: yunani kuno (6000 sm hingga 500 sm); abad pertengahan (500 sm hingga 1200 m); renesan (abad ke-13 hingga abad ke-16); barok (abad ke-17); klasik (abad ke-18); romanharmonia, volume 13, no. 2 / desember 2013134 tik (abad ke-19); dan modern (abad ke-20 hingga sekarang)—semua itu sesungguhnya adalah sejarah musik barat meliputi musik-musik yang berada dalam lingkup kebudayaan eropa barat (western culture). kata ‘barat’ dalam konteks pendidikan seni khususnya musik acapkali masih menjadi isyu yang kurang konstruktif. bagi orang barat, sejarah musik banyak ditulis mulai dari periode abad pertengahan, penulisnya pasti beranggapan bahwa sejarah musik harus berisi paparan tentang musik-musik yang bisa dipertanggungjawabkan secara historis, yakni memiliki bukti otentik tertulis (notasi) dan ada bunyinya yang setidaknya bisa dimainkan lagi (rekonstruksi). sedangkan penulis lain ada yang berkeyakinan memulai dengan periode yunani kuno yang sesungguhnya belum sepenuhnya historis namun arkeologis. pada periode yunani kuno memang sudah terjadi perilaku orang bermusik dalam budaya mereka, namun artefak-artefak yang ditinggalkan hingga kini masih berupa gambar-gambar di kuil, batu nisan, dan pot-pot bunga, serta cerita-cerita tentang kehidupan para dewa-dewi dalam mitologi mereka. terkait dengan dualisme model penulisan sejarah musik itu, untuk keperluan pembelajaran sejarah musik bagi kelas pelajar pemula sebaiknya kita pilihkan yang kedua, sejarah musik yang dimulai dengan sedikit pengetahuan tentang periode yunani kuno akan bermanfaat sekali untuk memberikan keluasan pandangan tentang cikal-bakal dunia barat. hal ini bukan atas dasar alasan agar pembelajaran menjadi rumit, namun perlu diketahui oleh para murid bahwa kebudayaan yunani kuno adalah penting sebagai cikal-bakal kebudayaan barat (yang kelak hingga kini mendunia) dan bisa dipahami secara seimbang. dalam konteks filsafat, pikiranpikiran para filsuf yunani kuno telah terbukti menjadi peletak dasar bagi adanya pengetahuan-pengetahun ilmiah (saintifik) kemudian hari. bangsa yunani kuno sadar mereka telah menciptakan ceritacerita khayal dalam mitologinya, namun dengan sadar pula mereka menerapkan hal itu menjadi ilmu-ilmu pengetahuan yang realistis. mereka telah terbukti mampu mengalihkan pengetahuan mitologisnya (mitos) menjadi pengetahuan-pengetahuan logik (logos). kata ‘barat’ menjadi kata yang masih banyak diperdebatkan bilamana terkait dengan musik. para pelajar musik pemula sering memertanyakan kata itu karena bingung dengan komentar teman atau keluarga mereka, mengapa harus belajar musik barat dan bukannya belajar musik bangsa sendiri? pertanyaan semacam itu terus ada terkait dengan pendidikan musik, sekalipun demikian tidak terjadi bagi mereka yang belajar sastra inggris, perancis, dan bahkan bahasa rusia. agaknya belajar bahasa asing kini sudah biasa, tetapi jika menyangkut belajar musik yang instrumen-instrumen musiknya seperti biola, piano, gitar, drum, trumpet, dan flute—bisa dianggap asing. kata ‘barat’ bagi bangsa kita terkadang dipersempit konotasinya dengan “orang bule”, ‘penjajah’, “bukan timur seperti kita”, “bukan tradisi kita sendiri” dan lain sebagainya yang semua sebutan itu sedikit negatif atau kurang konstruktif. sebagian dari masyarakat kita memang masih mengalami trauma berkepanjangan atas penjajahan oleh orang barat, namun banyak juga yang sekadar gemar menghafal slogan-slogan anti penjajah yang notabene hanya oleh belanda, inggris, dan portugis—padahal jepang juga menjajah kita dengan sangat kejam tetapi kita sudah melupakannya. definisi atas sejarah musik sudah sangat jelas seperti disebutkan di atas, sedangkan ruang lingkupnya juga demikian jelas. ciri khas sejarah musik selain benar-benar historis namun juga memiliki notasi musik yang bisa direkonstruksi dengan cara dimainkan lagi. materi pembelajaran sejarah musik yang lengkap bisa meliputi aspek bentuk musik, gaya musik, jenis-jenis musik, komposer, musisi, notasi, instrumen, budaya, tradisi, seni, dan corak sosialyang melingkupinya. sejarah musik sangat terkait dengan sejarah arsitektur dan seni rupa di barat sejak periode kuno hingga modern. oleh karena itu hari martopo, sejarah musik sebagai sumber pengetahuan ilmiah untuk belajar teori ... 135 penulis artikel ini ingin menjelaskan kepada pembaca, bahwa pembelajaran sejarah musik kepada murid tidak bisa lagi hanya sekadar dengan cara memaparkan sebuah buku sejarah musik, namun harus disertai dengan upaya-upaya kreatif memberikan informasi-informasi lain untuk murid-murid yang memang nyaris tidak pernah tahu sebelumnya. eksplorasi pembelajaran sejarah musik rencana pembelajaran sejarah musik bisa disusun secara kreatif dengan berbagai cara menambahkan dan melengkapi informasi antara lain: periodesasi periodesasi dan fokus pada setiap periode perlu ditentukan. jika periode yunani kuno dianggap penting, maka paparan tentang era filsuf plato sekitar 500 tahun sebelum masehi menjadi hal penting untuk disampai secara ringkah kepada para murid yang pada umumnya belum belajar filsafat, pemikiran para filsuf dan apa relevansinya dengan musik yang akan dipelajarinya. sebelum memaparkan secara historis, aspek arkeologis bisa dibuktikan bahwa musik ada seiring dengan keberadaan manusia itu sendiri. rossi dan rafferty (1963: 3) menyatakan musik paling awal itu tidak akan mudah diketahui. gambar-gambar hasil guratan orang-orang primitif mengindikasikan apa yang sekarang kita pahami sebagai instrumen-instrumen musik, tetapi seperti apa bunyi dan melodinya tetap tidak diketahui—pengetahuan kita hanya bisa menduga dan mengkategorikan sebagai instrumen musik: perkusi, tiup kayu, petik, dan lain sebagainya. hampir dapat dipastikan bahwa ritme adalah unsur musik paling awal digunakan dalam musik. di gua-gua ada bekas telapak kaki-kaki yang memvisualkan cara orang primitif berjalan atau berlari yang bisa diterjemahkan sebagai pola-pola irama sesuai pikiran mereka waktu itu. gendang (drums) adalah instrumen perkusi yang awal sekali digunakan untuk keperluan komunikasi menggunakan pola-pola ritme antar mereka yang tinggal bermil-mil jauhnya dan dalam upacara-upacara ritual. fakta lain, orang-orang indian di amerika utara pada waktu itu menggunakan asap yang dikepulkan dengan berbagai pola ritmik panjang-pendek berulang-ulang sebagai sinyal komunikasi. melodi adalah unsur musik yang juga pertama digunakan oleh orang-orang primitif dalam berkata-kata dengan mengolah tinggi-rendah suaranya dalam berbagai pola. manusia diciptakan berbeda-beda dan hal itu menciptakan warna suara yang berbagai macam pula; mereka menggunakan instrumen musik berbahan alam seperti tanduk binatang, cangkang kerang, atau seruling bambu, bahkan dengan menggetarkan sekaligus dawai-dawai dari kulit binatang—mereka telah menemukan warna suara (timbre). dengan cara mengulang-ulang penggalan-penggalan bunyi atau suara, mereka menemukan bentuk (form). berabad-abad kemudian, orang mencoba bernyanyi dalam berbagai macam melodi sekaligus dan oleh karena itu tercipta atau ditemukan apa yang kini kita ketahui sebagai praktik musikal kontrapung (counterpoint) dan kemudian menjadi harmoni (harmony)—texture. konsep musik kata ‘musik’ yang berasal dari mitologi yunani perlu dijelaskan sebagai kata bentukan dari kata bahasa inggris: music = muse + ic, sesuatu yang bersifat muse atau seni para muse (the art of the muses). konon muses adalah sebutan jamak dari para muse ialah para dewi nyanyian, musik, tarian, dan ilmu pengetahuan—yang berjumlah sembilan, anak-anak dewa zeus (god) dan dewi mnemosyne (memori). muse (bhs. yunani:mousa atau moisa; bhs. latin:musa—dalam kepercayaan mitologi yunani-romawi), sekelompok bersaudara dewi-dewi yang kurang jelas keterangannya tetapi benar-benar kuno, mereka tinggal di bukit helicon, boeotia, yunani. konon mereka datang dari pieria di macedonia, tetapi sesungguhnya pieria ada di yunani. sembilan dewi itu: (1) clio (sejarah), (2) euterpe (puisi lirik), (3) thaharmonia, volume 13, no. 2 / desember 2013136 kedudukan seni, musik dan ilmu secara historis. tabel 1. kronologi bidang-bidang pengetahuan (disadur dari timelines” encyclopedia britannica 2006) subjek pengetahuan waktu mulai religi awal waktu teknologi 2600000 sm seni sekitar 30000 sm ekologi sekitar 20000 sm kehidupan sehari-hari sekitar 12000 sm obat-obatan sekitar 10000 sm arsitektur sekitar 7000 sm musik sekitar 6000 sm olahraga sekitar 5200 sm perihal wanita sekitar 3500 sm sastra sekitar 3000 sm eksplorasi sekitar 2900 sm perihal anak sekitar 2600 sm ilmu sekitar 600 sm konsep barat kata ‘barat’ bisa dijadikan topik kecil untuk perenungan bagi para murid yang bisa diambil dari dari buku-buku yang relevan. contohnya adalah artikel berjudul “kebudayaan eropa berdasar tafsiran jan romein” dalam buku brouwer: studi budaya dasar (1984: 91-213) yang cukup ringkas dan jelas menggambarkan bahwa barat itu memang berbeda dengan timur—oleh karena sejarahnya, bukan karena faktor-faktor lain—sekaligus tidak dalam konteks menghadap-hadapkan barat dengan timur. penuturan brouwer atas teori jan romein tentang kebudayaan eropa (barat) sungguh konstruktif dan tidak memihak. jika atmosfer kurang bersahabat dengan kata barat itu hingga kini masih ada, merupakan representasi dari pikiran-pikiran yang sukar maju dan tidak adil. to thi anh, seorang wanita vietnam yang memiliki masa kelam dalam perang dengan amerika, pada tahun 1974 menulis sebuah buku yang memuat pandangannya tentang hubungan timur-barat dari aspek budaya seperti berikut: sepanjang sejarah, pertemuan antara timur dan barat lebih berbentuk perlia (komedi), (4) melpomene (tragedi), (5) terspsichore (tarian), (6) erato (puisi cinta), (7) polyhymnia (himne, kemudian juga pantomim), (8) urania (astronomi), dan (9) caliope (puisi epik). penyair wanita sappho sering disebut sebagai muse ke-10. pengetahuan tentang patung-patung mereka hanya sedikit, tetapi cerita-cerita yang ada menunjukkan bahwa mereka terkait dengan festival yang diadakan setiap empat tahun sekali di thespiae dekat helicon dan sebuah kontes (museia)—diduga sekali sebagai awal dari praktik menyanyi dan bermain musik. mereka mungkin sekali aslinya adalah dewi-dewi yang dijadikan sebagai patron dari puisi-puisi pada awalnya, kemudian meluas termasuk kepada semua bentuk seni bebas dan sains—di sini mereka dihubungkan dengan lembaga-lembaga semacam museum (mouseion, tempat tinggal muses) di alexandria, mesir (croon, 1965: 138-139). konsep dari seorang sufi besar india bernama hazrat inayat khan, bisa dikatakan mewakili dunia timur dalam pemikirannya tentang musik yang berbeda dengan barat. ia berpikir musik itu bersifat surgawi yang bisa digunakan untuk melihat tuhan bebas dari segala bentuk dan pemikiran. bagian dari tradisi kerakyatan india meyakini bahwa kata ‘musik’ berasal ketika nabi musa menerima perintah tuhan di gunung sinai dengan kata-kata” musa ke!—musa mendengar, atau musa merenungkan—dan wahyu yang diturunkan kepadanya adalah nada dan irama. musik diyakini dari kata musake. menurutnya kisah ini tidak boleh dipahami sebagai penjelasan etimologis (khan, 2002: 3-7). jika pertanyaan ‘kapan’ musik mulai ada, jawabnya sudah bisa didapatkan yakni sekitar tahun 6000 sm dengan adanya gendang dan bedug tersebut. dari 14 subjek yang kelak menjadi pengetahuan dan ilmu, musik menempati urutan ke8, setelah kesadaran tentang religi yakni sejak dunia mulai diciptakan pada urutan ke-1 dan teknologi sebagai urutan ke-2 pada sekitar tahun 2600000 sm, dan seterusnya. berikut adalah kronologi bidangbidang pengetahuan tenatng bagaimana hari martopo, sejarah musik sebagai sumber pengetahuan ilmiah untuk belajar teori ... 137 saingan, konflik, dan perang daripada saling mengerti, bersahabat, dan kerjasama. bagi kebanyakan orang timur, “barat” selalu dihubungkan dengan kapitalisme, teknologi, dan imperialisme. bagi orang barat, “timur” selalu dikaitkan dengan kelebihan penduduk, kemiskinan, dan keterikatan pada masa lampau. pada kedua belah pihak ada prasangka, ketidaktahuan, dan salah informasi (to thi anh, 1974: 1). konsep klasik sejarah musik selalu meliputi suatu ruang lingkup musik klasik. kata ‘klasik’ berasal dari kata ‘kelas’ + ‘ik’ (akhiran), yang berarti ‘berkelas’. musik klasik (kata ‘klasik’ dengan huruf ‘k’ kecil) meliputi semua musik yang sifatnya abadi, serius, seni, dan bukan untuk keseangan semata dan seadanya. musik yang diciptakan untuk tujuan keindahan, bukan semata-mata untuk menghibur seperti musik hiburan. oleh karena itu objek sejarah musik meliputi semua karya musik dari zaman ke zaman yang bercirikan sifat-sifat tersebut dan abadi, sejak sebelum kristus lahir (sebelum masehi) hingga era modern abad ke-20 dan seterusnya. penggunaan kata ‘klasik’ untuk musik itu berbeda makna dengan penyebutan suatu periode sejarah musik klasik wina (vienna classic style) yakni musik-musik hydn, mozart, beethoven pada pertengahan abad ke-18 di austria, khususnya kota wina. sifat ilmiah musik sifat ilmiah pada musik dapat dicari indikatornya justeru pada aspek sejarahnya. sejarah musik hingga kini telah disusun secara sistemik oleh para sejarawan musik yang didukung terutama oleh para arkeolog dan musikolog. menurut peter r. senn, ilmu adalah suatu hasil upaya manusia untuk memperadab dirinya, melalui berbagai macam cara dan upaya mendapatkan kebenaran (suriasumantri, 2009: 110). sesuai dengan teori itu, sejarah musik telah menemukan jalannya sendiri secara logis, objektif, analitik, kronologis, dan sistemik—menjadi pengetahuan ilmiah, pengetahuan yang memenuhi aspek-aspek keilmuan. selanjutnya senn mengajukan teori sistem ilmu yang mensyaratkan beberapa komponen pembentuk ilmu: (1) perumusan masalah; (2) pengamatan dan deskripsi; (3) penjelasan; dan (4) ramalan dan kontrol (suriasumantri, 2009: 111). untuk itu sejarah musik telah memenuhi sekurang-kurangnya tiga komponen yang dipersyaratkan olen senn. sejak periode yunani kuno hingga modern, sejarah musik telah menyajikan rumusanrumusan masalahnya setiap periodenya dengan jelas, memenuhi aspek penting dan kegunaan dari ciptaan-ciptaan musik itu. penyusunan sejarah musik juga telah dilakukan dengan pengamatan dan deskripsi atas semua nama dan jenis musik setiap periodenya. sejarah musik juga telah mampu secara komprehensif menjelaskan musik sebagai teks dan konteks-konteksnya dengan sejarah umum, kebudayaan, seni lain terutama seni lukis, patung, dan arsitektur pada setiap periodenya. hanya komponen keempat senn yang tidak mungkin dipenuhi oleh sejarah musik karena sifatnya yang historis berupa catatan masa lampau tentang musik. sejarah musik tidak memiliki kewajiban untuk melakukan peramalan dan apalagi mengontrol atas karya cipta musik masa datang dan bagaimana gaya musik yang akan muncul. perkembangan bentuk musik (form)dan tekstur mulai dari monofon, polifon, hingga homofon; sejak awal menggunakan bahasa latin hingga bahasa-bahasa bangsa lain; perkembangan dari teks lagu religius ke sekular; gaya ekspresi mulai dari yang konservatif hingga dramatik; aspek kegunaan musik untuk pujian hingga hiburan; dan praktik pertunjukan yang klasik tertata rapi di gedung konser hingga yang tidak resmi dan sederhana di tengah masyarakat. peningkatan teknologi pembelajaran peningkatan teknologi pembelajaran sejarah musik bisa dilakukan dengan memanfaatkan program power-point dan ditayangkan di layar; juga memutarkan filmfilm musik tentang komposer-komposer tokoh setiap periode setidaknya sejak peharmonia, volume 13, no. 2 / desember 2013138 riode barok: antonio vivaldi (italia) dan johann sebastian bach (jerman); periode klasik: franz joseph haydn (austria dan inggris) dan wolgang amadeus mozart (austria); periode romantik awal: ludwig van beethoven (austria dan jerman) dan franz peter schubert (austria); periode romantik tengah: felix mendelssohn (jerman) dan frederich chopin (polandia); periode romantik tinggi: johannes brahms (jerman) dan peter ilich tchaikovsky (rusia); dan periode romantik nasionalis: antonin dvorak (prancis) dan edward grieg (norwegia). ada beberapa film antara lain berjudul amadeus yang mengisahkan tentang kehidupan mozart di tengah kalangan ningrat austria; film beethoven; film impromptu tentang chopin berkarya dan hubungan asmaranya di hungaria; film the sound of music sebagai film yang sangat bagus untuk menjelaskan bahwa kekuatan musik sangat besar bagi keluarga dan musik bisa digunakan sebagai alat tawar politik antara austria dengan jerman dalam konteks perang penjajahan. film berjudul concierto de aranjuez yang mengisahkan komposer spanyol bernama joaquin rodrigo yang buta tetapi sangat bersemangat dalam mencipta musik-musiknya. sebagai pelengkap untuk menumbuhkan atmosfer murid mempelajari musik, ada film berjudul antonio stradivari pembuat biola terkenal di italia. juga ada film yang perlu sekali ditonton para murid agar mereka lebih bersemangat dalam belajar (praktikal) musik, film berjudul from mao to mozart: isaac stern in china yang mengisahkan peran isaac stern, violis klas dunia dari amerika, yang sengaja datang ke china untuk memberikan master-klas kepada anak-anak dan pemuda-pemudi belajar biola dan musik secara benar dan penuh motivasi. mitologi musik mitologi yunani kuno merupakan materi pelengkap yang menarik bagi para murid sejarah musik. setidaknya ada beberapa cerita mitos seperti dewa apollo dan dewa dionysus yang perlu dipaparkan terkait dengan klasikisme dan romantikisme. penggambaran sosok apollo yang baik, halus, dan tenang, serta cakap, yang melambangkan harmoni dan kepandaian—semua itu menjadi ciri-ciri khas dari seni klasik hingga abad ke-18 di eropa. sebaliknya dewa dionysus, terkadang disebut bacchus, sosoknya digambarkan berlawanan dengan apollo. ia diidentikan dengan dewa tanaman anggur yang tampil dengan pakaian yang kurang rapi dan tingkah laku sesuka hati layaknya seorang pemabuk berat. sifatnya yang mengagungkan kebebasan berekspresi telah menjadi patron bagi para seniman dan musisi dari sejak yunani kuno hingga para romantikus abad ke-19. simpulan pembelajaran sejarah musik bisa lebih menarik dan bermanfaat bagi para murid untuk jika pengajar berupaya keras mengeksplorasi dengan menambahkan materi-materi informasi dari bidang-bidang lain. untuk belajar teori, komposisi, maupun praktik musik, semuanya memerlukan pengetahuan dasar perkembangan musik yang idealnya dipaparkan bukan secara verbal saja tetapi juga secara audio dan visual. hambatan bahwa murid kurang memiliki pengetahuan lain di luar bidang musik bisa diatasi dengan menyisipkan informasi-informasi seperti kebudayaan, sejarah umum, mitologi, dan khususnya pengetahuan tentang ‘barat’ agar mereka semakin tahu pentingnya berwawasan luas. daftar pustaka anh, t. t. 1984. nilai budaya timur dan barat: konflik atau harmoni?, terjemahan john yap pareira. jakarta: penerbit pt gramedia. brouwer, m. a. w. 1984. studi budaya dasar, bandung: penerbit alumni. croon, j. h. 1965. the encyclopedia of the classical world, englewood cliffs. new jersey: prentice-hall, inc. ferris, j. 2008. music: the art of listening, new york: mcgraw-hill compahari martopo, sejarah musik sebagai sumber pengetahuan ilmiah untuk belajar teori ... 139 nies, inc. khan, h. i. 2002. dimensi mistik musik dan bunyi. terjemahan subagijono dan fungky kusnaedy timur dari the mysticism of sound and music. yogyakarta: penerbit pustaka sufi. machlis, j. 1955. the enjoyment of music: an introduction to perceptive listening, new york: w.w. norton & company, inc. mcneill, r. j. 1998. sejarah musik: musik 1760 sampai dengan akhir abad ke20, jilid 2. jakarta: pt bpk gunung mulia dengan yayasan musik gereja di indonesia. ---------. 1998. sejarah musik: musik awal sejak masa yunani kuno sampai akhir masa barok tahun 0-1760, jilid 1. jakarta: pt bpk gunung mulia. nicolle, d. 2000. history of medieval life: a guide to life from 1000 to 1500 ad, london: cancellor press. rossi & rafferty. 1963. music through the centuries, boston: bruce humphries publishers. scholes, p. a. 1978. the concise oxford dictionary of music, second edition, edited by john owen ward, london: oxford university press. sukartini, s. djojohadikusumo. 1984. mitologi yunani. jakarta: penerbit djambatan. suriasumantri, j. s. 2009. ilmu dalam perspektif: sebuah kumpulan karangan tentang hakekat ilmu. jakarta: yayasan obor indonesia. wright, c. 2011. listening to western music, sixth edition. boston: schirmer cengage learning. diskografi visual: beethoven & brahms. piano concerto no. 5 op. 73 “the emperor” and symphony no. 3 op. 90, orchestra della svizzera italiana, conductor by serge baudo, silverline classics. beethoven, ludwig van. fidelio, wiener staatsoper by leonard berstein, deutsche grammophon. bocelli, andrea. concerto one night in central park, new york, universal, tvb. mauriat, paul. classical elegance, bossman. mozart, w.a. die zauberflöte, by wolfgang sawallisch, directed by august everding, deutsche grammophon. mozart, w.a. don giovanni, the metropolitan opera by james levine, production by franco zeffirelli, deutsche grammophon. mozart, w.a. le nozze di figaro, glydebourne festival opera, nvc arts. rieu, andré, under the stars, andre rieu and his johann strauss orchestra & choir, live in maastricht v, universal. rodrigo, joaquin. concierto de aranjuez, pepe romero, academy of st. martin in the fields, sir neville marriner, phillips. rossini, gioacchino. il barbiere di siviglia, teatro real madrid, decca. stern, isaac. from mao to mozart: isaac stern in china, musical encounters. stradivari, antonio. a gala celebation, master. strauss, johann. famous works, vienna symphonic orchestra, conductor by erich leinsdorf, silverline classics. the complete lives and music of the great composers: vivaldi, bach, haydn, mozart, beetoven, schubert, mendelssohn, chopin, brahms, tchaikovsky, dvorak, grieg. verdi. aida, teatro alla scala, decca. wagner, richard. tristan und isolde, chor und orchester der deutschen oper berlin, by jiri kout, tdk, euroarts. 192 the character adaptation of masked puppet figures in ruwatan ritual robby hidajat department dance and music education, universitas negeri malang, indonesia jl. semarang no.5, sumbersari, kec. lowokwaru, kota malang, jawa timur 65145 e-mail: gantargumelar@gmail.com received: october 21, 2016. revised: december 1, 2016. accepted: december 11, 2016 abstract one myth that is believed by people living in duwet village is distress that threatens human beings from when they are born till the day they die. as one way to overcome the distress, people, especially those who are living in duwet village, hold ritual called as tolak bala. one step in the ritual is self-cleaning oneself from distress or sukerta. in addition to the ritual is a masked puppet as a means of the ritual execution. thus, this study aims at finding out the functions of the ruwatan masked puppet. functional-structural perspective was adopted in the study by implementing observation, interview, and documentation study techniques. results show that masked puppet has a special function which is to serve as a means of ruwatan that is specifically to obtain society participation in order to give spiritual support to the process of ritual as a whole tolak bala or distress expulsion process. keywords: performing arts; masked puppet; ritual; character adaptation how to cite: hidajat, r. (2016). the character adaptation of masked puppet figures in ruwatan ritual. harmonia: journal of arts research and education, 16(2), 192-201. doi:http://dx.doi.org/10.15294/harmonia.v16i2.8783 harmonia : journal of arts research and education 16 (2) (2016), 192-201 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v16i2.8783 p-issn 2541-1683 e-issn 2541-2426 15, 2015). as javanese society in general, people in duwet village also believe in kejawen belief, spiritual, ethical, and moral beliefs hold by javanese (sunarto, 2009, p. 28). therefore, several traditional rituals are still performed and preserved. every once in a month, on friday of jumat legi, duwet village society visits their ancestors’ cemetery (nyadran) and have a ritual named selamatan. furthermore, the society also still believes in a good day and a bad day in holding an important event or ceremony as well as good luck and bad luck which depends on the day when a person is born. rituals are then held to fix these bad luck problems caused by an unrelated day of birth which is categorized as sukerto. in order to avoid more problems or bad lucks, society performs the ritual of tolak balak introduction duwet village society lives in a western part of tengger mountain slope. the people of the village are generally javanese, originated mainly from malang regency. the people are usually known as ‘arek’ society as their daily attitude and personality are generally considered spontaneous and seemed harsh. the language they use is javanese’s ngoko, the informal form of javanese. from the mentioned characteristics, the society is often called as indigenous javanese people, or countryman. however, even though common people address the society as a countryman or indigenous people, some public figures, including the puppeteers, belove that these duwet societies belongs to the descendant of mataram kingdom (interview, march robby hidajat, the character adaptation of masked puppet figures in ruwatan ritual 193 (avoiding distress), popularly known as ruwatan. ruwatan as a javanese tradition has become the javanese society’s belief since thirteenth to the fourteenth century. the evidence is relief carved in tigawangi temple under the leadership of king rajasawardhana in 1358. in the temple, sudamala character was carved. the character of sudamala was purposefully carved as a reminder of soul cleaning done by the only daughter of king rajasawardhana and bhre lasem by doing ruwatan. according to the tradition, an only child has to be cleaned (diruwat) for safety purposes (muljana, 1979, p. 264). ruwatan in this study is an ancient tradition of soul purification done by people who keep having bad luck or having life at stake because of the less-belated day of born (rusdy, 2010, p. 23). this tradition is considerably common in java, by using shadow puppet performance as a means to conduct the ritual. however, for people living in western malang regency and tengger, the masked puppet is used instead of the shadow one. both puppet rituals, however, perform the story of murwakala (laire batara kala). the tolak balak ritual which is done by villagers living in duwet village is categorized as a threat expulsion ritual to clean one’s soul from the bad spirit which puts one’s life in danger. this ritual is also used as a prayer ritual for the ancestors’ spirits to give abundant blessings in the attempt of the society to repel the bad spirit (sorjo, et al., 1985, p. 89). when this study was done, a masked puppet dancer from duwet village was eager to hold a ruwatan ritual for his daughter before she was married. the ritual gave the researcher an actual opportunity to conduct a direct observation to the ritual as well as the masked puppet performance. in malang regency, masked puppet communities still exist in some places, i.e. kedungmonggo village in pakisaji district, glagahdowo and jabung in tumpang district, jambuer and jatiguwi in sumberpucung district, and gunungkawi in pujon district. from those districts, the community that still actively performs the masked puppet is glagahdowo community in tumpang district (indrawati, 2009, p. 81). until the 2000s, people in that community still held the masked puppet performance for the ruwatan ritual. the masked puppet performing art group namely asmarabangun from tumpang district was often asked to perform the ruwatan ritual with a puppeteer named rasimen (interview, may, 2, 2015). ruwatan was also performed in every born day of a newborn baby. it was known as tumpak wayang. interviewee 3 described his experience in performing masked puppet in the 1970s. interviewee 3 was a puppeteer and had to perform the ritual of a newborn baby who was born on the day when the ritual was performed. the newborn baby was brought to the performance stage. soon after the ritual, the puppeteer gave the baby a name and adopted him as his children. the phenomenon of giving names to the newborn baby by the puppeteer itself was common and was also done by puppeteers from cirebon. a baby who got his name from the puppeteer during the performance was then called as ‘the stage baby’ (suanda, 2009, p. 50). ruwatan ritual is considered as an important and main ritual. the ritual itself is generated from individual awareness, usually parents who consider their family member’s bad luck, judging from their bad born day or bad behavior which cause the feeling of restlessness for the parents. there are special times when the ritual can be performed. for boys, it is when they have circumcision, while for a girl is when they are about to get married. during those times, the rituals are suggested to be done as the purpose of the ritual is for the individuals to do social reintegration which naturally brings social immunity (kusmayati, 2013). in addition, ruwatan ritual is one way for the society in kedungmangga village to perform spiritual and mental condition purification for them to be free from harmonia : journal of arts research and education 16 (2) (2016): 192-201194 danger and distress. if the ritual is held, an individual will be released or reborn and able to act normally as other people do. method this study employed functionalstructural perspective (poloma, 2010, p. 180). this perspective underlines the social structure and behavior aspects of an actor who does interactive action within a social process (ritzer, 2009, p. 112). data was collected by doing observation, interview, and documentation study. the interviewees in the study were interviewee 1 (a puppeteer, 64 years old) from tumpang village, interviewee 2 (38 years old, the ruwatan organizer), and interviewee 3 (61 years old, the masked puppet music player specializing in kendang). the three of them were key informants in this study. other interviewees were technical informants, interviewee 4 (43 years old, the leader of masked puppet community asmababangun from kedungmangga village), interviewee 5 (58 years old, a puppeteer of masked puppet from sumberpucung), interviewee 6 (66 years old, leader of masked puppet wirabakti from jabung village), and interviewee 7 (65 years old, a masked puppet puppeteer from duwet village). result and discussion ruwatan masked puppet ruwatan masked puppet is performed by an experienced puppeteer. the experienced puppeteer himself has to be one who has one or a married children, or is actually the descendant of a ruwatan puppeteer. masked puppet in malang regency is actually similar or refer to shadow puppet puppeteers, like rusman, karimen, kangsen, rusnadi, sanip, or soleh adi pramana who perform using the story of murwakala, the story of the day when batara kala was born. however, each puppeteer also considers the technical aspects, whether the story of murwakala is told in a complete version (jankep), started from jêjêralangalang kumitir or awang-awang kumitir up to bhatarakala gives up his child to pray. ruwatan masked puppet with moch soleh adipramana as the puppeteer is started with the scene of jejer kahyangan. it was told that sanghyang wenang had lived alone by himself without company. one day, sanghyang wenang meditated. he was then given two boys named nurcahyo and nurrasa. both were given their special places. nurcahyo stayed in the upper world, while nurrasa stayed at the bottom world. sometimes, they argued about who were older between them since it was not told when they were both created. when their debate was not going to be over, sanghyang wenang came to approach them. both nurcahyo and nurasa were merged into one and named as sanghyang tunggal. after sanghyang tunggal became the sole ruler of the universe, sanghyang tunggal then created its children and made them leaders of the universe. the eastern world or eastern universe was lived by sanghyang puguh, the northern part was lived by sanghyang jayawilapa, the western part was by sanghyang ismaya. from these four sons of sanghyang tunggal, a king should be chosen. there was no rule to choose the king. there has been just competition in finding cupumanik astagina which was thrown to the eastern part. the three sanghyangs were very enthusiast and left sanghyang ismaya behind because he had no ambition to be a king. sanghyang puguh, on the other hand, was very excited but failed to get the competition. cupu manik astagina rolled by itself towards sanghyang manikmaya. sanghyang puguh who had the ambition to have the cupu manik had a big fight with the cupu manik holder, sanghyang manikmaya. both of the involved in a fight that pushed sanghyang puguh to use all his power. he then ate a small mountain called waja till his mouth got wider and part of the mountain fell on sanghyang puguh’s body. as a result, the body of sanghyang puguh turned into fat and small. sanghyang puguh was sorry for what he did. but, everything had haprobby hidajat, the character adaptation of masked puppet figures in ruwatan ritual 195 pened and nothing could be changed. after that, sanghyang puguh was asked to go back to his origin in the eastern part of the world to be a guardian of the people living there. in this place, sanghyang puguh was given a new name, togok tejo mantri. besides sanghyang puguh, sanghyang jayawilopo also had fought against sanghyang manikmaya to get the cupu manik. because of the fight, sanghyang jayawilopo was arrested by catching his head and back and was pulled till he could feel the pain. even, his body was turned into a dragon. he was then known as the king of dragon or naga raja and lived in the southern part of the world. his place was known as kayangan saptapratolo, the kingdom of satan and gin. ismaya, on the other hand, who had no ambition to have cupu manik was forced by manikmaya to have it. manikmaya tortured him, hoping that he wanted to have the cupu manik. as a result, ismaya’s body became swollen. knowing ismaya’s body condition, sanghyang tunggal gave him clothes and asked him to live in the western part of the universe known as kayangan klampis iring to accompany and take care of javanese knights and nobles. ismaya was also given a new name that was semar badranaya. in the end, manikmaya who had had the cupu manik was asked to stay at kayangan jungring salaka and entitled as king of gods and goddess. the new name given by his father was bhatara guru. after becoming the new king for a few days, manikmaya wanted to have a spouse or company who could give him children. he wanted the world to have a new baby born after the love of the parents. after that, manikmaya meditated and soon after that he pulled out his right ribs that turned into a baby and named the baby sanghyang umar. sanghyang umar was very handsome that made manikmaya fell in love into him. but, because both manikmaya and sanghayang umar shared the same sex, sanghayang umar rejected the love and run far away from manikmaya. sanghyang umar was caught soon after that and manikmaya pulled out his genitals that turned into ular-ular (a tornado). sanghyang umar turned into a woman in a second and named as batari uma or umayi. this became the beginning of the story of murwakala (suyanto, 2002, p. 67). one day, sanghyang manikmaya saw a very dark cloud in the western part of the world. he went to the dark cloud and met a hermit in a place named kedung cingkrang. the hermit was asked but never answered. manikmaya pissed off and kicked the hermit which led to a fierce battle with manikmaya was out as a winner. after losing the fight, the hermit told manikmaya that he wanted to be the king of nirvana. the willingness of the hermit became true after manikmaya gave him a chance and named him sanghyang narada. sanghyang manikmaya did not go back to the nirvana, or kayangan, but he continued his journey to a place who was now known as the bali island. this island was ruled by a cow named andini. when manikmaya came, andini was preparing to attack kayangan because she had a dream to become the king of every gods and goddess. again, manikmaya fought her and won it. manikmaya, however, gave her a chance to rule kayangan with him by using her as his official ride. soon after that, jejer kayangan, sanghyang manikmaya and batari uma rode andini, who was a cow, to go around the universe. unfortunately, in the middle of the journey, the desire of sanghyang manikmaya for sex rose and his sperm was taken by the tornado to the south ocean. the sperm fell into the ocean and was eaten by the gangga fish causing her belly to grow and shine, causing the universe to shake. narada who was in nirvana or kayangan at that time felt worried and asked all gods to go to the south ocean. they were asked to calm ocean. on the contrary, after arriving at the ocean, the chaos turned worse. the gods threw their weapons to the fish. all of a sudden, a giant rose from the ocean and beat all the gods. it was told in the story that after beaharmonia : journal of arts research and education 16 (2) (2016): 192-201196 batari uma also gave batara kala plenty of foods including all human who were walking alone at noon, baby who felt down from his mother’s arm, and human who cooked rice but dropped the pan. this lets sanghyang manikmaya’s anger and he turned batari uma into a giant known as batari durga. in masked puppet, she was known as wadhal werdhi (interview, june 2 2012). bhatara kala’s habit to eat caused him to feel hungry easily. while starving, he went to a village and met sanghyang manikmaya there. could not resist his starving, he held sanghyang manikmaya and was about to eat him, but manikmaya was able to stop batara kala. manikmaya told batara kala that he wanted to shower before he was eaten by batara kala. he wanted batara kala to eat the clean body of him. batara kala agreed to it and waited. when manikmaya finished showering, the sun was in the west already that made his attempt to eat his father failed. he continued his journey, then (interview, august 11, 2015). bhatara kala arrived at a village where a masked puppet was performed. the puppeteer was batara vishnu with bathara kanakaputra (narada) and batara brama as the music players. before doing the rituals, an offering was placed in front of the stage. in the middle of a performance, batara kala was able to catch one of sukerta child, but the child ran and hide in the middle of the masked puppet performance. but because of the performance, batara kala could not get the child, instead he stopped, sat, and watched. suddenly, the puppeteer stopped his performance and batara kala asked him why he stopped. the puppeteer told him that the performance had actually been over. it had finished. the puppeteer wanted to go home. batara kala wanted the puppeteer to continue his show, he did not want the puppeteer to stop. the puppeteer did not want to replay his performance without any fee. then, batara kala gave him all golds and pearls from his nirvana clother for the puppeteer, but it was rejected. a puppeting all the gods, the giant then ran after the gods. in the middle of his way, he stopped and confused because he had no idea who he was. during his uncertainty, he found a tree trunk. he kicked the trunk until there was a spirit out of the trunk and pissed at him by saying, “kala, kurang ajar (damn it, kala)!”. the giant was not mad but happy to hear that because he had finally had a new name, ajar kala. ajar kala continued his journey to find his parents to the east. in the middle of his way, he was tired and mad then kicked a piece of stone and broke it into two separated parts. the stone is now known as selo mertangkep and still at its initial place in ngersopada, the eastern part of malang. ajar kala was continuing his journey while he was finally captured by deva vishnu. ajar kala was broken into two pieces by deva vishnu, tied up and went down into candradimuka crater. all of the weaponry had by the gods was thrown into the crater as well, hoping that ajar kala would be destroyed faster. in fact, ajar kala was not destroyed and even grew stronger. he went after all gods and not to mention to deva vishnu. deva vishnu ran all the way to save his life till kayangan and met sanghyang manikmaya. on the other side of the universe, ajar kala met narada along his way who finally told him everything about the sperm of sanghyang manikmaya story and how he was finally born. hearing the story, ajar kala wanted to meet his father desperately. but, narada did not let him go. instead he gave ajar kala a pair of shoes and a set of nirvana clothes for ajar kala to go seeing his father. soon after that, ajar kala met sanghyang manikmaya and asked for a name and food from him. manikmaya named him batara kala and gave him food. all food given to batara kala had to be cut by using special nirvana weaponry called as bedama. bedama was actually batara kala’s own tusk which was pulled out by deva vishnu when he beat batara kala earlier. sanghyang manikmaya also introduced batara kala to his mother, bethari uma. robby hidajat, the character adaptation of masked puppet figures in ruwatan ritual 197 teer could not accept any golds nor pearls. in the end, batara kala gave the puppeteer his weapon, bedama, to the puppeteer, which was accepted. while the show was on, the child who was batara kala’s prey, showed up and caught by batara kala. but, when batara kala was about to have him, batara kala realized that he had not had his weapon with him, he had given the weapon to the puppeteer. he asked the puppeteer for his weapon but the puppeteer refused to give it back. batara kala was the son of a god, thus, all of his words could not be taken back. the puppeteer gave batara kala choices. if batara kala wanted his weapon back, he could have it for once, but then he could not eat any more human because the puppeteer had the weapon with him. but, if batara kala wanted the puppeteer to return the weapon to him for good, he was not allowed to eat human forever. batara kala preferred the weapon and gave the child to the puppeteer. soon after that, batara kala left after promising that he would never eat any more human, especially children. during the weapon-child switch, the atmosphere was tense and even the child passed out. the puppeteer gave the child a magic spell and spilled water to him for the child to be back to normal again (interview, may 4, 2012). ki dalang pangruwatan or the puppeteer is symbolized as the descendant of a ruwat puppeteer who generally has to perform lakutirakat, fasting, and avoiding taboo that may fail the worship or tirakat. this spiritual action is the basic ground to perform a ritual (koentjaraningrat, 1981, p. 256). the host of ruwatan, in addition, also has to perform tirakat, and has to prepare all necessary errands for the ritual purposes. the lack of offering sometimes causes an obstacle to occur. the obstacle can be spirit possession, the mask which cannot be taken off, or heavy rain. the story of murwakala in the masked puppet ritual performance is an adaptation of another puppet story (wayang purwa) entitled the born of batara kala and murwakala.the are scenes called sabrang when the character of raden gunungsari is replaced with the character of batara kala and the character of raden guungsari is manifested as the character of deva vishnu or the puppeteer. it is examined closely, the aspect of adaptation is clearly seen. for instance, the character of raden gunungsari is the adaptation from character deva vishnu and the character of kalana sewandana is adapted to build the character of batara kala. three are aspects of the performance which are interesting to be studied as adaptation measures. first is the presentation structure of the masked puppet performance which belongs to the aspect of transmission. the transmission here is the bridge to relate the existence of murwakala’s story elements as an integrated part of a new form of puppet performance. second is the existence of sabrang scene to build the character of batara kala under consideration of identical factor position which is the similarity nature of the character of keras (rough). keras (rough) here can be interpreted as the opposite of alus (calm that in the puppet show presents the illustration of the human world and the spirit world. batara kala belongs to the character performing sabrang scene is because of the character which has similar nature to klana sewandana that is told by the puppeteer. the switch of character does not experience any challenge since the character switch between panji and purwa is often switched. for example, if one masked puppet group is asked to perform purwa story, then the mask of panji is still used and worn as the mask of panji asmarabangun that is used to perform the character of harjuna, panji kartolo to perform the character of bima, and raden gunungsari to perform the character of samba. this shows the adaptive way of thinking had by the masked puppet stakeholders in malang regency. in relation to the murwakala story, the puppeteers had created the mask of batara kala, even one of the puppeteer has harmonia : journal of arts research and education 16 (2) (2016): 192-201198 had the sacred mask of batara kala. it is wrapped in white cloth and is surrounded by offerings, especially every thursday night. the tradition providing offering surrounded the mask has been a tradition of javanese people since the fifth century, known as the spiritual tradition of hinayana (holt, 2000, p.35). the character of batara kala itself physiognomically adopts the character of sabrang; round face, round eye, hooked nose, eyebrow in balarak sineret ngombak form, thick mustache (kepelan), singobarong style in the mouth and lips, and suing prengesan for the teeth. the physiognomy characteristics of the character illustrate a rough and destructive nature. kala means time. the society of duwet villege themselves understands the character as sangat (the proper time), naas (danger/ bad luck), or kala (time/ change of the year). for javanese people, the presence of kala brings complication in deciding sangat since the naas always moves in every change of the year. therefore, every person is hoping to live in the middle position or pancher. the middle position or pancer in the social life of villagers is placed by the elders or kamituwa. in the past, the position of kamituwo or the elders was as a mediator between the villagers and dhanyang or the spirit lived in pundhen desa. the function of adaptation in ruwatan the observation results in the assumption that decision of the host to hold ruwatan ritual is an adapted form of javanese spiritual culture. the host of ritual believes that an action has to be expressed. there are two aspects lying under the host’s consideration. the first is to obtain the statement or social expression from by the society that the host has already made an attempt to purify his child (soedarsono, 1985, p. 12) and the second is to create social stability for avoiding fluctuation within the society since they feel restless believing that they have a bad luck or unfortunate kids in their village. in addition, javanese spiritual adaptation is also found in the content or substance of the story which believes that the existence of the ancestor spirit can be given in both good and bad luck. the kejawen belief held by the villagers of duwet sees that spirit has to be taken care of for them to keep peaceful, stable and balance to live around the society. in order to have a stable and tranquil condition, the human is not allowed to do disorder action. this belief is illustrated by the disorder action of sanghyang who cannot hold his own lust that in the end creates harm. a ruwatan ritual that is believed by people in duwet village as a means to avoid bad luck and danger by using masking puppets as a medium has shown the symbol exchange as an adapted form. the details are presented in table 1. table 1 shows the adaptation of characters of the masked puppet in its relation to the ancient belief held by javanese society, kejawen. panji asmarabangun in murwakala story does not appear since he acts as the elder (kamituwa), placing himself in the position of deva shiva or sanghyang giri nata, king of the gods in nirvana. he is the symbol of power in the table 1. adaptation of character in masked puppet, wayang purwa, custom organization, and ancient belief adaptation of character the ancient beliefthe masked puppet character the character of gods the character of custom organization panji asmarabangun siwa kamituwa dhayang (the guardian spirit) klana sewandana bhatarakala dukun (shaman) dark power evil spirit raden gunungsari wisnu dalang (puppeteer) shaman robby hidajat, the character adaptation of masked puppet figures in ruwatan ritual 199 upper world. panji asmarabangun in everyday life lives in the position of the elders or kamituwa who has a special duty to protect society, the keeper of the village. in the spiritual world, panji asmarabangun lives in pundhen desa and serves as the village keeper, as well as danyang dhesa or the villagers’ gurdian. the position of raden gunungsari is as the pangruwatan puppeteer. thus, the position of raden gunungsari in the spiritual life is a representation of a pangruwat puppeteer that is adapted from the character of deva vishnu, the protector or a guardian in an ancient belief of javanese people. javanese people adapt the messianic understanding, or the embodiment of a savior, a protector of the society from evil and satanic spirit. it is believed that raden gunungsari who stays in padepokan gunungukir always comes down the hill to help society with social rehabilitation. the manifestation of an ancient javanese community of shaman which in the javanese society is also known as penggambuh. the shamans tell their ancestors’ stories to their descendents and later the function is illustrated in the ability of the puppeteers in doing performing arts. here, a connection is found. it tells that raden gunungsari has a magic power to repel bad spirits known as kitab gambuh which he got from bali. therefore, it can be inferred that one duty of a penggambuh is to repel the bad spirits possessing the jaranan dancers. if the story of murwakala in malang regency’s musked puppet is studied, the position of a puppeteer is given to the one who have the ability to perform ruwatan ritual. the position of pangruwatan sukerto puppeteer in masked puppet can be aligned with the position of deva vishnu who has the authority or power to protect the universe. meanwhile, deva shiva or sanghyang jagad nata has the power to control and protect kayangan kadewatan. he is worshiped as the king of every god (poerbatjaraka, 1986, p. 110). the position of sanghyang guru can be identified as the authority had by the village guardian or widely known as dhanyang desa. the position dhanyang desa is also aligned with the position of kamituwa who has the authority above community which means the ability to serve as mediator between upper and below world in prosper the live of society. in 1950s, ruwatan sukerta with masked puppet as the medium was done by a masked puppet group named asmarabangun from kedungmangga village. leader of the art group was usually asked to perform ruwatan sukerta. at that time, a famous puppeteer named rasimen, or well known as mbah tajem had a supernatural power to actually perform ruwatan. in the 1960s, there were still plenty of people who felt sure of a masked puppeteer named tirtowinata and then kangsen and some chosen people from several villages in southern part of malang regency, from pakisaji, sumberpucung, to pijiombo and kawi mountain slope soon after that (interview, june 6, 2015). belief of society related to the use of masked puppet as ruwatan medium is under main consideration that is no other that the spiritual power of the puppeteer himself. not all masked puppeteers have the ability to perform the ritual. the criteria of becoming ruwat puppeteer are related to several factors, like, inheritance factor. it is believed that if one has the blood of a ritual puppeteer then he can be ritual puppeteer, so does one who has teacher that can perform the ritual then one can perform the ritual as well. however, the way of being a ritual puppeteer is not as smooth as only becoming the descendants. there are also some other requirements to be fulfilled. but, the genetic factor is the most important one. it is believed that there will be a major disaster if one is performing ritual without having any parents or teachers that were actually a ritual puppeteer as a background. a puppeteer from lowong village, pakisaji district who had not had any descendants background did the ritual, one day, and he ended up dying not long after the rituals. duty had by a ritual puppeteer is hard, not every puppeteer has privileges to perform it. besides, the fee is sometiharmonia : journal of arts research and education 16 (2) (2016): 192-201200 mes not washed. therefore, extra sacrifice is needed to perform the ritual. a puppeteer once told a researcher that the risk he has to face is not washed with the fee that he will receive (interview, march 5, 2015). in addition, the society also believes that the ritual results will bring impact to the health of the person who receives the ritual (rahanto, 2013). this reason also causes fear to some puppeteers. therefore, support from the society is needed during the ritual is performed. the society is gathered during the ritual not only to enjoy the show, but also to pray. the pray is delivered to the ritual as well as the puppeteer. here, the society has a special role that is to give blessings and to support the puppeteer and not to mention for the person who receives the ritual to be prayed for his future life, that he can live like normal people. by doing so, it is hoped that the ritual will be a great success. in the end, the ritual symbolizes that belief is not naturally personal. by doing ritual, people are gathered and took part in a sacred event. conclusion ruwatan is a symbol of disorder behavior illustrated by an inappropriate behavior done by sanghyang makmaya and its liberation effort done by deva vishnu. the inappropriate behavior has to be rejected. one who did inappropriate behavior keep doing bad things had to be released from bad spirit influence through tolak bala ritual. masked puppet here is used as a medium to help people to get into the dramatic situation. the manifestation of batara kala character is adapted from the form of shadow puppet purwa which purposes is to give an actual illustration for the common people. by doing so, people can actually feel the existence of bad spirits. this, in addition, may become a way to visualize a spoken story or fairy tale in a form of masked puppet. at the point of three-dimensional manifestation, the human ability level shows how human imagination shifts to a more rational way. in addition, the adaptation of musked puppet character in the process of ruwatan ritual is seen from the perspective of performance and javanese spiritual belief. thus, during the rituals, some panji and mahabarata characters are shown. for example, in the puppet story of murwakala, there are the characters of panji asmarabangun as the puppeteer, raden gunungsari as vishnu, and bhatarakala as shiva. strong relation which is believed as pundhen by javanese society is kamituwa, and the guardian spirit who is the dhayang desa. the traditional belief held by society related to masked puppet aims at inviting society to gather together in living the sacred ritual. acknowledgements a sincere gratitude is given to: (1) moch. soleh adipramana, the leader of padepokan seni mangundharmo tumpang; (2) mulyono, resident of duwet village for the opportunity given to researchers to conduct observation; (3) sumantri (composer of gendhing tayub malang), tri handaya (leader 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(2009). wayang kulit purwa: dalam pendangan sosio-budaya. yogyakarta: arindo nusa media. suyanto. (2002). wayang malangan. surakartal citra etnika. tjintariani. (2013). ruwatan masal melalui pergelaran wayang kulit. harmonia: journal of arts research and education, 12(1). doi:http://dx.doi. org/10.15294/harmonia.v12i1.2214 78 tamarind (tamarindus indica l.): source of ideas behind the semarang batik motifs to strengthen local cultural identity syakir1, bandi sobandi2, moh. fathurrahman1, badrul isa3, dini anggraheni4, sri verayanti r5 1universitas negeri semarang, indonesia 2universitas pendidikan indonesia, indonesia 3universiti teknologi mara, malaysia 4universitas semarang, indonesia 5smk negeri 3 semarang, indonesia submitted: 2022-04-20. revised: 2022-05-30. accepted: 2022-06-17 abstract tamarind (tamarindus indica l.), a type of tropical plant that grows in indonesia has various benefits and has been widely studied by various disciplines. the study of tamarind as a source of ideas for art creation, on the other hand, has not been widely carried out. the aims of this study are: (1) to explain the process of creating semarang batik motifs using the idea of tamarind through the stylization of forms; (2) to analyze the shape of the tamarind batik motif to strengthen the identity of semarang’s local culture. this study uses a qualitative approach with phenomenological methods to examine phenomena related to the creation process and the uniqueness of locality-based batik motifs on batik artisans in semarang city. the data collection techniques used were observation, in-depth interviews, and document studies. the data that has been collected was analyzed interactively through data reduction, presentation, and conclusions with the scope of analysis in intra-aesthetic and extra-aesthetic studies. the results showed that: (1) tamarind is a typical plant that is closely related to the toponym of the city of semarang so it becomes a source of ideas for the creation of locality-based batik motifs through the stylization technique by semarang batik artisans; (2) visualization of the shape of the tamarind batik motif that has been produced shows the diversity and uniqueness of the form as an aesthetic expression of the batik artisan in responding to the beauty of the natural and socio-cultural environment in semarang city according to the level of knowledge and aesthetic experience. this research contributes to the batik artisan in exploring the diversity of local plant species as a source of ideas for creating environmentally-based batik motifs to strengthen the value of local cultural identity. keywords: tamarind, source of ideas, process of creation, local cultural identity, batik motifs how to cite: syakir, s., sobandi, b., fathurrahman, m., isa, b., anggraheni, d., & verayanti r., s. (2022). tamarind (tamarindus indica l.): source of ideas behind the semarang batik motifs to strengthen local cultural identity. harmonia: journal of arts research and education, 22(1), 78-90 harmonia: journal of arts research and education 22 (1) (2022), 78-90 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i1.36579 as that are widely used in the process of creating indonesian batik motifs. the existence of tamarind (tamarindus indica l) introduction plants are one of the sources of idecorresponding author: e-mail: bas@upi.edu p-issn 2541-1683|e-issn 2541-2426 syakir, et al., tamarind (tamarindus indica l.): source of ideas behind the semarang batik 79 as a tropical plant is identical and closely related to the toponym of semarang city. this has inspired batik artisans to adopt it into a typical semarang batik motif, which until now has not been found in other batik artisan centers in indonesia. tamarind is a type of tropical fruit tree under the subfamily of caesalpinioideae from the family leguminosae (fabaceae) which has many benefits for human life as traditional medicine (bhadoriya et al., 2011). in several countries on the african and asian continents, it was reported that the fruit, leaves, and bark of the tamarind flowers are used in the pharmaceutical industry and traditional medicine as a laxative, antithrombotic, wound treatment, diarrhea, abdominal pain, dysentery, constipation, snake bites, colds, inflammation, helminth infection, and fever so that it can play a role as antimicrobial, antidiabetic, anti-inflammatory and effects on satiety control, potential in the treatment or prevention of obesity and other chronic diseases (havinga et al., 2010; krishna, anitha, & ezhilarasan, 2020; kuru, 2014; menezes, trevisan, barbalho, & guiguer, 2016; rizkiany, amelia, bimantara, sagami, & basyuni, 2021; saputri, avatara, & rachmawati, 2018). in particular, the flower’s concentration of extracts and seed oil can be used as antioxidants (souza et al., 2020; sutrisno, retnosari, marfu’ah, & fajaroh, 2019). in the food sector, sour fruit has been well documented because it can arouse the taste buds with its brown, sticky, sweet, and sour pulp used as aroma in various dishes and drinks (azad, 2018). likewise, the seeds have the potential to be a natural immunomodulators in functional foods (zhang et al., 2021). sour seed starch solution at a concentration of 2% was reported to be able to give grapes a shelf life of 12 days when stored at 12 ± two °c and 85 ± 5% rh and retain vitamin c (santos et al., 2020). in addition, tamarind seeds can also be a source of valuable nutrients such as protein (containing large amounts of essential amino acids), essential fatty acids, and minerals which are recognized as additives to develop perfectly balanced functional foods (bagul, sonawane, & arya, 2018). in an effort to preserve the environment, tamarind tree bark can be used as a bioindicator of mercury pollution in the gold refining process, which causes air pollution (rendra et al., 2022). the bark and root extracts have strong anti-inflammatory and antioxidant activity and confirm their use in folkloric medicine (borquaye et al., 2020). there are various sources of ideas that inspire the creation of batik motifs in indonesia, such as names of arts, flora, fauna, legendary figures, and cultural artifacts. in the field of art, there are kupang ikat weaving (salma et al., 2016), gayo carving crafts from aceh, jepara and baturaja (irfa’ina rohana salma, 2014; irfa’ina rohana salma & eskak, 2016; wulandari & salma, 2019), the uniqueness of reog art (mulyanto & hartono, 2018), and the ebeg dance as a traditional dance in the city of banjar, west java, became a source of ideas for creating batik motifs (krisnawati, sunarni, indrayani, sofyan, & nur, 2019). furthermore, flora’s beauty, such as grass, can be used as a source of ideas (syamwil, sugiarto, rohidi, & nurrohmah, 2019). in addition, the existence of legendary figures as inspiration for the creation of batik motifs (fadlilah & na’am, 2020) can also be an inspiration for motifs. likewise, the uniqueness of the physical buildings of regional icons has also become a trend as an idea for the creation of indonesian batik today (ismia, na’am, & nazwan, 2021; sugiarto, othman, triyanto, & febriani, 2020). the origin of tamarind is a tree that originally comes from the african continent and has been introduced and naturalized worldwide in more than 50 countries. the name tamarind itself is the name of the malay people because this tamarind fruit is widely used as a spice in javanese cuisine. etymologically, asem (tamarind) comes from the word nengsem (nengsemake) which means fun. the leaves of the asem tree in javanese are called sinom or enom which can also mean young. therefore the harmonia: journal of arts research and education 22 (1) (2022): 78-9080 tamarind tree for the javanese people symbolizes youth (which is fun). asem is a unique type of flora and is often used as a source of ideas in making semarang batik motifs because it is closely related to environmental conditions and the past history of the city of semarang. on the environmental aspect, there are many tamarind trees thrive on the roadside, thus becoming a symbol and identity for the city of semarang. meanwhile, in relation to history, the name of this plant is closely related to the ‘name’ of the city of semarang. according to sahibul saga, “semarang” is a combination of two words, “acid/ asem” and “charcoal/ arang” as a reflection of ki ageng pandanaran seeing many trees grow in the city. it is estimated that these trees were planted in the dutch era. this tamarind tree has a symbolic meaning, providing protection to all levels of society (muhammad, 2011, p.121). physically, the tamarind tree has consistent properties that show the nature of the acid starting from the roots, stems, leaves, and fruit that tastes sour (rachman, 2017). in practical work activities in the textile sector, tamarind seed coat tannins are extracted and used as a natural mordant combined with metal mordant (copper sulfate) for cotton, wool, and silk fabrics and dyed using natural dyes (prabhu & teli, 2014). dried tamarind seeds mixed with vegetable fat have now been developed into a “cold night” material for the process of making patterned fabrics, serving as a barrier to separate one color from another in batik dyeing on silk, polyester, and cotton media (pandanwangi, rianingrum, damayanti, & rahmat, 2021). this finding is very inspiring for artists to visualize storytelling works through batik-patterned fabrics using a cold paste made from tamarind seeds (dewi, apin, pandanwangi, & damayanti, 2021). in addition, gutta tamarind’s exploration can also be utilized in technical innovation in painting to produce artistic values and attractive aesthetic elements (yuningsih, 2021). the previous explanation paragraph shows that the presence of the tamarind plant can clearly provide benefits to meet human needs in various fields such as health, food, environmental sustainability, and the media (material) of artwork. however, the authors have not found any research examining tamarind plants as a source of ideas in the creation of batik motifs. therefore, this study fills the gap by focusing on the study of tamarind (tamarindus indica l.) as a source of batik artisan ideas in the process of creating batik motifs in semarang. this study aims to explain the creation of the semarang batik motif with the source of the idea of tamarind through shape stylization techniques and analyze the shape of the tamarind batik motif to strengthen the identity of semarang’s local culture. today’s cultural identity is important; one of its functions is to show the characteristics of a nation’s cultural products. in simple terms, what is meant by cultural identity is the characteristics of a culture that was born in a certain community environment that is different from the characteristics of other cultures (liliweri, 2003: 72). method this research uses a qualitative approach with phenomenological methods to analyze deeper into the object of tamarind as a source of ideas through the form of stylization techniques and by analyzing the shape of the tamarind batik motif to strengthen the identity of semarang’s local culture. the location of the research was carried out in the city of semarang with the research subjects, six batik artisan who made decorative batik motif designs from the tamarind with the stylized form technique and applied it to the production of semarang batik. data collection techniques employed in the study were observation, in-depth interviews, and document studies. the observation process focuses on semarang batik, artisans, and the environment that are correlated with problems to produce sharp and detailed data. observations on syakir, et al., tamarind (tamarindus indica l.): source of ideas behind the semarang batik 81 batik include motifs (main, complementary, and isen-isen motifs), visual elements, and design principles. observations on batik artisan include visual techniques, stylized forms, motifs and work procedures. observations on the environment include the natural, physical, and socio-cultural environment related to the semarang locality (rohidi, 2011). interviews were conducted to explore data related to the concept of creating batik motifs, sources of ideas, work procedures, and views related to semarang’s cultural identity. document studies were carried out on data in the form of photographs, library data studies, as well as design works and batik made by batik artisan. the data that has been collected were analyzed inductively by applying an interactive analysis model (miles, huberman, & saldaña, 2014) through reduction, presentation, and conclusions with the scope of analysis in intra-aesthetic and extraaesthetic studies. intra-aesthetic analysis of batik motifs includes the main, complementary, isen-isen and color as visual data. these are the three basic components of an analyzed artwork: subject, content, and form. the visible subject can be a person, object, or idea, the content contains messages that are emotional and intellectual in the work of art, and form is the embodiment of the work of art as an organic unity (ocvirk, stinson, wigg, bone, & cayton, 2007). 2013; rohidi, 2011). the extra-aesthetic analysis is related to the context of the natural-physical setting, the socio-cultural context, the batik artisan involved, the behavior and actions of people in interacting, and the relationships that take place between residents in the research setting that inspires the creation of motifs as the identity of semarang city. results and discussion the process of creating tamarind batik motifs through the form stylization technique the creativity of the batik artisan in responding to the beauty of the tamarind tree through their technical skills in processing the shapes of these plant parts with stylization techniques has resulted in a unique decorative style of batik motifs. this finding is supported by casta et al. (2021) that visualization of symbolic decorative works is a taste for strengthening cultural identity. this technique is done by stylizing objects to produce visual forms with decorative patterns. e. d. polenova introduced the term in russia in the late 1890s, who was looking for a method for transforming the aesthetics of nature. the concept of stylization is a way of interpreting synthetic artistic forms into images with decorative motifs through graphic line processing (chernyh, 2020). figure 1. the flow of creating decorative batik motifs through stylization techniques figure 1 shows the flow of creating decorative batik motifs through stylization techniques. in searching for ideas for creating batik motifs, there are several ways done by batik artisan in java, such as through meditation, traveling, and making sketches (supriyadi & prameswari, 2022). from one object that is observed as a source of ideas for the creation of batik motifs through stylization techniques, it produces different manifestations between one creator and another. thus, even though they come from the same source of ideas, they will produce creative ideas in different visualizations. the beauty and uniqueness of the form of tamarind (figure 2), which consists of leaves, twigs, flowers, and fruit, can be an idea for creating batik motifs. the basic structure of a batik motif consists of the main component (usually used for the name of the batik motif), content (which functions to fill in between the main moharmonia: journal of arts research and education 22 (1) (2022): 78-9082 tifs), isen-isen (which functions to beautify the entire batik pattern to fill the main motif content, in the form of dots), or stripes) (doellah, 2002; kusrianto, 2013). figure 2. tamarind leaves and fruit that inspire the creation of semarang batik motifs figure 3. the process of stylizing the form of tamarind by semarang batik artisan the process of stylizing flora with the main subject of “asem sprigs” as shown in figure 3, with the objects of leaves, stalks, and tamarind fruit is carried out through several stages. the stages and stylization techniques begin with the process of observing objects that attract attention as a source of ideas, then it is continued by changing the object into several alternative motifs through the study of shapes and sketches. from these sketches, it becomes the basis for the development and application of batik motifs that will be made and produced into batik works. technically, hasanuddin (2001: 148151) has described the ways in which batik artisans express batik ornaments in the process of creating batik motifs, namely: decorative (highlighting decorative aspects or beauty only), stylization (emphasizing the style of the form) which stems from one’s imagination after observing the shape, refinement (related to decorating techniques in the form of isen which is related to the character of the indonesian people who have a sense of taste and strengthen the experience of the soul or mind), and abstraction (looking for essential forms). thus, the stylization technique is a way for designers or batik artisan to create batik motifs through the process of stylizing objects into decorative images that they create to be beautiful. visualization of asem (tamarind) batik motifs to strengthen local cultural identity unesco’s recognition of batik as an intangible cultural heritage on october 2, 2009, had a massive impact on the process of designing batik motifs in most cities/districts in indonesia to show their identity with their cultural and natural advantages (krisnawati et al., 2019). visually, elements of batik motifs have a decorative style (maulina, 2021). the presence of batik as a traditional art with decorative patterns is highly respected because of its aesthetic quality and high cultural heritage value using the wax-resist method (lee, 2016; yuan, xu, & jian, 2018). the creation of the tamarind batik motif was designed and applied by semarang batik artisan which was developed from the source of the idea of tamarind is a process of visual transformation of form. moskalyuk & grishchenko (2020) report that the transformation of visual signs syakir, et al., tamarind (tamarindus indica l.): source of ideas behind the semarang batik 83 such as primitive images, clothing, and patterns of ethnic motifs and paintings reflects identity. behind the beauty of its motifs, batik motifs also have a philosophical meaning that represents their cultural identity because it has been rooted in every origin of society that has valuable virtues and advantages (saddhono, widodo, al-makmun, & tozu, 2014). aesthetic knowledge and experience can interact with each other, including the surrounding environment (wang & yu, 2018). visualization of semarang batik motifs is a form of expressing ideas or the embodiment of ideas with a certain style originating from the semarang locality, both the natural environment, the physical environment, and the socio-cultural environment. various designs of semarangan batik motifs, especially the asem batik motif, can be seen in the creations of artisan. creativity is clearly seen in the variety of motifs each batik artisan produces for their visual interpretation of the same source of ideas. this idea is inseparable from the intention of displaying the image and identity of semarang on the batik. thus, the potential of semarang batik art as a medium of affirming identity by showing its uniqueness is confirmed. tamarind (asem) has become semarang’s local identity because of its toponymy and historical aspects. the toponomic aspect relates to the origin of the name “semarang”, taken from the word “acid-charcoal” (asem-arang). the historical aspect is related to the condition of semarang city in the past, where many large and lush tamarind trees were growing on the left and right banks along the main road, giving the impression that semarang was synonymous with “the city of tamarind plants.” this condition inspired batik artisan to use tamarind plants as a source of ideas in the creation of batik motifs, typical of semarang. through the process of stylizing shapes, the batik artisan produces various creations of batik motifs from the acid form according to their respective versions, as shown in table 1. based on table 1, the embodiment of batik motif number 1 is the result of the design creation of “batik ester” which source of ideas is “asem” as the semarang icon that is displayed with a purple base color. the visualization of the motif in the form of a spring of tamarind, named asem sa’dompol, consists of twigs, leaves, and tamarind fruit. the leaf branches are made of five branches in a radiating direction. the color on the twigs and leaves is white so that it looks in contrast to the darker base color, namely purple. four tamarind fruits strung together with twigs and leaves, stand out with brown and white contours. the motif, which is named asem sa’dompol, is composed repeatedly into a batik motif which is applied to fill the entire surface of the fabric. the appearance of this motif looks straightforward and simple because the motif’s complexity level is quite low. this can be seen in the basic color which is not filled with isen around the main motif. the manufacturing technique uses a stamp, while the dye is synthetic. the simple impression of this motif is also seen in the color that only uses three colors, namely purple as the basic color and white, with a combination of brown in the main motif. the asem or tamarind motif in number 2 is the motif produced by “batik semarang 16”. it looks different from the “asem” motif design on motif number 1 and other “asem” motif designs in other pictures. in terms of embodiment of form, this motif looks more complex which, in addition to the main motif consisting of twigs, leaves, and tamarind fruit, is also combined with other types of leaves with a wider size. in addition, the isen-isen which is not found in the “asem” motif number 1 and other “asem” motifs in this design. it is seen that there is a fairly dense filling (isen-isen). isen-isen that applies the form of small blooms, combined with dots that form a circular pattern and double lines accompanying other isen are all poured in a blank field with small shapes to fill the entire surface of the fabric plane. however, in terms of coloring, it looks very simple, and the batik motif only uses two colors, harmonia: journal of arts research and education 22 (1) (2022): 78-9084 table 1. comparison of the stylization of the shape of the asem motif on semarang batik with the source of the idea from tamarind as a semarang identity plant stylized forms of tamarind tamarind-motif application in the batik the batik artisan motif design by “batik ester”, 2011 motif design by “batik semarang 16”,2010 motif design by “batik balqis”2011 motif design by “batik figa”, 2010 motif design by “batik ngesti pandowo”, 2012 motif design by “zie batik”, 2008 is used as the basis for the motif, while red and white are combined to fill the color in the shape of the motif and its isen-isen. isenisen in the form of white spots fills the entire surface of the fabric between the main motifs. red and white colors are applied to the main motif alternately, especially in the form of leaves and fruit. similarly, the supporting motifs in the form of hibiscus flowers apply red in certain grooves and white in other grooves. in each groove, the shape of a hibiscus flower is arranged with sizes that vary slightly in size. this design, whose motif idea is also sourced from asem, shows a creation with its own version that can look different from other versions of the asem motif design. the asem motif was created by “batik figa” in motif number 4. the main monamely blue as the basis, and white in the motif. the design of the asem motif is different from the “batik balqis” motif on motif number 3. the asem motif displayed looks very different from the asem motif design on motifs 1, 2, and other asem motif designs. the main motif consists of twigs, leaves, and tamarind fruit combined with hibiscus flowers on the top and bottom sides. the creation of this motif also seems dynamic which is clearly visible in the shape of the twigs that are made curved so that they give the impression of being flexible. the exploration of the curved lines arranged to form the motif’s overall structure supports the motif’s dynamic character. the colors applied are simple, using only three colors consisting of black, red, and white. black syakir, et al., tamarind (tamarindus indica l.): source of ideas behind the semarang batik 85 tif, displays a series of elements consisting of leaves, flowers, and tamarind fruit in a series. each set has five fruit shapes, one flower, and four tamarind leaves. in this motif, the artists provide no isen-isen to fill the background, so it looks like empty spaces that seem loose or airy. several forms of flowers are also filled in the empty spots around the main motif to support the dynamics and complexity of the motif composition. however, in this design, it looks simple to see without applying isen-isen to fill in the blank spot around the main motif. in addition, the use of only three kinds of colors, namely dark brown, white, and light green, makes this motif look more straightforward. dark brown is used as the base color, white is used to form the main motif and supporting motifs, while light green is the accent that is applied to several forms of flowers and sour fruit. motif number 5 is the “batik ngesti pandowo” which version is the asem motif design. this motif displays the main motif with the main element in the form of sour fruit. even though it was created with the same source of ideas as the others, namely the idea of the form of tamarind, the visual appearance looks different from other asem motifs. while the other asem motif designs feature tamarind leaves as the main motif element, this version of the “batik ngesti pandowo” only displays tamarind fruit and flowers without any leaves. the composition of the motifs is made with a diagonal arrangement. the shape of the sour fruit is arranged repetitively, alternating the color and direction of placement. green sour fruit arranged alternately with orange. similarly, the direction is made alternately pointing downwards and upwards. each diagonal arrangement is bounded by a thick line in the form of an elongated spiral and is continuous on the top and bottom sides of the main motif. there are four colors used, namely blue, white, green, and orange. blue is the basic color of batik, while white is the contour lines that form the motif, as well as green and people that are applied as accents to the shape of the sour fruit. it is clear that the design of the “batik ngesti pandowo” version is a form of creation that is visually very different from other asam motif designs. the asem motif design version of “zie batik” on motif number 6 also looks to have different characteristics from other asam motifs. the shape of the main motif of tamarind with the main elements consisting of leaves, flowers, and tamarind fruit strung together into a single unit. the proportions of tamarind fruit and flower shapes are made with a larger size, so it looks more prominent. a dynamic impression is presented by the shape built by curved lines with an asymmetrical composition. in addition, the shape of the motif which is a supporting motif in the form of flowers and other types of leaves is also seen at the top of the main motif. this motif design displays isen-isen white spots, but does not fill all the blanks outside the main motif; yet only fills the upper area. this batik motif is created with a design that only uses three colors: black, white, and red. overall, this motif also displays a simple impression. various versions of semarang batik motif designs can be seen in the creations of batik artisan. creativity is clearly seen in the variety of motifs each batik artisan produces for their visual interpretation of the same source of ideas. this idea is inseparable from the intention of displaying the image and identity of semarang on the batik. the following is the explanation and analysis of the various versions of the design of the semarang batik motifs. based on a comparative analysis of the design version of the tamarind-shaped flora as a source of ideas in creating the tamarind motif in semarang batik, it shows that from the same source of ideas, namely the form of tamarind, each batik batik artisan has the different result of stylizing the shape of the batik motif. it is different according to their own creativity and versions. all batik artisan have the same view that tamarind is a plant of semarang’s identity that must be displayed as a local cultural identity batik motif. through the harmonia: journal of arts research and education 22 (1) (2022): 78-9086 process of shape stylation, the creation of the tamarind motif can be realized. the stylization of shapes is done by simplification and form styling techniques. the application of the tamarind-shaped stylized motif on semarang batik is the result of the composition of several aspects which include isen-isen, supporting motifs, colors, and visual impressions on each of the tamarind motif designs produced by batik artisan in semarang which were taken randomly from the batik artisan who created them. identification and comparison of forms of motif design is carried out on several aspects, namely isen-isen (with or without isen-isenan), supporting motifs (with or without supporting motifs), color (name and nature of the color applied), and visual impression (simple or complex). the data findings further confirm that the existence of the tamarind batik motif strengthens the identity of the individual and community of batik artisans, and even becomes a cultural identity in the city of semarang. through the resulting cultural products in the form of batik motifs with all their peculiarities, will strengthen local cultural identity in the midst of global culture. this is in line with the findings of syakir (2016) that the existence of batik artisans as individual agents plays an important role in creating cultural products. this finding is reinforced by beavis (2016) that life experiences that are relevant to art contribute to the identity and the formation of cultural identity through the development of artistic identity as an accumulative process. the identity development process can be carried out through three stages, namely: the pre-formative/classification phase, namely the identity that begins to emerge to understand the origin and meaning of identity in local wisdom; the formative/identification phase occurs after identities emerge and begin to intearact with each other which explains how the meaning of the text and the context contained in the identity, both individually and in groups. the transformative/ implementation phase explains how the meaning and role of individual and group identities in changing and disseminating local cultural identities (aldecoa, 2019; setyawan & dopo, 2020). the development of semarang batik is a metamorphosis from traditional to contemporary motifs with more varied innovations contributing to the identity of the city of semarang (suliyati & yuliati, 2019). cultural identity is a broader concept than national identity because cultural identity is based on the specifics of a particular community, including certain general characteristics of society (karjalainen, 2020). furthermore, the existence of culture, traditions and moral norms that adopt local wisdom can be maintained despite undergoing a rapid transformation towards a more modern economy and lifestyle (kriyantono & mckenna, 2017). cultural identity is also interpreted and has a linear proportion to spiritual values in life, such as determination, peace, nobility, tolerance, and social understanding (puspitasari, sabana, & ahmad, 2016). the process of creation is an aesthetic expression for pouring ideas through visual media (eaton, 2010: 26). visualization of ideas in the form of batik motifs is one of the communication media through stylized forms, symbols, and metaphors that distinguish cultural identities. according to suliyati & yuliati (2019), cultural identity is also a cultural feature that distinguishes the culture of a region from other regions, a nation, and other nations as a genuine culture which is a marker of the existence of a community, society, or more broadly a marker of a nation to show its existence in the midst of international relations. conclusions the process of creating locality-based batik motifs is a means for the expression of artisans to respond to the natural, physical and socio-cultural environment. in line with the purpose of writing that has been proposed, the results of the study are concluded in the following paragraphs. syakir, et al., tamarind (tamarindus indica l.): source of ideas behind the semarang batik 87 the process of creating batik motifs with the idea of tamarind as a plant that grows a lot in semarang is carried out through a form stylization technique by processing objects that become the source of ideas by considering aspects of visual elements and design principles. the form of the tamarind batik motif created by batik artisan is a form of aesthetic and symbolic response to the natural, physical and socio-cultural environment as a form of creative expression through the development of artistic identity to strengthen local cultural identity. the source of the same idea is the shape of the tamarind object, producing different visual forms of decorative batik motifs according to the version of each batik artisan according to their level of knowledge and aesthetic experience. acknowledgments we extend our deepest gratitude to the semarang batik artisan who has been willing to 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pendukung (umat) terhadap adanya ilmu gais/magis, menjadikan tarian anglirmendhung merupakan tari yang sakral. srimpi anglirmendhung dipercaya oleh masyarakat keraton surakarta khususnya dan kalangan seni tradisi di surakarta dianggap mempunyai daya magis dan dapat mendatangkan hujan. kata kunci : religio-magis, anglirmendhung, hujan. a. pendahuluan seni tari dalam kehidupan masyarakat jawa khususnya tari tradisional keraton surakarta memainkan peranan yang sangat penting, baik sebagai sarana pertunjukan pesta maupun upacara. tari ritual merupakan unsur budaya yang dianggap keramat, seperti halnya pusaka yang sangat dijunjung tinggi, karena mempunyai nilai-nilai yang magis. *staf pengajar jurusan tari stsi surakarta vol.2 no.2/mei-agustus 2001 29 harmonia jurnal pengetahuan dan pemikiran seni kepercayaan masyarakat, bahwa nyai rara kidul atau kanjeng ratu kidul kencanasari itu merupakan isteri dari panembahan senapati sampai pada seluruh raja-raja keturunannya, hingga kini masih cukup kuat pada sebagian masyarakat jawa. oleh sebab itu, karya-karya tari yang merupakan hasil kebudayaan keraton, pada umumnya dianggap bersifat sakral atau keramat. di keraton-keraton jawa, sejak jaman kuno tari bedhaya dan srimpi menempati kedudukan yang paling istimewa, dan tidak dapat disamakan dengan tari pentas karena sifatnya yang keramat. pada tari bedhaya dan srimpi yang boleh menari hanya mereka yang terpilih oleh kalangan keraton. tari tersebut sama keramatnya dengan pusaka, dan sama tak ternilainya seperti halnya upacara, yaitu benda-benda yang melambangkan kekuasaan raja, yang berasal dari zaman jawa hindu. tari-tari keramat tersebut bobot nilainya disejajarkan dengan benda-benda upacara, karena merupakan perhiasan yang paling tinggi yang tidak dapat dilepaskan dari dinasti raja (lelyveld, 1931: 268). tari tradisi keraton, khususnya bedhaya dan srimpi, yang biasa diselenggarakan di dalam keraton surakarta, pada umumnya mempunyai fungsi yang sakral. kesakralan suatu tarian dapat dilihat pada waktu dan tempat penyelenggaraannya, yaitu jika dipentaskan di pendopo ageng sasana sewaka. ada beberapa fungsi penting yang sangat erat hubungannya dengan upacara resmi kerajaan, seperti penobatan raja, ulang tahun penobatan raja dan perkawinan putra dan putri raja. dalam rangka upacara resmi raja, tari bukan hanya sebagai hiburan saja melainkan merupakan ritus yang sifatnya religio-magis, yaitu bahwa manusia dikuasai oleh kekuatan-kekuatan supranatural atau kekuatankekuatan halus. dalam hal ini, preusz menganggap tindakan ilmu gaik dan upacara religi merupakan dua aspek dari satu tindakan, dan seringkali tampak bahwa upacara religi biasanya terkait dengan ilmu gaib. oleh sebab itu, upacara religi atau yang bersifat ritual sering digunakan istilah “religio-magis” (koentjaraningrat, 1985: 25). sehubungan dengan kekuatan-kekuatan transdental (halus), paku buwono xii menyatakan bahwa budaya keraton surakarta, tidak terlepas dari kepercayaan adanya kekuatan halus. hal ini dapat dilihat pada terdapatnya sesaji pada upacara-upacara adat.sesaji berdasarkan kepercayaan,dapatmenimbulkan kekuatan magis.hal ini diantaranya dapat vol.2 no.2/mei-agustus 2001 30 harmonia jurnal pengetahuan dan pemikiran seni dilihat pada acara peringatan penobatna raja, dengan menggelarkan tari bedhaya ketawang. pada acara tersebut, ubarampe yang berupa sesaji selalu hadir sebagai kelengkapan tatacara adat dan smeua yang hadir di pendhopo ageng sasana sewaka melakukan semedi. dari gambaran di atas dapat ditarik kesimpulan bahwa bedhaya ketawang bukanlah tarian hiburan, melainkan sarana untuk bersemedi (pakoeboewono, 1992: 3). di kraton surakarta terdapat beberapa tari bedhaya dan srimpi yang dipercaya mempunyai kekuatan magis diantaranya bedhaya ketawang, gadhung mlatih, ela-ela, doradasih, dan bedhaya anglirmendhung, yang kemudian berbentuk srimpi anglirmendhung. pada srimpi anglirmendhung terdapat kesamaan dengan bedaya ketawang, karena srimpi anglirmendhung yang sebelumnya berbentuk bedhaya, mempunyai kaitan erat dengan bedhaya ketawang. hadiwijojo mengatakan bahwa srimpi anglirmendhung ada kemiripan dengan bedhaya ketawang (1978: 19). dmeikian halnya dengan helshingen menyatakan bahwa srimpi anglirmendhung adalah tiruan dari bedhaya ketawang, karena menggunakan kemanak (1952: 24). kehidupan keagamaan di kalangan keraton, selain percaya dan menghubungkan sesuatu dengan yang maha kuasa atau tuhan, mereka masih percaya dengan adanya mahluk-mahluk halus penjelmaan nenek moyang yang sudah meninggal, adanya roh-roh penjaga (bahureksa), adanya setan, hantu atau kekuatan-kekuatan gaib dalam alam semesta. keyakinan-keyakinan semacam ini dapat dilihat pada peristiwa-peristiwa seperti caos dhahar, yaitu suatu manifestasi dari kebakitan dan usaha berkomunikasi dengan makhluk halus dan dunia gaib. caos dhahar banyak dilakukan oleh masyarakat kalangan keraton, lebih-lebih mereka yang masih mempunyai hubungan erat dengan keraton, seperti abdidalem atau kerabat keraton. caos dhahar dilakukan pada hari-harit ertentu, dan pada tujuan-tujuan tertentu pula. hari-hari yang biasa digunakan untuk chaos dhahar biasanya hari kamis malam jum'at, malam selasa kliwon (anggara kaih) atau malam jum'at kliwon. maksud chaos dhahar bosa ditujukan pada penguasan laut selatan atau kanjeng ratu kidul kencana sari untuk mohon keselamatan atau kesejahteraan. caos dhahar ada yang ditujukan pada mahluk halus sebagai penunggu (bahurekso) suatu tempat, rumah, benda atau perepatan jalan. vol.2 no.2/mei-agustus 2001 31 harmonia jurnal pengetahuan dan pemikiran seni kebiasaan memberi chaos dhahar ini, harus selalu dilakukan, karena jika lupa atau tidak dipenuhi, maka biasanya akan mendapat kesulitan. seperti yang diungkapkan oleh kasbanadi, salah seorang abdidalem yang ebrtugas di sithinggil mengenai gong kyai surak, jika pada tingalan jumenengan tidak caos dhahar, maka akan menunjukkan kemurkaannya dengan tanda-tanda hujan lebat. dalam hal sesaji, van baal mengajukan pendapatnya bahwa sajian atau offfering kepada para dewa, dan kepada para makhluk halus dalam dunia gaib pada umumnya, mempunyai fungsi seperti suatu “pemberian”. pemberian dalam interaksi sosial, ialah sebagai lambang untuk mengukuhkan suatu hubungan antara di pemberi dan si penerima yang mantap dan yang kemudian harus lebih dikukuhkan lagi dengan suatu pemberian balasan. demikian upacara bersaji, juga upacara seni drama suci, seni tari suci, dan sebenarnya semua upacara religi yang dilaksanakan oleh manusia itu merupakan tindakan-tidankan yang penuh symbols for communication, yang penuh “lambang untuk komunikasi” (koentjaraningrat, 1985: 42). b. arti anglirmendhung apabila masyarakat kalangan keraton surakarta maupun kalangan seni tradisi mendengar kata anglirmendhung, maka biasanya secara spontan akan menghubungkan dengan hujan. hal semacam ini kiranya tidak menghernakan jika ditinjau dari arti kata anglirmendhung. anglirmendhung berasal dari kata anglir dan mendhung. anglir atau lir berarti seperti atau serupa, mendhung berarti awan. jadi anglirmendhung merupakan arti menyerupai awan. pada umumnya, orang berpikir jika mendhung atau awan, berarti pertanda akan jatuh hujan. oleh karena itu, jika mendengar kata anglirmendhung, maka asosiasi orang akan menghubungkan dengan hujan, atau dengan kata lain anglirmendhung dapat mengakibatkan hujan. asosiasi anglirmendhung dengan hujan disebabkan karena hubungan persamaan bunyi sebutan. mekanisme pikiran semacam ini dapat terjadi lebih lanjut, misalnya kata hujan segera akan terbayang di dalam pikirannya “katak”, karena dikampungnya terdengar bunyi katak apabila hari hujan. asosiasi hujan dengan katak disebabkan karena hubungan persaman waktu antara kedua hal itu. asosiasi adalah bayangan dalam pikiran itu, yang menimbulkan vol.2 no.2/mei-agustus 2001 32 harmonia jurnal pengetahuan dan pemikiran seni bayangan-bayangan baru sehingga terjadi sautu rnagkaian bayanganbayangan. hubungan-hubungan yang menyebabkan suatu asosiasi adalah misalnya persamaan waktu, persamaan wujud, totalitet dan abgian, dan perasaan bunyi sbeutan (koentjaraningrat, 1990: 228). hubungan anglirmendhung dengan hujan telah banyak diungkap dari beberapa sumber, yang mengemukakan bahwa pementasan anglirmendhung biasanya selalu turun hujan dan atau disertai angin. seperti yang telah terjadi pementaran srimpi anglirmendhung di sitihinggil keraton surakarta pada tahun 1974, yang diselenggarakan dalam rangka konferensi pata (pariwisata internasional) oleh para penari dari keraton surakarta. berkaitan dengan adanya peristiwa hujan, kiranya dapat ditelusuri dari suatu upacara-upacara untuk mendatangkan hujan. dalam upacaraupacara tersebut, biasanya dilakukan pada daerah-daerah pertanian. sehubungan dengan ini koentjaraningrat mengemukakan bahwa tipe kerajaan indonesia kuno yang kedua terletak di daerah pedalaman, di lembah-lembah dan daratan-daratan tinggi yang sangat subur diantara sungai-sungai dan komplek-komplek gunung berapi di jawa. kerajaankerajaan ini didasarkan atas pertanian dengan penduduk petani yang hidup dalam desa-desa kecil dan padat yang bertani padi dengan sistem irigasi. di dalam kerajaan-kerajaan yang didasarkan atas pertanian tersebut sering dilakukan ritus-ritus kesuburan, upacara-upacara sepanjang lingkaran kegiatan pertanian untuk mendapatkan panen yang lebih baik dengan mengadakan upacara-upacara untuk mendapatkan hujan (1990: 39). upacara-upacara yang digunakan untuk mendapatkan hujan merupakan bagian dari upacara-upacara di dalam ilmu gaib atau magis. magis merupakan teknik-teknik atau komplek cara-cara yang dipergunakan oleh manusia atau mempengaruhi alam sekitarnya itu menurut kehendak dan tujuannya. adapun dasar-dasar dari ilmu gaib adalah kepercayaan kepada kekuatan sakti dan hubungan sebabmenyebab menurut hubungan-hubungan asosiasi. dari uraian di atas, diduga bahwa anglirmendhung merupakan suatu tarian upacara kesuburan untuk mendatangkan hujan, yang berguna untuk mendapatkan panen yang lebih baik. vol.2 no.2/mei-agustus 2001 33 harmonia jurnal pengetahuan dan pemikiran seni c. asal-usul penciptaan anglirmendhung anglirmendhung diduga merupakan sautu upacara atau ritus kesuburan di dalam kegiatan pertanian, karena nusantara ini merupakan negara agraris yang berdasarkan falsafah pertanian. oleh sebab itu, anglirmendhung diduga lebih tua dari bedhaya ketawang. kedua tarian ini sama-sama suatu tari kesuburan, dimana keduanya menggambarkan tentang pemujaan alam semesta. anglirmendhung menggambarkan alam pertanian, sedang bedhaya ketawang merupakan simbol makrokosmos yang mencakup bintang, bulan, matahari, angkasa (langit), bumi, air, api, angin, dan mahluk halus yang ada di dunia. agaknya untuk mengungkap anglirmendhung, tidak dapat dipisahkan keberadaannya dengan bedhaya ketawang, karena kedua tarian ini mempunyai beberapa persamaan yang cukup prinsip, diantaranya dari sebutan nama, bentuk, kesakralan, bentuk iringan, dan kostum. menurut hadiwidjojo, anglirmendhung adalah “adiknya” bedhaya ketawang, hal ini dapat ditilik dari persaman, sebagai berikut: a. nama (anglir) mendhung = awam b. tempat dari mendhung (awan) adalah langit c. (ke) tawang = langit, adalah tempat mendhung (awan) d. keduanya berbentuk bedhaya e. iringan sama-sama menggunakan kemanak f. sesaji yang digunakan hampir sama, keduanya dianggaps akral (soewito santosa, 1974: 232). g. menurut moelyono sastranaryatmo dan r.a.y praptini partaningrat, kostum bedhaya anglirmendhung didasarkan pada kostum bedhaya ketawang (budi sulistiyawati, 1989: 63) pada garis besarnya, bedhaya ketawang dan bedhaya anglirmendhung mempunyai ciri-ciri yang sama, yaitu dapat dilihat pada : a. struktur b. menggunakan syair tembang durma c. bentuk d. menggunakan gending kemanak berkaitan dengan asal-usul anglirmendhung, serat wedhapradangga menjelaskan : gendhing anglirmendhung wau pethikan saking laguning gendhing gadhungmlathi badhaya, ingkang ugi winastan gendhing anduk vol.2 no.2/mei-agustus 2001 34 harmonia jurnal pengetahuan dan pemikiran seni iyasan dalem ingkang sinuhun kanjeng sultan agung prabu anyakrakusuma ing mataram. boten namun methik cengkok kemawon, nanging malah kathat ingkang pleg babar pisan kaliyan gendhing gadhunmlathi badhaya wau, amung mijilipun ingkang geseh, amargi gadhungmlathi badhaya boten mawi ketawang mijil, nanging mawi ladrangan inggih punika ladrang tebahjaja. terjemahan : (gendhing anglirmendhung itu merupakan petikan dari lagu gendhing gadhungmlathi badhaya yang juga disebut gendhing anduk ciptaan sultan agung di mataram. tidak hanya memetik/mengambil cengkoknya (lagu pokok yang mempunyai ciri tertentu) saja, tetapi bahkan banyak yang persis sama sekali dengan gendhing gadhungmlathi badhaya tadi, hanya pada bagian ketawang mijil yang berbeda, karena gadhungmlathi tidak menggunakan ketawang mijil tetapi menggunakan bentuk ladrang tebahjaja) (wahyu santosa prabawa, 1990:144-145). dari apa yang dikemukakan dalam wedhapradangga tersebut, yaitu tentang pembentukan bedhaya anglirmendhung mengacu dari bedhaya gadhungmlathi, maka menunjukkan bahwa anglirmendhung mengacu dari bedhaya gadhungmlathi, maka menunjukkan bahwa anglirmendhung adalah ciptaan sultan agung di mataram dan menunjukkan pula bahwa anglimendhung sudah ada sejak jaman kartosura. sumber lain yang menunjukkan bahwa bedhaya anglirmendhung sudah pernah ada, ialah naskah ketikan dengan judul “beksan anglirmendhung” (ttanpa tahun dan tanpa nama pengarang) menyatakan bahwa sejak jaman kartosura gendhing anglirmendhung sudah ada. dikatakan pula dalam naskah itu bahwa setiap kali r.m garendi (sunan kuning) memperingati hari kelahirannya, gendhing ketawang alit anglirmendhung merupakan sarana utama selamatan hari kelahiran tadi (wahyu santosa prabawa, 1990:146). sumber dari mangkunegaran mengungkapkan bahwa tari anglirmendhung merupakan prakarsa mangkunegoro i yang semula disebut beksan anglirmendhung. beksan ini ditarikan oleh 3 (tiga) orang penari (perempuan) yang menggambarkan sosok dari r.m said, patih kudanawarsa dan panambahan. kemudian pada pemeirntahan mangkunegoro ke ii disusun menjadi bentuk bedhaya yang jumlah penarinya 7 (tujuh). berkaitan de vol.2 no.2/mei-agustus 2001 35 harmonia jurnal pengetahuan dan pemikiran seni ngan bedhaya yang berjumlah 7 orang penari, soedarsono menyatakan bahwa kadipaten atau pura pakualaman dan mangkunegaran sebenarnya hanya memiliki wewenang menampilkan bedhaya yang ditarikan oleh 7 orang penari wanita. apabila dis alah satu istana atau pura itu menyelenggarakan pergelaran bedhaya sanga atau bedhaya sembilan, tari ini ppasti hadiah dari salah satu keraton di jawa tengah (1996:124). nama anglirmendhung diberikan sewaktu r.m said beristirahat di bawah pohon, dan pada saat itu secara tiba-tiba datang awan yang sangat tebal ditiupangin kencang, sehingga mendatangkan hujan lebat namun r.m said anehnya tidak kehujanan. peristiwa tersebut mengilhami terbentuknya tari anglirmendhung. tari anglirmendhung ini oleh mangkunegaran dikeramatkan, karena setiap dipentaskan atau ditarikan selalu ada hujan. pada akhirnya, tarian anglirmendhung sudah tidak ditarikan lagi di mangkunegaran setelah mangkunegara iv diambbil menantu oleh paku buwana ke iv. pada saat itu selanjutnya tari bedhaya anglirmendhung dipsermbahkan kepada paku buwana ke iv. d. komponen anglirmendhung masyarakat tradisi keraton menganggap bahwa tarian anglirmendhung hampir sama dengan tari bedhaya ketawang yang sangat sakral dan anglirmendhung konon dapat mendatangkan hujan. menurut preusz, religio-magis merupakan dua aspek dari satu tindakan atau dapat dikatakan bahwa upacara religi atau ritual biasanya bersifat ilmu gaib atau magis (koentjaraningrat, 1985:25). ada lima komponen pokok dalam religi, yaitu emosi keagamaan, sistem keyakinan, istem ritual upacara, peralatan ritus dan upacara, dan umat (koentjaraningrat, 1985:43). masyarakat keraton sangat mengenal akan keberadaan tari anglirmendhung dengan mendengar kata anglirmendhung orang akan membayangkan adanya awan dan hujan.. hal semacam ini agaknya sudha menjadi keyakinan mereka, bahwa tarian anglirmendhung merupakan tarian yang sakral, sejajar dengan bedhaya ketawang dan mempunyai kekuatan magis dapat mendatangkan hujan. persyaratanpersyaratan dalam penyelenggaraan pentas tari srimpi anglirmendhung diperlakukan hamir sama dengan persyaratan bedhaya ketawang. vol.2 no.2/mei-agustus 2001 36 harmonia jurnal pengetahuan dan pemikiran seni salah satu komponen dari sistem religi yang dianggap dapat menimbulkan daya magis dari srimpi anglirmendhung adalah umat, atau kesatuan sosial yang menganut sistem keyakinan dan yang melaksanakan sistem ritus pergelaran tari srimpi anglirmendhung. umat merupakan kesatuan sosial, ritus, dan upacara. semua abdidalem istana tidak terkecuali dari pangkat/kedudukan yang paling rendah sampai yang paling tinggi merupakan satu kesatuan yang tidak terpisahkan dari sistem ini. tanpa adanya unsur umat, sistem religi tidak akan ada. yang menimbulkan daya magis dalam anglirmendhung yang utama adalah orang yang mendukung pergelaran tari tersebut. orang-orang yang menjadi pendukung itu diantaranya : pengrawit, pesindhen, wiraswara, penari, dan penonton. syair di dalam tembang durma di dalam gending kemanak anglirmendhung itu sebenarnya adalah suatu mantram (doa), yang mempunyai daya magis. demikian juga suara yang melengking tingi dari sindhenan anglirmendhung mempunyai daya magis tersendiri. kepercayaan seluruh umat terhadap adanya ilmu gaib/magis, menjadikan anglirmendhung benar-benar merupakan tarian yang sakral. pada dasarnya, orang mempunyai mistik property (daya linuwih) yaitu bundhelan/simpanan yang tidak disengaja, karena dari pengalaman yang tidak fisik atau pengalaman biogenetik. umat merupakan komponen yang dangat penitng di dlam mewujudkan keberhasilan penyajian srimpi anglirmendhung. kebersamaan umat did alam mendukung sajian srimp anglirmendhung sangat menentukan dan mempengaruhi adanya daya magis dari sajian tersebut. lebih-lebih bila kepercayaan atau latar belakang umat tentang kekuatan-kekuatan halus yang sudah menjadi pola hidupnya, maka akan mempercepat proses terjadinya kekuatan magis pada tari anglirmendhung. oleh sebab itu, tidak mengherankan mengapa penyajian srimpi anglirmendhung yang dilakukan di dalam keraton surakarta, sering membawa dampak seperti adanya turun hujan. e. penutup kekeramatan suatu tarian, khususnya budaya keraon disebabkan adanya beberapa tatacara adat dan kepercayaan yang kuat yang dimiliki keraton surakarta. vol.2 no.2/mei-agustus 2001 37 harmonia jurnal pengetahuan dan pemikiran seni kepercayaan masyarakat keraton dan sekitarnya kepada keuatankekuatan halus atau yang bersifat supranatral, seperti kanjeng ratu kencanasari, dhanyang-dhanyang, baureksa, dan makhluk halus lainnya masih cukup kuat dan masih dilestarikan. demikian pula adanya kepercayaan bahwa keraton surakarta dijaga oleh roh halus dari empat ara, serta semua bangunan dan bendabenda yang berada di dalam keraton tidak luput dari penjagaan roh-roh halus. kesemuanya itu menambah kewibawaan keraton sebagai pusat ritual dan magis. masyarakat keraton, sebagai pendukung budaya keraton, khususnya pendukung (umat) seni tradisi, seperti dalam pementasan srimpi anglirmendhung mempunyai andil bear di dalam mewujudkan kekeramatan dan daya magis tari srimpi anglirmendhung. daftar pustaka bal, van j. 1987. sejarah dan pertubuhan teori antropologi budaya. jakarta : pt gramedia. budi, sulistyowati, 1989. fungsi bedhaya anglirmendhung sebagai legitimasi kekuasaan di mangkunegaran. fakultas ilmu sosial dan ilmu politik universitas indonesia. hadiwidjaya, kgph. 1978. bedaya ketawang tarian sakral di candi-candi. jakarta : departemen pendidikan dan kebudayaan proyek penerbitan buku bacaan dan sastra indonesia dan daerah. koentjaraningrat, 1984. kebudayaa jawa. jakarta : pn balai pustaka. ---------------------, 1985. ritus peralihan di indonesia. jakarta : pn. balai pustaka. ---------------------, 1990. beberapa pokok antropologi sosial. jakarta : dian rakyat. lelyveld van th. b. 1931. seni tari jawa. amsterdam : van holkema & warendorb. pakoe boewono xii. 1992. harapan keraton surakarta hadiningrat kepada masyarakat masa kini. seminar kebudayaan, posisi keraton di tengah perubahan zaman, rabu 5 pebruari 1992. vol.2 no.2/mei-agustus 2001 38 harmonia jurnal pengetahuan dan pemikiran seni soedarsono, r.m. 1996. dampak pariwisata terhadap seni pertunjukan indonesia (yogyakarta dan jawa tengah). proyek urge direktorat jenderal pendidikan tinggi departemen pendidikan dan kebudayaan. wahyu santosa prabawa, 1990. bedhaya anglirmendhung monumen perjuangan mangkunegara i 1757-1988. tesis program ppascasarjana universitas gajah mada yogyakarta. vol.2 no.2/mei-agustus 2001 39 110 analisis kebutuhan guru seni musik dalam konteks pelaksanaan pembelajaran berbasis action learning di sekolah udi utomo jurusan sendratasik, fakultas bahasa dan seni universitas negeri semarang, indonesia e-mail: udi_utomo_unnes@yahoo.com abstrak penelitian ini bertujuan untuk mengidentifikasi dan mendiskripsikan kompetensi yang diperlukan para calon guru seni musik dalam konteks pelaksanaan pembelajaran berbasis action learning dan kendala-kendala yang dihadapinya. artikel hasil penelitian ini merupakan temuan pada tahap kegiatan analisis konteks penelitian pengembangkan materi ajar mata kuliah keahlian program studi pendidikan seni musik, fakultas bahasa dan seni, universitas negeri semarang. penelitian dilakukan dengan pendekatan penelitian pengembangan yang diadaptasi dari desain penelitian model spiral yang dikembangkan oleh cennamo dan kalk. berdasarkan data yang diperoleh pada kegiatan analisis konteks yang terkait dengan kebutuhan yang diperlukan dalam penelitian pengembangan materi ajar mata kuliah keahlian program studi pendidikan seni musik dalam konteks pelaksanaan pembelajaran berbasis action learning ini diperoleh informasi pentingnya beberapa hal seperti: (1) penguasaan konsep dan simbul-simbol musik yang diperoleh melalui berbagai pengalaman musikal (bernyanyi, bermain alat musik, berkreasi musik, dan lain-lain); (2) strategi pembelajaran seni musik yang mencakup metode, kegiatan pembelajaran, dan media pendukung; (3) kemampuan memainkan alat musik pengiring seperti keyboard, piano atau gitar; dan (4) kemampuan menciptakan lagu model yang diperlukan dalam pembelajaran seni musik. analysis of arts music teacher needs in the context of learning action-based implementation in school arts music teacher needs analysis in the context of learning action based learning in school abstract this study aims to identify and describe competencies required by students of music education in the context of action learning-based and learning constraints that their face. this article is the result of research findings in the step of context analysis of development research of subject matter expertise, musical arts education program, faculty of languages and arts, semarang state university. the study was conducted by the development research approache adapted of the research model design developed by cennamo and kalk. based on the data obtained in the context of analytical work related to the research needs required in the course of teaching material development expertise at music education program implementation in the context of action learning-based is obtained the importance information of things such as: (1) mastery of concepts and music symbols obtained through a variety of musical experiences (singing, playing musical instruments, creating music, etc.), (2) the art of music learning strategy includes methods, learning activities, and media support, (3) the ability to play a musical instrument such as keyboards, piano or guitar , and (4) the ability to create a song model required in music learning. udi utomo, analisis kebutuhan guru seni musik dalam konteks pelaksanaan ... 111 pendahuluan kompetensi guru sebagai suatu kecakapan, daya (kemampuan), otoritas (kewenangan), kemahiran, ketrampilan, pengetahuan, dan lain-lain berdasarkan kriteria, kondisi, dan konteks profesi me-merupakan persyaratan yang harus dimiliki oleh semua guru termasuk guru seni musik. sebagai pengampu salah satu subkajian mata pelajaran seni budaya di sekolah, para guru seni musik dituntut memiliki empat kompetensi yang meliputi kompetensi pedagogik, kepribadian, sosial, dan profesional. keempat kompe-keempat kompetensi tersebut tidak berdiri sendiri-sendiri, melainkan saling berhubungan dan saling mempengaruhi. kompetensi yang satu akan mendasari kompetensi yang lainnya. berdasarkan hasil penelitian dan observasi yang dilakukan di beberapa sekolah harus diakui bahwa proses pembelajaran seni musik yang ada belum seluruhnya sesuai dengan yang diharapkan (yosep, 2009; astuti, 2010; dan sinaga & udi, 2010). pelaksanaan pembelajaran seni musik pada umumnya masih didominasi penggunaan metode ceramah dan drill yang berpusat pada guru. meskipun metode tersebut diakui berhasil dalam menghafal sejumlah informasi dan penguasaan sejumlah ketrampilan musik, tetapi gagal menyiapkan peserta didik dalam mengembangkan kemampuan kritis, apresiatif, kreatif, imajinatif dan inovatif yang berguna untuk pendidikan selanjutnya serta kehidupan di masyarakat. berkaitan dengan hal tersebut, upaya pengembangan profesionalitas para calon guru pada saat menempuh pendidikan di lembaga kependidikan perlu mendapatkan perhatian. masalah pengembangan kompetensi guru sebagai jaminan dihasilkannya tenaga guru yang profesional menuntut adanya kerja sama antarlembaga yang terkait dengan profesi guru. bagi lembaga pendidikan tenaga kependidikan (pre-service), pengembangan kurikulum yang berbasis kebutuhan yang senantiasa menyesuaikan dengan perkembangan tuntutan masyarakat lokal maupun global dan pengembangan strategi-strategi pembelajaran yang inovatif merupakan salah satu upaya yang dapat dilakukan. bagi lembaga-lembaga yang terkait dengan pengembangan profesionalitas guru dalam jabatan (in-service) dapat dilakukan melalui bentuk-bentuk kegiatan seperti seminar, pelatihan, sertifikasi, dan lain-lain. berkaitan dengan hal tersebut tujuan penelitian pata tahap analisis konteks pengembangkan materi ajar mata kuliah keahlian program studi pendidikan seni musik, fakultas bahasa dan seni, universitas negeri semarang dalam konteks pelaksanaan pembelajaran berbasis action learning ini adalah untuk: (1) mengidentifikasi dan mendiskripsikan kompetensi yang diperlukan para calon guru seni musik dalam konteks pelaksanakan pembelajaran berbasis action learning; dan (2) mengetahui dan mendiskripsikan kendala-kendala yang dihadapi para guru dalam melaksanakan pembelajaran seni musik di sekolah. peran dan posisi guru dalam konteks pembelajaran berbasis action learning menempatkan guru bukan hanya sebagai imitator yang selalu bergantung dan mengajarkan musik berdasarkan pada bentuk dan struktur materi pembelajaran musik yang ada dalam buku sumber atau buku teks pada umumnya (bersifat tekstual dan tanpa melakukan penyesuaian-penyesuaian). bukan pula sebagai worker, yakni seorang guru yang tidak pernah melakukan inovasi dan penyesuaian pembelajaran dalam berbagai konteks. namun, peran dan posisi guru menjadicreator yangsenantiasa dinamis dalam merencanakan pembelajaran, mengembangkan materi pembelajaran, dan berbagai strategi yang relevan kata kunci: materi ajar; keahlian; kompetensi; pembelajaran; action learning harmonia, volume 13, no. 2 / desember 2013112 dengan karakteristik dan tujuan pembelajaran seni musik di sekolah. menurut hong (2009: 1-2) ada sembilan faktor yang dapat mempengaruhi kreativitas guru dalam mengajar, yakni kualitas pribadi, gaya berpikir, faktor keluarga, pendidikan dan pengalaman karier, ajaran kepercayaan, usaha pribadi, motivasi, pengetahuan guru, dan faktor lingkungan yang saling terkait satu sama lain. selain itu, interaksi sosial, kinerja kreatif, dan pengalaman kreatif dalam kehidupan guru ternyata juga dapat mempengaruhi perilaku kreatif guru dalam mengajar. mengingat fakta bahwa pengetahuan guru, keyakinan, dan pengalaman pendidikan (termasuk peran pengaruh model dan pembimbing) adalah faktor utama yang mempengaruhi semua perilaku kreatif mengajar guru, maka ia menyarankan agar desain pengembangan kreativitas guru harus tercakup pada kedua layanan pendidikan yang ada (pre-service dan inservice). kompetensi kreativitas guru dalam pendidikan menjadi tuntutan bagi seluruh guru, termasuk guru pendidikan seni seni musik. oleh karena itu, relevan dengan fungsi pembelajaran seni musik sebagai media pengembangan kreativitas, sifat-sifat imaginasi dan permainan yang melekat pada seni menegaskan adanya suatu peluang bagi siswa untuk mengembangkan kebebasan berfikir dan pengungkapannya. sebagai media pendidikan berekspresi, estetika dalam seni musik diharapkan mampu menyadarkan peserta didik bahwa bentuk-bentuk audio yang mereka cipta membantu mengungkapkan identitas mereka dan keanggotaan mereka dalam suatu kelompok/masyarakat. bentukbentuk audio tersebut dalam banyak hal juga menandai peristiwa-peristiwa penting dalam kehidupannya, sekaligus merefleksikan kebutuhan fisik dan ekspresif dalam kehidupan sehari-hari. oleh karena itu, tugas guru dalam pembelajaran seni musik harus mampu membantu peserta didik agar menjadi sadar tentang aneka ragam bentuk bunyi, sehingga mereka mampu membentuk dan mengekspresikan perasaannya sesuai dengan konteks, sumber daya sosial, dan budaya yang menjadi lingkungannya (sheppard, 2005: 97-99). sebagai sebuah pendekatan, pembelajaran berbasis action learning relevan digunakan dalam pembelajaran seni musik di sekolah menengah pertama (smp) atau sekolah menengah atas (sma). berdasarkan teori perkembangan, secara kognitif siswa pada jenjang pendidikan tersebut berada pada tahap operasional formal. pada masa ini anak telah memiliki kemampuan dalam pemikiran abstrak atau simbolik, memecahkan masalah melalui penggunaan eksperimen sistematik, menguji hipotesis, dan mensintesis pe ngalamannya menjadi konsep-konsep yang terlepas dari realitas fisik. oleh karena itu, dalam konteks teori belajar pada masa ini sangat relevan apabila diterapkan praktik pendidikan yang menekankan pada model pembelajaran konstruktivisme. menurut regelski (1981: 11-13), pembelajaran seni musik berbasis action learning merupakan bentuk pembelajaran yang merujuk pada suatu aktivitas (learning by doing). dalam konteks ini siswa belajar melalui keterlibatan secara aktif dalam menyerap informasi yang disampaikan oleh guru. keterlibatan siswa dengan musik bisa saja hanya secara mental atau bahkan secara fisik. melalui pendekatan ini, guru secara induktif akan memandu siswa dalam memahami konsep secara luas tentang berbagai unsur musik seperti irama, pitch, bentuk, dan lain-lain yang akan memberikan dasar bagi perbaikan dan pengembangan keterampilan selanjutnya. dalam pandangan jamalus (1988: 2), proses pembelajaran tersebut diperkenalkan dengan istilah pembelajaran musik melalui pengalaman musik. ada 10 hal yang perlu diperhatikan dalam merancang pembelajaran berbasis action learning, seperti: (1) acting on and with musical materials; (2) personalizing or individualizing what is learned; (3) increased inclination or motivation toward continued action with music in some form; (4) learning activities that are cloudi utomo, analisis kebutuhan guru seni musik dalam konteks pelaksanaan ... 113 sely modeled on real life musical ex periences; (5) the student’s own sense of relevance in the relation of musical learning to his or her own life, now and in the future; (6) relating activities to present life circumstances and to reasonably predictable adult experiences shared by ordinary people; (7) acting from within a problem-solving mentality that poses musical (but realistic) problems for students to solve actively; (8) an orientation toward immediate and tangible results as the major vehicle for maximizing long term, future results; (9) a concern with what the student does or is able to do, more than what the teacher does or has to do in order to nurture student progress-it is student rather than teacher-centered; (10) encouraging ever-greater self-responsibility and self-discipline as the practical personal rewards are appreciated by the learner. (regelski, 1981: 19-20). terkait dengan pembelajaran seni musik yang berbasis action learning tersebut, jamalus (1988: 2) menyatakan bahwa pembelajaran seni musik di sekolah harus dilakukan melalui pengalaman musik. maksudnya, setiap bentuk pembelajaran musik sebagai upaya untuk mencapai kompetensi dasar yang ditentukan baik dalam kompetensi berapresiasi, berekspresi, dan berkreasi musik harus dilakukan melalui kegiatan terpadu dengan memasukkan kegiatan musik sebagai salah satu komponennya. aktivitas musikal tersebut dapat berupa kegiatan mendengarkan musik, merespon musik dengan gerak berirama, bernyanyi, membaca notasi musik, bermain alat musik,dan mencipta musik. pembelajaran seni musik di sekolah sebagai bagian dari mata pelajaran seni budaya dilaksanakan dengan me ngaitkan aspek budaya sebagai konteksnya. oleh karena itu, keterkaitan antara musik sebagai materi (content) yang di dalamnya terkandung unsur melodi, ritme, harmoni, timbre, bentuk/struktur lagu, dan ekspresi yang disampaikan kepada siswa melalui beragam aktivitas musikal dalam rangka untuk memberikan pengalaman berapresiasi, berekspresi, dan berkreasi musik. metode tujuan akhir penelitian ini adalah dihasilkannya materi ajar mata kuliah keah-materi ajar mata kuliah keahlian yang berdasarkan karakteristiknya dapat menguatkan pencapaian kompetensi para calon guru seni musik dalam konteks pelaksanaan pembelajaran berbasis action learning. oleh karena itu, penelitian ini dilakukan dengan pendekatan penelitian pengembangan yang diadaptasi dari desain penelitian model spiral yang dikembangkan oleh cennamo dan kalk (2005). dalam konteks pembelajaran, cennamo dan kalk ( 2005) dengan pendekatan penelitian pengembangan model spiral ini mengembangkan instructional design model (model desain pembelajaran). proses penelitiannya dilakukan selama lima tahap meliputi: (1) tahap pendefinisian (define); (2) tahap perancangan (design); (3) tahap peragaan (demonstrate); (4) tahap pengembangan (develop); dan (5) tahap me nyampaikan (deliver). dari lima tahap yang ada peneliti mengadaptasi ke dalam tiga tahap kegiatan pokok yakni: (1) tahap pe-ngembangan produk (develop); (2) tahap peragaan produk (demonstrate); dan (3) tahap penyampaian produk (deliver). dalam tahap pengembangan model, secara berkesinambungan dilakukan tiga kegiatan yakni: (1) analisis konteks dan perumusan tujuan; (2) penentuan solusi bersama teman sejawat (brainstorm); dan (3) menyusun prototype yang berupa struktur materi bahan ajar mata kuliah keahlian yang telah ditentukan berdasarkan kompetensi guru dalam konteks pelaksanaan pembelajaran berbasis action learning. strategi pengumpulan data dalam kegiatan analisis konteks salah satu di antaranya dilakukan melalui kegiatan focus group discussion (fgd) yang bertujuan untuk melakukan analisis kebutuhan pembelajaran seni musik di sekolah. kegiatan ini dilakukan dengan melibatkan para guru seni musik smp/sma/smk di empat kota yang berada di wilayah jawa tengah. instrumen yang digunakan dalam kegiatan ini terdiri harmonia, volume 13, no. 2 / desember 2013114 musik di sekolah. kedua hal tersebut secara rinci dapat dijelaskan sebagai berikut. kompetensi yang diperlukan para calon guru seni musik dalam konteks pelaksanakan pembelajaran berbasis action learning informasi yang diperlukan sebagai masukan dalam mengembangkan materi ajar mata kuliah keahlian program studi pendidikan seni musik yang dalam penelitian ini difokuskan pada mata kuliah: (1) kurikulm dan pengembangan materi : (2) perencanaan pembelajaran; (3) strategi belajar mengajar; (4) evaluasi pembelajaran ; dan (5) musik pendidikan dapat dijelaskan sebagai berikut tujuan, hasil belajar, dan strategi pencapaiannya dalam pembelajaran seni musik di sekolah tujuan dan hasil belajar yang dicapai dalam pembelajaran seni musik berbasis action learning di sekolah adalah tercapainya penguasaan konsep-konsep dan simbol-simbol musik yang diperoleh melalui berbagai pengalaman musikal seperti bernyanyi, bermain alat musik, berkreasi musik, dan lain-lain. hal tersebut relevan dengan tuntutan kurikulum pembelajaran seni musik di sekolah pada saat ini. melalui pembelajaran apresiasi, ekspresi, dan kreasi musik, pembelajaran seni musik di sekolah (smp/sma/smk) bertujuan untuk mengembangkan sikap, estetika, dan kreativitas siswa melalui beragam medium musik dalam berbagai konteks budaya. terkait dengan tujuan dan hasil belajar tersebut, pada kenyataannya prioritas hasil belajar pada pembelajaran seni musik di kalangan para guru sangat beragam. keberagaman tersebut secara rinci dapat dilihat melalui jumlah respon, prosentase, dan prioritas pilihan sebagaimana terangkum dalam tabel 1. dari data yang diperoleh menunjukkan bahwa sebagian besar guru berpendapat bahwa penguasaan konsep dan simbol-simbol musik yang diperoleh melalui berbagai pengalaman musikal (bernyanyi, bermain alat musik, berkreasi musik, dan atas pedoman diskusi, wawancara, angket terbuka dan angket tertutup. teknik analisis data yang digunakan dalam kegiatan analisis konteks dilakukan dengan pendekatan kuantitatif dan kualitatif. teknik kuantitatif dilakukan pada saat peneliti melakukan analisis terhadap data angket tertutup. teknik kualitatif dilakukan pada saat peneliti melakukan analisis terhadap data hasil diskusi, wawancara dan angket terbuka yang di peroleh melalui kegiatan focus group discussion (fgd). oleh karena itu, kedudukan kedua teknik analisis dalam penelitian ini diharapkan dapat saling melengkapi (lihat creswell, 1996: 9-53). hasil dan pembahasan berdasarkan data yang diperoleh pada pelaksanaan kegiatan analisis konteks yang dilakukan pada tahap awal penelitian pengembangan materi ajar mata kuliah keahlian program studi pen-program studi pendidikan seni musik, fakultas bahasa dan seni, universitas negeri semarang dalam konteks pelaksanaan pembelajaran berbasis action learning ini diperoleh informasi tentang: (1) kompetensi yang diperlukan para calon guru seni musik dalam konteks pelaksanakan pembelajaran berbasis action learning; dan (2) kendala yang dihadapi para guru dalam melaksanakan pembelajaran seni musik di sekolah. terkait dengan kompetensi yang diperlukan para calon guru seni musik dalam konteks pelaksanakan pembelajaran berbasis action learning, melalui ang-angket tertutup diperoleh informasi tentang: (1) pengalaman guru dalam menentukan tujuan pembelajaran, hasil belajar, dan strategi pencapaiannya; (2) keterampilan guru dalam memainkan jenis alat musik yang diperlukan dalam pembelajaran; dan (3) faktor-faktor yang mendukung pengembangan lagu model. adapun melalui angket terbuka dan wawancara yang dilakukan pada saat kegiatan focus group discussion (fgd) diperoleh informasi tentang berbagai kendala yang dihadapi para guru dalam melaksanakan pembelajaran seni udi utomo, analisis kebutuhan guru seni musik dalam konteks pelaksanaan ... 115 lain-lain). sedangkan lima orang guru yang lain masih berpendapat bahwa pengetahuan seni musik dan keterkaitannya dengan berbagai aspek budaya sebagai prioritas utama. meskipun demikian masih ada para guru yang menetapkan bahwa keterampilan siswa dalam bernyanyi, dan keterampilan siswa dalam bermain alat musik menjadi prioritas utama. agar tujuan pembelajaran seni musik di sekolah dapat tercapai dengan efektif maka guru perlu mempertimbangkan beberapa hal, seperti: (1) karakteristik perkembangan siswa; (2) pengalaman siswa; (3) minat siswa; dan (4) strategi pembelajaran yang sesuai (metode, kegiatan pembelajaran, dan media pendukung). berdasarkan pengalamannya, pada kenyataanya setiap guru memiliki prioritas yang berbeda terhadap keempat aspek tersebut. namun demikian dari tanggapan mereka dapat disimpulkan bahwa, pada umumnya para guru menempatkan aspek strategi pembelajaran yang mencakup metode, kegiatan pembelajaran, dan media pendukung sebagai prioritas pertama yang perlu diperhatikan. selanjutnya diikuti oleh aspek karakteristik perkembangan siswa, dan minat siswa terhadap pembelajaran seni musik. tanggapan para guru terhadap aspek-aspek tersebut sebagaimana terangkum dalam tabel 2. prioritas keterampilan guru dalam memainkan jenis alat musik yang menunjang pembelajaran seni musik di sekolah (smp/sma/ smk) kompetensi guru dalam memainkan alat musik sangat diperlukan dalam pembelajaran. kemampuan ini memberikan dukungan bagi guru dalam mengembangkan beragam pengalaman musikal baik dalam pembelajaran apresiasi, ekspresi, maupun berkreasi musik. berdasarkan pengalaman para guru, kemampuan memainkan alat musik pengiring seperti keyboard, piano atau gitar sangat penting bagi para guru. selanjutnya diikuti oleh kemampuan memainkan alat musik melodis seperti, biola, flute atau yang lainnya, kemampuan memainkan alat musik ritmis (drum set dan lain-lain), dan prioritas ketiga adalah kemampuan memainkan alat musik tradisional seperti gamelan, rebana, calung, atau yang lainnya dan ketrampilan memainkan alat musik ritmis (drum set). tabel 1. prioritas hasil belajar pembelajaran seni musik di sekolah urutan hasil belajar jumlah respon persentase 1 penguasaan konsep dan simbul-simbol musik yang diperoleh melalui berbagai pengalaman musikal (bernyanyi, bermain alat musik, berkreasi musik, dan lain-lain). 10 58.8 2 pengetahuan musik dan keterkaitannya dengan aspek budaya. 5 29.4 3 keterampilan siswa dalam bernyanyi. 1 5.9 4 keterampilan siswa memainkan alat musik. 1 5.9 n = 17 tabel 2. tanggapan para guru terhadap aspek penting dalam pelaksanaan pembelajaran seni musik di sekolah urutan aspek jumlah respon prosentase 1 strategi pembelajaran yang sesuai (metode, kegiatan pembelajaran, dan media pendukung). 10 58.8 2 karakteristik perkembangan siswa. 5 29.4 3 minat siswa terhadap pembelajaran seni musik. 2 11.8 4 pengalaman siswa. 0 0 n = 17 harmonia, volume 13, no. 2 / desember 2013116 prioritas keterampilan alat musik yang diperlukan bagi para guru tersebut sebagaimana terangkum dalam tabel 3. pengembangan lagu model dalam pembelajaran seni musik dalam pembelajaran seni musik keberadaan lagu model sebagai sumber belajar memiliki peranan yang sangat penting. melalui lagu model seorang guru dapat membelajarkan berbagai konsep unsur musikal dan simbol-simbol musik. lagu model yang diperlukan dalam pembelajaran seni musik dapat diciptakan sendiri oleh para guru. adapun cara yang lain, dapat dilakukan dengan memperoleh melalui media musik yang ada baik dalam bentuk notasi lagu (buku lagu) atau dalam bentuk rekaman lagu (audio atau audio visual). terkait dengan lagu model yang diperlukan dalam pembelajaran, sebagain besar guru berpendapat bahwa keterampilan guru dalam mengkomposisi lagu merupakan prioritas kompetensi yang pertama. selanjutnya baru diikuti oleh tersedianya buku kumpulan lagu,keterampilan mengaransemen, dan tersedianya koleksi rekaman lagu baik dalam bentuk rekaman kaset, cd, vcd, dan lain-lain sebagai sarana penunjangnya. jumlah respon, prosentase, dan prioritas pendukung dalam pengembangan lagu model dikalangan para guru tersebut terangkum dalam tabel 4. untuk menciptakan lagu model atau mengaransemen lagu sesuai dengan kebutuhan pembelajaran sangat membutuhkan keterampilan dan waktu yang cukup. oleh karena itu, untuk mengembangkan lagu model, pada umumnya para guru lebih suka dengan cara mencari lagu/ musik yang sudah ada sesuai dengan kebutuhan pembelajaran. cara selanjutnya, dilakukan dengan mengkomposisi dan mengaransemen lagu/musik sesuai dengan kebutuhan,memanfaatkan lagu/aransemen musik yang ada di buku bahan ajar. adapun mengaransemen lagu yang sudah ada sesuai kebutuhan merupakan cara berikutnya. pengalaman para guru tersebut sebagaimana terangkum dalam tabel 5. berdasarkan pengalaman dan tanggapan para guru tersebut menunjukkan bahwa di kalangan mereka masih terdapat beragam perbedaan persepsi dalam tabel 3. prioritas keterampilan memainkan jenis alat musik dalam pembelajaran seni musik di sekolah urutan keterampilan bermain alat musik jumlah respon prosentase 1 memainkan alat musik pengiring (keyboard atau gitar). 13 76.4 2 memainkan alat musik melodis (biola, flute atau yang lainnya). 2 11.8 3 memainkan alat musik tradisional (gamelan, rebana, calung, atau yang lainnya). 1 5.9 4 memainkan alat musik ritmis (drum set). 1 5.9 n = 17 tabel 4. tanggapan guru terhadap prioritas aspek pendukung dalam pengembangan lagu model urutan aspek pendukung jumlah respon prosentase 1 keterampilan guru dalam mengkomposisi lagu. 7 41.3 2 tersedianya buku kumpulan lagu. 4 23.5 3 keterampilan guru dalam mengaransemen lagu. 3 17.6 4 tersedianya koleksi rekaman lagu (kaset, cd, vcd, dan lain-lain). 3 17.6 n = 17 udi utomo, analisis kebutuhan guru seni musik dalam konteks pelaksanaan ... 117 melaksanakan pembelajaran seni musik di sekolah. sebagai bukti dari 17 responden yang menetapkan prioritas hasil belajar berupa penguasaan konsep dan simbolsimbol musik yang diperoleh melalui berbagai pengalaman musikal (bernyanyi, bermain alat musik, berkreasi musik, dan lain-lain) sebagaimana yang diharapkan ternyata hanya 10 orang guru. sebaliknya masih ada pula guru yang menetapkan prioritas hasil belajar pembelajaran seni musik di sekolah yang berupa ketrampilan siswa dalam bernyanyi atau bermain alat musik. pemahaman terhadap karakteristik perkembangan siswa merupakan hal penting dalam memahami pengalaman dan minat siswa untuk kepentingan penentuan strategi pembelajaran yang sesuai (metode, kegiatan pembelajaran, dan media pendukung). namun demikian, berdasarkan data yang ada menunjukkan justru sebaliknya. aspek tersebut sebagai prioritas hanya dipilih oleh lima orang guru. sedangkan yang menganggap bahwa strategi pembelajaran menjadi aspek yang paling penting ada 10 orang guru. padahal aspek ini baru bisa tercapai apabila seorang guru memahami karakteristik perkembangan siswa, pengalaman dan minat siswa terlebih dahulu. berdasarkan pengalaman para guru, kemampuan memainkan alat musik pengiring seperti keyboard, piano atau gitar sangat penting. hal ini terbukti dari 17 orang responden terdapat 13 orang yang memberikan tanggapan terhadap kemampuan tersebut. tentu saja hal ini beralasan, karena kemampuan memainkan alat musik tersebut lebih mendukung para guru dalam melaksanakan berbagai materi pembelajaran seni musik di sekolah. sedangkan kemampuan memainkan alat musik lainnya seperti: (1) memainkan alat musik tradisional (gamelan, rebana, calung, atau yang lainnya); (2) alat musik melodis (biola, flute atau yang lainnya); dan (3) alat musik ritmis (drum set) hanya diperlukan dalam konteks-konteks tertentu. dalam pembelajaran seni musik, keberadaan lagu model sebagai sumber belajar memiliki peranan yang sangat penting. lagu model yang diperlukan dalam pembelajaran seni musik selain dapat diciptakan sendiri oleh para guru dapat pula dilakukan dengan cara memperoleh melalui media musik yang ada baik dalam bentuk notasi lagu (buku lagu) atau dalam bentuk rekaman lagu (audio atau audio visual). berkaitan dengan hal tersebut ada tujuh orang guru yang menganggap bahwa ketrampilan guru dalam mengkomposisi lagu menjadi penting sebagaimana seperti yang diharapkan. sedangan 10 orang guru yang lain masih menganggap bahwa ketrampilan mengaransemen, tersedianya buku kumpulan lagu, dan tersedianya koleksi rekaman lagu justru lebih penting. untuk menciptakan lagu model atau mengaransemen lagu sesuai dengan kebutuhan pembelajaran diperlukan keterampilan dan waktu yang cukup. akibatnya para guru yang melakukan hal tersebut belum sesuai dengan yang diharapan. untuk kepentingan pembelajaran para tabel 5. pengalaman guru dalam mengembangkan lagu model urutan pengalaman guru jumlah respon prosentase 1 mencari lagu/musik yang sesuai dengan kebutuhan siswa. 8 47.1 2 mengkomposisi dan mengaransemen lagu/musik sesuai dengan kebutuhan. 4 23.5 3 memanfaatkan lagu/aransemen musik yang ada di pada buku bahan ajar seni musik. 3 17.6 4 mengaransemen lagu yang sudah ada sesuai dengankebutuhan. 2 11.8 n = 17 harmonia, volume 13, no. 2 / desember 2013118 guru pada umumnya lebih tertarik mendapatkan lagu model dengan cara mencari lagu/musik dari media yang ada.. kendala guru dalam melaksanakan pembelajaran seni musik di sekolah pelaksanaan pembelajaran seni musik di sekolah ternyata banyak sekali kendalanya. namun demikian untuk membatasinya dalam penelitian ini kendala-kendala yang dihadapi para guru difokuskan pada aspek kurikulum, kebijakan sekolah, dan ketersediaan sarana, media, dan sumber belajar. aspek kurikulum dari aspek kurikulum, kendala pembelajaran seni musik di sekolah menengah pertama (smp) yang dialami para guru diantaranya menyangkut masalah: (1) kesamaan standar kompetensi (sk) dan kompetensi dasar (kd) yang ada pada kelas vii sampai dengan kelas ix yang menyebabkan terjadinya keberagaman persepsi guru dalam mengembangkan urutan dan kedalaman materi pembelajaran; (2) keterbatasan alokasi waktu yang tersedia yang berakibat beberapa orang guru mengalami kesulitan dalam melaksanakan pembelajaran seni musik. alasannya, karena para guru ada yang dituntut oleh kepala sekolah selain mengajarkan seni musik harus pula mengajarkan submateri seni rupa atau seni tari sebagai bagian dari mata pelajaran seni budaya; (3) sebagian guru beranggapan bahwa kompetensi dasar mengaransemen musik secara sederhana sebagai bagian dari standar kompetensi (sk) mengekspresikan diri melalui seni musik merupakan kompetensi yang sulit dicapai, akibatnya proses pengembangan kreativitas siswa melalui berbagai pengalaman musik seringkali tidak mendapatkan perhatian; dan (4) tidak tercantumnya lagu-lagu wajib/nasional dalam kurikulum, menyebabkan para guru kurang leluasa dalam memanfaatkan lagu-lagu tersebut sebagai lagu model yang diperlukan dalam pembelajaran. kebijakan sekolah berdasarkan informasi dari para guru yang menjadi subjek penelitian terungkap bahwa pada kenyataannya kebijakan setiap sekolah terhadap penyelenggaraan pembelajaran seni musik sangat berbeda. perbedaan persepsi kepala sekolah terhadap implementasi kurikulum yang ada, diantaranya menyebabkan: (1) terjadinya perbedaan dalam mengalokasikan waktu untuk pembelajaran seni musik di setiap sekolah; (2) adanya tambahan kewajiban beban mengajar para guru seni musik untuk tetap mengajarkan submata pelajaran seni lainnya, meskipun pada umumnya tidak berkompeten; (3) perbedaan dalam menyediakan fasilitas yang mendukung pembelajaran seni musik; dan (4) perbedaan terhadap pentingnya keberadaan pembelajaran seni musik di setiap sekolah khususnya dalam konteks intrakurikuler. ketersediaan sarana, media, dan sumber belajar ketersediaan sarana, media, dan sumber belajar yang memadai sangat diperlukan dalam pembelajaran seni musik. meskipun beberapa guru mengungkapkan bahwa di sekolahnya telah memiliki secara lengkap kebutuhan tersebut, namun dengan kondisi yang berbeda ada pula guru yang mengungkapkan bahwa di sekolahnya belum tersedia sarana, media, dan sumber belajar yang memadai. contonya seperti belum tersedia ruang khusus praktik musik (kedap suara), alat musik daerah, dan sumber belajar lainnya. simpulan kegiatan analisis konteks yang dilakukan untuk melakukan analisis kebutuhan dalam penelitian pengembangan materi ajar mata kuliah keahlian program studi pendidikan seni musik dalam konteks pelaksanaan pembelajaran berbasis ini menghasilkan informasi terkait dua permasalahan yang ada yakni: (1) kompe-(1) kompe-kompetensi yang diperlukan para calon guru seni musik dalam konteks pelaksanakan pemudi utomo, analisis kebutuhan guru seni musik dalam konteks pelaksanaan ... 119 belajaran berbasis action learning; dan (2) kendala-kendala yang dihadapi para guru dalam melaksanakan pembelajaran seni musik di sekolah. informasi tentang kompetensi yang diperlukan para calon guru seni musik dalam konteks pelaksanakan pembelajaran berbasis action learning mencakupi: (1) penguasaan konsep dan simbul-simbol musik yang diperoleh melalui berbagai pengalaman musikal (bernyanyi, bermain alat musik, berkreasi musik, dan lain-lain); (2) strategi pembelajaran seni musik yang mencakupi metode, kegiatan pembelajaran, dan media pendukung; (3) kemampuan memainkan alat musik; dan (4) kemampuan menciptakan lagu model yang diperlukan dalam pembelajaran seni musik. adapun informasi tentang kendala-kendala yang dihadapi para guru dalam melaksanakan pembelajaran seni musik di sekolah yang diperoleh mencakupi aspek kurikulum, kebijakan sekolah, dan ketersediaan sarana, media, dan sumber belajar. informasi tentang dua permasalahan tersebut dalam proses penelitian selanjutnya akan dijadikan sebagai pertimbangan dalam menentukan mata kuliah keahlian yang akan dikembangkan materi ajarnya. secara operasional diwujudkan melalui deskripsi mata kuliah, standar kompetensi, kometensi dasar, pokok bahasan, subpokok bahasan, dan rincian materi mata kuliah yang ditentukan. daftar pustaka cenamo, k, & kalk, d. 2005. real world instructional design. victoria: thomson learning, inc. creswell, j. w. 2003. research design: qualitative, quantitative, and mixed methods approaches (second edition). london: sage publications ltd. hong, j. c. 2009. a study of influential factor for creative teaching. diunduh 1 nopember 2009 dari hhtp// conference.nie.edu.sg/conferted.pdf/ ab00202.pdf. jamalus. 1988. pembelajaran musik melalui pengalaman musik. jakarta: dirjendikti depdikbud. astuti, k. s. 2010. pengembangan model evaluasi pembelajaran seni budaya smp. jurnal kependidikan. vol. 40 no. 1 hal. 87-98. regelski, t. a. 1981. teaching general music. london: collier macmillan publishers. sheppard, p. 2007. music makes your child smarter. jakarta: pt. gramedia pustaka utama. sinaga, s. & utomo, u. 2010. kreativitas guru dalam pembelajaran seni musik di smp (studi kasus pada pelaksanaan pembelajaran seni musik di smp kota semarang). penelitian dasar tidak diterbitkan: lp2m universitas negeri semarang. yoseph, w. 2009. implementasi kurikulum tingkat satuan pendidikan (ktsp): studi kasus dalam pembelajaran musik di sma citischool semarang. harmonia jurnal pengetahuan dan pemikiran seni, vol. 9, no. 1, hal. 49-57. vol. 2 no. 2 mei_agustus 2001.pdf harmonia jurnal pengetahuan dan pemikiran seni makna dalam busana dramatari arja di bali (meaning in the arja dance drama costume in bali) siluh made astini* abstrak busana yang dikenakan oleh penari atau yangs ering disebut dengan busana tari, disamping mempunyai maksud untuk membungkus badan penari juga dimaknai lain oleh pengamat atau penonton lewat tanda-tanda yang ada pada busana tersebut. adapun tanda-tanda yang terlihat seperti warna, disain, yang merupakan satu kesatuan yang tidak terpisahkan antara satu dengan yang lainnya dalam busana tari. warna dapat memberikan kesan khususkepada penon ton dalam membedakan keras lembutnya masing-masing peran. disain, disamping dapat membedakan peran putra dan putri, juga dapat dipersepsikan sebagai tanda dari beberapa organ-organ tubuh manusia. berbagai macam motif atau ragam hias yang dikenakan pada manusia memberi kesan yang sangat dinamis pada kesenian bali khususnya pada dramatari arja. kata kunci : semiotik, warna, desain, ragam hias. a. pendahuluan di bali terdapat beberapa bentuk dramatari, dalam arti pergelaran tari yang membawakan suatu cerita (lakon). masing-masing dramatari yang ada di bali tentu mempunyai perbedaan-perbedaan yang bisa dilihat seperti cara penyajian, fungsi, lakon yang dimainkan maupun eprlengkapan serta peran yanga da didalamnya. salah satu dramatari tersebut adalah arja. dramatari arja adalah perpaduan antara drama, tari dan musik yang saling mendukung dan tidak dapat dipisahkan, yang menjadi suatu bentuk tontonan yang menyatu (dibia, 1992:4). pemain yang berakting dengan jalan, menari, dan menyangi yang mengikutiirama musiknya yang bernama musik geguntangan. dismaping itu ada juga yang menggunakan vol.2 no.2/mei-agustus 2001 17 harmonia jurnal pengetahuan dan pemikiran seni dialog-dialog lain yang diucapkan dalam bahasa kawi maupun bahasa bali. dikatakan juga bahwa arja satu-satunya tipe teater di bali yang didalamnya layar digunakan untuk menyembunyikan para pemain dan lewat layar itu pula tempat masuk dibuat (brandon, terjemahan; 1989, 118). di bali dinamakan rangki yaitu tempat beristiraha dan tempat keluar masuknya ppenari lewat langse atau layar. para ahli teater barat sering menjuluki arja sebagais lah satu teater daerah indonesia sebagai teater lokal. artinya, pertama terbentuk dari paduan aspek pendukung, kedua, dapat dinikmati oleh segala lapisan masyarakat serta pribadi (bandem dan sal murgiyantoi, 1996:15). disamping itu dikatakan juga bahwa teater daerah sekaligus mencakup empat hal yang bersifat diantranya fisikal. dengan kata lain fisikal adalah indera yangd apat merangsang penglihatan seperti gerak laku iringa atau karawitan disamping busana. busana tari adalah busana yang dipakai untuk kebutuhan tarian yang ditarikan diatas pentas (bandem, 1997:81). busana tari yang dimaksud adalah busana tari yang artistik dengan segala perlengkapannya termasuk asesori, hiasan kepada dan tata rias wajah (make up). sebagai perbandingan bahwa, rancangan busana tari sangat berbeda dengan rancangan busana mode yang kita kenal dengan istiah “fashion design”. rancangan busana tari harus memperhatikan konsep tarinya yang menyangkut tema, karakter, dan interpretasi dramatiknya. untuk sebuah sendratari atau dramatari harus diperhatikan kaitannya dengan seluruh konsep produksi itu yaitu busana sebagai satu kesatuan, sesuah itu baru busana tari secara individu dikaitkan dengan setiap tokoh didalamnya. kain prada mempunyai fungsi yang sangat penitng dalam masyarakat bali. kain ini merupakan salah satu kain yang dipergunakan dalam dramatari arja disamping songket, endek, danlain sebagainya. teknik pembuatan ragam hias kain prada ini ialah menempelkan dengan parada di atas sebidang kain. ragam hias kain prada meliputi pola-pola binatang, pepohonan, dan manusia. pada zaman dahulu, kain prada merupakan kain yang digemari di kalangan para raja dan bangsawan karena warnanya yang gemerlap. pada masa kini, kain prada banyak digunakan dalam busana tari. sebab warna yang gemerlap amat cocok dengan jiwa dinamis tarian bali dan jika disinari lampur penerang, kain ini kelihatan sangat teatrikal (bandem, 1996:7-8). berkaitan dengan itu tanda-tanda yang ada dalam busana dramatari arja dapat dilihat dari segi warna, ragam hias dan desain vol.2 no.2/mei-agustus 2001 18 harmonia jurnal pengetahuan dan pemikiran seni busana dramatari tersebut. tanda-tanda merupakan sesuatu yang dimaknai oleh sesuatu yang lain atau penambahan dimensi yang berbeda pada materi lain dengan memakai segala sesuatu yang dipakai untuk mengartikan sesuatu hal lainnya. c.s pierce menyebut tanda “sebagai suatu pegangan seseorang akibat keterkaitan dengan tanggapan atau kapasitasnya (marianto, 1997:1). umberto eco dalam bukunga “ a theory of semiotics” mengatakan : semiotik berkaitan dengan segala hal yang dapat dimaknai suatu tanda-tanda. sebuah tanda adalah segala sesuatu yang dpat dilekati (dimaknai sebagai penggantian yang signifikan untuk sesuatu yang lainnya. segala sesuatu ini tidak begitu mengharuskan akan adanya atau untuk mengaktualisasikan adanya tempat entah dimanapun pada saat suatu tanda memaknainya (marianto, 1997:5). dalam hal itu, sesuatu yang akan dimaknai adalah busana dramatari arja, yang dapat dilihat dari segi warna yang digunakan, ragam hias yang dipakai dan sampai kepada desain busana dramatari tersebut. dari ketiga hal tersbeut, ada tanda-tanda yang menarik yang dapat dibahas di balik busana yang ditampilkan. b. pembahasan berbicara tentang tanda atau semiotik, karya seni dapat berbicara banyak tentang isi dan bentuknya sesuai dengan maksud penciptanya. walau dalam wawancara (komunikasi) antara pencipta dan pengamat tidak selalu berjalan dengan lancar dan seiring bahkan mungkin terjadi selisih atau gesel tanggapan. barangkali dala hal ini pengamat dapat menikmati dan menerimanya karena kehidupan kreatif pengamat dan terhadap nilai karya seni tidaks elamaya sama dengan senimannya. dalam berapresiasi dalam seni rupa kemungkinan besar dakan terjadi perbedaan interpretasi antara pengamat seni dengan nilai dan misi kesenian yang sesungguhnya. ketika pengamat aktif mengamati hasil seni, perasaannya tergetar (bastomi, 1992:77). dengan model pengalamannya, ia menganalisis dan menginterpretasi secara obyektif tentang nilai-nilai yang terkandung didalam hasil seni, sehingga ia memperoleh pengalaman tentang seni. padatahap itulah pengamat mulai menampilkan argumentasi terhadap objek seni vol.2 no.2/mei-agustus 2001 19 harmonia jurnal pengetahuan dan pemikiran seni dalam kegiatan menagmati seni, pengamat tidak cukup hanya mengamati objeknya saja, melainkan juga diperlukan pemusatan perhatian, perasaan yang cukup tajam, daya fantasi yang cukup tinggi, dan kepekaan menanggapi obyek seni dan kemampuan menilainya. setelah pengamat mampu menyerap muatan nilai seni, ia akan mampu mengharagainya. seni selalu berhubungan dengan aktivitas manusia ang disadari, maksudnya seni dihasilkan oleh manusia dengan sengaja. kesengajaan orang mencipta seni mungkin melalui periapa yang lama dengan perhitungan-perhitungan yangmatang dan proses penggarapannyapun mungkin memakan waktu yang cukup lama pula. jika terjadi demikian, hasil seni yang dicapai melalui perhitungan teknis biasanya bersifat rasional. hasil seni yang cenderung didasarkan pada perhitungan rasional akan mengandung estetika intelektual. sebenarnya tidak ada hasil seni yang sepenuhnya dibuat atas dasar perhitungan yang rasional. seberapa besar peranan rasio, penciptaan hasil seni tidak mungkin lepas sama sekali dari pertimbangan rasa. dalam seni, justru unsur rasa lebih bepean daripada rasio, bahkan terdapat komponen seni yang tidak dapat dikerjakan dengan perhitungan rasional. dalam seagian besa aktivita seni, terutama seni bebas unsur perasaan sangat berperan dan kebanyakan aktivitas itu dikerjakan secara intuitif. bentuk lahiriah suatu seni dapat diamati dan dapat dihayati dan hasil seni itu ada yang berbentuk viual yatu hasil seni yang dapat diamati dengan indra pandang seperti ornamen atau motif yanga da dalam busana dramatari arja. wujud seni tidak akan menimulkan rasa kagum dan pesona apabila wujud itu tanpa isi. busana didalam dramatari arja mempunyai arti tertentu, karena dpergunakan untuk menunjukkan karakter atau identitas setiap tokoh yang ditampilkan. disamping itu busana juga dapat mempengaruhi segi perbendaharaan gerak tarinya. hiasan kepala adalah satu dari busana yang dipakai dalam dramatari tersebut. busana yang dipergunakand alam dramatari arja dapat dibedakan menjadi dua macam yakni busana tokoh putra dan busana tokoh putri. 1. warna penggunaan warna yang diterapkan dalambsuana dramatari arja di bali mempunyai dua sifat simbolis dan menghias. sifat simbolis penekanannya adalah dengan warna dapat mencerminkan karakter kejiwaan dari peran itu sendiri. misalnya karakter atau peran rahwana vol.2 no.2/mei-agustus 2001 20 harmonia jurnal pengetahuan dan pemikiran seni yang mempunyai sifat-sifat seperti raksasa, busananya didominasi oleh warna merah yang melambangkan nafsu angkara murka. selain itu warna hitam putih (poleng) melambangkan dua kekuatan yang saling bertentangan seperti baik dan buruk, siang dan malam, pria dan wanita dan lain sebagainya. konsep ini merupakan onsep keseimbangan didalam ajaran agama hindu yang sering diseut rwa bineda, dua hal yang berbeda namun selalu berdampingan. disamping itu dijelaskan juga didalam ajaran agama hindu bahwa warna hitam dan warna putih bila dilebur menjadi satu akan menimbulkan bening. bening adalah simbol kesucian dan keluhuran. peleburan warna hitam dan warna putih menjadi bening memberikan makna kepada kita bahwa apabila kita dapat menyatukan atau melebur perasaan suka dan duka, kaya dan miskin, malang beruntung,d alam hidup kita ini niscaya ketenangan berada dalam diri kita. ditempatkannya hiasan warna hitam dan putih di pura atau tempat suci dengan maksud agar umat yang datang bersembayang menyatukan pikiran dan perasaan, tidak lagi mengandung rwa bineda, namun berada dalam ketenangan dan kebersihan hati, sujud dihadapan tuhan yang maha esa. apabila warna hitam dan warna putih menjadi simbol rwa bineda, maka warna-warna yang diterapkan pada hiasan-hiasan yang menggunakan warna dalam pengider-ider, yaitu merah, kuning, hijau, jingga, dadu, abu-abu, hitam putih dan panca warna. setiap warna mempunyai arti simbolis sebagai berikut. merah dipakai sebagai lambang dewa brahma yang dalam buana agung menurut penjuru angin tempatnya dis elatan, sedangkan dalam buana alit atau tubuh manusia tempatnya di hati. dewa brahma dalam ajaran agama hindu dianggap sebagai dewa yang memberikan kehidupan bagi smeua makhluk hidup yang berjiwa. dalam buku aggasty pana dijelaskan bahwa merah atau darah rasanya menjadi “atma” =, sebagai unsur pemberi nyawa atau jiwa. untuk kesempurnaan suatu kelahiran atma bersatu dengan daging dan bayu. demi melihat arti simbolis warna merah, apabila dalam suatu upacara keagamaan kita melihat sebuah pelinggih didepannya dan dihiasi dengan payung ider-ider berwarna merah dapat dipastikan bahwa yang bersemayam di tempat itu adalah dewa barhma. vol.2 no.2/mei-agustus 2001 21 harmonia jurnal pengetahuan dan pemikiran seni warna abu-abu adalah warna peralihan atau campuran antara warna hitam dan warna putih. dibuana agung dan pada bentuk-bentuk perlengkapan upacara ditempatkan pada arah timur laut, sedangkan pada buana alit atau tubuh manusia menurut aggasty pana dikatakan tempatnya di dubur yang merupakan lambang atau simbol dewa hyang atau bumi sebagai tempat berpijak tempat berlangsunbgnya kehidupan dan sekaligus sebagai sumber rejeki. hijau merupakan lambang dewa sangkara, di buana agung menurut pengider-ider pada penjuru mata angin tempatnya di barat laut, sedangkan pada tubuh manusia tempatnya di tangan. warna hijau juga merupakan tanda kesuburan. disimbolaknnya tangan dengan warna hijau karena dengan keterampilan yang dimiliki oleh tangan akan mendatangkan rejeki dan memberikan kesuburan pada manusianya. dadu merupakan campuran antara warna merah dan warna putih. menurut pengider-ider tempatnya di tenggara berlambang dari dewa mahesoro. pada buana alit tempatnya di paru-paru,. warna dadu juga merupakan simbol “kama”, yaitu pertemuan antara darah laki-laki (air mani laki-laki disimpulkan dengan warna putih) dan darah perempuan (disimpulkan dengan warna merah). jadi makna warna dadu disini adalah sebagai gambaran terjaidnya awal mula proses kehidupan sebelum lahir. kuning adalah lambang dewa mahadewa (dewa tertinggi). tempatnya di buana agung adalah arah barat, sedangkan buana alit tempatnya di buah pinggang. warna kuning memberi warna keagungan dan kebesaran tuhan. dalam ragam hias bali, terutama seni bangunan yang bertahtakan ukir-ukiran, warna yang paling banyak digunakan adalahw arna kuning, begitu juga pada tokoh-tokoh pewayangan yang digambarkan memiliki jiwa-jiwa yang agung seperti tokoh-tokoh raja, ksatria, yang busana dan mahkotanya seluruh bentuknya dipulas dengan warna kuning atau warna emas. mengingat tempat-tempat pemujaan dilambangkan sebagai tempat bersemayamnya dewa-dewa, untuk menimbulkan kesan keagungan pada dewa yang bersemayam disana. selain di tempat-tempat pemujaan warna kuning atau warna emas juga banyak dipakai pada bangunan-bangunan di lingkungan istana-istana raja. fungsinya tetap sama, yaitu sebagai simbol keagungan raja-raja. pada bangunan-bangunan umum dan bangunan-bangunan perumahan rakyat jarang ditemukan warna kuning emas. itu mungkin disebabkan dilarang oleh pihak kerajaan karena dapat dikatakan mau vol.2 no.2/mei-agustus 2001 22 harmonia jurnal pengetahuan dan pemikiran seni menyaingi keagungan raja disamping saat itu warna kuning emas terlalu mahal yang mungkin tidak terjangkau oleh daya beli rakyat. demikian besar makna warna kuning melekat di hati masyarakat bali sehingga mereka sangat hati-hati menempatkan warna kuning emas itu. jenar (jinga) menjadi pelambang dewa rdra. menurut pengiderider di buana agung tempatnya di barat daya, sedangkan di buana alit tempatnya di usus. warna jenar mengandung makna kebesaran jiwa dan keterbukaan, yaitu keterbukaan menerima saran dan ilmu pengetahuan dan kecerahan akan masa depan. dari kesemua jenis dan bentuk ragam hias tradisional yang ada di bali tertama yang bertata warna, bila ditinjau atau diulas berdasarkan ilmu warna seperti yang dipelajari dalam desain mislanya, niscaya kita akan menemukan ketidakcocokan antara hubungan warna yang satu dengan yang lain sebab penempatan warna pada ragam hias bali disamping memang didasari oleh selera keindahan masyarakat lokal dan yang lebih penting lagi harus memenuhi tata warna keagamaan yang diatur dalam pengider-ider (sika, 1983:36-46). penafsiran laind alam busana-busana yang digunakand alam dramatari merupakan tanda dari kedinamisan. melihat gerak tari, desain busana , ragam hias dan warna yang dipakai dalam busana dan lebihlebih mendengarkan musik, tembang dari dramatari tersebut sungguh terkesan sangat meriah dan menyatu dalam kedinamisannya. dilihat dari cerita yang diangkat didalam dramatari arja seperti cerita ramayana , panji, rakyat, cina dan lain sebagainya, juga tidak menutup kemungkinan kalau warna merupakan tanda darikebesaran rajaraja. semua ini dapat dilihat pada warna emas atau prada yang serba gemerlapan. pada zaman dahulu kain prada merpakan kain yang paling digemari oleh para raja dan para bangsawan karena warnanya yang gemerlap. namun pada masa kini kain prada banyak digunakans ebagai busana tari sebab warna yang gemerlap sangat cocok dengan jiwa yang dinamis tarian bali, lebih-lebih jika disinari dengan lampu penerang kain ini elihatan sangat teatrikal. keyakinan orang terhadap warna yang dipakai atau dikenakan paling tidak akan membuat penampilan lebih percaya diri. dengan warna terkadang orang bisa menilai karakter atau pribadi seseorang walau hanya sepintas. namun dalam busana dramatari arja penafsiran lain dari warna vol.2 no.2/mei-agustus 2001 23 harmonia jurnal pengetahuan dan pemikiran seni yaitu mempunyai tujuan untuk mengalihkan perhatian penonton agar tidak terjadi kejenuhan, mengingat drama tari ini didalam pertunjukannya memakan waktu sekitar 6-8 jam. dengan rentang waktu yang cukup panjang jika penonton hanya mengikuti alur cerita dari pertunjukan tersebut tanpa ada perhatian lain selain alur cerita yang dilantunkan lewat tembang, penonton paling tidak akan merasakan bosan dengan dihadapkannya penonton pada busana yang memainkan berbagai aksen warna sehingga menimbulkan kesan gemerlap disamping juga dapat merepresentasikan pengkarakteran dari masing-masing tokoh terhadap peran yang dimainkan. dengan demikian dinamika dari pertunjukan dramatari arja berul-betul mempunyia daya tarik tersendiri. warna adalah komponen yang sangat kuat dari busana tari yang dapat memberikan pengaruh visual yang kuat kepada penonton serta dapat menimbulkan reaksi emosi penonton. 2. design busana berbicara masalah design busana dalam dramatari arja, tentu tidak lepas dengan ciri-ciri pokok dalam seni. menurut the liang gie ada 5 ciriciri pokok dan ciri-ciri tersebut sebagai brikut : a. sifat kreatif dari seni. seni yang sesungguhnya senantiasa kreatif, selalu menghasilkan sesuatu yang baru. seni sebagai suatu rangkaian kegiatan manusia selalu menciptakan suatu realitas yang baru, sesuatu apapun salah satunya adalah ragam hias yang tadinya belum ada atau belum pernah muncul dalam gagasan seseorang. demikian juga suatu design dari busana dramatari arja adalah design yang dalam proses penciptaannya mempunyai kekreatifan tersendiri. ini bisa dilihat dari penyusunan warna, ragam hias dan sampai kepada design busana tersebut. dengan adanya design seperti sekarang ini, muncul kesan yang memberikan tanda bahwa design semacam itu merupakan tanda kebesaran dari raja-raja atau mengingatkan kita akan masa jaya-jayanya kerajaan di zaman dahulu. tanda ini bisa dilihat pada gelungannya atau irah-irahan yang dikenakan oleh tokoh-tokoh yang diperankannya. disamping itu, jika melihat design busana tokoh putra juga dapat memberikan kesan bahwa laki-laki itu cenderung pada sifat ke maskulin, kesederhanaan, dan kebebasan. semua ini bisa kita lihat pada jaler, setewel, kancut, baju, sabuk, kancing, badong, dan yang paling mengesankan yaitu penggunaan saputnya yang ditopang oleh keris yang diselipkan pada punggung sebelah kanan. dengan demikian saput yang sudah terdesign demikian seperti ada aksen warna dari kain kemudian vol.2 no.2/mei-agustus 2001 24 harmonia jurnal pengetahuan dan pemikiran seni ragam hias yang dicat dengan prada akan memperkuat kesan seperti yang telah disebutkan di atas. sdsalah satu darii desgn tersebut ada yang dijulurkka ke bawah sebagai contoh kancut misalkan, dan itu merupakan tanda bahwa laki-laki itu mempunyai atau ada dari bagian tubuhnyayang menjulur ke bawah. berbeda halnya dengan design busana yang dipernkan oleh penari putri. tampak design tersebut menonjolkan bagianbagian keindahan dari wanita seperti pingang yang kelihatan sangat ramping setelahs etagen atau sabuk prada itu melilit dari pinggang sampai menutupi buah dada penari putri tersebut. melihat design kain yang dipakai memebrikan tanda bahwa seorang perempuan cenderung feminim, seperti cara berjalannya diibaratkan dalam istilah jawa yaitu seperti macan luwe karena design kain yang memanjang ke bawah dan tersisa sampai ke belakang. dengan kain semacam itu berjalan menjadi tidak cepat, keleluasaan didalam bergerak juga sangat terbatas. kesusian design ersebut jika dihuungkan dengan lekuk tubuh wanita sungguh memberikan kesan yang sangat dinamis dan mengandung suatu keindahan yang mendalam. b. seni individual, terikat pada perseorangan dalam penciptaan maupun penikmatnya. pengalaman estetis dalam mengamati suatu karya seni adalah pengalaman dari masing-masing individu yang bisa sama tetapi bisa juga berbeda. menurut pendapat filsuf polandia, bahwa keberadaan seni terdiri dari tiga faktor yang berlainan tetapi saling bergantung yaitu seniman, karya seni dan pemirsa (stefan morawski dalam the liang gie, 1996:43). beranjak dari pernyataan tersebut, design busana dramaari arja tidak lepas dari pendeign, hasil karyanya dan yang mengamati hasil karya tersebut ataupenonton jika itu sudah dalam pertunjukan. berbicara tentang design busana dramatari arja, mengingatkan kita kepada perkembangan dramatari tersebut. dramatari arja merupakan perkembangan dramatari gambuh yaitu dramatari yang dianggap paling tua di bali, yang mendapat pengaruh yang cukup besar dari jawa timur yaitu kerajaan majapahit. dikatakan juga bahwa gambuh diciptakan oleh sri udayana dengan meramu materi gerak tari jawa dan bali (soedarsono, 1979:10). hubugan antara bali dan jawa memuncak setelah kejatuhan majapahit ke tangan-orang-orang islam pada permukaan abad 16. pada masa itu, banyak orang jawa menetap di bali serta menurunkan vol.2 no.2/mei-agustus 2001 25 harmonia jurnal pengetahuan dan pemikiran seni kesenian mereka dari generasi ke generasi. elemen-elemen lebudayaan jawa dalam kesenian bali meliputi sistem tangganada dalam gamelan serta penggunaan cerita dan busana dalam dramatari. penggunan kain dan hiasan kepala banyak “meminjam” dari kesenian jawa (bandem, 1996:16). c. seni ekspresif menyangkut perasaan manusia dan karena itu penilaiannya juga harus memakai ukuran estetis. seni adalah bahasa perasaan yang melakukan komunikasi diantara seniman dengan pemirsa melalui karya seni dengan perasaan juga. karya seni juga harus ekspresif dengan emosi estetis baik suatu kebulatan ataupun masing-masing unsurnya. ahi filsafat seni memperluas perasaan itu dengan pemahaman dan nilai walaupun masih dianggap suatu kemungkinan belaka. dalam artikelnya dinyatakans ebagai berikut : d. barangkali penciptaan seni paling umu ditafsirkan sebagai pengungkapan atau komunikasi dari perasaan-perasaan atau pemahaman-pemahaman atau nlai-nilai yang seniman menemukan dalampengalamannya sendiri (luciana garvin dalam the liang gie, 1966:4). e. kalau ciri pokok ekspresif tersebut diatas dapat diterima, maka penilaian terhadap karysa seni harus dilakukan berdasakan ukuraniukuran perasaan estetis dan nilai-nilai estetis. bagi karya seni tidaklah ada pengertian benar atau salah menurut perhitungan akal seperti halnya dalam bidang kesusilaan. dengan demikian penggunaan warna, ragam hias dan design merupakan salah satu pengungkapan atau ragam hias dari perasaan atau pemahaman atau nilai yang ditemukan olehs eniman berdasarkan pengalamnnya. f. seni adalah abadi atau keabadian. sekali suatu karya seni telah selesai diciptakan sebagai suatu realitas baru, karya itu akan tetap langeng sepanjang zaman walauun seniman penciptanya sudah tidak ada agi. demikian halnya dengan design busana tari dramatari arja masih ada sampai sekarang walau penciptanya di zaman itu masih anonim. namun design busana itu masih eksis sampai sekarang bahkan bisa memberikan inspirasi untuk pengembangan bsuana-busana tari kreasi. g. seni bersifat semesta. seni muncul dimana-mana dan tumbuh sepanjang masa karena manusia memiliki perasaan dan seni adalah bahasanya yang melakukan komunikasi antar manusia dengan perasaan vol.2 no.2/mei-agustus 2001 26 harmonia jurnal pengetahuan dan pemikiran seni disampingnya dengan bahasa pergauan sehari-hari. jadi karya seni diciptakan dan dikembangkan secara universal dan terus menerus di seluruh dunia dan tentunya seni mempunyai nilai dan manfaat bagi kehidupan manusia. c. penutup pada prinsipnya busana dramatari arja di bali bertujuan untuk membantu agar mendapatkan ciri khas atas karakter peran yang dibawakan oleh pelaku. mengngat busana dramatari arja mempunyai fungsi sangat penting di dalam pertunjukan, maka dapat disimpulkan bahwa di balik fungsi dan keindahan busana dramatari tersebut, mempunyai penafsiran laind ari busana yang dikenakan. dalam hal ini beberapa dari penafsiran iu muncul karena melihat komposisi warna dari kain, dan dilihat dari desain yang dilihat, akan membantu menumbuhkan rasa keindahan. disamping itu melalui busana, penonton akan bisa membedakan dan mengetahui karakter yang diperankan. menghidupkan perwatakan pelaku (harymawan, 1988:132). maksudnya sebelum pelaku berdialog , hanya dengan melihat busana yang dikenakan penonton akan dapat mengenali masing-masing peran. bahkan, busana juga dapat menunjukkan hubungan kejiwaan dengan karakter-karkater lainnya. daftar pustaka bandem, i made. 1983. esiklopedi tari bali. asti denpasar. -------------------, 1996. wastra bali. hartanto art book, denpasar. -------------------, dan murgiyanto, sal. 1996. teater daerah indonesia. yogyakarta : kanisius. brandon, james r. 1989. seni pertunjukan di asia tenggara. terjemahan r.m. soedarsono. yogyakarta : isi. berger, arthur asa. 1997. tanda-tanda dalam budaya kontemporer:suatu pendahuluan untuk semiotik. terjemahan m. dwi marianto. yogyakarta : isi. bastomi, suwaji. 1990. wawasan seni. semarang : ikip press. dibia, i wayan. 1992. arja : a sung dance-drama of bali a study of vol.2 no.2/mei-agustus 2001 27 harmonia jurnal pengetahuan dan pemikiran seni change and transformation (disertasi). university of california los angles. ginarsa, i ketut. 1984. gambar lambang. cv. kayumas gie, the liang. 1996. filsafat seni sebuah pengantar. yogyakarta : pusat belajar ilmu berguna. harymawan, r.m.a. 1988. dramaturgi . bandung : cv. rosda offset. soedarsono r.m. 1979. hubungan dan pengaruh tari jawa terhadap tari bali. laporan penelitian. yogyakarta : asti. sika, i wayan. 1983. ragam hias bali. jakarta : proyek pengadaan buku pendidikan menengah kejuruan. sawsthi widjaya bandem, n.l.n. 1997. busana tari sebuah refleksi dan tantangan dalam mudra jurnal seni dan budaya. no.5 th v maret 1997. denpasar : stsi. tema. 1997. pengantar dasar beberapa tari bali. denpasar: proyek akademi kesenian bali. vol.2 no.2/mei-agustus 2001 28 18 changes in funeral music practices of vietnamese people in the northern delta, vietnam nguyen dinh lam vietnam national university, vietnam submitted: 2023-09-06. revised: 2024-02-17. accepted: 2024-05-10 abstract the funeral music of the vietnamese people in the northern delta represents unique type of traditional musical heritage practiced and passed down by many generations of vietnamese people to this day. vietnamese people often say: “sống dầu đèn, chết kèn trống” (if you live with lamp oil, die with trumpets and drums) meaning that the sound of drums and trumpets at the funeral of the dead is like fire and oil in human life. however, this unique artistic heritage is facing a risk of change, as many traditional qualities in this type of music are gradually hybridizing and disappearing. the main research method of this study is qualitative research, focusing on in-depth interviews with elite artisans elderly people with good memories and the ability to excel in practicing funeral music. in-depth interviews are done with artisans in families who have practiced and taught funeral music for generations. research results show that the funeral music of vietnamese people in the northern delta has changed quite a lot compared to tradition; modern compositions songs are gradually being practiced in the vietnamese funeral space here. the main reason is that the local cultural heritage management and preservation policy, for many years, was not given much attention. at the same time, pragmatic economic factors resulting from these artisans practicing this heritage in the face of the impact of the new economic context of society are also the central cause of this transformation. the need to preserve this precious heritage in the cultural and social life of contemporary vietnamese people is also an issue discussed in this study. keywords: funeral music; unique heritage; vietnamese people in the northern delta; change; social context; preservation and promotion how to cite: lam, n. d. (2024). changes in funeral music practices of vietnamese people in the northern delta, vietnam. harmonia: journal of arts research and education, 24(1), 18-35 harmonia: journal of arts research and education 24 (1) (2024), 18-35 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v24i1.47436 tists practicing funeral music and receiving preliminary knowledge of this unique heritage, the author realized that a return to this issue would be necessary after completing the thesis. in 2012, the author focused on researching the topic with the desire to provide a full picture of the funeral music in the northern delta region, contributing to preserving and promoting this unique artistic heritage in contemporary cultural introduction in 2008, during a field trip to study music in buddhist rituals in the northern delta to conduct a doctoral thesis on this topic, the author was amazed by the legacy of funeral music of the vietnamese in this area – a unique traditional art that is almost not discussed by domestic music researchers. when meeting with many arcorresponding author: e-mail: tunglamtongiao@gmail.com p-issn 2541-1683|e-issn 2541-2426 nguyen dinh lam, changes in funeral music practices of vietnamese people 19 life. however, the author also realized that practitioners of traditional funeral music are losing their ways and identity as many run for profit by using non-traditional music sources to attract customers. therefore, to gradually decipher the unique values of traditional vietnamese funeral music, the study will evaluate its changes with the desire to raise awareness among national and international researchers related to traditional performing arts. in the cultural life of vietnamese people, folk music is part of their lives from birth until death. from lullabies for babies over nursery rhymes for teenagers and children and folk songs that depict the love of adulthood to forms of funeral music that send people off to the other side – all of these forms of folk music express their own unique features and core values of a culture with thousands of years of history. in vietnam, traditional funeral music is a functional art form. as a functional art, funeral music is performed according to specific principles and regulations throughout the funeral until the dead person is buried. each ethnic group and religion uses funeral music according to its principles, but each musical element is used as signal and command to help the funeral procession take place according to these principles, sequentially, and with a certain meaning. according to caswell (2012), both sacred and secular music are common for funerals when personalized for the individual passed away. music in a funeral setting is used as a means of control, inclusion and exclusion, a source of collective action, and as a means of creating or transforming emotions and recalling the deceased. musical instruments are used according to the specific cultural principles of each cultural group. as such, the h’mông only allow drums when someone dies, and they are not used at other traditional cultural activities. the chăm h’roi in phú yên use gongs when performing the funeral; the lô lô in cao bang province use bronze drums for the dry ghost ceremony, which must be buried in the ground when someone dies. that is, when someone dies in the village, people do a ritual to dig up the grave for a bronze drum to perform the funeral. when the funeral is done, people bury this musical instrument in the ground. this instrument is not kept in the house but is always buried in the ground, according to their traditional beliefs. funeral music has always shown a sad nature. whether it is the funeral music of the mường, the tày, the thái, or the êđê or whether the music is used in the funerals of catholics, buddhists, followers of cao đài or other belief systems, most funeral music expresses sadness, pain, and suffering. mcferran and crooke (2016) argue that the age-old relationship between music and emotion makes this connection almost inevitable. therefore, in the traditional culture of vietnamese ethnic groups, regardless of the cultural context, historical period, or religion, ceremonial music is always a means of expressing the thoughts of the living to the dead, that is, primarily sadness, except for some special cases which will be analyzed below. practical research on traditional folk music in vietnam over the years has shown that most forms of traditional funeral music are constantly changing. in each historical period, music has changed and new musical melodies and traditional musical instruments were added and built up. as ethnic communities live in coexistence, alternating with each other, they have exchanges and import cultural and musical influences of each other. however, the state of vietnam attempted to reform rituals in the period after 1954. this “state functionalism” could not succeed in controlling all meanings and values, as funeral ceremonies had long become tradition and a habit deeply ingrained in the social and cultural life and community consciousness. nevertheless, the transformative dialogue (according to the traditional vietnamese point of view: music functions as a dialogue between the living, between the living and the dead, and even between humans and gods, in a sense, in indigenous cultural traditions) began to take place, which was harmonia: journal of arts research and education 24 (1) (2024): 18-3520 a dialogue with its historical forebears, creating a set of rituals and ritual ideas, including the use of music (malarney, 1996). among the musical heritage of the 54 ethnic groups in vietnam, funeral music is the richest form, preserving many traditional elements. accounting for over 80% of the population in the region and a rich history, the kinh in the north of vietnam have created their own unique traditional culture, of which funeral music is one of the legacies that can confirm the specificity of this region’s funeral music culture. the appearance of funeral music, as well as its constituent parts, will be analyzed in depth in the main body of the article. research on the funeral music of vietnamese people in the north has been carried out by numerous researchers lately with different aspects. in 2001, le cam ly published a study on the cosmology and the vietnamese people’s view of life through funeral performances. the author discussed the issue of funerals from an ethical and cultural point of view, considering funerals as a form of promoting village feelings, filial piety, and devotion. issues related to the economics of funeral workers were also initially studied here. in 2006, researcher dang (2006) also studied this issue, and he approached funerals from a musical and cultural perspective. he identified the importance of funerals in the cultural life of vietnamese people, as well as other life-cycle rituals, including wedding ceremonies. loan described the basic funeral orchestra, including instruments such as traditional woodchips trumpet (kèm dăm), nhị (ehu), bass erhu (hồ), traditional bamboo flute (sáo trúc), traditional rice drum (trống cơm) and tam instrument (đàn tam). in 2012, during the fourth international conference on vietnamese studies, held in hanoi, loan presented a study on the changes in the practice of funeral music of vietnamese people in the northern delta, focusing on the changes and the direct impact of policies and history. however, like previous studies on funeral music, due to the lack of survey data, the research results were not as expected. identifying funeral music as an issue that needs to be researched to supplement the scientific literature for ethnography in vietnam, and so, the author continued to expand the surveys in many other provinces and cities in the northern delta. in addition to identifying musical characteristics in this area, the work discusses in depth the changes and causes of any changes. the hypothesis is that the funeral folk music of the vietnamese people in the north of vietnam has changed but still retains many traditional values. thus, preserving and developing traditional funeral music is also an important measure to preserve traditional vietnamese characteristics. funeral music is recorded in many countries around the world and is dominated by folk and traditional music (caswell, 2011; prelovšek, 2017; jones, 2008). in europe’s primorska region, the practice of contemporary funeral music follows the local folk tradition, also with various traditional weeping songs. funeral and music choices are colored by the presence of the sea, bringing out the most popular local bands and repertoire (prelovsek, 2021). in slovenia, according to prelovšek, folk music predominates, followed by popular music; classical music is rarely requested at funerals (prelovšek, 2017). and, funeral music has more value, more acoustic energy, more musical expression than non-funeral music. meanwhile, the appearance of dances at funerals is very rare (hanser et al., 2022). funeral music emerges from funerals and performs specific functions. funerals constitute expressive action – a communication system that articulates human-tohuman relationships between humans and the natural and supernatural environment – and an ethical system encryption is carried out to achieve certain effects in these relationships (hampton, 1982). the music that people choose at funerals provides an interesting reflection on a society’s attitudes towards death and how society at large over death expresses grief. in a way, funeral music explores the tension https://www.cambridge.org/core/search?filters%5bauthorterms%5d=barbara%20l.%20hampton&eventcode=se-au nguyen dinh lam, changes in funeral music practices of vietnamese people 21 between fitness and the need for personal expression in funerals as exemplified by musical choices (sandra and davidson, 2016). music can perform a number of valuable psychological functions in dealing with grief. the music used in funerals has evolved towards interpreting life, and this reflects important changes in approaches to questions of life and death (sandra and waldo, 2016). emotions in the ringing of bells for the dead in england between ad 500 and ad 700 mattered in certain communities and individuals. bells announced the cycle of life and death. the bell notified the whole parish community when someone died, and they are crucial in ritual performance, death, burial, and mourning. simultaneous ringing of bells can unite and divide parishes, as performing the ritual sounds of death, burial, and mourning, and is special to each emotional community (dolly, 2016). people who participate in music therapy often deal with grief and loss issues related to their other experiences with disability and mental and physical illness. the age-old relationship between music and emotion makes this connection almost inevitable (katrina and alexander, 2016). and, contemporary funeral rites are all concerned with ‘living religion’ – how religion is ‘lived’ both inside and outside an institutionalized environment and how relationships with the deceased are not severed but continue. funeral music referring to heaven and angels can also be considered an element of the ritual (bruin, 2019). music is also a symbol and signifies the behavior of a society and culture. it supports cultural norms, displaying them in symbolic form through public performances, and ensures that acceptance and reinforcement of cultural norms is achieved as basic characteristics of the community. funeral music is also highly political because the people who practice the music communicate social issues. thus, politics and social context govern funeral music; conversely, funeral music has an important place in society (woma, 2012). funerals constitute the social nature of death and mourning, often working to ease the painful transition for the bereaved. the physical, typographic, semantic, spatial, and temporal organization of these textual artifacts mobilizes the sentiments and structures of moral relationships during a funeral. tradition is nourished by ritual, and it can retroactively limit the possibilities for moral conduct (shohet, 2018). for example, music is important in the social life of the h’mông, influencing the framing pattern, and it is found in funeral music. it reflects social organization, the art of language forming, poetic structure, and graphic design that can be extended and applied to the qeej’s musical and social roles in funerals (catherine, 2003). funeral musical variation is a common rule. as observed by chan and chow (2017), when studying the british presence of traditional chinese culture in hong kong in 1841, hong kong became an effective location for the study of chinese culture, social change, and its impact on funeral rites (sharon et al., 2017). in china, social context is important in creating music in society. funeral and ceremonial music underwent various modifications during the 20th century in the city of yulin, the regional capital, illustrating the contrast with the region (jones, 2009). however, local traditions are still clearly reflected in the music in each region. funeral ritual music in southern anhui province, located just west of shanghai, has a variety of chinese funeral sounds, creating a distinction between eastern and western music (kun, 2014). funeral traditions in many parts of china are still maintained, in contrast to some other traditions that were abolished under maoism. despite profound social upheavals, the meaning of funerals in rural society has remained unchanged enough for associations to maintain (jones, 2008). similarly, japanese funeral music has many variations from tradition (hirochika, 1986). in many traditions, funeral music can be traced back to ancient songs and chants designed to ward off spirits. tradition remains important for individuals in harmonia: journal of arts research and education 24 (1) (2024): 18-3522 choosing funeral music over music of personal significance in that it relates to the individual’s memories, values, and beliefs. it illustrates how the music played at funerals, to some extent, reflects the changing attitudes towards death in society at large. however, with the changing practice of funerals today, including the increasing problem of cremation in secular funerals in the 20th century, musical choices began to change. most of the music chosen for funerals in modern western cultures reflects personal values, regardless of whether those values include religious beliefs (sandra and jane, 2016). thus, funeral music exists in each culture and accompanies the culture from a very early age, with traditional music as an important background. the emergence of funeral music also demonstrates the symbolism and values of indigenous culture, in which music functions according to the individual philosophies of each particular cultural community. the northern delta, also known as the red river delta, combines various subcultures with great similarities in geographical and cultural characteristics and includes the provinces and cities hà nội, hải phòng, hải dương, hưng yên, nam định, thái bình, hà nam, vĩnh phúc, and bắc ninh province. apart from thái bình and hưng yên, there are no mountains. the rest of the provinces have only small mountains and hills (thong, 2006). in this paper, the author hypothesizes and shows that the funeral music of the vietnamese people in the northeastern region has been preserved and promoted until now because of its function as an environment and performance space. it should be added that the vietnamese here practice traditional ancestor worship beliefs, not monotheistic religions. however, many vietnamese practice a larger religion (such as catholicism) and ancestor worship. whereas in the west, those would be mutually exclusive, these syncretistic belief systems work in vietnam. although it has changed alarmingly, it is necessary to research and, from there, preserve the cultural values of traditional vietnamese music, particularly traditional funeral music. funeral music has had changes and impacts from policies and social contexts in many aspects, most clearly since đổi mới (1986). historically, around the middle of 1980, the domestic economy fell into a serious crisis, and people suffered as the cooperative economy revealed many inadequacies. facing that crisis, in december 1986, the sixth national party congress was held and set the direction for urgent and comprehensive strategic change, including the agricultural and rural economy. previously, vietnam’s economy was selfsufficient with centralized bureaucratic subsidies under the direct management of the state. at the congress, the multi-sector economy, including the private and individual economy, began to be discussed, creating conditions for people to develop. according to do (2009), the 1986 reform has made way for sociocultural and religious transformations in vietnam in line with vietnam’s reintegration into the world markets. the central resolution no. 10-nq/ tw from april 5, 1988, on rural economic renewal of the politburo stated that one key content was to create economic autonomy opportunities for households. the following resolution of the fifth conference of the seventh central committee of the party dated june 10, 1993, on continuing innovation and rural socio-economic development put the agricultural and economic development in the direction of commodity production in the process of industrialization and modernization of the country, considering it a strategic task of top importance (communist party of vietnam, 2007). the resolution of the fifth plenum of the central committee (term vii) focused on promoting the industrialization of agriculture and rural areas, along with restructuring the rural economy (communist party of vietnam, 2007). however, besides the socio-economic renewal through these resolutions, it is impossible not to pay attention to the strong and comprehensive impact on folklore in the villages. comnguyen dinh lam, changes in funeral music practices of vietnamese people 23 munal music, particularly funeral music, had been affected by the prime minister’s strategy to build a new rural cultural life in the 2010-2020 period according to decision no. 800/qd-ttg dated june 4, 2010. this was a “catalyst” (“chất xúc tác”) that has acted as another important step for the transformation of funeral music, especially in funeral marriages, in which time has been reduced. also, resolution no. 26-nq/tw dated august 5, 2008, of the 10th party central committee conference asserted that this strategy has helped develop individual economic thinking. thus, the renovation policy, especially the economic renovation, has led to changes in all aspects of social life, including funeral music culture. this is reflected in three points: first, being a traditional folk music form, funeral music partly became professional music when practitioners could make a living. this is certainly a motivation but also a problem that brings with it countless adjustments to the content and musical properties. in fact, while in the past, people who practiced funeral music only served because they were indiscriminate and had little “lucky money” (“lộc”), then later on, this profession could “deal” (“thỏa thuận”) with homeowners for wages. according to practitioners 24 and 25, the average salary for a funeral is currently vnd3.3 million. if they work in hanoi, the price can range from vnd4.5 to 5.0 million. in addition, a large amount of money is collected from “crying services” or “crying for hire” (“khóc thuê”). it should be emphasized that, in the cultural tradition of the vietnamese here, they also hire members of the music troupe to perform funeral music and cry for them, tell stories, and showcase the living people’s feelings for the deceased. this additional task for funeral musicians is called “khóc thuê,” roughly translated as “crying for hire.” this is also the result of the market economy, which has helped rural people, including those who work at funerals and weddings, to have the opportunity to promote their traditional occupations and personal economic development. method the study will also consider the direct impacts of the state of vietnam’s cultural, economic, and political policies to clarify the changing characteristics of funeral music in the north of vietnam. the open-door policy and socio-economic development are the most notable reasons for the transformation of funeral music. these overarching changes are the core reasons for the change in funeral music practice. the analysis of these impacts on funeral music will be important for the state’s adjustment of cultural policies. the main research method used to compile the data for this paper was field research. folk artists, who are old but still lucid and were born into families with many generations of funeral music practice, were the focus of in-depth interviews. renowned artists and groups of ceremonial music artists in each locality were surveyed in-depth, both with common interviews and participatory interviews, during their practice of funeral music. some funerals were deeply observed to study the entire process, the principles, the sequence of musical pieces, and the musical instruments in the funeral orchestra. in the process of interviews and fieldwork in localities, the author also utilized genealogies and professional records as main research resources. besides this, the funeral music of the northern vietnamese was approached with several theories, such as the musical theory of traditional vietnamese music, functional and symbolic theory, and cultural theory, to clarify the position and nature of funeral music in the vietnamese cultural and spiritual life. thus, the study is also based on the research method of ethnomusicology, combining methods from cultural anthropology and religious studies to show that funeral music has a close relationship with vietnamese culture and is an indispensable part of vietnamese cultural life. based on research methods of cultural anthropoharmonia: journal of arts research and education 24 (1) (2024): 18-3524 logy, the author conducted in-depth interviews with insiders (người trong cuộc), those who directly practice funeral music and those who hire musical groups to perform funerals for their loved ones. the survey sample is made up of those who practice and teach talents in funeral music practice, especially families with a multi-generational tradition of practicing this type of music in bắc ninh and hải dương, hanoi, nam định, thái bình, and hưng yên – all localities where there are still many talented artisans. the interviews focused on the history, names, and characteristics of funeral music in general and the different genres of singing and instrumental music and performances used in funerals. the interviewer also attended the musical performances and observed the instruments in each locality. in addition, several religious experts were selected for in-depth interviews to clarify issues. interviews specifically focused on families of musicians with many generations of funeral music practice, including 25 interviews with people who practice and teach funeral music, five interviews with local shamans (thầy cúng); five interviews with people in the area, and three religious experts. although the number of interviews was only 35, the author found that focusing on older, experienced people led to reliable research results. they are people who have been involved in the creation, practice, and teaching of funeral music. in addition, relevant experts and individuals who have a profound understanding of acculturation and folk art were selected for interviews. through religious research, funeral music is shown to perform a sacred function at a funeral. in other words, the songs of the music used in the funeral are performed according to the regulations in each funeral procession; lyrics cannot be practiced spontaneously like in entertainment music outside a funeral. this is true not only in vietnam but also in neighboring china. for instance, the number of performers in chinese funeral music should be odd, usually 5 or 7 people. numbers and colors have symbolic meanings, clearly representing the chinese theory of the origin of the universe. during funerals, the “qupai” (a type of music) is chosen from a variety of more than 100 tunes, the choice of which depends on the age of the deceased. during such a 3-day ritual, the chinese perform most of the day in front of their home (iguchi junko, 2004). thus, the use of music is disciplined and strictly regulated, similar to vietnam. result and discussion functions of funeral music and its fate in comparison with some other regional folk music genres the traditional funeral music of the vietnamese people in the northern delta consists of three components: one is the system and organization of the orchestra. the system includes the lâm khốc system, including lâm khốc ai, lâm khốc xuôi, lâm khốc ngược, dàn thưa, bản chở, and thái bình. lâm khốc means the forest weeps with a sadness that cannot be expressed in ordinary language, but only with the lâm khốc melody in traditional vietnamese funeral music. in it, lâm khốc ai is performed at all stages of the funeral ritual, from the time of admission to the end of the burial of the dead; the lâm khốc xuôi is the music used when bringing the coffin (quan tài) of the dead from the house to the cemetery for burial; lâm khốc ngược is a piece of music used to perform when the burial of the dead is completed – performed on the way back to the home of the dead, at the end of the funeral rite. dàn thưa, bản chở, and thái bình are songs that are used interchangeably during the funeral process, similar to lâm khốc ai, used mainly when the coffin of the dead has not been taken to the cemetery to bury. these songs are used and performed by the orchestra, in which the trumpet plays the melody mainly. in the music system, there is also singing, often accompanied by “crying trumpets” (khóc kèn), and the actual crying of the deceased’s loved ones when they visit nguyen dinh lam, changes in funeral music practices of vietnamese people 25 the funeral. orchestral arrangements are divided into two categories: i) drums and trumpets and ii) the orchestra of the eight sounds. among them, the organization of drums and trumpets is the oldest and most important tradition. the eight sound orchestra was traditionally reserved for those 70 years old or older; young deceased would not be mourned with this orchestra, but only with drums and trumpets. however, this tradition has changed. the second is a system of short folk dramas, which includes mục liên thanh đề; rowing – horse spear (chèo đògiáo ngựa); twenty-four filial piety (nhị thập tứ hiếu); and uncle tau listens to the trumpet (chú tàu nghe kèn). despite the simple composition system, it entails the richness, diversity, and uniqueness of its culture and art. the paper will look into these systems in-depth in the main body of the paper. the study also uses functional theory to interpret the music’s specific function in funerals, identify funeral music, and study its function and changes in this region. in sociology, religion, and art, understanding the parts or the relationship of smaller things in the bigger picture has helped scientific researchers to recognize and decipher many interesting phenomena. finding out the function of each part in the whole of a certain structure means approaching functional theory, which is also known as functionalism or structure-function theory. the basic content of functional theory can be laid out with the following three aspects: firstly, any social phenomenon exists and develops in a certain structure; if that structure is lost, it means that the object’s meaning of existence is lost. second, a structure consists of many components, and each individual part expresses and assumes its function in the synthesis of the elements that make up that structure. third, the function of each part, in addition to the positive functions in the structure, there is also a type of counterfunction, which, according to le ngoc hung (2011), can reduce the viability and adaptability of the structure. thus, the essence of functional theory is to see each individual object in a certain structure and the role of individual objects in the whole of a phenomenon. the making of this theory has contributed an important part to social research and other aspects of social life. many successful studies by foreign scholars approached the phenomena of ethnography, culture, and religious beliefs in vietnam from different perspectives. two famous figures are georges condominas (1921-2011) and léopold cadière (1869-1955). nowadays, the application of functional theory to the study of religious phenomena in vietnam can bring about various results. in this article, the author uses emile durkheim’s functional theory to understand the relationship between music and buddhist rituals in the case of buddhism in hanoi. in vietnam, durkheim is known by religious researchers for his significant contributions and new perspectives when studying religious phenomena, especially through the work the elementary forms of the religious life from 1912. according to him, “when one explains a social phenomenon, it is necessary to find only the effective cause which is the cause that produces it and the function it fulfills” (le ngoc hung, 2011). this is true when looking at the phenomenon of ritual music. music is an indispensable part of the vietnamese funeral rites. instruments and each piece of music in the funeral have a function, from the beginning of the ceremony (“lễ nhập quan,” lit. “entering into the coffin”) to the end (“lễ hạ huyệt, lit. “lowering the grave”), music is performed its specific function. the following subsection will explain more about music and the relationship between music and the funerals of vietnamese people in the northern delta. the function here is understood as the traditional social function of funeral music in which vietnamese funeral rites are alive as well as the conditions for muharmonia: journal of arts research and education 24 (1) (2024): 18-3526 sic to be maintained to promote, develop, and make up the body of vietnamese funeral rites. if this condition is lost, it means the loss of function as well as no reason for the existence of funeral music. herbert spencer (1820-1903) stated that any stable system is composed of different but interrelated parts, which work together to form the whole, creating the system stability. the contribution to the stable operation of the system is called a function (bui and dinh, 2021). looking at the social function of folk music in the northern delta, we can see this clearly. in the past, in pure folk cultural activities, musical forms such as wallets, drums, and storks were used as means for people to follow. at each age, village people would express and convey their thoughts, feelings, and emotions to themselves, their family, their children, and their friends and lovers. by the second half of the 20th century, that function had gradually been disappearing and is now completely lost. this comes from the fact that its traditional living environment and performance space no longer exist and instead become a professionalized environment. in the words of researcher nguyen (2006), this phenomenon is the “shifting from the living environment to the artistic environment.” looking back at history, from the second half of the 19th century to the middle of the 20th century, after western missionaries were coming to vietnam, the country’s cultural life has been interwoven between traditional and non-traditional cultures. this period can be considered when non-traditional cultural flows penetrated strongly and continuously in several waves. books on the culture, society, and science of countries such as france, england, and germany were gradually translated and disseminated to the intelligentsia and those who served the purpose of exploiting the colonies of the french colonialists. marxist and leninist books and newspapers representing the working class were also translated, published, and propagated into vietnam. in general, it can be seen that many aspects of social life in the country also followed a new trend. in music culture alone, the musical reform movement in the 1930s, which began as a means of translating and putting lyrics into western music tunes, began to gain popularity. after the august revolution of 1945, the public education movement (bình dân học vụ) was founded, launched, and put into operation by president ho chi minh, once again contributing to bringing popular culture to a higher level. its influence spread to most provinces and cities nationwide. since the mid-20th century, it was possible to see the two traditional cultural flows of vietnam and the west gradually merging. many new cultural forms were born and changed. especially after the new vietnamese music scene appeared, the public’s musical tastes changed a lot, gradually replacing traditional folk music with the main creations of scholarly and professional music, which was theoretically absorbed from the western music background. new lines of music, composed and performed in new forms, appeared. the theatricalization of previous traditional music forms – such as tuồng, chèo, and đờn ca-tài tử (cải lương theater) began to develop and influenced many traditional art forms. as mentioned above, when people’s needs change, the means of serving those needs change at the same time. it may not be difficult to explain why today’s young generation no longer uses the tunes of lullabies to convey affection and moral education to children from the moment they lie in the crib. children no longer play folk games and create rhymes. young men and women no longer use songs like ví singing, đúm singing, and trống quân singing to reciprocally sing together to express their affection, love, and feelings towards one another. the performance environments and spaces changed, their function ceased to exist, and thus, their nature changed. a basic summary of some of those changes in some art forms can be seen in table 1. we can see that the original content, form, and performance spaces of the above folk music genres disappeared and becanguyen dinh lam, changes in funeral music practices of vietnamese people 27 me art forms that are gradually being specialized on the stage. it also shows that it no longer exists when its traditional social function is no longer synonymous with reason. looking at funeral music, we see that the above argument is not entirely true for this genre. vietnamese funerals can be considered a constant in vietnamese culture, so up to this time, funeral music still retains its function, closely associated with its living environment as well as its meaning, role, and position in the cultural and spiritual life of people in bắc ninh and the northern delta. thus, one might wonder: while many other forms of folk music have been and are in danger of being lost, disappearing, and deformed, in what state is the funeral music of the vietnamese people in bắc ninh province? this question will be the focus of the analysis in the section below. changes in funeral music today when comparing the changes in funeral music practices of vietnamese people in bắc ninh province, the author focused on conducting in-depth interviews and observations, including with some artists whose families have worked in funeral music for many generations. they are referred to as professional funeral trumpet players (“nghề thổi kèn đám ma”) who chose to perform as a career. with their professional experience, the materials obtained from them are reliable and among the most original sources that the author synthesizes and presents within the formal system (of songs and musical works, that is lâm khốc, bản chở, thái bình, dàn thưa, etc.), the organization of the orchestra, and the performances. in a formal system when recognizing the changes in the vietnamese people’s funeral music practice in the northern delta, the study first examines the changes in the formal system. in addition to the rhythms in the performance, which will be analyzed later, four main songs are still maintained and used: forest of tears ”lâm khốc” (including “lâm khốc xuôi” and “lâm khốc ngược ai”); seamless thái binh (“dàn thưa – thái bình” (also known as “cách cú”); ban choo (“bản chở”); and ”sing cry” (“hát khóc”), used with trumpet and drum. in addition, those who are long-lived also use lưu thủy. this is one of the songs in the formal system of nhã nhạc, but it has been used in funeral rites of vietnamese people in the northern delta and bắc ninh for hundreds of years and is part of the tradition of vietnamese funeral music. the above compositions, in terms of musical properties, can be divided into two types: deep, sad tones – such as lâm khốc ai – and sad tones, such as lâm khốc xuôi and table 1. comparison between the content, form, and performance space of some folk songs in bắc ninh and the northern category old now content form space content form space lullaby singing improvisation lull the baby to sleep in the cradle/ in the hammock collect, memorize solo performance on the stage ví singing improvisation reciprocity (collective) outside the courtyard, around the village well, under the banyan tree collect, memorize collective performance performing on stage đúm singing trống quân singing xa mạc/bồng mạc singing source: survey in 2012-2022 in bắc ninh and thái bình province harmonia: journal of arts research and education 24 (1) (2024): 18-3528 dàn thưa. artists use the adjective “fresh” to describe their music. traditionally, these songs will be used with a specific function. a typical funeral procession with lâm khốc ai and ”sing cry” could look as follows: starting with the phát phục (wearing funeral attire) ceremony over reciting and placing the dead body in the coffin to burying the dead person’s coffin in the ground, the two songs lâm khốc ai and lưu thủy (for the old people in the past) are used; when the grave is lowered and buried, the funeral procession uses the two songs “dàn thưa” and “lâm khốc xuôi”; when the dead are summoned, attendants mainly use the “thái binh” song; “sing – cry” is used when a tenant’s family member cries. however, what are the aspects that changed over time? they can be generalized into the following three issues: first, the omission and addition of musical instruments in the practice process. in the past, the song lâm khốc ai was used in the form of “the drums are played forward / the trumpet blows back” (“trống đánh xuôi, kèn thổi ngược”) – that is, a small drum is used to beat and keep at the first beat (regular rhythms) not divided into accents – and two trumpets go against each other, then that principle was later broken and lost. this is expressed through two points: the drum can be supplemented with a large drum and a gong placed in the lying position, keeping the rhythm (“trì tục”) with regular rhythmic sounds. the two trumpets go in the direction of each other (both play the same musical melody, but one has a low pitch and the other a higher one), and there are additional nhị instruments, sáo flute, and đàn bầu instrument. compiled from in-depth interviews with practitioners, the author gathered that adding drums and string instruments will make the sound richer and better and thus will be more suitable for listeners. however, it would be important that during the performance, the substitution between the members of the orchestra will help the trumpet player and the drummer lose more energy. while in the past, lâm khốc ai ứa performed with all its elements – a sequential opening, middle, and end part – now, people only use parts of it. in such a practice process, as long as one person in the orchestra improvises a tune or sentence in the song, the others can follow it right away. according to field research, this stems from the breaking of traditional principles from the past, such as “trống đánh xuôi, kèn thổi ngược” – (that is, the drums always play one rhythm, but the trumpets play another. this transformational step is also caused by the metamorphosis of the concept of “death with oil lamps/ death with drums” (“sống dầu đèn, chết kèn trống”) (any death must have trumpet and drum sounds as a means of expressing the pain of loss of family members). third, in the “sing – cry” form, there are also expressions of borrowing and integrating some non-traditional tones (traditional tones here are understood as those used in indigenous vietnamese people mourning ceremonies). especially for the last one or two decades, people who cry for hire get a fairly high “remuneration”, so some have professionalized this genre by adding more musical instruments. while in the past, after each “cry” sentence would be an unanswered passage with two or three trumpets (“kèn tiểu, kèn trung, or kèn đại”) along with a small drum, today, people in bắc ninh city have often added drums and other musical instruments to accompany the rhythmic sounds in the form of a professional traditional folk orchestra. the melody of the “sing – cry” genre has been losing its inherent characteristics. instead, it is influenced by some other musical genres, including chèo singing, making the method better than before. talking about this phenomenon, practitioner 3 added that when teaching children in the traditional way, the elders taught them again, but when they practice, they do it their way, so they also change their practice a lot. in the author’s opinion, this phenomenon comes from the change in musical aesthetic perception. thus, the changes in the formal system of funeral music compositions, nguyen dinh lam, changes in funeral music practices of vietnamese people 29 through the analysis of lâm khốc ai, clearly show four sequential levels of melody, tonal nature, performance form, and additional instrumental accompaniment. the same is true in other cultures. according to prelovšek, a., music at a traditional funeral usually includes an orchestra or trumpet in ljubljana and the surrounding areas. but by 2016, this music was increasingly replaced by a girl’s voice and an instrumental ensemble (prelovšek, 2017). the northern delta of vietnam has the most notable additions of modern, nontraditional songs, which will be analyzed in more detail below. in orchestra organization orchestral organization is a concept the author borrowed from professional modern music to easily analyze the changes in vietnamese funeral music, including the additions and variations in the practice of funeral music. in the funerals of vietnamese people in the northern delta, two orchestras are now commonly used, with drums, gongs, and trumpets, forming the orchestra of the eight sounds (“dàn bát âm”). according to some older people who are still practicing funeral music, before the 1980s, there were only drums, gongs, and trumpets in vietnamese funerals. the drums consist of a big drum (trống lớn: drum surface diameter is about 45-50 cm, with an average height of 65-75 cm), a small one (trống ban: the drum surface diameter is about 30 cm, the average height is 18 cm); a gong (chiêng: the gong surface diameter is about 25 cm, the average height is 10 cm), and trumpets, popularly three: minor (higher, high-pitched), middle, and big (lower pitch). the two main instruments, drums and trumpets, are present in the funeral from the casketing of a body until the burial. the gong (also known as “lệnh”) only performs the function of notifying attendees before and during the process of bringing the deceased’s coffin to the cemetery. as for the orchestra of the eight sounds, the instruments added were formerly not part of traditional funeral music but folk ceremonies (originating from the royal court) and associated with the communal house ceremony and were a product of the cultural institution of confucianism. their presence in funerals is the result of a move from court music to folklore and village tutelary rituals and, possibly, from performing for the emperors. the elderly practice the orchestra of the eight sounds in the village god’s ceremony (“chấp lễ”) of the communal house. however, it was only acceptable at funerals of older people aged 70 and over; young people who died were not allowed to use this orchestra. but after 1986, the orchestra of the eight sounds was used in many funerals in the north, no longer distinguishing young and old, which means it changed the function and taboo from before. currently, there is no document that specifically records and details this step, but based on the history of traditional music and in-depth interviews with older people working in the profession, the move seems logical. called orchestra of the eight sounds (bát âm), in the northern delta, this orchestra is popular with the following instruments: • the erhu (nhị) • the bass erhu (hồ) table 2. comparison of transformational aspects in lâm khốc ai before and after the national innovation period before innovation after innovation melodies in verse order, deep and sad performing in the form of “backwardbeating drums and backward trumpets”; mainly uses drums (mostly one) and trumpets (one to three) 1. has been irreversibly altered; 2. influenced by non-traditional melodies such as chèo singing, especially modern songs: tình cha by ngọc sơn and tình mẹ by y vân; 3. breaking the rules and very little first-form 4. arranged into an orchestra source: author’s direct survey from 2012 to 2021 harmonia: journal of arts research and education 24 (1) (2024): 18-3530 • the flute (sáo) • the bass flute (tiêu) • the tam instrument • the one string instrument (đàn bầu-”độc huyền cầm”) • the rice drum (trống cơm) however, the number of musical instruments and participants in this orchestra is not always sufficient because of the family’s economic condition of the deceased or because gathering the full number of people participating in a funeral orchestra is very rare. in addition, three other musical instruments – the rice drum, the zither, and sinh tiền instrument – are only common in some localities such as bắc ninh, hưng yên, and thái bình. it should be added that the concept of “bát âm” does not depend on the number of instruments used. centuries ago, the name of the orchestra was derived from the eight instruments. but now, people only keep the name of this orchestra, and the number of instruments is not eight like before, maybe just 5-6 instruments. practitioner 23 said the musical instruments used in funerals in bắc ninh today are mainly three: the đàn nhị, the đàn bầu instrument, and the sáo flute. regarding the changes in the organization of the orchestra and its conception and usage, we can see three points: 1) while in the past, the “bát âm” orchestra was only used when the mourners were elderly people, today it is present in most funerals in villages in bắc ninh; 2) stemming from the break in principles and conceptions of using musical instruments, today, in the funeral process, the above instruments (drums, gongs, trumpets, and octaves) are combined and used in a unified orchestra; 3) the function of this orchestra has changed in that, in the past, they only performed their compositions (drums and trumpets played lâm khốc, dàn thưa, and others – the orchestra of the eight sounds played lưu thủy and thái bình). today, the two orchestras – that is, drums and trumpets and the orchestra of the eight sounds – have been harmonized, especially when performing non-traditional songs such as father’s love (tình cha) and mother’s heart (lòng mẹ) – which are new music that was composed in the last decades of the twentieth century. thus, through the analysis of the orchestra of the eight sounds and its participation in the funerals, we see a change in the organization of the funeral music. it manifests itself in the introduction and mixing of the two above-mentioned musical organizational structures and in the use and principles. these are the most remarkable points in the transformation of the funeral orchestra from the previous tradition. this is also the result of the process of changing aesthetic tastes, which leads to a change in the concept of using musical instruments, which could eventually lead to the disappearance of some of these traditions. in folk drama the changes in the practice of funeral music are not only limited to the two above-mentioned aspects, but also manifest profoundly in the performances. in bắc ninh, hưng yên, and thái bình, there are four traditional funeral acts: • mục liên – thanh đề • twenty-four filial piety (nhị thập tứ hiếu) • horse spear boating (chèo đò giáo ngựa) • uncle tau listens to the trumpet (chú tàu nghe kèn) however, two of these acts remain only in the memory of the older practitioners. practitioner 7 said chú tàu nghe kèn and chèo đò giáo ngựa had practically ceased to exist. thus, this paper focus on analyzing the changes in such acts through excerpts from mục liên thanh đề. mục liên was a disciple of buddha, and thanh đề was the mother of mục kiền liên or mục liên. this play is a folk performance based on a story recorded in buddhist scriptures about a mother and son with two opposing qualities. practitioner 2 explained thanh đề is the mother of mục kiền liên (also known as mục liên) who lives greedily and cruelly, creating many sins. so, when she died, she was banished to evil paths and reborn as a hungry ghost. in contrast, nguyen dinh lam, changes in funeral music practices of vietnamese people 31 mục liên, with his holy, predestined nature and determination to practice cultivation, became one of the ten great disciples of the buddha and was considered talented and virtuous. after seeing that his mother was placed on the path of hunger in the depths of hell, suffering under torture, he had pity on her and was very sorrowful. he returned to tell buddha everything and begged for a way to save his mother. the buddha taught that although his filial piety was great, he needed to rely on the blessing power of monks and nuns in the ten directions to liberate his mother. and so, he followed buddha’s words to find a way to save his mother. the mục liên thanh đề funeral play focuses on the excerpts from the story and consists of three parts: • head spear (“giáo đầu”), • the way to save mother (“con đường cứu mẹ”), and • the mother rescue section(“giải cứu cho mẹ”). through research in the area, and with the characteristics associated with the central sub-region and developed religious centers such as luy lâu, thăng long, and nam định, we found this show to be imbued with buddhism; it can even be considered part of the buddhist culture. this can be seen clearly from the study of the performances and melodies, which have characteristics close to those of many genres of buddhist music in this region. when conducting in-depth interviews with practitioners 1, 2, 3 and 20, 21, and 22 – all of whom are talented artisans in bắc ninh and thái bình – the author noted many unique genres of singing and speaking performances – four of these stand out the most: • singing giàu history • đàn thảm • kể thập ân • kể hạnh these melodies are now also only in the memory of a few artists and rarely used in any funeral rites nowadays. when old people die, the old women (known as “các già”) organize a team to perform while others bring the coffin to the cemetery. this is also the aspect that changed the most noticeable in terms of musical composition and performance. it should be added that, because the methodology in the performances lies in its unified system, relatively independent of the formal system in other musical components of the funeral rites, they are separated here for analysis. according to practitioners 1, 2, and 3, this situation stems from two main reasons: first, although full plays take about 4-6 hours, nowadays, local authorities only allow funerals to perform funeral rites until 10:30 pm due to concerns about noise pollution in the community. it should be added that, the duration of the performances depends mainly on the use of the above tunes. the string is the main reason why the musical composition system in mục liên performance in funeral music has formed and developed many unique features. the time limit is one of the reasons why the show has to be shortened, and the use of melodies is therefore cut off and gradually disappearing. next, those who practice funeral music today, in addition to a few elderly people or those who have been handed down from the family’s professional tradition, are mostly young, so learning and practicing mourning music is essential. however, the main ceremony stops at the drum trumpet, so the performances are not well-learned, mainly grasping stories and then reciting, singing, and speaking them based on some chèo tunes. thus, the environment and age fundamentally change the aesthetic concepts and tastes in those who learn to practice funeral music. this can explain why in the current mục liên – thanh đề performances in some localities only use chèo singing but not some traditional songs. besides the change and disappearance of ancient singing tunes, the introduction of many chèo melodies along with changes in performance and costumes, are also the underlying causes. the most obvious manifestation is the professionalized costumes. in the past, performers mainly wore brown áo dài with “thâm đất” material (also known “vải phim”), but today, peopharmonia: journal of arts research and education 24 (1) (2024): 18-3532 le have moved to the costumes of professional. the most obvious changes in the vietnamese mourning acts are seen in the reduction of excerpts, the theatricalization of the performances expressed in the performers’ demeanor and costumes, and the disappearance of ancient songs that were replaced by some modern chèo tunes. those are the fundamental changes and, at the same time, the most remarkable core points when looking at the changes in funeral music performances today. discussion the development and transformation of folk and funeral music through different periods is inevitable. this is not only happening in vietnam but also in other cultures and can be described as a global trend. in china, hwee-san tan recorded in a memorial ceremony for the dead in minnan (southern fujian) called gongde, possibly performed by experts in buddhist rituals. such changes – such as in musical composition systems and musical performances at funerals – were due in part to state control and partly to buddhists’ redefinition of ideological orthodoxy, the basis of which lay in an early buddhist reform movement in the 20th century (tan, 2002). each genre is historical, so cultural policy and social context are directly affecting the preservation of the function and traditional values of funeral music in contemporary society. this can easily explain why some genres are now gone while others continue to exist and develop. as for funeral music, to continue its mission, it has constantly changed to adapt to the specific living environment. that is a social environment in which the influence of political and cultural institutions leads to a change in the aesthetic tastes of the subject who created it. before 1986, the self-sufficient and cooperative economy made people’s economic thinking and perception, in general, passive, while the multi-sector economy with private enterprises has helped them to be proactive in accessing methods of household economic development and career problems. this was the cause of the socio-economic change. this is also an important cause leading to the uncontrolled changes of funeral music in this area, which makes it necessary to find suitable policies to protect the traditional values of this unique art form. as change is a historical category, it can reflect both positive and negative directions. it can be seen that the transformation and change in traditional culture and music without being built on the traditional foundation will risk the loss of ancient values that the vietnamese have created for centuries. this second aspect can be seen when considering the changes in the practice of vietnamese funeral music in bắc ninh province. many traditional forms of music have been and are in danger of disappearing as many new things that are not part of tradition are introduced. this is the reason the religious beliefs of the vietnamese are facing erosion and metamorphosis, threatening to degrade the fine customs and traditions in culture, such as ancestor worship customs and funeral rituals. change is inevitable, but policy is an important factor in that general direction of change, which can go in one direction or another. when formulating economic development policies, following corresponding cultural and social policies is often necessary to ensure common sustainable development. reasonable policies will motivate and impact the consciousness and responsibility of all subjects in society. in other words, in cultural preservation, the role of the masses is decisive, thereby providing policies and strategies in which education, promotion, and public orientation work towards sufficient awareness of cultural heritage. if we have a consensus, we can build a traditional culture in relation to the whole community. cultural development policy can only be effective and practical with the participation and support of the entire community, based on a common understanding of those traditional values. the government needs to preserve traditional culture in the best way nguyen dinh lam, changes in funeral music practices of vietnamese people 33 possible, avoiding situations like fjelstad and nguyen th’s stated: “vietnamese people have engaged more in displays of rituals, constructed more temples, renovated places of worship, traded religious objects, and participated in public and private rituals. strikingly, some prevalent ritual practices once regarded as backwardness, superstitions, or even social evils boomed again in vietnam”(ngo, 2018). conclusion traditional music comes from culture in its respective context. traditional art develops aspects that are consistent with the general cultural development history of a community and humanity. however, cultural policy could destroy many precious traditional values of vietnamese ancestors and bring many other negative consequences in contemporary social life. over thousands of years, the vietnamese have shaped traditional music with its nuances, of which funeral music is an important and indispensable part of the cultural life of the people. however, along with other traditional folk art forms, for a long time, the policy of focusing on economic development has led to a negligence of many traditional cultural and artistic aspects, including funeral music. this is a critical issue for the study of traditional arts. artists who practice folk and funeral music do not have the opportunity to express their identity and talent, as well as protect the heritage handed down by their forefathers. therefore, as soon as possible, the government should come up with suitable policies to protect artisans and the traditional folk heritage of the country, including traditional funeral music. from the field studies, the article has recognized an important problem in the study of funeral music in the northern delta: before studying the unique characteristics of this art form, it is necessary to evaluate its status, and at the same time, provide the rationale for making policies to preserve and promote this artistic heritage in the cultural life of contemporary vietnamese people. the analysis of the changing funeral music in the northern delta can serve as a necessary element for conducting further studies on the issue. the author’s future research will also be conducted in the same direction. acknowledgments this research paper is solely funded by the vnu university of social sciences and humanities, hanoi under project number ussh 2024.18. references bruin, m. j. 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(2012). “the socio-political dimension of dagara funeral ritual, music and dirge” thesis. indiana university august. https://www.tandfonline.com/author/jones%2c+stephen https://doi.org/10.1080/09681229908567280 https://doi.org/10.1080/09681229908567280 http://www.dagaramusic.org/wp-content/uploads/2015/05/african-studies-masters-thesis-2012.pdf http://www.dagaramusic.org/wp-content/uploads/2015/05/african-studies-masters-thesis-2012.pdf http://www.dagaramusic.org/wp-content/uploads/2015/05/african-studies-masters-thesis-2012.pdf 279 new art therapy technology – quilling zhansaya iskakova, roza kassymova, tansholpan zhamalova, anel chalimbayeva, kamilya utegenova al-farabi kazakh national university, republic of kazakhstan submitted: 2023-04-05. revised: 2023-11-05. accepted: 2023-12-05 abstract this research work aims to study the main features of quilling technology in art therapy, as well as its impact on group and individual consciousness. the study’s methodological approach was the search and theoretical analysis of thematic literature studying the quilling technique of art therapy, as well as art therapy in general. in this article, the theoretical method, the method of comparative analysis, as well as the method of pedagogical experiment were used. as a result of the scientific research, the technology of art therapy as such was analysed, and its components and influence on children and adults were studied. also, after performing a pedagogical experiment, the influence of quilling technology on students of al-farabi kazakh national university was studied, and the results were analysed. according to the results of the pedagogical experiment, quilling art has a positive effect on individuals, as well as on the general mood of the group, and the use of the quilling technique as an art-therapeutic tool brings positive changes to the psychosomatics of an individual and a group in general. this research work is of practical importance in the study of the art of quilling as an art-therapeutic method in the development of fine motor skills in the hands of adults and children, as well as the improvement of the psychological state after psychological traumas of various kinds. keywords: arts and crafts; art of quilling; art pedagogy; artistic design; art therapy how to cite: iskakova, z., kassymova, r., zhamalova, t., chalimbayeva, a., & utegenova, k. (2023). new art therapy technology – quilling. harmonia: journal of arts research and education, 23(2), 279-289 harmonia: journal of arts research and education 23 (2) (2023), 279-289 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.43676 the education and rehabilitation of people of different ages. therefore, studying the area of influence of quilling technology is an important part of research in the field of art therapy. art therapy today is an integral part of the education and development of children in school lessons, in kindergarten, and in the office of a child psychologist. researchers g. a. kasen and a. b. aitbaeva (2019) argue that art was used to heal the soul and body in ancient times – in ancient greece, egypt, mesopotamia, china, and india. like priests in their time, healers, philosophers, and today, teachers introduction art therapy occupies one of the leading places in both the psychological and pedagogical practice of teachers and therapists around the world. quilling as an art has existed since the 16th century, and as a mass hobby, it has spread since the 90s of the last century. quilling has been used in art therapy from the beginning of its creation, like any other art. the importance of quilling technology in the key of art therapy lies in the fact that the quilling technique is a universal link for corresponding author: e-mail: zhiskakova1@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (2) (2023): 279-289280 and therapists use art therapy to influence the human psyche; with the help of various types of art, they resolve interpersonal and intrapersonal conflicts, problem states, and psychological traumas of a person. as a professional activity, art therapy began its development in connection with psychotherapy after the second world war in the united kingdom. over time, it began to be used in pedagogy, which gave rise to art pedagogy as a self-sufficient direction in education. the researchers m. joseph and l. o. bance (2019) expressed their opinion on the application of art therapy, which is that visual art therapy for sexually abused children can have a very real effect. joseph and l. o. bance (2019) created thirteen modular interventions that combined art therapy with self-compassion theory and shame resilience theory, as well as compassion-focused therapy to develop an intervention program for girls who have been sexually abused and to increase self-compassion and reduce shame about trauma. it must be agreed that such a strategy for the use of art therapy and the art of quilling as art therapy techniques, positive results based on art therapy practices say that the use of art therapy, quilling, in particular, is successful in this sphere of influence of therapists. researchers h. barrett, s. holttum, t. wright (2021), who studied the theory of art therapy for people suffering from psychosis and their response to art, argue that creativity provides clients of art therapists with a space to express, as well as store their feelings, needs, desires, and fears in art. work. this approach may help start a dialogue and allow them to change their attitude towards their work and themselves. creativity, quilling in particular, helps people who desire it to express in non-verbal and bodily form what an art therapist can later explore through a therapeutic dialogue. according to researchers j. hu et al. (2021), art therapy and quilling, in particular, as methods of non-verbal psychotherapy and art pedagogy, serve not only as an auxiliary means of diagnosing certain diseases but also, in turn, are useful therapeutic methods. such methods help children and adults open up to a teacher or a doctor and share personal feelings, views, and even experiences that a child or an adult is experiencing. i. orlenko and o. balbuz (2022), who studied the impact of art therapy in developing and training groups on introspection and self-attitude, argue that art therapy is the key to selfknowledge, which is achieved by comparing oneself with other people and deep introspection, which creates the basis of an emotional-valuable self-attitude. it is important to understand that the art of quilling or other art therapy techniques exists for self-improvement and knowledge of oneself and others, which a person strives for throughout his life. this study aims to study the effect of quilling technology on the mood and general tone of the group and individuals in conjunction with other art technologies. method the methodological basis of this research work, which studied the universal technology of art therapy – quilling or paper rolling, was the following methods: the method of comparative analysis and the method of pedagogical experiment. using the comparative analysis method, it was possible to compare the mechanisms of influence of quilling techniques in different situations and in different areas of pedagogy and therapy that require or allow the intervention of art therapy. also, in this scientific article, the method of pedagogical experiment was used, as a result of which the influence of quilling technology, as a universal art-therapeutic method, on students of different courses of al-farabi kazakh national university was studied. in the work on this scientific article, a lot of information sources of kazakh, russian, and american origin were used, which formed the basis of the theoretical part of this work on the study of quilling technology. this scientific work, in which the art of zhansaya iskakova et al., new art therapy technology – quilling 281 quilling was explored as a new technology of art therapy practice and a pedagogical tool with universal spheres of influence and application, was carried out in three successive stages. at the first stage of this scientific research article, an extensive system analysis of information was collected and carried out, which, in turn, helped in shaping the main research problems of the quilling technology of art, as well as in highlighting the spheres of influence and application of this technology of art therapy in practical classes art educators. during the second stage of work on the article, the work of researchers who helped shape the future development of art therapy practice through quilling technology was considered. also, at this stage of the study, a pedagogical experiment was conducted on the basis of the kazakh national al-farabi kazakh national university, which showed the impact of the new quilling art therapy technique on the perception of themselves and their own self-esteem. the experimental group included 100 people aged 22 to 24 who were students of different courses at the time of the pedagogical experiment. the experiment was conducted on the basis of al-farabi kazakh national university. classical pedagogical experiment methods were used, including observation of the subjects. the method of analysing the works and answers that the participants entered into the wessman-ricks emotional state questionnaires was also used to assess thinking,. also, at this stage of the work on the article, in addition to quilling, other art therapy technologies, such as music therapy and colour therapy, were used. upon completion of the experiment of this scientific study, a qualitative assessment of the results was carried out, in particular, an analysis of the work using quilling technology and the assignment of each work of the subject to the categories of diversity of thinking, as well as positive or negative perception. during the third stage of this study, an analysis of the work was performed in the experimental group to calculate the degree of self-perception by students and their emotional state using group therapy based on the synthesis of quilling technology and colour therapy. during the last stage of the research work, the results that were formed during the work on the research topic were summarized. results and discussion art therapy, in its original form, is a form of psychotherapy which is expressed through artistic means. at its core, the art of art therapy is a very appropriate kind of activity for the development of children, which allows hearing their voices and understanding their needs (desmond et al., 2015), as well as an auxiliary element for restoring the mental health of adult members of society. moreover, through artistic expression, people gain more knowledge about themselves, developing their self-esteem as well as necessary social skills. it is important to remember that art therapy’s primary goal is to harmonize all spheres of life of both a child and an adult through the development of understanding and the ability to express themselves and self-knowledge. there are many types of art therapy, besides quilling, which are actively used in the practice of developing children and adults (figure 1). figure 1. types of art therapy source: (kalka & kovalchuk, 2020) let’s consider all these types of art therapy separately and start from the very beginning – fairy tale therapy, because all children love fairy tales, and it is them that harmonia: journal of arts research and education 23 (2) (2023): 279-289282 children hear for the first time, getting acquainted with the outside world with the help of experience gained from favourite fairy tales. fairy tale therapy is of particular importance for preschool children with severe speech disorders. in such cases, in children with persistent lexico-grammatical and phonetic-phonemic disorders, the spontaneous formation of speech skills is either impossible or disharmonious, and fairy tale therapy will help here. despite the fact that the development of speech in a child with severe speech disorders is slow and peculiar, in the education system of the 21st century, for the education and development of such children, much attention is paid to the use of a variety of modern technologies that contribute to the most effective correctional and developmental work, that is, fairy tale therapy and other creative techniques, including quilling. in addition to fairy tales in childhood, parents often sing lullabies and funny songs that kids like. using music and songs, parents calm their children, and in adulthood, music helps them experience difficult moments and enhances joyful moments. but music therapy itself, by and large, is defined as the science-based use of music for therapeutic purposes. it is not as easy and simple as it seems at first glance because it should be noted that music therapists use in their practice the so-called “musical interventions” substantiated by science to fill the spiritual, mental, physical, and emotional needs of a person who turned to a music therapist (li et al., 2021). with the help of music therapy, both a child and an adult can be both calmed and motivated – the main thing is to choose the necessary type of activity in a music therapy environment. in a world where there is a huge lack of communication for several reasons, including the coronavirus, drama therapy is one of the most requested art therapy technologies. this kind of therapy involves acting out certain plot touches, which is an integral part of human life (hood, 2022). the direction of mask therapy in the arttherapeutic environment is the projection of a person’s internal state outward with the help of a mask, which alleviates stress, clamps, and other problematic conditions of a person. metaphorical associative maps are a popular therapeutic tool among modern practical psychologists and psychotherapists. this method involves using images and texts that affect a person’s consciousness, after which he fills them with his own special content. first, metaphorical cards help the therapist understand his client’s request and contribute to a deeper understanding of the client’s life situation, a look at himself and his life problems from a different angle (borodulkyna, 2018). the next type of art therapy is mesotherapy, that is, visual activity, which also has a large field of influence on the psychological component of therapeutic sessions. it should be noted that the most commonly used forms of fine arts are drawing, painting, and photography. in the case of fine art in the form of drawing, illustration, painting, collage, photography, and sculpture, it is used not only as a tool for clinical intervention but also as a diagnostic tool, which gives fine art a universal and innovative character and distinguishes it from other modalities of art therapy (novo et al., 2021). the essence of collage as an art therapy technique is to create images by combining various photographs, newspaper or magazine clippings, fabrics, coloured paper, wood, wire, and rope, which captivates and relaxes both a child and an adult. sand therapy in art therapy involves the use of water, sand, stones, shells, and plants. the very process of this type of therapy reduces anxiety in both children and adults (shariat et al., 2015). clay therapy also helps to fight anxiety, but it only involves working with plastic materials, that is, with clay. working with clay stimulates creative thinking and positive emotions (rankanen et al., 2022). mandala therapy, on the other hand, with the help of circular round images, diagnoses and explores the individual’s inner world. this type of therapy has important properties for art therapy and is not as common as others. some researzhansaya iskakova et al., new art therapy technology – quilling 283 chers recommend modernizing this type of art therapy with a traditional kazakh ornament, which carries the sacred values of the national cult, which will not only provide psychological assistance but will also become a lever towards understanding the national heritage and culture (bukeshova, 2022). all in all, – quilling therapy, historical examples of which have never been considered a “main art form” but have survived to this day (blake, 2010). new technology of art therapy – quilling is a part of art pedagogy that teachers should use in their lessons in schools where children with special educational needs study. the concept of art pedagogy began to be used by teachers relatively recently, but its usefulness is clear to everyone today. initially, art pedagogy studies the laws of upbringing and development of a child with the help of art, and this symbiosis of pedagogy, art, and psychology provides an opportunity for a teacher to educate, educate, and develop individuality through art, including people with developmental problems or people with disabilities (mirzaeva et al., 2021). first of all, creative expression is an effective therapeutic tool for traumatized children, as they convey their emotions and thoughts through non-verbal means, which is creativity and art therapy (disunno et al., 2011). quilling is one of the most affordable and effective ways to teach art to children and adults because it is of great importance for the development of constructive thinking, as well as their creative imagination and artistic taste. quilling, as a new art therapy technology, can help even when using the technique with children with cerebral palsy (cp). in spite of everything, art therapy, and fine arts, in particular, have a wide range of properties, means, and technologies, which in turn contribute to the development of the potential of children with disabilities to neutralize physiological disorders with the help of imaginative thinking and perception. quilling technique, as art therapy, helps the child to understand their intellectual and emotional personality traits through work in the field of art; a child with cp is gradually “included” in a full-fledged social and emotional life of society. and even though it is generally accepted that art is practiced for the most part, children’s art therapy helps not only kids but also older people. many studies of art therapy treatment of depression in the elderly (kokun et al., 2011) have shown that drawing and other types of art therapy forms help with depression and can reduce depression, anxiety, and symptoms. using the new quilling technology, an experimental study was carried out on the basis of al-farabi kazakh national university. 140 students were invited. a total of 100 out of 140 students gave verbal consent to participate in the experiment. the age of men and women in the study group ranged from 22 to 24 years. before the beginning of the experiment, the participants were given the v.a. mozart piece “little night serenade,” then they were given wessman-ricks emotional state questionnaires (table 1), where the subjects had to record changes in the emotional background from 1 to 10 at the beginning, after the first stage, at the end of the experiment. next, the participants were asked to choose one colour of quilling paper from three primary colours – red, green, and blue. thus, the group was divided into two parts, by which the initial colour was chosen. the study group included subjects who chose red, and the control group – caltable 1. table of self-assessment of the emotional state according to the wessman-ricks method calmness-anxiety energy-fatigue 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10 rise-depression self-confidence-helplessness 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10 source: [19]. harmonia: journal of arts research and education 23 (2) (2023): 279-289284 mer green and blue. as a result, the following situation has arisen. red was chosen by 55% of the group (55 people, including 40 women and 15 men). green was chosen by 25% of the group (25 people, including 12 women and 13 men), and blue by 20% of the group (4 people, including five women and 15 men). after each of the 100 participants chose a colour and was assigned to their group, they were asked to choose one more colour – black or white. after this stage of the experiment, the following situation was formulated (table 2). in the future, the participants in the experiment had the right to use any amount of paper for quilling, but only the colours chosen earlier. next, the participants in the pedagogical experiment were asked to choose a theme for an impromptu quilling figurine, which should reflect the author’s feelings at the time of creation through two colours. the proposed topics could display love, anger, contemplation, and so on without disclosing them. thus, with the help of two colours, the studied students proceeded directly to art therapy using the open-form quilling technique. the openform quilling technique involves rolling paper without gluing on a sheet of paper – a piece of paper is twisted and simply bends depending on the shape of the curl – inward or outward. during the art therapy process, students actively communicated with each other in groups and outside the groups. observing the course of the experiment, the authors of this scientific article claim that the quilling therapy technique, supported by verbal and non-verbal components, improved the tone of mood even in skeptical participants, and they showed a desire to change the initial choice of colour and mood of the constructed figure, which was also reported in the questionnaires, received earlier. after 10 minutes after the beginning of the active phase of the experiment, the subjects were asked to choose one colour from the three main ones again. the general picture of mood and atmosphere among the participants changed qualitatively. those participants who previously chose saturated and bright colours preferred calm and airy ones. according to the results of the repeated experiment, only 15% of the group (15 people, including 7 women and 8 men) chose the red colour. green was chosen by 45% of the group (45 people, including 35 women and 10 men), blue – 40% of the group (40 people, including 15 women and 25 men). then the procedure was repeated in relation to black and white colours and the choice of subjects with further work in the quilling technique. l. beethoven’s 4th movement of symphony no. 9 “ode to joy” was included in this research stage. at the end of the experiment, the participants were asked to demonstrate their figures and explain the reasons for one or another scheme’s creation after the first and repeated stages of the experiment using the quilling technique. according to the answers and observations over the course of the experiment, the following conclusion was made. the active red colour in the first stage of the experiment was chosen by 55% of the test audience, which shows a negatively minded part of the participants, and this percentage is 40% higher compared to the second table 2. selected colours by the participants of the pedagogical experiment and their percentage colours main colours study group control group red green blue 55% (55 people) 25% (25 people) 20% (20 people) additional colours black white black white black white. number of people who chose a colour 38 38% 17 35% 4 20% 1 5% 3 15% 1 5% source: compiled by the authors. zhansaya iskakova et al., new art therapy technology – quilling 285 part. many of the participants who, during the quilling therapy, expressed a desire to change their colour preference were precisely from the first group of subjects who initially chose red. analysing the data obtained from the questionnaire, which used the wessman-ricks method of selfassessment of the emotional state, it can be argued that the symbiosis of art therapy techniques, namely quilling, music therapy and colour therapy, have favourable qualities that have a positive impact on the emotional component of human consciousness. calculating the integral indicator of the emotional state of the subjects, the following formula was used: es = (i1+ i2+ i3+ i4)/4, (1) where: es is an integral indicator of the emotional state, i1, i2, i3, and i4 are individual indicators according to the corresponding scales. according to the results of this experiment, the indicator of the emotional state before therapy averaged 1-3 points in the study group and 4-5 points in the control group, which is characterized as a very bad and worsened mood, respectively, disinterest of the participants, and a depressed state. after the first active stage of the experiment in the quilling technique, the emotional tone of both groups of students improved – the subjects began to request other colours, became more animated, and became more interested in the lesson. according to the questionnaire, both students stopped at 6-7 points, which is interpreted as a good emotional state of the participants. after changing the colour of materials for quilling therapy, as well as changing the atmosphere, which gave “ode to joy” by l. beethoven, the subjects of both the study and the control group were on 8-10 points of the school of emotional state, which confirms the positive impact of quilling as art therapy technologies in interaction with other art therapy techniques. with the help of quilling technology, students focused their emotions on therapy and directed them in a positive direction. it was possible to achieve the best results against their emotional background by complementing quilling therapy with musical accompaniment, and colour preferences of the subjects, and the verbal component, . thus, at the end of the experiment, it was concluded that with the help of art therapy, the group tone of the mood of the therapy participants was adjusted. for students of the al-farabi kazakh national university, visual activity using quilling technology in integration with colour therapy and music therapy is a form of correction of the mood and tone of the participants in the experiment according to external indicators, data obtained from the questionnaire, as well as uniting the group into a single whole. at the moment, art is not just entertainment or aesthetic recharging but an important part of the psychological and pedagogical world. not complicated exercises of art therapy technology to hone the fine motor skills of the child’s hands help to activate his thinking develop speech, and, in addition, quilling activates all thought processes. thus, art therapy technologies can affect children and adults who require stimulation of the body’s physiological functions. scholars studying traditional art in art therapy a. arslanbek et al. (2022) argue that when studying art therapy, it is important to understand the therapeutic value and significance of such practice and how it can be used in therapy. some art practices that therapists and educators use as a form of art therapy have therapeutic qualities that can be used by a large part of the population, which is so influential in the popularity of this type of therapy. researchers s. khedekar et al. (2018) studied the issue of quilling therapy for children. according to researchers, in introductory quilling classes, children begin by twisting pieces of paper to make flat objects, and only after some time do they move on to making three-dimensional figures. it is important to note that the principle of repeatability of actions in this case is cumulative, which will speed up work in the future. hand activity in a child harmonia: journal of arts research and education 23 (2) (2023): 279-289286 with special educational needs improves joint range of motion, increasing muscle strength while reducing functional disability. manual actions with the hands and fingers have already proven their effectiveness, and the very involvement of the child in the creative process can not only help improve hand motor skills but also increase the child’s self-esteem, prevent painful suffering, and keep the baby interested in the therapeutic regimen in order to have a long-term perspective in the fight against the disease. the effectiveness of art, in particular art therapy technique, as a therapy for poorly developed fine motor skills in a child can be explained by the fact that quilling includes fine bimanual finger dexterity, gross motor skills, strength, trunk stability, hand-eye coordination and creative abilities (ciasca et al., 2018). thus, working with this technique is a big plus for both children and the elderly since, in connection with the creative process, attention and the ability to concentrate are trained. according to the researcher of correctional and pedagogical work of a dermatologist using art therapy, v. a. bilan (2018), creativity is an important method of healing a child, harmonizing it, and, not least, it causes positive emotions in both children and adults, which in turn enriches the cognitive consciousness of a person. using art therapy in raising a child or as one of the methods of correction, a person learns to create a more confident image of himself as a person, strengthens his self-esteem, becomes confident, and learns empathy. with the help of quilling or other creative therapeutic technique, a person’s emotional and cognitive spheres are corrected, which is very important for the development and knowledge of oneself and the world. from this, the conclusion emerges that the child in the process of art therapy in quilling technology, where fine motor skills are involved, begins to accumulate experience in the movement of hands already in the very process of twisting the paper, that is, the subject of examination while playing with it. in the study, regev and l. cohenyatziv (2018), where they studied the effectiveness of art therapy with adults, the authors’ results should be noted in this regard. according to the study, the art therapy effect on people improves the ability to cope with difficulties, and this is a known fact. but, the fact that it reduces depression and fatigue in cancer patients undergoing chemotherapy also improves the quality of life of women undergoing breast cancer treatment should be noted. according to a study by d. regev and l. cohen-yatziv (2018) individual non-long-term art therapy is beneficial for women with breast cancer. art therapy is used for children and adults with numerous requests for emotional, physical and mental self-balance. when using art therapy under the supervision of a specialist, a wide range of improvements can be achieved and the expected effect or result in therapy can be obtained as a result of this form of treatment. according to c. a. malchiodi (2015), in his study of creative intervention with traumatized children, traumatized children very often feel helpless in situations, confused or ashamed, and, as a result, afraid to trust others or their own environment. in such cases, art therapists must develop a productive and positive relationship with these children to enable them to revisit the painful experience, overcome their memories, give them meaning, and find hope for the best. art therapy is effective not only for children and adults but also for the elderly, as well as j. delucia and b. kennedy (2021) and for veterans. researchers have studied the use of art therapy for veterans who are experiencing the transition from military service to civilian life. such a transition is associated with social, emotional, and physical changes, which art therapy and quilling successfully cope with. when studying how quilling and art therapy affect people diagnosed with psychosis or schizophrenia, one should pay attention to the work of s. holttum et al. (2021), who explored the path of becoming art therapists who provided therapy to people diagnosed with psychosis. as zhansaya iskakova et al., new art therapy technology – quilling 287 a result of the work of s. holttum et al. (2021), through constant interaction with art, in this case, the art of quilling, and an art therapist who supports the path of recovery, they can both get stuck, detach, and develop. in most cases, people prescribed art therapy develop and open up to their therapist and the world through creativity and communication with the art therapist. but what is important in this case is that the training of art therapists makes the therapists themselves quite stable and flexible in their professional skills. the process of art therapy helps not only patients but also the therapist himself, and this is a big plus for both art therapy and quilling in general. it must be remembered that building a good relationship between the art therapist using quilling and not only with patients is essential for the results of various types of therapy. today, art therapy is moving online and becoming digital, which increases the percentage of people interested in this practice. researchers s. haywood and b. grant (2022) studied the dynamics of “virtual” influence on image and art in art therapy practice and argue that the practicality of promoting art therapy on the internet is a great success factor for art therapists. researchers propose a new role for digital technologies in art therapy, a new trend in digital art therapy. quilling, as a new technology of art therapy, is an important part of two areas of science at once – it is pedagogy and psychology, not counting the usual art, which interests researchers in a thorough study of quilling and its ability to influence psychological as well as psychosomatic processes. conclusions today, art therapy has gained particular importance in the world of pedagogy and psychology since modern methods and approaches to traditional issues of psychosomatic origin require modern and creative solutions. studying quilling as one of the new techniques in the art therapy practice of therapists and teachers in an inclusive educational environment, this study seeks to understand both pedagogical and psychological knowledge of this issue thoroughly. this article analyses the main types of art therapy, as well as the integration of the experience of art therapists through the development of quilling art in the modern psychological segment of the development of rehabilitation of children who have received traumatic experiences and adults who require the necessary therapy, and also studied ways to use quilling therapy, as art therapy technologies. a pedagogical experiment was also carried out on the basis of al-farabi kazakh national university, as a result of which the influence of quilling therapy on the general mood of a group of 20 people was studied. based on the results of this art-pedagogical experiment, a positive effect of the quilling technique on individual individuals and the general mood of the group and its cohesion was established. thus, the article’s authors claim that the use of art therapy and quilling techniques, in particular, has a positive value for the creative release of students of al-farabi kazakh national university. the quilling technology and its characteristics, which are positively expressed when used in the pedagogical and psychological aspects, are successful based on the results of the experiment. summing up this scientific work, paying attention to the importance of the obtained results for art therapy in general is necessary since quilling, as a new art therapy technique, has an important role in an inclusive environment for both children and adults. according to the results of the performed scientific research, it should be noted that the studied areas of application of the new technology of art therapy – quilling, have great prospects for expanding the area of influence since the creative restoration of both the psychological and physiological components of a person is being actively studied and has a large area of influence, which increases the importance further research on this topic. studying the problems of using quilling as a new technology of art therapy, that harmonia: journal of arts research and education 23 (2) (2023): 279-289288 is, the main components of human creative activity, which are continuously associated with the psychosomatic dimension, it is important to note the need to continue further research in connection with the rapid development and introduction of art therapy in the psychological and pedagogical environment. future researchers are encouraged to delve into the issue of expanding the use of this industry in the art therapy direction, as well as analyse the development of quilling technology in art therapy in the future. references arslanbek, a., malhotra, b., & kaimal, g. 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(2015). effectiveness of sand-therapy on the attenuation of separation anxiety signs in preschool children. international journal of kinesiologu & sports science, 3(1), 15-20. 74 the perception and views of photographers on artistic photography in turkey hakan yaman independent scholar, konyaaltı-antalya, turkey received: december 13, 2017. revised: april 23, 2018. accepted: june 10, 2018 abstract the purposes of this study are to know generally the perception and view of photographers on artistic photography in a purposeful sample in turkey. participants were purposefully selected (purposive sample) from the community of photographers because it would represent diverse photographers in turkey. the survey included 19 questions and divided into three parts. findings of our study revealed that most of the participants were at their middle-age, male, married, university graduates, private sector employed, dslr users, amateur/ traveling-landscape-portrait photographers, and they shoot their photos to be happy, to document anything, and for spending time (hobby). they mainly thought that photos should be taken for documentary reasons. the creativity is mainly dependent on perspective (or photographic seeing). good photography could be achieved with good photographic technique, a good photo is relying on the influence to the spectator, photo critics/reading should be mainly based on technique, the most influential movement is realism, artistic photography will improve, photography in future will improve, and some are participating in photographic projects. the results show that good grounds exist in turkey to shape artistic photography for the needs of the 21st century. keywords: photography; leisure; hobby; art; turkey how to cite: yaman, h. (2018). the perception and views of photographers on artistic photography in turkey. harmonia: journal of arts research and education, 18(1), 74-81. doi:http://dx.doi.org/10.15294/harmonia.v18i1.14667 harmonia: journal of arts research and education 18 (1) (2018), 74-81 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v18i1.14667 photography is now very popular. cameras are easily accessible and if not everybody has a smartphone with an inbuilt camera. people are documenting every personal moment and share these on every occasion. there are also other people, who spend their free time with photography. they study, work, devote themselves, create, produce, share, document their photographic involvement (lim, 2017). it is also the case for turkey. almost every province in turkey, with at least one photographic society/club which brings together photographers, organizes contests, photo marathons, publishes periodicals and books. major universities introduction photography is a scientific subject with a multi-disciplinary orientation. photography has also benefitted from innovation and technological development. not only the way we see photography, but also the involvement of people has changed. nowadays everybody is taking photos, and the dissemination of these media is globally overwhelming. people are exposed every day to various images, and a search visual literacy seems to be needed more than any time before (nicholls, 2015). corresponding author: uncalı mh. 1262. sk. no: 15, öksüzoğlu konakları, antalya-türkiye e-mail: hakanyam@yahoo.com p-issn 2541-1683|e-issn 2541-2426 hakan yaman, the perception and views of photographers on artistic photography ... 75 have departments of photography with stateof-art curricula. the frequency and numbers of activities in turkey are overwhelming, but documentation on these photographers is missing. therefore, we were interested to know generally the perception and view of photographers on artistic photography in a purposeful sample in turkey. method photographers living in different cities were asked to participate in this study in december 2017. eighty-five photographers agreed and gave verbal consent to participate. participants were purposefully selected (purposive sample) from the community of photographers because it represent diverse photographers in turkey. the survey included 19 questions and divided into three parts. the first part included questions on demographics and possession of a photo-camera. the second part included questions about experience and membership in photography, and finally, the third part asked questions about their thoughts concerning photography. the survey was piloted with six photographers, and the results of the pilot questionnaire were not included in the final dataset. open-ended questions were analyzed by ay and zk for content. answers were classified into common subject headings, which arose from the answers. subject headings were compared after separate analysis and were compiled afterward to one form. informed consent was obtained from all individual participants included in the study. data were analyzed with descriptive statistics. the level of significance was set at alpha=0.05. result and discussion result of data analysis events and festivities covering photography are steadily increasing in turkey. photography as an academic discipline is well established as are the diverse photography societies in turkey. information on photographers dealing with their perception and views concerning artistic photography were missing in turkey and no similar studies were available in the literature. we therefore retrieved the following results from our study, which we would like to share: eightyfive photographers participated in this study. their mean age was 40.3 (sd = 13.31; range = 1-68); 22 (37%) were female and 38 (63%) were male; 32 (39%) were single, 44 (53%) were married, and 7(8%) divorced/ widowed. seven (8%) graduated from high school, 59 (71%) from university, and 17 (21%) from postgraduate programs (master/ phd). twenty eight (35%) were employed in public sector, 35(43%) in private sector, and 18 (22%) were students. the mean photography experience was 10.8 years (sd = 11.20; range = 1–54). sixty six (79%) participants defined themselves as an amateur, nine (11%) as a professional, and 8 (10%) neither amateur nor professional photographers. affiliation to local photography societies was relatively high. fourteen (17%) stated to be a member of anfad (antalya photographers and amateur cinema lovers society, turkey), 12 (14%) of anfok (antalya photography club, turkey), 14 (17%) of sille sanat sarayı (ilfiap, konya, turkey), 30 (35%) of other societies/clubs in turkey. the preference of style of photography of participants is displayed in table 1. the search for a personal style is like looking for the “holy grail” among photographers. it is a non-ending evolutional process, which is affected by diverse factors. these could be based on the subject chosen, on the technique the photographers uses, the methods after shooting (postproduction), or any combination of these (quist, 2017). or could be related to three points: does the style fit the subject matter the photographer has chosen? does it fit to the personality of the photographer? does it enhance the photo? if the changes are appropriate to the subject chosen, it fits to your personality, and the styled applied dos improve the photo then the photographer is on its right way (steadman, 2013). but beyond personal issues there are harmonia: journal of arts research and education 18 (1) (2018): 74-8176 different styles (genres) defined in literatures. even a consensus in the definition of these genres are lacking, we can speak of different styles ranging from 32 to 50 (urby, 2018; webneel.com, n.d.). in this study 15 different styles have been mentioned. travelling, landscape, and portrait were the most frequent ones mentioned. table 1. the preference of style of photography style of photography n % portrait 45 53 traveling 62 73 landscape 55 65 street 39 46 fashion 5 6 architecture 23 27 wedding 7 8 documentary 17 20 journalism 5 6 other (i.e. nature, product, industrial, light-art etc.) 9 11 eight (9%) had an analog camera, 53(62%) a digital camera, 12(14%) a mirrorless digital camera, 34(40%) smart phone camera, and 1 (1%) a drone camera. the reason for taking/shooting photos is shown in table 2. different papers and personal impressions are reporting on reasons for taking/shooting photos. most frequent reasons stated are recording important events and memories (pryor, 2013; poster, 2011) . if you enlarge the reasons of taking/shooting photos then we could enlarge the reasons to more items (i.e. recording memories, having fun, nurturing the brain, promoting health and fitness, enhancing creativity, reason for travel, networking, join a photographic society, developing personal style etc.) (hill, 2017). the answers retrieved in our study showed similar results. the answer “for happiness” could be accepted as “for fun”. looking at the profile of the respondents of this study, the majority defined themselves as amateurs. therefore the majority can be expected to shoot photos to become happy. another interesting answer was “assignment”. the reason for this answer were students, who participated in this study and had to deliver photography assignments to the university faculty. table 2. reasons for taking/shooting photos reasons of taking/shooting photos n % free time/hobby 22 26 for happiness 62 73 assignment 4 5 earn for existence 10 12 for documentation 36 42 to get famous 1 1 other (i.e. memoir, express feelings, therapy etc.) 9 11 replies to open-ended questions are given below: question: why should we take photos? answer: to register/document the moment (n=35). to display different cultures of seeing (n=3). to relax, to be happy, to enjoy (n=10). interest, curiosity (n=1). hobby, spend good time (n=9). to express feelings (n=5). awareness (n=1). to communicate (n=1). to share (n=1). in addition to the closed-ended question above, which answers are enlisted in table 2, this findings add some further aspects of taking/shooting photos. photography enables the person to develop and grow themselves by adding value to their lives. their experience was easily shared in a meaningful ways via photos (hill, 2017; quora, 2017; shulman, 2014). question: what is determining creativity in photography? answer: being able to see feelings in photos (n=3). perspective (n=17). to deal differently with the subject (n=3). knowledge on art and aesthetics (n=8). experience (n=2). hakan yaman, the perception and views of photographers on artistic photography ... 77 phantasy, imagination (n=9). eye of photography (n=5). processing the photo (n=1). visual intelligence (n=1). maturity (n=4). reflecting the inner world outside (n=2). creativity is a capability, which could be supported by constantly learning. practice is mentioned the key for improving creativity in photography. following successful masters in photographers is another way for improvement. a creative photographer is a lucky person, who successes to shoot good photos of common subjects. the photos are expected to tell a story, which have an important impact on the person. therefore developing a personal style is a prerequisite for creativity. having all these skills and conditions and some luck (i.e. right time, right place, etc.) will support creativity and success in photography (hollenbeck, 2014). question: how can we shoot a good photo? answer: good photo-technique (n=34). good equipment (n=5). good observation (n=2). depends on money, place, and time (n=1). appropriate training (n=4). experience (n=4). phantasy (n=1). is more subjective (n=5). based on feelings (n=5). strong expressions (n=3). the responses of the participants are in congruence with the sources available in the internet (clarke, 2014; mansurov, 2018). question: what is a good photo? answer: influencing the spectator/visitor (n=15). displayed in an aesthetic way (n=5). substantial meaning (n=11). substantial artistic meaning (n=1). substantial perspective (n=1). best storytelling (n=2). technically best shoot (n=14). originality (n=1). unforgettable, enviable (n=1). a good photo is expected to deliver a clear vision, to harmonize with the spectator’s vision and suits the spectator’s tastes (cox, 2018). our findings support this statement. question: what should consider during photo readings/critics? answer: photo techniques (n=33). success in depiction (n=13). its story (n=1). artistic perspective (n=3). content of concept (n=1). level of endeavor (n=1). feeling evoked (n=4). originality (n=1). appropriate scope (n=1). guidelines on reading photos expect the understanding the three-dimensional environment (i.e. culture, visual elements, icons, and symbols) of photography. working out subject matter, form, medium, and context will help to understand the content of a photo (oosterhoff, 2015). question: which photo movements are influencing you at most? answer: environmental photography movement (n=3). photojournalism photography movement (n=3). surrealism photography movement (n=4). impressionism photography movement (n=3). documentary photography movement (n=4). realism photography movement (n=5). post impressionism photography movement (n=1). naturalistic photography movement (n=2). symbolism photography movement (n=1). romanticism photography movement (n=2). this question gives a clue on the knowledge of participants on the history of photography and movements. harmonia: journal of arts research and education 18 (1) (2018): 74-8178 partially mentioned by the participants of this study. these changes are estimated as the development of stronger sensors, smaller cameras, intelligent cameras, versatile lenses, alternative energy solutions, new formats, smarter software, and closer integration to human body (zhang, 2017). artificial intelligence and constant connectivity will be further enhancements in future photography (davis, 2017; (matusek, 2017; (raza, n.d.) question: are you involved in photographic projects? answer: travel photography (n=6). documentary photography (n=2). exlibris (n=1). discussion art is elementary for each society. people especially have an inborn aesthetic sense, which helps to create social meaning and values in a human being. art helps the community to find itself and its own identity. it enables us to build up self-awareness and forms an understanding to other people. it is a way of personal enrichment and improvement (coles, 2018). but, there are challenges. everybody thinks, that they are in command of a foreign language, the photography. billions of people are taking photos and might consider themselves as amateur photographers. trillions of photos are circulating around the globe. the digital revolution made the production of photos easier, but a confusion in photography evolved, due to the mass of photos created. the invention of new ways of photographic education and training is certainly an answer to this confusion (nicholls, 2015). the existence of photographic societies and clubs will certainly help to overcome this challenge. a well-established network of societies and clubs, like in turkey, with the support of academia are an important prerequisite for this. the increase of photos should not be a reason for concern. people are like the sufferers in plato’s cave, who just see the ideas falling on the wall. only their personal evolution will hopefully enable them to see the real image. and, this search might be enabled by question: at what degree do you see artistic photography? answer: it is a highest level (n=7). artistic photography will improve (n=13). it is not at expected level (n=10). it is an art, like painting (n=2). its technique end aesthetics is improving (n=1). is declining (n=5). it is not an independent art (n=1). now everybody is a photographer (n=5). everybody has a smart-phone camera (n=5). arrogance, egoism, money (n=1). it is real and is documentation (n=1). the perfect photo is unreachable (n=1). it is an art, which is decaying in the virtual prison (n=1). different definitions of artistic photography are available. “art photography” is photography, which is done as a fine art. whereas “artistic photography” is more the aim to convey a personal impression on the photographic work ( fine-art photography, 2018). the respondents have a more positive view concerning the improvement of artistic photography. question: how do you perceive the future of photography? answer: it will improve (n=11). it has a good future (n=5). as long as life endures, photography will persist (n=2). video will replace photography (n=3). cameras will improve technically (n=5). everybody will get involved with photography (n=3). documentary photography will increase (n=1). it will detach from reality (n=1). individualism will increase (n=1). it will improve as a separate art (n=1). photography as a way of art will develop (n=1). with increasing technology, it will lose its artistic orientation (n=1). looking at futuristic assumptions important changes will occur, which are also hakan yaman, the perception and views of photographers on artistic photography ... 79 practice, thoughts, and taking plenty of photography (sontag, 1977; 2017). there have been made different consideration on photography. trying to understand this phenomenon, classifications have been made. these were external and were empirical (professionals/ amateurs), rhetorical (landscapes/objects/portraits/ nudes), or aesthetic (realism/pictorialism); but some mean these classifications are not touching its essence and that photography cannot be classified (barthes, 2003). beside these concerns we had to classify our participants and found that most were at their middle-age, male, married, university graduates, private sector employed, dslr users, amateur/ traveling-landscape-portrait photographers, and they shoot their photos to be happy, to document anything, and for spending time (hobby). photography was used as evidence since its early invention. therefore, the belief that photos are identical to the objects they are photographed, still persists. and people like in our study pretend to say that they shoot photos to register or document anything they have chosen. but looking closer we could differentiate the non-interfering observer from the artist, which is in analogy with seeing and photographic seeing (sontag, 1977; 2017). this way of seeing will certainly enhance creativity with the support of imagination and knowledge of arts and aesthetics (huang, 2011). the term aesthetic is in simple words, the appearance of an object that is pleasing the eye. in photography, different kinds of rules are setting the standard. the judgment of the photo depends on other criteria, too. but the difference between a trained and a lay eye concerning the perception of art might be enormous. the judgment of a trained artist on the beauty of an object depends on technique in photography. the ability of understanding aesthetics and ingenuity in photography can be trained and learned (jacobitz, 2017). as mentioned by participants good and/or aesthetic photographs could be achieved mainly by good technique, good equipment and creativity. the visualization and conceptualization of an idea before taking a photo, the imitation of reality, good preparation and post-production, composition (leading lines, golden ratio etc.) might lead to a good photo (jacobitz, 2017). painters since ages were looking for a visual truth and created different movements during their enduring search in art. and photography followed this path as well (de wolfe, 2018), even the belief of photography as a mechanical record did not fade away. fox talbot published the first book illustrated the photographic book, which ne named “the pencil of nature”. this was a visionary choice, because the camera remained always the pencil of nature (prodger, 2012). today the artistic core of photography is accepted as the capture of the deliberate moment of reality. the ability of the artistic photographer to capture a moment of reality and the transformation of it into an aesthetic/viewable image is accepted as an artistic process (encyclopedia of art, 2018). conclusion findings of our study revealed that most of the participants were at their middleage, male, married, university graduates, private sector employed, dslr users, amateur/ traveling-landscape-portrait photographers, and they shoot their photos to be happy, to document anything, and for spending time (hobby). they mainly thought that photos should be taken for documentary reasons, the creativity is mainly dependent on perspective (or photographic seeing), good photography could be achieved with good photographic technique, a good photo is relying on the influence to the spectator, photo critics/reading should be mainly based on technique, the most influential movement is realism, artistic photography will improve, photography in the future will improve, and some are participating in photographic projects. the results show that good grounds exist in turkey to shape artistic photography for the needs of the 21st century. harmonia: journal of arts research and education 18 (1) (2018): 74-8180 references barthes, r. 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(2017). 10 predictions about the future of photography. retrieved august 15, 2018, from https://petapixel.com/2017/08/18/10-predictions-future-photography/ . 36 innovation of form and function of banyumulek pottery craftsmanship in lombok as heritage of traditional culture i ketut muka, i wayan suardana institut seni indonesia denpasar, indonesia submitted: 2023-06-05. revised: 2023-11-02. accepted: 2024-02-13 abstract the pottery craftsmanship of banyumulek, a cultural heritage of the lombok community, has undergone a transformation over time. the embodiment of cultural concepts, ideas, and forms has transitioned from functional to aesthetic values, particularly due to the influence of tourism development in lombok. this research employs a qualitative descriptive method to explore innovations in the form and function of banyumulek pottery. data was collected through observation, interviews, and documentation, focusing on various forms and types of pottery in lombok. key informants included business owners and pottery craftsmen in the kediri district, west lombok. findings indicate a change in the pottery-making process from traditional to semi-modern. the forms of pottery have evolved from simple to more decorative, and their function has shifted from practical to aesthetic. this innovation is part of a continuous cultural heritage and plays a crucial role in lombok’s tourism industry. changes and innovations in banyumulek pottery reflect economic and tourism growth and affirm the values of the social and cultural identity of the local community. this research highlights the importance of preserving cultural heritage and the adaptive nature of the craft industry in the face of changing times. keywords: innovation; form; function; banyumulek pottery; tourism how to cite: muka, i. k., & suardana, i. w. (2024). innovation of form and function of banyumulek pottery craftsmanship in lombok as heritage of traditional culture. harmonia: journal of arts research and education, 24(1), 36-50 harmonia: journal of arts research and education 24 (1) (2024), 36-50 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v24i1.44787 between the woven plant root baskets, they coated the baskets with clay. shaped by a life still dominated by nature, humans sought to utilize nature to create tools to support their daily needs. kartodirdjo, s. (1997) mentioned that stronger items like pottery were needed as replacement tools for baskets. pottery was utilized for storing food, religious ceremonies, and burial rituals. the values embedded in pottery essentially depict the conditions of a community at a given time. in ancient times, pottery was crafted as kitchen utensils and household items such as plates, containers, genintroduction pottery is one of the oldest artifacts in the development of human culture. pottery can be found in every culture around the world and has been known since prehistoric times. according to historians, pottery, also known as ceramics, has been recognized by humans since the neolithic period. at that time, ancient humans began to settle, engage in agriculture, and discover fire (yumarta, 1982). during this period, ancient humans started storing food using baskets. to prevent leakage corresponding author: e-mail: ketutmuka@isi-dps.ac.id p-issn 2541-1683|e-issn 2541-2426 i ketut muka et al., innovation of form and function of banyumulek pottery craftsman37 tongs (water jars), bowls, cobeks (mortars), kendhis (pitchers), pots, and more. within the scope of the art world, pottery falls into the craft arts category. in the past, the creation of craft products was centered in palaces (keraton or puri) as aesthetic elements and the basis for developing craft products. crafts have strong philosophical values and are deeply ingrained in the cultural society of the palace or court (priyayi or noble-descent culture). however, craft products are not the goal in this palace perspective of culture; instead, it embodies the philosophy of “sedermo ngelakoni kanti kebajikan” (doing good with sincerity) manifested in daily life through perseverance, diligence, patience, and dedication to life activities (hendriyana, 2022, p. 339). the study of pottery as a civilization artifact encompasses several significant positive aspects of human culture. the main advantage of the study lies in its ability to trace the history and evolution of pottery from prehistoric times to the present. the research highlights how pottery has evolved beyond being a functional tool for storing food or household equipment, demonstrating its religious and ceremonial value. furthermore, the study successfully explores how pottery has developed as part of craft arts, especially in the context of the palace or keraton culture, where pottery is considered a physical object and holds profound philosophical value. however, the study has some shortcomings. one of them is the lack of comparative research with other cultures worldwide to understand a broader perspective on pottery in a global context. the study tends to focus on historical and cultural aspects but lacks an exploration of the influence of modernization and globalization on the pottery industry. the research also does not investigate how contemporary trends such as sustainability and environmental responsibility can affect the production and marketing of pottery. this study highlights the philosophical value of pottery in a cultural context, particularly in terms of innovative forms and functions. indonesian society recognizes pottery as one of the cultural features spread throughout the archipelago. current centers for pottery craftsmanship in indonesia include takalar pottery from south sulawesi, kasongan and pondong pottery from yogyakarta, plered pottery from purwakarta, gethakan pottery from malang, nagara pottery from south kalimantan, waykanan pottery from lampung, banyuning, binoh, jasri, prangsada, kapal, and pejaten pottery from bali, sentani pottery from papua, panujak pottery from central lombok, and banyumulek pottery in west lombok. with time, pottery has transitioned in material value, evolving from functional to aesthetic (artistic) value. in several indonesian communities, pottery is still used as equipment for traditional ceremonies and religious rituals. this has led to an increased demand for pottery craftsmanship as a means for traditional and religious ceremonies and an art form. additionally, the produced pottery continues to develop, in line with artisans who can introduce new forms with contemporary designs. development has also occurred in the pottery craft in banyumulek. historically, banyumulek pottery has existed since the time of the sasak kingdom until the rule of the karangasem kingdom, which ida wayan tata developed. he was given the authority to reside in banyumulek village around 1859, an extension of the power of the karangasem kingdom at that time. ida wayan tata initially used pottery only for food and drink needs, but as time progressed, pottery also became essential for religious ceremonies. in 1862, ida wayan tata converted to islam and changed his name to ibrahim. therefore, the creation of pottery at that time focused on household needs and worship accessories until around 1980. as the ruler of the banyumulek region, ida wayan tata, or ibrahim, played a crucial role in the development of banyumulek pottery. this is evident through the presence of dewa pagar temple, the old well, the pedaleman complex, and the tomb harmonia: journal of arts research and education 24 (1) (2024): 36-5038 of papuk mulek in banyumulek village, which is still well-maintained to this day (nandaria et al., 2021, p. 92) in the mid-1980s to 1990s, a significant milestone marked the development of banyumulek pottery, thanks to the substantial involvement of new zealand entrepreneurs who provided training and design development to artisans in banyumulek. in the following years, bppt pstkp bali also offered specialized training and development, particularly in decorative design, emphasizing multi-functional product forms. since 1992, banyumulek pottery has been traded in various regions, expanding to consumers across islands and eventually making its way to international consumers. banyumulek pottery was born and flourished through the skilled hands of artisans, passing down from generation to generation, starting with the production of gentong (large jars) and also pitchers, known as ‘bong’ in the sasak language (ali, 2014, p. 1). the study of banyumulek pottery craftsmanship and its development highlights several crucial aspects. its strengths include a profound understanding of the history and evolution of banyumulek pottery, ranging from functional utility to aesthetic art. the research successfully emphasizes how pottery has become integral to traditional and religious ceremonies in various indonesian communities. this insight underscores the importance of pottery craftsmanship in preserving local traditions and culture. furthermore, the study highlights the crucial role of ida wayan tata (ibrahim) in the development of banyumulek pottery and how external influences, such as training from new zealand entrepreneurs and bppt pstkp bali, have contributed to enhancing the quality and design of the pottery. however, the study has several limitations. firstly, despite its focus on pottery’s history and design development, the primary drawback is the lack of analysis regarding broader socio-economic impacts on the local community. secondly, the study does not fully explore how banyumulek pottery can be adapted to the modern market without losing its unique cultural identity. lastly, while the research highlights design developments, the lack of focus on environmental sustainability and eco-friendly production practices in the pottery craft industry could be a limitation, especially considering the current global trends toward sustainability and environmental responsibility. authentic cultural identity is derived from the form of nusantara cultural identity, which plays a crucial role in building an integrated self-concept owned by the community of banyumulek village, west lombok (puspitasari et al., 2016, p. 57).top of form some research works related to the existence of banyumulek pottery generally explain the conditions of banyumulek pottery, as seen in the research conducted by woro asty werdina and diah asmarandani titled “craft industry of banyumulek pottery in lombok as craft design and souvenir” (2016, p. 3856). the focus of the above research only discusses souvenir products for the needs of hotels and restaurants. another study conducted by w. n. sastrawati et al. (2021) titled “pottery in banyumulek village, kediri district, west lombok regency,” focuses on the types and decorations of banyumulek pottery. similarly, the research conducted by hidayatul ahyani (2019, p. 11-22), titled “the role of the government in developing small pottery industry in banyumulek village, kediri district, west lombok regency,” focuses on the role of the government and the constraints of small industry craftsmen in developing the pottery industry in banyumulek village, kediri district, west lombok regency. the study by muhammad alwi et al. (2021, p. 83-94) titled “business and cooperative management in msmes and pottery craftsmen in banyumulek village, kediri district, west lombok regency” examines the importance of business management and cooperatives for the advancement and development of the pottery business in the future, and the importance of each craftsi ketut muka et al., innovation of form and function of banyumulek pottery craftsman39 man understanding proper business management for the sustainability of banyumulek pottery craftsmanship. overall, the four research results generally discuss the topic of banyumulek pottery craftsmanship from aspects of form, function, type, and decoration, the role of the government in the development of small and medium industries, and proper business management for the sustainability of banyumulek pottery craftsmanship. the main strengths of these studies lie in their ability to highlight various crucial aspects of the pottery craft industry in banyumulek, including the products’ forms, functions, types, and decorative features. the research has also been successful in exploring the role of the government in developing micro, small, and mediumsized enterprises (msmes), as well as the crucial aspects of business management in the pottery craft industry. this is essential for understanding the complexity and uniqueness of the pottery craft industry in the village of banyumulek, providing insights into future ways to advance this industry. however, these studies have some shortcomings. firstly, the research focus tends to be limited to specific aspects of pottery craft, such as the needs of hotels and restaurants or business management, and less attention is given to other aspects, such as environmental sustainability or the broader socio-economic impact on the local community. secondly, comparative studies with similar craft industries in other regions could not offer new perspectives or innovative solutions. thirdly, the research also tends not to delve deeply into how local traditions and wisdom can be further integrated into business development strategies, which could be key to preserving the cultural identity and authenticity of banyumulek pottery products. the studies on pottery, including research related to banyumulek pottery craft, highlight the significance of pottery in the history and culture of humanity, tracing its evolution from practical function to aesthetic and philosophical value. these studies acknowledge that pottery serves as a functional tool and holds religious, ceremonial, and artistic value, particularly in the context of palace culture. they delve deeply into the history and evolution of banyumulek pottery, emphasizing its role in traditional ceremonies and appreciating external influences that enhance the quality and design of the pottery. however, these studies have some shortcomings. firstly, there is a lack of comparative research with other cultures, limiting the global understanding of pottery. secondly, the focus is more on historical and cultural aspects, neglecting the influences of modernization, globalization, and contemporary trends such as sustainability and environmental responsibility. thirdly, there is a lack of exploration into how the philosophical values of pottery are maintained or altered in contemporary society. fourthly, despite highlighting crucial aspects of banyumulek pottery, the studies insufficiently examine broader socio-economic impacts, adaptation to the modern market without losing cultural identity, and environmental sustainability in pottery production. given these shortcomings, the urgency of further research on innovations in the form, function, and meaning of pottery becomes apparent. future research should focus on the influence of modernization and globalization. how the pottery industry, especially banyumulek pottery, adapts to changing times without losing its cultural characteristics needs to be studied using a qualitative descriptive approach based on post-positivist philosophy. thus, further research will help advance the pottery industry sustainably while preserving cultural heritage and local identity. the innovation in form refers to the development of the shape of pottery products, and functional innovation has been directed towards catering to tourism, placing more emphasis on its aesthetic value. the sustained innovation has had an impact on strengthening traditions, especially in the field of banyumulek pottery craftsmanship. pottery is considered a social and cultural identity passed down through generations from ancestors. the harmonia: journal of arts research and education 24 (1) (2024): 36-5040 process of making pottery, which is quite complex, involves several stages of work and requires a relatively large workforce, making pottery craftsmanship a means of social integration in the community (vibriyanti, 2015, p. 119). the novelty of this article is clear, because the article on the innovation of the form and function of banyumulek pottery as a traditional cultural heritage is new and has never been discussed by other researchers. method the method employed in this research is qualitative descriptive. the qualitative descriptive method is a research approach based on post-positivism philosophy commonly used to investigate the natural conditions of objects. the researcher acts as the key instrument and objectively describes a situation based on visible facts (sugiyono, 2014, p. 15). this method is chosen because, descriptively, it can convey the quality of analysis according to the specific, transparent, and in-depth conditions to be observed in the field. descriptive is used as a research procedure to solve a problem by investigating the description of objects such as artifacts, places, or institutions without using hypotheses or specific treatments for the research objects. data collection methods involve direct observation in banyumulek village. interviews are conducted through purposive sampling with artisans, entrepreneurs, cultural experts, and government representatives. additionally, a document study is conducted using print and online media to complement the data. the collected data are then analyzed using aesthetic theory to analyze visual forms, while change theory is employed to analyze changes in mindset, behavior, and lifestyle of consumer communities that affect banyumulek pottery innovations. result and discussion the pottery craft in banyumulek village, west lombok, possesses specific value in terms of form, design, decoration, and finishing. the production process already employs a semi-traditional system to meet global market demands. the artisan community continuously innovates to refine the forms and designs in line with the evolving tastes of today’s consumers. the pottery produced in banyumulek has advantages compared to pottery from other regions as cultural heritage, providing its own allure and competitive edge for consumers. pottery is a cultural product that grows and develops due to factors such as needs, materials, technology, funds, and the creative power of the artisan community. in this context, creative power, the diversity of forms, material factors, and needs significantly determine the growth of banyumulek pottery. material factors are a primary prerequisite in supporting the process of quality creation and production, alongside the skill of the artisans in implementing ideas and concepts to create pottery forms that meet market needs. in terms of production systems, there has been development with the application of semi-traditional technology, including material processing techniques, forming with rotating tools, press molding, and decorating techniques such as sticking, carving, and engraving. overall, banyumulek pottery craft has undergone innovation in form and function in line with the development of the times, making the pottery industry an ongoing cultural activity in the banyumulek community. innovation in form and function of banyumulek pottery innovation is a new idea or concept applied to initiate and renew a product or process that already exists. according to booyens, as cited in (heryani et al., 2020), industries that utilize creativity, innovation, and the skills of individuals to generate ideas, concepts, or products are considered creative industries that align with micro, small and medium enterprises (msmes) related to the production, distribution, exchange, and consumption of products or i ketut muka et al., innovation of form and function of banyumulek pottery craftsman41 services. in line with this perspective, the banyumulek pottery artisans have been able to develop creativity in creating innovative pottery forms according to market needs. banyumulek pottery also reflects ethical, logical, aesthetic, and functional values that serve as references for artisans and the socio-cultural environment utilized in their creative work. the craftsmanship of banyumulek pottery is a manifestation of communication between the artisans’ minds, feelings, and morals in a configuration that can be understood, enjoyed, and appreciated by the wider community. its appearance is full of identity with its own distinctive characteristics or uniqueness that reflect the traditional values of the banyumulek community. further development of banyumulek pottery craftsmanship demonstrates adaptation to internal and external changes. according to lalu anugrah sentana, changes and the adaptation of artisans in processing materials and creating banyumulek pottery, both in terms of quality and quantity, have evolved in line with the demands of changes in natural resources, the environment, and the local, national, and international market demands (interview, friday, may 13, 2023, at 11:00 am wita). changes in attitudes also occur among the artisans, especially in terms of their perspective on craftsmanship, considering production systems and the economy. according to barnet, as cited in suharta (2022, p. 144-160), changes in attitudes and behaviors in society tend to occur based on societal desires. three principles are considered: (1) creative considerations, including practicality, efficiency, and economy; (2) avoiding monotony; and (3) considerations of income and a greater role. based on these conceptual considerations, they can serve as a guide to understanding how changes in the attitudes and behaviors of artisans impact the innovation of the form and function of banyumulek pottery in west lombok. in addition to changes in the attitudes and behaviors of artisans in responding to ongoing changes, there are also changes in the pottery production system to enhance quality and quantity. observations indicate several innovations in various aspects of production, including the processing of materials and shaping. as stated by mansur, a pottery craftsman and the secretary of banyumulek village, in terms of processing raw clay materials, there has been an adaptation to mechanical equipment, but some artisans still maintain traditional material processing. similarly, in the forming process, the adoption of the press-molding system, especially for producing simple pottery shapes such as plates, decorative additions, and other simple forms, has been noted. both of these processes significantly impact the income of banyumulek pottery artisans (interview, friday, may 13, 2023, at 2:30 pm wita). similarly, the development of designs in terms of structure and function, coupled with skills passed down from previous generations, has facilitated artisans in banyumulek to evolve their products according to market preferences. as exemplified by suhaini, the owner of art shop barokah in the village of banyumulek, her creative pottery, a brightly red-colored guci (giant vase), stands around 50 cm tall. it features two elongated branched necks on the belly of the pitcher, a pointed angle on the side of the belly, a cone-shaped top, and distinctive indentations on the neck, making it a unique piece that took intensive work over seven days. the creative process required thoughtful contemplation and a gentle touch to craft the vase (interview, friday, may 13, 2023, at 3:00 pm wita). the development of the designs is also significantly influenced by the government’s role through various training programs and workshops aimed at enhancing artisans’ awareness of local cultural preservation. these initiatives also aim to improve the artisans’ capabilities in fostering creativity and designing and producing banyumulek pottery according to market preferences. as stated by the head of the department of industry and trade of west lombok, in 2022, in collaboration harmonia: journal of arts research and education 24 (1) (2024): 36-5042 with the balai besar keramik bandung, they provided training and workshops to enhance skills in design, material processing, forming, and finishing. the government consistently facilitates banyumulek pottery artisans in promotion and marketing, encouraging their participation in various national-scale exhibitions, including the inacraft exhibition at the jakarta convention centre (jcc) from march 23 to 27, 2022 (interview, friday, may 13, 2023, at 10:00 am wita). changes in form and function also occur due to the influence of the tourism industry, indirectly improving the economic status of the banyumulek community as a whole. the survey results indicate that many pottery products have shifted their function to meet the needs of hotels and restaurants. as stated by hajjah dewi, the owner of art shop kodong sasak and one of the entrepreneurs of banyumulek pottery, the pottery she produces now has departed from practical functions, prioritizing aesthetic functions to support the needs of hotels and restaurants. her products have been sold to hotels and restaurants scattered in lombok and bali, as well as meeting demands from abroad, especially spain, italy, the united states, and australia, which prioritize pottery models that are natural, unique, antique, and have handles (interview, friday, may 13, 2023, at 4:00 pm wita). banyumulek pottery products are not only used to support the needs of hotels and restaurants but are also produced to decorate public spaces. this aligns with the opinion of lufiani et al. (2017, p. 41-47), stating that the existence of craft products in public spaces can be categorized as a new phenomenon not only in a specific region but also in other major cities in indonesia. this is interesting because in other countries, artistic crafts are commonly used as elements in public spaces. observation results show that banyumulek pottery is widely used as decorative ornaments in public spaces such as the waiting areas of lombok airport, hotel lobbies, city parks, and several public spaces in the west lombok area. figure 1 depicts pottery shapes functioning as a wash basin in the city park of west lombok, and figure 2 illustrates pottery in the form of a guci serving as an icon displayed in front of the banyumulek village. figure 1 & 2. banyumulek pottery in public places. (source: ketut muka, 2023) figure 3 shows pottery forms functioning as a waste-bin ashtray combo in a hotel lobby, and figure 4 displays various bowl-shaped pottery used for serving food in hotels and restaurants. figure 3 & 4. banyumulek pottery inside hotels and restaurants. (source: ketut muka, 2023) the use of banyumulek pottery in public spaces demonstrates how pottery has become an integral part of the visual and local cultural identity. the presence of pottery in this context indicates several important aspects. pottery is no longer merely considered as a container or tableware but also as an artistic object and decoration that enriches the aesthetics of public spaces, showcasing an expansion of its functions. pottery as a decorative element in public spaces reflects the richness and unii ketut muka et al., innovation of form and function of banyumulek pottery craftsman43 queness of local culture, adding value to the cultural identity of a region, as a reflection of cultural identity. the demand for the use of pottery in public spaces drives innovation in design. this includes shapes, sizes, colors, textures, and other aesthetic details that can capture attention and meet diverse aesthetic needs as a manifestation of design innovation. the use of pottery in public spaces indicates broader recognition and acceptance of this craft as an integral part of everyday life and public spaces, not just as a commercial product. innovation in the form and function of pottery is key to maintaining the relevance and attractiveness of this product in a continually evolving market, as well as preserving and enhancing the cultural and aesthetic values it embodies. the high demand for pottery products by consumers opens up opportunities for the creativity of artisans to be more innovative and productive in creating new and varied works. similarly, productive novice artisans continue to compete in creating new designs that reflect the distinctive cultural features of the region. this is evident in the works of talented young artisans who consistently innovate in both the form and function of banyumulek pottery. the figures of pottery in table 1 underscore the crucial role of creativity and innovation in the world of pottery craftsmanship, particularly in banyumulek, in responding to increased consumer demand. the significant demand from consumers provides an opportunity for artisans, including novice craftsmen, to innovate and create new works that exhibit variety and reflect the region’s distinctive cultural characteristics. the high consumer demand urges craftsmen to be more creative and productive, creating a competitive and dynamic environment where innovation becomes key to standing out in the market. additionally, artisans strive to create unique designs that reflect their local cultural identity. this helps in preserving their identity and cultural heritage while offering distinctive products in the global market. table 1. innovation in the form and function of the pottery then initial purpose now current purpose lepek plate decorative plate square plate fruit bowl flat pot hanging pot kendi lampshade kendi decorative kendi kendi maling decorative kendi maling kitchen storeware decorative guci innovation in both form and function demonstrates the adaptation and evolution of pottery to meet modern needs. this can include the use of pottery for decorative, utilitarian, or even new technological purposes. innovation in the aspects of form and function of pottery is key to maintaining the relevance of this craft in an everchanging world. this enables the craft to survive in a competitive market and preserves its cultural richness and uniqueness. the active involvement of artisans, especially the younger generation, in this innovation process is crucial to ensure that pottery continues to grow and adapt to the dynamic needs and tastes of the market. square plates and lepek plates are generally used for snacks or light meals, with a diameter ranging from 15 to 17 cm. square plates with a more concave strucharmonia: journal of arts research and education 24 (1) (2024): 36-5044 ture sometimes accommodate more food products than flatter plates. both types of utensils inspire creative young artisans to develop their shapes and functions, modified with rattan and bamboo weaving motifs to add a sense of beauty. studies related to modifications in pottery crafts conducted by (chutia & sarma, 2016; oentoro, 2019; w. safitri et al., 2020), highlight the importance of this process to ensure that the market always accepts the resulting products. in its implementation, market trends serve as the basis for craftsmen’s consideration when making modifications. this study showed a notable transformation of guci, originally used to store water and rice or as flower pots. these have been extensively modified to serve dual functions, such as a lampshade that also decorates bedrooms or living rooms, flower vases, and other standalone decorative items. the “kendi maling,” which has become an iconic pottery product from banyumulek, showcases a very high level of skill in its manifestation, with a unique appearance in terms of its functionality. kendi maling, also known as “ceret maling” (sukmana & safitri, 2023), features a unique design with a hole designed to pour in water not from the top but from the bottom. the creation of the kendi maling involves the double-spinning technique, where the first step is to create a hole for pouring the water, and the second step is to shape the water container according to the required proportions, guided by the “tri angga” concept, representing the head, body, and legs toward a harmonious form (maharani et al., 2021; pranajaya & artayasa, 2023). kendi maling, a pottery craft originating from banyumulek, captivates attention due to its unique design and the high level of skill required in its crafting. the crafting process, known as the double-spinning technique, reflects extraordinary dexterity and precision. this technique involves creating two separate parts: firstly, crafting a hole for pouring water, and secondly, forming the main vessel to store water. uniquely, water is filled through the hole at the bottom of the pitcher, unlike most containers that are filled from the top. this skill demonstrates sophistication in handicraft techniques and adds aesthetic and functional value to the product. the integration of function and aesthetics makes the kendi maling more than just a crafted product; it becomes a symbol of the rich cultural heritage and artistic skill of banyumulek. aesthetics of banyumulek pottery the beauty of banyumulek pottery can be found in every aesthetic element that forms it, as mentioned by djelantik (1999, p. 59) that every object or art contains three fundamental aspects: appearance, content or substance, and presentation. in line with djelantik, hogh-olesen in (ruastiti et al., 2021, p. 232-245) states that the aesthetic value of a work of art can represent a unity of awareness of beauty and ideology. appearance referring to the visible reality (djelantik, 1999, p. 17), based on the above opinion, the forms of banyumulek pottery resemble the shape of a cylinder (guci, gentong, bowl, flower pot, and ashtray). meanwhile, square and flat pottery shapes (plate, lepek, fruit bowl) elongated round shapes (kendi maling, flower vase, and standing ashtray). cylinder shapes are often associated with practical uses such as storage or daily use. in the context of post-positivism, the analysis is done not only as a functional choice but also as a reflection of social and cultural values (raharjo, 2011; tamara et al., 2021). among the various forms of banyumulek pottery, kendi maling has the unique form, with a hole at the base used for pouring water into the kendi. according to jamaludin, the head of banyumulek village, the philosophy behind the kendi can be likened to the peculiar way a thief enters a house, not through the front door but through the roof or window. the word “maling” in indonesian translates to “thief.” the structure of a kendi maling consists of a cone-shaped head, a long neck, an oval-shaped body, and thin i ketut muka et al., innovation of form and function of banyumulek pottery craftsman45 and short legs. oentoro (2019, p. 191) states that introducing innovative values in traditional craft design is crucial for artisans to respond to various challenges in the era of globalization. furthermore, regarding design, (sukmana & safitri, 2023) explains that pottery, in its development, has transformed from a functional cultural product into a cultural product that fulfills aesthetic elements and serves decorative functions; in other words, pottery has become a highly valued art product. figure 5. kendi maling source: ketut muka, 2023 in figure 5, the interior of the kendi consists of two holes: one in the middle for pouring in water and the other for storing water. this demonstrates the creative achievements and skills of the banyumulek artisans in applying the hand-turning technique to create kendi maling through a careful process with precise accuracy that sets it apart from typical kendis. the oval shape of kendi maling is an innovative form that reflects rich artistic expression. this analysis should consider how these forms serve a function and express cultural identity and aesthetics. as seen in studies (hijri & atmaja, 2022; nadhiroh, 2022), innovation and creativity in pottery crafts provide insights into how these innovative forms reflect social and cultural dynamics. in utilizing a post-positivism approach, it is crucial to acknowledge that our knowledge of banyumulek pottery is not entirely objective and that our understanding is influenced by the social and cultural context in where the pottery is made and used. through this analysis, pottery forms are seen not just as aesthetic or practical choices but as reflections of the complex interaction between tradition, innovation, and social-cultural context. weight banyumulek pottery holds significant weight in the cultural and artistic landscape of indonesia. renowned for its excellent quality, banyumulek pottery is internationally recognized as one of indonesia’s cultural heritages that must be preserved. the weight of banyumulek pottery lies in the quality of its materials and the techniques used in its crafting, requiring extensive skills and experience. it is crafted from clay rich in minerals and organic elements, banyumulek pottery undergoes specialized techniques to produce sturdy and beautiful works of art. banyumulek pottery is not merely a craft product but an integral part of indonesia’s cultural heritage. in the postpositivism framework, this assessment is not solely based on objective criteria but also on the values embraced by society. studies (karjaya et al., 2016; vibriyanti, 2015) provide information that banyumulek pottery is esteemed in a broader cultural context, especially through the development of tourism in lombok. the significance of banyumulek pottery is emphasized in its physical quality and the skills and experience required in its creation. the clay used is rich in minerals and organic elements, enhancing the final product’s quality. the specialized crafting technique, requiring high skills, is also crucial(aprilia et al., 2022; hasyimy & hidajat, 2021). it is essential to understand that knowledge about banyumulek pottery is contextual and influenced by social, cultural, and historical perspectives. this analysis demonstrates that banyumulek pottery is more than just a craft product; it is a representation of cultural identity, traditional skills, and aesthetics valued both locally and internationally. banyumulek pottery holds high cultural value as it is one of the artistic and craft products passed down from generation to generation in west lombok. this artwork is considered a crucial part of harmonia: journal of arts research and education 24 (1) (2024): 36-5046 lombok’s cultural identity and is appreciated as a piece of art with historical value and high aesthetic beauty. in the art and craft market, banyumulek pottery also has significant economic value as demand continues to rise from local and international consumers. this makes banyumulek pottery from lombok one of the highly esteemed and sought-after indonesian art and craft products by collectors and art enthusiasts. appearance banyumulek pottery possesses a distinctive and unique appearance characterized by beautiful and captivating ornamental shapes. typically, banyumulek pottery has a round or oval form, with a wider bottom and a narrower upper part, featuring curved edges and an expanding mouth. the bottom part of the pottery is usually flat or curved inward. additionally, banyumulek pottery is often adorned with traditional motifs from lombok, such as floral patterns, birds, animals, or patterns of lines, circles, and other geometric shapes that are intricately carved or painted. banyumulek pottery is frequently adorned with traditional lombok motifs (vibriyanti, 2015; yana, 2014). in the postpositivism framework, these motifs can be interpreted as representations of cultural identity and local traditions. these traditional motifs play a role in preserving cultural identity and local history. through the post-positivism approach, craft products are viewed as physical objects and expressions of cultural identity, tradition, and craftsmanship. this approach helps researchers understand that every aspect of banyumulek pottery—from its form to the decorated motifs—carries broader meanings and values, closely related to the social and cultural context in which it is made and used. banyumulek pottery in figure 6 is adorned with traditional lombok motifs such as flowers, birds, and animals and patterns of lines, circles, and other geometric shapes. its characteristic and unique features lie in its round or oval shape, with a wider bottom, a narrower upper part, and curved edges, as seen in figure 7. figure 6. banyumulek pottery with ornaments and bright colors (source: ketut muka, 2023) figure 7. decorative plates source: ketut muka, 2023 from the perspective of post-positivism, these features are not only functional but also hold high aesthetic value. emphasis on detail and precision in carving and painting demonstrates the high skills banyumulek pottery craftsmen possess. banyumulek pottery usually exhibits brown or red hues derived from the color of the clay after undergoing the firing process at 800°c. however, at times, banyumulek pottery is also adorned with bright colors such as yellow, green, or black. the aesthetic value of banyumulek pottery is remarkably high, providing added value as a cultural heritage. banyumulek pottery is evidence of artisans’ skill and creativity in creating beautiful and unique lombok pottery. banyumulek pottery has become a crucial part of the local community’s life in terms of economic activities and social and i ketut muka et al., innovation of form and function of banyumulek pottery craftsman47 cultural aspects. economically, banyumulek pottery serves as a primary source of income for a significant portion of the population in the village of banyumulek, west lombok. the production of banyumulek pottery has evolved into a rapidly growing micro, small, and medium-sized enterprise (msme) with the changing times, providing employment opportunities for many in the region. in terms of social and cultural life, banyumulek pottery holds significant value for the local community. it is used in traditional ceremonies, such as wedding ceremonies, welcoming guests, and various religious events. banyumulek pottery also serves as a symbol of social status in lombok society, particularly high-quality pottery in terms of materials, craftsmanship, and decorative application. many hotels, restaurants, and upscale residences use banyumulek pottery as household items and as natural-themed interior and exterior decorations. this illustrates that banyumulek pottery carries wisdom, nobility, and the values of cultural art. as a cultural product with wisdom and nobility, banyumulek pottery, distinctive to lombok, is passed down from generation to generation, forming an integral part of the traditions and culture of the banyumulek community. the description above indicates that banyumulek pottery is a beautiful work of art and an essential aspect of the social, cultural, and economic life of the banyumulek community. therefore, it is crucial to continue preserving and safeguarding banyumulek pottery, which is distinctive to lombok and is part of indonesia’s rich cultural heritage and tradition. conclusions the innovation in the form and function of banyumulek pottery craftsmanship in west lombok can be seen as an effort to preserve the traditional cultural heritage. one example of innovation by the pottery artisans in banyumulek village is the development of pottery craft products for household purposes, such as cups, plates, paint pots, kendi maling, guci, and more. additionally, there is continuous design development, ensuring that the produced pottery items continue to captivate consumers locally, nationally, even internationally. for instance, lampshades, washbasins, wall decorations, fruit bowls, umbrella stands, and more. artisans have also been able to combine hybrid techniques (both traditional and modern) with modern designs that are more functional and attractive. furthermore, artisans leverage semimodern technology to expedite production, such as using manual press-molding techniques and firing with gas kilns. despite adopting some semi-modern technologies, the artisans still maintain the quality and authenticity of the products in line with the characteristics of banyumulek pottery. the strategies employed by artisans and pottery entrepreneurs in banyumulek, supported by local government facilitation, have introduced banyumulek pottery products to the international market through promotions and exhibitions. this enables artisans and entrepreneurs to market products by showcasing the uniqueness and beauty of banyumulek pottery, which is the authentic work of local artisans. with the innovations implemented, banyumulek pottery can become a flagship product that appeals to local, national, and international markets. moreover, efforts to preserve traditional culture can enhance societal appreciation for the cultural heritage and strengthen the region’s cultural identity. acknowledgments i would like to express my deepest gratitude to all those who have contributed to the completion of this research, especially to all the informants who tirelessly provided the needed information. may the findings of this study be beneficial to various audiences, including academics and the general public. certainly, this research is far from perfection, and i welharmonia: journal of arts research and education 24 (1) (2024): 36-5048 come suggestions and feedback to enhance and deepen the exploration of the study of innovation in the form and function of banyumulek pottery as ancestral cultural heritage. references ahyani, h. 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(1982). keramik: bidang studi keterampilan. angkasa, angkasa. harmonia: journal of arts research and education 24 (1) (2024): 36-5050 interviews hajjah dewi (50), owner of kodong sasak art shop, banyumulek village, kediri district, west lombok regency. haji muhur (59), head of the department of industry and trade of west lombok regency. jamaludin (58), village chief of banyumulek, kediri district, west lombok regency. lalu anugrah sentana (40), functional staff at the department of industry and trade of west lombok regency. mansur (50), secretary of banyumulek village, kediri district, west lombok regency. suhaini (42), owner of barokah art shop, banyumulek village, kediri district, west lombok regency. 34 laras in gamelan music’s plurality widodo music department, faculty of languages and art, semarang state university, sekaran gunungpati, semarang 50229, indonesia e-mail: widodo_bsejati@yahoo.com received: april 22, 2015. revised: may 5, 2015. accepted: june 13, 2015 abstract coercion, strife, contention, assault, and battle between individuals and groups today have never deserted from the news in mass media. the triggers are selfishness, feeling of self-righteous, overbearing, and a desire to be always comfortable and win, while neglecting differences had by one to another. it is pushed by unwillingness and inability to respect the differences as god’s will and grace. plurality as an inevitability cannot be ignored as well as rejected. willy nilly, it has to be faced, accepted, and respected as it is. it also needs to be assembled in order to actualize harmony in togetherness as in diversity in the musical aspects of traditional javanese karawitan in gending composition. this paper is a reflection result towards diversity in gending composition which raises beautiful musical alignment in order to reflect the plurality in life and to build harmony. keywords: laras; plurality; karawitan; gamelan how to cite: widodo. (2015). laras in gamelan music’s plurality. harmonia: journal of arts research and education, 15(1), 34-45. doi:http://dx.doi.org/10.15294/harmonia.v15i1.3695 harmonia : journal of arts research and education 15 (1) (2015), 34-45 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v15i1.3695 p-issn 1411-5115 e-issn 2355-3820 half of a particular belief seemed to be justified to attack another group and end up to have many casualties. political nuances of particular religious ideology have become a covert movement that led to the imposition of the will towards homogeneity that refuses diversity. in addition to it, there are many other dreadful news that shows the spirit of hostility towards difference. we need to take a look at the ancestral cultural heritage of the nation that has not completely disappeared from the records and memories. the ancestors had realized that diversity was natural reality given by god which was impossible to be rejected and avoided. paku buwana iv in the text of tembang pangkur wulangreh said that: sekar pangkur kang winarna lelabuhan kang kanggo wong aurip introduction recently, willingness and ability to appreciate and respect differences are strongly decreasing. coercion, strife, contention, assault, and the battle between individuals and groups which are triggered by the selfishness, self-righteous, overbearing, wants to be always comfortable and win, while neglecting differences with others have never deserted from the news in mass media. dissatisfaction over the law decision can end in strife and dissension. security officers who are supposed to create a safe state for the people, even shooting one another instead of securing society just because of a small problem. students of formal education institution as the next nation generation are often involved in fights between groups. groups of people on bewidodo, laras in gamelan music’s plurality 35 ala lan becik puniku prayoga kawruhana adat waton punika dipun kadulu miwah ingkang tatakrama den kaesthi siyang ratri people as the superior human beings who have had thought and mind are having an obligation to angrawuhi or to understand differences, ala lan becik or bad and good, involving adat waton or human nature and habit with full manners in order to mamayu hayuning bawana, to maintain and enhance the degree of safety and beauty, and not to make excessive exploitation and even to destroy it. the ancestors pass down adi luhung (wise) messages which are packaged in art works for us to respect diversity and create harmony. one of the artworks here is javanese karawitan, the inherited traditional music of java. from the point of view of materials, shapes, measurements, playing technique, nature and character, task, as well as musical function in javanese karawitan, there are different ricikan and vocals. however, the difference is not creating disharmony. in fact, it creates a beautiful musical composition of javanese karawitan which is well-known as laras. learning from this javanese karawitan, how beautiful it will be if every diversity aspect in this life is maintained in order to realize a beautiful and harmonious condition. this paper is an afterthought on how javanese karawitan can be learned as the reflection of harmony in plurality. how is plurality in javanese karawitan created in order to establish laras? this question will be briefly discussed in order to reveal and discover positive values in laras as the reflection sources in order to build harmony and diversity. plurality in javanese karawitan plurality is derived from the word plural. it means more than one, compound, heterogenous (kbbi). a plurality means the situation where there are numerous people with much diversity, pluralism, and heterogeneous (echols & shadily, 2010:435). pluality is the reality of life. millions of his creature are in different state. one of the type is human. every human is different physically and psychically. shape, measurement, skin colour, voice, walking style, talking style, hair type, and other physical aspects are different. for the non-physical aspects, such as: nature, desires, wants, needs, thoughts, beliefs, pleasures, abstinence, etc. are all different as well. those differences are implicated to the diversity of human culture. culture is a whole system of human ideas, actions, as well as art works which are obtained through the learning process. it is universally comprised of the aspects of language, knowledge system, social organization, technology, occupation, religion, as well as the arts. each of the aspect is transformed into three forms of culture, there are (1) complexity of ideas and norms, (2) human activities, and also (3) human artefacts (koentjaraningrat, 1980, p. 216). plurality is an inevitability in life. therefore, whether it is agreed or not, the plurality has to be faced, accepted, and respected as it is. it is impossible for us to avoid or reject its existence. one way to maintain diversity is to build a country organization and form a governmental system which is open for participation from any parties in order to develop togetherness. throughout the historical memory, there had never been a state or government was built without mankind’s intervention. the appearance of hindu or buddhist religion in nusantara (indonesia and its colonization area) bequeathed a royal power system. in this region once stood buddhist kingdom of srivijaya and majapahit hindu as the first and the second nusantara empire. the advent of islam affected to the establishment of the kingdom of demak and mataram (islam), and the presence of the european nation with the christian gospel, built a system of the dutch east indies. the collapse of srivijaya provided lessons for majapahit in maintaining its political sovereignty. disintegration harmonia : journal of arts research and education 15 (1) (2015): 16-2436 triggered by differences in beliefs, anticipated by uniting the differences. hinduism allows for the slaughter of animals for ritual ceremonies, while the buddha forbid it. hindus believe that the buddha is an avatar (incarnation) of vishnu as krishna vasudeva, while the buddha dharma does not teach it. hinduism teaches that the highest essence is the atma, while the buddha is without aku (sabbe sangkhara anatta). interestingly, although some aspects of the conflicting teachings, but bloodshed between community groups on behalf of hindu and buddhist had never been heard. both also employ similarities in the teachings of certain aspects such as karma, that good works will reap the happiness and evil deeds will earn suffering. both realized that the teachings of dharma can not be limited by the ability of human thought. people may differ in perceiving dharma, but there are no two conflicting truths. there is only one truth, which is the truth itself. buddhist poet, mpu tantular, in his work entitled negara kertagama delivers a slogan shiva-buddha bhinneka tunggal ika tanhana dharma mangrwa, which means although hindu and buddhist are different, however, there are in one unity since there is no ambiguous truth. diversity in nusantara today is legally recognized, however, its management has not yet fully capable of ensuring all components of the nation’s independence in carrying out their respective belief. reality shows that community groups on behalf of a particular belief is still free to do the will of the coercive action by violent means. they perform their action when they consider that they have found the appropriate momentum. this shows that acceptance, respect, and respect for the differences have not been fully internalized and implemented by all elements of the nation. therefore, countries need to constantly maintain in order to ensure that all elements of diversity are truly free without threats, coercion, and violence. the values of tolerance, harmonious, respectful, mutual assistance, mad-sinamadan, daya-dinayan which are rooted in the national culture should be developed in order to live together in a diversity can be lived in harmony like the beautiful knit of diversity in musical composition javanese karawitan. martopangrawit in his writing entitled pengetahuan karawitan (the knowledge of karawitan) delivers that karawitan is the art of voice either vocal or instrumental which employs slendro and pelog laras (widodo, 2010, p. 172). karawitan is also known as gamelan music. in indonesia, the term gamelan is used to address to a set of musical instruments (ricikan) which comprises ricikan of metal, wood, leather, wire or string, bamboo, or a mixture of two or three materials in either laras pelog or slendro. whereas, karawitan refers to its musical and cultural system (supanggah, 2002:12). the gamelan was also previously known by mrdangga, which means kendang. the term was changed to merdangga, then mradangga, and finally pradangga. another synonym is gangsa, it is an acronym of tembaga (copper) and rejasa (white tin) as the materials to make bronze. bronze itself is well-known as the best metal to make a blade, pencon, disc, and the other ricikan which are made of metal. ricikan gamelan can also be made of iron and brass, however, the quality is far behind the bronze. the combination of final syllable tembaga and rejasa, gasa, which is merged into gangsa, turns into another term for gamelan. gasa also refers to the dose size composition of copper and rejasa. further, the best comparison for the combination of copper and rejasa in order to make bronze as the material instrument of gamelan is tiga-sedasa or three to ten. three for the rejasa and ten for the chopper. material, type, shape, size, technique, play pattern, duties and musical functions of each ricikan gamelan in javanese karawitan are varied. materials used to make gamelan are: metal (bronze, iron, brass), wood, bamboo, leather, wire or string, as well as a combination between the previously mentioned materials. metal made ricikan has various shape, there are: (1) pencon, it consists of two types: pencon wadon and pencon lanang, (2) wilah or blawidodo, laras in gamelan music’s plurality 37 de, it comprises of three types: nggeger sapi blade, kruwingan or blimbingan, and nyigar penjalin; (3) piringan berpencu; (4) bladdery piringan without pincu; (5) ricikan which shaped like a banana. nggeger sapi is a type of blade which shaped like a cow’s back, blimbingan is a type of blade in which the surface is shaped like a star fruit, while nyigar penjalin shaped like split rattan. reckon made of wood, skin, and also wire also has a variety of shape and size, such as: cylinder, wood shells, membranous bathokan, stringed box, as well as a hollow bamboo. the size of each ricikan are varied depending on its name and type. every ricikan gamelan explained above is grouped according to the needs. gamelan makers divided the racikan into two groups, pencon and wilah in order to ease the production process as well as to determine the mold, size, type, dose, and the amount of material required. other ricikan which are made of non-metallic materials are not taken into account because the manufacturing is done by other artists. grouping is also made according to the playing technique, namely: ricikan kosok or stringed instrument which is rebab, sebul or wind instrument which is suling, plucked instrument which are clempung and siter, kebuk or keplak which is kendang, and percussion instruments which are bonang penembung, bonang barung, bonang penerus, gendèr barung, gendèr penerus, slenthem, demung, saron, peking, kenong, kethuk, kempyang, kempul, gong, kemanak, kecèr, gambang, engkuk, kemong, as well as bedhug. ricikan gamelan classification is also done on the basis of duties and musical functions of the gending (javanese songs or sounds) performance. there are two types: ricikan pamurba or the leader and pamengku or supporter. the task of pamurba is to lead the gending, whereas pamengku is to frame and follow the musical ideas which are given by ricikan pamurba. there are two types of ricikan pamurba, which are song pamurba which is rebab and pamurba irama that is kendang. other ricikan that are having the task to lead the song are bonang barung, gendèr barung, gendèr penerus, bonang barung, bonang penerus, gambang, clempung, siter, suling, slentem, demung, saron, and saron penerus. whereas, racikan that are having the task to support the ryhtym are kethuk, kempyang, kenong, kempul, gong, kecer, dan kemanak (martapangrawit, 1975, p. 3). classification on the basis of the ricikan position that is closely related to the roles and level of difficulties in gending presentation are: (1) ricikan ngajeng (front ricikan). it consists of rebab, gendèr barung, bonang barung, and pesindhèn; (2) middle ricikan which consists of slentem, demung, saron, saron penerus, gambang, kempul-gong, gérong, kenong, siter; (3) wingking or back ricikan that consists of bonang penerus, gendèr penerus, kethuk-kempyang, and suling. it needs to be noted that this classification is not the fix arrangement or rule. it means that a ricikan can be moved to another group according to the purpose of the karawitan presentation. in klenèngan, kempul and gong are often categorized into wingking (back) group, however, in shadow puppet show, it is usually categorized into middle group. fees and respect for the music players are central in determining the grouping type. supanggah (2002, p. 71) formulates the classification of ricikan gamelan based on the musical role in garap gending (the performance). they are: (1) ricikan balungan, a group of ricikan in which the presentation is closed to balungan gending, it comprises slentem, demung, saron, saron penerus, and bonang penembung; (2) ricikan garap, a group of ricikan which plays balungan gending by interpreting, selecting, and implementing the technique of certain céngkok or sekaran, and wilet based on the character and purpose of the gending presentation. ricikan which belongs to this group are rebab, gendèr barung, gendèr penerus, bonang barung, bonang penerus, gambang, siter, clempung, suling, and vocal (sidhèn dan gérong); (3) structural ricikan, a group of ricikan which the playing patterns are determined or determining the gending form. it comprises kethuk, kenong, kempul, gong, engkuk, kemong, kemanak, and kecer. the next is playing technique. the harmonia : journal of arts research and education 15 (1) (2015): 16-2438 of gending and balungan gending; (2) penggarap, they are pengrawit, pesinden, and wiraswara (the music player, the singer and backing vocal); (3) the tool or medium, in a form of gamelan instrument; (4) the devices, it is the technique and vocabulary mastery, comprises of céngkok, wiled, irama and laya, laras, pathêt, as well as dynamic; (5) determinant, it is signs which can affect garap, such as the authority, the social function as well as art services; (6) consideration, it is the accidental circumstanses which affect the presenter in deciding the garap, like the internal physical and psychological condition of presenters as well as the external condition, such as the audience and presentation purposes. waridi (2000: 2) adds that the ruler, taste, money, functionality, forums, figure, environment, oral and communal nature can be a motivating factor in the emergence of alternative garap on javanese karawitan. this part will only show one element of garap in javanese karawitan, which is gending. gending or karawitan is the composition of material, object, or event to work on for the artists of javanese karawitan to make it into a wonderful musical performance. laras, rhythm and laya, the musical form (form of gending), and pathêt are the main aspects inside gending. it also needs to be known that each aspect has its own diversity aspect. laras in this context means tone and scale. as the scale, laras is a system of frequency setting and tone interval in karawitan. laras containing a row of seven and five tones that form a circle, starting with a certain tone (basic) and ends with that very same tone in higher or lower gembyangan (octave). in gamelan, this system is divided into two: sléndro and pélog (martopangrawit, 1975:5; sutton, 1991:28; hastanto, 2009:23; kusnadi, 2006:111-113). sléndro occupies five tones in one octave with the relatively same interval, more or less 240 cents (hardjito, 2001). however, the numbers are not the standard size. it can be slightly reduced or increased. in the context of embat or the variety of interval structure (jangkah), in the tone and scale playing technique deals with how to produce the sound of ricikan. ricikan playing techniques can be classified into two types, namely general and specific techniques. the general technique comprises the way to swipe, pluck, menggebuk or mengeplak (to beat the musical instrument hard), blew, and beat as well as the way to close it in order to get quality sound according to the character of each ricikan. special techniques contained in certain ricikan, the group of ricikan balungan has both genjotan and kecekan techniques. in addition, rebab has ngicrik, kadhal menek, sendal pancing, and plurutan. while gendèr barung has the teachniques of gugukan, genukan, samparan, sarugan, pipilan, umbaran, pethetan, mbalung, ukelan, etc. furthermore, the playing pattern is also well-known as céngkok, sekaran, or kembangan. almost all ricikan gamelan as its own playing pattern. the playing pattern in ricikan balungan are pinjalan, imbalan, cacahan, kintilan. in bonang barung, the playing pattern comprise milah, pipilan, gembyangan, klenangan, and imbal-sekaran. in gendèr barung are putut gelut, putut semedi, jarik kawung, kacaryan, ora butuh, gantungan, ayu kuning, ela-elo, dua lolo, tumurun, dhebyang-dhebyung, nduduk, rambatan, ya suraka, etc. the previous brief illustration merely shows that in terms of material, shape, size, technique, pattern games, duties and musical function, the ricikan gamelan in javanese karawitan are very diverse. such diversity is a unifier element of the alignment of musical compositions in javanese karawitan musicality. the following shows the musical diversity of karawitan from garap gending (song arrangement) point of view. garap literally means to make or to do certain goods, rice fields, arithmetic, houses, and other construction materials (perlman, 1993, p. 163). conceptually, garap is a system of creative work which consists of several stages, each of which support each other to produce a particular result. supanggah (2009:3-4) states that garap in javanese karawitan employs several aspects, which are: (1) material, in a form widodo, laras in gamelan music’s plurality 39 that determine the nature and characteristics of gamelan instrument, those numbers can be slightly reduced or increased. although it has five tones formally, however, every tone in laras sléndro can be increased or decreased up to half tone or wilah. pélog comprises seven tones in one scale (gembyong). the names and symbols are panunggul (1), gulu (2), dhadha (3), pélog (4), lima (5), nem(6), and barang (7). the prononciation is the same as the tones in sléndro, which is to be pronounced ji, 2 ro, 3 lu, 4 pat, 5 ma, 6 nem, and 7 pi. in particular, for 7, it is not pronounced as tu but pi under ethical and aesthetical consideration. the tone 7 in karawitan can be followed by the tone 5,6, and 2. if 7 is pronounced tu, therefore, the combination pronounciations are tu-ma, tu-nem, and tu-ro respectively. tuma is actually the javanese word for lice while turo (k) is women’s vagina. therefore, in order to not to create negative impression, the tone 7 is pronounced pi. rhythm or wirama in javanese term is another important musical element in karawitan besides laras. martapangrawit (1975:1) states that rhythm is widening and narrowing gatra (line) with multiple or two ratios. the presentation javanese gending itself can be done in a gradual or terraced tempo which creates distance consequences which is well-known as widen sabetan balungan or vice versa, so that, some of ricikan in the group of garap have to fill the gap by playing the instruments in two beats. the slower of sabetan balungan is played as a result of tempo gradation, the gap is also wider, and vice versa. the gap has to be filled with ricikan played in two beats (supangah, 2007:76). javanese karawitan has five gradations of rhythm (irama), there are: lancar, tanggung, dados, wiled, and rangkep. martopangrawit (1975:1) identifies the gradations on the basis of the numbers of sound saron penerus in every sabetan balungan gending. the slower one sabetan balungan gending leading to the another sound of sabetan balungan gending, saron penerus has space and time to multiply its beat, and vice versa. if at any sabetan balungan, saron penerus is only “able” to play one beat, so that, the rhythm is called lancar (1/1). if the total beat is twice in each play, it is called irama tanggung (1/2). futher, if the total beat is four times in each play, it is called irama dadi/ dados (1/4). the last, if the total beat is eight times in each play, it is called irama wiled. in javanese karawitan is also known irama rangkep, laya which is in certain irama is slowed. so that, in certain limitation, saron penerus keeps multiply its beat counts. most of javanese karawitan musicians are often employed the term irama siji or i, irama loro or ii, and irama telu or iii. the substance of irama siji is equal to irama lancar and tanggung, irama loro is equal to irama dados and wilet, and irama telu is identical to rangkep. a certain irama is called siji if (started from the opening till the certain part of the music) it plays irama lancar to tanggung. it is called irama ii if the music has already established (dados) and is placed in irama dados or wiled gradation. lastly, if the rhythm is double, therefore, the gradation is called irama telu or iii. the term laya is borrowed from indian music terminology to refer to the rhythm aspect which is closely related to the time or tempo of the gending (supanggah, 2002, p. 127). laya is the speed gending in the same rhythm gradation. javanese karawitan do not have an exact tempo measurement as in western music, as for using the metaphor adante (motion), marche (line up), or second unit size and metronome. the speed of gending is determined by the speed of kendang. javanese karawitan musician is usually called the tempo of gending with the specific tem tamban or alon, langsam, nglentreh for the slow tempo, sedheng or medium tempo, and seseg, cepet, or fast tempo. each kendang player has their own habit in playing the gending tempo. the tempo is varied. there are fast, medium, and slow. the tempo can be influenced by internal factor, like, the condition of emotion, character, and capacity of the player. there are also external factors, for instance, the atmosphere around the venue, time of presentation, and the request of harmonia : journal of arts research and education 15 (1) (2015): 16-2440 the other parties. the unstable emotion of the kendang player can affect the tempo of kendang becomes unstable also, so does for the careless one, and if the kendang player is a newbie. the gending performance in a night fair tends to have fast tempo. it is different to the performance held in governmental place to the appreciation need. request from the other parties to speed up or slow down the tempo of the musical performance has an obvious effect on the laya in gending performance. javanese karawitan musical compositions have a variety of forms. the meaning of shape in this case is similar to the shape in general music as well as language. shape or the form of music is a set of tone that contains the rhythm, melody and structure. if the smallest unit of language is letter, then, the smallest unit of music is tone. the letters in the language arranged into words, words into phrases or sentences, sentences into paragraphs, and paragraphs into discourse, and the tone of the music arranged into patterns, motifs into phrases, phrases into a song. the letters in the language are arranged into words, words into phrases or sentences, sentences into paragraphs, and paragraphs into discourse, and the tones of the music are arranged into motifs, motifs into phrases, and phrases into a song. in javanese karawitan, tones are arranged into gatra, gatra into kenongan, kenongan into gongan, and the arangement of gongan into gending. kenongan is a song sentence which is ended by kenong, gongan, and gong. the form of gending has its own format and name. the large format of gending is called gending ageng, the medium one is called gending sedheng, and the small one is called gending alit. format size of the gending is determined by the amount of sabetan balungan in each gongan. the greater the number of sabetan balungan, therefore, the gending format is bigger, and vice versa. the gending form is also determined or determining the play pattern of the structural ricikan. the rhythm pattern of the song is characterizing the gending form. some of the gending form in javanese karawitan are: (1) gending alit, as follows: sampak, srepeg, lancaran, gangsaran, ayak-ayak, kemuda, ketawang, ladrang, dan jineman; (2) gending sedheng, there are: ketawang-gending and gending kethuk 2 kerep; (3) gending ageng, it is kethuk 2 arang, kethuk 4 kerep, kethuk 4 arang, kethuk 8 kerep and kethuk 16 kerep; and (4) gending pamijen (supanggah, 2009, p. 126). the concept of pathêt in karawitan is interpreted variously by the experts, among them are as follows: (1) pathêt as the theory of tone gong, (2) pathêt as the melody theme development; (3) pathêt as the combination of contour, tone and position; (4) pathêt as the concept which concepts that manage the duties and functions of the tone; (5) pathêt which is related to garap; and (6) pathêt which is an atmospheric sense of sèlèh. either laras sléndro or pélog, each has gending or musical composition, which are: (1) laras sléndro, gending-gending pathêt nem, gending-gending pathêt sanga, and gending-gending pathêt manyura; and (2) laras pélog, which is gending-gending in pathêt lima, gending-gending in pathêt nem, bem, or nyamat, and gending-gending in pathêt barang. gending-gending in laras slendro also have variants of pathêt which is called miring and is marked as garap miring. rebab and vocal in certain parts of gending have to be increased a half wilah. each pathêt in gending repertoar of either laras sléndro or pélog has different garap consequences. laras as beautiful sense laras is a fundamental principle for javanese people as a foundation and the intended direction in the act to achieve the perfect balance point. javanese community uses it in the twelve context of usage implicitly and explicitly, there are: (1) laras in samadi or meditation; (2) laras in klenèngan murya laras and mahas ing raras; (3) laras in social intercommunication; (4) laras in ginem raras bawa raos; (5) laras in panglaras (moderator); (6) laras in nglaras, the beauty of nature and a relaxed art to loosen the nerve; (7) laras in nglaras rasa, a sense of inner processing to attain a higher degree of spiritual maturity; (8) laras as the name of a person, organization, and certain goods or widodo, laras in gamelan music’s plurality 41 belongings based on the concept of asma kinarya japa; (9) laras as the scale designation of sléndro dan pélog; (10) laras refers to tones in sléndro and pélog; (11) laras in nglaras gamelan, the laras manufacture or repair in gamelan; (12) laras in leres, rempeg, and laras as the parameter to measure the sense quality of karawitan which is developed in garap and gending performance. laras in this context means the type of sense, atmosphere, conditon, or impression of beauty which is deep and touching and is arised after accomplishing a perfect balance point in a “pull and push” interaction (suharto, 1992, p. 20-31). the balance illustration can be see from the swing movement in children swing, that is the extreme position in the outer pole will create balance after it is released naturally. a pole will be strongly moving back to its origin if another side of the outer pole is swinging strongly, so that the distance from the axis is becoming further (syafie, 2011: 3-4). figure 1. the illustration of balance in children’s swing note: p: axis, a: the outer side of the pole 1, a’: the outer side point 2, s : the distance between the outer points, s’: th distance side of the point 2. balance of the swing above can be used as a modality of two opposing nature or circumstances, large-small, healthy-ill, high-low, rich-poor, strong-weak, happy-sad, optimistic-pessimistic, satisfieddisappointed, stabilunstable, fast-slow, hard-weak, sweet-bitter, and others. if the state at one pole of love, then penyeimbangnya grief, healthy penyeimbangnya sick, and so on. if the state at one pole is happy, then the balancing state is sad, healthy with sick, and so on. it is necessary to find the balance point of two opposing circumstances, so that people will not easily ngresula or complain, kaget or surprised, and gumun or wonder, but, tough, calm, strong, and fair in experiencing any circumstances. ngono ya ngono ning aja ngono, a javanese idiom, it means that we have to be always act fair and proper, and not to be overreacting, or sak madya. urip sak madya means to live our life based on its proportion and balance, not to be too ambisious. another javanese idiom to illustrate this is aja rumangsa bisa ning bisoa rumangsa. it means that there is no truth, goodness, excellence, strength, greatness, beauty, and absolute beauty. another one is bener ning ora pener means that if something is true for one person, it does not mean that it is appropriate or suitable for another person or group (endraswara, 2010, p. 49-51). a situation can sometimes be turned into another state. it is in contrast with the condition which is currently happening. therefore, we need to be conscious and alert or éling lan waspada. éling lan waspada asks us to be cautious in every spoken word, act, and behavior in order to strong, stable, and not to be easily shaken when facing change in life. when people are not aware with the surrounding and also only depend on their aji mumpung, then, one day someone will receive the impact or punishment, ngundhuh wohing pakarti. aji literally means weapon, while mumpung means when they are currently (widodo, suwadji, dkk, 2000, p. 526). words following mumpung are: rich, powerful, beautiful, poor, low, etc. aji mumpung means using the opportunity in order to get one’s own benefit while one is rich, powerful, rich, beautiful, etc. supardi (2009, p. 93-95) says that gusti ora saré, that god never sleeps, thus, sapa nandur bakal ngundhuh, whoever plants the trees, they will reap the harvest. sapa nyilih mbalekake, whoever borrows someone’s belonging, they have to return it. sapa nggawe bakal nganggo, whoever makes they will uses it. lastly, sapa sing mbibiti ala wahyune bakal sirna, that whoever does harmonia : journal of arts research and education 15 (1) (2015): 16-2442 something evil, they will lose their luck. besides the idioms mentioned above, there are still other idioms that illustrate the importance of having a balance life, such as: sepi jroning rame means in a lonely state, there is a crowd; susah jroning bungah , inside the sadness there is happiness; peteng jroning padhang, in every darkness, there is a light; becik jroning ala, there is goodness in every bad things. the meaning behind the revious explanation is that in every condition there will be always another condition. these conditions can happened alternately at anytime. balance is laras determinants. it is a wonderful, deep, and thorough sense of intrinsic. the schematic illustration of the conception of laras, along with the forming elements as well as the factors causing the manifestation to happen, is presented in the following scheme: figure 3. laras, the aspects, and factors that cause its manifestations note: 1 enak, 2 kepenak, 3 éndah, 4 betah, 5 adhem, 6 ayem, 7 sengsem, 6 tentrem, 9 merdika figure 4. laras in mutual attraction interaction between two elements note: a and b are elements of mutual attraction figure 5. laras in mutual attraction interaction between many elements note: a, b, c, and d are elements of mutual attraction common people often say that the sound of javanese gending (songs) are less passionate and causing drowsiness. statements are often given in negative connotation, that javanese songs and sounds are no more than bedtime songs. however, for the people who love javanese karawitan, they can feel the meaning of the songs and sounds wholeheartedly. the process of absorbing the meaning of the sounds and songs are best to be done while the eyes are closed. for the performers themselves, they often perform the javanese karawitan while closing their eyes. they do it in order to feel the meaning behind the sounds. further, in this state, they can concentrate to their performance better while attempting to also connect their instrument sounds with other aspects of the performance. buka is to start the gending performance by playing certain ricikan (instrument) or vocal. it needs to be responded by other ricikan (instruments) besed on the desired gending composition. if the response towards buka is not appropritate to the desired gending composition, then, the performance will be ruined. the worst part is when buka is never responded, therefore, gending will never be performed. musical interaction between ricikan and vocal as well as vocal and ricikan in javanese gending performance is conducted almost during the whole performance. certain musical code which is given by kendang player needs to be responded by gong or ricikan widodo, laras in gamelan music’s plurality 43 balungan, and in another part needs to be responded by ricikan and vocal. similarly, musical decoys from rebab needs to be responded by gendèr barung, the vocal musical code needs to be responded by bonang barung, etc. in order to make the musical interaction to run well, therefore, all performers need to have competence and full concentration along with the gending performance. an offer to perform gending garap sirep, udhar, seseg, mandheg, suwuk, tomove on to another gending which is pioneered by kendang also needs to be responded by all ricikan based on their oen musical task. because of the decoys are all musical, therefore, all of performers have to understand all the musical codes. by understanding and paying attention to each other while performing gending, thus, the musical interaction between performer will run well. if one of the performer does not pay their attention to the musical codes given, then, the musical interaction will be disturbed. therefore, in performing gending, the performers have to give their full concentration to their own ricikan and vocal as well as to listen well to other plays in order to run the gending performance well. the concentration usually can be maintained while closing the eyes. this is when common people often misinterpret the situation by thinking that the performers are sleepy. the performance of javanese gending is conducted as if people are doing discussions with a considerable number of questions and answers. if the questions and answers in discussion are conducted verbally, then, in karawitan it employs the sounds of ricikan and vocal. if the questions in discussion are answered verbally by the presenters, then, the questions of musical code are answered musically by ricikan and vocal. discussion can take place dynamically, beautifully, comfortably, happily, and fulfilling when the material quality and delivery of the questions and answers are done with mutual respect and appreciation, and so does with the gending performance. a beautiful musical dynamics will be built up when the musical interaction can take place properly. in order to create a series of qualified questions and answers, all participants or those who attended the discussion need to concentrate, pay attention, and respect each other. similarly, in the gending performance, all performers must concentrate, pay attention, and give respect, so that the decoys and musical responses can run properly. closing the above explanation is aiming at showing that gending performance applies the value of respect, harmonious, mutual cooperation, mad-sinamadandaya dinayan, and togetherness. each ricikan and vocal with its own character and musical task composes the musical composition of javanese karawitan, so that, the musical sound of gending is created. if one of ricikan or vocal is not presented, therefore, the beauty of the musical composition will be reduced. on the other hand, the more types of ricikan and vocal are involved, then, the composition sound of javanese karawitan will be more beautiful as well. when the gending is performed by one outstanding performer, then, the sound of rebab will be heard beautifully, and so does with gendèr. however, it needs to be noted that the sound of rebab and gendèr are different. it will be impossible to produce the same sounds of the two very different instruments. the tone can be the same, but the sound colours are different. differences in karawitan are intentionally created in order to establish musical conformity. if natural plurality and nusantara culture are assembled as in the musical composition of javanese karawitan, then, the beauty of its composition will be amazingly beautiful, or in another word, laras. reference backer, judith. 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(2000). kamus jawa kunaindonesia. jakarta: gramedia. 180 kidung kandhasanyata sebagai ekspresi estetik pesinden wanita mardusari darmasti institut seni indonesia (isi) surakarta, jl. ki hadjar dewantara no. 19 surakarta (solo) e-mail: darmas-1958@yahoo.com abstrak salah satu karya sastra berbahasa daerah yang berbentuk puisi adalah macapat. macapat bila disuarakan dinamakan tembang macapat. tembang macapat termasuk seni vokal yang bersifat mandiri atau sajian vokal yang menyertai gamelan. pada masa mangkunagara vii, muncul seorang seniwati profesional di bidang tari dan karawitan, memiliki kemampuan sebagai pesindhen, penyusun teks sindhenan berbentuk karya sastra, yang berpengaruh hingga sekarang didunia olah vocal pe sinden. kidung kandhasanyata merupakan ekpresi estetik yang mencerminkan peristiwa serta ‘nilai-nilai’ yang berlaku. kidung kandhasanyata merupakan cakepan sindenan hasil karya sastra mardusari yang berbentuk tembang mocopat. macapat kandungan isinya berfungsi sebagai pembawa amanat, sarana penuturan, penyampai ungkapan rasa, sarana penggambaran suasana, penghantar teka-teki, alat penyuluhan dan dilagukan berirama. kandhasanyata chants as aesthetic expression of mardusari female singer abstract one of poetic works written in local language is macapat. it is named so when it is recited. macapat chants constitute an autonomous recitation or a vocal that accompanies traditional musical instruments. during the times of mangkunegara vii, there was a professional female artist in dancing and karawitan (traditional music instruments), having skills as pesindhen (javanese female singer), and in composing literary sindhenan (javanese chants) texts, that gives influences to pesindhen (javanese female singers) even to this present time. kidung kandhasanyata (kandhasanyata chants) is an aesthetic expression that reflects prevailing events and values. this chant is cakepan of chants of mardusari literature in the form of macapat. the contents of macapat function as the harbinger of messages, oracy media, expression of feelings, illustration of atmosphere, delivery of puzzles, instruction media, and rhythmic chants. kata kunci: macapat, kidung kandhasanyata, mardusari, tembang, ekspresi estetik pendahuluan sebagai refleksi keberadaan manusia dalam berbudaya dan bermasyarakat, bahasa selain berfungsi alat komunikasi juga berfungsi sebagai pengungkap realitas dan sekaligus pembentuk realitas. bagi pesinden wanita, tembang yang ditulis dalam bentuk teks merupakan media berpikir dan merasa, merupakan media komunikasi estetik. dalam pemikiran fenomenologi bahasa tembang dipandang sebagai tanda–tanda yang diberi pemaknaan baru. bahasa tembang dilihat sebagai refleksi penafsiran diri. bahasa tembang menjadi modal untuk mengada manusia dalam dunia sosialnya. sebagai penyingkap realitas, darmasti, kidung kandhasanyata sebagai ekspresi estetik 181 tembang dapat merekam andaian-andaian yang diyakini masyarakat bagaimana seharusnya seseorang bersikap, bertindak, melihat dunia, dan bahkan berpikir tentang dunia. tembang menjadi seperangkat konvensi yang dapat merefleksikan hubungan-hubungan sosial. tembang bagi pesinden berperan membentuk realitas dan sekaligus dapat meniadakan realitas. tembang macapat sarat dengan seperangkat aturan merekonstruksi dan mendekonstruksi. landasan pemikiran macapat sebagai seni vokal bahasa jawa karya seni yang berbagai ragam dan jenisnya mencakup berbagai bidang yaitu seni visual, seni auditip, seni pertunjukan dan seni sastera. salah satu karya sastra berbahasa daerah yang berbentuk puisi adalah macapat. karya tulis macapat bila disuarakan dinamakan tembang macapat. tembang macapat termasuk seni vokal yang bersifat mandiri atau sajian vokal yang menyertai waditra gamelan (supanggah dalam rochkyatno, 1998:1) macapat hadir dan berkembang di segala lapisan masyarakat dan segala tingkat usia. pada kesempatan-kesempatan tertentu macapat senantiasa tampil di berbagai kegiatan. macapat dengan segala kandungan isinya berfungsi sebagai pembawa amanat, sarana penuturan, penyampai ungkapan rasa, sarana penggambaran suasana, penghantar teka-teki, alat penyuluhan dan pendidikan. hampir semua nilai kehidupan dapat terwadahi oleh macapat, baik yang dapat terlihat nyata maupun kandungan yang tersimpan. macapat adalah salah satu karya sastra dalam bahasa daerah jawa, sunda, bali, madura dan sasak, berbentuk puisi yang disusun menurut kaidah-kaidah tertentu, meliputi guru gatra, guru lagu, guru wilangan (saputra dalam rochkyatno, 1998: 3). macapat merupakan salah satu bentuk seni vokal. memiliki kandungan isi yang berbobot. penyajiannya melalui proses penggarapan yang halus, lembut, cermat dan mantap serta senantiasa memperhatikan unsur etika dan estetika. sebagai salah satu bentuk seni sastra dan seni vokal macapat menjadi bagian kehidupan masyarakat. di dalam kegiatan yang bersifat seremonial macapat selalu turut serta berperan. macapat menduduki fungsi yang penting di dalam kehidupan masyarakat. macapat berperan di dalam kehidupan sehari-hari untuk pengisi waktu senggang, pelepas lelah, penahan kantuk, pelengkap upacara di pura dan keperluan lainya. di yogyakarta macapat di perlombakan untuk anak usia sekolah dasar dan menengah. pembinaan pendidikan macapat sekarang gencar dilaksanakan oleh dinas pariwisata propinsi. macapat lebih digiatkan oleh karena mengandung nilai pendidikan ( sogi sukijo, wawancara 27-32012). macapat menjadi salah satu bentuk ungkapan seni dan senantiasa terlibat keikutsertaannya di dalam upacara lingkaran hidup. berbagai karakter tembang macapat: a. dhandhanggula, nama yang bermakna serba manis, karakter tembang membawakan suasana serba manis, menyenangkan, mengasikkan. tembang dhandhanggula sebagai sarana melahirkan perasaan yang menyenangkan, menghantarkan ajaran yang baik mengasyikkan dan mengungkapkan rasa kasih, melukiskan keindahan serta keselarasan. b. sinom, bermakna muda. mengisyaratkan suasana dunia lingkungan muda remaja yang serba riang, ceria, menyenangkan, melahirkan rasa cinta kasih dan menyampaikan amanat serta menguraikan ilmu. c. kinanthi, memuat sifat kemesraan, ungkapan rasa rindu, nasihat ringan, paparan keriangan. d. pangkur, memuat suasana yang memuncak, bersungguh-sungguh, ajaran yang serius atau penyampaian rindu asmara. e. asmaradana, pengungkapan rasa rindu, pernyataan rayuan, mengungkapkan makna sedih, prihatin. f. mijil, menghantarkan nasehat, melahirkan rasa sedih atau rasa sendu. harmonia, volume 11, no.2 / desember 2011182 g. gambuh, mengandung rasa akrab. untuk menyampaikan nasehat yang bersungguh-sungguh atau pesan santai dan akrab. h. pucung, mengetengahkan perasaan santai, tidak tegang, jenaka dan riang, nasehat yang akrab. i. durma, bersuasana keras, tegang, ungkapan kemararahan, gambaran pertikaian yang serba tegang atau nasehat yang keras. j. megatruh, mengisyaratkan suasana yang sedih, sendu, duka, sesal, pedih, merana dan yang sejenis. k. maskumambang, melukiskan rasa prihatin, duka lara, iba, resah dan gundah. l. wirangrong, mungungkapkan suasana sedih, haru, resah dan susah. dikelompokkan tembang tengahan m. jurudemung, tembang ini lazim dikelompokkan bersama tembang macapat. dipakai untuk menghantar suasana yang bersifat ringan, pujian n. balabak, dipakai untuk menggambarkan suasana riang, jenaka, tergolong tembang tengahan o. girisa, termasuk tembang tengahan. untuk mencerminkan suasana penuh harapan, nasehat untuk dipatuhi (hardjawiraga dalam rochkyatno, 1998: 6-8) yang tersurat dalam macapat ada yang masih berbentuk sastra lisan ada juga yang telah disusun dalam bentuk tertulis. perakitannya dari kata-kata yang diuntai di dalam kalimat. tepat atau tidaknya pilihan kata, indah atau kurang mulusnya kalimat tergantung pada penyusun atau pengarang tembang. penataan macapat diikat oleh kaidah-kaidah tertentu. untuk memenuhi tuntutan keindahan, macapat memanfaatkan kemampuan pengarangnya dalam merangkai kata-kata pilihan yang indah menawan, yang diramu dengan purwakanthi, wangsalan, sasmita, sandiasma, candrasangkala dan kata-kata indah lainnya, semuanya terungkap dalam bentuk tersurat. macapat mampu menampung segala pesan, menghantar segala bentuk suasana penulisan dan menyiratkan sebagai amanat. koentjaraningrat (1984) menyatakan bahwa keinginan manusia untuk berungkap rasa keindahan rupanya telah menjadi kelaziman hidup manusia, betapapun kondisi yang dialaminya. ungkapan rasa membiaskan berbagai ragam keinginan, harapan, ajaran, penuturan, sindiran, rayuan dan sebagainya, tersirat dalam bentuk pesan dan amanat. untuk dapat menyajikan sekar macapat secara baik, seorang vokalis/penembang hendaknya mengetahui tentang konsep penyajiannya. konsep penyajian sekar macapat berkait erat dengan fungsi musikal macapat di dalam masyarakat pendukungnya. penyajian sekar macapat lebih dititikberatkan pada fungsinya untuk menyampaikan misi tertentu dari vokalis atau penggubah cakepannya, bisa berupa penyampaian sebuah pendidikan, nasehat, kritik, ungkapan cinta, doa, atau yang lain. dengan misi yang demikian maka cakepan/syair/teks yang disampaikan penembangnya harus bisa diterima dengan jelas oleh audiens/penonton. konsep penyajian sering disebut lagu winengku sastra yang berarti, lagunya sangat dibatasi oleh sastra atau kejelasan sastranya/cakepannya lebih diutamakan daripada keindahan lagunya. konsep isi pesan tidak bisa dipahami secara ekstrim karena pada prakteknya unsur lagu dalam sebuah penyajian sekar macapat masih harus diperhatikan. dalam kehidupan sastra jawa periode jawa tengahan telah muncul beberapa kidung dalam bentuk macapat yaitu kidung harsawijaya dan kidung sorandaka, yang menceritakan peristiwa-peristiwa penting di seputar berdirinya kerajaan majapahit dan pemberontakan ranggalawe (zoetmulder, 1985: 524-525). hal ini menunjukkan keberadaan macapat dalam kehidupan sastra jawa telah cukup lama. purbatjaraka (dalam rochkyatno, 1998: 4) menyatakan macapat lahir bersamaan dengan syair berbahasa jawa tengahan. diperkirakan macapat telah hadir paling lambat pada abad xvi, seperti ancarancar yang ditandai oleh candrasengkala tiga rasa dadi jalma 1643 j = 1541 m. perdarmasti, kidung kandhasanyata sebagai ekspresi estetik 183 kiraan itu juga ditunjang oleh pendapat zoetmulder bahwa di jawa pada abad xvi tiga bahasa telah hidup berdampingan yaitu bahasa jawa kuna, jawa tengahan dan jawa baru (saputra, zoetmulder dalam rochkyatno, 1998: 10). teks jawa dalam tembang sangat boleh jadi macapat, dibaca dan disuarakan hampir di seluruh bagian pulau jawa, dalam hal ini jawa barat, jawa tengah dan timur, bali, madura. kemungkinan besar menyeberang luas ke palembang dan banjarmasin, kalimantan selatan menyatakan macapat menyebar luas sampai ke wilayah penutur bahasa sasak di lombok(rochkyatno, 1998: 10). tembang macapat yang berbahasa jawa berkembang di wilayah penyebarannya, yaitu di daerah pesisir utara pulau jawa, bekas pusat kerajaan di surakarta dan yogyakarta serta wilayah pedalaman. tembang macapat yang hidup di surakarta dan yogyakarta serta wilayah lain merupakan kelanjutan dari kehidupan tembang macapat pada masa-masa sebelumnya, kemudian menyebar ke berbagai daerah, seperti banyumas, pesisir utara jawa, dan ke jawa timur. mardusari seniman mangkunegaran pada masa abad xvi hingga xix, di kraton atau istana masih hidup subur beberapa kesenian jawa seperti seni karawitan, tari, pedalangan, sastra dan seni rupa. garapan seni mencapai puncak kualitas sehingga lazim disebut klasik. masa pemerintahan mangkunegara vii (1916-1944) merupakan masa keemasan dinasti mangkunegaran. seni sastra, vokal, tari dan pedalangan mangkunegaran mengalami pencerahan atau kuncara, terkenal di kalangan masyarakat luas banyak seniman tradisi di lingkungan mangkunegaran antara lain harjosasmoyo, mangun diryo, mintolaras (yati), kunto laras (sriyati), tambang laras (sri tini), wasito laras (sepan), samsikin dan jaekem. pada masa mangkunagara vii , muncul seorang seniwati bidang tari dan karawitan yang mempunyai bakat luar biasa dalam hal tari dan menyanyikan tembang jawa, yang biasa disebut pesindhen/ swarawati/waranggana serta terampil dalam seni batik membatik yaitu mardusari yang masa kecilanya dikenal jaekem. nyi tumenggung madusari (foto koleksi sudibyo asadath) kehadiran mardusari sebagai seniwati karawitan jawa gaya surakarta oleh berbagai kalangan diakui mencapai tataran empu. pengakuan tersebut tidak hanya datang dari praktisi dan intelektual karawitan, melainkan juga datang dari istana, masyarakat luas, dan lembaga pemerintahan. berbagai tanda penghargaan yang diterima menambah kewibawaannya di kalangan masyarakat karawitan di dalam dan di luar tembok istana. karyakarya peninggalannya sampai saat ini banyak yang dimanfaatkan dalam berbagai kepentingan kehidupan masyarakat. kehandalan mardusari dalam dunia karawitan jawa, terutama sebagai praktisi (pesindhen), penyusun teks sindhenan (karya sastra) serta kontribusinya dalam kehidupan sosial kemasyarakatan. bakat mardusari sebagai penari dan pesindhen didukung oleh beberapa faktor, di antaranya adalah faktor lingkungan, faktor pergaulan, pendidikan, serta latar belakang budaya. bakat seni yang dimilikinya merupakan pembawaan sejak lahir, oleh karena itu bagi yang bersangkutan lebih mudah, lebih cepat berhasil dalam menguasai sesuatu ketrampilan apabila harmonia, volume 11, no.2 / desember 2011184 purwakanthi bentuk rujak-rujakan. keterampilan dan kepekaan mardusari di dalam menyajikan wangsalan ini hingga mampu membuat cakepan sendiri yang sampai mencapai kurang lebih 127 buah. mardusari juga mencoba membuat wangsalan lain dari yang lain, yaitu me ngenai jumlah suku katanya. jumlah suku kata yang dipakai dalam wangsalan yang biasanya terdiri dua belas suku kata, dibuat wangsalan delapan suku kata. tujuan membuat wangsalan delapan suku kata adalah untuk mempermudah dalam menyajikan. mardusari beranggapan bahwa dalam satu kenong /dua gatra gendhing bentuk ketawang mempunyai hitungan satu sampai delapan. agar tidak mengalami kesulitan dalam menyajikan sindenan maka dibuat wangsalan wolu. wangsalan wolu mudah dihafalkan dan mudah diingat, karena dalam balungan karawitan terdapat 8 (delapan) sabetan (supanggah,wawancara 17 februari 2001). hasil karya sastra mardusari mengenai wangsalan wolu berjumlah sekitar 10 buah. jadi jumlah wangsalan hasil karyanya berjumlah sekitar 137 buah. maksud wangsalan adalah susunan kalimat sebagai teka-teki tetapi terkaannya tercantum pula pada kalimat tersebut (prawiroatmaja, 1981: 309). dalam membuat wangsalan yang berjumlah delapan suku kata mengacu pada pedoman wangsalan “rolas”, tetapi berjumlah 8 suku kata, sehingga disebut wangsalan wolu. wangsalan wolu sebelumnya belum ada yang membuat, sehingga dapat dikatakan karya baru sebagai pendobrak seni tradisi lama, khususnya di dalam kehidupan karawitan terutama sindhenan. wangsalan ciptaan mardusari dapat dikelompokkan menjadi sebelas kelompok, yaitu: 1) kelompok barang, 2) kelompok bilangan, 3) kelompok buah, 4) kelompok bunga, 5) kelompok daun, 6) kelompok hewan, 7) kelompok keadaan (sifat), 8) kelompok manusia, 9) kelompok pohon, 10) kelompok tokoh, dan 11) kelompok waktu. pengelompokan ini didasarkan pada arti empat suku kata pertama mewujudkannya (sedyawati, 1994: 29). pendidikannya diawali dari pendidikan keluarga yaitu suatu proses budaya dalam menerima arahan dan didikan dari orang tuanya untuk menekuni, mencintai tembang jawa, dan keterampilan menari. secara tidak langsung keluarganya telah menanamkan fondasi kehidupan dalam diri mardusari. melalui kebiasaan-kebiasaan yang sering dilakukannya dalam pendidikan keluarga sebagai dasar pembentukan kepribadian atau tingkah laku anak (sujanto, 1980: 16). karawitan vokal gaya surakarta dapat dikategori menjadi dua kelompok, yaitu kelompok vokal tanpa iringan dan kelompok vokal dengan iringan. bentuk vokal tanpa iringan mempunyai bentuk seperti misalnya jenis macapat, tembang gedhe, dan sekar tengahan. macapat merupakan gabungan seni sastra dan seni suara. sebagai seniwati kususnya pesindhen mardusari adalah seniwati yang kreatif, ingin mengadakan pembaruan dalam karyanya. dipercaya bahwa ide garap dapat dijadikan tolok ukur untuk perkembangan selanjutnya. sindhenan merupakan salah satu perbendaharaan musikal yang diperlukan dalam pertumbuhan karawitan. dalam pelaksanaannya sindhenan menggunakan cakepan (syair yang digunakan dalam sindhenan) yang dapat berupa wangsalan sekar, isen-isen, dan cakepan lainnya. banyak wangsalan yang digunakan oleh para pesindhen tetapi tidak tahu siapa penyusunya. wangsalan adalah cakepan sindhenan yang terdiri atas dua baris. baris pertama bermakna teka-teki yang terdiri dari 12 suku kata, sedangkan baris kedua bermakna jawaban dari teka-teki yang terdiri dari 12 suku kata juga. kemudian wangsalan dinamakan wangsalan rolas. baris pertama dan kedua berjumlah 24 suku kata, semua harus dapat masuk dalam gendhing yang disindheni. di samping kemampuannya sebagai penyaji yang tinggi, mardusari ternyata memiliki kemampuan yang luar biasa dalam bidang kesusateraan jawa. sebagian karyanya berupa cakepan wangsalan dan darmasti, kidung kandhasanyata sebagai ekspresi estetik 185 dari baris pertama (suparno, 1985/1986: 3). misalnya roning kamal, garwa paminggir harjuna, mumpung anom, ngudiya raras ing basa. wangsalan ini dikelompokkan dalam kelompok daun, yang berpijak pada roning kamal yang berarti daun. beberapa contoh dari pengelompokan wangsalan hasil karya mardusari antara lain seperti berikut. contoh wangsalan delapan suku kata. a. kelompok barang, berjumlah dua buah, contoh: sela kang pinetha janma, dipun pracaya ing suksma. sela kang pinetha janma (batu yang dibentuk menye rupai manusia) = reca; dipun pracaya ing sukma (percayalah kepada yang maha kuasa) b. kelompok buah, berjumlah sebuah, contoh: jeram rum keh pedahira, mituruta pituduh tama. jeram rum keh pedahira (jeruk berbau harum yang banyak manfaat) = jeruk purut; purut – mituruta tuduh tama (ikutilah petunjuk yang baik). c. kelompok bunga, berjumlah sebuah, contoh: kawi sekar kang winedhar, kaloka lir puspa ngambar. kawi sekar kang winedhar (bunga dalam bahasa kawi) = puspa; puspa; kaloka lir puspa ngambar (tersohor bagai harumnya bunga). d. kelompok daun, berjumlah dua buah, contoh: balung janma wastanira, widada nir sambekala. balung janma wastanira (nama tulang daun kelapa) = sada, sada; widada nir sambekala (selamat tanpa rintangan). e. kelompok manusia, berjumlah sebuah, contoh: kawi istri jenang sela, wanita dipun jatmika. kawi istri (perempuan dalam bahasa kawi) = wanita; jenang sela (bubur batu) = enjet; wanita dipun jatmika (wanita seharusnya anggun). fxx. kelompok pohon, berjumlah tiga buah, contoh: aran ludiraning wreksa, yen kepatuha ngumbar karsa. aran ludiraning wreksa (nama dari darah pohon) = tlutuh; ywa kepatuh ngumbar karsa (jangan terbiasa menuruti nafsu. contoh wangsalan duabelas suku kata: 1. kelompok barang, berjumlah empat puluh lima buah, contoh: ancur sotya, sotya kang munggweng sutaknya, dhasar nata, linuwih limpat ing basa. ancur sotya (intan yang hancur) = dhasar; sotya kang munggweng sutaknya (intan yang dipakai di jari-jari) = ali-ali, ali-ali; linuwih limpat ing basa (mempunyai kelebihan dan pintar bertutur kata). 2. kelompok bilangan, berjumlah dua buah, contoh: jarwa juga, samber lilen sobeng tirta, pamujiku, angger tumulia. jarwa juga (satu) = siji, samber lilen sobeng tirta (samber lilen yang hidup di air) = bibis, siji; pamujiku (doaku), bibis – angger tumulia dapat (semoga anda segera menguasai). 3. kelompok buah, berjumlah sebelas buah, contoh: cengkir wungu, tapane sang dananjaya, aja uwal, denira amati raga. cengkir wungu (kelapa muda berwarna ungu) = siwalan; tapane sang dananjaya (harjuna waktu bertapa) = mintaraga, siwalan – aja uwal (jangan berhenti), mintaraga – denira amati raga (berpuasa). 4. kelompok bunga, berjumlah enam buah, contoh: kawi sekar, sekar pepundhen sri kresna, lir puspita, warnane kesumeng pura. kawi sekar (bunga dalam bahasa kawi) = puspita; sekar pepundhen sri kresna (bunga pujaan sri kresna) = wijayakusuma, puspita – lir puspita (seperti bunga), wijayakusuma – warnane kusumeng pura (tampan seperti ratu). 5. kelompok daun, berjumlah tiga buah, contoh: balung janur, janur ingisenan boga, widodoa, lepat saking sambekala. balung janur (tulang daun kepala) = sada; janur ingisenan boga (daun kelapa diisi nasi) = kupat, sada – widodoa (semoga selamat), kupat – lepat saking sambekala (terhindar dari bahaya). 6. kelompok hewan, berjumlah dua puluh satu buah, contoh: bantheng wisma, wismane peksi winastan, amung kepi, mesu masuh kabudayan. bantheng wisma (lembu) = sapi; wismane peksi winastan (sarang burung) = susuh, sapi – amung kepi (yang diidamkan), susuh – mesu masuh kabudayan (bekerja keras belajar kebudayaan). 7. kelompok keadaan, berjumlah empat harmonia, volume 11, no.2 / desember 2011186 belas buah, contoh: dahana gung, sarining tirta samodra, lamun mulat, yayah kadya kamun catuna. dahana gung (api besar) = mulat-mulat, sarining tirta samodra (sari air laut) = uyah, mulat–mulat; lamu mulat (jika melihat), uyah – yayah kadya kamur catuna (seperti akan kehilangan nyawa). 8. kelompok manusia, berjumlah tujuh buah, contoh: aran ingsun, ingsun mituhu ning sabda, iya iku, sarana nut kang utama. aran ingsun (sebutan saya) = aku, ingsun mituhu ning sabda (saya menurut perintah) = manut, aku – iya iku (itulah), manut; sarana nut kang utama (syarat mengikuti yang baik). 9. kelompok pohon, berjumlah tujuh buah, contoh: carang wreksa, wreksa rangken lumaksana, ywa gumampang, angaken lamun wus wignya. carang wreksa (cabang pohon) = epang, wreksa rangken lumaksana (kayu penyangga berjalan) = teken, epang; ywa gumampang (jangan gampang), teken; angaken lamun wus wignya (mengaku pintar). 10. kelompok tokoh, berjumlah sepuluh buah, contoh: ari sena, kang mina tuladeng krama, wus jinangka, salami mung asih tresna. ari sena (adik sena) = janaka, kang mina tuladeng krama (ikan sebagai contoh dalam hal perkawinan) = mimi, janaka; wus jinangka (sudah diidam-idamkan), mimi – salami mung asih tresna (selamanya selalu penuh kasih sayang). 11. kelompok waktu, berjumlah sebuah, contoh: jarwa purwa, juwawut geng kang salaga, awit saking, mungkur medah pari paksa. jarwa purwa (arti permulaan) = wiwitan, juwawut geng kang salaga (juwawut besar yang berkelopak bunga) = pari, wiwitane; awit saking (karena), pari – mungkur medah pari paksa (hanya keinginan yang dipaksakan). berkat usaha dan kerja kerasnya mampu menciptakan sejumlah wangsalan cakepan sindhenan. karya sastera berujud manuskrip yang sudah digarap dan selesai pada tahun 1925 dengan diberi nama serat kandha sanyata. serat kandha sanyata pada tahun 1991 sudah diterbitkan, dijadikan salah satu acuan bagi para seniman dan para pengajar di stsi surakarta. karya sastra mardusari karya sastra kidung kandhasanyata sebagai sebuah kidung hasil refleksi atas peristiwa serta ‘nilai-nilai’ yang berlaku pada kurun waktu ‘masa aktif’ kehidupan senimannya. di bagian tertentu naskah juga menampilkan cakepan dari hasil karya sastra orang lain yang kurang tepat sehingga mardusari ikut meluruskan atas dasar penghayatan pengalaman serta interpretasinya. kidung kandhasanyata memuat hasil karya mardusari berupa cakepan dan sebagian dari karya orang lain. karya sastra yang dihasilkan oleh mardusari sendiri sejak tahun 1925 adalah sebagai berikut. pupuh asmarandana terdiri dari 24 pada; 1. pupuh sinom terdiri dari 14 pada; 2. pupuh kinanthi terdiri dari 22 pada; 3. pupuh pucung terdiri dari 20 pada; 4. pupuh mijil terdiri dari 26 pada; 5. pupuh dhandhanggula terdiri dari 23 pada; 6. pupuh megatruh terdiri dari 24 pada; 7. pupuh gambuh terdiri dari 30 pada; 8. pupuh pangkur terdiri dari 31 pada; hasil karya sastra mardusari tahun 1950-an sebagai berikut. 1. pupuh pucung terdiri dari 9 pada (bait); 2. pupuh gambuh terdiri dari 4 pada (bait); 3. pupuh durma terdiri dari 8 pada; 4. pupuh asmaradana terdiri dari 10 pada (bait); 5. pupuh sinom terdiri dari 10 pada (bait); 6. pupuh maskumambang terdiri dari 10 pada (bait); 7. pupuh pangkur terdiri dari 6 pada (bait); 8. pupuh dhandhanggula terdiri dari 3 pada (bait); wangsalan sindhenan dan rujak-rujakan mardusari tanggal 22 oktober 1988 adalah sebagai berikut. 1. cakepan kinanthi (pethikan serat wiwaha), terdiri dari 5 pada (bait). 2. cakepan kinanthi (pethikan serat bratayuda), terdiri dari 7 pada (bait) anggidarmasti, kidung kandhasanyata sebagai ekspresi estetik 187 tan r.ng. yosodipuro. 3. cakepan kinanthi (pethikan serat romo) terdiri dari 7 pada (bait) anggitan r.ng. yosodipuro. 4. cakepan megatruh, terdiri dari 12 pada (bait). karya sastra lain sebagai penyempurnaan, yang juga dimasukkan dalam kandhasanyata yakni teks gerongan karya mangkunegara iv sebagai berikut. 1. gerongan ketawang langengita, slendro sanga (7 pada). 2. gerongan ketawang walagita, pelog nem (8 pada). 3. gerongan ketawang rajaswala, slendro sanga (4 pada). 4. gerongan ketawang sitamardawa, pelog barang (6 pada). 5. gerongan ketawang puspawarna, slendro manyura (7 pada). 6. gerongan ketawang puspanjala, pelog nem (8 pada). 7. gerongan ketawang tanupala, slendro manyura (6 pada). 8. gerongan ketawang puspagiwang, pelog barang (7 pada). kemampuan mardusari di lingkungan seni pertunjukan dapat dikatakan luar biasa sehingga dapat dikatakan memiliki lokal genius. kemampuannya meliputi sebagai penari, pengrawit, pesinden. sebagai penari dan pesinden pernah jaya pada pemerintahan mangkunegara vii (1916-1944), sebagai pesindhen mumpuni sehingga kehadirannya telah diakui berbagai pihak baik di dalam atau di luar istana mangkunegaran, sebagai pencipta wangsalan dan cakepan dapat dihayati hingga sekarang. sebagai penulis sastra, mardusari dapat dikatakan sebagai sastrawati karena mardusari menciptakan teks wangsalan dan teks rujak-rujakan dengan purwakanthi. berbagai karyanya yang diciptakan yang berupa teks wangsalan dan rujak-rujakan serta teks macapat dalam serat kandhasanyata mampu berdiri sejajar dengan repertoar gendhing-gendhing klasik yang telah ada. teks wangsalan yang diciptakan wangsalan 12 suku kata berjumlah 127 buah dan wangsalan dengan jumlah 8 suku kata berjumlah 10 buah. wangsalan dengan jumlah 8 suku kata merupakan problema musikal, dengan demikian sebagian teks wangsalan yang diciptakan dapat dipahami sebagai wahana pembuktian atas konsep pikirannya. lebih jauh hasil karyanya dapat dijadikan sebagai wahana penelitian bagi para peneliti karawitan yang menaruh minat besar terhadap kehidupan karawitan jawa. berbagai pikirannya yang telah dituangkan dalam serat kandhasanyata, mampu menjadi jembatan awal untuk memahami persoalan-persoalan yang terkandung dalam karawitan jawa, dan telah banyak diacu oleh para generasinya. etika yang tersirat dalam tembang-tembang adalah keseluruhan norma dan nilai-nilai ajaran untuk mencapai keberhasilan dalam hidup lahir batin. makna isi cakepan sebagai ekspresi estetik membuat tembang yang terikat dengan peraturan-peraturan tertentu (guru lagu dan guru wilangan), berisi petuah nilai pendidikan moral/etika merupakan pekerjaan pelik, terlebih pencipta masih mengikat dirinya dengan cengkok yang rumit. menurut susanne k langer (1988), simbol dibedakan menjadi dua macam yakni simbol presentasional dan simbol diskursif. simbol presentasional dalam pengertiannya tidak memerlukan daya intelektual pengamatnya mengingat bahwa apa yang dikemukakannya itu secara spontan menghadirkan apa yang dikandungnya. sementara itu simbol diskursif adalah simbol yang penangkapannya memerlukan daya intelektual pengamatnya. untuk dapat mengartikannya, seorang pengamat harus memahami sistem dan aturan yang berlaku pada simbol yang dimaksud. seni sebagai medium ekspresi mengarah kepada segala jenis ekspresi, bahkan bukan kepada positivisme saja, apalagi di dalam suatu jaman yang penuh dengan keruntuhan sosial, seni harus berperan sebagai medium refleksi keadaan masyarakat (mack, 1997: 22) harmonia, volume 11, no.2 / desember 2011188 serat kandhasanyata dapat dilihat sebagai sebuah tanggapan kritis dari kaum perempuan untuk melakukan eksistensi budaya melalui teks. penciptaan tembang terjadi karena struktur sosial, agama, ekonomi, politik, dan bahasa kurang memberi wahana yang lebih lapang bagi ekspresi kultural. penciptaan sastera tembang dapat dianggap sebagai pernyataan kritis sebagai resistensi atas nama emansipasi dan kesetaraan. seperti halnya fenomena crossgender, yaitu fenomena silang peran gender, harus diakui telah terjadi baik dalam kehidupan sehari-hari maupun dalam kehidupan seni pertunjukan. kesan yang berlaku sampai saat ini, substansi eksistensial dari kedua gender yang saling melengkapi satu dengan yang lain sepertinya hendak dikoyak dan diberi bentuk lain, sehingga tak terasa kesempurnaan atau relasi selaras antar kedua aspek komplementari satu dengan yang lain. dalam fenomena cross gender, diindikasikan ada sebuah citra kesempurnaan yang tidak hanya merupakan relasi selaras antar kedua aspek yang saling melengkapi berupa citra kesempurnaan dualitas laki perempuan. pada kasus penciptaan tembang mardusari, terjadi persepsi gambaran cross-gender yang juga dilakukannya pada wayang orang panggung yang kemudian perwujudan tokoh maskulin menak jingga justru dilakukan oleh tokoh penari perempuan. hal ini bisa dipahami sebagai sebuah fenomena, betapa karakter tari jawa putra (alusan maupun gagahan) baik gaya surakarta maupun yogyakarta, tidak mudah dipelajari, sehingga tidak banyak yang mampu menjadi master dalam pe nguasaan teknik kepenariannya. jika kemudian muncul beberapa wanita yang mampu menguasainya, mereka menjadi sebuah ikon yang mampu memberikan nilai-nilai baru dalam intensitas empati dari sebuah proses kepenontonan. mardusari sebagai gathutkaca dalam tari ”gathutkaca gandrung 1930-an”. (foto koleksi rekso pustaka) dalam konteks penari langendriyan, menakjingga ditarikan mardusari setelah mengalami beberapa perubahan gerak tambahan seperti gerak kiprahan menakjingga dan menak koncar yang sebelumnya tidak ada. selain itu, mardusari juga pernah berperan sebagai dayun dan ratu ayu. praktik eksistensi budaya cenderung menemukan bentuk dan ruh dalam tulisan. kaum perempuan dengan tulisan memiliki kemungkinan untuk merumuskan diri dan menentukan peran untuk menafsirkan dunia dalam perspektif perempuan. teks karya sastera dalam kadar tertentu cenderung mengandung progresivitas politik bahasa ketimbang dengan praktik bicara di ruang publik. karya satera dalam ideologi budaya kaum perempuan menunjukkan struktur dan sistem berbeda dalam pamrih-pamrih emansipasi. sastera tulis sebagai manifestasi otoritas bahasa menjadi pertaruhan eksistensi, subjek, dan identitas perempuan. helene cixous (dalam mawardi, 2009) percaya bahwa sastera tulis adalah darmasti, kidung kandhasanyata sebagai ekspresi estetik 189 manifestasi otoritas perempuan. sastera tulis menjadi bukti politis resistensi perempuan untuk merumuskan kembali aspek-aspek kultutral dan menentukan peran dalam ruang kultural. dengan meninggalkan sastera tulis menunjukan resistensi perempuan dengan kekuatan ampuh untuk merubuhkan hierarki dan patriarki. melalui sastera tulis sebagai media merepresentasikan suara perempuan untuk menamai dan memaknai realitas. luce irigaray (dalam mawardi, 2009) mengingatkan bahwa kaum perempuan membutuhkan bahasa mereka sendiri. bahasa untuk kaum perempuan adalah bahasa untuk manifestasi merumuskan hakikat dan peran. perempuan membutuhkan bahasa untuk kebebasan menjadi manusia dalam kesetaraan. kebutuhan itu bukan impian atau ilusi. irigaray menjelaskan ikhtiar memiliki bahasa sendiri untuk kaum perempuan mesti direalisasikan dengan transformasi kultural secara substantif dan radikal. praktik politis atas ikhtiar itu adalah dengan bicara dan menulis sebagai perempuan. praktik karya sastera yang ditembangkan merupakan bukti negasi atau resistensi terhadap klaim eksklusif kaum lelaki untuk penamaan dan pemaknaan realitas budaya. bahasa perempuan yang ditulis dalam wujud karya satera, dalam kultur budaya sering ditemukan legitimasi dan kodifikasi dalam sistem dan institusi pendidikan, politik, kesusastraan, dan media massa. simpulan seorang seniwati, hasil karya seni merupakan media komunikasi dengan masyarakatnya. bagi seorang penari, medium gerak, seorang seniman karawitan dapat melalui cakepan sindenan dan tetembangan melalui syair lagunya. alat komunikasi sastean melalui karya sateranya. kidhung kandhasanyata merupakan salah satu bentuk komunikasi seni pesinden wanita mardusari dengan penikmatnya. menilai kejeniusan dapat dilihat dari produk ekspresi ide pencipta. karya sastera adalah ekspresi ide yang paling cerdas, sistematis, efisien dan tahan lama. gagasan yang diungkapkan melalu teks sindenan ,wangsalan merupaskan salah satu cara mengekspresikan diri dalam mengahadapai realitas yang dihadapinya. mardusari disamping sebagai penari, peng rawit dan pesinden wanita juga penulis karya sastera untuk sarana mengekspresikan ide-idenya. sebuah pencapaian dalam bidang intelektualitas di tengah keterbatasan sarana dan prasarana yang ada saat itu. kidung kandhasanyata sebagai teks, merupakan ekspresi estetik yang dialami pencipta untuk menggambarkan situasi dan realitas yang dihadapi sebagai seorang wanita. kidung kandhasanyata merupakan media komunikasi seni untuk disampaikan kepada masyarakat melalui teks sindenan yang dapat dikaji pada masa generasi berikutnya. daftar pustaka agus sujanto. 1980. psychologi kepribadian, jakarta: aksara baru. edi sedyawati, ed. 1984. tari: tinjauan dari berbagai segi, jakarta: pustaka jaya. holt, claire. 2000. “melacak jejak perkembangan seni di indonesia,” terjemahan dari art in indonesia: continuities and change ) oleh r. m. soedarsono. bandung: arti.line dan mspi. koentjaraningrat. 1984. kebudayaan jawa. jakarta: pn balai pustaka. 1984. langer, suzanne k. 1988. problematika seni. terj. fx. widaryanto. bandung: badan penelitian dan pengembangan departemen luar negeri bekerjasama dengan penelitian alumni. leksono, karlina & supelli. 1998. “bahasa untuk perempuan dunia tersempitkan”, wanita dan media : konstruksi ideologi gender dalam ruang publik orde baru. ed. idi subandy ibrahim. bandung: pt remaja rosdakarya. mack, dieter. 1997. “kaitan kehidupan dan kesenian menuju ke iklim kehidupan kesenian yang lebih baik.” wiled, jurnal seni, stsi surakarta, stsi press. harmonia, volume 11, no.2 / desember 2011190 martopangrawit. 1998 dibuang sayang, dalam rahayu supanggah “lagu dan cakepan gerongan gendhing gaya surakarta,” penerbit: cv. setiaji bekerja sama dengan aski surakarta. mardusari, nyi tumenggung. 1987. pengakuan mardusari pada tempo, 1 2 september 1987) mawardi, bandung. 2009. “kuasa bahasa dan sastra” dalam lampung pos 28 november 2009 poerwadarminto, w.j.s. 1939. baoesastra jawa, jb. wolter nitgevers maatchappij nv, groningen, batavia. prawiroatmaja. 1981. bausastra jawa indonesia, jakarta: gunung agung. ritzer, george. 2004. teori sosial postmodern. yogyakarta: kreasi wacana. santoso. 1982. “palaran di surakarta,” sub proyek aski, pengembangan iki, bagian pengantar, 1979/1980. sartono kartodirdjo. pendekatan ilmu-ilmu sosial dalam metodologi sejarah, jakarta: gramedia pustaka utama. sastrosumarto. 1958. wangsalan, jakarta: balai pustaka. slamet suparno, t. 1986. “dokumentasi wangsalan susunan nyi bei mardusari.” laporan penelitian, departemen pendidikan dan kebudayaan, direktorat jenderal pendidikan tinggi, aski, surakarta. soedarsono, r.m. 1994. “lebih gampang jadi doktor daripada empu tari jawa”, dalam harian kompas, 27 november 1994 supanggah, rahayu. 1991. kidung kandhasanyata, nyi bei mardusari, sekolah tinggi seni indonesia surakarta. wiryanti, sri. 2008. “bahasa dan perempuan dalam ideologi kapitalis”. makalah disampaikan dalam diskusi bahasa dan gender di kunci cultural studies 16 juli 2008. zoetmulder, p.j. 1985. kalangwan: sastra jawa kuno selayang pandang. alih bahasa dick hartoko. jakarta: djambatan narasumber rahayu supanggah, 53 tahun, pengrawit, komponis, dosen dan ketua stsi surakarta rusdiyantoro, 42 tahun, dosen stsi surakarta slamet suparno, t., 50 tahun, pengrawit (vokalis), dosen stsi surakarta 176 critical view on the existence of gambus tunggal lampung: promoting collaborative working between artists and stakeholders prisma tejapermana, riyan hidayatullah universitas lampung, indonesia submitted: june 28, 2020. revised: september 9, 2020. accepted: november 14, 2020 abstract the lampung societies have many arts and cultures, one of which is a gambus tunggal. the characteristic of gambus that are played solely and has an original tuning system. a gambus tunggal style produces a melodic tone, accompanied by chanted poems that involve new romantic romance of lampung, or parents’ advice to their children. this ethnography study aims to comprehend how the gambus tunggal artists maintain the existence in lampung. the study applies a descriptive method with a qualitative idea. we have interrogated and field studies to gather primary data. a purposive sampling technique was used to interview a gambus tunggal player who existed for decades. the result indicates that a gambus tunggal artist is doing a collaborative struggle to support gambus tunggal and living sources’ survival. they need collaboration to keep the existence of traditional lampung music. gambus players have considered using social media as a promotional strategy. the local government’s role has a tremendous impact, for example, providing an opportunity to perform gambus tunggal at various events, festivals, and many competitions. therefore, the tourism sector is the foundation of lampung’s traditional music. it establishes policies to serve various performing arts. keywords: gambus tunggal; lampung culture; traditional music how to cite: tejapermana, p., & hidayatullah, r. (2020). critical view on the existence of gambus tunggal lampung: promoting collaborative working between artists and stakeholders. harmonia: journal of arts research and education, 20(2), 176-182 harmonia: journal of arts research and education 20 (2) (2020), 176-182 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i2.25144 historically forwarded pattern of meaning that materialize in symbolic forms. culture is a system of concepts inherited in symbolic forms by which humans communicate, preserve, and develop the knowledge of life and attitudes toward life (sumardjo, 2009). indonesia consists of various arts and cultures. one of the traditional arts areas is lampung such as bedana dance, the cangget agung dance, sekura, gamolan, talo balak, gambus tunggal (petting gambus), serdam (lampung’s flute), ghujih and many more. introduction the local art is a cultural product, and culture arises from society’s habit; good art can also determine a culture’s sustainability. this opinion follows the statement of koentjaraningrat (2009) that the value of culture is the highest and most abstract of the customs. therefore cultural values consist of a conception of everything valued and essential by society so that the belief can serve as a guideline in the living source. geertz suggests that culture is a corresponding author: e-mail: prisma.tejapermana@fkip.unila.ac.id p-issn 2541-1683|e-issn 2541-2426 prisma tejapermana et al., critical view on the existence of gambus tunggal lampung: 177 the traditional arts from the branch of music, lampung has a wide variety of music, as for the type of music that still survive until now is the gambus tunggal kalianda. this type of music is usually accompanied by a gambus instrument (petting gambus) by singing verses about advice, expressions of love during ngiban/nganjang, and ngababang to spoil the couple. gambus tunggal is a musical art that spreads almost all corners of sumatera’s island, but there are differences in some areas that use guitars in their performances. as the name suggests, this art characteristic is a skill gambus played by himself, with the syair-syair of most pantun-shaped. the art of the gambus tunggal usually played by the young people who are chatting or parents who are giving a discourse to children or youth. this art used to be very desirable and famous, no undo of the music experts in playing the gambus tunggal and famous almost in the whole of sumatera, especially the southern part, riau, jambi, bengkulu, and lampung. the indigenous people of lampung hold a living philosophy called piil pesenggiri. these contain principles and values about maintaining selfesteem (sinaga 2012). piil pesenggiri is representation some positive values, including: (1) nemui nyimah as a form of kinship; (2) nengah nyappur as a form of society that loves to mingle and assemble; (3) sakai sambayan as a representation of the community who likes each other; (4) juluk adek as an attempt to retain identity (hadikusuma, 1990). gambus tunggal is an acculturation of arabic culture. the tones used are monophonic, meaning that it is not based on the composition of their counterparts or harmony. while the scale used maqam (plural: maqamat), the arrangement of tones is not tuned perfect (well-tempered) as well as western music. nevertheless, if it is harmonized with western music’s scale/ scale, it refers more to the harmonic minor scale. minor taste is felt in these gambus tunggal vibes. the verses are in the form of segata or rhymes whose contents are interrelated from the first and last ones. the contents of poem can be in the form of parental advice to their children, advice about religion, expressions of love, and cremation or in the form of pampering lovers. this tradition is inseparable from the ideas, concepts, norms, and values that exist in the people of lampung, who highly value politeness in conveying their intentions through poetry or rhymes in the form of a single in this gambus tunggal song. to maintain this music’s existence, lampung traditional musicians collaborate with many institutions, such as dewan kesenian lampung (dkl), dewan kesenian lampung selatan (dkls), and tourism agencies. they still have concern for this art to maintain the existence by displaying this art when these institutions held events. several times, a gambus tunggal player enters cultural galleries to teach this art. however, the enthusiasts are not as good as those who are interested in other lampung traditional arts, such as tapis (traditional cloth from lampung), or traditional dance from lampung. this kind of art may be due to various things, including most people think that learning gambus tunggal are more complicated because they have to sing verses together. by playing the melody on the gambus, the performance is not as much as a dance performance or has an economic value such as a filter cloth with a reasonable selling price. there are two kinds of techniques used in this gambus tunggal, namely humbak mulokh (waves that are going back to sea) for songs with a slower tempo with a nuance of profound sadness. furthermore, ujan lijung technique (rain that stops slowly) used in songs to tell a person’s feelings. the song from this gambus tunggal also functions as a dance accompaniment music. one of the dances that are characteristic of lampung is the bedana dance. in this dance, a gambus tunggal has collaborated with a tambourine. gambus tunggal lampung players no longer feel awkward to accept technology. the influence of technology dramatically harmonia: journal of arts research and education 20 (2) (2020): 176-182178 affects the existence of a gambus tunggal. millennials are more interested in seeing shows on the internet, such as youtube and facebook. gambus tunggal players are also affected by this new habit. gambus tunggal players accept modernization by developing the show. they began recording videos, performing on various local radios, and uploading them on various digital platforms. although they do not yet know how to maximize digital platforms, identity awareness starts to emerge and gives rise to new digital communities. a gambus tunggal player starts to transform and starts to spread his knowledge through various video tutorials (hidayatullah, 2019). in lampung, this local music is also called the petting gambus, and what distinguishes them from language, which poetry called segata. the instrument used was the guitar and gambus lunik. in the gambus balak (large) there are five pairs of strings and one pair that is not paired, all arranged into six notes in an open string, in the first pair or the lowest string is called kuin, the second genta, the third koro, the fourth tala, the fifth tuning tala tanggung, and the top is tala balak. whereas the string arrangement in gambus lunik (small) only eliminates the two highest or lowest strings, namely the tala tanggung and the tala balak. the tuning on this gambus tunggal functions as a gong or bass. the fingerboard on this gambus is made fretless or without fret. so need a good tone sensitivity in playing it. in its development, petting lute, which is often used, is gambus lunik, due to getting a more comprehensive sound range. the researchers agreed that gitar klasik lampung and gambus lampung became extinct (barnawi, 2017; hidayatullah, 2019; irawan, 2013; misthohizzaman, 2006; tejapermana, 2014). however, previous studies have not yet discussed local artists and musicians’ efforts to maintain their culture and music. therefore, this study aims to discover the various elements that influence the existence of gambus tunggal player, and that encourages them to make an effort to survive. method this study used qualitative research methods. qualitative research produces descriptive data in the form of written or oral words from people and observed behavior (moleong, 2017). then denzin & lincoln (2005) suggest that qualitative research is a study that uses a natural setting to interpret phenomena that occur and is carried out by involving a variety of existing methods. studies are conducted to understand phenomena about what is experienced by research subjects such as behavior, perception, motivation, and actions. holistically, and employing descriptions in the form of words and language, in a unique natural context, and by utilizing various scientific methods. free interviews were conducted to collect primary data about a gambus tunggal artist’s living conditions and the existence of his performances. furthermore, an observation was carried out to collect various gambus performance activities. the document study was carried out to collect various secondary information about cooperation agreements, lampung government policies, and gambus tunggal music transcription. the research location is in kalianda, south lampung, and kedondong pesawaran regency. result and discussion gambus tunggal lampung gambus tunggal is the result of acculturation from arabic culture with lampung culture because, in its history, this gambus tunggal music adopted the al-oud musical instrument from arabic. (kristianto, 2007), al-oud is a stringed instrument from arabic, which is thought to be modern guitar instruments’ ancestor. historical records show that oud has been known since the 7th century, which is continually changing in shape and number of strings, it has no fret as known as fretless, and is picked using plectrum nor pick. the indonesian translation of the prisma tejapermana et al., critical view on the existence of gambus tunggal lampung: 179 above statement is that al-oud is decorated with luxurious eastern ornaments and is the forerunner of all lutes that developed in europe. the five paired strings are made of silk, but today the strings are made of nylon, which is connected along the length of the instrument’s neck. four of the paired strings are tuned for high to medium notes, while the fifth pair of strings are tuned for low notes. the tone in the ud is vibrant. this kind of instrument makes it a well-known classical instrument in arabic and a famous eastern music ensemble. al-oud, which is the forerunner of the gambus, often also referred to the ud, which also developed in europe. lute is a stringed instrument like a guitar with a split pear shape, prevalent in europe from the middle ages to the 18th century—a descendant of the musical instrument ud in the middle east. lute then changed into other stringed musical instruments, such as vihuela and guitar (kristianto, 2007). the shape of the lute in europ (on the resonator tube) is slightly smaller than the oud. the lute has a higher number of strings than the oud, and also, the lute uses a fret (limiting the tone region embedded in the instrument rod/string board, usually made of metal or animal bones). here is a picture of a lute developing in europe. irawan (2020) mention that originally the term of gambus was used to quote stringed musical instruments from the middle east. it was changed to a format that began popular music with the term stringed orchestra. finally, gambus is used to mention the type of islamic music that contains dzikir and sholawat. two types of gambus are commonly found in lampung, namely standard-sized gambus as known as lute, and the small one called gambus lunik (see figure 1). lute is also a descendant of oud in the middle-east. this instrument is different from the musical instruments of sumatera. these instruments originally entered this region are ouds; moreover, this area oud became better known as gambus. gambus were getting more inclusion of music and musical instruments into the lampung region—along with the influx of islamic influence. the color of the music breathes islamic while singing poetry. all of gambus players began in arabic with accompaniment and poetry. in the lampung region this artistry has various mentions, or terms, some refer to it as a gambus tunggal, a gitar tunggal, and some others call it a petting gambus. figure 1. gambus lunik (small) (source: personal document) a gambus tunggal performance presents tunes adapted from the oud musical instruments, and are monophonic, meaning that they are not based on a contraption or harmony. while the scales used are the so-called maqam or maqamat, namely the arrangement of tones that are not tuned or tuned perfectly (well-tempered) like western music. however, when it is aligned with the scale of western music, this art refers to the harmonic minor scale and the minor scale byzantine scale. these scales are usually used in songs with arabic or middle eastern nuances. if arranged in intervals of 1 octave on e tonality, the e minor harmonic scales will be arranged: tone : e f# g a b c – d# e interval : 1 ½ 1 1 ½ 1 ½ ½ figure 2. e minor harmonic scale (source: personal document) figure 3. e byzantine scale (source: personal document) harmonia: journal of arts research and education 20 (2) (2020): 176-182180 the gambus tunggal emphasizes the skill of playing a guitar melody that is played solo. furthermore, this tool is used to sing the whole verse, which contains advice, expressions of love during ngiban (nganjang), as well as pampering a partner or spoiling a person (ngababang). although single petting is an art that undergoes the process of acculturation from oud art from arabic, the gambus tunggal is developed and adapted to the local traditions of the lampung community. the following is an example of poet petting poetry related to god’s exaltation, the relationship between man and his god, to remind people to always read bissmillah (by saying the name of god) in every activity. bandung satekhi pakhtamani bissmillah sina pai sai tibanca benoh kelawan salah tuhan juga nimbangnya sinji bandung satekhi pakaian didunia kantu kak sanak dukhi kham sayuk wingajahya meaning: the first is bismillah that is the first time we read true or false let god judge it this (advice) is a piece of advice for use in the world for our future generations, we must not be late teaching the following is an example of a gambus tunggal poem in the form of a parent’s advice to his son-in-law (the relationship between humans), to treat his husband well. pepok bilihmu mantu dang lamon pepikekhan ukhuskon do bakasmu sina sangun pilihan meaning take good care of your self, your son-in-law do not think too much serve well your husband that has become a choice (rohaeli, personal communication, march 20, 2013) the exixtence of gambus tunggal nowadays, gambus tunggal songs undergo many changes. a lot of classic pieces arranged, whether poetry and musical structure. the artists rarely write a musical transcript. modern works are almost full of interpretations and adjust the mood of gambus players. figure 4. humaidi plays gambus lunik (source: personal document, 2017) humaidi, a gambus tunggal artist from kedondong, way lima, every gambus player, is free to interpret the songs performed as far as the song is still using the basic rules and techniques of gambus (see figure4). a few years ago, stringed instruments and guitars were used as communal expressions that had a shared spirit. besides being used in romance matters, a gambus tunggal serves as a reminder and advice. older people have a responsibility to remind young people. this value is one of the identities of lampung people who care about the younger generation. strategies for improving collaboration the lampung provincial government has a central role in developing a culture in the field of music. gambus music players need to be united with various programs sourced from policies. colprisma tejapermana et al., critical view on the existence of gambus tunggal lampung: 181 laboration is a real effort from the music community, government, and the private sector. activities can be carried out on television, radio, digital platforms, and social media. suprihatin and pratamawati (2019) reported that the real efforts that can be done are the conservation of the performing arts. collaboration between artists, the community, the government, and the potential of art (idea) can be developed (see figure 5). figure 5. collaboration to maintain the existence the majority of lampung people are muslim and very obedient. it is reflected in various arts and culture, including gambus tunggal music. praises in the form of dzikir and sholawat are sung and included in the lyrics and composition of music. several other regions in sumatera with a malay cultural background also have this kind of islamic music style. the lampung government created gitar klasik and gambus lampung competition as part of the regency and lampung province anniversary. they showed up their skills in front of a jury from guitar and gambus musicians. some young guitar players and gambus instruments emerged and formed a new ecology. conclusions a gambus tunggal artist has made various efforts to maintain its existence in the societies to supporting communities. one of its efforts is to collaborate with related agencies so that there are concrete efforts made in terms of preserving the cultural products of the local community. in addition to collaborating with related agencies, rohaeli (one of gambus activists) still actively plays a gambus tunggal instrument. he also collaborates with a local television station, tvri lampung; hopefully, they expect that more people will see and know the arts by broadcast on television. this study’s results can be useful as a source of information, both for researchers, gambus tunggal artists, stakeholders, music education institutions, and the community, about the form of gambus tunggal, their development in the community. researchers expect that the research results on the existence of a gambus tunggal can provide concrete benefits to the existence of traditional arts in society. the tourism industry is the core of the sustainability of the lampung music industry. the model of developing entrepreneurship training and tourism awareness is one solution (nugraheni, et al., 2019). this model can be expanded within the local government structure and collaborate with researchers at universities and lampung institutions. acknowledgments the author thanks all those who have helped research, the speakers, lppm lampung university, enumerators who assist in technical matters. references barnawi, e. 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(2014). model pembelajaran petting tunggal untuk meningkatkan apresiasi musik peserta didik kelas xi di sman 1 sidomulyo lampung selatan (tesis). universitas pendidikan indonesia, bandung. 266 production of aesthetic tastes and creativity education of indonesian glass painting artists casta casta1, tjetjep rohendi rohidi1, triyanto triyanto1, abdul karim2 1universitas negeri semarang, indonesia 2universitas muhammadiyah cirebon, indonesia submitted: 2021-05-25. revised: 2021-11-25. accepted: 2021-12-26 abstract this study aims to find the repertoire of aesthetic taste as a creative act and its relation to symbolic power in the arena of indonesian cultural production of glass painting. the study used a qualitative approach with a phenomenological design. data collection used in-depth interviews, participant observation, individual life’s history, and document examination. data analysis used interpretive phenomenological analysis. the study finds five aesthetic taste repertoires that include: (1) the aesthetic taste of the palace which is characterized by the symbolic decorative visualization of calligraphy pictographs of petarekatan with wadasan and mega mendung ornaments; (2) the taste of strengthening cultural identity is marked by the symbolic decorative visualization of a traditional sourcebook for puppet shadow objects with wadasan and mega mendung ornaments; (3) the taste of traditional renewal is characterized by liberating expressive decorative visualizations; (4) the taste of cultural revitalization is characterized by decorative visualization of the superiority of tradition which is involute; and (5) the taste of marginalized community is characterized by the simplicity of traditional object visualizations. the five aesthetic tastes carry a decorative expression style with an interpretation of tradition based on the cultural capital of the artists. the production of aesthetic taste cannot fully be used to classify the social class structure of appreciators but is related to the identity of the cultural capital they have. the production of aesthetic taste is a creative education model that responds to the doxa of symbolic power in the form of orthodox or heterodox, resulting in defensive, subversive, defensive-subversive synthesis, and pseudo-subversive strategies, which are fought for legitimacy as symbolic power. keywords: symbolic power, aesthetic taste, strategy, creativity education how to cite: casta, c., rohidi, t. r., triyanto, t., & karim, a. (2021). production of aesthetic tastes and creativity education of indonesian glass painting artists. harmonia: journal of arts research and education, 21(2), 266-277 harmonia: journal of arts research and education 21 (2) (2021), 266-277 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i2.30348 tity has an aesthetic taste that is influenced by its appreciation of its culture as a fulfillment of aesthetic needs (rohidi, 2015; triyanto, 2017; wiyoso & putra, 2020). ranciere (2004) asserts that aesthetics is a dialectic between social, political, and aesthetic itself (cook, 2018)little work has assessed how certifications redefine the introduction aesthetic taste is an important concern in human civilization. taste is a substantive part of aesthetic theory, a phenomenon and practice that has historically had a wide variety of representations (klimov & klimova, 2017). every cultural encorresponding author: e-mail: madecasta09@gmail.com p-issn 2541-1683|e-issn 2541-2426 casta, et al., production of aesthetic tastes and creativity education of indonesian glass 267 local aesthetic experience of the food. in order to fill this gap, i analyze the aesthetic politics, which redefine who can taste and how they can do it. i argue that incorporating aesthetic politics into analyses of quality and standards enables tracing how this standard becomes regarded as scientific and, return, effects a re-aestheticizing of what is considered a(n and contributes to the realization of the characteristics of a community ( triyanto & sugiarto, 2020; klimov & klimova, 2017). the discourse of aesthetic taste became a major concern of world scientists after pierre bourdieu (1984) stated that taste is a form of power used to reproduce class structures (bourdieu, 1984a; kane, 2003; savaş, 2014; holm, 2020). it is also highly dependent on cultural capital and economic capital received within the class fraction (brisson & bianchi, 2017; paalgard flemmen et al., 2019). bourdieu’s thesis on taste in the arena of cultural production transcends the dichotomy of subjectivism and objectivism, symbolism and materialism (turner & edmunds, 2002). they are built from the concepts of habitus, capital, and field, in addition to the concepts of taste and symbolic power as the epicenter of the theory (bourdieu, 1984a, 1993, 1998; wacquant & akçaoğlu, 2017. habitus perceives the field based on the accumulation of capital as a way of being (fauzi, 2016; haryatmoko, 2003; jenkins et al., 1993; newman et al., 2013), as the basis of practice (bourdieu, 1993; edgerton & roberts, 2014; fauzi, 2016; navarro, 2006); and regulate appetizing consumption practices (bennett, 2007; bourdieu, 1984a). the concept of field is understood as a field of struggle to fight over and change or preserve positions (jenkins et al., 1993; karnanta, 2013; newman et al., 2013) to preserve power (bourdieu, 1984a; murdock, 2010). in entering the field, each agent will use strategy and capital accumulation (cultural, social, economic, and symbolic) as the logic that governs the agent’s struggle in power relations (bourdieu, 1993; rawolle & lingard, 2008). the accumulation of capital can give birth to symbolic dominance through the use of doxas as a dogma that directs one’s perspective in perceiving the world in which doxas exist (bourdieu, 1984b). some agents produce orthodox to maintain position, in addition to producing heterodox as a cognitive response that corrects doxa with subversive strategies to gain legitimacy, either specific legitimacy, ‘bourgeois’ taste legitimacy and popular legitimacy (bourdieu, 1993; karnanta, 2013; swartz, 1997). in this context, bourdieu views that taste as a form of doxa as cultural capital and economic capital controlled by habitus. therefore it is related to class structure (bourdieu, 1984; 1984a; brisson & bianchi, 2017; sato et al., 2016). bourdieu’s theory of taste and lifestyle concerning social structure has received a response from international research. carol sherrard’s research refutes the relationship between social class and aesthetic sense (sherrard, 1995). interpretive studies of taste patterns in the united states have uncovered six varied taste repertoires from various cultural capital resources (holt, 1997). research on postwar australian elites does not show a highbrow taste but prefers middle to low culture (turner & edmunds, 2002). there are four types of a repertoire of female facial beauty tastes and male handsomeness in france, italy, netherlands, poland, and england, including aesthetic repertoire, subjective versus objective, gender normative and racial repertoire (kane, 2003; kuipers, 2015). research on the cultural repertoire of families of low social status in canada in terms of food finds that their aesthetic preferences operate according to the four cultural repertoires and are distinctly different from those of omnivorous cultures of high social class (baumann & szabo, 2017). research into the cultural consumption and tastes that characterize the social position of britain’s elite over a 120-year historical span finds that there has been a shift into three historical phases. the shift is the elite distinction, from aristocratic fashion, high fashion, and contemporary fashion that openly practices everyday culture while harmonia: journal of arts research and education 21 (2) (2021): 266-277268 continuing to maintain flavor (friedman & reeves, 2020). the use of bourdieu’s theory of taste, which uses taste analysis as a medium of social difference, studies taste expression and shifts towards the production of tastes. this taste production uses social media platforms, showing that subjects, objects, and media produce each other as a taste triangle (paßmann & schubert, 2020). research on aesthetic taste as a response to bourdieu generally examines the expression of tastes, such as the relation of taste to cultural capital, the expression of the tastes of certain elite groups, the aesthetic taste of beauty and handsomeness, the food taste of low social status. research on aesthetic taste generally examines the expression of taste and very rarely takes the point of view of the study of the production of aesthetic taste. in addition, research on aesthetic taste still takes cultural settings in europe, america, and australia. there has been no research on the production of aesthetic tastes from cultural settings in asia, specifically in indonesia. this study examines the production of aesthetic taste by indonesian glass painting artists using a theoretical study in the field of bourdieu cultural production, thus producing novelty on the repertoire of differences in aesthetic taste. this study also finds a model of creative discovery in the production of flavors. by a glass painting artist. the cultural production of indonesian glass painting is different from the stained glass in roman architecture (m. corrêa pinto et al., 2018). this type of art also developed in senegal as suwers (pierce, 2005). glass painting entered indonesia from europe via china at the end of the 19th century (fischer, 1994; samuel, 2005; waluyo, 2006). at first, this art, with its glass which was still a luxury item, was closely related to the royal class of the palace (cohen et al., 2000). indonesian glass painting developed in cirebon, jogjakarta, surakarta, muntilan, demak, kudus, nagasepaha-buleleng-bali, and several other areas with different characteristics of aesthetic tastes, strongly influenced by the cultural system (samuel, 2005, 2010, 2013; waluyo, 2006; wisetrotomo, 2012). the cultural production of indonesian glass painting has various characteristics. this study aims to examine the creative process of indonesian glass painting artists in producing aesthetic tastes and their relationship to symbolic power in the field of cultural production. the findings of this study are the diversity of the repertoire of aesthetic tastes in indonesian glass painting and the discovery of the production strategy of aesthetic taste concerning symbolic power. the scientific contribution of this research is the discovery of an artistic creativity education model that is sourced from local wisdom to strengthen art education in informal educational institutions. method this study used a qualitative approach with interpretive phenomenology-oriented research that seeks to find psychological meanings contained in a phenomenon (smith, 2014). the data sources focused on the dynamics of glass painting that developed in cirebon, namely six glass painting artists with categories: (1) glass painting artists mastering symbolic power in the field of cultural production; (2) glass painting artists who still exist by having found an aesthetic distinction, and (3) a young glass painting artists who is struggling to find an aesthetic distinction and is in symbolic power. the data were collected using in-depth interviews, individual life’s history, and visual documentation of glass painting. the data validity was carried out by testing the data credibility test through extended observations, discussions with colleagues, and triangulation (creswell, 2013; sugiyono, 2019). data analysis was carried out using interpretative phenomenological analysis (ipa) with the following stages: 1) reading and re-reading; 2) initial notes; 3) developing emergent themes; 4) searching for connection across emergent themes; 5) moving the next case; and 6) looking for casta, et al., production of aesthetic tastes and creativity education of indonesian glass 269 patterns across the case (hajaroh, 2010; kahija, 2017). data analysis also combines interpretative phenomenological analysis (ipa) with theoretical analysis of the combination of the organic unity of visual artworks according to ocvirk et al. (2001) which includes the following aspects: 1) subject; 2) content, and 3) form (ocvirk, 2001; rohidi, 2011). these three aspects are used to explore and identify the embodiment of each research participant’s aesthetic distinction of the visual structure of the glass painting. results and discussion the production of aesthetic taste in the cirebon-indonesian painting takes place dynamically and is influenced by the constellation of cultural capital guided by the habitus of the artists. the field of glass painting cultural production then becomes a field for the struggle for cultural capital and the struggle to gain legitimacy as symbolic capital. therefore, various aesthetic taste repertoires emerge as a result of the choice of strategies for finding aesthetic tastes made by glass painting artists. a repertoire of aesthetic tastes in indonesian glass painting the results show that each cirebonindonesian traditional glass painting artists produce their aesthetic tastes. there are several repertoires of aesthetic tastes for cirebon-indonesian glass painting, including the aesthetic taste of the palace, the aesthetic taste of strengthening cultural identity, the aesthetic taste of traditional renewal, the aesthetic taste of traditional revitalization, and the aesthetic taste of marginal class. the repertoire of the aesthetic taste of the palace (cirebon-indonesian) is unique because the actors are syathariyah tariqa practitioners from the royal family, including elang aruna, elang medina, and raden saleh. the theme of the glass painting is a calligraphy pictograph. the subject matter of glass painting is taken from the teachings and symbols of javanese islamic mysticism from syathariyah tariqas, such as serabad rikhul ahmar, banteng windu, insan kamil, sayidina ali, macan ali, and puppet figures. the repertoire of the aesthetic taste of the palace is characterized by the visualization of decorative, symbolic, orderly objects, always applying ornaments of mega-mendung and wadasan, and the balance of intra-aesthetics and extra-aesthetics. the aesthetic taste of the palace confirms the existence of traditional functional art for aesthetic satisfaction, da’wah, and solving social problems (irianto et al., 2018) figure 1. “serabad rikhul ahmar” glass painting, offering the taste of the palace (photo: casta, 2018) the repertoire of aesthetic tastes in indonesian glass painting that develops outside the palace is for strengthening cultural identity. the artists are the puppeteers, shadow puppet engravers, or editors who also act as glass painting artists. the most prominent glass painting artist is rastika, with the following principles: using a typical cirebon shadow puppet object, decorative, symbolic, not presenting perspective, plain/flat background coloring, using ornaments of wadasan, and mega mendung with traditional cirebon coloring. sources of creative ideas generally come from the stories of ramayana, mahabharata, and the carangan/anggitan plays which are presented in the form of wayang ijen and wayang jejer. this phenomenon strengthens the thesis that the ramayana story became an important source in early civilization in java (bramantyo & hung, 2017). this choice of aesthetic taste was guided by the cultural policy of the new order governharmonia: journal of arts research and education 21 (2) (2021): 266-277270 ment in the 1970s, which proclaimed the development of national culture with the thesis that national culture is the pinnacle of every regional culture. the aesthetic taste of this group supports the assumption that art as a cultural heritage forms cultural identity among the onslaught of global culture (triyanto et al., 2019). figure 2. “karna tanding” glass painting, (100 x 150 cm), by rastika, 1985, offering the taste of strengthening cultural identity (source: photo by kusdono) in the late 1980s, the indonesian glass painting public was surprised by the emergence of a new aesthetic repertoire that offered several innovations and creativity, in terms of technique, visual language, and expressive style, promoted by toto sunu, a glass painting artist who was previously a canvas painter. the choice of finding toto sunu’s aesthetic taste is in line with the idea that creativity and innovation of traditional arts are necessary for the preservation of traditional art (ridwan et al., 2020). this glass painting artist’s creativity questions the aesthetic taste of rastika’s choice by offering a new aesthetic taste rule marked by innovations in techniques, media, themes, sizes, and even prices, as well as other forms of ‘resistance.’ toto sunu reduced the traditional canons from the shadow puppet objects, the color scheme, the ornament styles of mega mendung and wadasan which have become icons of cirebon culture, and then offered the airbrush technique using mix-media so that the background of the painting is no longer flat, but textured and expressive, in addition, he also presented a plastic impression of the subject matter of his paintings, something that is not found in the aesthetic taste of rastika’s tradition. in terms of the puppet scenes or lines he paints, toto sunu presents a very dynamic scene, even surpassing the usual scenes in the sense of strengthening cultural identity. figure 3. “babad alas amer” glass painting, by toto sunu, offering the taste of traditional renewal (photo: toto sunu, 2009) the aesthetic taste of tradition renewal offered by toto sunu was rejected by the glass painting artist community of sanggar noerdjati under the leadership of rafan hasyim who advocated the revitalization of tradition. this new aesthetic taste is characterized by re-examining the superiority of traditions that reject airbrushes, mix-media, graffiti, and ornaments of mega mendung and wadasan that are not following the standard. therefore, the rules of aesthetic taste are characterized using shadow puppet objects that are truly typical of cirebon, ornaments of mega mendung and wadasan according to the standard, flat coloring (not using an airbrush), decorative, not presenting optical illusions and displaying visualizations that are afraid of emptiness (horror paque). the repertoire of tastes that is also found in cirebon’s treasury of glass painting is the aesthetic taste of the marginal class offered by fringe glass painting artists in roadside stalls. this group offers an aesthetic taste with the painting object taken from cirebon cultural treasures (shadow puppets and palace symbols), but they are done simply at a low price, and there are efforts to follow the growing trend. the artist with this aesthetic repertoire is ki dacasta, et al., production of aesthetic tastes and creativity education of indonesian glass 271 lang pata. figure 4. “hanoman obong” glass painting, 100cm x130cm, by raffan hasyim, offering the taste of cultural revitalization (photo: opan, 2010) figure 5. “semar” glass painting, 40 cm x 50 cm, by ki dalang pata, offering the taste of marginal class (photo: casta, 2020) the findings of the five repertoires of aesthetic tastes in figure 5 show that the aesthetic taste produced by the cirebonindonesian glass painting artists is largely determined by the cultural capital of the painter, guided by his habitus. this finding corroborates pierre bourdieu’s thesis that tastes are determined by cultural capital and aesthetic dispositions acquired typically by transmission in family and education (bourdieu, 1984a; sato et al., 2016) which contribute greatly to success (börjesson et al., 2016). the results of the research also reinforce that cultural capital contributes significantly to success as a form of return on cultural capital (andersen & jæger, 2015). therefore, cultural capital can be positioned as a resource that is equivalent to economic resources (jæger & møllegaard, 2017). the repertoires of aesthetic tastes of cirebon-indonesian glass painting artists which were built from the construction of cultural capital and controlled by their habitus, have made them successful glass painting artists both economically and legitimately. aesthetic tastes built from certain cultural capital can be accepted by people who enjoy aesthetic goods with identical cultural capital, cultural and economic capital prevailing in the class fraction (brisson & bianchi, 2017). this confirms that capital exchange occurs. the most powerful exchange of capital is when the exchange of cultural capital becomes symbolic capital, including legitimacy, which takes a long time and great energy for publicity and prestige (fauzi, 2016; fuchs, 2003). the aesthetic taste offered by the artist rastika received appreciation from the upper, middle, and lower classes of society. this shows that there is a trend of omnivorous tastes that combine taste classes due to openness and high tolerance (van den haak & wilterdink, 2019). this finding is in line with the results of carol sherrard’s research which found that most respondents denied the existence of a relationship between social class and aesthetic sense. only the repertoire of aesthetic tastes of marginal classes pioneered by ki dalang pata supports bourdieu’s theory which states that taste can explain the class structure in society by classifying tastes of the upper class, middle class, and popular lower class(bourdieu, 1984a, 1993; kane, 2003; savaş, 2014). thus, the findings of this study are that the production of aesthetic taste in indonesian glass painting cannot fully be used to explain the class structure in society. the strategy of aesthetic taste discovery the results show that each glass painting artist strives for aesthetic taste with different strategies through a symbolic power mechanism known as doxa, a set of fundamental beliefs that resemble dogma (buchanan et al., 1993). it has directed harmonia: journal of arts research and education 21 (2) (2021): 266-277272 a person’s perspective in perceiving the world or the field in which the doxa is located (karnanta, 2013). the data in this study show that glass painting artists from the royal family found their aesthetic taste by rejecting the western aesthetic principles offered by chinese artisans. the aesthetic taste that carries the issue of the peaks of regional culture as national culture is the “ideology of aesthetic taste” of the new order government. it is a doxa that rastika unanimously accepted to gain control of various capitals and finally gain legitimacy as a maestro of glass painting, a symbolic capital. a different strategy was adopted by the artist toto sunu, who offered a new taste that was very different from the rastika style supported by kusdono. he does not want to be in the shadow of rastika’s symbolic power by choosing a path to oppose and correct rastika’s aesthetic taste that radiates symbolic power. on the other hand, the artist raffan hasyim corrected toto sunu’s aesthetic taste and accepted the doxa spread by rastika and the new order government. the results of the study indicate that aesthetic taste can be realized through the artists’ perception of doxa. acceptance of doxa produced the orthodox strategy and rejection of doxa produced the heterodox strategy (bourdieu, 1993; buchanan et al., 1993; karnanta, 2013). the production of heterodox will perceive and correct doxa as another form of thought or discourse (swartz, 1997). rastika used the orthodox (defensive) strategy as a conservative strategy to support the aesthetic doxa of the new order government to gain legitimacy. the acceptance of the rastika’s aesthetic taste doxa by kusdono (rastika’s son) puts him in an unconscious communication (uhlmann et al., 2002) or rastika’s symbolic power through the communication of imposing symbols and meanings as legitimate (bourdieu, 1993; karnanta, 2013) with gentle, unconscious, and agreed-upon oppression by the oppressed party (bourdieu, 1977; jenkins et al., 1993). toto sunu chose a strategy to find different aesthetic tastes. this artist chose to use the orthodox (subversive) strategy which re-perceived rastika’s doxa, to be able to produce specific legitimacy from fellow glass painting artists, legitimacy from gallery managers, and popular legitimacy (bourdieu, pierre; passeron, 1990; bourdieu, 1993; jenkins et al., 1993). on the other hand, the discovery of creativity with different aesthetic tastes was carried out by raffan hasyim with a synthesis strategy of orthodox and heterodox carried out by involution (involute). raffan hasyim’s involute approach does produce quality works, has its aesthetic distinction, but in terms of market success, it has not matched rastika or toto sunu. this is in line with bourdieu’s principle of heteronomous hierarchy, which measures the legitimacy success from the sales figure index and the principle of autonomous hierarchy, which is measured by specific legitimacy as an art item outside of economic principles (bourdieu, 1993; karnanta, 2013). the most interesting part is the strategy used by ki dalang pata. he made a strategy of pseudo-heterodox (pseudo-subversive) that seemed to reject doxas to gain and cultivate economic capital. this emphasizes that capital is the logic that regulates the struggle of actors in power relations in the field (rawolle & lingard, 2008). the discussion written in the previous section shows that the strategy of finding aesthetic taste in the cirebon-indonesian glass painting includes defensive, subversive, defensive-subversive synthesis, and pseudo-subversive strategies that are used to cultivate capital and gain legitimacy. the choice of strategy for finding aesthetic tastes as described in the previous paragraphs is a form of creativity that can be constructed into a model of creativity education in art education in schools. creativity in creating aesthetic tastes can be started when an artist or prospective artist is faced with a doxa that will be perceived to produce a choice of strategy, either orthodox or heterodox. the intervention of doxa which is legally accepted as a form of symbolic violence can be perceived to produce an orthodox strategy that will produce crecasta, et al., production of aesthetic tastes and creativity education of indonesian glass 273 ativity in aesthetic tastes that support doxa. thus, every form of creativity shows the motivation behind the creative products produced (puspita et al., 2020), by accepting or re-perceiving doxa. schematically, the two strategies for finding creativity in the production of aesthetic taste in the world of indonesian glass painting can be seen in figure 6 below. figure 6. schematic of creativity education model the indonesian glass painting artists the first creativity education model that can be accommodated from the above scheme is the orthodox strategy model (defensive strategy), namely the discovery of creativity built with the spirit of cultural awareness that comes from ownership and cultivation of capital culture to be used as a field of exploration in the work, to produce forms of creativity that are in line with doxa. this model requires prospective artists/students to strengthen cultural capital, starting with the mimesis stage by absorbing symbolic dominance and then making discoveries through an involute approach, i.e., doing inward complications to find a personal style. the second creativity education model is the discovery of creativity that uses the heterodox strategy (subversive strategy) that re-perceives and even rejects the taste of doxa. prospective artists/students must explore the discovery of different aesthetic tastes from doxa, which already have symbolic power. technical innovations, themes, visual language are the paths that must be taken with this strategy to produce creativity in aesthetic tastes. the third creativity education model is a model that combines the orthodox with heterodox strategies that find creativity by reinterpreting aesthetic tastes of doxas by accepting innovation through an involute approach, namely doing inward complications. the strategy of finding aesthetic taste by the cirebon-indonesian glass painting artist is a form of finding creative work that can be implemented in art education in formal schools. conclusion the production of aesthetic taste is a representation of habitus control over the cultural capital owned by glass painting artists to cultivate various capitals, both economic capital, social capital, and especially symbolic capital. there are several repertoires of aesthetic tastes in the repertoire of indonesian glass painting, namely the aesthetic tastes of the palace, the aesthetic tastes of strengthening cultural identity, the aesthetic tastes of traditional renewal, the aesthetic tastes of cultural revitalization, and the aesthetic tastes of the marginal class. the production of aesthetic taste in indonesian glass painting cannot fully be used to explain the class structure in society. the discovery of aesthetic taste is related to the mechanism of symbolic power through relations doxa, orthodox, and heterodox. there are several strategies for finding aesthetic tastes in the cirebonindonesian architectural treasures, including defensive, subversive, defensive, and subversive synthesis, and pseudo subversive strategies. every strategy for finding aesthetic taste is a model for finding creative works that can be applied as a model for creativity education in art education in informal educational institutions. the diversity of aesthetic repertoire shows that traditional art still provides creative space for each artist, largely determined by the mastery of cultural capital and the choice of strategy in dealing with symbolic doharmonia: journal of arts research and education 21 (2) (2021): 266-277274 mination. the richer the cultural capital owned, the stronger the distinction of aesthetic taste as a result of creativity. acknowledgments the author would like to thank jerome samuel from 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(2020). the aesthetic taste representation of coastal community. harmonia: journal of arts research and education, 20(1), 108–116. https://doi.org/10.15294/ harmonia.v20i1.17426 381 mythologization of the goddess mazu: readings through spacial setting and activity in the interior of cu an kiong temple suastiwi triatmodjo1, ted tsung-te tsai2, m. agus burhan1, hanggar budi prasetya1, endah budiarti1 1institut seni indonesia yogyakarta, indonesia 2tainan national university of the art, taiwan submitted: 2022-06-03. revised: 2022-11-04. accepted: 2022-12-06 abstract this study aims to understand the myth of the goddess mazu in lasem city, central java. the research was conducted by observing the interior space at cu an kiong (cak), the oldest temple in lasem city. this study uses a verbal communication approach from rapoport (1982) and a cultural approach from koentjaraningrat (2015) to explore human relations with their environment and explain phenomena that exist in the research object. the research found that there is an exaltation space in this mazu temple; this space is placed on the axis of space and time, it is to see the meaning of the space that has been built is practiced by the whole community, both the chinese and the javanese ethnicities, in a continuous flow of time from the first time the temple was built until now, as well as providing an interpretation of the phenomenon which are actually happened in lasem. based on the research, it can be concluded that the exaltation space shows the mythical practice of the goddess mazu by the local community, both chinese and javanese ethnicities. the mythology of goddess mazu, or mak co, is the protector of fishermen, sailorman, and common people in lasem. keywords: goddess mazu; cu an kiong temple; interior design, mythology how to cite: triatmodjo, s., tsai, t. t., burhan, m. a., prasetya, h. b., & budiarti, e. (2022). mythologization of the goddess mazu: readings through spacial setting and activity in the interior of cu an kiong temple. harmonia: journal of arts research and education, 22(2), 381-391 harmonia: journal of arts research and education 22 (2) (2022), 381-391 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i2.40627 and hadinonto (2001) says that temples in this city can become landmarks of the city of lasem. cu an kiong temple is the biggest, most beautiful, and oldest temple in lasem. here resides dewi mazu or tian shang sheng mu, in local terms referred to as mak co, as the goddess or guardian angel of this place of worship. they are considering the title of cu an kiong temple as the largest, most beautiful, and oldest temple in lasem and in java in general, research on cu an kiong temple with its mak co is important to do. introduction talking about chinese culture in lasem will not be meaningful without discussing cu an kiong temple, a place of worship built five centuries ago by immigrants from china. the interior of this temple is a rich chinese cultural heritage with beautiful interior details and ornamentation and is still well preserved today and is visited by many congregations of the general public. pratiwo (2010) states that temples are an important element in chinese tradition, corresponding author: e-mail: triatmodjosuastiwi@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (2) (2022): 381-391382 many experts have conducted studies on chinese art, interior architecture, history, and culture in lasem, such as iskandar y. and topan, m. a. (2018), who wrote about the characteristics of the chinatown area. pratiwo (2010), in his book, also explains a lot about traditional chinese architecture. handinoto et al. (2005) also analyze lasem as a city with chinese nuances in their article. many other experts also discuss acculturation (nurhajarini, d. r. et al., 2015, atabik, a., 2015, sudarwani et al., 2018, pradhana r. et al., 2020); there are also explained history (unjiya, ma., 2008, darajadi, 2008) and also explained about conservation in lasem (wulaningrum, sd., 2017). however, these various writings still leave gaps that have not been discussed, namely the meaning of the cu an kiong temple with mak co, the goddess of its inhabitants. this study was conducted to complement existing studies and specifically discuss the interior of the cu an kiong temple and relate it to mak co or dewi mazu, the resident of the main temple in lasem city. the discussion is carried out by connecting three things: the existing spatial settings, the activities carried out, and the values shown in the interior of the cu an kiong temple. with these three things, we can draw the meaning of the space that is built, and then the meaning that appears is related to the time axis to see how long this culture has been practiced. in this further meaning, the mythical theory of mak co in lasem is found, which is the final result of reading the interior of the cu an kiong temple through its spatial settings and activities. this paper argues that the presence of a room for the exaltation of a figure, in this case, dewi mazu, accompanied by activities of worship, reverence, and purification of her, which are practiced continuously for a long time, can foster myths about mazu. the practice of worshiping mak co is demonstrated by presenting a kimsin (statue) of this goddes and placing it on the main altar of cu an kiong temple. it decorates the mazu altar and the main hall with beautiful and luxurious interior details, worships and gives offerings to mak co every day, and guards and cares for the sacredness of mak co’s kimsin carefully and strictly. the worship and purification aimed at mak co have been practiced continuously for a long time, not only by chinese community groups but also by the javanese people who live in lasem. thus, a myth was built against mak co or dewi mazu, a goddess from china who protects fishermen, sailors, and coastal communities in lasem. the paper will explain how the mythical goddess mazu is practiced by the local community, both chinese and javanese. through existing interior design art and other cultural events, it is hoped that it can reveal the mythology of goddess mazu, or mak co, as the protector of fishermen, sailors, and ordinary people in lasem. method the observation is focused on the special setting and activities found at the cu an kiong (cak) temple in lasem to understand the myth of goddess mazu or mak co. data analysis was carried out using the theory of non-verbal communication (rapoport, 1982) related to human relations with their environment and the theory of cultural acculturation (koentjaraningrat, 2015), which explained the phenomenon found at the temple in its textual aspect, rituals, and cultural practices. figure 1. research flow rapoport (1977: 8-47) stated that there is a direct relationship between the design of human residential spaces and the suastiwi triatmodjo et al., mythologization of the goddess mazu: readings through spa383 culture they practice. here there is a continuous linear relationship between culture, way of life, values, norms, activities, and system settings. thus, a socio-cultural structure and organization of society can be reflected in the structure and organization of its living space. rapoport also said that an interior architectural phenomenon in a specific area is the design of the built environment, which is basically an organization or arrangement of space, time, meaning, and communication, which contains thoughts and considerations on the natural environment, perceptions of community to the environment, and the uniqueness of culture and values held by the community that owns it. koentjaraningrat (2015) states that acculturation is a social process that arises when a group of people with a specific culture is confronted with elements from a foreign culture. these foreign cultural elements are then slowly accepted and processed into their own culture without losing their original culture. result and discussion tian shang sheng mu and cu an kiong temple cu an kiong temple means "temple of mercy and peace." this name symbolizes a goddess placed in the temple, namely the tian shang sheng mu goddess, dewi mazu, or her local name, mak co. in the chinese religion, the mazu goddess is popular, and her role is recognized by the state and the clerical elite (zhang, y, 2019). she is the patron goddess of fishermen and sailors. she comes from fujian, china. according to legend, tian shang sheng mu was a daughter with spiritual powers that were able to save her father from danger when he was at sea. she was later known as a goddess; with her magical powers, she saved the royal ship heading to korea (heler, 2020). at first, mazu was the local goddess of a fishing village in fujian, then during the song, ming, and qing dynasties, mazu was promoted, and her myth became part of the state ideology. the ways used to promote mazu are by giving imperial titles, lists of sacrifices, and building official temples in honor of the goddess mazu (zhang, y., 2019). based on this brief explanation, it can be concluded that mak co, who was in cak, was a protective goddess for the chinese immigrants who, at that time, started building settlements in lasem. so, on the one hand, these migrants need protection from godness mak co while at sea while traveling back and forth from china to lasem; they also hope for protection from mak co where they live and start a new life in lasem (figure 2). figure 2. the painting of goddess mazu hovering above the sailing boat (source: ruitenbeek, 1999) the basis of chinese belief is "glorify the sky (god – tian) and honor the ancestors (zu or shen). tian as creator is only one, but zu or shen become many according to their respective duties as tian's assistants in managing this universe (setiawan, e., 1990). they are given names according to their powers. heler (2020) explains how these gods and goddesses were born, mature, and finally bestowed with spiritual power, making their deities. as an open religion, many experts claim that chinese people are really pragmatic in worshiping gods-goddesses in their life, bringing them into their settlement. the community will come to a consensus on which gods or goddesses they'll bring into the settlement, and the chosen one/s will then place within the community's temple (klenteng). just like mak co in lasem, it's completely within logic that the goddess or figure placed within the temple of cak follows the harmonia: journal of arts research and education 22 (2) (2022): 381-391384 life dynamic faced by the chinese community as well as the agreement made during the time. setiawan further explained that the taoist temple founded by the emperor was called "gong"; this term is also used by the temples in lasem cu an gong or cu an kiong. thus it can be said that cu an kiong is the official temple of the chinese emperor. in indonesia, there are many temples worshiping goddess mazu. along the javanese north coast in banten, jakarta, tuban, lasem, rembang, gresik, and sumenep. meanwhile, these temples can be found outside java in kubu raya west kalimantan, makassar, and manado. seeing the names of the cities, i.e., port cities, it can be concluded that this goddess mazu is connected to the sailing activities of the chinese travelers and explorers during the time. in this world, several most notable temples of goddess mazu can be found in singapore, taiwan, san fransisco, united states, and melbourne, australia. research by wang et al. said that in taiwan, the mazu temple and its festivals are visited by many tourists, such as; leisure travelers, cultural enthusiasts, religious pragmatists, and devout believers (wang, k.y. et al. 2020). the term mak co as the local name of mazu or tian shang sheng mu, has been used by the people of lasem for a long time, and people in this city only know of this name of the goddess and no other names. according to mr. tri, a lo cu cak, the term mak co means honored grandma (simbah putri). the words ‘mak’ and ‘co’ both mean grandma. mak co received state titles from the ruling dynasties in china, such as celestial consort of illustrious manifestation who protects the state and guard the people (1299), glorius response, magnimous humanity (1400-an), and many more. these titles are official imperial titles (zhang, y., 2019). figure 3. mak co’s statue in the temple altar of cu an kiong (sources: budiarti, 2021) in previous research, it is mentioned that in visualizing the gods and goddesses in twoor three-dimensional artworks, specific values or characters can be observed from the patterns and gestures, accessories, paraphernalia, expression, as well as decorative ornaments. these forms represent certain ideas and meanings attached to the gods and goddesses, and their purpose is to differentiate a god/goddess from the rest (goldamer, 2018, as cited in susilo, 2019). the research conducted by susilo on the statues of gods and goddesses in the temples in indonesia showed the same conclusion. it is also mentioned that certain characters visualize some godsgoddesses to enhance their special function (susilo, 2019). for example, the face of mak co. as one of the goddesses in the chinese pantheon, mak co is very popular and exalted (zhang, y., 2021). her face is calm, serene, and motherly, and this can represent her loving and patron quality. there are five statues of mak co in the temple of cak. all five are placed on the altar in the temple’s main hall. this main hall with the altar stands at the far end of the temple’s building. the wall surrounding the altar is divided into three segments, the middle is for mak co, while the left and right, respectively, are for gia lam ya and hok tik tjing. the front of the altar is adorned with a table and carpet. this area is for praying and kneeling in front of the altar. it can be seen from the picture that the table and carpet for the middle suastiwi triatmodjo et al., mythologization of the goddess mazu: readings through spa385 altar that’s for mak co are bigger compared to the two other altars. this main hall of the temple of cak is the most majestic and luxurious structure in the temple and is relatively preserved. figure 4. the altar of hok tik tjing sin (earth god) by the north of mak co’s altar(source: budiarti, 2021) figure 5. the altar of goddess mazu or mak co with its altar table and offering table (sources: budiarti, 2021) the altar is made up of a 1-meterhigh table with a house-shaped box that has a hole in the middle. within this hole is mak co’s statue. the wall of the altar is made of carved wood, painted in gold color, and is ornamented with embroidered drapes. in front of the altar is another table made of wood and covered with an embroidered tablecloth, where offering food is placed commonly (or daily). the statue of mak co itself is shown wearing a traditional chinese costume with a drooping robe covering almost the whole body of the statue. according to our informant, this costume is a present from a worshiper who felt blessed by mak co. the costumes can be ordered directly from china or made in indonesia. during this research (2020/2021), mak co’s costume is a yellow robe embroidered in dragon and fireball patterns, with a red pleat and golden crown. the statue is made of bronze-colored wood. in heller’s article (2020), it is mentioned that the statue of goddess mazu is usually carried during a sail, kept by the captain in the ship’s hold. this way, the sailors and fishermen can hope for protection and safety from goddess mazu. figure 6. statues of mak co in cak, with different costumes when brought outside the temple (sources: budiarti, 2021) mak co’s statues are sacred. it is usually forbidden to photograph these statues. it is said that capturing the statues into images can be bought about the disastrous or unpleasant incident. the rule is carried out during the research’s data gathering, where the researcher couldn’t take mak co’s statues’ photograph and had to be accompanied by the temple keeper, cik lin, when inside the main hall. cik lin keeps reminding the researcher not to take any photos. mak co in cak can be said to be always guarded and monitored. this treatment is vastly different from goddess mazu’s statues in other places. people can take pictures of those goddess mazu statues without a problem. moreover, goddess mazu is materialized as an enormous 40 meters high statue in tian jin. as a matter of fact, this prohibition against taking pictures and the act of erecting this statue are ways to honor the goddess, but in different forms. at the present time, mak co is no longer solely connected with marine life. however, in everyday life, many people in lasem pray to mak co to ask for a lot harmonia: journal of arts research and education 22 (2) (2022): 381-391386 of things, such as finding spouses, graduating from school, asking for recovery from illness, and even asking for the charm to make them rich. in addition, they often perform a ritual to ask for protection from mak co before they sail to fish. the non-chinese or non-chinese descendant fisher community in lasem (wong mbelah), since then until now, whatever their faith, always visit the taoist temple to ask for mak co blessings before they sail to fish. they ask for blessings so that they can catch a ton of fish. so they feel somewhat lacking if they don’t visit mak co dasun temple (cak) before they sail to the sea (swie lan, 11 february 2021). the big celebration involving mak co is the chinese new year, the lampion festival as part of the chinese new year celebration, goddess mak co birthday, and the temple anniversary. this parade or celebration in chinese, called xu jian literally means “wheeling the environment,” similar to jut bio – go outside the temple or jiao keng – go around the neighborhood. with several terms above, xu jian can be described as carrying kim sin (the goddess who lives within the temple) to go outside the temple to clean the neighborhood from bad influences or negative spirits. an informant said that the tradition of parading mak co in a carnival had been long run in lasem, as stated by previous researchers who studied lasem (handinoto & hartono, 2005; pratiwo, 2010; atabik, a., 2016). they recorded the same thing; however, nobody can say when this xu jian tradition started to be performed. as the first god/goddess to be homed within the temple in lasem, mak co, together with temple cak became the honorable goddess and was considered to have greater power than the gods/goddesses within other temples across lasem. this cannot be separated from the tradition in chinese culture, which highly cherishes their ancestors. the space of exaltation the following part will deliver the reading of the meaning thoroughly toward the physical as well as the non-physical phenomenon we discovered in the field, namely about mak co or goddess mazu in temple cak. thus, a deeper exploration of meaning is carried out by using rapoport’s theory. the theory says that there is a chain of linear cross-cultural relationships to a specific setting system (culture-life view values lifestyle activity system spatial order system), so that the structure and organization of the socio-cultural community will be reflected in the structure and organization of the space in which they live (rapoport, 1977). the chain of analysis mentioned above is then narrowed down into a triangular meaning of space, connecting three important things in interior architecture: spacial setting, activity, and value. figure 7. triangular schematic relationship between activity system, setting system, and values (sources: triatmodjo, s., 2021) based on the description that has been presented on the front and considered the reading of the meaning scheme above, a table of discussion about the discovery space can be arranged as follows (table 1). broadly speaking, there are eight finding spaces whose meaning is narrowed into one space, namely the space of exaltation (peluhuran). the term peluhuran, from the origin of the word luhur (sublime), is defined as something good, high, or noble. there is also the word leluhur (ancestor) which means parents or respected predecessors. the peluhuran room is where the chinese community in lasem pays respects and glorifies mak co, prays for blessings to mak co, and purifies mak co. every year mak co is taken around the village or town so that his strength and positive energy can drive away the evil forsuastiwi triatmodjo et al., mythologization of the goddess mazu: readings through spa387 table 1. the relation between the setting system, activity system, value, and the meaning of the rooms setting system/rooms activity system value meaning the altar of mak co with wider, more magnificent, and more beautiful space the altar of mak co/goddess mazu is made bigger, prettier, and more luxurious exaltation space of exaltation the space to do prayer to mak co mak co is asked for her blessing, prayed to exaltation the space of mak co where taking pictures is forbidden it is forbidden to take pictures of mak co purification the space (temple cak) guarded & monitored the altar is carefully guarded against vandalism purification the space/table of offerings mak co is presented with offerings, incense, foods, and murals exaltation the space of inheritance is still authentic the main altar in the temple is maintained authentic exaltation long historical remembrance (peluhuran) space in total, the ritual of offering has been carried out for 400 -500 years continuously endless belief ces in the village/city so that people can be protected and safe from harm. this is based on the belief that mak co has the power to love and protect. for nearly 400 or 500 years of the presence of cak and mak co temple in lasem, worship ceremonies and offerings to mak co continue as well as processions to ward off evil forces and present the power of protection and prosperity fortunes are carried out routinely in the city of lasem and especially the cak temples. the myth of mak co as the loving goddess of the sea in tracing the origin of the mak co’s name, it is known that it comes from mazu or tian shang sheng mu, a goddess who rules the ocean. as written by heller (2020), this story about the magic of goddess mazu is a myth that dates back to the 10th century and first appeared in fujian province on the east coast of china. this myth is widely believed by chinese fishermen, sailors, and explorers. in the past, some of these sailors made goodwill to java island, and some anchored, landed and settled in lasem. mak co is an adaptation of the name of mazu goddess or tian shang seng mu into javanese. in this adaptation, the story or myth about the power of goddess mazu does not change, what has changed is the name, namely from tian shang sheng mu or mazu to mak co, by adjusting the javanese pronunciation. according to dananjaya (1994), quoting from bascom (1965-b), the function of the myth is explained as follows. “mite is a folk prose story that is considered to have really happened and is considered sacred by the storyteller. a mite is characterized by gods or demigods. events that occur in another world, or in a world that is not as we know it today, and occurred in the past” (bascom, 1965b, in dananjaya, 1994). in another book, bascom also mentions the function of folklore, including myth, there are four functions “… as follows: a) as a projection system [projective system], as a means of reflecting the imagination of a collective, b) as a means of ratifying cultural institutions and institutions, c) as a means of children’s education [pedagogical device], and d) as a coercive or supervisory tool so its collective members will always obey that community norms”, (bascom, 1965-a, in dananjaya, 1994). referring to this definition, the story about the greatness and magic of the mazu goddess and her helpful and compassionaharmonia: journal of arts research and education 22 (2) (2022): 381-391388 te nature to fishermen and chinese sailors and explorers is a myth originating from fujian and then landing in lasem along with traders and sailors. this myth of the mazu goddess is strengthened by making a house, namely the cak temple, and then practicing religious and cultural rituals related to the mazu goddess. it is in this way that the mazu goddess myth then carries out its function, as bascom puts it: namely as a projection of collective imagination, as a means of validating social institutions, as a means of educating children, and as a norm followed by members of the chinese community in lasem. the results of this study indicate that the goddess mazu myth does not only function in the chinese community, but this myth also functions in some local communities, javanese. the previous section explained how religious rituals and cultural rituals related to mazu goddess were followed by the chinese in lasem and practiced by the local community. another thing is the change in the name of the character from a formal chinese name to a name that feels more local, and the first is tian shang sheng mu, more familiarly called goddess mazu and later became mak co; this word is from hokkien but feels more local because of the word “mak.” the cultural practice carried out by the chinese and then followed by the local people is actually a process of acculturation, which is a social process that arises when a group of people with a certain culture is confronted with elements of a foreign culture. the foreign culture is gradually accepted and processed into its own culture without causing the loss of the cultural elements of the group itself (koentjaraningrat, 2015). similarly, what happened to the goddess mazu myth, this myth from china was slowly accepted in the lasem societies, which was shown by the participation of local communities in activities to characterize goddess mazu or mak co. table 2 shows that there has been a myth of mak co by the lasem people. the chinese and local communities have believed mak co as the goddess of the loving ruler of the ocean, who can give help and protection to anyone who asks for her. figure 8. the making of the mak co or goddess mazu myth (sources: triatmodjo, s., 2021) figure 8 shows in more detail the myth that mak co can be awakened by goddess mazu, a mythological goddess who rules the seas from fujian, china, to lasem. the chinese community in lasem chose mazu goddess as the main occupant of the cu an kiong temple (16th century). the practice of worshiping goddess mazu at the cak temple by the chinese community and at the same time acculturating chinese culture by the local javanese community, which was shown, among other things, by the practice of worshiping goddess mazu by the local community and choosing the nickname mak co instead of using the name goddess mazu. the series of explanations above, both events, and processes that occur as well as spaces with artifacts that are integrated with the chinese community and their table 2. relationship of space meaning, cultural practices, and advanced interpretation meaning of readable space cultural practices by the lasem people interpretation of the two meanings of space as research findings exaltation space the meaning of space is embodied in the act of exaltation mak co, which has been carried out by many people continuously for a long time (400 years) the myth of mak co as the loving goddess of the sea, suastiwi triatmodjo et al., mythologization of the goddess mazu: readings through spa389 interactions with local communities in lasem, are pieces of evidence that show that there has been acculturation of the myth of tian shang sheng mu or mazu goddess into the myth of mak co, where this myth is not only recognized by the chinese community but also a myth for the local lasem community. whereas the cak temple and the procession of goddess mazu or mak co, in a spatial setting interpreted as mak co’s exaltation space, have been present and practiced by the lasem community (both chinese and local) continuously for approximately 400 years. based on all these facts, it can be interpreted that there has been a myth of mak co as the goddess of the loving ruler of the ocean by the lasem people in general. conclussion this research has found that the establishment of the mak co or goddess mazu myth is a direct result of the cultural practice of worshiping, revering, and consecrating mak co for nearly 500 years. this cultural practice is shown through the creation of an exaltation space at the cu an kiong temple. the exaltation space is visually embodied in the interior of the temple which is made so beautifully, full of luxurious carvings and decorations, and carefully maintained and strictly guarded. kim sin of goddess mazu is placed on the main altar of the spacious and luxurious temple, every day she is always worshiped and given offerings of fruit, food and drinks. the myth of goddess mazu as a compassionate sea goddess and protector of the fishermen, sailors, traders, and common people is not only believed by the chinese community but also practiced by the javanese people who live in lasem. the research that has been carried out provides additional understanding that if cultural interaction is carried out continuously and has lasted for a long time, it can give rise to deep and dense cultural acculturation, namely acculturation that manifests not only at the physical level but can penetrate into the realm of spiritual values. thus this proves once again that the cultural interaction of two or more social groups, when carried out slowly and little by little, will actually result in a deep mixing, superior culture melting into the values, beliefs and views of other cultures. this study is still limited to the cu an kiong temple interior and the daily activities that take place within it. a more comprehensive study is needed to document all activities at the temple over the course of a full year. additionally, this research has not fully recorded the physical features of both the interior and architecture of the cu an kiong temple. another limitation of this research is that the primary informant, mr. gandor, who is an elder in the chinese community and an administrator of the tridharma association, is elderly and may not always provide clear information and data. regarding the last matter, the recording of knowledge, information, and data about chinese culture in lasem through mr. gandor needs to be expedited so that today’s society can make notes of 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(2008). lasem negeri dampoawang: sejarah yang terlupakan. yogyakarta: eja publisher. wulanningrum, s. d., (2017). identifikasi kelayakan kawasan pecinan lasem sebagai kawasan konservasi.. jurnal muara ilmu sosial, humaniora, dan seni, 1(1), 278-287. https://doi.org/10.32315/ti.8.d105 192 pragmatic and semiotic studies: a new perspective on bakaran batik legend motif, juana district, pati regency, indonesia slamet supriyadi1, abd rasid ismail2 , esterica yunianti1 1universitas sebelas maret, indonesia 2universiti teknologi mara, malaysia submitted: 2023-12-02. revised: 2024-03-29. accepted: 2024-04-04 abstract as an ancient indonesian art, batik has been recognized by the united educational scientific and cultural organization (unesco). batik is one of the original handicrafts in indonesia. this research explores three main issues of bakaran batik legend: community leaders’ viewpoint in juana, pati regency; aspects of context and implicatures; and coherences among themes, visual elements, and images. a qualitative method was conducted in this research. it was conducted in february-april 2022 with a case study at bakaran juana pati district. data collection techniques were employed through in-depth interviews, non-participatory observation, and document analysis. data was collected using observations and interviews with eight informants. the data was analyzed using pragmatics. the findings revealed that bakaran batik has its uniqueness explicitly in its patterns. numerous designs in bakaran batik patterns are associated with the legend of nyai ageng danowati, a majapahit kingdom’s batik expert figure who escaped from majapahit and then lived in bakaran village juana district, pati regency. it implicitly has legendary aspects when analyzed in terms of possible patterns. bakaran village’s legendary patterns include the kembang druju, the limaran, the gandrung, and the magel ati. the legend pattern’s context is typically connected with the legend of the batik figure, nyai ageng danowati, and the implicature of the legendary pattern is related to the moment of nyai ageng danowati for spending her life while she was on the escapement. the visual elements and the image of the legend motif are coherent, and the visual form of the motif theme is relevant to nyai danowati’s life story. keywords: batik; context; implicature; legend motive how to cite: supriyadi, s., ismail, a. r., & yunianti, e. (2024). pragmatic and semiotic studies: a new perspective on bakaran batik legend motif, juana district, pati regency, indonesia. harmonia: journal of arts research and education, 24(1), 192-207 harmonia: journal of arts research and education 24 (1) (2024), 192-207 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v24i1.49148 japahit palace, nyai ageng danowati, in the 1800s; an elder of bakaran village, an expert in batik, named ibu semi samut (supriyadi & prameswari, 2022). the motifs developed in bakaran include the sturdy padas, gringsing, bregat ireng, truntun, clove flower motifs, etc. (nurkamid et al., 2017). in contrast, the legendary motif highly trusted by batik craftsmen and the surrounding communiintroduction batik is an art craft that is very well known around the world. it has been recognized as part of the international cultural heritage by unesco (prameswari et al., 2020). the islamic kingdom of mataram has historically popularized batik (mulyanto et al., 2018). bakaran batik was first developed by the courtiers of the macorresponding author: e-mail: pripus@staff.uns.ac.id p-issn 2541-1683|e-issn 2541-2426 slamet supriyadi et al., pragmatic and semiotic studies: a new perspective on bakaran 193 ty is related to the legend of nyai ageng danowati (suyudi et al., 2023). a batik expert from the majapahit kingdom fled from majapahit, and then he stayed in bakaran village, juana district, pati regency (nihayah & purwanto, 2022). in terms of original motifs, it contains aspects of legend, metaphor, context, and implicatures in the legendary motif of bakaran batik (hoyyi et al., 2018). one type of craft in juana, pati regency, is the art of batik in bakaran village, a typical batik icon of pati regency (septiana & sarwono, 2018). that is seen from the decision of the pati regent, which obliges the institution of education to civil servants with the regent’s decree about wearing a uniform (mulyanto et al., 2018). batik bakaran is a coastal batik with a different color from other coastal batik colors (sarwono et al., 2019). in general, coastal batik tends to be brightly colored, while bakaran batik tends to be dark (qiram et al., 2018). bakaran batik is synonymous with brown and black. it is necessary to preserve the original motif for the batik icon of the pati regency (alfian et al., 2018). the motif is the basic form as the starting point used to prepare an ornament (kurnia, 2018). the motifs are then arranged into patterns. batik motifs generally have two kinds of beauty: visual and philosophical (aquarini et al., 2022). visual beauty represents the beautiful feeling obtained due to a harmonious combination of the arrangement of shapes and colors through sight or the five senses (shamsuddeen & andriana, 2021). while the beauty of philosophy is a lovely feeling that represents the arrangement of meanings of an ornamental symbol that makes the picture following the ideology understood (liu et al., 2022). almost all javanese batik motifs have a philosophical and symbolic meaning (yulianto et al., 2020). the method of place and time of use also has its own rules. batik motifs in jarit cloth play a crucial role, especially at the mitoni or tingkeban ceremony and wedding ceremonies (utami & pamadhi, 2018). after identifying the data in the field related to the bakaran batik motif, it can be obtained that the batik motif contained in bakaran has various motifs, including the moon orchid motif and kolojengking orchid shrimp and banding motifs, love wave or gelombang cinta motifs and others (masiswo & haerudin, 2021). when viewed from the existing motifs, most of them result from developing existing motifs and combining them with other batik motifs. bakaran batik motifs can be classified into four main categories, namely floral motifs, animal motifs, geometric patterns, and other patterns made by craftsmen (sugito et al., 2019). these motifs were developed according to the ‘trend’ currently popular in the community, such as the “love wave/gelombang cinta” motif. the motif is a plant motif (flora) that takes the name of a popular plant at that time. the motif results from modifying the shape of the wave of love plant leaves that were in vogue and even loved at the time (setiyoko, 2022). through the creativity or creation of the craftsmen, the “wave of love/gelombang cinta” batik motif is created. on the other hand, there are new motifs made by batik artisans in the bakaran village, such as gelombang cinta (love wave), minatani, pring sedapur, and so on (supriyadi & prameswari, 2022). because bakaran batik became an icon of pati regent, ensure that the motif refers to the original motif by nyai ageng danowati (mulyani, 2021). however, whether the craftsman understands the original motifs in shape or meaning. therefore, pragmatics knowledge of bakaran batik is necessary to take concrete steps to explore issues related to the legendary aspects associated with creating the bakaran batik motif, the metaphor of the batik b akaran motif, and the educational elements contained in the traditional bakaran batik village (krisnawati et al., 2019). ibrahim & sulaiman (2020) state that semiotics is concerned with the structure of sign systems and their fundamental harmonia: journal of arts research and education 24 (1) (2024): 192-207194 components, such as signs, symbols, and codes. semiotics contain the various ways in which signs can be interpreted and how the use of signs constructs meaning (aiello, 2020). in semiotics, there are connections between signals and the social and cultural context in which they are employed (hu et al., 2019). therefore, we used semiotic resources to analyze and validate the batik patterns. current body literature on semiotics mostly investigates fashion shows in heritage (calinao, 2020) and face mask design (yao, 2021), and studies on batik were limited to ebeg and pataruman (krisnawati et al., 2019), heritage and sustainability of batik (poon, 2020) and batik kawung (anggoro et al., 2021). therefore, cultural values are portrayed through semiotic resources. on the other hand, we also employed pragmatics alongside semiotics. it is possible to use pragmatics to describe the relationship between language and culture, including how language reflects and reinforces cultural values and beliefs. in addition, levinson analyses cross-cultural communication and the difficulties that arise when people from diverse cultural backgrounds attempt to communicate (gunaningtyas & wuli fitriati, 2021). furthermore, maryono (2019) acknowledged that pragmatics has many principles, namely, meaning object. the principle of pragmatics is closely related to the use of language when someone uses vocabulary when interacting with the other person to convey a message for communication. meaning can be drawn both verbally and non-verbal (maryono, 2019). in this case, the bakaran batik motif is a non-verbal communication medium for legend stories to the general public. this is due to the existence of the symbolic batik. a little discussion on the batik bakaran legend motif from current body literature from pragmatic and semiotic studies made this study add a new perspective on batik to the current literature. therefore, by interweaving pragmatics and semiotics, this research aims to know three aspects, namely aspects of community leaders’ viewpoint in juana, pati regency; aspects of context and implicatures; and coherences among themes, visual elements, and images. to our knowledge, no study exists about this theme in this field. this study is necessary to develop the pragmatics sciences by connecting works of art, especially the legend batik motif from bakaran village pati regency. method design this qualitative research is a case study of legend motifs in bakaran village. qualitative research includes set techniques for examining and comprehending the meanings that some persons, groups, or groups attach to social or humanitarian issues (creswell & creswell, 2018). it may also be used to inform the development of interventions or to understand barriers and facilitators to their successful implementation. qualitative research is multimethod in focus, involving an interpretative, naturalistic approach to its subject matter (aspers & corte, 2019). this means that qualitative researchers study things in their natural settings, attempting to make sense of or interpret phenomena in terms of the meanings people bring to them (bozkurt & öztürk, 2022). the use of strategy in this study can be taken as qualitative information with a description full of historical nuances. this research aims to aspects of the bakaran batik legend pattern from the viewpoint of community leaders in juana, pati regency, aspects of context and implicatures in the legend of the bakaran batik pattern; and coherence between themes, visual elements, and images in the legend of bakaran batik pattern. this study took place in february – april of 2022. observations and interviews were employed to collect data. the observation process was carried out at and around bakaran village. the sampling technique was carried out using purposive sampling completed with the criteria of informants. purposive sampling is used to slamet supriyadi et al., pragmatic and semiotic studies: a new perspective on bakaran 195 select respondents that are most likely to yield appropriate and useful information and is a way of identifying and selecting cases that will use limited research resources effectively (andrade, 2021). campbell et al. (2020) stated that purposive sampling is the better matching of the sample to the aims and objectives of the research, thus improving the rigor of the study and the trustworthiness of the data and results. this concept has previously described four aspects: credibility, transferability, dependability, and confirmability. this research involved eight informants: two batik craftsmen, an elder, an undertaker of nyai ageng danowati, a cultural practitioner, a lecturer of indonesia art institute surakarta, and two surrounding communities. the primary criteria for each informant were: 1) deep knowledge about atik bakaran. 2) to learn the history of bakaran village with legendary batik motifs. participants we recruited eight participants from various occupations who had expertise in batik. we provided various participants to provide top-down and bottom-up voices on batik from theory, history, and practice. they were above 50 years old, and seven of them were males. our participant names were camouflaged to protect our participants. we also provided our participants with a consent form so they were aware of the study and could withdraw during the research. as depicted in table 1, there were eight respondents, seven males and one female. the ages of the respondents ranged from 50-70 years, with various occupations, including two respondents who were owners of the bakaran batik trading business, a cultural practitioner, an elder, an undertaker, a lecturer at the indonesia art institute of surakarta, and two other people were local residents. the majority of respondents came from areas around pati regency, such as bakaran, kudukeras, and growong. meanwhile, one respondent who was a lecturer at the indonesia art institute of surakarta came from surakarta city. data analysis we interweaved semiotic and pragmatic analysis. we used pierce’s semiotic model at the beginning of batik pattern. pierce distinguishes three levels of interpretation: immediate, dynamic, and final (robingah, 2020). first, the immediate interpretation is the interpreter’s first impression of a sign from the batik. the second process by which the sign is related to other signs and the interpreter’s knowledge and beliefs constitutes dynamic interpretation. the final interpretation is the sign’s ultimate significance or meatable 1. participants’ demography name gender age occupation home town remarks bukhari male 70 owner of ud. tjokro batik tulis bakaran batik craftsman yahyu female 60 owner of “yahyu” batik tulis bakaran batik craftswoman edi male 61 elder kudukeras elder putranto male 63 undertaker bakaran undertaker jumadi male 62 cultural practitioner pati cultural practitioner sudarwanto male 50 lecturer of indonesia art institute surakarta surakarta lecturer of indonesia art institute surakarta sutjipto male 65 surronding community growong surronding community supar male 64 surronding community bakaran surronding community harmonia: journal of arts research and education 24 (1) (2024): 192-207196 ning to the interpreter. we employed data from observation and interviews through gazdar’s concept of presupposition from a pragmatic landscape to triangulate the data. we converted interview transcripts and observational notes into tabulated data. the initial stage in analyzing a presumption is determining the linguistic expression that triggers it. this could be a specific word or phrase, or it could be a sentence structure. after identifying the trigger, the next step is determining whether the expression assumes anything. this can be done by constructing a negative variant of the sentence and determining whether the assumption still holds. if the assumption remains legitimate, it is a valid assumption. the degree to which an assumption is carried over into other sentences within a discourse is known as its projection. finally, we discussed the relationship between presuppositions and other aspects of meaning, such as implicature and entailment from the data, as a way to conclude from bakaran batik , legend nyai ageng danowati, and batik legend motif. result and discussion aspects of bakaran batik legend according to the view of the community bakaran batik is a folk craft developed by the local community, maintained, and preserved. batik craft is a local asset as well as a national asset. this happens because batik is supported by the community in its development. batik in indonesia has existed since the majapahit kingdom and developed throughout indonesia. bakaran village includes rural areas, which have maintained their ancestral heritage for centuries by continuing to defend it. according to bukhari, as a batik craftsman and community leader, bakaran batik is inherited from his grandfather and father long ago. regarding the motif of the legend, according to edi and bukhari, the motif of the legend is believed to be the oldest in bakaran village. mentioning the legendary motif of the bakaran village community and even the people of the pati district always state that the motif is related to a figure from majapahit named nyai ageng danowati. the society believes nyai ageng danowati was the first to develop batik in the bakaran village and the pati regency. in a brief story, nyai ageng danowati was a woman from majapahit who fled from majapahit to maintain her religious belief, hinduism. in her escape, she reached the druju forest area. after arriving in the druju forest, nyai ageng danowati and her siblings cleared the forest and bushes to make their temporary residence. finally, they separated, and nyai ageng danowati resided in the bakaran village, juana district. even then, because of an agreement that nyai ageng danowati could live according to the ashes that were blown by the wind to the west from the druju forest, which is now called the bakaran village, the word bakaran village is derived from the words of burnt wood and leaves and twigs druju forest (figure 1). figure 1. druju tree and druju flower growing on the riverside recently, it has been mentioned as juana district. after living in the bakaran nyai, ageng danowati developed her batik skills by teaching the people around her residence in bakaran wetan village. according to community statistics in pati, particularly in bakaran village, nyai ageng danowati honed her batik skills by teaching the residents of her neighborhood in bakaran wetan village after residing in bakaran nyai.there is a uniqueness in bakaran in that all batik craftsmen are prohibited from making batik with barony steps or giving it a blue color. this is due to their belief that only slamet supriyadi et al., pragmatic and semiotic studies: a new perspective on bakaran 197 nyai ageng danowati can do this. in the bakaran village area, juana district, pati regency, there are batik motifs believed to have meanings and symbols that have a philosophy in their respective forms and functions. local people call this bakaran batik. the batik has its uniqueness explicitly in the type of motif. the batik motifs have patterns widely associated with the legend of nyai ageng danowati, an expert batik figure from the majapahit kingdom who fled from majapahit and settled in bakaran village, juana district, pati district. further, it is analyzed in terms of motifs and may contain an element of the legend aspect. the context of creating the legendary motif is always associated with the legend of the batik figure nyai ageng danowati. the implicature of the legendary motif is related to the period in which nyai ageng danowati walked her life while on the run. the visual elements of the theme and the image or image of the legend motif have a coherence between the visual form and the composition of the motif related to the life story of nyai ageng danowati. myth is closely related to imagination, and myth always involves believing. tales can lose their principles if the real object is not based on the community’s beliefs. all basic motifs in mythology represent human social life (anwar, 2019). the history of bakaran batik begins with the story of nyi danowati or nyai ageng siti sabirah, an heirloom guard and uniform administrator of the majapahit kingdom at the end of the 14th century. she came to bakaran village to look for a hiding place because she felt threatened by the pursuit of the soldiers of the demak kingdom. in her disguise in bakaran village, nyi danowati made a langgar without a mihrab called sigit, and until now, it has become a pepunden, where residents hold the manganan tradition (musman & arini, 2011). in bakaran village, nyi ageng siti sabirah developed batik from the majapahit kingdom. this activity was carried out during his activities while he was a royal courtier, so the bakaran batik motif was a development of the majapahitan motif. however, many people call it jogya gosong, considering the characteristic colour of sogan is too dark or brown. the batik motif is old-written. nowadays, 18 new batik motifs have been created, including blebak kopi, blebak lung, blebak duri, blebak urang, kedele kecer, bregat ireng, padas gempa, merak ngigel, ungker cantel, manggaran, gandrung, sidorukun, limaran, gringsing, kiri, magel ati, rawan and puspobaskoro (ristiana, 2013). the bakaran batik was brought by nyai danowati in 14 ad. in its development, the production of the batik has undergone a transition. at first, batik dyes used natural dyes, such as terogan wood, to produce yellow, kudu root to make brown, and tall tree bark to create brown. over time, natural materials are rarely used because they are difficult to find. the craftsmen then changed the natural colors into chemical dyes to facilitate making batik. the batik’s development has fluctuated. this is caused by various factors, including the dark color of batik, which makes it less attractive to women, the origin of the batik being burned, which is done secretly, word-of-mouth marketing, and the monetary crisis (suyikno et al., 2016). the bakaran batik motif has many patterns, according to the legend of nyai ageng danowati. the batik motifs (figure 2) can be exemplified infigure2’ figure 2. examples of some bakaran batik motifs harmonia: journal of arts research and education 24 (1) (2024): 192-207198 the motif is interpreted as a formed entity that represents the description of the legend of nyai ageng danowati. these motifs then point to certain symbols because they contain symbolic meanings. the meaning of the bakaran motif of the gandrung motif is the feeling of falling in love or falling in love accompanied by the longing of nyai ageng danowati. magel ati’s philosophy is mangkel or hurt, while sidomukti means noble. the udan rhyme motif is inspired by a light rain (udan liris), the bregat ireng motif gives the impression that bregat is a tree while ireng is a picture of a shadow state. overall, the limaran motif has a vague meaning, and this motif will be the problem. aspects of context, implicature, and coherence besides the motifs developed by the community of bakaran village batik craftsmen, craftsmen believe several batik motifs are believed to be from generation to generation and strongly believed in the motifs created by the legendary figure nyai ageng danowati, a batik craftsman from the majapahit kingdom who fled to the juana area in particular in the village of bakaran wetan. around the 14th century ad. the motifs of the legend are: figure 3. examples of druju flower motif druju flower the druju flower is a motif that the people believe of bakaran village, created by nyai ageng danowati (figure 3). it is said that a family of four brothers ran away from the majapahit kingdom, which the majapahit royal soldiers chased. the four siblings are ki dalang becak, ki dalang dukut, kek truno, and nyai ageng danowati, the only woman of the four siblings. then, the four hid in a forest overgrown with druju trees (wono druju). in the druju forest, they hide from the majapahit soldiers. while they stay and can rest, they meditate to ask for guidance from god. while meditating, ki dalang becak received a magical wangsit or whispered so that they would try to cut the pedestal (opening the druju forest) as their place of residence. after clearing the druju forest, they named the area juana, now the name of juana subdistrict, pati regency, which comes from the word druju, which is a lot of bushes in the forest. after they opened up the juana area, the four brothers began to claim each other’s territory to be controlled. coincidentally, nyai ageng danowati is a woman and has not yet received the share of the area that her siblings have given her. as a result, ki becak told nyai ageng danowati that he would gain territory by burning the stems and leaves of forest clearing so that nyai ageng would follow the direction of the falling ash from the leaves and trunks of the druju forest trees. at the end of the story, the burnt ashes of the leaves and stems stopped in a village in the western part of juana. nyai ageng danowati then named the village bakaran village which came from the word used to burn the forest. druju flower motif after nyai ageng danowati stayed in bakaran village, she began to develop her artistic talent, which was previously developed in the majapahit palace, namely the skill of batik(septiana & sarwono, 2018). then, they teach the skills and expertise needed to make batik available to the surrounding community in bakaran village(septiana et al., 2013). nyai danowati began to gather women in bakaran village to be taught to make batik. as a result, many women in bakaran village who still make batik for their own needs have not gone to trade. slamet supriyadi et al., pragmatic and semiotic studies: a new perspective on bakaran 199 in addition to mastering the technique of batik, nyai ageng danowati is also a creative person who makes batik motifs. this was realized to make a batik motif named the kembang druju motif(latifa, 2015). according to the village batik figure bakaran, bukhori said that the motif inspired nyai danowati in the druju pedestal tripe, taking inspiration from the druju tree that grows a lot in the druju forest. the kembang druju motif is believed by craftsmen and the people of bakaran village to be the first motif created by nyai ageng danowati and the oldest motif in bakaran village. during her stay in bakaran village, nyai ageng danowati lived alone in a unique house, namely a house whose architecture resembles the shape of a mosque but has no mihrab or no protrusion of space for the imam to pray. the results of interviews with community figures and cultural leaders of pati district and the researcher’s observations found the answer to why this was because it was a camouflage (disguise) of the majapahit army (soldiers) who were already muslim. meanwhile, nyai ageng danowati is hindu, so with a house resembling a mosque, the majapahit people think she has converted to islam. that story has been passed down from generation to generation by the people of bakaran village. the implicature of the druju flower motif is a motif that cannot be separated from the life journey of nyai ageng danowati. nyai ageng danowati and her three brothers fled from majapahit at that time. when they managed to escape the pursuit of soldiers, they found a place in the druju forest. it is called the druju forest because it is overgrown with druju trees(suyikno & suharso, 2016). thus, it encouragednyaiageng danowati to express her idea of creating the kembang druju batik motif, which the people believe of bakaran village to be the oldest and the first motif created by nyai ageng danowati. this motif has a characteristic that is easy to recognize, consisting of a white “x” shaped motif in the middle of a black or brown main motif. the white color is believed to symbolize purity and cleanliness in line with the benefits of druju flowers as medicine for society. the motif created by nyai ageng danowati is full of the desire to convey the bond between humans and nature. the coherence between the name and the visual isvery close in resemblance he took the example of the druju flower, which grows a lot in the juana area near the bengawan silugonngo river, which is a fairly large river in juana. figure 4. tree for ritual offerings in front of the mosque limaran motif the context of creating this limaran motif is as an expression of nyai ageng danowati in her escape from the runaway of majapahit soldiers to the bakaran village area (figure 4)(septiana & sarwono, 2018). in disguise, she built a house that looked like a mosque, hoping to trick majapahit spies because they thought the house was a house of worship for islam. thus, nyai danowati could live in society without interference from the majapahit army. as explained by the resource person, harmonia: journal of arts research and education 24 (1) (2024): 192-207200 a batik craftsman in the bakaran village, the limaran motif is created by nyai danowati, which comes from the word disguise. the limaran motif was created to commemorate the intricacies of nyai danowati’s life so that it is metaphorically to disguise herself from other people who are considered enemies in her life. her twists and turns were none other than an effort to save herself from the pursuit of majapahit soldiers. it has encouraged nyai danowati to create the limaran motif(maymona et al., 2023). nyai ageng danowati has developed her batik skills with all her soul nyai ageng danowati is very well known as a batik craftsman who is very skilled in the bakaran village environment(rohmah et al., 2017). the limaran batik motif is widely used for uniforms for government employees and schools in pati regency. the implicature of the limaran motif is seen from the origin of the word samara, which means hiding oneself from the eyes of others. the limaran motif cannot be separated from the life of nyai ageng danowati at that time. majapahit soldiers were chasing him. to save himself, he built a house whose architecture was in the form of a mosque but without a mihrab. making the shape of the house camouflage for people that the house is like a mosque so that at first glance, it is not known that it is a single house. therefore, nyai danowati was safe from suspicion from the majapahit soldiers. when making the house, he was inspired to create a motif called the limaran motif, or in javanese, it is called samara or, in other words, called undercover. the coherence between the name of the motif and its visuals is similar because the limaran motif was created in small spheres arranged in a small, rather vague manner. therefore, this motif is called the limaran motif because of its vague visual form. regular and symmetrical geometric patterns, such as lines, circles, and other shapes, often characterize the limaran pati batik motif. the pattern is carefully arranged to create an interesting visual balance. natural colors such as brown, black, white, and blue are often dominant in batik limaran pati. these colors are carefully chosen to create pleasant contrast and harmony in batik designs. the harmony of color and design illustrates the harmony that is intended to be conveyed in the creation of this motif. the combination of colors and shapes that blend together depicts the conditions when nyai ageng danowati mingled with the people of bakaran. figure 5. examples of limaran motif gandrung motif (falling in love) the gandrung motif is also a motif created by nyai ageng danowati(astuti, 2017). according to community leaders and cultural figures in pati regency, the gandrung motif was caused by nyai danowati expressing a deep longing for her husband, raden djoko pakuwon, who was a handsome and dashing majapahit soldier, who was separated because her husband was caught by the majapahit rulers and imprisoned there. nyai ageng danowati did not know whether her husband was still alive or had died. they separated because they both wanted to escape, but her husband was caught. feeling a deep longing for revenge creates the “gandrung” batik motif. the gandrung motif is a favorite motif of young people in the juana area, pati regency, because the motif is simple but has a deep meaning if you think about it (astuti, 2017). the creation of the gandrung motif was strongly influenced by nyai agung danowati’s deep love for raden djoko pakuwon, a man so loved and admired in her life until the end of her life, nyai ageng danowati did not marry. the implicature of the gandrung motif is the feeling of being in love or falling in love with nyai ageng danowati to raden joko slamet supriyadi et al., pragmatic and semiotic studies: a new perspective on bakaran 201 pakuwon, a very handsome and lovable man. still, they are separated because of the circumstances in which they were both separated because raden joko pakuwon was imprisoned in majapahit. at the same time, nyai ageng danowati managed to escape to bakaran village, juana’s area. the meaning of the gandrung motif implies that nyai ageng danowati. gandrung motifs have an appearance that is based on two main elements, namely the form that is manifested in bakaran batik cloth such as jarik, sarong, and shawl, as well as a structure consisting of patterns, motifs, and various decorations ranging from lines, crossed lines, dots, triangles, flowers, stems, and leaves. this combination of many symbols and shapes depicts joy and a sense of love. the visual of the thorny gandrung motif is made up of intertwined lines that symbolize related meanings integrated into one. that is the link between the two feelings becoming one. it is like a person who is in love. his heart is attached to the person he loves very much; that is the motive which means the emotion of the heart of the person in love. apart from that, this motif also contains various meanings which are reflected in the typical atmosphere of the region, with ideas manifested in the gandrung motif which refers to feelings of infatuation or love towards someone(astuti, 2017). the coherence between the name of the motif and the visual is that there is already a connection because the motif is created when the lover is in a state of falling in love and then expressed through a visual image of the motif that contains the meaning of being in love or falling in love. figure 6. examples of gandrung motif magel ati motif magel ati’s motif is created by nyai ageng danowati when she missed her very much and was very sad because she was heartbroken with raden pakuwon, who felt he would be unable to meet because he also did not know the news. so, every day nyai danowati daydreams and mourns for her life. why is her life so sad that there are no siblings to accompany her and her husband disappeared? in her confusion and sadness, he expressed her sadness by creating motifs that meant sadness, heartbreak, and despair. the magel ati motif is a motif that is considered sacred by the local community. the “magel ati” motif has a square-shaped main motif filled with a white “cecek-cecek” or “isen-isen cecek” motif, as well as a soga colored “isen-isen cecek” motif. the motif “cecek-cecek” forms a circle in the center of the main motif, resembling an “x”(septiana & sarwono, 2018). the basic color of the “magel ati” motif is black or brown, while the “cecek-cecek” and “isenisen cecek” motifs are white. to add visual richness, “magel ati” batik is also embellished with “ukel-ukelan” or “ungker motif”, which gives the effect of a more developed motif. this complex combination of symharmonia: journal of arts research and education 24 (1) (2024): 192-207202 bols and shapes depicts the message the creator wants to convey regarding feelings of heartbreak and disappointed. the dominant dark color used shows the depth of sad emotions and wisdom in dealing with life situations. according to prominent batik craftsmen, this motif was widely used by the general public. however, now this motif is considered taboo because people believe that wearing magel ati batik will affect the wearer, who can break up and get heartbroken, especially those not married. that is the meaning of the taboo that lives in the juana community, pati regency, so this motif should not be used for people who are not married. the implicature in magel ati’s motif is when nyai ageng danowati feels hopeless about meeting and living with her lover, raden joko pakuwon. magel ati in javanese is defined as a broken heart when nyai ageng danowati feels desperate to get her love from her lover. the coherence is the creation of the magel ati motif; the background is when he was heartbroken so to vent her sadness, she tried to be creative in creating a batik motif, now called the magel ati motif. thus, the coherence between the name and the visual is harmonious. magel ati gave a message to the younger generation in particular not to divide each other(karim et al., 2023). figure 7. examples of magel ati motif in the context of pragmatics, slotta (2021) points out that (a) context is a dynamic concept, not static, which must be understood as an environment or a series of world realities that are constantly changing in the broad sense of knowledge shared by the participants, which enables the participants to interact in the communication process, and linguistic expressions used in their interactions so that they can be understood well according to certain sociocultural backgrounds, (b) context refers to textual references (context) and situational references. situational reference precedes textual reference, and (c) context is used to understand all the factors that play a role in producing and understanding speech and is user-oriented so that the use of context can differ between users, between user groups, and even between user languages (slotta, 2021). the context referred to is divided into two types: the social context and the social context. social context is the context that arises as a result of the interaction of members in a particular social and cultural society. the social context determines the position (rank) of community members in social institutions in a society with a certain socio-culture. based on the study’s results, it was found that the context of the creation of legendary motifs based on the legend inherent in the life of a batik figure from majapahit, namely nyai ageng danowati in her escape from the pursuit of the majapahit royal soldiers. context is a dynamic concept, not static, which must be understood as a series of realities of the world that are constantly changing, in a broad sense, and known to be shared by the participants (with any background knowledge), which allows all the participants to interact in the communication process according to their needs and certain sociocultural background. in the legend of nyai ageng danowati, from a sociocultural perspective, people always associate certain events with the legends that develop in that society. there are legendary motifs in the bakaran village that cannot be separated from evidence links in the form of batik motif artifacts and relics that local people believe to be relics of nyai ageng danowati. for example, a place in the form of a house in the form of a mosque architect without a mihrab is believed to be a relic of nyai ageng danowati’s house in the village of bakaran wetan. the relic is still used as a place to seek blessings from nyai ageng slamet supriyadi et al., pragmatic and semiotic studies: a new perspective on bakaran 203 danowati, who is considered an elder of bakaran village. in addition, the relics in the form of batik works with motifs, kembang druju, limaran, gandrung, magel ati, and sido rukun are evidence of the connection between the legend and present life. the motif is believed to be the creation of nyai ageng danowati, which is still being made and preserved by the community of batik craftsmen in bakaran village. from the implication of the creation of the legendary motifs in bakaran village, it can be inferred that all the existing motifs represent aspects of the life of the batik legend of bakaran village, namely nyai ageng danowati. for example, the gandrung motif implies that nyai ageng danowati was in love with her darling, raden joko pakuwon, a brave and handsome majapahit warrior. however, according to competent sources, the man was caught by majapahit soldiers and imprisoned so that the two lovebirds could not meet until the end of their lives. the implicature in the gandrung motif is an expression of nyai ageng danowati’s burning love for her lover. thus, according to the implicature theory with reality, it is related, namely, something written in an implied meaning. the visual image of the explicit motif behind it has something implied, namely the feeling of falling in love. the coherence between the name of a motif and the legend is indeed very coherent, meaning that the creation of the legendary motif is always related to the creator’s life story, namely nyai ageng danowati as the legendary figure of the batik batik in bakaran village. conclusions the resulting batik shows a close relationship between nyai ageng donowati’s batik motifs and local cultural heritage in juana district, pati regency, indonesia. these batik motifs are not only an integral part of the local cultural identity in juana district, but also have a great attraction in the pati regency batik market because they contain rich meanings, values, beliefs, and traditions of the local community. bakaran batik by nyai ageng donowati contains symbols that are closely related to beliefs and valuable values for society. for example, the gandrung motif depicts strength and courage through the number of “x” contained in the motif. the druju motif depicts harmony with nature and humans. meanwhile, the limaran motif reflects the idea of continuity and uninterrupted relationships, whether in efforts to improve oneself, the struggle for prosperity, or in the context of family relationships. the magel ati made by nyai ageng donowati, also reflects the richness and depth of javanese cultural identity. the motifs often refer to traditional symbols and local folklore, which are an inseparable part of javanese identity. the use of batik is not only a medium for individuals or groups to express their cultural identity but also serves to strengthen it. based on the analysis of the results of the foregoing discussion, the research can be concluded as follows: aspects of the views of the people of bakaran village and cultural figures of pati district state that the legendary motif in bakaran village is a motif created by the legendary figure of nyai ageng danowati based on the story of the character’s life. the implicature aspect contained in the motif of the batik legend of bakaran village is to describe the side of the love and sadness of the batik maestro of bakaran, starting from her escape from majapahit until finding a residence and work 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(2016). perkembangan kerajinan batik tradisional di desa bakaran kecamatan juwana. 5(1), 18–25. http://ejurnal.unisri.ac.id/index.php/sndms http://ejurnal.unisri.ac.id/index.php/sndms https://doi.org/10.1080/10350330.2021.2016032 https://doi.org/10.1080/10350330.2021.2016032 http://journal.unnes.ac.id/sju/index.php/ch http://journal.unnes.ac.id/sju/index.php/ch 52 the prospect and future of youth kroncong group at universitas pendidikan indonesia in bandung hery supiarza1, cece sobarna1, yudi sukmayadi2, raden muhammad mulyadi1 1faculty of cultural sciences, universitas padjadjaran, indonesia 2department of music education, faculty of arts and design education, universitas pendidikan indonesia, indonesia received: december 13, 2017. revised: april 23, 2018. accepted: june 10, 2018 abstract this article discusses the prospect and future of youth kroncong group at the indonesia university of education or universitas pendidikan indonesia in bandung. the focus of research subject in this study is one particular kroncong group namely orkes kroncong de oemar bakrie. by examining the society’s appreciation towards the group performances and by implementing the triangulation techniques; results show that the group can be seen as a representative of youth kroncong group in bandung. based on research from 2000 until 2017, it can be concluded that university-based kroncong group is more excelled not only in the music industry, but also in the music development and the music organization. the group is considered as a role model and parameter for other youth kroncong group in bandung. keywords: bandung’s youth; kroncong; prospect; future how to cite: supiarza, h., sobarna, c., sukmayadi, y., & mulyadi, r. m. (2018). the prospect and future of youth kroncong group at universitas pendidikan indonesia in bandung. harmonia: journal of arts research and education, 18(1), 52-61. doi:http://dx.doi.org/10.15294/harmonia.v18i1.15524 harmonia: journal of arts research and education 18 (1) (2018), 52-61 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v18i1.15524 man, 1979), the term dikroncongkan or playing all genres of music outside kroncong in the kroncong way, has started to emerge. at that time, it was a pride for young kroncong musician to be able to play western songs in kroncong way (widjajadi, 2007). similar with the existence of kroncong in other urban areas in indonesia, kroncong in bandung is still considered as folk music. therefore, it is not as popular as other musical genres, (widjajadi, 2007). this situation encourages youth in bandung, especially at indonesia university of education (upi), to create a space for kroncong through regular exercise activiintroduction the development of kroncong as the nation’s cultural product cannot be separated from the interference of the youth (budiman, 1979). its relationship with the concept of repertoire was influenced both by local and western music culture. within kroncong, there are two different kinds of genre. one is the genre which has set of strict rules or what local people called as pakem. meanwhile, the later is is a kind of genre outside the pakem which known as dikroncongkan, or genre that allows all genre of music to be played in the kroncong way. in 1923, in the era of lief java (budicorresponding author: jl. raya bandung sumedang km.21, hegarmanah, jatinangor, jawa barat 45363 e-mail: udo_hery@yahoo.com p-issn 2541-1683|e-issn 2541-2426 hery supiarza et al., the prospect and future of youth kroncong group ... 53 ties and organization. these activities are acknowledged as prospects for groups of youth at upi bandung to create a future for kroncong, so that it can have an opportunity to grow in today’s music industry. in krugman (2003), it is defined that ‘prospect’ means an opportunity that occurs as a consequence of one’s effort in order to fill his needs and to get profit or advantage. starting in the early 2000s, some efforts to revive kroncong at upi, especially in the department of music education fpsd upi bandung, were done by organizing and opening up the exposure of kroncong to mass media like radio, television, newspaper and online social media. revitalization is a process, method, and action to revive and restore traditional arts activities, held in the framework or the old culture (bahasa, 2001). from the initial studies that had been done through interviews to groups of youth kroncong at upi bandung, it was concluded that in the decade of 2000s, the development of science and technology had opened up youth’s horizon about the outside world. this also affects kroncong development. since then, kroncong has become an entertainment affected by other rhythms. adorno in budiarto (2001) states that in the framework of modernity, several arts have appeared, there are: the art that entertains people, the art that speaks reality without mediation, and the art that reveals critical ideological cover while still maintaining its theoretical level. creativity in developing kroncong music is affected by various foreign music references and the personal style, which is variable depending on the influence of local music. this condition does not mean it expedites the process of making music, instead it creates some debate about the pros and cons of it. initially, there were several researchers who had studied about kroncong, there were manusama (1919), kuns (1949), heins (1975), yampolsky (2010), ganap (2000), budiman (1979), kartomi (1978), kusbini (1970, 1972, 1976), and harmunah (1994). the majority of them conducted historical and technical study of kroncong. however, none of their studies had specifically examined the youth attempt in seeking for identity through kroncong. the search of identity through kroncong by youth in the campus, where modernism has fallen into the realm of the aesthetic and commercialization as well as contextual, will be an interesting and important object of study. in addition, this study will also increase the repertoire of kroncong music, so that we can compare the future and prospects of youth in campus’ kroncong group activity at upi bandung. method this research uses a qualitative approach which attempts to reveal an intact and depth review of the contexts studied. in a qualitative approach, the data is designed and structured holistically, systematically, comprehensively, integrated, logical, as well as structured with both explicit and implicit rules. this research focuses on the system of agreement had by the kroncong music group. besides, during the research, the group’s training activities and performances were also observed and studied. as for the preliminary study towards the youth kroncong community in upi, the researchers had delivered an informal introduction and asked for consent to conduct research studying all kroncong music activities in the appointed groups. in addition to the preliminary research which had done by the researchers were observations. there were two kinds of observation conducted in this study, namely, naturalistic and controlled observations. the naturalistic observation was kind of observation which did not involve emotional relationship between researchers and the research subjects/actors. meanwhile, in controlled observation, there were close observations of the certain informants which were selected and prepared before by the researchers prior to the study. the later was done by aiming at the constant and focused examination toharmonia: journal of arts research and education 18 (1) (2018): 52-6154 wards the research issues (rohidi 2011). in this case, the research subject is the youth kroncong music group. thus, as naturalistic and controlled researchers, we collected as much data as possible by using a voice recorder. the next step after naturalistic and controlled observations was an in-depth interview. this technique differs from conversation in a formal structured interview. through this technique, the researchers will explore numbers of the topic to shape the informants’ perspective, while still maintaining the informants’ right to arrange and compose the answers. by implementing this technique of interview, the informants’ perspective about kroncong music phenomena in socio-cultural context will be widely opened. furthermore, the data in this study was in the form of documentation data about kroncong music and the youth. documentation data can be books, articles, leaflets, or pamphlets (rohidi, 2011). data collection was then followed by observation which researchers gave more focus on the music player and the music played. researchers recorded the music in audio and audiovisual recording. the recording was used as the material of analysis, especially the analysis of music. then, researchers also put attention on the communication between the general music players and kroncong music players and the audience of the performing art. here, the researchers pay attention and study the communication occurs during the activity; whether two-way communication was established and whether the audiences enjoy the music performed. after all the required data was collected, it was then sorted and selected. researchers selected and sorted out the data before it was categorized into primary and secondary data. the data is used to compose a more directed research report, besides helping in presenting an unbiased research focus. the study the object of this study is youth. the term youth is preferable than another term -like teenagersdue to the historical event related to the youth movement in indonesia’s background history. in the past, soekarno associated the term ‘youth’ as a revolutionary fighter and political activator, thus, the term brought the sense of agitation and resistance. later in the soeharto era, youth became closely associated with development. after the new order era (orde baru) when the youth movement imposed an end to the suharto regime in 1998, youth has become unpopular. after the fall of the new order era, come to the reform (action) era. during this era, as the manifestation of openness, many new organizations emerged, coordinated by the youth. during this time, the term youth shifted in meaning. ‘youth’ or ‘pemuda’ in bahasa indonesia is considered no longer suitable to the conditions of the era. therefore, it is changed to ‘youth’ which means ‘kaum muda’. the term ‘kaum muda’ brings ‘youth’ in this research means an agent of change who has an active symbol and represents the purpose of policy review which enables the role of the youth to be equal as a partner of the government in policy and decision making. ‘youth’ now is felt more neutral and free of political interests (farid, 2011). it sounds free from any attachments from certain parties. this study uses the term ‘youth’ by referring to legislation constitution number 40 the year 2009 about people considered to be youth are 16-30 years old. thus, in order to be consistent, this study followed the government regulation and limited the research participants’ age to be between 16-30 years old. it is for the sake of convenience and consistency in collecting the research data. the kroncong music the emergence of kroncong music cannot be separated from the existence of the west (portuguese and dutch) in indonesia. it was written that kroncong is originated from portuguese music in the 16th century called fado, derived from the latin term, meaning fate. in its devehery supiarza et al., the prospect and future of youth kroncong group ... 55 lopment, the dutch had a very important role in the existence of kroncong and its development, regarding with the crosscultural music. although kroncong is not originated and rooted from the netherlands nor indonesia. however, in the era of the deutch, and when indonesia was governed by the deutch, was the first time when kroncong compromised its influence, placing itself between europe and asian aesthetic and social practices (bogaerts, 2014). from the visible phenomena, it can be derived that naming the artwork is not limited only to the meaning of the kroncong music, but more to the identity of the development of kroncong music that has its own aesthetic paradigm. paradigm itself by kuhn (burhan, 2010) is a process of forming concepts, models, or shared views of a fact. when referring to the definition, the aesthetic paradigm, in this study, is a concept or aesthetic models which are adopted jointly by the young kroncong artists in upi bandung. based on the developing various concepts of kroncong, several kroncong music playing styles are identified based on the kroncong music’s pluralism repertoire. to begin with, there are several opinions about kroncong music repertoire. kartomi, goldsworthy, falk, & kornhauser (1978) divided this into four, namely: (1) the original kroncong, (2) stambul, (3) the kroncong’s langgam, and (4) javanese langgam and beat kroncong (kroncong beat). while yampolsky (2010) divides kroncong into (1) the original kroncong, (2) stambul, (3) langgam and (4) javanese langgam (langgam jawa) (taken from ganap, 2000, p. 4). furthermore, harmunah (1987) divides kroncong into four major groups, which are: (1) the original kroncong, (2) stambul, (3) langgam, and (4) kroncong extras. as about the period of kroncong, lisbijanto (2013) divides it into (1) the old days of kroncong (kroncong tempo doeloe) between 1880-1920, (2) the eternal kroncong era between 19201959, (3) the modern kroncong period between 1959-2000, and (4) the millennial kroncong from 2000 till present time. this repertoire has become a fixed standard for kroncong music artists and their music playing style. it has become mandatory for every kroncong group to understand the (fixed standard) of kroncong. this unwritten policy has to be followed by every group, including the youth kroncong group in upi bandung. in fact, every kroncong player in upi bandung understands all of the pakem. there is a habit and pattern to begin every initial formation of a kroncong orchestra by practicing a repertoire of one standard genre (pakem) that is followed by the group. usually, the youth kroncong group in upi bandung starts its training/rehearsal with langgam kroncong style. reason behind this is because many titles of the song in this particular style of kroncong are popular among youth. based on the results of the interview to ten youth involved in youth kroncong group in the city of bandung, researchers found that 90 percents of the youth began their kroncong learning process by singing or playing bengawan solo by gesang. this song is a legend and has strongly been associated with kroncong by the public. this song tells us about bengawan solo river, which in the past had clear water and was beautiful. lisbijanto (2013) states that gesang, the composer of bengawan solo, had a lot of fans. even, in japan, there was an association of kroncong music lover and most of the member loves the bengawan solo song (interview between kojiro shiojiri, japan’s ambassador to indonesia in 2010 with reuters in alfian, 2013), as quoted: “the song, then, has translated into numerous languages and the japanese society loved this song very much. through the bengawan solo song, the japanese feel close to indonesia. the japanese society highly respects and loves gesang”. the quote was proof that the song by gesang is known very well by the kroncong community in japan. it even became harmonia: journal of arts research and education 18 (1) (2018): 52-6156 parents or environment. usually, because they have parents who are kroncong’s fans or activist that make them familiar with the genre of music. even so, this type of youth is only small in number. however, it does not mean that kroncong has been totally left behind. until now, on campus kroncong activities keep growing. although the movement is militant-like, the following table shows numbers of oncampus kroncong group from the year of 1997 till 2017. table 1. distribution of on-campus youth kroncong music group in bandung the table illustrates that the youth kroncong groups from upi bandung are dominating, while most of the other campuses only have one kroncong group. further, based on researchers’ observation, one factor causing upi bandung to have numbers of kroncong group is because upi has a certain organization which is able to accommodate all kroncong musicians, besides upi also has a famous music department. the special organization accommodating kroncong musician is called “lapis legit”. this is a student forum under department of music and art education’s student union. the interesting fact about the student forum is a regeneration of the group’s member that works well. it happens not only because of a good student organization governance, but also because students learn about kroncong in their course of study. every week, precisely on thursday afternoon, “lapis legit” holds a regular practice. the member consists of alumnus, senior and junior students. during the practice session, the members are not only playing kroncong but they also hold a discussion session. the discussion a song which had historical value and sense of friendship between indonesia and japan. youth kroncong group in bandung since 2000, kroncong has become one of musical choice for youth in bandung. they use it as a medium of expression, innovation and self-actualization. the youth has also simultaneously reconstructed kroncong from the contemporary version to the more modern one. the aim is for other youth to have an understanding and trust that kroncong has a promising future and prospects and is certainly an important nation’s treasure to be developed and conserved. art, including music, has always been a very important part for youth in bandung, a city known for its beautiful nature. bandung is even called and known as paris van java since it is considered as a glamor city as the city of paris in france. here, the musical activities of the youth are alive from time to time. in the context of popular music and its relationship with kroncong, we should take note at belloni and his music group who always performs theatrical music as its specific musical style like what we can see in broadway. belloni always performs together with an orchestra named concordia respavae crescunt at the dance hall societeit harmonie in bandung. music as part of the nation›s cultural products is one of the elements that nurture human’s feeling and emotion (abdullah, bakar, & annuar, 2013). in addition, kroncong is also a cultural product of the indonesian and is a reflection of the taste and situation of the people living in it. the activities of youth kroncong group in bandung are done both on and off campus. on-campus, kroncong music grows along inside student union activities. while off-campus, kroncong is still dominated by the elder people. if there is youth kroncong group outside campus, the members must be alumni of music department/faculty/campus. otherwise, the youth must have had the knowledge from hery supiarza et al., the prospect and future of youth kroncong group ... 57 rises issues about various types of kroncong, new songs of kroncong, new kroncong arrangements, kroncong history, as well as the performance schedule. in addition, every year, there are three special performances of kroncong music performed by “lapis legit”, known as: long life kroncong, kroncong night and course examination under nusantara’s music history course subject. the examination topics themselves are different every year. among the names of kroncong performance mentioned previously was “long life krontjong”. “long life krontjong” is an event which focuses on giving tribute to the past kroncong group orchestras that are considered successful in giving major influence towards kroncong itself, and sociological impact for the audience. each past kroncong group is honored with a solo concert. each time, it involves famous figures which the character matches with the kroncong group performed. as for ‘krontjong night’, it is a show which shows a parade of new and amateur kroncong groups. figure 1. students’ exam performance. documented by h. supiarza the exam or course examination is a compulsory subject in one of the study course. participants were given the task to play two songs, one song in the style of the origin of keroncong (kroncong asli), langgam or stambul which they need to choose for themselves. the other song is a free song, outside kroncong. to support the exam, students need to arrange the music themselves. when composing the song, kroncong asli has its own standard set of rule (harmunah, 1987). the numbers of the music bar have to be 28, without the intro and the coda. the sentence rhymes have to be a-b-c which is sung twice, with intro and coda. the intro is the improvisation of chords progression: i and v and ended with i. “overgang” is a cross chords progression of i-iv-v-i. in the middle of the song, there is an interlude, which is “middle spell”, or “senggahan” in ninth and tenth bars. in the original pattern of kroncong, the song is divided into three parts: 1) angkatan (beginning), 2) ole-ole / chorus (middle), 3) senggahan (late / final) (budiman, 1979). from this experience, the youth can feel empirically how it is felt to play kroncong. in average, most people will find difficulties in terms of tempo since the tempo feeling in kroncong is different in from the kind of music that they play in a band. in the band, the role of drum and bass are to give a very firm sense of beats on every composition of the song. in kroncong, the feeling of beats played by the bass is less assertive because of the disturbance by the music instrument kendangan celo and carukan cuk and cak. in addition, players who used to play melodic instruments like flute and violin also experience subsequent difficulties. for both instruments, the player is required to be good in music improvisation. figure 2. small performances and discussion during the kroncong course. documented by h. supiarza the future and prospects of youth in upi’s kroncong group are driven by the small and solid organization. their activities are militant-like. as a youth, they create a space for discussion and practice on a regular basis. they practice the technical harmonia: journal of arts research and education 18 (1) (2018): 52-6158 parts, especially for the main instruments like cuk, cak, cello, bass, guitar, violin and traditional flute. there are other important things that they do in addition to practicing the techniques which are a discussion. in the discussion, they discuss their plans for performances and academic activities, which are still associated with kroncong. in the discussion, they formulate the best strategy to develop kroncong using their own method. they are competing to pour their creativity through new ideas in every regular meeting. sometimes, it results in innovations and becomes the prospect and future of the kroncong group in bandung. through the members’ performance styles and musical forms, the youth kroncong groups become known and appreciated by the local community. figure 3. the atmosphere of kroncong practice by “lapis legit” group. documented by h. supiarza from year to year, the development of youth kroncong group in bandung continues to expand. the development is not as rapid as the development of other popular music, such as techno music, rock, ska, jazz, rhythm & blues and funk which since the 60s the music industry has been managed very well by many recording studios; in addition to the advanced technology, funding, and global market strategy given to support the development which makes it a strategic and important business (wall, 2003). bandung’s youth kroncong group grows slowly, tucked among the hustle and bustle of the music industry. slowly but sure, it grows to become a surprising figure. this strategy is known as a militant strategy. this is the new kind of strategy that gives a new perspective to the indonesian music industry. the prospect and future of youth kroncong group in upi bandung is represented by o.k. de oemar bakrie under consideration of its existence, commitment, solidity, and acceptance by the music industry through recording, television and printing media (newspapers, magazines), as well as popularity and appreciation by kroncong community. as a kind of popular music, the group can target the public taste by utilizing the mass media, as written in wall (2003): “as we have seen on the popular music cultures, operate across different media and draw on a range of channels of communication which include musical sounds, lyrics, performance styles, and media images and related transformation “. in this case, kroncong music does need to get a special study. especially when we talk about the notion of popular western music, kroncong has different cultural situations, especially in relation to its social context. therefore, it requires another approach. while the notion of popular music in the west is the music that grows in line with the role of audio-visual media since about the early 20s in america (mack, 1995), o.k. de oemar bakrie in every festival can present an interesting and surprising spectacle. therefore, they are given a new term of style by kroncong community in solo, namely the kroncong bandung style. the term kroncong bandung, or the kroncong style of bandung was given to the group firstly because of their form of music and secondly because of the stage’s style. o.k. de oemar bakrie offers an old style with a taste of the present. they use a wind instrument like jazz music (big band) in america. the style carried by this group is a reflection of youth living in the city today, in the era of modern technology. as mentioned by widjajadi (2007), the development in musicology has rolled from year to year, in achery supiarza et al., the prospect and future of youth kroncong group ... 59 cordance with the development of science, the advancement of technology, political, economic, social and cultural. de oemar bakrie kroncong orchestra the youth kroncong group called de oemar bakrie was formed on april 27th, 2012. the orchestra consists of alumni of kroncong music study program from upi bandung. declaration of the group formation was done and aired in one radio station in the city of bandung called lita fm. this radio has a special show entitled “kharisma keroncong” which is broadcasted every friday night. it can be said that lita fm radio station is very consistent with their efforts to develop kroncong, supported by an announcer named parto or called mas parto who is not only a broadcaster but also a fighter of the development and existence of kroncong music in the city of bandung. through this radio, the musical activities of kroncong in bandung are aired and announced. this radio station through parto, also often airs a set of activities of youth kroncong activists. it was through this radio that kroncong organization named “lapis legit” and o.k. de oemar bakrie kroncong music group were found and known to the public. figure 4. performance of de oemar bakrie. documented by h. supiarza during the interview, in regards of how de oemar bakri was formed, galih sutresna said that the purpose was initially to rebuild kroncong atmosphere at upi as what he had during the old time when he studied at the campus. during the initial days of de oemar bakri kroncong orchestra, galih and his members gathered every tuesday afternoon with other active students. as an alumnus, galih and his members have little authority in gathering students to discuss kroncong music in a warm and cheerful atmosphere. however, the main goal of these alumni is to rebuild the long-lost kroncong feel in the campus. gradually, these activities grow and result in the greater interest of students. the new member keeps coming to each meeting. this is the moment of the youth kroncong music group was coming back to the academic environment of upi. in order to organize the group better, galih and all the members of the group also created a talent management organization called “lapis legit” under the authority and management of upi’s department of music student union. so far, the campus’ role and environment have been very supportive. this can be seen from new equipment purchase and permission to use studio or practice places. in addition, some personnel of de oemar bakrie group who often get to meet other kroncong groups from various regions also bring positive impact to the development of the music group. the interactions made youth kroncong community in upi to receive social support in the nonformal way (rook & dooley, 1985). according to sutresna, communication between communities that once dropped can be revived because the interactions have tied back together. as a result, lapis legit organization can run its program smoothly. initially, de oemar bakrie was merely imitating the famous kroncong works, such as the langgam bengawan solo by gesang and langgam di bawah sinar bulan purnama by r. maladi. this was done as an attempt to deeply practice the conventional kroncong style. however, in the process, there were some arranged songs involved, like, mojang priangan by iyar wiarsih. in this song, they started to add additional instruments outside the standard kroncong instrument. the other instruments were kecapi, sundanese flute, trombone, saxophone, trumpet and clarinet. the muharmonia: journal of arts research and education 18 (1) (2018): 52-6160 sical instrument addition initially resulted since there was demand from tvri tv station which needs priangan’s repertoire. therefore, the group had to choose one of priangan’s song and there was mojang priangan to be chosen. mojang priangan at that time was considered suitable with the singer and composer’s characteristic in addition to the musical character of the music group as a whole. mojang priangan song was then also performed at solo kroncong festival. it resulted in a variety of audience’s pro and contra appreciation. one contra opinion emerged from the chairperson of hamkri solo at that time who believed that the use of macina and prounga (tugu’s special music instrument) as the musical instrument were less common in traditional kroncong. as for the relation between de oemar bakrie kroncong and kroncong toegoe music group were started when one of the group members used de oemar bakri as a research object to support his bachelor thesis in music study program, department of music education, fpsd, upi. kroncong toegoe style itself was born in toegoe village in 1661. at that time, kroncong toegoe members created special instruments for their musical style called five string kroncong instrument. it was made in three sizes, called jitera for the large size, prounga for the medium size and macina for the small size (ganap, 2011). kroncong toegoe music style is different from other region’s kroncong music style. for example, in regards to tempo, kroncong toegoe is faster and sounds playful while the other kroncong styles generally are slow and seductive, especially kroncong known in solo and jogja. toegoe village itself is a community of portuguese descendant. it is located in the northern coast and is the oldest area in jakarta. an archeologic monument from the 5th century can be found in the area (ganap, 2011). the kroncong group experimented with their own unique style and succeeded. they have become the representative of kroncong toegoe style outside the village. starting from the initial point, de oemar bakrie then found its own style. it opened into a new discourse between kroncong community in bandung, especially among the elders (kroncong players or lovers who are around 40 years old or more). the elders hold certain beliefs and rules about kroncong in their community. in their opinion, it is taboo to play kroncong outside the old standardized rules. gradually, parts of elder started to accept the innovations created by de oemar bakri while others still could not accept it. as a result, they are divided, some are disturbed by the innovations made by de oemar bakri, while some are happy with the innovation. later, de oemar bakrie throughout their journey is always trying to include other instruments in addition to the kroncong’s instrument. they are modern wind instruments like trombone, pianica (accordion), saxophone, clarinet and trumpet. in addition, they added traditional instruments of traditional sundanese, like kecapi, sundanese flute and jimbe. they create their appearance to look like a swing big band. their nature as academics leads them to always feel curious about kroncong. it brings them to collect all kinds of scientific reference related to kroncong on both technique and philosophy. they have studied kroncong musical journey from the very beginning, started from the sociology to the culture, so that they have more in-depth knowledge of the past. it makes de oemar bakrie kroncong group have a strong academic understanding of kroncong. this is what becomes the basis of their musical journey. their prospects and future as a group of youth who are brave to restore the past glory of kroncong amid the nation’s culture of the more popular western music. great organization and idealism lead them to be accepted by the audience. they have never had to begged to be accepted and existed in the present music industry nor using social media in a bombastic way to introduce themselves. they simply introduce themselves through their work, solidity and good organization hery supiarza et al., the prospect and future of youth kroncong group ... 61 which leads the music industry to take a glance at them. conclusion in the middle of new and popular songs in the music industry dominating the mass media, there is a group of youth who is able to maintain and develop kroncong as the nation’s cultural products. the development of kroncong music and the organization of kroncong music have been done well by the youth in upi bandung. a kroncong group named de oemar bakrie, as a representation of kroncong music development at upi bandung, has proven that kroncong music can be a lake in the barren land of the nation’s music. kroncong existence in the hands of youth can become an important discourse in the development of kroncong, especially in the city of bandung and generally in indonesia. in addition, this youth music group has given a promising prospect in the future of kroncong. the music group has also become a role model for traditional and folklore art movements among other youth in indonesia. references alfian, m. 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(2003). studying popular music culture. new york: oxford university press inc. widjadjadi, r. a. s. (2005). menelusuri sarana penyebaran musik keroncong (exploring a dissemination medium of keroncong music). harmonia: journal of arts research and education, 4(2), 1-8. widjajadi, r. a. s. (2007). mendayung diantara tradisi dan modernitas: sebuah perjalanan ekspresi budaya terhadap keroncong (r. a. s. widjadjadi ed.). jogjakarta: hanggar kreator. yampolsky, p. (2010). keroncong revisited : new evidence from old sources. archipel : études interdisciplinaires sur le monde insulindien archipel, 79(1), 7-56. 122 tiger dance: transformation and cultural property rights discourse in kerinci, indonesia febby febriyandi ys1, anastasia wiwik swastiwi2 1badan riset dan inovasi nasional, indonesia 2universitas maritim raja ali haji, indonesia submitted: 2023-02-01. revised: 2024-01-20. accepted: 2024-02-27 abstract this article aims to answer why the tiger dance in kerinci regency, jambi province, has not developed widely despite being preserved for more than 30 years and becoming a popular dance in jambi province. qualitative research methods were used to carry out this study. in-depth interviews and uninvolved observation of the artists’ activities were used to collect the data. the analysis focused on the development of the tiger dance and the preservation discourse created by the artists and residents of pulau tengah village. this study discovered that the extinct ngagoah imo ritual was transformed into the tiger dance. the “tiger man” myth, which the kerinci people still hold dear, forms the basis of the tiger ritual and dance. initially, the tiger dance was not sacred but was made sacred due to encouragement from various parties. because of its uniqueness, the tiger dance soon became popular in jambi and became a cure for the longing of the kerinci people for the ngagoah imo ritual. realizing the potential of tiger dance as an economic resource and as kerinci’s regional identity, the artists then created a discourse of property rights over tiger dance. they prohibited other villagers from learning or imitating it. this discourse is slowly making tiger dance endangered because it is only controlled by a small group of artists. such a discourse on cultural property rights needs to be straightened out. apart from being contrary to the dynamic character of malay culture, it is also contrary to various principles of cultural preservation. keywords: tiger; dance; kerinci; property rights; endangered how to cite: ys, f. f., & swastiwi, a. w. (2024). tiger dance: transformation and cultural property rights discourse in kerinci, indonesia. harmonia: journal of arts research and education, 24(1), 122-133 harmonia: journal of arts research and education 24 (1) (2024), 122-133 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v24i1.42508 disappearance of the ngagoah imo ritual since the 1960s. to preserve this ritual, a dance known as ngagoah imo (tiger dance) was developed around 1980. since then, tiger dance has gained popularity in jambi province and is frequently performed at local government-organized cultural festivals. the issuance of indonesian presidential regulation no. 78/2007 on the ratification of the convention on the protection introduction the ngagoah imo ceremony is held by the locals of pulau tengah village in kerinci regency, jambi province, in honor of tigers. this ceremony honors tigers who were either discovered dead in the forest or had to be killed for invading the village. tiger deaths are now extremely uncommon due to the declining wild tiger population in kerinci. this has resulted in the corresponding author: e-mail: febriyanditpi@gmail.com p-issn 2541-1683|e-issn 2541-2426 febby febriyandi ys et al., tiger dance: transformation and cultural property rights dis123 of intangible cultural heritage has encouraged communities and local governments in indonesia to protect their cultural heritage and make it a regional identity. this awareness is also fueled by the economic potential and cases of disputes over claims to indonesian cultural works with other countries (djulaeka & zulkifli, 2018). to preserve ngagah imo, the kerinci regency government registered the tiger dance as an indonesian intangible cultural heritage and designated it in 2018. despite its growing popularity and designation as an intangible cultural heritage, tiger dance has not spread throughout kerinci. by 2022, only one art studio can perform tiger dance. this condition has led to tiger dance becoming endangered. why is this happening following the popularity of the tiger dance? what discourses emerged in kerinci alongside the preservation of the tiger dance? the answers to these questions are crucial because local customs and perceptions of tigers influence their ability to survive in the wild. tigers have vanished from java and bali due to long-standing hunting customs and attractions like rampogan macan and rampogan sima (forum, 2019; boomgaard, 1994; 2001). tigers only persist as symbols in various traditions, including the popokan ritual in semarang, the babarit in ciamis, and the macanan dance in blora (slamet & budy, 2017; hafidz, 2017). these symbolic tigers are more enduring because they embody human interaction with the environment and themselves (wessing, 1994). we are fortunate that the sumatran tiger still survives. kerinci people’s traditions and concepts about tigers have protected their existence in the forest (bakels, 2000). therefore, various traditions related to the existence of tigers must continue to be preserved. numerous studies on the topic of tigers and cultural aspects of society have been done, including those by swettenham (1895), ahmad (1922, 1925), daryusti (2005), putri (2014), utari (2015), rahmah (2016), hafidz (2017), ramadani (2018), anggraeni (2018), sunarti (2020), boomgaard (2001), yosseprizal (2015), adu, salampessy, iskandar (2019), heryanto and eriyanti (2019). these articles discuss human-tiger conflicts, opinions on tiger conservation, tiger-man stories, tiger tales, tiger martial arts, and rituals and dances that draw inspiration from tigers. numerous studies have been done on ngagoah imo and the tiger dance in kerinci, including those by bakels (2000), adriani (2001), nurlidya (2007), haryanto (2013), usman, azmi, ahmad, hasbullah (2014), usman and hasbullah (2014), oktarini (2014), zahdianto (2019); tomi, hadiyanto, pratama, alfat, utami (2019), and utami (2020). these writings describe the steps involved in the ngagoah imo ceremony, how tiger myths serve a social purpose, telaga biru art studio’s history, and the music played during the ceremony. oktarini attempted to explain the history of the tiger dance’s invention (2014), but she fell short. in spite of all of these writings, it is still being determined how ngagoah imo came to be transformed into the tiger dance and why it did not catch on more widely. method a qualitative research methodology was used for this project. traditional leaders, tiger dance creators, handlers, dancers, musicians, local government officials, and residents of pulau tengah, keliling danau district, kerinci regency served as the research’s informants. non-involved observations and in-depth interviews were done to collect primary data. the tiger dance training process at telaga biru art studio was observed objectively. select informants and a number of pulau tengah village residents who were encountered during the research fieldwork in april to may 2020 and june 2022 were interviewed in-depth. structured interviews were conducted in focus group discussions with dance creators, dancers, and musicians. the data analysis was completed in five stages. begin with data logging, which is collecting raw data from interviews, focus group discussions, and observations. this harmonia: journal of arts research and education 24 (1) (2024): 122-133124 was done to comprehend descriptions, emotions, insights, assumptions, and ideas about tiger dance. the second stage is anecdotes, which involves creating short narratives based on the collected data. this stage facilitates an understanding of the essence of the data. short narratives are then expanded with more detailed and indepth narratives. this stage seeks to comprehend the data’s complexity. the fourth step is categorising based on emerging themes, patterns, and concepts. the fifth stage involves analysing the relationship between themes, patterns, and concepts to understand the data fully. the results of the data analysis are then systematically organised into a scientific paper (akinyode and khan, 2018). result and discussion tiger concept and myth in kerinci in the malay world, tigers are frequently mentioned in customs and beliefs. the malays view tigers not just as animals but also as brothers, friends, and even ancestors (wessing, 1994). according to the sumatran people, there are three different kinds of tigers. the first is the ancestral tiger, which is an ancestor or messenger of the gods who is kind. the second is the supernatural tiger, which behaves badly and can kill humans. third, the tiger as a wild animal (bakels, 2000). the residents of pulau tengah village see the tiger as a representation of the ‘nenek’ (ancestors) who need to be revered. its presence is regarded as a sign of wisdom and involvement in the community’s interpersonal relationships (usman et al., 2014). the most significant spiritual entities for the kerinci people are their ancestors. in rituals and everyday activities, ancestors are crucial (bakels, 2000). ancestral tigers are mythical tigers with the ability to change into both tigers and humans. according to usman and hasbullah (2014), this type of tiger is also called the cindaku tiger. tigers are regarded as both friends and village guardians by the pulau tengah people. tigers that are kept for a variety of reasons are known as friendly tigers. although they have a physical appearance, these tigers are thought to be supernatural. how humans interact with tigers is similar to how they interact with dogs or other animals fed and frequently asked to guard fields from pests and criminal activity. the pematang tiger, also known as the village guard tiger, is an animal that resides in the forest in the pulau tengah area and is tasked with protecting the area from other tigers. according to bakels (2000), the pematang tiger is more than just a typical animal; it also has mystical abilities. a mix between an animal and a forest spirit. the idea of tigers is inextricably linked to tiger myths and legends. ancestors named bujang nunggal, serintik hujan panas, hulu balang tigo, and mangku gunung rayo are mentioned in the tiger myth of pulau tengah village. there are several tiger myths that the residents of pulau tengah village hold dear, but they all revolve around the same idea: that they are related to tigers. the tigers-related stories in malay culture are similar and originate in the same region—kerinci-rejangbasemah, which is centered on mount dempo (boomgaard, 2001). in the community of pulau tengah village, the myth of the tiger man is still alive and always refers to an area called pasemah. based on archaeological research, pasemah is an area that once had a fairly old civilization. one of the megalithic remains in the pasemah region is a statue of a mating tiger (suryanegara, damayanti, yudoseputro, 2007). from the ngagah imo rite to the tiger dance obligations owed to bayar bangun the villagers of pulau tengah hold the mythical belief that their ancestors made a pact with the tiger that must be abided by. the tiger must not enter human territory, cross borders, or disturb residents (melompat pagar, menembus lawang, berbuat sio-sio). contrarily, people shouldn’t go into the area and bother the tigers (e.g., by hunting tigers, cutting wood for sale, or killing wild animals, not for food). acfebby febriyandi ys et al., tiger dance: transformation and cultural property rights dis125 cording to the agreement, the presence of tigers in human territory is thought to be a form of warning or punishment for people who disobey the agreement or go against their culture and religion (incok-incok). those who tigers harass are required to perform ‘tebus diri’, which entails confessing their error and holding a ceremony at the ancestral home. the tiger may be killed if the ceremony has been completed, but it still bothers people. they think that if the tiger is not killed by people, another tiger will. the people of pulau tengah village must then perform a bayar bangun ceremony. this is the procedure for paying a fine for the death of a tiger, regardless of whether it was intentionally killed or only discovered to be dead. according to pulau tengah village tradition, missing stripes, fangs, tails, eyes, and voices are all replaced by matching ones (hilang belang diganti belang, hilang taring diganti taring, hilang ekor diganti ekor, hilang mata diganti mata hilang suara diganti suara). the bayar bangun ceremony begins with the tiger carcass being picked up where the elders found it. it is brought into the village using a stretcher and covered with a white cloth. the cloth is only opened during the tepuk tarai procession in the bayar bangun ceremony. in the evening, the hulubalang (village guardian) will sound the canang to signal that no work is to be done in the river, lake, or fields the next day. all residents must stay inside the village because a ceremony will be held. the bayar bangun ceremony takes place in a field inside the village, usually close to the pulau tengah village’s traditional home. the tiger carcass is raised with wood or bamboo before the ceremony to give the illusion that it is a living animal. the ceremony begins with the burning of incense and the reading of a mantra called perno adat. the recitation of the mantra begins by calling the ancestors of the tiger man named serintik hujan panas, mangku gunung rayo, hulu balang tigo, jelangka tinggi, and lang kalaut. the purpose of calling the ancestors is to inform them that their grandchildren have violated the contract (menembus lawang). the mantra contains four different call types: terawoi, terawai, huu, and hoi. the “hoi” call is for everyone present, while the other three calls are meant to call the ancestor’s spirits. the tarawak and tarawoi, musical instruments made from coconut shells and areca nut fronds, are also called the ancestors. these musical instruments are used during the ceremony (tomi et al., 2019). the elders place the pay-up offerings—a three-colored cloth to replace the stripes, a dagger to replace the fangs, a sword to replace the nails, a spear to replace the tail, a coconut shell used as a gong to replace the voice, and a mirror to replace the eyes—next to the tiger carcass while reciting the mantra. tiger martial arts are then performed for the tiger carcass. many onlookers will enter a trance at this point. the bayar bangun ceremony is then over when the tiger carcass is taken to the forest to be buried. the invention of the tiger dance dance is a timeless and dynamic expression rooted in the human drive to find meaning through movement (thomson, 2011). according to beaman (2017), the creation of dance is motivated by several factors, namely the transformative experience of dancers, the delivery of political and spiritual messages, the expression of cultural identity, and the preservation of sacred and esoteric traditions, likewise, with the creation of the tiger dance in kerinci. this dance was created to preserve sacred and esoteric traditions and express the identity of the people of pulau tengah village. before the existence of the tiger dance, the people of pulau tengah village performed the ngagoah imo ceremony by presenting the tiger carcass directly. the reduction of the tiger population causes the discovery of tiger carcasses to be rare. this condition has led to the extinction of the ngagoah imo ceremony since the 1960s. harun pasir is concerned about this extinction. he is a pulau tengah village traditional elder and dancer. then, harun pasir created a tiger dance as a way to protect ngagoah imo. harmonia: journal of arts research and education 24 (1) (2024): 122-133126 this dance was created to make it simpler to perform ngagoah imo, which does not require the use of tiger carcasses so that it can be preserved on pulau tengah. the elders at first rejected harun pasir’s proposal to create a tiger dance because they believed it would diminish the sacredness of the ritual. with the support of the youth of pulau tengah village, harun pasir succeeded in creating the tiger dance. the creation of tiger dance goes through several stages, from exploration, improvisation, evaluation, practice, and performance. according to soemaryatmi and yulianti (2022), this method of dance creation allows for the development of movement, form, technique, and the thematic content of the dance. before creating the tiger dance, harun pasir went to the traditional elders to learn the detailed process of the ngagoah imo. after understanding the details of the ritual, harun pasir created a socio-drama performance with the telaga seni group. this group was founded by harun pasir and supratman in 1960. the socio-dramatic performance consisted of acting, comedy, silat, and tiger dances danced by men. in addition, a man plays the role of a tiger. the socio-drama show was always featured in folk performing arts activities organized by the kerinci regional government from 1985 to the mid-1990s. around 1987, harun pasir made changes to the tiger dance performance. he composed the tiger dance so that it could be danced by women and accompanied by drums and gongs, and the movement patterns imitated the tiger’s martial arts movements. the tiger dance performance in 1987 did not yet use properties and mantras as it does today. the tiger dance created in 1987 was the initial form of the current tiger dance. this dance was often performed at various events at that time. in the early 1990s, koto dian hamlet held a kenduri-sko and performed the tiger dance created by harun pasir. when the performance was in progress, a resident named oktora was suddenly possessed. he jumped onto the stage and called harun pasir. oktora criticized harun pasir’s tiger dance as being incorrect because it was too gentle and slow. oktora then performed the right dance, which was faster and more agile. oktora fainted after doing the tiger dance and didn’t realize what had happened. oktora’s story is nonsensical to the general public. however, according to gao (2020), it is not unusual for the subconscious to be involved in the creation of dance. when it comes to creating dance, the subconscious part of the brain is crucial since it provides the idea for the choreography and aesthetics. following the arrival of two foreign researchers in pulau tengah village in around 1993, the tiger dance underwent a significant change. they were known to harun pasir as mr. heru and ms. linda. both of them were intrigued by harun pasir’s tiger dance. they asked harun pasir to create a tiger dance with magical components so that the dancers could feel possessed. harun pasir was initially hesitant but was intrigued to create a tiger dance with mystical components. harun pasir received funding for training expenses from mr. heru and ms. linda. to realize heru and linda’s request, harun pasir created a tiger dance concept with a performance structure similar to the bayar bangun ceremony. harun pasir enlisted the help of nazaruddin, who is believed to be friendly with tigers and is the grandson of a tiger man, to add mystical elements. harun pasir enlisted the help of female dancers from the puti masurai art studio. the musicians came from the telaga biru art studio. they rehearsed at the high school field in pulau tengah village. after several practices, nazaruddin was unable to possess the dancers. then, harun pasir recalled what had happened in koto dian hamlet and requested oktora’s assistance in causing the dancers to become possessed. oktora was successful in making the dancers feel possessed after several rehearsals. oktora claimed that her ability to conjure the tiger spirit was innate. he simply asks god for protection before speaking to the tiger spirit. unfebby febriyandi ys et al., tiger dance: transformation and cultural property rights dis127 expectedly, the ancestral spirits came and possessed the dancers. this success made creating a tiger dance similar to the bayar bangun ceremony easier. to add to the sacred atmosphere, the principal of pulau tengah high school made costumes resembling the color of tiger fur using spray paint (figure 1). on the day agreed with heru and linda, harun pasir, along with the dancers, musicians, and oktora, performed the sacred tiger dance for the first time in the field of keluru village. due to the possessed and difficult-to-control dancers and audience, the dance performance, which was only supposed to last seven minutes, ended up lasting two hours. since then, the tiger dance has been known as a sacred dance involving ancestral spirits. the use of tiger puppets, incense, mantras, and possession were constant features of later tiger dance performances. the tiger dance cast consists of eight dancers, six musicians, two singers, two handlers, six protectors, one person who receives offerings, and one person who reads spells. this number is not standardized and can be adjusted according to performance conditions. the tiger dance performance begins with the recitation of a mantra by a man who usually also serves as a protector. both the tiger dance and the bayar bangun ceremony employ the same mantras. the following is a fragment of tiger dance mantras: u…………… u... ninak panunggung pamato di alam kincai, dingang tujuh bukik,tujuh luhoh,tujuh guguk,tujuh pamato. malantak mudek ninek lang kalaut, malantak ile ninik jalangkang tinggi, di tango-tangoh ninek hulu balang tigea, dengan kembang rekannyo pamangku gunung ayo dan sirintak hujan panah. mining inih, kok matai lah kamai bangiu, tapaso lambeng tacacok lamat, utang lapah sandoa babalek, silang sakato salso lah sudoah, kito idoak buleh saling mengganggu agih. the handler walks around the performance area while incense is burning to create a magical fence while reciting the mantra. during the mantra’s third stanza, the dancers lay out offerings, including a three-colored cloth (red, black, and white), a kris, a sword, a spear, a coconut shell, and a mirror. the dancers also added sirih sekapur (betel leaves rolled in betel lime) and sirih seperantang (consisting of betel leaves, betel lime, areca nut, and cigarettes made from palm leaves). all of these things are positioned in front of the statue of the tiger. figure 1. dancers in tiger costumes carried the offerings. (source: telaga biru art studio) the tiger statue’s cover is opened after the mantra has been read, and the dance starts. according to harun pasir (interview, march 1, 2020), dance movements like pouncing, calling, walking, and stalking are derived from tiger martial arts movements that evolved in pulau tengah village. the dance steps that were created were adapted to the tiger movements that were imitated but never given a specific name. according to utami (2020), the movements in the tiger dance are welcome, greeting, oath, attack, prey, and falling face down. according to haryanto (2013), there are ten different tiger dance motions, including pemukoak (opening), matai ateh (pecking above), kedadea (claws on the chest), kamukea (claws forward), ngko marawo (claws against), ngko nak npow (claws want to pounce), nko matai aweng (pecking below), ngko silang (crossing claws), nanjoak kateh (spearing up) nanjoak kaweng (spearing down). harmonia: journal of arts research and education 24 (1) (2024): 122-133128 figure 2. tiger dance performance in pulau tengah village (source: telaga biru art studio) music and a song titled “lagu tari imo” (tiger dance song) accompany these motions. the drum, ketak (wooden clunk), large tambourine, kompang, malay drum, and gong are the musical instruments used. the tiger dance song’s lyrics are as follows : u…….nek..muyang tingkaih nga bugle…mangku gunung ayo.. u…….nek…rintek ujan paneh.. uhang gagoah dipunglimo tingkah u…….nek ulu balang tigea badan sibatoa ujud lanyo tigea nga…… di….serau lkah lah tibea ngak di pangge lkah lah datoa ngak sahi kilak ngak sahi gunteu ngak sahi tpok taringok angai u…….muyang butigea the harun pasir-organized tiger dance only lasts for about 10 minutes. however, tiger dance performances always go on longer because the dancers and audience always fall into a trance. music and songs must still be played to prevent the trance audience from leaving the performance space. the trance causes the dancers to faint, and the tiger dance performance is never completed by its structure. tiger dance performances are still evolving to meet the needs of the community. in 1993, only two tiny tambourines were playing along with the tiger dance, and no incense was used. the use of incense was improved in the subsequent performance. at the kerinci lake party in 2001, musical instrument changes first took place. at that time, four tambourines, a gong, and a tingting (a round piece of iron) were employed. to enhance the music’s sound, additional instruments were added. the ketak (a wooden clunk) and drum, which were added in 2018, are the newest additions. ketak has replaced tingting, which has been absent previously. currently, a malay drum, a drum, a ketak, two small tambourines, two large tambourines, and a gong are used as musical instruments. who owns the tiger dance? tiger dance is currently one of the kerinci community’s symbols of identity. tiger dance is a well-known identity that is frequently displayed at cultural events in kerinci and other parts of jambi. the jambi provincial language office issued a performance invitation in 2016. tiger dance was also performed in bengkulu that year. tiger dance was also presented at the anniversary celebration of the mukomuko regency in 2017. tiger dance was also featured in the batang hari festival that year. in 2018, the tiger dance was featured in the cultural arts festival at the language office in jambi and also in muko-muko district. the tiger dance was also performed consecutively in 2018 and 2019 at the kerinci lake festival. despite its popularity, tiger dance did not flourish in many villages or artist communities. the reason is that the telaga biru art studio has claimed ownership of the tiger dance and the bayar bangun ritual. for them, the bayar bangun belongs to the people of pulau tengah, and the tiger dance belongs to the telaga biru art studio. with such a discourse, telaga biru art studio limits the acceptance of new members. prospective members are only allowed to register if they live in pulau tengah. (the area of pulau tengah village before the division of the region). no applications from other villagers are accepted. according to harun pasir (interview, march 1, 2020), only the telaga biru art studio is authorized to perform the tiger dance, and no other studio in kerinci is able to do so. he once protested to iskandar zakaria who was making his own version of the tiger dance. harun pasir argued that ngagoah imo belongs to pulau tengah and cannot febby febriyandi ys et al., tiger dance: transformation and cultural property rights dis129 be copied carelessly. according to harun pasir, there are several justifications for the claim of property rights for ngagoah imo and tiger dance: first, only the pulau tengah community’s ancestors practice ngagoah imo. nevertheless, with various regional variations, the bayar bangun ceremony is carried out throughout kerinci, according to bakels (2000). second, the tiger dance is a ritual that unites the pulau tengah villagers with their ancestors (as demonstrated by the mention of ancestors’ names in the opening mantra), so it is inappropriate if performed by anyone else. the ancestors also personally selected the handlers of the tiger dance. since 1993, oktora has handled the tiger dance and has not been replaced. third, the minister of education and culture recognized ngagoah imo as an intangible cultural heritage in 2018. ngagoah imo had already taken on significance for the pulau tengahs’ identity long before this decision was made. fourth, harun pasir and members of sanggar telaga biru invented the tiger dance. based on these four arguments, harun pasir and other telaga biru art studio members created a discourse asserting that telaga biru art studio and pulau tengah village are the rightful owners of the tiger dance. whatever the case, tiger dance is essential to the continued existence of telaga biru art studio. though there are numerous other dance performances, tiger dance is telaga biru art studio’s most crucial identity. tiger dance has made it possible for telaga biru art studio to receive praise from a variety of sources. the kerinci regency culture and tourism office and telaga biru art studio once had a tense working relationship. the relationship kept deteriorating because of a number of miscommunications. according to harun pasir (interview, march 1, 2020), in 1982, members of the kerinci regency culture and tourism office “sabotaged” the telaga biru art studio so that it could not take part in the jambi arts festival. contrarily, harun pasir persisted in performing the satai dance and eventually won the competition. this misunderstanding continued until 2017. according to jores (interview, march 5, 2020), the management of the telaga biru studio had a dispute with an employee of the kerinci regency culture and tourism office during the reception of the pesona indonesia award. the tiger dance was named the second most popular cultural attraction of 2017 by the ministry of tourism of the republic of indonesia. at the time of selection, the local government did not provide support, but after winning the trophy, it was taken by the kerinci culture and tourism office and not handed over to sanggar telaga biru. this led to a commotion and feelings of disappointment and rage at the telaga biru art studio. the kerinci regent (dr. adirozal, m.si.) created an award trophy to recognize telaga biru art studio’s national accomplishments to resolve the issue. another dispute involving grants for the 2017 batang hari festival occurred in the same year. according to jores (interview, march 5, 2020), there was a dispute when the funds were received because some people wanted to lower the aid fund’s amount. since the tiger dance from jambi province was recognized as an indonesian intangible cultural heritage, the relationship between telaga biru art studio and the kerinci regency culture and tourism office has improved. telaga biru art studio has been better received since that designation. they also felt that they received attention from the central government by providing coaching funds (fkbm) of rp. 100,000,000 in 2019. the funds were used to buy various musical instruments such as drums, bendang sike, malay drums, djembe, and also to make tiger statues as tiger dance equipment. concerning these various situations, the desire for appreciation instigated the development of tiger dance property claims and prevented others from learning and performing it. as long as telaga biru art studio is able to establish a claim of ownership and forbid others from learning tiger dance, it will draw a variety of interest from different parties. harmonia: journal of arts research and education 24 (1) (2024): 122-133130 this is due to the global significance of the preservation of sumatran tigers. the conversation about cultural property rights does not naturally arise when considered in a broader context. at least two factors are responsible for strengthening cultural property rights claims. first, there is a dispute over property rights between malaysia and indonesia. the pendet dance from bali was featured in a discovery channel advertisement for malaysia’s cultural heritage in august 2009. this was perceived as malaysia’s attempt to “steal” indonesian culture. following the incident, malaysia was the target of weeks of rage and insults (chong, 2012). the spirit of ownership of cultural heritage in indonesian society has become stronger, even encouraging the emergence of mutual claims to cultural property at the local level. the second is the rhetoric in favor of cultural protection that both local and national governments spread. the indonesian government developed a discourse emphasizing the importance of cultural protection in preserving the country’s identity and ensuring that other countries do not appropriate it, using the example of cultural disputes with malaysia. the discourse of cultural preservation is then outlined in the law on the promotion of culture number 5 of 2017 as well as the minister of education and culture regulation number 106 of 2013 concerning indonesian intangible cultural heritage and number 10 of 2014 regarding guidelines for the preservation of traditions. cultural preservation has long been discussed as a form of local and societal identity. the indonesian government has implemented a number of laws to safeguard the country’s cultural heritage since the early 1990s. this action represents indonesia’s involvement in the global discussion on how to safeguard cultural assets from being abused and privatized by others (kreps, 2012). although the regulations do not explicitly state that they are intended to defend against claims from other nations, the discussion about cultural property rights and defending them against claims from other nations keeps coming up. this motivation is reflected in the target quantity of recordings of indonesia’s intangible cultural heritage, which is anticipated to be recognized by unesco as a world cultural heritage. this discourse promoted the designation of ngagoah imo as an indonesian intangible cultural heritage, which was perceived by tiger dance performers and residents of pulau tengah village as legitimate for their ownership interests in ngagoah imo. the assertion of ngagah imo’s property rights violates several laws. one of them is law no. 28/2014 on copyright’s article 38, paragraph 1, which states that the state owns the copyright to traditional cultural expressions. this essay emphasizes that traditional cultural expressions are not personal to any one person. the assertion of cultural property rights also conflicts with article 11, paragraph 1 of minister of education and culture regulation number 10 of 2014, which mandates that the provincial government make use of the culture that emerges in the community. paragraph 2, letter a, states that cultural utilization is carried out through the dissemination of cultural information and national character values. then, in letter d, it is stated that culture utilization is carried out through packaging as teaching materials at the local level. article 11 requires schools to disseminate culture and teach it to students. ngagoah imo’s claim of property rights contradicts the telaga biru art studio’s short-term program, namely disseminating regional arts through competitions and festivals and preserving almost extinct cultures (utami, 2020). the protection of communally owned cultural heritage should not take the form of patents or copyrights, as granting such rights to a particular group goes against the basic idea of freedom of expression and the development and dissemination of culture in general. furthermore, granting such copyrights is both practically and theoretically impossible (karjala & paterson, 2017). moreover, claims of cultural property rights go against the loose identity febby febriyandi ys et al., tiger dance: transformation and cultural property rights dis131 of malay culture. as chong (2012) argues, it is impossible to attach (unequivocally) certain cultural elements to certain groups within the malay world, given the region’s cultural exchange level. it is impossible to delineate who owns a particular cultural element as it goes against the dynamic and evolving concept of malay identity. as long as these claims regarding cultural property are upheld, kerinci’s practice of tiger dance, which is only owned by a small group of people, will be increasingly in danger of disappearing. on the other hand, tiger dance will be more sustainable if it is shared and owned by many people. the values it teaches people to respect the existence of endangered sumatran tigers are another reason why spreading knowledge about ngagah imo is crucial. conclusion the transformation of the ngagoah imo ritual into a tiger dance has been driven by harun pasir, who the people of pulau tengah assist. this transformation was also encouraged by the jambi regional government, which routinely organizes traditional art competitions in stages from sub-district to provincial levels. extraordinary encouragement came from foreign researchers who visited kerinci to conduct research. these foreign researchers have encouraged the emergence of the sacred and mystical tiger dance, which became popular in kerinci society and became their cultural identity. in later developments, tiger dance continued to be preserved as the identity of the people of pulau tengah, with harun pasir and telaga biru art studio as the main actors. harun pasir, telaga biru art studio, and the people of pulau tengah then built a discourse that the tiger dance belonged to pulau tengah village so that other people could not learn or imitate it. this property rights claim arises from a misunderstanding of the discourse on cultural preservation developed by the central and local governments. telaga biru art studio has misunderstood the concept of cultural protection. this claim causes tiger dance preservation efforts to be very limited because knowledge of tiger dance is only owned by a few people. the evidence is that, despite having been preserved for over 30 years and growing in popularity, tiger dance is only mastered by one art studio. the tiger dance will ultimately be driven to the brink of extinction by this erroneous assertion of property rights. along with that, traditional beliefs that safeguard sumatran tigers’ survival will also vanish, making efforts to preserve them more hopeless. therefore, in order to better support the principles of cultural preservation, people’s perceptions of the rights attached to cultural property need to be clarified. in order to preserve the tiger dance, artists must alter the conversation about its property rights to make it clear that it belongs to all communities while still honoring harun pasir as its creator. references adriani. 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(2019). sanggar seni telaga biru di negeri pulau tengah, kecamatan keliling danau, kabupaten kerinci tahun 1988-2014. thesis. padang: universitas andalas. 163 wayang tengul art performance: a study of people’s appreciation of wayang tengul art tutung nurdiyana department of performing art, faculty of teaching and education science, universitas lambung mangkurat, indonesia submitted: september 16, 2019. revised: november 4, 2019. accepted: december 28, 2019 abstract wayang tengul is one type of wayang (puppet) belonging to indonesia existing in sidobandung village, balen subdistrict, bojonegoro regency. this wayang is still preserved and found attractive by society until now. this wayang preservation depends on society’s appreciation as the audience of wayang tengul and is one of the most important factors for the success of a performance. therefore, this research attempts to describe how people in sidobandung village appreciate wayang tengul. this qualitative research was conducted in sidobandung village. it shows how the people highly appreciate wayang tengul art since this wayang art is unique, not strictly bound by wayang common practice, performed interactively between dalang (puppeteer), gending (javanese music) and audience and laden with guidance presented in fresh jokes. keywords: wayang tengul; appreciation; audience how to cite: nurdiyana, t. (2019). wayang tengul art performance: a study of people’s appreciation of wayang tengul art. harmonia: journal of arts research and education, 19(2), 163-171. harmonia: journal of arts research and education 19 (2) (2019), 163-171 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i2.23636 some state that wayang, especially wayang kulit, is a depiction of javanese culture and a manifestation of javanese people’s cipta, rasa and karsa in every aspect of society and state life. wayang is familiar to javanese people and contains many interesting things for entertainment while serving as a medium of communication and education which remains relevant in every era, since wayang is dynamic and able to keep up with development in the society. according to clifford geertz, when a person desires to study javanese culture, he/she should start from understanding and learning wayang (bastomi, 1993). the reason is that wayang summarizes the javanese people’s views of life. the clifford geertz’s opinion is quite understandable since art is an expression introduction wayang is one cultural heritage that survives, especially in javanese society, and also the national pride in art. wayang is called an adiluhung (high quality) art, since it is an artwork which is laden with philosophical, symbolic and historical values of ancestral heritage, which needs be preserved (harsojo, 1998). there are various forms and types of wayang in indonesia, one main form of which is wayang kulit, which has been taking a special place in the heart of the indonesians for centuries, both elites and common folks. wayang kulit is a traditional art with great number of fans, while it has existed for hundreds of years, but survives changing times. corresponding author: e-mail: tutung.nurdiyana@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 19 (2) (2019): 163-171164 generated from existing ideas, values and norms in the mind of individuals in the society. meanwhile, according to mulyono, wayang’s high quality may be found in multiple values, including entertainment value, art value, education value, scientific and spiritual enlightenment, and religious value (mulyono, 1979). wayang performance in a traditional agricultural society is often intended to be teaching. besides the most important part of religious ceremony, wayang performance is filled with various teachings of life, from philosophy to moral teaching for rural farmers. this shows that wayang performance has currently become an important part of the society’s socio-cultural system. however, in industrial or urban society, especially transitional society, wayang performance has transformed its functions and roles. wayang in such societies often serves as entertainment, ethnical identity and social class stratification in javanese society, cultural commodity and a little still serving as a small part of a description of the meaning of life of a group of javanese society. in this context, wayang is understood as an aspect of teaching and pitutur (advice) instead of as the main essence, but the aspects of entertainment commodity, technical skill to generate new creation and artistic aspect instead. the current wayang kulit is human’s work which has been continuously worked on and improved for centuries from generation to generation. various cultures influence the form and philosophy of wayang, from original ancestral culture, hinduism, buddhism to islam. with the arrival of islam, the history of wayang art in indonesia developed in every aspect of indonesian-islamic visual art tradition. at that time, a form of wayang was born, which reflected a more appropriately mature conception to the indonesian art tradquated ition, visually and spiritually. in the past, when islam entered java island, the role of wayang as a medium of dakwah was very useful since through wayang performance, islamic teaching was inserted. the muslim missionaries (mubaligh walisongo) used wayang as a medium of dakwah which could not be separated from the idea that wayang was already familiar to javanese people, thus for ease of dissemination of islamic teaching and people’s acceptance of it, wayang was used. according to mulyono (as quoted by amir, 1994), the islamic teaching introduced by the wali includes the javanese version of wayang genealogy, that according to this genealogy, wayang started from one ancestry, that is prophet adam. the wali who disseminated islam in java island, besides creating wayang genealogy which was connected with islamic teaching, often created gendhing-gendhing and wayang story for dakwah purpose. with regard to these activities, there is an assumption in the society that the ones who created wayang, gamelan and pakem-pakem pedalangan are the wali at the time islam started developing. this assumption, according to pigeaud (wibisono, 1991), is believed by the people on the north coast of java. besides, wayang performance, which was deemed sacred during the pre-islamic era, was popularized by the wali, rearranged and adjusted to islamic teaching and the cultural value system of its supporting society. this pigeaud’s opinion is in line with amir’s statement, that for dissemination and development of islam, the pantheist goods system in wayang performance with its hierarchical divinity system was modified, putting gods as the executors of god and not other than god (amir, 1994). now, wayang serves a function and role in society’s cultural life. the function and role of wayang since its creation and in its journey are not fixed depending on the need, demand and working of its supporting society (wibisono, 1991). javanese culture, which supports the existence of wayang, is changing. therefore, it is impossible to maintain and preserve a cultural element while its supporting society has been and is continuously changing. therefore, what we need to do is changing, revising and modifying wayang in order for it to survive in the society’s changing culture (waluyo, 2000). tutung nurdiyana, wayang tengul art performance: a study of people’s appreciation of 165 in bojonegoro, there is a type of wayang called ‘wayang tengul’ with some uniqueness. first, wayang tengul has no standard like the standard pakem pedalangan wayang kulit. therefore, the way to present it is up to the dalang. although the story has certain guideline, but the version of the story is up to the dalang. second, nayogo (gamelan players) and sinden (singers) are involved in dialogue with dalang, talking in a bi-directional conversation, thus humorous comments are commonly used in about 8 hours of wayang tengul performance. such bi-directional dialogue does not bore the audience. some audiences also occasionally make humorous comments, from which dalang makes jokes. in addition to its uniqueness, wayang tengul also has its characteristic of using typical bojonegoro dialect called javanese language ngukuh. the purpose dalang of wayang tengul use typical bojonegoro dialect is for wayang tengul art to have an impression and nuance of original art performance of bojonegoro society and also to stimulate the audience in each performance, so that they will not get bored listening to standard javanese language kromo inggil. the uniqueness and typicality of wayang tengul remain showing the simplicity of performance as a cheap show to entertain the society since the rate for each wayang tengul performance is also far lower than that of wayang kulit performance. the rate of each performance is based on the story to be told and its duration, since the duration of wayang tengul performance may be shortened at request of the host. wayang tengul, as a traditional art that is still loved by bojonegoro people, actually still serves function like the other existing traditional arts such as oklik, tayub and sandur. the reason is that wayang tengul contains various arts such as dance art, music art, pedalangan at, visual art and performing art. this wayang tengul art is still preserved until now, particularly in sidobandung village, balen subdistrict, bojonegoro regency, which is the location where the research on wayang tengul is conducted. in this village, wayang tengul still exists and is preserved for generations as an ancestral heritage, as proven with many and frequent wayang tengul performances held in the society in certain events. wayang tengul performance is commonly held in relation to people’s social activities. for example, a change of government official event, governmental events from village to regency levels, marriage, birth, circumcision or any event related to a person’s life cycle ceremony or in other ceremonies deemed important by the society. based on the existence of wayang tengul which remains preserved by the people in sidobandung village and of the audiences who are still fond of and loyal to it from various groups, the researcher is interested to study wayang tengul audience’s appreciation. wayang tengul audience is one of the most important factors for the success of its performance. this audience is derived from various groups, including children, youths and elders. in every wayang tengul performance, the audience or each individual appreciates what the performance they watch differently. the audience also has their respective purpose of choosing which dalang is appropriate to perform a certain story in wayang tengul performance and they have the criteria for it. dalang of wayang tengul must, if not want to be left by his audience, strive for making his performance attractive. not only by developing how to perform, but the story is occasionally made not pursuant to the standard. however, a dalang must be aware of wayang genealogy. sidobandung people’s appreciation of wayang tengul art performance becomes the research’s focus. people’s appreciation of or response to traditional art in this modern era is then important as why they still desire to pay attention to traditional art, especially wayang tengul. based on the background above, the research attempts to answer the problem, of how is people’s appreciation of wayang tengul in sidobandung village? harmonia: journal of arts research and education 19 (2) (2019): 163-171166 method this qualitative research focused on items in their natural context, attempting to understand, or interpret, phenomena from the perspective of meaning attached by human (researcher) to it (denzin, et al., 2009). the qualitative research employed here was ethnography. according to spradley, ethnography is a work to describe culture. the purpose of this activity was to understand a view of life from the perspective of native inhabitants. furthermore, spradley states that the essence of ethnography is the effort to pay attention to the meaning of action from an occurrence happening to the person we want to get an understanding of. some of these meanings are directly expressed in language, and many are received and conveyed only indirectly through words and actions (spradley, 1997). qualitative ethnographic research in social research may also be employed to study certain issues to be taken as the theme, thus it does not have to describe the culture of a certain society holistically. this view is stated by hammersley and atkinson regarding ethnography. according to hammersley and atkinson, “ethnography” is a method with typicality. ethnography consists of some research activities in the form of ethnographer’s participation in daily life within a long period, seeing what happens, listening to what they say, asking a question. in short, ethnography means collecting any data which may be used to understand issues which becomes the research focus (hammersley, et al., 1995). this research employed ethnography, aiming at describing the wayang tengul phenomena more thoroughly and emphasizing exploration attempt on the wayang tengul phenomena through a set of non-structured data in the society’s version, to be analyzed interpretatively to generate an overview of the society’s appreciation of performing art wayang tengul more comprehensively. through informants, interview aimed at collecting information and data from certain individuals. in this regard, to enter into the society on which the study was conducted, the researcher needed purposively determined informants. the research informants included dalang who was deemed to have extensive knowledge of wayang. in addition to dalang, the other informant was wayang tengul maker or craftsman. this informant was deemed to have actual understanding of characters inherent in wayang tengul dolls they made. the researcher obtained the appreciation data from various wayang tengul fans and audiences as informants. the audience of wayang tengul art performance was gathered accidentally when a performance was in progress, and the fans were not only obtained during the performance, but visited in their home. there are 13 informants from which information of their appreciation of wayang tengul art performance is collected, consisting of 2 (two) children (8-10 years old), 2 (two) adolescents/adults (15-40 years old), and 9 (nine) elders (41-60 years old). after the research had been conducted and data were collected completely from the field, the next phase was analysis. in this phase, the data were used in such a way for answers to the research problems. furthermore, the analyzed data were interpreted using the concept and theory presented in the frame of reference, thus a complete overview was obtained for the research focus. finally, of all that have been conducted, a conclusion of the research problem was made. result and discussion history of the origin of wayang tengul in sidobandung village it was relatively difficult to collect the data of wayang tengul history since there was no written evidence of the origin of wayang tengul. the researcher eventually obtained the data of the origin of wayang tengul based on folklore which was deemed to be the actual history of the origin tutung nurdiyana, wayang tengul art performance: a study of people’s appreciation of 167 of wayang tengul by the people in sidobandung village. the folklore is as follows: in the past, wayang tengul was initially a child game in the village after they had finished herding their livestock and coming home from farm work, in the form of wooden doll game made by themselves and played on the table. the doll’s head and body were made separate, thus the doll was movable. the doll’s head may be moved rightward-leftward, upward and even rotating. people say the head was able to tungal-tungul (head movement to any direction), thus it is called ‘wayang tengul.’ the doll took arbitrary form and the story was up to the doll player. the music was played with surrounding items which were just hit as the players pleased. over time, this doll game was deemed interesting and entertaining to those who watched, thus the people developed it into wayang tengul art performance. the form of doll, story, performance stage, and gamelan were made in such a way, belonging to the people of sidobandung village. that is the story developing among the people in sidobandung village of the origin of wayang tengul. the story of the origin of wayang tengul, as told by kayam (kayam, 1981) is that the concerned society will claim society as a union of humans and what we call society’s creativity is originated from its supporting people, as well as what we call folk art, folk song, and folk dance of which creators are unknown (even if they started from creators who were members of the society) as theirs. the people of sidobandung village have never known who created or started wayang tengul art for sure. the knowledge of people of sidobandung village of wayang tengul is from folklore developing through word of mouth from generation to generation, thus wayang tengul is known as the traditional art of sidobandung society. according to harsojo (1998), the characteristics of folk art is that the values contained in that folk art are the reflection of the way of daily life of the concerned society or derived from myth developing in the society. time and place of wayang tengul performance wayang tengul performance in sidobandung village is held at certain times deemed important or special, such as wedding party, circumcision, and bersih desa events. for people’s ceremonial event, it is commonly held in certain months believed by javanese people as good months to bring luck. the time of wayang tengul performance is mostly at night, but some are also held in daytime, commonly at bersih desa or ceremonial events depending on the request and agreement between the host and dalang, since there is basically no restriction for a wayang tengul performance in daytime. in daytime performance, lamps are not used, that it is bright, no shadow of wayang is generated. the place for wayang tengul performance may be everywhere, such as village office, sports field, or yard of individual who has ceremonial event. in case the yard is too small, the alternative is to put a stage for performance on the road in front of one’s house, by first getting permission from village authority. the reason to choose wide space is for the guests or audience to watch wayang tengul performance conveniently. wayang tengul story wayang is a performing art which displays dolls made of leather or wooden resembling human. wayang, which is an inanimate or mute object, will live and speak when it is involved in a story brought by dalang. therefore, it is dalang who actually preaches wewayanganing ngaurip or reflection of life, giving example to people. the stories played in wayang tengul are those related to the history of islam derived from serat menak, babad tanah jawi, and majapahit referring to east java style pedalangan story. the east java standard structure is free, which means that it does not have to follow a mainstream sequence. in central java pedalangan standard, after jejer scene is kedaton scene, followed with outer paseharmonia: journal of arts research and education 19 (2) (2019): 163-171168 ban and dodolan, but east java standard is arbitrary according to the story. the same is with wayang tengul, the scenes in this wayang performance are not structured according to the standard since it does not have one. the sequence of the story is also up to dalang but there is jejer as guideline for dalang. gamelan in wayang tengul is laras slendro. stories in wayang tengul are mostly in the form of carangan made by dalang which are occasionally derived from folklore. the stories are usually mild, which means that they do not contain deep story like history or genealogy of wayang. the humor element is dominant, intending to attract and stimulate the audience. behind that, however, wayang tengul is laden with islamic teaching which emerges in the middle of the scene that it has been prepared. the islamic teaching is commonly delivered during umar and amir (characters) scene (menak history). this islamic teaching is delivered in addition to the existing story and is connected with current occurrences, thus the scene is focused on religious content. below is the general composition or sequence of story in wayang tengul as well as examples of story to perform: a performance with the theme “menak history umar amir”: jejer i there is a kingdom named merdayin with its king called nursewan, having a disaster of the existence of a giant or buto named buron amru residing in payal forest who eats human. this puts king nursewan to restlessness, until he makes a sayembara (competition), that whoever kills buron amru will be given with the kingdom and the throne as well as princess dewi muninggarsari. jejer ii there is a war between buron amru and imperial soldiers in payal forest, leading to the defeat of the kingdom merdayin. jejer iii umar and amir sons of abdul muntalib, in their journey, hear of the sayembara and intend to participate in the sayembara. finally, umar and amir are able to kill buron amru. however, when they arrive at the palace of kingdom merdayin, they still have to pass one more test since, as king nursewan says, becoming a king is not something easy, they have to conquer a thousand kingdoms, including king lamdaur from mount srandil, king maktal, king jemblung marmadi, king tamtanus swantanus from selomiring, and many others. jejer iv umar and amir finally get separated, while amir successfully conquers a thousand kingdoms and meets a supernaturally strong person, his excellency kelir, and is given with heirlooms cemeti jabarnas and kuda kalisaha. jejer v umar meets prophet daud and is given with an heirloom kasang kasud kudratullah and eats wood kistabul jati in swargo ungkul. the function is that he will be invulnerable to any highly toxic venom. in the end, umar and amir meet and return to kingdom merdayin to be enthroned by king nursewan. amir is given with the throne and married to dewi muninggar sari. amir’s kingdom is called kingdom puser bumi or mekkay and has his name changed to sang agung jayengrono dimukti. umar is given with a throne as regent in talkandangan regency and married to dewi bastari. umar has his name changed to utet umar maya. audience of wayang tengul performance wayang tengul is one of art performances with so many fans in sidobandung village. this may be seen from how often the people have wayang tengul performance for their certain ceremonial event, both individual and joint events. besides the high frequency of people having wayang performance, this may also be seen from tutung nurdiyana, wayang tengul art performance: a study of people’s appreciation of 169 the abundant number of audiences every time a wayang tengul performance is held. the audience of wayang tengul is one of the most important factors for the success of its performance. even if a performance is very good, when there is no audience, it will be meaningless. the audience of wayang tengul in sidobandung village consists of various groups. according to waluyo, the audience of wayang consists of children, youths, and elders, both male and female (waluyo, 2000). the audience of wayang tengul is not limited only to the people of sidobandung village, but also from surrounding villages, such as sidodadi village, mayangkawis village, and duyungan village. wayang tengul is an entertainment mostly watched by children, that its form of storytelling is particularly attractive to them. in a year, they averagely watch wayang tengul 8-10 times. often, they even unconsciously fall asleep about the stage while watching the performance. differently from elders and youths, children usually arrive at wayang tengul performance early in the beginning. just like children in general, they prefer watching fight scene and humor scene by limbuk and cangik. most of the audiences are youths. this group ranges from 15-40 years old. differently from children group, 15-year old audience is able to assess how proficient dalang is. this youth group tends to prefer crowd, beauty, and humor. however, some of them fathom the philosophy of wayang tengul. therefore, young audience prefers dalang who are proficient in antawacana or conversation, sabetan or technique to play wayang, and mbanyol or joking. old audience, 41 years old and above, has their own choice to watch wayang tengul performance, slightly different from that of young audience. although this group of audience has watched the same story repeatedly, but they do not find it boring to watch. when they are asked to tell the whole performance, they memorize it well. this old group of audience often contemplates the teachings delivered by dalang through the story of wayang tengul performance. therefore, this old audience is commonly serious at scenes which display very important dialogue which need wise problem solving. the audience watches the performance from the seats prepared 4-6 meters away from the screen. these seats are commonly prepared for guests. meanwhile, they who just want to watch the performance but without invitation from the host may watch the performance from afar or wherever they feel convenient. as the researcher finds, the number of audience of wayang tengul performance after late at night will decline because of tiredness and drowsiness, particularly child audiences and some youth audiences. for elder audiences, even if their physical condition is poor, most of them watch until the end of performance. however, in every wayang tengul performance, not less than 50 audiences watch it until the end. the researcher even once found an audience who was getting really drowsy (repeatedly yawning) was not willing to leave and waited the wayang story told by the dalang to end. such an audience is the big fan of wayang tengul performance, that he will feel at a big loss when they cannot watch the performance until the end. society’s appreciation of wayang tengul wayang tengul performance in sidobandung village seems to have made a certain impression and value for the people of sidobandung village until now, thus many of them are fans of it. as society’s work, wayang tengul is dynamic, as shown with its capability to attract people of sidobandang village until now. this is in line with akhyanto’s statement, that wayang as a traditional art is dynamic with its capability to pass through space and time, much of which is influenced by dalang as the main actor in wayang art (akhyanto, 1988). one of the reasons for the people to love wayang tengul is a factor of habit, that they have watched wayang tengul from childhood to old age, thus they are socialized with and love wayang tengul. this reason is expressed by an informant named harmonia: journal of arts research and education 19 (2) (2019): 163-171170 mufid (50 years old): “wiwit alit kulo ngantor sepuh, kulo asring sanget ningali wayang tengul, amargi ing deso sidobandung kathah ingkang nanggap wayang niki. dadose dangu-dangu kulo inggih remen kalian wayang tengul.” (from childhood until old age, i have often watched wayang tengul, since this wayang is often performed in sidobandung village, thus as time passes i get to love wayang tengul). another reason is presented by informants named h. gunawan (48 years) and surif (53 years old). they love wayang tengul since they believe in the story and islamic teaching it contains wayang tengul. the reason is: “kulo remen kalian ringgit tengul punika amargi kulo remen lakoniopun, biasanipun ringgit tengul puniko disisipi kalian dakwah islam. dadose pesenpesen ingkang wonten ringgit tengul ponika saget ditiru gae kalian para tiang ingkan g ningali ringgit punika.” (i like wayang tengul since i like its story. wayang tengul story is usually inserted with islamic teaching, thus the messages it contains may be taken as example for its audiences). a teenager named yudi (19 years old) presents a different reason regarding wayang tengul. he loves and often watches wayang tengul since the story in wayang tengul is not monotonous like that in wayang kulit that tells the story of ramayana and mahabharata. its story varies and its language is informal, and it has more humor element. the following statement is made by yudi: “in my opinion, wayang tengul is a nonboring wayang show that it story varies and its languages may be understood by every person, young or old, and its humor element refreshes the audience.” there are many reasons presented by the informants of wayang tengul, but the next one is an informant who had once hired a dalang to perform wayang tengul. ansari (58 years old), this informant loves wayang tengul since it is a javanese folk art, especially indonesia’s cultural art. therefore, in his daughter’s marriage, he had a wayang tengul performance in consideration that wayang tengul is an interesting folk show for a low rate. below is ansyarai’s comment: “i had wayang tengul performance since i like this original javanese art, and its rate is affordable. this entertainment may be enjoyed by me, my family, and also neighbors. thus it entertains many people.” the audience’s excitement and satisfaction are relative, which means that each person has different level of excitement and satisfaction since they have their own taste. wayang tengul, according to an informant named abdullah (45 yeas old), is not the same with any other wayang, since this wayang is not boring. as evidence, many children in sidobandung village love it. in each performance, many children come to watch. below is abdullah’s statement: “wayang tengul is entertainment with its distinguished attractiveness and uniqueness compared to any other wayang. its story is good (with islamic nuance), dalang and nayogo participate interactively in dialogue, making fresh humor, and its rate is affordable.” generally, children love joke and fight scenes. after watching wayang tengul performance, they often imitate dalang’s funny words and wayang’s fighting style presented. the following is the comment of a child named sidin, 10 years old while waching wayang tengul: “wayang tengul dolls have funny shapes, some are fat, some are thin, and its story is also funny. i like the fat doll of wayang tengul named limbuk the most. when the dalang starts putting out the dolls from the box, all of my friends will certainly compete for the foremost seat.” siti, 12 years old, makes different statement from sidin. she love fight scene the most. the following is her statement: “the tensest part is when the protagotutung nurdiyana, wayang tengul art performance: a study of people’s appreciation of 171 nist is fighting buto ijo. the protagonist is small and buto ijonya is big, but the small protagonist wins.” children’s opinion of wayang tengul is different from youths’ and elders’ opinion. they are simple and what they talk is only about doll playing and how funny the dalang is. conclusion wayang tengul art performance in sidobandung village is still found attractive by the people, not only since this performing art is originated from local village, but they truly love this art performance. the young generation automatically inherits this art tradition willingly without any coercion. the people sidobandung appreciate wayang tengul art performance very well and enthusiastically, as proven with so many audiences from various groups, constituting children, adolescents and elders, in each of its performance. the people appreciate this art differently by age. children love this art performance for the humor brought by dalang in playing funny characters and for fight scene. adolescents and adults love the non-boring excitement of wayang tengul made by dalang, sinden and gamelan. meanwhile, elders love wayang tengul art performance for the essence of wayang tengul story with the story of islam history and wayang stories made differently from any other wayang. references akhyanto, a. (1988). perspektif wayang dalam pertumbuhan kebudayaan nasional. cakrawala pendidikan, 1(1), 93-100. amir, h. (1994). nilai-nilai etis dalam wayang. jakarta: pustaka sinar harapan. bastomi, s. (1993). nilai-nilai seni pewayangan. bandung: dahara press. denzin, n. (2009). handbook of qualitatif research, translated by dariyatno, dkk,. jakarta: pustaka pelajar. hammersley, m. & atkinson, p. (1995). ethnograpy: principles in practise. uk: routledge. harsojo, s. (1998). pratiwimba adiluhung, sejarah dan perkembangan wayang. jakarta: djambatan. kayam, u. (1981). seni, tradisi, masyarakat. yogyakarta: sinar harapan. mulyono, s. (1979). simbolisme dan mistikisme dalam wayang. jakarta: gunung agung. spradley, j. p. (1997). metode etnografi,. yogyakarta: pt tiara wacana yogya. waluyo, k. (2000). dunia wayang: nilai, estetis, sakralis, dan ajaran hidup. semarang: pustaka pelajar. wibisono, s. (1991). wayang sebagai sarana komunikasi. jakarta: gramedia pustaka. 16 aesthetics of prajuritan dance in semarang regency muhammad jazuli semarang state university, sekaran gunungpati, semarang 50229, indonesia e-mail: muhjaz61@gmail.com received: april 22, 2015. revised: may 5, 2015. accepted: june 13, 2015 abstract the scarcity of aesthetic study of traditional arts has evoked my intention to promote a model of aesthetic study in dance performance. the focus of this research is the aesthetics of prajuritan dance in semarang regency. the aesthetics were founded on dance choreography and cultural value systems, which grow and develop in the community of semarang regency. dances choreography includes dance background, form, shape, theme, number and formation of dancers, moves, musical accompaniment, make-up and costume, and dance floor patterns. cultural value systems include communicating stories, expressed symbols, function and meaning of prajuritan dance for its supporting community. the stories were derived from the heroic tale of prince sambernyawa (kgpaa, king mangkunegara i in mangkunagaran royal palace, surakarta) when he rebelled against the arbitrary dutch colonialists, with his famous spell, “tiji tibeh (mukti siji mukti kabeh – being prosperous for one and all)” and three dharma of soldiers, namely “rumangsa melu handarbeni, melu hangrungkebi, mulat sarisa hangrasa wani, which means having sense of belonging, protection, and awareness to bravely do whatever to defend his nation and country. therefore, prajuritan dance brings the mission to evoke sense of courage, discipline, and responsibility for the young generation. keywords: prajuritan dance; choreography; cultural value systems how to cite: jazuli, m. (2015). aesthetics of prajuritan dance in semarang regency. harmonia: journal of arts research and education, 15(1), 16-24. doi:http://dx.doi.org/10.15294/harmonia.v15i1.3692 harmonia : journal of arts research and education 15 (1) (2015), 16-24 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v15i1.3692 p-issn 1411-5115 e-issn 2355-3820 culture, and community of a country (jazuli, 2001, p. 24). the views of kaeppler and lomax show that cultural value context is interrelated with one understanding of a work of art. the object of this research is a traditional javanese prajuritan dance in semarang regency. prajuritan dance is a traditional folk art, which grows and develops and becomes a part of social life in semarang regency; it is an inherited ancestral art, which has been bequeathed for generations. since 1995, prajuritan dance has been publicized as a typical dance of semarang regency, and by dint of semarang regent, mr. hartomo’s instruction, introduction this research was triggered by my intention to promote a model of aesthetic study in dance performance. an aesthetic study can be traced through aesthetic views of its artist, doer, and observer. the goal of aesthetic view is to understand and conduct an evaluation of dance being observed. kaeppler (1992) stated that to be able to understand a dance, one needs the cultural background of the dance since a dance is a cultural product and creative process of its community. alan lomax in his experiment called choreomatrics proved that art style is determined by honour, muhammad jazuli, aesthetics of prajuritan dance in semarang regency 17 prajuritan dance was established as a local content-based subject in elementary schools with the purpose of promoting nation’s cultural values (ratih, 2004). prajuritan dance has typical features in its performance, such as showing character and personality of its supporting community. the moves are characterized with moves of feet, hands, and head performed in vigorous, splintery, and energetic ways. the aesthetic values of the prajuritan dance appear in the harmony between violence and mild elements, which are expressed aesthetically in its moves (sujendro, 2002, p. 15). considering that reason, this paper is meant to discuss how the aesthetics of prajuritan dance are implemented in semarang regency. aesthetics is a study dealing with things related to beauty. in dance arts, john martin explained that all dancing motions that give an inward satisfaction is regarded beautiful. the motions, including smooth, tender, rough, violent, powerful, and bizarre can be beautiful ones (soedarsono, 1987: 6). according to parker (1980), beauty is an appealing, touching, and thrilling thing as it is valuable for anyone. aesthetics in this paper is understood as a pleasant, appealing, touching/thrilling, and it gives an inward satisfaction. in aesthetics, there are two aspects that can be used to appreciate a work of art, namely scientific aspect and philosophical aspect (djelantik, 1992: 9-11). this writing uses scientific aspect, which consists of unity, intensity, and harmony as perspectives of aesthetic study of prajuritan dance. unity or integrity refers to a whole thing, a meaningful relationship, significant among all elements; it means that one element complementary needs another element. intensity means that a work of art directs people’s attention to focus their view on something important than another. harmony is achieved through symmetry and asymmetry; both indicate a complexity. symmetry is a harmony of two equal parts, like human’s body split into two or butterfly’s wings. symmetric harmony gives a relief and it looks stable; whereas, asymmetric harmony gives a dynamic, moving, and versatile senses. choreography is understood as knowledge about dance composition and for naming dance arrangement. dance creator or arranger is called a choreographer. dance choreographer can be reviewed in terms of performance pattern, theme, number of dancers, moves pattern, and dance floor pattern. in terms of its performance pattern, there are two kinds of dance: traditional and creative dance. traditional dance is a dance, which grows and develops in a community and that it is then bequeathed continuously for generations (jazuli, 2008). in view of the number of dancers, dance performance can be categorized into two, mono and group dance. mono dance is a dance, which is performed by a dancer, though it is often performed in groups or by more than one dancer. group dance is a dance performed by more than one dancer. group dance can be divided into three: paired dance, mass dance, and dance drama. in terms of dance theme, it can be categorized into three, namely pantomime, dance, erotic dance, and heroism dance. in view of its moves style, it is distinguished into two, meaningful motion and pure motion. meaningful motion is a motion with certain purposes; whereas, pure motion is a motion for artistic purposes. in view of dance floor pattern, there are linear and curved patterns. both floor lines are passed by or made by the dancers. from the two lines, one can vary other lines, such as zig-zag, diagonal, circular ones, etc. usually before a work is realized, a choreographer will share some reflection and experience about himself/herself or his/her surroundings. nevertheless, a dance choreography will find its whole performance and meaning when it is supported with complementary elements of dances. among the elements are musical accompaniment, theme, costume, make-up, stage, lighting and sound effects. the presence of these elements will enable various relations in a dance, such as the dynamic aspect (velocity, complexity, strength), dances hip aspect (number and harmonia : journal of arts research and education 15 (1) (2015): 16-2418 sex of dancers), visual aspect (setting, property), and environmental aspect (music, lighting, and sound effects) (jazuli, 2008). each dance form will be bound up with a cultural value system of a community that produces the dance. cultural values have always influenced the most typical dance form and style of the community (jazuli, 2001). behind all the form and style is a cultural value system, or a number of concepts about what live in the minds of most community members about what they consider valuable, meaningful, influential in their lives (koentjaraningrat, 1980: 204). the cultural value system can function as a guideline that gives directions and orientation in the respective social life. cultural value system in dance includes dance essence, source of idea, symbols, and functions that are expressed in dance performance. understanding aesthetic values of a dance is not apart from the cultural pattern of community from where the dance is derived, grows and develops. evaluation towards javanese dance in particular and other dances in indonesia in general uses criteria, namely wiraga, wirama, wirasa (jazuli, 2008). wiraga is a way of evaluating a tangible and perceivable dance form (physical) performed by the dancers. for example, how pose and form of movies, and chronology of movements and continuity between the movies, and so on. wirama intended to assess the ability of the dancer in mastering the rhythm, both the rhythm of music accompaniment and rhythm of moves performed by the dancers. for example, a dancer has to understand when a proper move to the sound of gong instruments, kenong, kempul, and when the moves should be appropriate and not in accordance with the rhythm of the accompaniment. wirasa are all wirama activities and its implementation should always be associated with the meaning, intent, and purpose of the dance. to achieve this it need a good appreciation of the dancer, as appreciation toward the role of the character presented, the type and character of the moves to be carried, the expression should be raised. any appreciation always involves a sense though. in this case the role of feelings should be in one match with wiraga and wirama so that produce harmony between the presentation, matters relating dance skills, and dance quality. rationale of functional is society is a social system consisting of the parts or elements that are interconnected and interdependent in the balance. the assumption is that the society is seen as a system like organisms formed from the basis for self regulated, self-maintaining, towards equilibrium, homeostasis. the purpose of system establishing is to maintain normal conditions, not pathological in the balance system. statements of functional theory are used for analyses with a lower prajuritan dance by identifying the word ‘community’ with ‘prajuritan dance forms’ as a system. prajuritan dance as a form of artwork system denotes medium of content pouring and values (life experience) that can be observed by the senses. the content and value encompass dance values, a source of ideas, symbolic systems, and functions of dance. in the choreography of prajuritan dance encompasses forms of presentation, theme, number of dancers, moves, patterns, the floor pattern, and the dance performance equipment. both of them will be studied with the theory of functional and aesthetic theory consisting of aspects of wholeness, the dominance, and balance. starting from the aforementioned concepts, the strategy of aesthetic study of prajuritan dance is to locate two components, namely the knowledge about a value system and dance choreography. the frame of thinking can be described as follows figure 1. method this research uses a descriptive qualitative method, with the purpose of describing and explaining a situation as it really is. the location of the research is a getasan muhammad jazuli, aesthetics of prajuritan dance in semarang regency 19 district of semarang regency. getasan is a district, which has intensively conducted prajuritan dance performance and regenerative acts of the dance up to this present. the collection of research data uses the observation method, interview, and document analysis. observation was done in a direct and planned way towards the prajuritan dance to obtain a rigorous view about roles in the dance, moves pattern, dance floor pattern, make-up and costume. the interview was done directly toward informant, mr. salerno as dance instructor/trainer, mr. suroyo and ms. sugiyati as dancers. documentation was conducted by examining documents about prajuritan dance. the documents obtained in the field include articles, photos, and news. to obtain a valid and accountable data, i did an evaluation of field data validity, namely triangulation of source and method. techniques of data analysis are descriptive and content analyses. meanwhile, the steps of analysis refer to miles’ and huberman’s theory (1994) by means of data reduction, data presentation, and conclusion drawing processes. result and discussion choreography of prajuritan dance choreography of prajuritan dance covered includes dance background, form and meaning of dance symbols, theme, number and formation of dancers, moves, musical accompaniment, and dance floor pattern. background of prajuritan dance according to oral tradition developed in semarang regency, prajuritan dance previously grew and developed in getasan district. this dance shows the strides of soldiers of prince sambernyawa (king kpaa mangkunagara i in mangkunagaran royal palace, surakarta) in performing duty and responsibility as soldiers against the dutch colonialists. at that time (1755), the charismatic heroes rebelled and fought against the dutch colonies. the prince’s rebel perturbed and caused the dutch notes: choreography inside the dance encompasses means of performance, theme, number of dancers, moves pattern, dance floor pattern, and dance properties; whereas, value symbols include the essence of dance, source of idea, meaning and function of dance. both of them will be analysed in terms of functional and aesthetic theories. figure 1. thinking of aestheties of prajuritan dance harmonia : journal of arts research and education 15 (1) (2015): 16-2420 more prajuritan dancers have to go to war by carrying swords and armours. the main task of the soldier is to be always ready for making war and protecting prince sambernyawa. soldiers are symbols of kawula cilik (common folks) who are loyal to their leader and dare to die; (d) two dancers of pekathik as tricksters with comic and farcical expressions and gestures. their performance sometimes wears masks and comic make-up representing symbolization of a detective role whose tasks are to monitor and analysis their enemies’ strength; (e) four as pradangga (musicians) whose task is to accompany prajuritan dance. pradangga is a masquerade symbolization of the tough and loyal soldiers who are ready to disclose important information and ready to war for defending their mother land. themes the prajuritan dance theme is the heroic story of the struggle sourcing from prince sambernyawa as described above. sambernyawa, the charismatic fighter, has famous advice (sesanti) in the struggle, namely “tiji tibeh” (noble one means for the glory of all) and the soldiers’ tridharma (three duties) rumagsa melu handarbeni, melu hangrungkebi, mulat sarisa hangrasa wani, meaning feeling belonging, sense of protecting and knowingly dare do anything to defend their homeland. therefore, the theme of prajuritan dance brings mission meaning loyalty, responsibility, courage, and love of country. number of dancers choreography of prajuritan dance is classified as group dance performed by 25 to 30 dancers done in the open field. in its development, the number of dancers can be minimized from 10 to 15 or 4 to 6 dancers in accordance with the needs and forms of stage performances. details of the 25 dancers are one manggalayuda dancer, two wirapati dancers, sixteen or more soldier dancers, two pekathik dancers, plus four people as pradangga (musician). thus, the number of players are tewenty five, namely twenty one dancers and four to go through a great loss. therefore, to avoid a greater loss, the dutch agreed to cease the war. the agreement between the dutch and prince sambernyawa took place at salatiga. nevertheless, to anticipate any trickery that the dutch often did in each agreement with the rebels, several tough and loyal soldiers of the prince were assembled to guard the agreement. the duty of the soldiers was to guard the security and safety of the leaders (prince sambernyawa and his attendants) in the process of agreement. some other soldiers made a temporary base camp in a getasan area with a cautious manner in case of undesirable events. the soldiers’ watchfulness was manifested in a prajuritan title to show their warring vigilance as well as their show of force to their enemies. this was what became a beckoning amusement for people at getasan and those from nearby areas. people at getasan were very enthusiastic about observing each move of the soldiers, even more so mimicking their moves. the people’s great interest in the soldiers inspired them to eternalize the soldiers’ moves as a monument in the form of prajuritan dance. form and symbolic meaning of prajuritan dance prajuritan dance is a dance, which has simple features as it looks in its moves, make-up, costume, dance floor pattern, and musical accompaniment. those aspects are presented through the whole performance of wiraga, wirama, and wirasa so that it looks harmonious in its performance. in prajuritan dance there are characters with certain roles, including: (a) a manggalayuda dancer who roles as a chief of war. the symbolic meaning of this role is to describe a leader who could protect, rule, guide his attendants and show good manners; (b) two dancers of wirapati play roles as dexterous troops and standing in the forefront by riding horses. wirapati symbolizes a responsible commander, daring to take risks, a discipline and exemplary figure for his attendants; (c) sixteen or muhammad jazuli, aesthetics of prajuritan dance in semarang regency 21 musicians. moves prajuritan dance moves are inspired by the soldier moves of soldiers when they exercise with swords and shields. the moves motif looks simple and is always tied to the theme of the story. broadly speaking, the style of the moves can be divided into three main parts, namely (a) the style of sword and shield beksan (dance), (b) style of moves without the sword and shield, (c) style of moves of sword and shield moment. the floor pattern (dancer formation) the prajuritan dance floor pattern is varied. each form of dance floor pattern is called gelar (formation) in accordance with the composition of dance moves namely gelar diratameta, gelar supit urang, gelar sawojajar, gelar kuntul nebo, gelar wulan tumanggal, and gelar garuda nglayang. the floor pattern variations of prajuritan dance are described as follows. gelar diratameta diratameta means an angry elephant (raging). this war tactic illustrates the anger of an elephant that its trunk and tusks are very dangerous and incredible strength. in this formation the position of trunks serves as a buffer that disrupt the enemy line. left and right tusk as the attacker, and the head as a play maker. in a war story of baratayuda, gelar diratameta is often used by kaurava forces. the aesthetic value of the formation appears on a rectangular floor pattern. gelar supit urang supit urang describe a shrimp moving its both chopsticks deftly and carefully. the end of the left and right chopsticks function to strike by pincering enemy attact and shrimp body as a play maker. the aesthetic value of formation appears on the dancer formation from the right and left and then meet in the middle. in baratayuda, this form is used by the pandavas and kauravas. gelar sawojajar gelar sawojajar floor pattern with formation forms a vertical line, two lines are lined back. the dancers are divided into two, right and left, to form a vertical line moving from the back forward. gelar kuntul nebo kuntul nebo describes a group of birds that comes suddenly and rushed to the damaged crops in the fields, meaning a group of enemy soldiers attacking suddenly and simultaneously. the aesthetic value of gelar kuntul nebo is x-shaped formation, the dancers split into two directions, then forward it to the right corner and left to form a diagonal line and bumped into each other in the middle. gelar wulan tumanggal gear wulan tumanggal is a war strategy likened to a beginning of the month. the moon shape as if no harm, but actually very deadly because at the end of a corner and in the middle of the lineup that is always ready to move (attack) is easy to do. this crescent-shaped formation in baratayuda used by pandavas where arjuna is placed in the middle as the executor of the attack which is accompanied by krishna. yudhisthira accompanied by nakul and sahadev is at the back of the moon as the playmaker. bima is at the right end and setyaki is on the left one acting as a clamp on the line. gelar garuda nglayang gelar garuda nglayang denotes a semicircular formation as a continuation of gelar sawojajar. after the dancers form a vertical line up to the back and then turn outwards and curved back. gelar garuda nglayang on prajuritan is inspired from a gelar in baratayuda war. this gelar has an aggressive character that all soldiers must move quickly. dance music accompaniment music that accompanies the dance consists of several forms and types of instruments, namely bendhe, trendeng harmonia : journal of arts research and education 15 (1) (2015): 16-2422 (dheng-thek), and jidur (small bedhug). bendhe instrument pitches slendro (javanese scale system) which it consists of four types, namely (a) featured bendhe pitched 6 (nem) functions as stakeholders rhythm, (b) nyelo bendhe pitched 5 (ma) functions as insertion between one tone with another tune, (c) penitir bendhe pitched 3 (lu) functions as kerepan (a fast and constant hit), (d) jur bendhe pitched 2 (ro) functions as a gong (a sign of the end of each verse). trendheng instrument is a musical instrument shaped like a truncated ketipung and made of lambskin. jidur instrument is an additional musical instrument that functions as a dynamist of music accompaniment and encouragement to look dynamic motion. make up and dance clothing makeup and costume of prajuritan dance are distinguished by its role. each role has different costume. manggalayuda role with makeup and fashion details consist of : (a) the head using blangkon, (b) beskap clothes/surjan, (c) the panji trousers (breeches), (d) cloth with cancutan model, (e) belt, (f ) uncal, (g) epek timang, (h) the furnishing consists of necklaces scrubs, kris, binggel (anklet), sumping (ear), and carrying a trumpet. the motif of manly men makes up tends to be hard and authoritative. equipment makeup and costume of wirapati role consist of: (a) the head using blangkon, (b) beskap clothes / surjan, (c) panji trousers (breeches), (d) cloth with cancutan model (e) cindhe belt, (f) equipment that consists of kace necklaces / scrubs, keris, binggel (anklet), sumping (ear), and sometimes use a horse or without a horse. the motif of manly men makes up tends to be hard and authoritative. makeup and fashion soldiers are: (a) the head using iket, (b) vest dress (wear or without clothes), (c) the banner trousers (breeches), (d) cloth with supit urang model, (e) sampur, (f) equipment that consists of kace necklaces, kris, binggel (feet), and carrying a sword and shield. make motif is manly and hard. makeup and pekanthik are: (a) the head using iket, (b) armor vest, (c) the panji trousers (breeches), (d) cloth with supit urang model, (e) belt. dressing funny motif, like shaving moustache is just in the middle, reduction lip shape. value system the value system of prajuritan dance encompasses the value of dance content, source of stories and communicated dance symbols, and functions of dance for supporting the community. content value of the dance denotes an expression result of public spirit owners that it contains its intended purpose. the purpose and objectives prajuritan is stated by sularno as follow: tari prajuritan menika kangge kebatahan masyarakat mriki utaminipun kangge kelangenan, lan tanda bilih dsa mriki wonten kesenian tradisi ingkang dipun lestariaken… biasanipun kangge ngramekaken hajatan, ugi peringatan hari nasional, lan sanesipun (prajuritan dance is needed here, especially for a vehicle of expression, pleasure and a sign that in this village there is tradition art that has been preserved ... usually for the purposes of a celebration and national day commemoration, and others). the word ‘kelangenan’ is the symbolic meaning of the system of cultural values associated with the function of dance as a means of pleasure (entertainment functions) and for the purposes of celebration (ritual function). this clearly shows that what is valuable and meaningful in people’s lives has been expressed in symbolic forms such as prajuritan dance. this means that there is a ‘message’ that it will be communicated to others or the next generation. the message is in the form of the symbolic value of dance prajuritan itself, such as planting value of the struggle of courage, discipline, responsibility, and so on. the value of such a struggle is very important in the lives of getasan community considering the hilly getasan geography with winding roads and up and down. living in a state of nature as it really takes passion and perseverance in every effort muhammad jazuli, aesthetics of prajuritan dance in semarang regency 23 to meet the necessities of life. naturally, it needs an unyielding attitude to achieve the goals desired by the getasan community. source of story and symbol of prajuritan dance sources of story of prajuritan dance come from the story of prince samber nyawa struggle against the dutch in semarang residence. from the source of this story, it arises the idea to create a monument to recallthe struggle of the populist and charismatic hero, prince sambernyawa. the monument is realized in a dance work called prajuritan. functions dancing prajuritan prajuritan dance functions can be divided into two aspects, namely the ritual and entertainment. the function of the rituals associated with the celebration namely sadranan ceremony and bersih desa (clean the village) usually served in the field with a complete number of dancers complete around 25 to 30 dancers as noted by ms. sugiyanti (interview july 9, 2012) following. tari prajuritan ingkang wetah menika biasanipun kangge keperluan bersih desa, kadang sadranan…dipun tampilaken wonten lapangan supados para warga saged mriksani lan dereng nyengkuyung babagan kelestarian kesenian kita piyambak tari prajuritan (the full prajuritan dance which is usually displayed at the village clean and sometimes sadranan ... held in the open field so that all citizens can see and belonging and then to preserve our own art, prajuritan dance). entertainment functions are typically associated with the performing arts in order to celebrate indonesia’s independence day, wasana warsa, circumcision, welcoming guests and so on. in prajuritan dance, entertainment functions is performed in accordance with the requirements, meaning not as complete as ritual events. aesthetics dance prajuritan based on the analysis of the scientific, aesthetic theory, including aspects of wholeness, protrusion, and the balance shows that the tree covered in prajuritan dance is interconnected, correlative, and complement each other in creating an expression of art and culture of a society. wholeness of prajuritan dance, especially apparent from the choreography of the dance consisting, dance form, theme, number of dancers, structure moves, formation of dancer, accompaniment, makeup and dance costume. it departs from the data obtained to elucidate and analyse it one by one the aesthetics of prajuritan dance. actually, there are three aspects that cannot be separated in the analysis the prajuritan dance. however, for the sake of clarity and firmness or an analysis, it is presented below by going to each aspect of its depiction of the outline elements of dance that exist in every aspect. it looks simple, dynamic, and monotonous, but rousing in all performances of the prajuritan dance. such performance may only be done when each dancer has the discipline, courage and responsibility to achieve compactness in a group dance. prajuritan balance can be seen from the combination of hard and soft moves (unification in diversity), harmony between moves patterns with accompaniment patterns along with makeup and costume that is stable impression of simplicity, dynamic expression, and monotonous in disclosure (wiraga, wirama, and wirasa). balance or harmony of that dance performance is certainly an attractive and entertaining spectacle. as told by parker (1980), that the balance as a principle form denotes an equation of the aesthetic elements of opposing or resistance but need each other to deliver a whole. conclusion the conclusions of this study are that the aesthetics of prajuritan dance are formed from different elements of dance choreography, harmony with the source of the story and the value system in the form of symbols and values that live in the community and functional for both subharmonia : journal of arts research and education 15 (1) (2015): 16-2424 sistence of the communities and entertainment, social integration, and mode of the ongoing fulfilment of ritual in the cultural environment of the getasan district, in semarang regency. based on the result above it suggest: first, the pattern of the choreography of prajuritan dance need to be styled to be more varied and interesting (not monotonous). second, prajuritan dance as a form of traditional performing arts should be developed and are performed to make increased community participation so that they really feel to have thus it can reinforce the dance as one of cultural identity in semarang regency. reference djelantik. (1999). aesthetics: an introduction. new york: society for the performing arts of indonesia. haberman, m. and garth t. m. (1970). dance and art academy. new york: teachers college columbia university. jazuli, m. (2001). paradigma seni pertunjukan. yogyakarta: lentera budaya. jazuli. (2008). suplemen pembelajaran seni budaya. semarang: unnes press kaeppler, a. l., (l977). “polynesia dance as airport art”, in asian and pacific dance, se-lected papers from the cord-sem conference (ed.), andrienne l. kaeppler (et al.), new york: cord, p.p. 7l-84. koentjaraningrat. (1980). pengantar ilmu antropologi. jakarta: aksara baru. kusumawardani, ida. (2012). makna tari sontoloyo giyanti wonosobo. jurnal seni tari. 1(1), 20-27 meyer, leonard p. (1970). music, the arts, and ideas, chicago, london: university of chicago press. miles, m.b. & huberman. (1994). qualitative data analysis. london. new delhi: sage publications. parker, de witt h. 1980. dasar-dasar estetik. translated by d. humardani. surakarta: akademi seni karawitan indonesia (aski). ratih, e. (2004). penanaman nilai tari prajuritan pada siswa sekolah dasar di kabupaten semarang. thesis. semarang: program pasca sarjana unnes. sahman, u. (1993). estetika: telaan sistemik dan historik. semarang: ikip semarang press. soedarsono. (1987). “seni pertunjukan jawa tradisional dan pariwisata di daerah istimewa yogyakarta”. yogyakarta: research project report of cultural nusantara (javanology). sudjendro, h. (1999). tari prajuritan kesenian khas kabupaten semarang. semarang: dinas pendidikan kabupaten semarang. sudjendro. (2002). “geliat prajuritan, kesenian tradisional khas kabupaten semarang”. inspirator no. 137 volume iv, maret 2002 suharrji. (2014). ngesti sendang dadapan ritual in boyolali regency. harmonia: journal of arts research and education, 14 (2), 140-146 the liang gie. (1976). filsafat keindahan. yogyakarta: pubib 363 comparative study of japanese and indonesian panji mask in light on fine art elements and principles slamet subiyantoro1, takamasa fukuda2, aniek hindrayani1, dimas fahrudin1, yogi kuswara1 1universitas sebelas maret, indonesia 1yamaguchi university, japan submitted: 2022-12-05. revised: 2023-10-06. accepted: 2023-11-16 abstract panji masks are one of the mask arts that originated in indonesia and come in a variety of styles. one of the existing panji mask styles is the yogyakarta style, made of pule wood and used in dance or theater performances. while in japan, masks used in dance or theater performances, known as noh masks, are made of cypress wood. panji masks and noh masks are long-standing cultural heritage arts. this study aims to identify and analyze the similarities and differences between the elements of art and the principles of art preserved in the panji and noh masks. a comparative qualitative method was used for the study. library research, observation, interviews, documentation, and focused group discussions (fgd) were used to collect the data. data processing and preparation, data reduction, data presentation, and conclusion drawing were all completed in stages. the results revealed similarities and differences between the panji and noh masks. several principles are shared by panji and noh masks, including point elements, line shape, the principle of unity, balance, rhythm, proportion, and the principle of harmony. the line, field/shape element, color element, texture element, and emphasis principle are all different. these similarities and differences are due to a variety of factors, including the two countries’ geographical proximity (both on the asian continent), as well as their history, customs, and culture. keywords: comparison; panji masks; noh masks; elements of art; principles of art how to cite: subiyantoro, s., fukuda, t., hindrayani, a., fahrudin, d., & kuswara, y. (2023). comparative study of japanese and indonesian panji mask in light on fine art elements and principles. harmonia: journal of arts research and education, 23(2), 363-374 harmonia: journal of arts research and education 23 (2) (2023), 363-374 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.40597 le, according to kustiawan (2016), a mask is a face covering carved and shaped-like a human or animal face, made of wood, metal, paper, or other materials. thus, in some of these expert meanings of masks, a mask can be interpreted as a work of art in the form of an imitation of a specific character’s face that serves as a cover or substitute for the wearer’s face. masks play an important role in staging arts such as dance and theater. one of introduction a mask is a three-dimensional work of art shaped like a face that serves as a face covering or substitute for the wearer’s face (hidayanto, 2012). a mask can also be interpreted as an engraving that represents a person’s characteristics (hidajat, 2013). a mask is a public artistic expressionade as a typology representation of certain characters’ signs (martono et al., 2017). meanwhicorresponding author: e-mail: s.biyantoro@staff.uns.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (2) (2023): 363-374364 the traditional folk arts is mask art performance (pratamawati, 2016). many masks have been used in dance performances and theater arts in asia. every asian country’s mask art has similar characteristics, however, there are some differences. the countries’ close geographic proximity, historical factors, customs, and existing cultures all contribute to the similarities and differences. panji masks and noh masks are two types of asian mask art. panji mask is one of the mask arts that originated in indonesia, and one of the existing panji mask styles is the yogyakarta style. while the noh mask is a japanese mask art used in mask dramas and are very aesthetically valuable (wu, 2019). panji masks and noh masks are long-standing cultural heritage arts. this traditional mask art incorporates local teachings that represent moral, historical, and philosophical values that become a separate identity (wibowo et al., 2020). both of these mask arts are still performed and preserved to this day. when performing a mask dance performance, a panji mask is used to cover the dancer’s face. the classic panji mask, which is made specifically for use as a mask dance performance art, is the type of panji mask used in dance performances (subiyantoro et al., 2021). the panji mask is a type of transformation from the panji story, which tells the love story of panji asmarabangun and dewi sekartaji. the characters in the panji mask are mostly knights, goddesses, and giants. each panji mask has a traditional standard structure with a specific meaning, particularly the classic panji mask (subiyantoro et al., 2020). noh masks, similar to panji masks, are used in art performances. noh masks, which actors in noh theater/drama must wear. noh masks are the most important objects/properties in noh drama and play an important role (wu, 2019). the characteristics of the iconic carved wooden masks used in noh masks are easily identifiable (gordon, 2018). noh plays tell great stories and the tragic deeds of heroes, as well as a demon and god legend (wu, 2019). the fundamental attractiveness of the panji and noh masks is their wide range of shapes, created by the carvings that make up each section of the mask and the colorpplied to it (suwasono, 2021). the variety of mask shapes and colors reveals the characteristics of a personality character (wibowo, 2019). a combination of carving and painting, particularly knife and scratch skills, is used in manufacturing panji and noh masks. numerous masks are an expression of artworks. art is a language that must be read and understood in its context (subiyantoro, 2013). the shapes on the panji and noh masks are visual symbols made up of art elements and principles. the presence of the elements and principles of art that make the mask appealing comprise the mask’s form. the presence of art elements and principles will lead to a beautiful form of visual symbol/ ornament (p. pratama, 2019). ornaments are used to beautify objects from the outside and have symbolic meanings (toekio, 1996). panji and noh masks have some similarities and differences. both masks serve the same purpose in the performing arts and have visual similarities and differences. it is necessary to study the comparison of the elements and principles of art in the panji and noh masks to see the similarities and differences between the two masks, especially in terms of the elements and principles of art. there have been several previous studies on character values in the visual symbolic structure of the yogyakarta style panji mask (wijaya, 2020). prayoga (2022), additionally studied the yogyakarta-style panji mask’s symbolic meaning in the aesthetic representation of crafts, focusing the study on the aesthetics of crafts instead of the panji mask’s symbolic meaning. suharson (2018), state that study of the function, style, and structure of the panji mask and supana ponowigugna’s modern creative masks. in addition to research on panji masks, several relevant studies on noh slamet subiyantoro et al., comparative study of japanese and indonesian panji mask in 365 masks have previously been conducted. the artistic elements in noh masks and their application to modern art are discussed in this analysis of mask art in japanese noh (wu, 2019). lyons (2000) conducted a study on noh masks, comparing changes in the expression of noh masks to human facial expressions from the perspective of seeing noh masks and human faces. based on previous studies, almost no study has examined the elements and principles of art contained in the panji and noh masks, nor is there research that compares the two masks’ elements and principles of art. therefore, studies on the elements and principles of art in panji masks and noh masks are conducted to determine the similarities and differences between these masks. the current focus is the elements and principles of art in the classical panji mask art style of yogyakarta, indonesia, and noh mask art in japan. method this study was designed by a comparative qualitative method, namely by comparing one object with another, namely the indonesian panji mask with the japanese noh mask. data was collected using literature study, observation, interviews, documentation, and focused group discussion (fgd) techniques. a literature review was conducted by gathering data from journals and books. researchers conducted interviews with panji mask craftsmen and collected document data in the form of written documents, photos/images, and videos while visiting the panji mask making location in the village of bobung, yogyakarta, indonesia. meanwhile, focus group discussions (fgds) were held online in indonesia and japan. the data validity technique used in this study is source triangulation, method triangulation, and theory triangulation. data analysis was carried out using interactive analysis techniques, which included procedures for processing and preparing data for analysis, data reduction by selecting, focusing, simplifying, abstracting, and transforming data, presenting data, and then verifying or drawing conclusions. result and discussion works of art include panji masks and noh masks. because the activity of creating a work of art is nothing more than arranging (compiling) the elements of art to realize an idea, each work of art is composed of its own visual elements (wishes, ideals). art elements are points, lines, shapes/fields, colors, and texture(mukaddas, 2021). there are art principles in addition to art elements. the principles of art are the methods for arranging and arranging the elements of art to create a work of art. fine art principles are design principles that emphasize unity, balance, rhythm, emphasis, proportion, and harmony (suparta, 2019). fine art’s elements and principles are visualized in panji masks and noh masks. picture 1 shows six variations of traditional yogyakarta style panji masks based on the six characters in the panji story. the six masks are panji asmarabangun, panji laras, gunung sari, klana sewandana, dewa sekartaji, and dewi ragil kuning. figure 1. panji masks and the characters, indonesia similar to the panji mask, noh masks come in a variety of forms depending on the character. in figure 2, there are six visual representations of noh masks, such as okina (old man mask), jō (elders mask), onna harmonia: journal of arts research and education 23 (2) (2023): 363-374366 (woman mask), otoko (man mask), kishin (demons), onryō (ghost and spirits). figure 2. noh masks and the characters, japan the artistic elements found in the panji and noh masks there are various artistic elements in mask art, particularly the panji mask and noh mask. according to (mukaddas, 2021), the elements of art are points, lines, shapes/fields, colors, and textures. point element figure 3. the point element on the panji and the noh masks dot elements can be seen in some panji and noh masks; however, they are not frequently used. this is because the simplest and fundamental element in excellent art is the dot (febrianto et al., 2014). having seen from figure 3, the panji masks and noh masks use more development of dot elements, namely in the form of line and plane elements. point elements are only found in certain parts, such as the eyes, crown and ears of the mask. figure 3 shows the presence of dot elements in the panji mask, namely the klana sewandana mask, as well as the noh mask, especially the onryō mask. figure 3 shows that the dot elements on the panji klana sewandana mask can be found on the crown ornamentation and the eyeballs. meanwhile, dot elements can be found on the eyeballs and ears of noh onryō masks. line element the line elements on the mask will create the impression of the line’s direction, motion, and strength. lines act as contours to create the character on the mask. line elements create shapes on the mask, such as crowns, hair, brows, eyes, mustaches, lips, and strokes/ wrinkles. the role of the line element influences the success of creating the character of a mask (nurcahyo & yulianto, 2021). the line element has two properties based on its shape: a real line and an imaginary line. real lines are lines that can be seen clearly as a result of scribbles or scratches, whereas imaginary/ pseudo lines do not exist but appear as a result of a boundary, shape, or color (sadjiman, 2009). figure 4. line elements on panji and noh masks figure 4 shows the use of line elements in the panji mask, particularly the panji asmarabangun mask, as well as the noh mask, namely the jō mask. there are real line features on the panji asmarabangun mask in the form of curved and straight lines. there are thin curved lines in a horizontal direction on the crown, brows, eyelids, and nose, and thin curved lines in a vertical direction at the tip of the lips. these curving lines give the sense of being soft, flexible, and dynamic. the panji slamet subiyantoro et al., comparative study of japanese and indonesian panji mask in 367 asmarabangun mask’s crown ornamentation has straight lines. meanwhile, the false line element is located in the middle of the nose, giving the impression of a straight, vertical line due to the presence of light and the sharp and pointed shape of the nose. curved and straight lines are the real line elements in the jō mask. the curved line on the jō mask is on the brows. the straight-line element can be found in the beard, which is made up of straight strands of hair rather than scribbles or paint strokes. at the same time, pseudo-lines can be found on the forehead, cheeks, and the side of the lips in the form of waves/wrinkles in the form of pseudo-curved lines. a pseudo line is also found in the middle of the nose, which appears to be a straight vertical line. the light and the wavy texture of the mask shape the pseudo-lines. the presence of curved lines on the face of jō mask contributes to the creation of the character of parents. figure 4 shows that both the panji and noh masks use more curved line elements than straight lines. meanwhile, the panji mask uses actual lines made from paint strokes, and the noh mask uses more imaginary/pseudo lines formed by indentations on the mask created by carvings exposed to light, giving rise to shadow forming a line. field/shape elements in art, fields/shapes have only length and width. the field/shape can be arranged vertically, obliquely, or horizontally, or it can be regular or irregular in shape. there are two types of fields/forms: figurative (real) forms that have a shape resembling objects/objects found in nature/real life, and non-figurative (abstract) forms that have unusual shapes such as the shape of objects found in nature/real life (mukaddas, 2021). the mask artwork is not only shaped like a human face. according to suanda (2005), the basic shapes of masks are generally classified into five shapes: oval, heart shape, round, square, and long oval. these masks’ basic shapes are adapted from human, knight, animal, god, giant, or spirit forms. figure 5. the basic shape of masks based on the fundamental design of the mask in figure 5, the basic shape of the panji mask for the six characters in the panji narrative is a heart. noh masks feature a basic heart form, such as the jō mask, as well as an oval basic shape, such as the onna mask. figure 6 shows a visualization of the essential shapes of the panji mask and noh mask. figure 6. elements of the field/shape on the panji and the noh masks. masks come in a variety of shapes and sizes. all existing characters on the panji mask have the same size, 21 cm high/ length with a mask width of 16 cm. at the same time, the size of the noh mask varies according to the mask’s character. according to susuki keiun, noh masks vary in height/length from 19 cm to 22 cm, with a mask width ranging from 13.6 cm to 17 cm (pulvers, 1978). color element colors play an important role in shaping the character of the mask in works of art (astrini et al., 2014). color masks can be used to represent aesthetic values, symbols, or both. colors such as red and white represent the valiant and subtle natures, respectively. other colors, such as green, yellow, or mixed colors, represent nature’s dichotomy between the cruel and the subtharmonia: journal of arts research and education 23 (2) (2023): 363-374368 le. subtle mask characters, on the other hand, use lighter colors than dashing ones. therefore, the color in the mask’s art can determine or reveal a character or disposition that the mask bears. the panji mask engages a variety of colors, including white, which represents the subtlety, purity, and sincerity contained in the character of the panji asmarabangun mask, the gunung sari mask, and the dewi sekartaji mask, and green, which represents loyalty, freshness, and trust in the character. the yellow color on the laras mask character represents joy and friendliness, while the red color on the klana sewandana mask character represents bravery, cruelty, and aggression. most noh masks use human skin tones (beige) to create a realistic impression of the human face, especially on the characters okina (old man mask), jō (elders mask), onna (woman mask), otoko (man mask), and the color red is used to represent valor, cruelty, and aggression on the character kishin (demons). figure 7. color elements on the panji and noh masks figure 7 shows that colors used on the panji and noh masks differ. the panji masks use a variety of colors and do not use human skin tones, while the noh masks typically use colors that follow human skin color, and there are several masks, particularly those for kishin (demons) and onryō (ghosts and spirits) figures, that do not use human skin color. texture element according to indrawati (pratama, 2013), texture reveals an object’s or surface properties. texture refers to the roughness and smoothness of a surface on a work of art that reveals the materials used in its embodiment (mukaddas, 2021). every shape has a surface, and each surface must have specific properties. smooth, slippery, rough, and wavy textures can be found on the surface of an object. the materials used in the manufacture of panji masks and noh masks both include wood. the wood used in the panji mask is pule wood, while the wood used in the noh mask is cemara wood (wu, 2019). due to the materials used, the panji and noh masks have a hard texture. in observing the visual elements of the mask in figure 8, the textures on the panji mask all have a smooth and slippery texture/barik. this may be determined by touching the mask or looking at it either directly or through a photograph. there are several noh masks that have a wavy texture, such as the okina (old man mask), jō (elders mask), and kishin (demons), but the onna (woman mask), otoko (man mask), feature a smooth and slippery feel, similar to the panji mask. figure 8. texture elements on the panji and noh masks principles of fine arts in panji and noh masks the principles of art are the methods for organizing and arranging the elements of art to create a work of art. principles of fine arts are design principles that emphasize design principles such as unity, balance, rhythm, emphasis, proportion, and harmony (irawan & proscilla, 2013; suparta, 2019). slamet subiyantoro et al., comparative study of japanese and indonesian panji mask in 369 unity principle to create an impression of unity, also known as unity, the principles of balance, rhythm, proportion, emphasis, and harmony between the parts must be mutually supportive and systematic in order to form a work of art. in its application to the field of art/craft, the principle of unity emphasizes the close proximity of objects or components of objects or the clustering of art elements. this can be achieved in the craft of setting by using sculpture techniques, constructing objects, subjects, and fields in a field of work. the shape of the eyes, brows, nose, mouth, teeth, ornaments found in the mask’s hair, and the harmonious color combination all prove the principle of unity. (wijayanti, 2021). the panji and noh masks embody the unity principle. the principle of unity can be seen on the top of the head of the panji mask (crown). the crown is made up of various art elements/parts that blend together, such as lines, colors, and others. aside from the crown on the eyes, the brows, nose, and lips all have a unified appearance. all of the mask’s components are aligned and blend together to form a seamless whole. the noh mask, like the panji mask, has a good principle of unity, art elements/parts that are unified and in harmony between lines, colors, and other art elements. balance principle the principle of balance in threedimensional work is related to the actual (real) strength. in works of art, there are two types of balance: symmetrical balance and asymmetrical balance. in addition to these two balances, a radial or radiating balance can be obtained by focusing a composition in a work of art on one main point (fajarwati, 2017). achieving balance does not require incorporating objects symmetrically or at the center. a balance can also be achieved by grouping small objects with a large field or by grouping light colored objects with a heavy (dark) colored object. thus, balance in a work of art can be established not only by symmetrically arranged objects, but also by the arrangement of large-small object sizes and dark-light colors. figure 9. principle of balance on the panji and noh masks figure 9 shows the symmetrical balance on the panji and noh masks. when a vertical line is drawn through the mask’s center, the mask’s right and left sides have the same shape. rhythm principle according to fajarwati (2017), rhythm is the application of elements/ artwork components that are repeated on a product or artwork to give the composition a sense of unity. an artwork can have rhythm if the elements used are reiterated on a regular basis. rhythm in works of art can be created by repeatedly organising line elements, features, colors, textures, and dark-light elements. the repetition of elements can alternate, likely to result in what is known as an alternate rhythm. progressive rhythms are those that have changes in size (large or small). the rhythm of flowing or flowing movements can be done indefinitely (from small to large) or indefinitely (from small to large). the repetition of the same shape, size, and color is defined as repetitive rhythm (monotonous). figure 10 shows an application of the rhythm principle to the panji mask, particularly the panji laras mask, which features objects with a repeated rhythm. repeated rhythms can be observed from the crown and hair of the mask, where repeating items of the same size can be seen, as harmonia: journal of arts research and education 23 (2) (2023): 363-374370 well as on the teeth of the mask, where repeating objects of smaller sizes can be seen from the center to the edges of the mask. meanwhile, one of the rhythmic principles found in noh masks can be observed in jō masks. the jō mask, identical to the panji laras mask, has a repeated rhythm found in the moustache, wrinkles on the forehead, cheeks, and bottom part of the lips, which can be seen repeating objects over and again. figure 10. principle of rhythm on the panji and noh masks emphasis principle the special attention or importance given to one part or element in a work of art and design is known as emphasis. the primary objective of emphasis is to draw attention to something or to eliminate the perception of monotony (fajarwati, 2017). in fine arts, the part that draws attention becomes a matter of the principle of emphasis, also known as the principle of domination. the dominance of art works can be achieved by grouping several elements, organising them differently, either in size or color (suparta, 2019). for instance, the use of red in between yellow. although the middle position expresses a stable impression, dominance placement does not have to be in the middle. an emphasis or center of attention is work that is made a priority. the earlier work stands out more in terms of size, technique, and coloring. the creation of a work in the craft art has three parts: emphasis/center of attention, supporting objects, and fillings. the emphasis receives priority and dominant attention because it is the center of attention. because of their nature as supporters, the intended supporting objects are forms that are not exactly the same as the objects that are the center of attention. while the stuffing provides the accent. figure 11 shows the use of the key concept to the panji mask and noh mask. for all of the characters, the panji mask is emphasized at the top of the mask (crown). the crown draws the greatest attention as it has an ensemble of elements comprising the objects on it. meanwhile, the concept of focus in noh masks is that not all of the characters are on top of the mask. the primary principle is tailored to the mask’s characteristics. the onryō mask, which bears horns at the top, represents the principle of emphasis in noh masks. figure 11. principle of emphasis on panji and noh masks principle of proportion proportion is a comparison of one part to another that considers factors such as large-small, wide-narrow, long-short, far-close, and others (suparta, 2019). in craft art, this comparison takes the plane of the image to the object into account. scale and real/actual are also comparisons in craft art. proportions are also used to differentiate between the main object (character), supporting (extras), and stuffing (background/supporting). the panji and noh masks follows the proportional principle. this is due to the fact that attention is paid to the comparison and size of each part of the mask during the manufacturing process. apart from the mouth size that matches the mask size and is comparable to other objects on the mask, the eye and brow sizes on the panji mask are made with the same length proportions, the nose is made longer and sharper, the mouth and nose are not too far slamet subiyantoro et al., comparative study of japanese and indonesian panji mask in 371 apart from the mouth size that matches the mask size and is comparable to other objects on the mask. the crown’s area is also considered so that it is neither too broad nor too narrow. the proportions of noh masks are tailored to the character of the mask. some examples of the proportion principle in the noh mask, namely the okina mask and jō mask, the eyes are slanted and narrow, there are wrinkles on the mask but the wrinkles are made quite not too much, there are other supporting objects such as the addition of white strands of hair on the hair and beard as objects support to strengthen the character of parents. furthermore, the principle of proportion can be found in the demon and ghost/spirit characters kishin and onryō. both masks are shaped like big bulging eyes with grinning lips. although some of the characters have demons and ghost/spirit characters, the proportions used follow anatomical proportions that resemble a human face, so that each part is the right size. the principle of harmony the harmony principle is known as the harmony principle or harmony. in addition to the arrangement of adjacent shapes, textures, or colors, this principle arises because there are similarities, compatibility, and no contradictions (suparta, 2019). according to the color harmony principle, the colors used are in harmony, and when using opposite colors, a binder/sunggingan color must be used (complimentary) the elements of harmony in the panji mask can be found in the alignment of lines, the harmony of colors, and the harmony of the shape of the face elements. the composition of curved lines, straight lines of various sizes, both large and small, and continuous lines can be seen on the panji mask. color harmony occurs when the color used as the color of the mask’s face is composed dynamically and neatly with other colors contained in the mask’s crown and does not conflict with each other. the panji mask’s harmony is the alignment of the placement of the components of the face, such as the crown, hair, brows, eyes, nose, mouth, teeth, and mustache, which are arranged proportionally, but on the klana sewandana banner mask the eyes are made larger to highlight the spooky impression as a giant character. similar to the panji mask, the elements of harmony in the noh mask can be found in the alignment of lines, the harmony of colors, and the harmony of the shape of the facial elements. the alignment of the lines in the noh mask is seen in the composition of real lines and pseudo lines in the form of curved lines and straight lines that are mutually sustainable. in color harmony, the colors used in one noh mask character do not use too many different colors so that the colors do not conflict with each other and still look harmonious and in accordance with the depiction of each character/mask character. the harmony of the noh mask shape is the alignment of the placement of components of the face such as hair, forehead, eyebrows, eyes, nose, mouth, teeth, and mustache. in some masks that have horns arranged proportionally, but in kishin and onryō masks the eyes are made wider and larger to highlight the spooky impression of demons and ghost/ spirit figures. in contrast, onna’s mask the eyebrows are made higher. conclusions based on the study and discussion results, it is possible to conclude that the classical yogyakarta indonesian style panji masks and the japanese noh masks share several similarities and differences in terms of the elements and principles of art found in the two masks. in terms of artistic elements, the similarities between indonesian panji masks and japanese noh masks are that they use many line elements, especially curved lines compared to straight lines. the similarities between the panji mask and the noh mask can be seen in the principles of the art, namely the principle of unity and harmony between lines, colors, and other elements of art, the principle of balance using symharmonia: journal of arts research and education 23 (2) (2023): 363-374372 metrical balance, the principle of dominant rhythm using repetitive rhythm, on the proportion comparison principle, and the size of each part on the mask is considered when making it in order to achieve good proportions, there is harmony on the principle of line alignment, color harmony, and the alignment of the shape of the facial elements on the mask. in terms of artistic elements, the indonesian panji mask differs from the japanese noh mask in the following ways: the nature of the line elements in the panji mask uses more real line elements, whereas the noh mask uses more imaginary/ pseudo line elements, the plane/shape element on the mask panji uses one basic shape, namely a heart shape, whereas the noh mask uses a heart shape and a long oval base shape, the panji mask color element uses more diverse colors, the texture elements on the panji mask all have a smooth and slippery texture, and the texture elements on the noh mask have a smooth and slippery texture, and some have a wavy/ wrinkled texture. while the differences between panji masks and noh masks can be seen through artistic principles, the emphasis on the panji mask is on the crown of the mask, whereas the emphasis on the noh mask is on the character of each mask. the similarities and differences between indonesian panji masks and japanese noh masks are attributed to several factors, including the geographical proximity of the two countries (located on the asian continent), the history, customs, and culture of the two countries that have existed and been formed since antiquity / ancestral heritage, etc. acknowledgments we would like to thank sebelas maret university in surakarta for providing financial support for this study. they are takamasa fukuda from the faculty of education, yamaguchi university, yamaguchi, japan, who has 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(2019). analysis of mask art in japanese noh. 5th international conference on arts, design and contemporary education (icadce 2019), 104–108. 153 symbolic meaning of drama “perlawanan diponegoro” nur sahid1, sukatmi susantina1, nicko septiawan2 1department of theatre, faculty of performing arts, institut seni indonesia yogyakarta, indonesia jl. parangtritis km 6,5, sewon, bantul, yogyakarta, yogyakarta 55188 2pt cahaya dua creativa, indonesia e-mail: nur.isijogja@yahoo.co.id received: october 11, 2016. revised: november 12, 2016. accepted: december 11, 2016 abstract study on drama entitled “perlawanan diponegoro” or “diponegoro insurrection” by lephen purwanto is aiming at deeply digging the semiotic meanings attached to it. this study employed keir elam’s theatrical semiotics as the approach, while krippendorf’s content analysis was implemented as the method of study. citing from krippendorf, content analysis is a method that is particularly develop to study symbolical phenomena with a major purpose that is to dig and reveal other examined phenomena, comprising content, meaning, and essential element of a literary work. keywords: theatrical semiotics; theme; symbolic meaning; meaning; content analysis how to cite: sahid, n., susantina, s. & septiawan, n. (2016). symbolic meaning of drama “perlawanan diponegoro”. harmonia: journal of arts research and education, 16(2), 153-162. doi:http://dx.doi.org/10.15294/harmonia.v16i2.7445 harmonia : journal of arts research and education 16 (2) (2016), 153-162 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v16i2.7445 p-issn 2541-1683 e-issn 2541-2426 tect islam from the unbeliever, in this case was the dutch (carey, 2011, p. 700), and as a war against the dutch colonialism. in the end, the war or insurrection lead by the prince which lasted for 5 years, killed many victims both from the prince and the dutch’s sides. the war was ended by magelang treaty on march, 8th 1930 (carey, 2011, p. 778). the treaty had prince diponegoro and colonel jan baptist cleerens to discuss the reconciliation since february, 1930. colonel jan baptist cleerens himself was dutch troops commander based in bagelan and banyumas (carey, 2011, p. 778). the treaty itself was not last long, proven by the dutch’s deception by arresting prince diponegoro on march, 28th 1830. the prince was taken to jakarta to be then exiled to north sulawesi. the prince was suddenly taken to makassar on july 1933 and died there in january, 8th 1855. introduction prince diponegoro is a famous warrior who fought for independence, from java indonesia. prince diponegoro, or known as pangeran diponegoro (1785-1855) was well-known as a mystic, an obedient muslim, and a warlord, opposing dutch colonialism during the years of 1825-1830. the prince belongs to one of the famous national heroes in indonesian national history. the guerilla war done by him during his glory in most of javanese major cities had proven to be able to put the dutch colonialism in a chaos. prince diponegoro made his war against the dutch as a holy war against the invader’s cruelty. this made indonesian people felt sympathetic and finally helped him during the war. people believed that the prince’s insurrection had two meanings, as a holy war to defend and proharmonia : journal of arts research and education 16 (2) (2016): 153-162154 the history of prince diponegoro’s insurrection against the dutch colonialism had become inspirations for several artwork creations, i.e. raden patah bustaman who painted an oil painting entitled “penangkapan pemimpin pangeran diponegoro” or “the arrest of leader prince diponegoro” (1857), remy sylado wrote a novel entitled “pangeran diponegoro” or “prince diponegoro” in 2008, a dancer named sardono w. kusumo created “opera diponegoro” or “diponegoro opera” in 2012, as well as lephen purwanto, a drama player from yogyakarta who created a radio drama script entitled “perlawanan diponegoro” or “diponegoro insurrection” in the year of 2016. the mentioned examples are small parts of many art works inspired by the story of prince diponegoro’s struggle war against the dutch colonialism. how artists captured the phenomena of diponegoro’s insurrection war during the past era had proven that the story of diponegoro’s struggle in defeating the dutch had never been away from being the inspiration of art work creations. this can be understood and widely accepted since the figure of prince diponegoro itself always has the image of a nationalist, patriotic, populist, and religious. the selfless struggle done by the prince in defending common people is actually valuable and is deserved to be known by current generation. further, it is considerably needed to be spread out and learned from the young generation, so that the youth will value the prince’s struggle for more than just a name of the main street, university, and other public places. related to the phenomena described in the previous parts of this study, researcher attempts to analyze the script of an episode of radio drama about prince diponegoro entitled “perlawanan diponegoro” or “the diponegoro insurrection” by lephen purwanto (2011) by using the theatrical semiotic approach from keir elam (1991). the radio drama itself actually had a considerable number of episodes that cannot be covered in the study, thus, researchers specified the analysis by studying only one episode entitled “perlawanan diponegoro”. the episode selection was based on the consideration of numbers of symbols appeared during the time it was on-aired. the symbol itself is an essential element connecting the material mode (signifier) and the meaning (signified). symbols in the radio drama’s episode studied in this study are mainly found in its theme elements and characterizations. as it has been studied, the theme and characterization is an element forming a dramagenre-narrative story (sahid, 2014, p. 1-4). the characters in the story, such as: prince diponegoro, patih danurejo (the vice regent), adipati mangarto (the duke), residen smissaert, and prince mangkubumi are some of the symbols in the context of theatrical semiotics which the signified can be analyzed. the incidents and complications in the drama “perlawanan diponegoro” in this study actually results from the conflicts between characters. therefore, the analysis of this dramatic theme cannot be separated from the characterization analysis. the meanings attached to the theme element are analyzed further by using the theatrical semiotic approach. from the background information and context analysis, two research questions are derived, 1) how is the theme of the drama entitled “perlawanan diponegoro”? 2) how are symbolic meanings implicated in the drama entitled “perlawanan diponegoro”? thus, this study is aimed at analyzing the theme and meanings of drama entitled “perlawanan diponegoro”. method from research questions and the aims, thus, this study implemented the content analysis method. krippendorf (cited in nuryanto, 1992) stated that the content analysis method is particularly developed to study symbolical phenomena by digging and discovering other phenomena of an art work’s content, meaning, and essential elements as its main purpose. this method implies the notion that nur sahid et al., symbolic meaning of drama “perlawanan diponegoro” 155 the most important intellectual activity is making inferences or conclusion about the study goals. the content analysis method in this study was done in particular steps. the first stage was inventory which was done in this study by inventorying the theme of “perlawanan diponegoro” radio drama. second was the stage of identification that was done by identifying conflicts between characters of the drama. the third was the stage of classification that was done by classifying symbols emerged in the drama. the fourth was the stage of interpretation. it was done by interpreting meanings behind the symbols emerged in the drama. result and discussion this study employs the theory of theatrical semiotics of keir elam (1992). it has been widely explained that semiotics has clear implications for drama and theatre study. in the discourse of drama, however, semiotics allows the investigation of drama text structurally. on the other hand, in theater’s discourse, the semiotics provides a metalanguage which can be used to analyze the language of pictures, physics, and aural of the theatre. the term “theatre” tends to link more to the phenomena of the performer audience transaction. it relates to the production and communication of meaning in the performance with the basic systems underlying it (elam, 1991, p. 2). in relation to this, it can be inferred that the study of semiotics towards theatrical performance is possible to be done both for certain element attached to the performance −for instance, the element of drama of a theatre performance− and the whole theater performance. in this study, the analysis focuses only on the element of drama (the written text) of the radio drama “perlawanan diponegoro”, and not on the radio drama as an oral performance. elam (1991, p. 2) mentioned “drama” as a fiction work which is designed as stage representation and constructed based on specific drama conventions. in other words, “theater” is limited to what happened between the performers and audiences, meanwhile “drama” indicates network factors which are related to the represented fiction. thus, the work scope for a semiotician lies on two text materials, i.e. the drama text (written) and the theater text (the theatre performance). mukarovsky (cited in elam, 1991, p. 7) stated that symbols are able to identify an art work, including theater, as a semiotic unit in which the signifier is the art work itself as the “material”, while the signified is the “aesthetic object” that lies on the society’s collective awareness. in this context, symbol in artwork acts as two faces entity which relates the material mode or signifier with the mental concept or signified. the drama text is considered as a macro symbol, that the meanings are determined based on the total effects. this macro symbol should be divided into smaller units before the analysis stage is started. as a result, drama as an artwork is not a single symbol, but more to a semiotic unit network that employs work-related symbols. a drama is formed from smaller units that comprise theme, characterization, and plot. the four elements are interrelated to each other to form an integral unity. the analysis of structure the existence of theme in a story is inescapable. without this “theme”, a writer cannot develop a story; since the theme in a novel or drama is a stand or ground to build the story further (saad, 1967, p. 62). a writer will always combine the theme together with several other story facts and tools of storytelling till the story is fully structured. h. j. waluyo (2007, p. 24) mentioned theme as main idea included in the drama. further argued by waluyo that in a drama, theme will be developed through dramatic plot inside the main plot through protagonist and antagonist characters with a characterization that allows conflicts that are formulated in a form of dialogue. a writer inserts theme together with facts and events occurred in the story. a harmonia : journal of arts research and education 16 (2) (2016): 153-162156 theme is an element that is used as a unifier of other story elements, such as: character, plot, and dialogue. kernodle (1978, p. 270) stated that sometimes a writer reveals the story theme implicitly through characters and setting. argued further by kernodle that usually a theme can be in a form of the moral value of attitudes that are developed in life. the drama entitled “perlawanan diponegoro” showed social conflicts of the main character of the story, prince diponegoro on one side and patih danurejo in another side. the illustration of events happened during the insurrection war lead by prince diponegoro against the misconduct behavior done by patih danurejo who was supported by the dutch, had sharpen the conflict between the two parties. the social condition was illustrated by the writer to emphasize the society’s anxiety throughout the country. the society anxiety was caused by patih danurejo’s misconduct behavior in taking the land owned by people of tegalrejo village deliberately to build the dutch’s railroads. tegalrejo people who were led by prince diponegoro could not accept the misappropriate behavior done by both the dutch and patih danurejo. as a result, the prince’s cohort pulled out the border signs that were planted as the land border. the anxiety was then also resulted in an uncertain socio-politic condition. prince diponegoro struggled in his attempt to stand up for the fairness of people in tegalrejo, however, some people like patih tegalrejo who preferred to take the dutch’s side for his own advantage. as a local person, patih danurejo was never touched seeing the misery had by people in tegalrejo whom land was taken by the dutch. patih danurejo even asked for residen missaert’s help to confront prince diponegoro eventhough prince mangkubumi who acted as sultan (king) menol’ advisory did not approve the battle planned by danurejo and missaert. the fact showed how danurejo disrespected sultan menol as the king of kasultanan yogyakarta. the nationalism spirit prince diponegoro seemed to have a spirit of nationalism. for him, the dutch should not own the java land. the prince had a famous vow saying that he better died than giving the java land to the dutch. this was clearly seen from the dialogue: diponegoro: ini pangeran diponegoro tidak akan tunduk kepada kompeni belanda. sedumuk batuk senyari bumi. tidak ada tanah untuk penjajah. allahu akbar. kita tak bisa diam dijajah dan diinjak kompeni belanda. ayo lawan….. allahu akbar! allahu akbar..!! (musik pelan kemudian berubah ke nada timggi heroik. terdengar lirih suara ringik kuda). ..................` dan tak akan menyerah! ayo rakyatku berjihad fi sabilillah sekarang! (purwanta, 2011, p. 38). the dialogue illustrates the prince’s stance which stands still against the dutch’s colonialism. his stance is based on the belief had by the prince that defending homeland is part of jihad fi sabililillah (a war for religion sake to beat the enemy of islam; to defend islam from non-believers). prince diponegoro’s action to fight against colonial is not a form of rebellion against kasultanan or the kingdom of mataram. even the prince still belongs to the kingdom’s descendant. what the prince countered was the misconduct behavior of the dutch who had spoiled the rights of mataram’s common people. as a muslim and a teacher of islam, the prince was a wise, fair, polite, and refined man. even, he actually did not like to war. pangeran mangkubumi: jangan berperasaan begitu. kita semua wong jawa dijajah dan didholimi belanda. warga ngayogya kini semakin berani melawan belanda, setelah nak pangeran meneladani mereka. mengobarkan perlawanan kepada kompeni. pangeran diponegoro: paman apa kita berdamai saja? agar tidak terjadi korban jiwa dan darah sia-sia akan membanjiri tegalreja. pangeran mangkubumi: nur sahid et al., symbolic meaning of drama “perlawanan diponegoro” 157 side of pangeran diponegoro. they admired prince diponegoro as a fair, wise, noble, and faithful man, especially in defending his homeland (purwanta, 2016, p. 34). the personality of prince diponegoro was opposite to patih danurejo. this opened the conscience inside mangarto’s soul in which he realized that he also needed to defend his land. as a result, mangarto told patih danurejo and residen smissaerts’s plan to attact tegalrejo to prince mangkubumi and sultan menol. mangarto’s action reflected the spirit of nationalism to his own nation. in addition, the spirit and action that reflected nationalism could also be seen from the character of prince mangkubumi who, as the king’s advisor, could not be persuaded by both patih danurejo and residen smissaert to issue the decision of war. it showed his wisdom and carefulness. residen smissaert: pangeran itu hanya penasehat sultan menol, bukan sebagai patih. jadi tidak berhak menghalangi kami menanyakan sesuatu kepada sultan menol. patih danurejo: patih mangku! ini soal darurat kok harus dengan aturan adat berbelit. biar sultan menol langsung memberi titah! pangeran mangkubumi: kanjeng sultan menol masih perlu bimbingan sebelum memutuskans sesuatu. saya, ibunda ratu sultan dan kanjeng pangeran diponegoro berhak bertanya kepada patih dan tuan duduk soalnya, sebelum ada titah dari sultan menol (purwanta, 2011, p. 41). mangkubumi was never afraid of danurejo and missaert’s insistence in doing war. he believed that prince diponegoro would never rebel the kingdom. prince diponegoro had a soft hard, polite, and had an adequate understanding of islam that he would never betray the kingdom. apathy shown by prince mangkubumi when danurejo told him that he was just an advisor and not the king (purwanta, 2011, p.42). mangkubumi believed that insya allah dengan membaca basmalah. allah akan mengampunimu nak pangeran. niatkanlah sebagai jihad. bukan semata-mata berperang melawan kelaliman. pangeran diponegoro: begitu paman mendukung niat suci untuk berjihat. akan kuucap basmallah. saya sendiri tak berarti. pangeran mangkubumi: ucapkan basmalah. insya allah paman akan berada di depan dan dibelakangmu nak! pangeran diponegoro: alhamdullilah paman. semoga perjuangan ini memang karena hidayah allah. bukan niat dendam dan amarah dari diri ontowiryo. pangeran mangkubumi: insya allah, akan kami bela. akan kutinggalkan tahta dan penuh iman berada di belakang pangeran diponegoro. allahu akbar!!! (purwanta, 2011, p. 51-52). the dialogue presented the discussion between prince diponegoro and his uncle, prince mangkubumi which acted as the advisor of the king of mataram. the prince finally decided to war because of the support he had from his uncle. the strong character of prince diponegoro and his attitude had resulted in supports he gathered from the people of mataram. the prince’s followers were motivated by the religious talk, lecture, and speech given by him. the prince always asked the people to stand for their homeland. even, panglima arkiya, the prince’s right-hand man offered to pull all the border signs put by the dutch soon after it was planted (purwanta, 2016, p. 30. the attitude of arkiya reflects the high spirit of nationalism. he was never afraid of danureja’s troops. in other sides, the character of mangarto who was first introduced as the follower of patih danureja then later started to realize his mistake also reflected the spirit of nationalism. it was told that after patih danureja’s failed attempt to destroy tegalreja village, half of patih danureja’s troops withdrew themselves and moved to the harmonia : journal of arts research and education 16 (2) (2016): 153-162158 prince diponegoro was a decent warrior and took what danurejo’s had said as a defamation. traitor of society if the protagonist characters were people dedicating themselves for the society, on the contrary was the character of patih danurejo. as a patih or vice regent, he always took every decision in his own way. he tended to close to residen smissaert rather than to the royal family. this can be seen from the events of the story. for instance, when patih danurejo’s troops − which were under the command of adipati mangarto− lost during the war against prince diponegoro, he directly went to vredebrug fort to ask for a help from residen smissaert (purwanta, 2011, p. 35-36). patih danureja: berapa yang mati? pihak musuh? adipati mangarto: seratus prajuritku mati hanya ditatap pangeran diponegoro. patih danureja: apa? kurangajar!!! adipati mangarto: saya yang dibiarkan hidup dan meny ampaikan salam kepada kanjeng patih. patih danureja: salam apa? aku harus segera melapor ke residen smissaert di beteng. ayo kamu ikut! (purwanta, 2011, p. 35). the action done by patih danurejo by directly reporting his losing to residen smissaert reflects his attitude on taking the dutch’s side rather than the mataram people’s. even, in order to convince the sultan, he slandered prince diponegoro. it was said by patih danurejo that prince diponegoro was a traitor who had killed hundreds of the vice regent’s troops, and that the prince had bad behavior in disturbing the railroad workers. his purpose was no other than to get the sultan’s permission to do war against prince diponegoro. betrayal towards his own nation was seen clearer when patih danurejo and smissaert decided to finally attack tegalrejo village. it was clear that patih danurejo did not have the spirit of nationalism to his own nation. though he claimed himself to be the royal official of kasultanan mataram, however, his orientation tended to help the dutch. the border sign planting in the land of tegalrejo people was the dutch’s project to quicken the distribution of farming product had by the dutch. people of mataram never felt or even got advantages from the project. because of this reason, prince diponegoro and the people of tegalrejo fought against the border line installation used for the railroad construction. in this case, the character of residen smissaert also had an essential role in influencing the decisions taken by patih danurejo. patih danurejo tended to follow the order and programs delivered by residen smissaert. this was done by patih danurejo since he had an idea that the king was too young to rule a kingdom. the king was only a child who had not been ready to rule a kingdom. yet, it was not entirely true. in ruling the kingdom, the sultan was advised by prince mangkubumi and the queen, the prince’s biological mother. therefore, the leadership of sultan menol was actually reliable. the main conflicts of the story both nationalism spirit and traitor of the society are problems implied in the drama radio “perlawanan diponegoro”. the main conflict underlying the conflicts, however, was the occurrence of political hegemony attempt by the dutch as the colonialist towards the people in mataram. the dutch’s plan to build railroads to quicken their farming product delivery to batavia became the main purpose. the railroad building was started by giving borderline sign to the local people’s land, including the land owned by prince diponegoro in tegalrejo village. both pangeran diponegoro and the tegalrejo people believed that what was done by the dutch was a form of expropriation of ancestral land which must be resisted. as a result, the diponegoro’s nur sahid et al., symbolic meaning of drama “perlawanan diponegoro” 159 insurrection to fight against the dutch was supported by the society. prince diponegoro himself believed that his fight against the dutch was a realization of jihad fi sabilillah or a holy war to defend islam from the non-believer (purwanta, 2011, p. 38). therefore, the diponegoro’s insurrection contained both worldly and afterlife motivation. this made the insurrection to be unstoppable. even, the blessing given by mangkubumi increased the motivation had by the prince. from the conflicts contained in the story, then it can be inferred that the theme of radio drama entitled “perlawanan diponegoro” can be formulated into a sentence, “colonialism to other nations will be always opposed by the local people whenever the colonial does not respect the rights of the colonialized people”. the theme seems to inspirit the whole story plot and characterization. the different characterization and life attitude of the involved characters of the story, like, prince diponegoro, patih danurejo, residen smissaert, prince mangkubumi, adipati mangarto, panglima arkiya, etc seem to be accumulated into a story theme. the conflicts emerged throughout the story is rooted in different characterization and way of life had by the characters. the conflicts are then resulted in variety of problems as told in the previous sub sections of this study. in relation to this, all the conflicts emerged in the story are formulated into a theme which is described. in other sides, the differences in characterization are resulted in various conflicts that caused the plot to move forward. the story is developed dynamically from the conflict between the right-hand man of prince diponegoro, panglima arkiya, who fought against the troops of patih danurejo about the borderline, into the conflicts had by residen smissaert and patih danurejo against sultan menol and prince mangkubumi which resulted from the king and prince’s unwillingness to permit the war against prince diponegoro. as a result, the biggest conflict emerged involving prince diponegoro, patih danurejo and residen smissaert in a war taken place in tegalrejo village. the plot developed in this drama seems to be influenced by the story theme. therefore, there is a solid relationship between the theme and characterization, the characterization and story plot, and the story plot and theme. the meaning of symbols it has to be known that every aspect of performance is managed by denotation dialectics, such as, setting, the actor’s body, the actor’s movement, and the actor’s utterance that all determine and are determined by primer and secondary meaning symbols that are constantly changed (elam, k., 1991, p. 11). certain symbol does not only contain one particular meaning, but also semiotic symbol of a performance, for instance, a cloth can show the socialeconomy level, psychology, and even moral of the wearer. it is sure, however, that in theatrical semiotics, connotations are not naturally unique. in contrast, the ability of audience in receiving semiotic meanings depends closely on extra-theatrical and cultural values contained in certain objects, mode of discourse, or behavioral forms. it is possible that, in the end, the audience does not socially realize the meanings they give to several theatrical phenomena, however, theatrical communication allows these symbols to influence the practical functions of a theater in which everything works only to the extent that it has meaning. in its relation to the values which are coded socially, the theatrical semiotics constantly connotate ‘itself’ (sahid, 2012, p. 50-57). it means, the connotative aspect works in a whole performance which allows audience to categorize everything presented to them from normal social praxis, and therefore perceiving performance as “a symbolical network” or as “a text”. in its relation to transformability or mobility of bogatyrev signs, it is stated that symbols may have semantical meanings, not only in the level of connotation but also the denotation (elam, 1991, p. 12). harmonia : journal of arts research and education 16 (2) (2016): 153-162160 in line with elam (1991), in analyzing symbolical meanings contained in radio drama “perlawanan diponegoro”, the meanings analyzed are not only in the level of denotative meaning but also the connotative one. the meaning of prince diponegoro character in the context of theatrical semiotics, the existence of prince diponegoro character who struggle to defend mataram people whole heartedly (signifier) can be interpreted as a man having high spirit of nationalism (signified). as the heredity of yogyakarta royal family, diponegoro actually can live in prosper without the need to struggle to fight the dutch. however, his high pride and humanismhave led him to be a national hero rather than common royal family who live comfortably without struggling. at the level of connotative meaning, the struggle of the prince seems to equal to the struggle of the current nations’ youth to fight against foreign influence in the field of economy, culture, etc. but, it needs to be admitted that the influence of foreign nation can be also through the education institution (jaya, 2012, p. 133-140). as it has been known, even when indonesia has gained its independence, however, certain fields like economy, culture, and education still receive high intervention from foreign parties. in fact, the foreign intervention in those fields are strong enough. therefore, it is natural and understandable that some youths are still fighting for the economic, politic, cultural, and educational sovereignty. meaning of patih danurejo character in semiotic meaning, the action of danurejo who takes residen smissaert’s side and is cruel to his own people (signifier) can be interpreted as the symbol of nation’s traitor (signified). in the history of indonesia during its struggling time, people like patih danurejo always exists. they tend to seek personal advantage over people’s misery. danurejo always asks for help from smissaert in fighting against prince diponegoro. in connotative meaning, the betrayal done by danurejo in the context of current indonesian society can be interpreted as symbolization of public figure, scientist, conglomerate, government official, or nation leader who takes advantage from selling country’s asset, policy, and influence to other nations so that the other nations get chances to dominate and control the socioeconomic of indonesia. this type of person does not have the spirit of nationalism. they are willing to be a traitor for the sake of personal advantage. meaning of residen smissaert character in semiotic meaning, the action of the resident smissaert character is cruel towards prince diponegoro and the tegalrejo’s society. placing border signs in the villagers’ land (signifier) can be interpreted as a form of arrogance of power (signified). the cruelty of smissaert to the local people has purposed to build railroads to accelerate the delivery of farming products from java to batavia. in connotative meaning, the cruelty of smissaert to the local people in the context of the present time can be interpreted as an action of many foreign companies who run the company in their own way without obeying the rule and neglecting local people’s right. these companies only want to get the most of the resources of indonesia. as it has been known, there are plenty global companies which run their businesses in indonesia only for their personal advantages. they never think of the negative impact caused by their company for the local people. the case of waste disposal misconduct from multinational mining companies in various places throughout indonesia prove how companies neglect the life of local people living around their companies. even, there are also plenty companies which avoid paying tax to the government. meaning of placing borderline in tegalrejo village placing borderline throughout the nur sahid et al., symbolic meaning of drama “perlawanan diponegoro” 161 tegalrejo village to build railroads by the troops of patih danurejo (signifier) contains semiotic meanings related to common people’s right deprivation (dignified). the existence of local people as the citizen of mataram has been violated by danurejo. this fact triggers prince diponegoro’s anger and lead him to declare war against the dutch. in connotative meaning, the incident of placing the border line throughout the native people’s land is identical with eviction in many private places, like housing or rice fields owned by local people that is done by the government on behalf of the national infrastructure development. building infrastructure by evicting local people’s private property has been happening since the era of president soeharto’s orde baru (the new order). usually, people can do nothing to defend their rights. meaning of the action of pulling out the borderline it can be understood that pulling the borderline out of the land of tegalrejo’s people by the troops of prince diponegoro (signifier) can be interpreted as the rise of consciousness to uphold truth and justice among tegalrejo citizen (signified). pangeran diponegoro’s troops and the local people bravely attack the policy had by patih danurejo and residen smissaert who are considered robbing the local people’s land inherited from the ancestors. the incidents described in the previous paragraph can be interpreted as local people revival in struggling for their personal rights, both the personal, proprietary material, social, cultural, etc. since the reformation era, the awareness in fighting for common people rights are raised both in its relation to the leader or financier. even when the struggle has no guarantee to be succeed, however, people tend to be braver in fighting for their rights when it is taken forcefully by a government or company. several cases show that for the sake of opening investment, businessmen are often taken the land of local people forcefully. meaning of prince diponegoro’s insurrection against residen smissaert the prince diponegoro’s insurrection to the colonial under the command of residen smissaert (signifier) can be interpreted as the fight of santri (student learning islam) against non-believer. diponegoro refers the colonial who has colonialized tegalrejo people as non-believer or secular. however, the term non-believer or secular does not mean that the prince literally fights against one who does not believe in islam, but more with the enemy who has taken away tegalrejo people’s ancestral land forcefully. in connotative meaning, the war between diponegoro and the dutch is identical with the insurrection done by several indonesia’s socio-religious organization that has been in a war against the bad influence of western culture, such as: drinking, drugs, free sex, etc. this insurrection is not yet over since the western influence has not lost yet. conclusion there are two major conclusions of the study. first, the drama entitled “perlawanan diponegoro” has a heroic theme that is formulated into a sentence “colonialism to other nations will be always opposed by the local people whenever the colonial does not respect the rights of the colonialized people”. this theme inspirits the whole story. in semiotics, the meanings contained in the drama entitled “perlawanan diponegoro” has both denotative and connotative meanings. these connotative meanings are contextual and related to the problems had by indonesian people nowadays. references carey, p. (2011). kuasa ramalan: pangeran diponegoro dan akhir tatanan lama di jawa (1785-1855). jakarta: kepustakaan populer gramedia dan harmonia : journal of arts research and education 16 (2) (2016): 153-162162 kitlv (koninklijk institute voor taal, land en volkenkunde). elam, k. (1991). the semiotics of theatre and drama. london: routledge. jaya, p. h. i. (2012). dinamika pola pikir orang jawa di tengah arus modernisasi. jurnal humaniora, 24(2), 133140. kernodle, g. & kernodle, p. (1978). invitation to the theatre, harcourt brace javanvich, inc, atlanta. nuryanto. (1992). penerapan metode content analysis dalam bidang penelitian bahasa dan seni, makalah lokakarya fakultas pendidikan bahasa dan seni, ikip yogyakarta, 11-13 mei 1992. purwanto, l. (2011). perlawanan diponegoro. tidak diterbitkan. sahid, n. (2013). theatre performance communication from the perspective to the theatre semiotics. jurnal humaniora, 25 (1), 98-102. sahid, n. (2014). tema lakon dombadomba revolusi karya bambang soelarto. jurnal penguin, 24(1), 57-73. sahid, n. (2016). semiotika untuk teater, tari, wayang purwa, dan film. semarang: gigih pustaka mandiri. saad, s. (1975). penelitian dan pengembangan sastra dalam budaya jawa. jakarta: pusat pembinaan dan pengembangan bahasa depdikbud. sylado, r. (2007). pengeran diponegoro. solo: tiga serangkai. waluyo, j. h. (2007). drama, naskah, pementasan, dan pengajarannya. surakarta: lembaga pengembangan pendidikan uns dan upt penerbiatan dan pencetakan uns (uns press). 28 modelling naïve bayes for tembang macapat classification aji prasetya wibawa1, yana ningtyas1, nimas hadi atmaja1, ilham ari elbaith zaeni1, agung bella putra utama1, felix andika dwiyanto1, andrew nafalski2 1universitas negeri malang, indonesia 2university of south australia, australia submitted: 2022-01-27. revised: 2022-04-30. accepted: 2022-06-02 abstract the tembang macapat can be classified using its cultural concepts of guru lagu, guru wilangan, and guru gatra. people may face difficulties recognizing certain songs based on the established rules. this study aims to build classification models of tembang macapat using a simple yet powerful naïve bayes classifier. the naive bayes can generate high-accuracy values from sparse data. this study modifies the concept of guru lagu by retrieving the last vowel of each line. at the same time, guru wilangan’s guidelines are amended by counting the number of all characters (model 2) rather than calculating the number of syllables (model 1). the data source is serat wulangreh with 11 types of tembang macapat, namely maskumambang, mijil, sinom, durma, asmaradana, kinanthi, pucung, gambuh, pangkur, dandhanggula, and megatruh. the k-fold cross-validation is used to evaluate the performance of 88 data. the result shows that the proposed model 1 performs better than model 2 in macapat classification. this promising method opens the potential of using a data mining classification engine as cultural teaching and preservation media. keywords: naïve bayes, classification, tembang macapat, wulangreh how to cite: wibawa, a. p., ningtyas, y., atmaja, n. h., zaeni, i. a. e., utama, a. b. p., dwiyanto, f. a., & nafalski, a. (2022). modelling naïve bayes for tembang macapat classification. harmonia: journal of arts research and education, 22(1), 28-36 harmonia: journal of arts research and education 22 (1) (2022), 28-36 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i1.34776 megatruh (dewati, 2016; setiyorini, 2016). furthermore, tembang macapat is bound by the three main rules of guru lagu, guru gatra, and guru wilangan (dwi bambang putut setiyadi, 2010). guru lagu is the rhyme sound at the end of the word in each line. guru gatra is the number of lines in one verse, while guru wilangan is the number of syllables in each line (novaeni, 2013). the creation of macapat has to follow these rules. a study reveals that macapat (e.g., sekar pucung) has a very intellectual significance, but it also aims to train people to be introduction indonesia has various cultural diversity, including tembang. tembang is traditional javanese poetry recited in song form (daryanto, 2017), which was used to transmit long written texts of one form or another in scenarios ranging from an evening in a palace to letters to a friend (hatch, 1976). macapat (santosa, 2016) is one popular genres of tembang. generally, tembang macapat have 11 types: maskumambang, mijil, sinom, durma, asmaradana, kinanthi, pucung, gambuh, pangkur, dandhanggula, and corresponding author: e-mail: aji.prasetya.ft@um.ac.id p-issn 2541-1683|e-issn 2541-2426 aji prasetya wibawa, et al., modelling naïve bayes for tembang macapat classification 29 religious and humanist (saddhono & pramestuti, 2018). the song incorporates positive and negative javanese educational terms (piwulang) of religion, ethics, morals, daily life, and government attitudes(d. b. p. setiyadi, 2013). serat sabdajati, for example, uses macapat to explain islamic doctrine and ethics (fauziyyah, warto, & sariyatun, 2018). the positive should always be followed, whereas the negative should be avoided. furthermore, macapat can be used as a medium for character building (agus et al., 2021). a bibliometric study of macapat from 1981 to 2021 found that most research is focused on cross-cultural and social change perspectives (irmade & winarto, 2021). none of them discuss this javanese song from the computer science or technological aspect. the concept of guru wilangan, guru gatra, and guru lagu form patterns for computational modeling. the pattern distinguishes one macapat text from others. javanese artists, experts, or professional teachers may easily recognize these cultural patterns. on the other hand, novice students may find it difficult to notice the tembang based on the pattern. once the rules are broken, a song will not be identified. for example, we cannot label a tembang as pucung when it is less or more than four gatra with the following guru wilangan and guru lagu: 12u, 6a, 8i, 12a. the false tembang may confuse the singer, leading to failure in singing the song. identifying the correct song will be increasingly difficult to do. this fatal error will be passed on to the next generation. this problematic situation prompted research on computational modeling of macapat classification. in data mining, classification is a typical technique for categorizing data points. this supervised machine learning approach has many classifiers. first, logistic regression is a probability-based model that works in only binary predicted variables, all independent predictors without missing values (kasera & johari, 2021). second, linear regression assumes that the independent and dependent variables are linearly connected; nonetheless, it is susceptible to overfitting and noise (schultz et al., 2021). on the other hand, the support vector machine (svm) displays training data in space, separated into categories by huge gaps; however, it delays generating probability estimates (gaye, zhang, & wulamu, 2021). finally, the naive bayes method assumes that all characteristics are independent of one another and contribute equally to the output (mansour, saleh, badawy, & ali, 2022). the naive bayes classifier is a well-known generative algorithm that may use generative algorithms to classify unknown data. these classification engines have excellent performance in classifying javanese alphabets (diqi & muhdalifah, 2020; handayani, herwanto, chandrika, & arai, 2021; rasyidi, bariyah, riskajaya, & septyani, 2021; susanto, atika sari, mulyono, & doheir, 2021; susanto, sinaga, sari, rachmawanto, & setiadi, 2018), vowels (dewa & afiahayati, 2018), speech levels (ardhana, cahyani, & winarno, 2019; nafalski & wibawa, 2016), composition (agus et al., 2021), dialect (hidayatullah, cahyaningtyas, & pamungkas, 2020). none of research focused on the macapat classification, which consider the gap as a novelty in the area of javanese culture classification. this research aims to create classification models of tembang macapat based on naïve bayes classifier. this naive bayes selection is based on its excellent classification performance when only using a small amount of training data (gupta, gupta, & singh, 2005). two models are proposed. the first model retains the cultural patterns: guru lagu, guru wilangan, and guru gatra. the second model assumes that not all users understand those cultural rules. therefore, the second model limits the guru lagu by counting the number of vowels to replace the calculation of the number of syllables. the second model replaces the guru wilangan by the probabilistic calculation of the characters in each gatra. this research is expected to facilitate the public understanding of the types of tembang macapat using the models. a promising model will be decided after compaharmonia: journal of arts research and education 22 (1) (2022): 28-3630 ring the two proposed models. method this data mining research is concerned with extracting usable and valuable information from enormous quantities of data. the suggested strategy allows for discovering intriguing patterns, which are deeply buried inside the data. the systematic procedures are described in the following sections. dataset and preprocessing the data was collected from serat wulangreh book written by kanjeng susuhunan pakubuwana iv surakarta hadiningrat (wikandaru, cathrin, satria, & rianita, 2020). this book has 11 types of tembang which evaluated in this study, including maskumambang, durma, pucung, megatruh, gambuh, mijil, kinanthi, asmaradana, pangkur, sinom, dan dhandanggula. the selection of eight song for each type tembang, considering dandanggula as the song with the least number of stanzas. thus, the total training data is 88 of tembang macapat. the next stage is preprocessing, an initial activity required before the classification process (andini, 2013). this process produces a variable from the tembang dataset containing a value set representing the information contained in the tembang. this stage splits each row and calculates the number of lines in the lyric. the following process is to generate model 1, following the rule of guru lagu, by removing space and consonants in each line. the remaining vowel letter on each line will be calculated to get the guru wilangan. the last vowel is recognized as guru lagu. table 1 presents the preprocessing result of model 1. model 2 modifies the rule of guru wilangan. as in model 1, this modification starts by removing the space, followed by calculating the characters of each line. the calculation is recognized as the modified guru wilangan. the modification considers the reality that mistakes (e.g., typographical errors) could have happened during the tembang writing. determining the last vowel letter is completed by displaying only vowel letters on each line and then selecting the last vowel letter. table 2 presents the preprocessing result of the guru lagu rule in model 2. the table is similar to table 1 except for the result. in the same song, the result of table 2 is higher than table 1 due to all characters’ recognition. table 1. pre-processing result of model 1 line lyric vowel result 1 sekar gambuh ping catur e a a u i a u 7u 2 kang cinatur polah kang kalantur a i a u o a a a a u 10u 3 tanpa tutur katula-tula katali a a u u a u a u a a a i 12i 4 kadaluwarsa katutuh a a u a a a u u 8u 5 kepatuh pan dadi awon e a u a a i a o 80 table 2. pre-processing result of model 2 line lyric vowel result 1 sekar gambuh ping catur e a a u i a u 20u 2 kang cinatur polah kang kalantur a i a u o a a a a u 27u 3 tanpa tutur katula-tula katali a a u u a u a u a a a i 27i 4 kadaluwarsa katutuh a a u a a a u u 18u 5 kepatuh pan dadi awon e a u a a i a o 18o naïve bayes classification this study uses the naïve bayes classification approach. the simple probability classification calculates a set of probabilities, summing up frequency and value combination from a dataset (suardani, bhaskara, & sudarma, 2018). furthermore, an attribute or variable in naïve bayes is assumed to be independent or have no relation to each other (manino, tran-thanh, & jennings, 2019). one of naïve bayes advantages is its robust performance for classifying limited training data. this advantage is essential and suitable for this study. equation 1 presents the method of naïve bayes (assiroj, 2018). p(h│x)=p(x│h)p(x) (1) aji prasetya wibawa, et al., modelling naïve bayes for tembang macapat classification 31 where: x = data with unknown class h = hypothesis from data x p(h│x) = the probability of hypothesis h based on condition x p(x│h) = the probability of hypothesis x based on condition h p(x) = probability of x evaluation a confusion matrix is used to evaluate the classification results. it is a matrix table-based method for determining the accuracy of data generated by an algorithm (haghighi, jasemi, hessabi, & zolanvari, 2018). table 3 contains the matrix table for the dataset with two classes. table 3. confusion matrix actual predictive positive negative positive true positive false negative negative false positive true negative if the classification results are precisely classified into the correct class, the classification results are true positives. false-negative values are returned if incorrectly classified the classification results into the correct class. false positives are calculated if the classification results are precisely categorized in the incorrect class. true-negative values are returned if the classification results are incorrectly classified into the incorrect class. the confusion matrix will generate values for accuracy, precision, and recall (andriani, 2012). accuracy, precision, and recall can be calculated using equations 2 to 4. accuracy= tp+tn x 100% (2) p+tn+fp+fn precision= tp x 100% (3) tp+fp recall= tp x 100% (4) tp+fn result and discussion the classification technique, the naïve bayes approach, tries to classify the class or type of tembang macapat. the classification performance is evaluated using k-fold cross-validation, which generates a confusion matrix table. k-fold cross-validation divides the data into k folds, where k is the fold value. each fold’s test data was derived from the previous k-1 folds categorization. four-fold k-fold cross-validation will be used in this study. table 4. the class of tembang macapat class type characteristic gatra a maskumambang 12i, 6a, 8i, 8a 4 b durma 12a, 7i, 7a, 7a, 8i, 5a, 7i 7 c pucung 12u, 6a, 8i, 12a 4 d megatruh 12u, 8i, 8u, 8i, 8o 5 e gambuh 7u, 10u, 12i, 8u, 8o 5 f mijil 10i, 6o, 10e, 10i, 6i, 6u 6 g kinanthi 8u, 8i, 8a, 8i, 8a, 8i 6 h asmaradana 8i, 8a, 8e, 8a, 7a, 8u, 8a 7 i pangkur 8a, 11i, 8u, 7a, 12u, 8a, 8i 7 j sinom 8a, 8i, 8a, 8i, 7i, 8u, 7a, 8i, 12a 9 k dhandanggula 10i, 10a, 8e, 7u, 9i, 7a, 6u, 8a, 12i, 7a 10 in this study, both model 1 and model 2 are tested using four-fold values. the 88 tembang macapat were separated into four-folds, resulting in an equal distribution of 22 songs. we use 22 test data and 66 training data in each fold. as illustrated in table 4, each existing tembang macapat class is denoted by a variable alphabet letter from a to k. table 5 contains the confusion matrix for the original tembang macapat (model 1), with k=4. the table demonstrates that all eleven tembang of each class are accurately categorized. in other words, the characteristics of tembang (table 4) are recognized by model 1. harmonia: journal of arts research and education 22 (1) (2022): 28-3632 table 5. confusion matrix modifikasi model 1 true class classification results a b c d e f g h i j k a 8 0 0 0 0 0 0 0 0 0 0 b 0 8 0 0 0 0 0 0 0 0 0 c 0 0 8 0 0 0 0 0 0 0 0 d 0 0 0 8 0 0 0 0 0 0 0 e 0 0 0 0 8 0 0 0 0 0 0 f 0 0 0 0 0 8 0 0 0 0 0 g 0 0 0 0 0 0 8 0 0 0 0 h 0 0 0 0 0 0 0 8 0 0 0 i 0 0 0 0 0 0 0 0 8 0 0 j 0 0 0 0 0 0 0 0 0 8 0 k 0 0 0 0 0 0 0 0 0 0 8 the confusion matrix from model 2 is presented in table 6. table 6. confusion matrix modifikasi model 2 true class classification results a b c d e f g h i j k a 5 0 3 0 0 0 0 0 0 0 0 b 0 7 0 0 0 0 0 0 1 0 0 c 2 0 6 0 0 0 0 0 0 0 0 d 0 0 2 6 0 0 0 0 0 0 0 e 0 0 0 1 7 0 0 0 0 0 0 f 0 0 0 0 0 8 0 0 0 0 0 g 0 0 0 0 0 0 8 0 0 0 0 h 0 0 0 0 0 1 0 7 0 0 0 i 0 0 0 0 0 0 0 0 8 0 0 j 0 0 0 0 0 0 2 0 0 6 0 k 0 0 0 0 0 0 0 1 1 0 6 according to table 6, eight tembang macapat are associated with the maskumambang (a) class. the naïve bayes technique classified five of the eight songs correctly. while the remaining three were incorrectly labeled as pucung due to the pattern similarity. furthermore, the naïve bayes algorithm can accurately identify seven of eight durma (b) songs. only one durma is miscategorized as pangkur, because of the equal number of gatra. we tested eight pucung (c) tembang and found that two were mislabelled as maskumambang (a). six of eight megatruh (d) is well classified, while the rest is categorized as pucung. the naïve bayes approach accurately classifies seven of eight gambuh (e) songs. an error is confirmed since one song was labeled megatruh (d). on the mijil (f), kinanthi (g), and pangkur (i), the naïve bayes algorithm correctly classifies all instances. seven asmaradana (h) songs were correctly classified, while the last remaining song is labeled as mijil (f). the naive bayes approach successfully classified six songs as sinom (j) class, while two data are categorized as kinanthi (g). finally, eight dhandanggula (k) were categorized as six correct classifications and two incorrect songs. the two mistakes are labeled as asmaradana (h) and pangkur (i), respectively. the classification performances of the two proposed models can be seen in table 7. table 7. classification performance of developed models model accuracy precision recall 1 100% 100% 100% 2 84.09% 86.63% 84.09% based on table 7, model 1 has better results when compared to model 2, which has a difference in the accuracy of 15.91%. model 1 obtained 100% accuracy, precision, and recall. for model 2, the obtained accuracy and recall are 84.09%, with 86.63% precision. the outstanding results show that the proposed model that accommodates the original rule of guru lagu and guru wilangan is much better than model 2. while the tembang follows the rules, it can easily recognize by model 1. model 2 could help predict the tembang created by a novice, who does not have enough understanding of the cultural rules. the proposed models show that naïve bayes can classify the macapat correctly. the models can adopt the cultural rules (guru lagu and guru wilangan) into numeric features as inputs of the classification engine. in other words, the models are ready to use for tembang macapat classification. a promising usage of the developed models is for javanese cultural learning aji prasetya wibawa, et al., modelling naïve bayes for tembang macapat classification 33 and preservation. the tembang macapat is still mentioned as teaching material in the indonesian 2013 curriculum (d.b.p. setiyadi & haryono, 2018). macapat can be used as a vocabulary learning media (wahyudi, 2017). on the other hand, macapat is a suitable medium for early character education (suciptaningsih, widodo, & haryati, 2017). in order to teach the tembang macapat, teachers have enough experience and knowledge about titilaras (scale) and the meaning of tembang (pairin m. basir & marifatulloh, 2018). the teachers’ competence, willingness, and motivation impact the effectiveness of teaching tembang. the developed classification models as the of information and communication technologies (icts) representation could boost the teachers’ performance. teachers are adjusting their digital skills, an ongoing process that must be ongoing and in which knowledge gaps continue to undermine its deployment (sánchez prieto, trujillo torres, gómez garcía, & gómez garcía, 2020). technology can create chances for motivated learners. however, it is unlikely to result in motivation or independent conduct in most students (stockwell & reinders, 2019). in other words, a bond between teachers and students is badly required to fill the gap in technology usage. conclusions this study succeeded in developing a macapat song classification model using naïve bayes. model 1 keeps the original cultural characteristics of tembang macapat, which outperforms model 2, which computationally modified the guru wilangan. for further research, it is recommended to add more data or use other classification methods to compare the performance of developed models. a broader view from text mining and machine translation fields could be beneficial for understanding the textual meaning of macapat. finally, there is no reason for instructors to neglect creativity and innovation in their teaching method, including implementing these classification models. once teachers recognize the importance of tembang as a worthy cultural asset and a medium of education, the javanese culture preservation could be achieved as the growth of ict. references agus, c., saktimulya, s. r., dwiarso, p., widodo, b., rochmiyati, s., & 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(2020). critical analysis of javanese epistemology and its relevance to science development in indonesia. jurnal humaniora, 32(3), 206. https://doi.org/10.22146/jh.49065 133 the impact of tayub exploitation on the tradition and life of javanese society noordiana1, anik juwariyah1, fithriyah inda2 1department of drama, dance and music, faculty of language and art, universitas negeri surabaya, indonesia 2department of english, faculty of language and art, universitas negeri surabaya, indonesia jl. ketintang baru xii no. 34, ketintang, gayungan, surabaya, jawa timur 60231 e-mail: noordiana131@gmail.com received: october 19, 2016. revised: november 12, 2016. accepted: december 11, 2016 abstract this study is aiming at finding out the impact of tayub exploitation on the tradition and life of javanese society. research approach implemented in this study was qualitative. in addition, the research technique employed was interview, observation, documentation, and literary study. results show that the new form of tayub diminishes the structure of feminism, neglects simplicity, gentleness and spontaneity that are supposed to be part of tayub dance. the movement of dance, music, and costume are also changed into a total different form, compared with the genuine version of tayub dance. these major changes do not only bring negative impacts on the dance structure, but also change the society’s mindset and behavior. people living in the countryside part of java have lost their control towards customs’ regulation and a philosophy that used to be held tightly by them. keywords: tayub exploitation; tradition; javanese society how to cite: noordiana., juwariyah, a. & inda, f. (2016). the impact of tayub exploitation on the tradition and life of javanese society. harmonia: journal of arts research and education, 16(2), 133-142. doi:http://dx.doi.org/10.15294/ harmonia.v16i2.7514 harmonia : journal of arts research and education 16 (2) (2016), 133-142 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v16i2.7514 p-issn 2541-1683 e-issn 2541-2426 mism which contains the aspect of myth and magic becomes an essential factor in the tradition of tayub dance. suharto (1999, p. 15) states that during the first days of tayub, the dance is used as a ritual to worship the goddess of farming fertility. performing tayub is believed to have magic power. even, it was believed that the more erotic the dance is, the more blessings and fertility they will get. the myth and tradition attached in the dance packaging has succesfully driven the dance itself to be a legendary folk art that is admired by the society, especially the ones who live in the countryside. tayub has become a certain power introduction tayub as a performing art is a traditional art that has a strong tradition rooted in the life of javanese society, therefore, the forms, procedures, and compositions of tayub dance still tightly hold the custom and culture of javanese society life. pradhana (2013, p. 198) emphasizes that in traditional art value of customs and beliefs have become one aspect that merges and takes part in the life of the involved society. therefore, all behaviour, law, and culture that are developed are not separated from the influence of tradition and myth had by the society. the belief of aniharmonia : journal of arts research and education 16 (2) (2016): 133-142134 had by society and be a part of the breath of the people living in it. therefore, changing made to this folk art brings severe influence of the mentality and culture of the involved society. results of the field study tell that there is modernization in a form of a new system and procedure that has diminished the purity of this art by abolishing the element of tradition, that makes the art tarnished and is slowly leaving by the society (data from the division of art, department of culture yogyakarta, 2008). the modernization which brings new colour into the art has changed the essence of the performance into a more monotonous and boring art. the essence of the performance has changed into more systematic and simple form that makes the dance losing the element of magic and eroticism. losing these elements also let the dance to lose its art and unique sides. as a result, the tayub performance nowadays only aims to entertain and sometimes as political propaganda (juwariah, 2013). the element of art and the essence of dance slowly disappear. in the end, its identity is lost in diplomatic and modernity rules which has been successfully ruined the natural element of tayub performing art. this phenomenon gets more severe by the swift purpose of tayub, as a traditional custom at first into an entertainment medium in the end. even, the intervention of government through regional conduct number 25 in 2000 and number 26 in 2005 regulating the limitation of performing art staging even more ruining the mental and cultural enrichment in the description areas. research conducted in the center of tayub performing art showed concrete data on how modernization that infiltrates the existence of this traditional art has changed the face and essence of this folk art (widyastutieningrum, 2007). these impacts do not stop at the point of structure and physical material of this art, but also has given deep impact towards the culture and mentality of the involved society. tayub as a performing art is one of the art form that is considerably popular in javanese society. the list below is researched and studies which have received much attention from academicians and researchers, namely: the comparison study of langen tayub performing art in several cultural ethnics in east java. this study found that in several research sites, there were different ways of naming the langen tayub performer, the model of costume the dancers worn, as well as the songs sang as the music accompaniment. singing and silences: transformations of power through javanese seduction scenarios. this work discussed about the life of javanese traditional singers (sinden) in the context of social status hierarchy in the local javanese society; how a traditional song singer uses their feminism power to support their patriarchal status in javanese culture. tohari’s trilogy: passages of power and time in java. this study discussed javanese culture from the perspective of history and gender. how modernity and javanese tradition are accumulated in president soeharto’s very long ruling era, as well as how the gender equality role existed in the patriarchal tradition in javanese society. tayub as a folk art in globalization era (a study about the impact of globalisation towards tayub as a performing art in special region of yogyakarta). this study discusses in very detail about the distribution of tayub as a performing art in special region of yogyakarta before and after the globalization. this study also explored the function and the performing form of tayub in the globalization era in special region of yogyakarta. discovering local wisdom in the novel entitled ronggeng dukuh paruk by ahmad tohari. this study analyzed the style of language used by tohari to discover the values of javanese culture’s local wisdom as an identity maker of indonesia. eventhough this study does not discuss tayub in particular, however, the study about rethorical language that is able to exploit, manipulate, and make use of all language potencial can provide a signifinoordiana et al., the impact of tayub exploitation on the tradition and life of javanese ... 135 cant illustration towards the tradition of javanese culture in its relation to the ritual and tradition of tayub performance. repertoire in ronggeng dukuh paruk by ahmad tohari as an aesthetic study of wofgang iser. this study described the relation of facts and fiction that has become a serious discussion in literary study. this study aims at providing an actual illustration on feudal culture and passive mental attitude as well as art politics during the deceased of the new order regime. the function of tayub performing art for people living in dusun ngrajek desa sambirejo kecamatan tanjung anom kabupaten nganjuk. this study discussed the tayub performing art from the perspective of local peoples’ culture. the popularity of waranggana tayub malang through body exploitation. this study examined the position and role of tayub dancers in tayuban tradition in malang as well as the existence of the javanese traditional song singers. the results of the study concerned about how a singer used her body both in the context of performing art and in its relation to the local people. the representation of ronggeng in three different indonesian novel. this work discussed the figure of ronggeng that is represented in three different novels, i.e. ”ronggeng dukuh paruk” by ahmad tohari, ”ronggeng” by dewi lingga sari, and ”karti kledek ngrajek” by s.w. warsito. this study gave an illustration that ronggeng as an artifact of local culture is a reflection of society forming it. the gegraphical condition, tradition, and local custom, also the society’s mindset have a significant role in the performing art tradition of ronggeng. the value of javanese culture in novel entitled ronggeng dukuh paruk by ahmad tohari. this study focused on the value of javanese cultural value in three aspects of problems, they are, how the relationship of human and god illustrates the javanese cultural value, how the relationship between humans illustrates the value of javanese culture, and how the relationship between human and nature illustrates the value of javanese culture. these three aspects are interrelated with the essence of javanese culture which honors nature, belief and relations between people. therefore, the ritual of tayub that is presented with animism belief also gives an actual message on the attachment of this performing art with the javanese culture. method approach implemented in this study was descriptive qualitative since this study result provides careful picture related to certain individual or groups in its relation to the meaning shift of tayub as performing art on tradition and the life of the involved society. research was taken place in yogyakarta, especially in semin district gunung kidul regency. this site became the study focus since it was the source of tayub performing art. tayub in this place is still popular and is often performed on stage. besides, the government’s hegemony in exploiting the performance is considerably high. the main data source of this study was trilogy novel by ahmad tohari entitled “ronggeng dukuh paruk”, “lintang kemukus dini hari”, and “jentera bianglala”. besides, this study also derived the data from tayub artists, public figures, and the board members of tayub organization. the data collection technique in this study were interview, observation, documentation, and literary study. in-depth interview was applied to tayub artists, public figures, and board members of tayub organization. results and discussion exploitation towards tayub as a performing art also gives impact to the life of javanese society. tayub which was initially held for custom with a fix ritual tradition has changed its direction and developed to be simpler in pattern, systematic, and harmonia : journal of arts research and education 16 (2) (2016): 133-142136 very different ritual tradition compared to one existed in the past. at the beginning, tayub as a performing art had purpose as an expression of gratitude to god, i.e. a fertile soil, a satisfying harvest, or at least a symbol and expression of happiness. therefore, the elements of magic and religion are always present in every tayub’s performance. the locations used for tayub performance are also chosen carefully, such as: grave yard, sacred tomb, or other sacred places. …rombongan ronggeng bergerak menuju pekuburan dukuh paruk. kartareja berjalan paling depan membawa pedupaan. srintil di belakangnya. menyusul para penabuh. sakum dituntun oleh seorang penabuh lainnya. di belakang mereka menyusul segenap warga dukuh paruk, dari anak-anak sampai yang tua-tua. sampai di tujuan, kartareja meletakkan pedupaan di ambang pintu cungkup leluhur dukuh paruk. mantera-mantera dibacakan oleh nyai kartareja, ditiupkan ke ubun-ubun srintil. kemudian ronggeng itu dituntun ke depan pintu cungkup. disana srintil menyembah dengan takjim, lalu bangkit dan berjalan ke hadapan lingkaran para penabuh. kelengangan pekuburan dukuh paruk pecah. suara gendang dan calung menggema bersama dalam irama khas. pada saat seperti itu orang-orang dukuh paruk percaya semua roh di pekuburan itu bangkit melihat pertunjukan (ronggeng dukuh paruk, 1992, p. 41-42). tayub performance is not only presented as a dance, but more to have a strong essence of tradition, myth, and belief of ancestors. from the previous citation, it is told how srintil who was a dancer is admired by people from dukuh paruk. she started her first performance in the dukuh paruh cemetery in a fixed ritual and tradition, comprising all the spell which is delivered and insist that is burned before the performance, and not to mention the people accompanying her to the stage who walk in a fixed order. this concept is related closely to the agrarian life of javanese’ countryside society who still hold the belief to the ancestors tightly. farming community tends to have traditional life pattern and mindset. this community emphasis a calm, peace, and happy life. the religion they hold is close with the belief of animism, dynamism, and myth that show the conformity between human and nature (minsarwati, 2002). therefore, javanese villagers are holding tightly all traditions, myths, and beliefs as part of their life. “ia eksis dengan segala sumpah serapah cabul, kepercayaan pada mistik dan takhyul, norma-norma seksual yang longgar serta kemelaratan abadi. terpencil dari segala hiruk-pikuk kota besar, orang-orang dukuh paruk adalah manusia-manusia lugu yang percaya pada pengaturan alam. percaya pada karma. percaya bahwa segala sesuatu di dunia ini berpasang-pasangan, berkebalikan. kesenangan berpasangan dengan kesedihan. terang dengan gelap. malam dengan siang” (ronggeng dukuh paruk, 1992, p. 107). citation taken from novel entitled “ronggeng dukuh paruk” by ahmad tohari above clearly illustrates situation of rural life that reflects the thinking pattern of rural javanese society or the villagers. the villagers believe in mystical belief, natural rule, and karma. in addition to this it the traditional javanese society believes in the spirit of ancestor, offering, worship, and other mystical religious elements. the same as this is the tayub. it is also packaged with this kind of traditional belief, that tayub performance has to follow the fixed rules and tradition, and that violating it means harm. it is shown in the following citation. waktu itu kita disebut sebagai kelompok seniman rakyat. padahal kita tidak pernah mengumumkan nama apa pun. kemudian ada satu kejadian, aku dilarang membakar kemenyan dan memasang sesaji. … “itulah. yang jelas hal semacam ini baru sekarang kita alami. sejak dulu ronggeng ya ronggeng. tidak harus pakai nama atau papan nama. dunoordiana et al., the impact of tayub exploitation on the tradition and life of javanese ... 137 of ritual in the performance of tayub can be felt by sakarya, the grandfather of srintil. therefore, he does not agree to change. sakarya is worried about bad things that will happen if the tayub performance is not held based on the fixed ritual rules and procedures. for traditional javanese society, belief to the ancestors must be kept tight. violating the rules means to create bad things and reduce windfall or fame. from the interview 1, it was understood that mbah gunem (a tayub dancer from the 1960s) also followed several rituals or fixed rules from her ancestor. there were certain rules and rituals that must be done for the tayub performance to run well. even, a field study mentions that in the more remote rural are around semin district, several rituals are still followed to make sure that the tayub performance runs well. exploitation done to the tayub art certainly brings impact to the life of rural javanese society, not only from the perspective of dance but also from the local people’s thought. exploitation done to the tayub dance has inferred modernity and made the dance becoming simpler, more entertaining and amusing. as a result, this art has changed into a shallow performance, and given more orientation to the pleasure, then slowly leaves the tradition formed by the ancestors. soekanto (1994, p. 332) states that modernization is able to shift the interrelated value and culture within the society. social change is interrelated to the culture shift; when a social change takes place, then a cultural change will be there too, and vice versa. thus, the emerging of modernization has given new colour on tayub dance and certainly has given an impact to the local people’ sociocultural value. “meski dalam wawasan yang sederhana srintil merasa pentas ronggeng dalam rapat-rapat itu sekedar pelengkap. memang meriah, tetapi lain. gempita tetapi kering makna. apalagi dengan lirik tembang yang sudah banyak diubah. penonton selalu dalam keberingasan yang tidak bisa dimengerti dan karenanya kuh paruk sejak dulu ya dukuh paruk. tanpa gambar partai di mulut jalan itu pun pedukuhan kita ini bernama dukuh paruk. nah, kartareja. bagaimana ini?” kartareja diam. “dan ini,” sambung sakarya. “bagaimana kalau kita selalu dilarang memasang sesaji! ini pelanggaran adat yang bukan main. kartareja, aku amat takut menerima akibatnya.” (lintang kemukus dini hari, 1988, p. 151) javanese society is very obedient with the ancestor tradition. it is shown from the citation that the villagers believe that a disaster will happen if the rules are violated. therefore, sakarya and kertaraja as the respected elders of dukuh paruh feels worry when many rules and procedures in performing tayub are violated. perasaan kakek srintil itu lebih dirisaukan oleh peristiwa-peristiwa kecil namun baginya penuh makna. kemarin, seekor burung tlimukan terbang secepat angin menerobos pintu rumahnya yang terbuka, membentur keras cermin lemari kacanya. burung itu runtuh ke lantai dan mati seketika. dari paruhnya yang mungil merah menetes darah. entah mengapa sakarya sangat terkesan oleh pemandangan itu; seekor burung yang molek dengan bulu hijau mengkilap dan paruh seperti cabai masak, mati di hadapannya dengan gelimang darah. sehari sebelumnya kamitua dukuh paruk itu menyaksikan seekor ayam hutan hinggap di pohon angsana di samping rumahnya. sakarya selalu membaca sasmita alam. sakarya tidak pernah berpikir bahwa suatu perkara sekecil apa pun bisa berdiri sendiri, lepas dari kehendak semesta. dan semuanya pastilah mengemban makna yang sasmita. sepanjang menyangkut binatang asing yang mendekat, apalagi sampai masuk ke rumah, siapa pun di dukuh paruk akan membacanya sebagai pertanda (lintang kemukus dini hari, 1988, p. 165). an ancient belief teaches javanese society to read the signs. all events and incidents happened in this world are signs. several incidents happened after the change harmonia : journal of arts research and education 16 (2) (2016): 133-142138 srintil kadang merasa ngeri. bahkan sakum yang buta dua belah mata ikut mewarnai perubahan yang dirasakan srintil. penabuh calung itu kehilangan dirinya; kekocakan spontan yang selalu tepat ketika ronggeng menggoyang pinggulnya. sakum, dengan kepekaan dan kehalusan perasaannya mampu menangkap keringnya pentas ronggeng yang digelar bersama rapat-rapat propaganda itu” (lintang kemukus dini hari, 1988, p. 154). in the citation, it can be seen that there are some elements of modernization that gets into the tayub performance. lyrics of the songs as the music accompaniment are changed, the sound of gendang and calung is also changed. the nuance of the performance has lost its “sense” and changed into festivity. the tayub performance only acts as the complement and is not existed as the main element of a ritual. the tayub performing art in this modern era has become only a compliment in a certain occasion. its independent and dominant existence as the main element of a custom ceremony and local art has shifted into an entertaining dance as a part of national art. therefore, tayub as the main element of rural javanese society performing art has shifted into an entertainment that only completes the rural society that has changed into a more modern and dynamic living. the concept of “nrimo ing pandum” has slowly disappeared form the life of rural javanese society. modernization makes everything worth a pay and respected with money. doing something sincerely has slowly disappeared from the natural character of rural javanese society. this identity is replaced with egocentric and materialism. javanese philosophy that is based on the ancestor’s taught only act as a complement and past history. boleh jadi hanya sakarya yang tidak sepenuhnya larut dalam kegembiraan. sikapnya yang hati-hati berasal dari filsafatnya yang sederhana. bagiya segala sesuatu berpasang-pasangan adanya, tak terkecuali sesuatu yang bernama kegembiraan. pasangannya pastilah kesusahan. sepanjang lintasan hidupnya yang panjang sakarya sering menemukan kenyataan bahwa segala sesuatu tak pernah berpisah jauh dari pasangannya. orang selalu memilih pihak yang menguntungkan dan menjauhi pihak yang merugikan. antara keduanya harus tetap terjaga jarak. dan dalam pikiran sakarya menjaga jarak itu berarti harus selalu bersikap hati-hati, eling. kadang juga diartikannya sebagai keseimbangan dan tidak berlebih-lebihan(lintang kemukus dini hari, 1988, p. 89) it is told in the above citation that even if the elders (represented by sakarya) still hold the javanese tradition tightly, however, most of the society has been affected by modernization and has forgotten the precious ancestor’s teachings. it has left the javanese philosophy and followed the world’s modernization. “dan ronggeng dukuh paruk itu,” ujarnya dengan tekanan kata yang istimewa, “mereka adalah seniman-seniman rakyat! rakyat yang perkasa, rakyat yang demikian tangguh, schingga mereka masih tetap menyanyi dan menari meskipun telah berabad-abad hidup tertindas. sebentar lagi srintil dan kawan-kawannya akan tampil di pentas ini. tetapi jangan salah. apa pun yang disajikannya tidak bisa lain daripada sebuah makna tuntutan kebebasan! bebas dari penindasan kaum imperialis, kapitalis, dan kolonialis bersama antek-antek mereka. sekali lagi, bebas!”(lintang kemukus dini hari, 1988, p. 99) in the above citation, we can see that the society living in dukuh paruk has changed into a “stronger” society and their art, that is tayub, has changed into a free and independent performance from any chains that previously tied them. this change has created tayub dance into a smarter and more systemic type of dance, but losing its virginity, spontaneity, and flexibility. tayub dancers are presented in a more equal position with the man who is dancing them has actually noordiana et al., the impact of tayub exploitation on the tradition and life of javanese ... 139 shown the existence of gender equality that erasing the meaning of woman from a javanese patriarchy perspective that tends to be more inferior. kemben, tayub’s costume in its genuine version, has been changed into various models of kebaya. jarik worn by the dancers are made wider, that will ease the dancers to move. the performance of the dance itself does not need to be held for a whole night, does not need to have certain ceremonial purposes, but more of a short time performance that aims to only entertain the audiences. this is caused by modernization that has changed rural javanese society into a more modern human being who are more established, and finally caused the traditional cultures to be slowly disappear. the era of industry and modernization has also changed the rural javanese society to be more economical. the irrigation system is built to maximize harvest. factories are built throughout the countryside to maximize the economy acceleration. therefore, it considers normal to understand the reason behind the shift of tradition in performing tayub. this art does not emphasize its existence to be a ritual dance, but more to be an entertaining show. even though in some areas, tayub is still used to hold a custom ritual ceremony, however, the procedures in having the dance are more flexible if it is compared with earlier era when this performing art was first shown. tayub as a performing art cannot be separated from the life of javanese society, especially one who lives in rural or countryside area. this art has become one special part of society’s life and will keep developing in line with the developing era. tayub was first used as an intercommunication dance to celebrate a village’s thanksgiving ceremony or other village rituals. however, during its development, tayub is changed into an entertaining dance to amuse the society living in that particular area. the novel entitled ronggeng dukuh paruk by akhmad tohari illustrates significantly the life of tayub in javanese rural village. how the initial condition of a village which was poor become the main reason of the emerging of tayub dance is described in detail in the first paragraph of this novel. “sepasang burung bangau melayang meniti angin berputar-putar tinggi di langit.tanpa sekali pun mengepak sayap, mereka mengapung berjam-jam lamanya.suaranya melengking seperti keluhan panjang.air.kedua unggas itu telah melayang beratus-ratus kilometer mencari genangan air.telah lama mereka merindukan amparan lumpur tempat mereka mencari mangsa; katak, ikan, udang atau serangga air lainnya.namun kemarau belum usai.ribuan hektar sawah yang mengelilingi dukuh paruk telah tujuh bulan kerontang.sepasang burung bangau itu takkan menemukan genangan air meski hanya selebar telapak kaki. sawah berubah menjadi padang kering berwarna kelabu. segala jenis rumput, mati.yang menjadi bercakbercak hijau di sana-sini adalah kerokot, sajian alam bagi berbagai jenis belalang dan jangkrik.tumbuhan jenis kaktus ini justru hanya muncul di sawah sewaktu kemarau berjaya” (ronggeng dukuh paruk, 1992, p. 1). the illustration of poverty living is picturized clearly in the above citation. desa dukuh paruk that is dry with no water to farm and harvest should become the clear picture of a poverty living. even, it is illustrated in the story that there is not even a drop of water can be seen in hectares of rice field had by the village of dukuh paruk. the representation of literary work in capturing a real life does not only describe the concrete reality, but also explore the emotional and mental perspectives that sometimes do not seem real in the real world. as argued by hogart (1960, p. 150) that literary works present a portrait of social life in a comprehensive way. through literary works, a social life can be illustrated as a whole. literature is able to represent the way of human attitude and behavior in social life (bonald, 1840). further, swingewood explains that sociology should be a tool to explore a literary work, presenting harmonia : journal of arts research and education 16 (2) (2016): 133-142140 what is implicated and what is about to explain. poverty in tayub performing art’s area is not only related to its geographical factor but also to the local belief and myth. kemelaratan di sana terpelihara secara lestari karena kebodohan dan kemalasan penghuninya. mereka hanya puas menjadi buruh tani. atau berladang singkong kecil-kecilan. bila ada sedikit panen, minuman keras memasuki setiap pintu rumah. suara calung dan tembang ronggeng menina-bobokkan dukuh paruk. maka benar kata sakarya, bagi orang dukuh paruk kehidupan tanpa calung dan ronggeng terasa hambar. calung dan ronggeng pula yang memberi kesempatan mereka bertayub dan minum ciu sepuas-puasnya (ronggeng dukuh paruk, 1992, p. 86). from the citation, we know that poverty in the village where tayub is developed is actually caused by the stupidity and laziness of people living in it. for them, soil fertility and harvest can only be received by offerings, ritual, and tayub performance. there is no people working hard to fertile their soil or do some attempts to improve their crop yields. people living in this village believe that their ancestor will help and provide them with harvest. it is seen from the following citation. …membiarkan dukuh paruk tetap cabul, kere, dan dungu adalah bertentangan dengan misi utama kemanusiaan itu sendiri. mengajak dukuh paruk menyelaraskan diri dengan selera ilahi adalah mengajak orang-orang di sana membersihkan diri dari koreng, dari ciu, dari omong cabul, dan dari kesewenangan berahi. dan yang terpenting, memperkenalkan kepada mereka siapakah penguasa sejati kepada siapa mereka harus bertata karma sebaik-baiknya. mereka harus bisa membaca huruf dan membaca alam. mereka harus bisa menggunakan pikir selain rasa. dan mereka harus percaya bahwa kemelaratan sama sekali tidak bisa menjadi nilai kebanggaan (jantera bianglala, 1992, p. 86). from this citation, we can see that villagers still held strong belief towards ancestral tradition. a challenging geographical condition actually can be improved through a better irrigation system. however, stupidity and mystical spiritual values have covered this possibility. in the context of tayub performance, on the other hand, the imperishable javanese mystical spiritual values have given positive impacts. javanese philosophy which emphasizes feeling, has made tayub to have high and strong art senses on togetherness that become the root of life of villagers. therefore, the shift in this formation can bring negative impact to the natural essence of tayub performance. based on the interview done to the villagers, head of department of culture, and tayub’s artists, information can be collected regarding to tayub which is contained with custom and myth that still develops strongly in the life of society. even, in this modern era, the attitude of being obedient to the ancestors is still strong among elders. nevertheless, modernization has surely given dramatic change towards the development of this performance. this exploitation also affects in the thinking pattern and values of customs that are melted and be a part of society’s life. the javanese philosophy “slow but sure” is considered inappropriate to the fast movement in modernization era. therefore, all things are graded in an instant and superficial way, and are analyzed in a shallow way. tayub performing art is not seen from its dance philosophical essence anymore, but more to the appearance of its attractive output. tayub performance is created as interesting as possible for promotion purposes. “saweran”, or giving money to the dancers while dancing, or “lempar sampur’, holding cloth to some guys to make them do the dance with the dancers, that used to be the characteristic of tayub is also currently only used as complement without any essence of understanding the real meaning of tayub. the changing made to the tayub performance that is done through various exploitation can not be hindered. besinoordiana et al., the impact of tayub exploitation on the tradition and life of javanese ... 141 des the changing on society’s condition, the village environment condition where tayub is performed also experiences change. the village which had less water is now dissapeared. modernization gives easiness in terms of transportation, irigation system, and education. eventhough the village hasnot been totally free from poverty, that can be seen from the local people’s housing and their occupation, however the life of the local people has been better. tayub dance performance which became a main occupation and a helper for the society has turned into a usual dance performance. numbers of young people who had been studied and received proper education has finally developed this type of performing art into a fresher and worthwatching performance. in this modern era, young generation learns tayub through dance learning in dance school. the spontaneous essence of tayub in presenting the talent of a dancer now has been replaced with dance learning based on an ordered and managed procedures and formation, so that talent as it is described in novel entitled ronggeng dukuh paruh in this modern era has been slowly dissapeared. di pedukuhan itu ada kepercayaan kuat, seorang ronggeng sejati bukan hasil pengajaran.bagaimanapun diajari, seorang perawan tak bisa menjadi ronggeng kecuali roh indang telah merasuk tubuhnya.indang adalah semacam wangsit yang dimuliakan di dunia peronggengan (ronggeng dukuh paruk, 1992, p. 8). tayub art was initially impossible to be danced by all people. only certain individuals are able to perform tayub. these people are given with “indang”, special spiritual ability, to perform tayub. this condition has been changed in this modern era. tayub performing art is able to be danced by all dancers without needing to obey the custom’s rules. tayub in modern era is more directed to an entertainment performance that gives more emphasis on the outside appearance and show-time effectivity. even though in several regions, tayub is still performed for traditional ceremonies and rituals, however the philosophical structure of art has shifted from its initial pattern. modernization has significantly impacted the tayub performance, since the modernization in this type of art does not only exploit the dance structure but also give impact to the shift of society’s value and culture. bahrein (1977, p. 55) states that the occupation system, the belief system, and the society system are able to shift because modernization that has existed in a nation. the fixed rules of tradition, myth, and belief are slowly disappeared in this modern era. tayub performance turns into a more dynamic, effective, and efficient dance. it is clearly picturized the life of javanese rural society which has become faster, individual, and free from the local tradition. in tayub rinenggo performance in taman budaya yogyakarta, a significant change can be seen from the persperctive of dance movement and music accompaniment. tayub rinenggo in taman budaya yogyakarta shows more creative and energic dance movements. from the perspective of music accompaniment, it is more dynamic. in one session of interview with the choreographer of tayub rinenggo, it was explained that the dance movement performed in tayub rinenggo has been modified so that it is able to merge with the dance movements. he was inspired by banyuwangi gamelan which is sounded dynamic (august, 2016). the making of dance, that is packed for vacation purposes, indeed needs creativity that may trigger the audiences’ interest to watch and enjoy, as has been delivered by patmawati (2006) that: dance as a performance is a dance performed for the purpose to give aesthetic experience to the audience. the dance is performed so that it can be appreciated as an artwork and really entertain the audience. because of that, dance as an art performance needs more serious observation as an artwork than just a mere entertainment. harmonia : journal of arts research and education 16 (2) (2016): 133-142142 creative work in art indeed needs creative hands of the artists who always pay attention to the aesthetic beauty. good techniques can be cultivated from local genius as well as other aspects, as explained by yanuartuti (2016), art is a product of any art performances that contain aesthetic characteristics. art was born out of a deep feeling of its creator. since the beginning, art was born from the hands of creative artists through a spiritual process and a profound thought. in the middle of ongoing era development, a modern creative touch technique was needed. touch technique and creative process of traditional performance can produce creative art products containing local wisdom that can be enjoyed by the modern people. the creative process done by one of interviewee, the head of dance school and choreographer of tayub rinenggo dance, is a creative process that attempts to answer the challenges of time for the tradition to be able to be enjoyed by modern people. conclusion exploitation done in tayub performing art is indeed brings impact to the life of javanese rural society, not only from the dance perspective, but also to the mindset of the local people. exploitation of tayub performance which attaches modernization, has made this dance becoming simpler, more entertaining, and pleasant. at the same time, it has also changed the mindset of local people become shallower and pleasure-oriented, while slowly leave the tradition that has been built by their ancestors. this exploitation also gives impact to the mindset and custom values that melt and be a part of the society’s life. the philosophical javanese concept of alon-alon asal kelakon, or slowly but sure is considered improper to the fast movement of modernization. references bahrein. (1997). sosiologi pedesaan (suatu pengantar). jakarta: raja grafindo persada. hogart, r. (1975). contemporary cultural studies: an approach to the study of literature and society. in malcolm bradbury and david palmer (ed.) contemporary criticsm. london: edward arnold. pradhana., e. k. a. (2013). fungsi seni tayub dalam masyarakat di dusun ngrajek desa sambirejo kecamatan tanjung anom kabupaten nganjuk. media antrounair, 2(1). minsarwati, w. (2002). mitos merapi dan kearifan ekologi. yogyakarta: kreasi wacana. pratamawati, e. w. s. d. (2016). malang mask puppet presentation structure arrangement of the story rabine panji as cultural tourism commodity in malang regency east java. harmonia: journal of arts research and education, 16(1), 66-74. soekanto, s. (1994). sosiologi suatu pengantar. jakarta: raja grafindo persada. suharto, b. (1999). langen tayub, pertunjukan dan ritus kesuburan. bandung: masyarakat seni pertunjukan indonesia (mspi). tohari, a. (1988). lintang kemukus dini hari. jakarta: pt. gramedia. tohari, a. (1992). jentera bianglala. jakarta: pt. gramedia pustaka utama. tohari, a. (1992). ronggeng dukuh paruk. jakarta: pt. gramedia pustaka utama. widyastutieningrum, s. r. (2007). tayub di blora jawa tengah pertunjukan ritual kerakyatan. surakarta: pasca sarjana isi surakarta dan isi press surakarta. yanuartuti, s. (2016). building creative art product in jombang regency by conserving mask puppet. harmonia: journal of arts research and education, 16(1), 30-37. 79 kidungan jula-juli in east java: media of criticism and propaganda (from the japanese occupation era to the reform order in indonesia) aris setiawan institut seni indonesia surakarta, indonesia submitted: 2020-11-12. revised: 2021-02-17. accepted: 2021-04-26 abstract this research aims to determine the historical construction of criticism and propaganda formed in kidungan jula-juli performance in each era. kidungan is a song in the gending jula-juli in east java. the musical text presented in the song seems to be open (blak-blakan [openness]), assertive, and emotionally becomes the power of criticism. historical issues concerning the function of kidungan jula-juli are interesting enough to be known, thus encouraging this study to get a basic and detailed understanding of the historical stages of the role of kidungan jula-juli from the japanese era to the reformation era. this study using a historical approach and emphasizes the problem of music function. the analysis was carried out by looking at the ideas, concepts, and cultural references that accompanied the performance of kidungan jula-juli. the results of this study indicate the dynamics of the function of criticism and propaganda in kidungan jula-juli. during the japanese occupation era, kidungan jula-juli was very sharp in its role as an instrument of the independence movement; from 1950 to 1965, kidungan jula-juli was used by political parties to strengthen political support and propaganda. in the new order era, kidungan lost the function of criticism. the state controlled it for the sake of propaganda and the legitimacy of power. kidungan jula-juli is more open and present on a stage with other performing arts in the era of the reform order. keywords: kidungan jula-juli, music function, music criticism, propaganda, east java how to cite: setiawan, a. (2021). kidungan jula-juli in east java: media of criticism and propaganda (from the japanese occupation era to the reform order in indonesia). harmonia: journal of arts research and education, 21(1), 79-90 harmonia: journal of arts research and education 21 (1) (2021), 79-90 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i1.27116 out uses vowels. the first impression when hearing the kidungan is a musical text that is “straightforward,” “open,” even impressed “rude.” kidungan is sung out loud and distinctive; people outside of east java often refer to “rough,” yet the vocal melodies are complicated to display and record in transcription (sutton, 1985). this fact raises the assumption that east java people have rough stereotypes like the musical impression attached to kidungan jula-juli. history records the kidungan is a means of criticism introduction kidungan is identical to the pantun (poem or parikan) with the accompaniment of slendro-tuned gamelan (setiawan, 2021). remo dancers usually perform kidungan as a distraction in the dance, which is generally called nggandhang (singing) and often performed by comedians in ludruk’s performances. the word of kidung epistemologically can be interpreted as a song, therefore in practice and the way it is carried corresponding author: e-mail: segelas.kopi.manis@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 21 (1) (2021): 79-9080 and propaganda in the japanese colonial era. until now, the function is still maintained by responding to social issues that arise amid community life (samidi, 2019). the musical response in kidungan jula-juli performance raises the question, how is the history of kidungan jula-juli from the japanese occupation to the current era (reformation)? does the function remain the same as music criticism? what is the form of kidungan jula-juli in each era? apart from the many studies of music in this field, i see that there are still not many studies that produce findings regarding historical construction to find out the function and form of kidungan jula-juli from the japanese era to the current period. ikwan setiawan’s research discusses the transformation of ludruk from the soekarno era to reform using the cultural studies approach. the results of the analysis carried out there are three findings. first, in the soekarno era, there was a ludruk group who joined the people’s cultural institute (lembaga kebudayaan rakyat or lekra). they brought provocative stories about poor people and criticized islamic beliefs. second, after the 1965 tragedy, the military controlled all of ludruk’s performances, including the stories that were told. in this era, the themes that were staged supported the development of the new order regime. third, in the age of reform, ludruk’s groups brought ideas on contemporary social issues. ikwan setiawan, in his paper, provided information about the function of ludruk’s performance as a propaganda media and did not give information on criticism in kidungan julajuli, even though in ludruk there is a kidungan presentation (setiawan and others, 2014). ikwan setiawan’s research does not explicitly provide an analysis of the text of kidungan jula-juli in each era. therefore, this research seeks to complement studies in that context. tomy michael wrote an article discussing “law enforcement through ‘ludruk’ and cultural progress.” the study’s contribution is to provide information on how music is used as a means of combating corruption. this means that the assimilation between music and the legal (law) paradigm has resulted in a program to tackle corruption (michael, 2018). the discussion conducted by tomy is still very limited to the legal paradigm. it has not provided a full explanation of the historical construction issues of kidungan jula-juli journey as a music of criticism and propaganda more broadly. the article titled “jula-juli pandalungan and surabayan cultural expressions of javanese-madurese and javanese cities” is a study i conducted in 2012. the goal is to reveal the relationship that was built between jula-juli pandalungan and surabaya as a musical fact with the dimensions of the experience of the culprit as a cultural fact (setiawan, suyanto, and other, 2017. the study provides information on how jula-juli contributes to the formation of social and cultural identity but does not offer an analysis in the area of the historical construction issues of kidungan jula-juli from time to time. music criticism from the perspective of ludruk’s performance in hefner’s article adds information about how ludruk’s performance appears as a social forum and values control. however, studies conducted by hefner have not yet profoundly touched on the construction of criticism and propaganda. hefner explored how ludruk’s performances shaped social and political forums and negotiated questions of control, power, authority, and local identity. hefner also offers methods for dealing with sources of conflict and tension in their society (hefner, 1994). the study conducted by james l. peacock provided information that in the era of 1945, the ludruk drama was a legendary drama performance that had elements of traditional javanese and madurese culture and had a modern nationalist-communistindonesian theme, and was very popular in surabaya. the stories featured include stories of the indonesian revolution, with many nationalist and anti-dutch sentiments (peacock, 1967b). field research by peacock made an essential contribution to this study, especially information relating aris setiawan, kidungan jula-juli in east java: media of criticism and propaganda (from 81 to ludruk’s function in criticism. however, peacock’s analysis did not provide complete information about the textualmusical jula-juli. the articles above, have not explicitly provided information on historical construction in the development of kidungan jula-juli, so this study is essential to complete the previous research. interest in this topic is based on the argumentation that each era has its cultural context and political dynamics. kidungan jula-juli will undoubtedly adapt to each of these eras so that the representation of the content of the performance becomes very meaningful to be known in each period. kidungan julajuli’s contents lie in the parikan, and the parikan is the main component of the kidungan and is present as the leading force in describing the ideas of criticism and propaganda so that parikan analysis in each era will be revealed here. the parikan content was delivered using spoken language, and i feel this is quite interesting because it gives an influence on the flexibility of the message content, which impacts the ease of receiving meaning. kidungan also quickly adopts a variety of topics as a parikan theme, usually involving political, cultural, social, economic issues that can be poured into the strains of the kid in the form of praise, criticism, or satire (samidi, 2019). even in the performance, kidungan juli-juli often becomes a decoration of different and unique words. the problem is how the parade of kidungan jula-juli appears in each era. the historical construction of criticism and propaganda built in the performance of the jula-juli chant can be known, and this issue is to be answered in this study. the novelty side of this research is to explain the traces of kidungan jula-july’s development in the realities of political life in indonesia chronologically. this has never been done because existing studies always link kidungan with the development of ludruk performances. through this research can clearly understand the close relationship between social (political) facts and musical facts. music (kidungan jula-juli) is thus not merely a sound but an “archive” that records various problems and human dynamics. method this study uses a historical approach to find out more in detail the phenomena that occur in the kidungan of gending jula-juli course. the historical method is used to see the periodization, then to find out more details about the phenomenon of the text in the lyrics of the jula-juli music, discourse analysis approach is used. discourse analysis views language or text as not merely a means of communication but the way humans see and translate the world (johnstone, 2018), including the suffering or pain of life they experience. art, especially music, then changes the language or words to be sung. therefore, seeing the language or words in the lyrics is not enough just to be translated verbally or as it is, but is bound by the aesthetic structure of music that frames it (langer, 1953). although it contains criticism and propaganda as in the kidungan of jula-juli, the language in music can also provide an objective understanding of the conditions or political situation in his day. the data that has been obtained, especially the lyrics or the text of the kidungan jula-juli, are classified according to their period. this allows the researcher to find out in more detail the political upheaval that occurred at the time the kidungan was sung. besides, the text or lyrics of the kidungan are tested for truth by showing them to the selected source, namely kartolo (maestro, singer of kidungan jula-juli). thus, the kidungan data presented in this paper has gone through a rigorous testing procedure in classification, coding, analysis, and finally, explanation. results and discussion parikan in kidungan jula-juli parikan has been known in various traditional javanese performances such as jathilan, angguk, langendriyan, shadow puppets, ludruk, kentrung and others. the harmonia: journal of arts research and education 21 (1) (2021): 79-9082 term parikan is taken from the javanese, pari, which means pantun (poem), so that parikan is a collection of various kinds of pantun. parikan contains the elements of making rhymes, which consist of sampiran and isi (content). in javanese, sampiran is ancang-ancang (will do something) or a question, while the isi is the essence of the parikan which can be called the main element or answer. sampiran and isi together form a rhythmic structure, so that in the parikan, the vowel sounds at the end of the sentence must be the same between sampiran and isi. the sampiran and isi of the parikan must be balanced, rhythmic, and full of high vitality. the sampiran ends with the pedhotan alit (short breath), and the contents end with the pedhotan ageng (long breath). when the sampiran is spoken, the expression is still in a coma and will stop at the point when entering isi. sampiran contains messages that are challenging, tickling, will foster ingenious and enchanting isi. sampiran and isi relationships are equal; nothing is more dominant or essential. both are complementary, forming an aesthetic (endraswara, 2005). in kidungan jula-juli, parikan diction is straightforward to accept. the use of the vocabulary is called gatra purwaka, which represents the moral values of the community. all of his words hold the pragmatic power that is useful for those who convey it (wijayanti, 2018). in the kidungan jula-juli the use of a parikan is a must, even parikan is one of the most important factors of the kidungan component. parikan generally uses subtle language, full of courtesy, adi luhung (krama, alus, inggil), while parikan in kidungan jula-juli uses everyday speech. the language functioned as a language of conversation or the everyday language of communication for the people of east java, commonly referred to as ngoko javanese. because it uses the vocabulary of daily communication, the nature of the parikan in kidungan jula-juli is very flexible, making the owner community understand the meaning and meaning of the message easily. this reality shows if the characteristic of kidungan is accommodating. there is no binding standard in creating kidungan texts, and this is different, for example, with the poem-parikan-pantun in the javanese style of surakarta or yogyakarta. usually, the language in the form of surakarta or yogyakarta style has particular rules governing such as subtle, classical, elite, etc. for javanese people, this is called “pakem” (standard). in the singing of kidungan julajuli, any language and to any degree, can be used so that it often seems harsh (hatley, 1971). therefore, the tendency that arises, kidungan jula-juli can be sung by anyone with high flexibility without having to fear violating the standard. in figure 1 is the notation (main tone) gending jula-juli. figure 1. notation (balungan gending) of gending jula-juli the created parikan depends very much on the interpretation of the pengidung (singer). a pengidung is demanded to be creative and has a high sensitivity to various phenomena that occur in society. as revealed by sidik wibisono (a pengidung), as follows. that is art. a ludruk performer who wants to hold a parikan performance should analyze the circumstance of society. before i have a performance, i used to sit or walk around the audience. i ask the steering committee to tell me some famous persons who attend the show. after that, i do a little check on them, one by one, to see their parlances, how they sit, or other gestures. then in my parikan, those essential people’s names will be mentioned. i find that this trick is always successful in dragging the attention because, mostly, audiences recognize those kinds of famous people. and when people start to laugh and give applause, i do enjoy and feel grateful for it. ( setyorakhmadi, 2007). because the kidungan is accommodating and flexible, historically, it cannot avoid the function of criticism and social aris setiawan, kidungan jula-juli in east java: media of criticism and propaganda (from 83 control. the music function of kidungan became a song of east javanese style, a medium of resistance, and struggled during the revolution and served to give moral instructions (day and others, 1996). according to mccullagh (2004), historical identification has several functions to identify trends in each periodization. therefore, i will divide several stages of the history of the kidungan as a medium of criticism and propaganda, namely the japanese occupation era, the 1965 era (communist party), the new order era, and the last is the reformation era. each of these stages has a detailed description and will be explained as follows. japanese occupation era (1942) before the japanese occupied indonesia, the dutch were present as invaders. during the dutch colonial era, jula-juli (especially in ludruk’s performances) was used as a medium for anti-dutch opposition and propaganda and gave rise to nationalist ideas (hatley, 1971). this made ludruk unable to live well in the dutch era. but when japan entered, traditional arts began to get a chance to exist again. the attention of the japanese army to the arts cannot be separated from the propaganda efforts they carry out as well. in particular, japan established an independent department called “sendenbu,” which was responsible for propaganda and information on civil administration. various media are used to carry out this mission, such as pamphlets, posters, photos, books, traditional art shows, and films. the most promoted media are film, traditional performing arts, and music. they considered the media to be the most effective way of influencing rural uneducated and illiterate people, who were a large part of the javanese population. japan knows that written media such as newspapers, books, magazines, and pamphlets, are very ineffective and only have a limited effect, mainly only on city dwellers, but are of no use to rural communities (kurasawa, 1987). japanese propaganda strategy policy also influences the life of traditional arts, so this is an opportunity for traditional arts to rise and come back to life, especially ludruk. the rise of ludruk opened possibilities for resistance against japanese domination. through kidungan julajuli, they carried out a rebellion. the main character is cak gandha durasim, one of ludruk organisatie’s leaders, but in that decade, it was more famous as ludruk durasim (peacock, 1967a and zuhriyyah, 2018). jombang was the first place durasim lived, and then he moved to surabaya. ludruk organisatie is a new style ludruk group that performs in comedy shows. the emergence of ludruk organisatie was due to the development of many comedian groups in the dutch east indies (zuhriyyah, 2018). ludruk organisatie was the only ludruk who performed the first performance in surabaya. peacock revealed the form of ludruk organisatie created by tjak gondo durasim in the 1930s. durasim was previously a comedian in the arts of besut. besut is an art that is older than ludruk. the figure of durasim, seen in figure 2, is the main character who prepared the ludruk troupe to perform in a city theater in surabaya (peacock, 1969). figure 2. cak durasim durasim can package ludruk in a series of gending jula-juli. he used kidungan to satirize the japanese invaders at the time. for every performance performed, durasim mostly played a role as a comedian in kidungan jula-juli performance. durasim’s existence in the world of ludruk and his harmonia: journal of arts research and education 21 (1) (2021): 79-9084 ability as a pengidung in surabaya attracted the attention of one of the figures of the indonesian national movement at the time, namely dr. soetomo. the reason was the ability of durasim, who was smart, to bring kidungan jula-juli, which contained criticism of the japanese invaders. even in soeloeh ra’jat indonesia, july 19, 1931 dr. soetomo gave a view if durasim was worthy of joining a movement organization called pbi (persatoean bangsa indonesia -indonesian national unity-) because every song that was delivered contained a kind of nationalism (zuhriyyah, 2018). one of durasim’s kidungan used as a media of criticism of the japanese occupation and is seen as a form of nationalism can be seen in table 1. table 1. the text of kidungan jula-juli as a criticism for japan kidungan lyrics english translation pagupon omahe dara melok nippon tambah sengsara pagupon is a dove cage. nippon (japanese) only bring disaster tuku klepon dhuk stasiun melok nippon gak oleh pensiun bought klepon (cake) at the station nippon wouldn’t let you have any benefits on pension the kidungan sung by durasim criticized japan at the time, resulting in many ludruk artists following durasim’s way so that every time there was a ludruk performance, the artists always used the jula-juli song as a media of criticism. because it is famous as a media for criticism, many ludruk groups, including ludruk organisatie, are overseen by the japanese. as a result of the kidungan increasingly popular as a song of criticism, finally, ludruk organisatie did not get a stage permit; durasim was arrested and imprisoned by the japanese. according to supriyanto, cak durasim was captured by japan while performing in the village of mojorejo jombang, imprisoned, and died in august 1944. to commemorate durasim, the east java provincial government used the name durasim as the name of the east java cultural park, known as the cak durasim surabaya theater (supriyanto, 2004). the communist party era (1950-1965) propaganda using performance art is a topic that is often discussed in the history of the performing arts and politics in the world. likewise, in indonesia, during the soekarno (president) regime, the state made great efforts to include radical political content in theater performances, especially ketoprak and ludruk (gunawardana, 1971). the ideological penetration through the performing arts made political dynamics in 1965 so dynamic that it had considerable influence on the performance of the kidungan jula-juli. in the 1950s to 1960s, the dominance of political parties such as the indonesian communist party (pki) and the indonesian national party (pni) was quite significant because it was the party with the most supporters, and this had a considerable influence on the development of kidungan jula-juli. in 1953, the lekradi branch was formed by a local ludruk group called post (the association of tjermee theater organizations association of tjermee theater organizations) under the pki in cerme (northwest of surabaya). lekra’s development in the area is getting better, and ludruk is growing (miller 2015). the use of art as the capital of pki’s ideological penetration aims to attract people to its meetings. there has been a lot of literature describing how pki utilizes popular forms of javanese culture, such as shadow puppets, folk theater, ketoprak, and also ludruk, in realizing its interests (anna-greta nilsson hoadley, 2005). this shows that traditional arts, including ludruk, were able to become a mobilizer in conveying the vision and mission of the indonesian communist party (pki). there were two very famous ludruk at that time, namely ludruk marhaen under the pki and ludruk tresno enggal, who were under military guidance (andri setiawan, 2019). in 1945 ludruk marhaen was born and affiliated with the drama aris setiawan, kidungan jula-juli in east java: media of criticism and propaganda (from 85 pesindo (pemuda sosialis indonesia -indonesian socialist youth-), and in 1950 changed its name to pemuda rakyat (peacock, 1969). although it does not directly have official relations with the pki or pemuda rakyat, many of its actors are actively involved in lekra. in 1961, ludruk tresno enggal was actively engaged with the military. ludruk tresno enggal received indoctrination from military officers who emphasized themes against imperialism and colonialism and appeared more often in military camps (andri setiawan, 2019). figure 3. ludruk marhaen performed at the state palace, april 11, 1958 (national library of indonesia) (andri setiawan, 2019.). the fact that ludruk was affiliated with a political party shows that ludruk, through kidungan jula-juli was the most influential political propaganda tool at the time. this method is done because ludruk provides a place for kidungan jula-juli to convey the message symbolically by mocking, testing, and manifesting criticism in ways that are not available through other means (hefner, 1994). the growing popularity of ludruk has encouraged people to try to create new ludruk groups. the aim is to seek profits in the form of money from the two most influential political parties (pki and pni) so that there are several pengidung and performers from ludruk who are not from the general artist group. as a result, many new ludruk-ludruk appear like ludruk anorga in malang, ludruk urill a in malang, ludruk tresno enggal in surabaya, ludruk kartika in kediri (hatley, 1971). a large number of ludruk groups in east java that became the driving force for political party propaganda made the ludruk group split into two big groups. the ludruk group supports the indonesian communist party (pki), and the ludruk group supports the indonesian nationalist party (pni). according to kartolo (personal communication), it is not uncommon for the two groups to meet at an adjacent stage when conflicts arise. the two groups attacked each other on the stage using the text of kidungan jula-juli; this can be seen in table 2. table 2. kidungan jula-juli of the two different ludruk groups affiliates. (kartolo, personal communication) kidungan jula-juli under pki kidungan lyrics translated in english budal tandur, muleh njaluk mangan godonge sawi, dibungkus dadi siji ayo dulur, podho bebarengan nyoblos partai, partai pki went for farming, went home for lunch mustard leaves, wrapped in a packing comrades, together let us vote for pki kidungan jula-juli under pni jumat legi nyang pasar genteng tuku apel nang wonokromo merah putih kepala banteng genderane dr. soetomo friday legi (javanese calendar) went to genteng market bought apples in wonokromo red and white is the bull’s head it’s the flag of dr. soetomo the political situation at that time was uncertain, and the pressure on the pki grew. eventually, the election positioned the pki as a losing party. communist ideas began to be put aside systematically; demonstrations against the pki were everywhere. the impact caused, there were many political unrests between the pros and cons of communist ideology (wieringa and katjasungkana, 2018). the climax is the occurrence of a separatist movement on 30 september (g 30 s pki). the move had an impact on the existence of kidungan jula-juli, which previously shelter at the ludruk show. the kidungan who initially supported the indonesian communist harmonia: journal of arts research and education 21 (1) (2021): 79-9086 party (pki) did not dare to appear more openly. this is indicated by a large number of disappearances (abductions) of ludruk artists who joined lekra, whose whereabouts are still unclear. kidungan singer in the ludruk show, turned to support the indonesian national party (pni) by voicing the party’s aspirations and ideology. on the other hand, some kidungan were blasphemous about communist ideas. unfortunately, until now, i have not gotten data that states what the kidungan was like during the upheaval of the pki’s rejection. some resource persons can only summarize the impression and description of the atmosphere of the time inherited from their predecessors without being accompanied by examples of more constructive chants. i realize that the detailed picture that has not been generated from several sources may also be due to the “fear syndrome.” fear of being called part of communism. therefore it is very natural that in this context, i cannot provide a more comprehensive picture of kidungan given these reasons. new order era after the political upheaval of 1965, the kidungan jula-juli became a new form of communal kidungan. kidungan is not only present and is limited to the ludruk art form, but is used in every art event in east java, such as tandakan (tayuban: central java), bersih desa (clean village), wedding party, and so on. the nature of the kidungan is flexible, with everyday language, resulting in a very efficient way to play by anyone, anywhere and at any event. until finally, the kidungan spread to other areas in east java, and each region has its characteristics and styles, such as the singa jula-juli style jombangan, surabayan, malangan, and so forth. these styles have their techniques, character, and characteristics (setiawan et al., 2017). during the new order period, kidungan jula-juli was also used as political propaganda to spread the ideology and legitimacy of the soeharto (president) government. one of the kidungan jula-juli groups whose theme shows the support of the new order government is kartolo cs, whose poster is seen in figure 4. figure 4. poster of the kartolo group. (kartolo, 2006) many of the themes of kidungan are sung by kartolo group that supports national development as an effort by the government to realize the five-year development goals (pelita). in the new order era, all the kidungan jula-juli groups lost the function of criticism in the context of political life. the performance was limited to entertainment and jokes with themes about mocking friends, relatives, or close neighbors. the cessation of criticism of the new order government through the kidungan jula-juli was entirely fearful of all the artists of the accusations of pki supporters. as for the new order era, the theme of the kidungan can be seen in table 3. almost every ludruk group in east java uses the theme of development as a form of support for government programs as above. besides, the kidungan also participated in supporting other government program regulations, such as support for agricultural applications, health (prevention of dengue fever socialization, immunization), and so forth. in the new order era, kidungan was used for propaganda and the legitimacy of state programs. reformation era the economic crisis that struck indonesia in 1998 disrupted the political stability of the new order. in 1998 the state and situation of the government began aris setiawan, kidungan jula-juli in east java: media of criticism and propaganda (from 87 table 3. the kidungan theme of the new order (cassette: “kidungan jula-juli lanjar maibu” 1993) kidungan lyrics english translation ngucap muji syukur karo rancangane pemerintah kita pembangun lima tahun was ketok nyata desa seng tertinggal sak iki wes gak ana mulane kita ayo turut ngembangna. kita muji syukur atas programe, pemerintah kita bantuan impres desa tertinggal iku wes nyata kanggo ndandani ekonomine rakyat seng uripe sengsara. ayo mendukung programe pemerintah memajukan pembangunan nulung nasipe dulur-dulur seng ketinggalan be grateful for our government programs five years plan has been crystallized there are no more backward villages that is why we have to support it be grateful for the programs of our government backward village imprest fund has been realized in order to lift people’s economic development who live in impoverished let us support the government to promote the development to help our comrades who need aliment table 4. kidungan jula-juli of reformation era z (cassette entitled “pergelaran ludruk karya budaya mojokerto dengan lakon joko sambang” was taken in mojokerto, east java, 1998) kidungan lyrics english translation aku nek eleng krisis ekonomi, rasane wedi tur yo ngeri seng ndukur jare rebutan kursi, wong cilik polahe setengah mati opo maneh nek mikir sandangan, nek diangen-angen iso gak kolu mangan seng bener gak klamben gak clonoan, bendino sempakan koyok tarsan bingung nek mikir regane sembako, nang omah bendino dipaido bojo nek direwangi iso gak wawoh, seng bener kuwatno iman supaya gak berbuat bodho regane kopi ndadak tambah edap-edapi, tapi kabeh maeng cara seng dadi kopine sak gegem jagunge sak panci, bareng diombe sengake setengah mati kabeh masyarakat dijaluk melok berdoa, lewat agama lan kepercayaan yang ada ojok masa bodho lan mek bertepuk dada, supaya ekomoni indonesia pulih kaya semula if i remembered about the economic crisis i felt so scared and terrible politicians fought for parliamentary seats while grassroots trembled for their title moreover, if i thought about clothing my appetite could just be gone the right move was not using anything wore only underpants like tarzan i got confused every time i think about food prices while every day my wife got angry if i fought back it will be more worthless the right thing to do was affirming our faith so that we won’t do any stupidity the price of coffee is even higher but all are ready-made packages one handful of coffee mixed with a lot of corn when taken it is not delicious at all society was asked to pray through their own belief don’t just be indifferent, anyway it was all for the relief to become unstable, causing resistance. based on the economic crisis and the dissatisfaction with suharto’s re-election as president, demonstrations took place everywhere, causing riots in various cities, such as jakarta, solo, surabaya, and so on. because of the increasingly uncertain political situation, artists have the opportunity to restore the function of the kidungan julajuli as a medium of criticism. lyric-themed harmonia: journal of arts research and education 21 (1) (2021): 79-9088 kidungan criticism began to appear like complaints about the impact of the economic crisis. prices of food needs soared, people’s purchasing power declined, and food needs were difficult to fulfill, and the text of the kid can be seen in table 4. post-1998, kidungan artists have the freedom to display kidungan without fear of getting persecution from the government as before (the new order era before 1998). complaints-themed kidungan arose because of the government’s inability to save the economy at that time. the singer of the song kidungan jula-juli who often throws criticism in this era is cak sukis, seen in figure 5. figure 5. cak sukis, the singer of the song kidungan jula-juliafter reformation era after the reformation order, the kidungan artists became bolder and more open (blunt) in expressing the theme of criticism. this happened until now. kidungan, as a media criticism, always arises when there are problems with government policies that do not favor the people. like the lapindo mudflow tragedy in porong sidoarjo (mudflow disaster). this event can be packaged in kidungan jula-juli as a source of criticism, and the lyrics of kidungan jula-juli by taking the lapindo mud theme can be seen in table 5. until now, the reformation era, the function of the jula-juli kidungan as a media of criticism, persists. the topic and theme of the kidungan always follow the dynamics of cultural development and indonesia’s social politics dynamics. this is a reason behind the kidungan that still survive in east java. conclusion in the era of japanese occupation, durasim was a significant figure in the world of ludruk, dr. soetomo regarded durasim as an essential figure in the representative nationalism of traditional artists, because of durasim’s ability to pack a kidungan in criticizing japanese invaders. the era of 1950 to 1965 was the dynamics of the struggle for ludruk artists between the indonesian communist party table 5. kidungan jula-juli as criticism of the lapindo mud event kidungan lyrics english translation urutan kabencana seng onok jawa timur wilayah sidoarjo seng paling dhuwur daerah porong klebu tanah seng subur sak ini hancur total kenek semburan lumpur akibate saka lumpur lapindo uripe wong porong wes kari separo ora penjabate para generasine mulene sak iki akeh seng semangate loyo tapi pemerintah tetep menei janji seng dadi korban jare oleh ganti rugi cuma pemerintah tanda tangan lan janji-janji sumpah palsu belaka ora dilunasi the order of disaster in east java sidoarjo is the highest area porong is a fertile area now, mudflow has destroyed all over the area what is the cause of lapindo mudflow? people of porong only got a half-life not just the officials but also its line therefore, many people’s spirit is loose now but the government never stops in giving promise it says that victims will get indemnity unfortunately, it was all just promise false promise for not expend the indemnity aris setiawan, kidungan jula-juli in east java: media of criticism and propaganda (from 89 (pki) and the indonesian nationalist party (pni). some of ludruk’s artists who joined lekra were no longer known, so there was a change of support process, resulting in a stronger ludruk group supporting pni. in the new order era, kidungan lost the function of criticism and was controlled by the state for the sake of propaganda and the legitimacy of power. post-1998 or the era of the reform era, kidungan artists have their freedom to return to kidungan. they are no longer worried about getting persecution from the government as before in the new order era before 1998. in this era, the julajuli song was developing very well and could appear everywhere and even collaborate with other traditional arts. kidungan has developed into an aesthetic expression and a representation of the upheaval of the artist’s soul and its supporting community. references anna-greta nilsson hoadley. hoadley, a. g. n. (2005). indonesian literature vs new order orthodoxy: the aftermath of 1965-1966 (vol. 101). nias press. day, t. (1996, january). performances of east javanese wayang and the possibility of’internal otherness’ in contemporary java. in about performance (no. 2, pp. 101-108). endraswara, s. (2005). tradisi lisan jawa: warisan abadi budaya leluhur. narasi. gunawardana, a. j. (1971). theatre in asia: an introduction. the drama review: tdr, 15(2), 47–62. hatley, b. (1971). wayang and ludruk: polarities in java. the drama review: tdr, 15(2), 88. hefner, c. j. (1994). ludruk folk theatre of east java: toward a theory of symbolic action. university of hawaii. johnstone, b. (2018). discourse analysis (third). blackwell publishers. kardono, s. (2007). cak sidik empu ludruk surabaya. jawa pos. kartolo. (2006). jula-juli kartoloan. kaset kidungan jula-juli lanjar maibu. (1993). kurasawa, a. (1987). propaganda media on java under the japanese 19421945. indonesia, 44(44), 59. langer, s. k. k. 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(2019). ludruk marhaen di kiri panggung. historia. https:// historia.id/kultur/articles/ludrukmarhaen-di-kiri-panggung-pyqx5/ page/1 setiawan, a. (2021). the concept of the pathet and avoided tones in jawatimuran karawitan. music scholarship/problemy muzykal’noj nauki, 1(1), 111-124. setiawan, a., suyanto, s., & others. (2017). jula-juli pandalungan dan surabayan ekspresi budaya jawa-madura dan jawa kota. resital: jurnal seni pertunjukan, 18(1), 1–12. setiawan, i., & others. (2014). transformation of ludruk performances: from political involvement and state hegemony to creative survival strategy. jurnal humaniora, 26(2), 187–202. harmonia: journal of arts research and education 21 (1) (2021): 79-9090 supriyanto, h. (2004). kidungan ludruk. pemerintah provinsi jawa timur bekerjasama dengan widya wacana nusantara. sutton, r. a. (1985). musical pluralism in java: three local traditions. ethnomusicology, 29(1), 56-85. wieringa, s. e., & katjasungkana, n. (2018). propaganda and the genocide in indonesia: imagined evil. routledge. wijayanti, k. d. (2018). the pragmatic force of “parikan.” international seminar on recent language, literature, and local cultural studies (basa 2018). zuhriyyah, m. (2018). kelompok ludruk cak durasim (ludruk organisatie) di surabaya tahun 1933-1945. kaganga: jurnal pendidikan sejarah dan riset sosial-humaniora, 1(2), 93– 106. documentation cassette the cassette entitled “jula-juli lanjar maibu.” (1993). the cassette entitled “pergelaran ludruk karya budaya mojokerto dengan lakon joko sambang” was taken in mojokerto, east java, (1998). the cassette entitled “basman mantu” kartolo documentation (2006) the cassette entitled “dokumentasi praktik kerja lapangan jurusan etnomusikologi isi surakartadi surabaya-mojokerto” 2007. 77 the roles of the dance education institute and the ngayogyakarta hadiningrat palace in the inheritance process of yogyakarta classical dance style muhammad fazli taib bin saearani sultan idris education university (upsi) malaysia e-mail: fazli @fmsp.upsi.edu.my received: april 22, 2015. revised: may 5, 2015. accepted: june 13, 2015 abstract this study aims to examine the roles of the ngayogyakarta palace, formal educational institutions, and non-formal educational institutions in the inheritance of the classical court dance of yogyakarta or tari klasik gaya yogyakarta (tkgy). the method employed was a qualitative method through interviews and observations with a number of informants from dance institutions in yogyakarta. based on the interviews, a number of independent and collaborative roles among the three types of institutions under study can be identified. these roles were then placed in a theoretical framework related to the inheritance of the classical court dance of yogyakarta (tkgy) that justifies the reasons why it can be well-inherited in the special region of yogyakarta. based on this effort, it was found that each institution took a place in the attempt to support the inheritance layers (core, practical, philosophical, and developmental) causing the absence of problems in the existence of the classical court dance of yogyakarta in the special region of yogyakarta. these findings then can be used as the best practice for the inheritance efforts for classical dances in other places in the indonesian archipelago. keywords: inheritance of classical dances; the classical court dance of yogyakarta; sanggar (dance studios); the ngayogyakarta hadiningrat palace how to cite: saearani, m. f. t. (2015). the roles of the dance education institute and the ngayogyakarta hadiningrat palace in the inheritance process of yogyakarta classical dance style. harmonia: journal of arts research and education, 15(1), 77-87. doi:http://dx.doi.org/10.15294/harmonia.v15i1.3761 harmonia : journal of arts research and education 15 (1) (2015), 77-87 available online at http://journal.unnes.ac.id/nju/index.p7/harmonia doi: 10.15294/harmonia.v15i1.3761 p-issn 1411-5115 e-issn 2355-3820 tari klasik gaya yogyakarta (tkgy) or the classical court dance of yogyakarta is one of the classical dance genre that is still able to survive until today. tkgy resilience against the trend of convergent global cultures raises the question on the mechanisms that the special region of yogyakarta uses to provide the situation that is conducive to the development of this classical dance. the actors involved can definitely be instantly recognizable. the actors such as the ngayogyakarta palace, sanggar (dance studios), and formal and non-formal educational institutions play introduction classical dances are aesthetic treasure that serves as an important identity of a culture from which they originate. it is not surprising if this art gains a good place in the hearts of the society. however, this art can be dimmed due to economic, political and social-cultural pressures as well as the attention of the authorities. therefore, cross-generational inheritance efforts involving multiple parties, especially those with the competence and authority that go along with the efforts are necessary. harmonia : journal of arts research and education 15 (1) (2015): 77-8778 a role that cannot be separated from this development. nevertheles, the mechanism and the roles have never been investigated in detail. this study tries to uncover how these actors become agents of inheritance of tkgy in the special region of yogyakarta. in turn, this study can be a source of ideas in further development of tkgy in the attempts to maintain traditional aesthetic values of the javanese society in the special region of yogyakarta. art inheritance art is one of the main elements of culture. according to arnold hauser (1985:557), the elitism of art is one of the main factors that encourage art inheritance. it is possible since the cultural elites have a tendency to be conservative and art is one of the conservatism expressions. this conservative attitude then creates art that is considered having high values, i.e. art with strict rules and that does not give a compromise. this inheritance system, however, has to deal with the changing times and the changing trends in humans’ creativity and as a consequence, although these restrictions will still be maintained, compromises will still occur on the restrictions that are seen as something not fundamental. an artwork cannot only be viewed from the perspective of the creators, but also from the perspective of the consumers. from the perspective of the consumers, an artwork can be seen as a phenomenon or semiotics (preston-dunlop and sanchezcoldberg, 2012:104). as a phenomenon, artwork is an aesthetic object that offers the beauty that it contains. one simply needs to perceive and gain the pleasure from what she/he perceives from an artwork. artwork as a phenomenon concerns more with the emotional values of humans. as semiotics, artwork serve as a forum that conveys signs. these signs are symbolized in various aspects of the artwork and can inspire humans to interpret them. when this happens, the cognitive aspect of the audience will be more possible to touch making them perform an analysis related to the meanings that the artwork conveys. in line with these two aspects, it is clear that artwork can form layers related to aspects of its inheritance. the structure of a piece of artwork consists of four layers: the core, practices, philosophy, and the outer layer. the core layer is the innermost layer and serves as the identity of the artwork. it characterizes the genre and without this core, a piece of artwork cannot be classified into a particular genre. a restriction created by the elite to keep the heritability of a piece of artwork is the essence of the artwork. the second layer is the practical aspect of the artwork. it is in this aspect that a piece of artwork serves as a phenomenon. it emerges as a visibility and can be completely sensed by the humans. the third layer is the philosophical layer that drives the process of analysing among art lovers. this layer is responsible to bring the art as a semiotic. philosophy can be derived from a standard value standardized from the intention of the art creator or the socio-cultural background of the artwork. the outermost layer is the outer layer which is the faceto-face point between the artwork and the context that it presents. a piece of artwork that is passed down will travel through a dimension of space and time that is different from the moment it is produced. the adaptability of the artwork in this layer is tested through its ability to survive. because of its nature, in this layer, pieces of artwork will undergo modifications depending on their respective time. this layer is a layer without any limitations since its vastness will depend on the dynamics of human life as an art connoisseur and creator. social institutions an institution refers to acting patterns that spread and are widely accepted by the society. in a cultural context, there are two types of institutions, i.e. ancient institutions and second-order institutions (kanellopoulos, 2012:74). the society itself is an example of ancient institutions while the way the society articulates and implemuhammad fazli taib bin saearani, the roles of the dance education institute ... 79 ments its own self is a example of secondorder institutions. this second-order institutions can take a transhistorical form like languages or a specific form such as administrative areas or production and consumption of art. the most stringent form of pranata is institutions. in this study, there are three types of institutions being investigated, namely the palace, formal institutions, and non-formal institutions (sanggar). the classical court dance of yogyakarta (joged mataram) tkgy is a dance genre first developed amidst the ngayogyakarta hadiningrat palace. tkgy is distinguished from modern dance with an emphasis on candour, grace, mystique, or the spirit of militancy reflected in its movements. as an elite dance, tkgy is governed by the principles that go in line with the royal manner called kawruh joged mataram. some tkgys are created by a creator called empu and these creators present those tkgys to the sultan. the creator of some other tkgys are unknown and these tkgys have no longer had a copyright (novrisal, 2009:167). tkgy can be classified by gender, complexity, or theme. based on the gender, it can be classified into male dance, female dance and mixed dance. according to the complexity, it can be divided into single dance, paired dance, and group dance. mix dance tends to be more complex because it also involves minimally two dancers from each gender. even so, we can also see single-gender dance performed in high complexity suchas bedhaya performed by nine princesses, with their respective name and symbolism (r.m. soedarsono, 1997:144-145), and the dance drama of wayang wong that once was performed by a number of men in a colossal manner. based on the theme, tkgy can be divided into pantheon-themed dance (the story of gods), history-themed dance, and daily life-themed dance. the etnochoreology perspective the etnochoreology approach was employed to examine the essentials of the study on the art of dance and the cultural core associated with multidisciplinary data collection. the term “etnochoreology” more popularly known with a term “choreology” has been introduced by gertrude prokosh in 1960s as follows. “choreology recognizes the cultural setting of dance, including the cultural position of individuals and the sexes, and pattern of social organization and economic activity. it can identify local styles and styles spread over larger areas, further, choreologists can design comparative studies to solves problems of prehistory, orthogenesis, diffusion, and internal and acculturation changes”. therefore, the idea etnochoreologi which the first term choreology is a way to get to know the cultural settings of dance including the cultural position among the individuals, gender, patterns of social organizations, and economic activities. it can identify the local style and the style that spread in other areas. the choreologists can devise a pattern of comparative studies to solve the problems related to prehistory, orthogenesis (origin), diffusion (spread), internal changes and acculturation for recording activities on dance. dance education in a formal and non-formal manner the inheritance method, the researcher employed the following midway model of the art of dance in education. the distinctive features this model are important in dance experience in all sectors – primary, secondary and tertiary education. these are: (a) the there process of creating, performing and appreciating; (b) emphasis on dances; (c) the education that these lead to – artistic, aesthetic and cultural. the midway model proposed by smith-autard is illustrated in the following table 1. the model has been developed by jacqueline smith in connection with the harmonia : journal of arts research and education 15 (1) (2015): 77-8780 applications for education in the art of dance. the scope of the model can be seen in the development of the art of the classical court dance of yogyakarta to describe the educational process in the teaching and learning aspects of the art of dance through formal and non-formal dance educational institutions. the method of inheritance will also discuss how the classical court dance of yogyakarta as the primary sector composes the artistic, aesthetic, and cultural part which plays an important role towards the educational development in the field of the art of dance. method this study employed several data collection methods such as observation, semi-structured interviews and qualitative data analysis. the informants in the interviews consisted of nine people including informants from formal and non-formal dance educational institutions. informants from formal dance educational institutions consisted of two lecturers and one principal, i.e. a lecturer from the dance education department, faculty of performing arts, indonesian institute of art (isi), yogyakarta and a lecturer from the dance education department, faculty of languages and arts, state university of yogyakarta (uny), as well as the principal of a state vocational school smk negeri 1 kasihan, bantul. informants from non-formal educational institutions consisted of heads of a number of dance studios, namely the yayasan pamulangan beksa sasminta mardawa (ypbsm), yayasan among beksa student foundation (ysab), paguyuban suryo kencana art, irama tjitra, retno aji mataram, and wiraga apuletan. in addition, observations were also made in the student activity unit of swagayugama, gadjah mada university, and the mirota dance community. findings and discussion the roles of the ngayogyakarta hadiningrat palace morphologically, the word “keraton” or palace is derived from the root word “ratu” or queen that constitutes the word “keratuan” (suyami, 2008:11). it is interesting to see that this term is a feminine term of a leader. its masculine pair is “kerajaan” or kingdom. later, this term of “kerajaan” or kingdom is attributed to the name of a larger area that includes the entire region ruled by a leader, while the word “kraton” or palace becomes the name of the region where the ruler resides. kraton is sacred and well-preserved, just like appropriate perception of women based on the javanese culture. therefore, we can see that in the javanese culture, there is a genderbased division of space. kraton yogyakarta or the palace of yogyakarta is based in bangsal kencana (kencana ward) and the front part of this ward (tratag) is an area that one of which serves as a dance floor (rm soedarsono, 1997:456). similarly, all the residences of the nobility, at least from the level of wedono, have a pendapa (hall), and this hall functions as a dance floor. construction of the hall is made as a floor covered with a canopy roof that connects to the main part table 1 . midway model proposed by smith-autard (source: smith-autard, 1994) education midway professional process process + product product creativity creativity + knowledge knowledge imagnation imagnation + individuality individuality feeling feeling + capability capability subjectivity subjectivity + objectivity objectivity principle principle + technique technique open method open method + closed method closed method three bases muhammad fazli taib bin saearani, the roles of the dance education institute ... 81 sultans, even sultan buwana i was a figure who love to practice dancing, as revealed by babab prayud (the chronicle of prayud). some tkgy has a status as a heritage dance (tari pusaka). wayang wong, beksan trunajaya, serimpi, and bedhaya are four dances that can be traced to the period of sultan hamengku buwana i. beksan trunajaya, for an example, has always been performed in the marriage of the sons and the daughters of the sultans in the palace since the reign of sultan hamengku buwana i to sultan hamengku buwana viii (hadi, 2001:67). in its development, wayang wong and bedhaya semang move into a different direction. wayang wong becomes a dance that continues to be exhibited and serves as the pride of the palace, at least since the reign of sultan hamengku buwana v to viii. in the later periods, wayang wong has decreased due to changes in the aesthetic tastes of the society and the political structure of the palace (rm soedarsono, 2000:4). on the other hand, bedhaya semang dance becomes a sacred secret and hidden dance (rm soedarsono, 1997:31). during the ruling of sultan hamengku buwana v (1823-1855), an organization that trains male royal dancers to learn bedhaya semang dance that is a female dance had been established (rm soedarsono, 1997:35). in addition, sultan hamengku buwana v develops a dance with a theme of endogamy marriage amidst the palace that lead to a new theme in the development of tkgy that was initially inspired by war and beauty. in the era of sultan hamengku buwana vi (1855-1877), the sultan allowed the development of tkgy outside the palace as long as the dance is not developed as exactly the same as that of the palace and does not have the same high position as tkgy performed in the palace. this effort is exemplified by joged jengkeng performed with a squat position, which is not performed in the palace. joged jengkeng develops into several types such as langen driyan (fun dance), langen asmarasupi (romance dance), and langen wiraga.. meanwhile, the development in the palace was facilitated by sultan hamengku buof the house and is supported by a large number of poles. such construction allows tkgy experiences realer elitism symbolism, where the main ruler (sultan or homeowner) resides in the front part and can see directly the whole performances. this is different from the situation that the the audience who stands either on the left and right has. in today modern times, the ngayogyakarta kingdom is not found any longer, but the ngayogyakarta palace still exists. this can be interpreted as narrowing the regions even sublimation of regions, where the ngayogyakarta kingdom has fused together with the indonesian territory forming a unitary region characterized by a unity leader (a governor that also serves as a sultan) of yogyakarta. this fusion move the position of the palace as a center of government into a center of cultural development with the spirit of the democracy “throne for the people”. it is this peak position that serves as an important point to put the role of the ngayogyakarta hadiningrat palace in the attempts of tkgy inheritance. this is then reflected in the palace’s visions to preserve and uplift culture based on the qur’an and al hadith with the aims of transforming itself into a world cultural center with the values of hamengku (protective and fair), hamangku (generous and keeping the promise), and hamengkoni (responsible for the actions and decisions taken) as the bases, which in turn encourage the spirit of patriotism for the socio-cultural welfare of the society and the nation (kraton ngayogyakarta hadiningrat, 2002:250). in the palace of yogyakarta, the governing sultan has a title of ngarsadalem sampeyandalem hingkang sinuwun kanjeng sultan hamengku buwono, senapati hing ngalaga ngabdurahman sayidin panatagama kalifatullah hingkang jumeneng kaping i, ii, ii, (depending on the government of the sultan). at present, the ruling sultan is sultan hamengku buwana x. tkgy as one of the cultures originated from the palace has the same long history as the age of the palace itself. the harmonia : journal of arts research and education 15 (1) (2015): 77-8782 wana viii who tried to improve the welfare of the royal dancers while at the same time improving the quality of the dancers through preparation and practices. after this period, a period of hiatuses emerges. during this era, tkgy in the palace was not developed very well due to the political situation during the world war. this period of hiatuses then ended in 1973 when sultan hamengku buwana ix reactivated dance activities in the palace through the organization of kawedanan hageng punakawan kridhamardawa. nevertheles, this activity returned to fade and the role of the palace in tkgy direct inheritance had been much reduced (hartley, 22008:16). the palace remained playing an indirect role by serving as the initiator of the establishment of non-formal institutions, providing the management or the teachers, serving as the trustee and providing facilities as well as prestige for the students. it was in 2013 that the inheritance activity finally was carried out directly in the palace through the dance studio of sanggar tari kraton pamulangan hamung bekso wasiso. in addition, the performance activities were conducted every sunday morning at the sri manganti hall of the yogyakarta palace, with formal institutions and non-formal institutionstaking turns presenting the performance that was managed by the tepas pariwisata kraton ngayogyakarta in contrast to the conditions in the palace, tkgy developed outside the palace experiences a revival. in 1918, two princes of sultan hamengku buwana vii, namely prince suryodiningrat and prince tejakusuma, founded the organization of krida beksa wirama (rm soedarsono, 2000:48-49). after the independence of the republic of indonesia, babadan among beksa and siswa among beksa developed into organizations that promote tkgy among the society. babadan among beksa got increasingly dimmed while siswa among beksa developed into an official institution in 1978. the innovation given was that students did not have to be courtiers to be a tkgy dancer. they just needed to follow the rules of the royal etiquette. integration of the yogyakarta palace with the unitary state of the indonesian republic (nkri) provides a distinct advantage. many of the descendants of the palace has an important position in the local government. those positions are then used to encourage the development of culture, including tkgy. in 1962, the local government established pusat olah tari or pot (a center for dances) which supplies dancers for state ceremonies, especially to welcome state guests. meanwhile, the local government through the regional office of culture (dinas kebudayaan) also continues to encourage the reconstruction of classical dances. in addition to the members of the royal family, another important role is also played by abdi dalem or the courtiers. the courtiers serve as a bridge between the palace and the society. they still work in the palace to improve dignity, to be an example, to build friendship and kinship, to feel honored, and to preserve ancestral customs and culture (huriyah, 2012). in the past, these courtiers played a role in the inheritance of tkgy based on sendiko given by sultan. at present, they act proactively through the submission of proposals to sultan. the roles of formal educational institutions in accordance with the educational system of the nkri, formal education plays a role in the inheritance of tkgy starting from secondary-school-age students. it is represented by smkn 1 kasihan. the role of smkn 1 kasihan is apparent from the large proportion of dance courses compared to other programs in this vocational school. also, the students who study in this school do not only come from yogyakarta but also from other centers for dance development in indonesia such as padang, surakarta and jakarta, as well as from abroad. a number of subjects introduced allow tkgy to be inherited. they cover body work, choreography, and the dances themself. formal institutions at the college lemuhammad fazli taib bin saearani, the roles of the dance education institute ... 83 vel have a special department for the art of dance. the state university of yogyakarta (uny) is a special formal institution with an orientation to educate students to become tkgy teachers. these characteristics make the teaching is done using the method of left-handed dancing, in which the lecturers demonstrate the movement by facing towards the students. this method differs from the traditional teaching method of tkgy where the students watch the back of the lecturers demosntrating the movement. another formal institution, namely the indonesian institute of arts (isi) is a formal institution with more orientations towards art compared to uny. the dance department in this institution is a transformation of asti yogyakarta that was built in 1963. many of the lecturers here are a courtier. the inheritance is also carried out by the students, especially those not departing from the art of dance study program. this is done to maintain their interest in dance in college environments. the student activity unit of swagayugama is one form of formal institutions that seeks to pass tkgy in the university level. this student activity unit has a special schedule of training for the student dancers. the roles of non-formal educational institutions non-formal institutions performing tkgy inheritance in yogyakarta generally consist of dance studios called sanggar. most of these studios has a strong association with the palace, either because their founders are the members of the royal family or courtiers, or because these sanggar are established in the palace environment. sanggar paguyuban kesenian suryo kencana, for an example, was founded in ndalem suryowijayan by g.b.p.h. soeryobrongto and r.m. ywanjono soeryobrongto. in these dance studios, dance education is done in bulk with only a few teachers. the teaching method applied in this condition is the matrix method where the students take turns occupying the front position where the teacher. in contrast to formal institutions that teach male dance to female dancers and vice versa, non-formal institutions are generally more specific by teaching dance to dancers considering their respective gender. a non-formal institution that is quite different is wiraga apuletan that does not restrict the students based on a particular character or gender. this step increases the retention of the students because there is a greater variation in the types of dance that can be learned by an enthusiastic student. similar to formal institutions, the level of a dancer depends on his/her complexity mastery. therefore, the group dance is the highest level of dance taught in these institutions. these teaching efforts are then go in line with the achievement of these dance studios. a number of dance studios have managed to bring tkgy to the international stage. the students come from the early childhood to the general public. this is what distinguishes the range of students educated in non-formal institutions from those formal institutions that are restricted by age. every student that goes to non-formal institutions is placed in the corresponding age group. lower age groups (early childhood and children) generally more frequently learn common dances while higher age groups (adolescents and adults) have been more specific on tkgy. in a large studio, in these age groups, there is a level that classifies the students based on the complexity dances taught. as a form of inheritance, non-formal institutions document their dance in an audio-visual form to be sold to the market. this recording serves not only to provide general knowledge, but also to provide a teaching resource for art teachers or lecturers. some of those non-formal institutions sell it freely, while the others sell it in a limited number. in the audio-visual dissemination efforts, the roles of media and sellers that provide publication become important. one of the sellers that provide publication with a major role is mirota batik. this is a famous batik shop. although the orientation is more on the commercial aspect, this harmonia : journal of arts research and education 15 (1) (2015): 77-8784 store also has a stage that performs tkgy every saturday night. non-formal institutions, in tkgy inheritance attempts, do not only make educational and publicity efforts. just like formal institutions, in a certain period of time they also conduct discussions and education related to art to the general public. if dance studios simply attempt in terms of inheritance, then the identity of these dance studios will not emerge to the surface. for this reason, almost every studio tries to bring their own characteristics. these characteristics mainly derive from the efforts of modifications either in the forms of costumes, new styles of dance, theatres, or new stories. these modification efforts are also made by formal institutions. in fact, in formal institutions, creation efforts are made by both the students and the lecturers while in non-formal institutions, creation efforts are made only by the teachers and the leaders. relationships among the palace, formal institutions, and non-formal institutions in the inheritance of the classical court dance of yogyakarta based on the above explanation, it can be concluded that the relationship among the palace, formal institutions, and non-formal institutions is reciprocal in nature. this reciprocal relationship is shown in table 1 below. this reciprocal relationship suggests that the palace, formal institutions, and non-formal institutions cannot be separated from one another in the inheritance of tkgy. the inheritance model of the classical court dance of yogyakarta the four-layer art inheritance model can be found in tkgy. the essence of tkgy is the standard benchmark, while the philosophical values are reflected in its movement, story, and implementation. the implementation aspect is an aspect with the most abstract, largest and the most standardized philosophical values. in tkgy, the philosophical aspect of this implementation is referred to as kawruh joged mataram (sawiji, greged, sengguh, and ora mingkuh). the position of each institution in the layers of tkgy is shown in figure 1. it can be seen that the palace holds all the layers of inheritance. formal institutions emphasize more on an open layer in the efforts to develop tkgy and idealize tkgy by introducing the philosophical values of tkgy. this is consistent with the general role of formal institutions that is related table 2. the reciprocal relationship among the palace, formal institutions, and non-formal institutions source target form of influence the palace formal institution trustee, provider of facilities and prestige for students/ college students the palace non-formal institution initiator, manager, trustee, means, prestige for students/ college students formal institution the palace honorary title, cultural study, forum for sultanate studies formal institution non-formal institution a reference for students to learn more in-depth non-formal institution the palace promotion media for the palace, provider of opinions related to the characteristics of the performance, assistance in activity preparation non-formal institution formal institution providing teachers, facilitating the teachers/ lecturers to train their students/ college students, facilitating formal institutions to utilize students/ college students for both school and governmental purposes muhammad fazli taib bin saearani, the roles of the dance education institute ... 85 open tkgy tkgy development philosophical tkgy semiotic tkgy practical tkgy phenomenal tkgy standard benchmark n on-form al institutions fo rm al in st itu tio ns the palace and courtiers figure 1. the model of tkgy inheritance table 3. roles of each institutions in tkgy inheritance no institution description 1 the palace all aspects that compose the tkgy model are fostered, starting from the formation of the standard benchmark to the unrestricted development of all institutions of the palace. even sultan is the creator of the dance. sultan hamengku buwana i, for an instance, creates wayang wong, beksan trunajaya, beksan etheng, beksan guntur segara, beksan wayang, serimpi, and bedhaya. sultan’s daughters learnt serimpi sultan’s sons and the male royal family members learnt male dances, except for sultan’s sons and the male royal family members with feminine characteristics that can play the princess characters in wayang wong. sultan’s daughters and the female royal family members performed bedhaya and serimpi dances. (r.m. soedarsono, 2002:2). 2 courtiers courtiers perform the tkgy while creating the dance to be presented to sultan. before 1918, it was only the courtiers as an external group that do not belong to the royal family members that were allowed to perform tkgy. 3 smkn 1 kasihan practical tkgy and philosophical tkgy are taught in a balanced manner 4 the dance education department of the state university of yogyakarta (uny) a conservation and research and development institution with an orientation towards education with a tendency towards inheritance harmonia : journal of arts research and education 15 (1) (2015): 77-8786 to human cognitive aspects (education, internalization of values, and research). meanwhile, non-formal institutions focus more on the inner layer of tkgy characterized with the emphasis on tkgy as a phenomenon. details of the roles of each institutions in tkgy inheritance can be seen from table 3 below. conclusion the results of this study reveal the roles of each actor and the complex interactions among the three actors in tkgy inheritance: the palace, formal institutions, and non-formal institutions. the interactions among the actors generate elements of the tkgy inheritance model that maintain tkgy to survive its original form among the community. these results are therefore beneficial to the inheritance efforts of other classical dances in the indonesian archipelago both for cultural centers (the palace and government), formal institutions (schools and colleges), and non-formal institutions (dance studios and art communities). references hadi, y. sumandiyo. (2001). pasang surut tari klasik yogyakarta, yogyakarta: lembaga penelitian institus seni indonesia yogyakarta. hartley, b. (2008). javanese performances on an indonesian stage: contesting culture, embracing change. leiden: kitlv press. hauser, a. (1985). the sociology of art. terj. kenneth j. northcott. chicago: the university of chicago press. huriyah, e.m. (2012). faktor-faktor yang mempengaruhi bertahannya para abdi dalem wanita dalam bekerja di kraton kesunanan solo. politeknosains, 10(2). karaton ngayogyakarta hadiningrat. 5 the dance department of the indonesian institute of arts (isi) similar to uny, but it is freer 6 ugm swagayugama very practically-oriented because most members do not have the basic for tkgy at all. in addition, there is competition among student activity units to become prominent in ugm while the background of each student activity unit is different (not specific in tkgy) 7 mirota highly practically-oriented since tkgy is not the main part of the activities of the institution 8 yayasan among beksa prioritizing practicality but still attempting that every dancer internalizes philosophical values 9 yayasan pamulangan beksa sasminta mardawa practical with the attempts to internalize the philosophical values 10 irama tjitra the orientation of the creation can be felt through the creation of the show. but it has intensive inheritance efforts 11 paguyuban kesenian surya kencana practical orientation 12 retno aji mataram practical orientation 13 wiraga apuletan practical orientation. creation is made by the teachers muhammad fazli taib bin saearani, the roles of the dance education institute ... 87 (2002). kraton jogja: the history and cultural heritage. yogyakarta: karaton ngayogyakarta hadiningrat dan indonesia marketing association. novrisal, f. (2009). perlindungan karya cipta seni tari: studi terhadap konsep dan upaya perlindungan hak cipta seni tari yogyakarta, tesis, universitas diponegoro. preston-dunlop, v., a. sanchez-coldberg, ( 2012). dance and the performative: a choreological perspective. dance books. smith–autard, jacqueline. (1994). the art of dance in education. london: a & black publishers. soedarsono, r.m. (2000). masa gemilang dan memudar wayang wong gaya yogyakarta. yogyakarta: terawang. soedarsono, r.m. (2002). the role of gamelan music in dance instruction: the relation between dance and music. asia pacific society for ethnomusicology conference, manila, 18-23 february 2002 soedarsono, r.m. (1997). wayang wong: drama tari ritual kenegaraan di keraton yogyakarta. yogyakarta: gadjah mada university press. suyami, (2008). upacara ritual di kraton yogyakarta: refleksi mitologi dalam budaya jawa. yogyakarta: kepel press. 375 the role of parents in their children’s artistic education: the effect of parental involvement in the transgenerational process tímea szűcs, judit váradi, henrietta kelemen, zsófia miklódi-simon, gabriella pusztai university of debrecen, hungary submitted: 2023-02-06. revised: 2023-05-08. accepted: 2023-08-12 abstract little is known about the methods and effects of parental involvement in art education. the aim of our systematic literature review is to explore the types of parental involvement in four branches of art (music, dance, visual arts, and theatre). we conducted our research with the help of the ebsco database, using the prisma (preferred reporting items for systematic reviews and meta-analyses) procedure. we found that the share of the different artistic fields is highly disproportionate in the literature on parental involvement. compared to music, theatre, dance, and visual arts, coverage is negligible. during our study, we managed to classify types of parental involvement and found that it showed variety across different branches of art. keywords: parental involvement; artistic education; music education how to cite: szűcs, t., váradi, j., kelemen, h., miklódi-simon, z. & pusztai, g. (2023). the role of parents in their children’s artistic education: the effect of parental involvement in the transgenerational process. harmonia: journal of arts research and education, 23(2), 375-386 harmonia: journal of arts research and education 23 (2) (2023), 375-386 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.42547 rental volunteering, parental involvement in home learning, school decision-making, and school-community partnerships. grolnick and slowiacek’s (1994) three-factor model consists of behavioural factors, cognitive-intellectual factors and personal factors. hoover-demsey et al. (2001) model of parental involvement discusses the causes and realisation of parental involvement and the question to which aspects of parental involvement are the most influential. keith et al. (1993) categorise parental involvement into four components, which include parental expectations, school involvement, providing structure at home (home involvement), and parent-child communication about school (personal support). parental involvement (pi) impacts introduction parents are important and indispensable actors in children’s artistic learning, providing them with financial, technical, and emotional support. the literature (epstein, 1994; grolnick & slowiacek, 1994; hoover-dempsey et al., 2001; keith et al., 1993; nyitrai et al., 2019; zdzinski, 2013) abounds in well-constructed models that describe different levels of parental involvement, the most significant of which are highlighted below. one of the best-known models of parental involvement was created by epstein (1994), who formulated a six-factor structure of school-based parental involvement. this includes assisting parents in child rearing, school-parent communication, pacorresponding author: e-mail: szucstimea77@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (2) (2023): 375-386376 school success, and because of that this research area is the focus of educational research, but art-education is a neglected topic. in this systematic review, we want to explore how this topic (pi) appears in drama-, dance-, visual artsand music education. methods this systematic literature review was prepared based on the preferred reporting items for systematic reviews and metaanalyses (prisma) guidelines (see figure 1). figure 1. preferred reporting items for systematic reviews and meta-analyses (prisma) diagram eligibility criteria the following criteria were formulated for the systematic review. the studies to be included (1) reported original research published in a peer-reviewed journal; (2) were written in english; (3) were published in academic journals with their full text; (4) contained the selected keywords in their abstracts; (5) belonged to the discipline of education; (6) examined the relationship between the families of children in art education and the school. search strategy before the search, we consulted a research librarian from the university of debrecen about our searching strategy. we performed the search on 8th december, 2021 in ebsco discovery service search engine, which included 85 databases. during the search, we considered it important that the keywords cover all four fields of art (music, dance, visual arts, theatre). for this purpose, we used the terms that occurred most frequently in the international literature. the keywords were: 1. parent involvement or parent participation or parent engagement or family involvement or family engagement 2. music education or music learning or music teaching or music class or visual art education or visual arts learning or visual arts teaching or visual arts class or dance education or dance learning or dance teaching or dance class or creative dramatics education or creative dramatics learning or creative dramatics teaching or creative dramatics class or creative art education or creative arts learning or creative arts teaching or creative arts class or theatre education or theatre learning or theatre teaching or theatre class or artistic activity. overall, our systematic searches resulted 108 records. after double filtering, we excluded 23 records. study selection after removing duplicate studies, we performed a multi-step screening process to select the studies that met the inclusion criteria. stage 1, screening of titles and abstracts. filtering both titles and abstracts, each author created their list independently. comparing these, if two authors found a study to be eligible, they moved on to the tímea szűcs et al., the role of parents in their children’s artistic education: the effect of 377 next item. stage 2, screening of full texts. we divided the studies selected in the previous section for further analysis. then, after reading the full text, each author explained why they would include or exclude that study. we then checked each other’s work in pairs, and if there was agreement, the study was included in the review. the characteristics of the selected studies are shown in tables 2 and 3. table 2. distribution of the selected studies by year of publication before 2000 2000-2010 2011-2020 1 10 11 table 3. studies selected for analysis by location journal journal metrics region number of studies british journal of music education scopus q1 united kingdom 3 bulletin of the council for research in music education united states 2 zbornik instituta za pedagoska istrazivanja scopus q4 serbia 1 early childhood education journal scopus q2 netherlands 2 canadian journal of education scopus q4 canada 1 new horizons in education scopus q4 china 1 the journal of negro education scopus q2 united states 1 general music today united states 1 international journal of education & the arts scopus q1 united states 1 international journal of art & design education scopus q1 united kingdom 1 journal of research in music education scopus q1 united states 4 music educators journal united states 1 australian journal of music education australia 1 asia-pacific education researcher scopus q2 singapore 1 new waves educational research & development united states 1 the fourth table shows the distribution of studies among branches of art. it is clear that more than 80% of the studies are in the field of music and only 1-2 studies are related to the other fields of art. table 4. distribution of branches of art in the studies distribution of branches of art music dance visual art theatre 17 2 1 1 the authors used the following terms to express parental involvement: parental involvement, parental engagement, parental support, parental influence, family and community partnerships, cooperation between schools and the parents, music harmonia: journal of arts research and education 23 (2) (2023): 375-386378 activities in the home, direct adult involvement, parental role, involvement of parents, direct adult involvement. the proportion of research methods in the studies was 50% quantitative method (questionnaire), 25% qualitative method (interview), and 25% mixed methodology. regarding the geographical distribution of the target groups, most of the research took place in the usa (9). two studies were written in england and china, respectively. in addition, studies were conducted in canada, africa, europe, australia, malaysia and south korea. result and discussion research on the motivational power of music at home our results show that several researchers have investigated the impact of children’s musical environment at home and the decisive role of parents in sensitising their children to the arts. this is a key area because early childhood music education can determine both a lifelong relationship with music and, later, intergenerational transmission by the next generation of parents. samuel’s (2014) research looked at transgenerational effects. he looked for volunteer families in boston where children had no previous art education and there were no professional musicians in the family. the families, which were selected randomly, were pre-assessed on the parents’ prior art education and experience. each week during the children’s education, parents were asked about musical activities at home, changes in the frequency of those activities, and any non-musical areas of interest. the research confirmed that parents’ childhood musical experiences were incorporated into childrearing, but only in the area of singing at home; this relationship did not apply to music education. the frequency of parents’ early singing experiences significantly correlated with the frequency of singing at home. thus, the predictive effect of parents’ childhood musical experiences on their later musical parenting behaviour may be significantly larger than previously reported. in fact, participation in music lessons did not increase the time spent playing music together at home. at the same time, parents perceived music lessons to provide various cognitive benefits in areas unrelated to musical development. custodero (2006) also investigated singing at home as an artistic activity shared by parents and children. by researching the practices of ten families of threeyear-old children, she explored the types of musical activities parents engaged in at home. the first was singing in relation to daily activities such as meals, naps, bathing, and falling asleep. some participants reported singing to accompany these activities to make them special and to incorporate the songs into daily life. families found the use of music important to pay tribute to generational culture, maintain and adapt old traditions, and create new ones. some participants carried on the influence of their own parents. both the researchers and the parents in the study observed a number of singing practices that took place during play. these songs fell into three categories: learnt, adapted or invented. learnt songs – clearly recognisable songs from the cultural heritage – were present in all families. adaptations of these learnt songs were also common, usually accompanied by repetitive fragments and wordplay. all families reported the use of spontaneously invented singing and was also recorded in the researchers’ field notes and in parental diary entries. mcdowell (2008) shows the strong impact of cultural transfer. her research found that singing at home was parents’ main musical activity. they had already enjoyed it as children and now wanted to pass on the love of singing to their own offspring. the author believes that a child who is read to is more likely to become a reader, and the same is true for a child who is sung to. in her opinion, music is something children will not outgrow, but something they will grow into and will stay with them for the rest of their lives. tímea szűcs et al., the role of parents in their children’s artistic education: the effect of 379 anderson and barton-wales (2019) confirm that parental values shape and determine the contexts within which musical experiences are created. koops (2012) examines music education in school and out-of-school contexts, focusing on the extent to which parents influence and participate in the process of learning music and related activities. the results show that parents’ encouragement of musical activities has a long-term impact on families’ joint musical activities. parents perceived that music education had the most powerful impact on their children’s creativity. zdzinski’s (2013) study used factor analysis to examine the multifaceted structure of the home environment in music. in order to provide music education researchers with a common definition of parental involvement, he created a scale that reflects this structure, thus creating the home environment in music (pi-hem) construct. the results of the analysis showed that the data fitted a seven-factor model best. the seven factors were identified as (1) home musical structure, (2) attitudes toward music, (3) home musical environment, (4) music programme support, (5) parental expectations, (6) family musical participation, and (7) family musical background. it was found that parents’ education and socioeconomic status influence their musical tastes; thus, the influence of the home environment is significant. it was concluded that parental involvement in music is not a uniform construct. although the types of pi-he in general education are very similar, they are not identical to those in a musical context. music-specific forms may go beyond the strategies proposed in the literature on general education. involving parents to be active in their children’s music education the special system of teaching through art education is demonstrated by the fact that many researchers recommend the active involvement of parents as a major motivator for their children to be successful. this is the phenomenon on which suzuki grounded his method. considering parental example to be a key factor in musical activity, his philosophy bases the structure of music education on parental involvement. preschool-age children attend instrumental lessons with their parents, where the parent must also be actively involved in the instruction. the suzuki method is seen as effective because parental involvement motivates the child, and setting an example makes the activity attractive to them. in addition to supporting the child, parental involvement can help build deeper relationships between family members (fagan et al., 1992). fagan et al. (1992) presented a study of educators’ efforts to encourage parents to actively participate in musical productions to increase parental involvement. joint parent orchestras, rehearsals, and individual preparation and practice showed children that musical activity was not only a short-term but a lifelong opportunity. at the same time, it was a great opportunity for teachers to get to know the parents better and utilize music’s community-building effect. the experiment had a double outcome; on the one hand, seeing their parents playing music motivated the children, and on the other hand, parents were shown how to spend their free time in a useful way. marjanovic-shane (2006), examining the project learn school community teaching method, found that education through the arts is given a prominent role in education which is built on the system of cooperation. parental involvement manifests itself in all aspects of school life, from teaching to school management. children are particularly affected by their parents’ extra effort, making them feel more responsible and motivated to achieve good results. bugeja (2009) studied parental involvement in music education systems using suzuki’s and traditional methods. she explored how the teacher can facilitate parental involvement through ongoing communication, highlighting the role of parents in music lessons, what their tasks are and harmonia: journal of arts research and education 23 (2) (2023): 375-386380 how they can help their children. there were also negative experiences showing that the teacher completely excluded the mother from the child’s musical education due to a lack of communication. bugeja’s research fully supported the view that the key to musical success is the collaboration between the student, parent, and teacher. having examined the relevant similarities and differences, bugeja also found that no generalizations could be made about parents, because it is not only different educational systems that determine behaviour and involvement, but probably also different personality traits. koops’ (2012) study also showed that the role of parents is prominent in music education. parents’ active involvement changed preschool children’s behavior and activity during music sessions. in a later phase, music teachers tried to reduce parents’ role and distance them from their children. many children experienced a prolonged process of separation, while children who had already let go of their parents were disturbed by the presence of other parents. koops concluded that children behave differently in the presence of a parent. at the same time, she pointed out that encouraging parents to be active in music activities has a long-term effect on the joint musical activities of families. harris and graves (2010), examining african american boys, found that cultural capital from family backgrounds was not evident in music studies. the role of parents through transgenerational mediation positively influenced reading achievement in the study sample, but involvement in art classes and music education did not yield any benefits. mcmillan’s (2004) study highlights an important point. the extent of parental involvement is not the same in teachers’, students’, and parents’ perceptions. how much and to what extent parents help with home practice is perceived very differently by each party. a survey of parents’ participation in music lessons revealed that parents perceived themselves as more passive participants in their children’s music lessons and were motivated to participate by a desire to conform rather than help their children. the survey revealed that parents’ participation was most encouraged by experienced teachers. one of the key findings was that children who received help from their parents accepted it with pleasure. parental attention to support and encourage children one of the most influential factors in music education is parents’ attention, encouragement and support. the views emphasising the importance of parental involvement (both spiritual and physical) in music education are not new (bugeja, 2009). throughout history, renowned musicians such as mozart benefited from parental guidance and support in their musical activities (wagnes, 1998). prerequisites for extra-curricular activities such as music education include spiritual and financial support from parents (xu, 2017). spiritual support is manifested in parents’ positive attitudes towards music education. the effects of parental support and pressure on participation in extracurricular activities were investigated by anderson, funk, elliott, and smith (2003) among parents of elementary school children aged 9-11 years in ohio (cleveland) and toledo in the usa. the results of their research show that parental support and encouragement are strongly associated with children’s participation in extracurricular activities. research by davidson et al. (1996) found that the most successful children in learning music were those whose parents had been involved and supportive from an early stage of learning. the study involved 257 children between the ages of 8 and 18 learning to play an instrument and their parents, with whom the researchers conducted individual interviews. a key finding of the research was that “overall, the most musically talented children received the highest levels of parental support”. denny’s (2007) research looked at factors influencing musical education tímea szűcs et al., the role of parents in their children’s artistic education: the effect of 381 among 80 children aged 11-12 in england. she found that parental pressure did not influence how much a child enjoyed playing music, or how much they played, and that parental expectations did not influence musical participation. the only positive influencing factor was parental enthusiasm. macmillan’s (2004) study reports on a detailed qualitative survey examining teachers’, pupils’ and parents’ attitudes towards parental involvement, the extent and nature of participation and the resulting positive effects on pupils. the study involved 10 music teachers, 20 children in primary school grades 1-6 and their mothers. in the interviews and questionnaires, the teachers reported on the extent of parental involvement and on encouraging parents to invite their children to practise and to help them if the children requested it. bugeja (2009) explores the key similarities and differences in parental involvement between australia’s music education systems, suzuki and “traditional”. the research involved the mothers of two children learning to play an instrument. the interviews revealed that they both highly valued providing a suitable home environment and ongoing support and encouragement. koops (2012) examines music education in and out of school in terms of parental involvement. she analysed the attitudes of 19 families towards music education through a detailed qualitative survey. first, parents participated in an online music lesson and then recorded their observations online, on a platform accessible to other parents. koops’ results show that while most parents support their children’s musical participation, there is an underlying problem, a generational gap in musical taste. ashbourne and andres (2015) investigated the impact of parents on their children’s extracurricular activities. originally, fifty-one canadian subjects were involved in the study. next, 24 interviewees participated in seven waves of interviews between 1990 and 2010. finally, the accounts of 14 interviewees who became parents during this period were analysed. after evaluating the results, the researchers distinguished three types of parental involvement: the enforcer – who is motivated by their own conviction that their child should participate in some extracurricular activity; the facilitator – who lets their child choose an extracurricular activity based on their own interests; and finally, the encourager – who has an idea of what activity would be beneficial for their child, yet does not force them to participate, but rather encourages them to do so. the majority of parents fell into the last category. another study reveals that many hong kong parents want their children to learn music outside school. choi et al. (2005) used a questionnaire survey to investigate the explanatory factors for this phenomenon among 97 hong kong parents (90% of them mothers). the parents in the study were willing to devote 10% of their monthly earnings to extracurricular activities and were able to devote time to this, indicating that they considered music studies important for their children’s development. youm’s (2013) research explored south korean mothers’ desires, knowledge and practices regarding music education. although the research questions were not primarily focused on parental support and encouragement issues, the author mentions an indirect finding in the results formulated after an analysis of qualitative data (interviews and diary entries by mothers). the author found a strong willingness among the mothers to learn more about the process of music education and to support their children. mcdowell (2008) investigated parents’ motivations to enroll their children in a 5-day music camp. the study involved 16 parents (with children aged 1.5 to 7 years) and found that one of the most common motivations for parents was to help their children develop their skills. harmonia: journal of arts research and education 23 (2) (2023): 375-386382 other branches of art another big branch of artistic development is collaboration with the help of dance. looking at case studies, we can find examples where both parents and children have had problems developing and sustaining personal relationships. as interacting with other people is inevitable in life, these people, despite having many good experiences, have overwhelmingly bad ones. an interaction that goes wrong can traumatise its participant, which can generate lifelong problems and lead to the loss of the ability to engage in interpersonal relationships. such people are helped by targeted dance programmes that use the desire to bond and the general human need to develop interpersonal relationships and relational engagement in order to promote participants’ progress. the case study also shows that parental involvement is maximised and plays a prominent role in dance development, as it enables parent and children to achieve the desired goals together. as a result, a major role is given to fostering relationships, building interpersonal trust and developing social interactions at dance classes (lorenzo-lasa et al., 2007). in their study, lorenzo-lasa et al. (2007) described their experiences in their dance program over three years. they mainly observed relational engagement in dancing. in community spaces or houses, they organised dancing sessions where families from any background could visit and participate in classes in an enjoyable and liberated way. many participants also had problems communicating with their children, but the programme helped them start interacting. after the end of the project, there were several measurable outcomes including short-, medium and long-term effects. the results showed that parents had a better insight into their children’s development and that their own skills had also reached higher levels. in addition to improving cognitive, social and physical skills and strengthening cohesion within their families, parents experienced improving relationships with their family members (lorenzo-lasa et al., 2007). we can also find examples of using the potentials of another major artistic field, the visual arts. similarly to dance, the focus was on children and their parents. however, it is important to note that the role of a gallery as a formal mediator of art needed to be completely transformed. the liverpool tate gallery targeted disadvantaged and immigrant families. for them, it was inherently difficult to integrate into a culture which was not their own, let alone understand art and consume a different culture. the involvement of parents was also very important in the programme, as they were the ones who took the children to the gallery. one of the innovations of the project was to organise interesting and safe exhibitions for children. however, the aims of the programme were more far-reaching. parents were not only involved as observers but also played a part in passing on knowledge, thereby developing their own skills. this was only the first step in the programme, however, as it was necessary not only to attract disadvantaged families to the gallery but also to keep the interest and motivation of those once involved alive. this was to be achieved through well-defined activities and community-building tools. indeed, fostering a sense of belonging to a community can provide the important missing bonds for an immigrant family that has already left its roots. in summary, the liverpool tate gallery’s programme uses visual arts sessions to introduce art to children and parents, without them even leaving their comfort zone. once the community is established, the exhibitions or events will no longer be the only motivators in the lives of families, but the community will also act as a pull factor. this suggests that this type of engagement in visual arts can be a chance for families to connect to the community and develop and improve their relationship with art (wright 2020). the third major category is theatre arts development, which is described by reinking et al. (2017) in a study that provides a number of good practices. theatre is perhaps the artistic field that everyone tímea szűcs et al., the role of parents in their children’s artistic education: the effect of 383 encounters at least once in their life. the event presented in the study familiarised entire families with this form of the performing arts. involving parents and children alike allowed them to develop not only in their understanding of art, but also in other areas. theatre and puppetry provided opportunities for those involved in the event to develop stem and other cognitive areas through the performance. the performance was a particularly important moment in the process, as they allowed all members of the family to get involved, so that parents were actively engaged. families reported that they really enjoyed it when their children could try their hand on stage. in summary, unlike in the field of music, where all three types of parental involvement are present, the studies describing theatre, visual arts, and dance development mainly focus on parents as active participants. it is also shown that playful activities and projects can provide children and their parents with skills they have not had before. conclusions one of the aims of our research was to explore studies on parental involvement in different artistic fields (music, dance, visual arts, drama, and puppetry) using a systematic review method. systematic literature review is a methodology that examines all published studies in order to avoid the bias that may result from the fact that a researcher of a field of study may attach greater importance to a particular area of research. we have found that research is highly disproportionate across the different branches of art. compared to the high profile of music education in the studies, the amount of research published on theatre, dance and visual arts is negligible. we firmly believe it is important that research is also carried out in these branches of art, as these are in fact unexplored areas. our research also fills a gap because it highlights this deficiency in educational research. using the prisma procedure, 21 out of 108 studies were selected, all but one published after 2000. the studies were reviewed to study the impact of parents on their children’s art education. we lay special emphasis on the factors affecting the development of taste. overall, several studies confirmed the influence of cultural capital, i.e. parents’ previous musical or cultural experiences as a determinant of their children’s upbringing. the most common musical activity done together was singing at home, which can be realized easily and accompanies one during a lifetime. singing together helps to build and nurture interpersonal relationships, which is why interiorisation is so important, making the activity natural. several researchers recommend the active involvement of parents in their children’s musical studies, which, in addition to setting an example and providing a useful way to spend leisure time, also strengthens family cohesion. the key to effective music education is teacher, parent and child collaboration. at the same time, one should not overlook macmillan’s research findings, which have shown that the degree of parental involvement is subjective from the point of view of each actor concerned in the process, who experiences, perceive, and evaluate the same situation differently. nevertheless, parental attention and support is a significant stimulus for their children’s artistic studies. our research aimed to identify similarities and differences in types of parental involvement across artistic fields. parental involvement in art education can take two dimensions: passive – parents act as observers, or active – they engage in the activity itself. the study found differences between the involvement of parent groups in each branch of art. for children learning music, three groups were distinguished: 1. active parental involvement in the child’s musical education; 2. parental attention, mainly with the purpose of encouragement and support; 3. the motivating power of musical activity at home. there was no evidence of joint activity at home in the harmonia: journal of arts research and education 23 (2) (2023): 375-386384 other three arts. overall, it can be concluded that the involvement of parents in their children’s artistic education is of paramount importance both for the development of the children and for the strengthening of family ties. we believe it is essential to research this area because a situation analysis can help us find out what needs to be changed in each institution and make our recommendations for each branch of art. in this way, the motivation and efficiency of art education can be increased and drop-out rates can be reduced, which is extremely important as it is not a compulsory school activity but a useful way of spending leisure time. acknowledgments funding: this paper has been implemented with the support provided by the scientific foundations of education research program of the hungarian academy of sciences. the apc was funded by mta-de-parent-teacher cooperation research group. references anderson, a., & barton-wales, s. 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(2013). the underlying structure of parental involvement–home environment in music. bulletin of the council for research in music education, 198, 69–88. https:// doi.org/10.5406/bulcouresmusedu.198.0069 213 creativity and innovation of artist in maintaining and developing the songah tradition art ridwan ridwan, tati narawati, uus karwati, yudi sukmayadi universitas pendidikan indonesia, indonesia submitted: june 30, 2020. revised: september 29, 2020. accepted: november 4, 2020 abstract songah is one of the traditional arts originating from citengah village, sumedang regency. this art was formed from the creativity and innovation of the people of citengah village, sumedang regency to maintain the existence of traditional arts. based on concern and love for their culture, the community continues to make reforms so that the existence of the songah art is maintained and can keep up with the times. this study aims to describe and analyze the creativity and innovation of society in utilizing existing natural resources as an effort to maintain and develop the songah traditional art. through a qualitative approach and descriptive methods, the researchers reveal the creative process carried out by the people of citengah village in maintaining and developing the songah art. this study’s data were collected through observation, interviews, and strengthened by a literature review, which was then analyzed using descriptive qualitative techniques. the results showed that the creativity of the people of citengah village in maintaining and developing the songah traditional art can be seen in the aspects of natural resource management in the area. the community changed songong, which is a means of blowing fire in a furnace (sundanese: hawu), into an art tool called songah (songsong citengah/songong kabungah). as a musical instrument having no tone, people who are members of the community collaborate songsong with other musical instruments to produce a unique musical composition. the development of the s art cannot be separated from the innovation of the community that collaborates songah with other musical instruments. this has a positive impact on the songah art so that it can be side by side and not less competitive with other traditional arts, including arts originating from abroad. based on the results of existing research, the development of community’s creativity and innovation in maintaining the existence of art needs to be done continuously to anticipate being alienated and the loss of traditional arts. keywords: creativity; innovation; traditional art; songah how to cite: ridwan, r., narawati, t., karwati, u., sukmayadi, y. (2020). creativity and innovation of artist in maintaining and developing the songah tradition art. harmonia: journal of arts research and education, 20(2), 213-222 harmonia: journal of arts research and education 20 (2) (2020), 213-222 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i2.25169 equipment, crafts, and even art tools as a means of fulfilling aesthetic needs. besides, the existing natural resources are also managed by the community to support the activities of developing the village into a tourism village. the process of managing bamboo plants by the community is not done inintroduction citengah village is one of the villages in sumedang regency which has abundant natural wealth. the local village community takes advantage of the natural resources available to meet various needs such as household utensils, kitchen corresponding author: e-mail: ridwansimon@student.upi.edu p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (2) (2020): 213-222214 dividually. in fact, in life in this world, humans need each other, including in artistic activities. through the association of the public with domestic and foreign people, this will impact the emergence of awareness that the traditional arts that are owned should be preserved. through the awareness and concern of the people of citengah village, efforts to preserve culture are carried out through community empowerment activities, namely forming communities based on art and culture. the community is led by ki madhari as the traditional leader of citengah village. apart from being active in the arts, he is also a craftsman of art objects. the main purpose of the formation of this art is to build the abilities and skills possessed by ki madhari and the local community in the fields of crafts and arts. one of the results of ki madhari and the local community’s artistic activities is the songah art. this art had lost its existence in the local community until finally, the situation changed again in 2008. previously, the songah art was not entirely a musical instrument, but was a separate instrument and had its respective functions. like the songong which is a tool for blowing fire in a furnace (sundanese: hawu), hatong as a means of calling pigeons which is commonly used in bird racing activities, kokoprak which is a tool to repel birds which are commonly used by farmers. through revitalization activities carried out creatively by the art community led by ki madhari in 2013, the songah art was born and began to exist again as a form of musical performance. the songah art is currently not widely known by the community. however, the people of citengah village believe that if it continues to be developed, the existence of the songah art can still be sustainable. the same thing happened to the patrol music. research conducted by sari (2019) shows that there is no doubt that traditional arts are weakening in this global era. however, all of that can be anticipated by the patrol music supporters by making continuous innovation by utilizing technological developments and local customs. the existence of the instrument songah is inseparable from the habits of the people in exploiting the natural potential, especially in managing bamboo plants. the proximity of local villagers to bamboo plants is due to indonesia’s tropical climate so that bamboo plants thrive. the use of bamboo plants with the advantages of their material characteristics has been used creatively by our society to become household products, interiors, and musical instruments. therefore, songah is one of the creative works of the people of citengah village in exploring the use of bamboo as a musical instrument. creativity, according to (utami, 1999) as a humanistic psychologist, is the experience of expressing and actualizing individual identities concerning oneself, other people, and the environment. in line with this, hulbeck (1945) states that “creative action is an omposing of one’s own whole personality on the environment in an unique and characteristic way.” based on oxford advanced learner’s dictionary (setiawan, 2016; wehmeier, 2005), creativity means “involving the use of skill and the imagination to produce something new or a work of art, and having the skill and ability to produce something new, especially a work of art, showing this abilitybased on the above statement, creativity is a unique action that arises because of the interaction of individuals both with themselves and with their surroundings. creativity seen from the point of view of psychoanalytic theory is the result of solving problems. according to freud (2011), creativity emerges as a defense mechanism that is part of the personality. creative people can easily solve various problems. based on freud’s theory, creativity can be formed through the family environment, school environment, and community environment. the three environments are related to each other in the process of developing creativity. from a humanistic point of view, creativity can develop as long as a person is alive and is not limited. in line with this ridwan ridwan et al., creativity and innovation of artist in maintaining and developing 215 statement, maslow (1954) argues that creativity is a basic instinct so that it becomes a necessity. from the process of creativity, changes are made for the better than before. this can also be seen in the songah traditional art that has changed form, function, and performance. in this regard, there are several relevant studies. research conducted by tjaturrini (2018) explains that innovation efforts in an art form can be made by combining two different aspects of art. through her research, she found that there is an idiom of the barongsai art originating from china in the music performance of calung lengger. in this context, it appears that the existing art actors try to combine the two cultures (acculturation) in maintaining the existence of the art of calung lengger. in a different context of the study, research conducted by irianto (2017) explains that changes and various innovations in traditional arts by utilizing technological developments can be carried out to maintain and preserve traditional arts. this is relevant to research conducted by budi (2017) that explains that the modification of angklung carried out by sundanese artists on the aspects of scales, game techniques, materials, shapes, and ornaments or accessories is done as an effort to overcome various weaknesses that exist so that the angklung musical instrument becomes better than before. this modification effort was also carried out to overcome the weaknesses of bamboo as the basic material for making angklung. research conducted by setiawan (2016) explains that creativity and innovation in the performing arts are needed as an effort to maintain existing traditional arts. for example, the cultural acculturation between the sasak ethnic group as the original inhabitants of mataram city and the ethnic immigrants including javanese, balinese, bugis, bima, flores, chinese, arabic, and others has been able to maintain the continuity of existing arts. the performing arts include gamelan gendang beleq, wayang sasak, betek baris lingsar, cepung theater, cupak gerantang theater, and indonesian dances. subaharianto’s (2015) research that was conducted using an ethnographic approach explained the importance of the creative involvement of the role of young people based on local culture in the development of existing arts. this is relevant to the research results of aswoyo & sularso (2020) that explain that the concept of role models in festival management resulting from the creativity of the local community turns out to be an important basis in the preservation of traditional arts. likewise, in different aspects, the research conducted by jaja (2016) explains that the continuity of traditional arts in west java is none other than due to real actions were taken by the community and the government together. based on existing findings and theories related to community phenomena in developing art, it is necessary to study indepth the creative process carried out by the people of citengah village in utilizing bamboo plants to become the traditional art of songah. apart from that, how do the people of citengah village make efforts to innovate so that the art of songah continues to exist in line with the changes in the society. method this research was conducted in citengah village, sumedang regency, west java. the subjects of this research are the people of citengah village who are members of the community of art actors led by ki madhari. the research was conducted using a descriptive analysis method in a qualitative approach. this approach was chosen to provide an in-depth picture of the creative and innovation process carried out by the people of citengah village in maintaining and developing the songah art. the research process is carried out by examining holistically the phenomena that occur in the community of citengah village. the data collection process was carried out using direct observation harmonia: journal of arts research and education 20 (2) (2020): 213-222216 techniques and was supported by information obtained from literature reviews and interviews conducted with the chairman and members of the songah art community group. observations were made to get a real picture of what was happening in the field regarding the condition of the songah art in citengah village. interviews were conducted to obtain information about the views, perceptions, responses, and expectations of the local community regarding the songah art. the data that has been collected from observations and interviews are then analyzed and strengthened by several related theories obtained from literature reviews. the data analysis technique was carried out qualitatively by describing in detail the results of the analysis of the research data obtained during the research. result and discussion creative process of the community of citengah village in the songah art the village is an area that is administratively included in sumedang regency, west java. this area has abundant natural potential and cultural arts that have the value of local wisdom. this is a unique and distinctive feature that will attract the area if it can be managed properly and appropriately by the local community. bamboo plants are one of the natural resources that are often found in citengah village. plants have quite a lot of functions and benefits in the life of the sundanese community, including the people of citengah village. the many functions and benefits of bamboo for people’s lives, make bamboo plants have physical value and implied a philosophical meaning that can be used as a guide for people’s lives, especially the sundanese people. the indonesian minister of environment in the president soeharto era (laras & nugraha, 2015; rosyadi, 2012; i. setiawan et al., 2017) revealed the concept of bamboo culture which states that sundanese people are more familiar with bamboo trees, if they want to destroy sundanese people, then first must destroy the bamboo tree. the habit of using bamboo as a fulfillment of needs in everyday life is then passed on to the next generation to become a culture. bamboo plants are used to meet various needs, both household needs and aesthetic needs, including in artistic activities. the use of bamboo plants in artistic activities is not the first time that the community of citengah village has done it. previously, there was the use of bamboo plants which were made into the main material in making housing as seen in the community of the naga village, the houses of the baduy tribe, and many more. this is done in addition to taking advantage of the existing natural wealth; the community also believes that bamboo plants are sturdy and strong building materials. apart from being the main ingredient in meeting primary needs, bamboo plants have also been widely used in making art tools. it can be seen from the many arts created by people from various regions such as angklung, calung, karinding, calempung from west java, saluang from minangkabau, rindik from bali, sasando from ntt, and many more. the indonesian people and foreign people carry out the use of bamboo plants as an artistic tool. this can be seen from the existence of the art of shakuhachi which is a bamboo musical instrument originating from japan, the musical instrument of khene from thailand, the musical instrument of diggerido from australia, the musical instrument of ocarina from argentina, and others (christine, 2016) creativity of the community of citengah village in utilizing bamboo plants in artistic activities continues to be developed to create the uniqueness of the arts it makes. society changes songsong which is one requirement that the original household appliance serves as a fire in the furnace blower (sundanese: hawu) into a musical instrument known as songah (songsong citengah/songsong kabungah). the use of songsong as a household tool in everyday life has decreased because people have now switched to using modern equipment. ridwan ridwan et al., creativity and innovation of artist in maintaining and developing 217 the people of citengah village carried out the art development effort by forming a songah art community led by ki madhari as pupuhu of citengah village. the songah art community has a positive impact and a considerable influence on the preservation and development of the songah art indirectly. through the use of songsong, the local community has indirectly strengthened the culture in using songsong. this will also have an impact on the development of the village into a tourist village that can go global. songah has six kinds of waditra covering big songsong, small songsong, big hatong, small hatong, kokoprak, and flute. each waditra has different characteristics and functions. when viewed from the sound source, the instrument of songah belongs to the musical instrument of aerophone. the sound produced by the instrument of songah comes from the resonance of the air. the six waditra can be seen in the image below. figure 1. the musical instrument of songah (source: personal documentation) a big songsong is made with a length of 115 cm and a diameter of 5 cm. the way to play a big songsong is by blowing it using the technique of vibrating the lips so that the resulting sound resonance is unique. in this musical instrument, the function of the big songong is to act as a goong. the shape of a big songsong can be seen as follows. figure 2. big songsong (source: personal documentation) the sound of the big songsong as mentioned in the previous section, when presented in the musical notation can be seen as follows: figure 3. the musical notation of the big songsong in contrast to the big songsong, the small songsong is made with a length of 75 cm and a diameter of 3 cm. however, the big songsong and the small songsong have similarities in the way they play, namely by being blown using a resonance technique through lip vibrations. based on the sound produced, the small songsong functions as a drum. the shape of the small songsong can be seen as follows. figure 4. small songsong (source: personal documentation) harmonia: journal of arts research and education 20 (2) (2020): 213-222218 when presented in the notation, the sound of the small songsong can look as follows: figure 5. the notation of the small songsong the big hatong is made with a length of 20 cm and a diameter of 5 cm, while the small hatong is made with a length of 10 cm and a diameter of 3 cm. the way to play hatong can be done by blowing and opening the lid of the hatong so that it produces a sound that resembles the sound of a bird. the big hatong and the small hatong have the same sound function, namely as a melody. the hatong shape can be seen as follows. figure 6. hatong (source: personal documentation) even though they have the same function as a melody, the sound produced from the big hatong and the small hatong has differences, so that when presented in a notation it can be seen as follows. figure 7. the notation of the big hatong figure 8. the notation of the small hatong unlike other waditra, kokoprak has no size requirement. either in length or width. kokoprak in the songah art serves as a regulator of the rhythm of a song or work repertoire (simon, 2016). the shape of the kokoprak can be seen as follows. figure 9. kokoprak (source: personal documentation) the sound of the kokoprak waditra, when presented in musical notation, can be seen as follows: figure 10. the notation of kokoprak the songah art was initially limited to songsong as a cooking tool that did not have a tone in the sound. but in the end, it was collaborated with other musical instruments to form a unique musical composition. the creativity possessed by the art community in citengah village in utilizing bamboo plants to become a musical instrument is a form of application of cognitive flexibility that is owned by each individual. this is marked by the beharidwan ridwan et al., creativity and innovation of artist in maintaining and developing 219 vior of individuals who can adapt to the circumstances of their environment, as well as the ability to change their ways of thinking in dealing with a problem. this is in line with what dariyo (2008) expressed that cognitive flexibility is an individual’s ability in a thought process characterized by fluency, flexibility, originality, and elaboration or developing ideas in solving problems. like when people change songsong as a tool for cooking into an art that can be used to satisfy aesthetic needs. besides, the development carried out by the community towards the songah art can also have an impact on cultural inheritance and village development through various community innovations that are applied to the songah art. innovation in the songah art the development of the times and the dynamic characteristics of society transform an inevitable reality. the changes that occur cannot be separated from the role of community creativity in facing the challenges of the dynamics of life that continues to develop. in the context of the people of citengah village, the songah art is one proof of the people’s creativity in transforming the shape and function of songsong (household appliances) to become songah (the musical instrument) to fulfill its aesthetic needs. transformation is a process of changing from one form to another which still resembles or is completely different from the original condition. in the field of art and culture, changes in the transformation process can be seen from the aspects of function and content both horizontally and vertically, which still show the identity of a culture (rosana, 2017; parmadie, et al., 2018). according to leprianida (2009), transformation is a scientific concept as an analytical tool in understanding the world. one of the supporting factors for change in culture is the development of the times. transformation is usually carried out to preserve local culture so that the next generation can enjoy it. historically the bamboo music known to the sumedang people is angklung buncis. performances are usually performed in the sumedang larang palace on special occasions such as welcoming guests, traditional ceremonies, and other major palace events. therefore, songah in citengah village is one of the musical instruments created and developed by the community as an effort to adapt to environmental changes and the demands of the need for expression and artistic creation. along with the times, the people of citengah village changes the songah art performance of traditional to entertainment functions without abandoning the values contained in it. the people who are members of the art community in citengah village have combined and collaborated on the songah art using traditional musical instruments and modern musical instruments such as guitars, drums, and others. besides, since then this art community has started to present popular songs, especially sundanese pop songs. in this context, it shows that the innovation process carried out has led to the process of acculturation in the songah art. according to nardy (2012) and putra (2017), acculturation is a combination of two harmonious and peaceful cultures that occur in life. this states that acculturation is the union of two or more cultures so that a new culture can be formed without eliminating the values contained in the old culture. until now, the songah art in citengah village continues to be developed and updated, both in terms of arrangement and the variety of songs it performs. so that when this village was chosen as one of the “tourist villages” in the sumedang regency, the performance of the songah art became one of the attractions for tourists who came from within the country and abroad. as stated by rogers (1983) that innovation is an idea of new objects and practices for individuals who own it. relevant to this statement, what has been done by the art community in citengah village is one of the efforts to preserve the songah art so that harmonia: journal of arts research and education 20 (2) (2020): 213-222220 it exists and is maintained. the process of the songah art preservation efforts to preserve the songah art among the people of citengah village are carried out because the art contains local wisdom values such as a sense of togetherness of “silih asah, silih asih, silih asuh”, humble, and willingness to sacrifice as relevant to the sundanese philosophy (simon, 2016). there are six strategies carried out by the people of citengah village in preserving the songah art. the six strategies are an extension of the word “songah” which means training centers, organizations, nationalization, growing, appreciation, and entertainment. in detail, the existing conservation strategies can be explained as follows. training center the training center is one of the efforts made by the art community of songah through learning. this activity is carried out in an integrated manner as part of a tour package that provides an opportunity for visitors/tourists to try to play the songah art directly. through this activity, the participants interactively and actively participate in learning to play the instrument of songah in a relatively short time. when learning songah, the participants did not only learn the techniques and practice playing the musical instrument. however, it also teaches the aesthetic and ethical aspects of the songah art and some knowledge, skills, and values related to the norms of life that apply in society. the efforts made by the people who are members of the art community in citengah village seem relevant to the results of sukmayadi and masunah’s (2020) research conducted in kampung naga that teaching carried out through oral traditions and demonstrations can be an effort of cultural heritage. organization the formation of an art community in citengah village indirectly supports government programs in community empowerment activities to improve welfare (ridwan & surya, 2018). this is in line with the mandate set out in the law of the republic of indonesia number 11 0f 2009 regarding social welfare. the songah art community in the citengah village formed based on rurukan of nabawadatala tradition. rurukan is the forum for responding to various problems related to ideas, thoughts, and suggestions to develop the culture of citengah village. the activities carried out by this rurukan tradition include (1) collaboration with the youth organization of citengah village, (2) fostering the art of songah, (3) training and developing health methods, and (4) practicing alternative health methods. the community’s coaching activity towards the art of songah is not only a performance art that can be enjoyed by local people. however, it can develop more widely because it has also been included in cultural tourism activities both nationally and internationally. nasionalization nationalization is a conservation strategy carried out by the art community in citengah village in introducing the songah artto a wider area. this strategy has even encouraged the involvement of the music community in citengah village in international scale events. on a national scale, the songah art has appeared at the sumedang regency cultural festival. in international events, the songah art has appeared at the 2019 paraglidding world championship festival with 15 other types of arts. growing growth is a strategy of the citengah village community in sustainably developing the songah art so that it remains sustainable. the efforts that have been made are such as making innovations in every show while maintaining its uniqueness. the uniqueness becomes important because the more unique an art is, the more people are curious about it, so they will find out about ridwan ridwan et al., creativity and innovation of artist in maintaining and developing 221 it (raka, n.d.). in addition to innovating, the art community in citengah village also strives to utilize existing technology to develop and preserve the songah art. this effort is done by recording music performances of songah which will then be uploaded on social media to be watched by the wider community. this effort is not only effective in introducing the songah art but also as a promotional medium for tourists. appreciation appreciation is a strategy of the art community in citengah village to increase public understanding of the songah art. the strategy carried out by this art community is by increasing the number of performance activities and conducting learning through training activities. this includes performances and direct involvement in training activities for visitors who come to citengah tourism village. entertainment the function of art as entertainment is one of the characteristics of art today. therefore, since the emergence of the songah art until now, the art community in citengah village always strives to develop its arts from various aspects to entertain the supporting community. this effort is carried out by creatively developing the musical arrangements, choosing the types of songs, and the form of performances with the support of various innovations relevant to the characteristics and uniqueness of the songah traditional art. conclusions the songah art is a form of creative work from the art community in citengah village. changes in the times and the development of the existing society encourage the people in this village to change and develop songsong which was originally only a household tool into a musical instrument. various innovations and changes are continuously carried out so that the art of songah is known by the people of citengah village and the wider community. even as an effort for the welfare of the people of citengah village, this art is also one of the performers of interesting performances for tourists who come to citengah tourism village. the songah art can survive and exist until now because the existing art community has implemented various strategies, such as: (1) establishing a training center; (2) providing organizational guidance; (3) spreading over a wider area; (4) cultivating and developing the songah art continuously; (5) increasing community appreciation efforts for the songah art; and (6) packaging the songah performances into interesting entertainment. references abdul, m. i. 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(2005). oxford advanced learner’s dictionary. seventh edition. oxford university press. 174 colour dematerialization in spiritual literature and painting dadang sudrajat, yasraf amir piliang, tisna sanjaya, andriyanto rikrik kusmara studies program of arts and design, faculty of art and design, institut teknologi bandung, indonesia received: august 31, 2017. revised: october 23, 2017. accepted: november 10, 2017 abstract colour in variety of art expression can be interpreted differently. this study is aiming at analyzing the colour dematerialization of javanese spiritual literature “falsafah jeroning warna” by suprapto kadis and a painting by ahmad sadali entitled “gunung mas”. research was done by employing qualitative research, while data was collected by observation, interview, discussion, and documentation study. the analysis of meanings in the two art works was done in descriptive way by using the theory and the knowledge of tasawwuf or sufism, the aesthetics, and arts. results showed that both sufis, ahmad sadali and suprapto kadis, share similarities in doing dematerialization towards colour. for them, colour was initially taken from nature (the external territory) which then experienced dematerialization when it made contact with inspiration that was created from the internal area (mental). on the other hand, the difference between the two art works lies on an understanding that colour in fjw is naturalistic mimesis in nature, meanwhile, the painting of ahmad sadali is naturaly abstract. keywords: dematerialization; colour; literature; painting; spiritual how to cite: sudrajat, d., piliang, y. a., sanjaya, t., & kusmara, r. a. (2017). colour dematerialization in spiritual literature and painting. harmonia: journal of arts research and education, 17(2), 174-180. doi:http://dx.doi.org/10.15294/ harmonia.v17i2.10568 harmonia: journal of arts research and education 17 (2) (2017), 174-180 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i2.10568 the javanese spiritual literature of “falsafah jeroning warna” which is later written as fjw in this study, was written by suprapto when he was asked to create a symbol or emblem of a banyumasan community on december 11th, 1981 at 11 p.m. in west semampir. suprapto is a guru or mursyid as well as the founding father of a religious organization, tarekat kadisyah, who has done numeruous renewal in the religious organization and religious belief where he is in. in other words, the spiritual javanese literature, or commonly known as serat fjw, was born or created by a sufis and philosopher. introduction eastern philosopher or sufis sees colour as something that has primordial value which the permanence has to be kept and preserved since it contains moral values. colour is not only seen as colour, but more, as a material that has strength potential to bring human into the more noble levels. for example, colour in certain religion or custom tradition is made into a sacred symbol. this is seen as an expression of visual language which usually presents as part of worship ritual that has been done for years. corresponding author: jl. ganeca no.10, lb. siliwangi, coblong, kota bandung, jawa barat 40132 e-mail: lafadzagat@gmail.com p-issn 2541-1683|e-issn 2541-2426 dadang sudrajat et al., colour dematerialization in spiritual literature and painting 175 research about serat fjw is considered new since it attempts to study new knowledge related to tarekat kadisiyah. serat fjw is worthed to be studied for it does not become only a wasted artefact of a series of meaningless notes. if it is analyzed further, serat fjw is not supppsed to be only used as an organization’s symbol, but more as a religious traditional literature with bigger aims, related to humanity, religion, social, belief, nature, ethics, moral, etc. serat fjw was created from one who has an extraordinary sensitivity, mainly in reading up the darkest part of mind and soul for a slight of light to be found, so it may give spirit to one’s life. in painting, colour is attached as a compulsory and main element, but the proximity of colours in fine art is sometimes questionable. artists as users or the one who is using the colour as materials does not always in the colours’ side. in fact, in arts, artists sometimes question the existence of colours themselves. for example, in colour interpretation, in the discourse of “seni untuk seni” or “art for art”, colour has ever placed up to the most extreme point. it is when colour is seen as nothing more than the most basic element of a material. in the end of modernism, with its abstract idiom, issues related to the materials in arts are raised by artists who believe in the strength of materials from the psychology till the spiritual perspectives. the attempt is done in the form of material mystification till it changes into the sacred one. it has been previously done by sadlder (2007) with “western spirituality” approach that will be “enhanced” later through the study of an art from an artist named ahmad sadali as an equal comparison to serat fjw. through this process, equality and differences between both arts, the literature and the painting, will be found. in the end of the study, a clear explanation and mapping about colour dematerialization in both arts will be clearly seen. art usually needs explanation as well as thought from philosophers in the form of concept. in other sides, literature also needs a concrete material to be expressed, or to speak out. when artists and philosophers are in line or reciprocal, they will mutually reinforcing each other towards certain argument of a specific matter. therefore, to clarify the matter, both arts and literature will need a clear an adequate reference. in this study, the researchers will refer to the several theories from well-known artists and philosophers, among them are: kadinsky (sadlder, 2007); mondrian, rothko, and pollock (mccoubrey, 1979); as well as sadali (yustiono, 2006). the artists mentioned above are all use abstract painting style, however, the way they see colour is different since they do not share the same artistic background. however, their similarity lay upon the way the place colour up to the spiritual quality, especially rothko who is a jewish and sadali who is a moslem, who both have strong religious nuance in their art expression. meanwhile, others find their strength from contemplation towards their own macro and micro perception of nature. here, from the fine arts, the reseacher will take the work from ahmad sadali as one of the study topic that is being discussed since sadali is a moslem painter who is considered close to the nuance of sufism as believed by suprapto kadis, the creator of serat fjw which is also the topic of this study. therefore, literature from kadis and painting from sadali will be discussed further in this study. several non-artist philosophers’ theories are chosen in this study in order to give contribution towards the topic that is being analyzed, like, sadlder (2007) who discussed about the paintings of wassily kandinsky where the term “dematerialization” was established. further, the term “dematerialization” was also found and discussed in the article published by sugiharto (2013) in his private blog entitled “epistetica” which explains about “dematerialization” deeper from the perspective of contemporary arts. to complete the analysis was a study from suryajaya (2006) in his book “sejarah estetika” or the history of aesthetics”. from sutawijaya, the word “sublime” was appeared which he took harmonia: journal of arts research and education 17 (2) (2017): 174-180176 from the book entitled “on the sublime”. furthermore is kant (1951) who donate the term known as “ketidakpamrihan” or “selflessness” from his book “disinterested/ purposiveness without purpose”. those keywords act as the entrance door of a further discussion related to serat fjw in its relation to the fine arts field. from the literature perspective, the theory from a moslem philosopher named nasr (1987) was taken from the book entitled “islamic art and spirituality” which the translation was made in bahasa indonesia under the title “spiritualitas dan seni islam”. in the book, nasr focuses his discussion on the islamic culture in persia as the ‘owner’ of shining past civilization. nasr discusses the art in islam’s literature as a literature that is based on qur’an and hadists along with other islam’s arts, like, calligraphy, architecture, and specific music through tasawwuf. method fine arts and literature are not entirely autonomous by nature. it means, both of them frequently demand explanation, especially, when hidden ideas as a mysterious phenomena are there to be explained. the meeting point of serat fjw and painting by sadali is the focus of both arts, that is colour. therefore, an appropriate method is needed to give explanation towards meaning that is implied in serat fjw and the spiritual painting. the data was collected by using observation, interview, discussion, and documentation study. the direct observation was used in the fine arts by ahmad sadali (1924-1987) entitled gunung mas and serat fjw by bapak mursyid suprapto kadis (1929-2011) in tarekat kadisyah in kota bandung, indonesia. in order to gather deeper data about the fine arts “gunung mas”, the researchers conducted interview with trusted interviewees. about the painting, interview was conducted with one of former student of ahmad sadali who is currently leacturing at institut teknologi bandung (itb) and also with one of curator who previously held solo exhibition of ahmad sadali’s paintings in 2014. while in the context of serat fjw, interview was done by having the successor of bapak mursyid suprapto kadis and his congregations, or known as sālik, as the interviewees. analysis of meanings towards the two arts in this study was conducted in descriptive study with the study of tasawwuf, aesthetics, and arts as the grounded theory. the tasawwuf theory was used as a means to dig up the content of spritual meaning started from the process of creation to the meaning contained behind the colours of spiritual works by ahmad sadali. the islam aesthetics (the philosophy of islamic beauty) both in literature and fine arts, was chosen to dig up verbal-conceptual understandings, particularly about mystical tendency of the works which were investigated. the process was started by giving description of formal elements in words and paintings, the analysis of elements of word formation or visual element composition, as well as interpretation of code and symbol that were formed and offered by the two arts studied in this study, until the inner philosopical meanings of the arts were found as the highest valuable quality, comprising ‘beauty’ (pulchrum), ‘truth’ (verum), and ‘kindness’ (bonum) (sugiharto, 2013). results and discussion for artists and sufis, colour is considered having deep and valuable value. the method they used to ‘measure’ the value of colour is known as “dematerialization”. the maestros of abstract paintings, such as: kandinsky, rothko, pollock, and ahmad sadali do the “dematerialization” of colour of an art as the medium (material) until it has deep meaning, like, spiritual and transcendent meanings. for ahmad sadali and suprapto kadis, both of them share similarity in colour dematerialization. for them, colour as the initial or starting point is taken from nature (the extrinsic territory) that is continued by dematerialization dadang sudrajat et al., colour dematerialization in spiritual literature and painting 177 when it is dealt with an inspiration which comes from the intrinsic territory (mental). figure 1. painting, painted by ahmad sadali, entitled “gunung mas” or the golden mountain. 1980. size 80x80 cms. from: http://arsip. galeri-nasional.or.id/pelaku_seni/ahmadsadali/downloaded on july 30, 2017 at 23.35 the difference between serat fjw and the sadali’s painting lies on the definition of colour which is not entirely abstract for fjw. serat fjw employs the principle of “naturalistic mimesis”, it is when the source of inspiration of an art work refers to the nature, therefore, the names of colour used in the serat fjw are closely related to the nature, like, ‘biru telaga’ or ‘lake blue colour’, ‘biru gunung’ or ‘mountain blue’, ‘biru samudra’ or ‘the sea blue’, ‘biru langit’ or ‘sky blue’, ‘birunya kembang duhkita’ or ‘blue as like the duhkita flower’, ‘kuning gading’ or ‘yellow ivory’, ‘kuning temu giring’ or ‘yellow as like the javanese herbs, temu giring’, ‘kuning keputih-putihan bagai bulan musim panas’ or ‘whitish yellow like a summer moon’, ‘warna hijau daun kara’ or ‘green as kara leaves’, ‘hijau pucuk’ or ‘green shoots colour’, and ‘merah darah’ or ‘blood red colour’. suprapto kadis sees nature as the universe’s holy book (kauniyah) that gives visual reference for the people see it. universe as the god’s harmonious and beautiful creation becomes the sign of his ‘face’ that is all beautiful and perfect. kadis catches the presence of nature behind the materials through an inside or inner activity a creative imagination and intuition. as a sufis, suprapto kadis also catches a slight of ultimate truth to be externalized in a symbolical or metaphor form that passes the quality that exists in nature. in other words, it is the process of crystallization of a material realization in the form of beautiful and meaningful word string in the serat jfw by kadis. nasr (1993) stated that in tasawwuf, verse in a poetic work is seen as a result of observation and ‘secondary’ product of spiritual truth expression of a person who has been able to achieve the truth itself and live in a balanced nature (tha’-ib mauzūn). thus, artists and poets can be considered as the inner soul key holder. they act as a key who are able tp open an inner life so that the vibration coming from supernatural territory becomes noticable, readable, and feel–able. table 1. the comparison of colour dematerialization the research objects the different nature of colour similarities serat fjw naturalistic mimesis discovery of inner meaning that gives spirit to human’s life. result of a reflectivecontemplative intensity. “gunung mas” painting by ahmad sadali abstract the sign of “dematerialization” in serat fjw and the sadali’s painting is able to be seen from its virtue in finding the inner meaning, compared to the outward form. as a mystical spiritual javanese literature, colour in the serat has two entities. one as a concrete manifestation that is able to be seen and felt by the five senses. another one is as an unreal manifestation; as the spiritual sense of the colour or material. when talking about an unseen or spiritual material, then, the barrier wall has been broken down till it penetrates to the immaterial territory. in this case, serat fjw and spiritual paintings do not only belong to the formal framework, just like the art for art’s sake that has wasted its colour’s life in formalistic boundary which places coharmonia: journal of arts research and education 17 (2) (2017): 174-180178 the contact between god and human. therefore, in the plato era, an artist or a writer was often known as a human who receives “god’s inspiration”. colour in the sadali’s paintings and the words contained in the serat fjw is a language substantial; both the paintings and the writing have replaced the nature of external world matter. it explains meanings deeper. colour starts from a mere material up to be able to give spirit for human life. in the eleventh verse of the serat, there is “… berbakti pada gusti dan sesama umat…” or in english “... being obeyed to god and fellow people...”. other religious messages are presented in the sixth and fifth verses which invite people to worship god according to the teaching of islam. this is the example of colour which experiences “dematerialization” where the meaning of colour leads people to understand the symbolical meaning and other meanings, which is more than just in the material layer. the origin of colour of both works that are discussed here were originated from nature (mimesis). however, in the painting of ‘gunung mas’ and serat fjw, colour has experienced metaphor. so, the nature of works becomes mystical and spiritual that brings metamaterial to touch human soul. in the sadali’s painting, he tends to show darker colour but calm which in the painting is expressed in dark green combined with blue with the grey nuance. meanwhile, gold colour places its own position as an accent that has deeper virtue to build spiritual value. this is in line with the writing of wassily kandinsky in sadlder (2007): it is evident therefore that colour harmony must rest only on a corresponding vibration the human soul ; and this one of the guiding principles of the inner world. in the verses of serat fjw, the yellow colour is borrowed to show the feeling of anxiety towards the external factor, mainly related to the issue of morals and attitudes. in the serat, it can be seen that the meaning lour as only colour which has no meanings and values. “dematerialization” in the spiritual work has positive tendency that can be traced from its epistimology aspect, from a bigger inspiration that is triggered by the five senses as an empirical experience; an intellectual skill in the form of reflectivecontemplative intensity which the process is continuously done to reach the most hidden dimensions (the invisible/supernatural power). to reach the level of the most hidden dimensions in the tradition of tarekat, purification/tazkiyah had to be done first. related to the attempt to achieve the hidden dimensions, there are the fifth and ninth verses from the serat that can be studied. it is about an attempt to release the whole attached nature towards a certain object, to unload the beliefs about a material virtue and then to build new beliefs about the material limitation. only by attaching ourselves to alim al-ghaib, ma’na (inner meaning) will influence the form (shūrah). the knowledge light of al allim (the omniscient) that is continuously shining will penetrate into its sheath wrapper until it slowly becomes transparant and the inside object is ‘seeable’. in the process of creation, the two subjects that are studied in this study had received special treatment in moslem way. sadali, for example, always prayed midnight prayer or doing sholat tahajud before he painted. similar treatment was done by suprapto kadis who always prayed to god every noon and night. in other words, the works of sadali and kadis are actually a result of spiritual principle imposition and intellectual-the intellectual of god or logos in the form of thought a harmonious cosmic reality ontology that happens in an internal process of the creator, author, or painter. about this, nasr (1981) states that intellectual does not have a rational definition, the meaning of “intellectual” belongs to iltellectus or nouns. it is defined as an aptitude to find the truth to place words/ language on the most glorious throne. it contains pure truth value that is caused by dadang sudrajat et al., colour dematerialization in spiritual literature and painting 179 of the verses related to the good and bad things. in the fourth verse, the meaning of ivory yellow colour brings the meaning that goodness can turn into hope and the fifth verse shows the meaning of ‘temu giring’ yellow, the badness that can turn into anxiety. the two magnetic fields as explained above are not meant to mix match or confuse moral structures, but more to open the possibility of harmony to be existed. about this, it is explained that “… manusia yang hendak bertemu ‘tata hayuning’ kehidupan…” which means that people attempt to achieve the highest moral level with the main purpose to obey god, allah s.w.t. these are written in the second and seventh verses. method in spiritual paintings and serat fjw reverses the direction of interpretation from realistic naturalistic into the reverse direction as well as giving strength that is more than just analogy about colours. the spiritual impression that is experienced by ahmad sadali and suprapto kadis is understood as contemplative perception, a feeling of selflessness. as stated before by kant (1951), based on his theory of disinterested/purposiveness without purpose. it explains that art may catch object/ nature without any other purposes rather than the object itself. it is a kind of experience of beauty, pleasure, and sublime that is inflicted by certain object (about the concept of surrender that can be seen from the seventh verse) with the solid purpose, the god. “dematerialization” causes the composition of colour and word string becomes poetic that may invite the aesthetic emotion but also possess meanings that can evoke senses, invite contemplation, up to the level of sublime. the term is found in the explanation delivered by suryajaya (2006) from the book entitled on the sublime by cassius longinus, which defined “dematerialization” as an object that has dazzling object because of its uniqueness that invites astonishment. it is in line with the term delivered by kandinsky, that is stimmung, that was found in the writing by sadler (2007) as a spiritual condition that is hard to be interpreted as ‘the spiritual essence of nature’. the paintings and literature are built or constructed through theological framework that was initiated from colours as the material, till the colours turn into the immaterial concepts. it is indicated from the writing of sadler (2007): pembawa obor kebenaran yang baru akan menemukan pikiran orang-orang yang telah dipersiapkan untuk menerima pesannya, sebuah bahasa yang telah dipersiapkan untuk dia yang dapat dipergunakan untuk menghiasi kebenaran yang baru dan yang ia bawa, suatu organisasi telah menunggu kedatangannya, yang akan memindahkan dari jalurnya segala kesulitan-kesulitan yang bersifat melulu mekanik serta material lainnya. the writing of sadler (2007) indicates that there will be people who are able to interpret symbolical meaning contain in the message of art works. these people will be ready to spread new truths that can bring people to the state of happiness where all burdens are supposed to be lifted. art work that is created by one who has sensitivity in responding to the challenge from outside and inside world becomes the evidence of how arts can act as communication media and unlimited expression. in this research, ahmad sadali and suprapto kadis are two samples of art creator that have an extraordinary sufistic’s inventinevess, taste, and intention. both of them, as artists, have an explicit and implicit power which always sustain in every of their works. conclusion exclusively, colour dematerialization indicated as an intrinsic basic value of an attitude that is universal by nature, that was built in an optimistic spirit with certain directed aims. colour dematerialization was built from an inner spiritual that was manifested as the symbol of an absolute and objective belief. the colour dematerialization was also built from a consistent and cohesive attitude as a result of normative traditional islamic principle. harmonia: journal of arts research and education 17 (2) (2017): 174-180180 colour dematerialization is a kind of human language that was formed by the principle of harmony, as the product of activity done by human’s thought and soul, so that it has formal quality or ideas that were able to move feeling in to a mystical experience with the creator. the colour dematerialization that has spiritual nuance can also become an important media to develop ethics and moral that guaranteed the establishment of relationship analogy between the god’s and cosmic orders, so that the form of spiritual support is able to be given to the life of the universe. the spritual and religious work are holy work that were resulted from a spiritual reflection that was possessed by the taste of divine. this is a kind of work that had spread into one’s spiritual aspiration to the other’s field of primodial and fundamental material (colour) till it turns into an oasis that gave refreshment in the contemporary era in the field of fine arts where colour had lost its spiritual value. as delivered in the study, when a branch of knowledge has been unable to explain a certain case of phenomenon, then a complementary collaboration of knowledge is needed to give a comprehensive, solid, and complete illustration of a single case of phenomenon. therefore, colour as the object of this study is supposed to open opportunities for new discoveries from other fields. an interdisciplinary research model as conducted in this study is supposed to be needed and will become a new tradition of a scientific research. references kant, i. (1951). critique of judgment, trans. j.h. bernard, new york : haffner longinus, c. (1927). on the sublime. usa: streetlib mccoubrey, j. w. (1970). modern american painting. time-life international nederland nasr, s. h. (1987). islamic art and spirituality. ipswich : golgonooza pres. translated by drs. sutejo. bandung: mizan nasr, s. h. (1981). kenowledge and the sacre. london: curzon press suryajaya, m. (2016). sejarah estetika: era klasik sampai kontemporer. jakarta: gang kabel. sugiharto, b. (2008). dematerialisasi seni dan dampaknya. retrieved from http:// bambarto.blogspot.co.id/2008/06/ dematerialisasi-seni-dan-dampaknya.html sugiharto, b. (2013). untuk apa seni? bandung:pustaka matahari. sadler, m. t. h. (2007). wassilly kandinsky, concerning the spiritual in art. translated by sulebar m. s. jakarta: yayasan seni rupa indonesia. yustiono. (2005). interpretasi karya ahmad sadali dalam konteks modernitas dan spiritualitas islam dengan pendekatan hermeneutik. desertation. bandung: faculty of visual arts and design, institut teknologi bandung 337 meaning differences in indigenous kriya and crafts in indonesia and their leverage on the craft of science globally husen hendriyana institut seni budaya indonesia bandung, indonesia submitted: 2022-05-19. revised: 2022-11-21. accepted: 2022-12-07 abstract the meaning of a term is supported by the cultural values of the supporting community, specifically the designer community, who recognize and have faith in the contained values. in a broader sense, the terms kriya and kerajinan are components of the craft-science field. since 1968, the meaning of the terms kriya, kerajinan, and craft has been a source of contention among stakeholder community groups in indonesia. this article aims to convey a scientific understanding of adaptive crafts based on the global development of indonesian indigenous crafts. this study employed a descriptive-analytical method and an ethnographic communication approach, focusing on sociolinguist studies that include diachronic and synchronic studies. based on current and relevant theories, the research findings demonstrated the development of indonesian indigenous crafts in a global context. in conclusion, the hasta cipta preneurship (hcp) theoretical approach was used to identify the basic components: creative ideas, people, products, markets, venues, reproduction, humanists, and support. this hcp creative process extends the definition of new kriya as one of the academic competencies of two-dimensional and/or three-dimensional visual works that advance the conceptual intelligence of laku hidup lestari (lhl-sustainable lifestyles) and is oriented to the aspects of utility, significance, and aesthetics, with the goals and targets for achievement to the aspect of user needs, solutions, and innovation. keywords: kriya; craft; creative-preneurship; craft-science; globalization how to cite: hendriyana, h. (2022). meaning differences in indigenous kriya and crafts in indonesia and their leverage on the craft of science globally. harmonia: journal of arts research and education, 22(2), 337-354 harmonia: journal of arts research and education 22 (2) (2022), 337-354 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i2.36567 ronment of indonesian universities, and the term kriya has many meanings to this day. the central government, local governments, and research centers under the ministry of industry and trade all use the term kerajinan. some elementary, junior high, and high school teachers and students define kerajinan as the creation of handcrafted works such as brooms, dusters, doormats, flower vases, clothes hangers, and key chains from materials found in the surrounding environment (iwanda, and azis, 2022). the term kerajinan is used by government institutions, specifically introduction the academic world of higher education is a critical component for agents of change in a nation’s generation. its role and task are to study all of humanity’s constantly changing phenomena, and new values that will have meaning for human life in the future become the issues identified. because science plays a role on campus, it has objective and universal values (buchori: 2010). since 1968, kriya has been declared a field of expertise in the academic envicorresponding author: e-mail: husenkriyadesain@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (2) (2022): 337-354338 dekranas and dekranasda, as well as research centers under the auspices of the ministry of industry and trade, balai besar batik dan kerajinan (main gallery of batik and crafts). in the view of indonesians, kriya products are well-known for their traditional, handcrafted manufacturing processes that necessitate a lengthy processing time (soedarso sp, 2006). craft science should not be considered obsolete in the age of industry 4.0 and society 5.0 because it is necessary to think and act adaptively to keep up with the times of digital information technology. the definition and practice of kriya must change with the times so that it is possible to have a comprehensive, adaptive, and inclusive redefinition of kriya, which can have an impact on changing the mindset of craft actors according to the times. craft attitude (sanscartier, 2020) and designing craft research (niedderer & townsend, 2014) demand unplanned creativity, innovation, and adaptation in the context of mixed research related to science, craft, and art (aesthetic values). this means that the meaning of craft in this context is not as an object but as an activity, namely the dexterity of attitude and creativity in acting, including maps and research method actions (kokko et al., 2020) therefore, the focus of the object of this study is the words and terms “kriya, kerajinan, and craft,” as described above. on the other hand, this research aims to investigate the production of meaning from kriya stakeholder groups such as the government group, the art college group, and the general public. (actors/ practitioners and kriya businessmen) concerning that, several previous research findings (pöllänen, 2013) define craft as an activity related to an individual’s wealth, personal growth, development of physical and cognitive skills, control of one’s body, thoughts, and feelings, as well as cultural and social awareness. furthermore, craft activities are also thought to mitigate pain and stress while also calming the mind. similarly, in craft bir research (gómez-corona et al., 2016), the term craft has nearly the same meaning, namely creativity and innovation with limited amounts of traditional taste that is not performed in an industrial way. craft has a meaning related to real activities and actions through the production of a prototype/product, in addition to the work of one’s skills (bell & vachhani, 2020). craft as an object of human work, in this case, refers to skills, abilities, and competence in processing digital documentation content representation of both tangible and intangible dimensions of heritage crafts, with a view to craft preservation (zabulis et al., 2020). craft can also refer to subject matter/ case studies (pathak & mukherjee, 2020) and theory (zhan & walker, 2019), (väänänen & pöllänen, 2020). similarly, the term craft in sustainable craft (väänänen & pöllänen, 2020) has the same meaning and role as the term sustainable design (zhan & walker, 2019). (di salvo et al., 2017). in the context of the development of craft science, the diversity of understanding the term kriya will, of course, add to the wealth of knowledge. however, if it is not explained objectively, systematically, and scientifically, it will be confusing for prospective craft students and the current craft students themselves. as a result, it is critical that this research present objective and scientific definitions, indicators, and reasons for acceptance due to science enrichment. most prospective craft students at a university believe that competence and craft work is the levels of hardworking artisans/laborers involved in sculpting, printing, and realizing functional products, souvenirs, home décor, furniture, and the like. this significantly impacts prospective new students’ interest in the craft study program. this article aims to convey a comprehensive, inclusive, and adaptive understanding of kriya in accordance with the development of craft science in the current era, namely to give birth to ideas that can husen hendriyana, meaning differences in indigenous kriya and crafts in indonesia 339 provide the fundamentals for enriching the definition and understanding of kriya, so that craft science in indonesian art universities can develop and adapt to the times. method this research field focuses on art science, specifically fine arts, with competency in craft arts. this article is a critical examination of past and present kriya concepts. this study employs a descriptive-analytical method in conjunction with an ethnographic communication approach (kuswarno, 2011), with a focus on sociolinguist studies conducted within the context of diachronic-synchronic studies (walker, 1989). in this ethnography, data were gathered through observation and interviews. data collection and analysis include both diachronic and synchronic data so that we can achieve a meeting point for the concept of understanding, which is used to redefine the correct understanding of kriya based on the circumstances and times. the following are the procedures and stages of this research: (1) identifying informants; (2) conducting in-depth interviews; (3) taking ethnographic notes; (4) addressing descriptive questions; (5) conducting interview analysis; (6) conducting domain analysis; (7) providing structural questions; (8) conducting taxonomic analysis; (9) asking contrasting questions; (10) conducting component analysis; (11) developing contextual themes; and (12) writing ethnographic results (koetjacaraningrat, 2009). results and discussion the rich and diverse potential of indigenous arts and culture in indonesia, from sabang to merauke, including handicrafts and home industries, can provide a new source of income for rural residents (husen; hendriyana et al., 2021). kriya is a professional field that creates products to meet the needs of specific people’s lives, such as ritual, socio-cultural, aesthetic, and vernacular functional needs (buchori, 2010). kriya is inspired by sanskrit, and includes elements of unifying characters and skills such as crafty, aesthetically refined, complicated, diligent, patient, painstaking, and detailed. this concept of kriya is drawn from the background of community life activities in the palace, and the palace becomes a foothold for ancient and eastern cultures (soedarso, 2006; gustami, 2007). (koentjaraningrat, 1994). kriya has strong philosophical values ingrained in the palace culture community (tiyang agung/priyayi culture). however, kriya products are not a goal in the cultural perspective of this palace, but rather a life philosophy of sedermo ngelakoni kanti kebajikan (doing something good in a generous manner) that is manifested in everyday life through tenacity, perseverance, patience, and perseverance in carrying out their life activities. all of these are stated by the palace’s people as proof of responsibility for life and its best manifestation in order for the blessings to benefit others (arabi, 2013); (dwiyanto, 2009). the yogyakarta mataram palace became the center of islamic civilization on the island of java during the reign of king sultan agung hanyokrokusumo (15931645 ad). this period encompassed activities such as those relating to cultural arts, carving traditional palace architecture, carving king chariot, a culture of aesthetically-refined art, pattern making (nyungging), weaving, and batik arts. these activities were later known as seni kriya (craft arts) (de graaf, 1985 and 1986); (hoop, 1949). (koentjaraningrat, 1994:112). following the culture of the palace, the term kriya is used among academics who have competence in the field of the art science. later, the indonesian fine arts college (stsri) campus “asri” was the first to open a craft arts department in 1968. since 1968, the term kriya has been used to describe a skill as well as a specific occupation in the field of designing and manufacturing products that are useful for the needs of people’s lives in general, including primary, secondary, and tertiary harmonia: journal of arts research and education 22 (2) (2022): 337-354340 needs, as well as the needs of religious ritual instruments (gustami, 2007). the term kerajinan was first used officially in 1971 at the yogyakarta batik and handicraft research institute (juwarso, 2022). the term kerajinan was first used in jakarta in 1980, with the establishment of the national crafts council (dekrnas). in 1990, the indonesian craft consortium met at the sasana aji yasa stsri ‘asri’ building in gampingan yogyakarta to create a kriya map in the fields of art and design, with the goal of strengthening the meaning of kriya. craft arts, as a subbranch of fine arts, is concerned with the activities of the palace’s cultural heritage, specifically traditional culture (indigenous art-culture), which is thought to have reached a high level. according to this definition, the word kriya is distinguished by its association with craft or kerajinan, as well as carpentry (see figure 2) according to the above description, the object of communication connection about the definition of kriya, kerajinan, and craft, especially in indonesia, which is unique can be illustrated in (figure 1). figure 1. mapping of sociolinguistic ethnography for craft & kriya in the context of communication ethnography, three actors have a close relationship with indigenous definitions of indonesian “kriya” and “kerajinan,” as well as craft in general. in the meantime, the art college group, the central and local government (gaverment), and the palace culture are all concerned with the policy space for cultural activities. keraton culture is a concept of great culture, priyayi culture, the other side of alit culture, peasant, worker, and artisan culture (folk culture) are some of the cultural activities (koentjaraningrat, 1994; ricjlefs, 2012). figure 2. theoretical frameworkcontextual theme according to the findings of a diachronic-synchronic study of the three terms kriya, kerajinan, and craft, one of the cultural values that underpin the birth of kriya in academic institutions is palace culture. this is based on the fact that kriya are the results of peak personal and collective activities, which are commonly referred to as the noble culture (gustami: 2007). (soedarso: 2006). meanwhile, the larger community is unaware of the potential of alit culture (tiyang alit culture/folk culture) that has developed in areas outside the palace (koetjaraningrat: 1994). the diachronic-synchronic data resume for the three terms is shown in table 1. the differences in perspectives and meanings, as presented in (table 1) highlight that the indonesian kriya development group is full of myths and beliefs about indigenous cultural values that bind them. overall, the three points of view can be divided into three categories: the historical perspective is particularly relevant to artistic values and cultural husen hendriyana, meaning differences in indigenous kriya and crafts in indonesia 341 table 1. meaning interpretation of kriya, kerajinan, and craft from three stakeholders stakeholder kriya kerajinan craft academic group as a product of palace culture, kriya is a high culture because it is a traditional work (indigenous culture) that has reached its peak (adiluhung). kerajinan is one of the products of folk culture; kitsch/ kitschiness. as a global phenomenon, craft products can carry out transformational actions and interdisciplinary collaborations in art, culture, technology, society, politics, and economics at personal and collective levels. government crafts are one of the advantages of products with the identity of national culture, indigenous culture. handicraft is a representation of the people’s culture and the potential of the archipelago: a reflection of the sociocultural conditions of the local community through work activities as the main/additional source of income to meet daily needs. kriya is a nation’s potential that has the opportunity to enter the global market, by conducting training, coaching, and mentoring entrepreneurs. namely empowering the potential of creative culture personally and communally. the government specifies the nomenclature of kriya subsectors based on materials in order to meet the needs of academic institution organizing. the government specifies the institution of dekranas, dekranasda, balai besar kerajinan dan batik. the government specifies the institution of bekraf, the national event of inacraft by presenting products under the supervision of dekranasda public in general kriya is a ritual, cultural and traditional tool and means of collective work practices in cultural arts, e.g., wooden puppet, gedog weaving, batik, sonket, and tosan aji. kerajinan is a source of basic/additional income to meet their daily needs, e.g., handicrafts made from rattan, wood, woven bamboo, pandanus, and hatta; earthenware ceramics; metal/blacksmithing sees craft is a work activity for foreigners from various developed countries (knowledge and technology application equipment). expressions, resulting in a dichotomous taxonomy of high culture (expression of noble culture, tyang agung culture) and folk culture (expression of tiyang alit culture). high culture uses the term kriya, whereas folk culture traditionalizes the term kerajinan. creativity perspective, cultural product types, and their functions. it relates with the extent of mastery of the arts and techniques. this group presents a dichotomous taxonomy between indigenous culture and local genius that is full of ideals and is usually linked to the provisions of traditional hereditary patterns. the indigenous culture uses the term kriya (high value), while the local genius group reinforces the term kerajinan. the value of kerajinan is regarded as low-value work, product, or kitsch. global perspective. this group offers inclusive and adaptable understandings of the global phenomena they face, such as creative-preneurs, craft-science, and culture industries. according to the findings of field data at several art colleges and/or other universities in indonesia that have art study programs, the taxonomy of kriya definitions in universities in indonesia is divided into three groups. the first is the harmonia: journal of arts research and education 22 (2) (2022): 337-354342 definition of kriya that is based on the materials used, such as wooden kriya, leather kriya, batik and weaving kriya, textile and fashion kriya, metal kriya, ceramics and jewelry kriya, bamboo and rattan kriya, and tosanaji kriya (andono and rispul, 2015). second, it is identified based on its intended use: crafts based on internal emotion to fulfill artistic and aesthetic needs; kriya based on external emotional processing, or commonly known as applied kriya, to fulfill pragmatic functions as supporting life activities in society. third, identified based on the scope of the work and the creator’s position, namely, kriya works with a relationship to personal branding, corporate branding, and community needs (gorbatov et al., 2018); (gorbatov et al., 2019); (wicaksono, 2017). according to imam buchori (2010: 53), kriya in indonesia are classified into four types. the first category is traditional kriya with an ethnic cultural context; the second is religious beliefs and rituals; the third is folk kriya; and the fourth is kriya made by artists and designers. lutfiani (1918) quotes several statements about the transformation of kriya according to the times. (1) according to fang wu tang, kriya is not static but can constantly evolve, transform, and adapt to modern life. (2) genuine craft development directly relates to the community (tung, 2012:2). (3) crafts is a dynamic process that involves processing various materials and their properties (gray and burnett, 2009:51). (4) kriya (craft) is defined not only as a method of producing something by hand but also as a method of thinking through hands by manipulating materials and tools (nimkulrat, 2012). (5) crafts rich in creativity and self-expression can create a personal brand and a cultural identity in the global market (tung, 2012). the architectural work of the teluk nibung harbor building is an example of kriya transformation using the five principles presented by lutfiani (1918: 130). sculpture (kriya ukir), traditionally used to reflect the area’s cultural identity in traditional architecture, has now evolved into a modern-style regional identity (panjaitan, sw. e.al, 2021). in the era of industry 4.0 and society 5.0, there should be no dichotomy between noble kriya and kitsch in excess since both have their own meanings and logic that can be scientifically justified. thus, the words craft and kriya in a global context, particularly when related to international publications, have the same measurable objectivity with clear reasoning based on the text and context. in other words, the high or low value of a work of kriya,’ kerajinan,’ and ‘craft’ is determined by the context of the benefits of the work in question in various community circles and perspectives. hata cipta preneurship (hcp) is one of the theoretical formulations of an adaptive and relevant approach derived from the study of developing the definition and meaning of kriya. through the 2019-2021 research process, hcp has been able to accommodate activities that lead to changes in conceptual, critical, systematic, and adaptive assumptions and attitudes, as well as providing real skills to the pandan craft community in pangandaran regency, saguling ciamis regency, rajapolah tasikmalaya regency, and grenggeng village, karanganyar, kebumen regency (hendriyana, et al., 2021). in today’s craft development era, the kriya academic community of practitioners and craftsmen partners can use their potential as change agents who are oriented to become problem solvers, empowered, independent, and competitive. the hcp approach leads to a comprehensive and adaptive thinking concept through several basic components such as creative ideas, people, product, market, venue, reproduction, humanist, and support (table 3). the goal of this activity is to see how this element of influence can be used to enrich the meaning of kriya based on its era. thus, the concept of kriya can keep up with the times; it does not always appear to be stuck on primordial, traditional, and manual concepts. in today’s digital era, the added value of craft products is not only husen hendriyana, meaning differences in indigenous kriya and crafts in indonesia 343 focused on retail selling value in the form of goods, but also on creative ideas and concepts, as well as techniques that can influence others to be able to carry out a similar creative process. crafts overview: from local cultural spaces to global academic spaces indonesian heritage crafts have existed since prehistoric times, beginning with a primordial man living in caves (the stone age) and progressing to the bronze age (miksic et al., 2002) regarding the archipelago’s cultural history, works of cultural products, commonly known as artifacts, were born the earliest and the oldest in indonesia (ardika, 2002). most cultural product artifacts have functional values, particularly ritual, social, and cultural functions that had a certain level of uniqueness and very high creativity at the time. it is described in detail in a five-volume book called de inlandsche kunstnijverheid in nederlandschindie (1992), which is quoted by koetjaraningrat (1994). the book also describes the art of carving, weaving, weaving arts, textile crafts, gold, silver, and brass, as well as how to make keris. in addition, the description of traditional painting (nyungging, citraleka) was described by s. kalf (1924) in a book entitled de javaansche shilderkunst, volume iv. as mentioned at the beginning of the discussion sub-chapter, the definition of kriya based on the grouping of raw materials used has limited the scope of student creativity as creative actors. however, in the environment of art college students in indonesia, the production process of craft works still uses indicators for evaluating craft products based on the materials used. similarly, the government continues to dictate the nomenclature of craft sub-sectors based on the materials used. the definition of craft based on the materials used is also not without reason; this is especially relevant to indonesia, a tropical country known for its natural resources such as wood, rattan, natural fiber, natural stone, ceramic soil, and so on. the mapping of indonesian academic craft branches is based on the raw materials utilized, such as wood crafts, leather crafts, metal crafts, ceramic crafts, batik crafts, and textiles. the definition of kriya based on the type of material used is no longer relevant in the context of developing global creativity. the evolution of the urban community’s culture and lifestyle has changed the demand for craft products that are no longer rigid, based on one type of material, but rather a combination of materials used in one product. this has emerged as a demand and requirement for urban communities. taking this into consideration, changes in the order of knowledge, theory, and definition of craft should occur in the academic environment of a college of art. twenty-five research titles containing the word craft were discovered as a result of the literature review; (bell & vachhani, 2020), (björklund et al., 2020), (fayolle & gailly, 2008), (gómez-corona et al., 2016), (golsteijn et al., 2014a), (golsteijn et al., 2014b), (kokko et al., 2020), (knott, 2013), (lahti & seitamaa-hakkarainen, 2007), (niedderer & townsend, 2019), (niedderer & townsend, 2014), (pöllänen, 2013), (pathak & mukherjee, 2020), (sanscartier, 2020), (shiner, 2012), (treadaway, 2009), (väänänen & pöllänen, 2020), (valentine, 2011), (wrzesniewski & dutton, 2001), (yair et al., 1999), (yair, 2011), (zabulis et al., 2020), (zhan & walker, 2019), (zhan & walker, 2019)}. six meanings were derived from the interpretation and meaning of the word craft, as shown in table 2. craft education in the academic environment of famous universities in england, specifically at the royal college of art, emphasizes the ability to make compositions on materials rather than hand skills. thus, drafters/designers and drafters/ art workers are craft occupations in this case (buchori, 2010). additionally, design education in finland is divided into two types: technology-based and craft-based. the ability to express personal design ideas harmonia: journal of arts research and education 22 (2) (2022): 337-354344 is emphasized in the craft-based; this can be referred to as craft-based personal branding (wicaksono, 2017). on the other hand, while technology-based crafts are based on external problems as problem solvers (goldschmidt & smolkov, 2006), this can be said to be in accordance with corporate branding crafts that serve community needs (design-based crafts or production-based crafts). craftworks are generally classified into four (4) types and characters, as follows: 1) crafts that are more likely to emphasize creativity and expression; 2) craftworks that highlight the aesthetic qualities of their visual (artistic) beauty; 3) craftworks that exhibit technical advantages of workmanship, such as the workers’ complexity and tenacity, require patience, tenacity, expertise, sincerity, and high skills; 4) craftworks that emphasize the value of pragmatic functions, work systems, and usability in order to present simplicity. this type of work’s simplicity usually emphasizes the material’s character, which provides artistic value and is futuristic and elegant. there are standards that can be used as assessment indicators in the academic environment, particularly in the assessment of student work, as shown in the table 2. based on the results of the divergence-convergence analysis of the dichotomous taxonomic problem of the terms’ kriya,’ ‘kerajinan,’ and craft, it is possible to define craft in the current era through the perspective of satpa cipta preneurship. craft in the current era, in other words, is one of the academic competencies of twodimensional and/or three-dimensional visual works that advance the conceptual intelligence of ‘sustainable lifestyles (lhl). this perspective of craft is also concerned with utility, significance, and aesthetics, with the goals and achievement objectives concerned with user needs, solutions, and innovation. in terms of the taxonomic group’s relationship with the materials used, the above-presented definition of craft based on materials such as wood, leather, batik, pandan, and metal is included in the realm of substance development of creativity in terms of utility, significance, aesthetic, user considerations, solutions, and innovation. this implies that the material type is not the most important global consideration. the analysis and interpretation of craft meaning according to government up to july 2022, indonesia has 416 regencies and 98 cities, which means that there are 514 government agencies named dekranasda (dewan kerajinan daerah/ regional craft board) throughout indonesia that the regent and mayor coordinate. those regencies and cities mentioned the term kriya/craft with the term kerajinan. according to the majority of public and civil servant groups in indonesia, and based on global discourse, the meaning and definition of kriya is the same as kerajinan and/or craft. thus, the name “balai besar kerajinan and batik” (1971) first appeared under the auspices of the republic of indonesia’s ministry of industry and trade. in 1980, the dekranas (national crafts council), dekranasda (regional national crafts council), inacraft (the jakarta international handicraft trade fair), and bekraf, whose pronunciation is the same as craft but whose meaning is creative economy agency, were established. the inacraft 2022 phenomenon, held on march 23-27, 2022, at the jakarta convention center (mostly attended by participants from dekranasda), exhibited the uniqueness of their respective regions (indigenous products of regional culture) such as sasak lombok songket cloth (sumadewa, iny., and hasbullah, 2022). in other words, the product’s form is closer to the craft heritage category, which refers to a better understanding of heritage-based craft, the traditional regional culture that is thought to have attained a high level of quality (see figure 2 and table 2). the association of indonesian handicraft exporters and manufacturers (asephi) founded inacraft in april 1999. this organization was founded on april 5, 1975. asephi, or the association husen hendriyana, meaning differences in indigenous kriya and crafts in indonesia 345 table 2. elements embodying design-based crafts idea and concept concept of shape clarity of concept and value of the message conveyed have a problem-solving background and the purpose of creation as outlined in the work concept creativity in organizing medium and visual media elements has a technical and systematic explanation of the concept through the basic elements of the work’s visualization quality, problematic, and originality mastery of specific techniques, as well as innovative values and style (unique, reflecting identity characteristics). have methods, ways, techniques, and visual style characteristics that are novel and unique. have territorial and regional identity characteristics and can accommodate the needs, conditions, or lifestyles of user community groups. action and attitude (play the role of a problem solver/ agent of change) professionalism academic competence educational relevance (academic competence) is associated with the form/type of work produced. role and position of the artist/ researcher expression (individual/collective) both ‘ordered’ works and personal expressions contain elements considering specific value contexts. skill skilled crafty the works reflect perseverance, tenacity, and patience. sensitivities and sensibilities as well as collective meaning in a practical, pragmatic and social manner. collaborative and integrative ability over internal and external elements paying special attention to aspects outside of its own expressions, such as the value of function effectiveness or efficiency and user convenience, so that the work is appropriate for consumers. paying special attention to aspects other than personal self-expression, both technically and non-technically. considering the elements of the work’s embodiment in relation to the six elements of value, function, and meaning (utility, significance, aesthetic, user, solution, and innovation). form and shape form and shape of the works having the works of visual 2d or 3d having process outcomes realized as finished works or models/prototypes/mockups/prototypes/monumental works that have passed the feasibility test source: (husen hendriyana, 2021) of indonesian handicraft exporters and producers, is a forum for indonesian handicraft producers and exporters. as the organizer of inacraft activities, asephi is motivated by a simple but noble goal: to improve the well-being of craftsmen and entrepreneurs in indonesia’s handicraft sector. based on the analysis of these activities, it is obvious that communities have been producing indonesian indigenous craft products since the 1970s. the analysis and meaning on the terms of kerajinan, (craft), perajin (craftsmenmaker), and pengrajin (craftsmantrader) the triangulation analysis of emic and ethic on the data, as shown in figure 2, yields three terms: craft kriya – kerajinan. the following understanding was obtained from interviews with cultural leaders (july 2022) : kriya represents high culture, therefore, the activities and works are noble. harmonia: journal of arts research and education 22 (2) (2022): 337-354346 table 3. group for meaning interpretation on crafts makna craft author, co-author craft as theoretical approach, case study, subject matter, subfield of science, and knowledge väänänen, n., & pöllänen, s. (2020). treadaway, c. (2009). shiner, l. (2012). sanscartier, m. d. (2020). pathak, s., & mukherjee, s. (2020). niedderer, k., & townsend, k. (2014). lahti, h., & seitamaa-hakkarainen, p. (2007). knott, s. (2013). iwanda, tw., dan azis, ack., (2022). gómez-corona, c., escalona-buendía, h. b., garcía, m., chollet, s., & valentin, d. (2016). gray, c., & burnett, g. (2009). golsteijn, c., van den hoven, e., frohlich, d., & sellen, a. (2014). fayolle, a., & gailly, b. (2008). zhan, x., & walker, s. (2019). yair, k. (2011). yair, k., tomes, a., & press, m. (1999). valentine, l. (2011). zhan, x., & walker, s. (2019). craft as method of technical skill and knowledge kokko, s., almevik, g., høgseth, h. c. b., & seitamaa-hakkarainen, p. (2020). kokko, s., almevik, g., høgseth, h. c. b., & seitamaa-hakkarainen, p. (2020). craft as object and product tung, f. (2012). sugiarti, r., margana, m., muthmainah, m., & fauzia, l. r. (2019). craft as skill and competence nimkulrat, n. (2012). craft as form and type of activities, action and occupation pöllänen, s. (2013). craft as competence, case study, character, type, and branding björklund, t. a., keipi, t., & maula, h. (2020). 6 groups the twenty-five topics and titles of scientific articles agencies (dekranas/dekranasda) and the academic setting. kerajinan is a manifestation of folk culture (the alit culture), and its activities and products are traditional, functional pragmatic, and vernacular. its work crisscrosses the culture of the palace and the government. this noble work lies in the palace’s cultural area as well as in the academic world, namely the campus. in indonesia, craft is a representation of the culture industries/creative industries; its activities and works are pragmatic, kitsch/kitschiness. its work crisscrosses between the government husen hendriyana, meaning differences in indigenous kriya and crafts in indonesia 347 aside from the distinctions between kirya, kerajinan, and craft, the terms kerajinan, perajin, and pengrajin are also understood differently. according to the findings of interviews with academics, government officials, and craft business actors in the field, crafts (kerajinan) are related to their products and activities, whereas (wood) artisans are related to the main actors, the workers. additionally, pengrajin (craftsmen) are related to collectors, bosses who manage the company, or handicraft product trader. in general, workers of regional handicraft products on the island of java focus primarily on routine work based on orders from collectors/middlemen (traders). artisans do not consider the name, term, or designation of the product they are working on, whether it is called a kriya or a craft product. most craftsmen and collectors are pragmatic and straightforward; they prioritize the reality of life in carrying out their profession. based on the definition presented in table 1, rural indigenous crafts represent alit/folk culture (koetjacaningrat, 1994), better known as kerajinan, carried out by a group of perajin personally in their respective homes and forming a wider group. then, the surrounding area becomes accustomed to the pattern of inheritance from generation to generation, expanding the regional group to include one or more villages, as happened in kampung anyaman pandan in the village of grenggeng karanganyar kebumen, central java. craftsman areas, such as the ‘kampung anyaman pandan’ in the village of grenggeng karanganyar kebumen, central java, began with individual craftsmen working in their respective homes. it then grew into a larger group and made the pandan woven product the family’s livelihood. the community activities of this craftsman group, passed down from generation to generation, form a naturally patterned culture. this resulted in the development of the working principle of sustainable lifestyle (lhl). the same thing happened in the community of research partners, namely the majalaya traditional gedog weaving craft group in west java. additionally, it also occurred to a group of pandan mat weaving craftsmen in rajadesa, ciamis, as well as the pandan product from the saguling mine in west java. the level of knowledge acquired by the community of ‘craft’ workers in the regions can also be determined by their level of income, namely the wages they receive. sjahroel syamsudin, an official of the indonesian national consultant for the itc (international trade center) in geneva, stated in a 2001 article published in the international trade center, geneva, switzerland, that the lowest wage for workers in the handicraft sector was only one us dollar per day (at the time, one us dollar equaled rp. 9,000). wages for handicraft workers in daily calculations are a particular source of concern for indonesian sme developers in general. prior to the post-2000s era, craftsman labor was calculated based on personal work capacity rather than daily basis; how many units can craftsmen reach the number of product packages agreed upon by the ordering party. as traders or handicraft product companies emerge, this pattern can provide work evaluation materials to the crafter group. regional handicraft product companies, such as smes, have played a role in training and assisting individual craftsmen by focusing on three aspects: (1) determining the level of knowledge and personal skills of craftsmen; (2) determining the level of personal production capacity of craftsmen in days, weeks, and months; and (3) determining the urgency of the need for the use of supporting equipment, such as a simple mechanical engine or a middle scale industry that focuses on production capacity. these three patterns add value to the work of artisans. however, because the activities of individual craftsmen that were previously done at home have shifted to a larger production, this pattern also requires good management. according to the findings of actual field monitoring, the sustainability of this harmonia: journal of arts research and education 22 (2) (2022): 337-354348 group of craftsmen’s activities depends on an ongoing trade process. as a result, crafter groups and sme require assistance from related parties such as those in the triple helix or penta helix elements (academics, government, business actors, communities and media). up to this point, the potential of traditional regional handicraft products can only be realized naturally and slowly (wicaksono, 2017). this regional traditional craft group evolved into home-made products with a larger production capacity in the post-2000s era, such as the creative economy culture in the surakarta leather craft community (elfena, 2020). craft-science: practice-led research kriya through the creative preneurship approach observing the three groups of people who have specified different meanings to the notions of kriya,’ ‘kerajinan,’ and/ or craft in the ethnographic context of sociolinguists, another point of view that can provide a more objective and scientific understanding in a global context is required. creative entrepreneurship is viewed as one of the themes and concepts of a relevant theoretical approach to provide an appropriate understanding each different and subjective community group defines the terms kriya,’ kerajinan,’ and/or craft that is understood thus far. the subjectivity of these terms’ discourse is expended by their respective community groups, which are the local/ village crafts community, the government, and the academic community. meanwhile, there was a synergistic movement in performance between units/institutions/ communities that were integrated with the triple helix or penta helix cooperation program in the post-2000s era. the collaboration involves elements of the government, academia, business people (from the business world), the community, and the media. this contextual theme of creative entrepreneurship is essential in order to provide scientific reasons among the kriya, kerajinan, and/or craft groups. in the context of this article’s study, contextual themes and the concept of creative preneurship can be used as an instrument for connecting ethnographic sociolinguists between kriya,’ kerajinan,’ and/or craft. this can be accomplished by affirming that the kriya has both internal (academic) and external (real-world) relationships, both with the smes actors and/or with users (users) or buyers/traders. see also (figures 1 and 2). the analysis of the creative preneneurship component generated eight important elements that influence the level of achievement and success of craft product activities. hasta cipta preneurship (hcp) refers to these eight elements: creative ideas, creative people, creative products, creative market/marketing, creative venue, creative reproduction, creative support, and creative humanism. these eight elements become the basic components that provide a shift in perspective, attitude, and belief in formulating the craft concept as the competence of open, skilled, and adaptable indonesian craftspeople. figure 6. hasta cipta preneurship (hendriyana, h; putra, ind, 2021) example of hcp product application of kriya pandan husen hendriyana, meaning differences in indigenous kriya and crafts in indonesia 349 table 4. hasta cipta preneurship (hcp) creative people artist, designer, craftsmen, dancer, actor, drafter, photographer, manager creative idea understand the problem; understand the issue; sensitivity – sensibilities; problem solver; modification & commodification; design brief, design thinking, innovation, originality, design review. creative humanist significance; use, utilize, according to human needs; entrepreneurial humanists comfort, satisfying. creative support funding; regulation; community/institution/agency return on investment (roi) creative reproduction reuse, reduce, recycle, recreated, redesign, refresh, resize creative venue / space digital media, social media, laboratory workshop & showroom / exhibition. creative market/marketing market place, entrepreneurial marketing; digital marketing: (customer engagement; social media, planning & analytics) creative product art, craft, painting, sculpture; gift, accessories, souvenir, house hold; aesthetic elements interior/exterior (home décor); furniture; restaurant equipment/café & hotel. figure 7. idea, concept, and attitude of lhl design (sustainable lifestyles) (hendriyana, h; putra, ind, 2021) figure 8. product application of sapta cipta preneurship (hendriyana, h; putra, ind, 2021) figure 9. product application practice-led research kriya (eco friendly packaging for boutique fashion) (hendriyana, h; barnas, asep, 2022) the meaning of craft science in a global context as presented by (kartika et al., 2020) in their research on the artifacts of the great mosque of sang cipta rasa cirebon, this global phenomenon of craft meaning is a form of cultural hybrid. existing cultural elements, both historical and craft stakeholders, drive the phenomenon of cultural hybrids (academic groups, government, business world, and the general public). harmonia: journal of arts research and education 22 (2) (2022): 337-354350 tourism’s involvement also contributes to the phenomenon of cultural hybrids (sugiarti et al., 2019). indonesian craft science discourse lags behind in the global academic field, nonetheless excels in its products’ uniqueness and visual aesthetics. craft discourse in academic circles can grow and develop as global knowledge is opened up according to the text and context. people in some areas can now access newer and more advanced information through the existence of digital information, social media, and online mass media. as a result, developments that occur outside of the community can be adopted. in the context of creativity, the six elements (figures 1 and 2) that have influenced the diversity of definitions and meanings of craft thus far can be objectively and scientifically traced back to their respective reasons. that is, the outcomes of craft product creativity, particularly in art colleges, can no longer be limited and categorized based on the material. the dominance of theoretical, philosophical, and pragmatic aspects can determine the track of the definition and description of the relevant craft according to the development of the era. in other words, the results of the aesthetics analysis, usability, materials, and techniques, as well as the shape and style of each type of craft product, can determine the track of the relevant craft product’s definition and description based on the text and context, rather than a sectoral subjective definition. the lengthy development of craft theory in indonesian art colleges in comparison to other branches of art is due to dogmas that limit students’ freedom of creativity. therefore, the findings of this study’s analysis convey findings in the form of theoretical foundations that can provide enlightenment on the definition and taxonomy of new crafts at higher education in indonesia. the advancement of science, technology, art, and culture necessitates a change in attitude in all activities. in the age of globalization and information technology, craftspeople have discovered new ways to develop craft works or products that can survive in the technological era. this method entails the use of technological equipment to enable craftspeople to implement mass production processes (niedderer, 2009 in lutfiani 2018). thus, in this age of knowledge globalization, there should be no definition saying that craft tends to stagnate; that the crafts must always be handmade, done in the traditional way, or mythizing the values of primordialism into the value of craft products with the assumption that kriya are of a higher degree than kerajinan/craft. the hcp theory approach to craft creation has achievement targets oriented to eight guiding elements, as illustrated in (figures 6, 7, 8, and table 1). the eight elements are as follows: (1) creative products that demand quality shape/goods are oriented to the aspects of utility, significance, and aesthetics and have goals and targets for fulfilling user needs, solutions, and innovation; (2) have a clear market representation and or a breakthrough in ingeniously creating their own market; (3) it is certain that creative products must have space/ community anywhere, anytime, and in various circles; (4) creative products are not stagnant, limited by the use of materials that stick to the forms and types of products existed previously. rather, they have an opportunity for development through reproduction based on market needs; (5) to achieve breakthroughs from the specified challenges and higher achievements; it is necessary to have support from other partners synergistically and sustainably, as well as support from the cross-subsidies management system between the company’s subsidiaries; (6) emphasizing all creative activities and actions that lead to humanist development (humanizing humans); additionally, products must consider environmental health; (7) all of these elements must certainly be supported by reliable human resources, namely human resources with (8) creative and brilliant ideas. creative thinking patterns, such as husen hendriyana, meaning differences in indigenous kriya and crafts in indonesia 351 the hcp concept, have altered community groups’ assumptions and beliefs, demonstrating that creativity does not always result in more appropriate solutions but helps community groups generate more ideas and offer new insights. this is consistent with the statements from ali (ali et al., 2002: 15). an hcp creative process model that has contributed to the development of humanism knowledge was developed based on the results of the supervising process to the craftsmen pandan ikm in pangandaran regency (2019-2021). they are as follows: 1. developing critical, conceptual, and reflective thinking skills in all aspects of intellectual and practical activities; 2. improving technical competence and understanding of the field’s broad conceptual and theoretical elements from their specialty; 3. intellectual curiosity and openness, as well as an appreciation for the interconnectedness and areas of uncertainty in the current development of global craft knowledge; 4. communication skills that are effective in all domains (reading, writing, speaking, and listening); 5. skills in research, discovery, and information retrieval, as well as its general information use; 6. multi-asset problem-solving abilities and teamwork capacity; and high ethical standards in personal and professional life supported by self-directed activity capacity (west, 1998: 47) conclusion craft and kriya have the same meaning, according to the analysis of three groups of field data, twenty-four library data from previous craft research, and the results of the 2019-2021 practice-led applied research. the term craft is widely used in the global context, with no distinction between craft and kriya. furthermore, there is no connotation that diminishes the substance of the artisans’ activities and actions. in other words, craft and kriya have similarly equal meanings; craft’s different meaning is influenced by the context. the difference in meaning between kriya and craft is contextual, not hierarchical, and is determined by the artisans’ social status. in the context of its development in the global era, craft science is comprehensive, adaptive, and inclusive. kriya develops in the academic world in indonesia by preserving the patterns of regional cultural inheritance that have noble values related to the principle of sustainable living behavior (making use of the potential of raw materials from the environment while preserving and loving environmental health and safety). kriya, in other words, is a vocational/academic competency of two-dimensional and/ or three-dimensional visual works that emphasizes the conceptual intelligence of ‘laku hidup lestari’ (lhl), which is oriented to the aspects of utility, significance, and aesthetics. the goals and achievement targets are introduced to the aspects of user needs, solutions, and innovation. in the academic context, kriya has standardization, requirements, and indicators that refer to utility, significance, aesthetic considerations, users, solutions, and innovations. kriya is comprehensive; it includes creative ideas, people, products, markets, venues, reproduction, humanism, and support. kriya is inclusive in the sense that it fosters a conducive community that is better able to accept various forms of diversity and difference and accommodate them into various arrangements and infrastructures that exist in global society. kriya is adaptable, which means they can always keep up with the times. consequently, the advancement of craft-science in indonesia can grow and progress. acknowledgment this article is one of the publications of post-doctoral research funded by research and community service department (lppm) through the resource of dipa isbi bandung. therefore, i’d like to express my harmonia: journal of arts research and education 22 (2) (2022): 337-354352 gratitude to lppm isbi bandung, colleagues, and other parties who cannot be named individually. references andono, andono, and rispul. 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(2019). craft as leverage for sustainable design transformation: a theoretical foundation. the design journal, 22(4), 483– 503. https://doi.org/10.1080/14606 925.2019.1613040 56 revitalization and socialization of daeng dance in purbalingga, indonesia dinar anggraeni a practitioner of the art, stay in purbalingga, indonesia e-mail: dinaranggraeni65@yahoo.com received: april 22, 2015. revised: may 5, 2015. accepted: june 13, 2015 abstract the purpose of the study is to know and depict the revitalization and socialization of daeng dance in purbalingga, indonesia. this study used a qualitative method. the relevant techniques of data collection to the method are observation, interview, and documentation. the data obtained are analyzedusing three ways; they are data reduction, data display, conclusion and verification. the results showed that revitalizing daeng dance occurred in its earliest performances, by means of innovating the foregoing daeng dance without leaving its characteristics. the revitalization was done toward the dance’s motion, accompaniment, makeup, wardrobe, stage, sounds, lighting, and floor patterns, as well as there is a change in its function; as the media of spreading islam in the past to nowadays just being an entertainment. after the process of revitalization, daeng dance is then socialized through two ways of deployment; they are formal and informal processes. this dance’s socialization in this study occurs through direct performance and mass media. keywords: daeng dance; purbalingga; revitalization how to cite: anggraeni, d. (2015). revitalization and socialization of daeng dance in purbalingga, indonesia. harmonia: journal of arts research and education, 15(1), 56-61. doi:http://dx.doi.org/10.15294/harmonia.v15i1.3755 harmonia : journal of arts research and education 15 (1) (2015), 56-61 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v15i1.3755 p-issn 1411-5115 e-issn 2355-3820 less demand from the audience toward the dance since it is very monotonous either from the aspects of its performance or its parts of motion (hadi, 2005, p. 37). similarly, in the area of purbalingga, there is an art that is abandoned since it is considered outdated and unable to compete with the new cultures. however, some institutions are still going to make many efforts to lift it, like dinbudparpora (department of culture, tourism, and sports) which play a major role in revitalizing the art that became locally extinct so as to be presented again with a new style and artistry that can provide the interest of the community. one of the revitalized dances is daeng dance. it is one of the traditional dances that thrive in the purbalingga. it is experiencing a process of revitalization in senior high school 1bobotsari. introduction each area has an art performance, whose condition looks advance or less. according to soedarsono (1998, p. 1), there are many things that cause the extinction of an art performance in an area. sometimes, changes that occur in politics and an inability to compete with other forms of performance are the causes of the extinction. similarly, the community is going to be interested in things that are more popular than traditional art performances, so it will require a change in the community’s point of view. if there is a change in one part, it will affect other parts that ultimately affect the overall social system’s condition. a dance will always face changes from time to time. sometimes, it is under the reason of dinar anggraeni, revitalization and socialization of daeng dance in purbalingga ... 57 a revitalization is an effort to return once the essential so as to undergo degradation. it is oriented not only on solving the sheer physical beauty, but also for coming with the improvement of its community as well as the introduction of the existing cultures (alfita, 2012). some arts revitalization have been much done by some institutions who are paying attention to that issue. some forms of revitalizing the art as revealed by supanggah (2008) include reconstruction, refunction, representation, reformation, reinterpretation, reorientation, and recreation. the arts of dance, whose presence surely cannot be separated from the community supporters, comprise the dancesofprimitive culture, traditional dances that developed in castles, the dances among rural communities, growing urban dances, and modern dances (hadi, 2005, p. 13). the presence of dance forms will appear in the design of motion, the pattern of motion continuity, and the supporting elements of the appearance of the dance, as well as its compliance with the intention and purpose of the dance (jazuli, 1994, p. 4). a motion is essential in a dance. it is a sign of life, the first and last human’s reaction towards life, the situations, and the activities of others. the feelings of dissatisfaction, disappointment, love, fear, and hurt are always experienced through subtle changes of body movement. living means moving and a motion is the raw material of dance (murgiyanto, 1983, p. 20). there is a close relation between music and dance. both are derived from the same source; that is the urge or rhythmic human instincts. music is a pair of dance, as it is not a mere accompaniment, but it is an inseparable part of the dance (murgiyanto, 1983, p. 43). indonesia is known with some forms of venue, such as the open field or arena, pendapa (an open veranda), and staging. there are various forms of staging, or often referred to forms of performance. for example, the proscenium form in which the audience can only see from the front side only, the horseshoe shaped stage in which the audience can see from three sides, and the horseshoe form of pendapa (an open veranda) with its higher building than horseshoe shaped stage (jazuli, 1994, p. 20). there are three types of makeup, namely corrective makeup, fantasy dressing, and character dressing. a corrective makeup is the makeup for the purpose of repairing parts of the face that is not perfect, like repairing the shape of eyebrows, the shape of nose, and lips. a fantasy dressing is the makeup as a result imagination. a character’s makeup is the makeup for the purpose of clarifying the character, or dance characters (pekerti, 2008, p. 36). fashion is also very supportive in a dance. there is no need for a dance clothing to look glamorous and glitzy, but it should be able to provide unhampered motions of the dancers and also a great interest for the audience as well as it helps strengthen the expression of motion. in a traditional dance, a dance clothing often reflects the identity of an area that at once represents to the origin of the dance (jazuli, 1994, p. 6). a sound system is a set of sound instruments that has the purpose to set up the music and dance accompaniment. the sound instruments will help to clarify the voice or sound of music accompaniment; thus,the dance performance becomes more alive (pekerti, 2008, p. 39). a lighting is a set of lights on the stage. it is not only for the purpose of lighting in a show, but also serves to strengthen an atmosphere of dance. the lighting setup is not only for a mere lighting, but also serves to create a dramatic effect and gives vitality to a dance performance, either directly or indirectly (jazuli, 1994, p. 25). a floor pattern or design is floor stripestraversed by a dancer or by the formation of a group of dancers. there are two sorts of line; straight and curved lines (murgiyanto in sedyawati, 1986, p. 106). the dances often have a function at each event in life, as revealed by jazuli (1994, p. 43) that the functions of dance are for the purposes of ritual, entertainment, harmonia : journal of arts research and education 15 (1) (2015): 56-6158 performance art, and education media. a socialization according to the experts, such as bruce j. cohen, is the process which human beings learn how to live in the society, to gain the personality, and to establish the capacity to have functions, both as individuals and community members. according to david gaslin, a socialization is one’s process of learning to acquire knowledge of values and norms, so that he may participate as a member of a community (damanik, 2010, p. 79). based on its type, the process of socialization that takes place within the community can be distinguished into two. the first is a formal socialization that occurs through the authorized institutions under the provisions in the state, such as formal education in the school. the second is an informal socialization that takes place in the community or in groups of friends or best friends (damanik, 2010, p. 83). method this research examines about revitalization and socialization of daeng dance in purbalingga; therefore, the appropriate research method for this kind of examination is a qualitative method. as bogdan taylor (as quoted by moleong 2007, p. 4) defined a qualitative method also the research procedure that generatesdescriptive data about the observed behaviours. this means that the issues that will be discussed in this study does not deal with a numeral, but rather the description of an overview of the results which contains a discussion of the problems examined. the problems discussed in this research aims to find out how the revitalization and socialization of daeng dance in purbalingga. the data collection techniques are observation, interview, and documentation. the analysis of research data began with a data collection through the techniques of interview, observation, and documentation. the collected data are further processed before it is ready to use. the data analysis continues to use words that are compiled into the text, otherwise called descriptive data. the data analysis is divided into three stages; they are data reduction, data display, and conclusion. a source triangulation is used to get the data validity. results and discussion the location of the research is in purbalingga regency. it is one of the regencies in central java, in the area of banyumas district. purbalingga is a place of socialization and development of daeng dance, while its revitalization is in senior high school 1 bobotsari. this high school is a favourite school in purbalingga. it is located in bobotsari sub-district, precisely in the area of majapura. senior high school 1 bobotsari is a state high school approximately located 11 km to the north of purbalingga. the location is not so far from the main street. the entire land area is approximately 27,806 m2 consisting of main buildings and courtyard about 12,499 m2 and a front yard 15,357 m2. this school is a place to the onset of the process of revitalizing daeng dance where the revitalization is occurring under the provision of dinbudparpora (department of culture, tourism, and sports) to redevelop the dance who began to suffer extinction. the results and discussion of the research focused on the revitalization and socialization of daeng dance in purbalingga, which contain a brief history of dance, dance, the revitalization process, the shape of the show after revitalization and socialization. revitalization process of daeng dance the revitalization took place on october 13, 2013 toward the dance’s motion, accompaniment, makeup, wardrobe, staging, sounds, lighting, and floor patterns. the revitalization process occurs by means of innovating the foregoingtodevelop both in terms of motion, accompaniment, staging, wardrobe, makeup, dinar anggraeni, revitalization and socialization of daeng dance in purbalingga ... 59 lighting, sounds, and floor patterns. this development is intended to increase the acceptance toward daeng dance. a brief history of daeng dance daeng dance is one of a variety of traditional arts and folk performance that live and thrive in purbalingga. this dance was once performed by men as there were silat movements that became the characteristics of the dance. there are steps to do, like initially the dancers line up, then they pit one by one, two by two, until at the end of the show, there are attractions, such as playing a machete, consuming beling (glass), and playing a whip. this dance is usually performed by ten male dancers. before the performance, there is usually a ritual from the leader of the arts group so as to have inner power in time of attractions when the dance is performed. the daeng dance continually started to remove and had lack attention anymore, though it was not totally disappeared, but the audience was rare when there was a performance. the audience was only the people around. soon, no more people invited the group to perform anymore. the dance is going to get the attention of government through dinbudparpora (department of culture, tourism, and sports) by means of revitalizing the dance, innovating the form of dance performances, and performing it in senior high school 1 bobotsari on october 13, 2013. form of daeng dance performances the form of daengdance performance to explain here is the form after revitalization. the forms of the show include motion, accompaniment, stage, fashion, makeup, lighting, sounds, and floor pattern which have all undergone innovations. motion motion is the most essential element in the dance. the revitalization in motion is the innovation toward the foregoing dance motions, but it is not leaving its characteristics, such as silat movements. the innovated dance motions are slightly easier so as to be easy to follow, though there are no longer attractions in this dance since the dancers are all female, but the characteristics of silat movement still exists. the development in dance motions is aimed to make it look much more interesting and can be easily accepted by the public. accompaniment the accompaniment of the dance used the music instruments of islam since it was used as the media to spread islam. the accompaniment used six tambourines, akendang (a small drum covered with leather at each end), and abedug (large drum suspended horizontally at the mosque). the dance is also accompanied by the song which the musicians sing. the song is sung at the beginning and the middle of the dance. it also adds the characteristics of the dance due to the strangeness of the song’s lyric so as to make the dance more interesting. staging there is no specific place or the stage to perform the dance. it can be staged on the closed stage, open stage, in a field, or on the streets. wardrobe a wardrobe is a proponent in the dance presentation, as a good makeup will make the dancers’ appearance look more attractive. the dancers use a corrective makeup that only thickens some parts of the face to make it look more beautiful. the hair is hung loosely and simply combed only. clothing the dancers of daeng dance wear along plain red sleeve shirt with gold studs in front of the chest and three-fourth red trousers with a silver lace on the tip of the pants. the dancers wear the accessories, like a golden colored irah-irahan adorned harmonia : journal of arts research and education 15 (1) (2015): 56-6160 made very interesting. it can be seen when the dancers form an upside-down triangle. then, the dancers move and see others face to face. they move slanting, forming the v letter. they form a sequence of straight. it is done to make the dance not monotonous at one spot only. someone should direct the dancers when they move. functions of daeng dance initially, the function on daeng dance was one of the art media to spread islam. this could be seenfromthe use of tambourine as the instrument that was used in the dance. this dance was also usually performed at religious events. but as time goes by, there has been a shift of function. after a revitalization, this dance is no longer used as the media to spread islam. it is only used as entertainment only. socialization of daeng dance daeng dance is socialized through two sets of deployment, a formal socialization that occurs through the authorized institutions under the provisions in the state, such as formal education in the school where the process of revitalization occurs. the second is the informal socialization that takes place in the community or in groups of friends or best friends as well as the mass media. the socialization of the dance is done through a performance. the dance is usually performed at school events, or events organized by the department of tourism in purbalingga. those are the right time the dance is experiencing a process of revitalization. senior high school 1 bobotsari is a school in which the process of revitalization occurs. the socialization of daengdance can be disseminated through a performance and the mass media. it is aimed to let the wider community (areas out of purbalingga) know the revitalized dance. conclusion daeng dance is one of the traditional dances. it was once performed by men and with red, green, blue, and orange mutes, a gold sumping is adorned with a length wise mute, a golden kace or nated with a golden lace and a golden flower, a pair of green bracelets with golden lace ornaments,long white socks,and the last,a pair of green anklet ornated with golden lace. the dancers also wear black-colored glasses. besides using some accessories, the dancers also use some propeties, like golden-colored sampur (a long scarf) tightened on the left and right side of the waist, a golden slepe (a belt), and a yellow golden rampek, the moccasins are only used to protect the dancers’ feet from sharp objects when dancing in a field, in the lawn, and in the streets. sounds a sound system is a set of sound instruments for organizing music sound as a dance accompaniment. the music players play live music, so they only need a microphone connected to an amplifier and forwarded to a speaker. it has a purpose for the dancers to be able to hear the accompaniment performed, if this dance is performed either in the closed room or in the open space. lighting the dance can be performed during the day or night. necessary lights are needed to support the dance performance at night, but it is not necessary to use lights during the day in the courtyard or on the street as the only light used is the sunlight. it is aimed to make the dance more noticeable by the audience. floor pattern floor patterns are used to make the appearance more interesting. the use of floor patterns is also intended to make the performance, impressive, not monotonous as floor patterns give the impression to the audience, and it gives space for the dancers to move free not only in one spot, but also around the spot according to the specified pattern. the revitalization in floor patterns is dinar anggraeni, revitalization and socialization of daeng dance in purbalingga ... 61 now it is performed by women. this dance was usually performed in big events, but day after day it began to suffer extinction and was abandoned without any successors. therefore, dinbudparpora (department of culture, tourism, and sports) organizes the revitalization of this dance in senior high school 1 bobotsari. revitalization is done by means of renovating the form of performance, including motion, accompaniment, makeup, clothing, lighting, staging, and the floor pattern, so that the dance looks more interesting and attractive. the next process is socialization, through two sorts of deployment, a formal socialization that occurs through the authorized institutions under the provisions in the state, such as formal education in the school where the process of revitalizationoccurs. the second is the informal socialization that takes place in the community or in groups of friends or best friends as well as the mass media. references damanik, f.h.s. (2010). seribu pena sosiologi untuk sma/ma kelas x. jakarta: penerbit erlangga. hadi, s. (2005). sosiologi tari. yogyakarta: penerbit pustaka hartono. (2000). seni tari dalam persepsi masyarakat jawa. harmonia journal of arts research and education. 1(2), 123-130. jazuli, m. (1994). telaah teoretis seni tari. semarang: ikip semarang press. murgiyanto, sal, m.a. (1983). pengetahuan dasar komposisi tari. jakarta: direktorat pendidikan menengah kejuruan. pekerti, widya. (2008). metode perkembangan seni. jakarta: universitas terbuka. ratnaningrum, ika. (2011). makna simbolis dan peranan tari topeng endel, 11(2), 125-129 sungkowo, s. (2004). seni tari sebagai muatan lokal: sebuah alternatif. harmonia, 5(1), 48-54. sedyawati, edi. (1986). pengetahuan elmenter tari dan beberapa masalah tari. jakarta: direktorat kesenian. soedarsono. (1998). seni pertunjukan indonesia di era globalisasi. jakarta: direktorat jendral pendidikan tinggi departemen pendidikan dan kebudayaan. warto. (2014). revitalisasi kesenian kethek ogleng untuk mendukung pengembangan pariwisata di kabupaten wonogiri. paramita, 24 (1), 4762. 125 dutch batik motifs: the role of the ruler and the dutch bussinesman asidigisianti surya patria department of design, faculty of languages and arts, universitas negeri surabaya, jl. ketintang baru xii no.34, ketintang, gayungan, surabaya, indonesia e-mail: asidigisianti@yahoo.co.id received: october 1, 2016. revised: december 4, 2016. accepted: december 11, 2016 abstract dutch batik is the referent of batik which is made by european-indo woman industry. it can be identified by the european pattern which is a bouquet. this research is aimed to describe the correlation between the development of dutch batik with the role of the dutch government and the dutch merchant. the library research was used during analyzing the role of the government and the merchant using the talcott parsons’ functional structure theory. the batik dutch companies were commercial oriented. it is different from real javanese batik which had a purpose to be worn by themselves. dutch batik was the expression of the idea and behavior of the dutch who lived in indonesia. they expressed their western by using the patterns that were shown in their batik. keywords: dutch batik; motifs; businessman how to cite: patria, a. s. (2016). dutch batik motifs: the role of the ruler and the dutch bussinesman. harmonia: journal of arts research and education, 16(2), 125-132. doi:http://dx.doi.org/10.15294/harmonia.v16i2.7357 harmonia : journal of arts research and education 16 (2) (2016), 125-132 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v16i2.7357 p-issn 2541-1683 e-issn 2541-2426 h. santosa doellah, the founder of batik danar hadi and a collector of indonesian batik concluded that batik is an ancient art technology that develops simultaneously along with the art of making the fabric itself. batik has been developed in indonesia since centuries ago, in the land of java, batik has evolved into an expression that is rooted in mythology, philosophy, and the symbol of the human life cycle. from china and india came the influence of hinduism and buddhism, while the arabs and persians came the islamic atmosphere. the trail was reflected in a variety of batik motif on the north coast of the island of java and the other hand, in surakarta and yogyakarta is the center of the aristocracy. batik is a masterpiece that is influenced by the course of time and the changing environment. since the days of empire, batik has introduction definition of batik in javanese kromo means fiber and in javanese ngoko means to write, then it is interpreted as painting (dripping) wax. famous ancient batik painted in simple lines and dots, and easily poured or dripped with a wax that is melted on the fabric (susanto, 2002). djoemena (1990) stated that batik is included in the painting. the tools are used to paint is called ‘canting’ with a variety of sizes. it depends on the type and the fine lines or the desired of points. batik art can be viewed from various aspects, such as the process of batik, the quality of batik, the motifs and color of batik. the canting itself is a small bowl made of copper which has a stout-stemmed bamboo or wood that can be filled with fluid wax as a material for painting. harmonia : journal of arts research and education 16 (2) (2016): 125-132126 been imposed by the royal leader (king) and the royal family. the motif that was used should not be applied by the commoners. this motif is called ‘larangan’ (prohibited) motif (not allowed), while the commoners may use other motives. hereby we can see the profound meaning of the motif until only the king and the royal family is allowed to wear (roojen, 1998). a royal era has passed, but the principles of the application of batik motif still adhere. although it is not prohibited from applying the larangan motifs to be worn outside the court but with some provisions. batik is an expression of identity and environment of the maker. the motif becomes the outpouring of both individual persons and community groups. motifs can also describe goal against the ideal thing. just as a cultural, motif can change that is affected by the development environment and the prevailing norms in society (wardhani, 2004). cirebon dominant motif like the waves of the sea is added the sea creatures, due to the geographical location of cirebon that is located on the north coast of java. in the region of central java, there are a lot of fruit and flowers, so that the resulting motif was not far from flowers and fruits (dharsono, 2007, p. 69). as a result of interaction with the times and historical circumstances, the motif is distinguished by patterns, and colors. royal batik combines hindu and javanese culture in the fifth century through the ornament eagle, dragon, lotus, and the tree of life and then combining with islam distinctively diverse stylization of symbols but no animals. chinese immigrants came later brought oriental ornaments such as: snakes, lions, dragons and bird phoenix by presenting in bright colors and pastel. when the dutch colonial dutch batik motifs appear erupted in 1840 and reached the peak in 1890 to 1910, the results of beginning the dutch/european in the north coast of java. color and variety of motives distinctive individual styles present a unique and significant. the rise and growth of culture cannot be separated from the character, distinctive features, and phenomena in the life of the community where the batik was born. the formalization of shape, meaning the embodiment and the work was associated with the phenomenon of social, political, economic, cultural, and religions that developed in the community because they were massive forming exponent which has a set of uniform. the present of the work is influenced by both the natural surroundings and the used as raw materials and sources of inspiration. it will be difficult to make the resources and cultural roots whether the phenomenon of political, economic, social, and religious which from the work or even the work affected the phenomenon (gustami, 2007, p. 233). dutch batik as one of the forms of culture are objects that can be the result of cultural photographed and viewed (koentjaningrat, 2009, p. 151). the motive in this paper will discuss the effect and influence of the dutch colonial with coastal batik in java. although batik in java had been existed since ancient but with the arrival of the dutch batik changes. batik itself also affected in the culture of dutch people such as migrants, especially in the way they dress. the beginning of the dutch batik could be traced back in the arriving of voc (verenigde oost indices compagnie) which was the trading company owned by the dutch government. earlier the textile trading had been a monopoly of indian then voc tried to overcome and took over in 1677 (veldehuisen, 1993, p. 19). voc’s arrival also affected the development of batik in java because it brought to the netherlands to indonesia and its customs and practices espoused though they came to trade or even trade monopoly. the dutch people were settled in indonesia, especially java, not a month or two, but for years, considering the journey it has taken from the netherlands by ship for months. before the dutch came to java, there have been patterned batik fabric mainly mataram era, it was just a design motif that was used natural dyes and simple with color-warrants tend to be dark. but asidigisianti surya patria, dutch batik motifs: the role of the ruler and the dutch ... 127 after dutch traders brought dyes with new colors, batik started to get significant changes in terms of color and design. although the base before the dutch came batik pesisir also used bright colors, but still used natural dyes. artificial dyes from india from the dutch trade increased the repertoire of colors in batik. there were two major batik styles of java. first, in central java, where sultanates ruled the area, batiks were made in brown, blue, and black, combined with white and cream. each motif applied to have symbols and meanings deep philosophy many of the motifs were originally prohibited for commoners to wear. batik kraton (royal batik) tends to nuance orderly, but laden with values and spiritual significance and symbolism of the universe. for royal batik maker was a worship that embraces high art that follows the rules and philosophy of javanese aristocracy palace (ratyaningrum, 2005). on the north coast, a whole different style of batik was developed under the influence of early trade connections along the coastline (dartel, 2005, p. 12). the motif is an applicable naturalist and is influenced by foreign cultures seem to be strong, such as; chinese and arabic. colors used more variety of color shades are more likely to embrace regionalism of the origin of batik makers. the development of coastal batik is different from the royal batik, this is caused from coastal batik makers are not orphaned in customs and patterns of the royal batik motifs so that the motif that is generated are freer and adapted from the surrounding nature (flora and fauna) of the batik makers’ area. for coastal society, in addition to being merchandised, batik is also an expression of the makers (ratyaningrum, 2005). batik clothing functioned as an identity marker; people could ‘read’ from the type and the colours and motifs of other peoples’ clothes what town and social class they came from. the aimed of this paper is to describe the motif of dutch batik in the colonial era and to analyze the role of the government and the dutch merchant. the government was the ruler in that era who had a big role in developing the batik in the dutch community. the dutch merchant also designed and sold the batik among their community. method research approach implemented here was literature method which was based on printed data. printed data were collected from journals, and books, another data were collected from the internet. furthermore, the documentary materials which was analyzed by using content analysis (khotari, 2004, p. 110) based on talcott parsons’ theory, the functional structure. based on the parsons’ theory, individual was an actor in social system. he can be role as what society needs (ritzer, 2012, p. 125). the role theory has focused on the characteristic behaviors of persons who occupy social positions within a stable social system (biddle, 1986, p. 70). in this research the individual that had a big role in the development of the dutch batik was the merchant who was dutch descent and the governor who ruled in the colonial era. result and discussion dutch batik motifs according to veldehuisen (1993, p. 40) there are some dutch batik type which was designed by the indo-europeans. this batik still has a dutch taste which is shown on the ornaments of their works. the motifs are: the motifs that are shown most are buketan. buketan is the floral motif. this motif was inspired by the european magazine at that time. batik fairytale was inspired by european fairytale such as: mermaid, roodkapje (the red hood) and the wolf. the red hood and the wolf are shown implicitly on the batik cloth. the buketan motifs are still shown. batik wayang. wayang as the javanese identity was still being held and applied in the dutch batik motifs. one of the harmonia : journal of arts research and education 16 (2) (2016): 125-132128 sarongs in the rotterdam museum has wayang figure alternated with birds and long hair dog. figure 1. buketan batik motif (source: http://artscraftindonesia.com) figure 2. the red hood and the wolf fairy tale batik motif (source: veldhuisen, 1993, p. 41) figure 3. batik wayang (source: dartel, 2005, p. 25) batik poem. the poem is sometimes depicted on batiks. the poem was written along with the border around the cloth. in the middle of the cloth, there are some motifs that are not connected into the poem. figure 4. batik poem (source: veldhuisen, 1993, p. 43) batik perang jawa and perang lombok. this motif refers to java war (perang jawa) and lombok war (perang lombok). the battle of diponegoro against dutch east indies army on java. the perang lombok motifs is the copy of the perang jawa motif. figure 5. batik perang jawa and perang lombok (source: http://collections.lacma. org) the role of dutch descent structural role theory as a macro view of social structure then in it there are subsystems that explain the social structure of the macro. thus, it will be understood the nature and essence of the social behavior of particles is an individual to explain the social structure as a whole. each individual whose role is described in the role and the role of the analysis (kaplan & manners, 2002, p. 149). the role of individual entrepreneurs who can influence the design and production of batik netherlands explained using the theory of the role of structure. individuals who appear to explain his contribution to the dutch batik. cultural symbols associated with the system to be a reference and guide to community life and as a symbol of a system of asidigisianti surya patria, dutch batik motifs: the role of the ruler and the dutch ... 129 must have decided not to get married so that she could enjoy developing her passion into batik. (veldehuisen, 1993, p. 39). her moving to semarang was the strongest reason of carolina to develop her batik business because semarang was the city in the coastal area that was developing. her business instincts were from her father and her grandfather who were merchants. in semarang many indo-chinese and indo-european lived who became her target market. other indo-european who acknowledged as a batik manufacturer was mrs. catharina carolina van oosterom. her father was a salt seller in the district of semarang. she had loved batik before she was married. she loved to wear sarong and kebaya during the dutch club events. at the age of 16, he was married in the 34 years old w.j. van oosterom. after his husband died, he left catharina a small government pension which was not enough to live on. thus, she sought a source of income and, around 1845, she opened her batik manufactory on mt. ungaran. it was around that time that miss. von franquemont settled there also (veldehuisen, 1993, p. 47) both indo-european women have similarities in ornaments and motifs, it can be said that both of them were looking at each other. at that time this kind of cheating was pleasant, but then the motifs or the ornaments were developed little bit different. the richer multicolored cloth had been imported in north coast. this color trend is about the javanese aristocratic taste who liked the darker color. the north coast batik is influenced by the indian and chinese. the european batik manufacturer fulfilled the market of the north coast market who many chinese and indian lived there. some of the europeans that came with java had an aristocratic background, but they went to java to make a fortune. and if they had an aristocratic background, they were sent to indonesia because they had soiled the family name in the netherlands. they were just common people who got a letter to a connection in meaning is transmitted through symbolic codes. so the notion of culture is an expression of the community in the form of ideas and human behavior in the community (rohidi 2000 in dharsono, 2007, p. 24). the mixing culture between local (indonesian) and european characteristics, but not a mixed ethnicity, were created. men started to live with their housekeepers and were soon influenced by them in all aspects of life, from food and interior design to clothing, language and ideas about raising children. (dartel, 2005, p. 15). furthermore, dutch batik is a form of expression of ideas and behavior of dutch descent in indonesia. they express all the west western poured in applied motives. a most dutch batik entrepreneurs are java-born and the descendants of influential people or officers stationed in java. their fathers or grandfather was dutch soldiers or civil servants (the netherlands) which were then married to the dutch and reproduced in java. the descent was also continuing the batik business. reaching its peak of creativity in 1890-1910, dutch batik is clearly recognized through various works of arts named after the great designers. in the era of 1840-1860, for example, in semarang there were only two indo-european women who produced batik, namely carolina josephina von franquemont and carolina catharina van oosterom. miss carolina josephina von franquemont (1817–1867) was the first known indo-european who acknowledged as batik manufacturer. she was the granddaughter of a military officer that was on duty in batavia. because of the political situation at that time, her grandfather had changed into a merchant so was his father. her grandfather moved to surabaya in 1825 then ten years later his father came to surabaya. caroline came to surabaya also and open her first batik manufactory in 1840 at the age of twenty-three. but five years later she moved to semarang because she wanted to be closer with her most important costumers. this way she could monitor any changes in her customers’ preferences caroline never married. she harmonia : journal of arts research and education 16 (2) (2016): 125-132130 the “high circles” in batavia (veldehuisen, 1993, p. 40). another contribution of the entrepreneur is in the style of decoration and composition that create a distinctive style of pekalongan. the first style is characterized by simple lines and neat geometrical motifs. the second style is the use of motifs bouquet of flowers, or better known as buketan which is then regarded as the essence of the coastal batik. this large bouquet placed in the body and head cloth. (heringga, 2000, p. 50) the indo-european women chose a floral motif which was the typical of europe in every season to represent each stage of their life. flower color also determined who the wearer. white color for brides, blue for unmarried women, red depicts the love that used to married women, while purple was considered to represent the simplicity that was for the widows. the acceptance of this dutch motif by most coastal communities (semarang and pekalongan) due to the nature of coastal communities more open, free and dynamic whose livelihood rests on the sea (gustami, 2007, p. 233). so the people of these two cities could accept the changes that were occurring at that time. the north coast of java was the developed trading area (gustami, 2007, p. 183). the area spreads along from the batavia (now jakarta) up to surabaya, according to semarang which is on the north coast of java. the indo-european batik traders chose the semarang city as the place of their factories because at that time semarang was the biggest trading city that had big potential buyers and it was a habit to spend money easily. on the other hand, in semarang, there were many experienced batik makers that were capable of increasing the batik production (veldehuisen, 2007, p. 40). the role of dutch rulers one of the basic problems in life is that determines the value orientation of human culture, kluckhohn (koentjaningrat, 2009, p. 156) mentioned that the existence of human nature relates to other human beings or others. humans are very concerned with the vertical relationship fellows. in human life will be guided by the figures, leaders, senior, or boss. moreover, the theory of the human concept, the development of dutch batik will also be influenced by important figures or even a ruler. the power leader or leaders influence subordinates to participate in developing the dutch batik. as role models that are considered less usual will be familiar if that wears on a figure or leader. this anthropological study also borrowed a sociological theory, namely: karl marx theory known as the theory of marxism dissected the power is about capitalism in the development of dutch batik. the basic theory is that productive human being, that means to survive humans working in and with nature to produce food, clothing, and as the defense of life. in the survival of the human needs of help and cooperative with others. the development of that cooperation, initially work in harmony, then becomes harmonious, which rise the capitalism. the owner of the capital ruled against subordinates (who did not have the capital). it showed the sense of power to oppress each other in order to develop the capital and its business (ritzer & goodman, 2004, p. 31). understand this was used in netherlands in developing a business as the spread of capitalism in the colonies, indonesia. the dutch in addition developed the strength of capitalism in all facets of life, including in the development of culture, one of them was dutch batik. with sufficient capital, entrepreneurs set up businesses indodutch batik and batik motif design a new suit every taste and culture. the development of dutch batik also encouraged by the involvement of officials or influential people who had power. one culture shift can be observed in batik motif. batik as a cultural artifact (koentjanigrat, 2009, p. 146) or the results of the taste, creativity, made in indonesia reproducible design motif just because of the ruling taste. javanese traditional motifs asidigisianti surya patria, dutch batik motifs: the role of the ruler and the dutch ... 131 previously have been standardized and applied for centuries converted into motive easily adapted to the tastes of the market. no more provisions against certain motives are forbidden from use, this dutch batik is used by anyone who can afford it. for the dutch women, batik cloth was worn as long or sarong and kebaya or loose white tops and stylish tunic with lace. while men also wore gloves and long-sleeved tops are also white. this cloth was usually worn an informal or everyday clothes and it became favorite clothing indo-european people because according to the tropical climate (heringga, 2000, p. 27). according to coser (1975), a role can be defined as a social position, behavior associated with a social position, or a typical behavior. some theorists have put forward the idea that roles are essentially expectations about how an individual ought to behave in a given situation, while others consider it means how individuals actually behave in a given social position (şeşen, 2016, p.139) a person who had an influence was the governor general daendels (18081811). he ruled the indies in a fairly short time (approximately 3.5 years). he liked to combine cotton gloves and long-sleeved shirts as in informal event and also to the office (heringga, 2000, p. 53). indirectly, this daendles habit affected the subordinates of the dutch or other european to wear batik and adapt to the climate and culture of java. local clothing comfort due to the climate in java, which tend to be hot and humid, quite different in the netherlands. hunter and mcclelland stated that the functionalist focused on the individual, with the intent to show, although individual behavior is molded by broader social forces, but individual actors were still the decision-makers (ferguson, 2013, p. 34). the power of a ruler (deandles) accelerated the change to a culture of people underneath him by how he dressed. clearly, habits will be followed by the authorities under it either directly or indirectly appropriate. repression by the authorities does not prohibit their adjustment to the culture of dress worn with its colonial occupiers, although the motives and different models figure 6. the dutch was wearing sarong and white shirt (source: https://batikplatform.com) conclusions dutch batik refers to the works of batik made in the batik industry that belongs to the indo-european business women. the batik can be recognized by its european motif patterns. one of the most famous is floral motif called buketan. batik firms are already commercial purposes which are traded. it is contrasted into the original java batik which aims for his own use. the power of the ruler (deandles) is to accelerate the changing of the culture of the people underneath by the way they dressed. the ruler wore batik every event either formal or casual as the example for his staff was to follow wearing batik so it accelerated the development of batik. dutch batik is a form of expression of ideas and behavior of dutch descent in indonesia. it expresses all the west western poured in the motives. the women entrepreneurs were not classified as upper class, but the middle classes with high employee profession dutch government. there was also a class of wealthy merchants. just because the economic turbulence, the wealthy merchants were bankrupted. while the government employee only got a pension which was very less. this triggered the women must support her family, by opening a business batik in their house and hiring people around. the batik motives were got harmonia : journal of arts research and education 16 (2) (2016): 125-132132 shift experienced hues due to the influence of the arrival of dutch culture and the target market. references belting, h. (2003). toward an anthropology of the image in anthropologies of arts. massachusetts: clark studies in the visual arts. biddle, b. j. (1986). recent developments in role theory. annual review of sociology, 12(1), 67–92. dartel, d. v. (2005). bulletin 369 tropenmuseum exploring dutch colonial culture through the study of batik. amsterdam: kit publishers. dharsono. (2007). budaya nusantara. bandung: rekayasa sains. djumena, n. s. (1990). ungakapan sehelai batik (its mystery and meaning). bandung: djambatan. ferguson, s. (2013). mapping the social landscape: readings in sociology, 7th edition. new york: mcgraw hill. gustami. (2007). butir-butir mutiara estetika timur. yogyakata: prasisita. heringa, r. (2000). the fabric of enchantment, batik from the north coast of java. los angles: los angles county museum of arts. kaplan, d. & manners, r. a. (2002). teori budaya. yogyakarta: pustaka pelajar. khotari. (2004). methology: method and techniques. india: new age international (p) limited publisher. koentjaningrat. (2009). pengantar ilmu anthropologi. jakarta: rineka cipta. ritzer, george & goodman, d. j. (2005) teori sosiologi modern. jakarta: prenada media. setiawan, d. (2015). jogja fashion week carnival costume in the context of locality. harmonia: journal of arts research and education, 15(2), 126-132. susanto, m. (2002). diksi rupa, kumpulan istilah seni rupa. yogyakarta: kanisius. ratyaningrum, f. (2004). bahan ajar kriya tekstil. surabaya: unesa press. roojen, p. v. (1998). batik design. amsterdam: the pepin press. şeşen, e. (2015). role theory and its usefulness in public relations. european journal of business and social sciences, 4(1), 136-143. veldehuisen, h. c. (1993). batik belanda 1840-1940, dutch influence in batik from java history and stories. jakarta: gaya favorit press. wardhani, c. k. & panggabean, r. (2004). tekstil. jakarta: desantara utama. 246 max as a digital platform for noise music performance muhamad hafifi mokhtar1, clare suet ching chan2 1universiti pendidikan sultan idris, malaysia 2universiti putra malaysia, malaysia submitted: 2022-07-04. revised: 2022-08-18. accepted: 2022-10-28 abstract this article explores max as a digital platform for performing noise music through a practice-led research method. the practice-led research method was used to explore the possibilities of building max patches, while content analysis method was used to analyse the outcome of the patches. several max patches were created to explore the potential of max as an alternative approach for performing noise music. findings show that max can replicate the audio processing methods used in conventional performance. due to max capabilities, some of these methods could be automated and arranged prior to the performance. in addition, max patches featured changing sound, random pitches, mixture of pre-recorded audio source and live instrument, and drone sound combined with automatic constant real-time audio self-processing and automatic audio panning, a feature that seldom appears in the local noise music scene. in conclusion, this research argues that max has much potential for creating a variety of digital sounds that are harsh and dissonant to the ears, therefore contributing to the musical diversity in noise music performance. these sounds are the results of the features of audio self-processing, random pitches, automatic audio panning object and self-changing pitched drone audio signals relying on random midi values that appeared in max. keywords: max; noise music; music technology; performance; practice-led research how to cite: mokhtar, m. h. & chan, c. s. c. (2023). max as a digital platform for noise music performance. harmonia: journal of arts research and education, 23(2), 246-253 harmonia: journal of arts research and education 23 (2) (2023), 246-253 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.37468 perimental music scene use synthesizers, guitar effect pedals, metal objects, and mixers to produce noise music. not many local noise music performers have explored the digital platform in creating noise music. one such artist was file 106 who performed noise music using a mixture of laptop and guitar pedal effects. i believe that digital platforms would benefit many noise music performers, such as access to a wider range of sound manipulation and extra effects. in addition, mobility of travel would be enhanced by these lighter-weight instruments. this research focuses on expintroduction noise music is a genre of music where “unwanted” noises are used to create sound art. noise music performers use analogue methods, including guitar pedal effects, contact microphones, and metal objects to perform. the analogue approach limits the possibilities of creating more diverse noise music compared to the digital approach of sound manipulation and audio signal processing available through programs such as max. most noise music performers in malaysia’s underground excorresponding author: e-mail: clarechan@upm.edu.my p-issn 2541-1683|e-issn 2541-2426 muhamad hafifi mokhtar et al., max as a digital platform for noise music performance 247 loring max as a platform for creating noise music performances. max max is a computer software that operates as a visual computer programming language that can manipulate audio, video, graphic, and other data. max allows users to connect the various independent objects through virtual patch cords to produce interactive audio, visuals and custom audio or visual effects. these objects are categorized according to their functions: max, msp, jitter, gen, beap, and vizzie. each of these categories have their own functions (cycling ’74, 2018). this article focuses on the msp objects that is able to create and manipulate audio signal. msp are the features in max that allows the process of audio signal processing. msp is a collection of 200 max objects that could be used in performances or compositions for audio signal processing. by using msp, users may build their own synthesizers, samplers, and effects processors using max objects. in short, msp allows users to create their own personalised design of digital audio devices (cycling ’74, 2018). noise music couprie (2020), wolf (2011), klett and gerber (2014), thompson (2010), and hegarty (2001) have each defined noise music from their own experience and understanding of it. couprie (2020) defined noise music as contemporary music created by futurist and dadaist movements. he also referred to noise music as musique concrète, experimental rock music, punk, live electronics, electronica music, and some of john cage’s compositions. wolf (2011) referred to noise music as those mainly performed by merzbow, a prominent japanese noise music artist and his peers. this type of noise music allows audiences to listen and experience the unending limits of sound art production. wolf (2011) defined noise music as an arrangement of sounds such as hisses, crackling, and audio feedback that does not need to be played with loud volumes for performances (p. 67). sound can be perceived from an aesthetic or artistic perspective. some perceive sound as noise, while others hear it as music. noise is referred to as chaotic, unusual, and aggressive sounds, while music is commonly perceived as pleasing, rich and wonderful. both perceptions can be used in the performance of noise music. the noise music genre is associated with the harsh frequencies and loud volumes usually used during music performances. it is also harsh, dissonant, and may be unbearable to the listener. noise music is usually referred to as “noise” by the performers and enthusiasts (klett & gerber, 2014, p. 276). the musical perspective of noise should be established to comprehend noise music. noise occurs as a disturbance that occurred amid the music and sound. this perspective recognizes that noise music is situated between “music” and “sound”. in japan, noise music is known as “japanoise” and recognized as “music” that defies genre and category, with its highly amplified and processed sound (hegarty, 2007, p. 194). one of the philosophical aspects of noise music is that it functions as an indicator of boundaries. this boundary is the perspective that noise exists to threaten the limitation of music and noise music is viewed as something that is far-reaching and provocative. due to this, noise music should maintain a certain distance from music by preserving its qualities to persist between the state of music and noise. failure to stay in between “music” and “noise” would make it become solely music or noise rather than noise music (thompson, 2010, p.10). the noise music in this research is a form of experimental electronic music that embraced the potential of providing physical experience of the sound to the listeners as suggested by couprie (2020) and wolf (2011), with characteristic as stated by klett and gerber (2014), hegarty (2001) and thompson (2010). based on this, noise music is a type of music that typically uses electronic sound from the synthesizer, and guitar pedal effect, pre-recorded audio harmonia: journal of arts research and education 23 (2) (2023): 246-253248 played through sampler or audio recorder. usage of instruments such as the guitar could also be seen. all these sounds would be manipulated in real time through multiple methods of signal processing such as amplifying, sweeping frequencies, spatialization and frequency filtration. problem statement many noise music performers use guitar effects and metal objects to perform noise music. for example, jerk kerouac, a noise music performer uses the synthesizer combined with guitar effects pedals to perform noise music (mokhtar, 2015, p. 15). in malaysia, i came across a local noise music performer utilizing a laptop to perform noise music. noise music performers such as merzbow and krosot who have been using a digital platform somehow reverted to their typical setup for noise performance by using multiple guitar effects pedals, metal objects, synthesizers, and a contact microphone through this research indirectly (baily, 2012; mokhtar, 2015). no explanations were presented on the reasons behind their choices. a standard and uniform analogue approach that has been established during performances practises in the local scene results in a lack of diversity in sound production and techniques. i became curious over why local noise music performers do not utilize the digital platform to perform noise in this era where digital technology is advancing rapidly. therefore, i seek to explore a simpler and mobile alternative setup for noise music performance to relieve the bulky setup that is used in the local malaysian noise scene. this research aims to explore the potential of max as a digital platform for the noise performance. i examine the use of max as a platform for noise music production by 1) creating patches using max 2) performing noise music though max 3) reflecting and revising my usage of max through the processes of creation and performance i hope to create more possibilities for noise music production among local noise artist setup, performance practices, and sound characteristics. method this research uses the practice-led methodology whereby planning, reflection, revision, and action direct the research outcome. practice-led research practice-led research is a method in art and design whereby researchers examine their own practice. the practice-led researcher is responsible for both the role of the “researcher” and “practitioner” as the research conducted is based on their own practice (nimkulrat, 2007). the process leading to the outcomes is important data that facilitate understanding the research problem. the research’s artifacts or product would be considered proof of the information collected and preserved (makela, 2007). in this research, i will present the actions, reflections, and revision processes in my exploration of creating patches for noise music performances using max. content analysis audio content analysis assists in the investigation of musical influences (collins, 2012). çamci (2016) stated that definitive audio analysis in electronic music could highlight important variations in different electronic pieces. this would help in analyzing the products of this exploration of max as a digital platform for noise music performance for the outcome could be recognized as noise music. exploring max this research models the workflow used by bugge (2014) in his compositions using max. the workflow begins with forming ideas for drawing techniques applicable to a computer programming setting, testing, evaluation, redefinition, recording, positioning materials into a musical composition, and assessment process (pp. 6263). concepts of performance as a performer, i am inspired to perform noise music based on the principles muhamad hafifi mokhtar et al., max as a digital platform for noise music performance 249 of interactive composition, generative music, indeterminacy, and chance, as well as the usage of various sound sources that is collectively incorporated into this research. interactive composition is the procedure of creating and performing the composition and usually involves electronic devices operating a real-time software that would detect and respond to the input from the performers or composers. technology usage is equally important to the composition itself to achieve the objectives set in the composition by the composers in interactive composition. the technologies itself would be producing the creative process, functioning as a catalyst for motivation and discovery (settel, 2001). chadabe (1977) stated that generative music is not a new phenomenon because it had been used for several decades in live musical performances and is related to generative art or g-art that refers to works that contains a segment or is entirely based on designs that are not directly organized by the artists. the term cg-art or computer-generated art is used when generative music involves computer usage. this art is completed by allocating a certain period for a computer program to self-operate in order to generate the art with zero to minimal intervention from human (boden & edmonds, 2009). indeterminacy and chance are utilized in the process of exploring max as a digital platform for noise music performance because indeterminacy and chances would provide different outcomes from each performance (neal, 2008). cage noted that indeterminacy is used because it could relate to the uncontrollable chances humans endure in their everyday lives (hoogerwerf, 1976). xenakis employed chance with a more scientific approach to his composition due to the usage of mathematical procedure to control and shape the sound masses in his composition (paparrigopoulos, 2005). the noise music performance i produced in this research would contain multiple sound sources, such as electronic sound synonym with the electronic music. electronic music is produced by a computer through the synthesis of the computer and processed digital audio signal (puckette, 2007). the performance would also employ the usage of audio from field recording that is consists of human, animals, material, natural sound phenomenon, and is different from the orthodox audio production of music, speech, and sound effects since it combines the method of listening, reviewing, adapting recordings, positioning, mixing, playback, and testing (gallagher, 2015). another type of sound source used is audio that had been transformed from analogue to digital to analogue through the usage of analogue to digital and digital to analogue converter. according to cipriani and giri (2010), the digitization process occurred at the regular interval where the number of amplitude measurements would be taken in one second, also known as the sampling rate. result and discussion in this research, i created several patches that could be used in the performance of noise music in the process of exploring max as an alternative digital platform according to the concepts of the performance that had been discussed. these patches were made during the period in which the researcher was developing as a performer and researcher. they are displayed through the technicality of seven max patches created to explore an alternative digital platform for noise music performance. patches built using max my patch creations developed in analogy to my ability to use max, as shown by the max patches’ complexity. for easier understanding, the outcome from all the patches would be described at the end of the explanation. for the first patch, the idea started with the main idea of triggering random noise. to achieve this, several reading on how to achieve this had been done before i had chosen the patch that was used in this research. this patch showcased sound harmonia: journal of arts research and education 23 (2) (2023): 246-253250 changes according to the audio self-processing in the individual patches. the second patch was built around the idea of filtering audio using cascade object while the signal-rate processor would change the audio signal-rate. the patch needed several revisions since the sound was not “noisy” and lack distortion. i had to make several tuning up and revisions were made before an acceptable sound was produced by changing the parameter of the patch. there were sound changes according to the audio self-processing appeared in this individual patches. besides that, for patches with random midi control such as patch 2, random pitches would be appeared as the random midi control independently changing their values. patch 3 is a combination of the ideas behind patch 1 and patch 2. patch 3 is designed to play several random audio clips at once. at first, the progress did proceed as planned due to several misconnection and parameter that did not affect the sound drastically. upon reflection, i double checked the connections and adjusted the parameter to change the sound more drastically. there were sound changes according to the audio self-processing appeared in this individual patches. similar to patch 2, patch 3 also contained random pitches appearing in response to the random midi control independently changing their values. patch 4 was used to create a wall of sound. this patch contained an audio selfprocessor that processed the audio recording placed in the patch. after necessary editing was done, the patch had achieved what i had planned and anticipated in terms of sound diffusion. this action was a reflection of the researcher’s newfound knowledge of max that enable the researcher to create a patch resembling noise music better than before. this need to be stated that the progression is unique to my experience and may not appear in other person experience when they are using max. after necessary editing was done, the patch had achieved what i had planned and anticipated in terms of sound diffusion. there were sound changes according to the audio self-processing appeared in this individual patches. this patch had also showcase one or more automatic audio panning object, with the appearance of constant real-time audio self-processing by max. patch 5 was built as a mix media patch that used the msp and jitter in max. this action demonstrated the researcher’s developing knowledge of using max as a digital platform for performing noise music. the audio side of the patch works well, while the jitter or video component needed some adjustment for it to run smoothly. necessary editing was done after the max help files were referred. this patch had showcase sound changes according to the audio self-processing appeared in this patch, besides that, self-changing pitched drone audio signal relying on random midi control was also a feature. this patch had also showcase one or more automatic audio panning object, with the appearance of constant real-time audio self-processing by max. patch 6 was the most complicated patch that i had built. it consists of several patches in one big patch such as patches for audio self-processing, real time midi control, pre-determined parts using timepoint object and two types of audio panning. this patch demonstrates the potential of max for a noise music artist with expanding knowledge of max compared to earlier patches. this had showcase sound changes according to the audio self-processing appeared in the individual patches. besides that, for patches with random midi control such as patch 6, random pitches would be appeared as the random midi control independently changing their values. patch 7 is the final patch built using max for this research. patch 7 uses live audio and live audio processing combined with the usage of live vocal and instruments playing. the action taken for this patch was to look at it as a way of performing using live instruments or live audio input such as the common way noise music muhamad hafifi mokhtar et al., max as a digital platform for noise music performance 251 being performed. however, this approach failed due to different mechanism involves in physical audio effect pedal and digital signal processing. the patch needs to be troubleshot in order to find suitable way of combining internal audio and external audio incoming and exiting the audio interface. patch 7 tried to create a patch that combined the mixture of a pre-recorded audio source and live instrument playing with real-time audio processing in max. patch 7 also combine the usage of real instruments and real-time instruments playing with real-time audio processing. from all these patches, i conclude on that several characteristics were compulsory for the patches to be considered as suitable for noise music. these characteristics had appeared in majority of most of the patches showcase sound changes according to the audio self-processing appearing in the individual patches. for patches with random midi control such as patch 2 and patch 6, random pitches would be appeared as the random midi control independently changing their values. some of the patches such as patch 2, patch 3, patch 4 and patch 5 showcase appearance of drone sound. in shorts, all the patches showcase one or more automatic audio panning object, with the appearance of constant real-time audio self-processing by max. this would then create panned audio that is self-processed by max. usually, there are two types of audios panning: in sequence and random only patch 7 tried to create a patch that combined the mixture of a prerecorded audio source and live instrument with real-time audio processing in max. reflection of performance using patches created. i had created max patches with elements of interactive compositions in them. this was successful through the exploration of max objects such as button, toggle, number, slider, gain~, slider, and object box that enabled me to create max patches that could stand alone without (or with minimal interference of) me as the performer. the button and toggle enabled me to interact with max by sending a one shot and hold signal, respectively, to max when there was need for this type of signal. max objects or tools such as number, slider, gain~ and kslider enabled me to interact with max when specific values needed to be processed in max. these values usually were used to output integer values while the kslider would be used when a midi value needs to be sent to max. finally, the object boxes were used to type the name of max objects that needed to be used to achieve certain elements of sounds that i wanted. i had successfully used multiple max objects individually or collectively to produce generative sounds, enabling me to create max patches with elements of generative music. one of it is the usage of the combination of clocker object, counter object and sel object. these objects would be connected in a series to inform max to output a signal at certain intervals. usually, this combination will be connected in a series of objects that feed into the random or expr objects that represent the next elements of performance, indeterminacy, and chance. the usage of indeterminacy and chance had been explored in this research by feeding a fix signal production into objects such as random and expr objects that helped to achieve the indeterminacy and chances to enforce the elements of generative music. for example, a value between 0-150 can be produced at a fixed period by setting the clocker, counter, and sel object value to trigger the random object set to 150. setting the sel object value to 1 would trigger a fix signal production on the first count. a more precise alternative was connecting an expr object that enables me to obtain value between two numbers at a fixed output rate, which is output in a smaller number range compared to the random object. for example, setting the expr object to expr random (10 – 20) enable the production of a value between these two numbers at a fix output rate. all patches had used multiple sound sources such as electronic sound, field reharmonia: journal of arts research and education 23 (2) (2023): 246-253252 cording and analogue to digital to analogue audio with the intention of making it more diverse, clashing and jarring. these audios were pre-recorded (field recording), electronic sounds created in real-time in max and from real instruments sending real-time signal to max before being processed by max and diffused by the amplifiers. one of the objects involved in this process is the cycle~ object. these objects would create periodic waveform (cycling ’74, 2018). the values of this object could be set permanently but a number object (clocker, counter, sel, and random objects) connected to this object enable different values production at a fixed rate, ensuring that the frequency of the cycle~ changes by itself. in short, max objects were utilized to achieve the objective of max as a digital platform for noise music performance as intended by the researcher although the result would be unique to the users. conclusion several criteria were implemented for the patches to be considered as suitable for noise music performance. these criteria are such as they would: be considered as interactive compositions with parts generated by max itself to fit into the criteria of generative music. utilize indeterminacy and chance to make the patches produce noise music that that crosses genre and music category, with highly amplified and highly processed sound. contain multiple sound sources to make it more clashing and jarring. such sounds sources are electronic sound, field recording, and analogue to digital to analogue audio. these characteristics had been used to ensure that the outcomes of the patches fit into the definition proposed of noise music cited by couprie (2020), wolf (2011), klett and gerber (2014), hegarty (2001), and thompson (2010). all of this had been considered while developing the max patches. several techniques to create patches that reflected the concept of intended the noise music performance that i wanted to implement and the max objects that corresponded to the steps that i needed to take to achieve it was explored and discovered. i could also create random pitches and drone sound that could be combined with automatic audio panning object. this combination utilizes the appearance of constant real-time self-processed audio by max, with two types of audios panning: in sequence and random. i could also create patches that feature a mixture of a prerecorded audio source and live instrument audio signal with real-time audio processing in max. these audio characteristics are almost impossible to be performed on analogue equipment such as guitar effect pedal and analogue synthesizers that were used by the majority of noise music performers automatically and without human direct intervention. references çamcı, a. 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(2011, march 24). thinking about noise. http://www. mti. dmu. ac. uk/eventsconferences/sssp2009/ proceedings/07_s 152 arts education within the mayong pottery artisan families: a local art conservation strategy triyanto, syakir, mujiyono department of fine arts education, faculty of languages and arts, universitas negeri semarang, indonesia received: june 20, 2019. revised: november 4, 2019. accepted: december 28, 2019 abstract this study aims to examine the problem of applying the pattern of traditional arts education in the mayong ceramic artisan family seen as a strategy in conserving local art. this research used a qualitative-ethnographic approach. the research objectives cover aspects of cultural values of dance, human resources, and the environment and their changes that are systemically related functionally in the art education process in the family sphere. research data were collected through participatory observation techniques, in-depth interviews, and documentation—validation of data through source triangulation and thick description. data analysis techniques were carried out in an interactive cycle that moves between the processes of reduction, presentation, and verification of data. the results of the study show the following. first, there are cultural values in the culture of the mayong ceramic artisan family community, which are oriented to the view of the importance of the obligation to inherit their local arts. second, human resources, cultural values, and the natural environment show the interrelationships in the formation of art education patterns in the family. third, as a conservation strategy, the pattern of art education that takes place within the family has succeeded in preserving and developing local ceramic arts. other local art artisan communities can adopt suggestions that can be put forward in this informal art education pattern in efforts to conserve regional cultural heritage. keywords: culture; family; local ceramics; conservation; arts education how to cite: triyanto, syakir, & mujiyono. (2019). arts education within the mayong pottery artisan families: a local art conservation strategy. harmonia: journal of arts research and education, 19(2), 152-162. harmonia: journal of arts research and education 19 (2) (2019), 152-162 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i2.19629 (chamim et al. (2003) suggested that traditional art is a product of local creativity through intergenerational inheritance that presents cultural symbols. wolff (1989) suggested that art can be seen as a repository for cultural meanings. in this regard, caruso (2005) asserts that works of art are cultural and social artistic expressions that contain values. therefore, its existence is essential to be preserved and developed in accordance with the demands of the times. one of the local arts that need to be conserintroduction indonesia, as an archipelagic multicultural and multicultural country, has a unique and diverse local art wealth as a regional cultural heritage. the cultural heritage of this region is a bond and reinforcement of an essential asset of national cultural identity amid the global cultural arena. art, including crafts and design, is a type of thinking/making that allows people to form and develop their characters corresponding author: e-mail: triyanto@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 triyanto, syakir, mujiyono, arts education within the mayong pottery artisan families: 153 ved is traditional ceramic art. history shows that ceramics are prehistoric crafts of art. gopnic (2000) through the results of his research in iran, showed that ceramics could be used to reconstruct the activities, habits, and behavior of the community, including being used to explain about the arts, beliefs, trade, population distribution, and the level of civilization of society at that time. yumarta (1982) explains that traditional ceramics in the form of containers have historically been known since humans started to see the culture of farming and settled permanently instead of nomadically. in that era, equipment was needed to store food (iswidayati, 2009) and for cooking purposes. sayogyo (1985) shows a fact that indicates that in the life of rural communities, ceramic crafts have a real function both physically as a means to meet the practical needs of everyday households and economically as an alternative source of income for families. however, the reality shows that along with the ongoing process of modernization, many local traditional arts are marginalized and even experience extinction (jazuli, 2001; dahana, 2012). traditional ceramic art is one of the local arts which experienced outcasting and even experienced extinction (sidharta, 1991; iswidayati, 2009). the outcasting and extinction are, in general, due to the artisans are less persistent trying to inherit the next generation, their lack of creativity in the process of adapting, and the change in work orientation of the next generation in modern industries that are more economically promising. historically, mayong lor village, located in mayong district of jepara, central java, has been known for a long time as the center of industrial handicrafts home industry in the form of earthenware/ceramic art (pottery). according to harjito (2002), the emergence of mayong lor’s traditional ceramic art is estimated to have existed around the 15th century. the pottery ceramic home industry has become the pride and identity of the villagers of mayong lor village. this ceramic business is also the source of livelihood of the people in descending-hereditary (karthadinata, 2005; rahmawati, 2008; mahbub, 2010). the industry, in general, contributes to the revenue of jepara regency (gustami, 2000). to date, although the era has undergone changes, the existence of the pottery industry in mayong village can continue sustainably. this condition shows that its presence has become an essential cultural capital for the community of the artisans. as stated by bourdieu (1996), cultural capital is a form of knowledge, skills, education, and benefits that are owned by a person or a group of people and provide status in the community. parents provide their children with cultural capital; cultural capital has three subtypes, namely: manifested, objectified, and institutionalized. following the background above, especially regarding its position and function as cultural capital, this study aimed to examine how the form of informal art education carried out by each family of the ceramic craftsman community in local art conservation so that it could be maintained across generations. methods this research used a qualitative-ethnographic approach. the research location was mayong lor village, jepara regency, central java province. research targets included cultural values of the artisans, the realization of the potteries produced along with the functions that accompany them, patterns of informal art education in the form of the process of inheriting knowledge, attitudes, and skills from parents to children of the next generation in conserving the continuity of its cultural culture, and the condition of environmental resources and changes that provide support for the preservation and development of the local ceramics of mayong village. research data were collected using the participant-observation technique, in-depth interviews, and documentation. data validation was done using the triangulation of harmonia: journal of arts research and education 19 (2) (2019): 152-162154 sources and thick description techniques. data analysis used interactive cycle techniques that move between the processes of reduction, presentation, and verification, as stated by miles and huberman (1991). results and discussion mayong lor village: the center of local ceramic craft mayong lor village, which is part of the mayong regency in jepara, located on the northern side of central java province, is located about 24 km from the district administration center and 68 km from the provincial capital. among the four villages inside mayong lor village, dusun krajan and bendowangen are the center areas of the pottery arts industry. the village archive data shows that the topographical form of the natural environment of mayong lor village is generally a lowland (0 meters above sea level) with an average daily temperature of about 33° c. the condition of the natural environment is a fertile area with slightly reddish-yellow-colored soil. this type of soil is clay, which contains fused silica and fine aluminum. chemically, according to astuti (1982), clay is included in the class of pure aluminum hydrosilicate. this type of soil is suitable for making ceramics. the condition of this soil type is clearly a factor that enables and facilitates the production of ceramics in this village. the availability of raw materials from the natural environment itself makes the artisans can freely produce every time. the available road infrastructure makes transportation facilities easy to obtain both for obtaining raw materials for production and the distribution process; this helps to support the existence and continuous operation of the mayong lor village artisans community. historically, the existence of pottery in mayong lor village is estimated to have arisen around the 15th century (harjito, 2002). the origin of ceramics in mayong lor village cannot be separated from the role of the village’s ancestral ancestor, kanjeng ibu rr. ayu mas semangkin (locally known by her nickname as ibu mas) who is a relative of the sultanate of demak. an author’s resource person, siwoyo hp, a relative of kanjeng mrs. rr. ayu mas semangkin, said that in developing her hermitage, ibu mas fostered residents of the community around her hermitage by giving them life skills to make pottery ceramics. the consideration, at that time, most of the population who worked as rice farmers have wasted their time by being unemployed while waiting for the harvest. the choice of skill type is based on the reason for the potential of local natural resources to have a type of clay that can be used as raw material for making pottery ceramics. in addition, they can also easily use branches and dried leaves of trees that grow around their place as the fuel; they can also use the waste of rice plants (damen and brambut), which is planted by the population. over time, the shift in work orientation from farmers to pottery artisans made the majority of mayong lor village residents finally focus their work in the field of ceramic arts (tile, brick, and earthenware) until now through a process of tradition. to date, 96 family heads are actively pursuing ceramic pottery production activities. traditional forms of mayong ceramics (old designs) produced include: jugs, kendil, ketep, cowek, paso, angklo, gentong, padasan, piggy bank, remitan (children’s toys), and other creative forms (new designs) (figures 2 & 3a, b, c). cultural values of pottery within the artisans’ view for the artisans, ceramics are not only artifacts that have physical and economic value, but also do they have values that are considered valuable in their lives. historically, its presence, which has lasted for six centuries until now, shows how meaningful its existence is. if the activities of producing ceramics are merely to fulfill their economic needs, then it is questionable why until now, it can still last for a long time. this triyanto, syakir, mujiyono, arts education within the mayong pottery artisan families: 155 question is relevant because if calculated economically, the results of that business do not promise financial benefits that can make them rich. in reality, with the effort to produce ceramics, the life of the artisans shows the conditions of homeliness in various ways. it can be seen from the daily lifestyle of the artisans in their attitudes that stem from the cultural values of their life orientation. the results of interviews with several artisans obtained the following phrases. “nrimo ing pandum lan syukur rejeki paringane gusti allah,” (resignedly accepting and grateful for the sustenance provided by god almighty). “urip iku wis tinekdir mula ora usah ngaya, sing penting isa ngibadah marang gusti allah,” (life is a letter of taqdeer (destiny), then there is no need to over hope, the important thing is to worfigure 1. the activity of mayong lor village producing local ceramic art (author’s documentations) figure 2a. traditional pottery ceramics products (author’s documentations) figure 2b. ceramic piggy bank products with modern design (author’s documentations) figure 2c. development of new creative ceramic forms with new designs (author’s documentations) harmonia: journal of arts research and education 19 (2) (2019): 152-162156 ship god almighty). working as an artisan is considered as a destiny/fate that needs to be sincerely accepted and grateful for the provision to face god almighty. besides, living in this world is only temporary and brief, “urip iku mung mampir ngombe,” (life is as short as stopping by to drink), then whatever the situation is, must be accepted. “menungso iku mung isane ikhtiar, sing nentokke gusti allah,” (humans can only try their best, it is always god who ends up deciding). these expressions are part of the values that guide and orient the behavior as an artisan. besides, life as an artisan is a historical mandate of parental inheritance that must be carried out by children. in the artisans’ cultural system, there is a belief that the mandate of the ancestors/parents to continue the effort to make ceramic crafts must be passed on to their children and grandchildren. inheritance of ceramic making skills from parents must be looked after (cared for/nurtured) and put in the hands (upheld) by children as the next generation to be maintained and continued. in this belief, children can be kualat (subject to a kind of curse) if they ignore the mandate. ceramic arts education within the family: a conservation strategy traditional ceramic art, as one form of local cultural creativity in boudieuan’s perspective, can be categorized as cultural capital. bordieu (1996) explains that cultural capital is knowledge, skills, education, and benefits that are owned by a person or group of people who give status in society. parents provide their children with cultural capital. cultural capital has three subtypes; manifested, objectified, and institutionalized (bourdieu, 1996). these three subtypes of cultural capital, according to bourdieu, have the following differences. cultural capital is obtained through non-genetic inheritance that is received from time to time, through learning in the family. cultural capital is not inherited instantly, but it is obtained from time to time by someone as a habitus. objective cultural capital includes physical objects such as artworks. cultural goods can be functioned as commodities and for “symbolic” purposes (babcock, 1989). institutionalized cultural capital is community recognition. hence, this community recognition plays an important role in the labor market; therefore, it is providing opportunities for cultural capital to be produced. institutional recognition facilitates the conversion of cultural capital into economic capital. as a result of local cultural creativity, traditional ceramics contain these three types of cultural capital. traditional ceramics are the result of inheriting knowledge, values, and skills through a learning process that is not a genetic inheritance. its presence is a visual language that functions as a field of communication between supporters to meet the primary needs, social, and integrative life. traditional art is objectified in the form of works of art that have aesthetic value and economic value in the sense of being a commodity of traded art. traditional art can be categorized as an institutionalized cultural capital because of its existence as a system of values and social institutions as norms in the attitude and behavior of its citizens. as a cultural capital, pottery in the artisan community has three functions. firstly, the primary function, crafting activities are an effort to obtain a salary to meet the daily needs of their modest life. secondly, social function, the activities of crafting become the communication field and fellow interactions between artisans to help each other, build cooperation, and living as fellow artisans. this function, latently, becomes a means to maintain community cohesion and social integration. thirdly, integrative function, crafting activities function as a means of meeting the needs of aesthetic expression and culturally as a historical need to carry out the educational obligations (inheritance) from parents to children as their successors. these functions are the reason why crafting activities can still survive and take place across generations. triyanto, syakir, mujiyono, arts education within the mayong pottery artisan families: 157 besides being a mandate from parents, life sustainability guarantee obtained through the crafting activity makes the craftsmen, culturally, need to pass on to their children. efforts to realize the fulfillment of these needs then implemented through informal education in the family by educating children to have the knowledge, attitudes, production skills, and character values , including responsibility, discipline, patience, accuracy, diligence, cooperation, creativity, and beauty. with this learning, each artisan family transmitted their knowledge, attitudes, skills, and character values to their respective children. the implementation of informal education, in the perspective of art education, is an embodiment of a conservation strategy to continue to preserve and develop the activities of their children. therefore, the pattern of the educational process can be stated as a civilizing system. mayong civilization system: an art education pattern within the family. the process of civilization or enculturation (koentjaraningrat, 1986; kodiran, 2004), is essentially a form of education. if viewed from a cultural perspective, education is a cultural process, which is an effort to transfer, inherit, maintain or continue the knowledge, values, beliefs, and cultural skills through the process of interaction between educators (learning resources) and students (teaching subjects). this process occurs whether intentional or not, consciously or unconsciously, and takes place in the entire structure of human life both in the individual and social spheres in a particular community environment (rohidi, et al. 1994). in that process, civilization takes place through processes of socialization, transmission, and internalization among generations, so the culture that is considered meaningful to a group of people can be owned, maintained, and passed on by the next generation. in discussing the education problem in craftsmanship as a cultural process, especially within the scope of the artisans’ family, several elements need to be analyzed in the relationship of functional relations as a system systematically. the elements that are intended, at least, include elements of educators (learning resources), students (teaching subjects), goals, approaches or methods used (methods), knowledge, cultural values transferred (material), and patterns of interaction (the relationship between educators and their study subjects). based on this, the results of the study regarding the informal pattern of education in the artisans’ families are presented as follows. the element of educators in the family structure of the mayong lor ceramic artisans community, older family members occupy the status and role that determines the pattern of family life. in this structure, the older family members are positioned as figures who must be respected and whose instructions, advice, attitudes, and behavior must be followed. in relation to the subject of students (children), the older members of the family are meant to be fathers, mothers, and sisters. whereas the “significant others” are the older people in the extended family, namely grandparents, uncles, and aunties. in the artisans’ family structure, the older family members function as educators or learning resource for the younger family members. without being asked, they are either intentional or not, acting like a teacher who provides guidance, examples, instructions, advice, or other directives to grandchildren, children, nieces, or younger siblings who are still in the stage of learning to make ceramics. the presence of parents or significant others for students or children is very important for their learning process. the artisans who currently exist, when they were children, they learned craftmanship from their mother and father. the same thing is experienced by children today as the next generation; they are studying craftsmanship, helping the work of their parents. the parents with their unique method — which will be discussed more specifically harmonia: journal of arts research and education 19 (2) (2019): 152-162158 in the elements of the approach/method, provide a condition of learning informally (kinship) during the process of working through utterances, other technical instructions intimately and full of patience and affection. the element of children (teaching subject) the teaching subject education in the context of craftsmanship education in the environment of the mayong lor village crafters family is one of the main elements which is being targeted and hoped of beneficiaries of the heritage inheritance. the subjects are the next generations, who are expected to be able to maintain and continue the efforts of the family to craft ceramics. the subjects here are meant to be the children of each artisan family. these children from an early age, which is at the time when they have entered elementary school age, have been accustomed used to getting involved in helping ceramic production activities that are carried out by their parents in their homes. girls are accustomed to assisting their mothers to work, especially, mbubut work (making ceramics with turntable techniques). meanwhile, the boys help the father›s work, which is processing the soil, burning ceramics, and finishing. the children, after school, immediately assisted their parents› work without being asked. at this elementary school age, children practice doing what is usually done by their parents. entering junior high/high school age or teenagers, usually, these children already have reliable skills; therefore, they can be released to work alone without having to be often guided directly with technical matters. as teaching subjects, children learn while working with their parents. it was all done because of their awareness that helping parents is an obligation and, at the same time, a sign of respect and filial piety to their parents. the purpose of ceramic education in the family education as a learning process has an important element that is the main target, namely, the goal. the goal element becomes important because it is the orientation for what needs to be taken when the education process takes place. likewise, the education of craftsmanship in the artisans family in mayong lor has a certain purpose, even though this is implicit and natural. based on the results of interviews and observations, elements of intended educational goals are as follows. there are two main objectives in the organization of the education process of craftsmanship in the artisan family, namely: (1) providing skills to children as working capital, and (2) making craftsmanship as a cultural heritage that needs to be preserved, maintained, and continued by the next generation in the future. the first goal is short term, while the second goal is a long-term goal. in the realm of short-term goals, the process of craftsmanship education in the family clearly shows the willingness of artisans as parents to involve their children in the production process so that they take advantage of their free time after returning from school to help parents work as a learning media. through this process, children are expected to learn the knowledge, attitudes, and skills of the production process directly through the learning process while working. in addition, along with the process, parents can indirectly form the attitude of children to be able to appreciate a job and be a disciplined, responsible, cooperative, patient, determined, and cautious person. this is felt to be very important for the development and growth of a child’s soul towards maturity. for parents, in the long term, the process of learning to children is considered as an opportunity to train children to be independent that can be used as provisions or working capital in the future. triyanto, syakir, mujiyono, arts education within the mayong pottery artisan families: 159 methods of ceramic education in the family in the context of artisans’ family education, the process of delivery, transfer, inheritance, and acceptance of values between parents as educators and children takes place informally in real situations, namely in daily production activities at home. in this way, parents, unwittingly, present an actual context of production activities that give a push to the child to face and experience it through the process of learning while working. in this way, parents teach everything related to the context of craftsmanship in a “natural way” through the creation of conditions for daily production activities related to their primary work as artisans to their children. children as students receive what is given by their parents through hands-on training practices in the production process. although the process that occurs is informal, however, the learning approach or model still shows the existence of a typical patterned method. a method is a way that serves as a tool to achieve a goal. although it is informal, based on observations, it appears that the methods used in the process of craftsmanship education in the environment of the craftsmanship community are very effective in preparing new cadres of artisans. from the observations, the artisans who acted as educators were seen using three main methods, namely the method of habituation, imitation, and appreciation. the habituation method in the process of craftsmanship education is a way to bring children to see, know, like, and try to work through the process of work training in daily life. by parents, children from childhood are accustomed to the familiar working conditions of their parents. even when they were still under five, mothers looked after their children while working. in a mother’s or father’s sling or swing, children are accustomed to seeing and even playing with their parents’ works. the next habit is that children are conditioned to help their parents’ work after school by providing types of work from simple (easy) to complex (difficult) levels according to the development of their age. it is in the process of habituation that children learn to see, recognize, know, absorb, and practice doing what their parents do. because the habituation method takes place continuously in a relatively long time that is from an early age until the child can take care of himself, eventually forms an attitude and pattern of behavior of children who are directed in a pattern or lifestyle as a craftsman. another method that is used in an integrated manner in the learning of craftsmanship to children by crafters’ parents is the imitation method. in this method, parents unknowingly set an example or role model that children will imitate. in its implementation, in the stages of learning, the children are given a direct example of how they should know and use tools to process a job. but in the next stage, the children only have to follow the example. finally, the deepening method or internalization is realized in an integrated manner with two methods of habituation and imitation, namely the inculcation of cultural values that enable the children to live with or incorporate what is learned into them. figure 4 below shows the informal learning activities. inherited ceramic culture values from the knowledge aspect, various complexity related to issues of tools, materials, and techniques is introduced by parents to children informally while working. by seeing firsthand the types of tools and materials, as well as the techniques for its usage, they learn to know and gain knowledge about it. children can immediately see the various equipment used and try to use it themselves. second, viewed from the attitude aspect, there are hope and desire from parents to form an independent attitude toward their children. the independence values were instilled since childhood by getting children used to practice helping parents work. according to their developmental age, children are trained to help in harmonia: journal of arts research and education 19 (2) (2019): 152-162160 the production process. they have been trained informally in discipline, patience, perseverance, caution, care, and responsibility for what should and should not be done. established artisans can exemplify the values of diligence, discipline, patience, caution, care, and responsibility that are instilled to form an independent attitude. as soon as they end their bachelor years and live in their household, they can immediately do crafting business to fulfill their family needs. through the process of craftsmanship education within the family, too, the values of obedience to parents can indirectly be instilled in the artisans’ children. the inculcation of these values can form an attitude of respect for parents; it is evidenced by the continuation of the inheritance of crafting skills from their parents until the present day. other values that are instilled through the enculturation process are efforts to foster cultural awareness to respect the inheritance of the traditions of their ancestor. the value of the work skills possessed by children or artisans nowadays is the result of long training skills that have been carried out. in other words, the process of inheritance of craftsmanship is inherently seen as a form of creative education. at least by referring to taylor’s opinion (wilson, 2014), creative education leads to the level of productive creativity that is the ability to create a product. interaction of the process of ceramic enculturation in the family in the context of artisans’ family education, interactions that occur do not look like interactions between teachers and students in formal classes. psychological boundaries due to differences in status do not affect the mutual relationship between family members in the “teaching” and “learning” processes. the pattern of interactions that occur in the artisans’ family education process is familial. the father, the mother, or other family members who act as educators, do not feel like a teacher. they feel more like parents who have to care. oppositely, children do not feel as students but rather as children who must respect and imitate the attitudes and behavior of their parents. with such interaction patterns, an atmosphere of asah, asih, asuh (mutual, compassion, and care) emerges by itself. both parents and children feel in a position of equal relations. chart of ceramic arts education patterns in artisan families based on the explanation above, it can be seen that the informal education processes, as stated above, are a mechanism for figure 3. pictures of ceramic learning activities in the artisans' family environment author’s documentation triyanto, syakir, mujiyono, arts education within the mayong pottery artisan families: 161 the realization of a local art conservation strategy. figure 5 is an abstraction of the pattern of art education in families in the form of a schematic model. conclusion based on the results of research and discussion, conclusions can be made as follows. first, there are cultural values that are the orientation of the artisans’ life-perspective to continue to conserve the continuity of the local crafting arts business from time to time across generations. furthermore, in the artisans’ community, there is a belief in the cultural system that requires parents to continue, maintain, and carry on the inheritance of the crafting skills of their ancestors to their children and grandchildren. this mandate must be respected and upheld by every family to be carried out. second, natural, social, and cultural environmental resources provide opportunities for the sustainability of this local ceramic business. third, to realize these values, each family develops art education in the form of enculturation as a strategic mechanism in realizing the goal figure 5. chart of local ceramic education patterns in artisan families harmonia: journal of arts research and education 19 (2) (2019): 152-162162 of conserving their local arts through habituation, imitation, and appreciation or internalization through learning while working. references astuti, a. 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(2014). ”there are five distinctive levels of personal creativity-how are you and others”? exploring cultural identities through art. retrieved from http://theseconprinciple.com/creativity/creativetraits/ levels-of-creativity, 13 establishment of learners’ character through learning traditional dance in senior high school etik riyaningsih, maryono, harini art education study programme of post graduate, universitas sebelas maret, indonesia received: december 13, 2017. revised: april 23, 2018. accepted: june 10, 2018 abstract this research was conducted to describe the character establishment of learners through learning dance in terms of the learning process, exercises and elements of traditional dance. this research was conducted to find and explain the process of learning traditional dance in the development of learners’ character establishment. this research data is in the form of information, documents and learning process collected through interview, literature study and observation. meanwhile, triangulation method is done to test the validity of data from those various sources. the result shows that learning the traditional dance of bajul mahambara can enrich the experience of learners and on the other hand train the intellect and sense by understanding the characters of local wisdom contained in traditional dance. learning traditional dance can give a positive influence in establishing the character of learners which are (1) religiosity; (2) honesty; (3) responsibility and cooperation; (4) tolerance; (5) discipline; (6) creativity. keywords: character establishment; culture; traditional dance; learning activities how to cite: riyaningsih, e., maryono, & harini. (2018). establishment of learners’ character through learning traditional dance in senior high school. harmonia: journal of arts research and education, 18(1), 13-27. doi:http://dx.doi. org/10.15294/harmonia.v18i1.12575 harmonia: journal of arts research and education 18 (1) (2018), 13-27 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v18i1.12575 creativity drivers, sight generators, regular workers, storytellers, actors, emancipators, evaluators (asmani, 2011). dance is one of the cultural results of the art in the form of body movement that describes and convey certain characters. in other words, dance is one form of communication media in society in the form of symbols. dance as a work of art from a particular community or community which is influenced by the background of society such as culture, education, wisdom and the characters contained in a community / residence. by incorporating the character and local wisdom is expected to encourage in shaping the intelligence and character of learners. jazuli (2016) states that the beneintroduction character is a very important aspect in shaping a superior person. character education at the institutional level leads to the establishment of a school culture which are the characters underlying behavior, traditions, daily habits, and symbols practiced by all members of school and community. the school that is an educational institution plays an important role in developing the character of learners through cultural approaches in school. character-based education has several roles which are as educators, instructors, mentors, trainers, advisers, reformers, models and paragons, personal researchers, corresponding author: jl. ir. sutami no.36a, jebres, kota surakarta, jawa tengah 57126 e-mail: etikriyaningsih24@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 18 (1) (2018): 13-2714 fits of dance education for students are to cultivate the taste and provide a psychical ground both theoretically and practically to be able to express feelings through the art media. research on character-based education has been widely practiced. one relevant study is a study by winarsih (2004) on the development of character-based education through the classical dance of yogyakarta in smk 1 kasihan, bantul. the results show that dance learning with ethnographic study approach by understanding the students ‘thinking structure about character education based on the ethnic-educational study, comprehensive picture of the concept of cultural resistance and its effect on students’ activities, learners social, learners culture. rosala (2016) argued that dance education based on local wisdom could be used as an alternative learning in schools in building the character of the nation, among others are: producing generations that are competent and dignified; reflecting cultural values; participating in shaping the character of the nation; contributing to the creation of national identity; participating in preserving the nation’s culture. the nature of learning is the interaction of learners with the learning environment to change behavior and habits. according to djamarah (2011) learning is an inseparable part of all activities in studying in formal education institutions, individual learning activities to gain a change of behavior and new habits as a whole, as a result of individual experience himself/ herself in interacting with the environment involving cognitive, psychomotor and affective. behavior change is one of the outcomes of the learning process. jazuli (2016) states that learning is a process of interaction between learners and learning resources on a condition that is deliberately created in order to change behavior. changes in the behavior that is meant concerning changes that occur consciously, continuously, functionally, positive, active and not temporary, have a purpose, the change covers all aspects of behavior. while sanjaya (2013) mentions that learning requires a strategy that includes considerations relating to the objectives to be achieved, considerations related to materials or learning materials, considerations from the point of view of learners. learning involves the cognitive, affective and psychomotor aspects of the learner. rohmad (2016) explains that cognitive aspects are related to the activities of the mind including the ability to think, understand, remember, apply, analyze, evaluate and create. the psychomotor aspect relates to the orientation of a skill or the ability to respond or act upon learning experience (cognitively and affectively). while affective aspects related to the manner and behavior including character, habits, feelings, intentions, emotions and characters. the results of the learning process affectively appear in the habits and behaviors of learners. the character is a special characteristic possessed by an object or individual “(asmani, 2011). while philips explains that the character is a collection of governance of character that leads to a system, which underlies the thoughts, attitudes, and behaviors displayed (muslich, 2011). thomas lictona explains that character is the nature of a person in responding to a moral situation, manifested in real action through good, honest, responsible, respectful and other good behavior (muslich, 2011). while muslich explains character education is the process to shape the character of learners that involves aspects of knowledge (cognitive), feelings, and actions. education or character formation will not work effectively without these three aspects, and their implementation is systematic and sustainable. based on those opinions is concluded that character is character, attitudes, behaviors that attached or appear on someone who distinguishes it from others. character education is very important to be included in the learning process, one of them through the education of dance. character education in each etik riyaningsih, maryono, harini, establishment of learners’ character through learning 15 subject aims to provide moral upbringing, dignity and attitude (muslich, 2011). according to damayanti (2014) each subject focuses on the main characters that match the characteristics of the relevant subjects, for example in the arts and culture subjects integrating traditional dance lessons with the character of religiosity, honesty, intelligence, integrity, concern, democracy, respect for diversity, respect for others’ works, curiosity and discipline. in art lessons in particular also have character. in fact, indirectly art can develop basic skills such as physical, percy, piker, emotion, inventiveness, aesthetics, and also can develop child talent (pekerti, 2007). dance education is a strategic entry point for applying the development of character establishment of learners through experiences that result in students’ involvement in appreciating the artwork, revealing the philosophical character, religiosity, passion and message embodied in a work of art. jazuli (2016) explains that appreciating, performing and creating an art dance in it there is a link between the concept of form, creativity, taste, intention and work. performing arts including dance lessons performed in schools are basically not to make children as artists or professional dancers, but to encourage the development of creativity, expression, skill and art appreciation, especially traditional dance. dance as performing art requires deep observation rather than entertainment. performances as a spectacle art can be divided into show and performing art, dance as show accentuated the physical form of motion and simple composition, luxurious costumes, and beautiful dancers. while performing art prioritizes the artistic character in the sense of prioritizing the weight of the character of the art than the goal, namely the quality, the mature concept and not merely pleasing the audience. the main performing arts of dance art require some supporting elements in its implementation. jazuli (2014) explains that performing arts are a spectacle of art which way of appearance is supported by the necessary equipment, valid for a certain period of time. to perform which means to carry out or execute an action or process and there are people who both show and watch. the art of dance performances includes three types, namely traditional dance, creations and modern. some of the elements that exist in the art of dance are themes, gestures, expressions, and floor patterns (maryono, 2015). the theme in the dance is the storyline that can lead a person to understand the essence of dance. the theme can be based on an event or story, which is further translated into a storyline as a draft of a dance. in other words, the theme in dance has an important meaning depicted through its characters and is supported by an expert cast (dancer) in a dance performance. maryono (2015) mentions the types of themes that generally develop in life such as themes of heroism, loyalty, unity, togetherness, mutual cooperation, harmony, and happiness. one example is a royal story that is usually themed romance and heroism. traditional dance in indonesia is usually based on ramayana stories, mahabharata, babat, myth, legend, and history. gestures are a means to describe intentions and feelings through non-verbal communication. according to jazuli (2016), the motion is viewed from strength (power use) or motion impulse that includes intensity, accent or pressure, and quality. intensity is the power or force used in motion. accent or pressure is the point of a movement that occurs due to the use of power that varies in the motion, meaning that some movements that use little there are also many of use. motion quality can be distinguished as light or heavy, loose or limited, fast stomping, direct or indirectly toward the end of the movement phrase. there is an expression factor in all motions, because it is done in order to express the taste, the desire and the mind (widyastutieningrum, 2014). the motion of expression and expression of motion concerns the psychological factors that are an anatomical body. harmonia: journal of arts research and education 18 (1) (2018): 13-2716 polatan or expression is the expression of something from a human person such as a raging act to describe anger, hugging to portray a person in love. expression as an expression using analog as a comparator as well as to explain terms in dance. wahyudiyanto (2009) argues that expression is the creative process of artists in realizing the idea of an imaginary esthetic form that is coupled with a complex sense of insane into the form of body art and companion media filled with human characters presented in every motion that forms segments motion. the segments of the motion are forwarded to the motion phrases arranged in a structured composition taking into account the dramatic design. the rhythmic motion composition that feels in this dramatic structure, it is what is called the expression that appears in dance. this means that dance is actually revealing the thematic ideas in the form of motion that can be perceived by the contemplator or dancer while in the process of dance. the floor pattern is the lines made and passed by the dancers on stage. the lines can be either straight lines or curved lines which can then be developed into various line shapes on stage, such as zigzag, diagonal, circle, curve (jazuli, 2016). the floor pattern is the line where a dancer walks across the floor. these lines are imaginary lines that can only be captured with taste sensitivity. its form is an illusion or shadow that appears to fuse complementary with the direction of body movement. according to maryono (2015) the floor pattern is one of the elements that contribute significantly to the visual actualization, the floor pattern is a line formed of the dancers’ gestures that cross the floor or the show is an imaginary line that can be captured with taste sensitivity. the floor pattern is required both in single or group dance. in group dance and colossal dance, the floor pattern becomes very important in order to move among the dancer’s group looks neatly and well, and gives a solid theatrical impression. the floor pattern basically consists of two types: symmetrical or balanced and asymmetric. the symmetrical and asymmetrical floor pattern is influenced by the number of dancers. floor pattern will be strong-established or have weakness also not apart from the design formed. motion design is divided into three kinds, namely 1) bottom design, 2) middle design, 3) top level. the basic colors in the performing arts have a symbolic meaning that can lead to the understanding of the characters. the colors are black, white, red, yellow and green. white is a color that has a sacred, loyal and accentuated impression associated with the life of nirvana, for the roles of priests, gods, and commanders. the red color gives the impression of bold, aggressive, and dynamic that many destined figures of arrogant kings, giants, young duke or knights, princesses with a dynamic spirit. yellow color that has the impression of glamour, luxury, majesty, glory and wisdom. for turmeric yellow is a depiction of the magical atmosphere and the right choice for the clothing of the characters involved. the golden yellow color for the role of king, god and priest. the color green has the impression of fresh, young, grow and live. the color of the green dress in dance performances is widely used for the role of princesses, gambyong dance, golek dance, and children dance. based on the description, traditional dance learning is supposedly able to meet the social needs of the community and education that can strengthen the character of learners as future generations by bringing the dignity and local wisdom through cultural preservation. in this study, researchers are interested in discussing the learning of traditional dance with its relation in the establishment of the character of learners. this study aims to describe the establishment of learners’ character through the learning of traditional dance “bajul mahambara” in terms of the learning process, exercises and elements of traditional dance. etik riyaningsih, maryono, harini, establishment of learners’ character through learning 17 compile each component of its analysis, and conducts continuously in the process of data collection (sutopo, 2006). results and discussion sma n 1 sragen has applied curriculum 2013 (k13) as the national curriculum. therefore, the objectives of the school are formulated based on the national educational objectives that is to build and develop the character and civilized society where learners are expected to be educated by faith and piety to god almighty, noble, healthy, knowledgeable, capable, creative, independent and become citizens a democratic and responsible country. to realize the goals of national education in general and the purpose of the school especially where the character and local wisdom is needed, the school develops the traditional dance learning of bajul mahambara as a result of local culture. bajul mahambara traditional dance is expected to cultivate character and local wisdom in the establishment of the learners’ character. fajarini (2014) states that local wisdom will effectively function as a weapon -not just a heritagethat equip people in responding and answering to the flow of ages. digging and preserving the various elements of local wisdom, traditions and local institutions, including useful norms and customs, can function effectively in character education, while conducting studies and enrichment with new wisdom. learning traditional dance at sma n 1 sragen dance in the subject of art and culture in sma n 1 sragen which is one of the materials presented to the students. each subject is developed based on school curriculum guidance. the process of learning to teach dance is done through two main steps: planning and learning activities. one of the materials in dance that is important to teach is traditional dance. traditional dance is also known as the nusantara dance. learning traditional dance in sma n 1 sragen is designed to bring the method this research is qualitative research. creswell mentions that qualitative research is a holistic approach that encompasses discovery and description as a development model that occurs in a natural state that allows researchers to develop the detail of self-engagement in a real condition. one feature of the qualitative research is the social phenomenon investigated from the point of view of the actual doer which is very useful for the purpose of describing, explaining, and interpreting the collected data. a case study approach is used in this study. in this case study the researchers explored in depth a program, events, activities, processes of a person or more. case studies are either single case or cases tied to the time and place, creswell (2003). this research is aimed to understand the learning of traditional dance of bajul mahambara as a dance model in sma negeri 1 sragen located in central java, indonesia and how this learning is believed to support the character establishment of learners in sma n 1 sragen. the sampling technique used in this research is purposive sampling. data were collected through observation, interview and literature study. sources of data in this study obtained from informants, documents and learning process of traditional dance. informants in this study are principal, deputy head of curriculum, dance teacher, students and parents of learners. the document is in the form of documents on the learning of dance including recording/ note. the triangulation method was used to validate the collected data. this research uses data analysis of interwoven model, wherein analyzing data, it relates to the relation flowing from three main components that are data reduction, data presentation, and conclusion withdrawal with verification, and data collection process in the field. the analysis process with the three components of the analysis happens when the activity occurs interwoven in the form of a flow of activity flow harmonia: journal of arts research and education 18 (1) (2018): 13-2718 characters and local wisdom in the character establishment of learners. to be able to shape the character of learners, traditional dance instructors are required to prepare syllabus and learning program plan (rpp) in accordance with traditional dance learning objectives. learning activities should prepare rpp and syllabus as a guide in conducting learning activities. with rpp guidelines, it will deliver the objectives of the learning that we deliver to the learners will be achieved “(interview with siswantini, january 2017). in addition, the syllabus developed into the indicator is accustomed to the material that will be provided by the educator in the material that will be given “(interview with teguh pramono, january 2017). rpp is developed based on a syllabus that generally consists of learning objectives, basic competencies, indicators, learning materials, learning methods, instructional media, material resources, learning scenarios and characterization. table 1 summarizes the basic competencies, materials, methods and models of traditional dance lessons for class x and xi in sma n 1 sragen. table 1. traditional dance learning in sma n 1 sragen learning aspect description core compentence dan basic competence ki 1 and 2, and also kd 3 and 4 concept, technique, traditional dance motion material basic movement of traditional dance (bajul mahambara dance) method, media, learning model presenting, discussing, drilling, discussing, giving a task, question and answer, video of traditional dance bajul mahambara, discovery learning dan project-based learning. table 1 shows the aspects of learning that are concerned such as media, methods, and learning models used. these competencies are ki-1 and ki-2 in the learning objectives as stated in the curriculum, in the form of competencies consisting of (1) spiritual attitude competence, (2) social attitude competence, (3) knowledge competence, and (4) skill competence. the formulation of the competence of spiritual attitudes, “comprehending and practicing the religious teachings which are embraced”; competence of social attitudes, “comprehending and practicing honest, discipline, responsible, caring (mutual assistance, cooperative, tolerant, peaceful), courteous, responsive and proactive behavior and showing attitude as part of the solution to problems in interacting effectively with the social and natural environment as well as in putting themselves as a reflection of the nation in the association of the world”, achieved through indirect teaching, namely paragon, habituation, and school culture, taking into account not only the characteristics of subjects but also the needs and conditions of learners. meanwhile, the growth and development of attitude competence is done throughout the learning process, and is used as the basis for teachers in growing and developing the character of the students further. dance learning material tradition establishing character the material in dance learning includes knowledge and skills given to learners on activities undertaken in order to achieve the goal of creative dance learning. lesson material presented to learners is associated with cognitive structure in the form of facts, concepts, events, experiences with meaningful learning and memorization. learning means a process of studying with new information and learning to memorize a process of receiving and mastering the materials provided by the educator. the subject matter of the skill / psychomotor through the movement of dance, with expressiveness with the movement, space, time, dance structure is form and style, dance activity with creative through creative processing (thinking, logic), taste (emotion, aesthetic), intention etik riyaningsih, maryono, harini, establishment of learners’ character through learning 19 (determination and ethics), work processing (kinesthetic, physical fitness, dance demonstration), dance activities with appreciation can be achieved if learners are able to become doers of aesthetic quality and choreography (jazuli, 2016). in the art of dance, the motion is the greatest supporting element of its role in the dance. with the motion can occur the change of place, the change of position of the object, the body of the dancer or part of the body. all motion involves space and time. in space something moves in a certain distance, and the distance within a certain time is determined by the speed of motion. in dance all the motion requires power from the dancer itself, djelantik (2001). the basic elements of dance are motion, space and time, astini (2007). motion can be interpreted as gestures, eye movements, hands and footwork. space involves body space such as agem motion and its composition, called internal space, while external space includes the stage and floor of the venue. time is related to the duration of the movement, the short length of the dance and the musical rhythm. from the description above, can be concluded that the art of dance is the expression of the characters of beauty and the whole through the motion of the whole body, space and time in accordance with the rhythm, symbols, characters, themes and goals of the dance. the material is the dance movement of bajul mahambara tradition. bajul mahambara dance is a type of traditional dance with the fighting theme. it seems visible in footwork, body, hands and heads which are handsome and firm (figure 1). figure 1. tari bajul mahambara trailers from the dance are: «i ..... bajul mahambara ..... even though i am manifested as an animal, but my sacrifice and my loyalty exceed human nature for the sake of the state, for the sake of the nation, and for the sake of my motherland i stand as a fortress of my country, not a piece of land i give to anyone. rawe rawe rantas malang malang putung... i ...... bajul mahambara ...... bajul mahambara dance was created on 22-27 february 2012 by art team of sragen regency (led by mr. jonet) under the supervision of the cultural tourism office of youth and sports of sragen regency with the activities of traditional dance arts training area located at sangiran tourism object of sragen regency in collaboration with culture and tourism office of central java province. with training activities create a new art form that can be used as identity and icon of sragen regency. learning material of dance tradition in bajul mahambara dance is basic motion consisting of head movement, body, hands, and feet. bajul mahambara dance with basic motion of head movement among others motion gedeg/ pacak gulu, nyledet, toleh kanan, toleh kiri, angguk, nggeliyer, nggambul, body movement such as hoyog, engkyek, polatan, oklak, entrag, hand gestures such as ngithing, ukel, ngrayung, tawing, mboyo mangap, ngrayung, seblak sampur, ngepel, bapang, kambeng, tumpang tali, sembah, selut, tepak bahu, foot movement diantarnya silo, jengkeng, jinjit, gedrug, jengkeng, debeg gejug, lumaksana, enjeran, ngrodha, mendhak, srisig. bajul mahambara dance movement has typical elements in dance, the element of space related to the level setting. time element associated with the tempo and energy associated with the power of motion dance pressure of bajul mahambara, so that learners can perform bajul mahambara dance. methods, media, dance learning model for shaping the character of learners. learning method is a way to perform or present, describe, give examples, and provide training content of the lesson harmonia: journal of arts research and education 18 (1) (2018): 13-2720 to learners to achieve learning objectives, agib (2014). the learning method for dance learning is standard for dance learning process because with the learning method, the educators will be easier to convey material related to techniques in dance. learning methods used in dance learning include lecture method, demonstration, question and answer, appearance, discussion, and practice with friends. “lecture method” is a method in the form of explanation of concepts, principles and facts, learners will establish discipline and responsible character. “demonstration method”, is a method undertaken to demonstrate to learners. this method in the dance learning of bajul mahambara is very dominant because the learning is equipped with practice, learners practice that is exemplified by educators, how the process of movement of the dance, learners participate actively in experimenting with the learning process, so that it will lead to establish discipline character and responsible in the exercise. “question and answer method”, the right method for dance learning, learners more focused on educators with direct question and answer. “the method of appearance”, the method is in the form of implementation of practice appearance with the guidance of educators. in the dance lesson, to give sufficient explanation to the learners who practice dance by doing guidance, also become remedial learners. “discussion method”, in learning dance method of discussion used the interaction between learners with learners, while educators will analyze, solve problems, explore, debate topics and issues, guide learners in appreciating the opinions of others. “method of training with friends”, this method is used to help learners who are less able to learn dance, then a friend can act as a coach, a mentor. the media used in traditional dance lessons is the bajul mahambara dance video. the making of the video has been done by recording the dance accompaniment of bajul mahambara which takes time, energy, thoughts in combining the dance moves into a video dance of bajul mahambara. in the process of making the video, it requires the character responsibility, discipline, creative, tolerance. with the character established in making video dance bajul mahambara, the learners understand that the process of making a dance video is difficult and requires responsibility and discipline. the selection of appropriate learning model is adapted to the characteristics of learning, research object using curriculum 2013, developed learning model that can encourage and motivate learners in developing ideas and creativity, so that learning is more interactive, fun, and inspirational, that encourage learners to participate actively in the discussion as well as activities that can improve self-confidence. according to widodo, kristiani, and mulyana (2016), things can be considered in determining the learning model to be used as follows: (1) the suitability of the learning model with the characteristics of the subject, (2) the suitability of kd-ki 2 characteristics that can develop the competence of attitudes, and the appropriateness of learning materials with the demands of kd-ki 3 and / or kd-ki 4 to develop knowledge and skills competencies; (3) the suitability of learning models with specific learning objectives in developing potential and competence, for example to develop social interaction, or processing information, (4) the use of learning model with scientific approach. learning model that is relevant to the characteristics of traditional dance art of bajul mahambara is the model of discovery learning (dl) and project based learning (pjbl). the learning model of discovery learning emphasizes the finding of previously unknown concept or principle (kemdikbud, 2014). problems faced by students are some kind of problem engineered by educators. stimulation stage, the learners observe bajul mahambara dance videos aired by educators to cultivate the character of responsibility in doing the task. meanwhile, the problem statement of learners is in the form of bajul mahambara dance video show about the concept, etik riyaningsih, maryono, harini, establishment of learners’ character through learning 21 a technique so as to build the character of cooperation and responsibility. data collection identifies the concept of bajul mahambara dance where the learners are creative in digging information. at the stage of “data processing”, learners create a schedule of practice with mutual cooperation and responsibility. in the “verification” stage, the learners conduct discussion. this task cultivates a sense of creativity, responsibility, cooperation, discipline, and honesty. the “generalization” stage, the learners present bajul mahambara dance in order to build cooperation, honesty, responsibility, and creativity. project based learning (pjbl) learning model is a learning model that uses the project as the core of learning. the stage of “design a plan for the project”, is to form students in groups to make pattern of floor and dance level of bajul mahambara dance with responsibility, cooperation, creativity, and the progress of project learners practicing the pattern of dance floor bajul mahambara with monitoring the student responsibility, discipline, cooperation, tolerance. the stage of “asses the outcome”, learners present the characterization bajul mahambara dance with discipline, responsible, cooperation, tolerance. the stage “evaluate the experience”, learners receive an evaluation of bajul mahambara dance brought with responsibility and discipline. with the learning model, learners have established the character of discipline, honesty, responsibility, creativity, tolerance so that learners can perform bajul mahambara dance. character education through traditional dance learning the experience of traditional dance learning aims to further encourage implicit character establishment. in addition to learning the movement of bajul mahambara dance and the floor pattern by practicing it, learners also learn traditional dance in indonesia including the story behind the dance, the variety of motion and the meaning. learners also automatically learn about the characters and local wisdom contained in the traditional dance art when learners try to understand the history and meaning of every move because of the traditional dance produced by the society especially in baju mahambara dance. bajul mahambara dance is chosen because it is a product of civilization in the form of cultural expression and art, the characters and local wisdom is implicitly represented in these dances. religious the learning of traditional dance influences the establishment of learners’ character that is religious, amriullah (2013), says that religious is a behavioral attitude that obedient in implementing the religious teachings it embraces. traditional dance in indonesia implicitly contains the religious characters brought by the creator. traditional dance is one form of folklore delivered through motion symbols. some movements are meant to illustrate human obedience to god can be found in traditional dance. folklore or traditional dance depicts the stories of nature, heroism, exemplary that has certain characteristics throughout the territory of indonesia. folklore or saga is usually created based on the existence of divinity. students who present traditional dance must be asked to understand the real meaning of the whole dance and turn the story to give the dish a true dance, so that they are able to convey a message from the story of dance or theme. humans in modern society often separate religious characters or their beliefs from the characters in science, or the unbalanced nature of the two, are more concerned with either combining them. this view makes individuals who are not whole, as individuals who are disintegrated, this is the problem of the life of modern society. this is reinforced by dewey’s opinion quoted ghulam haider aasi as “the problem of restoring integration and cooperative between man’s beliefs about the world in which he lives and his beliefs about the values and conditions that should direct his conduct is the deepest problem of modern life ( ghulam, 1985). harmonia: journal of arts research and education 18 (1) (2018): 13-2722 in the learning of bajul mahambara dance art, religious character is instilled in several ways. the first is the planting of religious character through the learning process. the second way is done through the training process. while the third way is done by inculcating the elements of bajul mahambara dance. the characteristic diversity of dance art that is grown in the belief of learners as a gift of god almighty that the human work there will be no intervention of god. in addition to this as a form of practice to the art of dance learners can find the theme of the dance is the theme of animals, nature, as the basic idea of god’s greatness that of the theme that can be a manifestation of god’s grace. the series of work processes, learners in groups can show the results of the modification of the floor pattern of bajul mahambara dance. in the educational process explains that the effort is a gift from god that should be grateful. the experience of learning to work in dance fosters learners to give thanks for god’s gifts. at the time of learning educators always greeting before and after learning. exercise is a way that learners do in the process of creating dance creations. exercise activities always begin by praying together. this activity is the cultivation of character to learners to always remember to god when beginning and ending in practice. the activity will become a habit of learners that reflect the religious character. in the elements of dance elements, religious characters are found in various dances, namely the basic motion of dance, for example the variety of motion of the lord begins with the standing position with the slanting upward right foot poses, the foresight. the process of jengkeng, after jengkeng both hands (palms) put together (nyembah), head shook to the right and to the left according to the count. the motion also teaches that humans are smaller creatures larger than the great one, thus teaching also that humans must humble themselves (jengkeng) first, by asking for protection from allah swt. with a low level (jengkeng) it is the actualization of the religious character contained in the range of motion. spirituality or religion is not just a metaphysical understanding of reality or a series of dogmatic and ethical attitudes; it is also a physical exercise. a religious phenomenologist who recognizes this is leeuw (1963), who studies such phenomena that appear as dances and religions simultaneously. lamothe (2004), who builds on van der leeuw, argues that dance should be included in religious studies. this seems to be a relevant perspective in understanding the religious life of dancers who participate in this research project and dancing in christian settings, for whom dance is an important part of their spiritual practice. it has also been investigated by schuff (2012) regarding dancing to personal and spiritual growth. honesty in traditional dance learning, honesty appears in imitative activity when learners observe and simulate dance observed as a reference and consciously understand that the movements are the creations of others. next they have to explore their own ideas to create their own floor pattern. learners should understand how to appreciate the work of others, develop, explore and modify independently in creating their own creations. because the dancing itself has actually taught the character of honesty directly to the community because dancing is a skill that can be seen directly in a show. educators teach that in imitating the dance of local traditions (archipelago) according to the accompaniment and work of dance to work in accordance with its ability. the honesty done by the learner can create a description of dance with theme and synopsis with honest attitude, make description according to reality and submit the result of report accompanied with the observation of dance presentation. the art of dance teaches to always be honest because dancing is a skill that can be seen directly that learners can perform dance moves. can or can not do, it must be said honestly. the character of honesty can also be etik riyaningsih, maryono, harini, establishment of learners’ character through learning 23 seen in elements or elements of bajul mahambara dance which can be seen on the dance property. learners use the red, yellow, green, white properties are the colors in the white property symbolize the character of honesty or sanctity. the element of facial expression/ polatan means the expression in showing honesty in dancing. the facial expression in the play is a form of honesty from within the dancer being shown to the audience. based on the planting of positive characters by educators then the art of dance lessons to contribute to the formation of the character of the learners is the character of honesty. this is also in line with the statement of costa (2016) in his research that the circle dance appears to facilitate the trust between people, based on qualities such as honesty and openness that penetrate the social world of the dance circle. according to kohlberg (hurlock, 2002), the child’s morality is seen when he follows the rules and can take the hearts of others, and can maintain good relationships. related to that, the moral character that can be observed from the learning of dance art bajul mahambara is the stimulation of the character of obedience and the character of a child’s honesty. responsible and cooperation responsibility is a person’s attitude in performing tasks related to himself, the environment, society and beliefs. the character of responsibility is depicted in the dance elements of motion and the formation/ floor pattern. this movement forms responsible characters. the motion in dance is the expression of the soul of the dancer through the body motion. learners are required to display every movement in the dance correctly based on wiraga (rules of motion), wirama (music or rhythm) and wirasa (characters). in that case, the floor pattern or the formation allows the learners experience to form the formation by moving the position of the dancers in the group. learners can be shaped responsible characters in their respective parts because if one person made a mistake on his part can cause chaos group formation. as stated by nurharini (2003) that the learning of dance is able to cause the confidence of children in the form of the growing feeling of pride, have the character of brave, able to control emotions, cultivate sense of responsibility and self-reliance, easy to interact with others, have better achievement, develop his imagination and creativity. the character of responsibility was developed in the learning by educators in the attitude and behavior of learners to perform tasks both tasks for educators and tasks with friends of his group. at the end of each learning, the educator gives the tasks to do at home related to the dance that has been learned to be memorized that is the traditional dance of bajul mahambara and the learners memorize the exploration of dance movement from the basic motion of dance. the character of responsibility has been applied by educators with the intention of how learners have responsibility for their duties. the traditional dance of bajul mahambara or folklore tells a story which means most traditional dances are performed in groups. the dance lessons are done in groups in performing project tasks to present a dance. thus, learners are given the experience to work together in teams to discuss and display the dance. each group of learners with diverse abilities help each other and support each other in learning, exploring, understanding, creating their own dance which is formed based on the elements of motion, rhythm, appreciation of characters and ultimately present a dance creation. according to vygotsky in his theory, he emphasizes the interaction between the “internal” and “external” aspects of learning and its emphasis on the social environment of learning schunk (2012). the theory of vygotsky, cognitive function derives from the social interaction of each individual in the concept of culture. tolerance and benefits tolerance according to nasir (2013) is the attitude and action that respects difharmonia: journal of arts research and education 18 (1) (2018): 13-2724 ferent religious, tribe, ethnic, opinion, attitude, and other people’s different from him. bajul mahambara traditional dance contains the character of tolerance as well as courtesy. this is evidenced by the existence of traditional dance bajul mahambara that serves to welcome guests. this means that our society is an open society and respectful of guests. bajul mahambara traditional dance that has a characteristic in every movement that is a motion like a crocodile. the learning of traditional dance bajul mahambara gives a picture to the learners about the differences. each tribe has its own way of expressing something through motion and rhythm though it conveys the same intention. at this point, learners are implicitly encouraged to take lessons from each dance and accidentally put personal tendencies towards a dance. learners are trained to be objective in appreciating dance even though it is not included in his taste. the tolerance character is depicted in the formation element / floor pattern. dancing with the correct formation shows the character of a dancer’s tie tolerance to other dancers in a team. dancers should be able to match the taste of each other so as to convey the message of dance in its holistic. they must be able to read the situation to achieve conformity within the team. tolerance is also seen when learners do exercises in dance and give mutual input for each member so there is no seniority or who feels smarter, in this case mutual tolerance in performing dance movements are created. in addition to this attitude, tolerance is also seen when learners get an evaluation or input from friends, tolerance here built through mutual respect for friends. learners in the work of dance groups meet different dissentions and frequently make mistakes. therefore, learners appreciate the difference between the opinion of a group of friends. this is agreed by rosala (2017) who states that the cultivation of moral character of tolerance in students through dance learning is mutual respect for the opinions of others by one way dialogue through creative dance. through learning the dance is also obtained knowledge of manners which are all unwritten rules that have been given by educators with the meaning that the rules are running in the class so as to cause a sense of courtesy. for example, in learning to express an opinion by saying courteously and did not say harsh words to his friend during practice, the students were courteous by kissing the teacher’s hand before entering the class, greeting the friend when meeting his friend, the example of courtesy gained from learners when observing video dance bajul mahambara as media at the beginning of the dance to give respect and activities that have aesthetic characteristics which do not leave the attitude of politeness. in addition, tolerance can be cultivated by respecting the appearance of other groups and giving a good appreciation in a polite way. courteous behavior can arise if students are involved in a relationship. according to tomayahu (2014) polite behavior is a regulation of life that arises from the result of the association of a group of people in society and is regarded as the daily social guidance. discipline syarbini (2013) discipline is an act that shows orderly conduct and obeys the various rules and regulations. learning traditional dance art bajul mahambara here reminds learners to discipline in time, effort and patience. learners not only learn the theory but also practice dance along with its elements because learners are eventually asked to perform the dances they have learned. discipline is also reflected in the rules of dance classes such as time management where learners need to prepare their own including costumes and equipment. in the opinion of dance art educator siswantini said that: “learners in following the dance learning should have discipline which is discipline in following the lesson, discipline in their dance practice and if doing exercise in the practice room also have to use time well, because classroom with practice room was etik riyaningsih, maryono, harini, establishment of learners’ character through learning 25 moved for not wasting learning time” (interview, january 2017). motion and formation is a dance element that demands the discipline of the dancers who are the learners themselves. variety of motion must be done in accordance with the accompaniment or rhythm (wirama). the accuracy of motion and accompaniment means dancing with tempo. continuous training implicitly fosters the discipline of learners. this is in line with the results of research conducted by kamtini (fitrianti & reza, 2013) that the learning of motion and a creative song is a singing activity while moving in accordance with the rhythm of music and songs by doing learning innovation to improve hard motoric, increase creativity, learn to socialize and cooperate, train discipline, and train children’s concentration. creative muchlas (2012), says that creative is thinking and doing something to produce a new way or something. bajul hambara dance lessons encourage learners to practice practically their creativity through practice, appreciation, exploration and creating dance work in groups. improving the range of basic motions provides students with the experience to engage in a creative process in which the improvisation leads them to produce their own dance creations. triana (2015) states that an artist, in this case a choreographer, conveys his expression through a rhythmic and beautiful movement, both stylized and distorted as the ability to think creatively to explore the idea into a dance creation. creativity according to rhodes (1961), distinguished into the dimensions of the person, product process and press, while the creativity itself according to supriadi is a person’s ability to produce something new, in the form of ideas and works that are relatively different from what has been there before. similarly, creativity according to munandar, is the ability to create new combinations based on data, information or elements that exist (munandar, 1987). the creative process of the learner can also be done with a regular exercise. through dance group exercises can create patterns of the dance floor, a creative attitude which is always active to make the arrangement of motion is more optimal. creative character through the process of exercise is in elements of dance elements of motion and accompaniment or music. variations of floor patterns and dance movements are a reflection of creative attitudes in the range of free motion in the order of dance, the basic motion explored is a form of improvisation of creative movement of each dancer (figure 2). arrangement work of dance gives space to the dancers to think creatively in accordance with their own desires by still accompanied by music. creative music is also shown by accompaniment by improvising the dancer’s movements. the accompaniment here must be good at adjusting the rhythm of the dancers’ movement, this is to keep the wirasa of the dance that is danced and to strengthen the wiraga and wirasa in dance creations developed. figure 2. example of floor pattern of bajul mahambara dance creativity process conducted by learners in the group have their own characteristics. this can be seen through the different ways each group. the process occurs among learners who influence each other’s behavior from the passive becomes more active. regular exercise provides a continuous process for forming optimal motion and formation. variety of motion and accompaniment or music produces an exploration space in the learners to perform bajul mahambara dance movements with the right tempo and rhythm, in addition to motion exploration with harmonia: journal of arts research and education 18 (1) (2018): 13-2726 themes. beetlestone (1998) sees creativity and art as closely related through the thread of representation (self-expression of ideas and feelings, such as through expressive art). he stressed that children should be able to take ownership of processes as well as products to be motivated. thus, it is seen that every aspect of the character is closely related to the aspects of learning. more concretely the relation of the character form to the influencing aspects of learning can be presented in table 2. table 2. characters in learning traditional dance character name learning aspect religious concept, material honesty method, material responsibility dan cooperation media, method, material tolerance media,material discipline media, learning model,method, material creative media, learning model, material conclusion character building is very important in education because one of the goals of education is to provide care for learners. the establishment of this character is achieved through the process of dance learning which includes messages of meaning in the dance, learning process, and the behavior or achievement of learning. the traditional dance lessons of bajul mahambara dance give the learners experience to form the character positively as (1) to grow the religious character through dance practice, (2) to develop the character of honesty through the students’ appreciation activities, (3) to encourage the sense of responsibility and cooperation by understanding the elements dance like floor patterns, (4) acquire tolerant and corteous character trained through appreciation activities, (5) train the discipline of learners through demands and rules to learn traditional dance, and (6) encourage creativity that occurs when learners try to understand the elements of dance and modify it. the learning of traditional dance of bajul mahambara is the right way to give learners experience about the characters and local wisdom so that they grow into a nationalist personality. references aasi, g. h. 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(2014). koreografi. surakarta: isi press. 44 motivasi masuknya campursari ke dalam pertunjukan jaran kepang joko wiyoso universitas negeri semarang, kampus sekaran gunung pati, semarang email: jokowi_unnes@gmail.com abstrak penelitian ini bertujuan untuk mengetahui motivasi yang mendorong para pendukug kesenian jaran kepang turonggosari memasukan campursari kedalam pertunjukannya serta dampak yang dirasakan oleh para pendukungnya. metode yang digunakan adalah metode kualitatif diskriptif. hasil penelitian menunjukkan bahawa motifasi yang mendorong para pendukung kesenian jaran kepang turonggosari, kecamatan limbangan, kabupaten kendal untuk memadukan atau mengkolaborasikan dengan campursari didorong oleh rasa tanggung jawab untuk tetap menjaga kesenian warisan nenek moyang tersebut tetap hidup dan digemari masyarakat sehingga tidak ditinggalkan masyarakat. usaha para pendukung kesenian jaran kepang tersebut diatas masuk dalam kategori kebutuhan penghargaan, motif intrinsik, ekstrinsik, motif sadar, dan sosiogenetis. masuknya campursari ke dalam pertunukan jaran kepang membawa dampak psikologis dan ekonomi kepada para pendukung jaran kepang baik penari maupun pengrawit. motivation of the blend of campursari into jaran kepang performance abstract this research is aimed to find out the motivation that encouraged the participants of jaran kepang turonggosari performing arts to blend campursari into the performance as well as the impacts on the participants. the research used descriptive-qualitative method. the research finding shows that the motivation of the participants in blending and collaborating with campursari is encouraged by sense of responsibility to keep preserving ancestral arts and familiarizing the society with the arts. the efforts of the participants are categorized into the need for reward, intrinsic and extrinsic motives, conscious and sociogenetic motives. the blending of campursari into jaran kepang performance brings psychological and economic impacts on the participants, either on the dancers or pengrawit (the music players). keywords : motivasi, jaran kepang, campursari pendahuluan globalisasai yang ditandai dengan kemajuan dibidang teknologi informasi, membawa dampak semakin mudahnya informasi dari berbagai bidang begitu mudah menyebar ke penjuru dunia dan setiap saat dapat dengan mudah diakses oleh masyarakat yang begitu jauh keberadaaanya bila diukur berdasar jaraknya. satu kejadian yang terjadi di belahan dunia satu, saat itu juga informasinya dapat diterima oleh masyarakat yang berada di belahan dunia yang lain. fenomena tersebut membawa konsekuensi persaingan diberbagai kehidupan juga semakin ketat, karena masyarakat bisa memilih serta membandingkan mana yang lebih mereka sukai. kehidupan kesenian tradisional sebagai komunitas yang hidup di era global tersebut, sudah barang tentu tidak bisa lepas dari pengaruh fenomena ini. kehijoko wiyoso, motivasi masuknya campursari ke dalam pertunjukan jaran kepang 45 dupan kesenian tradisional terasa semakin berat, kalah bersaing dengan tontonan lain baik yang berasal dari barat maupun local yang menjajikan tontonan yang lebih menarik. akibatnya pertunjukan kesenian tradional semakin kurang diminati oleh para penonton, oleh sebab itu banyak kesenian tradional yang tidak mampu mempertahankan kehidupannya dan akhirnya semakin jarang dijumpai pertunjukannya di masyarakat bahkan akibat yang paling parah adalah punahnya kesenikan tersebut. fenomena ini tentunya menjadi tantangan juga kendala yang amat berat bagi para pendukung kesenian tradisional untuk tetap mempertahannkan keberadaannya di masyarakat. para pendukung kesenian tradisional dituntut untuk lebih inovatif dan kreatif dalam mengkemas pertunjukannya agar tampilannya tetap diminati masyarakat dan tidak ditinggalkan masyarakat. kesenian tardisional jaran kepang adalah salah satu dari sekian banyak kesenian taridional yang dimiliki bangsa kita, menurut soedarsono (1998:11) kesenian kuda kepang merupakan kesenian warisan pra hindu. kesenian kuda kepang yang terdapat di jawa tengah memiliki kesamaan dengan kesenian sejenis yang terdapat di daerah lain. salah satunya adalah di bali yaitu kesenian sanghyang, kesenian ini merupakan tari kerawuhan atau kemasukan. tarian ini di bali merupakan sarana untuk mengundang roh binatang (totem), oleh karena itu namanya disesuaikan dengan roh binatang yang di undang. ketika mengundang rong jaran maka tariannya diberi nama sanghyang jaran, ada lagi sanghyang jobog (kera), sanghyang celeng (babi hutan) dan sanghyang lelipi (ular). kesenian kuda kepang di jawa memiliki nama yang berbeda antara daerah satu dengan daerah yang lain, ada yang menyebut kuda kepang, jaran kepang, jaran eblek(jawa tengah), kuda lumping (jawa barat), jathilan (jogjakarta). kelompok kesenian tardisional kuda kepang turunggosari yang terdapat di desa tambahsari kecamatan limbangan kabupaten kendal, kelompok kesenian ini berhasil mengkemas pertunjukannya tetap diminati masyarakat. setiap pertunjukannya diberbagai acara baik yang diselenggarakan perorangan maupun instansi pemerintah selalu dipadati penonton. sebetulnya kelompok kesenian ini sebelumnya juga mengalami nasip yang sama dengan kesenian-kesenian tradisional yang lain, yakni jarang mendapat undangan pentas yang mengakibatkan aktivitasnya hampir mati atau hidupnya kembangkempis namun situasi atau fenomena tersebut bagi kelompok ini disikapi dengan rasa optimis dan bukanlah akhir dari segala-galanya. akibat dorongan serta semangat untuk tetap mempertahankan keberadaan kesenian daerah, mereka mencoba mengemas pertunjukannya dengan memasukan campursari, dengan pertimbangan campursari digunakan sebagai daya tarik bagi penonton. ternyata dari usaha tersebut hasilnya sesuai dengan yang mereka harapan, masyarakat bisa menerima dan senang menikmati kemasan baru pertunjukan jaran kepang turonggasari tersebut. berawal dari situasi tersebut maka lambat laun keberadaan kesenian jaran kepang turonggosari mulai dikenal oleh masyarakat secara luas dan tidak hanya terbatas pada desa tempat mereka beraktivitas, melainkan mulai dikenal di desadesa lain bahkan desa lain kecamatanpun juga mengenal kelompok kesenian ini. fenomena yang terjadi pada kelompok kuda kepang turonggosari tersebut, menarik untuk dikaji lebih jauh khususnya mengapa mereka memasukkan campursari ke dalam pertunjukan jaran kepang atau motivasi apa yang mendorong para seniman tersebut memasukkan campursari. kemudian dampak apa yang dirasakan oleh para seniman jaran kepang tersebut setelah memasukkan campursari ke dalam pertunjukan jaran kepang. seni adalah produk dari tingkah laku manusia yang dilakukan secara sadar, yang didasari oleh olah pikir serta olah rasa. pendapat lain mengatakan bahwa seni merupakan proses cipta, rasa dan karsa, oleh karena itu seni tidak akan ada bila manusia tidak memiliki daya cipta, rasa harmonia, volume 12, no.1 / juni 201246 serta karsa tersebut (susantina, 2000:10). seni akan selalu hadir dalam kehidupan manusia, bahkan seni hadir juga pada kehidupan manusia yang memiliki tingkat kehidupan sederhana. hal ini ditunjukan oleh hasil-hasil penelitian lintas budaya dan prasejarah aneka ragam kebudayaan, bahwa tidak ada kebudayaan yang di dalamnya tidak bentuk-bentuk ekspresi estetik (rohidi, 2000:2). selanjutnya sudjana (1996:6) menyatakan bahawa seni adalah bentuk ciptaan manusia yang dapat menimbulkan perasaan tertentu pada seseorang. dijelaskan pula bahwa keindahan yang terdapat dalam seni merupakan hasil ungkapan perasaan seserang yang tercipta secara sadar, teungkap melalui media yang dapat ditangkap oleh panca indera manusia. sementara itu hadi(2006 :21) menyatakan bahwa seni selalu terkait erat dengan keindahan, antara seni dan keindahan tidak dapat dipisahkan karena kehadiran keindahan adalah mutlak mesti ada dalam setiap bentuk seni apapun. wujud seni hasil dari cipta, rasa dan karsa manusia yang di lakukan secara sadar serta diungkapkan melalui sebuah media sebaga sara untuk mengkomunikasikan kepada publik, bisa berujud atau berbentuk seni rupa, musik, tari, drama dan yang lain. selanjutnya bentuk-bentuk seni tersebut di masyarakat berdasar karakteristiknya ada yang dogolongkan ke dalam seni tradisional atau tradisi. kata tradisi sering dimaknai kuno, sering juga dikaitkan dengan sesuatu yang bersifat luhur sebagai warisan nenek moyang. kata tradisi sebenarnya berasal dari bahasa latin yakni kata traditium, yang artinya sesuatu yang diberikan atau diteruskan dari masa lalu ke masa kini (sedyawati 1991 : 181). selanjutnya mack (1995:26) menyatakan bahwa pengertian tradisi lebih dianggap seperti sesuatu yang tidak diubah, sesuatu yang lebih statis dengan nilai-nilai mutlak. sedang humardani (1983:5) menyatakan bahwa pengetian tradisi meliputi semua segi kehidupan ini yang berpedoman ketat pada hal yang sudah-sudah, atau berpedoman pada tata aturan yang telah ditetapkan oleh angkatan-angkatan sebelumnya. kesenian sebagai salah satu unsur kebudayan sudah barang tentu mengalami proses dinamika kehidupan selaras dinamika yang terjadi pada kehidupan masyarakat pendukungnya. hal ini senada dengan ungkapan umar kayam yang menyebutkan, bahwa masyarakat sebagai penyengga kebudayaan termasuk juga di dalamnya kesenian mempunyai peran sebagai pencipta, pemberi peluang untuk bergerak, melestarikan, menularkan, dan mengembangkan untuk kemudian menciptakan kebudayaan baru (kayam, 1981:39) ada beberapa faktor yang menyebabkan terjadinya perubahan kebudayaan dalam hal ini kesenian kaena kesenian ada di dalam kebudayaan itu, yaitu satu karena adanya proses adaptasi terhadap lingkungan yang berubah; kedua karena kebetulan atau adanya pemahaman baru terhadap karakteristik kebudayaannya sehingga menyebabkan perubahan cara menafsirkan nilai-nilai dan norma-norma kebudayaannya; ketiga akibat dari terjadinya kontak dengan budaya lain atau asing sehingga menyebabkan masuknya gagasan-gagasan baru, nilai-nilai baru dan yang lain yang akhirnya menyebabkan terjadinya perubahan di dalam kebudayaan itu sendiri. selanjutnya dijelaskan pula bahwa mekanisme yang terlibat di dalam perubahan kebudayaan itu adalah penemuan baru (invention), difusi, hilangnya unsur kebudayaan dan akulturasi (haviland, 1993:252). selanjutnya poerwanto (2000:139) berpendapat bahwa perubahan kebudayan bisa juga dipengauruhi oleh perubahan lingkungan, selain itu juga bisa dipengauruhi adanya suatu mekanisme lain seperti penemuan baru atau invention, difusi dan akulturasi. mengutip pendapat tomars dalam sudarsono (1999:5) menyebutkan bahwa suatu bentuk masyarakat tertentu pasti akan mengahadirkan gaya seni tertentu. hal ini dapat dipahami bahwa kesenian akan selalu hadir dan sesuai dengan keadaan masyarakatnya, atau dengan kata lain mesayarakat itu sendiri yang akan selalu mengadakan perubahan keseniannya joko wiyoso, motivasi masuknya campursari ke dalam pertunjukan jaran kepang 47 sendiri sesuai dengan situasi dan kondisi pada satu masa. hal ini bisa dipahami suatu perubahan kesenian tidak lepas dari motivasi yang mendorong masyarakat untuk melakukan perubahan tersebut. penjelasan mengangenai motivasi terkait erat dengan atau tidak bisa lepas dari pengertian motif, karena motivasi itu sendiri sebenarnya adalah manifestasi dari motif itu sendiri atau dengan kata lain motivasi berarti membangkitkan motif, membangkitkan daya gerak, atau menggerakkan seseorang atau diri sendiri untuk berbuat sesuatu dalam rangka mencapai suatu kepuasan atau tujuan. motif atau dalam bahasa inggrisnya motive secara etimologis berasal dari kata motion, yang berarti gerakan atau sesuatu yang bergerak. oleh karena itu istilah motif erat kaitannya dengan gerak, yitu gerakan yang dilakukan manusia, disebut juga perbuatan atau tingkah laku (sobur, :268). begitu juga fauzi (2004:60) menyatakan banwa motif atau dalam bahasa inggris motive, berasala dari kata motion yang artinya adalah gerakan atau sesuatu yang bergerak. selanjutnya dijelaskan pula bahawa istilah motif erat hubungannya dengan gerak, yaitu gerakan atau perbuatan yang dilakukan oleh manusia. motif dalam psikologi berarti rangsangan, dorongan atau pembangkit tenaga bagi terjadinya suatu tingkah laku. beberapa pendapat yang dikutip sobur dalam bukunya psikologi umum (2009:268), antara lain adalah pendapat sherif&sherif menyebutkan bahwa motif sebagai suatu istilah generik yang meliputi semua faktor inrtnal yang mengarah pada berbagai jenis perilaku yang bertujuan, semua pengaruh internal, seperti kebutuhan yang berasal dari fungsi-fungsi organisme, dorongan dan keinginan, aspirasi dan selera soaial, yang bersumber dari fungsi-fungsi tersebut. selanjutnya gidden mengartikan motif sebagai impuls atau dorongan yang memberi energi pada tindakan manusia sepanjang lintasan kognitif/perilaku ke arah pemuasan kebutuhan. kemudian nasution mnejelaskan bahwa motif adalah segala daya yang mendorong seseorang untuk melakukan sesuatu. harold koonts dan kawan-kawan mengemukakan bahwa motif ”is an inner state that energizes, activates, or moves(hance motivation), and that directs or channels behavior toward goals” (adalah suatu keadaan dari dalam yang memberi kekuatan, yang menggiatkan, atau yang menggerakkan, sehingga disebut penggerakan atau motivasi dan yang mengarahkan atau menyalurkan perilaku ke arah tujuan-tujuan). r.s. woodworth mengartikan motif sebagai seatu set yang dapat atau mudah menyebabkan individu untuk melakukan kegiatan-kegiatan tertentu(berbuat sesuatu) dan untuk mencapai tujuan-tujuan tertentu. selanjutnya sobur sendiri menyimpulkan pendapatpendapat tersebut bahwa motif adalah kondisi seseorang yang mendorong untuk mencari suatu kepuasan atau mencapai suatu tujuan. jadi motif adalah suatu alasan atau dorongan yang menyebabkan seseorang berbuat sesuatu, melakukan tindakan, atau bersikap tertentu. seperti dijelaskan di atas bahwa motif mempunyai arti rangsangan, dorongan, atau pembangkit tenaga bagi terjadinya suatu tingkah laku manusia. oleh karena tingkah laku manusia itu dilatarbelakangi adanya motif, maka tingkah laku tersebut disebut juga dengan istilah tingkah laku bermotivasi (sobur 2009:270). selanjutnya sobur mengklasifikasikan motif menjadi 5 klasifikasi yaitu, (1) motif primer dan motif sekunder; (2) motif intrinsik dan motif ekstrinsik; (3) motif tunggal dan motif bergabung; (4) motif mendekat dan motif menjauh; (5) motif sadar dan motif tak sadar; (6) motif biogenetis, sosiogenetis dan teogenetis. metode metode penelitian yang digunakan adalah kualitatif. metode penelitian kualitatif yaitu penelitian yang menghasilkan data deskriptif berupa kata-kata tertulis atau lisan dari orang-orang atau pelaku yang dapat diamati (meloeng, 2002:3). lokasi penelitian ini di desa tambahsari kecamatan limbangan kabupaten kenharmonia, volume 12, no.1 / juni 201248 buat sesuatu mereka mencoba mengamati fenomena yang terjadi di masarakat terutama tentang pertunjukan-pertunjukan kesenian tradisional yang lain baik pertunjukan langsung maupun melalui rekamanrekaman audio visual (vcd) yang bisa dibeli di pasaran. berdasar pengamatan tersebut terutama pimpinan kelompok ini, setiap kali melihat pertunjukan wayang kulit setiap memasuki bagian atau adegan limbukan dan gara-gara selalu mendapat perhatian yang luar biasa dari para penonton dibanding adegan-adegan yang lain. ternyata begian atau adegan ini selalu dinanti para penonton, karena pada adegan ini ditampilkan lagu-lagu campursari dan para penonton dipersilahkan untuk memesan lagu. dari pengalaman melihat pertunjukan wayang tersebut, pimpinan kelompok ini berinisiatif untuk menggabungkan pertunjukan kesenian jaran kepang yang ia pimpin dengan campursari. petimbangannya adalah, bahwa campursari sajian musiknya cederung mudah dipadukan dengan gamelan jawa sebagai iringan jaran kepang, mengingat campursari sendiri instrumennya juga menggunakan sebagian instrumen gamelan jawa. sehingga secara teknik tidak mengalami kesulitan dalam menggabungkannya. kemudian campursari diharapkan mampu menjadi daya tarik bagi masyarakat untuk menyaksikan petunjukan jaran kepang, karena lagu-lagu campursari sudah tidak asing lagi ditelinga masyarakat dan bahkan cenderung disukai masyarakat. format pertunjukannya adalah untuk materi jaran kepang serta tata urutan sajian tetap, kemudian ditengah-tengah sajian jaran kepang disisipi sajian lagu-lagu campursari dan mempersilahkan penonton untuk meminta lagu dengan memberi imbalan uang atau nyawer kepada penyanyi dan berjoget di arena pertunjukan. format pertunjukan kolaborasi tersebut diperkenalkan pertama kali pada saat pentas perayaan kemerdekaan ri tahun 2005, ternyata mendapat sambutan atau respon masyarakat sangat mengemberikan. hal ini terbukti semenjak pentas itu permintaan pentas dari masyarakat semakin banyak, bahkan tidak hanya dal. selanjutnya data diperoleh melalui metode observasi, wawancara dan dokumentasi. setelah data-data terkumpul selajutnya analisis data dilakukan denga mengacu pada analisis miles dan huberman (1992:17), yakni proses analisis ini diaplikasikan secara serempak mulai dari pengumpulan data, mereduksi, mengklasifikasi, mendeskripsikan, menyimpulkan dan menginiterpretasikan semua informasi secara saelektrif. langkah selanjutnya adalah melakukan pemeriksaan keabsahan data, mengacu pada dependabilitas dan konfirmabilitas (lincoln dan guba dalam jazuli 2001:34). data yang diperoleh dari metode observasi, wawancara serta dokumentasi, selanjutnya ditafsirkan hingga penarikan kesimpulan melalui pengkajian silang dengan pakar atau teman sejawat. di samping itu juga menggunakan member ckheking yaitu meminta pengecekan dari informan, pemain serta penonton. hasil dan pembahasan latar belakang masuknya campursari berdasar penuturan pimpinan kelompok kesenian ini (slamet driyo 56 th), didasari rasa keprihatian tentang kondisi kesenian jarang kepang yang ia pimpin, yaitu semakin jarangnya kesenian ini tampil karena jarang sekali mendapat undangan untuk mengadakan pertunjukan baik dari masyarakat maupun instansi pemerintah. kondisi ini mengakibatkan semangat para pendukung kesenian ini semakin menurun atau dalam bahasa jawa nglokro, untuk tetap mempertahankan kesenian ini. selain itu kelompok ini juga tidak memiliki masukan berupa uang kas, yang akibatnya tidak memiliki biaya untuk perawatan perlengkapan kesenian ini. berawal dari kondisi tersebut, pimpinan kelompok ini mencoba berdikusi dengan para pendukung kesenian ini untuk mencarai solusi agar kesenian ini tetap bisa bertahan didup dan tetap diminati masyarakat. selain itu diharapkan juga agar kesenian ini nantinya dapat memberi nilai tambah secara ekonomi bagi para pendukungnya. sebelum mereka memutuskan untuk berjoko wiyoso, motivasi masuknya campursari ke dalam pertunjukan jaran kepang 49 kat secara tidak langsung menghargai dan menerima jerih payah para pendukung kesenian jaran kepang tersebut. selanjutnya bila dikaji berdasar klasifikasi atau kategori motif, maka daya gerak yang mengerakkan para pendukung kesenian jaran kepang turonggosari tersebut dapat diklasifikasikan ke dalam kalsifikasi motif sebagai berikut. pembangkit daya gerak para pendukung kesenian jaran kepang turonggosari terutama pimpinannya memasukan campursari ke dalam pertunjukan jaran kepang adalah oleh rasa tanggung jawab sebagai pemilik dan pendukung sebuah kesenian tradisional. para pendukung merasa ikut bertanggung jawab terhadap hidup matinya kesenian warisan nenek moyang mereka, upaya ini semata-mata didorong oleh sebuah keinginan agar kesenian tersebut tetap hidup. disukai dan tidak ditinggalkan masyarakat. maka dapat dikatakan bahwa motif yang mendorong usaha tersebut dapat dikategorikan ke dalam motif instrinsik yaitu bahawa usaha tersebut benar-benar berasal dari dalam diri para pendukung kesenian itu tanpa adanya rangsanagan dari luar atau tanpa ada yang mempengaruhinya. campursari dipilih sebagai sebuah alternatif untuk dipadukan ke dalam pertunjukan jaran kepang sebagai upaya daya tarik bagi masyarakat, agar mereka mau datang dan manyaksikan pertunjukan jaran kepang. mengingat pemilihan campursari sebagai partner dalam pertunjukan jaran kepang tersebut dipengaruhi oleh fenomena-fenomena yang terjadi pada pertunjukan kesenian tradisional yang lain, maka motif yang mendorong, atau menggerakan para pendukung kesenian jaran kepang tersebut dapat dikategorikan sebagai motif ekstrinsik. yaitu daya gerak yang mendorong individu untuk berbuat sesuatu karena ada rangsangan atau ada pengaruh dari luar diri individu tersebut. selain motif instrinsik dan ekstrinsik, daya gerak atau motif yang mendorong para pendukung kesenian jaran kepang turonggosari untuk melakukan terbatas di daerah desa tambahsari tetapi juga bersasal dari luar desa bahkan dari luar kecamatan limbangan. motivasi masuknya campursari berdasar pengakuan pimpinan kelompok kesenian jaran kepang turonggasari seperti diterangkan di bagian sebelumnya, motivasi yang mendorong para pendukung kesenian jaran kepang turonggasari untuk memasukkan campursari ke dalam pertunjukan jaran kepang dapat dijelaskan sebagai berikut. seperti dijelaskan di uraian tentang motivasi, bahwa motivasi dapat diartikan membangkitkan motif, membangkitkan daya gerak, atau memnggerakkan seseorang atau diri sendiri untuk berbuat sesuatu dalam rangka mencapai suatu kepuasan atau tujuan. berdasar batasan tersebut, maka dapat dikatakan bahwa motifasi para pendukung jaran kepang turonggosarai memasukan campursari memiliki dua buah daya gerak atau motivasi yaitu, (1) adanya rasa tanggung jawab sebagai penerus generasi sekaligus pemilik sebuah kesenian tradisional yang kondisinya saat itu cukup memprihatinkan, sehingga mereka berupaya untuk mencoba mebangkitkan lagi kesenian ini dengan format pertunjukan yang berbeda yaitu berupa kolaborasi jaran kepang dengan campursari: (2) adanya keinginan bahwa kesenian ini juga memiliki nilai tambah bagi para pendukungnya terutama dari segi ekonomi. apabila dikaji berdasar teori kebutuhan di dalam lingkaran motivasi, maka usaha para pendukung kesenian jaran kepang tersebut di atas masuk dalam kategori kebutuhan penghargaan. bahwa mereka berusaha untuk menyajikan kesenian jaran kepang dengan format baru, mereka sebetulnya juga mengharapkan peghargaan atau pengakuan dari masyarakat, serta dapat diterima oleh masyarakat serta disukainya. ternyata apa yang mereka harapkan terwujud, di setiap pertunjukannya selalu dipadati penonton, kemudian permintaan pentas atau tanggapanpun selalu ada. hal ini menunjukkan bahwa msyaraharmonia, volume 12, no.1 / juni 201250 perubahan format pertunjukan dengan mengkolaborasikan jaran kepang dengan campursari, dapat dikategorikan juga ke dalam motif sadar. yaitu motif yang mengegerakkan tingkah laku seseorang untuk berbuat sesuatu dan orang tersebut tahu alasannya mengapa ia berbuat seperti itu. kemasan pertunjukan jaran kepang yang dikolaborasikan dengan campursari, sengaja dilakukan guna mengangkat kembali kesenian jaran kepang agar tidak ditinggalkan masyarakat. para pendukung kesenian jaran kepang juga berharap sajian format baru tersebut dapat memberi nilai tambah secara ekonomi bagi para pendukungnya. oleh karena itu daya gerak atau motif yang mendorong para pendukung kesenian jaran kepang untuk mengubah format sajian jaran kepang tersebut juga dapat dikategorikan motif sosiogenetis. yaitu motif-motif yang dipelajari orang dan berasal dari lingkungan kebudayaan tempat orang itu berada dan berkembang. dampak bagi para pendukung jaran kepang berdasar pengakuan para pendukung kesenian jaran kepang, setelah kemasan pertunjukan jaran kepang dikolaborasikan dengan campursari, mereka merasakan bahwa folume pementasan cenderung meningkat dibanding sebelumnya. bagi para penari, secara materi pertunjukan, baik materi gerak, rias busana, mereka tidak merasa ada perubahan yang berarti, mengingat materinya tetap tidak mengalami perubahan. namun karena volume pentasnya meningkat dibanding sebelumnya, maka yang perlu mereka jaga adalah kesehatan agar bisa tampil maksimal. bagi para pengrawit atau pemusik asli jaran kepang sedikit perlu penyesuaian dengan campursari, namun pada dasarnya mereka tidak mengalami kesulitan justru tambah pengalaman karena bisa bermain campursari. secara finansial mereka tidak mengalami peningkatan dari segi besarnya honor, namun karena seringnya pentas, maka secara akumulasi mereka menerima honor yang lebih banyak dibanding sebelumnya. sehingga mereka merasa menggeluti kesenian jaran kepang, sekarang ini bisa sedikit memberi nilai tambah secara ekonomi atau bisa membantu perekonomian keluarganya. secara psikologis para pendukung kesenian jaran kepang baik penari maupun pengrawit merasa tertantang untuk tampil maksimal. hal ini terdorong oleh jumlah penonton yang banyak, sehingga secara emosi mereka ingin tampil maksimal agar penonton tidak merasa kecewa dengan tampilan atau atraksi yang mereka tampilkan. apalagi bagi para penari mereka seolah-olah diadu dengan penyanyi campursari yang nota bene penonton pasti suka, maka agar materi jaran kepang tidak kalah menarik dengan sajian lagu-lagu campursari maka mereka selalu berusaha tampil maksimal. untuk itu mereka sesekali mengadakan latihan bersama untuk menjaga kekompakan atau kerampakan gerakan. bagi para pengrawit jaran kepang asli juga merasa ada tantangan tersendiri, mengimgat sekarang mereka tampil di atas panggung dan dituntut untuk bisa menyajikan lagu-lagu campursari. untuk mengatasi hal tersebut pada awalnya mereka tidak segan-segan mengadakan latihan bersama dengan pemusik campursari untuk mengkompakan garapan musiknya. namun setelah berjalan beberapa waktu, merka hanya latihan khusus untuk sajian lagu-lagu campursari yang baru dan sedang digemari masyarakat yang kebetulan kelompok ini belum pernah menyajikan. simpulan berdasarkan hasil penelitian yang dipaparkan pada bab sebelumnya, maka dapat disimpulakn sebagai berikut, motifasi yang mendorong para pendukung kesenian jaran kepang turonggosari, kec. limbangan, kab. kendal untuk mengubah format tampilan atau pertunjukan jaran kepang yang dikolaborasikan dengan campursari didorong oleh motivasi rasa tanggung jawab untuk tetap menjaga keseneian warisan nenek moyang tersejoko wiyoso, motivasi masuknya campursari ke dalam pertunjukan jaran kepang 51 but tetap hidup dan digemari masyarakat sehingga tidak ditinggalkan masyarakat. berdasar toeri kebutuhan dalam lingkaran mitovasi, mereka digerakkan oleh kebutuhan akan penghargaan. selanjutnya bila klasifikasikan motif yang mengerakan para pendukung kesenian jaran kepang tersebut dapat diklasifikasikan ke dalam motif instrinsik, motif ekstrinsik, motif sadar dan motif sosiogenetis. masuknya campursari ke dalam pertunukan jaran kepang membawa dampak psikologis dan ekonomi kepada para pendukung jaran kepang asli baik penari maupun pengrawit. daftar pustaka fauzi, h. amat. 2004. psikologi umum. bandung: pustaka setiax haviland, william a. 1993. antropologi jilid 2. jakarta: erlangga. hadi sumandiyo y, 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balai pustaka soedarsono. 1999. seni pertunjukan indonesia dan paeiwisata. bandung: mspi 158 oscar wilde’s moral philosophy: a synthesis between aestheticism and the picture of dorian gray linus o. akudolu, ikechukwu k. okwuosa, ifeanyi j. okeke, charles n. okolie, francis c. ofoegbu, valentine n. ojiegbe, christopher o. akpa, kingsley c. solomon, hillary o. eze, chinwe jane okolo alex ekwueme federal university, nigeria submitted: 2022-10-04. revised: 2024-01-08. accepted: 2024-06-12 abstract the exaggeration of oscar wilde’s aestheticism that the work of art is purely for beauty and pleasure and has nothing to do with morality makes it very difficult for his moral philosophy to be conceived. even his novel, the picture of dorian gray, which is meant to balance his exaggeration of pleasure in his aestheticism, is often misinterpreted as an aesthetic eulogy. at the same time, some see it as a pure contradiction to his former philosophic position. this paper, therefore, attempts to identify his moral philosophy through a dialectic study of his aestheticism and the picture of dorian gray. as it is qualitative research, the authors source their data primarily from literary works by oscar wilde, while other library materials serve as secondary sources. various philosophical tools, especially dialectics and hermeneutics, are applied in data interpretation. the finding is that contrary to the expectation and assumption of many scholars, ethical hedonism rather than aesthetic hedonism is his moral philosophy. keywords: aestheticism; hedonism; oscar wilde; moral philosophy; dorian gray how to cite: akudolu, l. o., okwuosa, i. k., okeke, i. j., okolie, c. n., ofoegbu, f. c., ojiegbe, v. n., akpa, c. o., solomon, k. c., eze, h. o., & okolo, c. j. (2024). oscar wilde’s moral philosophy: a synthesis between aestheticism and the picture of dorian gray. harmonia: journal of arts research and education, 24(1), 158-164 harmonia: journal of arts research and education 24 (1) (2024), 158-164 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v24i1.39377 cism? how is his moral philosophy ethical rather than aesthetic hedonism? the famous irish poet and playwright oscar fingal o’flahertie wills wilde (october 16, 1854 – november 30, 1900) was a son to an anglo-irish couple: jane, née elgee, and sir william wilde. when he was still very young, he learned how to speak both german and french. he proved to be very intelligent in school, winning so many awards. while at trinity college, dublin, and oxford, he demonstrated to be an exceptional classist; where he, among others, studied some portions of philosointroduction the exaggeration in oscar wilde’s aestheticism that beauty and pleasure are the only goals of the work of art makes his moral philosophy very difficult to conceive. due to his emphasis on pleasure, many believe that his moral philosophy is pure aesthetic hedonism, but a critical study of his novel, the picture of dorian gray, and later confessions indicate that he was an ethical hedonist. the questions that might arise in our reader’s mind are: who is oscar wilde? what is oscar wilde’s aestheticorresponding author: e-mail: oluchukwu1900@gmail.com p-issn 2541-1683|e-issn 2541-2426 https://en.wikipedia.org/wiki/jane_wilde https://en.wikipedia.org/wiki/jane_wilde https://en.wikipedia.org/wiki/william_wilde linus o. akudolu et al., oscar wilde’s moral philosophy: a synthesis between aestheti159 phy as part of the classics and was enticed by the merging philosophy of aestheticism to the extent that he later became their spokesman (holland, 2003; sturgis, 2018; mason, 1972, 1914). after that, he moved to london, where he enjoyed fashionable cultural and social lives. he wrote many literary works: novels, poems, prose, drama, and social matters. he later lectured in the united states and canada on the new “english renaissance in art” and interior decoration. he later went back to london and became a prolific journalist. he was known for his biting wit, admirable conversational skill, and flamboyant dressing that made him unique. he was indeed a personality in his time (holland, 2003; breen, 2000; sturgis, 2018; mason, 1972, 1914). oscar wilde was a man of aesthetics both in life and literary work. his aesthetic inclination made him refine his ideas about the supremacy of arts in a series of essays, dialogue, and plays. his aesthetic extremity leads to his arrest and prosecution. at the climax of his success and fame, wilde prosecuted the marquess of queensberry for criminal libel against him. the marquess was the father of lord alfred douglass, the wilde’s lover. the libel trial exposed wilde’s sexual indecency with many men with much evidence, making him drop the libel charges. he was arrested, tried for gross indecency with men, and was imprisoned for two years (1895-1897) with hard labor (adut, 2000; holland, 2003; sturgis, 2018; mason, 1972, 1914). during his last year in prison, he wrote de profundis (which was published after his death in 1905), discussing his spiritual journey in prison, his repentance and confession, and upturning his former philosophy of pleasure (holland, 2000). after the release, he wrote a long poem, the ballad of reading gaol (1898), in commemoration of the harsh rhythm of prison life. by november 25, 1900, he developed “cerebral meningitis” as a result of a severe ear injury sustained in the prison and died on november 30, 1900. apart from de profundis and the ballad of reading gaol, other notable and organized literary works of oscar wilde include: ravenna (1878), poems (1881), the happy prince and other stories (1888, fairy stories), lord arthur savile’s crime and other stories (1891, stories), a house of pomegranates (1891, fairy stories), intentions (1891, essays and dialogues on aesthetics), the picture of dorian gray (first published in lippincott’s monthly magazine july 1890, in book form in 1891; novel), the soul of man under socialism (1891, political essay), lady windermere’s fan (1892, play), a woman of no importance (1893, play), the sphinx (1894, poem), an ideal husband (performed 1895, published 1898; play), and the importance of being earnest (performed 1895, published 1899; play) (oscar wilde, www. wikipedia.org) considering that his literary works are more of poems, novels, stories, and drama, except for the soul of man under socialism, which can be accepted in political science and philosophy, how can such an artist be considered a philosopher? is it possible for us to get a sound moral philosophy from such an aesthetic man who preached and practiced hedonism? indeed, oscar wilde can be considered a philosopher, as he studied part of philosophy in classics. more so, his literary works contain many philosophical thoughts and ideas. his social and political philosophy is obvious in his the soul of man under socialism, where he followed the steps of karl marx to advocate socialism (wilde, 2012). his epistemology can be assessed through his various essays on lying, the importance of being earnest, and various lines of his poems and drama where he epitomizes the objectivity of truth, while his moral philosophy can be synthesized from his aestheticism and the picture of dorian gray. all these are indications that oscar wilde is not just a mere artiste, playwright, and journalist but also a philosopher. nonetheless, scholars have never seriously considered this established fact, talking more of identifying his moral philosophy through his literary and artistic works. most schohttps://en.wikipedia.org/wiki/the_ballad_of_reading_gaol https://en.wikipedia.org/wiki/the_ballad_of_reading_gaol https://en.wikipedia.org/wiki/the_ballad_of_reading_gaol https://en.wikipedia.org/wiki/the_ballad_of_reading_gaol https://en.wikipedia.org/wiki/the_happy_prince_and_other_stories https://en.wikipedia.org/wiki/the_happy_prince_and_other_stories https://en.wikipedia.org/wiki/lord_arthur_savile%27s_crime_and_other_stories https://en.wikipedia.org/wiki/lord_arthur_savile%27s_crime_and_other_stories https://en.wikipedia.org/wiki/a_house_of_pomegranates https://en.wikipedia.org/wiki/a_house_of_pomegranates https://en.wikipedia.org/wiki/the_picture_of_dorian_gray https://en.wikipedia.org/wiki/the_picture_of_dorian_gray https://en.wikipedia.org/wiki/lippincott%27s_monthly_magazine https://en.wikipedia.org/wiki/lippincott%27s_monthly_magazine https://en.wikipedia.org/wiki/the_soul_of_man_under_socialism https://en.wikipedia.org/wiki/the_soul_of_man_under_socialism https://en.wikipedia.org/wiki/lady_windermere%27s_fan https://en.wikipedia.org/wiki/lady_windermere%27s_fan https://en.wikipedia.org/wiki/a_woman_of_no_importance https://en.wikipedia.org/wiki/a_woman_of_no_importance https://en.wikipedia.org/wiki/the_sphinx_%28poem%29 https://en.wikipedia.org/wiki/an_ideal_husband https://en.wikipedia.org/wiki/the_importance_of_being_earnest https://en.wikipedia.org/wiki/the_importance_of_being_earnest http://www.wikipedia.org http://www.wikipedia.org https://en.wikipedia.org/wiki/the_soul_of_man_under_socialism https://en.wikipedia.org/wiki/the_soul_of_man_under_socialism https://en.wikipedia.org/wiki/the_picture_of_dorian_gray harmonia: journal of arts research and education 24 (1) (2024): 158-164160 lars assumed his ethics to be pure hedonism due to his emphasis on pleasure and beauty. among these philosophers whose works we are going to review under oscar wilde’s aestheticism include berkson (2003), belford (2000), pearce (2004), burdett (2014), michele (2018), danney (2000), duggan (2008), adut (2000), paul (1998) and sturgis (2018). therefore, the purpose of this work is to identify ethical hedonism rather than pure aesthetic hedonism as the moral philosophy of oscar wilde. we argue that beauty and pleasure should not be the only concern of the work of art; they can also serve as ethical tools for social transformation. we insist that pleasure without restraint and control can lead to destruction. method this work is qualitative research, using the literary works of oscar wilde as primary sources of data, while commentaries and research works by other scholars serve as sources of secondary data. the major philosophical tool applied in this study is dialectics, while others include hermeneutic interpretation, critical review, analysis, and logical reasoning (deductive and inductive reasoning). dialectics, according to hegel and karl marx, is a method where a position is established (thesis), another opposing position rises against the position (antithesis), and in order to resolve the conflict, a new position is arrived at from the thesis and antithesis (synthesis). in the next section, we see how oscar wilde holds aestheticism to extremity (thesis), followed in section three by (antithesis) the story of dorian gray, who tended to live a life of pleasure to the fullest and ended in tragedy. the conflict between oscar wilde’s aestheticism and dorian gray’s tragedy is synthesized into what would be taken as oscar wilde’s moral philosophy (ethical hedonism) in section four. at the same time, the work is concluded in section five. results and discussion the aestheticism of oscar wilde aestheticism (also the aesthetic movement) was a movement in the late 19th century which emphasized “art for art’s sake.” according to the proponents, the chief goal of art is to create beauty and make man happy rather than serving any moral and socio-political purpose or interest (paul, 1998; danney, 2000). the movement originated with a radical group of artists and designers in england in the 1960s, challenging the value of the mainstream victorian culture, which insisted that every work of art should have ethical imports. according to carolyn (2014), “many victorians passionately believed that literature and art fulfilled important ethical roles. literature provided models of correct behavior: it allowed people to identify with situations in which good actions were rewarded or provoked tender emotions. at best, the sympathies stirred by art and literature would spur people to action in the real world, while aesthetes argued that “art had nothing to do with morality.” the primary concern of art for them was the elevation of pleasure and pursuit of beauty. for them, a work of art is merely for happiness; it should not be judged on the basis of morality but strictly on its form. this philosophy is extended beyond literary work to practical living. the explosion of aesthetic philosophy in fin-de-siècle english society, as exemplified by oscar wilde, was not confined to merely art, however. rather, the proponents of this philosophy extended it to life itself. here, aestheticism advocated whatever behavior was likely to maximize the beauty and happiness in one’s life, in the tradition of hedonism. to the aesthete, the ideal life mimics art; it is beautiful, but quite useless beyond its beauty, concerned only with the individual living it. influences on others, if existent, are trivial at best (duggan, 2008, p.61). this philosophical movement attracted the attention of many writers, including william morris and oscar wilde. wilde did his best to “transpose the beauty linus o. akudolu et al., oscar wilde’s moral philosophy: a synthesis between aestheti161 he saw in art into daily life.” this was a practical as well as a philosophical project. wilde was quoted: it is indeed to become a part of the people’s life . . . i mean a man who works with his hands; and not with his hands merely, but with his head and his heart. the evil that machinery is doing is not merely the consequence of its work but also the fact that it makes men themselves machines. whereas we wish them to be artists, that is to say, men (pearce, 2004, p. 144). for him, aestheticism is a life, not a mere philosophy. applying it in a more universal sense, wilde stressed the positive influence of aestheticism as a philosophy beyond mere craftsmanship. “just as the machines that mass-produce materials with the intervention of human thought are labeled ‘evil’,” he likewise “condemns men who act as metaphorical machines, programmed to behave in accordance with society’s ideas of propriety rather than allowing themselves to act freely and achieve the greatest amount of happiness” (duggan, 2008, p. 63). carolyn burdett (2014), writing on aestheticism and decadence, explains, “wilde teased his readers with the claim that life imitates art rather than the other way round. his point was a serious one: we notice london fogs, he argued because art and literature have taught us to do so”. oscar wilde, among others, “practicalized” these maxims. he always dressed himself in an outlandish manner that attracted people’s attention. when he was queried on the report that he was seen moving down the pically in london with a lily-long hair flowing, his reply was, “it’s not whether i did it or not that’s important, but whether people believed i did it” (michele, 2018, p.285). he believed that artists should hold to aesthetic ideals and that pleasure and beauty should be paramount in their minds instead of utilitarian ethics (berkson, 2003; belford, 2000). oscar wilde, in his lifetime, wrote many works promoting aesthetic philosophy. his literary works were indeed motivated by this philosophy. his lifestyle also conformed to this philosophy. he became addicted to the pleasures of life: drinking, partying, and sexual indulgence (adut, 2000; sturgis, 2018). it was this lifestyle that led to his imprisonment and early death. this shows that pleasure uncontrolled can lead to sorrow and untimely death (adut, 2000). the picture of dorian gray also confirms this, but people often misunderstand it to be wilde’s declaration on the promotion of pure and unconditional aesthetic life without restriction. however, this is a shallow interpretation of the novel. a synopsis of the picture of dorian gray this novel is a story about a portrait of dorian gray painted by basil hallward, an artiste who has been infatuated with the beauty of dorian gray (wilde, 2007; holland, 2003). hallward is a friend of lord henry wotton, who preaches hedonism, emphasizing that life should be lived to the fullest. dorian gets to know henry through basil. his encounter with lord henry enthralls him with the aristocratic hedonistic worldview that the only things worthy of pursuit in life are beauty and sensual fulfillment. this understanding makes dorian determined to sell his soul to ensure he enjoys life to the fullest and to remain young. he resolves that the picture will age and fade rather than himself growing older. he tries to keep himself younger and surrenders himself to an immoral life. while he stays young and beautiful, the portrait keeps reminding him of all his sins. in the process of pursuing unrestricted aestheticism learned from lord henry, dorian meets actress sibyl vane, who is performing shakespeare plays in a dingy working-class theatre. he approaches and talks to her, telling her how much he loves her. he soon proposes to marry her. his handsomeness made sibyl accept the proposal. sibyl fancies him, calls him “charming prince, “ and feels loved. his overprotective brother james is not comfortable with the relationship and warns that if dorian harms her, he will have dorian killed. dorian invites his friends, including lord https://en.wikipedia.org/wiki/life_imitating_art https://en.wikipedia.org/wiki/the_picture_of_dorian_gray harmonia: journal of arts research and education 24 (1) (2024): 158-164162 henry, to watch sibyl perform romeo and juliet. unfortunately, sibyl being enamored with dorian, acts poorly, making basil and henry think that sibyl has fallen in love with dorian because of his “charming beauty”. this embarrassment makes dorian insult sibyl, telling her that he loves her because of her acting, that “without your art, you are nothing,” and that she no longer interests him (wilde, 2007, p. 101). dorian gets home only to find out that his wish to remain young is granted; the portrait fades while he remains young. conscience-stricken and lonely, dorian feels remorse for how he spoke to sibyl and decides to reconcile with her, but it is too late as sibyl out of depression has killed herself. dorian locks up the portrait, pursuing a life of pleasure and sensualities. one night, before leaving for paris, his friend basil goes to basil’ s house asking him about the rumors of his sensualities that he has been hearing. dorian does not deny the allegation but takes basil to where he has kept the portrait. basil could no longer recognize the portrait as dorian became younger than the portrait. he only recognizes that he was the person who made the portrait by his signature affixed to it. basil, being horrified, begs dorian to repent and pray for salvation. his insistence angers dorian, who sees basil as one of those that have contributed to his degeneration. out of rage, he stabs basil to death. dorian then calmly blackmails allan campbell, his old friend, to use his knowledge of chemistry to destroy basil’s body. alan, who succumbed but could no longer bear the guilt, commits suicide. to free himself from the guilt of his action, dorian gray goes to an opium den, where, unknown to him, james, the brother of late sibyl, is there. james has been seeking an opportunity to avenge the death of his sister but is not certain of dorian’s identity, as all he knew about dorian was the name “the charming prince.” james sees him but cannot recognize him because he appears younger. when he approaches dorian to ascertain his identity, dorian denies knowing anything about sibyl, who died eighteen years ago, as he is too young to have known her. dorian has left before james learns he is the “the charming prince.” james begins to stalk dorian, making him afraid. however, during a shooting party, a hunter accidentally kills james, who is lurking in a thicket. returning to london, dorian tells lord henry of his resolve to live righteously henceforth. his new probity begins with deliberately not breaking the heart of the naïve hetty merton, his newly found lover. dorian wonders whether his newly found goodness has rescinded the corruption in the picture but finds out that the picture remains aged while he is younger. deciding that only true confession will absolve him of his sins, he decides to destroy the last evidence of his sins. in a rage, he takes the knife with which he kills basil and stabs the portrait. the servants, hearing the noise and crying from the locked room, invite the police. on entering the room, they find an unknown old man with a disfigured and withered body on the floor. they are able to identify the corpse of doran only by the rings on his fingers. while he looks very old, the picture beside him becomes beautiful again. ethical hedonism: the oscar wilde’s moral philosophy reading his aestheticism gives the impression that his moral philosophy is hedonism. hedonism, as an ethical philosophy, promotes pleasure. if you ask a hedonist: what is good? his likely answer is that which gives you pleasure. aestheticism is reasonable to some extent because, according to aristotle’s ethics, that which fulfills its function is good (stumpf, 1994). if the function of art is to give us beauty and pleasure, aestheticism passes any criticism. but the question is: is pleasure and beauty the sole function of art? art should be relevant to social issues. promoting beauty and pleasure alone without morality can lead to disaster (stern, 2017). this is what is portrayed in the picture of dorian gray. linus o. akudolu et al., oscar wilde’s moral philosophy: a synthesis between aestheti163 in the novel, lord henry wotton preaches aestheticism in a captivating manner that makes dorian gray fall for it; even the reader, if not clever, can fall for it. the elegance and bravado of aestheticism advanced by lord henry seduced dorian into it. however, it would be mistaken for one to interpret the novel as wilde’s patent recommendation for unrestrained aestheticism. a critical study of the novel shows that it contradicts the aesthete’s position that pleasure and beauty are only things worth living for and should be pursued without restraint. the novel, refuting this idea, presents a strong case for the inherent immorality of purely aesthetic lives. dorian gray represents the aesthetic lifestyle in action, pursuing personal gratification with reckless abandonment. yet, as he enjoys these indulgences, his behavior leads to his untimely and that of others. he died unhappier than ever. the tragedy and the death of dorian gray, who gives himself totally to pleasure and sensualities, points out that pleasure and beauty must be pursued with reasoning and rationality; this distinguishes us from mere animals. we must control our senses and appetites. had it been that dorian gray controlled his appetite and lust, he would not have died the way he did. sibyl herself would not have died. even the death of basil was a consequence of dorian’s sins. the implication of this is that oscar wilde’s moral philosophy is not a mere aesthetic hedonism but ethical hedonism. this means that while pursuing pleasure, one must simultaneously consider its consequences to oneself and others. in a letter to the st. james’s gazette, wilde admits that dorian gray “is a story with a moral lesson. and the moral is this: all excess, as well as all renunciation, brings its own punishment” (wilde, 2007, p.248). it is good that aestheticism condemns renunciation, but excessive obedience to these desires is subversively dangerous. therefore, in practicing wilde’s aestheticism, forethought and constraint are necessary, as if lacking, they can lead to doom, as seen in the case of dorian gray. wilde demonstrates this ability to control the hedonism of aestheticism by the last stage of dorian’s life. in his essay “aestheticism and social anxiety in the picture of dorian gray,” mitsuharu matsuoka points out that as dorian’s death approaches, “dorian ultimately reacts against his lifestyle, choking on his new hedonism,” at which point “a great sense of doom hangs over dorian” (matsuoka, 2003, p. 78). indeed, he realizes the consequences of his sins, but it appears to him that he is too far to be salvaged. revealing his epiphany to lord henry, dorian says: “the soul is a terrible reality. it can be bought, and sold, and bartered away. it can be poisoned or made perfect. there is a soul in each one of us. i know it” (wilde, 2007, p.211). unfortunately for dorian, this realization comes too late to save his soul from the age-long corruption nurtured by a purely aesthetic life. he is, therefore, destroyed by his life of pleasure. conclusion from the critical study of oscar wide’s aestheticism and the picture of the dorian gray, we synthesize that oscar wilde’s moral philosophy is ethical hedonism. this ethical hedonism should also be a guiding principle for artists. work of art should not concern itself with beauty and pleasure alone; it should also affect lives positively. for instance, music has been proven beyond all reasonable doubt to be an effective agent of social and moral engineering, and this applies to other forms of art. pleasure and beauty should not be prioritized above morality. as we enjoy the pleasures of life, we must apply self-control and restraint. pleasure unbridled leads to destruction. the tragic end of oscar wilde and dorian gray is a lesson to all who live after pleasure (stern, 2017). in his theory of meaning, aristotle admonishes us neither to be too righteous nor sensual. we must control our emotions and lust (aristotle, 1976). life must be balanced. those who have given themselves harmonia: journal of arts research and education 24 (1) (2024): 158-164164 total pleasure should now repent and seek salvation when it is still day. acknowledgements we use this opportunity to express our appreciation to mrs nkiruka uzoagu, who proofread this work and ensured that typological and grammatical errors are minimized. references adut, ari (2005). a theory of scandal: victorians, homosexuality, and the fall of oscar wilde. american journal of sociology111 (1), 213–248. https:// doi.org/10.1086/428816 aristotle (1976). the nichomachean ethics. london: penguin classics. arnold, matthew (2007). culture and anarchy in the picture of dorian gray. ed. andrew elfenbein. ny: pearson longman, 276–279. becker-leckrone, megan (2000). oscar wilde (1854–1900): aesthetic and criticism. the continuum encyclopedia of modern criticism and theory 20, 658–665. beckson, karl (2003). oscar wilde. london: routledge. belford, barbara (2000). oscar wilde: a certain genius. new york: random house. breen, richard (2000). oxford, odd fellows & funny tales. london: penny publishing limited. burdett, carolyn (2014). aestheticism and decadence. discovery literature: romantics and victorians. retrieved from https://www.bl.uk/ romantics-and-victorians/articles/ aestheticsmand-decadence craft, christopher (2005). come see about me: enchantment of the double in the picture of dorian gray. representations, 91(1), 109–136. denney, colleen (2000). at the temple of art: the grosvenor gallery, 1877-1890, issue 1165, 38, fairleigh dickinson university press, 2000. duggan, p. 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(2008). the picture of dorian gray. oxford university press. wilde, oscar (2012). the soul of man under socialism. berlin: edward viesel media https://en.wikipedia.org/wiki/doi_%28identifier%29 https://www.bl.uk/romantics-and-victorians/articles/aestheticsm-%09and-decadence https://www.bl.uk/romantics-and-victorians/articles/aestheticsm-%09and-decadence https://www.bl.uk/romantics-and-victorians/articles/aestheticsm-%09and-decadence https://books.google.com/books?id=rvtzrnmy5roc&pg=pa38&lpg=pa38&dq=%22aesthetic+movement%22+swinburne&source=bl&ots=fqgt-5h3y4&sig=ir3qch29f7c926rkx620lbcb5fs&hl=en&ei=7kjksuy9bnddlaebobgsaw&sa=x&oi=book_result&ct=result&resnum=1 https://books.google.com/books?id=rvtzrnmy5roc&pg=pa38&lpg=pa38&dq=%22aesthetic+movement%22+swinburne&source=bl&ots=fqgt-5h3y4&sig=ir3qch29f7c926rkx620lbcb5fs&hl=en&ei=7kjksuy9bnddlaebobgsaw&sa=x&oi=book_result&ct=result&resnum=1 https://archive.org/details/newyorkpublicli100newy https://archive.org/details/newyorkpublicli100newy https://archive.org/details/newyorkpublicli100newy/page/261 https://en.wikipedia.org/wiki/merlin_holland https://en.wikipedia.org/wiki/doi_%28identifier%29 https://doi.org/10.1093%2fres%2fhgx035 172 weak of effects of music education in the establishment of characters herwin yogo wicaksono department of music education, faculty languages and arts, universitas negeri yogyakarta, indonesia submitted: march 19, 2019. revised: may 6, 2019. accepted: june 29, 2019 abstract this study discusses the absence of significant influence from music education in shaping an individual’s character. character education itself is an education that discusses the mental and moral qualities that are unique to an individual. ki hajar dewantara views music education as having the power to help indonesian people realize a better inner and outer life, and the nature of the art of music itself is actually order and beauty. the purpose of this study is to reveal the weak influence of music education on the formation of an individual’s character. the behaviour of students and lecturers in the department of music education fbs uny was observed continuously for approximately six months. to strengthen the data, interviews were conducted face to face. the results showed that most students and lecturers who had long struggled and involved in the music field were weak in terms of discipline, social care and socializing order, and beauty. this can be seen from the behaviour of students and lecturers in carrying out daily activities, especially musical activities. keywords: education; character; music how to cite: wicaksono, h. y. (2019). weak of effects of music education in the establishment of characters. harmonia: journal of arts research and education, 19(2), 172-178. harmonia: journal of arts research and education 19 (2) (2019), 172-178 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i2.23623 is transferring these common values that hold the society together through generations. the most fundamental goal of education which is defined as the process of creating the desired and positive behavior change in individuals is to teach common sense and awareness to individuals. because, in order to maintain a healthy society and for managing social problems some certain values must be transferred through generations. in this study, with a descriptive method based on the screening model, both values education and music education which fulfill this function of education, were examined in terms of their influences to each other and to the transmission of the introduction all the elements that make up a community such as a language, religion, history, art, customs, traditions, and norms reflect the culture of that community. this cultural structure varies by community. in other words, every community has the same cultural values carried over from the past (nart, 2017) religion, history, art, customs, traditions, norms and etc. reflects the culture of that community. this cultural structure varies in each community. in other words, each society has common cul tural values brought from the past. one of the goals to be achieved through education corresponding author: e-mail: herwin_yw@uny.ac.id p-issn 2541-1683|e-issn 2541-2426 herwin yogo wicaksono, weak of effects of music education in the establishment of 173 cultural values. because, the most important function of both values education and music education, is the positive shaping of an individual’s character and therefore social life, through the transmission of common cultural values. in conclusion, it is thought that music/music education is an effective method and tool in the instilling of values. similarly, in values education, the use of appropriate songs will assist in the instilling of values. also, through collective musical activities children will be able to acquire social and human values (tolerance, sharing, responsibility, friendship, patience, equality, etc.. likewise, the formation of character, which is so varied in each community, especially in each individual. the formation of character becomes so important, especially in the modern era and this technological era, where the behaviour of individual experiences a lot of changes. these changes include a lack of communication, mutual respect, and mutual respect so that a sense of solidarity, togetherness, and friendship become faded. at present, most people are closer to various types of screens, tv screens, mobile phone screens, and computer screens. this condition makes the majority of modern society tend to be individuals who pay less attention to the surrounding environment; they do more activities in front of the screen (ngafifi, 2014). on the other hand, selfishness, ignorance, aggression, and destructive are dominant in today’s society. these conditions indicate an unfavorable impact on character formation. in addition, this can be said as a phenomenon of moral crisis. rachmawati (2010) explains that the phenomenon of moral crisis in indonesia has increased quite rapidly over the past 20 years. many experts believe that crisis is an indicator of failure in character and spiritual education. however, other studies reveal that there is education that can shape the character of an individual to be positive, namely music education. music education is an education that instills various values of goodness, such as discipline, togetherness, social, and mutual respect. besides, music education also provides a sense of beauty for people who are involved in musical activities. the existence of the inculcation of these virtues from music education for one’s life, it can be said that music education can develop the character of people involved in musical activities. music as a school subject fulfills objectives related to values and values education more widely in the society by supporting interpersonal relations, creating social cohesion, and laying the foundation for creating and reviving and maintaining the notion of tradition (muldma & kiilu, 2012). regarding music as a subject the school fulfills goals related to values and education of broader values in society, further muldma & kiilu (2012) explained that music education allows the development of socio-cultural skills in pupils through different musical activities. this is in line with the results of previous studies conducted by so yin (2012), who concluded that music is often used by its advocates as a vehicle to promote positive changes in students, academically, emotionally, and socially. the phrase is reinforced by the results of research conducted by hallam (2010), who expressed the impact of musical skills on language. this impact is development, literacy, numeracy, measures of intelligence, general attainment, creativity, excellent motor coordination, concentration, self-confidence, emotional sensitivity, social skills, teamwork, self-discipline, and relaxation. the research findings prove that music can influence the development of a person’s character involved in musical activities. therefore, many studies that examine the formation of the character using music as a medium for the formation of these characters, especially in early childhood, kindergarten, and elementary school level. the inculcation of values through music education is deemed necessary from an early age. it is said so because, in harmonia: journal of arts research and education 19 (1) (2019): 172-178174 music education, character plays an important role as a determinant of learning success. character is not only what is written in the curriculum, but is more about students’ attitudes in playing music such as responsibility in what they learn, desire to always practice, willingness, interest, readiness, energetic and creative (sutawi, 2018, p.200). ki hajar dewantara views music education as an education that has the power to help indonesian people in realizing a better life and mind. meanwhile, the nature of music itself is actually order and beauty (wiratman, 2019). therefore, it is necessary to form and instill good and positive characters through music education, so that individuals who have good creativity, taste, and intention can be realized. in line with this, rachmawati (2010) explains that music, as one of the aesthetic creations, is believed to be able to make a positive contribution to the process of character formation. meanwhile, character education itself is a planned effort to make students know, care, and internalize values so that students behave as human beings (haryanto, 2011). students who are involved in a musical activity, are not only embedded in cognitive, motor, and affective abilities, but also are embedded in a social sense through cooperative music activities (djohan, 2009). for example, in a music ensemble game, students who are involved in music activities will form social sense. it is not only the social sense that is formed, but also sensitivity, creativity, and respect (sutawi, 2018). in addition, in music activities, there is no element of selfishness and still must cooperate with other children as accompanists (djohan, 2009). in this expression, it appears that students who need to have the nature of respect and respect for one another (with musical accompaniment). with the results of research that have been described related to music education that can shape the character of an individual, it can be said that music education is a medium to build the character of students and individual characters involved in it (sutawi, 2018). however, based on field studies conducted by observing individual behavior both students and lecturers, this tends to have a character that is contrary to what has been explained from the results of this study. though the results of research that explain that an individual who studies music should have a better character, both in terms of discipline, social sensitivity, togetherness, and mutual respect. this becomes an interesting problem for further study, and this is a case. what causes the formation of good characters in individuals who have studied and been involved in musical activities for such a long time. method the case study approach is used in examining the problems in this study. use case studies, because there are important things from the cases studied, namely the behavior of individuals who have studied the art of music for a long period of time, but does not sufficiently influence the values of character education formed in the person. this case can be said to be a phenomenon both of an individual and a group of individuals (gerring, 2007; hancock, et al., 2006), and is a ”system bound” by time and place. this was confirmed by (creswell, 2014), who explained that a phenomenon was tested in several bound systems. furthermore, creswell (2014) explains that a case study design can help researchers understand how a case functions in a real-life context. the case referred to in this study is the absence of significant influence from the group of individuals who have studied music for a certain period of time to change and character formation. this condition is not in line with the findings of previous studies. one of the research findings is produced by (lee, 2016) that when musical activities are combined with character development, children are better equipped to proactively address problems in their daily lives. these finherwin yogo wicaksono, weak of effects of music education in the establishment of 175 dings indicate that the presence of music activities can make children better in overcoming problems in their daily lives. so, it is clear that music activities can shape children’s characters to be better in solving problems that arise around them. there are many more research findings that show that music education can shape and develop the character of an individual, and this will be discussed in another part of this research. the data that has been revealed related to the weak influence of music education on the individual character education of students in the department of music arts education, fbs uny, was collected through observation in a certain period of time continuously. passive participatory observation is carried out both when lecturers and students are active in musical activities, as well as in daily activities undertaken, such as teaching, learning, and socializing. the observational data, strengthened by data obtained through interviews conducted face to face, both to 4 students and 2 lecturers. interviews are conducted using unstructured types because they can be done more freely and do not use interview guidelines systematically. in addition, respondents were chosen purposively because of the characteristics that are typical of these respondents, and adjusted to the purpose of the study (anggito, 2018). the data that has been collected is obtained for six months (july-december 2017). in this case study research, data were analyzed using an interactive model of miles, et al. (2014) by the steps of collecting data, reducing data, display data, and making conclusions. result and discussion the results of the study described below are related to student and lecturer activities in music processing and daily activities related to their influence on character formation. in their daily life, students and lecturers in the department of music education fbs uny are inseparable from their musical activities, both in theory and in practice. in doing musical activities, sometimes lecturers and students collaborate on a musical performance. to preparing, regular practice is needed. in the process of this exercise, there are still many character values that seem invisible to the respondents. the character values in question include discipline, mutual respect, and caring for both caring for oneself and caring for the environment and others. this is evidenced by the observations made continuously during music practice. in addition, it was strengthened by an interview conducted with one of the students (irn) who took part in the exercise, who said that it was difficult to be able to practice on time. this shows the lack of discipline aspects in determining the time to practice music. not only is the lack of discipline in terms of time, but there are still many students who lack discipline in reading music scores. most of the students still focus only on the notes found in the score. meanwhile, other musical signs such as tempo, dynamic signs, expression signs, key signs, and time signature are not heeded and implemented well into his musical playing. this condition can be seen from the results of interviews with students (bm and ar) in the guitar class as follows. “i still have difficulty reading the notation ... so i concentrate on the notes” (bm). “if i play music, i immediately learn the melody of the song, and this i always do, because i want to be able to play music quickly ” (ar). based on the results of the two interviews, it can be said that not all individuals who study and explore music have a good level of discipline. in fact, in the research conducted by rachmawati (2010), it is said that music as one of the aesthetic creations is believed to be able to make a positive contribution to the process of character formation. accordingly, based harmonia: journal of arts research and education 19 (1) (2019): 172-178176 on the findings, the results of his research, rachmawati (2010) recommend that music as a medium can build the foundation of positive and noble characters. in line with research conducted by rachmawati (2010), sutawi (2018) explains the findings of his research on the influence of music education. music education can form characters, that is, characters that can be formed through music education in schools. there are three flavors, namely, taste (sensitivity), creativity, and respect. however, this opinion is not in line with the findings in this study, as seen in the following interview with lr and in. “in playing music, i don’t practice routinely” (lr). “i am not interested in joining other friends to play music” (in). both of the interview results showed, first, an undisciplined attitude in learning music. it is said so because in learning music, it takes time alone to practice in order to improve skills in playing musical instruments or singing. meanwhile, the results of the second interview showed that in had less interest in socializing with friends. especially friends outside the department of music education. this is further known as the reason for in’s lack of interest in socializing as seen in the results of the following interview. “my friends out there don’t understand, if playing music takes time to practice and prepare, so i tend to be reluctant to play with them.” (in). from the interview results it can be seen that in’s lack of interest in socializing with friends outside the department of music education is due to the ignorance of these friends towards attitudes in learning music. however, this shows a slight attitude of not wanting to hang out with other friends besides friends from the music education department itself. this condition is also seen when there are other activities outside of music, such as social services, scientific meetings held by the faculty; in fact, student representatives from the department of music education have never participated in these activities. this shows a weakness in socializing, and the situation is contrary to what is expressed by djohan (2009) that music influences as a tool to enhance and foster personal and social development. furthermore, djohan (2009) said that there are a number of studies that have proven a correlation between music education with critical abilities such as selfesteem, self-discipline, group work skills, analytical skills, and the ability to respect others. what has been said by djohan (2009), it can be said that music education is really influential in the formation and development of one’s character. in addition, through activities and involvement with cooperative music, social sense will be embedded. this is due to the fact that playing music is inseparable from aspects of the discipline, creativity, self-confidence and social skills, whether working in groups or interacting with others. thus, these aspects which constitute character formation can basically influence the people involved in musical activities, both directly and indirectly involved. hallam (2010) showed that the most frequent overall influences on pupils derived from engagement with the arts in school were related to personal and social development. in music, there were perceived effects relating to awareness of others, social skills, well-being, and transfer effects. these studies clearly show that music education has a positive influence on character formation. even in his research, santosa (2013) explains because of the profound influence of music given to a person, and the resulting changes in manners and habits, the ancient kings in england appointed him as one of the teaching subjects that needed to be included in the curriculum. this is based on the expression of the french philosopher montesquieu, herwin yogo wicaksono, weak of effects of music education in the establishment of 177 1689-1759 (santosa, 2013), which says that music is the only art that does not damage the mind. the statement of the french philosopher was strengthened by the expression of confucius (santosa, 2013) which said that “through poetry, one’s attention will grow, through various ceremonies someone’s character is set, and through one’s music becomes perfect”. furthermore, confucius explained that the preservation of beauty and music is expected to be able to become part of the noble nature of a person and the civilization of society. the existence of these studies clearly shows the emphasis and affirmation that the magnitude of the influence of music education on character formation. but the results of this study, found aspects that conflict with the influence of music education on the character formation of an individual who has studied music in a long period of time. this situation, as described in the previous section. research results obtained based on other observations revealed that there were lecturers who did not appreciate the surrounding environment, each time carrying out an activity. in addition, there is a lack of respect for the environment. this condition can be said that the lecturers lack sensitivity to the surrounding environment. in fact, these lecturers have long been involved in music learning and activities. in this study, the behavior of lecturers and students is observed every day during activities, both involved in musical activities, or not involved. the results of his research, in addition to those previously described, also seen that the characters that appear are likely to have high egos. in fact, in music education, there are many character values that can affect the lives of most people. however, the results of this study show results that are contrary to the results of research that have been found previously about the influence of music education in shaping one’s character. as for the weak influence of music education in shaping the character of someone who is involved with music activities, further research is needed. conclusions the results of this study have revealed that the weak influence of music education on character formation, especially social care, order, and beauty, both for lecturers and students who have studied and been involved in musical activities for quite a long time. the lecturers and students tend to lack social skills. from the results of this research, it can be said that education in the family is the important foundation in character building to further succeed in people’s lives. this is as revealed by ki hajar dewantara, that family education is the foundation of education for the growth and development of one’s character. ki hajar’s view of education is well known for the education trilogy, namely family education, school education, and community education (haryanto, 2011). music education is only one of the media that can shape the character of an individual, but family education is the main thing. thus, it can be said that music education cannot fully develop the character of someone who is learning music. however, there is still a need for integration between family, school, and community education, and family education is the main and basic education for shaping one’s character. this is consistent with what was expressed by (boer & abubakar, 2014) that families are central to the social and emotional development of youth, and most families engage in musical activities together, such as listening to music or talking about their favorite songs. based on the results of research that has been obtained, it can be concluded as a whole that family education is the main education, especially in character formation. music education can shape and develop the character of a person who is involved with music itself, if supported by a strong character base that carries from education in his family, because music was also considered useful in teaching and maintaining harmonia: journal of arts research and education 19 (1) (2019): 172-178178 positive student behavior. references anggito, a. & j. s. 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(2019). pendidikan musik berdasarkan perspektif ki hajar dewantara. retrieved from https://www. academia.edu/35168363/pendidikan_musik_menurut_perspektif_ ki_hajar_dewantara preludium harmonia jurnal pengetahuan dan pemikiran seni �����2 ���:��� ��9���� ���������� � ������������ ������� �&���2�������: ���������������������$���������� � �� ���� ����-��� � �$�� � ���. ���� ������������������������������������������������������������������������������������>���=�������� �� �� �� �;� ∗ ��"$#�! 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�g� �� �� �"����%��"��� �� �"������"��������� ��� ��"�� �"�:��.�1����� ��$������ ��� ������g���� �� �� ���(�������:��.5.��;����� ��� ������ ����& ���" � �&��� � �& �� � ��� � 8�"�� �g � ��&�" � ���� 4����� � ��� � � � ��������� ��(������� uuuuuu: ������� � ��(��: � ���� � (�� � +��� � (��� � � 4�� �"��� ��4�(�&����8�,�� uuuuuuuuuuuuu�.)1� � � ���� � � � � ���� � -�� � � � � � � � ��� � �� $����� � � � # ���� / � $�������� � � � � � ����� � �� � �(� �� ����"���� � 8�4� �� � 2��� � +���� � �(� � h�"�� �� � ��� ��� ���<���� ���2�(������(�� vol. 2 no. 3/september – desember 2001 36 vol. 2 no. 2 mei_agustus 2001.pdf harmonia jurnal pengetahuan dan pemikiran seni mempertimbangkan konsep pendidikan seni (considering the concept of art education) oleh : v. eny iryanti dan m. jazuli* abstrak seni mempunyai peran yang sangat penting, yaitu sebagai kebutuhan dasar pendidikan manusia (bacis experience in education), memenuhi kebutuhan dasar estetika, pengembangan sikap dan kepribadian, dan determinan terhadap kecerdasan lainnya. pendiidkan seni yang ebrdimensi mental (moral) sesungguhnya dapat membantu kecerdasan emosional dan intelektual, menghargai pluralitas budaya dan alam semesta, menumbuhkan daya imaginasi, motivasi, dan harmonisasi siswa dalam menyiasati atau menanggapi setiap fenomena sosial budaya. kata kunci : pendidikan seni, kompetensi a. pendahuluan selama ini kebijakan pendidikan nasional cenderung mengedepankan pendidikan sains dan teknologi sehingga pendidikan seni tampak termajinalkan. dampa dari kebijakan semacam itu diantaranya adalah muncul krisis moral, budaya, politisasi pendidikan dan mudah timbul kekerasan (jaquli, 2000). pengembangan kemampuan berfikir ditunjukka oleh kemampuan mengoptimalkan fungsi otak belahan kanan dan kiri secara seimbang (equilibrium). hal ini berarti bahwa pengembangan kecerdasan harus diimbangi pengembangan fungsi otak kanan, potensi emosi dan seni. pendidikan seni yang berdimensi mental (moral) sesungguhnya dapat membantu kecerdasan emosional dan intelektual, menghargai plura * staf pengajar jurusan sendratasik fbs unnes semarang vol.2 no.2/mei-agustus 2001 40 harmonia jurnal pengetahuan dan pemikiran seni litas budaya dan alam semesta, menumbuhkan daya imajinasi, motivasi dan harmonisasi siswa dalam menyiasati atau menanggapi setiap fenomena sosial budaya yang muncul ke permukaan. ooleh karena itu, tujuan pendidikan seni seperti halnya tujuan pendidikan umumnya juga beraitan dengan norma dan sistem nilai yang tidak bisa diamati secara langsung (intangible). gejala rohani dan sistem nilai hanya dapat direfleksikan secara filosofis, dalam arti dapat ditangkap makna simbolisnya berdasarkan kajian secara ontologis (substansi), epistemologis (metode pendekatan), dan aksiologi (nilai-nilai). bertolak dari paparan diatas, pendidikan seni harus mengarah pada suatu paling mendasar yaitu konsep dasar dan sistem penyelenggaraan pendidikan seni, yang kemudian perlu dikaji secara luas dan mendalam. dengan demikian, kedudukan pendidikan seni akan memiliki arti penting dalam usaha pengembangan kedewasaan emosionalal, serta merupakan bentuk pendidikan yang mampu memberikan keseimbangan (equilibrium) antara kebutuhan intelektualitas dan sensibilitas kehidupan seseorang. dengan pertimbangan tersebut, dalam tulisan ini dicoba untuk memberikan pandangan tentang pendidikan seni. b. visi dan misi dalam rangka mewujudkan pembangunan nasional di bidang pendidikan nasional khususnya pendidikan seni, hendaknya disesuaikan dengan tuntutan situasi, yakni perkembangan ilmu pengetahuan, teknologi dan perkembangan masyarakat serta kebutuhan pembangunan. visi pendidikan seni perlu mengarah kepada : 1) pemahaman terhadap peranan seni dalam kehidupan manusia yang beradab dan berbudaya, 2) kemampuan menilai dan pengalaman seni yang bermakna dalam rangka kehidupan berbudaya, 3) meningkatkan kompetensi untuk menggali, mengungkap, dan mengkomunikasikan gagasan, pandangan dan perasaan melalui media seni; 4) memberikan pertimbangan (justification) estetik dalam kapasitas pribadi maupun kelompok; 5) membantu kemampuan persepsi dan sesnsitivitas terhadap berbagai fenomena sosial budaya yang tumbuh dan berkembang di masyarakat dan lingkungannya. dengan visi pendidikan seni tersebut, siswa memperoleh peluang untuk mengungkapkan vol.2 no.2/mei-agustus 2001 41 harmonia jurnal pengetahuan dan pemikiran seni kan segenap pengalaman cipta, karsa, dan rasa estetikanya, serta keseluruhan aspek kemampuan manusia dapat terjangkau dan terbina secara utuh dan harmonis. misi pendidikan seni yaitu mendidik dan membelajarkan siswa melalui media seni dalam kerangka untuk : 1) mengembangkan sikap, pengetahuan dan keterampilan di bidang seni (musik, tari, rupa) untuk memenuhi kebutuhan dasar estetika, serta mempersiapkan siswa (sd, sltp, smu) untuk mengikuti pendidikan selanjutnya; 2)meningkatkan kesadaran dan kepekaan sensoris; 3) memberikan kebebasan untuk berekspresi kreatif, 4) menmbuhkan dan mengembangkanrasa percaya diri, tanggung jawab dalam kehidupan bersama (bermasyarakat); 5) membangun kebersamaan dalam perbedaan, pluralitas budaya (tim fbs unnes, 2001). dengan misi pendidikan seni semacam itu, dalam diri siswa dapat ditanamkan hal-hal yang berkaitan dengan konsep diri, pemahaman terhadap orang lain, budaya lain, dan lingkungan yang beragam, kehendak untuk belajar dan keterampilan belajar, tanggung jawab sebagai anggota masyarakat dan bangsa, kearifan dalam menggunakan ilmu pengetahuan dan teknologi, dan kesadaran terhadap berbagai perubahan yang terjadi (lihat jazuli, 2000). c. tujuan seni mempunyai peran yang sangat penting, sebagai : 1) kebutuhan dasar pendidikan manusiac experience in education), 2) memenuhi kebutuhan dasar estetika, 3) pengembangan sikap dan kepribadian, 4) determinan terhadap kecerdasan lainnya (lansing,1990; holden 1977). namun demikian tujuan penyelenggaraan pendidikan seni tidak mungkin terlepas dari kondisi masyarakat dan budaya lingkungannya. oleh karena itu, pengembangan tujuan pendidikan seni hendaknya mendasarkan nilai-nilai, gagasan, (cita-cita dan tingkat kedewasaan) siswa, dan pola-pola hidup kreatif melalui latihan-latihan. dengan kata lain bahwa tujuan tersebut hendaknya diarahkan kepada pemahaman sepenuhnya terhadap seni berdasarkan nilai-nilai sosial budaya, sehingga memberikan peluang bagi siswa untuk melakukan kegiatan kreatif. kegiatan kreatif tersebut merupakan manifestasi dari kemampuannya berkomunikasi dengan sesama dan lingkungannya, serta merupakan bentuk aktualisasi diri dalam kehidupannya. atas dasar itulah pendidikan seni perlu memfokuskan perhatian ke vol.2 no.2/mei-agustus 2001 42 harmonia jurnal pengetahuan dan pemikiran seni pada kebutuhan dan kemampuan siswa beserta berbagai fenomena (tuntutan dan tantangan zaman) yang sedang berlangsung di sekitarnya. berdasarkan pemahaman semacam itu pendidikan seni diharapkan mampu: 1) memupuk dan mengembangkan kreatifitas dan sensitifitas siswa, 2) menunjang pembentukan dan pengembangan pribadi siswa secara utuh, 3) memberikan peluang seluas-luasnya untuk berekspresi kreatif. jika harapan ini bisa terpenuhi, maka tujuan pendidikan seni dapat menjadi wahana pengembangan budaya bangsa menuju pembentukan kualitas manusia untuk aktualisasi diri; serta wahana pelestarian nilai-nilai budaya tradisi, khususnya nilai-nilai etis dan estetis kesenian tradisional yang muaranya dapat memperkuat dasar bagi pembentukan identitas budaya lokal dan identitas nasional. d. profil dan ruang lingkup konsep pendidikan seni harus mampu berperan sebagai media untuk memenuhi: 1) kebutuhan dasar pendidikan manusia (basic experience in education), 2) kebutuhan dasar etika dan estetika, 3) kebutuhan pengembangan sikap dan kepribadian, 4) determinan terhadap peningkatan kecerdasan lainnya. untuk itu, siswa harus diarahkan agar memiliki pengalaman-pengalaman bidang seni khususnya musik, tari, dan rupa serta mampu mengekspresikan dan berapresiasi musikal, gerak dan rupa (tim fbs unnes, 2001). keberhasilan kegiatan pendiidkan di sekolah perlu memperhatikan berbagai dimensi perilaku. brent g. wilson menafsirkan tiga dimensi perilaku dari bloom, yaitu kognitif, afektif dan psikomotorik menjadi tujuh dimensi perilaku seni, meliputi 1) persepsi, 2) pengetahuan, 3) pemahaman, 4) analisis, 5) evaluasi, 6) apresiasi, 7) produksi. ketujuh aspek tersebut bersifat berjenjang dan perlu dipelajari siswa melalui seni yang beragam. untuk itu dalam penyusunan peta kompetensi dasar pendidikan seni perlu digariskan perilaku yang akan dicapai, dengan mempertimbangkan visi, misi, jenjang pendidikan, dan perkembangan siswa didi (surono, 2001). berbagai fenomena menunjukkan bahwa sebagian besar guru sering terjebak pada kompetensi akhir (produksi) dalam proses pembelajaran seni, sehingga cenderung mengesampingkan kepekaan indrawi. cara pengajaran semacam itu jelas tidak sesuai dengan tujuan pendidikan seni vol.2 no.2/mei-agustus 2001 43 harmonia jurnal pengetahuan dan pemikiran seni meskipun mungkin siswa sangat terampil, tetapi cenderung tidak mempunyai kepekaan estetis, imajinatif, dan kreatif. demikian pula dalam kegiatan apresiasi, siswa hanya diberi pengetahuan teoretis, hafalan, cara berkarya seni, tetapi tidak dengan serta merta diberi bagaimana berempati, merenungkan, merasakan mengevaluasi, dan menghargai. oleh karena itu, suatu proses dari pencapaian kompetensi itu sendiri juga penting, bahkan lebih utama dari produk akhir. dengan kata bahwa penyelenggaraan pendidikan selayaknya tidak hanya berorientasi produk, tetapi juga proses (jazuli, 2000). pengajaran seni (baik materi maupun metode) disesuaikan dengan taraf perkembangan (psikologis) siswa. pengenalan elemen-elemen musikal, elemen-elemen tari dan elemen-elemen rupa melalui kegiatan yang diawali dengan kegiatan meniru (imitation), dan kemudian dikembangkan pada kegiatan yang mengarah kebebasan berekspresi dan berapresiasi sesuai dengan taraf perkembanagn siswa. mengenai materi (bahan) ajar sebaiknya dirumuskan secara luwes, artinya disesuaikan dengan situasi dan kondisi siswa, masyarakat, dan lingkungan sekitarnya. keluwesan dimaksudkan agar kegiatan berolah seni dalam setiap jenjang pendidikan (sd sampai smu) dapat lebih efektif dan efisien. semua itu tentunya harus dirancang sesuai dengan tingkat kemampuan dan keterampilan, minat, kematangan pemahaman, dan imajinasi, serta kebutuhan siswa. misalnya, untuk usia 12 tahun bisa dimulai dengan materi pembelajaran berupa pengenalan konsep, gagasan, dan pemikiran, untuk usia 17 tahun dengan materi yang berupa topik-topik yang berhubungan dengan sensory experience with concrete rather that abstract learning dans ebagainya. pengembangan matei sebagai subsistem kurikulum hendaknya taat asas atau kontinyu, artinya dari tingkat kelas ke itngkat kelas yang lain (jenjang studi berikutnya) harus ada kesinambungan materi ajar. dengan kata lain, bahwa materi ajar untuk sd, sltp, dan smu harus berkesinambungan dan perbedaannya terletak pada keluasab, kedalaman, dan tingkat abstraksinya. pemilihan dan pengembangan materi juga harus memperhatikan signifikansi, daya tarik, atau perhatian, dan kemampuan belajar siswa. suatu bentuk keterampilan dalam pendidikan seni hendaknya dipahami sebagai media untuk mengekspresikan materi-materi yang merupa vol.2 no.2/mei-agustus 2001 44 harmonia jurnal pengetahuan dan pemikiran seni kan perpaduan antara pengalaman individu., fenomena sosial budaya dan fenomena alam sekitarnya. oleh karena itu, materi ajar pendidikan seni harus ebrupa informasim fakta, prinsip, konsep, prosedur dan filosofis (bila perlu dan mampu) yang dikemas dan direalisasikan dalam bentuk aktivitas yang bermakna bagi siswa. e. pendekatan pengajaran seni pembelajaran seni pada dasarnya merupakan upaya untuk membelajarkan siswa dengan menggunakan seni sebagai media (education through art), seni sebagai alat , dans eni sebagai materi ajaran, agar siswa yang bersangkutan memperoleh pengetahuan dan pengalaman baru. pengetahuan dan pengalaman itu tidak bersifat fungsional atau langsung bermanfaat dalam kehidupan nyata, melainkan lebih dari itu yaitu merupakan perpeual grappling (pergulatan terus menerus) dengan pengetahuan yang ada, artinya pergulatan tersebut dipahami sebagai pemikiran kristis dan rekonstruktif terhadap gagasan yang telah ada sebelumnya. oleh karena itu, bentuk kegiatan seni harus berupa penggalian experience dan experiment-exploration. adapun metode pendekatan yang dipilih dan dikembangkan hendaknya berupa pemberian bimbingan kepada siswa dalam mempelajari hal-hal yang bersifat praktis ke teoretis, konkret ke abstrak, dan inderawi ke intelektual (creative problem solving). dengan dmeikian dalam pembelajaran seni di sekolah (sd sampai smu) harus diarahkan pada : 1) pengembangan kreatifita dan sensitivitasbadi siswa, 2) pembentukan dan pengembangan pribadi siswa, 3) pemberian kesempatan yang luas jepada siswa untuk berekspresi dan berapresiasi lewat aktivitas-aktivitas seni yang mampu mengungkapkan pengalaman yang telah diperoleh siswa. hal tersebut secara konkret dapat ditempuh melalui berbagai macam pendekatan, misalnya 1) stimulu-stimulus, 2) non indoktriner, 3) meningkatkan motivasi terus menerus, 4) kritik konstruktif, 5) kecukupan alokasi waktu yang sesuai atau proporsional (2 jam er minggu untuk tiap bidang seni musik, tari, rupa), peniruan (imitation) untuk siswa sd, dan 7) eksplorasi atau penemuan untuk smu. vol.2 no.2/mei-agustus 2001 45 harmonia jurnal pengetahuan dan pemikiran seni f. kompetensi dasar kompetensi dasar adalah kemamuan yang memadai atas pengetahuan, keterampilan, serta sikap dan nilai yag harus dimiliki dan dikembankan pada diri siswa (yulaelawati, 2001). kompetensi dasar yang penting dikembangkan melalui pendidikan seni adalah kemampuan yang mampu menjembatani dan mendukung tercapainya tujuan pendidikan (art education should be the basic of education). dengan kata lain bahwa pendidikan seni sebagai education throught art. berdasarkan hal tersebut, kompetensi dasar yang harus dimiliki siswa diantaranya adalah : 1) kemampuan mengantisipasi masa depans ecara kritis dengan mendasarkan pengetahuan dan pengalamannya, 2) kemampuan dalam mengatasi permasalahan yang dihadapi, 3) kemampuan mengakomodasi atas peruabahn-perubahan yang terjadi, 4) kemampuan mengaplikasikan dan mengembangkan nilai-nilai sikap, pikiran, sesuai dengan identitas diri dan budayanya. untuk sampai pada kompetensi tersebut, maka setiap siswa perlu dilatih dan dibimbing dengan kegiatan seni yang mengarah pada : 1) kemampuan dan keterampilan menyajikan bidang seni yang diminati seperti musk, tari, dan atau rupa, 2) kemampuan berekspresi dan berapresiasi untukkeperluan aktualisasi diri, 3) kemampuan untuk mengembangkan ide sebagai dasar berkreasi, 4) kemampuan merefleksikan fenomena sosial budaya yan terjadi disekitarnya. dari sinilah diperlukan standar materi dan standar pencapaan hasil belajar standar materi merupakan bagian dari struktur keilmuan yang menyajikan suatu bahan kajian yangd apat berupa bahan ajar, gugus isi, proses, keterampilan, konteks, dan atau pengertian konseptual yang dipilih untuk mencapai kompetensi dasar yang ditentukan. standar pencapaian hasil merupakan ukuran dan tingkatan kemampuan, pengetahuan, keterampilan dan sikap yang telah ditetapkan, untuk dipahami, dilakukan dan dihayati oleh siswa agar mampu memberdayakan dirinya dalam kegiatan belajar yang efektif. contoh standar materi, seperti siswa memiliki pengetahuan dan keterampilan dasar menguasai elemen-elemen bidang seni tertentu, seperti elemen seni musikal (seni musik), komposisi gerak ruang dan waktu (elemen dasar seni tari), dan elemen dasar seni rupa (garis, bentuk, warna, dan sebagainya), serta mampu mengaktualisasikan dalam bentuk skepresi kreatif dan apresiasi. disamping itu siswa memiliki vol.2 no.2/mei-agustus 2001 46 harmonia jurnal pengetahuan dan pemikiran seni sikap dan kepribadian yang positif yang tercermin pada perilaku atau tindakannya. standar pencapaian hasilnya bergantung pada kriteriakriteria yang telah ditetapkan dalam perencanaan pembelajaran sebelumnya. g. penutup berdasarkan bahasan tentang pendidikan seni tersebut, dapat dikemukakan implikasi-implikasi sebagai berikut : pertama, pendidikan seni sesungguhnya bersifat multidimensi, multi linggual dan multikultural yang sangat diperlukan bagi pembentukan karakter seseorang agar memiliki kepribadian yang relatif kokoh. kedua, pendekatan dalam pendidikan seni harus luwes bergantung pada kemampuan siswa, masyarakat, dan kondisi sosial budaya lingkungannya. ketiga, kepekaan rasa dan estetis serta kemampuan berimajinasi dan berkreasi dapat dikembangkan dengan cara belajar dengan seni, belajar melalui seni dan belajar tentang seni. dari ketiga rumusan tersebut berimplikasi pula terhadap peranan dan kompetensi guru seni. guru seni dituntut dapat memenuhi persyaratan tertentu, diantaranya adalah : 1) berwawasan luas, terampil, dan bertanggung jawab terhadap profesinya, 2) menguasai bidang ilmu (seni) dan dapat mengembangkanmateri ajar, 3) memahami maturitas dan perkembangan siswa dalam belajar seni, 4) menguasai teori dan praktik dalam kerangka pembelajaran seni, 5) mampu merancang dan mengelola pembelajaran seni. daftar pustaka holden d.c. 1977, the art in general education : aesthetic education dalam rubin l (ed). curriculum handbook. boston l allyn and bacon, p.p 122-132. jazuli, m. 2000. tiada kekuasaan tanpa keunggulan. makalah kongres pendidikan nasional, jakarta 11-20 september 2000. lansing, k.m. 1990. art, artists and education. london : mcgrawhill book company. vol.2 no.2/mei-agustus 2001 47 harmonia jurnal pengetahuan dan pemikiran seni surono, cut kamaril. 2001. konsep pendidikan seni tingkat sd-sltpsmu. makalah semiloka pendidikan seni. jakarta 18-20 april 2001. tim pengembang pendidikan seni fbs semarang. 2001. konsep pendidikan seni di indonesia. makalah semiloka pendidikan seni, jakarta 18-20 april 2001. yulaelawti, ella. 2001. pendekatan kompetensi dalam perubahan kurikulum nasional pendidikan seni. makalah semiloka pendidikan seni, jakarta 18-20 april 2001. vol.2 no.2/mei-agustus 2001 48 51 tegalan song: an expression of musical culture identity of the coastal communities of northern coast of java eka titi andaryani, udi utomo universitas negeri semarang, indonesia submitted: 2023-01-27. revised: 2023-06-17. accepted: 2024-06-12 abstract songs, regarded as a form of musical expression, consistently mirror societal culture. this research aims to unveil and analyze the song tegalan, which serves as a portrayal of tegal’s cultural identity. the research employs a qualitative descriptive methodology. data collection for this study involved scrutinizing tegalan songs, particularly their lyrical content, with the purpose of comprehending the themes depicting the unique identity of the tegal community. in addition to observation, the researcher conducted in-depth interviews with three notable tegalan song artists. a literature review was also undertaken to corroborate the research findings. the collected data was then distilled to extract information pertinent to the research theme, which was subsequently presented based on the interpretation of tegal’s cultural identity and then conclusively analyzed. the research findings indicate that within the lyrics of tegalan songs, four cultural identities are discernible: (1) the utilization of colloquial javanese infused with the “ngapak” dialect; (2) the characteristic of spontaneous and sincere communication reflective of the tegal community’s culture; (3) the identity of coastal communities, which tend to exhibit straightforwardness; and (4) the diverse range of typical tegal delicacies such as “sega ponggol”, tea with palm sugar (“teh poci gula batu”), among others. based on these findings, it can be inferred that tegalan songs, in terms of their lyrical content, epitomize the linguistic culture of the tegal community in both structure and communicative patterns. moreover, in terms of messaging, these songs convey insights into the identity and distinctive attributes of the tegal community.. keywords: identity; tegalan songs; lyrics; community how to cite: andaryani, e. t., & utomo, u. (2024). tegalan song: an expression of musical culture identity of the coastal communities of northern coast of java. harmonia: journal of arts research and education, 24(1), 51-61 harmonia: journal of arts research and education 24 (1) (2024), 51-61 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v24i1.42383 “keroncong” has been found to have grown and evolved into the identity and personality of the indonesian nation. yuliantari examined cultural identity in manggarai pop songs (yuliantari, 2018). the study aims to understand how manggarai pop songs convey the values and cultural identity of manggarai. the research identifies forms of cultural identity in manggarai pop songs and several cultural identities within the selected song lyrics. relevant to introduction studies have addressed the theme of cultural identity in songs. within the context of indonesia, several studies have revealed the types of songs that represent indonesian identity. research conducted by al (2013) reveals “keroncong” music as indonesia’s identity. according to this research, “keroncong” was born even before indonesia’s independence (before 1945). corresponding author: e-mail: ekatitiandaryani@students.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 24 (1) (2024): 51-6152 these findings, a study examining slovenian americans and canadians found that they utilize slovenian music and lyrics to preserve and express their regional cultural identity (polka) (šabec, 2017). referring to the lyrics of the songs, šabec discovered motifs and themes in polka music such as fond memories, home, love and romance, comedy, ethnic history and polka, pride in ethnic identity, and spirituality. studies have also connected songs to identity and other elements, such as ideology (michael, 2017) and political identity (hess, 2019). batcho et al. (2008) revealed that the content of original song lyrics could explore the relationship between nostalgia identity and social connectedness. other studies link song lyrics to identity as well as representations of specific ideologies. michael (2017) identifies that fak’s songs represent protests of the political, religious, and social realities that define the african socio-cultural and political system in general and the nigerian space in particular. a study in west sumatra, indonesia (fraser, 2011) found minangkabau pop songs, as part of the tradition, can represent the customs of weddings, ethnicity, and entrepreneurs in the region. researchers have explored the meanings of regional songs in different contexts in indonesia (e.g., sularso, 2017; desyandri, 2015; saptawuryandari, 2019). sularso (2017), for example, studied the meaning of the song “tembang pangkur” and found that the song contains teachings of moral values that urge humans to restrain themselves from evil deeds. desyandri’s research (2015), which applied hermeneutic analysis, found that in minangkabau songs, there are nine (9) educational values. meanwhile, ulandari et al. (2018), exploring local wisdom in the “batanghari sembilan” song identified the song as a means of communication between parents and the younger generation, as well as among the younger generation. ambarwati et al. (2019), studying the traditional songs of madura, found the presence of social values in the community, namely, values of compassion and responsibility. previous research has also linked performances to the identity of a region. in the “cingcangkeling” performance in west java, it was found that this performance represents the sundanese cultural identity through the characteristics displayed (gustina et al., 2023). apart from issues related to values, traditional songs often express things that are sources of pride and distinctive characteristics of certain communities in their lyrics. for example, research guntari (2016) explored culinary vocabulary in sundanese song lyrics. based on the types of food, culinary vocabulary is divided into fruits, spices, main dishes, heavy meals, snacks, beverages, chili paste, and vegetables. within the scope of tegal, research on the cultural identity of tegal in songs remains limited. previous studies have primarily focused on the musical structure and its elements. for example, research on “terbang biola sabdo rahayu” in pekiringan village, talang district, tegal regency (jatmiko, 2015), examines the utilization of the violin in rebana music performances. meanwhile, research by pratama & wafa (2020) focuses on the existence of a music group from tegal. the tegalan songs studied in this research are among the distinctive songs of central java centered in the city of tegal. as a pioneer in the emergence of this music genre, the late najeeb bahresy began popularizing tegalan songs with his hit single, “man droup tukang becak” (mr. droup, the pedicab driver). after being popularized by the late najeeb bahresy, his colleague tri widarti composed and sang some songs, including “ketemu maning” (meeting again), “man pian bakul bakso” (mr. pian, the meatball vendor), “jaran lumping” (horse dance), and “teh poci gula batu” (teapot and rock sugar tea). in addition to these two musicians, several other artists also became active in creating tegalan songs in the subsequent stages. imam joend, a tegalan musician who is also the chairman of the art council of tegal regency, launched his own eka titi andaryani et al., tegalan song: an expression of musical culture identity of the 53 tegalan song titled “trasa” (feeling) in early 2019. imam remained consistent with songs themed around tegal, such as “kaligung” (the name of a river) and “kelara-lara” (offended) (fatuban, 2019). during the covid-19 pandemic, imam also released a song titled “cintaku dilockdown” (my love locked down) (bentar, 2020). the enduring existence of tegalan songs to the present day is largely attributed to the contributions of musicians who continue to create and popularize them. however, a lack of understanding of their cultural identity has also diminished the community’s appreciation for tegalan songs. in relation to this matter, imam joend in fatuban (2019) expressed that artworks created with reference to existing local characteristics will make listeners feel more familiar and easily recognizable. therefore, listening to tegalan songs while understanding their various distinctive features will enable listeners to directly comprehend and appreciate them. in theoretical terms, tegal possesses coastal cultural elements that are inseparable from the geographical reality of indonesia as an archipelagic nation. in relation to coastal culture, there is an intriguing study conducted by triyanto (2020). in his research, triyanto attempted to elaborate on the coastal (pesisir) community culture and found that within coastal art lies local wisdom reflecting the culture of coastal communities. some of these include their renowned religious, open, tolerant, egalitarian, and spontaneous characteristics. the term “pesisir” refers to an area situated along the coast. for instance, java island can be classified into two main areas: the western coastal area, centered around cirebon and indramayu, and the eastern coastal area, centered around kudus and demak. the latter encompasses the coastal communities and culture along the northern coast of central java, such as brebes, tegal, pemalang, batang, kendal, semarang, demak, jepara, kudus, pati, and lasem-lembang (triyanto, 2020) the coastal areas of the northern coast of java were relatively distant from the center of the mataram kingdom in the past. the strong influence of islam led to coastal communities tending to perceive themselves as equal or on par with others. their straightforward and spontaneous demeanor is also a distinctive characteristic of coastal community ethos. communication is marked by the use of colloquial language, which tends to be ‘rough’ due to the utilization of informal speech forms (ngoko). (thohir, 2017; triyanto, 2020; hidayatullah et al., 2022). in the context of language, “ngoko” is one of the language registers found in javanese. this language is used by someone when speaking to others who are already known, similar in age, familiar, or younger. in problemsolving, the coastal communities of tegal tend to go straight to the point (without small talk), hence often referred to as a community inclined towards an egalitarian lifestyle (thohir, 2017). related to issues of cultural identity, ting-toomey (2005) depicts cultural identity as the emotional significance an individual attaches to possessing or feeling connected or affiliated with a particular culture. consequently, individuals engage in cultural identification and perceive themselves as representing a specific culture. stacks & salwen (2009) argue that cultural identification is a way to determine whether someone belongs to the in-group or out-group. adding to that explanation, rahardjo (2005) explains that cultural identity is the way someone should behave in a particular situation and affiliate with a specific culture. meanwhile, lustig & koester (2000) view cultural identity as a sense of belonging someone has towards a particular cultural or ethnic group. the two previous studies explain that cultural identity can also be depicted through music, rhythm, and poetry (šabec, 2017; yuliantari, 2018). based on this issue, this research analyzes the cultural identity present in the tegalan songs as a locally popular music piece that remains relevant today. method harmonia: journal of arts research and education 24 (1) (2024): 51-6154 this research applied a qualitative method. primary data was obtained through in-depth interviews with tegalan song artists. during the interviews, the author posed open-ended questions to three prominent figures/musicians of tegalan songs. two of them are early artists of tegalan songs, while the other is a descendant of a famous tegalan song artist. in addition to interviews, researchers also conducted observations on various secondary data sources that provide information about tegalan songs. the aim was to obtain more comprehensive and in-depth information. (creswell, 2015; noor, 2011). here is the detailed primary source interviewed for table 1. table 1. data of tegalan song research informants name and expertise dhimas riyanto. a songwriter. he is one of the pioneers of tegalan songwriters, inseparable from the history of the birth of tegalan songs. he is a contemporary of the first singer of the tegalan song, najeeb b. dhimas, who focuses more on composing songs. lanang setiawan. alongside dhimas, lanang is a songwriter and pioneer of tegalan songs. he is also a creator of tegalan songs in newspapers. he is one of the productive tegalan song artists. firman haryo susilo. haryo is a puppeteer and cultural practitioner of tegal regency. as a puppeteer, he always sings his own songs and those composed by his late father, ki enthus susmono, which notably use the tegal language. besides, he is also known as someone who supports the development of the tegal language. the analysis of research data was conducted through the stages of data reduction, data display, and verification or drawing conclusions (miles & huberman, 1994). data reduction is the process of analysis conducted by sharpening, categorizing, directing, and discarding unnecessary data. data presentation is the activity of arranging a set of information for the purpose of drawing conclusions. forms of data presentation include narrative text (field notes), matrices, graphs, networks, and charts. meanwhile, the verification results or conclusions obtained in the final stage of the research are important findings related to answering the research problems. result and discussion like other regional songs, tegalan songs are rich in meaning and reflect their surroundings’ culture and environmental conditions. therefore, the creators of tegalan songs are individuals who have a cultural background from tegal or have at least lived in and studied tegal culture. regarding the cultural identity reflected in tegalan songs, this research has identified four important aspects of tegal’s cultural identity conveyed through the lyrics of the existing songs. these four cultural identities are detailed in table 2. table 2. cultural identities of tegal and examples of songs tegal cultural identity sample songs the use of language cintaku dilockdown (my love is locked down) by imam joend straightforward and spontaneous ana crita ana kanda (story and talk) by dhimas riyanto identity as a coastal area tegal keminclong moncer kotane (tegal is clean with a beautiful city) by nurngudiyono culinary in tegal teh poci gula batu (pot tea with rock sugar) by najeeb bahresy usage of language in tegalan song lyrics tegalan songs emerge and exist in the tegal region as a cultural identity of the community, one of which is because the lyrics are composed using the tegal language. tegal songs use the javanese ‘ngoko’ language with a “ngapak” accent. for example, one of imam joend’s songs titled ‘cintaku dilockdown’ has the folloeka titi andaryani et al., tegalan song: an expression of musical culture identity of the 55 wing lyrics: wis rong wulan nyong ora nyambut gawe akhire compete for tipis tabungane gripis kangen pacar nyong dolan nang umahe biasane nyangking martabak nggo bapane sing galak akibat lockdown duite entong teka apel terpaksa enyong tangan kosong laka modal seperak peraka kanggo nyogok calon mertua lagi guyunan karo pacarku ujug ujug bapane teka nggawa sapu ngromed, mendelik lan mucu mucu nyong kon lunga nyong gongkon lunga nyong pamitan ora olih salaman nyong mlaku gentayangan mumet belih karuan duh nelangsa nasib cintane nyong gara garane corona cintane nyong di-lockdown in this song, familiar words from the coastal community of tegal are apparent. “nyong” (i) “entong” (there is nothing left), “teka” (come), “laka” (nothing), and “nggawa” (to bring). in this text, the words described are unique to the coastal tegal dialect, known as “ngapak” (pratama & wafa, 2020). “ngapak” is a term the javanese community uses to refer to the javanese accent spoken by javanese people in the western part of central java province, such as banyumas, cilacap, tegal, and brebes. the use of “ngoko” style with “ngapak” accent in tegal follows the argument thohir (2017) that coastal communities tend to be straightforward and spontaneous. according to one senior tegalan artist, dhimas riyanto, around 90 percent of tegalan songs, including his own works, use the “ngoko” language. in tegal, said dhimas, there were only two out of the three strata of the javanese language, namely “kromo” and “ngoko”. tegal has no middle language or “madya”. dhimas riyanto elaborates further: in tegal, the common javanese language is indeed “ngoko”, and that is it. there is no reason. the tegalan language is indeed “ngoko”. the main language is “ngoko”. this is because tegal does not contain three language strata. remember, it only consists of two strata, “ngoko”, and “kromo”. however, “kromo inggil” (language for the high strata) is completely absent in tegal. so, “ngoko” and “kromo”. however, if “kromo” tegal is used in the eastern part (wetan), it still sounds rough; it is still part of “ngoko” (riyanto, 2021). although using “ngoko” in javanese, tegalan song lyrics are composed while still paying attention to meaning, like poetry. this is as conveyed by lanang setiawan, one of the tegalan song artists: most of my songs have poetic value; i arrange the lyrics so that i only create songs full of meaning (setiawan, 2021). tegalan songs with “ngoko” javanese language composition or singing are inseparable from the conditions of the coastal community of tegal. this is as expressed by riyanto, as artists, we are responsible for informing the younger generation about our noble culture, and it is a blessing if they are willing to continue it. they must recognize their mother tongue (riyanto, 2021). therefore, the lyrics of tegalan songs, along with their various characteristics, serve as a means of communication about the identity and distinctive features of the tegalan community. the characteristics of communicating openly and spontaneously song lyrics in tegalan, as expressed by thohir (2017), tend to be straightforward and spontaneous. this means they get straight to the point, often being perceived as ‘impolite.’ therefore, people outside of tegal might misunderstand when judging someone from tegal based on the language they use. when we first listen to someone from tegal speak, the initial impression is of ‘rough’ speech because it tends to be straightforward, blunt, and frank. dhimas riyanto gives an example harmonia: journal of arts research and education 24 (1) (2024): 51-6156 of one of his songs titled ‘ana crita ana kanda,’ which uses short and spontaneous words. the lyrics are: jarene nang tegal kuwe apa bae bisa digawe paling komplit industrine ana crita ana kanda tegal kuwe jepang jawa wesi bekas wesi lawas dadi barang sing berguna golet dandang, ya ning talang pompa tangan, ya pagongan engsel grendel, ora angel sikil mesin, lan liyane ana crita ana kanda jepang jawa nggoleti bapak melu nyangking melu nyinjing eben bisa mlayu mlencing tegal belih tau turu industrine akeh sing nunggu melek mata akeh rencana sederhana tapi nyata margasari... gunung gampinge balapulang,... mebelane lebaksiu... matrabake nang bogares... kacang asine adiwerna... ya satene randugunting... kupat glabed te nang babakan... pesantrene pasar senggol... sautone riyanto commented on his song creation as follows: ana cerita ana kanda... it does not exist in other regions; there is no term like that. inside, it is straightforward and spontaneou (riyanto, 2021). haryo susilo, a young artist and puppeteer from tegal, conveyed similar statements. the straightforwardness and spontaneity of people from tegal when meeting fellow tegal residents could be a language of romance. however, meeting javanese people from outside tegal may sound harsh. lanang setiawan, when asked if there were tegalan songs with harsh words, initially answered no. he expressed the following: as far as i know, the lyrics of the tegalan songs never use harsh language (setiawan, 2021). however, in the end, setiawan corrected his answer by giving an example of a tegalan song that uses language that could offend others. for example, the song titled “dasar kunyuk” by atik apriyanti. dhimas riyanto also acknowledged this example: there is coarse ngoko, “dasar kunyuk” (you monkey!), which means ‘to be beaten up.’ we do have songs like that in tegal (riyanto, 2021). the song with the word “kunyuk” (monkey) is a satire of unexpected situations in society. this satire is also straightforward by using the word ‘kunyuk’. the correction of lanang setiawan’s answer, which initially stated that it did not contain harsh words, might be due to confusion in interpreting the meaning of the word ‘harsh’. in this context, the word ‘harsh’ needs to be redefined. if everyone in a certain place uses words that are considered harsh or sound harsh to outsiders, then that should not be considered harsh. so, harshness should be viewed by whom and where it is used. moreover, being rough in speech should not be interpreted as having a rough heart or having rough behavior. a similar sentiment was also expressed by tegalan song artist firman haryo susilo (haryo), who stated that outsiders perceive harsh words as such because they are not accustomed to hearing and saying such words. haryo’s expression regarding this matter: it is considered rough when tegalan songs are sung in central java, and those listening are not from tegal, making it sound rough (susilo, 2021). dhimas riyanto argues that the straightforward, frank, and blunt language used in tegalan songs should be embraced as it is one of tegal’s distinctive characteristics. he expressed it: the uniqueness of the tegal community lies in their honesty and lack of deceit. when i compose tegalan songs, their character is close to that. this means the issues addressed should not be taken too seriously; if they are too severe, no one will listen to them (riyanto, 2021). dhimas explained that when composing tegalan songs, he avoids making eka titi andaryani et al., tegalan song: an expression of musical culture identity of the 57 sentences or tones that are too serious. for example, the song titled “sendehan lawang”. this song aesthetically portrays the love of the tegal community with sweet and characterful elements. unfortunately, according to dhimas, the song was less popular and less accepted by society. conversely, another song titled “ngodor dewek” even went viral. regarding this phenomenon, riyanto stated: it means tegal should be like that... more vulgar (harsh) (riyanto, 2021) according to dhimas riyanto, most of the existing tegalan songs contain the context of tegal, such as environmental issues, nature, society, and the culture existing within the community. from the perspective of tegal residents, the straightforward language culture of the tegal community is not considered as rough language. in fact, if tegalan songs were composed based on the language and perspective used in javanese songs from the yogyakarta, surakarta, and surrounding areas, it would seem strange (riyanto, 2021). the characteristic of tegalan songs seems to be relevant to triyanto’s argument (2020) that tegal community is open, tolerant, straightforward, and spontaneous. cultural identity of coastal areas reflected in the lyrics of tegalan songs the songs of tegal depict the identity of tegal as a coastal region. for instance, this is evident in the song ‘tegal keminclong moncer kotane’ (the beauty of tegal) by nurngudiono. the description of the coastal environment of the city area is portrayed through the lyrics: pan balik ya mana los pan balik ya mana los enyong ora bakal ngganduli ana sate ana auto aja nggajog aja mlongo keminclong segarane keminclong segarane kinclong kinclong bening kaya kaca resik resik sawise didis ora sisik ora busik kabeh kalis ora nyana ora ngira kota tegal saiki keminclong angger awan sedep disawang angger bengi padang njimbrang moncer moncer moncer kotane in addition to depicting the beauty of the city of tegal, this song text mentions the beauty of tegal’s position located in the coastal area. for example, the phrase “keminclong segarane” reflects tegal being situated in a coastal area with clear and beautiful sea. the values conveyed in this song include the notion that the beauty and cleanliness of tegal should be preserved and conserved. another example is illustrated by setiawan (2021) through the song “wulan bunder nduwur laut muarareja” by nurngudiono narrate the beauty of the tegal sea and the conditions of its fishermen. other songs themed around the beauty of tegal beaches can also be found in the works of dhimas riyanto, such as in the song titled “tembang pesisir” (coastal song), “sing nalar” (understanding), and “kang daroji” (mr. daroji), as well as in the works of imam joend (riyanto, 2021). the variety of typical foods and beverages of tegal as part of the concept of composing tegalan song lyrics in the lyrics of tegalan songs, there are numerous mentions of typical dishes that are the pride of the tegal community. some of these include “teh poci gula batu”, “tahu plethok”, “ndog asin brebes”, “sate tegal”, and “rujak kluban”. for example, “teh poci gula batu” is not just the title of a song, but its lyrics contain descriptions of the tradition of tea drinking in the tegal community. the arrangement of the lyrics of “teh poci gula batu” in the form of a poem language model: teh poci mas manis gulo jowo mampir mriki bakule mbak ayu kerso ngunjuk teh poci biso kagem jampi jampi wuyung sing lagi gandrung e sajake mas ono sing dikarepke milih mriki nopo milik kae pripun mas pie yen arep naksir bloko wae akeh liyane malah milik bakule pripun badhe manut wae teh poci dik manis gulo jowo pados jampi malah nemu rondo rondo soko brang wetan duwite segudang ngajak dolan pados hiburan e sajake ono sing dikarepke pingin disko opo karaqoke harmonia: journal of arts research and education 24 (1) (2024): 51-6158 e pripun, e piye yen kesel ayo bali wae mumpung isih sore penake diteruske pripun aku manut wae “teh poci gula batu”, as acknowledged by dhimas riyanto, is one of the activities of the tegal community. this is included as an element of the identity of the coastal community of tegal, known in tegal as the moci culture. setiawan (2021) also acknowledges the presence of tegalan songs within tegal’s typical foods and beverages: for example, the song ‘jajanan tegal’ by dhimas riyanto. its lyrics utilize the names of typical snacks from tegal (setiawan, 2021). regarding his created songs themed around unique culinary delights found exclusively in tegal, such as “sega ponggol” (wrapped rice with tempeh and spicy fried sauce), and “jajanan pantura” (north coast snacks), dhimas riyanto stated: ‘sega ponggol’ and ‘jajanan pantura’ are also my songs. the song ‘jajanan pantura’ made it to the top three in central java province, indicating that central java recognizes tegal’s cuisine (riyanto, 2021). in summary, tegalan song lyrics, although not all explicitly convey the identity of the tegal community, are believed to represent the emotional structure of the tegal community. the values held by the people of tegal serve as differentiators from other communities. songs with lyrics about typical tegal foods depict culinary specialties and reflect popular foods among the tegal community. for instance, the song “ana sate ana sauto” portrays the unique and popular foods among the people of tegal. similarly, the song “tempe mendoan” highlights a specific type of processed food made from tempeh, with a distinct process and form compared to other regions in central java. cultural identity in tegalan songs can be understood as a cultural identity involving one’s emotions. ting-toomey suggests that when someone identifies with something through a song, they affiliate themselves with the culture conveyed in that song (ting-toomey, 2005). those who listen to these songs engage in cultural identification, considering themselves as representing the culture contained within the song. in their natural state, a singer of tegalan songs undoubtedly has emotions towards the songs they perform. therefore, when these songs are listened to by someone or the tegal community, the listeners feel themselves to be a part of the song. in this context, the values and distinctive characteristics of the tegal community serving as their identity, as conveyed by thohir (2017), can be effectively conveyed through tegalan songs as a medium. the themes that šabec (2017) offered in their research on slovenian diaspora communities are partly found in tegalan songs. similar themes in both tegalan and polka songs are nostalgic memories, family life, love and romance, humor, and spirituality. however, some culinary-themed songs found in tegalan music are not present within the themes of polka music. the interpretation of each theme is influenced by the cultural activities of each respective community. for example, the theme of “nostalgic memories” in polka music is manifested in the form of communal teadrinking events, as expressed in the song “teh poci gula batu” within the tegal community. whereas in slovenian american and canadian communities, it may be expressed through different activities. there are several cues to identify these values. firstly, tegalan songs are preserved and archived, easily accessible through digital tools since the song “man draup tukang becak” was released. therefore, anyone seeking to understand will never forget the context depicted in tegalan songs. “man draup” is a fictional character in tegalan songs by najeeb bahresy, which remains popular from past to present. secondly, tegalan songs depict what exists in tegal, which may eventually disappear over time. thus, the moral value of tegalan songs lies in reminiscing about what once existed in tegal, whether it be activities, arts, or cuisine. hence, tegalan songs carry eka titi andaryani et al., tegalan song: an expression of musical culture identity of the 59 a message of remembering tegal’s past as part of its history. it is interesting to incorporate what chingiz aitmatev wrote, stating that life, death, love, passion, and inspiration are all narrated through music because we achieve the highest freedom through music. he believes that the struggle throughout history can only be achieved through music (abdukhalimovna, 2020). therefore, tegalan songs can inspire the present and future generations about what tegal’s artists have created throughout history. thirdly, several artists in tegal consistently create them. this indicates that this songs are recognized, exist, and hold values that deserve high esteem. these three aspects demonstrate the presence of cognitive and behavioral identity dimensions, as proposed by hecht et al. (2005), and their behavior shows that they are affiliated with the tegal community, as suggested rahardjo (2005). the sense of belonging to a particular culture or ethnicity (lustig & koester, 2000), as expressed by the people of tegal through tegalan songs, demonstrates that they are part of the community. conclusion the tegalan songs reflect the characteristics that constitute the identity of the community, social status, and several aspects related to the culture and potential of the tegal community. firstly, like other regional songs that utilize their respective local languages in indonesia, the songs also employ the tegal javanese language as their distinctive feature. interestingly, people outside tegal often misunderstand the use of the “ngoko” javanese language as ‘coarse’. therefore, this research finding reveals and paves the way for a better understanding and redefining the meaning of “ngoko”. secondly, the spontaneous and straightforward lyrics of tegalan songs are characteristic of the tegal community. this characteristic is not arbitrary but has historical arguments. thirdly, tegal is a coastal area whose community characteristics are often expressed in this songs as an egalitarian society. fourthly, tegalan songs often express themes of identity and distinctive characteristics present in tegal as an expression of their love for the tegal community. in summary, tegalan songs are not just entertaining songs but also serve as the identity of the tegal community. this identity is not only due to the use of the tegal language but also because of the content of the lyrics, which possess the characteristic of the tegal community being straightforward and spontaneous. the proximity of the tegal community to the sea and its distance from the center of the mataram kingdom make them more egalitarian, open to outsiders, placing others in equal positions, and being straightforward. acknowledgements we extend our gratitude to our institution, the faculty of educational sciences and psychology at semarang state university (unnes), for their support in this research. we would like to express our sincere thanks to all the kind informants who assisted us in answering the interview questions. references abdukhalimovna, n. z. 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(2018). representasi identitas kultural dalam lagu-lagu pop manggarai. prolitera: jurnal penelitian pendidikan, bahasa, sastra, dan budaya, 1(1), 32–41. preludium harmonia jurnal pengetahuan dan pemikiran seni ������ � � ���� ��� ������� ������� � � ��� � ������� ��� � � � ������ ���� ������� $������������ ��� ������ � !� ��"��� �������#������ ��� �����������$%������ � !� ��&������'��� �� �$���� ���� �� ��� �� ���& ')�*�+�.�*&����"$�#��∗ ��"$#�! �����#�#�� � �#��.���*��� ���� ��� ��#�� �� ���������#�� � ��� #� � ����� �� ����������$��� ���8&� ���#� ����� �����$�8����8&���� �������#��� � $# ��������&�������� �� � ������#������ �������#� ����� �������#��� � � �������� � ������*�� �#��.���*��� ��� ����������� ��������� �*��.� ���� ����� ����#��.� ���� ��������.������ ���� ������������ ���� ������������� � #������� ��� ������ �������:���� � ��� ���� ��� ��� �������#��� �������� ;�� � ������#����� �����.���������#�������� �� �������<������� � �������� ��� ����������#�� ����:�#���� ��� ��� � 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������������� �� -�� � �� � ���������� ����� �����b���� ��� ������ ����� vol. 2 no. 3/september – desember 2001 20 vol. 2 no. 2 mei_agustus 2001.pdf harmonia jurnal pengetahuan dan pemikiran seni kebangkitan tari rakyat di daerah banyumas (the resurgence of folk dances in banyumas) indriyanto* abstrak tradisi banyumas mulai tmapak kemajuannya pada tahun 1980-an. hal tersebut ditandai dengan popularitas yang semakin meningkat pada produk-produk budaya banyumas, seperti penciptaan seni yang banyak bermunculan diantaranya gending-gending banyumasan, kemudian disusul dengan tari banyumasan. kesadaran masyarakat banyumas mendorong tradisi banyumas mampu berdiri sejajar dengan tradisi lain dalam skala nasional maupun internasional. kata kunci : tari, tradisi, banyumas, pertunjukan, rakyat, istana a. pendahuluan soedarsono (1987: 70) mengategorikan tari daerah di indonesia menjadi tari klasik dan tari rakyat. tari klasik yaitu tari yang berasal dari kraton, sedangkan tari rakyat berasal dari kalangan rakyat biasa. tari kreasi baru adalah tari garapan baru yang berkembang dan biasanya berdasarkan dari materi tari klasik dan tari rakyat. kata klasik mengandung penegrtian bukan saja tua, melainkan sifat mapan dari bentuk-bentuk kesenian yang sudah mencapai bentuk ideal. kata klasik dalam masyarakat jawa sering diidentikkan dengan kata adiluhung yang berarti indah dan hebat. kata adiluhung sering digunakan untuk menggambarkan bentuk-bentuk kesenian tradisional dari kraton jawa (lindsay, 1991: 6). jenis tari rakyat yang hidup dan berkembang di kalangan rakyat, biasanya mempunyai bentuk yang serba sederhana pada elemen pertunjukannya. kesederhanaan yang dimaksud terdapat pada seni gerak, tata rias wajah dan tata rias busana, iringan dan tempat pertunjukan. sedyawati (1981: 48) menggolongkan tari klasik dan tari *staf pengajar jurusan sendratasik fbs unnes semarang vol.2 no.2/mei-agustus 2001 60 harmonia jurnal pengetahuan dan pemikiran seni rakyat dalam jenis tari tradisional. predikat tradisional mempunyai arti segala sesuatu yang sesuai dengan tradisi, sesuai dengan pola-pola bentuk maupun penerapan yang selalu berulang. pada jaman kerajaan, istana disamping sebagai pusat kekuasaan juga merupakan pusat kebudayaan yang menjadi panutan budaya pada lapisan masyarakat di bawahnya. esensi konsep dewa raja, menempatkan raja sebagai dewa atau wakil tuhan mengakibatkan rakyat selalu menganggap kehidupan istana merupakan contoh kehidupan yang pantas dan baik untuk ditiru. tomars (1987: 23) mengatakan bahwa dalam sistem kelas dimana raja beserta para bangsawan merupakan kelas tertinggi mempunyai pengaruh penting terhadap gaya dan fungsi dalam seni. akibat adanya anggapan bahwa segala produk budaya istana adalah pantas dan baik untuk ditiru mengakibatkan berpengaruhnya budaya istana pada budaya rakyat termasuk seni pertunjukan. hal tersebut membentuk sebuah anggapan di masyarakat bahwa budaya istana selalu lebih baik dari pada budaya sendiri. dalam bidang seni pertunjukan, tari istana selalu lebih baik dari tari rakyat. akibatnya tari rakyat kurang berkembang dibanding dengan tari istana. sejak indonesia merdeka sampai tahun 1960-an adanya pembandingan antara tari rakyat dengan tari kraton masih terasa di masyarakat. tari istana atau tari klasik masih menjadi tari yang adiluhung di mata masyarakat jawa. di jawa, sejak jaman kemerdekaan sampai tahun 60-an tari istana (tari jawa) masih mendominasi perkembangan tari di jawa tengah. tari istana masih memegang superioritas diantara jenis tari lain (tari rakyat). masyarakat masih cenderung menganggap bahwa tari istana merupakan tari yang paling baik. berdirinya sekolah-sekolah seni masih menempatkan tari jawa sebagai bahan kajian utama. cara pandang masyarakat yang cenderung menempatkan seni istana sebagai seni yang paling baik juga terjadi di daerah banyumas. dewasa ini ada kecenderungan daerah-daerah di jawa tengah menonjolkan identitas budayanya melalui seni pertunjukan rakyat yang ada di daerahnya. fenomena ini mulai nampak pada tahun 1970-an. daerah-daerah tertentu di jawa tengah mempunyai khas kesenian daerah yang dapat mewakili identitas budaya daerahnya. kabupaten blora terkenal dengan tayub blora, kabupaten purworejo terkenal vol.2 no.2/mei-agustus 2001 61 harmonia jurnal pengetahuan dan pemikiran seni dengan dolalak, kodya semarang terkenal dengan tarian gambang semarang. hal ini menandai adanya perubahan cara pandang masyarakat terhadap kesenian daerahnya. mereka cenderung memandang bahwa kesenian daerah yang mereka punya dalam hal tertentu memiliki nilai yang tidak kalah dengan tari klasik yang berasal dari istana. jadi dalam kesenian, pandangan masyarakat terhadap seni di daerahnya semakin tinggi. dewasa ini tari rakyat bangkit dan mampu bersaing dalam kancah perkembangan tari secara nasional di daerah banyumas juga tidak terlepas dari fenomena semacam ini. tulisan ini mengambil studi kasus di karesidenan banyumas sehubungan dengan tumbuhnya populeritas tari banyumas di tingkat daerah, nasional dan internasional. pokok kajian dalam tulisan ini adalah perkembangan tari banyumasan dengan masalah bagaimana perkembangan tari di daerah banyumas. sedyawati (1981: 8) menjelaskan tentang arti perkembangan yang menurutnya mempunyai arti secara kualitatif dan kuantitatif. perkembangan dalam arti kualitatif berarti mengolah dan memperbaharui wajah pertunjukan. hal ini berarti meningkatkan kualitas estetis dari keberadaan bentuk seni pertunjukan. perkembangan dalam arti kuantitatif berarti membesarkan volume penyajian dan meluaskan wilayah pengenalannya. kualitas karya seni pertama-tama ditentukan oleh keberadaan seniman yang mengerjakannya. namun tidak kurang penting adalah usaha-usaha untuk menciptakan kondisi sehingga para pencipta itu bisa muncul dan bisa tampil pada setiap kesempatan. usaha perluasan haruslah dipandang sebagai usaha penyiapan prasarana, sedang tujuan terakhir adalah memeprbesar kemungkinan berkarya dan hasil karyanya dapat dinikmati masyarakat luas. b. perkembangan tari rakyat banyumas secara historis banyumas termasuk wilayah pertama kekuasaan mataram (1586), selain mataram dan kedu (depdikbud, 1976/1977:16). daerah banyumas berperan sebagai pembayar pajak dan disebut juga dengan daerah siti dalem pamaosan. banyumas sebagai daerah kabupaten wilayahnya meliputi banyumas, ajibarang, purbalingga, banjarnegara dan majenang. apabila diperhatikan, pada masyarakat tradisionla, jawa, bupati bukan semata-mata kepala daerah yang berstatus pegawai kerajaan. bupati pada hakekatnya adalah kepala kaum bangsawan daerah yang vol.2 no.2/mei-agustus 2001 62 harmonia jurnal pengetahuan dan pemikiran seni menjadi kelompok penguasa daerah. sebagai kepala kelompok penguasa daerah posisi bupati dapat dibedakan menjadi dua. pertama: posisi bupati terhadpa raja, yaitu sebagai bawahan yang dapat disamakan dengan gubernur propinsi. bupati memerintah daerah atas nama raja. kedua : posisi bupati terhadap rakyat yang dibawah kekuasaannya. rakyat merupakan kelompok kesatuan berbentuk komunitas yang dinamakan desa. terhadap desa bupati mempunyai otoritas tertinggi untuk memerintah, memberi perlindungan, pengadilan, menjamin keamanan dan tata tertib, memungut pajak atau upeti. memungut hasil dari desa dan menggunakan tenaganya. inilah yang menjadi ciri dari setiap kekuasaan pada masyarakat tradisional jawa. sebagai sentral dalam pandangan hidup tradisional jawa, serta dalam teori mataram tentang martabat raja adalah anggapan hindu budha yang lama ada paralel antara makrokosmos (dunia supra insaniah) dan mikrokosmos (dunia manusia). negara dilihat sebagai citra kerajaan dewadewa, di nama raja adalah penguasa tunggal yang merupakan penjelmaan dari dewa yang mempunyai kekuasaan tidak terbatas. negara, dilihat sebagai citra kerajaan dewa-dewa, dan kekuasaan dewa-dewa membenarkan kekuasaan raja-raja. peran utama raja adalah melindungi kerajaan dan rakyatnya dengan menjadi perantara antara dunia manusia dengan dunia dewa-dewa. raja, pada tingatan yang lebih rendah pegawai-pegawainya sebagai lanjutan dari kekuasaannya, juga harus memiliki kekuasaan dan wibawa yang setara dengan dewa-dewa (geldern, 1982: moedjanto, 1987). negara mataram dengan raja beserta bupati-bupati daerahnya mempunyai otoritas kekuasaan dalam menentukan keteraturan masyarakat. masyarakat disini meliputi daerah manca negara dan pesisir, dimana banyumas termasuk daerah manca negara. ke dua daerah pembagian itu adalah daerah yang secara disiplin selalu menjadi objek dari kebijakan politik pemerintah pusat (raja) dan daerahnya (bupati). ketundukan rakyat kepad apihak penguasa didukung oleh konsep kawulagusti yang sudah berurat pada rakuat maupun penguasa. menurut pemikiran tradisionla jawa, ada tiga konsep utama yang mengatur hubungan kawula-gusti sebagaimana dijelaskan oleh maertono (1968: 28) yaitu: vol.2 no.2/mei-agustus 2001 63 harmonia jurnal pengetahuan dan pemikiran seni 1. suatu hubungan pribadi yang erat disertai dengan rasa saling mencintai dan menghormati yang dianggap sebagai standar cara komunikasi sosial 2. nasip menentukan kedudukans eseorang dalam masyarakat, apakah ia akan lahir sebagai hamba atau sebagai tuan. akibatnya adalah bahwa manusia tak punya pilihan melainkan harus memikul kewajibannya seperti yang ditentukan oleh nasib. dua faktor ini mengakibatkan suatu penyelenggaraan pemerintahan yang mengatur 3. raja terhadap bawahannya dalam hal politik pemerintahan harus memperhatikan rakyatnya. sehingga raja sebenarnya mengambil sikap sebagai maha pelindung dan rakyatnya tunduk serta menerima. konsep kawula-gusti yang tidak ada sejak jaman mataram, secara psikologis menyebabkan ketergantungan rakyat pada istana sangat tinggi. hal semacam itu pada akhirnya rakyat akan selalu beranggapan bahwa kehidupan istana merupakan contoh kehidupan yang pantas dan baik untuk ditiru. oleh sebab itu, mobilitas tari dari istana ke rakyat lebih tinggi dari pada tari rakyat ke istana. mobilitas tari dari istana ke rakyat tidak selalu pihak istana yang mempunyai inisiatif untuk mengalirkan budaya istana ke rakyat. lebih dari itu rakyat juga mempunyai inisiatif untuk meniru kehidupan istana. sebagai bagian dari wilayah kerajaan mataram, masyarakat banyumas juga tidak terlepas dari sebuah anggapan bahwa kehidupan istana merupakan kehidupan yang pantas dan baik untuk ditiru termasuk dalam hal seni pertunjukan. sutton (1991: 71) mengatakan, sebagai berikut: while these qualities would have made it difficult for banyumas music and other arts to gain prestige during the centuries of court supremacy ... sebagai akibat dari anggapan semacam itu seni pertunjukan rakyat di banyumas juga tidak terlapas dari pengaruh seni pertunjukan istana. banyak seni pertunjukan rakyat di banyumas meniru aspek-aspek pertunjukan istana. akibat lain dari anggapan semacam itu kurangnya kesadaran masyarakat setempat untuk menunjukan identitas budayanya. sutton (1991: 71) tradisi banyumas mulai tampak maju pada tahun 1980 dengan mulai populernya gendhing-gendhing banyumasan dan seni pertunjukan rakyat banyumas yang lain. namun sebenarnya gejalanya vol.2 no.2/mei-agustus 2001 64 harmonia jurnal pengetahuan dan pemikiran seni sudah mulai pada akhir tahun 1970-an. dalam bidang tari sudah mulai ada penataan-penataan tari yang sebagian besar berakar dari pertunjukan lengger tahun 1970-an. pada tahun 1976, suhartoyo salah seorang staf kebudayaan depdikbud kabupaten cilacap mulai menata tari yang disbeut tari gombyong banyumasan. di yogyakarta supriyadi dari purbalingga yang sedang belajar (nyantrik) di padepokan seni tari kreasi baru bagong kusumafiarja dan sebaga mahasiswa akademi seni tari indonesia (asti) yogyakarta menata tari dengan iringan gendhinggendhing banyumasan yaitu tari cipat-cipit dan tari baladewa. dua tari tersebut kemudian dikemas dalam tarian kreasi baru karya bagong kusumadiarja dan kaset iringan tarinya diedarkan pada masyarakat luas. pada tahun 1978 pemerintah daerah tingkat ii kabupaten banyumas mendirikan sekolah menengah karawitan indonesia (smki) dengan tujuan untuk mengangkat seni pertunjukan rakyat di banyumas. pemerintah mengangkat seni pertunjukan rakyat antara lain melalui festival, di sisi lain mulai diadakan penataran-penataran tari yang mengambil dari seni pertunjukan rakyat banyumas, seperti lengger, dan edeg. supriyadi yang waktu itu adalah seorang cantrik padepokan seni bagong kusumadiardjo di yogyakarta, banyak mencipta tari dengan ragam gerak dan iringan gending gaya banyumasan. ada juga tokoh tari lain yang juga mencipta tari gaya banyumasan yaitu suprapto dari banjarnegara, suhartoyo dari cilacap dan atmo dari purwokerto. dari tokoh-tokoh tari inilah tari gaya banyumasan dikembangkan didaerah masing-masing. sampai sekarang tari banyumasan berkembang dengan baik seperti tari gambyong banyumasan, tari lengger, tari baladewa, dati bandoran, tari cipat-cipit, tari jalungmas dan tari ebeg. tari banyumasan ditampilkan dalam acara festival-festival tingkat daerah, nasional bahkan hingga tingkat internasional. selain itu juga untuk materi/bahan ajar pada sekolah-sekolah menengah sampai pendidikan tinggi yang memiliki program seni pertunjukan, sedangkan fungsi lain digunakan juga untuk sajian penyambutan tamu, peresmian kantor, upacara pernikahan dan lain-lain. kesadaran masyarakat banyumas untuk menampilkan serta pertunjukan sendiri menunjukkan bahwa era multi kurturalisme di banyumas sudah terjadi secara nyata. multi kulturalisme menekankan vol.2 no.2/mei-agustus 2001 65 harmonia jurnal pengetahuan dan pemikiran seni penghapusan hirarki etnis dan menekankan perlakuan yang sama dari berbagai budaya yang berbeda (gere, 1992: 5). c. simpulan perkembangan tari di banyumas diawali dengan perubahan cara pandang dari masyarakat banyumas terhadap seni pertunjukan istana dan pertunjukan rakyat yang meurpakan produk mereka. kesadaran masyarakat banyumas akan kelebihan tari rakyat yang mereka miliki menyebabkan adanya keberanian untuk menampilkan seni pertunjukan sebagai identitas mereka dan sekaligus juga dapat berdiri sejajar bahkan melebihi tari-tari dari istana. daftar pustaka babad banyumas, banyumas: t.p., dan t.t. bandem, i made. 1996. etnologi tari bali. yogyakarta: kanisius depdikbud. 1980. sumbangan pikiran tentang seni tari calung banyumas”. sebuah laporan penelitian. purwokerto: departemen pendidikan dan kebudayaan gere, david (ed). 1992. looking out perspective on dance and criticism in a multicultural world. new york: schrime macmillan an imprint of simon & schuster macmillan. geldern, robert von heine. 1982. konsepsi tentang negara dan kedudukan raja di asia tenggara. terjemahan deliar noer. jakarta: c.v. rajawali moedjanto. f. 1987. konsep kekuasaan jawa: perannya oleh raja-raja mataram. yogyakarta: kanisius soedarsono. 1985. pola kehidupan seni pertunjukan masyarakat pedesaan, dalam djoko soerjo, ed. al. gaya hidup masyarakat jawa di pedesaan : pola kehidupan sosial, ekonomi, dan budaya. yogyakarta: depdikbud. sutton, r. anderson. 1991. tradition of gamelan music in java musical pluralism and regional identity. new york: cambridge university press tomars, adolph s. 1964. “class system and the arts”, dalam werner j. comman dan alvin baskoff, ed. sosiology and history: theory and research. london: colier nacmillan. limited, pp. 21-23. vol.2 no.2/mei-agustus 2001 66 205 aesthetic response of audiences’ behavior of dangdut koplo music performance theresia ratna wiharyanti, totok sumaryanto florentinus, udi utomo universitas negeri semarang, indonesia submitted: august 13, 2020. revised: september 9, 2020. accepted: november 4, 2020 abstract dangdut koplo music performances are favored and watched by the public. this is able to generate an aesthetic response of the audiences, which is shown by their behavior. this study aims to examine the aesthetic response of audience behavior of dangdut koplo music performances in pekalongan. this research uses qualitative methods, data collection using observation, interview, and document study techniques. data analysis procedures used data reduction, data presentation, and data verification. the validity of the data used is triangulation, data sources, and theory. the results showed that the aesthetic response in the audience behavior of dangdut koplo music performance in kalirejo village, talun, pekalongan regency had a positive response that led to behavior, such as (1) dancing with friends in groups or alone; (2) menyawer (giving some money); and (3) notice the show schedule. based on the research results, it can be suggested: (1) can broaden the insight and description of the development of music, especially dangdut koplo music in the present era, (2) can be taken into consideration how the impact of dangdut koplo on the behavior of dangdut koplo music performances. keywords: aesthetic response; behavior; dangdut koplo; music how to cite: wiharyanti, t. r., florentinus, t. s., & utomo, u. (2020). aesthetic response of audiences’ behavior of dangdut koplo music performance. harmonia: journal of arts research and education, 20(2), 205-212 harmonia: journal of arts research and education 20 (2) (2020), 205-212 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i2.28059 music has a distinctive musical style and has a lyrical theme that is easy to memorize because it usually takes the theme of everyday events that occur in many communities (benny, 2017). dangdut music has a very distinctive characteristic, i.e., the singing technique using the lilting cengkok followed by the beat of the gendhang, and is dominated by dance or jogetan. dangdut koplo as a form of dangdut music development began in the early to mid-1990s, and the peak era was in the post-soeharto era. dangdut koplo is developed in east java. this was caused by the entry of jaipongan gendangan to east java around the 1980s and developed in music introduction dangdut music is a type of popular music and is the most phenomenal music genre in indonesia. dangdut comes from the acculturation of other nations’ music which came to indonesia by combining several elements of musical genres, and they are malay music, gambus music, and indian music (wisnu, 2019). the combination of elements of malay, indian, and gambus music makes dangdut have a strong appeal in the community. dangdut music is very easily accepted by all levels of society and grows rapidly to all corners of the country because this corresponding author: e-mail: theresiaratna030186@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (2) (2020): 205-212206 playing in east java (weintraub, 2013). the origin of the word dangdut is the same as dangdut koplo now. traced back in 2008, the word koplo means ‘dungu’ (in javanese) or other meaning, i.e., koplo pills containingsychotropic substances (raditya, 2013). the term koplo refers to the style of performance, drum rhythm, fast tempo. according to his definition, the term comes from “pil koplo”, koplo music was a way of expressing drunken feelings about a dance style that people consider “hard to believe” or “magical” (weintraub, 2013). that is what makes dangdut music easy to spread widely. dangdut koplo is a creation of dangdut music. when viewed from the organology used, there is no significant difference from dangdut music, like the musical instruments that are played, like guitar, keyboard, bass, drums, flute, and drums. the thing that distinguishes is how to play this instrument according to the interpretation of local players. the players interpret in their own style, and the most important thing in dangdut koplo is the kendhang game which produces a “dutt” sound. the kendhang sound is usually combined with the voices of players shouting like “uuuuu aaaa”, “buka sitik joss” or screams which make the atmosphere even more lively and festive (raditya, 2013). dangdut koplo has an element that is often used and makes it interesting, namely sengga’an. “sengga’an” performed by a kendhang player accompanied by a shout while the singer is singing in front of the audience. this was done so that the atmosphere of the dangdut koplo music performance was even more festive. dangdut is a musical performance in indonesia which is currently more popular in the community. this can be seen from the audience’s crowd at the time of dangdut music performance (muttaqin, 2006). the public is very enthusiastic about watching the dangdut koplo music show when a dangdut music show is held. the audience at the dangdut music show is not only adults, but children and teenagers also watch this show (raditya, 2017). in pekalongan regency, especially in kalirejo village, talun, dangdut koplo music is very popular with the surrounding community. with the proliferation of dangdut shows on local and private television stations, the prestige of dangdut music began to decline and has now returned to the top music charts in indonesia. the work of dangdut music, which is increasingly modern, has made dangdut music able to compete with other music genres. dangdut koplo song themes raise the realities of everyday life in a language that is easily understood by the public. the language is straightforward, without being covered up so that it is easily accepted by any society (risna, 2016). dangdut is more than the usual music genre. dangdut can be more adaptive according to the times. this is a dangdut specialty because dangdut can accept musical elements from anywhere to be combined. in line with this, lockard (1998) states that: “dangdut emerged from the cultural melting pot of jakarta, a city sometimes compared to the spicy indonesian salad gado-gado because of its assimilation and intermingling of peoples and ideas arriving from outside.” response is a form of reaction that is expressed as an attitude, where the attitude arises based on the evaluation process in the individual, which concludes the stimulus in the form of good, bad, pleasant, unpleasant values then crystallizes as a potential reaction to the object. azwar (2000). response is also defined as a behavior or attitude that is tangible before detailed understanding, research, influence or rejection, likes or dislikes, and the use of certain phenomena. (wulandari, 2018). dangdut koplo music performance can elicit an aesthetic response from the audience expressed in the form of behavior and actions with the object being observed. this can happen because the behavior that appears is an expression of the audience is enjoying a spectacle they observe. people in kalirejo village, talun, pekalongan regency have an interest in theresia ratna wiharyanti et al., aesthetic response of audiences’ behavior of dangdut 207 dangdut koplo music. this is evidenced by every time there is a special celebration such as hajatan or anniversary, the people here always invite dangdut music groups. in fact, the current dangdut koplo music performance is not something weird and rare anymore. however, it can be said that this performance is a tradition for the community. not only is it the identity of the pantura (north coastal) people. in pekalongan regency, talun area, there is a dangdut koplo music group that is active as entertainment and is very well known by pekalongan people. this music group is called bonex, which comes from the village of talun, pekalongan regency. the dangdut koplo music group’s presence has its own appeal for children and adults in appreciating this music. the form of appreciation appears in paying attention to what he admires. every time a dangdut koplo music show is held, the public looks fascinated and can even express their feelings through the spoken words. however, there is also the opposite. the audience’s response to what they observe and see can be seen through the way they move, such as rocking. this response follows what other spectators or singers do while on stage. mimicking movements and swaying is the audience’s response to finding the freedom of expression. a person’s tendency to behave towards an object is a form of aesthetic response to dangdut koplo music performance (azwar, 2000). this becomes very interesting when looking at the facts at the field that the audience/community who often watch dangdut koplo music performances have an aesthetic response that results in behavior towards this music. measuring the response is not an easy thing because the response is a person’s tendency, view or stance to examine an object or problem, and act accordingly by realizing positive and negative feelings in dealing with an object. stating the structure of the attitude or response to the counselor consists of components, including the affective component, the cognitive component, and the connotative component. (azwar, 2000). the research conducted by benny (2017) discusses aspects of dangdut music that can affect drainage construction workers’ morale. the loud dynamic or soft sound produced by the loudspeaker when the work accompaniment song is played will add to the drainage workers’ enthusiasm and persistence. this research is in line with what researchers did in observing dangdut koplo music genre, which has the same goals, it is how much they like dangdut koplo music and how much dangdut music influences their daily lives. however, the target of the two researchers were different; they are children and adults. children and adults have different rules in what they should know and what they shouldn’t know. this study will discuss the aesthetic response in audience behavior that appears at dangdut koplo music performance. the benefits of this research are expected to enrich and increase knowledge about concepts and theories, as well as insight into audience behavior in dangdut koplo music performances. methods this study used a qualitative research method with a phenomenological research design, the target of the research is to see the overall aesthetic response to the behavior of dangdut koplo performances. data collection techniques were carried out by means of observation, interviews, and document study. the observations made in this study were direct observations, i.e., a careful review of the phenomena in the dangdut koplo music performance in kalirejo village, talun, pekalongan regency. interviews were conducted with dangdut koplo musicians, local communities, and the local audiences. document studies were conducted to obtain data in the form of photos, audio and visual recordings related to dangdut koplo music performances. harmonia: journal of arts research and education 20 (2) (2020): 205-212208 the data validity technique uses source triangulation, i.e. the process of testing validity can be done by examining the data that has been obtained through various sources. this technique is used to test the credibility of the data. researchers conducted source triangulation through informants related to information about dangdut koplo music performance of bonex group. the concepts of ethics and emic are also used in this study. the process for analyzing data was carried out by reducing the data followed by the presentation and verification of data related to the bonex music group, as stated by miles and hubermen (rohidi, 2011). results and discussion dangdut koplo performance dangdut koplo music performance is a music show featuring dangdut songs, and in its appearance, there are sounds of musical instruments such as guitars, drums, basses, drums, and keyboards. dangdut koplo music performances are in great demand by all people, especially in kalirejo village, talun, pekalongan regency. the dangdut music group that was formed in pekalongan regency continues to grow. almost every time there is a certain celebration, the people of the talun area always invite dangdut koplo music group. one of the popular dangdut koplo music groups in talun, pekalongan is “bonex”. figure 1. personnel of dangdut koplo group bonex the dangdut koplo music group “bonex” is dangdut koplo music group that often performs and provides entertainment throughout the city and pekalongan regency. the dangdut koplo music group “bonex” is a dangdut genre music group that emphasizes the quality of music. the dangdut music performances presented can be enjoyed by all people, especially the people of pekalongan regency. the main purpose of the formation of the dangdut koplo music group “bonex” is to preserve the developing dangdut music and dangdut songs that are starting to disappear by the renewal of their musical arrangements. this allows people to recall dangdut songs that have begun to disappear and increasingly like dangdut music. the concept of the dangdut koplo music group “bonex”, which consists of 6-7 personnel and is supported by attractive lighting and stage settings so as to attract people to use the services of this music group. this can be proven by the bonex dangdut music group’s frequent appearance to provide entertainment such as a wedding celebration, circumcision, or a celebration by their respective communities or villages. this is in line with the opinion of a’yun & rachman (2019); rachman & utomo, 2018, 2019; ramadhani & rachman, (2019) that a music will get more public attention if the presentation is attractive in terms of stage layout which includes lighting, decoration, performance venue, musical arrangement, as well as the novelty of the musical theme in accordance with the times. dangdut koplo music group “bonex” also documents every show they present in the form of videos which are then published on their official social media accounts. this aims to promote the dangdut koplo music group “bonex” to be known throughout indonesian society, not only in pekalongan. dangdut koplo music performances are held at 19.00 wib. the audience received information about the show from the surrounding environment as well as pamphlets/brochures spread on social media. the audience who came were not theresia ratna wiharyanti et al., aesthetic response of audiences’ behavior of dangdut 209 only from the local community but from various regions, especially loyal fans of the bonex music group. the show began with signs of musical accompaniment sounded to provoke the audience’s attention that the show was about to begin. the audience is very excited to watch it. although the weather at the time of the show was not good, heavy rain, hot, it did not stop the audience from keeping watching dangdut koplo music show until the show was over. local people near the show’s location arrive early to find a comfortable place to see the dangdut koplo music show. figure 2. audiences’ appreciation (documentation: ratna, 2020) the audience really enjoyed dangdut koplo music show. they seem willing to be in the rain to watch dangdut koplo music show. the audience documented dangdut koplo music performance using their cellphones. they sing together with the group in the performance. aesthetic response forms in performing behavior the response of the audiences towards dangdut koplo show can be seen from their enthusiastic in watching the show. it is in line with the opinion of (azwar, 2000) that the response is a form of reaction which is expressed as an attitude where the attitude arises based on the evaluation process within the individual which concludes the stimulus in the form of good, bad, pleasant, unpleasant values then crystallizes as a potential reaction to the object dangdut music is music favored by everyone with a unique and interesting genre (muttaqin, 2006). dangdut koplo music performance was attended by the local community, including children and adults, but some audiences deliberately came from far / outside the region. this statement is in accordance with the phenomenon of dangdut music performances which are always watched by many people, from small children to adults, even the elderly, by generating different responses. the aesthetic response that appears in the dangdut koplo music show is in the form of movement by the audience through the process of observing and enjoying a song and music. the aesthetic response of the audience after appreciating dangdut koplo music performance was expressed by rocking and dancing, but some were just silent while enjoying the show. this is in line with the opinion (alex, 2003) that a response is also defined as a tangible behavior or attitude before detailed understanding, research, influence or rejection, like or dislike, and utilization of a certain phenomenon. figure 3. forms of the audience’s aesthetic response (documentation: ratna, 2020) the result of the audience’s response to dangdut koplo music show was poured out dancing and rocking with their friends, it can be seen in the figure that there are dancing alone or with their groups. this is in accordance with the statement (kocho, 2013) that three factors influence a person’s response: they are the person concerned who sees and tries to provide an interpretation of what he sees, he is influenced by attitudes, motives, interests and expectations. harmonia: journal of arts research and education 20 (2) (2020): 205-212210 in dangdut koplo music show, dancing and swaying movements both with the groups and by themselves is a form and form of the audience’s interpretation of what they have observed, seen and heard. a dangdut music show is in great demand by various groups and various regions. the behavior of singing, dancing together is always seen in dangdut music performances. the research findings above occurred in dangdut koplo music performance in the pekalongan area. because of the massive response to dangdut music shows, the audience brings up behavior during the show. dangdut koplo music performance behavior the behavior that appears at the dangdut koplo music show in kalirejo village, talun, pekalongan regency is that the audience is happy and enthusiastic. this is shown by a very positive response, causing various behaviors in the show that is being watched (azwar, 2000). during the performance, the behavior that they dance together with their friends, some are dancing alone, enjoying the pleasant music, and very fun to dance. however, some audiences just kept silent in enjoying the performance. dancing or swaying behavior dancing or rocking is a movement of moving the body from toe to head. in dangdut koplo music show, almost everyone who enjoys/watches the show has a positive response by shaking and dancing while following the music. figure 4. self-dancing behavior (documentation: ratna, 2020) another thing is also seen in audiences who do not dance while watching dangdut music performances. they respond to dangdut music performances by just nodding their heads while following the beat. figure 5. dancing behavior in groups / groups (documentation: ratna, 2020) figure 6. behavior without dancing (documentation: ratna, 2020) menyawer (giving some money) behavior menyawer is a phenomenon that we usually see and observe in every dangdut koplo music show. menyawer is giving money to a singer or musician that the audience likes or enjoys doing (setyawan, 2018). the form of response to dangdut koplo music performance in kalirejo village, talun, pekalongan district, is showed by menyawer behavior (risna, 2016) menyawer activity is a phenomenon that we always see when there is a musical performance, especially dangdut koplo music. figure 7. menyawer activity (documentation: ratna, 2020) theresia ratna wiharyanti et al., aesthetic response of audiences’ behavior of dangdut 211 behavior that arises from feeling happy and the intensity of being happy with an object or something by means of menyawer. the reason is that they are very satisfied with the song performed by the bonex music group. so in return for satisfying services from the audience, they give money to the singer in the show. behavior following the show schedule the results of an interview with mas bancet, a fan of dangdut koplo music, arises from a sense of liking to dangdut music by always following and watching the bonex group at every show held. they also formed a community called “sonata.” sonata is a community of dangdut koplo lovers which come from pemalang, and they are very active in following the performance schedule of bonex group. the form of behavior that appears in a dangdut koplo music show occurs because of the audience’s response to this music show. it also happens to people in pekalongan area. they are very enthusiastic about dangdut koplo music performance in their area. this can be seen from the large number of audiences who watched the live music which was held at night. even with the rainy weather, they remained enthusiastic and watched the show. conclusion based on the results and discussion, it can be concluded that the response can affect the behavior of people, both young and old or children. dangdut koplo music performance attracted the public’s attention, which led to the audience’s response to this music show. the audience was very enthusiastic about watching the show; this led to an aesthetic response from it. this can be seen from the large audience who attended the show and the expressions that the audience gave in appreciating the dangdut koplo music show. the expressions that appear can be seen in the audience’s movements and behavior while enjoying the songs. the behavior that appears in dangdut koplo music performance in kalirejo village are the behavior of dancing, alone or in the group, the behavior of just being quiet enjoying dangdut music, the behavior of menyawer their favorite singers, and the behavior of following whenever and wherever the bonex music group performed. the positive response that emerges from the community is expected to be able to contribute to dangdut 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(2010). psikologi perkembangan anak dan remaja. bandung: pt. remaja rosdarkaya offset. 91 the effect of music listening and progressive muscle relaxation on the stress level of novice music teachers during coronavirus disease 2019 (covid-19) in malaysia yong peyee, cheong ku wing, poon chiew hwa university of malaya, malaysia submitted: 2021-03-31. revised: 2021-04-26. accepted: 2021-05-12 abstract the outbreak of coronavirus disease 2019 (covid-19) has contributed stress to many people around the world due to fear and anxiety. other than health issues, it has threatened the overall economy and influenced a drastic change of lifestyle. the purpose of this quasi-experimental study was to examine the effect of music listening and progressive muscle relaxation (pmr) on the stress level of novice music teachers in malaysia by using a mixed-method research design, combining quantitative and qualitative approaches. based on the pre-test questionnaire, a sample of 30 participants was divided equally into high-moderate stress and low-stress groups based on perceived stress scale-10 (pss-10). the quantitative results revealed a significant decrease in stress scores among the majority of the novice music teachers from high-moderate stress groups and insignificant differences in low-stress groups. the intervention was found to be effective as a stress-reduction therapy and benefits more on participants with higher stress levels. ten interviewees were selected from the 30 participants to examine their career-stress-related challenges. the qualitative findings were divided into professional and non-professional challenges, included online teaching and learning, time management, financial issues, physiological issues, and emotional issues. keywords: covid-19, stress, novice music teachers, music listening, progressive muscle relaxation how to cite: yong, p., cheong, k. w., & poon, c. h. (2021). the effect of music listening and progressive muscle relaxation on the stress level of novice music teachers during coronavirus disease 2019 (covid-19) in malaysia. harmonia: journal of arts research and education, 21(1), 91-104 harmonia: journal of arts research and education 21 (1) (2021), 91-104 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i1.29679 positive and negative emotions arise in response to stress (bigg et al., 2017). positive stress is when the perceiver can see it as meaningful and useful to overcome certain difficulties, while negative stress can be overwhelming and detrimental to physical and mental health if it is not handled properly (mandel, 1996). covid-19 pandemic has caused stress and panic around the world, and malaysia is not an exception. the ongoing news in the media managed to keep people informed about covid-19 but subconintroduction this study investigated the effect of music listening and progressive muscle relaxation (pmr) on the stress levels of novice music teachers in conjunction with their career-related challenges during the pandemic. stress is an emotional state when facing a challenging situation. this type of emotional tension can be caused by everyday circumstantial factors at home, workplace, and interpersonal relationships. both corresponding author: e-mail: chiewhwa.poon@um.edu.my p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 21 (1) (2021): 91-10492 sciously caused more fear and anxiety among people with exaggerated and fake news (neria & sullivan, 2011). people who are unable to make ends meet struggled to survive with little or no income. meanwhile, those with better financial stability exhibit lower anxiety symptoms than those who suffer from financial difficulties (cao et al., 2020). people who are more vulnerable and considered as high risk are more likely to be anxious such as the elderly, people with hypertension, heart problems, and so on (shahid & kalayanamitra, 2020). online music education in malaysia began when movement control order (mco) was implemented in malaysia in march 2020 (bunyan, 2020). music teachers suffer from various career challenges and financial threats. this leads to considerable stress due to a sudden change of lifestyle and adapting to a life without or with minimal work at home. fortunately, music teachers can continue to teach online without traveling to work. although online education has been around for more than a decade, it is not widely studied and accepted in malaysia, especially at the beginning of the pandemic, as teachers are not equipped with sufficient knowledge on how to conduct online lessons. music teachers are pressured to conduct online lessons even though it is an unconventional approach as compared to teaching music in a normal classroom setting. for instance, music teaching requires aural perception, but an unstable internet connection could cause lag and disrupt the playing of the student (deshmukh, 2020). therefore, teaching music online can be stressful for teachers who are not familiar with teaching virtually. according to lazarus’ theory of stress, humans constantly receive external stimuli that are considered a form of stress from the environment, and these are processed into an emotional response (biggs et al., 2017). a prolonged stressful situation can worsen the mind and body, and people may exhibit poor stress management and lack of control over their emotions. the new working norm in music education has caused new career and professional difficulties and dissatisfactions. there are limited social interactions, and most time is spent indoors which inhibits physical inactivity. there are people who experience different kinds of personal situations that also contribute to stress. many emotional aids suggested overcoming mental health challenges for many years, but all understand its seriousness. mental illness is harder to detect in society due to public stigma and the tendency to overlook the importance of maintaining mental health (henderson et al., 2013). these unexpected situations particularly stress novice music teachers who lack teaching experience. senior music teachers may not find this pandemic as stressful as novice music teachers because they can afford to take a break from teaching or have enough teaching experience to adapt to the new teaching approaches. novice music teachers who are working away from home may be mentally affected due to limited emotional and financial support during this tough time. in brief, stress tolerance differs for each music teacher based on teaching experiences and financial stability. music listening and progressive muscle relaxation routines were introduced as one of the effective therapies available to calm stress and anxiety in people. thus, this study aims to help in further validate the effectiveness of this intervention in novice music teachers. novice music teachers have only less than five years of teaching experience. they are still learning to handle work problems and grow to be better teachers (ingersol & smith, 2003). more challenges arise from teaching online. novice music teachers fall into the category of young adults. they are mostly tied to financial commitments during their first few years of working, such as house rentals, cars, and other living expenses. there are personal and societal expectations to sustain their lifestyle. therefore, these big responsibilities come with immense stress. yong peyee et al., the effect of music listening and progressive muscle relaxation on the 93 music listening and progressive muscle relaxation (pmr) was used as an intervention to test its impact on the stress levels of novice music teachers during conditional movement order (cmco). previous studies had indicated that a combination of music listening and progressive muscle relaxation (pmr) as an intervention can decrease stress, anxiety and improved life quality (e.g., clarkson, 1991; choi, 2010; dewi et al., 2018; finlay & rogers, 2015; gladfelter, 1992; memmott, 2002; ogba et al., 2019; robb, 2000; scheufele, 1999; smith, 2008; zhou et al., 2014). their findings also support the act of listening to sedative or meditative music for a certain time can greatly influence the physiological arousal in humans, such as heart rate, temperature, skin response, and stimulations and mental state such as emotions and mood (jia et al., 2016; yehuda, 2011). other previous studies have also shown the use of pmr in the research to help with anxiety, depression, stress, fatigue, and other health-related conditions. it also helps to improve the ability to cope with depression, stress, and anxiety during certain situations such as a university, work, driving on-road or during a period of receiving medical treatment (deberry, 1981; essa et al., 2016; gangadharan & madani, 2018; isa et al., 2013; li et al., 2015; maharjan & baby, 2019; priyanka & tamilsevi, 2013; vaughn et al., 1989). therefore, the purpose of this research is to investigate the challenges that caused stress among music teachers during the pandemic and to compare the effect of music listening and pmr on the stress levels of high-moderate and low-stress music teachers. the research questions were: what are the stress-related challenges among novice music teachers in malaysia during movement control order (mco) and recovery movement control order (rmco) in terms of their music teaching career? what are the effects of music listening and progressive muscle relaxation (pmr) routine on novice music teachers with high-moderate and low-stress levels? method a pre-test questionnaire was administered to novice music teachers online by purposive sampling to collect their participant information and well-being condition and assess their reliability and validity to participate by calculating their stress scores based on the perceived stress scale (pss-10). thirty participants with less than five years of individual music lesson teaching experience and below age 30 were selected. fifteen participants were assigned equally into two groups according to their stress scores. high-moderate stress participants had more than 13 points, while lowstress group participants had less than 13 points. participant information indicated that there were 25 female and five male participants. there were 25 out of 30 participants who conducted online lessons. there were 23 piano teachers, with two of them teaching recorder and vocal as a second instrument, three violin teachers, one vocal teacher, one drum teacher, and one guitar teacher who also teaches electric bass. the average teaching experience was 2.5 years. ten participants were selected from the total participants and were interviewed to investigate their career stress-related challenges. they were comprised of seven piano teachers which were p1, p2, p3, p4, p5, p8, and p10, while p6 teaches the violin, p7 on electric bass and p9 on the drum. eight of them conducted online lessons while the other two participants, p9 and p10, did not conduct online lessons. in this study, challenges as music teachers during the pandemic are discussed. the challenges are associated with their profession as music teachers. the intervention was done by the participants individually. therefore, a selfreported questionnaire was sent each day to each participant to ensure that they had completed the intervention. after the intervention, participants were required to fill in the post-test questionnaire to calcuharmonia: journal of arts research and education 21 (1) (2021): 91-10494 late their pss-10 stress scores to determine the effect of the intervention. music selection is important to ensure that participants achieve an optimum level of relaxation during the intervention. the musical features that were considered in the music selected for this intervention were slow tempo with 60-80 beats per minute, more string sections, minimal instruments, less rhythmic and absence of percussive instruments, sustained and legato melodic lines, and repetitive passages (gaston, 1951; hanser, 1985). hence, the music chosen for each day was non-lyrical instrumental music with string music in each set. the music selection ranges from two to four pieces of music which are then arranged and compiled in 15-minute audio. result and discussion the qualitative results are categorised into two types of challenges: (1) professional; and (2) non-professional. professional challenges consist of (1) online teaching and learning, (2) time management, and (3) financial issues. music teachers in their careers face these challenges during this pandemic. non-professional challenges are comprised of: (1) physiological issues and (2) emotional issues. an outbreak not only affects the public but also on a personal basis. these challenges can only be identified through physiological and psychological perspectives (see table 1). online teaching and learning according to the eight interviewees, they had to comply with the trend of online teaching when the unexpected lockdown confronted them. this teaching approach was not a new method, but it was new and unfamiliar to both teachers and students in malaysia. participants were not equipped with adequate knowledge on how to teach music online as music learning is a practical experience that stimulates our senses such as sight, auditory, and touch while students must adopt technology in their daily lives. music education is a social experience between the teacher and the student where they communicate to build connections and interpersonal relationships (schafer et al., 2013). however, learning music online does not encourage such an experience. this unusual situation may cause occupational stress among music teachers. therefore, extra effort was needed to learn how to conduct lessons through online platforms and explore the settings such as share screens. p4 commented that: teaching online is eye-straining. i must pay attention to the audio and watch their video very carefully if they have placed their fingers or hands position. correctly. it is more difficult to identify their mistakes through a video call. additionally, p8 expressed that: there are a lot of things that i cannot control, like internet problems, student’s behaviour, and attention during the class. however, p3 made a positive remark and said: online teaching is a good alternative for teaching because this is the only choice to continue their music education and table 1. career and stress-related challenges challenges theme data professional online teaching and learning internet instability, communication digital tools, minimal demonstration students focusing ability time management irregular teaching schedule financial issues lack or no income due to student dropout non-professional physiological issues sleep quality, muscle tension emotional issues stress and anxiety yong peyee et al., the effect of music listening and progressive muscle relaxation on the 95 sustain our career as a music teacher. moreover, unforeseen circumstances such as internet instability and lack of digital tools among teachers and students were the few technical challenges from teaching online. internet instability was one of the most common factors that affected the quality of online lessons, as mentioned by all interviewees. different households have different internet speeds and coverage, while internet connection is not always stable, especially for those who stayed in remote areas. p1 mentioned that: i experienced unstable internet connection when i conduct online lesson after i went back to my hometown which is further from the city. i had to stay until i can travel back to the city. therefore, both teacher and student had the possibility to experience a slower response from both sides, and teachers may not adequately respond to their students in time (hebert, 2007). p6 shown much frustration and distress: the speed of the internet is extremely slow; during the teaching-learning session, it lags all the time. he indicated that this undesirable situation greatly affects p6 in his experience in teaching violin, especially in correcting intonation. with much disappointment, p7 had to stop doing online lessons due to internet problems. he stated that: due to the bad internet connection, the parents decided to stop doing online lessons after a month. therefore, i was left with no income during that period. equipment to conduct a good quality and effective online lesson requires a smartphone or laptop, a good microphone, and a speaker for better audio projection, and if necessary, a phone stand as well. alam (2020) stated that a lack of awareness of how to handle digital tools, smartphones, or online apps like zoom seems challenging for people with no prior experience. due to the sudden lockdown, not many people managed to set up online music lessons, and some could not afford better digital tools and set up wi-fi installation. as mentioned by p3 and p4, not all students were suitable to continue lessons online because they do not have stable internet and proper equipment such as having a tripod to adjust the phone or a good gadget with good microphone quality. it is important to have good digital tools such as smartphones and laptops with a good microphone and speaker quality. p1 mentioned that her new smartphone had better audio and mic quality. when she taught online, there was no issue with the input and output of audio. p3 shared that students with older smartphones or laptops tend to have technical problems such as blurry video and audiounclear production. older smartphones also have the tendency to have a weaker internet connection. as emphasised by the interviewees, the placement of the gadget is also a crucial factor that determines the quality of the online lesson. p4 mentioned that: my student uses a tablet, and she placed it at the corner of the furniture near the digital piano. the gadget fell a few times during the lesson, and it was quite disturbing. this situation is related to the absence of proper digital equipment which is the tripod, a useful tool to hold the smartphone in a stable position. another participant, p5, expressed that she struggled to conduct demonstrations to students with suitable video angles, especially to younger children who were unable to understand unless guided physically. certain music teachings such as displaying musical techniques or expressing different tone qualities were more suitable to be done in a normal classroom setting. p5 added that: the pedal was not visible in the video call as the angle of the camera was mainly focused on their hands. the distance from the digital tool had to be near enough to be heard clearly by both teacher and student. the technology was not yet developed to address this issue. thus, teachers harmonia: journal of arts research and education 21 (1) (2021): 91-10496 are not able to guide using the demonstration method online, and students are required to be more independent in learning it by themselves. based on piano pedagogy research, observation and imitation learning greatly benefits students’ musical knowledge (simones et al., 2015). through online teaching, there is a lack of performance demonstration compared to normal music learning. for some students, it can be difficult to grasp musical technique and performativity. the next interview question was related to the focusing ability of their students. most interviewees found that their students could not focus completely during online lessons than normal classroom settings. the main difference was teachers were not physically present to guide the students. p4 expressed that one of her younger students did not understand the instructions given and stayed quiet throughout the lesson. the communication between teacher and student was also affected through this teaching approach because of social isolation. age is also an important factor. music teachers require different teaching approaches to tackle different challenges when they teach students of different age groups (burić, slišković, & penezić, 2019). one of the findings indicated that it was more difficult to teach younger students online. p2, p4, and p5 mentioned that hyperactive and talkative students were the hardest to control during the online lesson. p5, p6, and p8 expressed that there was a need for parents to be by their side during the online lesson. music learning includes social interaction and enjoyment between the teacher and student. since music schools could operate, there are sop procedures that enforce social distancing, reducing social interaction and social proximity between students and teachers. it is common for teachers to guide them hand in hand with younger students, especially when they are not independent yet. p4 explained that teachers need to be cautious of how they approach their students. but it is difficult as some students need help from the teacher. as indicated, it is difficult not to guide younger children physically because they are still too young to position their hands independently on the piano. the practice of wearing masks in the classroom has eliminated one of our most important social elements: our facial expression. according to frith (2009), it was found that people with positive facial expressions are more likely to be trusted. the relationship between teacher and student depends on how they interact with each other through verbal and non-verbal communication. spitzer (2020) raised concerns about face masks that lead to decreased face recognition, emotional signaling, and communication. p5 shared her concern: i notice whether my students are enjoying my class through their facial expressions. but now that we have our masks on, sometimes it gets awkward, especially when interacting with quiet students who usually use their expressions to show their feelings. p8 mentioned how wearing masks prevents her from communicating effectively: i must speak more clearly with my mask on and make sure the students understand my instructions without guiding them physically. both teacher and student became socially restrained and cautious due to the safety procedure, affecting how a normal music lesson is conducted. time management throughout the pandemic, there was a huge change in schedule. thus, teachers and students have to deal with time management issues. despite the reopening of music school during recovery movement control order (rmco), four out of eight interviewees who are p2, p3, p4, and p8 continued teaching online for some students as requested by parents. most participants mentioned that parents were still yong peyee et al., the effect of music listening and progressive muscle relaxation on the 97 worried about the outbreak. so, they decided to continue lessons online or to resume physical class when they feel safe. when asked if students who were doing online classes return to music school or continued online, p3 responded that: parents are not willing to send their kids back to music school. i received text from parents saying that they rather continue online than going back to music school. the sudden lockdown started on the mid-month of march 2020, most music teachers were left with approximately two weeks of replacements to arrange after the partial lockdown. thus, music teachers temporarily had to cope with extended working schedules for a few weeks during rmco and continue adapting to both online and classroom lessons. p2 expressed that: i had to work till night-time and wake up early for work the next day to replace classes from march. p8 added that: our schedules need to readjust to suit students’ time. ever since mco, everyone’s schedule has changed. moreover, most interviewees also shared a list of guidelines to be adhered to in the music school to ensure social distancing and good hygiene. teachers were responsible for sanitizing the instruments and furniture. every lesson, teachers had to make sure all students have washed their hands thoroughly. both teacher and student had to get their temperature checked, wear masks, ensure a proper social distance and avoid physical contact. p3 shared that: the principal advised us to inform parents to send and fetch their children punctually to and from the music school to avoid overcrowding in the premises. hence, only students were able to enter the premises to ensure that the crowd is controlled. it was also a suggestion to prevent children from playing in groups while waiting for their parents to fetch. therefore, parents were encouraged to be punctual in picking up their children. financial issue both participants from the high-moderate stress and low-stress group were susceptible to the pressure to handle their financial difficulties during the pandemic. but both groups have different stress tolerance. despite the financial pressure, lowstress participants may be better at managing stress. most participants were only in their first five years of teaching. some of them were already tied with commitments such as rental, car, and other bills. thus, having financial responsibilities during an outbreak can be overwhelming. all interviewees expressed that the pandemic had severely affected their finance due to students who stop temporarily. p2 added that: although i have resumed work, nevertheless there will be a waiting time for the income to recover. only if the situation improves … if it gets worse later, we won’t be able to earn much income till next year. p10 shared her situation: i usually teach piano and perform in hotel. but apparently, none of my students are continuing music lessons during mco, and i also lost my performing job. it is quite a difficult situation to deal with. p8 sadly expressed that: some students stopped temporarily until further notice. i am unsure when they will be back for music classes or stop permanently because none of us can predict when the pandemic will end. the fear and anxiety of the public were lingering even when malaysia’s outbreak seem to be under control. although participants experienced a huge loss of income, most of them had financial assistance from their family. p1 and p5 had financial relief but they expressed guilt of adding financial burden to their family. p1 willingly shared her personal concern: thankfully, my dad is still working duharmonia: journal of arts research and education 21 (1) (2021): 91-10498 ring mco. but i am still worried. i was able to relieve his burden when i started working last year and i have to depend on him again. not sure when the pandemic will ends. p5, who had a similar experience, added that: i was finally able to treat my family with the money i earn, but now i have to depend on them again during this outbreak. physiological issues the pandemic had caused global chaos that created fear and anxiety in many people. as a result, many people continued working at home and studying online even when schools and businesses resumed back to normal. this pandemic affected lifestyle and working habits and made an impact on the health and mentality of many people. sleep is a necessary routine to keep a healthy body, and stress can indirectly affect sleep quality. people with better sleep indicated lower stress (blaxton et al., 2017). based on the interview data, p1 and p10 both mentioned there was not much change in their sleeping patterns while p6 disciplined himself to sleep before midnight and wake up early. other interviewees expressed that they had irregular sleeping habits. p2 elaborated that: my sleeping time varies every day. sometimes i sleep later, sometimes earlier. i do not have a fixed sleeping time. every day feels the same because i am always staying indoors. p5 shared that: sometimes i play on my phone till five in the morning and wake up extremely late the next day. the lack of movement and low productivity during quarantine can cause muscle tension or muscle rigidity. stress can also increase the severity as it affects our muscles and our usual bodily functions. muscle tension issue was brought up in the questionnaire considering that music teachers spent more time at home and on digital tools to conduct online lessons and preparing online teaching materials. from the interview data, it was found that three muscle groups were mentioned by the interviewees: the neck, eyes, and shoulders. only p6 and p10 responded that they did not feel any muscle tension. out of ten interviewees, six were p1, p2, p3, p7, and p8 pointed out that their neck felt the most tense. this indicates that digital tools and gadgets such as smartphones greatly affected their neck posture. a past study examining the neck flexion while using a smartphone found that it can lead to extreme neck pain and fatigue (alfaitouri & altaboli, 2019). the duration of how long they use their smartphones also determines the severity of neck and shoulder pain (al-hadidi et al., 2019). p4 expressed that: looking at computer screen for long hours made my neck so tensed that i have to keep stretching it back. other participants expressed that their eyes were very tired due to excessive use of digital tools. p4 who also had neck pain added that: my eyes feel so tired looking at my laptop every day and i always stay indoors, so i seldom look at far objects. incidentally, p8 who had shoulder pain explained that: since there is not much work and i have so much free time, i spent a lot of time watching movies on my smartphone and laptop. at one point, i realised i was tensing my shoulders while facing the laptop. emotional issues other than physiological issues such as sleeping problems and muscle tension, stress also indirectly affects mental health. the emotional stress was accumulated from professional challenges faced due to the pandemic, such as adapting to a quarantined lifestyle, teaching online, struggling with the loss of income, having student dropouts, and odd working schedules. all these contribute to their fiyong peyee et al., the effect of music listening and progressive muscle relaxation on the 99 nancial status and job satisfaction as music teachers. this induces emotional responses such as fear, worry, anxiety, and insecurities. the findings indicated how their career as a music teacher has an impact on their emotions and feelings. p5 revealed that she had zero income in the first two months into mco but have financial commitments such as paying for insurance, tax, and house loan. p5 added that: i taught few online lessons with just a handful of students as requested by some parents. but it is stressful to conduct online lessons with no prior online teaching experience. she expressed her guilt due to her lack of experience in conducting online lessons with the same teaching quality as in normal class settings. during rmco, she managed to resume back to work but had a few dropouts due to students who refused to continue piano lessons until further notice. majority of participants also had similar experience when they resumed back to work. this finding indicated that participants go through fear and worries due to financial instability. one of the consequences of not working during quarantine leads to low productivity and lack of motivation. p1 responded that: i often read novel on my smartphone and i feel like i am just doing nothing all the time. in addition, p2 also expressed her anxiety of the covid-19: every day, i am checking on how many cases are there because it is really worrying, and i hope the situation gets better so i can resume to work. p8 commented that: i have been watching a lot of dramas online since i do not have many students at the moment. depends on the amount of usage, social media can be both beneficial and detrimental to our emotional health. glazzard and stones (2019) indicated that it can improve a positive identity among young people and an opportunity for networking. however, in recent studies of social media exposure during the covid-19 pandemic, excessive exposure to media can create anxiety, stress, and negative emotions among the citizens (gao et al., 2020; garfin, 2020). p3 expressed her concerns: everyone is worried about the pandemic so do i as a music teacher. i understand their concerns as parents to keep their children safe, but i am also worried how i can sustain my life with my current income with just online lessons. p7 further elaborated that: during mco, i was always checking on how many cases are there for the first few weeks and then i stopped because there was nothing i can do. then when we can go back to work, i still have to worry about my income. several participants expressed their worries about their career, finance, and future due to financial instability. as the outbreak persists, doubts and worries can cause fear and anxiety among people. the outbreak is a threat to many jobs, and this includes the future of music teachers. p1 specifically stated that: during mco, i keep overthinking whether i should remain as a piano teacher or find another job. but changing jobs is also a difficult decision because the economy is not good. it was a big dilemma. so, in the end i stayed and wait for the situation to get better. music listening and progressive muscle relaxation (pmr) the quantitative results are based on the pre-test questionnaire. there were three aspects of well-being condition: (1) financial pressure, (2) sleeping quality, and (3) frequency of muscle tension. 86.67% of high-moderate stress participants and 73.33% of low-stress group participants experience financial pressure. while 23.3% of participants had sleeping problems, 36.7% of the participants had occasional sleeping problems, and 40% had no sleeping problems. lastly, for frequency muscle tensiharmonia: journal of arts research and education 21 (1) (2021): 91-104100 on, 33.3% chose “yes”, 26.7% chose “sometimes” and 40% chose “no” to feeling muscle tension. the post-test stress scores of highmoderate participants were (1) 60% with decreased stress scores; (2) 20% with increased stress scores; and (3) 20% remained the same. the stress scores result in lowstress group were: (1) 40% of participants with decreased stress scores; (2) 33% with increased stress scores; and (3) 27% remained the same. table 2 indicated a decrease in posttest scores compared to the pre-test. there was an improvement in perceived self-efficacy and a decrease in perceived helplessness. an increase in mean scores of positive items and a drastic decrease for some negative variables indicated an improvement in stress management among participants. stress can cause people to lose control of their emotions and may get frustrated easily. as theorised by bourne (2015), progressive muscle relaxation (pmr) can improve emotional control, leading to better anger management. a study by choi (2010) has also indicated that music listening and pmr intervention effectively reduces anxiety. the mean of pre-test stress scores for the ten individual items ranged from 2.00 (positives items 4, 5, and 8) to 2.73 (negative item six). based on post-test scores, the mean ranged from 1.73 (negative items nine) to 2.40 (negative item ten). the mean difference ranged from -0.87 to 0.27. the one with the highest mean difference was item nine (-0.87), followed by item two (-0.67) and three (-0.47). this result supports the theory that the intervention is effective in managing anger. table 3 demonstrates the pre-test and post-test perceived stress scores (pss10) of the low-stress group. there was only a slight difference in the mean difference of both positive and negative items. the mean of pre-test stress scores for the ten items ranged from 0.47 (negative item 9) to 3.27 (positive item 4). in the post-test scores, the mean ranged from 0.87 (negative items nine) to 2.87 (positive item four). the mean difference between pre-test and post-test ranged from -0.47 to 0.27 which indicated a decrease in post-test scores of negative items and a slight increase in post-test scores of positive items 4, 7, and 8. item 2 had the highest mean difference of -0.47. there was also an improvement in stress management among low-stress participants, but the results were not as significant as the results of the high-moderate stress group. the mean difference between pre-test and post-test scores for the highmoderate stress and low-stress group ranged from -0.87 to 0.27 and -0.47 to 0.27, respectively. comparatively, among the six negative items, high-moderate stress and lowstress groups showed a decrease of -0.33 and -0.20 of mean scores in item one, -0.67 and -0.47 in item two, -0.47 and -0.26 in item three, -0.46 and -0.27 in item six, -0.87 and -0.20 in item nine respectively. there was no significant change for both groups for item ten with mean score results of 0.00 and 0.06, respectively. among the four positive items, highmoderate stress and low-stress groups showed different results. the highmoderate stress group participants showed an increase of mean scores for all four positive items. however, only item five showed an increase in mean scores for low-stress group participants, while items four, seven, and eight showed a slight decrease in mean difference. the most significant decrease was item four, with a mean difference of -0.40. there was an increase in mean scores for all four positive items. the workplace is where people face new challenges every day. based on a study by smith (2008), this research indicated that pmr helped to reduce occupational stress. it helps people gain confidence and become more aware of how to handle difficult situations in life. thus, this intervention similarly benefits novice music teachers in handling their new challenges during this pandemic. to summarise the data collected, the mean difference of the total results of preyong peyee et al., the effect of music listening and progressive muscle relaxation on the 101 table 2. means, mean difference, standard deviations, and percentage increase of highmoderate stress group for study variables pre-test post-test item mean (sd) mean (sd) md (sd) % upset of things happened unexpectedly 1.33 (.98) 1.13 (.74) -0.20 (.14) -15.04 unable to control important things in life 1.27 (.88) 0.80 (.86) -0.47 (.33) -37.01 felt nervous and stressed 1.53 (.83) 1.27 (.70) -0.26 (.18) -16.99 confidence in handling problems 3.27 (.46) 2.87 (.74) -0.40 (.28) -12.23 felt that things going your way 2.53 (.83) 2.80 (.41) 0.27 (.19) 10.67 unable to cope with tasks 1.27 (.70) 1.00 (.53) -0.27 (.19) -21.26 able to control irritations 2.73 (1.10) 2.60 (.91) -0.13 (.09) -4.76 alert and aware 2.87 (.74) 2.67 (.82) -0.20 (.14) -6.97 uncontrollable anger 0.47 (.52) 0.67 (.49) 0.20 (.14) 42.55 unable to overcome difficulties 0.67 (.62) 0.73 (.46) 0.06 (.04) 8.96 note: md = mean difference; sd = standard deviation; % = percentage difference table 3. means, mean difference, standard deviations, and percentage increase of lowstress group for study variables pre-test post-test item mean (sd) mean (sd) md (sd) % upset of things happened unexpectedly 2.20 (.94) 1.87 (1.13) -0.33 (.23) -15.00 unable to control important things in life 2.67 (.90) 2.00 (1.41) -0.67 (.47) -25.09 felt nervous and stressed 2.67 (.90) 2.20 (.68) -0.47 (.33) -17.60 confidence in handling problems 2.00 (.65) 2.27 (.59) 0.27 (.19) 13.50 felt that things going your way 2.00 (.53) 2.27 (.88) 0.27 (.33) 13.50 unable to cope with tasks 2.73 (.88) 2.27 (.96) -0.46 (.33) -16.85 able to control irritations 2.13 (.52) 2.33 (.72) 0.20 (.14) 9.39 alert and aware 2.00 (.65) 2.27 (.96) 0.27 (.19) 13.50 uncontrollable anger 2.60 (1.06) 1.73 (1.28) -0.87 (.62) -33.46 unable to overcome difficulties 2.40 (.63) 2.40 (.99) 0.00 (.00) 0.00 note: md = mean difference; sd = standard deviation; % = percentage difference test and post-test in high-moderate stress group and low-stress group are (-1.79) and (-1.4) while the total percentages are (-8.0%) and (-7.8%). this indicates that the intervention was more effective on highmoderate stress participants than participants from low-stress groups. conclusion covid-19 pandemic is highly associated with career and financial struggles as well as physical adaptation. novice music teachers are at the beginning of their career, and with a lack of experience in teaching students physically, online education became an unexpected challenge to cope with. other challenges that were discovered include financial, time management, physiological, emotional, and adaptation to the “new normal.” this study incorporates both music listening and progressive muscle relaxation (pmr). it stimulated different body parts and auditory senses to help individuals focus mainly on contracting and relaxing their muscle groups and allowing the music to lead the mind. thus, the intervention was effective in reducing harmonia: journal of arts research and education 21 (1) (2021): 91-104102 stress, especially in high-moderate participants. this present study has its limitations where the findings apply to a comparatively small sample of music teachers which may not address the general population. larger sample size and longer experimental time period may be employed in future studies to validate the quantitative results further. a wider variety of music genres can be utilized and considered, including participants’ musical selection according to their preferences. acknowledgements this research was part of the university of malaya covid-19 implementation research grant (rg564-2020hwb) project. the authors wish to thank prof. ivy chung and the project team for their collaborative effort. references alam, a. 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(2015). a clinical randomized controlled trial of music therapy and progressive muscle relaxation training in female breast cancer patients after radical mastectomy: results on depression, anxiety and length of hospital stay. european journal of oncology nursing: the official journal of european oncology nursing society, 19(1), 54–59. https://kuscholarworks.ku.edu https://kuscholarworks.ku.edu 120 makna simbolik tari bedhaya tunggal jiwa sestri indah pebrianti program studi kajian seni petunjukan pascasarjana, universitas gajah mada, jogjakarta, indonesia e-mail: sestri_indah_pebrianti@yahoo.com abstrak bedhaya tunggal jiwa merupakan elemen penting dalam upacara grebeg besar. pada penelitian ini fenomena yang menarik untuk dikaji (1) mengapa tari bedhaya tunggal jiwa dipertunjukkan, (2) bagaimana bentuk pertunjukan, dan (3) apa makna simbolik yang terkandung pada tari bedhaya tunggal jiwa. di dalam memahami fenomena yang terjadi pada bedhaya tunggal jiwa, penelitian ini menggunakan metode kualitatif untuk menggali berbagai data lapangan dalam menjelaskan mengenai persoalan yang terjadi. perolehan data lapangan itu kemudian diolah dan dituliskan dengan metode deskriptif analisis dengan pendekatan etnokoreologi. bedhaya tunggal jiwa merupakan salah satu unsur budaya masyarakat demak, yang dipertunjukkan sebagai bagian dari rangkaian upacara tradisi grebeg besar di kabupaten demak. kehadirannya sebagai kebutuhan estetis manusia serta menimbulkan keserasian manusia dan lingkungannya. unsur yang ditampilkan pada pertunjukan bedhaya tunggal jiwa terdiri dari beberapa eleman di antaranya: penari, gerak, pola lantai, musik, rias, busana, properti dan tempat pementasan. hasil penelitian menunjukkan bahwa makna simbolik bedhaya tunggal jiwa sebagai gambaran menyatunya pejabat dengan rakyat dalam satu tempat untuk menyaksikan tari bedhaya tunggal jiwa sehingga tampak sebuah kekompakkan, kedisiplinan dan kebersamaan langkah untuk menggapai citacita. unsur-unsur simbolik ditunjukan pada peralatan yang digunakan dalam rangkaian upacara, tindakan yang dilakukan penari, arah dan angka, integritas dan sosial kemasyarakatan. makna simbolik terdapat pada gerak, pola lantai, kostum, iringan tari, dan properti yang sesuai dengan kondisi sosial budaya kabupaten demak. keseluruhan menggambarkan kegiatan hubungan vertikal dan horisontal umat manusia. simbolik meaning of bedhaya tunggal jiwa dance abstract the bedhaya is the important element in grebeg besar ceremony. in this research, the phenomenon that will be interesting to be studied are (1) why bedhaya tunggal jiwa dance is showed?, (2) how the pattern of the show is?, and (3) what the symbolic meaning of bedhaya tunggal jiwa dance is?. in understanding the phenomenon happened in bedhaya tunggal jiwa, this research applies the qualitative method to discover all the field data in explaining the problems occur. the result of field data, processed and written in descriptive analysis method etnokoreologi approach. that approach is done by textual and contextual analysis. the textual study, can lineout or describe in detail about the structure in bedhaya tunggal jiwa dance, while the contextual study can reveal socio-cultural condition the residents in demak regency. bedhaya tunggal jiwa is one of the cultural elements in demak society that is showed as a part of series traditional ceremony grebeg besar in demak regencey. the presences human aesthetic need and also create the harmony of human and their environment. the performance of bedhaya tunggal jiwa consists of several elements, including: motion, floor pettern, music, make up, clothing, properties and place of performing that overall is simple. the research result shows that bedhaya tunggal jiwa is understood as teaching of life that cantains togetherness, unity and discipline to archive the useful purpose of live insestri indah pebrianti, makna simbolik tari bedhaya tunggal jiwa dalam rangkaian ... 121 pendahuluan grebeg besar merupakan salah satu bentuk upacara ritual masyarakat demak yang wajib diselenggarakan setiap satu tahun sekali, di mana pelaksanaanya setiap tanggal 10 dzulhijjah (nama bulan dari bahasa arab) bersamaan dengan datangnya peringatan hari raya idul adha, yang dipusatkan di masjid agung demak, pendhopo dan makam sunan kalijaga yang bertempat di kadilangu. perayaan grebeg besar di demak dimaksudkan sebagai tradisi penghormatan dan rasa syukur atas perjuangan para leluhur, khususnya sehubungan dengan kegiatan siar islam yang dilaksankan wali songo terutama sunan kalijaga (2006: 7). beberapa perubahan terjadi pada perayaan grebeg besar di demak. perubahan dimulai pada tahun 1846 saat bupati demak, mengkombinasikan tradisi grebeg besar dengan seni budaya yang diwariskan oleh sembilan wali seperti barong hakikat, topeng shari’at dan tari ronggeng ma’rifat yang digunakan sebagai penyebaran agama islam.. satu abad kemudian, pada tahun 1976, winarno adisubrata kasi kebudayaan demak berkolaborasi dengan dinas pariwisata memodifikasi perayaan grebeg besar dengan menambahkan slametan tumpeng sembilan dan prosesi prajurit patangpuluh. akhir 1980an, dinas parwisata dengan tujuan mengembangkan dunia kepariwisataan menambahkan sajian tari sebelum prosesi penyerahan minyak jamas. sejak itu pertunjukkan tari bedhaya tunggal jiwa menjadi elemen penting dalam grebeg besar. bedhaya berkembang di luar keraton menandakan adanya perkembangan jenisjenis tari bedhaya yang lebih terbuka artinya arah perkembangan yang tidak selalu berpatokan dengan kaidah tari bedhaya keraton. salah satunya yaitu tari bedhaya tunggal jiwa yang ditarikan oleh sembilan penari wanita. jumlah sembilan diyakini oleh masyarakat jawa sebagai jumlah bilangan terbesar dan memiliki makna simbolis yang terkait dengan pandangan filsafat masyarakat jawa. berkaitan dengan hal tersebut maka sudah semestinya untuk membahas tari bedhaya harus dipahami melalui perspektif budaya jawa (2007: 4041). seni tari merupakan wadah kreatifitas masyarakat dengan berpatokan pada nilai-nilai estetis yang di dalamnya terdapat sistem pemaknaan, karena tari merupakan hasil dari proses sosial dan bukan proses perorangan. artinya, walau tari tersebut diciptakan oleh satu orang, namun dalam perkembangannya tari mengalami perubahan akibat tingkah laku masyarakat secara kolektif terhadap tari tersebut, maka secara otomatis mengalami pemaknaan secara kolektif pula, sesuai dengan sifat masyarakat pendukungnya (hauser, 1982: 94). berpijak pada latar belakang yang diuraikan, dapat dirumuskan suatu permasalahan bagi penulis. bagaimana bentuk pertunjukan tari bedhaya tunggal jiwa? apa makna simbolik yang terkandung pada tari bedhaya tunggal jiwa? utamanya tujuan dari penelitian ini untuk mendeskripsikan bentuk pertunjukan tari bedhaya tunggal jiwa dalam upacara tradisi grebeg besar di demak. memberikan gambaran tentang kehidupan masyarakat demak terkait dengan tari bedhaya tunggal jiwa dan grebeg besar. me ngungkapkan peranan tari bedhaya tunggal jiwa dalam masyarakat demak. menganalisis makna simbolik tari bedhaya tunggal dividually or in group. the symbolic meaning is contained in motion, floor pattern, costume, dance accompaniment, and properties that appropriate with the socio-cultural condition in demak regency. the symbolic elements showed in the equipment that is used in the ceremonial series, the dancer actions, directions and number, integrity and social. the whole show vertical and horizontal relation activities of human being. kata kunci: bedhaya tunggal jiwa; grebeg besar; makna simbolik harmonia, volume 13, no. 2 / desember 2013122 jiwa dalam upacara tradisi grebeg besar di demak. hasil tulisan ini diharapkan dapat memperkaya penelitian seni pertunjukan, khususnya seni tari. sebagai sumbangan pemikiran dan masukan untuk memberi pemahaman terhadap unsur-unsur yang terkait dengan keberadaan tari bedhaya tunggal jiwa pada upacara tradisi grebeg besar di kabupaten demak. adapun pembahasan dari beberapa buku, skripsi, tesis dan jurnal yang membahas tentang bedhaya tunggal jiwa dan grebeg besar tetapi tidak ditemukan pembahasan yang serupa dengan pembahasan yang akan dibahas oleh penulis. penelitian yang mengkaji tari bedhaya tunggal jiwa yang berjudul “analisis koreografi tari bedhaya tunggal jiwa di kabupaten demak” yang ditulis oleh lestari pada tahun 2004 di universitas negeri yogyakarta. penelitian tersebut tidak membahas lebih jauh tentang keberadaan tari bedhaya tunggal jiwa, serta tidak menghubungkannya dengan tradisi grebeg besar di demak dan lebih cenderung kepada pemaparan deskriptif karya tari. artikel dalam jurnal yang ditulis oleh siti munawarah berjudul ”the meaning of an islamic holiday festival: a study on the grebeg besar in demak” tahun 2001. artikel ini diperoleh tentang adanya hubungan erat antara perayaan grebeg dan kraton di mana perayaan biasanya berfungsi sebagai sumber legitimasi kerajaan seperti grebeg maulud yogyakarta. pada kasus grebeg besar di demak, pertunjukan ritual ini tidak dimaknai sebagai legitimasi dari pemerintah yang berkuasa tetapi dimaknai sebagai pelestarian tradisi budaya yang telah ada sejak sultan fatah, raja pertama demak. bagian yang dapat diambil menjadi data adalah mengenai pembahasan tentang grebeg dan sejarahnya sampai pada makna grebeg besar di kabupaten demak. selain itu perlu untuk diketahui mengapa grebeg di bulan besar, karena pada saat itu penyerangan besar-besaran pasukan kadipaten bintoro mengalahkan pasukan girindrawardhana dilaksanakan pada tanggal 10 besar (dzulhijjah) dan untuk memperingati kemenangan pasukan demak, sultan fattah memerintahkan setiap tanggal 10 besar diadakan peringatan grebeg besar. penelitian ini menggunakan teori choreology yaitu cara untuk mengenali tari dan budaya termasuk kedudukan individu dalam budaya, gender, bentuk organisasi sosial, dan aktivitas ekonomi. ia dapat diidentifikasi dengan gaya setempat dan pemisahan gaya pada ruang keluasaan yang sangat besar. teori ini juga diperkuat sejalan dengan pendapat putra (2000) yang mengatakan, bahwa dalam menganalisis seni yaitu dengan memfokuskan pada dua bentuk kajian yaitu tekstual dan kontekstual. kajian tekstual adalah kajian yang memandang fenomena kesenian (seni tari) sebagai suatu teks yang berdiri sendiri. kajian kontekstual merupakan suatu kajian yang menempatkan fenomena itu dalam konteks yang lebih luas yaitu konteks sosial budaya masyarakat di mana fenomena itu muncul dan hidup (putra, 2000: 400). dalam menganalisis makna simbolik aktivitas ritual, digunakan teori penafsiran yang dikemukakan victor turner yaitu: 1). exegetical meaning yaitu makna yang diperoleh dari informan warga setempat tentang perilaku ritual yang diamati. hal ini, perlu dibedakan antara informasi yang diberikan oleh informan awam dan pakar. seorang peneliti juga harus tahu pasti apakah penjelasan yang diberikan informan itu benar-benar representatif dan atau hanya penjelasan dari pandangan pribadi yang unik; 2). operational meaning yaitu makna yang diperoleh tidak terbatas pada perkataan informan, melainkan dari tindakan yang dilakukan dalam ritual. pengamatan seharusnya tidak hanya mempertimbangkan simbol tetapi sampai pada interpretasi struktur dan susunan masyarakat yang menjalankan ritual; 3) positional meaning yaitu makna yang diperoleh melalui interpretasi terhadap simbol dalam hubungannya dengan simbol lain secara totalitas. sestri indah pebrianti, makna simbolik tari bedhaya tunggal jiwa dalam rangkaian ... 123 metode jenis penelitian ini tergolong ke dalam penelitian kualitatif dengan menggunakan metode penulisan secara deskriptif analitis dan menggunakan pendekatan etnokoreologis. penelitian kualitatif adalah penelitian yang bermaksud untuk memahami tentang apa yang dialami oleh subyek penelitian, seperti perilaku, persepsi, motivasi, tindakan, dan lain-lain, secara holistik dan dengan cara deskripsi dalam bentuk kata-kata dan bahasa dalam suatu konteks yang alamiah (moleong, 2005: 6). metode deskriptif analitis merupakan metode yang digunakan dalam penelitian ini, mengingat objek yang diteliti adalah suatu bentuk tari tradisi yang masih dilestarikan di kehidupan masyarakatnya. etnokoreologi dipergunakan untuk mengkaji dari sudut pandang kontekstual yang di dalamnya mengandung pendekatan multidisiplin seperti antropologi dan sejarah. untuk mengkaji dari sudut pandang tekstual, maka dipergunakan semiotik pertunjukan. hasil dan pembahasan bedhaya tunggal jiwa merupakan tari bedhaya yang ada di demak dan digunakan masyarakatnya dengan berbagai macam konteks, baik sebagai tarian hiburan para pejabat dan masyarakat maupun untuk keperluan tradisi upacara ritual grebeg besar. tari ini disajikan tidak utuh dalam konteks pertunjukan tari yang menyajikan berbagai macam jenis tarian, namun penyajiannya selalu hadir berbentuk gabungan, seperti pengiring bupati dan tarian untuk hiburan pejabat, tamu undangan dan masyarakat yang hadir. mengenai penamaan bedhaya tunggal jiwa sendiri, merupakan nama pemberian dari bupati demak h. soekarlan sejak tahun 1990. nama bedhaya dipakai untuk menyebut tarian kelompok yang dilakukan oleh sembilan penari wanita dengan gerak, rias dan busana yang sama seperti bedhaya yang ada di surakarta dan yogyakarta. tunggal jiwa disesuaikan dengan makna yang terkandung di dalamnya yakni berisi tentang ajaran-ajaran agama yang disebarkan oleh wali, yang mana manusia sebagai mahluk ciptaan tuhan suatu saat pasti akan kembali pada yang mencipta, untuk itu manusia harus selalu menyatukan jiwa dengan tuhan agar selalu dekat dengan-nya. selain itu ada pengertian lain tunggal jiwa yang berarti ‘bersatunya antara pejabat dengan rakyatnya’. yang dimaksud bersatunya antara pejabat dengan rakyat yaitu tarian yang dilakukan oleh sembilan penari ini dapat dinikmati seluruh masyarakat demak, tamu undangan, pejabat dihadapan bupati pada upacara tradisi grebeg besar. analisis tekstual tari bedhaya tunggal jiwa gerak tari bedhaya tunggal jiwa dalam tari tradisi tampak adanya pedoman atau aturan yang diikuti. pedoman atau aturan tersebut meliputi garap medium (bentuk abstrak) maupun isi, seperti aturan dasar bentuk-bentuk tertentu yang merupakan vokabuler atau perbendaharaan garap medium, aturan susunan wujud sasaran, dan wujud isi (humardani, 1972: 7). teknik garapan medium tari tradisi menggunakan kesatuan-kesatuan yang dapat disebut sebagai vokabuler. vokabuler dalam susunan tari tradisi (jawa) biasanya terdiri dari kumpulan gerak yang disebut sekaran. vokabuler gerak ini dapat berbentuk sikap (posisi) maupun motif (rangkaian dari sikap gerak satu ke sikap gerak yang lain). dilihat dari fungsinya di dalam tata gerak tari, vokabuler dapat berstatus sebagai: rangkaian gerak pokok, sebagai gerak penghubung, sebagai gerak pembuka dan sebagai gerak penutup. gerak tari bedhaya tunggal jiwa sebagai seni tradisi nampaknya juga menggunakan kesatuan-kesatuan vokabuler. kesatuan-kesatuan gerak secara garis besar, dilihat dari fungsi dalam tata gerak tari dapat dilihat sebagai berikut. rangkaian gerak pokok adalah suatu satuan gerak yang panjang, yang mengandung suatu representasi makna tertentu. pada tari bedhaya tunggal jiwa, rangkaian harmonia, volume 13, no. 2 / desember 2013124 tubuh penari sebagai instrumen ekspresi dipahami sebagai totalitas dan tidak dapat dipisahkan dalam bagian-bagiannya. jadi, begitu kecil atau singkat suatu pola gerak tertentu sebagai motif, maka seluruh elemen tubuh harus di tetapkan melalui sikap dan gerak. penjelasan analisis unsur sikap dan gerak diatas mengantar kajian tari bedhaya tunggal jiwa ini ke struktur tari berkaitan dengan ragam gerak tari bedhaya tunggal jiwa. sistem-sistem yang berkaitan dengan unsur gerak dan sikap sangat erat kaitannya dalam menghadirkan suatu motif gerak yang satu dengan yang lain (alinear), sehingga dapat menghasilkan tata hubungan gerak dan sikap saling tumpang tindih dan silih berganti. contoh gerakan “kedua tangan mlumah, tangan kanan kesamping, tangan kiri ke atas”. gerakan ini belum dapat dimengerti karena belum dikombinaskan dengan bagian tubuh yang lain seperti badan, kaki, sikap pandang dan lain-lain. pengorganisasian gerak suatu bentuk penyajian tari tradisi biasanya akan terdiri atas beberapa rangkaian ragam gerak yang saling berkesinambungan alurnya. rangkain ragam gerak tersebut adalah maju beksan, beksan dan mundur beksan. bentuk penyajian tersebut berlaku untuk tari bedhaya tunggal jiwa. maju beksan adalah awal tarian yang dimulai dari prosesi penari masuk menuju ke gawang pokok. beksan merupakan tarian pokok yang dilakukan pada gawang pokok (tempat pusat menari), dan mundur beksan sebagai akhir dari sebuah tarian yang dilakukan penari dari gawang pokok menuju gawang awal. maju beksan di dalam tari bedhaya tunggal jiwa dimulai dari samping kanan rumah pendhopo kabupaten demak kemudian belok ke kiri menuju sokoguru atau tiang penyangga pendhopo yang terdiri dari empat tiang. beksan dilakukan penari diantara empat tiang pendhopo dengan arah penari menghadap bupati. mundur beksan dilakukan penari dari menghadap bupati kemudian membuka ke samping kanan dan kiri. gerak pokok terdapat pada gerak lembehan separo, sekar suwun, laras sawit, lincak gagak, rimong sampur, perangan dan gerak bersukaria. gerak penghubung, yaitu suatu satuan gerak yang fungsinya untuk berpindah tempat atau menghubungkan gerak pokok satu dengan gerak pokok lainnya. gerak yang berfungsi untuk menghubungkan gerak satu dengan yang lain dan tanpa melakukan perpindahan tempat disebut sindhet, yaitu gerakan kudua tangan posisi panggel ngruji di depan pusar, tangan kiri ukel separo kemudian seblak sampur kanan. gerak penghubung yang berfungsi untuk berpindah tempat yaitu srisig dan kengser. bentuk gerak pembuka adalah satuan gerak yang biasa digunakan untuk mengawali rangkaian gerak pokok. pada tari bedhaya tunggal jiwa gerak tersebut, seperti: kapang-kapang, sembahan sedangkan untuk gerak penutup adalah satu satuan gerak yang digunakan untuk mengakhiri rangkaian gerak pokok. bentuk gerak ini berfungsi memperjelas berakhirnya sebuah sajian tari. pada tari bedhaya tunggal jiwa terdapat pada gerak jengkeng sembahan unsur sikap dan gerak tari bedhaya tunggal jiwa unsur sikap dan gerak merupakan suatu satuan yang terkecil dan paling sederhana dari tubuh sebagai alat ekspresi yang belum terorganisasi sehingga dapat ditandaskan bahwa unsur sikap dan gerak belum bisa dikatakan sebagai sebuah tari. sikap adalah gerak sesaat dan gerak adalah pangkal mula kejadian. hal itu menjelaskan bahwa gerak merupakan elemen pembentuk pertama dalam totalitas struktur tari (sedyawati, 1984:32). pengkajian dalam menganalisis tari, khususnya dalam analisis tari bedhaya tunggal jiwa dengan memperhatikan tubuh sebagai alat instrument, maka tubuh dapat dibagi menjadi empat bagian pokok yaitu: 1) kepala, 2) badan, 3) tangan, dan 4) kaki. masingmasing bagian pokok tersbut dapat dibagi menjadi dua, yaitu unsur sikap dan gerak yang ada pada setiap bagian tersebut. konsep-konsep dasar seni tari adalah sestri indah pebrianti, makna simbolik tari bedhaya tunggal jiwa dalam rangkaian ... 125 pengorganisasian gerak tari bedhaya tunggal jiwa merupakan suatu pengelompokan dari tataran gerak yang terkecil sampai yang terbesar yang saling berkesinambungan atau saling berkaitan. bentuk motif terdiri atas unsur sikap dan gerak sebagai tataran gerak terkecil akan terkait dengan frase sebagai tataran gerak yang lebih besar. kedudukan frase dalam tari akan terkait dengan kalimat gerak yang kemudian kalimat gerak akan terkait pada gugus gerak. serangkaian gugus gerak yang saling berkesinambungan tersebut akan menjadi suatu bentuk keseluruhan tari. tari bedhaya tunggal jiwa pola-pola geraknya banyak menggunakan pola tari tradisi dengan ragam gerak putri gaya surakarta. sifat tari bedhaya tunggal jiwa lebih menonjolkan tariannya daripada penarinya. tari bedhaya tunggal jiwa merupakan hasil ciptaan seniman, dalam mengungkapkan isi pandangan dan tanggapannya terhadap lingkungan ke dalam bentuk fisik yang dapat ditangkap de ngan indera. oleh sebab itu di dalam bentuk seni terdapat hubungan antara garapan medium dan pengalaman jiwa yang diungkapkan, atau dengan kata lain terdapat hubungan antara bentuk (wadah) dan isi. bedhaya tunggal jiwa sebagai salah satu karya seni, bentuk fisiknya diungkapkan melalui unsur gerak, suara dan rupa. pada tari bedhaya tunggal jiwa, wujud yang terlihat oleh indera penglihatan adalah tari yang ditimbulkan oleh gerak tubuh penari, merupakan salah satu unsur terkuat dan merupakan media utamanya, karena lewat gerak yang dihadirkan oleh tubuh penari akan memberikan bentuk tari bedhaya tunggal jiwa. perwujudan gerak-gerak berirama oleh penari yang dilakukan di dalam ruang itu yang kemudian disebut dengan tari. unsur yang lain, yaitu suara dan rupa bersifat sebagai penopang dalam mewujudkan bentuk fisik tari bedhaya tunggal jiwa. tari bedhaya tunggal jiwa ditarikan secara berkelompok, dilakukan oleh sembilan orang penari wanita. sajian tari kelompok lebih ditekankan pada keseragaman gerak dan keseragaman tataran untuk tinggi rendah (level) posisi tubuh penari, mulai dari posisi duduk bersila sampai posisi berdiri. pada tari kelompok ini, para penari melakukan perpindahan tempat, perpindahan arah hadap posisi badan ke kanan dan ke kiri. dengan demikian pola lantai menari berpindah tempat dan tidak tetap di tempat. karakterisasi gerak tari bedhaya tunggal jiwa mengenai karakteristik gerak, secara garis besar karakteristik gerak pada bedhaya tunggal jiwa, berpijak pada karakteristik gerak tari jawa yaitu tipe karakter putri luruh. tipe putri (penari perempuan) mempertunjukan apa yang menurut kebudayaan jawa dipandang sebagai tingkah laku keputrian yang ideal dan khas. kesan umum yang dikehendaki oleh gaya tipe putri ialah memperagakan kesan ketenangan dan kelembutan. ciri-ciri dari karakteristik gerak putri luruh ini adalah menari dengan mata memandang ke bawah, gerak-gerik lemah gemulai dan anggun. kedua tangan selalu tidak terlalu merenggang dari tubuh, lutut sering menekuk, tidak pernah mengangkat kaki apabila tidak sedang bergerak berpindah tempat, dan kaki yang terbungkus kain ketat selalu merapat satu sama lain, bahkan ketika penari itu bersila atau jengkeng. bila berjalan, penari karakter putri ini bergerak maju, mundur, atau menyamping dengan langkah-langakah kecil dan anggun, dan selalu dengan punggung benar-benar tegak. walaupun berat tubuh terkadang terayun ke samping, tetapi pinggul dan bahu tidak boleh bergerak bebas. gerak-gerik tubuh mengayun yang bisa dibenarkan dalam gaya putri ini hanyalah perubahan mendatar dengan lembut posisi dada (ogek). kepala boleh diputar ke samping dengan lembut dan biasanya dengan sedikit gerak lengkung (pacak gulu). dalam gaya putri semua gerak-gerik tubuh cenderung bersifat mengayun, baik gerak-gerik menyamping atau ke atas dan ke bawah, dengan cara bergantian melentur dan meregang lutut atau mengayun harmonia, volume 13, no. 2 / desember 2013126 berat tubuh ke suatu sisi. tari bedhaya tunggal jiwa sebagai wujud ekspresi nilai-nilai yang hidup lebih menampakkan sikap gerak halus, pelan dan terkadang cepat namun tetap dalam pengendalian merupakan ciri-ciri ungkap yang penting. sebagaimana terungkap bahwa ciri sikap masyarakat jawa adalah sopan, tahu unggah-ungguh atau tata krama, mempunyai peranan yang penting kaitannya dalam bersosialisasi dengan lingkungan atau hidup bermasyarakat. jika dilihat, karakter gerak tari bedhaya tunggal jiwa memiliki kesamaan dengan karekter gerak pada tari tradisi jawa khususnya surakarta. kemungkinan besar diakibatkan dengan adanya faktor wilayah demak dan surakarta yang masih dalam dilingkup jawa tengah. masyarakat demak bermukim di wilayah pesisir utara pulau jawa. biasanya, wilayah dipesisir cenderung lebih terbuka dalam menerima budaya dari luar daerahnya. elemen-elemen tari bedhaya tunggal jiwa gerak peneliti melihat hampir semua gerak tari bedhaya tunggal jiwa yang ditarikan oleh sekelompok penari putri, digarap dari pola-pola gerak tari gaya surakarta dengan kualitas gerak tari putri dan tidak terbatas pada pola-pola gerak yang sudah ada. walaupun pada bagian tertentu digarap dengan bentuk gerak baru yang merupakan pengembangan gerak tari putri yang sudah ada. semua garap gerak tersebut tidak lepas dari latar belakang kemampuan yang dimiliki oleh seniman penyusunnya serta mempertimbangkan kemampuan para penarinya. dalam hal ini latar belakang penyusun adalah tari gaya surakarta. meskipun garap gerak dikembangkan sedemikian rupa dengan perubahan pada berbagai unsur-unsurnya, seperti: bentuk, volume, dan tempo, akan tetapi tari bedhaya tunggal jiwa masih mempunyai ciri yang sama dengan tari bedhaya lain yaitu garapan tari dengan struktur penyajian yang terdiri dari maju beksan, beksan dan mundur beksan. notasi laban mengamati dan membaca gerak tari, peneliti menggunakan notasi laban sebagai pencatatnya. notasi laban dapat digunakan untuk mengungkapkan kembali gerak tari pada masa mendatang. ann hutchinson mengemukakan secara rinci tentang notasi laban sebagai berikut: labanotation is a complement to film as a tool for movement analysis and choreographic preservation, neither can replace the other (hutchinson, 1970:7). notasi laban adalah suatu pelengkap bagi film, yang berfungsi sebagai sarana untuk menganalisis gerak dan pengawetan koreografi, masing-masing tidak dapat saling menggantikan. sistem penulisan gerak tari bedhaya tunggal jiwa dalam upacara tradisi grebeg besar menggunakan notasi laban. penulisannya tidak mengikuti urutan gerak sesuai pertunjukan tari bedhaya tunggal jiwa, akan tetapi hanya menguraikan inti gerak saja atau bentuk gerak yang telah dipadatkan. sistem pencatatan gerak tari bedhaya tunggal jiwa dengan menggunakan notasi laban dimaksudkan agar gerak tari bedhaya tunggal jiwa dapat dibaca secara detail. notasi gerak tari bedhaya tunggal jiwa yang penulis tulis dalam notasi laban ini merupakan gerakan locomotion (berpindah tempat), gerak maknawi, dan gerak murni yang dipertunjukkan dalam upacara tradisi grebeg besar di kabupaten demak. gambar 1. notasi kunci jari tangan ngruji sestri indah pebrianti, makna simbolik tari bedhaya tunggal jiwa dalam rangkaian ... 127 gambar 2. notasi kunci jari tangan nyekithing gambar 3. posisi gerak srisig gambar 4. posisi gerak laras sawit gambar 5. posisi gerak sembahan 3. pola lantai pola lantai atau bentuk garis tari bedhaya tunggal jiwa pada lantai dibentuk oleh para penari dengan cara melintasi atau bergerak dari posisi dan tempat tertentu ke posisi dan tempat yang lain di atas pentas. pada dasarnya garis-garis lintasan yang dilalui oleh penari bedhaya di atas pentas ada dua pola garis yaitu garis lurus dan garis lengkung. garis lurus dapat dilakukan ke depan, samping, belakang, dan serong sesuai dengan tempat pentas atau ruang tari. garis lengkung dapat dilakukan ke depan, belakang, ke samping maupun serong serta lingkaran. hal ini tampak pada garapan tari tradisi jawa yaitu bedhaya pada umumnya dan khususnya pada tari bedhaya tunggal jiwa yang banyak menggunakan pola garis lurus. susunan tari bedhaya tunggal jiwa menggunakan pola-pola perubahan tempat yang dibentuk oleh kesembilan orang penari putri. perpindahan dari satu ke tempat lain dan membentuk formasi tertentu dinamakan dengan pola lantai atau gawang. pola lantai atau formasi yang digunakan pada beksan dalam bedhaya tungharmonia, volume 13, no. 2 / desember 2013128 gal jiwa menggunakan pola lantai atau gawang: sejajar dengan satu di depan, montor mabur, zig-zag dengan hadap berbeda, urut kacang dan posisi zig-zag sebagai pola lantai penutup. kostum dan tata rias kostum dan tata rias pada tari tradisi jawa pada umumnya merupakan salah satu unsur yang penting dalam penyajian tari. hal itu disebabkan selain mendukung karakter tokoh yang disajikan, rias dan busana juga berdampak pada nilai estetis pertunjukan. kostum diartikan sebagai pakaian, pada dasarnya pakaian mempunyai tiga fungsi yaitu untuk kenyamanan, untuk kesopanan, dan untuk pertunjukan (morris, 1977:213). dengan demikian, kostum yang dipergunakan pada tari bedhaya tunggal jiwa dalam upacara tradisi grebeg besar adalah berfungsi untuk pertunjukan. tata busana yang digunakan pada bagian kepala para penari bedhaya tunggal jiwa dihiasi oleh gelung kadal menek. gelung tersebut merupakan suatu bentuk sanggul atau tata rambut yang menggunakan bando atau jongkat sisir lengkung dengan menggunakan cemoro ronce yang berbentuk lilitan melingkar dari atas ke bawah kepala belakang sampai bagian atas kepala. setiap penari menggunakan hiasan bunga melati, penetep, cundhuk mentul dan jambul yang terbuat dari bulu warna merah dan putih. leher mengenakan kalung dan masing-masing telinga para penari dihiasi sepasang suweng. adapun wajah menggunakan rias korektif (mempertegas garis wajah dengan pensil alis, rias bayangan mata, dan pemarah pipi). iringan tari sebuah tarian tidak akan lepas dari iringannya. keterkaitan antara tari dan iringan merupakan ciri khas dari tari tradisional di jawa. berdasarkan sumber iringannya, tari bedhaya tunggal jiwa termasuk sumber eksternal karena musik iringan tari bedhaya tunggal jiwa dilakukan oleh orang lain dan bukan oleh penari itu sendiri. bentuk gendhing yang dipakai dalam tari bedhaya tunggal jiwa adalah pathetan 5 mijil, ketawang agung pelog 6, ketawang ilir-ilir pelog pathet 6, dan pathetan 6 pucung wuyung. untuk pathetan mijil dan pucung wuyung beberapa instrumen yang digunakan yaitu gender, rebab, dan gambang yang digunakan untuk kapang-kapang masuknya penari mengiringi sang bupati, sedangkan cakepan (syair lagu) untuk menggambarkan keagungan para bidadari yang cantik. digunakan gendhing ketawang agung dengan tembang salisir yakni untuk memberikan suasana agung dan khidmat dalam pementasan tari bedhaya tunggal jiwa yang disajikan dalam upacara tradisi grebeg besar di demak, sedangkan gendhing ilir-ilir digunakan karena dalam syair tembang ilir-ilir terkandung nilai ajaran islam. masyarakat demak meyakini bahwa tembang ilir-ilir diciptakan oleh sunan kalijaga pada saat menyebarkan agama islam di daerah demak. dengan demikian tembang ilir-ilir yang digarap dalam bentuk gendhing ketawang dapat memberikan suasana keislaman yang agung. tempat pementasan tari bedhaya tunggal jiwa dipentaskan di pendhopo kabupaten demak. pendhopo demak merupakan bangunan yang luas dan terbuka, tanpa ada batas atau sekat. adapun ruang penyajian tari bedhaya tunggal jiwa dibatasi oleh empat saka atau tiang pendhopo, yakni untuk membatasi antara tempat untuk menari dengan tempat-tempat yang lain. ruang pendhopo tersebut juga digunakan untuk tempat gamelan, tempat duduk tamu undangan, dan tempat duduk bupati demak beserta staf, yang dijadikan arah hadap penari. properti elemen penting dari suatu tari adalah properti, yaitu kelengkapan tari yang dimainkan dalam tari sehingga menjadi bagian dari gerak. properti yang dipergunakan pada tari bedhaya tunggal jiwa dalam upacara tradisi grebeg besar di demak adalah tasbih berwarna hitam dengan panjang 70 cm yang dibawa oleh masing-masing penari. tasbih berfungsi sebagai penunjang sestri indah pebrianti, makna simbolik tari bedhaya tunggal jiwa dalam rangkaian ... 129 estetis gerak selain selendang (sampur). bedhaya tunggal jiwa sebagai bagian dari upacara tradisi grebeg besar demak merupakan representasi yang ada bahwa rangkaian gerak, pola lantai, kostum, iringan tari, properti yang ditampilkan sederhana disesuaikan dengan ajaran para wali yang sederhana dan mudah dilakukan. sebagai pembentuk identitas budaya masyarakat demak dan juga kreatifitas yang dihasilkan merupakan sebagai sumbangan kepada keseluruhan sistem sosial. oleh karena itulah apabila bedhaya tunggal jiwa disajikan dalam upacara grebeg besar, maka tari disini telah berperan sebagai sebuah wadah yang menyebabkan tari itu berfungsi dalam prosesi upacara tersebut. hubungan keduanya menciptakan suatu keselarasan antara peranan tari yang melancarkan upacara. tari di sini berperan sebagai sarana upacara cenderung terkait dengan ritual yang dilaksanakan. tujuan dihadirkannya bedhaya tunggal jiwa dalam upacara grebeg besar pada dasarnya adalah sesuai dengan tradisi yang ada bahwa keluarnya bupati dari ndalem menuju pendhapa untuk melakukan prosesi penyerahan minyak jamas tidak akan dilaksanakan tanpa adanya 9 penari bedhaya tunggal jiwa. pertunjukan tari bedhaya tunggal jiwa dimaknai sebagai ajaran hidup yang berisi tentang kebersamaan, kekompakan, dan kedisiplinan untuk mencapai suatu tujuan hidup yang bermanfaat baik secara individu ataupun secara berkelompok. kebersamaan pada tari bedhaya tunggal jiwa ditunjukan dengan gerak yang dilakukan bersama-sama, dan kostum tari yang dikenakan sama. posisi penari satu berada di depan dinamakan pemimpin dan jumlah delapan penari yang ada dibelakang disebut yang dipimpin. penari di depan dan belakang tidak ada pembedaan untuk gerak. hal tersebut menyiratkan makna antara pemimpin dan yang dipimpin merupakan kebersamaan bupati dan masyarakat. bersama-sama untuk mencari alternatif penyelesaian masalah dengan cara koordinasi dan konsolidasi antara pemerintah dengan masyarakat. ini bisa menjadi lebih baik dan membawa kemajuan kota wali. kekompakan seperti tolehan kepala, penthangan tangan, seblak sampur, perpindahan pola lantai satu ke pola lantai berikutnya dilakukan secara bersama-sama bahwa dalam sebuah kepemipinan antara pejabat dan pegawai harus kompak. menciptakan satu suara dan satu tujuan untuk bersama-sama mengembangkan kabupaten demak. sejiwa dalam memperjuangkan keindahan hidup yang bermanfaat dunia dan akhirat. seluruh pertunjukan tari akan menjadi sempurna jika para penari harus disiplin dalam melakukan gerak dan selaras dengan irama gendhing karawitan tari. dengan disiplin yang tinggi dapat meningkatkan iman dan taqwa kepada allah swt. tari bedhaya tunggal jiwa dalam konteks upacara grebeg besar merupakan suatu bentuk aktivitas ritual masyarakat di demak yang berfungsi sebagai media penyampaian pesan yang agung ditransformasikan secara simbolik yang melibatkan kesenian. makna tari bedhaya tunggal jiwa adalah konsepsi manunggal antara pejabat pemerintah dengan warga masyarakatnya dalam usaha bersama membangun daerahnya untuk mewujudkan cita-cita warga masyarakat, yaitu mencapai masyarakat yang adil dan makmur, serta menjadi salah satu alternatif yang dapat dijadikan sebagai tuntunan serta pandangan hidup dalam masyarakat. sebuah kalimat yang sering diucapkan oleh masyarakat yaitu tontonan adalah tuntunan. dari ungkapan tersebut mengandung pengertian bahwa suatu pertunjukan bagaimanapun bentuknya hendaknya dapat menghibur sekaligus dapat menjadi suri tauladan atau tuntunan bagi penikmat. turner melihat bahwa upacara yang berperan untuk membuat individu dapat menjadi cocok dengan masyarakat dan membuatnya dapat menerima aturanaturan yang berlaku serta disepakati oleh masyarakatnya. seperti halnya upacara grebeg besar dan tari bedhaya tunggal jiwa yang selalu dibanggakan oleh masyarakat demak. para penganut islam yang menharmonia, volume 13, no. 2 / desember 2013130 gakui tradisi, jalannya upacara ini dianggap penting, karena dengan mengikuti serangkaian upacara grebeg besar ini, maka seseorang dapat mengikuti suri tauladan yang telah diwariskan oleh sunan kalijaga. selain itu tersirat upaya-upaya dakwah agar dalam menjalankan kehidupan umat islam dapat kembali ke fitrahnya dengan meningkatkan iman dan taqwa kepada allah swt. semua itu sudah menjadi kesepakatan bagi masyarakat demak dalam pelaksanaan upacara grebeg besar. simpulan keberadaan tari bedhaya tunggal jiwa dalam upacara tradisi grebeg besar di demak tidak bisa dipisahkan karena tanpa adanya sajian tari bedhaya tunggal jiwa, prosesi acara grebeg besar terutama yang dilaksanakan di pendhapa tidak dapat diadakan. hal ini menunjukkan bahwa bedhaya tunggal jiwa memiliki makna simbolik bagi masyarakat di kabupaten demak. perwujudan unsur-unsur simbolik tersebut diimplementasikan pada peralatan yang digunakan dalam rangkaian upacara, tindakan yang dilakukan penari, arah dan angka, integritas dan sosial kemasyarakatan. pertunjukan bedhaya tunggal jiwa dalam upacara grebeg besar tidak terlepas dari unsur-unsur simbolik. hal ini dikarenakan bentuk pertunjukan bedhaya tunggal jiwa tidak terlepas dari tahapan yang secara keseluruhan terdiri dari persiapan, pelaksanaan dan penutupan. tahapan persiapan upacara meliputi pihak penyelenggara, penari bedhaya tunggal jiwa, pemain musik, prajurit, lurah tamtama, tempat dan waktu pelaksanaan. tahapan pelaksanaan upacara adalah tahapan pokok penggunaan bedhaya tunggal jiwa yaitu pengiring keluarnya bupati dari ndalem menuju pendhapa sampai pada mengiringi pelaksanaan prosesi penyerahan minyak jamas yang nantinya akan dilakukan penjamasan pusaka sunan kalijaga berupa keris kyai cubruk dan kotang ontokusuma. hal ini sesuai dengan tata cara pelaksanaan rangkaian upacara grebeg besar yang telah di tetapkan dari tahun ke tahun. sajian tari bedhaya tunggal jiwa sebagai bagian dari upacara ritual, pemaknaannya tidak sekedar untuk tujuan estetis yang dinikmati sebagai seni pertunjukan. bedhaya tunggal jiwa merupakan simbol hubungan antara masyarakat dengan bupati (mikrokosmos) guna mencapai suatu keadaan yang tata tentrem karta raharja. hubungan dengan tuhan sebagai tanda syukur (makrokosmos). oleh karenanya segala yang terlihat dari bentuk tari bedhaya tunggal jiwa baik gerak, pola lantai, iringan, dan properti mempunyai makna sebagai gambaran menyatunya pejabat dengan rakyat dalam satu tempat untuk menyaksikan tari bedhaya tunggal jiwa sehingga tampak sebuah kekompakan, kedisiplinan dan kebersamaan langkah untuk menggapai citacita. penyelaras kehidupan sosial masyarakat demak dalam hubungan antar individu, lingkungan dan kepercayaan kepada warisan turun temurun. daftar pustaka putra, h. s. a. 2000. “wacana seni dalam antropologi budaya: tekstual kontekstual dan post modernitas” dalam ketika orang jawa nyeni. yogyakarta: galang press. dinas pariwisata dan kebudayaan demak. 2006. grebeg besar demak. demak: pemerintah kabupaten demak. hauser, a. 1982, the sosiology of art. terj. kenneth j. northcott, chicago dan london: the university of chicago press. hadi, y. s. 2007. kajian teks dan konteks. yogyakarta: pustaka book publisher. humardani, s. d. 1972. “masalah-masalah dasar pengembangan seni tradisi”. surakarta: laporan proyek puat kesenian jawa tengah. hutchinson, a. 1970, labanotation or kinetography laban, new york: a theater art book, revised third edition 7. lestari, i. 2004. analisis koreografi tari bedhaya tunggal jiwa di kabupaten desestri indah pebrianti, makna simbolik tari bedhaya tunggal jiwa dalam rangkaian ... 131 mak. skripsi: universitas negeri yogyakarta, morris, d. 1977. manwatching, a field guide to human behavior. new york: harry n. abrams, inc. moleong, l. j. 2005. metodologi penelitian kulaitatif, bandung: pt. remaja rosdakarya. munawarah, s. 2001. the meaning of an islamic holiday festival: a study on the grebeg besar in demak. prabowo, w. s. ed. 2007. jejak langkah tari di pura mangkunegaran. surakarta: isi press. sedyawati, e. 1984. tari tinjauan dari berbagai segi, jakarta: pustaka jaya. turner, v. 1967. the forest of symbols; asfect of ndembu ritual, london: cornell university press. __________________. 1990. the ritual process: stucture and anti-structure, chicago: aldine. yogyakarta: kanisius. 173 deskripsi kualitatif sebagai satu metode dalam penelitian pertunjukan subandi institut seni indonesia surakarta, jl. ki hadjar dewantara no.19 surakarta e-mail: subandi_isi @ ymail.com abstrak seni pertunjukan merupakan salah satu manivest dari kebudayaan yang awal mulanya dikenal sebagai seni tontonan. seni pertunjukan mulai menjadi perhatian setelah meningkatnya kebutuhan masyarakat dan anggautanya untuk merefleksikan dirinya dalam berbagai medium. diperlukan penelitian yang seksama dari berbagai disiplin ilmu sosial terutama sosiologi seni untuk memperkuat landasan teori yang akan dibangun. deskripsi sebagai sebuah model penelitian kualitatif dengan pendekatan sosiologi seni merupakan salah model analisis yang memadai. seni pertunjukan merupakan proses dan produk kreatifitas pencipatan seniman berkaitan erat dengan masyarakat pendukungnya. seni pertunjukan rentan dalam ruang, waktu dan alat, sehingga kecermatan peneliti sebagai instrumen penelitian menjadi kunci untuk mengambil kesimpulan yang tepat. qualitative description as one method in performing arts study abstract performing arts is one manifestation of culture that was once known as a showbiz. performing arts began to attract people’s interest since people and their members found the need for reflecting themselves in many kinds of medium. it is necessary to have a thorough study from various social sciences especially art sociology to bolster theoretical foundation. description as a qualitative research model by means of art sociology approach is an appropriate analysis model. performing arts is a process and a creative product of the artist in accordance with their supporting community. performing arts is susceptible to space, time, and tools so that a researcher’s accuracy as a research instrument becomes the key to make a correct decision. kata kunci: pertunjukan musik, organ tunggal, dangdut, persepsi pendahuluan dalam penelitian sosial terutama sosiologi seni mengenal dua bentuk penelitian, yaitu penelitian kuantitatif dan penelitian kualitatif. penelitian kuantitatif berkaitan dengan data yang dapat diukur secara kuantitatif, menggunakan simbol angka-angka, sementara penelitian kualitatif memerlukan data berupa informasi secara deskriptif. jenis penelitian kuantitatip seperti misalnya eksploratip, deskriptif statistik, eksplanatoris, survei, ekspreimen, komparatif, dan korelasional. dalam penelitian kualitatif, karakteristik utama berasal dari latar belakang alami/ kenyataan di masyarakat, menggunakan metode kualitatif dengan langkah pengamatan, wawancara, dan penelaahan dokumen. teori dibangun berdasarkan data. penyajian dan analisis data pada penelitian kualitatif dilakukan secara naratif. jenis penelitian kualitatip seperti misalnya deskriptif, studi kasus, fenomenologis, dan historis. di dalam meneliti seni pertunjuharmonia, volume 11, no.2 / desember 2011174 kan diperlukan keterlibatan peneliti sejak awal dimulainya perencanakan. seni pertunjukan memiliki memiliki sifat rentan dalam ruang waktu sehingga diperlukan berbagai alat bantu. terdapat tiga aspek dalam seni pertunjukan yang selalu terkait yaitu masyarakat, seniman dan karya seni. penelitian dapat dipusatkan pada salah satu, dua atau ketiga aspek. macam seni pertunjukan sedemikian luas seperti misalnya karawitan, pedalangan, tari, drama dan teater. jenis seni pertunjukan juga demikian luas seperti kesenian rakyat, seni pop, seni klasik, seni massa, seni avand gard. pada penelitian diperlukan persiapan yang matang untuk memasuki dunia penelitian seni pertunjukan sesuai dengan bidang keahliannya. deskripsi tidak bermaksud mencari kebenaran fakta, akan tetapi mencandra atau melukiskan kembali semua kejadian dengan teliti. peneliti menjadi bagian utama instrumen penelitian. dalam penelitian seni pertunjukan tidak harus ada sebuah hipotesa oleh karena tidak ingin membuktikan sesuatu. keterlatihan peneliti untuk mengambil data, merumuskan masalah menganalisis masalah, dan mengambil kesimpulan menjadi faktor utama keberhasilan penelitian. permasalahannya adalah bagaimana langkah kerja penelitian deskriptif kualitatip untuk memperoleh pengetahuan dengan melakukan peneltian seni pertunjukan? penelitian merupakan bagian penting untuk memperoleh kebenaran ilmu. pengetahuan yang dicapai melalui metode yang tepat akan menghasilkan kebenaran ilmiah. merunut kebelakang tentang asal usul seni, sesungguhnya kesenian pada awal mulanya adalah bagian dari aktivitas sosial dalam rangka hubungan antara manusia dengan lingkungan kosmosnya. pada awal mulanya tidak ada satu bentuk kesenianpun yang berdiri sendiri. seni dapat berasal dari ritus sosial, ritus religi atau medium produksi komunikasi antar manusia. walaupun dapat ditonton, kesenian bukanlah pertunjukan dalam arti yang sebenarnya. dilihat dari aspek sosio antropologis, kesenian adalah bagian dari tekstur budaya yang memanifestasikan simbol-simbol falsafah, agama, adat, moral, pandangan atau cara hidup, cara bertahan, yang mengisyaratkan kodekode ciri kepribadian tertentu bagi suatu masyarakat tertentu. kesenian berada dalam konteks hakekat perjuangan hidup dan keberadaan manusia. seni dalam content simbolik kehidupan belum dimaknai sebagai primarius value. keberadaannya menjadi bagian dari sistem budaya secara umum. esensi ritus-ritus sosial dan religi itulah yang kemudian secara evolusioner berkembang menjadi seni termasuk seni pertunjukan (suka hardjana, 2000:27). seni sebagai istilah untuk menerjemahkan kata dalam bahasa inggris art. art sendiri untuk menerjemahkan dari kata latin ars, artis (keterampilan), menunjukkan perbuatan apapun yang dilakukan dengan sengaja dan maksud tertentu yang mengacu pada apa yang indah (l. bagus, 1996: 987). seni sebagai kata berasal dari bahasa melayu yang dapat berarti halus, tipis, kecil dan lembut (kbbi, 2001 : 1038). kata seni telah mengalami perkembangan, seni disamping sebagai istilah juga memiliki pengertian yang lain. seni di samping untuk menunjuk sesuatu sebagai kata benda juga sebagai sebutan kata kerja. pengertian seni sebagai kata kerja berarti keahlian membuat karya yang bermutu dilihat dari segi segi kehalusan/ keindahan. kedua (kata benda) seni merupakan karya yang diciptakan dengan keahlian yang luar biasa seperti tari, lukisan, susastra (kbbi, 2001 : 1037). manusia yang menciptakan karya seni dinamakan seniman. jadi seniman adalah orang yang mempunyai bakat seni dan berhasil menciptakan dan menggelarkan karya seni (pelukis, penari, penyair, penyanyi, pengrawit, dalang). seniman memiliki kesanggupan akal untuk menciptakan sesuatu yang luar biasa yang bernilai tinggi. seniman yang luar biasa sering disebut genius dan jika berlaku pada suatu daerah tertentu disebut lokal jenius (kbbi, 2001:1038). sebutan tentang seni the liang gie (1976), mengelompokkan menjadi 4 kategori yakni (1) seni sebagai kemampuan. subandi, deskripsi kualitatif sebagai satu metode 175 seni merupakan kemampuan dari manusia untuk menciptakan sesuatu yang indah, (2) seni sebagai kegiatan manusia, (3) seni sebagai suatu ketrampilan (skill) manusia untuk membuat barang-barang yang menarik, menyenangkan dan barang-barang kerajinan, (4) seni indah/ fain art. seni merupakan penciptaan hal-hal yang indah. sebutan seni mengandung beberapa pengertian, (1) kreasi manusia yang memiliki mutu atau nilai keindahan, (2) keterampilan yang dicapai dalam pengalaman yang memungkinkan kemampuan untuk menyusun, menggunakan secara sistematis dan intensional sarana-sarana fisik agar memperoleh hasil yang diinginkan menurut prinsip-prinsip estetis, baik ditangkap secara intuitif atau kognitif, (3) suatu bentuk kesadaran sosial dan kegiatan insani yang merefleksikan realitas dalam gambar-gambar artistik dan merupakan cara yang amat penting dalam menyelami dan memotret dunia, (4) pekerjaan, suatu pencaharian yang menjadi sumber ilham bagi kreasi artistik dan merupakan sumber dari proses awal membentuk rasa dan kebutuhan estetis manusia, (5) daya untuk melaksanakan tindakan-tindakan tertentu yang dibimbing oleh pengetahuan khusus dan istimewa dan dijalankan dengan keterampilan. seni merupakan kemampuan istimewa untuk melakukan atau menghasilkan sesuatu menurut prinsip-prinsip estetis (lorenz bagus, 1996:988). seni pertunjukan di indonesia dalam arti yang sebenarnya baru ada sekitar satu setengah abab yang lalu. seni semula sebagai fenomena sosial, sebagai alat dan ekspresi untuk mendidik kepekaan sosial terhadap peristiwa tertentu. seni pertunjukan sebagai perkembangan dari kebutuhan manusia untuk mencukupi kebutuhan tertentu terutama hiburan, ekonomi dan penyegaran rohani. berbagai bentuk seni pertujukan seperti sandiwara dardanela, opera van java, ketoprak, wayang orang baru sebagai petunjukan sekitar tahuan seribu sembilan ratusan. seni tradisi yang juga sering dikenal seni klasik semula diciptkanuntukk kepentingan ritual keraton, meskipun ditonton oleh para sentana, kerabat keraton bahkan ditonton pembesar belanda. wayang orang di yogyakarta adalah semula sebagai tari ritual untuk peringatan jumenengan raja sehingga juga bersifat ritual. wayang kulit purwa dahulu juga sebagai ritual para saman untuk membasmi berbagai wabah penyakit yang menghinggapi masyarakat pada suatu daerah tertentu. tari tayub dahulu bahkan hingga sekarang masih sering digunakan untuk ritual seperti contohnya tayub janggrungan yang baru saja dipentaskan di wonosoco undaan kudus. tayub digunakan untuk upacara ritual nyiwer sawah agar terhindar dri hama tikus tahun 2010. sebelum proklamasi kemerdekaan indonesia, hampir semua seni pertunjukan adalah digunakan sebagai alat perjuangan, pengumpul masa, identitas masyarakat. sepeti contohnya tari kuntulan di pucang miliran klaten. rodat desa nganti sragen. setelah kemerdekaan indonesia seni pertunjukan masih digunakan sebagai bagian alat politik sehingga muncul lesbumi, lkn dan sejenisnya. baru setelah orde baru seni pertunjukan digunakan sebagai media pemerintah untuk menyampaikan programnya (suparno, 2009:39). seni pertunjukan sebagai disiplin pengetahuan masih memerlukan perjuangan para pakar. ilmuwan perlu untuk merenungkan kembali maknanya sehingga diperlukan penelitian yang lebih luas dan mendalam. membangun sebuah disiplin diperlukan berbagai landasan teori untuk memperkuat posisinya. seni petunjukan indonesia sangat beragam dalam wilayah yang luas dan didukung oleh masyarakat setempat, diperlukan alat yang tepat untuk dapat memahami maknanya. gejala seni pertunjukan sebagai sebuah wacana berdiri sendiri setelah munculnya taman sri wedari yang dahulu dikenal sebutan kebun raja. di tengah areal kebun raja berdiri berbagai macam hiburan yang salah satunya adalah gedung wayang orang yang secara komensial dipelopori oleh warga tionghoa keturunan jawa. di beberapa daerah kemudian muncul berbagai kesenian komersial seni sebagai pertunjukan seperti misalnya opera van java, sandiwara dardanela, harmonia, volume 11, no.2 / desember 2011176 ketoprak, wayang orang keliling, wayang kulit purwa, wayang besi berani dan berbagai pertunjukan kelilingyang lain. deskripsi dalam penelitian kualitatif penelitian tentang seni pertunjukan pada jenis penelitian yang tidak menggunakan kuantitas angka-angka statistik merupakan penelitian kualitatif. bogdan dan tailor seperti yang dikutip oleh moeleong, mendefinisikan metodologi kualitatif sebagai prosedur penelitian yang menghasilkan data deskriptif berupa kata-kata tertulis atau lisan atau dari bentuk tindakan kebijakan (moeleong, lexy j. 2002:112). dalam penelitian seni pertunjukan berusaha untuk mencandra/ mendeskripsikan kegiatan kesenian yang biasanya berupa karya seni pertunjukan, baik pedalangan, karawitan maupun tari sebagai bagian dari upaya untuk memperoleh pengetahuan. pendekatan yang digunakan adalah bersifat kualitatif yang memiliki karakteristik bersifat deskriptif. data yang yang dikumpulkan berupa pertama langsung dari sumbernya, peneliti menjadi bagian dari instrumen pokok analisisnya, kedua data berupa kata-kata dalam kalimat atau gambar yang mempunyai arti (sutopo 2006: 40). sumber data sumber data utama dalam penelitian kualitatif adalah kata-kata dan tindakan, selebihnya adalah data tambahan seperti dokumentasi foto, rekaman karawitan/ lagu dan karya tulisan lain yang sejenis. berkaitan dengan data, dapat dibagi jenis data-datanya ke dalam kata-kata dan tindakan, sumber data tertulis, foto dan statistik. sumber data yang diambil dalam penelitian antara lain seni pertunjukan wayang kulit, karawitan garap baru, tari ritual dan seni jenis lain dalam rangka kegiatan akademis. beberapa data lama jika meruapakan peneltian lanjutan sebagian telah tersimpan pada pengelolaan pandang dengar/bagian audio visual. bahan koleksinya terdiri dari: kaset audio, kaset video, piringan hitam dan pita reel, vcd. alat yang digunakan untuk mengoperasikan berupa: tape recorder, televisi, tape video, compact disk dan slide proyektor. koleksi yang dimiliki merupakan barang langka, sehingga pengguna dan atau peneliti yang menghendaki koleksi untuk didengarkan maka cukup meminta petugas untuk mencari dan memutarkannya. apabila pengguna menginginkan copy koleksi , maka pengguna dapat meminta kepada petugas untuk menggandakan koleksi yang dimaksud dengan mengganti biaya penggandaan. data ini berupa data sekunder sebagai pelengkap dari data yang diambil secara langsung oleh peneliti. teknik pengambilan data observasi observasi, adalah melakukan pengamatan terhadap obyek penelitian. observasi dapat lakukan dengan dua cara yaitu pertama observasi langsung dan observasi tidak langsung. observasi langsung peneliti mengamati obyek seperti pertunjukan wayang dalam rangka bersih desa, ritual atau hajatan penting lainya. berbagai aspek ikut menjadi obyek misalnya aspek ekonomi, aspek hiburan, aspek memperkuat status. pada saat wawancara berlangsung juga dilakukan pencatatan serta rekaman audio visual. maksud rekaman agar setelah wawancara tidak ada data yang terlewatkan. observasi tidak langsung dapat dilakukan melalui hasil rekaman pada saat penelitian maupun yang sudah direkam pada waktu yang lalu terlebih yang sudah tersimpan sebagai koleksi pustaka yang meliputi kumpulan buku dan/atau non buku. koleksi buku berupa kumpulan buku pendukung untuk memperjelas audio visual. koleksi perpustakaan diatur dan ditata secara sistematis, sehingga setiap pemustaka dapat dengan mudah mencari dan menemukan sesuai buku yang dibutuhkan. koleksi bahan pustaka non buku berupa audio visual. perpustakaan audio visual menyimpan bahan-bahan pustaka berbentuk cd, kaset, dvd, kompiuter untuk memindahkan gambar. pemanfaatan koleksi audio visual sa ngat menunjang kebutuhan peneliti untuk pelaksanaan yang praktis, karena sangat subandi, deskripsi kualitatif sebagai satu metode 177 dokumentasi dalam penelitian kualitatif peran dokumentasi sangat besar, data dari dokumentasi berguna untuk membantu menampilkan kembali beberapa data yang mungkin belum dapat diperoleh. beberapa cataan tertulis dan gambar diperlukan untuk membantu dalam mengalisis data penelitian. sebagian besar data audio visual berupa gambar harus dikelola agar bermanfaat bagi peneliti lanjutan. data yang berupa dokumensi berguna dalam mengecek kebenaran kembali agar lebih memudahkan deskripsi. validitas data untuk menjamin validitas data dalam penelitian digunakan teknik trianggulasi. trianggulasi adalah teknik pemeriksaaan keabsahan data dengan memanfaatkan sesuatu yang lain di luar data itu, untuk keperluan pengecekan atau sebagai pembanding terhadap data. dalam penelitian ini, validitas data menggunakan trianggulasi sumber yang berarti dalam penelitian ini membandingkan dan mengecek balik derajat kepercayaan suatu informasi yang diperoleh melalui waktu dan alat yang berbeda dengan jalan (1) membandingkan data hasil pe-membandingkan data hasil pe-ngamatan dengan data hasil wawancara, (2) membandingkan apa yang dikatakan orang di depan umum dengan apa yang dikatakan secara pribadi, (3) memban-membandingkan keadaan dan persepsi seseorang dengan berbagi pendapat dan pandangan, (4) instrumen penelitian intrumen penelitian adalah alat yaitu peneliti sendiri atau fasilitas yang digunakan dalam pengumpulan data agar pekerjaannya lebih mudah dan hasilnya lebih baik dalam arti lebih cermat, lengkap dan sistematis sehingga akan mudah diolah (2006:41). beberapa tahapan dalam kegiatan pengumpulan data yaitu (1) mengevaluasi koleksi data yang dimiliki yang sudah diperoleh, (2) mencatat koleksi baik yang terpakai maupun tidak terpakai jika diperlukan sebagai media pembelajaran dan sarana referensi bagi mahasiswa untuk menyelesaikan tugas perkuliahannya dengan melihat dan mendengar di perpustakaan audio visual. observasi tidak langsung dilakukan oleh peneliti untuk memeriksa data-data yang telah lama tersimpan. penambahan dan pengurangan koleksi audiao visual dapat terjadi oleh karena kerusakan dan juga kurangnya sumbangan dari mahasiswa, dosen, masyarakat. wawancara untuk lebih memperjelas pengambilan data dilakukan dengan wawancara. dalam wawancara dilkukan dengan dua cara yaitu wawancara bebas dan terprogram. wawancara bebas dilakukan terhadap beberapa informan dan nara sumber untuk memperoleh data yang sifatnya umum. pada wawancara bebas sudah dilakukan sejak peneliti memasuki lapangan. wawancara meliputi riwayat pertunjukan oleh seniman, riwayat seniman, konsep dalam berkesenian,ekspresi seni seniman. pada wawancara bebas berguna untuk menjalin keakraban dan keterbukaan sertta tujuan penelitian. wawancara terprogram dilakukan untuk menggali data yang benar-benar diperlukan dalam penelitian. untuk wawancara terprogram peneliti telah menyiapkan sejumlah daftar pertanyaan yang meliputi struktur dramatik lakon, riwayat penyaji, pendukung pertunjukan, faktor pedorong dan penghambat, lembaga penyelenggara, berbagai hambatan dan cara melakukan penyelesaian, jumlah pengunjung dan jika perlu jumlah dan asal beaya pertunjukan. wawancara juga dialakukan tehadap seniman lain sebagai pembanding obyek penelitian misalnya bambang suwarno, nyoman murtana, sri rochana, sutrisno haryono. untuk sebuah penelitian alangkah baiknya jika mempunyai beberapa orang pembantu untuk pengambilan data melalui beberapa catatan maupun rekaman audio visual sehingga peneliti terpusat pada obyek penelitian. harmonia, volume 11, no.2 / desember 2011178 perlu chek di perpustakaan tersebut ke dalam tabel penyajian data berdasarkan cheklist, dan (3) menganalisis data yang telah tercantum ke dalam tabel penyajian data untuk memperkuat kesimpulan. teknik analisis data pada saat penelitian , teknik analisis yang digunakan adalah model analisis interaktif. di dalam model ini terdapat tiga komponen yang terdiri dari reduksi data, sajian data, dan penarikan kesimpulan atau verifikasi. aktivitasnya berbentuk interaksi ketiga komponen analisis secara sistematik sebagai berikut. reduksi data (data reduction) reduksi data merupakan cara yang dilakukan peneliti dalam melakukan analisis untuk mempertegas, memperpendek, membuat fokus, membuang hal-hal yang tidak penting dan mengatur data sedemikian rupa sehingga dapat menarik kesimpulan atau memperoleh pokok temuan. proses berlangsung hingga laporan akhir selesai atau dengan kata lain bahwa data adalah proses seleksi, penafsiran, penyederhanaan dan abstraksi data kasar. sajian data (data display) supaya mendapat gambaran yang jelas tentang data keseluruhan, yang pada akhirnya akan dapat menyusun kesimpulan, maka peneliti berusaha menyusunnya ke dalam penyajian data dengan baik dan jelas agar dapat dimengerti dan dipahami. penarikan kesimpulan (conclusion drawing) dalam penelitian ini seleksi data, penarikan kesimpulan sudah dimulai dari proses awal diperolehnya data. oleh karena peneliti sebagai bagian dari instrumen penelitian, sehingga setiap data telah dicek keakuratan dan validitasnya. dengan model analisis interaktif maka peneliti dapat mengambil sebuah kesimpulan. penutup deskripsi dalam penelitian kualitatif merupakan salah satu macam penelitian yang sesuai diterapkan untuk jenis seni pertunjukan. pada penelitian kualtitatif jenis deskripsi tidak diperlukan hipotesa oleh karena tidak dimaksudkan untuk membuktikan sesuatu kebenaran. deskripsi sifatnya untuk mencandra semua peristiwa seni yang dialami oleh peneliti. instrumen utama penelitian adalah subyek peneliti sendiri. data dapat diambil dari pengamatan, wawancara, dokumentasi. informan diperoleh secara beranting untuk mencari data yang lebih mendalam dan relevan. seni pertunjukan merupakan sasaran yang rentan dalam ruang waktu dan alat maka diperlukan kerja yang cermat dan tepat pada waktu pertunjukan berlangsaung. kesimpulan dalam penelitian relatif banyak tergantung pada keahlian peneliti daftar pustaka arnold hauser. 1979. the sociology of art. trans kenneth j.northcott. chicago: the university of chicago press. bagus, l., 1996. kamus filsafat. jakarta: putra gramedia jazuli, m. 2003. dalang negara masyarakat sosiologi pedalangan. semarang : limpad moeleong, lexy. 2002. metode penelitian kualitatif. bandung: remaja rosdakarya. slamet suparno, 2009. pakeliran wayang purwa dari ritus sampai pasar. solo: isi press. soedarsono, 1999. seni pertunjukan indonesia dan pariwisata. yogyakarta: isi press. soerjono soekanto, 1994. sosiologi suatu pengantar. jakarta: cv. rajawali. suka hardjana, 2000. seni pertunjukan dan pendidikan seni. dalam gelar jurnal ilmu dan seni vol. 2 no.3 oksubandi, deskripsi kualitatif sebagai satu metode 179 tober 2000. surakarta : gelar sumardjo, j., 2002. seni pertunjukan indonesia. bandung: itb. sutopo, hb. 2006. metode penelitian kualitatif. surakarta: uns.press. team. 2001. kamus besar bahasa indonesia. jakarta: balai pustaka. the liang gie, 1976. garis garis besar estetik. filsafat keindahan. yogyakarta: karya. wadiyo, 2003. “teori dan masalah penelitian seni dalam perspektif sosiokultural”. harmonia, jurnal pengetahuan dan pemikiran seni vol. iv no. 3 september–desember fpbs unnes. semarang: sendratasik. 75 garap lakon kresna dhuta dalam pertunjukan wayang kulit purwa gaya surakarta kajian tektual simbolis sudarsono institut seni indonesia surakarta,jl. ki hadjar dewantara 19, surakarta 57126 email : s-darsono-isi @ yahoo.com abstrak klimak alur ceritera lakon wayang versi mahabarata adalah terjadinya perang besar baratayuda yang melibatkan kurawa dan pandawa. sebelum perang berlangsung, kresna menjadi duta pandawa untuk melengkapi duta yang ketiga kalinya. kresna mengendarai kereta jaladara yang ditarik empat kuda yang berwarna merah, putih, hitam dan kuning, simbol kendaraan kebesaran sebagai kendaraan wisnu. sebagai sais dipercayakan kepada setiyaki. ditengah perjalanan dihadang dewa narada, janaka, kanwa dan parasu. para dewa diperintahkan guru dewa untuk menyaksikan perundingan antara kresna dengan duryudana. setelah sampai di astina ternyata duryudana telah mempersiapkan banyak prajurit untuk berperang. dalam perundingan duryudana tidak bersedia memenuhi kewajibanya untuk mengembalikan hak bagian keluarga pandawa tanpa diperjuangkan melalui adu kekuatan. di aloon-aloon kresna telah dihadang prajurit untuk dibunuh, ternyata yang ada adalah setiyaki. terjadilah perang tanding antara burisrawa melawan setiyaki. oleh karena gelagat akan adanya pengeroyokan, setiyaki lari mencari kresna. di pendapa pasewakan terjadilah keelokan setelah duryudana menolak permintaan kresna. munculah kekuatan mantram sakti kresna yang menakutkan sehingga terjadi huru hara. melihat gelagat yang kurang baik narada menenteramkan wisnu agar segera berubah kembali menjadi kresna. sebagai duta berarti gagal, kresna segera kembali ke wiratha bersama setiyaki. kresna melaporkan bahwa astina sudah bersiap berperang melawan pandawa. kresna dhuta play in surakartan style purwa shadow pupet show textual-symbolic analysis abstract story plot climax of puppet play of mahabharata version is the great war involving baratayuda kurawas and pandawas. before the war, the pandawas krishna became ambassador to complement the third time. krishna ride jaladara fulled by four red, white, black and yellow horses vehicle , a symbol of the greatness of the vehicle as a vehicle of vishnu. the gods instructed guru dewa to witness the talks between krishna and duryudana. after reaching astina duryudana apparently many soldiers have been preparing for battle. in talks duryudana not willing to fulfill its obligations to return the part without the pandavas fought through a power struggle. in aloon-aloon and sisters, krishna had been ambushed soldiers to be killed, it turns out that there is setiyaki. duel ensued between burisrawa against setiyaki. therefore, the existence of signs beatings, setiyaki run for krishna. krishna comes the power of magic spells daunting resulting riots. seeing unfavorable vishnu narada reassuring to immediately turn back into krishna. as ambassador he felt fail, krishna soon returned to wiratha with setiyaki. krishna report that higashi was ready to fight against the pandawas. keywords : duta, kresna , wayang kulit purwa. harmonia, volume 12, no.1 / juni 201276 pendahuluan pertunjukan wayang kulit purwa yang bersumber dari ceritera mahabarata berakhir dengan perang besar baratyuda yang melibatkan dua kubu yang masih bersaudara yaitu kubu kurawa melawan kubu pandawa. perang besar bertempat di tegal kurusetra. sebelum perang besar terjadi, didahului dengan beberapa lakon sebagai pemicu di antaranya lakon “sosrowindu” yaitu lakon tentang timbulnya pandawa setelah menerima hukuman tigabelas tahun. lakon kresna duta sering dikenal dengan lakon pepucuk, merupakan awal perang, setelah dua duta sebelumnya yaitu kunti talibrata dan drupada gagal merundingkan perdamaian. lakon kresna duta oleh beberapa seniman dalang dilakukan dengan cara yang berbeda-beda. pada puncak lakon selalu terjadi huru –hara oleh karena kresna mengeluarkan kesaktianya. lakon kresna duta termasuk lakon pendek sehingga beberapa dalang sering menambah adegan untuk memperpajang lakon supaya mencapai semalam suntuk. kresna dalam lakon menjadi duta pamungkas. kresna dalam lakon, disamping sebagai duta juga sebagai simbol dari wisnu yang akan menjaga kedamaian, keharmonisan di dunia. jika dengan cara yang yang baik kedamaian dunia tidak berjalan normal, maka kurban harus ditempuh untuk menjaga kelestarian dunia. pandawa sebagai simbol keadilan, kebaikan, kebenaran harus memenangkan peperangan melawan kurawa simbol angkara murka, kejelekan dan semua bentuk kejahatan. perang dan pembunuhan harus terjadi untuk menjaga kelangsungan kehidupan dunia yang adil, damai dan lestari. simbol kresna sebagai titisan wisnu dewa pemelihara alam menyatu dengan ksatria pandawa penegak keadilan, kebenaran, dan kebaikan. secara etis pendawa menuntut hak karena telah memenuhi kewajibannya yaitu hidup terlunta-lunta di hutan dandaka selama dua belas tahun, serta telah memenuhi persembunyian selama satu tahun tanpa diketahui kurawa. kurawa kesatria harus memenuhi kewajiban yaitu mengembalikan indraprata ditambah separuh astina. pengurbanan harus terlaksana agar terpenuhinya hak setelah ditunaikan kewajiban. kresna sebagai wisnu sebenarnya dapat saja melakukan pembasmian angkara murka yang menyatu pada diri kurawa, akan tetapi secara simbolis tindakan itu tidak sesuai dengan kodrat. kodrat pasti terjadi, baik buruk, suka duka kaya miskin keadilan melawan kejailan. manusia dapat saja berusaha menolak kodrat dengan wiradat, yaitu usaha sekeras-kerasnya. jika tidak berhasil seharusnya dikembalikan kepada yang maha kuasa. banyak seniman dalang terkenal yang pernah menyajikan lakon kresna duta seperti misalnya nartasabda, anom suroto, purbo asmara dan manteb sudarsono. setiap lakon disajikan selalu menarik oleh karena lakon digarap dengan berbagai variasi. lakon kresna duta termasuk lakon yang pendek sehingga dalang yang memiliki kreatifitas yang tinggi yang dapat menjajikan dalam semalam suntuk. dalam pakeliran gaya surakarta pada lakon perang besar baratayuda jarang dijumpai peran panakawan pada adegan goro-goro. berbeda dengan kebiasaanya, manteb sudarsono dalam baratayuda tetap menampilkan goro-goro. gaya dalang popular manteb sudarsono berbeda dengan dalang yang lain. struktur alur dramatik pada lakon pada umumnya mengikuti alur linear dan kausalaitas (sunardi dalam rustopo 2012 : 58) sedang pada lakon barata yuda pada umumnya mengikuti alur erat -longgar atau kendo-kenceng. perang besar baratayuda sering dihubungkan berbagai konsep dalam kehidupan seperti misalnya keadilan melawan kejailan, kebaikan melawan keburukan, pelunasan piutang, pelunasan nadzar dan ungkapan lain yang sering terlontar melalui lakon-lakon pendahulunya. kresna duta yang digarap manteb sudarsono menarik untuk dibahas oleh karena memiliki struktur dramatik yang khas dan garap yang menukik, yang tidak dimiliki oleh garap dalang yang lain. permasalahannya adalah bagaisudarsono, garap lakon kresna dhuta dalam pertunjukan wayang kulit purwa gaya surakarta kajian tektual simbolis 77 manakah alur dramatik garap lakon kresna duta oleh ki manteb sudarsono? pertunjukan wayang kulit purwa dengan lakon kresna duta sebagai teks atau wacana selalu menarik penonton oleh karena digarap oleh seniman yang populer dengan konsep yang baru. sumber cerita lakon berasal dari karya sastra para pujangga. untuk menjadi lakon wayang diperlukan kerja kreatif para seniman dalang. ide ceritera digarap menjadi lakon. garap berarti mengolah, mengerjakan sesuatu. garap dimaknai sebagai kegiatan mengolah secara estetik, bernilai seni. garap juga sering dikenal sanggit. menurut subono dalam dunia pedalangan dikenal enam garap yaitu garap lakon, garap sabet, garap adegan, garap tokoh, garap caturdan garap ginem (subono dalam marjono 2010: 47). garap lakon berisi mengenai tokoh dalam berbagai peristiwa dalam lakon serta jalinan masing-masing peristiwa dan tokoh. melalui kerangka dasar lakon akan diperoleh gambaran garis besar keseluruhan lakon yang akan disajikan. dalam penggarapan lakon biasanya diawali oleh tema dan motif tertentu. tema adalah idea atau gagasan pokok yang menjadi gubahan ( jazuli dalam marjono, 2010:51). dalam pertunjukan wayang lakon berupa teks yaitu sebagai wacana untuk dianalisis. teks merupakan produk artinya, sesuatu yang dapat direkam, dipelajari, karena mempunyai susunan tertentu yang dapat diungkapkan dengan peristilahan yang sistematik. teks merupakan salah satu hal yang sentral dalam pengertian wacana. teks diartikan sebagai semua bentuk bahasa, bukan hanya kata-kata yang tercetak di lembar kertas, tetapi juga semua jenis ekspresi komunikasi, ucapan, musik gambar, efek suara, citra, dan sebagainya (guy cook dalam alex sobur 2001:56). dalam penelitian kualitatif teks sering diartikan sama dengan wacana( 2010:398). simbolisme tokoh wayang merupakan ilustrasi dari simbol tokoh tertentu dengan berbagai bermacam sifatnya. hubungan antara tokoh satu dengan lain yang terjalin dalam alur lakon merupakan perilaku simbolis. tokoh yang lebih muda, lebih rendah derajatnya selalu menghormati tokoh yang lebih tua. tamu seorang raja selalu mendapatkan penghormatan kusus walupun kurang disukai. simbolis dalam pengertian suatu bentuk pemahaman yang paling luas. pertunjukan wayang merupakan salah satu wujud penyampaian pesan secara simbolis. dialog antar tokoh, karakter tokoh dalam suatu peristiwa merupakan relasi simbolis. lakon kresna duta merupakan wujud penyampaian kesan, nilai dan norma seniman dalang terhadap penonton melalui sebuah pertunjukan. makna lakon menjadi tujuan utama agar memberikan kesan kejiwaan kepada penonton. seniman harus dapat memerankan dramatisasi tokoh agar menarik bagi penonton. lakon wayang yang sama selalu menarik ditonton oleh penonton karena disajikan seniman yang berbeda. seniman dalang sebagai pelaku menjadi unsur utama dalam pertunjukan lakon. dalam pertunjukan wayang terdapat simbolisme yaitu ajaran atau paham tentang simbol. sebuah lakon terutama kresna duta sarat dengan simbol dan perilaku simbolis yang diungkapkan seorang dalang. bagi seniman dalang, diperlukan konsep petunjukan yang matang sebagai kunci utama dari berbagai prinsip mempergelarkan wayang. dramatisasi merupakan prinsip penting yang harus dikuasai oleh seorang dalang. untuk mewujudkan dramatisasi wayang yang baik, dalang dituntut menguasai sistem pengadegan dan karakterisasi atau dramatisasi adegan dan dramatisasi tokoh. dramatisasi adegan adalah sistem pengadegan dalam lakon wayang yang dilakukan dalang. dalam pergelaran wayang, sistem pengadegan mengacu balungan lakon yang telah disediakan sebelum pergelaran atau telah ada dalam pikiran dalang. pada proses pergelaran wayang, sistem pengadegan dinamakan struktur dramatik lakon wayang yang menerapkan sistem pembabakan berdasarkan lakon, pathet, dan adegan. sistem pembabakan harmonia, volume 12, no.1 / juni 201278 berdasarkan lakon dapat diketahui melalui urut-urutan adegan yang dimulai dari jejer hingga tancep kayon. jika ditinjau berdasarkan pathet, maka terdapat tiga bagian, yaitu pathet nem, pathet sanga, dan pathet manyura. unit terkecil dari struktur dramatik lakon yaitu adegan, yang dapat diperinci menjadi beberapa bagian, seperti : adegan utama, adegan tambahan, dan perang yang dikatakan alton becker sebagai struktur internal dalam tiap pathet yang terdiri atas jejer, adegan, dan perang (becker, dalam rustopo 2012: 57). dramatisasi adegan yang dilakukan dalang berorientasi pada konsep nuksma dan mungguh. indikasi dari tercapainya nuksma dan mungguh dalam dramatisasi adegan adalah adanya pola keterjalinan. ada kausalitas. keterjalinan linear terjadi apabila dalang merangkai adegan-adegan satu dengan adegan berikutnya setara karena merupakan satu rangkaian persoalan. hal ini berbeda dengan keterjalinan kausalitas, yaitu pola jalinan antara adegan satu dengan adegan lainnya merupakan penyebab dari adegan berikutnya. mengenai keterjalinan adegan, dalang harus memahami sifat adegan, baik adegan linear ataupun kausalitas ( sunardi dalam rustopo, 2012: 57). secara umum, pola linear dan kausalitas memiliki pengertian serupa dengan kualitas alur dramatik, yaitu alur erat dan longgar, kendo-kenceng (sudarko, 3003: 34). alur erat atau ketat merupakan jalinan peristiwa yang sangat padu sehingga tidak dapat menghilangkan salah satu bagian karena dapat merusak bangunan lakon. ini berbeda dengan alur longgar yang memiliki jalinan setara sehingga menghilangkan salah satu atau lebih bagian alur tidak akan merusak kesatuan lakon (satoto, dalam rustopo, 2010: 58). dramatisasi antar adegan merupakan keterjalinan antara adegan satu dengan adegan berikutnya, yang dirangkai dari jejer hingga tancep kayon. dalang memperhatikan keterkaitan antar adegan dalam keseluruhan struktur dramatik sehingga membentuk kesatuan alur lakon wayang. dalam pergelaran wayang pola keterjalinan linear menunjuk hubungan antara adegan satu dengan adegan berikutnya saling berurutan, misalnya setelah jejer dilanjurkan gapuran, kemudian kedhatonan. jejer di istana, berhenti di gapura, dan memasuki puri kerajaan merupakan tempat-tempat yang dilalui sang raja selepas persidangan yang menunjuk pola linear dari adegan wayang. hal ini berbeda dengan adegan paseban jawi yang memiliki kaitan erat dengan jejer, karena ada pola sebab akibat, yaitu persoalan pada jejer ditindaklanjuti pada adegan paseban jawi. artinya, jejer menjadi penyebab dari paseban jawi, atau paseban jawi sebagai akibat dari persidangan pada jejer (sumanto, dalam murtiyoso, b. 2007: 100). keterjalinan kedua dapat diamati pada dramatisasi adegan antar pathet dalam satu lakon wayang. dramatisasi antar pathet mengacu pada keterjalinan dan proporsi adegan yang disusun dalang. pada pakeliran semalam, seluruhan alur lakon dibagi menjadi tiga pathet, yaitu nem, sanga dan manyura. pembagian alur lakon dalam tiga pathet memiliki persamaan dengan alur dramatik secara umum, yang terdiri dari bagian awal, tengah, dan akhir. jika dengan lain kata ketiga bagian itu dapat disebut introduksi , situasi (perumitan dan klimaks), dan resolusi (peleraian dan penyelesaian). jika dicermati terdapat perbedaan antara alur dramatik lakon wayang dan alur dramatik pada umumnya. perbedaan ini terletak pada posisi klimaks dari lakon, pada lakon wayang, klimaks seringkali terjadi pada bagian akhir lakon atau bagian pathet manyura. klimaks atau inti lakon, ditempatkan pada bagian akhir dari keseluruhan lakon wayang (sunardi dalam rustopo 2012: 59). penjiwaan simbol tokoh wayang dalam peristiwa diartikan sebagai kemampuan dalang dalam menghidupkan tokoh wayang dalam peristiwa lakon. tokoh wayang yang dibawakan dalang harus memiliki daya hidup atau bercitra, begitu halnya dengan peristiwa yang seolah-olah terjadi. sudarsono, garap lakon kresna dhuta dalam pertunjukan wayang kulit purwa gaya surakarta kajian tektual simbolis 79 ponen yang terdiri dari reduksi data, sajian data, dan penarikan kesimpulan (ibid: 310). aktivitasnya berbentuk interaksi ketiga komponen analisis secara sistematik sebagai berikut. reduksi data, reduksi data merupakan cara yang dilakukan peneliti dalam melakukan analisis untuk mempertegas, memperpendek, membuat fokus, membuang hal-hal yang tidak penting dan mengatur data sedemikian rupa sehingga dapat menarik kesimpulan atau memperoleh pokok temuan. proses berlangsung hingga laporan akhir selesai atau dengan kata lain bahwa data adalah proses seleksi, penafsiran, penyederhanaan dan abstraksi data kasar. b). sajian data, supaya mendapat gambaran yang jelas tentang data keseluruhan, yang pada akhirnya akan dapat menyusun kesimpulan, maka peneliti berusaha menyusunnya ke dalam penyajian data dengan baik dan jelas agar dapat dimengerti dan dipahami. penarikan kesimpulan dalam proses analisis sudah dimulai dari proses awal diperolehnya data. oleh karena peneliti sebagai bagian dari instrumen penelitian, sehingga setiap data telah dicek keakuratan dan validitasnya. dengan interpretaktif maka peneliti dapat mengambil sebuah kesimpulan. deskripsi lakon kresna dhuta babak pertama pathêt nêm jejer wiratha tokoh: matswapati, kresna, , drupada, seta puntadewa, werkudara, janaka, nakula dan sadewa. isi pembicaraan: matswapati mengundang kresna untuk ikut membantu memecahkan persoalan kembalinya indraprasta dan sebagian astina kepangkuan pandawa setelah selesainya hukuman tigabelas tahun dapat dipenuhi. keluarga pandawa telah mengirim utusan pertama kepada kunti talibrata yang hingga pasewakan belum pulang, kedua mengutus drupada yang gagal dicegat sangkuni di aloon-aloon astina sehingga pulang dengan mengalami kesengsaraan. kresna merasa bersalah oleh karena terlambat berkunjung ke metode observasi, dilakukan dengan dua cara yaitu observasi langsung dan observasi tidak langsung. observasi langsung peneliti mengamati pertunjukan wayang dengan lakon kresna duta. pada penelitian kualitatif terutama seni pertunjukan wayang kulit purwa, peneliti menjadi bagian dari organisasi pertunjukan sehingga dapat memudahklan analisis. pada saat pengamatan berlangsung juga dilakukan pencatatan serta rekaman audio visual. maksud rekaman agar setelah selesai pertunjukan tidak ada data yang terlewatkan. observasi tidak langsung dapat dilakukan melalui hasil rekaman pada saat penelitian maupun yang sudah direkam pada waktu yang lalu terlebih yang sudah tersimpan sebagai koleksi pustaka. b).wawancara, untuk lebih memperjelas pengambilan data dilakukan dengan wawancara. dalam wawancara dilakukan dengan dua cara yaitu wawancara bebas dan terprogram. wawancara bebas dilakukan terhadap informan dan nara sumber untuk memperoleh data yang sifatnya umum. kebetulan nara sumber mengajar dan menjadi pengajar pada lembaga yang sama dengan peneliti sehingga memudahkan untuk memperoleh data bagi keperluan penelitian. studi pustaka, naskah lakon sudah diterbitkan dalam berbagai macam bentuk seperti kresna duta oleh purwadi, tulisan lakon mengambil sumber pertunjukan anom suroto (1992). rekaman lakon yang sama juga pernah dilakukan oleh dokumentasi aski yang mengambil sumber dari pertunjukan ki nartasabda (1984). ternyata garap lakon kedua sumber berbeda, demikian pula garap lakon manteb sudarsono. garap lakon merupakan penapsiran seniman untuk dipertunjukan kepada masyarakat dalam waktu dan tempat yang berbeda. pada penelitian lakon kresna duta merupakan penelitian kualitatif, teknik analisis yang digunakan adalah tekstual kualitatif interpretaktif (2010:306). setelah pengumpulan data terdapat tiga komharmonia, volume 12, no.1 / juni 201280 di pasewakan. werkudara memberitahu kepada para senopati agar mempersiapkan prajurit untuk menghormat kresna yang akan melakukan duta pamungkas mewakili pandawa ke astina. sulukan: ada-ada matraman pelog lima, dilanjutkan gending srêpêgan. gending: srêpêgan slêndro lima, lagu surak-surak gumuruh pêlog lima, ladrang kêwês pêlog lima. sulukan: ada-ada grêgêt saut pêlog nêm, adaada astakuswala agêng, ada-ada mataraman pêlog nêm. kresna – setyaki tokoh: kresna, sertiyaki. isi pembicaraan: setyaki mohon perintah kepada kresa, perilaku yang harus dijalankan. kresna memerintah setiyaki untuk mendampingi ke astina. setiyaki dijadikan kusir kereta jaladara. fungsi kusir adalah ikut menjaga keselamatan kresna. selama di perjalanan setiyaki supaya memperhatikan kuda yang menariknya. kereta ditarik 4 kuda berwarna putih, hitam, kuning dan merah. jika kuda warna putih yang terlalu kuat berarti sebagai pertanda akan mendapatkan keberhasilan. jika kuda penarik warna hitam berarti keberhasilannya cuma sebagian sehingga perlu hati-hati. jika penarik kuda warna kuning berarti sebagian saja yaitu indrapasta yang diberikan maka tetap harus waspada. jika kuda warna merah yang paling kuat menarik berarti duta gagal sehingga diperlukan kesiagaan, sewaktu-waktu prajurit astina akan membuat pertengkaran. di tegal kurusetra kresna duta dihadang narada, parasu, janaka dan kanwa yang akan menjadi saksi. keempat dewa diperintah guru dewa untuk menjadi saksi peristiwa yang bakal terjadi. kodrat harus berjalan jika wiradat tidak membawa hasil, yaitu perang besar baratayuda harus terlaksana. kresna mengendarai kereta jaladara secara simbolik, wisnu akan menjalankan kewajibannya untuk membasmi angkara murka, kejailan, sifat buruk dan perusak alam. dalam pocapan dalang, kereta bukan sembarang kereta. kereta jaladara bukan buatan manusia biasa akan tetapi buatan jawata atau dewa yaitu empu ramadi dan wiratha. kresna bersedia membantu keluh kesah matwapati. mendengar ucapan kresna, matswapati menyampaikan permintaan bantuan pandawa kepada kresna untuk mewakili pandawa menjadi duta ke astina, sebagai duta yang ketiga kalinya, guna membicarakan kembali kesanggupan duryudana mengembalikan indraprasta kepada pandawa. pada pasewakan agung kresna ditetapkan sebagai duta pandawa. kresna menyanggupi dengan ketentuan bahwa pandawa tetap harus waspada dan bersiap siaga oleh karena kodrat dan wiradat yang terjadi. kurawa kodratnya angkuh dan sombong dapat diperkirakan tidak akan mudah melepaskan indraprasta, kurawa diperkirakan tidak akan menepati janji.wiradatnya semua sifat angkara murka tidak akan mudah hilang jika tidak bersama yang mempunyai sifat itu. upaya pengembalian indrapasta dari kurawa kepada pandawa yang dilakukan kresna merupakan wiradat yang belum tentu keberhasilannya. keberangkatan kresna harus selalu diiringi oleh kesiapan prajurit untuk berperang sebagai kesatria pembela kebenaran, kebaikan dan pemusnah keangkara murkaan. gending: pasêban slêndro nêm, srêpêgan slêndro nêm. sulukan: pathêtan nêm wantah, ada-ada girisa slêndro nêm, pathêtan nêm jugag, sêndhon pananggalan slêndro nêm, ada-ada grêgêt saut slêndro nêm adegan gapuran tokoh: matswapati, dua emban. isi pembicaraan: matswapati kembali masuk kedhaton akan tetapi tidak bersedia bojana ondrowina olehkarena pasewakan sedang genting. matswapati langsung menunju sanggar pamujan untuk bersemadi. gending: ayak-ayakan manuhara pêlog lima, kemuda pêlog lima. sulukan: adaada srambahan pêlog lima. adegan paseban jaba tokoh: werkudara, utara, wiratsangka, nirbita, sarbabadra. isi pembicaraan: utara, wiratsangka, nirbita, sarbabadra mohon penjelasan hasil persidangan sudarsono, garap lakon kresna dhuta dalam pertunjukan wayang kulit purwa gaya surakarta kajian tektual simbolis 81 anggajali, dirangkai di mega malang. kuda penarik warna merah pemberian dewa brahma asalnya dari selatan bernama abrapuspa , mempunyai kekuatan terbebas dari jilatan api, penyelamat penunggangnya, kuda putih pemberian dewa wisnu bernama ciptawilaha, asalya dari jagad timur mempunyai kekuatan dapat terbang melindungi pemiliknya, kuda hitam pemberian dewa basuki bernama sukanta dara jagad utara, mempunyai kekuatan dapat ambles bumi serta melindungi semua penunggangya. kuda warna kuning bernama sunyasakti asalnya dari barat, pemberian dewa maya, mempunyai kekuatan dapat berjalan diatas air serta melindungi semua yang ada dalam kereta. gending: srêpêgan slêndro nêm, ayak-ayakan slêndro nêm. sulukan : ada-ada grêgêt saut slêndro nêm. adegan sabrangan tokoh: kalasrenggi, suminten, lodraparimuka, togog tejamantri dan bilung sarawita. isi pembicaraan: kalasrenggi meminta kejelasan dari togog dan sarawita tentang kelahirannya didunia yang kurang beruntung. togog menjelaskan bahwa kedua orang tuannya telah mati dibunuh janaka kesatria pandawa. setelah mendengar penjelasan togog kalasrenggi bertekad balas dendam atas kematian ayahanda kepada janaka. kalasrenggi dibantu segenap prajurit menuju wiratha mencari janaka untuk dibunuhnya. gending: jati kumara slêndro nêm, srêpêgan slêndro nêm. sulukan : ada-ada durma slêndro nêm, ada-ada jugag slêndro nêm, ada-ada grêgêt saut slêndro nêm. adegan perang gagal tokoh: utara, wiratsangka, kumbaranangga, lodrapati. isi pembicaraan: prajurit wiratha pengahantar kresna bertemu denan prajurit guwabarong pimpinan kala srenggi. setelah prajurit wiratha bertemu dengan prajurit guwobarong di perjalanan terjadi perselisihan, akhirnya terjadi perang. prajurit guwobarong kalah dan menyingkir. kalasrenggi bersikeras hati akan berusaha membunuh janaka jika bertemu di sembarang tempat. gending: srêpêgan pinjalan slêndro nêm, srêpêgan slêndro nêm, palaran durma slêndro nêm sampak slêndro nêm, ayak-ayakan slêndro nêm. sulukan: ada-ada slêndro nêm, adaada jugag slêndro nêm, sêndhon plêncung slêndro nêm, ada-ada mataraman slêndro nêm. adegan sabrang rangkêp tokoh: utara, wiratsangka. isi pembicaraan: setelah berhasil mengatasi prajurit guwobarong, utara dan wiratsangka kembali ke wiratha melapor kepada matswapati. gending: playon mataraman slêndro nêm. sulukan: ada-ada mataraman slêndro nêm. adegan sanga kesatu goro-goro babak kedua pathêt sanga tokoh: gareng, petruk dan bagong. isi pembicaraan: segenap panakawan saling bersendau gurau, saling tetembangan. kondisi negara sedang bahaya, semua prajurit dan panakawan diminta siaga. gending: ayak-ayakan sêndro sanga, srêpêgan slêndro sanga, sampak slêndro sanga. sulukan: pathêtan sanga wantah pêlog nêm, ada-ada pêlog nem. adegan sanga kedua (pertapan yasarata) tokoh: resi jaya wilapa, bambang irawan, panakawan. isi pembicaraan: irawan mohon ijin untuk pergi ke wiratha menemui pepunden pandawa, yang saat itu telah berkumpul di wiratha. jaya wila-jaya wilapa keberatan menghijinkan karena belum memungkinkan, tetapi irawan bertekat berangkat, akhirnya diijinkan dan direstui. gending: ganda kusuma slêndro sanga. sulukan: pathêtan sanga ngêlik, pathêtan sanga jugag, pathêtan sanga wantah, ada-ada slêndro sanga. adegan sanga ketiga ditengah alas.tokoh: bambang irawan, cakil, panakawan. isi pembicaraan: bambang irawan dalam perjalanan ke wiratha di kawasan hutan bertemu prajurit raseksa guwobarong yang dipimpin cakil. bambang harmonia, volume 12, no.1 / juni 201282 irawan berselisih paham dengan cakil. terjadi perang. cakil dan sebagia raseksa mati, sisanya lari melaporkan kepada rajanya. gending: srêpêgan slêndro sanga, ladrang jangkrik gênggong slêndro sanga. sulukan: ada-ada slêndro sanga. adegan manyura kesatu babak ketiga pathêt manyura. tokoh: duryudana, bhisma, salya, durna, sengkuni dan karna. isi pembicaraan: duryudana minta pertimbangan dari bhisma, durna, salya, sengkuni dan karna mengenai langkah yang perlu diambil menanggapi duta pandawa prabu kresna. pertimbangan yang diberikan bhisma, salya dan durna menekankan kerukunan pandawa kurawa sebagai bentuk bakti kesatriaannya. berbeda dengan sengkuni dan karna, urusan brahmana adalah mencari kedamaian, persaudaran dan ketenteraman. urusan negara mestinya menjadi bagian kesatria yang setiap saat berani berperang membela kekuasaannya. karna dan sengkuni minta negara astina dipertahankan. pandawa bisa menerimanya harus dengan cara perang. karna menuduh pertimbangan yang memikirkan kepentingan pandawa, adalah bukti mata-mata pandawa di astina. gending: sêkar tanjung, slêndro sanga, sampak slêndro manyuro, ayak-ayakan slêndro manyura, srêpêgan slêndro manyura. sulukan: pathêtan manyura wantah, pathêtan manyura jugag, adaada grêgêt saut manyura. terjadilah silang pendapat antara karna dengan salya. karna yang merasa memiliki dua senjata ampuh pemberian dewa bersifat congkak dan sombong. karna bersedia mati demi kurawa. kemarahan salya memuncak hampir tejadi pertumpahan darah. akhirnya karna meninggalkan astina kembali ke awangga, pertemuan kembali tenang. kresna menghadiri pasewakan agung astina bertemu dengan para sentana dan duryudana. kresna menagih janji kepada duryudana agar sebagai kesatria memenuhi kewajibannya. semula duryudana menerima kesanggupan untuk menepati janjinya. duryudana menemui gendari tentang kehadiran kresna sebagai wakil pandawa untuk memnita indraprasta dan separuh astina. gendari teringat sumpahnya sehingga memerintahkan kepada duryudana agar menolak keingingan kresna. dalam dialog terakhir duryudana menolak mengembalikan indraprasta dan sebagian negara astina kepada pandawa. kresna mendesak agar duryudana menepati janjinya. duryudana marah akan membunuh kresna. kresna mengeluarkan mantram penangkal musuh sehingga membuat semua ksatria ketakutan. narada melerai wisnu untuk kembali unjud kresna. di luar istana, sengkuni mengatur strategi. burisrawa diperintah membunuh setyaki. terjadilah perang tanding antara seiyaki melawan burisrawa. setiyaki mengetahui bahwa kurawa bertindak curang dengan mengeroyoknya. setiyaki berlari masuk pendapa menemui kresna. kresna mengajak setyaki kembali ke wiratha. kresna sebagai sebagai duta gagal, berarti perang besar baratayuda segera terjadi. gending: srêpêgan slêndro manyura, sampak slêndro manyura, ayak-ayakan slêndro manyura. sulukan: ada-ada grêgêt saut manyura, ada-ada slêndro manyura jugag. adegan tancep kayon (adegan terakhir di wiratha) tokoh: matswapati, kresna, , drupada, seta puntadewa, werkudara, janaka, nakula dan sadewa. isi pembicaraan: kresna melaporkan bahwa sebagai duta telah gagal. semua kesatria supaya bersiap untuk membuat pakuwon di tegal kurusetra. analisis simbolik tokoh dalam lakon kresna duta, kresna menjadi pemegang peran utama. kresna adalah narayana diwaktu mudanya. narayana adalah kresna, putra prabu basudewa, raja negara mandura dengan permaisuri dewi mahendra/maekah. sudarsono, garap lakon kresna dhuta dalam pertunjukan wayang kulit purwa gaya surakarta kajian tektual simbolis 83 narayana lahir kembar bersama kakaknya, kakrasana, dan mempunyai adik lain ibu bernama dewi sumbadra/dewi lara ireng, putri prabu basudewa dengan permasuri dewi badrahini. prabu kresna juga mempunyai saudara lain ibu bernama arya udawa, putra prabu basudewa dengan ken sagupi, seorang swarawati keraton mandura. narayana adalah titisan sanghyang wisnu yang terakhir. selain sangat sakti dan dapat bertiwikrama sehingga berubah menjadi raksasa, juga mempunyai pusaka – pusaka sakti, antara lain : senjata cakra, kembang wijayakusuma, terompet/ sangkala pancajahnya, kaca paesan, aji pameling dan aji kawrasatawan (solichin 2007 : 200). sebelum menjadi raja dwarawati narayana berguru kepada padmanaba yang menjadi penjelmaan wisnu. dari berguru kepada padmanaba kemudian seluruh senjata diperolehnya. narayana mendapat negara dwarawati setelah mengalahkan prabu kalakresna, kemudian naik tahta bergelar prabu sri bathara kresna. wisnu dipercaya sebagai penjaga keselamatan, dalam beberapa lakon carangan kresna juga pernah melakukan kekhilapan sehingga ditinggalkan oleh wisnu seperti pada lakon semar kuning, lakon perebutan kikis tunggarana,, lakon alap alapan rukmini. pada waktu perang baratayuda kresna membela keluarga pandawa. hubungan keluarga yadawa dengan barata mulai terlihat sejak lakon kangsa lena. prabu sri bathara kresna menginginkan moksa. kresna wafat dalam keadaan bertapa dengan perantaran panah seorang pemburu ki jara yang mengenai kakinya. kresna mendapat sebutan bathara oleh karena menjadi titisan wisnu sehingga memiliki sifat seperti dewa. analisis perilaku simbolis tokoh dalam lakon kresna duta pada adegan jejer wirata kresna dimohon puntadewa untuk mengingatkan kurawa agar menepati darma seorang ksatria yaitu selalu menepati janji, jika telah berjanji. kembalinya indrapastha dan separoh astina bukan tujuan semata akan tetapi sebagai sarana ketenteraman dunia. kresna sadar bahwa dengan menjadi duta yang ketiga, secara simbolis wisnu dapat menjalankan tugasnya menjaga keteraman dunia. secara etis melengkapi ketentuan aturan yang di setujui bersama antara pandawa dan kurawa. kresna sebagai pribadi utusan pandawa merupakan sarana wisnu menjalankan tugas hidupnya yaitu menjaga kelestarian alam. kresna berangkat menaiki kereta jaladara yang ditarik empat kuda berwarna merah, hitam kuning dan putih. bagi sebagian pendukung pertunjukan warna sudah merupakan simbol karakter tertentu. dalam pocapan disebutkan bahwa kereta jaladara bukan buatan manusia biasa, kuda penarik pemberian para dewa yang berasal dari empat penjuru serta memiliki kekuatan tertentu, yang secara simbolis kendaraan tokoh yang memiliki sifat seperti dewa. pada garap lakon ki manteb sudarsono, tokoh kresna berjumpa dewa narada mewakili guru dewa didampingi para tokoh yang telah sempurna sehingga memiliki derajat dewa yaitu kanwa, janaka dan parasu. keempat dewa bersama kresna pergi ke astina menjadi saksi kodrat bakal terjadinya perang baratyuda antara kurawa melawan pandawa. kodrat dewa yang tertulis dalam pertemuan para dewa yang diintip oleh sukma wicara, yaitu jiwa kresna pada lakon “batara kresna bertapa di bali kambang”. kodrat baratayuda apakah dapat diwiradat oleh kresna duta . ternyata sambutan duta pertama yang mengutus kunti gagal, duta kedua yang mengutus drupada juga gagal dan ketiga diwakili kresna juga gagal. pada waktu pasewakatan di singgasana astina, duryudana disanggit bersedia mengembalikan sebagian astina dan indraptasta kepada pandawa, akan tetapi setelah diminta menanda tangani perjanian, oleh karena bujukan gendari yang bersumpah untuk selalu bermusuhan dengan keluarga pandawa keturuan kunti pada lakon kunti pilih, maka duryudana kembali menolak menandatangani perjanian. kurawa tetap ngukuhi atau menguasani seluruh harmonia, volume 12, no.1 / juni 201284 astina dan indraprata. kresna mendesak agar duryudana bersedia mengembalikan indraprasta dan astina. terjadilah perselisihan, kemarahan duryudana memuncak sehingga ingin menghabisi kresna. sebagai titisan wisnu, kresna mengucapkan mantram sakti penangkal musuh sehingga terlihat oleh duryudana seperti disamping kanannya ada seribu bimasena yang sedang membawa gadha untuk membunuhnya, demikian juga di samping kirinya ada seribu arjuna memegang senjata yang siap dihujamkan. mantram kresna menyebabkan duryudana, pingsan. di aloonaloon setiyaki telah dikeroyok kurawa sehinga berlari masuk istana mencari kresna bahwa kurawa akan berbuat kejahatan bagi kresna dan setiyaki. narada mengingatkan kepada kresna bahwa wiradat sudah tidak dapat mengatasi kodrat. jika kresna akan melebur duryudana berserta astina mudah saja akan tetapi sebaiknya perlu sarana. baratayuda tetap terjadi. kresna diminta segera kembali ke wirata. analisis alur dramatik lakon garap lakon kresna duta oleh manteb sudarsono dalam pakeliran wayang kulit purwa berakhir setelah tancep kayon. pola pengarapan seperti pada konsep seniman pada umumnya, pakeliran dikelompokan menjadi tiga pathet yaitu pathet nem, sanga dan manyura. penggolongan atas tiga pathet merupakan simbolisme tataran kehidupan manusia dalam satu putaran hidup yaitu purwa, madya wasana. pertunjukan wayang kulit purwa sebagai simbol pandangan hidup orang jawa pendukung pakeliran yaitu paran sangkanging dumadi. manusia akan kembali pada asal mulanya (sudarko 2003: 34). pada adegan wiratha pada pathet nem seperti pada garap seniman dalang yang lain. pada garapan pathet manyura terdapat perbedaan dengan seniman yang lain. pada pathet sanga menyisipkan goro-goro, nartasabda dalam menyajikan lakon kresna duta tidak menyisipkan adegan goro-goro, akan tetapi adegan pagombakan antara yamawidura, kresna dan kunhti serta disambung adegan karno, kunthi dan kresna mendapatkan porsi yang penting ( marjono 2010: 211). pada lakon kresna duta garapan anom suroto( purwadi 1992), adegan goro-goro juga dipertunjukan. pada bagian pathet manyura, adegan pagombakan antara yama widura, kunthi dan kresna digarap dengan pembicaraan yang tanak/lengkap. setelah pamitan kunthi menemui karno di tepi yamuna meminta karno bergabung dengan pandawa akan tetapi ditolak. kresna menyambung pembicaraan dengan meminta kunthi segera kembali ke wiratha bersama kresna. adegan terakhir wirata digarap lengkap. pada garapan manteb sudarsono relatip singkat, menukik pada pokoknya saja. jika diamati secara cermat kemungkinan manteb sudarsono dalam penggarapan lakon kresna duta menggunakan konsep kenceng –kendo secara ketat. plot dan alur wayang kulit purwa garapan manteb sudarsono serupa dengan musik tradional pendukungnya yang jiwa musiknya dikembangkan dari dalam. sejak awal jejer wiratha sudah dimulai dengan kenceng, disambung adegan kedatonan bersifat kendo. adegan paseban jawi kenceng disambung adegan guwobarong kendo. adegan perang gagal kenceng disambung adegan goro-goro kendo. adegan adegan sanga kedua pertapan yasarata hingga perang cakilan kenceng. adegan manyura kesatu, astina kendo, adegan kresna bertiwikrama kenceng. adegan diluar keraton sengkuni memerintahkan mengeroyok kresna kendo disambung adegan perang antara setiyaki dan burisrawa kenceng. kresna kemudian memerintahkan setiyaki kembali memegang kendali kusir meninggalkan astina. adegan wirata terakhir digarap lengkap, seluruh kesatria hadir besifat kendo. jika lebih diamati maka lakon kresna duta garap manteb sudarsono menyesuaikan dengan kondisi penonton agar tetap mengapresiasi hingga selesainya pertunjukan. konsep penggarapan alur dramatik lakon sesuai dengan estetika modern yaitu menyusun pertunjukan wayang sesuai dengan isi dan bentuk. dengan selalu memacu psikhologis, merangsang emosi, sedikit berupa kritik atas sudarsono, garap lakon kresna dhuta dalam pertunjukan wayang kulit purwa gaya surakarta kajian tektual simbolis 85 kondisi masyarakat menjadikan penonton merasakan mendapatkan semangat baru dalam mengisi pesan pembangunan. penggarapan karakter tokoh pemegang peran dalam lakon kresna duta bersifat nuksma dan mungguh (sunardi dalam rustopo 2012: 67). nukswa berarti kasalira, jiwa dalang masuk kedalam simbol tokoh wayang sehingga tokoh kelihatan hidup sedang mungguh adalah penempatan pada posisi tokoh tepat pada tempatnya. dalam lakon kresna duta warna suara dalang sangat mendukung pada tokoh wayang, dalam dialog wayang /catur terdengar mungguh sesuai dengan situasinya. dalam sabet terlebih mempergakan perang, geraknya hidup dan menarik sehingga perbendaharan sabet menjadikan pertunjukan nikmat untuk ditonton. penggarapan karakter tokoh dan lakon menukik, langsung pada tema pokok sehingga pertujukan wayang dapat diapresiasi hingga tancep kayon. simpulan lakon kresna duta garapan manteb sudarsono memiliki kekhususan. ceritera disanggit lebih pendek dengan menghilangkan adegan yang dipandang kurang perlu yaitu adegan antara yama widura, kunti dengan kresna di pagombakan. adegan pagombakan dengan peran yamawidura jarang ditampilkan oleh para dalang pada lakon-lakon baku maupun lakon yang lain. adegan antara kunti dengan karno dan disaksikan kresna cenderung membuka aib dan sekedar memperpanjang waktu oleh karena dalam situasi permusuhan seharusnya cepat kembali ke wirata agar tidak terjadi gangguan dari kurawa. lakon kresna duta garapan manteb sudarsono menyisipkan adegan goro-goro secara lengkap. garapan lakon sesuai dengan konsep estetika modern yang mementingkan isi dan bentuk yang seimbang. alur dramatik lakon mengikuti pola kencengkendo atau erat longgar secara seimbang. dalam setiap adegan memacu jiwa penonton untuk memusatkan perhatian serta memacu pikiran. makna lakon kresna duta adalah sebagai simbol wisnu untuk menjaga kedamaian dunia. perilaku simbolis sebagai simbol kejahatan, angkara murka, kejailan yang disandang kurawa harus diakhiri agar dunia kembali tenteram. sebagai simbol keadilan, kebaikan, kebenaran diwakili dengan kesatria pandawa. kemenangan pandawa berarti kresna sebagai duta sekaligus wisnu telah melakukan tugasnya. daftar pustaka herusatoto, budiono. 2008. simbolisme jawa. yogyakarta: ombak. jazuli, m,. 2003. dalang negara dan masyarakat sosiologi pedalangan. semarang : limpad. ------------2011. sosiologi seni. surakarta : uns press. kutha ratna. 2010. metodologi penelitian kajian budaya dan ilmu sosial humaniora pada umumnya. yogyakarta: pustaka pelajar. marjono. 2010.“sanggit catur nartosabda dan manteb sudharsono dalam lakon kresna duta”. surakarta: isi. tesis s 2 tidak dipublikasikan. mulyono, sri. 1983. simbolisme dan mistikisme dalam wayang. jakarta: gunung agung. murtiyoso, b. sumanto, suyanto. kuwato. 2007. teori pedalangan bunga rampai elemen elemen dasar pakeliran. surakarta: isi . padmosoekotjo. 1990. silsilah wayang purwa mawa carita. jld vii tamat .surabaya: pt citra jaya murti. purwadi. 1992. serat pedhalangan lampahan kresna duta. sukoharjo: cv. cenderawasih. randyo, m. 2011. makna simbolis lakon kangsa adu jago dalam pertunjukan wayang kulit purwo. semarang: harmonia jurnal pengetahuan dan pemikiran seni vol xi edisi juni . rustopo. 2012. seni peway angan kita dulu, kini dan esok, bunga rampai. surakarta: isi press solo. sobur ,alex. 2001. semiotika komunikasi. harmonia, volume 12, no.1 / juni 201286 bandung : remaja rosdakarya. soetarno. 2005. pertunjukan wayang dan makna simbolisme. surakarta: stsi press solichin. waluyo, sumari. 2007. mengenal tokoh wayang. surakarta: cv asih jaya. solichin. 2010. wayang: masterpiece seni budaya dunia. jakarta: sinergi persadatama fondation. subandi. 2010. “barathayuda suluhan gatutkaca gugur sebagai pahlawan”. semarang: harmonia jurnal pengetahuan dan pemikiran seni vol x edisi 2 desember 2010. sudarko. 2003. “plot wayang purwa dan pandangan hidup orang jawa”. semarang: harmonia jurnal pengetahuan dan pemikiran seni vol iv no 3. sumanto, 2002, ki nartasabda kehadirannya dalam dunia pedalangan sebuah biografi. surakarta: srsi press. suparno, slamet. 2009. pakeliran wayang purwa dari ritus sampai pasar. surakarta: isi press solo. --------------------2007. seni pedalangan gagrak surakarta. surakarta: isi press. solo 93 value of morality in music of confucius (551-479 bc) j.c. budi santosa department of music, institut seni indonesia yogyakarta, indonesia e-mail: budi_santoso_isi@yahoo.com abstract in line with the basic concept of ”jen” and some things related to the virtue, confucius emphasized on the maintenance of beauty and music. the emphasis of those two things illustrated the feeling of self-dualism that is morals and aesthetics. talking about the development of one’s personality, confucius said, ”through the poetry one’s attention will grow, through the various rites one’s mentality will be set; through music one becomes perfect (analects of confucius, chapter 8, section 8). the maintenances of beauty and music were expected to be part of one’s sublime nature and human civilization, according to confucius, maintenance and reasonable combination between the yen and the beauty was indeed necessary for the self perfection and the improvement from disgraceful deeds. just like a house with a strong base had certainly a proportional shape; then, one with his opportunities to do well was supposed to be able to express it with deep thoughts (feelings) and with good manners. nilai moralitas dalam musik menurut konfusius (551-479 sm) abstrak sejalan dengan konsep dasar dari “jen” dan beberapa hal yang berkaitan dengan kebaikan, konfusius lebih menekankan pada pemeliharaan keindahan dan musik. dua hal penekanan itu menggambarkan perasaan dualisme akan diri pribadi yaitu moral dan estetika. membicarakan tentang perkembangan kepribadian seseorang, konfusius berkata, “lewat puisi perhatian seseorang akan tumbuh, lewat berbagai upacara tabiat seseorang diatur; lewat musik seseorang menjadi sempurna (ana¬lects of konfusius, bab 8, seksi 8). pemeliharaan keindahan dan musik diharapkan mampu menjadi bagian dari sifat luhur seseorang dan peradaban masyarakat menurut konfusius, pemeliharaan dan kombinasi yang wajar antara yen dan keindahan memang perlu untuk kesempurnaan diri dan perbaikan dari sifat-sifat tercela. seperti halnya sebuah rumah dengan pondasi (dasar) yang kuat tentu memiliki bentuk yang menyenangkan maka seharusnya orang dengan kesempatan yang dimilikinya untuk berbuat baik mampu mengungkapkannya dengan pikiran yang mendalam (perasaan) dan dengan cara-cara yang baik). keywords: confucius; music; aesthetics; morals almost all dynasties in china developed arts as richness and pride. several types of arts were developed, such as paintings, ceramics, music, and drama. however, what introduction in the history of the chinese nation, the role of the arts could not be ignored. harmonia, volume 13, no. 2 / desember 201394 to remember was that the arts in china could not be removed from morals. then, in chinese philosophy tao was informing all reflection about arts and morals. one of the arts which was very significant in the history of the chinese nation is music. music could be easily found in all people’s classes, ranging from ordinary people to the royal family. even, an emperor of xuanzong, li longji, was the emperor and a musician indeed (strathern, 2001: 60). chinese traditional music had a long history, as well as other cultural heritages. at the beginning of its history, the sounds of music came from various daily tools. the chinese community finally realized that those tools could produce beautiful sounds (prier, 1991: 63). day after day, those tools were to be unique instruments, which eventually formed the chinese musical instruments. kinds of ancient chinese musical instruments are divided into four, namely percussion instruments, wind instruments, stringed instruments, and plucked instruments. some of those instruments had roles in shaping the history of the chinese nation. however, it could not be denied that the role of chinese songs were also very significant. music instruments and vocals were blended in shaping chinese music culture in diversity (prier, 1991: 60). in addition to having the wealth of musical instruments and songs, one which was not to be denied in the history of chinese music was the musical figures. some ancient chinese musicians were yu boya, shi kuang, li yannian, cai yong, cai wenji, ji kang su zhipo. however, there was a big thinker who has given colors in music history as well as the history of china. he was confucius. the presence of confucius in the music scene was very important since his teachings about music have always been associated with beauty and moral. his view was that the greatness of the chinese nation couldnot be separated from the music; music has formed a distinctive character to the chinese (prier, 1991: 61). there is an interesting one of confucius. he knew a lot about life, but very few people knew about his life instead. he left many advices for people, but few could understand the point of those advices (fung yu-lan, 2007: 78-80). a collection of words, vague expressions, and a variety of anecdotes formed an ideal philosophy for the people. one of his interesting teachings was music. for confucius, human life was related to good and bad, beautiful and not beautiful. the first one was concerned with the moral, while the second was concerned with the arts. he said that a sense of beauty was needed to be a scrupulous one (tu wei-ming, 2005: 87). about confucius and his teachings confucius (the latin form of the name kong-fu-tse, a teacher from the kung tribe) lived between 551-479 bc. he taught that the tao (“way” as the main principle of reality) was “a way for human”. this means that only the man himself could make his tao sublime and noble, if he lived well. prominence was the way needed. the virtue in life could be achieved through humanitarian (yen), which was a model for everyone. essentially, people were all the same though their actions differed (hamersma, 2005: 45; fung yu-lan, 2007: 35-40). born in a poor family in shantung, confucius lived his career as chief administrator in his country. in 496 bc, he began a period of wandering with his one purpose that was to convince some of the rulers (kings) where he layover to put into practices his work of moral doctrines (fung yu-lan, 2007: 63-70). after years of his wanderings, he came back in his native region and became a master who was famous for his teachings on art, poetry, history and chinese philosophy. all his teachings were compiled by his students in lun yu or in english known as the analects of confucius (hall 2001: 55; stevenson and haberman, 2001: 35-36; about the analects could be seen: lou, waley, 1979, and 1989). confucius lived during political turmoil, seizing a destroyed chou dynasty. seeing that, he did some efforts to give the spirit of confucian moral for the kings ‘ j.c. budi santosa, value of morality in music o confucius (551-479 bc) 95 power system. the moral, he said, could replace the force-and-coercion-based government to the policy-based government (fung yu-lan, 2007: 40). by developing all aspects of humanity (jen), a person could be great in his life, and if everyone did so, then happiness could be achieved. however, according to confucius, doing such a thing required conditions over all the rules about accuracy (li) in social life (hamersma, 2005: 45). it means that morality had to stand firmly on the base of the forms of social existence. li was the principle that related human appreciation to his fellows and his nature, as well as creating the nature of human which basically still could be turned to goodness. tao (a way) towards all these was a life in the structures of social existence, adopting the virtues appropriate for each role, such as: children, fathers, mothers, rulers, etc. the main emphasis of the analect of confucius’s teachings is in humanism, not metaphysics. it could be said the main concern of confucius is human well-being and less discussing on the ultimate nature of the world where he lives on. when people concern of worshipping gods and spirits, confucius replied, “you are not even able to serve men, how could serve spirits.” by avoiding the chance of metaphysics, he emphasized more on advice for running a good government that will improve the prosperity for the community and bring harmony among people (stevenson and haberman, 2001: 36-37). music in the perspective of confucius as already mentioned above that tao should be a base of human life. a man who lived well and in a wise manner, drove his own path of tao itself, so that he could distinguish good things from bad ones, between beautiful and not beautiful. confucius said how someone with bad behavior would create beautiful things. one’s inside beauty would be reflected in his work. an artist, according to confucius, was a person who had sensitivity to the aesthetics, expected to contribute the beauty in life (herman tjaja, 1993: 88-89). confucius was a philosopher who paid attention to music as a means of aesthetic education in the framework of moral sensibility. confucius’s opinion about the music tended to be practical and transient. music, for confucius, was more likely to soften soul, raise the harmony between thought and action, as well as be closely related with morals (picken, 1986-89). for table 1. the chronology of confucius’ life (strahern, 2001: 25) years in bc moments 551 548 536 533 about 520-510 about 509-500 about 500 about 500-490 484 479 the birth of confucius (possibly on 28 september, which is still celebrated in east asia as the day of his birth). confucius’ father’s death. obsessed to learn. married peiu. declaring that teaching at schools as his new “religion”. appointed as the minister of criminal in the province of lu. resigned from his position as the minister doing pilgrimages, find a new job. returning to his homeland in the province of lu died at the age of 70 years. harmonia, volume 13, no. 2 / desember 201396 confucius, melody and harmony in music could adjust one’s soul. confucius, the famous chinese thinker and educator in the spring and autumn period (770-476 bc), was also an outstanding musician. confucius not only could play many kinds of musical instruments but also was good at composing and singing. his valuable modest personality attributed to his achievement in music. after he learned guqin from the musician shi xiangzi for some days, the instructor said his performance was “good”. confucius, however, was not satisfied with the progress and kept training himself for a longer time. after practicing for another couple of days, his performance was regarded as “excellent” by the instructor, but confucius still did not believe that he had reached the perfect performance because he could not feel the spirit of the melody when he played the guqin. it is not until he finally realized and showed the inner spirit of the melody that confucius stopped practicing. his perseverance won himself the respect from shi xiangzi. even today, confucius’s edification of “being insatiable in learning” is still regarded as a motto by most people (ames, 1987:123). the ancient kings declared their delight with music. with music, they could lead their troops and used an axe to declare his anger. what you asked was music; what you like was sounds. now music and sound were related, but they were not the same. all modulations of the sound skipped from the human’s mind. if feeling was driven in its manifestations in the sounds; if the sounds were combined to form the composition, then, we understand what was called a song (stevenson and haberman, 2001: 38-60). confucius showed that wise men found pleasure in music, and they understood that music could please one’s feeling. since its influence was so deep to one’s feeling, music could affect human beings. due to the change, the music formed one’s behaviour and habits. ancient kings used music as one of the basic commands. so, the honor of music by the heavenly kids was meant to reward the most glorious kings among the feudals. if they did the virtues and they obeyed the orders, and the whole plant grains were ripe in due season, then they were honored to allow to play music (ames and hall, 1987: 57-90). according to confucius, that music brings grief to men and ruggedness in the ceremony indicated something went wrong. to create the most glorious music that did not contain the elements of grief, and to form the most complete ceremony that did not indicate irregularities, were surely just the work of a sage. recently, there was no end of something that could influence human beings; and when the pleasure and hatred were not set, this was caused by some strange things which presented into humans. the result was that a man deactivated the sounds of good principles, and the man gave his pleasure to his desire. so, he belonged to a rebel and a liar, and an unscrupulous behavior. the strong pushed the weak. the majority were against the minority. the knowledgeable deceived the fool. the dare ones disturbed the coward. the ill people were not treated well; the old and young, the orphan and the forgotten were denied. it’s all a big mess that occured (ames and hall, 1987: 80). confucius said that virtue was a power that came from human nature, and the music belonged to a blooming virtue. its blossom was also aesthetical. with its aesthetically blossom, it would give blossom to life (ames and hall, 1987: 87). furthermore, confucius said, rules resulted a clear expression of human’s soul; the music gained a harmonious expression from its sounds; the government legislations were intended to uphold the ceremony and music, and the penalties were intended to keep against abuses. if the ceremony, music, law and punishment have power anywhere, without irregularity and opposition; then, the methods of the king’s regulations have been done (tu wei-ming, 2005: 60-67). if the ancient kings decided their efforts, they made music to commemorate j.c. budi santosa, value of morality in music o confucius (551-479 bc) 97 warried of things that could affect minds (ames and hall, 1987: 67-70). thus, according to confucius, they had ceremonies to direct human’s purpose to be right; to hold music to give harmony to their voices; to hold the law to prevent the evil tendencies. the purpose of ceremony, music, law and punishment, was one. they were instruments which corrected the souls of men, and contributed to good governance (tu wei-ming, 2005: 67). confusius said further that music and ceremonies conducted by the ancient kings were not looking for how they could satisfy the desires, ears and eyes; but the kings aimed to teach the people to set up their feelings, and bring them back to the ways of a reasonable humanitarian (ames and hall, 1987: 60-70). inside human natures were the authority of the music; the nature of the inside rules was the inception. the result of music was a perfect music harmony; the result of ceremony was a perfect decency of obedience (waley, 1989: 39-45). if an inside of human being was harmonious, the outer would be obedient; other people would see it on his face and not fight with him; people saw his behavior and they would not behave rough and uncare. so it could be said, “hold the ceremony and perfect music, and give them manifestations and applications of the outside, and there was nothing under heaven difficult to run” (lou, 1979: 26-36). let the music achieve results in full, and there won’t be any insatiable thoughts; and let the ceremony do so, and there won’t be any strife. if respect and obedience marked the rule of the kingdom, there would be what might be called music and ceremony. the strong pressure of the people would not change; the princes would come with subservience in the palace as the guests; there won’t be any chance for weapons of war, there was no implementation of five penalties; ordinary people had nothing to complain about, and the son of heaven had no reason to be angry. such statements would be a universal music (stevenson and haberman, 2001: 61-73; those efforts. if they had set up governance, they devised a ceremony. the quality of their music relied on the efforts they made, and the perfection of their ceremony relied on how far their governance could be understood (lau, 1970: 3-10). in the context of the musical practices, confucian said that in singing; high tones were automatically rising; low tones were automatically down as if it fell down to the ground. the up-and-down tones resembles a broken object. final tones were similar to a broken willow tree. unequivocal tones showed as if it was created by a square. the vibration was similar to catch a pike. the extended tones on the same tonality were similar to pearls tied together. so, singing was the expression of extended words. there were word expressions and if the simple expressions were not sufficient, those word expressions could be extended. if the extended ones were not enough, there came the vision and explanation. if this was still not enough, it unwittingly came hand movements and heart beats (lau, 1970: 120). for confucius, in music we have expressions of feeling that did not accept any changes; in ceremonies, the principles do not accept change (alteration). music included what both to share; a ceremony distinguished things. so the theories of music and ceremonies covered all human natures (lau, 1970: 125). music was the result of sound changes (modulation), and its source was in the mind play when it was influenced by things from the outside. when the mind was grieving, the sound was sharp and erratic moves; when the mind was a joy, the sound was slow and soft. as it moved towards extremelly joy, the sound was hooting and immediately vanished; in anger the mind became rough and fierce; when mood was respectful, the sound was to be honest with the impression of humble; when the mind was moved to love, the sound was harmonious and soft. those six distinct sounds were unusual. all showed the impression resulting from external things. over all these, the ancient kings harmonia, volume 13, no. 2 / desember 201398 lou, 1979: 78; waley, 1989: 11). the modulation of the sound rose from the human mind, and the music was an inside communication of the modulation in their relations and conflicts. so, any wild animals knew sounds, but not the modulation of the sound; and the set of humans knew the sound, but they did not know music. only a superior could recognize the music. when a man was born, it seemed that he came from heaven in peace. his behaviors showed that he was influenced by the surroundings, and these behaviors developed a desire that accompanied his nature. when his views of objects (events) increased, his knowledge increased. then, it arose the manifestation (statements) of love and hatred. when those two things were not handled by something inside and knowledge that grew would mislead the outside, he could be hard to find himself, and the very ideal principle would be gone (stevenson and haberman, 2001: 36-38; tu wei-ming, 2005: 11). that was the reason why the ancient kings, when they held the ceremony and the music, they would set in order not to become a humanitarian request. with a cloth used for elderly people (the parents), lamentations and cries, they defined the terms of the mourning ceremony. with bells, drums, shields, and axes, they introduced harmony into an atmosphere of rest and joy. with the marriage, a hat, and acceptance of the hairpin (hair bun), they still retained a distinction between men and women. with archery (the art of archery) incorporated in the district, and the presence of large parties at the meetings of the princes, they took care of the maintenance of the friendly association (hall, 2001: 55). the music came from within, and the ceremony came from outside. the music coming from within would create a peaceful mind; the ceremony from the outside would create flexibility; glamourous attitude. the highest musical styles were truly distinguished by excitement; the highest glamourous style was distinguished by the hidden feelings (ames and hall, 1987: 6080). like confucius, harmony and unity were the goal of music; differences and disputes were the purpose of the ceremony. of the unity, it came the feeling of love to others; of the dispute, it came the mutual respect. from those aspects, the music would exist; we find a weak rapprochement; then, the ceremony would take place, we had a tendency to split. this was a problem when human feelings involved and gave glamour to its manifestation seen from the outside (strahern, 2001: 5). closing chinese traditional music is mostly aesthetic and ethical realisms. there was an overarching principle, aesthetic and moral in nature. for confucius, aesthetical state and regularity-based were the characters of nature. the concept of heaven or tao or “the way” was essential. heaven was the natural rules that could be accounted for, basic, and aesthetic and moral controls. heaven was regulating not only human affairs according to moral rules, but also an attitude that inclines to the harmony and truth. music, for confucius, as a moral control, that is also an integrating element of heaven and the earth. confucius held firmly a system of “ritual” and “music” from the zhou dynasty. he emphasized the importance of music in society and education. he praised the high quality of music that reflects the goodness and aesthetics; and taught that music in ultimate perfection could clear up one’s mind. music, according to confucius, was tao that with its aesthetics could lead human beings to the wisdom of life. music could set the rhythm of human life to be regular and synergized; harmony in music could harmonize between minds and actions. confucius presupposed music as a method of thinking before doing. in the broad context and the higher respect to the value of music, confucius even said (as quoted in prier, 1991: 61-62): “if you want to know whether a country j.c. budi santosa, value of morality in music o confucius (551-479 bc) 99 has a good governance and custom, take a look at the musical works.” references ames, r. t. & david l. h. 1987. thinking throught confusius. albany: state university of new york. fung, yu-lan. 2007. sejarah filsafat cina, diterjemahkan oleh john rinaldi, yog yakarta: pustaka pelajar. hall, d.l. “confusius”, in robert l. arrington. 2001. a companion to the philosopher. usa and oxford uk: blackwell publisher ltd., hal. 52-57. hamersma, h. 2005. pintu masuk ke dunia filsafat. yogyakarta: kanisius. herman, t. 1993. jelajah hakikat pemikiran timur. jakarta: pt. gramedia pustaka utama. lou, d. c. 1979. confusius: the analects. london: penguin. oliver, m. 2000. history of philosophy. london: octopus publishing group ltd. picken, l. “music of far eastern asia 1 china”, in egon wallesz (ed.), 1986. ancient and oriental music, oxford – new york: oxford university press, hal. 83-134. prier, karl-edmund. 1991. sejarah musik jilid ii. yogyakarta: pusat musik liturgi. stevenson, l. & david l. h. 2001. sepuluh teori hakikat manusia. terjemahan yudi susanto dan saut pasaribu. yogyakarta: yayasan bentang budaya. strahern, p. 2001. 90 menit bersama confusius. terjemahan frans kowa. jakarta: erlangga. tu, wei-ming. 2005. etika konfusianisme. terjemahan zubair. jakarta: teraju. waley, a. 1989. the analects of confusius. new york: vintage. harmonia : journal of arts research and education 15 (2) (2015), 107-112 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v15i2.4557 p-issn 1411-5115 e-issn 2355-3820 taksu and pangus as an aesthetic concept entity of bali dance (a case study of topeng tua dance) i nengah mariasa department of drama, dance, and music, state university of surabaya lidah wetan surabaya, surabaya 61177, indonesia e-mail: mariasainengah@gmail.com received: november 28, 2015. revised: november 30, 2015. accepted: december 4, 2015 abstract there are two types of topeng drama performance (topeng is bahasa indonesia for mask) in bali, topeng pajegan and topeng panca. topeng pajegan is a masked drama performance that is danced by a dancer by playing various tapel, while topeng panca is danced by five dancers. generally, there are three or four stages on topeng performance, i.e. panglembar, petangkilan, bebondresan, and/or pesiat. on panglembar stage, there is one dance represented the character of old people. the dance is then known as topeng tua (old mask). the costume, tapel, as well as hair worn by the dancer have been considered as one of the precious or noble artworks. the question comes up here, is the aesthetics of topeng only depended on its high aesthetic value costume and tapel? topeng tua performance technique is considerably not easy to be done by a beginner dancer. on the other words, it implicitly tells that the aesthetics of the dance depends closely to the dancers’ techniques. a good topeng tua dancer will be able to dance by using the technique of ngigelang topeng. furthermore, the beauty of topeng tua does not only lay on its splendor artworks on the costume, tapel, and hair colour, but more to the ability of the dancers’ movement technique that successfully shows the beauty of taksu and pangus. keywords: taksu; pangus; ngigelang topeng; topeng tua how to cite: mariasa, i. (2015). taksu and pangus as an aesthetic concept entity of bali dance (a case study of topeng tua dance). harmonia: journal of arts research and education, 15(2), 107-112 doi:http://dx.doi.org/10.15294/ harmonia.v15i2.4557 introduction topeng in bali dance is a dance performance that tells about dialogues and songs. all dancers are required to wear a realist tapel with one special costume that can be used to dance various different roles. the word “tapel” has a similar meaning to “topeng” in java and “mask” in english. it is a face cover used in several yogyakarta and surakarta dances. here, if a topeng dancer plays four roles, he does not need to change his costume, but his mask and head costume equipment only. two types of topeng are normally used here, topeng pajegan and topeng panca (bandem, 1983, p. 140). topeng pajegan is a dance performance that is done by a dancer by playing or moving various tapel based on the roles. topeng pajegan itself is also known as topeng wali because it is usually used in religious ceremony. the latter, that is topeng panca, is the developed version of topeng pajegan. it has more functions than the initial version. if the initial model is danced by one dancer, the latter is danced by five dancers, and so does with its other functions (bandem and rembang, 1976, pp. 11-13). topeng dance performance is gene107 108 harmonia : journal of arts research and education 15 (2) (2015): 107-112 rally devided into three or four stages, i.e. panglembar, petangkilan,bebondresan, and/ or pesiat. panglembar is the opening stage of topeng dance that is consisted of one to three dances. it is the stage where the meeting between the kingdom servants and their king is occurred, while, bebondresan is the performance of topeng roles that tend to be funny or comedy. the last stage is pesiat. it performes war. however, it is rarely performed now. in the stage of panglembar, there is a dance that shows the character of an old man. the dance is known by topeng tua. topeng tua uses mask with a white-hairhead and an old face on the mask. the tapel and costume of topeng tua have been recognized as two noble artworks. questions then can be derived from this phenomenon. is the aesthetics of topeng dance only depended on the high valued costume and tapel? it is said that the magnetism of a dance depends closely to several aesthetic aspects. what are the aspects affected topeng tua dance that makes this dance is attracted for the audiences? method the material object of this study is a topeng tua performance that is done by different dancers. the difference between dancers is shown in their level of ability in doing the dance technique up to the level of taksu. this is adjusted with the topic about aesthetics in bali dance that becomes the formal objects of the research. data collected in this study is descriptive in a form of topeng tua performance recording and analyzed words using qualitative method. this study is employing two disciplinary approaches, ethnochoreology as well as aesthetics. as a paradigm, ethnochoreology employs basic assumptions, models, concepts, research methods, analytical methods, and analysis results (ahimsa, 2007, p. 105). one if its assumption is that human wants to express themselves through dances that have certain functions and purposes. the study is located not only in one particular area, but spread in several performance areas. data are collected by using observation, interview, as well as documentation study techniques. the three observation techniques employed to complement each other. while observation and documentation study are emphasized to study the form and technique of the performance, interview is used here to understand the theories and its application in the performance. data and facts that have been collected are then analysed. the analysis is conducted under a particular process chain. observation is initiated by an observation, continued by interviews and documentation study. those there are done continuously started from the day when the data are collected. further, from the data and empirical information, categorization is created based on the concepts and theories to see, classify, and relate one data into other data or facts. discussion the topeng tua dance performs movements of bali dance ‘putra manis’, that is not belonged to bali dance type bebancihan. the difference between ‘putra manis’ dance with bebancihan is on the movement in shoulder part. the shoulder gesture in ‘putra manis’ dance is the same as the basic movement in ‘putra keras’ dance, that is when the shoulder is lifted till the neck seems shorter. this kind of movement cannot be found in man dance bebancihan. in bebancihan, the neck is not lifted. topeng tua does not show dialogues and songs, but it shows only dance that employs the character of an old man. even when this dance does not perform dialogues and songs, however, the level of diffulty of the dance is considerably high. a dancer is not only expected to master movements and to dance tapel, but also ngigelang topeng (dancing topeng or ‘switching on’ the tapel). dancers are normally master this dance up to the level of ngigelang tapel, so that, it is less attractive ((dibia, 2012, p. 68). for the clearer figure, please see figure i nengah mariasa, taksu and pangus as an aesthetic concept entity of bali dance 109 1. figure 1. visual manifestation of topeng tua dance the presentation (performance) technique of topeng tua dance is not easy to be done by a beginner dancer. one who has had an experience of performing tari putra or man dance, cannot be guaranteed to also will be mastering topeng tua well. they have to learn more on how to dig the dance technique of ‘putra manis’. in nine stages of bali dance learning, topeng tua dance belongs to the third or fourth stages. on the third stage, the dancers are expected to understand the techniques and its movements, whereas, on the fourth stage, they are expected to master tetuwek (soul) of the dance character (bandem dan dibia, 1982/1983, pp. 16-17). if the fourth stage can be mastered by a dancer, therefore, the dancer is considered to be able to dance by employing the concept of ngigelang topeng. all the rules of movement techniques of topeng tua dance that may attract audiences are basically placed in two main aesthetic concepts, taksu and pangus. one of the tari topeng’s maestro, i made djimat, claimed that there is taksu besides pangus as the main aesthetic elements of bali dance (mariasa, 2000, pp. 166-171). taksu is believed as a magical strength from god that gives huge impact towards the beauty of bali arts. artworks or performance that have taksu in it is a kind of arts that has soul and live power (dibia, 2008, p. 30-31). taksu is an inside power that contributes smartness, beauty, and miracle (warna, et al., 1978, p.558). as a spiritual power, taksu penetrates inside a human soul, inside of the dancer especially, when they are dancing on stage. a dancer can be considered having taksu if he can transform himself as a whole perfectly based on his performed role. the condition on which the artist is gifted by such kind of gift, pushed the artists to perform magnificiently on the stage. in the other words, he is successfully control the movement technique that he performs (bandem, 1996, p. 24). taksu can be also defined as a manifestation of pure culture creativity that delivers spiritual power towards an artist to reveal himself to be better than he is now. taksu as a gift from god is a result of hard work, dedication, as well as surrender in pure state (mantra, 1996, p. 26-27). taksu do not always come to the dancers right while they are performing on the stage (interview: i made djimat, 24 december 1998). sometimes, a dancer receives it hard, but sometimes it can be gotten easily and fast. when the taksu covers a dancer, the dancer himself will perform with dazzling, immerse the feelings and thoughts of the audience into the performance. the beauty and aesthetics of the costume as well as the music accompaniment seem to be magnificient with the greatness of the dancers who dance it. a complete preparation has to be had by a dancer if he wants taxes to be received faster by them. in its first preparation, a dancer has to master the movement technique ability. that is the most important requirement that has to be held by a dancer. the mastering movement technique cannot be done easily, a dancer has to spend his time, strength, as well as working hard while rehearsing the dance. if the ability of both movement and performing technique have been mastered by the dancer, the dancer needs to prepare and cultivate his confidence towards the miracle of taksu. building belief inside the soul of a dancer 110 harmonia : journal of arts research and education 15 (2) (2015): 107-112 is not an easy job to do. it needs an attempt to lay the dancer’s soul to the god or to his profession. further, it needs the dancer to hold the belief tightly based on the purpose that he wants to achieve. how the taksu comes and goes is hard, but, it is surely can be felt. made djimat has ever delivered the term jeg (all ofa sudden) to refer to an aesthetic event that enters to the inside of the dancers’ soul all of a sudden. when performing, in the very ready state, a dancer can suddenly control and dominate the audience’s attention. the joy of dancing in that moment is immeasurable. with double strength, all movement techniques can be done easily. the dancer never suffers and feels burdened. on the other hand, he has maximum spirit to dance and his willingness to dance is bigger. as a result, the audience will be surprised and satisfied with the performance. however, in a reality, the kind of condition described above is considerably hard to be achieved. in the reality, there is one thing that needs to be added here. besides the readiness of the dancer, the place used to perform (kalangan) also become one distinguished factor here. literally, kalangan is the place where the performance takes place. in fact, kalangan has double functions. besides becoming the performance stage, it also has a special power to be given to the dancer. there is belief had by dancers that every kalangan has its own taksu. there is a kind of ‘nonstingy’ kalangan, and there is also the ‘stingy’ kalangan called demit (catra, 1997, p. 108). in kalangan bares, a dancer can receive his taksu easier and faster. the contra action happened in kalangan demit. further, made djimat argues that there is a contented kalangan and also an empty kalangan. every movement that is danced can bhave more quality when the dancers dance in the contented kalangan. conversely, the feeling of emptiness will be occurred when the dancers step their feet on the empty kalangan. a contented kalangan is considerably hard to be felt by audiences in general. however, an “experienced” dancer can feel whether the kalangan or the stage is contented or not. made djimat himself claims that he is able to feel the differences between those two kalangan. it is said that, the contented kalangan does not only exist in bali but also in kalangan located in overseas. contented or not a kalangan, however, has a high possibility to be affected by its initial construction process. in bali dance, the term ’pangus’ is used as a term to refer to harmonization that supports an entity of the dance’s role or characterization. generally, in balinese, the word ’pangus’ means appropriate or harmonious (warna, 1978, p. 414). specifically, pangus is used to label to the suitability of someone’s wearing and/ or doing something. in bali dance, the word ‘pangus’ is used to refer to the conformity between themes and performance in a dance’s role or characterization. a role/ characterization in bali dance is supported by several aspects, such as: movement, vocal, costume, as well as the music accompaniment. the movement supports the costume aspect and vice versa. all the aspects, together, will support shape the dance’s characterization. as a result, a harmonious entity of dance will be formed. a beauty that arises from the unity is then known by pangus. each of the aspect has been organized neatly in bali dance and has made the dance into an artistic dance. nevertheless, the dance also needs to be performed by a skillful dancer. in this part, it can be said that the establishment of pangus is related closely to the ability of a dancer to perform it. a dancer who has mastered the concept of pangus will always attempt to fuse his own personal character into his stage’s role. he will hide the character that is not suitable with his on stage character. a dancer is allowed to develop an attitude that suits his on stage character when it is suitable to his personal life’s character. a dancer who successfully performs a concept of pangus is believed to be able to perform well on stage. according to this, it is believed that i nengah mariasa, taksu and pangus as an aesthetic concept entity of bali dance 111 a caland prestigious role of dancer will be hard to be performed by a humorous and cheerful dancer. on the other hand, a cheerful or funny character will be easily performed by him. in this case, topeng tua dance is supposed to be perfomed with a movement and character that reflects an old man character that is far from funny, active, and strong characterization but more of a passionate, old and slow. all the spiritual movement is wrapped in a slow but passionate character that represents a character of an old man. an ‘active’ teenager dancer will be considered hard to dance or perform this type of role if he does not master the concept of pangus. a dancer who goes deep into the concept of pangus is supposed to have mastered the initial or basic concept of dancing. while dancing on stage, a dancer will need to be fully concentrated. an attempt to fuse the dancer’s personal character into the stage character is not easy to be done. a dancer has to realy concentrate to the dance he performs. even a young dancer needs to bring the character of the old man onto the stage. as one of the dominant aesthetic element, pangus is always seeked by almost every bali dancer since they believe in the magnificience of pangus that may attract audiences. if a dancer has implemented pangus on stage, even the simplest movement on dance will be looked majestic. madej djimat sais that, ”…cara ngigel babondresane, polos-polos igelane, awag-awagan ngigel, demen nak ningalin sawireh pangus” which means “as in babondresan, even if the movement is simple, the audiences may enjoy it to the fullest because of the pangus existence”. taksu (bhawa) and pangus (anubhawa) are two important aspects in the aesthetic of bali dance. the encounter between bhawa and anubhawa is cultivated by the dancers to establish a beauty or the aesthetic aspect of a dance (ayasa, 1993, p. 46-47). further, taksu tends to be inner (or the psychology of the dancer), while pangus is more physical. taksu is an inside power, it refers to the dance intensity that is formed as the combination between tension, tenderness, majesty, dignity, comedy, etc. it is supported by harmonious element of choreography that suits the theme of the dance. intensity is a power. pangus is a set of harmony that directs to a unity. the combination of taksu and pangus is a form of integrity concept that can be used to measure the aesthetic element of topeng tua. special characteristics seen from the combination between these concepts are intensity (taksu) and harmony (pangus). conclusion the aesthetic of topeng tua dance is not only reflected in the concept of the artworks worn by the dancers, including the tapel, costume, and the hair colour, but also depends closely to the movement technique of the dancer. in mastering the movement, there are some elements that needs to be cultivated by the dancers. mastering the movement technique or wiraga needs to be optimally developed to establish aesthetics. in bali dance, there are two aesthetic concepts that influence one another, that are taksu and pangus. taksu can clearly be seen by the audiences by seeing the dancer’s intensity, while pangus can be seen from its unified performance. those two aesthetic concepts seem to be universal. references ahimsa-putra, h. s. (2007). etnosains untuk etnokoreologi nusantara. etnokoreologi nusantara: batasan kajian, sistematika dan aplikasi keilmuannya. surakarta: isi press. aryasa, i wayan madra. (1993). materi pokok seni sakral; 1-6; pahd2433 / 2sks. jakarta: direktorat jenderal bimbingan masyarakat hindu dan budha dan universitas terbuka. bandem, i. m. (1980). evolusi tari bali. denpasar: proyek penggalian/pembinaan seni budaya klasik (tradisional) dan baru. bandem, i. m., & i wayan d. (1982/1983). 112 harmonia : journal of arts research and education 15 (2) (2015): 107-112 pengembangan tari bali. denpasar: proyek pengembangan institut kesenian indonesia sub/bagian proyek pengembangan asti denpasar. catra, i. n. (1997). topeng pajegan sebagai ritus kehidupan. mudra jurnal seni budaya, 5(5), 251-265. dibia, i wayan. (2012). geliat seni pertunjukan bali. denpasar: buku arti. dibia, i wayan. (2008). ”tari bali dalam kajian etnokoreologi” dalam r.m. pramutomo (ed.). etnokoreologi nusantara: batasan kajian, sistematika dan aplikasi keilmuannya. surakarta: isi press. mantra, i. b. (1996). landasan kebudayaan bali. denpasar: yayasan dharma sastra. mariasa, i nengah. (2000). i made djimat (1948 -) seorang maestro tari topeng bali di era globalisasi. thesis. yoyakarta: universitas gadjah mada. warna, i w. (1978). kamus bali-indonesia. denpasar: dinas pengajaran propinsi daerah tingkat i bali. 49 banyumasan songs as banyumas people’s character reflection suharto1, totok sumaryanto1, victor ganap2, santosa2 1postgraduate, universitas negeri semarang, indonesia 2institut seni indonesia yogyakarta, indonesia 3institut seni indonesia surakarta, indonesia e-mail: harto1965@gmail.com received: april 21, 2017. revised: may 18, 2017. accepted: december 24, 2017 abstract this study aims to identify a number of legendary banyumasan songs. the fact that a large number of the songs exist and people sing the songs all the time shows that the songs have their own uniqueness. this study takes place in banyumas regency. by doing performance study and composition, this study identifies the form and the structure of banyumasan songs, and the moral value of banyumasan music, especially the songs in banyumasan music. the result of the study shows that the songs in the art performances in banyumas commonly use classic immutable songs. the lyrics in the classic banyumasan songs use ngoko javanese in banyumasan dialect. the rhyme of the lyrics is usually in the form of wangsalan, parikan, and essen-essen. the rhyme contains funny and entertaining riddles. the lyrics of banyumasan songs reflect banyumas people’s character and the dream/utopia of the people’s ideology. the character is shown in the use of ngoko javanese in banyumas dialect which shows that the society is blakasuta or egalitarian who considers all people in the world has the same level and must be honest. keywords: reflection; social culture; blakasuta; senggakan; banyumasan songs how to cite: suharto, s., sumaryanto, t., ganap, v. & santosa. (2017). banyumasan songs as banyumas people’s character reflection. harmonia: journal of arts research and education, 17(1), 151-158. doi:http://dx.doi.org/10.15294/ harmonia.v17i1.6460 harmonia : journal of arts research and education 17 (1) (2017), 151-158 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i1.6460 p-issn 1411-5115 e-issn 2355-3820 le on the way they speak and act, but we can feel the plainness in the song lyrics. it is very contrast to the fine art of the palace. does this reflect the people’s character or is it the type of musical instrument material which forces the people to play the instrument that way? on the level value, the value developed by banyumasan songs is not quite different from high-leveled culture. with its own special characteristics, banyumasan songs do not seem to undergo any changes on its characters, especially on the language used in the lyrics. how the songs follow the banyumas people’s condition can be seen on the song structure, lyric character (the language style), and the way they are performed. these are interesting things to be investigated. introduction there are many values we can dig from the art performances in banyumas, especially lengger art (a traditional dance) and ebeg (horse braid), starting from the game patterns, the kind of the music used, the song type, and when and where the performances are held. the songs sung in lengger performance are different from the songs used in rituals, like earth alms and sea alms. similarly, the songs used as background music in ebeg are also different. the way calung played and the lyrics of the songs in banyumas language creates its uniqueness. there is a rough feel of the game reflected the character of the peopharmonia : journal of arts research and education 17 (1) (2017): 151-15850 in the context of javanese cultural development, banyumas is often considered to be a marginal area (koentjaraningrat, 1984) which connotes to being rude, left behind, and uncivilized if we compare it to more developed culture in the negarigung area (where the power of palace authority exists) which is inspired by the adiluhung concept. banyumas culture or banyumasan appears as folk culture developed in the proletariat, away from the hegemony of palace life. basically, banyumas culture cannot be separated from javanese culture. however, because of its condition, the geographical location which is away from the palace authority, and the life background and banyumas people’s view of life which shows the spirit of citizenship, banyumas culture is different from its root culture. banyumas culture was a product of old javanese culture combined with the local culture. on its development, banyumas culture was affected by new javanese culture, sundanese culture, islamic culture, and western culture. the elements of old javanese culture (ancient javanese and middle-aged javanese culture) were affected by indian culture (hindu and buddha) had been long spread away by a pastor named aji saka. the cultural treasures had been developed in villages as a form of local genius and an integral part of an underprivileged community. priyadi’s study (2007) shows that banyumas people has a special character called cablaka. cablaka is the main character of banyumas people. blakasuta, thongmelog, or cablaka express same meanings, that is being frank when speaking. banyumas people with its banyumasan dialect have built an egalitarian culture which recognizes the equality between citizens. it affects the way they speak. the song lyrics in banyumas calung also shows the egaliterian culture. the song lyrics and the way they sing the banyumasan songs in lengger performance cannot be separated from the characteristics. the language used which is considered rude reflects the way people live their life. the same thing is shown in the way people sing the songs and the musical instruments. the musical instruments made of bamboo but played like bronze musical instruments create different sound character; this means the way people play the bamboo musical instruments are different so they can have similar sound as the bronze one. it shows people’s modest and practical way of thinking. behind the modesty of the musical instruments played, the songs, the language, and the way it is performed, lengger has the value of local wisdom which needs special attention. meliono (2012) states that the local wisdom in banyumas lengger includes religiosity, harmony, togetherness, and aesthetics. in his study, he describes that the local wisdom exists on the performance elements, like belief, art, language, knowledge, organization, economic system, and technology. the lyrics of banyumasan songs are in javanese and use banyumasan dialect reflects the banyumas people’s characters which can be their local wisdom. it is proven by the fact that the songs have existed for years. banyumas people never get bored to listen to the songs by listening, singing, and dancing when the songs are performed in music performances like lengger, ebeg, or other arts in banyumas. banyumasan gendhing has three unique forms: wetanan (surakarta and yogyakarta style), banyumasan, and kulonan (sudarso, 1999, p.120). those three forms can be seen from the form of the gendhing, the way people beat the instrumens (garap ricikan or instruments) and garap gendhing (darno, 2006). darno (2006) states that it is important to revitalize the unique banyumas music, so he reconstructed banyumasan garap gendhing which is usually performed in music performance in banyumas, like ricik-ricik, sekar gadung, blendrong manis, senggot, etc. his study was inspired by the academicians’ worries on the disappearance of the genuine banyumasan style because of the strong effect of sundanese music. another study on banyumasan musuharto, et al., banyumasan songs as banyumas people’s character reflection 51 sic was done by yusmanto (2006). in line with darno, yusmanto tried to find the identity of banyumas culture through the calung music in his research entitled calung (kajian identitas kebudayaan banyumas). yusmanto reveals how the identity is represented in calung music performance and its relation to the social life of banyumas people. this paper will present some elements of songs that reflects banyumas people’s character. the elements include the song presentation on art performances, like lengger, ebeg and other banyumas arts. method this study takes place in banyumas regency. by using performance study and composition, this study identifies forms and the structure of banyumasan songs, the moral values of banyumasan music, especially songs in banyumasan music and its relation with banyumas people’s character. the data were taken by doing observation, interview, and document study. content analysis of the songs available on performance videos and audios to analyze the music, form, and the song lyrics. interactive analysis by miles and huberman is also done to analyze the relationship between the songs, the music performed, and banyumasan music and songs. result and discussion banyumas people’s character banyumas people are known as frank people (cablaka, blakasuta). the historical background is believed to be the reason of banyumas people’s character as it was a mixed between sundanese and javanese (priyadi, 2015). cablaka has become the central point of its cultural system which means cablaka has become valuable value in banyumas people’s life (priyadi, 2018, p.159). banyumas language used by people in banyumas is from javanese with banyumas dialect. it is believed that it was from original ancient javanese called jawadwipa. the original javanese is the one which has not undergone changes like new javanese. the new javanese is used by the javanese people in the east part, used by people who live in the palace and its neighborhood, like in yogyakarta or surakarta. the society is called nagarigung javanese. on the other hand, banyumas people is called mancanagari kulon society. the language used by the people who live near the palace have some levels, depending on their position in the society. it was created to differ the people’s position in the society. while mancanagari kulon society does not recognize levels in the society. therefore, the language used in the society is considered rude. generally, for banyumas people, one will feel more respected if s/he calls her/his interlocutor by name. it can be seen in their daily life. they call themselves inyong and ko, kono, and kowe, or rika to call others. campaigns of standard javanese were done intensively by the kings of south central java kingdoms to the elite traditional people. however, banyumas people still use banyumas accent called ngapak language in their daily life. soegito, a banyumas cultural figure, states that although banyumas people speak ngapak language, it does not mean that they do not know undak-usuk (levels of language use). they do have levels of language use and use it in their daily life, like when they speak to elder people, respected people, and in a formal banyumas traditional event or other cultural bnayumas events. he does not agree when people use ngoko banyumas language on language day to speak to everyone (the interview was done on 12 december 2015). cablaka is a spontaneous character established by banyumas people to phenomena they see without any disguise. cablaka is banyumas person’s character which always tells the truth. this means banyumas people like to say whatever they see without hiding anything. because of this, other people from other area think that banyumas people do not know ethics, harmonia : journal of arts research and education 17 (1) (2017): 151-15852 straightforward, and even rude. this supposition is normal as the way banyumas people speak with their cablaka style sometimes hurt other’s feeling, especially those who do not understand their style, sensitive, even to among banyumas people themselves. their way of banyumas people speaking like penjorangan, semblothongan, glewehan, or brecuh is sometimes too much as embodiment of cablaka. banyumas people do not consider this as a problem. therefore, cablaka should be considered as a frank speaking , open minded, friendly, or free expression in stating something without any disguises (tanpa tedheng aling-aling). mr. bawor mentioned an example of song called “eling-eling”. he states that this song describes more about banyumas people’s life. it describes the philosophy of banyumas people that only to god we can comply, while we are at the same level with others. we have to know our identity as god’s creature. “eling-eling” song tells a lot about the condition. the lyric of “senggot” song tells about honesty which is in line with blakasuta character (act as it is) of banyumas people and persuading others to always be honest. banyumas people’s life which tends to be egalitarian puts everyone on the same levels. therefore, they always use inyong and kowe or ko or kono or rika in banyumas dialect. they do not use sapa sira sapa ingsun which tends to be more feudalistic, which puts people on different levels: high and low. thokmelong is the way they create friendliness to others although they are not from banyumas (padha-padha or wonge dhewek). this does not mean that they want to show over friendliness and have negative aims behind it because they never use close relationship with others for their own interest (priyadi, 2015). literary value in banyumasan songs cakepan is one form of literature in the lyric of sindhenan; the lyrics or texts used by sindhen or javanese singer in karawitan. cakepan tells about human life: advice, character education, family life, life guidance, etc. cakepan in banyumas also tells about those things. although they are not many in numbers, banyumas cakepan sindhenan tells advice, ideology, and dreams or utopia. utopia is the dream of an ideology. the ideology is local, used only by the banyumas people in the area, especially javanese and native banyumas people or panginyongan. “eling-eling” song reminds us to always be aware and remember god. only to god we should be respectful, while to other people, we are at the same level. another example is “gunungsari” song. this tells about a dream country, like the meaning of “gunungsari” which means happiness as high as a mountain. some kinds of cakepan in banyumasan songs are wangsalan, parikan, isen-isen, and other kind of cakepan which uses beauty, especially the recent songs which are in free form of cakepan. wangsalan is a song lyric in the form of cangkriman (quiz or riddles) which answer is available in the content. parikan is a poetic lyric which has sampiran(question) and isi (answer) in one stanza. there are two forms of parikan: stanza of two lines and four lines. isen-isen is certain phrases used to fill the gap on the free part of wangsalan or parikan. it should also be used in jalungmas dance creation. wangsalan wangsalan is a kind of javanese literary work especially in the west part of central java, including banyumas, brebes, and cirebon. wangsalan used in banyumasana songs and tarling cirebon gives cheerful feeling. songs with sigrak use funny lyrics as it has funny but beautiful ridlles. it is beautiful because it is a literary work. the same sounds occurring in the phrases used create beauty and fun. this character shows that banyumas people tend to like cheerful songs. wangsalan is a kind of song which sentences only consist of two phrases, containing riddles and the answer itself. because it is a riddle, we have to find the answer by connecting the words in the sentence (waridi, 2002: 127-128). budiarti mentions four kinds of wangsalan: wangsasuharto, et al., banyumasan songs as banyumas people’s character reflection 53 short or too long phrase, the pesindhen can cut or repeat the phrase twice or three times to make it fit to the beat of the song. parikan parikan is a simple poetic lyric in javanese which has two lines (phrases) with the same sounds at the end of its line. banyumasan javanese music (gendhing) usually uses parking and wangsalan. besides that, there are some gendhing using poetic lyrics, for example: gendhing renging manis, bendrong kulon, ijo-ijo, malang dhoi, and dhober (budiarti, 2017). the following is the example of parikan. nandur jahe, ning galengan kono bae, nggo delengan (growing ginger in the field, only you we will see) dina minggu ora prei, ditunggu-tunggu ora diwei (it is sunday but it is not a day off, we are waiting, but nobody gives it to us) kiwa tengen, nyangking ember tamba kangen, lungguh jejer (bringing pails on the right and the left, sitting together is the cure of lonesome) awan-awan diundang mauludan, sega goreng lawuhe tempe kapan-kapan nyong keturutan, bisa gandeng karo sliran (afternoon invitation for a party, fried rice with tempe as side dish one day my dream will come true, i can walk holding your hand) the most important thing of singing parikan is the happy tone. the happy tone can appear in happy songs. parikan can stand on its own as song lyrics or as senggakan (interjection) in the middle of songs or gendhing. musical elements: senggakan and crowded concept senggakan comes from the word senggak which means nyuwara gijak arame mbarengi (making connection) unining gamelan lan lamba, wangsalan rangkep (camboran), wangsalan memet, and wangsalan padintenan. of those four, banyumasan songs are included in the form of wangsalan lamba and rangkep. wangsalan lamba has only one answer, while wangsalan rangkep has more than one answer consisting of two phrases. the first phrase is the question and the second is the answer. the following is the example of wangsalan. roko cendak, neges-neges ana apa. roko cendak = tegesan janur gunung (aren), sakulon banjar patoman janur gunung = aren; sakulon banjar patoman = tasik malaya kadingaren = wong bagus gasik tekane suket latar, celulang ciut godonge (teki) suket latar celulang ciut gidhone = teki aja dengki wong urip bareng sak bumi on the part of “ricik-ricik” song, the phrase “janur gunung, sakulon banjar patoman” is a question which answer we can find on the next phrase. the phrase “kadingaren, kadingaren wong bagus gasik tekane” is the answer of the riddle in previous phrase. the word “janur gunung” in banyumas language means “aren” which appears in the answer phrase “kadengaren” which has the same sound as ‘aren’ in the end of the word ‘kadengaren’. while banyumas people know banjar patoman as tasik, a district in west java. therefore, the phrase ‘banjar patoman’ is answered on the answer phrase “wong bagus gasik tekane” where “gasik” is slipped of the word “tasik”. slipped words for javanese people including banyumas is usually in the form of the same sound at the last phrase or word of a parikan. the form of wangsalan used in “janur gunung, sakulon banjar patoman/ kadingaren wong bagus gasik tekane” is the most popular wangsalan in banyumas. it is usually used by pesindhen to fill lyrics of other songs, like “ricik-ricik” and of one kind. it can also be used to change any song lyrics, if the pesindhen forget the lyrics they sing. they are free to apply this. if they find too harmonia : journal of arts research and education 17 (1) (2017): 151-15854 (sindhen) (making sound to make connection with the sound of gamelan or sindhen. senggakan gives crowded impression (budiarti, 2017). senggakan means singgle or choir sound using cakepan parikan and or a series of words (although sometimes they do not have meaning), even they sound vulgar (rude), the only function is to create crowded situation in performing a gendhing. senggakan is universal which means it can be done by male or female dancers, sindhen, penayagan, or even the audience. it is done spontaneously as a form of self-actualization in the frame of gandhian or performance (murwaningrum, 2012, p. 141). it is very flexible which means it can be translated by anyone in any way as long as the meaning is logic and contextual. senggakan in gendhing banyumasan is as vocal gendhing, as the performance will tend to be quiet (budhiarti, 2017). senggakan used in banyumasan gendhing is senggakan without songs; it follows the pattern of drum beat and senggakan pematut. senggakan without a song is usually used when the flow of the rhyme is good and inline with the rhyme of sabetan balungan. cakepan used usually in the form of the syllable, like ‘ut, ho, oh, eh, ah, yah” etc. senggakan in banyumas music is a symbol of freedom expression of banyumas people. senggakan creates a crowded situation, cheerful, and sometimes vulgar as an artistic expression of their freedom, equality, and honesty (interview with sugito, december 2015). in puppet show, we can feel crowded situation instead of its basic rules, so the audience and the puppeteer can measure the success of the performance from the number of audience watching the puppet show. figure 1. penayagan who also sings senggakan in sindhenan or gerongan, we will hear senggakan (interjection vocal). it is called interjection because senggakan is usually used as an interjection in the vocal gap. senggakan can consist of one word, or one sentence, or even one wangsalan. in the puppet show by the puppeteer jemblung, for example, senggakan acts as vital interjections because the musical instrument is the vocalists of the show (sukarno, 1998, p. 6). senggakan is one of the elements of banyumasan gendhing. lengger show uses banyumasan gendhing as the back sound. senggakan is sometimes considered as complement in lengger show, but for lengger, sindhen, and penayagan, senggakan is the soul of the show. senggakan creates a rame (lively) situation which becomes the climax of a show. studies on senggakan are still limited. senggakan is like a game. banyumasan senggakan is a game of sound and meaningful/not meaningful words in a gendhing. senggakan as a game is freer and voluntarily done but it should follow the guidelines, which will affect the senggakan pattern. the guidelines are classified in musical factor (textual) and non musical factor (contextual). the musical factor includes gendhing on the show, while non musical factor is the performer, the cultural background, and the show context. senggakan is universal and has various musical pattern. senggakan has energetic and dynamic rhythm, uplifting spirit, and responds to the gendhing/music. word game used in senggakan is in the form of syllables, politic, farming, economy satire, and even sexuality. banyumas people have their own aesthetic taste to see banyumasan senggakan. they think that the more senggakan in a performance, the better it uplifts the spirit, so the lengger performance is more successful. however, good senggakan can influence all performers, lengger, penayagan, sindhen, and audience. senggakan with good quality has a perfect time and text when the singers sing it suharto, et al., banyumasan songs as banyumas people’s character reflection 55 (murwaningrum, 2012, p.141). figure 2. audience expression because of the songs and senggakan one of success indicators of a show in banyumas is the crowded situation. crowded here means noisy or things which will disturb one’s comfort. they also see the crowded situation as a need. rame (lively situation) has a long history in human life (mulyana, 2012, p. 60). we can see this situation in expressing the songs used in lengger, ebeg, or puppet performance. the crowded but lively situation can be created by the singers (pesindhen/penggerong) or niyaga, and the dalang using the senggakan. the audience can also take part in the crowded situation by getting on the stage and nyawer (giving money). besides senggakan, another vocal game similar to senggakan is also used, called isen-isen or abon-abon. abon-abon is used as an intermezzo or complement. some examples of abon-abon used by sindhen are rama, rama-rama, ramane, yo mas, and kakang. the word rama appears not only in isen-isen but also in other banyumasan songs’ lyrics, like in kembang glepang and kulu-kulu. the words appear as a representative of expression which are commonly used in their daily life when they have a conversation. therefore, isen-isen appears in banyumasan songs. conclusion the songs used in art performances in banyumas usually use classical eternal songs. the songs have existed since ten years ago since the lengger performance, puppet show and ebeg appeared. the eternal songs like eling-eling, ricik-ricik, bendrong kulon, renggong manis, etc. show that they will have the same characters. the change only appears on the music which tends to be more cheerful, like banyumas people’s characters. the lyrics of classic banyumasan songs usually use ngoko javanese with banyumas dialect. the lyrics usually use cakepan wangsalan, parikan, and isen-isen. the content of wangsalan is funny and entertaining riddles. sometimes the sindhen or penayaga will create their own cakepan. sindhen or penayaga will also add some song lyrics in their performance, like senggakan and isen-isen to create lively situation. the crowded situation is created by sindhen and panayaga because the success of the performance in banyumas is measured from the crowded situation. if it is crowded, it means that the audience, the guests, or the society likes the performance. the banyumasan songs’ lyrics show the character of banyumas people, and dream/utopia of their ideology. the character can be seen from the language used: ngoko javanese with banyumas dialect which shows that they are egalitarian or blakasuta which sees everyone in the world equal and they have to be honest. the rude and blak-blakan language combined with the sigrak/ dynamic music which sounds more like west javanese especially because of the drum beat. however, banyumas people still use some levels of language in the song lyrics if the songs are in the form of a dialogue between the elderly to the young, they use a mixed of krama and ngoko language. in general, banyumasan songs’ lyrics are fresh and funny. this is the effect of wangsalan used in the song (riddles/ cangkriman), parikan (javanese poetic lyric which has satire meaning), and the utopia of their ideology which is always fun so it creates fun. the funny impression from the senggakan is done by performers, like sindhen and penayaga. the senggakan is soharmonia : journal of arts research and education 17 (1) (2017): 151-15856 metimes vulgar. the words used in senggakan can also create fun followed by a dance move from lengger. references budhiarti, m. 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(2007). budaya indonesia: kajian arkeologi seni dan sejarah: jakarta: rajawali press. waridi. 2002. jineman uler kambang: tinjauan dari beberapa segi. jurnal pengkajian dan penciptaan seni, 1(1). sukarno, y. (1998). singing round the table: vocalized wayang abd gamelan in jemblung/purwacarita. balungan a publication of the american gamelan institute, 6(1-2), 3-11. 147 konsep kepesindenan dan elemen-elemen dasarnya muriah budiarti jurusan karawitan isi surakarta, jalan ki hajar dewantara surakarta e-mail : muriahbud-isi@yahoo.com abstrak sindhenan merupakan bagian kesatuan dengan karawitan dalam rangka meningkatkan rasa estetik. sindhenan adalah olah vokal mengikuti irama musik gamelan dengan teknik penyuaraan yang khas yang didasarkan konsep estetika jawa. teknik penyuaraan meliputi, teknik luk, wiled, gregel, angkatan, seleh dan teknik pernafasan. konsep sindhenan yang berkualitas dikenal dengan sebutan nggendingi, mencakup mungguh, ngledheki, lelewa, pas, ngenongi, nggandhul, selingan, dan andhegan. olah vokal yang dilakukan pesinden melalui pelatihan yang lama berulang-ulang menyesuaikan dengan laras gamelan yang dibunyikan. beberapa pesinden adakalanya melakukan gerak serta sikap yang menarik. pesinden untuk asambel dan iringan pakeliran lazimnya mengutamakan warna suara, teknik penyuaraan dan vokabuler penguasaan kalimat lagu. pesinden dituntut selalu dalam kondisi prima dalam penampilan oleh karena menjadi perhatian penikmat. fungsi utama sindhenan adalah memperkaya nilai estetik dalam pertunjukan. the concepts of kepesindenan and its basic elements abstract sindhenan is a part of karawitan in order to enhance the sense of aesthetics. it is a voice of pesinden following the rhythm of gamelan music with a distinctive voicing technique according to aesthetic concepts of java. the voicing technique includes luk technique, wiled, gregel, angkatan, seleh, and respiratory techniques. the concept of qualified sindhenan is known as nggendingi, including mungguh, ngledheki, lelewa, pas, ngenongi, nggandhul, andhegan, and selingan. the vocal training has been through a long process of training adjust with the rhythm of gamelan music. some of the pesindens sometimes do some interesting motions. pesinden for ansambel and pakeliran performances often give priority to the accompaniment of voice colors, voicing techniques, pronuncing technique of song lyrics. pesinden is demanded in good condition in their performances as they are the main attention of the audience. the main function of sindhenan is to enrich the value of aesthetics in the show. kata kunci: konsep sindhenan; karawitan; teknik; sindhen; gendhing; senggakan; cengkok; tembang pendahuluan dalam pertunjukan yang melibatkan musik gamelan, terdapat olah vokal yang dilakukan oleh pengrawit putra maupun putri. kebutuhan olah vokal merupakan bagian yang berkaitan erat dengan kualitas seni pertunjukan. jarang ditemui dalam kehidupan masyarakat musik karawitan baik untuk iringan pakeliran, asambel maupun komposisi yang tidak melibatkan vokal. instrumentalia musik gamelan harmonia, volume 13, no. 2 / desember 2013148 kebanyakan terjadi pada festival musik yang sifatnya sudah ditentukan atau juga pada proses berlatih memukul instrument gamelan. dalam lomba karawitan putri, suara pensindhen ikut membantu menaikan kadar nilai estetik. vokal untuk jenis suara wanita biasanya dilakukan oleh wanita yang telah terlatih dibidang olah seni karawitan. terdapat juga dalam kalangan terbatas peraga pria yang menjadi pesinden. pesinden priya biasanya relatif terbatas pada gending tertentu dan sifatnya khas seperti untuk adegan bintang tamu. di surakarta terdapat salah seorang pria yang sering melantunkan sindhenan putri seperti wawin laura, biasanya sekedar sebagai bintang tamu, jika untuk keperluan penuh seperti pentas dari awal hingga selesainya pertunjukan hampir tidak pernah terjadi. olah vokal puteri biasanya dikenal dengan sebuatan sindhenan. seorang pesindenh lazimnya merupakan pekerjaan profesional. pada pertunjukan wayang kulit purwa dan ansambel jumlah pesinden relatie banyak, terkadang sampai lima atau lebih. pesindhen yang melantunkan suaranya berupa sindhenan. dalam sejarah lebih dari seratus tahun sindhenan telah dapat dinikmati para penikmatnya. dalam sindhenan diperlukan teknik yang meliputi. teknik penyuaraan meliputi, teknik luk, wiled, gregel, angkatan, seleh dan teknik pernafasan. untuk dapat melaksanakan sindhenan dengan bagus, didaerah surakarta diperlukan konsep sindhenan yang dikenal dengan nggendingi. konsep yang sempurna meliputi mungguh, ngledheki, lelewa, pas, ngenongi, nggandhul, selingan, dan andhegan. semua konsep dan teknik olah vokal harus sudah menyatu dalam diri pesindhen pada saat melaksanakan pertunjukan. permasalahan adalah bagaimanakah teknik sindhenan dan konsep olah vokal dalam pertunjukan? pengertian sindhen pesindhen merupakan istilah yang menunjuk kepada personal atau pelaku yaitu orang yang menjadi peraga, sebagai vokalis utama dalam sajian karawitan, yang kebanyakan peraganya adalah wanita. sesuai dengan kebutuhan sekarang terdapat juga pesindhen pria seperti contohnya wawin laura seorang host dari stasiun televisi swasta surakarta tatv. terdapat batasan umum bahwa sindhen dalam pengertian pesinden adalah sebagai solo vokal puteri yang menyertai karawitan. sebutan lain yang sering digunakan selain pesindhen yaitu swarawati, atau waranggana (sudarsono, 1978: 147), pesinden dengan menari seperti tandhak, tledek, tayub, gambyong, emprak, bedhayan. pesinden dalam penekanannya lebih pada olah vokal, haruslah menarik, enak didengar dan luwes. kehadiran seorang pesindhen merupakan salah satu faktor penentu keberhasilan atau kesuksesan dalam sebuah pertunjukan (sutarno, wawancara 1 juni 2013). melalui kualitas dan profesionalitasnya, seperti karakter, kharisma, virtuositas serta daya tariknya seorang pesindhen mampu menghidupkan sebuah pertunjukan. realitas empirik menunjukkan, bahwa hampir di setiap pertunjukan, baik karawitan konser maupun sebagai karawitan pertunjukan wayang dan sebagainya, kehadiran pesindhen cenderung menjadi fokus perhatian khalayak. pesinden yang mempunyai vokal yang bagus akan membantu dalam penampilan seniman dalang. jenis sindhenan sindhenan adalah materi vokal yang memuat garap ricikan yang di dalamnya terkandung unsur-unsur yang harus diolah dan diterjemahkan lewat bahasa musikal.unsur-unsur itu adalah teks dan lagu. di surakarta sindhenan dapat dibedakan menjadi 2 dua kelompok yaitu sindhenan umum dan sindhenan khusus. sindhenan umum sindhenan umum atau sindhenan srambahan biasanya digunakan untuk nyindheni semua gending dengan menggunakan cakepan, wangsalan, abon-abon atau isèn-isèn dan parikan, sedangkan sindhenan khusus adalah lagu sindhenan atau cakepan yang hanya dapat digunakan unmuriah budiarti, konsep kepesindenan dan elemen-elemen dasarnya 149 tuk nyindheni gendhing tertentu. didalam sindhenan memiliki berbagai konsep dan teknik. konsep-konsep tersebut meliputi mungguh, ngledheki, lelewa, pas, nggandul, ngenongi, andhegan, selingan yang sering disebut nggendingi. sindhenan dalam gending-gending mempunyai unsur penting yang berkaitan antara yang satu dengan yang lain sebagai berikut. unsur teks unsur teks yaitu unsur yang meliputi wangsalan, abon-abon/isèn-isèn, parikan, senggakan, macapat, sekar ageng, sekar tengahan, serta sekar bebas dan unsur lagu yang meliputi irama, laras, cengkok, dan pathet. teks tersebut berupa sastra yang dapat ditafsir sesuai pemahaman dan kepentingan masing-masing pengguna (tafsir ganda). pada umumnya, maksud lagu suatu sindhenan terwadahi dalam bentuk cakepan (teks) yang dapat dipilih dari beberapa alternatif karya sastra yang tersedia. dalam sajian sindhenan gendhing cakepan/ wangsalan yang digunakan isinya ada yang bertema pendidikan, pertanian, kehidupan berumah tangga, petunjuk-petunjuk yang terkait dengan kehidupan sehari-hari dalam bermasyarakat, peristiwa-peristiwa dan situasi di sekitar pentas. berbagai persoalan dan permasalahan tersebut diungkapkan dalam bentuk wangsalan, parikan, pepantunan dan senggakan. dari sekian cakepan yang tersedia tidak diterapkan sekaligus dalam satu sajian gendhing. akan tetapi diterapkan sesuai dengan jenis sindhenan yang masing-masing sindhenan memiliki dasar-dasar penggarapan yang berbeda. berikut ini adalah unsur-unsur teks. cakepan/ wangsalan cakepan adalah suatu kalimat yang terdiri dari satu atau dua frase, di dalamnya mengandung teka-teki, yang jawabannya sekaligus terdapat pada kalimat tersebut. oleh karena sifatnya teka-teki, maka di dalam mencari jawabannya harus menghubungkan kata-kata yang terdapat di dalam kalimat tersebut (waridi, 2002: 127-128). padmosoekotjo dalam bukunya yang berjudul ngèngrèngan kasusastran djawa ii menyebutkan bahwa secara garis besar wangsalan dapat diklasifikasikan menjadi empat jenis, yaitu wangsalan lamba, wangsalan rangkep (camboran), wangsalan memet, dan wangsalan padintenan (padmosoekotjo, 1960: 6). dari keempat jenis wangsalan tersebut yang biasa digunakan dalam lagu sindhenan adalah jenis wangsalan rangkep. wangsalan rangkep adalah jenis wangsalan yang isi jawabannya lebih dari satu, terdiri dari dua frase, frase pertama berisi pertanyaan dan frase yang kedua berisi jawabannya. contoh: wangsalan 8 wanda (suku kata): welut wana kawula amung saderma........ welut wana (ula) kawi sekar den sugih tepa salira .......kawi sekar (puspa) wangsalan 12 wanda: kawis pita kang lata kinter ing toya aja uwas, den sumarah mring hyang sukma catatan: kawis pita adalah maja lata kentir ing toya adalah sarah/ uwuh/sampah wohing aren, pangucape janma nendra dipun eling sabar niring dur angkara catatan: woh ing aren adalah kolangkaling pangucape janma nendra adalah nglindur wangsalan 8 wanda: aran ludiraning wreksa, ywa kapatuh ngumbar karsa catatan: ludarinmg wrekasa adalah tlutuh/getah. kemangi wulung gagangnya den welas asih sasama catatan: kemangi wulung gagangnya adalah telasih abon – abon di dalam sindhenan, abon-abon juga disebut isèn-isèn yang berfungsi sebagai selingan atau pelengkap. di dalam kaharmonia, volume 13, no. 2 / desember 2013150 mus basa jawa (bausastra jawa), abon-abon artinya ubarampé slametan (tim, 2000: 2). kata ubarampé berarti kelengkapan atau pelengkap. abon-abon merupakan teks yang berwujud kata atau kata-kata yang tidak ada hubungan arti kalimat dengan teks pokok (sindhenan), sehingga dapat dikatakan bahwa kedudukannya hanya sebagai selingan. dengan demikian kata abon-abon yang ada dalam kamus bahasa jawa dengan maksud yang ada pada lagu sindhenan memiliki kesamaan arti, yaitu sesuatu yang berfungsi sebagai pelengkap dan sebagai teks tambahan agar dapat mencukupi kebutuhan untuk ukuran satu kalimat lagu, atau satu bagian gendhing. contoh: rama-rama, ya nduk, gones, yomas-yomas, wong kuning, wong manis, bapakne, thole, ramane dhewe, raden, gonas ganes, wicarane, ayem tentrem sawangane, gandhes luwes sasolahe, rompyoh-romyoh sesinome, anteng tajem polatane parikan parikan adalah sebuah kalimat yang terdiri dari dua frase antara akhir kata frase pertama dan ke dua yang mempunyai kesamaan bunyi. contoh: rujak nanas pantes den wadahi gelas, tiwas-tiwas nglabuhi wong ora nggagas rujak degan esih legan ja kluyuran, kudu ngeman ndhak urip dadi cacadan senggakan senggakan memiliki kata dasar senggak yang memiliki arti njuwaragijak aramé mbarengi (njamboengi) oenining gamelan (poerwadarminta, 1939: 557). dari cara penyajiannya, senggakan dalam karawitan memiliki kesan rasa ramé. dengan demikian senggakan dapat diartikan vokal bersama atau tunggal dengan menggunakan cakep an parikan dan atau serangkaian katakata (terkadang tanpa makna) yang berfungsi untuk mendukung terwujudnya suasana ramai dalam sajian suatu gendhing. senggakan ini bersifat sangat lentur, artinya bisa ditafsir oleh siapa saja dengan pengertian apa saja asal logis dan kontekstual. contoh yang berwujud satu huruf hidup: eoe, aea, eoe, aeoeaeo (dalam ladrang gegot, inggah gendhing onang-onang). contoh berujud kata: sayuk rukun, ayem tentrem (dalam ladrang mugirahayu) tembang macapat tembang ini juga sering disebut sekar macapat, sekar alit, atau sekar dhagelan. saputra dalam bukunya yang berjudul sekar macapat menyebutkan, macapat adalah suatu bentuk puisi jawa yang menggunakan bahasa jawa baru, diikat oleh persajakan yang meliputi guru gatra,guru wilangan, dan guru lagu (saputra, 2001:12). jadi sekar macapat atau tembang macapat dapat diartikan sebagai salah satu bentuk sekar (tembang) yang menggunakan aturan guru wilangan dan guru lagu yang sudah ditentukan. masing-masing jenis tembang macapat memiliki jumlah gatra yang berbeda-beda dan untuk membedakan jenis sekar macapat antara yang satu dengan lainnya dapat dilihat dari jumlah gatra, guru lagu, dan guru wilangan. contoh sekar macapat adalah sinom, dandanggula, pangkur, asmarandana, kinanthi, pucung, mijil, gambuh, megatruh, dan sebagainya. sekar tengahan sekar tengahan yang digunakan dalam sindhenan pada sajian gendhing dapat dijumpai pada gendhing-gendhing sekar. sekar tengahan adalah salah satu bentuk tembang waosan kekawin yang memakai sekar (tembang/puisi) yang di dalamnya tidak terdapat aturan lampah dan pedhotan. jenis sekar ini juga disebut tembang tri lagu, yaitu tembang waosan ketiga (waluyo, 1991: 38). salah satu teks yang digunakan dalam lagu sindhenan adalah sekar tengahan. contoh tengahan adalah balabak tinjomaya, laras pelog pethet nem, balabak patranala, laras slendro pathet sanga sekar ageng sekar ageng adalah salah satu bentuk tembang waosan kekawin atau disebut juga muriah budiarti, konsep kepesindenan dan elemen-elemen dasarnya 151 nada-nadanya telah ditentukan. contoh usunan dan pola interval laras slendro: 1 2 3 5 6 i ji ro lu mo nem ji 1= panunggul, 2 = gulu, 3= dhada, 5 = lima, dan 6 = nem. selain 5 nada pokok tersebut juga ada beberapa nama laras atau nada seperti, (1) barang, yaitu nada gembayangan dari penunggul, diberi simbol i dibaca /ji/, (2) manis, yaitu nada gembayangan gulu, diberi simbol angka 2 (angka dua dengan tanda titik di atasnya). terdapat pula susunan/sistem urutan nada-nada yang terdiri dari 5 atau 7 nada dalam satu gembyang dengan menggunakan pola jarak nada yang tidak sama rata. sistem urutan nada ini disebut laras pelog. contoh: pelog nem 5 6 1 2 3 5 6 1 2 3 ma nem ji ro lu ma nem ji ro lu 5 6 1 2 4 5 6 1 2 3 ma nem ji ro pat mo nem ji ro lu pelog barang 5 6 7 2 3 5 6 7 2 3 ma nem pi ro lu ma nem pi ro lu penguasaan dan kepekaan pesindhen terhadap laras itu mutlak diperlukan karena dapat mempermudah dalam mempelajari lagu sindhenan gendhing serta memudahkan dalam membuat luk, wiled, gregel. cengkok cengkok dalam vokal sindhenan diartikan sebagai pola dasar lagu yang berwujud berupa susunan nada-nada yang sudah memiliki kesan rasa musikal. susunan nada-nada inilah yang oleh kalangan pesindhen dimaknai sebagai cengkok sindhenan. perwujudan cengkok vokal pesindhen berbeda satu dengan yang lainnya. perbemaca salagu dan rolagu yang menggunakan sekar (tembang/puisi) yang di dalamnya terdapat aturan lampah dan pedhotan (purbatjaraka, 1954: 16). sekar ini biasa digunakan untuk bawa gendhing, utamanya gendhing surakartan dan yogyakartan. contoh sekar ageng sudirawicitra: lampah 12, pedhotan 5-7 laras pelog pathet nem. sekar bebas sekar bebas adalah bentuk sekar yang tidak terikat dengan guru lagu, guru wilangan, lampah, dan pedhotan. jenis sekar ini disusun bebas hanya untuk keperluan garap sindhenan khusus pada gendhing-gendhing yang disajikan. unsur lagu unsur kedua sindhenan yang sangat penting yaitu “lagu” yang terdiri dari irama, laras, cengkok, pathet. irama supanggah dalam buku yang berjudul bothekan karawitan i, irama dilihat dari 2 sisi yaitu irama yang berhubungan dengan aspek ruang dan irama yang berhubungan dengan aspek waktu (supanggah, 2002: 124). ruang yang dimaksud di sini adalah ruang imajiner yaitu tempat yang masih abstrak sifatnya dan berada di dalam benak pengrawit. irama yang berhubungan dengan waktu dalam karawitan jawa sering diindentifikasikan sebagai waktu perjalanan atau di kalangan musik sering disebut sebagai tempo gendhing/ lagu. tempo dikelompokkan dalam 3 tingkatan tamban (alon), sedheng (sedang), dan seseg (cepet). laras menurut supanggah makna laras adalah sesuatu yang bersifat enak atau nikmat untuk didengar atau dihayati. laras juga dapat berarti nada yaitu suara yang telah ditentukan jumlah frekuensinya (penunggul, gulu, dhada, pelog, lima, nem dan barang). laras juga bermakna sebagai tangga nada/scale/gamme yaitu susunan nadanada yang jumlah dan urutan interval harmonia, volume 13, no. 2 / desember 2013152 daan perwujudan cengkok inilah yang selanjutnya disebut dengan wiled. cengkok memiliki peran penting bagi pesindhen dalm menaksir garap gendhing. perwujudan teknik cengkok yang lainnya yaitu luk dan gregel. pathet pathet dimakanai sebagai suatu sistem yang mengatur peran, tugas dan kedudukan nada pada masing-masing pathet, mengatur ambah-ambahan (register/ambitus) nada atau larasan gendhing,memandu pengrawit untuk masuk pada atmosfer tertentu dan sering terkait dengan waktu tertentu (sore, malam, pagi, siang, dan sebagainya) saat penyajian sebuah gendhing. sindhenan khusus sindhenan khusus adalah sindhenan yang menggunakan teks/cakepan atau lagu khusus. contoh sindhenan khusus antara lain sindhenan gending sekar, jineman, dan sejenisnya. gendhing sekar dalam karawitan tradisi gaya surakarta, dikenal ada beberapa jenis gendhing: gendhing rebab, gendhing gender, gendhing bonang. perbedaan antara gendhing yang satu dengan lainnya terletak pada penonjolan garap ricikan yang tedapat didalamnya. pada jenis gendhing sekar, garap ricikan yang menonjol terletak pada garap vokal (sekarnya). kebiasaan dalam karawitan tradisi jawa, sajian vokal pada gendhing sekar disebut dengan istilah sindhenan gendhing sekar, hal ini dimungkinkan karena teknik garap vokal yang digunakan juga mirip dengan garap sindhen pada umumnya. gending sekar secara etimologi berasal dari bahasa jawa yaitu: “gendhing” dan “sekar”. menurut martopangrawit gendhing adalah lagu yang diatur menuju kearah bentuk yang terbatas pada bentuk kethuk 2 (kalih) ke atas. sementara menurut supanggah, gendhing adalah suatu istilah umum yang digunakan untuk menyebut komposisi musikal karawitan jawa, sedangkan menurut sumarsam, gending adalah komposisi gamelan berstruktur yang berukuran panjang (sumarsam 1991:23). pengertian sekar adalah bentuk puisi tradisi jawa yang dilagukan menggunakan titilaras slendro dan atau pelog, baik sekar ageng, tengahan maupun sekar macapat. contoh gending sekar sinom parijatha dapat dilihat di lampiran. jineman kata jineman dari asal kata jinem mendapat akhiran yang mendapat akhiran an. jinem artinya anteng jatmika (prawira atmojo 1998:145). jineman mempunyai banyak arti, seperti di kalangan istana mangkunegaran istilah jineman digunakan untuk menyebut seorang petugas penjaga ketentraman istana (waridi, 2002: 119). jinem juga berarti tempat tidur, hal ini dimaksudakan sebagai kedamaian, ketentraman dalam tidur. jadi, secara substansi jineman berarti kedamaian, ketenangan, ketentraman. dalam karawitan jawa terdapat 2 macam jineman yaitu, (1) jineman yang bersifat mandiri, dan (2) jineman yang terkait dengan bawa. dalam jineman, baik yang bersifat mandiri maupun yang terkait dengan bawa susunan balungan mengikuti alur lagu. menurut waridi jineman adalah lagu yang terikat pada suatu bentuk gendhing tertentu dengan menggunakan teks wangsalan, isen-isen, parikan yang memiliki keutuhan musikal dan tidak terikat pada suatu bentuk gendhing tertentu yang sajiannya disertai ansambel gadhon (waridi, 2002: 122). teks yang digunakan dalam jineman tidak selalu saja berupa wangsalan, namun bisa juga bagian dari tembang tertentu, baik tembang gedhe, tembang tengahan, maupun tembang macapat. contoh jineman adalah gathik glindhing. teknik sindhenan unsur penting yang terkait dengan teknik-teknik sindhenan yaitu meyangkut teknik luk, wiled, gregel, angkatan, seleh dan teknik pernafasan. muriah budiarti, konsep kepesindenan dan elemen-elemen dasarnya 153 wiled wiled adalah suatu teknik penyuaraan sebagai suatu pengembangan cengkok tertentu dengan variasi melalui satu atau beberapa nada. bentuk variasinya dapat berupa penambahan beberapa nada tehadap cengkok dasar ataupun permainan keras lirih (dinamika) serta pemberian tekanan terhadap nada-nada tertentu. hascaryo mengklasifikasikan wiled menjadi 5 macam, yaitu: wiled dhadhung pinuntir, wiled lunging gadhung, wiled ngombak banyu, dan wiled kodhokan. berikut penjabaran dari macam-macam wilet yang dimaksud. wiled dhadhung pinuntir, yaitu suatu pengembangan cengkok dengan mengadakan penambahan beberapa nada pada bagian atau bagian-bagian tertentu cengkok dasar yang biasanya melalui lintasan yang sangat rumit, berbelit-belit, sehingga cengkok dasarnya menjadi bias. wiled lunging gadhung, yaitu suatu pengembangan cengkok dasar dengan mengadakan penambahan nada di atas atau di bawah nada seleh cengkok dasar secara berurutan kemudian seleh-nya sama dengan seleh cengkok dasar. contoh pada gendhing gunungsari. cengkok dasar 2 3z2x.x c11 turi-ra-wa wiled lunging gadhung 2 3 z3x x2x3x5x x3xx2x.c1 1 tu ri ra wa 2 3 z3x6xx.x5x3x.x5x3x2c1 1 tu ri ra wa wiled ngombak banyu, yaitu suatu pengembangan cengkok dasar dengan mengadakan penambahan satu nada di bawah nada seleh dan diikuti nada seleh cengkok dasar dengan cara diulang-ulang dengan seleh sama dengan seleh cengkok dasar. wiled kodhokan, yaitu suatu pengembangan seleh cengkok dengan mengadakan tekanan pada tiap pergantian nada dengan cara menghilangkan perpanjangan suara menjelang akhir pernapasan. pada wiled kodhokan, tanda koma (,) menunjukkan pernapasan pada tiap-tiap nada. teknik luk luk adalah suatu teknik penyuaraan suatu pengembangan dari cengkok tertentu dengan mengadakan tambahan satu atau dua nada di atas atau dibawah lintasan cengkok dasar ataupun berupa nada yang berjarak satu nada atau lebih yang merupakan satu kesatuan. cengkok j.2 j3j 2 j1j jj 2 j3j 33 go nas ganes-wi ca-rane luk nduduk j.2 j3j 2 j1j jj 2 j3j 23 gonas ganes – wi ca-rane teknik gregel teknik gregel adalah suatu teknik penyuaraan sebagai pengembangan dari cengkok tertentu dengan mengadakan pengolahan terhadap satu nada yang digetarkan dan nada itu biasanya dua nada diatas nada lintasan (sebelum seleh) atau nada seleh cengkok. cengkok dasar 3 3 2 5 3 1 z2x1cy y panggahala buh nega ra luk jujugan 3 3 3 3 3 3 ˜˜ 2 5 3 1 z2x˜x˜xx1cy y pra-ta-runa panggaha-labuhnaga ra teknik angkatan angkatan dimaknai sebagai suatu teknik penyajian vokal sindhenan yang menunjuk pada tempat dimulainya sajian teks pada suatu gendhing. tenkik ini oleh kalangan pesindhen dianggap hal yang sangat penting, karena merupakan salah satu faktor yang menentukan estetika dalm sindhenan. gitosaprodjo merumuskan angkatan sindhenan sebagai suatu teknik vokal sindhenan yang berdasarkan jumlah suku kata dan irama sajian gendhing. sesuai dengan pengertian ini maka menyajikan teknik angkatan sindhenan akan sangant harmonia, volume 13, no. 2 / desember 2013154 berhubungan dengan garap gendhing secara keseluruhan. unsur garap gendhing seperti irama, laya, dan ritme adalah bagian yang sangat penting bagi seoarang vokalis (sindhen) ketika menyajikan angkatan sindhenan. dalam teknik angkatan terdapat beberapa irama seperti irama dados dan irama tanggung seperti terlihat dalam pola irama pada gambar 1 dan gambar 2. teknik seleh kata seleh bermakna meletakkan atau menaruh. pada pengertian yang lebih spesifik kata seleh sering difungsikan dalam dunia karawitan yakni garap sajian instrumen baik yang berbentuk melodi, cengkok atau ritme menuju pada nada tertentu. sebagai contoh dalam vokal cengkok“ayu kuning” 6 ! # @ 6 3 2 1 susunannada-nada membentuk melodi yang di arahkan ke nada 1. tempat yang dituju adalah nada akhir pada akhir gatra/lagu. dengan demikian selehyang dimaksud dalam konteks ini adalahnada akhir pada suatu lagu atau nada akhir pada tiap-tiap gatra. di dalam vokal sindhenansrambahan, kata seleh digunakan untuk menunjuk pada tempat sasaran atau tujuan akhir dari sajian suatu cengkoksindhenan. sama halnya teknik angkatan, teknik seleh merupakan hal yang sangat penting di dalam sindhenan, teknik angkatan dan seleh saling berhubungan serta tidak dapat dipisahkan. setiap angkatan pasti akan menuju pada sasaran yaitu seleh. teknik pernafasan pernapasan yang dimaksud adalah letak pemenggalan pada cakepan yang disajikan dalam teknik sajian vokal sindhenan. teknik ini pada dasarnya dilakukan oleh pesindhen dalam mengatur pernapasan dalam rangka membangun keutuhan pada setiap menyajikan cengkok-cengkok sindhenan. pernapasan mempunyai pengaruh besar terhadap karakter sindhenan, karena dengan napas dapat membentuk gambar 2. irama tanggung gambar 1. irama dados muriah budiarti, konsep kepesindenan dan elemen-elemen dasarnya 155 berbagai jenis karakter cengkok sesuai dengan keinginannya. dengan mengatur pernapasan yang tepat dan penuh dengan kesadaran akan kegunaan dalam setiap penempatannya, maka teknik pernapasan pada sajian sindhenan dapat menghasilkan estetika bunyi vokal yang lebih dinamis. teknik pernapasan digunakan juga sebagai sarana mencermati alur lagu atau ide musikal ricikan lain yang diacu, serta mencermati nada seleh yang dituju. berkaitan dengan berbagai fungsi pernapasan, maka sangat memungkinkan teknik-teknik pernapasan untuk mengolah berbagai unsur sindhenan baik dalam mengolah ritme, volume, gregel, luk, dan cengkok. konsep sindhenan terdapat berbagai macam konsep dalam sindhenan sehingga jika dilakukan akan dikenal dengan sebutan nggendingi. konsep sindhenan antara lain mungguh, ngledheki, lelewa, pas, ngenongi, nggandhul, selingan, dan andhegan. penjelasan secara singkat sebagai berikut. mungguh di kalangan karawitan jawa dimaknai sebagai kesesuaian garap dengan konteksnya. dalam sindhenan kerja semacam ini sangat penting karena dengan konsep mungguh ini tujuan dari penggarapan gendhing secara total akan tercapai. mungguh juga berkaitan dengan karakter gendhing dan karakter suara. ngledheki seorang sindhen dengan bekal suaranya bisa menarik perhatian pengagumnya. menarik di asini dapt dicapai dengan beberapa cara yang salah satunya adalah dengan mengolah wiledan sesuai dengan karakter gendhing yang disindheni. lelewa digunakan untuk menyebut karakter suara dan cara melantunkan vokal baik pria maupun wanita. khusus untuk sindhenan pengertian lelewa ini berkaitan dengan karakter suara dan cara seorang pesindhen dalam mengolah dan melantunkan vokal sindhenan. disadari atau tidak lelewa sudah dengan sendirinya ada pada setiap pesindhen. pas pertama, pas artinya seleh akhir sindhenan yang harus bersamaan dengan balungan seleh yang dituju (harus tepat). kedua, pas dalam arti cengkok sindhenan sesuai dengan karakter gendhing yang disindheni-nya ketiga, pas dalam arti tempat yatu penempatan teks yang digunakan sesuai dengan kelaziman yang berlaku, wangsalan ditempatkan pada posisinya, abon-abon difungsikan sebagai selingan. ngenongi seleh sindhenan yang tidak bersamaan dengan seleh nada atau disebut mleseti.mleseti adalah seleh sindhenan yang terletak sedikit dibelakang nada seleh balungan. hampir semua jenis sindhenan srambahan (umum) selalu menggunakan teknik ini. nggandhul sindhenan yang mengikuti alur lagu instrumen atau ricikan yang diacu (rebab, kendhang, gender barung, bonang barung, balungan). istilah nggandhul sebenarnya lebih berkonotasi negatif karena ditujukan kepada pesindhen yang kurang menguasai gendhing dan membaca notasi. meskipun berkonotasi negatif, tetapi teknik nggandul pada kasus tertentu dibutuhkan pesidhen ketika nyindheni gendhing. dampak dari sindhenan nggandhul adalah sindhenan nglewer. selingan selingan dalam sindhenan biasa digunakan untuk menyebut garap gendhing saat digarap mandhek. pada umumnya ketika gendhing digarap mandhek selalu disajikan sindhenan ambegan ( gawan gendhing/ gawan cengkok). pada umumnya andegan selingan diambil dari sekar macapat. pada saat menyajikan andegan selingan inilah pada umumnya para pesindhen memiliki kesempatan untuk menampilkan keboleharmonia, volume 13, no. 2 / desember 2013156 hannya dengan mengolah luk, wilet, dan gregelnya. maka di dalam masyarakat karawitan jawa terdapat pemahaman tentang perbedaan teknik penyajiannya ketika sekar macapat disajikan sebagai waosan dan difungsikan sebagai andhegan selingan. andhegan andhegan/mandheg dimaknai sebagai sajian gendhing yang digarap berhenti pada tempat tertentu tetapi bukan berarti telah selesai melainkan leren/istirahat. ketika gendhing leren, sindhenan yang mengikuti irama gamelan itulah yang dimaksud dengan andhegan. sebutan nggendhingi, dimaknai sebagai interpretasi seorang pesindhen terhadap sajian gendhing yang bisa membangun kualitas estetika gendhing yang digarapnya. di dalam masyarakat karawitan tradisional jawa seorang pesindhen disebut nggendhingi apabila vokal sindhenannya sudah mampu berperan membangun kualitas estetika gendhing. oleh karena itu pesindhen yang dikategorikan nggendhingi apabila semua konsep sindhenan yang ada sudah kasarira atau menyatu pada diri pesindhen. konsep nggendhingi pada umumnya digunakan untuk mengkatagorikan pengrawit dan vokalis termasuk pesindhen yang sudah memiliki virtuositas kesenimanan tinggi. simpulan di daerah surakarta terdapat dua jenis sindhenan yaitu sindhenan umum dan sindhenan khusus. sindhenan umum atau sindhenan srambahan biasanya digunakan untuk nyindheni semua gendhing dengan menggunakan cakepan wangsalan, abonabon atau isèn-isèn dan parikan, sedangkan sindhenan khusus adalah lagu sindhenan atau cakepan yang hanya dapat digunakan untuk nyindheni gendhing tertentu. di dadalam sindhenan memiliki berbagai konsep dan teknik. konsep-konsep tersebut meliputi mungguh, ngledheki, lelewa, pas, nggandul, ngenongi, andhegan, selingan yang sering disebut nggendingi. sindhenan dalam gendhing-gendhing mempunyai unsur penting yang berkaitan antara yang satu dengan yang lain.unsur yang saling berkaitan adalah unsur teks,dan unsure lagu. dalam sindhenan diperlukan teknik olah vokal tertentu. teknik penyuaraan meliputi, teknik luk, wiled, gregel, angkatan, seleh dan teknik pernafasan. semua konsep dan teknik olah vokal harus sudah menyatu dalam diri pesindhen pada saat melaksanakan pertunjukan. daftar pustaka budiarti, m. 2006. kehadiran suryati dalam dunia kepesindhenan gaya banyumas. tesis tidak dipublikasikan: program pascasarjana institut seni indonesia surakarta. jazuli, m. 2009. popularitas sinden. harmonia : jurnal pengetahuan dan pemikiran seni. vol. 9 no. 2 hal. 85-94 purbatjaraka. 1954. kapustakan jawi. jakarta: jambatan. padmosoekotjo. 1960. ngèngrèngan kasusastran djawa ii, yogyakarta: hien hoo sing. saputra. 2001. sekar macapat. jakarta: wedatama widya sastra. sudarsono, dkk. 1978. kamus istilah tari dan karawitan jawa. jakarta: proyek penelitian bahasa dan sastra indonesia dan daerah. supanggah. 2002. bothekan karawitan i. jakarta : mspi. tim penyusun balai bahasa yogyakarta, 2000. kamus basa jawa, (bau sastra jawa), yogyakarta: kanisius. waluyo. 1991. dokumentasi bawa gawan gendhing bapak sastro tugiyo. laporan: penelitian stsi surakarta. waridi. 2002. jineman uler kambang: tinjauan dari beberapa segi. jurnal pengkajian dan penciptaan seni, vol. 1 no. 1. 149 an analysis of spatial construction in pictorial art from the perspective of formalism feng hanping, safrizal shahir universiti sains malaysia, malaysia submitted: 2023-02-07. revised: 2023-05-02. accepted: 2024-01-02 abstract “space,” as a fundamental conceptual term, has been frequently and widely applied within various disciplines, such as sociology, architecture, philosophy, math, art, and so forth. in pictorial art, the term “space” is often used as a lens to understand specific concepts or artworks. this study aims to explain and describe pictorial spatial construction in paintings by applying various approaches. however, in the field of formalist analysis over the past century, except for a few formalist critics who have engaged with pictorial space, few have attempted to use creative methodologies to systematically analyze how pictorial space is constructed in the painting, particularly in works by contemporary painters. therefore, to fill in this lacuna in the research, this study utilizes new formal analytical methods to analyze and explain spatial construction in paintings. in terms of the method of analysis, this study analyzes a sample of western contemporary paintings and utilizes the approaches of the overlap of the abstract and the figurative, parallel narratives existing in multiple spaces, and the juxtaposition of different material dimensions, respectively, to rethink the method of spatial construction in the painting. the result concludes that paintings are an essential research object within visual art. the construction of image space is rich and includes multiple layers of meaning. the overlapping of abstract space (sensibility) and figurative space (rationality), as well as the coexistence of this contradictory system, enables artists to discover more possibilities when creating works and effectively enrich visual effects and textures in their paintings. keywords: spatial construction; pictorial art; perspective of formalism; formal analysis how to cite: hanping, f., & shahir, s. (2024). an analysis of spatial construction in pictorial art from the perspective of formalism. harmonia: journal of arts research and education, 24(1), 149-157 harmonia: journal of arts research and education 24 (1) (2024), 149-157 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v24i1.42152 history. in his renowned work, “the story of art” (1995), gombrich highlighted filippo brunelleschi’s discovery of linear perspective during the early 15th century, a breakthrough that empowered painters to convey space on a two-dimensional plane (gombrich, 1995, pp. 226–228). similarly, in “cézanne: a study of his development” (2018), fry noted cézanne’s use of cylinders and cones as tools to interpret the world, laying the groundwork introduction formalist analysts, including prominent figures such as jacob christoph burckhardt (1811–1897), alois riegl (1858– 1905), heinrich wölfflin (1864–1945), e. h. gombrich (1905–2001), roger fry (1866–1934), clive bell (1881–1964), and clement greenberg (1909–1994), have played pivotal roles in shaping the study of art and the development of western art corresponding author: e-mail: safrizal@usm.my p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 24 (1) (2024): 149-157150 for innovative spatial constructs in painting (fry, 2018, p. 8). cézanne’s influence resonated through picasso, who, inspired by these concepts, spearheaded the cubist movement, fundamentally altering traditional illusionist paintings by redefining the spatial dimensions (francina, 1982, p. 124). in “modern art and modernism” (1982), francina asserted that by the end of 1911, cubism had revolutionized traditional illusionist paintings, reducing fictive depths to a level nearly indistinguishable from the actual paint surface (francina, 1982, p. 124). additionally, in “glossary of art architecture & design: since 1945,” walker (1977) discussed david hockney’s exploration of human vision. hockney employed a polaroid camera to capture the same scene from different angles and times, creating a composite image that offered a dynamic view of the same plane (walker, 1977, p. 250). while these formalist critics approached spatial evolution subjectively and observationally, this study aims to delve into spatial construction in pictorial art from a more formalized perspective, including emotional form, narrational methods, and material usage—dimensions influenced by formalist critique. to contextualize this analysis, it is essential to briefly summarize the historical evolution of formalism (dziemidok, b., 1993). formalist critics have traditionally examined spatial evolution in paintings from subjective, observational viewpoints (ekman, r., 1970). however, this study diverges by adopting a more formalized approach, considering emotional form, narrational methods, and material usage in the analysis of spatial construction. influenced by formalist critique, these aspects provide a nuanced understanding of how artists manipulate space within the pictorial realm (pinotti, a., 2012). there is no unified definition of space. space is defined in different ways depending on the discipline. for example, in astronomy, space is the area beyond the earth’s atmosphere. in physics, space refers to the three-dimensional area in which all matter exists. in philosophy, space is the concept of the void or emptiness. each definition of space is valid in its own context and helps us understand the world around us in different ways. in the field of painting, analyzing artworks reveals that different times and cultural backgrounds produce different understandings of painting space (parsons, g., 2004). for instance, dunning, in changing images of pictorial space: a history of spatial illusion in painting (1991), tells us that cimabue (1240–1302) was the first painter in a thousand years to largely unify the spatial composition of his paintings and create an illusion of some volume (dunning, 1991, p. 12). he made the first crucial move in reweaving and depicting the depth of the illusion’s components. this demonstrates that medieval painters used pictorial space to create and construct visual illusions on two-dimensional planes. this method, which creates a visual illusion by manipulating sensory perception, continued for hundreds of years. by the modernist period, painters were no longer preoccupied with constructing and defining pictorial space by creating illusions. for example, barnett newman (1905–1970) stated, “a painter is a choreographer of space” (michael, 2013, p. 373). indeed, the final presentation of space in an artwork depends on the artist’s unique arrangement of elements, expression of emotions, and use of various tools and materials. in other words, painting space, in contrast to the real environment, is a space that is meticulously laid out through various marks on the canvas made by the artist’s hand (curtin, d. w., 1982). in the painting, the artist’s intention, scene structure, and aesthetic judgment are expressed through a visual mechanism in an orderly manner. thus, spatial construction in paintings was no longer limited by illusion; instead, it became highly subjective, variable, and multifarious, especially with the advent of french impressionism. the construction of the painting space has undergone the historical process of representing the objective by creating the illufeng hanping et al., an analysis of spatial construction in pictorial art from the perspec151 sion of depth to represent the subjective through the rearrangement of different visual mechanisms. in short, the definition of painting space is not a fixed concept; it will change with the artists’ times and ideas (thomson-jones, k., 2005). method it is necessary to briefly review the history of formalism because this study is based on formalist aesthetics and examines paintings from the perspective of space construction. more specifically, immanuel kant’s work critique of judgment, often called his “third critique,” is typically cited as an important historical foundation for the contemporary debate over aesthetic formalism. in kant’s aesthetic theory (1974), philosopher donald w. crawford summarized kant’s position, stating, “thus, for kant, the form consists of the spatial… organization of elements: figure, shape, or delineation… in the parts of the critique of judgment in which form is emphasized as the essential aspect of beauty” (crawford, 1974, p. 100). zangwill, in the metaphysics of beauty (2001), defined formalism in art as referring to those properties “that are determined solely by sensory or physical properties—so long as the physical properties in question are not relations to other things and other times” (p. 56). indeed, these philosophers and scholars argue that formal aesthetics is based on the senses and physical properties; therefore, i apply a similar approach to my formal analysis of space construction. in this study, my analysis of the spatial organization of a painting focuses on three concepts: overlap, juxtaposition, and combination. that is, spatial organization is created from an overlap of emotional form, a juxtaposition of narrative approaches, and a combination of different materials. furthermore, in this study, i emphasize the construction of space in contemporary paintings, and my primary targets of analysis are painters born after the second world war. moreover, the study aims to analyze how various spaces are constructed on a two-dimensional plane rather than explain the spatial contents and meaning in these works because, within formalism, form is the content. moreover, i seek to emphasize that the construction of these pictorial spaces differs in visual form from traditional illusionism; rather, these spaces function as a kind of spatial construction form within the paintings. before demonstrating my approach, i will first define the concept of “painting space.” result and discussion the overlap of the abstract and the figurative to understand this issue, i believe we must first answer the question, “what is the urge to abstraction?” this is the first layer of logic in my examination of the selected paintings. worringer (1881–1965) was a famous german art historian. in his theory, he abandoned hegel’s idealistic aesthetics, and he was influenced by alois riegl’s (1858–1905) concept of “art will” and theodore lipps’ (1851–1914) theory of empathy. he published his ideas in a book titled abstraction and sympathy: essay in the psychology of style (1907). in this book, he mentions an important concept: the urge toward abstraction. this urge is the outcome of a great inner unrest inspired in man by the phenomena of the outside world; in religious respect, it corresponds to a strongly transcendental tinge to all notions. this state might be an immense spiritual dread of space (worringer, 1997, p. 5). this description, in a sense, reveals the creative process of some figurative artists in the west. according to my research, to maintain uncertainties and possibilities in a painting, or some randomness, namely, a sense of ignorance, of strangeness, of not wanting to set the final effect at the beginning of the painting, many artists often begin from an unknown state or emotional release at the beginning of the creation process; this state or emotion often reflects the artist’s anxiety and uneasiness about the harmonia: journal of arts research and education 24 (1) (2024): 149-157152 world (worringer, 1997, p. 5). this influenced artists to generate a kind of opposition to the objective world during the creation process, and this opposition manifested itself in the suppression of three-dimensional spatial expression—that is, it resulted in planarity. according to my analysis, this planarization is not meant to reduce the dimensions of the three-dimensional world; rather, it is intended to establish a planar relationship between points, lines, planes, and color blocks in order to constitute the first space—that is, unknown abstract space. next, i will present several examples to prove this point. first, i will temporarily put aside the content and concept of the paintings. the process of creating a work is a very private matter. most artists generally do not want to share this process with others; however, through extensive research, such as viewing online video interviews and surveying studio photos, i discovered evidence to prove that when some artists construct painting space, they begin with a layer of abstract space. for example, in this photograph (figure 1) of english painter justin mortimer, we can see that mortimer is engaged in the painting process. it is a constructive process of two-dimensional image space, and we can see that the first image is a completely abstract work. viewers would have difficulty finding any figurative objects that match their visual experiences. several blocks of color, traces of brush strokes, lines, and more from the first layer of the painting, and this layer, which the brain cannot recognize, is built by the abstract impulse and element i mentioned above. this urge is a kind of opposition to the objective world; that is, it is a kind of fear of the external world. the elegiac roman poet albius tibull (c. 55 bc–19 bc) stated: “primum in mundo fecitdeus timor, this same sensation of fear may also be assumed as the root of artistic creation” (in worringer, 1997, p.5). indeed, when artists face a blank two-dimensional plane, such as a blank canvas, they overcome unconscious deadlock by relying on intuition and the impulse to confront the outside world. next, they constantly establish and consummate their system of painting. figure 1. justin mortimer, untitled, oil on panel, 76 cm × 51 cm, 2020–2021. german new abstract expressionist artist daniel richter (born 1962) also used a creative approach similar to mortimer’s. by analyzing his paintings, we can identify many abstract elements (figure 2), and the emotional expressions in the paintings form the underlying foundation. here, i would like to emphasize again that i will temporarily put aside the artists’ ideas and concepts and only analyze spatial structures from the perspective of painting ontology in two dimensions. after an artist completes the construction of the first layer of space, they begin with the second layer of space, image space. the formation and choice of image space depend on what the artists wish to express or are interested in, which relates to their cultural context and life experience. to some extent, this is rational thinking after the emotional impulse, and the formation of an entire two-dimensional space is a process that involves a perceptual and rational game. in this process, the reasons for the urge to abstract are antiobjectivity and the release of fear, and the aim of suppressing the urge is to deliver the artist’s thoughts accurately. from the manner of the construction of the painting space, this relationship between the rational and the emotional and between the abstract and the figurative is a method of spatial construction—it is a method of overlapping the abstract and the figurative. consequently, the drive toward abstraction is a kind of primordial energy that has always been hidden in the human body and subconscious. this energy feng hanping et al., an analysis of spatial construction in pictorial art from the perspec153 is enormous and can create an unexpected visual space when it explodes. this is caused by an order and logic that can sublimate and visualize this impulse and create an image space. as a methodology, this overlapping of sensibility and rationality may hold the key to unlocking more possibilities for artists in the creative process. figure 2. daniel richter, besuch der wirklichkeit, oil on canvas, 200 cm × 300 cm, 2010. parallel narratives existing in multiple space narratives occur in a space and unfold in time. in “narrative art,” the creator chooses how to depict the plot and the environment. thus, “narrative art” is a type of visual art that tells stories. this description is highly figurative because the traditional visual arts do not have the temporal dimension necessary for actual storytelling. according to my research, this form of artistic expression emerged very early, in about the 15th century, with genre paintings depicting scenes and narratives of everyday life. victorian narrative painting is frequently considered its own category because it became extremely popular during this period. before the 20th century, most western artists lived narratively, depicting stories from religion, myths, legends, history, and literature (small, 1999). formalist ideas have resulted in a distaste for narrative form in modern art. however, coded references to political or social issues or events in the artist’s life are still commonplace. such works are effectively modern allegories and generally require the artist’s information to be fully understood. the most famous example of this is pablo picasso’s guernica. however, i will not analyze traditional narrative art; i will introduce a new narrative method to support my argument. this method is the “parallel narrative” of multiple spaces. the concept of parallel narratives is an invented term from film and literature studies. parallel narratives are also referred to as “parallel stories” or “parallel plots,” and all of these terms denote a story structure in which the writer includes two or more separate narratives linked by a common character, event, or theme while describing a process that generates new narratives through symbolic parallels and associations. infinite parallels can emerge from this creative process. because this is a metaphorical or dream language, there is not always a direct translation. many artists use this creative method to frame their spatial structure in a two-dimensional plane in paintings. one example of an artist who uses this method is neo rauch (born 1960), a german artist whose paintings mine the intersection of his personal history with the politics of industrial alienation. his work reflects the influence of socialist realism. his paintings reveal a great number of image characteristics that come from the mythology of northern europe and surrealist scenes; however, this paper aims to study spatial structure and construction rather than the relationship between images. thus, in his artworks, we can observe that the parallel narratives of multiple spaces permeate his works. for example, when first observing the painting in figure 3, the whole space appears randomly organized, with different scenes grouped like a collage. however, according to my research, this random combination has logic and is premeditated. comic strips were an extremely important inspiration for him. in east germany, there was only one comic strip: the digedags. it was a major source of inspiration for rauch. he used various narrative threads that combined different harmonia: journal of arts research and education 24 (1) (2024): 149-157154 spaces in anachronistic ways, making the paintings appear enigmatic and hermetically self-contained. the underlying logic in the structure of space is the parallel narrative of multiple spaces because it completely accords with the definition of parallel narrative. figure 3. neo rauch, heilstätten (sanatoriums), oil on canvas, 98.5 in × 118.25 in, 2011. dream-like and dramatic scenes can also be expressed in parallel narratives. for example, lars elling’s work is based on traditional pictorial techniques. in his artwork, which reflects his life experiences, everything has a meaning that is always changing in accordance with the components and colors of his compositions. his painting (figure. 4) readily reveals that this piece is separated into three parts. there is a man in the lower left corner with his hands spread out while holding a bird. in the lower right corner, a pair of lovers appear to be whispering to one another. there is also a sparrow sitting on the man’s right hand. the bird appears to be landing in the hands of a young man in the middle position. three unrelated scenes are juxtaposed in the same space. these three scenes seem to have no relationship; the different narrative scenes in his works are fractured and not on the same timeline. however, the three stories are connected through a special element: the bird. this narrative method is very similar to the parallel narrative of multiple spaces, which juxtaposes different stories existing within the same space. these dream-like and dramatic scenes produce a new kind of meaning: they go beyond a single narrative method to create a new narrative method and visual explosion. therefore, this method of creating parallel narratives within multiple spaces breaks with traditional narrative and provides a new perspective for critics to explain artworks in two-dimensional space. the nonlinearity is the main feature of the parallel narrative method, leading to pictorial fragmentation. this patchwork of images creates a kind of dramatic, dream-like effect; it also provides a framework for the expression of the flow of consciousness for artists. the juxtaposition of different dimension materials (mixed mediums) according to the merriam-webster dictionary, juxtaposition refers to the act of positioning two or more things side by side or close together. in the visual arts, juxtaposition entails making the ordinary look extraordinary. it is commonly used in the visual arts to emphasize a concept, form unique compositions, or add intrigue to paintings, drawings, sculptures, and other types of artworks. in this study, however, i will explore several paintings and analyze the juxtaposed spatial relationships between two-dimensional image spaces and the three-dimensional object space within the paintings. anselm kiefer’s monumental body of work represents a microcosm of collective memory, and visually encapsulates a broad range of cultural, literary, and philosophical allusions—including the old and new testaments, kabbalah mysticism, norse mythology, and wagner’s ring cycle, and the poetry of ingeborg bachmann and paul celan. his works are allencompassing, and from the perspective of spatial structure, can be seen as a combination of two-dimensional image spaces and three-dimensional ready-mades (sculptures or installation art). his works are formed from the juxtaposition of different dimensions of material. as we can feng hanping et al., an analysis of spatial construction in pictorial art from the perspec155 somewhat see from figure 5, artwork can be divided into two parts to analyze which are the underlying pictorial spaces and the battleship made of iron above. that is, the battleship, which is made from iron, hangs on the two-dimensional painting. this spatial framework breaks the limitations of two-dimensional space and extends into three-dimensional space, making the painting more than just a simple two-dimensional work. rather, it becomes an installation painting. this is a brand-new form and method for the establishment of space. the form of this spatial construction did not exist before kiefer. figure 4. lars elling, the bribe, painting with egg tempera and pigments, 200 cm × 250 cm, 2016. figure 5. anselm kiefer, odi navali, upper left, oil, emulsion, acrylic, and lead boat on canvas,189.9 cm × 330.2 cm, 1997. coincidentally, several artists similar to kiefer have appeared in the subsequent development of painting. they also use the method of combining twodimensional and three-dimensional forms to express their concepts. an example of this is the work of american artist jeff koons. although his works strongly reflect his attitudes and the period he was working in, his works are still classified as a combination of two-dimensional and three-dimensional spaces. indeed, his artwork in figure. 6 consists of two layers of space: a two-dimensional painting (i.e., manet’s painting) and a three-dimensional installation (i.e., a blue aluminum ball). if we study the two-dimensional paintings and three-dimensional installations in his works in isolation, they do not possess any unique features. however, if we combine them, they reveal a new significance. this spatial frame creates extraordinary visual tension. it is both two-dimensional yet three-dimensional, rough yet smooth, traditional yet popular, past yet present, and mechanical yet manual. all of these contrasting elements construct a new way of thinking and offer a new perspective while also transcending the boundaries of painting. figure 6. jeff koons, gazing ball (manet luncheon on the grass), oil on canvas, glass, and aluminum 160 cm × 206 cm, 2014–2015 conclusion paintings are an important research object within the field of visual art. it means that the construction of image space is rich and includes multiple layers of meaning. the overlapping of abstract space (sensibility) and figurative space (rationality), as well as the coexistence of this contradictory system, enables artists to discover more possibilities when creating works and efharmonia: journal of arts research and education 24 (1) (2024): 149-157156 fectively enrich visual effects and textures in their paintings. the parallel narrative of multilayer space and the methods for constructing this narrative space are completely different from traditional modes of expression. they break through the limitations of the timeline; in other words, the narrative scenes in the work are not coherent, and the development of events is not linear but rather pieced together in a fragmented manner to create a dramatic, dream-like effect while presenting additional possibilities for the establishment of two-dimensional space. the juxtaposition of different media breaks through traditional painting and the visual experience while also creating a sense of depth and dimensionality. however, this dimensionality is different from traditional illusionism: it is real existence. this formal spatial construction undoubtedly is a breakthrough in formal structure and traditional aesthetic expression. this formal method breaks down the boundary between two-dimensional and three-dimensional space, forming a bridge between different material dimensions so that painting is no longer monotonous. this study also has certain limitations, and my research object was limited to two-dimensional works of visual art. in the future, i will continue to extend my research. i believe that this research will significantly impact the field of painting and provide a new mode of interpretation and description for pictorial spatial construction. i also believe it will contribute to advancing knowledge in this area. references aguirre, p., azimi, n., & cashdan, m. 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(1992). glossary of art, architecture and design since 1945 (3rd ed). macmillan reference. worringer, w. (1997). abstraction and empathy: a contribution to the psychology of style. ivan r. dee. yan, c. (2005). chinese brush painting. search press ltd. zangwill, n. (2001). the metaphysics of beauty. cornell university press. https://doi.org/10.1080/00043079.1999.10786904 https://doi.org/10.1080/00043079.1999.10786904 144 pengembangan teknik kondakting dan pendokumentasian dalam media rekam dan cetak untuk mendukung proses latihan kondakting bagus susetyo universitas negeri semarang, kampus sekaran gunungpati, semarang e-mail: bagus_susetyo@gmail.com abstrak ada kebutuhan untuk melakukan formulasi di dalam teori dasar suara dan pengembangan agar dalam pembuatannya menjadi referensi bagi guru seni budaya di kota semarang, dalam bentuk pengembangan teknik dan dokumentasi media rekam dan cetak dalam rangka memungkinkan pelaksanaan yang tepat dan lebih baik serta dalam penerapannya lebih estetis. metode penelitian yang digunakan adalah deskriptif kualitatif yang dikombinasikan dengan penelitian dan pengembangan. pengumpulan data melibatkan reduksi data, interpretasi, presentasi, dan, kemudian, verifikasi. hasil penelitian menunjukkan adanya sinkronisasi teori dan pola dasar dan perkembangannya berdasarkan gerakan yang dilakukan oleh guru seni dan budaya dan dilaksanakan di dalam kelas. pola-pola pembangunan meliputi: postur berdiri, sikap, insetting dan attack. pelaksanaan gerakan komando merupakan perkembangan tempo. 2/4, 3/4, 4/4, dan 6/8. dalam gerakan penutupan, beberapa variasi yang dikembangkan, yaitu mor, dan thriller. dinamik, tempo, ekspresi dan fermata dikembangkan lebih bervariasi. developing and documenting the techniques of konducting and documentation in printed and recorded media to support yhe exercise conducting process abstract there was a need for a conducting formulation under a sound basic theory and development in order to make it a reference for those teachers of arts and cultures in semarang municipality, in the form of conducting technique development and documentation in recorded and printed media in order to enable appropriate and better implementation as well as more aesthetic conducting. the research method used was a descriptive qualitative one combined with research and development. the data collection involved data reduction, interpretation, presentation, and, then, verification. the research result indicated the presence of synchronization of theory and basic pattern of conducting and its development based on the movement practiced by teachers of arts and cultures and implemented in the classroom. those development patterns included: standing posture, set attitude, insetting and attack. the implementation of command movement constituted the development of tempo of. 2/4, 3/4, 4/4, and 6/8. in closure movement, several variances were developed, i.e. called, mor, and thriller. the dynamics, tempo, expression and fermata were developed more variedly. © 2011 sendratasik fbs unnes kata kunci: kondacting, media rekam, paduan suara harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 143-152 available online at http://journal.unnes.ac.id/nju/index.php/harmonia p-issn 1411-5115 e-issn 2355-3820 bagus susetyo, pengembangan teknik kondakting dan pendokumentasian 145 pendahuluan penyajian suatu bentuk seni pertunjukan musik tidak hadir begitu saja di depan penonton, tetapi diperlukan suatu proses yang panjang sampai derajat dinikmati oleh masyarakat pendukungnya. suatu bentuk penyajian musik secara umum sebenarnya berasal dari berbagai bunyibunyian yang terpisah, yang berasal dari berbagai sumber bunyi, apakah jenis-jenis alat musik yang berbeda ataupun vokal manusia yang berbeda. untuk itu diperlukan seseorang yang mampu membentuk, menata, mengkoordinir dan memimpin suatu bentuk penyajian, sampai pada proses pementasannya. bentuk penyajian musik yang paling sederhana seperti: paduan suara, ansamble, orkes keroncong, orkes symphony, band sampai big band, perlu diatur, ditata, diarahkan sampai pada pembentukannya, latihannya hingga saat pementasannya. pada saat dipentaskan juga diperlukan seseorang yang harus memulai, mengatur cepat lambatnya, sampai pada saat harus mengakhirinya. seseorang yang memimpin bentuk penyajian musik disebut kondakter atau dirigen. kondakting adalah proses memimpin dan mengarahkan suatu penyajian musik pada waktu dan tempat tertentu dengan sebaik-baiknya (pono, 1975:60). dengan demikian pertunjukan dapat dikendalikan dan diarahkan sesuai yang diinginkan dan berakhir dengan sebaikbaiknya. seorang pemimpin musik yang disebut kondakter, tidak hanya memimpin pada saat pertunjukannya saja, tapi juga memimpin seluruh kegiatan dari kelompok musiknya, mulai dari pembentukannya, proses latihan, persiapan pementasan, sampai pada pementasannya. pada saat pementasan seorang kondakter juga berperan memulai pertunjukan hingga akhir pertunjukan dan mengakhirinya. dalam bidang seni musik kondakting adalah aspek yang sangat kecil, yang diabaikan oleh para pemusik baik seniman secara umum ataupun yang bergerak dalam bidang musik sekolah, bahkan sampai pada guru-guru seni musik itu sendiri, apalagi bila dilihat pada kurikulum pendidikan seni di sekolah dasar menengah saat ini, guru pendidikan seni adalah guru seni budaya, yang mencakup semua seni, seni rupa, seni tari, seni musik dan seniseni yang lain, sehingga penguasaan ilmu kondakting, hampir tidak dimiliki, cenderung diabaikan dan dianggap tidak perlu. padahal seni kondakting adalah seni memimpin yang dapat mencakup semua pertunjukan musik. kondakting menjadi penting saat diperlukan, para pembina seni, kepala sekolah, menjadi bingung karena banyak guru seni yang tidak menguasai secara benar cara memimpin kelompok musik, sehingga pementasan pada aspek kondakting kurang memuaskan dan tentu saja mempengaruhi hasil dari pementasan itu sendiri secara keseluruhan. di suatu sisi daya dukung sarana pelatihan dan olah kondakting sangat kurang, buku-buku yang menulis dan membahas masalah kondakting sangat kurang, karena memang tidak komersial, tidak laku dijual sehingga banyak penulis, peneliti, dosen, yang tidak mau menulis masalah ini. diperlukan suatu tindakan yang sederhana namun tepat sasaran, berdaya guna, bermanfaat langsung pada guru-guru seni budaya agar memperoleh oleh secara cepat singkat dan benar, hal-hal yang berhubungan dengan kondakting, secara mandiri. untuk itu tindakan yang paling awal adalah melakukan pengembangan secara estetis dan artistik untuk bisa dipahami secara cepat dan praktis, agar dapat digunakan oleh para pemerhati seni musik, terutama pada bidang musik sekolah yaitu guru-guru seni budaya. untuk lebih konkret dan nyata diperlukan suatu hasil yang praktis dan bermanfaat langsung dari hasil proses pengembangan tersebut maka harus dibuat produknya dalam bentuk media rekam dan media cetak. media rekam berupa vcd, yang dapat dilihat langsung dan dipelajari secara berulang-ulang dan media cetak yang berupa cetakan tulisan, gambar proses kondakting yang semuanya dapat harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 143-152146 didokumentasi dan dapat digunakan seterusnya bagi guru-guru seni budaya sekota semarang. ragam media dalam pembelajaran dapat digunakan dalam mendokumentir pengembangan teknik kondakting pembelajaran kondakting. heinieh, dalam benny (2000) mengemukakan bahwa media pembelajaran yang dapat digunakan dalam proses penyampaian materi belajar dapat berupa: 1) media yang diproyeksikan; 2) media yang tidak diproyeksikan; 3) media audio; 4) media video; 5) media berbasis computer; dan 6) multi media kit, yang kesemuanya merupakan media rekam dan cetak yang dapat digunakan untuk mengembangkan teknik kondakting bagi pembelajaran guru-guru seni budaya di semarang. berdasarkan latar belakang di atas maka substansi dari masalah yang dihadapi dan harus diselesaikan adalah bagaimana mengembangkan teknik-teknik yang mudah dipahami dan dipelajari secara mandiri mengenai kondakting, serta didokumentir secara tepat agar mampu dan dapat dipakai secara tetap seterusnya. kondakting (ind.) berasal dari kata conducting (ing.) yang artinya memimpin, mengarahkan, sedangkan pelakunya adalah kondakter (ind.) atau conductor (ing.) jadi kondukting adalah proses memimpin dan mengarahkan pertunjukan musik pada waktu tempat tertentu dengan sebaik-baiknya (pono, 1975:67) sedangkan kondakter adalah seseorang yang berdiri di depan sejumlah pelaku musik, memimpin dan mengarahkan pertunjukan musik, pada tempat dan waktu tertentu dengan sebaik-baiknya (pono, 1975:68). menurut edmund prier dalam bukunya “menjadi dirigen i” (1990:5) dikatakan bahwa seorang kondakter atau dirigen dituntut mempunyai kepribadian musik yang baik, yang merupakan pencerminan kesanggupan dan kemampuan daya pikir maupun daya kerjanya, hal ini begitu penting sehingga dari padanya terpancar pembawaan yang kuat, yaitu kekuatan rasional yang tak terbantah. ada dua proses kecakapan yang ada dalam pembentukan kepribadian musik seorang kondakter/dirigen, yaitu pertama: kecakapan kepribadian seorang kondakter yang merupakan pembawaan sejak lahir atau bakat musik yang ada sejak kecil, dengan bakat ini seseorang akan mudah mempelajari hal-hal yang berhubungan dengan musik, kedua: pemilikan kecakapan yang diperoleh melalui pendidikan (subronto, 1985, 102). syarat pertama yang dituntut dari seorang kondakter adalah ia harus mempunyai pendengaran yang baik, tidak tuli sehingga ia mampu menginterpretasikan bunyi not atau memproduksi not melalui suaranya dengan baik, pendengaran demikian dalam musik disebut pendengaran relatif yaitu bakat untuk mendengar selisih antara dua nada. bakat ini dapat dilatih sehingga dapat dirasa perbedaan antara bunyi dua sonar yang nadanya lama sekali tidak selaras (subronto, 1985:107) pada tahap kemampuan mendengar yang lebih lanjut seseorang dapat mempunyai kemampuan mendengar yang disebut pendengaran mutlak/absolut yaitu seseorang yang mampu menginterpretasikan not dengan tepat tanpa persiapan pada berbagai tingkat frekuensi suara. misalnya sebuah tuts piano pada nada kromatis dibunyikan dan seseorang tanpa persiapan tabu nada apa yang berbunyi, demikian pula bila diubah dalam berbagai frekuensi suara, maka orang itu memiliki pendengaran mutlak (subronto, 1985:108). sebagai pemusik, seorang kondakter harus membekali diri dengan pengetahuan teori musik, solfegio, ilmu harmoni, dan ilmu bentuk analisa musik, pengetahuan cukup tentang sejarah musik akan sangat membantu dalam menafsirkan berbagai karya musik sesuai dengan perkembangan gaya musik menurut zamanzamannya masing-masing (prier, 1990:27). sikap dasar membirama, harus dikuasai sepenuhnya oleh dirigen termasuk sikap berdiri dan gerakan-gerakan tangan untuk membirama atau biasa disebut abaaba (prier, 1990:30). secara keseluruhan seorang dirigen harus menguasai sikap badan/berdiri, sikap siap, gerakan insetbagus susetyo, pengembangan teknik kondakting dan pendokumentasian 147 ting, gerakan attack, aba-aba pelaksanaan dalam tanda birama 2/4, 3/4, 4/4, dan 6/8 termasuk isyarat-isyarat musik yang lain serta aba-aba pengakhiran (release). selain kemampuan mendirigen seorang kondakter juga diharapkan dapat memimpin dan membentuk paduan suara. metode jenis penelitiannya adalah penelitian kualitatif, dengan pendekatan deskriptif, sehingga sering disebut penelitian deskriptif kualitatif. karena dalam penelitian ini dihasilkan menghasilkan satu rumusan produk yang dapat diterapkan maka dikombinasikan dengan pendekatan research and development, untuk mendapatkan suatu nilai aplikatif dari teori-teori hasil penelitian. sasaran penelitian adalah proses pengembangan teknik kondakting sekaligus mendokumentasikan proses pengembangan tersebut dalam media rekaman dan cetak, agar berguna bagi guru seni budaya dalam latihan paduan suara. sedangkan lokasi penelitian di kota semarang dengan sampel guru-guru seni budaya di smp n 22 semarang yang beralamat di kecamatan gunungpati, kota semarang. teknik pengambilan datanya adalah studi pustaka, observasi, wawancara dan dokumentasi (sutopo, 2002:64). sedangkan analisis data mengacu pada lexi (1993:103) yang meliputi reduksi data, kajian data, interpretasi data, verifikasi/kesimpulan. hasil dan pembahasan penelitian ini secara umum adalah penelitian deskriptif ditambah dengan pendekatan research and development, yang mana berdasarkan teori yang telah ada, dilihat persoalan-persoalan sebelumnya, kemudian dicoba, dirumuskan sampai diperoleh suatu bentuk yang lebih baik, kemudian diuji cobakan, revisi sampai pada hasil akhir yang baku. dalam pengembangan kondakting ini, tidak diperlukan data, ataupun perbandingan yang banyak. oleh sebab itu sampel penelitian terfokus pada satu sekolah, dari pengamatan, dipilih suatu smp yang cukup baik dan memenuhi syarat sebagai tempat penelitian yaitu smpn 22 semarang. smpn 22 semarang terletak masih di kecamatan gunungpati, tepatnya di jalan raya manyaran – gunungpati. sekolah ini mempunyai kelas yang cukup besar yaitu 23 kelas dengan jumlah siswa 740 orang. sarana prasarana bidang seni budaya cukup lengkap dan mempunyai ruang laboratorium musik tersendiri, dengan peralatan musik yang cukup, baik musik barat maupun musik tradisi. sikap dasar membirama gerak dasar dalam membirama harus dikuasai sepenuhnya oleh para dirigen termasuk sikap berdiri dan gerakan-gerakan tangan yang membirama atau biasa juga disebut aba-aba. tangan harus menguasai penuh semua birama dalam berbagai tanda birama, sedang badan mampu menopang gerak tersebut dengan selaras sehingga perpaduan tangan dan ditambah ekspresi wajah membuat penampilan seorang dirigen menjadi sempurna. sikap badan seorang dirigen atau kondakter harus benar-benar rela mengabdi pada ekspresi musik, yang diterjemahkan dalam gerakan badan, tangan, kepala dan mata, tentu saja gerakan-gerakan tidak harus berlebihan sehingga tidak mengganggu konsentrasi dari penyanyi atau pemain yang dipimpinnya. untuk mengekspresikan musik dalam gerakan, maka seorang dirigen harus bersikap berdiri lurus dan rileks, sikap badan yang kau akan mengganggu ekspresi gerakan. sikap berdiri pada waktu memimpin haruslah dijaga agar sewajar-wajarnya dan sesuai dengan yang diperlukan saja jangan sampai ada satu gerakan pun yang mungkin bisa mengalihkan perhatian penyanyi maupun publik dari sasaran pokok, yaitu sebagai karya seni. hal ini hanya bisa dicapai dengan mencegah segala gerak tubuh yang dibuat-buat atau yang tidak disadari. harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 143-152148 yang tepat kondakter langsung memberi aba-aba pendahuluan, jangan sampai konsentrasi pemain menjadi kendor. disinilah titik keberhasilan awal dari kondakter yang akan berpengaruh pada proses berlangsungnya permainan musik selanjutnya tanpa harus terhenti dan mengulang aba-aba yang tentu sangat memalukan dan jelek, serta dianggap gagal. pengendalian musik sikap selanjutnya, sesudah aba-aba perawalan berhasil, permainan musik pun dimulai dan jalannya harus dikendalikan oleh kondakter sepenuhnya. seorang kondakter tidak boleh terganggu atau terpengaruh sehingga mengikuti kehendak pemain, tetapi justru pemain itulah yang harus mengikuti kehendak kondakter. kondakter yang aba-abanya mengikuti pemain tentunya penampilan kondaktingnya tidak akan berhasil baik. pada posisi seperti ini seorang kondakter dituntut dapat mengendalikan berlangsungnya permainan dengan tepat, ketukan birama, pengendalian ritme, gerakan tangan yang jelas, gerakan kepala dan mata yang dapat dimengerti oleh para pemainnya. sedangkan gerakan yang berlebihan dan membingungkan tidak boleh dilakukan, karena akan mengacaukan jalannya musik. penampilan kondakter seorang kondakter tidak harus tinggi besar, cakep, dan sebagainya, namun ia harus tampil prima, berpenampilan yang menarik, berwibawa, simpatik, dan menye nangkan, karena ia harus tampil di depan dan menjadi pusat perhatian para pemain dan penonton bagaikan seorang artis yang tampil di depan penggemarnya. kondakter harus mempunyai penampilan yang berbeda dari para pemainnya, potongan rambut, pakaian, maupun sepatunya. pakaian seorang kondakter tidak ada aturan yang sangat pasti mengenai hal ini, namun seolah-olah adanya kesepakatan pada para musisi dan pemusik akademis bahwa seragam suatu orkes simponi yang mana pemainnya berseragam putih hitam, baju putih dan celana hitam, baik putra memberi aba-aba setelah menguasai sikap berdiri maka seorang kondakter mulai memberi aba-aba dengan kedua tangannya. abaaba ini dipersiapkan sesuai dengan lagu yang akan dibawakan, yaitu mempunyai tanda birama berapa, tempo yang akan dinyanyikan seberapa cepat, dinamik, cepat atau lambat, dan sebagainya. untuk itu sebelum aba-aba dilakukan atau sebelum melakukan insetting (attack) ada beberapa hal yang harus dipersiapkan. konsentrasi seorang kondakter harus berjiwa besar dan percaya diri, bahwa ia adalah seorang yang memegang kekuasaan tertinggi, yang mampu memberi perintah pada orang yang dipimpinnya, selain itu seorang dirigen harus mampu menarik perhatian penonton yang ada di sekitarnya. untuk mencapai keberhasilannya, seorang dirigen harus berkonsentrasi terlebih dahulu sebelum memberi aba-aba. sikap siap setelah berkonsentrasi selanjutnya kondakter melakukan sikap siap, dalam sikap ini kedua lengan diangkat ke depan dada, membentuk siku-siku dan searah, sedangkan jari tangan membentuk tanda ekspresi komposisi lagu yang akan dimainkan. dalam sikap siap, ketinggian tangan dapat diperkirakan setinggi menurut tinggi rendahnya kondakter berdiri. perbedaan ekspresi suatu komposisi yang akan dimainkan harus dijelaskan nyata dengan bentuk posisi kedua lengan dan bentuk jari-jari tangan, bentuk jari harus dibuat sedemikian rupa dengan jelas, jangan sampai berlebihan yang akhirnya dapat membingungkan para pemain. gerakan pendahuluan gerakan pendahuluan yang biasanya berupa aba-aba dilakukan setelah sikap siap, hal ini dapat dilakukan setelah konsentrasi kondakter dan pemain musik sampai pada puncaknya, biasanya dalam hitungan detik, yang diperhitungkan sendiri oleh kondakter. kemudian pada saat bagus susetyo, pengembangan teknik kondakting dan pendokumentasian 149 maupun putri. hal ini diikuti pula untuk ansambel dan paduan suara, yang kemudian ditutup dengan jas, sesuai dengan selera pemain. aba-aba pendahuluan pelaksanaan, dan pengakhiran dalam melaksanakan kegiatan kondakting secara keseluruhan kondakter melakukan gerakan yaitu meliputi pendahuluan, pelaksanaan, dan pengakhiran yang keseluruhannya merupakan rangkaian yang tidak terpisahkan atau bahkan menyatu satu sama lain. gerakan tersebut yaitu mulai dari sikap siap dilanjutkan gerakan persiapan untuk menuju insetting yang menyatu dengan attack, terus aba-aba pelaksanaan, dilanjutkan dengan pengendalian pelaksanaan, dan diakhiri dengan gerakan pengakhiran atau release. sikap persiapan dan gerakan-gerakan tersebut dapat diuraikan sebagai berikut. sikap siap setelah melaksanakan sikap badan yang benar, kemudian konsentrasi seorang kondakter melaksanakan kegiatan baru yaitu sikap siap. dalam sikap ini kedua tangan diangkat ke depan dada membentuk siku-siku dan searah, sedangkan jari tangan membentuk tanda ekspresi komposisi yang akan dimainkan. dalam sikap siap ini ketinggian tangan dapat dipersiapkan dengan diperkirakan ketinggiannya menurut tinggi rendahnya dirigen berdiri. perbedaan ekspresi suatu komposisi yang akan dimainkan harus dijelaskan dengan nyata dengan bentuk posisi kedua lengan, telapak tangan dan bentuk jari-jari tangan. bentuk jari harus dibuat sedemikian rupa dengan jelas, jangan sampai berlebihan atau bentuk yang salah dapat membingungkan para penyanyi dan pemain. insetting setelah sikap siap gerakan selanjutnya adalah insetting (istilah dalam kondakting), yaitu, sedikit gerakan bila hendak memulai sebuah lagu. gerakan ini bersifat mengajak dan memberi isyarat agar ketukan lagu harus segera dimulai. menurut suwito;, insetting adalah pukulan saat musik dimulai (2002:15). gerakan insetting ini dilakukan kira-kira satu ketuk sebelum ketukan pertama sebuah lagu dimulai dinyanyikan yang disesuaikan dengan ruas birama pertama pada sebuah lagu yang dibuat oleh pengarangnya, perlu diperhatikan lagu tersebut mempunyai tanda birama berapa ketuk, tidak setiap lagu dimulai pada ketukan pertama, bisa ketukan kedua, ketiga atau keempat, tergantung dari tanda birama lagu tersebut. aba-aba pelaksanaan aba-aba pendahuluan, pelaksanaan, dan perigakhiran sebenarnya adalah suatu rangkaian kegiatan yang tak terpisahkan dari seluruh proses kondakting, setelah attack sebagai suatu dentuman aba-aba ketukan pertama not suatu komposisi musik dimulai, selanjutnya adalah aba-aba pelaksanaan yang tidak lain adalah proses pengendalian aba-aba sampai pada abaaba akhir yang menandai lagu tersebut berakhir. dalam pengendalian aba-aba pelaksanaan yang perlu diperhatikan adalah masalah tempo, dinamik serta perubahanperubahannya dan isyarat-isyarat musik lain yang diperlukan. kedua belah tangan dan telapak tangan serta jarinya memegang peranan penting untuk pengendalian aba-aba pelaksanaan ini terutama tempo, dinamik, ekpsresi, dan variasi-variasi gerakannya. kedua tangan mampu menginterpretasikan sebagai suatu komando perubahanperubahan artistik dari suatu komposisi lagu yang diinginkan oleh penciptanya. untuk itu ditelaah fungsi tangan kanan dan kiri berikut ini. fungsi tangan kanan tangan kanan berfungsi sepenuhnya mengendalikan gerak dasar aba-aba, dan tentunya pada saat kedua tangan melakukan gerak aba-aba pengendalian tangan kanan dibantu oleh tangan kiri, tapi bila tangan kiri bertugas membuat isyarat dinamik maka tangan kanan tetap pada pengendalian gerak dasar membirama (2/4, 3/4, 4/4, dan 6/8). harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 143-152150 selain mengendalikan gerak dasar aba-aba tangan kanan juga berfungsi mengendalikan tempo lagu atau cepat lambatnya lagu itu berlangsung, apakah lagu tersebut dalam tempo cepat sepanjang lagu tersebut sampai selesai atau dalam tempo lambat sampai lagu tersebut berakhir, tempo ini harus dikendalikan betulbetul oleh kedua tangan, terutama tangan kanan, dan bersifat perintah atau komando jangan sampai didahului oleh penyanyi, jadi jangan terbalik. tangan kanan juga berfungsi mengendalikan perubahan-perubahan tempo, tentunya dibantu dengan tangan kiri pada waktu-waktu tertentu, ada lagu awalnya ditetapkan dengan tempo lambat kemudian pada pertengahan lagu tempo berubah cepat, sesaat kemudian a tempo, kembali ke tempo semula. hal ini fungsi tangan kanan sangat penting bersamaan dengan tangan kiri, tentunya ekspresi seluruh tubuh akan sangat membantu perubahan-perubahan ini. pada aba-aba akhir tangan dan telapak tangan kanan juga berfungsi untuk mengakhiri lagu dengan isyarat-isyarat tertentu, apakah lagu tersebut akan langsung berhenti atau perlahan-lahan atau diulang, dan sebagainya, tapi yang paling penting tangan kanan berfungsi pokok mengendalikan gerak dasar membirama. fungsi tangan kiri tangan kiri sepenuhnya berfungsi mengendalikan dinamik, membantu tangan kanan untuk gerak dasar membirama dan membantu tangan kanan untuk perubahan-perubahan tanda tempo, serta pada pengakhiran aba-aba. tangan kiri dapat membuat gerakan-gerakan isyarat untuk perubahan-perubahan dinamik, perubahan perubahan tersebut banyak jumlahnya, namun ada beberapa tanda dinamik pokok yang dapat dengan jelas dilakukan olah tangan kiri, antara lain sebagai berikut. mesoforte (agak keras): tangan digerakkan mendekat ke badan, disilangkan sejajar perut di atas pusar, telapak tangan menghadap ke atas, jari merapat, telapak tangan diarahkan mendekat ke perut, ini untuk tanda dinamik agak lembut. forte (keras): posisi tangan tetap sama tetapi dinaikkan sedikit setinggi dada untuk dinamik keras. fortessimo (keras sekali): posisi tangan tetap sama tetapi dinaikkan lagi sedikit setinggi bahu untuk dinamik keras sekali. fortesisimo (sangat keras sekali): bentuk dan posisi tangan tetap sama, tapi dinaikkan lagi sedikit di depan wajah, ini untuk tanda sangat keras sekali. mesopiano (agak lembut): bentuk dan posisi tangan seperti pada mesoforte hanya telapak tangan menghadap ke bawah, untuk dinamik agak lembut. pianisimo (lembut sekali): bentuk dan posisi tangan tetap sama dengan piano tapi diturunkan lagi di bawah perut, untuk tanda dinamik lembut sekali. pianisisimo (sangat lembut sekali) bentuk dan posisi tangan tetap sama tetapi diturunkan lagi sedikit, untuk menandai not-not yang dinamiknya sangat lembut sekali. untuk nada-nada yang sangat keras dengan penonjolan nada-nada tinggi jari telunjuk tangan kiri dapat diacungkan sesaat ke atas untuk menandainya, sebaliknya untuk nadanada yang sangat lembut disertai penonjolan nada-nada rendah dapat dilakukan dengan ibu jari tangan kiri sesaat ke bawah dan jari telunjuk tangan kanan menutup bibir, untuk nada-nada rendah yang nyaris tak terdengar. aba-aba pengakhiran pada saat sebuah lagu akan selesai tentu saja tidak baik kalau lagu tersebut tiba-tiba berhenti begitu saja, lantas selesai atau selesai dengan serabutan tanpa kenbagus susetyo, pengembangan teknik kondakting dan pendokumentasian 151 dali, tentu saja akan merusak seluruh pertunjukan dan akan sangat memalukan di depan para penonton. untuk itu diperlukan suatu variasi gerakan untuk mengakhiri sebuah lagu, agar pertunjukan lagu berakhir dengan baik indah dilihat. release release berasal dari bahasa inggris yang artinya pelepasan, pembebasan atau mengendurkan, atau dapat dimaknai sebagai akhir dari ketegangan yang dilepas. dalam istilah kondakting release adalah sedikit variasi gerakan untuk mengakhiri sebuah lagu. gerakan release atau pengakhiran ini dapat berupa gerakan tangan yang diperlambat atau berhenti secara cepat sesuai dengan ketukan jalannya sebuah lagu yang divariasikan dengan berbagai macam bentuk tangan, yang kesemuanya merupakan kreatifitas dari kondakter. gerakan tangan bisa melebar secara perlahan kemudian berhenti secara cepat di atas sejajar atas kepala, dapat pula kedua tangan diputar-putar secukupnya terlebih dahulu kemudian berhenti di atas. panjang pendeknya gerakan release ini tergantung jumlah ketukan pada lagu birama terakhir, dapat satu ketuk, dua, atau tiga ketuk tergantung tanda biramanya. gerakan release ini diakhiri dengan gerakan tegas yang betul-betul mengakhiri lagu tersebut, setelah itu musik tidak bersuara lagi, gerakan tersebut disebut aba-aba akhir. ada beberapa cara untuk mengakhiri sebuah komposisi yaitu, (1) musik berhenti sekaligus (morendo), (2) musik makin lama makin lambat (calando), (3) musik berhenti, kemudian suara bergetar (triller) latihan-latihan seorang kondakter senam pagi senam pagi dalam bentuk apapun sangat bermanfaat untuk seorang kondakter, selain berguna bagi kesehatan secara umum, senam pagi disertai lari pagi dapat menjaga kebugaran dan kesehatan badan. menguatkan jantung sehingga peredaran darah lancar, hal ini juga mempengaruhi ketahanan di atas panggung, tidak demam panggung, tetap konsentrasi, dan tumpuan kaki kuat. gerakan-gerakan senam dapat dilakukan pada kepala, bahu, lengan dan ta ngan, agar tangan lebih luwes, ringan, leluasa tetapi tetap tegas dan tegap. pernapasan ada beberapa jenis pernapasan tapi yang paling dianjurkan adalah pernapasan diafragma atau adapula orang menyatakan pernapasan perut, ini sama saja yang penting yang digerakkan/dikontraksikan adalah diafragma di bagian perut yaitu udara dihisap melalui hidung masuk ke paru-paru dan dikembangkan adalah otot perut bagian bawah, di bawah pusar, bahu dan dada tidak bergerak. latihan konsentrasi seorang kondakter selain harus memahami, mengingat-ingat, dan menghafal teknik pukulan, dipihak lain harus melatih konsentrasi dan melepaskan gerak tangan dari peraturan-peraturan yang baku, artinya harus bervariasi. perlu ditekankan bahwa teknik pukulan harus sedikit dibebaskan dari peraturan-peraturan yang kaku agar diperoleh hakekat seni dirigen yang sebenarnya. untuk latihan konsentrasi diperlukan melatih dengan lagu-lagu yang sederhana, baru kemudian berlanjut ke karya yang lebih sulit. latihan pengembangan pukulan birama selain tanda birama pokok yang sering dijumpai pada lagu-lagu indonesia pada umumnya, perlu pula dilatih pengembangan dari tanda-tanda birama tersebut, baik pengembangan birama tunggalnya maapun susun (2/4, 3/4, 4/4, dan 6/8). pada dasarnya hanya ada dua gerak pukulan penting kondakting yaitu pukulan gerak naik dan gerak turun, yang kemudian dipahami sebagai gerak pukulan berat atau turun disebut thesis dan gerak pukulan ringan naik disebut arsis. dari dua gerak utama tersebut dikembangkan harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 143-152152 menjadi pukulan terberat yang selalu dilukiskan gerakan ke bawah diikuti gerakan ringan bagian pertama, terus gerakan berat kedua, ketiga, dan seterusnya. pengembangan gerakan tersebut dapat dilihat sebagai berikut. birama satuan 1/1, 1/2, 1/4 birama perduaan 2/1, 2/2, 2/4, 2/8 birama pertigaan 3/2, 3/4, 3/8, 6/8, 9/8 birama perempatan 4/2, 4/4, 4/8, 12/8 rangkaian pengembangan tanda birama 1/2, 2/4, 3/4, 4/4, dan 6/8 birama perlima 5/2, 5/4, 5/8 birama perenam 6/2, 6/4, 6/8 birama pertujuhan 7/2, 7/4, 7/8 rangkaian pengembangan pukulan membirama pada tanda birama 5/8, 6/8, dan 7/8 tanda birama 9/8 bagus susetyo, pengembangan teknik kondakting dan pendokumentasian 153 rangkaian gerak tanda birama 9/8 dan 12/8 penutup gerak dasar membirama dapat dikembangkan pada beberapa aspek pengembangan kondakting yang meliputi : sikap berdiri/ badan, sikap siap, konsentrasi, beberapa posisi insetting, gerakan attack yang kemudian dilanjutkan de ngan gerakan pendahuluan, gerakan pelaksanaan dengan beberapa pengembangan tanda birama dan gerakan pengakhiran yang berupa beberapa gerakan release. tanda birama 2/4, 3/4, 4/4, dan 6/8 dapat diperhalus dengan beberapa lintasan tangan yang bervariasi, tanda dinamik dapat dikembangkan menjadi beberapa gerakan sangat lembut sampai pada gerakan untuk tanda sangat keras sekali, sedangkan release dari “mor” sampai “triller”. latihan-latihan kondakter dapat dilakukan, mulai senam, latihan pernapasan, konsentrasi dan latihan-latihan pengembangan pukulan yang terbagi. sedangkan praktek pembentukan paduan suara dapat dilakukan serangkaian praktek pengembangan kondakting. bagi para guru seni budaya di kota semarang dapat memanfaatkan hasil penelitian ini dan bagi mahasiswa jurusan seni musik, fbs, unnes, agar hasil penelitian ini dapat dijadikan pelengkap acuan kuliah mata kuliah kondakting. daftar pustaka benny, a. p. dkk. 2001. ragam media dalam pembelajaran. jakarta: dikti depdiknas. bush r. brian. 1984. complete choral conduction. new york: schir merbook. elisabeth, g. a. h. 1981. the modern conductor. new jersey: preantice hall. hugo, m. 1972. the beginning conductor. new fork: mc. grave-hills company inc. john, e. m. & hasan, s. 1976. kamus inggris indonesia. jakarta: pt. gramedia. lexi, m. 1993. metode penelitian kualitatif. bandung: pt remaja rosdakarya. paul, b. v. & wilson, h. 1970. the school music conductor. new york: schmitt hall & creary comp. pono, b. 1985. kamus istilah musik. jakarta: cv. baru. _____. 1985. pengantar pengetahuan alat musik. jakarta: cv. baru prier, k. e. sj. 1990. menjadi dirigen i, ii dan iii. yogyakarta: pusat musik liturgi. . 1996. ilmu bentuk musik. yogyakarta: pusat musik liturgi. siagian, pardasi. 1990. indonesia yang kucinta. jakarta: pmi. ______. 1985. gembira. jakarta: pmi. soewito, m. d. s. 2002. teknik praktis menjadi dirigen. bogor: titik terang. subronto, a. k. 1985. memimpin padu-an suara. jakarta: pt. bpk gunung mulia. suharsimi, a. 1998. prosedur penelitian. jakarta: bina aksara sukohardi, a.l. 1985 teori dasar musik. yogyakarta: penyebar musik liturgi. wilson, h.r. 1959. artistic conductor. new york: mc. grave-hills company inc. 396 aesthetic morphology of animation andrian wikayanto, nuning yanti damayanti, banung grahita, hafiz aziz ahmad institut teknologi bandung, indonesia submitted: 2023-01-04. revised: 2023-08-24. accepted: 2023-10-04 abstract aesthetic morphology does not judge whether a work is good or bad but is a study of form in art that focuses on description, comparison, and stylistic analysis. aesthetic morphology emphasizes great attention to the discussion of form, content, and style. however, this theory is still general, and there needs to be more research that explicitly discusses how it applies to animated artworks. this research will use the comprehensive literature review (clr) method. clr is a methodological approach for critical and in-depth research activities on a particular topic in several stages of the research process. the clr research process consists of three phases: exploration, interpretation, and dissemination. the result of this research is that the form consists of aspects of animation design, movement and kinetics, and sound and structural design. the content aspect consists of 2 main elements: story and character. meanwhile, the style aspect is influenced by two main elements, namely the technology used in the production process and the appearance of the animation. the results of this research are expected to be used to explore the characteristics of animation works of certain creators, countries/locations, or periods in the history of the development of the aesthetic form of animation in the world. keywords: aesthetic; morphology; animation; methods how to cite: wikayanto, a., damayanti, n. y., grahita, b., & ahmad, h. a. (2023). aesthetic morphology of animation. harmonia: journal of arts research and education, 23(2), 396-414 harmonia: journal of arts research and education 23 (2) (2023), 396-414 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.41668 objects by focusing on the study of the form of artworks in aesthetic morphology. aesthetic morphology is the study of form in art that focuses on describing, comparing, and analyzing style and its details, parts, materials, and ideas (munro, 1943). the goal is to gain a comprehensive knowledge and understanding of an art object based on a scientific and systematic approach. aesthetic morphology is indirectly concerned with the nature of beauty or evaluation in artworks, the psychology of creation or appreciation. it refers to the form and content of a work of art to be analyzed, compared, described, and classified. introduction as an empirical science, aesthetics comprises two sets of phenomena (munro, 1970). the first focuses on the phenomenon of works of art, and the second consists of phenomena related to various kinds of human activities related to works of art. the first group of phenomena is related to aesthetic morphology, which is the study of form in art. the second group of phenomena is part of aesthetic psychology, which is closely related to sociology, anthropology, and other humanities. thomas munro offers a study of art corresponding author: e-mail: andr038@brin.go.id p-issn 2541-1683|e-issn 2541-2426 andrian wikayanto et al., aesthetic morphology of animation 397 aesthetic morphology describes the nature and variety of forms in art and other objects of human creation insofar as they can be understood as stimulating aesthetic understanding. aesthetic morphology classifies all types of forms in art and identifies and characterizes works to show the level of relationship between similarities, differences, and formal analysis of stylistic features (haldani, 2013). aesthetic morphology emphasizes the discussion of form, content, and style (michael & munro, 1971). these three elements are always interrelated and inseparable in any human artistic activity. this means that in addition to focusing on the artwork, this theory also pays attention to the “psychological” and “social” side of the human being (context) who uses and produces the artwork. in other words, the main issues examined include physical and psychological elements by considering the psychological and cultural influences behind them. researchers must consider the form and content together when analyzing the visual style of one or more objects. form refers to how the basic components are structured and arranged. content refers to the essential spirit, meaning, message, ideas, and psychological aspects of the people who produce and use it. form and content refer to the style or characteristic that distinguishes one artwork from another. the discussion of tendencies places greater emphasis on the analysis of style. this analysis determines the pattern or similarity of analysis between artworks. a style is not independent; it combines, modifies, adapts, adopts, or influences one or more reference forms or styles. therefore, aesthetic morphology attempts to facilitate the description of the form, style, and expression of an artwork rather than subjectively judging a work as good or bad. aesthetic morphology can be used for the identification of forms and styles in various art objects, such as photography, sculpture, dance, architecture, film, and animation. in animation, aesthetic morphology can be used to identify forms and styles used by animators, study animation characteristics in a particular country, and study animation styles that are popular or developed in a specific era. thus, aesthetic morphology is similar to the study of animation’s aesthetic history. the animation style in a particular country can be formed from the length of animation development in that country (wikayanto et al., 2019). the style is obtained from the collective accumulation of all animation works in the country, which are influenced by the same social and cultural conditions. therefore, character animation style in a country is determined by its creators’ habits. every artwork an artist creates reflects the culture around him, which is influenced by life experience, environmental conditions, religion, ethnicity, and nationality (ahmad, 2008). research on form and style in animation has grown in recent decades due to increased awareness of aesthetic characteristics in animation, animation identity in a country, or popular animation styles in particular periods (batkin, 2017; brito, yahaira moreno ; cho, 2017; s. h. donald, 2008; herhuth, 2017; holohan, 2016; lee, 2011; lenburg, 2012; s. mac donald, 2016; mohd khalis et al., 2020; neupert, 2012; pikkov, 2016; rutherford, 2003; swale, 2015; wells, 2003). this research was conducted because globalization has caused the lines between cultures and countries to become increasingly indistinct. identity in animation is fundamental because animation can be used as a representation of a particular culture or country. studying the form and style of animation is critical because it can be used as material to identify the characteristics of animation in a particular country, such as japanese animation (anime), which has an aesthetic form that differs from the aesthetic form of animation in the united states and europe. anime is an animation style with visual characteristics strongly influenced by manga visualization and has long been inspired by japanese tradition and culture (cavallaro, 2013). this example of the development of anime highlights the significant impact of harmonia: journal of arts research and education 23 (2) (2023): 396-414398 cultural diversity on the narrative, artistic, and cinematic aspects of animated works. if japanese animation has its uniqueness due to its locality, it can be assumed that other animations in other regions of the world have equally interesting characteristics. based on this issue, aesthetic morphology provides a complete set of methods for describing, comparing, and analyzing styles in animation. there are still few studies that are specifically concerned with the operational model for the use of this aesthetic morphology method in animation. according to thomas munro’s book form and style in the arts, each artwork holds a unique aesthetic structure. although the theory of aesthetic morphology is still general, further research is needed to deepen its application to specific art objects, such as animation. identifying unique characteristics in an animation can be a differentiating factor between animation and another. not all of these characteristics can be found in the visual elements alone but in other fundamental elements of animation formation, such as movement, sound, or narrative style. therefore, this research explores how to apply the aesthetic morphology method of animation media. the research results are expected to be used to explore the characteristics of animation works on certain creators, places, or eras in developing the aesthetic form of animation worldwide. method this study uses the comprehensive literature review (clr) methodology. clr is a methodological approach to critically and deeply inform research activities on a particular topic into several stages of the research process that optimally involves using mixed research techniques such as culture, ethics, and multimodal texts and settings (onwuegbuzie & frels, 2016). clr involves examining, analyzing, incorporating, and communicating published and unpublished data in a methodical, comprehensive, collaborative, and iterative approach. the clr research process consists of three phases: exploration, interpretation, and dissemination. the exploration phase starts, first, exploring the topic to be discussed, namely the theory of aesthetic morphology (form, content, and style) with animation formed from a combination of audio, visual, motion, and narrative. second, starting the data search by looking for data related to the topic to be discussed in primary sources such as international journals and textbooks related to the research topic. third, storing and organizing information, the primary data search process results will be grouped according to the topic under study to facilitate the exploration process later. fourth, selecting and evaluating information choices is when researchers analyze the results of primary data searches and set aside data unrelated to the research topic. fifth, expanding the data search to one or more elements of modes (media, observation(s), documents, expert(s), secondary data) related to aesthetic morphology and animation. the second phase is interpretation, which is interpreting the information in the previous five stages. this interpretation occurs through the path of analysis and synthesis, which makes it the culminating phase of the process of analysis, evaluation, and interpretation of the selected sources of information, which are then synthesized into what is called meta-inference, which are conclusions from each selected source of information that are combined into a coherent narrative. the final phase is disseminating the clr results to the appropriate audience. this process can be in the form of presentations, multimedia, or written form in popular or scientific media such as journals and proceedings. this phase aims to make the research report available and accessible to others so that it can contribute to the knowledge network. result and discussion the role of aesthetic history history is defined as events that hapandrian wikayanto et al., aesthetic morphology of animation 399 pened in the past. the past does not have to be understood solely in terms of time; it can also be seen through past human works in the form of historical artifacts. in more detail, animation history can be divided into three categories: first, animation history serves as a historical source, encompassing the collection of historical sources related to animation, including artifacts of animation works, animation technology, and interviews with individuals involved in animation. second, animation history forms an integral part of history research. third, animation history involves reconstructing past events into a historical narrative on animation development. in this case, visual art history is expected to fulfill three historical functions: forming identity, identifying trends, and teaching values (dienaputra, 2012)the work of art history iseasier to find in the form of scientific work at university, either essay of undergraduate (skripsi. animation can also be classified as a film genre (beckman, 2021). and an evolving film studies discipline. film theory, history, and criticism have been considered the main branches of film studies, with animation being a part of them. however, film theory and criticism heavily influence the study of film history. the fundamental distinction between film historians is their ability to observe the evolution or changes that occur in the film itself over time (temporal dimension). three main factors will always influence the study of film history: (1) the history of film as an academic discipline, (2) film as an audiovisual art and cultural form, and (3) the technological and economic forces that affect film development. consequently, the historiography of animation will always remain linked to these other dimensions (linsenmaier, 2008). robert allen divides research activities in the field of film history into four interrelated dimensions in his book. these are the history of aesthetic films, the history of film technology, the economic history of film, and the history of social film (allen & gomery, 1985). in this case, the aesthetic morphology of animation is an integral part of the discussion on the aesthetics of film. the aesthetic history of animation will be related to the history of animation as an aesthetic artwork. the breadth or narrowness of the historical meaning of this film depends on the understanding of what is meant by “art” and “aesthetics”(faulstich, 1989)in most cases only implicitly. in contrast to such implicit statements, i will try here to make these theoretical and methodological positions explicit and demonstrate them with examples. first of all, i should like to refresh our memory about the basic theoretical premises of what i call “film aesthetics” (a concept which was presented in 1982 at great length. according to some film historians, the aesthetic aspect of film history involves identifying, describing, and interpreting film works. other film historians prefer to define the aesthetic history of film in broad terms, including all aspects that can lead to enjoyment in watching a film, as well as how the audience interprets the film. thus, the history of film aesthetics includes not only the study of directing, filmmaking styles, and the use of background sound in films but also why one production method continues to develop/be used by film creators over time while others are abandoned. therefore, to understand the historical development of aesthetics in a country, it is necessary to consider the diachronic history and other aspects that directly or indirectly influence it. if it is related to aesthetic morphology, it can be concluded that research on aesthetic appeal in animated works will be related to other branches of disciplines, even though it has a research focus on aesthetics and art science. this aesthetic appeal is derived from form, content, and emotional expression, which led to the creator analysis model of formalism, symbolism, and expressionism. the study of style is one of art history’s most important critical concepts. style is deemed essential since it reflects the inner essence of a creator, social group, or period. suppose one can comprehend a style as it appears. in that case, they will harmonia: journal of arts research and education 23 (2) (2023): 396-414400 obtain direct entry to the total value system of culture in prior eras and the key to interpreting cultural advancement. because style is believed to reflect the values of a society, it can be considered a significant resource in aesthetic history. style refers to three elements in art: motifs, form relationships, and the quality of expression in a work’s form and content. style is valid only when considering a group of artifacts rather than a single artifact. to identify an object’s style, it is essential to indirectly recognize the existence of other objects that share common features. a style’s distinctiveness is most evident when compared to other styles. so, to investigate the aesthetic morphology of animation, researchers should gather data on animation artifacts, conduct field observations, collect relevant documents, interview relevant stakeholders, and obtain secondary data related to the research (media, observation(s), documents, expert(s), secondary data modes). form in animation form in aesthetic morphology refers to elements with aesthetic value that serve a specific purpose. it is important to note that the aesthetic value of an object does not depend on whether it is natural or artificial because all objects have aesthetic value. every object possesses artistic aspects, including line, shape, and color, whether natural or artificial (munro, 1956:161). the visible physical structure of an artwork is called form. everyone has an opinion about how to evaluate an object. this results in numerous evaluations based on the person’s preferences. the task of aesthetic morphology is to objectively clarify the various viewpoints on the form based on the object’s elements, details, materials, and other components. aesthetic morphology emphasizes the relationship between form and its forming elements. the elements that make up an object are interrelated and mutually supportive. therefore, these constituent elements cannot be separated when analyzing objects using an aesthetic morphology approach. the material used to create the object determines how it appears (munro, 1956:183-185). the form is the fundamental element that forms an animated work that can be seen (visually) or heard (auditory) by the five human senses if drawn to animation. the aesthetic of animation can be seen in form and style. the form consists of the formal elements and content of animation, while style is formed by production, looks, and realism technology. figure 1. form and style in animation aesthetics. the formal elements of animation the formal elements in animation that are the aspects examined in analyzing form in the aesthetic morphology of animation are divided into three categories: animation design: an animation element that contains a composition of visual material visible (sight), such as character shapes, backgrounds, colors, cinematography, and visual editing. movement and kinetics: this element consists of the motion and action of the character (action and performance) and the perception of motion caused by camera movement (perceived motion). sound and structural design: animation elements the human ear can hear, such as dialogue, sound effects, and music. figure 2. the formal elements of animation aesthetics. andrian wikayanto et al., aesthetic morphology of animation 401 animation design animation design is a fundamental component of animation that includes the composition of visible (sight) visual materials such as character shapes, backgrounds, light and color, cinematography, and visual editing. these visual animation components can be classified into character images and environmental images of the animation world (cavallaro, 2010). tony white affirms that animation in animation can be traced to three domains: character, property, and environment (white, 2009). the animated film’s visual style and color palette also impact the audience’s emotions and overall mood. for this reason, the animation design must effectively illustrate and visualize all events in the animation, such as scene transitions, time, location, and character actions (glebas, 2017). image design there are two components to image design: world setting and character design. the setting is essential to the storytelling process and can influence how characters behave or act as an additional narrative element. the context of characters, backgrounds, and properties is unified in the same world/universe (wright, 2005). the aladdin and kung fu panda films provide examples of effective character and setting design. the aladdin animation takes place in the arabian peninsula, resulting in character visualization, building shape, surrounding nature, and property adorned with typical arab and islamic ornaments. similarly, kung fu panda features chinese ornaments that characterize all visual elements in the film. these visual elements may refer to specific cultures or locations depending on the theme and story. the ambiance or setting of an animated scene is an important factor in establishing the desired mood or scenario that complements the animated characters (bin dan ghani 2015). the environment also plays an important role in the storytelling process. the environment may be static and less dynamic than the characters, who constantly move and directly communicate with the audience through movements, gestures, facial expressions, and words. a well-crafted environment design can captivate the audience, immersing them in the scene of the movie. ultimately, this attention to detail creates an effective impression on the audience. creators often research specific locations related to the setting of the animated story to accurately describe the environment’s visualization and create an immersive atmosphere. unsurprisingly, classic disney animated films are renowned for their breathtaking backgrounds and capacity to establish the mood and subject matter using their visual style to absorb the viewers in the animated plot (white, 2006). character design is a critical element of the animation storytelling process. the lack of characters in animation makes it difficult for the audience to understand the story. character design is visually constituted by two factors: physical features and costumes. the physical form of an animated character can include the character’s body shape, skin tone, hair color, gender, body weight, and age. meanwhile, a costume consists of make-up, character accessories, and colors representing a specific identity and serving as the character’s background. in animation character design, identity is shaped by the character’s cultural background and life experiences. for instance, the character design in the movie kung-fu panda, set in china, draws inspiration from the surrounding culture. panda po, the lead character, is an indigenous animal from china who wears traditional chinese shoes and pants. a well-crafted costume can aid the audience in identifying the key protagonist, supporting actors, or antagonists by visually representing their personality and demeanor. a unique identity can differentiate character design (kerlow, 2009). there are three character designs: cartoon characters, human or animal caricatures with exaggerated body parts. realistic characters aim to imitate the realistic shape of their real-life counterparts. finally, stylized characters strikingly blend cartoon and realistic styharmonia: journal of arts research and education 23 (2) (2023): 396-414402 les. lights & color light and color play a pivotal role in animation. they may serve as tools for dramatizing animation scenes and also as aesthetic enhancers in a story (katatikarn & tanzillo, 2016). in the early years of animation development, animation was performed in black and white. however, the introduction of color technology in film revolutionized the visual aesthetics of animation. snow white and the seven dwarfs was the first full-length animated feature in color ever made. the use of color in this animation was a key factor in disney studios’ global success. animators can utilize light and color to create distinct qualities in their animation works. both can be employed in character design and environment to build a fully realized animated realm. lighting has a psychological effect that sometimes runs deeper than other image design elements. it need not be overtly prominent in a scene but controls the audience’s emotions. generally, audiences respond to and feel the effects of lighting without consciously realizing it. lighting directs the viewer’s gaze toward darkness, contrast, color, and other significant details that must be emphasized. without light, it would be impossible for audiences to perceive all objects in an animated world. in animation, all artists work together to tell the same story. a lighting artist in animation has three primary objectives: (1) directing the viewer’s attention to the scene’s focal point, which is particularly important for short shots when the audience has limited time to focus on the main point of the scene; (2) adding visual interest to each scene by defining the shape of all visible objects; and (3) contributing to the storytelling by setting the tone. color is a primary tool in animation for effectively creating mood. figure 3 illustrates that conveying a scene’s atmosphere can be achieved through verbal dialogue and using a basic color palette of warm and cool lighting. colour is a component of light (ward, 2003). specific waves within the light spectrum create colors. color comprises three attributes: hue, saturation, and brightness. hue identifies the colors, such as yellow like spongebob, blue like doraemon, or black like mickey mouse. saturation describes the intensity or strength of a color. for instance, spongebob’s yellow character design is brighter than homer’s character in the simpsons animation. the brightness of a color indicates how light or dark it is and can be measured using grayscale. cinematography cinematography is the act or process of deciding on the factors that give meaning to a film or animation. shooting angles, action and direction, lens type, camera movement, and lighting are all aspects of cinematography. in other words, cinematographers combine several different but complementary tasks to add structure and nuance to the visual style of animation. in this case, the role of technology and creator/author in planning cinematography in animated works becomes critical. cinematography can be divided into three categories when analyzing aesthetic morphology in animation: camera action, spatial dimension, and framing. figure 3. different lights and colors can lead to different impressions in a scene/shot (katatikarn & tanzillo, 2016). andrian wikayanto et al., aesthetic morphology of animation 403 camera action the mobility of animation is one of its most exciting aspects (cui, 2019). animators have complete control over the camera movements they use to shoot scenes. they can utilize various camera positioning techniques, such as pan, tilt, zoom, track, dolly, follow, and pedestal shots. the camera’s movements are also displayed through various shooting angles, including high, low, over-the-shoulder, bird’s eye, and dutch angles. image visualization in cinematography is determined by the context of each shot and the overall visual approach or how the animation creator intends to convey the story objectively. the creator can use a deductive or inductive approach while visualizing the content during the shooting process. the deductive approach progresses from general to specific visualization and conforms to film visual narration conventions. this is the traditional cinematic approach to visual narrating. simultaneously, the inductive method commences with particular scenes and moves towards general ones. it has a more notable visual impact than the deductive approach and is perfect for smaller video screens. animators can choose their preferred camera approach using the camera features in any animation software. space dimention in animation, composition refers to arranging visual elements within the camera’s frame. scene composition, which involves arranging visual elements to convey a message to the audience, is necessary for designing and animating images or directing motion (zettl et al., 2011). in order to achieve this, it is important to understand compositional and spatial devices. the arrangement of elements within the picture frame is crucial in communicating the creator’s intended meaning to the viewer. an effective composition guides the viewer’s eye to the aspects the maker wants them to see while communicating the visual sense and articulating the space within the frame. an effective composition guides the viewer’s eye to the aspects the maker wants them to see while communicating the visual sense and articulating the space within the frame. the visual sense is essential in conveying the work’s meaning and guiding the viewer’s interpretation. a video or movie screen offers a distinct living space that intensifies events while providing an aesthetic field. the screen’s structural factors, such as aspect ratio, image size, and object aesthetics, determine screen space. unlike painting and photography, which allow for any shape or orientation, video and movie screens are standardly rectangular and horizontal, ranging in aspect ratio from 4:3 to 16:9. different aspect sizes yield varying aesthetic effects, as exemplified by a vertically oriented smartphone screen versus a horizontally oriented movie theater screen (zettl, 2016). size aesthetics concerns the objective perception of object size when presented on a screen. people and their surroundings are perceived as standard size, regardless of whether they appear in long shots or close-ups on a large movie or small video screen or whether we are relatively close or far from the screen. abbreviations for technical terms should be explained upon their first instance. when showcased on a screen, object size is indicated by the object’s relationship to the screen, contextual scale, and viewer knowledge of the object. in animation, a three-dimensional world must be projected onto a two-dimensional screen surface (zettl, 2016). although the z-axis is an illusion, it is the most aesthetically pleasing dimension. the aesthetics of the three-dimensional plane are characterized by three concepts: z-axis, graphic depth factor, and lens depth characteristics. while the x-axis and y-axis of the screen have specific spatial limits, the z-axis is almost without limit. as a result, the view and camera movement have more freedom along the z-axis compared to the horizontal and vertical axes. the z-axis extends from the screen towards the horizon. harmonia: journal of arts research and education 23 (2) (2023): 396-414404 editing editing is selecting and sequencing shot material from an animation production. it affects the communication process, storytelling, and style. in this case, editing will refer to how the director organizes the material in the context of time and makes it into a visual narrative. time examining the various theories and applications of time and motion in the context of new media, such as video, film and animation, is one of the essential steps in this discussion of various aesthetic fields (rabiger & hurbis-cherrier, 2013). after all, moving images are the basis of animation and film. in addition to the spatial plane, animation and film require articulating and manipulating the space/time plane. objective (clock) time, subjective (psychological) time, and biological time are three types of time. in animation or film-making, both objective and subjective time are crucial. objective time is the quantitative measurement of what the clock says. abbreviations for technical terms will be explained when first used. subjective time refers to the perceived and processed duration. objective time is represented by a horizontal vector that shows quantity. objective time is a measure of clock time independent of our level of involvement in an event. in contrast, subjective time measures our level of engagement in an event and our lack of awareness of clock time. when viewers are engrossed in an animated story, they tend to be less aware of the elapsed clock time, which they later interpret as having a shorter duration. in contrast, when they are not actively engaged in an event, they become aware of clock time, which they perceive as making the event longer. biological time is another form of subjective time that can be measured less accurately. it functions like an alarm clock, signaling the appropriate time to perform certain activities. time is one-way and cannot be changed. the video editor cannot create a causal effect before its cause. although past and future events can be designated “addresses” in the time continuum, the same cannot be done with the present. the density and intensity of events in an animated story and the intensity of experiences can be manipulated by video editors to govern subjective time. consequently, the present is perceived as a component of subjective time instead of objective time. time perception is influenced by subjective factors rather than solely by objective measurements. one’s awareness of individual moments and actions can impact their perception of the present. in heightened states of awareness, time may be perceived more clearly. the form of movement & kinetics movement & kinetics in this motion element consists of character motion and action (action and performance) and the perception of motion caused by camera movement (perceived motion). action & performance each character has unique personality traits when in action. character movement, gestures, actions, and reactions make up these qualities. the motion element, comprised of three components gestures or body language, facial expressions, and voice tone sets animation apart from other forms of media, such as comic books and traditional films (steve roberts, 2007). we often see the adaptation of comic book stories into animation. although the storyline remains consistent, the animation provides a more immersive experience than the comic book due to the ability to witness the movements of each character. this is particularly important because the unique body gestures of each character are not conveyable through comic books. whereas traditional movies rely on actors to perform both the acting and voice of the characters, animation separates these roles into two parties: the animator creates the movement. at the same time, the dubber provides the character’s voice (furniss, 2014). when filming, the actor andrian wikayanto et al., aesthetic morphology of animation 405 directly explores the character’s characterization by acting in front of the camera. the animator must envision and convey the character’s traits through movement using 2d images or 3d models during animation. in contrast, animation dubbers are pivotal in characterizing the character’s sound. thus, the actions in animation are collaboratively executed by two entities (webster, 2012). animation media has distinct advantages in creating exaggerated impressions of body language, voice tone, or facial expressions to distinguish character movement in animation and movies. these elements are intertwined to showcase a visible manifestation of a character’s emotional side (steve roberts, 2007). we often observe animation movements that do not exist in reality, like eyeballs popping out during an intense or frightening scene or legs spinning before running in a scene where a dog chases someone. additionally, these movements are influenced by the characterizations of the characters. due to the various backgrounds of the characters, each character appearing in the animation may have unique movements. for instance, a character hailing from india will typically move their head while conversing, as is the norm in india. additionally, they may speak english or indonesian with a noticeable indian accent. in contrast, a character with javanese heritage may employ more subdued gestures in their body language and maintain a distinct javanese accent regardless of whether they speak english or indonesian. meanwhile, the character movement element’s role concerning other animation elements is to advance the plot (narrative element) through the character’s body language and facial expressions. in contrast, the lipsync sound synchronized to the character’s motion corresponds to the dialogue (audio element) that contributes to the animation’s storyline with each character’s traits (mitchell, 2016). as a result, a character’s movement in animation will not be separated from the character’s background. these movements, actions, and emotions originate from the character’s cultural background, giving rise to distinct characteristics and identities from other characters. therefore, a connection can be established between the character’s local culture, and the acting movements displayed on the screen by the animator. perceived motion humans typically perceive motion when an object changes its position in a stable environment. for example, individuals notice a car approaching or receding and a child running after it as it passes through the swings and slides of a playground. in such instances, people comprehend that the car and child move steadily in a stable environment. this applies even when individuals watch scenes in movies or animations despite understanding that the motion in the scene is a mere illusion conjured by a screen. perceived motion refers to the aspect of animation that the human brain perceives and comprehends (pikkov, 2010; webster, 2005)especially within recurrent neural network (rnn. it arises from the camera lens movement that records a scene, which is prompted by the movement of specific characters or objects. the form of sound & structural design sound is an animated audio element that features dialogue, sound effects, and music. animated films visually represent an idea, and audio must complement the visual elements in terms of their coherence, synchrony, and mutual enhancement. frequently, new objects appear in animations but do not exist in reality. therefore, a sound designer must create a new sound effect that appears realistic and easily understood by the audience. according to beauchamp’s book “designing sound for animation,” sound design in animation involves three vital audio elements, namely dialogue, sound effects (sfx), and music (beauchamp, 2005). a separate division in the animation pipeline oversees everything related to the sound components utilized in animation. every sound compoharmonia: journal of arts research and education 23 (2) (2023): 396-414406 nent has a designated function. finally, all the sound components will be combined to generate a novel environmental experience that makes sense to the audience while viewing an animated production. dialouge in animation in the early years of animation, animators conveyed stories using character movements and gestures inspired by the pantomime and theater scenes favored by performance artists at the time. since disney introduced sound into animated characters, dialogue has become a prominent means of storytelling that plays a significant role in creating the on-screen reality. often, the audience values the dialogue more than the music and special effects. dialogue can take various forms, including on-screen dialogue that may be lip-synced or not synchronized with the character’s mouth, as in scenes where the character’s back is shot, but the audience still understands the character’s voice.. presenting animation with a compelling and intriguing plot involves using fundamental dialogue (beauchamp, 2005). dialogue has six functions: it reveals character, provides the necessary information, moves the plot along, shows what one character thinks about another, reveals conflict and builds tension, and shows how a character feels. as previously stated, the dialogue conveys the storyline in the animation’s storytelling process. casting choices for voice actors are often tailored to the character’s background and development. in animation, the character is created by the animator rather than played by an actor. a skilled voice actor can breathe life into the character on screen. as such, choosing a voice actor capable of bringing an animated character to life is crucial. for example, in animation, objective factors such as a character’s origin can influence their accent or dialect, distinguishing them from other characters. if a character is from tokyo, the creator should avoid employing a dubber from bangkok, for instance, as the dubber may require assistance speaking with a smooth, nuanced japanese accent. typically, bangkok residents use a loud and rapid tone when speaking, which does not align with the pace and tone that the animation requires. character development in animation is not exclusively limited to humans. in animation, characters can be car objects (cars, tayo) or animals, such as snails (turbo). the animation creator may employ the element of personification to these characters, necessitating a dubbing actor who can imbue inanimate objects or non-human creatures with a sense of meaning to the audience through both sight and sound. sound effects any sound variation that conveys a character’s or object’s atmosphere, setting, time, place, or action is called sound effects (sfx). alternatively, sfx are original or artificial sounds that portray imagination and interpretation of the situation displayed. sfx enhances the natural feel of movies or animations. sfx can be created simultaneously during filming. on the other hand, sound effects (sfx) are created independently of animation’s visual and motion creation processes. sfx in animation are often based on the original sound of a specific object or event, but they can also imitate other off-screen objects. as stated by beauchamp (2005), sound creators can only occasionally record sounds in the real world due to numerous distractions and a lack of control over natural sounds (beauchamp, 2005). as a result, sound effects must be produced in a studio using various objects. foley is the process of creating sound effects, which consist of a literal component (what is heard) and a moving component (what is felt). in this case, each sound element has denotative and connotative meanings that the audience perceives. sfx is categorized into hard effects, soft effects, foley, and ambiance. hard effects refer to narrative sounds corresponding to the objects or actions on the screen. ambiance denotes the background sound that defines the setting in the animation, andrian wikayanto et al., aesthetic morphology of animation 407 while foley records sounds that occur in screen scenes. sfx serves several purposes, including (kerner, 1989): define the setting or location. for example, the sounds of chickens, ducks, and goats can be used to establish the setting of a conversation in a farmer’s village while also conveying the time in the setting. for example, birds and insects can indicate the time of day. they are to create the desired effect on the program part of a scene, such as tension, calmness, or pleasantness. for example, the sound of the breeze and waves at the beach can portray two teenagers romantically seducing each other. the meaning of a scene or event is conveyed through its appearance or conclusion. creators can use ambiance to construct animation’s reality based on their logic rather than being confined by realworld laws. this principle of exaggeration only applies to animation movements and sound effects. the sound design must remain objective and coherent even if not produced in the audience’s environment. in the animated movie a bug’s life, the sound of raindrops falling to the ground is depicted with amplified rockets or explosions, enabling the audience to partake in the insect character’s perception of the rain. the text adheres to academic writing principles and language requirements, and no changes are necessary. in the animated movie a bug’s life, the sound of raindrops falling to the ground is depicted with amplified rockets or explosions, enabling the audience to partake in the insect character’s perception of the rain. even so, when the audience hears the original sound from a source (reality), it often needs to be more convincing and entertaining. music, sound effects, and background noise are powerful auditory elements for creating a fictional narrative. when used effectively, plausibility will cause the audience to willingly suspend their disbelief in unbelievable laws or events to maintain and believe in the laws that govern the imaginary world. musical scores music has a significant impact on shaping the experience of watching a movie (mollaghan, 2015). the tense and frightening effect is lost if a war or horror movie is muted. the creator can use different music to abruptly change the impression of the setting and atmosphere in a scene. for example, they use fast-tempo music in panic and horror scenes, while a slower tempo can provide a calm atmosphere. music in film or animation can evoke a genuine emotional response from the audience, which can be leveraged to reinforce the narrative. music serves several purposes, according to robin hoffman (hoffmann, 2011): music can influence the emotions of the audience when viewing animated works. furthermore, music can set the mood and atmosphere of a scene by representing its social, cultural, geographical, or historical setting. creators can use music to evoke sadness or happiness in the audience. additionally, music can aid in the development of a character’s personality. for instance, when a hero character appears, he is always accompanied by heroic music. music can represent an atmosphere in a scene in a specific cultural/geographical/period. this is possible when the creator utilizes fitting and available music for a specific era or culture. music acts as a means to transition from one scene to another, creating coherence and meaning for the audience. moreover, it can help connect all emotional elements, facilitating better film comprehension. music can also manipulate a specific scene. in a martial arts scene, the creator can employ music that goes against the scene itself. suppose a silat/fighting scene usually features tense music. however, the creator may include dangdut music to transform the tense atmosphere into a parody, portraying the fighting characters as dancing. narrative content meanwhile, narrative and character harmonia: journal of arts research and education 23 (2) (2023): 396-414408 elements play important roles in the aesthetic morphology of animation. the character element focuses on their behavior and habits within the animation (figure behavior), while the narrative element helps us understand the story structure and plot of the animation. in animation, narrative elements communicate the animator’s intended message and illustrate the story’s development in the film through logically structured sequences that may be linear or non-linear. the narrative component of a film or animation consists of two primary parts: the story and the characters (mou, 2015). figure 4. the content elements of animation aesthetics. the material that will be processed in the animated film’s story is referred to as the narrative element in film or animation (wright, 2005). this element closely relates to the movie’s theme and encompasses characters, conflicts, problems, set locations, and time. these elements interact with one another to form narrative elements linked by the law of causality. this law of causality, in conjunction with space and time, is pivotal to creating a film. for instance, a scene depicting a car accident (effect) will be introduced by a scene featuring a speeding or drowsy driver (cause). story animation creators are similar to other artists in their approach to creating artwork. ideas can arise from their surroundings or after viewing another artist’s animation. inspiration can occur consciously or unconsciously. psychologists like sigmund freud and ernst kris have suggested that artists may get ideas for their artwork from daily life experiences (freud, 1962; kris, 1953). since childhood, these experiences have motivated them to produce artworks based on their thoughts and life experiences. these influences manifest unconsciously in their artworks because they have blended with their daily activities. for instance, the local culture in indonesia can impact the storytelling style of local animation creators through their everyday interactions with their surroundings. this results in an unconscious influence on their language, behavior, and thinking. their animated stories can diverge from folklore or arise from problems around them, instilling anxiety in animators’ minds. this anxiety is then combined with imagination and realized into animated works. as jean ann wright notes, story ideas can derive from anywhere. according to wright (2005), creators can develop animation ideas by reflecting on their life experiences since they are already familiar with them. solitude, introspection, and contemplation of one’s past or childhood can lead to the generation of fresh ideas. (wright, 2005). wright suggests that after deciding on the theme and story, creators should contemplate the type of characters that will feature in the animation story. in this case, an animation character is an object that will be used as one of the critical points in the animation story’s storytelling process (mou et al., 2013). therefore, the character must possess a unique and captivating persona that effectively conveys the creator’s intended narrative to the audience. creators can derive inspiration from the personalities of those in their circles when crafting animated characters. given a diverse cast of characters, each persona will have numerous characterizations. these characterizations may give rise to conflicts of interest between characters, which a creator can use as material for weaving together a compelling narrative. the creator always considers the story’s setting when developing the theme, characters, and plot. each animation is set in a specific time and location (wright, 2005). thus, everything depicted in the animation inevitably influences the current world or situation. if a creator were to make an animation with a story and theme set in bandung, everything in the animaandrian wikayanto et al., aesthetic morphology of animation 409 tion would undeniably reflect the identity of the city of bandung. for instance, the primary character speaks sundanese, and there are sundanese clothing and weaponry, as well as building backgrounds and natural objects like the satay building or tangkubanparahu mountain. thus, animators must appreciate that the location setting will greatly influence the visual, audio, and motion components since each tribe or nation has distinct and different bodily gestures. because of its substantial impact on other aspects (audio, visual, and motion), it is not surprising that this narrative element is often considered the basis of a film or animation piece (marx, 2010). the narrative element and these other aspects are interrelated and influenced by one another since they all contribute to the story the creator intends to convey. character archetypes in the discussion of image design, it is important to acknowledge that a character’s visual form alone cannot fully bring it to life. a character also requires a distinct “soul” that differentiates it from others. thus, a well-designed character must possess a personality and habits that align with its designated role. to achieve this, animation creators must establish a unique archetype for each character, considering at least three key factors: in an animated story, what is the character’s role as an antagonist, protagonist, or helper? what are the character’s background and life experience that underpins his/her personality (patient, timid, cunning, loving)?. how does the background story in the animation affect the character design?. this is exemplified by rapunzel’s long hair or pinocchio’s long nose, which does not appear out of anywhere, but has a story behind it. psychology, physiology, and sociology are the three dimensions crucial in comprehending an animated character. defining these dimensions is key to understanding an animated character. the psychological aspect is fundamental to a character’s personality, encompassing traits, habits, strengths, weaknesses, hobbies, intelligence, temperament, and other aspects. physiology refers to the character’s body shape, which involves costumes, accessories, skin tone, clothing color, and other visual elements. this physiological dimension is impacted by the character’s traits, habits, and emotions and pertains to their character psychology. in animated storytelling, the sociological dimension is linked to the character’s story elements and life history, including their background, social status, residence, family, religion, culture, and relationships with other characters. this sociological dimension is closely tied to the story’s setting. style in animation the art style is a quantitative comparison within the compound descriptive genre of art, requiring numerous clearly defined specifications. an animation style comprises traits or characteristics frequently recurring in different works or across various places and periods. typically, a set of characteristics must appear repeatedly in many animations, as deemed necessary by historians and critics, to be considered a distinct style. it is important to consider style as a significant organizational principle rather than a superficial artwork aspect. styles in art are identified as recurring complexities, with few considered central or primary historical styles. figure 5. the style elements of animation aesthetics. harmonia: journal of arts research and education 23 (2) (2023): 396-414410 a single animation work can also define a style if it is the only known work by a particular animator. historical styles refer to features of art that are believed to have existed during a specific historical period or are uniquely associated with a particular artist or group of artists. some styles are abstract or repetitive and can be applied to works from various periods and locations. the style is analyzed through its form and content elements in examining the animation work being studied. thomas munro provides numerous examples of creating a distinct name for an artistic style to set it apart from earlier. these names may be based on a period (e.g., renaissance style, post-colonial style), location (e.g., european/scandinavian style, northern italian style), person including race/tribe, country, or religious group (e.g., islamic style, japanese style, hayao miyazaki style), or even derived from another animation style as evidenced by production techniques or aesthetic in certain literature. technology of production style can typically be identified by distinct production techniques utilized in animation, including 2d techniques such as frame-by-frame, limited animation, cutout animation, 3d, stop motion, rotoscope, motion capture, motion graphics, or hybrid animation that blends live-action with animation on film. over time, technological advancements have played a significant role in how animation incorporates and evolves its visual, audio, character performance, and storytelling elements. this influence has given animation creators many choices for expressing their desired animation concept. modern animators have more production options than those in the early 1900s. not only has equipment for animation production been developed, but software that enables anyone to learn and create animation works has also been created. since the late 20th century, animation techniques have been extensively used in production, advertising, movies, credits, and visual effects, making them an indispensable element of film and television. the rapid advancement of technology has led to the diversification and widespread implementation of computer-generated animation techniques in all production industries. depending on the timeframe, scenario, and content, computer animation techniques can save time and money while enabling producers to utilize them in either two dimensions (2d) or three dimensions (3d). computer modeling techniques can easily create and animate fictional characters or objects, as well as people, events, and locations that are difficult, costly, or infeasible to capture on film. these specialized animation techniques are now being widely employed across various industries. the rise in demand and expanding application areas have emphasized aesthetics and design, adding a fresh perspective to the application process. looks new animation styles have emerged with the advancement of animation production technology. there are at least four familiar looks in animation, namely the cartoon-style animation looks seen in western animation, animation with heavy manga visual influence at the anime looks in the east, the realist look that tries to display the original form of visuals in the real world, and the abstract looks that tend to be accessible according to the creator’s expression. nowadays, many animation creators, such as those behind “the amazing world of gumball,” incorporate a mix of visuals in their works. the gumball animation series blends different techniques, such as live-action footage, 2d animation, 3d animation, claymation, stop-motion animation, and traditional hand-drawn animation. paul wells divides animation into three styles: orthodox, experimental, and development (wells, 2013a). animation in its traditional form alludes to the typical form of animation centered on visuals and narrative pioneered by disney. this indicates that this form of animation was andrian wikayanto et al., aesthetic morphology of animation 411 initially intended for mass reception and is industrial. its conventions are founded on those that have been commercially successful. experimental animation is the antithesis of traditional animation, defined by abstract elements instead of figurative ones, non-continuity, and a creative interpretation of meaning. it is important to note that experimental animation prioritizes the creator’s expression over traditional linear narrative styles. instead, it highlights abstract visual elements that may not have an inherent purpose or meaning. unlike orthodox animation, experimental animation is an individual endeavor showcasing the creator’s style. meanwhile, development animation is a type of animation that melds the structure and essence of orthodox and experimental animation. in some respects, animation development is more conventional, while in others, it is more explorative. realism in animation as stated previously, this theory of aesthetic morphology considers the context of the art object being studied and its physical attributes. in animation, this refers to the degree to which the creator’s work is connected to and reflective of reality. in this case, ulo pikkov argues that animation strives for realism, bringing the representation of reality as close to the original as possible to create an illusion of fantasy (pikkov, 2010). realism in animation involves modifying conventional fictional codes to persuade us of the reality and materiality of what we see in the animation, despite our awareness that it is not real but simply an image created by the animation artist (fantasy). in disney animation studio films, paul wells elucidates the concept of realism in animation, as evidenced by the viewers’ acceptance of a mouse character (mickey mouse) speaking and performing human-like activities (wells, 2013b). although the world of disney animation is fantastical, its components strongly resemble real-world objects. the illusion of realism in this animation style is often referred to as hyper-realism. wells introduced four factors that should be considered to determine the level of realism in animation: design concepts, characters, sound, and movement. meanwhile, stephen rowley took the more complex route of assessing the level of realism in animation using five different parameters (rowley, 2005): visual realism: the degree to which the audience can understand the world settings and animated characters, as opposed to the world and characters from the actual physical world. aural realism: the degree to which the audience perceives the sounds in the animated world/environment and characters as the sounds in the actual physical world. realism of motion: the extent to which the characters in the animation move in a way that the audience understands to resemble how humans move in the real world. narrative and character realism: the extent to which the story/events and characterizations of the fictional characters in the animation are constructed to make the audience believe that they are watching a story and characterizations that feel real. social realism: the extent to which the animated film is constructed to make the audience believe that the fictional world in which the events occur is as complex and diverse as the real world. when evaluating the level of realism in animation, it is crucial to examine how the audience perceives the reality portrayed in animated works rather than how closely physical parameters match the real world (rowley, 2005). despite this, both wells and rowley stress the significance of scrutinizing the creator’s connection with the animation or, more generally, questioning the creator’s genre. patterns or structures used to describe individual works of art and their construction are referred to as genres. in this case, the animation creator’s chosen genre is closely related to realistic animation. discussing the animation genre is equivalent to discussing the form and style of animation selected by the creator, including formal aspects and content harmonia: journal of arts research and education 23 (2) (2023): 396-414412 figure 6. a complete chart of the aesthetic morphology of animation. conclusions this research demonstrates a strong connection between the history of animation aesthetics and the study of aesthetic morphology in animation. therefore, the analysis of the aesthetic morphology of an animation requires a considerable amount of data. figure 6 shows a comprehensive chart of animation’s aesthetic morphology. when researchers study the aesthetic morphology of animation, they need to consider many factors. researchers must consider not only the visual aspects but also the motion, narrative, and sound aspects in a balanced manner. animation comprises four intertwined elements; therefore, disregarding any one element can skew research on the characteristics of animation. additionally, the study’s findings indicate that researchers should analyze the animation artifacts and the context in which the art object is situated. this refers to the degree to which an animation work created by the artist connects and mirrors the real world. an animation style may be identified by referencing a specific period, location, person, or cultural reference. the term denotes the quantitative accumulation of similarities among various animation works. due to common interests, cultural similarities, geography, ethnicity, race, and nationality, many animation creators can disseminate or adopt various animation styles. the naming convention aims to differentiate one piece of animation from another. comprehensive analysis of style falls under the umbrella of morphological description or analysis. it characterizes the object not only in the abstract traits and types, such as red, blue, tragic, comic, and so forth, but also in the recognized styles combinations of characteristics that have tended to recur throughout art history. thus, naming must be based on particular goals and uses. acknowledgement this research was conducted with financial support from the saintek scholarship. therefore, the author would like to express his gratitude to the saintek scholarship management 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(2011). sight sound motion: applied media aesthetics, sixth edition. in citeseer (vol. 40, issue 6). 231 mixed choir and instruments in the composition of the worship music of the stations of the cross paulus dwi hananto1, pande made sukerta2 1universitas kristen satya wacana, indonesia 2institut seni indonesia surakarta, indonesia submitted: june 8, 2020. revised: september 29, 2020. accepted: november 4, 2020 abstract the station of the cross is an event of the passion story of jesus christ carrying the cross from the pilate’s palace to the hill of golgotha. on that journey, jesus endured torture and humiliation, both from roman soldiers and jews. based on this story, the objective of the research is to describe the process of developing a new compositional composition based on the story of the journey in the format of a choir and a musical ensemble. the research method used in this research is descriptive qualitative. data collection was carried out through observation, interviews, and documents. after all data has been collected, the next process is to determine the use of scales, instrumentation, and composition based on rhythmic and melodic motifs, time signature, key signature, tempo, and composition of song texts. the choice of musical signs is adjusted to the meaning of the lyrics used. the composition of the song of the station of the cross which is composed is a combination of a mixed choir consisting of soprano, alto, tenor, and bass with a musical ensemble. the novelty of the composition of the song of the station the cross lies in the use of the style of baroque passions (1600-1750), aria, and recitative combined with modern harmonies, namely the use of the seventh tone, the ninth tone, and the thirteenth tone of a chord, and the use of indonesian as the whole text of the composition keywords: composition; song of the station of the cross; ensemble; worship music how to cite: hananto, p. d., & sukerta, p. m. (2020). mixed choir and instruments in the composition of the worship music of the stations of the cross. harmonia: journal of arts research and education, 20(2), 231-241 harmonia: journal of arts research and education 20 (2) (2020), 231-241 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i2.24843 dead. the tradition of ‘the station of the cross’ for catholics is set in a deep devotion to the narrative of the suffering (via dolorosa) of jesus. this kind of devotion is usually carried out during the lenten period, but is gaining popularity today due to the catholics’ fondness for the activities of pilgrimage-recreation. the journey of the station of the cross began when jesus was sentenced to death by the jewish priests in front of pontius pilate and ended up on a rock called golgotha which means skull (indonesiintroduction the station of the cross is a religion offering (devotion) to the passion story of the journey of jesus christ. as the savior, jesus was willing to humble himself as the most despicable human being, by carrying the cross, which was the most despicable symbol at that time. jesus carried the cross as an illustration that he took all the sins of mankind. jesus turned the cross as a symbol of humiliation into a symbol of victory and glory with his resurrection from the corresponding author: e-mail: paulus.hananto@uksw.edu p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (2) (2020): 231-241232 an bible society, 1974). the station of the cross event is not merely a description of the suffering story of jesus christ but reflects the noble values of the meaning of sacrifice which are now beginning to be abandoned. in that incident, jesus immediately gave an example of a sacrifice that was selfless and wanted to love and pray for those who persecuted him. therefore, through this incident, jesus reminded his people about the meaning of loving others, serving others, and making peace with god to lead to salvation. several composers have produced musical compositions with the background of the station of the cross, including johann sebastian bach with gospel of john (the st john passion), the gospel of matthew (the st matthew passion), christus (op.97, 1847) by felix mendelssohn, les sept paroles du christ by cesar franck, john stainer’s the crucifixion (1887 ), die passion (op. 93, 1896) by heinrich von herzogenberg, and christus. mysterium is a prelude and three oratorios (opp. 70–73, 1899) by felix draeseke. meanwhile, in the 20th century, composers who composed similar compositions, including st. luke passion (1965) by krzysztof penderecki, passio (1982) by the composer estonian arvo pärt, and passionsmusik nach dem lukasevangelium by rudolf mauersberger (ammer, 2004). the compositions were all composed using the format of choir and orchestra in latin, english, and german. based on the analysis of several compositions, such as (1) saint mathew passion (a passion of jesus according to saint matthew) composed by johann sebastian bach; and (2) st. luke passion (1965) composed by polish krzysztof penderecki; and (3) the passion (1982) composed by estonian arvo pärt, there are major differences, especially in terms of the use of harmonization and composition writing techniques (kennedy, 2003). song of the station of the cross is not just a form of translation of events raised in a musical work but has a connection with contextual aspects. ruswanto (2017) has argued christians believe that culture is a form of god in christ “incarnation” who turned himself to be human and showed god’s kindness to the world. the presence of christ in the world is represented by culture, i.e., hebrew. however, his presence in the world has inspired the inculturation of local culture and liturgy. based on the analysis of these musical works, a musical composition that combines vocal and instrumental works is compiled in this study. as a new work that is different from previous works, the process of creating and arranging music in this study is still based on phenomena or events that reflect the story of the station of the cross. in addition, this research needs to be carried out because the author did not find similar compositions composed in indonesian, so that the resulting composition will enrich the existing musical repertoire. method the research was carried out with descriptive and experimental analysis by relying on qualitative data. thus, the form is more of an explanation, description, and real picture of the subject under study. as for substantively, the research was carried out using a musicological approach that was supported by music theory, harmony science, arrangement, form science, and music analysis. the research data comes from research subjects such as resource persons, students, and composers who have knowledge and insights that support the research objectives. the data collection techniques used in this study were observation, interview, and documentation. documentation techniques are used to obtain secondary data to complement the data obtained through observation and interview techniques. the technique of checking the validity of the data was carried out in two ways, namely triangulation of data and review of sources. data analysis was performed by using interactive model analysis which consisted of three stages, namely paulus dwi hananto & pande made sukerta, mixed choir and instruments in the compo233 data reduction, data presentation, and conclusion (verification) (miles & huberman, 1992). results and discussion procession and composition of music part i (court session) the procession at the court session begins with the setting of all the presenters outside the performance building. during the dark night during the procession, the lights inside and outside the performance building were put out. so that the lighting only uses candle lights along the right and left stairs leading into the performance building. in christian customs, jesus as the light of the world is symbolized by a candle flame (indonesian bible society, 1974). when everything is ready, the master of ceremony reads a short narrative about the events of the station of the cross of jesus christ which is followed by a piano sound in medium tempo with gentle dynamics. the piano sounds are played in the following pattern, figure 1. the intro motif of bar 1 – 2 is played in the piano music instrument at fermata 1. the pattern of the motif is repeated until all the music presenters enter the performance building. after that, the procession is continued to enter the building with its head bowed, which slowly divided into two directions. the head is bowed as a reflection of the contemplation of the station of the cross, while the slow (grave) and heavy walking implies the weight of the cross that everyone walks (randell, 1999; jarret, 2008). the front part of the procession is the presenter carrying the cross, followed by the choir group, then the presenters playing the instruments. after all the presenters arrived at the stage, the choir group continued to sing the song ‘crucify him’ in a mixed choir formation for about 5 minutes. after the chorus is finished, there is a chime in medium tempo followed by didgeridoo’s incoming sound in long notes for about 15 seconds, followed by a piano sound with long notes in the lower register. the lower register’s use is to build a dark and heavy atmosphere, as a reflection of the beginning of the station of the cross (bell, 2012). after the piano sound, the bass chorus continues by singing the melody pattern as follows. figure 2. the melody pattern 1 at fermata 2 (bar 5). then followed by the voice of tenor and bass singers who sing the following melody patterns. figure 3. the melody pattern 2 at fermata 2 (bar 8-10) on bar 13-14, the tenor and bass singers sing the following melody pattern. figure 4. the melody pattern 3 at fermata 2 (bar 13-14) after that, the alto singers sing the melody pattern 1 which is sung by bass, while the tenor and bass singers sing the new melody pattern in a longer duration as a contrast to the melody on bar 19-20, harmonia: journal of arts research and education 20 (2) (2020): 231-241234 26, and 27-28. figure 5. the melody pattern 4 at fermata 2 (bar 19-20) figure 6. the melody pattern 5 at fermata 2 (bar 26) figure 7. the melody pattern 6 at fermata 2 (bar 27-28) soprano, alto, tenor, and bass sing the new pattern unisono at a faster tempo. this section also repeats the rhythmic pattern to give a heavy and dramatic impression which is analogous to jesus’ journey to golgotha by carrying the cross (pankhurst, 2008). figure 8. fermata 2 at bar 41-42 the next part of the music is followed by piano and cymbal sound that play repetitive sound patterns to create an atmosphere of tension. the sound patterns of piano and cymbal in this section are as follows. figure 9. pattern 1 at fermata 3 bar 1-3 in this section, the piano is played with loud dynamics, while the cymbal is played from soft to hard step by step. after playing the pattern, the piano and cymbal play the second pattern music with dynamics from hard to soft, and the tempo is getting slower. the second pattern notation in that section is as follows. figure 10. pattern 2 at fermata 3 bar 9-11 after a moment of silence, pattern 1 is played back together with the chorus in very loud dynamics (fff) with the lyrics “jesus christ”. the repetition of pattern 1 in this section is as follows. figure 11. pattern 1 at fermata 3 bars 13-16 paulus dwi hananto & pande made sukerta, mixed choir and instruments in the compo235 after that part, the choir group sang the new melody as follows. figure 12. pattern 3 at fermata 3 bar 20-21 pattern 3 is sung repeatedly with different lyrics. lyric 1 is “dia didera karena kejahatan kita”. lyric 2 is “dia didera karena dosa-dosa kita”. the lyrics 1 and 2 are sung for two times and are continued again in the song pattern 1 with a different harmony. after that, it is followed by the presence of a new pattern, namely pattern 4 with the following notation. figure 13. pattern 4 at fermata 3 bar 37 in this section, the bass singers sing the lyric “terjatuh, terhempas, karena dosa kita” twice. in the following section, the bass and tenor singers sing the lyric “dicambuk, ditikam, untuk selamat kita” in the same pattern twice. then, the bass, tenor, and alto singers sing the lyrics “bilur-nya, darah-nya, silih dosa kita” in the same pattern twice. this section ends by singing pattern 1. part i ends with the choir leaving the stage. procession and composition of music part ii (faithfulness) at the time the choir left the stage, a solo female vocal continues to sing accompanied by a piano. while singing, the singer walks slowly towards the stage. this style of singing is called responsorial (unger, 2010). the female vocal soloist in the procession and music composition in this section is analogous to mary, the mother of jesus, who courageously and faithfully accompanies jesus’ journey in carrying his cross. after this part, the instrument of flute plays the melody with a slow tempo. the dynamics are not too loud and expressive. the flow of the melody is as follows. figure 14. the flute melody pattern at fermata 6 (bar 1-6) the melody pattern above is repeated with the following variations. figure 15. the flute melody pattern at fermata 6 bar 15-18 after this part, the viola is played in long notes. then the flute returns to playing the main melody, followed by the sound of the viola playing a long note as a counter-melody (schachter, 2012). then proceed with the entry of the guitar sound with block chord and flute in a fixed melody pattern. the music notation in this section is as follows. harmonia: journal of arts research and education 20 (2) (2020): 231-241236 figure 16. fermata 6 at bar 19-23 the next part enters the sound of the violin and viola with a repetitive rhythm pattern. this atmosphere is maintained for approximately one minute, and then the guitar sound is continued with the arpeggio technique followed by the instrument of flute by playing the following melody pattern. figure 17. fermata 6 at bar 28 the pattern is repeated with the register one octave higher. whereas in the next section, the musical instrument of guitar plays the main melody played by the flute with several variations as follows. figure 18. fermata 6 at bar 37-45 procession and composition of music part iii (obedience) this section begins by describing the time when jesus fell the second time. in this section, the musical composition is a choir singing the melody and lyrics of the song “dia didera karena kejahatan kita”. the complete melody and song lyrics are as follows. figure 19. fermata 3 at bar 19-20 this part of the story is not carried on until it is finished but is followed by another section which tells of the women of jerusalem when weeping over jesus’ suffering on his way to carry the cross to golgotha. this part is presented in a kind of choir, namely the soprano and alto, as well as a male vocal solo. in this section, the female vocals only sound the vowels a, i, e. the presentation begins with the soprano 1 with vocal a, which flows in a slow tempo, followed by the soprano 2 with vocal a with a similar melody pattern. . figure 20. the melody of soprano 1 and soprano 2 at fermata 8 bar 1-7 after that part, the alto sings almost the same melody pattern as the development of the melody pattern of soprano 1. the melody pattern is as follows. figure 21. fermata 8 at bar 8-14 paulus dwi hananto & pande made sukerta, mixed choir and instruments in the compo237 followed by the voices of the soprano 1, soprano 2, and alto singing the same rhythm pattern with a different melody. the rhythm pattern and the flow of the melody are as follows. figure 22. fermata 8 at bar 19-21 this section is repeated with progressively gentler dynamics. then proceed with the entry of the male vocal solo with free rhythms as follows. figure 23. fermata 8 at bar 26-32 in the next part of the procession, it tells about jesus when he fell the third time. in this section, the music composition is presented in the form of a choir. besides, followed by the entry of the sound of a didgeridoo, the piano is in a low register to present a dark impression (absil, 2015, p. 19). it is followed by the bass vocal voice singing the lyrics “janganlah kita potong, mari kita undi. siapa mendapatkannya”. the melody and lyrics of the song in this section are as follows. figure 24. fermata 10 at bar 1-5 then the choir sings the lyric “genaplah apa yang tertuliskan. pakaian-mu dibagibagikan” with the following arrangement. figure 25. fermata 10 at 6-7 after the section, the bass with the vocal a, followed by the tenor, alto, and soprano, sings the melody with the vocal a. this pattern is performed in the following polyphony and gregorian style. figure 26. fermata 10 at bar 12-18 harmonia: journal of arts research and education 20 (2) (2020): 231-241238 after repeating the beginning, the male vocal solo sings the song with the lyric “ketika aku telanjang, kamu memberi aku pakaian” in the following free rhythm. figure 27. fermata 10 at bar 22-24 then the choir follows with a faster tempo in a homophonic style. the lyric of the song in this section is “pakaian-mu ditanggalkan, pakaian-mu dibagikan”. the tone sang and the lyric of the songs in this section are as follows. figure 28. fermata 10 at bar 8-9 then, the male vocal solo sings the song with the lyric ”ketika aku sakit, kamu melawat aku” at fermata 10 bar 29-32 as follow. figure 29. fermata 10 at bar 29-32 then, the choir sings at a faster tempo in a homophonic style. the lyric of the song in this section is “martabat-mu direndahkan. martabat-mudihinakan.” figure 30. fermata 10 at bar 33-34 then, the male vocal solo sings the song with the lyric “ketika aku dalam penjara, kamu mengujungi aku”. the notation of melody and lyric in this section is as follows. figure 31. fermata 10 at bar 36-39 after that, the choir sings at a faster tempo in a homophonic style with the lyric “kau tinggikan harkatku. kau tinggikan harkatku”. the notation of melody and lyric in this section is as follows. figure 32. fermata 10 at bar 40-41 procession and composition of music part iv (surrender) this section is the final part of the story of jesus’ journey in carrying the cross. in this section, the music composition is marked by the end of the song from the choir. after a brief pause, the solo saxophone sound plays the melodic patterns of a varied flute ensemble. paulus dwi hananto & pande made sukerta, mixed choir and instruments in the compo239 figure 33. the melody of solo saxophone at bar 1-10 the melodic patterns that are played are repeated with variations in the rhythm, duration, register, and tempo patterns. as the saxophone plays the melody, the choir group walks in a circle on the stage slowly while lowering their heads. in the art of music, as in life, moving towards the goal encounters obstacles, reversals, disappointments, and involves great distances, decors, expansion, interpolation, and, in short, retardations of all kinds. therein lies the source of all artistic delaying, from which the creative mind can derive content that is never new. thus, we hear in the middle-ground and foreground an almost dramatic course of events (pankhurst, 2008). creating new songs can be done by developing and cultivating existing musical motives (juanita, 2005). therefore, the novelty of the composition of the station of the cross in this study lies in the use of the baroque passion style (1600-1750), the aria singing style, which is an elaboration of the solo singing style with accompaniment and recitative, a singing style like a talking person combined with modern harmony, namely the use of the seventh note, the ninth note, and the thirteenth note of a chord (ammer, 2004). in addition, it is also aimed at using indonesian as the overall text of the composition. the novelty of the composition of the song of the station of the cross in this study was expressed by validators such as agastya who stated that the composition of the song of the station of the cross was a new composition inspired by the procession of the station of the cross in the tradition of the catholic church. the compositions are variously created according to the phenomena and events of the story of the station of the cross, which consists of 14 (fourteen) fermatas, namely: (1) jesus is sentenced to death; (2) jesus carries the cross; (3) jesus falls for the first time; (4) jesus meets his mother; simon of kirine helps (5) jesus; (6) veronika rubs the face of jesus; (7) jesus falls for the second time; (8) jesus comforts the women who wept for him; (9) jesus falls for the third time; (10) jesus’ clothes were taken off; (11) jesus is crucified; (12) jesus dies on the cross; (13) jesus is taken down from the cross; and (14) jesus is buried. the exclamations, dialogues, narratives in the procession of the station of the cross are adopted and summarized in the composition of the song of the station of the cross into four parts without repetition (stein, 1974). therefore, this composition is one of the most spectacular new works of the modern era. the existing harmonization and melody reflect novelty, complex aspects of rhythm, interval, harmonization, and bridge. this was revealed by adimurti, one of the three validators involved in this study. agastya also mentioned that from the language aspect, the composition of st john passion and johann sebastian bach’s st. luke passion is written in german text, while passio et mors domini nostri iesu christi by krzysztof penderecky and passion domini jesu christi by arvo pärt used latin text. meanwhile, the text used in the writing of the song of the station of the cross is in indonesian. as for the source aspect, johann sebastian bach wrote the story of the passion of jesus based on the gospels of matthew and luke; krzysztof penderecki is based on the gospel of luke, and arvo pärt is based on the gospel of john. meanwhile, the song of the station of the cross by paulus dwi hananto uses text quoted from the gospel of matthew. in the aspect of composition, js bach, krzysztof penderecki, and arvo pärt use the following compositions of singers: (1) evangelist, (2) jesus christ, (3) pontius pilate, (4) peter, and (5) choir; meanwhile, pauharmonia: journal of arts research and education 20 (2) (2020): 231-241240 lus dwi hananto uses the following singer lineup: (1) male solo, (2) female solo, and (3) choir. js bach uses string instruments, flute, oboe, and basso continuo; krzysztof penderecki uses a complete orchestra formation; and arvo pärt uses the violin, cello, oboe, bassoon, and organ. on the other hand, paulus dwi hananto uses less common instrumentation, namely: violin 1 and 2, viola, violoncello, flute, saxophone, didgeridoo, guitar, and percussion instruments consisting of: drum, snare drum, floor tom-tom, cymbal, triangle, tambourine, and bells (listya, interviewed on 27 september 2020). conclusion the song of the station of the cross is a composition composed based on the story of the passion of jesus. this composition was composed using choral and ensemble formats. the choral composition is the main repertoire that wraps the composition from start to finish using indonesian language song lyrics. the use of flute wind instruments with a soft character and violin and violin instruments with lyrical characters in this composition is expected to build an atmosphere in each part of the composition. meanwhile, the use of didgeridoo, which has a deep voice and low register, is expected to create an atmosphere of suffering that jesus experienced during his journey of carrying the cross. the procession and music composition part 1 to part 4 is a complete composition. structurally this composition is in the form of a, b, c, d because there is no repetition. types of percussion instruments used are drum, snare drum, floor tom-tom, cymbal, triangle, tambourine, and bell. the use of the drum is likened to the stubbornness of the heart and the steadiness of jesus christ’s feet in treading the path of his cross. in contrast, the bell is presented to support the sacred atmosphere that we want to build from the beginning to the end of this composition. compared with existing similar compositions, this composition’s novelty, namely the composition of a mixed choir consisting of violin 1 and 2, viola, violoncello, combined with the flute, saxophone, didgeridoo, guitar, as well as a choir with songs with lyrics in indonesian. references absil, f. (2015). musical analysis: visiting the great composers (5th edition). retrieved from (https://www.fransabsil.nl/archpdf/musanbk.pdf). adimurti, j. t. (2005). inkulturasi musik gereja di batak toba dan simalungun. harmonia: journal of arts research and education, 6(3), 1-9. ammer, c. (2004). dictionary of music, fourth edition. new york: the facts on file, inc. bell, d. s. &. dylan. (2012). a capella arranging. nj: hal leonard books. jarret, s. & holly d. (2008). music composition for dummies. indianapolis. wiley publishing, inc. kennedy, m. (2003). the concise oxford dictionary of music. great clarendon street, oxford: oxford university press. komisi, k. w. i. (2002). puji syukur: buku doa dan nyanyian gerejawi. jakarta: penerbit obor. lembaga alkitab indonesia. (1974). alkitab. bogor: percetakan lembaga alkitab indonesia. miles, m. b. &. huberman, a. m. (1992). analisis data kualitatif buku sumber tentang metode-metode baru. edited by t. r. rohidi. jakarta: ui-press. pankhurst, t. (2008). a brief handbook and website for schenkerian analysis. new york: routledge. randel, d. m. (1999). the harvard concisedictionary of music and musicians. the belknap press of harvard university press. ruswanto, y. (2017). church music inculturation by way of an experiment of arrangement of dolo-dolo mass ordinarium accompanimentcomposed by mateus weruin for woodwind quinte. harmonia: journal of paulus dwi hananto & pande made sukerta, mixed choir and instruments in the compo241 arts research and education, 17(1), 23-30. schachter, c. (2012). the art of tonal analysis. new york: oxford university press. stein, l. (1979). structure & style: the study analysis of musical forms. new jersey: summy birchard music. tim penyusun kamus pusat bahasa. (2008). kamus bahasa indonesia. jakarta: pusat bahasa departemen pendidikan nasional. unger, m. p. (2010). historical dictionary of choral music. usa: the scarecrow press, inc. 192 music assessment techniques for evaluating the students’ musical learning and performance in the philippine k-12 basic education curriculum almighty cortezo tabuena, glinore santiago morales, mary leigh ann corpuz perez philippine normal university, philippines submitted: 2021-10-16. revised: 2021-11-20 . accepted: 2021-12-26 abstract the primary objective of this study is to review and characterize research-based music assessments that might be used to guide and assist teachers and students in transforming their attitudes and perceptions, ability to express their ideas and concepts during the assessment process openly. this study employed descriptive and autoethnographic methods to elicit information about current conditions and practices through the library approach and literature review. the identified music assessment techniques were used to determine how well students comprehend important points in a session. it includes the music concept memory exercise and instrumental and vocal schematic processing for music lesson instructions and the five-letter name pitch memory test and three-chord familiarization assessment for basic instrumental music instructions. they are used as a core component deliberately designed to expose classroom teachers and prospective teachers to the essentials for effective instructional practices. effective evaluation ensures that learners’ knowledge, understanding, and skills are transferred effectively in future contexts. keywords: assessment, evaluation, music, musical learning, techniques how to cite: tabuena, a. c., morales, g. s., & perez, m. l. a. c. (2021). music assessment techniques for evaluating the students’ musical learning and performance in the philippine k-12 basic education curriculum. harmonia: journal of arts research and education, 21(2), 192-203 harmonia: journal of arts research and education 21 (2) (2021), 192-203 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i2.32872 vered during class time (angelo & cross, 1993). as the k-12 curriculum establishes new measures and standards for learning (content) and performance, the outcomes must be linked to its new sets of competencies specific to the cognitive domains of learning in order to ensure that the learner demonstrates an understanding of fundamental concepts and processes through appreciation, analysis, and performance (department of education, 2016). the concept of distinct learning styles has implications, if not demands, for introduction classroom assessment techniques are different strategies, and action plans educators and teachers in the field use to monitor and assess students’ comprehension and understanding of key topics throughout a lesson, practical-based learning, or a subject course. these techniques are intended to serve as a form of formative evaluation, allowing teachers to change or modify a lesson based on students’ necessities. the majority of classroom assessment procedures are ungraded and delicorresponding author: e-mail: tabuena.ac@pnu.edu.ph p-issn 2541-1683|e-issn 2541-2426 almighty c. tabuena, et al., music assessment techniques for evaluating the students’ 193 instructional strategies. because preferred modes of input and output vary between individuals, teachers must employ a variety of instructional techniques and strategies to effectively meet the needs of individual students (francis xavier engineering college, 2017). in addition, individual learners may be better suited to learning in a specific method tailored to the learning environment, employing different and distinct patterns of thinking, relationship, and creation (sambhram institute of technology, 2017). in the philippines, the commission on higher education’s (2012) memo no. 46 reminded education policymakers that teachers remain critical to the learning process as catalysts and facilitators of learning. music instruction at the junior high school level requires a variety of evaluation methods and procedures that differ from those used in other subject areas in terms of cultivating musical competence and artistic talents among students. as a form of intervention, music assessments enable students to see their progress over time. additionally, it establishes that their input can influence what and how they learn and encourages them to become more engaged in the learning process—to become active participants rather than passive learners. this study would provide teachers with alternate means of assessing students’ performance and instructional tactics that promote teacherstudent collaboration and dynamic class participation. moreover, it would enhance music teachers’ abilities to use a variety of measurement and evaluation techniques and educate them about the scope of their competence in assessment and evaluation processes. measurement and evaluation are the processes by which teachers, school administrators, parents, and other interested parties can obtain reliable information about students’ academic performance, with evaluation serving primarily as a teaching tool rather than as a means of assigning grades or providing post-course feedback. the paradigm shift of the educational system in pedagogical approaches would provide more efficient and effective delivery and assessment of music classes, with an emphasis on our students’ success in musical learning. in addition, curriculum planners will understand the need for administering and managing formative assessments such as classroom assessment techniques in evaluating the overall students’ success in addition to the widely administered summative test. this study can assist administrators in developing a strategy for educating teachers on the value of classroom assessments and their application in identifying and measuring students’ performance. significance of the study this study aimed to assist students in transforming their attitudes and perceptions and their ability to openly express their ideas and concepts during assessment and evaluation processes. students can track their progress over time using classroom evaluation procedures. in addition, it demonstrates that their feedback can influence what and how the students learn and develop a sense of involvement in the learning process by becoming active participants rather than individual observers. this study would also improve the ability of teachers to measure and evaluate them progressively. in this case, they make the students aware of their level of knowledge regarding measurement and evaluation processes. they might benefit from alternate methods of evaluating students’ performance and instructional strategies that incorporate teacher-student engagement and active class involvement. correspondingly, curriculum planners will be made aware of the need to use formative assessment techniques such as classroom assessments to evaluate students’ performance with respect to the summative tests that are regularly administered. it can assist them in developing a plan for how teachers will become aware of the value of classroom assessment harmonia: journal of arts research and education 21 (2) (2021): 192-203194 techniques and their application in evaluating students’ performance. this paper will also assist future researchers in identifying alternative assessment and evaluation techniques and intentions and act as a reference for them if they ever do a study in this area. objectives of the study the primary objective of this study is to review and characterize research-based music assessment strategies that might be used to direct and aid teachers in their assessment and evaluation practices. the study accomplished this purpose by responding to the following refined questions: (1) how may the following be described in terms of music assessment techniques for evaluating musical learning: (a) the philosophy and objectives of music education; (b) classroom assessment in the k-12 basic education program; and (c) implementation of music classroom assessment techniques; and (2) what are the research-based music classroom assessment techniques for evaluating students’ musical learning in the philippine k-12 basic education curriculum? theoretical framework the theoretical underpinnings of this study are mentioned in the department of education’s [deped] (2015) order no. 8 on classroom assessment provisions and policy guidelines for the k-12 basic education program. on the other hand, this evaluation framework’s heart is the recognition and active consideration of the learners’ proximal development zone (vygotsky, 1978). appropriate evaluation is intended to assure learners’ success in transitioning from guided to independent communication of ideas, comprehension, and abilities and their potential to effectively transfer this knowledge, understanding, and skill set in future contexts. from this viewpoint, evaluation enables learners to acquire higher-order thinking and 21st-century skills. as a result, the assessment perspective understands the connection between instruction and assessment. assessment is integrated into everyday classes and supplements the classroom activities currently included in the k-12 curriculum. additionally, the department of education (2003) established deped order no. 79, which emphasizes measuring and evaluating the learning process and reporting of students’ progress in public primary and secondary schools. method this study employed a descriptive method to elicit information about current conditions (tabuena, hilario, & buenaflor, 2021; subong, jr., 2005) and an autoethnographic method to describe and interpret cultural texts, experiences, beliefs, and practices (adams et al., 2017). according to creswell (2009), descriptive research entails the accumulation of data in order to correspond to questions about the subject’s current state. on the other hand, autoethnography is a type of qualitative research in which the author employs self-reflection and writing to analyze the anecdotal and personal experience and connects it to broader cultural, political, and societal meanings and understandings (ellis, 2004; maréchal, 2010). the library approach (sappe, 2020) and a literature review were utilized to acquire and synthesize articles and scientific papers on music assessment techniques for evaluating students’ musical learning and performance in the philippine k-12 basic education curriculum (tabuena, 2021c; tabuena, 2020b). as one of the study’s limitations, some articles and scientific publications were dated after 1975, when assessment methods in music education were established and refined. in this case, this research study would also supplement the existing literature in terms of previously published articles and scientific papers. the researchers considered four teaching assessments in music education based on the analysis of the literature: music concept memory exercise, instrumental and vocal schematic processing, five-letter name almighty c. tabuena, et al., music assessment techniques for evaluating the students’ 195 pitch memory test, and three-chord familiarization assessment. the data and music assessment techniques were analyzed using a technique known as explanatory synthesis (murray, 2006), a written discussion that draws on one or more sources and then divides the subject into its parts and presents them to the reader in a clear and orderly manner. four criteria were used to analyze the reviews: instruction, category, type, and assessment. further, this procedure, referred to as meta-analysis, describes and clarifies previously reported important results that study the same phenomenon (zeng et al., 2014; aburayya et al., 2020). stanley (2001) stated that meta-analyses acknowledge the impact of various data components and procedures on the given results. results and discussion music assessment techniques in evaluating musical learning assessment of student learning is central to effective teaching. by identifying student performance, identifying what went well and what needs improvement, and providing specific feedback or responses to students, hamlin (2017) asserts that it can significantly improve the music program. assessment data can be a critical component of improving any music program, provided it focuses on clear learning outcomes and the most significant qualities of student performance, which it does not. given that black and wiliam (1998) introduced the dynamic of classroom assessment to a broader audience in order to develop students’ achievement, an additional study has been undertaken on its practical uses and aims. leahy et al. (2005) provided teachers with a variety of instructions and outcome-based activities to let them improve their classroom evaluation practices. these researchers identified around 50 assessment approaches based on teacher demonstrations. the commonality of these strategies is that they help bridge the disparity between assessment and instruction, allowing for teaching to take place while learning is still progressing. the philosophy and objectives of music education according to the preface of the philippine society for music education’s (psme) curriculum guide, the underlying philosophy of the music education program is primarily aesthetic education, aimed at developing a learner’s sensitivity to the communicative qualities of music, but also at recognizing the ethical, social, physical, psychological, and other values inherent in music (atabug, 1975). this is aligned with the fundamental principle of music education articulated at the psme convocation on the goals of music education held on november 7-9, 1975 at the development academy of the philippines, which described music education’s purpose and function in the curriculum as the most beneficial to national development due to its emphasis on musical (rather than extra-musical) values. this laid the foundations for the general goals of music education in the philippines at all educational levels, namely: (1) a progressive curriculum for music literacy; (2) a diverse and inclusive opportunity for the creation, recreation, and meaningful appreciation of music for all; (3) comprehensive and effective teacher preparation; and (4) a genuine appreciation for philippine music as a whole. in contrast, effective assessment is involved in ensuring learners’ success in transitioning from guided to a self-directed presentation of knowledge, comprehension, and skills and their ability to transfer this knowledge, understanding, and skill set successfully to future scenarios. moreover, this perspective acknowledges the diversity of learners inside the classroom, the necessity for numerous measures of their varying talents and learning potentials, and the learners’ position as co-participants in the assessment process. evaluative processes must be holistically and culturally appropriate, and their selection must be guided by the instrucharmonia: journal of arts research and education 21 (2) (2021): 192-203196 tional program’s objectives (strickland & morrow, 1989). if programs for individual students are to be sensitive to their developmental needs, the following standards must be enforced when developing corresponding assessment procedures: (a) objectives must transcend all domains; (b) curriculum and assessment objectives must connect; and (c) current, continuous, and wide-ranging strategies must develop through cultural and developmental considerations. classroom assessments in the k-12 basic education program assessment and evaluation of learning at a high level can generate extensive and valid data about students’ performance and provide insight into the efficiency of teachers’ practices. teachers that include formative evaluation in their classroom practices have been shown to achieve significant academic improvements. stronge (2010) highlighted a study of research conducted by black and wiliam (1998) to determine whether developments in classroom evaluations can result in improvements in learning. they discovered that informed evaluation significantly influences student success, ranging between 0.3 and 0.7 standard deviations. they found that formative evaluation is more helpful for low achievers than other learners, thereby closing an achievement gap while simultaneously boosting total achievement. the deped (2002) believes that assessment should be utilized primarily as a quality assurance tool to measure students’ progress toward meeting standards, foster self-reflection and personal accountability for one’s learning, and serve as the foundation for student performance profiling. classroom assessment is a necessary component of curriculum implementation, as stated in the department of education’s policy guidelines on classroom assessment for the k to 12 basic education program (deped, 2015). it enables educators to monitor and assess students’ progress and shift instruction consequently. classroom assessment provides students, as well as their guardians and parents, with information about their development. teachers are constantly confronted with the difficulty of evaluating both their pupils’ growth and their competence as teachers (deped, 2003). assessment decisions have the potential to increase students’ performance over time significantly; advise teachers in improving the teaching-learning process; and assist policymakers in strengthening the educational system (santos, 2007). in response to this situation, the researchers determined that formative evaluation, specifically the music assessment techniques, could help students enhance their musical ability. a teacher can incorporate a variety of different sorts of musical learning assessments. the primary goal of classroom assessment is to empower the students and teachers, to enhance the quality of learning by utilizing a learner-centered, teacher-directed, mutually advantageous, formative, context-specific, and steadfastly anchored in good practice approach (angelo & cross, 1993). a teacher must frequently evaluate in order to detect individual learners’ and the class’ diverse learning deficiencies (tabuena & morales, 2021). angelo and cross (1993) defined fifty classroom assessment procedures as straightforward devices for gathering data on students’ basic cognitive processes in order to enhance them. classroom assessments are simple to develop, deliver, and analyze, and they have the added benefit of engaging learners in their educational experience. they are often ungraded, anonymous in-class activities that are included in the class’ normal work. the fifty classroom assessment techniques are classified as follows: (a) course-related knowledge and skills; (b) learner attitudes, self-awareness, and values; and (c) learner responses to instruction. grieve (2003) defined classroom assessment as an ongoing advanced feedback system with specific ramifications and indications for the teaching-learning process. assessment decisions have the potential to significantly increase students’ performance over time; advise teachers in improving the teachingalmighty c. tabuena, et al., music assessment techniques for evaluating the students’ 197 learning process; and assist policymakers in strengthening the educational system (santos, 2007). implementation of music classroom assessment techniques rosas (2010) stressed the never-ending drive for excellent teaching, emphasizing that at the center of any quest to improve teaching practices is the teacher, who, one would argue, is the central figure in the teaching-learning process. the teacher is the most visible and influential player and decision-maker in the arena of learning, and with a good teacher, learning can occur despite curriculum deficiencies and inadequacy, technologically deficient classrooms, the inadequacy of instructional materials (e.g., modules, prototype models, quality control, self-learning kits, and workbooks), and even with unmotivated learners. the instructor will be able to reconstruct and even change these barriers into opportunities properly. numerous empirical investigations conducted in western countries and the philippines have established a link between student accomplishment and teachers’ abilities, knowledge, and practices. the claims assert that what students know and are capable of is crucial to their learning. on the basis of the classroom assessment techniques formed and utilized in a large class of approximately 40 students per section: music concept memory exercise, instrumental and vocal schematic processing, five-letter name pitch memory test, and three-chord familiarization assessment, these techniques may be employed as part of an integral area in a classroom (tabuena, 2021b; tabuena, 2019). research-based music assessment techniques in music education the k-12 music curriculum guide was utilized to develop the content and performance standards necessary for the assessment’s validity and reference materials that enriched the context and learning of the subject. two types of classroom assessment approaches were used: (1) world music (for instruction) and (2) instrumental music. for music lesson instructions, classroom assessment techniques include the following: (a) music concept memory exercise and (b) instrumental and vocal schematic processing; classroom assessment techniques for basic instrumental music instruction include the following: (a) five-letter name pitch memory test and (b) three-chord familiarization assessment. essentially, students might utilize the piano, flute, or another accessible musical instrument to create instrumental music. these established techniques in music education were used following the pre-evaluation to determine how well students understood significant aspects of a session or course. interdisciplinary exploration can provide students with fresh perspectives on music evaluation (ng & ng, 2020). as stated in table 1, the researchers employed the following classroom assessment techniques as a class to give and assist other teachers with assessment and evaluation practices in teaching world table 1. comparison of music classroom assessment techniques music assessment techniques type instruction category assessment approach music concept memory exercise1 memory exercise music lesson lesson-based objective instrumental and vocal schematic processing1 schematic processing music lesson lesson-based objective five-letter name pitch memory test1 memory test instrumental music skill-based outcomebased three-chord familiarization assessment2 familiarization assessment instrumental music skill-based outcomebased note. 1also applicable in flute education (tabuena, 2021c); 2applicable by group performance harmonia: journal of arts research and education 21 (2) (2021): 192-203198 music and instrumental music. music concept memory exercise music concept memory exercise is a lesson-based classroom assessment technique in which music concepts are summarized following a brief (specific) lesson into a variety of different types of objective test items, including short-answer items, truefalse or alternative-response items, matching exercises, multiple-choice items, and interpretive exercises; this assessment may be followed by another brief (specific) lesson. figure 1 shows a sample lesson proper with a major concept in contemporary philippine music and a sub-concept in traditional composers using the matching exercise instruction as one of the music concept memory exercises. figure 1. matching exercise sample instruction figure 2 shows another sample lesson proper with a major concept in contemporary african music and a sub-concept in maracatu using the short answer exercise instruction as one of the music concept memory exercises. figure 2. short answer exercise sample instruction instrumental and vocal schematic processing instrumental and vocal schematic processing is a lesson-based classroom assessment technique in which: (1) certain musical instruments are classified according to the hornbostel-sachs classification of musical instruments, and (2) certain musical phrases are analyzed in accordance with their (students’) schema (background knowledge). this process can be used as a cognitive shortcut, allowing the most receptive students to participate (common explanation to be chosen for new information). figure 3 shows a sample lesson proper with a major concept in african music and a sub-concept in african musical instruments as instrumental schematic processing. figure 3. african musical instruments, instrumental schematic processing sample instruction figure 4 shows another sample lesson proper with a major concept in contemporary philippine music and a subconcept in traditional composers as one of the vocal schematic processing including a musical phrase analysis (top) and a music notation analysis (bottom). five-letter name pitch memory test the five-letter name pitch memory test is a piano-based classroom assessment technique in which the researchers teach piano using letter name pitches rather than so-fa name pitches (notes). in this process, the student points to five keys on the piano (dummy keyboard) to assess their pitch (letter name) recognition. in this assessment technique, the following is almighty c. tabuena, et al., music assessment techniques for evaluating the students’ 199 an exemplar of the five-letter name pitch memory test under the piano music classroom assessment techniques instructions (step-by-step procedure): (a) the teacher will first integrate the lesson aligned to piano music; (b) after the lesson, the teacher will ask to play five pitches successively on the student’s dummy keyboard; (c) this assessment technique should not exceed twenty seconds for each student to cater to the large class size; (d) each pitch should not be followed by its previous or next pitch (e.g. if the letter name is a, the following letter name should not be g the previous pitch, and b the next pitch); (e) further, the teacher could create an undefined or defined word using the letter name for better pitch memory recognition of the student/s; (f) repeat the process with each student before the examination proper; (g) in this case, the remaining time could be the introduction to a three-chord familiarization assessment; (h) end of class routine. three-chord familiarization assessment three-chord familiarization assessment is a piano-based classroom assessment technique in which students play three chords sequentially as instructed by the teacher/s (researchers), with the proper finger position (of the students); during this process, they become familiar with the actual playing of the chords on the piano before the examination (periodical test or quarterly assessment). in this assessment technique, the following is an exemplar of the five-letter name pitch memory test under the piano music classroom assessment techniques instructions (step-by-step procedure): (a) the teacher will first integrate the lesson aligned to piano music; (b) in this case, the teacher might already introduce the assessment; (c) after the lesson, the teacher will ask to play three (basic) chords successively on the student’s dummy keyboard, with proper finger positions; (d) this assessment technique should not exceed thirty seconds for each student to cater to the large class size; (e) the first two chords could be followed by their previous or next chord (e.g. c [major] chord; the next chord could be b minor chord, its previous chord, or d minor chord, the next chord); (f) the third chord should not be followed by its previous or next chord (e.g. if the third chord is e minor, the next chord should not be d minor its previous chord, or f [major] its next chord); (g) further, the teacher could create an undefined or defined word using the letter name for better pitch memory recognition of the student/s (e.g. beg b minor, e minor, and g [major]; ace a minor, c [major], and e minor); (h) repeat the process with each student before the examination proper; (i) in this case, students are familiarized with the three [basic] chords in a major scale; (j) end of class routine. discussion the aforementioned research-based music assessment techniques, such as the (a) music concept memory exercise, (b) instrumental schematic processing, (c) five-letter name pitch memory test, and (d) three-chord familiarization assessment, can be used and facilitate understanding through measurement and evaluation met figure 4. traditional composers, vocal schematic processing sample instruction harmonia: journal of arts research and education 21 (2) (2021): 192-203200 hods in music education, both for students and teachers. these music assessments could also be used as a core component of an essential scope in the assessment and evaluation of musical learning, deliberately designed to expose classroom teachers and prospective teachers to the essentials for effective instructional practices (tabuena, 2021b; tabuena, 2021c). learning and teaching pedagogy approaches have been shifting from teacher-centered to studentcentered learning even though the teacher is no longer the only competent and skilled authority but a facilitator of learning (tanyanyiwa & madobi, 2021). the foundation for assessment and evaluation of learning and teaching is critical to effective teaching, a systematic process that involves the analysis and interpretation of data obtained through specific measures to guide the instructional process (linn & gronlund, 2000). these research-based music assessment techniques can also assist teachers in identifying the most effective ways for their learners to learn as well as notify teachers when a certain technique is not performing properly. additional advantages include adaptability and timeliness. many, but not all, of the research-based music classroom assessment strategies, can be employed in a variety of ways and formats. they can be customized to accommodate big or small class numbers or to fit the subject matter being taught; they can be used to measure students’ recall or critical thinking abilities (miller, 2016). according to genesee and upshur (1996), it is vital to understand the factors that influence student performance in the class to organize and deliver appropriate teaching for individual students or groups of students. this entails going beyond achievement evaluation. according to chastain (1988), teachers must regularly evaluate their instruction based on student reaction, interest, motivation, preparedness, involvement, perseverance, and achievement. the conclusions generated from such an evaluation serve as their primary source of information for determining the efficacy of selected learning activities. with increasing demands on teachers, such as the need to keep up with rapid technological change, the adoption of learner-centric methods, and differentiated learning approaches necessary to develop 21st-century student competencies, it is critical to explore new ways to strengthen pedagogical practices in order to meet these evolving needs (allela et al., 2020). conclusion the objective and philosophy of music education establish a clear direction, outcome, and purpose for assessment in general instructions to guarantee that appropriate assessment is used across a variety of activities and learning outcomes for each learner’s holistic growth (tabuena, 2020). additionally, planning classroom assessments requires determining what will be measured and then precisely defining it so that tasks can be constructed that require the desired knowledge, skills, and understanding, all while the assessment process is underway, as it reflects various relevant measures in music-related learning outcomes. the identified music assessment procedures were used to determine how well students comprehended important points in a session or course; these are the instructions for music lessons, including the music concept memory exercise and instrumental and vocal schematic processing, and instructions for basic instrumental music including the five-letter name pitch memory test and three-chord familiarization assessment. essentially, students might utilize the piano, flute, or any other accessible musical instrument to create instrumental music. the specified research-based music classroom assessment techniques guide and assist teachers in music education’s assessment and evaluation processes. classroom assessment is a collaborative process that involves both teachers and students. it is a vital aspect of teaching and learning. teachers conduct sufficient assessment when they attempt to holistialmighty c. tabuena, et al., music assessment techniques for evaluating the students’ 201 cally assess learners’ existing and developing capacities while allowing them to take ownership of the process. this perspective recognizes the diversity of learners inside the classroom, the necessity for numerous measures of their varying talents and learning potential, and the importance of learners as co-participants in the evaluation process. assessment and evaluation are critical components of good teaching, a systematic process that makes use of data analysis and interpretation gathered through specific measurements to provide direction for the teaching process (linn & gronlund, 2000). the researchers recommended that educators utilize researchbased classroom assessment techniques to collect immediate feedback and assess students’ learning and the effectiveness of teaching practices; 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2021-11-29. accepted: 2021-12-26 abstract this article aims to discuss kusumadinata’s scale theory in sundanese music which has been taught in educational institutions in west java, indonesia. according to kusumadinata’s scale theory, sorog and pelog are scales derived from salendro scale in gamelan salendro performance. in my previous research, i investigated three genres of sundanese performing arts which have existed since the hindu era, namely goong renteng, pantun, and tarawangsa. the results indicate that the pelog scale has independently existed since the hindu era. then, i analyzed the phenomenon that occurs in the gamelan salendro performance, i.e., its melody (rebab and vocals) conventionally modulate into scale ‘like sorog’, occasionally into scale ‘like pelog’, whereas the instruments of gamelan are in the salendro scale. however, the analysis on the sorog in the previous research was not enough, so that in this paper, i will focus on the sorog. to find out the relationship between melody (vocal and rebab) and gamelan instruments, i examined the actual performances of gamelan salendro and wayang golek purwa. it became clear that the salendro scale derives four types of sorog. the findings of this study indicate that sorog has existed since the 19th century by this phenomenon, and the scale now called sorog is a scale derived from salendro. keywords: sunda; sorog; vocal; rebab; gamelan salendro; wayang golek purwa how to cite: sasaki, m., & masunah, j. (2021). a review of the sundanese scale theory. harmonia: journal of arts research and education, 21(2), 318-329 harmonia: journal of arts research and education 21 (2) (2021), 318-329 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i2.32995 between the five notes of the sundanese salendro is more equal than that of the javanese slendro. this can be clearly seen when comparing the finger position on rebab. sundanese salendro (in gamelan salendro) is a bit difficult to transcribe with the diatonic tone, but when transcribed with the closest diatonic tone, d-e↑-g↓-a-b↑/c↓-d. sign ↑ on the notes e and b means slightly lower than the e or b notes, sign ↓ on the note g and c means slightly lower than the g or c notes. pelog in sunda is clearly pentatonic. (in schools, this scale is also called degung.) pelog is the original scale of gamelan degung, a small gamelan that is unique to sunda. introduction one of the peculiarities of sundanese music is the presence of a scale (laras) called sorog. in javanese and balinese music, only two types of laras are recognized, namely slendro and pelog, while in sundanese music, there are three types of laras: salendro, pelog, and sorog. these three scales are all clearly pentatonic. salendro in sunda is identical to slendro in java. the main genre of the salendro scale in sundanese music is gamelan salendro. but the pitch of sundanese gamelan salendro is slightly lower than that of javanese gamelan slendro, and the distance corresponding author: e-mail: marikokelinci216@gmail.com p-issn 2541-1683|e-issn 2541-2426 mariko sasaki & juju masunah, a review of the sundanese scale theory 319 also pelog is the basic scale of tembang sunda cianjuran, a solo vocal music accompanied by kacapi (zithers). the javanese pelog (in gamelan pelog) consists of seven tones, although only five notes are used in practice depending on pathet, hence sundanese pelog is somewhat different from javanese pelog. when transcribed with the closest diatonic tone, the sundanese pelog is d-f♯g-a-c♯-d. in order to make it easier to understand the difference with the salendro, here is also indicated from the d note. what needs to be considered is not the pitch but the distance between each of the five notes. sorog is typical of sunda. (in schools, this scale is called madenda.) as william described, sundanese people feel that the sorog is belongs to themselves which the javanese don’t have (william, 1990, p.69). in fact, this melancholy scale is very favored by sundanese peple. when transcribed with the closest diatonic tone, the sorog is d-e♭-g-a-b♭-d. in order to make it easier to understand the difference with the salendro, here is also indicated from the d note. what needs to be considered is not the pitch but the distance between each of the five notes. regarding these three scales, there is a theory taught at art college (stsi/isbi) in sunda, namely “pelog and sorog are scale that are born from salendro (from gamelan salendro)”. the one who started this theory was rd. machjar angga kusumadinata (1902-1979). kusumadinata was the most influential figure in the sundanese school environment. he coined a new term to be taught in schools. for example, the scale which is conventionally called ‘sorog’ by sundanese musicians, he calls it ‘madenda’, and teaches it in schools. in 1923, he also created a solfa/cipher system which converts notes from ‘high’ to ‘low’ as 1/da-2/ mi-3/na-4/ti-5/la, this system is still widely used in schools today (zanten, 2014, p.209), even though in the field (outside of school) there are no musicians who mention tone like this. in kusumadinata’s work, there are many things that are not in accordance with the reality in practice, so that many foreign scholars have criticized kusumadinata, such as tamura (1977), fryer (1989), weintraub (1993, 1997), sasaki (2006, 2007), and zanten (1987, 1989, 1995, 2014). meanwhile, in indonesia, especially in sunda, no one has expressed criticism of kusumadinata. weintraub (1993, p.37) said that criticizing kusumadinata is difficult for sundanese scholars because they are ‘insider’ who live in kusumadinata’s own environment. during the 20th century, the kusumadinata’s scale theory was never criticized nor reviewed by foreign scholars or by sundanese/indonesian scholars themselves. it was only in the early 2000s that lecturer from the stsi (isbi) bandung appeared who reviewed the kusumadinata’s scale theory and dared to put forward criticism, namely deni hermawan and heri herdini. their writing are, “tangga nada musik sunda: antara kenyataan teoretis dan praktis” (hermawan, 2001) and “tinjauan ulang terhaap teori laras dan surupan karya raden machyar angga kusumadinata” (herdini, 2004). however, the method employed in their research was measuring ‘number’ (pitch and pitch interval) on kacapi tuning externally and mathematically. because the measurement numbers (cents) by them do not match the numbers (cents) mentioned by kusumadinata, it was concluded that “degung and madenda are independent scales, not derivatives of salendro” (herdini, 2004, p.66). koizumi, who built scale theory of japanese traditional music, study on tuning on ‘musical instruments’ by measuring cents externally, and mathematics is meaningless if you do not understand the musical structure first (koizumi, 1958 p.25, p.245-246). likewise, the material taken in their research is kacapi, while kusumadinata’s scale theory is based on gamelan salendro. therefore, the results of their research are inadequate as a result of a review of the harmonia: journal of arts research and education 21 (2) (2021): 318-329320 kusumadinata’s scale theory. concerning the emergence of ‘bandung scholars’ who expressed criticism of kusumadinata’s scale theory in the early 2000s (i.e. hermawan and herdini), zanten states “a necessary step towards developing a new modal theory for west java”, and “after discarding kusumadinata’s theories, scholars should develop a new modal theory” (zanten, 2014, p.216-217). however, after the emergence of the ‘bandung scholars’ in the early 2000s, kusumadinata’s scale theory has never been reviewed by either ‘insiders’ or ‘outsiders’. the first author has been studying sundanese gamelan salendro since 1998 and has researched sundanese scales as a review of kusumadinata’s scale theory (sasaki, 2006, 2007). this article is a continuation of the previous research. to review the kusumadinata’s scale theory, what needs to be noted is, that the sundanese gamelan salendro was originally a javanese gamelan slendro brought from central java (islamic mataram dynasty) in the 17th century, and in sunda developed as the accompaniment of wayang golek purwa. therefore, the questions that need to be investigated are, (1) how is the scale of the ancient sundanese music that existed in sunda before the entry of gamelan salendro from java (islamic mataram) in the 17th century? and (2) how to present the sundanese gamelan salendro and wayang golek purwa can produce scales in the form of pelog and sorog? to answer the first question, in previous research (sasaki, 2006, 2007), the first author has investigated the scales on three types of ancient sundanese music, namely goong renteng, pantun, and tarawangsa. goong renteng is the oldest gamelan in west java, which is the origin of gamelan degung. pantun is an oral verbal tradition presented by a juru pantun while plucking kacapi all night long. (in the past it was often accompanied by tarawangsa). tarawangsa is a two-stringed instrument, and its presentation is always accompanied by kacapi. existence pantun has been recorded in the sundanese ancient manuscript siksa kandang karesian written in 1518 ad, and it is considered that around 1400 the pantun had been known by the sundanese (sumardjo, 2003, p.5). tarawangsa has also been referred to as a musical instrument in the sundanese ancient manuscript sewaka darma written in the 15th century ad (kurnia & nalan, 2003, p. 31) that year the tarawangsa already existed. the scale on goong renteng is pelog (five tone pelog). this is reasonable because, the scale of the gamelan degung which is said to be the development of goong renteng, is also clearly pelog. also, pantun, the original scale is pelog (five-tone pelog). as described by weintraub (1990, p.66), since the early 1940s, for ‘entertainment’, the kacapi in the performance of pantun began to be tuned with salendro, but previously it was tuned with the pelog. this is also reasonable because the main scale of the tembang sunda cianjuran which is a development of the pantun is also pelog. regarding tarawangsa, the so-called ‘principal pieces’ or ‘obligatory pieces’ presented to invite and entertain dewi sri (nyi pohaci sanghyang asri) in ‘sacred’ agrarian ceremonies all in the pelog (five-tone pelog). salendro scale only appears in several pieces which are presented as ‘entertainment’ after the sacred ceremony is over. therefore, regarding the firast question, it has become clear that pelog in sunda is an ‘independent scale’ that has existed since the hindu era, long before the entry of gamelan slendro from central java, not a scale born from the salendro. hence, as for the pelog, it can be said kusumadinata’s theory is not right. regarding the second question, the thing worth noting is, in the sundanese music, especially in the gamelan salendro and wayang golek purwa performances, the vocalist and rebab player frequentry uses tones which can not be produced on the fixed instruments, i.e. the gamelan instrument is in the salendro scale, but the melody (voice and rebab) can be ‘like sorog’, sometimes it can also be ‘like pelog’. mariko sasaki & juju masunah, a review of the sundanese scale theory 321 concerning this interesting phenomenon, the first author has tried to analyze in previous studies (sasaki, 2006, 2007). however, in previous studies, the analysis of sorog was not enough. also, previous studies’ analysis was only about the gamelan salendro, whereas the sundanese gamelan salendro developed as the accompaniment of the wayang golek purwa. therefore, in this article, both the gamelan salendro and the wayang golek purwa are analyzed, and the analysis focuses on the sorog. method the method used in this qualitative study is, descriptive analysis with a musicological approach. data is collected by partisipatory observation. the data needed in this study is the ‘melody’ performed by the rebab player and vocalist in the gamelan salendro and wayang golek purwa performances. to obtain data, what is needed is a study of the gamelan salendro practice including the accompaniment of wayang golek purwa, rebab practice, interviews with gamelan salendro experts and dalang, presentation observations, literature, recordings, both recorded by the author himself and those sold. regarding the practice of gamelan salendro, including the wayang golek purwa, and the practice of the rebab, the first author studies them both ‘inside school’ and ‘outside school’. this aims to gain an objective view, since what is taught at school (stsi bandung) with what musicians practice in the field is somewhat different. actually, at the stsi bandung, the first author took courses on ‘gamelan salendro/pelog’ and ‘wayang accompaniment’. in outside of school, the first author participated in the gamelan salendro practice which was held at the house of asep mulyana, a rebab expert. also participates in gamelan salendro practice for wayang golek purwa at the house of otong rasta, the dalang of wayang golek cepak/purwa. especially about the rebab, the first author studied with experts through private lessons, such as entis sutisna and uloh abdullah. in this study, the practice of the rebab is more important than the practice of voice because the tone pitch can be seen clearly with the finger position. in addition, the first author also interviewed the experts of gamelan salendro and the dalang of wayang golek purwa, namely: iyar wiarsih, samin batu, tosin muhtar, dede amung sutarya, and asep sunandar sunarya. besides, the first author observes various performances accompanied by gamelan salendro, both tari (dance) and wayang golek purwa. while observing, the author records so that it can be studied. the first author also collects many records that are sold, both gamelan salendro and wayang golek purwa. literature, especially about wayang golek purwa, has also been collected, although it is not mentioned here one by one. the results of the analysis are described using the sundanese notation system, and transcripted in the closest diatonic tone in the western music notation system. this paper uses the sundanese notation system created by kusumadinata, because most of the readers of this paper are familiar with the kusumadinata’s notation system. in the concrete examples section, as a result of the analysis, transcriptions of the melody in the performances of gamelan salendro and wayang golek purwa with the closest notes in western musical notation will be included. results and discussion phenomenon of modulation as already said, in the sundanese music, especially in the gamelan salendro and wayang golek purwas performance, the voice and rebab frequentry uses tones which can not be produced on the fixed instruments, i.e., the gamelan instrument is in the salendro scale, but the voice and rebab conventionally modulate into scale ‘like sorog’, sometimes it also modulate into scale ‘like pelog’. this is a very interesting phenomeharmonia: journal of arts research and education 21 (2) (2021): 318-329322 non unique to sundanese music, but it seems that sundanese themselves don’t notice it. it was foreigners who analyzed this phenomenon. tamura (1977) has tried to analyze this phenomenon in ciawian (songs of ciawi). this phenomenon (only in the form of sorog) is also found in the performances of ciawian accompanied by kacapi tuned with salendro scale. however, in principle the analysis is based on the theory and terminology of kusumadinata (ilmu seni raras), and the analysis results are not clearly explained. it seems that tamura was ‘confused’ by kusumadinata’s theory and terms. this phenomenon (only in the form of sorog) is also found in the performances of tembang sunda cianjuran accompanied by kacapi tuned with slanedro scale, because of many of the salendro repertoires in the tembang sunda cianjuran are the repertoire of gamelan salendro. (for example, kulu-kulu-bem transcribed in this artikel is one of the gamelan pieces sung as a repertoire of the tembang sunda cianjuran.) this phenomenon in the tembang sunda cianjuran has also been analyzed by cook (1993). however, what cook explains is that there are two types, namely what the first author calls type a and type b below. four types of modulation system as the result of analysis the modulation system is as follows. the salendro scale of the instrument (gamelan) and scale ‘like sorog’ and ‘like pelog’ of the melody (vocals and rebab) share ‘three tones’ among the five tones of salendro scale. these three tones have important function in pieces as the framework, i.e. gong and kenong. meanwhile, ‘the other two tones’ with no important function can be lowered or raised slightly, thereby modulating into scale ‘like sorog’ or ‘like pelog’. in previous research (sasaki, 2006, 2007), as a result of the analysis of this phenomenon, the first author stated that there were three types of modulation systems. however, upon review, it turns out that there are four types of modulation systems. before explainning the four types of modulation systems, the author will explain figure 1. figure 1 shows names and ciphers for the tones in sundanese gamelan salendro on the image of saron (metallophone). the labels on the bottom parts are the closest tones in western scales. figure 1. names, ciphers, and pitches in sundanese gamelan salendro (by mariko sasaki) in the following, four types of modulation systems are described as type a, type b, type c, and type d. each type is explained using a illustration of saron. ‘the three unchanging tones’ (that are ‘shared’) are not colored, while ‘two tones that are lowered or raised slightly’ are grayed out. in the cipher notation, the lowered tone is underlined, and the raised tone is upperlined. the conventional modulation is in the form of sorog. in type a and type b, both sorog and pelog are found, while in type c and type d, only sorog is found (see figure 2 to figure 5). [ type a ] • ‘the three unchanging tones’ (that are ‘shared’) are 1, 2, and 4. •when tone 3 and 5 are lowered slightly, it modulates into sorog. (this type of sorog is called sorog kenong by traditional rebab players.) the pitch of this type of sorog is 4-3-2-1-54 = d-e♭-g-a-b♭-d. • when tone 3 and 5 is raised slightly, it modulates into pelog. (this type of pelog is called kobongan or mataraman.) the pitch of this type of pelog is 4--2-1--4 = d-f♯-g-a-c♯-d. mariko sasaki & juju masunah, a review of the sundanese scale theory 323 figure 2. type a (sorog/pelog) [ type b ] • ‘the three unchanging tones’ (that are ‘shared’) are 1, 3, and 4. • when tone 2 and 5 are lowered slightly, it modulates into sorog. (this type of sorog is called sorog panelu by traditional rebab players.) the pitch of this type of sorog is 4-3-2-15-4 = d-e↑-f-a-b♭-d. if the tone sequence is changed, it becomes a-b♭-d-e↑-f-a. • when tone 2 and 5 are raised slightly, it modulates into pelog. (this type of pelog is called pelog degung.) the pitch of this type of pelog is 4-3--1--4 = d-e↑-g♯a-c♯-d. if the tone sequence is changed, it becomes a-c♯-d-e↑g♯-a. figure 3. type b (sorog/pelog) [ type c ] • ‘the three unchanging tones’ (that are ‘shared’) are 1, 3, and 5. • when tone 2 and 4 are lowered slightly, it modulates into sorog. (this type of sorog is called sorog singgul by traditional rebab players.) the pitch of this type of sorog is 4-3-2-15-4 = c↑-e-f↑-a-b-c↑. if the tone sequence is changed, it becomes e-f↑-a-b-c↑-e. figure 4. type c (sorog) [ type d ] • ‘the three unchanging tones’ (that are ‘shared’) are 2, 4, and 5. • when tone 1 and 3 are lowered slightly, it modulates into sorog. the pitch of this type of sorog is 4-3-2-1-5-4 = d-e♭-g↓-a♭-c↓-d. if the tone sequence is changed, it becomes g↓-a♭c↓-d-e♭-g↓. figure 5. type d (sorog) harmonia: journal of arts research and education 21 (2) (2021): 318-329324 the results of analysis of the four types of moduration • the conventional (commonly found) modulation is in the form of sorog. • in type a and type b, both sorog and pelog are found. • in type c and type d, only sorog is found. • the most conventional (commonly found) ones are only two types, namely type a and type b. • as for sorog, a combination of type a and type b is common. • type c is rare, and is not found independently. type c is only found in combination with type b. • type d is only found in combination with type a, and appears only when heading to tone 4. therefore, type d can be considered as part of type a. (hence, type d is written as type a/d.) • if it is a combination, from type a to type b (or vice versa), and from type b to type c (or vice versa) frequently occur. however, the shift from type a to type c (or vice versa) always occurs via type b. four types of sorog as the results of analysis as i mentioned above, conventional modulation is in the form of sorog, and there are four types of sorog. figure 6 shows four types of sorog found in the vocals and rebab (transcripted by first author in the closest diatonic tone). as you can see, each type is overlapping, and the most conventional ones (i.e. type a and type b) are the center of four types. a d b c figure 6. four types of sorog found in the vocals and rebab (transcribed by mariko sasaki as results of analysis) key notes (1 and 4) as previously explained, among the four types, the conventional (commonly found) modulation is only two types, namely type a and type b. this is indeed natural, because the rebab is tuned to tone 1 and 4. (in type a and type b, tone 1 and 4 are not changed.) it can be said that tones 1 and 4 are ‘key notes’. in fact, many of the gamelan salendro repertoires are based on tones 1 and 4. also, the dalang’s songs in the wayang golek purwa can be said that almost all end on tone 4 or 1. hence in the wayang golek purwa performances, saron players often sound tone 1 and 4 so that the dalang’s voice doesn’t out of tune. modulation in the form of pelog as explained above, in type a and type b, both sorog and pelog are found. however, in practice, the form of ‘salendro with pelog’ is rarely found. it is found only in newly composed pieces or as a variation (as an improvisation) in the performances of pieces whose original melody is salendro scale. also, there are no ‘classical pieces’ whose original melody is pelog scale. therfore, it can be assumed that the modulation in the form of pelog is a new phenomenon. it is confirmed by gamelan salendro experts, namely iyar wiarsih, samin batu, entis sutisna, tosin muhtar, asep mulyana, and uloh abdullah. likewise, the dalang’s song in the wayang golek purwa performance, the modulation in the form of pelog is a new phenomenon. it is also confirmed by dalang, namely dede amung sutarya and asep sunandar sunarya. modulation in the form of sorog the conventional modulation is the form of sorog, both in the gamelan salendro performances and in the wayang golek purwa performances. there are also several sekar ageung (big pieces which have ‘finished melody’) whose original melodies are totally in the sorog. for example, kulu-kulu bem, tablo, udan mas, banjar sinom, lara-lara, and so mariko sasaki & juju masunah, a review of the sundanese scale theory 325 on. there are also several sekar ageung whose original melodies are salendro scale but conventionally altered into sorog. for example, kawitan which is conventionally presented at the opening of the wayang golek purwa performance. in the performance of sekar alit (small pieces which does not have ‘finished melody’), if the sinden (female singer) and rebab players are willing and able, the melody can be spontaneously modified (improvised) into sorog. several sekar alit have ‘finished melody’ conventionally, and the melody is sorog. for example, kulu-kulu gancang which is usually served after kulu-kulu bem. concrete examples if the dalang‘s songs in wayang golek purwa are applied to the four types, it can be said that almost all is type a and type b. this is related to almost all dalang’s songs end on tone 4 or tone 1. if the sekar alit repertoires of gamelan salendro are applied to the four types, as follows. kulu-kulu gancang (2) and banjaran (11) is type a. kulu-kulu barang (4) and sinyur (11) is type b. in renggong gancang (23), the first half is type a, the second half is type b. likewise in sanga gancang (54), the first half is type c, the second half is type b. if the sekar ageung repertoires of gamelan salendro (whose original melody is totally sorog) are applied to the four types, as follows. kulu-kulu bem and gawil are type a/d. tablo, udan mas, and lara-lara are a combination of type a/d, and type b. banjar sinom is a combination of type b and type c. the biggest pieces in the gamelan salendro’s repertoires are the pieces conventionally presented at the opening of wayang golek purwa, namely kawitan, bendra, and sungsang. the original melodies in these pieces are salendro, but there is already ‘sorog version’, and in this ‘sorog version’, four types all appear. ‘classic pieces‘ in sorog regarding sekar ageung, whose original melodies are totally in sorog, i.e. kulu-kulu bem, tablo, udan mas, and banjar sinom, the thing worth noting is that these pieces are ‚classical pieces‘. therfore, it can be assumed that the modulation in the form of sorog is an old phenomenon. it is confirmed by gamelan salendro experts, namely iyar wiarsih, samin batu, entis sutisna, tosin muhtar, asep mulyana, and uloh abdullah. as to when these ‚classical pieces‘ exist, it is difficult to say for sure. but according to lubis (lubis, 1998, p.245), the regents of cianjur liked kulu-kulu bem as an accompaniment to tayub, hence it can be assumed that at least it has existed since the 19th century. transcriptions of melodies in sorog as a concrete example of melodies in sorog, the first author will attach the transcription. the transcription 1 is dalang‘s song (kakawen sendon/sri tinon) sung by asep sunandar sunarya, as an example of type a. the transcription 2 is the first gongan of kulu-kulu bem, rebab by uloh abdullah, as an example of type a/d. the transcription 3 is the first gongan of banjar sinom, rebab by uloh abdullah, as an example of a combination of type b and type c. these two pieces are 4 wilet. in the presentation of the pieces 4 wilet, each first line is sung by alok (male singer) with improvisation, after that from the second line, the ‚finished melody‘ begins. therfore, the transcription starts from the second line. regarding the transcription of kulu-kulu bem and banjar sinom, there are things to note. in senggol (melodic ornaments performed by rebab player and vocalist), it also used tones that do not belong to each type described above. hence, in the transcription, sometimes appear tones that do match the tones of each type described above. also, in the senggol, there is a tendency that ‘when the melody goes up’ with harmonia: journal of arts research and education 21 (2) (2021): 318-329326 ‘when the melody goes down’, the pitch is slightly different. concretely, in type a, when the melody goes up, g-a-bb, but when the melody goes down, it tends to become bb-ab-g. likewise in type b, when the melody goes up, d-e↑-f, but when the melody goes down, it tends to become feb-d. likewise in type c, when the melody goes up, a-b-c, but when the melody goes down, it tends to become c-bb-a. comparison with kusumadinata’s scale theory as described in the introduction, kusumadinata’s scale theory is “pelog and sorog are the scales born from salendro (from gamelan salendro)”. the experiment conducted by kusumadinata to draw the scale theory can be seen in ringkesan pangawikan rinenggaswara (kusumadinata, 1950) and ilmu seni laras (kusumadinata, 1969). ringkesan pangawikan rinenggaswara may be considered as a summary of ilmu seni laras. ilmu seni laras is still used as a course material in art education institutions, especially stsi (isbi) bandung and state vocational high schools (smkn) 10 bandung (herdini, 2003). what was being done by kusumadinata to draw the scale theory was to develop the salendro scale as a rakitan salendro (salendro assembly). what is meant by ‘rakitan salendro’ is, to insert a tone between the five tones of salendro by raising (miringkan) or lowering (malangkan) the five tones of salendro. then, calculate the interval between the notes mathematically with cents. as an experiment, in 1938, kusumadinata made a ‘rakitan salendro 10 raras’ by inserting five tones into the five tones of salendro. the distance between the ten tones on this model is 120 cents. then in 1942, as a second trial, a ‘rakitan salendro 15 raras’ was made by inserting ten tones. the distance between the 15 tones on this mos ri ti non ing pa bu s bu ser ya reng geng ma nik na ra wa ta na ra wa ta sar wa ruk ma ba pus pi teng u di a na pan jra hing sar wa ruk mamiang sa na ma ne ka wa r na ri ti non ing pa se wa kan bu sa na ma ne ka war na sa na ma ne ka wa rna war na se wa kan bu sa na ma ne ka war na transcription 1. dalang’s song kakawen sendon (melody)/sri tinon (words) based on vocal by asep sunandar sunarya (transcribed and analyzed by mariko sasaki) mariko sasaki & juju masunah, a review of the sundanese scale theory 327 del is 80 cents. finally, in 1945, the ‘rakitan salendro 17 raras’ was made by inserting 12 tones. the distance between the 17 tones on this model is 70 cents (kusumadinata, 1969, p.27-38). kusumadinata’s scale theory is based on experimental results of ‘rakitan salendro 15 raras’. however, as kusumadinata himself says (on page 32 in ilmu seni raras), the reason for choosing ‘rakitan salendro 15 raras’ is, simply because ‘it feels better’ (‘lebih enak’) than ‘rakitan salendro 10 raras’. thus, what kusumadinata did to appeal to the scale theory was, just ‘calculate’ intervals mathematically and ‘choose’ with the reason of ‘feels better’. meanwhile, the first author analyzes ‘musical structure’ in the actual performances of gamelan salendro and wayang golek purwa, namely analysis the relationship between melody (vocal and rebab) gamelan instruments. therefore, this study shows the real evidents in compare with mathematical calculation developed by kusumadinata. ‘sorog’ in japan japan is also one of the ‘members’ of the ‘pentatonic region’ of asia. in this regard, there is an interesting point, namely that the three types of scales in sundanese music are identical to scale (called onkai) in japanese traditional music. concretely, the sundanese salendro is identical to ritsu onkai in japan, the sundanese pelog is identical to ryukyu onkai found in the ryukyu/okinawa islands in japan. the sundanese sorog is exactly the same as miyakobushi onkai in japan. as is the case with sorog which is typical of sunda, miyakobushi onkai is also typical of japan. according to koizumi, japanese ethnomusicologist, miyakobushi onkai is a mutation of ritsu onkai. the mutation occurred in the 17th century in the edo petranscription 2. the first gongan of kulu-kulu bem (sekar ageung 4 wilet) based on rebab by uloh abdullah (transcribed and analyzed by mariko sasaki) transcription 3. the first gongan of banjar sinom (sekar ageung 4 wilet) based on rebab by uloh abdullah (transcribed and analyzed by mariko sasaki) harmonia: journal of arts research and education 21 (2) (2021): 318-329328 riod (1603-1867), hence miyakobushi onkai is found in the music that developed during the edo period, namely koto (kacapi) and shamisen (three-stringed stringed instruments). miyakobushi onkai is also found in many folk songs. according to koizumi, folk songs throughout japan that were originally ritsu onkai have now almost all become miyakobushi onkai (koizumi, 1958, p. 207 & 249, 1974, pp. 77-78). thus, in japan, miyakobushi onkai (identical to laras sorog) was derived from ritsu onkai (identical to laras salendro). is the sorog in sunda also the same? was sorog derived from salendro? if so, this means that the same phenomenon occurs horizontally in japan and in sunda/indonesia. hence, when this can be proven, it will contribute to the musicology, both in japan and in indonesia. conclusion as explained above, the presence of pelog as a modulation (i.e., type a and type b) in the melody (rebab and vocal) in the performances of gamelan salendro and wayang golek purwa is ‘a new phenomenon’. also, the results of previous research on the three genres of ancient sundanese music that have existed since the hindu era show that the pelog is an independent scale that has existed since the hindu era, long before the entry of the gamelan slendro from central java (islamic mataram dynasty). therefore, with regard to pelog, it became clear that kusumadinata’s scale theory needs to be reconstructed. meanwhile, the presence of sorog as a modulation in the melody (rebab and vocal) in the performances of gamelan salendro and wayang golek purwa is ‘an old phenomenon’ that can be presumed already existed at least in the 19th century. this indicate that the scale now called sorog in sunda is a scale derived from salendro by this phenomenon in the performances of gamelan salendro and wayang golek purwa. references cook, s. (1993). parallel versions of tembang sunda melodies in different tunings. in v. w. zanten (ed.), oideion (1st ed., p. 55). leiden, the netherlands : centre of non-western studies, leiden university. https:// www.worldcat.org/title/oideionthe-performing-arts-world-wide/ oclc/30108505 fryer, r. (1989). sundanese theory and practice in the performance of gamelan in bandung, west java. belfast: queen’s university. herdini, h. (2003). eksistensi raden machjar angga kusumadinata: tinjauan dari teori kebutuhan abraham maslow. panggung, 26, 55–67. herdini, h. (2004). peninjauan ulang terhadap teori laras dan surupan karya raden machjar angga koesoemadinata. panggung, 32, 54–66. hermawan, d. (2001). tangga nada musik sunda: antara kenyataan teoretis dan praktis. jurnal panggung, xx. koizumi, f. (1958). nihon dento ongaku no kenkyu. ongaku no tomo-sha. koizumi, f. (1974). riron hen. in nihon no ongaku -rekishi to riron-. kokuritsu gekijo jigyobu. kurnia, g., & nalan, a. s. 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(1990). music of pantun sunda: an epic narrative tradition of west java, indonesia. university of hawai’i at manoa. weintraub, andrew noah. (1997). constructing the popular: superstars, performance, and cultural authority in sundanese wayang golek purwa of west java, indonesia. [berkeley: university of california]. in ethnomusicology (vol. 37, issue 1). https:// doi.org/10.2307/852243 william, s. (1990). the urbanization of tembang sunda, an aristocratic musical genre of west java, indonesia. university of washington. zanten, w. van. (1987). tembang sunda : an ethnomusicological study of the cianjuran music in west java. university of leiden. zanten, w. van. (1989). sundanese music in the cianjuran style : anthropological and musicological aspects of tembang sunda. foris publications. zanten, w. van. (1995). notation of music; theory and practice in west java. in w. van zanten & m. van roon (eds.), oideion 2 (2nd ed., p. 209). leiden, the netherlands : centre of non-western studies, leiden university. zanten, w. van. (2014). encouters in the context of inspiring sundanese music and problematic theories. in r. hoefte & h. s. nordholt (eds.), recollecting resonances. brill. 111 revitalization of jatidhuwur jombang mask dance as an effort to reintroduce local cultural values setyo yanuartuti, joko winarko department of arts, drama, dance and music, faculty languages and arts, universitas negeri surabaya, indonesia submitted: august 7, 2019. revised: november 4, 2019. accepted: december 28, 2019 abstract millennial era is an era where this generation is generally characterized by increasing the use and familiarity of communication, media and digital technology. this era will bring even further gaps in the attitude of this generation from the values of indonesian life. the value of this nation’s life has long been stored under the arts and culture. in the midst of the downfall of the traditional art life, like the jatid masked dance, we need the strategy for the young generation to value the local culture for filtering the exposure of foreign culture. this becomes the ground of current jombang society which directing their art revitalization to the present cultural forms. that becomes the reason behind this study to be conducted. the purpose of this study is to realize the jatidhuwur mask dance as a medium to introduce jombang local cultural values to the current generation. the method used for revitalization is dance reconstruction. reconstruction was carried out with the stages of excavation, setting the structure, developing elements of motion and accompaniment, and packaging, and introducing it to young people in jombang. data analysis uses an interactive model in the stages of data collection, data reduction, data presentation and conclusions. the results show that in the jatidhuwur mask dance performance there are local cultural values such as religious values, discipline values, life values, and the value of struggle. these local cultural values are revitalized and visualized through art elements such as themes (stories), plot, performance structure, and accompaniment in the touch of new cultivation. the dance is presented in the form of a single dance and a short dance drama (fragmentary), with a touch of technology. keywords: revitalization; jatidhuwur mask dance; local cultural values; millennial era how to cite: yanuartuti, s., & winarko, j. (2019). revitalization of jatidhuwur jombang mask dance as an effort to reintroduce local cultural values. harmonia: journal of arts research and education, 19(2), 111-116. harmonia: journal of arts research and education 19 (2) (2019), 111-116 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i2.20437 the handphone, open you-tube, just choose what you want to watch. the digital era is not new at this time, especially for millennial generations. the generation is characterized by the increase of the use and familiarity of communications, media and digital technology. because it was brought up by technological improvements, millennials have creative, introduction digital technology has dominated human life. life in the midst of technological development is a fortune in itself. everything is easy, we no longer need to be difficult to come to the bank just to submit the proof of transfer slip. no need to be hard to find entertainment, just turn on corresponding author: e-mail: setyoyanuartuti@unesa.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 19 (2) (2019): 111-116112 informative, passionate and productive characteristics. being compared to previous generations, millennials are better friends with technology. this generation is the generation that involves technology in all aspects of life. real evidence that can be observed is that almost all individuals in the generation choose to use smart phones (budiati et al., 2018). these conditions cause the presence of a gap between millennial generation attitudes and cultural values of this nation. national cultural values such as mutual cooperation, andhap asor (polite), mikul dhuwur mendhem jero, and so on are already unknown to millennials. cultural values stored in traditional performing arts texts will slowly but surely be displaced by advances in technology. practicality is one of the reasons why the attitudes of human life in this millennial era are far from national cultural values that prioritize togetherness and harmony. how do these millennial children recognize cultural values, if they do not recognize traditional forms of performance art? while traditional performing arts have begun to disappear because no one needs the show, such as the mask puppet or jatidhuwur mask dance drama in jombang. this dance drama used to be very popular among the people of jatidhuwur village and its surroundings. his presence was eagerly awaited because it was needed as a ritual means for healing diseases and promise. the values in the show imply the meaning believed by the community as a role model for community life. local cultural values such as spiritual values, social values, cultural values, educational values, moral values, the value of asceticism, and aesthetic values contained in the elements of the performance. the panji story element used in the mask dance drama performance clearly contains a variety of life values of the javanese people in general and east java people in particular. research nurhidayah (2017) explained that the revitalization of mask dance was carried out as an alternative media tool in spreading islamic invitation. the meanings contained in mask dance can explain the reminder to the almighty, the creator, the symbols of mask dance explain the moral values that become the content for preaching. for example, about the journey of human life from childhood through adulthood, leadership values, wisdom, love, and even wrath and other noble values. for the community itself, meanings can be used as role models and guidance. therefore, its symbolic meanings are in harmony with islamic teachings. in the face of changing times, mask dance also needs to be developed in accordance with the demands of the development of modern technology today. although there is a cultural inheritance from generation to generation, there is no guarantee that local culture will remain firmly nurtured to face the challenges of globalization which offer an increasingly pragmatic and consumptive lifestyle. when the jatidhuwur mask art collapsed because it was rarely performed, the revitalization approached by the characteristics of the millennial generation became very necessary. in the midst of the development of this technology, to maintain and preserve the life of traditional arts such as the jatiduwur jombang mask dance drama, it needs attention and a creative touch of technology. art creativity is one of the most important methods to be carried out so that people, especially the younger generation, now enjoy and involve in building their lives. the revitalization of performances that can be done in building and reviving this art is to do technologicalbased artistic creativity. method this research uses a qualitative approach. a qualitative approach is defined as a research procedure that produces descriptive data in the form of written or oral words from people and the behaviour observed. according to moleong (2002) qualitative research is often used to examine phenomena in natural social and cultural life. setyo yanuartuti, joko winarko, revitalization of jatidhuwur jombang mask dance as an 113 the approach used in this research is the revitalization of art with the dance reconstruction method. reconstruction was carried out with the stages of excavation, setting the structure, developing elements of motion and accompaniment, and packaging, and introducing it to young people in jombang. results and discussion revitalizing jatidhuwur jombang mask dance drama revitalization is the concept of preserving art with a form of development to regenerate arts that are becoming extinct. revitalizing art is done by developing traditional art in vital parts with a modern touch. revitalizing art is still vital in reference to traditional art as its main reference, so that the process can be done by mutrani (nunggak semi), which is imitating a standard but processing techniques and materials in accordance with current needs (kartika, 2016). revitalization of traditional art is very necessary because it can revive the art so that it has a presence in society and can encourage artists to be loyal to the arts. this is as expressed by endang wara that: revitalizing the position of traditional art in society so that it can be the local pride. some of the local people are cynical and consider the traditional art boring, uninteresting, and out of date. the revitalization is needed because it can revive and encourage the artist to be loyal to art. helping the conservation effort of traditional art because it is loved by the people and is considered as their identity (suprihatin dyah pratamawati, 2015). according to sudarso (1998), revitalization can be done in two ways, namely textual and contextual. textual revitalization is revitalization carried out in a particular branch of art either by restructuring an branch of art being worked on, by combining other texts of similar or different types, or by improving the function of existing texts (sudarso, 1998). meanwhile contextual revitalization is done more to be used for other interests outside the art itself. contextual revitalization is revitalization carried out by combining text with other texts originating from the outside, or utilizing a text for other purposes or functions outside the art itself (sudarso, 1998). jatidhuwur puppet mask is a masked dance performance which is arranged by a puppeteer. the dancer moves his body as a form of visualization of the puppeteer’s speech (monologue or dialogue) in accordance with the story that he is carrying. the motion character that is realized in accordance with the character of the mask character. the revitalization of the jatidhuwur mask dance drama has been started since 2000 until now. supriyo is one of the figures in jombang who played a role as a pioneer in the revitalization of mask puppets that had previously been suspended. revitalization is done textually by restructuring the story as it is. the developed art text is fashion because in the past the mask dance performance only used clothing that paid less attention to the performer’s characters. for example, a dancer wears a t-shirt or shirt that at that time is used, which is added by the use of a long cloth. the performer’s characters are only manifested through masks, headwear (jamang), and praba. the form of clothing developed at that time was that male figures did not wear top or ngligo (topless), and add fashion ornaments such as rapek and kace necklaces. the condition of the jadidhuwur mask performance form like that lasted until 2012. meanwhile in 2013-2014, the mask drama performance experienced a vacuum due to internal problems (yanuartuti, 2015). the revitalization of jatidhuwur mask dance drama was continued by unesa’s research team starting in 2015 with the stages of excavation, reinforcement of vital elements, development based on vital elements that have strength values such as development of motion characteristics, dance development based on unique characters, development of story structures, development of the performanharmonia: journal of arts research and education 19 (2) (2019): 111-116114 ce forms through an artistic approach, and development of the concept of working on a performance with a contemporary touch. the approaches used in this revitalization include restructuring, reconstruction, reinterpretation and transformation (yanuartuti, 2016). revitalization as a media to recognize local cultural values for young generation revitalization as a media to recognize local cultural values for the younger generation today’s young generation is very different in character from the past generation. technology greatly influences the culture of thinking, culture of behaviour and attitude in their daily lives. the generation also known as generation y or millennial more idolizes figures from foreign artists, who then become a reference in lifestyle. the lifestyle of this generation refers to the style of characters that often appear on internet or you-tube sites through the smartphone that he always carries. as stated by ali said et al (budiati et al., 2018) by referring to a boston consulting group (bcg) study with the university of berkley in 2011 in the united states that millennial generation has the following characteristics: interest in reading conventionally has now declined because generation y prefers to read through their smartphones; millennials must have a social media account as a communication tool and information center; millennials definitely prefer smartphones to television. watching a television program is no longer an entertainment because they can find anything on a smartphone; millennials make the family a center of consideration and their decision makers (budiati et al., 2018) the millennial period will also bring even further gaps in the attitude of this generation from the values of indonesian life. if this is allowed, generation y does not recognize the values of local wisdom that can be used as role models in the life of the nation and state. revitalizing traditional dances such as the jatidhuwur jombang mask dance is also intended to be able to reintroduce the values of local wisdom. the values that can be built and introduced to the generation y are values of passion, values of service, values of struggle, values of asceticism, and values of friendship. the values of spirit are built through the process of revitalizing the gladhen dance, mbanmban dance, maduretnocitrolangenan dance, and the patah kudanarawangsa dance drama. the value of passion is the value of life that we must always hold. because living with a sense of enthusiasm makes us people never give up, always rise when being slumped, and the spirit to keep fighting. in the gladhen dance, the value of spirit is in the motion text. gladhen dance is a mask dance revitalized from the patterns of war movement in the jatidhuwur mask puppet. this dance depicts warriors who are practicing war. this character of the warrior’s training spirit is revitalized in the gladhen dance in the hope of introducing that value to young generation today in jombang. children who join in the jatidhuwur puppet mask group began to recognize the value of spirit when dancing this dance. mbanmban mask dance is a revitalized dance with a source of inspiration from the emban figure in the jatidhuwur puppet mask. this emban figure is a royal servant figure of the king of gumbalaraja from the simbar manyura kingdom. the value of local wisdom built through mbanmban dance is the value of passion and devotion. an emban is a figure whose life as a whole is devoted to his boss or king. this value is actualized through characters and motion text arranged in comical types so that it becomes interesting for the current generation. the short dance drama or fragmentary of maduretno-citrolangenan is a mask dance revitalized from the continuation of patah kudanarawangsa’s story. this dance tells the story of the struggle of dewi sekartaji and panji inukertapati to rediscover their unity and also eliminate evil. the disguise of the name maduretno for panji, setyo yanuartuti, joko winarko, revitalization of jatidhuwur jombang mask dance as an 115 and citrolangenan for dewi sekartaji is a form of struggle to achieve the hope of unity of life. through revitalization, this dance can introduce the values of the struggle which is not easy to give up. in addition to the value of this fragmentary struggle, it also introduces the value of enthusiasm and asceticism. the value of asceticism is manifested through the maduretno scene when meditating in the forest to unite the mind and heart to beg and submit to god in connection with the predestined relationship with panji. the patah kudanarawangsa role is one of the panji plays in addition to the serat kudanarawangsa by moelyono, et al (19 ...) also used in the jatidhuwur puppet mask before performing revitalization (yanuartuti, 2015). the play was revitalized twice in 2012 and 2017 in the form of a mask dance drama. in 2012, this play was performed at the mpu tantular museum, with a structure in accordance with the old structure. in 2017 the play was revitalized again with an approach to the transformation of forms and values. shape transformation is done by building structures with simpler stresses but emphasizing dynamics. value transformation is done to change the value of love or romance into the value of friendship. this was done to bring the value for the players who were elementary school children at the time. the introduction of the value of friendship is transformed from the love value of panji inukertapati with fake and genuine dewi sekartaji. the transformation of the value of friendship is very important to build the character of children, especially those who involved in the revitalization process, and is also expected to be able to introduce that value to children and young people in general. this drama also introduces the values of enthusiasm, struggle and asceticism. the values of enthusiasm and struggle are visualized through the story of dewi sekartaji when excited and struggling to make friends again with panji inukertopati, which is carried out through his disguise becoming patah kudanarawangsa. the dance drama performance of patah kudanarawangsa is packaged with a touch of technology, and artistry through elements of stage engineering and lighting techniques. with a touch of this technology, it is produced new artistic value in the performance of the jatidhuwur mask dance drama. the increase in the quality of the show is an attraction for children and young people. the results of the show are then packaged into social media packaging, which is youtube, which can be consumed not only by jombang generations and people but also by people everywhere. the revitalization approach to mask dance that has been carried out has been packaged in the form of vcd, dvd, mp4, and also youtube. this form of mask dance packaging will be able to help introduce the cultural values of the indonesian people to millennial generation, with the hope of helping to strengthen the character in filtering the flow of foreign culture that can not be dammed anymore. conclusion the gap that occurs between the attitude of millennial generation and the value of the life of the indonesian people cannot be ignored, but it should be responded to and sought a solution. the values of local wisdom which are a form of cultural values are stored in many joints of traditional performing arts texts such as mask puppet. revitalizing mask dance is one alternative to be able to introduce national cultural values stored in the jatidhuwur jombang mask puppet. the approach that can be taken in rebuilding cultural values is to bring the forms of art presentation closer to the characteristics of millennial generation. making the mask dance presentation packaging with a touch of technology, which is then repackaged as a result of the show in the form of dvds, mp3s, mp4s, you-tubes that can be distributed through social media is a strategy so that the values of the performances of the mask dance drama are known and can build millennial generation characters. harmonia: journal of arts research and education 19 (2) (2019): 111-116116 acknowledgments the research was completed because of the help of various parties. the writer thanks mbah sumarni (heir of the jatidhuwur mask), pak supriyo (deceased, pioneer of mask puppet revitalization), moch hariono (who faithfully assisted during the introduction process until the revitalization of the jatidhuwur mask). references budiati, i., susianto, y., adi, w. p., ayuni, s., reagan, h. a., larasaty, p., setiyawati, n., pratiwi, a. i., & saputri, v. g. (2018). profil generasi milenial indonesia (a. said, i. budiati, r. b. r. rahayu, & a. p. raharjo (eds.)). kartika, d. s. (2016). kreasi artistik (perjumpaan tradisi modern dalam paradigma kekaryaan seni). karanganyar: lpkbn citra sain. moleong, l. j. (2002). metode penelitian kualitatif. jakarta: remaja rosdakarya. nurhidayah, y. (2017). revitalisasi kesenian tari topeng sebagai media dakwah. ilmu dakwah: academic journal for homiletic studies. 11(1), 21-52. pratamawati, e. w. s. d. (2016). malang mask puppet presentation structure arrangement of the story rabine panji as cultural tourism commodity in malang regency east java. harmonia: journal of arts research and education, 16(1), 66-74. sudarso. (1998). “seni dan keindahan”. (dalam pidato ilmiah. pengukuhan guru besar tetap fakultas seni rupa isi yogyakarta. yanuartuti, s. (2015). revitalisasi wayang topeng jatidhuwur jombang lakon patah kudanarawangsa. surakarta: isi surakarta. yanuartuti, s. (2016). building creative art product in jombang regency by conserving mask puppet. harmonia: journal of arts research and education, 16(1), 30-37. vol.1 no.1_mei_agustus 2000.pdf #!�'!$�$�� ��'������� �!�� #!��%��%"�� ������� ���� � ������ pengaruh globalisasi sangat terasa dalam dunia kesenian indonesia. hal itu minimal tampak dari pesatnya perkembangan teknologi komunikasi sehingga menyebabkan karya-karya seni seniman suatu bangsa dapat menembus dan dinikmati secara langsung oleh bangsa-bangsa lain di seluruh dunia. hasil karya seni tidak dapat lagi dipisahkan dengan tegas dari sistem-sistem, seperti produksi, informasi, perdagangan, hukum dan telekomunikasi. karya seni anak bangsa indonesia mau tidak mau harus mampu bersaing dengan karya-karya seni hasil world intertainment industry, seperti film produksi hollywood, cina, india maupun telenovela dari mexico, brasil dan negara-negara lain. terlepas dari semua itu, pesatnya perkembangan teknologi informasi dan komunikasi membawa kemungkinan peningkatan apresiasi seni masyarakat dan memberi peluang bagi karya seni indonesia untuk “go international” ke dalam industri kesenian dunia. pendahuluan tulisan ini sebagai penuangan hasil pengamatan yang penulis lakukan dari beberapa kejadian yang banyak dialami atau dilakukan oleh beberapa organisasi seni pertunjukan, baik yang menamakan dirinya kelompok kesenian tradisional maupun yang menyebut dirinya kelompok kesenian modern atau yang enggan menyebutkan dirinya dari salah satu tadi. tulisan ini bukanlah suatu bentuk pemikiran yang sistematis untuk memecahkan berba gai permasalahan yang dihadapi oleh kelompok-kelompok seni pertunjukan, melainkan merupakan tawaran ide atau ajakan dari gagas-an penulis terutama dalam kaitan nya dengan wilayah studi kesenian tentang pengelolaan organisasi seni pertunjukan. hal yang lebih menarik sebagai sebuah studi seni, terutama keterkaitannya tentang adanya pernyataan-pernyataan yang dilontarkan oleh pihak yang mengatasnamakan seniman, yang menganggap bahwa seni itu mempunyai wilayah otonomi sendiri, dia memiliki otoritas yang bebas dari tekanan eksternal, seni harus dibebaskan dari segala macam kepentingan di luar seni sendiri. sementara realitas yang terjadi di lapangan, banyak contoh kasus bahwa kesenian tidak bisa dilepaskan keterkaitannya dengan hal-hal di luar kesenian. hubungannya dengan pengelolaan, sudah barang tentu banyak hal yang terkait seperli sistem organisasi, ekonomi/keuangan, hubungan sosial dan elemen-elemen lain di luar seni. dalam prakteknya kesenian sering melibatkan elemen penonton sebagai penerima dari apa yang hendak disampaikan oleh seniman lewat penunjukannya. dilihat dari satu sisi yakni keterlibatan para penonton dengan sebuah karya seni maka dengan sendirinya atau se cara tidak langsung membawa dampak kepada elemen-elemen lain untuk terlibat. bila kita pahami, karya seni yang dipertunjukkan memiliki orientasi apa, siapa saja penonton yang datang dan seterusnya, maka jawabannya akan sangat luas arti nya kita berhadapan dengan masalah-masalah yang kompleks. tanpa ingin menciptakan permasalahan yang semakin melebar, n penulis ingin mengajak kembali ke permasalahan awal, dengan ini penulis memberanikan diri membuat tawaran untuk mengelompokkan menjadi permasalahan seni di satu sisi dan permasalahan non seni di sisi lain. ditarik ke lingkup yang lebih sempit lagi dalam sistem produksi seni pertunjukan, komponen komponen pendukung dan penunjang produksi terdiri dari urusan artistik dan non artistik. pendukung urusan artistik adalah orang-orang yang memiliki kemampuan dan keahlian dalam bidang seni meliputi: pemain, pemusik, penata pentas, teknisi cahaya, teknisi sound system dan lain-lain. pendukung non artistik adalah orangorang yang bekerja di luar bidang seni seperti sekretaris, humas, transportasi, akomodasi, perlengkapan dan lain-lain (jazuli, 1999). dengan hal tersebut bisa terarah dalam pemahaman kita untuk membahas satu sisi dari masalah kesenian, yaitu tentang pengelolaan sebagai permasalahan disisi non seni (non artistik). kesenian adalah produk kreativitas masyarakat. kesenian dito pang beragam faktor tidak hanya intrinsik tetapi sekaligus juga yang ekstrinsik. hal senada, umar ka-yam mengisyaratkan bahwa dalam kerangka pemikiran yang lebih luas membicarakan keberadaan suatu kesenian tidak bisa tidak harus juga melibatkan unsur yang diluar kesenian. kehadiran dan perkembangannya ditentukan oleh adanya faktor yang disebut penyangga budaya, salah satunya adalah masyarakat dari tempat di mana kesenian itu berada, baik dalam arti kolektif atau komunitas maupun atas nama individu atau pribadi. perlunva sistem pengelolaan seni pertunjukan dari sedikit uraian di atas penulis memberi penafsiran bahwa keberadaan suatu kesenian selalu membutuhkan komponen-komponen lain yang melingkari di sekelilingnya dan saling kait mengkait. dengan demikian, untuk dapat mempertahankan atau menciptakan suatu bentuk kesenian (seni pertunjukan) dalam prosesnya sangat dibutuhkan adanya kerja pengelolaan, dalam istilah sekarang yang banyak beredar adalah “manajemen produksi pergelaran”. sadar atau tidak sebenarmya kerja manajemen sudah terjadi atau dilakukan dalam suatu pengelolaan kegiatan, baik indivi du atau kelompok produksi seni. tetapi untuk lebih meningkatkan hal ini menjadi berdaya guna dan berhasil guna, maka perlu adanya pendekatan secara teoritis konseptual yang harus dilakukan dengan sengaja. banyak contoh peristiwa yang terjadi, pengelolaan seni pertunjukan baik yang bermula dari seorang seniman maupun oleh kelompok-kelompok atau yang diwadahi dalam suatu organisasi seni yang mapan, proses produksi se-buah karya seni pertunjukan atau pengelolaan secara menyeluruh pada umumnya berjalan dengan sendirinya, seperti menjalani rutinitas dalam kehidupan berkesenian. kalau demikian adanya sewaktu-waktu akan berhadapan dengan masa-lahmasalah yang sulit dipecahkan, sehingga dengan latah hal ini dianggap suatu yang biasa. padahal kalau sejak awal dilakukan pengelolaan secara sistimatik maka permasalahannya dapat diantisipasi antara lebih dan kurangnya. sebagai ilustrasi kepada kita, suatu peristiwa yang benar-benar terjadi, seorang seniman atau seorang yang memiliki kemampuan di bidang seni, bila masuk ke dunia profesional, semestinya harus sadar akan dirinya terhadap lingkungan di sekitarnya. artinya, seniman, kar ya seni, penikmat, adalah tiga kutup yang saling berkaitan dan saling mempengaruhi. ketiga hal ini apabila tidak terkoordinasi dengan baik niscaya tidak akan menghasilkan apa-apa, bisa jadi kegagalan yang didapatkan, sehingga manajemen sangat diperlukan baik skala kecil atau besar. mengambil contoh dari kematian nike ardilla, dia memiliki kemampuan vokal yang bagus, selanjutnya masuk ke dunia industri rekaman, dia memiliki penggemar atau pasar yang luar biasa, cerita singkatnya kehidupan pribadi dan kariernya diakhiri dengan kematian yang tragis (kecelakaan). bermunculan komentar dan pendapat tentang latar belakang peristiwa itu dengan berbagi versi. le pas dari ini semua, yang menarik bagi penulis, beberapa bulan kemudian salah satu media masa cetak mengangkat beritanya kaitannya dengan peristiwa itu tentang perlunya manajer bagi orang sekapasitas nike ardilla. mengapa demikian. karena keberadaan manajer akan membantu segala aktivitas dalam kehidupan profesional. kejadian yang menimpa nike ardilla menjadi justifikasi atas lemahnya manajer. peristiwa keterpurukan lebih besar lagi bisa terjadi yang disebabkan oleh lemahnya manajemen, apalagi untuk suatu organisasi seni nampaknya manajemen memegang peranan penting. manajemen seni pertunjukan menjadi pola yang efektif kesadaran akan perlunya manajemen kaitannya dengan dunia seni pertunjukan mulai terasa setelah kesenian semakin banyak bersinggungan dengan sistem ekonomi. ini terjadi karena mungkin keberadaan seni pertunjukan apalagi yang bersifat tradisional mulai terhimpit dan tertekan dalam kehidupan masyarakat yang semakin dinamis, sehingga mau tidak mau harus memperhitungkan juga sistem ekonomi yang sedang terjadi, karena persaingan-persaingan faktor kehidupan di luar kesenian semakin tajam. manajemen adalah upaya bersama untuk mendapatkan hasil yang diingini dengan tenaga dan biaya sedikit mungkin. manajemen mo dern menekankan adanya efisiensi dan efektivitas untuk mencapai sasaran produksi yang optimal. dalam hal hubungannya dengan manajemen atau pengelolaan seni pertunjukan di indonesia. sal murgiyanto (1993: 3) menyebutkan ada tiga kelemahan dalam manajemen teater tradisi kita, yaitu : 1. rapuhnya sistem organisasi pertunjukan. 2. tidak adanya jaminan sosial dan upah yang memadahi. 3. tidak adanya organisasi profesi yang melindungi seniman seni pertunjukan dari kejadian-kejadian semacam itulah maka dewasa ini pengelolaan seni pertunjukan dengan manajemen modern mulai dilakukan, untuk memberikan keseimbangan dalam keludupan di masyarakat dan terhadap tuntutan yang semakin kompleks. hemat kita sekarang bagaimana menangani produksi pergelaran seni pertunjukan atau yang lebih besar lagi meng elola organisasi seni budaya agar tidak terjadi keterpurukan seperti yang dialami oleh organisasi seni tradisi kita: grup wayang orang, group kethoprak dan grup-grup kesenian lain yang senasib. permasalahan ini pula yang diangkat oleh sal murgiyanto dalam tulisan makalah seminar tentang manajemen modern dan pengelolaan teater, mengalakan bahwa: menyelenggarakan sebuah pertunjukan pada dasarnya adalah sebuah team work, kerjasama yang bergantung pada kreativitas sutradara, para administrator, pekerja panggung, aktor dan petugas-petugas lainnya. kerja sa ma akan berjalan baik jika tang gung jawab di bagi dan jalur komunikasi terbuka dan langsung. hasil yang baik akan tercapai jika keahlian diberbagai bidang dapat dipadukan. manajemen modern lahir karena tuntulan kebutuhan akan pengelolaan usaha yang terus berkembang, perkembangan tersebut terjadi karena kebutuhan dan keinginan manusia yang juga cepat berkembang. berdasarkan itu semua, organisasi usaha juga semakin kreatif bukan hanya dalam memenuhi kebutuhan dan keinginan pasar, tetapi juga kreatif dalam menciptakan kebutuhan dan keinginan pasar. seni pertunjukan sudah saatnya dikelola secara profesional. esthu (1993) berpendapat bahwa dalam pengelolaan organisasi seni sudah saatnya untuk mengubah pola, artinya perlu perubahan budaya organisasi dari “product in concept” ke “market in concept”. ini bukan berarti produk karya seni harus tunduk pada kehendak pasar, melainkan harus jeli melihat kebutuhan dan keinginan pasar dan sekaligus menciptakan pasar. banyak sekali pendekatan yang dapat diciptakan untuk digunakan sebagai pola maupun sistem yang secara operasional bisa dijadikan kerangka acuan untuk mengelola teater, seperti: bagaimana merumuskan tujuan, menetapkan sasar an, menemukan strategi dan menjabarkan dalam rencana tindakan. hal senada di katakan oleh riantiarno seperti yang diterapkan pada pengelolaan teater koma. menejemen kesenian hanyalah semacam alat untuk mencapai tujuan dan bukan tujuan itu sendiri. itulah menejemen yang ideal bagi kesenian, ia harus sanggup membantu seniman untuk sampai kepada pencapaian mutu artistiknya. dan ia tidak berhak untuk menjadi penghambat. maka seharusnya ia bukan suatu yang “market oriented” melainkan “product oriented”. produk karya seni (konsep artistik) adalah sumber dan sekaligus muaranya, untuk itu pasar harus diciptakan. penutup demikian kiranya maka langkah pertama yang perlu dijalankan un tuk menemukan pola pendekatan pengelolaan seni pertunjukan secara modern adalah dengan cara melakukan perencanaan strategis (lihat bagan). perencanaan tersebut meliputi juga mengidentifikasi jurang pemisah antara budaya lama organisasi dengan budaya baru yang dikehendaki. lebih penting lagi yang harus ditekankan adalah kesadaran kolektif dan yang terlibat pengelolaan seni pertunjukan, di antaranya seniman pencipta, tim artistik dan tim produksi pendukung non artistik. kesadaran kolektif yang dimaksud adalah bagi seniman pencipta harus menyadari perlunya prinsip manajemen atau kerja tim non anistik dan demikian juga bagi lim non artistik dalam keterlibatannya pengelolaan sebuah proses produksi harus memahami keperluankeperluan dari si seniman pencipta. dengan demikian akan terjadi keselarasan kerja dalam satu tim yang selaras dan kompak selama proses dilakukan. perencanaan strategis sumber daya: smart: kekuatan peluang kelemahan ancaman kriteria menetapkan sasaran: spesific measurable attainable realistik time oriented kepustakaan aton rustandi m, 1999. “menimbang keberadaan non artis” dalam makalah studi kesenian. surakarta: stsi. kayam umar, 1981. seni tradisi masyarakat. jakarta: sinar harapan. jazuli m, 1995. manajemen produksi seni pertunjukan. surakarta: yayasan resi tujuh satu. jazuli. m, 1999. dalang pertunjukan wayang kulit. surabaya: universitas airlangga. perencanaan sasaran riantiarno, 1993. makalah “perjalanan teater pasar harus diciptakan. surakarta: tbjt. murgiyanto, sal. 1993. makalah “manajemen moderen dan pengelolaan teater”. surakarta: tbjt. soedarsono, esthu. 1993. makalah “manajemen moderen dan pengelolaan teater”. surakarta: tbj. suratno, 1999. makalah “menyi mak manajemen beberapa dalang ‘laris’ di surakarta”. surakarta: stsi. lppm, 1999. makalah “manajemen organisasi budaya”. jakarta: kelola project. 340 changes in form and style in randai performance at the minangkabau diaspora in malaysia indrayuda indrayuda1, mohd effindi samsuddin2 1universitas negeri padang, indonesia 2universiti malaya, malaysia submitted: 2021-09-16. revised: 2021-11-29. accepted: 2021-12-26 abstract this article reveals the changes in form and style of the randai performance performed by the minangkabau’s diaspora in malaysia. the novelty of this research is the study of changes in forms and styles in randai carried out by the malaysian minangkabau diaspora. the disconnection of socio-cultural communication and the long distance between minangkabau and peninsular malaysia impacts the shift in forms and styles of randai in the minangkabau diaspora. this research was conducted qualitatively by designing research works such as pre-field studies, by collecting preliminary data based on a diffusion approach. in the field stage, the informants were selected by snowball sampling. the interview and observation instruments were designed based on the performance structure and performance procedures. researchers conducted data analysis using the techniques recommended by spradley, namely: (1) domain analysis, (2) taxonomic analysis, (3) componential analysis, and (4) discovering cultural themes. the study results revealed that the forms and styles were caused by mixing cultures between the diaspora and the malaysian malays. these changes were done so that the local community could accept randai. in addition, randai can be easily learned and cultivated by the malay malays and easily expressed by the malaysian community and the minangkabau diaspora as the perpetrators of randai. these changes occur through a process of adaptation and acculturation. the implication of this research is the emergence of a new randai model, namely randai, which refers to local culture, both from the aspect of the story, silat style, and music, as an identity and tradition for the malaysian minangkabau diaspora for the future. keywords: shape and style; randai; minangkabau diaspora how to cite: indrayuda, i., & samsuddin, m. e. (2021). changes in form and style in randai performance at the minangkabau diaspora in malaysia. harmonia: journal of arts research and education, 21(2), 340-355 harmonia: journal of arts research and education 21 (2) (2021), 340-355 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i2.32043 identity. randai cannot be separated from the practices of silek (silat) and dance (hs, 2014). these two elements have been closely associated with randai in the various region in west sumatra. hadijah (2019) said randai is an art that expresses various local wisdom of the minangkabau community. randai, as the identity of the minangkabau community, can bring out the character and characteristics through motion, music, and dialogue (primadesi, 2013). introduction the issue of randai minangkabau art has been written by many experts and researchers at various universities both in indonesia and abroad. as pauka (1998, 2016) mentioned, the results of his research revealed that randai is an art of motion and theater rooted in the art of pencak silat. pauka’s assertion is on the issue of the martial art of silek (silat) as randai’s corresponding author: e-mail: yudaindra@fbs.unp.ac.id p-issn 2541-1683|e-issn 2541-2426 indrayuda indrayuda & mohd effindi samsuddin, changes in form and style in randai 341 the development of randai as an object of study and performance has resulted in various new researches by academics at home and abroad. research conducted by academics is generally more focused on randai aesthetics, which discusses the artistic aspects of pencak movements (rustiyanti et al., 2013) and (adnan & bujang, 2014) publishing about randai as an artistic and comprehensive performing art. the artistic aspect is prominent in the techniques of pencak and galembong clapping. the issue of randai continues to emerge along with the many results of research on randai, where randai is an abstract theater in which the show does not use a stage setting (arsih et al., 2019) and (yuda et al., 2020). maryelliwati (2019) confirms that randai is played in an arena close to the players and the audience and is a form of collaboration between elements of the performing arts. indonesian people know that randai is a cultural heritage of the minangkabau people from various villages in west sumatra. randai also participates in migrating along with the migration of its population to other areas. rustiyanti (2014) explained that randai is supported by the people who live in west sumatra and the distribution area of the community. samad bin kechot (2009) said that the folk theater in seremban malaysia is a form of randai performance originating from minangkabau. listening that randai as one of the local wisdom of the minangkabau community can be used as a medium in developing the nation’s cultural values. it means that the emphasis is on local values and wisdom (arsih et al., 2019). in randai, there are historical values and local wisdom, which explore the values of past lives as a guide for present and future life (hadijah, 2019). the current issue, namely randai, has developed as the national cultural identity of the malaysian people, especially in the negeri sembilan area. the existence of randai has been developed by the traditional artists of negeri sembilan, such as mazdar abdul aziz, ramzi, and pak man kampa (latiff, 2014). today randai has been played to the accompaniment of modern musical instruments. because randai was considered ancient, changes were made to the costumes, and the roles that men usually played were now adapted to their real roles (rahmat & adi rahmad, 2020). the creative process in making a work of performing art is manifested in a series of actions from the artists. this process can be seen as a manifestation of adaptation to societal changes through creativity or creative abilities that are collective in maintaining the traditional arts belonging to the community, as happened at the randai show in malaysia (agustini, 2019). one of the distribution areas of the minangkabau ethnic group in malaysia, anthropologically for diaspora communities wherever they migrate, always include their culture, so that randai grows and develops in malaysia today. the distribution of the minangkabau ethnic group in peninsular malaysia impacts the wealth of malaysian cultural heritage. the minangkabau diaspora has contributed to the cultural heritage of the malaysian nation to this day. arif mundayat (2016) explained that there is a large distance difference between west sumatra and malaysia and the acculturation of the minangkabau diaspora with other ethnic groups in malaysia, it is suspected that there will be a change in the style of randai performances (guntoro, 2020) and (kaesthi, 2014). cultural globalization has occurred both within diaspora minangkabau or the local community, and its impacts change in values and the art form itself. (indrayuda et al., 2020). the universal phenomenon responds to the cultural transformation in people’s lives. they have reasons to struggle with certain cultural groups and seek to make various changes to achieve their collective goals (guntoro, 2020: 24). guntoro’s concept above has been applied in randai performances in malaysia; the randai artists have made various changes to achieve harmonia: journal of arts research and education 21 (2) (2021): 340-355342 randai’s existence in a heterogeneous malaysian society. kaesthi (2014) and nadjamuddin and sahriana (2017) said that societal changes started from the community’s response to global developments from all walks of life around it. randai, as part of the culture of the minangkabau diaspora community in malaysia, is affected by the socio-cultural changes of the local community (kumala sari & correspondence, 2018). the reality is that various popular performing arts styles have emerged, affecting the perspective and artistic taste of the people towards randai (indrayuda, 2014). the novelty of this research is to reveal the existence of randai as part of the cultural arts of the minangkabau diaspora community in malaysia, which cultural researchers have not widely studied. randai researchers generally question cultural identity, performance structure, music and movement in randai, educational values in randai, and all of that is studied in the socio-cultural life of the local community (minangkabau in west sumatra). the study of randai in the minangkabau diaspora has never been published. another issue concerns the form and style of randai performances outside the context of the original owner’s community, such as randai in the malaysian minangkabau community. one of the important things in this research is that randai has become the new cultural identity of malaysian society. the reality is that randai continues to develop as a performing art of the minangkabau diaspora in malaysia. method this study was designed with a qualitative approach that is explanatory (creswell, 2015) and phenomenological (hesse-biber, s., & leavy, 2011). the study transformed randai’s performance style, ethnography, socio-culture, artistic performances, cultural identity, and cultural diffusion. this randai is found in the diaspora community of the minangkabau ethnic group in malaysia, precisely in kuala lumpur. this research is focused on changes in randai’s performance style in the diaspora minangkabau society of malaysia. in the pre-research, a preliminary study covered the forms of randai performances in kuala lumpur. initial observations were made by gathering information about randai’s presence in kuala lumpur and his relationship with the minangkabau diaspora. in addition, preliminary information was also collected about the existence and forms of randai and the characteristics of the artists in west sumatra for comparison. all data obtained in the pre-field research were collected and then carried out discussions related to the research team. this discussion aims to develop research instruments and tools that can assist researchers in field research. the research team prepares the research design and completes all instruments in the pre-field research, including interview instruments, observations, and performance instruments. during the field research, informants were selected by snowball sampling so that the key informants were artists or artists who were directly involved with randai performances. interviews were conducted because this research is phenomenological (leavy, 2017). interaction with informants was carried out intensively and guided by research instruments. furthermore, periodic observations on structural aspects are conducted either in the studio or on the performance stage. observations included structural aspects such as the initial section, the legal section, the pasambahan section, the dayang daini song section, the legaran section for each round, and the simarantang randah and high simarentang sections, and the closing galombang section. observations are also on the script, how the form of the script, what story is told, whether it is a story about the life of the minangkabau people in the past or the present. triangulation is carried out in data collection and analysis so that the data obtained reaches a level of accuracy. after field research, data disseminaindrayuda indrayuda & mohd effindi samsuddin, changes in form and style in randai 343 tion, and research results were carried out; data analysis was carried out with the following steps: (1) domain analysis, (2) taxonomic analysis, (3) componential analysis, and (4) discovering cultural themes (james p. spradley, 2016). evaluation is done by verifying the data and the performance against the presented style. then the results of the research were revised after going through a review by experts from performing arts, cultural anthropology, and randai. researchers revise all the analysis results obtained from the study results, refine all related aspects of the entire research, and report the research results. result and discussion randai in the minangkabau diaspora and its present presence in malaysia the minangkabau ethnic group is known as one of the nomad ethnic groups in the archipelago. the spread of the minangkabau ethnic group has started from the sriwijaya, majapahit, and malacca kingdoms until the colonial era in the archipelago. the distribution area of the minangkabau ethnic group is generally around the southeast asian region, the majority in the malay peninsula area. the minangkabau diaspora migrated to the malay peninsula (malaysia), beginning with king melewar in 1773 by the people of negeri sembilan. previously, king melewar defeated another son of king pagaruyung, namely king khatib. since that era came the first wave of the minangkabau diaspora in large numbers. the minangkabau diaspora first settled in the area around the sri menanti palace, jelebu, rembau, then spread to kuala pilah, tampin, and towards value. negeri sembilan as the largest base of the 17th century minangkabau diaspora (zuraidi et al., 2020). the minangkabau diaspora as an “emigrant” (nomads) ethnic group had a very prominent influence in negeri sembilan in the 17th century, so they were given the title as colonists from sumatra (negeri et al., 2018). however, it is difficult to determine what year the minangkabau diaspora came to the malay peninsula because their traces can be estimated to have come before establishing the malacca kingdom. according to reniwati (2016), the massive migration of the minangkabau ethnic group to the malay peninsula began since the fame of the malacca kingdom in the 15th century because of the good relationship between pagaruyung and malacca. the malacca kingdom made it easy for the minangkabau people to migrate. the presence of the minangkabau people in the negeri sembilan, malacca and selangor areas has led to cultural contact with the natives, resulting in assimilation. since the minangkabau diaspora mostly resides in negeri sembilan, the culture of negeri sembilan has been contaminated with minangkabau culture, which has led to the development of minangkabau culture in negeri sembilan to date, one example of which is the perpatih custom (azmi et al., 2021). many minangkabau tribes gather in negeri sembilan, selangor, perak, and a small number in malacca and pahang, requiring a cultural identity to unite them. the minangkabau diaspora uses this culture in interacting with their fellow communities overseas. diaspora groups can also carry out their traditional cultural activities, even though they are far from their hometown. according to sugiarti (2015), a diaspora is a community of immigrants who leave their country in groups, and in a new place, they form a social force within the territory they control. along with that, diaspora or migration is a phenomenon that has been in effect since the colonial and pre-independence eras in indonesia. they form groups and live in groups in new places and emerge their identity by inheriting their customs and culture from their homeland (jazuli et al., 2017). one of the informants, a cultural expert from negeri sembilan, explained that the existence of the minangkabau diaspora had given rise to minangkabau culture harmonia: journal of arts research and education 21 (2) (2021): 340-355344 as a new local culture. many minangkabau tribes living in various countries will be able to see a picture of the minanagkabau country, far across the sea. people of negeri sembilan will be able to see performances of minangkabau dance, silat, cak lempong music, and randai among them in rembau, kuala pilah and around the seri menanti palace. cultural fanaticism and identity are the causes of minangkabau diaspora culture in other countries. the sense of cultural romanticism has caused the minangkabau diaspora to develop randai to meet their socio-cultural needs in the overseas area. cultural values are a socio-cultural glue for society. this phenomenon makes the diaspora in a country make their cultural existence the glue of friendship and kinship among immigrants (boanergis et al., 2019). boanergis said that cultural values and a sense of fanaticism of the minangkabau diaspora in malaysia had impacted randai’s popularity in malay society. randai’s growth has started in malaysia, especially in negeri sembilan, since the early 19th century, after the relations between negeri sembilan and minangkabau were well established again. this period is a period of preparation for independence both in indonesia and malaysia so that the flow of distribution of the minangkabau tribe is increasingly crowded into the malay peninsula (malaysia). with the increasing population of the minangkabau diaspora, they internalize the culture of their native land in their community, one of which is randai. by cultural diffusion, the distribution of the population from one place to another results in the spread of certain cultures. like the art of randai, as a culture of the minangkabau community, it also developed and spread along with the migration of the minangkabau people to the malay peninsula/malaysia. diffusion has led to forming a new culture in the immigrant community. then the culture is developed through adaptation to become the diaspora’s identity in a new place (siswantari et al., n.d.). like randai in the minangkabau diaspora community in malaysia, randai remains a culture of immigrants from minangkabau and continues to develop into the malay population of malaysia. in the 1960s, randai was widely known among the malaysian minangkabau diaspora and the indigenous malays (latiff, 2014). based on his movement, the first randai shown is like the silek galombang movement, which many minangkabau migrants carried out along with minangkabau descendants who had long lived in malaysia. this event occurred before malaysia’s independence, around 1940 to 1950 in ulu muar, kampung gagu, jelebu, and labu, and around the selangor area, such as gombak, salak, and bangi. randai grew in malaysia when tun abdul razak became prime minister (19701976), where indonesia-malaysia diplomatic relations reopened. in 1974, malaysian culturalists who were part of the minangkabau diaspora re-established cultural relations in the form of cultural exchanges. through cultural cooperation between the province of west sumatra, which governor harun zain then led, then re-knitted allied relations, especially between minangkabau and negeri sembilan. as a result, artists from randai negeri sembilan studied back in west sumatra, and some artists from west sumatra taught randai in malaysia, especially in the minangkabau diaspora in negeri sembilan. this event was continued in university areas such as um and aswara, initiated by tan sri dato’ seri utama dr. rais yatim as a malaysian minangkabau diaspora. previously, he was the minister for negeri sembilan (1978-1982) and the minister of the 5 prime ministers of malaysia, who cared deeply about randai. today many malaysian artists relearn the history and culture of their ancestors to west sumatra. in addition, west sumatran artists also teach randai in malaysia, namely afrizal, musra dahrizal, zulkifli, dhamir amin, and wisran hadi. various performing arts groups, such as indrayuda indrayuda & mohd effindi samsuddin, changes in form and style in randai 345 the syofiani group, the yusaf rahman group, and the indojati group, also provide workshops and training for randai and minangkabau dance and music seremban negeri sembilan, malaysia. other contributions from tan sri dato’ seri utama dr. rais yatim against randai are to develop randai in the minangkabau diaspora in malaysia and several universities in malaysia, such as universiti malaya and aswara to date. while serving as minister of culture, arts & heritage (kekkwa) (2004-2008), minister of foreign affairs (2008-2009), and minister of information, communication, and culture (2009-2013), he has done much developing randai arts as part of the malaysian national culture. which is also the identity of the malaysian minangkabau diaspora. he initiated various performances, training and workshops, and learning and cultivating randai. this development of randai has involved the malaysianization of the randai art form, both within the minangkabau diaspora and among malaysians in general. the reality is that randai has now developed far in malaysia and has become a lecture material at the academy of arts and culture and national heritage (aswara) and the academy of malay studies and the center (faculty) of culture universiti malaya. various performing arts communities in malaysia also study randai, one of which is the randai palimo collection with direction and artistic direction by mohd effendi; choreographer and coach ramzi; and the main teacher (tuo randai), namely mazdar abdul aziz (pak pen), as well as production randai universiti malaya, in collaboration with the student affairs section of universiti malaya. in addition, there is a randai puti nilam sari workshop and production facility at aswara kuala lumpur. other randai associations also include residents of the villages of gagu and jelebu and ulu muar negeri sembilan, and in kampung puah gombak, kuala lumpur and selayang, selangor which are managed by the minangkabau diaspora. seeing that randai has become the cultural identity of the malay population of malaysia, various universities and art academies include randai in their curriculum. randai has grown among students. students have become cultural agents for the continued development of randai in malaysia. only the randai palimo universiti malaya group is routine and has completed production management in the last two decades. the randai palimo association is growing with the addition of members and is actively performing at the national level. this group has many generations of young people consisting of the student community and lecturers at um and is supported by members from other universities such as uitm, upsi, ukm, upm, and aswara. the randai palimo universiti malaya group has inherited the ranndai from the randai laman merewa college. this effort was done because the interest and heir of randai in the village area of baranang negeri sembilan had decreased. since 2011 with the concept of art education as a performing arts community, the randai palimo group began to train, open up opportunities and accept new members from students from various fields/departments from inside and outside the malay university, to become students and at the same time the heirs of the randai group, palimo, to date. the process of adaptation and acculturation in the form and style of randai performances based on the results of data analysis from interviews, it was found that the development of randai in malaysia occurred in three periods. the three periods are influenced by their respective histories, according to the conditions of the diaspora and cultural growth within the diaspora, and their relationship with the indigenous people of malaysia and their government. in addition, the three periods have their respective impacts on the minangkabau diaspora and its culture, namely randai. in the first period, before malaysia’s independence era between 1940-1950, ranharmonia: journal of arts research and education 21 (2) (2021): 340-355346 dai was mostly performed in pencak silat celebrations (mancak silek galombang), which included elements of kaba or gurindam were rarely performed, which is often performed by randai in the form of silek galombang. in the second period, around the 1960s, many randai groups, one of which was in kampung gagu, performed using gurindam or kaba. the story comes from the randai story used in west sumatra, the land of origin of the minangkabau diaspora. in the third period, from the 1990s to the 2000s, randai has entered the academic area of aswara, apm um, and um cultural center and various professional drama and theater groups in kuala lumpur. randai has actively developed new packaging in this period, both from stage setting, music, dialogue, presentation style, play form, and theater actors. there is a piece of information from malaysian about randai figures that randai has undergone acculturation. this event happened due to the cultural contact between the minangkabau diaspora with the indigenous people of malaysia and with another diaspora such as bugis and sumatran malays. this acculturation process resulted in various forms of randai performances, both from the aspect of the story, which was adapted from contemporary stories in the minangkabau diaspora community and traditional malaysian society. cultural marriages in randai performances can also be found in the form and pattern of costumes and music. in addition, silat techniques have also undergone acculturation between silek (silat) tuo minangkabau with silat cekak or traditional silat found in pahang, selangor, and negeri sembilan (see figure 1). the dialect in the randai show has been much adapted to the malay dialect. the stories shown have also undergone a process of adaptation to adapt to the current conditions in malaysian society. this process is aimed at the development of randai itself among malaysians. thus, randai has adapted a lot to some stories of the malay people of negeri sembilan, which also have similarities with the story setting found in west sumatra. figure 1. adaptation process in silat techniques at randai palimo. (documentation by mohd effindi samsuddin) referring to the reality of randai in malaysia, it turns out that adaptation and acculturation were carried out to save the sustainability of randai’s growth in the malay malay community, especially the minangkabau diaspora. the adaptation process is carried out so that the style and taste are relevant in the randai performance with the emotions of the local malay community. with an emphasis on cultural, emotional adjustment, randai can easily be cultivated and taught in a multi-ethnic society in malaysia. halim and mahyuddin (2019) said that acculturation in a cultural context enriched old cultural products such as art. acculturation is done by adding variations or collaborating patterns of culture that intersect with the original culture of the cultural roots of the art owner (setyawan et al., n.d.). that statement is in line with sriwahyuni et al. (2021) and wekke (2013), who say that acculturation is needed to perpetuate the existence of these works of art in society. other information was obtained from a randai expert in kuala lumpur that the acculturation process was carried out to determine the existence of randai as a culture of the malay population in malaysia. randai performances have adapted to indrayuda indrayuda & mohd effindi samsuddin, changes in form and style in randai 347 western theater patterns and malay traditional theater patterns, such as in randai cindua mato, performed at the cultural palace in 2016. cultural contact between one culture and a new or emerging culture is a modernization step in art (valindyputri & elfira, 2021). with acculturation, the aesthetic wealth of art forms and styles is increasingly valuable because of the innovation in the work (destiana, 2012). the reality of what happened to randai performances in malaysia turns out that the acculturation process carried out by randai artists is a form of modernization of randai. with the modernization of randai, the fact is that randai is further developing, both quantitatively with the increase in the number of randai groups in malaysia and qualitatively new modifications by randai appear. it turned out that from some information obtained from informants, it was concluded that the adaptation process was carried out to bring randai closer to local culture and traditions. several acculturations occur, such as acting, dialogue, performance procedures, silat techniques in legaran, songs, or dances. this acculturation makes randai more grounded in malaysian society, belonging to the minangkabau diaspora and malaysian citizens. an adaptation and acculturation process is needed to maintain the existence of the work of art. (savitri & utami, 2015). traditional art from a diaspora requires adjustment to its environment (dwijayanto, 2017). the failure of a diaspora art to survive in a new environment is caused by never adapting to its environment (pamungkas, 2018). the acculturation and adaptation efforts carried out by randai artists, both in the minangkabau diaspora or malay malay artists, are expected to strengthen randai’s presence in malaysian society. adaptation becomes a tool or means to maintain existence within the scope of others (ninik & fortune, 2007). the community does not accept many works of art because they do not carry out the adaptation process (gunardi, 2014). adaptation is needed to get recognition and support from the new environment that protects it (dwijayanto, 2017). the form of adaptation can be seen in figure 2. figure 2. adaptation of legaran and the role of figures in randai cindua mato jkkn kuala lumpur (documentation of indrayuda) adaptation harmonizes the old form and can be used in the present. when the adaptation is done, it can perpetuate civilizing the arts in society (yanuartuti et al., 2020). we can see this in the silat technique. with adaptation, the silat game in the celebration will still survive in the randai performance. the existence of human mixing in one place causes acculturation in both language, literature, and works of art (mintargo, 2017). the existence of acculturation adds newness to the artwork (yusuf, 2020). an expert from randai palimo malaysia explained that acting, gestures, and silat are more adapted to the existing silat in malaysia because the actors lacked the enrichment of the original minangkabau silek. acculturation in silat can be seen in the traditional martial arts technique with the silat technique in collaboration with the tuo silat technique. the adaptation aims to ensure the sustainability of randai in the supporting community in malaysia. minangkabau nomads often carry out the adaptation process with the term where the earth is stepped on there, langik dijunjuang (paetzold & mason, 2015). in detail, based on the observations of researchers and from the conclusions of harmonia: journal of arts research and education 21 (2) (2021): 340-355348 interviews with informants, the adaptation process that has been carried out are (1) silat movement techniques in legaran; (2) dialect in dialogue; (3) musical equipment; (4) rhythm pattern for accompaniment music; (5) songs/drums; (6) configuration; (7) costumes; (8) performance procedures; and (9) how to act. for more details, the process of adaptation and acculturation is described in detail below. martial arts techniques in legaran the adaptation is done by doing high horse movements. balabek is not completely done. the range of offensive and defensive moves in the legaran is rarely used. the series of attack and defense movements were replaced by the galombang movement, a mixed malay and minang version of silat. acculturation occurs in a combination of silat techniques, namely between silat techniques (silek) tuo, kumango, and staralak with silat cekak and gayong from malaysia. dialogue in the dialogue performed by actors and actresses adaptation in the dialect is the adjustment of the minangkabau language dialogue with the malay dialect of negeri sembilan. some also use the malay language. the acculturation is a mixture of languages in the randai show, but it still highlights the minangkabau linguistic sense. there is a mixture of language in some parts, such as comedy. musical equipment music equipment has been adapted to malay musical equipment. if there is no katindiak drum, then malay drums are used. the talempong instrument of the procession is adapted to the sitting cak lempong. rhythm patterns for accompanying music the rhythm pattern is adapted to the malay drum rhythm pattern and the drum rhythm pattern in negeri sembilan. meanwhile, acculturation is done by mixing musical compositions in the procession, namely combining cak lempong music patterns with malay drum music patterns and malay melodic rhythms. song/dendang some songs/dendang are adapted to malay songs and songs or dendang in negeri sembilan. meanwhile, acculturation is performed on the rhythm of resentment and resentment poetry. the rhythm of the resentment was influenced by the rhythm of negeri sembilan and the malays. configuration the wave prologue is adapted to the negeri sembilan wave pattern, which is flooded and swaying. legaran patterns are adapted to malay theatrical patterns such as randai cindua mato. meanwhile, acculturation is done by mixing configuration models, then symmetrical and symmetrical models are formed, and large and small circuits. costume deta is adapted to tanjak. baju kurung is adapted to the malay style baju kurung, teluk belanga is adapted to the malay version of negeri sembilan. endong is still used as the original randai. except for the clothes of figures who have adapted to malay clothing. meanwhile, acculturation is done on the motifs, shapes, and costumes patterns. the malay edit model is sometimes mixed with the minangkabau edit model if there is a role of bundo in the story. if teluk belanga, the crown is tanjak melayu, but the pants are like minagkabau with the side. performance procedures the procedure of the show has been adapted to the manners and decency of the malays, who in malaysia live in the context of a monarchy. while the minangkabau people live in a democratic system. ways to act the background is adapted to the indrayuda indrayuda & mohd effindi samsuddin, changes in form and style in randai 349 character of the malays and the minangkabau diaspora in negeri sembilan. there is a comedy aspect that is different from comedy in minangkabau. in addition, the actor’s silat gesture technique is different from randai in minangkabau, adapted to the pattern of steps and malay silat gestures that flow. meanwhile, acculturation is done on character acting techniques. traditional acting methods and styles in malaysia often adopt representative acting methods. as in other traditional theaters such as makyung, bangsawan, mek mulung and jikey and bangsawan. changes in the form and style of randai performances randai is traditionally passed down from generation to generation in minangkabau has distinctive features and forms which generally have standard standards. several aspects must be included in the randai performance, including: (1) story (kaba); (2) dialogue and acting; (3) gurindam (dendang); (4) legaran or galombang. in addition, in the randai performance, there must also be a mandatory song/ song, namely: (1) lady daini for the beginning before entering the story episode, and then; accompanied by a song (2) simarantang randah to start the story; and (3) closing the story with a high simarantang song, marking the end of randai before all players leave the arena accompanied by the sound of talempong pacik and gandang sarunai. based on the results of data analysis, it was found that the randai developed in malaysia was essentially still using the same sequence or arrangement as the original randai in minangkabau. however, in substance, there are changes made, given the limited skills of its human resources. changes in the form and appearance of performing artwork can form a new performance style with modifications and collaborations (sudewa, 2014). changes in the performing arts are caused by one of them as an effort to defend themselves from external influences (month, 2017). in addition, change is also an effort to protect art from extinction. changes in the forms in the gurindam, namely in the lyrics and the rhythm, are not the same as the original gurindam in the traditional randai in their homeland in west sumatra. for example, in the low and high simarantang dialeg, most musicians cannot master the original dance technique. therefore, the form of gurindam changes from the lyrics and melody and the rhythm. if it were forced to be the same as the original, there would be no randai show in malaysia. change can increase motivation, a sense of pleasure for art lovers so that art can survive in people’s lives (fatrina & yan stevenson, 2018). change is the dynamic nature of culture and the influence of community dynamics concerning the advancement of education, economy, technology, and changes in people’s tastes and adaptation from the old to the new environment (paneli, 2017). randai activists are currently carrying out these changes in negeri sembilan and kuala lumpur, malaysia. the randai show in kuala lumpur has changed from the performance style and form of randai production or the show’s packaging. randai is performed with a different accent and rhythm from the actual daini lady during the prologue. a typical malay showman performs acting that sometimes has comedic elements. gurindam lady daini has been adapted to the accent of negeri sembilan. kato pasambahan or known as pidato adat, in randai in malaysia no longer conveys a summary of the kaba (story) delivered with classical minangkabau literature. the opening wave is no longer carried out like the opening wave in west sumatra but directly on the pasambahan kato. especially in the randai palimo group, the opening galombang is performed but not too much variety of motion, only a part of it. meanwhile, simarantang randah’s rhythms and poems have been transformed into the negeri sembilan version of the minangkabau language, acculturated with the local language. changes are made to exist and contiharmonia: journal of arts research and education 21 (2) (2021): 340-355350 nue amid the swift currents of the new culture and the surrounding culture in present-day conditions (moon, 2017). change is also an effort to preserve traditional art adapting to the times (sutrisno, 2010). the change of randai in malaysia aims to maintain the existence of randai as the cultural identity of the minangkabau diaspora. in connection with these changes, there are several changes in the role of randai in kuala lumpur today. actors often use gestures with acting techniques such as malay playwrights and rarely use minangkabau silat techniques. actors often use collaboration techniques between minangkabau and malay styles, such as the silat step pattern in conflict scenes by the actors. in the speech literature section, actors or actresses in the middle of the festival use language more oriented to the miangkabau diaspora, negeri sembilan. there are changes in literature and language. in turn, the contents of randai’s stories are easy to understand and understand by the audience. changes in the performing arts are caused by efforts to internalize culture in the minangkabau diaspora (dewi, 2017). these efforts were made to maintain the existence and sustainability of randai in the minangkabau diaspora community in malaysia. the popular randai that has ever existed in kuala lumpur is randai, with the title of the story and randai itself, namely randai “cindua mato.” randai cindua mato, produced by jkkn, namely the state department of culture and arts. this body takes care of all forms of culture and art in malaysia. each state or kingdom has a state department of culture and arts (jkkn). jkkn kuala lumpur has fostered a group of randai artists. this development was their newest production, karya randai, with cindua mato’s title. the artists who work on randai cindua mato have made various fundamental changes in the form and style of their performances. these changes included: (1) randai cindua mato did not include the maiden daini gurindam in its initial part; (2) randai cindua mato did not include gurindam simarantang randah as the opening part for the introduction to the story scenes to be played by the actors; (3) the celebration is no longer a big circle like the randai in west sumatra, but more than one celebration in one stage; (4) there is a stage setting, while randai in west sumatra does not have a stage setting. in west sumatra, the property is used as an explanation of acting, and is brought directly by the actor/actress, and does not stay on the stage; (5) the style of performance has shifted towards modern plays; (6) the form of acting already uses modern techniques such as modern theater players; (7) music already uses electrical equipment; (8) gurindam is no longer too much, but has been replaced with songs; (9) the performance procedure is oriented to the technique of working on modern theater or drama. based on the way it is presented, randai cindua mato has transformed from the minangkabau tradition of randai to a modern drama. because structurally and in terms of performance, randai cindua mato and traditional randai in minangkabau society in west sumatra are very different. even compared to the randai production of the randai palimo kuala lumpur association, randai cindua mato is very different. essentially, randai cindua mato still plays the kaba or story in the show, namely the cindua mato story, meaning that there is still kaba conveyed by the actors and actresses. in addition, the law still exists, but it has changed a lot with the real legaran from randai in west sumatra. balabek and galombang still exist in the randai cindua mato show, but their placement is different from the previous randai. so it can be concluded that the aspects that exist in randai, such as galombang, legaran, pencak, kaba or stories, and gurindam, still exist in randai cindua mato. however, the structure and composition of the choreography have changed completely, the pattern of work has also changed, the style of performance has changed, and the content of the gurindam has also changed. indrayuda indrayuda & mohd effindi samsuddin, changes in form and style in randai 351 changes that occur in the form and style of randai performances in kuala lumpur today are divided into several aspects of form: (1) story form (kaba); (2) feast; (3) oral literature (literature in dialogue by actors/actresses; (4) configuration; (5) music composition; (6) content of gurindam; (7) stage setting; (8) costumes; (9) form of poetry in gurindam (see appendix 1). meanwhile, from the aspect of style, it can be described here, namely: (1) the actor’s acting style; (2) the style of the silat technique in the traditional dance; (3) the style of the song/dendang; (4) the packaging style; ( 5) presentation style, (6) music style. the changes made by the randai palimo collection with the sijundai script are in the technique of appearing (opening) not accompanied by consistent processions of talempong pacik and gandang sarunai, sometimes using it and sometimes not using it. randai sijundai still uses the daini lady, but the dialeg (cengkok minang) of the song and the melody changes in the middle of the song. apart from that, the ab-ab gurindam of dayang daini and in part “b” was repeated twice, but in randai sijundai, the form of the gurindam was abc. examples of these differences are summarized in table 1. furthermore, there are differences in gurindam simarantang randah between randai palimo and randai performances in west sumatra (table 2). listening to the randai performance in west sumatra, gurindam simarantang randah explains the origin of the randai collection. in addition to explaining the origin, it also explains the story (kaba). in the show, sijundai has not explained this. the gurindam dialeg at the sijundai performance is carried out with the negeri sembilan version, for example, the word kaei-bakaei; laie tabarito. randai palimo also does not use all of the minangkabau gurindam in every episode of the kaba or story that is played, but only some of the minangkabau gurindam. the gurindam that was played was partly in collaboration with the malay gurindam and the negeri sembilan version of the gurindam. the goal is to make it easier for musicians to recite the gurindam. in adtable 1. differences in gurindam dayang daini between randai palimo and randai randai palimo randai in west sumatera mano sagalo niniak mamak sarato sanak dan josudaro rila jo maaf kami pinto manola niniak, nan jo mamak cukuik panonton, kasadonyo (repeated twice) kami barandai nan mudo-mudo jiko kok salah maaf dipinto sagalo kami anak-mudo-mudo maaf jo rila,nan kami mintak kami bamain, nan mudo mudo (repeated twice) jari sapuloh nan kami pinto pada penonton kasadonyo randai dimulai molah lai (meanwhile in west sumatra, randai only play 2 stanzas of gurindam) table 2 . differences in gurindam simarantang randah between randai palimo and randai in west sumatra randai palimo randai in west sumatera alai alai tabang ko alai. tabanglah tinggi tinggi pulo. randai dah lamo tabangkalai… kinikan kami ulang pulo. kami nan dari kampung dalam. dalam daerah rang piaman. (repeated twice) kaba banamo siti baheram. carito lamo rang piaman (repeated twice) kaei bakaei rotan sago.. nan takaielah dik akar baha.. nan di langit laie tabaorito.. jatuh ka bumi jadi kaba nan sijundai namo curitonyo (in this section, only one stanza in gurindam simarantang randah) harmonia: journal of arts research and education 21 (2) (2021): 340-355352 dition, the audience can be more familiar with the gurindam. the rhythm pattern of music, especially the drums, is also modified with the rhythm pattern of the malay drum, which creates an element of dancing in the celebration. overall, the structure, substance, and essence are close to the authenticity of the current randai in west sumatra. due to limited human resources and the influence of local culture, adaptation, and acculturation, the sijundai script performance has a different form and style from randai from west sumatra. conclusions changes in form and style in randai performances in malaysia, especially in kuala lumpur and negeri sembilan, occur in the structure, gurindam, kaba (story), literature in dialogue, and aspects of performance style, silat techniques, and the configuration of the legaran. in addition, there has also been a change in the form and style of presentation, such as the presentation procedure and the existing presentation model that includes elements of malay drama, as well as the inclusion of modern drama influences in randai performances such as those produced by jkkn in kuala lumpur. changes are made through a process of adaptation and acculturation. this process is intended so that randai can be accepted by the local community, especially the malay malay community in general and the negeri sembilan community in particular, both in the minangkabau diaspora or in the native negeri sembilan community. adjustments were made by mazdar abdul aziz for the continuity of randai in the minangkabau diaspora community in malaysia so that randai still exists in the culture of the minangkabau people in malaysia. limited human resources in terms of skills affect the change in question. randai will continue to survive in the minangkabau diaspora community, noting that adjustments continue to occur with the surrounding environment. however, cultivation and learning continue by referring and studying to randai’s home country in west sumatra. acknowledgment padang state university funded this research through pnbp funds with contract number 1002/un35.13/lt/2021. this research results from collaboration with the academy of malay studies, universiti malaya. i want to express my gratitude to the chancellor of padang state university, chancellor of universiti malaya, and the dean of the um malay recitation academy. i also thank my key informants, namely ramzi, the late mazdar abdul aziz (pak pen), pak man kampa, fatimah md aris, adika zainal, yusmar afendi mohd. yusof, mohd effindi samsuddin as collaborators, dasman ori as informants from west sumatra, and m. halim and hendri yusuf, who provided data on the structure of the show and the procedures for the performance. with the help of the research team and informants, this research was made possible. i also thank the videographer team, sandy, the data analysis team that cannot be mentioned one by one, and the research team members darmawati and susmiarti. references adnan, n., & bujang, r. 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(2020). kewujudan kota raja melewar berdasarkan sumber bertulis dan data lapangan (the existance of raja melewar fort based on written sources and fieldwork data). 33(1), 1–13. appendix 1. changes in the form and style of randai performances in malaysia randai show form randai’s style description of change structure’s form the actor’s acting style changes to the structure are too many in randai cindua mato. the style of acting is adapted to the malay theater style. story’s form (kaba) style on the technique of silat in legaran some stories are based on social events. the style or technique is a collaboration between the minangkabau style of silat with the malay and negeri sembilan schools. legaran song’s style or dendang legaran changes into many legaran. the style of the song collaborates with the malay rhythm. oral literature (literature in dialogue by actor/actress packaging style there is a mixture of minangkabau literature with the negeri sembilan literature version. the packaging style is arranged like the malaysian folk theater, mak yong. configuration performance style the configuration has many changes and variations in form. the style of presentation is modern theater and drama style. music composition style on music the composition of the music has changed. the musical style is a collaboration between malay and negeri sembilan with minangkabau. gurindam content of gurindam the contents of gurindam sometimes do not match the content of the story. stage stage’s settings randai is using the stage setting. costume forms and patterns of costume there is a collaboration of minangkabau, malay, and negeri sembilan influences. verse on the gurindam verse’s forms verse’s forms are sometimes not guided by abab, but there is abc-abc 1 the development of art learning model at school (a review of music education learning in indonesia) dieter mack university of music, lübeck, germany musikhochschule lübeck, große petersgrube 21, 23552 lübeck, germany e-mail: kamasan@t-online.de received: april 22, 2015. revised: may 5, 2015. accepted: june 13, 2015 abstract at the present time, art education is often ignored. focus on teaching and learning at school seems to accentuate other subjects, such as: science, economics, and technology. this trend is becoming more concerning for the arts is a field of study, which draws attention to the development of perceptual sensitivity, creativity, as well as social responsibility. however, if art education, in this case is music education, is taught theoretically based on other cultural materials, then the consequences will be worse for students. this study is aimed to draw outlines of music education which hopefully can answer the three aspects of music which are previously described. the outlines are arranged based on recent discoveries in audio perceptions. keywords: art learning model; music education learning; indonesia how to cite: mack, d. (2015). the development of art learning model at school (a review of music education learning in indonesia). harmonia: journal of arts research and education, 15(1). doi:http://dx.doi.org/10.15294/harmonia.v15i1.3690 harmonia : journal of arts research and education 15 (1) (2015), 1-8 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v15i1.3690 p-issn 1411-5115 e-issn 2355-3820 another reason behind the proposed idea is because a western art has its own culture with its typical history which is essential can be understood as the western cultural context and may influence the awareness of students live in western countries. in germany, we also do not initiate the music education teaching with lesson related to talempong or javanese gamelan. however, some experts believe that western arts have been widely known and entrenched in indonesia, especially in the field of popular music. this assumption is true, however, there are two comments regarding to this, as follows: first, popular music does not need to be given as music materials at school since it has been extensively disseminated through the media on a massive scale. introduction before explaining the core problems of art education learning materials, there are three main factors related to music education at school which need to be noted: the first aspect is that art education materials need to be based on the local cultural resources on each of the students, according to their physiological development. actually, this first factor does not need to be explained here since it has become one of the concerns of experts in the field of music education all this time. it is hoped that assumptions related to implementation of western music as the central material of music education can get decreased for the sake of appreciating the diversity of local cultures. harmonia : journal of arts research and education 15 (1) (2015): 1-82 second, during my teaching in indonesian schools (since 1992), all experiences have proven that (with various exceptions) the use of western music’s grammar is still being implemented with local awareness, such as in the teaching of music intonation. the majority of indonesian music teachers are still teaching western musical intonation tone by using indonesian music intonation tone. as a consequence, the results are not in accordance with the required necessity. if changes in short intervals are the characteristic of the majority of musical works in indonesia, therefore –with many reasons– what occurred in europe is the otherwise. it seems that what happened in the explanation above is not only resulted from the influence of habit, but also influenced by environment. even, a genetic nuance has determined various standards which are impossible to be implemented at every turn in a relatively short time. the second aspect is closely related to us who have role as teachers. a highquality art education needs to be opened to all kinds of art works, in particular those which are less popular since popular art has been hugely exposed through mass media. inculcating diversity will develop the ability to appreciate art as a recent complex human expression. however, it needs to be noted that there are differences between quantitative and qualitative appreciation. it means appreciation towards a variety of arts in a relatively short time will not instill a series of common sensitivity, not only to the musical aspect. it will be explained further in the following section. in this endeavor, types of western arts are possible to be implemented as learning materials at school by constructing a strong mental representation foundation with regard to local arts prior the implementation. the third is related to curriculum. it has become a regular activity in indonesia that in every shift of government in power, the education system is one of the topics which is often debated under a claim that the curriculum needs to be revisited and revised. since 1992, the time when i first paid my attention to music education in indonesia, the curriculum has been amended as much as four or five times. unfortunately, i have not seen significant improvements in the learning process up to these days. in my own opinion, the curriculum is not the essential part in the learning which needs to be revised, but the teaching methodology that usually does not incorporate in the curriculum. moreover, do not perceive curriculum as a text that can be transferred in the ratio 1:1. generally, a curriculum can only offer certain suggested ideas related to classroom teaching learning process that needs to be adapted and adjusted based on the conditions in the actual classroom. perception as the foundation of music education in a recent study entitled “how the brain learns music?” has been proven that an education process which is generally cognitive is unable to develop musical competency, even though it has an appreciative aspect within the learning process. edwin e. gordon states that: the purpose of music education is to provide one with understanding so that he can express himself aesthetically to the extent his attitudes allow, with both his body and surrogate abstractions. in this way he will also understand the works of others. aesthetic reaction, or appreciation, provides one insight into himself and into the nature of his relationship to his environment. the more one understands, the more one is able to appreciate, although one does not necessarily like all that one understands. the assumption that exposure to music, with supplementary historical information and metaphoric descriptions will produce favorable emotions which will endure throughout life is becoming increasingly suspect. audiation takes place when one hears music through recall or creation, the sound not being physically present (except dieter mack, the development of art learning model at school 3 of course when one is engaging in a performance) and derives musical meaning. aural perception and usually conception takes place when one listens to music actually being performed by others. however, to aurally perceive and conceive music in a meaningful manner, one must be capable of audiating music, for referential and comparative musical purposes, heard at a previous time (long-term memory). and while listening to music, one audiates what has just been heard (short-time memory) as a basis for audiating what will be heard. without audiation, which is not necessarily nor usually a matter of memorization, even repetition and sequences could not exist and thus there would be no form in music (gordon, 1980). both quotations emphasize relatively new ideas in the field of music education. it is said as ‘relatively new’ because the ideas explained above are considered to be new but not really new. both ideas above are not new since the ideas stated above explain the natural process on how humans learn music, which are by direct experience and practice. here, the representation of musical grammatical mental in music is accidentally developed on its place. this is one of the reasons why music around the students’ environment is considered essential as the foundation of the learning process. however, the statements are also considered to be rather new since these very fundamental thoughts have been ignored for a long time by practitioners in the field of formal education, both in indonesia and other countries abroad. most people often assume that knowledge related to the history, background and theory of music are more important rather than the music itself. the reasons behind the assumption themselves will not be discussed further, here. today, knowledge of perception has been able to give a strong natural foundation in order to fundamentally change the learning process of music. the human’s brain is analogous as empty drawers. through experiences, practices, and comparisons, those drawers are always filled. what makes it interesting, these contents –here are called as mental representationare not always stable, even in the process of continuous change, based on the number of experiences that are collected by people. until now, experts have not agreed about when this mental representation will be getting increased, and when will it is no longer developed. temporary results show that the process of change and adaptation are always possible to be occurred. which has been proven is that in the age of 40 above, the rapidity of adaptation is getting decreased. in the knowledge of perception, there are two types of learning: declarative knowledge is a knowledge which is presented in a form of definition, declaration, etc. in other words, (declarative knowledge is to know about certain things and to think about an act). this knowledge should not be a point of foundation for the musical experience or the process of music learning. on the other hand, procedural knowledge is knowledge through active/ practical activities. in other words, (it is to know how, thoughts which are resulted to practical acts). it has to become the start of every effort in the process of learning music, because this is the only thing which can develop mental representation. according to the previous statement, cultural insights which need to be conveyed simultaneously with auditory materials tentatively tend to interfere. the materials do not support the development process of the musical representation itself. knowledge related to the background and the theory of music does not automatically refer towards the enhancement of musical competency, unless when it is initiated with the development of a long and deep musical representation. in the process of learning process, singing and dancing are the basic ways to develop true musical representations. in this case, the term “singing” is not allowed to be interpreted narrowly, which is by singing children’s songs, folk songs, or harmonia : journal of arts research and education 15 (1) (2015): 1-84 anthem only. in this study, what is meant by practical activities in music education is more general, which is the vocalization of everything that needs to be learnt. as a result of this learning process, there will be several strong and stable musical representations. then, the learning process can be continued to develop theoretical knowledge, or cultural knowledge, or cultural context. it means, in that stage, we only “recreate music arrangement” (the process of rearranging data inside the brain) systematically from what actually has been known/ represented. musical representation is usually started with the “figural” representation (concrete form) as the prerequisite to the development of “formal” representation (the more abstract structural). therefore, firstly, music needs to be taught musically (practical/ active) for the sake of developing the true “musical thoughts” (“audition”) rather than only focusing on formal knowledge, explicitly or definitively (gruhn, 200). if a certain status has been developed with the help of musical representation, the relation between cultures can become one of the topics that can be discussed. an educational process, on the other hand, generally tends to be filled. knowledge related to data that are repeatedly asked, as in the written tests after a series of theoretical learning are given, is only give several representation imagination about certain things, since the data are only contained of information. the knowledge of data cannot be equated with the musical competence. the above issue can be seen as if the process of learning language. knowing about the grammar of a language does not guarantee that one can speak the language fluently. however, if we examine how babies learn to speak, it is clear that the process of learning language is initiated by imitation which is then associated with particular meanings. therefore, network of mental representations is developed which allows the autonomous communication to happen (the figural knowledge has been transformed to formal knowledge). the process of learning music is more or less the same. moreover, it is argued that even visual aid seems to less conducive to develop formal musical representation: the more we listen and understand intensively and actively, the more representation can be activated. however, this representation has to be always musical. visual aid will avoid the auditive perception development, if it occurs before the establishment of musical representation. frequently, pedagogical impatience creates the willingness to accelerate the process of learning to hear something. whereas, if it happens, only the actual knowledge that can be hindered (gruhn, 1998, p. 174). examples supposed that the theme discussed in classroom teaching is the musical scales of balinese karawitan music (the traditional music of bali island), and the time allocation is 90 minutes or more. the following are several possible teaching scenarios. example a: teacher does not have recordings at all. thus, he gives the students a declarative knowledge related to two common systems of scales in bali, pelog and slendro. pelog is the system of scale with the range between tones is considerably different from one to another, however, in slendro, the range between tones is relatively similar from one to another . here, i will not problematize the truth of this definition, since definition still has several deficiencies. possibly, the teacher still relates the material with the javanese culture, or he is making a differentiation with the statement that: according to the types of gamelan, pelog is based on the system of 7 tones, which is dragged by several special scales, each with five tones and different distance from one tone to another. example b: teacher has recordings from two types of scales, for instance, from sets of gender wayang and gong kebyar which is given to the students to be listened. afterwards, the teacher’s way in explaining dieter mack, the development of art learning model at school 5 to listen to several original audio samples from traditional music types with the scales that have been practiced before. at a time, students also need to be able to sing or improvise several scales which the auditive representation has been developed spontaneously, both at the figural and formal levels. students can also be asked to appreciate several variations of scale that have been represented, so that the intervals tolerance range can become the aspects of consciousness. later, perhaps teacher may problematize the relation between cultures in general and discuss the background story of the scales in the context of certain culture. discussion based on the fourth ways of approaches above we can discuss and conclude as follow: model a should be completely avoided, since the educative impact is totally insignificant. knowing two types of scale is completely useless if there is no representation of the sound during the teaching and learning music. in fact, an effort in giving students the abstraction of 7 basic tone that can be created into several musical scales, each with 5 tone, is significantly far from one’s level of perception (not only for students!). however, in the reality, this model seems to be the current most popular teaching model applied by music teachers since by implementing this model, students are more easily evaluated by using written test. model b is slightly better, since the teacher only presents two samples of audio at a glance without paying attention to the process of auditive representation development. this model of appreciation seems to not enough to develop the functional auditive competence since the samples are presented too fast and without practices. thus, cultural information is not functional. model c is slightly similar to model b, even though, seems that teacher has attempted to present a variety of indonesithe materials more or less is as same as the previous scenario. the rest of the allocated time is filled by giving declarative information about the culture of bali as well as several existing types of balinese gamelan. example c ˗ teacher has a recording with 20 examples of balinese gending which are played one by one. in the end, it is explained that the 20 types of gending is created based on variety of gamelan’s genres in bali, however, basically every scale belongs to either pelog or slendro. then, at the next meeting, learning will be continued by discussion related to the theme of scale in other local cultures. d ˗ teacher starts to sing a song/ the sequence of tone (his own creation) in certain scale, or he plays one of music instruments (it will be better if he uses his vocal only). then, students are given the chance to imitate their teacher. during this process, the teacher is suggested to only deliver a short melodic phrase and easy to be imitated. after that, this model can be varied several times. the teacher needs to be aware that those imitations need to be controlled carefully in order to guarantee “the cleanness” of the intonation. later, students will be also asked to create their own short melody based on the pelog or slendro scale. at the next meeting, most of the time available is used to repeat the process of practice that has been done by students at the last meeting. then, the teacher discusses results of the students’ homework. the second process is started with another musical scale; however, the teaching is done by implementing the same method. the third and fourth meetings have the relatively similar processes, although the level of students’ activity can be more intense. until now, in model d, there is no context or name mentioned, or other theories. all elements of the theory will not be delivered for the present since students are expected to draw their own conclusions based on their views or the development of their practical experiences. on the next step, students are asked harmonia : journal of arts research and education 15 (1) (2015): 1-86 an diverse aspects to students. up to this point, the lack is on the presence of quantitative data which is not automatically enhancing the qualitative appreciation. the process of giving a considerable number of materials (examples) appreciatively has not allowed the enhancement of musical competence, but only supports the needs to explain numbers of musical scale’s type to students based on various types or genres of the gamelan itself. model d can be regarded as the only model that can solve the problems in model a to c. it is said so, since the teacher attempts to first embed the musical representation fundamentally, although this process needs longer time. this competence ˗ which initially belongs to “declarative knowledge” ˗ sooner or later will turn to “formal knowledge”, where students are able to transfer their knowledge into the abstract systematic network inside their brain. if students listen to other types of scale later in the future, they will be able to give detailed and relative information about the scales and relate it to the previous information that has been previously received by them. this kind of ability is called as musical competence. moreover, this competence is tentatively apart from cultural competence in general. educational process in that way automatically needs the teacher’s effort to take certain decisions on his own. a “complete” music education is an illusion which has never been achieved either in indonesia or other cultures. learning examples that support the revitalization of traditional arts in music education the main consequence of every requirement and prerequisite of the competencies described above is the need to prioritize practice rather than theory. however, the demand of this practice has been often mischaracterized, even by practitioners in the field of arts themselves. based on their professionalism as an artist, they argue that the practice of arts at school is no more than one form of art. it means that the learning of music ˗in this case is the balinese gamelan˗ needs to be held by using all music instruments in this genre of music. this kind of demand is not wrong, however, it is not realistic. learning related to certain music instrument cannot depend on the availability of the music instrument. the time allocation at school is commonly limited, so that, only the simple form of arts that can be realized. the pure art practice can be included as one of the topics in extracurricular to the chosen students; however the theme raised here is the implementation of music teaching in classroom learning. the main problem here is that the process of learning as demanded by experts in arts mentioned above does not pay attention to the educative methodology since the term “tradition” is psychologically still interpreted as negative by most of our students. therefore, we ought to start with a neutral first step and without certain connotations. we only attempt to attract students’ attention as well as to enhance the creativity of students. however, what is meant by practice and creativity need to be differently interpreted. one of the possibilities is to arrange the traditional material without changing the meaning contained in the song. of course, this strategy does not need to be known by students. as for instance, the final aim of teaching is to make students understand angling dogdog leisure and art awareness in its ritual context. during the learning, the teacher is expected to not mention the purpose of learning as stated in the previous sentence. further, the learning process can be initiated by presenting a music arrangement. the next step is to allow students to practice with the given arrangement. in the following paragraphs, the audio results are going to be presented. there are two samples shown in this study: the original dieter mack, the development of art learning model at school 7 version of angklung dogdog lojor music as well as the actual arrangement that relates closely to its original version. the samples are (1) audio sample i namely angklung dogdog lojor, “bale agung” by ciptarasa from sukabumi, and (2) audio sample ii “ala dogdog lojor”, by oya yukarya. the second audio sample is realized together between teachers and the students. of course, the single song is not sung by the students, but by the teacher himself. it is not a bad idea. in fact, it is good to stimulate the students’ activity. in addition to this is the back song which is highly possible to be arranged or modified by the students themselves. here, the content of the text is considered not too important. students may create something phonetically or by using their own language. after implementing this model of experience, the original version of angklung dogdog lojor performance (appreciation) is generally can be accepted more positively by students since it brings a practical experience that relates to the following points: (1) it is appropriate with the students’ ability, (2) it does not interfere the students’ music world, and (2) it does not feel too traditional, although the tradition is actually the source of the music. by using this “secret” or “hiding” approach, the process of “back to the actual source” does not become a problem. however, if it is started with the original version, especially by stating a statement, e.g. this is the refined traditional art.., students generally tend to directly decline it. this attempt can be implemented to all types of art and is not limited to the example presented in this study only. another positive aspect of this teaching model is that this model does not need to be equipped with original music instruments since all of the musical functions can be transferred to vocal or simple tools created by students themselves. one other possibility that is closer towards the elements of musical competence, for instance the popular senggak vocal style, can be practiced through the simple contemporary works, as for example in “ronda malam” by slamet a. sjukur. even though this work is actually created to be played by angklung, the sundanese traditional music instrument, an arranger named dedi hernawan has created the vocal version based on the similar scores structure. audio sample iii, “ronda malam”, by slamet a. sjukur, angklung version and audio sample iv, “ronda malam”, by slamet a. sjukur, vocal version by dedi hernawan. through this practice, students have experienced several musical aspects, especially the rhythmical one. this practical experience supports the understanding as well as interest towards other traditional arts. later, the other traditional arts can be presented appreciatively. however, by only appreciating the arts will be wasted if it is not initiated by doing practical steps as exemplified above. conclusion if we compare the fourth ways of approaches above, only the alternative of model d that can fulfill the expectation of learning which is aiming to develop musical competence as its main purpose. therefore, it is hoped that the concept of developing musical competence as the main purpose of music department is clearer. competency in the field of music needs to be defined as mental representation of the music which is the sound itself. this mental representation is obtained through practice and audio experience, but not from the descriptive information of musical form. art education, in this study is music, should not be mistakenly understood as cultural education. theories and knowledge about terms do not belong to the initial competence, but may become the second part after the practical and appreciative first part is accomplished. in addition to this, the core of learning music purposes is supposedly not resist to the need of cultural education. however, it considers important to separate the two purposes of the two kinds of education during the learning process at harmonia : journal of arts research and education 15 (1) (2015): 1-88 school if the chosen auditive material to the development of mental representation still comes from local culture. only in the second or third steps, this local foundation can be extended to other types of culture or other cultures, but using the same practical learning process. it may have been clear that the term “competency” is actually not related to the curriculum, but more related to methodology, or results of certain methodology. it is also obvious that curriculum as we apply today, is also included at one of utopia which has never been totally realized in terms of the objective perspective of the “competency”. reference diana, d. (1999). the psychology of music. san diego:academic press. hesse, hors-peter. (2003). music & emotion. wien: springer-verlag. goldstein, e. bruce. 2002). sensation and perception. new york: spriger pubication. gordon, edwin e. 1980. learning sequences of music. chicago: g.i.a. publication. gruhn, w. (1998). der musikverstand. hildesheim: olms-verlag. gruhn, w. (2000). “performing arts and the problems of art education in indonesia” paper presented in international seminar. surakarta 2000. mack, dieter. (2002). pendidikan musik antara harapan dan realitas. bandung: mspi mack, dieter. (2002). musik kontemporer. bandung: arti-line. mack, dieter. (2004). musik aus bali und westjava. oldershausen: lugert-verlag roeder, juan g. (1995). introduction to the physics and psychophysics of music. new york: springer publication. schafer, murray r. (1976). creative music education. new york: schimer publication. suharto. (2006). musikus yang berkompromi dengan ideologi dan berbaju barat. harmonia: journal of arts research and education, 7(1), 82-85. pynter, john. (1992). sound & structure. cambridge: cambridge university press. wilfried gruhn, w. (1998). der musikverstand. hildesheim. harmonia : journal of arts research and education 14 (2) (2014), 131-139 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v14i2.3294 p-issn 1411-5115 e-issn 2355-3820 the equivalence of translated songs lyrics and their effects: the case of translated ecclesial songs s. suharto* edi subroto** *music department of semarang state university, semarang 50229, indonesia e-mail: harto1965@gmail.com ** applied linguistic of post graduate program, sebelas maret university, surakarta, 57126, indonesia e-mail: edi.subroto@yahoo.com received: june 20, 2014. revised: august 3, 2014. accepted: november 16, 2014 abstract this study aimed at describing the equivalence of eclessial song lyrics, which belong to the content word, the meaning of the sentences and their effect on church songs. the method used in this study is descriptive and qualitative by using music, language, and interdiciline approach. the data collection method used questionnaires technique, interview, documents and content analysis. the data used are 5 documents of songs chosen purposively as the primary data. based on the data being analyzed, the results of this study were: 1) the translated content word located in the same bars and equivalent was around 27.07%, the translated content word located in the same bars, but not equivalent was 18.34%, the translated content word located in the different bars, but equivalent was 11.79%, the translated content word located in the different bars and not equivalent was 2.62%, and the untranslated words were 4.17%. 2) the translation of equivalence beautiful lyrics showed the beauty of the song was equivalent at 17.02%, the beauty of the song was less equivalent at 29.78%, the beauty of the song was not equivalent of 61.70%. 3). the differences of structure caused the incorrect dictions or choice of words and missing words in the translated lyrics. keywords: eclessial songs; equivalence; song effects, song lyrics how to cite: suharto, s., & subroto, e. (2014). the equivalence of translated songs lyrics and their effects – the case of translated ecclesial songs. harmonia: journal of arts research and education, 14(2), 131-139. doi:http://dx.doi.org/10.15294/harmonia.v14i2.3294 introduction the song lyric is essentially a language in its formulation which is not separated from the rules of music such as the rhythm, melody and harmony of the song. in addition to being beautiful, the lyrics have to adjust the beauty of the music. in lyric adjustment, an english song composer has its own characters to make the kind of lyrics, pattern, theme or rhythm of the song. he always carries a personal character and cultural background on the song and the lyrics that give distinctiveness of the song. these characteristics can usually be notified if it was observed deeply ranging from the form of songs, melody, harmony and style in a song lyric. a composers and his composition (including music and lyrics) are unity that work together to bring a specific message and meaning. people who can assess this type of music 131 132 harmonia : journal of arts research and education 14 (2) (2014): 131-139 are usually the art critics or the composers. song translation problems rarely discussed by linguists, especially in the field of translation. though there are so many translated songs already, i.e. songs that have changed the lyrics from one language into the other languages. this has been going on as if there is no problem at all with the song translation. this ends up with the situation that a song is considered to be a language too, so it does not matter if the song is translated into another language, without seeing the difference in the character of the two languages involved, structural adjustment, and the background of the creation of the song until the effects when the song is sung. equivalence in the translation process as stated by nida (as cited by mc guire, 1980, p. 160) is on the stage of the transfer. at this stage, the translator must be able to transfer the message to the target language. therefore, the equivalence is the issue that will be faced by translators. catford (1975, p. 21) states. “the central problem of translation practice is that finding the target language translation equivalences. a central task of translation theory is that if defining the nature and conditions of translation equivalence.” equivalence between the source and translated text is the main thing that is sought after in the translation process. as the realization of the translation process, in practice, translation always involves equivalence. suharto’s research (2004) associated with the song accent in lyrics proves that the majority (97.31%) stress of words in the english song lyrics created by native speakers in accordance with the song accent. this proves the song writer of na-tive speakers always pay attention to these things. the match rate of songs created in english native speakers is very high, both between song accent and word stress. meanwhile, the english songs that made by authors of indonesia in general still feel awkward in accentuation . research results in the field of phonetics have led some authors to propose that, in french, words are marked by an initial stress (melodic stress) and a final stress or final lengthening (di cristo, 1999; astesano, 2001). the results were supported by patel and daniel (2003) in a seminar paper that they tested the very interesting hypothesis that the language of a culture influences the music of that culture. as a consequence, the prosody of a composer’s native language may influence the structure of his music. the authors chose to compare speech and music from england and french because english and french provide prototypical of stresstime vs syllable-time language (i.e., language that rely more on the stress patterns vs. on syllabic duration) the rhythm of music by kennedy and bourne (1996) in the “concise oxford dictionary of music” covers everything related to aspects of time in music. aspect is beat, accent, bar, tone groups in knock, knock groups in bars, bars in the phrase groups, and so on. the rhythm is measured movement of the tone groups, namely the effects produced by regular and systematic grouping. rhythm is also a tone group which is moving in sequential patterns and in repetition. these patterns can produce a lot of rhythm based on the rhythm groups. this is due to the measured rhythm and tempo set by the tone group owned by those components. so the rhythm is always associated with a tempo which also determines the character of the music. the second element of music in a song is melody. in general, so far melody is defined by using western reference. melody is always associated with pitch and rhythm. rhythm groups and rhythmic sequence unfold with each high and low tones are called as horizontal melody because the movement of the melody is always tied to the tone before and after the group of the melody horizontally. the harmony of the melody could not be separated from the transfer of one tone to other tones with a certain rhythm. the beauty of s. suharto & edi subroto, the equivalence of translated songs lyrics and their effects 133 the phrase group does not mean anything if it is not supported by the phrase before and after. this relationship can also be called as a syntagmatic relationship (beker, 1990, p. 15). in the real contour, intonation is also not free from the pause (juncture) or stop or joints. pause is the stopped sound in a statement flow. the pause will determine the character of spoken sentences as well as the expression of utterances, for example, the sad, happy, excited expression and many others. the discussion about intonation in language will be discussed in another section below by dividing the sub elements like the elements of music/ song above in order to be compared easily. tone, duration, and soft or hard point exist in language as well as in music. in a sentence structure, a word has a high or low tone, length of tones and word stress. in english, the word stress has an important role in the formation of intonation, while in indonesian is not. in the indonesian morphological level, intonation is not distinctive but in the syntactic level is distinctive. even in english certain characteristics as said by gilbert (n.d. p. 12) that in the english, there are three characteristics of stressed syllable (1) it has higher tone, (2) it has longer sound in pronouncing it, and (3) the vocal gets louder stress. uttering a sentence in english actually rhythmic, so rhythms in the text of the song should, wherever possible, be adapted to the rhythm of the song. cruttenden (1986, p. 24) states that “english is often described as a stresstimed language. what this means is that a general rule of english rhythm is that we take an equal amount of time from one stressed “. according to verhaar (2001, p. 57) accents and stress is a tricky thing in suprasegmental sounds. when stress is interpreted as a case of amplitude, i.e. the high volume of the sound, then the stress will be easy to understand. the problem is the syllable which is under stress does not only get louder voice but also highpitched. some linguists equalize stress with the accent. the works of linguists which differentiate tone accent and stress accent even doubled the problems (verhaar, 2001, p. 58). method the problems in this study were the equivalence of translated lyrics especially words which are included as the content word, as well as the effects caused by the translation of the song. thus, this study includes a description of the type of qualitative research. seen from its goal, this research is considered to be applied evaluative research. this research approach is music/song composition and linguistic approach. this approach is used in order to give deep focus for the study. analyzing the effect of the songs from the aspects of musical and non-musical (lyrics) can only be seen in depth from musical view. in accordance with the required data, the data collection techniques are as follows: 1) questionnaire, 2) content analysis. because the data in the form of texts or documents of the song so that the content is considered to be very important in the study. the analysis method used in this study was interactive analysis. this analysis consisted of data reduction, data presentation, and verification (miles & huberman, 1984, p. 12). the song being analyzed were (1) “he’s everything to me”, (2) “jesus, revealed in me”, (3) “send out thy light”, (4), “this i know”, and, (5) “no, not one”. results and discussion this study analyzes three main points, (1) equivalence of lyrics, including the content word. these are words that belong to the verb, adjectives, noun, and adverb, (2) equivalence of song structure that are the location of words in each section bar between the word that comes from the lyrics of the original song which use sourch language (sl) with the words of the translated lyrics called target langu134 harmonia : journal of arts research and education 14 (2) (2014): 131-139 song 1 song 2 song 3 song 4 song 5 all songs 24,59% 33,3% 20,2% 35,29% 33,33% 27,07% 22,95% 2,96% 6,75% 20,58% 24,24% 18,34% 8,19% 11,11%) (21,6%) (11,76%) 0 % (11,79%) (4,9%) 0 % (4,0%) 0 % 0 % (2,62%) (39,3%) (29,62%) (47,2%) (32,35%) (42,42%) (40,17%) age (tl), and (3) the effect of the song that is by comparing two lyrics with sentences ranging from the elements of music and literature. equivalence of content word based on the data analysis, it was found that the sentence structure of tl was different from the sentence structure of sl especially the number of syllables of tl which was generally more than sl. this led to sentences lyrics of tl generally longer than the sentences lyrics of sl. consequently, because of the number of syllables of tl must be the same as the number of the sl syllables, the number of syllables of the tl was reduced (see figure 1). in the sentence of the first song above, the sentence “send out thy light” required three syllables because there were three notes, but only one word in the tl which was in pairs in a string melody that was “pour out”, while “thy” and “light” words were not translated. likewise, in the second sentence of tl which only translated two words of three words in sl sentences, i.e. “send out thy light” (three words) into cahya trangmu (two words). equivalence of song structure the structure of the song included the form of songs, the elements that constitute the song, including song rhythm, melody, harmony, texture and lyrics. the elements that make up a song pattern would determine the character of a particular song. changes in the song, such as being translated, might alter the effects of a good song at the level of words, sentences, and the overall impression of the song. based on the analysis of all songs, the location of the bars between the two languages were not always the same, but varied enough and could move at the same bars, next to the bars or even far from the bars in sl. it also worked for the meaning of words between bars. the word couples that lied in the same bars were not always equivalent and vice versa. table 1 was the result of the analysis of the structure of the song, especially the location of the bars, and its meaning. figure 1. example of comparisons two lyrics tabel 1. equivalence of language structure located in the same bars equivalent located in the same bars – less equivalent located in the different bars equivalent located in the different bars – not equivalent not translated lost s. suharto & edi subroto, the equivalence of translated songs lyrics and their effects 135 song 1 song 2 song 3 song 4 song 5 all songs 14,28% 12,5% 3,0% 1,25 1,25% 17,02% 7,14% 50% 1% 25% 37,5% 29,78% 78,57% 37,5% 55,55% 75% 50% 61,70% equivalence of the song effects song effect is another impact as the result of changes of rhythm, melody, arrangement, composition, and lyrics. the song will experience the different effect if it gets some changes, depending on the type of changes. if it gets basic changes such as changes in rhythm, melody and harmonization it will change its character. soft song can turn into hard if the rhythm and harmonization are changed. in the world of the composition, these things are very common. songs can be reorganized in accordance with the arranger. thus the song that has been re-arranged by another music director may have the same character, it turns to be a more beautiful, more complex, or more assertive song depending on the impression of what it is to be conveyed by the arranger. the song that has a good melody that is the one which has lyrics that matches with the melody will sound so beautiful. the beauty of a song can also be affected by the suitability between the song character and theme. the changed song’s lyrics such as being translated will result in a change of character if the song composer does not understand the aspects of language and music, especially the character of sl song. changes in the character in this study were very likely to occur because the structure of the two languages involved were different. song translators should adjust words in the lyrics as the number of syllables, rhythm and melody and it was compounded if sl song lyrics containing literary arts. the results of the analysis of the beauty of the song equivalence can be seen in table 2. equivalence of the content word and song structure based on the data description of the word equivalence including the content words (see table 1) showed above, the content word class were varied. from the four categories made, namely equivalence, less equivalence, not equivalence and not translated/lost, more focus was given on the high percentage of the content words which were not translated. overall of the 5 songs that were analyzed, the percentage reached 40.17 % words were not translated. this number was almost the same as those considered to be equivalent which were 38.86%. meanwhile, those belonged to the less equivalent reached 12.66% and 9.60% were not equivalent. a word which is included as the content word is a word that is very important to determine the meaning of a sentence. if a sentence lacks of a content word, the meaning of the sentence will be affected. the more the missing word in a sentence, the meaning is increasingly getting more and more blurred. a translated text which misses its content words or the content words are not translated will end up with losing its intended meaning. another thing that can cause the existence of not equivalent meaning of a sentence is the problems of the equivalence in translating the content words. the next point of this study is the structure of the song. the structure of the songs in this study only analyzed the location of the content words in the joint of bars between the content words in sl with words in the tl and equivalence of those words. in the language field, the location table 2. equivalence of beauty of the song the beauty of the song is equivalent the beauty of the song is less equivalent the beauty of the song is not equivalent 136 harmonia : journal of arts research and education 14 (2) (2014): 131-139 or position of words between sl and tl is not an issue as long as its meaning does not change especially if the structure of the two languages involved are different. however, in music, especially songs, the changed location of the stress causing different effects. a lyrics (words) sometimes have to follow the up and down of a melody or to give the impression that melody song with the lyrics suit each other (puspito kelly, interview on january 10, 2009). at this point, the song effects have not been discussed yet. the equivalence here was just analyzed to find out the percentage of displacement bars layout and its meaning after being translated . analysis of the data was divided into: 1) located in the same bars equivalent, 2) located in the same bars not equivalent, 3) located in a different time bars equivalent, 4) located in different bars not equivalent, and 5) not translated/lost. based on the description and analysis of data about the equivalence of song structure (table 1) shows the variety of the result. from 229 words including the content word located in the same bars and equivalent were 62 (27.07%) and words that include the content word but were not located in the same bars and not equivalent were 42 words (18.34% ). other data indicated that the content words in tl with moving bars reached 33 words (14.41%), but the percentage of words with moving bars but equivalent were big enough, they were about (11.79%) compared with moving bars but not equivalent that were only 6 words (2.62%). the shifting of the word position is something that cannot be avoided in translation, especially if the two structures of the languages is different. the shifting position (location-bar), especially if the number of syllables are different causes the location of the next words in tl shifted while the number of syllables in the song has been limited. restricted, because the translated song should not change the original melody, so the number of syllables is the same as the original song (sl). this was the thing which made it difficult to translate the lyrics of the songs. another consequence of this situation was some number of words in the sl were not translated. the amount words including the content word in this study which were not translated were around 40.17%. this showed how difficult the selection and placement of the right words in the translation of the lyrics of the songs (see figure 2). effect of translated song the beauty of the translated lyrics (tl) is equivalent with lyrics of sl sentence if the meaning of the sentence is already equivalent and the musical and literary aspects are already beautiful equally. the sentence in the song lyrics above was equivalent. the beauty of the two sentences could be accepted too, because the meaning of the sentence had also been equivalent too. the rhyme was not the same as sl sentence, but the translator had already set the end of the sentences to be equivalent: dalam iman kuberjumpa-nya kumerasakan karunianya tuhan yang berada dalam surga juga berada dalam ku slamanya the beauty of the lyrics through a sound equalization at the end of the sentence in other forms can preserve the beauty of the lyrics literally. in terms of the structure of the song, especially phrasering technique, it was considered to be consistent (there are no musical rules are figure 2. example of the shifting of the words position s. suharto & edi subroto, the equivalence of translated songs lyrics and their effects 137 violated). because the aspects of language, music and literally had already met the beauty of this sentence and this means it is equivalent. figure 3. example of the end phrase in the context of this song, the meaning of the sentence was equivalent. two content words were translated correctly. the word “revealed” which was translated word by word turned to be less equivalent, but if it was put into the lyric it became equivalent, eventually. musically, the sentence was already fit all the content words that were in the same bars. the lyrics that were at the end of the song which belonged to a repetition of the title track seemed to be so firm. moreover, the syllable “me” which was translated to be “my” fall on the same beats and in the position of strong beat (see figure 3). in terms of literary art, particularly from the composition form of the words, the sentences taken from the songs have been set by the translator to be congruent. the an example below is the translation of the song lyric. christ, the transforming light, touches this heart of mine piearching the darkest night making his glory shine. o, to reflect his grace causing the world to see, love that will glow till others shall know. jesus, revealed in me translation: kristus trang dunia yang menerangi ku hidup glap gulita jadi terang sungguh kasihnya mulia, anugrah bagi ku kasih tulus kunyatakan trus yesus di dalamku the stanza 1 at sl that had a rhyme pattern “a b a b” or called as cross rhyme which had a similar sound for the first and third lines and another same sound for the second and fourth lines were translated with the same type of rhyme i.e cross rhyme. the special line for the sentence ‘jesus in me’ was set to be equivalent by equalizing the end sound in the line, i.e. sound /-u/ in line 2 and line 4. this is the same as the rhyme in line 2 and line 4 in the tl which had end sound of /-i/. similarly, in the last stanza the same pattern between sl with tl was made by using an exact rhyme though the location was different. in sl line 1 had the same rhyme with line 3 and line 2 had the same rhyme with line 4. the stanza in tl also used approximate rhyme that showed a similarity in sound between stanzas. if the first stanza called as exact rhyme as marked by the similarity of sound between two or more words so that it became so easy to identify, then in the second stanza called as approximate rhyme. in this stanza there was a shift from exact rhyme to the change of sound so that only half of the sound turn to be equivalent. another half of the stanza could be seen from the line 2 and 3 or 3 and 4 which have similar sounds between /–u/ and /–us/. conclusion equivalence of content word were vary enough. from the all content words in the original song lyrics (sl) only some of them were translated. from the translated words, only some words were equivalent. the rest of them were less equivalent and not equivalent or even not translated or lost. the reason of the untranslated words were because the structure of the sentences from the two involved languages (english and indonesian) are different. this caused the syllables put in the bars became different because the number of syllables in the indonesian were bigger than those in english. this ended up with difficulties in 138 harmonia : journal of arts research and education 14 (2) (2014): 131-139 putting the syllables in the bars. eventually, the limited melody affects the choice of syllables and words and caused the words in sl to be untranslated or lost. the meaning of the lyrics of the 5 songs was generally varied. from the 5 songs there were around 48 sentences, and 17 sentences (35.41%) were considered to be equivalent, 19 sentences (39.58) less equivalent and 12 sentences or 25% were not equivalent. the existence of high number or percentage of not equivalent words was because most of the content words were not translated. this was also the cause of the less equivalent words. the limitation of the words in tl compared to sl during translation process was caused by the structure of the sentences which ended up with difficulties in choosing the words in the tl. eventually the meaning of the sentences was also affected. the different phrases between two involved languages and different dictions being used can affect the beauty of the songs. the song lyrics which is generally longer than in source language (english) cause the loss of words in the translated ecclesial lyrics. it also causes the switching accent in the target language, thereby reducing the beauty of the song. in addition, loss of words also reduces the meaning of the sentence. therefore, the translated ecclesial songs which are not equivalent to the source are not good to be used in some holy activities in churches. this is because the unequivalent songs are considered to have possibilities to mislead the christians or followers. besides, the beauty of the translated songs may also far from the real beauty of the source songs. if they are still used in the churches, it is better to also include the real texts or lyrics. the translator seems to be too faithful to the original melody and physical form of original songs, causing phrases translated into awkward ones. in the science of harmony, as long as, do not change chords or harmonization song, singers can add a melody in a song. the goal is to beautify the song. this technique is called improvisation. thus, theoretically translators can perform techniques to improvise song by adding a certain melody especially to overcome the shortcomings caused by longer beats in translated sentences. references astesano, c. 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(2003). translation of literary style. translation journal, 7(1), 9-15. 24 visual metaphor of javanese cartoon: the interpretation of cultural socio-politic in goenawan pranyoto’s comic cartoon mbeling “ande ande lumut” (1951-2014) abdullah ibnu thalhah cartoonist of suara merdeka newspaper, indonesia jalan pandanaran no 30 semarang e-mail: ibnuthalhah@gmail.com received: februari 8, 2016. revised: maret 2, 2016. accepted: june 4, 2016 abstract a comic cartoon is a communication media that is widely enjoyed and accepted by people. as a literary and journalistic work, the comic cartoon also captures the surrounding cultural situation. the modern and traditional cultural sign, fact and imagination, realist pattern and cartoon or caricature are used in a combination that seems contra versed (it is called double code discourse in postmodernism discourse), to show metaphor pattern relationship. the metaphor is applied through the transformation and play of the signs in the past and the future. they were spread, combined, and also transformed as a tool to show the creator’s expression. in this research, it was found that there was a very close relationship between the use of metaphoric signs and indonesia’s social-politic situation in 1983. on one hand, metaphor in comic cartoon mbeling was a tool created to insinuate and criticize the corrupt and feudal orde baru authoritarian. it insinuated the violence involving the government officers in every aspect of the people’s life. on the other side, the comic cartoon also becomes the representation of contemporary javanese culture that was open to other culture and acculturation. keywords: social-politic; metaphor; comic cartoon how to cite: thalhah, a. i. (2016). visual metaphor of javanese cartoon: the interpretation of cultural socio-politic in goenawan pranyoto’s comic cartoon mbeling “ande ande lumut”(1951-2014). harmonia: journal of arts research and education, 16(1), 24-29. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6767 harmonia : journal of arts research and education 16 (1) (2016), 24-29 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v16i1.6767 p-issn 1411-5115 e-issn 2355-3820 phase of the beginning of modern communication that is not built on feudalistic and violence (anderson, 1990). one of the most popular cartoons is comic cartoon or cartoon strip. cartoon strip is a sequence cartoon graphic consisted of three to six panels or more (wijana, 2003, p. 11). an archeologist has discovered that comic cartoon was found in the wall and flower vase in ancient egypt and greece era. as the center of visual story telling tradition, the root of comic cartoon can be found in indonesia. it is found in a story told by a priest and puppeteer using two introduction comic is derived from latin word cartone that means “cardboard”. now, it means a graphic aimed as satiric humor (wijana, 2004, p. 4). according to kamus besar bahasa indonesia (1995, p. 448) cartoon is humorous graphic related to the social-politic condition. cartoon is not an artistic sense only for the purpose of art, but it also entertains, even insinuates and criticize the social-political and cultural situation in general. critics in a cartoon, as stated by anderson, mark the historic abdullah ibnu thalhah, visual metaphor of javanese cartoon: the interpretation of .... 25 or three-dimension media such as temple relief, palm leaf (palm story), and cloth (geber puppet) (tabrani, 2005, pp. 69-73). the history of comic cartoon development in indonesia is closely related to the emergence of comic cartoon in mass media. the search of modern cartoon in indonesia found a strip cartoon put on by cartoonist kho wang gie. put on a was comic cartoon published in sin po newspaper, a chinese communication media in 1931 written in malay (bonneff, 1998, p. 19). in semarang, the development of comic cartoon can be traced through the cartoon published in local mass media in 1980’s until mid 1990’s. the comic cartoon is a representative media that captures idea, knowledge, and phenomena which was the basis of a culture. according to hall (2003, p. 4-5) representation is one of the important practices in culture production. culture is a very wide concept related to sharing experience. people are said to have the same culture, if they have the same experience, share the same cultural codes, and speak the same language. in contrast to the photography that only captures and recite what is seen, it is a selection process, interpretation, and respond from the creator’s mind. therefore, the representation of the social-politic situation can be presented in a different form from its reality. it is represented as an ideologized cartoon such as deformation, distortion, simplification of the form with a critical attitude, questioning, protest, insinuation, and deriding inside the content. meanwhile, the development period of the comic cartoon in 1980’s faced a crucial social-politic situation that affected the press and cartoon media in indonesia. comic cartoon faced a great challenge to maintain its existence and creativity. in 1982, orde baru authoritarian through public broadcasting ministry (harmoko) published uu pokok pers, this law affirmed the existence of surat ijin usaha penerbitan pers (siupp). the siupp was basically published to control the pers. under orde baru authoritarian, the cartoonists have to do “the right politic”, they have to know how to criticize without causing any disturbance to the government (ajidarma, 2012, p. 1). besides that, the comic cartoon also had to compete with imported comic from us, europe, and japan that visually more attractive (bonnef, 1998). shortly, this paper aimed to analyze the visual metaphor in comic cartoon mbeling “ande ande lumut” created by semarang most phenomenal cartoonist goenawan prayoto (1951-2014). it also analyzed the relationship between the characters of mbeling comic cartoon “ande ande lumut” and indonesia social politic situation in 1983 as the cultural background. method the cartoon is a visual art and mostly the language used is figurative language, while news, speech, and gossip use literal language (ben anderson, 1990, p. 155). metaphor is used in the cartoon to express an issue figuratively. therefore, the interpretation of the issue can be boarded through transformation or disguise. metaphorical transformation, for a cartoonist, is an armory. it is used to sharpen and enrich the message conveyed by the creator (gombrich, 1963 in sunarto, 2005). metaphor can be interpreted as a figurative language or a parable of one sign to another that have the same meaning. in semiotic, figurative language consists of metaphor, metonymy, synecdoche, and irony. according to jacobson in ruswondho (2009), the difference between metaphor and the other types of figurative language is that metaphor works paradigmatically. paradigmatic means the relationship between one sign and another sign are equal and virtual, conceptual. due to this relationship, the transfer of one sign to another by using transfer and equality principle is possible (noth, 1990, p. 128–129 in sunarto, p. 28). the transfer can be done by using suppression and replacement, while equality can be done through analogy, comparison, and similarity. to analyze visual metaphorical signs, harmonia : journal of arts research and education 16 (1) (2016): 24-2926 we need to ground the analysis based on ferdinand de saussure’s semiotic theory. according to saussure, language is a system of a sign, and always consisted of two aspects, signifier and signified. the signifier is material aspects such as writings, graphics, and sounds, while signified is mental images, ideas/concept, and language (berten in sobur, 2006, p, 46). based on de saussure’s theory, the metaphor works through transformation and comparison of two different signs, it creates a combination of signifier from the first sign that result in signified from the second sign in a certain aspect (chandler, 2007, p. 14). the process is illustrated as follow figure 1. result and discussion comic cartoon “ande ande lumut” was created based on javanese popular folklore. it is used as the media of the signs that was recycled to appreciate and revitalized the indonesian oral folklore. the legend was associated with a story of two identical ancient javanese kingdom, the jenggala kingdom ruled by king jayengnegara and kediri kingdom ruled by jayengrana, javanese era before majapahit. based on the story, in the past, the two kingdoms were one great kingdom named kahuripan. to avoid civil war, king airlangga divided the kingdom into two parts and each part was ruled by his sons. before he died, king airlangga left a will that the two kingdoms must be reunited by a wedding. unfortunately, kediri kingdom was attacked by the enemy who disliked the reunion. the legend told a story about the king of kediri raden panji asmarabangun (son of jayengnegara) who wanted to find love. he met his soulmate, putri sekartaji, who was a princess of jenggala kingdom. in searching for his true love, he disguised himself as a young man named ande ande lumut, while dewi sekartaji disguised herself as klenting kuning. then, this story was recycled using comic cartoon metaphor by goenawan pranyoto, so it became visually attractive, fresh, and full of modern nuance. this research found how the creator creatively used metaphor as a force of art, culture reflection, and also a social critic media. metaphor as an art (olah rupa) comic cartoon style was categorized into three major styles, united states of america (usa), europe, and japan. since 1940’s and 1950’s, indonesia’s comic market was bombed by superhero comic from the usa picturing a superhero with muscled body and realistic graphic. after that, the explosion of indonesia popular superhero started to begin, for example, garuda putih, puteri bintang, and sri asih (ahmad et. al, 2006, p. 94). european comic entered indonesia before japanese comic wave entered indonesian market with its animation at 1980’s. before that, in 1960’s, silat comic came out because of the influence of kung fu comic from china (see bonnet, 1998, p. 24). goen, bombarded by the foreign comic style, insist on maintaining his own style. for example, goen did not create characters with big round shiny eyes like japanese comic/manga, or big muscled figure like american superheroes, not even create a comic with ligne claire just like european comic. goenawan pranyoto (goen) created his own unique style that was figure 1. model of metaphor semiotic system (source: ruswondho, 2009, p. 9) abdullah ibnu thalhah, visual metaphor of javanese cartoon: the interpretation of .... 27 down to earth so it felt close to the people. visually, comic cartoon mbeling has original, unique, and down to earth characteristics. goen did not want to follow the style of the foreign comic that, at that time, dominated indonesia comic market and influenced local cartoonist’s work. comic cartoon mbeling “ande ande lumut” was a folklore narrated back in a fresh context. the creator purposely recycled past signs (specific space, time, and place context). they were used to explain the event in the present that was completely different with the event in past. in the process of recycled signs – borrowing baudrillard terminology (in pilang, 2003, p. 57) – signs decontextualization process occurred. the signs in the past were extracted from the original space and time, then they were recycled or decontextualized in the new space and time for the purpose and spirit of culture appreciation and revitalization. figure 2. panel “comic header” of goenawan pranyoto ‘s comic cartoon mbeling “ande ande lumut” traditional javanese culture signs of kediri kingdom and modern signs were displayed side by side. visually, they were an odd and contra versed combination. they were a result of the creator’s imagination that could be understood by interpreting the relationship of the metaphors. the combination of javanese culture sign element and modern culture sign metaphorically created a humorous communication style that became the power and excellency of goenawan prayoto’s comic cartoon mbeling metaphor as the reflection of the culture faithful to the old version of “ande ande lumut”, the cartoonist presented the traditional javanese culture signs of kediri and jenggala kingdom such as blangkon, surjan cloth, kebaya, jarit, keris, kendi, etc. those signs were worn by all the characters in the comic, ande ande lumut, klenting kuning, randa dadapan, ny. netra wilis, klenting abang, klenting biru, klenting ijo, yuyu kangkang, and the guards. the existence of those traditional javanese culture signs showed the creator appreciation of javanese culture. on one hand, javanese culture in cartoon comic mbeling was portrayed as a positive value that becomes the guidance of the characters’ life. for example, honesty, fortitude, and bravery value of a javanese woman was portrayed in klenting kuning character. while the character randa dadapan showed how javanese people appreciated a guess and respected others. on the other hand, the traditional javanese culture loved by goenawan pranyoto, as stated by anderson (1983, p. 477496), also kept a dark story of feudalism and oppression done by the noble and the king. feudalism as the entity that wanted to be abolished through the freedom movement in 1945 still existed. according to anderson, indonesian revolution formed a new independent indonesian but feudalism would still alive in the constitution, bureaucracy, and another government instrument as long as orde baru still reigned. how the colonial-feudalism culture characteristic in indonesia still existed in the modern bureaucracy was sharply presented by goen, he showed it through the character of nyonya netra wilis. nyonya netra wilis was perceived as a mother and a traditional javanese wealthy noble woman who still believed in traditional javanese culture, for example believed in javanese mystical ritual and marked date. ny netra wilis character was portrayed as a dictator, she became the representation of traditional javanese leadership that was very authoritative, anti-critic, and far from harmonia : journal of arts research and education 16 (1) (2016): 24-2928 baru era still continued to apply traditional javanese feudal power which was repressive and centralistic as a kingdom political system. that condition caused an overlapping situation that affected the bureaucracy system. this overlapping condition is shown in the administration system that treated the senior as a king and could not be criticized. in bureaucracy system, the orde baru authoritarian was keen on speaking symbolically, and this causes an ineffective bureaucracy that results in the corruption opportunity. fortunately, in the middle of this kind of symbolic struggle, javanese culture in comic cartoon mbeling was still represented as a culture that highly appreciated tenacity to face and be critical to a change. as represented through the character of klenting kuning, javanese was portrayed as a tenacious culture that could not be easily swayed by hedonism-materialism, moreover, it also had a critical power to change. uniquely, the modern signs such as guitar, piano, sound system, radio, jeep, jeans, and sneakers were easily attached to the characters. this induced the perception and interpretation that javanese culture was distinct and stereotypical: that is as a contemporary culture that opened to another culture and acculturation. figure 4. the description of klenting kuning fighting yuyu kangkang by shooting him. democracy spirit (panel 3-4). it is shown on how ny. netra willis discriminated klenting kuning and forbade her to join the contest by saying that it was rubbish (panel 3). the signs are shown on ny. netra wilis character could be interpreted as the connotative representation of a strong javanese leader (it is shown by the appearance of ny. netra willis through the sign of kebaya, sanggul, and jarit while sitting on a carved chair), wealthy and extravagant (the sign of a luxurious necklace), but still showed modern ideas (the sign of reading newspaper), modern lifestyle (the sign of glasses). those denotative signs were a metaphoric analogy of indonesian political leader in orde baru era who was strong and authoritative just like a king ruled in traditional javanese politic. figure 3. character of ny, netra wilis as the representation of javanese leader. the history recorded, during his era, soeharto represented himself as the central of the policy and authority, both executive and legislative, as well as judicative. orde baru political system became the personification of soeharto himself, that how central soeharto was in the history of orde baru era. soeharto was the king of java who ruled indonesian modern people (anderson, 1983). from the history record, it was known that there was dualism of indonesian modern politic in orde baru era. on one hand, orde baru authoritarian adopted western modern constitutional system such as the branches of government (executive, legislative, judicative) and policy development model (developmentalism). on the other hand, the authority of orde abdullah ibnu thalhah, visual metaphor of javanese cartoon: the interpretation of .... 29 conclusion comic cartoon mbeling has placed cultural entity to an equal place as modernism and critically argued with it. by reading comic cartoon mbeling, the readers were invited to visit the cultural signs from the past, present, and future. every text was born out of the texts before it. in that kind of intellectuality assimilation – as stated by derrida (in al fayyad, 2009, p. 150), there was a core language process called interpellation. interpellation was a dialog done by both sides. there was no desire to control, conquer, or dominate the conversation. the message derived from the story was a peaceful message that united each other. that was the essence of the dialog as interpreted from the metaphoric characterization of the comic cartoon mbeling “ande ande lumut” created by goenawan pranyoto. the last, comic cartoon mbeling “ande ande lumut” has revealed that the effort of a nation to develop into a modern society was not by ignoring its own culture, but by keeping and developing the good tradition as the guidance to change and enrich the character of modern people in indonesia. references ahmad, h., alvanov z., & beni m. 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(2004). kartun: studi tentang permainan bahasa. yogyakarta: penerbit ombak 55 sacrilegious aspect of javanese gamelan: past and future henry susanto pranoto satya wacana christian university, jl. diponegoro 52-60, salatiga, indonesia e-mail: grace_jhsp@yahoo.com abstract this article aims to discuss sacrilegious aspect of javanese gamelan in the past and what will happen in the future if it is mistreated. the most important, this article will observe the religious aspect that gamelan has as its main function. it also explores a background history of indonesia as a religious nation, an explanation on gamelan music structures, and its influence toward the western composers such as claude debussy and lou harrison in composing their musical works that are emphasizing the sacrilegious aspect of gamelan. it gives some detail studies on their musical works that are influenced by gamelan music in which those composers still gave a highly and rightful respect in their approach toward gamelan music. lastly, this article also explores the electronic gamelan music and its effects toward tradition. meanwhile, it is necessary to preserve the religious aspect of gamelan because it will define indonesian as religious culture. aspek kesakralan gamelan jawa: dahulu dan sekarang abstrak tujuan penulisan artikel ini adalah untuk melihat kesakralan aspek dari gamelan jawa di masa lampau dan melihat kepada masa yang akan datang sehingga bisa dilihat apakah ada unsur kesakralan yang telah diselewengkan ataupun pudar. hal yang terpenting di dalam ulasan artikel ini adalah pengamatan tentang unsur religi yang gamelan miliki sebagai fungsi yang terutama. artikel ini juga akan menjelaskan tentang sejarah indonesia sebagai negara yang berbasis agama sejak awal mula berdirinya sampai saat ini, menjelaskan tentang struktur musik dari gamelan, dan pengaruh gamelan bagi komposer musik barat seperti claude debussy dan lou harrison dalam mengkomposisi musik mereka di mana mereka masih memperhatikan unsur dan fungsi kesakralan dari gamelan. analisa tentang komposisi musik mereka juga akan diulas di sini sehingga kita bisa melihat bagaimana komposer-komposer ini masih memberikan apresiasi dan respek yang benar dalam penyajian musik mereka yang terinspirasi oleh gamelan musik. pada akhirnya, artikel ini juga akan menjelaskan mengenai gamelan elektronik yang sedang berkembang saat ini dan efeknya terhadap tradisi budaya indonesia. selanjutnya, sangatlah perlu bagi masyarakat indonesia untuk mempertahankan unsur kesakralan dari gamelen karena akan dapat mengidentifikasikan indonesia sebagai suatu budaya yang beragama. keywords: sacrilegious aspect, javanese gamelan, lou harrison, claude debussy, gamelan sekati, gamelan kiai gora, electronic gamelan. harmonia, volume 13, no. 1 / juni 201356 introduction indonesia, as a very religious country in which the people have believed in god, has well known throughout centuries, especially throughout the journey of its development as a country and as a nation. indonesia as a country was not well known and recognized by the international world until the end of world war ii when the country was established as an independent nation. also, the current indonesian language was not being used nationally and it did not exist until well after the country was formed. nevertheless, the importance of indonesia in the history of the international world began far before indonesia was established as an independent nation. the first religious kingdom was called dvipantara or jawa dwipa is known through the reports of indian scholars in 100 ad that mentioned the kingdom was located on the islands of java and sumatra. the javanese writing system was also developed during this period by the influence of indian script, sanskrit. as a result of the indian influences, hinduism also became a part of the early civilizations of the kingdom in java and sumatra. the influence of hinduism in the javanese kingdom reached its climax during the taruma kingdom in west java around 400 ad. on top of hinduism, the influence of buddhism was also introduced around 425 ad. during this period, the arabs, persians, greeks, romans, and chinese knew the kingdoms in indonesia, again, especially in java and sumatra. the first strong and widespread kingdom established was the sriwijaya kingdom, which was established on sumatra around 500 ad. this kingdom later invaded the kingdoms surrounding it, including the malayu kingdom, and many kingdoms in java around 686 ad. because of the strong religious influence, many kingdoms in java were converted to buddhism around 770 ad. the building process of the great borobudur temple that is located in yogyakarta, central java, evidences of this religious’ influences. the temple was started under king vishnu dharmatunga (sailendra dynasty/kingdom) and it was finished by his successor king samaratunga in 825 ad. in addition, mantle hood mentioned that “bas-reliefs of the 8th-century borobudur and early east javanese temples document the existence of prototypes of all instruments of gamelan sekati long before the arrival of islam in the waning years of the majapahit empire” (hood 37). the name, gamelan sekati, was not known at the time because the religious change and political application directly influenced the name given for the gamelan instrument. at this point, buddhism influenced indonesian empire and we do not know what they called it. the important thing is that gamelan instrument was being used and was introduced already at this point. furthermore, the strength of this kingdom was shown by the defeat of the chenla kingdom (today cambodia) under king indra in 790 ad. by the time of king samaratunga passed away, his throne was taken from his son balaputra by his daughter’s father in law named patapan from the sanjaya dynasty. and patapan turned the kingdom to buddhism in 835 ad. after being succeeded by his son pikatan, balaputra tried to take the kingdom back but he failed. as, a result, he escaped to sumatra and was enthroned in sriwijaya kingdom in about 850 ad. later on, king balitung of the sanjaya dynasty was well established in central java around 898 ad in mataram. after king daksa succeeded him, hinduism became dominant again in 910 ad. the prambanan temple was built during this period. the evident of the use of gamelan instruments is also shown at the temple’s relief such as cylindrical kendang, cymbals, other shapes of kendangs, and wooden flute. kendang is the main double sided percussion instrument that is functioned to give rhythmic guidance for gamelan ensembles. after several other successors, mpu sendok of sanjaya was enthroned in 929 ad. during this time, the empire was moved to east java. this was probably due to the eruption of the mount merapi in about 929 ad. henry susanto pranoto, sacrilegious aspect of javanese gamelan: past and future 57 the next important successor was dharmawangsa. he became the king of mataram in 985 ad. in the same year, he conquered the balinese kingdom and moved his kingdom to kalimantan. beside his ambitions as an invader, he was also known as an important person who commanded the translation of mahabarata works into javanese. this is a collection of hindu stories that make up part of the literature of indonesia. later on, it was also used for developing the stories used in gamelan music. the most important king of sanjaya dynasty was king airlangga. he was the founder of a new kingdom called kahuripan in 1019 ad. he is also known, today, as the basic model of indonesian tolerance concerning religion. in his time he protected both hinduism and buddhism while he also made a peace agreement with the sriwijaya kingdom, which was the other major kingdom at that time. then, he also united the two kingdoms through marriage in 1030 ad. in 1222 ad, ken arok founded the new kingdom of singosari because of the separation from the main kingdom. his next important successor was kertanegara who ruled in 1268 ad. he promoted the mixture between hinduism and buddhism. marco polo was visited sumatra and java during his rule. the strength of his empire was proven by the failure of the mongol invasion under kublai khan who sent 1000 ships to java in about 1292 ad. unfortunately, the allied forces of mongol and wijaya, who was the founder of majapahit dynasty under the name of king kertarajasa jayawardhana, in 1293 ad, overthrew this dynasty. during the period around 1330 ad of the majapahit dynasty, patih gajah mada had a very significant position. almost all of indonesia today was united during his lifetime. in 1350 ad, during the rule of rajasanegara, the islamic kingdoms that started developing in 1297 in sumatra under sultan malek saleh, who was the first muslim ruler in indonesia. he overthrew the majapahit kingdom. under the ruler hayam wuruk, the majapahit kingdom was broken down totally as was the remnant of the sriwijaya dynasty in 1377 ad. the islamic influence became greater and greater around1400 ad. this influence caused the shifting of the major religion to islam in places such as aceh (located on sumatra). the decline of the majapahit kingdom also contributed to the switch. the main denomination of the islamic religion that was widely believed was the school of shafi’i also called madhhab. its influence can still be seen in today indonesia. unfortunately, the islamic influences in the established kingdoms never brought any peace with any other religions. in fact, many hindu people had to move from java to bali in 1468 ad to escape from majapahit during the rule of suraprabhawa. because of this, bali is the central hindu territory in indonesia, even today. after the establishment of demak as the main court of majapahit kingdom under raden patah, the islamic kingdom was well established by 1478 ad. therefore, the in first direct contact with european countries, beginning with portuguese conquest in 1511 ad, indonesia was known as being engaged in the islamic religion. even the use of islamic terms, such as the titles sultan, wali, and so forth, was enforced. the influence of islamic leaders was very important in the cultural, social, and political arenas of indonesia as a whole. the most important was the influences of wali songo (nine islamic religious leaders entitled as wali). the most influencial wali was wali kalijogo. besides being a religious leader, “he was also known as an artist at the time, to compose a number of javanese songs/tunes to interest the people in speeches on islamic teachings made by various islamic leaders coming to demak kingdom for that purpose” (hood 36). as an adaptation of the gamelan instruments into islamic activity, they might have given the name gamelan sekati as it was functioned to accompany the sekaten festival during sekaten week. in fact, gamelan sekati will only be played for the ritual of this religious purpose. therefore, it is very sacrilegious instruments. through this sample of musical activity, we know that in any elements of indonesian people’s life harmonia, volume 13, no. 1 / juni 201358 gamelan music is often used as the main musical instruments especially in java. even though we admit that javanese gamelan is the traditional instrument of java, we know that the music of gamelan has its influence from india as the source of hinduism and buddhism for many indonesian kingdoms as mentioned in many temples of religious heritages such as borobudur, prambanan, jago, ngrimbi, kedaton, sukuh, tegawangi, and so forth in which all of them contains relief of gamelan instruments mainly kendang. the majapahit empire became the main ancestor from which came the yogyakarta sultanate and surakarta susuhunan. sutawijaya or senopati developed them in 1588. as a result, the main command was in central java, specifically in mataram. these two empires became the important places where the gamelan musical tradition is still well kept. later on, they became known as keraton yogyakarta (under mangkubumi who is known as hamengkubuwono i in 1755) and keraton surakarta (under pakubuwono ii in 1745). these two keraton were separated on february 13, 1755 as recognized by the voc under the gijant (giyanti) treaty. their ruling titles were based on their inheritance (within their princely cycle), especially after declared by voc influenced in 1792. surakarta keraton under the title pakubuwono became known as solo susuhunan in 1820 during the rule of pakubuwono v. today the ruler of keraton yogyakarta is sri sultan hamengkubuwono x, while sunan pakubuwono xii is ruling in solo. the other important figures are the pakualam descendents that were founded in 1812 by pangeran (meaning prince) natakusuma who became known as pangeran pakualam i, of keraton yogyakarta descent. pakualam ix is the present ruler that holds that title. in today’s indonesia, hamengkubuwono x is the king and governor over the special region of yogyakarta. yogyakarta was pronounced a special region in indonesia for their special contributions in establishing indonesia even before it was united as a country on august 17, 1945. interaction with catholicism the first interaction between indonesia and catholicism was around 1546 ad when portuguese missionaries under st. francis xavier came to visit the eastern part of indonesia in areas such as morotai, ambon, and ternate. then, the dutch started to come in to indonesia with the business motivations around 1590 ad. since their rebellion from the king of spain in 1581 ad the dutch were free to travel more. the dutch defeated the portuguese in indonesia in 1601 ad, which gave dutch full control of the trading indonesia, which inevitably turned into colonization. through this, dutch missionaries introduced indonesia to christianity during the sixteenth century. but the christian influences did not impact heavily until 1797 (under dutch missionary society or nederlands zendeling gennotschap). the dutch colonization company under the name voc, through many intrigues became the main political power of the indonesian empires from sixteen century until 1945 when indonesia received independence as a result of world war ii. the dutch colonization of indonesia lasted for approximately 350 years. since the sixteenth century, indonesia has had more active interaction with western empires, including the ottoman dynasty in istanbul, england (under elizabeth i), and so forth. in term of music, the javanese gamelan music has also influenced western classical music composers such as claude debussy and lou harrison. javanese gamelan is different than the balinese gamelan in sound and in characteristics. throughout history, we know for sure that gamelan music was already introduced and being used as musical instrument for many indonesian kingdoms. because of the drastic effect that religion has on culture, it is important to know how the country arrived at any given type of faith. in this case through conquest and war indonesia transitioned from hinduism to buddhism to islam. today, indonesia is predominantly muslim although the western influence of christianity is present. henry susanto pranoto, sacrilegious aspect of javanese gamelan: past and future 59 system) they had to make a quarter-turn to the left” (capwell 145). and, each tuning system of those tones is called laras. the notes that are used are c-d-e-g-a for laras slendro, and c-d-e-f-g-a-b for laras pelog. the most important thing that we should know is that all of these tones are not tuned as the western scales. the note a or la is probably closer to b flat sound in the western scale. so, it sometimes referred to as b flat. they are arranged from low to high in terms of pitch. demung, slenthem and saron barung instruments function to show the melodies of the song in karawitan music. the definition of karawitan is: music, whether it is vocal or instrumental, that applies the melody of slendro or pelog as shown above. karawitan music can stand by itself or can be used as accompaniment for other art forms, such as dancing, shadow puppet shows, and so forth. all of the saron function as the melody maker or to “provide a ‘skeletal melody’ (balungan) whose periodic punctuation (the ‘colotomic structure’) was provided by other instruments like the gong ageng” (capwell 146). the gender barung is made bronze, brass or iron. it contains nineteen key plates starting from a (an octave below middle c) to e (an octave above middle c) with alternating notes c-d-e-g-a for slendro music. the gender penerus is smaller than the gender barung with the notes starting from a (below middle c) to e (an octave above middle c). the gambang is made from wooden plates and it contains four octaves. it starts from g (an octave below middle c) to g (an octave above middle c). the second category is the instruments that are shaped like gongs but have an extra head that protrudes from the top and functions as a resonator. the head is called pencu or pencon. these instruments are called kenong, kempul, gong ageng (the largest in this family), gong suwukan (a medium size gong), gong siyem (the smallest gong), bonang barung, bonang penerus, kethuk, kempyang and engkuk kemong. each instrument has different notes that can be used for slendro and pelog melodies. the gongs function to give an “important the culture is approximately 98% islamic. this has a great effect on the music of the nation as well as its uses and philosophy. it is interesting to see how traditional aspects of indonesian culture and music have fused with the religion of islam and the way that has shaped other aspects of the culture. there are many forms of musical expression within indonesian cultures. nevertheless, gamelan is the most musical instruments that can still symbolize indonesia as musical culture and religious nation that also has influenced in the western musical cultures. different regions of indonesia have different styles of playing the instrument, and therefore it is necessary to discuss the narrower subject of the javanese gamelan. in addition, the use of gamelan music has been identified with the ritual or religious aspects of indonesian culture since the beginning. therefore, the people really have a high respect for the gamelan instrument as a part of their religion that commands a certain level of treatment as do all religious tools. categories of gamelan intruments there are three categories of gamelan instruments that directly relate to their shapes. the first category is the instruments that are shaped as bilah or a flat metal or wooden plate like the western xylophone. these instruments are called demung, slenthem, saron barung, saron penerus or saron peking, gender barung, gender penerus, gambang (made of wood). each of these instruments contains different notes that are used for slendro and pelog which refer to set groupings of notes used in gamelan music. there is only one octave (gembyang) within each of the demung, slenthem, saron barung and saron penerus instruments. in addition, each of the gamelan instruments comes in pairs in which one instrument is pentatonic (five tones) and the other is heptatonic (seven tones). “to play in laras slendro (the pentatonic system), for example, the saron players faced front, and to play in laras pelog (the heptatonic harmonia, volume 13, no. 1 / juni 201360 punctuation the end of every completed melody” (capwell 146). therefore, it was functioned as what was intended for by the sang hyang guru who, according to javanese mythology, was the god who was ruling as king in java in 230 ad. he used the gong to summon the gods. the kethuk and kempyang are played side-byside depending on the melodies that are being used (slendro or pelog). the kempyang always has a higher tone than the kethuk (a below middle c for pelog, and d for slendro). the kempyang pitch is c above middle c. the kethuk is played as the mark in between the rhythmic grouping of the kenong and kempyang. the kenong functions to identify the rhythm and to identify each line or a group of four beats (gatra) within the poetry, using the appropriate pitch according to whether it is pentatonic or heptatonic (laras). the kempul is used to give rhythmic guidelines within the song. the bonang barung has two octaves (for laras slendro and laras pelog) and it is used to give a sign at the opening of a song and also to give accompanying melodies within the songs. the bonang penerus has similar notes as the bonang barung but their tone is one octave higher. all types of the bonang require more skilful players compared with the other instruments because “as the kenong and kempul (play) every fourth beat, the bonang barung (does) the opposite and (divides) the beat in two, and the bonang penerus (divides) it into four, doubling or quadrupling each pair of balungan pitches” (capwell 147). the third category includes all the rest of the instruments that have shapes different from the first two categories. those instruments are: siter, rebab, kendhang, suling (or bamboo flute, suling slendro and suling pelog), kemanak (which is only used for specific gendhing or song). the most important instrument in gamelan music is the kendhang. it is functions as a rhythmic and improvisatory guide to the music and the other players. it also shows the varying emotions shown in the music and differentiates one song from another. in addition, javanese gamelan music uses a form of notation called titilaras. the symbols are commonly found in the form of numbers. for example, in we call 1 to represent middle c, then it follows that 2 is d, 3 is e, 4 is f, 5 is g, 6 is a and 7 is b. they also add a dot above the number to identify the intervals above the b above middle c and a dot below the number for intervals below middle c. this is all relative however because each gamelan has its own starting pitch frequency, which is not necessarily middle c nor is it tuned to a 440 as most western instruments are. singers are also used in the ensemble. the female soloist is called pesindhen and the choruses (male or female) are called gerongan. although singers are used they are not put in the spotlight as in western music. the gamelan ensembles, including the singers, work hard to consider all parts important in representing the music as a whole cycle of art. sacrilegious aspect of javanese gamelan from the colonization era, until about world war ii many western countries came in and out of south east asia. during this time, indonesia was an important part of the dutch colony. because of this many foreign expeditions were arriving with business motivations. they were buying spices, clothing materials, and other goods including musical instruments like the gamelan. as a result of this, gamelan music began to appear in europe and in america by the end of nineteen century. this is how western composers were introduced to gamelan music. the examples of western composers who are influenced by gamelan music in their musical style that we are going to observe in this study are such as claude debussy and lou harrison. debussy’s first interaction with gamelan music was in 1889 through a performance on the instrument on the paris universal exposition. his admiration of gamelan music is evidenced by the following quote: “there used to be-indeed, despite the troubles that civilization has brought, there still are some wonderful henry susanto pranoto, sacrilegious aspect of javanese gamelan: past and future 61 peoples who learn music as easily as one learns to breathe…” (hugh 2, 2006). his further admiration is shown through his absorbing the style into his own music such as his preludes, images, and estampes for piano, nocturnes (nuages), and so forth. debussy’s estampes consist of three movements: pagodes, la soirée dans grenade, jardins sous la pluie. debussy finished the estampes in 1903 and jacques durand who was debussy’s correspondent published it in the same year. this work was first performed at the concert of the société nationale de musique, in january 9, 1904. ricardo viñes in salle erard, paris, played it. the pagodes was debussy’s reflection after hearing the javanese gamelan music. in the pagoda movement, we can hear the rhythmic motive, the sonority and harmonic characteristics of javanese music throughout the piece. there are some prominent aspects of gamelan music that show the focal point of its influence within debussy’s musical composition, such as ostinato, pedal point, counterpoint assimilation of gamelan music usage (layered, ornamentation, new tonality), and even gamelan music’s philosophy. the ostinato is a short-repeated figure that is similar with the figure of the bonang penerus or gender penerus rhythmic pattern within gamelan music. in debussy’s pagodes, it is represented by the thirty-second notes in the treble clef, for example starting from mm.80 to the end. the longer sustained notes in the bass clef consisting of tied whole notes applied the pedal point representing the gong sound. in debussy’s music, the pedal tone was often sustained longer than the pedal tone technique that a western musician commonly used. it gives the impression of the long and unchanging harmony of eastern music. in addition, the opening section of the pagodes also used a typical opening form of gamelan music. then, the gamelan influence was further emphasized by the used of the pentatonic theme notes. they are g#, c#, d#, f#, and b (discretely used in the bass part). these pentatonic scales represent laras slendro in the key of b (do-re-mi-so-la). the melodic themes were formed within two measures and were repeated four times, started from mm.3-10. these themes come back again in mm.80 in the left hand. the middle voices were added starting at m.31. they seem to functioning as the rhythmic figure of kethuk, which identified the four note groupings of the top notes of the treble clef. it can be clearly seen in mm. 44-49. in addition, the interlocking of rhythmic patterns that were stacked together into layers within the clef, combining with the thematic melody patter (or motivic) in gamelan music, made debussy able to extensively expand his musical horizons. example 1. estampes, movement 1, pagodes, mm 80. harmonia, volume 13, no. 1 / juni 201362 example 2. estampes, movement 1, pagodes, mm 3-10. the musical genius of debussy was proven through many of his wonderful new musical compositions. he was also known for his creative ornamentation in his musical production. it gave the music a new perspective in tonality beside that which western writers had been using. in addition, “the most important inspiration debussy found in javanese music was not any particular musical technique or sound, but rather the general notation that there could be a well-developed, powerful, and beautiful music that had developed totally outside, and often in contradiction to, the established rules and conventions of western european music” (hugh 11, 2006). later on, the first interaction between america and gamelan music was in 1893 through the columbia exposition. it also was given a special historical in the field museum’s gamelan in chicago, in which “a couple dutchmen who owned coffee and tea plantations on java brought the gamelan to chicago, along with a group of javanese musicians and craftsmen, for the columbian exposition of 1893, a great world’s fair” (capwell 141). the instrument was first introduced in chicago and became popular later on. it also began to have an important role in the music world after being introduced through the work of lou harrison. harrison was an american composer born in portland, oregon in 1917 and died in january 2003. he was a student under henry cowell from whom he learned the freedom and the invention technique. arnold schoenberg was another of his teachers from whom he learned the method of composition and the disciplinary aspects of composing music. he was also a close friend of john cage. harrison’s interest in indonesian music began in 1930. nevertheless, he never visited asia (indonesia) until 1961. his meeting with william colvig, in 1967, made his interest in cultural music increase through which both men put a strong emphasis on the exploration of the tuning system of foreign musical instruments. harrison’s composition period can be distinguished into three facets. those are his early period (1917-1943) including most of his dissonant music, his middle period (1943-1961), and his mature composition style (1961-2003). his mature composition style was established and influenced primarily by the gamelan music. harrison also studied gamelan music under k.r.t wasitodiningrat also known as pak cokro who is a well-known gamelan master. wasitodiningrat learned his gamelan skill under the guidance of his father, r.w. padmowinagum who was the leader of the singing group that was accompanied by the gamelan (called karawitan) of pakualam palace (puro). it was a part of one of the indonesian empires that is still in existence. his father’s dedication to the empire was passed on to him and wasitodiningrat also served as a court musician of pakualam. he also taught at the mangkunegaran musical court (part of the empire at keraton solo). harrison and wasitodiningrat met in 1975 at the center for world music in berkeley, california. wasitodiningrat was a karawitan teacher at the california institute of the arts from 1970 until he retired in 1992. he did not only teach harrison how henry susanto pranoto, sacrilegious aspect of javanese gamelan: past and future 63 to approach traditional gamelan music (musical style, performance style, structure of gamelan music of many regions within indonesia), but also on how to play most of the instruments in the gamelan ensemble. the most important thing that we need to underline is that he has taught harrison the sacrilegious aspect and religious function of gamelan so that he can compose the music appropriately (rightfully). in fact, it was different than his first trial of composing gamelan music using trash can, and other recycled stuffs in which had caused him rejection and mockery because it had destroyed the sacrilegious aspect of the music. under his instruction, harrison composed about fifty pieces for gamelan and other western instruments, including philemon and baukis, main bersama-sama, bubaran robert, varied trio, and so forth. the work varied trio consists five movements: gending (means piece), rice bowls, elegy, rondeau in honor of fragonard, dance. the varied trio was first intended as a quintet for william winant (percussionist), julie steinberg (pianist but he played a virginal for this piece with an eighteenth century temperament tuning), david abel (violinist), william colvig playing bells, and harrison himself playing harp. it was first performed in february 28, 1987. the gending movement was one example of the gamelan music influences within harrison’s compositional technique. this gending was influenced by music of the cirebon region of northwest java. it was after the first quintet performance that harrison decided to change the varied trio into a trio of violin, vibraphone, and piano. he changed the bell part into a vibraphone or gong part, and the harp and virginal parts were put into the piano part. in this piece, he uses the strike vibraphone, and the rim of the large tam tam to create the percussive sound. he also applied plucking of the piano strings (imitating the sound of the siter) as well as knocking on the inside part of the piano frame with the yarn mallet to add still more percussive effect in the imitation of the gamelan instruments. the revised work was first performed for harrison’s seventieth birthday on may 14, 1987. the gending (which means piece) starts with the opening two measures of the introductory mode of traditional solo gamelan called buka (which means open), using laras slendro of d-e-f# (instead of g)-a-b (instead of c). this half-step difference in the intervals is acceptable since there is no exact tuning configuration of gamelan instrument. the introductory plucking of the piano strings outlines the pitches that make the balungan style. after the buka, the balungan pitches are played as the first in a group of four sixteenth notes and continue this way for six groupings in the sequence. after that the piano is added in the second beat of m.6 and the groups become eighth notes (with a half note as the downbeat of each four group sequence) rather than sixteenth notes with the balungan pitches generally falling on the downbeat of the measure. although the rhythmic values are changing the balungan pitch pattern is the same. this rhythmic change creates and mood of calmness and allows the piece to breathe. the changing pattern also creates what is called irama, or rhythm, that is typical of gamelan music. in m.12 the irama changes again in the piano. the vibraphone maintains what has been going on while the top mine of the piano double is speed and creates more density in the music. however, as is must always do in gamelan music, the irama is returned to its original state at the end in m.60. the other notes in the piano are ornamentation that leads and imply the balungan pitches. the same is true of the vibraphone when it comes in. each time a balungan note is played the two instruments meet in unison. these unison notes are called ‘goal tones’. the violin does not enter until m.13 after the balungan style has been well established. the melody of the violin is very lyrical and meant to be reminiscent of the two stringed, bowed gamelan instruments, rebab. the violin is meant to be in the rebab style but it cannot have the same sound as the gamelan instrument. this is case in all gamelan style music performed on wesharmonia, volume 13, no. 1 / juni 201364 tern instruments. the violin part is meant to pair with the thirty-second notes of the right hand of the piano. the violin also meets with the vibraphone and piano on ‘goal tones’. for example, in m.14 on the downbeat they play in unison according to the laras that is being used, and specifically slendro. like the violin is mimicking the rebab the thirty-second note figure is an imitation of the gender instrument, which is the most difficult instrument to play in the gamelan ensemble. the most important aspect of western influence on javanese gamelan is the use of music notation. indonesian people have strong beliefs in the spiritual aspects that accompany gamelan music. “the spiritual power that is invested in old gamelan by tradition in turn invests power in their owners, for which reason they are important components of princely regalia (pusaka), over which battles have been fought in the past. the gendhing (musical work) played on these gamelan, too, may have such power that, for example, it was in the past forbidden to hum them casually; in transcribing them into notation-a practice initiated as a result of european influence in the nineteenth century-it used to be considered advisable to make an occasional mistake in order to prevent the power of the tune being used inappropriately” (capwell 151). because of the depth of meaning that the gamelan holds for the indonesian people, it must be treated respectfully. we understand that the spiritual aspects of gamelan music is highly respected until people were not allowed to notate the tunes, even humming the tunes. nevertheless, we can now preserve our musical example 3. varied trio, movement 1, gending, mm 1-5 henry susanto pranoto, sacrilegious aspect of javanese gamelan: past and future 65 heritage by notating the music so that our next generation will be able to continue the tradition correctly. this western influence of putting the tunes into writing is very useful as long we still treat our musical heritage respectfully. it is wonderful that the gamelan has had a positive influence on other cultures; however, for the sake of its native purpose it should be used only with utmost appropriateness. many indonesians would strongly disapprove of harrison’s ‘homemade’ gamelan because of the materials it was made from, such as trash cans and piping. although he may have meant no harm, whenever something is borrowed from another culture there should be a level of sensitivity used. debussy offers a great example of being able to integrate the form and spirit of gamelan without offending. in our today’s society, electronic music has become a major element in many musical developments. many musician have used electronic instruments such as electric guitar, piano electric, drum electric, and so forth. furthermore, we have also known that gamelan music has also been elaborated electronically by indonesian students from dian nuswantoro university (udinus), semarang. the main purpose of the e-gamelan making, as mentioned by kanjeng pangeran edy s wirabhumi from keraton solo during the public interview “is to enable people to have an easy access on gamelan music, especially gamelan instruments so that people will have an easy grasp and easy play on gamelan instruments in their homes as they please” (estuningsih, koran si). it was such a wonderful idea. nevertheless, it will cause a question for each of us, especially after reading the essay above. can this electronic gamelan instruments keep the sacrilegious aspect of gamelan music itself? or, can it keep the sacrilegious realm of gamelan instrument in which gamelan’s sound have been sampled? in this case, can we really hear the sound of gamelan “kiai gora” from keraton solo without eliminating the sacrilegious aspects of the real gamelan instruments that have been sampled from? the answer is that we cannot experience the real gamelan music of “kiai gora” just by playing or experiencing it electronically. in fact, the process of making the real gamelan instruments took such a long period of time and required some ritual activities such as fasting and praying before producing gamelan. people have to think and to understand deeply in regard to the purpose behind creating and playing the gamelan. in addition, we know that all “gending” or songs as played by gamelan, have a strong correlation in people’s life, such as requesting safety, wedding ceremony, preparing for battle, thanksgiving in which all of those are subjected to god. this makes gamelan music is religious musical instrument that is purposely functioned mostly for religious activities. we need to maintain the sacrilegious aspect of gamelan. as a result, people should not be allowed to play gamelan as they wish without fully understand the religious purpose, the rightful attitude or correct manner and the tradition behind it contextually. if people lost these respects, it would be the same as we lost the gamelan physically as happened before when the gamelan kyai gora and gamelan kyai genta were stolen from keraton solo and found in november 1999. if gamelan has lost its sacrilegious function and people’s belief have deceased toward it, so the gamelan will be useless. we are all aware that the use of gamelan music has been decreasing today. therefore, we need to introduce our younger generation on knowing, learning and even loving gamelan music as part as their cultural heritage. nevertheless, we need to consider the basic element that we need to teach our future generation on how to keep the function of gamelan music rightfully, as we have learned from k.r.t wasitodiningrat on how he has taught lou harrison, or even when claude debussy has used gamelan influences respectably in his compositions. therefore, the beginning fatal mistake that lou harrison did by creating gamelan sound using inappropriate materials, such as trash cans and piping harmonia, volume 13, no. 1 / juni 201366 can be avoided. we need to teach them the correct manners and the sacrilegious matters of the gamelan instead of just giving an easy access on playing them. they need to understand the religious aspects of gamelan and its real function. therefore, they will have a better respect for their cultural heritage. they will also be able to correctly appreciate it. in fact, if we do not have the right respect on what belongs to us, so other people will have no respect not only to it but to us as well. it is easier for us to be destroyed if we are the one who destroyed ourselves through within. therefore, our future generations need to know and to learn this important aspect of sacrilegious of the gamelan music while they also have an easy access of the gamelan instruments electronically. as a result, other people will have a correct respect of the gamelan music/instruments and we can also conserve our heritage as a whole (morally, spiritually and physically). in spite of the difficulties of learning another culture and accepting it into one’s own culture, it is still very enriching to have indonesian music and western music, including modern technology, mutually influence each other as long as we do not have to sacrifice or eliminating the basic being of our own heritage, for instance our religious manner, our eastern heritage, and our cultural norms. technology is one of the greatest and powerful achievements of mankind that we need to continue developed and used wisely and correctly. we can be enriched through the use of technology in developing, strengthened and promoting our musical heritage physically (or virtually) and religiously that is gamelan music, as long it can represent the gamelan as a whole (morally, spiritually and physically), and indonesia as a religious country in accordance with its religious cultures. bibliography becker, judith. 1980. traditional music in modern java: gamelan in a changing society. honolulu: the university press of hawaii. blacking, john. 1995. music, culture, & experience. chicago: the university of chicago press. brandon, james. r. 1970. on thrones of gold: three javanese shadow plays. massachusetts: harvard university press. brinner, benjamin. 1995. “ cultural matrices and the shaping of innovation in central javanese performing arts.” ethnomusicology 39. ( 433-456). ________. 1995. knowing music, making music: javanese gamelan and the theory of musical competence and interaction. chicago: the university of chicago press. capwell, charles. 2004. “the music of indonesia.” in excursions in world music, 4 ed. philip v. bohlman, 141-170. upper saddle river: pearson prentice hall. diamond, jody. 1991. “the evolution of javanese gamelan, book 3: paragon of the roaring sea.” notes 48. (128129). ________. the vocal notation of k.r.t. wasitodiningrat: slendro. lebanon: the american gamelan institute, 1995. gilmore, bob. 2000. “lou harrison: composing a world.” music & letters 81 : (339-341). hood, mantle. 1985. “javanese gamelan sekati. its sanctity and age.” acta musicologica 57. ( 33-37). howat, roy, ed. 1991. claude debussy. série i, vol. 3. paris: durant-costallat. miller, leta e. and fredric lieberman. 1999. “lou harrison and the american gamelan.” american music 17 ( 146-178). rowel, lewis. 1988. “karawitan: source readings in javanese gamelan and vocal music.” journal of the american oriental society 108 (642-644). sorrell, neil. 1990. a guide to the gamelan. portland: amadeus press, 1990. sullivan, lawrence. e. 1997. enchanting powers music in the world’s religions. massachusetts: harvard university press. sumarsam. 1995. gamelan: cultural inhenry susanto pranoto, sacrilegious aspect of javanese gamelan: past and future 67 teraction and musical development in central java. chicago: the university of chicago press. sutton, r. anderson. 1994. “the music of k. r. t. wasitodiningrat. java.” ethnomusicology 38. page 546-547. tenzer, michael. 2000. gamelan gong kebyar: the art of twentieth-century balinese music. chicago: the university of chicago press. vallas, léon. 1973. claude debussy: his life and works. new york: dover publication. ________. 1929. the theories of claude debussy. london: oxford university press. widodo, sri. 1996. ketrampilan karawitan (ajar nabuh gamelan). surakarta: cv. cendrawasih. websites: alves, bill. lou harrison biography. 04 october 2006 <http://www2.hmc.edu> gimon, charles a. an online timeline of indonesian history. 04 october 2006 hugh, brent. claude debussy and the javanese gamelan. 06 october 2006: 1-14. <http://brenthugh.com/debnotes/gamelan.html> mccomb, t.m. central javanese gamelan. 14 march 2006 <http://www.medieval.org/music/world/java.html> negoro, suryo. s. k.r.t. wasitodiningrat (pak cokro) maestro of karawitan. 04 o c tober 2006. <http://www.joglosemar.co.id/ whos/cokro.html> ________. the coronation of k.g.p.a.a paku alam ix. 02 november 2006. <http://www.joglosemar.co.id/ coronation_pka_ix.html> scott, mary sheldon. what is gamelan? <http://www.gamelanpacifica. org/gamelan> ________. narrative history of gamelan pacifica. <http://www.gamelanpacifica. org/gamelan> scores: debussy, claude. piano music. 2nd ed. beveridge webster. new york: dover publication, 1972. harrison, lou. lou harrison: selected keyboard and chamber music. edited by leta e. miller. vol. 31, varied trio. madison: a-r editions, 1998. recordings: original javanese classical traditional music: aneka palaran vol.1-palaran pangkur gobyok. dir. djarwa saminta. karawitan suka laras. pt. cipta suara sempurna, dasa studio, 2004. video cd. pandawa piningit. dir. nani soedarsono. prod. dra. nanik sidawati, mm. dalang edi sulistiono s. sn.pt. sekar budaya nusantara and tvri, april 2003. video cd. semar mantu. dir. nani soedarsono. prod. donny handono. dalang edi sulistiono s. sn. pt. sekar budaya nusantara and tvri, july 2003. video cd. upacara pengantin: javanese gamelan wedding ceremony. rri surakarta, kerawitan studio semarang, lokananta, 17 november 2005. cd recording. scores: debussy, claude. piano music. 2nd ed. beveridge webster. new york: dover publication, 1972. harrison, lou. lou harrison: selected keyboard and chamber music. edited by leta e. miller. vol. 31, varied trio. madison: a-r editions, 1998. recordings: original javanese classical traditional music: aneka palaran vol.1-palaran pangkur gobyok. dir. djarwa saminta. karawitan suka laras. pt. cipta suara sempurna, dasa studio, 2004. video cd. harmonia, volume 13, no. 1 / juni 201368 pandawa piningit. dir. nani soedarsono. prod. dra. nanik sidawati, mm. dalang edi sulistiono s. sn.pt. sekar budaya nusantara and tvri, april 2003. video cd. semar mantu. dir. nani soedarsono. prod. donny handono. dalang edi sulistiono s. sn. pt. sekar budaya nusantara and tvri, july 2003. video cd. 113 the javanese panji story: its transformation and dissemination into the performing arts in southeast asia triyono bramantyo1, susan hung2 1institut seni indonesia yogyakarta, indonesia 2graduate department of ethnomusicology, tainan national university of fine arts, taiwan received: september 17, 2017. revised: november 24, 2017. accepted: december 4, 2017 abstract this paper studies descriptively several versions of javanese panji story with its transformation and dissemination into the performing arts found in southeast asia. accordingly, there are versions varied not only regarding its stories, locations, events, and the style of its narratives but also the flow of the stories. so many other versions have not been described here in this paper just to imagine how this 13th century javanese literature has turned out to become so many versions. moreover, the story has spread out not only in indonesia but also throughout the southeast asian archipelago. the study found that authenticity is not the concern because the original version of the panji story was not existed and thus texts can be in so many forms. however, what was overwhelming is that the story had been transformed into so many genres of performing arts in southeast asia, such as in indonesia, thailand, cambodia and myanmar, the former state of burma. the study found that the performing styles of panji or inou in indonesia, thailand, cambodia, and myanmar shared the same styles as typical classical dance of royal palace that performed high standards of performances such as glorifying model of costumes and accompanied by aesthetically qualified royal palace music ensembles. keywords: panji story; transformation; performing arts how to cite: bramantyo, t. & hung, s. (2017). the javanese panji story: its transformation and dissemination into the performing arts in southeast asia. harmonia: journal of arts research and education, 17(2), 113-119. doi:http://dx.doi. org/10.15294/harmonia.v17i2.11539 harmonia: journal of arts research and education 17 (2) (2017), 113-119 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i2.11539 the history of the ramayana dates back to approximately the 5th-4th century bce. it is believed that the original version of the story is valmiki’s ramayana. some cultural evidence suggests that the ramayana predates the mahabharata. regardless of which tale appeared first, these two important indian literary works have been adapted to many forms in javanese performing arts and those of the rest of southeast asia. they are javanese ramayana, the javanese mahabharata, the balinese raintroduction a monument that was erected during the reign of king dyah balitung of central java dating from approximately 907 ce (ministry of education and culture, (1983-1984)) provides the oldest written record of a wayang performance, which was based on the mahabharata epic tale. the ramayana was also an essential source in the development of the performing arts in the early civilization of java. corresponding author: jl. parangtritis km 6,5, sewon, bantul, panggungharjo, yogyakarta, 55188 e-mail: t_bramantyo@yahoo.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 17 (2) (2017): 113-119114 mayana, the phra lak phra lam of laos, the hikayat seri rama of malaysia, the ramakien of thailand, the yama zatdaw of myanmar, etc. (bramantyo, 2015). alongside the ramayana and the mahabharata, there is a local javanese cycle called the story of panji, which, according to c.c. berg’s work inleiding tot de studie van het oud-javaansch (1928), was disseminated in the year of pamalayu (1277 ce). purbatjaraka, an expert on the panji cycles, writes: “[…] the writing of the early panji story was during the supremacy of the majapahit kingdom” (purbatjaraka, 1968). the story of panji subsequently spread throughout the southeast asian region, including present-day malaysia, thailand, cambodia, myanmar, and laos, and has been adapted to a variety of performing arts. there are different versions and episodes of the panji cycles. the main story, however, is about the romance between prince panji and princess kirana, a tragic tale of love, full of adventures and challenges that sometimes concludes with a happy ending. this paper is a descriptive study of versions that can be found in purbatjaraka’s book tjerita panji dalam perbandingan (1968) and in r.a. kosasih’s pandji semirang (1978), with some additions taken from the videos of inao festival held by spafa, bangkok, thailand, 2-6 march 2013. it is possible that the mahabharata may have influenced some stories in the panji cycles. in his genealogy entitled pustaka radja mada, the surakartan poet ranggawarsito writes: “the javanese kings, including panji, are considered the descendants of the pandavas of the mahabharata” (brandon, 1970). this empirical research aims to explore the fact that this classic javanese roman of 13th century has been widely known in southeast asia of that period and has been adopted to become classical performing arts in several kingdoms in the region. it can be used as a coincidence of how this ancient roman cycle of java has gained so much popularity as popular as indian ramayana and mahabharata stories. the transformation of the panji cycle into classical performing arts (mostly dance) in southeast asia can be traced back recently. we thank the seameo-spafa (the southeast asian ministers of education organization regional centre for archeology and fine arts) for the initiative and to host the panji/inao festival held in bangkok, thailand, 2-6 march 2013. in this paper, the main characters of the story are prince panji kertapati and his fiancée princess dewi sekartaji or galuh candrakirana. in thailand and cambodia, name of panji becomes inou, and dewi sekartaji becomes bossaba or bussaba (accordingly it is come from the word ‘puspa’ in javanese language which is mean ‘flower,’ since a beautiful lady usually personified as beautiful as a ‘flower’). in myanmar, inou become e-naung and bosabba becomes busba. the names of kingdoms in java where this story initially comes from can be recognized such as kahuripan dan daha. some other kingdom names are not explicit, but probably they are corrupted names of javanese language or perhaps some common local names of local kingdoms. in studying the transformation and dissemination of the panji story, for the writer, it is so much a wonder to realize how the unwritten javanese romance of 13th century can be adopted and be adapted to become ‘their’ own arts. it seems there is no conflict of ‘self and other’ dichotomy in sort of the legacy of cultural influences (payne & barbera, 2010), in this process of transmission from the beginning to the present day. method this study employs analytic history methods found in cultural studies. in a limitation of readily available related references, the writer has borrowed the method of analytic history of cultural studies focuses primarily upon theoretical and methodological dynamic (tudor, 1999). the implementation of this approach, in triyono bramantyo, , susan hung, the javanese panji story: its transformation ... 115 this case, is that the writer studies some documents that have been carefully considered to see the various types and genres of the stories. meanwhile, the videos of the performance of inou/panji from cambodia, thailand, and myanmar, mostly available on youtube uploaded by spafa (2013) have been selected to see the transformation of the story into the performing arts. the problems of originality of the genres are not mentioned in this paper because it is so hard to identify the originality when it has been lost due to the social and political war that happen for such long time (in case of cambodia and myanmar). so, the videos were saw and analyzed the whole structures and the stories of the episodes. it was found that they are still very relevant to the main ideas of the panji cycles. thus, that means that the performances should then to be accepted as the new versions of the original inou/ panji episodes of the given countries. accordingly, unwritten folklore like the panji story is part of tradition, and it is dynamic. the study have found that in this process of sharing the tradition has helped the continuity of culture and the importance of time and repetition in tradition that implies a sense of continuity and of divided materials (sims, 2005). results and discussion below is the results or the discussion about the research and they are in a form of descriptive. therefore this research is descriptive one with some addition of critical comments. this research is also a preliminary study, and thus further examination and elaboration of the topics would be if necessary. the lack of bibliographies reliable in this research was caused by not so many of the documents related to the issues can be found in indonesia. it should be noted here the questions concerning the music for the performance of the panji /inao stories that might exist. they are (1) how the music transmitted to different place influences on the music? (2) is the music of various place influences the story? in answering those questions shortly, i would like to make my account based on the documents that did not explicitly described any music for the accompaniment at all. firstly, there is no such typical panji/inou music accompaniment for the dances and dramas in java and in southeast asian inou drama. secondly, nor that the music of different place influences the story, for there is no such specific music accompaniment for the panji/inou story. take for the example of the javanese classical performance of panji story’s episode that might used a gamelan ensemble of classical gendhing repertories that already existed and be selected and adapted to accompany the performance. the selection and adoption of the gendhing repertories normally follows the dynamic flows of the actions on the stage. for inou performance from thailand, they usually used the pi phat mai nuam ensemble, a typical classical repertories for court ceremonies use. accordingly, the pi phat mai nuam ensemble was created during the reign of king rama v by chao phraya thewat wongwiwat. wongwiwat not only rearranged the entire pi phat ensemble as the accompaniment for dance and drama but also replaced khlui phiang o, which is a medium fipple flute, and the khlui lip, which is a small fipple flute for pi nai and pi nok (a soprano and sopranino oboe). in addition, a so u was included, which is an alto fiddle and replaced the hard mallets with full ones. the ensemble usually performs with the thai traditional mask dance, so-called khon (wikipedia. retrieved on 10 august 2017). cambodian performance of inou drama uses the pinpeat ensemble. the pinpeat orchestra or musical ensemble performs the ceremonial music of the royal courts and temples of cambodia. the orchestra consists of approximately nine or ten instruments, mainly wind and percussion (including several varieties of xylophone and drums. as music for the e-naung performance from myanmar, it can be noted as harmonia: journal of arts research and education 17 (2) (2017): 113-119116 follows. the basic idea of much of burmese (now myanmar) classical music is to create an “inner melody” like the one we found in the indonesian gamelan music. the impression when we are listening this melody is that it sounds like improvising all around and ornamentation notes play in such a way like the true “inner” melody that never heard by the audience. however, indeed, it functions as a core melody for all performers to improvise from. in other words, nobody plays it, but everyone knows it. in describing the music produced by a traditional burmese orchestra during the performance, it sounds that the music is so much playing in narrative ways. the instruments comprises of a set of gongs, finely tuned drums and an oboe-like instrument called nhai. nhai looks similar to that of a javanese slompret (trumpet). accordingly, its pieces sound richly theatrical. melodies start slowly then very often it is suddenly frantic ahead, then pause and turn sideways in ways that merrily defy prediction. it should be noted here one of the oldest genres, thakyinkan, is used during offerings to the buddha. some of these particular song forms were later matched with particular dances and song structures derived from the thai ramayana and inao dramas called yodaya (young, 2015). prelude to the panji stories: ‘the book of smaradahana’ this book, entitled kakawin smaradahana, was written by mpu dharmaja in the early 12th century ce and was later incorporated as a prelude to the panji tales. it describes that king kamesjwara (kamajaya) of the court of kediri reigned from 1037 to 1052 (1115 – 1130 ce) and that he is the third incarnation of batara kamadjaja. kamesjwara’s wife, srikiranaratu, also known as dewi kamaratih, was a princess of the court of djenggala. the story tells that both husband and wife have disappeared from svargaloka (heavenly earth) and were burnt by the fire of shiva, lord of destruction. the spirits of kamajaya and kamaratih fell to the earth and were incarnated several times as mortal human beings. accordingly, the main characters of the panji cycles are prince panji and princess kirana, the notable incarnations of kamajaya and kamaratih on earth (purbatjaraka & hadidjaja, 1952). the panji story of cambodia according to purbatjaraka, this khmer eynao story is of indian origin. but, this assumption is not make sense because there is no coincidence of the name of daha kingdom both in ramayana or mahabharata. in this version, accordingly, that the king of daha decides that his beautiful daughter, named bossaba, will be engaged to his nephew, eynao. however, he later marries the princess of another kingdom before he meeting his fiancée, the princess of daha (bramantyo, 2015). one day, the kingdom of daha is attacked by neighboring kingdoms and sends a call for help. the king of kuripan, eynao’s father, orders his son eynao to lead his army to help the king of daha. eynao defeats the invaders, all of whom surrender and are requested to submit their loyalty to the king of daha. eynao receives a warm welcome by the king of daha, his own uncle and all of the high-ranking officials. bossaba does not want participate in the festivities thrown in her fiancé eynao’s honor because he broke her heart when he married another girl. when eynao sees bossaba, he is mesmerized by her beauty and cannot contain himself. he then blames himself for marrying the other princess. eynao cannot help wanting to attract bossaba’s attention, which he can hardly obtain. he asks his brother-in-law sijatra to help him several times, but he does not succeed. in the end, eynao is so upset that he wants to kill himself when he finds out that bossaba wished to marry a prince from another kingdom named charika. his brother, sangkha-marita, tries to help him by kidnapping bossaba and bringing her to a remote place in a cave that has already been decorated for eynao and bossaba’s wedding. still, eynao does not triyono bramantyo, , susan hung, the javanese panji story: its transformation ... 117 ba asks acharang-visangkha to write and draw a story on the skin of a water buffalo. he draws the cave and the stories about bossaba and eynao on the skin. upon seeing this, bossaba wants to meet eynao as soon as possible. acharang then tells her that it was eynao who asked him to draw and write these stories on the skin. eynao is standing there listening to them at that very moment. a surprised bossaba runs to meet eynao, but she falls unconscious. eynao sprints to hug her and help her regain consciousness. they are finally reunited despite having been apart for ten years, separated by pattarac-cala who punished panji because of his mistakes. as expected, this version concludes with a happy ending with the reunion of panji/eynao and galuh candrakirana/princess bossaba. notes: notes that this version mentions four kingdoms without giving the names of each king. both eynao and bossaba serve the king of kalang (gagelang). bossaba turns into a young man named onacan and eynao changes his identity to acharang. both experience great adventures and have to face so many challenges, but it all comes together in the end. in this version, both the kingdom of singasari as well as the name of panji did not specified, but panji disguised as eynao or acharang. in the recent performance of pan yi (panji) story at the iano festival in bangkok, thailand, the cambodian royal ballet presented one of the episodes that told about the bossaba (princess kirana) and her meeting with pan yi in a such short moment. here is the story: khmer classical dance, also known as cambodian royal ballet, is a highly stylized form of court dance drama. while the story of panji, known as inav in khmer, is no longer performed today, some episodes were favored by the kings of cambodia between 1900 and 1940. it is believed that queen sisowath kossomak nearirath is responsible for redeveloping the inav/ bussa ba performance in khmer classical manage to win her love and finally declares: “if you are certain of your decision to not accept me and if i am hopeless in begging for your affection, then i have no reason to be here. i will thus go far away across the mountains and jungles until i die, because i have promised myself that i would only return to my father’s palace with you by my side, surrounded by your love, which to me is more precious than all of magnificence of the palace.” (purbatjaraka, 1968) one day, bossaba is alone in the cave to which eynao took her when he kidnapped her. she has the chance to look around the cave, but suddenly, a whirlwind takes her to the palace of pramotan. it was she meets her grandmother, pattarac-cala, who says: “i am your first grandmother, and i condemn eynao for two things. first, for refusing your hand in marriage and taking another lady as his wife, and secondly for kidnapping you. this young man has disappointed me, and thus he should be punished to what he has done. i will turn you into a man named onacan, and you will be adopted as the king of pramotan’s son.” eynao and two of his followers go searching for bossaba’s whereabouts. they reach the kingdom of sangvat-borey and introduce themselves with new names: eynao as panji, sangkha-marita as acharangvisangka and vijada as vorot-kenlong. onacan (bossaba’s new name as a young man) keeps thinking of eynao and sees in ‘his’ dream that eynao has now become an ascetic somewhere to the east of ‘his’ new home. ‘he’ then asks for ‘his’ stepfather’s permission to look for a future ‘wife’ for ‘himself’ and thus heads east where ‘he’ meets panji and his followers. panji says to acharangvisangkha: “keep an eye on this young man, he looks like bossaba; it is impossible that the gods have changed her into a young man to look for us” (purbatjataraka, 1968). panji confirms that onacan is bossaba dressed as a man. as a result, panji wants to stay there to be able to see onacan everyday. to shorten the story, one day bossaharmonia: journal of arts research and education 17 (2) (2017): 113-119118 dance. however, since only a few episodes were created in this art form, it is impossible to know the whole khmer version of this legend. in this episode, prince siyatra is in the forest where he sees a peacock created by the god indra. he and his retinues chase the peacock to the border of the territory of kalaing. disguised as yarann, he serves the king of kalaing with the help of general pan yi and his brother sangka mota, after which he is awarded a high title. bosseba, whose original name is kaen long, and yarann meet one day while she is visiting a garden. upon seeing yarann trying to court bosseba, general pan yi becomes angry. a fight ensues between the both of them, but the king intervenes. then, yarann pulls out the kalaing kroeus (a small two-edged knife), which reveals to all his true identity: prince siyatra. the panji story of thailand a synopsis written for the performance of an episode of panji of thailand described that this thai classical dance, called lakon nai, is a court dance drama that is performed by an all-female troupe using elegant and graceful movements. this type of dance drama evolved according to royal tradition within the precincts of the palace. it is believed that lakhon nai was redeveloped under the patronage of king rama ii in the early 19th century. (seameo-spafa. (2013). “program notes” of the panji/inou festival in bangkok, thailand.). in the event of inao/panji festival held by spafa in bangkok, thailand, 2-6 march 2013, the troupe performed the episode entitled “inao exiting the cave.” this episode takes place after inao and bussaba have fallen in love and eloped. they are hiding in a cave, but inao needs to leave her there to face the problems they have caused. inao rides a horse to the kingdom of daha, accompanied by his retinues, rides a horse to the kingdom of daha (former kingdom settled in kediri, east java, indonesia) to explain his actions to the king. the panji story of myanmar the information below has been taken from a synopsis of the performance of e-naung drama troupe of the ministry of culture, myanmar, performed during the inao/panji festival 2013 in bangkok, thailand. the whole performance has 9 scenes with some names still related to the home of the story in java, i.e., the kingdom of kurepan (kahuripan in javanese) and the kingdom of daha. in this myanmar version, e-naung is inao or prince panji, and busba is princess dewi galuh candra kirana. some other names are not related to java of even myanmar itself. scene 1: indra, lord of the celestials beings (in hinduism), present the four-edged dagger thanhlyet to the prince e-naung in his cradle. meanwhile, the parents and the royal families are discussing future wedding plans for the baby e-naung. scene 2: e-naung, now a man grown, is with the king of kurepan and the king of daha, whose daughter (busba or bussaba) has been betrothed (engaged to be married) to him since childhood. they are discussing the wedding plans when suddenly a call for military support reaches them from the king of manra. the king of kurepan answers this call by sending e-naung to drive out the invading troops from seven kingdoms. scene 3: e-naung reaches the kingdom of manra and defeats the kings from the seven kingdoms easily. scene 4: e-naung meets the king of manra’s daughter, princess nan kannaiya, who is celebrating the hair washing ceremony. it is love at the very first sight (please be remembered that prince e-naung or prince panji, despite having his superpower from god, is also typical a man who is passionate about women and has many lovers but only busba or princess kirana is his real lover). so, e-naung and nan kannaiya do not act on their feelings as enaung has been promised to marry busba. scene 5: this is the first challenge for e-naung in this episode when after receiving a painted portrait of busba, the prince of saraka asks the king of daha triyono bramantyo, , susan hung, the javanese panji story: its transformation ... 119 for busba’s hand in marriage. the king of daha angry at e-naung for not fulfilling his promise agrees to the request of the prince of saraka. meanwhile, wirasakan, son of the king of panankunein, also asks for busba’s hand in marriage, threatening to wage war if his request is not granted. the king of daha thus appeals to the king of kurepan for help. scene 6: the king of kurepan answers the king of daha’s call for help by sending e-naung to attack and defeat wirasakan troops. svece 7: having successfully defeated the enemy, a ceremony is thrown in e-naung honours, during which princess busba offers a flower garland to prince e-naung as sign of her love. scene 8: e-naung finds out that busba is already engaged to the prince of saraka. this upsets him, after which his attendants burn down the wedding pavilion. meanwhile, e-naung disguises himself and elopes with busba. scene 9: prince e-naung takes princess busba to the forest. when he removes his disguise, busba recognizes him and rejoice. conclusion the panji story is a roman cycle originated 13th century of java or earlier, even though the influence of imported roman of indian mahabharata or ramayana is possible. the panji story has transformed into so many folk performances as well as classical performing arts in indonesia. most of the genres are using the masks for the whole characters found in panji stories’ episodes. the main characters of panji story are prince panji kertapati simply known as panji and his fiancée namely princess dewi sekartaji or galuh candrakirana. the panji story still very popular in java and some festivals are still be managed to run every year in several places. the popularity of panji/inou story can be found not only in indonesia but also in southeast asia countries such as in thailand, cambodia, myanmar and malaysia. what most remarkable is that the panji story has transformed into so many kinds of genres of performing arts in southeast asia as well. references bramantyo, t. (2015). panji story: from version to version: papers presented at bali puppet seminar 2013. singapore: partridge. brandon, j. r. (1970). on thrones of gold: three javanese shadow plays. cambridge: harvard university press. kosasih, r. a. (1978). pandji semirang. bandung: penerbit erlina. ministry of education and culture. (19831984). project of cultural media. padmapuspita, y. (1982). panji jayakusuma. yogyakarta: proyek javanologi. payne, m. & barbera, j. r. (2010). a dictionary of cultural and critical theory. 2nd edition, west sussex. uk: blackwell publising ltd. purbatjaraka, r. m. n. (1968). tjerita panji dalam perbandingan. jakarta: penerbit pt gunung agung. sims, m. c. (2005). living folklore: an introduction to the study of people and their traditions. utah: utah state university press. tudor, a. (1999). theory and method in cultural studies. california: sage publications inc. young, k. (2015). music and dance from myanmar: shwe man thabin zat pwe program in asia society: program notes of april 10-11. 29 pengemasan bahan ajar tari topeng malang pada mata kuliah vokasi tari malang wida rahayuningtyas universitas negeri malang, jl. semarang, no. 5, malang e-mail: swidarahayu@yahoo.com abstrak pengemasan bahan ajar adalah mengemas materi menjadi lebih baik, dengan cara menjadikan ringkas. materi yang dikembangkan terdapat pada mata kuliah vokasi tari malang yaitu salah satu nama mata kuliah di program studi pendidikan seni tari-um yang berisi tentang materi tari topeng malang milik karimun (alm). tujuan dari penelitian ini adalah untuk menghasilkan wujud bahan ajar mata kuliah vokasi tari malang dan mengetahui keefektifan bahan ajar setelah diterapkan kepada mahasiswa.penelitian ini merupakan penelitian pengembangan dan uji keefektifan menggunakan uji-t dengan program spss 12. hasil penelitian ini adalah berupa buku ajar mata kuliah vokasi tari malang yang berisi petunjuk pembelajar, silabus, rpp, materi, rangkuman dan evaluasi yang dilengkapi dengan vcd pembelajaran. uji coba keefektifan menunjukan hasil bahwa dari segi produk masuk kategori yang sangat baik sehingga layak digunakan. teaching material packaging of malang mask dance in malang dance vocation subject abstract the packaging of teaching material can be done by adapting the available teaching material and repackaging them in a more practical form. the teaching material developed in this study is tari topeng malangan originally created by (the late) karimun, which is taught as vokasi tari malang subject in dance department of faculty of art and languages, malang state university. the aim of this research and development study is to produce a teaching material for vokasi tari malang subject and also to find out the effectiveness of the material after being applied to students. this research is a developmental research and an effectiveness test by using t-test provided from spss 12. the final products of the teaching material is in the form of teaching textbook for vokasi tari malang, which consist of a syllabi, teaching guide, lesson plans, the material for the teaching, the summary of the material, the teaching assessment and also a tutorial vcd. the t-test showed that the teaching material is categorized as a good teaching material to use in teaching. kata kunci: pengembangan, bahan ajar, tari topeng, vokasi. pendidikan seni tari di um dalam kurikulum memiliki mata kuliah yang spesifikasi yaitu tentang tari topeng malang, yang tersaji dalam mata kuliah vokasi tari malang, dengan deskripsi mata kuliah yaitu menanamkan pengetahuan tentang konpendahuluan program studi pendidikan seni tari universitas negeri malang merupakan salah satu perguruan tinggi pendidikan seni yang ada di indonesia. program studi harmonia, volume 13, no. 1 / juni 201330 sep, struktur gerak tari tradisi malang; pelatihan struktur gerak tari tradisi malang, pelatihan berbagai jenis tari tradisi malang (katalog jurusan seni dan desain, 2011). permasalahan pembelajaran mata kuliah vokasi tari malang terlihat dari terbatasnya media dan sarana pendukung. buku pegangan, sumber belajar seperti gambar, slide, video masih terbatas dijumpai di lapangan. khusus mengenai alat peraga atau media pembelajaran yang digunakan, meskipun ada tetapi kurang bervariasi. berdasarkan hasil wawancara dalam survey awal yang dilakukan peneliti terhadap 3 orang mahasiwa (wawancara, 14 mei 2012), telah diungkapkan bahwa media pembelajaran yang digunakan dalam perkuliahan masih kurang, contohnya untuk apresiasi seni mahasiswa membutuhkan buku pegangan yang berkaitan dengan materi tari topeng malang. perlu-perlunya media pembelajaran berupa vcd, sehingga memudahkan ketika proses belajar sendiri di rumah. chattam ar (wawanca-chattam ar (wawancara, 8 mei 2012), menjelaskan bahwa belum adanya media dan sumber belajar yang sesuai dengan mata kuliah vokasi tari malang. sehubungan dengan hal ini diperlukan buku ajar sebagai sumber belajar bagi mahasiswa yang dapat dipelajari dengan mudah agar dapat memberikan materi pembelajaran vokasi tari malang secara detail agar mahasiswa sebagai calon guru mampu mengaplikasikan pengetahuan yang dimiliki kepada anak didiknya. tujuan penelitian ini adalah dapat terwujudnya bahan ajar tari topeng malang yang dapat menunjang pelaksanaan pembelajaran mata kuliah vokasi tari malang. bahan ajar yang dikemas diharapkan proses pembelajaran mata kuliah vokasi tari malang dapat berjalan secara efektif dan efisien. media pembelajaran berupa media cetak (buku pegangan) dan audio visual (vcd) sangat tepat dan efektif digunakan dalam proses pembelajaran, khususnya pembelajaran tari topeng malang. daryanto (2011), mengungkapkan bahwa persentase kemampuan daya serap manusia dari pengguna alat indra yaitu: penglihatan (82%), pendengaran (11%), penciuman (1%), pengecapan (2,5%) dan perabaan (3,5%). penerapan strategi dan media pembelajaran yang baik diharapkan mampu membangkitkan minat dan motivasi siswa baik berupa metode maupun pendekatan melalui alat bantu media dengan berlandaskan fase kegiatan membelajarkan. menurut winkel, (dalam abdul majid, 2008), menyatakan bahwa fase dalam kegiatan membelajarkan adalah sebagai berikut; fase motivasi, fase menaruh perhatian (attention, alartness), fase pengolahan, fase umpan balik (feedback, reinforcement). selama proses pembelajaran mata kuliah vokasi tari malang, dosen maupun mahasiswa tidak pernah melakukan pendokumentasian, sehingga setelah mata kuliah vokasi tari malang selesai dilaksanakan, maka mahasiswa kesulitan dalam menghafal kembali. selain itu juga, jika dosen yang mengajar mata kuliah vokasi tari malang tidak masuk, maka mahasiswa juga akan kesulitan untuk berlatih sendiri. berkaitan dengan peningkatan kualitas pendidikan, sangat dibutuhkan berbagai macam sumber belajar yang relevan dan bervariasi. sumber belajar diharapkan mampu memperkaya pembelajar dalam memahami materi pembelajaran, yang pada akhirnya bertujuan untuk tercapainya tujuan pembelajaran secara optimal. pada pembelajaran mata kuliah vokasi tari malang di program studi pendidikan seni tari universitas negeri malang terdapat beberapa kelemahan. salah satu kelemahan pembelajaran mata kuliah vokasi tari malang adalah tidak adanya sumber belajar baik berupa buku ajar maupun vcd pembelajaran. sehubungan dengan hal ini diperlukan buku ajar sebagai sumber belajar bagi mahasiswa yang dapat dipelajari dengan mudah. terciptanya pembelajaran yang efektif, sangat diperlukan bahan ajar sebagai sumber belajar yang mampu memuat materi pembelajaran dengan praktis dan sesuai dengan karakteristik mahasiswa. wida rahayuningtyas, pengemasan bahan ajar tari topeng malang pada mata kuliah ... 31 ketersediaan sumber belajar tentang tari topeng malang yang dikembangkan diharapkan sangat membantu dosen dalam mengoptimalkan proses mata kuliah vokasi tari malang. dengan memperhatikan keberagaman dan keunikan proses belajar, ketepatan pemilihan media dan metode pembelajaran akan sangat berpengaruh terhadap hasil belajar mahasiswa. di samping itu, persepsi mahasiswa juga sangat mempengaruhi hasil belajar. oleh sebab itu, di samping memperhatikan keberagaman dan keunikan proses belajar, memahami makna persepsi faktor-faktor yang mempengaruhi terhadap penjelasan persepsi, hendaknya diupayakan secara optimal agar proses pembelajaran dapat berlangsung secara efektif, maka perlu diperhatikan hal berikut: a. diadakan pemilihan media yang tepat sehingga dapat menarik perhatian siswa dalam memberikan kejelasan objek yang diamatinya. b. bahan pembelajaran yang akan diajarkan disesuaikan dengan pengalaman mahasiswa. pembelajaran yang dilakukan dengan menggunakan bahan ajar yang tersedia, diharapkan proses pembelajaran dapat berjalan dengan efektif dan efisien. pembelajaran yang efektif diartikan sebagai pembelajaran yang mampu membawa mahasiswa mencapai tujuan pembelajaran atau kompetensi yang diharapkan. pengembangan pembelajaran dan bahan ajar perlu memperhatikan komponen-komponen pembuatan bahan ajar. komponenkomponen yang diperlukan pada saat membuat bahan ajar antara lain petunjuk pembelajaran, kompetensi yang akan dicapai, informasi pendukung, latihan-latihan, lembar kerja dan evaluasi (simatupang, 2006). sedangkan makna dari pembelajaran yang efisien adalah aktivitas pembelajaran yang berlangsung menggunakan waktu dan sumber daya yang relative sedikit (kyriacou, 2011). kriteria pembelajaran yang berhasil adalah sebagai berikut: 1. peran aktif pebelajar. proses belajar akan berlangsung efektif jika mahasiswa terlibat aktif dalam tugas-tugas yang bermakna dan berinteraksi dengan meteri pembelajaran secara intensif. keterlibatan mental pebelajar dalam melakukan proses belajar akan memperbesar kemungkinan terjadinya proses belajar dalam diri seseorang. 2. latihan. latihan dilakukan dalam berbagai bentuk akan dapat memperbaiki tingkat daya ingat atau retensi. latihan juga dapat memperbaiki kemampuan siswa untuk mengaplikasi pengetahuan dan keterampilan yang baru dipelajari. 3. jika kemampuan dan potensi yang dimiliki oleh tiap individu semakin berkembang. 4. umpan balik yang semakin merangsang pebelajar dalam memotivasi diri. 5. pembelajar dapat menerapkan kemampuan yang dimiliki dalam situasi yang nyata. 6. interaksi sosial antar pebelajar baik, dukungan sosial dalam belajar sangat diperlukan oleh individu yang sedang belajar. (pribadi, 2009) keefektifan dalam pengembangan bahan ajar tari topeng malang milik karimun (alm), juga dapat dilakukan dengan cara pengemasan terhadap tari topeng malang, yang bertujuan agar materi tari topeng malang dapat disajikan sebagai tari yang menarik dan tidak membosankan hanya karena durasi waktu yang lama. materi yang terdapat dalam mata kuliah vokasi tari malang, mencakup 4 materi tari topeng malang yaitu tari topeng sekarsari, gunungsari, grebeg sabrang dan patih. menurut minarto (2011), bahwa tari topeng patih dapat merupakan tari pembukaan dalam pertunjukan dramatari wayang topeng malang dalam penyajiannya cukup lama. setiap tari memiliki durasi waktu kurang lebih 15 menit. keempat tarian dikemas sesuai dengan konsep soedarsono (1999), yaitu menawarkan sebuah teori pengemasan seni wisata, yaitu setidaknya mempunyai lima ciri: (l) tiruan dari aslinya, (2) lebih singkat dari aslinya. (3) penuh variasi, 4) ditanggalka nilai magis dan sakralnya, (5) mudah dicerna oleh harmonia, volume 13, no. 1 / juni 201332 wisatawan. dengan mengacu pemikiran tersebut paling tidak dapat membantu menentukan bentuk atau format dalam mengemas seni pertunjukan tradisional menjadi seni wisata. metode tahap-tahap pengembangan dalam penelitian ini digambarkan sebagai berikut: jenis penelitian kuantitatif dengan metode research and development mengadaptasi dari model borg dan gall, telah dimodifikasi menjadi tiga langkah oleh mckenny, meliputi: (1) tahap studi pendahuluan, yang disebut sebagai needs and contents analysis, (2) tahap pengembangan, yang disebut sebagai design, development, and evaluation stages, (3) tahap pengujian efektivitas produk, yang disebut sebagai semi-sumative evaluation (sukmadinata, 2005). tahap i: tahap studi pendahuluan • mengkaji pustaka menetapkan spesifikasi • analisis kebutuhan produk tahap ii: tahap pengembangan penyusunan draft model dan perangkat draft model & perangkat i draft model & perangkat ii draft model & perangkat iii draft model & perangkat final konsultasi dengan pakar/ahli pendidikan seni & praktisi pendidikan seni evaluasi oleh pakar/ahli pendidikan seni & praktisi pendidikan seni uji coba lapangan terbatas uji coba lapangan kecil tahap iii: uji keefektifan gambar 1. alur pengembangan (sumber: sukmadinata, 2005). wida rahayuningtyas, pengemasan bahan ajar tari topeng malang pada mata kuliah ... 33 dengan bab sebelum dan sesudahnya. fungsi dari peta pembelajaran, mahasiswa diharapkan dapat membuat “jaring” konsep dan kaitan antar konsep yang memudahkannya untuk mengingat isi keseluruhan materi ajar. c. silabus, silabus merupakan panduan perencanaan dan pelaksanaan pembelajaran yang merupakan penjabaran dari satndar kompetensi dan kompetensi dasar. silabus sangat perlu dicantumkan dalam buku ajar, agar mahasiswa dapat mengetahui materi apa saja yang akan dipelajari dalam satu semester. d. rpp, memuat hal-hal yang langsung berkaitan dengan aktivitas pembelajaran dalam upaya pencapaian penguasaan suatu kompetensi dasar. rpp memuat hal-hal yang langsung berkaitan dengan aktivitas pembelajaran dalam upaya pencapaian penguasaan suatu kompetensi dasar. rpp juga sangat perlu dicantumkan dalam buku ajar karena dengan adanya rpp mahasiswa akan memahami berapa kali pertemuan setiap materi itu dapat terselesaikan. e. materi, materi yang disediakan dalam bahan ajar mata kuliah vokasi tari malang berisi tentang semua materi yang tertulis dalam silabus. materi dikembangkan sesuai dengan indikator yang ingin dicapai dalam proses pembelajaran mata kuliah vokasi tari malang. materi tersaji dalam setiap bab yaitu bab 1 tentang mengenal seni topeng, bab 2 tentang tari topeng sekarsari, bab 3 tentang tari topeng gunungsari, bab 4 tentang tari topeng grebeg sabrang dan bab 5 tentang tari topeng patih. f. gambar-gambar, dimaksudkan untuk memudahkan mahasiswa dalam menghafalkan kembali rangkaian gerak serta memahami jenis-jenis busana yang digunakan oleh masing-masing tari topeng serta nama dari setiap komponen busana tari topeng. g. evaluasi, evaluasi merupakan perangkat yang disediakan dalam buku ajar mata kuliah vokasi tari malang untuk uji keefektifan bahan ajar menggunakan rumus uji t dengan program spss 12. teknik keabsahan data dengan menggunakan uji validitas dan reliabilitas. validitas tes dihitung untuk mengetahui seberapa jauh hubungan antara jawaban suatu butir soal dengan skor total yang telah ditetapkan menggunakan rumus pointbiserial correlation. point-biserial correlation digunakan untuk menghitung instrument dengan tes berupa pilahn ganda. reliabilitas instrument tes menunjukkan ketetapan hasil yang diperoleh jika tes dilakukan berulangkali meskipun pada waktu dan situasi yang berbeda. rumus yang digunakan adalah kr 21, bisa dikatakan reliabel apabila r11 > r tabel, maka instrumen tersebut reliabel. hasil dan pembahasan penelitian ini menghasilkan perangkat pembelajaran yang meliputi buku ajar dan vcd pembelajaran yang diuraikan sebagai berikut: buku ajar buku ajar dengan judul “tari topeng malang” berisikan tentang materi-materi yang sesuai dengan silabus pada mata kuliah vokasi tari malang. materi yang tersaji pada buku adalah mengenal seni topeng yang tersaji pada bab 1, tari topeng sekarsari tersaji pada bab 2, tari topeng gunungsari tersaji pada bab 3, tari topeng grebeg sabrang tersaji pada bab 4, dan tari topeng patih tersaji pada bab 5. setiap bab dilengkapi oleh beberapa komponen yaitu: a. petunjuk pembelajaran, berisi informasi tentang komponen-komponen yang diperlukan oleh mahasiswa dalam melakukan sebuah proses pembelajaran. agar mahasiswa memahami komponen apa saja yang harus ada dalam sebuah pembelajaran, sehingga proses pembelajaran dapat berjalan secara terarah dan bertujuan. b. peta pembelajaran, peta ini berfungsi sebagai sebuah tinjauan terhadap susunan dan struktur bab serta kaitannya harmonia, volume 13, no. 1 / juni 201334 mengukur tingkat pemahaman mahasiswa terhadap materi tari topeng malang. jenis soal yang digunakan berupa pilihan ganda, unjuk kerja serta pembuatan makalah. h. rangkuman, rangkuman ini berisi ringkasan singkat dari materi yang disajikan dalam setiap bab. hasil tampilan dari buku tari topeng malang yang dikembangkan oleh peneliti adalah seperti pada gambar 2 sebagai berikut: gambar 2. gambar keseluruhan cover (cover: eko sugianto: 2012) vcd pembelajaran bahan ajar yang dikembangkan oleh peneliti tidak hanya berupa buku ajar, tetapi juga disertai dengan vcd pembelajaran. vcd pembelajaran berisi materi tentang tari topeng malang yang telah dikemas menjadi kurang lebih 5 menit. tari topeng yang disajikan yaitu tari topeng sekarsari, tari topeng gunungsari, tari topeng grebeg sabrang, dan tari topeng patih. setiap tari topeng yang disertai dengan sinopsis tari. tampilan vcd pembelajaran mata kuliah vokasi tari malang dapat dilihat dari 3 sudut pandang yang berbeda. pada gambar 1.2, a merupakan bagian atas kiri menampilkan gerak bagian setengah badan ke bawah. b merupakan bagian atas kanan menampilkan gerak bagian setengah badan ke atas, dan c merupakan bagian tengah tampilan menyajikan keseluruhan gerak badan. hasil tampilan pengembangan vcd pembelajaran mata kuliah vokasi tari malang diuraikan sebagai berikut: cara penggunaan cara penggunaan menerangkan cara menggunakan vcd pembelajaran. cara penggunaan vcd tertuang pada buku ajar tari topeng malang, karena antara buku ajar dan vcd pembelajaran menjadi satu kesatuan. 1) tampilan awal sebelum tari topeng malang ditampilkan dalam video pembelajaran, terdapat tampilan awal yang berisikan tulisan “media pembelajaran mata kuliah vokasi tari malang”. maksud dari tulisan “mewida rahayuningtyas, pengemasan bahan ajar tari topeng malang pada mata kuliah ... 35 dia pembelajaran mata kuliah vokasi tari malang” adalah menjelaskan bahwa video pembelajaran digunakan sebagai media dalam mata kuliah vokasi tari malang, seperti pada gambar 4.13. gambar 3. tampilan awal video 2) sinopsis setiap akan dimulai tari topeng malang yang disajikan dalam video pembelajaran, selalu diberi sinopsis tari. sinopsis berisikan tentang ringkasan cerita dari tari topeng yang disajikan. sinopsis dapat membantu mahasiswa untuk memahami maksud dari tarian sebenarnya. contohnya sinopsis tari topeng grebeg sabrang pada gambar 4.14 berikut: gambar 4. tampilan synopsis gambar 5. tampilan tari topeng sekarsari bahan ajar yang dikembangkan telah diujicobakan kepada dosen dan mahasiswa sebagai sasaran pengguna. berdasarkan hasil uji lapangan terbatas maka efektifitas pembelajaran dengan menggunakan produk pengembangan dapat dilihat dari perbedaan hasil belajar dari kelas kontrol dan kelas eksperimen, sehingga hipotesis penelitian yang memperkirakan pengembangan bahan ajar yang dikembangkan dapat meningkatkan efektifitas dalam pembelajaran mata kuliah vokasi tari malang. uji coba dilakukan untuk mengetahui keefektifan bahan ajar yang dikembangkan. hasil uji efektivitas dari data kognitif diperoleh nilai thitung sebesar 8,004 dengan signifikasi 0,000. hasil uji efektivitas dari data unjuk kerja nilai thitung sebesar 13,075 dengan signifikasi 0,000. oleh karena signifikasi thitung sebesar 0,000 kurang dari 0,05 (sig < 0,05), maka dapat diartikan bahwa terdapat perbedaan mean data hasil belajar kognitif dan unjuk kerja antara kelompok kontrol dan eksperimen. makna dari perbedaan mean tersebut adalah bahwa penerapan buku ajar mata kuliah vokasi tari malang lebih efektif dan layak digunakan. harmonia, volume 13, no. 1 / juni 201336 simpulan berdasarkan hasil dan pembahasan sebelumnya maka dapat disimpulkan bahwa wujud bahan ajar mata kuliah vokasi tari malang yang dikembangkan berupa buku ajar tari topeng malang yang dilengkapi dengan petunjuk informasi untuk pembelajar, peta pembelajaran, silabus, rpp, materi, gambar-gambar, evaluasi dan vcd pembelajaran yang berisi materi tari topeng malang telah dikemas menjadi kurang lebih 5 menit. hasil uji keefektifan didapatkan hasil bahwa penerapan buku ajar mata kuliah vokasi tari malang lebih efektif dan layak digunakan. daftar pustaka aesijah, siti. 2009. “analisis buku teks mata pelajaran seni budaya pada ktsp di kota semarang”. dalam jurnal harmonia, jurnal pengetahuan dan pemikiran seni volume ix juni, hal. 7382. daryanto. 2011. media pembelajaran. bandung: pt. sarana tutorial nurani sejahtera. jurusan seni desain. 2011. katalog jurusan seni dan desain fakultas sastra. malang: jurusan seni dan desain fakultas sastra. kyriacou, chris. 2011. effective teaching; theory and practice. bandung: nusa media. majid, abdul. 2008. perencanaan pembelajaran. bandung : remaja rosda karya mbulu, joseph. dan suhartono. 2004. pengembangan bahan ajar. malang: lab. tp um. pribadi, benny a. 2009. model desain sistem pembelajaran. jakarta: pt dian rakyat. sanjaya, wina. 2011. perencanaan dan desain sistem pembelajaran. jakarta: kencana prenada media group. sinaga, syahrul syah. 2010. “pemanfaatan dan pengembangan lagu anakanak dalam pembelajaran tematik pada pendidikan anak usia dini/ tk”. jurnal harmonia, volume x no. 1. hal 80-94. simatupang, dorlince. 2006. “penerapan konsep dan prinsip pembelajaran kontekstual serta desain pesan dalam pengembangan pembelajaran dan bahan ajar.” jurnal kewarganegaraan universitas negeri medani. 5/1: 92-29. soedarsono. 1999. seni pertunjukan indonesia dan pariwisata. jakarta: masyarakat seni pertunjukan indonesia sukmadinata, nana syaodih. 2005. metode penelitian pendidikan. jakarta: pt rosda karya. 181 leadership characters in shadow puppet show junaidi department of puppetry, faculy of performing arts, institut seni indonesia yogyakarta, indonesia received: november 5, 2016. revised: march 19, 2017. accepted: november 18, 2017 abstract good leadership characters have been conveyed through the art of puppet. however, in practice, many of us have encountered the opposite fact. this study aims to analyze the leadership characters in the art of puppet. this research is a descriptive qualitative research which uses hermeneutical method to analyze the data gathered from the library research and field study. the data then passes data reduction step, data classification, and data verification. the results show that leadership characteristics in puppet can be formulated into five leadership concepts: (1) dwikridha, (2) tripakarti, (3) caturtama, (4) pancapratama, and (5) hasthabrata. if these five concepts of leadership are known, understood, and done well, our beloved country, indonesia, will reach welfare together. keywords: character; leadership; shadow puppet how to cite: junaidi. (2017). leadership characters in shadow puppet show. harmonia: journal of arts research and education, 17(2), 181-189. doi:http://dx.doi.org/10.15294/harmonia.v17i2.7731 harmonia: journal of arts research and education 17 (2) (2017), 181-189 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i2.7731 leadership is a process of influencing, motivating, and improving the behavior of people in the organization in achieving their group and cultural goals. even more broadly than the process, a leader is expected to be able to influence the interpretation of his followers, organize activities in achieving goals, and maintain the support and cooperation with people outside the group or organization (rivai, 2007). in the current era of reform, hayat (2014) states that a good leader will take concrete action in managing the government and in changing the culture with an effective and efficient approach. effectiveness and efficiency are demonstrated by their ability to perform good, accountable, transparent, realistic, and participatory relationships. in this context, a leader must be sensitive to the organizational environintroduction the leader, called pangarsa in javanese, is a figure who is believed to be the holder of power in a government or organization. therefore, how good the leadership of an organization or government depends on the ability of the existing leadership figures in determining and implementing various policies. the normative concept of good leadership will take a leader in creating the idealism of welfare and peace of the nation and state so that life which is prosperous or panjang (famous), punjung (flattered), pasir (beautiful), wukir (strong), loh (fertile), jinawi (easy), gemah (lively), ripah (bustling), karta (rich), tata (regular), and raharja (safe) can be achieved. to achieve the organization goals, corresponding author: jl. parangtritis km 6,5, sewon, bantul, panggungharjo, yogyakarta, 55188 e-mail: junaidi.skar@yahoo.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 17 (2) (2017): 181-189182 ment, and able to translate into bureaucratic reform principles and implement them professionally. the issue of leadership becomes very important if it is associated with some cases of deviating acts done by our leaders. for example, the corruption cases, handled by the corruption eradication commission (kpk), have involved leaders from various level of institutions. such acts would not have occurred if the existing leaders clung to the principles of leadership. in relation to leadership as a tool which is expected to help the organization or government achieve prosperity and peace, hamim (2014) states that the goals of the organization will be achieved when the leader is fair, trustworthy, forgiving, flexible, compassionate to his people, wise, intelligent and honest. he further reveals that when leaders possess such traits and behaviors, the people will respect and love the leaders, the leaders will become exemplary figures, and eventually corruption and the abuse of authority will be minimized. rasim (2014) states that the existing leadership typology in the world can basically be grouped into hard power and soft power. hard power leader had lasted for centuries and reached its peak in the era of world war i and world war ii. in the next decade, the leadership typology began to switch to soft power type. leaders with soft power tend to put democratic rather than authoritarian principles forward. in the context of leadership in indonesia, he states that the ideal type is expected to be soft power that is equipped with four basic characters that are capable of bringing change, visionary, competent and based on faith and piety. in connection with these issues, this article will examine the characteristics of leadership that exist in the puppet as a work of art that reflects the local wisdom of our society. method this is an analytical descriptive research on qualitative data, using hermeneutical method, a way to interpret a problem when the interpreter examines the subject (palmer, 2005). data is collected by literature study strategy which is done by reading books, manuscripts, and puppet manuscripts from various regions. besides, it is supported by direct field observation of puppet show activities, and discotheques (observing puppet shows through audiovisual cassettes of recordings of the show). various data collection strategies are done to obtain the main data about the characteristics of leadership in the puppet either at the time of catur/ narration or conversation (janturan and ginem), tembang/ singing (sulukan), sabet/motion (tancepan and solah), and bleger/harsh form (praupan and pawakan). the research passes the following steps: (1) data reduction; (2) data presentation; and (3) data verification (miles & huberman, 1992). results and discussion the concept of and leadership technique of dwikridha the word dwikridha is composed of two basic words, that is dwi means two, and kridha means to act or to work. dwikridha in this context are the two virtues of thought and action to be performed by a king/ nata/naréndra, i.e. verbal performance like the sound/vocal produced by mouth to promise, and physical act like power and hand/giving. both depart from a thought and a feeling that leads to a physical and material action to expend words and give something of their own ideas and property to others. good leadership orally is called bawaleksana, meaning that what is spoken can be done (consequent), while through the hand is called bèrbudi, meaning always give (generous). both of these traits as the hallmarks of a king or leader in dwikridha text are expressed in words and sentences explicitly in the form of fragments of janturan jejer and verse of pathetan lasem on sabrang alus scenes in the purwa shadow puppet shows, as follows. dhasar naréndra bèrbudi bawa leksana, liré bèrbudi hanggung hanggeganjar ngulawijunaidi, leadership characters in shadow puppet show 183 sudha, bawa leksana hanetepi pangandika. (king who has a generous and consequent nature, ie always gives and appreciates his people, consequent for his words) (junaidi, 2012). déné utamaning nata, bèrbudi bawa leksana, liré bèrbudi mangkana, lila legawa ing driya, agung dènnya paring dana, anggeganjar saben dina, liré kang bawa leksana, antetepi pangandika. (the meaning of king as the main character is that it has the character of generous and consequent, that is the alms and proper speech )(junaidi, 2012). generous and consequent are considered to be a moral identity for a good king or leader so that the words are not applied to the king in general, but only devoted to kings with good character, such as king krishna, king puntadewa, king matswapati, prabu rama, king pandu, and others. except on janturan jejer, these words are spoken because it means a new-born baby is still clean so that any king who appeared in this first scene is given the words ‘bèrbudi bring leksana’. as for the king in the sabrang scenes, the words are not applied to the kings with bad attitude, such as: king baranjana, prabu sindungarba, prabu ravana, and so on. the implicit and explicit meaning from the puppets cannot be used as absolute source as we need to see its relation with other signs. for example, the relation of the sign is expressed in a rough form (bleger), posture or position (pacaking awak), facial expression or facade (praupan), speech or narration (catur), and action or movement (sabet). the form, attitude, and speech for the ‘bèrbudi bring leksana’ king is depicted through the shape of lencir/lean body showing that the person deliberately reduces eating/preventing dhahar (meditation), attitude or body position njujur /straight and open hands giving the impression of courtesy/lembah manah (alusan), handsome black face giving calm and dignity impression, and alon-lirih/gentle speech giving careful impression. on the contrary, the attitude and the utterance of ‘nir bèrbudi bawa leksana’ king will be lemu/fat showing that the figure likes to eat/nguja dhahar (greedy/dremba), body position with tangan malangkerik/ hand on waist and holding/nggegem giving impression that the person is arrogant and stingy (umuk lan uthil), and ugly red face and emotional (fierce lan brangasan), and harsh speech showing rude. for example, the appearance, attitudes, and utterances of the consequent and generous kings displayed on the figure of king krishna and prabu rama. while the giant king who is stingy, lying, greedy, and congkak/uthil, goroh, srakah, lan umuk displayed on the figure of king baranjana and king ravana. these characteristics in the appearance of puppets, at the time of janturan, and ginem can be seen in the following pictures and quotations. figure 1. the ugly king of prabu baranjana from jongbiraji (left) and prabu ravana from alengka (second from left) and the king with good character prabu krishna from dwarawati (second from right) and prabu rama from ayodya (right) ... sirna kamungsané katon kadi sanghyang wisnu ngéjawantah dènayap para widadari. ... hanetepi bèrbudi bawa leksana, bèrbudi tansah ngganjar ngulawisudha, bawa leksana, punapa ingkang sampun kadhawuhaken boten kénging oncat, mesthi kalampahan... (nojowirongko, 1960) (... the disappearing of human beings looks like sanghyang vishnu descends with accompanied by the angels ... ... establishes the generous and consequent nature, the virtuous nature always provides the help of property and office, whereas the consequent nature shown by doing what has been spoken. radén samba: “... upami pun samba anandhanga dosa, dosa sakit sinuwun anyakitana, yèn nandhang dosa pejah sinuwun amejahaharmonia: journal of arts research and education 17 (2) (2017): 181-189184 na: sampun ingkang siang, sanadyan dalu, pejah gesangipun samba sumangga ing asta kekalih... ”. raden samba: “... if samba is doing sins, only the king who has the right to hurt, if you accept the sin of death, you are entitled to give death: not only during the day, even at night, i am willing to accept it, life and death are really in your hands ... “. prabu kresna: “... munduran kaya wong nandhang dedosan angaturaké pati urip, iya ing sadurung sawisé nggonira njunjung kapraboningsun, banget panarimaningsun, ana bebasan sagalak-galaking macan, ora kolu mangsa marang anaké ... (nojowirongko, 1960). (king krishna: “... your fears are like a sinner giving up life and death, before and after i receive your praise of my position, but there is a proverb, as vicious as a tiger, he/she will not bear to eat his own child .... ... prabu baranjana, ageng inggil pindha prabata, nétra lir péndah surya kembar, grana pindha canthiking baita, tutuk kadya lènging guwa, siyung mingis gumilap, waja rangah kadya parang curi ... yèn segu kaya gludhug, petak kadya gelap nyamber... (nojowirongko, 1960). (... king baranjana, as tall as a mountain, eyes like twin suns , living like a boat’s end, open mouth like a cave, sharp pointed fangs, pointed teeth like rocks ... the sound of burping like a thunderbolt, the sound of roar like a thunderbolt ...). prabu baranjana: “... manawa wis ana pacangané, aturana murungaké, yèn wus kebanjur dhaup aturana megataké, sepira ragadé iku ingsun kang mbalèkaké, kon nyukup karsaningsun iki dhisik” (nojowirongko, 1960). (prabu baranjana: “... if you have a boyfriend, tell him to foil, if they are already married, tell them to divorce, how much it will cost me to return, order to carry out my will first). prabu dasamuka: “éblis laknat, ya bandhaku, ya donyaku, ya amal-amalku dhéwé. thèkmu thèkku, thèkku , thèkku dhéwé. jit yèn kowé bisa kelakon andhustha dèwi warasembadra, nyata anak lanang tenan... (siswoharsojo, 1991). (king dasamuka: “cursed iblis, my property, my world, all are mine, yours is mine, while mine belongs to me. if you can steal dewi warasembadra, you are a truly man ...). the excerpts of janturan and ginem above have a positive and negative meaning to the good and bad character of the king depicted by his physical form, nature, and speech. the positive meaning is depicted through the handsome king prabu krishna figures and beautiful bodies like batara wisnu, who like to give alms and keep their promise, so appreciating other’s work and achievements is very preferred. the nature of this king sees others on their good deeds above the bad deeds because the good has been done, while the bad deed is not done yet. the negative meaning is the opposite of the positive meaning, which is shown by bad appearance and characters, as a picture of the arrogant leader, for imposing his will on others without introspection on him. for example, king baranjana, the king of of jongbiraji and king ravana, the king of alengka. these two kings, unsuccessful in leading the country and its people, suffered enormous loss, which received a futile death, a ruined state, and suffering people because of his arrogance and greed. the concept of and leadership technique of tripakarti the word tripakarti means three deeds that must be done by a king, so as not to be underestimated by his people, namely: (1) hamong, meaning nurturers, (2) hamot, meaning broad-minded, (3) and hamemangkat, meaning appreciate the ability of others. these leadership traits are taught by begawan kuntawibisana to his son king prabu bisawarna, in order to be respected as king in singgela. hamong is a manifestation of the care of the king to the punggawa and his people like his own son, so as to create a good family relationship like parents with their children. hamot is the embodiment of the junaidi, leadership characters in shadow puppet show 185 for the country (effort/change/mbudidaya/ sinau) with affection (ratu asih/full of love king). leaders’ awareness and change to good can create peace and sustainability. the meaning is realized through the looks of prabu bisawarna and begawan kuntawibisana (bagusing pasuryan lan lencir kuninging salira) and the good contents of the talk (apiking isi gineman). the good characters of this leadership are opposite to the negative leadership traits of prabu dasamuka from alengka, which is kuwasa or authoritarian (using his power), béda or discriminate (relying on his own strength), and dhendha or like giving punishment (relying on self-righteousness). thus, the mighty and powerful king rahwana, the mighty and powerful alengka, encountered the death and destruction from rama’s army. thus, the noble wibisana was appointed king in alengka trying to improve his identity and system. the name of the alengka was changed to singgela, while the leadership system of kuwasa, béda, and dhendha became hamong, hamot, and hamemangkat. this change is the fruit of goodness, namely glory, majesty, and peace of singgela up to pandawa era. for example, in the play partakrama, king prabu bisawarna, the king of singgela lend a train for the bride raden premadi, and resi anoman of kendalisada hermitage as the carriage driver. the illustration shows the difference of the appearance and character of the leader in alengka and singgela which can be seen in the figure of the two characters. figure 2. the appearance of the ugly ruler of king prabu ravana from alengka and the crown prince of raden indrajid (left) and the king of good character prabu bisawarna, king of singgela and begawan kuntawibisanadi from candramanik hermitage (photo: junaidi, 2016). breadth of views or mind, in order to receive and accommodate a wide range of ideas so that the decisions they make will be accepted by the community. hamemangkat is a manifestation of appreciation for the services of others in order to create a competing atmosphere in doing good and useful things for the nation. this character model is picked from ginem or dialogue of begawan kuntawibisana with his son prabu bisawarna at candramanik hermitage, as follows. prabu bisawarna: “kanjeng rama, kados pundi sagedipun kula tansahkinèringan déning para wadya-bala, para sénopati, tuwin para brahmana, kados panjenenganipun kanjeng rama nalika ngesuhi praja saha kawula duking nguni, ... ”. begawan kuntawibisana: “ ... supaya nora dicecamah déning para wadya. marmané kulup, élinga welingé si bapa ya nggèr, jumeneng ratu mono kudu sing bisa hamong, hamot, hamemangkat (wignyosoetarno, 1996). (prabu bisawarna: “father, how can i always be respected by the courtiers, senapati, priests, like when you led the nation in the past, ...”. begawan kuntawibisana: “... so as not to be insulted by the punggawa. look, son, remember your father’s message, son, as the king must be able to nurture, listen, and respect”). the tripakarti leadership traits are obtained by the king through a quest or learning. king bisawarna, as the definitive leader, is always respected or appreciated by the courtiers, senapati, priests in singgelapura, with full awareness to seek guidance to his father, begawan kuntawibisana (the former leader). his father adviced me to behave and act as a caregiver like his own sons and daughters, holding various elements, and elevating others. in this context, a leader serves as a guide, educator, patron, unifier, and observer for his nation, which also means that he/she should have an awareness of his/ her shortcomings (awareness/nglenggana/ ngakoni/ ngrumangsani), so he/she must keep learning and always try to do good harmonia: journal of arts research and education 17 (2) (2017): 181-189186 the tripakarti characters can also be expressed in other terms, namely: (1) nistha, meaning that the person always wants to control others’ property /melikan; (2) madya, meaning that the person knows what should be given/ora uthil ora loma, and (3) utama, meaning that the person is generous and consequent/bèrbudi bawa leksana. this is applied to all leaders in general, that is applicable to all kings without exception, so it is not given by certain figures and accepted by certain figures as well. thus, the teachings of leadership for the king is freely given by the advisor to the king, such as: resi bisma to prabu duryudana, resi druwasa to prabu kuntiboja, resi wasista to king dasarata, resi abiyasa to king puntadewa, and so forth. it can also be conveyed in the discussions of kings, such as: king salya, king puntadewa, king krishna, and king baladewa. for example, resi bisma gives advice to king duryudana not to take control of others’ the property rights, namely the amarta, as follows. resi bisma: “la yèn pancèn pandhawa wus netepi janjiné, buntas dhendha paukumané, ya kudu dibalèkaké panguwasané tumrap nagara ngamarta marang para kadangmu pandhawa. iki jenengé étung gathuk tumbuk rukun ngudi rahayu ...” (junaidi, 2012). (resi bisma: “if pandavas have fulfilled their promise, that the time limit of the sentence has been expired, it will be restored to pandavas by the right of ownership and power over astina to your brother, pandavas. this is a way to get peace. as a visual illustration, there are examples of scenes when tripakarti is taught by resi bisma to prabu duryudana and conveyed by one king to other kings: king salya of mandaraka to the king of amarta king puntadewa, king of dwarawati prabu kresna, and the king of mandura prabu baladewa in the show of purwa shadow puppet banowati janji/kurupati rabibanowati krama, that is the marriage between king duryudana with goddess banowati and involving premadi as a princess masquerade. visually seen in the form of sabetan of king duryudana as king is displayed on tancepanpamedan (stuck on the top of banana trunk) with the position of staight hands as a shy image of resi bisma, while resi bisma stuck on top banana trunk with straight hand positions meaning as elder who respects the younger but having higher position. the illustration can be seen in the following figure. figure 3. scene to convey the teachings of nistha, madya, and utama by advisor or priest with king (left) and discussion material for kings as an effort to exchange thoughts (right) (photo: junaidi, 2016). the concept of and leadership technique of caturtama caturtama means four virtues deserved by the king, namely: (1) sama, meaning no partial decision towards the courtier and his people; (2) bèda, meaning to understand the difference in his country; (3) dana, meaning generous to the courtier and his people; and (4) dhendha, meaning that it is fair to make a decision. the teachings of caturtama will create a justice king, so they deserve to earn the title as naréndra utama/ratu utam. this concept was conveyed by the king of sri batara aji pamasa or prabu kusumawicitra to king gandakusuma when appointed as the king of kartanagara and bojonegara. furthermore, it is shown on purwa shadow puppet show in the form of janturan jejer dwarawati with its king prabu kresna in the play irawan rabi by nojowirongko, astina with prabu duryudana in the play wirathaparwa by junaidi, in the play sudamala and dèwi kuntulwinanten by purwadi, but they are not performed in the show of prabu duryudana from astina in the play of wahyu makutharama by wignyosoetarno, prabu drupada from pancala in the play of gandamana sayembara, prabu parikesit from astina in the play of parikesit winijunaidi, leadership characters in shadow puppet show 187 sudha, prabu kresna from dwarawati in the play of wahyu mandéra retna, wisanggeni krama by ki narto sabdo. the function of caturtama teaching is to make the leader always think and act well, that is not to give partial decision towards all punggawa and its people, understand the difference that exist in the nation, like giving aid for the needy, and fair in law (not fair in making decision). thus, the king can run his government well in accordance with established guidelines or duties, that is as a role model and protector that always act right and wisely: paring sandhang wong kawudan/provide clothes to naked people, angsung pangan wong kaluwèn/ feeding the hungry, awèh banyu wong kasatan/ giving water to those suffering drought, paring teken wong kalunyon/ give the stick to the slipping, angsung kudhung wong kepanasan/giving veil to those suffering the sun heat, awèh payung wong kodanan/ giving umbrellas that are in rain, karya suka kang nadhang prihatin/like giving help to those need help (nojowirongko, 1960). the meaning of caturtama is the sensitivity and accuracy of a king to think and act which will create an atmosphere of togetherness, tolerance, fulfillment, and justice in the region. if these attitudes and actions can be done by the leaders, then his people will always live in sufficiency, so that the people will respect him more. thus, the honor and dignity of a leader should not be formed by arrogance (kumingsun), power (kumawasa), conscience (kekuthilan), and injustice (botsih), but through a sense of togetherness (padhaajèn-ingajénan/mutual respect), difference (beda dadi sugih/ different being rich), generosity (seneng wèwèh/likes to give), and justice (jejeg/decisive). the meaning is built through the relation between the sign of the oral and visual, in the form of janturan jejer (catur/ narration) tells the nature of the king who likes to help the punggawa and his people who are suffering and tancepan (sabet/ motion) that impressed calm and polite attitude (tancep jejeg with straight hand position). the illustration can be seen in the following picture. figure 4. the position of the king of king prabu duryudana king of astina with the position of malangkerik hand (hand on the waist) showing arrogance (left) and prabu kresna, the king of dwarawati with straight hands showing calm and polite (right) (photo: junaidi, 2012). the concept of and leadership technique of pancapratama pancapratama means five goodness for the king, namely: (1) mulat, means to observe the inferior carefully (waskat = inherent supervision); (2) milala, meaning giving rewards to the meritorious (hasa = meritorious gift); (3) miluta, meaning familiar and close to the people (akat = close/ intimate); (4) palidarma, meaning to teach good deeds and wisdom to the punggawa and its people (bajak = good and wise); (5) palimarma, meaning courteous and forgiving (sama = polite and forgiving). careful scrutiny can be used as a tool to make good decisions because it is based on real and measurable facts, so the decision is based on proportional performance and reality. giving reward for the meritorious is the good act of rewarding the meritorious to the nation. being familiar means as a familiar attitude that can make closeness and togetherness. teaching to do good is seen as a seed or an investment of prosperity and happiness. forgiving is a noble and peaceful soul that can cause compassion. the nature of supervising, giving, being familiar, educating, and forgiving is used as a medium for the welfare of the nation, so it is shown through the figure of a good king of pandavas, like king parikesit king of astina after the war of baratayuda. the meaning contained in the teachings of pancapratama is the welfare of a nation lies in its leader who has waskat, hasa, akat, bajak, and sama. the relation between eleharmonia: journal of arts research and education 17 (2) (2017): 181-189188 ments in puppet is on the audio/narration and visual/physical appearance. audio in the form of caturginem of prabu parikesit or king dipayana to his son prabu yudayana, while the visual character of prabu parikesit, the only son of raden abimanyu with dewi utari, who has handsome face. the illustrations can be seen in the following quotations and figures. “hèh putraningsun kaki prabu, rèhné bénjang énjang sira ingsun tilar mukswa, muga èstokna kang dadi wulanganingsun ing sira; ing samengko sira iku wus pinasthi ing déwa dadya pandam pangaubané saisining rat pramundhita, poma sira anetepanaambegingratu binathara iku, amung limang prakara, yaiku: mulat, milala, miluta, palidarma,lan palimarma” (marwanto, 1977). (oh my son nanda prabu, because tomorrow morning i will leave you for mukswa, then carry out my teaching, later you are predestined by gods become light and protector of the whole world, then hold on to the nature of the great king; there are five characters: careful supervision, appreciate service, familiar to subordinates, good wise, and polite and forgiving”). figure 5. raden parikesit (left), king parikesit (right) who taught pancapratama, having handsome face as a good character picture, the collection of sanggar wayang walisanga (photo: junaidi, 2016). the concept of and leadership technique of hasthabrata hasthabrata means eight virtues a king that must be possessed by a king, drawn through the objects of the universe, namely: (1) surya/ sun, meaning encouraging; (2) candra/moon, meaning entertainer; (3) kartika/stars, meaning as markers; (4) mendhung/cloud, meaning authoritative; (5) bantala/earth, meaning tranquil/ safe; (6) segara/ocean, meaning insightful; (7) geni /fire, meaning to have a firm principle; and (8) maruta/wind, meaning to do everything. hasthabrata is delivered by sri prabu aji pamasa, king of pengging witaradya, but in the world of puppetry, king prabu pamasa is a king in kediri. the teaching of hasthabrata puppetry is given by prabu rama to his brother prabu barata, to serve as a guide or example. it is also taught by begawan kesewasidi to arjuna, to be used as guidance of a king or nata/ narèndra. the king or leader is expected to give the spirit and life energy but not expectany reprisal, like the nature of the sun. the leader is expected to be a lamp in darkness or a helper in misery, like a moon that appears at night. the leader is expected to be an example or role model for his people, like a star in space that appears as a marker of space and time. leaders are expected to have a fruitful authority on well-being, as clouds appear to be scary but can turn into rain as a means of life. leaders must be strong and tranquil spirit that can be used as a foundation for his people, like the earth that can sustain the various objects on it. leaders must be broad-minded in order to accommodate views and ideas, like a vast ocean and capable of accepting things without restoring. the leader must be able to be fair in order that his decision is not onesided or unilaterally disadvantageous, like a indiscriminate fair fire. leaders must be spiritually prevalent for all without discrimination, such as winds that can go into any places without exception. the function of the eight guidelines for the king in this puppet show is used as an example for leaders who constantly base on eight exemplary properties of the nature of the universe so that the nation and its people will be in peace and prosperity. to achieve this expectation, a leader must be an encourager, an entertainer, a sign, a life source, a support, a container, a court, and equity, so that the courtier and his people become good-hearted and act in accordance with the order directed by the leader. with good heart and action according to the guidance or regulation, the life junaidi, leadership characters in shadow puppet show 189 of a nation can be secure in the happiness of the world (bagya mulya donya akhérat), just like a leader in puppet show who has possessed and practiced the teaching of hasthabarata, i.e.: prabu rama, prabu barata, king krishna, and raden arjuna. as an illustration is shown scenes, figures, and narrations related to the teachings of hasthabrata as follows. figure 6. king rama is giving hasthabrata lecture to barata in hasthabrata kawedhar play in scenes in dandaka forest (left), begawan kesawasidi/prabu kresna (middle), and figure of raden arjuna (right) (photo: bayu, 2012) . conclusion based on the discussion above, it can be concluded that the leadership qualities shown in the puppets can be used as a source of education for leaders ranging from the lowest level (head of family) to the highest level (head of state). in the practice of leadership, these traits as the wisdom of cultural values of the indonesian nation can be used as a guidance in carrying out its duties in order to realize the welfare and peace of mind and soul. references junaidi. (2012). wayang kulit purwa gaya surakarta: ikonografi & teknik pakelirannya. yogyakarta: bp institut seni indonesia yogyakarta. marcel, d. (2012). pesan, tanda, dan makna. yogyakarta: jalasutra. nojowirongko, m. n. a. (1960). serat tuntunan pedalangan caking pakeliran lampahan irawan rabi, jilid i-iv. jogjakarta: djawatan kebudajaan kementerian p.p. & k. hamim, m. (2014). korelasi antara hasta brata (konsep keemimpinan dalam perspektif budaya jawa) dan islamic leadership (konsep kepemimpinan dalam perspektif islam). ulul albab jurnal studi islam, 14(3), 57–68. palmer, r. e. (2005). hermeneutika teori baru mengenai interpretasi. yogyakarta: pustaka pelajar. rasim, a. (2014). tipologi dan karakter ideal kepemimpinan dunia. jurnal lingkar widyaiswara, 1(1), 46–52. rivai, v. (2007). bank and financial institute management. jakarta: pt. raja grafindo persada. siswoharsojo. (1991). pakem pedhalangan lampahan wahyu purbosejati. yogyakarta: gondolayu-ngayogyakarta. 153 kidung sekaten antara religi dan ritus sosial budaya hadawiyah endah utami institut seni indonesia surakarta, jl. ki hadjar dewantara no. 19 surakarta (solo) e-mail: hadawiyah_solo@gmail.com abstrak kidung sekaten merupakan karya tari yang dipentaskan pada upacara gerebeg sekaten di depan masjid agung surakarta. perkembangan pengaruh islam di pusat kerajaan relatif menggunakan sarana adat yang telah dipelihara masyarakat secara turun-temurun. masyarakat setempat menerima kehadiran islam sebagai suatu pelengkap kebutuhan rohaniah sehingga tercapai keseimbangn hidup. perayaan sekaten sebagai salah satu wujud percampuran budaya menyangkut berbagai aspek multidimensi. islam menyatu dengan kebudayaan setempat dengan cara elastis, baik yang berhubungan dengan pengenalan simbol-simbol islami maupun ritus-ritus keagamaan. kidung sekaten merupakan salah satu garapan tari untuk mendukung upacara ritual pengucapan shahadatain di depan masjid agung surakarta dengan memanfaatkan bunyi gamelan sekaten, keramaian bunyi rebana, orang mengaji, santiswaran, kidungan, mainan gasingan, sebagai iringan tari yang diselenggarakan bersamaan dengan gerebeg maulud. sekaten chants between relligion and socio-cultural rite abstract sekaten chants constitute a dance performed during gerebeg sekaten ceremony in front of grand mosque of surakarta. the development of islamic influence in surakarta royal palace relatively used custom rites that have socially been maintained throughout the generations. local people accepted islamic religion as their spiritual need for achieving life balance. sekaten celebration as one of acculturation forms encompasses many kinds of multidimensional aspects. islam elastically blends into local cultures, either in islamic symbols or religious rites. sekaten chants is one of dancing performances to endorse the ritual ceremony of shahadatain articulation in front of the grand mosque by making use of sekaten traditional musical orchestra, the jingling of tambourine, man’s praying voice, santiswaran, chants, spinning a top, as the dance accompaniment along with gerebeg maulud. kata kunci: kidung sekaten, ritus sosial budaya, akulturasi, islam pendahuluan pada upacara grebeg maulud dilakukan pula sekatenan, yaitu suatu bentuk upacara untuk mengiringi pengucapan ‘syahadatain’.perayaan sekaten kompleks dengan beberapa kepentingan, merupakan sebuah aktifitas yang bermula dari religi yang berkembang menjadi sebuah peristiwa budaya. sekaten secara historis telah dikenal sejak zaman kekuasaan kerajaan majapahit. pada masa itu, makna dan perayaan sekaten mengacu pada kata sekati yaitu satuan berat 680 kilogram sebagai ilustrasi dari beratnya perangkat gamelan yang digunakan, kemudian mengalami transformasi bentuk menjadi sekaten yang meharmonia, volume 11, no.2 / desember 2011154 rujuk pada kata dalam bahasa arab islam ”syahadatain” yang mulai dilestarikan pada zaman kerajaan islam pertama di jawa, yaitu kerajaan demak. perubahan makna dalam transformasi konotatifnya bila ditilik dan ditelusuri semenjak zaman majapahit hingga demak berkisar pada pemaknaan dan asal kata sekaten – hal ini mengakibatkan perubahan bentuk substansial menghasilkan perubahan signifikan seiring proses konversi (arif lukmanul hakim, 2007: 4) perayaan sekaten di surakarta adalah dua bentuk kebudayaan yang terpadu, yaitu kebudayaan kraton hindu jawa dengan kebudayaan islam. hubungan antara budaya jawa dan islam merupakan konfigurasi dalam bentuk perayaan sekaten, dengan menampilkan gamelan hasil budaya masyarakat jawa dengan isi serta sifatnya yang merupakan tuntunan agama islam. keberadaan gamelan sekaten yang berada di lingkungan masjid agung, merupakan sebuah konsep yang berkaitan erat dengan kesakralan gerebeg maulud. hal ini menjadi bagian dari “ritual sekaten”, yang berarti konfigurasi antara ritual dari kekuatan gamelan kiai guntur madu dan kiai guntur sari, dengan ritual islam yang dilakukan oleh umat di masjid agung. keberadaan gamelan sekaten di surakarta, yaitu kiai guntur madu dan kiai guntur sari tidak dapat dipisahkan satu dengan yang lainnya karena mempunyai makna saling berkaitan. madu dan sari berasal dari kembang atau bunga, artinya kembang tanpa madu berarti kembang tanpa sari. gamelan sekaten diciptakan didasari sifat lahiriah dan batiniah. sifat lahiriah berupa budaya gamelan atas nalar dan dasar batin menurut kepercayaan jawa berarti manembah, semedi dan bertapa. wujud gamelan dinamakan yasan artinya ciptaan, yang dianggap mempunyai daya magis, karena didorong sikap untuk manembah pada sang pencipta (puger, wawancara, 17 mei 2003) sebutan nama gending sekaten di kraton kasunanan surakarta pada dasarnya ada dua macam, yaitu rambu dan rangkung, sebutan ini diambil dari nama bangsa jin yang mengagungkan islam. rambu dan rangkung mengandung makna simbolis konsep pemikiran masyarakat jawa, yaitu bahwa manusia sebagai makhluk hidup harus menghormati yang agal dan alus, artinya tidak hanya menghormati dan menghargai yang kelihatan, akan tetapi juga menghargai yang gaib agar seimbang (magnis-suseno, 1985:37). dalam perkembangannya sekarang gamelan sekaten menyajikan gending-gending baru dengan pola sekatenan. perayaan sekaten di surakarta mempergunakan dua perangkat gamelan, yaitu yang di sebelah selatan kiai guntur madu sebagai lambang ‘syahadat tauhid’, dan sebelah utara kiai guntur sari yang melambangkan ‘syahadat rosul’ (prabu winata, wawancara, 13 februari 2003) dengan demikian, islam yang tersebar senantiasa mengalami penyesuaian dengan lingkungan peradaban dan kebudayaan setempat. dalam sekaten terjadi percampuran budaya islam jawa. perayaan sekaten di surakarta sebagai peristiwa multi dimensi. selain sebagai media dakwah islam, juga sebagai sarana ekonomi, sarana hiburan dan sarana wisata. keraton memiliki tanggung jawab moral untuk mengembangkan kebudayaan dan syiar agama. sebagai pendukung dan pelindung agama, kraton wajib menyemarakkan syiar islam. para sunan dan sultan senantiasa berusaha menyelaraskan lingkungan budaya dengan membangun berbagai sarana, baik yang bersifat struktural maupun kultural demi tercapainya syiar islam (dipo kusuma, wawancara, 15 mei 2003). dalam sekaten masyarakat islam melakukan ritual sesuai ajarannya, misalnya pengajian, syiar melalui ceramah, pertunjukkan rebana dengan menyajikan syair-syair islami, sholat berjama’ah, dan pameran buku-buku islam. dengan demikian sekaten memberi arti penting dalam perkembangan dakwah islamiyah, terutama kepada masyarakat yang masih peka terhadap tradisi kejawen, dapat lebih mengenal dan memahami ajaran-ajaran islam. hadawiyah endah utami, kidung sekaten antara religi 155 di sisi lain kehadiran gamelan sekaten oleh sebagian masyarakat masih diyakini dapat memberi ‘berkah’ dalam kehidupannya, bahkan dikeramatkan. tersedianya seperangkat sesaji yang beraneka ragam bentuknya, misal berupa makanan, bunga-bungaan, bahkan terdapat bedak dan pewangi lainya merupakan bukti atas kedalaman penghayatan keagamaanya. sebagian masyarakat masih meyakini apabila mendapatkan salah satu dari sesaji , akan mendapatkan berkah yang bermacam-macam, misalnya awet muda, panennya subur, banyak rezeki, panjang umur dan berbagai bentuk berkah lainnya. aktivitas mencari berkah dalam upacara shahadatain merupakan bentuk akulturasi budaya islam-jawa secara nyata yang masih berjalan dan berkembang. kenyataan mencari berkah terlihat dari sebagian masyarakat yang berusaha mengais rezeki dengan berjualan makanan berupa sego liwet, cabuk rambak yang kemudian menjadi bagian tradisi sekaten. sebagian kelompok pedagang sengaja berjualan setiap tahunnya untuk mendapatkan ‘berkahnya’ pada upacara sekaten, pada hal hidup kesehariannya mereka bertani, usaha pande, pedagang hewan dan bermacam usaha lainnya. kehadiran kidung sekaten tari ritual garapan baru sebagai pelengkap upacara dapat dipandang perkembangan bentuk syiar ajaran islam melalui pendekatan budaya. banyak simbol dan perilaku simbolis yang menyertainya. karya seni yang otentik merupakan cerminan dari diri senimannya. suatu karya seni insan islam menjelmakan karyanya yang bernafaskan keislaman. islam di indonesia merupakan islam singkretis yaitu percampuran dengan budaya lama yang lebih dahulu ada seperti misalnya dengan kepercayaan jawa , hindu, budha. proses akulturasi berjalan secara evolusi. seperti contohnya melalui perkawinan, gerebeg sekaten dan upacara selamatan jenis lainya. keberadaan islam khususnya di tanah jawa berkaitan erat dengan akulturasi dan asilimilasi sebagai warisan sejarah dan budaya masa lalu. runtuhnya majapahit pada era pemerintahan raja kerta bumi, merupakan titik awal perkembangan islam di jawa oleh para wali sanga dan salah satu putra majapahit yaitu raden patah. perkembangannya dilakukan mulai dari wilayah pesisir utara jawa, dan kemudian berpusat di kesultanan demak yang dipimpin oleh sultan patah (hamzah, 2001:4) sejak berdirinya kerajaan demak pada abad ke 14 masehi, mulai tumbuh akulturasi kebudayaan istana yang bersifat hindu-jawa dengan kebudayaan pesantren. dalam hal ini para sastrawan dan budayawan jawa bertindak aktif, mereka mempelajari dan mentransfer unsur-unsur kebudayaan pesantren untuk memperkaya dan meningkatkan warisan budaya istana masa lalu. penyebaran islam di seluruh jawa dan kemudian ke kepulauan lain di indonesia, dilakukan oleh mereka para ulama yang tergabung dalam wali sanga. kehadiran wali sanga merupakan awal masuknya islam dalam budaya nusantara, kebudayaan islam berkembang di pusat-pusat pemerintahan. salah satu wali yang terkenal bagi orang jawa adalah sunan kalijaga, seorang ulama yang sakti dan cerdas, budayawan yang santun dan seniman yang hebat. bahkan sebagian orang jawa menganggap sebagai guru agung dan suci di tanah jawa (purwadi, 2003:150). dakwah sunan kalijaga dalam penyebaran ajaran islam adalah dengan pendekatan sosial budaya, seperti pertunjukan wayang, upacara tradisi, tembang mocopat yang telah terlebih dahulu berkembang dalam kehidupan masyarakat jawa. berkaitan dengan proses spiritualime jawa; islam dan kultur jawa, sebagai proses alkulturasi acapkali dianggap sebagai perilaku sinkretik, yang mana keduanya mengalami peristiwa akulturasi. bahkan secara ekstrim ada yang berpendapat bahwa islam dalam masyarakat jawa telah mengalami proses ‘penjawaan’ yakni peharmonia, volume 11, no.2 / desember 2011156 nyesuaian ajaran islam dalam kultur jawa. akulturasi bukan terletak pada inti (core)nya, tetapi pada ‘kulit-kulitnya, yang lebih merupakan pada perilaku ‘mualamah’ (djojokusumo, 1996:222). sunan kalijaga tidak membongkar kebudayaan yang ada lalu mengganti dengan yang baru, sebaliknya mengisi ruang budaya untuk keperluan dakwah ajaran islam. achmad chojim menyatakan: semua aktivitas budaya dan seni wadahnya tidak diubah, hanya isinya diganti dengan ajaran islam. oleh sunan, wayang kulit sebagai wadah bagi dakwah tasawuf, sedangkan gamelan difungsikan untuk mendorong tumbuhnya perasaan mistik islam. adapun tari-tarian berfungsi untuk membangkitkan kelembutan dalam hidup ini (achmad chojim, 2003:144). sebagai contoh tentang alkulturasi cara berpakaian untuk wanita yang mengalami perkembangan sesuai ajaran islam, seperti misalnya wanita yang semula berpakaian sebatas menutup buah dada mengenakan kemben, diperintahkan berpakaian yang menutupi bahu berdasarkan islam, yaitu dengan kebaya (achmad chojim, 2003:148). islamisasi di jawa memiliki keunikan dimana islam hadir bukan di lingkungan masyarakat yang sederhana dan tipis kebudayaan, akan tetapi berjumpa dengan masyarakat yang memiliki peradaban dan kebudayaan tinggi. akulturasi keagamaan dan kebudayaan sebelumnya yaitu prahindu, hindu, budha, melahirkan konfigurasi kebudayaan yang mempengaruhi spiritual dan moralitas masyarakat. proses islamisasi di jawa pada dasarnya melalui proses tradisi dialog (tradisition dialogue), sedangkan daerah lain dengan proses integratif (integrative tradition) misalnya, di pasai dan malaka. dijelaskan oleh taufik abdulah bahwa pola dialog jawa telah melahirkan bentuk konfigurasi sosio-kultur yang unik, keunikannya terletak pada bagaimana unsur-unsur islam dapat diterima dan dikembangkan dalam konsep dan paradigma islam yang serasi dengan unsur tradisi sebelumnya. di lain masyarakat jawa pada dasarnya memiliki kemampuan yang tinggi dalam menyerap ajaran, konsep, paradigma, sistem nilai dan moralitas yang dibawa oleh islam melalui proses dialog budaya tersebut. maka dari itu, islam memuat sendi-sendi akaidah (keimanan-arkanul-iman), syariat (hubungan manusia dengan tuhan, hubungan manusia dengan manusia dan manusia dengan alam sekitarnya, ibadah mu’amalah), dan akhlaq, yaitu moralitas menurut ajaran islam yang hakikatnya mudah diserap oleh jawa melalui perspektif budayanya (djoko suryo, 1996: 238). proses islamisasi ini membutuhkan rentang waktu yang panjang, gradual, dan berhasil terwujud dalam satu tatanan kehidupan masyarakat santri yang saling hidup berdampingan. akulturasi budaya merupakan ciri utama filsafat jawa yang menekankan kesatuan, stabilitas, keamanan dan harmoni. dalam etika kebijaksanan hidup jawa, pola hidup berporos pada dua kata kunci yaitu “kerukunan” dan “keselarasan” (magnis suseno 2003: 38). pemaknaan simbol dan pri-laku simbolis ajaran terselubung yang dapat digali dari perayaan sekaten adalah makna simbolik dan perilaku simbolik yang terdapat didalamnya. apabila dikaji secara cermat, sekaten mengandung nilai-nilai tertentu yang terwujud dalam elemenelemen artistik yang digunakan di dalamnya. sebagian nilai-nilai yang terkandung diantaranya adalah nilai-nilai religi dan kultural lewat simbol-simbol yang tercermin dalam bentuk keseniannya, sehingga sekaten tidak sekedar memunculkan halhal wantah dalam perwujudannya. pada perayaan sekaten, semua simbol-simbol adalah pengungkapan atas nilai-nilai yang diyakini sehingga dapat mengungkapkan makna subyektif dari pelakunya. tindakan simbolik sebagian pe nonton dan kegiatan yang terkait, dianggap sebagai syahadat yang tidak diungkapkan, tetapi dijalankan dalam dimensi transeden dan imanen. beberapa makna simbolik yang hingga kini masih diyakini oleh masyarakat hadawiyah endah utami, kidung sekaten antara religi 157 liki nilai edukasi. seni tidak sekedar merangsang rasa keindahan sensorik belaka, akan tetapi sebuah stimulasi pemupuk kematangan pribadi seseorang terhadap nilai-nilai hidup yang lebih terintegrasi. karya seni adalah makanan bagi jiwa yang dikomunikasikan lewat rangsangan keindahan. walaupun adakalanya seni menyiratkan kepedihan dan kehancuran, akan tetapi sering dipahami sebagai pupuk untuk membangun kearifan pribadi. proses penggarapan kidung sekaten tari ritual garapan baru kesenian merupakan salah satu unsur kebudayaan dan merupakan hasil budidaya manusia yang dipengaruhi alam dan lingkungan sosial. kehidupan dari lingkungan yang berbeda dapat mempengaruhi daya apresiasi yang tidak sama, karena mempunyai ciri khas dan kebiasaan yang tidak sama pula. kesenian sebagai salah satu kreativitas budaya manusia, dalam kehidupanya tidak dapat berdiri sendiri. segala bentuk dan fungsinya berkaitan erat dengan masyarakat tempat kesenian tumbuh dan berkembang. terjadi hubungan timbal balik, yaitu masyarakat sebagai pendukung kesenian, sebaliknya kesenian dapat berfungsi dan memanfaatkan masyarakat. berbagai fungsi dapat dimiliki kesenian dalam hubungannya dengan masyarakat (sedyawati, 1981:61). karya tari menggunakan medium gerak tubuh manusia yang tersusun secara estetis dan mempunyai kekuatan komunikatif. dengan demikian penciptaan karya seni merupakan bentuk kreatifitas dalam mewadahi gagasan atau ide, yang dituangkan melalui bentuk garap gerak, ruang, artistik, lighting, maupun rias busana, sesuai dengan kebutuhan ungkap. untuk menciptakan karya diperlukan beberapa langkah. pertama, penyaji mencari fenomena pribadi ke dalam ruang publik, dan akhirnya penyaji temukan pada perayaan sekaten yang merupakan wahana syiar ajaran agama islam melalui tradisi budaya jawa. hambatan utama yang terjadi adalah baik pengageng pamarentah karaton luas, yaitu keberadaan beberapa elemen yang dijual oleh para pedagang, antara lain kinang, cambuk (pecut), telur asin (endog kamal). perilaku simbolik mengunyah kinang bertepatan saat bunyi gong gamelan sekaten dibunyikan pada waktu pembukaan, dalam kepercayaan jawa diyakini akan ‘awet muda’. kepercayaan itu sebenarnya mengandung arti kiasan. kinang terdiri dari lima komponen yaitu daun sirih, gambir, tembakau, injet dan jambe, lima macam yang bersama dalam satu unsur merupakan simbol dari rukun islam. adapun endog kamal (telur asin), bermakna ajakan untuk mengamalkan ajaran islam di dalam kehidupan sehari-hari. sedangkan pecut atau cambug mengandung makna agar orang yang datang ke sekaten tercambuk hatinya masuk islam. cambuk juga berarti semangat diri dalam menjalankan dan menekuni pekerjaannya (puger, wawancara, april 2003). fenomena perilaku simbolik menjadi keunikan dari syiar islam di tanah jawa. pada dasarnya simbol dapat membantu manusia dalam menanggapi terhadap peristiwa tertentu, dengan demikian simbol dapat mempertajam tingkah laku dalam berbudaya. simbol imajinatif yang dihadirkan lewat karya seni sangat berkaitan dengan kepribadiannya, artinya simbol berfungsi sebagai alat untuk komunikasi bagi seniman dengan penghayat atau penikmat. simbol merupakan obyek material yang nilainya ditetapkan oleh orang yang menggunakannya (white, 1990: 22). dalam gerebeg sekaten terjadi akulturasi, sebagai media untuk dapat meningkatkan kualitas keagamaan, menambahkan kekuatan sebuah agama dalam menyangga nilai-nilai sosial. pada kemampuan simbol-simbolnya merumuskan sebuah dunia tempat nilai-nilai , dan juga, kekuatan-kekuatan yang melawan pewujudan nilai-nilai, menjadi bahanbahan dasarnya. agama melukiskan kekuatan imajinasi manusia untuk membangun sebuah gambaran kenyataan (geertz, 1991:57). syiar agama dengan sarana budaya setempat dan seni yang sejati memiharmonia, volume 11, no.2 / desember 2011158 maupun pengurus masjid agung, tidak berani memberi keterangan dan keputusan yang berupa ijin pentas. menurut pe ngurus masjid keberadaan tari merupakan sesuatu yang baru dalam sejarah tradisi sekaten. untuk memberi ijin merupakan kewenangan sri susuhunan paku buwana. dalam proses untuk meyakinkan pengurus masjid dan pengageng parentah keraton, perlu menjelaskan salah satu hadis nabi yang menerima sajian tari-tarian di ruang masjid ketika beliau sedang menjalankan syiar. al-bukhari dalam shahih al-bukhari yang menjelaskan; nabi kedatangan tamu dari habasyah (ethiopia) di sebuah masjid dalam rangka merayakan idhul fitri dan orang-orang habasyah turut bergembira dengan memamerkan kepiawaianya mengolah vokal dan gerak tubuh, nabi pun terhibur dan mengajak istrinya siti aisyah untuk menonton. tiba-tiba datang umar yang mencaci-maki rombongan habasyah yang tengah asyik bernyayi, menari dan atraksi permainan pedang. pertunjukan pun berhenti sejenak, namun reaksi nabi tidak mendukung kemarahan umar, tapi bahkan dengan santai dan bijak nabi berkata pada kelompok penari itu, “teruskan, bani arfadah” (tabloid syir’ah, 2003 : 9). kedua, dalam merealisasikan ide gagasan, akhirnya turunlah ijin untuk melakukan eksplorasi dan pencarian gerak sebagai bentuk proses kerja kreatif di ruang publik, yaitu tepat diawali pada pembukaan gerebeg sekaten tahun 2003 di masjid agung surakarta. mengawali proses pencarian baik konsep maupun bentuk dari karya tari kidung sekaten, pada tengah malam midadareni, diperlukan pengamatan langsung terhadap ruang publik di lingkungan masjid agung, kemudian memilih dan menentukan tempat untuk melakukan eksplorasi gerak dengan mengenakan kostum kain samparan dan atasan menggunakan bahan kaos lengan panjang serta kerudung kepala/jilbab yang semuanya berwarna putih. ketiga, tepat pada pembukaan gerebeg sekaten, kembali dilakukan eksplorasi gerak, selain menyajikan penemuan gerak sebelumnya, juga berusaha untuk merespon ruang publik dengan memanfaatkan kehadiran bunyi gamelan sekaten dan publik/masyarakat yang berduyunduyun memenuhi halaman masjid untuk merayakan gerebeg sekaten. eksplorasi gerak menyesuaikan dengan rasa dari gendhing gamelan sekaten yang disajikan dengan cara berpindah dari satu sisi ke sisi yang lain di area masjid dan diantara kedua gamelan sekaten kiai guntur madu maupun guntur sari. pada saat melakukan gerak-gerak baik yang sudah direncanakan/persiapkan sesuai eksplorasi sebelumnya, seolaholah ada kekuatan lain/baru yang memberikan dorongan, kekuatan gaib datang dengan tiba-tiba dan sangat cepat namun lembut. terdapat dua energi yang bersatu yaitu energi yang dihadirkan melalui musik gamelan sekaten dan energi dari pe nonton yang berdesakan. sebaliknya energi penyaji juga mempengaruhi peristiwa di gerebeg sekaten, yaitu tanpa ada aba-aba maupun perintah penonton memberikan ruang gerak bagi penyaji, sehingga baik penyaji dan penonton yang hadir menjadi satu kesatuan yang terpadu secara tidak langsung. beberapa kesan yang terungkap dari sebagian penonton, di antaranya: ”wah dasar seniman krungu gamelan banjur megalmegol; eman ya, wong ayu-ayu kok gendeng; iki apa maneh, bocah wedok kok ana-ana wae, kurang gawean; mbak-mbak golek sensasi ya?” pada eksplorasi bertepatan dengan malam midadareni, kekuatan gerak yang penyaji temukan lebih bersifat keras. bisa jadi hal tersebut dikarenakan pada malam midadareni mulai pukul 00.00 wib sampai subuh 04.30 wib belum ada bunyi gendhing sekaten sehingga murni kekuatan alam dan hanya dengkuran para pedagang yang lelap tertidur menjadi musik iringangan tari yang khas. kempat, dalam tahap awal selain melakukan eksplorasi sebagai bahan pembentukan karya tari, dilakukan pendokumentasian dalam bentuk audio visual hadawiyah endah utami, kidung sekaten antara religi 159 maupun foto. berbagai peristiwa menarik terkait peristiwa sekaten terpotret. sekaten menjadi sebuah momentum budaya yang kaya akan simbol dan pemaknaan bagi masyarakat pelaku dan penikmatnya. kompleksitas pemahaman masyarakat justru menampilkan penyikapan yang menarik untuk dipotret. seperti misalnya mindset kepercayaan mengenai hal-hal mistis yang terkait dengan elemen-elemen yang terdapat dalam peristiwa sekaten. kelima, pada saat ditabuhnya gamelan yang menandai pembukaan sekaten, masyarakat juga memaknainya secara beragam. beberapa orang mengunyah sirih sebagai salah satu bagian upacara dan mempercayainya sebagai sarana untuk membuat mereka menjadi awet muda. pada saat yang sama, ada kelompok masyarakat yang memulai mengaji dan membaca al qur’an di dekat gamelan, dalam wilayah masjid agung. sebagian pengunjung meyakini bahwa saat seperti itu menjadi waktu yang paling tepat untuk mengagungkan nama allah. selepas bunyi gamelan sekaten, terdapat sebagian masyarakat yang berebut benda-benda, yang menjadi elemen sekaten seperti janur, makanan yang menjadi sesajen, meminum air sesaji sampai de ngan ada sekelompok orang yang memukulkan kepalanya pada gong gamelan sekaten. pada pemikiran modern, perilaku semacam yang mengambil janur, sesaji, memukulkan kepalanya pada gamelan sekaten menjadi tidak masuk akal sehat bagi pemikiran manusia . akan tetapi bagi masyarakat pelakunya, perbuatan seperti itu menjadi satu hal yang rutin dilaksanakan setiap peristiwa sekaten berlangsung dan bahkan menjadi ritual. diluar terbukti atau tidaknya kepercayaan pada daya gaib perayaan sekaten , dalam kehidupan sehari-hari membuktikan kekayaan ragam dan nilai-nilai yang bisa dipelajari dalam peristiwa sekaten. perayakan sekaten menyadarkan adanya multi perspektif yang terdapat dalam masyarakat sekitar yang harus disikapi dengan bijaksana. gerebeg sekaten bulan april 2004 pada hari ke tiga, empat dan upacara penutupan atau turunnya gunungan kembali penyaji melakukan proses pendalaman dan pemantapan dari hasil proses tahun sebelumnya. hal ini penyaji lakukan untuk melengkapi materi film maupun foto. kehadiran penyaji di upacara gerebeg sekaten ternyata telah ditunggu oleh masyarakat, baik dari para pedagang di lingkungan masjid agung, pengunjung umum, panitia pengelola maupun pelaku budaya seperti penabuh sekaten. pada dasarnya para pelaku budaya dan pedaganng menyayangkan pada pembukaan tidak dipentaskan tarian seperti tahun lalu. para pedagang dan perilaku budaya antusias menyatakan pendapatnya, bahwasanya ingin menyaksikan kembali penyajian tari sebagai bagian ritual sekaten. dalam konteks gerebeg sekaten, religi yang dikemas dalam sebuah penikmatan laku tari penuh dengan keakraban, detil ekspresi tubuh setiap saat mampu mengundang respons penonton yang memadati arena pentas. kehadiran tari dalam gerebeg sekaten ternyata dapat diterima oleh masyarakat dan sangat ditunggu. kenyataan membuktikan bahwa daya kekuatan alam dengan kehidupan masyarakat akan saling mempengaruhi, sehingga mitos atau legenda yang diungkapkan sebuah tarian dapat memberi keteranganketerangan tentang kosmologi dan teologi (1976: 38). ritus sosial budaya eksistensi sekaten berkaitan dengan tata nilai dari lingkungan masyarakat setempat yang biasanya berhubungan dengan kesuburan-kemakmuran, keslametan, dan kerukunan antarwarga. kultur lokal dan kultur modern seakan melebur dalam waktu bersamaan dalam momentum sekaten. dalam tradisi masyarakat jawa, senantiasa terjadi hubungan yang erat antara tata nilai kebudayaan dan nilai-nilai religius. gerebeg sekaten dalam masyarakat tradisi memiliki kekuatan ikatan sosial dari waktu ke waktu, yang juga berharmonia, volume 11, no.2 / desember 2011160 hubungan erat dengan tata ruang wilayah permukiman mereka, yang selalu memiliki ruang berlatar amba (terbuka) atau alunalun—sebagai ruang pertemuan sosial, yang mengikat hubungan batin antarwarga dari berbagai lapisan sosial ekonomi. pada aspek lain, mekanisme kehidupan ekonomi kalangan bawah ikut terlibat, seperti misalnya dengan munculnya warung makanan atau bahkan berbagai jenis produk tradisional alat rumah tangga, pakaian, dan sebagainya yang banyak digelar selama festival berlangsung. sekaten bisa menjadi bukti dari suatu festival tradisi yang sangat melekat dan dibutuhkan oleh masyarakat sekitarnya. kegitan tari untuk ritual jangan terjebak pada gagasan moral yang ada dalam ceritera, tapi harus dapat melihat dan memahami kenyataan yang ada di masyarakat. kemauan harus tumbuh dari dalam diri sendiri, dan bentuk kreativitas yang paling penting adalah rasa ingin tahu, karena kreativitas bisa mengubah energi negatif menjadi positif. dalam melatih kreatifitas hendaknya selalu membicarakan semua masalah, dan pelajaran yang paling berharga adalah pada saat kita dalam keadaan terpaksa harus keluar dari masalah kehidupan yang ada, maka kita akan menjadi kreatif. tugas utama seni adalah untuk mentransformasikan pengalaman dan persoalan pribadi, kemudian menjadi persoalan dan pengalaman bersama. mengetahui kekurangan diri sendiri dan kita dapat mentertawakannya, mengkritik bahkan menyangsikan kemampuan diri-sendiri, itulah cara berfikir kreatif (sardono w. k., wawancara 7 januari 2003) kidung sekaten sebagai karya ritual garapan baru penciptaan karya tari kidung sekaten merupakan karya baru dengan menggali dan mengembangkan tradisi khususnya gaya surakarta dalam bentuk koreografi tari yang kreatif dan inovatif. upaya kreatif melalui modifikasi dan stimulasi disesuaikan dengan kebutuhan ungkap garapan. karya tari ritual garapan baru diharapkan dapat menjadi warna baru dan mampu memberikan kekayaan bentuk tari dalam perkembangan seni tradisi, baik sebagai bahan apresiasi seni tari pada masyarakat secara kuantitas maupun kualitas, sehingga bermanfaat bagi kehidupan seni dan merupakan bentuk pertanggung jawaban seniman kepada masyarakat. keterbatasan bekal dan kemampuan dalam penguasaan ruang maupun vokabuler gerak, serta dalam mengungkapkan ide kedalam bentuk karya cipta seni, menjadikan tantangan dan motivasi serta pacu untuk mengembangkan kemampuan diri, sehingga kareya tari dapat diwujudkannya dalam bentuk ciptaan karya tari. adapun susunan garap gerak tarinya sebagai berikut. bagian pertama, enam penari berjalan menuju panggung, terus satu penari bergerak kepojok melakukan ilustrasi gerakan ritual wudhu, terus mengambil kain putih digerakan sebagai ilustrasi menggunakan. rukuh. penari yang lain keluar panggung melakukan ekplorasi gerak bebas yang menggambarkan kegelisahan. pada bagian pertama diakhiri dengan jeritan oleh penari. sebagai karawitan iringan tari menggunakan bunyi suara gamelan sekaten, suara orang mengaji dan bunyi gasingan. tata rias dan tata busana penari pada bagian pertama seorang penari menggunakan busana serba putih dan kain samparan, tara rias para penari sekedar memperkuat dan mempercantik secara sederhana. bagian kedua, penari latar menggunakan anak-anak dengan berpakaian serba putih berjalan berputar-putar panggung sambil melantunkan syair yang isinya memuji keagungan allah, sambil memukul terbang. para penari seolah olah mnggambarkan kondisi pada waktu kecil belajar mengaji. para penari memperagakan bentuk gerak sholawatan, berjalan membentuk pola lantai lingkaran, berjajar, diagonal. para penari kecil menampilkan ragam gerak operan dengan kedua tangan kekanan dan kekiri dengan level tinggi dan rendah sambil tangan kanan memukul rebana yang dipegang di tangan kirinya, diringi musik rebana. tata rias penari kecil sekedar untuk menimbulkan kesan cantik hadawiyah endah utami, kidung sekaten antara religi 161 bagi penari puteri dan kesan bagus untuk penari anank putera. bagian ketiga, penari tunggal yang berpakian serba putih melantunkan qiroah di tengah panggung, yang menggambarkan kehidupan yang sedang dialami. dibelakang panggung muncul penari yang memperagakan ragam gerak dengan rambut terurai, menampilkan berbagai gerakan dengan kekuatan amaginasi pada perubahan bentuk rambutnya yang didorong oleh perubahan gerakan badan penari secara menghentak. para penari rambut maju mengelingi penari tungal yang sedang membaca qiroah. para penari dengan eksplor rambut maju menbentuk empat penjuru terus jatuh. penari tunggal pembaca qiroah melepas jilbab mendekati para penari rambut menunjukan suasana kebimbangan. kemudian disusul para penari dari berbagai penjuru menampilkan berbagai ragam gerak dengan menggunakan pola samparan dan rambut. empat penari melakukan eksplorasi gerak yang merupakan penggarapan rasa kegelisahan hati penari tunggal( tokoh). pada bagian ketiga iringan tari menggunakan iringan qiroah, kicau burung, gamelan sekaten, santiswaran, kidungan dandanggula dan adzan. bagian kempat, teatrikal dengan gasingan; bersamaan dengan munculnya slide yang menampilkan berbagai peristiwa sekaten seperti mislnya orangjual kinang, tokoh yangmembawa telur terus di gelindingkan, penari memainkan gasingan, dua penari melakukan gerak bersila, mengenakan jilbab, seorangpenari keluar dari gamelan sekaten sambil menari terus berjalan menuju panggung bertemu de ngan dua penari. tiga penari menmapilkan gerak bersama, kemudian berjalan menuju pojok mejemput empat penari, kemudian semua penari berjumlah tujuh orang berjalanbersama, kemudian srisig membentk pola lantai layang-layang, ketonggeng, sapit urang, dengan ragam gerak tari tradisi yangdikembangkan. ketujuh penari kemudian bergerak sirsig memebntuk format 3 ditengah, 4 di pojok, membawa telur dangasing di lepas sehingga menimbulkan sura mendesing, seorangpenarimembawa pecut berjalan melintas, 1 penari berjalan kesna kemari kemudian menginang, meludah di kainputih. tari diakhiri dengan ketujuh penari berputar melambaikan samparan diiringi dengan musik rebana, gamelan sekaten, suara gasing dan bunyi pecut yang dihentakan. simpulan perayaan sekaten dalam masyarakat jawa khususnya surakarta merupakan hasil dari sinergisasi dan akulturasi kebudayaan, antara islam sebagai agama budaya dengan budaya lokal setempat. hubungan dan kolaborasi antara, islam sebagai teks besar dengan budaya lokal tidak lagi dapat dipandang dalam bingkai penundukkan tetapi dipandang bahwa proses akulturasi yang berhasil, semakin menunjukkan kekayaan atau keberagaman ekspresi budaya islam setelah bersinggungan atau bertemu dengan bangunan budaya lokal. cara pandang akulturasi budaya akan menghasilkan konstruksi pemahaman baru yang peranannya sangat signifikan dalam proses pembauran dan perpaduan antara dua unsur budaya yang berbeda sehingga menghasilkan budaya yang massif dan mengakar di masyarakat tanpa menghilangkan substansi dari dua unsur budaya yang bertemu. perspektif lain yang ingin dihadirkan melalui perayaan sekaten adalah islam telah mengalami pembacaan ulang. terjadi proses pribumisasi islam, proses bargaining budaya telah terjadi yang dua unsur budaya yang bertemu. proses tawar-menawar melibatkan perilaku adaptasi dan akomodasi dengan semangat menciptakan tatanan budaya baru yang dapat diterima bersama. hikmah yang dapat ditarik dari perayaan sekaten, yakni adanya proses dialektika yang panjang dalam upaya mewujudkan pribumisasi islam atau upaya membumikan islam. proses pribumisasi islam di tanah air, biasanya, seringkali harus melibatkan budaya dan tradisi lokal yang ada, tentunya dengan pembacaan yang harmonia, volume 11, no.2 / desember 2011162 kritis dan pemaknaan yang lebih terbuka. sikap kritis dan kearifan yang diliputi semangat keterbukaan untuk menerima perbedaan dan mengutamakan dialog dalam menyikapi perbedaan yang ada harus selalu menjadi prioritas pertama dan utama. melalui gerebeg sekaten merupakan media bagi sebuah proses dialog antar budaya (cultural dialogue) untuk menemukan kebersamaan dalam menghadirkan masya rakat yang lebih inklusif-pluralis terhadap perbedaan yang ada. kidung sekaten sebagai produk local genius, karya tei ritual garapan baru sebagai identitas kultural dan penanda paling signifikan. kidung sekaten merupakan tari ciptaan baru dalam wadah baru sebagai upaya menjadi bagian dari upacara tradisional gerebeg sekaten di surakarta. kidung sekaten diiringi dengan berbagai suara diantaranya rebana, shollawatan, santiswaran, vokal kidungan, gamelan sekaten, gasingan dan pecut. kidung sekaten menjadi sebuah warna baru pada upacara shahadatain di depan masjid agung surakarta. daftar pustaka ab. sinaga. 2001. “upaya menghargai budaya setempat melalui inkulturasi” dalam jurnal budaya ekspresi vol. iii thn. i. yogyakarta: lembaga penelitian isi chojim, achmad. 2004. mistik dan makrifat sunan kalijaga. jakarta: serambi darori, amin. 2002. islam dan kebudayaan jawa. yogyakarta: gama media. djoko suryo. 1996. ruh islam dalam budaya bangsa (aneka budaya di jawa), yayasan festival istiqlah, dalam beberapa segi warisan moralitas islam; perpektif budaya jawa edi sedyawati. 1981. petumbuhan seni petunjukan. jakarta: sinar harapan. endraswara, suwardi. 2003. mistik kejawen. yogyakarta: narasi. gazalba, siti. 1969. ilmu dan islam. jakarta: mulya. geertz, clifford. 1973. the interpretation of culture. new york: basic books ____________ . 1990. kebudayaan dan agama, yogyakarta: kanisius gbph h. djojokusumo. 1996. “spiritual islam dan perpektif budaya jawa” dalam ruh islam dalam budaya bangsa (aneka budaya di jawa), yayasan festival istiqlah hakim, arif lukmanul. “sekaten, sebuah proses akulturasi budaya dan pribumisasi islam” dalam harian solopos 17 maret 2004 hamzah, hardi. “agama, variabel kontrol atau perilaku” dalam suara merdeka edisi 4 juni 2001. hariwijaya, m. 2004. islam kejawen. yogyakarta: gelombang pasang. l.a. white. 1990. science of culture. new york: farrar straus magnis-suseno, franz. 1985. etika jawa. jakarta: gramedia peursen, c.a. van., 1976. strategi kebudayaan. terj dick hartoko. yogyakarta: kanisius. purwadi. 2003. sejarah sunan kalijaga. yogyakarta: persada. royce, anya peterson. 2001. anthropology of dance. london: routledge simuh. 2002. sufisme jawa. yogyakarta: bentang budaya sobary, mohammad. 1994. islam jawa. yogyakarta: bentang 1 stambul comedy exploration in early 20th-century semarang: meaningful teaching about colonialism syaiful amin, sariyatun, gunarhadi, hieronymus purwanta universitas sebelas maret, indonesia submitted: 2023-04-30. revised: 2024-05-13. accepted: 2024-06-12 abstract this study aims to analyze the results of exploring stambul comedy as part of indies art in early 20th-century semarang as an effort to implement meaningful learning about colonialism for students. this research was conducted using a qualitative framework with a case study approach. data were collected through interviews, observations, and document studies. the data analysis for this research referred to yin’s two patterns: pattern matching and explanation building. the results showed that the narrative of stambul comedy in early 20th-century semarang is relevant for developing students’ knowledge about colonialism in a more contextual manner. findings indicate that students’ initial understanding of colonialism was still not contextual and tended to be theoretical, with colonialism merely understood as a process of occupation and domination by one nation over another. after exploring material on the development of indies art through contextual teaching and learning, students were able to think critically and collaboratively. a constructivist process could trigger acceptance and rejection of colonialism: discovering, elaborating, and determining the meaning of learning. moreover, students’ new knowledge could be factually constructed, influenced by factors such as reading preferences, collaborative abilities, and critical examination of texts provided by the teacher and further explored by the students. keywords: aestheticism; stambul comedy; indies art; exploration; meaningful teaching; colonialism how to cite: syaiful, a., sariyatun, s., gunarhadi, g., & purwanta, h. (2024). stambul comedy exploration in early 20thcentury semarang: meaningful teaching about colonialism. harmonia: journal of arts research and education, 24(1), 1-17 harmonia: journal of arts research and education 24 (1) (2024), 1-17 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v24i1.44083 results showed that a significant portion of young indonesians aged 15 to 20 view colonialism merely as a process of occupation, without any understanding of the impact and how colonialism destroyed the cultural foundations of local communities (amin, 2022; colombijn, 2011; day, 2022). de zwart et al. (2022) explain that understanding the negative impacts of colonial rule needs to be maintained as society’s collective memory. colonialism has had impacts such as environmental introduction in the midst of the rapid flow of information that is developing today, the collective knowledge of a society is very easily changed. this is due to information that develops through digital media being popular, very quickly accessible to readers, and having practical understanding that has an impact (sarkawi, 2016; straubhaar et al., 2015; yoga, 2019). in a survey on the understanding of colonialism, concerning corresponding author: e-mail: syaifulamin@student.uns.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 24 (1) (2024): 1-172 damage, human trafficking, slavery, and control over resources that have disrupted the cultural order of society (bijl, 2012; bosma, 2020; winn, 2010). therefore, colonialism needs to be systematically taught in schools through relevant subjects such as history, culture, and the arts. regarding how colonialism should be taught, chalmers (2019) argues that through the arts and culture developed in colonial societies, colonialism can be taught as an interesting idea discussed interestingly through the learning process. garba (2012) reinforces the above view that colonialism should not only be understood as a theory or concept but also its practices in the past, which have brought many negative impacts, need to be known by the present generation. the influence of colonialism in culture and social systems is a topic that is rarely discussed, even though colonial culture itself, as a product of ideological practice, has forced colonial societies to practice and internalize new knowledge that is entirely different from old knowledge. such culture can be found in colonial-era indonesia and is widely known as indische or indies culture, which gave rise to new traditions and arts in the colony (soekiman, 2000). indies culture is a culture formed through the fusion of dutch and indonesian cultures, especially javanese culture. the formation of indies culture was a result of dutch colonization in indonesia (1800-1945). indies culture influenced indonesia’s historical, political, economic, and social aspects (gultom, 2020). this culture not only included appearance or clothing but also influenced architecture and the traditions of colonial society, including food, party habits, orchestras, and the popularity of theater performances as a natural process of “dutchification” (bastian, 2018). semarang, as one of the colonial cities, also experienced the development of indies arts, and this city became identified as a tourist destination for the colonial nation due to its indies-style architecture and comfortable living atmosphere. from architecture, one can identify the cultural style that developed during a particular period (budiman et al., 2020). indies architecture is the result of a long process of acculturation. acculturation is defined as cultural change that occurs through continuous and intensive encounters or mutual influences between two different cultural groups (soekiman & purwanto, 2018; yuliati, 2019). in cultural encounters, there is an exchange of cultural traits that blend the two cultures, or it could also be traits from another group, often implying the influence of one culture over another (unilateral), for example, the influence of modern culture on a culture that had fallen behind. in the research results of wijayanto et al. (2024), cultural change in a society always has a motive. it does not happen without a cause. in the context of colonialism, this change was driven more by dutch cultural hegemony over native javanese culture. remnants of indies-style city can still be found today in kota lama or the old city area of semarang. a significant amount of indies’ cultural and artistic potential can be taught to students to better understand the meaning of colonization that once occurred in indonesia; today, colonialism is understood to have had positive impacts on past societies (amin, 2022). stambul comedy, spelled komedie stamboel during the dutch colonial era, became an indies culture that developed during the colonial era. stambul comedy is a form of traveling theater performance known as istanbul-style theater, which at that time emerged to fulfill the entertainment needs of the people in the dutch east indies (now indonesia). through the introduction and exploration of these indies’ cultural remnants, it is possible for social interaction and academic meaning-making processes about colonialism and its impacts on society to occur. chalmers (2019) argues that the meaning-making process of cultural remnants is effective for developing knowledge about colonialism. rahman et al. (2018), in their research on colonial culture in india, show that widespread forgetfulness in sosyaiful amin et al., stambul comedy exploration in early 20th-century semarang: 3 ciety is due to a lack of contextual teaching about colonial culture and its remnants, resulting in the current society acquiring popular knowledge that instead highlights the positive sides of colonization. similarly, rovito and giles (2016) in their research clarify that colonization cannot be simply forgotten; it is actually the most effective medium to reflect on the process of identity formation through socialization. these two studies show the importance of studying the colonial history of a nation to maintain identity, patriotic attitudes, and progressive and anti-colonial cultural understanding. this research aims to study stambul comedy in early 20th-century semarang as a source of learning activities to strengthen meaningful learning about colonialism. the significant contribution of this research is that the subject of history is currently identified with political and power discourses, while cultural discourse is still often neglected, so this research attempts to offer new ideas in the study of history education that can utilize cultural discourse and artistic results in its teaching practices. the integration process between cultural and artistic subjects into subjects like history to develop humanistic thought is very important to research, emphasizing the inclusive side of cultural and artistic subjects themselves. method this research was conducted using a qualitative method with a case study approach (yin, 2018). a case study is a form of research that seeks to deeply analyze a case that occurs due to human engineering. the case study in this research aims to present an in-depth analysis of the meaningful teaching about colonialism through the exploration activity of stambul comedy in early 20th-century semarang. this research requires the researcher to be fully involved in the processes in the field. how students construct knowledge about colonialism and how they understand the development of indies arts and their impacts on indigenous societies becomes a premise that is critically discussed. additionally, this research is conducted with a case study scenario arranged and shown in a lesson plan implemented by the teachers to carry out meaningful learning. this research involves 30 research participants from students with diverse backgrounds in semarang. the research data comes from verbal information, documents, and students’ exploration activities. data were collected through interviews, observations, and document studies. interviews were conducted before students received material about indies culture and its artistic results. some students provided information about their perceptions of colonialism, colonization, and its impact on the development of indies arts. after that, students carried out learning according to the scenario discussed between the researcher and the teachers. activities that occurred were observed, namely when students observed, discussed, and presented the results of their discussions about indies arts they learned directly. after that, portfoliobased evaluation documents were analyzed and became a reference for deciding whether or not students had good explanatory abilities about the development of culture and stambul comedy in early 20thcentury semarang. the validity of the research data was examined using confirmation techniques with the participants. almost all participants confirmed the information obtained objectively, acknowledging it as a process worthy of analysis in a report. this statement is important, considering the mutual understanding between the researcher and research participants is fundamental to producing a credible report. this confirmation process runs alongside post-learning interviews. the analysis of this research data refers to yin (2018), where two stages of case study data analysis are used in this research, namely pattern matching and explanation. pattern matching is comparing the existing patterns in empirical data; if harmonia: journal of arts research and education 24 (1) (2024): 1-174 both patterns match, then the results can strengthen internal validity and be confirmed for presentation in the report. explanation is the process of explaining the research findings as they are, as found in the field; the researcher only provides information according to what he observed. in the explanation process, the researcher then presents research facts, makes theoretical statements, analyzes, and concludes the research results. result and discussion indies art, stambul comedy, and content domination culture to broadly recognize the artworks of a nation, it is somewhat easier if one first knows, understands, and comprehends the meaning of the word “stijl” or style. the term stijl comes from the latin word stilus, which means a scratcher or stylus; it can also mean the way of scratching or writing. in dutch, it is schirijftrant stijl, and in javanese, it is cengkok or way. another opinion suggests that stijl comes from the greek word stili silo, which means pillar, and in english, it is known as “style” (cohen, 2016; coté, 2017; yapp, 2018). henk baren states that the word stijl has four meanings: first, “objectieve stijl,” which is the style of the object or thing itself; second, “subjectieve stijl” or “persoonlijke stijl,” which is the style possessed by the artist, writer, sculptor, painter, or architect that characterizes their work; third, “stijl massa” or “nationale stijl,” which is a style that becomes a characteristic or mark (trait) of a nation, such as the western european, eastern, japanese, indonesian styles, and others; and fourth, “technische stijl,” which is a special style related to the materials or techniques used, for example, wood or iron to build a structure (corrigan et al., 2015; sutriyanto, 2010). by recognizing and understanding these four types of styles, it will be easier to comprehend the research on artworks in architecture or various other branches of art, such as visual arts, literature, performing arts, music, and others. the ability and skill in the arts among the javanese people were already very high before the europeans arrived in nusantara or the archipelago, both in performing arts and visual arts. unfortunately, written works related to javanese art are very scarce. hence, when europeans took an interest in studying them, they faced difficulties, as written explanations did not accompany javanese artworks from various fields. it was not until 1921 that books on indigenous music and musical instruments were published, including works by j.s. brandt buys and mr. j. kunst. in 1925, the java institute, in its congress in semarang, discussed writings for music and dance and music education (buys, 2019; kunst, 2013). in early 18th-century semarang, javanese handicrafts were already very developed when europeans arrived. indigenous nobility had highly skilled artisans who lived in certain villages and worked for generations. examples of these villages’ names can still be traced from the toponyms in the former port city, such as sayangan, gisikdrono, candisari, pandean, papandayan, and others. these artists and artisans had regular incomes and were paid by their masters, so their work had to be refined, beautiful, and meticulous, or ngrawit as the locals call it. as a muslim city, the crafts that were popular trade commodities and highly favored by the colonial semarang society included prayer rugs and kopiah or caps produced in bawean. artisans made body jewelry, such as bracelets, necklaces, and earrings, from gresik, east java. semarang batik was also quite famous, with highquality silk batik featuring beautiful bird images as ornaments for colonial officials (natalia & riyandari, 2016; patria, 2016; yuliati & susilowati, 2022). augustijn henrik, a kapitein der papangers, was a wealthy landowner in 19th-century semarang history. he was of european-javanese descent. his life represents the indies lifestyle, as shown in his daily life in his household. his slaves (both male and female) had specific dusyaiful amin et al., stambul comedy exploration in early 20th-century semarang: 5 ties, such as being musicians. from among them, what f. de haan referred to as slaven concerten or a slave orchestra was formed. having a slave orchestra indicated a luxurious lifestyle with a certain status among the landowners of that era (susanto, 2007). in henrik’s secret will, as the owner of semarang’s landhuis, recorded in 1831, it was noted that among his 130 slaves, there were 30 described by van de wall as skilled and versatile musicians (de onderscheidene bekwane muzijkanten). additionally, there were four ronggeng dancers, two gambang players, and two mask dancers. even the chinese trained their slaves to be performers in chinese theater troupes that were flourishing at that time. usually, slaves who were adept at acting, dancing, and singing were highly valued. among all the entertainment provided, the most popular was komedie stamboel. stambul comedy was a form of traveling theater performance, styled after istanbul, created to entertain the people of the dutch east indies. this traveling theater resembled european circus performances. stambul comedy era 1891–1903, was born in surabaya in 1891, touring the dutch east indies, singapore, and malaya by train and ship. it began to flourish in semarang in 1895 and became a popular form of entertainment among colonial society. the term “stambul or stamboel” is believed to be derived from the word “istanbul,” and indeed, in its early days, stories from the middle east, such as one thousand and one nights, were their leading performances. nearly 90 percent of the stories performed in their first ten months were dramatic adaptations of the european-translated versions of one thousand and one nights. the atmosphere and props—lighting, emotional acting, curtained stage, accompanying orchestra, division of the stage into scenes and acts, costumes, makeup, and plot—resembled late 19th-century european theater dramaturgy and technology. another significant influence was the parsi theater or wayang parsi from bombay, which toured indonesia extensively since 1883 (or even earlier). by the first decade of the 20th century, stambul comedy had a diverse repertoire, including indian, persian, and middle eastern romances, one thousand and one nights stories, popular european literature and folklore (dr. faust, snow white), as well as stories like nyai dasima, the 18991900 lombok war, which was banned from being performed, and shakespearean adaptations. the typical stambul comedy troupe had around fifty members or more. stambul became a popular term in the colonial regions with malay culture. cities like semarang, deli, malacca, singapore, batavia, makassar, and surabaya were the metropolises of that era that featured performances similar to those in cairo, istanbul, paris, or london. this is where the term “stambul” originated. the sizable troupe usually comprised more than half indigenous people, with the chinese as financiers and the remainder being arab descendants. during performances, the roles were divided among indigenous people, such as the comic jongos or servants, and arabs, such as the serious masters, illustrating a skewed social role division by ethnicity. this disparity contributed to the comedy’s appeal. the traveling stambul comedy performances attracted profit-seekers, singers, artists, dancers, and ordinary people who formed troupes known locally as “tobong.” although experiencing ups and downs, the legacy of tobong arts, despite recent significant declines, still characterizes indonesian popular arts. traveling performance arts or tobong are not unique to indonesia. traveling performances were common in many parts of the world, especially in europe. however, indonesian traveling performance arts’ diverse cultural elements—language, accompanying music, storytelling, movement arts, body language, and dramaturgy—are distinct and unparalleled elsewhere. milone noted that the indies style in semarang had already incorporated elements of local art along with chinese art harmonia: journal of arts research and education 24 (1) (2024): 1-176 elements, which can also be observed in several forms of semarang folk music to this day. the harmonious blend of these external elements is well represented in the music of gambang semarang (andita, 2018). the combination of musical rhythms with dance movements in the theater gave birth to the indies characteristic known as stambul comedy (cohen, 2006a, 2006c). meanwhile, in the form of keroncong orchestra music, stambul songs emerged. stambul songs originated from songs specifically created to accompany the sentimental parts of stambul comedy scenes (figure 1). the songs had to be sung in a more delicate, soft, and emotional manner (destiana, 2012). later on, stambul songs were performed outside stambul comedy music stage events. figure 1. the stamboel women’s orchestra from “komedie vereeniging de eendracht indo” (source: kitlv) marie oord was a renowned female orchestra conductor in early 20th-century java, and the photo was taken while she was performing in semarang at the societeit de harmonie (figure 2). she was quite popular among colonial nobles. marie’s name was always mentioned at every important event or gathering of colonial officials; it was considered incomplete if stambul did not feature marie. the people next to marie were indigenous workers who worked for her; they were a group that toured java to present the best performances for colonial masters (cohen, 2006b; lechner, 2021). stambul comedy was quite popular in semarang in the early 20th century, regularly performed at the societeit de harmoni. the societeit building was used as a place for europeans in the dutch east indies to enjoy themselves (rietbergen, 2017). the building was equipped with reading rooms, a performance stage, music stages, and a spacious dance floor. additionally, the place also provided alcoholic beverages, among other things. the architecture of the building featured a spacious marble room with beautiful pillars, crystal chandeliers, wall mirrors, and bronze statues. figure 2. sociëteit de harmonie, bodjongweg semarang 1935, now paragon mall building on pemuda street, semarang (source: kitlv) stambul comedy was initially thought to be an imported product from turkey, as commonly mentioned. however, this performance was actually the work of the indigenous people themselves. the costumes, songs, and all the accessories were managed by the natives (boonstra, 2017). the attire also included the red fez, which was often worn by stambul actors. the songs and their accompaniment were malay songs. many songs from semarang had a malay literary tone and were very popular and widely known among the people of semarang. the development of this tradition took place in the area that now has become the old town, which was the colonial center in central java. what is interesting and can be a significant lesson regarding the development of stambul comedy in semarang is the stark division of roles between europeans and syaiful amin et al., stambul comedy exploration in early 20th-century semarang: 7 javanese, with the indigenous people consistently in lower positions, serving and dedicating themselves to europeans. as noted by henrik, javanese people in indies tradition were like slaves providing menial services for europeans, entertaining them, and serving them as if they were kings. moreover, the places used for artistic performances, artistic attributes, and beautiful decorations used by europeans were actually made by the indigenous people. this implies that javanese art had already developed significantly before the europeans came, but colonialism marginalized this thriving tradition through discriminatory politics and social function division based on ethnicity and religion. this condition is evident in every form of indies art and cultural product in semarang. the slavery and marginalization of the already developed art became a focus that cannot be ignored, also becoming a contradictory discourse with the current understanding of colonialism. the value of the story of the development of stambul comedy in semarang lies in several points: first, the previously developed javanese art was eroded, leading to the detrimental impact of cultural expansion, domination, and colonial political hegemony on local traditions and culture; second, humanism did not grow within the colonial society due to cultural hegemony, with the indigenous people only being positioned as servants, entertainers, and slaves; third, the social identity of the community was dissolved, forcing the javanese to embrace a new identity as part of indies, although at the lowest level; and fourth, the influence of colonialism in the field of culture cannot be seen as positive, as it caused inhumane impacts. therefore, for readers and researchers of colonial art development, it is important to convey the above conditions to students so that the new generation does not misunderstand the concept and practice of colonialism in indonesia. art content learning patterns in teaching history according to goldberg (2021), there are three ways to integrate art into learning: first, learning about art; second, learning with art; and third, learning through art. learning with art occurs when art is introduced to students as a way to study certain subject matter. the development of indies art and stambul comedy in semarang in the early 20th century becomes content that can be used for teaching about the development of art as a reflection of the spirit of the times. understanding the significant influence of colonialism on art is the main focus, that colonialism negatively impacted the existence of local arts and culture in the archipelago that had already developed earlier. art in history learning is integrated as a phenomenon reflecting human development in a certain era. as a material, art becomes a source of information, ideas, discourse, and broader clues to introduce students to the core issues (saraniero et al., 2014). by training students’ imagination through artworks related to core issues, students can make new connections and overcome previous limitations. being creative is not only applicable to artists. creativity is important for all fields of knowledge (winner, 2022). more importantly, the development of art in a society is not only related to creative work but also provides knowledge that there are changes and dynamics in that society influenced by the political hegemony of a strong group over a weaker group (cunneen, 2017). in this context, learning about indies art cannot stop at theoretical processes alone; practical ideas are needed to guide students to gradually understand how art can symbolize the condition of an oppressed society. for example, rohidi (2000), in his research “art expression of the poor: symbolic adaptation to poverty,” deconstructed the understanding of art in society, which was synonymous with aesthetics and focused on beauty at that time. it turns out that within indonesian society, art aesthetics have diverse meanings. in poor communities, the suffering and life challenges they face are sources of art creation that are not always tied to aesthetics. harmonia: journal of arts research and education 24 (1) (2024): 1-178 this condition shows that art is a dynamic source of knowledge, which can be studied and discussed critically to understand the characteristics of a society. the development of indies art as content in history learning can be done with scenarios developed based on contextual teaching and learning (ctl) (sears, 2002), a form of learning that emphasizes the involvement of students as a whole. not only the material studied but also connecting it with real-life situations for their lives, both in family and community environments, with the aim of finding the meaning of the material for their lives. the ctl learning model with a constructivist approach emphasizes the use of higher-order thinking skills (hots), knowledge transfer, connecting acquired knowledge with faced reality, collecting, analyzing, hypothesizing, and producing new things from existing data, as well as an assessment system focusing on authentic assessment obtained from various sources and implemented integrated with the learning process (vygotsky & cole, 2018). with a constructivist approach, ctl underpins the preparation of learning scenarios on the material of stambul comedy in semarang in the early 20th century to create meaningful learning about colonialism. the application of this learning model is projected to foster an understanding of the colonial society’s life in the dutch east indies viewed from the art practices reflecting discrimination and slavery of the indigenous people. in an effort to create meaningful learning about colonialism through the exploration of istanbul comedy in semarang in the early 20th century, ctl is systematically applied based on a learning plan (see table 1). this lesson plan is designed as a guide for meaningful learning about colonialism through the exploration of stambul comedy in early 20th-century semarang. the lesson plan aims to create more productive learning that can strengthen students’ conceptual understanding. stutable 1. lesson plan of meaningful teaching about colonialism learning objectives developing knowledge about the stambul comedy in semarang in the early 20th century and the discourse behind its development guiding students to understand the discourse and issues in colonialism and helping them find ways to comprehend developing knowledge about colonialism approach constructivism strategy contextual teaching and learning learning section time (minutes) activities 1 5 the teacher explains the learning objectives 2 15 the teacher explains the stages of learning 3 20 the teacher divides the students into five groups, each consisting of 5 students. the teacher provides texts about the legacy of colonialism that exists today and the development of stambul comedy in semarang in the early 20th century. students are asked to identify the negative impacts of colonialism on early 20th-century art. 4 35 the teacher instructs the students to collaborate in compiling knowledge from books and relevant sources. students present the answers they have compiled inter-group responses 5 15 appreciation, reflection, and conclusion drawing syaiful amin et al., stambul comedy exploration in early 20th-century semarang: 9 dents are expected to discover knowledge independently. students are expected to learn through a constructivist philosophical foundation by “experiencing” rather than “memorizing.” according to sears (2002), implementing contextual learning can create meaningful learning conditions if it meets the prerequisites: first, the material taught is in-depth, phenomenological, and contextual to the realities faced by students; second, students can develop their own knowledge through the process of discovery, elaboration, and reflection; and third, a classroom atmosphere that appreciates every achievement. the exploration of indies art development in the early 20th century can create meaningful learning by applying a constructivist approach, considering the connection between old knowledge (students’ initial understanding of early colonialism) and new information (material explored and discussed independently) and the reflection on the knowledge organized and discussed by students. this will direct learning towards a predetermined goal, where students can understand the meaning of colonialism based on the experiences undergone by the indonesian nation, specifically, the negative impacts of colonialism in the form of discrimination, slavery, and marginalization of indigenous culture. students’ initial knowledge of arts and colonialism before meaningful learning about colonialism can begin, an analysis was first conducted on students’ initial knowledge about the relationship between art and colonialism. generally, the relationship between art and colonialism is not understood paradigmatically; students only understand art and colonialism as concepts. they do not historically understand art within the context of dutch colonization in indonesia. three key findings on students’ initial knowledge are: first, art is seen as a human expression with aesthetic value; second, colonialism is seen as a process of domination and occupation; and third, art and colonialism are not seen as related, with art developing independently from the colonization process. this understanding is evidenced by three statements from personal interviews on february 1, 2023 (student statement 1 to statement 3). student statement 1: “art, in my opinion, usually relates to something beautiful, which can be music, paintings, dance, sculpture, and other works created as a hobby.” student statement 2: “in my opinion, colonialism is an effort by one nation to dominate and occupy the land of another nation, where they occupy an area to rule and govern it like a country.” student statement 3: “in my opinion, art and colonialism have no relation whatsoever; art develops based on creation and usually focuses on aesthetics, whereas colonialism does not influence the development of art.” students’ understanding shows a superficial, ahistorical thinking process. they have never received material on the history of art and its relationship with colonialism. thus, their knowledge is based on “guesses” that are not conceptually sound. they are not only unaware of the history of art during colonialism but also lack a thorough understanding of the importance of studying history. to address this, a process is needed to construct better conceptual knowledge. conceptual thinking enables students to recognize the connections between facts, concepts, and information, creating a foundational knowledge base (ültanir, 2012). the knowledge that lacks a conceptual foundation often results from rote learning, where history is mainly taught as a process of memorizing names, dates, years, and events generally, without providing knowledge on concepts and how to formulate knowledge based on concepts and facts (birgili, 2015; ülger, 2016). therefore, meaningful learning is necessary to develop these thinking skills. a constructivist approach offers opportunities for students to develop their potential to ask harmonia: journal of arts research and education 24 (1) (2024): 1-1710 questions, seek answers, collaborate, and formulate ideas about what they have learned. in meaningful learning practice, constructivism encourages students to formulate their own knowledge autonomously, viewing historical information not as a doctrine but as an academic discourse that can be studied, discussed, and evaluated together. student acceptance and rejection of colonialism after studying indies art materials during the implementation of meaningful learning about colonialism, students demonstrated curiosity and generated questions to be answered. material on the development of indies art and culture in early 20th-century semarang helped students understand the explanation better because the material was quite contextual. additionally, the teacher explained that knowledge of colonialism has shifted over time. modern colonialism is often understood theoretically and generally as a process of domination and occupation, while the actual practice of colonialism, which is a crucial source for learning, is rarely used and often overlooked as a primary source in constructing knowledge. indies art was explained theoretically and factually based on the experiences of the indonesian nation, especially as they occurred in semarang, with gathered facts. students also received relevant pictures of indies art to help develop their illustration and imagination (leopold & mayer, 2015). through imagination, students sharpen their creativity and cognitive abilities. imagination plays a significant role in psychological and emotional development (charlton, 2018), helping them understand the world. indies art became new information accepted by students, as evidenced by the statement (student statement 4 to statement 6). student statement 4: “i just heard about indies art; it was never taught before. i just found out that semarang was a place where a mix of dutch and javanese culture developed.” indies art, such as stambul, strongly sparked students’ curiosity. the teacher explained that the art developed as a part of dutch colonialization and cultural politics in the archipelago. it was no secret that the dutch aimed to “dutchify” the indigenous population, including altering cultural forms, leading to the birth of mixed arts like stambul. student statement 5: “colonial relics do not reflect the positive side of the dutch government. initially, i thought the dutch had a positive impact, giving us historical objects with beautiful appearances. but behind that, there was the struggle of local people who became slaves, coolies, and servants, which is very degrading to our society.” this statement is a concrete form of rejection of colonialism. after the teacher explained the dark side of colonialism in the form of cultural expansion, students began to realize that the dutch did not have good intentions. unlike the “glory” slogan of their maritime era, which symbolized prosperity for the dutch, the period brought worse conditions for the indigenous population. student statement 6: “if colonialism had not come, perhaps indigenous art would have remained preserved. the influence of colonialism in the field of art has marginalized the already developed local art.” the awareness of cultural marginalization due to colonialism serves as a bridge to relate past situations to the present (hogan, 2011). today, indonesians generally lack interest in their local art or feel inferior about consuming and practicing it. to some extent, indies art represents an attempt to erase cultural identity (houben, 2008). cultural identity is a symbol of a nation’s existence (setyawan & dopo, 2020). what grew in java was considered old-fashioned, uninteresting, and even worthless, causing people to lack self-esteem. local art symbolizes the indigenous population’s progress. colonial cultural politics led javanese society to forget their cultural identity. students perceived this syaiful amin et al., stambul comedy exploration in early 20th-century semarang: 11 phenomenon as a rejection based on academic concepts, leading to objective knowledge that aligns with the indonesian nation’s experience. this highlights the importance of specific knowledge that can guide learning into a meaningful dialogue. henrik’s secret testament about slaves working for him to sustain his life in terms of art and entertainment made students understand that colonialism not only marginalized culture but also involved slavery based on racial discrimination (the colonial government divided society into three categories: european, foreign eastern, and indigenous) (ross, 2012). these categories placed the indigenous population at the lowest social stratum, positioning them as slaves. in this context, becoming a slave serving white masters. student statement 7: “the roles divided in colonial society harmed indigenous people. this was shown by the slaves henrik owned. this not only degrades dignity but also humanity. i think colonialism should be rejected to avoid such conditions in the future.” understanding the condition of the indigenous population during the colonial period fostered a supportive viewpoint, aligned with past experiences. this serves as an essential knowledge source. such a thinking construct can be deemed critical and in-depth regarding the material, information, and facts students read. understanding such reading material determines the rejection of colonialism. the beauty or aesthetics of art born from colonialism is a fact. however, its formation process positioned the indigenous population unfairly. students then took a stance. art and other cultural products of that era only made the indigenous population appear “uncivilized” and morally “humiliated.” this includes not only the role of servants and slaves but also their bodies not being seen as part of civilization and development. such dehumanization was understood by students, with human exploitation evoking empathy for past events. upon further examination, empathy in understanding indies art development and colonial cultural products is an attitude that needs to be cultivated in students. learning should not only be a lecture or information transfer but also a process of knowledge and attitude construction (holmes, 2013). through analyzing readings on the impact of colonialism in art and its sociological context, students’ dominant attitude was rejection based on an academic concept. student statement 8: “so our ancestors were just slaves and servants. this is very insulting to our society’s honor. even in beautiful art, if there’s human exploitation, it should be rejected. beautiful buildings built through slavery would lose their beauty. it’s part of past sins and mistakes, very inhumane, i think.” dehumanization as a behavior or process that degrades human dignity can be found in historical events, including in the history of the development of indies art. the position of the native population as workers, servants, helpers, or slaves providing services without receiving appropriate recognition has stirred discontent among students. this emerges as a reaction to the discourse analysis behind the development of art, implying that aesthetics in art cannot be viewed as a singular entity. instead, how aesthetics are perceived and created also becomes an important object of study in the historical examination of art for students. although rejection was prominent and dominant in the class, some students still maintained their opinion to accept some impacts of colonialism. this view is dominated by observations of colonial remnants in semarang, such as the societeit de harmonie and other buildings showcasing colonial architecture as products of culture. additionally, they argue that without dutch colonization, the native population would not have been introduced to foreign arts such as stambul, kroncong orchestras, and the unique blend of dutch and indonesian architecture. student statement 9: “colonialism, to some extent, has brought changes to the colonial societies. these external changes harmonia: journal of arts research and education 24 (1) (2024): 1-1712 are a phenomenon that has also occurred in other nations. some former colonies have now become developed countries, like america. i think we need to appreciate some of the dutch colonial legacies, although we don’t have to appreciate everything, such as the process of slavery, for example.” this perspective represents the view of students who feel that colonialism has had a positive impact on the colonized nations. the example provided is quite concrete, namely the experience of the american nation. however, this acceptance must still be regarded as a form of tolerance in learning. learning sources and reading preferences determine the formation of students’ knowledge. student statement 10: “indies art has become a part of culture in indonesia, a historical relic that symbolizes dutch colonialism. we can accept it as both an idea and a fact. we can learn about colonialism through this art, so it must still be appreciated in the academic realm.” the above opinion is quite academic in viewing the development of indies art and its benefits in learning activities. it serves as an information source about the colonization and slavery process in the dutch east indies. this is an important statement that shows academic ability and awareness of the role of facts in the learning process of history. facts are the basis for developing students’ knowledge. indies art is a fact, as is the sociological situation surrounding it. therefore, as a series of facts, everything is important in learning. this statement marks the ideal acceptance of the results of exploring stambul comedy in early 20thcentury semarang. students’ rejection and acceptance of colonialism and its impact on the development of art in the dutch east indies, including stambul comedy in early 20thcentury semarang, have a strong basis of thought. this basis is born from a constructivist process: discovering, elaborating, and determining the meaning of learning (vygotsky & cole, 2018). the factors determining students’ rejection or acceptance include reading preferences, collaborative ability, and criticism. these three factors have proven to determine students’ attitudes and knowledge. the learning process, conducted systematically with contextual teaching and learning, bridges students’ existence to a position where they understand and can derive meaning from what they have learned. development of knowledge about colonialism and student reflection colonialism is still understood as a process of domination and occupation of one nation by another. however, the meaning of colonialism, as experienced by indonesia, has not been deeply comprehended, particularly in terms of deriving meaning from past phases. chalmers (2019) in his research states that colonialism is always identified with cultural expansion and the formation of a new culture that reflects the identity of the colonized society. this is similar to what happened in indonesia. he further mentions that education about the development of art during the colonial period can be a source for understanding the roots of racism in a former colony. understanding the development of stambul comedy in early 20thcentury semarang has fostered students’ understanding of the roots of racism, discrimination, slavery, and the marginalization of local culture. the history of art development during the colonial era, packaged with contextual teaching and learning, has proven to train students to interpret colonialism more deeply. the meaning derived from learning about colonialism includes the understanding that art does not always grow and develop purely as an aesthetic, but other aspects, such as discrimination and slavery, also support the development of such art. fischer-tiné and mann (2004), kantawala (2012), and lentis (2017) describe experiences in british india, where colonial-era art education became a process of forming an indian identity mixed with english identity, indicating an effort to create a new identity in the colony. they syaiful amin et al., stambul comedy exploration in early 20th-century semarang: 13 created artistic products such as orchestras and performances that appeared to involve a blend of cultures, allowing colonial culture to grow gradually. after gaining independence, india lacked an art education model that freed the society from such colonial views. some people even experienced historical amnesia, perceiving colonialism as a harmless process. this study’s findings have shown that the development of art during the colonial period can generate knowledge that fosters anti-colonial sentiment. this is key to a counter-colonialism process that needs to be continuously discussed in former colonies like indonesia, india, south africa, egypt, and other previously colonized countries. the history of stambul comedy’s development in early 20th-century semarang is quite relevant to form an anti-colonial stance. it has been proven that narratives delivered by teachers through formulated learning scenarios have generated various perspectives on rejecting colonialism, while a small minority still accept some impacts of colonialism for academic reasons. both attitudes are maintained as a collective commitment in democratic education, namely tolerance in protecting freedom of opinion and the views of others (sant, 2019). the new knowledge produced is based on factors such as reading preferences, collaborative ability, and critical examination of texts provided by teachers and further explored by students. this exploration emphasizes not only the discovery of information but also the autonomous process of exploring the found information (sears, 2002). it is then elaborated with findings from group peers. based on past experiences, such a scientific process becomes essential to continue using and developing in history education involving the material on the development of art during the colonial era. learning with such a constructivist paradigm has triggered students to seek and discover new insights, autonomously decide attitudes, and construct their own knowledge related to a discussion text proposed by the teacher. this learning approach has provided a learning experience that allows students to derive meaning from the stages they have gone through, including the most contextual meaning of indonesia’s colonial experience. in the end, exploring stambul comedy in early 20th-century semarang becomes relevant for teaching a more contextual and in-depth understanding of colonialism, reflected in students’ attitudes and views. learning that relies on discourse-rich texts has trained students’ critical thinking, collaborative abilities, and independent learning in reflecting on a past event. regarding indies art, the dominant attitude among students is an awareness that art development is not always synonymous with aesthetics; many aspects surround it. in the colonial development context, negative nuances more dominantly surrounded the development of stambul comedy in early 20th-century semarang, successfully constructed into new attitudes and knowledge about colonialism in students. conclusions this study focuses on analyzing the process of exploring stambul comedy in early 20th-century semarang by students as an integral part of history education with the development of art during the colonial period as the object of study. the issue of students’ knowledge about colonialism, which has not developed and tends to shift towards neutrality, necessitates an emphasis on colonialism education to create new knowledge about colonialism that contextually opposes past colonial practices. the development of indies art during the colonial period is quite relevant for initiating discussions about the contextual meaning of colonialism. the practices of slavery, racism, discrimination, and marginalization of the local culture surrounding the seemingly beautiful development of indies art have strongly driven students to formulate their attitudes and knowledge about colonialism autonomously. students’ initial knowledge about colonialism harmonia: journal of arts research and education 24 (1) (2024): 1-1714 showed poor results; they understood colonialism definitively as a process of occupation and domination, but the negative impacts of colonialism were not profoundly known. the exploration of narratives about indies art in the early 20th century with contextual teaching and learning has proven effective in training students to formulate their new attitudes and knowledge about colonialism. students’ acceptance and rejection of colonialism were influenced by the constructivist approach, which systematically enabled them to effectively discover, elaborate, and determine the meaning of learning. new knowledge about the influence of colonialism on the development of indies art was influenced by reading preferences, collaborative abilities, and critical examination of texts provided by teachers and further explored by students, both individually and in groups. ultimately, students’ knowledge about colonialism can become more contextual and in-depth when they can derive the meaning of learning through scientific stages. changes in attitudes and knowledge occur when students consciously receive the appropriate texts and methods in learning activities. utilizing the history of art development during the colonial period positively impacts students; the material is deemed important and predominantly acceptable for developing new knowledge and objective attitudes resulting from the autonomous process. references amin, s. 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(2022). developing the motifs and the strategies to survive of semarang batik creative industries in semarang central java province, indonesia. e3s web of conferences, 66 malang mask puppet presentation structure arrangement of the story rabine panji as cultural tourism commodity in malang regency east java endang wara suprihatin dyah pratamawati department of dance and art education state university of malang semarang street no 5 malang, indonesia e-mail: lestarisoewarto@yahoo.co.id received: november 28, 2015. revised: december 23, 2015. accepted: december 24, 2015 abstract this research aimed to describe the model of structure arrangement of malang mask puppet traditional art performance as the tourism commodity. the research method used was single case study with holistic single-case study approach toward the event program done by the traditional art performance group in malang. it is done as an effort to maintain the existence of tradition art through tourism art performance arrangement. the result was the performance structure of the story (lakon) of rabine panji in malang mask puppet performance. malang mask puppet has been performed in shorter duration so that it became more interesting for the purpose of tourism. keywords: arrangement; malang mask puppet theartrical drama; presentation structure how to cite: pratamawati, e. w. s. d. (2016). malang mask puppet presentation structure arrangement of the story rabine panji as cultural tourism commodity in malang regency east java. harmonia: journal of arts research and education, 16(1), 66-74. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6021 harmonia : journal of arts research and education 16 (1) (2016), 66-74 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v16i1.6021 p-issn 1411-5115 e-issn 2355-3820 was the icon of malang in the 70’s. the characteristics of this artwork are: 1) tells a heroic story (cerita banjo), 2) all the dancer use mask of the characters played in the performance, 3) puppeteer (dhalang) is a man who is responsble to deliver the story and the dialog because the characters in the performance do not deliver their own dialog, except for patrajaya that wears only half-face mask, 3) the stage concept follows the specified structure and cannot be changed by the puppeteer. in the past, malang mask puppet developed and flourished in some of the regencies in malang such as dampit, precet, wajak, ngajum, jatiguwi, senggreng, pucangsanga, jabung and kedungmonggo, but now there are only four mask puppet group that are still active and three of them experience downsizing, and now there are introduction mask art (seni topeng) performance is one of the people’s traditional art. especially, malang mask art performance, it is believed that the spirit of the ancestor can be summoned onto the mask that is used for dancing, it is done so that the dance performed will be more attractive to the audience. besides malang, mask art performance is also flourished and develops across the nation such as central java, cirebon, bali. sometimes, the function of mask art performance was connected to the initiation ceremony, a ceremony that is related to the human’s life cycle (robby 1979, p. 19) or the worship of the ancestor’s spirit such as berutuk mask in bali (soedarsono, 2011, p.2). malang mask puppet traditional art endang wara suprihatin dyah pratamawati, malang mask puppet presentation structure... 67 only four mask puppet group remaining (hidayat, 2008, p. 24-27). some of the mask puppet group that still exist are: 1) karya bhakti mask puppet group from jabung village led by parjo; 2) sri marga utama mask puppet group from glagahdawa village, tumpang led by rasimun (deceased); 3) asmoro bangun mask puppet group from kedungmonggo village, pakisaji led by mbah karimun (deceased); 4) candrakirana mask puppet group from jambuwer village, sumber pucung led by bardjo djiyono. malang mask puppet theatrical dance performance presents a heroic story originated from oral tradition, so the form and presentation structure of the actor is based on the memory and the variation done by the puppeteer. because of that, the difference of the shape, the presentation structure, and also the performance variation of malang mask puppet from each group are varied and unique. the uniqueness are not only influenced by the puppeteer’s memory factor that is usually the leader of the dance studio, but it is also influenced by the people who live around the studio. the threat of extinction also becomes the main problem because there are no written sources that can be made at the documentation and reference in the future. research, documentation in the form of cd, written documentation, the development of the teaching media, and others activity to record the traditional art with malang characteristic such as malang mask puppet are highly needed, not only for maintaining the existence of the traditional art performance but also for the purpose of tourism and learning based on local wisdom. if art performance is connected to the tourism activity, there are some things that need to be carefully thought so that the art performance is suitable for the audience who comes from different background, including the length of the tourists’ visitation time. art performance needs to be arranged as a tourism object that is suitable for the location and the audience. the tourists who visit a developing country can easily access the art performance offered, for example, a tourist in new york can enjoy a performance by only buying a 20$ 100$ ticket (soedarsono, 1999, p. 114). but in malang, the tourists cannot easily enjoy the art performance like in jogjakarta, surakarta, and bali. based on that fact, an art performance in short duration is needed so that it can be enjoyed by the tourists without spending too much time. the research problem was how the presentation structure of the story “rabine panji” mask puppet was arranged as the cultural tourism commodity in malang regency east java. some of the researches that had been done were: 1) malang mask puppet: symbolic structure study (hidayat, 2005); 2) the meaning of 4 main characters of a malang mask puppet (hidajat, 2000, p. 3); 3) developing teilerin multimedia interactive (tmi) teaching media to support dance learning in malang (wida rahayuningtyas et al, 2015); 4) bapang mask dance (robby hidajat, 1996); 5) presentation structure of lakon rabine panji in kedungmonggo (wara et al, 2013). this article about malang mask puppet that had been written were: 1) open your mask: traditional paradox of mask puppet of malang, east java, indonesia (2014); 2) aesthetic-symbolic presentation of panji in the wayang topeng malang (2015); 3) the symbolic meaning of the role of the wayangtopeng in malang, east java, indonesia (hidayat, 2015); 4) the symbolic meaning of the four main characters in malang mask puppet (hidayat, 1996). traditional art performance dance as a performance is a dance performed for the purpose to give aesthetic experience to the audience. the dance is performed so that it can be appreciated as an artwork and really entertain the audience. because of that, dance as an art performance needs more serious observation as an artwork than just a mere entertainment. therefore, dance is classified as an art performance because it prioritizes the artistic value more than the other purpose harmonia : journal of arts research and education 16 (1) (2016): 66-7468 (windarti, 2003, p. 68). seen from its form and the development, art performance can be divided into traditional and modern art performance. traditional art performance usually is related to religious activities, social integrity affirmation, education and aesthetic pleasure experienced by both the commoners and the royal family. traditional art is a cultural product that is passed from generation to generation and it lasted for a long time and is often anonymous (bastomi, 1988, p. 14). people’s traditional art is also sacred and mystical, it prioritizes the soul expression that is dominated by the will and belief that the imitation of the movement can summon the spirit of the ancestor (soedarsono in kusumastuti 2009, p. 36). art performance and tourism malang is one of tourism destinations that is often visited by domestic and international tourist. malang regency is rich of culture, it can be seen from the various dance studios that flourish around the area, especially mask dance studio and temples, batu is blessed with the beauty of the mountains that famous with “apple picking tour” and “strawberry picking tour”, while the downtown area of malang is famous as the shopping center and “seasonal” event to attract the tourist. economically, the development of traditional art performance to become art tourism can be beneficial for all the parties involved in the area (the people, the artist, and the local government), if it is seen from the empowerment, the development of a traditional art performance to become an art performance for tourism will increase the number of the culture in the area because the presentation of the art performance for tourism is different from the original performance. from creativity side, the development of a traditional art performance to become a tourism art performance will encourage the artist to improve their creativity in designing the art performance that is appropriate as a tourist attraction. malang mask puppet art performance is casuistic, some of mask puppet studios still held a conventional performance so people usually watch malang mask puppet all night long. certainly, it will take a lot of the tourists’ time that is already very limited. one artist that thinks about the tourism development in malang is a young artist named tri handoyo. he is the grandson of mbah karimun (deceased), the founder and the owner of asmoro bangun mask puppet group from kedungmonggo village, pakisaji. he put a lot effort in regenerating mask puppet players, presenting mask puppet players, or even pethilan dance. in the case of the pethilan dance, the artist works together with one of the lecturers from state university of malang. they worked together to make a good presentation of bapang dance, gabang sabrang, gunung sari, sekarsari, and patih that are performed in 4 minutes duration. it was done, in hope that the performances in short duration will become the local material in schools and also become the dance material for tourism purpose (rahayuningtyas, 2012). there are some stories (lakon) that can be presented in the malang mask puppet performance of kedungmonggo village, pakisaji regency. those performances are panji reni, rabine panji (the marriage of panji), panji laras, sayembara sada lanang, geger gunung wilis, keong emas, mlatih putih edan, walang sumirang-walangwati, badher bang sisik kencana and kayu apyun (henri et al, 1997, p. 57-71). the duration of each story is about 9 hours, 8:00 pm until 5:00 am. those performances with long duration is not suitable to be presented to the tourists. due to that condition, the artists in asmoro bangun studio kedungmonggo village are motivated to make the stories to be more interesting by presenting it as a tourism commodity. one of the stories that had been remade into a tourism presentation is the story of rabine panji. it was arranged into an hour performance by handoyo and the other artists in the studio. the presentation of the arrangement endang wara suprihatin dyah pratamawati, malang mask puppet presentation structure... 69 of the mask puppet done in rabine panji by kedungmonggo mask studio can be considered as the art performance presentation and it can be used as the traditional art arrangement based on cultural tourism. presentation structure of malang mask puppet art performance talking about the structure of the presentation of an art performance, it means that there is order in presenting the performance. the order of the presentation is the opening part, the main part, and the closing part. no matter how the order of the presentation is, it is worth to be discussed about. because even though the form of the art performance is the same, the presentation can be different. there is an art performance with the same term but the structure of presentation is different. on the other hand, there is an art performance with the same structure of presentation, but the term is different (sedyawati, 1981:26). according to sedyawati (1981, p. 26-29) it is common because art performance that grows in an area is always connected to the cultural factors which include economic, politic, and social. besides, there are internal and external factors that influence the form of the performance itself. the will of the players, the desire of the audience or the people will also have a great influence. in the structure of malang mask puppet performance, the opening is called giro (murgiyanto & munardi, 1980, p. 4045). according to wara et al (2012, p. 263) the term giro in the performance means the melody of the music that comes from the gamelan instrument and is played as the welcoming music and as a sign of the performance in an area. in its glorious era when malang mask puppet was very popular, the people were willing to wait in a very crowded line just to watch the performance (wara et al, 2013, p. 23), but now even in the annual legian monday performance of kedungmonggo mask puppet, there are only few audience consisting of students that are assigned to watch the performance. gendhing giro or the melody of girl that plays in the performance of malangan art work has varieties of structural order, it depends on the purpose of the performance. giro that is common for mask puppet according to murgiyanto and munardi (1980, p. 40) is “...giro senenan and giro endra”. after the oscillation of giro, the story is opened by the opening dance, patih beskalan dance, then it is proceeded to the main part, the presentation of the story, as explained by robby and handoyo (wara 2013, p. 27-28). generally, the structure of the presentation in malang mask puppet performance consists of: 1) jejer of kediri/java kingdom; 2) grebeg kediri/jawa army; 3) jejer sabrang kingdom; 4) grebeg war; 5) jejer sari dan patra mountain; 6) jejer kediri/jawa kingdom; 7) puputan war and closing. method the method used in this research was a case study and the approach used was holistic single-case study (yin, 1997, p. 46). there were some reasons why the method was chosen, they were: 1) the research subject is an important activity; 2) unique; 3) the purpose was to uncover a phenomena and it was done by an organized group of people (yin 1997, p. 47-50). this research aimed to trace a phenomenal event and it could not be manipulated. it meant the data was collected from a real happening not an experiment. the data were collected from various sources (yin, 1996, p. 121), they were: 1) interview, 2) observation, and 3) documentation study. the researcher conducted a deep interview with the source person that was considered as someone who is capable in answering the question of why and how the arrangement of the structure presentation was done. the source person was chosen by using snowball sampling technique. in this research, one of the key source person was tri handoyo as the heir of the kedungmonggo mask puppet studio that until now still run and develops the studio. the procedure of the research was: harmonia : journal of arts research and education 16 (1) (2016): 66-7470 representation of human characteristics. it can be seen in the characters played in mask puppet dance that used expression symbol such as cry, laugh, sadness, embarrassment, etc. and so does the shape of and color the mask that describe the character of the mask (soedarsono, 1974). the story of panji emerged in the 13th century, in the glorious era of singosari kingdom, but winarno and widyatmoko (1998:241) said that the art of the mask had emerged since the era of the kediri kingdom in the 12th century and started to develop in the glorious era of majapahit kingdom. geographically, the spread and the growth of malang mask puppet is divided into two areas, east malang (tumpang regency and jabung regency) and south malang (pakisaji regency and sumberpucung regency). the presentation structure of the story of “rabine panji” asmoro bangun mask studio version the stories that are usually played in a performance are: 1). panji reni, 2) rabine panji, 3) panji laras, 4) sayembara sada lanang, 5) geger gunung wilis, 6) keong mas, 7) mlati putih edan, 8) walang sumirangwalangwati, 9) badher bang sisik kencana, 10) kayu apyun. while in east malang joko imam takyur area, the stories that are performed are: 1) panji krama, 2) sekar tenggek lunge jangge, 3) gajah abuh, 4) walang sumirang, 5) tumenggung jayakusumu, 6) rabine gunungsari, 7) gunung sari kembar, and 8) bethara kala lahir (especially for ruwatan). out of all the variety of the stories, the stories that are performed and have the same title are only 1) rabine panji, 2) sayembara sada lanang and 3) walang sumirang walangwati. the presentation structure of the two area is also different. the transcript’s order of east malang is 1) jenggala manik scene, 2) pertapaan kendalisada, 3) pertapaan pantai selatan, 4) ngembut nation krajan island scene, 5) jenggala manik nation, 6) prabu kudawanimpati dan sekartaji candra kirana scene, while the transcript’s order of south malang is 1) opening dance , 1) interviewing the source person using structured and unstructured question; 2) observing the performance of rabine panji story that was performed in 2 hours duration at the research location, asmoro bangun mask puppet studio; 3) studying the previous studies related to malang mask puppet. result and discussion mask puppet in kedungmonggo village is a quite old tradition, and is developed from generation to generation like other traditional art. until 2009, it is mbah karimun generation (died on february 14, 2010) and now it is passed to his grandson as the fifth generation. some of his grandchildren is a dancer, drum (gendang) player, gamelan player, and mask artisan. asmoro bangun mask puppet became very successful in early 1970’s until 1990’s. mask puppet dance was so popular so that malang became one of the tourism destination in east java. its glorious era brought mbah karimun and his crew to perform everywhere, including at negara palace in soeharto era. because his seniority in mask field, mbah karimun also became a practitioner lecturer in wilwatika art school surabaya and surabaya education university. around 1990’s kedungmonggo mask puppet was made as one of the cultural asset in malang regency. it also became the art ambassador to represent malang regency in art festivals outside malang. at that time, it could be said that it was the golden age of mask puppet art performance from kedungmonggo village. the presentation structure of the story“rabine panji” the story delivered in malang mask puppet is centered on the story of panji and consistent in delivering oral literature object. so sometime in the presentation, there are differences in the presentation from one group to another. the philosophy of mask puppet dance is taken from the story of panji. malang mask puppet dance is the endang wara suprihatin dyah pratamawati, malang mask puppet presentation structure... 71 beska lan patih; 2) jejer 1, jenggolo kingdom (java), 3) jejer 2, sabrang kingdom, 4) gagal war, 5) kaputren, 6) sigek/jeda, 7) jejer kediri, 8) kahyangan scene, 9) alas 1, 10) alas 2, 11) alun2 kediri. based on the story, malangan mask puppet is always performed in parts that are correlated to each other (kamal, 2010, p. 60). the presentation structure of the story “rabine panji” in kedungmonggo for tourism there are two versions of the story “rabine panji”, full duration version and short duration version. the second version is the one that can be made as cultural tourism commodity. the length of the duration depends on the request of the host. the full duration performance (all-night long) is sometime performed for the celebration event for example village cleansing, wedding, khitanan (circumsion ceremony), etc. while, the short duration performance (2 hours performance) is performed by request of the host or other events. sometimes, there is a group of tourist that requests a short duration performance because they do not have a lot of time to watch the long one. the brief presentation is important because the modern people have very high mobility. according to soetarno (2000), the external social changing of the people causes social mobility that brings change on a sacred relationship into a secular one. because of that, a short duration performance is suitable for the purpose of tourism. the change can be adjusted with the trending theme in the society (soetarno, 2000, p. 7). the order of the presentation structure for tourism is done in 2 hours using the following story’s transcript: 1) jejer , sabrang kingdom; 2) jejer kediri; 3) kaputren; 4) heaven; 5) alas 1, told a story about the return of asmoro bangun from heaven, he met buto and defeated him, then asked buto to become his guard; 6) alas 2, in the middle of the journey, he also met sabrang who wanted to take wijaya kusumo flower; 7) alun2 kediri, asmoro bangun met sekartaji’s father, her father asked him whether asmoro bangun got the requirements asked by sekartaji, it also told the story of asmoro bangun and dewi sekartaji marriage. some alternatives for the development art performance as local tourism commodity there are three actors that hold the role to manage the tourism system. the three actors are the tourism activist from various sectors. generally, the activist is classified into three main sectors, the people, the private sector, and the government (pitana and gayatri, 2005). the development of art performance to become an art for tourism is not easy, there are some criteria that must be obeyed such as 1) keeping the originality in the presentation like the concept of costume, make up, music arrangement or back sound; 2) the presentation structure. the following is the roles of traditional art as commodity in developing the local tourism: increasing the local government revenue and the local people’s income. because with the development of the tourism in certain area, it will become the tourism destination. the effect of the development is that the people on the area are motivated to give service to the tourist, the service can also be a product with the local signature. revitalizing the position of traditional art in society so that it can be the local pride. some of the local people are cynical and consider the traditional art boring, uninteresting, and out of date. the revitalization is needed because it can revive and encourage the artist to be loyal to art. helping the conservation effort of traditional art because it is loved by the people and is considered as their identity. the support can be from the artist, local government, all academia from the beginner to higher education, the chief of the village and all related department such as tourism department and education department. becoming the source of income for the artist and the people involved. placing the art performance as local, regional, national, and international touharmonia : journal of arts research and education 16 (1) (2016): 66-7472 rism asset. promoting the tourism art performance of the area so that it can be known. especially in the remote area, it becomes the effort to popularized the area. the maintenance of originality the originality of a developed art performance need to be maintained. in presenting the performance, there are some things that need to be carefully thought such as costume, make up, music and stage arrangement. the costume worn by the players in the performance need to be based on the original art. even though the fabric quality does not have to be the same; the form, the shape, the color, and the design still have to refer to the original art. it is done to keep the perception of the audience about the art performance. the make-up is different in each performance. if the dancers use mask, then what is meant by make up is the form of the mask, so the color and the ornament of the mask cannot be changed. the music arrangement in every art performance has to represent the signature characteristic of the art, both the melody and the way the instrument is played. the change of the instrument, song, the way the instruments played, the music arrangement, or even adding new instrument for the purpose of the tourism are allowed as long as it still refers to original art. the staging concept covers not only the design of the stage arrangement and lighting but also includes the presentation of the plot or the presentation structure of the performance. the presentation structure the arrangement of the presentation structure of the art performance should consider some aspects, both the main and supporting aspect including the time and the product quality. first, time. usually traditional mask puppet performance is held in a long duration, but for the purpose of developing tourism product, it can be performed in 1 or 2 hours. the shortening of the duration is done by reducing the scene or the length of each scene, but the essence of the story cannot be omitted. as stated by soedarsono that tourism art is an imitation of the original one (pitana dan gayatri, 2005) second, the product quality. the quality aspect of mask puppet was related to the artistic side of the movement, costume, music arrangement, language style, so in arranging the tourism product, the art detail of those elements need to be carefully thought. the main aspect of the mask puppet performance that needs to be closely observed is the presentation of movement in malang style that cannot be changed, malang style has its own structure of form and terms naming of presentation that are different from other movement from other area such central java movement style. for example, in malang movement style, the name of walking is ”labas”, while it is called lumaksono in central java. the costume worn by the puppet’s players also has to be similar to the original one. the signature back sound music of malang mask puppet performance is gamelan barreled with pelog that the locals called as senderan barrel, using the order patet as follow: 1) patet wolu ageng, 2) patet wolu alit dan 3) patet serang. the language style used in malang mask puppet performance is the local language in east java that is known as eastern java dialect. conclusion the presentation of malang mask puppet was arranged using case study approach, the collaboration potential, attention from the local government, and the local young generation. the image of malang will become an extraordinary attraction for the development of tourism specifically in malang and generally in east java. the presentation structure for the purpose of tourism is done in two hours using the order of the following transcript: 1) jejer , sabrang kingdom; 2) jejer kediri; 3) kaputren; 4) heaven; 5) alas 1, told a story about the return of asmoro bangun from heaven, he met buto and defeated him, then asked buto to become his guard; endang wara suprihatin dyah pratamawati, malang mask puppet presentation structure... 73 6) alas 2, in the middle of the journey, he also met sabrang who wanted to take wijaya kusumo flower; 7) alun2 kediri, asmoro bangun met sekartaji’s father, her father asked him whether asmoro bangun got the requirements asked by sekartaji, it also told the story of asmoro bangun and dewi sekartaji marriage. mask puppet performance for the purpose of tourism is usually done all night long, but it is made into two hours’ duration performance by: 1) reducing some unimportant scene; 2) reducing the duration of each scene. however, the costume, the music, and the language style that become the characteristics of malang mask puppet are maintained to keep the originality so the performance is still interesting for the tourists because they want to watch malang mask puppet in short duration. references bastomi, s. 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(2005). sosiologi pariwisata. yogyakarta: andi offset. 141 the meaning of political conflict in the ketoprak “satru ing ngepal” nur sahid, junaidi junaidi, nur iswantara institut seni indonesia yogyakarta, indonesia submitted: 2023-01-30. revised: 2023-04-07. accepted: 2023-06-21 abstract this study aims to analyze the meaning of signs related to political conflict between characters in sineprak “satru ing ngepal” (sin). the political conflicts between these figures will be analyzed for their meaning by relating them to the social-historical context of indonesia in the new order and reformation eras. the research uses a theatrical semiotic theory approach, dividing theatrical performances into 13 sign systems. signs related to political conflict between figures will be analyzed denotatively and connotatively. the content analysis method from kriipendorf was used to analyze the data. the results of this study indicate that senopati’s political conflict with mangir semiotically refers to the meaning of the political conflict between the new order and reform rulers and the opposition. the enmity between senopati, juru mertani, and mangir refers to the meaning of the conflict between wiranto and prabowo subianto. pembayun’s marriage to mangir means prabowo subianto joining president jokowi’s government for 2019-2024. pembayun’s courage to fight for mataram peace with mangir’s fief land refers to ra kartini’s emancipation. keywords: political conflict, theater semiotics, denotative meaning, connotative meaning, content analysis how to cite: sahid, n., junaidi, j., & iswantara, n. (2023). the meaning of political conflict in the ketoprak ”satru ing ngepal”. harmonia: journal of arts research and education, 23(1), 141-153 harmonia: journal of arts research and education 23 (1) (2023), 141-153 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i1.42447 of kings in east java (majapahit to islamic mataram) to persia, india, china, etc. the ketoprak expansion includes all javanesespeaking communities, such as lampung, central java, the special region of yogyakarta (diy), and east java. when stage ketoprak such as sapta mandala kodam tujuh diponegoro from yogyakarta, siswo budoyo dan wahyu budoyo from tulungagung, and others began to recede in the 80s, they tried to adapt to changing times to maintain existence. technology in the entertainment industry is increasingly intensive, making ketoprak managers respond with a willingness to adapt (sahid, 2000; purnointroduction ketoprak is a traditional javanese theater that initially came from surakarta and then developed rapidly in yogyakarta until now. ketoprak is one of the javanese folk theater arts besides ludruk, srandul, wayang wong, sandur, etc (hidajad et al., 2022). a performance of ketoprak involves elements of dance, and drama (dialogue) is conducted by the gamelan (bandem and murgiyanto, 1996), with the dialogue in javanese, both kromo inggil and ngoko. ketoprak usually adapts stories from javanese historical legends since the reign corresponding author: e-mail: nursahid@isi.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (1) (2023): 141-153142 mo, 2013). this aims to satisfy the audience, such as when watching a visual stage performance (dipoyono, 2018). until now, the only remaining stage ketoprak exists in the pati district of central java province (purnomo, 2013). according to its development, there are two types of ketoprak: the conventional and the garapan (nusantara, 1997). nusantara states that the conventional ketoprak has these characteristics: (1) not using drama text/script, (2) dramatics referring to wayang purwa, (3) improvised dialogue, (4) intuitive acting and blocking, (5) realistic dress and make-up, (6) conducted by gamelan slendro and pelog, (7) can be more than six hours of show duration, and (8) flexible themes and storylines (plots). in contrast, the ketoprak garapan has the following characteristics: (1) using drama text/ script, (2) dramatic structure referring to western theater dramaturgy, (3) ordered and patterned acting and blocking, (4) settings do not necessarily use kelir (picture screens), (5) lighting and sound systems with modern technology, (6) conducted by instruments played in either diatonic or pentatonic scale or even both, (7) show duration not exceeding 2.5 hours, and (8) it is not mandatory to use keprak and tembang. based on the explanation above, the sin performance is a ketoprak garapan. in today’s digital and internet era, it turns out that ketoprak can still exist on youtube. during the outbreak of covid-19, mr. bondan nusantara, one of the ketoprak reformers of yogyakarta (hatley, 2008), has initiated several ketoprak artists in yogyakarta to produce many ketoprak performances, recorded using television production standards and uploaded on youtube. ketoprak shows on youtube have many viewers who like them, subscribe, and do not miss the ads. the ketoprak creators of yogyakarta name those ketoprak shows on youtube the sineprak, which stands for sinematografi ketoprak or ketoprak cinematography. some sineprak on youtube are such as korban, megatruh, ngandut wohing katresnan, gelo, uger-uger lawang, emprit buntut bedhug, satru ing ngepal, pangeran samber nyowo, and many others. most of these sineprak are produced and funded by the dinas kebudayaan diy (the department of culture of yogyakarta) for 2021-2022 (dyah, 2021). the sineprak entitled satru ing ngepal (‘the enemy at the border ~eng.) is interesting to observe. satru ing ngepal (abbr. sin) is a version of the mangir wonoboyo story set during panembahan senopati; he became the first islamic mataram king and ruled during 1586-1601 (poesponegoro & notosusanto, 2008). even though sin is a type of ketoprak performance based on javanese folk theater, it worked on the concept of modern theater dramaturgy. the formal involvement can see this of directors, scriptwriters, lighting directors, setting managers, etc., as is the case in modern theater. herry suryono as the scriptwriter for sin, joanna diyah as the director, sahrul yulianto as the gamelan accompaniment director, beni sw as the artistic director, lintang raditya as the lighting director, and bambang jati et al. as the actors. sin is a new interpretation of the legend of mangir wonoboyo, which has been quite wellknown to the people of yogyakarta since hundreds of years ago. sin tells the story of the political conflict between panembahan senopati as the king of mataram, and mangir wonoboyo, who controlled the perdikan land of mangir (perdikan = tax-free). mangir wonoboyo and his followers lived in perdikan land of mangir, which was privileged to be tax-free by panembahan senopati (hatley, 2008). this was because mangir wonoboyo’s father, ki wonoboyo, had an excellent service in establishing the mataram sultanate. thematically, sin play is interesting because of the problem of political conflict, which factually means that it can refer to political conflicts in indonesia since the new order to the reformation era. the conflict between senopati and mangir wonoboyo is a symbol of the conflict between the authorities and the opposition outside power. the conflict between pemanahan and juru mertani is a symbol of internal nur sahid et al., the meaning of political conflict in the ketoprak “satru ing ngepal” 143 conflict among the power holders. the conflict between mangir wonoboyo and pembayun symbolizes the dishonesty of the political elite in holding power. apart from containing elements of conflict, sin also includes the problem of the struggle for emancipation, especially that which was carried out by pembayun in the context of fighting for the unity of mataram and mangir. from a semiotic perspective, political conflicts in sip are signs that must be given a different meaning. pembayun’s struggle for emancipation is also a sign that needs to be interpreted. the political conflict does have meaning not only denotatively but also connotatively. socio-historically, the connotative meaning of conflict in sin has a context with the conditions of indonesia in the new order and reformation era. therefore, the meaning of signs in sin is relevant to today’s socio-historical conditions. in this regard, the author examines sin with a theater semiotics approach since the signs in the sin’s performance are pretty significant. before studying semiotics, an aesthetic analysis will be carried out using the morphological aesthetic theory of thomas munro. sin has not been researched until now, both from the aspect of the script and the performance. thus, this study can be continued because the originality can be accounted for. based on the above analysis, an important issue that needs to be explored in sin performances is the presence of signs whose meanings are relevant to indonesian society today. so, it is necessary to examine them with the theory of theater semiotics. this study aims to analyze the meaning of signs related to political conflicts between figures in sin. the political conflict between these figures will be analyzed for its meaning by relating it to the socio-historical context of indonesia in the new order and reformation era. meanwhile, pembayun’s struggle for emancipation will be linked to the historical context of the pre-independence era. in the following, we will briefly describe the theory of theater semiotics used to study sin. in the beginning, semiotics was a theory of approach originating from language. then, semiotics developed into various disciplines such as theater, film, dance, design, photography, music, mathematics, etc. semiotics can be seen explicitly or implicitly (cobley, 2016). this is related to the definition of semiotics, which means marking, also because semiotics is a science that studies the system or structure of signs, sign processes, and sign functions (hénault, 2016). the semiotics in this study focuses on theater semiotics. in the perspective of theater semiotics, the signifier is the work itself as an “object.” at the same time, the signified is an aesthetic object that resides in the collective consciousness of society (elam, 2005). the performance text can be considered a macro sign, and its meaning is determined based on the total effect. before the analysis phase begins, this macro signal must be subdivided into smaller units. thus, theatrical performance is not a single sign but a network of semiotic units in which systems work together. tadeusz kowzan (aston & savona, 1999:105) classifies there are 13 sign systems in theater: words, expression, tone, gesture, motion, make-up, hairstyle, costume, prop, setting, lighting, music, and effects sound or sound. these thirteen sign systems are macro subsigns that work interrelated with each other in building meaning (sahid, 2019:32). semiotics is related to the meaning of an object. in this study, the analysis of meaning is focused on signs related to the political conflict between the characters in the story. the relationship between theatrical signs associated with the character’s power conflicts will be analyzed simultaneously. the aim is to obtain a complete meaning of the sign (sahid & junaidi, 2022). in the story characters, most signs are attached: words, expressions, tone, gestures, movements, make-up, hairstyles, and costumes. method the study of sin is a type of qualitative research. the selection of this research sample used a purposive sampling harmonia: journal of arts research and education 23 (1) (2023): 141-153144 technique, namely sampling adjusted to the research objectives. at the same time, the method used was the content analysis method from klauss krippendorff. the content analysis method aims to create replicable and valid formulations by interpreting and coding textual material (krippendorff, 2004). the content analysis method can determine the presence of certain words or concepts in a text or set of texts. the researcher measured and analyzed the existence, meaning, and relationships of such words and concepts, then made conclusions about messages in texts, writers, audiences, and even the culture and time of which they were part (maria, 2018). based on the text, it can cover a wide range of units such as books, essays, interviews, discussions, newspaper headlines and articles, document histories, speeches, conversations, advertisements, theater, films, performing arts, literature, informal conversations, etc. the content analysis method is a research technique for making replicable and valid data inferences considering the context (arafat, 2018). as a research technique, content analysis includes specific procedures for processing scientific data, including the stages of inventory, identification, and interpretation of data. the explanation is as follows: (1) the inventory stage, which is an inventory of the dialogues of the sin story characters related to political conflicts, both those stated explicitly and implicitly; (2) stages of identification, namely identifying dialogues that can be considered as signs; (3) stage of interpretation, namely interpreting signs related to political conflict related to the socio-historical context of the new order and the reformation era to obtain relevant meanings. results and discussion aesthetic analysis this sin aesthetic study uses the theory of morphological aesthetics from thomas munro (1967), who said that morphological aesthetics examines elements, details, ideas, composition, structure, and the interweaving of elements. munro’s theory is strengthened by the theory of paradox aesthetics in which jakob sumardjo (2006) states that the two-patterned paradox aesthetic emphasizes twin oppositions in the character of opposites, not complementarity. paradox contains unity and refers to contradictions that cannot be reconciled (napier, 1986). napier’s opinion reinforces the opinion of jakob sumardjo. the aesthetic elements by munro and sumardjo are explored simultaneously when analyzing the structure and texture of sin for a more systematic and directed aesthetic analysis. kernodle & kernodle (1978) said that the dramatic values of theater works such as sin include structure (plot, character, theme) and texture (dialogue, mood, music, and spectacle). structure and texture of sin the aesthetic elements of sin used by munro and sumardjo are explored when analyzed. sin’s structure and texture are explored simultaneously for systematic and directed aesthetic analysis. dramatic values of theater work such as sin are included structure (plot, character, theme) and texture (dialogue, mood, music, and spectacle). structure the structure of the drama text consists of plot, characterization, and theme. these three elements form a unified relationship and determine one another. here’s the study: plot the plot consists of the story’s opening, rising tension, complications, climax, and resolution. the opinions about the plot above appear to complement each other (kernodle & kernodle, 1978; waluyo, 2007, soemanto, 2001). the sin plot tells of the conflicts between panembahan senopati, the king of mataram, and mangir wonoboyo due to mangir’s unwillingness to hand over the perdikan land shared with the community to senopati. the sin plot uses a straight plot type, from the opennur sahid et al., the meaning of political conflict in the ketoprak “satru ing ngepal” 145 ing (the time when panembahan senopati held a meeting with the officials, discussing the defiance of mangir wonoboyo), rising tension of the story (the panembahan senopati’s anger to defeat mangir wonoboyo), complication (retno pembayun offered to be the leader in annihilating mangir wonoboyo), climax (retno pambayun managed to win over mangir wonoboyo’s heart, so she did not go to war, but instead married him and pregnant), to the resolution (retno pembayun managed to invite mangir back to senopati, but on the way, purboyo stabbed him to death using the spear of kyai plered). the sin plot is arranged chronologically based on clear cause and effect from the beginning to the end. characterization characterization is the character appearance process as the character role carrier in a play, with physiological, sociological, and psychological dimensions (satoto, 1993). characterization presents and can be imaged through dialogue because, in drama, a conversation is an event. the sin story develops due to the great conflict between senopati and mangir wonoboyo. based on the depiction, mangir was a brave man with high self-esteem and empathy for his people. he did not give up on senopati, who tried to seize his ancestral land, proven by defending his homeland from the evil intentions of senopati, who would seize it. king senopati was greedy, stubborn, and always used his war power to subdue other kings or rulers, including mangir. pembayun was a woman with a cunning character who used her beauty to defeat mangir. on the other hand, pembayun also loved mangir; when purboyo killed mangir, she cried as if feeling lost. pemanahan, the adviser, with his wise character, refused the senopati’s plan to exterminate mangir since his parents had contributed to mataram. juru mertani, a senopati’s adviser, believed that mangir should be killed since mangir’s parents served the mataram. purboyo was pembayun’s older brother, who killed mangir on senopati’s orders using the spear of kyai plered. the aesthetic perspective of sumardjo (2006) and napier (1986) says that characters have contradictory traits. mangir’s character (defending the birthplace) contradicts senopati (willing to seize mangir’s land), pemanahan (rejecting killing mangir) contradicts juru mertani (approving of killing mangir), pembayun (loving mangir) contradicts purbaya (killing mangir). in addition to mutual contradictions, the characterization among characters also forms a balance with each other, which makes the story dramatically more harmonious. theme artwork creators use themes as the basic idea for story development. the theme is the main idea contained in the drama (waluyo, 2007). in drama, the theme will be developed through a dramatic plot. authors can convey the theme directly or implicitly. authors bring themes together with events since they have to combine facts and themes into a coherent experience. theme functions as a unifying element of other story elements, such as characters, plot, and dialogue (kernodle & kernodle, 1978). all events above lead to the problem of mangir, who was unwilling to hand over the perdikan land to the king of mataram; for mangir himself, the land was an inheritance that must have been maintained. however, mangir’s persistence and courage failed since he was captivated by pembayun’s beauty, which led him to marry her and agree to surrender to senopati. based on various events and problems, it can be formulated that the theme of sin is that being unable to resist negative temptations will fail the struggle to reach noble goals. in munro’s perspective, the structure is the unity of plot, characterization, and theme. element is one of the structures, so there are plot, characterization, and theme. the details are the elements in the plot, characterizations, and themes. also, the theme is synonymous with the idea. munharmonia: journal of arts research and education 23 (1) (2023): 141-153146 ro (1967) said that the relationship between elements in a work of art determines its aesthetics. in sin’s structure, the theme of being unable to resist negative temptations will fail the struggle to reach noble goals becomes the source of plot development and characterization. the relationship between elements, such as themes, characterizations, and plots, is significant in forming unity. texture texture in theatrical performance is created by sounds and language images that are subtle yet powerful enough to control moods with materials, colors, and movement from settings and costumes (kernodle & kernodle, 1978). texture makes the dialogue become a written text heard, character traits appear, and the form of problems is palpable by actively enjoying the performance (soemanto, 2000). in theatrical performances, mood and tempo can determine the mixing of several elements, including spectacle and language (dialogue). sin’s show did not use screens and keprak. an atmosphere full of anger and tension existed here. for example, the scene where senopati asks palace officials to suppress mangir’s disobedience is always spoken in a loud voice, fast tempo, firm, serious, high-pitched, and with an expression full of anger; his hand gestures move forward (scene 1). another tense atmosphere was seen when mangir discovered pembayun’s dishonesty about his status as senopati’s son. mangir’s anger could be seen from his loud voice, fast tempo, firm, serious, high-pitched, and angry expression (scene 7). the relaxed and fun atmosphere is shown in the scene where mangir’s soldiers are practicing war (scene 3), the scene where mangir calls ledhek tayup meisaroh to dance (scene 4), the scene where singoranu is facing senopati to announce that pembayun had married mangir (scene 8). their dialogue was moderate when the atmosphere was relaxed, the facial expressions were not tense, and the tempo was moderate. a pleasant atmosphere was characterized by a moderate and gentle tone of voice, with dialogue at slow intervals the costumes worn by the actors, such as senopati, pemanahan, juru mertani, pembayun, mangir, and the soldiers, were of the kejawen type consisting of beskap, batik cloth, and blangkon. this clothing is commonly used to present javanese stories from the kingdom of demak to the babad mataram (hastuti, 2013). from a paradoxical aesthetic perspective, the clothing of senopati and court officials contrasts with mangir and the soldiers. however, ordinary people do not wear cloth, beskap, and blangkon, yet only clothes without buttons, headbands, and komprang trousers. the dialogue between officials (pemanahan, et al.) and children (pembayun and purbaya) with senopati used the kromo inggil javanese, which followed their high social status as royal aristocrats. meanwhile, mangir’s dialogue with the soldiers used the ngoko javanese, which showed a paradox in the language between the royal aristocrats (towns) and ordinary people (villages). sin is accompanied by javanese gamelan as a musical illustration. the majority of music illustrations serve as fillers in the pauses at each turn of the scene. music illustrations as mood builders stand out in the 9th scene when mangir expresses his love for pembayun. this is a heartbreaking scene. sin performances use javanese gamelan music illustrations. gamelan accompaniment serves as a marker of pauses or changes between scenes. it creates a serene, gentle atmosphere when mangir expresses his love for pembayun through songs. the lyrics are melancholic, and the rhythm is moderate; the tone is also moderate. when purbaya stabs mangir in the back with a spear, kyai plered’s music is fast-paced and high-pitched, helping to create an eerie atmosphere. elements of political conflict the conflict between senopati and mangir wonoboyo at first, the status of perdikan land nur sahid et al., the meaning of political conflict in the ketoprak “satru ing ngepal” 147 was given to ki wonoboyo (mangir wonoboyo’s father), who had significantly contributed to senopati when he helped clear the mentaok forest during the founding of the mataram kingdom. however, after ki wonoboyo died and the perdikan land was replaced by mangir wonoboyo, senopati planned to revoke the perdikan region status. mangir, as the ruler of the perdikan land, had to obey the king of mataram. their conflict is a realistic type of conflict because one party is dominant (senopati) compared to the antagonist (mangir wonoboyo) (coser in ramly, 2020). senopati’s open conflict with mangir wonoboyo was a political power dispute (stronghold) fighting for power so that outsiders could see it (jumadin & wibisono, 2019). the war between the people of mataram and the perdikan land of mangir lasted for a long time and claimed many lives. it all happened because mangir wonoboyo and his friend, baru klinting, had magic that was hard to match. conflict over the influence of fellow senopati assistants pemanahan and juru merani are people who always accompany panembahan senopati. however, they often differ in views on solving the political conflict between mangir wonoboyo and senopati. for example, in dealing with the problem of conflict with mangir wonoboyo, pemanahan considers that mangir wonoboyo should not be harmed, considering that his parents, ki wonoboyo, had previously contributed greatly to the mataram kingdom. meanwhile, according to juru mertani, ki wonoboyo made an enormous contribution, not mangir. therefore, the political conflict between pemanahan and juru mertani is non-realistic since the conflict actually aims to relieve the tension of either party (coser in tualeka, 2017). political conflict due to deception factors causing political conflict are distrust, disappointment, lack of mutual respect between figures, and differences in views on political interests (zainul & wibisono, 2019). this applies to the conflict that occurred between mataram and perdikan mangir. to defeat mangir wonoboyo, pembayun, as the daughter of panembahan senopati, disguised herself as a troupe of tayub dancers named maisaroh. seeing the beauty of the tayub dancer maisaroh, mangir fell in love and married her. gradually, mangir and baru klinting became suspicious of pembayun since the way she dressed and spoke differed from ordinary people. pembayun argued that his purpose of deception was to unite mangir with mataram. he did not want the people of the two regions to continue being war victims. political conflict in uniting mangir with mataram the political conflict between pembayun and mangir wonoboyo was also based on her desire to unite the two regions. during this time, there were wars in these two areas. in the end, pembayun, as the daughter of panembahan senopati, went her own way by disguising herself as a tayub dancer to win mangir wonoboyo’s love. mangir succeeded in uniting the people of mataram and perdikan mangir. it can be said that the two warring parties find a better idea about their strengths and increase the possibility of getting closer or making peace with each other (tualeka, 2017). this opinion was proven in the peace efforts between pembayun and mangir wonoboyo political conflict in the midst of peace between mangir and senopati after the dispute over pembayun’s dishonesty subsided, she invited mangir to go to mataram to meet panembahan senopati. pambayun already missed her parents. besides that, she asked mangir to ask for her father’s blessing. then, mangir wonoboyo left for matarm with pembayun. this incident occurred due to pembayun trying to be cooperative but not assertive, letting the other party’s wishes stand out, and uniting differences to maintain harmony by following the other harmonia: journal of arts research and education 23 (1) (2023): 141-153148 party’s will (peg pickering in ramly, 2020). the way that she took was to make mangir wonoboyo her husband. meaning of denotative and connotative signs the meaning of senopati’s struggle for power with mangir according to rolland barthes, a text contains two layers of meaning: denotative and connotative (al-shraideh & el-sharif, 2019; sahid et al., 2016). denotative is the meaning of a word as it is used in everyday life. meanwhile, connotative is the second, third, and other level meaning of a word; often referred to as a figurative meaning. denotative is the first-level meaning related to the interpreter’s culture and ideology, while connotative as the second-level meaning is formed by the interpreter’s ideological culture (khafaga, 2022). meaning can be extracted from communication relations between humans (aart van zoest in maulina et al., 2021). from a semiotic perspective, the political conflict between senopati and mangir wonoboyo can be called a signifier. the signifier means that panembahan senopati is power-hungry. the political conflict between senopati and mangir wonoboyo (signifier) connotatively refers to the political conflict between indonesia’s president and government opposition in the new order and reform era (signifie). mangir became senopati’s opponent or opposition because the king of mataram’s policies harmed the people of perdikan mangir. the events of the conflict between senopati and mangir with the conflict between soeharto and his political opponents, are the fighters for democracy. in 1997-1998, before the collapse of the new order regime, some student movements and democracy activists opposed the suharto government, where collusion of corruption and nepotism (kkn) flourished. in addition to students, based on historical records, amin rais, a lecturer at the faculty of social and political sciences ugm who is also the chairman of the muhammadiyah leadership center, dared to be critical of the new order rulers (sutoro, 2003). the collapse of the new order regime has brought back opposition to the political reality in indonesia. this is thought to have originated from the remnants of the old forces which aimed to formally institutionalize the opposition within the indonesian political system (munadi, 2019). during the administration of president susilo bambang yudhoyono (sby) for two years during the reformation era (20042014), partai demokrasi indonesia perjuangan (pdip) played a significant role as a political opposition. the opposition controls, corrects, and evaluates government policies (munadi, 2019). there are many other examples. one of them is the 20192024 government of president jokowi; the political parties that are clearly positioned as the opposition are partai keadilan sejahtera and partai demokrat. the meaning of pemanahan conflict with juru mertani the political conflict between pemanahan and juru mertani (significant) denotatively means that there has been a difference of opinion in dealing with the mangir rebellion (signifie). the political conflict between pemanahan and juru mertani in finding a solution regarding mangir wonoboyo (signifier). connotatively refers to the political conflict that once occurred between wiranto, as the armed forces commander, and prabowo subianto, as the commander general of the special forces command at the end of the new order regime 19971998. at that time, the tni (indonesian national army) was split into two groups supporting wiranto and prabowo. the two suharto-era military officials had sharp differences in how to deal with the 1998 indonesian political crisis. wiranto was moderate towards the student movement and democracy activists who opposed suharto, while prabowo disliked the student and activist movement (sutoro, 2003). the conflict between the two resulted in accusations against major general prabowo and the special forces command for kidnapping several activists who opposed the new nur sahid et al., the meaning of political conflict in the ketoprak “satru ing ngepal” 149 order (sutoro, 2003). the conflict between wiranto and prabowo was successfully reconciled on 17 may 1998. the reconciliation aimed to find a replacement for the tni commander who could satisfy both wiranto and prabowo. ultimately, wiranto remained in office as armed forces commander (abri), and prabowo accepted this. at habibie’s inauguration as president, wiranto and prabowo declared their loyalty to the state palace (welle, 2018). in sin, the conflict between pemanahan and juru mertani was caused by differences of opinion in resolving the mangir rebellion. meanwhile, the conflict between wiranto and prabowo subianto was caused by a difference in attitudes towards students and democracy activists. the two conflicts are almost the same. the meaning of the conflict between mangir and pembayun that pembayun disguised himself as a tayub dancer named maisaroh (signifiant) was intended to approach mangir wonoboyo (signifier). dishonesty pembayun as a royal family (signifier) connotatively refers to the meaning of the dishonest behavior of power holders and political elites in the new order and reform era (signifie). the lie of a state official can be interpreted that he does not adhere to political ethics. political ethics aims for every official and political elite to be honest, and their policies are contrary to the law and society’s sense of justice (hantoro, 2014). in fact, many public officials and political elites are dishonest in this country. many commit corruption, collusion, and nepotism (kkn), including violating political ethics. in 1998, president suharto was overthrown by students and democracy activists due to his regime, which was full of corruption, collusion, and nepotism. even though the regime has changed in the reformation era, starting from bj habibie (transition period), gus dur, megawati, sby, and now jokowi (2014-2024), corruption still exists (djamil & djafar, 2016). corruption has become an acute disease in many countries (prabowo & cooper, 2016). corruption has been systemic, affecting many individuals. corruption in indonesia has reached a systemic stage (pertiwi, 2018) and has also hit the academic world (qudsyi et al., 2018). the meaning of peace between mangir with pembayun and senopati that mangir is willing to fulfill pembayun’s wish to face senopati in mataram (signifier) denotatively means that he is no longer against senopati as his enemy (signifie). peace between mangir wonoboyo and pembayun is shown by the willingness to face senopati to mataram (signifier) connotatively refers to the meaning of peace between president jokowi and prabowo who have been in opposition to the government for years (signifie). in the 2014 indonesian presidential election, prabowo subianto competed with joko widodo. their competition tends to be tough and contains ethnicity, religion, race, and class issues (sara). a black campaign was also in the 2014 presidential election (herdiansah in ikasari & arifina, 2020). when jokowi was elected as the presidential election winner, the political conflict between the two supporters was not solved. prabowo and his supporters were the opposition to jokowi’s government. in the 2019 presidential election, jokowi’s relationship with prabowo, both presidential candidates, was still on fire. finally, jokowi was re-elected as president along with maruf amin in the 2019 presidential election. when assembling the cabinet, jokowi invited prabowo to be willing to become one of his ministers (sukarno & amurwani, 2019). prabowo’s decision to join the jokowi government disappointed his supporters. thus, mangir wonoboyo’s decision to make peace with pembayun and agree to meet with senopati connotatively refers to the meaning of the unity of the political opposition figure prabowo subianto into jokowi’s government cabinet (signifie). the meaning of emancipation in the unification of perdikan mangir with mataharmonia: journal of arts research and education 23 (1) (2023): 141-153150 ram a woman, pembayun, dared to approach her father’s enemy by disguising herself as a tayub dancer to approach mangir wonoboyo (signifier). denotatively, the act of disguise shows that she is a brave and hardworking woman (signifie). pembayun’s struggle as a woman who managed to unite mataram and perdikan mangir connotatively refers to the symbolic meaning of raden ajeng kartini’s success for emancipation in the early 20th century. pembayun dared to go forward and fight to reconcile mataram with perdikan mangir. the social system of society that adheres to the concept of patriarchy as an ideology often forms patterns of gender relations. this pattern is performed systematically with other social institutions (mustikawati, 2015). as a result, this relationship pattern leads to gender differences. in this context, at the beginning of the 20th century, ra kartini, a pioneer of emancipation, tried to pursue equal rights and roles for women to be equal to men in various aspects of life. in the last decade, there has been a new awareness of the importance of women’s emancipation. even in the government cabinet, some ministers specifically deal with the role of women, which can be seen since the new order government. this indicates the important role of women in various aspects during social, political, economic, and educational struggles (abidin, 2015). thus, it can be concluded that pembayun’s action to reconcile mataram with bumi mangir was emancipation. therefore, pembayun can be interpreted as a symbol of the emancipator ra kartini. the table 1 briefly describes sin’s types of conflicts, descriptions, and denotative and connotative meanings. from the table, it can be seen the dominance of political conflict in sin and its meaning. conclusion based on the analysis of structure and texture, it can be concluded that all elements in structure and texture have a relationship that mutually determines meaning. the structure of the relationship between elements is relatively coherent, and so is the relationship between elements in the texture. the relationship between table 1. denotative and connotative meanings types of conflict description denotative and connotative meanings the conflict between senopati and mangir wonoboyo the conflict was caused by senopati wanting to seize mangir’s perdikan mangir land denotatively, it means senopati is a greedy king. connotatively it means the resistance of the opposition and fighters for democracy against the new order and reform rulers conflict over the influence of fellow senopati assistants the conflict was caused by differences of opinion about how to overcome mangir’s resistance to senopati denotatively, fellow palace maids were fighting over each other for influence in front of senopati. connotatively, it refers to the different attitudes of wiranto and prabowo subianto towards students and democracy fighters during the soeharto regime. political conflict due to deception the conflict was caused by pembayun’s dishonesty or deceit towards mangir denotatively, pembayun’s attitude that from the beginning did not claim to be senopati’s son meant dishonesty. connotatively, this action refers to the corrupt behavior that has plagued indonesia. political conflict in uniting mangir with mataram the emancipation of pembayun’s struggle united mangir with mataram denotatively pembayun’s action of uniting mataram and mangir is meaningful as an emancipator. connotatively, this refers to the struggle of ra kartini in fighting for emancipation in indonesia, whose impact is being felt today. peace between perdikan mangir with mataram mangir ends the conflict and agrees to face senopati. denotatively the peace between mangir and senopati shows pembayun’s husband’s humility. connotatively, this undermines the meaning of prabowo subianto’s unity in jokowi’s government. nur sahid et al., the meaning of political conflict in the ketoprak “satru ing ngepal” 151 structure and texture also shows integration. the interwoven elements form a unity. despite the paradox in certain elements, such as character traits, social status, and dialogue language, they still contain unity. it is what makes sin quite aesthetic. connotatively, the meaning of political conflicts in sin is related to various social and political events in indonesia since the new order to the reformation. for example, the meaning related to the resistance of the opposition to president soeharto, susilo bambang yudoyono and jokowi. the meaning is related to the conflict between suharto’s fellow aides, namely wiranto and prabowo subianto, in dealing with the opposition fighters for democracy. the meaning of the unity of the opposition figure prabowo subianto in the 20192024 jomowi government. the meaning is related to the corrupt behavior of the power elite. the meaning of the success of women’s emancipation in indonesia. sin originates from the legend of mangir wonoboyo in the reign of panembahan senopati in the 16th century. still, its meaning remains contextual and can be applied to the 21st century. thus, indonesian folklore needs to be actualized in modern performances, such as cinema, contemporary theater, animation, and films, to be easily enjoyed by the current generation. references abidin, z. 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(2007). drama: naskah, pementasan, dan pengajarannya. lpp uns dan upt penerbitan dan pencetakan uns press. welle, d. (2018). arsip as ungkap konflik prabowo dan wiranto pada 1998. https://www.dw.com/id/arsiprahasia-as-ungkap-konflik-prabowo-dan-wiranto-jelang-kejatuhansuharto/a-44820557 37 proses pembelajaran seni musik bagi siswa tunanetra dias rizki saputri universitas negeri semarang, kampus sekaran gunungpati semarang e-mail: d145_125@yahoo.co.id abstrak tujuan penelitian ini adalah untuk mengetahui, mendiskripsikan, dan menganalisis metode dan pelaksanaan pembelajaran musik bagi siswa tunanetra kelas viii smp di slb negeri 1 pemalang. penelitian ini menggunakan pendekatan kualitatif. hasil penelitian yang telah dilaksanakan menunjukan bahwa metode pembelajaran siswa tunanetra hampir sama dengan metode pembelajaran pada siswa awas pada umumnya, yaitu sama-sama menggunakan metode ceramah, metode tanya jawab, metode demonstrasi, dan metode pemberian tugas. namun cara penyampaian dan pelaksanaannya berbeda dengan siswa awas. ada 3 tahap proses pembelajaran, yaitu: tahap perencanaan yang meliputi penentuan alokasi waktu, persiapan materi dan buku pembelajaran, juga persiapan media yang akan digunakan dalam proses belajar mengajar tahap pelaksanaan meliputi penyajian materi dengan menggunakan metode ceramah, metode tanya jawab, metode demonstrasi, dan metode pemberian tugas. tahap evaluasi meliputi waktu pemberian ujian, dan pelaksanaan evaluasi. remedial tidak dilaksanakan. music learning process for visually impaired students abstract the goals of this research are to find out, describe, and analyze methods and implementation of music learning for the visually impaired students of viii class at i public junior high school for the physically impaired at pemalang. this research used qualitative approach. the finding shows that learning method of the visually impaired students is almost the same with that of regular public secondary schools, by means of lecturing, interview, demonstration method, task-assigning method. however, the deliverance and implementation of the learning is different from those of the regular students. among the three stages of learning process include: planning which includes time allocation, material preparation, and learning materials, as well as media preparation for the learning and teaching process. the implementation stage includes topic presentation by lecturing, interview, demonstration and task-assigning methods. the evaluation stage includes time allocation for tests and evaluation implementation. remedial test is not conducted. kata kunci: pembelajaran, metode pembelajaran, seni musik, tunanetra. nusia dalam mewujudkan cita-cita bangsa umumnya. pendidikan dasar yang diselenggarakan disekolah, khususnya sekolah menengah pertama (smp) mempunyai tujuan untuk memberikan bekal kemampupendahuluan pendidikan merupakan alat atau sarana yang paling mendasar untuk meningkatkan kualitas dan sumber daya maharmonia, volume 13, no. 1 / juni 201338 an dasar yang merupakan perluasan serta peningkatan pengetahuan dan ketrampilan yang telah diperoleh di sekolah dasar yang bermanfaat bagi siswa untuk mengembangkan kehidupan sebagai pribadi, anggota masyarakat, dan warga negara sesuai dengan tingkat perkembangannya, serta mempersiapkan mereka untuk mengikuti pendidikan menengah. guru diharapkan dapat mengenali karakter setiap anak didiknya dengan baik, meliputi pengenalan tentang pengembangan fisik motorik, kognitif, bahasa, sosial emosional, moral keagamaan, seni dan kreatifitas, termasuk permasalahan yang ditemui dalam berbagai aspek perkembangan tersebut menurut sulthan (2008: 121) pembelajaran adalah suatu kondisi yang dengan sengaja diciptakan, kegiatannya berlangsung dalam proses belajar mengajar. pembelajaran merupakan bantuan yang diberikan pendidik agar dapat terjadi proses pemerolehan ilmu dan pengetahuan, penguasaan kemahiran dan tabiat, serta pembentukan sikap dan kepercayaan pada peserta didik. tujuan pembelajaran adalah untuk mencetak lulusan yang memiliki pengetahuan dan ketrampilan. ketrampilan mengajar merupakan komponen penting dalam pembentukan kemampuan profesional guru (ekowardono, 2006: 5). pengenalan ini sangat penting agar guru dapat mengembangkan potensi dasar setiap anak dengan tepat sesuai dengan kebutuhan dan kondisi setiap anak. salah satu masalah dalam perkembangan anak yang harus dikuasai guru dengan baik adalah masalah perkembangan anak yang bersifat nonnormatif atau berkelainan. guru dituntut agar dapat mengenali setiap ciri masalah dalam perkembangan dari anak yang berkelainan, sehingga dapat memberikan penanganan yang tepat terhadap masalah tersebut sesuai dengan kapasitas kita sebagai seorang guru bukan sebagai seorang psikolog. pengertian pembelajaran secara khusus dikelompokkan menjadi: (1) behavioristik. pembelajaran menurut aliran behavioristik adalah upaya membentuk tingkah laku yang diinginkan dengan menyediakan lingkungan, agar terjadi hubungan lingkungan dengan tingkah laku si belajar, karena itu juga disebut pembelajaran perilaku ( rifa’i, 2011: 205). pembelajaran selalu memberi stimulus kepada siswa agar menimbulkan respon yang tepat seperti yang kita inginkan. hubunagn stimulus dan respons ini bila diulang akan menjadi sebuah kebiasaan. selanjutnya, bila siswa menemukan kesulitan atau msalah, guru menyuruhnya untuk mencoba dan mencoba lagi (trial and error) sehingga akhirnya diperoleh hasil. (2) kognitif. pembelajaran adalah dengan mengaktifkan indera siswa agar memperoleh pemahaman, sedangkan pengaktifan indera dapat dilaksanakan dengan jalan menggunakan media/alat bantu. di samping itu, penyampaian pengajaran dengan berbagai variasi artinya menggunakan banyak metode. (3) gestalt. pembelajaran menurut gestalt adalah usaha guru untuk memberikan materi pembelajaran sedemikian rupa, sehingga siswa lebih mudah mengorganisirnya (mengaturnya) menjadi suatu gestalt (pola bermakna). (3) humanistik. pembelajaran menurut paham aliran ini guru sebagai pembimbing memberi pengarahan agar siswa dapat mengaktualisasikan dirinya sendiri sebagai manusia yang unik untuk mewujudkan potensi-potensi yang ada dalam dirinya sendiri. dan siswa perlu melakukan sendiri berdasarkan inisisatif sendiri yang melibatkan pribadinya secara utuh (perasaan maupun intelektual) dalam proses belajar, agar dapat memperoleh hasil. kegiatan pembelajaran merupakan kegiatan yang melibatkan beberapa komponen yaitu: siswa, guru, tujuan, isi pelajaran, metode, media, dan evaluasi. keaktifan pelaksanaan dalam pembelajaran tercermin dari kegiatan, baik yang dilakukan guru itu sendiri maupun siswa dalam menyusun atau membuat perencanaan, proses pembelajaran, dan evaluasi. perencanaan adalah menyusun langkah-langkah yang akan dilaksanakan untuk mencapai tujuan yang telah ditentukan (majid, 2008: 15). sedangkan rencana pengajaran adalah rencana guru mengajar dias rizki saputri, proses pembelajaran seni musik bagi siswa tunanetra 39 mata pelajaran tertentu, pada jenjang dan kelas tertentu. proses pembelajaran selain diawali dengan perencanaan yang bijak, serta didukung dengan komunikasi yang baik, juga harus didukung dengan pengembangan strategi yang mampu membelajarkan siswa. pelaksanaan pembelajaran merupakan proses penyelenggaraan interaksi pesertadidik dengan pendidik dan sumber belajar pada suatu lingkungan belajar (majid, 2008: 111). evaluasi adalah proses pembentukan timbangan, bergantung kepada pengumpulan informasi yang mengarah kepada pengambilan keputusan (kartadinata, 2008: 3.56). menurut majid (2008: 185) evaluasi merupakan pengukuran ketercapaian program pendidikan, perencanaan suatu program suubtansi pendidikan termasuk kurikulum dan pelaksanaannya, pengadaan dan peningkatan kemampuan guru, pengelolaan pendidikan, dan revormasi pendidikan secara keseluruhan secara umum, istilah tunanetra adalah kondisi seseorang yang mengalami gangguan atau hambatan dalam indra penglihatannya (wardani, dkk, 2008: 4.4). berdasarkan tingkat gangguannya/ kecacatannya tunanetra dibagi dua yaitu buta total (total blind) dan yang masih mempunyai sisa penglihatan (low visioan). alat bantu untuk mobilitasnya bagi tunanetra dengan menggunakan tongkat khusus, yaitu ber warna putih dengan ada garis merah horizontal. akibat hilang/berkurangnya fungsi indra penglihatannya maka tunanetra berusaha memaksimalkan fungsi indra-indra yang lainnya seperti, perabaan, penciuman, pendengaran, dan lain sebaginya sehingga tidak sedikit penyandang tuna netra yang memiliki kemampuan luar biasa misalnya di bidang musik atau ilmu pengetahuan. seni musik merupakan suatu karya seni yang menghasilkan bunyi-bunyian yang indah dan harmonis yang disebut dengan musik (wahyu purnomo, 2010: 92). pendidikan seni adalah suatu daya upaya untuk mengubah tingkah laku peserta didik menggunakan media seni sedangkan musik sendiri merupakan media seni, di mana pada umumnya orang mengungkapkan kreativitas dan ekspresi seninya melalui bunyi-bunyian atau suara. sekolah luar biasa adalah sekolah dengan pendidikan khusus. pendidikan/ pelayanan khusus merupakan kebutuhan utama para penyandang keluarbiasaan (wardani, 2008: 2.6). bagi siswa dengan gangguan pengliatannya memiliki kebutuhan untuk mengalami sesuatu secara konkret dan mempraktikan secara langsung apa yang dipelajari (learning by doing) (hildayani, dkk, 2010: 8.9). banyak penelitian tentang anak buta menemukan bahwa kebutaan memiliki konsekuensi yang serius dan tidak dapat dihindarkan bagi perkembangan anak. masalah-masalah yang muncul lebih karena cara masyarakat memperlakukan mereka. reaksi masyarakat terhadap orang butalah yang menentukan apakah penyesuaian diri mereka kurang atau tidak ( rini hildayani, dkk 2010: 8.8). perlu sikap bijaksana dari kita sebagai seorang guru untuk menanggapinya. untuk anak non-normatif termasuk anak dengan gangguan penglihatan kegiatan bermain dan perkembangan motorik merupakan dua area yang penting untuk diperhatikan. dengan bermain musik diharapakan siswa dapat mengungkapkan kreativitas dan ekspresi seninya melalui bunyi-bunyian atau suara. penulis mengambil tema metode pembelajaran musik sebagai kajian dalam penelitian ini adalah berdasarkan siswa tunanetra di slb negeri 1 pemalang lebih maju dalam bidang musik. terbukti dari berbagai pengalaman keberhasilan yang sudah diraih dari berbagai event festival. metode penelitian ini menggunakan pendekatan kualitatif. lokasi penelitian dilakukan di slb negeri 1 pemalang. sasaran penelitian adalah pada pelaksanaan pembelajarannya dan pada metode yang digunakan untuk siswa tunanetra kelas viii smp di slb negeri 1 pemalang. teknik pengumpulan data melalui observasi, harmonia, volume 13, no. 1 / juni 201340 wawancara, dan dokumentasi. analisis yang digunakan adalah sesuai dengan data kualitatif, yaitu analisis deskriptif kualitatif. dengan merujuk penjelasan miles dan huberman (terjemahan rohidi, 1992 : 95 – 96) proses analisis data ditempuh melalui proses reduksi data, sajian data dan penarikan kesimpulan/ verifikasi. teknik pemeriksaan keabsahan data menggunakan metode triangulasi. teknik keabsahan triangulasi sumber, triangulasi metode dan triangulasi data digunakan sebagai pengecekan keabsahan data dalam penelitian tentang metode pembelajaran seni musik bagi siswa tunanetra kelas viii smp di slb negeri 1 pemalang. hasil dan pembahasan hasil penelitian yang telah dilaksanakan menunjukan bahwa pelaksanaan pembelajaran di kelas pada siswa tunanetra di slb negeri 1 pemalang melewati proses yang dibagi menjadi tiga tahap yaitu tahap perencanaan, pelaksanaan, dan evaluasi. pelaksanaan pembelajaran menurut komponennya tujuan sebagai penunjang visi dan misi, maka tujuan yang hendak dicapai slb negeri 1 pemalang antara lain: 1. terlayaninya anak berkebutuhan khusus dengan baik. 2. terlayaninya anak berkebutuhan khusus sesuai dengan kekhususannya. 3. terlayaninya anak berkebutuhan khusus (tunanetra) jenjang smplb dalam bidang akademik. 4. terlayaninya anak berkebutuhan khusus (tunanetra) jenjang smplb dalam bidang ketrampilan. 5. memberikan kesempatan seluas-luasnya tamatan smplb untuk melanjutkan ke sma inkusi / smalb. 6. memberikan tamatan smplb untuk mengembangkan diri dalam kecakapan hidup. 7. memberikan kesempatan bagi siswa smp / smplb mengembangkan diri bidang kesenian. 8. menciptakan lingkungan yang indah. kurikulum pada dasarnya kurikulum yang di gunakan di slb negeri 1 pemalang sama dengan sekolah-sekolah umum lainnya. prinsip-prinsip kurikulum smplb. tujuan muatan kurikulum dalam pengembangan diri seni musik yaitu: (1) sebagai wahana peserta didik untuk melatih dan mengembangkan bakat bermain musik, (2) melatih peserta didik untuk terampil berolah vokal, (3) melatih peserta didik untuk terampil menggunakan alat musik sederhana, dan (4) melatih sikap kerjasama dalam sebuah kelompok musikal. materi mata pelajaran yang diberikan kepada siswa tunanetra kelas viii berdasarkan struktur kurikulum smplb – a di slb negeri 1 pemalang antara lain : (1) pendidikan agama, (2) pendidikan kewarganegaraan, (3) bahasa indonesia, (4) bahasa inggris, (5) matematika, (6) ilmu pengetahuan sosial, (7) ilmu pengetahuan alam, (8) seni budaya, (9) pendidikan jasmani, olahraga dan kesehatan, (10) ketrampilan vokasional/ teknologi informasi dan komunikasi, (11) muatan lokal, (12) program khusus orientasi & mobilitas, (13) pengembangan diri. metode pembelajaran metode mengajar yang digunakan di sekolah slb negeri 1 pemalang sedikit banyaknya sama dengan metode mengajar untuk siswa-siswa normal pada umumnya. pertama-tama yang guru gunakan yaitu: (1) metode ceramah, (2) metode tanya jawab, (3) metode demonstrasi, dan (4) metode pemberian tugas. namun pada penerapan atau pelaksanaan metode mengajar pada siswa tunanetra berbeda dengan siswa normal pada umumnya media untuk materi teori guru menggunakan media kertas karton yang digunting dias rizki saputri, proses pembelajaran seni musik bagi siswa tunanetra 41 tanya jawab, metode demonstrasi, metode latihan, dan metode pemberian tugas. ketika pertemuan tatap muka jam pelajaran guru memberikan teori, maka metode yang digunakan hanya metode ceramah, metode tanya jawab dan metode penugasan saja. ketika pertemuan tatap muka jam pelajaran guru memberikan praktik, maka guru memberikan metode ceramah, metode tanya jawab, metode demonstrasi, metode latihan, dan metode pemberian tugas. sebelum memainkan lagu siswa diberikan kebebasan untuk bermain-main dengan alat musik yang disediakan di ruang studio, dengan tujuan agar siswa dapat mengenal, memahami, serta mengingat bentuk dan letak dari alat musik tersebut. disamping itu siswa dengan berkebutuhan khusus juga sifatnya tidak dapat dipaksa dengan kata-kata yang keras. mereka lebih suka diajak bermain sambil belajar. jadi kebanyakan waktu mereka lebih banyak bermain-main dengan alat musik di ruang studio. metode dan strategi yang guru lakukan menurut guru seni budaya, sri hartati, sebagian siswa belum memahami dan sebagian sudah memahami sesuai degan iq mereka masing-masing. sedangkan faktor-faktor yang menghambat pembelajaran seni musik yaitu dari anaknya sendiri, karena tidak semua siswa mempunyai bakat bermusik, jadi pada siswa yang bakat bermusiknya kurang, guru harus pelan-pelan mengajarkan alat musik dan itu membutuhkan waktu yang tidak sedikit. maka dari itu, dalam praktik seni musik dilakukan juga pada sore hari bersamaan dengan ekstra kurikuler, dengan tujuan untuk menambah waktu belajar siswa tunanetra dalam mempelajari alat musik yang membutuhkan waktu yang tidak sedikit. kendala yang harus dihadapi oleh siswa yaitu tidak sembarang alat musik bisa dimainkan pada anak tunanetra. misalnya saja ketika siswa tunanetra sudah mempelajari satu jenis keyboard dan siswa tersebut sudah menghafalkan letakletak dari tombol fiture keyboard tersebut, maka ketika tampil di suatu acara siswa membentuk pola bentuk yang ingin guru jelaskan kepada siswa tunanetra utnuk memberikan efek gambar yang timbul. dan media untuk alat tulis yang dipakai siswa tunanetra menggunakan pen dan reglet. materi praktik di slb negeri 1 pemalang menyediakan satu set alat musik band dan satu perangkat alat musik karawitan. namun alat musik karawitan tersebut penggunaanya tidak berfungsi dikarenakan alat musik yang kurang pemeliharaannya menjadikan alat musik karawitan tidak berfungsi, oleh karena itu alat musik karawitan sebagian rusak. evaluasi evaluasi harian dilakukan setiap kompetensi dasar (kd) telah selesai dilaksanakan, biasanya 3 kali dalam satu semester dilakukan. untuk evaluasi ujian akhir semester dilaksanakan setiap 1 semester sekali (6 bulan), sedangkan ujian akhir nasional (uan) dilaksanakan satu tahun sekali. perencanaan tahap perencanaan meliputi penentuan alokasi waktu, persiapan materi dan buku pembelajaran seni budaya untuk smp kelas viii, dengan penerbit erlangga, juga persiapan media yang akan digunakan dalam proses belajar mengajar berupa gambar timbul. pelaksanaan pelaksanaan pemberian materi musik pada siswa, guru hanya memberitahukan akord dasar, tanpa memberi notasi angka maupun notasi balok pada siswa tunanetra. guru hanya mengenalkan bentuk dari notasi balok untuk siswa awas itu seperti apa, karena menurut guru pengampu seni budaya kelas viii, penggunaan notasi akan mempersulit dan menyita waktu siswa tunanetra dalam belajar musik. jadi guru hanya mengenalkan bentuk/ gambar not balok pada siswa awas itu seperti apa. guru menyajikan materi dengan menggunakan metode ceramah, metode harmonia, volume 13, no. 1 / juni 201342 tersebut harus membawa sendiri alat musik/keyboard yang sebelumnya sudah terbiasa dipelajari oleh siswa tersebut. dalam mengajar mata pelajaran seni musik juga sudah sesuai dengan kurikulum yang berlaku. siswa juga dapat mengikuti kurikulum yang diterapkan oleh guru, yaitu menggunakan kurukulum lb. slb negeri 1 pemalang menggunakan kurikulum umum, kurikulum yang digunakan sekolah-sekolah pada umumnya. oleh karena itu setelah menggunakan kurikulum lb dapat lebih mudah diterapkan. evaluasi guru dalam mengevaluasi berdasarkan pelaksanaan pembelajaran teori yang dilaksanakan setiap kompetensi dasar selesai dilaksanakan yaitu dengan cara memberikan soal-soal latihan kepada siswa tunanetra. soal tersebut berupa soalsoal yang biasa diberikan kepada siswa awas pada umumnya, yaitu soal dengan menggunakan huruf braille. biasanya guru membacakan soal, lalu siswa menjawabnya dengan cara menulis menggunakan huruf braille. demikian pula dengan uas (ujian akhir sekolah). soal yang sekolah dapat dari pemerintah berupa soal dengan tulisan huruf abjad biasa, bukan dengan tulisan braille. dikarenakan mentranskrip dari huruf biasa ke huruf braille membutuhkan waktu yang lama dan di sekolah slb negeri 1 pemalang tidak ada yang dapat menyempatkan waktunya untuk melakukan itu, maka ujian semester pun dilakukan dengan cara guru membacakan soal, dan siswa menjawab di kertas braille paper yang menggunakan huruf braille. ketika ujian akhir nasional slb negeri 1 pemalang mendapatkan soal yang sudah bertuliskan huruf braille dari pemerintah. jadi kegiatan evaluasi pada siswa tunanetra di slb negeri 1 pemalang menggunakan soal dengan huruf braille hanya ketika ujian akhir nasional dilaksanakan. dalam mengevaluasi berdasarkan pelaksanaan pembelajaran praktik guru memberikan lagu yang sederhana. dengan cara guru memutarkan lagu pada vcd secara belulang-ulang kemudian siswa mencari akord yang terdapat dalam lagu. setelah itu mereka akan mencoba memainkannya bersama-sama, dan setelah itu guru mengamati sejauh mana siswa dapat memainkan lagu yang sudah diberikan. setelah itu, guru memberi pengarahan dan memberikan contoh yang benar jika terdapat kesalahan dalam memainkan lagu tersebut. metode pembelajaran metode mengajar yang digunakan di sekolah slb negeri 1 pemalang sedikit banyaknya sama dengan metode mengajar untuk siswa-siswa normal pada umumnya. pertama-tama yang guru gunakan yaitu: metode ceramah metode ceramah berarti penerangan dan penuturan secara lisan. guru menjelaskan dan memaparkan teori menurut rpp yang sudah disiapkan. siswa menyimak dengan mendengarkan apa yang sedang di jelaskan oleh guru. dalam kegiatan belajar mengajar untuk siswa tunanetra, guru dituntut untuk lebih rinci dan lebih jelas dalam menjelaskan materi. guru diharapkan dapat memberikan bayangan ketika menyampaikan teori. misalnya, dalam materi musik daerah, guru menjelaskan yang termasuk alat musik daerah dengan cara mendiskripsikan bentuknya seperti apa, terbuat dari apa, dan mendiskripsikan tentang alat musik angklung. guru juga menjelaskan bentuk dari alat musik angklung, dan menjelaskan bahwa angklung terbuat dari bambu. guru lebih banyak bercerita kepada siswa tunanetra agar siswa tunanetra dapat memahami apa yang sedang disampaikan. metode tanya jawab metode tanya jawab merupakan metode mengajar yang memungkinkan terjadinya komunikasi langsung yang bersifat dua arah, sebab pada saat yang sama terjadi dialog guru bertanya dan siswa menjawab. berdasarkan pengamatan dalam belajar mengajar untuk siswa tunanetra, dias rizki saputri, proses pembelajaran seni musik bagi siswa tunanetra 43 guru sering menggunakan metode tanya jawab, karena dengan berkomunikasi guru dapat mengetahui sejauh mana siswa menangkap apa yang sudah di sampaikan guru. hal ini dilakukan agar guru mengetahui sejauh mana siswa memahami apa yang sudah guru sampaikan. jadi pada intinya metode tanya jawab menjadi tolak ukur guru dalam kegiatan belajar mengajar pada siswa tunanetra. metode demonstrasi metode demonstrasi yang berarti metode mengajar yang memperlihatkan bagaimana proses terjadinya sesuatu. guru mempraktikan teori dari materi yang sudah disampaikan kepada siswa satupersatu. misalnya mempelajari alat musik keyboard, guru mengenalkan tombol-tombol dari fitur keyboard, guru juga menjelaskan dan mempraktikannya langsung nada-nada dan akord dasar dari tuts keyboard beserta penjariannya. siswa mendengarkan arahan guru terlebih dahulu, kemudian siswa mencoba mempraktikannya pelan-pelan dengan dibantu arahan dari guru sampai siswa benar-benar memahami letak-letak tuts tersebut. namun pada praktiknya siswa jarang menggunakan penjarian yang benar, mereka lebih nyaman dengan letak jari yang mereka anggap nyaman. metode latihan metode latihan pada umumnya digunakan untuk memperoleh suatu ketangkasan atau ketrampilan dari apa yang di pelajari. setelah siswa belajar bentuk dan letak dari alat musik, serta siswa sudah memahami akord dasar dari masingmasing alat musik, maka dalam kegiatan pembelajaran selanjutnya guru menggunakan metode latihan untuk memperoleh suatu ketangkasan atau ketrampilan dari apa yang di pelajari. latihan bermain musik di slb negeri 1 pemalang seringkali dilakukan pada sore hari berbarengan dengan ekstrakurikuler. metode pemberian tugas metode pemberian tugas diberikan dengan maksud untuk memberi kesempatan kepada siswa untuk melakukan tugas atau kegiatan yang berhubungan dengan pelajaran. dalam metode ini guru memberikan lagu yang sederhana dengan cara guru memutarkan lagu pada vcd secara belulang-ulang kemudian siswa mencari akord yang terdapat dalam lagu. setelah itu, mereka akan mencoba memainkannya bersama, sementara guru mengamati sejauh mana siswa dapat memainkan lagu yang sudah di berikan. guru memberi pengarahan dan memberikan contoh yang benar jika terdapat kesalahan dalam memainkan lagu tersebut. penerapan kelima metode di atas merupakan metode yang dilakukan guru secara rutin dalam kegiatan belajar mengajar pada siswa tunanetra. mulai dari guru mempersiapkan materi ajar berdasarka rpp dan mempersiapkan media hingga memaparkan materi dengan metode-metode yang guru gunakan. dari berbagai kegiatan tersebut yang paling sering dilakukan yaitu pada saat belajar mengajar menggunakan metode demonstrasi dan metode latihan. metode latihan dilakukan rutin setiap ekstrakurikuler yang dilaksanakan satu minggu sekali. hal ini dilakukan untuk mengasah kemampuan bermusik siswa secara rutin. sehingga ketika suatu saat siswa tunanetra akan tampil atau mengikuti lomba, mereka sudah siap dan sudah terlatih. simpulan berdasarkan penelitianyang sudah dilaksanakan di slb negeri 1 pemalang dalam proses pelaksanaan pembelajaran pada siswa tunanetra kelas viii diterapkan perencanaan alokasi dalam waktu satu minggu diberikkan 2 jam untuk mata pelajaran seni musik. setiap pertemuan, guru mempersiapkan materi ajar yang akan diberikan kepada siswa tunanetra sesuai dengan rpp dan mempersiapkan media yang akan digunakan dalam pelaksanaan pembelajaran. pada pelaksanaan pembelajaran guru menggunakan metode ceramah, metode tanya jawab, metode deharmonia, volume 13, no. 1 / juni 201344 monstrasi, dan metode pemberian tugas. dikarenakan dalam waktu 2 jam dalam 1 minggu pelajaran belum mencapai hasil yang maksimal, maka diadakan jam tambahan berupa ekstra kurikuler di sore hari. kendala yang guru alami pada pelaksanaan pembelajaran yaitu terbatasnya buku pegangan yang guru miliki. selanjutnya dalam kegiatan evaluasi secara teori siswa tunanetra hanya mendapatkan soal braille ketika ujian akhir nasional saja, sedangkan dalam praktik siswa tunanetra diberikan materi lagu yang sederhana untuk dimainkan bersama-sama dengan cara mende ngarkan lagu secara berulang-ulang terlebih dahulu, kemudian guru akan memberikan pengarahan jika terdapat kesalahan dalam memainkannya. dikarenakan guru menganggap kemampuan siswa tunanetra terbatas, maka guru tidak melakukan remidi. dalam belajar alat musik siswa tunanetra juga terdapat kendala yang harus dihadapi oleh siswa yaitu bahwa tidak semua alat musik bisa dimainkan pada anak tunanetra. daftar pustaka hildayani rini dkk,. 2010. penanganan anak berkelainan. jakarta: universitas terbuka. kartadinata, sunaryo, dkk. 2008. profesi keguruan. jakarta: universitas terbuka. majid, abdul. 2008. perencanaan pembelajaran mengembangkan standar kompetensi guru. bandung: pt remaja rosdakarya. miles, mathew b. dan a. michael huberman. 1992. analisis data kualitatif: buku sumber tentang metode – metode baru, terjemahan tjetjep rohendi rohidi. jakarta : ui press. purnomo wahyu dkk. 2010. terampil bermusik. jakarta: kementrian pendidikan nasional. rifa’i achmad, dkk, 2011. psikologi pendidikan. semarang: unnes press. sudirman sulthan. 2008. “pendidikan estetik melalui pembelajaran menggambar-melukis di klub merby semarang”, jurnal seni imaninasi vol. ii-9 juli 2008, imajinasi. sumaryanto, totok. 2007. pendekatan kuantitatif dan kualitatif. semarang: unnes press. taniredja tukiran, dkk, 2011. model-model pembelajaran inovatif. bandung: cv alfabeta. 195 evaluation of the management of performing arts creation learning ni luh sustiawati1, i gede oka surya negara1, rano sumarno2, arthur supardan nalan3 1institut seni indonesia denpasar, indonesia 2institut seni indonesia yogyakarta, indonesia 3institut seni budaya indonesia bandung, indonesia submitted: 2023-03-31. revised: 2023-04-02. accepted: 2023-05-28 abstract the purpose of this study is to evaluate the learning management in the creation of performing arts at the performing arts education study program at isi denpasar. the evaluation results of the learning management in the performing arts creation can be used as input for improving the learning management related to performing arts courses, which in turn can enhance students’ competence in the field of performing arts. the learning of performing arts creation is directed towards the development of nationalism among the next generation towards the cultural heritage of the nation in the field of arts. the research design used is an evaluative research design with the cipp model. the research subjects consist of program managers, lecturers of the performing arts creation course, and students who have taken or are currently taking the performing arts creation course. data collection is done using questionnaires, observations, and interviews. the data is analyzed using quantitative descriptive analysis. the research findings indicate that: (1) the quality of the context aspect of the learning management in the performing arts education at isi denpasar is classified as good; (2) the quality of the input aspect of the learning management in the performing arts education at isi denpasar is classified as fairly good; (3) the quality of the process aspect of the learning management in the performing arts education at isi denpasar is classified as not good or poor; and (4) the quality of the product aspect of learning management in the performing arts education at isi denpasar is classified as fairly good improved; (2) maximizing the use of technology in the learning process; (3) facilitating collaborative learning among students from different study programs or universities. keywords: learning management, cipp how to cite: sustiawati, n. l., negara, i. g. o. s., sumarno, r., & nalan, a. s. (2023). evaluation of the management of performing arts creation learning. harmonia: journal of arts research and education, 23(1), 195-207 harmonia: journal of arts research and education 23 (1) (2023), 195-207 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i1.43486 (richardson, 2020). furthermore, richardson (2020) suggests that one of the efforts to foster nationalism is through arts education in schools, including the learning of performing arts creation. through artistic creation, students are encouraged to investigate and observe the objects of their introduction cultivating nationalism is not an easy task, as it requires building idealism within individuals. the aspiration for a united nation amidst its diversity is crucial to maintain a sense of nationalism corresponding author: e-mail: sustiawatiniluh@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (1) (2023): 195-207196 creation. students should be actively involved in the process of exploration and active engagement in observation in an effort to seek references from various sources. a study by alexsandra et al. (2019) evaluated vocational practices in schools using the cipp model and found that the involvement of the contextual component was categorized as good, while the input, process, and product components were merely categorized as fair. this means that students’ direct and optimal involvement in a process (observing or performing) will provide meaningful learning experiences. similarly, the emphasis on skill competencies in performing arts creation will also provide equally important meaningful learning experiences. in performing arts creation, the observed objects are directed towards the local wisdom of nusantara or the indonesian archipelago as a creation context, which can cultivate awareness of the cultural richness inherited from the nation’s ancestors as a result of their creativity and imagination in facing various obstacles and challenges. this local wisdom is still highly relevant to the efforts of maintaining national unity and integrity as the main assets in facing current global challenges. in line with this, suherman and winarso (2021) state that building strength in education can be achieved through an approach based on indonesian local wisdom. the transmission process of educational values and character education, along with the development of nationalism and the utilization of local wisdom, present a great opportunity to reach an awareness of the idea of artistic creation that can enhance skills in the creation of nusantara performing arts. thus, the process of performing arts creation is a contextual learning experience that enhances students’ insights and nationalism toward their homeland. a study by umam and saripah (2018) on the evaluation of training programs found that the effectiveness of knowledge, attitudes, and skills formation was good, with a percentage of effectiveness (pe) coefficient of 82.29%. furthermore, sunarto (2018) highlights that various bits of intelligence can be developed through arts education by harmonizing beauty and intellectual development. arts education aims to develop students’ sensory perception sensitivity by engaging them in creative artistic experiences according to their cognitive development stages. through this process, imaginative ideas are developed to discover creative solutions to the problems they encounter. in other words, artistic activities are an endeavor to develop culture as a result of intellectual thinking and imagination in finding innovative solutions to every problem faced. arts education can cultivate the quality of the nation’s future generation in facing various challenges through the development of artistic creativity. one idea of creation that can enhance problem-solving skills is the project of creating nusantara performing arts. through the project of creating nusantara performing arts, students can discover their national identity and express the ideas they acquire as solutions to complex contemporary issues through performing arts works (alam, 2019; ardipal, 2012). based on these studies, it means that the experience of creating performing arts works obtained by students is crucial in nurturing a sense of nationalism towards their nation and homeland. in the process of creating artworks in schools, the role of teachers is crucial in guiding and motivating students. teachers should be able to facilitate the students effectively. alam and nur zuama (2019) state that the process of creating performing arts in schools requires guidance and motivation from performing arts teachers. the role and function of teachers in the dance creation process are essential. besides teaching the subject matter, teachers also act as educators, guides, motivators, and inspirations for students to become outstanding individuals. teachers are challenged to accelerate the development of information and communication. classroom learning and classroom management ni luh sustiawati et al., evaluation of the management of performing arts creation learn197 in this century must align with the standards of information and communication technology advancement (hariyanto & jannah, 2020, p. 21). therefore, to improve the quality of teaching, teachers must continuously enhance their own quality and professionalism in carrying out their duties. setiawan et al. (2021) conducted a study on the implementation of the hybrid learning model and found that the results of implementing hybrid learning in terms of context, input, process, and product were categorized as excellent. this means that the approach used in managing the learning process is crucial, enabling the potential of students to develop optimally. through its performing arts education program, isi denpasar prepares students with the necessary competencies to become professional art educators or teachers. in other words, students are equipped to become facilitators, guides, and motivators in every art learning process for school students. therefore, the experience of creating performing arts works by psp students before becoming teachers is essential in discovering the stages of creation and the various challenges and obstacles that will be encountered during the creation or creative process. they can utilize this experience to facilitate and guide the artistic creation activities of students in schools (dana, 2021). in relation to the challenges faced by teachers in dealing with the rapid development of digital technology in the era of the 4.0 industrial revolution, students of psp isi denpasar, as future art education teachers, are directed to possess technological literacy. technological literacy is needed to guide the artistic activities of students based on the development of digital technology (kuswarsantyo, 2020). digital technology nowadays greatly assists students in their learning process. digital technology can be relied upon as a learning medium that mediates students with their learning context (sekarningsih, 2021). papadopoulou (2019) found that the pedagogical concept is directed towards the active participation of students through the utilization of technology in the development of their artistic works. these activities encourage students to discover the connections between art, technology, and diverse perspectives that lead to a pluralistic mindset. based on these statements, psp students must possess proficient technological literacy skills as future art education teachers. the aspiration and need to produce quality art teachers drive the psp program to organize a learning program that accommodates student learning activities. the effectiveness of learning is based on good art education management. savchenko (2020) states that educational management is the systematic, systemic, and comprehensive effort to achieve educational goals through collaboration. dzvimbo (2022) states that educational management is related to the management of the educational process to achieve short-term, medium-term, and long-term goals. referring to these aspects, art education management can be defined as planning, implementing, and evaluating art education programs in an art education institution. art education management includes the management of human resources, material resources, financial resources, and other resources necessary to ensure that the desired art education goals can be achieved effectively and efficiently. more specifically, art education management involves the management of art learning to ensure the improvement of student learning quality, especially in the creation of performing arts. rosa & mujiarto (2020) express that university management should be adapted to the demands of the 4.0 industrial revolution to effectively utilize technology and collaborate with schools to determine learning needs and objectives. vaintraub et al. (2020) add that successful university activities are mainly provided by a quality management system for specialized training; the availability of updated copyright education programs, modern materials, and technical infrastructure; domestic and international relationships with other universities and companies, enabling the development of professionalism to acharmonia: journal of arts research and education 23 (1) (2023): 195-207198 quire necessary practices and familiarize oneself with various technologies. bellini et al. (2019) state that collaboration with the business world allows universities to understand the human resource needs of the job market. this is because students’ career opportunities extend beyond being art education teachers and enable them to work as practitioners in the art industry, capable of competing in the global art industry. in line with this, kunttu (2019) suggests that collaboration between academia and industry can be a strong source of innovation. this view aligns with barnard’s theory of organizational management, which presents a systems perspective on organizational systems encompassing psychological theories of motivation and behavior, sociological theories of cooperation and complex interdependence, and an ideology based on meritocracy. barnard’s unique contribution lies in integrating concepts of behavior, motivation, and group processes into a systemic framework (mahoney, 2002). this perspective indicates the importance of contributions from various stakeholders in the development of educational management. based on the aforementioned line of thinking, several relevant empirical studies have been conducted, including a study by masaong (2019) on the development of a character education management model based on multiple intelligence in the era of the 4.0 industrial revolution. the study found that this model is highly effective in improving the quality of character education in schools through inbound and outbound programs and integrating it into the learning process in the gorontalo province. this research emphasizes the importance of involving students in direct interaction with the available learning context in their surroundings. additionally, it highlights the significance of engaging with the community to synergize educational development in gorontalo. this study can serve as a reference for the management of arts education in the psp study program at isi denpasar, directing learning activities towards collaboration with the environment and the local community, particularly the artists in the vicinity of the university. rothdiener et al. (2020) conducted an analysis on the collaboration of surgical courses in undergraduate programs at eight medical faculties in germany (tuebingen, freiburg, mannheim, bonn, frankfurt, hannover, magdeburg, and wuerzburg) from the perspective of teaching staff, using the national competencybased learning objectives for undergraduate medical education (nklm). the study revealed that overall engagement in collaborative teaching skills among collaborators and managers was still low. this research provides empirical support for the implementation of collaboration between universities in developing professionalism among medical students. based on these findings, it can serve as a reference for the management of collaborative learning between art universities in developing professionalism among students in the field of art education. ramadhan & handayaningrum (2020) conducted a study on art education management at sanggar pensi in bondowoso regency. the main issue examined was how art education management was provided to street children at sanggar pensi, with the aim of describing the management of art education for street children at sanggar pensi, which consists of several aspects: planning, organizing, directing, and monitoring. based on the research findings regarding the management of art education, sanggar pensi implemented four management functions, including long-term and short-term planning, manifested through the established studio programs; organizing through the development of an organizational structure to organize art education activities; directing, which was carried out concurrently with the implementation of art education; and monitoring, which the studio leader directly supervised. these measures were taken to ensure that art education activities ran smoothly and aligned with sanggar pensi’s vision, mission, and objectives. ni luh sustiawati et al., evaluation of the management of performing arts creation learn199 this research provides an overview of art education management that can stimulate the creativity of street children. it presents a profile of art education management in facing various challenges and obstacles. the research findings highlight the importance of learning management for the development of a better learning process. vali (2022) conducted a study to identify the requirements for developing a non-communicable disease (ncd) program based on the cipp model (context, input, process, and product). this research employed a qualitative study design. the analysis was conducted using a content analysis approach to identify the program development needs across the four dimensions of context, input, process, and product. based on the evaluation research using the cipp model, it can serve as a reference for evaluating art learning management. based on the relevant theoretical studies and research findings, it can be concluded that art learning management should establish systematic, systemic, and comprehensive collaborations both internally and externally. the internal synergy of art learning management involves all faculty members and stakeholders of the psp program in carrying out their tasks and functions in the learning process. on the other hand, external collaborations involve various parties, such as partnerships with other universities, artists, businesses, and community figures. these collaborations aim to determine shared needs and goals, formulate policies, and ultimately enhance the quality of each organization. through the optimization of education management, it is expected to improve the quality of graduates from the psp program at isi denpasar as professional and globally competitive teachers. learning management needs to be continuously adjusted to the needs of global competition, accompanied by the rapid development of digital technology. based on this, research on the evaluation of education management is crucial to obtain information or an overview of the implementation of learning. the results of the evaluation are used as recommendations for improvement in enhancing the quality of learning, including the quality of contextual aspects, supporting input, processes, and learning management products. based on these conclusions, the main issues examined in this research are: (1) what is the quality of the context aspect of the performing arts education management at isi denpasar? (2) what is the quality of the input aspect of the performing arts education management at isi denpasar? (3) what is the quality of the process aspect of the performing arts education management at isi denpasar? (4) what is the quality of the product aspect of the performing arts education management at isi denpasar? method this research uses an evaluative research approach with the cipp (context, input, process, product) model developed by stufflebeam. this approach is chosen based on the assumption that the information obtained from evaluation efforts can contribute to effective decision-making (sugiyono, 2013). the cipp model evaluates four elements or aspects of learning management: context, input, process, and product (stufflebeam & coryn, 2014). the context evaluation is related to the analysis of learning needs that lead to learning objectives. the input evaluation involves resources such as faculty members and learning facilities that support the teaching and learning process. the process evaluation includes analyzing the teaching and learning process of the performing arts creation course. the product evaluation focuses on the extent to which the artistic works produced align with the course’s learning objectives. the context evaluation documents the process of determining learning needs and the resulting learning objectives (abel, 2021). the input evaluation documents the follow-up actions taken based on the identified needs and learning objectives. in other words, the input is adharmonia: journal of arts research and education 23 (1) (2023): 195-207200 justed to facilitate the achievement of learning objectives through the teaching and learning process (alexsandra et al., 2019). the process evaluation documents the teaching and learning process as an effort to fulfill competencies or learning objectives. it encompasses lesson planning, teaching activities, and evaluation processes to assess students’ learning outcomes (braun, 2021). lastly, the product evaluation assesses the outputs and outcomes of the learning process. it examines the congruence between the achieved learning outcomes and the expected competencies (li, 2022). this evaluation model is employed to identify issues and challenges during the implementation of arts education management. data collection methods primarily utilize questionnaires, complemented by observations and interviews. the questionnaire is designed based on the four dimensions of the cipp model, with corresponding indicators. the research subjects consist of program managers, faculty members teaching the performing arts creation course, and students who have taken or are currently taking the course. to determine the instrument validity, content validity was conducted by prof. dr. totok sumaryanto florentinus, m.pd., and dr. i wayan sukra warpala, m.sc. the results of the content validation concluded that all indicators from each evaluation aspect can be used. the questionnaire used for content validity followed a likert scale pattern with five options, and the scoring for positive statements was as follows: very good with a score of 5, good with a score of table 1. dimensions/aspects and their cipp evaluation indicators dimension/ aspect of cipp indicator context 1. self-development demands and graduate opportunities 2. government and community support 3. government policies 4. legal foundation 5. scientific and technological advancements 6. values and societal expectations 7. economic demands 8. globalization demands input 1. vision, mission, goals, objectives 2. curriculum 3. personnel 4. students 5. facilities and infrastructures 6. financing 7. school regulations 8. organization 9. administration 10. community participation 11. school culture process 1. teaching and learning process 2. management 3. leadership output 1. academic achievements 2. non-academic achievements 3. class repeater rates 4. school dropout rates outcome 1. educational opportunities 2. job opportunities 3. self-development opportunities adapted from (dantes, 2021) ni luh sustiawati et al., evaluation of the management of performing arts creation learn201 4, fairly good with a score of 3, poor with a score of 2, very poor with a score of 1. for negative statements, the scoring was the opposite. the questionnaire was distributed to two groups of subjects: 11 lecturers who teach the course were selected using total sampling, and 60 students were selected randomly as samples. the dimensions/aspects and indicators of the cipp evaluation are presented in table 1. the data obtained from observations and interviews are used to support the discussion of the research findings. the questionnaire data is analyzed using quantitative descriptive analysis with five categories as follows. table 2. pap conversion guide score range percentage quality category 95-100 very good 80-89 good 65-79 fairly good 40-64 poor 0-39 very poor adapted from (dantes, 2021; umam & saripah, 2018) the data analysis activity is carried out by an evaluation team from the quality assurance unit of the faculty of performing arts, isi denpasar, which is then reported to the researcher. result and discussion the data analysis of the cipp model evaluation on the management of performing arts learning is conducted descriptively and quantitatively based on subject groups (samples). the results of data analysis on the subject group of lecturers teaching the performing arts creation are presented in table 3. based on the data analysis of the lecturers teaching the performing arts creation course above, the following findings are observed: (1) the quality of the context aspect of the management of performing arts education at isi denpasar is considered good; (2) the quality of the input aspect of the management of performing arts education at isi denpasar is considered fairly good; (3) the quality of the process aspect of the management of performing arts education at isi denpasar is considered poor or not good; and (4) the quality of the product aspect of the management of performing arts education at isi denpasar is considered fairly good. the results of the data analysis for the group of student subjects enrolled in the performing arts creation course are presented in table 4. based on the analysis of data from the students enrolled in the performing arts creation course, the following results were found: (1) the quality of the context aspect of the learning management in performing arts education at isi denpasar is considered fairly good; (2) the quality of the input aspect of the learning management in performing arts education at isi denpasar is considered fairly good; (3) the quality of the process aspect of the learning management in performing arts education at isi denpasar is considered less poor or not good; and (4) the quality of the product aspect of the learning management in performing arts education at isi denpasar is considered fairly good. the discussion of the research results is as follows: table 3. description of central tendency scores for the management of performing arts creation learning for the dimensions of context, input, process, and product by course instructors. variable/dimension ∑ x n smi mo mo (%) category context ( c ) 573 11 60 52,09 86,82 good input ( i ) 883 11 105 80,27 76,45 fairly good process ( p ) 385 11 60 35,00 58,33 poor product ( p ) 228 11 30 20,73 69,09 fairly good harmonia: journal of arts research and education 23 (1) (2023): 195-207202 context evaluation the determination of learning needs is carried out by a team of 11 teaching faculty members of the performing arts creation course. the analysis of students’ learning needs to determine a set of competencies as art education teachers is limited to determining the learning material or content; thus, the faculty members have not understood the urgency of the learning experiences required by students during the process of performing arts creation. similarly, the analysis of strengths, weaknesses, opportunities, and challenges has also not been conducted. the determination of learning outcomes only refers to sample syllabi and implementation plans obtained through the internet. based on the results of the observations, it is evident that the determination of needs and learning objectives for creating dance art, including drama, dance, and music, is still done internally by the course instructors and is limited to the theory of creation. this contradicts the opinion of rosa & mujiarto (2020), who state that collaboration from various parties is required in program management. the collaborative determination of learning needs brings forth diverse opinions that can be considered while making decisions. similarly, rothdiener et al. (2020) emphasize the importance of collaboration between programs in designing the curriculum to develop the desired competencies. in relation to the observed results, the psp program has the potential to collaborate with other relevant programs in performing arts such as dance, karawitan, pedalangan, modern music, and visual design and communication. vaintraub et al. (2020) suggest that the determination of learning needs can serve as a goal for students’ competency acquisition. the management of performing arts education seems to lack the involvement of course instructors in analyzing the potential of the program to achieve the desired competencies. psp instructors are also not involved in identifying the obstacles and challenges that students may face. input evaluation the results from the input evaluation are the following data: firstly, there are six teaching staff members who teach dance, drama, and music courses. each instructor holds a master’s degree in dance, music, or art education. secondly, the learning facilities at isi denpasar campus provide internet connectivity through wifi, which is accessible to all students. the majority of students own smartphones and laptops as learning devices. thirdly, there is a lack of learning media specifically related to the process of creating performing arts. the isi campus is equipped with various learning facilities, including dance studios, karawitan (traditional music) studios, pedalangan (traditional puppetry) studios, tv and film studios, a library, computer labs, costume labs, language labs, documentation centers, and indoor and outdoor performance stages. the learning resources include reference books, sewing machines, cameras, computers, and laptops. fourthly, the performing arts education program at isi denpasar has collaborations with artists from several art studios in denpasar. these collaborations are established during art performances and also involve job placement for psp isi denpasar graduates. collaborations are also formed with art-related businesses, such as event organizers and lighting providers. table 4. description of central tendency scores for the dimensions of context, input, process, and product in the learning management of performing arts creation from the students enrolled in the course variable/dimension ∑ x n smi mo mo % category context ( c ) 2.138 60 45 35,63 79,18 fairly good input ( i ) 2.853 60 60 47,55 79,25 fairly good process ( p ) 1.084 60 30 18,07 60,22 poor product ( p ) 1.250 60 30 20,83 69,44 fairly good ni luh sustiawati et al., evaluation of the management of performing arts creation learn203 the observation results regarding the input aspects indicate that the psp program at isi denpasar has adequate resources to develop the required competencies. the availability of experienced lecturers who have been involved in art performances for a long time and possess a deep understanding of traditional or nusantara arts is a valuable resource. additionally, the psp program is equipped with supporting facilities for the development of performing arts creation, such as reference books, internet access, and various art laboratories. these resources can assist students in exploring ideas for creative development and ultimately contribute to the production of high-quality artistic works. however, it is important to note that some of these supporting resources have not been fully utilized due to the lack of learning objectives that stimulate students to achieve the required competencies as professional teachers. this fact aligns with the viewpoint of kuswarsantyo (2020), who emphasizes the importance of utilizing digital technology in education. in line with kuswarsantyo’s perspective, technology can mediate a contextual learning process for students. the resources provided by lecturers and the available facilities and infrastructure in the psp program can enhance students’ learning experiences in the process of creating art. these experiences are crucial for preparing future professional teachers who can effectively facilitate students’ learning activities in schools. process evaluation based on the process evaluation, several data points were obtained. firstly, there is a learning implementation plan (rps – rencana pelaksanaan pembelajaran) that includes the standard competencies of graduates, learning outcomes, and learning indicators. however, the rps does not explicitly reflect the students’ activities in the process of creation. the learning outcomes mainly focus on the cognitive mastery of theoretical concepts related to performing arts creation. secondly, the implementation of the performing arts creation learning process involves presenting the concepts of performing arts creation. students then work in groups to create performances in various aspects such as dance, drama, or music. thirdly, the learning evaluation process involves providing each group of students with the opportunity to present their creations through performances in front of the class. however, the assessment process does not include specific competency assessment indicators. as a result, the lecturer assigns grades based on their general impressions. based on the observation results regarding the process aspect, it indicates that the learning process’s planning, implementation, and evaluation have not been designed to provide direct experiences to students in developing their creative potential. the learning process has not been able to challenge students to stimulate their thoughts and emotions to be expressed in their works. although students may have a wealth of theoretical knowledge about creation, they do not have the opportunity to express their works. the learning objectives for students are focused on acquiring grades that can be obtained through memorizing theories. this is contrary to the opinion of sunarto (2018), who states that the artistic process, especially in creating artworks, develops various intelligences through the harmonization of intellectual and aesthetic aspects. passive learning of students, dominated by rote memorization of creation theories, cannot develop students’ bits of intelligence effectively, especially moral and spiritual intelligence and national consciousness as future generations of the nation. zuama (2019) states the importance of the teacher’s role in students’ creative process in schools. therefore, students in the psp program at isi denpasar need to be trained to create artwork as a representation of the solutions they offer to the problems they encounter. through such learning experiences, they can acquire the skills needed to facilitate and guide students in their learning process as future harmonia: journal of arts research and education 23 (1) (2023): 195-207204 teachers. product evaluation product evaluation was conducted through observations of several art and culture teachers in middle schools and high schools in denpasar who are graduates of the psp program at isi denpasar. the observations were made during their teaching of the basic competencies of creating artworks in drama, dance, and music. the obtained results of the observations are as follows: firstly, teachers did not have lesson planning; secondly, teachers conducted learning by lecturing based on the materials found in textbooks; thirdly, students’ learning outcomes were assessed by answering a number of objective questions, and students did not experience the process of creating performing arts in the classroom. the impact of the learning process of creating performing arts, including drama, dance, and music, during their higher education at the university has led to teachers who are less able to facilitate active learning processes for students in schools. these teachers organize their teaching based on their previous learning experiences, which limit the development of students’ creativity in the creation process. furthermore, the process of creating performing arts by students does not foster their sense of nationalism towards their nation and country. this contradicts what richardson (2020) has expressed, stating that one of the efforts to cultivate nationalism is through arts education in schools. suggestions for improving the management of arts creation learning in the psp based on the evaluation using the cipp model, several findings were obtained, such as: (1) the determination of needs and learning objectives is not optimal; (2) the available resources to support active and innovative learning processes are not optimally utilized; (3) learning activities start with instructional materials and lack practical artistic creation; (4) the output as a result of the art education management has not been able to develop professionalism as an educator. an art education management can be developed as a follow-up to the identified issues. first, the policy-making process in education should involve collaboration among various stakeholders. these stakeholders may include professors from different study programs and universities, artists, the community, and entrepreneurs involved in the field of art. this approach can provide insights and perspectives on the learning needs and competencies required for art education teachers. collaboration among universities aligns with the viewpoint of rothdiener et al. (2020) that universities can identify their respective problems and work together to solve them. collaboration among universities can determine problem-solving steps through collaborative programs, both in the learning process and in meeting the support needs for education. collaboration with entrepreneurs corresponds to the opinion of bellini et al. (2019) that in order to survive in global competition, business players need to adapt to the challenges of the global industry, which demands innovation. therefore, the organizational management strategies used by universities can be adapted accordingly. collaboration between academia and industry, as stated by kunttu (2019), has the potential to generate strong innovations. this collaboration is sought in determining the competencies needed in the global era and ultimately leads to setting goals for meeting students’ competency requirements. collaboration with artists, as stated by ramadhan & handayaningrum (2020), allows universities to gain insights from artists in developing their works, especially in identifying strengths and opportunities to overcome obstacles and challenges in the existence of indonesian art and culture. collaboration with schools, as mentioned by rosa & mujiarto (2020), recognizes schools as institutions that require outputs from higher education. they can ni luh sustiawati et al., evaluation of the management of performing arts creation learn205 provide input on the expected competencies of students and contribute to the mapping of needs and goals in art education. secondly, maximizing the use of technology in the learning process is essential. students need to utilize technology to generate ideas and present their works based on technological advancements, enabling them to create art that can compete globally. this aligns with the perspective of kuswarsantyo (2020), who emphasizes the direction of creative activities towards the utilization of digital technology. students can develop ideas through online exploration and utilize technology to enhance their artistic output for the wider public’s enjoyment. thirdly, the learning process should involve addressing current national issues. this stimulates students to utilize the local wisdom of the nation, as local wisdom has proven to be a solution to maintaining unity and national integrity. this aligns with the perspective of suherman & winarso (2021), emphasizing the building of educational strength through the approach of indonesian local wisdom. fourthly, the learning process can be facilitated through collaboration among students from different programs and universities. such collaboration creates interdisciplinary interactions that complement each other. it leads to effective and efficient learning activities. interdisciplinary collaboration can result in works that integrate the diverse artistic backgrounds of the students. rothdiener et al. (2020) highlight that collaboration among students from different programs enhances the effectiveness and efficiency of the artistic creation process. they can exchange ideas, information, and expertise to enhance their collective works. this promotes variation and uniqueness in performing arts creations. conclusions based on the results and discussions, the following conclusions can be drawn: (1) the evaluation results of performing arts creation learning for students in the performing arts education program at isi denpasar can serve as a reference for developing arts education management, particularly in the context of performing arts creation learning, in a sustainable manner; (2) the development of arts education management is based on collaboration among education programs, universities, artists, the community, and entrepreneurs in the field of arts; (3) performing arts creation learning is directed towards utilizing technology to produce globally competitive artworks. references abel, t. 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(2022). the requirements of developing programs for the management of non-communicable diseases in iran based on the cipp model: a qualitative study. journal of health research, 36(6), 1068–1077. https:// doi.org/10.1108/jhr-11-2020-0546 12 characteristics of bedayan retna dumilah dance motions created by s. ngaliman condropangrawit herlinah department of music education, faculty languages and arts, universitas negeri yogyakarta, indonesia received: march 9, 2019. revised: may 16, 2019. accepted: june 19, 2019 abstract the purpose of this study is to describe the characteristics of bedayan retna dumilah dance motions created by s. ngaliman condropangrawit. this research uses descriptive qualitative method. the research subjects are three figures who are familiar with the bedayan retna dumilah dance. data collection techniques used the method of observation, in-depth interviews, and documentation study. data analysis techniques were conducted through the stages of data reduction, data description, and conclusion drawing. data validation was conducted through the triangulation of sources. the results show that the bedayan retna dumilah dance is a surakarta style traditional dance that combines the feeling of classical dance motions of the surakarta kasunanan palace with the sense of motion of kemlayan village artists. the main idea of the bedayan retna dumilah dance was inspired by bedaya bedhah madiun. the bedayan retna dumilah dance range of motions was taken from the srimpi sangupati, the srimpi gondokusuma, and the srimpi anglirmendung dances range of motions. the characteristics of the range of motions found in the bedayan retna dumilah dance are: 1) sekaran lara retna dumilah which is a development of the sekaran laras sawit; 2) the standing style sekaran lenggut which is a development of the lenggut on sembahan trapsila and sembahan jengkeng. the two characteristics of the range of motion are not found in the other dances. keywords: characteristics, dance motion, bedayan retna dumilah how to cite: herlinah. (2019). characteristics of bedayan retna dumilah dance motions created by s. ngaliman condropangrawit. harmonia: journal of arts research and education, 19(1), 12-17. harmonia: journal of arts research and education 19 (1) (2019), 12-17 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i1.23624 expression of creativity from culture itself, a society that supports culture and thus technique creates, provides opportunities to move, maintain, transmit, develop and then create the new ones. as time goes by, art develops more rapidly. one form of art is dance, which has an essential role in people’s lives. widaryanto (1988) said that dance is expressive given movements created by humans to be enjoyed with taste. based on the pattern he worked on, introduction art is an expression of the human spirit that is manifested in various forms of artworks. art creation occurs because of the process of creativity, taste, and intention. sense arises because of an instinctual drive called will (karsa). according to (soedarsono, 1996), karsa can be individual or collective, depending on the environment and culture of the community. on the other hand (kayam, 1981) said that art is an corresponding author: jl. colombo no. 1, sleman, yogyakarta, 55281, indonesia e-mail: herlinah@uny.ac.id p-issn 2541-1683|e-issn 2541-2426 herlinah, characteristics of bedayan retna dumilah dance motions created by s. ngaliman 13 dances in indonesia can be divided into two namely traditional and new creation dances. traditional dances can be divided into classical traditional, traditional folk and primitive dances (suparjan, 1982). it is also stated that classical dance is a dance that has experienced high artistic crystallization that has existed since the feudal era. classical dance has certain standardized standards that must not be violated. according to (soeryobrongto, 1974), dance must be an expression of the soul, without the soul the dance will become less lively, hollow, and shallow, lack of character, and lack of style. there are various forms of classical traditional dance, such as the bedaya dance, srimpi dance, wayang wong (traditional drama performance), golek (wooden puppet) dance, and so on. of the many forms of classical traditional dances, one of them is the bediaya dance. the bedaya dance is a form of classical dance performed by nine female dancers in the same clothes and makeup, and each dancer has a different role. bedaya dance was born, lived, and developed in the palace; in general, this dance is the legitimacy of the king. bedaya dance is one of the ritual dances that is full of moral values and messages, so that it is natural that this dance will be retained, especially in the palace surroundings of both the surakarta and yogyakarta palace (sunaryadi, 2013, p. 146). however, over time, bedaya dance developed and spread widely outside the palace walls. this is marked by the making of bedaya dance as subject matter in art schools such as the karawitan indonesia middle school (smki) and the tertiary level that has a major in dance. however, there are bedaya dances that are not allowed to come out of the palace walls, namely the bedaya ketawang dance (surakarta palace), and the bedaya semang (yogyakarta palace), because until now the two bedaya dances are sacred heirlooms (santoso, 1990. p. 15). talking about the bedaya dance inside the palace, there is one style of bedaya dance that is outside the walls of the palace. it is the bedayan retna dumilah dance. bedayan retna dumilah dance is one example of classical javanese dances originating from outside the walls of the palace. this dance was created by a master of dance from surakarta, namely s. ngaliman candrapangrawit in 1978. this dance was created upon the request from a prince from the surakarta kasunanan palace. the composition of the bedayan dance is not the same as the bedaya dance in general. the number of bedayan retna dumilah dancers is seven, while bedaya in general has 9 dancers. for this reason, this dance is called bedayan which means artificial bedaya. bedaya dance danced by nine female dancers is a dance born in the palace and created by the kings. in general, the bedaya dance is a legacy of the king. as the statement of s. ngaliman candrapangrawit conveyed to haryono, that those who are entitled to compose the bedaya and srimpi dance are actually only the palace (keraton), therefore the composition of the bedayan retna dumilah is not the same as the bedaya dance in general (interview with mr. haryono on 15 september 2014). the bedayan retna dumilah dance motions are taken from the srimpi sangupati, the srimpi gandokusuma, and the srimpi anglirmendung dance motions. the range of motions was rearranged and the composition was simplified. the bedayan retna dumilah dance absolutely demands more cohesiveness and quality of motion that is inseparable from predetermined rules. even though the arrangement of motions in the bedayan retna dumilah dance was simplified, it still adheres to the rules in the surakarta palace. based on these descriptions, researchers are interested in studying more deeply the characteristics of bedayan retna dumilah dance motions. research on the bedaya dance outside the palace has been carried out by ika ayu kuncara ningtyas in 2018 with the title “bedhaya sukoharjo compaction by m. t.h sri mulyani”, the article explained that the compaction of the bedhaya sukoharjo dance was carried out with the aim to meet the needs of performances outside the palace walls. the motions motive has been compacted by reducing the duration harmonia: journal of arts research and education 19 (1) (2019): 12-1714 of the number of repetitions of the motives associated with changing the forefront and reducing the amount of the gongan. the factors influence the compaction of bedhaya sukoharjo dance consist of internal and external factors. internal factors within the artist are experience. m.th. sri mulyani as a bedhaya dancer wanted to display a shorter bedhaya dance duration of her performance which was related to the need for performances outside the palace walls (ningtyas, 2018). character is a reflection of the unity of working on the basic elements of dance that form the beauty of a dance tasman (2008. p. 19). these properties are formed in addition to the factors of space and time. the character creator in a dance is not always done by a person but more than one person. it is also stated that the character is the behavior or behavior of actions that reflect his soul. exploring the characterization and character of each character in a dance performance is the most basic element because dance is a fulfillment of the needs of artistic expression that is able to arouse and develop a typology of characterization (sedyawati, 1993, p. 8). it is also stated that the typology of disposition, in javanese performing arts was developed broadly, not only the visual system that was worked on, but also how to move and the range of motion and tone and vibration of sound were all designed with reference to the characterization system. soedarsono (1985. p. 3) said that one characteristic of classical javanese dance is that each form of dance must depict certain characters. based on the character of motion, it can be divided into two, namely feminine motions and masculine motions (soetedjo, 1983, p. 4). it was also said that feminine motions have the following characteristics: small or narrow volume of motions, low leg raise, low arm or arm raise, and slow motion. whereas masculine motions have the following characteristics: large and wide volume of motion, high leg raise, high arm or arm raise, and strong and hard motions. for this reason, the main material required for dance is the human body. dance is an expression tool or as a means by which an artist communicates with others (connoisseurs). as an expression tool, dance is capable to create a description of the motion that can make the audience sensitive to something around him. all the motions around us can be used as a source of dance motion ideas (suzanne, 2014), a music and dance history expert from germany, said that dance is a rhythmic movement. this definition was sharpened by (soedarsono, 1996) who said that dance is an expression of the human soul expressed by beautiful rhythmic movements. on the other hand (sedyawati, 1981) stated that dance is a range of physical activities whose ultimate goal is the expression of beauty. all definitions put forward by dance experts are principally true since, in reality, this dance is alive because of people’s souls and feelings. in other words, whether dance is alive or not depends on how the dancer plays his character in dancing. method this research used a qualitative approach. a qualitative approach is defined as a research procedure that produces descriptive data in the form of written or oral words from observed people and behavior. according to moleong (2017) qualitative research is often used to examine phenomena in natural social and cultural life. with this approach, it is expected to reveal and describe the characteristics of the bedayan retna dumilah dance motions. the data used in this study was written documentation, and videos relating to the characteristics of the bedayan retna dumilah dance, as well as the facts found in the field while this research was ongoing. to obtain accurate data the data sources taken were as follows: data about informants (resource persons), the next data was written data in the form of books about the style of s. ngaliman dance, as well as notebooks that were in the resource herlinah, characteristics of bedayan retna dumilah dance motions created by s. ngaliman 15 persons. besides, the data was in the form of a video. the data was then collected. data collected through interviews and observations was referred to as primary data, while data collected through documentation was secondary data which was to support the validity of primary data. to obtain accurate data the source of data taken was data about the informants, while the informants were chosen by selecting people who could provide accurate data. the informants included mr. haryono, m.hum, mr. bambang tri atmojo, and ms. hartiwi. meanwhile, the documentation was taken from video recordings and records available at the resource persons. data collection techniques in this study were interviews and documentation. in-depth interviews were conducted with informants who were considered to have a lot of knowledge about the bedayan retna dumilah dance. meanwhile, the documentation was carried by out observing the form of sekaran-sekaran gerak in bedayan retna dumilah dance in detail so that it is easier to detail the existing data. in this study, the researcher is the main instrument or human instrument, with a set of knowledge about the characteristics of the bedayan retna dumilah dance with the help of interview and documentation guides. the data obtained was then descriptively and qualitatively analyzed as follows: a) data reduction by summarizing the main things in accordance with the research topic, b) description of the data by examining data obtained from various sources, c) drawing conclusions that are, the results of the reduction were grouped into units, then categorized or grouped and then carried out separation according to the theme. result and discussion the background of the creation of the bedayan retna dumilah dance bedayan retna dumilah dance was composed in 1978 by s. ngaliman candrapangrawit, a master of dance from surakarta. this dance was created upon the request from lt. gen. jatikusuma (a prince from the kasunanan surakarta palace) in the context of an art mission to the netherlands. the main idea of the bedayan retna dumilah dance was inspired by the bedaya bedhah madiun dance. this is because s. ngaliman was impressed with retna dumilah’s character in the bedaya bedhah madiun dance, which displayed her majesty. in the bedayan retna dumilah created by s. ngaliman candrapangrawit, in addition to highlighting the figure of retna dumilah, the figure of panembahan senopati was also presented. variety of bedayan retna dumilah dance motions were taken from srimpi sangupati, srimpi gondokusuma, and srimpi anglirmendung dance motions. the range of motion was reprocessed and simplified and changes were made to the composition. the bedayan retna dumilah dance is performed by seven female dancers, this is different from the bedaya dance in general. the bedaya dance is generally performed by nine female dancers. the bedayan retna dumilah theme is the theme of love between retna dumilah and panembahan senopati. in bedayan dance retna dumilah does not use terms such as endhel, apit ngajeng, batak, buncit, gulu, and so on. bedayan retna dumilah dance work included sekar ageng tebu sauyun’s vocal that has never been seen in bedaya dance in general. bedayan retna dumilah dance is a form of dance that is packaged simply, and not the sacred one. this dance can be learned by anyone who wants to learn it. even bedayan retna dumilah dance is still used as lecture material in the department of dance education faculty of language and art, yogyakarta state university. characteristics of movement of bedayan retna dumilah dance bedayan retna dumilah dance was created outside the palace walls by s. ngaliman candrapangrawit. as explained above that the bedayan retna dumilah dance was created at the request of a prince harmonia: journal of arts research and education 19 (1) (2019): 12-1716 from the surakarta kasunanan palace. by s. ngaliman the range of motion in the bedayan retna dumilah dance was taken from the range of motions in the srimpi sangupati, srimpi gondokusuma, and srimpi anglirmendung dances which then were simplified in terms of composition. s. ngaliman made simplifications and changes in terms of composition, but now they still adhere to traditional dance waton. therefore, the characteristics of dance motions found in the bedayan retna dumilah dance are still very strong in reference to the surakarta keraton kasunanan tradition despite having its own taste, namely the taste of kampung kemlayan dance. seeing the characteristics of dance is needed by analyzing motion, because dance ideas are channeled through them through motion. thus, the discussion always considers the motions present in dance (wahyudianto, 2006). likewise, the characteristics of dance motions in the bedayan retna dumilah dance are something that is important to note. related to the character problem, in the bedayan retna dumilah dance, the seven dancers are very emotionally connected to retna dumilah. understanding the character is the meaning of a sense of beauty that radiates in the quality of the bedayan retna dumilah dance. the strength of the seven dancers’ character in this dance is very visible in the dance motions which are closely related to the floor pattern. therefore, the meaning cannot be separated from the characters through the motions carried out. there are several patterns of motion nowadays in the bedayan retna dumilah dance by s. ngaliman candrapangrawit including patetan maju gending, sembahan laras jengkeng, right laras retna dumilah, left laras retna dumilah, glebagan ogek lambung, golek iwak, ngunus cundrik, perangan kengser ukel manis, inserting the cundrik, nikelwarti sembahan, lembehan maju mundur separuh, lelebotan, enjer, engkyek, nikelwarti, patetan mundur. among the number of patterns that have been composed in the dance bedayan retna dumilah is sekaran motion that has special characteristics. sekaran laras bedayan retna dumilah is different from sekaran laras in common dances. the pattern of sekaran laras bedayan retna dumilah is actually the creation of sekaran laras sawit, but it has been developed so that it has a different taste of sekaran laras sawit in other dances. the sekaran laras retna dumilah has soft or banyumili (flowing water) motion characteristics with a slow motion tempo. standing up lenggut is the development of lenggut on sembahan trapsila and sembahan jengkeng. the nature of this motion is weak, the focus of motion is on the head with the right hand position squeezed the shawl (sampur). figure 1. sekaran laras retna dumilah (doc. hartiwi, 2010) figure 2. lenggut motion (doc. hartiwi, 2010) conclusion the bedayan retna dumilah dance was created outside the palace walls precisely in kemlayan village, by s. ngaliman tjondropangrawit, a dance master from surakarta in 1978 upon the request from herlinah, characteristics of bedayan retna dumilah dance motions created by s. ngaliman 17 a prince from kasunanan surakarta hadiningrat. this is something very positive, because with the creation of this bedayan retna dumilah dance, it adds to the dance treasury. the bedayan retna dumilah dance is danced by seven female dancers. this is different from the bedaya dance in general which is usually danced by nine female dancers. bedayan retna dumilah dance is a combination of the classical dance motions of the surakarta kasunanan palace with the motions of kemlayan village artists who try to develop based on their own taste, so that the dance style of the kemlayan village dance appears as reflected in the sense of dance motions by s. ngaliman. characteristics of the motion patterns found in the bedayan dance retna dumilah is sekaran laras retna dumilah which is the development of the sekaran laras sawit, and the standing up sekaran lenggut is the development of lenggut on trapsila and jengkeng. these two characteristics of the motion patterns are not found in other bedaya dances. references kayam, u. (1981). seni, tradisi, masyarakat. sinar harapan. moleong, l. j. (2017). metodologi penelitian kualitatif. rosda. sedyawati, e. (1981). pertumbuhan seni pertunjukan. sinar harapan. soedarsono, (dkk). (1996). indonesia indah “tari tradisional indonesia.” yayasan harapan kita/bp 3 tmii. suparjan, i. g. n. s. (1982). pengantar pengetahuan tari untuk smki. depdikbud. suzanne, y. (2014). curt sachs and his heritage: a critical review of world history of the dance with a survey of recent studies that perpetuate his ideas. dance research journal, 6(2). wahyudianto, w. (2006). karakteristik ragam gerak dan tata rias-busana tari ngremo sebagai wujud presentasi simbolis sosio kultural. dalam imaji jurnal seni dan pendidikan seni. fbs uny. widaryanto, f. (1988). problematika seni. akademi seni tari indonesia bandung. 213 24 jie ling gu (24 festive drums): imagining the 24 jie ling (phenomena) of china in enacting cultural solidarity among the chinese diaspora of malaysia clare suet ching chan universiti putra malaysia, malaysia submitted: 2021-08-30. revised: 2022-03-14. accepted: 2022-10-13 abstract the 24 jie ling gu (24 festive drums) is a drum ensemble that consists of 24 lion drums (shigu) played by twenty-four drummers who move to spectacular and dynamic choreography in synchronization with the rhythmic patterns struck on the shigu. it is an “invented tradition” created by the chinese diaspora of malaysia. in response to the 1970s national cultural policy (ncp) which aimed toward the construction of a homogenized national identity, the chinese founded the 24 jie ling gu ensemble to enact cultural solidarity and unify the people toward a sense of belonging to their distant motherland in china. they created the music and movements of the 24 jie ling gu to manifest the 24 jie ling (phenomena)—the weather changes, agricultural activities, and natural phenomenon inherent in the 24 jie qi (jie: joints; qi: breath) or seasonal periods. due to the fact that the chinese of malaysia have not physically experienced china but are connected to it through literature and media technology, i argue that the 24 jie ling gu performers utilized their imagination and localized experience of malaysia to manifest the 24 jie ling in china. this article is based on ethnographic fieldwork and ongoing revisits to this  genre through a span of more than 20 years. keywords: 24 festive drums, 24 jie ling gu, chinese drum ensemble, diaspora, jie qi, invented tradition how to cite: chan, c. s. c. (2022). 24 jie ling gu (24 festive drums): imagining the 24 jie ling (phenomena) of china in enacting cultural solidarity among the chinese diaspora of malaysia. harmonia: journal of arts research and education, 22(2), 213-226 harmonia: journal of arts research and education 22 (2) (2022), 213-226 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i2.31813 chinese. in the late nineteenth and early twentieth century, many chinese from the regions of guangdong and fujian in china arrived in malaya as labourers seeking new economic opportunities offered by the british mercantile and administrative presence in the straits settlements (pan, 1998, p. 96). many of them were driven by poverty and despair brought about by agrarian problems, overpopulation, natural calamaties, and landlord exploitation in china. in malaya, the chinese found work introduction the earliest traces of chinese settlements in malaya were found in malacca— a historical state situated along the south west coast of peninsular malaysia. these settlements were founded by hokkien traders who came from china to trade with the malaccan sultanate around the years 1400 a.d. the chinese men from this entourage married local women in malacca and formed a community known as the baba corresponding author: e-mail: clarechan@upm.edu.my p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (2) (2022): 213-226214 as labourers in tin mines; pepper or gambier;  plantations; sugar and tapioca fields   (yen, 1995, p. 1). the current population of the chinese in malaysia is 6,716.9 million (20.5%) of a total population of 32,655 million (department of statistics malaysia, 2021). they comprise five major dialects: hokkien, cantonese, teochew, hainanese, and hakka. these groups brought the culture, customs and practices, social etiquettes, literature, philosophy, religion, festivals, music, dance and drama from their regions of origin in china (yen, 1995, p. 12). the early chinese immigrants expressed strong desires to preserve their cultural identity in malaya. this desire rose from the need to create a sense of security and belonging in a foreign country where they were a minority. practicing, preserving, and sustaining the cultural heritage and identity was a way to stay united. the festivals that the chinese in malaysia inherited from china are the lunar new year, cold meal festival (qing ming), dragon boat festival (duan wu jie), hungry ghost festival (zhong yuan jie), mid-autumn festival (zhong qiu jie), cowsherd and weaving maid festival (qi xi jie), nine emperor gods festival and winter solstice (dong jie)(stephanchuk & wong, 1993; wong, 1987). professional troupes and the amateur group performed music, dance and drama genres in malaysia. professional troupes such as chinese opera, chinese orchestra (hua yue tuan), chinese puppet theaters (po te hi), and street theaters (ko-tai) performed to entertain the spirits during rituals to give offerings to the gods and deities. amateur groups such as lion dance, dragon dance, or martial arts groups perform to accompany celebrations and festivals. amateur troupes are usually sponsored by rich patrons and developed by chinese clubs or associations to enhance solidarity, promote good health, and strengthen relationships among the chinese in malaysia (tan, 2000, pp. 312-320). the 24 jie ling gu ensemble is an example of a relatively new amateur group. the ensemble was able to foster relationships, team building, and performance skills, including coordination between movement and music among chinese primary and high schools in malaysia (lee, loo, & saidon, 2015, p. 2332). the chinese performing arts in malaysia went through a revival in the 1970s and 1980s. this revival was sparked by the racial riots that occurred on may 13, 1969. this event spurred the government to establish the new economy policy (nep) that favored the bumiputeras (bumi: earth, puteras: princes) in malaysia (tan, 2000, p. 328). this was followed by the development the national culture policy (ncp) (prime minister’s office of malaysia, 2019,   july 12). this concept suggested that the national culture had to consist of three elements. 1. the national culture must be based on the indigenous culture of this region. 2. suitable elements from other cultures may be accepted as national culture. 3. islam is an important component in the formulation of the national culture. although the ncp was practiced for a brief period, it was never established as a policy due to resistance from the people. however, this concept evoked feelings of fear, instability, and threat among the chinese of the newly independent (1957) country then. it created an awareness of the importance status, rights, and identity of the chinese in malaysia. the chinese began searching for their identity amidst a country of different ethnicity, religion, and culture. ethnic identity, cultural consciousness, and community solidarity became integral to the survival of the chinese immigrants of a newly independent nation. according to carsten (2003), the promotion of “greater china” and “cultural china” in the 1970s to bridge barriers in political, commercial, and cultural barriers  enabled  chinese  cultural  influences  to penetrate southeast asia. videocassettes recorders, satellite television, international telephone, and fax lines enabled the chinese in malaysia to view cultural traditions from china, including their music, dances, and festivals (p. 322) clare suet ching chan, 24 jie ling gu (24 festive drums): imagining the 24 jie ling (phe215 one of the ways the early chinese immigrants sought to create cultural solidarity was by developing a new performing arts genre that manifested their identity in the diaspora. the 24 jie ling gu, a n “ i n v e n t e d t r a d i t i o n ” ( h o b s b a w m & r a n g e r , 1 9 8 1 ) was founded by the late tan hooi song and tan chai puan. the late tan hooi song was a music teacher from foon jew high school in johor bahru and lion dance drummer who created the first music and movement  for the drum ensemble. tan chai puan introduced the concept of the 24 jie qi (jie: joints, qi: breath) from china’s agricultural calendar, which forms the basis for the music and movements of the 24 jie ling gu (chan, 2002). the agricultural calendar divides the solar year into twenty-four jie qi or seasonal periods based on changes in the weather in china. farmers in china have used this calendar since ancient times as a guide to their farming activities. while the concept of the 24 jie qi is from china, the music and movements of the ensemble were created by the local chinese performers based on their imagination of the events that occurred during each jie qi in china. the music and movements of the 24 jie ling gu mainfested the jie ling (phenomena) such as weather changes, agricultural activities and natural phenomenon related of each jie qi. for instance, during the spring equinox, chun fen (fourth jie qi), the 24 jie ling gu drummers mimic the activity of the farmers transplanting paddy seedlings (cha yang) to the field by  moving their hands in vertical movement to the rhythmic pattern of four crochets in a bar. the drumstick is held vertically, representing the paddy shoots that are being planted  in  the fields. the music  and movement representing spring equinox will further be exemplifed in this article. this article presents the relationship between the concept of the 24 jie qi with the music and movements inherent in the 24 jie ling gu. due to the fact that the chinese of malaysia have not physically experienced china but are connected to it through literature and media technology, i argue that the 24 jie ling gu perrformers utilized their imagination and localized experience of malaysia to manifest the 24 jie qi in china. this imagination involves cognitive stimulation devoid of direct stimulation to the senses but from exposure to mediated images and literature from china. in addition, the performers also integrated their localized experience of chinese festivals and agricultural activities in malaysia to compose the music and movements. according to szczelkun (2018), “imagination is the production or simulation of novel objects, sensations, and ideas in the mind without any immediate input of the senses … it represents a sophisticated level of functioning in which playful use is made of our ability to mentally replay and combine previous experiences” (p. 33). williamson (2016) states that “imagination is “a form of attention to possibilities, where potential realities are projected, simulated, and operated upon internally” (p. 4). the music and movement of the 24 jie ling gu are based on the “forming of experiences in one’s mind, which can be re-creations of past experiences, such as vivid memories with imagined changes, or completely invented and possibly fantastic scenes” (szczelkun, 2018). therefore the 24 jie ling gu performers combine both cognitive stimulation with or devoid of input to the senses in creating the music and movements. this article focuses on the music and movement pattern that was imagined and created by malaysia’s pioneering 24 jie ling gu ensemble in the early 1990s to 2000s. as the chinese began to establish themselves in malaysia, they began to include multicultural elements in the 24 jie ling gu music and movements. these multicultural components are not discussed in this article. the earliest term used to refer to members of the chinese diaspora is huaqiao or oversea chinese (wang, 1991) wang used this term to denote “sojourners who cared enough for china to involve themselharmonia: journal of arts research and education 22 (2) (2022): 213-226216 ves in chinese politics as well as colonists who had the right to conceive china’s protection” (wang, 1991, p. 84). early chinese immigrants sought to maintain connections and ties with china through practicing and implement china’s cultural heritage. mackerras (2005) states that in the contemporary age, many chinese have both integrated themselves into the society yet maintained their chinese identity to a certain extent. the degree and extent to which both processes happen are complex, intriguing and addresses the issue of cultural identity” (p. 18). the performing arts is a medium that manifests the depth, degree, and diverse ways the chinese overseas have incorporated some forms of “chineseness” into their identity. the different dynamics of negotiation between social, cultural and political issues inadvertently shape the performing arts (lau, 2005; terada, 2001; wichmann-walczak, 2005; yang, 2001). the next section summarizes how these dynamics have constructed the performing arts in the asian diaspora. music in chinese diasporas in california, united states of america, many of the early chinese immigrants originated from guangdong. in the early twentieth century, cantonese opera became a popular tourist attraction. famous opera actors such as mei lanfang traveled to the united states, japan, and eastern europe in the 1960s-1970s, while ma shizeng (1900-1964) toured singapore, vietnamese, and california between 1920-1933 to perform cantonese opera (mackerras, 1975, 151-152; mackerras, 2005, p. 22). chinese opera troupes from china were often invited to perform in the chinatown of san francisco in california. these operas entertained many lonely chinese aging bachelor immigrant workers who sought solace, refuge and a sense of belonging to china by keeping in touch with the performing arts from china (yang, 2001, pp. 391-393). watching chinese opera appeased the feelings of nostalgia and longing for a distant homeland for the chinese in this diaspora. the original version was more important that the creation of new cultural performances related to a new identity in the diaspora. lau (2005) argues that the notion of “chinenesses” is a construct that promotes selected “traditional culture” in the interest of singapore’s national agenda. as a result, many amateur music clubs in singapore have had to change from “grassroots types of social organizations into embodiments of the national discourse on race” (pp. 38-39). therefore, culture does not necessarily have to be created from a “living and organic shared belief and experience.  it could be formed by a “fix system of claimed cultural element ... in order to justify the predetermined cultural categorization of people” (ang and stratton, 1995, p. 8). in response to the forced opening of japan to the west in 1868 during the meiji restoration, the early japanese immigrants to the united states, the issei or  the   first  generation  of japanese in california strove to strengthen their identity by learning japanese traditional music on the koto (plucked board zither), shamisen (plucked lute), shakuhachi (end-blown flute) and biwa (plucked lute. at the same time, issei encouraged their children, the nisei, to learn western classical music to assimlate and be accepted as americans in their country of birth (yang, 2001, pp. 398-399). the sansei (third generation) however, inspired by the civil rights movements of the 1960s became increasingly aware of ethnicity and cultural identity in north america. they were interested in their cultural roots and learned about the history and culture of japan. sansei also began engaging in learing to perform and create new drumming patterns and choreography for taiko. taiko was an emerging popular contemporary japanese drumming in north america led by tanaka then. tanaka and his sansei students composed new arrangements that represented their experiences as japanese americans. taiko was given new meaning after world war ii from post-war wadaiko music inspired by communal music clare suet ching chan, 24 jie ling gu (24 festive drums): imagining the 24 jie ling (phe217 performed by the kumidaiko (terada, 2001, pp. 37-41). the construction of japanese american identity through taiko has parallels with the chinese of malaysia 24 jie ling gu drum ensemble. in its early pioneering years, the music and movement of the 24 jie ling gu’s pioneering performance were based on the concepts of the natural phenomenon, weather, and festivals in china. the chinese constructed their identity in the diaspora by imagining and romanticising the components based on literary and visual resources from china. the next section discusses the origins of the formation of the 24 jie ling gu. the twenty-four jie qi (twenty-four joints and breath) in the chinese agricultural calendar the chinese agricultural calendar is based on the earth’s yearly orbit around the sun. this cyclical of the earth around the sun determines the seasons, weather and climatic conditions. it is also known as the solar calendar. each cycle of the earth’s orbit around the sun is completed in approximately 365 ¼ days. this chinese agricultural calendar subdivides this yearly cycle of 365 days into twenty-four seasonal periods known collectively as the twenty-four jie qi (appendix). each jie qi lasts about fifteen days (two weeks) and is  marked by significant changes in the weather and nature phenomenon. the chinese agricultural calendar was an important calendar amongst the ancient chinese farmers and is still referred to today as it indicates significant changes in the weather  and also the occurrence of the solstice and equinox (wang, chen, & tsai, 2000). the twenty-four jie qi were important benchmarks for the ancient farmers in china as it is an accurate indication of the change in the weather phenomenon which in turn guided the agricultural activities of the farmers. it serves as a reference for the farmers, indicating the phases of growth in their crops, thus determining the time for sowing, weeding, irrigating, transplanting, harvesting and winnowing. the ancient chinese farmers possess instinctive abilities to detect minute changes in the weather and nature through their experience, sensitivity, and intimate relationship with the earth and the sky (heavens). in short, the life-style of the farmers in china are developed according to the twentyfour jie qi (chan, 2001; palmer, 1986). the twenty-four jie qi most accurately depicts the weather and climate in the regions along the wei ho and huang ho river, and on the north river valley of the qing shan (qing mountains) in the regions of shaanxi and hunan (arakawa, 1969, p. 3). this area is also known as north china plain or the “cradle of civilization” because it was the area where the earliest chinese civilization was found. it is a densely populated area because of its fertile soil of alluvial and loess  (deposits of fine, windborne silt or dust of glacial origin). wheat dominates this area whilst millet, sorghum, soybean, cotton, tobacco, fruits and vegetables are also planted (muller & de blij, 2000, p. 452). the meaning of jie qi the chinese almanac or t’ung shu literally translates the meaning of jie qi as “joints and breath”. jie is translated as “joints” and these “joints” refer to the endless cycle of seasons which are bonded or linked together by the twenty-four jie qi. qi means “breath” in chinese and refers to the never-ending cyclical process of changes in the seasons as the perpetual source of life for man, nature and animals (palmer, 1986, p. 4). many different terms have been used to refer to the twenty-four jie qi. the “twenty-four solar terms” derive from the understanding of the twenty-four jie qi from an astronomical point of view. the 24 jie qi can be subdivided into 24 sub-seasons or seasonal periods (times chinese english dictionary, 1979). the chinese agricultural calendar was an important calendar amongst ancient chinese farmers and is still referred to as it indicates significant  changes in the weather and the occurrence of the solstice and equinox (wang, chen, & tsai, 2000). the republic of china refers to three types of the calendar; the gregoriharmonia: journal of arts research and education 22 (2) (2022): 213-226218 an, lunar, and agricultural calendar. the gregorian calendar is the official calendar  of china and is frequently used because it is the standard practice in the world. this enables easy synchronization of time around the world. the lunar calendar is still important to the chinese because of its associations with the chinese festivals, rituals, and full moons. method this research was based on ethnographic  fieldwork  conducted  in  penang,  kuala lumpur and johor bahru from 1998 until 2001. as a participant-observant, i learned to play the 24 jie ling gu under the tutelage of quah beng chye at chong hwa school in penang. i also studied with bernard goh seang heang, who taught the 24 jie ling gu at chong hwa independent high school, kuala lumpur and seremban during the late 1900s. this research culminated to my master of arts (music) thesis at universiti sains malaysia in 2002. the thesis discussed the relationship between the music and movements of the 24 jie ling gu with the agricultural activities; natural phenomenon in the environment; and festivals or rituals during the 24 jie ling. as i reflect back on my master’s thesis, the questions that kept emerging was why the chinese diaspora in malaysia was exclusively centralizing china and excluding malaysian components from the 24 jie ling gu performances. in this article, i included literature on the performing arts of chinese diasporas in other countries. comparing the politics, social and cultural situation of the chinese in other diaspora deepened my understanding of the 24 jie ling gu i had studied years ago. i was also intrigued by how the chinese of malaysia could create these music and movement without having experienced the agricultural activities; natural phenomenon in the environment; and festivals or rituals, in china. in recent years, i also noted that the chinese in malaysia were struggling to continue imagining the 24 jie ling and are now integrating many multicultural musical elements from malaysia into their composition and choreography. in this article, i use the concept of “imagination” to explain the approach the 24 jie ling gu performers utilized to compose and create their music and movement. results and discussion a performance of the 24 jie ling gu consists of a combination of skillful drumming synchronized with swift, gallant movements of the hands, legs, and body. hand, leg, and body movements are choreographed into movement patterns accompanied  by  the  drumming  of  specific  rhythmic  patterns.  an  ordered  flow  of  rhythm and movement patterns in a whole performance are organized to tell a story. this section comprises selected examples of how the music and movement of the 24 jie ling gu manifest agricultural activities, natural phenomena in the environment, and festivals or rituals. these activities vary according to the changes in weather which is distinctly marked by the 24 jie qi. some of the agricultural activities reflected are spring planting, summer cultivation, autumn harvesting, and winter storing. a natural phenomenon in nature  includes  rainfall,  blooming  of  flowers,  falling of leaves, breeding of insects, and snowfall. spring, chun first (1st) jie qi, li chun (commencement of spring) the commencement of spring, li chun  is  the  first  jie qi and marks the ending of winter’s cold, slow and dull environment. li chun brings a new, fresh, warm atmosphere enhanced with light and hope. the cold air is replaced by the warm spring air from the east wind. the atmosphere is enlightened by a bright and sunny environment. the land is said to be “reborn” and “revived.” farmers are happy to be able to start agricultural activities. paddy seeds are sown in nurseries, and paddy fields are cultivated so new paddy  seedlings can be transferred to the paddy clare suet ching chan, 24 jie ling gu (24 festive drums): imagining the 24 jie ling (phe219 fields.  farmers  are  very  busy  with  agricultural activities such as plowing; hoeing and smoothing the soil; uprooting weeds, and irrigating rice fields (hsiao-tung fei,  2006, p. 15). east south west north, dong nan xi bei in dong nan xi bei, the drummer plays a repeated rhythm pattern (figure 1) while encircling the shi gu (lion drum) (figure 2-5). the drummer may begin from his left by moving according to the arrangement of dong nan xi bei (north east southwest). he could also begin from his right, moving in the opposite direction: xi ban dong bei (west, north east south). the motive of circling the drum is symbolic of the change occurring in the east, south, west, and north as spring approaches (chan, 2001, pp. 97-102; chan, 2022). figure 1. rhythm pattern for east south west north dong nan xi bei figure 2. position 1 dung figure 3. position 2 nan figure 4. position 3 xi figure 5. position 4 bei second (2nd) jie qi, yu shui (rain water) the second jie qi, yu shui is characterized by short rainfalls brought by the east wind as it blows across the mountains. the melting snow provides the rivers and the lowlands with  sufficient water  for  irrigation. during this seasonal period, the farmers start tilling, hoeing, and cultivating the soil. the land is then plowed, leveled, and then irrigated to prepare for planting paddy and other crops. the farmers sweat and toil in the fields under the sun. the 24 jie ling gu exemplifies a phenomenon observed during yu shui. this phenomenon is wiping sweat, ma han (chan, 2001, p. 102). wiping sweat, ma han ma han  reflects  the action of drummers wiping away sweat from their foreheads whilst working hard under the hot sun. the drummer stretches his right hand out-front at shoulder level and horizontally curves his elbow inwards to the left. the lower arm is bent to a 90-degree angle. his right hand is turned outwards so that his palm faces outwards. at this position, the palm is at eye level and covering the eyes. the drumstick is held at a horizontal position by the right hand. this is the starting position for ma han (figure 6 and figure 7). drummers then begin to move their right hand to the right in rhythm with the drumming of quaver beats to the quadruple meter played by the left hand simultaneously. this movement is alternated with the same pattern on the left hand (figure 8 and figure 9). beats are accented at every first beat of the bar (figure 10) (chan, 2001,  pp. 108-111; chan, 2022). figure 6. position 1 ma han 1 figure 7. position 2 ma han 2 harmonia: journal of arts research and education 22 (2) (2022): 213-226220 figure 8. position 3 ma han 3 figure 9. position 4 ma han figure 10. rhythmic pattern for wiping sweat, ma han. fourth (4th) jie qi, spring equinox, chun fen chun fen occurs around the march 21 and coincides with the time where the sun is at the top of our head at the equator line (0°). during this day, the whole world will receive the same length of day and night (goh, 1970, p. 70). the agricultural calendar states that the exact time the sun will rise is 5: 58 a.m. and fall at 6:06 p.m. the weather starts to get warmer. if it rains on this day, there will be fewer people falling sick (lee, 1986, p. 149). farmers are busy sowing seeds and transplanting rice seedlings. planting rice, cha yang the 24 jie ling gu imitates planting rice by using the drumstick held vertically to represent the rice seedlings. the drumstick is moved up and down vertically; mimicking the activity of the farmers as they plant the rice seedlings from the nursery  into  the field  (figure 11-14). this  movement of planting rice goes simultaneously with a rhythm of four crochet beats to quadruple meters (figure 15). the drummers also move to other drums in a sequence of choreographed movements. the drummer may move to the right, left or in a circle. this movement represents the systematic planting of rice in the fields  (chan, 2001, pp. 116-120; chan, 2022). figure 11. position 1 cha yang 1 figure 12. position 2 cha yang 2 figure 13. position 3 cha yang 3 figure 14. position 4 cha yang 4 figure 15. rhythm pattern for planting rice cha yang summer, xia summer is warm and the heat is hot. by now, most of the cereals grown are full and ripe. wheat is ripe and harvested in the hwang ho area (lee, 1986, p. 150). this season is also a season where fruits such as lychee, longan, mango, pineapple and watermelon. when these fruits are ripe, they are picked and sold. in addition, festivals such as the dragon boat festival are celebrated where boat competitions are also held. summer is also associated with heavy rains that bring major floods to the  people of china especially downstream of the hwang ho river. clare suet ching chan, 24 jie ling gu (24 festive drums): imagining the 24 jie ling (phe221 in summer, residents must take care of their health due to the hot weather and heat. those who eat too many fruits like lychees and mangoes have a risk of getting a high fever. martial arts is practice to maintain body health and strengthen disease resistance (chan, 2001, p. 127; chan, 2022) tenth (10th) jie qi, summer solstice, xia zhi during the summer solstice, xia zhi, the tenth jie qi, china experiences the longest daylight period. the people participate in dragon boat competitions, a popular sport during this jie qi. this act held with the aim of stimulating the dragon fight in  the sky so that it would rain. the festival is also held to commemorate a chinese officer named chu yuan. figure 16. position 1 rowing the dragon boat figure 17. position 2 rowing the dragon boat figure 18. position 3 rowing the dragon boat figure 19. position 4 rowing the dragon boat rowing the dragon boat rowing the dragon boat is manifested in the performance of the 24 jie ling gu ensemble through the swing of the player’s hand from the top left diagonal to the bottom right (figures 16 &17) and in the opposite direction, too (figures 18 & 19). this swing of the hand reflects the  rowing movement during the dragon boat competition. the quavers in bars 1 and 3 show the boat surging forward. the drummers dip their “paddle” into the water during the two rests in bars 2 and 4. (figure 20)(chan, 2001, pp. 134-135; chan, 2022). figure 20. rhythm pattern of “rowing the dragon boat eleventh (11th) jie qi, lesser heat, xiao shu during lesser heat, xiao shu, the people of china are encouraged to exercise to maintain good health. the heat of the summer is nearing its peak. sickness and diseases are prominent problems occurring during this period. some people indulge in martial arts like wushu and kung fu in to strengthen the body’s defenses against illnesses. the eagle takes flight, da peng zhan chi da peng zhan chi is one of the preparatory fighting positions in the art of wushu and kung fu. this movement mimics the opening of the eagle’s wings as it prepares to  take flight or keeps warm by  trapping  air inside its wings. the drummers exemplify this movement by stretching the right hand out fully diagonally up-right whilst the left hand is stretched out fully diagonally-bottom-left also. the drummer’s right leg is slightly bent backward in a diagonal position, while the left leg is stretched out as the right leg and body move downwards (figures 21 and 22). da peng zhan chi’s action is quick, abrupt, and happens at the split of a second or at the length of a crochet beat (figure 23) (chan, 2001, pp. 141-144; chan, 2022). harmonia: journal of arts research and education 22 (2) (2022): 213-226222 figure 21. position 1 da peng zhan chi 1 figure 22. position 2 da peng zhan chi 2 figure 23. rhythm pattern for “the eagle takes flight, da peng zhan chi” autumn, qiu thirteenth (13th) jie qi—commencement of autumn, li qiu during li qiu, the paddy planted in springtime ripens and is ready for harvest. farmers are working hard in the fields, joyously cutting stalks of paddy with a sickle. cutting paddy, shou ge in shou ge, the 24 jie ling gu ensemble mimics the movement of farmers harvesting their crops with a sickle (figure 2426). the drummers stretch their right hand up and bend it to an angle of 90 degrees. they then move it in a circular motion of 360 degrees over their head. the legs are slightly bent simultaneously with the movement of the arm around the head. beat these three movements occur during the second and third rest in each bar (figure 27)(chan, 2022). figure 24. position 1 shou ge 1 figure 25. position 2 shou ge 2 figure 26. position 3 shou ge 3 figure 27. rhythm pattern for cutting paddy, shou ge threshing, da gu after harvesting, the stalks of the paddy are taken to be threshed in the granary. during threshing, the grains from the paddy are separated from the stalks. the grains are then taken to be milled and winnowed before being stored. the 24 jie ling gu mimics the actions of farmers threshing stalks of paddy in the granaries. drummers clasps drumstick close together and lift both hands high above their head. both hands are then lowered to strike the drum, imitating the action of threshing the paddy stalks. da gu is usually played with two drums, either side by side or back and front. drummers stretch one leg, bend the other, and vice versa as they rotate, striking the side, back, or front drum (figure 28-30). this choreography is performed in synchronization with specific  rhythm  patterns  struck  by  the  drummers (figure 31)(chan, 2022). figure 28. position 1 da gu 1 figure 29. position 2 da gu 2 clare suet ching chan, 24 jie ling gu (24 festive drums): imagining the 24 jie ling (phe223 figure 30. position 3 da gu figure 31. rhythm pattern for threshing the paddy, da gu winter, dong nineteenth (19th) jie qi, commencement of winter, li dong winter is a slow and quiet time. during this time, people are less busy compared to the hectic activities carried out during spring, summer, and autumn. they have time to reminisce on their past and their doings, whether good or bad. they dwell on thoughts about their loved ones, relatives, and neighbors. the chinese also offer blessings for a good harvest and pray for another good year to come. this is the time that offerings, prayers, and invocations are offered to the gods. it is also a time  of  meditation  and  sacrifices  to  be  made. one thousand hands of the goddess of mercy this choreography manifests the merciful hands of the goddess of mercy, guan yin, reaching out to help those in need. guan yin is a symbol of love and mercy for the chinese people. the chinese people reach out to her in their prayers for mercy in times of trauma. she is deemed the goddess with “one thousand hands” because she reaches out to assist humans in their life challenges. this choreography involves five main hand positions (figure  32). the drummers’ group together in a straight vertical line. the person at the front of the line will begin by stretching both his hands fully downwards. he then moves his hands upwards to the second position, whereby his left-hand points southwest and right hand, southeast. while he moves into the second position, the drummer behind him will begin the first movement.  this series of staggered entrances will continue in a repetitious cyclic form. the third position sees the drummer stretching out both hands horizontally, with right hand pointing east and left hand, west. he then moves his hands upwards until his right hand points north east and left hand, north west. the last position is when both his hands are stretch out pointing towards the sky. both hands are pointing towards north in the fifth position. meditation and prayer the aura of winter is reflected by the  choreography of meditation and prayer. in this choreography, drummers clasp their hands together holding the drumstick in vertical position (figure 33). this pose mimics the action of holding joss stick in their hands. this “joss stick” is held high with the palm of the hands at nose level. this choreography is accompanied by recorded music, usually from a selection of chinese or japanese songs. red clothes are stretched over drummers in specific patterns as  part of the choreography. figure 32. one thousand hands of the guan yin, goddess of mercy harmonia: journal of arts research and education 22 (2) (2022): 213-226224 figure 33. meditation and prayer conclusion in 2022, 34 years after its establishment in 1988, the 24 jie ling gu ensemble continue to thrive as an area of artistic development among the chinese of malaysia. in its pioneering of establishment, the younger generation of chinese in malaysia focused on imagining china to strengthen solidarity among the chinese in malaysia. drawing from combination of the concept of 24 jie qi from the chinese agricultural tradition in china and the newly invented music and movements, the chinese created a new drum ensemble. in the late 1990s and 2000s, the chinese became more integrated into the local environment in malaysia. much of its music and choreography has evolved since it was founded. the new generations of malaysian born chinese mingled freely with the other ethnic groups, embracing and  absorbing  influences  from  the  multicultural musical and performing arts, environment, festivals and rituals, livelihood and life style; and natural environment  in  malaysia.  the  influences  of  the  environment and surroundings; the multiracial society; education and exposure are being absorbed into the art as time goes by. these influences have been  integrated  into the music and movements of the 24 jie ling gu. some ensembles have also included local malay rhythms including joget, inang, masri and zapin into their drumming rhythms. some of the developments are due to the influences from other cultures mainly from japan and korea, perhaps due to its closeness with the chinese culture (chan, 2019). this article recommends for further research into the evolution of the music an movement in the 24 jie ling gu created by the new generation of chinese exposed to different social-political situation during late 90s and early 2000s. acknowledgements the revisit to the 24 jie ling gu was made possible with funding from the fundamental research grant scheme (frgs) titled “repatriating and archiving the performing arts of malaysia” (code: frgs/1/2019/ss108/usm/01/1). references ang, i. & stratton, j. 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(2001). orientalism and the music of the asian immigrants in california, 1924-1945. american music, 19(4), 385-416. harmonia: journal of arts research and education 22 (2) (2022): 213-226226 appendix: the 24 jie qi (seasonal periods/ joints and breath) 330 braindance activities based on minang dance basic movements in children ages 5-6 years old elindra yetti, erie siti syarah universitas negeri jakarta, indonesia submitted: 2021-09-16. revised: 2021-11-11. accepted: 2021-12-19 abstract braindance activities based on minang dance basic movements are moving activities carried out by children aged 5-6 years at an early childhood education institution in bukittinggi city since 2019 when the trial results of the development of braindance based on the minang dance basic movements were implemented at the early childhood institutions. this study aims to (1) examine the uniqueness of the braindance movement based on the minang dance basic movements, (2) examine the growth and development of children that appear after participating in the braindance activities, (3) examine the situation and condition of the child in the minang braindance activities. this study used qualitative methods with data collection techniques through observation, interviews, and documentation. data analysis was carried out with the stages of condensation, data presentation, and drawing conclusion. data validation was carried out using triangulation of techniques, sources, and time. the study was conducted on fifteen students aged 5-6 years at an early childhood education institution in bukittinggi. the results showed that: (1) braindance based on minang dance basic movements is an activity that combines gymnastic movements with the basic movements of minang dance, as well as minang music accompaniment; (2) children’s motor skills become better, children can coordinate movement, brain, and feelings, and children’s creativity becomes more developed; (3) minang braindance activities are fun for children. keywords: braindance activities; based on minang dance basic movements; children ages 5-6 years old how to cite: yetti, e., & syarah, e. s. (2021). braindance activities based on minang dance basic movements in children ages 5-6 years old. harmonia: journal of arts research and education, 21(2), 330-339 harmonia: journal of arts research and education 21 (2) (2021), 330-339 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i2.32046 as research conducted by cheung (2010) that creative dance activities are designed based on four aspects: (1) theme introduction; (2) acquire and explore movement skills; (3) creation and expression; and (4) performance and appreciation. the results showed that the response of children’s movements became more varied and always surprised the teacher. braindance, developed by anne green gilbert is an effective full-body and brain warmer for all ages. it consists introduction early childhood movement activities can be carried out with various activities, such as sports, gymnastics, doing basic movements, dancing, and so on. movement activities can develop various abilities or skills of children, both related to body movements or motor skills, but also affect children’s attitudes and mentality. in addition, movement activities can also develop children’s creative thinking skills, such corresponding author: e-mail: elindrayetti@unj.ac.id p-issn 2541-1683|e-issn 2541-2426 elindra yetti, erie siti syarah, braindance activities based on minang dance basic move331 of eight movement patterns that connect the central nervous system. by moving through this pattern can provide oxygen throughout the body and reset the brain for children and adults who do these activities (gilbert, 2019). another opinion about braindance movement activities, according to chiang (2017) explains that braindance is a series of progressive and controlled physical movements and is based on eight main movement patterns of brain development. the next research is movement activities in the context of physical education in the school environment which are carried out with basic movement exercises and sports games using tools such as balls, slides, spinners, teeter-totters, sandboxes, and others. the activities carried out are more aimed at physical fitness and supporting children’s psychomotor development and have an impact on students’ cognitive, creativity, and social and emotional development (lykesas et al., 2020). in contrast to traditional dancebased braindance which was modified and developed using the basic movements of minang dance in previous research (yetti et al., 2019) it refers to eight (8) braindance movements that combine gymnastics with the basic movements of minang traditional dance, which are adapted to movement abilities of early childhood and accompanied by traditional minang idiom music. so that it gives a different feel from the original braindance and is implemented in early childhood who come from the same culture, namely minang, where children are very familiar with the form of minang dance and the accompanying music. this is in line with lykesas et al. (2020), which shows that a braindance program based on the analysis of traditional dance moves by laban implemented and educational programs for children in greece is also important to improve structured, organized education. creativity in a changing world has been considered important in various fields such as technology, art, economics, sociology, and education (kanematsu & barry, 2016). creative thinking skills need to be developed from an early age so that children are trained in generating new ideas and being able to solve problems (carroll & howieson, 1991). along with the increasing interest in creativity, early childhood educators (eces) need to find ways to strengthen the creative potential of early childhood. the results also show that the emergence of creative behaviors, such as increased freedom of expression, a tendency to explore and experiment, and questioning what is generally accepted, is considered a consequence of implementing music and movement education programs (chronopoulou & riga, 2012). several experimental studies have delivered valuable information about the design and philosophy of educational programs and the methods of teaching music and movement activities in kindergartens (lobo & winsler, 2006; moreno et al., 2011; tsompanaki, 2019; williams, 2018). dance involves the learner in the process of knowing through the transformation of concrete experiences, moving creatively, reflecting on their own or others’ movements, evaluating them, and forming new meanings (vygotski, 2012) about movement and the creative process. dance activities need to be done to develop imagination skills which are fantasy situations, and it is important to offer context to children in self-expression (chappell, 2007). dance in education, art education, culture, social, multicultural, and multidisciplinary has benefits for children and makes children develop in self-knowledge, self-esteem, autonomy, the relationship between feelings, thoughts, and actions. children can control their feelings and thoughts, develop communication skills, develop trust with others, and develop collaborative skills (tsompanaki, 2019). especially during the covid-19 pandemic that hit the world, it is a situation that requires a lot of human creativity to survive. cultivating creative thinking skills from an early age is important to prepare the younger generation to face bigger obstacles (glaveanu et al., 2020). online teaching harmonia: journal of arts research and education 21 (2) (2021): 330-339332 can be seen as a major change that dance educators are facing due to the covid-19 pandemic. over the past few years, there has been much discussion on technology and dance education, with scholars advocating the effective application of technology in dance education and dismantling the limitations of technology in dance education (hong et al., 2020)including the learning of artistic performance, is becoming increasingly popular. the research on the acceptance of artistic performance through social media is accumulating. therefore, this study employs an integrated approach based on the technology acceptance model (tam. teachers also share their collective experiences about the types of hardware or technological tools that can enhance a child’s experience in dance education (e.g., wide-angle lenses; about the best applications of portable wireless speakers; the best ways to use music and sound while talking, using a webcam with movement detectors, using dual screens, preparing the study room for better viewing). the creativity of the experts makes thoughtful and informative material and helps hundreds of dance educators hungry for ideas on how to provide effective, engaging, and accessible distance dance instruction to both students and dance educators (schmid & mcgreevy-nichols, 2021). the learning of children who are confined during the pandemic requires different stimulation to improve various aspects of development (singh et al., 2020). traditional dance is a type of cultural expression that combines physical exercise, social relations, as well as personal and emotional expression. all these aspects combine to create a comprehensive experience that delights people and increases their willingness to participate. structured movement patterns are performed in response to rhythmic stimuli in this type of dance, which allows self-expression (chatzopoulos et al., 2021). like folk dance in greece, it is an inseparable part of society and is performed at every important event in life. traditional greek dance has been shown to offer psychosocial benefits in several studies (georgios et al., 2017). likewise, braindance based on minang dance basic movements developed from traditional minang dance idioms also has uniqueness in terms of movement because it combines gymnastic movements with the basic movements of minang dance and minang music accompaniment. one of the early childhood education institutions in bukittinggi has implemented braindance activities based on the minang dance basic movements in every child’s movement activity. this activity has been running since 2019 until now. previously, children’s movement activities in early childhood education institutions only carried out sports, playing, and basic movements. since the eces implemented the braindance activities based on the minang dance basic movements, the children looked interested and happy, and the children were able to last longer in the braindance activity. based on relevant research and the phenomena that have been explained, the purpose of this study is to examine the uniqueness of braindance movements based on minang dance basic movements and to examine the growth and development of children that appear during braindance activities based on minang dance basic movements in early childhood movement activities at the early childhood institutions. method this study used a qualitative method and was field research at one of the early childhood education institutions in bukittinggi, west sumatra province. there were 15 children aged 5-6 years who were the subjects in this study. the primary data in this study is a braindance activity based on the basic movements of the minang dance carried out by children aged 5-6 years at the institution. secondary data is related to the profile and location of the institution. the primary data sources are teachers and parents, while the secondary data sources are the principal of the early elindra yetti, erie siti syarah, braindance activities based on minang dance basic move333 childhood institution. the research team collected data through interviews, observation, and documentation. the research team carried out structured observations with the stages: 1) the location of the early childhood institution, 2) observing the process of learning activities, 3) braindance activities based on minang dance basic movements, 4) time duration and schedule for the implementation of braindance activities based on minang dance basic movements. furthermore, the research team conducted interviews with teachers and parents in a structured manner with the stages: 1) planning interviews; 2) conducting interviews; 3) collecting interview data; 4) recording and evaluating activities after the interview. furthermore, the collection of documentation data was carried out with the stages: 1) compiling a list of documentation, 2) taking data with pictures and videos, 3) collecting documentation data. then after collecting the data, it is continued with data analysis using the model of miles et al. (2014) with the stages: 1) data condensation, 2) data presentation, and 3) concluding. validation of research data was carried out by triangulation of techniques, sources, and time. results and discussion based on research conducted on braindance activities based on the basic movements of minang dance conducted at one of the early childhood education institutions in bukittinggi, the data and discussion can be described as follows. the uniqueness of braindance movement based on minang dance basic movement the results of the study of the uniqueness of braindance based on the basic movements of minang dance and its difference from the braindance developed by gilbert (2019), can be seen in table 1. based on the observations of the braindance activities based on the minang dance basic movements contained in table 1, in principle, the motion has the same motion motif as the original braindance but is modified and stylized by using the minang dance basic movements which table 1. summary of data analysis type of braindance of minang dance basic movement the uniqueness of minang braindance movement type of braindance movement braindance activities (guilford) sambah motion stylized braindance movements based on the minang dance basic movements • the activity is performed by dancing the movements of the hands, feet, body, and head following the basic movements of minang dance starting from movement 1 to 8. • movements are adapted to the movement abilities of children aged 5-6 years, and children can also develop movements according to their imagination. • minang braindance movement accompanied by minang nuanced music. breath moving according to the 8 braindance movements, such as doing gymnastics. pitunggua motion tactile touch lapiah jarami motion core distal pijak baro + gelek motion head tile langkah panjang (ling step) motion upper lower cabiak kain motion body half tangan silang langkah silang (handcross-cross step) motion cross lateral alang tabang motion vestibular harmonia: journal of arts research and education 21 (2) (2021): 330-339334 have the characteristics of pencak silat motion and are more dynamic and provide refreshment on the body. the musical accompaniment used is minang traditional idiom music. then, the braindance is applied to children who come from the same culture, namely minang. growth and development of children participating in minang braindance activities children’s motor skills based on research data related to braindance activities based on minang dance basic movements, the findings show that children’s motor skills improve well. this indicates that dance helps children improve coordination, balance, flexibility, and control over their movements. kaufmann and dehline (2014) explain that dance increases stamina and physical strength. recognizing the center of gravity and shifting muscle tension during movement provides refinement and aesthetic qualities for a pleasurable physical activity. one of the main skill components of dancing is sensorimotor synchronization, which is defined as the coordination of rhythmic movements with external rhythms (repp & su, 2013). the opportunity to dance is also an interesting means to help young children improve their balance skills (chatzihidiroglou et al., 2018)we compared an experimental group of preschool children (n?=?22; mean age?=?5 years, 8 months. this requires great attention from early childhood educators (eces) to implement more specific programs to children’s brain development, such as modified brain dances. coordination of movement, brain, and feelings this study presents that children can integrate movement with the brain and involve feelings. this can be seen when the child moves, namely awareness of the position of the motion with control carried out by the brain, as well as facial expressions that describe the child’s feelings, because rhythmic synchronization, balance, and reaction time of movement are important factors for the success of the dance (macpherson et al., 2009). kinesthetic intelligence is related to body movements produced by the brain in the form of knowledge about the regulation of body movements (gardner, 2008). the basic movements of minang dance, such as the long step or upper-lower (braindance) can increase emotional stability, and the cabiak kain motion or body stops functioning to support the horizontal vision. this movement is related to the ability of imagination and analogical reasoning that can overcome fixed thinking patterns and find various alternatives. development of children’s creativity the next finding is that the basic movement of minang dance, such as lapiah jarami or core-distal, is a movement that trains self-awareness of the surrounding environment, and pijak baro or head-tile is a movement to train reflex head movements as shown in figure 1. this can be seen when the child moves his head to the right and left; the child can align with body movements. these two movements can develop body alignment and visual acuity so that they can build different thinking skills which are important strategies in adjusting to new circumstances (nikkola et al., 2020). divergent thinking can be described as the process of retrieving existing knowledge and associating and combining unrelated knowledge in new and meaningful ways (marron & faust, 2018). figure 1. the activity of the pijak baro motion to train reflex head movements another important finding is the tanelindra yetti, erie siti syarah, braindance activities based on minang dance basic move335 gan silang-langkah silang motion or crosslateral that aims to synchronize the movement of the opposite side of the body and build pathways between the right and left hemispheres of the brain to support the body consciousness and strong thinking. at the same time, the alang tabang motion and the vestibular motion are aimed at balance responses and sensory input processing. both movements can build the ability to find and solve problems. teaching creative problem solving will give students the right tools to solve various problems in the future rather than helping them solve specific problems (marron & faust, 2018). the research findings show that the results of the analysis of the basic movements of the minang dance can be modified into braindance for the creative thinking skills of early childhood. creative thinking skills are among the most sought-after life and work skills in the 21st century. according to research, educational programs that integrate braindance and dance programs have a good influence on children’s creative thinking, imagination, and improve the development of rhythm, fluency, flexibility, inventiveness, mental processing, and freedom of expression, even in preschool children (chronopoulou & riga, 2012; theocharidou et al., 2018). however, the demand for creativity exceeds the level of its availability and development (ritter et al., 2020). preschool teachers must provide children with stimulation to spark their imagination, provide opportunities to imagine and explain their ideas, respect the individuality of children, and encourage their different points of view (dere, 2019). teachers can carry out various activities to stimulate students’ creative thinking skills, such as moving activities. thus, based on the results of interviews and observations, it provides an overview of the results of the analysis of minang dance movements that are modified into braindance for creative thinking skills for early childhood. another important finding is that the minang dance basic movements such as the panjang langkah motion or upperlower can improve emotional stability, and the cabiak kain motion or body halt functions to support the horizontal vision. these movements are produced by moving the body’s upper half or the lower half. the effect is increased joint function and mobility and maintaining body stability and expression in movement. aligned posture can be a major source for children’s skill development and enjoyment (lykesas et al., 2020). this movement is related to the ability of imagination and analogical reasoning that can overcome fixed thinking patterns and find various alternatives (sun et al., 2020). the communicative potential of dance is found in its ability to activate the whole body under multiple terms of description through the collaboration of all the senses. it also helps children develop their psychomotor, cognitive, creative, social, and emotional skills and their connection and communication skills with their peers (lykesas et al., 2009). a further important finding is that the cross-hand motion harmonizes movements of the opposite side of the body (cross-lateral movement), establishes pathways between the right and left hemispheres, and supports body awareness and strong thinking. at the same time, the alang tabang motion and the vestibular motion are intended for balance responses and sensory input processing. both movements can build the ability to find and solve problems. teaching creative problem solving will give students the right tools to solve various problems in the future and not help them solve certain problems (kashani-vahid et al., 2017). teaching dance can shape the perception of action and the application of its nerves in the brains of young people and adults (kirsch et al., 2018). therefore dance training is of special urgency at this time, especially during the covid-19 pandemic, which has taken a lot of happiness for most people. braindance with a variety of movements (gilbert, 2005) and accompaniment music with traditional idioms will bring people to a happier atmosphere because of familiar local music. attention should harmonia: journal of arts research and education 21 (2) (2021): 330-339336 be paid to developing learning techniques for more efficient forms of dance teaching, always emphasizing creative teaching approaches and in particular, practices that enhance students’ expressive capacity in the school environment (lykesas et al., 2020). gilbert’s (2019) research finds that children develop and improve their proprioception, memory, eye-focusing ability, balance, behavior, and motor skills during the first year of life. by performing and repeating eight basic movement patterns (braindance), children will get positive results for their overall progress as an educational process (gilbert, 2019). so that the results of this study are expected to provide an overview for teachers and parents that movement activities such as dance related to braindance and created with basic movements in minang traditional dance can build creative thinking skills in early childhood. in addition, the basic movements of minang dance which are identical to pencak silat are self-defense movements that can develop children’s sensitivity to situations (asriati et al., 2019). braindance based on minang dance basic movements as a fun activity minang braindance activities make boys and girls happy when doing these movement activities. the braindance activity based on the minang dance basic movements carried out by children aged 5-6 years at one of the early childhood institution in bukittinggi, was carried out in the form of dance movements and accompanied by minang nuanced music, so that the children looked cheerful in expressing the movements because minang dance is very well known by early childhood children in the early childhood institution, and musical accompaniment uses minang nuanced music, as shown in figure 2. the findings in this study explain that the basic movement of minang dance is the sambah motion or breath motion which is done by regulating the breath serves to relieve feelings of stress. this breathing movement requires a way to inhale deeply through the nose to fill the stomach, diaphragm, lungs, and exhale through the mouth. the flow of oxygen to the brain is increased, allowing exercise to flow effortlessly, minimizing stress, leaving the brain and body refreshed. breath flow also provides the basis for movement skills and is very important for emotional balance so that it creates a sense of pleasure (lykesas et al., 2020). figure 2. braindance activities based on the basic movements of minang dance the pitnggua motion or tactile-touch motion serves to develop body awareness and sensory integration. the technique of introducing dance to children as early intervention has been widely studied. so now it can be seen how dancing will naturally build and strengthen one’s self-confidence and self-esteem, help further reduce feelings of tension and stress (gurusathya, 2019). feelings of comfort in children can develop independence and also have the confidence to appear in public because dance activities can build confidence and encourage the development of children’s potential (chappell, 2007). braindance creations can be used as a warm-up or primary exercise with all ages and at all levels of learning as they contribute to harmonizing the body, resetting the central nervous system, developing focus and concentration, releasing stress, and improving social skills (lykesas et al., 2020). conclusions the most important substance obtained from the research results related to elindra yetti, erie siti syarah, braindance activities based on minang dance basic move337 braindance based on the basic movements of minang dance is that it has uniqueness in terms of movement that is modified and created through stylizing motion into a ‘brain dance.’ braindance activities based on the minang dance basic movements carried out by children in activities bring out children’s growth and development such as better motor skills, foster feelings of pleasure and confidence, build coordination of body movements, brain, and feelings, increase awareness of body movements, and develop creativity in children. the results of this study also show that movement activities such as brain dancing based on the basic movements of minang dance for early childhood can be carried out with the aim that children know and love their culture more, namely by providing stimuli related to minang music and movements, as well as traditional arts that become familiar with the culture. the prospect of developing this research is the application of media with local cultural content that can assist teachers in developing various aspects of children’s growth and development and can create various forms of dance learning models and media for children. acknowledgments we would like to deliver our gratitude to universitas negeri jakarta for funding this research through a grant from badan layanan umum (blu) of graduate school. references carroll, j., & howieson, n. 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(2019). pengembangan model tari pendidikan berbasis stimulus otak untuk kreativitas anak usia dini [unpublish report]. universitas negeri jakarta. 134 the acculturation of malay-islamic elements in the dabus dance ritual in the malay community of perak, malaysia abdul hamid bin chan, muhammad fazli taib saearani, salman alfarisi sultan idris education university, malaysia submitted: 2023-08-15. revised: 2023-10-16. accepted: 2024-03-08 abstract the main objective of this study is to examine the islamic and malay elements that are acculturated in the dabus dance ritual of perak, malaysia. the focused group of this study is the dabus of tanjung bidara village, estimated to have been established since the 1818s. however, throughout that time, the perception of the malay community has not been strong yet, specifically regarding the ritual relationship of the dabus dance with islamic values. in fact, not infrequently, dabus dance rituals are seen as contradicting the values of islam itself. it is even seen over as skewed by some of the malay community. however, in terms of history, meaning, practice, and ritual function, the dabus dance itself cannot be separated from islam. the study was designed as a field study. the data collected is qualitative and analysed critically using ritual theory, cultural symbols, and acculturation. data was collected through interviews, field observations, and documents. other data sources include a review of text, photos, videos, and relevant articles. the findings show that 1) the process of malay-islamic acculturation in dabus dance rituals has been since the arrival of dabus dance in the malay peninsula and continues until now; 2) one of the most significant islamic-malay acculturation methods and strategies is the reinvention of the dabus dance over time; 3) islamic-malay acculturation includes not only physical forms (forms, structures, and ritual elements) but also non-physical aspects (doa, zikir, selawat, berzanji, belief). keywords: acculturation; ritual; dabus dance of perak how to cite: chan, a. h. b., saearani, m. f. t. & alfarisi, s. (2024). the acculturation of malay-islamic elements in the dabus dance ritual in the malay community of perak, malaysia. harmonia: journal of arts research and education, 24(1), 134-148 harmonia: journal of arts research and education 24 (1) (2024), 134-148 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v24i1.46744 ture rather than a sacred one. the sacredness of malay dance is primarily limited to rehabilitation and healing rituals performed in a possessed or sub-conscious state by mindok, shamans, healers, or selected mediums. as a result, the art form remains confined to its specific community settings. the malay dance is highly dynamic and serves as a vessel for the malay nation and culture, encompassing traditions nurtured within the palace as well as those embraced by the common people, each with its introduction the process of acculturation in malaya has started since the existence of malay civilization, spanning from the srivijaya, melaka, asahan, langkat, deli, serdang, pelalawan, siak sri indrapura, jambi, palembang, johor-riau-lingga, brunei eras until the present day (zakaria, a. g., rahman, a. h. i., & zulkanain, 2016) . in the context of malay dance, this acculturation has predominantly taken on a secular nacorresponding author: e-mail: salman@fmsp.upsi.edu.my p-issn 2541-1683|e-issn 2541-2426 abdul hamid bin chan et al., the acculturation of malay-islamic elements in the dabus 135 own unique philosophy (anis, 2000). the malay dance is a coastal culture that flows along the archipelago coast and acts as a medium to communicate the total feelings. the feelings that flow are then brought to all regions and places to be spread, thus growing and blending in communities. this development is very influential in the music that accompanies the malay dance. however, the elements of the movement are stylized according to the feelings and nature of movements as well as the characters of the community in a certain district by displaying movements derived from nature and the acculturation of daily activities and relationships among the diversity of humans. folk dance among the malay community has undergone an acculturation process that is in line with the country’s and malaysian society’s development. folk dance is an art that has progressed with the times or, more clearly, has gone through the process of reinvention. prior to the occurrence of reinvention or recreation, the process of invention or creation inevitably takes place first. the invention of folk dance began before and after the independence of malaysia. however, there is a very significant difference between reinvention and recreation in folk dance in the 90s and now. folk dance has undergone many changes, especially in choreography, music as accompaniment, clothing, make-up, and stage performances as important parts of the acculturation process from time to time. hence, those are important parts of the endless acculturation process. perak is a state with various cultural forms such as dance, silat (martial arts), and others still inherited now, especially among the malays. if efforts in documentation and preservation are not conducted, these cultures will certainly disappear after the passing on of active members of the cultures. history has proven that the state of perak is the oldest state in peninsular malaysia, also known as ganga negara in an ancient word (muhamad, 2012, 2020). perak is recognized as the successor to the greatness of the malacca government (zakaria et al., 2016); thus, it has a relationship with kampar in central sumatra. this has resulted in a clash or even acculturation of power of aceh and bugis who have already converted to islam; hence, residents from parts of the archipelago such as patani, minangkabau, mandailing, java, and banjar have entered the state of perak in the history of its glory once before. this influence has caused many artistic developments, resulting in several records stating at least thirteen (13) types of dance and music that can be traced in the state of perak. surveys from the historical aspect show that the process of defending this folk art takes place from time to time. starting with the development among the former communities and current government institutions (jkkn) is a very important process of reaffirmation from the aspect of acculturation considering the two following transitions, namely institutions and societies. kussudiarjo (1981) and soedarsono (1976) stated that dance refers to the beauty of body movements with rhythm and soul, or the arts of dance can also refer to the beauty of human body shapes that move in harmonious rhythm. berry (2003a) asserted that traditional acculturation, especially in terms of dance, has three forms that allow changes in dance. firstly, the slow acculturation process results from weaknesses in oral transmission and imitation learning that change from one performance to the next, thus causing dance innovations. next is the acculturation that exists as a result of the adaptation of selected external influences and the efforts to combine forms of movements that have similarities and peculiarities. recent acculturation is the change that occurs as a result of revival consciousness, reinvention, and reorientation from the original form because there is a strong influence from outside culture. nevertheless, the first change, according to hadi (2006), is a habit because it goes through the process of time, while the second and third changes are related to clashes of culture. in addition, (hadi, 2011) elaboraharmonia: journal of arts research and education 24 (1) (2024): 134-148136 tes that official and unofficial dances will mostly follow the tendencies of popular dances. the identity of traditional malay dances not only displays the essence and nature of its people but also follows the culture and factors of change in terms of history, politics, economy, language, and others. (ghouse, 1994) stated that the dabus dance has existed since the time of prophet muhammad saw. the dabus dance is also related to the heroic story of sayyidina ali (samad, 1990). consequently, (moraza, 1994) indicated that the dabus dance first arrived in the peninsula in 1600 in kampung telaga nenas, which was later brought to pasir panjang laut, sitiawan, and further developed in bagan datoh. ghouse (1994) further asserts that traders brought dabus to malaya from acehs. a similar account is mentioned by (sarifan, 1996), stating that dabus performances began in 1936 when dabus was brought from aceh after aceh became one of the rulers in the archipelago resulting from the fall of the melaka kingdom to the portuguese. therefore, understanding dabus cannot be separated from the origins of its arrival in malaya. aceh, sumatra, bugis, and makassar play a significant role in this regard. through this approach, the meaning and social context of dabus for the malay community can be identified. according to atjeh (1993, 1994), dabus originates from the word dabbus which refers to a piece of sharp iron. this aligns with the arab-indonesian dictionary compiled by (yunus, 1974) which defines dabbus as a needle. meanwhile, (ma’luf, 2002) explained that the term dabbus or dubbus refers to a small needle-like tool made of iron or gold used to strengthen something by attaching it. additionally, (sarifan, 1996) stated that the word dabus in arabic means a stick or a sharp needle. continuing with the topic of dabus, (purnama, 1998) emphasises that in aceh, dabus is referred to as rapa’i. other pronunciations include daboih or meudaboih. the tool used for piercing, commonly known as the ‘child of dabis,’ is called daboih. additionally, (purnama, 1998) elaborated that in west sumatra, dabus is called badabuih or dabuih. both terms mean a needle. meanwhile, in the bugis and makassar regions, dabus is known as daboso. furthermore (pratama, 1995) argued that dabus can be divided into tarekat dabus and ilmu dabus. ilmu dabus refers to abilities or powers acquired outside the path of tarekat, in the form of mantras in the local language. on the other hand, dabus tarekat represents inner strength obtained through the practice of a particular tarekat teaching, involving the continuous recitation of noble phrases such as lailahailallah or the name of allah (bruinessen, 1992, 1995), following the practice of the sufis (pratama, 1995). in terms of dabus performances, (muzakki, 1990) and (pratama, 1995) explained further that dabus is a game that combines islamic traditions and local customs. prayers recited during performances are a combination of arabic and local languages, carefully crafted to convey the meaning of monotheism. the tarekat influences behind the dabus performance are rifaiyah and qadariyah. when a person reaches the state of fana, they are characterized by the ability to perform actions that go beyond the laws of nature. (ghouse, 1994) asserted that the development of malay traditional dance began with simple ritual movements, then developed into folk dance to more complex and delicate palace dances. each phase of development is a continuous series of acculturation processes. soekanto & sulistyowati (2017) argued that culture should be seen as a dynamic factor in social changes. however, the question is how deeply it is understood as acculturation. understanding changes in the perspective of acculturation is important so as not to cause disputes and conflicts. the interaction that occurs between groups of people with a particular culture and other groups with different cultures, resulting in changes to the original cultural patterns, is referred to as acculturation (j. w berry, 1997). furthermore, berry abdul hamid bin chan et al., the acculturation of malay-islamic elements in the dabus 137 (2003b) explained that acculturation is a middle-path process between confrontation and assimilation, separation and absorption, past and future. this process of adjustment is lengthy and requires a good deal of knowledge about the new culture. the adaptation process can take the form of internal or psychological adjustment and sociocultural adaptation. therefore, there are two orientations in acculturation: choosing to maintain one’s original culture and choosing to adopt the dominant culture, which reflects the new comers’ expectations of connecting with the dominant group (john widdup berry, 2005) hadi (2006) and e. hobsbawm (1983) argued that acculturation is a cultural change resulting from the interaction of two cultural systems. moreover, acculturation is characterized by a process of change accompanied by diffusion, innovation, or invention that reflects concepts that better represent the sociocultural conditions of a society. therefore, acculturation involves blending cultures due to the influence of other cultures. this blending occurs because humans directly encounter elements of other cultures in their social lives. over time, the local community accepts foreign cultures that enter (koentjaraningrat, 2009). furthermore, j. w berry (2006) characterized acculturation as a process of cultural change that occurs as a result of the interaction between two or more cultural groups and the members of each ethnic group. there are two essential understandings related to the concept of acculturation. the first concept attempts to understand the various phenomena that occur when individuals from different cultural backgrounds enter a new culture, resulting in changes to their original cultural patterns. the other concept is acculturation at the individual level, which involves changes in an individual’s behaviour. therefore, as proposed by (j. w berry, 1997), acculturation strategies cannot be separated from the attitudes of individuals and groups, which reflect their tendencies in culturizing behaviour as actual activities exhibited by individuals or community groups. in relation to dabus, the expression of individuals in community groups can be seen in the dabus ritual itself. rituals are often understood as group activities with spiritual significance. they are considered rituals if they possess three essential characteristics: performed at specific times, have predetermined goals, and utilize special means or media (bell, 1997). (hadi, 2006) also revealed that rituals are ceremonial activities associated with religion or belief systems characterized by distinct features that evoke respect for the supreme being in the sense of sacred experiences. rituals are repetitive ceremonies that involve cultures and religions and are strengthened by traditions. therefore, rituals are often seen as one of the key elements in life that foster a harmonious relationship between humans and the supreme being, between humans themselves, and between humans and nature (firdaus et al., 2002). furthermore, hadi (2006)) explained that various forms of ritual activities are fundamental human needs expressed symbolically. therefore, rituals can be spontaneous, unplanned, and sometimes mythological in nature. rituals are also seen as a means of connecting human desires with the creator and ancestral spirits. klarissa et al. (2019) also described rituals as a medium of communication, remembrance, and prayers for those involved. a similar perspective is presented by (izaty & anggraini, 2021), stating that rituals are not only acts of gratitude towards allah but are also believed to prevent evil, especially from supernatural beings. thus, the symbolic expressions and meanings conveyed through rituals can be understood. (gennep, 2004) also shared the perspective that rituals involve an individual’s journey from one social order to another, requiring three stages: separation, transition, and incorporation or reintegration. these three stages are presented symbolically. gluckman (1975) narrated that rituals are inseparable from social tenharmonia: journal of arts research and education 24 (1) (2024): 134-148138 sions besides representing social cohesion, all of which are expressed through relevant symbols. therefore, (turner, 1983) delved deeper into the study of ritual symbols because, within rituals, there are various aspects of humans, including beliefs, morality, social structure, religious ceremonies, and even conflicts between different communities. because of that, the symbols in the dabus ritual are very important to be seen as cultural symbols that contain functional meaning for the malay community. geertz (1960; 1977) states that all human creations conceptualized culture as a historically transmitted pattern of meanings contained in symbols or a system of concepts derived from symbolic forms that enable humans to communicate, preserve, and develop their knowledge of life and attitudes toward life. these expressed symbols can be found in material or physical, behavioral, linguistic, and ideational symbols (heddy, 2016; yudha, 2000). gesick (1989) and turner (1987) argued that humans are essentially compelled to construct social life repeatedly because they feel threatened by something beyond their control, such as the forces of nature. therefore, (sachari & sunarya, 2001) argued that symbols are instruments or tools used by humans to achieve specific goals, such as a sense of security and the reinforcement of social structures. according to turner (1983) the use of symbols is crucial in ritual events. furthermore, it is stated that the study of ritual symbols should focus on which symbols are used and, equally importantly, on the relationship between these symbols and their meanings. therefore, religious ceremonies are characterized as arenas where religious doctrine is transformed into a series of metaphors and symbols. moreover, (turner, 1987) described symbols as having a multivocal nature, meaning that they have multiple meanings. in this context, symbols can refer to various things, people, or phenomena. another characteristic of symbols is polarization. due to the multiple meanings of symbols, there are contradicting meanings of symbols. regarding the process of interpreting symbols, turner (1975) also explained that the interpretation of ritual symbols occurs through the interpretive scope provided by the original informants to the researcher. in this case, interpretations must be classified according to the social characteristics and qualifications of the informant during the interview process. the next dimension is the operational dimension. at this stage, verbal interpretation should not be included; interpretation refers to what is demonstrated throughout the observational process. lastly, there is the positional dimension, which means that each symbol is connected to other symbols. in other words, ritual symbols do not exist in isolation but are interconnected within a cultural unity (turner, 1987). since the ritual symbols in the dabus dance are interconnected, one of the very interesting things is that the unity of islam and malay is maintained through the reinvention of the dabus. hobsbawm (1983) explained that the reinvention of traditions is a process of formalization and ritualization that refers to the past. reinvention is considered to be the process of creating complex rituals and symbolics performed by certain individuals who are experts or highly skilled, thus the authority among the community. then, e. hobsbawm (1983) asserted that sometimes new traditions can be easily incorporated into old traditions. at times, they can also be created by borrowing from old elements preserved for hundreds of years through official ceremonies, symbols and moral-religious values, specific cultural figures, folklore, and other works of cultural art. this medium has a transformative nature within it, providing a highly open space for development into new mediums. in the context of producing new mediums, reinvention becomes a strategic effort to create human creativities stored in social memories and collective cultures. to what extent are new traditions allowed to utilize old materials, and to what abdul hamid bin chan et al., the acculturation of malay-islamic elements in the dabus 139 extent can they be compelled to invent new languages or devices and expand the vocabulary of ancient symbols beyond the set limit? this is a continuity of history that must be invented. for example, it involves inventing a time in the present to make it more memorable and plausible through science fiction. in the context of malaysia, it is a reinvention of old stories, traditions, and customs of the malay people in villages of the past through the series of upin and ipin. therefore, to facilitate the concept of reinvention in the context of the dabus dance, the first thing to refer to is its origin, which is caliph. caliph is a title given to someone in islamic society whose duty is to lead by upholding the teachings of islam. as a caliph, a person must perform duties and responsibilities in appropriate manners according to the needs of the community they lead. in the malay context, for example, a caliph offers healing services. basically, reinvention occurred when the caliph provided medical treatment to the community. reinvention has taken place, as mentioned, because originally, the caliph, a religious leader, also became a caliph involved in healing practices and spreading islam. indeed, that is the case, as medicine requires a certain level of expertise and specific stages as a process. therefore, various rituals are performed. with the emergence of rituals throughout the healing process, reinvention has occurred, leading to the birth of the dabus dance, which has evolved over time. eventually, the dabus dance was created to meet the needs of the community. all of these represent phases that must be traversed as a process of recreation or reinvention, as dabus inherently possesses its unique transformative nature. furthermore, a conception of reinvention occurs in the dabus dance as an acculturation process.1) ritual form. the dabus performance primarily comes from ritual. the presence of the caliphs in nusantara, or malay peninsula, has endured for several centuries since the introduction of islam. simultaneously, the caliphs in the region of nusantara or within malay culture assume multifaceted roles, serving as religious leaders and offering medical services. the foundation of the dabus presentation is rooted in the ceremonial structure that facilitates the healing process. 2) dabus performances in village ceremony. after the formation of the ritual structure, the essential component of dabus progress was the dance, which subsequently led to the emergence of the phrase “dabus dance.” however, it maintains a strong and intimate association with the ritual. hence, dabus’s betting performance is favoured within the ritual. because of that, dabus’s betting performance is favoured within the framework of the community ceremony. 3) stage performance. over several centuries, the practice of dabus dance has experienced significant growth and gained popularity within the malay community. initially conceived as a ceremonial performance inside villages, the dabus dance has evolved into a distinct style of stage performance. this pertains to the sultan’s and government’s responsibilities and authorities, who express their desire to incorporate the dabus performance as a cultural spectacle inside the palace’s many events and governmental initiatives. 4) the future of dabus dance. the future prospects of dabus dance remain questionable. nevertheless, when studying the prevailing cultural manifestations in which the dabus dance has been incorporated within contemporary frameworks. it is possible to anticipate the enduring presence of the dabus dance in the future. reinvention continuously may emerge inside the current society. based on the views described, it can be found that the dabus research carried out so far has not touched on the close relationship between dabus and islam. more clearly it can be said that in relation to the dabus dance, until recently, no studies have examined the development that occurs from time to time in the dabus dance as acculturation. it is an essential effort, harmonia: journal of arts research and education 24 (1) (2024): 134-148140 especially to practitioners, to maintain the existence of the dabus dance. this effort can also be seen as adaptation and creation as it features different patterns. for example, a study by kipli (2016) focused more on the structure of rituals and how the ritual process of the dabus dance is conducted. (rozimah & maziah, 2014) also focused on the performance structures of the dabus dance. shahira & sharifudin, (2014) even had the opinion that dabus’s dance is merely an artifact that seen dabus through music particularly. similarly, azam, zaharul, & nor shuradi, 2013) focus the discussion solely on elements of dabus music. this is also similar to the studies conducted by mazidah (1995), (nazri (1988, 1998), kulop (2010), and (rasul, 1982) that put the dabus dance as merely an inheritance. likewise, abdullah (1987) and sarifan (1996) observed the dabus dance from the perspectives of history and development in the social context of society. although it is undeniable that past studies have made significant contributions to the existence of the dabus dance to date, this cannot be seen as sufficient to defend the dabus dance. therefore, the view that distinguishes this study from past studies is the depth of examining the development of each process of the dabus dance as acculturation, especially rituals that present symbols, not as merely processes and structures. this study explores symbols in rituals of the dabus dance as an acculturation of islam and malays. this is important because since before, islamic leaders among the malays have the opinion that the teachings of islam contradicted the dabus dance. this was also stated by the caliph of dabus perak, mr. rosnan. in fact, all the elements, processes, structures, and contents of the dabus rituals cannot be separated from islam itself because the process of acculturation between the two has been going on for hundreds of years. certainly, this study suggests that islam-malay acculturation, which has been going on for hundreds of years, is the strongest reason to state that, particularly in malay community contexts, dabus and islam cannot be distinguished. method the research conducted is a qualitative descriptive field research aimed at obtaining sufficient information according to the research needs. although qualitative and descriptive, all data are critically analysed to describe the dabus dance in perak from the perspectives of acculturation, symbols, rituals, and the elements contained within it. all of these are critically synthesized to explain the interrelationship between symbols. a multidisciplinary approach is employed to support the research methodology ( supanggah, 1995). ritual theories have been used to analyse the overall process and elements of the ritual, enabling an explanation of the relationships between ritual symbols. acculturation theory is applied to elucidate the process of interaction between islamand the malay culture. figure 1. the research procedure is formulated based on (moleong, 2015). the research procedures are divided into three (3) phases. the first phase involves research preparation and data collection. the second phase is the collected data analysis. finally, the third phase is the stage of writing the overall research findings (figure 1). the data collection method involves observation, which entails observing everything related to the dabus dance and other relevant elements. next, in-depth interviews will be conducted with the informants who are heirs and artists of the dabus dance. documentation is understood as everything that the researcher documented during the observation and abdul hamid bin chan et al., the acculturation of malay-islamic elements in the dabus 141 interviews. furthermore, it also refers to the collection of documentation related to the dabus dance obtained from the heirs or other relevant sources. the literature review, on the other hand, was conducted to obtain scholarly information about the dabus dance. the informants were divided into two (2) groups. the first group consisted of four main informants, heirs, and artists, including prominent cultural figures from perak. in addition, in-depth and repeated interviews were conducted with these four informants. the second group, referred to as additional informants, consists of the dabus tanjung bidara dance group members in perak. the interviews were conducted with these additional informants to gather relevant additional information. the main informants in this study consisted of three males and one female. the male informant is mat rosnan bin hashim, who is the caliph (leader) of the dabus tanjung bidara group in perak. he has been involved in dabus for over 20 years. next is mohammad radzi bin manaf, who is not only a practitioner but also an heir with over 20 years of experience in dabus. lastly, mohd yusof bin othman is a prominent cultural figure from perak who has researched and analyzed the dabus dance in perak for the past 30 years. finally, another informant is fatimah seteh, who is both an heir and an experienced dabus dancer, a member of the dabus tanjung bidara group for 30 years. all main informants were presented with questions related to the history of the dabus dance, the social context of the dabus dance, the performance structure of the dabus dance, performance equipment, dabus dance practices, dabus rituals, recent developments in the dabus dance, and community and government responses to the dabus dance. these questions were explored in-depth, considering the context of the interviews and aligning with the research objectives. therefore, this research was conducted over a period of 1 year and nine months, from 2021 to 2023. results and discussions dabus dance group of tanjung bidara, perak regarding the existence of the dabus dance group in tanjung bidara village, perak, mr. rosnan stated that: “basically, there are no written records regarding the establishment of the dabus dance group in tanjung bidara village. therefore, my main reference is based on oral traditions that have been well-preserved and can be used to formulate the group’s journey year by year. based on that, i would like to start with the most recent, which is myself. i have been involved in this field for over 20 years. in fact, if my participation as an audience is included, it has been over 30 years. referring to the story of the previous caliph before me, he served as caliph for almost 40 years. that was how it was, from the first caliph until now, as the seventh caliph of dabus, it is understood that the existence of the dabus dance group in tanjung bidara village has been more than a hundred years.” (interview, september 18, 2022, in tanjung bidara). based on the information, figure 2 briefly explains dabus’s journey before he finally reached tanjung bidara village, perak, in 1818. figure 2. the journey of dabus in malay peninsula over the years. in order to understand the development of the dabus dance in tanjung bidara village, the diagram below depicts the genealogy of the dabus dance journey up to the seventh caliph, who is the current leader of the dabus dance. the diagram illustrates the significant figures of dabus throughout generations in tanjung bidara harmonia: journal of arts research and education 24 (1) (2024): 134-148142 village, perak, spanning hundreds of years. figure 3. genealogy of the dabus dance group in tanjung bidara village, perak. with thorough sift, generally, all the elements included in dabus in terms of its original elements as well as the latest reinvention of dabus can be grouped into three (3) main categories: the core elements of dabus, dabus accessories, and dabus equipment (figure 4). each of these categories is interpreted genealogically based on the nature and characteristics of dabus performances and the meanings embedded in the changes that occur. figure 4. categorization of dabus elements. concept of dabus rituals as previously mentioned, the rituals associated with the dabus dance are essential complements to the dance itself. the term ‘complements’ in this context refers to the rituals as a form of reinvention in dabus itself before becoming a dance performance. therefore, the ritual structure becomes an essential element in the early phase of reinvention. based on the ritual structures provided, dabus rituals are identified to have the following conceptual framework, as depicted in figure 5. figure 5. concepts of dabus ritual. furthermore, when these concepts (embodied, symbolic, and inner) are interconnected in greater depth (turner, 1983), they produce the concepts of physical, metaphysical, and inner aspects, as illustrated in figure 6. figure 6. relationships between physical, metaphysical, and inner in dabus. the caliph, dancers, and members of the dabus need to be aware of and proficient in the prayers and zikir used in dabus. this is because these prayers and zikir are closely related to the social reality of the community, including the caliph of dabus himself. this indicates the meaning that the behaviours of the caliph of dabus should align with the teachings contained in the prayers and zikir, as well as with the social life within the community. in addition, to uphold their own dignity, the caliph of dabus is duty-bound to uphold the dignity of all members of the dabus group by embracing the islamic and malay values included in dabus. caliph of dabus recites doa derived from the quran. then, the prayers must be well-remembered during dabus perabdul hamid bin chan et al., the acculturation of malay-islamic elements in the dabus 143 formances or after returning to social realities. furthermore, caliph of dabus is also obligated to conduct oneself in accordance with islamic teachings and malay values. it doesn’t stop there; caliph of dabus is responsible for constantly practicing and internalizing the prayers, making it habitual. lastly, caliph of dabus should embody all the values encompassed in dabus in their daily life alongside the community. meaning of dabus ritual according to (turner, 1967), the fundamental and pervasive nature of symbolic forms in human life is because these symbols originate from the very essence of human origins, which is referred to as stemming from primordial biological experiences. the organisms of human bodies, along with significant and meaningful experiences, function as a pattern that is utilized to invent symbolic representations that carry meaning. figure 7. one kind movement of the dabus dance. in this way, every meaning derived from the dabus dance ritual comes from both within and outside. at this stage, these meanings have been structurally formed through a deep and continuous process of acculturation. the internally constructed meanings are built upon various deeply rooted sources within the malay society. on the other hand, the external meanings refer to the malay people’s brilliance in responding to the teachings of islam, which they subsequently believe in. figure 8. preparations of dabus dance ritual by dabus caliph. as a cultural symbol (turner, 1987; yudha, 2000), it is important to identify the ritual elements in the dabus dance before giving it a precise meaning. here are elements of the dabus dance ritual consisting of 1) the dabus caliph takes the proper seating position; 2) reading doa; 3) warming the anak dabus; 4) showing parched corn; 5) sprinklers with water; 6) medical/ therapy; 7) taking and taming anak dabus; 8) open the circle (gelanggang). next, the elements of the dabus dance rituals will be explained with the meanings formed from both internal and external sources, resulting in the acculturation of malay-islamic (figures 9, 10, and 11). figure 9. meanings of dabus rituals (1). harmonia: journal of arts research and education 24 (1) (2024): 134-148144 figure 10. meanings of dabus rituals (2). figure 11. meanings of dabus rituals (3). components of dabus rituals the essence of dabus rituals lies in their connection to traditional medicine. the dabus ritual is not about showcasing an individual’s immunity. therefore, from the very beginning, martial arts fighters were the first group among the malays to accept and practice dabus. this is because the spiritual elements, which are highly valued in martial arts, are also present in dabus. all this while, many have recognized dabus as something mystical; hence, it is misleading to perceive dabus rituals solely as mystical (figure 6). this is because there are very few mystical elements present in dabus, and one of them is stabbing. although stabbing is an important element in dabus rituals, it cannot be a solid reason to draw a conclusion that dabus is mystical. that is why the fundamental concept of dabus rituals is medicine. that matter is in line with the components or symbols used in dabus rituals, which it depicts the relationship among religion, culture, art, and the community’s social life (figure 7). figure 12. fire as a one of ritual component. figure 13. shredded leaves as a one of ritual component. doa and songs of dabus the doa requested in the dabus performances have a hierarchy because, fundamentally, the caliph of dabus is an ordinary human being who greatly needs intercession from the beloved ones of allah swt. in this regard, radzi (interview, september 16, 2023, in tanjung bidara) stated that: “doa and songs in the dabus dance rituals do not stand alone. both are one unit that is inseparable. this is because both derive from the same source, which is the quran. the songs, which are in the malay language, are undoubtedly based on the quran, but is in the malay language.” in addition to the aforementioned hierarchy, the prayers recited by the caliph of dabus must also include at least three (3) main requirements: the doa itabdul hamid bin chan et al., the acculturation of malay-islamic elements in the dabus 145 self, blessings upon the prophet, and the recitation of berzanji. none of these three requirements can be omitted. berzanji, for example, is considered the core content because it serves as the fundamental and primary source for creating rhythmic malay songs in dabus performances. the malay rhythmic songs with berzanji verses express love for prophet muhammad saw, with the peak being the manifestation of monotheism (tawhid) towards allah swt. the harmony between selawat, and berzanji with the local malay language then constructed the dabus song which is in the form of a malay old poem (abidin, 2002; alisjahbana, 1971). therefore, prayers in dabus performances must fulfill all of these requirements. dabus dance ritual actor one of the important elements in the dabus dance ceremony is the performers. essentially, all performers are equally important, although, in practice, the dabus dance rituals heavily rely on the caliph (figure 8). yusop stated the following: “it is undeniable that the caliph holds an important position in the overall process of the dabus rituals. however, at the same time, other performers should not be overlooked. basically, all performers are one. in my view, this is an important teaching in islam that is earnestly implemented in the dabus dance, where the status of an individual is equal, despite social hierarchies in society” (interview: december 16, 2022, in ipoh, perak) the concept of actors in giddens’s (2011) perspective emphasized their rationality, reflexivity, and self-motivation to feel secure and cope with life more effectively (ritzer & goodman, 2004). social actors do not simply produce activities sporadically; rather, they continuously reinvent them. it is through this process that they express themselves as actors. the term ‘ritual actors’ refers to individuals who perform; specifically those directly involved in the entire dabus ceremony. the role and function of these actors are to oversee the dabus ceremony and ensure its success. figure 14. dabus caliph (the most higher actor in dabus). figure 15. dabus caliph in performance. although yusop stated that every ritual actor in the dabus dance is considered equal, there is actually a hierarchical structure within the ritual practices. since the caliph controls all dabus dance rituals, the caliph holds the main position, followed by all the members of the dabus dance group and the community itself. the equality emphasized by yusop is understood within the context of values and philosophy. islamic teachings prioritizing human equality have acculturated with the malay concept of humanity, placing a high value on social equality. rank and status serve as social identities; nevertheless, they cannot be separated from the fundamental value of human equality (figure 9). conclusions the malay-islamic acculturation found in the dabus dance of perak, malaysia, occurs continuously. in fact, it can be said that there is no end to this process because even though there are fluctuations in the dabus dance, it turns out to be one of the suitable strategies for acculturation. harmonia: journal of arts research and education 24 (1) (2024): 134-148146 this is evident in the reinvention efforts carried out by artists and inheritors of the dabus dance. in this context, apart from being creative and aesthetic skills, reinvention also serves as an acculturation strategy. it can be said that reinvention is an important and distinct characteristic of the malay-islamic acculturation in the dabus dance of perak, malaysia. apart from this, malay-islamic acculturation in the dabus dance of perak is not only evident in its physical aspects, such as performance structure, elements, dance movements, performance props, and songs performed; instead, it exists in the daily social practices. for practitioners of the dabus dance in perak, the acculturation of the values included in the dabus dance with islamic values is a hereditary doctrine. behaviours observed during dabus dance performances, emphasizing politeness, mutual respect, and good speech, should be practiced in their communal lives. there are moral principles they adhere to, and if the reality of dabus dance performances contradicts their reality as muslims, they will follow the islamic moral obligations. furthermore, there is a spiritual acculturation in which the practice of doa throughout the rituals must adhere to the quran, recitation of berzanji, and sending blessings upon prophet muhammad saw. in other words, the quran, berzanji, and selawat are mandatory during dabus’s performance. at the same time, the meanings contained in these doa have been fully integrated into the malay language. in other words, the acculturation of islamic doa and the malay language occurs simultaneously, harmoniously, and in unison. the doa are recited in islam while their intentions are embedded in the malay language which is pantun lama. acknowledgements this research was made possible through funding from the research grant scheme issued by rmic universiti pendidikan sultan idris (upsi) under the grant for malay civilization and heritage research (gppwm) with research code: 2021-0007-106-01, titled ‘reinvention of the dabus dance of perak, malaysia.’ the research was successfully conducted because of the outstanding support and cooperation from the dabus dance 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(2016). penemuan tarikh baru pengasasan empayar kerajaan melayu melaka. institut tun perak. 78 dolanan anak dance learning for children in “mekarsari” kindergarten nilam cahyaningrum mekarsari kindergarten, kandeman, batang regency, indonesia e-mail: nilam_cahyaningrum@yahoo.com received: october 5, 2014. revised: november 12, 2014. accepted: november 23, 2014 abstract mekarsari kindergarten is a school that choses dolanan anak dance lesson which is taught using demonstration methods. this study aims to find, understand, and describe the process and learning outcomes of dolanan anak dance in mekarsari kindergarten. this study uses qualitative research method with a phenomeno logical approach. data collection techniques used were observation, interview, and documentation. the validity test were using triangulation of data sources, techniques, and time. dolanan anak dance learning in the school consists of several components, namely teaching and learning activities, goals, teachers, students, materials, methods, media, tools and learning resources, and evaluation. dolanan dance learning was using demonstration method implemented through three stages: pre-development activities, core activities, and closing activities. the learning outcomes of dolanan anak dance learning in the school were categorized into three aspects, namely cognitive, affective, and psychomotor. keywords: dance learning; dolanan anak how to cite: cahyaningrum, n. (2015). dolanan anak dance learning for children in “mekarsari” kindergarten. harmonia: journal of arts research and education, 14(2), 78-87. doi:http://dx.doi.org/10.15294/harmonia.v14i2.3289 harmonia : journal of arts research and education 14 (2) (2014), 78-87 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v14i2.3289 p-issn 1411-5115 e-issn 2355-3820 results to the children’s creativity (cahyono, 2011, p. 4). kindergarten is one of the early childhood educations (4-6 years old) that aim to prepare children before entering the higher school level, primary school. dance learning in kindergarten included in the development program of children physical and motor skill, since dance is included as an activity that aims to train the children’s muscle ability. the program is included in kindergarten curriculum within the basic abilities development aspect. the basic abilities development aspect itself is an activity that is prepared by teachers to enhance the students’ ability and creativity based on the stages of children development (dirjen paud, 2011, p. 27). introduction dance learning is one of learning processes which is aiming to make a person to able to use his motor skill (body movement ability) to adjust a movement with the musical accompaniment. increasing a person’s motor skill can be best done at early age (childhood). the motor skill itself can be enhanced with music and movements stimuli. therefore, dancing is one of the ways for children to explore their ability and learn to express themselves in an exciting way. dance learning is not merely an art learning that emphasizes the beauty of a movement or the splendor of certain high value performances, but, it values more to the process of learning that nilam cahyaningrum, dolanan anak dance learning for children in “mekarsari” kindergarten 79 art education has a significant role in the process of children’s motor skill development. it is functionalized to develop the aesthetical sensitivity through the appreciation and creative work experience activities (jazuli, 2007, p. 61). mekarsari kindergarten is one of the kindergartens that chooses dolanan anak dance as the learning material. dolanan the dance learning is not only implemented as an attempt to preserve cultures, but also because the dance is considered to be suitable for children and relatively easier to be done by children. another positive goal is for students to also learn and understand the value contained in the lyrics of dolanan anak song. dolanan anak is a kind of children songs created in javanese language. in javanese, dolanan means playing. in other words, dolanan anak can be translated to children’s play (game) (widodo, 2009, p. 167). dolanan anak dance is a term for dances that are created by using javanese children songs as the music accompaniment. the use of javanese children song in a dance is only as the music illustration and will not limit the dance movements. in other words, the way of children move in a dance does not necessarily need to be adjusted with the lyric of the music accompaniment. teaching method is the essential part of dance learning. method is one of the ways to achieve the intended purpose of teaching and learning. teachers choose the teaching method based on the learning goals. in dolanan anak dance learning, tea chers in mekarsari kindergarten choose demonstration method as the teaching method. demonstration is the method of teaching that is usually implemented by demonstrating things, events, rules, and the sequences of doing an activity, either directly or indirectly using the teaching media that are relevant to the presented topics of learning (fathurrohman & sutikno, 2009, p. 62). the choice of mekarsari kindergarten as the research location in this study is based on the materials taught in this kindergarten. in addition to this, the kindergarten achievement also becomes the researcher’s consideration. the head and also the dance teacher in the kinder garten, suyanti, s.pd, m.pd, is also one of the dance instructor in sanggar putra budaya, batang. the learning the concept of learning is a process of changing one’s behavior as a result of interaction with the sources of learning. the changing in behavior can be the changing of knowledge, skills, and attitudes. learning is an activity which involves the roles of tea chers and students in its implementation. learning (instruction) is an attempt to encourage the students to study or an activity to make the students learn. in other words, learning is an attempt to create a condition in order to establish an activity of learning. iskandar (2009, p. 98) states that the process of learning is a set of activities which is done by students. the activity of learning (or studying) is implemented under a teacher (or teachers) supervision. learning is the way to make people to learn, it means there is a process of environment manipulation to give an ease to people who study (jazuli, 2008, p. 137). learning is a process of effort that is done to receive a changing of behavior as the result of studying. a theory from briggs that was delivered in 1992 claimed that learning is a set of events that influences students so that the students can receive an easiness (rifai’i and anni, 2010. p. 191-192). from the previous explanation, it can be concluded that learning is a planned attempt that is done by the teacher to make the students to study in order to obtain the students’ changing of behavior. this study implements the concept of learning from iskandar since the learning in kindergarten level is a kind of learning that needs a full supervision of teachers. the steps of learning are divided into two, there are planning and implementation. the planning step is an activity that is done by teachers before doing the learning in the classroom. in this step, teachers need to prepare a syllabus and lesson plan. the harmonia : journal of arts research and education 14 (2) (2014): 78-8780 syllabus can be understood as the learning plan of a certain group of lesson within a certain topic. it includes the competence standard, basic competence, core material, learning activities, indicators of goals, scoring, time allocation, and the learning sources that are developed by each educational unit (mulyasa 2013, p. 132-133). the syllabus is the core of a curriculum that covers at least three main components. there are the embedded competencies, the activities that have to be carried out, as well as the review of the competencies’ level of achievement. in addition to the syllabus is the presence of the lesson plan. the lesson plan is a plan that illustrates the procedure and learning management to achieve one basic competence that has been set out in the content standard inside a syllabus (triyanto, 2010, p. 108). the lesson plan is an attempt to predict an act that will be done in the actual learning activities. the learning activities can be accomplished when there is an interaction among the components in it. the main characteristic of learning activities is interaction (riyana, 2011, p. 3). the interaction between the students and the learning environment, whether it is with the teachers, friends, tutors, learning media, learning sources, and/ or other sources of learning. another characteristic of learning is closely related to its own components of learning. riyana argues that the components that should exist in the process of learning are: the goals, teaching materials, methods and media, students, and teachers. another explanation is put forward by djamarah and zain (2010, p. 41) by arguing that other components in learning are the goals, learning materials, teaching and learning activities, methods, equipments and sources, as well as evaluation. from both theories we can conclude that within the learning process, there are the goals of learning, teaching and learning activities, learning materials, methods and media, equipments and sources, students, teachers, and evaluation. dolanan anak dance dance is one of the branches of art related to the elements of movements. dance is rhythmical movements. this short definition was put forward by curt sachs (1881–1959), a history and music expert from germany in his book entitled world history of the dance (jazuli, 2008, p. 6). meanwhile, soedarsono (1972, p. 4) explains dance as an expression of the human soul through beautiful movements. dance is an art that makes use of the body as the media and movement materials. movement is apparently part of the nature had by students in the age of three, four, and five years old. a three and four-year-old kid runs and throws his body here and there in the classroom and playing ground, a five-year-old kid prefers to jump, prance, and spin rather than walking (seefeldt & wasik, 2008, p. 304). the term “dolanan anak” is actually having often been heard by people, in particular for central java societies. it is often used to refer to javanese songs created for children. javanese people often sing dolanan song while playing traditional games at the same time, therefore dolanan songs are often categorized as javanese traditional games (nurhidayati, 2010, p. 3). it is assumed that dolanan traditional children’s songs bring positive benefits in forming children’s future character. it is because, dolanan songs contain several educational values, among them are social values, historical values, the value of honesty, sportsmanship, respecting others, as well as physical formation (rini, 2013, p. 2). etymologically, dolanan is derived from dolan and added by the suffix –an in the end of the word. dolan means playing while dolanan has two meanings. first, it means play (the noun form) while the second is playing (the verb form). dolanan anak can be translated to children’s play (widodo, 2009, p. 167). sarwono (1995) explains that dolanan song can be sung by children, and sometimes can be accompanied by dances. dolanan songs have rules, as follows: (1) it uses simple language, (2) it uses simple variation tone, (3) it has linilam cahyaningrum, dolanan anak dance learning for children in “mekarsari” kindergarten 81 mited rows or lines, and (4) it is suitable with the children’s condition. dolanan songs can be contained with mannered examples, such as: advices, manners, and morals. the conclusion that can be derived from the previous explanation is that dolanan anak song is a kind of javanese children’s song with the theme of children’s play and contains with several educated values and purposefully created for children and can be accompanied by dances. the concept of dolanan anak dance in this study is in line with the previous theory delivered by darwono, et al. it means dolanan anak songs are a kind of song that can be sung by children and can be created as a new type of dance. dolanan anak dance belongs to the category of children dance since it is purposefully created to be danced by children. dolanan anak dance can be adjusted to every type of theme that has been programmed in kindergarten learning. children dance is a type of dance that is demonstrated by children between the ages of kindergarten and primary school students. in its performance aspect, the dance performs several thematic aspects that revolve around the technical ability and a range of students’ understanding level of appreciation (hidayat cited in cahyono (2011, p. 7). in this study, the scope is children between four and six years old (pre-school and kindergarten students). early age dance is an expression of the human soul in the form of rhythmical and beautiful simple movements with the themes and approaches that have been fitted with the stages of children development ages 0-8 years old. the characteristics of early age dance are: (a) it is typically thematic, (b) it imitates parents’ and surrounded peoples’ movements, (c) it sometimes imitates animal movements, (d) the themes are usually taken from things that are favored by children, (e) the movements are usually lively, illustrating the children’s happiness, (f) the movement order is simple and easily remembered, (g) the movements are usually repetitive (palupi, 2011). suyatno (2005) states that the relevance of game as a means of educating children, if used properly can provide a positive impact in educating children. the positive elements of using games in educating children are: 1) removing the seriousness that can hamper the process of learning; 2) removing stress in learning environment; 3) inviting people to be fully involved; 4) improving the learning process; 5) developing creativity; 6) achieving goals with happiness; 7) achieving meanings by studying from experience; and 8) focusing students as the learning sources. hartono (2011, p. 25) states that the functions of teaching dance for children is to guide students in every variety of physical activities and consciously introduce the concept of creativity through functions and the relation of every part of their body, to introduce the concept of space-time and energy in its relation with children body movements individually and together as a group, to encourage children’s pride as an attempt to develop control and movement skills, to develop imagination in its relation with friends, to feel and express reaction, to develop the children’s creativity in exploring and discussing topics, and at the same time to enhance self-control value and appreciation towards other people’s idea or achievement, and to stimulate the emergence of critical attitude and selfcontrol. furthermore, hidajat (2011, p. 130) also argues that benefits in introducing dance for children at early age are, as follows: (1) dance can act as the medium to introduce the functions and mechanisms of the body; (2) dance can act as the medium of body forming; (3) dance as the medium of self-socialization; (4) dance as the medium to introduce the principle of science; (5) dance as the medium in fostering personality, (6) dance as the medium to introduce characteristics; (7) dance as the medium of non-verbal and aesthetical communication; (8) dance as the medium of cultural value understanding. the scope of kindergarten indonesian ministry of education harmonia : journal of arts research and education 14 (2) (2014): 78-8782 based on their socio-cultural condition, involving parents, and stimulation holistically covers all of students’ developmental aspects. the learning approach in kindergarten level needs to be done constructively, actively, and creatively, through the integrated thematic approach and refers to the characteristics of the learning program in kindergarten level. the learning process in kindergarten level has been designed in the kindergarten curriculum. the activity programs have been completed with the learning materials that are created based on thematic approach. thus, the materials are actually the learning themes that need to be developed by teachers to be the operational learning activities (patmonodewo, 2003, p. 68). programs that are prepared for students in the first semester are: (1) myself, (2) my environment, (3) my needs, (4) animals, and (5) plants. after that, in the second semester, the themes are: (1) recreation, (2) occupations, (3) water, air, and fire, (4) communication tools, (5) my homeland, and (6) the universe (diklat profesi guru, 2013, p. 15). curriculum is an educational tool that is designed to achieve the goals of learning that have been determined (hamalik 2002, p. 26). curriculum in kindergarten level is a set of planning and rules related to the goals of learning, the development and scoring, as well as the means used to guide the implementation of learning activities to achieve educational goals. kurikulum tingkat satuan pendidikan (educational level based curriculum) is the operational curriculum which is implemented in every education level including kindergarten (dirjen paud, 2013, p. 31-32). the components of curriculum in early childhood education consist of: (1) the foundation and referral, (2) vision, mission, and objectives, (3) the structure and content, (4) syllabus, (5) lesson plan, (6) strategy and management, and (7) scoring. the development of kindergarten curriculum consists of: (1) development of behavior including religious values and moral, social, emotional, (2) development of basic capabilities including motor, cognitive, and language skills. in the book entitled petunjuk teknis penyelenggaraan taman kanak-kanak (the technical guidelines of kindergarten implementation) (2011, p. 2), states that kindergarten is one form of formal education for early childhood which organizes educational program for children ages 4 to 6 years old. in terminology, children ages 4 to 6 years old are categorized as preschool age. preschool age children can be defined as children whose age under the standard requirement to enter primary school. preschool age children are the children whose ages between 3 to 6 years old. they usually attend preschool and kindergarten. however, in indonesia, generally they attend daycare program (3 months to five years old) and playgroup (3 years old), after that they attend the kindergarten level in the age of 4 to 6 years old (patmonodewo, 2003, p. 19). essentially, kindergarten gives possibilities for the students to develop their developmental aspects; to foster positive characteristics and habits, based on the value of indonesian people; and also to foster the basic abilities that will be needed by them in their next level of education. therefore, the functions of kindergarten are to nurture, cultivate, and develop all of children potential optimally so that it will form the students’ basic abilities and behaviors in accordance with their readiness to enter the next level of education (dirjen paud, 2011, p. 25). based on the principles of early childhood education, education in kindergarten level is children’s need-oriented, adjusted with the children development, adjusted with the individual uniqueness, performing the learning activities through playing, children center, children as an active learner, children learns from concrete to abstract, simple to the more complex situation, movement to verbal, from individual to social, an environment to support the leaning activities, stimulating the emergence of creativity and innovation, developing the students’ live skill, using the sources and learning media exist in the surrounded environment, children learn nilam cahyaningrum, dolanan anak dance learning for children in “mekarsari” kindergarten 83 the development of basic capabilities is implemented through the gradual playing activities, continues, and habitual. the development of basic capabilities is a kind of activity which is prepared by teachers to enhance the abilities and creativities based on the children developmental stages. the development of basic capabilities comprises the religion and moral development, physical and motor abilities, cognitive skills, language, and social emotional (dirjen paud, 2011, p. 25-28). dance learning is a part of the development of children basic abilities within the scope of the development of physical and motor skills. method based on the thesis statement in this study, this study is going to be conducted by implementing the qualitative research method with the phenomenology approach. iskandar (2009, p. 24) delivers that phenomenology research puts its orientation to understand, dig, and interpret the meanings behind events, phenomena, or the relationship between people in a certain situation. this is usually called as qualitative research by using an observation towards the phenomena or natural social phenomena then used it as the data sources. in other words, this approach is based on the facts on the field. this research is taken place in mekarsari kindergarten, kandeman district, batang. the data is collected by using observation, interview, and documentation. the implemented data analysis technique is data reduction, data presentation, and drawing conclusion. results and discussion results of the study comprise the learning process and the learning outcomes of dolanan anak dance. the learning process of dolanan anak dance in mekarsari kindergarten based on the observation for this study, the learning process of dolanan anak dance in mekarsari kindergarten was held twice. the first was on may 30, 2014 and the second was on june 2, 2014. it comprises of preparation and implementation stages. in the stage of preparation, teacher did not make the syllabus and lesson plan. the preparation had by teacher was to prepare the learning material which was the dance itself. the dances were mainly the results of teachers’ own creativity. the dance learning was held on friday morning in the kindergarten playground. it was a mass teaching and learning with one teacher acted as the instructors and the other teachers stood up behind the students. the teachers who stood up behind the students were assigned to monitor the children while occasionally corrected the students’ movements. the material preparation of dolanan anak dance entitled menthok-menthok was started from the process of creating the dance (by the teacher) up to the stage of training the students. the learning implementation in mekarsari kindergarten comprises several learning components, there are: the teaching learning activities, teachers, students, goals of learning, materials, media, method, equipments, sources of learning, as well as evaluation. in the first learning activity on may 30, 2014, teachers were only observing the students’ individual practice. teachers only gave the students several comments towards the wrong movements. on may 30, 2014 teachers did not demonstrate the dance to the students because they assumed that the students had already memorized all of the dance movements. besides, on that day, the learning activity was not started by opening activities but directly into the core activity, repeating the dance movements which had been memorized by students several days before. however, during the practice, teachers found several mistakes by students, such as: starting the dance before the music was played, repeating the dialogue which was supposedly delivered by other students, and the students did not come back to their initial places after playing sledur-sledur. aside harmonia : journal of arts research and education 14 (2) (2014): 78-8784 from the problems, students had been able to imitate menthok-menthok dance well. on that day, the practice also was not ended by a closing activity. after practicing the dance, students were allowed to come back to their classrooms to take their bags and went back home. on june 2, 2014, the learning process was going well and conducive. in this day, teachers had implemented the demonstration method as the teaching stage. demonstration method comprises pre developmental activity, the developmental activity, and closing activity. predevelopment activities were shown with the teacher preparation starting from preparing the equipments, such as tape recorder and the cassettes as well as organizing the practice area. after the preparation was completed, the teacher did pre test to measure students’ abilities. after that, the developmental activity was started by demonstrating the unclear materials and fixes the wrong movements of the students by giving the right examples. the closing activity was done by giving evaluation and motivation gradually along with the teaching and learning process. moreover, the evaluation was given based on each student’s capabilities. the learning outcomes of dolanan anak dance in general, the learning outcomes of dolanan anak dance entitled menthokmenthok in mekarsari kindergarten could be considered successful since the lesson was running well and receiving good and maximum results. it could be proven by the happiness and enthusiasm of children during the lesson. the students seemed to enjoy the teaching and learning activities and looked happy when dancing menthokmenthok dance. the students also seemed to be able to memorize the dances well. they were also able to fix their mistakes fast. moreover, the success of learning is also proven by winning an early childhood education competition called lomba gebyar paud in batang region. the dance learning outcomes can be categorized into three aspects, cognitive, affective, and psychomotor. cognitive aspect comprises six stages, there are: (1) knowledge (remembering, memorizing), (2) understanding (interpreting), (3) application (using a concept to solve problems), (4) analysis (explaining a concept), (5) synthesis (combining parts of concept into a unified concept), (6) evaluation (comparing values, ideas, and methods). from those stages, mekarsari kindergarten students had fulfilled two points of cognitive aspect, which are knowledge (to remember and to memorize) as well as the understanding (an ability of students to interpret). the teachers were monitoring and fixing the certain parts of the dance and did not do too much interference while the practice was going on. the teacher did the evaluation when the practice was still going on and made a clearer explanation in the end of the practice time. furthermore, the ability to understand while interpreting the learning material was proven by the ability to understand every movement that needed to be done. in other words, the students had been able to do the sequences of movements well. on the other hand, application, analysis, synthesis, and evaluation were not yet been able to be done by students of mekarsari kindergarten. the psychomotor aspect comprises five stages, (1) imitation (imitating movements), (2) usage (using the concept to do movements), (3) accuracy (doing the movements correctly), (4) clustering (doing several movements at once correctly, (5) naturalization (doing the movements naturally). all the five stages mentioned previously had been done by students in mekarsari kindergarten. the imitation was done when teachers gave examples on how to do the movements. the usage step was also done by the students. as for example, when the teacher gave an instruction by saying “menthok” (goose), the students would try to act as a goose. the step of combining movements and doing the movements naturally had been also done by students of mekarsari kindergarten. it was helped by the accompanying music to ease nilam cahyaningrum, dolanan anak dance learning for children in “mekarsari” kindergarten 85 the students to remember the sequence of the movements. doing the movements naturally was not proven by asking students to do the exact same movements as the example, but more to enjoy doing several movements at once. the students were only required to adjust the music with the movement technique, however, they were not required to do it as the same way as their teachers or their friends did. the affective aspect consists of five stages, there are (1) introduction (a desire to accept, realizing something), (2) response (an active participation, (3) appreciation (accepting values, faithful to certain values), (4) organizing (connecting the believed values), (5) implementation (making values as part of life pattern). the stages of introduction, response, and appreciation have been done by mekarsari kindergarten students. introduction means knowing the movements and their practice partners. knowing movements belong to introduction because students learned the movements from the teachers. while knowing practice partners belongs to this stage since the students had an opportunity to practice with friends from other classes. here, students learned to socialize with their new friends, learned to play a role, and adapted to a certain movement. response was taken place when there was chatting, playing, and fixing by teachers, the students were able to respond to their friends’ attitude and behavior and able to do their own role. when the teacher was explaining the material, students paid their attention and attempted to practice the movements during the practice. while playing, students obeyed the game rules and followed the scenario. the implementation of dolanan anak dance using demonstration method in mekarsari kindergarten has comprised three stages which are the pre-development activity, children preparation activity, and closing activity. pre-development activity was done when the teachers prepared the equipments and place to practice. the children preparation activity was done the teaching and learning activities were going on. finally, closing activity was done by giving motivation and simple evaluation in the end of the lesson. conclusion dolanan anak dance learning in mekarsari kindergarten, kandeman district, batang consists of several components, there are: the teaching and learning activity, goal of teaching, teachers, students, the teaching materials, methods, media, equipment, as well as evaluation. the dance material given to the students of mekarsari kindergarten belongs to the type of dolanan anak dance entitled “menthokmenthok” and was taught to students using demonstration method. it was firstly given as one of the learning material in order to join the early childhood education competition called gebyar paud 2014. the material was delivered in six meetings. the first three meetings were for competition in the regency level while the other three meetings were done before joining the competition in province level. the learning material was given through three stages of activity, there were: pre-development activity when teachers were planning the material, the core activity when the material was taught in the classroom, and closing activity when the evaluation and motivation were given gradually during the lesson and in the end of the lesson. the learning outcomes are categorized into three aspects, which are cognitive aspect, affective aspect, as well as psychomotor aspect. cognitive aspect can be seen from the capability of students to remember, memorize, and understand the dance. affective aspect comprises the stages of recognition, there are knowing and recognizing peers and the dance movements, responding another student’s movement, appreciating the teacher’s explanation and appreciating roles of each student in dancing. the psychomotor aspect is reflected in the ability of students in imitating movements, using a concept to do a certain movement, being accurate in moving, combining movements and doing the move ments naturally. harmonia : journal of arts research and education 14 (2) (2014): 78-8786 references anni, c. t. & rifa’i, a. (2010). psikologi pendidikan. semarang: unnes press. arini & hidayah. (2013). makna budaya lagu dolanan di jawa tengah. jurnal pendidikan, 22(1), 33-46. budiarsa, i. w. (2007). nilai pendidikan dalam tari kreasi dolanan anakanak katak nongkang. agem, 7(1), 60-73. cahyono, a. (2011). pengembangan model pembelajaran tari dolanan anak-anak. online. retrieved from www.etalase. unnes.ac.id pada 28 januari 2014. diklat profesi guru. (2013). pengembangan program pembelajaran tk. jakarta: kemendiknas. ditjen paudni. (2011). petunjuk teknik penyelenggaraan taman kanak-kanak. jakarta: dirjen paudni kemendiknas. djamarah, s. b. & zain, a. (2010). strategi belajar mengajar ed. revisi. jakarta: rineka cipta. faturrohman, p. & sutikno, s. (2009). strategi belajar mengajar. bandung: pt refika aditama. hamalik, o. (2002). perencanaan pengajaran berdasarkan pendekatan sistem. jakarta: bumi aksara. hanna, j. l. (2000). learning through dance: why schools should teach dance. american school board journal, 187(6), 47-48. hartono. (2010). pemanfaatan media dalam pembelajaran tari di taman kanak-kanan. harmonia journal of arts research and education, 10(1), 2028. hartono. (2011). pembelajaran tari anak usia dini. semarang: unnes press. hidajar, r., & pratamawati, e. w. s. d. (2011). manfaat pembelajaran seni tari bagi siswa sekolah dasar. jurnal sekolah dasar, 20(2). iskandar. (2009). psikologi pendidikan sebuah orientasi baru. ciputat: gaung persada (gp) press. jazuli, m. (2007). pendidikan seni budaya suplemen pembelajaran. semarang: unnes press. jazuli, m. (2008). paradigma kontekstual pendidikan seni. semarang: unnes press. litz, t. & wilma d. (2000). learning about culture through dance in kindergarten. early childhood education journal, 28( 1), 35-40. liu, m. & karp, g. g. 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(2013). jarog dance for children with special needs: case study in the celebration of the international dance in surakarta. harmonia: journal of arts research and education, 13(2), 100-109. warsita, b. (2008). teknologi pembelajaran, landasan & aplikasinya. jakarta: rineka cipta. wernet, p., sweeting. t., woods, a., & jones, l. (1992). developmentally appropriate dance for children. journal of physical education, recreation & dance, 63(6), 40-53. widodo. (2009). nilai-nilai luhur dalam lelagon dolanan. harmonia: journal of arts research and education, 9(2), 167-172. widodo. (2010). lelagon dolanan anak dan pendidikan karakter. harmonia: journal of arts research and education, 10(2), 150-158. wiener, j. & lidstone, j. (1969). creative movement for children. new york: van nostrand reinhold company. winarti, d. (2010). lirik lagu dolanan sebagai salah satu bentuk komunikasi berbahasa jawa (analisis fungsi). online. retrieved from http://www. balaibahasa.org/file/1lirik_lagu_dolanan at february 5, 2014. 161 characteristics of titounis children songs: a study of songs, music instruments and onomatopoeia mochammad usman wafa, neli purwani, abdul malik universitas negeri semarang, indonesia submitted: august 4, 2020. revised: october 9, 2020. accepted: november 4, 2020 abstract the purpose of the study is to describe an analysis of children’s song characteristics titounis. this study used a musicological approach to recognize songs’ characteristics. the data collection were document study and, listen and take note. this study used a content analysis technique. the analysis cover three aspects: (1) songs’ analysis, (2) instruments’ analysis, (3) onomatopoeia. the songs that were analyzed were (1) petit escargot, (2) le roues de l autobus, (3) les chiffres, (4) un kilometer en roulant. in the song analysis, the patterns used were general patterns, using fun and cheerful vocals, strong tonal stress, relatively limited variations in tones, slow, fast, and gradual tempo. the delivery style invites singing as well as dialogue or interaction. then in musical instruments, the melody variations of each instrument form harmonization, the use of non-musical instruments emphasizes the theme of the song and provides the experience of hearing about the environment. the onomatopoeic analysis shows sound vroom (car), pataboum (jumping passengers), bip-bip-bip (serine), suisse-suisse (wiper). the onomatopoeia of titounis songs serves to strengthen the song’s theme. keywords: titounis children song; onomatopoeia how to cite: wafa, m. u., purwani, n., & malik, a. (2020). characteristics of titounis children songs: a study of songs, music instruments and onomatopoeia. harmonia: journal of arts research and education, 20(2), 161-166 harmonia: journal of arts research and education 20 (2) (2020), 161-166 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i2.25539 rious purposes, including calming fussy children, putting them to sleep, inviting learning, and playing. babies prefer consonants to hear dissonances, regardless of the circumstances of the previous parents (masataka, 2006). children can also capture messages through the musical characteristics of adults, and that is what is called the language of music (trainor, 2019). another study has shown that fast-paced music results in an increase in brain activity (lehmann, & seufert, 2017; nicolaou, et al., 2017). it is therefore not surprising that musical training sharpens the initial coding of sounds to the brain leading to increased performance on various listening introductions qualified education at an early age is sought to encourage the development of various intelligence domains and is also carried out through various stimuli. education at an early age is developed with principles, one of which is to invite learning in a fun way. one form of learning in this fun way is done through song or chanting. frobel argues that students should be given a lot of singing experience through singing and playing activities (sumaryanto & utomo, 2015). singing activities for children have been carried out for vacorresponding author: e-mail: usmanwafa@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (2) (2020): 161-166162 skills (hyde, et al., 2009). singing activities in early childhood is a universal activity, carried out by various nations with different cultural backgrounds. it can be seen that in the internet era, children’s songs were developed for various purposes. kristyana & suharto (2014) state in their study that from the lyrics of the children’s songs, children gain high sensitivity towards the sounds of language, and in the next stage of their age, children will realize the functions and the power of words. on youtube, we can find several channels that focus on developing children’s songs, pinkfong from korea, super simple songs from america, and titounis from france. these different cultures underlie the development of children’s songs. by listening at a glance, titounis’ songs invite children to sing at the same time to dialogue or interact. super simple song songs are more inviting to sing while on pinkfong’s songs, music is used only as an accompaniment so that it gives the impression that children only practice singing. skills, attitudes, moods, environment, and interpersonal relationships can also modify music processing (hernandez-ruiz, 2019). the varied instrumentation of accompaniment by utilizing imitations of sound combined with very simple song lyrics makes the presentation of titounis songs different from songs from other children’s music video channels. such a pattern needs to be studied to determine its potential if used as material for children’s songs that can positively contribute to children’s development. however, music is an audible art, with aspects of meaning that cannot be understood only in symbolic terms. in line with this, huron said, there are nine general emotions (transcendent, tenderness, sadness, nostalgia, peace, strength, joy, enthusiasm, and tension) caused by the music (huron, 2011). therefore, the music evokes a picture of experience (reybrouck, 2015). the results of the study (intani, 2012; wahyuni, 2012) emphasize the power of lyrics in the meaning of the message of the song conveyed. predictable reading of text, grouping words so that lyrics can be matched with music, or recognizing patterns that have been sounded, is one explanation as an effort to increase literacy after musical activities (butzlaff, 2000; forgeard, et al., 2008). meanwhile, ekaningrum and suharto (2015) revealed that most of a.t. mahmud’s songs have themes about everyday life according to children’s characteristics and world. children’s songs use language suitable for children’s development, so they are easy to do and memorize. therefore, it is not uncommon for children’s songs to use onomatopoeia which refers to the naming of objects or actions with imitation of sounds associated with objects or actions; in other words, sound imitations to manifest, show, various manifest sounds. (kridalaksana, 2013). based on the characteristics of the children’s world, this study explores the characteristics of titounis children’s songs, including aspects of songs, musical instruments, imitations of sounds that are pronounced, and adapted into the song’s contents. methods this study uses a musicological approach, with qualitative data presentation. the study’s focus is on titounis children’s songs with the theme ‘transportation (vroom vroom)’. analysis of these songs is based on youtube media, selected four songs containing many musical instruments and imitations of the sounds delivered. the songs are petit escargot, le roues de l autobus, les chiffres, un kilometer en roulant. the data collection technique uses a document study (music recordings) and listens and takes notes. the data of this research uses content analysis, which considers that all kinds of message production are text, such as news, advertisements, soap operas, songs, and other symbols cannot be separated from the message maker’s interests. (kriyantono, 2012), it is therefore used to show and analyze songs, mochammad usman wafa et al., characteristics of titounis children songs: a study of 163 musical instruments, and onomatopoeia. results and discussion the video of titounis’ songs is about transportation; although some of the songs sung are about animals and numbers, the video is shown using transportation visualization. this section will explain songs, musical instruments and onomatopoeia (sound imitation) in the song petit escargot, le roues de l’autobus, les chiffres, un kilometre en roulant. song analysis the first song is the petit escargot song, which consists of 8 bars, repeated 4 times lyrics petit escargot, il porte sur son dos sa maisonnette aussitot qu’il pleut, il est tout heureux il sorte sa tete the petit escargot song repeats two melodic phrases; bars 1-5 are antecedents, and bars 5-9 are consequent. the singing style of the petit escargot song looks like a spoken word; the impression of the sound conveyed by the vocals does not try to display a good sound production. tones sounded in the tone range c1 g1. based on the pronunciation of the lyrics, the song uses the rhyme a b b a. the song petit escargot introduces a slow-moving snail visualized as a police car that runs slowly when it’s drizzling. the pattern used is the general pattern, using a pleasant and cheerful voice, intense tonal stress, relatively limited tone variations, slow tempo, and style that invites dialogue. (trainor, 2019). the second song is le roues de l autobus petit escargot le roues de l autobus lyric les roues de l’autobus se tourne tourne tourne tourne les roues de l’autobus se tourne tourne dans toute la ville les passage de l’autobus sont pataboum pataboum pataboum les passage de l’autobus sont pataboum dans toute la ville and soon. this 13 bar track consists of 2 phrases. this famous song is a french version of the song the wheel on the bus, it’s just that the phrases in bars 5 to 9 are consequent phrases, so this song has developed from the original song. rhythmic repetition occurs with each phrase. the tempo used is 120 bpm allegretto. the intonational expression when singing this song is done in staccato. in accordance with the child’s speaking style, vibrations are not found in the vocals in this song, which gives a natural impression. the third song is les chiffres the following is the song’s notation. les chiffres lyric un deux trois quatre cinq six sept huit neuf dix le un est un petit train le un est un petit train the song les chiffres consists of two phrases; this song is repeated ten times. rhythmic repetition occurs with each phrase. the tempo used is moderato 118 bpm (beat per minute). this song introduces the numbers 1 to 10, each number indicating the type of transportation, such as a small train, a blue car, and a ship. based harmonia: journal of arts research and education 20 (2) (2020): 161-166164 on the pronunciation of the lyrics, the song uses the rhyme a a a a. the style in singing this song is like a child talking in the c1 c2 tone range. when on the tenth repetition, the tempo of this song gets faster until it approaches presto. the fourth son gis un kilometre en roulant the following is the song’s notation. un kilometre en roulant lyric un kilometre en roulant c’est long c’est long un kilometre en roulant c’est long pour les enfants this song is different from other songs, which uses the basic tone of f. the song un kilometer en roulant uses an allegretto tempo of 120 bpm. this song is only 4 bars, consisting of antecedents and consequences. besides introducing transportation, this song introduces numbers and units of distance traveled (kilometers). based on the pronunciation, this song uses rhyme a a a a. table 1. music instrumentation analysis. the sound of a musical instrument musical instrument non musical instrument flute drizzle bass bird piano sirene string car (engine, horn) percussion airplane, helicopter dirt guitar whistle drum motorcycle ambulance based on the table 1, musical instrument sounds consist of seven musical instruments, both melodic, harmonic, and percussive. based on these songs, the tools are played alternately. variations in the melody (pitch value and pitch) of each instrument form a harmonization, not overlapping, so that it creates an impression that is not monotonous. the presentation is as follows: for example, in the petit escargot song, the music starts with a flute, followed by a bass and a xylophone sound following the song lyrics. the visible non-musical instruments such as drizzle, cars, sirens sound alternately from the beginning to the end of the song. the sound of birds, sirens, and cars is used to emphasize the theme and give a natural impression so that the use of non-musical instrument sounds provides a listening experience environment. alternate use of musical instruments and non-musical instrument support is also carried out on other songs. so that it becomes one of the characteristics of titounis children’s songs titounis songs use a fixed and regular tempo. however, in the le chiffres song, the slow tempo used is gradually fast; music with a fast beat and rhythm that invites jumping can be said to be happy music. (delalande, 2003; meng & jiang, jiani, fangfang liu, 2020). however, the other songs presented also use a slow tempo and tell stories of fun and joy. this shows that tempo is not only a physical characteristic of the music, but more than that, namely, the message conveyed through sound leads to different emotions. onomatopoeic analysis the use of onomatopoeia or sound imitations in titounis songs with the theme of transportation appears most frequently in le roues de l autobus’s song. other songs use only one sound imitation (vroom). in its use, the imitation of the vroom vroom sound is pronounced on a vowel that indicates a car is running, then pataboum is pronounced when the bus passenger moves to jump from the seat until a collision occurs, then a beep beep, pronounced in a vowel indicating that the horn is sounding. onomatopoeia is word formed as a result of sound imitation. the names of objects or mochammad usman wafa et al., characteristics of titounis children songs: a study of 165 things are formed based on the sound of the object or the sound generated from the object (chaer, 2009). in the titounis song, onomatopoeia functions to strengthen the song’s theme by not using musical instruments but using onomatopoeia, which is a form of human language. the existence of onomatopoeia also reinforces the impression of inviting dialogue. table 2. the onomatopoeia contained in the titounis song with the theme of transportation. onomatopoeia car vroom passenger on the bus pataboum bus wiper suisse suisse suisse horn/sirine bip bip bip conclusion the song titounis is a french song that introduces simple things to children. the songs being analyzed are (1) petit escargot, (2) le roues de l autobus, (3) les chiffres, (4) un kilometer en roulant. in the song analysis, the patterns used are general patterns, using fun and cheerful vocals, strong tonal stress, relatively limited variations in tones, slow, fast and gradual tempo, then the delivery style invites singing as well as dialogue or interaction. then in musical instruments, the melody variations of each instrument form a harmonization; non-musical instruments emphasize the theme of the song and provide the experience of hearing about the environment. onomatopoeic analysis showed the sound of vroom (car), pataboum (jumping passenger), beeps (horn), suissesuisse (wiper). the onomatopoeia of the titounis song serves to strengthen the song’s theme. references butzlaff, r. (2000). can music be used to teach reading? journal of aesthetic education, 34, 167–178. chaer, a. (2009). pengantar semantik bahasa indonesia (2nd ed.). rineka cipta. delalande, f. (2003). la musique est un jeu d’enfant (2nd ed.). institut national de l’audiovisuel and buchet/chastel. forgeard, m., winner, e., norton, a., & schlaug, g. (2008). practicing a musical instrument in childhood is associated with enhanced verbal ability and nonverbal reasoning. plos one, 3(10). hernandez-ruiz, e. (2019). how is music processed? tentative answers from cognitive neuroscience. nordic journal of music therapy, 28(4), 315–332. huron, d. (2011). why is sad music pleasurable? a possible role for prolactin. musicae sci., 15, 146–158. hyde, k.l., lerch, j., norton, a., forgread, m., winner, e., evans, a. c. (2009). musical training shapes structural brain development. the journal of neuroscience, 29(10), 3019–3025. kridalaksana, h. 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(2020). effects of the musical sound environment on communicating emotion. international journal of environmental research and public health, 17, 2499. nicolaou, n.; malik, a.; daly, i.; weaver, harmonia: journal of arts research and education 20 (2) (2020): 161-166166 j.; hwang, f.; kirke, a.; roesch, e.b.; williams, d.; miranda, e. r. ., & nasuto, s. j. (2017). directed motor-auditory eeg connectivity is modulated by music tempo. front. hum. neurosci, 11, 502. reybrouck, m. (2015). music as environment: an ecological and biosemiotic approach. behavioral sciences, 5(1). sumaryanto, t., & utomo, u. (2015). form, development and the application of mudic media in the kindergarden: a comparative study of two kindergartens. harmonia: jurnal pengetahuan dan pemikiran seni, 15(2), 101–106. trainor, l. j. (2019). la musique chez les tout-petits: developpement emotionnel, auto-regulation et cooperation sociale. revue internationale d’education de sevres, 75, 65–74. 144 the non-aesthetic aspect of mangkunagaran-style dance: study from the perspective of social context malarsih malarsih, usrek tani utina, moh hasan bisri universitas negeri semarang, indonesia submitted: february 13, 2020. revised: august 9, 2020. accepted: november 24, 2020 abstract this study aims at analyzing the non-aesthetic aspect of mangkunagaran-style dance from the perspective of its social context. the method employed in the study is interpretative-descriptive qualitative. the approach used social culture to analyze the perspectives. the research was conducted in pura mangkunagaran, with the focus of research lies on the non-aesthetic aspect of mangkunagaran-style dance taken from the perspective of its social context. techniques for collecting data was an observation, interview, and documentation study. the data validity mainly used data triangulation. results show that from the perspective of social context, the mangkunagaran-style dance is divided into four major social functions, i.e., the social order for integration, the function of expression, the function of entertainment, and the function of psychiatric, aesthetic, and economic. these for main social functions are taken part in the existence of mangkunagaran-style dance in pura mangkunagaran and wider communities. keywords: mangkunagaran-style dance; non-aesthetic aspect; social context how to cite: malarsih, m., utina, u. t., & bisri, m. h. (2020). the non-aesthetic aspect of mangkunagaran-style dance: study from the perspective of social context. harmonia: journal of arts research and education, 20(2), 144-152 harmonia: journal of arts research and education 20 (2) (2020), 144-152 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i2.23410 the phenomena that happened in the palace. mangkunagaran-style dance, which is discussed in this study, as a javanese dance, cannot be separated from the palace of surakarta, yogyakarta and mangkunagaran itself. in its history, this type of mangkunagaran-style dance emerged or was created from the surakarta, yogyakarta, and mangkunagaran palace. the three keratons or palaces reflected the three powers who were initially originated from one keraton power, namely keraton mataram. the mataram palace became kartasura palace, then became the surakarta palace. after becoming surakarta palace, power was divided into three, namely kasunanan surakarta, yogyakarta, and mangkunagaran or surakarta, yogyakarintroduction mangkunagaran-style dance is a form of javanese dance. the javanese dance itself is a unique world of art. the uniqueness of javanese dance lies in many aspects, including the history behind the emergence of a dance. different historical backgrounds give rise to different styles between one place to another. many javanese people actually have a variety of dance types, be it folk dance, populist dance, classical dance, or traditional dance, it has very specific features to its movement. the movement was originated from history of the place or palace. palace dance is a dance emerged and choreographed based on the story of corresponding author: e-mail: malarsih@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 malarsih malarsih et al., the non-aesthetic aspect of mangkunagaran-style dance: study 145 ta, and mangkunagaran palaces (prabowo et al., 2007). the existence of dance in the palace will affect and relate to the royal people’s lives, and the society living around the neighborhood and larger communities. as a choreography set, a dance built based on a certain story or history felt by the choreographer, has typically two important aspects of being discussed and analyzed, namely the textual (aesthetic aspect) and contextual aspects (non-aesthetic aspect). while the first focuses on the dance movements, including head, neck, dance, and leg movements, the latter focuses more on the relation between the dance and the social environment affected by the dance existence. the aesthetic aspect is also related closely to the understanding of physical evaluation of the dance being observed (jazuli, 2015). the non-aesthetic aspect related to the social context is related closely to the social functions of dance. royce (2007) states that a functional dance study is related to dances’ contribution in a community where it is continuously preserved. shay (1971) studied the functions of dance and categorized it into six: dance is used to illustrate social order, dance is as ritual media, dance is used as entertainment or recreational activity, dance is used as psychiatric media, dance is used as an aesthetic activity, and the last is dance is used as an economic activity. in its relation to the culture, kaeppler (1992) suggests that a thorough study of a dance should be seen from the cultural aspect of the dance being researched because a dance is a product of culture and creativity of the community. this research will tell the readers about the non-aesthetic aspect of mangkunagaran-style dance, especially from a social context. ahimsa-putra (2002) and sukatja (2004) mention that dance’s contextual aspect is related to a wider world. wider here remains connected with aspects of the text or aspects of the secularity, for example, the historical side of the dance creation, the socio-cultural environment of its creator (choreographer), the psychological condition of its creator (choreographer), the socio-cultural condition of its people, the natural physical environment of community, or the function or use of the dance in the community, especially in this context is pura mangkunagaran (the mangkunagaran palace). the state of the art of this paper lies in the idea of seeing mangkunagaran-style dance from the non-aesthetic aspect, which is related closely with its social context in relation to pura mangkunagaran and the community. while other researchers had studied the aesthetic or historical aspects of mangkunagaran-style dance (putri et al., 2015; suharji, 2009), this study will focus more on the analysis of the non-aesthetic aspect of mangkunagaran-style dance, especially from the perspective of social context. methods the method implemented in this study was interpretive-descriptive qualitative research. while qualitative research consists of interpretative material practices to describe a phenomenon (denzin & lincoln, 1998), and interpretative study aims to discover and understand the phenomenon of the people involved in a certain community (merriam, et al. 2002). the approach used social culture to analyze the perspectives. the study was conducted in pura mangkunagaran surakarta with research subjects comprising individuals as interviewees who know about the mangkunagaran-style dance history and its influence on the wider community. the focus of the research was the non-aesthetic aspect of the dance comprising the social function of it. in collecting the data, researchers used observation, interview, and documentation study. the data validity technique employed in this research was triangulation to match and compare data resulting from observation, interview, and documentation study. here, the most important aspect is the interviewees. interviewees in this study are the ones having a background in knowing the reality of mangkunagaranharmonia: journal of arts research and education 20 (2) (2020): 144-152146 style dance in mangkunagaran community. the validity here attempts to crosscheck the information of interviewees with the data of observation and documentation study. thus, information from interviewees is key to the success of the study. results and discussion after collecting and analyzing data regarding the use of mangkunagaran-style dance from the social context perspective, four main social functions of the dance are derived. it is the function of social order for integration, the function of expression, the function of entertainment, and the functions of psychiatric, aesthetic, and economic activities. in analyzing the mangkunagaran-style dance social function, the data are seen from how a society use the mangkunagaran-style dance in many community activities. in addition to the process of data analysis, the use of dance in many community activities is seen from the custom or cultural system in the mangkunagaran society and how this dance has its role in preserving the culture. the function of social order for integration the function of social order for integration here concerns how dance is used as a means to achieve goals set by mangkunagaran as a palace or here we call pura mangkunagaran, which is to unite the intention, creativity, and taste which must be carried out harmoniously with the sense of togetherness. in this context, togetherness is another word for the form of integration among many elements towards one goal, namely the sense of shared ownership of kamangkunagaranan. integration in the context of togetherness in custom governance concerns the complexity of ideas, values, norms, and regulations, which, according to koentjaraningrat (1984), is a form of culture. custom governance becomes a guideline or reference in the attitude and action taken by all citizens living in mangkunagaran communities to achieve a shared goal. as a result, integration or togetherness to achieve the aimed shared goal can really be achieved. the complexity of ideas, values, norms, and regulations will act as guidance to behave and take action for the mangkunagaran communities in the form of the social system. the social system will always be linked to the patterned actions of humans. this social system consists of human activities that interact and relate to one another at any time. related to the existence of the mangkunagaran-style dance in the custom order or custom governance in the community of mangkunagaran, it is related to how the mangkunagaran-style dance functions in that particular custom order. this mangkunagaranstyle dance is a work of art. according to budhisantoso (1994), as a work of art, the mangkunagaran-style dance will not be separated from the statements and thought of the artists creating the artwork, so it can stimulate the sensitivity of community statements and cause emotional responses that can foster a sense of togetherness for the dance audiences, supporters, and admirers. the social order here can be seen on how custom governance is related to the customary arrangements to achieve integration or togetherness in the community’s shared goals. one of the manifestations of togetherness in the context of dance performance is to enjoy the performance of dance together. in its relation to the example of the dance performance in pura mangkunagaran is golek montro dance which is used by pura mangkunagaran to entertain their guests. this dance tells the story of a growing teenage girl who is about to enter adulthood. therefore, the dance movement is reflecting the action of a girl putting on some makeup on her face. there is also a certain nuance of excitement that depicts the girl’s age who reaches adulthood and tends to be cheerful and happy to look charming. this dance by pura mangkunagaran is relatively often being presented to welcome guests at pura mangkunagaran as a tribute to humbly honoring the guests malarsih malarsih et al., the non-aesthetic aspect of mangkunagaran-style dance: study 147 as well as being used to show the beautiful art of a dance which is highly valued and preserved by mangkunagaran community as one of their cultural heritage. the sense of togetherness is not only reflected in the audience but also from the dance supporters. the term supporter in this context is defined as all people involved in the dance performance for the dance’s success. there are the dancers themselves, costume designers, music/ gamelan players, event organizers, and all other parties supporting the event of dance performance. besides, the venue where the dance is also performed closely related to the existence of mangkunegaran-style dance the building of pura mangkunagaran, especially the building’s architectural design, also supports the dance performance. it can make the dance feels alive. this, however, is the special rights for the descendants of pura mangkunagaran to decide which dance can be performed ar can only be performed at pura mangkunagaran. in other words, each different mangkunagaran-style dance has its own purpose which then causing the differences in value and resulted in the rule attaching to where and when each dance can be performed. therefore, outside the dance, supporters are facilities and stakeholders of pura mangkunagaran, which also have their own roles affecting the social order function of the mangkunagaran-style dance. all parties are then integrated and together are being responsible in preserving mangkunagaran-style dance throughout the era. furthermore, from the perspective of the organizational structure in pura mangkunagaran, there are various kinds of structures and sub-structures that all directly or indirectly contribute to the togetherness in supporting the mangkunagaran-style dance culture as an art that is respected and highly valued by the communities. the mangkunagaran community has pura mangkunagaran organizational structure which is grouped into four different sections. the four are the secretariat, the mandrapura regency, the reksa budaya office, and the satria kawedanan office. each section integratedly supports each other to make sure that mangkunagaran culture has a shared goal for preserving mangkunagaran existence. for example, the secretariat is led by a coordinator and assisted by the heads of the technical/ non-technical planning, the head of finance, the head of human resource division, and the head of public relations/ protocol. the secretariat, in its daily duties, is responsible for reporting all daily activities to sri paduka mangkoenagoro ix. the main duty of the secretariate is to create an official letter, save the archives and manage all the official documents of sri paduka mangkoenagoro ix, besides also to prepare and record all decree archives. the coordinator acts as a liaison between sri paduka mangkoenagoro ix with all parties. even though the secretariat duties are described as an official task and do not seem related directly to the mangkunagaran-style dance, the secretariat is part of a bigger mangkunagaran community also has its own role in preserving the mangkunagaran-style dance. therefore, the secretariat also belongs to the supporting aspect of dance preservation. as a communicator between the king and all parties in pura mangkunagaran, the stake holders inside the secretariat also employs the sense of belonging when they have to deal with mangkunagaran-style dance; for example, by giving the stage for mangkunagaranstyle dance to be performed in welcoming the king’s guests instead of using other dances. therefore, each mangkunagaran style dance performance’s success is always fully supported by participation of all stakeholders, which has successfully built a sense of togetherness for the sake of mangkunagaran-style dance to be known and recognized by larger community outside pura mangkunagaran. the function of expressions the existence of mangkunagaranstyle dance as an art that exists and held harmonia: journal of arts research and education 20 (2) (2020): 144-152148 highly by the mangkunagaran community is also used as a medium for expression by the community. expressions can be related to secular or wordly purposes but can also be related to religious purposes. for the mangkunagaran-style dance, the expression is more cultural. as mentioned by kim and lausberg (2019), different dance styles have been developed in different cultures to provide emotional as well as aesthetic expressions. in other words, for mangkunagaran-style dance, the expressions inserted in its practice of arts are more to the cultural expressions or worldly expressions in nature. gambyong, golek, retna pramudya, mandra rini, mandra retna, and menak koncar dances are examples of worldly dance types. meanwhile, bedaya and srimpi dances are an example of sacred dances in pura mangkunagaran which contains expressions of religion. whether people are aware or not, dancing is related to the sharing expressions, even though the people are actively performed as a dancer or passively enjoyed the dance as the audience. it is no matter whether the dance itself is a worldly or religious type one; both the dancers and audiences are using the dance as their medium of expression. even during the rehearsal, the act of dancers trying to live in the dance of the audience’s attempt in understanding the dance is the manifestation of expression itself. expression of art in the form of dance does play an important role since the first establishment of mangkunagaran government until now. the nuances of conflict or war and every single event and incident in the history of pura mangkunagaran are drawn beautifully and reflected nicely in the dance so it can be felt and learned by the dancers and audiences. the atmosphere of the situation is all built and nicely composed in the dance movements as it is expressed by the dancers. specifically, for mangkunagaran-style dance, the dance is used as a medium to express and reflect the incidents that occurred during the war and conflicts in the old era of mangkunagaran when friction happened between mangkunagaran and kasunanan surakarta (the palace of surakarta). in addition, it is not only the conflict and the feeling of sadness and restlessness which are expressed through the dance, but also the hope of the society reflected in the dance. the function of entertainment mangkunagaran-style dance of pura mangkunagaran is also used for entertainment and recreation. this can be seen from how the entire community, especially the mangkunagaran community living in and around pura mangkunagaran, also supporters and audiences always welcome every dance performance in pura mangkunagaran in excitement and happiness. shinozaki, et al. (2006) said that entertainment could be classified into two categories, a real-time and non-real-time type. the real-time type is when the audiences see and enjoy the performance face to face. all audiences of mangkunagaran and outside community seem to enjoy the dance rehearsal and performance in pura mangkunagaran. they appreciate the performance even though they realize that what they see is actually the dance training only and not the actual performance. in seeing the dancers practice, the audiences seemed to like, appreciate, and enjoy the dance. many visitors come to pura mangkunagaran each day to see how the building looks and how history has brought all cultures together. with the dances performed to welcome the visitors, the feeling of happiness and joy is felt by the visitors. they are entertained by seeing the dances. even for formal occasions, the guests feel welcomed and relax when enjoying the dance performance usually performed before the formal event started. mangkunagaran-style dance becomes a medium that can bring a very special atmosphere in the heart of the visitors. the visitors can consciously or subconsciously felt the feeling of being entertained. when visitors have a chance to see the performance, their gestures will show how the dances have been successfully enmalarsih malarsih et al., the non-aesthetic aspect of mangkunagaran-style dance: study 149 tertained them. the gestures are clapping hands, nodding, smiling, even taking or recording pictures. the functions of psychiatric, aesthetic, and economic the mangkunagaran-style dance role in pura mangkunagaran can be seen from previous explanations (number 1 until 3 in the findings and discussion section). even so, there are still a few more functions of the dance, i.e., the function of the psychiatric, aesthetic, and economical. mangkunagaran is an institution that maintains and develops institutional life, which is expected to be useful for the resilience and development of past cultures for present and future life. the economic activities are related closely to the tourism activities in and around pura mangkunagaran. in fact, tourism activity by mangkunagaran has become the main concern of pura mangkunagaran’s management. the reason is that this tourism activity when it is viewed from the economic aspect is far more profitable when compared to the other sectors. in other words, the existence of mangkunagaran-style dance is related to many factors. the dance still survives and touches the economic aspects that cannot be separated from the world of tourism. the survival of mangkunagaranstyle dance is due to many factors related to the functions, as stated earlier. besides economic function, this dance is also used for many parties’ psychiatric and aesthetic activities inside and outside the mangkunagaran community. even parties outside the mangkunagaran community usually have a big hand in terms of mangkunagaran-style dance preservation. according to jazuli (2008; 1993), when people outside the community are inseparable from the wider community’s appreciation and creation activities. the ability of mangkunagaran party to save the existence of the mangkunagaran style dance is limited to the continuity of the dance through the learning and training process. however, it is the people outside mangkunagaran who give appreciation by enjoying the performance in relation to the existence of this dance. thus, there is reciprocity from both parties, namely the mangkunagaran itself as the owner of the arts and the outside community as supporters. structurally, the mangkunagaranstyle dance’s survival to this day because it has been preserved mainly through the langen praja sub-organization under the reksa budaya organization. reksa budaya is in charge with mangkunagaran-style dance. reksa budaya is led by an advisor, assisted by a representative, expert staff, treasurer, and secretary. in carrying out their daily duties, reksa budaya is directly responsible for sri paduka mangkoenagoro ix. the main task of the reksa budaya office is to make sure that pura mangkuagaran can become the center of mangkunagaran culture development. in carrying out their daily tasks, they are assisted by reksa pustaka, langen praja, and barawiyata. in detail, the tasks of each section are first, the reksa pustaka. the reksa pustaka’s main task is to explore, develop, inventory, translate, maintain the library books, and organize the archive of letters. secondly, to organize and manage the subpart of reksa budaya, which is the dance community inside pura mangkunagaran, namely langen praja. the main task of langen praja is to carry out dance rehearsal, dance performance, gamelan performance, and be responsible for the regeneration of dancers and other cultural actors. people, in general, see that the langen praja is inseparable from the existence of mangkunagaran-style dance. therefore, langen praja carries out all of these tasks as well as possible since the mangkunagaran-style dance is the palace’s icon. furthermore, another section related to the existence of mangkunagaran-style dance is barawiyata. barawiyata must maintain and strive for educational institutions’ life, both general education and special education, related to arts and culture in pura mangkunagaran. therefore, both sections’ harmonia: journal of arts research and education 20 (2) (2020): 144-152150 tasks are closely related and inseparable since the implementation of education and learning in the context of inheritance and regeneration for the continuation of the mangkunagaran-style dance is indeed possible to be successful if it is carried out together and complement each other. malarsih (2005) mentions that preserving mangkunagaran-style dance was made by pura mangkunagaran by making sure that each section is responsible for their own duties in relation to mangkunagaran-style dance, i.e., dance rehearsal by langen praja and performance documentation by the secretariat and reksa pustaka. another section that is responsible with the existence of mangkunagaran-style dance is kawedanan satria section. in its daily tasks, the kawedanan satria section is led by an advisor who is assisted by a deputy pengageng, treasurer, and secretary. in carrying the tasks, this section is responsible directly to sri paduka mangkoenagoro ix. the task of satria kawedanan office is exploring and maintain the procedures of dress code, ceremony, and custom of mangkunagaran stakeholders in general and pura mangkunagaran official member and family in particular. therefore, all sections are interrelated and can not be separated in carrying out the tasks and duties, especially when all of these sections are directly responsible with the continuation of mangkunagaran-style dance, the pride of pura mangkunagaran. the entire description of each section’s various functions in supporting mangkunagaran-style dance in pura mangkunagaran can be seen from radcliffe-brown functionalism theory as used by hinkle, et al. (1981) about analyzing social life and organic life. basically, the theory of functionalism from radcliffe-brown describes the equivalence between social and organic life. the main difference between social and organic life, as stated by hinkle, et al. is that in organic life, there is the possibility of observing the organic structure to some degree regardless of its function. whereas in human society, social structure as a whole can only be observed from the perspective of its function. this condition can be used precisely to see the existence of the mangkunagaran-style dance in mangkunagaran in terms of its function, which is one of its principal functions is to show the existence of mangkunagaran. in a firmer understanding, it can be understood that even though the life of social structure and organic life in many respects has many elements in common, there are still differences when looking at the functional side of a system that exists in the life of social structure and organic life. strictly speaking, social structure can always be seen and understood by referring to the real interaction process where individuals are involved and form social relationships. therefore, the concept of function is actually related to the contribution made by a partial activity to the whole activity, which becomes the main part of the partial activity. if you look at the functions of mangkunagaran-style dance in the custom order of pura mangkunagaran, it proves that the mangkunagaran-style dance has a real contribution. the real contribution here is a tangible contribution that can be seen to fulfill the need for an important condition for the existence of the whole society that must be fulfilled by social activity. the most important condition, according to radcliffe-brown, is the integration of all activities towards the desired goal. related to the existence of the mangkunagaranstyle dance in the customary arrangement of pura mangkunagaran, all activities are carried out in the pura mangkunagaran are in a form of joint activity with the same purpose to maintain the existence of the mangkunagaran-style dance that still exists which is seen from its functional side as a solid support for the existence of mangkunagaran. conclusion every dance can be analyzed from its textual and contextual aspects. this study attempts to focus the analysis on the nonaesthetic or contextual aspect of the danmalarsih malarsih et al., the non-aesthetic aspect of mangkunagaran-style dance: study 151 ce from the perspective of social contexts. using interviews, observation, and study documentation to collect the data, the study’s findings found out four important social use or social function of the dance for the pura mangkunagaran and wider community involved. there are the functions of social order for integration which is related to how dance is used to unite the intention, and creativity in the sense of togetherness, function of expressions which is related to how mangkunagaran-style dance used as a means to express cultural feelings of its supporters, function of entertainment which is related to how mangkunagaranstyle dance gives happiness to the audience inside and outside mangkunagaran community, and the function of psychiatric, aesthetic, and economical which deals with how mangkunagaran-style dance gives lives to its supporters and how the relations between each section in pura mangkunagaran matters. all four social functions are linked one to another and the cohesiveness makes mangkunagaran-style dance an important part of preserving the culture of pura mangkunagaran. references budhisantoso. 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(2009). “dampak perubahan sistem nilai terhadap tari bedhaya surya sumirat sebagai kreativitas tari bedhaya baru di mangkunegaran”. harmonia: journal of arts research and education, 9(2), 106-119. shay, a. (1971). the functions of dance in human societies: an approach using context (dance event), not content (movements and gestures) for treating dance as anthropological data. department of anthropology, california state college, los angeles. shinozaki, k., oda, y., tsuda, s., nakatsu, r., & iwatani, a. (2006). study of dance entertainment using robots. paper presented in international conference on technologies for e-learning and digital entertainment. (pp. 473483). springer, berlin, heidelberg. harmonia: journal of arts research and education 20 (2) (2020): 144-152152 shri, a. p. h. (2002). tekstual dan kontekstual seni dalam kajian antropologi budaya, paper presented in serial seminar internasional seni pertunjukan indonesia seni 1. july 3-4, 2002 at stsi surakarta. sukotjo. (2004). teks dan konteks dalam musik tradisional indonesia. yogyakarta: isi yogyakarta. 1 traditional art strategy in responding capitalization: case study of kubrosiswo cultural art commodification agus maladi irianto, arido laksono, hermintoyo faculty of humanities, universitas diponegoro, indonesia received: november 6, 2017. revised: april 23, 2018. accepted: june 10, 2018 abstract the aim of this study is to describe traditional art capitalization as the cultural identity of a society and a strategy of the society which supports traditional art in developing cultural comodification in line with the demands of the tourism industry. the paper is based on field research presenting a case study of the existence of kubrosiswo traditional art from magelang regency, central java, indonesia which develops the cultural comodification as a strategy to respond to the economic capitalization demands, especially the emergence of the tourism industry which appeared in this globalization era. one alternative strategy which is developed in this research is by making a documentary film. the documentary film is one of the strategies to present the reality based on the description in the field, and it is also expected to create awareness in recognizing and comprehending the knowledge of kubrosiswo traditional art. keywords: art capitalization; cultural commodification; kubrosiswo; documentary film how to cite: irianto, a. m., laksono, a., & hermintoyo. (2018). traditional art strategy in responding capitalization: case study of kubrosiswo cultural art commodification. harmonia: journal of arts research and education, 18(1), 1-12. doi:http://dx.doi.org/10.15294/harmonia.v18i1.11363 harmonia: journal of arts research and education 18 (1) (2018), 1-12 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v18i1.11363 transformation of capitalist consumption. today, some members of society have to consume and buy some goods not because the goods have utility value, but they tend to be influenced by lifestyle and image (irianto, 2017a). the mass media games show the illustration of knowledge formation which is marked by the work of power through the social practices of some actors who are mutually contested. the contestation of power due to the mass media game is understood as a picture of various power relations which support, struggle, compete, and destroy each other in the knowledge formation process and product discourse (irianto, 2008). the hegemony of global culture has led to the marginalization of local culture introduction basically, the present social development has transcended from modern thinking (marked by the emergence of goods and services industry) to postmodern thinking which tends to be more organized by the development of information technology, cultural consumption provocation, and mass media games (smith, 2001). the development of communication technology makes interaction among people around the world become faster, effective and efficient (surahman, 2016). provocation of cultural consumption has illustrated the consumer society who grows in line with the economic globalization history and the corresponding author: jl.prof.h.soedarto, s.h.tembalang, tembalang, kota semarang, jawa tengah 50275 e-mail: ami.fibundip@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 18 (1) (2018): 1-122 that becomes the social phenomenon developed in this postmodern era. ethnicity and kinship, system and social order, ritual and religion, and art and tradition which have been the keywords in a number of cultural definitions have been marginalized into global cultural simplification (irianto, 2017a). the global cultural simplification through the process of international communication and transportation has removed the cultural boundaries of every nation. the culture of each nation leads to globalization and becomes a world civilization, so it involves people as a whole, including indonesian people. through interaction with various other societies, indonesian people have undergone a process of influencing and being influenced (surahman, 2016). for instance, indonesian traditional art has been addressed as an expression, cultural identity based on local wisdom and the uniqueness of a society. for the supporters, traditional art is also perceived as a cultural identity based on local wisdom and uniqueness (panjaitan & sundawa, 2016). traditional art is an integrative need of human beings in order to improve and maintain the standard of living. (irianto, suharyo, & hermintoyo, 2015). it means that no matter how simple human life is, in the struggle of fulfilling the primary needs, people are also looking for opportunities to express and take advantages of the beauty through the arts. in addition, traditional arts exist and they are standardized through the social traditions as well as to sustain and retain social collectivity (irianto, 2005). in line with the civilization development, economic globalization has challenged the cultural development in indonesia. economic globalization triggers every cultural product to be open and creative. the impact of economic globalization is also distributed to a number of community life relations and also the existence of traditional art which has been regarded as a cultural identity for its supporting society (irianto, suharyo, & hermintoyo, 2015; 2016b). today, economic globalization in the context of indonesian society grows in line with the development of cultural consumption. the growth of economic globalization forms a transformation of capitalism consumption which is marked by the growth of stylish shopping centers such as shopping malls, leisure industry, mode or fashion industry, beauty industry, culinary industry, advice industry, gossip industry, luxury dwelling, apartments, instant food, and lifestyle reproduction and transfer through advertising and media (irianto, 2009). for instance, the presence of today’s broadcasting industry in indonesia has created the fast knowledge of reality including communication strategy in order to be able to maintain or change people’s attitudes or opinions for the interest of the strategist (irianto, 2013). further, the influx of globalization into indonesia has made traditional arts to face global challenges. traditional art which long has supported societies’ expression to create harmony between people and their environment must adapt to the market needs which is in line with the globalization demands (kuswarsantyo, 2013). one of the products of globalization which demands the standardization of traditional art production is the emergence of the tourism industry. the tourism industry demands the standardization of cultural objects production – one of which is traditional art – to be traded for financial gain or commonly called as cultural commodification (irianto, suharyo, & wiranto, 2010). the demand for tourism changes the perspective of traditional art supporters towards the existence of traditional art. it is not only addressed as a cultural identity which accommodates the supporters’ ritual demands. traditional art is also required as the entertainment commodity which contains commercial aspects. thus, the existence of traditional art in this globalization era shows the illustration of the clash between traditional values which maintain harmony and postmodernity which tends to be capitalistic (irianto, 2016b). tengku ritawati, pantun in the text of nyanyian lagu melayu asli (nlma) 3 the article, which applies the field research method, describes the existence of kubrosiswo traditional art in magelang regency, central java, indonesia. basically, the traditional art supporters develop cultural commodification as the strategy to respond to the demands of the tourism industry which appear in this globalization era. the study location was selected based on several considerations. first, magelang regency is one of the regencies in central java which has hundreds of traditional art groups that are still doing activities. according to the interview with the informant in department of education and culture of magelang regency in 2017, at least hundreds of traditional art groups (1156 group types) are still actively preserving traditional art (both in the process of training and performance) in this region. second, kubrosiswo is the traditional art of magelang regency which has survived since its birth decades ago until now. almost every district in magelang regency has kubrosiswo art groups. this description identifies that the local wisdom of the community in magelang regency is maintained and preserved. third, magelang district has a number of tourism objects included in the international scale (one of them is borobudur temple) demanding the standardization which is in fact related to the global tourism industry. method the researcher uses two stages in conducting this study, which is literature review and field research. in the literature review stage, researchers get some references to the historical data of kubrosiswo in indonesia. the references are obtained from journals, newspapers, internet, seminar paper, textbooks, and some research reports which has been conducted by previous researchers. after reviewing the literature, the researchers conduct field research. at the field research stage, the researchers collect the data by conducting observation which is an in-depth interview with a number of respondents who will be appointed to describe comprehensively the existence of traditional kubrosiswo art. observation is intended to make a record of all observed circumstances and activities, and an in-depth interview is addressed to the key informants who are considered to know and to have information about kubrosiswo art. to understand the interrelated factors of the data obtained, the researchers developed the analysis based on the learned societal framework rather than the size of researchers (denzin & lincoln, 1994). while concerning to the data analysis, this study applies descriptive analytical method. this method is an approach which is used to describe an inter-phenomenon relationship in society (creswell, 1994). by using this method of approach, the study will provide an explanation about the reason, background, and some meanings underlying the actions and decision-making by the society supporters in response to the existence of kubrosiswo art. the data obtained then are implemented as models, views, motivation, knowledge system, and society’s background in developing the traditional art. result and discussion essentially, discussing the strategy of kubrosiswo traditional art in response to capitalization over the demands of the tourism industry in the global era can be explained into three things. first, the overview of traditional art in the location, both relating to the spreading level of kubrosiswo traditional art and the society’s comprehension and response toward the traditional art. second, the nature and function of art kubrosiswo art for the supporting society. third, kubrosiswo traditional art development strategy faces the demands of capitalization. to explain each description, it can be described as follows. kubrosiswo art overview at the study location the research area is located at of harmonia: journal of arts research and education 18 (1) (2018): 1-124 magelang regency, in the basin of mount merapi, merbabu, andong, telomoyo, sumbing and menoreh mountains which basically explains that this district is a mountainous area. as a mountainous area, magelang regency is also fed by two major rivers, which are elo river and progo river. starting from these geographical conditions, the majority of local people are farmers. moreover, from the total area of magelang regency which is 108,573 hectares, for about 80, 410 hectares is agricultural land (in the form of forest, fields, or rice fields). thus, it can be said that about 80 percent of the magelang regency people are in the agricultural world (irianto, 2017b). in addition to the background of the agricultural world, the magelang regency people have a strong religious background especially the influence of islam. strong religious values of the influence of islam are proven by the existence of hundreds of islamic boarding schools (126 buildings) scattered in 21 sub-districts of the region. among the number of islamic boarding schools, some of them are quite influential at the national level. for example, islamic boarding school named darussalam, watucongol gunungpring muntilan founded kh nahrowi dallar, and api (islamic boarding school) tegalrejo which was established on september 15th, 1944 by kh. chudlori who is a scholar coming from tegalrejo village. there is an islamic boarding school named darul qiyam which is a branch of modern islamic boarding school darussalam gontor located in gadingsari, mangunsari village, sawangan, magelang regency which is established by hj. qoyyumi kafrawi. indeed, during this time, the role of a number of scholars in magelang district has made a valuable contribution to the republic of indonesia. for example, kh nahrowi dallar (watucongol) who belongs to a charismatic chaplain, and he is known as one of god’s most famous trustees in the land of java. similarly, kh hasan asy’ari or better known as mbah mangli is a name of scholars who are well known in this archipelago. considering the background of the peasant society and supported by the participation of a number of islamic boarding schools scattered over the 21 sub-districts, kubrosiswo traditional art was born and developed to the present day. “kubrosiswo began to emerge in the 1960s, along with the rise of a communist ideology that at that time dominated the community around mendut-mungkid magelang regency. on the basis of the concerns of local community leaders and scholars, kubrosiswo traditional art was born, “said one informant from the department of education and culture of magelang regency. based on the field research until the end of 2016, in magelang regency, there are at least 93 kubrosiswo art groups (for more information, look at the following table 1. starting from a number of descriptions, it can be said that the birth and development of kubrosiswo art in magelang regency are considered as the part of agrarian world and religiosity which is believed as cultural identity of its supporting society. that is, kubrosiswo traditional art supporting society perceives and responds to the arts as entities which are basically in line with the background of the daily life as an agricultural community which is in line with its religiosity. as a peasant as well as the religious community, the supporters of the traditional arts consider them as both the entertainment that can create fun and a medium that facilitates their prayers and hopes (irianto, 2016a). the nature and function of kubrosiswo art for its supporting society as described above, kubrosiswo’s nature and function of art are fundamentally close-related to the background of the supporting society’s response to the art. as a peasant society, for example, they maintain and develop kubrosiswo traditional art as an integrative needs and it is functionally related to the culture that prevails in the society. kubrosiswo’s traditional art is seen by the supporting community as one of the means to legitimize the existence of the community and to maintain their tengku ritawati, pantun in the text of nyanyian lagu melayu asli (nlma) 5 profit, they work in the fields more to provide for their simple family needs or the right to subsistence life (irianto, suharyo, & hermintoyo, 2015). it is associated with the knowledge of the peasant society that is essentially more social than economic. the findings suggest that the values and attitudes of the peasant community tend to favor peace and tranquility without having to impose more desires than what they have had (irianto & thohir, 2004). on the other hand, as revealed by identity. as one of the means to sustain its identity, the supporting community will always pass it on to the next generation either verbally or through direct practice. based on interviews with a number of informants, the supporting society retains kubrosiswo art since they have long been tied up in a bond of tradition and feeling. by continuing to hold on to such traditions and feelings, they consider that the world of agriculture and art is a closely intertwined part. instead of solely for table 1. the spread of kubrosiswo art in magelang regency sub-district name of kubrosiswo art group bandongan kubro mino muda, siswo mudo borobudur krido siswo, siswo mudo, ginar siswa, putra jaya, siswo mudo bumen, budi siswo, wargo siswo, bhumi sembhara budaya, bronto mudo, suka siswo, siswo mudo sumberrejo, wargo mudo, madyo siswo candimulyo krido siswo dukun mudo budoyo, bangun mudo, sari siswo, siwo mudo grabag bintang siswo kajoran sinar remaja, wargo santoso kaliangkrik siswo utomo, hakaryo iromo, edi siswo bulusari, edi siswo wonosari, kubro budi mulyo, sarisiswo madyo utomo, seni utomo, sabo gumboro mertoyudan suko siswo, tetro siswo, sinar mudo, andy putro, moncer siswo mungkid siswo mudo cabean, siswo mudo gondang, bina mudo muntilan panca mudo, siswo mudo cangkrang, bnagun muda, sapta muda, bronto mudo, transaca muda, siswo mudo bludru, kubro seni mudo, siswo mudo semawe, siswo muda krandon, ngablak siswo mudo keditan, suryo mudo ngluwar pakis siswo mudo salam sinar siswo salaman margo siswo, kubro seni mudo. panca siswo, siswo mudo kedung, suko siswo rukun siswo sawangan suryo mudo kopeng, setyo muda, argo mudo, konco mudo, bangun mudo, permata muda, bintang jaya, sinar mudo payakan, rekso mudo, sinar surya, sinar muda ngentak, tunas muda, sinar muda kapuhan, rukun mudo, karya muda kenayan, cahyo eko budaya, sekar siswo, sekar mudo, karya muda sobowono secang siswo mudo krajan, bintang siswo, asri mudo, srumbung siswo mudo nggambrengan, topeng ireng bina muda, krido mudo tegalrejo pkk nurul huda tempuran or elvita 92, siswo mudo kiringan windusari rukun siswa, mugi utomo, mudhosono, kesenian rakyat islami source: processed from art organization data at the department of education and culture malang regency 2016 harmonia: journal of arts research and education 18 (1) (2018): 1-126 a number of informants, kubrosiswo is a traditional art whose background is the outspread of islam in java. etymologically ‘kubro’ means immense and ’siswo’ means student or pupil. therefore it can be interpreted that god’s disciples are implemented in the show that always upholds the greatness of god. terminologically, kubrosiswo is the abbreviation of “artistry of body and physic change” or art that moves the body and soul, which means that humans’ life must be well balanced between the world and the hereafter. based on interviews with a number of informants, the nature of kubrosiswo’s traditional art performances is an expression of the soul and human behavior. it is expressed through the form of limb movements, and this form of body movement is believed to contain symbolic meanings about conflict as well as how to resolve it. traditional art is performed because it is one of the human aesthetic expressions to meet integrative needs (coates, 2017). the fulfillment of integrative needs arises because there is a human impulse that essentially always wants to reflect its existence as a moral, intelligent, and callous being. according to one informant, initially kubrosiswo’s musical accompaniment only used traditional acoustic instruments such as flute, tambour, bedug and kendhang (drum-like instrument), and bendhe (little gong). however, in line with the demands of entertainment and variations of the song being played, kubrosiswo dance accompanist also uses musical instruments such as organs, guitars and modern drums. furthermore, the informant said: “kubrosiswo art carries around 25 dancers. at first, all kubrosiswo dancers are male, but now it also involves female dancers. the duration of this art performance is about 5 (five) hours, featuring a number of marching dance-line dance compositions accompanied by music that adopts songs with islamic preaching nuance. “ as mentioned in the description above, kubrosiswo is a traditional art with a background of propagation or da’wah of islam, in indonesia. da’wah is etymologically derived from arabic, al-da’wā, which is derived from the term al-du’ā ‘ which means asking or begging. terminologically, da’wah is the expression of a request or invitation from someone to others to uphold the truth. the spread of islam in indonesia is way different from the way that was done in the arabian peninsula. the contact between the three pre-islamic beliefs (animism, hinduism, and buddhism) continues to color islam in its teachings and ritual activities. the acculturation of islamic teachings with the values of local culture then happened. this is the form of interconnection between the islamic teachings with local wisdom (jailani, 2014) the process of acculturation is a concept to illustrate the long process of two or more values encounter between islam and local values in which individuals, groups and communities reside with the culture they have. (widiana, 2015). islam in java, for example, is heavily influenced by the indian (hindu and buddhist) religions that first existed in the archipelago. the diversity of the islam propagation in indonesia is not only apparent in the diversity of groups and islamic identity, but also variants and changes in the values and principles embraced by muslim indonesian. traditional art performance and localtraditional expression in the propagation progress has led the search for noble values of indonesian islam significantly (suwarno, 2014). kubrosiswo traditional art, according to a number of informants, is the acculturation art among java, islam, and colonial. it can be seen from the costumes worn by the players. the musical accompanist, for instance, the majority of men wears beskap (traditional javanese long-sleeved shirt) with blangkon (javanese customary hat). meanwhile, female dancers wear a hijab or veil (head coverings for muslim women). although they wear javanese traditional top clothing or also islamic head covering, the costumes worn by each player at the waist down resemble a soccer player. one of the informants added: tengku ritawati, pantun in the text of nyanyian lagu melayu asli (nlma) 7 in addition to a number of costumes, there are one or two male players whose role as a singer. the singer wears a dutch colonial army captain who is considered a dance leader and always carries a whistle. the function is to mark the start and end of each dance movement per composition. as a traditional art which has propagation function, the lyrics of the songs contain solicitation to others to establish the truth, as well as to run a religious order. lyrics of the songs are written in among arabic, indonesian and javanese. for example, the song lyrics below: poro muslimin podo bungah, puji syukur ing gusti allah sasi rejeb tanggal pitulikur allah animbali kanjeng rosul, nabi muhammad kedawuhan anindaake marang kewajiban nindaake sholat 50 waktu, kanggo sangune nyuwun pangestu 50 waktu mung kari limo, kanggoa ngenteng-ngenteng poro manungso sholat iku wajibe kang mulyo, ora abot lan ora rekoso dengarkanlah saudara-saudaraku, aku akan bercerita padamu menerangkanlah rukun agamamu, agar saudara siapa tahu lima perkara banyak rukun islam, agama suci di seluruh alam ashaduala iilaha illallah serta muhammad utusan allah rukun pertama selesai sudah. kedua kali mendirikan sholat, lima kali sehari beribadah dengan pernah membaca kalimah membayar zakat rukun yang ketiga, sesudah cukup seni sehartanya puasa ramadhan yang keempatnya, dari awal sampai hari raya sekarang satu lagi penghabisan, pergi ke makkah mencari kesempurnaan sudah cukuplah agaknya sekian, salam dan maaf kami ucapkan bahagia kito muda islam, muda yang tunduk pada peraturan bersembahyang pada siang malam, untuk ingat pada nikmat tuhan sholat yang wajib lima waktu dalam sehari dikerjakan dengan sungguh-sungguh taatkanlah lelupa selalu karena takut allah tuhanku. para muslimin sama senang, puji syukur kehadirat allah bulan rajab tanggal 27 allah memanggil rasulullah, nabi muhammad menerima perintah menjalankan kepada kewajiban menjalankan sholat 50 waktu, buat bekal meminta restu (saat kita mati) 50 waktu tinggal lima, untuk meringankan semua manusia sholat itu kewajiban yang mulya, tidak berat dan tidak menyulitkan dengarkanlah saudara-saudaraku, aku akan bercerita padamu menerangkanlah rukun agamamu, agar saudara siapa tahu lima perkara banyak rukun islam, agama suci di seluruh alam ashaduala iilaha illallah serta muhammad utusan allah rukun pertama selesai sudah. kedua kali mendirikan sholat, lima kali sehari beribadah dengan pernah membaca kalimah membayar zakat rukun yang ketiga, sesudah cukup seni sehartanya puasa ramadhan yang keempatnya, dari awal sampai hari raya sekarang satu lagi penghabisan, pergi ke makkah mencari kesempurnaan sudah cukuplah agaknya sekian, salam dan maaf kami ucapkan bahagia kito muda islam, muda yang tunduk pada peraturan bersembahyang pada siang malam, untuk ingat pada nikmat tuhan sholat yang wajib lima waktu dalam sehari dikerjakan dengan sungguh-sungguh taatkanlah lelupa selalu karena takut allah tuhanku. translation: all moslem are together delighted, praise upon the god the month of rajab on 27th god summoned the messenger, prophet mohammed accepted the order to carry out 50 times of prayer, to beg the blessing over (when we die) 50 times become five, alleviating human entire harmonia: journal of arts research and education 18 (1) (2018): 1-128 prayer is a glorious duty, neither burdensome nor complicate listen to my fellow man, i will tell you a tale of mine about the pillars of your faith, just so you understand the very five islamic pillars, the sacred faith throughout the universe ashadualla illaha illallah and mohammed is the messenger of allah the first pillar has been cited out the second for putting up prayers, five times each day reciting the verse thirdly paying the alms, as much as the fortune serves and fourth do fasting in ramadan, from the day one until the last based on the research of pujiati (2012), the lyrics of traditional art song in kubrosiswo basically contain three categories of the message: the message of aqidah (faith), the message of shari’ah (rules), and akhlak (morals). da’wah which contains the message of creed in kubrosiswo poem is delivered through the lines about the faith in god regarded his favors and obligatory prayers for the followers of islam. the message of shari’ah is in the form of praising god and about the pillars of islam as well as the religious guidelines. on the other hand, the message of morality is about knowing the greatness and goodness of prophet muhammad as the exemplification for his people. the result of observation and interview with a number of informants explains that the essence and function of this art is not only as entertainment containing religious propaganda element, but also as an effective means to solve social problems, both concerning environmental condition and social conflict among members of the surrounding community. for this reason, the majority of supporters who are farmers from generation to generation maintain kubrosiswo art. they strive to preserve kubrosiswo by establishing kubrosiswo art groups, as well as recruiting young people, both men and women. until recently, almost 99 percent of the 21 subdistricts in magelang district are still actively maintaining traditional kubrosiswo art as their cultural identity. it is reflected for instance by the argo mudo art group from gunung lemah village, gondowangi village, sawangan sub-district—the existence of traditional arts is still growing, supported by the younger generation both men and women. even every week the argo mudo group is always invited to perform in various occasions, such as marriage ceremonies, circumcisions, recitation, and islamic as well as national day commemoration. kubrosiswo development strategy facing capitaliasi demands each da’wah step which requires media and art (performance art) is a very effective medium to support the act. each phase surely requires adjustment to the changing times, society and human character (jabrohim, 2012). that is, a traditional art that has been addressed as a cultural identity of society and becomes an effective means for the purposes of da’wah, basically have to adjust to the changing times (pereira, 2017). economic globalization demands—especially the birth of the tourism industry for example—is a necessity that must be faced for the growth and development of traditional art. in the current situation, when the cultural identity that refers to local wisdom must clash with global values demanding the capitalization of art and tradition, each supportive society will seek to develop a strategy to deal with it (radzuan, fukami & ahmad, 2014). the demand of the tourism industry has had a significant impact on the existence of traditional art (himawan, 2014). impacts that occur, among others, created the transfer of the value of art from sacred to profane, mass production of traditional artworks, the creation of individualization of art that originally was the integration of religious and collective identity of social groups, and the creation of changes in the making of traditional artwork that is more decorative. economists often argue tengku ritawati, pantun in the text of nyanyian lagu melayu asli (nlma) 9 that the tourism industry is able to create unemployment for people around tourism objects which are undeniable. on the other hand, they also argue that traditional art which has been the integrative needs of supporting societies can be used as attractions supporting the attraction. the argument is undeniable, but it must be realized that it shows that that traditional art is merely the object of capitalization and also positioned as a tourism industry supporter. traditional art is regarded as a “direct object” from the tourism industry, but as has been disclosed in previous discussions of traditional art, traditional art is emerged and developed standardized through the traditions of a society, and it is used to sustain and maintain social collectivity (irianto, 2005). tourism industry as the object of economic global demands the standardization of traditional art performances. these traditional art demands change the perspective of supporter society towards the existence of traditional art. it is not only addressed as the cultural identity which accommodates the ritual demands of the society supporters. in this time, the existence of traditional art is also required to be an entertainment commodity which contains commercial aspects. the development of the tourism industry demands some commodities which are expected to be traded and consequently impact on cultural commodification (irianto, 2016b). ideally, the interaction between traditional art and tourism industry should strive to be always in equity relationship framework, which is hoped to grow a diversity of choice in appreciating many forms of art. to create an ideal interaction between traditional art and tourism industry, a comprehensive culture commodification is needed. the problem is traditional art – like kubrosiswo – can be appreciated and enjoyed only when it is being performed; its form will dissolve after the performance ends. literature can be read over and over again, fine arts can be kept and enjoyed for a long time. that is why audiovisual documentation of traditional performing arts is needed so it can be watched outside the live performance. by doing audiovisual documentation, it is expected for traditional performing arts to create awareness for people to get to know, deepen knowledge, review history, and criticize the development of art culture and its supporters (utami, 2010). traditional art kubrosiswo, based on its nature and function other than cultural identity for supporting people, is also as a means to invite others to uphold the truth (dakwah). as a means for dakwah, a concept and strategy that can be accepted by indonesia, which has a multicultural society, is needed as a development strategy of kubrosiswo (jailani, 2014). by considering that condition, a development strategy for kubrosiswo as a traditional art that contains islamic preaching should be done. in this contemporary era, basit (2013) suggests that there are four things that can be done while preaching. the first is make dakwah as an object of science that can be investigated and developed in accordance with the needs and demands of society. second, change the paradigm of dakwah into the communication of islam by synthesizing theories of communication with theories of dakwah built upon the teachings of islam. third, set a da’i that can adapt with the development of science and technology. fourth, make use of communication and information media that are widely used by society. the existence of traditional art, in this era of postmodernism, is in between the determination of communication technology and media globalization. the development of information technology gives various choices and also influences the existence of traditional art to be insecure, and even forgotten. meanwhile media globalization influences every aspect of society, including socio-cultural (surahman, 2016). based on these considerations, this research about kubrosiswo does not only stop at the written report of description about a traditional art from magelang. this research has produced a model in the form harmonia: journal of arts research and education 18 (1) (2018): 1-1210 of a documentary about kubrosiswo, concerning its historical background, the nature and functions of this art, along with its preservation strategy. in dvd format, the audio-visual depiction of this traditional art has been done by the researcher.with the subject of the argo muda group study from gunung lemah village, kelurahan gondowangi, sawangan district, magelang district, the research has completed a 25-minute documentary film entitled “the magic of kubro dancer”. the film documentary is one of the strategies to reveal the truth based on what happened on the field and is hoped to create awareness to get to know – to deepen the knowledge of kubrosiswo. just like literature that can be read over and over again or fine arts that can be enjoyed multiple times, the documentary film of traditional art kubrosiswo can also be appreciated at different times during the show. moreover, as a traditional art with dakwah (preaching), kubrosiswo film documentary can invite, push, and call people who watch it uphold the truth without force. it is hoped to create an alternative revitalization of a traditional art group that is in a death process facing global economics. it can be set as a model in instilling the sense of pride reflectively and intuitively. traditional art revitalization in the form of the documentary film gives a significant contribution in the aspect of art, especially in the form of a creative industry, which is in accordance with today’s globalization era. conclusion indonesian traditional art, for example, has been addressed as an expression and cultural identity; it is also based on local wisdom and uniqueness of society. it defines as no matter how simple a man’s life is, there are chances to express and harness the beauty of art while trying to fulfill their primary needs. furthermore, a traditional art that is existed and developed is standardized through the traditions of a society, as well as to sustain and retain social collectivity. kubrosiswo, a traditional art, has moderate popularity in magelang, central java, indonesia. all this time, this traditional art has always been addressed as a part of the agrarian world and as an expression of the supporters’ religiosity. the nature and function of this traditional art, other than as entertainment that consists of religious dakwah for farmers, is as an effective medium to solve social problems involving both environment and members of the surrounding society. in this postmodernism era, the existence of traditional art kubrosiswo is in between the determination of communication technology and media globalization. the development of information technology gives chances for various choices to exist and influences the existence of traditional art to be insecure, and even forgotten. this research has produced a model in the form of a documentary about kubrosiswo, concerning its historical background, the nature and functions of this art, along with its preservation strategy. the film documentary is one of the strategies to reveal the truth based on what happened on the field and is hoped to create awareness to get to know – to deepen the knowledge of kubrosiswo. references basit, a. 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(2015). pergumulan islam dengan budaya lokal: studi kasus masyarakat samin di dusun jepang bojonegoro. jurnal teologia. 26(2), 198-215 107 ethical values of malangan shadow puppet show from east java in the lakon of kalakerna gugat sudarsono indonesia institute of arts, surakarta, jl. ki hajar dewantara 19 surakarta, indonesia e-mail: s-darsono-isi@yahoo.com received: september 22, 2014. revised: october 5, 2014. accepted: november 13, 2014 abstract there are many values which an artist wants to express through a shadow puppet show in order to attract the attention of the audience. malangan shadow puppet show acts not only as an entertainment but also as a guidance for character education. in the story of kalakerna gugat, ethical and aesthetic values in the story are in the form of etiquette in the dialogues or the characters. the value of having rights after completing duties becomes guidance for nobleness. equality between rights and duties demanded by kalakerna and propriety of characters are expressed straight to the point and they are easy to understand as well as entertaining. impropriety in the world is critically corrected. bethara guru dewa, the tritagonist, felt that he made a mistake by arranging life unjustly so that he was reminded by kalakerna and had to agree with his request to keep the justice and preserve the world. keywords: aesthetic values; ethical; kalakerna gugat; malangan; shadow puppet how to cite: sudarsono. (2014). ethical values of malangan shadow puppet show from east java in the lakon of kalakerna gugat. harmonia: journal of arts research and education, 14(2), 107-114. doi:http://dx.doi.org/10.15294/ harmonia.v14i2.3292 harmonia : journal of arts research and education 14 (2) (2014), 107-114 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v14i2.3292 p-issn 1411-5115 e-issn 2355-3820 ce value, and religious value. in a show which is held in the interest of an institution, ethical value is emphasized so that it is understood by all the audience. entertainment value is important in every public show because the show must be interesting and entertaining so that it can make them happy and refresh their minds after working hard all day long. ethical value in lakon kalakerna performed in isi surakarta was carefully portrayed. for example, in the first jejer in the hermitage in gajahmungkur cave, begawan kumbareksa was visited by his three children, raden wongsatanu, tanujanma, & gajahsena. at that meeting, begawan kumbareksa asked them why they came to the cave. after his three children told him what they felt, beintroduction lakon (story) of a shadow puppet show is a construction of scene structure which elaborates a sequence of interconnected events. lakon of malangan shadow puppet show is different from surakartan pakeliran. in terms of acts or pathet pakeliran, malangan style consists of five acts, namely talu pathet sepuluh as the first, pathet wolu as the second, pathet sanga as the third, pathet wolu miring as the fourth, and pathet serang as the fifth. the malangan shadow puppet show contains various fundamental values in human life, some of which are known as character education value known as ethical value, entertainment value, performanharmonia : journal of arts research and education 14 (2) (2014): 107-114108 gawan kumbereksa granted their request. then, his three children left to each of their own destination. in the first jejer there were ethical values from a begawan (a priest in hindu) and his three children. the coming of kalakerna after the three children left made kumbareksa surprised. kalakerna wanted to criticize gods in the heaven for being unjust. kalakerna wanted to show how unjust the rights, duties, and justice of gods were. he said, “salahe barang sing ora bener, ning benere barang sing boten salah” (the fault belongs to what is wrong, and the goodness belongs to what is not wrong) (sudarsono, 2004, p. 142). ethical values in lakon kalakerna gugat was very interesting for being examined. the problems were how the analysis of the characters was and how the ethical values in the story were. ethical and aesthetic values value is the idealization of good intention desired by human beings to reach nobleness. ethical values are related to virtues and good attitude, which represent the whole personality. for javanese people, the values are reflected in attitude and personality in social life. ethical values are the standard of human attitude. according to suseno (1996, p. 39) there are two principles which define social patterns in javanese society, namely harmony and respect. harmony means living peacefully without any conflicts and being united to help each other. respect means that everyone must behave properly according to his/her rank, for a society is arranged in a hierarchy and everyone must follow and keep it. someone with higher social rank should be respected by those from lower ranks (suseno, 1996, p. 60). the guidance for proper attitude is often given through a shadow puppet show. as a performance, shadow puppet show has aesthetic values which please and entertain its audience. the show has values of entertainment, guidance and order (solichin, 2007, p. 75). as an entertainment, the show entertains people. as guidance, the show gives ethical values or etiquette in social life. as an order, the show demonstrates norms and rules which should be done. ethical values are often called as etiquette, philosophy of attitude, or moral philosophy. etiquette is also known as the theory of a good life and the theory of good and bad. virtues are intended to be the means of reaching prosperity and happiness. good things should be reached by doing something good. human beings must behave well according to the norms in each society. there are two kinds of virtue. the first is extrinsic virtue, which is a means of achieving something like money, cars, job, or physical appearance. the second is intrinsic virtue, which is good by itself. it comes from good attitudes, such as justice, harmony, happiness, safety, peace, and humanity (subandi, 2011, p. 71). there are often differences of social norms, attitudes, and views when an individual is in a society. those differences can lead to disputes and conflicts. every member of a society has social responsibilities in addition to personal ones. norms in social relationship prevent conflicts of interest. if someone does wrong, others can decide that he is wrong and he will be punished. he can apologize and fix everything. however, if someone violates moral norms or etiquette, he will be declared as an immoral person. violating social norms is different from violating moral norms. immoral people will be expelled from his society, and this kind is punishment is more severe since it is related to his personality. every individual has rights in the social life, but he also has some duties to do. rights are demands of every human being which need to be achieved by hard work. according to kamus besar bahasa indonesia (2001, p. 382) right refers to correct, belonging, authority, demand, rank, power to do something because of the constitution, and authority to take legal action. rights are gained after someone has completed his/her duties. if he/she does not perform his/her duties, it will be difficult for him/ her to get his/her rights. human rights are inherent rights of all citizens because sudarsono, ethical values of malangan shadow puppet show from east java in the lakon 109 of their nature as god’s creation. human rights must not be taken away from anyway even by a country. one of the examples of human rights is the right to live. obliged means something which must be done and cannot be ignored. while duty means something which is obliged to do, an obligation (kbbi, 2001, p. 1266). in a bigger society like a country, the duties of the citizen must be performed. in relation to social life, if rights and duties have been completed, there will be harmony, peace, and justice. justice comes from the word just. moral justice means balance, equality, and harmony. to be just means to be equal in terms of rights and duties. the manifestation of justice in social life is social justice, where there are balance and harmony between rights and duties. justice of an individual occurs between physical and mental abilities, between the role as an autonomous individual and a perfect creation of god, and among the elements of human soul such as ratio, feeling, and desires, among material elements such as earth, fire, water, and wind, as well as between plants with no souls and animals which have souls but are limited to desires and abilities to move only. the human being must be just for him/herself, society, and god. by doing so, he/she will be happy and prosperous. etiquette in shadow puppet show besides being normative, etiquette is practical. in a shadow puppet show, ethical values are represented in the etiquette of characters, respect to the other characters, the language used by each character, and the story from bedol kayon (begining of the puppet show to tancep kayon (ending of the puppet show). good persons will be respected, and the bad ones will be disgraced. placing two hands in front of the forehead and bowing head is an ethical behavior. younger characters should respect the elders, and children should respect their parents. etiquette must be comprehended by every character and it does not need any written rules. if someone does not behave in certain ways, he/she will be considered unethical. in lakon kalakerna gugat, many characters behaved differently because they thought that certain ethical values had to be kept, like how kala kerna asked bethara guru dewa for his promise. nearly similar moral values were also represented by almost all characters: antagonists, tritagonists or protagonists. etiquette is a moral principle in shadow puppet shows in javanese people’s view, etiquette is often related to aesthetics and logic. a good thing is considered correct, and it is also considered beautiful. javanese people consider that god, society, the universe, and human beings are a unity (ciptoprawiro, 1986, p. 22 & suseno, 1996, p. 85). life is aimed to achieve perfect happiness. in order to do so, there are various ways depending on someone’s ability. a knight has to perform his duty to achieve the perfection and be united with the creator, while a priest isolates himself in a hermitage and live peacefully. in order to reach the goal of life, etiquette is needed, as illustrated in a shadow puppet show (abdullah, 1986, p. 31 & suseno, 1996, p. 161). there are two life principles of javanese people, namely harmony and respect. harmony means ”the state of being harmonious” and peaceful without any disputes and conflicts, and being united to help each other (suseno, 1996, p. 39). the demand for harmony is an entire principle of social order. something which can lead to disputes and conflicts must be prevented. a conflict occurs if there is a conflict of interest. kalakerna opposed the gods because of a conflict of interest. meanwhile, respect is based on the idea that all relationships in a society are in a hierarchical order and every individual has his/her own position so that he/she must act according to that position. ambition, competition, impolite behavior, and desire for personal advan tages and power, which can lead to conflicts, disharmony, and contradiction, must be prevented and eliminated (suseno, 1996, p. 60). war is an effort to stop a conflict and maintain order to achieve harharmonia : journal of arts research and education 14 (2) (2014): 107-114110 mony of life. the structure of lakon shadow puppet shows from east java usually begin with tabuhan gendhing lancaran giro endra laras slendro pathet wolu. gendhing giro or nguyu-uyu for surakartan style is a gendhing for welcoming incoming characters and it is widely used in the area of east java. gendhing is usually arranged from other gendhing gagahan and then it ends with gendhing surabayan for accompanying ngrema dance. if ngrema dance is not performed, the dalang (puppeteer) changes it with beksan golekan. after the dance, the puppeteer enters the stage and ayak-ayak sepuluh (talu) is played, and the puppeteer prepares himself. after ayak-ayak talu is finished (suwuk), the puppeteer gives a sign called dodogan, and gendhing gondokusuma with pelungan dalang is performed to accompany the first jejer. after gending gondokusuma stops, the play moves to the act pathet wolu which begins with suluk sendhon pathet wolu. after the first jejer has been finished pocopan gapuran is played, followed by suwaka padupan. suwaka padupan is followed by suluk gurisa pagelaran njawi, gendhingan, and janturan prajurit pagelaran njawi. in jejer sepisan, if there is a character comes and a conflict occurs, that character is the one who starts a war. in the second jejer, the coming of that character is followed by a group of magang or demang, and the war begins. the first part of the war consists of two acts, namely the battle of the main characters and the battle of srayan. after the first part of the war, the third jejer, jejer pandhita, begins. in the third jejer, the puppeteer plays a priest or and bambangan in a hermitage. the third jejer begins with the act pathet sanga, which usually starts with the appearance of semar & bagong. the third jejer ends and is continued with the fourth jejer, which is usually a repetition of the first jejer in order to find the resolution. in the fifth jejer the antagonist who caused the conflict appears. this jejer starts with pathet wolu miring, as a transition to pathet serang. in perang brubuh (a battle), pathet serang is played and this is the last act until tancep kayon. malangan shadow puppet show generally refers to the structure of conventional stories or lakon passed down generation to generation. a master puppeteer is generally imitated by his cantrik (apprentice) continuously. lakon kalakerna gugat performed by paimin nyata carita at august 12, 2004 in pendopo of sekolah tinggi seni indonesia (stsi) surakarta was a conventional story learned from his teacher. method this study applied qualitative method supported by historical method, literature study, and field observation. qualitative method emphasizes textual analysis (lakon kalakerna gugat) and contextual analysis (ethical and aesthetic values of the characters). the object of this study was lakon kalakerna gugat performed by paimin nyata carita at august 12, 2004 in pendopo of sekolah tinggi seni indonesia (stsi) surakarta. the data of this study consisted of primary sources, namely lakon kalakerna gugat and related documents and relevant key-informant, and secondary sources supporting the primary sources, such as relevant literature and supporting informants. the data were collected through observation, interview, and documenta tion. the data were validated through data triangulation as what is usually done in qualitative research. the data triangulation in this study was based on patton (cited from soetopo, 1980), which used various data sources to collect similar data. data analysis was conducted together with the data collection process by reducing and classifying the data through the analyses of the domain, taxonomy, and components as well as themes found during the process. this was done to make a thorough description and describe the meaning of the research focus. the description which developed from the themes eventually showed the interaction of emicethic perspectives or vice versa (spradley sudarsono, ethical values of malangan shadow puppet show from east java in the lakon 111 support kalakerna’s attitude. the main supporting characters were betharawisnu, bethara besuki, and dewi sumaliwati who eventually became kalakerna’s wife. considering the characterization, the characters in a shadow puppet stories are tokoh pilih (flat character) because characters in such a story are symbolical. some important characters who defined the plot and the structure of the story were kalakerna, bethara guru, bethara wisnu, bethara besuki, other gods, sumaliwati and prabu jalawikrama. if classified based on the types of character, kalakerna was protagonist who made the plot by expressing the main problem in an expression ”salahe barang sing ora bener, lan benere barang sing ora salah” and sought justice to the gods. such expression was spoken after the scene of paseban njawi, where kalakerna wanted to go to the heaven to ask the question. kalakerna wanted to demand his rights after completing his duties. rights and duties are the main parts of etiquette. the antagonists were prabu jalawikrama and megaremeng. the appearance of the gods such as bethara endra, brama, yomodipati, and bethara sriyono who came into conflict with kalakerna in perang gagal was meant to test kalakerna’s spirit. the characteristics of bethara endra and other gods were expressed through their actions following the order of bethara guru dewa. in their utterances, bethara endra and other gods prevented and opposed kalakerna. being unable to stop kalakerna going to the heaven, those gods told bethara guru. the characteristics of bethara guru were expressed in his actions. he told betharanaradha to meet bethara wisnu and bethara besuki to keep kalakerna away from the heaven. bethara wisnu and bethara besuki had more characteristic portrayal than bethara endra, bethara brama, bethara yomodipati and bethara sriyono. bethara wisnu and be-thara besuki were ordered by bethara naradha to stop kalakerna and protect the gods who were defeated by kalakerna. the presence of betharawisnu and besuki emphasized the personal interest of both characters 1979; 1980). the data analysis process consisted of three steps as a system, namely data reduction, data presentation, and conclusion. those three steps were done in an interaction with the data collection process as a cycle (milles & huberman, 1992). result and discussion the analysis of ethical values of the characters in the story kalakerna’srola as the protagonist was reflected in the first act to the last. in the first act, the characteristics of kalakerna developed. at the first time he behaved softly in jejer, and then he became a firm person in order to seek justice to the gods. this characterization was expressed through pocapan and his thought and de sire. his intention was reflected in the scene after paseban njawi to the scene of the gods with the monologue from kalakerna. the second type of character is the antagonist, the one who is against the protagonist and causes a conflict. in lakon kalakerna gugat, prabu jalawikrama was the antagonist appearing in the climax where the soldiers of megaremeng kidnapped sumaliwati, who would be kalakerna’s wife. with the blessing from bethara guru, jalawikrama could be defeated and sumaliwati could be saved by kalakerna. on the way back, kalakerna met sumaliati’s brother, sumalintana. after that, the three characters then came to sumalidewa. because of his victory, bathara guru dewa gave kalakerna mustika kumlawene rejeki as a reward. tritagonist is the one who helps mediate between the antagonist and protagonist. in the story, this role was held by bethara guru dewa. he confessed his mistake and offered a solution by promising to give punishment. the characteristics of bethara guru were expressed through his utterance, feelings, and action. supporting characters are those who are indirectly involved in the conflict, but they are needed in a story. the supporting characters in kalakerna gugat were endra, brama, yomodipati, and sriyono, who harmonia : journal of arts research and education 14 (2) (2014): 107-114112 (envy). one of them wanted to be a dalang while the other one did not want to be the puppet in marcapada in the age of purwacarita. it was expressed through the scene of kahyangan nguntara segara in which there were wisnu and besuki. as the tritagonist, bethara guru could solve the problem faced by kalakerna and the gods. bethara guru made a promise to grant all requests from kalakerna. the story puts an emphasis on the personal problem of kalakerna, who sought justice to the gods. kalakerna played an important role in defining the plot and the structure entirely because he always appeared in all scenes, either directly or indirectly. by opposing the gods in order to seek justice for him, kalakerna became an outstanding chararter who sought justice based on correct argumentation. the ethical value was having rights of prosperity after completing duties. completing duty starts from a long struggle and ends with having the rights such as prosperity, happiness and power, wife, and fortune. the characteristics of bathara guru were reflected in the scene of the heaven. the story reached its climax when the gods were defeated by kalakerna, and in the end he granted all the requests from kalakerna. bathara guru chose to grant al those requests because he realized his mistakes of being unjust. as the reincarnation of bethara darma, kalakerna was always miserable, while wisnu was always happy for being a great king. kalakerna as the one who sought justice and bethara guru dewa as the one who solved the problem were the main characters in the story. in order to redeem his mistake, bethara guru dewa told betharadarma that he would be united with the knight who became a king in the time of mahabarata and was united with the holy white-blooded king named puntadewa. he was also given a holy king’s robe, prosperity, and a noble woman to be his wife. the supporting characters were those who were indirectly appeared in the conflict, but they were needed in the story; such as bethara wisnu, betharabesuki, jalawikrama and dewi sumaliwati. supporting characters played their roles when bethara guru dewa wanted bethara wisnu and bethara besuki to keep kalakerna away. the one who won would have the right to be the dalang in the time of purwa. betharawisnu could take kalakerna to bethara guru so he deserved to be a dalang. wisnu was united with kresna and became the protector for puntadewa all the time. analysis of the ethical values in the story the dialogue between begawan kumbreksa and his three children represented a warm relationship with respect and harmony which reflected attitudes with high ethical values from each character. the role of a king played by tanujanma had to protect his people. the role of priest played by wongsontanu gave enlightenment for those who needed it. the role of the one who wanted to have a luxurious life played by gajahsena also had his own place. after the three children left, the fourth child, kalakerna, came. he asked for blessing to go to the heaven in order to seek justice to bethara guru dewa. the scene of rapat kepanasan kalakerna was intercepted by the gods. bethara endra and other gods forbade him to go the heaven, and then a battle occurred. all of them were defeated by kalakerna. bethara naradha came to bethara guru and told him about this de feat. this scene was also called perang gagal. kalakerna won the battle because he was the reincarnation of bethara darma, who had a higher rank. the battle was a test for kalakerna’s intention. the scene of bale marcukundhamanik bethara guru dewa accepted naradha. after naradha told him about what had just happened, guru dewa ordered him to ask for help to wisnu and besuki in kahyangan nguntara segara. sudarsono, ethical values of malangan shadow puppet show from east java in the lakon 113 the scene of kahyangan nguntara segara bethara wisnu was in front of bethara besuki. they expressed their feelings to each other and then a conflict happened between them, but there was no winner or loser. after that, naradha came and broke up the fight. naradha told them that according to the order from bethara guru dewa, the one who could defeat kalakerna would be a dalang sejati (puppet master). then, both of them left to fight kalakerna. in the battle, betharabesuki was defeated so that he would not be a dalang, and this reflected fairness. bethara wisnu then fought kalakerna using matakaji sukma mangantraantra. wisnu and bethara darma talked to each other, and after knowing each of their intention, they came to bethara guru dewa to express what they wanted. after knowing what was happening, bethara guru confessed his mistake of being unjust by not giving darma his rights after completing his duties. darma asked for his rights and justice to bethara guru dewa, which had to be given after he completed his duties. darma said the expression salahe barang sing ora bener, ning benere barang sing boten salah (sudarsono, 2004, p. 142). next, bethara guru gave him what he wanted. at the end of the conversation, bethara guru dewa ordered kalakerna to take back his would-be wife who was kidnapped by jalawikrama. the scene of pertapan magaremeng prabu jalawikrama was confused because of the effect of aji puter giling, and then raden kalakerna came and told him about the purpose of his coming to megaremeng heritage. they fought in a battle and prabu jalawikrama was killed. the analysis showed that the ethical value of the scene was pepatah sadumuk batuk sanjari bumi, which means that one must fight to the end. because kidnapping someone’s would-be wife, jalawikrama lost his life as the punishment. kalakerna met dewi sumaliwati, and then they fell in love with each other. kalakerna held her hand and took her to bethara guru dewa. the scene of the journey sumalintana was told by his parents to find sumaliwati, who was kidnapped by prabu jalawikrama. he ran into dewi sumaliwati and raden kalakerna in his way, and then they talked to each other and went back home to meet prabu sumalidewa. the scene of kahayangan mercukundha: bethara guru dewa would give wedding presents to kalakerna and dewisumaliwati and especially for negara purwacarita. they were given mustika kumlawene rejeki. almost in all scenes and dialogues there were ethical values related to rights and duties, justice and prosperity, and reward and punishment. lakon kalakerna gugat contains lessons about good attitudes. conclusion lakon kalakerna gugat had many ethical values. the values were in the characterization, which were classified into three types. the protagonist was kalakerna, the antagonist was jalawikrama, and the tritagonist was bethara guru dewa. the ethical values could be observed in the dialogues between characters. in the beginning, the principles of respect and harmony were embodied in the different views of the characters which completed each other. the three children of wiku from gajah mungkur met kumbareksa, followed by the fourth child, kalakerna. all of them were good to each other and respect each other. sang wiku gave a good example and motivated them to work hard and supported through the prayers. wonsotanu wanted to be a good priest, tanujan wanted to be a good king, gajahsena wanted to be rich, while kalakerna wanted prosperity and happiness after completing his duties. kalakerna wanted to respect ethical values. in his journey, kalakerna faced many problems and challenges. how-ever, he eventually had a chance to meet bethara guru dewa and express his view that harmonia : journal of arts research and education 14 (2) (2014): 107-114114 ethical values had not been prioritized in the case that wisnu always had a chance to be a king without being a common person, while darmanever enjoyed the results of his hard work and struggle. he did not get his rights even though he had completed his duties. good things like duties or devotion are things which need to be done, but they can also be used to get rewards from the gods, such as prosperity and happiness. kalakerna protested because the gods were unjust. after doing good things he should have received rewards. at the end of the story, bethara guru dewa realized that ethical values had to be followed in ruling the world. rights must be given after duties have been completed, and the principles of respect and harmony must be highly regarded to keep the world peaceful. finally, kalakerna, who was a good, righteous, and devoted man, got his rewards like power, prosperity, and a noble woman. at the age of purwacarita, kalakerna would be a king with a holy robe, a loyal wife, and a 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(2005). pertunjukan wayang dan makna simbolisme. surakarta: stsi press. solichin, waluyo & sumari. (2007). mengenal tokoh wayang. surakarta: cv asih jaya. solichin. (2010). wayang. masterpiece seni budaya dunia. jakarta: sinergi persadatama fondation. solichin. (2010). barathayuda suluhan gatutkaca gugur sebagai pahlawan. harmonia: journal of arts research and education, 9(2), 102-109. solichin. (2011). deskripsi kualitatif sebagai satu metode dalam penelitian pertunjukan. harmonia: journal of arts research and education. 9(2), 173-179. sudarko. (2003). plot wayang purwa dan pandangan hidup orang jawa. harmonia: journal of arts research and education, 4(3), 203-211. sudarsono. (2010). garap lakon kresna dhuta dalan pertunjukan wayang kulit kajian tekstual simbolis. harmonia: journal of arts research and education, 12(1), 75-86. suparno, s. (2009). pakeliran wayang purwa dari ritus sampai pasar. surakarta: isi press solo. suparno, s. (2007). seni pedalangan gagrak surakarta. surakarta: isi press. solo. suseno, f. m. (1996). etika jawa sebuah analisa falsafi tentang kebijakasanaan hidup jawa. jakarta: gramedia pustaka utama. sutopo, h. b. (1989). peranan pendidikan seni masa kini. paper presented in seminar of fine arts education in ikip semarang. 55 markasan strategy in a best-selling music rully aprilia zandra department of arts, drama, dance and music, faculty languages and arts, universitas negeri malang, indonesia received: march 18, 2019. revised: may 7, 2019. accepted: june 23, 2019 abstract gesang and didi kempot, in dominating the market of the music industry in their era, incorporated local capital, i.e., the site in lyrics and scales in melody. likewise with markasan. however, little is known about the site and melody used by markasan as a tool to dominate the keroncong market in east java in the 1960-1965 period. this study aims to reveal lyrics and melody that songwriters can use to dominate the music competition market in their day. to address this gap, observations, interviews, and documentation studies were carried out. the subjects are keroncong-markasanan musicians and rri as melting pots of keroncong in surabaya. through ‘blauran wayah sore’ song, we can observe markasan’s efforts to construct songs, build resistance, and perpetuate domination in the music industry competition in his day. this research provides a strategy to utilize cultural capital consisting of lyric styles, popular site names, local scales, and identification of favorite song scales in a best-selling effort in the music industry today. keywords: scales, lyrics, music, keroncong, strategy how to cite: zandra, r. a. (2019). markasan strategy in a best-selling music. harmonia: journal of arts research and education, 19(1), 55-61. harmonia: journal of arts research and education 19 (1) (2019), 55-61 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i1.20821 ries (laksono, 2015). gesang’s renowned bengawan solo and didi kempot’s famous stasiun balapan and terminal titonadi have dominated the local market music; both composers incorporated the name of a famous site in their song lyrics (khoir, 2016; sarwinah, 2016). the lyrics of the songs correlate with the messages explaining several public places in solo. love stories and social situations at the iconic places of selected cities are the themes of the songs. the selection of the public places, such as bengawan solo, terminal tirtonadi, and stasiun balapan, is because the places are closely related to daily activities of the audience (sarwinah, 2016). anyone who have heard of bengawan solo river, terminal tirtonadi, introduction gesang was a famous keroncong (indonesian music adapted from portuguese) composer; his works are not only popular domestically, but also worldwide. among the phenomenal works by gesang is bengawan solo. the lyrics and melody of this song are easily acceptable by many (sanjaya, 2018). the strength of the lyrics lies in the way it explains a place in solo (dirgantara, 2014), which is similar to what didi kempot did. didi kempot is a composer of campursari keroncong and singer. he often incorporates famous places, such as tirtonadi terminal and stasiun balapan, in the lyrics of his songs, which are mostly about love stocorresponding author: e-mail: rullyzandra.fs@um.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 19 (1) (2019): 55-6156 and stasiun balapan are probably people who come from cities other than solo, such as tourists. other than the lyrics and the melodies, the composers of the songs are wellknown for their works that are easy to understand and sing (dirgantara, 2014). the melodies remain popular among people (widjajadi, 2005). kusnaidi (2015) opines that melodies and lyrics are the charms of every song. the song by the two composers is easy to imitate. based on the preliminary observation involving 30 respondents (ten children, ten teens, and ten adults), 86.6% of the respondents can imitate the cantus firmus of the song right in the second chorus. on that ground, the study on melodies in the songs mentioned above is worth investigating. it is to examine how the songs can dominate the chart during its era. the concern indicates the necessity to examine the lyrics and melodies developed by the composer. a keroncong music group, namely markasan, which emphasized delivering attractive lyrics and melodies, has been established in surabaya; it was on the top chart of the best keroncong song. the name of this keroncong orchestra is aneka warna, which was led by markasan (zandra, 2014). the genre of this style of keroncong is called markasanan (sulistiohadi, 2000). keroncong was first developed in surabaya in 1942 during the east asia war, that was when japan invaded countries that the netherlands colonized (widodo, 2002). at the time, japan gave the freedom to people to develop local music, including keroncong, to eliminate all western cultures in indonesia (yacob, 2017). this genre of music has spread in areas other than east java in indonesia since 1942. in 1960, rri (the national radio of indonesia) had run a keroncong music program (zandra, 2014). this initiative further stimulated the establishment of keroncong groups, with many composers competed with each other in the music industry (widjajadi, 2005). markasan’s keroncong orchestra has its uniqueness (sulistiohadi, 2000). it is popular for its chord, stem, and beat that differs the markasan keroncong with other styles, such as old keroncong, jakarta style, and solo style (zandra, 2019). other distinguishing characteristics are its lyrics. the lyrics of the old keroncong, jakarta style, and solo style are mostly about the appreciation of nature and heroes, while the markasan style emphasizes social critics, description of landmarks and public places, and social interaction (zandra, 2014). the development of markasan keroncong went on hiatus in the middle of 1965 for two years due to the 30 september movement by the communist party of indonesia or pki (zandra, 2019). this study focused on the 1960 to 1965 period or the golden age of markasan keroncong. in 1960, leo ledung, the first markasan keroncong album, was released. the golden era of markasan ended in 1965; this was also the last year for markasan to lead the ok aneka warna keroncong group (zandra, 2014, 2019). in several songs, markasan often mentioned several landmarks or public places in surabaya, e.g., tugu pahlawan, jalan tunjungan, and pasar blauran. pasar blauran (a traditional market) is a famous market to date. the melodies of markasan’s works associated with the trending music at surabaya, such as remo and jula-juli. concerning the above discussion, it is found that markasan has his methods and strategies in composing his trending music from 1960 to 1965. these methods and strategies are the inspiration of the song blauran wayah sore, a keroncong song and the icon of keroncong music in surabaya. the present study, underpinned by the above discussion, is aimed at exploring the way markasan utilized the power of incorporating public places and landmarks in his easy-listening songs. it is intended to map the lyrics and melodies of the composers and its utilities that brought the music to be the trending music in its era. methods this qualitative study employed a rully aprilia zandra, markasan strategy in a best-selling musicminangkabau women 57 case study approach. documentation and recording method was used to collect the data. it focused on gathering information related to the lyrics of the songs, popular places, tunes in markasan, and popular tunes in society. this process was by transcribing texts and audio of markasan and jula-juli songs and investigating the popular public places incorporated in the songs. several stages of data collection in the field was attempted to maximize the effectiveness of the process. the first method was the passive involvement; this stage involved observation of the rehearsal and repertoire of the surabayan keroncong in rri for six months. it was to record the response of the musicians regarding markasan and his ideas and other information related to the problem of the study. the second method was by an unstructured interview with composers and musicians of keroncong who have the opportunity to collaborate with markasan. all questions were to ensure the accuracy of information retrieved from the respondents. the respondents were informed about the purpose of the interview before the researcher began to ask the questions. the method was performed reversely to those who have a differing opinion with markasan. a library study was carried out to generate information regarding the concepts of the research object; this method was also to prevent similarities with the previous studies. information was retrieved from books, journals, research reports, and other printed documents; the data included the one from the internet regarding the development of keroncong in surabaya and the figure of markasan and his works. the data were in the form of the musical note transcription from the vinyl record, photos, images, audio recording, videos, and cassettes. the transcription process was done using the sibelius 7 application. all of the collected data were grouped based on the focus of this research. the classification involved the style of the lyrics, landmarks, tunes of markasan song, and tunes of pop songs. after crosschecking the data with the relevant literature and the concepts of habitus, arena, mimicry, and hybrid, these data were presented to find out the answers to the research questions. results and discussion the lyrics and melodies of a song blauran wayah sore incorporate the cultural value of the markasan song. in this context, the value refers to the lyrics and the pentatonic scale. the satire lyrics are inspired by a keroncong song liedje, a song about social critics. the pelog and slendro pentatonic scale was from the folk music or accompanying music in parikan (javanese rhymes) and other dances. satire lyrics of liedje keroncong are integrated into wajik abang keroncong in surabaya, or a song telling the embezzlement of government vehicles committed by civil servants. the car is known for its red diamond symbol on its side part of the mirror. the vehicle is supposed to operate from monday to friday. however, the car is now used on sunday. satire lyrics in the song mentioned above are to criticize the misuse of state assets for personal gain. the straightforward characteristics are also visible in keroncong wajik by markasan, emphasizing the popularity of aneka warna orchestra from 1960 to 1965. folk music, parikan, and accompaniment track of remo dance form an aural environment for markasan since he was a child. further, the aforementioned aural environment raised marksan’s cultural capital in the form of musical ideas, abilities, and cultural codes. his cultural code is shown in his artwork. intentionally or unintentionally, through a proper introduction to the arena of his work, markasan has incorporated the local cultural capital in the flow of cultural imports. associated with efforts to resist a culture in the location of culture (bhaba, 1994), it is explained that the cultural contexts colonizers and colonized people influence each other. both have similarities harmonia: journal of arts research and education 19 (1) (2019): 55-6158 in terms of resistance and anxiety. bhaba further describes that the solutions to these problems lie in the culture of survival strategy carried out by each group of the people. the survival strategy carried out by the colonized parties by utilizing the culture of the colonizers through imitation, and cultural transformation produce a local culture with a hybrid identity. hybrid identity can be uncomplicatedly seen on markasan’s keroncong (javanese song) style because the netherlands and japan had colonized surabaya. the above condition links the similarity of markasan’s research to the concept of bhaha, which also seeks to examine the form of local cultural resistance reflected in imported instrumentation. the text that mentions the local place was reflected in the lyrics of kerocong. the common tone scale for jula-juli (one of the javanese rhyme styles) is integrated into the keroncong entity, which has the characteristic of european-style music. keroncong music’s entity in its hybrid form has a mimicry camouflage strategy and produces an identity that mixes local culture with imported culture (bhaba, 1994; haryatmoko, 2010; jenkins, 1992; zandra, 2014). the hybridity of markasan’s works was his foresight in using the music tastes of post-colonial society and wrapping them in popular music commodities at that time. while in the interpretation of cultures: selected essays explained that political modernization from the beginning tended not to be calming (geertz, 1973). the transition from sovereignty to an independent regime is more than a shift of power from foreign hands to indigenous’. the third worlds’ political themes of cultural perspectives examined by geertz involve nationalism of new countries, primordial sentiments, civil politics, and cultural politics. greetz also gave a concept to this research in considering markasan’s ideas from the cultural politics in the 1960-1965 era. his power strategy that has been found in discussions and data analysis is the concepts of lyrics and scales. his lyrics contents are the portraits of demographics, psychology, geography, daily social situations and places in surabaya (bourdieu, 1993; zandra, 2014). due to its too-visible characteristics, these portraits are not considered special. however, according to history, liedje’ keroncong easily received popularity precisely by presenting common social portraits. nowadays, terminal tirtonadi and stasiun balapan by didi kempot also take the local sites as the lyrics’ parts and easily dominate the market. gesang also had success using bengawan solo song to gain popularity. in the same context, markasan’s power strategy on the concept of lyrics was allegedly also obtained from his expertise in utilizing social portraits and places in surabaya. as one example of the song blauran wayah sore both in the title and the lyrics mention the name blauran market. activities in blauran market also become reproductions of environmental portraits described in detail throughout the lyrics. the concept of blauran wayah sore’s lyrics is a reproduction of environmental portraits and sites used by markasan to gain popularity. the satirical, straightforward, and critical language style in the lyrics of his song is also the communal utterances in surabaya. therefore, it can be said that the concept of the lyrics the songs is not new but a reproduction from what already exists. markasan personal development and thoughts are inseparable from the influence of the surrounding environment. the environment, which was the satirical, straightforward, and critical environment, was formed since his childhood. this is evident in the satire, straightforward, and critical lyrics of liedje keroncong that existed long before the markasan era. the situation depicted in the lyrics of keroncong liedje persisted as a satirical, straightforward, and critical speech style of the people of surabaya to date. this kind of habitus builds the cultural capital of markasan’s lyrics. the cultural capital of markasan’s lyrics makes the lyricist a satirical, straightforward, and critical style. likewise, the time context covered the connection of the people surrounding when the community rully aprilia zandra, markasan strategy in a best-selling musicminangkabau women 59 was familiar with satire, straightforward, and critical. it can also be said that there is a link between popular song lyric writing strategies and their environmental background and context. in other words, the analysis of objective structure cannot be separated from the analysis of the origin of the mental structure of the individual who wrote the lyrics. and the analysis of objective structures cannot be separated from the analysis of the origin of the individual mental structures of the prospective audience (bourdieu, 1993; haryatmoko, 2010). the battle of strength and strategy in the keroncong music industry results in conditions for taking positions between dominance and subordination of cultural capital at stake (jenkins, 1992; zandra, 2019). at this point, what happens is power relations between social agents who then form social classes consisting of class structures that dominate and be dominated. as a result, the structured symbolic violence mechanism appears due to markasan’s efforts in implementing surabaya local cultural capital ownership strategy. this strategy is evident in the distinction of markasan against s. padimin or other keroncong songwriters in surabaya (haryatmoko, 2010). distinction raised by markasan is self-affirmation as the dominant class to distinguish themselves from other social classes. his lyrics styles were his dominant trademarks and castes that intentionally created and defended to win the keroncing music industry in 1960-1965. habitus and capital concept in winning the industry assist this research in figuring out the use of blauran wayah sore song as one of the assets that preserve ok aneka warna directed by markasan. the other relation between his ideas and habitus was also seen in his scales. the scales played by ok aneka warna were reproduction and imitation from surabaya’s jula-juli’s scales. moreover, by 1 – 1 1 – 1 1 interval scales, the scales are in accompaniment track of eastern javanese dance such as ludruk, parikan’s melody, gamelan, or macapatan’s melody. thus, the hybrid idea is reflected in keroncong song that has european tone colors with surabaya’s places and scales. markasan used surabaya’s lyric style to dominate the music industry in surabaya in the 1960-1965 era. all of them were reproductions and imitations of things that already exist in the music lovers community in surabaya. they were easily and quickly approved by the people who were basically familiar with the local structure that was re-uploaded in the form of blauran wayah sore song. in this case, markasan style was originally formed by the environment, which in turn, shapes the tastes of the environment and surabayans precisely (bourdieu, 1993; jenkins, 1992; zandra, 2014). his success reproduced the environment in the form of lyrics content on the place in the song still needs to be appreciated because not everyone can do it, the success of this reproduction is also a success to meet the tastes and market demands (eleanor, 2009). bourdieu explained that the dialectic between actors and systems could only be created and perpetuated by social actors conditioning the product and system relations that surround them (bourdieu, 1990; bourdieu & johnson, 1993). based on the data collected, markasan is considered to be very free to express himself in his work; his music writing strategy associated with the local auditory culture capitals of surabaya he has. additive cultural capital in the form of pelog scale was borrowed by markasan to grab market appetites quickly. market tastes can be called the pelog scale because the scale of the pelog is an easy listening scale for the aspiring audience of song lovers. pelog scale borrowing strategy in the success of dominance in the music industry at that time automatically perpetuated pelog scale capital in the industry. the strategy and outcomes of the pelog scale domination process were the contributions of markasan in perpetuating the subject’s habitus. whether realized or not, the situation of the relationship between ideas in the work and the structure in its environment is the right strategy to perpetuate the style of lyharmonia: journal of arts research and education 19 (1) (2019): 55-6160 rics and the scale of surabaya’s melody. both of them also succeeded in extending the duration of habitus in the surabaya environment. the perpetuation of habitus in the environment automatically builds the durability of permanent community tastes. if the people’s tastes still like satirical, straightforward, and critical lyrics, then songwriter strategies that use satirical, straightforward, and critical styles will continue to sell. if the people’s tastes remain on the pelog tone scale, then the keroncong songwriter who uses the pelog tone scale will also continue to sell. that is, if a dominant songwriter can maintain his market tastes, then he will still be able to dominate the market with the same strategy. markasan used the power of the site in song lyrics and proved to be the dominant class. he used satirical, straightforward, and critical styles in social stories that placed in the background of popular places and dominated the market as well. hence, it can be concluded that the strategy of lending lyrics style and borrowing popular places’ names are two smart ways to maintain or gain market dominance in the music industry. markasan also employed the easy listening pelog scale for the people of surabaya. he also recognized that the people of surabaya at that time were still familiar with the scale of the pelog tone. so it concludes that borrowing the local tone scale and identifying the scale of the community’s favorites is the third and fourth way to win in the music industry in each market. the style of lyrics, popular places’ names, local scales, and identification of favorite tone scales are four of markasan’s smart strategies for becoming the best-selling songwriter of his time. conclusions from the above discussion, this study concludes that markasan lived in the east java environment, which is close to the popular and music sites of jala-juli. the cultural capital carried by markasan is the concept of a site habitus portrayed gradually from its physical and social environment, and the concept of musical habitus that surrounds it over a long period. the concept of the place created the lyric text ‘blauran market.’ while the musical concept sparked melody in the pelog scales. these ideas are representations of lending style lyrics, popular places’ names, local scales, and identification of favorite tone scales of surabaya’s cultural structure. this study also provides strategies to utilize cultural capital in the form of lyric styles, popular places’ names, local scales, and identification of favorite song scales for songwriters to excel in the music industry today. references bhaba, h. k. (1994). the location of culture. new york: routledge. bourdieu, p. (1990). reptoduction in education, society, and culture. london: routledge. bourdieu, p. (1993). the field of cultural production. london: routledge. bourdieu, p., & johnson, r. (1993). the field of cultural production: essays on art and culture (p. 322). p. 322. https:// doi.org/9780231082860 dirgantara. (2014). analisis lagu bengawan solo [analysis of the song of bengawan solo]. digilib isi yogyakarta, 1–9. eleanor, b. (2009). homi, k. bhabha, transition. palgrave macmillan, london. geertz, c. (1973). the interpretation of cultures: selected essays. new york: basic book. inc. haryatmoko. (2010). dominasi penuh muslihat akar kekerasan dan diskriminasi [deception domination: the origin of violence and discrimination]. jakarta: gramedia. jenkins, r. (1992). pierre bourdieu, key sociologist. london: routledge. khoir, m. (2016). mengidentifikasi segmen pasar dan memilh pasar sasaran [identifying market segment and market target]. akademika, 10(june). rully aprilia zandra, markasan strategy in a best-selling musicminangkabau women 61 laksono, j. t. (2015). perspektif historis campursari dan campursari ala manthou’s [historical perspective of campursari and manthou’s campursari]. imaji, 8(1). https://doi. org/10.21831/imaji.v8i1.6654 sanjaya, s. (2018). new composition concept for keroncong music in the oboe concerto with keroncong and orchestra. international journal of creative and arts studies, 5(2), 75– 85. https://doi.org/10.24821/ijcas. v5i2.2413 sarwinah. (2016). relevansi nilai sastra pada lirik lagu ridwan sau dengan kondisi sosial budaya masyarakat kota makassar (suatu pendekatan struktural genetik) [the relevance of literature value in the lyrics of the song ridwan sau of the culture of makasar city citizen: a genetic structural approach]. konfiks :  jurnal bahasa dan sastra indonesia, 1(1), 92. https://doi.org/10.26618/ jk.v1i1.164 sulistiohadi. (2000). perkembangan musik keroncong siaran rri surabaya tahun 1960 hingga tahun 1999 [the development of keroncong in rri surabaya from 1960 to 1999]. gelar, jurnal seni i fbs. widjajadi, r. a. s. (2005). menelusuri sarana penyebaran musik keroncong [the history of the spread of keroncong]. harmonia: journal of arts research and education, 6(2). widodo, d. i. (2002). soerabaia tempo dulu [the past story of surabaya]. surabaya: dinas pariwisata. yacob, s. (2017). hirosima/nagasaki: mangsa propaganda sejarah [hiroshima/nagasaki: the victim of historical propaganda]. sejarah : journal of departement of history. zandra, r. a. (2014). sejarah musik keroncong di surabaya [the history of keroncong in surabaya]. imaji, 12(1), 74–84. zandra, r. a. (2019). keroncong gaya keempat (kajian bentuk dan gaya penyajian) [the fourth style of keroncong: a study of the form and presentation]. journal of art, design, art education and culture studies (jadecs), 4(1), 39–47. retrieved from http:// journal2.um.ac.id/index.php/dart/ article/view/ 8133/4405 84 madurese soap opera: an industry and madurese culture migration of situbondo people panakajaya hidayatullah faculty of cultural studies, universitas jember, indonesia received: june 3, 2018. revised: february 4, 2019. accepted: may 28, 2019 abstract the purpose of this study is to describe a variety of research problems, including the industrialization of madurese soap opera and the madurese cultural migration of the situbondo community. the results showed that madurese soap opera is a product of cultural industrialization that is produced based on the logic of mass cultures. such as standardization, commodification, and massification. standardization is seen from the use of local artists, madurese dangdut music, as well as local narratives built through local phenomena in situbondo. cultural commodification can be seen from the changing motive of drama arts (al badar) to vcd films (madurese soap opera). as a commodity, madurese soap opera has an economic motivation that is demonstrated in terms of massification; it is produced in 10,000 pieces and distributed to the local market within east java. madurese soap opera is a phenomenon of the disruption of global industrial technology captured by local communities, acting as a comparison to the national soap opera industry. the contestation can be seen through both abilities in using global technology, namely television. local television has a big role in promoting local content such as madurese soap opera. madurese soap opera on local television eventually became a medium that could bring people closer to their madurese cultural identity. keywords: madurese soap opera, industry, migration, madurese culture, situbondo how to cite: hidayatullah, p. (2019). madurese soap opera: an industry and madurese culture migration of situbondo people. harmonia: journal of arts research and education, 19(1), 84-97. harmonia: journal of arts research and education 19 (1) (2019), 84-97 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i1.14951 the development of media and technology in the context of the local art industry can be explored through the production of madurese soap opera in situbondo (east java). madurese soap opera is a madura-language film (situbondoan) produced by local record companies in situbondo since the 2000s, produced in the form of video cds that are traded within the local industrial market. the emergence of madurese soap opera in situbondo was triggered by the phenomenon when the performing arts that were displayed live began to be abandoned by the audience. in introduction the development of technology today has a significant influence on the art industry at the global, national, and local levels. the art industry responded to the increasingly rapid changes as a consequence of the changing times. these conditions require the arts industry players to quickly, creatively and innovatively make adjustments (adaptation) as a survival effort in order to maintain their existence in the constellation and contestation on the stage of the arts industry. corresponding author: e-mail: panakajaya.hidayatullah@gmail.com p-issn 2541-1683|e-issn 2541-2426 panakajaya hidayatullah, madurese soap opera: an industry and madurese culture 85 the 1960-1990 era, performing arts in situbondo was still relatively busy, as evidenced by the many traditional arts groups that were still actively performing live shows (see hidayatullah, 2017, p. 45-121). at that time, the performing arts became a vessel for madurese people to express and become part of the situbondo community life. performing arts as a form of the local expression of madurese culture functioned as a medium of self-articulation, entertainment, and education to the community and featured in several events such as weddings, circumcisions, village and sea selametan (thanksgiving), and various public parties. the emergence of the era of industrialization marked by the development of technology and media also influenced the development of art forms in local communities. several essential periods occurred in situbondo, especially those related to the process of industrialization and the development of art. the first period was the entry of the first audiovisual arts industry in situbondo. in the 1960s, the situbondo community was shocked by the appearance of several cinemas and film products from abroad (see hidayatullah, 2017: 49). indian films dominated the market at that time. the dominance of indian films is none other than the form of soekarno›s policy of opposing western art products. at that time, watching films was an exclusive activity for the rich; only a small portion of the situbondo community could afford a ticket to watch a movie. finally, art performers in situbondo make alternative entertainment that is economical and able to reach the poor, creating the performing arts drama al badar which was inspired by the phenomenon of indian film at the time. in this context, the performing arts are still the spectacle of people›s choices, because besides being cheap, the public has no other option to fulfill their aesthetic needs. the second period was in the 1970s to 1990s, when recording technology began to be used for the production of art in the national recording industry. in the 1970s, some music productions in the form of cassette tapes began to be circulated through shops belonging to the chinese community around the mimbaan baru market complex. some entrepreneurs in situbondo then established a small local record company, the aim of which was to produce local (traditional) art content circulating in situbondo, targeting the local community market in situbondo. several art groups finally recorded his work both live and in the studio. the results of the recording were then circulated to several areas around situbondo. in this era, art products in the form of tapes are not only useful to reap the benefits of local companies, but also as a means of promoting traditional arts groups. the more cassettes sold, the more and more people will get to know the art group. for art groups that record their content, they benefit from not only the sale of tapes but also the benefits of post-sale cassette promotions. in this context, the art industry run by local record companies can go hand in hand with performance art that uses live performances. the record media industry actually helps traditional artists to promote themselves and their work to the wider community. the third period is the period where the performing arts stage begins to experience a significant setback. in the 2000s, when most of the situbondo people already had television media and vcds, at the same time, many performing arts groups went out of business because of the lack of performance requests. performing arts as the only entertainment in the past is now beginning to be replaced by new media, namely television and vcds. it was during this period that several local record companies took their part and used the momentum of the changing times. some local companies in situbondo, such as handayani record, rahayu record, and ya record, carry out large-scale production through collaboration with local artists. they make new art products by “transferring the media” from live shows into recording products. madurese soap opera is one of the media transfer products carried harmonia: journal of arts research and education 19 (1) (2019): 84-9786 out by local artists and record companies in situbondo. madurese soap opera production is also heavily influenced by the movements of the global and national art industry. therefore the emergence of the madurese soap opera is a form of openness of the madurese local community in situbondo in response to the discourse of industrialization, popular culture, and globalization. the interesting thing from reading the phenomena of madurese soap opera is how the efforts of local people who lack knowledge try to respond to modern discourses such as industrialization, new media, popular culture, and globalization. madurese soap opera production can be read as an effort to maintain and preserve the culture of local madurese people from the onslaught of globalization, which tends to be homogeneous and leads to western cultural discourse. as a migrant community (sumenep), madurese people in situbondo also need space to articulate themselves in their “new home” (situbondo), where the mode of expression will be in dialogue with the new community as well. the new and different forms of expression from the madurese community in sumenep (place of origin) are interesting to read in the concept of cultural migration. some of the previous studies that also examined the problems of madurese art and society in relation to the process of change and cultural dynamics of madura in situbondo is “the dynamic phenomena of music from colonial to contemporary era in situbondo” by panakajaya hidayatullah. published in the journal harmonia vol 17 no 1 2017, this research examines the cultural dynamics of the madurese community in situbondo, which is contained in the form of music from the colonial era to the contemporary era. cultural changes also influence the form of strèkan art from its original form, which mimics the colonial style of music to adapt to the form of dangdut music. this research shows that changes in the form of music are exciting to be examined because the arts always reflect the socio-political conditions of the community. besides, the changing of the form also implies a change in the natural mind of the people. this research only focuses on reading structural performances without examining any aspects of the local recording industry. the second study was romdhi fatkhur rozi’s (2018) study entitled “ji dullah: the dynamics of the javanese-madura language subculture in cinema culture in indonesia.” this study examines the dynamics of javanese-madura culture through narration in local films. his findings revealed that in these films, the depiction of cultural dynamics presented through the relationships and stereotypes of madurese and javanese people as an honest portrait of the socio-cultural phenomenon in the jember community. it should be explained that the local films analyzed in this study are films produced by film students at the university of jember. the approach would be completely different from the madurese soap operas, which are produced by madurese people who have no film school background. the assumption is that the production of madurese soap opera will be simpler and will present a more honest narrative because, in reality, the actors in the madurese soap opera will represent the stories of their daily lives in their work. this study aims to answer some research questions about madurese soap opera as a local expression of madura culture in situbondo. highlights in this study will elaborate on the issues: (1) how is the mode of expression of the madurese community in situbondo in overcoming cultural changes, reviewed through the concept of cultural migration edwin jurriëns; (2) what is the process of the emergence of madurese soap opera in situbondo; (3) how is the process of industrialization madurese soap opera, reviewed through the concept of mass culture adorno; (4) what is the role of local media (television) in running local cultural agencies in the madurese community. in the end, this study will provide a complex picture of the local expression of madura culture in situbondo through the madurese soap opera, both viewed from a panakajaya hidayatullah, madurese soap opera: an industry and madurese culture 87 review of cultural and industrial migration. method this article is the result of an anthropological research study using james p. spradley’s ethnographic method (1997) and cultural studies perspective that discusses several research issues related to the phenomenon of industrialization of madurese soap opera, and about the migration of madurese culture in the situbondo community through madurese soap opera. answering some research questions, the authors conducted several stages of field research, namely, (1) participatory observation, and this stage was carried out by becoming a part of the madura community in situbondo. the writer made an in-depth approach to several informants such as al badar art actors, film actors, directors, owners of local record companies, local artists, show viewers, employees on local television, cultural figures, and some local vcd traders in situbondo. observations were also made by watching live performances with informants, following the madurese soap opera production process, and in-depth interviews with informants; (2) doing an ethnographic recording, at this stage, the writer in detail records all expressions, phenomena, and situations in the field, especially those related to the madurese soap opera, such as recording audience expressions while watching soap opera, audience response, and other show dynamics. in this article, several direct quotes will be used to strengthen the findings in the field; (3) literature study, the authors conducted a literature study related to the research topic; (4) data analysis, the authors conducted data analysis using the theory of cultural migration to read the local cultural expression of the madurese community in situbondo and the theory of mass culture to read the process of industrialization in the madurese soap opera. results and discussion madura situbondo culture local expression edwin jurriëns offers an exciting view of cultural reading. he distinguished the concepts of migration and cultural migration. cultural migration is an awareness of the cultural consequences (cultural differences) of the cultural safaris that are pursued, even someone who experiences them will try to overcome these cultural changes (differences). it is different from migration, which is a migratory event without thinking about the impact of cultural safari. a tourist’s cultural trip can be taken as an example of migration events; one only does physical safaris, moves one’s body, meets one’s consumptive needs, and returns to one’s home country without questioning one’s own identity (jurriëns, 2002: 6). while migrants who have performed cultural migration, they radically change their perceptions during and after cultural safari trips, so that migrants can never return home mentally or culturally (jurriens, 2002, p. 6). the concept of cultural migration can be explored through reading the phenomena of madurese soap opera as a cultural product of the madurese community in situbondo. the madurese ethnic community dominates the situbondo community. they are migrant communities who have migrated to the land of java (situbondo) for a long time (see husson, 1997). the madurese people in situbondo are the subject of cultural migration. they have made a long cultural safari (journey), leaving the place of origin (madura island) and chose to settle in the land of java (situbondo). being in an overseas area has created a psychological impact on the community, in order to overcome homesickness, they then create cultural products such as the madurese soap opera as the imagination of their new home. as a migrant, the madurese community in situbondo also experiences dialectics with the new culture where they live. the era of globalization and the openness harmonia: journal of arts research and education 19 (1) (2019): 84-9788 of information media that open distance, space, and time in the crossing of cultural safaris also influence the awareness of the madura migrant community in situbondo. it is precisely in this context that madurese soap opera is positioned as a phenomenon of cultural migration; it was born from the crossing of local, national, and global discourse experienced by madura migrants in situbondo. madurese soap opera is an empirical consequence that was born from the phenomenon of cultural migration, where migrants will continue to adapt and try to cope with cultural changes and the eras they experience. the madurese soap opera is an expression of the locality of the madurese community in situbondo that represents the natural mind of the people through local content (madura cultural phenomenon), local languages (madura situbondoan), local artists (artists from situbondo), local music (madurese dangdut), local industry (record companies in situbondo), and sold within the local market (madura people in east java). in the national context, soap opera models on national television that use serial (continued) patterns cannot accommodate the complexity or diversity of local cultures. therefore, madurese soap opera has a role in offering locality and is present as a comparison or alternative in the context of pluralizing soap opera models. whereas in the global context, madura culture has captured the development of recording technology and vcd to become a cultural product called the madurese soap opera, one of which is also broadcast on local television (situbondo). the following is a comprehensive explanation that discusses: (1) the history of the emergence of the madurese soap opera in situbondo; (2) the industrialization of the madurese soap opera; and (3) the role of local television in developing madurese soap operas and other local recording content. madurese soap opera — history and development historically, the madurese soap opera is a form of transformation (the transfer of media) from the drama arts of al badar. al badar is a performance art that originated in the ‘60s in the form of drama in madurese and told about islamic stories (prophets and apostles). al badar is usually adapted (interpreted) from the qur’an and other islamic books, set in india and arabic, with the accompaniment of malay music (dangdut) sung on the sidelines of the story (hidayatullah, 2017, p. 48). at first, al badar was only shown live on the stage, then experienced commodification after the establishment of several local record companies in situbondo. in the ‘60s to ‘90s, the drama al badar was produced in the form of cassette tapes (audio only). only in the 2000s, the al badar drama could be enjoyed in the form of vcd films (audiovisual), with some modifications in it, such as changing the terminology of al badar to madurese soap opera, changing the content of islamic stories to social stories (profane), and changing the settings from indian-arabic into the settings and cultural background of madura situbondo. based on historical records, it can be said that the actors in the art industry in situbondo have made several adaptations (transfer media) of art, namely from film (cinema) media as inspiration, into performance art. then commodified into al badar drama in the form of cassette tapes (audio) and finally the madura soap opera in the form of video cds (audiovisual). the changing shape of the media is closely related to the influence of technology and the inclusion of media development in indonesia in general and situbondo in particular. audiovisual media such as some indian films began to enter situbondo in the ‘50s but were only centered in cinemas. at the same time, television was still an elitist media (personal communication, imam kutunuk, 3 april 2016). the popular entertainment for the situbondo people at that time was only performing arts that were live performances. artists then tackled it by adapting indian films in theaters into panakajaya hidayatullah, madurese soap opera: an industry and madurese culture 89 the form of performance art, until the drama al badar was created. in the ‘60s, when the tape cassette technology began to be used by the national recording industry (theodore, 2013, p. 57), in situbondo, there was also a local record company that produced local works of art using tape cassette media to be sold in the local market (hidayatullah, 2017, p. 96). a local record company is different from a national record company. the difference lies in the content, artist, and reach of the market share or distribution area, which is only local. it should be explained that local record companies in situbondo generally produce local art products (situbondoan) by involving local artists, content that refers to social and cultural situations/conditions in situbondo, and uses local language (madura). al badar’s drama was then packaged and produced into a local recording industry product in cassette tape packaging. until the period of the late ‘90s to 2000s, when vcd and audiovisual recording technology entered situbondo, the drama of al badar was then produced in the film (audiovisual) with the label “madurese soap opera.” madurese soap opera is a maduralanguage film produced by a local record company in situbondo. soap opera is the terminology that is commonly used by artists and people in situbondo. terminologically, the position and meaning of soap operas in the context of the situbondo community are very different from soap operas in the context of television shows. edwin jurriëns (2006, p. 103) equates the term sinetron on television with soap opera, which on average, features sentimental and melodramatic serial/continued stories. different from jurriëns›s view, according to wardhana (2006} indonesian soap operas on television were initially far from romanticizing soap opera serial models. on average, indonesian soap operas were packaged in series (not serial) and immediately finished once broadcast, like the mtv models (movie for television) or tvm (television movie), or currently known in indonesia as ftv (film television). madurese soap opera has a shape that is almost the same as the indonesian soap opera in the early era, as explained by wardhana. still, the difference is madurese soap opera is not produced specifically for television, but to be sold retail (vcd pieces) in record stores and street vendors. madurese soap operas generally narrate stories of the everyday life of madurese people (situbondo), usually tending to tell stories of lower-class people (poor people). the problems represented also represent the life picture of madurese people in situbondo, such as infidelity, debts, unemployment, orphans, household fights, gambling, occult (shamanism), and other social problems. these social themes are explicitly portrayed in the title of the film, such as “korban orang tua” and “kaya mendadak.” actors and actresses involved in madurese soap opera production are local artists in situbondo. generally, they are madurese dangdut singers, comedians, and some are panjhâk (artists) from several performing arts groups. like the al badar drama, madurese soap opera still applies the same form and pattern of performance, namely using madurese dangdut music as a musical accompaniment that is sung on the sidelines of the film scene. even some songs that are often sung in the al badar drama, such as the song “ta ‘nyangka,” still remain as the main formula in madurese soap opera. the series of stories is also still adapted from the story of the prophet in the al badar drama. here’s one example of the madurese soap opera titled “korban orang tua” that adapts the form of the al badar drama. figure 1. the cover of a madurese soap opera vcd entitled “korban orang tua.” harmonia: journal of arts research and education 19 (1) (2019): 84-9790 the figure 1 is one of the madurese soap opera products produced by local record company ya record in 2012. it is packaged in vcds in two pieces with a duration of about two and a half hours. the interesting thing about the film is the use of an “open ending” at the end of the story. this is rarely found in some films or soap operas in indonesia. in general, ftvs (television films) with similar genres on indonesian television always give a monotonous and predictable ending to the story since the beginning of the story, but in madurese soap operas, these things are actually not found. the use of open ending makes the audience feel free and open to interpreting the film without being dictated and guided by a film narrative that is full of ambition and tendency. in addition, regarding the production of popular (mainstream) soap operas, usually the capital owners (record companies that are in fact controlled by the middle and upper classes) at the national level tend to narrate glamorous, hedonic, popular, and other modern things; instead, madurese soap opera precisely articulates different and opposite narratives. madurese soap opera narrates the stories of the reality of the madurese situbondo, lower-class workers, unskilled workers, gamblers, rickshaw pullers, intoxicants, and several other social phenomena that do not appeal to the national film industry. the industrialization of madurese soap opera the local recording industry in situbondo started when the tape recording technology became popular in the national recording industry in the ‘60s. the efficiency of recording technology and the ease of duplicating products (compared to the phonograph record era) opened wide opportunities for investors in the local regions to participate in opening a business in the world of the local recording industry. from the ‘60s to ‘90s, in situbondo, three local record companies productively produced local works on tapes, including sampurna record, diamond record, and rahayu inti fantasi record (personal communication, arif, 23 july 2017). it was at this point that performing arts in situbondo began to be commodified, packaged in the form of tapes (audio), and mass-traded. performing arts in the form of theater, music and drama traditions that used to be live, are now beginning to be recorded and duplicated to be marketed in the local market, some of which are drama stèkan, al badar, loddrok, katoprak, and topèng kertè (see hidayatullah 2017; 2017). the development of the local recording industry became increasingly crowded when the vcd technology began to be loved by the situbondo community in the late ‘90s until the 2000s (see hidayatullah 2015, p. 3). in situbondo, many new local record companies have sprung up, such as giant records, habibah records, ya records, handayani records, hnh records, mjm records, and multi tone records (personal communication, arif and asis, 23 july 2017). in this era, madurese soap opera was born and began to show its existence in the community along with the booming madurese dangdut music. madurese soap opera read from the perspective of the cultural industry, according to adorno and horkheimer, is experiencing mass production, reproduction, and distribution of cultural objects (production) for economic purposes. the culture industry claims to provide consumer needs for pleasure, but actually disguises the standardization of those needs and manipulates the desires of commodity consumption. there are three concepts of mass culture, according to adorno, namely standardization, commodification, and massification. standardization, according to adorno, is commodities that use the same formula with a few modifications. commodities that have in common are camouflaged, so they look many and diverse. in madurese soap opera, standardization patterns can be found easily. on the vcd cover packaging, all madurese soap operas use the term “madurese soap operas” and no longer use previous (local) performing arts panakajaya hidayatullah, madurese soap opera: an industry and madurese culture 91 terminologies such as the al badar drama, loddrok, katoprak, or others. the title on the cover also does not use the madurese language but is written in indonesian, even though the story›s content is actually madurese. on the cover of vcds generally also show photos of the performers (actors and actresses) both taken from film footage and free photos, accompanied by a description of the story and a list of actors involved. here›s an example of a cover of the madura comedy soap opera (comedy) titled «kaya mendadak,” figure 2. the cover of a madurese soap opera vcd titled “kaya mendadak.” the cover above is one of the madurese soap opera products produced by the local record company handayani record in 2006. the cover has the same patterns as other madurese soap opera covers that use the terminology “madurese soap opera,” has the title in indonesian, and uses specific display photos and the actors’ list. besides from its cover, standardization can also be seen in the film content. generally, madurese soap opera uses the madura situbondoan language (sumenep/tèmor dialect), which always featuring madurese dangdut both as a musical illustration of the film and as the main part of the film sung by the actors and actresses between the story’s scenes. as explained earlier that madurese soap opera is an adaptation of the al badar drama; the form of the show is not much different from indian films that feature songs on the sidelines of the story. madurese soap operas always involve local artists in situbondo, such as madurese dangdut singers, comedians, and traditional drama performers who are usually well-known by the public through their on-stage performances. for example, in the madurese soap opera titled “kaya mendadak,” the artists featured are artists from the comedy group martono cs who are well known to the public for their existence. the same thing happened in the madurese soap opera titled “korban orang tua,” the artists involved were madurese dangdut singers in situbondo such as kiki asiska, hadi st apa, and fian ta. the story content displayed has a characteristic that is reviewing the social phenomena of the madurese people in situbondo. madurese soap opera is a representation of the nature of madurese thought in situbondo so that what is displayed is never far from the reality of people’s lives. some examples are as explained earlier, such as the phenomena of infidelity, poverty, unemployment, occultism, gambling, and many more. the background and setting built by the madurese soap opera is madura’s culture in situbondo; so far, there are no other backgrounds and settings displayed besides madura’s culture in situbondo. based on the data above, it can be said that madurese soap opera, as a product of the culture industry, has clear standardization. there are various titles and themes in the madurese soap opera, but all have the same formula (standard), with minor differences in it. besides standardization, the industrialization of the madurese soap opera can also be read through the concept of commodification. adorno revealed that the commodification of cultural objects is cultural commodities produced by cultural industries, which are controlled by the exchange rates and materialism. the commodification of culture is based on the motives of economic profit (profit-oriented). in the madurese soap opera, the commodification of culture can be seen from the motive for changing the art of drama into a vcd film. cultural products in the form of drama art, which was originally a response harmonia: journal of arts research and education 19 (1) (2019): 84-9792 art performance model, are commodified by local record companies, mass-produced, and duplicated for economic purposes. the commodification of culture (art) has consequences, which are considered to change the status of the artwork itself. according to benjamin (2003, p. 17), the potential for work of art reproductions causes the essence of the artwork to be left untouched. furthermore, benjamin (2003, p. 17-18) critically said: “artwork is a complex of various taste phenomena that exert influence and ‘shape’ it.” the reproduction process contains something that makes it not authentic because what makes it lack is the spirit of history in it. like human imitation, such works of art have no past. furthermore, because of its reproducible nature, artwork loses its magical power. for madurese in situbondo, performance art triggers a sense of “ḍâlem,” which touches the deepest feelings, or a means to articulate psychological conditions, escape from tensions, and reflection on social conditions. this condition can be fulfilled when the community is present in the aesthetic events of the performing arts. when culture (performance art) becomes a commodity, the industry provides alternative options to meet those needs, one of which is through the commodification of the form of drama (performance art) into madurese soap opera. people who usually watch the live drama (al badar) together and make it an everyday watch, with the madurese soap operas commodification, people buy vcd products to enjoy it privately. therefore, the community loses the pleasure of watching live and together. following is the audience experience watching al badar’s drama (live), before being commodified in the form of vcds, “there was an exciting experience when al badar mahajaya was invited to a wedding event. when rasuk (the main character) began to enter the stage and sing, the bride spontaneously and hysterically descended from the kuade and ran up to the stage. seeing the incident, the bridegroom was angry and then left the wedding venue, and the event became chaotic” (private communication, imam kutunuk, 3 april 2016). in line with the statement above, a panjhâk (drama player) from al badar mahajaya group also gave a statement related to his experience playing and watching al badar’s drama as follows, “when the drama al badar starts, as a spectator, it feels like our lives are brought into the drama. al badar’s story is a real story. everyone cried when the scene of the prophet yusuf (the main character) was beaten by his brother, and everyone was angry at rubil (the antagonist actor). even when the rubil’s actor was offstage, not a few mothers beat him up, even though the story was over. people who watch the drama cannot distinguish between drama life and the real-life” (private communication, imam martono, 8 april 2016). the two statements above give a clear picture of the aesthetic experience experienced by viewers of al badar’s drama before its form is commodified. the statement indicates that the drama al badar has the power that can make the audience dive into the feeling of dalem (deep feeling). through watching a drama, society is brought to a certain psychological condition, taken to escape from tensions, reflect on social problems, and the means to articulate emotions. the experience of watching live drama is certainly different from watching madurese soap opera via vcd media. when drama is commodified as vcds, people no longer experience aesthetic experiences as high as live watching. the following is wahyu employee’s experience as a spectator and performance art observer in situbondo when watching madurese soap opera through vcd media, “there is a difference between watching live and through vcd media. the difference lies in the atmosphere of the show. when we watch live, the atmosphere of the show is different from watching panakajaya hidayatullah, madurese soap opera: an industry and madurese culture 93 through the media, such as the presence of other audiences, the response of other audiences, interactions between audiences, and interactions between the audience and the performers; therefore, we know how it looks. if, for example, we see it through vcds media, there is a privatization of the spectacle, the spectacle is only ours to experience, so the process of appreciation between audiences do not occur. on the other hand, if the spectacle is directly witnessed, the process of mutual appreciation occurs with a different public response” (private communication, aves wahyu, 24 september 2017). furthermore, wahyu gave a technical explanation regarding the experience and the differences he experienced when watching live performing arts and through local vcds or tv media, “there are no “hidden things” when we are watching live, but if we are watching vcds or television, there are hidden things. because what is presented to the audience is only what has been captured by the lens, and this lens only catches anything that needs to be there—different from when we are watching live. we can respond directly to whatever we want to captivate, maybe by selling peas (snacks), or events that may be offstage; it gives a sensation for the audience. in the aspect of player expression, in a live show, sometimes we find spontaneities that we will not find except for that day. it is way different from the recording media; spontaneous things are sometimes avoided because they may not be good by the rules” (private communication, aves wahyu, 24 september 2017). wahyu gives a clear picture of the difference in atmosphere when watching al badar’s live performance by watching madurese soap opera on vcds or television. something is missing from the changing of the format; that is, the show becomes too rigid, organized, standard, and not flexible. the atmosphere of the show, which is usually loose, free, and spontaneous becomes unusual when it is packed in the form of film. besides, the experience of watching vcds privately or alone is rhetorical, namely one-way communication. the audience is not given enough space to interact with or having a dialog. in the logic of the industrial world, to meet the needs of a massive society, the consequence is that commodities are massproduced. massification has a psychological impact on the consumer. product massification creates desires, needs to need, hopes, and dreams of consuming these commodities continuously. madurese soap opera as a commodity has the same motivation as industrial commodities in general, and it is massification. local recording industry products in situbondo are usually produced in large enough quantities. generally, producers duplicate vcd discs in jakarta or surabaya because of time efficiency considerations and the technology used. local record companies only send master files to several partners in jakarta and surabaya to be duplicated at the request of the producer. as arif’s statement as the producer of mjm (maju jaya makmur), “in the era of cassette tapes, i duplicated this master to jember, there were still pinokio records that had sophisticated equipment. for the vcds, i reproduce them in jakarta because it is fast and gets good results “(private communication, arif, 23 juli 2017). regarding the number and distribution area, the following statement is from asis akbar as the producer of ya record, which produced the madurese soap opera “korban orang tua,” “ i produced the madurese soap opera more than 10,000 pieces and circulated in situbondo, probolinggo, lumajang, jember, bondowoso, and banyuwangi” (private documentation, asis, 15 september 2017). in the madurese soap opera production, asis was not only a producer but also a director. the number of vcd disc production in the local industry is indeed not as much as the national industry, usually in the range of 10 thousand to 250 thousand pieces per production. madurese soap opera has its market share as well as the local music industry (madurese dangdut). its marketing harmonia: journal of arts research and education 19 (1) (2019): 84-9794 target is the madurese ethnic people in the east java region. regarding the distribution area, anto and angga explained as follows, “madurese dangdut vcd tapes and local locations produced by handayani record usually marketed, to the north, from sumenep and around madura, to the south, until jember and lumajang, and to the east, until banyuwangi, pasuruan, and probolinggo” (private communication, angga and anto, 23 july 2016). asis acknowledged that madurese soap opera vcd production was not performing as well as dangdut vcd sales, so it not only produced madurese soap opera but also produced the osts (original soundtrack) for the soap opera in a separate package. this pattern mimics the pattern of indian film vcd sales. generally, indian films have a compilation of ost songs that are sold specifically and separate from the sale of the film’s vcds. here is an example of a cover of the madurese soap opera ost vcd titled “korban orang tua,” figure 3. the vcd cover of a madurese soap opera ost album entitled “korban orang tua.” the cover above is a madurese soap opera ost album “korban orang tua,” produced by ya record in 2012. this album contains madurese dangdut songs used as the osts in the madurese soap opera titled “korban orang tua.” besides getting economic benefits from the sale of madurese soap opera vcds, ya record also benefits from the sale of its soundtrack album. local televisions in situbondo broadcast madurese soap opera and other local content in the early 2010s, local television stations began to appear in situbondo, such as situbondo tv (stv), then followed by several other local tvs such as situbondo vision and smn tv. it should be known that a local tv is a tv station that only broadcasts local content, has local reach, and most of the shows use the local language. the essence of establishing one is to provide alternative shows for the local community (limited area); therefore, they could enjoy local news shows, local entertainment containing local art, local cultural insights, local tourism, and other local wisdom (private communication, aves wahyu, 24 september 2017). among the programs, the program that dominates the most local tv in situbondo is the display of local recording industry products that all contain local content about situbondo, such as madurese dangdut, madurese comedy, madurese soap opera, ketoprak, topeng kertè, and many others. in situbondo, there are two types of local television based on the broadcast technology used, namely local television that uses transmitter technology and local television that uses cable (network) technology. one of the examples of television stations that use transmitter media is situbondo tv (stv), while those using cable technology are situbondo vision and smn tv, as well as several other local tvs. based on the number of enthusiasm, cable tv is the most loved media by the public, because the cable tv manager is a television broadcast service provider that subscribes to several national and international channels. some cable tv customers choose to subscribe to the service because it is far cheaper than officially subscribing through professional service providers such as indovision and others. cable tv subscribers can enjoy not only national and international flagship channels but also enjoy local tv broadcasts 24 hours round-the-clock. data in the field shows that the majority of these customers choose to subscribe becaupanakajaya hidayatullah, madurese soap opera: an industry and madurese culture 95 se they want to enjoy local tv broadcasts, especially for the people who live in the village (private communication, hadi, 30 september 2017). the people who live in the village do not take advantage of these facilities, so they prefer local content such as madurese drama, madurese soap opera, and madurese comedy (private communication, hadi, 30 september 2017). one of the most popular local (cable) tv channels in situbondo is situbondo vision. situbondo vision was founded in 2011, it started from a regular cable tv provider, then started to establish local tv channels to accommodate customer needs (private communication, kholik, 30 september 2017). situbondo vision has quite several customers, around 3 thousand regular customers spread across the situbondo area of the city and several suburbs. its coverage area covers, to the north, all the way to north olean market (olean district), to the south, until pengkepeng (south panji district), to the east, to ca’ing area (kesambirampak village, kapongan district), and to the west, until abdur rahem hospital (patokan village). situbondo vision operational costs are obtained through customer deposits every month, and requests for coverage of events to be broadcast live and delayed, while income from advertising is not much. situbondo vision was founded with a passion for awakening the cultural potential of situbondoan (madura). this passion is reflected in the content of the program being broadcast. almost all programs that are aired for 24 hours contain products of the local recording industry in situbondo as well as live broadcasts of events in situbondo. kholik, as an employee at situbondo vision, said, “in its early days of the establishment, situbondo vision only played local vcd cassettes using vcd players, yes madurese dangdut, lawakan “jokes,” ketoprak, and others. now everything has been operated using a computer device. the program on channel 1 (situbondo vision) only contained local events such as wedding events, farewell events, recitations, workshops, and so on. we usually offer to record those events; often, they come to us, so we record and broadcast it. madurese soap opera, ketoprak, and comedy are usually played at night, whereas in the morning, madurese dangdut music is usually played. besides that, every friday night, a recitation video is also played” (private communication, kholik, 30 september 2017). in this case, situbondo vision is a promotional media for local recording industry products in situbondo. it is also important to realize that the presence of local recording industry products is caused by the unavailability of other content on the local television. production of shows on television costs a lot of money and is actually not worth the earnings earned by local television. hence, they use local recording industry products to fill the gap because they have the same passion that is to awaken local cultural potential. wahyu as an artist who has been in the world of the local recording industry and radio stations observed, “i see it more in the symbiotic relationship of mutualism way. one the one side, the television service provider needs content, and to produce content, it requires big production costs. on the other side, the local record company also needs promotional media and admirer. and how do they publish their work; the only way is to work with local tv to promote it, in hope to expand the market, when there are people interested in it, and they will buy it. in the world of radio, we offer the local recording industry to work with us, we give them advertisements for free, but with a note that every time there is new production, we are given several sample products. the cooperation is like that, and not with the purchasing purchase rights and broadcast rights. the average of mechanism in the situbondo is like that” (private communication, aves wahyu, 24 september 2017). “i see it more in the symbiotic relationship of mutualism way. one the one side, the television service provider needs harmonia: journal of arts research and education 19 (1) (2019): 84-9796 content, and to produce content, it requires big production costs. on the other side, the local record company also needs promotional media and admirer. and how do they publish their work; the only way is to work with local tv to promote it, in hope to expand the market, when there are people interested in it, and they will buy it. in the world of radio, we offer the local recording industry to work with us, we give them advertisements for free, but with a note that every time there is new production, we are given several sample products. the cooperation is like that, and not with the purchasing purchase rights and broadcast rights. that is pretty much the average of mechanism in situbondo” (private communication, aves wahyu, 24 september 2017). one of the mainstay content aired by situbondo vision is madurese soap opera. hadi revealed that the average situbondo community likes madurese dramas, such as madurese soap opera, madurese comedy, and madurese ketoprak, all of which contain elements of a story (private communication, hadi, 30 september 2017). besides, the airing is also done because of the many customer requests. madurese soap opera is present on local television as a cure for their longing for drama show that is now rarely found. through local tv media, people no longer need to wait for a community celebration or “selametan desa” to watch dramas; just by subscribing to cable tv, their longing can be remedied. situbondo vision has a role in promoting local content through madurese soap opera. in this case, madurese soap opera can meet the tastes of the madurese people in situbondo. as the following story, “in the evenings after work, sugiono always looks for channels that broadcast local content such as madurese soap operas and ketoprak as a lullaby. he is doing this almost every day as a routine. when watching madurese soap opera, sugiono feels transported back to his youth when he loved the drama al badar” (observation of the writer to sugiono as the father of the writer). the madurese situbondo people used to be close to art performances, such as the drama al badar, and the madurese soap opera on the television tried to bring back experiences that existed in the past. therefore, madurese soap opera becomes the choice of spectacle. the situbondo people feel they have and are closer to the cultural identity of madura situbondoan. unfortunately, the development of several local televisions in situbondo began experiencing various problems, especially local tvs, which only relied on advertising media as capital for their operational costs, including situbondo tv, the only local tv station in situbondo that operates using broadcast media and relies on advertising. so far the situbondo people are still not too close to the tv media, they are still familiar with radio media. the issue has an impact on the advertising market; currently, local tv is not getting so much advertising compared to radio. situbondo tv anticipated the expansion of broadcasting by using online media, such as youtube, facebook, and other streaming services. besides, he also invited several cable tv networks to work together, hoping that they could playback stv channels and distribute them to their networks. the local tv crisis in situbondo is mostly due to the lack of acceptance of television media by the madurese people. this crisis is related to the habits of madurese, who like to gather and joke around while working. radio media is more desirable because it has the role of accompanying people who gather and work through their voices, in contrast to television media. in terms of watching madurese soap opera on television, people are required to sit and focus on watching, so that this becomes less appropriate and accepted by the madurese community. conclusions madurese soap opera is a product of the culture industry or madurese culture which has been produced in the form of a commodity (industrialization). as a mepanakajaya hidayatullah, madurese soap opera: an industry and madurese culture 97 dia, madurese soap opera also constructs social norms, reproduces social values , and displays madura cultural images in film representations with economic motivation. madurese soap opera is a phenomenon of the entry of industrial technology that is captured by local people. as a result of this industrialization, madura’s art performances in situbondo, which previously existed, were less competitive. madurese soap opera can be said to be the transformation of al badar art performance. the consequence of the transformation is the loss of feelings experienced by the audience when watching the drama directly. the madurese soap opera industry created local markets, including situbondo, probolinggo, jember, bondowoso, lumajang, banyuwangi, and madura. madurese soap opera also creates a standard taste, because it produces almost the same content. madurese soap opera uses local resources, including artists from situbondo, madura dangdut music, the local recording industry in situbondo, and local phenomena in situbondo as the primary content. in this case, madurese soap opera acts as a measurement of the national soap opera industry. this competition is demonstrated through the ability of those who use global technology, namely television. madurese soap opera even produces vcd cassettes. besides, local television stations, such as situbondo vision, has a role in promoting local content, such as madurese soap opera. through the madurese soap opera on local television, the situbondo people feel close to its madurese cultural identity. therefore, local television also has a stake in uplifting, developing, and preserving the local culture of madura in situbondo. but in its development, the existence of local television experienced a crisis, which was caused by sources of funds such as advertisements that could not cover operational costs, as well as the incompatibility of television media with the habits of the madurese, who would rather hear radio than watching television. references benjamin, walter, dalam greg sutomo, (2003). krisis seni krisis kesadaran, yogyakarta: penerbit kanisius. hidayatullah, p. (2017). dangdut madura situbondoan, yogyakarta: diandra kreatif. hidayatullah, p. (2015). “musik adaptasi dangdut madura”, resital 16(1), 1-14. hidayatullah, p. (2017). “the dynamic phenomena of strèkan music from colonial to contemporary era in situbondo”, dalam jurnal harmonia, 17 (1, 1-12. hidayatullah, p. (2017). ”panjhâk sebagai agen pengembang karakter budaya dalam masyarakat madura di situbondo”, dalam jurnal jantra, 12(2), 139-151. horkheimer, m., theodore w.a., & gunzelin s. n. (ed), (2002). dialectic of enlightenment: philosophical fragments, jephcott, california: standford university press husson, l. (1997). eight centuries of madurese migration to east java, asian and pacific migration journal, 6(1). jurriëns, e. (2006). ekspresi lokal dalam fenomena global: safari dan migransi budaya, jakarta: pustaka lp3es. rozy, romdhi fatkhur. (2018). ji dullah: dinamika subkultur flm berbahasa jawamadura dalam budaya sinema di indonesia. paper presented on nasional seminar of culture kebudayaan ii, universitas brawijaya. spradley, james. p. (1997). metode etnografi. yogyakarta: tiara wacana. theodore k.s. (2013). rock’n roll industri musik indonesia: dari analog ke digital. jakarta: kompas media nusantara. wardhana, veven sp, (2006). kata pengantar dalam edwin jurriëns, 2006, ekspresi lokal dalam fenomena global: safari dan migransi budaya, jakarta: pustaka lp3es. weintraub, andrew n. (2012). dangdut: musik, identitas, dan budaya indonesia. jakarta: kepustakaan populer gramedia. 165 siriah gadang cultural values in galombang dance in pariangan, west sumatra afifah asriati¹, as hardy shafii², yuliasma¹, irdhan epria darma putra¹, desfiarni¹ 1universitas negeri padang, indonesia 2universiti sains malaysia, malaysia submitted: 2022-10-07. revised: 2023-11-03. accepted: 2024-05-09 abstract this article aims to expose the revitalization of siriah gadang cultural values in galombang dance performed in guguak village, pariangan, tanah datar regency, west sumatra. siriah gadang is almost extinct because it is very rarely used. it is a cultural object with the same function as carano, which is currently used for galombang dance performances. to achieve this goal, qualitative research was used through observation, documentation, in-depth interviews, and focus group discussion (fgd) techniques. the data obtained were analyzed using the miles and haberman model. it was found that the cultural values in siriah gadang are customary values, ethical values, social values, religious values, and leadership values reflected in the philosophy of the minangkabau people “adaik basandi syarak, syarak basandi kitabullah.” keywords: cultural values; siriah gadang; minangkabau; galombang dance how to cite: asriati, a., shafii, a. h., yuliasma, y., putra, i. e. d., & desfiarni, d. (2024). siriah gadang cultural values in galombang dance in pariangan, west sumatra. harmonia: journal of arts research and education, 24(1), 165-176 harmonia: journal of arts research and education 24 (1) (2024), 165-176 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v24i1.39447 tains siriah langkok (completed betel leaves), the term for putting together betel leaves according to custom beliefs (khairat et al., 2018). carano is a special container that serves as a traditional ceremonial object used by the minangkabau people. it was made from a mixture of gold metal that resembles real gold both in color and material. carano, completed betel leaves, and dulamak are a unity that cannot be separated (zubaidah, 2001). the same object called cerano is used to welcome guests in riau and jambi (na, 2014), or tepak sirih (siska putri et al., 2014). it was made of pulai wood in the shape of a trapezoidal rectangle (purwati, 2020). introduction galombang dance in minangkabau is a dance performed to welcome guests (utama, 2017) and has never been performed for other purposes. traditionally, it was only men who performed the dance while women were not involved as dancers (nerosti, 2013) ; (indrayuda & ardipal, 2017) ; (asriati & desfiarni, 2019). based on observations and sources that researchers read in general, guests will be given betel leaves at the end of the dance as a welcome greeting. the container for betel leaves is called carano. this carano is covered with rectangular embroidery called dalamak, which concorresponding author: e-mail: afifahasriati@fbs.unp.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 24 (1) (2024): 165-176166 meanwhile, in west sumba, east nusa tenggara, the object to put the betel leaves in is called kuolaka, which is made of woven pandanus or palm leaves (dwinanto et al., 2019). unlike the case in guguak village, pariangan, there was an interesting and unique thing in this place where carano was not used as a betel leaf holder to serve guests. they used siriah gadang instead (asriati, desfiarni, & darma putra, 2021). this term is unique and interesting because it only exists in this place out of four villages in pariangan. in addition, siriah gadang is used only for alek nagari (village ceremony) called batagak pangulu (the appointment of their leader) and panutuik pacu jawi (closing ceremony of the bull race). therefore, it is rarely used because batagak pangulu ceremony is held when a leader of this village dies. dt. simarajo et al., traditional leaders of nagari pariangan, state that it was used at the batagak pangulu event in the 1960s. likewise, it is also used for alek pacu jawi, if the event is held in guguak village only. meanwhile, this event is regularly held in several villages in tanah datar regency (dt. simarajo et al., 2021). the pacu jawi event is one of the traditional games that is very popular in tanah datar, west sumatra province. this event can only be found in tanah datar regency, which includes four sub-districts: pariangan, rambatan, limo kaum, and sungai tarab (pratama & nasution, 2020; vernando (2019). based on the phenomenon, it is predicted that galombang dance using siriah gadang will become extinct in the community if it is not reconstructed and revitalized soon. in fact, it is the identity of this village, and the person who is able to make this siriah gadang is very old now. he is currently 79 years old (sani, 2021). further, not everyone knows the existence of siriah gadang in galombang dance performances because it is rarely used. they also do not know the cultural values of this dance. to sum up, siriah gadang is a legacy of the oldest generation that needs to be cared for and preserved as the cultural identity of the people of guguak village. the problem mentioned above is the reason behind the need to reconstruct and revitalize the values of siriah gadang in galombang dance. supanggah (2008) explains that there are seven steps to revitalize traditional art: (1) reconstruction, (2) refunctionalization, (3) representation, (4) reformation, (5) reformation-interpretation, (6) reorientation, and (7) recreation (anggraeni, 2015, ruslan & sukriyadi (2023). reconstruction is an activity carried out for arts that have been lost but they still have the opportunity to be revived. this is considered important because it has a useful value for the community. revitalization can be done because there are still sources of information that support it, such as the existence of sources or performers who are still alive and can perform the art. reconstruction can be interpreted as rebuilding to the original condition that is known and distinguished by using new or old materials (rachman, 2012). on the other hand, cultural revitalization is an effort to realign local cultural values that may have weakened or deviated because they no longer fit the community’s needs (sedyawati, 2014). the revitalization of siriah gadang values is intended to interpret the reconstruction results so that they can be understood in the context of minangkabau culture. thus, the cultural values of the current conservation object are more concrete. furthermore, the preservation of cultural values includes various kinds of activities: 1) cultural studies, especially about cultural values, various ethnic groups, or values formed at the national level that develop over time; 2) training for the younger generation in group activities within a certain period of time which aims to teach values about defending the truth, honesty, sincerity in giving, togetherness, and compassion; 3) collecting printed information related to cultural values with examples of real afifah asriati et al., siriah gadang cultural values in galombang dance in pariangan, west 167 settings or situations (sedyawati, 2014). therefore, one of the benefits of revitalizing the cultural values of siriah gadang in this galombang dance performance is to keep its existence, considering that pariangan is the first village in minangkabau. it is known as nagari tuo (old village) and is appreciated as one of the most beautiful villages in the world by the influential united states tourism media, travel budget (dini masly, 2017), which many domestic and foreign tourists now visit. in short, this research is only related to or focused on one point: cultural values in siriah gadang. in this case, minangkabau cultural values are found in the philosophy of minangkabau customs. they are mentioned in fatwa, petatah, petitih, mamang, and pantun. this cultural value is tied and will remain the same, and the realization is adjusted to the circumstances and changes in times (nasroen, 1971). these cultural values can be found in all community life, including pasambahan in the batagak pangulu event (rahmadhani et al., 2013); the proposal process in the marriage procedure (rukmana et al., 2013); randai (bahardur, 2018), silat (sarbaitinil, 2021); piring dance (asriati, 2013). siriah gadang traditional decorative ornament (syafwandi & zubaidah, 2018); siriah gadang motif on rumah gadang decorative ornaments (shalika et al., 2020); galombang dance (nerosti, 2019); carano in galombang dance (darmawati & mansyur, 2020); and siriah gadang in this article. the cultural value system consists of conceptions that exist in the minds of the majority of people. it is about the things that they should consider very valuable in life. therefore, cultural values are usually the highest guideline for human behavior. other systems of human behavior at a more concrete level, such as specific rules, laws, and norms, are all also guided by cultural values. cultural values have also influenced individuals in society since birth, so this conception has long been rooted in their souls. in short, cultural values are difficult to replace in a short time (koentjaraningrat, 1985). then, the minangkabau people’s perception of nature is about meaning. it is not only a place to be born, live, and die, but it also contains deep philosophical values. this philosophy of life is contained in the alam takambang jadi guru principle, which means that the open universe is a source of knowledge (navis, 1984). it is then reinforced by islamic values called abs-sbk (adaik basandi syarak, syarak basandi kitabullah). thus, adat is strengthened by islamic teachings (amir m.s, 1999). the basics of traditional philosophy are hidden in mamang and pantun, petatah, and petitih (nasroen, 1971) . similarly, siriah gadang, as a cultural object, has this philosophical value. this research aims to revitalize the minangkabau cultural values in the siriah gadang cultural object used as a galombang dance performance equipment used as a measure that must be considered in new developments. the cultural value of siriah gadang is important to revitalize because the younger generations in this village do not know many of the values contained in siriah gadang. it will possibly become extinct in the community if the younger generation no longer uses it. this siriah gadang has cultural values that the community must know. revitalizing the cultural values contained in siriah gadang can be a reference material for future generations if they want to develop it without eliminating the values because siriah gadang is the identity of the guguak village. in addition, pariangan village is the oldest village in minangkabau, which has a lot of undisclosed ancestral heritage, one of which is siriah gadang. local wisdom can be defined as a local cultural wealth that contains life policies, a way of life that accommodates wisdom of life. it is a legacy of the past originating from ancestors that is not only found in traditional literature (oral and written literature) as a reflection of the speaking community but lives in various fields of real life, such as philosophy and outlook on life, health, and architecture. in harmonia: journal of arts research and education 24 (1) (2024): 165-176168 the dialectic of life and death (something that lives will die), local wisdom will one day die without preservation and revitalization. perhaps the fate of local wisdom is similar to the heirlooms of ancestral heritage, which may be rotted by termites after many generations (suyatno et al., 2011). the concept of revitalization in this study is revitalization through reconstruction. by reconstructing the old siriah gadang form into a new form made by the artists of guguak village, they would revitalize the cultural values of siriah gadang. as stated by supanggah (2008) (anggraeni, 2015), “some forms of art revitalization efforts include reconstruction, re-function, representation, reformation, reinterpretation, reorientation, and recreation.” nagari pariangan, as a tourist area, is a very appropriate place to revitalize siriah gadang as a cultural object, as (syifa ayyada jannati, 2020) did before. “to revitalize the existing noble culture, one of the right ways is to use a tourist village as a forum to revitalize the wisdom that is starting to fade in society.” in addition, siriah gadang is a cultural identity for the people of guguak village nagari pariangan. yudarta (2015) conducted revitalization in the context of his research, reviving and activating sasak traditional music as one of sasak’s cultural identities. method a qualitative approach was used in this study. it is a research procedure that produces descriptive data in the form of written or spoken words from the people and actors observed ( bogdan &taylor in moleong, 2017). this approach is applied to obtain data on reconstructing and revitalizing siriah gadang cultural values in galombang dance performances. the main focus of this research is siriah gadang in galombang dance in guguak village, pariangan. the informants in this study were artists as people who make siriah gadang cultural objects, academics and observers of pariangan cultural values, the chairman of kan (kerapatan adat nagari), several traditional leaders, scholars, art activists, bundo kanduang, and youth. then, the data were collected using documentation techniques, video recordings of observations in the first year of research, in-depth interviews to explore the meaning contained in siriah gadang cultural objects, and focus group discussions. the source triangulation and method triangulation techniques were combined to obtain data credibility. finally, the miles and haberman model was applied in conducting data analysis, such as reducing data that produces categories by selecting important ones and discarding those that were not used, then constructing relationships between categories and finally drawing conclusions that have been verified through data credibility tests. the revitalization process was carried out through the reconstruction of siriah gadang cultural objects, which starts from interviews with artists in guguak nagari pariangan, providing the necessary materials, the way or making process, the procedures for using it in galombang dance performances, and finally exploring the cultural values contained in siriah gadang as a cultural object. result and discussion the people of guguak village, pariangan in particular, are art lovers. the habit of living that cultivates art has become a tradition that continues in the lives of its people. until now, various types of arts, such as randai, salawaik dulang, saluang, piriang dance, and galombang dance, still exist there (maizar, 2021). in addition, based on last year’s research, it was found that siriah gadang existed for a long time (asriati, desfiarni, & darma putra, 2021) when carano did not exist as it is used today. that is how the creativity of the ancients to make something, siriah gadang, for example, has been used by people for generations. according to informants, they discussed how and afifah asriati et al., siriah gadang cultural values in galombang dance in pariangan, west 169 where to place betel leaves. so, the idea of making this siriah gadang emerged. siriah gadang is only used for certain events. ninik mamak agreed that it could only be used for alek nagari or village ceremony. it is usually carried out by the community to celebrate events related to traditional, religious, and state life (erlinda, 2012). they are panutuik pacu jawi (the closing ceremony of the cattle race) and baralek pangulu (the ceremony of appointing a new tribal leader) (asriati, desfiarni, & darma putra, 2021). in conclusion, it can be said that siriah gadang belongs to the ninik mamak (dt. simarajo et al., 2021). the reconstruction of siriah gadang the reconstruction is the result of the artist’s work as he remembers using the materials available today. the first stage in reconstructing and revitalizing sirih gadang is to make sirih gadang into houses where betel leaves and other equipment can be placed together. the second stage was making 5 sariak bamboo poles by forming a square and one in the center. this arrangement is the same as the arrangement of poles in ancient mosques. the five pillars are joined using small pieces of wood and tied together. since the center pillar is the tallest, the other small pillars connect the wood like the roof of a house. then, the top and sides are covered with cardboard (formerly using upiah skin or areca nut petals). after that, it is decorated with carvings. in addition, three limau gadang (balinese oranges) are arranged in a row in the center of the towering pillar. after that, betel leaves are arranged on top of the limau gadang. furthermore, seven bunches of betel leaves are placed at the lowest level, five bunches of betel leaves are placed in the middle, and three bunches of betel leaves at the top. finally, the national flag is raised over the oranges, followed by the marawa or ninik mamak flag (figure 1) figure 1. siriah gadang frame and betel, lime, and marawa flags (documentation: afifah asriati, 2020) figure 2. the reconstruction of siriah gadang and its development by adding carvings to the houses (documentation: afifah asriati, 2020) the cultural values of siriah gadang based on the reconstruction results above, the revitalization of cultural values in siriah gadang cultural objects is carried out (figure 2). the cultural values contained in the four pillars are interpreted as four kinds of tribes in guguak village, which they call angku ampek (four angku). the angku ampek are; 1) angku ampek dalimo, 2) angku ampek piliang, 3) angku ampek paliang laweh, and 4) angku ampek pisang. these four people are also called people who know religion. they call them urang nan ampek ko nan mamacik agamo (four harmonia: journal of arts research and education 24 (1) (2024): 165-176170 people who understand religion) or urang musajik (people of the mosque), or angku. the highest pillar is symbolized as god almighty (sani, 2021). in contrast, the our fgd had a different statement that the four pillars, the right one symbolizes angku ampek; 1) angku ampek malayu, 2) angku ampek dalimo panjang, 3) angku ampek koto, 4) angku ampek paliang laweh; the front left pillar symbolizes pakiah; the back right pillar symbolizes malim; the back left pillar symbolizes dubalang, and the middle pillar symbolizes niniak mamak as the highest leader in the community (dt. simarajo et al., 2021). the interpretation of the minangkabau cultural value about betel leaves symbolizes that the minangkabau people like to receive guests and are willing to learn new things (this open universe is a source of knowledge). betel leaves are served in carano, along with areca nuts and accessories, to welcome and honor guests (marthala, 2013). while the arrangement of betel leaves symbolizes “bajanjang naiak, batanggo turun.” this can be interpreted as the fact that all problem-solving will start at the bottom-up level. furthermore, the 15 bunches of betel leaves are divided into three parts. each consists of 7 bunches, five bunches, and three bunches. the first seven bunches are at the lowest level, symbolizing seven descendants of same-sex offspring who are not allowed to have conjugal relations, meaning that inbreeding is not allowed. the second 5 bunches symbolize the five pillars of islam. finally, the last three bundles are symbolized as tali tigo sapilin. tali tigo sapilin is “partamo tali pamarintah, kaduo tali adaik, katigo tali agamo (first for the government, second for adat, and third for religious rope)” (dt. simarajo et al., 2021). the final stage is raising the marawa flag. it is the flag of the niniak mamak and is considered the traditional flag. the colors of this flag are yellow and black, which symbolizes the greatness of the niniak mamak. it is used in the batagak pangulu event, the death of the pengulu, pangulu’s son, and pangulu’s wife; and the closing ceremony of pacu jawi. so, it is interpreted as a symbol of niniak mamak because they are called “urang baradaik” (people who know adat)(dt. simarajo et al., 2021). apart from traditional flags, national flags are also installed to unify the values of the republic of indonesia. the results showed that the reconstruction and revitalization of siriah gadang were not exactly the same as the original because the materials and tools were difficult to find. siriah gadang revitalization activities are also added with carving motifs made from mamar paper and then attached to the walls of siriah gadang houses. thus, reconstruction and revitalization are among the efforts to preserve siriah gadang. minangkabau custom shows that every guest who comes is welcomed with the galombang dance, which uses siriah gadang as the closing of this dance (asriati, desfiarni, & putra, 2021). then, the guests are welcomed to the venue. siriah gadang has now been modified into a carano made of goldcolored metal as a place to put complete betel leaves. carano is used as a symbol to show sincere feelings when welcoming guests (darmawati & mansyur, 2020). however, the object to put the betel leaf is not carano. they use siriah gadang but in the form of houses on which are limau gadang, betel leaves and accessories, marawa flags, and state flags (placeholder1) (asriati, desfiarni, & darma putra, 2021). although the objects are different, thei r m e a n i n g a n d f u n c t i o n a r e t h e s a m e a s t h a t o f a symbol to honor guests who come (sani, 2021). the term siriah gadang is also found in some minangkabau ornaments. it is used to honor and welcome guests by giving betel leaves. in addition, betel nut is an expression of gratitude for the host’s welcome (syafwandi & zubaidah, 2018). furthermore, the guest welcoming ceremony can also be found in the riau area as well because the malay people highly uphold the value of honoring guests. it is called tepak sirih, which symbolizes respect for guests in malay society. afifah asriati et al., siriah gadang cultural values in galombang dance in pariangan, west 171 therefore, tepak sirih is only served to honored guests (na, 2014) ; (siska putri et al., 2014). similarly, in west sumba (dwinanto et al., 2019), the government uses the betel nut tradition to welcome guests to formal ceremonial events as one of sumba’s distinctive cultures. it symbolizes acceptance with open arms and respect for guests from the host. it is meant to show the hospitality of the local culture. just like in north central timor, people do betel nut reflection to honor others. it is clear that betel leaves and areca nuts are indicated as a culture of courtesy and objects to honor others. thus, they have the same position, both guests and natives. in summary, betel nut is a symbol that the presence of guests is welcomed with sincerity and an open heart by the host (suminar, 2020). two cultural values are present in the galombang dance performance using siriah gadang in guguak village, pariangan. they are traditional and religious values. in this case, there is an opinion that customs and religion in minangkabau are contradictory. however, they are not. they reinforce each other, such as the use of numbers (nasroen, 1971). minangkabau custom uses even numbers to explain some values; “kato nan ampek|undang-undang nan duo baleh|undangundang nan duo puluah|urang nan ampek jinih|nagari nan ba kaampek suku|tjupak nan duo: tjupak usali| tjupak buatan” (nasroen, 1971) means “four words, twelve laws, twenty laws, four types of people, four tribes of land, two rules: original tjupak, modified tjupak”. is called “indak tau di ampek” (he does not know four words). in contrast, numbers in islam are generally odd, such as god almighty, the seven pillars of heaven, the five times of prayer, the five pillars of islam, etc. in conclusion, islam perfected the minangkabau custom as a way of life for the minangkabau people. in addition, the four pillars found at the edge of siriah gadang are described as village elements: pangulu, malin, manti, and dubalang. it is stated as “panghulu taguah di adat|malim taguah di agamo|manti taguah di buek|dubalang taguah di nagari| panghulu tagak di pintu adat |malim di pintu agamo| pagawai di pintu susahil dubalang di pintu mati. this statement translates to panghulu being firm in adat, malim being firm in religion, manti being firm in action, and hulubalang being firm in the village. penghulu stands at the door of adat, malim at the door of religion, pagawai at the door of difficulty, hulubalang at the door of death (nasroen, 1971), the four elements of society as angku nan ampek, pakiah, malim, and dubalang. these four elements organize social life in this place. angku nan ampek is a person who represents their respective tribe, pakiah is a person who knows religious law, malim is a person who is good at asking people about religious matters, and dubalang who keeps the place safe. finally, the tallest pillar in the center defines the niniak mamak as the highest leader in the village and the highest leader based on customary values. then, the multilevel arrangement of betel leaves shows the traditional values of the community. minangkabau society as an organization groups their societal values from low to high levels. it states, “luhak nan bapanggulu|rantau nan barajo| kampuang nan batuo| rumah nan batungganai.” this could mean luhak has a head, rantau has a king, the village has elders, and the house has a head (nasroen, 1971; masoed abidin (2002). these levels determine rights and responsibilities in social life. each right and responsibility must start from the lowest level to the highest by following up on each level. as the saying goes, “bajanjang naiak, batanggo turun” which can be translated as “tiered, stepped” (nasroen, 1971); (masoed abidin, 2002). as a final point, everything that happens in the life of minangkabau society must be discussed together as it is said, “kamanakan barajo ka mamak | mamak barajo ka penghulu | penghulu barajo ka mupakat| mupakat barajo ka alua jo patuik”, which means “the younger is the mamak, the mamak is the penghulu, the penghulu harmonia: journal of arts research and education 24 (1) (2024): 165-176172 is the deliberation, the consensus is the rule” (masoed abidin, 2002). indeed, the arrangement of betel leaves is designed in the form of 7 (seven), 5 (five), and (3) three, which also illustrate customary and religious values. it can be noticed that the arrangement is an odd number. the first 7 (seven) are interpreted to mean that seven offspring of inbreeding are prohibited from marital status. the second 5 (five) indicate the five pillars of islam: 1) saying the shahada, 2) praying five times shalat, 3) paying zakat, 4) fasting, 5) performing the hajj for those who are able (pasha, 2003). in different ways, the last three have customary values. it shows tali tigo sapilin (three ropes on one tie); partamo tali pamarintah, kaduo tali adaik, katigo tali agamo (government, adat, and religion). also called tigo tungku sajarangan (if we want to cook using pots, we need three stones or the like to put the pots in a stable and correct position). these three are also referred to as ninik mamak, alim ulama, and cerdik pandai. similarly, to be a good person in life, one must be 1) religious, 2) civilized, and 3) knowledgeable (nasroen, 1971). last but not least, traditional leaders, religious leaders, and the government work hand in hand in minangkabau to make the community live safely and peacefully. later, the marawa and the national flag had special and important values. marawa is a minangkabau traditional flag that is not only a banner but also has its own meaning and significance for the minangkabau people. it symbolizes the greatness of pangulu. m. sayuti, head of lkaam (lembaga kepadatan alam minangkabau) west sumatra, said that there are two types of marawa; customary marawa and luhak marawa. both have different color arrangements. for example, the correct order for the adat marawa is black at the bottom, yellow at the bottom, white at the back, and red at the top. initially, black symbolizes the penghulu. then, yellow refers to the manti. after that, white is reflected as malin. finally, red means dubalang. meanwhile, the luhak marawa symbolizes the customary area called luhak nan tigo. the yellow color symbolizes luhak tanah datar which reflects the character of “aianyo janiah, ikannyo jinak and buminyo dingin” (the water is clear, the fish are tame, and the earth is cold). then the red color symbolizes luhak agam which reflects the character of “aianyo karuah, the fish are lia and the earth is warm” (the water is dirty, the fish are wild, and the earth is warm). finally, the black color represents luhak limapuluh kota, reflecting the character of “aianyo manih, ikannyo banyak dan buminyo tawar” (sweet water, many fish, and fresh earth) (administrator, 2016). above all, each color of the marawa has its own meaning and value, more precisely, the pillar that symbolizes the earth. the black color symbolizes tapo resistance (resilience), ethics, and modesty. yellow symbolizes majesty, rule, and law. red symbolizes courage, raso jo pareso (feelings and thoughts). the white color symbolizes having alua jo patuik (referring to the rules). plus, there are also natural provisions for a leader. it says “urang gadang digadangkan makonyo gadang, tumbuahnyo ditanam, gadangnyo dilambuak”. this can be interpreted as “leaders are appointed, become leaders, grow and are nurtured” (nasroen, 1971); (dt. simarajo et al., 2021). furthermore, “tumbuahnyo ditanam|tingginyo dianjuang |gadangnyo diamba”. this statement can be interpreted as “growth is planted, height is supported, size is maintained (nasroen, 1971) ; (dt. simarajo et al., 2021). in conclusion, there is no dictatorial power in minangkabau. therefore, minangkabau custom is a view of life that exists in the real world through thoughts and feelings. with the advent of islam, there was a change in worldview towards religious beliefs both in this world and the hereafter. it already existed before islam came to minangkabau. the assimilation of adat with religion made the principle of adat downward while religion became upward. before islam, adat did not recognize an afterlife system. the only afifah asriati et al., siriah gadang cultural values in galombang dance in pariangan, west 173 belief that existed before islam was ancestor worship. customs were accepted as heirlooms. thus, the current generation is obliged to maintain adat (nasroen, 1971). historically, adat and religion connect to form a cultured, civilized society based on islam (fardius, 2017). fardius further emphasized that combining the two concepts creates a system of values and norms in minangkabau culture, which is called the abs-sbk philosophy. both are culturally related to becoming one (fardius, 2017). finally, the identity of minangkabau society adheres to adat basandi syarak, syarak basandi kitabullah (adat refers to religion, and religion refers to the quran). this conclusion is in line with the philosophy of guguak village, pariangan expressed through an interview with sani, who stated: “adaik basandi syarak, syarak basandi kitabullah. adaik dahulu baru syarak. syarak mangatokan, indak kato adaik, bata kato syarak, indak kato syarak, indak kato adaik nan basandi ka nan surang tu kitabullah” (adat is based on syarak, syarak is based on kitabullah. adat first and then syarak. syarak says. adat says no. tehre will be no syarak. syarak says no. so do adat says. which adheres to the one kitabullah). it could be that what is meant by adat refers to religion; religion refers to the quran. tradition comes first, and then religion follows. when religion says yes, but tradition says no, religion is rejected. when religion says no, and so does tradition, we refer to kitabullah (sani, 2021). finally, it was clear that t h e minangkabau people do not want to be called un-islamic because islam itself is deeply embedded in their thoughts and feelings. they are known for their strong religion. their devotion to religion can be seen in the number of mosques and islamic boarding schools (nasroen, 1971). therefore, besides being religiously observant, they consistently practice their customs. siriah gadang revitalization process based on the concept of revitalization expressed by supanggah above, revitalization consists of seven steps; the steps used in this research are the first and second steps, namely reconstruction and refunctionalization. the second revitalization, namely functionalization that researchers do is to function by using siriah gadang cultural objects in galombang dance performances to welcome guests. the following process of functioning is carried out with the help of artists in the guguak village. after completing the making of siriah gadang, the next step is to prepare the galombang dancers. they do exercises to prepare for the show. after the dancers are ready to perform, the next performance schedule is set, and it can be attended by researchers and supporters of dance performances, such as dancers, musicians, speakers of pasambahan, and organizers. finally, the researchers determine the performance venue. in this case, the performance venue is set in the usual place to welcome guests at this time, namely on the main road of the guguak village. some pictures show the revitalization of siriah gadang result as cultural objects that functioned again in galombang dance performances. in this case, siriah gadang, as a cultural object, functions as a tool used as one of the equipment for galombang dance performances (figures 3 and 4). figures 3 & 4 . the use of siriah gadang in galombang dance and welcoming guests (documentation: afifah asriati, 2020) harmonia: journal of arts research and education 24 (1) (2024): 165-176174 the researcher assumes that strengthening and emphasizing the function of this dance makes its values understood and preserved by the next generation. it is necessary to perform it more often. the values that must be understood are traditional values, ethical values, social values, religious values, and leadership values. it will be more effective through performance than through discussions, such as pacu jawi or batagak pangulu event, because it is believed that, in essence, the inheritance of values in dance is accustomed through performance. the more often it is performed in the pacu jawi or batagak pangulu event, the more the values are internalized by the next actor. thus, based on the revitalization stage that has been carried out through reconstruction, the object is known again by the community, especially the younger generation of guguak village, pariangan. this revitalization can help preserve and promote cultural diversity and the unique cultural heritage of various communities. in accordance with the concept of revitalization that has been disclosed above, the revitalization steps used in this study are at the reconstruction and refunctionalization stages. conclusions it can be concluded that the cultural values of siriah gadang in galombang dance are referred to adaiak basandi syarak, syarak basandi kitabullah. siriah gadang (not carano as it is now) is used in the dance to honor guests. this note is one of the unique and fundamental findings of the values of siriah gadang in galombang dance performed in pariangan, a place considered as nagari tuo (the oldest village). so the results of this revitalization must be socialized. in conclusion, the cultural values found in siriah gadang cultural objects are in line with the minangkabau philosophy: adaik basandi, syarak syarak, basandi kitabullah (abssbk), which consists of customary values, ethical values, social values, religious values, and leadership values. from the results of the fgd, which was attended by the chairman of the kan nagari pariangan, socialization was planned in several stages: 1) make a policy or decision with ninik mamak in guguak village, 2) conduct a dialogue with the younger generation who are aware of this asset which is very beneficial for foreign tourists, 3) make a video of how to do galombang dance using siriah gadang, 4) construct the siriah gadang monument at the gate of guguak village, pariangan. acknowledgments we would like to thank universitas negeri padang for funding this research with pnbp funds in 2021. references administrator. 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(2001). kaman budaya rupa terhadap benda upacara adat carano pada masyarakat minangkabau [institut teknologi bandung]. https:// docplayer.info/38774541-kamanbudaya-rupa-terhadap-benda-upacara-adat-carano-pada-masyarakatminangkabau-sm-720-thesis-olehzubaidah-nim.html vol.1 no.1_mei_agustus 2000.pdf ����� ��� #����� �!����� ��$�� !�� ����������� ���������� ���� globalisasi yang tengah merambah pada masyarakat dunia dewasa ini nampaknya lebih dipahami sebagai peristiwa dan proses kebudayaan. hal ini berarti pula berhubungan dengan lembaga, sistem, dan strategi global dari pelakunya. dalam globalisasi bukan hanya merupakan fenomena budaya melainkan juga fenomena komersial yang membentuk keseragaman tertentu sekaligus membutuhkan perbedaan tertentu sebagai identitas dalam permainan suatu sistem dunia. dalam konteks ini bukan saja tenaga dan pemikiran yang dijual tetapi komitmen dan loyalitas dari peran aktor. implikasi fenomena global tersebut dalam jagad seni pertunjukan agaknya sering menimbulkan mitos, yang kemudian melahirkan suatu posisi-posisi tertentu pada diri sang seniman. mitos tersebut terlihat dari tiga sikap pada sebagian seniman, yaitu: 1) sikap yang mengarah pada kegairahan estetika yang berlebihan sehingga sering mengabaikan nilai dari seni yang memberikan pencerahan bagi kehidupan manusia; 2) sikap yang mengarah pada semangat yang meluap-luap untuk menjadi diri pribadi tanpa disertai semangat mencari nilai yang lebih bermakna; 3) sikap yang mengarah pada pengkultusan terhadap diri seorang tokoh tertentu yang telah menduduki posisi elite. dengan mitos semacam itu tak pelak kemudian muncul tiga posisi seniman, yaitu: sebagai reproduktor, akomodator, dan emansipator. masing-masing posisi mempunyai tanggung jawab dan konsekuensi sendiri. pengantar globalisasi sering diterjemahkan scbagai gambaran dunia yang menjadi lebih seragam, terstandar. dan sekaligus keberagaman melalui teknologi, komersialisasi, dan sinkronisasi budaya yang dipengaruhi oleh barat. globalisasi juga bisa dipahami sebagai mitos dan parame ter modernitas. namun. dalam perkembangannya. konsep global isasi masih menjadi perdebatan karena dipahami secara bervariasi oleh para pakar dengan cara pan dang dan argumen mereka masingmasing. misalnya: perdebatan an tara dua kubu tentang globalisasi, yakni homogenizer dan heterogenizer, globalisasi sebagai glocalization dan sebagai hybridization (lihat mike featherstone, scott lash, dan roland robertson, 1995). reflek-sinya di dalam dunia kesenian, khu-susnya seni pertunjukan, tampak dari warna dari karya yang dilahir kan oleh sang seniman (pelaku aktor). kini kesadaran berekspresi seniman cenderung merefleksikan adanya pergeseran sikap, orientasi, dan kepentingannya. misalnya: per-geseran dari kolektivitas ke indivi-dualitas, dan motif sosial ke motif ekonomi, dan kemapanan nilai ke-pada ketidakmapanan nilai. namun, apakah globalisasi merupakan ben tuk peradaban dunia atau tidak lebih sebagai mitos dari barat yang sengaja didengungkan dalam suatu sistem dunia? lalu seberapa jauh pengaruhnya terhadap dunia seni pertunjukan? bagaimana seniman memposisikan diri dan apa konsekuensi dari posisi yang telah dipilihnya? tulisan ini mencoba untuk membahasanya. globalisasi globalisasi yang tengah merambah masyarakat dunia dewasa ini nampaknya lebih dipahami sebagai peristiwa dan proses kebudayaan da lam arti longgar. kebudayaan tidak lagi dipahami secara substantif, melainkan proses untuk melihat praktikpraktik dalam penciptaan dan pembuatan kembali ruang identitas (friedman, 1995). globalisasi se bagai fenomena budaya. berada pa da peradaban komersial, yang membenluk keseragaman tertentu dan sekaligus membutuhkan perbedaan tertentu sebagai identitas dalam permainan suatu sistem dunia. hal ini akan melibatkan lembaga, sistem, dan strategi global dari para pelakunya (aktor). sebab, di dalam globalisasi bukan saja tenaga dan pemikir an yang dijual, tetapi komitmen dan loyalilas dari peran aktor. kesadaran individu versus kesadaran hidup bersama. lokal versus global bertemu dalam satu arena. proses globalisasi budaya tercermin dalam lima dimensi, yaitu: 1) ethnoscape, yakni mengalirnya para imigran dan turis ke berbagai negara. dalam hal ini mobilitas aktor sangat berperan, terutama dalam pembentukan corporation sebagai jaringan kerja; 2) techno scape, yakni terciptanya mesin, pabrik, dan perkembangan teknologi canggih yang dihasilkan oleh berbagai kawasan negeri; 3) finanscape, yakni mengalirnya arus pertukaran uang dan saham pada pasar bebas. di sini capital flow bergerak sejalan dengan arus informasi; 4) mediascape, yakni melimpahnya arus informasi melalui media ke penjuru dunia, seperti informasi yang berlalu-lalang di angkasa le wat komputer dan internet (cyberspace). hal ini tentu akan mempermudah proses komunikasi antar-ak tor dan antarkorporasi; 5) ideoscape, yakni derasnya gerakan ideologis terutama akibat inspirasi ide-ide pencerahan barat, seperti demokrasi, hak asasi manusia, keterbukaan. dan kesejahte-raan (arjun appadurai, 1990: 2). dari kelima dimensi itulah nuansa globalisasi menampakkan diri melalui aktivitas dan perubahan dalam capital, corporation, communication, dan citizen dalam konteks sistem dunia (world system), seperti global culture, global flow, global wealth. proses tersebut di atas sering menimbulkan mitos maupun posisi tertentu pada diri seniman karena adanya tuntutan, kebutuhan, res pons, dan persepsi, atas situasi yang muncul ke permukaan. mitos seba gai gejala sering memunculkan fenomena tertentu, sedangkan posisi sering berfungsi sebagai cara atau strategi mengatasi fenomena. mitos dan posisi seniman seniman sebagai manusia tidak mungkin bisa menghidarkan diri dari mitos. sebab mitos ibarat ‘udara busuk’ di tengah manusia menghirup oksigen (nilai-nilai bermakna) guna kebutuhan hidup. mitos sering mengganggu kesehat an (pikiran jernih) yang sulit dihindari karena telah bercampur dengan oksigen. mitos terjadi karena tidak ada nilai yang kuat dan menjadi pegangan atau panutan dalam kehidupan, sehingga situasi keko songan nilai (anomie) tak terhindarkan. akibatnya adalah daya kri tis orang tenggelam dalam suatu kemapanan, absolutisme, dan otoritarianisme. minimal terdapat tiga mitos yang menonjol dan sering mengacaukan kehidupan seni maupun sastra, yaitu mitos orisinalisme atau estetisme, mitos subjektivisme (keakuan), dan mitos elitisme atau ketokohan (tam-maka, 1998). pertama, mitos orisinalisme terjadi karena kegairahan estetika yang berlebihan, sehingga melupakan nilai yang seharusnya diemban. fenomenanya adalah tampak pada semangat untuk tampil beda, mengabdi pada keindahan gaya suatu bangunan yang sesungguhnya se mu tanpa isi. selain kreativitas, orisinalisme memang menjadi kebutuhan di dalam dunia seni, tetapi bila hanya ingin tampil beda (waton sulaya) tentu bukan hal sehat. ke dua, mitos subjektivisme yaitu kegairahan (romantisme) yang me luap-luap untuk menjadi diri sen diri. kegairahan seperti ini tidaklah buruk. tetapi ketika seniua itu menjelma menjadi pengekalan pribadi tanpa disertai semangat mencari ni lai lebih bermakna atau mendalam dan memikirkan yang lainnya dapat menimbulkan masturbasi keindah an belaka, karyanya menjadi narcissus, pemujaan terhadap diri sendiri. ketiga, mitos elitisme merupakan mitos yang paling berbahaya karena sering mengarah pa da pengkultusan terhadap diri se orang tokoh tertentu yang telah menduduki posisi elit. dunia ke-senian terasa tak berbeda dengan panggung politik sebagai arena pe-rebutan “kekuasaan atau pengaruh” untuk memperoleh kekuasaan itu. akibatnya, dunia seni tertentu ha nya berisi nama seniman-seniman besar tetapi minus karya besar. kar ya seniman besar memang tidak sedikit yang memiliki bobot kua litas yang tinggi, tetapi sebagai ma-nusia tentu juga ada yang tidak berkualitas. pada sisi lain, para seniman muda selalu berupaya merebut kekuasaan itu dengan se gala cara sampai tanpa terasa energinya habis dan mengesampingkan tugas utamanya, yakni belajar, menggali, dan memodifikasi nilai secara terus-menerus. kodisi semacam ini bukan merupakan kesalah an mereka, melainkan situasi sosiopolitik selama ini yang memaksa rakyat untuk tidak kritis, terutama kritis kepada yang sedang berkuasa. bertolak dari ketiga mitos tersebut, muncul tiga kecenderungan posisi seniman dalam menghadapi fenomena global, yakni reproduktor. akomodator, dan emansipator (lihat jazuli, 2000). posisi seniman se bagai reproduktor yaitu kelompok seniman yang bertindak sebagai agen yang melayani selera publik dan menerjemahkan (mereproduksi) gagasan khalayak luas. seniman semacam ini cenderung melayani atau mengikuti kehendak yang berkepentingan atau memiliki kekuasaan, termasuk kekuasaan finansial. konsekuensi dari posisi ini adalah se ring dipandang sebagai seniman yang menekankan pada status quo, epigon, oportunis, dan kadang penjilat. seniman yang memposisikan diri sebagai akomodator adalah mereka yang bertindak sebagai agensi yang selalu berusaha mengako modasi berbagai kepentingan pu blik, terutama kepentingan yang berseberangan antara dirinya dengan publik maupun norma bu daya yang berlaku. seniman seperti ini cenderung berideologi pragmatis (pasar), yaitu kadang melayani se lera publik dan kadang mengadakan kritik sosial, sehingga senantiasa berada dalam proses tawar-mena war. konsekuensinya adalah sering dipandang sebagai seniman hipokrit, plin-plan, bahkan bunglon. posisi emansipator adalah mereka yang bertindak sebagai aktor yang mampu berpikir dan berekspresi atas kehendak bebas sesuai dengan peran dan tanggung jawabnya. kelompok seniman semacam ini cenderung mengutamakan nilai emansipatoris (kesetaraan), kejujuran, kebebasan demi kemanusiawian. seniman seperti ini senantiasa berupaya mengekspresikan sesuatu yang seharusnya diekspresikan berdasarkan suara nurani kemanusiaannya. konsekuensinya adalah sering dipandang sebagai seniman idealis, dan sulit diatur, dalam hal tertentu juga bunglon dalam arti posisitf demi pemahaman dan kebaikan bersama. penutup berdasarkan paparan di atas, kiranya wajar bila seniman pada masa kini harus memulai dengan semangat baru sesuai dengan era keterbukaan dan kesetaraan yang dibawa oleh paradigma reformasi. strategi seniman sekarang harus tidak lagi mengarah pada mitos elitisme maupun estetisme, melainkan pada perjuangan, perilaku proaktif dan selektif terhadap segala feno-mena yang muncul ke permukaan, termasuk fenomena di luar jagat ke-senian. seniman tidak perlu mena-bukan fenomena yang terjadi di luar dunianya, tetapi justru harus meresponsnya agar mampu menempatkan diri pada posisi dialektis antara yang global dan yang lokal. se sungguhnya, mitos-mitos sebagaimana yang telah dikemukakan ha rus ditafsir ulang sesuai dengan semangat dan konteks zamannya. dengan demikian, elitisme akan dipahami sebagai akibat dari suatu tindakan yang memperoleh legitimasi; estetisme harus dilandasi oleh sesuatu kemampuan dan integritas yang mengantarkan publik untuk lebih berdaya dan berbudaya; subjektivisme hanya mungkin bisa digapai bila pribadi-pribadi seni man mampu berperan serta di dalam pergaulan global-lokal, menghor mati dan menghargai segala sesuatu pluraliats yang terjadi di luar diri dan dunia keseniannya.[] daftar pustaka apparaduai, arjun. 1990. “global culture”, dalam audentia, vol. i, no.4, 1993, hal. iii. featherstone, mike, scott lash, and roland robertson, (ed.). 1995. global modernities. london, new delhi: sage. jazuli, m. 2000. “dalang dalam pertunjukan wayang kulit: studi tentang ideologi da lang dalam perspektif hu-bungan negara dengan ma-syarakat”. disertasi universitas airlangga surabaya. laraain, jorge. 1996. ideo logi. diterjemahkan oleh riyadi gunawan. yogyakarta: lkpsm. mannheim, karl. 1991. ideologi dan otopia. yogyakata: kanisius. tammaka, zaenal mh. “membongkar mitos, membangun ge rakan”, dalam solo pos, 28 agustus 1998. vol.1 no.1_mei_agustus 2000.pdf ���� �!��'�� �!��#� ������+�� ��'� ���" )�)�� �!���$ ���� ���� cacat mental merupakan keadaan kemampuan mental di bawah normal yang tidak dapat disembuhkan, tetapi bisa diperingan melalui pendidikan, bimbingan, latihan, dan perlakuan-perlakuan khusus. apabila secara wajar seni tari dimengerti sebagai pelajaran inti dan penuh dengan perencanaan, maka dapat berfungsi sebagai katalisator bagi pertumbuhan seseorang dan sebagai penyatu banyak disiplin, termasuk pemberian perlakuan khusus seperti tersebut di atas. tari dapat dimanfaatkan sebagai alat sekaligus sebagai proses dan produkpendidikan dalam kesatuan totalitas dari kehidupan manusia. tari dapat merupakan metode yang relatif ideal untuk mencapai keseimbangan daya tahan dan kontrol tubuh, serta pembentukan jiwa melalui pengalaman emosi imajinatif dan ungkapan kreatif. semua itu barangkali sangat dibutuhkan oleh anak manusia, tidak terkecuali anak penyandang cacat mental. persoalannya mungkin hanva terletak pada bagaimana strategi, metode, dan esensi tari sebagai materi bimbingan bagi anak pengandang cacat mental. pendahuluan cacat mental bukanlah suatu penyakit, melainkan karena adanya ketertinggalan atau kelambatan dalam perkembangan mental (retardasi) yang sub-normal. dengan ka ta lain, cacat mental merupakan keadaan kemampuan mental di ba wah normal yang tidak dapat disembuhkan, tetapi bisa diperingan melalui pendidikan, bimbingan, latihan. dan perlakuan-perlakuan khusus (johnston, 1971; supriyo dan eddy hendrarno, 1991). oleh karena itu, bagi para penyandang cacat mental sangat memerlukan bimbingan dan perhatian secara khusus pula. salah satu bentuk kegiatan pelayanan program rehabilitasi sosial bagi anak penyandang cacat mental adalah mem-berikan bimbingan mental dan ke-terampilan. tujuannya adalah un-jkk’’ tuk meningkatkan dan mengembangkan potensi mereka secara optimal agar nantinya memperoleh kesejahteraan yang relatif layak dan menjadi orang yang berman faat. suatu bimbingan dilakukan untuk membatu individu guna memecahkan atau mengatasi kesulitankesulitan yang dihadapi dalam kehidupannya. bimbingan mental dapat dimengerti sebagai upaya untuk menumbuhkan, mengembangkan, dan meningkatkan pengetahuan, sikap dan keterampilan dalam kehidupan masyarakat yang bersifat praktis fungsional sehingga para penyandang cacat mental dapat melaksanakan fungsi dan peranannya sebagaimana mestinya. bimbingan keterampilan merupakan usaha menanamkan. menumbuhkan, dan mengembangkan pengetahuan keterampilan agar para penyandang cacat mental mampu memiliki keterampilan guna melaksanakan kehidupannya secara layak (depsos ri, 1991: 61). dalam konteks dunia pendidikan, seni tari termasuk bidang keterampilan yang di dalamnya mengandung pula nilai pendidikan mental. hal itu mengisyaratkan bahwa seni tan memiliki potensi sebagai terapi dalam membantu meringankan anak penyandang cacat mental. sungguhpun demikian, sebelumnya perlu disadari bahwa program pendidikan tari yang baik seperti halnya bidang pendidikan lainnya. yaitu membutuhkan staf pengelolaan dan fasilitas yang memadai. kebutuhan seperti itu akan memungkinkan anak-anak dapat menemu kan potensi tari dalam suasana yang segar dan ruangan yang bersih di bawah bimbingan dan instruksi seorang ahli tari. berdasarkan dasar pemikiran tersebut. muncul suatu permasalahan yang hendak dibahas yaitu. apa dan bagaimana bentuk kontribusi yang bisa diberikan tari bagi anak-anak penyandang cacat mental? bagaimana strategi atau cara pemberiannya? tari dalam dunia pendidikan dalam pendidikan seni mengandung dua pengertian dasar, yaitu seni sebagai subject matter dari materi pendidikan (art education), dan seni sebagai wahana pendidik-an atau strategi pendidikan dalam artinya yang menyeluruh (educa tion through art). yang pertama lebih menekankan pada aspek mate ri, sedangkan yang kedua lebih menekankan pada proses dengan seni sebagai mediumnya. selama ini pendidikan seni di indonesia tampaknya lebih mengacu pada pengertian yang pertama. yang penyelenggaraannya dibedakan menjadi dua, yakni pendidikan artistik (praktek kreasi) dan pendidikan estetis (apresiasi). (apresiasi). sejak awal kehidupan, manu-sia hidup melalui tubuhnya dari la-hir hingga mati dipenuhi oleh gerak sebagai simbolnya. tari mempunyai medium ungkap yakni gerak dalam ruang dan waktu, sedangkan teba (ambitus) maupun variasi gerak sangat banyak jumlah dan macamnya. tubuh penari merupakan instrumen (alat) tari, dan tubuh menjadi instrumen yang unik untuk membuat hidup, kehidupan, dan sentral pengalaman manusia. tubuh bukan hanya mendasari persepsi dan konsepsi manusia, tetapi juga merefleksikan apa yang telah diamati dan dikonsepsikan oleh manusia baik dalam bersikap dan berperilaku. atas dasar itulah, bila secara wajar tari dimengerti sebagai pelajaran inti dan penuh dengan perencanaan, tari dapat berfungsi sebagai katalisator bagi pertumbuhan seseorang dan sebagai penyatu banyak disiplin, seperti dengan cabang seni lainnya dan ilmu (membaca, menulis, menghitung). tari dapat dimanfaatkan sebagai alat sekaligus sebagai proses dan produk pendidikan dalam kesatuan totalitas dari kehidupan manusia. tari dapat merupakan meto de yang relatif ideal untuk mencapai keseimbangan daya tahan dan kontrol tubuh, serta pembentukan jiwa melalui pengalaman emosi imajinatif dan ungkapan kreatif. barangkali kita sering beranggapan bahwa bakat merupakan faktor mendasar bagi setiap orang untuk bisa menari atau memiliki keterampilan pada bidang seni lainnya. anggapan tersebut mungkin tidak terlalu salah. tetapi tidak benar sepenuhnya karena sampai kini eksistensi bakat masih sulit diukur terutama bagi anak-anak, bahkan menjadi isu yang subjektif. hal itu antara lain disebabkan oleh tiadanya informasi yang spesifik tentang bakat artistik, kemampuan inheren sebagian besar anak terhadap prinsip dasar kritik seni. kurang andalnya, tes-tes untuk mengukur ekspresi seni dan evaluasi seni, dan sifat seni sangat variatif. tingkat apresiasi seni kreatif atau kemampuan memahami seni yang tinggi pada anak sering dianggap sebagai bakat, padahal apa yang diyakini itu ter nyata juga sering terbukti sebagai kecerdasan biasa. ekspresi dan pemahaman yang cepat terhadap se ni barangkali lebih arif bila tidak selalu menjadi indikator dari kualitas substansial dalam konteks yang lebih luas. conant (1969: 79) mengusulkan beberapa indikator tentang anak berbakat seni, yaitu: 1) mempunyai pengalaman-pengalaman melalui studio atau media massa, seperti melukis, membuat set panggung; 2) menyukai penulisan tentang seni, seperti menulis ten tang kehidupan seniman besar, meneliti tentang bentuk dan gaya seni tertentu. membuat laporan tentang hasil kunjungan ke suatu tempat tertentu (galery); 3) terbuka terhadap kritik dan bersikap konstruktif terhadap karya kreatif. tentunya. apa diusulkan conant tersebut masih perlu dilengkapi dengan cara pengukuran yang valid, dan hal ini memerlukan studi dan perenungan (kontemplasi) tersendiri. disadari bahwa bagi anak-anak yang mengalami retardasi mental atau tidak mempunyai kemampuan beradaptasi sosial sangat memerlukan pertolongan khusus dari para ahli psikologi. medis, pekerja so sial. guru atau pembimbing terlatih dan orang tua yang bijaksana. pertolongan semacam itu sangat penting untuk memenuhi segala kebutuhan mereka dan membantu pertumbuhan mereka. oleh karena itu, sangatlah urgen bila seorang ahli tari senantiasa bernegosiasi dan bekerjasama dengan para ahli lain seperti tersebut di atas, karena langkah itu sangat erat hubungan nya dengan informasi tentang ting-kat keterbelakangan mental, seperti apakah anak termasuk dalam kategori lambat belajar (slow leaner), mampu didik (debil), mampu latih (embisil), dan kategori perlu rawat (idiot). sungguhpun pengkategorian tingkat keterbelakangan tersebut masih sulit diandalkan ketepatannya karena memerlukan observasi yang jitu dan kesabaran yang tinggi. untuk itu ada beberapa asumsi yang perlu diperhatikan oleh para orang tua, guru atau pembimbing kelas maupun seni, ahli medis, pekerja sosial dan para psikolog, yakni: 1) anak-anak dengan problem-problem fisik, mental dan sosial sering mampu mengekspresikan diri secara artistik dan mampu memahami bi-dangbidang seperti halnya anak-anak lain; 2) anak-anak yang me-miliki talenta intelektual atau lain-nya belum tentu mempunyai bakat seni, demikian pula sebaliknya; 3) anak-anak yang diyakini memiliki bakat seni, boleh jadi tidak memiliki bakat seni ketika dewasa. terapi tari sesungguhnya, bila tari dikaji secara ekstensif dan mendalam sangat bermanfaat bagi kesehatan, pengendalian diri, menanamkan solidaritas sosial, kedisiplinan, dan menumbuhkan kepercayaan diri. hal itu dapat ditinjau melalui nilai-nilai dalam tari, terutama nila yang berkaitan dengan perkembangan jasmani dan rokhani. dalam perkembangan jasmani, tari melalui gerak yang berirama dan harmonis dapat mengatur irama perkembangan jantung, proses pencernakan, fungsi-fungsi anggota tubuh lainnya, dan memperkuat otot-otot tertentu. di dalam jenis pendidikan ini, tari sangat berguna untuk memfungsikan organ-organ tubuh, membentuk postur tubuh, mengembangkan keterampilan dan ekspresi fisik. dalam perkembangan rokhani, nilai tari antara lain bisa dilihat bahwa: 1) aktivitas tari memerlukan disiplin yang cukup tinggi, 2) tari membutuhkan ekspresi pribadi, 3) tari memberikan keluwesan tubuh dan kontrol yang besar, 4) tari membantu perkembangan persepsi, 5) menari dapat mendorong timbulnya rasa seni dan sikap menghargai seni (rand rogers. 1980). keseim-bangan antara tubuh dan jiwa itulah sesungguhnya merupakan hakekat kontrol diri dan daya tahan tubuh, yang sekaligus membedakan antara tari dengan olah raga. atas dasar nilai-nilai jasmani dan rokhani di atas. secara prinsipal tari dalam pendidikan mempunyai tujuan bagi perkembangan pribadi seseorang. tujuan tari bagi anakanak dari segala usia dan kondisi sosial adalah: 1) membimbing mereka dalam berbagai aktivitas fisik yang bervariasi guna mengenal secara sadar tentang fungsi dan hubungan bagian-bagian yang bergerak pada tubuh mereka; 2) memperkenalkan konsep ruang, waktu dan tenaga dalam hubungannya dengan gerak tubuh mereka baik secara perseorangan maupun bersama orang lain; 3) mendorong timbul nya kebanggaan dalam upaya mengembangkan kontrol dan kete rampilan gerak khusus (yang dramatik dan ekspresif); 4) mengusahakan situasi tertentu pada mereka agar dapat mengambangkan imajinasi dengan cara menari, seperti dalam hubungannya dengan teman, saudara, tetangga, orang yang berbeda usia dan kebudayaan, dapat merasakan dan memberi reaksi; 5) mendorong kreativitas mereka dalam eksplorasi serta mendiskusikan ide-ide, meningkatkan diri dan apresiasi terhadap gagasan maupun prestasi orang lain. dengan menari akan muncul situasi kritis dan penuh arti, karena perasaan lebih bisa dimengerti dan dikontrol, dan kontrol diri bisa diperluas menjadi kontrol keseimbangan diri secara alamiah (haberman dan tobie meisel, 1970: 4). salah satu teori pendidikan modern yang didasarkan pada penelitian ekstensif menyatakan, bahwa perlunya mempertalikan secara dekat mungkin antar anak-anak yang kurang normal dengan individu-individu normal yang berusia sama dan memiliki minat-minat yang sama (conant, 1969: 78). berdasarkan teori tersebut, ternyata seni (tari) memainkan peranan penting dalam pendidikan anak penyandang cacat mental, yaitu tari menjadi wa-hana rehabilitasi. melalui aklivitasaktivitas tari, banyak anak-anak, remaja, dan orang dewasa yang mengalami retardasi mendapatkan bukan hanya kesenangan, tetapi juga pengkayaan konseptual dan peningkatan kemampuan ekspresi. kerja sama para ahli seperli yang telah disebutkan dengan ahli tari ternyata telah menghasilkan keuntungan-keuntungan, seperti koordinasi gerak anggota tubuh yang membaik, otototot yang menguat, emosi-emosi yang lebih tenang, kepuasan pribadi meningkat, perasaan tenteram lebih besar, hubungan sosial yang membaik, dan sebagainya. pengajaran tari bagi anak-anak yang mengalami retardasi harus lebih ditekankan sebagai proses daripada sebagai produk. tari harus diletakkan sebagai wahana pendidikan bagi perkembangan setiap individu. secara fisik, menari berarti harus memfungsikan anggota tubuh untuk bergerak. dalam bergerak. posisi tari di sini adalah sebagai bingkai pembatas. tari merupakan sebuah pola yang telah diatur sedemikian rupa sehingga akan mengarahkan pada tujuan-tujuan tertentu. oleh karena itu, sangat penting adanya pentahapan dalain proses pengajaran bagi anakanak tersebut. adapun tahap-tahapnya, sebagai berikut: 1) lebih diarahkan untuk menumbuhkan minat dan motivasi yang dapat menimbulkan perasaan senang (rekreasi), 2) meningkatkan perasaan senang menjadi perasaan pesona (kekaguman), 3) mendorong munculnya sikap menghargai (apresiasi). dengan kata lain, pengajaran tari harus menekankan pada keikutsertaan anak meskipun hanya sebagai peserta penggembira (ikut-ikutan), kemudian mengembangkan minat anak, dan mengamati secara intens demi meningkatkan kualitas anak sesuai tujuannya. demikian pula proses evaluasinya, terutama harus ditekan kan pada proses perkembangan dan bukan semata-mata hasil pada penguasaannya. mengenai materi dan proses pengajarannya, perlu disesuaikan dengan kebutuhan-kebutuhan yang spesifik dari berbagai jenis dan tingkatan tertentu pada anak cacat mental berdasarkan informasi dari orang-orang yang ikut menangani. seperti psikolog, pekerja sosial, guru, medis. adapun bentuk materi tari yang disajikan dapat berupa kegiatan kreasi dan apresiasi. kegiatan kreasi meliputi beberapa aspek, yaitu: 1) kreativitas tari, 2) gerak dan lagu, 3) respon musik (menanggapi musik tari), 4) menirukan gerak-gerak tari, 5) penguasaan tari bentuk (tingkat pengamatan), 6) pengekspresian tari bentuk (tingkat penghayatan atau ekspresi pribadi). dalam kegiatan apresiasi, terdiri dari tahap-tahap kegiatan melihat, mengenal, mengamati, merasakan, dan menghayati. pada aspek-aspek kreasi dan apresiasi tersebut tentunya harus mencakup pula tentang elemen-elemen dasar tari, yaitu tentang geraknya, tata rias dan tata busananya, musik iringannya, bentuk pentas/ panggungnya, temanya, dan perlengkapan tari lainnya. sehubungan dengan metode dan teknik pengajarannya dapat ditempuh melalui beberapa cara, tetapi harus tetap mempertimbangkan keadaan anak dan lingkungan belajarnya. misalnya: 1) metode demonstrasi dan eksperimen, yaitu menekankan pada contoh-contoh dan percobaan-percobaan yang sesuai dengan tujuan bimbingan, seperti menggunakan teknik ketukan atau hitungan. teknik peniruan, teknik kebebasan beraksi. tujuannya adalah agar anak mampu berkomunikasi, beradaptasi, mempunyai pengalaman praktek, sehingga anak mempunyai kemampuan berpartisipasi terhadap norma-norma dan lebih jauh terhadap kehidupan masyarakat; 2) metode bermain pe ran, yaitu bimbingan dengan melakukan peran tingkah laku yang sesuai dengan tujuan bimbingan, seperti menggunakan teknik kebebasan beraksi, bereaksi atau peniruan. dengan metode seperti itu berujuan agar anak mampu berkomunikasi, bekerjasama. berinteraksi dalam kelompok, dan mengatur hidupnya; 3) metode sosio-psikodrama, yaitu bimbingan dengan cara memberikan kesempatan kepada anak untuk berekspresi dalam sikap dan perilaku, mengungkapkan emosinya melalui pendramatisasian, dengan menggunakan teknik kebebasan beraksi. dengan dramatisasi anak diharapkan mampu memahami dan mengkaji dalam proses beradaptasi dengan peran dan lingkungannya; 4) metode karya wisata, yaitu bimbingan dengan cara meng adakan bepergian atau perjalanan guna memperkenalkan kepada objek-objek atau tempat tertentu sesuai dengan sasaran bimbingan. tujuannya adalah untuk meningkatkan komunikasi antar anak, menjalin kerja sama yang lebih erat, mengembangkan partisipasi, dan memanfaatkan lembaga-lembaga pelayan an sosial; dan sebagainya. penutup bertolak dari asumsi dasar bahwa secara keseluruhan tari mempunyai nilai hakiki, maka tari bukan hanya berfungsi sebagai instrumen untuk membuktikan bidang kesehatan mental dan fisik (terapi), koordinasi dan konsep pribadi, melainkan juga merupakan bentuk seni yang memiliki kemampuan yang unik guna mengekspresikan perasaan manusia. keterlibatan tari seba-gai elemen kegiatan pokok bagi pengembangan anak-anak penyandang cacat mental, tari dapat menjadi wahana ideal untuk tujuan pendidikan pada umumnya. lebih-lebih mengingat pengkajian dan im-plementasi kegiatan tari untuk ke-pentingan para retardasi mental se-lama ini masih sangat langka, bah-kan nyaris belum dilakukan di ne-gara ini. sebagai epilog, semoga se-percik pemikiran ini bermanfaat ba-gi sidang pembaca. daftar pustaka conant, howard. 1969. art education. new york: the center applied research in education. inc. depsos ri. 1991. pedoman operasional rehabilitasi sosial bagi penderita cacat mental. temanggung: prpcm. habennand, martin and tobie meisel (ed.). 1970. dance an art in academe. new york: teachers collage, columbia university. johnston. m.k. 1971. mental health and mental illness. new york: jb lippincott co. rand rogers, frederick (ed.). 1980. dance: a basic educational technique. new york: dance horizons. supriyo dan eddy hendrarno. 1991. “gambaran umum keserdasan pada retardasi mental.” dalam penyegaran petugas prpcm temanggung. semarang: kerjasama ikip semarang. 153 women domination in the galombang dance: between the customary idealism and the market use indrayuda, ardipal department of drama, dance and music, faculty of languages and arts, universitas negeri padang, indonesia received: august 11, 2017. revised: october 18, 2017. accepted: december 3, 2017 abstract this study aims to answer the women dominance in the galombang dance creation in minangkabau, west sumatra from gender perspective. in addition, this study also reveals the position of women as an urgent thing in the minangkabau dance creations, galombang. this research used interdisciplinary approach, namely cultural sociology and dance anthropology. the data were obtained through various interviews, direct monitoring in the situation of the galombang dance activity, and literature study to support the primary data. the analysis was done through ethnography method. the result of the research found that women dominance was bigger than men in the galombang dance creations. in customary idealism, women are not galombang dancers as the galombang dance is intended for men. in reality, there is a bigger role between men and women in the galombang dance; therefore, men’s role is not very decisive on the performance quality and selling value, as well as for the use of dance galombang creations by society nowadays in west sumatra. keywords: women domination; gender; customary idealism; the galombang dance creation how to cite: indrayuda & ardipal. (2017). women domination in the galombang dance: between the customary idealism and the market use. harmonia: journal of arts research and education, 17(2), 153-162. doi:http://dx.doi.org/10.15294/ harmonia.v17i2.10724 harmonia: journal of arts research and education 17 (2) (2017), 153-162 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i2.10724 rinaldi (2013) says that women’s position in minangkabau is as the main pillar in a household. aside from being the main pillar (limpapeh), women are also the caretakers of heritage treasures, and minangkabau women are taught to be independent at home. therefore, in the past, women were not justified in performing art performances shown to public such as randai players, and silek galombang. although there was a female character in randai, it was still played by men. as the main pillar of the gadang or family house, the woman’s dignity needs to be maintained for not being blameworthy as well as keeintroduction in minangkabau philosophy, women are termed “limpapeh rumah nan gadang, sumarak dalam nagari, hiasan di dalam kampuang, nan tahu jo malu dan sopan, nan kamahias kampuang jo halaman, hiasan dunia jo akhiraik, kok auih tampek minta aia, lapa tampek minta nasi” (jamal, 2011). it means that women are an elevated human figure in the clan, and women hold role as a symbol of family self-esteem as well as a village and country decorations. in addition, women are expressed as a human figure who upholds politeness and respectful. corresponding author: jl. prof. dr. hamka air tawar padang e-mail: indrayudayusuf@yahoo.co.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 17 (2) (2017): 153-162154 ping the pole from collapsing as the result of the disgrace done by the woman. therefore, activities that will bring disgrace to women were forbidden for her to involve in such activities. for minangkabau society, art is as a pamenan (game) and a cultural heritage cultivated long before the colonial era entered minangkabau territory. an example of that art is galombang or silek galombang. the galombang dance or silek galombang is traditionally danced by men. male in the galombang dance exists along with the base of the dance that grows and develops in the target of pencak silat (indrayuda, 2009). customarily, pencak silat is intended for men as well as art within the target, thus the galombang dance (also called silek galombang) as part of pencak silat is an activity for minangkabau men. the galombang dance as a tradition dance in minangkabau essentially is used to guard and protect guests as well as respect it. the galombang dance movement is derived from the parts of silat moves existing in the nagari where martial arts grow. the galombang dance movement is in accordance with martial arts’ flow in the original nagari of the galombang dance. thus, as the galombang dance is a martial arts representation, the galombang dance is performed by men. nerosti (2013) says that the galombang dance is one of the traditional minangkabau dances owned by every nageri (village) community in minangkabau (west sumatra). the galombang dance is always performed at reception ceremony of the respected guests such as traditional chief or penghulu, martial arts teacher, and bride. the galombang dance is performed by several male dancers with the pattern of the two-lined floor going backwards. there are two kinds of presentation, one direction only and two directions. this means that traditional galombang dance is performed by men. globalization has brought an impact on the emergence of the entertainment and tourism industry in west sumatra. tourism and entertainment industry also has have led to the emergence of dance creations created by dance artists from various production houses in west sumatra. the new dance has shifted the existence of traditional dance that has become the cultural heritage of minangkabau society. nowadays, local artists and custom elites feel restless with this development as the minangkabau dance rule has shifted. but in the form of minangkabau dance, it has developed in quality as happens in the dance of galombang creations (indrayuda, 2016). iriani (2012) says that the result of social change in west sumatra impacts on the rules and the order of minangkabau dance tradition. in general, many minangkabau dance creations such as the galombang dance and the ilau dance, have shifted its order and rules. the essence of the shifting order and rules has led to the change of customary values in the dance, yet the dance creation is preferred by consumers of performing arts. the male role reality in the galombang dance traditionally in nagari has been eliminated with the dominance of women as dancers of the galombang creations nowadays. this trend austerely happens in urban areas in west sumatra. art studio or artists working on galombang dance by placing women as dancer trend is increasingly entrenched even the performing arts market wants to do so. this means that from the aspect of market value, the galombang dance creation using women as performers are is more desirable compared to the galombang dance with male as the dancers. up to now, the trend of using female dancers is more dominant in the galombang dance, and it still continues and entrenches in west sumatra people. method the data presented in this research was qualitative data. the data in this study was obtained by collecting various information from informants. interviews were conducted to obtain data on women domination in the process and the performance of the galombang dance. in addition, the reindrayuda, ardipal, women domination in the galombang dance: between the customary 155 searchers observed the behavior of artists, dance performances, and public response to the galombang dance. the visual audio recording was done to complete the data field. the data were analyzed ethnographically in which the researchers determined the various areas analyzed and the cultural theme. the analysis was also conducted on various components related to performances, artist behavior, issues of women domination in the galombang dance performance. the validity of data was done by rechecking the data field, discussing with peers, doing triangulation, and testing the data by looking at the research context. results and discussion women domination in the galombang dance creation performance the galombang dance creation is a dance of galombang that is laid out recently by the dance performers who are members of various performing arts performances in west sumatra. from the aspect of usability and function, the galombang dance creations is not much different from the traditional the galombang dance cultivated by the minangkabau people in various regions (nagari) in west sumatra. the galombang dance is usually used for traditional and ceremonial events of the government. today’s galombang dance creations are also used for the same thing, namely traditional ceremonial events and ceremonial events as well as for welcoming guests in various visits. however, in the form of performances and the composition of the actors (dancers and caran bearers), there is a difference in the dance set of the galombang creations. susmiarti (2015) says that the creative dance is a new dance form that composes old dances or creates dance with new ideas. the creative dance can be rooted in the well-established customary dance resources as well as dances cultivated a source of movement derived from the explorations of dancers’ bodies and collaboration between explorations with previously existing sources of motion. it means dance of the galombang creations is a dance which is derived from the galombang dance that already existed and became a cultural heritage of minangkabau community in west sumatra. waruwu (2015) states that the creative dance is an effort to develop a form of dance existed in which the goal is to adjust the existence of the dance with a new culture or new system prevailing in society. furthermore, indrayuda (2011) explains that dance, as a human product used by humans, rationally must be in line with the behavior patterns occur in humans in the same time with the existence of the dance. thus, dance should be developed in quality from motion aspects, costume, music and space as well as in the way of performing it. accordingly, the current galombang dance has been transformed into a galombang creative dance which is more dominated by female dancers as the performers. figure 1. female activity in the galombang dance creation (estria 2016 documentation). nowadays, the women dominance begins with dancer and carano carrier. even up to now the dominance of women is increasingly visible because sometimes the galombang dance is performed without any male dancers in the composition. although the male dancers are used in limited numbers, they are still involved in popular art galleries in west sumatra, such as the indojati, syofiani and satampang baniah dance studio. harmonia: journal of arts research and education 17 (2) (2017): 153-162156 figure 2. the existence of women in the galombang dance performance (estria 2016 documentation) based on the researchers’ observations at the indojati padang dance studio located in taman budaya west sumatra padang, the galombang dance has never been shown without a male and female. it means that both dancers types are always performed in the galombang dance production creations by indojati studio production. the galombang dance creations are arranged by the choreographer of indojati studio using male and female dancers. the women existence in the galombang dance performed by the indojati studio choreographer was initially dominated by men. then in the 1990s, according to dasman ori as the chairman of the studio, the number of male dancers was somewhat reduced, and the galombang dance creations were dominated by women. the number of male dancer rapidly declined, so more females were employed in galombang dance performance. along with that, filhamzah (interview on march 29, 2016) said that the existence of women in the galombang dance cannot be left ignored at this time. some studios currently, including indojati, are dominated by female dancers as sometimes the consumer ask the galombang dancers with beautiful women as the dancer. due to the increasing number of female dancers in the galombang dance, the longer the row or line of female dancers is arranged, the more impressive the dances and events are shown. in order to meet the demand, the number of female dancers are exceeded from male dancers. figure 3. galombang dance from female dancers junior indojati (estria 2016 documentation) figure 4. the existence of beautiful, graceful and glamor women in the galombang dance creation as carano bearer (estria 2016 documentation) after researchers observed the satampang baniah studio, the existence of women had a big influence in the galombang dance performance. if there were no female dancers in the galombang dance creation performance, the performance of satampang baniah studio would fall in the consumers’ eyes. according to sulastri andras, the leaders of the studio, the consumer asked to show a beautiful high female dancer in the galombang dance performance. if satampang baniah studio does not display female dancers based on criteria demanded by the consumers, they will complain. finally, the existence of male dancers increasingly marginalized in the performance of the dance galombang creations. pujileksono (2009) exclaims that transformation involves changes in the social and the ecological web relationships. indrayuda, ardipal, women domination in the galombang dance: between the customary 157 welcomed or respected guests. as syofiani bustamam said (interview on march 27, 2016) that the existence of women nowadays become the main actor in the galombang dance performance. in addition, consumers prefer female dancers more than male dancers in the galombang dance creations performances. the consumers logical reason is that the presence of female dancers represent various forms of color, variety and clothing style displayed. when the male dancers are more dominant, the costumes enjoyed by the audience is only one or two forms. moreover, the galombang dancers can also be used as a row of visitors (pagar ayu) in the wedding ceremony. in minangkabau custom, it has eliminated the role of men as a protector of guests who come to attend the wedding party as usually they do it and form the configuration after dancing. based on the liberal feminism, hidayat (2011) states that a freedom and equality rooted in rationality separating between private and public worlds. the framework of liberal feminism is to strive for equal opportunities and rights for every individual including women as the galombang dancers, even becoming dominant today in the galombang dance performances in west sumatra. the women emancipation in all aspects such as an equal education, equal skills and open access to jobs in which previously is only accessible to men is the change that eagerly wants to be achived by the liberal feminism. in this point, women can develop themselves in the public sphere by becoming professional dancers of the galombang creations. also, its existence is needed in the galombang dance creations created by choreographers and by producers producing the dance. the women existence in the galombang dance creations do not get obstacles from various parties. it means that the women existence in performing or offerings the galombang creations is not prohibited or no niniak mamak, pangulu, or community leaders in west sumatra opposing the presence of women in the dance. if the web structure is changed, there will be a values and thoughts transformation as well as the substance of a culture or art. cultural transformation is related to the human culture evolution. this transformation is typically preceded by a social indicators variety. this cultural transformation is an essential step in the development of civilization. all civilizations run through growth and integrity process. it applies to the contemporary tradition dance from male domination to women domination as dancer. figure 5. the women grace performing the dance galombang at the marriage party in padang city (estria 2016 documentation) figure 6. women activity dominating the galombang dance performance (estria 2016 documentation) according to maria dance (interview on march 25, 2016), the activity of female dancers in the galombang dance creations is as a dancer and a carano bearer. nevertheless, women also move as a carrier of flower bouquets as currently the galombang dance creations not only bring carano, but also use a flower bouquet for the harmonia: journal of arts research and education 17 (2) (2017): 153-162158 according to syofiani, filhamzah, dasman ori, and maria dance, the existence of female dancers is not troubled by the consumers who use it. in addition, the affirmation made by filhamzah (interview on march 28, 2016) stated that the activities of women in the galombang dance production creations made by indojati still give the appropriate movement for women. this means that the women activity as a dancer is in accordance with the women character. it is not like some other art studios which give women men’s clothing with male motion characters. the women existence and activity in the galombang creative dance has spawned the galombang dance performance at various events such as marriage feast, the reception of honorable guests in the inauguration of something, or in certain ceremonies and official government events. as women’s activities still remain as women, they wear women’s clothing with the movement of female characters when they play as dancers. this reality is presented by the three popular art galleries in padang city at the present time. women have become the icon of the current creation of the galombang dance in the big cities of west sumatra province. the women’s role in the galombang dance creation performance as seen in art galleries in padang, bukit tinggi, and padangpanjang, woman is the currently icon of dance creations in west sumatra. in each of their dance productions, it seems that women are more dominant as dancers. every dance production produced by art galleries in padang always puts women in their dance work production. it was what researchers saw in the galombang dance creations of indojati, syofiani and satampang baniah dance studio production in padang. these three studio productions are popular art galleries in padang city both past and present time. figure 7. the women role as the key to the galombang dance performance in wedding party events (estria 2016 documentation) the galombang dance produced by the three popular sanggar, syofiani, indojati and satampang baniah, never leave women in various performances. when researchers watched every event such as a wedding party regularly followed by the three studio productions, they never did it without the women dancers in the composition of dancers. it indicates that in the appearance of the galombang dance creations, women have an important role. figure 8. woman as an icon of the galombang dance in indojati studio production, padang (estria 2016 documentation) according to suharti (2012), traditional dance such as in banyuwangi which originally danced by male dancers, it is later danced by female dancers as the demand for the entertainment and the tourism industry interests. the women existence in the dance is used as a tourist attraction. therefore, traditional dance in banyuwangi such as gandrung dance is packed for the benefit of tourism. indrayuda, ardipal, women domination in the galombang dance: between the customary 159 based on what the researcher observe so far, most consumers wanted a female dancer in the galombang dancer creations nowadays in every appearance. it means that the existence of women in the galombang dance is considered meaningful by the studio manager, choreographer, and art connoisseur as well as the consumer. women act as the key to the galombang dance performance and the key to the existence of these studio productions in receiving orders or requests from the consumer. figure 9. the galombang dance musician (estria 2016 documentation) as explained by maria dance (interview on march 26, 2016), the women role in the galombang dance creations can determine whether the dance received a good response from the consumer. it means that the discharge level of the galombang dance by the consumer depends on the placement and the use of female dancers in the galombang dance creations. damhuri (2013) explains that women can act as the key to the artistic and harmonization of a dance cultivation such as the tauh dance in rantau pandan, and the galombang dance in west sumatra. it means that the women presence plays a role in determining the quality of an arts dance entertainment, therefore the harmony in the dance performance can be achieved. considering women are as artistic appeal in galombang dance, hence now the number of female dancers have increasingly dominated the galombang dance performance in west sumatra. figure 10. the honorable guest (governor of west sumatra) welcomed by the galombang dance performance (estria 2016 documentation) as the consumer frequently order, women dancers in the dance galombang performance with a more glamorous costume, the galombang dance creations today more emphasis emphasizes on female dancers rather than on the dance movement or the purpose of the dance itself. according to maria dance (interview on march 26, 2016), the women role in the galombang dance creations today is termed as “kapalo galeh”. it refers to the main actor in the galombang dance creations performance. besides, as the main character, female dancer is a trademark for studio producing the galombang dance as the galombang dance performance is more varied than when it only is used male dancers only. syofiani yusaf (interview on march 28, 2016) stated that the role of female dancers in the galombang dance creations is as a marker to bundo kanduang participation in the dance performance. it means that women are linked to bundo kanduang who will awaits the guests. furthermore, it symbolizes guests who are greeted by the galombang dance are honored guests in which not only welcomed by the niniak mamak but also by bundo kanduang. therefore, the role of female dancers is as a bundo kanduang welcome respected guests. thus, now there has been a gender transformation from the aspect of the dancer’s role in the galombang dance creations. kuntowijoyo (2006) defines transforharmonia: journal of arts research and education 17 (2) (2017): 153-162160 mation as a scientific concept or analysis tool to understand the world. the changes refers to at least two known conditions, pre-change and post-change circumstances. transformation is an effort undertaken to preserve local culture in order to survive and be enjoyed by the next generation, therefore the cultural actors have a formidable character in accordance with the character desired by the state ideology. referring to kuntowijoyo’s statement, transformation is one way to preserve cultural heritage from extinction caused by the civilization change. thus, the transformation of the male role dancers to women is an example of the change to continue the existence of the galombang dance in life of today’s minangkabau society in west sumatra. the reality shows that consumers prefer that the role of women is more dominant than men in the galombang dance. when this market need is not fulfilled, it is estimated that the galombang dance will be extinct in west sumatra. transformation is a thing movement or shift to another or a new direction without changing the structure contained therein although its new form has changed. the framework of cultural transformation is the structure and culture, so even though it has transformed an art but its essence is still visible in the show. although there has been a shift in the galombang dance role, the displacement does not shift the role of the galombang dance as a dance to honorable or glorified guests visiting a region or attending a special event (inauguration, marriage, and crowning). the impact of the women existence as the main character in the galombang dance creations creates a dilemma for the custom elite. while the community wants the women involved as dancers in the galombang dance performance, ideally the galombang dance is a dance intended for men, as the philosophy in which the existence of men is as a protector or fence (security) for a respected guest. when the women protecting the guests, it means that the women are protected creature. however, due to the rapid influence of the entertainment industry, traditional idealism has begun to be marginalized in west sumatra. the historical socio-historical changes from the traditional era, paternalistic into the capitalist era, and now into the era of technology give an impact on the institutions changing surrounding the art, including the institutions, the symbols referring to mystical symbols to realist symbols as well as obedience and communal change into individual norms. however, the era is still rooted in a clear root. when the people of west sumatra have grown from agriculture to industry or commerce society, from communal to individual system, their point of view also towards dance also change. this means that dance began to shift from traditional to pop performing arts (indrayuda, 2015). thus, the women role as a major dancer in the galombang dance is very possible in the realm of a popular dance in west sumatra. iriani (2013) explains that today’s dance works have collaborated between women’s roles and dance styles for women and men. iriani sees the facts in west sumatra about piring syofiani dance. both dance styles are collaborated in a single repertoire, therefore the identity of syofiani dance works that has a serious character and weak graceful but firmly happens. representing the illustration that women can balance the ability of male dancing techniques in agile motion, the mix between of men and women in one dance raises artistic value for the audience. erlinda (2012) says that women have transformed in her position as a minangkabau woman with dancer as a profession. previously, women were not allowed to dance which can be seen from various dance traditions that have become the cultural heritage of minangkabau society. today, as the existence of women as dancers has been a major actor in many dance creations, the role of women has marginalized the role of men as dancer creations in west sumatra. it turns out that the existence and role of women become the main focus in the galombang dance creations today in indrayuda, ardipal, women domination in the galombang dance: between the customary 161 padang. therefore, the art galleries such as syofiani, indojati and satampang baniah inevitably have to empower female dancer’s role in the galombang dance creations performance of their production. when women do not play a role in galombang dance, it gives an impact on the galombang dance value. it also affects the marginalization and the existence of art studio producing the galombang dance creations. therefore, the existence of women and their role in the galombang dance creations become important. women become the figure needed by choreographer and dance studio at this time in padang. the presence of women in the galombang dance creations have an impact on the entertainment business and the existence of an art studio. it also affects the economic value for the studio. conclusion the existence of women in galombang dance cannot be abandoned in the galombang dance performance. some art galleries producing galombang dance use more female dancers than male dancers. the women dominance is seen in various galombang dance performances, both in the form of performances for traditional ceremonies of marriage as well as for ceremonial events of government and ceremonial customs in west sumatra. the women activities in the galombang dance creations are almost in various sectors including dancers, carano carriers (betel plate), and companion of carano carriers (betel carriers). the female dancer existence and activity in the galombang dance creations have a major influence on the quality or popularity and the usefulness of the dance in the community. it means that women are a benchmark against the use of dance by consumers. the women existence and activity in the galombang dance creations has have spawned the appearance of the galombang dance creations at various events including a marriage party, the reception of honorable guests in the inauguration of something, certain banquet events and official events in various cities in west sumatra. women are the current icon of the galombang dance creations in west sumatra in which can be seen in art galleries in padang, bukit tinggi and payakumbuh. the women dominance as dancers in the galombang dance creations performance has marginalized the role of men as the main character in the galombang dance. ideally, it should be men who play an important role in the galombang dance. however, women have currently replaced the role of men as the main character in the dance. it means that the women role in the galombang dance is crucial to the profit and whether the galombang creations is used by the consumer of galombang dance service. women act as the key to the galombang dance value and the key to the existence of these studio productions in receiving orders or requests from the consumer. references damhuri, a., darmawati, d., & yuda, i. 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(2009). antropologi. malang: universitas muhammadiyah malang press. rinaldi, i. (2013). betapa penting peran perempuan di minangkabau. artikel di tulis dalam kompas.com tanggal 14 maret 2013. suharti, m. (2012). tari gandrung sebagai obyek wisata andalan banyuwangi. harmonia: journal of arts research and education, 12(1), 73-86. susmiarti. (2015). model pengembangan pelestarian tari rantak kudo di nagari lumpo. hasil penelitian tidak diterbitkan. padang: universitas negeri padang. waruwu, e. (2015). peranan perempuan dalam tari galombang gaya baru dalam pesta perkawinan di kota padang. hasil penelitian tidak diterbitkan. padang: universitas negeri padang. 88 the role of in-service teacher in supervising pre-service teachers during teaching practicum program diah latifah department of music education, indonesia university of education jl dr. setiabudhi no 229 bandung, indonesia e-mail: diah-singer@bdg.centrin.net.id received: september 13, 2014. revised: november 5, 2014. accepted: november 12, 2014 abstract this study analyzes the role of in-service teacher in supervising the pre-service teachers during the teaching practicum program and in building the pre-service teachers’ character to be competent music teachers in the future. this study implements narrative inquiry as the method of research. narrative inquiry method explains the variety of cases during the process of supervision by the in-service teacher. in addition, the research was held in pasundan 8 senior high school bandung and was analyzed further by using qualitative methods with interactive analysis as it is formulated in the research question of this study. results show that the supervision by an inservice teacher has been successfully enhanced the ability of pre-service teachers in teaching art and culture, particularly music lesson. the competence of pre-service teachers can be achieved by giving them examples, model, and music experience from in-service of the pre-service teachers. keywords: in-service teachers’ supervision; the competence of pre-service teachers in teaching music lesson how to cite: latifah, d. (2014). the role of in-service teacher in supervising pre-service teachers during teaching practicum program. harmonia: journal of arts research and education, 14(2), 88-96. doi:http://dx.doi.org/10.15294/ harmonia.v14i2.3290 harmonia : journal of arts research and education 14 (2) (2014), 88-96 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v14i2.3290 p-issn 1411-5115 e-issn 2355-3820 professional teachers who are completely understanding the learning environment theoretically and practically. according to puspitasari (2013, p. 33), in-service teacher who has a role as supervisor in teaching practicum program, has a responsibility to guide the pre-service teachers (participants of the teaching practicum program) to create a lesson plan as one of classroom teaching administration. the lesson plan which is made by pre-service teachers has a slight difference format with the ac tual lesson plan used at school. so far, pre-service teachers seem to not have any difficulties since the in-service teacher (the supervisor) has given them a set of lesson plan format examples. subsequently, the introduction in-service teacher in teaching practicum program has a role to prepare and supervise his participants to become music teachers. in-service teacher in teaching practicum program specifically has a responsibility to give a real school teaching and learning experience to every pre-service teacher who attend the program. training and guidance are usually given by compiling lesson plan, analyzing syllabus, and implementing learning components in the practice of classroom learning in the actual music classrooms. participants of teaching practicum program or the preservice music teachers are prepared to be diah latifah, the role of in-service teacher in supervising pre-service teachers 89 pre-service teachers only need to adjust their lesson plan to the fixed format which is written in the provided example. frequently, the empirical facts regarding to the actual teaching are considerably different to the initial learning which has been firstly has given in the teaching education program at the university level. in its relation to clinical supervision, puspitasari also argues that clinical supervi sion is a form of professional assistance that is based on the needs of pre-service teachers (student teachers), and derived from a systematical observation and analysis regarding the actual behavior of preservice teachers in the classroom. parwoto (1988, p. 84) states that this stage requires the pre-service teachers to practice their teaching and non-teaching skills integratedly and intact in the actual teaching situation under an intensive supervision from lecturers and in-service teachers. the teaching practicum program is an activity which aims to prepare pre-service teachers through an actual classroom teaching practice at schools. this program is located in schools or other institutions which provide teaching learning program for pre-service teachers. hamalik (2005, p. 172) argues that teaching practicum program is a series of activity that is programmed for students or student teachers comprises learning to teach or learning outside the teaching activity itself. this activity is an opportunity to develop professional competencies required by the work field of teachers or other educational personnel. further, this activity is aiming to form the personality of pre-service teachers and to equip them with a set of know ledge, skills, values, attitudes, as well as a behavioral pattern. in addition to this are the competent and appropriate use of those aspects in the implementation of teaching and learning inside and outside schools. widiastuti (2013, p. 3) claims that teaching practicum program is actually one of the essential curricular components which need integration between material comprehension and practice. besides, the teaching practicum program is one of intracurricular academic activity which comprises guided, focused, and integrated teaching practice and other educational duties to fulfill the requirement of the establishment of professionals in the field of education. supervision under the assistance of in-service teacher is a kind of supervision which is aiming to prepare pre-service tea chers to become competent teachers. in other words, supervision purposes to provide teaching competency training to the pre-service teachers. based on shalaway (2005, p. 9),”teaching in today’s classrooms calls for reflective professionals set apart by special knowledge and skills”. it means, for teachers, teaching is not a kind of competence which can be possessed easily. it is more of an arrangement of special capabilities that shapes teachers become professionals. here, the teaching competencies are given by in-service teachers through the process of music classroom teaching in the school environment to the pre-service teachers as the participants of the teaching practicum program. the teaching practicum program is a medium of giving teaching learning skills and knowledge training to pre-service teachers in order to form them becomes professionals. soewito (2013, p. 6) argues that teaching practicum program and community service program (kuliah kerja nyata) is integrated aiming to develop the competencies of university students to become pre-service teachers or other educational professionals, in particular. programs which are developed in the implementation of teaching practicum are focused on school communities, clubs, or institutions. school communities comprise school internal community (teachers, staffs, and school committee) as well as societies around the school environment. besides the aspects described above, the changing of competencies which needs to be comprehended by students are the balance between hard skill and soft skill competencies. curriculum development team (2013) states that there is an increase and balance between soft skills and hard harmonia : journal of arts research and education 14 (2) (2014): 88-9690 skills in senior high school comprise the competencies of attitudes, skills, and knowledge. specifically, in indonesian curriculum, the music lesson is derived from competencies. in the other words, the lesson has to be in accordance with the competencies. a study by widarto (2012, p. 20) states that the hard skills and soft skills, learning strategy need to be implemented in order to prepare skilled employees. if the education is given at school, the active learning strategy will be relevant to be implemented. this study is going to explain that inservice teachers should have the competencies to guide the participants of teach ing practicum (pre-service teacher) in order to implement the balance of hard skill and soft skill through music learning for students. an example of regarding to the previous explanation is the ability to lead a small discussion in ‘cooperative learning’ learning model. zaher and nasir (2010) conduct a study about the importance of cooperative learning approach. based on them, learning by this method is more effective rather than other traditional learning. this learning is considerably important to give an opportunity to the students to have more experiences in learning. here, the role of in-service teacher is considered to be essential to help teachers in giving an active learning experience rather than the passive one. active learning experiences is considerably essential to students, there fore, a pre-service teacher need to be aware and understand the principles of active learning, such as: action learning or what is known in music lesson as learning by experiencing music. leonarda (2010, p. 121) states that the importance of learning using action learning is the opportunity to give students a space to develop their managerial and collaborative experiences. as it has been explained previously, the theory of teaching and learning delivered in teaching education is frequently different with the empirical facts happened in the field. it is believed that this problem can be solved through the supervision by in-service teachers as the people who are in charge and have a considerable number of experiences in the actual music classrooms. this study is conducted to find out whether in-service teachers are having the competencies to mediate the difficulties to teach that might be faced by pre-service teachers and the need to implement the indonesian newest 2013 curriculum which emphasizes the balance between hard skill and soft skill. therefore, the research question in this study is “is the in-service teacher supervision able to make the pre-service teachers to become competent music teachers?”. from the research question, this study is aimed to analyze the function of in-service teacher supervision towards the pre-service teachers’ readiness to become competent music teachers. method this research implements narrative inquiry as the method of study. narrative inquiry method explains a variety of cases and activities which happen during the supervision between the in-service to the pre-service music teachers. design and assumption of the study based on the research question stated above, the design of the study is illustrated in the following figure (see figure 1). from the presented chart, it is assumed that inservice teacher has several significant roles towards competencies in creating lesson plans, carrying out the learning process of a music lesson, and implementing both hard skill and soft skill to the pre-service teachers. the data will be analyzed by (1) finding out the functions of in-service teacher’s supervision regarding to the process of creating lesson plans for the preservice teachers, (2) finding out the functions of in-service teacher’s supervision regarding to the implementation of learning process for the pre-service teachers, and (3) finding out the functions of in-service teacher’s supervision regarding to the implementation of the balance between diah latifah, the role of in-service teacher in supervising pre-service teachers 91 hard skill and soft skill. data of the study data of the study which is going to be analyzed in this study are (1) the functions of in-service teacher supervision for the pre-service teachers, (2) the functions of in-service teacher supervision regarding to the implementation of the learning process for the pre-service teachers, (3) the functions of in-service teacher supervision regarding to the implementation of the balance between hard skill and soft skill for the pre-service teachers. the study will be started by an initial observation to understand the school environment and examine the preparation of the in-service teachers before supervising the pre-service teachers. the real research is going to be conducted when the teaching practicum is started. the process of creating lesson plan will be done once in a week in the first month, and twice in a week for the following months. the next step is to observe the learning process when the pre-service teachers act as the actual classroom teachers under the supervision from the in-service teacher. the conformity between the syllabus and the teaching practice will be analyzed. the aspects which are going to be ob served and analyzed further are (1) the use of learning approach, (2) the use of learning method, (3) the use of learning media, and (4) the steps and evaluation technique implemented by the pre-service teachers. specifically, data is going to be analyzed deeper by synchronizing the practice with the process of supervision regarding to on how the music materials are constructed by combining the hard skill and soft skill of music. descriptive qualitative analysis is going to be implemented to process, verify, and summarized the data interactively. the interview will be conducted in the middle of pre-service teachers’ teaching process analysis in order to obtain the information related to the performance of in-service teacher in conducting the supervision. the interviewees will be the vice head master of curriculum and the in-service music teacher. furthermore, research will be taken place in pasundan 8 senior high school bandung, starts from the midst of february to the midst of may, 2014 during the teaching practicum program. the research instruments will be (1) the guidelines of observation, (2) the guide lines of interview, (3) the documental stufigure 1. chart of the study design (latifah, 2014) harmonia : journal of arts research and education 14 (2) (2014): 88-9692 supervision related to the learning method was done during the learning process in the classroom. in-service teacher demonstrated the implementation of learning methods in teaching music. methods which were applied by in-service teachers and were taught to the pre-service teachers were the methods of practice, lecturing, questions and answers, demonstration, and imitation. lecturing method was implemented while giving an introduction to students related to the learning materials which were going to be given. questions and answers method was conducted during the learning process when students who had not understood the materials delivered several questions related to the given materials. in addition, this method was also implemented during the time of learning music practice. when students had difficulties in understanding or feeling the rhythm pattern or singing a certain song, they would ask the teacher to find the answers or problem-solving. in this case, service teacher and pre-service teachers would give the answers by demonstrating or showing the way those music instruments or songs were produced or sounded. the method of practice was done during the time when in-service teacher or pre-service teachers taught music. they would always ask the students to play music instruments by experiencing the way the instruments were played, both in rhythmical music ensemble or degung. supervision related to the usage of media in music teaching the results of the supervision related to the usage of media in music teaching were seen when pre-service teachers performed teaching and learning in the classroom. in teaching, pre-service teachers seemed to always use the learning media. the learning media which were usually used were audio and audio-visual media. audio media was used to give an understanding to students related to the language of sounds that would be needed by students. this media would also become the tool to understand the concept and practice of dy of lesson plans, as well as (4) documentation. results and discussion the results of the study have successfully revealed the roles of in-service teacher to prepare the pre-service teachers, as follows: figure 2. in-service teacher gave an example to students (documentation by latifah, april 2, 2014) in applying the learning approach in the classroom, pre-service teachers were following suggestions from the in-service teacher as a result of supervision. several approaches which had been given by the in-service teacher as the examples were experience learning, cooperative learning, as well as appreciation. as a conse quence, approaches which were usually implemented by pre-service teachers were also as the same as what they have learnt from an in-service teacher during supervision. the approaches were experience learning, cooperative learning, as well as appreciation by conducting a group study to discuss new musical events they saw from the audio-visual media. during the supervision, it could be seen that the in-service teacher implemented both experiential learning and cooperative learning approach in teaching degung rhythmical ensemble. in implementing the approaches, in-service teacher asked students to experience themselves to play degung (see figure 2). diah latifah, the role of in-service teacher in supervising pre-service teachers 93 certain music. in addition to the audio media was the presence of audio-visual media which was used to show the meanings behind the process of playing the music instruments contextually to students. by contextually meant that students were expected to understand and realize how certain sounds of music were sounded and played by the musicians shown in the provided media. another media which was always prepared in the learning process was music chart. it was used to introduce the text of certain songs that would be sung by students. however, among those media, the most important one was the music instruments themselves. it would be very important for students who were going to practice to play the music instruments. all of those media were used by the in-service teachers during the learning process. during the time of supervision, the in-service teacher demonstrated the ways to use teaching and learning media which were later imitated by pre-service teachers. supervision related to evaluation supervision related to evaluation was done by in-service teacher, with the following steps: in the beginning, in-service teacher introduced the technique of evaluation and the evaluation instrument which was used during the implementation of the 2013 curriculum. the evaluation instruments comprise the activity of filling out certain rubrics to evaluate the students’ character building (soft skill) and scoring related to understanding the music competencies and practice. after that, in-service teacher showed the example of evaluating students to the pre-service teachers directly during the process of learning. the evaluation was done by ticking the columns of providing a rubric based on the students’ characters which were observed as well as by giving score or grade to the students based on their abilities to comprehend the competencies during the process of practicing to play degung musical instruments. those evaluation activities were imitated and developed by pre-service teachers during the teaching practicum. supervision related to aspects of hard skill and soft skill supervision related to the aspect of hard skill was initiated by the supervision to create the lesson plan. the lesson plan which was created by pre-service teachers was implemented well by them in the classroom. it was proof that supervision related to create and implement lesson plan was done well by both in-service and pre-service teachers. supervision which was conducted to help pre-service teachers in creating lesson plan was done by giving them an explanation related to the gap between what is written in the lesson plan and the theories of learning that will be implemented in the real context of classroom learning at school. the supervision was continued by giving feedback to pre-service teachers related to the lesson plan. in detail, in-service teacher gave an explanation related to the percentage of time allocation which was done during the learning process as well as the opening, main, and closing activities which would be done by pre-service teachers. besides giving explanation related to the comprehence of creating lesson plans, in-service teacher also taught the pre-service teachers the steps to teach degung in a contextual way as it was always done in pasundan 8 senior high school bandung. the process of learning degung in this school was not done by reading the notation da mi na directly, but more by memorizing (ngabeo) and imitating the teachers’ demonstration. the role of in-service teacher in supervising pre-service teachers were also seen from the way he taught the pre-service teachers about hard skill of teaching music. in-service teacher was a model for the students, and he wanted pre-service teachers to also become a good model for the students. for instance, when an in-service teacher taught his students to value the ethics of playing degung music instrument, he did not allow his students to step over the degung instrument. consistently, harmonia : journal of arts research and education 14 (2) (2014): 88-9694 in-service teacher showed that attitude to students. in addition, if there were violations done by students, in-service teacher would remind the students in front of the pre-service teachers, so that the pre-service teachers would know the way to rebuke the students appropriately. attitudes which were modeled by the in-service teacher there were several attitudes done by in-service teacher which reflected exemplary attitudes towards pre-service teachers. some of the attitudes were silih asah, silih asih, and silih asuh. in the process of learning degung, in-service teacher did not doubt to ask students to help each others. he gave an understanding to the students who had more capabilities in playing degung to help their friends who had difficulties in playing the instrument. for instance, if there were students who had difficulties in playing kendang instrument, the in-service teacher would ask the more capable students to teach their friends to play kendang patiently without having the feeling of arrogance. in addition, when degung was played together, students would be asked to keep the pattern of the rhythm so that the less able students would not face difficulties in following the rhythm. more capable students were also asked to remind their friends when to play the instruments, for instance, gong which was supposed to be played at the end to close the degung play. related to the supervision for pre-service teachers, in-service teacher would always remind the pre-service teachers to give their students’ music lesson based on sundanese culture, who emphasized the importance of attitudes and affective aspect which became the main basis of teaching positive character to students. according to the interview which was conducted in this study to receive information from the in-service teacher on may 7, 2014, the teacher delivered the importance of sundanese culture attitudes which comprise ngasah, ngasih, ngasuh. ngasah meant that in teaching, teachers had to give knowledge and attitudes to students according to humanitarian norms. ngasih meant to give and care to students as if they were the teachers’ own children. last-ly, ngasuh meant to take care of or to guide the students to the maturity of thinking and behaving in a mannered character. he also delivered that the concept of karawitan had to be understood by students as ra which meant rasa or feeling and wit which meant karuhun or ancestors. therefore, rawit (karawitan) means the act of feelings and politeness that was based on values which was inherited from the ancestors. moreover, there were several other sundanese philosophical terms which were often used by the in-service teacher to educate the students’ character. besides silih asah, silih asih and silih asuh, another term was aji luhung, aji komara and aji wibawa. aji luhung was an attitude which required a person to be skillful but not to be arrogant. aji komara meant that people were having high value because they were knowledgeable. the last one was aji wibawa meant that people had their dignity from their knowledge. all of those philosophical terms were supposed to be implemented in daily attitudes. besides the previous terms, in-ser vice teacher was also introduced students to the conception of sundanese philosopichal term wawuh ka gustina, wawuh ka dirina, wawuh ka alamna. this philosophical term meant to know their god, to know themselves, and to know their environment. people had to know their god in order to be a religious creature that devoted themselves to their god. people had to know themselves in order to develop their skills based on their own potential abilities, and to know environment in order for them to keep the environment well and wisely. the last sundanese philosophical term which was usually implemented by the in-service teacher and was taught to students to build their positive character was murangga jati sunda. it was the meaning of life from the perspective of the sundanese. that term was given to studiah latifah, the role of in-service teacher in supervising pre-service teachers 95 dents though the daily attitude approach. those were the role of in-service teacher in the aspect of teaching soft skill based on a sundanese cultural value which was considerably meaningful to pre-service teachers who underwent their teaching practicum program in pasundan 8 senior high school bandung. conclusion one of the functions of in-service teacher supervision is to strengthen the teaching competence of pre-service teachers in order to achieve the balance between hard skill and soft skill. soft skill was taught by giving noble examples and introducing positive characters based on sundanese culture by the in-service teacher, whereas hard skill was usually given in line with the implementation of soft skill. hard skill was given to the students by practicing music. the teaching methods which were implemented here were demonstration and imitation by practicing degung ensemble. this activity was also completed by teaching students the theory of music using the lecturing method as the introduction. supervision was done by the inservice teacher by conducting several activities, such as: an initial introduction of the music classroom environment which was continued by having briefing related to the steps of creating lesson plans. the conformity between lesson plan and learning process was exemplified by an inservice teacher by demonstrating the teaching process of degung music ensemble, starting from the way in-service teachers implemented the teaching approach, the learning method, the learning media, teaching hard skill and soft skill, until the implementation of evaluation techniques. during the teaching practicum, in-service teacher also helped the pre-service teachers by explaining more about the way to teach music in an actual classroom. from this study, it is 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(2010). effects of cooperative learning vs. traditional instruction on prospective teachers’ learning experience and achievement. journal of faculty of educational science, 43(1), 151-164. 95 the visual arts of masjid agung sang cipta rasa cirebon: hybrid culture identity nyai kartika1, yasraf amir piliang1, imam santosa1, reiza d. dienaputra2 1doctoral study program in fine arts and design, faculty of art and design, institut teknologi bandung, indonesia 2history study program, faculty of cultural sciences, universitas padjadjaran, indonesia submitted: january 4, 2020. revised: march 9, 2020. accepted: july 4, 2020 abstract cultural hybrids complement the richness of the visual art of masjid agung sang cipta rasa in cirebon. the influence of diversity can be seen in the mosque including having strong local cultural characteristics, coupled with the influence of foreign cultures such as arabic, india, and china. this study aims to find hybrid culture crosses in elements of masjid agung sang cipta cipta. the method used is the historical method. the historical method is the process of critically testing and analyzing records and relics of the past. this method consists of several stages, namely heuristics, criticism, interpretation, and historiography. the results of this study describe various forms of hybridity that have influenced the development of masjid agung sang cipta rasa. the elements are considered to represent the period before islam entered, or the influence of hindu buddhism, chinese, arab, javanese, and european that coexist in cirebon. the elements of visual arts in the mosque which are part of the hybrid cultural cross-identity among which are represented on the roof that gets influence (javanese, hindu-buddhist, arabic/islamic); gate (hindu-buddhist); maksurah (arabic); mihrab (arabic, chinese); pillars (javanese, arabic). this shows that the greatest influence on the building of masjid agung sang cipta rasa, starting from the earliest development until several centuries later, is the influence of culture from outside. keywords: arts; culture; hybrid; mosque; visual how to cite: kartika, n., piliang, y. a., santosa, i., & dienaputra, r. d. (2020). the visual arts of masjid agung sang cipta rasa cirebon: hybrid culture identity. harmonia: journal of arts research and education, 20(1), 95-107. harmonia: journal of arts research and education 20 (1) (2020), 95-107 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i1.17525 of time that extends from the 7th century ad to the 21st century ad. the diversity of mosque buildings in indonesia certainly cannot be separated from the cultural influences that surround them, especially when the mosque was built or renovated. this is also in line with what was expressed by lufiani that work in the sphere of culture is something that has an attachment to the surrounding environment and has historical value (lufiani, 2017). both the inintroduction the existence of the mosque building as a place of worship of muslims experienced interesting developments from time to time. the relatively old age of the development of islam in indonesia also influenced the various forms of mosque buildings that were erected in indonesia, since the beginning of islam’s entry into indonesia until its most recent development. a span corresponding author: e-mail: kartikalukmansetiawan@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (1) (2020): 95-10796 fluence of local culture and the influence of outside cultures, such as arabic, india, and china. inevitably, in the early stages of its development until a few centuries later, the greatest cultural influence surrounding mosque buildings in indonesia was cultural influence from outside. islamic buildings in cirebon, such as mosques, have architectural elements and decorative patterns that have similar characteristics in other islamic building contemporaries elsewhere, especially the north coast of java such as banten, gresik, kudus, and madura. these places at the beginning of the 16th century had become the center of islamic development in java. besides getting strong hindu influence, the development of mosques in indonesia also cannot be separated from the development of islamic sculpture (carving art) which at the beginning was centered on mosques and palaces. with the development of the mosque building, sculpture entered the mosque’s interior during the umayyad dynasty. the form and motif of carving since that time until now are limited to geometric shapes with vegetable motifs (leaves and flowers). these forms and motifs are the original creations of muslims (encyclopaedia of islam volume 3, 1994), known to europeans as arabesque. then followed by arabic calligraphy art that dominates the mosque’s interior decoration. another thing that is not less interesting to highlight is the acculturation of islam with a culture that is both alive and present, coloring its journey and development in the community. visual art in a culture based on islamic religion emphasizes the prohibition on the use of living things as objects of art. so, what grows is decorative art in the form of decoration and simplification of forms. this led to a collaboration between islam and local culture, seen as a successful acculturation process. this is shown by increasingly showing the richness or diversity of islamic cultural expressions after contacting or meeting with local cultural buildings (utami, 2011). the strong influence of outside culture on mosque buildings in indonesia is also evident in the elements of mosque buildings in west java. in this connection all is interesting to be studied about the forms of the influence of outside culture on the mosque building, especially mosques in west java. rustarmadi quoted barthes, explaining that social life whatever its form is a separate sign system, and humans always have their ways to interpret various things around them (rustarmadi, 2012). likewise, traditional mosque building has its meaning in society with various elements of the results of its cultural mix. given the vast extent of west java, it would be very reasonable if the research focused on one of the cities that had quite a diverse cultural influence from outside, namely the city of cirebon. why cirebon? the reason is none other than because cirebon has a relatively long age of contact with outside cultures other than as a center for the spread of islam in west java. besides, ancient mosques that are specifically located in the keraton kasepuhan area have particularities that are still maintained today. one of them is masjid agung sang cipta rasa (sang cipta rasa great mosque). some studies that took the object of cirebon include research from husen hendriyana’s dissertation discussing the aesthetic and symbolic meaning of the liman and dalima motifs in the sadguna concept at the cirebon palace during the reigns of kasepuhan i and kasepuhan ii. the selection of cirebon city as the location of the object, by husen, is because cirebon is considered to have its uniqueness and distinctiveness in the journey of its cultural arts. especially in the palace, many artifacts have not been scientifically defined. singgih tri sulistiyono’s research in his work on perkembangan pelabuhan cirebon dan pengaruhnya terhadap kehidupan sosial ekonomi masyarakat kota cirebon (1998) discusses the development of the port of cirebon which became rapidly developing in the second half of the xix century. cirebon in its geographical position on the north coast of java gave birth to shipping as well nyai kartika et al., the visual arts of masjid agung sang cipta rasa cirebon: hybrid ... 97 as trade activities and became the heart of the city and a driving force for the economic development of the surrounding area. further research on the discussion in the sunan gunung jati (antara fiksi dan fakta); pembumian islam dengan pendekatan struktural dan kultural by dadan wildan, which is the result of philological dissertation research. it was printed into a book in 2002. it classifies fictional and factual elements related to sunan gunung jati found in ancient manuscripts of the cirebon tradition. this study aims to find the identity of hybrid cultural crossing in the elements of masjid agung sang cipta rasa which is part of the development of the mosque’s visual art that survives and continues to exist following the times. this research is also expected to enrich the treasury of local history in indonesia especially cirebon city, west java. beyond that, another benefit expected from this study is the strengthening of synergy or re-approaching between history and art and design. therefore, the author views the need for this research to be carried out. method this research uses the historical method. historical method is a method used to study events in the past to make systematic reconstruction of the past, by collecting, evaluating, verifying, and synthesizing evidence to establish facts and obtain strong conclusions (kosim, 1984). the same thing also expressed by gottschalk (1986) that the historical method is the process of critically examining and analyzing records and relics of the past. this method consists of several stages, namely heuristics, criticism, interpretation, and historiography: 1) heuristics or the stage of collecting sources, especially visual sources; 2) criticism or source selection stages or often also referred to as source verification stages; 3) visual analysis or stages of visual analysis from visual sources that have passed criticism (visual facts); 4) the interpretation or stages of interpretation of visual elements or can also be referred to as stages of visual explanation; 5) historiography or the stages of writing or presenting history. visual source collection activities as the first stage of activities in the visual history research method are carried out in a non-conventional and conventional way. the visual sources that have been collected are then criticized, both external and internal, to produce visual facts. visual facts, as a result of criticism of visual sources will not have any meaning if the facts are not analyzed and interpreted. therefore, analysis and interpretation of visual facts become an important part that needs to be done when reconstructing visual history (dienaputra, 2015). results and discussion the culture in the hinterland (mountains) tends to have a whole and pure culture when compared to the coast, which is a trading area. interaction with outside cultures is more common in coastal areas, acculturation processes occur that form a culture with a new identity (yudoseputro, 1986). likewise, cirebon as a port city of trade centers, so often visited by various countries. toponimi/widyaloka (the origin of the regional name) residents called cirebon as nagari gede, as time went by most people said garage, and then grage. residents call themselves wong grage. the term cirebon in kiratabasa (volks-etymology) is derived from the fragment of the word “ci-“, from sundanese, meaning ‘water’ from ‘cai’ for short; “rebon”, is a kind of small shrimp, which is an ingredient for making shrimp paste, belacan. this is connected with the fact, that cirebon is an abundant and good quality shrimp and shrimp producer for export since long time ago. there is another opinion that gives the explanation that the word grage comes from glagi, namely the name of dried shrimp as a shrimp paste (atja, 1986). in later developments, in the 15th and 16th centuries, cirebon, which was harmonia: journal of arts research and education 20 (1) (2020): 95-10798 a coastal area, became an important base in inter-island shipping and trading lines. based on the arguments presented in the previous paragraph, that the coastline is the entrance to outside culture, the location of cirebon as the border between west java and central java makes cirebon an important role for inter-island shipping and trading. according to tome pires (pires, 2016), cirebon has a good port, where there are 3 or 4 jungs in that place. this place has large amounts of rice and other food ingredients. here is a picture of a jung boat in cirebon. figure 1. the sailboat (bingkung) from cirebon, west java (5537/23, collection of kit jawa barat, national archives of the republic of indonesia). the position of cirebon became a bridge between javanese and sundanese culture, which eventually created a new culture. cirebon is a coastal city located at the eastern end of the north coast of west java, which acts as a base for international trade traffic. cirebon, in the beginning, was a fishing village that had no role at all. a fishing village called dukuh pasambangan located approximately five kilo-meters north of the center of cirebon city. while the center of cirebon city is currently a settlement called lemah wungkuk. lemah wungkuk was built by ki gedeng alang-alang, which was intended for the muslim community which was the beginning of the development of islam for the surrounding area (wildan, 2002). the development of masjid agung sang cipta rasa cirebon in purwaka caruban nagari, masjid agung cirebon (the cirebon great mosque), which is now located to the north of the kasepuhan square, named “ciptarasa”, is the result of the work of demak and cirebon people, in a developing oral tradition the number of workers reaching 500 is led by raden sepet or raden sepat as well as the construction of the demak mosque, under the supervision of wali (the saints) headed by sunan kalijaga. like the roof of the demak mosque, masjid agung sang cipta rasa cirebon, the middle roof is supported by four giant wooden poles, only three are intact, one of which is composed of several pieces of blocks which are bound together (atja, 1986 and tim yayasan mitra budaya indonesia, 1982). this mosque is located west of the square. keraton kasepuhan which is included in lemah wungkuk village. on the outside of the mosque is given a wall fence around. if you look at the east wall fence facing the highway now, it appears that the mosque floor plan is not parallel to the wall fence. however, the square plan is indeed facing the qibla which is about 300 northwest. on this basis, it can be concluded that the wall fence of the mosque was made later. the original mosque floor plan is the part, which is now surrounded by a square wall, while the porch parts of both the east, north, and south porches are made later in the form of expansion. here is a picture of masjid agung sang cipta rasa. the location of the mosque is right facing the qibla, straight with baithullah in mecca. meanwhile, according to p.s. sulendraningrat, the one who measures the qibla direction of the prayer is sunan kalijaga. he who days and days and always performs evening prayers is asking allah’s guidance so that the location of the mosque is right and goes straight towards the direction of baithullah in mecca. therefore, sunan cirebon gave the name of this mosque sang ciptarasa, which means that this mosque is truly the product of a clear inner nyai kartika et al., the visual arts of masjid agung sang cipta rasa cirebon: hybrid ... 99 feeling, a true heart, and is a reflection and self-approach with the creator, allah subhanahu wata’ala (sudjana, 2003). figure 2. masjid agung sang cipta rasa in 1911 (colonialarchitecture.eu.accessed on 6 august 2018) figure 3. masjid agung sang cipta rasa in 1911 (kitlv accessed on 6 august 2018) the great mosque has several nicknames, among others: sang cipta rasa, and serambi pakungwati. the first oldest porch is located to the left of the mosque (south) called prapayaksa, while the front porch (east) is called scenery. here is a picture of the porch of masjid agung sang cipta rasa cirebon. one thing that caught the attention of masjid agung sang cipta rasa was that the roof of the two-story mosque in the form of a pyramid that did not use the top decoration commonly called mustaka or momolo. the shape of the mosque roof in the form of a pyramid also includes the shape of the roof which is very much obtained in the form of ancient indonesian mosques. in general, the roofs of ancient mosques in java and several other places outside java are indeed terraced and shaped like meru with a crest decoration or momolo. some ancient mosques that have a meru-shaped roof include demak great mosque (three stories), kadilangu mosque (two stories), banten great mosque (five stories), and so on (balai poestaka, 1926). from the oral tradition that developed in the community that masjid agung sang cipta rasa cirebon did not use momolo, because, during the reign of king panembahan ratu, an epidemic struck cirebon. to eradicate the outbreak, panembahan ratu released her wand, which floated until it grabbed momolo, until the momolo broke up. since then sunan kalijaga advised panembahan ratu that for masjid agung cipta rasa no longer be made by momolo, but instead, the roof was transformed into a pyramid as a sign that there is no superior human being (sudjana, 2003). figure 4. the porch of masjid agung sang cipta rasa cirebon (12 october 2018) the elements of masjid agung sang cipta rasa masjid agung sang cipta rasa is surrounded by a wall decorated with rhombic protrusions and jagged hexagon shapes (mirror frame motifs). on the top of the wall, there is a barrel temple, the part is in the form of flat seams of a brick arrangement which at the top and bottom are smaller, while in the middle it widens, reaching 70 cm in height, the total number is 20 units, in addition to that at the top is mounted lighting lamps ( alamsyah, 2010). here is a picture of the gate at masjid agung sang cipta rasa in cirebon. harmonia: journal of arts research and education 20 (1) (2020): 95-107100 figure 5. the gate or gapura (4 december 2018) the shape of the door or gate of masjid agung sang cipta rasa is shaped like the paduraksa gate. at the main gate to the east of the middle section, there is a decoration in the form of three-tiered wings at the top, then the arch in the middle there is a decoration shaped barrel temple. meanwhile, at the top of the archway there is an arabic script, on the left and right there is the decoration of the barrel temple (alamsyah, 2010). the barrel temple is a geometric decoration that is made rather prominent on the surface of the wall and consists of two types, one of which is as seen in the eastern gate to the south. the first type, rhombic shaped with the longest size of 1.60 m and the widest 82 cm. the distance between each other is 40 cm, usually known as a portuguese salip form. the second type, in the form of a rectangle surrounded by hexagonal brick protrusions; the decoration includes a mirror frame motif; measuring 80 cm long and 50 cm wide, attached to a wall that is more prominent 10 cm from the perimeter wall is made of a brick structure that widens in the middle, smaller on the top and bottom. the middle part measures 50 x 50 cm, the top bottom measures 30 x 30 cm and the overall height is 70 cm. all of them numbered 20, and at the top they were mounted with lights. the main building of masjid agung sang cipta rasa is almost entirely retained its authenticity, the building measuring 17.80 x 13.30 m with a bulge in the west. the floor of masjid agung sang cipta rasa is made of terracotta tiles, the floor on the south porch measuring 28 x 28 cm arranged in a row (alamsyah, 2010). the roof of masjid agung sang cipta rasa which was originally made of palm fiber has been renovated several times, the latest change is to replace the roof of the mosque with teak shingles. masjid agung sang cipta rasa has a pyramid-shaped roof. the lowest roof is supported by the porch poles, while the roof in the middle is supported by the main pillars and porch poles. meanwhile, the topmost roof is supported by the main pillar which is inside the core building space and reinforced by the easels, so it does not drift apart. at the bottom of the easel, there is a ceiling made of wooden boards. between the three roofs, there is a gap of approximately 2 m (alamsyah, 2010). the core building wall that does not reach the top has a height of about 3 m and has a thickness of 56 cm. the wall serves as a divider between the inner room with the porch, made of limestone with an average thickness of 5-7 cm, and a length of 30-33 cm. the color of the wall is reddish-orange, except for those parts that have engravings that look white. white parts include mihrab and outer walls (alamsyah, 2010). the walls of masjid agung sang cipta rasa have an additional decoration in the form of plain blue porcelain tiles, measuring 10 x 10 cm, which are affixed to the inner walls of the north and south sides. all the outer walls, except the east, are reddish-orange and plain, except for the upper part of the middle door of the north and south walls are decorations in the form of toothed tumpal, each measuring 6 cm. on the core wall of the mosque, 44 vent holes are spread unevenly, on the west wall there are 16 pieces, north and south walls of 14 for each. the shape of the vent itself resembles a toothed rhombus; each serration measuring 6 cm, consisting of two rows: the first row is located 140 cm from the floor surface and the second row 50 cm above the first row, and or 190 cm nyai kartika et al., the visual arts of masjid agung sang cipta rasa cirebon: hybrid ... 101 from the floor surface (alamsyah, 2010). the main room of the mosque measuring 17.8 x 13.30 m has a foundation and height of approximately 10 cm from the porch floor. this red terracotta tile floor room is surrounded by a 3 m high wall but does not reach the floor, which serves as a barrier with a porch. on this wall, there are 9 doors and 44 wind holes. the nine doors symbolize the nine saints (walisongo) in java. the main door to the main room called narpati is located on the east wall, measuring 240 cm high and 124 cm wide. on this door, there are two doors, and on either side of the door, there are pilasters decorated with lotus motifs and tendrils on the top and bottom. each measuring 1.95 m long and 53.5 cm wide, has a carved decoration of lilies, tendrils, and mirror frames. carvings that are stacked on top of a door leaf are 1.24 m long, 40 cm wide, and in the middle of the carving arrangements are lined up with a tumpal decoration. the door near the east-west wall of masjid agung sang cipta rasa has a height of 168 cm and a width of 68 cm, while the middle part has a height of 122 cm and a width of 55 cm. figure 6. the mosque door (12 oktober 2018) the main hall of the mosque has 30 round pillars with an average diameter of 30 cm. the pole is made of teak wood which consists of 12 main pillars and 18 poles near the wall, including a pillar called saka tatal (pillar made of wood chips tied with ropes from grass). in 1977-1978, renovations were carried out on the mosque, one of which was to install iron poles which assist the 12 pillars in supporting the roof of the mosque building. mihrab is located on the west wall with a size of 244 x 140 x 250 cm. the north and south mihrab walls are perpendiculars, while the west ones are semi-circular. on either side of the mihrab, there are two round pillars with lotus buds on them. the arch-shaped mihrab roofs are supported by pillars, and in the middle of the arch are sunflower motifs with flames on the right and left and tendrils. figure 7. mihrab (4 december 2018) the pulpit (mimbar) of masjid agung sang cipta rasa, made of wood which in some parts looks broken. the pulpit was given the name renggakosa. its location is not attached to the west wall of the mosque but stands in the hall of the mosque. the mosque’s platform has a height of 2.30 m, width 60 cm, length 1.22 m; shaped like a chair, has three steps, and the stairs together with the pulpit pole (alamsyah, 2010). the pulpit ceiling is decorated with lotus flower buds pointing down. to the right of the front, there are three pieces of earth tiles (ampar) that come from the saints (wali). on the face, there are many decorations. at the top there are decorative arches, the uppermost being a sunflower motif, on the left and right sides there is a flame motif. meanwhile, in the middle of the arch decoration, at the bottom, there is a decoration of tendrils. under the arch are two round harmonia: journal of arts research and education 20 (1) (2020): 95-107102 pilasters, on top of which are decorated lotus flower bud motifs. next to it is a carved lotus flower blooming in a square frame. at the end of a square-shaped pilaster carved ornate lotus flower bud motif. in the center of the pilaster, the body is carved meander decoration and at the very bottom, there is a pedestal, a round shape for a round and pyramid-shaped pilaster for a square pilaster. pilaster decorated with twisted; the height of the mast 1.51 m, width 13 cm for the square and 14cm for the round, 8 cm thick from the front wall of the mihrab (alamsyah, 2010). here is the pulpit where the sermon is. figure 8. the pulpit (mimbar) (4 december 2018) there are two maksurahs at masjid agung sang cipta rasa, in the form of a square with a size of 325 x 250 cm. maksurah is a wooden-shaped fence and each is used for the sultan kasepuhan and kanoman prayers. maksurah sultan kasepuhan is located on the left side of the pulpit with the entrance on the west side, while the maksurah of sultan kanoman is located in the south and the entrance is in the east. in the porch of masjid agung sang cipta rasa, there are two parts, namely the inner porch that surrounds the main hall, and the outside porch that surrounds the inner porch. the foyer which is located around the main hall is an open building and the roof is united with the main hall. the porch consists of the porch of the south, east, north, and west. the porch located south of the main room is called the prabayaksa porch, in the form of a rectangle, measuring 29 x 6.40 m, with tile floors and solid foundations. the eastern porch is called the porch of the view. in front of the entrance (east) there is a square hole measuring 5.60 x 2.60 x 0.40 m which is estimated to function as a foot washer. the north porch is measuring 29 x 6.40 m. on this porch there is a piece of rattan that functions as a clothes sun-drying of sunan kalijaga, the situation has been cracked and fragile. the west porch is measuring 33 x 7 m. on this porch, there is a drum with a length of 1 m and a diameter of 0, 80 m. the drum is named after sang guru mangir or kyai buyut tesbur putih which is hung on a cross beam between two pushers. figure 9. maksurah (tempat sholat sultan) (4 desember 2018) when being seen in other traditional mosques in indonesia, the drum is never placed in a tower but placed in or in the courtyard of the mosque. the drum is also often placed above the gate. from here then historians assume that the kudus tower is part of a hindu building that changes its use into a minaret (pijper, 1992). the outer porch consists of the east porch, the south and north porches. the east porch is located to the east of the main room, which consists of two rectangularnyai kartika et al., the visual arts of masjid agung sang cipta rasa cirebon: hybrid ... 103 shaped porches, each measuring 31 x 15 m and 31 x 11 m. the floor is dark red and without walls. roof-shaped pyramid and covered with shingles. the south porch measuring 33.60 x 7 m and serves as a place for women’s prayers (pawastren). roofshaped pyramid and covered with shingles. the north porch is adjoining the porch of the view, rectangular in shape, measuring 17 x 7 m. other buildings contained in masjid agung sang cipta rasa complex are places of ablution, istiwa, pelayonan, and tombs. pelayonan is one room to bathe the body in masjid agung sang cipta rasa. pelayonan is located near the bathroom building in the southwest. this place is still functioning until now. this place has always existed, but there are no restrictions. there is one roof with a bathroom next to it, pyramid-type. place of ablution north side before being built the ablution place now is on the north porch. in masjid agung cipta rasa, there are 4 pieces of the ablution places, one of which is not equipped with a bathroom. the rectangular-shaped reservoir of water measuring 5 x 1, 30 x 0.60 m is located north of the north porch. ablution facilities equipped with bathrooms are found in the south, southwest, and northeast. meanwhile, istiwa or bencet is a timepiece using sunlight. it is circular with iron poles at the top of its surface. istiwa (bencet) or the sundial is located in the north yard, west of the well, and stands on two square plinths. the bottom base is 60 x 60 x 7 cm, while the top is 53 x 53 x 30 cm (alamsyah, 2010). on the courtyard of the mosque in the southwest corner, there are 21 tombs. the tomb is only a mound of earth that is laid bricks with a plain headstone of stone. one of those buried in this complex is k.h. shofa ibrahim, who is one of the chiefs at the religious court. then on the porch of the outer core building, there is the tomb of ki gede alang-alang danusela (kuwu lemah wungkuk i). the tomb was given a cup measuring 7 x 3.5 m, meanwhile, the roof was attached to the west porch roof. decorative variety of masjid agung sang cipta rasa as is the case with other branches of culture, cirebon art was originally a manifestation of people’s offerings in the way of religious life. before hindu culture entered java, its inhabitants worshiped all the natural manifestations they saw in the surroundings: plants, rocks, and the sea, as well as rivers, mountains, winds, and typhoons which interfered with their lives. they believe that all manifestations of nature have their spirits, for example, the spirits of their ancestors, who are the guardians of the life and health of the tribe. thus, for pre-hindu people, all arts and even decoration on functional objects are the embodiment of religious beliefs. statues made of stone, or wood carvings, such as dolmen or standing stones depict their ancestors or are ritual objects in ancestor worship. in essence, these goods are objects of art that are not only in shape but the material and method of doing it have a spiritual meaning. typical symbols used to decorate art objects have religious significance as well. abstract patterns such as crosses, swastikas or diamonds, as well as naturalist forms such as life tree decorations and distinctively shaped rock forms called wadas, are all symbols of spiritual and organic life and originate from before hindu culture entered on the island of java (tim mitra budaya indonesia, 1982). salah satu bukti adanya bekas itu adalah one proof of the former is the symbol of the keraton cirebon, a white tiger, a relic from the hindu-sundanese kingdom. then, as part of the realm of the kingdom of gresik and demak empire when the new islamic religion developed, cirebon has become a center of spiritual influence, where hindu and islamic teachings and philosophy meet and seek a synthesis, which is then spread far inland and along the coast. following the belief, walisongo have used art channels to reach the people’s conscience. taking on the most important role is sunan kalijaga, who adapts traditional forms of art to the spiritual and artistic harmonia: journal of arts research and education 20 (1) (2020): 95-107104 needs of the new muslim community, and has integrated them with new symbols and expressions. music, song and dance, painting, sculpture, and architecture have reached new dimensions. therefore it is not surprising that one of the oldest mosques in west java, masjid agung cipta rasa cirebon which according to javanese muslim beliefs is the work of sunan kalijaga himself, it is estimated that around the seventeenth century it was established and its form is still based on ancient javanese building regulations. it is not surprising that at the celebration of maulud nabi, the celebration of eid al-fitr and eid al-adha still heard the sound of the gamelan sekati, which originated in pre-islamic times but had been given a new name, which might be rooted in the word ‘syahadati’ (tim yayasan mitra budaya indonesia, 1982). in hindu times, statues and paintings are an inseparable part of the temple, and they depict religious forms and symbols of hindu belief. such patterns can now be seen among others in cirebon batik and in all forms of cirebon art that are influenced by contact with other foreign cultures, which are gradually absorbed in cirebon hindu art. then, the religion of islam came with new patterns and suggestions so as not to describe all forms of humans and animals. but this recommendation is not always obeyed, ancient traditions are maintained and enriched with patterns characterized by the middle east, persia, and india. for example, it can be called the design of a white lion, an ornamental variety that reappears repeatedly, which comes from the white tiger mentioned above, but which gradually turns into a persian lion, or even a chinese lion (tim yayasan mitra budaya indonesia, 1982). very grand banners used for religious ceremonies are now hanging in the jakarta textile museum (museum tekstil jakarta) and is evidence of this phenomenon, the banners were presented by the cirebon palace to pangeran mangkunegoro vii in sala in the thirties of this century. the banners are an inseparable part of the art tradition. it describes a white tiger from cirebon surrounded by quotations from the koran in arabic script. this tiger is very similar to the iranian lion and is a symbol of ali, the nephew of the prophet muhammad called the lion of god and a special protector of the tarekat of artists. this lion is also one of the main patterns in islamic calligraphy. banners is a repellent and its use is a tradition of religious ceremonies that are older than the hindu period. these designs are then absorbed again in a mixture of decoration which is the hallmark of cirebon decorative art, a true synthesis of all kinds of art known since time immemorial, the era of kingdoms from the north coast of java, through hindu and islamic times, including chinese and european influences in an even closer era. it is not surprising to see a mixture of decoration with hindu, persian, or chinese styles added with islamic calligraphy (tim yayasan mitra budaya indonesia, 1982). one of the various kinds of decorations found in traditional buildings in cirebon is flora. the variety of ornamental flora is intended as a depiction of the atmosphere of heavenly life that comes from the influence of hindu culture. this variety of ornamentations which were completely sterilized during the time of the influence of islamic culture got a good fresh breeze, because of the islamic arts and culture in buildings that are sacred, such as mosque buildings, depictions of natural creatures are not allowed. lung-lungan or tendrils are also an ornamental variety found in traditional cirebon buildings such as masjid agung sang cipta rasa. lung-lungan itself comes from the basic word “lung” which means the stems of young creeping. lung-lungan means curved. lung, also given as the name of the leaf or tip of the yam. the curves in the ornamental variety of masjid agung sang cipta rasa are colorless and are located on the top of the mihrab, pulpit, blandar, tumpang, pangeret, ander, etc. this ornamental variety is constructional and functions to give beauty to a building nyai kartika et al., the visual arts of masjid agung sang cipta rasa cirebon: hybrid ... 105 as well as the building of masjid agung sang cipta rasa. another ornamental variety found at masjid agung sang cipta rasa is saton. saton derived from the word one, is the name of a type of food in the form of a square with decorations of leaves or flowers in it. ornamental variety of saton shaped carved decoration with checkered lines. in each box contains decorations of leaves or flowers, and all the same, there is a duplicate there is a single. nanasan ornamental variety comes from the word pineapple, which is the name of the pineapple. it called nanasan because its shape is similar to a pineapple. in islamic fine arts, this decoration is similar to muqarnas decoration. this ornamental variety is on the mihrab ceiling of masjid agung sang cipta rasa, the color is adjusted to the color of the mihrab wall, which is white. this decoration besides serves as decoration also adds to the beauty of a building. in other words, it means that to get something delicious, one must be able to overcome the problem that is described with thorns, in addition to being a limit for imams (alamsyah, 2010). in addition to the flora ornamental variety, fauna ornamental varieties are also found in the form of shadow puppets, such as eagles, kala, snakes, tigers, and so on. how to depict this ornamental variety, there are whole, in part, and some are only characteristics, such as the depiction of birds that only form only wings. there is also an eagle garuda meaning which is eagle birds are animals that can fly in the sky and are capable of flying at incredible speeds. in the development of this bird ornamental variety, both in the art of wood carving, silver carving, batik motifs, and also in the decoration of house building. this ornamental variety is usually depicted in an incomplete form as in reality. the embodiment of the ornamentation of the garuda pivot can be in the form of drawings, relief sculptures, can also be plastic sculptures, which are depicted in a naturalistic manner, stylized, and some are symbolic. the placement of the decoration is often only in the form of wings placed on the ridge, made of zinc or pottery, flat boards above the door, or even at the gates. this ornamental variety can be constructive, and some are functional and symbolic. the meaning and purpose of this ornamental variety of the garuda pivot are as a symbol or symbol of combating crime. wajikan is also one of the decoration types found in one of the elements of masjid agung sang cipta rasa. wajikan literally comes from the word “wajik” (sundanese: wajit). wajik is a type of food made from glutinous rice, brown, dark brown because it uses palm sugar or coconut sugar. it is called as ”wajikan” because the shape of this ornamental variety is like wajik slices (sundanese: turih wajit) in the form of an equal rhombus. the ornamental variety referred is contained in the pulpit backrest picture. wajikan decoration has a partial outline with carved stylized leaves, arranged centrally, or a picture of flowers when seen from the face. the decoration has functions not only to add beauty to the building poles but also to reduce the impression of height on the poles. another ornamental variety is tlancapan. it comes from the basic word “tlacap” which gets the suffix -an. tlancapan is a form of decoration in the form of rows of isosceles, the same height, and the same height. this ornamental variety can be shaped in a row or circular, plain or filled with lungs, leaves, or flowers are sterilized. there are edges and some that are not. the form of tlancapan contained in the ornamental variety of masjid agung sang cipta rasa is not lined but circular between the edge of the supporting pole with wooden stems supporting rafters (usuk) or “pangeret”. the meaning of tlancapan found in masjid agung sang cipta rasa is a depiction of sunlight, or spotlight which is interpreted as brightness or majesty. the most common decoration on the mosque element is padma, padma has the meaning of a lotus. this lotus ornamental decoration is an embodiment of a line that takes the flower’s outline. the variety of ornamental padma can be seen on the mihharmonia: journal of arts research and education 20 (1) (2020): 95-107106 rab profile of masjid agung sang cipta rasa on the left and right sides carved into natural stones arranged, such as the installation of bricks on the wall. besides, the placement of the lotus ornamentation was placed as a base for both the pillars, soko guru and soko penanggap. padma decoration has a function to add beauty, besides padma also means purity. chastity symbolized by the lotus flower has an identical meaning with the meaning of sturdy and strong, which is not deterred by all kinds of disasters that befell him. another decoration that characterizes the cirebon area is the mega cloud decoration which can be interpreted as white clouds and black clouds. in the indonesian language, it is usually called the motif of the edge of the cloud. in the decoration of traditional buildings, mega cloud motifs, especially on the left and right profiles of the mosque’s mihrab, in the form of reliefs are visible properties or elements back and forth (walikan). mega cloud decoration in traditional building art, especially in the mosque’s mihrab profile, is in the form of a curved double meander. therefore, this ornamental variety is alternating, dark and bright, can be interpreted as a symbol that humans must always remember about the world that has good and bad nature or the world is always in pairs. praba is a term derived from sanskrit which means light. praba in art is defined as a tendril motif similar to the balinese carving style. whereas concerning the traditional decoration of cirebon buildings, praba is a carving that depicts light. the praba ornamental in the sculpture of traditional buildings has the heightened and curved form slightly to the middle. meanwhile, the picture painted is like leaves with a shape like a sphere like a peacock’s tail that is dancing and always glowing. this ornamental variety is found on the stand and the front wall, left and right sides of the mihrab (alamsyah, 2010). sun ornamental variety in the architecture of masjid agung sang cipta rasa was found on the surface of the mihrab. the decoration is carved into the arranged stone walls depicting light. conclusion the geographical position of cirebon, which is between the borders of central java and west java, between javanese and sundanese cultures, is a meeting point and a crossing point for the paths to major cities in java. it also creates progress from an economic standpoint, diverse societies at some points appear cosmopolitan even though at other points they look traditional and give birth to their own distinctive culture, namely cirebon culture, which is different from sundanese and javanese. although cirebon language and art cannot be identified together with sundanese or javanese cultures, there are many similarities between the two cultures. likewise, the existence of masjid agung sang cipta rasa which represents the cultural results of the cirebon people and the description of the community is in its visual elements. the development of visual art in masjid agung sang cipta rasa cirebon is divided into four parts, namely the early period, the influence of hindu-buddhism, 15th century; the second period, the spread of islam, 16-17th century; the third period, colonial politics or the dutch east indies period, 18th and 19th centuries; the fourth period of restoration, the 20th century. visual arts on elements of masjid agung sang cipta rasa are proof of hybrid cultural identity in cirebon. these elements of visual arts are represented on the roof to get influence (javanese, hindu-buddhist, arabic/islamic); gate (hindu-buddhist); maksurah (arabic); mihrab (arabic, chinese); pillars (javanese, arabic). the existence of several hybrid elements contained in the visual element of masjid agung sang cipta rasa cirebon basically does not merely provide identity, but also shows evidence of artifacts resulting from crossing cultures with several origin countries. this proves that interaction and communication with the indigenous community are very well-established, nyai kartika et al., the visual arts of masjid agung sang cipta rasa cirebon: hybrid ... 107 and tolerance exists among them at that 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(1986). pengantar seni rupa islam indonesia. bandung: angkasa. 69 bentuk dan analisis musik keroncong tanah airku karya kelly puspito abdul rachman universitas negeri semarang, kampus sekaran gunungpati semarang e-mail: dulkemplinx@gmail.com abstrak musik keroncong merupakan musik asli indonesia karena tumbuh dan berkembang di indonesia. namun perkembangannya tidak sebaik jenis musik barat seperti pop, rock ataupun musik dangdut. musik keroncong sering dianggap sebagai musik yang dikonsumsi kalangan orang tua saja karena memang peminat musik keroncong sebagian besar adalah orang tua. seorang komponis keroncong asal semarang yaitu kelly puspito tergugah untuk mengembangkan musik keroncong karena melihat musik keroncong sudah mulai ditinggalkan oleh para remaja. kelly puspito melakukan inovasi terhadap musik keroncong asli dengan cara mengembangkan harmonisasi atau progresi akor dengan menambahkan akor-akor yang sudah baku, melodi yang bervariasi bergerak melangkah dan melompat, rentangan nada yang luas, ritmis bervariasi yaitu bernilai seperempatan, seperdelapanan, hingga seperenambelasan, serta interval nada yang cukup tajam baik naik maupun turun. hal itu sesuai dengan karakteristik remaja yaitu selalu ingin berinovasi, menyukai tantangan dan ingin mencoba hal-hal yang baru. form and analysis of tanah airku keroncong music written by kelly puspito abstract keroncong music is an original indonesian music since it grew and developed in indonesia. however, its development was not as good as western music such as pop, rock, or dangdut. keroncong music is often regarded as music consumed only by the adults since those who like the music are mostly adults. a keroncong composer from semarang kelly puspito was encouraged to familiarize keroncong music since she noticed that the music has been abandoned by youngsters. kelly has innovated the music by enhancing harmonization or accord progression by adding standard accords, more various melodies of moving forward and skipping, extensive tone stretching, variously patterned rhythmic tone by 1/4, 1/8, and even 1/16 and a sharp tone interval either ascending or descending tones. this is relevant to youngsters’ characteristics to always innovate, take challenges, and want to experiment with new things. kata kunci: musik, keroncong, kelly puspito. baru. musik keroncong dikategorikan dalam musik klasik tradisional (sumaryo, 1981: 61) dan merupakan musik asli indonesia sebagaimana diungkapkan suharto (dalam ladin, 2001: 3). perkembangan musik keroncong ternyata tidak sepesat musik-musik non pendahuluan musik keroncong sudah lama ada dan berkembang di indonesia. musik keroncong merupakan peleburan dari berbagai ragam musik yang mencoba memadukan beberapa jenis alat musik dalam versi harmonia, volume 13, no. 1 / juni 201370 tradisional lainya , bahkan terkesan statis, monoton dan lamban. diperkirakan bahwa ke tiga faktor ini maka peminat musik keroncong sebagian besar adalah dari kelompok orang tua, sedangkan para remaja sangat sedikit yang menyenangi atau berminat apalagi mempelajari keroncong (harmunah, 1994: 5). masa remaja, menurut ali dan asrori (2004: 9) berlangsung antara umur 12 tahun sampai dengan umur 21 tahun bagi wanita dan 13 tahun sampai 22 tahun bagi pria. remaja atau adolescence, berasal dari bahasa latin adolescere yang artinya “tumbuh atau tumbuh untuk mencapai kematangan“. remaja ada antara anak dan orang dewasa. oleh karena itu, remaja sering kali dikenal dengan fase “ mencari jati diri “ atau fase “ topan dan badai “. remaja lebih menyukai musik rock, jazz, punk, dangdut karena mereka (remaja) lebih cenderung meniru gaya hidup musisi idolanya baik dari segi busana atau kebiasaan. masa remaja biasanya memiliki energi yang besar, di jawa tengah khususnya di semarang ada salah satu tokoh musik keroncong selain sebagai pencipta juga dikenal sebagai arranger yaitu kelly puspito (alm). kelly puspito lahir dengan nama pratiknyo kelly puspito, lahir di kota pati pada tanggal 27 agustus 1930. kelly puspito juga sangat produktif dalam menciptakan lagu keroncong baik jenis keroncong asli maupun jenis langgam keroncong. kelly puspito berkeinginan agar musik keroncong bisa diterima oleh semua lapisan masyarakat terutama para remaja. itulah salah satu keinginan kelly puspito semasa hidup yang pernah diucapkan kepada peneliti. peneliti berasumsi bahwa keroncong asli karya kelly puspito memiliki keunikan tersendiri. keunikan keroncong asli kelly puspito dapat dilihat dari segi interval nada, melodi, akor, syair, harmonisasi dan ritmis yang bervariasi. kelly puspito ingin menunjukkan bahwa keroncong asli tidak membosankan dan bisa dinikmati oleh semua lapisan masyarakat baik remaja maupun dewasa. fenomena keunikan keroncong asli karya kelly puspito dan keinginan kelly puspito agar musik keroncong bisa berkembang dan dapat diterima para remaja yang menarik perhatian peneliti untuk melakukan penelitian tentang bentuk aransemen musik keroncong asli karya kelly puspito dan relevansinya bagi remaja dalam mengembangkan musik keroncong asli. musik musik adalah penghayatan isi hati manusia yang diungkapkan dalam bentuk bunyi yang teratur dengan melodi atau ritme serta mempunyai unsur atau keselarasan yang indah (sunarto, 1989: 5). musik adalah gerakan bunyi, dan musik merupakan totalitas fenomena akustik yang apabila diuraikan terdiri dari tiga pokok yaitu: (1) unsur yang bersifat material, (2) unsur yang bersifat spiritual, (3) unsur yang bersifat moral (maryoto, 1989: 9). musik bukanlah sekedar emosi atau rasa akan tetapi juga rasio atau akal budi. musik keroncong kusbini (dalam widjajadi, 2007: 9) mengatakan, bahwa kata keroncong merupakan kesan dari bunyi rangkaian dari beberapa buah butiran, berbentuk kecil, madya, dan besar yang mengisi sebuah butiran logam bulat, kecil sehingga jika digoyah-goyah akan menghasilkan bunyi menurut bunyi menurut besar kecilnya butiran tersebut. harmunah (1987: 52) mengatakan bahwa musik keroncong merupakan bagian dari musik tradisional dengan tangga nada diatonis, walaupun sering menggunakan corak tangga nada pentatonis yang merupakan ciri khas daerah tertentu, misalnya pada langgam jawa. menyimak repertoar musik keroncong, ada berbagai pendapat mengenai pengelompokannya, antara lain pendapat korn hauser (dalam widjajadi, 2007: 41) yang membagi menjadi lima kelompok yaitu (1) keroncong asli, (2) stambul, (3) langgam keroncong, (4) langgam jawa, (5) keroncong beat. adapun harmunah (1987: 54) mengatakan, musik keroncong abdul rachman, bentuk dan analisis musik keroncong tanah airku karya kelly puspito 71 dibagi menjadi empat kelompok yaitu, (1) keroncong asli, (2) langgam, (3) stambul, (4) lagu ekstra, sedangkan menurut yampolski membagi keroncong menjadi empat kelompok pula yaitu, (1) keroncong asli, (2) stambul, (3) langgam, dan (4) langgam jawa. bentuk lagu bentuk lagu adalah suatu kesatuan utuh dari satu atau beberapa kalimat dengan penutup yang meyakinkan. kalimatkalimat musik dapat disusun dengan memakai bermacam-macam bentuk. edmund (1996: 5-14) membagi bentuk lagu menurut jumlah kalimat yaitu : (1) bentuk lagu satu bagian, (2) bentuk lagu dua bagian, (3) bentuk lagu tiga bagian. aransemen aransemen dalam musik adalah menata dan memperkaya sebuah komposisi musik, melodi, atau lagu menjadi suatu gaya atau format yang baru dengan sentuhan kreatif pelaku aransemen atau arranger. media yang digunakan dalam membuat aransemen bermacam-macam, dapat berupa alat musik tunggal, band, paduan suara, hingga orchestra. teori-teori yang harus diketahui untuk menunjang aransemen: 1. melodi, edmund (2009: 13) menuliskan bahwa melodi adalah suatu urutan nada yang utuh dan membawa makna. adapun syaratnya adalah: berciri khas, berbentuk jelas, memuat suatu ungkapan dan dapat dinyanyikan. jamalus (1988: 16) mengatakan susunan rangkaian nada yang terdengar berurutan serta berirama, dan mengungkapkan suatu gagasan disebut melodi. 2. nada, sukohardi (2009: 1) mengatakan nada adalah bunyi yang teratur, artinya mempunyai bilangan getar (frekuensi) yang tertentu. tinggi rendahnya bunyi (suara) bergantung pada besar kecilnya frekuensi tersebut. 3. interval, menurut banoe (2003: 48) interval adalah sela atau celah antara dua objek. di dalam pengetahuan musik, interval adalah jarak antara dua nada. 4. harmoni dan akor, hartayo (1994: 57) mengatakan harmoni itu sendiri pada hakekatnya berisi akor-akor serta rangkaiannya, yang membentuk polapola tersendiri, yang biasanya disebut kadens, sedangkan akor adalah paduan tiga buah nada atau lebih yang merupakan suatu kesatuan tersendiri dan tak dapat dipisahkan. 5. tempo, adalah kecepatan ketukan yang ada dalam sebuah lagu. istilahistilah untuk menunjukkan tempo suatu lagu biasanya dituliskan menggunakan bahasa italia . 6. birama, menurut jamalus (1988: 10) mengatakan pengertian birama hampir sama dengan pengertian pulsa. letak perbedaan terdapat pada adanya aksen pada birama pada pulsa tidak ada aksen. persamaannya adalah berlangsung secara teratur dan terus menerus. ayunan rangkaian gerak kelompok beberapa pulsa dengan pulsa pertama beraksen, dan pula yang lain tidak beraksen disebut birama. 7. modulasi, adalah akar pusat (tonika) ditinggalkan dan diganti dengan akor pusat yang baru (tonika baru). akor pusat yang baru itu dicapai melalui suatu kadens. kadens inilah yang disebut modulasi. ini dapat terjadi: (a) sementara kemudian kembali ke tonika lama, (b) tetap / tidak kembali ke tonika lama. metode dalam penelitian tentang bentuk aransemen keroncong asli karya kelly puspito ini, peneliti menggunakan pendekatan penelitian etnomusikologi. secara umum metode penelitian yang dipakai adalah metode deskriptif analisis dan interpretative dengan memanfaatkan data kualitatif. pembatasan permasalahan dalam penelitian ini berdasarkan data-data yang bersifat kualitatif dan untuk selanjutnya ditarik suatu kesimpulan. sedangkan data-data adalah berupa penjelasan, uraian serta gambaran yang nyata mengenai subyek yang diteliti. selain menggunakan harmonia, volume 13, no. 1 / juni 201372 kalimat a terdapat delapan birama termasuk birama gantung, dengan demikian lagu keroncong tanah airku karya kelly puspito (alm) lebih panjang satu birama jika dibandingkan dengan lagu keroncong asli pada umumnya. kalimat b dapat dilihat pada gambar 2. metode deskriptif peneliti juga mencantumkan metode etnomusikologi seperti: teori musik, ilmu harmoni, aransemen, serta bentuk dan analisis musik. data yang dibutuhkan dalam penelitian ini adalah bersumber dari data atau informasi yang terdiri dari nara sumber, karena sudah almarhum maka informasi didapat dari keluarga, kerabat dekat, mahasiswa dan seniman yang memiliki pengetahuan atau wawasan yang menunjang penelitian. selain itu peneliti juga mengumpulkan artikel-artikel tentang kelly puspito serta dokumentasi karya yang dimiliki oleh almarhum kelly puspito. teknik pengumpulan data yang digunakan dalam penelitian ini adalah observasi, wawancara (interview) dan dokumentasi. teknik ini dilakukan untuk memperoleh data sekunder guna melengkapi data yang belum diperoleh melalui teknik observasi dan wawancara. teknik pemeriksaan keabsahan data melalui dua tahap yaitu triangulasi dan review informan. teknik analisis data kualitatif dilakukan dengan teknik interactive model analysis (miles dan huberman, 1992). teknik tersebut terdiri tiga tahapan yaitu reduksi data, sajian data, dan simpulan (verfikasi). hasil dan pembahasan keroncong tanah airku bentuk lagu lagu keroncong tanah airku ini merupakan lagu yang diikutkan sayembara cipta lagu jenis keroncong bintang radio dan televisi yang diadakan oleh rri pusat pada tahun 1956. lagu keroncong tanah airku meraih juara pertama dalam sayembara tersebut, selain itu lagu keroncong tanah airku juga digunakan sebagai lagu wajib dalam sayembara bintang radio pada saat itu. lagu keroncong tanah airku mempunyai bentuk lagu 3 bagian yaitu a – b – c, kalimat pertama dilanjutkan ke kalimat ke dua dan dilanjut ke kalimat ke tiga tanpa ada pengulangan . keroncong tanah airku ini dinyanyikan dua kali. kalimat a dari lagu tanah airku dapat dilihat pada gambar 1. gambar 1. kalimat a pada kalimat a lagu keroncong tanah airku karya kelly puspito (alm) diawali dari birama gantung ketukan ke-tiga dan berakhir pada birama ke-delapan, sehingga pada kalimat a lagu kr. tanah airku karya kelly puspito (alm) terdapat sembilan birama termasuk birama gantung. lagu keroncong asli pada umumnya pada abdul rachman, bentuk dan analisis musik keroncong tanah airku karya kelly puspito 73 umumnya juga terdiri dari sepuluh birama termasuk birama yaitu diawali dari birama ke-sepuluh dan berakhir pada birama ke-sembilan belas. kalimat c pada lagu tanah airku dapat dilihat pada gambar 3. kalimat b lagu keroncong tanah airku terdapat sepuluh birama termasuk birama yang diawali dari birama ke-sepuluh dan berakhir pada birama ke-sembilan belas. kalimat b keroncong asli pada gambar 2. kalimat b gambar 3. kalimat c kan akan terjadi kesumbangan nada atau yang sering disebut dengan istilah fals. di dalam lagu keroncong tanah airku terdapat gerak melodi melangkah naik, melangkah turun, melompat naik dan melompat turun. pada gerak melodi melangkah naik dan melangkah turun rasa tenang. sedangkan pada gerak melodi melompat naik dan melompat turun menimbulkan kesan rasa tegang. rangkaian melodi keroncong tanah airku juga memiliki nilai titinada yang variatif, yaitu memiliki nilai titi nada satu, setengah, seperdelapan, seper enambelas dan triol kecil. keindahan melodi juga terdapat pada birama ke tujuh, yaitu nada c1 yang di legato dengan nada c2, hal ini menimbulkan kesan ketegangan. ke dua nada ini hanya terdapat satu suku kata sepada kalimat c lagu keroncong tanah airku terdiri dari sembilan birama yaitu diawali dari birama ke-dua puluh dan berakhir pada birama ke-dua puluh delapan. kalimat c lagu keroncong asli pada umumnya juga terdiri dari sembilan birama, yaitu diawali dari birama ke-dua puluh dan berakhir pada birama ke-dua puluh delapan. melodi pada lagu keroncong tanah airku range melodi sangat luas dan rangkaian melodinya terkadang memiliki interval yang sangat tajam sehingga dalam menyanyikannya seorang penyanyi harus memiliki solfegio yang sangat bagus. karena jika tidak memiliki solfegio dalam hal ini ketepatan nada yang bagus maka dipastiharmonia, volume 13, no. 1 / juni 201374 hingga berkesan ingin menonjolkan syair atau lirik. sistem nada sistem nada yang digunakan dalam lagu keroncong tanah airku adalah diatonis mayor, dengan naa dasar m mayor. nada terendah yaitu a (mi) dan nada tertinggi adalah d2 (la), sehingga wilayah nada (range) pada keroncong tanah airku sangatlah luas dan penyanyi agar bisa membawakan lagu keroncong tanah airku dengan sempurna harus mempunyai wilayah suara (ambitus) yang luas pula. pada lagu keroncong tanah airku juga terdapat nada-nada miring sehingga bisa memberi nuansa yang berbeda yang dapat kita lihat pada birama ke-9 nada ges1 (di), ke-10 nada b1 (fi), ke-11 nada b (fi) rendah, ke-15 nada es1 (sa), ke-18 nada ges1 (di), ke-19 nada cis1 (sel), ke-25 nada b1 (fi), dan ke-29 nada gis1 (ri). nada ges1 pada birama ke-9 terletak pada akor v, sedangkan formula atau susunan dari akor v adalah c (sol) – e (si) – g (re). jika kita lihat pada formula akor v tersebut maka nada ges1 ini sama sekali bukan bagian dari formula akor v, sehingga rangkaian nada ini menimbulkan kesan nakal atau melenceng dari akor. nada-nada miring tersebut menjadi ciri khas dan keunikan dari lagu keroncong tanah airku. dan yang paling unik yang menjadi ciri khas karya kelly puspito terdapat pada birama ke-15 tepatnya nada es1 (sa) kelly puspito menyebutnya (le). sedangkan nada (sa) ini adalah nada ke-7 dari f (do) yaitu pada akor i7. nada sa inilah yang menjadi trade mark dari kelly puspito. interval lagu keroncong tanah airku memiliki banyak sekali rangkaian melodi dengan interval yang sangat tajam. hal itu dapat dilihat pada birama ke-7 yaitu nada c1 (sol) rendah yang diikuti dengan nada d2 (la) nada c1 dan d2 ini memiliki jarak interval satu oktaf lebih yaitu tepatnya berjarak 7. pada birama ke-7 juga terdapat nada f (do) yang diikuti nada a (mi) rendah dengan jarak interval 4. pada birama ke-11 terdapat nada a1 (mi) yang diikuti nada b (fi) rendah yang memiliki jarak interval 5. birama ke-12 terdapat nada c1 (sol) yang diikuti nada c2 (sol) tinggi memiliki jarak interval 6 atau 1 oktaf. birama ke-15 terdapat nada g1 (re) yang diikuti nada a (mi) rendah memiliki jarak interval 5. birama ke-17 terdapat nada d1 (la) yang diikuti nada d2 (la) tinggi memiliki jarak interval 6 atau 1 oktaf. birama ke-23 dan ke-31 terdapat nada e1 (si) rendah diikuti nada d2 (la) memiliki jarak interval 5. interval nada yang cukup jauh ini menyebabkan lagu keroncong tanah airku memiliki tingkat kesulitan yang sangat tinggi, sehingga penyanyi keroncong amatir mengalami kesulitan untuk bisa menyanyikan lagu keroncong tanah airku dengan baik. interval yang tajam ini juga menjadi ciri khas dari karya kelly puspita . harmonisasi pada dasarnya lagu keroncong tanah airku menggunakan harmonisasi atau progresi akor baku keroncong, akan tetapi terjadi penambahan akor yang menjembatani atau sebagai penghantar dari akor tonika (i) menuju akor sub-dominant (iv) yaitu menggunakan akor (i)7. susunan akor (i)7 pada lagu keroncong tanah airku adalah f (do) – a (mi) – c (sol) – es (sa). menurut pendapat prier pada bukunya ilmu harmoni nada tonika (do), terts (mi), kwint (sol) ditambah dengan septim (sa) maka akor tersebut dengan sendirinya akan menginginkan bergerak ke akor iv. pergerakan akor semacam ini merupakan bentuk dari kadens sub dominan yang bisa menciptakan suatu ketegangan dan berkesan bahwa kalimat musik di sini belum selesai. hal itu dapat dilihat pada lagu keroncong tanah airku pada birama ke-2, 25, dan 27. pergerakan akor pada birama ke-2. 25, dan 27 adalah i – i7 – iv – v – i. rangkaian akor semacam ini disebut kadens lengkap. akor (i)7 inilah yang juga merupakan salah satu keindahan dan ciri khas dari lagu-lagu keroncong karya kelly puspito (alm). sedangkan pergerakan lagu keroncong asli pada umumnya pada birama ke-2, 25, dan 27 adalah i – i – iv – v – i abdul rachman, bentuk dan analisis musik keroncong tanah airku karya kelly puspito 75 tanpa adanya penambahan akor i7 sebelum masuk akor iv. dengan demikian harmonisasi / progresi akor pada lagu keroncong tanah airku adalah seperti pada gambar 4 berikut: introduksi: i . i7 . iv . v . i . . . i . . . i . . . i . . . v . . . v . . . ii . . . ii . . . v . . . v . . . v . . . v . . . iv . . . iv . . . iv. . . iv. v . i . . . i . . . v . . . v . . . i . i7 . iv . v . i . i7 . iv . v . i . . . i . . . gambar 4. progresi akor lagu tanah airku harmonisasi/ progresi akor lagu keroncong tanah airku berbeda dengan harmonisasi lagu keroncong asli pada umumnya karena terdapat penambahan akor i7 sebagai akor sisipan yang membantuk kadens lengkap, sedangkan harmonisasi/ progresi akor lagu keroncong asli pada umumnya tidak terdapat akor i7 sebagai akor sisipan. tempo pada umumnya lagu-lagu keroncong asli menggunakan tanda tempo andante, begitu juga lagu keroncong tanah airku. lagu keroncong tanah airku menggunakan tempo andante yang berarti perlahan-lahan yaitu seperti orang berjalan. dengan tempo andante ini berkesan bahwa lagu keroncong adalah lagu yang mendayu-dayu, enak, dan ringan untuk didengarkan. sehingga pesan syair atau lirik dan kekuatan rangkaian melodi benarbenar ditonjolkan agar bisa diterima oleh pendengar. berbeda dengan lagu keroncong jenaka yang dibawakan dengan tempo cepat (allegro) agar kesan jenaka atau riang bisa terlihat dengan jelas. birama lagu keroncong tanah airku menggunakan birama baku keroncong yaitu 4/4 sama seperti lagu keroncong asli pada umumnya dengan jumlah birama 28 bar. keroncong tanah airku dimulai dari birama gantung dan berakhir pada birama ke28. keunikan lagu keroncong tanah airku adalah sebelum masuk bagian b (reff) melodi selalu berakhir pada birama ke-8, dan sudah dimulai pada birama ke-10 hitungan ke-2 yang dimainkan dalam sub-interlude akor v. hal ini berbeda dengan lagu keroncong cincin permata karya moch. ojik. lagu keroncong cincin permata sebelum masuk reff (bagian b) melodi lagu berakhir pada birama ke-7 dan mulai masuk syair lagu (bagian reff) pada birama ke-11 hitungan pertama yang dimainkan sesuai de ngan aturan baku keroncong pada birama setelah sub-interlude yaitu pada birama ke-12 yang sudah memasuki akor iv (sub tonika). sehingga bagian sub-interlude pada lagu keroncong tanah airku berjumlah dua bar, sedangkan sub interlude pada lagu keroncong cincin permata berjumlah tiga bar. dengan demikian bagian a pada lagu keroncong tanah airku lebih panjang satu bar dibandingkan dengan lagu keroncong cincin permata. perbedaan kedua lagu ini dapat dilihat pada cuplikan lagu pada gambar 5 dan 6 berikut. gambar 5. cuplikan kr. tanah airku harmonia, volume 13, no. 1 / juni 201376 gambar 6. cuplikan kr. cincin permata modulasi pada lagu keroncong tanah airku nada dasarnya adalah tetap dan tidak terdapat modulasi atau perpindahan nada dasar. tanda mula pada lagu keroncong tanah airku adalah satu mol atau f= do dan itu dibawakan dari intro hingga bagian coda. ciri-ciri umum harmonisasinya adalah tetap yaitu membentuk kadens lengkap i – iv – v – i, dan modulasi ii – v setelah modulasi ke dominan (akor v) dilanjutkan dengan akor iv. motif pada umumnya lagu keroncong asli memiliki pengulangan-pengulangan motif, yaitu antara frase pertama ke frase berikutnya memiliki kemiripan bentuk. hal ini berbeda dengan lagu keroncong tanah airku karya kelly puspito. lagu keroncong tanah airku kaya akan motif, dan masing-masing motif tersebut berdiri sendiri tanpa ada pengulangan motif. pengulangan itu bisa dilihat pada gambar 7 dibawah ini. gambar 7. motif keroncong tanah airku abdul rachman, bentuk dan analisis musik keroncong tanah airku karya kelly puspito 77 simpulan dan saran simpulan bentuk lagu keroncong asli karya kelly puspito adalah a-b-c kalimat a mempunyai jumlah birama sembilan bar, kalimat b memiliki jumlah birama sepuluh bar, dan kalimat c memiliki jumlah birama sembilan bar. kelly puspito telah melakukan pengembangan terhadap musik keroncong asli hal itu dapat dilihat dari melodi, sistem nada, interval, harmonisasi atau progresi akornya, dan motif asimetris. saran berdasarkan hasil penelitian ini saran yang disampaikan oleh peneliti yang berkaitan dengan musik keroncong adalah: pemerintah hendaknya turut berperan serta dalam melestarikan dan mengembangkan musik keroncong dengan cara mengadakan perlombaan-perlombaan musik keroncong. hamkri sebagai organisasi yang bergerak dalam bidang keroncong hendaknya mengkoordinasi para seniman keroncong agar lebih mengembangkan musik keroncong dan membina para remaja dengan mengadakan lomba-lomba keroncong atau work shop tentang keroncong ke sekolah-sekolah. para seniman keroncong hendaknya lebih mengembangkan kreasinya dalam musik keroncong dan menciptakan lagu-lagu keroncong yang baru agar referensi lagu keroncong terus bertambah. media masa baik radio maupun televisi hendaknya turut mempromosikan dan mensosialisasikan musik keroncong dengan cara menyajikan acara-acara yang bertemakan keroncong agar musik keroncong bisa lebih dikenal oleh masyarakat luas. para remaja hendaknya membuka diri untuk mencintai musik keroncong dengan cara belajar musik keroncong atau mengikuti lomba-lomba keroncong agar tongkat estafet penyebaran dan pelestarian musik keroncong tetap terjaga. daftar pustaka banoe, pono. 2003. pengantar pengetahuan harmoni. yogyakarta: kanisius. hardjana, s. 1983. estetika musik. jakarta : depdikbud. harmunah. 2011. musik keroncong. yogyakarta : pml. hartayo, jimmy. 1994. musik konvensional dengan “do tetap”. yogyakarta: yayasan pustaka nusatama. jamalus. 1988. pengajaran musik melalui pengalaman musik. jakarta: dirjen dikti depdikbud. karl – edmund prier, s. j. 1996. ilmu b e n tuk musik. yogyakarta : pml. _________. 2009. ilmu harmoni. yogyakarta : pml. sukohardi, al. 2009. teori musik umum. yogyakarta : pusat musik liturgi. sumaryo, l. e. 1981. komponis, pemain musik dan publik. jakarta : pustaka jaya. sumaryanto, f. totok. 2007. pendekatan kuantitatif dan kualitatif dalam penelitian pendidikan seni. semarang: unnes press 86 pengaruh busana terhadap gerakan tari oleg tamulilingan siluh made astini universitas negeri surabaya, jalan ketintang, surabaya 60231 e-mail: siluh_ma@yahoo.com abstrak tari oleg tamulilingan merupakan salah satu warisan nusantara yang muncul di pulau bali pada tahun 1950-an. tari ini eksis sampai sekarang karena balutan busananya yang menarik sehingga beberapa teba gerak dipengaruhi oleh balutan busana tersebut, yang memberikan kesan feminim dan maskulin. kain yang menjulur ke belakang di sela-sela kaki kanan dan kaki kiri, rambut panjang yang berjuntai ke bawah, oncer yang bergelayut di pinggang sebelah kanan dan sebelah kiri, memberikan kesan lemah gemulainya gerakan tari. langkah kaki untuk bisa berjalan napak dengan tempo yang pelan dan berjalan jinjit dengan tempo yang cepat sangat dipengaruhi oleh disain kain yang menjulur ke belakang sepanjang 1 meter yang melewati di antara kaki kanan dan kaki kiri.tari ini menggambarkan percintaan sepasang kumbang yang sedang mengisap sari atau bunga. sepasang penari putra dan putri merealisasikan tari ini dengan balutan busana yang indah dan gerakan-gerakan yang menarik. kedinamisan gerak dari sepasang penari ini juga bisa dilihat dari tempo yang dimainkan seperti cepat, sedang, dan lambat. tari ini selalu tampil di hotel-hotel atau di beberapa tempat pariwisata yang ada di bali untuk menghibur wisatawan dan wisatawati yang berkunjung ke bali. impacts of costume on oleg tamulilingan dance abstract oleg tamulilingan dance is one of indonesian archipelago heritages, which originated in bali island in the 1950-s. the dance has been existing up to this present. the dancers wear alluring costumes and the costumes influence the dancers’ dance movement, either feminine or masculine movement. the cloth extending backward between right and left feet, long hair elongating downward, oncer slinging round the right and left waists, giving its suave dance movement. the footsteps to walk on sole in a slow tempo and on tiptoe in a quick tempo is really influenced by cloth design extending backward of 1 meter long between the right and left feet. this dance portrays a love romance between a couple of bees, which were sucking nectars. a couple of male and female dancers communicate this dance by their appealing costumes and movement. the dynamic movement of the dancers could also be noticed from its tempo. this dance is always performed in hotels and several tourism sites in bali to entertain visitors to bali. kata kunci: tari oleg tamulilingan, busana, dan gerak. dia untuk mewujudkan dan tekanan estetis maka timbulah kelompok-kelompok seni seperti: seni suara (vokal-instrumental), seni sastra, seni rupa, dan seni gerak (seni tari). curt sachs (dalam bandem, pendahuluan kesenian adalah suatu perwujudan ekspresi dari senimannya. namun dengan adanya perbedaan materi baku, mesiluh made astini, pengaruh busana terhadap gerakan tari oleg tamulilingan 87 1982:4) mengatakan tari sebagai “the mother of the art” (induk dari kesenian) yang mempunyai keistimewaan bila dibandingkan dengan seni-seni lainnya. seni musik dan seni sastra timbul dalam waktu, seni lukis dan arsitekur dalam ruang, tetapi tari hidup dalam waktu dan ruang (purwadarminta, 1966:591). tari adalah ekspresi jiwa manusia yang diwujudkan melalui gerak-gerak ritmis yang indah serta diikat oleh nilai-nilai kulturil dari kelompok individu yang mendukungnya (bandem, 1982:4). tari bali merupakan salah satu aspek penting dari kebudayaan bali, yang tidak dipisahkan dari kesenian yang lain seperti musik, agama, adat istiadat, dan lain-lainnya. salah satu tari bali yang akan dibahas adalah tari oleg tamulilingan yang terkait dengan kostum atau busana yang dikenakan, khususnya pengaruh kostum terhadap gerak. tari oleg tamulilingan menggambarkan dua ekor kumbang yang sedang bersenang-senang di taman bunga. sambil bermain-main mereka mengisap madu dan sari bunga dan kemudian berterbagan satu sama lain. pada akhir tarinya, kedua kumbang itu saling mencintai satu sama lain. tari ini diciptakan oleh i maryo pada tahun 1952 (bandem, 1982:18). tari ini termasuk salah satu tari kebyar yang masih berkembang saat ini dan ditarikan oleh sepasang penari yaitu putra dan putri. penggambaran tari ini sejalan dengan pendapat aristoteles bahwa kesenian dipandang sebagai sesuatu yang secara indah membuat “imitasi” yakni “tiruan” atau “pencerminan” dari apa yang ada atau terjadi sebenarnya di dunia manusia atau dewa. djelantik, (1992:20). diibaratkan perasaan cinta yang dirasakan oleh sepasang manusia yang berlainan jenis ketika ingin mengungkapkan rasa manja, senang, dan sejuta perasaan yang muncul pada dirinya masing-masing akan terungkap lewat gerakan-gerakan seperti berkejar-kejaran, mearas-arasan (berciuman), bermanja-manjaan, marah, dan banyak lagi macam-macam emosi yang dimunculkan lewat ekspesi wajah penari. busana dan asesoris yang membalut tubuh sepasang penari olegpun sangat mempengaruhi beberapa dari gerak tarinya. gerak berpindah tempat seperti gerakan berjalan jinjit, berjalan napak, dan berjalan jengkeng sangat mendominasi pengaruh busana tari terhadap gerak tarinya. pengaruh busana pada gerak tari putri berbicara tentang tari sebagai salah satu seni pertunjukan tentu tidak lepas dari aspek-aspek pertunjukan lain yang mendukungnya seperti kostum dan gerak tarinya. fungsi kostum atau busana adalah memberi fasilitas dan membantu gerak pelaku. kostum tidak hanya harus menjadi bantu bagi pelaku, tetapi juga harus menambah efek visual gerak, menambah indah dan menyenangkan setiap posisi yang diambil pelaku setiap saat (harymawan, 1993:132). jenis-jenis kostum yang digunakan oleh tari oleg tamulilingan putri terdiri dari kamen, sabuk, oncer, ampok-ampok, tutup dada, badong lanying, gelang kana, gelungan oleg, dan bunga mas. penari putra mengenakan kostum yang terdiri dari kamen, sabuk, ampok-ampok, tutup dada, badong bundar, gelang kana, dan udeng. semua jenis busana yang dikenakan oleh sepasang tari ini dicat dengan warna emas atau yang sering disebut dengan prada. istilah pepatran adalah istilah yang dipakai dalam menghias atau mengecat busana tari bali dengan prada. hiasan ini adalah sejenis motif ragam hias yang merupakan hasil gubahan dari tumbuh-tumbuhan rambat yang mengandung unsur tangkai, daun, bunga, sulur. motif pepatran banyak ditempatkan pada bidang-bidang dinding bangunan, motif hiasan pada pakaian penari, patung, wayang,dan lain-lainnya (sika, 1983:1). kamen yang dikenakan oleh penari putri adalah jenis kain yang menjulur ke belakang sepanjang kurang lebih 1 meter dan kecenderungan kain ini dibuat dua warna. warna kain yang dililitkan dari pinggang sampai ke kaki berbeda dengan warna kain yang menjulur ke belakang lewat diantara kedua kaki, walaupun kain tersebut dijahit menjadi satu kain. di kalangan orang-orang tari, kamen ini disebut kamen oleg yaitu kamen mekancut ke belaharmonia, volume 13, no. 1 / juni 201388 kang, bukan mekancut ke samping maupun ke depan. hiasan yang terdapat pada kain tari putri ini lebih banyak menggunakan hiasan atau patra bun-bunan dan patra sari. kain yang menjulur kebelakang sangat berpengaruh pada gerakan kaki dari tari tersebut. gerakan berjalan misalkan, karena harus menyeret kain yang menjulur ke belakang terkesan langkah kaki betulbetul tertata agar ujung-ujung jari dari kedua kaki tidak tersangkut kain. ada teknik tertentu yang harus dilakukan oleh penari putri agar terhindar dari tersangkutnya kain, seperti ketika berjalan napak maupun berjalan dengan posisi kaki jinjit selalu mengangkat kaki tidak lebih dari 5 sentimeter dari permukaan tanah. gerakan berjalan yang dilakukan dengan posisi mendak atau rendah dengan disain kain seperti tersebut membuat jalan tidak bisa cepat, karena efek dari posisi dan berjalan pelan membuat gerakan pinggul ke kanan dan ke kiri semakin terkesan lemah gemulai dengan balutan kain yang unik. disain kain seperti ini atau yang menggunakan kancut ke belakang, banyak ditemui pada dramatari klasik yaitu seperti pada dramatari gambuh dan dramatari arja. motivasi kreatif penciptaan karya tari juga sudah bergeser, dari persembahan ritual ke persembahan kepada “dewa modern” yang bernama “pariwisata” (bandem, 1996:10). tari oleg adalah salah satu tarian yang diciptakan di era tahun lima puluhan yang merupakan motivasi kreatif penciptanya, karena sampai sekarang tari ini masih disuguhkan untuk pariwisata dan tetap menarik untuk dinikmati baik dari gerak maupun disain busana yang dikenakan walaupun kamenya mengadopsi dari peran tertentu dalam dramatari klasik. kamen ini sering dikenakan oleh peran condong, galuh, dan desak rai dalam dramatari arja yang ada di bali. oncer adalah kain yang dikenakan di pinggang sebelah kanan dan kiri berjuntai ke bawah sepanjang mata kaki. jenis kain ini adalah kain sifone yang pada bagian ujungnya dihiasi dengan payet-payet dan rambu. mengingat tari oleg adalah menggambarkan sepasang kumbang yang memadu kasih maka oncer di sini berfungsi sebagai sayap yang sewaktu-waktu siap dikepakkan dengan cara kedua tangan mengambil ujung oncer yang dicepit diantara dua jari yaitu jari telunjuk dan jari tengah, kemudian diangkat sampai posisi kedua tangan lurus ke atas. masing-masing oncer memiliki panjang kurang lebih 1 meter dengan lebar kurang lebih 30 sentimeter. dengan terangkatnya oncer tersebut, kesan gerakan terbang semakin terlihat jelas apalagi dengan posisi kaki jinjit yang sesekali oncer diturunkan sampai terkesan sayap tertutup dan gerakan lutut merendah. ampok-ampok dipasang setelah oncer dipasang terlebih dahulu tujuanya hanya sebagai hiasan di pinggang. ampok-ampok juga bisa memberikan kesan memperbesar pinggul dan menambah kesan erotis ketika ada gerakan megol atau ngengkog. ampok-ampok terbuat dari kulit yang dipahat kemudian berisi hiasan dari kepingan kaca, sehingga ketika kepingan kaca tersebut kena sinar lampu maupun sinar matahari seketika itu akan memantulkan cahaya. adapun bentuk-bentuk kepingan kaca yang tertempel sebagai salah satu assesoris berbentuk segitiga dan berbentuk bulat. ampok-ampok disamping ada yang terbuat dari kulit,ada juga yang terbuat dari jenis kain beludru yang dihiasi dengan payet-payet dan rambu atau rumbairumbai. bentuknya tidak berbeda dengan ampok-ampok yang terbuat dari kulit. cara mengenakan ampok-ampok adalah dengan melingkarkan di pinggang setelah mengenakan oncer dan sabuk prada atau stagen prada. asesoris pinggang ini akan kelihatan bergerak apabila ada gerakan megol, karena asesoris yang menjulur ke bawah sepanjang 30 sentimeter yang berada di samping kanan dan kiri, bergelayut untuk mengikuti kelenturan dari beberapa gerakan seperti berjalan jinjit, berjalan rendah, dan megol dengan anjang kurang lebih 1 meter yang dilingkarkan di pinggang dan lebar kurang lebih 7 sentimeter. asesoris ampok-ampok yang menempel di depan perut bagian bawah, yang berbentuk lekukan bunga meruncing ke bawah panjang dan lebarnya sekitar 18 sentimeter. siluh made astini, pengaruh busana terhadap gerakan tari oleg tamulilingan 89 begitu juga assesoris ampok-ampok yang menempel di belakang tepatnya menutupi pantat bentuknya sama dengan yang di depan hanya saja panjang dan lebarnya sekitar 25 sentimeter. assesoris ampok-ampok yang menjulur ke bawah tepatnya di samping kanan dan kiri, panjangnya sekitar 30 sentimeter dan lebarnya sekitar 9 sampai 10 sentimeter. sabuk prada dikenakan setelah mengenakan kain atau kamen, stagen dalam yang tidak menggunakan prada, dan oncer. panjang sabuk prada ini berkisar dari 8 meter sampai 10 meter dan lebarnya lebih kurang 10 sentimeter. warna sabuk pada tari bali ada dua jenis yaitu warna kuning yang diberi tempelan kain warna warni berbentuk belah ketupat dan jenis sabuk kelengan tebu yang setiap kurang lebih 15 sentimeter warnanya berbeda seperti warna hijau, warna pink, warna kuning, warna ungu, warna hijau , dan lain-lainnya. patra yang menghiasi sabuk prada ini adalah patra jenis bun-bunan dan sedikit patra sari yang ditaruh pada warna-warni kain yang berbentuk belah ketupat pada jenis sabuk warna kuning. tujuan dari penempatan patra sari tersebut hanya sebagai aksen dari warna-warninya kain yang berbentuk belah ketupat, yang lebar sisinya kurang lebih 5 sampai 7 sentimeter. cara pemakaian sabuk prada ini mulai dari pinggang yang langsung dililitkan ke atas dan tertata rapi dengan jarak 5 sentimeter sekali lilitan sampai menutupi dada. lekak-lekuk tubuh penari akan jelas terlihat setelah pemakaian sabuk prada ini. busana ini sangat berpengaruh pada gerakan tubuh atau gerakan torso bawah dan torso atas ketika direbahkan mengarah ke samping kanan, ke samping kiri, ke depan, ke belakang, dan sekaligus gerakan berputar sambil berjalan. balutan sabuk prada ini tidak mengurangi kelenturan dari gerak tari oleg walaupun gerakannya sangat dinamis dan sesekali meliuk-liukkan tubuhnya sehingga terkesan lemah gemulai. tari ini merupakan salah satu tari kekebyaran yang memiliki kekhasan tersendiri seperti disain busana yang dikenakan dan ciri-ciri geraknya yang sangat unik. tutup dada merupakan salah satu nama busana yang dikenakan melingkar di dada dengan panjang 1 m dan lebar 7 sentimeter. tujuannya hanya sebagai pembatas dari sabuk prada, di samping bisa memberikan aksen dan juga sebagai assesoris. jenis kain yang digunakan adalah kain beludru yang kecenderungan berwarna gelap seperti warna hitam, merah tua, coklat tua, dan biru tua. hiasan yang menhiasi tutup dada ini dipenuhi dengan warna-warninya payet-payet yang dibentuk sedemikian rupa. tidak banyak gerak yang dipengaruhi oleh jenis busana ini, hanya memperkuat ikatan sabuk prada pada ujung atas supaya tidak lepas. assesoris lain yang menempil di ke dua lengan atas dan kedua pergelangan tangan bernama gelang kana. gelang kana terbuat dari kulit diukir yang juga sedikit ada hiasan dari pecahan kaca berbentuk bulat dan berbentuk segitiga. warna kuning dari cat prada menambah indahnya bentuk lengan yang gerakannya terkadang berbentuk lengkung, lurus, dan segitiga. bentuk gelang ini pipih dengan tebal 2 milimeter, lebar 3 sentimeter, dan panjang gelang kana yang dikenakan di pergelangan tangan sepanjang 10-12 sentimeter sedangkan panjang gelang kana yang dikenakan di lengan atas sepanjang 25-30 sentimeter. tambahan asessoris yang berbentuk gerudo mungkur juga terdapat pada gelang kana yang dipasang di lengan untuk membedakan gelang kana yang dipasang di pergelangan tangan. badong lanying yang dikenakan melingkar dileher juga sebagai salah satu asessoris yang juga terbuat dari kulit diukir berbentuk bunga meruncing ke bawah. panjang badong sekitar 30 sentimeter dan lebar sekitar 25 sentimeter. jenis kulit yang dipakai sebagai asessoris pada busana tari bali selalu diukir dan selalu ada tempelan pecahan kaca yang sudah dibentuk seperti bentuk bulat dan segitiga. pengaruh asessoris semacam ini sangat berpengaruh terhadap gerakan tarinya. di setiap pose dan perpindahan gerak tari, pecahan kaca yang menempel di asessoris tersebut selalu mengeluarkan cahaya ketika ada pantuharmonia, volume 13, no. 1 / juni 201390 sanggul sedemikian rupa di kepala bagian belakang berpengaruh pada kekokohan dalam mengenakan gelungan dan penusukan bunga mas yang berbentuk kerucut di atas gelungan. rambut yang menjuntai ke bawah sangat berpengaruh pada gerakan megol dan pada pose tari seperti agem kanan dan agem kiri. terlihat jelas bahwa rambut panjang juga menegaskan adanya disain tertunda dalam ruang, disamping itu kain yang berjuntai ke belakang diantara kaki kanan dan kaki kiri menambah lemah gemulainya gerakan tari ini dan sangat terkesan feminim. pengaruh busana terhadap gerak tari oleg putra kamen atau kain yang digunakan oleh penari putra, cara mengenakannya sangat kontras dengan kamen yang dikenakan oleh penari oleg putri. penari putra mengenakan kain dari pinggang sampai sebatas betis, dengan ujung kain memanjang ke arah kiri, lebih jelasnya kain yang sudah menempel di pinggang sebelah kiri masih tersisa dengan panjang kurang lebih 125 sentimeter. keseluruhan panjang kamen untuk penari putra lebih kurang 250 sentimeter, dan lebarnya kurang lebih 1 meter. panjang dari kain tersebut setelah dilingkarkan di pinggang sangat mempengaruhi gerakan ketika kain yang tersisa tersebut diangkat ke samping kiri dengan posisi tangan kiri lurus ke samping kiri setinggi pundak bahkan lebih tinggi. kain ini akan terangkat ketika ada gerakan berjalan cepat dan gerakan berjalan lambat. pengaruhnya terlihat jelas baik dilihat dari ruang gerak yang lebar dan terkesan gagah atau maskulin. ketika kain terangkat akan mempermudah gerakan berjalan cepat maupun lambat, lebihlebih ketika melakukan gerakan berjalan sambil jengkeng. tugas tangan kiri selalu mengangkat ujung kain yang memanjang ke sebelah kiri disaat gerakan berjalan, dan tugas tangan kanan selalu memainkan atau menggerakan kipas baik disaat gerakan berpindah tempat maupun bergerak ditempat. kamen atau kain yang memanjang ke arah kiri, ketika diangkat setinggi lan sinar baik dari sinar lampu, matahari, bulan, dan sinar lampu yang lainnya. asessoris kepala juga tidak kalah pentingnya dengan asessoris yang lain yang dikenakan oleh penari putri dari tari oleg tamulilingan. beberapa asessoris yang dikenakan di kepala berupa gelungan oleg, bunga mas (sandat), dan antol (cemara). gelungan oleg bentuknya seperti petitis atau jamang dan di atas petitis ada sambungan bunga yang berbentuk bulat-bulat disusun setinggi 10-15 sentimeter di atas petitis. agar bisa berbentuk kerucut di atas gelungan ditambahkan bunga sandat yang di bali lasim disebut dengan bunga mas. gelungan ini terbuat dari kulit yang diukir dan juga dilengkapi dengan hiasan batu warna-warni yang berbentuk bulat-bulat, dipasang sepanjang petitis. di samping itu pecahan cermin yang sudah dibentuk juga ikut menghiasi petitis dan kembang-kembang yang berbentuk bulat-bulat. cara menggunakan gelungan ini dengan cara ujung kanan dan ujung kiri dari petitis dipasang karet yang tujuannya untuk mengkaitkan gelungan yang dipasang di sepanjang dahi dengan kepala bagian belakang supaya gelungan terlihat berdiri tegak di atas kepala karena bentuk dari gelungan tersebut berbentuk pipih dan bagus dilihat hanya dari arah depan. pengaruh dari gelungan ini adalah ke bentuk wajah, de ngan meratanya permukaan gelungan yang mengerucut ke atas setinggi kurang lebih 25 sentimeter terkesan wajah penaripun semakin memanjang, pipih senada dengan pipihnya bentuk gelungan dan yang jelas mempercantik wajah penari. cemara atau rambut panjang yang menjuntai ke bawah sepanjang 75-100 sentimeter, merupakan salah satu asessoris yang dipasang di kepala bagian belakang. rambut panjang ini merupakan salah satu simbol dari perempuan, yang juga mempunyai tujuan untuk menyangga gelungan dari belakang disamping berfungsi untuk menusukan bunga mas atau bunga sandat sebanyak kurang lebih 15 tusukan agar antara gelungan dan bunga mas bisa menyatu dengan gelungan yang kemudian dibentuk mengerucut ke atas. cemara yang disiluh made astini, pengaruh busana terhadap gerakan tari oleg tamulilingan 91 pundak akan terlihat jelas keindahan dari ornamen yang menghiasi kain tersebut disamping langkah penari juga lebih leluasa. pada pose tarinya baik itu berupa agem kanan maupun agem kiri, walau ujung kain tidak terangkat dan disain kain seperti ini tetap memberikan keleluasan bergerak lebar. kesan maskulin dan keleluasaan gerak akan lebih terlihat jelas pada tari ini apabila melihat ornamen yang tergambar pada kain yang dikenakan. adapun beberapa ornamen yang ada pada kamen oleg putra berbentuk pepatran yang terdiri dari patra bun-bunan, patra kuta mesir,patra ganggong, dan patra sari. ujung kain yang tersisa sekitar 125 sentimeter menggunakan patra bun-bunan yang berbentuk segi tiga memanjang yang berjumlah tiga sampai lima segi tiga, yang tempatnya berjejer dari atas ke bawah. pada pinggiran kamen kecenderungan menggunakan patra kuta mesir dan patra ganggong. sabuk atau stagen yang dikenakan oleh penari oleg putra, sama dengan sabuk penari yang di kenakan oleh penari oleg putri. sabuk ini pemakaiannya juga sama yaitu dililitkan dari pinggang sampai setinggi dada.fungsi dari sabuk ini adalah disamping mengikatkan kamen di pinggang juga mengencangkan perut. pengaruh sabuk ini terhadap gerakan tarinya adalah torso semakin kelihatan kencang dan terkesan gagah karena lilitan stagen yang sampai ke dada akan berpengaruh pada pundak yang sedikit lebih terangkat.stagen ini juga diberi pembatas yang bernama tutup dada dan warnanya biasanya lebih gelap dari stagen. cara menggunakan tutup dada ini adalah hanya dilingkarkan di dada setelah mengenakan stagen.ampok-ampok juga dikenakan oleh penari putra namun tidak banyak berpengaruh pada gerakan tarinya,hanya sebatas asesoris. ukuran dan bahan yang dipakai untuk membuat ampok-ampok ini, sama dengan ampok-ampok yang dikenakan oleh penari oleg putri. asesoris yang lain dikenakan di kedua lengan atas dan kedua pergelangan tangan yang lasim disebut dengan gelang kana. di bagian kepalapun dikenakan udeng untuk menambah kesan tampan pada wajah penari yang lengkap dengan bunga mas yang ditaruh di belakang kepala dan bunga kamboja yang ditaruh di kedua telinga. udeng yang dikenakan di kepala terbuat dari kulit yang dipahat. bentuk udeng ini tidak jauh berbeda dari bentuk udeng kain yang sering dikenakan oleh pria bali pada umumnya. tidak ba nyak gerakan yang dipengaruhi oleh udeng. kipas sebagai property tari juga menambah kesan lincahnya gerakan dari penari oleg putra, terlebih lagi ketika gerakan berkejar-kejaran yang dilakukan dengan berjalan jengkeng dengan tempo gerak cepat, volume gerak yang kecil de ngan kekuatan gerak yang maksimal. setiap gerakan kipas seperti ngiluk dan ngeliput begitu bermakna pada tari ini. ibaratnya gerakan kipas ngeliput menggambarkan gelora cinta yang membara di hati setiap insan. gerakan kipas ngeliput selalu digerakan cepat dengan koordinasi gerak tangan, kaki, torso, dan kepala. kedinamisan dari gerakan ngeliput ini terlihat jelas ketika menggunakan beberapa variasi level, variasi volume gerak, tempo gerak cepat, dan aksen gerak yang kuat. ngeliput ini selalu dilakukan disetiap gerakan tari oleg putra ini kecuali pada gerakan mearasarasan dan ketika akan gerakan seledet ke kanan dan seledet ke kiri. kipas ngiluk menggambarkan rasa malu-malu karena sebelum gerakan kipas ngiluk, selalu ada gerakan nyeliyer yaitu menggerakan kepala ke samping dengan mengecilkan salah satu mata. posisi kipas ngiluk, biasanya terlihat ketika gerakan ngentungan kancut (melempar ujung kain ke arah kiri),mearas-arasan, dan pada agem kanan juga pada agem kiri, dan diakhiri dengan gerakan seledet (gerakan mata). penutup tari oleg tamulilingan adalah salah satu tari kekebyaran yang diciptakan pada tahun lima puluhan, yang bentuk kainnya mengadopsi dari dramatari klasik yang harmonia, volume 13, no. 1 / juni 201392 ada di bali. ketika kain ini dikenakan oleh peran putri dari tokoh tertentu dalam dramatari, pengaruhnya ke gerak adalah penari hanya bisa berjalan pelan sehingga kefeminiman dari peran tersebut akan sangat terlihat jelas. kalaupun bentuk kain ini diadopsi dari dramatari klasik, namun pada gerak tari oleg putri keleluasaaan dalam memodivikasi gerak cepat, lambat, dan sedang sangat proporsional dan menarik. oleg tamulilingan sebagai salah satu warisan budaya yang ada di salah satu kepulauan nusantara masih eksis di mata penonton, lebih-lebih penonton yang sengaja datang ke bali untuk menikmati indahnya pulau dewata. tari ini selalu disuguhkan di tempat-tempat pariwisata yang dikunjungi oleh wisatawan dan wisatawati yang berasal dari dalam negeri maupun dari manca negara. pengaruh busana terhadap gerak dari tari ini sangat memukau pononton. balutan busana yang unik dari sepasang penari oleg tamulilingan ini memberikan teba gerak tersendiri dari karakter tari tersebut. mulai dari pose tari, gerak berjalan pelan, gerak berjalan cepat, gerak berjalan jengkeng, dan transisi gerak yang lain seperti gerak ngutek dan gerak tanjak kado. disamping itu pengaruh busana tersebut sangat menginspirasi munculnya kreatifitas dalam mendisain busana pada tari-tari kreasi. daftar pustaka bandem, i made dan i wayan dibia. 1982. pengembangan tari bali. denpasar: proyek pengembangan asti. ----------. 1983. ensiklopedi tari bali. denpasar: asti. ----------.1996. etnologi tari bali. yogyakarta: kanisius. djelantik,a.a.m. 1992.ilmu estetika jilid ii falsafah keindahan dan kesenian. denpasar:stsi. harymawan.1993. dramaturgi.bandung: remaja rosdakarya. purwadarminta, w.j.s. 1966.kamus bahasa indonesia. jakarta: balai pustaka. smith, jacquline. 1985. komposisi tari: sebuah petunjuk praktis bagi guru. terjemahan ben suharto. yogyakarta: ikalasti. sika, i wayan.1983. ragam hias bali. jakarta: departemen pendidikan dan kebudayaan. vol. 1 no 2 sept_des 2000.pdf harmonia : jurnal pengetahuan dan pemikiran seni latar belakang penciptaan seni (background of creative art) oleh : siti aesijah* abstrak seni adalah sebagian dari kehidupan manusia sejak berabad-abad yang lalu. menjadi persoalan sehari-hari dan berkembang sejarah dengan perkembangan hidup manusia itu sendiri. bahkan hasil-hasil karya seni dapat dikatakan merupakan sebagian indikator dari fitrah kemanusiaan. dalam masyarakat modern sekarang ini seni mempunyai peranan hampir di segala sektor kehidupan, dan menyangkut berbagai kebutuhan manusia. berbagai faktor pendorong kelahiran seni adalah merupakan gejala kejiwaan yang menimbulkan hidup manusiawi. jiwa manusia yang dikatakan sebagai rahasia agama, dari padanya timbul berbagai dorongan hidup. dorongan hidup itu antara lain adalah dorongan untuk melahirkan seni, yang bersumber pada rasa keindahan (read, 1973). (kata kunci : manusia, kebudayaan, penciptaan, seni) a. pendahuluan manusia dalam kehidupannya banyak ditentukan oleh alam yang melingkunginya itu. alam telah memaksa manusia untuk menentukan suatu sikap. maka tentu saja sedikit banyak alam telah ikut berperan di dalam proses kelahiran seni tersebut. rasa keindahan mengejawantah setelah bersentuhan dengan alam, dan itu adalah basic of art. namun, untuk sampai kepada seni masih melangkah setapak lagi dengan masuknya untuk ekspresi. sebnarnya seluruh kebudayaan adalah merupakan eksistensi manusia sebagai mikrokosmos dalam hubungannya dengan alam sebagai mikro kosmos. manusia, dengan kemamuannya, menanggapi alam secara aktif, dan hubungan antara rasa keindahan dengan alam itu tentu mtergantung pula oleh kecenderungankecenderungan yang ada pada keduanya. manusia memiliki berbagai kecenderungan sebagai gejala kejiwaan yang akan ikut menentukan di dalam seluruh kegiatan dan proses penciptaan seni. seperti misalnya, kecenderungan untuk mengamati, memiliki, berfantasi, *staf pengajar jurusan sendratasik/fbs/unnes vol. 1 no. 2/september – desember 2000 62 harmonia : jurnal pengetahuan dan pemikiran seni bermain-main, menonjolkan diri, bermasyarakat, membangun, berketuhanan, bebas, berhubungan seks, menikmati. (dewantara, 1967). manusia, betapapun sibuknya, telah menyempatkan dirinya untuk berolah seni. rupanya seni menjadi suatu kebutuhan yang penting bagi manusia. hal ini terjadi karena manusia terdorong untuk mengembangkan jiwanya dalam rangka mencari makna yang lebih dalam mengenai kehidupannya. ini berarti bahwa, manusia berusaha untuk emmpeorleh kepuasan spiritual yang dalam seni bersifat visual atau aural. apakah seni ini pada mulanya timbul sebagai alat agama atau timbul dengan sendirinya, namun yang jelas seni telah mengejawantah dalam ujudnya yang unik, eksotik dan ekslusif. seni timbul secara tak terduga, meskipun idenya sebenarnya sudah ada sejak manusia belum menyadarinya. seni bukan timbul dari alam, sedang alam hanyalah memberi kemungkinan bagi manifestasi seni. dari situ terwujudlah hasil seni atau kesenian yang khas dan personal (tidak ada ide komunal yang sesungguhnya dalam seni) yang hampir tidak mungkin diterangkan secara logika bagaimana asal-usulnya, sebagaimana misalnya menerangkan mengapa kita meletakkan suatu aplikasi pada sudut saku baju kita, atau mengapa pembaca ayat-ayat suci dilagukan (yang tanta not itu?) seni timbul dalam ujudnya sebagai tanggapan manusia atas obyek alamiah atas dasar pengungkapan nilai-nilai kebutuhan yang visual atau aural yang secara kodrati dimotori oleh berkembangnya rasa estetika yang kemudian telah menuntut seni menjadi suatu kebutuhan hidup manusia. memang, selalu sulit untuk menggambarkan proses asal mula timbulnya seni karena menyangkut dorongan dari dalam jiwa yang paling dalam sampai sekarang masih tetap merupakan suatu misteri alam yang belum pernah terpecahkan. mungkin, paling tidak, sampai dengan sepuluh tahun yang lalu belum ada sebuah teori pun mengenai kelahiran seni yang telah berhasil secara gamblang menjelaskan duduk persoalan ini. sebenarnya, tidak ada pengucapan artistik yang lahir tanpa merefleksikan sikap manusia terhadap alam lingkungannya. sikap manusia terhadap alam yang melingkunginya itu adalah refleksi psikis dari dunia visual dan auralnya (poedjawiyatna, 1970). semua kualitas yang merangkum setiap karya seni adalah bagaimana manusia mengalami ruang, suara atau bunyi dan gerak serta waktu. konsepsi mengenai hal itu adalah merupakan proyeksi gerak serta waktu. konsepsi mengenai hal itu adalah merupakan proyeksi dari sikap estetisnya terhadap alam semesta. alam dengan segala kecenderungannya akan mempengaruhi kehidupan seni yang ada di dalamnya. vol. 1 no. 2/september – desember 2000 63 harmonia : jurnal pengetahuan dan pemikiran seni bahkan timbulnya kebudayaan yang bermacam-macam pada dasarnya adalah banyak ditentukan oleh faktor lingkungan alam yang berbeda-beda (koentjaraningrat, 1972). kesenian yang diproduk oleh lingkungan alam yang keras, gersang, dan dingin membeku, akan berbeda dengan hasil kesenian dari alam yang subur, karena sebenarnya seni telah mewujudkan diri dan menampilkan bentuknya sebagai simbol dari kenyataan (alam). dalam hal ini, seni seringkali merupakan ungkapan rasa kagum, namun tak jarang pula sebagai suatu pelarian. b. hakekat hidup manusia hidup mempunyai ciri yang khas yaitu dapat bertindak ke dalam atau bertindak terhadap diri sendiri, dalam hal ini subyek tindakan dapat pula sebagai obyek tindakan. manusia hidup mempunyai ciri berkembang dan bertahan, yang melakukan tindakan berkembang dan bertahan adalah manusia itu sendiri, yang menjadi semakin besar, banyak dan berkelangsungan adalah manusia itu pula. ini dapat diartikan bahwa tindakan manusia tersebut mengenai dirinya sendiri. secara singkat herbert spencer mendefinisikan hidup sebagai “the continuous adjustment of internal to external conditions” (r. poedjawiyatna, 1970). tetapi di samping ciri tersebut manusia mempunyai ciri hidup yang lain yang lebih khas, yaitu berkemauan bebas, yang merupakan suatu kecenderungan yang bersifat kreatif dan sangat luas jangkauannya. manusia secara fisik adalah materi atau benda yang tidak jauh berbeda dengan benda-benda yang lain. pada manusia hidup materi ini mempunyai prinsip hidup. menurut aristoteles prinsip hidup ini mengandung tiga aspek, yaitu: aspek vegetatif, tumbuh seperti tanaman; aspek sensitif, bergerak dan dapat berpindah-pindah seperti binatang; dan aspek rasional atau berakal budi yang hanya dimiliki oleh manusia. hidup selalu berlanjut dengan mati. dari hidup ke mati adalah merupakan suatu proses perubahan dalam ketidaktetapan, sebagai hukum alam di mana segala sesuatu yang ada di alam ini memiliki sifat tidak kekal. segala yang hidup akan mati, kemudian dari kematian akan timbul kehidupan yang baru dan demikian seterusnya. makan, air, udara, adalah benda-benda mati yang dibutuhkan oleh tubuh demi kelangsungan hidup. apabila hidup telah berakhir, maka jasad akan menjadi tanah, sedangkan tanah vol. 1 no. 2/september – desember 2000 64 harmonia : jurnal pengetahuan dan pemikiran seni itu sendiri adalah sumber dalam waktu yang bersamaan. suatu proses yang memproduksi hidup sekaligus adalah sebagai proses yang memproduksi mati. di dalam hidup manusia telah terjadi kematiankematian, yaitu matinya sel-sel tubuh yang tak berfungsi lagi dalam menunjang hidup secara keseluruhan. hal ini sesuai dengan pengertian bahwa “di dalam kelahirannya terkandunglah suatu kematiannya, di dalam kebangunannya (terkandunglah) kehancurannya” (a. seno sastroamidjojo, 1959). pada fase perkembangan sampai titik puncaknya, kebangunannya lebih produktif dari pada kehancurannya. sebaliknya, pada fase surut dari titik puncak perkembangan itu kehancurannyalah yang lebih produktif dari pada kebangunannya. pada hakekatnya, hidup dan mati adalah merupakan rangkaian simbiosis yang saling memberadakan. hidup tak akan menampak tanpa mati, sebaliknya mati tidak akan berfungsi tanpa hidup. jiwa, yang misterius, yang hanya tampak gejalanya saja kiranya merupakan fitrah kemanusiaan yang melahirkan motivasi dalam diri manusia untuk melakukan tindak budaya yang bebas. dengan demikian rupanya dalam diri manusia hidup itu terdapat dua jenis tenaga yang bekerja seiring dan terpadu, yaitu : vitalitas yang bersifat mekanik atau fisika-kimiawi dan vitalitas yang bersifat kesadaran. yang pertama menimbulkan gerak yang ajeg dan tertentu, seperti gerak alat pencernaan, gerak pernafasan, peredaran darah, proses pergantian dan pertumbuhan dalam jaringan tubuh dan yang lain. sedangkan yang kedua menghasilkan gerak spiritual yang bebas dan tak pasti, antara lain ialah tindakan memuja, mencari, membuat (ghazali, 1961). c. kebudayaan kata “kebudayaan” sudah merupakan istilah yang terbiasa kita ucapkan, dan pengertian mengenai itupun sudah hampir setiap orang maklum. kebudayaan paling sering diartikan sebagai hasil karya dari budidaya manusia dalam usahanya mereplasi tantangan alam dan jaman. dengan kata lain, kebudayaan adalah merupakan buah dari daya cipta, daya rasa dan daya karsa manusia sebagai reaksi aktif terhadap segala yang telah ditawarkan oleh dunia empirik bagi kepentingan hidupnya (dewantara, 1967). aktivitas budaya manusia pada hakekatnya adalah merupakan pernyataan dan pertahanan kelangsungan kehidupan dan eksistensinya. vol. 1 no. 2/september – desember 2000 65 harmonia : jurnal pengetahuan dan pemikiran seni alam yang melindungi manusia dan berbagai sumber yang telah memberi kehidupan, tidak begitu saja menyediakan segala sesuatu yang dibutuhkan manusia. oleh karena itu, manusia dengan akal budinya berusaha untuk mengatasi kesulitan tersebut. namun, persoalannya tidak sederhana, karena manusia semakin mengenal alam sebagai dimensi di luar dirinya dengan segala fitrahnya. dalam artian pula bahwa manusia semakin mengerti akan selalu adanya persoalan yang tidak dimengertinya, yang memberi rangsangan padanya untuk sellau berusaha memecahkannya. dalam hal ini tindak budaya adalah sebagai proses pemecahan-pemecahan persoalan yang berlangsung dari jaman ke jaman yang telah meninggalkan bekas berupa salah satu 'ukiran' sejarah kemanusiaan. namun demikian, pada hakekatnya, kebudayaan tak akan timbul dalam bentuknya tanpa kemampuan manusia untuk berabstraksi, dan kemudian menyatakan apa yang telah diabstraksikan itu dalam bentuk paduan simbol-simbol sebagai pernyataan pikiran dan perasaannya. bagaimana kita mau meneruskan dan mengembangkan gagasangagasan dan nilai-nilai kemanusiaan yang berlangsung dalam sepanjang kehidupan manusia sejak manusia pertama tanpa mengetahui apa yang telah dilakukan oleh nenek moyang generasi-generasi manusia yang hidup sebelumnya? tentu saja tidak mungkin, dan apabila demikian maka tak akan pernah terjadi peradaban, manusia menjadi makhluk under developed yang hampir tidak ada bedanya dengan binatang yang paling cerdas. di sinilah peranan kemampuan manusia menggunakan simbolsimbol sangat menentukan pula bagi terwujudnya kebudayaan, yaitu sebagai sarana atau media untuk manivestasikan adaptasi dan interaksinya dengan alam sebagai lingkungan ekologinya. itulah maka manusia kemudian disebut pula sebagai animal symbolicum. kecakapan dan keterampilan adalah sebagai faktor yang sangat ditentukan oleh sifat dan bentuk fisik pada manusia, yang berfungsi dalam menyatakan ide-ide kebudayaan secara konkrit. mungkin hasil budidaya manusia tidak akan seperti bentuknya yang sekarang ini jika saja seandainya manusia itu tidak memiliki bentuk dan sifat serta mekanisme tubuh seperti yang sekarang ini. manusia hidup dan berkembang seiring dengan proses adaptasinya terhadap lingkungan alamnya telah mewujudkan interaksi berupa vol. 1 no. 2/september – desember 2000 66 harmonia : jurnal pengetahuan dan pemikiran seni penyerahan diri atau tunduk kepada alam, penyesuaian diri dengan alam dan penguasaan atas alam, dalam ketergantungan hidupnya kepada alam. dari orientasi manusia ini timbul berbagai kebudayaan yang ciri masing-masing banyak diwarnai oleh sifat lingkungan alamnya yang menentukan proporsi pada ketiga orientasi tersebut. manusia dalam hidup komunitasnya yang menimbulkan full contact antara satu sama lain, memerlukan suatu sistem komunikasi sebagai alat untuk menjalin saling pengertian, proses kehidupan sosial terjadi dalam rangka adaptasinya dengan alam lingkungannya. dengan demikian, manusia dapat membangun peradaban sebagai hasil kerja sama kolosal yang merupakan bentuk penyesuaian diri dan penguasaannya terhadap alam. dalam struktur kebudayaan terhadap aspek-aspek yang berkaitan yaitu tingkah laku dan perangai atau sikap manusia yang menunjukkan fenomena kejiwaannya, kemudian tata kelakuannya dalam kehidupan masyarakat sosialnya, dan penyelenggaraan sistem peralatan sebagai sarana kebutuhan fisik yang merupakan penjelmaan dari kebutuhan rohaninya. dengan demikian, aspek-aspek kebudayaan meliputi unsurunsur yang bersifat material dan spiritual yang saling berhubungan rapat dalam suatu proses usaha manusia untuk mengubah alam sesuai dengan apa yang dikehendakinya. kecenderungan manusia untuk mengetahui dan menguasai alam dengan segala isinya termasuk di dalamnya dirinya sendiri serta posisinya dalam lingkungannya, telah mendorongnya untuk melakukan penyelidikan yang kemudian menghasilkan filsafat dan pengetahuan ilmu. unsur perasaan yang berkembang pada diri manusia memberikan motivasi bagi pikiran untuk mewujudkan nilai-nilai konsepsional beserta norma-norma dan segala sistemnya, yang diperlukan dalam pemberian makna bagi kehidupan bersama dalam arti yang luas. terliput di dalamnya segala paham, religi, kesenian, adat-istiadat dan lain -lain sebagai unsur-unsur yang merupakan hasil ekspresi manusia yang hidup dalam kehidupan kebersamaannya. (drijakara, 1966). d. kesenian dan latar belakang penciptaannya 1. aspek dorongan penciptaan manusia mempunyai berbagai tuntutan yang kemudian menimbulkan kehidupan budayanya. kalau kesenian sebagai salah satu unsur yang bisa vol. 1 no. 2/september – desember 2000 67 harmonia : jurnal pengetahuan dan pemikiran seni diidentifikasikan dari kebudayaan, maka tak pelak pula bahwa maksud dan tujuan seni adalah merupakan sebagian dari tuntutan manusia dalam proses adaptasi dan kontrolnya terhadap alam lingkungannya. namun, apa sebenarnya yang dituntut manusia itu dengan seni? atau bagaimana pula bentuk adaptasi dan kontrol tersebut yang menimbulkan aktivitas seni? maka jawabannya bisa menjadi rumit dan riskan, atau barangkali justru jawaban yang simpel saja dan konvensional. seperti, umpamanya, sering dikatakan bahwa seni bersumber pada rasa keindahan, tetapi apakah betul demikian?, sementara itu kita sendiri sebenarnya kurang mengerti mengenai apa itu rasa keindahan. kalau memang benar seni bermula dari rasa keindahan, mengapa banyak hasil karya seni yang tidak mencerminkan keindahan, bahkan dapat dibilang jelek dan tidak bermoral. maka, hal itu kiranya merupakan tautologi yang semakin lama semakin kabur pengertiannya. rasanya agak kurang 'sreg' apabila seni selalu dikatakan hanya berasal dari rasa keindahan. atas dasar apa kita dapat mendeteksinya sehingga disimpulkan bahwa seni timbul dari rasa keindahan? suatu perbuatan seni kiranya bukan tanpa pikiran dan unsur-unsur kejiwaan yang lain. kalau kita melihat pemandangan di baturaden dan mendengar kicau burung dan gemerisiknya daun ditiup angin di pinggir hutan damar, sementara sayup-sayup terdengar di kejauhan gemuruhnya air terjun, maka lewat penginderaan itu akan ada sentuhan rasa indah yang menyenangkan pad aperasaan. tetapi sebaliknya, dalam proses penciptaan seni kita dihadapkan pada persoalan bagaimana agar suatu obyek penginderaan itu menjadi indah sehingga akan memberikan kenikmatan dan kepuasan pada jiwa atau batin atau rohani kita. dengan demikian, tampak disini bahwa, masalahnya bukan semata-mata urusan perasaan, akan tetapi juga pikiran, bahwa seluruh jiwa. itulah mengapa kalau pikiran kita sedang 'keruh' karena dipenuhi banyak persoalan, maka perlu penjernihan berupa antara lain kesenian. pikiranlah pada mulanya yang menentukan konstruksi rounded source dan piramida misalnya, yang kemudian merupakan bentuk yang banyak digunakan sebagai motif dalam kesenian yang bernafaskan keagamaan. bentuk kapak, ukiran pada 'landean' atau tangkai keris sampai dengan rajah pada ban mobil adalah bermula dari bentuk elementer yang sangat mungkin merupakan hasil pikiran pula. dalam tari tarian, musik, dan seni yang vol. 1 no. 2/september – desember 2000 68 harmonia : jurnal pengetahuan dan pemikiran seni lain, kiranya juga tidak hanya diladasi oleh pertimbangan-pertimbangan rasa saja, tetapi mengikuti pula rinsip-prinsip penyusunan tertentu, yang bersifat formal bagi kepentingan efektivitas pengungkapannya, meskipun seringkali tidak disiplin dan terjadi banyak interpretasi. basis dari prinsip penyusunan atau komposisi dalam penciptaan seni adalah kesatuan harmonis, yaitu kesatuan dari unsur-nsur seni yang terjadi secara terencana dan itu merupakan hasil paduan dari perasaan dengan pikiran. dari sini menjadi semakin jelas lagi bahwa pikiran mempunyai peranan yang besar pula dalam proses penciptaan seni, bahkan brewster ghisein (1957) mengatakan bahwa kesenian adalah penggunaan apa yang dapat dicapai oleh insting dan intelek (read, 1973). setiap pengucapan artistik atau kegiatan seni adalah merupakan refleksi psikis manusia terhadap dunia visual dan auralnya. aktivitas artistik yang lebih merupakan proses adaptasi psikis tak akan berlangsung tanpa adanya suatu energi kreatif. pada galipnya, jasmani adalah merupakan radiator dari hubungan jiwa dengan alam. dari jiwa timbul berbagai kesadaran yang menjelma antara lain dalam bentuk dan ujud kesenian. mungkin jiwa menjadi mujarad itu sendiri sebenarnya tidak membutuhkan karya seni, jiwa hanya butuh segala sesuatu yang mujarad juga, seperti misalnya: kesenangan, ketentraman, kebahagiaan, cinta dan kasih sayang, dan sebagainya. namun, sesudah jiwa bersatu dengan raga maka jiwa menjadi 'materialistis', jiwa lebih banyak tergantung kepada wadag. dalam pengertian mengenai seni terdapat faktor-faktor yang dianggap punya peranan dalam mewujudkan kesenian dan menentukan bentuknya. energi kreatif adalah merupakan faktor penting yang mendorong manusia untuk berbuat lebih jauh dan bebas dari hanya sekedar tindakan manusia untuk berbuat lebih jauh dan bebas dari hanya sekedar tindakan nalurinya. dalam intensitanya yang tinggi energi ini akan menghasilkan masterwors dan masterpieces. perubahan, kemajuan dan perkembangan kebudayaan dan peradaban manusia menandai adanya energi kreatif ini, kendati kerunyaman dan kehancuran sering kali disebabkan oleh energi ini pula. inspirasi atau ilham atau wahyu yang biasanya dianggap berasal dari tuhan, sebenarnya adalah sesuatu yang sangat misterius. dalam penciptaan seni, inspirasi ini mempunyai dimensi yang beragam dan bersifat personal. kadang – kadang timbul secara tak disengaja, namun bukan tak mungkin bisa dicari dengan sengaja. meskipun demikian, sengaja atau tak sengaja, timbul inspirasi biasanya dilatarbelakangi atau didahului oleh kehendak vol. 1 no. 2/september – desember 2000 69 harmonia : jurnal pengetahuan dan pemikiran seni untuk mencipta. maka, kiranya bolah jadi bahwa, inspirasi ini merupakan konsentrasi dari kehendak untuk mencipta itu sendiri. seorang seniman bisa dengan cara meditasi, memejamkan mata dan menutup telinga, maka dalam kalbunya atau penglihatan dan pendengaran batinnya akan nampak atau timbul suatu bayangan atau gema mengenai suatu susunan yang bisa dijadikan pedoman dan sumber ide dalam penciptaannya. mungkin pula itu merupakan suatu kemampuan untuk menangkap adanya hubungan keselarasan antar elemen-elemen yang terjadi dalam suatu moment tertentu. bisa juga itu berupa mimpi yang timbul dari bawah sadar, atau sebaliknya sebagai superconsciousness mengenai suatu fenomena yang supernatural. inspirasi dalam hal ini dapat dikatakan sebagai motivator bagi realisasi suatu penciptaan. sedang dalam prosesnya yang merupakan usaha untuk mewujudkan suatu karya seni, maka faktor yang paling berperanan adalah intuisi. bagaimana seorang seniman menyusun atau mengkomposisikan elemen-elemen seni sehingga terwujudlah sesuatu yang unik dan eksotik, yang pada dasarnya adalah sangat subyektif dan personal dalam peristiwa ini ada suatu independent impulse yang mampu menentukan dan memberi keputusan tanpa terikat oleh pikiran. itu adalah suatu kecenderungan atau kehendak untuk mengenal atau menjelajah alam di luar alam logika dalam rangka mendapatkan spiritual vitality untuk mewujudkan interest of live yang bertolak dari kejenuhan terhadap general practice, formalitas dan kebekuan. seniman, pada dasarnya, ingin mencoba mencari sesuatu sampai yang mungkin terlepas dari hukum alam, sesuatu yang lebih azasi, suatu persesuaian ide dalam hubungan antara 'aku'nya dengan tuhan dalam kodratnya. penciptaan seni pada hakekatnya adalah kecakapan (skill) untuk menyusun atau mengorganisasi elemen-elemen berupa massa, gerak, kata, garis, bidang, ruang, tekstur, warna, dan nada (tone), bentuk, cahaya, dan sebagainya, sedemikian rupa sehingga menjadi satu kesatuan organik yang selaras dan serasi, dengan menggunakan unsur-unsur kontras, ritme, atau irama, dominans, klimaks, balans dan proporsi, sebagai pengejawantahan ide ketuhanan yang mempunyai tujuan untuk memperoleh kenikmatan yang memuaskan batin lewat penginderaan (sensorial enjoyment) yang vol. 1 no. 2/september – desember 2000 70 harmonia : jurnal pengetahuan dan pemikiran seni kontinyu dan lancar, yang itu disebut sebagai keindahan. (iskandar, 1961). sering dikatakan bahwa, seni mengandung ekspresi atau suatu ungkapan batin atau curahan perasaan penciptanya. pernyataan faktor inner ini tentu saja sangat spesifik dan temporer. adanya faktor inilah sebenarnya yang memberikan ciri bagi suatu hasil untuk disebut sebagai karya seni. karakter menentukan suatu karya seni menjadi spesifik, sedang mood menjadikan karya tersebut tidak akan tercipta lagi dalam ujud yang sama. dalam berekspresi ini telah terjadi suatu penghayatan jiwa atau dialog dengan diri pribadi yang kemudian terjelma dalam bentuk konkrit sebagai pernyataan isi hati sanubari lewat keterampilan anggota tubuh mengolah elemen-elemen fisikal untuk difungsikan serta memberi makna atau arti kepadanya (kadir, 1975). 2. aspek pengertian dari rasa bijak atau logika hati (istilah pascal), dan pikiran nonanalistik yang memberi respon terhadap hubungan elemen-elemen fiskal tersebut telah timbul kesenian yang menjadi salah satu kebutuhan hidup manusia yang universal. manusia, dalam kondisi alam lingkungan yang bagaimanapun, mampu menghasilkan kesenian, maka rupanya dalam hal ini berlaku prinsip “dengan pengorbanan untuk memperoleh kesenangan”. manusia dalam tindakannya akan selalu memilih pada alternatif yang menyenangkan. kesenangan ini bukan sekedar kesenangan dangkal dan rendah, tetapi kesenangan yang virtuas, yang mengandung tanggungjawab moral yang berasal dari fitrah manusia, dan itu adalah merupakan esensi seni sebagai karunia dari sang seniman maha agung. kesenian bisa dikatakan sebagai penghias kehidupan (adornment of live) yang idenya sebenarnya sudah ada sejak manusia belum mampu menyertakan bahkan menyadarinya. dalam al qur'an disebutkan : sesungguhnya kami menjadikan apa yang di bumi ialah untuk menjadi perhiasan baginya, karena kami hendak menguji siapakah diantara mereka yang paling baik pekerjaannya. (q.s al kahf: 7). maka jelas dalam ayat tersebut bahwa tuhan telah mengkaruniakan kepada manusia suatu ide keindahan dengan segala sarana untuk memanifestasikannya, tinggal bagaimana manusia (para seniman dan pendamba keindahan akan mewujudkannya). vol. 1 no. 2/september – desember 2000 71 harmonia : jurnal pengetahuan dan pemikiran seni dari kenyataan ini kiranya tidak terlalu gegabah apabila disimpulkan bahwa seni adalah sebagian dari meminjam pernyataan henry james, seorang kritikus dan pengarang amerika, tidak lebih adalah sebagai bayangan dari kemanusiaan. jadi, dimana ada manusia, maka disitu ada seni. setiap manusia memiliki fitrah kesenian dalam dirinya, hanya tidak setiap manusia mampu (berbakat) menyatakan fitrahnya itu, sebagaimana pula tidak setiap orang mampu menyatakan bahkan menyerap pengalamannya, apalagi pengalaman keindahan yang kemudian dinyatakan dalam karya seni sebagai suatu bentuk sensibility coordination atau sensibility structure. seni adalah merupakan suatu representasi dari arus kehidupan alam yang mengalir melalui kehidupan kemanusiaan, yang membentuk suatu fenomena ornamental yang memiiki berbagai fungsi dengan sifatsifatnya, yaitu aktif konstruktif dan fisis, pasif-idealistis dan spiritual serta tehnis-mekanis dan praktis. pada hakekatnya ide kesenian timbul atas dasar kecenderungan pada manusia untuk bercinta dengan alam. maka dari itu, karya-karya seni adalah merupakan ungkapan-ungkapan sebagai penjelmaan dari rasa cinta tersebut (gazalba, 1967). oleh conrad fiedler dikatakan bahwa seni adalah berjuang untuk mengekspresikan hubungan manusia dengan alam semesta. alam, dengan segala materialnya (termasuk jasad manusia), telah menyelenggarakan berbagai sarana bagi pencetusan ide-ide kesenian sebagai bentuk ekspresi spiritual. dengan demikian, suatu hasil karya seni adalah merupakan ide yang dinyatakan oleh suatu creative power dari dalam diri seniman yang ditunjang oleh penguasaan teknik dalam mengolah material. alam beserta isinya, terutama manusia dengan segala eksistensinya adalah merupakan manifestasi dari kodrat atau takdir, yang berarti kehendak, kekuatan atau kekuasaan tuhan, yang berarti pula suatu rencana yang telah ditentukan oleh tuhan pada masa azali, yaitu berupa kepastian tuhan yang merupakan hukum tuhan yang tak berubahubah. jadi dengan demikian, seni sebagai pernyataan dari hubungan antara manusia dengan alam adalah merupakan pancaran dari kodrat juga. inspirasi yang telah memberikan ide bagi seni, mempunyai arti sebagai pemberian dan pimpinan atau pernyataan tuhan terhadap manusia. maka olehs ebab itu, ungkapan dari kehendak kodrat tersebut adalah merupakan aktifitas kemampuan manusia dalam kesatuannya dengan alams ebagai pancaran dari ke vol. 1 no. 2/september – desember 2000 72 harmonia : jurnal pengetahuan dan pemikiran seni kuatan yang azasi. manusia memiliki fungsi yang mutlak sebagai faktor yang menyatakans eni. jadi, seni sebagai fitrah kehidupan kemanusiaan adalah merupakan suatu kelengkapaan dariidentitas manusia yang sempurna. demikianlah kiranya dapat diambil pengertian bahwa seni adalah suatu pengejawantahan atau pernyataan yang bersifat pasti dari suatu kekuasaan atau kekuatan yang azasi, yang mengalir dan memncar melalui kehidupan manusia, merupakan pancaran dari kekuatan yang manusiawi atau berciri kemanusiaan.dengan kata lain seni bisa disebut sebagai manifestasi kemanusiaan yang kodrati. e. penutup ada suatu ajaran agama bahw amniru ciptaan tuhan adalah dosa, karena hal itu dianggap menandingi kekuasaan tuhan . melukiskan makhluk hidup, menirukan suara dari alam, memerankan ornag lain, apalagi menggambarkan watak manusia, itu semua bisa dianggap sebagai perbuatan dosa. penafsiran demikian memang tidak salah, namun tentu saja tidak ditujukan bagi seniman yang beriman, relevansinya adalah dengan seniman kafir pada jaman jahiliyah. bagi seniman yang ber-ketuhanan yang maha esa, perbuatan meniru ciptaan-nya adalah justru merupakan ungkapan pujian, ungkapan rasa syukur dan rasa kagum. berarti disini terkandung suatu kehendak untuk mengangungkan nama-nya dan meyakini keakrabannya. seni adalah kodrat tuhan. dengan demikian, maka seni tentu akan mwujudkan ide ketuhanan pula, kalau tidak demikian maka jelas itu bukan seni tetapi te-ror. itulah, maka seni yang sesungguhnya adalah seni yang bermoral, yang mengandung pesan-pesan dari sponsor, yaitu sang kreator maha agung sebagai sumber dari segala sumber keindahan. daftar pustaka al-gazali, 1961. ilmu jiwa, seri paedagogik no.1. bandung-djakarta : ganaco n.v. dewantara, ki hajar, 1967. kebudayaan bagian iia, jogyakarta l madjelis luhur persatuan taman siswa. drijarkara sj, m. 1966. pertjikan filsafat. jakarta : pt. pembangunan vol. 1 no. 2/september – desember 2000 73 harmonia : jurnal pengetahuan dan pemikiran seni gazalba sidi. 1969. islam integrasi ilmu dan kebudayaan, djakarta : tintamas. iskandar, popo, “seni rupa dan apresiasi masyarakat”, budaja, 6/7/8. djuni/djuli /agustus 1961. tahun ke-10. kadir, abdul, 1975. pengantar aesthetica. 1975. yogyakarta : stsri asri. poedjawijatna, ir. 1970. manusia dengan alamnya. djakarta : obor. read, herbert, 1973, pengertian seni bagian ii dan iv diterjemahkan oleh soedarso sp., yogyakarta : stsri asri. sastroamidjojo, a. seno. 1959. hakekat hidup. seminar kebathinan indonesia ke-1. djakarta 1959. vol. 1 no. 2/september – desember 2000 74 387 minang women’s music in matrilineal kinship: revealing the boundaries of ethics and performance aesthetics wilma sriwulan, irwan irwan, selvi kasman, yon hendri, erizal erizal institut seni indonesia padang panjang, indonesia submitted: 2022-08-15. revised: 2023-04-07. accepted: 2023-08-08 abstract this research aims to reveal minang women’s music to find a common thread perspective on minangkabau matrilineal women. the method used in this research is a women’s perspective research method (feminist perspective). this method produces a very distinctive report, which is obtained from data through feminist ethnography, which is a report on the results of field research. the findings are that women’s music based on adat salingka nagari is a women’s music that blends with adat (tradition) and provides an opportunity to actualize themselves in the societies; as a result of being a anak dendang they get more than enough benefits and as family breadwinners. keywords: women music; matrilineal kinship; performance; minang; minangkabau how to cite: sriwulan, w., irwan, i., kasman, s., hendri, y., & erizal, e. (2023). minang women’s music in matrilineal kinship: revealing the boundaries of ethics and performance aesthetics. harmonia: journal of arts research and education, 23(2), 387-395 harmonia: journal of arts research and education 23 (2) (2023), 387-395 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.38229 minang women. some of the music is part of the custom, and some are outside the custom. some kinds of music are part of the custom, some are integrated with custom, some only function as traditional celebrants, and some are completely outside the tradition. women’s music which is part of the tradition is often used in connection with certain traditional ceremonies or rites, meaning that it becomes a means for a traditional ceremony (ritual). among them are talempong bundo in singkarak (sriwulan et al., 2014), lesung alu katentong in sungai tarab (indrawan et al., 2018), etc. in addition, there is women’s music that functions as traditional celebrants, including talempong uwaik-uwaik in maninjau, talempong sikatuntuang in payakumbuh, talempong gandang lasuang in padang pariaman (indrawan et al., 2018; susandrajaintroduction matrilineal is the first kinship system in the world which, until 1961 was still followed by 15% of the world’s ethnic population, and the minangkabau society is one of the largest matrilineal societies in the world (kato, 1978; stark, 2013). yangsen et al. (2021) explain that minangkabau society is unique and distinctive because the principle of matrilineal descent that it adheres to differs from other ethnic groups in indonesia. that is, the descent is based on the maternal (women) line, therefore minangkabau women have their position and role in the customs developed by their society. in minangkabau’s matrilineal society, various forms of women’s music have developed, namely music played by corresponding author: e-mail: sriwulanwilma64@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (2) (2023): 387-395388 ya et al., 2018), etc. women’s music that is completely out of custom is the presence of minang women in saluang dendang performances and the jungle of minang pop music (sukmawati, 2008). in addition, in the 1960s, women appeared as anak dendang in the bagurau saluang performance in the pagurauan arena. the show is held at night, known as bagurau samalam suntuk (rustim & simatupang, 2019). the emergence of this “anak dendang” is not easy, because it raises pros and cons from both the surrounding society. their appearance is considered to embarrass society, especially to humiliate “mamak” as mother’s brother in charge of guiding “kamanakan.” from the societal side, their role as anak dendang is considered despicable, considered bad women, bitches, therefore, they always get gossip from society (hajizar, 2009). in the 1990s, with the increasingly professional ability of anak dendang, his presence in the performing arts world began to be noticed by producers. then came the minang pop songs that departed from dendang, including dendang cadets, which are new songs sung by professional artists and singers (suryadi, 2005; hajizar, 2009). until now, the presence of women in minang pop music has become a separate part of society’s entertainment. in terms of performance ethics and aesthetics, the issues to be investigated include the dialectic between women’s music in minangkabau, which is integrated with tradition, with women’s music as traditional performers, as well as women’s music outside of tradition, such as the presence of anak dendang and minang pop singers. the dialectic between ethics and performance aesthetics is also an integral part of this research/findings because as part of the minangkabau society, which has a view of life-based on the adat basandi syarak, syarak basandi kitabullah (abssbk)”, minang women as musicians visually in their performances the show should be obedient to their way of life. the results of this dialectic are expected to find a common thread perspective on minangkabau matrilineal women. method this research uses a feminist ethnographic method (mamangan et al., 2018). feminist ethnography is based on the researcher’s active involvement in producing social knowledge through direct participation in experiencing the social reality that she wants to understand (davis & craven, 2022). researchers must also understand the social reality of women as previously invisible actors in sociological research (reinharz, 1993). feminist field research gave birth to basic concepts that lead to new theories where the population of the research was several pendendang of lapiak gurau in payakumbuh and agam. the research sample is women musicians who are in the area of traditional music, children of dendang, and anak dendang, who are transformed into minang pop songs. the presentation of data and information is the result of an analysis that discusses women’s music in the categories of women’s music that is part of tradition (which is integrated with tradition, and traditional celebrants), women’s music whose presence is outside of tradition (such as the appearance of anak dendang) and minang pop singer). these women’s music was researched and seen during the process of each performance, both before—during— and after the performance. then, ethically and aesthetically, the minang women’s music is revealed to find a common thread perspective on minangkabau matrilineal women. in feminist ethnography, the social and cultural form of the society is considered to be the arrangement in the minds of the members of the society. so the task of researchers is to pry it out of their minds (spradley, 1997). this ethnographic method produces a unique report, which is obtained from the data through the following stages: 1) initial study; 2) problem analysis; 3) material object information; 4) field observations; 5) documentation; 6) interview; 7) data analysis; 8) data presentation; 9) wilma sriwulan et al., minang women’s music in matrilineal kinship: revealing the 389 drafting; and 9) reports. result and discussion minang women in the ideal concept of matrilineal minangkabau society positions women as glorified figures (revita et al., 2018). this perception is based on the mythological background that the legendary minangkabau leader in the past was a woman called bundo kanduang. all decisions in the social life of the minangkabau society are under the stylization of bundo kanduang. after the period of the legend of under stylization of bundo kanduang, the authority of bundo kanduang is still inherited in the leadership structure of the tribes in minangkabau villages (nagari-nagari). each penghulu with a rumah gadang has a bundo kanduang who also has an incarnation of authority as in the period of the bundo kanduang legend. his role is so big that the figure of bundo kanduang is described in an expression that reads as follows (hajizar, 2009) in the minangkabau dialect. nan gadang basa batuah limpapeh rumah dan gadang sumarak di dalam nagari hiasan dalam kampuang amban puruik pegangan kunci amban puruik aluang bunian, kok hiduik tampek banaza jikok mati tampek baniat ka pai tampek batanyo ka pulang tampek babarito jadi palinduang wakatu paneh ka unduang-unduang ka tanah suci ka payuang panji ka sarugo. based on the minangkabau traditional tambo, bundo kanduang is the nickname given to the woman who leads the minangkabau kingdom both as queen and as the mother of the king (the queen mother), where this title is passed down from generation to generation (abdullah, 1970). zubir & rismadona (2014) stated that this title was first given to dara jingga, a daughter of a minangkabau king who married a singosari royal noble from java, but this opinion does not have strong evidence. minang women in matrilineal kinship penghulu (2001) explained that what is meant by parampuan according to minangkabau tradition is a woman, both a girl and a mother or wife, who always has commendable traits according to tradition, equipped with all skills and knowledge according to the abilities of a woman. his role is so great that the figure of bundo kanduang is described in a traditional expression which reads (table 1) as follows (in the minangkabau dialect): by her nature, the woman figure as bundo kanduang plays a very important role in social life and is the main source for the fertile life of a character in society. he has a very important role besides men in the success of development in all fields, especially in the mental development of society. thus, minang women are expected to be women who have good character, polite behavior, and wear shame in themselves. donate or be jangga (odd) for the society if you see a woman doing the things in the “sumbangan duo baleh” above because if it is done, it will certainly bring shame to the woman, her tribe, and her society. therefore, every minang woman who stays away from these discordant behaviors can be called a civilized woman who maintains her manners as a woman. women’s music based on adat salingka nagari the concept of adat salingka nagari automatically affects the cultural concept of the nagari society itself which is realized in the concept and existence of a type of art that exists in the nagari. the principle of the relationship between the geographies of a nagari and the cultural products of the nagari society later developed into an expression (adat salingka nagari; takaran salingkar bambu; lain padang lain belalang; lain lubuk lain ikannyo). this expression means that in a nagari society there are specific characteristics of socio-cultural products and their art forms, which are different from other nagari societies in miharmonia: journal of arts research and education 23 (2) (2023): 387-395390 table 1. the meaning of bundo kanduang in minangkabau bundo kanduang meaning nan gadang basa batuah the great big (batuah): gadang means people who are elders and become role models basa means to be a leader and regulator in his tribe batuah means as a wise person limpapeh rumah dan gadang become a compliment in rumah gadang: women are pillars in rumah gadang (main pillar rumah gadang. move freely within the family to nurture) limpapeh it means tonggak tuo which is located in the middle rumah gadang. if the tonggak tuo is solid, the house is safe, but if it wobbles or is not strong enough, it will collapse. in line with what is contained in the prophet’s hadith, it means that women are the pillars of the state, good women, good women, damaged countries, damaged women, and the state. sumarak dalam nagari,hiasan dalam kampuang lively and ornate inside nagari: become a marwah village (nagari), make the country lively and become a decoration of “katagak nagari mamaga nagari” kok hiduik tampek banaza jikok mati tampek baniat when life is a place of vows if you die, where do you intend? kok hiduik tampek bernazar (his life is the source of all desires) kok mati tampek baniaik (his death became the source of all intentions) amban puruik pegangan kunci amban puruik aluang bunian key holder power center heirloom holder given the trust and authority to hold the key to the rangkiang (sako jo pusako) sako; the ownership of the people who are inherited by the mother’s lineage/title. ka pai tampek batanyo ka pulang tampek babarito where to ask when going a place to deliver news when you’re back women are the direction setters/advisors, women are the upstream and the estuary of their people’s problems jadi palinduang wakatu paneh to be a protector from the hot sun a strong woman who becomes a protector in any problem that plagues her family ka unduang-unduang ka tanah suci (madinah) ka payuang panji ka sarugo. as a guide to the holy land (mecca and medina) as an umbrella to go to heaven women become protectors, supervisors and determinants in this world and the hereafter. ka undangundang ka madinah (to be a refuge to medina). ka payuang panji ka sarugo (become a big umbrella to heaven) nangkabau. about women, it turns out that the presence of women in the performing arts of music is still very dominant in the nagari in minangkabau. the performing art forms are categorized into three, namely: 1) there is women’s music that blends with tradition; 2) there are those who celebrate tradition; and 3) there is also the presence of music outside of tradition. women’s music that blends with tradition means that women’s music is part of the traditional procession. therefore, tradition cannot be carried out without the presence of women’s music. the women’s music includes talempong bundo in singkarak, as shown in figure 1. talempong bundo, is a term for talempong music played by a group of women musicians in the minangkabau village of singkarak. this music game is only performed in the maanta padi saratuih ceremony, namely the harvest offering ceremony performed by the women of the induak bako wilma sriwulan et al., minang women’s music in matrilineal kinship: revealing the 391 (father’s sisters) in a series of marriage traditions of anak pisangnya (child of a brother). figure 1. talempong bundo in the maanta padi saratuih ceremony in singkarak. meanwhile, lesung alu katentong is a lesung music performance played by a group of women musicians in the sungai tarab (figure 2). this lesung music can only be played in several traditional activities such as the appointment of the penghulu, death of the penghulu, and wedding parties (sriwulan, 2014) which can be seen in figure 2. figure 2. lesung alu katentong in sungai tarab the second type of music used to celebrate tradition is also found in different villages. this type of music consists of 1) talempong uwaik-uwaik in maninjau (aliman, 2017); 2) talempong sikatuntuang in payakumbuh; and 3) talempong gandang lasuang in padang pariaman (indrawan et al., 2018; susandrajaya et al., 2018) which can be seen in figure 3. these women musicians’ three forms of musical performances function as traditional celebrants. in preparing for the wedding of a man or a woman, mothers will cook until the evening at the homes of the two prospective brides. for the mothers not to be bored, talempong uwaik-uwaik was played by another group of mothers to liven up the atmosphere of the evening. the sound of talempong music will make mothers happy, dance, and dance; they take kitchen utensils such as spoons, glasses, and plates and ring them with various beats so that it adds to the boisterous game of talempong uwaik-uwaik. 1 2 3 figure 3. 1) talempong uwaik-uwaik in maninjau; 2) talempong sikatuntuang in payakumbuh; and 3) talempong gandang lasuang in padang pariaman the first and second types of women’s music do not cause problems in the community. because its presence is related to the implementation of rituals and traditional ceremonies. so that since its appearance, which is said to coincide with the birth of minangkabau traditions in the past, the performing arts are still used and continue to function while supporting communities to this day. thus, the third type of music emerged, related to the presence of women in bagurau saluang performances and minang pop songs. to discuss this third type of music, it is necessary to look at the minangkabau atmosphere from the entry of islam until the 1960s. the entry of islam to minangkabau in the 13th century has, of course, changed the way of life of the minang society (dobbin, 1977). the matrilineal minang society combined with the patrilineal islam that came later. this condition is carried out continuously by the minangkabau community, even today. then came the figure of bundo kanduang, who led the pagaruyung kingdom, harmonia: journal of arts research and education 23 (2) (2023): 387-395392 and made minangkabau customs the basis for society’s lives (elfira, 2007). the figure of a wise and highly respected woman makes minangkabau custom sustainable to this day. the ethical view of bundo kanduang as a wise women leader continues to emerge in the lives of minangkabau women to this day. bundo kanduang glory also affected all minangkabau women. this reflection then resulted in minang women not being allowed to channel their artistic talents to be enjoyed by the public, except in the rumah gadang belonging to the tribe belonging to their society. when, in 1960, a woman dancer (anak dendang) appeared in the pagurauan arena, she was challenged and criticized by her mother, who was considered to have embarrassed her people, especially by humiliating mamak as the mother’s brother, who had the main responsibility for guiding her nephew. their role as anak dendang is considered despicable, they are considered as women who are not good, bitches, therefore they always get negative views from society. working as a singer is considered a despicable and shameful job, and they are even considered prostitutes, because they always go out late at night and come home early, and this embarrasses the villagers. apart from that, the performing art of bagurau saluang which is familiarly called bagurau is a male life that lasts all night (figure 5). anak dendang secretly still go to the neighboring villages, because from the results of being the anak dendang they get more than enough profit. so that over time the presence of anak dendang with dendang in the pagurauan world can be accepted by the society. in the end, mamak couldn’t talk anymore, because they came home with a profit so they could change the family’s economy. anak dendang began to expand the stage for their performances, they had begun to dare to play on storefronts in banto market, bukittinggi city, padang panjang city, and payakumbuh city. but in the 1990s, their performance space was growing and changing, so they were invited to perform from house to house. producers began noticing their presence in the performing arts world with the emergence of professional women singers in the 1990s. then came the pop songs of minang with the genre of cadets, such as new works of songs sung by artists and professional singers, mis ramolai, melati, (or asben). their songs are enjoyed by people who have a passion for the saluang darek tradition. from the other side, it can be seen that there was a transformation from dendang darek, which was initially accompanied by saluang musical instruments, into minang pop music accompanied by western musical instruments, single organ, or musical arrangements that were processed in the recording studio. one of the transformation processes is when the sometimes non-diatonic, free rhythm dendang melodies are transformed into minang pop songs that have a diatonic scale background using rhythm. as for the lyrics, some are taken from the traditional dance itself, and some are only the dendang concept that is adopted. of course, minang pop songs called “dendang taruna” are enjoyed by connoisseurs who have fun with saluang darek dance. dialectic of minang women as artists if we examine the historiography according to falma & aziz (2021) of the presence of women in minang musical performances, then from previous studies as previously explained, it is found that talempong bundo, lesung alu katentong (music performances that are part of the tradition); talempong uwaik-uwaik, talempong sikatuntuang, talempong gandang lasuang (music performances that function as traditional celebrants), and the presence of women as singers in bagurau saluang performances and the jungles of minang pop music (as music performances that are outside of tradition). talempong bundo and lesung alu katentong are musical performances that are said to have been born since the minangkabau tradition exists. the bundo kanduang heirs of this musical show are generally elderly, all of wilma sriwulan et al., minang women’s music in matrilineal kinship: revealing the 393 whom are around 50 – 70 years old on average. however, society still needs them as musicians in every traditional ceremony that requires them; likewise, minang women as players for talempong uwaik-uwaik, talempong sikatuntuang, talempong gandang lasuang. these women spend days preparing the banquet for the traditional feast. to avoid falling asleep, they play their music as entertainment for themselves and those who work to prepare for the party. the presence of women in the two musical performance groups above differs from that of women in bagurau saluang. because bagurau saluang is a music show that is held at night and at that time it was considered taboo for women to leave the house. moreover, as a performing art that is a public spectacle, these women show their bodies in front of many people when the performance is held. their presence from the 1960s to the 1070s was considered to violate customary rules for women. even above all, they are women with high artistic talent and want to be allowed to actualize themselves in society. in the writing of sukmawati (2008), as narrated above, she is a woman singer in the arena of jokes, which later received criticism and challenges from her mother. the women dancer (anak dendang) continues to sing in neighboring villages because from the results of being an anak dendang they get more than enough benefits. on the other hand, from the results of field research for months following the journey (anak dendang) and coupled with notes collected from various previous studies, it can be seen how these women struggle to earn a living to meet the needs of their families. most of them reflect on themselves that they are the main figure as the breadwinner of the family because most of them “fail” in fostering their household. therefore they struggle by going out at night and coming home the next morning to sing songs to support their father, mother, and children. every day, they live on two stages: the family stage as a domestic space and the performance stage as a public space. when in the domestic space, she is a mother who has to care for, educate and raise her children daily. but when he is in public, he must dress up beautifully, and strive to be the best singer to make as much money as possible. with a beautiful voice, attractive rhymes, and beautiful make-up, she sits in front of joking boys from 21.00 wib in the evening to represent herself as a dang child. he’d be home before the call to prayer for fajr sounded, and he’d be home maybe an hour or two later. when he got home, he had only slept for a while and had to get up again to prepare breakfast for his children who were going to school. every day, the children of the dance have to make crossings between the two spaces, from the domestic space to the public space, from a housewife with all her quirks to becoming a singing child with all her professionalism. he never thought about being tired because as a single parent, mother, and father to his children, he thought about how to get his children to eat every day. the crossing of the two spaces can be seen as the struggle of the women of singing children in their lives. the crossings were carried out by the singing children continuously, from day to day, from night to night, without having time to talk about being tired, about being tired and being tired. what they are thinking at this time is when the community has begun to accept them in public spaces so that they can contribute to an atmosphere that is already comfortable to work in. metaphorically, they are women who are constructed in a matrilineal and patrilineal minang culture. when narrating the lives of minang women who are performers of the arts, when she is on the stage, she uses extradaily bodily techniques, which are bodily techniques that are different from her daily life. if daily bodily techniques are built on the principle of efficiency, then bodily techniques in performances are not the case (clark & tamplin, 2016). the bodily techniques built into art aim to cultivate enchantment. this charming technique harmonia: journal of arts research and education 23 (2) (2023): 387-395394 has a kind of aura, and this aura radiates from the object of art and the performer of the art (ahlers, 2016). conclusions the presence of women as (children) is under the shadow of matrilineal culture. there has been a change in its development, and these women are given the freedom to appear in musical performances. currently, what can be seen, minang women as players (anak dendang, talempong bundo, lesung alu katentong, talempong uwaik-uwaik) are cultural heirs who donate their lives to traditional arts, keeping traditional arts alive. on the other hand, the women who broke into the minangkabau conservative can be seen again. hoerijah adam, et al and their students raimah, syofyani, and gusmiati suid in the field of dance, represent a symbol of the shift in the social concept of minangkabau society life at that time. in terms of dress etiquette, the minang singers are already wearing muslim clothes (hijab). meanwhile, from the performance etiquette of the female dancers, when they are on the stage for a polite sitting performance, they use pillows that are placed on their thighs, and when singing, their heads look down, and of course, their eyes look down. references abdullah, t. 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(2021). the shift of character and role of minangkabau women in novel perempuan batih by ar rizal. els journal on interdisciplinary studies in humanities, 4(3), 283290. zubir, z., & rismadona, r. (2014). sumpur kudus dalam perjalanan sejarah minangkabau tahun 1942-1965. balai pelestarian nilai budaya (bpnb) padang, direktorat jenderal kebudayaan, kementerian pendidikan dan kebudayaan. 241 teak trees as source of inspiration for developing batik motifs mulyanto, lili hartono, endri sintiana murni, endang sri handayani, desy nurcahyanti universitas sebelas maret, indonesia submitted: 2022-07-26. revised: 2022-10-19. accepted: 2022-11-02 abstract many batik motifs have been developed in various regions, inspired by various local resources such as plants, animals, regional icons, cultural arts, etc. the objective of this study is to look for ideas in the form of teak leaves and flowers that can be developed into batik and textile motif designs. the descriptive qualitative, literature review, participatory follow-up study, focus group discussion method, and the development of craftsman creativity were all used to achieve these goals. the study took place at the jalidin batik craft shop in sragen. teak plant objects, motif designers, batik craftsmen, and libraries were among the data sources. the findings of the study were the motifs in the form of teak leaves and flowers, which could be used as master designs for both batik and textiles. then the shape of the teak leaves and flowers are arranged in various compositions to produce several designs, and the batik motif designs are applied to jarit-patterned batik, long-sleeved shirt-patterned batik, and textile/printed batik. the resulting motifs were then produced into batik according to the economic class projections of the consumers, namely the consumer’s economic class projections, using prima and primissima cloths, combination and writing techniques, synthetic and natural dyes, and synthetic and natural dyes. in addition, the motifs were produced into printed textiles/batik. batik cloths and textiles that have been produced are then made into shirts. keywords: teak leaves, teak flowers, motifs, batik, textiles how to cite: mulyanto, hartono, l., murni, e. s., handayani, e. s., & nurcahyanti, d. (2022). teak trees as source of inspiration for developing batik motifs. harmonia: journal of arts research and education, 22(2), 241-253 harmonia: journal of arts research and education 22 (2) (2022), 241-253 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i2.37874 and the wiji mukti motif (salma, 2015). in sleman, the superior salak (salacca) product is used as a source of inspiration for sleman batik motif designs (salma, 2012). in ponorogo, the art of reog was explored as a source of inspiration for developing regionally specific batik motifs such as reog, kendang-kempul, and kuda lumping (hartono, 2020). archaeological sites in sragen were probed as a source of inspiration for developing batik motifs such as elephants, bones, etc. (mulyanto, 2018). the pelung chicken, an endemic aniintroduction many studies on the development of batik motifs have been conducted, with ideas drawn from various superior potentials in the local area. in lamongan regency, for example, batik motifs were developed based on ideas from local potentials such as “milkfish, catfish, and crabs.” (rohmaya, 2016). from cocoa plantations in jember arose the coffee uwoh batik motif, the coffee godong motif, the ceplok cocoa motif, the cocoa king motif, the blue cocoa motif, corresponding author: e-mail: mulyanto@staff.uns.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (2) (2022): 241-253242 mal and society pride in cianjur, west java province, was chosen as a source of inspiration for the gentur lamp design (gumulya, 2018). in garut, the theme of indonesia trend forecasting 2016-2017 can be a source of ideas for developing motif designs and color compositions of ikat cloths that are adapted to local wisdom, namely local culture in the form of ukel inspired by the jaipong dance movement and wayang golek puppet accessories. in addition, it contains virology themes with the direction of biopop and refugium-themed color composition (makki, at. al., 2017). the girilayu batik motif, named after a village in karanganyar, central java, is influenced by its people’s socio-cultural environment and the culture of the mangkunegaran palace. trees, plants, mountains, hills, forests, surrounding objects, and daily activities are all ideas that can be seen in the visualization of batik motif designs. social interaction that is still maintained based on societal values and norms is a phenomenon that craftsmen have captured as a new design motif (nurcahyani, 2021). the girilayu batik motif design’s development work is visualized in various clothing designs by designers tuty adib and djongko raharjo (sachari, 200). not only the development of batik motifs, the development of batik clothing products in yogya is also carried out with the concepts of indonesian folklore, legends and myths (setiawan, 2015). syamwil emphasized the importance of developing motifs reflecting the fauna and flora of the surrounding environment to preserve batik (syamwil, 2018). therefore, conservation batik motifs can be derived from what is contained in nature, such as trees, plants, flowers, fruits, or animals (syamwil, 2019). tamarind fruit, a typical plant closely related to the toponym of the city of semarang, is a source of ideas for creating locality-based batik motifs. the visualization of the shape of the tamarind batik motif produced shows the diversity and uniqueness of the form as an aesthetic expression of the batik craftsmen in responding to the beauty of the natural and socio-cultural environment in the city of semarang. (syakir, at.al., 2022). likewise, the uniqueness of the physical buildings of regional icons has also become a trend for creating indonesian batik today (ismia, at. al, 2021; sugiarto, at. al, 2020). batik craftsmen in coastal areas, where most of the population earn from the fisheries sector and live in coastal environments, tend to develop marine-themed motifs and bright color patterns symmetrical to the character of open communities (septiana, 2013). batik is a human-made product that involves a lengthy process that begins with sketching the motif pattern and ends with the mbabar or coloring process (honggopuro, 2002). batik is a piece of wastra or cloth made traditionally and specially used in traditional matra; various decorative patterns of certain batik are made using a barrier dyeing technique with malam “batik wax” as a color barrier material (riyanto, 2002). thus, a wastra can be categorized as batik if it contains two main elements: the barrier dyeing technique, which uses wax as a color barrier, and various batik-specific decorative patterns (doellah, 2002). thus, the batik motif is a picture frame on batik that combines lines, fields, and isen-isen into a single unit that embodies batik as a whole. batik motifs are classified into four types based on their arrangement and shape: (1) geometric motifs, which include banji, ceplok, ganggong, woven, machete, and slope motifs. (2) cement motifs, such as plant motifs, plant and animal combinations, and plant, animal, and winged beast motifs. (3) buketan motifs, and (4) modern motifs (susanto, 1980 and patria, 2016). batik motifs can also be characterized as machete, geometric, or banji motifs, and creeping plants, aquatic plants, flowers, or animals in their natural environment (hamzuri, 1981). based on their shape, batik motifs can be divided into geometric, ceplok, machete, slope, nongeometric, lung-lungan, buketan, and fringe patterns (doellah, 2002). one example that mulyanto et al., teak trees as source of inspiration for developing batik motifs 243 includes the fried rice motif is the kawung motif (sarwono, 2005). pattern design development design development, in general, and efforts to develop a motif based on the idea of teak leaves and flowers must pay attention to the elements and principles of fine art. points, lines, planes, shapes, and colors are the elements of art. the smallest basic element of art is the point. dots are the source of all forms. if the dots are organized or of different colors, they can also be the center of attention. dots are used as an accentuation in the form of stuffing or isenisen motifs, whose function is to beautify the motif in the development of the design of the teak leaf and flower motifs. dots, the smallest visual element in batik, become an element that can beautify the whole motif. lines are strokes or borders that define an object, space, field, color, texture, etc. lines have elongated dimensions and point in a specific direction. lines can be short, long, straight, thin, vertical, horizontal, curved, wavy, smooth, thick, slanted, broken, and so forth. another impression of the line is that it can convey motion, ideas, symbols, and specific codes. the use of lines in the design of batik motifs is used to achieve a specific impression, such as the impression of being sturdy, strong, simple, majestic. the lines used in the application of batik motif designs are in the form of klowongan motifs as well as small lines for filling the motifs. some examples of line expression symbols and the impression they create, as well as how they are used and how they are adjusted to the colors. a field is one of the art elements formed by the interaction of several lines. a plane is two-dimensional, has a size, and is confined by a contour. triangles, quadrilaterals, trapezoids, circles, ovals, and other polygons are the basic fields in fine arts. rhombus fields or fields between lines filled with motifs can be used in the application of batik motif designs.. shape can refer to either a physical or a plastic shape. shape refers to the appearance of an object, such as round, square, ornamental, irregular, and so on. the plastic form, on the other hand, is the shape of an object that can be seen and felt due to the object’s value. by deforming the overall shapes of the leaves as well as the fibers of leaves, flowers, twigs, and so on, the shape in the design of batik motifs with elements of teak leaves and flowers can be realized. color is the visual impression created by light refraction in the eye. colors derived from synthetic substances and/or natural dyes are used to embody typical ornaments of batik motifs. natural batik dyes produce soft colors, while synthetic batik dyes produce bright colors. furthermore, as with any product design plan, there are seven aspects to consider when developing a batik motif design. (1) functional aspects, i.e., analyzing and projecting every solution to an industrial product’s problem as feasible/appropriate so that it can be useful to the user. (2) in every planning activity, technical aspects include analyzing and considering strength, precision, appropriate technology, material selection, technical specifications, component standards, and other planning assumptions. (3) ergonomics aspects include analyzing and adjusting for anthropometric standards, safety, comfort, and human physiology. (4) economic aspects, such as analyzing and considering every plan in terms of efficiency, effectiveness, and other economic principles so that each product can adapt to changing conditions. (5) environmental considerations, such as assessing each product’s resource usage responsibly and taking into account a wide range of environmental impact factors. (6) socio-cultural aspects involve taking into account and adapting each product plan to the existing socio-cultural conditions, as well as being able to adapt to the dynamics of the cultural environment life. (7) visual/ aesthetic aspects, namely considering and attempting to improve a product’s visual quality based on its usability and function (prasetyowibowo, 1998). according to clipson (rizali, 2006), four activities must be considered in the textile design process: problem identificaharmonia: journal of arts research and education 22 (2) (2022): 241-253244 tion, production planning analysis, creative process, and production process. the first step is to identify the problem, which entails formulating a design problem that will be developed to meet consumer requirements. second, production planning analysis must consider potential factors such as market share, target share, competition with other producers, potential consumer attitudes and behavior, consumer purchasing power, and symptoms of fashion trends. meanwhile, it must consider the environment, which encompasses the social, cultural, economic, and technological environments. third, there is the creative process, which entails coming up with an initial concept for a design and then incorporating several creative aspects, such as product function, aesthetics, raw materials, process technology, and fashion, into the design. fourth is the production process, which includes product testing on a small scale before moving on to mass production if the test results are satisfactory. the process of creating a work of art begins with the formulation of the background of creation, which is based on empirical experience and field observations, and then the data is processed to produce a creative idea based on the reasons, objectives, and benefits of creation that are formulated in the background of creation. after achieving the background of creation, the formulation of the creative problem, namely how to turn ideas into works and results. following that, deciding on the theoretical approach to take. the formulation of the problem of creation and the theoretical approach chosen can be used to formulate the concept of creation. the developed concept of creation incorporates the concepts of content and form, i.e., the visual aspect of the work to be created. when developing the concept of the type of work, consider the research of reference data. following that, a sketch of the work is produced (gustami, 2008). following the concepts of content and form, the final stage in the creation of a work of art is the process of embodiment, which involves implementing the concepts that have been poured into the work’s visual aspects. the basic principles of art, such as rhythm, unity, dominance, balance, proportion, simplicity, and clarity, are used to arrange visual works based on aesthetic theory. the main objective of this paper is to use teak leaves and flowers as a source of inspiration for developing motif sanggit designs for batik and textile products, as described above. method this study was conducted at the jalidin batik craft business in pilang village, masaran district, sragen regency, central java province, in 2021. jalidin batik craft business produces batik using a variety of techniques, including writing techniques, color printing, and writing techniques, and a combination of wax printing and writing techniques. this business also receives services for producing batik motif designs, coloring batik, making batik color dough, and making printed wax dough. informants, events, and documents are examples of research data sources. informants include batik entrepreneurs, motif designers, batik artisans, printers, and color artisans. the events cover the process of designing motifs and producing batik in the batik business, as well as all of the facilities used for these activities. additionally, the data source used is in the form of documents about teak trees. this study used descriptive qualitative methods, literature reviews, and participatory action research. descriptive qualitative and literature studies were used to determine the source of teak tree ideas, specifically the relevant teak leaves and flowers as outlined in batik/textile motifs. participatory action study produces motif designs, makes motifs into batik, and turns batik into sanggit clothes. this batik/textile motif design was created using both a participatory and an independent learning approach (mudjiman, 2012). the development of motif demulyanto et al., teak trees as source of inspiration for developing batik motifs 245 signs is carried out by actively involving craftsmen such as batik entrepreneurs, motif designers, batik artisans, printers, and colorists, beginning with the process of selecting the source of ideas, creation, and embodiment. there is an active discussion between researchers and craftsmen in each process, so it is hoped that they will be able to understand the problems encountered in the development of new motif designs at each stage and find the best solution to the problem. in addition, a creativity development approach is used for the craftsmen in the development of motif designs and batik making, in which the craftsmen are given both psychological freedom and psychological security (kaufman, 2007). the written technique batik with natural dyes, batik with a combination of wax printing techniques, and writing techniques with synthetic dyes were all developed from this teak leaf and flower motif design. in this study, the development of motif designs refers to four activities in the textile design process: problem identification, production planning analysis, creative processes, and production processes (rizali, 2006). results and discussion teak leaves and flowers as inspiration for motif design the teak tree (tectona grandis) has several parts, including roots, stems, twigs, leaves, and flowers (figure 1). the cambium and year rings are visible when the teak tree trunk is cut transversely (figure 1). the elements of the teak tree are extremely beneficial to people’s lives. among the elements of the teak tree used in the creation of batik motifs, the elements of leaves and flowers were chosen as the source of ideas in the creation of batik motifs. this is motivated by the fact that the two elements are contained in batik craft elements (dots, lines, dimensions) and are flexible, beautiful, and light. leaves and flowers are used as teak tree representations because they have a strong visual character in shaping the beholder’s perception, allowing them to be easily identified as teak trees. teak leaves are oval in shape, with leaf fibers running from the base to the tip of the leaf and leaf fibers on the right and left sides of the middle fiber. the shape of the teak leaves varies from the bottom of the large twig to the top, which becomes smaller as it grows smaller. similarly, the color of the leaves varies from dark green to light green and finally to slightly brownish green. the shape of the teak leaves appears less artistic when viewed through the lens of art, but the shape of the teak tree’s flowers and fruit is quite interesting. it is a fascinating challenge to the process, stylize, and compose the shape of teak leaves and flowers into appealing batik motifs while preserving the character of the teak tree (sukanadi, 2020). batik motifs of teak leaves and flowers as clothing are expected to affect the mood of the wearer to balance nature (ju-young, 2013). figure 1. teak tree elements: roots, stems, twigs, leaves, flowers, and cambium the resulting master motif appears to be made of a single teak leaf composed of five large and small leaves, leaf fibers arranged on the leaf, and teak flowers arranged around the leaf, all of which are combined in an oblique composition. the harmonia: journal of arts research and education 22 (2) (2022): 241-253246 dimensions of the teak leaf are probed, as are the lines of the leaf’s fiber, and the points, lines, and dimensions of the teak flower. then, around the main motif, several teak leaves of smaller sizes are placed in “a twenty-five square repeat pattern,” giving the impression that the motif is spread freely, but it actually shifts on 25 per 4 of the main motifs (bates, 1960). as a result, the shape of the leaf motif appears to be scattered irregularly. (figur 2). figure 2. master motif design the produced master motif of teak leaves and flowers is then developed into a pattern pattern, which is developed in a long cloth or jarit pattern (figure 3) and a shirt motif (figure 4). the pattern of the long cloth motif indicates that the batik cloth produced is intended for use by women as clothing, dresses, robes, or clothing, whereas the batik cloth produced by men is intended for use as shirts. because of the shirt motif, the batik cloth produced is only intended for men’s shirts. the stage of developing the master motif into a pattern ready for batik production is very flexible. in textile designs, you can use the following methods of repeating motifs: (1) half-drop, where the motif shifts by half; (2) quarter-drop, in which the motif shifts by a quarter of the section; (3) diamond repeat, in which the motif shifts according to the diamond structure; (4) parallel repeat, where the motif shifts in a constant position both horizontally and vertically; (5) opposite repeat, where the motif shifts in reverse; (6) alternate repeat, where the motif shifts by forming positive and negative (bates, 1960). master motifs can be created by repeating and arranging them in dense motifs and adding isen motifs to balance the composition. development can also be accomplished through repetition, with the main motif kept relatively small. figure 3. the design is arranged on a long/ jarit cloth motif pattern figure 4. the design is arranged on a shirt motif pattern mulyanto et al., teak trees as source of inspiration for developing batik motifs 247 batik product with long cloth pattern the stages of making batik cloth vary depending on the coloring design plan that will be used. in general, the stages of batik production begin with (1) processing white cotton cloth with diloyor to remove starch and iron (fe) so that the cloth becomes flexible, porous, and easily absorbs color. (2) white cloth is sketched or depicted with a planned master motif and/or the development of other filling motifs. (3) the written batik process, in which hot wax is incised on the cloth with a canting tool along the sketch lines. (4) applying the first dye to the cloth. (5) the first color remains in the batik process on the planned area. (6) cloth dyeing with a second dye, and so on. (7) the wax is dilorod or removed from the cloth by boiling it, then the cloth is washed until it is clean, and finally it becomes a batik cloth (mulyanto & hartono, 2021). two hand-painted jarit batik products were created in this study using natural dyes. the first product is entitled “batik tulis jarit daun dan bunga jati warna alam mahoni-sogan-indigo 250” [hand-drawn jarit batik, teak leaves and flowers, natural color, mahogany-sogan-indigo 250]. the stages of production are as follows: (1) white cotton cloth is diloyor, boiled with alum, and washed so that it becomes flexible, allowing for easy batik and color absorption. (2) white cloth with master motifs repeated with 28 stalks of teak leaves and flowers. the motif’s background is then composed of teak leaves that have been randomly scattered. (3) klowong batik cloth, on which hot wax is incised with a canting tool on the lines and/or areas of the sketch that are to be white. (4) the cloth is first colored with natural mahogany dye and then locked with lime and alum to produce a light brown color. (5) planned spaces are still light brown in color and are made in batik or with batik blocks. (6) the second cloth is dyed with natural dye sogan and locked with lime before being colored with indigofera, resulting in a dark brownblack color. (7) the cloth is boiled to remove the wax, then washed until clean, and finally the batik cloth is white, light brown, and dark brown (figure 5). figure 5. hand-drawn jarit batik from teak flower leaves, mahogany-sogan-indigo 250 the second product, entitled “batik tulis jarit daun dan bunga jati bawahan warna alam jalawe-indigo-sogan 250”. the stages of production are as follows: (1) white cotton cloth is diloyor, boiled with alum, and washed, allowing the cloth to become flexible, making it easy to make batik and absorb color. (2) for 27 stalks of teak leaves and flowers, the white cloth with master motifs is repeated. the motif’s background is then arranged with teak flowers that are randomly scattered. bottom motifs, namely motifs of leaves arranged in a row along the cloth, are created in the lower part of the cloth. (3) klowong batik cloth, on which hot wax is incised with a canting tool on the sketch lines and floral motifs. (4) the cloth is first colored with the natural dye jalawe and then locked with alum to produce a yellow color. (5) planned areas are still yellow; they have been created again or made into blocks. (6) the second cloth is dyed with the natural dye indigofera (blue), resulting in a green color (a mixture of yellow and blue). (7) planned areas are still yellow and green, and batik is already being made again. (8) the cloth is colored a third time with the natural dye sogan (brown) and then locked with lime and alum, resulting in a dark green-blackish color. (9) the cloth is boiled to remove the wax, then washed until clean, and the batik cloth is finally white, yellow, green, and blackish-dark green (figure 6). harmonia: journal of arts research and education 22 (2) (2022): 241-253248 figure 6. hand-drawn jarit batik with teak petals, natural color, jolawe-indigo-sogan 250 this batik product of” batik tulis jarit daun bunga jati bawahan warna alam jalaweindigo-sogan 250” has been copyrighted on november 17 2021 with application number ec00202165679 and has obtained registration number 00029671. the hand-drawn batik of jarit teak flower leaves is buttom to the natural color of jalawe-indigo-sogan 250, indicating that this piece of batik art was created using a written technique. there are 27 teak leaf, and flower clumps arranged randomly among the randomly scattered white teak flowers in this batik work with a teak leaf pattern combined with teak flowers. at the bottom side, in the sense that this batik motif has a motif on the bottom of the cloth that is indicated by green and yellow teak leaves crisscrossing each other. the batik dyes used are three natural dyes: jalawe, indigo, and sogan. jalawe produces yellow, indigofera produces blue, and sogan produces brown. this batik’s dominant color combinations are white, yellow, light green, dark green, and black. the white color is produced by batik wax nicks. the yellow colors are produced by the jalawe’s substance. a combination of jalawe and indigo substances produces the light green color. a combination of jalawe, indigo, and sogan substances produces the dark green black color. this batik piece has a jarit pattern that measures 115cm wide by 250cm long. thus, this batik cloth can be used as a jarit as well as made into long-sleeved shirts in various sizes (m, l, xl, xl) with sanggit motifs on the front. sanggit refers to the front motif, which meets the left and right motifs at one seam connection. long patterned cloth textile products the textiles mentioned are batiks, which are made using a cold wax printing technique and then dyed. typically, the wax printed batik production process does not end here, but continues with printing techniques combined with writing techniques. thus, this product is known as combination batik, which is batik made using two or more batik techniques. the combination batik product created in this study is a combination of wax printing and writing techniques. the stages of this combination batik production process are as follows. (1) the motif design is created using the actual size of the cloth to be produced (115cm x 250cm) (figures 4 and 5). (2) the motif design was shown on (150cm x 280cm). (3) a screen is used to print cold wax on the cloth, resulting in wax-printed cloth. (4) the wax printed cloth is then colored in various desired colors using the colet, dusel, and/or brush techniques according to the plan and size of the colored area. (5) finally, the printed wax is removed from the cloth by boiling it, likely to result in a wax-printed textile or batik. if the cold wax printed batik product is then written on, the parts of the motif that are expected to remain colored are covered with wax. the cloth is then colored again according to the plan, and the candle is finally dilorod. the third product, textile products or wax printed batik entitled “batik pm jarit daun bunga jati coklat bawahan merah 250”. the manufacturing stages are as follows. (1) the motif is made of cloth (115cm x 250cm) with a long/jarit cloth pattern (picture 4). (2) the motif design was shown on (150cm x 280cm). (3) a screen is used to print cold wax on the cloth, producing printed batik cloth. (4) using the dab and brush technique, the printed batik cloth on each part of the motif is colored yellow, green, and brown for the background and black for the bottom. (5) finally, the wax is removed from the cloth by boiling the cloth, so that it becomes a wax-printed textile or batik (figure 7). this batik artwork entitled “batik pm yellow teak leaf flower mulyanto et al., teak trees as source of inspiration for developing batik motifs 249 with button red 250” was copyrighted on september 7, 2021, with the application number: ec00202144973 and registration number: 000281551. batik pm flower teak brown 250, which means that this piece of batik art was created using the pm or cold wax print (rint malam dingin) technique in combination with the writing technique. this batik work is patterned with teak leaves and teak flowers that are arranged repeatedly, and there is a walang motif on the right and left edges of the cloth. the dye used is a synthetic substance with dominant brown and yellow colors. this batik work has a jarit-shirt pattern measuring 115cm wide and 250cm long, so it can be used as a jarit as well as made into longsleeved shirts with sanggit motifs in sizes m, l, xl, and xl. sanggit refers to the fact that the motifs that meet at all seam joints (front, left side, right side, and pocket) can meet, connect, unite, whole, or sanggit. figure 7. batik pm brown teak flower leaves 250 wax-printed batik products with long cloth patterns and other shirts were produced: (1) pm batik of brown teak flower leaves with red bottom 250; (2) pm batik of green teak flower leaves with red bottom 250. figure 7a. batik pm teak flower leaves brown red bottom 250 figure 7b. batik pm teak flower leaves green red bottom 250 long sleeve shirt pattern textile product 210 textile products with a pattern of 210 long-sleeved shirts, meaning that textile products are made using cold wax printing techniques and then combined with writing techniques. the motif design has a long-sleeved shirt pattern of 210, meaning that the batik cloth is 210cm long but can be made into long-sleeved shirts of various sizes whose motifs remain sanggit. the fourth product, textile products or wax printed batik entitled “batik pm baju daun bunga jati coklat 210”. the stages of production are as follows. (1) the motif design is made of cloth (115cm x 210cm) and features 210 long-sleeved shirts in a pattern (figure 4). (2) the motif design was shown on the screen (150cm x 250cm). (3) a screen is used to print cold wax on the cloth, resulting in printed batik cloth. (4) using the dapple and brush technique, the printed batik cloth on each part of the motif is colored yellow, light brown for the bottom, and dark brown for the background. finally, the cloth is boiled to remove the wax, transforming it into a wax-printed textile or batik (figure 8). furthermore, the same batik motif is produced in a variety of color combinations (figures 8a, 8b, 8c). batik pm shirt with brown teak petals 210 symbolizes a batik art piece created using the cold malam print technique in conjunction with the writing technique. a long-sleeve pattern can be found in batik work. batik motifs with teak leaves and teak flowers are repeated, and a leaf arrangement motif is given at the bottom of the cloth. the dye used is a synthetic substance with dominant brown and yellow colors. this batik work features a long-sleeved harmonia: journal of arts research and education 22 (2) (2022): 241-253250 shirt pattern measuring 115cm wide and 210cm long, allowing the cloth to be made into long-sleeved shirts in sizes m, l, xl, and xl with sanggit motifs. the motifs that meet at all seam joints (front, left side, right side, and pocket) can meet, connect, unite, whole, or sanggit. figure 8. batik pm shirt with brown teak leaves 210. figures 8a, 8b, 8c. batik pm shirt teak flower leaves 210 various colors clothing making making clothes begins with measuring the wearer’s body, measuring the pattern on the cloth, cutting the cloth, and sewing the cloth. it is very simple to make clothes out of plain color materials or small symmetrical patterned materials. cloths can be cut in a variety of directions depending on the pattern-breaking area’s needs. besides, the use of cloth materials can be reduced. however, when making clothes out of batik-patterned materials, the area of the motifs must be carefully considered. if the material is batik with a long cloth pattern, the motif that must be promoted or sanggitated is usually only the motif of the front chest. if the cloth is a shirt-patterned batik, the motifs on the front chest, left side, right side, and pocket have been designed to be sanggit. besides, certain motifs were used to design the collar and cuff motifs. in the case of creating a teak leaf and flower motif, there are two types of batik products to consider: (1) batik and textiles with long cloth patterns, and (2) textiles with long sleeves. batik and textiles with long cloth patterns measuring 250 cm long can be made into long-sleeved shirts or jarit. the shirt made from this pattern has a simple motif of sanggit front chest (see figures 9a and figure 9b). however, the motifs on the left and right sides are not sanggit because they were not designed to be sanggit. this 250 cm long textile patterned cloth (figure 9c) is intended to be made into a long-sleeved shirt with sanggit motifs. thus, that this pattern can be transformed into a sanggitpatterned shirt. figure 9a. the teak flower leaf motif batik has a long cloth pattern, and the clothes it produces have side motifs that are not sanggit. mulyanto et al., teak trees as source of inspiration for developing batik motifs 251 figure 9b.the teak flower leaf motif batik has a long cloth pattern, and the clothes it produces are not sanggit motifs. figure 9c. teak flower leaf motif textile with a long cloth pattern, deriving in sanggit side motifs. this 210 long sleeve shirt patterned textile measures 115cm wide x 210cm long. this batik cloth with 210 motifs (figure 10b) can be made into long-sleeved or short-sleeved shirts in sizes s, m, l, and xl, with the motifs remaining sanggit (figure 10c), whereas if made into a shirt in size xxl, the motif remains sanggit but can only be made short sleeved. this 210-motif pattern can be used to create batik motifs with a high level of sanggit, such as a-symmetrical motifs, oblique motifs, and abstract motifs. besides, the shirt motif on the collar and cuffs can be made differently than the main motif. (mulyanto, at.al. 2021). figure 10a, 10b. pattern 210 and pattern 210 textile products figure 10c. teak flower leaf patterned long sleeve shirt with pattern 210 conclusion based on the results and discussion, it is possible to conclude that there are numerous potential regional natural resources, such as teak leaves and flowers, that can be used as a source of ideas for batik and textile motifs. teak leaves and flowers have the visual aspect of dots, lines, and flexible and adaptable areas, making them ideal for innovation into batik and textile motifs. as the master motif, the results of batik motif are comprised of several teak leaves of varying sizes that are then composed and combined with several teak flowers that are composed around them. the master motif is then transformed into harmonia: journal of arts research and education 22 (2) (2022): 241-253252 various designs of jarit-patterned batik and shirt-patterned batik. the jarit-patterned batik motif is intended for women’s clothing, whereas the shirt-patterned batik motif is intended for men’s shirts. furthermore, the batik and textile production techniques are customized to the product’s intended use. the design of the teak leaf and flower motifs is made more subtle, the cloth is primissima cotton, the batik process uses writing techniques, and the dye is used with natural dyes, resulting in soft products. batik products are designed for middle and lower-income consumers; the teak leaf and flower motifs are more realistically designed; the batik process employs a combination of printing and writing techniques; and synthetic dyes are used for brighter results. references bates, k. 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(2019). weeds as a source of development idea on batik motive. vlákna a textil, 26(2), 69-73. https://doi.org/10.15294/harmonia.v6i2.722%20 https://doi.org/10.15294/harmonia.v6i2.722%20 https://doi.org/10.15294/harmonia.v6i2.722%20 http://dx.doi.org/10.5614%2fitbj.vad.2013.5.1%20 http://dx.doi.org/10.5614%2fitbj.vad.2013.5.1%20 https://doi.org/10.15294/harmonia.v15i2.4567%20%20%20 https://doi.org/10.15294/harmonia.v15i2.4567%20%20%20 115 campursari manthous : antara musik jenis baru dan fenomena sosial masyarakat pendukung *w a d i y o **timbul haryono ***r.m. soedarsono ****victor ganap *universitas negeri semarang, kampus sekaran gunungpati semarang e-mail: wadiyosemarang@gmail.com **universitas gadjah mada, bulaksumur, yogyakarta 5528 e-mail: timbulharyono@yahoo.com ***universitas gadjah mada, bulaksumur, yogyakarta 5528 e-mail: rmsoedarsono@yahoo.com ****isi yogyakarta, jl. parangtritis km. 6,5 bantul 1210 e-mail: victorganap@ymail.com abstrak masalah yang diangkat dalam penelitian ini adalah hubungan fenomena campursari manthous sebagai ‘jenis musik jawa baru/kreasi’ dengan fenomena kondisi sosial budaya masyarakat pendukung. pendekatan penelitian ini adalah sosiologis dengan menggunakan metode kualitatif deskriptif. lokasi penelitian, gunung kidul, klaten, boyolali, dan semarang. hasil penelitian menunjukkan, campursari manthous merupakan paduan antara musik diatonik gamelan dengan musik non diatonik utamanya langgam dan pop. basik garapan campursari manthous ada tiga, yakni berbasis gending, langgam, dan pop. melalui fenomena campursari manthous yang dijadikan sebagai sarana berkesenian sehari-hari oleh masyarakat pendukung dapat diketahui aspek kehidupan sosial budaya masyarakat pendukungnya. aspek kondisi sosial budaya masyarakat tersebut dikaitkan dengan aspek mentalitas. dalam konteks ini masyarakat pendukung campursari manthous adalah masyarakat yang bukan kategori masyarakat tradisional murni tetapi juga bukan masyarakat yang murni modern. campursari manthous: between new music and social phenomena of supporting community abstract the problem in this research is focused on the relationship between campursari manthous as a new javanese music and social phenomena of its supporting community. this research uses sociological approach by means of descriptive-qualitative method. it was located in gunung kidul, klaten, boyolali and semarang. the result shows that campursari manthous harmonizes the diatonic traditional javanese musical instrument and non-diatonic music such as langgam and pop. the basic instruments of campursari manthous are three, namely gending, langgam, and pop. the phenomena of campursari manthous used as daily musical media by its supporting community could reveal the socio-cultural aspects of its community. these are related to mentality aspect. in consideration of this latter aspect, the community does not either characterize a purely traditional community or a purely modern one. © 2011 sendratasik fbs unnes kata kunci: campursari, mantous, fenomena sosial, masyarakat pendukung, pelog harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 115-124 available online at http://journal.unnes.ac.id/nju/index.php/harmonia p-issn 1411-5115 e-issn 2355-3820 harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 115-124116 pendahuluan salah satu musisi yang dianggap sebagai tokoh campursari adalah manthous. kemunculan campursari manthous seolah menjadi obat mujarab bagi kesembuhan masyarakat dari “sakit lupa” terhadap seni tradisionalnya sendiri, yakni musik jawa gamelan. sewaktu masa jayanya di era tahun 90-an, campursari manthous ini menjadikan dunia musik jawa seolah bangkit dari kubur terus mendadak menjadi “raja perkasa” bagi kehidupan “seni tradisional jawa”. banyak gamelan yang telah begitu lama tidak ditabuh dan hanya disimpan “menjadi barang rongsokan besi tua” bagi pemiliknya, tiba-tiba “ditimang dan dielus kembali” digunakan untuk main musik campursari. dijelaskan oleh manthous (1999), bahwa campursari yang menjadi karyanya sebenarnya bukan lah musik jawa gamelan murni, melainkan jenis musik campuran antara musik pentatonik gamelan dan musik barat diatonik atau musik populer indonesia. digunakannya unsur musik jawa gamelan dan syair lagu yang menggunakan bahasa jawa secara dominan, menjadikan masyarakat berpersepsi bahwa musik itu adalah musik jawa. dalam kaitannya dengan itu karena dilihatnya sebagai musik jawa, maka saat itu banyak kritikan yang bernada mengecam atau menghujat dari para seniman karawitan utamanya dari kalangan akademisi tentang bentuk garapan musik tersebut. musik campursari karya manthous itu dilihatnya sebagai bentuk garapan musik jawa yang jelek, yang lahir karena bermotifkan ekonomi atau mengejar uang semata-mata, merusak dan tanpa memperhatikan kualitas musikalnya, selera rendahan, samasekali tidak ada unsur keindahannya, dan lain-lain. sementara di lain pihak, campursari karya manthous ini jalan terus dan semakin mendapat respon positif dan atau perhatian besar dari masyarakat (wiyoso, 2002). kemunculan campursari karya manthous ini pada akhirnya menjadikan inspirasi masyarakat pendukung untuk membuat grup-grup atau kelompok-kelompok campursari hingga grup atau kelompok campursari di masyarakat utamanya di wilayah jawa tengah dan daerah istimewa yogyakarta sangat bertaburan. acara-acara hiburan seperti dalam rangka upacara pernikahan, khitanan, syukuran, pertemuan-pertemuan formal dan tidak formal, serta peringatanperingatan hari besar nasional misalnya, banyak sekali yang menggunakan musik campursari ini. perkembangan sekarang, bentuk penyajian musik campursari lebih banyak dikemas dalam bentuk permainan organ tunggal yang kadang sudah di set sedemikian rupa menggunakan disket sehingga pemain organ/keyboard tinggal menekan keyboard bagai nyetel tape recorder atau karaoke. secara substansial budaya, campursari memang sebenarnya juga sangat berbeda dengan musik jawa. musik jawa sebagai seni tradisional daerah, awalnya merupakan wadah dari proses reproduksi sosial dan budaya masyarakat pemiliknya, yakni masyarakat jawa yang selalu terjadi dalam dimensi ruang dan waktu. saat ini, kedudukan musik jawa telah berubah. musik jawa yang semula dalam masyarakat tradisional jawa menduduki tempat sentral, karena masyarakat telah melangkah menjadi masyarakat industri maka kedudukan itu terdesak ke wilayah yang periferal, dari sesuatu yang mewadahi terjadinya proses reproduksi sosial dan budaya, menjadi sekedar bentuk hiburan, pengisi waktu senggang, atau cultural capita (raden, 1994). konskwensi dari perubahan kedudukan itu, saat ini membawa perubahan fisik dan garapan menjadi bentuk musik adonan yang salah satunya kita kenal dengan sebutan campursari tersebut. sebenarnya campursari bukan suatu fenomena yang baru sama sekali dalam dunia musik jawa. menurut supanggah campursari pernah ada pada tahun 60-an namun keberadaannya belum meruah seperti sekarang ini. kelahirannya bermula dari pergelaran dan siaran musik keroncong. ketika mereka menampilkan lagulagu langgam jawa yang berlaras pelog, wadiyo dkk., campursari manthous : antara musik jenis baru 117 pada saat itu lah beberapa instrumen gamelan seperti kendang, gender, dan siter mulai dilibatkan di dalamnya (supanggah, 2003; wiyoso, 2007). fokus permasalahan yang diangkat dalam penelitian ini adalah berkait dengan “hubungan fenomena campursari manthous ‘sebagai jenis musik jawa baru/kreasi’ dengan fenomena kondisi sosial budaya masyarakat pendukung. mengapa masyarakat menerima campursari manthous dan menjadikannya sebagai sarana berkesenian sehari-hari”. menurut simmel sebagaimana yang dialih bahasakan oleh lawang (1971) melalui teorinya tentang kreativitas individu versus bentuk budaya mapan, simmel mengemukakan bahwa, proses pewujudan suatu karya cipta musik dapat dimulai dari berbagai macam cara, namun cara apa pun yang dilakukan oleh kreator, menurut teori kreativitas individu versus bentuk budaya mapan sebagaimana dikemukakan oleh simmel itu selalu terkungkung oleh bentuk-bentuk budaya yang sudah mapan dan tidak pernah dapat membuang begitu saja warisan budaya yang masih hidup dan mulai lagi dari permulaan. bentuk-bentuk musik, motif-motif musik, frase-frase musik, kalimat musik, warna musik, dan lain sebagainya yang sebelumnya sudah ada, dengan demikian tinggal dikembangkan saja oleh si pencipta atau kreator. jika kreator dalam melakukan kreativitas meninggalkan apa yang sudah ada dan yang oleh masyarakat telah dianggap mapan itu, menurut simmel resikonya hasil kreativitas itu akan jauh dan/atau asing dari masyarakat. dalam melakukan kreativitas penciptaan musik yang akan disuguhkan kepada masyarakat, tentu tidak akan meninggalkan budaya yang oleh masyarakat pendukungnya telah dianggap mapan itu. lebih lanjut simmel menjelaskan, bahwa yang dimaksud budaya mapan di sini adalah suatu bentuk budaya yang telah menjadi milik suatu masyarakat, yang oleh masyarakat, budaya itu senantiasa selalu dijadikan pegangan, pedoman, dan acuan dalam bertindak dan bertingkahlaku untuk memenuhi kebutuhan hidupnya, baik yang bersifat primer, sekunder, maupun integratif. menurut interpretasinya kebudayaan merupakan produk kegiatan manusia yang kreatif, tetapi paradoksnya sekali bentuk-bentuk budaya itu ada, mereka akan menghalangi kreativitas selanjutnya. dalam kaitan dengan itu simmel memberi penjelasan lebih lanjut, bahwa kebudayaan yang diciptakan individu sebagai suatu ungkapan subjektifnya, diobjektivasi dalam bentuk-bentuk yang independen. selanjutnya bentuk-bentuk yang menjadi objek ini membentuk kesadaran subjektif, yang dapat membatasi dan menghalangi kreativitas selanjutnya. dicontohkan oleh simmel dalam bidang musik misalnya, sebelum individu menciptakan suatu jenis musik tertentu, sebelumnya sudah ada terlebih dahulu berbagai bentuk musik yang sudah dikenal oleh masyarakat. dalam kaitan dengan itu clifford geertz (1983) dalam bukunya yang berjudul local knowledge: further essays in interpretative anthropology pada bagian seni dalam sistem budaya menjelaskan, seni untuk menunjukkan hubungan-hubungan yang bersifat semiotis. bentuk-bentuk seni itu adalah sarana untuk mengungkapkan kehidupan sosial atau pengungkapan pengalaman-pengalaman mental khusus ke dalam materi sehingga orang lain bisa juga mengalami. jelasnya proses semiotik menurut geetz adalah bagaimana pengalaman itu diwujudkan lalu wujud itu diinterpretasi lagi. seni merupakan fenomena kultural sebab seni adalah ungkapan sosial yang diwujudkan. dasilva (1984) dalam bukunya yang berjudul the sociology of musik menjelaskan bahwa, musik sangat berhubungan dengan mentalitas masyarakat pendukungnya. mentalitas yang dimaksud oleh dasilva adalah sebuah cara tentang perilaku mental yang mencirikan beberapa kolektivitas sosial yang mengakui musik itu secara umum. perilaku mental adalah sejenis aktivitas yang dimiliki manusia secara individu, tetapi sebuah mentalitas dimiliki harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 115-124118 bersama oleh banyak orang. dalam kaitannya dengan itu menurut dasilva, adanya kehidupan musik di masyarakat, sebenarnya menunjukkan fenomena atau kondisi/keadaan sosial budaya masyarakatnya. melihat musik yang dijadikan sebagai sarana berkesenian oleh masyarakat, akan diketahui fenomena sosial masyarakatnya. musik sebagaimana yang dikemukakan oleh dasilva itu, juga merupakan dialektika antara musik itu sendiri dalam pengertian musik saat ini dengan musik saat lalu atau antar jenis musik di saat yang sama serta juga antara musik dengan fenomena sosial budaya masyarakat dalam hubungannya dengan bagaimana musik itu digunakan oleh masyarakat. menurut weber sebagaimana yang dirunut oleh turner (2000), berkesenian adalah sebuah tindakan sosial. tindakan sosial bagi weber yang diinterpretasi oleh turner itu, adalah suatu tindakan individu sepanjang tindakan itu mempunyai makna atau arti subjektif bagi dirinya dan diarahkan kepada tindakan orang lain. suatu tindakan individu yang diarahkan kepada benda mati tidak masuk dalam kategori tindakan sosial. tindakan sosial merupakan tindakan yang nyata-nyata diarahkan kepada orang lain. tindakan sosial dapat berupa tindakan yang bersifat membatin atau bersifat subjektif yang mungkin terjadi karena pengaruh positif dari situasi tertentu atau merupakan tindakan perulangan dengan sengaja sebagai akibat dari pengaruh situasi yang serupa atau berupa persetujuan secara pasif dalam situasi tertentu. berkesenian termasuk di dalam adalah bermusik, dalam bentuk apapun selalu ditujukan pada orang lain. metode penelitian ini menggunakan pendekatan sosiologis. metode yang diterapkan adalah kualitatif deskriptif. lokasi penelitian, fokus penelitian, teknik pengumpulan data, keabsahan data, dan teknik analisis data dikemukakan berikut : lokasi penelitian ini adalah gunung kidul tempat manthous berdomisili dan beraktivitas campursari dan wilayah jawa tengah utamanya mengambil wilayah/ daerah klaten, boyolali, dan semarang sebagai daerah yang masyarakatnya juga sangat mendukung campursari manthous. fokus penelitian, berkait dengan “hubungan fenomena campursari manthous ‘sebagai jenis musik jawa baru/kreasi’ dengan fenomena kondisi sosial budaya masyarakat pendukung. mengapa masyarakat menerima campursari manthous dan menjadikannya sebagai sarana berkesenian sehari-hari”. teknik pengumpulan data dilakukan dengan studi dokumen, observasi, dan wawancara. studi dokumen dilakukan dengan cara mengumpulkan seluruh karya campursari manthous yang telah ada di pasaran, baik dalam bentuk cd ataupun kaset. selain itu juga mengumpulkan dokumen rekaman dari beberapa kelompok campursari yang menampilkan karya mantos di panggung pertunjukan termasuk dokumen hasil rekaman dari kelompok manthous sendiri. observasi dilakukan saat kelompok campursari sebagai subjek yang diteliti tampil di panggung pertunjukan. di sini observer mengamati alat-alat musik yang digunakan dan cara alat musik tersebut dimainkan. selain itu observer juga memperhatikan dengan seksama bunyi yang dihasilkan tiap-tiap instrumen dan hasil keseluruhan dari paduan berbagai instrumen musik tersebut. wawancara dilakukan oleh peneliti langsung dengan manthous dan beberapa personil dari kelompok campursari manthous yang tergabung dalam kelompok campursari gunung kidul (csgk) berkait dengan garapan campursari manthous. wawancara juga dilakukan pada beberapa personil dari kelompok campursari yang dijadikan sampel untuk penelitian ini. materi wawancara diutamakan sekali yang berkait dengan bagaimana mereka dapat menirukan campursari manthous dan mengapa mereka memilih repertoar campursari manthous untuk disajikan dalam pentas. dalam kaitan dengan ini diwawancarakan pula fenomena sosial budaya wadiyo dkk., campursari manthous : antara musik jenis baru 119 campursari yang diteliti tersebut sebagai anggota masyarakat pendukung. hasil dan pembahasan pada sesi ini, akan disampaikan hasil penelitian dan pembahasan. hasil penelitian dan pembahasan tidak akan disajikan secara terpisah dengan maksud agar semuanya dapat dimengerti dalam uraian yang singkat padat. berdasar analisis data berkait jawaban atas masalah yang diangkat dalam penelitian ini yakni, tentang “hubungan antara fenomena campursari manthous ‘sebagai jenis musik jawa baru/kreasi’ dengan fenomena kondisi sosial budaya masyarakat pendukung serta mengapa masyarakat menerima campursari manthous dan menjadikannya sebagai sarana berkesenian, akan disampaikan berikut. campursari karya manthous secara nyata dapat dibedakan menjadi tiga bentuk, yakni bentuk gending, langgam jawa, dan pop. tangganada yang digunakan dalam format gending, ada pelog nem, pelog barang, dan slendro yang semua nada-nada diubah ke dalam musik diatonik. pelog nem, nada-nadanya dalam format musik diatonik menggunakan nada dasar a. pelog barang nada-nadanya dalam format musik diatonik menggunakan nada dasar e. pelog nem format gending ada pada lagu ayun-ayun gobyog, ayunayun, bowo anting-anting, bowo pucung kebersihan, campur manis, campur manis iii, campur sari, ela-ela gandrung kalajengaken ngimpi, kinanthi sandhung, kripik tela pohung, sinom rujak jeruk, dan subokastowo. pelog barang format gending ada pada lagu, asmaradana mbangun desa, gendhing laras moyo, gugur gunung, ibu pertiwi, ijo-ijo, ilir-ilir, jenggleng george, jineman uler kambang, kinanthi sandhung, kutut manggung, kuwi apa kuwi, ngimpi (barang miring), pangkur palaran, pucung, puspowarno, saputanganmu, sinom rujak jeruk, dan sri narendro. pelog nem format langgam adalah lagu yang berjudul becak solo, biyen apa saiki katon apa, bowo kembang kacang, camasyarakat pendukung berdasar perspektif para pemain campursari. teknik keabsahan data utama sekali dilakukan melalui triangulasi data, yaitu mencocokkan hasil data yang berasal dari hasil studi dokumen dengan hasil observasi, dan dengan hasil wawancara (lihat moleong, 1996). selain itu peneliti juga melakukan kros cek data dari antar informan serta peneliti melakukan wawancara ulang terhadap apa-apa yang telah diwawancarakan dalam waktu yang lalu yang dirasakan dan diperkirakan oleh peneliti perlu konfirmasi ulang pada beberapa informan yang dianggap perlu. teknik analisis data yang berhubungan untuk mengetahui bentuk musik dan pola iringan sebagai yang dikatakan musik campurasri, dilakukan dengan meminjam cara prier (1989) dalam menganalisis struktur musik dan bentuk lagu dan dilakukan dengan meminjam cara brindle (1986) dalam menganalisis sebuah komposisi musik. brindle memberikan pemahaman dan contoh tentang komposisi musik pentatonik berdasar perspektif musik barat. contoh yang diberikan oleh brindle adalah bagaimana debussy mengerjakan komposisi musiknya yang berbasis musik pentatonik gamelan. langkah analisis untuk mengetahui basik musik atau bentuk musik yang dikembangkan oleh manthous, utama sekali dilihat dari struktur bentuk umumnya. berpijak dari bentuk umum tersebut diketahui basik musik apa yang dikembangkan oleh manthous. pola-pola iringan yang dikembangkan oleh manthous juga dianalisis secara seksama untuk mengetahui struktur bentuk iringannya. fenomena sosial budaya masyarakat untuk menghubungkan anatara materi musik dengan keberadaan sosial budaya masyarakat pendukung, utama sekali dilihat dari materi musiknya. materi musik yang dimaksud berhubungan dengan pola garap dan alat musik apa yang digunakan dan dijadikan sebagai sarana berkesenian sehari-hari oleh masyarakat pendukung utama sekali personal dari para pemain musik yang ada pada kelompok musik harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 115-124120 alat musik diatonis pun difungsikan untuk menggantikan kedudukan beberapa alat musik dalam musik kerawitan. bass gitar elektrik difungsikan untuk merepresentasikan kempul dan gong. nada dan pola permainannya mengadopsi pola irama kempul dan gong pada musik kerawitan. ukulele dipergunakan untuk merepresentasikan kethuk, kenong, dan boning (kadang-kadang). nada dan pola permainannya mengadopsi pola irama kethuk dan kenong pada musik kerawitan. syntheziser dalam musik campursari merupakan alat musik yang paling banyak merangkap tugas. syntheziser dipergunakan untuk merepresentasikan alat musik biola dan dan flute yang notabene merupakan alat musik yang lazimnya dipergunakan dalam musik keroncong, langgam, dan langgam jawa. selain itu syntheziser juga sering dimainkan untuk merepresentasikan alat musik gambang dengan pola irama sebagaimana permainan gambang dalam musik kerawitan. laras atau nada dan tangganada dalam campursari manthous jelas sekali menggunakan sistem diatonik. bahkan alat-alat musik seperti gong, saron, dan gender diubah stem nadanya menjadi laras diatonik dengan nada 6 (nem) sama dengan a yang berfrekwensi 440hz. campursari manthous memiliki dampak sosial yang sangat luar biasa. adanya campursari yang dipelopori oleh manthous itu, akhirnya menjadi inspirasi bagi kemunculan kelompok campursari lain di berbagai daerah seperti di daerah klaten, boyo lali, semarang, dan gunung kidul sendiri tempat domisili manthous dan tempat awal campursari itu dimunculkan oleh manthous. sekalipun kelompok-kelompok campursari yang muncul itu awalnya hanya menirukan campursari manthous sebisa-bisanya, namun akhirnya campursari manthous berkembang kemana-mana yang saat sekarang lebih berkembang lagi dalam bentuk permainan yang lebih simpel seperti dalam bentuk permainan keyboard tunggal atau campursari ringkas, yaitu keyboard yang dilengkapi alat musik sederhana seperti kendang dan gender atau kadang hanya dilengkapi ping gunung, esemu, gebleg kulon progo, gunungkidul handayani, kanthong bolong, kembang kanthil, kempling, kangen, larabranta, malioboro, ngalamuning ati, nyidham sari, aja digondheli, aja lamis, aja gawe-gawe, potretmu, pripun, sakit rindu, simpang lima, sing empun nggih empun, sapa wonge, tak eling-eling, wuyung, dan yen ing tawang ana lintang. pelog barang (in e ) dalam format langgam ada pada lagu yang berjudul gela, getun, lintang, rembulan, rukun agawe santosa, dan teknologi. slendro dalam format gending dibuat oleh manthous tercipta pada lagu persi rusak, sedangkan slendro dalam format langgam ada pada lagu eman-eman, timbang ngono, jali-jali, lamis (dalam tangga nada minor), gondhelaning ati, kecik blirik, langgam jauh sudah, pamitan ii (dalam tangga nada minor), bengawan sore, tahu apa tempe, bocah gunung, dan sengit. lagu lain yang berbasis pop juga ada, misal lagu yang berjudul atun, ini rindu, jenang jali, dan gethuk. lagu-lagu ini dikatakan berbasis pop, utamanya karena harmonisasinya tidak berstruktur sebagaimana yang ada pada lagu yang berbasis langgam. namun demikian lagu atun, ini rindu, dan gethuk memang menggunakan tangganda slendro yang berbeda sekali dengan lagu jenang jali yang oleh manthous dicoba dibuat campursari namun nuansa jawanya tidak dapat dirasakan karena satu lagu ini menggunakan tangganada diatonis. sehubungan dengan bentuk musik dan atau lagu sebagaimana yang telah dikemukakan di atas, adalah apa yang kita kaitkan dengan instrumentasi atau alat musik yang digunakan oleh manthous dalam menggarap atau mewujudkan musik campursarinya. alat musik yang dipergunakan pada kelompok campursari manthous adalah kendang, gong, gender, saron, demung, bass gitar elektrik, cuk/ ukulele, drum set, dan keyboard synthezizer. alat musik kendang, gong, gender, saron, dan demung dimainkan dan difungsikan sebagaimana dalam permainan musik kerawitan, demikian juga bass gitar elektrik, ukulele, dan synthezizer yang notabene wadiyo dkk., campursari manthous : antara musik jenis baru 121 dengan kendang saja. mengapa campursari manthous ini bisa jadi merebak di masyarakat? menurut teori kreativitas individu versus bentuk budaya mapan sebagaimana yang dikemukakan oleh simmel, jelas sekali karena musik tersebut didukung oleh masyarakat. mengapa didukung oleh masyarakat? karena kreator dalam hal ini manthous dalam membuat karya cipta campursari itu menggunakan musik yang telah ada dan mapan di masyarakat. seperti repertoar gending yang digunakan, sebenarnya masyarakat pendukung utamanya komunitas atau masyarakat jawa sangat tidak asing dengan gending itu karena gending itu adalah ada pada musik gamelan yang jadi keseniannya masyarakat jawa secara turun temurun. oleh karena itu masyarakat yang telah pernah mendengar gending sebagai musik seni budayanya, menjadi “sangat suka terhadap campursari yang berbasis gending itu”. demikian halnya dengan langgam dan pop yang dipadukan dengan gending-gending tertentu atau warna musik gamelan, jelas menjadikan sesuatu yang sangat menarik bagi mereka/masyarakat pendukung. suatu fenomena yang sangat luar biasa dalam dunia musik kita, malalui campursari terpadulah sebuah grup musik yang di dalamnya ada pemain musik jawanya/ karawitan/musik gamelan, de ngan pemain musik keroncong, dan pemain musik pop. semua ini oleh manthous dapat dilakukan karena dalam karya campursarinya antara gending dengan langgam atau gending dengan jenis musik pop dapat dipadukan secara serasi yang dapat menjadi alat ekspresi masyarakat pendukungnya. sebagaimana yang dikemukakan oleh clifford geertz pula bahwa, seni adalah ungkapan sosial yang diwujudkan. jika kita perhatikan secara seksama, jelas seni yang kita gunakan untuk berkesenian itu bagi kita mempunyai maksud untuk menyampaikan sesuatu pada orang lain. sesuatu itu ada hubungnnya dengan apa yang ingin mereka ekspresikan. sesuatu itu ada hubungannya dengan kepentingan sosialnya. mereka mendirikan grup, jelas ditujukan untuk dapat bermain musik bersama menuju sesuatu untuk mengungkapkan apa yang dirasakan dan apa yang dipikirkan serta apa yang ia inginkan menggunakan ranah ekspresi estetik yang ia miliki. melalui atau dengan cara memainkan alat musik atau bernyanyi, diharapkan ia dapat berekspresi dalam rangka mengungkapkan ide dan atau gagasannya yang tidak dapat diwakili menggunakan kata-kata formal atau verbal sebagaimana yang ia gunakan dalam bahasa sehari-hari. mengapa ia menggunakan campursari sebab campursari itu, ia rasakan dapat menjadi alat ekspresinya untuk mengungkapkan segala sesuatunya yang ada dibenak, setidaknya baginya ada hal yang tersampai pada orang-orang yang diinginkan. diresponnya campursari itu pada banyak orang secara positif dan dijadikannya sebagai sarana berkesenian sehari-hari oleh banyak orang di masyarakat, menurut dasilva ini karena campursari itu sesuai dengan kondisi sosial budaya masyarakat pendukungnya. kita dapat memperhatikan secara kasar, misalnya mengenai jenis alat musik yang digununakan. dalam campursari itu alat musik yang digunakan adalah alat-alat musik gamelan, alat-alat musik langgam, dan alat-alat musik pop. ini sebenarnya merefleksikan jenis musik apa yang hidup di masyarakat dan menjadi sarana atau alat berkesenian mereka. sekali tempo dan atau bahkan dalam setiap hari, jenis-jenis musik yang ada digabungkan untuk dinikmati secara bersama dengan cara memadukannya secara artistik. masih berpijak pada pemikiran dasilva dihubungkan dengan fenomena sosial budaya yang lain sebagai gambaran mengenai diterimanya campursari sebagai alat berkesenian atau alat berekspresi masyarakat pendukung, adalah karena telah bercampuraduknya pemikiran tradisional dan pemikiran modern. sikap-sikap tradisional dan siskap-sikap modern. nilainilai sisial tradisional/lama dengan nilainilai modern/baru. kita dapat memperhatikan meharmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 115-124122 ngenai pemikiran tradisional misalnya, bahwa apa yang kita miliki adalah adiluhung maka segala milik kita harus kita pertahankan termasuk seni gamelan. berkait dengan itu kita secara sportif juga mengakui bahwa, dalam kehidupan sehari-hari kita selalu berhubungan dengan segala sesuatu yang sebenarnya bukan asli milik kita tetapi dapat kita rasakan enak atau menguntungkan kita entah secara lahir atau pun batin. dalam berkesenian, misalnya seni langgam/keroncong atau musik pop, pada umumnya kita terima. akhirnya kita dapat menerima semua itu dalam satu wadah yang dikemas dalam sebuah adonan yang dapat dinikmati. ini menunjukkan apa? secara sosial menunjukkan diterimanya sesuatu yang baru dengan menggunakan bahan-bahan yang ada dan telah kita kenal dalam kehidupan sehari-hari disekitar kehidupan kita. menurut dasilva kesenian macam campursari ini juga dapat kita mengerti sebagai sebuah dialektika. musik gamelan masih dianggap oleh sebagian besar masyarakat kita sebagai seni masa lalu atau seninya para orang tua atau kaum tradisional sedangkan musik langgam dianggapnya bukan seni tradisional. apalagi apa yang dikatakan dengan musik pop, jelas dianggap sebagi musik jaman sekarang atau musik yang modern. hubungannya dengan mentalitas masyarakat, ada garis penghubungnya. mentalitas masyarakat ada bermacam-macam. ada yang tradisional murni, ada yang campuran antara tradisional dan modern, dan ada yang modern betul. campursari menunjukkan campuran antara yang tradisional dan modern itu. musiknya berupa adonan dari musik gamelan dan musik yang dikenal sekarang. musiknya sendiri adalah sebuah dialog antara yang tradisional dan yang dianggap bukan tradisional sedangkan fenomena musik campursari itu secara sosial menunjukkan mentalitas masyarakat pendukung yang dialektis antara mental tradisional dan mental modern. dikatakan tradisional murni, mungkin tidak. dikatakan modern, nyatanya juga masih menjujung tinggi nilai-nilai lama. alat-alat musik yang digunakan dalam campursari seperti kendang, gong, gender, saron, demung, bass gitar elektrik, cuk/ukulele, drum set, dan keyboard synthezizer jelaslah menunjukkan dialektika antara jenis alat musik yang berbeda dan untuk permainan jenis musik yang berbeda. namun demikian, ada yang lebih pas dalam mengatakannya, yaitu dialektika antara jenis seni musik tradisional jawa dengan jenis musik non tradisonal jawa dalam konteks dialektika ini. lagu-lagu yang mengambil dari tembang-tembang repertoar musik gamelan yang nadanya sudah menggunakan solmisasi juga merupakan dialektika yang mana menujukkan masyarakat dalam berekspresi seni sudah berubah. menurut weber, berkesenian adalah sebuah tindakan sosial. dikatakan sebagai tindakan sosial manakala apa yang dilakukan oleh seseorang itu ditujukan pada orang lain sekalipun tujuan itu disampaikan pada orang lain hanya dengan membatin atau ada dalam benak. apabila dalam berkesenian itu menggunakan campursari, maka orang lain yang dituju melalui kegiatan berkesenian itu mestinya juga mengakui campursari itu sebagai seninya atau setidaknya seni itu olehnya/“lawan” dapat dijadikan sebagai media berekpresi, dengan demikian tujuan tidakan sosial, baru dapat tercapai sesuai sasaran. inilah yang terjadi pada masyarakat pendukung campursari saat ini, yang merespon campursari tidak hanya dilakukan secara langsung tetapi juga melalui tayangan televisi dan lebih banyak interaktif melalui radio-radio yang hampir diudarakan setiap waktu. untuk pemahaman fenomena sosial masyarakat menunjukkan bahwa, masyarakat sebagian besar sudah berubah. berubah dari masyarakat tradisional menjadi masyarakat yang lebih terbuka atau lebih modern. telah diakuinya banyak nilai-nilai baru walau masih dalam bayang-bayang nilai lama. itulah yang dikatakan oleh dasilva, dengan melihat jenis musik yang dijadikan sebagai sarana berkesenian oleh masyarakat dapat diguwadiyo dkk., campursari manthous : antara musik jenis baru 123 nakan untuk melihat aspek fenomena sosial budaya masyarakat bersangkutan. simpulan dan saran simpulan berdasar hasil penelitian yang dikemukakan dapat disimpulkan, bahwa campursari manthous berupa musik gabungan antara musik diatonik pelog dan atau slendro dengan musik non diatonik utamanya langgam dan pop. berdasar dari itu dapat diketahui, garapan campursari manthous ada tiga jenis, yakni campursari berbasis gending, berbasis langgam, dan berbasis pop. campursari manthous banyak direspon positif dari masyarakat pendukungnya, terbukti dari banyaknya grup atau kelompok campursari yang muncul setelah adanya campursari manthous. saat sekarang campursari tidak saja disajikan sebagaimana kelompok manthous menyajikan campursari secara lengkap dengan seluruh peralatannya, namun telah banyak disajikan secara ringkas. bisa keyboard saja, bisa keyboard ditambah kendang, tapi juga bisa keyboard dengan kendang dan gender, atau seperlunya. adanya campursari yang begitu merebak di masyarakat dan banyak digunakan sebabagai sarana berkesenian sehari-hari oleh masyarakat pendukungnya, seperti digunakan dalam acara hiburan orang punya hajat, acara hiburan massa melalui tayangan di televisi, dan pengudaraan melalui radio-radio dapat diketahui bahwa pola berkesenian masyarakat terhadap seni tradisionalnya telah berubah. berdasar materi musiknya, yang merupakan paduan antara seni trasional gamelan dengan seni musik non tradisional seperti langgam dan pop yang mewujudkan bentuk baru, maka dapat digunakan untuk melihat aspek fenomena sosial masyarakat pendukungnya. aspek fenomena sosial masyarakat pendukung secara nyata juga mengalami perubahan. dapat dikatakan seni yang hidup di masyarakat adalah potret kondisi sosial budaya masyarakat pendukungnya. wujud seni baru semacam campursari ini juga memunculkan nilai-nilai baru. mentalitas masyarakat tradisional yang dahulu berkesenian dengan menggunakan gamelan murni atau karawitan mempunyai nilai-nilai kehidupan yang dijunjung tinggi. munculnya campursari sebagai potret kehidupan sosial budaya masyarakat menunjukkan adanya nilai-nilai baru di tengah kehidupan masyarakat. saran berpijak dari hasil penelitian yang telah disimpulkan, dapat disampikan saran singkat bahwa, dalam upaya membuat seni kreasi model campursari manthous hendaknya dibuat dalam tinggi nada yang sama sebagaimana manthous menciptakan campursarinya agar suara tidak terdengar sumbang dan sekaligus untuk mendidik pendengar terbiasa mendengarkan musik yang tidak sumbang agar jiwa senantiasa menjadi halus dan peka. dalam kaitan dengan itu hendaknya diperhatikan harmonisasinya. jangan sampai terjadi misalnya, garapan pelog atau slendro diberi harmonisasi akor diatonik. ini akan menyebakan keselarasan musik terganggu dan menimbulkan kesan bising yang tidak disukai oleh masyarakat yang menginginkan kehidupan yang harmonis. campursari manthous telah memberikan contoh harmonisasi garapan yang bagus. daftar pustaka brindle, r.s. 1986. musical composition. new york: oxford university press. dasilva, f. 1984. the sociology of music. indiana: university of notre dame press. geertz, c. 1983. local knowledge further essays in interpretive antropology. new york: basic books, inc. publishers. johnson, d. p. 1986. teori sosiologi klasik dan modern. terjemahan lawang, robert mz. jakarta: gramedia. moleong, l. j. 1996. metodologi penelitian kualitatif. bandung: rusdakarya. manthous. 1999. managemen tradisi dalam seni tradisional. makalah disajikan pada serial seminar seri 4 seni perharmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 115-124124 tunjukan indonesia 1998-2000. surakarta: stsi. simmel, g. 1971. georg simmel on individuality and social forms, edited by donald n. levine, chicago: university of chicago press. supanggah, r. 2003. campursari: a reflection dalam asian music. texas: university of texas press. turner, s. p. (ed). 2000. the cambridge companion to weber. new york: cambridge university press. wadiyo. 2002. musik jawa campursari: kajian tentang komposisi dan pembawaannya. harmonia: jurnal pengetahuan dan pemikiran seni. vol. 3 no. 1. wadiyo. 2004. garapan campursari karya manthous. harmonia: jurnal pengetahuan dan pemikiran seni. vol. 6 no.1. weber, m. 1961. social action and its types. dalam talcott parson (ed). newyork: the free press wiyoso, j. 2007. campursari suatu bentuk akulturasi budaya dalam musik indonesia. harmonia: jurnal pengetahuan dan pemikiran seni, edisi khusus 283 exploring the indonesian maritime art toward appreciation of coastal literacy yanti heriyawati, afri wita institut seni budaya indonesia bandung, indonesia submitted: 2022-06-18. revised: 2022-10-19. accepted: 2022-11-28 abstract there are many global literatures of art appreciation, but only few of them focus on maritime art appreciation. filling the vacancy requires study of how the community or public values maritime art works in the context of coastal community’s literacy. this paper aims to show appreciation of indonesian maritime art works. it presents the results of maritime art appreciation through focus group discussion (fgd). the participants consisted of academician, governmental official, artist, creator, community, kiyai, and student. the maritime art works which are appreciated were “segara garam’ and “tasbih pesisir”. they are considered as natural and virtual art works. respondents’ insight, knowledge, and experience showed varied perceptions. participants with maritime culture background were quite expressive in expressing the importance of local wisdom values of the coastal community. meanwhile the respondents without maritime culture background paid more attention on artistic and aesthetic aspects, instead of on meaning. sociocultural difference influenced how they appreciated and produced the knowledge of maritime culture. respondents’ cognition and affective abilities show varied interpretation, perception, and meaning of art values. their experience of appreciation showed the importance of perception of maritime art in actualizing local genius. the appreciation of maritime art was performed to improve people’s awareness of strengthening maritime culture literacy. keywords: appreciation, coastal literacy, maritime art, perception how to cite: heriyawati, y., & wita, a. (2022). exploring the indonesian maritime art toward appreciation of coastal literacy. harmonia: journal of arts research and education, 22(2), 283-297 harmonia: journal of arts research and education 22 (2) (2022), 283-297 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i2.37140 exploration and performed appreciation and interpretation at the art museum. cooke (2017) studied how art appreciation at florida gulf coast university used visual and audio-visual learning content, both in the form of film or short clips. meanwhile, learning in indonesia, especially in 20202021 during a pandemic, was conducted online. thus, appreciation through film or audio visual was a significant choice. maritime art appreciation gives maritime literacy through digital artwork display. some researchers have studied coasintroduction appreciation practice has offered varied methods. there were studies on appreciation models. kwang dae chunh (2022) conducted an appreciation process through students’ pedagogic involvement in giving an opinion. their narrations were collected and explored, which were a phenomenological reflection in understanding subject materials. knutson (2011) traced art learning ecology in informal education by involving children in the corresponding author: e-mail: yanti_heriyawati@isbi.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (2) (2022): 283-297284 tal art and appreciation. nurdiana (2019) researched appreciators (audience) of wayang tengul as community’s traditional art. the characteristics of wayang (puppet) performance satisfy inter-age people’s taste. thus, the appreciation process runs without coercion as a method to pass down the traditional art. wayang tengul audience consists of children, adolescents, adults, and elders. hidayatullah, jazuli, & syarif (2021) studied the meaning of notation in lampung’s sole coastal guitar music created by imam rozali. the language in the notation and song lyrics used the dialect and special style of indigenous coastal people in lampung. the music notation note-taking by imam rozali was directed to literacy and writing tradition. wiyoso and hanggoro (2020) studied the collaborative packaging of traditional art barong ngesti wargo budoyo as an artwork model that conformed to the coastal community’s aesthetic taste. with regard to perception, meanwhile, there were some studies on public appreciation and perception. liu, butler, & zhang (2019) studied the public perception of urban inheritance and identity issues. this aimed to build public awareness of urban heritage assets. viney (1999) studied the audience of a religious program on television. it targeted the audience’s characteristics by age and gender, the significance study for religious preaching broadcast and content. huang & you (2013) conducted a maritime-related perception study to trace public perception of maritime issues in correlation with how the community managed maritime resources sustainably. the survey components included public knowledge, attitude, and actions in taiwan on maritime related issues. the research contributed to developing a maritime governance strategy to achieve conservation objectives and give policy recommendations. none of the studies above show more specific artwork appreciation, especially maritime art. the maritime studies were focused on the maritime environment and ecosystem. meanwhile, studies on art appreciation and public perception of art focus more on the subjects that do perception and appreciation. for example, dukes & lewis (2008) studied students’ perception of rock concert fans’ violence in expressing social protest and then agreeing on a peaceful and safe rock concert. the findings were related to correcting measures by the organizer, fan, and government. meanwhile, seeley & kozbelt (2008) stimulated artist and non-artist respondents in response to shape to make a drawing. artist’s art, aesthetics, and historical knowledge contributed to their technical skill in drawing and their ability to give perception. just like a study on maritime art that is least done, the same applies to the study of maritime literacy. until now, there is no specific discourse on the keyword maritime literacy. however, in this aspect study on maritime literacy was developed in the early 2000s, starting in the us, which later attracted international attention (fauville, et al., 2018). maritime literacy was defined by cava et al. (2005) as an understanding of the influence of the sea or ocean on humans and our influence on the sea. more specifically, winks, et al. (2020) defined ocean literacy as a global education movement aiming to deepen and contextualize human’s relation with the sea. in this context, the research conducted by mccauley, et al. (2018) was related to sustainable ocean literacy for adolescents and public awareness of the maritime environment. collective intelligence value as a methodological instrument shows action collaboration between community and stakeholders to solve maritime environmental issues and contribute to sustainable maritime education. meanwhile, fauville, et al. (2018), still in the attempted movement to enhance ocean literacy, presented research on international ocean literacy survey (iols) that served as a community-based measuring instrument by comparing maritime knowledge by time and location. the study referred to two things: (1) iols was developed voluntarily, grassroots-based by ocean liyanti heriyawati et al., exploring the indonesian maritime art toward appreciation of 285 teracy community members, and (2) while iols early test was conducted at a national level to validate instruments in various languages and populations. the survey results can be used widely at the community level for international and global improvement in building public understanding of the importance of the sea; thus, the public can understand, communicate, manage, maintain and protect maritime resources and the sea/ocean ecosystem. more specifically, in the context of ocean literacy and tourism, garcia and cater (2020) revealed underwater life as a challenge for tourism. more specifically, garcia and cater offered a multi-stakeholder structure in ocean literacy practice that might contribute to the more advanced aspiration of global maritime awareness. stakeholder collaboration may contribute to improved ocean literacy through empirical research on scuba diving in mallorca, spain. back to the keyword maritime literacy which cannot be found specifically in international discussion, although quite limited, the term maritime literacy can be traced in indonesian discourse as the world maritime axis and in an effort to revive its maritime glory (yani & montratama, 2015; nugraha, 2016). the maritime literacy explained by indra jaya, et al. (nugraha, 2016) reviewed the main aspects of maritime to develop and optimize indonesia’s maritime potential for sustainable utilization. meanwhile, in the press review of the coordinating ministry of maritime and investment affairs conveyed by the ministerial expert staff of the socio-anthropological division of the coordinating ministry of maritime and investment affairs, tukul rameyo adi, the terms literasi kemaritiman (maritime literacy), literasi samudra (ocean literacy), and literasi bahari (maritime literacy) seem to be exchangeable. the concern is about the low maritime literacy, especially related to maritime culture. as in the statement, “current young generation has information on maritime culture terminated; thus we will focus on building content, campaigning through social media, film, vlog, and other media easily understood by the millennial generation.” in line with this statement, the low maritime literacy in indonesia also attracted attention in the reflection on world oceans day in 2020, which is accessible on the indonesian ministry of law and human rights website. literacy models develop greatly. literacy is not only limited to texts whose accessibility is currently competing with digital access. the fact of massive changes in the digital era and even the global pandemic accelerate disruption. a strategy is needed to formulate literacy content to digitally fill the appreciation space. this situation leads to how to formulate artwork as both content and appreciation media in constructing knowledge. it is necessary to support discourse on the other side of indonesia’s development that emphasizes on maritime empowerment. indonesia’s history of maritime glory is still the least known for the people to know. current maritime culture literacy is not yet satisfying. current maritime issues and discussions are still limited to certain rooms, which are directly related to maritime policy, community, or groups of people who are indeed related to “people of the sea.” in filling this vacancy, this paper reveals how maritime art literacy practice through appreciation process using fgd method can give an alternative model of art literacy and appreciation. method the maritime art appreciation was conducted through a focus group discussion (fgd) method for appreciators’ narration of their knowledge of indonesia as a maritime nation. watching maritime artwork via zoom during the pandemic aimed to develop maritime world awareness through understanding visual symbols, cultural differences, and individual’s expression. the qualitative research data were collected through appreciation in the form of fgd, a unique qualitative research method (hennink, 2007). for the dynamics of a discussion, fgd was conducted by harmonia: journal of arts research and education 22 (2) (2022): 283-297286 involving participants based on the characteristics of experience related to the discussion topic (lunt, 1996). art exploration, perception, and appreciation through fgd allow the exploration of the extent of knowledge, experience, and spontaneous response to maritime artwork. the fgd was performed online as an alternative to avoid mobility constraints or anticipation of participant’s presence from different time zone (hennink, 2014). participants are determined based on professional diversity but with art aesthetic experience of art and culture and capacity related to maritime issues. in this case, the fgd participants comprised academicians, artists, community, student, and government officials. more specifically, the academician participants were from the art-culture field from public college (not art-specific college); the artists and communities were from coastal areas; the students were from art-culture campus. the online appreciation was conducted in some stages: first, all participants completed their identity: name, place, and date of birth, the local language, address, educational level, position, field of science, workplace, email address, and telephone number; second, display of artworks appreciated: “segara garam” and “tasbih pesisir”; third, a moderator moderated the discussion in which everyone gave their opinion, evaluation, and perception; fourth, the moderator was given some indicators as the materials of questions to be developed. below are some basic questions: to what extent do you know we are a maritime nation? what do you know about maritime art? to what extent are you involved in maritime art and culture? what do you like about maritime artwork? what do you feel seeing the works “biografi garam”, “tasbih pesisir”? what do you find related to maritime in the works? and fifth, the fgd process was recorded, both audio and visual; thus, the document of this process was in the form of written, audio, visual (video recording), and photo data. the moderator played a central role in leading the discussion process. the moderator asked questions, engaged the participants to answer, induced them using other questions, etc. a reporter assisted the fgd process in ensuring the whole data were saved well. the reporter’s data accuracy (broad, 2020) supported the research analysis process (hennink, 2007). through fgd, the respondents were asked about how they perceived maritime art from the three-art works “segara garam” and “tasbih pesisir”. the interactive discussion was performed through appreciation of the three works. the argument about the response to maritime art showed an appreciation attitude, valuation, or treatment for the works. it significantly found an understanding of public opinion formation in influencing maritime art. the fgd method found the meaning and participants’ way of understanding. fgd was used to find consumers’ attitudes and motivations and reveal public discourse and interpretative community (lunt, 1996). this method was used to identify a diversity of experiences and perceptions (hennink, 2014). the important objective of focus group research was to identify various perspectives of the research topic and understand participants’ perspectives. with perspective, the interactive discussion encouraged rationalization and explicit reasoning (fern, 2001). maritime art appreciation served as a valuation of aesthetics. the data analysis needed a structure with a strong argument and theoretical framework for presenting the data (varga-atkins, 2015). this structure served as the frame in the data reduction process as part of the key in the analysis process. data reduction identified the core theme or category of problems in the data, nade data concept, or developed framework to arrange the results, all of which are contributing. reduction formed the “story” of data, which helped arrange effective research findings (hennink, 2014). the analysis needed to use a circular process method between writing, further analysis, and back to writing as an important way of thinking about data. the appreciation process was conyanti heriyawati et al., exploring the indonesian maritime art toward appreciation of 287 ducted through fgd online in three stages. the first online fgd invited participants from the structural official/government of ministries, local government, and academicians. the government officials were invited from the coordinating ministry of maritime and investment affairs; the ministry of tourism and creative economy; the department of culture and tourism of west java, and the department of culture and tourism of bandung city. the academicians were invited from universitas pendidikan indonesia, universitas padjajaran, and universitas gadjah mada. the second fgd invited artists (from dance, music, theatre, and film fields), communities, and also kiyai with involvement in maritime and art fields. community participants consisted of kiai pesatren in madura, tadulako art community in palu, armana pustaka mandar community, yayasan darma bakti karya, nara teater, takenuda, and people’s coalition for justice, all indonesia coastal custom community & small islands forum. the participants of the third fgd were six postgraduate students. the fgd was mediated by a moderator and recorded by a reporter. the moderator was a lecturer and researcher who was active in community empowerment and social innovation activities. as the driver of a creative community, the moderator had the capacity to moderate the forum effectively and interestingly. the reporter, meanwhile, was a lecturer and researcher with accuracy and speedy writing ability and was able to report the discussion forum activity carefully. the online fgd was divided into three sessions by question theme. the discussion in the first session started with moderator’s questions for the participants. the questions in the first session were related to the participants’ literacy and experience related to maritime issues. in this session, the participants were given direct chance to answer the questions. besides, at the same time, the participants could give alternative answers through the padlet link prepared by the moderator and informed through chat room zoom meeting before starting moderating the discussion. the questions in the padlet, suppose their answers are written by the participants, were then written by a moderator when the participants answered them orally for effective duration of discussion. the moderator limited the time for each session; thus, the participants who did not have the chance to answer in the first session could integrate their answers into the questions in the second session. the questions of the second and third sessions directly traced the participants’ appreciation and perception of maritime artwork. the questions of the second session were related to the participant’s appreciation of artwork in general and the maritime artworks produced by the team of researchers as the main object of discussion in the fgd. in this session, the participant could directly answer the moderator’s questions upon moderator’s invitation. alternatively, upon the moderator’s invitation, the participants could answer the questions of the second session. participants who did not have the chance to answer in the first session could integrate their answers in the second session. the moderator managed the third session by giving the participants short questions. the questions in the third session were related to the participants’ perception of the artworks put on display. the participants could simultaneously, directly in writing via chat room. variatively, in this session, the moderator continuously gave five short questions about what to add, reduce, collaborate, and develop from the three maritime artworks put on display, and finally, about what was challenging in making a maritime artwork. in responding to the questions, the participants were asked to answer briefly, not more than ten words. interactively, the participants could volunteer to answer or be called and asked by the moderator to answer. these answers were the participants’ last responses before the moderator concluded the discussion. the questions from the three sessions could be developed into short questions and answered through zoom chat. harmonia: journal of arts research and education 22 (2) (2022): 283-297288 in the last session, each participant gave a closing statement. the moderator directed the questions of the two sessions by giving them the freedom of who would start it. result and discussion maritime art appreciation and perception indonesia’s long history as a maritime nation is re-discussed by the state as stated by president joko widodo that restoring indonesia as the world’s maritime axis becomes the state’s development vision as expressed in presidential regulation on acceleration of the implementation of the world’s maritime axis. maritime art articulates the vision based on research on historical traces and life facts of the coastal or maritime communities. artworks are articulated virtually in performance, as with the works segara garam and tasbih pesisir. the two segara garam were created through observation by involving salt farmers. direct performance was done on a salt bed, documented, and presented as work that can be appreciated via digital media. the work tasbih pesisir was realized from rhymes, recording the research journey into a stage performance and directly broadcast via zoom and youtube. maritime art refers to artwork created based on maritime research results. the term maritime art is not commonly found. prins (2013) used the term maritime art in studying the oculus aesthetics, which is ship’s ornament. oculus aesthetics contains local wisdom, one of which is that the carving process is done through ritual. differently, the term maritime art in this study shows how art articulates natural phenomena and maritime community. the artwork illustrates indonesia as an archipelagic nation with diverse religions and social structures. the results of maritime research become content in creating maritime artwork as digital appreciation material. in practice, appreciation requires a series of processes and supporting instruments, from the appreciator’s preparedness, object or work appreciated, and supporting atmosphere aspects. perception done in the appreciation process is influenced by respondent’s subject. therefore, understanding and enjoying art (seabolt, 2001) cognitively and affectively involve emotion (osborne in seabolt 2001); (jakesch, 2014). jacquette (2014) affirmed that perception is the act of interpreting and defining, influenced by experience and knowledge, and involves talent/gift. this is why determining respondent’s category by age, sex, occupation, profession, community group, individual’s characteristics, and education level is important. appreciators’ competence can be determined based on professional, or amateur ability or experience (jakesch & leder, 2009). appreciation is a valuation and an act of understanding. hung (2019) explained, more specifically, art appreciation as a set of procedures that generally involves the process of perceiving, understanding, and valuing art and then making opinions out of the artwork. jakesch & leder (2009), in their research on appreciation, formulated participant’s characteristics by age, a number of materials (artworks) appreciated, and process appreciation procedures or process stages done before final determination through analysis and recommendation. seabolt (2001) and seeley & kozbelt (2008) offered the concept of the difference between appreciation of art, art history, art aesthetics, and art criticism. the difference is not only about the term but also objective. they are practically interrelated, in which art appreciation is to value good and bad under the influence of knowledge of history and aesthetics; similarly, with art criticism, mind, and aesthetic experience, the objective of the art appreciation process is to be the key to formulating indicators of success. it should consider the results of appreciation and its contribution. who are the appreciators? artist, lecturer, student, artist involved, researcher, consumer, and producer. suppose the ones to be appreciated are components of work. in that case, the elements of work are to be revealed in more detail, since components yanti heriyawati et al., exploring the indonesian maritime art toward appreciation of 289 in art appreciation, according to jacquette (2014), are quite likely to reveal the process of work, a form of work, method of work, and idea of work. artists are affiliated with a space where art is placed (robinson, 2014), where there is an interactive situation between the object appreciated and the subject who does the perception. in its process, each subject is allowed to show how to think, attitude, and sense processing. a meeting model is needed to create room for discourse and dialectics to generatively develop art growth. therefore, exploring public perception requires formulation of problems, objectives, and components as the contents of appreciation as the indicators in determining the appreciators. the appreciation process is conducted online for respondents to perceive valuation, evaluation, criticism, interpretation, experience exchange, and definition processes. the use of sophisticated instrument can be integrated into authentic art appreciation courses to motivate and improve students’ learning (hung & young, 2016). this aims to give an experience of art appreciation and find a formulation of a maritime art concept and contribution to the development of art science in the digital era. therefore, discussion participants’ individual characteristics and cultural backgrounds or differences have a cohesive influence on the interaction process (hennink, 2007). personal experience and certain roles can also have significant implications for maritime art formulation with the hope of contributing to public policy. indonesian maritime affairs have become part of public policy, covering territorial, cultural, and social environment sectors. aesthetics is basically perceptual. aesthetics is a science of perception that cannot be separated from the experience of watching a picture. how a person views something aesthetically influences his perception (schellekens, 2019). valuation is influenced by insight, and visual experience cannot separate perception from contemplation when it comes to watching a picture. respondent’s aesthetic experience influences audience’s view of a maritime art work or product. this approach is participant-oriented and can pragmatically recommend products, including artistic improvement and appreciation strategy (hennink, 2014). art is an instrument of legitimacy and contestation based on the very strategy, place, and legality. the elaboration explains where art is placed. that shows authoritative negotiation with the public; this art legitimizes the community power structure. art plays a role in legitimacy discourse with a strategic objective of providing a ‘reservoir of support’. art legitimizes the world’s view or supports the community’s ontological basis (robinson, 2013). the appreciation process conducted by hung & young (2016) is directed to appreciation capacity tests through a digital device with multi-touch technology, compared to using slide and printed materials. the art appreciation learning approach using tablet and multi-touch technology has bigger ability to motivate student involvement and appreciate of learning. information construction influences the definition of art appreciation, which is also influenced by a complex interaction of perceptual processes. appreciation investigation is conducted by matching correspondence understanding between the visual and semantics of artwork or between verbal representation and information coming with it. the ambiguity of appreciation is greatly related to aesthetic experience (jakesch & leder, 2009). information as stimulus received needs a learning experience process. the work of segara garam and tasbih pesisir : between virtual and natural art history proves indonesia was a maritime country that controlled the sea and was able to explore the world and control trade expansion when other countries only controlled rivers. the 250 ports (campo, 1992: 40) and harbors in sailing and trade routes in the archipelagic waters prove the past maritime life in the archipelago (santosa, 2015: 45). the glory as a maritime harmonia: journal of arts research and education 22 (2) (2022): 283-297290 country has been shown by the kingdoms in the past, including sriwijaya, majapahit, demak, and bone. geographically and culturally, 80% of indonesian territory is the sea. a maritime country controls and uses the sea to reach its prosperity and glory (santosa, 2015: 2). this means that all life aspects are related to the use of the sea (oktavianus, 2019: 19). indonesia is an archipelagic country flanked by two continents. the characteristics of an archipelagic country influence the people’s perspective and insight with relatively high knowledge in their era in controlling maritime resources (adp_discussion_fgd1 online_4 june 2021). after the independence, however, we forgot our maritime culture by developing feudal agricultural culture instead of egalitarian, multicultural, open, and cosmopolitan maritime culture. today maritime spirit is revived through the traces of ancestors’ glory. a fishing vessel is the most iconic heritage of maritime culture due to its fishing ability using a vessel. boat’s long life from generation to generation contains the narration of survival and livelihood as well as maintaining cultural feature that shows local knowledge (sabhain, 2020). it is the government’s policy to promote maritime unity, in which maritime power should change maritime interest in using the vast sea in the archipelago for the nation’s advancement. maritime awareness is gained through maritime traffic and protecting its resources (saha, 2016). keeping the sovereignty and understanding of the sea and all of its potentials can be done through literacy. art is one of the significant media of literacy in delivering how maritime affairs becomes a path to increase added value for life needs through transformation and comparative process to excellence. the stories and mythologies of sea gods/goddesses, traditional boat and ship’s strength, and fishermen/coastal community’s festival rituals can be storytelling or story comic narration (wg_discussion_fgd1_online_4 june 2021). art can articulate the portrait of maritime art treasures describing the sea as a companion, source of inspiration, room of life, and sea as the nation’s future. collaboratively, literacy texts realized in works can be used as content of indonesia’s maritime affairs campaign. maritime art is art based on aesthetically wrapped ideas that others can appreciate. the idea is based on the maritime environment. maritime art must serve as a trigger for our identity as a maritime nation. european opera that came through the sea to indonesian islands in the 1830s (sugiyama, 2019) brought the maritime nation closer to acculturation and cultural assimilation, forming multiculturalism and high tolerance. maritime art as a product is an effort to build marine culture’s character. maritime art can build knowledge and deliver development messages. maritime art is a hybrid art. the uniqueness of the concept of soil and water, sea and land as a unified room of life. indonesia views its sea as a wide continent. tanah air (homeland) is a strong philosophy that does not exist in other countries. art serves as the medium to improve understanding of and interest in maritime affairs from sabang to merauke (tr_discussion_fgd1_online 4 june 2020). art can build cultural ecosystems and policies that favor maritime affairs. maritime art idioms are used to convey knowledge and values. so that maritime concepts must emerge as an ecosystem based on a creative and digital economy. genuine and natural sea environment is one trigger of attraction. maritime art is an art that can show estuaries, rivers, sea, and boat, bringing us to the condition of tadzabur and tasyakur (wg_discussion_fgd1_ online 4 june 2021). figure 1. maritime art work “segara garam” (documentation: yanti heriyawati, et al., 2020) yanti heriyawati et al., exploring the indonesian maritime art toward appreciation of 291 segara garam, and coastal tasbih are works of art resulting from a project-based research process. the works were produced collaboratively involving actors, dancers, camera operators, talent (community), music directors, and editors. recording media present the artworks of dance, theater, and literature as part of performing art transformation for appreciators. the camera is used as a technology to build a new art form (papastergiadis, 2006). this artistic act responded to the digitalization that has currently constructed change in culture and knowledge. an appreciator no longer comes to the exhibition building and buys tickets to appreciate an artwork, despite cinema still being a possibility after watching in private rooms (figure 1). exploration of actors’ bodies interacts with salt farmers as in the work segara garam is a choice in showing the liberation of conventional forms. just like the visualization of the poem tasbih pesisir attached to the actor’s body performance and fisherman’s boat offering art hybridity (figure 2). likewise, natural art signs are apparent in how salt farmers are involved and the performance process on a salt bed and onboard fisherman’s boat that sails on the sea. the naturalization of traditional art as a resource for constructing contemporary art is closely related to release and liberation in contemplating new ideas in creating innovative works. in its development, contemporary arts have started paying more attention to social form and content (roose, et al., 2018). maritime culture study is the idea of content in the artistic exploration process of the artwork. the maritime cultural landscape is not limited to ship communities but can take into account human activities underwater and on land (coasts and coasts), lakes, and rivers associated with shipping routes and ports (van popta, et al., 2019). a study on maritime culture explores the coastal and maritime communities’ activities in the archipelago. figure 2. maritime art work “tasbih pesisir” (documentation: yanti heriyawati, et al., 2020) the following is part of the visualization of the tasbih pesisir poem. hamparan pasir memijat kaki deru ombak menyisir hati semilir angin mengusir sepi membuang panas hati membangkitkan energi pantai-mu menentramkan gejolak diri duduk menunggu asap mengepul perut bertalu-talu percakapan riuh menderu tiba setumpuk sajian laut mengusir kantuk menghalau gemuruh cacing perut nikmatnya rezeki laut biru-mu segara garam and tasbih pesisir are maritime art models that initiate and may give birth to other innovative works. the two works represent maritime art. segara garam is related to the coastal or maritime community’s economy; tasbih pesisir is identical to islam, in which the fact that harmonia: journal of arts research and education 22 (2) (2022): 283-297292 coastal culture that is the basis of santri community is the pioneer of islam as the dominant civilization in the nation (jm_ discussion_fgd1_online 4 june 2021). artworks have been presented in a contemporary manner, with traditional content or performances done naturally and digitally packaged to be appreciated by a wider public. this is a model of the art development with advanced technology to deliver messages symbolically but can still be enjoyed by many audiences in the era. it is cinematographically simple but with extraordinary meaning. the development of the work in the choice of maritime theme is not only about current gloom but past and future glory and happiness (lmr_discussion_fgd1_online 4 june 2021) that shows the identity and inspiration of a nation to advance (yani, 2019). the existing traditional arts that are still in a traditional frame or, we can say, almost extinct can be raised through the more contemporary and modern virtual frame. coastal culture literacy through hybridity of new media art from the 23 participants involved in the fgd process for appreciation, a fact was found that maritime art and culture are not commonly known. many people have not felt the awareness of indonesia’s glory and identity as a maritime nation. this shows that indonesia’s maritime glory is an abandoned history. more specifically, the participants stated they did not live on the sea and were not involved much in maritime issues or activities. moreover, this is caused by the fact that the land community’s perception dominates the nation’s development. the participants’ response shows maritime art appreciation process gives them new insight and knowledge of maritime culture. this means that appreciation and literacy activities need to be performed massively, as in the participants’ statements (participants’ names are abbreviated to initial, such as yanti heriyawati abbreviated to yh) as follows. statement participant personally, as bandung inhabitant, i seldom got in touch with the sea dk personally, despite educated as santri on the east coast of gresik, but i haven’t been involved in any coastal art iz honestly, only in this occasion, i have the chance to do activity on a maritime art am not understanding it much, since i don’t live on the coast, and haven’t explored anything related to the sea gad i’m personally horrified to be on the sea since i can’t imagine how gigantic it is aja network forms individuals to develop and implement artistic ideas (montanari, 2016:798). maritime art appreciation is the network’s work that establishes a new network among the participants. the knowledge and experience brought created a perception of the artwork appreciated. the focus group discussion (fgd) gave each appreciator room to find new knowledge and experience. the response in the fgd room was directed to the same artistic characteristics of art. a stronger perception was apparent in the participants’ desire to contribute to the development of maritime art, either from artistic and aesthetic perspectives or information delivery media art, including promotion and propaganda. there is an aggressive response to the two possibilities as follows. statement participant emotional music is needed that is integrated with the sea; community’s activities need to be involved more rh the additional description and narration, as well as costume arrangement, match the theme of the poem read agp remove bombastic diction; choose stronger diction bb yanti heriyawati et al., exploring the indonesian maritime art toward appreciation of 293 this work must try the deep sea, not only on the coast mra publicize them to the public for them to be well known gad role model in maritime art research dns make it simpler, for the public to reach it am understanding the sea can be realized in the concept issue and artistic aspect of the stage, fine art. this knowledge finally gives birth to ethos, a sea that brings us together and makes us closer sph these works have not totally shown life in the sea, the nonburdening sea, and the pleasant sea. a painful impression must be changed, interact on the sea non-coerced aja maritime art is at least able to abstract the nation’s inspiration with two identities that function hierarchically. indonesia identifies itself first as a maritime country and second as the regional leader (damanik, 2020). dialectically, there seems to be great hope for maritime art, which leads to the role of academics and government public policy. what the academicians have done become the new spirit that inspires many parties to cooperate in expressing maritime art. re-actualization of maritime values is significant, including expressing the previous maritime community’s belief and knowledge system on maritime power experience (oktavianus, 2019). maritime policies need to include maritime culture’s role, including through coastal art frame and maritime literacy. statement participant the works produced can be used as content for a maritime campaign by the coordinating ministry for maritime and investment affairs adp there is a need for maritime art performing art that in the future it will raise indonesia’s maritime affairs, which is important for the development rh academicians need follow-up efforts as a concept of science and technology development to find the problems of coastal and land communities hip longer and wider scope of research ag in maritime culture, there is an art aspect therein. art of making boats, literature, waiving bb the depth of meaning of the sea and maritime culture seems to be shown by the response of participants who were from the maritime area. sea is viewed as the mother. moreover, the sea is defined by life’s philosophical value. statement participant sea is not simply material. fishermen view the sea as their home ag sea is the mother of knowledge; for madurese people, seeking for knowledge must be done through sailing. evolution in modern is the sea. productive by sailing and grateful for the creation msw maritime culture is related to the perspective and mindset of the sea. sea, for us, is the center; we call it mama (mother) bb sea is their home, their barn. division (of role) on land is based on sea life, like division of individual’s role on board sph constructivistically, culture is understood as the community’s collective understanding of history, ideology, belief, and religion in the past and now. the government’s strategic policy confirms maritime identity and culture growing from the community. this continuously constructs values, attitudes, behavioral harmonia: journal of arts research and education 22 (2) (2022): 283-297294 patterns, habits, symbols, achievements, and adaptation methods as a nation’s tradition (prasetya, 2020). articulating the sea needs to start from the maritime community’s mindset based on what is experienced, what is felt, and what is aspired. comprehensive elaboration is a choice in the maritime art creation process. responsiveness to the digital era is realized by using technology to abstract new works. the awareness of the advancement of technology is controlled and formed through innovative artwork. the hybrid interaction of art, media, and digitalization is articulated in maritime art and culture. new media hybridity is a chance to face challenges and jump into science and mind (ross, 2005). the use of digital media does unnecessarily break down artistic values but is a new challenge in realizing the maritime community’s hope to create maritime art through refreshing artistic exploration instead. digital processing results should be a new formula to strengthen maritime art. research intensity is the key to the maturity and depth of maritime artwork production. fgd is a room of discourse and dialectics of the thinking process and expressing interpretation of maritime art. appreciation and perception activities direct intellectual experience and contribute to formulating maritime literacy. conclusion appreciation constructs knowledge and realizes science, and stimulates new ideas. fgd model gives circular room to think together and influence each other. participants, as appreciators, gain the room to measure their insight and knowledge of maritime art’s artistic and aesthetic aspects. maritime art contents strengthen the country’s discourse and movement in returning the nation’s sovereignty as a maritime country, both in revitalization and literacy contexts. the process by which respondents value, evaluate, criticize, interpret and define maritime art that is appreciated is a form of education. the archipelago’s excellence in maritime culture can be conserved in the frame of maritime art. the public can appreciate art actualization in coastal maritime areas as an effort to return the nation’s maritime identity along with its glory. appreciation is a literacy education medium for the community and the young generation. the maritime art model was perceived as a strategy for supporting the nation to realize indonesia as the world’s maritime axis. maritime art is able to articulate indonesia’s maritime culture to recover the people’s prosperity and the nation’s glory based on maritime power. the maritime art and culture identity will gain more attention in the protection, development, use, and guiding processes outlined in strategic measures of cultural advancement. maritime art literacy depicts a portrait of the strength of identity as a nation with a culture of acculturation and multiculturalism to form tolerance education. maritime art significantly strengthens the creative economic ecosystem process since art is attractive, especially in digital media. exploration and study of literacy and appreciation, especially on maritime art, cannot cease at this point. maritime artwork can keep developing and continuously serve as a content of appreciation. appreciator can be formulated based on the diversity of indonesia’s cultural background. a trial needs to be done on appreciators from some islands. the choice of student appreciator can also be the orientation of research in consideration of the scope of a non-art college or study program. different characteristics of appreciators can measure the extent maritime discourse is understood by the public and the knowledge of the aesthetic of maritime art. acknowledgement this article is the result of research with the theme floating heritage festival in the national priority research ristekbrin funded with lpdp cooperation year 2020-2022 of the ministry of finance of the yanti heriyawati et al., exploring the indonesian maritime art toward appreciation of 295 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(2015). indonesia sebagai poros maritim dunia: suatu tinjauan geopolitik. jurnal pertahanan. 5(2), 25-50. 30 building creative art product in jombang regency by conserving mask puppet setyo yanuartuti department of music, dance, and drama education faculty of languages and arts, state university of surabaya lidah wetan campus, surabaya 60213, indonesia e-mail: setyo_yanuartuti@yahoo.co.id received: maret 28, 2016. revised: april 23, 2016. accepted: may 24, 2016 abstract building creative industry is one the effort chose to keep up with the ongoing of era development. traditional art is one of the resource to produce creative art products. gate duwur mask puppet is a mask performance in jombang regency east java that contains local wisdom. the local wisdom was one of the creativity sources to develop creative art products in jombang regency because maintaining jati duwur mask puppet performance was hard in the middle of the fast society development. the transformation of the source culture (mask puppet) to become the current target culture is one of the efforts made to build creative art. the research on mask dance conservation on mask puppet performance in jombang was needed. the research method used was an art development through conservation. there were three products of mask dance created as a result of this research. the dances were gladhen dancers – a couple dance, mbanmban mask dance – a theatrical group dance, maduretno-citralanggenan dance – a dance fragment. these mask dance products were a creative realization of a mask performance originated from mask puppet. the community and mask, puppet performer agreed to the development of mask dance to become a more creative art product that could be enjoyed by the young generation. keywords: art; mask puppet; local wisdom how to cite: yanuartuti, s. (2016). building creative art product in jombang regency by conserving mask puppet. harmonia: journal of arts research and education, 16(1), 30-37. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6148 harmonia : journal of arts research and education 16 (1) (2016), 30-37 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v16i1.6148 p-issn 1411-5115 e-issn 2355-3820 leration and exploitation (zaman, 2012: 1). the creative industry is derived from the person’s ideas. the idea is a renewable resource that is based on science and creativity to produce creative ideas that can be used in the creative industry. artists are the resource of creative ideas. the earlier artists had created art works both individually and communally. the communal art such as traditional art performance was created based on the need of the people at that time. along the time, most of the traditional art performance cannot survive. globalization has facilitated easy ways for human to fulfill their introduction the economic creative era has been planned by marie elka as the minister of trade of indonesian republic since 2009. she said that economic creative is a new era of economy that intensified the information and creativity based on idealism and the stock of knowledge from the human resource as the main production factor in the economic activity (hastuti, 2012, p. 71). the creative industry is an industry that relied on individual creativity, talent, and potential to create prosperity and also job opportunity through intellectual accesetyo yanuartuti, building creative art product in jombang regency by conserving ... 31 need, including the need of entertainment. a traditional art performance that previously became the source of information and entertainment has been replaced by digital arts. traditional art performance requires specific place and time to perform. the people wanting to watch the traditional performance have to make the time and come to the place for the event. while, art digital can be accessed and watched anytime. the performance can be easily accessed from the tv’s and internet, so the people can watch the variety of performances in their own home. this research was a part of a research discussion about dance conservation of jati duwur mask puppet performance in jombang as an effort to build creative industry. mask puppet can only be found in jati duwur village. the unstable condition of mask puppet was the reason why this research was conducted. in a performance, there must be actors, the object of the performance, audience, and setting. moreover, a performance has to show a readable impression or sign that can be interpreted (cahyono, 2016:22-36). mask puppet is a traditional performance that contains local wisdom. in the performance elements, the local wisdoms contained were the values of life, such as a spiritual value, philosophical value, cultural value, social value, educational value that is relevant to the lifestyle of the people in jombang. those values can be found in mask puppet performance because mask puppet is one of the stories from cerita panji. the story told through mask puppet was taken from cerita panji and cerita babad. cerita panji is an eminent indonesian story that flourish not only in indonesia but also in asia. the values of life are contained in the plot, the dance movement, and the back sound music or gendhing. thus, the plot of the story, dance movement, and back sound can be used as the source of inspiration to develop creative product. building creative product by conversing was chosen as an effort to re-introduce the local wisdom to the young generation. the expectation of this conservation effort was to produce more interesting creative dance. method this research was an art developmental research. the material object of this research was the mask puppet in jombang regency. this research was done in the laboratory study of music, dance, and drama department faculty of language and art unesa and mask puppet group dance studio in jati duwur village jombang. the primary source of data was collected from interviews with such persons. they are moh. yaud, saripan, supriyo, and sumarmi. the secondary source of data was printed documents, for example, final project written by hariyati, dissertation written by setyo yanuartuti, the history of jombang culture book; jati duwur mask puppet performance audiovisual documentation lakon patah kuda narawangsa (published in 2012) and wiruncana murca (published in 2013). the method of conservation was transformation one. the researcher was the active participant of this research because the creative idea was the researcher’s idea based on the interpretation when interviewing and observing the source person and the mask puppet performance. the method of analyzing data for this research was interactive model. result and discussion jati duwur mask puppet performance as creative resource art performance was one of developed subsectors in the creative economy in indonesia (deperindag, 2014). in showbiz; the creative activity was related to content development effort, performance production, for example, puppet performance, ballet, traditional dance, contemporary dance, drama, traditional music, theater, music, including opera, ethnic music, design, and performance costume production, stage setting, and lighting (sari, 2014, p. 4). puppet performance was an art perharmonia : journal of arts research and education 16 (1) (2016): 30-3732 formance that was rich of values, both life value and aesthetic value as well as artistic value. therefore, puppet performance was a resource in creative economic development in indonesia. puppet performance was a very complex performance because it was a multidimensional performance. puppet performance contained more than one element of arts, and one of the performances that contained more than one element of art is mask puppet performance. mask puppet performance could be found in various areas of java such as west java, central java, yogyakarta, and east java. jati duwur mask puppet was mask puppet from jati duwur village jombang regency. mask puppet was mask performance that is managed by a puppeteer, and the dancer dances in accordance to the puppeteer’s dialog. the intermediary media were stories, dance movement, the shape of the mask, music accompaniment or back sound music, and costume. the story told through the dance was cerita panji and cerita babad. the power of the character in the story was realized through the mask iconography, dance movement, and costume. gendhing or the back sound was the music that sets the mood and the dynamic of the plot. the elements of the performance are the source of inspiration and creativity. cerita panji was known as an original javanese story that flourished across the nation including cambodia and thailand. it could be found in indonesian mask performance. the main character of cerita panji could also be found in oral story. cerita panji had picked the interest of the foreign and local researchers. c.c berg is one of the researchers that had analyzed cerita panji and he said that: ....lakon panji adalah cerita yang mengisahkan ada seorang pangeran dari jenggala (koripan) dan seorang putri dari daha (kediri) yang ditakdirkan untuk menjadi suami-isteri. pada permulaan cerita keluarganya mendesak untuk melangsungkan perkawinan itu, akan tetapi tiba-tiba ada rintangan, misalnya karena sang pangeran sudah menentukan sendiri kawan-hidupnya dan tidak menginginkan seorang wanita yang lain sebagai istri dan atau karena sang putri oleh sesuatu sebab, menghilang dari keraton dan ternyata tak diketemukan kembali. sang pangeran kehilangan kekasihnya dan dengan bersedih-hati ia pergi mengembara untuk mencari kekasihnya yang dikiranya masih hidup....baik pangeran maupun putri dalam petualangannya sering mengubah namanya,...pada akhir keadaan menjadi jernih kembali, dan sang pahlawan dengan sang putri, yang rupa-rupanya sudah ditakdirkan menjadi suami-isteri, lalu melangsungkan pernikahannya (c.c. berg, 1985, pp. 87-88). cerita panji contained javanese local values. those values were built based on the life of the farmer. those values are attached to the character of the hero/panji who was very resilient, humble, kind, ascetic, etc. in his research, barried et al (1987) showed that panji was the icon of superhero. the stories of panji always showed the noble personality of superhero. these personalities could be found in every story and era. those characters were the gorgeous appearance, humble attitude, unyielding volition, great dignity, and bravery in facing the danger. panji was also portrayed as someone who loved his people, fair, honest, pious, and patient. the physical appearance of panji matched his great personality. physically, he was as handsome as a love god attracting anyone he met, and no one could not compete with him (baried, et al, 1987, pp. 197-198). the main character of panji in mask puppet performance was similar to the main character of patah kuda narawangsa, wiruncana murca, and panji krama. the structure of the story was built through the plot, the characters, setting in the performance. they offered various interpretations that could be developed into a mask dance. seen from the chin, the shape of jombang mask was similar to the shape of malang mask, but the upper ornament was similar to madura mask. this showed that jombang mask had a different shape from the other masks in east java. the shapes setyo yanuartuti, building creative art product in jombang regency by conserving ... 33 of this mask could be used as the source of inspiration and creativity to develop the art works that were suitable for the current trend. based on the observation, the signature movement in mask, puppet performance could be found in klana dance and war movement. the simplicity of the movement offered the opportunity for development to create a more interesting movement. the war movement, for example, could be used as an inspiration to be developed into dance fragment in the form of wirengan type of dance or couple dance about war or war simulation. analyzed, from the back sound or gendhing used was eastern javanese gending like what was used in kulit puppet performance, such as cek-dong, ludruk, and tandakan. the fun and fast rhythm of gandhian stimulated the creative effort to create a high dynamic art work. for example, dances creation that had strong and agile character. it showed that gendhing could be used as the source of inspiration and creativity to develop mask dance. the various elements in the mask puppet performance were the source culture (pavis, 2001: 134). so, when jombang mask performance was not enjoyed by the people, the artist could develop the creative sources inside the elements of make puppet performance to create a creative artwork product. not only in the development of the dance, the mask puppet performance also offered others creative art product develpment such the development of creative mask, gending creation or creative music, etc. creating creative art product through jombang mask puppet conservation creative industry was started from the exploration of creativity and talent to create a job opportunity (deperindag, 2007). creative industry was actually a realization of the effort to find a continuous development in which it was one of the economic climate that has renewable and competitive resource. the message of creative industry was the exploitation of a resource that not only renewable but also unlimited, those resources were idealists, talent, and creativity. in creative industry, creativity held central role as the main resource because human creativity would continue to develop alongside with the human itself. the creation of artwork was a creative process done by the artist in realizing their ideas. the creation of an artwork could be a completely new creation or a creation based on the existing art tradition. dharsono (2013, p. 4) explained that there were three concepts of creation based on the existing art tradition. they are revitalization, reinterpretation, symbolic abstraction. revitalization was an art conservation concept using an artwork creation method that could be done by developing the vital elements. reinterpretation was an art development method that was done by using art tradition as the source of inspiration and aspiration. symbolic abstraction was an exploitation of tradition icon as a personal expression symbol. symbolic abstraction was a modern art development concept using tradition icon or sign as someone’s personal expression symbol to create an art work. the three concepts of art work creation were a conservation method that could be done as the effort to conserve the art so that it could survive in the middle of fast society development. the result of conservation through art work tradition development was that creative art product could be produced through an art conservation process. based on the identification of the life values, aesthetic values, or artistic values contained in the mask puppet performance, the conservation could be done by using revitalization, reinterpretation, or symbolic abstraction method. the conservation that had been done by the researcher was creating a mask dance based on the values in jombang mask puppet performance. the target of this conservation was the creation of mask dance as a couple dance and group dance. this mask dance was creative art product which in the process of transformation was called as the target culture (paharmonia : journal of arts research and education 16 (1) (2016): 30-3734 by colliding one left or right leg of the dancer to another dancer then jumped. these war movements were adopted in gladhen dance to strengthen the character of jombang mask puppet movement pattern. the gladhen dance was created by developing cangkolan-kopyokan and jaguran movement pattern, and also the creation of wireng dance structure such as maju gending, solah, perang and mundur gending. figure 1. the example of gladhen dance movement (doc. setyo, 2014) group dance created for this research was mbanmban mask dance and maduretno-citrolangenan dance fragment. vis, 2001, p. 134). the target culture was the goal or objective of an art work creation. the mask dance in the form of couple dance in this conservation was called gladhen dance. the type of gladhen dance was wirengan. heroism dances was usually categorized in a dance group called wrong and pavilion. beksan wireng was dance that showed heroism elements, while pethilen was a dance that described the war between the puppet characters or babad story (clara, 1991, p. 52; sumarni, 2004, p. 59-75; supriyanto, 2010, p. 176-182). gladhen mask dance in this conservation was developed from war movement of jombang mask puppet. gladhen mask puppet was couple dance that belonged to putra gagah style. this dance described the guards of the javanese kingdom in the middle of war training. in the performance of mask puppet could be found war movement patterns such as cangkolan, kopyokan, and jaguran. cangkolan-kopyokan movement was a war movement pattern that united one arm of the two dancers by hooking the tip of the dancer’s finger. meanwhile, the other arm of the dancers was spread while moving their wrist. jaguran movement was a war movement pattern figure 2. the shape of the mask and the character of emban in jombang mask puppet (doc. setyo, 2014) setyo yanuartuti, building creative art product in jombang regency by conserving ... 35 mbanmban mask dance was a dance inspired by the character of emban in jombang mask dance performance. the character of emban, in this performance was the palace servant and portrayed by a beautiful princess mask and gecul. it was a round white mask, with tidy hair adorn with flowers. the shape of the eyes was kolikan and the shape of the lips were nyebek smile. the shape of emban mask was inspired by the creation of mbanmban mask dance, the interpretation of the shape of the mask was that a servant was an honest, simple, and entertaining character. this interpretation was used as the material to create mbanmban mask dance. the mbanmban mask dance was a comical theatrical dance. the characteristics of this dance were light, agile, and entertaining, it is suitable to the function and role of emban character in the mask puppet performance. the following were emban mask in the mask puppet performance and the example of dance movement in mbanmban mask dance. figure 3. mbanmban dance dance fragment was also created in this conservation as a small description of jati duwur mask puppet. the dance fragment was theatrical dance presenting a short story. the short story in this fragment was a small part of a story. in the creation process, the researcher tried to find a story that had been done in jati duwur mask puppet performance. cerita panji that had been successfully revitalized in jati duwur mask puppet in 2000-2012 was the tale of patah kuda narawangsa and wiruncana murca (yanuartuti, 2015, p. 375). based on those stories, the researcher developed the interpretation of the story and related it with serat kuda narawangsa compiled by moelyana and indriani (1983). the result of the interpretation could be used by the researcher to develop the material of dance fragment entitled maduretno-citralangenan. the story of maduretno-citralangenan was developed from the story of patah kuda narawangsa after patah kuda narawangsa run away to the forest because he could not cope after knowing that panji inukertapati married the fake dewi sekartaji (the impersonation of thothok kerot). maduretno was the fake name of raden panji inukertapati after patah kuda narawangsa left him. after that citralengganan which was also the fake name of dewi sekartaji in the forest after escaping from patah kuda narawangsa. the story became the inspiration of maduretnocitralengganan dance fragment. that was the summary of the story that was developed into the dance fragment. in cerita panji kuda narawangsa, it was told that after dewi sekartaji left him. raden panji putra became disconcerted. therefore, he went after her to the forest with his brothers. in the middle of the forest, panji met brahmana sukarti and was advised to disguise himself and went to urawan kingdom (his father’s land) because the kingdom was attacked by sang klana sawandana who wanted to take dewi sekartaji (panji’s wife), his fake name was undhakan maduretna. in different places, dewi sekartaji disguised herself as ni citralengganan. in the forest, citralengganan suffered greatly, then tumenggung subanggita (the neighboring palace guard) brought her to king klana sawandan. even though he did not know that she was dewi sekartaji, he was very happy to welcome the princess. in urawan kingdom, the king ordered the guards to seek for help to strengthen the force, not long after that came undhakan maduretna and his brothers to help and join the force. undakhan maduretna was sent to face klana sawandana. harmonia : journal of arts research and education 16 (1) (2016): 30-3736 the war between klana sawandana and undahakan maduretna happened, and maduretna won the war. at night, maduretna checked the condition of the garden, he saw a princess in distress and she even wanted to commit suicide because she did not want to become klana sawandana’s wife. citralengganen missed panji putra and she said to herself “have your highness ever dreamt? if you die who will take me?” while crying she kept calling for raden panji. undhakan maduretna who disguised himself as a god stood behind the princess and said to himself “the jewel of the earth, you are my only lover. why do you look so broken and ask for death to the god?”. approaching her, then god said “what do you want, my grandchild?”. hearing the voice, citralengganen was surprised and turned her body while looking down and said that she wanted to die if she could not meet panji. the god advised her to be patient and told her that she would meet panji, but he asked her to give sasra ludiro ring, when she gave it to him, he squeezed her fingers. the princess seems to dislike the god. the god asked her not to hesitate to look at him, so she looked and stared at him closely. when their eyes met, it was like a lightning strike and melted both of their hearts. the story of maduretno and citrolengganen was an interesting story to be used as the material for the short dance fragment story. the researcher hoped that this dance could be used as a small illustration of a jombang mask puppet performance. there was no dialog in this dance. the creation of this dance was one of the effort to re-introduce the puppet mask to the young generation. so that the young generation could understand the local wisdom inside a traditional performance. the effort to produce the creative art products was needed especially the art creative products that contained local wisdom. the art performance conservation like mask puppet was one of the effort to save the traditional art form extinction. the conservation in the form of mask dance development could not only be used as conservation effort, but also as the effort to build the art creative product so that it could not be enjoyed only by the people in jombang. as a proof, this mask dance had been performed in singapore in 2015. the art works with short duration were an artistic product that could be performed anytime and anywhere without removing the local wisdom. conclusion art is a product of any art performances that contain aesthetic characteristics. art was born out of a deep feeling of its creator. since the beginning, art was born from the hands of creative artists through a spiritual process and a profound thought. in the middle of ongoing era development, a modern creative touch technique was needed. touch technique and creative process of traditional performance can produce creative art products containing local wisdom that can be enjoyed by the modern people. references baried, s. b. (1987). panji: citra pahlawan nusantara. jakarta: departemen pendidikan dan kebudayaan. berg. c. c. (1927). de middel javanche historiesche traditie. snatpooort: uitgeverij c.a. mees. cahyono, a. (2016). tanda dan makna teks pertunjukan barongsai. mudra jurnal seni budaya, 31(1), 22-36. dharsono. (2007). budaya nusantara. bandung: rekayasa sains. dharsono. (2007). estetika. bandung: rekayasa sains. dharsono. (2014). seni lukis wayang. surakarta: isi press. emigh, j. (1996). masked performance. pennsylvania: the university of pennsylvania press. hastuti, d. l. (2012). solo, kota budaya menuju kota desain, bagian dari jaringan kota-kota kreatif unesco. paper preaented on seminar nasional perguruan tinggi dalam era ekonomi setyo yanuartuti, building creative art product in jombang regency by conserving ... 37 kreatif. surakarta: isi press. murgiyanto, s. (2004). tradisi dan inovasi, beberapa masalah tari di indonesia. jakarta: wedatama widya sastra. nanang, yanuartuti, s. & ilahi, n. (2012). sejarah dan budaya jombang. jombang: dinas pendidikan kabupaten jombang. pavis, p. (2001). theatre at the crossroads of culture. new york: routledge. sari, r. (2014). ekonomi kreatif: konsep, peluang, dan cara memulai. retrieved from http://staff.uny.ac.id/ sites/default/files/pengabdian/ annisa-ratna-sari-msed/makalahppm-kelompok-2014-annisa.pdf. soedarsono, r. m. & tati n. (2011). dramatari di indonesia, kontinuitas dan perubahan. yogyakarta: gajah mada university. sumarni. (2004). mangkunegaran wireng dance 1757-1987: a historical study. harmonia journal of arts research and education, 5(3), 48-60. supriyanto, m. (2010). pencak silat dalam tari wireng di surakarta. jurnal humaniora, 22(2), 176-182. yanuartuti, s. (2015). revitalisasi pertunjukan wayang topeng jati duwur jombang lakon patah kuda narawangsa. disertation. surakarta: post graduate program, isi surakarta. zaman, b. a. (2012). jurus cendekia dalam industri seni: menyiasati ekonomi kreatif – seni – pariwisata. paper presented on seminar nasional perguruan tinggi dalam era ekonomi kreatif. surakarta: isi press bekerjasama dengan pasca sarjana isi solo.7 december 2012. 38 the development of jathilan performance as an adaptive strategy used by javanese farmers agus maladi irianto fakultas ilmu budaya, diponegoro university, indonesia jalan prof. soedarto tembalang semarang, indonesia e-mail: ami.fibundip@gmail.com received: february 29, 2016. revised: march 23, 2016. accepted: june 2, 2016 abstract this paper is aimed at describing adaptive strategy used by supported community to preserve and develop jathilan, javanese traditional ritual art performance. in describing the aim, the most fundamental nature and meaning attached in the artistic performance had been studied. qualitative method was employed through literature review and field study. this study located in magelang regency, central java. the jathilan in this paper is seen as cultural identity for its supported community, that has a specific role socially and ritually. the supported community, in addition, believes that this traditional art is not only acted as an entertainment, but also a facilitator for their hopes and prays. despite some changes have influenced the differences of style and variation in the performing art, however, the changes themselves are the manifestation of adaptive strategy had from the supported community to preserve and conserve jathilan performing art. keywords: jathilan; adaptive strategy; farmer community; integrative need how to cite: irianto, a. m. (2016). the development of jathilan performance as an adaptive strategy used by javanese farmers. harmonia: journal of arts research and education, 16(1), 38-48. doi:http://dx.doi.org/10.15294/harmonia. v16i1.5213 harmonia : journal of arts research and education 16 (1) (2016), 38-48 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v16i1.5213 p-issn 1411-5115 e-issn 2355-3820 and accepted by feelings (suparlan, 1985, pp. 5-6, and tuner, 1986, pp. 5-6). art is an integral human need which is used to improve and establish standard of living. it is believed that no matter how simple one’s life is, they will keep seeking and using aesthetic aspect of life through art in the middle of their struggle to keep their primary needs. however, it needs to be realized that environment and the needs of every society are not always the same. as a result, every society will develop an adaptive strategy to satisfy each integrative need. departed from the different development strategy, thus, there will be different manifestations of art for each society. a farmer community in javanese village, for example, has developed art as an integrative need and, functionally, relates it to the culture in the area where they introduction to establish and improve one’s living standard, a man needs to fulfil several needs which have been accepted universally. there are stages in this human needs, (1) primary or biologic need, it is resulted from biologic and organism aspects, (2) social needs, it reflects human as social beings and is naturally structural, it is manifested as results of human effort in fulfilling their primary needs that have to involve others in a certain social life; often referred as instrumental need, and (3) integrative or simbolic needs, it reflects human as cultural human being; it is seen from the basic nature of human as a thinker, morals, and have feelings, used to integrate several needs into a system that is accepted morally, understood by logic, agus maladi irianto, the development of jathilan performance as an adaptive strategy ... 39 were living since long time ago. art, as for javanese village farmers, is seen as a medium to legitimate their status and preserve their society identity (danandjaja, 1985, p. 19; koentjaraningrat, 1994, pp. 211-220). one of performing art has by a javanese village farmer community that is still preserved till recently is jathilan. jathilan itself is one of traditional performing art that act as cultural identity for the javanese farmer community (irianto, 20142015). jathilan which uses kuda kepang in its performance, is considered as one of the connector of ritual values with the concepts of simplicity and mutual cooperation between people in one farmer community (nugraheni, 2014; nurani, 2008). as a ritual medium, the javanese farmer community carries out jathilan as a medium to pray for safety, prosperity, and welfare to god. however, in line with the development of technology, like tv or video player, recently, there are a considerable number of vcd and dvd contained in the video of jathilan in a more solid, concise, and interesting package (sutiyono, 1994). the development of jathilan performance has then resulted in the development that produces different style, variety, and even function for its supported community. the problem raised in this phenomenon is why does the development of jathilan experience the shift of function, even though, the background of its supported community remains at a group of community living in a village who keeps controlling a plot of land effectively and living in the javanese culture environment? how does the adaptive strategy developed by the supportive community preserve the existence of jathilan performing art? departed from these questions, thus, in order to study the function shift and adaptive strategy had by a supportive community to preserve jathilan cannot be separated from the dynamic development of the culture surrounding it. by studying culture had by the javanese village farming community, the contextual picture of jathilan will be seen, both relating to the nature of jathilan and to the adaptive strategy used by the community to develop the traditional performance itself. the jathilan is addressed by the javanese village farmer community as a medium to legitimate their existence and preserve identity. it is also part of their cultural expression (koentjaraningrat, 1994, pp. 211-212). as explained by rohidi (2000, p. 41), culture can be understood as (1) living guidance used as a comprehensive blueprint or design for its supported community; (2) system of symbol, meaning appropriation and cognitive model that is transmitted through symbolic codes; and (3) adaptive strategy to preserve and develop one’s life in confronting the environment and resources around their living environment. the statement is in line with geertz (1973, p. 89) and suparlan (1985, pp. 1-19) that culture is an entire human knowledge contained with a set of knowledge model that is selectively used to understand and interpret the knowledge they face, as well as to encourage and create the needed action. from the statement, one can learn that culture is a set of guideline used by human to adapt to the environment or to fulfil their living needs. moreover, it also needs to be realized that art exists, developed, and standardized through social tradition held by its supported community, so that the development of art is indirectly in line with the shift of culture that is obeyed by the community (irianto, 2005, pp. 1-7). in accordance with the aim of previous studies, this paper is attempting to study the adaptive strategy of the supported community in order to preserve and develop jathilan. to describe this, the nature and meaning behind the performance of jathilan to its supported community will be discussed. the interpretation will be reflected in a way of life, beliefs, and values are impregnated by community living in a certain living hood. to describe the contextual picture of jathilan in javanese village farmer environment, one cannot identify this only from the artistic perspective. it is because inside the performance, there are aesthetic harmonia : journal of arts research and education 16 (1) (2016): 38-4840 and ideology aspects of its supported community that meets (see keeler, 1987, p. 17). thus, the existence of jathilan is ideal not to be seen from the aesthetic perspective, but also from the point of view that the existence of the performance is also influenced by its dynamic functions and meanings for its supported community (djelantik, 2008). functions and interpretations implicitly reflected in the traditional performing art will be dynamically related to the values that need to be faced by its supported community. method there were two stages of research done by researcher in this study, the literature review and field study. in the stage of literature review, the researcher received a considerable number of references related to the historical data of jathilan existence in indonesia. the references were collected by researchers from journals, newspapers, internet, proceedings, textbooks, and reports from the previous study conducted by researcher. after conducting the literature review stage, the next step was deciding the location for field study which was in magelang regency, central java, indonesia. the decision of location was based on two basic considerations. first, among regencies in central java, the center of jathilan performing art where the performance is still continually preserved is in magelang regency. it was proven by the existence of 153 performing art groups which still actively rehearse and perform jathilan. second, the location of magelang regency which is exactly beside jogjakarta province that is well-known as the center of the art of javanese society. in the stage of field study, researcher collected the data by doing observation and deep interview with several such persons. the results of the observation and interview were used as a guideline to comprehensively describe the existence of jathilan. observation, specifically, was purposefully used to record all conditions and experiences that were previously observed by researchers. whereas the interview was addressed to source persons or key informants who were considered reliable in giving information related to the existence of jathilan. furthermore, in relation to the data analysis, this study was conducted by employing descriptive-analytic approach, that is, an approach aiming at describing a relationship between phenomena in a certain community (creswell, 1994). through this approach, the study attempts to find out an understanding about the reasons, background, as well as interpretations which underlie action and decision-making taken by supported the community in addressing the existence of jathilan. data collected from the research was implemented as a model, perspective, motivation, knowledge, and background of the community in developing the traditional performing art. result and discussion based on research, the researcher has received a comprehensive description about jathilan. broadly, the description explains about: (1) the background of the community that supports jathilan, (2) cultural meanings and messages contained in jathilan, and (3) jathilan as the medium for slametan, communal feast from java. the following is a description of the results. the background of community supporting jathilan as explained previously, this research took place in magelang regency, central java. magelang regency is located between mountains, consists of 21 districts, and owns hundreds of traditional performing arts. the name of art types spread in those 21 districts are topeng ireng, soreng, wayang orang, kubrosiswo, jathilan, dayakan, topengan, ketoprak, prajuritan, jelantur, warokan, dolalak, srandul, lengger, gangsir ngentir, reog, sholawatan, ande-ande lumut, gatholoco, rodhat, manasuka, langentoyo, kuntulan, cekok mondol, balilele, and cakarlele. based on the record agus maladi irianto, the development of jathilan performance as an adaptive strategy ... 41 had by department of tourism and culture in magelang regency on july 2015, there are 723 types of traditional performing arts spread in 21 districts (please see table 1). table 1. number of traditional performing arts in magelang regency types of performing arts number of performing art groups topeng ireng 100 soreng 40 wayang orang 5 kubrosiswo 98 jathilan 153 dayakan 40 topengan 3 ketoprak 56 prajuritan 9 jelantur 6 warokan 20 dolalak 5 srandul 4 lengger 8 gangsir ngentir 3 reog 21 sholawatan 131 ande-ande lumut 1 gatholoco 2 rodhat 2 manasuka 1 langentoyo 1 kuntulan 2 cekok mondol 1 balilele 3 cakarlele 8 total 723 source: department of tourism and culture magelang regency in 2015 meanwhile, written in the data, numbers of jathilan performing art group are the most if it is compared with other traditional performing arts. based on records from department of tourism and culture magelang regency until july 2015, there are 153 jathilan performing art groups. the question raised towards this phenomenon, why does jathilan performing art have more enthusiasts than other performing arts? based on several source persons, learning jathilan does not need a special education. it only needs a simple introduction about the art and direct practice in society. thus, whoever the person is, they can perform the performance. this performing art exists and is developed as a result of collective intelligence that is inherited from one generation to another generation orally, from one mouth to another mouth through direct practice. from this simple introduction, thus, jathilan performing art becomes popular among society, particularly in magelang regency (irianto, et al., 2014-2015). the popularity of jathilan also spreads to all districts in the area of magelang regency, although the comparison of numbers of jathilan performing art groups are not the same for each district. by the spreading of the arts in every district, the popularity of jathilan is somehow clearly seen. the comparison of a number of the groups, however, cannot be compared with the numbers of people living in each district. for example, people live in the bandongan district in 2014 was 56,634 people based on data from the central bureau of statistics of magelang regency and at the same time only one performing art group existed in this district. on the other hand, in the same year, in sawangan district, there were only 56,010 people living in the district, but it had 34 jathilan performing art groups. further, the distribution of jathilan performing art group in magelang regency can be seen in the following table 02. harmonia : journal of arts research and education 16 (1) (2016): 38-4842 as a form of folk dance originated from farmers, jathilan is considerably different from dance originated from the palace. if classical dance from the palace is resulted from a dance choreography that is distilled strictly, on the other hand, jathilan performance as a folk performing art is more of a flexible dance type. even, according to sedyawati (1984), dance originated from outside palace is usually expressed hardly, meanwhile, the dance originated from inside the palace is smoother and slower. jathilan belongs to an art originated from outside palace which is expressed spontaneously and hardly. in addition, several source persons also mentioned that the word “jathilan” itself comes from a javanese word called “jathil” which means jumping or hoping joyfully. however, based on another source person, “jathilan” comes from the javanese term “jan thilthailand” which means whole heatedly moves all parts of body dynamically till sometimes look rough. therefore, a jathilan dancer has to wholeheartedly move all of his body dynamically to express happiness, even though it will look rough. it has to be admitted that knowledge of farmer society basically tends to be social rather than economical. irianto and thohir (2004) claim that value and attitude had by farmer society tends to prioritize tranquility and peace without a need to push their desire more than what they have currently. this is what is usually known as value and attitude which maintains small society tradition and local value. for example, farmers have still stuck to the principle of receiving income equally, although they have to live on stage of paras subsistence. however, in line with the development of civilization, the farmer society also has to get involved in economic activity and depends on broader market (larger tradition). among the contradict condition, jathilan performance grows and develops in magelang regency. jathilan here is actually able to accommodate the condition that is faced by the farmer society. as stated by one of such person, the numbers of jathilan table 2. numbers of jathilan performing art group and its distribution in magelang regency districts number of groups bandongan 1 borobudur 20 candimulyo 12 dukun 10 grabag 3 kajoran 5 kaliangkrik 9 mertoyudan 8 mungkid 5 muntilan 9 ngablak 1 ngluwar 4 pakis 2 salam 4 salaman 6 sawangan 34 secang 2 srumbung 6 tegalrejo 6 tempuran 1 windusari 5 total 153 source: department of tourism and culture magelang regency in 2015 based on both observation and interview results with several source persons, the enthusiast of jathilan performing art in magelang regency is a group of society comprises of people living in villages and working as farmers. they have been bounded with tradition and feelings since very long time. by keeping obeying tradition and feelings, thus, they think that the world of farming and themselves are part of an interrelated aspect. people in these districts are working as a farmer for not only collecting profits, but also to meet the need of their modest family or, in other words, to receive their rights to live in paras subsistence (irianto, et al. 2014-2015). agus maladi irianto, the development of jathilan performance as an adaptive strategy ... 43 performing group in borobudur district, for example, is considerably numerous since the area is located around the world tourism object that is borobudur temple which frequently performs the attraction of jathilan. by developing the existing creativity, jathilan from borobudur district has been able to be one of entertaining art as well as tourism commodity in magelang regency. different from what happened to srumbung district, located on the slope of merapi mountain, the society is still maintaining the originality of jathilan as a medium to communicate with their ancestors. even though the number of jathilan performing art group in srumbung district is not as many as in borobudur district, however, the existence of traditional art in srumbung district is used by the society to ask for protection from their ancestors from the dangers of volcanic eruption (irianto, et al. 2014-2015). from the explanation, it can be understood that the existence of jathilan in magelang regency is able to preserve small tradition had from the supported community in one hand, and rationally can be also used to adhere bigger tradition developed in its surrounding in the other hand as happened in srumbung and borobudur district. cultural meanings and messages in jathilan performing arts from the description of background of the supported community of jathilan in magelang regency, thus, the traditional performing art itself must contain meanings and messages in the form of ideas, abstraction, attitude, as well as belief and experiences had by the farmer community. moreover, the performing art itself exists and is developed after it is standardized through a social tradition of its supported community. therefore, the development of performing art is indirectly in line with the changing or shift of culture had by the society. then, what kind of artistic performance jathilan is? the performance of jathilan is started by music accompaniment that is played by the music player. after several minutes, dancers acting as warriors are coming to the stage while riding on an artificial horse made from woven bamboo or usually called as jaran kepang in javanese term. the music accompaniment has to be continuously played until the end of the performance. the next scene is when the dancer acting as a giant or butho or a big animal look like a lion, which is known as barongan comes to the stage to chase the soldiers. here, at this time, usually the dancers are possessed. while dancing, the possessed dancers will show some attractions, like, breaking coconut with bare head or swallowing glasses. the scene is ended by a dancer acting as the figure of a prince who will solve all problems (irianto, et al. 2014 & 2015). types of jathilan dance, as informed by source persons, are: pariaksi, lampah mletik, pincangan, pencikan, teposan, riyepan, lampah satrio, pancak jonggo, untu walang, lampah mbalik, sembiran, and larikan. in order to dance those types of dances, practice is needed. several movements practiced by the dancers are the movement of hand waving back and forth, movement of thumb flicking twice, movement of cutting grass, movement of horse shifting to the right, left, and forward, movement of horse drinking, etc. in one group of jathilan performer, it usually consists of eight music players. whereas, the jathilan dancers usually consist of 10-16 people. the next question will be who was the first creator of jathilan performance? based on several literature reviews and interviews with key informants, there is no one knows about the first creator of jathilan. the same as other traditional arts, the creator of jathilan performing art is anonymous. according to soedarsono (1990), the weakness of traditional art performing is its manifestation that will be disappearing right after the performance is over. it is different to fine arts, that still can be enjoyed even after the exhibition is over, fine art can also be kept for unlimited time. the same also works for the data related to the time when a certain performance was performed and developed in javanese harmonia : journal of arts research and education 16 (1) (2016): 38-4844 cultural environment. there is no one has ever exactly recorded the data. however, more or less the javanese culture was first existed and developed was when the pegeud started to publish his book entitled javanese volksvertoningen in 1930s. that year is considered as the year when javanese traditional performing art started to exist in the javanese culture environment (kuswarsantyo, 2013). the performance of traditional art, which uses equipment in the form of artificial horse, is usually held in village festivity occasion that is known as merti desa. merti desa is an annual festivity for a public that is usually held by farmers in most of javanese villages. this occasion is usually held after harvest or before planting season. the purpose is to clear the village from the evil spirit, disease, as well as disaster. therefore, holding the performance of jathilan means also a form of social solidarity from its supported community as to fulfil their hope of being free from disaster (irianto, et al. 2004-2015). the performance of jathilan traditional performing art is usually adapted the story of panji asmarabangun, a set of stories from the period of classical javanese in the era of kediri kingdom. it tells about heroic and love story between two central characters, raden inu kertapati (panji asmarabangun) and dewi sekartaji (galuh candrakirana). besides in jathilan, the story has also been widely adapted in other traditional performances. related to this information, the key informants (based on data from irianto, et al., 2014-2015), added that jathilan performance actually has several versions. from the versions, there are three dominating versions: (1) version that represents the cavalry of pangeran diponegoro (prince diponegoro) in beating deutch colonialism, (2) version that depicts heroic story of raden patah which is help by wali songo in introducing and spreading islam in java, as well as, (3) the mataram version that tells about the practice of war lead by pangeran mangkubumi who had title as sri sultan hamengku buwana i, the king of jogjakarta kingdom, to fight against deutch. despite many versions of jathilan performance, the similarity lies in the usage of the wooden bamboo artificial horse or jaran kepang as particularity property used during the performance. minimally, four flat, artificial wooden bamboo horse is used in jathilan performance. the horse itself has different colors, there are white, red, yellow and black. based on interview with several informants, colors attached in the artificial horses are believed to be able to contain meanings about human’s natural character. white illustrates the nature of meaningful kindness of human being (mutmainah). red illustrates the anger (amarah) side of a human which means brave, yellow illustrates the nature of human being that is supiyah which means tempted desire to possess, and black illustrates aluamah which means greedy. research by prakosa (2006) states that jathilan is specifically a depiction of troop movement by imitating and mimicking horsemen. simultaneous and rhythmic stomping legs are clearly seen, meanwhile the hands are stickily holding the artificial horse. in addition to this, kuswarsantyo (2013) argues that jathilan is thematically a heroic dance illustrating troop who are practicing war. another question raised of why the horse is used as an important symbol in jathilan performance. informants or source persons mention that horse is a symbol of strength and courage, as well as a favorite animal of javanese kingdom knights (irianto, et al., 2014-2015). the argumentation is supported by pigeaud that is cited by kuswarsantyo (2013) that belief in ancient javanese society regards horse as a very important animal that the existence of horse is closely related to supernatural power in that ancient era of java. it is believed that inside the body of a horse, especially at the head part, lies the spirit of the ancestors. thus, the horse becomes symbol of strength as well as the characteristic of jathilan. moreover, the horse is the symbol of strength. naturally, the horse has much spirit and has functioned as a “street comagus maladi irianto, the development of jathilan performance as an adaptive strategy ... 45 pass”. the supported community of this traditional performing art believes that by using property of artificial horse, there will be ancestor spirits that come to face disasters. beliefs and meanings had by supporting community towards jathilan as described previously, basically explains that the traditional art is a medium which is able to accommodate ideas from its supported community. if jathilan performance is medium to accommodate the ideas of supported community, thus, it has been integrated structurally and mentally in the cultural system supported by the concerned society (geertz, 1973). if this has been integrated in cultural system, it has been used as guidance by its supported community to realize an action. within this system, embedded sets of cognition, symbol, and meaning that are integrated comprehensively. in line with the thought, thus, the symbol system is used selectively by its supported community to communicate, preserve, relate, behave, and act to fulfil its integrative needs. the supported society believes that by holding jathilan, which contains social function, togetherness in the attempt to strengthen the identity and integrity of supported community is able to be created. besides, based on observation, it can be said that jathilan performance is able to create the atmosphere of solidarity between farmer dancers and farmer audiences in javanese cultural environment. moreover, tradition and local moral value about social and ritual meaning are attached in jathilan. social meaning contained in this traditional performing art is reflected in the society’s life, such as, mutual assistance, helping each other, as well as seeing problems as collective issues. on the other sides, supported community also needs safety and protection from “the caretaker” of nature or ancestor spirits which are then expressed through ritual (irianto, et al., 2014-2015). jathilan as a medium of slametan as a farmer community, dependency of human towards nature greatly influences the dynamics of life of community supports jathilan performing art. human’s dependency on planting and harvesting season need an expression medium which able to create the happiness nuance as well as togetherness between people in society. however, when they, people in the community, have to endure dry season or disaster, they do not have ability to overcome it. as a result, they need help from their ancestor spirits which are believed to be able to control the nature condition. condition of nature is understood as areas full of spirit’s existence. in order to be able to understand the supernatural of the universe, a medium is needed to facilitate the communication between human and nature (irianto and thohir, 2004). communication between human and nature is expressed through certain rituals, and one of it is expressed through performance of jathilan in which within the performance are the prayers and wishes of the supported community. a community that supports jathilan performance believes that traditional performing art has the ability to facilitate their prayers and wishes. the prayers and wishes, in javanese farmer community perspective, are expressed through the ritual process often called as slametan. prayers in javanese jathilan, kuda kepang, or reog performance, generally aims at asking for safety to the creator during the performance (ambarwangi, et al., 2014, pp.3745). slametan is believed as a medium that is able to create harmony horizontally and vertically. through slametan, society believes their social position as a human being is not different to the others; they also believe that by holding slametan, they will be free from supranatural spirits haunted them. slametan is able to accommodate social and ritual demand (geertz, 1983, p.13). the belief, based on soedarsono (1990, p.4) was basically existed in the era of pre-hinduism, known as magi simpatetis belief. it is part of an ancient belief that influences the belief of society in the scope of javanese culture. it means that every event harmonia : journal of arts research and education 16 (1) (2016): 38-4846 happened around the human living environment is influenced closer to the event that has the power of magi simpatetis. society supporting jathilan performing art in magelang regency also strengthens the argument. based on observations in the field and interview with several key informants, jathilan is considered as one medium that has the power of magi simpatetis. for example, jathilan performance’s supported community in srumbung district, magelang regency, who lives on the slope of the merapi mountain believes that the area they are living in belong to disaster-prone areas since the volcano may erupt in no time. they realize that they can do nothing to prevent or stop the disaster to happen, however, they keep hoping that the disaster will not destroy their family and neighbor around the environment. one form of expressing the wishes is through holding ritual that is jathilan (irianto, et al., 2014-2015). as part of ritual procession, therefore, meaning and the power of magi simpatetis contained in jathilan is more emphasized. to hold the ritual procession, according to one informant, a community needs to follow certain ritual rules that have become a tradition and cannot be left by both dancers and the organizer. in order to give illustration regarding to the ritual rules, researcher has created a documentary film of a jathilan performance in krajan, ngargasoko village, srumbung district, magelang regency. in this place, there is one jathilan performing art group, namely panca budaya that for some informants are belong to a jathilan performing art group that preserves the originality of the art which is inherited by their ancestors (irianto, et al., 2014-2015). around two kilometers from the village, there is a field which is believed to local communities as a gate to the “kingdom” of supernatural spirits that “control” the area of mount merapi. in the area also there is a confluence of two small rivers called tempuran which is believed to be a sacred place for purifying one self. for this reason, before jathilan is performed in front of the gate of the “kingdom” of merapi, all stage properties, like, the artificial horse, musical instrument, etc., which is used during the performance need to be purified in tempuran river. the process of purifying or bathing is usually known as ngguyang jaran. to complete the process of ngguyang jaran, society prepares offerings to be brought to the purifying or bathing spot. the offering contains seven types of flowers, snacks, cooked chicken, boiled chicken eggs, coins, and burned incense. the ritual process of jathilan in krajan, ngargosoko village, srumbung district, magelang regency is described in irianto et al. (2014-2015): before the performance of jathilan is started, a ritual is done by a spiritual figure in the village. the ritual is done by parading the stage equipment to the river which is believed sacred to be bathed. the stage equipment is eight to ten artificial horses, giant masks, a born-again, a set of musical instrument, as well as an offering. in the sacred river, the horses are bathed or purified. meanwhile, the offering contains of seven-type of flowers, snacks, cooked chicken, boiled eggs, coins, and burned incense are devoted to the spiritual spirit of the village. the offering ritual is believed as permission to the ancestors for the sake of the performance to run well. if the ritual procession ngguyang jaran is completed, thus, all entire crews and dancers will come to the field without voices or played instruments. the distance between the bathing spot to the stage of performance is more or less one kilometer which must be reached by climbing a mountain cliff. after everything is set up, the performance starts. one form of communication between supported community with supernatural spirits in the area is usually reflected from the scene of trance, possessed or what society called as ndadi which are unconsciously expressed through the dancers of jathilan. when the dancers are possessed, it is believed that the spirits possess the dancers are the supernatural spirit haunting the place where jathilan is agus maladi irianto, the development of jathilan performance as an adaptive strategy ... 47 performed. the scene performing the possessed dancer is in fact becoming the most awaited scene by the audiences. the possessed dancers are acting strange. among the strange actions are screaming without any clear meaning, both hands are strongly held in fist, both legs are strained, both eyes are closed or even if it is opened, only the corneas are shown. possessed, or ndadi in javanese, does not only happen during the jathilan performance. in other similar performances in central java, ndadi can be also experienced by audiences since they might be affected by the possessed dancers. in fact, the moment of ndadi itself that makes performances, like jathilan, reog, or keda kepang are interesting (wiyoso, 2011; ambarwangi, 2014). if jathilan dancer is possessed, after that, the role of a “tamer” to guide possessed dancers to dance by following the rhythm of gamelan, javanese traditional music. the “tamer” will also whisper a certain mantra while pulling the hair of the possessed dancers. while mantra has been whispered, both ears of the dancers are slowly blown. the purpose is to give suggestion to the subconscious mind of the possessed dancers. on the other hand, through the medium of the possessed dancers, the “tamer” also leaves messages to the spirits to keep and protect society from disaster and threats. after finishing whispering, the “tamer” lifts the body of the dancers and drops it to the ground, afterwards. at the moment when the body drops to the ground, the dancer is back to their sense. finally, they are dancing according to the rhythm of the music accompaniment (irianto, et al., 2014-2015). conclusion based on data taken from the field of study and literature review, the conclusions are: performance of jathilan is ideal not only studied from the aesthetic point of view, but also from the cultural identity perspective of its supported community. this is caused by the nature of jathilan which is closely related or affected by the concept of culture embraced by the community. the concept of culture will give us direction about adaptive strategies to preserve jathilan which basically cannot be separated from the dynamic of culture accompanying it. jathilan performance considers to be one of the most popular traditional performing art in the community of farmers rather than other traditional performing arts. the popularity is gained since the art is able to accommodate the condition faced by the supported community. the community believes that the art can be used as medium to preserve small tradition held by society as well as to be used as medium to follow the bigger tradition in its surrounding, rationally. one of the specific characteristic of jathilan is the use of artificial horse known as jaran kepang. the supported community believes that horse symbolizes strength and bravery, even specifically, head of the horse is believed to be the place that has the spirit of ancestor in it. therefore, by using the artificial horse as property, it is believed that people will have the strength to face disaster that they might face. belief and meaning about the horse basically explain that the performing art of jathilan is a medium to be used to accommodate appreciation and the ideas of the supported community. jathilan performance is believed by society for not only to create happiness and togetherness, but also as a medium to facilitate prayers and wishes. jathilan performing art is also identified as asocial activity namely slametan that is regularly done by javanese farmers. through slametan, society believes that their social position is similar to other person positions. society also believes that by holding slametan, they will be free from disturbance caused by supernatural power. the javanese farmer community believes that slametan is able to accommodate social and ritual demand. as ritual medium, the javanese farmer community holds jathilan performance as a medium to worship for safety, prospeharmonia : journal of arts research and education 16 (1) (2016): 38-4848 rity, and welfare. however, along with the development of technology, society packs jathilan performance to be more solid, concise, and entertaining. although the recent performance experiences some changes in style and variation, however, the existence of the performance itself belongs to a form of adaptive strategy by its supported community to maintain and preserve the performance of jathilan, functionally. references ambarwangi, s., & suharto. (2014). reog as means of students’ appreciation and creation in arts and culture based on the local wisdom. harmonia journal of arts research and education, 14(1), 37-45. brandon, j. r. (1970). theatre in southeast asia. cambridge, massachusetts: harvard university press. creswell, j. w. (1994). research design. qualitative & quantitative approaches. usa: sage publication. danandjaja, j. (1985). pantomim suci betara berutuk dari trunyan, bali. jakarta: balai pustaka. djelantik, a. a. m. (2008). estetika seni. jakarta: masyarakat seni indonesia geertz, c. (1973). the intepretation of culture. n.y: basic books. geertz, c. (1983). local knowledge. new york: basic books. irianto, a. m. (2005). erotika petani jawa memuja dewi:tayub, antara ritualitas dan sensualitas. semarang: lengkongcilik press irianto & thohir. (2004). ekosistem dieng dan kebijakan daerah kabupaten wonosobo. research report. semarang: puslit sosbud lppm undip irianto. (2014-2015). mengemas kesenian tradisional dalam bentuk industri kreatif, studi kasus kesenian jathilan. research report. semarang: lppm undip. koentjaraningrat. (1994). kebudayaan jawa. jakarta: balai pustaka. kuswarsantyo. (2013). seni jathilan: bentuk, fungsi, dan perkembangannya (19862013). disertaion. yogyakarta: universitas negeri yogyakarta. nugraheni, m. c. (2014). analisis sosiologi budaya dalam kesenian tradisional jathilan tri tunggal muda budaya dusun gejiwan desa krinjing kecamatan kajoran kabupaten magelang. aditya-pendidikan bahasa dan sastra jawa. 4(5), 71-75 nuryani, w. (2008). nilai edukatif dan kultural kesenian jathilan di desa tutup ngisor, magelang jawa tengah. thesis. yogyakarta: pascasarjana, universitas negeri yogyakarta. prakoso, r. d. (2002). kesenian jaranan kota surabaya. thesis. surakarta: stsi surakarta. rohidi, t. r. (2000). kesenian dalam pendekatan kebudayaan. bandung: stsi press. sedyawati, e. (1984). tari: tinjauan dari berbagai segi. jakarta: pustaka jaya. soedarsono. (1990). tayub, penyajian dan tata-tarinya. surakarta: sebelas maret university press. strauss, l. (1988). totemisme dalam pandangan strauss, dalam j. van baal, sejarah dan pertumbuhan teori antropologi. jakarta: gramedia, 1988. turner, victor. (1986). the ritual process. new york: cornel university press wiyoso, j. (2011). kolaborasi antara jaran kepang dengan campursari: suatu bentuk perubahan kesenian tradisional. harmonia journal of arts research and education, 11(1), 1-8. 10 the song of macapat semarangan: the acculturation of javanese and islamic culture agus cahyono, widodo widodo, muhamad jazuli, onang murtiyoso department of drama, dance, and music, faculty of languages and arts, universitas negeri semarang, indonesia submitted: january 4, 2020. revised: march 9, 2020. accepted: july 4, 2020 abstract the research objective is to explain the macapat semarangan song which is the result of acculturation of javanese and islamic culture. the study used qualitative methods by uncovering the concept of processing of javanese music and acculturation. research location was in semarang with the object of macapat semarangan song study. data was collected through interviews, observations, and study documents. the validity of the data was examined through triangulation techniques and the analysis is done through the stages of identification, classification, comparison, interpretation, reduction, verification, and making conclusions. the results showed that the macapat semarangan song has unique characteristics of arrangement. the song’s grooves use long and complicated musical ornamentations with varying pitch heights to reach high notes. this is a manifestation of the results of acculturation of javanese and islamic culture seen from arrangement on the parts of adzan (call to prayer) and tilawatil qur’an. the process of acculturation of elements of islamic culture also involves scales. azan songs use diatonic scales, some macapat semarangan songs also use the same scales, but a cycle of five notes close to nuances of chinese music scales. various elements of arrangement on the azan, chinese and european musical scales then formed a new culture, macapat semarangan. keywords: azan song; macapat; semarangan how to cite: cahyono, a., widodo, w., jazuli, m., & murtiyoso, o. (2020). the song of macapat semarangan: the acculturation of javanese and islamic culture. harmonia: journal of arts research and education, 20(1), 10-18. harmonia: journal of arts research and education 20 (1) (2020), 10-18 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i1.25050 something distinctive and unique that is macapat artwork. its specificity concerns style or céngkok. macapat semarang style is also called macapat céngkok or gagrag or cakrik semarangan (supanggah, 2002). macapat semarangan is a type of recitation art that grows and develops in semarang. the inheritance system of macapat semarangan uses oral tradition (puguh, 2017). the classic macapat semarangan has four metrum, they are: dhandanggula, sinom, pangkur, and asmaradana. dhandanggula and sinom song semarangan are introduction macapat is a classic javanese literary work bound by rules guru lagu, guru wilangan, and guru gatra read by a vocalist with a certain vocal song (saputra, 2001). macapat can also be interpreted as poem that is bound by poetry and contains the tones that make up the song (widodo, 2006; widodo, 2008). semarangan is derived from the word semarang, the name of the area on the north coast of central java. the suffix-an in the word means possessive, has corresponding author: e-mail: aguscahyono@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 agus cahyono et al., the song of macapat semarangan: the acculturation of javanese and 11 composed in pitch of sléndro pathêt sanga or manyura miring, while pangkur and asmaradana was composed in pélog pathêt nem pitch which is colored by the notes on pélog pathêt lima and pathêt barang. the interpretation of the term miring on sléndro pathêt sanga pitch or manyura is different from the understanding of javanese musical actors in general as tones in the sléndro pitch which is raised or lowered by half the bar. in macapat semarangan the term miring pointing to pentatonic tones rooted in western music that is close to nuances of chinese music. therefore, the local people often refer to it as sléndro-diatonic pitch. notation of song compositions using miring pitch is easier to do using a diatonic number notation (solmization) system than kepatihan notation system. pathêt as a concept discussing about an athmosphere of feeling stop in the arrangement of javanese traditional music insrument (gamelan), in macapat semarangan songs are less applicable (hastanto, 2009). although the sound of notes in certain song lines in macapat semarangan often sounds blero, it is outside the frequency limits of the tone on the sléndro dan pélog pitch, but the javanese musicians who are sensitive to the pitch do not feel disturbed. according to conventional aesthetic rules about the reading of the surakarta style macapat text as waosan, it is winengku sastra song (framed songs of literature), giving a long song line in convoluted syllable macapat text is not justified (waluyo, 1999). the aesthetic rule would not apply to macapat semarangan. in certain syllables the semarangan macapat text especially those in the near position of stop point, is often sung with numerous tones. if wiled or musical ornamentation is simplified, then the composition character is lost. the vocalists in various art performances still carry it with long wiled to reach high notes. when macapat semarangan is performed, the appreciators are often carried away with long breaths to hear such a song. when macapat semarangan is performed, the appreciators are often carried away with long breaths to hear such a song (darsono, 1995). slendro-diatonic vocal work combined with javanese gamelan instrumental playing slendro in semarangan sounds is unique. parts of the vocal track that have long wiled lilting songs resemble the call to prayer or tilawatil quran with a mix of slendro, pelog, diatonic scales, and even the nuances of chinese music further strengthen its uniqueness. while the instrumental work on semarangan music is a form of adaptation or mixing of many regional musical styles, such as the surakarta, yogyakarta, banyumas and sundanese styles. the task is to work on building all musical elements in musical composition creatively and systematically to form a unified musical sound quality according to the character and function of the performance. supanggah (2009) said, that the concept of working on javanese music has six elements, namely: (1) working on material, in the form of gending and balungan gending; (2) artists, such as: pengrawit, wiraswara, and waranggana; (3) media to discover arrangement, i.e., a set of gamelan; (4) tools or arrangement device vocabular technique, céngkok, wiled, irama and laya, laras, pathêt, dynamics, and all musical elements of gending; (5) determinants of working on, namely: the authority of the person or institution as well as the function of musical and social services; and (6) consideration of arrangement, in the form of situational circumstances that occur in the show. creative actions on each musical element contribute to the realization of the quality of musical compositions. hidayatullah (2005) noted five problems related to cultural acculturation, namely: (1) methods for observing, recording, and describing the process of cultural mixing; (2) elements of migrant culture that are accepted and rejected by local culture; (3) elements of local culture that are easily and difficult to be changed or replaced by elements of foreign culture; (4) individuals in society who are fast and slow in accepting elements of foreign culture; and (5) tensions or crises arising from the acculturation process. harmonia: journal of arts research and education 20 (1) (2020): 10-1812 the study of cultural acculturation symbols, javanese and islamic acculturation, semarangan music, adzan and macapat semarangan have been conducted by several researchers, including triyanto, nur rochmad, and mujiono (2013), amir mahmud (2012), dhanang respati puguh (2017), muntoha, jamroni, ali abdul jabbar (2015), and widodo (2008). triyanto, nur rochmad, and mujiono discusses the symbol of cultural acculturation in the warag ngendog visual art (triyanto, et al., 2013). amir mahmud discussed about the acculturation of middle eastern culture to indonesia (mahmud, 2012, pp. 17–28). dhanang respati puguh examines the preservation, development and policy of semarangan cultural heritage in a historical perspective (puguh, 2017). muntoha, jamroni, ali abdul jabbar discusses the call to prayer (adzan) and the iqomah (muntoha, et al., 2013). widodo discusses the theory and practice of macapat song (widodo, 2008). among the studies that have been done, there is not even one that mentioned the acculturation of javanese and islamic culture in the context of the macapat semarangan song and adzan. the focus of the discussion in this article is on the semarangan macapat song which is allegedly the result of javanese and islamic acculturation, namely from the flow of adzan as material for making semarangan music (gending-gending). the purpose of the discussion is to find and explain the characteristics of the macapat semarangan song, dhandanggula sl. sanga miring, sinom sl. sanga miring, pangkur pl. nem, dan asmaradana pl. nem. methods the study used a qualitative method with a knife analysis of working on concepts in javanese music and cultural acculturation. the study was conducted in semarang with the object of study working on the composition of the macapat semarangan song. data was collected through interview, observation and document study techniques. interviews were conducted with the experts and javanese musical artists who worked on the macapat semarangan song. observations were made at various javanese traditional art performances in which there was the macapat semarangan song as material. document study in the form of appreciation of the composition of the macapat semarangan song on audio and audiovisual recording media such as: audio recording of javanese music by ki narto sabdo and live musical performances by the karawitan group sekar dhomas semarang. azan song data is extracted through the appreciation of the sound of its compositions which reverberate in muslim places of worship before the prayer time in semarang as well as in local and national television media. data validity is examined through triangulation techniques on sources, methods, and theories to ensure their validity. data composition of the songs above is notated according to the aesthetic rules that apply to identify and classify similarities and differences. the similarity of working on the songs in the azan and macapat semarangan songs shows the adaptation of cultural elements. the acculturation process on the semarangan macapat song was analyzed through the stages of reduction, identification, classification, comparison, verification, interpretation, and making conclusions. results and discussion azan song azan is a dhikr with certain texts taught first by the messenger of allah, rosulullah saw to his companions as knowledgeers of the establishment of fard prayer. its announcement was referred to by some experts as sunnah kifayah but some other experts said fardu kifayah. it is a must even though it is done by at least one person. in the beginning the azan lafaz were echoed by a simple song but over time it developed into a diverse composition of different tones throughout the world following the culture prevailing in an area. this confirms that the recitation agus cahyono et al., the song of macapat semarangan: the acculturation of javanese and 13 of azan has certain standards and specifications according to the agreement of the islamic community in an area (khasyaf, 2017). azan is sounded vocally with a certain song line by a muazzin at the time of prayer to remind muslims that prayer time has arrived and / or to invite them to pray in congregation in certain places of worship. because of its function, the sound composition is arranged so that it sounds loud and beautiful. so that the call to prayer can be heard as widely as possible, today the call to prayer in certain places in the archipelago is even channeled through loudspeakers. in connection with this, kasyaf (2017) again states that there is a sunnah value for the muazzin, they are : (1) speaking out loud so that the echoes of the call to prayer reach out to many people; (2) has a beautiful voice so that the call to prayer attracts many people; and (3) should be fair so that the recitation of the call to prayer is to avoid mistakes. in semarang the sound composition of the call to prayer is also diverse. in general, the call to prayer is performed in a certain groove with a diatonic scale. the following is an example of an outline notation of the composition of the azan song that is most often heard directly or through loudspeakers in muslim worship places as well as in the electronic mass media in semarang and surrounding areas. when examined, the azan song notation shows that the parts of the song’s plot have much in common or the same song’s plot is presented repeatedly. in addition, certain syllables, especially at the time of the break, were chanted by involving a lot of tones so that the presentation was memorable lilting. the composition of the song is rhythmic, not bound by beats. therefore a muazzin can bring it freely without _t 1 1 1 1 1 z3x2xc3 4 5 5 a – llah hu – ak – bar ‘ a – llah hu– ak –bar 1 5 4 4 3 2 z1x.x3x2x3x.x4x5c4 3 5 5 a – llah hu – ak – bar a – llah hu– ak – bar t 1 1 1 1 1 1 1 z3x2c3 4 5 as – hadu a la’ il la ha i – la llah t 1 1 1 1 u u y z3xxc2 z2xxc1 z1x.xuxyxux1x.x2x4x3x2c1 as – ha du a la il la ha i – la llah t 1 1 1 1 1 1 1 1 1 z3x2c3 4 z4x.xc5 as – hadu an na mu ham – mad -dar ro – sul a llah t 1 1 1 1 u u y y y z3x c2 z2x xc1 z1x.x2x4x3x2x1x.xuxyxux1x.x2c1 as – hadu an na muham– mad-dar ro – sul a llah t 1 1 3 4 5 t 1 1 1 2 z3x.x4x3x2x3x.x4x3x2x3x4x5x4x3x2x4x3x2x1x2x4x3x2x1x.xuxyxuxc1 ha ya a la sho – la ’ ha-ya a la sho – la t 1 1 3 4 5 t 1 1 1 2 z3x.x4x3x2x3x.x4x3x2x3x4x5x4x3x2x4x3x2x1x2x4x3x2x1x.xuxyxuxc1 ha-ya ala fa – la ’ ha ya ala fa – la t 1 1 1 1 1 z3x2x3x.x4x5c4 4 5 5 a– llah hu – ak – bar a – llah hu – ak– bar 1 u u y z3x c2 2 z1x.xuxyxux1x.x2x4x3x2c1 _ la i la ha – i al – lah figure 1. azan song composition notation in diatonic form harmonia: journal of arts research and education 20 (1) (2020): 10-1814 being bound by a beat (beat). the height of the tones and the speed of their delivery are adjusted to the sound capabilities of the muazzin. macapat semarangan song at this time there are four meters of classical semarangan macapat songs, namely dhandanggula sl. sanga or manyura miring, sinom sl. sanga or manyura miring, pangkur pl. nem, and asmaradana pl. nem. the two macapat song compositions mentioned first use pentatonic tones rooted in western music which is thick with nuances of chinese music. therefore, local people often refer to these scales as sléndrodiatonik pitch. two composition the second macapat song uses tones of pélog pitchwith a certain tones composition that its musical feeling tends to be berpathêt nem. the next explanation is an outline of the song in the form of notation. in this context for example macapat song dhandhanggula semarangan laras slendro-diatonik uses diatonic number notation, and macapat asmaradana semarangan pelog nem uses kepatihan notation. macapat semarangan song as a phenomenon of an acculturation linton (2002) states that acculturation begins with a meeting of two or more different cultural elements. these cultural elements influence each other, give, receive, and integrate so that a new culture is formed. the selection and adaptation of cultural elements then occur in the process of cultural struggle. cultural elements that _ 3 5 3 5 ’ 3 5 3 5 z5x c6 z4x.x3x4x.xx3xc2 ka dya dhan-dhang a tur i ra ma nis 1 2 2 2 ’ 2 u 2 z4x c3 2 3 ki pa ngu lu a tur nya mang–ka na 1 y 1 t ’ y z1x cu 1 zxx2x.x5x6x4x.x3x4x3c2 pu ku lun ta dhah du ka né z3xx c5 5 5 4 xxz3x.xxx2xx3cx1 2 z4x.xx3xxx2xxx3cxx5 a jrih a mba ka lang kung 3 2 1 xxxzyxxx.xuxxxxx1x2xxx.xuxxxyxcxt ’ t t zex ct t zyx xct mring dhi pa ti kang la gya sa kit 3 6 5 3 2 1 zyx.xux1x2cu nul – ya ri -sang pa ndhi ta t e t t zxxxexxxxtcxxxxy zrxxxx.xexrxecxxxw gya be dhug ti na buh x t y y y zyx ct e t y gu mu ruh swa -rèng ka pyar –sa t r e w ’ w w w w w e t y wong sa -pra ja ma mya ta ken kang ka pyarsi w e t r zxexwxqxwcu ’ z1x.x7x1c@ z7x6x!x7x.x6x7x6c5 _ prap – ta ing nda lem pu ra figure 2. macapat song notation of dhandhanggula semarangan laras slendro-diatonik agus cahyono et al., the song of macapat semarangan: the acculturation of javanese and 15 are suitable are accepted, and vice versa. the initial phase of acculturation is assimilation, cultural change involves one aspect. diffusion shows the distribution of cultural elements from one place to another or a group to another group that opens opportunities for inter-cultural meetings. diffusion summarizes three kinds of cultural formation processes, they are: serving foreign cultural elements; acceptance of the cultural elements; and integration of cultural elements based on observing the composition of the song azan and macapat semarangan along with the way they are carried out, they have a lot in common. the composition of azan and macapat both have the main elements of literature or poetry and song. azan text in the form of standard dzikir taken from the koran with the core meaning of praise to god and the prophet (khasyaf, 2017). the composition of the song is rhythmic without being bound by beats. the presentation was performed by a single vocalist with the functions mentioned above. to reach the height and length of the notes in the flow of the song, a muazzin can measure the ability of his own voice. the macapat semarangan text has standard provisions concerning guru gatra, rules regarding the number of lines in each stanza; guru lagu, rules about the last vowel on each line; and guru wilangan, rules regarding the number of syllables in each line. its composition in function as a waosan is also rhythmic without being bound by beats. the presentation was performed vocally by a vocalist. he can measure the ambitus of his own voice in order to reach the height and length of the notes in the groove song semarang macapat composition. the requirements of a muazzin implicitly also apply to macapat performers. those requirements on waosan macapat are express in the convention of lagu winengku sastra (framed song of literature). these rules are detailed by some experts to arrange their nature so that the messages contained in the macapat text can be clearly expressed. some conventional rules are: recita _! ! ! ! ! zx@x!c@ # # a ja tu-ru so ré ka – ki # zx@x!x@x#x5x.x6x5c3 3 3 3 3 3 z1x.x2c3 a na dé-wa ngang-lang ja – gad 3 z2x.x1c2 3 1 y 1 2 z4x5x6x3x.x2x4x5x6x3x2xx.x3x2xc1 nyang king bo kor ken – ca – na – né 6 z!x#x@xc! 6 z5x xc4 4 4 z6x5c3 z2x c1 i – si né do nga te – tu lak 1 1 1 1 1 2 z4x5x6x3x.x2x4x5x6x3x.x2x3x.x2c1 san–dhang ka – la – wan pa – ngan z3x c5 5 5 5 6 z!x c@ z5x c7 z6x4x.x5x4c3 ya i – ku ba – gé – yan i – pun 3 2 3 1 y 1 2 z4x5x6x3x.x2x4x5x6x3x.x2x3x.x2xc1 _ wong me – lèk sa – bar na – ri – ma figure 3. song notation of macapat asmaradana semarangan pl. nem. harmonia: journal of arts research and education 20 (1) (2020): 10-1816 tion of each syllable no more than three notes; pauses in parts of the song do not break words; the tempo of reading is like people read prose with regular dynamics; and the connection of certain words with other words are dissolved. if a pause in a part of the song is performed, the conventional provisions are: (1) the pause for the six syllable line is performed after the first two syllables; (2) pause for the seven syllables, performed after the first three syllables; (3) pauses for an array of eight syllables, performed after the first four syllables; (4) pauses for a range of nine syllables, performed after the first four syllables; (5) pause for the ten syllables, after the first four syllables; (6) pause for eleven syllables, after the first four syllables; (7) pauses for the twelve syllable array, performed after the first four syllables (darsono, 1995). examples of the application of conventional rules are as follows. cakepan macapat mijil dedalane’ guna lawan sekti, kudu’ andhap asor, wani ngalah’ luhur wekasane, tumungkula’ yen dipun dukani, bapang’ den simpangi, ana’ catur mungkur. comma punctuation marks on parts of the mijil macapat text above indicate pausing in parts of the song if necessary. in other macapat text cases, pausing different parts of the song adjusts the order of words and their meanings. however, the rules for recitation of macapat songs above are not applied in macapat semarangan song. in this case the nature of macapat semarangan places more emphasis on the song aspect even though the pronunciation of the literary aspect is not ruled out. the aesthetic rules used are not lagu winengku sastra ( song framed literature) but sastra winengku lagu (literature framed song). although they have a lot in common, but the song of azan and macapat also has a little difference. azan is generally recitated by men, while macapat can be performed by men and women. the many similarities in the composition character and the way they are carried out in the two types of song compositions open up opportunities for mutual borrowing and integration of cultural elements. certain parts of the macapat semarangan song, the composition of which involves many tones in certain syllables, especially before the stop points, indicate an adaptation to the elements of azan and also tilawatil qur’an. this is not uncommon in macapat performance in general as a reading function. the influence of the azan and tilawatil qur’an songs can also be seen in the use of the pentatonic scale which is rooted in the western musical scale which is thick with nuances of chinese music on the composition of the macapat songs dhandhanggula and sinom semarangan. the process of acculturation on the semarangan macapat song is inseparable from the contact between cultures, namely the javanese, chinese, arabic and european local cultures. the city of semarang since the 8th century has become an important port on the north coast of java, namely the port of pragota or bergota which is the destination of arrivals and stops for foreign ships the city of semarang since the 8th century has become an important port on the north coast of java, namely the port of pragota or bergota which is the destination of arrivals and stops for foreign ships. since 1435, admiral cheng ho, leader of the chinese royal army in the ming dynasty and his troops had landed at the port. he and his muslim army made semarang the most important center for the spread of islam on java (budiman, 1978). their presence then triggered the establishment of the first islamic kingdom in java, demak at the end of the 15th century, sultan demak assigned sunan pandanaran i to manage the progota area. its main task is to spread the religion of islam to the surrounding community which starts from the hills of the pragota. since its arrival, the area then developed more fertile and advanced for the spread of islam in semarang (hidayatullah, 2005). another important historical journey took place on 15 january 1678. at that time sultan amangkurat ii as the mataram sultanate authority in kartasura, mortgaged the area to the voc as part of compensaagus cahyono et al., the song of macapat semarangan: the acculturation of javanese and 17 tion for debt payments and port taxes that were not paid until they were settled. in 1705, sunan pakubuwono i returned semarang to the voc as part of an agreement that had helped him retake kartasura palace. since then semarang has officially become the territory of the voc ruled by the dutch. in 1906 with stadblat no. 120 of 1906, the dutch government changed its management system to the city of gemeente, headed by the burge-meester or mayor. the head of government was held by the dutch in turn until it ended during the japanese occupation in 1942. the brief illustration above shows that chinese, islamic and european cultures have been an important part of the life of the semarang people since a few centuries ago. azan is an important part of the process of spreading islam. the composition of the song is certainly often echoed in the process of the spread of islam. azan is often heard, so the local people in semarang who have a tradition of bringing macapat-shaped literary works then adapt the elements of azan arrangement and also tilawatil quran. until today, the city of semarang is still a dwelling place for multi-ethnic communities, namely arabic, chinese, and javanese islam. they struggle in daily life by expressing their respective cultures. semarang central statistics agency in 2016, noted that the majority of the population of the city of semarang adheres to islam. the number of muslim-arabs in that place ranks third after javanese and chinese. conclusion the macapat semarangan song has the characteristics of a unique arrangement. parts of the song’s groove use long and complicated musical ornamentations with varying pitch heights to touch high notes. this is a manifestation of the results of the acculturation of javanese and islamic culture seen from working on the parts of azan and tilawatil qur’an. the process of acculturation of elements of islamic culture also involves musical scales. azan songs use diatonic scales, some macapat semarangan songs also use the same scales, but a cycle of five notes close to nuances of chinese music scales. various elements of azan arrangement, chinese and european musical scales then formed a new culture, macapat semarangan. references budiman, a. (1978). semarang riwayatmu dulu,]. semarang: tanjung sari. darsono. (1995). perkembangan musikal sekar macapat di surakarta. surakarta: laporan penelitian stsi surakarta. hastanto, s. (2009). konsep pathêt dalam karawitan jawa. surakarta: pps isi surakarta press. hidayatullah, a. f. (2005). laksamana chengho dan klentheng sam po kong, spirit pluralisme dalam akulturasi kebudayaan cina-jawa-islam. yogyakarta: mistico pustaka. khasyaf. (2017). trilogi musik, nuansa musik dalam konstruksi fikih, tradisi tasawuf dan relevansi dakwah. kediri: lirboyo press. linton, r. (2002). antropologi suatu penyelidikan tentang manusia. bandung: jemars. mahmud, a. (2012). akulturasi kebudayaan timur tengah ke indonesia. wahana akademika, 14(2), 17–28. puguh, d. r. (2017). melestarikan dan mengembangkan warisan budaya: kebijakan budaya semarangan dalam perspektif sejarah. jurnal sejarah citra lekha, 2(1), 48–60. saputra, k. h. (2001). sekar macapat. jakarta: wedatama widya sastra. supanggah, r. (2002). bothekan karawitan i. jakarta: mspi. supanggah, r. (2009). bothekan karawitan ii: garap. surakarta: pps isi surakarta press. waluyo. (1999). waluyo. (1999). beberapa pandangan dan sajian sekar macapat ki suratman sastrasuwignya”. laporan penelitian. surakarta: stsi. surakarta: laporan penelitian stsi surakarta. widodo. (2006). nuansa laras diatonik harmonia: journal of arts research and education 20 (1) (2020): 10-1818 dalam macapat semarangan. harmonia jurnal pengetahuan dan pemikiran seni, 7(1), 80–92. widodo. (2008). macapat teori dan praktek nembang. semarang: unnes press. triyanto, t., rokhmat, n., & mujiyono, m. (2013). warak ngendog: simbol akulturasi budaya pada karya seni rupa. jurnal komunitas, 5(2), 162– 171. 1 pengembangan instrumen penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik di sekolah menengah pertama (smp) udi utomo* theo ardiyarta** *jurusan sendratasik, fakultas bahasa dan seni universitas negeri semarang e-mail: udi_utomo_unnes@yahoo.com **smp negeri 9 semarang e-mail: theo_ardi@yahoo.com abstrak penelitian ini dilakukan dengan menggunakan pendekatan penelitian pengembangan (research and developmen) yang langkah-langkahnya diadaptasi dari model spiral. instrumen penilaian unjuk kerja (performance assessment) yang dikembangkan terdiri atas: (1) butir tugas (task); (2) audio iringan musik; (3) rubrik penilaian; (4) lembar pengamatan; dan (5) pedoman interpretasi hasil penilaian. pengembangan indikator instrumen penilaian unjuk kerja kompetensi ekspresi dan kreasi musik dilakukan dengan mengacu pada kurikulum pembelajaran seni musik kelas ix sekolah menengah pertama (smp). khususnya pada standar kompetensi (sk) mengekspresikan diri melalui karya seni musik dan kompetensi dasar (kd): (1) mengaransir lagu mancanegara di asia; dan (2) menampilkan hasil aransemen lagu mancanegara di asia. untuk menilai kompetensi siswa dalam mencipta melodi lagu bertangga nada diatonik mayor digunakan penilaian unjuk kerja dengan teknik uji praktik mencipta melodi lagu yang dilakukan secara tertulis. berdasarkan hasil uji coba yang dilakukan pada tahap penerapan model menunjukkan bahwa, secara teknis model penilaian unjuk kerja kompetensi ekspresi dan kreasi musik yang dikembangkan dapat diterapkan dengan baik. berdasarkan hasil analisis uji reliabilitas yang dilakukan dengan menggunakan analisis koefisien korelasi antarkelas (intraclass correlation coefficients/ icc) tipe consistency definition dan tipe absolute agreement definition menunjukkan pula bahwa instrumen penilaian yang dikembangkan telah memenuhi kriteria yang ditetapkan. development of performance assessment of expression competence and music creation in junior high schools abstract this research was conducted by using research and development approach, in which the stages were adapted out of spiral model. performance assessment consists of (1) task; (2) audio music; (3) assessment rubric; (4) observation sheet; and (5) guidelines of assessment interpretation. development of performance assessment indicator of expression competence and music creation was conducted by referring to music learning curriculum of junior high schools of the ix class. especially in terms of competence standard, it means to express oneself through works of art and basic competence: (1) arrange foreign songs in asia; and (2) perform the song’s arrangement in asia. to evaluate students’ competence in creating song melody of major diatonic tone, they use performance assessment by field exam in a written harmonia, volume 13, no. 1 / juni 20132 pendahuluan pembelajaran seni budaya dalam kurikulum tingkat satuan pendidikan (ktsp) merupakan pendidikan seni yang berbasis budaya. mata pelajaran ini memiliki kontribusi dalam mencapai tujuan pembelajaran seni yang mencakupi kemampuan siswa dalam: (1) memahami konsep dan pentingnya seni budaya; (2) menampilkan sikap apresiasi terhadap seni budaya; (3) menampilkan kreativitas melalui seni budaya; (4) meningkatkan peran serta dalam seni budaya baik pada tingkat lokal, regional, maupun global; dan (5) mengolah dan mengembangkan rasa humanistik. berdasarkan hal tersebut menunjukan bahwa tujuan mata pembelajaran seni budaya termasuk di dalamnya submata pelajaran seni musik mencakupi keseluruhan ranah kompetensi baik kognitif, afektif, dan psikomotor. ketiga ranah tersebut dalam pencapaiannya terangkum dalam proses pembelajaran yang memberikan pengalaman bagi siswa dalam berapresiasi seni, berkspresi seni, dan berkreasi seni. berkaitan dengan ketiga ranah kompetensi tersebut, penilaian hasil belajar sebagai salah satu komponen pembelajaran merupakan bagian penting yang perlu mendapatkan perhatian guru. sebagai serangkaian kegiatan untuk memperoleh, menganalisis, dan menafsirkan data hasil belajar siswa kegiatan ini memiliki makna yang sangat strategis bagi pengambilan keputusan dalam mengupayakan perbaikan pembelajaran dan penetapan hasil belajar. oleh karena itu, kegiatan penilaian dalam kegiatan pembelajaran seni perlu dilakukan secara sistematis dan berkesinambungan. sebagai salah satu upaya untuk meningkatkan hasil belajar siswa dalam pembelajaran seni musik, tentu saja diperlukan pengembangan model penilaian yang secara otentik mampu menilai berbagai dimensi yang ada baik dalam kompetensi apresiasi, ekspresi, dan kreasi musik. oleh karena itu, penelitian ini bertujuan mengembangkan instrumen penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik dalam pembelajaran seni musik di sekolah menengah pertama (smp). berdasarkan tujuan terse-. berdasarkan tujuan tersebut, permasalahan penelitian ini dapat di-ermasalahan penelitian ini dapat dirumuskan sebagai berikut: (1) bagaimanakah pengembangan indikator hasil belajar kompetensi ekspresi dan kreasi musik dalam penilaian unjuk kerja (performance assessment) pembelajaran seni musik di sekolah menengah pertama (smp); (2) bagaimanakah bentuk instrumen penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik yang sesuai dengan karakteristik pembelajaran seni musik di sekolah menengah pertama (smp); dan (3) bagaimanakah interpretasi hasil hasil belajar penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik dalam pembelajaran seni musik di sekolah menengah pertama (smp) yang dikembangkan. dalam konteks berekspresi, seni merupakan salah satu media yang dapat digunakan untuk mengekspresikan perasaan. namun demikian kualitas perasa-namun demikian kualitas perasaan yang diekspresikan dalam seni bukan merupakan perasaan individual, melainkan perasaan yang universal. perasaan yang dapat dihayati oleh orang lain sekalipun jenis perasaan tersebut belum pernah dialaminya (jakop sumardjo, 2000: 74). way. based on the trial conducted in the model application stage, it shows that technically the performance assessment model of expression competence and music creation could be applied well. based on the analysis of reliability test by means of intraclass correlation coefficients/icc of consistency definition and absolute agreement definition types, it shows that assessment instruments have fulfilled the required criteria. kata kunci: penilaian, unjuk kerja, ekspresi, kreasi. udi utomo & theo ardiyarta, pengembangan instrumen penilaian unjuk kerja ... 3 dalam pembelajaran seni musik kegitan berekspresi dapat dilakukan melalui beberapa cara, seperti: (1) kegiatan merespon musik dengan gerak berirama, yakni kegiatan yang dilakukan dengan cara menggerakan bagian anggota tubuh (tangan, kaki, badan, dan kepala) sesuai dengan irama musik yang ada; (2) bernyanyi, yakni merupakan kegiatan olah vokal yang dilakukan dengan memperhatikan beberapa aspek seperti, intonasi, artikulasi, pernafasan, phrasering, dan pembawaan; dan (3) membaca notasi musik, yakni kegiatan membaca simbol-simbol musik atau notasi musik dari sebuah karya musik. aktivitas ini bisa dilakukan melalui kegiatan bernya nyi atau bermain instrumen musik. bermain alat musik sebagai aktivitas musikal adalah kegiatan musik yang dilakukan dengan cara memainkan alat musik yang ada. alat musik tersebut bisa berupa alat musik ritmis, melodis, maupun harmonis (jamalus, 1988: 43-86; miller, 1990: 66-84; dan rudy, m.y. 2008: 51-121). berkreasi pada hakikatnya adalah “melahirkan sesuatu”, atau “menciptakan sesuatu” yang belum ada. untuk dapat melahirkan atau menciptakan sesuatu dibutuhkan kemampuan kreasi atau daya kreatif, yaitu suatu kualitas yang berhubungan dengan sensivitas, kelancaran (fluency), fleksibilitas, originalitas, pengaturan, analisis, sintesis, serta elaborasi (soedarsono dalam muhammad jazuli, 2008: 88). kreativitas dibutuhkan oleh seseorang untuk memecahkan masalah yang bersifat divergen, yakni kemampuan untuk berfikir tentang sesuatu dengan cara yang baru sehingga dapat menemukan pemecahan masalah yang unik (jakop sumardjo, 2000: 80-83). berkaitan dengan pendapat tersebut, mack (2001: 12-13) mengungkapkan bahwa kreativitas adalah kemampuan membuat dan memba ngun sesuatu melalui sejumlah ilham-ilham baru baik dalam rangka seni maupun ilmu alam dan lain-lain. dalam bidang seni, lebih lanjut ia menempatkan kreativitas sebagai suatu alat yang mendidik demi perkembangan kemandirian siswa. dalam arti lain, “kreativitas” tidak diarahkan pada suatu hasil yang telah ditentukan sebelumnya, melainkan dalam pengajaran kreativitas selalu berhubungan dengan proses kemandirian seorang siswa serta sikapnya. sikap tersebut akan menjadi landasan bagi perilaku siswa selanjutnya baik dalam bidang profesi musik maupun bidang-bidang lainnya. dalam konteks pembelajaran, penilaian unjuk kerja (performance assessment) merupakan salah satu teknik penilaian yang dalam proses pengumpulan data untuk membuat keputusan tentang individu dilakukan dengan cara observasi sistematis. melengkapi definisi tersebut, ada lima definisi operasional performance assessment, seperti: (1) performance assessment adalah proses, bukan tes atau perangkat pengukuran tunggal; (2) fokus dari proses ini adalah pengumpulan data, menggunakan berbagai instrumen dan strategi; (3) data dikumpulkan dengan cara observasi sistematis. penekanannya adalah pada teknik observasi langsung bukan pada tes kertasdan-pensil (paper-and-pencil), terutama bukan pilihan ganda meskipun tes tersebut juga dapat digunakan dalam penilaian; (4) data yang terintegrasi digunakan untuk tujuan membuat keputusan tertentu yang akan memandu bentuk dan substansi penilaian; dan (5) subjek dari pengambilan keputusan adalah individu, bukan program atau produk yang mencerminkan suatu kegiatan kelompok (berk, 1986: ix). melengkapi pendapat tersebut danielson (dalam puji iryanti, 2004: 6) mendefinisikan bahwa, penilaian unjuk kerja (performance assessment) sebagai salah satu teknik penilaian meliputi semua penilaian dalam bentuk tulisan, produk, atau perilaku kecuali tes bentuk pilihan ganda, menjodohkan, benar salah, dan jawaban singkat. menurut van blerkom (2009: 148), dalam penilaian unjuk kerja (performance assessment) terdapat tiga tipikal karakteristik yang dapat dikelompokkan berdasarkan dimensi, meliputi: (1) menilai proses atau produk; (2) menggunakan simulasi atau kejadian nyata (real settings); dan (3) menggunakan peristiwa alami (natural) harmonia, volume 13, no. 1 / juni 20134 atau peristiwa dan situasi yang terstruktur (structured settings). penilaian unjuk kerja (performance assessment) sebagai salah satu teknik penilaian jika dibandingkan dengan teknik penilaian paper and pencil memiliki banyak keunggulan. teknik ini menurut reynolds (2010: 248-249) sangat tepat dan telah banyak diaplikasikan dalam berbagai konteks, seperti: (1) laboratory classes; (2) mathematics classess; (3) english, foreign-language, debate classes; (4) social studies classes; (5) art classes; (6) physical education classes; dan (7) music classes. selanjutnya ia mengungkapkan pula perbedaan antara penilaian unjuk kerja (performance assessment) dengan teknik penilaian tradisional yang berbasis paper-and-pencil seperti: (1) performance assessments more closely reflect real-life set-more closely reflect reallife settings and aplications than traditional paper-and-pencil assessments; (2) performance assessments involve multiple assessment criteria; dan (3) performance assessments involve subjective evaluation of student performance. untuk kepentingan menilai kompetensi ekspresi dan kreasi musik, penilaian unjuk kerja (performance assessment) sebagai salah satu model memiliki keunggulan, seperti: (1) performance assessments can measure abilities that are not assessable using other assessments; (2) the use of performance assessments is consistent with modern learning theory; (3) performance assessment allow you to assess process as well as product; dan (4) the use of performance broadens your approach to assessment (reynolds (2010: 266-267). metode penelitian ini menggunakan pendekatan penelitian pengembangan (research and development) yang diadaptasi dari desain penelitian model spiral yang dikembangkan oleh cennamo dan kalk (2005). dari lima fase yang ada peneliti mengadaptasi ke dalam tiga tahap kegiatan pokok yakni: (1) tahap pengembangan model (prototype dan product); (2) tahap penerapan model (peragaan atau uji coba); dan (3) tahap diseminasi atau deliver. subjek uji coba dalam penelitian ini ditentukan secara purposive yakni satu orang guru seni musik dan 105 orang siswa smp 9 kota semarang. pada saat uji coba kelayakan model instrumen penilaian ekspresi musik, peneliti melibatkan 20 orang siswa (siswa kelas ix). sedangkan pada saat melakukan uji coba kelayakan model instrumen penilaian kreasi musik peneliti melibatkan 85 orang siswa (42 orang siswa kelas ix dan 43 orang siswa kelas viii). instrumen yang digunakan sebagai alat pengumpul data pada tahap pengembangan terdiri dari pedoman wawancara. instrumen ini digunakan pada saat peneliti melakukan kegiatan analisis kebutuhan, penentuan solusi bersama guru, dan pada saat uji coba kelayakan instrumen yang dikembangkan. untuk melengkapi data pada tahap ini digunakan pula alat pengumpul data yang berupa lembar observasi, butir penugasan (task), rubrik penilaian, dan lembar scoring. teknik analisis data yang digunakan dalam penelitian ini dilakukan dengan pendekatan kuantitatif dan kualitatif. teknik kuantitatif dilakukan pada saat peneliti melakukan analisis data uji hasil uji reliabilitas instrumen penilaian unjuk kerja (performance assessment) yang dikembangkan. teknik kualitatif dilakukan pada saat peneliti melakukan analisis terhadap data yang diperoleh melalui kegiatan wawancara, yakni pada saat peneliti melakukan kegiatan analisis kebutuhan, berdiskusi dengan guru pada saat menentukan alternatif solusi, dan uji coba kelayakan model instrumen penilaian unjuk kerja yang dikembangkan. oleh karena itu, kedudukan kedua teknik analisis tersebut dalam pelaksanaan penelitian ini diharapkan dapat saling melengkapi (lihat creswell, 2003: 9-53). hasil dan pembahasan produk yang dihasilkan dalam penelitian ini adalah seperangkat instrumen penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik di sekolah menengah pertama (smp) yang diharapkan: (1) mampu memotret secara udi utomo & theo ardiyarta, pengembangan instrumen penilaian unjuk kerja ... 5 kan; dan (4) hasil uji coba instrumen penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik yang dikembangkan. pengembangan indikator instrumen penilaian unjuk kerja kompetensi ekspresi dan kreasi musik pengembangan indikator instrumen penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik ini dilakukan dengan mengacu pada kurikulum pembelajaran seni musik kelas ix sekolah menengah pertama (smp). secara rinci indikator penilaian kompetensi ekspresi dan kreasi musik yang dikembangkan dapat dijelaskan dalam kisi-kisi sebagai berikut. otentik kemampuan siswa dalam pembelajaran ekspresi dan kreasi musik; dan (2) mampu memberikan informasi hasil belajar dan kesulitan belajar siswa dalam pembelajaran ekspresi dan kreasi musik. untuk memberikan gambaran instrumen penilaian unjuk kerja (performance assess-erformance assessment) yang dikembangkan dalam penelitian ini, berikut ini akan diuraikan tentang: (1) pengembangan indikator instrumen penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik; (2) bentuk instrumen penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik; dan (3) interpretasi hasil belajar penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik yang dikembangtabel 1. kisi-kisi model instrumen penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik standar kompetensi (sk) kompetensi dasar (kd) indikator mengekspresikan diri melalui karya seni musik 1. mengaransir lagu mancanegara di asia. mencipta melodi lagu bertangga nada diatonik mayor berdasarkan pola irama yang dikembangkan oleh guru. 2. menampilkan hasil aransemen lagu mancanegara di asia. 1. memainkan lagu bertangga nada diatonis mayor dengan menggunkan alat musik pianika sesuai dengan partitur dan iringan lagu. 2. memainkan lagu bertangga nada diatonis mayor dengan menggunakan alat musik pianika sesuai dengan tanda dinamik dan iringan lagu harmonia, volume 13, no. 1 / juni 20136 penentuan indikator hasil belajar tidak secara langsung mengacu pada satu judul lagu yang berasal dari mancanegara di asia. namun demikian penggunaan tangga diatonik mayor merupakan salah satu upaya agar pembelajaran sesuai dengan standar kompetensi (sk) dan kompetensi dasar yang ada. kompetensi memainkan instrumen musik pianika sesuai dengan partitur dan dinamik lagu sebagai bagian dari pencapaian kompetensi siswa dalam menampilkan hasil aransemen lagu, sedangkan kompetensi mencipta melodi lagu bertangga nada diatonik mayor sebagai bagian dari pencapaian kompetensi siswa dalam mengaransemen lagu. bentuk instrumen penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik untuk menilai kompetensi siswa dalam memainkan alat musik pianika digunakan penilaian unjuk kerja (performance assessment) dengan teknik uji praktik bermain alat musik. adapun untuk menilai kompetensi siswa dalam mencipta melodi lagu bertangga nada diatonik mayor digunakan penilaian unjuk kerja (performance assessment) dengan teknik uji praktik mencipta melodi lagu yang dilakukan secara tertulis. adapun objek pengamatan dan penilaiannya mencakupi proses dan hasil kinerja berdasarkan materi uji kompetensi yang ditentukan. kompetensi, bentuk penilaian, objek penilaian, dan deskripsi tugas model instrumen penilaian kompetensi ekspresi dan kreasi musik tersebut secara rinci dapat dijelaskan dalam tabel berikut. tabel 2. bentuk, objek, dan deskripsi tugas model instrumen penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik kompetensi bentuk penilaian objek penilaian deskripsi tugas memainkan alat musik unjuk kerja (praktik musik) proses kinerja (process) 1. memainkan lagu bertangga nada diatonik mayor dengan menggunkan alat musik pianika sesuai dengan partitur dan iringan lagu. 2. memainkan lagu bertanngga nada diatonik mayor dengan menggunakan alat musik pianika sesuai dengan tanda dinamik dan iringan lagu. mencipta melodi lagu unjuk kerja (tertulis) hasil kinerja (produk) membuat melodi lagu bertangga nada diatonik mayor sepanjang delapan birama berdasarkan pada pola irama yang dibuat guru. udi utomo & theo ardiyarta, pengembangan instrumen penilaian unjuk kerja ... 7 interpretasi hasil belajar penilaian unjuk kerja kompetensi ekspresi dan kreasi musik interpretasi hasil belajar terhadap kompetensi berekspresi dan berkreasi musik dilakukan dengan cara menghitung terlebih dahulu nilai setiap siswa dengan formula sebagai berikut. nilai= skor yang diperoleh x 100 skor maksimal penentuan jumlah skor yang diperoleh oleh setiap siswa dan skor maksimal pada ketiga butir tugas (task) yang dikembangkan dilakukan berdasarkan pada rubrik. oleh karena itu, untuk menghitung nilai kompetensi siswa dalam memainkan instrumen musik pianika pada aspek ketepatan nada dilakukan dengan formula sebagai berikut. nilai= skor yang diperoleh x 100 24 penghitungan nilai kompetensi siswa dalam memainkan instrumen musik pianika pada aspek ketepatan dinamik dilakukan dengan formula sebagai berikut. nilai= skor yang diperoleh x 100 12 penghitungan nilai kompetensi siswa dalam mencipta melodi lagu berdasarkan pola ritme yang disusun oleh guru dilakukan dengan formula sebagai berikut. nilai= skor yang diperoleh x 100 8 berdasarkan hasil perhitungan dengan formula tersebut hasilnya baru dapat dibandingkan dengan kriteria yang ditetapkan oleh guru atau kriteria ketuntasan minimal (kkm) yang ditetapkan dalam pembelajaran submata pelajaran seni musik. oleh karena itu, selanjutnya baru dapat diketahui apakah seorang siswa telah mencapai hasil belajar dengan nilai ≥ kkm atau sebaliknya sehingga perlu dilakukan remidi. hasil uji coba instrumen penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik untuk memperoleh bukti apakah model penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik yang dikembangkan memenuhi kualitas dan layak digunakan maka dilakukan uji coba. berdasarkan hasil uji coba menunjukkan bahwa, secara teknis model penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik yang dikembangkan dapat diterapkan dengan baik. hal ini terbukti berdasarkan pengamatan dan wawancara dengan bpk. teo ardiyarta, s.pd dan bapak usman wafa, s.pd selaku rater menunjukkan bahwa seluruh instrumen penilaian yang meliputi: (1) butir tugas (task); (2) rubrik penilaian; dan (3) lembar pengamatan yang dikembangkan secara jelas dapat dipahami dan diaplikasikan dalam praktik pembelajaran. selain secara teknis, kelayakan model instrumen penilaian unjuk kerja (performance assessment) yang dikembangkan berdasarkan analisis uji reliabilitas yang dilakukan dengan menggunakan analisis koefisien korelasi antar kelas (intraclass correlation coefficients/icc) tipe consistency definition dan tipe absolute agreement definition menunjukan telah memenuhi kriteria yang ditetapkan. dalam tipe consistency definition hasil analisis menunjukkan bahwa nilai r ≥ 0.70, sedangkan dalam tipe absolute agreement definition hasil analisis menunjukkan bahwa nilai r ≥ 0.60. secara rinci hasil analisis dari instrumen penilaian yang dikembangkan dapat dijelaskan sebagai berikut. koefisien reliabilitas instrumen penilaian unjuk kerja kompetensi ekspresi musik hasil analisis terhadap butir tugas (task) kompetensi berekspresi musik pada aspek ketepatan nada dari 20 orang sampel yang dilakukan dengan uji intraclass harmonia, volume 13, no. 1 / juni 20138 correlation coefficient (icc) tipe consistency definition dengan tingkat kepercayaan 95 % menunjukkan bahwa koefisien reliabilitas antar-rater sebesar 0.960. hasil tersebut menunjukkan bahwa butir tugas (task) kompetensi ekspresi musik pada aspek ketepatan nada telah memenuhi kriteria yang ditetapkan (r > 0.70). apabila analisis dilakukan dengan menggunakan intraclass correlation coefficients (icc) tipe absolute agreement definition maka hasilnya sebesar 0.961. oleh karena itu, dapat disimpulkan pula bahwa koefisien reliabilitas antarrater instrumen model penilaian unjuk kerja (performance assessment) kompetensi berekspresi musik dalam uji ini pun pada kategori istimewa (excellent), karena nilai r > 0.75. koefisien reliabilitas instrumen penilaian unjuk kerja kompetensi kreasi musik hasil analisis terhadap butir tugas (task) kompetensi berkreasi musik dari 42 orang sampel yang dilakukan dengan uji intraclass correlation coefficient (icc) tipe consistency definition dan absolute agreement definition (single measures) dengan tingkat kepercayaan 95 % menunjukkan bahwa konsistensi antar-rater pada butir tugas (task) tersebut telah memenuhi kriteria yang ditetapkan. berdasarkan hasil analisis tersebut dapat dijelaskan bahwa, konsistensi antar-rater instrumen model penilaian kompetensi berkreasi musik oleh dua orang rater yang dihitung menggunakan uji intraclass correlation coefficient (icc) tipe consistency definition sebesar 0.830. hasil tersebut menunjukkan bahwa, koefisien realibilitas butir tugas (task) kompetensi berkreasi musik telah memenuhi kriteria yang ditetapkan (r > 0.70). apabila analisis dilakukan dengan menggunakan uji intraclass correlation coefficients (icc) tipe absolute agreement definition maka hasilnya sebesar 0.828. oleh karena itu, dapat disimpulkan pula bahwa koefisien reliabilitas antar-rater instrumen model penilaian unjuk kerja (performance assessment) kompetensi berkreasi musik ini pun pada kategori istimewa (excellent), karena nilai r > 0.75. simpulan instrumen penilaian unjuk kerja (performance assessment) yang dikembangkan dalam penelitian ini terdiri dari: (1) butir tugas (task); (2) audio iringan musik; (3) rubrik penilaian; (4) lembar pengamatan; dan (5) pedoman interpretasi hasil penilaian kompetensi ekspresi dan kreasi musik. proses pengembangan indikator instru-engembangan indikator instrumen penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik dilakukan dengan mengacu pada kurikulum pembelajaran seni musik kelas ix sekolah menengah pertama (smp). untuk menilai kompetensi siswa dalam memainkan alat musik pianika digunakan penilaian unjuk kerja (performance assessment) dengan teknik uji praktik bermain alat musik. adapun untuk menilai kompetensi siswa dalam mencipta melodi lagu bertangga nada diatonik mayor digunakan penilaian unjuk kerja (performance assessment) dengan teknik uji praktik mencipta melodi lagu yang dilakukan secara tertulis. interpretasi hasil belajar terhadap kompetensi berekspresi dan berkreasi musik dilakukan dengan cara menghitung terlebih dahulu nilai setiap siswa dengan formula yang ada, baru selanjutnya dibandingkan dengan kriteria yang ditetapkan atau kriteria ketuntasan minimal (kkm) submata pelajaran seni musik. berdasarkan hasil uji coba yang dilakukan pada tahap penerapan model menunjukkan bahwa, secara teknis in-ecara teknis instrumen penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik yang dikembangkan dapat diterapkan dengan baik. selain itu, berdasarkan hasil analisis uji reliabilitas yang dilakukan dengan menggunakan analisis koefisien korelasi antarkelas (intraclass correlation coefficients/icc) tipe consistency definition dan tipe absolute agreement definition menunjukkan bahwa instrument penilaian yang dikembangkan telah memenuhi kriteria yang ditetapkan. udi utomo & theo ardiyarta, pengembangan instrumen penilaian unjuk kerja ... 9 daftar pustaka berk, r.a. 1986. performance assessment: methods & applications. london: the johns hopkins press ltd. cenamo, k, dan kalk, d. 2005. real worid instructional design. canada: vicky knight. creswell, j.w. 2003. research design: qualitative, quantitative, and mixed methods approaches. california: sage publications ltd. jakop sumardjo. 2000. filsafat seni. bandung: itb. jamalus. 1988. pembelajaran musik melalui pengalaman musik. jakarta: dirjen dikti depdikbud. mack, d. 2001. pendidikan musik: antara harapan dan realitas. bandung: upi mspi. miller, h.m. 2001. introduction to music: guide to good listening. (terjemahan triyono bramantyo). yogyakarta: lentera. muhammad jazuli. 2003. paradigma konstektual pendidikan seni. surabaya: unesa press. puji iryanti. 2004. penilaian unjuk kerja. depdiknas, dirjendikdasmen, pusat pengembangan penataran guru matematika yogyakarta. reynolds, c.r. add.all. 2010. measurement and assessment in education. usa: pearson education ltd. rudy, m.y. 2008. panduan olah vokal. yo-yogyakarta: med press. van blerkom, m.l. 2009. measurement and statistics for teachers. new york: routledge. 1 preservation of intangible cultural heritage using advance digital technology: issues and challenges muhammad zaffwan idris, norsimaa binti mustaffa, syed osman syed yusoff faculty of art, computing & creative industry, sultan idris education university, perak, malaysia tanjong malim, perak darul ridzuan 35900, malaysia e-mail: zaffwan@fskik.upsi.edu.my received: februari 28, 2016. revised: maret 23, 2016. accepted: june 24, 2016 abstract the emerging concern on intangible heritage in the international arena reflects the fear of cultural homogeneity, diminishing cultural diversity and human creativity. cultural heritage is a symbol spiritual and intellectual wealth of a civilization, while intangible cultural heritage is associated to tradition and living expressions. there is a need to preserve these fragile assets so they would someday be oblivious in the modern world. ironically, the potential strategy in preserving the intangible cultural heritage lies in the current advanced digital technology. this paper highlights major issues and challenges in the intangible cultural heritage preservation through technology, with regards to the content and the purpose associated to it. keywords: preservation; cultural heritage; intangible; digital technology how to cite: idris, m. z., mustaffa, n. b., & yusoff, s. o. s. (2016). preservation of intangible cultural heritage using advance digital technology: issues and challenges. harmonia: journal of arts research and education, 16(1), 1-13. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6353 harmonia : journal of arts research and education 16 (1) (2016), 1-13 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v16i1.6353 p-issn 1411-5115 e-issn 2355-3820 in their everyday lives in which may forms their character, behaviors, habits and daily practices. hence, cultural diversity can be seen within the dances, music, games and other practices that had been formed. culture also can be reflected by the beliefs, values and norms of the society (zuraidah abd manaf & aliza ismail, 2010). she added that culture is also socially acquired and passed on through generations. according to liew (2005) culture provides connection between past, present and the future. cultural information enhances the understanding of a culture and can bring toge therness within communities. tjetjep rohendi rohidi (2015) defines culture as a real condition, situation or context of space and time where civilization grows. he added, culture is able to introduction culture and heritage is a symbol of spiritual and intellectual wealth for all civilizations. the significance of culture in the society has greatly developed during the twentieth century. therefore, in the second half of the twentieth century, culture itself can be seen as one of the important element to sustain human development (matarasso, 2001). he added that culture is defined as the expression of human values where it helps to create and build up identities. meanwhile, tylor (1871) defines culture as the reflection of knowledge, law, belief, morals, custom, art or any other habits and capabilities needed by man as a member within the society. culture had been practiced by people harmonia : journal of arts research and education 16 (1) (2016): 1-132 act as a comprehensive system that consist of elements or universal subsystem which includes religion, language, race and social system, art, technology, knowledge, source of income or economy. all these elements are operationally driving the society towards a positive and a well-being life. it portrays the dignity, way of thinking and moral of related culture. culture also can be seen as one of a unique symbol of generation‘s character and identity (dewulf et al, 2013). according to figure 1, tjetjep rohendi rohidi (2015) states that culture can be seen between two interconnection sides where first, culture had to be preserved to ensure stability in life and second, culture as a preserver where culture itself is dynamic, progressive, adaptive and creative. hence culture can be adjusted according to variety changes in demands of his era in order to maintain the culture. heritage is a belonging that is or may be inherited and has an inheritance value that is worthy to be preserved for the nation. heritage is defined as a unique and irreplaceable legacy not only of each nation but also of humanity as whole. this valuable legacy is brought from the past, where people are living with today and what will be passed to the future generations (unesco, 2015; zuraidah abd manaf & aliza ismail, 2010). according to shuhaida et al. (2013) heritage in general is defined as the elements from past. these elements are later been carried from one generation to another. the elements can be tangible and intangible. elements from tangible heritage for example historical buildings and archaeological sites and intangible heritage for example songs, dances and languages are essential in identifying and building up identities (czermak et al, 2003). both of this classification on heritage reflects on preserving as well as restoring the valuable assets of ancient legacies. preservation involves the process of preserving or keeping something (matusky, 2015) and can be interconnected to the preservation management (mazlina pati khan et al, 2015). according to figure 2, unesco at its seventeenth session on the world heritage convention had firstly classified and defined world heritage into two main categories consist of only cultural heritage and natural heritage. the two other categories of mixed cultural and natural heritage and cultural landscape were proposed and added later on the same level along the existing two categories before (operational guidelines, the world heritage list, 2015, p.13; sun, 2010; wallach, 2005). the standard classification for world heritage is based on the heritage‘s own value thefigure 1. interconnection between culture from tjetjep rohendi rohidi, 2015 muhammad zaffwan idris et al., preservation of intangible cultural heritage ... 3 refore must have its own outstanding universal value or outstanding interest. ―outstanding universal value means cultural and/or natural significance which is as exceptional as to transcend national boundaries and to be of common importance for present and future generations of all humanity. as such, the permanent protection of this heritage is of the highest importance to the international community as a wholell. (world heritage convention, 1972) in addition, the classification also includes the world heritage, national heritage and local heritage. world heritage is a category which uses heritage values as the most important guidelines in classifying and categorizing its own categories and portray as the main or highest level of human heritages along with the national heritage and local heritage (zulkifli mohamad, 2012; hennesy 2012; sun, 2010). according to the two main categories that had been classified at the very first stage by the world heritage convention in year 1972, which consist of cultural heritage and natural heritage then had been divided into three main categories. monuments, groups of buildings and sites are considered as cultural heritage meanwhile natural features, geological and physiographical formations and precisely delineated areas and natural sites or precisely delineated natural areas are considered as natural heritage (operational guidelines, 2015; kammeier 2008; yahaya ahmad, 2006; lakshman guruswamy et al, 1999; world heritage convention, 1972). according to figure 3, minaret and archeological remains of jam in afghanistan is one of the examples of cultural heritage. the 65 meter tall minaret of jam is a valuable, graceful, soaring structure, reminiscing to the 12th century. covered in brickwork with a blue tile inscription at the top, it is noteworthy for the quality of its unique architecture and decoration, which symbolize the greatness of an architectural and artistic tradition in this region. its impact is added by its dramatic setting, a deep river valley between towering mountains in the heart of the ghur province (margottini, 2016). however in year 2002, this cultural heritage site had figure 2. classification of heritage from operational guidelines, 2016; sun 2010; world heritage convention, 1972. harmonia : journal of arts research and education 16 (1) (2016): 1-134 been inscribed on the list of world heritage in danger because of its lack of legal protection, lack of an effective monuments protection agency, lack of adequate protection and conservation personnel and lack of comprehensive management plan (unesco, 2016). figure 3. minaret and archeological remains of jam in afghanistan. (photo by claudio margottini) according to figure 4, tropical rainforest heritage of sumatra in indonesia is one of the examples of natural heritage. the 2.5 million hectare tropical rainforest heritage of sumatra comprises of three national parks, which are bukit selatan national park, gunung leuser national park and kerinci seblat national park. approximately about 10,000 plant species, more than 200 mammal species and varieties of 580 bird species live in this protected heritage area. on the mammal species, 22 are asian and are not found elsewhere. 15 are confined to the indonesian region including sumatran orang-utan (patry, 2016). similar to the minaret of jam, this natural heritage sites had been inscribed on the list of world heritage in danger by the year of 2004 because of its road construction, agricultural encroachment, illegal l o g ging, poaching and institutional and governance weaknesses (unesco, 2016). moving on to the tangible heritage and intangible heritage where both had been considered as related to each other (gorman & sydney, 2006). according to cruikshank (1992) although tangible and intangible heritage have been treated as separate fields of study, but both are related in the aspects of representing as well as denoting a strong cultural symbol and identities in their own context through things and also words. tangible heritage such as artifacts and natural environment and intangibles heritage such as myths, folklores, ancestral line and cultural manifestations including their language, food, traditional dances plus everyday ritual and norms (boamah et al, 2012; hennessy, 2012; sun, 2010; intangible cultural heritage convention, 2003; cultural property convention, 1954). next, according to sun (2010), preliminary thoughts on further heritage classification on tangible and intangible forms within the cultural heritage, natural heritage, mixed cultural and natural heritage and cultural landscapes also had been taken into consideration. within the four categories that had been stated by the operational guidelines 2015 in their world heritage list, cultural heritage has the most distinctive differences among the categories hence the difference being most appreciated between movable and immovable forms where the former are often referred as intangible cultural heritage meanwhile the latter as tangible cultural heritage (hennessy 2012; sun 2010; intangible cultural heritage convention, 2003). according to figure 5, sangiran early man site in indonesia is one of the examples of the tangible cultural heritage. sangiran is an archaeological excavation site situated in java indonesia from the year of 1936 to 1941. this overall process had led to the early discovery of the first muhammad zaffwan idris et al., preservation of intangible cultural heritage ... 5 peloponnesus, the site of olympia had been inhabited since prehistoric times and became the center for the worship of zeus. there is also remaining of all the sports structures erected for the olympic games, which had been held in the olympia every four years (bandarin, 2016). hominid fossil at this site. sangiran is one of the main key sites for the founding and understanding in the process of human evoluation (chapple, 2016). according to figure 1.6 above, archeological site of olympia in greece is one of other examples of the tangible cultural heritage. located in a valley in the figure 4. tropical rainforest heritage of sumatra in indonesia. (photo by by marc patry) figure 5. sangiran early man site in indonesia (photo by our place the world heritage collection) harmonia : journal of arts research and education 16 (1) (2016): 1-136 figure 6. archeological site of olympia in greece. (photo by unesco) figure 7. los glaciares national park in argentina (photo by philipp schinz) according to figure 7, los glaciares national park in argentina is one of the examples of the tangible natural heritage. the los glaciares national park which is 160 km long is an area of unique natural beauty, with rugged, towering mountains and numerous glacial lakes, including lake argentino. three glaciers meet at its farthest end, producing massive icebergs into the lake with thunderous splashes (schinz, 2016). figure 8. folk long song performance technique of limbe performances – circlar breathing in mongolia 2010 (photo by ts. tsevegsuren) according to figure 8, folk long song performance technique of limbe performances – circular breathing in mongolia is one of the examples of the intangible cultural heritage. the limbe is a sideblown flute of hardwood or bamboo, traditionally used to perform mongolian folk long songs. through circular breathing, limbe performers are able to produce the wide-ranging and continuous melodies of the song. players breathe in through the nose while simultaneously blowing out through the mouth, using air stored in their cheeks to play the flute without interruption (mongolian association of limbe performers, 2010). figure 9. taekkyeon, a traditional korean martial art in republic of korea 2007 (photo by culture heritage administration) muhammad zaffwan idris et al., preservation of intangible cultural heritage ... 7 according to figure 9, taekkyeon, a traditional korean martial in republic of korea is one of the other examples of intangible cultural heritage. taekkyeon is a traditional korean martial art that portrays rhythmic dance-like movements to trip or strike up an opponent. the movements and gentle impression of a welltrained taekkyeon performer are circular rather than straight and fixed, but can expend with variety level of flexibility and strength. the hands play important role as the feet. besides that, taekkyeon had also been practiced by many people as daily activity (culture heritage administration of the republic of korea, 2009). figure 10. classification of cultural heritage from sun, 2010 according to figure 10, sun (2010) divided cultural heritage into tangible cultural heritage and intangible cultural heritage. as cultural heritage had been divided into three main categories consist of monuments, groups of buildings and sites (operational guidelines, 2015; kammeier 2008; yahaya ahmad, 2006; lakshman guruswamy et al, 1999; world heritage convention, 1972) only sites has both characteristics that allow it to be placed within the two further classification of tangible cultural heritage and also intangible cultural heritage. because sites had been seen and justified through historical, aesthetic, ethnological and anthropological point of view, hence these are the only sites that undergo preliminary thoughts on further heritage classification on tangible and intangible forms within the cultural heritage. intangible cultural heritge is a human activity in the process of developing tangible culture, as well as connection, communication and aiming at satisfying the spiritual needs within a community (lenzerini, 2011). intangible cultural heritage is understood as a traditional culture, learning process and technique development that comprises legends, performances, social customs, ceremonies and festivals and traditional arts. on the other hand, tangible cultural heritage consists of the material remains from human activity, works, development and achievement comprises such as cities and towns, palaces, villages, temples, mausoleums and manufacturing plants (sun, 2010). meanwhile, intangible cultural heritage convention defines intangible cultural heritage as follow. intangible cultural heritage is the practices, representations, expressions, knowledge, skills as well as the instruments, objects, artifacts and cultural spaces associated therewith that communities, groups and, in some cases, individuals recognize as part of their cultural heritage. this intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity.(intangible cultural heritage convention, 2003) according to figure 11, for the purposes of the convention, consideration harmonia : journal of arts research and education 16 (1) (2016): 1-138 will be given only to such intangible cultural heritage as is compatible with existing international human rights instruments, as well as with the requirements of mutual honor and respect among communities, groups and individuals, and of maintaining development. the intangible cultural heritage is manifested according to the five domains including oral traditions and expressions, including language, performing arts, social practices, rituals and festive events, knowledge and practices concerning nature and the universe and traditional craftsmanship. t h i s classification as considering the importance of the intangible cultural heritage that can act as a medium in sustaining existing cultural diversity. heritage cycle the understanding on heritage area is not only confined to the tangible forms such as buildings, landscapes and artifacts but also through the intangible form which includes in the form of traditions, values, history of oral and voices. the connection between tangible and intangible heritage is where objects of heritage (tangible forms) are usually studied alongside the practices of heritage (intangible forms). this practice will initiate and create the ideas about our past, present and future (thurley, 2005). the heritage cycle diagram guide and gives us an idea on how to make the past to be part of our future. figure 12. the heritage cycle diagram from turkey, 2005 according to figure 12, the heritage cycle describes what english heritage‘s mission is. indeed this heritage cycle is a strategy plan to take people into the future and create awareness on the importance of preserving and maintaining our heritage belongings. the aim of this cycle is to make the most effective use of the assets in our figure 11. classification of intangible cultural heritage from intangible cultural heritage convention, 2003 muhammad zaffwan idris et al., preservation of intangible cultural heritage ... 9 care. this heritage cycle used the words of understanding, valuing, caring and enjoying as keywords in explaining the whole idea of the strategy plan and create consistency in understanding the real and tough challenges. this heritage cycle helps in raising knowledge about the historic environment apart from being able to lead people to value about our heritage, belongings and origin. issues and challenges figure 13. issues and challenges in preserving intangible cultural heritage education management in education is an art of getting things done through people, effectively and efficiently. one of the keys to successful management is the ability to understand and apply modern management principles and techniques effectively. either educators or researcher, it is crucial to have an in-depth knowledge of the past and present models, theories and processes (balakrishnan muniapan, 2011). the ministry of higher education was established in 2004, with a vision ofmaking malaysia a center of excellence education. in malaysia, there are twenty public universities, eleven private universities, four foreign university campuses, fifteen university colleges and more than 500 private colleges and institutions currently been registered (http://www.mohe.gov. my). these are institute of higher learning approved by the ministry of higher education. malaysia has made biggest improvement in higher education area especially in term of the graduate‘s number that had been produced by the higher learning institutions for both public and also private. report in sun, dated 20 march, 2007 the percentage of those aged between 25 and 64 in malaysia with tertiary qualifications increased from just 6.2% in 1995 to 11.1% in 2002. this number is expected to double in the next seven years. graduates are from various fields comprises of science and technology, arts and humanities, medicine and law, information communication technology and field of business and management. one of the challenges to preserve our culture and heritage, either it is in the form of tangible or intangible heritage is to consider the usability as well the accessibility in archiving the information preserved. hence to be used either in the formal or informal education. moreover, today‘s students represent the first generations to be brought up with infinite advanced technology. they have spent their entire lives surrounded by and using computers, video games, digital music players, video cams, cell phones, and all the other tools of the digital age. they have spent less than 5,000 hours of their lives reading, but over 10,000 interacting with digital technology (prensky, 2001). economy cultural heritage of the world is threatened by the rapid pace of life, development of urban culture, technological and economic growth (alivizatou, 2011; loh, 2001). the world population is rising. by the end of the century, it is expected that the growing population continue to increase by 3.7 billion people, rising from 7.2 billion in middle 2013 to 10.9 billion by 2100 (united nations, 2013). world population in 2016 is rising at a rate of around 1.13% per year. the current average population change is estimated around 80 million per year (united nation, 2015). three countries listed for nearly 50% of the annual increase, namely india (21%), china (12%) and pakistan (5%). in general, younger median age is estimated to rise signifiharmonia : journal of arts research and education 16 (1) (2016): 1-1310 cantly over the decades. meanwhile, asia research institute in 2013 reported total population of southeast asia in 2010 was 593 million with a growth rate of 1.2% per year, which translates to annual addition of 77 million people. table 1.1 and table 1.2 below show the population and urbanization level in southeast asian countries. urbanization is a significant trend in cities of the developing world (a. ghafar ahmad, 2006). in 2010, the united nations projected that half of the world’s population would live in urban areas. the development of urban culture has cause abandonment in the traditional ways of life. many historic areas are in danger of being demolished as well as the fragility of cultural values could fade away and lead to disappearance (a. ghafar ahmad; 2006; alivizatou, 2011). table 1. southest asia regions countries: population sizes, growth rates and population density from united nations population division, 2010 about 120 million people across the world have moved to the cities mainly for economic gains. the fast growing nation of malaysia in its econo my and technology may influence the culture and heritage of malaysian citizen. the preservation of the culture and heritage will be much influence by this fast development phase in malaysia. because of the fast development and western culture influences, malaysia cultural heritage may be at risk if the important resources are not been digitally preserved (zuraidah abd manaf & aliza ismail, 2010). technology digital is one of the latest technologies to preserve our culture and heritage. it is not only a way of preserving our culture and heritage but it also provide an easy table 2. urabnization levels in southeast asian countries year 1950 to 2030 from united nation population division, 2009. muhammad zaffwan idris et al., preservation of intangible cultural heritage ... 11 tool to archive the material as a references for education for the coming generation. preserving and archiving able to sustain the digitized resources (zuraidah abd manaf, 2008). the value of the computer and the internet as an educational aid in transmitting information is now becoming one of the crucial and fastest way in learning. however digital technology is not static. it is constantly evolving, changing and expanding. as soon as a solution protocol is found, the technology improves and the issue of filtering is worsening (callister, 2004). on the other hand, digital technologies need the considering in the design of information and information structures. it usually relates to the general issues of the content, the information chain, and in some instances is about the system usability. challenges the continual destruction of heritage site is a common recurrence around the world. some are inevitable while others are man-made. natural disasters like hurricanes, floods, earthquakes, landslides, volcanoes, wind effects, fires, environmental fatigues and long term climate effects are common natural contributor to the destruction (drdacky, 2007). war, riots, looting, vandalism, and illegal trading of heritage site and artifact are human exploitation. the battles to preserve these valuable assets against natural disasters are on the losing end although much effort has been made in planning and rehabilitation schemes by organizations and governments. according to the world bank‘s independent evaluation group, the cost of disaster damage is rising, and in the 1990s it reached us$ 652 billion, which is 15 times higher than in the 1950s. the number of events grew by 400% between 1975 and 2005, with 2,6 billion people affected by natural disasters over the past ten years (lostal, 2015). human conflict, greed and lack of respect and awareness for the cultural heritage are human blunders to the depletion of the valuable legacy. warring nations should be accountable to the obliteration of heritage site through indiscrete bombings, construction of military bases in historical sites, as well as the after effects of the conflicts, which are looting and damaging of these sites and artifacts. efforts should also be made to educate and create public awareness to the preservation of the heritage. looting and robbing of artifacts will not be rampant if there is no demand for these precious items. according to (lostal, 2015) the most effective method of protection for cultural heritage is to eliminate the demand for black market for these precious objects, thereby reducing the market, a method known as the ―market reduction approach. there is a well-documented link between the demand for items without provenance and museums. to eliminate black market demand, legislation is necessary to prosecute and regulate buyers, such as museums. as buyers, museums should be subject to greater scrutiny when acquiring objects. museums have the ability and responsibility to appropriately research their acquisitions, as their objective is to house 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(2005). understanding cultural landscape. new york: the guilford press. 167 modification of visual characters in indonesia animation film yully ambarsih ekawardhani, imam santosa, hafiz azis ahmad, irfansyah irfansyah institut teknologi bandung, indonesia submitted: december 18, 2019. revised: july 9, 2020. accepted: november 4, 2020 abstract this study aims to determine the relationship between facial physiognomy, body shape, and visualization of animated film character designs. characterization in an animated film is inseparable from the characters who are placed to fulfill the film’s role. in the creation of physiognomy and body shapes can be combined as an approach to design. the characters are modified through simplifications in the form of cartoons. this is done so that the visualization of the character gets closer to the role added, in addition to emphasizing the characteristics of one character to another. even in animated films, characters become important elements to direct the understanding of stories. the approach used is interdisciplinary, given that in characters there is a merging of visual elements that need to be approached using different theories. the combination of theories used is personality theory through somatotype to find characters through body shapes, physiognomy from ar-razi and ming xiang to obtain character traits and the theory of simplifying shapes into cartoons. the result is a match between the characters played by the three reference elements. the interesting thing that was found was the application of different physiognomy between one character and another to reinforce the characteristics. so that in the film, these figures can represent roles, which are human presentations in real life. keywords: animation; character; physiognomy; somatotype personal test; visual modification how to cite: ekawardhani, y. a., santosa, i., ahmad, h. a., & irfansyah, i. (2020). modification of visual characters in indonesia animation film. harmonia: journal of arts research and education, 20(2), 167-175 harmonia: journal of arts research and education 20 (2) (2020), 167-175 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i2.22556 aspects of the audience reception of the characters. the first reason refers to the technical making of animated film characters. when a character is made to move, it needs to be made thousands of images to make it seem moving. the second reason is that the simpler a character is, the easier it will be to remember. observing this, it is necessary to look at research on characters that have been carried out, both in the context of the creation or design, and the examination of values in characters. research on characters has been carried out, both introduction the creation of characters in animated films is one of the important stages. the character plays a role so that it can influence the audience’s imagination. the embodiment of animated film characters is inseparable from the modification of the form. the purpose of a modification is to simplify the characters so that their audience easily understands them. the concept of simplification refers to two aspects, first the technical aspects and the second corresponding author: e-mail: yullyambarsih@student.itb.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (2) (2020): 167-175168 in the context of the creation or design, as well as the examination of values in characters. fathoni, et al. (2018) research trace the application of physiognomy to be applied to character designs. ahmad (2018) examines the physiology of imam shafi’i to explore one’s character and behavior. based on the exposure in these two studies, it can be explained that the elements of shape on a person’s face can be known as the nature and tendency of the actions taken. meanwhile, the creation of animated movie characters has its own complexities, especially when making moves. there are hundreds or even thousands of images to make them look like they are making certain moves. the process of drawing ‘in-between’ can be seen in figure 1. figure 1. the process of “in between” in an animated film. (taken from the book the animator’s survival kit) considering the complexity in designing characters, the simplification of forms is one aspect that impacts the consistency of the characters’ likeness to humans as the comparison is a research on the animation industry in america. america has a long history of animated films, started by walter disney; the animation film industry in america continues to grow and develop. disney brings animated film characters to have an affinity with the adult audience. the additional psychological character can create “emotional exchange” (raffaelli, 2011). animated films are understood as works of art produced in groups, so there is an elaboration of understanding of their existence in this case. according to frank (2016), animated film, on the other hand, is made by a group of people in several stages, so that it can be said as “mosaic.” as an artificial work, einstein’s theory of omnipotence through his character, which can be treated as plastic, has no gravity. special treatments are used to make simplification of forms. the concept used in the creation of the film’s character is a cartoon style, which is by making imperfect shapes compared to the human figure. however, this effort aims to make the characters easily recognizable through their forms. animated film characters also occupy certain positions, especially in the context of roles in the film. when created, there are considerations related to characterization, which in turn will have an impact on visualization. the discussion of the character is itself related to the characterization theory. according to eder (2008) characters are central factors to gain understanding and experience, enjoy the aesthetics and rhetoric of films. it also contributes to the depth of emotions, thematics, and ideology. the character also becomes a reference for film criticism and analysis, as well as its position in the production process. character models represent the properties of a fictional being in a particular structure, with particular transparency and a particular perspectival orientation. eder (2010) also explains that characters are closely connected with other mental models that the viewers have formed of the situations of the story as well as of themselves or other persons. this definition is further developed based on the delivery media; as explained on the dramatica.com site, the main character is “the player through whom the audience experiences the first hand story.” it can be explained as “ a character who moves the plot forward and serves as a surrogate for the audience.” a character plays a role based on the existence of narratives that use dramaturgy. according to madiana, et al. (2018), “the drama production was able to create a more creative local atmosphere with the involvement of drama in an organization or a drama production. the involvement of dramaturgy before, during, and after the drama is aired is a wise procedure to implement in a performance’s process. the character’s role yully ambarsih ekawardhani et al., modification of visual characters in indonesia anima169 becomes important because apart from being a story bearer, the character can position himself as someone’s representative in the real world. in the film narrative of the somat family, there is a figure who is positioned as a leader, namely somat. somat is positioned as a father and husband who tries to protect his family. refer to the article junaidi (2017), who researched five leadership concepts in javanese puppet plays. one of the things to be observed is the concept of tripakarti, namely a king commits three actions so that his people do not underestimate him, namely: (1) among, which means caregiver, (2) hamot, who is broad-minded, (3) and hamemangkat, which means respecting the ability other people. in this context, a leader functions as a guide, educator, protector, unifier, and observer for his people. in the context of this animated film, somat seeks to position himself as a leader who has an awareness of his shortcomings and always tries to do good with compassion. in character creation, one of them is based on body shape. william sheldon first put forward this theory in 1940. genovese’s (2008) explanation of sheldon’s typology is based on body shape or somatotype influenced by three components: endomorphy, mesomorphy, and ectomorphy. endomorphy refers to the component of body fat. mesomorphy emphasizes the muscles of the body, while ectomorphy refer to thin bodies. sheldon also stated the link between somatotype and human behavior. three fundamental dimensions of temperament can be associated with these physical components, namely (1) visceratonia (associated with endomorphy) is characterized by weak, slow reactions to stimuli and likes eating activities and physical comfort, (2) somatotonia (associated with mesomorphy) is characterized by assertiveness, risk-taking, aggressiveness, and indifference to pain and (3) cerebrotonia (associated with ectomorphy) is characterized by physical and emotional restraints, rapid reactions to stimuli, and social inhibition (sheldon, 1942). in addition to the somatotype personality theory, there is also physiognomy, the science of reading a person’s character through face shapes. this science is among the most ancient practical philosophies since greek times by aristotle. this knowledge has also developed among scholars of the muslim community. one of those who was deeply involved was imam fakhruddin ar-razi (1150-1210), a famous scholar of his time. ar-razi wrote it in the hunch book. foreboding is based on the arguments of the koran, sunna, and logic (based on the book ar-razi which was reprinted in 2015. furthermore, the quotations in this book refer to the print). two of the four verses in the quran that explain it are qs. al-hijr: 75, states, “verily in that are indeed signs (our authority) for those who pay attention to signs (al-mutawassimûn)” and qs. al-fath: 29, states, “their signs appear on their faces from the former prostration.” the following basis is the argument based on reason: first, that humans are social beings who always interact with other humans, it is possible to meet various characters. foreboding is essential to master to avoid encounters with humans whose personality does not suit him. second, there are animal trainers who are able to know the character of an animal-based on their physical characteristics. if it can be applied to animals, it can be applied to humans. third, physiognomy is based on natural science (al-‘ilm ath-thabi’i), which has been tested through experimentation. if synchronized, physiognomy is in line with medical science. techniques to find out the character a person’s personality, namely: based on the shape and appearance of a person; based on the type of sound; based on similarities with animals in certain physical forms; based on the racial security features; based on gender differences; based on some characters that are already known. specifically, there are instructions from the body’s organs, especially the much stronger head than other organs. the reason is that first, the virtue of being a human being is due to understanding harmonia: journal of arts research and education 20 (2) (2020): 167-175170 and memory. everything is stored in the brain, then the source of thought is in the head. this shows that the head is a member of the body “most perfect for showing psychological symptoms.” second, the perfection of the condition of the body is caused by “kebagusan” (al-husn), while the deficiency is referred to as “badness” (al-qubh). both are dominantly located on the face. third, the appearance that appears on the face is an inner moral guide. all expressions related to human feelings appear on the face. in detail, the instructions on the body’s organs, especially the face, can be seen through the forehead, eyebrows, eyes, nose, lips, chin, and ears. besides being based on ar-razi physiognomy, the science of facial reading is also known in china, referred to as ming xing. the chinese have been carried out more than 2000 years ago, until now it is still used to analyze intellectual abilities, personality traits, and the fate of a person. it is believed that a person’s personality can be read clearly on his face (lip, 1998). the character design refers to the form of a cartoon, in the form of simplification of the form compared to the reference, which is human. firmly can be seen in the body shape that is not perfect and disproportionate. although made in 3-dimensional form, but the figure’s body shape has a cartoon characteristic. cartoons themselves are described as funny images that are two-dimensional. the definition of cartoon develops over time and leads to a semirealistic form created as a satire, caricature, or humor. these techniques are applied to characters in animated films as a case study is the animated film of the keluarga somat and adit sopo jarwo. the two films use a different visual approach but look detailed in the cultivation of body and face shape. the figures that will be examined in this paper are somat, inah, and jarwo. all three are figures which represent the body shape on the somatotype personality theory. somat and inah represent the endomorphy and ectomorphy types, while jarwo represents the mesomorphy type. figure 2. proportion of humans in the form of cartoons (halas & privet, 1958) as explained before, regarding character based on body shape, this theory applies characters in animated films, facilitating these characters’ interpretation. combined with the theory of reading faces, completes the character placed in them. however, when the character is animated, the next issue is to adjust it to the interests of the animation. the somatotype personality theory is a classical psychological theory, but it is still used because it shows visual features. it was simply adopted to divide the body shape, which is the triangles, circles, and rectangles. in the process of creation, narrative aspects are needed. it generally boils down to a good story that was executed well within the character design. sometimes it deals with aesthetics, and we all know that aesthetics is dictated by the story of the character design (tillman, 2011). method research on the visualization of characters in this film is carried out in the following stages: the first stage determines the character under study and examines the visual aspects of the captured parts. this determination is based on the different body shapes of these figures. the second stage describes the parts of the characters, including body shape and elements on the face. each character has a different form of detail. the third stage is to link these eleyully ambarsih ekawardhani et al., modification of visual characters in indonesia anima171 ments with each characterization. at this stage, an attempt is made to add properties based on physiognomy theory. the final stage is to link the results of the previous three stages with design visualization. result and discussion the elements on the face and body created through consideration of the somatotype personality theory and physiognomy reinforce animated film characters’ characterization. both of these approaches are able to create quality characters that will be placed in the film, then perform the role. today, in computer graphics, several artists cherish the belief that the more realistic they can make their characters, the greater their worth. animations that depict the realistic movement of hair or the presence of lifelike textures elicit reactions of awe. artists are encouraged to rush headlong toward the goal of greater realism (ratner, 2003). the application of believability to the main characters and supporters can be seen in the following discussion: somat in the film keluarga somat based on the somatotype personality theory. as seen in figure 3, somat body type is extreme endomorphy, characterized by a body that looks big because of a lot of fat; in the film, it is shown to eat delicious, but not excessive. somat is more shown as someone who has good friends, friendly, not uptight, and likes to help others. despite having a position as head of the family and making him have the authority to govern his family members, somat is more shown as a patient figure and protects his family. somat needs inah to solve the problem. figure 3. somat is an extreme endomorph type ar-razi physiognomy and ming xiang physiognomy is traced based on the face and the elements in the face, as follows: based on physiognomy, somat is assertive, confident, wise, and easy to forgive. this description is in accordance with the role in the film as husband and father, who must protect his family. as seen in table 1. table 1. physiognomy of somat square, with the forehead narrower than the jaw. having a confident, independent and firm nature. usually happy and relaxed slippery, wide and tall, tend to make quick decisions, practical, wise, kind and forgiving flat, straight eyebrows tend to show ideas and like to argue. big, naive. bull nose type, has a peaceful nature and easy to feel comfortable (covered with thick mustache) harmonia: journal of arts research and education 20 (2) (2020): 167-175172 based on physiognomy, somat is assertive, confident, wise, and easy to forgive. this description is in accordance with the role in the film as husband and father, who must protect his family. as a father, somat tries to provide comfort to his wife and children. this is in accordance with the shape of the face and nose. meanwhile, when viewed from the forehead and eyebrows, somat is able to make proportional decisions for his family. visualization of character design somat, has a very large body, then the shape of the head does not appear to exceed his body shape, but if you look at it as a whole has a rounded basic shape. to emphasize the nature and habits of somat, it shown by the simplification of the form. somat’s basic body shape is round. the combination of the body and head of the somat as a whole is oval in shape, with the body longer than the legs. likewise, the soles of the feet are very small compared to the body and hands. this depiction gives a funny impression and confirms endomorphic characteristics, as shown in figure 4. figure 4. somat body shape design inah based on the somatotype personality theory inah’s body type is small so that it can move quickly and carefully. another trait of this body type is being calm and able to think fast (figure 5). figure 5. inah is ectomorph type this is adjusted to her position as a housewife, besides accompanying her husband also educating her children. inah’s ideal body shape, illustrates her pleasant nature. despite her position as a wife and housewife, inah also has a warung business to get additional family income. as a stall owner, inah is always ready to serve buyers. this clarifies the shape of an agile ectomorphic body. ar-razi physiognomy dan ming xiang inah’s physiognomy can be seen in the table 2. table 2. physiognomy of inah oval, with wide forehead and narrow jaw. having a sense of taste and cleverness. width and height, usually smart, creative, practical and like to forgive curving reflects intelligence and compassion. big and far apart, naive and kind straight and balanced, have a balanced intelligence and personality thin as the moon, has a jovial nature inah’s physiognomy shows kindness, intelligence, carefree, firm and practical. this trait supports his role as a housewife who must educate her children. yully ambarsih ekawardhani et al., modification of visual characters in indonesia anima173 besides his position as a stall owner, must serve the buyer with a friendly but firm. visualization of character design in contrast to somat’s endomorphy body, inah has an ectomorphy type body. although described as having an ideal body shape, inah’s visual approach is also an application of the cartoon style. she is seen from the comparison of body and head shape. inah’s head is made very large beyond the width of her body. such depictions are not found in ordinary humans. this is done to reinforce the facial fisignomy, as shown in figure 6. figure 6. comparison of the head and body of inah jarwo in the film adit sopo jarwo based on the somatotype personality theory. jarwo’s body type is mesomorphy, physically marked by a large shoulder section, shrinking to the abdomen. the traits that arise are related to the body’s muscular shape so that it is oriented to physical activity (figure 7). figure 7. jarwo is mesomorphy type he has a loud voice and is straightforward. jarwo is easy to express his thoughts, although the situation’s interpretation is not always right. this happens because the temperament of somatotonic tends to be insensitive to the needs of others. another trait that is often shown in films is the figure who has many talents and often asks for help. however, jarwo was realistic by asking for compensation for his services. ar-razi physiognomy dan ming xiang jarwo’s physiognomy can be seen in the table 3. table 3. physiognomy of jarwo square, individualistic tendencies and have a strong desire to achieve his dreams. will never be able to be still and deft in moving. slippery, tend to make quick decisions flat, straight eyebrows tend to show ideas and like to argue. protruding out, means talking a lot snub, big nose, and snub, usually will be owned by those who are not rigid with their surroundings, pragmatic, only believe in themselves, easy to get along and not afraid. thick and square, usually generous, have talent and like to talk about what was achieved based on physiognomy, jarwo’s character tends to be individualistic and quick to make decisions, and even tends to rush. many ideas are in line with his penchant for boasting. leaning toward kindness because they feel able to overcome all the problems of others. however, the arrogant nature tends to obstruct the kindness of his harmonia: journal of arts research and education 20 (2) (2020): 167-175174 heart. visualization of character design jarwo comes from the film adit sopo jarwo, has a different type of character design. jarwo’s body shape is more proportional compared to somat and inah. however, the emphasis on body type is made strict and tends to be extreme. traces of cartoon style can be seen in the unbalanced body and leg length comparison, as shown in figure 8. figure 8. jarwo body shape design conclusions the complexity of animated film characters does not stop at being like a visual object but on its role in the film. each character has different characteristics, in this case, supported by somatotype and physiognomy. the description of the nature is implemented through a character’s design. portrayal through cartoon style makes it easy to implement its characteristics. the cons of the body shape of somat and inah, who are husband and wife, make it easy to identify differences in nature between the two. similarly, the depiction of jarwo who has a large body, coupled with its dominant characteristics. somatotype and physiognomy help create depictions of complexity in animated film characters. this makes these figures increasingly resemble humans with their nature and behavior. references ahmad, n. f. 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(1984). the illusion of life disney animation. new york: walt disney production. tillman, b. (2011). creative character design. waltham: focal press. william, r. (2001). the animator’s survival kit. london-new york: faber and faber. yully, a. e., imam s., & hafiz a. a. (2016). konsep believability pada karakter utama dalam film seri animasi adit dan sopo jarwo dan keluarga somat. proceeding of the 2nd international converence in creative media, design and technology (reka 2016). yully a. e., imam s., & hafiz a. a. (2016). finding identity and believability character in indonesia animated film. proceeding of the 5th international seminar on nusantara heritage “from nusantara heritage toward south eastasia heritage.” vol.1 no.1_mei_agustus 2000.pdf "!���#%�� �%��"�$ � ����������� ������ #!�'��%��&� �!�����# #�!����� �!$���� �%��" oleh f. totok sumaryanto pendidikan kesenian di sekolah bertujuan untuk mengembangkan sikap dan kemampuan siswa agar berkreasi dan menghargai kerajinan tangan dan kesenian, termasuk pengajaran seni musik. pencapaian prestasi belajar musik siswa dipengaruhi oleh beberapa faktor. salah satunya adalah kemampuan musikal (musical ability). kemampuan musikal adalah kemampuan bawaan yang melekat (inherent) pada seseorang dalam musik tanpa memperhatikan pengaruh lingkungan. kemampuan musikal (sebagai potensi yang dapat dikembangkan), jika ditambah dengan pengaruh lingkungan melalui latihan yang terarah dan teratur, dapat mengembangkan bakat musik siswa. dengan berkembangnya bakat musik, maka berkembang pula prestasi belajar musik mereka. pendahuluan tidak dapat disangkal bahwa seni merupakan bagian tak terpisahkan dari kehidupan manusia. salah satu implementasi dari ketakterpisahan ini adalah berupa peranan seni dalam mempengaruhi perkembangan jiwa manusia. pemanfaatan ini sudah barang tentu dalam arti positif, yaitu pengkajian seni untuk mengembangkan aspek estetis yang dimiliki manusia. usaha untuk mencapai tujuan tersebut antara lain melalui pendidikan kesenian yang diselenggarakan di sekolah. pembelajaran unsur-unsur seni di sekolah dewasa ini dilakukan melalui mata pelajaran kerajinan tangan dan kesenian. tujuan mata pelajaran kerajinan tangan dan kesenian di sekolah secara umum adalah untuk mengembangkan sikap dan kemampuan siswa agar berkreasi dan menghargai kerajinan tangan dan kesenian. ketentuan mengenai bahan kajian untuk mencapai tujuan tersebut, dalam rambu-rambu garisgaris program pengajaran keraji nan tangan dan kesenian disebutkan bahwa pelaksanaannya dilaksanakan secara terpadu. pencapaian tujuan dalam setiap pembahasan yang menyangkut topik-topik kemusikan diharapkan dapat memberi bekal para siswa untuk dapat mencapai tujuan yang lebih luas dan terpadu yaitu tujuan mata pelajaran kerajinan tangan dan kesenian. hal tersebut dipengaruhi oleh faktor dari dalam diri siswa, baik faktor fisiologis maupun psikologis (suryabrata, 1993: 253). faktor psikologis yang erat kaitannya dengan musik adalah kemampuan musikal (musical ability). dalam upaya mencapai tujuan pelajaran seni musik, peranan guru sangat diperlukan dalam membantu perkembangan kemampuan siswa secara optimal. hal ini disebabkan karena hasil belajar musik siswa dipengaruhi oleh kemampuan musikalnya. sehubungan dengan hal tersebut, guru perlu mengetahui dengan jelas kemampuan musikal siswa-siswanya secara individual agar dapat menerapkan pendekatan dan pemberian bantuan dengan tepat. tercapainya tujuan belajar mengajar seni musik akan tercermin dalam hasil belajar siswa menyangkut aspek-aspek kemusikan. seorang siswa dengan hasil belajar musik yang dimilikinya dapat dili-hat bagaimana kedudukannya dari segi tercapainya tujuan kegiatan belajar mengajar serta kedudukannya terhadap siswa lain. hal ini antara lain tercermin dalam nilai yang diperoleh siswa dalam seni musik. akan tetapi selama ini tidak diketahui apakah nilai yang diperoleh siswa sebagai indikator penampilan nya dalam seni musik di sekolah telah mewakili penampilan yang sebenarnya. alasan yang mendasari kesangsian ini antara lain terdapatnya siswa yang dalam kegiatan sehari-hari di sekolah menunjukkan kemampuan musikal tertentu, yang diharapkan atau diperkirakan dapat memperoleh nilai yang baik, ternyata memiliki nilai prestasi belajar yang relatif tidak lebih baik dibandingkan siswa lain yang tidak menunjukkan kemampuan musikal namun memiliki sikap rajin dan te kun semata. biasanya siswa yang memiliki kemampuan musikal yang lebih baik dari pada siswa lainnya kurang mempunyai perhatian terhadap proses yang berlangsung selama kegiatan belajar mengajar di kelas, karena perhatiaanya lebih tertuju pada kegiatan yang bersifat praktek yang sesuai dengan kemampuannya. akibatnya siswa ti-dak dapat menunjukkan kemampu-an musikalnya dalam konteks kegiatan belajar mengajar di kelas. hal ini berati bahwa penilaian tidak da-pat membedakan hasil belajar sis wa berpotensi musikal dengan yang tidak berpotensi musikal. hal ini menunjukkan belum diperhatikan dan dimanfaatkan segi-segi kemampuan musikal siswa dalam proses belajar musik. di samping itu, pelajaran se-ni musik seharusnya merupakan pelajaran yang lebih banyak menekankan pada aktivitas auditif yang dibantu dengan komunikasi visual. akan tetapi dalam kenyataannya, dengan alasan keterbatasannya masing-masing, umumnya para guru melakukan kegiatan belajar seni musik menggunakan pendekatan atau metode yang lebih banyak meniru pendekatan pelajaran lain, yang karakteristiknya sudah tentu tidak sama dengan pelajaran seni musik. penggunaan pendekatan kegiatan belajar mengajar yang ku rang tepat dengan sendirinya akan mempengaruhi prosedur dan teknik evaluasi kegiatan belajar mengajarnya, dalam arti bahwa jika pendekatam kegiatan belajar mengajar yang digunakan tidak tepat, maka prosedur dan teknik evaluasinya pun cenderung salah, sehingga hasil penilaian tersebut tidak mencerminkan keadaan yang sebenarnya. alasan yang biasanya dikemukakan sehubungan dengan keterbatasan proses belajar mengajar seni musik adalah menyangkut kurangnya tersedia media/ sarana kemusikan, terutama alat-alat musik yang mampu mendukung terlaksananya proses belajar mengajar seni musik sebagaimana dikehendaki, di samping adanya kemungkinan terbatasnya kemampuan guru sendiri dalam melaksanakan kegiatan belajar mengajar dengan keadaan tersebut, tidak mengherankan apabila pendidikan seni musik belum dapat menunjukkan peranan secara menonjol ji ka dibandingkan dengan pelajaranpelajaran lainnya, seperti pelajaran eksakta, dalam arti bahwa pelajaran musik belum mampu memenuhi harapan anak didik dan kurang dapat mengungkapkan serta mengembangkan potensi musikal yang dimiliki anak didik. dalam hal ini diperlukan kemampuan guru untuk memahami keadaan anak didiknya, terutama potensi musikal yang dimiliki. berbagai upaya dapat dilakukan untuk mengetahui potensi musikal anak didik, agar nantinya da pat dikembangkan secara optimal dalam proses pendidikan. a. kemampuan musikal (musical ability) kemampuan musikal (musical ability) adalah kemampuan bawaan yang melekat (inherent) pada seseorang dalam musik tanpa memperhatikan penganih lingkungan (dyson & gabriel, 1981: xi). me-nurut seashore (dalam dyson & gordon. 1981: 1) kecakapan musi-kal terbagi dalam sejumlah bakat-bakat yang terbatasi secara tajam yang dapat atau tidak berhubungan dengan keindividuan seseorang pa-da tingkatan yang beragam. gordon dan colwell (1981: 6) menyebut kemampuan musikal sebagai aptitude (kecakapan) untuk membedakannya dari attainment (pencapaian). aptitude adalah ukuran mengenai potensi seseorang untuk belajar, dan attainment ada lah ukuran mengenai apa yang seseorang telah pelajari. pembedaan istilah yang lebih tajam dikemukakan oleh schoen, sebagaimana dikutip oleh lundin (1967: 204) yang membedakan antara musikalitas dengan bakat musik. musikalitas mengarah pada pengertian tentang kemampuan penerimaan rangsang musikal, yang lebih berkaitan dengan kepekaan, perasaan, dan apresiasi terhadap musik. bakat musik mengarah pada kemampuan kinerja dalam musik, seperti kemampuan ekspresi musi kal melalui permainan alat musik. beberapa studi yang telah dilakukan oleh para peneliti di bidang kemampuan musikal dapat memberikan landasan tentang cakupan faktor kemampuan musikal, sebagai berikut: 1. faktor pengenalan pitch, mencakup kemampuan pengenalan, pembahan pitch dan ingatan tentang tonal. 2. kemampuan persepsi terhadap gerak ritmis nada, ingatan tonal, tempo dan birama. 3. faktor harmoni, mencakup ingatan tentang kord, analisis kord dan tonal. 4. faktor pengalaman, mencakup gerakan menurut tonal, dan pengenalan irama. 5. faktor penilaian musikal, mencakup pengenalan frase (melodi) dan gaya (style) musikal. 6. faktor intensitas, mencakup kemampuan respons terhadap kualitas nada dan warna nada (dyson & gabriel, 1981: 56). berdasarkan uraian tersebut, dapat ditegaskan bahwa kemampu-an musikal menunjuk pada kemampuan bawaan yang melekat pada individu dalam memberikan res pons terhadap unsur-unsur musikal, yaitu irama, melodi dan harmoni. b. pengaruh kemampuan musikal terhadap prestasi belajar musik belajar adalah suatu proses mental yang mengarah pada penguasaan pengetahuan, kecakapan, kebiasaan atau sikap yang dipero-leh, disimpan dan dilaksanakan se-hingga menimbulkan tingkah laku. dengan kata lain belajar adalah proses perubahan tingkah laku se-bagai hasil dari pengalaman (winkel, 1984: 151). good & brophy (1990: 124) menyatakan bahwa belajar adalah istilah yang digunakan untuk menggambarkan proses yang diikuti oleh pembahan. hal ini merupakan proses menda-patkan perubahan yang ralatif tetap dalam pengertian, sikap, pengetahuan, informasi, kemampuan dan keterampilan. selanjutnya dinya-takan bahwa belajar merupakan perubahan perangai atau kemampuan seseorang yang berlangsung lama dan bukan merupakan akibat dari pertumbuhan. dari rumusan di atas tampak para ahli sependapat bahwa belajar ditandai adanya perubahan. namun demikian tidak semua perubahan merupakan proses belajar, karena perubahan dapat juga terjadi seba gai akibat dari proses kematangan. ciri-ciri dari kegiatan belajar adalah: a) aktivitas yang menghasil kan peruba-han pada individu yang sedang belajar, baik aktual maupun poten-sial, b) perubahan itu pada pokoknya adalah didapatkannya kemampuan baru yang berlaku dalam waktu yang relatif lama, dan c) perubahan itu terjadi karena latihan dan usaha (suryabrata, 1983: 5). selanjutnya dinyatakan bahwa terdapat tiga persoalan pokok dalam belajar: pertama, persoalan mengenai masuk-an, yaitu faktor-faktor yang mempe-ngaruhi belajar. kedua, persoalan mengenai proses, yaitu bagaimana proses belajar itu berlangsung dan prinsip-prinsip apa yang mempe-ngaruhi proses tersebut. dan ketiga, persoalan menge nai keluaran, yaitu mengenai hasil belajar. persoalan ini berkaitan dengan tujuan pendidikan yang selanjutnya dijabarkan dalam tujuan pengajaran. prestasi adalah bukti keberhasilan yang dicapai seseorang, (winkei, 1984: 162). dua kata tersebut (prestasi dan belajar) dapat diartikan sebagai banyaknya ting kah laku yang dapat dicapai dari suatu pengalaman yang mengacu pada penguasaan pengetahuan, kecakapan dan kebiasaan. dengan demikian prestasi belajar musik adalah hasil usaha belajar yang berujud pengetahuan, sikap, dan keterampilan yang telah dicapai dari usahanya belajar musik selama waktu tertentu. musik adalah rangkaian bunyi ekspresif yang disusun dengan maksud membangkitkan respons manusia (delone, 1975: 1). bunyi ekspresif disini mengandung makna suatu spektrum kemungkinan-kemungkinan yang luas dari nada, termasuk juga noise, dan kombina-sinya dengan kesenyapan. dalam pengertian lain musik merupakan sarana yang dapat mengkomunikasikan sesuatu kepada pendengar (bray, 1978: 7). menurut hoffman seperti dikutip oleh hendric dan bray (1978: 22 ) sesuatu yang dikomunikasikan melalui musik yaitu ekspresi emosi. dankworth (1978: 244) menegaskan bahwa bunyi adalah bahan dasar keberadaan musik, musik adalah pengaturan bunyi. lebih lanjut hoffer (1985: 22 ) menegaskan ada dua ciri utama bagi suatu bunyi dapat disebut musik, yaitu pengorganisasian bunyi dan artinya. musik adalah pengorganisasian bunyi dan memiliki arti, terjadi dalam rentang waktu tertentu dan biasanya mempunyai pitch. hal pokok yang harus diperhatikan adalah bahwa aktivitas musikal melibatkan aspek pendengaran (auditif) sebagai dasarnya. jamalus (1988: 44) mengemukakan bahwa semua bentuk kegiatan musik memerlukan kemampuan mendengar, oleh karena itu kegiatan musik didasarkan pada dua kemampuan penting, yaitu penguasaan unsur-unsur musik dan faktor-faktor yang berhubungan dengan pendengaran. berdasarkan beberapa pengertian tersebut dapat ditegaskan bahwa musik mempunyai ciri-ciri: 1) adanya unsur bunyi, 2) adanya pengorganisasian bunyi, 3) adanya makna musikal. unsur-unsur musikal musik adalah seni yang mendasarkan pada pengorganisasian bunyi menurut waktu. hal yang membedakan musik dari jenis bunyi lain yaitu adanya elemen utama yang melekat pada bunyi yang bersifat musikal (kamien, 1996: 2). elemen yang dimaksud. yaitu : irama irama berkaitan dengan hal atau peristiwa yang datangnya teratur dan berulang. irama mencakup un-surunsur dasar bunyi, yaitu : 1) pitch, yaitu ketinggian relatif bunyi yang terdengar menurut frekuensinya. 2) dinamik, yaitu taraf kekerasan (kelembutan) bunyi dalam musik yang ditentukan oleh amplitudo dari getaran yang menghasilkan bunyi. 3) warna nada (timbre), yaitu kualitas tertentu yang membedakan berbagai bunyi dan nada. 4) durasi, yaitu panjang pendeknya waktu pada suatu bunyi. timbul pola-pola panjang pendek bunyi dalam suatu rangkaian nada, akan menghasilkan ritme (pola ritme). 5) tempo, yaitu rentang kecepa tan yang tetap pada suatu rangkain bunyi. pengulangan bunyi dengan tempo tertentu menimbulkan birama, yaitu jatuhnya pola tekanan secara teratur pa da suatu rangkaian bunyi. berdasarkan uraian tersebut dapat digarisbawahi bahwa irama memiliki ciri-ciri tertentu, yaitu: 1) pitch, 2) kualitas nada, 3) ritme, 4) birama, 5) tempo. melodi melodi adalah rangkaian nadanada secara tunggal yang memberi arti suatu keseluruhan. melodi memiliki sifat gerak tertentu yang menimbulkan karakter tertentu pada melodi tersebut. lundin (1967: 7778) mengemukakan bahwa sifatsifat gerak melodi dapat digolong-kan atas: 1) melangkah dan melompat (propinquity), yaitu gerakan melodi berdasarkan atas jarak tertentu suatu nada lainya (interval ). 2) pengulangan (repetition), ya itu pengulangan unsur-unsur melodi. sifat pengulangan merupakan ciri melodi yang pa ling mudah dikenali. 3) pengakhiran (finally), yaitu rasa tertentu pada bagian akhir melodi yang mengekspresikau gerakan atau urutan nada tertentu sebagai makna lengkap. yaitu akhir yang selaras. melodi yang membentuk rangkaian pendek disebut frase (phra se). ciri frase yang membedakanya dari melodi yaitu rangkaian nada yang menyusunya belum membentuk arti keseluruhan secara lengkap atau selesai. sebuah melodi mempunyai dasar nada tertentu yang menjadi pedoman bagi gerak nada-nada penyusunnya. pedoman gerak nada tersebut didasarkan pada pola jarak nada-nada penyusun terhadap dasar nada yang digunakan. suatu pola jarak nada yang mendasari gerak melodi disebut tonal. berdasarkan uraian tersebut dapat ditegaskan balnva sebuah me-lodi memiliki ciri-ciri tertentu be-rupa: 1) adanya rangkaian sejumlah nada penyusun melodi, 2) adanya sifat gerak tertentu berdasarkan interval, 3) adanya tonalitas. harmoni harmoni menunjuk pada cara membentuk berbagai kord (chord) yaitu kombinasi serempak tiga nada atau lebih dan bagaimana kord tersebut ditempatkan. wujud penerapan harmoni lebih lanjut dalam musik yaitu berupa rangkaian kord (progresi kord) yang mengiringi suatu melodi atau ritme tertentu dan rangkaian kord yang berada pada bagian akhir suatu melodi, frase, atau ritme disebut kadens (ca dence ). pola rangkaian kord tertentu dalam suatu kadens membentuk jenis kadens tertentu, kadens sempurna (pola rangkaian kord tingkat iv v i), kadens tengah (pola rangkaian kord iv i), dan kadens menyimpang (pola rangkaian kord v vi). berdasarkan uraian tersebut, dapat ditegaskan bahwa aspek harmoni ditandai oleh, 1) adanya kord, dan 2) adanya kadens. berbicara mengenai prestasi belajar musik, tidak dapat dipisahkan dari kemampuan musikal, sebab pencapaian prestasi belajar musik sangat tergantung pada kemampuan musikal (sebagai potensi/ kecakapan) dan latihan (sebagai olahan lingkungan). kemampuan musikal adalah suatu kondisi inheren pada seseorang yang dengan suatu latihan khusus memungkinkanya mencapai suatu kecakapan, pengetahuan, dan ketrampilan khusus, seperti misalnya kemampuan berbahasa, kemampuan bermain musik dan lainlain (moesono, 1991: 63). sese-orang yang berkemampuan musikal tinggi, dengan jumlah latihan yang sama dengan orang lain yang berkemampuan musikal rendah akan lebih cepat menguasai ketrampilan tersebut. dengan demikian kemampuan musikal harus ditunjang oleh faktor lingkungan (belajar), sehingga bakat musiknya dapat berkembang. selain faktor lingkungan (dengan belajar), faktor keturunan juga berpengaruh terhadap bakat seseorang. faktor keturunan tersebut dapat dikembangkan melalui olahan lingkungan. dalam proses interaksi antara faktor lingkungan dan keturunan, faktor lingkungan merupakan pengolah pengemba ngan faktor keturunan (hardy & heyes, 1985: 68 ). salah satu faktor lingkungan dalam mengembangkan bakat musik adalah belajar melalui latihan-latihan yang terarah dan teratur. sebagai contoh, seorang anak yang berbakat musik, jika mendapat latihan-latihan dari guru musik secara intensif dan teratur, anak tersebut akan menjadi ahli musik yang tenar. menurut sadli (1991: 64) terdapat faktor-faktor lain yang turut mem-pengaruhi pengembangan bakat (termasuk bakat musik) selain faktor keturun an dan lingkungan, yaitu faktor kematangan dan diperolehnya latihan (belajar) pada saat yang tepat. lingkungan yang mempengaruhi pengembangan bakat berupa: 1) lingkungan sosial, di mana pro ses pengembangan bakat dilakukan melalui proses sosialisasi, 2) lingkungan pendidikan, dimana proses pengembangan bakat dilakukan melalui proses pendidikan di sekolah (moesono, 1991: 64). selanjutnya dikemukakan bahwa sehubungan dengan cara berfungsinya, terdapat dua jenis bakat: pertama, bakat mengenai kemahir an atau kemampuan mengenai bidang pekerjaan yang khusus, seperti bakat musik. dan kedua, bakat khusus tertentu yang diperlukan seba gai perantara untuk mencapai kemampuan tertentu, misalnya bakat melihat dimensi bagi seseorang yang berbakat arsitektur. dari uraian di atas dapat dijelaskan bahwa dengan kemampuan musikal yang tinggi (sebagai potensi) ditambah dengan belajar melalui latihan-latihan yang terarah dan teratur, maka bakat musik seorang siswa akan berkembang sehingga prestasi belajar musiknya pun meningkat. c. penutup seni adalah bagian dari kehidupan manusia yang dapat mempengaruhi perkembangan jiwa manusia secara estetis. usaha untuk mencapai hal tersebut antara lain dilaksanakan melalui pendidikan seni di sekolah, termasuk di dalamnya pendidikan seni musik. salah satu faktor yang penting dalam mencapai tujuan pendidikan seni musik di sekolah adalah faktor psikologis yang bempa kemampuan musikal (musical ability), sebagai potensi yang hams dikembangkan. dengan demikian peranan guru sangat diperlukan untuk membantu mengembangkan kemampuan mu sik siswa secara optimal. dengan diketahuinya potensi/ kemampuan musikal anak didik. ditambah dengan olahan lingkung an melalui latihan yang terarah dan teratur, maka bakat musik siswa dapat dikembangkan secara optimal, sehingga menunjang prestasi belajamya.[] daftar pustaka dankworth, avril. 1978. “music” dalam the education of the young child, editor: david fontana. london: open books. good. thomas l. & brophy. jere e. 1990. educational psycho-logv, a realistic approach. fourth edition. new york: longman jamalus. 1988. pengajaran musik melalui pengalaman musik. jakarta: p2lptk depdikbud. kamen, roger. 1996. music, an appreciation. new york: mc. graw-hill books companies. robert. w. 1967. an objective psychology of music. new york: john wiley & sons. moesono, anggadewi. 1991. bakat. jakarta: ui press. sadli, saparinah. 1991. intelegensi, bakat dan tes iq. jakarta: gaya favorit press. suryabrata, sumadi. 1986. pengembangan tes hasil belajar. jakarta: rajawali. 1 the meanings and the myths behind the jkt48 kiii team “jangan kasih k3ndor” show at the seskoal indoor basketball building amanda dwi arista london school of public relations, indonesia received: march 19, 2019. revised: may 6, 2019. accepted: june 29, 2019 abstract the purpose of this study is to find out the meaning of the show seen from within the actors, namely the clothing used on the show “jangan kasih k3ndor.” the research method used was a qualitative method using roland barthes’ semiotics theory. data collection techniques used in this study were primary and secondary data; the data then processed and sorted into researchrelated data. the results showed that the meaning of the show “jangan kasih k3ndor” was that there is a message behind every hard work that can realize any dreams so that it became an extraordinary show and appreciated by people. this research also showed there were a lot of meanings, when the show took place, seen from the inside and outside of the actors. the significance of fashion in this performance was very influential and influenced the success of the concert held. keywords: show, jkt48 team kiii, roland barthes’ semiotics, performance studies how to cite: arista, a. d. (2019). the meanings and the myths behind the jkt48 kiii team ”jangan kasih k3ndor” show at the seskoal indoor basketball building. harmonia: journal of arts research and education, 19(1), 1-11. harmonia: journal of arts research and education 19 (1) (2019), 1-11 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i1.18769 expected to act and have an exciting personality when they appear on the television screen. (akto, dec 2017). the beginning of the emergence of idol groups in indonesia was at the time of the rise of numerous girlbands and boybands, most of whom leaned towards kpop. then, amid the rise, something new and different from what was already circulating in the world of indonesian music appeared. they were the jkt48 idol group, first appeared in november 2011 and claimed themselves to be an idol group. jkt48 is the first sister group of a japanese idol group, akb48, outside japan that has the concept of “idols you can meet.” to realize this concept, jkt48 holds events almost daily by the members in introduction performing arts contain more complex humanism values compared to artifacts. the world of ideas (minds) manifested in the culture in the form of cultural performances and rituals is a cultural behavior relating to beliefs and traditions in the form of symbols. (matondang & setiawan, 2015, p. 41) the recent concerts have generated a lot of crowd appreciation on social media to participate in one of the shows organized by the indonesian idol group. an idol is different from musicians, singers or artists. after being liked, idols are required to have many talents. not only dancing and having a good voice, but they are also corresponding author: jl. jend. sudirman no.kav. 32, karet tengsin, jakarta e-mail: amandadwita@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 19 (1) (2019): 1-112 the theater jkt48 located in fx sudirman mall, f4 floor, and after the event, the audience can perform a hi-touch with jkt48 members. jkt48 theater was established on september 8, 2013. previously, jkt48 had performed theatrical performances in several temporary theaters, from may to july. with the opening of the permanent theater, jkt48 would perform in the jkt48 theater regularly. for akb48, the akb48 theater is not just a theater where they perform regularly and meet with their fans. (jkt48, n.d.b) every idol group of the 48-family has a team system. each group is divided into three teams with names corresponding to the three letters that make up the group name. for example, akb48 is divided into three teams, namely team a, team k, and team b. members who have not been able to enter the team will be classified as trainees or members who are still in the training process. from each, there are members who act as the center or members who appear in front when appearing on stage; each team also has a captain who acts as the team leader (japan station, 2012). the jkt48 general manager operation announced the new jkt48 formation, jiro inao, which became effective on december 1, 2016. team j consisted of 20 people namely della delila, dena siti rohyati, devi kinal putri, dwi putri bonita, feni fitriyanti, gabriela margareth warouw, melody nurramdhani laksani, michelle christo kusnadi, nabilah ratna ayu, nadhifa salsabila, priscillia sari dewi, riskha fairunissa, saktia oktapyani, shania junianatha (captain), sinka juliani, sri lintang, syahfira angela nurhaliza, thalia ivanka, viviyona apriani, and zahra yuriva (cahya, 2016). team kiii consisted of 24 people, namely amanda dwi arista, anindhita rahma, alicia chanzia, ayana shahab, ayu safira oktaviani, beby chaesara, cindy yuvia, fakhriyani shafa, fransisca saraswati, frieska anastasia, jennifer rachel, lidya maulida, maria genevova desy, nadila cindi, natalia, ni made ayu vania aurellia, ratu vienny (captain), rina chikano, rona anggreani, shania gracia, shani indira natio, shinta naomi, sonia natalia, and stephanie priscillia (cahya, 2016). team t consisted of 18 people, namely adisty zara, adriani elisabeth, christi, cindy hapsari, citra ayu, elisabeth gloria, eve antoinette, fidly immanda, jinan safa, made devi, melati putri, melody nurramdhani laksani (captain), nurhayati, puti nadira, regina angelina, ruth damayanti, tan zhi hui celine, violeta burhan, and another four trainee members, namely diani amalia, gabryela marcelina, hasyakyla utami, sania and juli (cahya, 2016). jkt48 team kiii was given the name k-(iii), for it is the 3rd “k” team within the 48-family. previously in the 48-family, team k was first formed by akb48 in 2006, and team kii by ske48 in 2009. team kiii is a team of young girls dreaming of showing their best and perfect performance. to prove to be the best and perfect, each team member should strive to improve various aspects, including performance standards as a person, as well as work together as a team. (rahim, 2016, june 25). team kiii is currently the strongest team in jkt48 and is the team with the biggest fan loyalty proven in a solo concert made by jkt48 team kiii entitled “jangan kasih k3ndor” on saturday, july 29, 2017, at the seskoal indoor basketball hall. the solo concert of team kiii “jangan kasih k3ndor” is a journey where, every day, the team members would not put down their enthusiasm and effort at any time. (jkt48, n.d.a) in this challenge, team kiii must show the fans that they truly deserve to be supported. the concert that the team members have put together with their own hands is a show that is worth watching. before holding this concert, the members of team kiii were tasked with gathering a minimum of 1,000 crowds; otherwise, their single concert will be canceled. the interesting thing from the “jangan kasih k3ndor” concert is that kiii team members must direct and oversee the conamanda dwi arista, the meanings and the myths behind the jkt48 kiii team “jangan 3 cepts and all of the sales strategies instead of the usual jkt48 operation team. with the challenge of gathering a minimum of 1,000 crowds conducted only over 48 days, which began on june 1 until july 18, 2017, it made jkt48 team kiii had to work even harder to get their success as it is now. the existence of the concert is appealing and unique to be a discussion of the performing arts that had never before materialized in indonesia and arranged only by teenage girls aged 16 years and over. jkt48 team kiii has goals and aspirations to be the best performance in indonesia. this is what makes the researcher interested in making discussions in terms of the interest and attention of the appreciation of the audience of the solo concert “jangan kasih k3ndor,” jkt48 team kiii to be the strongest team in jkt48. jkt48 team kiii is interesting to be discussed so that questions like “what is the meaning of the ‘jangan kasih k3ndor’ performance by jkt48 team kiii viewed from the study of the show?” arise. performance studies performance studies is a new discipline, an interdisciplinary approach that brings together various disciplines, including anthropology, theater studies, dance anthropology or dance ethnology, ethnomusicology, folklore, semiotics, history, linguistics, choreography, literary criticism, and others. two of the most prominent figures in this discipline are victor turner (anthropologist) and richard schechner (actor, theater director, performance expert, and editor of the drama review). the target of study performances is not limited to shows performed on the stage, but also shows occurred outside the stage, such as sports, games, circuses, carnivals, pilgrimage trips, nyekar, and ceremonies. (takari, 2009, august 8) schechner outlined seven functions of performance, namely to entertain, to make something beautiful, to mark or change identities, create or grow a community, to heal, teach, persuade or convince, and confront the sacred. (schechner, 2013) according to barbara kirshenblattgimblett in “schechner,” performance studies are more than a sum of its inclusions. performance studies starts from the premise that the object of research is not divided, medium to intermediate, to various other disciplines such as music, dance, dramatic literature, and art history. intermediate art section which applies arbitrarily, such as the creation of fields and departments that are specific to each of them. (schechner, 2013, p. 3) to study performance, as an art form that has no specific media (and therefore uses all media), requires the presence of all modalities in play. this distinguishes performance studies from those that focus only on one modality, namely dance, music, art, theater, literature, and cinema. for this and other reasons, performance studies is better equipped to handle most of the world’s artistic expressions, which always synthesize or integrate movements, sounds, speech, narratives, and objects. (schechner, 2013, p. 3) theater as a sign system according to the book “theater as sign system” in (pramayoza, 2013, p. 235), theater performances are mostly a sign over sign or meta-signs. all signs in the text of a new play are in a complete rounded status when adapted on stage to become staging texts. this understanding makes the signs in the play text directly in the form of potential signs only. real signs are on the stage such as the body shape and voice of the actor, building materials and properties, the color and intensity of the light, the tone and volume of music, and so on. the implication of the marking process through similar theater performances is the opening of the possibility of shifting signs, from signs mandated by drama scripts, to signs that are finally reflected onto the stage (pramayoza, 2013, p. 235). not only does it shift, but the staging signs can also add a variety of other signs that might not be suggested at all in the play. (pramazoya, 2013, p. 235) harmonia: journal of arts research and education 19 (1) (2019): 1-114 conversations about staging theater as a sign system, reopen the debate about the relationship between drama and theater. apart from its function as a basis for staging, the text of the play is basically a genre of literary works, which are made with literary rules. (pramayoza, 2013, p. 235) but on the other hand, play or drama texts are also the typical types of literary works, because they are made to be performed by following certain dramatic conventions. this nature makes the text of the play responded and approached differently by theater artists. (pramayoza, 2013, p. 235). based on the background above, this paper discusses the meaning of the show, especially in the performance of “jangan kasih k3ndor” at the seskoal basketball building. method this research used a qualitative research method. this research focused on the various elements of the actors performing on the show, namely expressions, facial decoration (makeup), dance/gestures, costumes, sounds, and manner of speaking; as well as elements outside the actors which include music, stage, stage lights (lighting), and the audience in the performance. data collection techniques used were primary and secondary data. the data analysis method in this study used was the roland barthes’ semiotic analysis, which aimed to take various sign systems such as substance and boundaries, images, various gestures, various musical sounds, and various objects, which then integrated into the system of significance. the researcher also showed several documentations including videos recorded by several indonesian media on youtube, images contained in media articles that discussed this show, and also included various kinds of findings in the analysis unit draft to be researched and developed using a semiotic approach. results and discussion the meaning of the costume each costume worn by jkt48 team kiii during the concert had many meanings related to the concept of the performance and was harmonious between the clothes they wore and the song delivered during the performance. in this challenge, team kiii must show the fans that they truly deserve to be supported. the concert that the team members had put together with their own hands was a show that is worth watching. before holding this concert, the members of the jii team were tasked with gathering a minimum of 1,000 crowds; otherwise, their single concert will be canceled. the interesting thing from the “jangan kasih k3ndor” concert is that kiii team members must direct and oversee the concepts and all of the sales strategies instead of the usual jkt48 operation team. with the challenge of gathering a minimum of 1,000 crowds conducted only over 48 days, which began on june 1 until july 18, 2017, it made jkt48 team kiii had to work even harder to get their success as it is now. the existence of the concert is appealing and unique to be a discussion of the performing arts that had never before materialized in indonesia and arranged only by teenage girls aged 16 years and over. jkt48 team kiii has goals and aspirations to be the best performance in indonesia. in this concert, team kiii always discussed with the management and held regular meetings every day to discuss the concepts that would be made, starting from what songs to perform, and also costumes that are suitable to wear at the team kiii concert. this concert also invited all jkt48 fans to take part and provide ideas, suggestions, and input on the “jangan kasih k3ndor” concert. usually, the kiii team would announce meeting schedules with fans on each member’s social media and also special accounts for concerts. one of the fans’ contributions to this amanda dwi arista, the meanings and the myths behind the jkt48 kiii team “jangan 5 concert was the costume worn by the team at the end of the event, which was a shirt resembling a newspaper with black writing written in groups. inside the writing, there were motivational words sent by fans via twitter to encourage team kiii when undergoing challenges to realize their dreams, which is the realization of the the first costume this schoolboy-like outfit with dominant colors in black, white and red was worn during the first song until the fourth song, “korogaru ishi,” “saishu bell ga naru,” “run run run,” and “shamu neko.” this outfit looks like a high schooler’s uniform because, in addition to the checkered pattern, they also wore ties with the same style and similar color as the clothing. they also wore 4 cm black-heeled boots. in addition to the colorful costume, jkt48 team kiii also wore decorations on their faces, particularly glittery eyeshadow with soft colors making the area of their eyes stood out and lipstick that was not too red but more toward pink. figure 1. the dress from the song “kucing siam,” japanese station costumes or clothing worn by jkt48 members in each appearance are referred to as “seifuku,” which in japanese means school uniforms. when thinking about japanese school uniforms, the first thing that comes to mind is probably the typical sailor uniform. but actually, the world of japanese school uniforms is more than that. there are many different styles, some with longer or shorter skirts, some also inspired by military uniforms, others are more european-like; many are in blue or white, the rest are even green or red. myths with their clothing similar to highschoolers uniforms, team kiii built an image of their group into women who are still young and cute like those still in high schools, or according to japanese culture, “kawaii” which means cute. this made the fans more loyal and liked the jkt48 team kiii even more. therefore, it is also beneficial for jkt48 team kiii because the more fans that like team kiii and being loyal makes it easier for team kiii to realize whatever they want. one of them was to make team kiii theater performances at jkt48 theater fx sudirman always crowded and filled with the audience even willing to stand in line to watch the show. the meaning behind the second costume team kiii wore the clothing depicting a female soldier during the fifteenth to the twenty-first song. jkt48 team kiii performing seven songs consecutively by wearing a military-themed outfit was dubbed as the “showcase” act because in each song of the seven songs there were unique challenges throughout the performance, and team kiii successfully passed the challenges made for each song. figure 2. the “army” dress, official jkt48 facebook indonesian people know that jkt48, in general, is a cute, funny, cheerful, beautiful, and childish idol group whose members look like a bunch of spoiled girls; however, not with this costume — seen from harmonia: journal of arts research and education 19 (1) (2019): 1-116 the colors that are different from usual. regularly, jkt48 wears bright colors like red and pink, but specifically for this costume nicknamed “army,” it was full of dark colors, namely dark green mixed with brown and a little black. on the collar of the costume lies a gold star logo depicting a military general with a star on the chest, or what is commonly called a badge is given as a sign to distinguish the rank of each tni (indonesian army). team kiii combined the clothing with short-pants in color similar to the costume. besides, the decoration on the head was also used as a complement or substitute for the hat that is usually worn by the indonesian army soldiers. the boots that were worn were similar to those of soldiers for fighting, but this time team kiii used high heels on the sole so that they still looked like tall-looking women. the songs in the “showcase” part had a meaning that every song had its own mission. usually, someone who has a mission is either a police, a cia agent, an fbi agent, or a soldier; so, in this outfit, team kiii wanted to build a connotation that their team is like a group of soldiers who have a mission and will carry out their mission. it was proven in the “jangan kasih k3ndor” concert, which was a challenge given by the management to the members to realize the concert with the mission of gathering as many as 1,000 crowds or the show will be canceled. the army, the police or other organization complete their mission for the state, where jkt48 completes their mission for the sake of togetherness, entertaining its members, and also for the image of the jkt48 team kiii that has been embedded that they are a solid team, able to solve all the missions given, and as an initial image of jkt48 team kiii with the new formation after being mixed with the other generations. this mission was carried out with the solidarity of an army who fights together to complete their mission. the members of the kiii team always highlighted their togetherness, cohesiveness, hard work, and never giving up. in indonesia, there are various signs of respect for the services done by someone to the country of indonesia. myths myth, according to barthes (1993, p. 109, in kurniawan, 2001, p. 85), is a communication system that is thus a message. a myth, then, cannot be an object, a concept, or an idea, because a myth is a mode of the connotation that is a form (kurniawan, 2001, p. 85). it is the same with jkt48 team kiii, whose truth is still doubtful. in realizing this concert, in their fans’ minds, all members of team kiii looked solid, worked together, and focused on one goal; however, what was really within the team, was it the same as what it appeared? no one really knew except the people who were in it. jkt48 team kiii succeeded in making the fans believe that the team kiii was a truly compact team, had high solidarity, able to carry out their mission, tried to please the fans, and so on. the third costume in accordance with the clothing name “cinderella,” this elegant red shirt worn by the kiii team at the closing song before the encore was a request from the fans when they asked the idol to return to the stage; this encore was at the end of a show. the song was “cinderella wa damasarenai” which translates to “cinderella will not fall asleep.” figure 3. the “cinderella” costume, (from japanese station) this outfit was equipped with a red lace armband and covered with a gold list in the middle of the bracelet making the members looked like beautiful and elegant women. the flower-shaped hairpin amanda dwi arista, the meanings and the myths behind the jkt48 kiii team “jangan 7 worn was also red with a golden bud in the middle. in addition, the shoes from this outfit were heels similar to those glass slippers cinderella wears but only differ from the colors worn by the actors, which was black. the movements from “cinderella” used techniques that required attitude in moving the body such as the hands must be really straight, the beat of the feet must be synchronous and neat, and facial expressions must look firm, beautiful, elegant, sexy, and attractive, just like cinderella who is dancing. the cinderella dress we commonly know is generally light blue in color, but this time, the clothes worn by team kiii members at the concert were red. in this fairy tale, cinderella referred to a story about a girl who is treated evil and ostracized by her foster family, forced to work hard to become a maid at her home and later had the opportunity to attend a party and got a short miracle from a fairy godmother who blessed her and turned her into a beautiful and charming princess. still, there was a condition where cinderella must leave the party before midnight because the curse will disappear afterward. in the end, cinderella met a handsome prince who was liked by all the women who attended the party, and then the prince saw cinderella. because cinderella really was a beautiful woman, the prince fell in love with her, but it was unfortunate that the bell at midnight had sounded. cinderella had to leave the party, but because she was rushing to run away, one of the glass shoes cinderella was wearing slipped off, and she did not have time to take it until later the prince found the glass shoes. after that night, the prince continued to hold a contest to find the owner of the glass slipper. with the struggle carried out by the prince to find the real owner of the glass slipper, the prince finally found cinderella, and there was a happy ending; cinderella married the prince. in the fairy tale, there is a message that cinderella was just an ordinary girl who eventually became a royal princess after she was married by a prince. with the same concept, the show had a similar meaning/purpose to cinderella, where the members were originally just an ordinary teenage girl, then turned into a princess and rose their social status to become an idol who is favored, sought and fought by her princes (the jkt48 fans), because the fans of jkt48 are mostly male. in this case, the members of team kiii were perceived as beautiful but ordinary girls, and after they became members of jkt48, all their lives seemed to turn out to be like cinderella, loved by the princes. the lyrics of the song mean that the members of jkt48 hope to be sought by a prince. here are excerpts from the chorus of “cinderella.” “cinderella itu takkan tertipu cinderella won’t be deceived sepatu kaca yang aku percaya ini these glass shoes i trust kulepas sebelahnya saja dan pergi i took the one side off and went away suatu hari nanti o n e day, datanglah mencari ole” they’ll look for me, olé! from these lyrics, the members deliberately took off one of their glass shoes and they believed that the prince would surely come to find them. it likens that, in fact, they always provide feedback for their fans to always look for jkt48 members, just like when they greeted their fans during the “jangan kasih k3ndor” concert by waving their hands. it made the fans feel acknowledged and appreciated for their presence at the time and made them come back and attend every show made by jkt48 team kiii until the members greet them again. the costumes worn on the cinderella song during the team kiii performance “jangan kasih k3ndor” had two meanings in color psychology, brave or challenging, and burning passion or enthusiasm. myths the researcher captures the myth of the song “cinderella” performed by memharmonia: journal of arts research and education 19 (1) (2019): 1-118 bers of team kiii at the “jangan kasih k3ndor” concert that was asking the fans, or in this case, the princes to treat the team kiii members just like cinderella. just like in the past, those girls who were previously no one then joined jkt48 and grew fans. it is the fans who make them the idols, the same as the prince who makes cinderella a princess. of course, if we take a look from the fans’ point of view, they had the imagination to become a prince as a whole for the jkt48 members. in this case, they hoped to be close to their idols, for example, being their boyfriend or husband. the fourth costume this yellow t-shirt with blue writing became associated with team kiii at jkt48. this shirt was used by team kiii after they were reformed into a renewed team. this shirt was worn during the encore, which was four songs that were performed in sequence. the first song was “kamonegix,” which was the new song belonging to team kiii and was the most awaited by fans. figure 4. shani crying during the song “sasae,” (from offical jkt48 facebook) the second song they performed was “kaiyuugyo no capacity,” which is a nostalgic song because previously, it was only sung by the former members of team kiii long before the team reformation. the third song, “1234 yoroshiku,” was the first song that was sung since the beginning of the old formation of team kiii. finally, “sasae,” which translates to “support” (shown in figure 10), all members of team kiii performed this song with all their hearts and feelings. also, in figure 11 when shani, one of the members of team kiii, cried during the performance. this shirt is yellow in color and written in blue because it is to be the main attraction of the jkt48 kiii team. after all, each team in the jkt48 idol group has its own color and character. the yellow shirt worn by team kiii members in the show had a meaning in japanese culture, yellow represents courage, wealth, and renovations since the dynasty war in 1357. since then, soldiers have worn yellow chrysanthemums representing the emperors in japan and the royal family as a commitment of courage. the green spotlight had two general meanings, which were quite paradoxical. first, as a symbol of nature and the environment, and the second as finance and wealth. when connected with nature, green represents living plants and growth and is continuously used to promote sustainability and organic life. therefore, green is very suitable when combined with yellow. myths within the jkt48 fans, there is a myth that fans always say “no idol no life,” or if there are no idols in this world, there will be no life for them. this yellow shirt showed the initial identity of team kiii members to become idols for the fans or reminded them to go back to the time when the members first officially accepted as jkt48 members and wore the t-shirts. in addition, considered a symbol of good luck in thai culture, yellow is the lucky color for monday. the fifth costume the t-shirts used in the double encore or the very last closing song that concluded the concert had a lot of meaning; fans wanted to own them, but they were quickly sold out. this t-shirt made specifically for the concert “jangan kasih k3ndor” has a unique design, that is, the shirt looks like a newspaper, not only because the writing is black, with small letters, solid and whiteamanda dwi arista, the meanings and the myths behind the jkt48 kiii team “jangan 9 based, but the contents of the writing are a collection of words the motivation given by the fans who always supported team kiii via jkt48’s twitter account. figure 5. the shirt during the final song, (from official jkt48 facebook) here are a few collections of motivational words given by fans who have always supported team kiii via the @ konserjkt48kiii twitter account with the #semangatjangank3ndor hashtag. motivational comments from fans were displayed with layout designs that resembled newspaper layouts. newspapers are media that spread facts as news. newspapers also have their characteristics, namely written, actively display mental devices, contain transmission techniques, and have effects. newspapers are written, meaning that news published by newspapers has been arranged in the form of paragraphs, sentences, words, and images printed on paper. newspapers have the nature of actively creating mental devices, meaning messages that are communicated to the public are using language and letters that are printed “fixed” on paper, and in order to understand their meaning, readers must use mental devices actively. (hikmat, 2018, p. 37) this raises the connotation that the close relationship between jkt48 and its fans is a fact that has been widely spread and known to many people like a news story. myths the last costume had a meaning where the concept of jkt48 “idols you can meet” by the fans shows that they are idols who have a very close relationship with the fans. this very close relationship was shown by them making symbols on their last costume worn during the show, which filled with motivational comments from the fans for jkt48 team kiii in a costume that resembled newspapers. usually, the newspaper always contains news that resembles facts. likewise, the comments made by the fans to team kiii members proved that the relationships in the comments actually happened in the real world. however, it is believed by jkt48 fans that they have a relationship with their idols, namely the team kiii members who are shown on the symbol; therefore, this becomes a myth. the meaning found in the show “jangan kasih k3ndor” showed that the effort would never betray the results. team kiii made all the things in the show one and interconnected. the meaning of the costumes that the researchers carefully examined from the concert showed that team kiii was not only just a bunch of teenage girls who only showed their childish behavior, but here, they showed courage, enthusiasm, freshness, never giving up and proving that teenage girls could definitely get what they want if they really struggle to achieve their goals, and mutually support each other. the unique things from this concert should be followed by teenagers and even everyone to become a person who is passionate and unyielding despite the never-ending obstacles. the most important thing about this show is that this was a group performance that had successfully achieved their dreams and goals. therefore, they are brave and resilient because they never gave up in carrying out their challenges so that they managed to make this show deserves the nickname “jangan kasih k3ndor.” conclusions based on the research conducted, the meaning of jkt48 team kiii “jangan kaharmonia: journal of arts research and education 19 (1) (2019): 1-1110 sih k3ndor” show in the seskoal indoor basketball building viewed from the study show through fashion is by using roland barthes’s semiotic analysis which divides each outfit worn during the performance in 3 parts denotation, connotation and myth. the denotative meaning of the performance of “jangan kasih k3ndor” seen from the expression of the members of team kiii when they were on the stage and performed all the songs was that they really meant to bring this concert together, and looked very happy and relieved to be able to realize the concert. of all the clothes that were worn, most of them chose costumes that were revealing or sexy, and these costumes made the members looked harmonious and really showed that this show belonged to team kiii. the concert had a connotative meaning that team kiii had proven that with the realization of this concert, the obstacles and tests they faced could be overcome by the existence of cooperation, having one same mission with each other, determination, strong will, and never giving up. this was shown in the five outfits that were associated with the overall performance both is inside and outside the actors and worn by the members at the time of the performance. team kiii members had broken the myth that is widely believed by people where beautiful girls can’t strive hard. they had realized this show by working hard and cooperating with each other. however, that was only the evident part. with the visible cohesiveness, as well as supporting each other, it is unknown whether or not the same thing happened behind the stage. the truth is unknown, but the fans believed it because jkt48 team kiii was able to realize the “jangan kasih k3ndor” concert and brought it well to the audience. acknowledgments i would like to thank prita kemal gani, chair of stikom, the london school of public relations jakarta for giving me the opportunity to do research, mickhael yulius cobis, dean of performing arts communication, mass communication, and digital media communication, and mr. alex sobur and ms. olivia d. hutagaol, m.sc., thesis counselor. finally, the infinite remarks are addressed to the people of m soleh and nurhayati, my parents, who have supported the funding of this research. references akto, s. (2017, desember 7). begitu dipuja, ‘idol’bukan hanya sekedar nama di dunia hiburan korea selatan. diperoleh dari website kapanlagi. com https://www.kapanlagi.com/ showbiz/asian-star/begitu-dipujaidol-bukan-hanya-sekedar-namadi-dunia-hiburan-korea-selatan11be34.html astarina, s. (2017, june 08). tim kiii “jkt48” akan gelar konser “jangan kasih k3ndor”. diakses dari kompas.com: http://entertainment.kompas.com/ read/2017/06/08/154840010/tim. kiii.jkt48.akan.gelar.konser.jangan. kasih.k3ndor. cahya, g. p. (2016, september 13). reshuffle besar-besaran, inilah formasi jkt48 yang baru. diakses dari kapanlagi.com: https://musik.kapanlagi.com/berita/reshuffle-besarbesaran-inilah-formasi-jkt48-yangbaru-f330e3.html hikmat, m. (2018). jurnalistik: literary journalism. prenada media group japanese station. (2012). “akhirnya jkt48 punya theater pertama”. diakses dari japanese station: https://japanesestation.com/akhirnya-jkt48punya-theater-pertama/ jkt48. 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(2017). memanggungkan pramoedia : kekuatan naskah, akting, dan teknologi dalam pementasan “bunga penutup abad”. jurnal sosioteknologi, 16(1). 17-26. diperoleh pada 2 desember 2017 http://journals.itb.ac.id/index. php/sostek/article/view/4445/0 ratih. e. e. w (2001) fungsi tari sebagai seni pertunjukkan : harmonia jurnal pengetahuan dan pemikiran, 2(74). diakses dari https://journal.unnes. ac.id/artikel_nju/harmonia/854 takari, m. (2009, agustus 8). ilmu-ilmu seni, dan pengembangan teori. studia kultura universitas sumatera utara. 16. diakses dari https://etnomusikologiusu.com/artikel-etnomusikologi.html schechner, r. (2013). performance studies. newyork: routledge. sobur, a. (2007, desember). karya seni sebagai media. mediator, 8(2). 211-220. diperoleh pada 3 maret 2018 https:// ejournal.unisba.ac.id/index.php/ mediator/article/view/1245 yogantara, i, w, l. (2016). pementasan tari gebug prawayah pada perayaan galungang di desa timbrah karangasem. jurnal penelitian agama, 2(1). 2123. diperoleh pada 2 desember 2017 dari http://ejournal.ihdn.ac.id/index.php/vs/article/view/20 190 bedhaya bedhah madiun dance: as a tourism superior asset in puro mangkunagaran suharji institut seni indonesia surakarta, indonesia received: march 13, 2017. revised: october 7, 2017. accepted: december 1, 2017 abstract this research aims to describe responds and cultural practice that happened in mangkunagaran based on the repression of tourism world. this research is an analytical research based on ethnographic study. triangulation data is collected from the interviewees together with the manuscript of dance performance and direct observation of bedhaya bedhah madiun dance. classification of tourism dance is responded by puro mangkunagaran as the objectification of bedaya bedhah madiun as a free dance. the cultural response potentially alters the semiotic sign system associated with ‘bedhaya’ sign. this is a sign to bedhaya to add the profanity of bedaya as a tourist attraction. the objectivity of bedhaya bedhah madiun by puro mangkunegara also has a potency to deconstruct the understanding of bedhaya bedhah madiun as a tourist attraction, bedhaya bedhah madiun is not an imitation from the origin and it is not full of variation. cheap or expensive the dance is, becomes relative. furthermore, secrecy does not exist in the stage reality, but moves to hyper reality (in the fantasy and nostalgia of the audience). respond and cultural practice of indicated puro mangkunagaran as a cultural institution which is active in doing the production-reproduction of meaning and the tourism enhancement. keywords: bedhah madiun; bedhaya; mangkunagaran; cultural politics how to cite: suharji. (2017). bedhaya bedhah madiun dance: as a tourism superior asset in puro mangkunagaran. harmonia: journal of arts research and education, 17(2), 190-198. doi:http://dx.doi.org/10.15294/harmonia.v17i2.9199 harmonia: journal of arts research and education 17 (2) (2017), 190-198 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i2.9199 performed outside of the palace, out of the war, but it was still close to “the king”. bedhaya that is well-known in society could be found in demak and named bedhaya tunggal jiwo (pebriyanti, 2013). puro mangkunagaran (here referred to “puro”) has opened its self towards tourism visit since the independence era. physical buildings and customs as well as the cultural arts seem to be a tourist attraction for the wider community both domestic and international. dance is becoming a part of tourist attraction in puro that cannot be separated from each other. the policy of being a part of tourism world introduction bedhaya dance as an attribute of greatness of the king is created and showed in the palace. it is usually showed in specific events such as the coronation of the new king (jumenengan) and the annual commemoration of the coronation event (tingalan jumenengan). the exception is happened during the struggle period of pangeran sambernyawa (k.g.p.a.a. mangunegara i). bedhaya anglir mendhung was created while running the guerrilla war tactic between 1740-1757 (mangadeg, 1998). bedhaya anglir mendhung was also being corresponding author: jl. ki hajar dewantara 19 surakarta 57126 indonesia e-mail: suharji_harji@yahoo.com p-issn 2541-1683|e-issn 2541-2426 suharji, bedhaya bedhah madiun dance: as a tourism superior asset in puro ... 191 feels stronger after the emergence of the presidential decree of republic indonesia number 23 year 1988 which is stated that palace is a part of cultural heritage of the nation that needs to be maintained as an effort to preserve the national culture for the tourism. presidential decree number 23 year 1988 becomes a new doctrine for puro and other parties who saw culture as an important aspect for the nation life. repression shown in the way that palace is considered as a cultural heritage, and the heritage of a culture needs to be maintain in order to preserve the national culture. at the end, everything is held, done, and preserved for the sake of tourism. palace which was physically and dynamically cultural is reduced to adjust the cultural heritage. cultural heritage was then being rereduced as an object that needs to be preserved as a medium to support the success of national culture. the objectification of the second reduction is culture as a part of tourism. the economical instrumental orientation placed the culture as a tool to achieve a material goal. therefore, other three orientations are forgotten. those are cognitive aspect, expression, and normative (siregar, 2004). soedarsono (1999) stated that dance – in puro is becoming an important attraction as a tourism asset that has some characteristics, those are: a) imitating the origin; b) packaging briefly and densely; c) having full of variation; d) abandoning the magical and sacred values; as well as e) being cheap for the tourists. this classification is felt to be a new repression for the palace other than presidential decree no. 23 mentioned above. criteria a) and c) are claims towards art in tourism as artificial art, criteria of points b) and e) are claims towards art in tourism as a cheap art, and d) is a claim towards reduction of tourism sacrecy. it is interesting to look back to the response of the palace which in this connection is puro mangkunagaran against the two repressions that until now have not been revealed yet. study related to the respond is based on the assumption that one of the characteristics of life is sensitive to the excitatory (irritability), which means that there is a response to the pressure. in relation to culture, an active institution is an institution that still produces meaning. this research context takes bedhaya bedhah madiun case which in the beginning is a legitimate power dance of sri paduka mangkunegoro vii which is then being objectified as tourist attraction. since culture is a signification practice by using the dichotomy of signified and signifier in semiotics. bedhaya bedhah madiun’s research makes a description on the responses and cultural practices which attempts to change the meaning of the two signifiers, namely bedhaya and art in tourism. bedhaya as dance is an attribute of power which is in one side is paradoxical compare to the art in tourism which places the material as a goal. method research data is collected by doing observation, interview, and documentation. data is mainly gathered from direct observation of bedhaya bedhah madiun performance in world dance day on 29 april 2015 located in pendapa institut seni indonesia (isi) surakarta. data that is collected through documentation technique is document g. no. 42. “bedhaya bedhah madiun”. it is the collection of rekso pustoko mangkunegaran surakarta. this research focuses on the ethnography methods especially in methods 12 of ethnography’s chronological (spradley, 2007) which is summarized as 4 core steps: a) selection of interviewees; b) interview; c) note taking; d) analysis and data presentation. result and discussion structure and change of bedhaya bedhah madiun puro has the trilogy of bedhaya (anglirmendhung, diradameta, and sukapratma) arranged by sri paduka mangkunagoro i, bedhaya bedhah madiun arranged by sri paduka mangkunegoro vii, and harmonia: journal of arts research and education 17 (2) (2017): 190-198192 bedhaya surmasumirat which is arranged in sri paduka mangkunegoro ix era. every bedhaya has its own specialty. bedhaya bedhah madiun has some special features: 1) arranged by sri paduka mangkunegoro vii; 2) arranged in the greatest time of puro era, therefore, used as a symbol of prosperity; 3) all performances including dancers, instrument players, and swarawati are women; 4) the duration is relatively short (44 minutes); 5) having symbolic of war as the theme. characters chosen as the inspiration in dance making process are the special characters that are cherished by the puro’s family. that is the war of panembahan senapati that can be seen in bedhah madiun dance, illustrating the event of conquest of kadipaten madiun by mataram. the proof that panembahan senapati is special to puro’s circle is stated explicitly in wedhatama by k.g.p.a.a mangkunegoro iv in the first passage of the second stanza of sinom (traditional javanese song): nulada laku utama | tumrape ing tanah jawi | wong agung ing ngèksigônda | panêmbahan senapati | kapati amarsudi | sudaning hawa lan nêpsu | pinêsu tapa brata | tanapi ing sari ratri | amêmangun karyenak tyasing sasama (padmasusastra, 1898). bedhaya bedhah madiun is performed by 7 dancers with their roles: batak (symbol of intelectual), gulu (symbol of road), dhaha (symbol of heart), endhel (symbol of human desire), apit ngajeng (symbol of right hand), apit wingking (symbol of left hand), and buntil (symbol of genitals) (munarsih, 2010). the main dance symbolizes conflict between intelectual and human desire. even if in the history, it was told that panembahan senapati is married to retno dumilah (princess and daughter of rangga bupati madiun), the narration through dance is not about love scene like other bedhaya in general. relation between perfeormers needs a specific research since bedhaya bedhah madiun is loaded with historical events and very complicated symbols. it becomes important to underline that bedhaya bedhah madiun is a tool of legitimate power of sri paduka mangkunagoro vii who attempts to release the discourse of panembahan senopati character in event of madiun conquest. when we see through the plain eyes, it can not be seen through the character and make up/ costume. there are other elements that give the narration. that is cakepan sindenan like gending gendakusuma (4 lines) as these following quotations: ||babo| nenggih kawuwus wau| engge| kangjeng panembahan| senapati| ing alaga nata| babo| raja ing mataram|| ||babo| kala andon yuda| engge| nglurug mring nagara| ing brang wetan| temah unggul ing prang| babo| kangjeng panembahan|| ||babo| karsa nglajengena| engge| ngecak nampuh praja| ing madiun| sagung wadya kuswa| babo| njarah angrerayah|| ||babo| mbesmi dhusun-dhusun| engge| janma ing madiun| kawus kawus| nggiris kapelajar| babo| awis purun nglawan|| narration about the war in madiun is clearly seen in the lyrics of cakepan in the performance, but it cannot be guaranteed that it can clearly heard by the audiences. narration and lyrics are not something that has important relation with narration dance. the objectivity of dance can be a chance to dance objectification can be the opportunity to launch a discourse of priorities through human efforts to defeat his low wishes (symbolized by desire) using intellectual. here is the vocabulary order arranged in the songs in which is used in the sacred version in bedhaya bedah madiun) (mangkunagaran manuscript, g. 17 p. 1). bedhaya bedhah madiun as a dance attraction is similar to the sacred version, except number 1 and number 6 because it is a ritual scene of worship to pengageng puro. the real duration of bedhaya bedhah madiun performance is 44 minutes suharji, bedhaya bedhah madiun dance: as a tourism superior asset in puro ... 193 (munarsih, 2010). meanwhile, the dance attraction of bedhaya bedhah madiun duration is around 20 minutes. the shortening of duration is obtained from the deletion of maju beksan and mundur beksan and also the reduction of the repetition of motion. another part that is not included in the dance attraction of bedhaya bedhah madiun is sesaji (offerings) ritual ceremony which is conducted one day before the dance performance. ritual ceremony of sesaji is called as uluk-uluk led by the most senior abdi dalem gandarsan (sesaji arranger) and sesaji is brought by lurah bedhaya. all abdi dhalem in charge of performing the ritual must wear dodot jangkep with ukel ageng and wear samir (javanese traditional costume). there are 6 elements of sesaji: dark blue sticky rice, traditional snack, sega megana (tumpeng liwet rice with eggs and fish), tumpeng asahan (tumpeng with dry side dishes like yeast, tempeh, and jerky), sega golong (round white rice) and chicken pecel, kembang setaman, and mancawarna flower. after praying, all sesaji in the form of food and flowers are taken back and then distributed to the dancers and pengrawit (instrument players). another requirement is that during the performance, it is required to burn dupa and should not be extinguished till the end of the dance performance. it can be seen from the lists of movement vocabulary that puro is not doing a reduction to the performance material. the deletion of sembahan and ritual parts are form of objectification respond of bedhaya bedhah madiun performance in the form of act that decontextualizing the dance. in puro, bedhaya bedhah madiun is a symbolical construction along with other elements such as sri paduka mangkusong movement vocabulary maju beksan: pathetan nem wantah; gati langendrangta pelog nem.; pathetan nem wantah; bawa sekar jiwa retna, pelog nem. sila sembahan dan jengkeng sembahan. gending gandakusuma, pelog nem sembahan; nggrodha; ngenceng nyolongi; gidrah; imbal; jangkung miling-miling; panambang; ngewer udhet; ngenceng; gedrug maju mundur. gending gambuh, pelog nem pendhapan maju mundur; gudhawa panambang; atrap sumping; ngenceng nyolongi; trap sumping panambang; ngenceng; nggrodha. ladrang gending mengkreng, pelog nem kicat made udhe;, pacak jangga encot-encot; penambang ongkek minger; ukel tawing,ulapulap; wedhi kengser tumpang tali; lembehan sirig mundur; nggrodha jengkeng; ngayang; sembah (gamelan suwuk). ketawang gending mijil, pelog nem sembah; bango mati; nyathok ngiwa; nyamber rakit lajur; undhuh sekar; tawing nyolongi; undhuh sekar; penambang; nyathok ngiwa; nggrodha; ongkek unus dhuwung (endhel) batak lampah sekar majeng, nyathok tengen samberan, ulapulap, gedrug, batak lampah sekar majeng endhel kicat ebat, nyathok tengan samberan, ulap-ulap, gedrug ongkek (diulang-ulang); ulap-ulap, ongkek, endhel ngrangkakaken dhuwung, batak pendhapan ngajeng; lembehan sirig mubeng; mancat tengen, ngancap rakit; kicat boyong; impang majeng; nggrodha; jenkeng nglayang sembah (gamelan suwuk). mundur beksan: pathetan nem wantan sila sembahan dan jengkeng sembahan. harmonia: journal of arts research and education 17 (2) (2017): 190-198194 (ipam) in jakarta (2013); indonesian dance festival in surakarta (2013); classic cultural arts in yogyakarta (2014); and world dance day in surakarta (2015); as well as festival keraton x in pangkalan bun, central kalimantan (2016) (document of rekso pustaka mangkunagaran). cultural respond related to tourism doctrine this is a special part which is analyzing the cultural responds which are given by the interviewees after the questions are raised especially about their respond in the repression of culture through the tourism doctrine. the list of questions and important answers in the interview can be seen in the lists as followed: questions which is given to the interviewee 1 1) do mangkunagaran party feel depressed with the presidential decree no. 23 of 1988 (regarding to the status of mangkunagaran as a cultural heritage of the nation that needs to be maintained in order to preserve national culture for tourism)? 2) what is mangkunagaran’s response related to that puro’s profanation? 3) do you agree that bedhaya which is identic with sacrecy is used as tourism assets? answers of interviewees 1 1) at the beginning, when we are listening to the story of our predecessor, some people feel depressed with this president decree, but there are also people that do not care. however, that is what happened at that moment. it is hard for mangkunagaran to be in an area which is in the past was really shunned by our predecessors, anything that leads to the worldly pleasures. the world of tourism is certainly very important in the form of money and we are in a position that need it as a requirement to run our organization including traditional ceremonies that require big cost. however, in fact, our expectations are clashing with the simple and realistic wish of thinking that we are supposed to negoro vii as pengageng puro, pendopo as a symbol of position of the ruler, as well as other symbols (suyati sutarwo sumosutargyo, interview, 2017). by having those symbols, it is expected that people do not feel that their rights are reduced in getting bedhaya bedhah madiun as an object of appreciation. cultural events in the form of bedhaya bedhah madiun objectification affect the sign system in bedhaya marker. the theoretical implications affected by this dance performance include: 1) bedhaya dance is not always an attribute of the king’s power but can be staged anywhere; 2) there is a practice of de-essentialization of culture because symbolical relation as in bedhaya bedhaya madiun which is related to historical consciousness becomes no longer important; 3) there is an emphasis on visualization for dance movement and music accompaniment along with the make up and clothing. one example is the use of batik cloth with parangkusuma motif which is part of panembahan senapati symbol, that can be replaced with other motifs such as parang klithik. it can be seen when bedhaya bedhah madiun staged in a series of world dance day on 29 april 2015; 4) the classification of tourism dance as soedarsono (1999) does not apply to items 1), 3), and 4). bedhaya bedhah madiun as a tourist attraction is not a replica of the original. it is not full of variation (variations only on a few visual elements), and cheap or expensive becomes very relative. special for point 4, the sacred element is not present in the reality of staging but moves to hyper reality that is in the fantasy and nostalgia of the audience (kurniati, interview, 2016). performances of bedhaya puro, especially bedhaya bedhah madiun also had ever been performed nationally and internationally, among others are in: mangkunagaran art mission in paris, france (1989); palace festival number iii in tenggarong, east kalimantan (2002); ukraine and austria (2013); cultural show of mangkunagaran performing art (mpa) in surakarta (2013); indonesia performing arts market suharji, bedhaya bedhah madiun dance: as a tourism superior asset in puro ... 195 be struggling for it (financial sufficiency). 2) experts say that to make an attraction is worth selling, it must be rare, valuable, and desirable. it seems that we, mangkunagaran, have it all (3 criteria). sri paduka (k.g.p.a.a. mangkunegoro ix) has allowed puro’s wisdoms such as bedhaya to be witnessed by the community, certainly with certain conditions such as not being presented intact (the dance) and the parts of the inheritance related ceremony should not be run. the packaging for the community’s offerings is entirely handed over to kemantren langenpraja, since the valuable and desirable presentation should see the development of society as well. actually, we still have a chance, as a cultural preservation institution like our predecessors’ trust, and we can take advantage of this tourism as an interaction with the community. 3) assets or not real assets are not our territory, but the atmosphere seems to be impartial to us. bedhaya is a part of us and has a certain meaning for us, then it seems we are being urged to give up that change. implicative questions from the interviewees questions are: a) implicitly, there is a pressure felt by puro, but there is no other choice than taking the advantage of the chance. transformation of cultural context from idealism to materialism actually is unwanted, but it seems that the whole world is leaning towards it. tourism was a temporary economic activity in the past era before independence proclmataion of indonesia because it could suffice in financing itself with various business activities rather than in the field of tourism, and never make the art of his property as a tourist attraction. puro (like its predecessor’s message) still thinks that matter is a means not a destination. puro really needs money, but there may be a more appropriate way to keep the importance of virtue values. despite being in material territory, puro strives to be as much as possible in the different sides of hedonism. b) during the time when they were following economic tourism activity, puro realized that there is an indication of commodification, but they were keep trying to place bedhaya bedhah madiun as a commodity by using the cultural place as a public place, which makes the economic – politic practice in relation to the development of bedhaya bedhah madiun to have a valuable meaning in the event of appreciated by the tourism community. dramatization as commonly happens in the packs of tourist attractions will happen by itself after linking bedhaya bedhah madiun with issues of feminism and reflective awareness. c) puro now stands in two different territories. one remains in the realm of cultural preservation and another one is in the economic realm, but with the hope that at the right moment puro will strengthen his position in maintaining a stable cultural significance while still remaining in the contemporary context. question that being asked to the interviewee 2 a. is it true that langenpraja is getting instruction to “allow” bedhaya bedhah madiun to be used as something that is reliable for the advancement of world tourism? b. if it is true, what is the respond that appear in kemantren langenpraja circle including yourself? c. is there any space that allow profanation of bedhaya to happen even if it is actually not for the public? answers of interviewee 2 1) actually, i cannot say let go or not let go. we (kemantren langenpraja) only get instructions to compose bedhaya bedhah madiun as a dance that can later be presented to the community both inside and outside the puro. this is not an easy thing for us, because we have to change (in the new composition) bedhaya that has been part of the wingit (sacred) things in us into a performance “ordinary dance”. but luckily, we saw the other side. there are some puro activities that (long ago) became our harmonia: journal of arts research and education 17 (2) (2017): 190-198196 meeting place (puro) with the general public. this “regular dance” may hopefully add to our “flavor” with the community. not necessarily the people who come to puro to see bedhaya dance. we can go to the community to bring our dances to be watched by the public. we think this is a positive thing for us. hopefully, our hope to make the community come to preserve the art of tradition can be more easily to be realized. 2) we actually have thought about changes long time ago, one of the change is durations of dance that may be reduced. we also get input from outside dancers (puro) about the dance that people want. in essence, bedhaya dance which is its wingit attached can be seen clearly through the repetition, although in our opinion we cannot see the repetition. certain movements when repeated on other parts seem to remain different. we also recognize that people do not necessarily agree with this practice of this kewingitan, so we choose to shorten the length of the performance by reducing the repetitions. implicative questions from the interviewees’ answers are: a) that desacralization of bedhaya bedhah madiun does not delete the original version. bedhaya bedhah madiun in short version then being an interaction media with the society and puro. it is certainly together with the hope that society still can memorize the original version. seeing bedhaya bedhah madiun’s short version accompanied by memories of the original version becomes a “jumbuh” or unifying sense of appreciation towards bedhaya bedhah madiun guided by reflective awareness. this is an indication of the practice of reproduction of meaning. b) puro also actively build the reflective awareness by performing bedhaya bedhah madiun in short version outside of the palace even to the outside of the nation. c) profanation of bedhaya bedhah madiun is being used as a gap space for political rooms, a launch discursive discourse that emancipated because people can still appreciate the dance without feeling the hegemony. questions that being asked to interviewee 3 a. where did you learn to dance and how far has the art of dance inspired your life? b. as a dancer who has long served in puro mangkunagaran, is there a difference between sacred and non-sacred dance? c. is there any special preparation when dancing these 2 dance classes? d. do you understand and appreciate the theme of this dance (bedhaya bedhah madiun)? the answer of interviewee 3 for most of my life i have been in the javanese dance world and that is my world. up and down, happy and hard, everything i have lived. i have danced in puro since 1985. all mangkunagaran dance especially princess dance i’ve ever brought, including sacred dance like bedhaya. bedhaya which is danced in puro requires inner and outer preparation, unlike “ordinary” dance. i live the sacred and the unsacred because dancing is my profession. the feeling that being used when performing bedhaya dance is more difficult because there is no explicit characterization. i personally do the appreciation and imagine what is being experienced by the two figures in bedhaya bedhah madiun. those are sinuwun panembahan (senapati) and retna dumilah. fantasy like this helps the appreciation of the taste while dancing a dance. the point is that traditional dance is my life choice and will continue to run with pleasure and responsibility. implicative questions from the answers of the interviewees are: a) repression is not perceived by the dancer, otherwise become a provision in carrying out his profession. dancing is a lifestyle, including the control of behavior based on the dramatized figure in the bedhaya bedhah madiun dance. b) desacralization of bedhaya bedhah madiun is part of the role undertaken suharji, bedhaya bedhah madiun dance: as a tourism superior asset in puro ... 197 with spesial appreciation. fantasy of the original of bedhaya bedhah madiun helps the dance in the version of tourist attraction. c) being a special note that this interviewee usually play a role as a batak, which is a symbol of intelligent. questions that being asked to the interviewee 4 a. since when do you like bedhaya-srimpi dance, and what do you think about bedhaya that can now be enjoyed by the wider community? b. what values of local wisdom do you think stand out in bedhaya-srimpi dance, and are these values worth defending? c. how much do you spend to get here (solo) from jakarta until you find the tourist attraction that you want to see? answer of interviewee 4: actually i am not a new person in the art enthusiast in palace circle. even if i am not a descendant of the palace, i like the palace dances. there is a magical thing that i can feel when i see the sacred dance live in the palace (including in the mangkunagaran). sacred dance that has been changed like what i am seeing now also not become a problem. i can still enjoy the performances while memorizing the old time when i see the original version lived in mangkunagaran. even if without the absent of sri paduka (mangkunagoro) vii, i still can imagine his absence. i can enjoy the dance performance that has long duration because it is part of my heart journey in traversing the short time. i am really happy to be here (world dance day event), and feels like all people can dance. i have lot of friends that has a same opinion like me. implicative questions from the answer of the interviewees: a) from the perspective of audience, especially the audiences having special interest to sacred dance, they usually concern with the originality of dance since they expect to be able to see deep apprection of certain values contained in dance. b) reflective awareness also underlines lifestyle. the consumption of the meaning of hyper reality becomes the phenomenological behavior of the individual, like the current tendency while imagining themselves in a social environment. c) knowledge and consciousness become the basic of symbolic communication and is not merely seen as an event of exchange of commodities especially the commodities that based on the role of money as an intermediary of communication. conclusion based on the problem and aim of this research, findings in this research are: (1) there is a desacralization practice in the performance of bedhaya bedhah madiun in its objectivity as a tourism attraction from the deletion of ritual elements of bedhaya bedhah madiun as an attribute of legitimate power of mangkunegoro vii; (2) respond and cultural practice in the performance objectification of bedhaya bedhah madiun has a potency in changing the sign system in its relation to bedhaya dance’s meaning and dance classification as a dance tourism by soedarsono; (3) tourism potentially repressive for the deontologization of reflective awareness is actually seen by puro as a political amplifier of space for interaction with the wider community; (4) puro as an active institution in relation to culture is still doing the production-reproduction of meaning through respond and cultural practice, and tourism becomes its stimulant. references eco, u. (2009). teori semiotika signifikasi komunikasi, teori kode, serta teori produksi tanda. translated. yogyakarta: kreasi wacana. hadi, y. s. (2007). kajian teks dan konteks. yogyakarta: pustaka book publisher. indah, p. s. (2013). makna simbolik tari bedhaya tunggal jiwa. harmonia: journal of arts research and education, harmonia: journal of arts research and education 17 (2) (2017): 190-198198 13(2), 120-131. jazuli, m. (2008). pendidikan seni budaya suplemen pembelajaran seni. semarang: universitas negeri semarang press. jazuli. (2011). sosiologi seni. surakarta: universitas sebelas maret press. karyana, h. a. (1997). kepariwisataan. jakarta: pt gramedia grasindo manuskrip. rekso pustoko mangkunagaran, manuskrip g.17:1 “bedhaya bedhah madiun” munarsih, s. (2010). tari bedhaya bedhah madiun puro mangkunegaran surakarta, legitimasi kekuasaan mangkunegara vii melalui kebudayaan. thesis. surakarta: universitas sebelas maret. padmasusastra. (1898). piwulang. surakarta: albert rusche & co) siregar, a. (2004). budaya massa: catatan konseptual tentang produk budaya dan hiburan massa. lifestyle ecstasy kebudayan pop dalam masyarakat komoditas indonesia. idi subandy ibrahim. ed. yogyakarta: jalasutra. spillane, j. j. (1994). pariwisata indonesia siasat ekonomi dan rekayasa kebudayaan. yogyakarta: kanisius. soedarsono. (1987). seni pertunjukan dan pariwisata di daerah istmewa yogyakarta. yogyakarta: depdikbud. proyek (javanologi). soedarsono. (1999). seni pertunjukan jawa tradisional dan pariwisata. rangkuman esai tentang seni pertunjukan indonesia dan pariwisata. yogyakara: bs institut seni indonesia yogyakarta. spradley, j. p. (2007). metode etnografi. translated. yogyakarta: tiara wacana. suharji. (2003). bedhaya suryasumirat dan politik kebudayaan di puro mangkunagaran surakarta. mudra jurnal seni budaya, 12(2), 83-97. suharji. (2009). dampak perubahan sistem nilai terhadap tari bedhaya surya sumirat sebagai kreativitas tari bedhaya baru di mangkunegaran. harmonia: journal of arts research and education, 9(2), 149-156. 117 the effect of architecture of arts education tourism towards interest in learning arts for high school students agus budiman, trianti nugraheni, purnomo purnomo universitas pendidikan indonesia, indonesia submitted: june 8, 2020. revised: october 19, 2020. accepted: november 24, 2020 abstract the implementation of tourism activities not only has a purpose for traveling or entertainment. in education, tourism can have a function as a learning activity carried out by someone in their visit to a tourist attraction location. this study aims to determine the effect of organizing an art education tour on the interest in learning art for high school students. this study uses a quantitative research approach with a sample of 84 students who took part in an art education tourism program held at upi (indonesian university of education). this study took a sample using total sampling techniques in which all respondents were taken into consideration the analysis of research data. data collection used in this study is to use a closed questionnaire in the form of a scale. research data analysis uses simple regression test data analysis techniques to find out whether there is an influence of art education tourism activities on high school students’ interest in learning art at school. the results of the study can be concluded that educational tours have an influence on high school students’ interest in learning art; this is indicated from the results of the coefficient of determination (r square) of 0.479, which implies that the influence of educational programs on the dependent variable (interest in learning art) is 47.9%. the results of the analysis show how much the independent variable (x) can affect the dependent variable (y). keywords: educational tours; art education tourism; art learning interest how to cite: budiman, a., nugraheni, t., & purnomo. (2020). the effect of architecture of arts education tourism towards interest in learning arts for high school students. harmonia: journal of arts research and education, 20(2), 117125 harmonia: journal of arts research and education 20 (2) (2020), 117-125 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i2.24845 nature tourism, cultural tourism, historical tourism, educational tourism, agricultural tourism, religious tourism, marine tourism, and culinary tourism. edu-tourism or educational tourism is intended as a program where participants in tourism activities take a tour of a certain place in a group to gain learning experiences directly related to the location visited. the definition of educational tourism is a program that combines elements of tourism activities with educational content in it. the concept of educational introduction rencana kerja pemerintah (rkp) or the government plan year 2018, encourages development with a focus on three priority sectors whose roles will be enhanced for growth and job creation, namely the processing industry, agriculture, and tourism. as one of the priorities, the tourism sector needs to be seriously developed so that it can have a significant impact on the economy for the actors in it. several types of work fields in the tourism sector include corresponding author: e-mail: agusbudiman@upi.edu p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (2) (2020): 117-125118 tourism is more about combining the concept of study tour visits on an object that is intended (suprihanto et al., 2020). this program can be packaged in such a way as to make annual tourism activities or extracurricular activities become more quality. educational tourism is a tour that has added educational value, not just traveling but also aims to add educational values for tourists (hasanah, 2018). usually, educational tourism destinations are places that have added value as a tourist area, such as plantation areas, zoos, breeding places for rare animals, research centers, museums, etc. the tourism material adjusted to the interest of the object and the field of science to be studied. educational tours aim to increase the intelligence and creativity of tourism activity participants. universitas pendidikan indonesia (upi) is one of the campuses with the label education. along with the change in the status of upi from pt bhmn to ptnbh based on the provisions of the higher education law number 12 of 2012, in general, this university shows a change in the higher education management system, namely upi has the authority and independence in managing its campus, both in the field academic and non-academic services. the change in the status of upi from pt bhmn to ptn-bh must be balanced wisely by the entire university community, which is marked by a change in the paradigm of thinking to manage university autonomy well. all forms of campus potential, both the physical potential of facilities (facilities and infrastructure) and campus human resources, need to be properly optimized to be managed based on the management mechanism to support the achievement of the university’s vision and mission. it is aspired to in various policy programs written in the university’s strategic plan year 2016-2020. from some of the university’s authority and independence related to upi’s status as ptn-bh, it is interesting and challenging to think that the university in its management is the autonomy of managing various assets and facilities that can be developed as a potential strategy. it is for developing and seeking university funding sources from various educational service products and partnership services with various agencies to provide the university’s financial income. one of the strategic potentials that the university can develop is to develop the concept of campus-based educational tourism by empowering all the potential that the university has, both the potential for human resources and the facilities and infrastructure owned by upi. every week, the university of education facilitates high school students for study tours and comparative study to the upi campus. this comparative study aims to promote upi to high school students, especially those who wish to continue to higher education. besides, high school students are given cultural arts or performances to welcome newcomers or guests to the upi campus. at this moment, of course, it becomes an opportunity for the faculty of art and design (fpsd) to attract students’ interest in cultural arts and even eventually, they love cultural arts and want to study it. it is hoped that educational tourism can increase students’ interest in learning about art. according to (andriana, 2017), brougère (2013), (morellato, 2014), students’ interest in learning is still lacking. they attend school but only for obligation, especially art courses with only a few hours. various studies show that educational tourism makes a positive contribution to students (arici et al., 2014). the purpose of art education is not merely to make a student become an artist, but to make the student experience creating art to have a love and sense of belonging to art, as described in (sunaryo et al., 2020). this condition explains that the role of art education in schools must develop the students’ potential (sabri et al., 2019); (lisetskaya et al., 2019). these learning conditions will make students more likely to develop their respective potentials. art education is an alternative in introducing art that is rooted in the nation’s culture, as well as a filter for the entry of foreign culagus budiman et al., the effect of architecture of arts education tourism towards ... 119 tures that are aggressively hitting our culture. besides, it is also an effort to balance the increasing priority of education on the intellectual side. art has benefits for the intelligence of the students’ souls who can refine and deepen the soul’s movements so that it is expected to improve the students’ character. art education in schools is practically interpreted as an effort to shape students’ skills to have skills in the arts they are studying. however, learning time is limited, so educational tourism is an additional alternative to obtain art and cultural material from other sources outside of school. so, related to this, the researchers try to find the influence of the implementation of educational tourism programs on the interest in learning arts for high school students. method this study uses a quantitative approach. this study’s sample was 84 students who were the population sample, namely students who participated in art education tourism activities at upi. the research instrument in the form of a questionnaire containing a list of questions to determine the educational program with a likert scale categorization, namely very good (score 4), good (score 3), sufficient (score 2), and poor (score 1). meanwhile, to determine the interest in learning art, using a likert scale with category of always (score 4), often (score 3), sometimes (score 2), and never (score 1). the list of questions developed concerns the indicator variables that focus on the problem of this study. the number of questions given to respondents was 20 items with each grouping of answer indicators, namely 10 question items for the variable implementation of the arts education tourism program in general and 10 question items to determine the respondents’ answers about the tendency for changes. these questions are for asking students to learn art after participating in activities of the art education tourism program. variables, indicators, and subindicators and grouping of questions are explained in table 1. data analysis was performed using a simple regression test analysis with the help of spss 20. significance testing was carried out with the provisions if the significant value < 0.05, which means that the variable x affects the variable y. if the significant value > 0.05, it means the variable x does not affect the variable y. results and discussion art education tourism program the development of art learning materials in schools must be endeavored to raise local wisdom art materials that pay attention to the principles of student development (graham, 2007; inwood & taylor, 2012; mack, 2015; song, 2012). appreciation is one of the learning methods that can be done in art learning activities in schools to achieve the expected learning goals (covington, 1999, 2000; covington & dray, 2002; dörnyei, 2007; malarsih, 2016). table 1. research variables variable indicators sub-indicators no item art education tourism (x) attraction place of learning experience or locations and activities carried out 1,2,3 human resources staffing, informant 4,5 travel planning program planning 6,7 tour operator guide, marketing 8,9,10 students’ art learning interest (y) internal factors psychological conditions (motivation, talent, and learning interest 1,2,3,4,5,6 external factors social environment (family, school, community) 7,8,9,10 harmonia: journal of arts research and education 20 (2) (2020): 117-125120 this art education tourism program can be used as an alternative way for students to understand a material taught by the teacher. education and tourism are two different things, but they can synergize and complement each other. the educational process carried out in tourism activities is an active and creative learning method and is an effective alternative learning method. educational tourism activities can be a means of socializing and fostering a sense of pride and love for culture and the nation. educational tourism is a tourism activity carried out by tourists to obtain education and learning. dhiman (2012); dredge et al. (2015); sheldon, et al. (2008), and xiao (1999) explained that educational tourism is a tourism activity carried out by those who take an overnight vacation or more and those who make a journey to find education and learning as either a primary or secondary part of their journey. educational tourism, or in english known as edu-tourism is an activity to visit a location that has entertainment and educational value. educational tours vary, including conferences, research, student exchanges, seminars. students do this by taking advantage of time according to the schedule by taking walks but gaining knowledge (merriam, 2007; jafari & ritchie, 1981). upi, as an educational campus in bandung, also provides the art education tour package design, which was initiated around 2017. the faculty of art and design education, together with activists from fpsd organizations (sm fpsd, himasra, himastar, and himamusik), are trying to make upi as one of the new educational tourism options in bandung. the materials in the guidance have been adjusted to the quality of the students and the educational curriculum. every time you visit a tourist attraction, it will be adjusted to the object’s interest and the field of science that will be studied. educational tourism aims to increase the intelligence and creativity of tourism activity participants. this educational tourism program will feature a variety of music and dance performances as well as workshops and art exhibitions. some of the performances that have been performed are ansambel gitar, regional dances, and batik workshops. places that are usually used are in the dome theater of the upi indonesian national education museum or in the fpsd building itself according to the number of participants who take it. the activity’s target is students, but it cannot be denied that the public and other university students are also interested. this educational tour is a form of upi’s concern in facilitating arts and cultural education so that it is expected to attract targets to learn it. this is also an effort to provide material to solve the limitations of deepening cultural arts material in schools. some of the benefits of implementing edu-tourism are as follows: students can get direct experience from the object being seen; students can participate in various activities so that they can develop their special talents or skills; students can deepen and broaden their experiences; students can find the truth of the proof of their theory or try their theory into practice, and students can gain inseparable and integrated knowledge and experience. the concept of educational tourism is deliberately designed specifically to meet students’ scientific capacity as part of the additional material supplements provided at school; they can gain additional knowledge through educational tourism activities. the concept of educational tourism that is specifically carried out by students is for recreation for entertainment, but it has an educational idea in increasing the knowledge possessed by students through observing, interacting, questioning, experiencing, recognizing, and learning from the objects they visit. thus, they will be able to fill national insight with tourism travel activities to identify areas and potential local resources between regions, districts, provinces, and between islands throughout the country. agus budiman et al., the effect of architecture of arts education tourism towards ... 121 students’ travel activities will be able to boost the economic growth of tourism management actors, as well as to re-develop the artistic and cultural potential of each region to be developed again through the concept of material products for the needs of educational tourism activities. the quality of a tourist attraction has proven to be a major factor that will determine tourist satisfaction and ultimately will determine loyalty, which can be in the form of tourist interest in returning to visit or recommending destinations to others to visit (hermawan, 2017; weiermair, et al., 2007). so, upi, as the organizer, needs to maintain the quality of the educational tourism program. figure 1. concept of educational tourism product development (ritchie & crouch, 2003) according there are four indicators in seeing the potential and developing educational tourism products, they are: attractions and events are places of learning experience or locations, and the activities carried out. human resources or specialists are responsible for providing learning experiences. this could be like a guidebook, curator, lecturer or instructor, and guide. travel planners, namely individuals, agents, or organizations, assist in planning and designing learning programs for participants. tour operators are those who are responsible for packaging and presenting educational experiences by providing expertise, local knowledge, and marketing services. these four things need to be considered to develop educational tourism for the target object. if the four indicators are good, the objectives of the educational tourism program will arrive at the target. educational tourism providers have an important role in developing tourist attractions as a result of initiative and creativity, as important elements in the strategy for developing educational tourism programs (richardson & fluker, 2004) the influence of edu-tourism program on students‘ art learning interest interest in learning is the desire to make changes and improvements in a person, from not knowing to know, from being unable to be able, according to what they want (rauf, 2013; christensen-scheel, 2018; villacañas de castro, et al., 2020). in simple terms, interest means a tendency and high excitement or a great desire for something. internal or psychological factors of a person that affect interest in learning are students’ intelligence, motivation, interests, attitudes, talents, and self-confidence. external factors of a person that influence interest in education are social environment, including family, school, and community. educational tourism program involves an experimental demonstration method where students see and observe various performances directly that will increase student understanding. (kirchner & mostert, 2017) state that one’s interest in something, combined with the use of strategy, will result in a higher level of achievement of results. thus, this study hypothesizes that the implementation of educational tours has a positive influence on students’ interest in learning arts. based on indicators used in preparing valid and reliable questionnaires, they were then distributed to samples in the field. the data obtained were tested using the spss 20 program. the results are as table 2. the table 2 explains the significant effect of the educational program on students’ interest in learning arts. from this output, it can be seen that the score of f count = 75.493 with a significance level of 0.000 < 0.05, then the null hypothesis is reharmonia: journal of arts research and education 20 (2) (2020): 117-125122 jected. thus, it can be concluded that the regression model can be used to predict the variable of interest in learning arts, or in other words, there is the influence of the variable of educational program (x) on the variable of interest in learning arts (y). table 2. variance analysis test in regression model sum of squares df mean square f sig regression 211.065 1 211.065 75.493 .000 residual 229.257 82 2.796 total 440.321 83 dependent variable: interest in learning the art; predictors: (contant), art edu-tourism program then, the coefficient of determination analysis is performed. the coefficient of determination is a number that shows the degree of ability to explain the independent variable to the dependent variable. the value of r is at zero and one (0 < r < 1). if the results get closer to one, the model results are good, and the level of closeness of the independent and dependent variables is getting closer too. based on calculations using the spss 20 program, the results can be seen in the table 3. table 3. the coefficient of determination analysis model summary model r r square adjusted r square std. error of the estimate 1 .692 .479 .473 1.67207 predictors (constant), art edu-tourism program the table 3 explains the value of the correlation/relationship (r) equal to 0.692. from this output, the coefficient of determination (r square) of 0.479 implies that the education program’s effect on the dependent variable (interest in learning arts) is 47.9 %. based on the table 4, it is known that the value of constant (a) is 10.303, while the value of the education program (b/ regression coefficient) is 0.603, so the regression equation can be written: y = a + bx y = 10,303 + 0,603x the equation can be interpreted: a constant equal to 10.303 implies that the consistent value of the variable of interest in learning art is equal to 10.303. the x regression coefficient of 0.603 states that for every 1% increase in the value of the edutourism program, it increases by 0.603. the regression coefficient is positive, so it can be said that the direction of the influence of the variable x on y is positive. the analysis of the above calculations shows that the educational tour or educational tourism program is proven to have a positive influence on students’ interest in learning arts. interest in learning for each student is different. students’ interest in learning will determine the learning success process. thus, instilling education for students requires a unique and effective learning process that can cause or attract students to participate in learning, so that good learning outcome is achieved. an educational tourism program can be an alternative. the educational tourism program is an effort to add additional material provided at school. students can gain additional knowledge and experience through educational tourism activities. the concept of educational tourism specifically carried out by students is not only for recreation for entertainment. so, students will be interested in the program being held. interest in learning becomes the students’ desire; a high desire to learn matable 4. the result of the simple regression test model unstandardized coefficients standar-dized coeffici-ents t sig std. error beta (constant) program eduwisata 10.303 .603 2.410 .069 .692 4.276 .000 .000 dependent variable: interest in learning art predictors: (constant), art edu-tourism program agus budiman et al., the effect of architecture of arts education tourism towards ... 123 kes students active in studying in their environment. schools have high hopes for students to follow the learning process at school according to the rules that the school runs, in the sense that students follow the learning process to completion and participate in extra activities held by the school, especially in the arts. although there are many opinions about art, it can be concluded that art is an idea, a thought, a feeling that is manifested or expressed through certain elements, which are beautiful to meet human needs (dharmawati, 2016; tatarkiewicz, 1974; kaye, 1994; whybrow, 2010; roms & edwards, 2012; lambert, 2018). art is a human activity that gives pleasure to the artist himself. from a light activity, a person’s hobby, to come to watch an exhibition of artworks alone, he or she has experienced joyful hearts. involvement as an art actor is, of course, different, it can give a further experience of pleasure more fully because all the attention of his senses is concentrated on the activities of his imaginary power which are revealed and reflected on the available equipment or art medium to appear as his work. indriyanti & sari, 2017 explain that students’ interest in learning in arts subjects can be increased by the roles of various parties, especially how teachers as learning media/mediators and schools as supporting facilitators in learning. material selection, teacher techniques in providing lessons to physical facilities such as electronic media and conducive conditioning for students’ learning places so that the understanding of lessons will be maximized and students’ interest in learning will increase. the related opinion, the limitations of teachers in delivering material, and the limitations of physical facilities can be supported by collaboration with other parties, such as upi fpsd, to provide other experiences outside of school for their students. that way, students can directly observe the various focus of art lessons. besides, upi itself, especially fpsd, has a compatible vision and mission that this educational tour should be promotional material for those interested in art to enter upi through several accessible channels, including snmptn, sbmptn, and sm upi. after becoming a student, every student must have physical, mental, and time readiness because, in the lecture process, a lot of time is spent on practicing the arts. however, it is not enough just to be proficient in playing musical instruments, proficient in theater, good at dancing and painting, because educational theories and theories on art must also be considered with a percentage of 30% educational theory, 30% art theory, and 40% practice. conclusion organizing educational tours as an alternative to learning has been proven to positively influence the interest in learning arts for high school students. active and creative learning methods, as well as an alternative to effective learning methods. students are also given in-depth and additional material not found in school by seeing the various performances and art workshops displayed in the implementation of the art education tourism program at upi. the results of data analysis show that the arts education tourism program has a significant influence on changes in high school students’ art learning interest. this data is seen from the data analysis results using spss with the output data from the analysis test results obtained by the coefficient of determination (r square) of 0.479. this analysis proves that the influence of art education tourism programs (variable x) on the dependent variable (interest in learning art) is 47.9%. this means that art education tours can generate interest in learning art for students, which is influenced by students’ internal and external factors. references andriana, a. 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(1999). tourism education in china: past and present. asia pacific journal of tourism research, 4(2), 68–72. 88 awakening philippine cultural consciousness in the youth through amelia lapeña-bonifacio’s papet pasyon amihan bonifacio-ramolete, sir anril pineda tiatco university of the philippines diliman, philippines submitted: 2023-08-04. revised: 2023-11-04. accepted: 2024-03-08 abstract this article aims to explore how the staging of papet pasyon, a children’s play by amelia lapeñabonifacio, a philippine national artist, impart and continues to communicate to the local younger audience an understanding of culture and an appreciation of the art of puppetry. this is then followed by the conceptualization of the actual staging of the play vis-à-vis her vision of a children’s theatre. afterward, papet pasyon is asserted as a pedagogy for younger audiences. results of the study show (1) how the pre-show conversation prepares the audience for the performance and how it provides an understanding of filipino cultural traditions and an appreciation of the art of puppetry; (2) how the performance serves as a venue for experiential learning; (3) how the art of puppetry challenges one’s imagination in manipulating the puppet (in the case of the puppeteer) and in creating meanings from what they hear and see onstage (in the case of the audience); (4) cooperation and integration are made evident by the interactions between the puppet and the puppeteer and the puppet and puppeteer with the audience; and (5) that although puppetry is foreign to the audience, they have expressed appreciation of the art form by repeatedly watching the performance through the years. keywords: children’s theatre; philippine performance tradition; papet pasyon; theatre and education how to cite: bonifacio-ramolete, a., & tiatco, s. a. p. (2024). awakening philippine cultural consciousness in the youth through amelia lapeña-bonifacio’s papet pasyon. harmonia: journal of arts research and education, 24(1), 88-104 harmonia: journal of arts research and education 24 (1) (2024), 88-104 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v24i1.46462 cally for children. the passion play in oberammergau, germany, which happens every ten years since 1634, inspired lapena-bonifacio to write papet pasyon. from being a religious drama, the “world’s largest, longestrunning, and most famous passion play” has become a community theater that the villagers continue to fulfill as a religious vow (ohm, 2010). similarly, lapena-bonifacio wanted to stage a passionate play for children, which materialized with the premiere of papet pasyon in 1985. it was also when her daughter was introduction in the 1970s, amelia lapeña-bonifacio, then a professor of english at the university of the philippines diliman and a playwright, observed that filipino children were more familiar with western-oriented shows, such as jim henson’s sesame street and early japanese anime, such as voltes v. her fellowship to travel in europe and asia made her realize that the philippines lack storybooks and television programs for children. on her visit to germany, she was surprised to see a bible made specificorresponding author: e-mail: mbramolete@up.edu.ph p-issn 2541-1683|e-issn 2541-2426 amihan bonifacio-ramolete et al., awakening philippine cultural consciousness in the 89 growing up extremely fond of the story of cinderella. from her research on asian and philippine drama and insights gained from trips in southeast and east asia, lapeña-bonifacio decided to write plays for young audiences based on folktales, establish a children’s theatre company, teatrong mulat ng pilipinas (mulat), and stage her plays to promote the filipino and asian heritage. according to columnist winnie velasquez (1978), “teatro (mulat) has noble and inspired beginnings. it came at a time when pilipino as a language for the stage was gaining stature and filling a cultural void. it answered the creative stirrings in the filipino youngster, who has been reared in the shadow of snow white, little red riding hood, cinderella, and other western fairy tales—mediums that exposed and enamored him of alien ideas” (p. 40). perhaps lapeña-bonifacio’s maternal instinct to introduce to her child the beauty of philippine and asian cultures led her to share her works with a bigger audience. aside from introducing filipino children’s plays, she also managed to introduce asian puppetry, eventually leading to the creation of a filipino puppet. hence, she is recognized as the mother of puppetry in the philippines and was bestowed the order of national artists, the highest recognition for filipino artists who have made significant contributions to philippine arts, in 2018 (llamas, 2019) this essay is a historical and narrative description of lapeña-bonifacio’s life and masterwork, papet pasyon, and its valuable contribution to philippine theatre, especially for younger audiences. the staging of papet pasyon has imparted and continues to communicate to the younger audience, and even to the play’s young puppeteers, an understanding of filipino cultural traditions, particularly the pasyon (oral tradition) and the sinakulo (traditional theatre form), and an appreciation of the art of puppetry. lapeña-bonifacio’s belief in the power of puppets in communicating and reaching out to young audiences is an example of what tarja kröger and anne-maria nupponen’s comment that “puppets should not only be nice products that perform in a well-prepared puppet show but puppets should be integrated into various contexts to support learning” (2019, p. 399). in indonesia, the balinese wayang wahyu was developed in the 1960s as an alternative communication medium to spread god’s revelation, as recounted by the bible. the images of jesus and mary were patterned after balinese wayang characters to fuse christian and balinese cultures (poplawska, 2004; darmawan et al., 2023). the impact of papet pasyon performance will be analyzed using kröger and nupponen’s framework of a pedagogical puppet which identified five potential uses of puppets: (1) generating communication, (2) supporting a positive classroom climate, (3) enhancing creativity, (4) fostering cooperation in and integration into a group, and (5) changing attitudes (p. 399). we begin the discussion by exploring lapeña-bonifacio’s vision of a theatre for young audiences in the philippines. this is then followed by the conceptualization of the actual staging of the play vis-à-vis her vision. afterward, we look at how papet pasyon is used as a pedagogy for younger audiences. we describe the potential of the play as a means of creative expression and an alternative learning environment, as well as how it enhances creativity, fosters integration, and awakens one’s consciousness of one’s own culture, tradition, and the arts. papet pasyon is the philippines’ first passion play in puppetry dedicated to young audiences. several passion plays in the philippines have been scrutinized and interrogated as cultural traditions. for instance, the passion play in cutud has been a favorite subject in anthropology and performance studies (tantingco, 2006; tiatco & ramolete, 2008; tiatco, 2010, 2016; bautista, 2017). the moriones on the island of marinduque is another popular passion play in philippine cultural studies (peterharmonia: journal of arts research and education 24 (1) (2024): 88-10490 son, 2007, 2016). the papet pasyon deserves the same kind of examination, especially since it plays an important role in preparing children and youth to be future audiences and cultivating the talent of young artists. method one way to understand papet pasyon as a performance genre is its contextual adaptation based on different sources. this contextual adaptation may be understood as an act of intertextuality. marko juvan (2008) and sarah cardwell (2018) both attest to how an awareness of intertextuality could enhance one’s appreciation, understanding, and interpretations of any cultural phenomenon, such as a narrative or a performance. intertextuality augments and enhances any adaptation and is argued to be part of artistic integrity. therefore, a recognition of intertextuality is crucial to a fair and sensitive criticism and interpretation of any cultural phenomenon. intertextual methodology is grounded in the belief that no text exists in isolation. each performance is a product of various interconnected influences from other cultural performances, translating it into theatre and performance studies texts, cultures, historical periods, and ideologies. by studying these intertextual relationships, we can shed light on the complexities of producing and consuming a cultural performance, revealing hidden patterns, allusions, and references (juvan, 2008; cardwell, 2018). in this methodology, there is a proposition that the meaning is not inherent in the text, but it is constructed through the interaction between the reader and the text, making intertextuality a key component of textual interpretation. in the case of this study, the meaning is constructed in the interaction between the audience and the performance, making intertextuality a key component of the performance analysis. on the other hand, employing this methodology examines explicit and implicit references to other texts within the analyzed cultural performance by reflecting the range of references from the most obvious to the more subtle ones, indicating the artist’s engagement with a broader cultural performance tradition. in other words, there is an effort to investigate instances of direct and implicit borrowing or adaptations of cultural products from other sources (juvan, 2008). these instances offer valuable insights into the evolution of narratives (in literary studies) or performances (in theatre and performance studies) and the evolution of cultural ideas. by highlighting the interconnectedness of cultural products, intertextual methodology challenges the notion of a single authoritative author. instead, it underscores the collective nature of cultural creation and the ongoing dialogue between the authors, the texts, and the readers (cardwell, 2018). in the case of theatre and performance, it highlights the ongoing collaboration of artists, cultural products, and the public (or audiences). our use of intertextual methodology in this paper is also significant as it allows us to place papet pasyon’s performance within its historical, cultural, and ideological contexts. this perspective helps identify shared cultural references and understand how a cultural product, such as the above-mentioned cultural piece, responds to and shapes prevailing social discourses. intertextual methodology is an approach to explore the interconnectedness of various sources and understanding the complex dynamics of creating and receiving a cultural product. unpacking the layers of intertextuality can unveil new perspectives on familiar sources, challenge established interpretations, and gain valuable insights into the ever-evolving nature of performance, culture, and tradition. results and discussions amelia lapeña-bonifacio and her vision of a theatre for young audiences amelia lapeña-bonifacio was born on april 4, 1930, and grew up in binondo, manila. in the online video produced amihan bonifacio-ramolete et al., awakening philippine cultural consciousness in the 91 by the national commission for culture and the arts, she remembers how her folks brought her to makeshift theaters to watch traditional theatre performances produced by local troupes such as the sinakulo (local passion-play, depicting the life and sufferings of jesus christ), balagtasan (poetic joust), zarzuela (traditional musical), bodabil (vaudeville), and carillo (shadow play). but, the sinakulo was her favorite. she remembers sitting with her family in a vacant lot near calle magdalena in binondo, watching christ’s story for nine nights. in the same video and an online interview by luna sicat-cleto, she mentions that she grew up seeing no performances dedicated to children (up open university, 2014). her inclination towards creative writing and the theatre became evident when she was a student at the arellano high school. lapeña-bonifacio started her writing career when she became a staff member of the chronicler school paper. in the same high school, her first theatre exposure was to design the set for the school play the romancers by edmond rostand. in college, at the university of the philippines, her first theatre work was also to design the set for virginia moreno’s glass altars and a fraternity jazz concert. her talent as a designer was once again showcased when the university asked her to design the set for the international dance festival held at the university theater. while doing theatre, she was also appointed literary editor of the college paper, the philippine collegian (pacis, 2010). lapeña-bonifacio graduated in 1953 with a bachelor of arts degree in english. she wrote her first two plays in english as a graduate student at the university of wisconsin-madison. in 1958, she completed her master’s degree in theatre and drama and returned to the philippines as an instructor at the department of speech and drama and later moved to the department of english in 1960. between 1973 and 1974, she had the opportunity to observe traditional theatre forms in southeast asia and east asia, having been awarded the asia studies on the pacific coast research fellowship and ford foundation southeast asian research fellowship. she immediately fell in love with the japanese bunraku (a puppet manipulated by three puppeteers) and vowed to introduce this beautiful art form and narrate stories from which the filipino youth can learn (ccp pcep, 2020). lapeña-bonifacio’s exposure to the traditional theatre forms of southeast asia and east asia inspired her to write plays for young audiences. her desire to introduce to her daughter a cinderella story closer to filipino culture resulted in the writing of abadeja: ang ating sinderela (abadeja: our cinderella), a full-length musical adaptation of a folk story from the province-island of leyte in the visayan region. lapeña-bonifacio explains: “my interest for the children’s theater was whetted by the utter lack of reading materials for children which can edify the young minds on the kind of culture we have [..] actually, i just wanted first to let the children know, through the dramatic form, that we have some folktales” (in santos 1979, p. 28). when the department of speech and drama invited her to stage one of her plays, she decided to mount abadeja. she wanted a theatre for young audiences. in the beginning, her colleagues at the department were not exactly enthusiastic about staging a children’s play, more so, a puppet production. however, lapeña-bonifacio explains that the engagement of theatre for young audiences is a gloriously happy stage (in pacis, p. 227), preparing them to be morally responsible individuals in the future. on december 12, 1977, abadeja premiered at the wilfrido ma. under her direction, guerrero theater uses puppets inspired by the indonesian wayang golek (rod puppet) designed by rafael del casal with music by felipe de leon, jr. in a review by an anonymous writer in the philippine collegian, the premiere of arguably the first production intended for the youth in the philippines was described as: “it is able to express the thoughts and feelings of the greater majority of fiharmonia: journal of arts research and education 24 (1) (2024): 88-10492 lipinos, using a form, though at a glance foreign, becomes readily acceptable because it borders on our culture […] this is especially heart-warming since ‘abadeja’ is children’s play, which is ‘restricted’ to mere didacticism. as a children’s play, it is, of course, moralistic yet the author uses all delicacies and subtleties when moralizing. however, it is simple and easily comprehensible. it is for the young and the not-so-young, who still retain that noble capacity to dream, to be able to live ‘happily ever after.” (1978, p. 3) after abadeja bid goodbye to the audiences of the wilfrido ma. guerrero theatre, the puppeteers, who at that time were also students of the university, seemed to have enjoyed the experience of working with lapeña-bonifacio and kept visiting her in her faculty center office. in one of the visits, these students requested to do another production for the young audiences. this enthusiasm paved the way for the institution of her own theatre company, leading to the founding of teatrong mulat ng pilipinas (mulat), claiming abadeja as its first official production. lapeña-bonifacio chose the filipinotagalog word mulat, which literally translates to consciously open one’s eyes or to awaken. the choice of mulat in the name of the company underscores her desire to awaken young audiences to the beauty and richness of philippine culture and still unfamiliar asian cultures. lapeña-bonifacio explained, “we can be more confident that we have a name to identify us and distinguish us from the rest of the world. we are the asian people, unique with our own theater, with our customs, styles and features” (cayabyab, 1978, p. 4). she wanted to tell filipino stories as well as introduce the stories of neighboring asian countries through the theatre, especially through the traditional puppet theatre traditions of asia, which were not given much attention during that time (maniquis & zafra, 2020). a year after staging animal stories based on filipino folktales with actors wearing animal costumes, mulat shifted back to puppetry in preparation for the group’s participation in the 1st international workshop on living children’s theater in asia held in japan in 1979. lapeña-bonifacio challenged her young student artists to make rod puppets. the team used rubber for the puppet heads and hands. unfortunately, the puppets did not last long while in storage due to the heat, which caused the deformation of the heads. for the next play, lapeña-bonifacio decided to look for a woodcarver in paete, laguna (a province in southern luzon) which is famous for its wood carvings. she recalled how beautifully made the bunraku puppet heads were and wanted to do the same for mulat puppet shows. she had difficulties looking for a carver who would agree to carve animal heads since they were used to carving religious figures. fortunately, she met mr. justino cagayat, sr., who willingly carved the animal characters’ heads, hands, and feet in the play ‘the trial among animals’. cagayat and, eventually, his son, justino jr., continue to serve as mulat’s puppet carvers. lapeña-bonifacio’s exposure to traditional theatre forms in southeast asia and east asia led her to introduce the art of puppetry to filipino audiences. since the philippines does not have a puppet tradition, she shared how she was mesmerized by the elegance of the indonesian wayang golek , wayang kulit (shadow puppet), and japanese bunraku. aside from being fascinated by the intricacies of the art of puppetry, lapeñabonifacio saw the potential and power of the puppet to communicate with young audiences. in addition to the puppet serving as a mediator in communication, puppets are like dolls or toys, which is why they are less threatening to children mickey aronoff, in a different context, explains that puppetry is enjoyable, creating a non-threatening atmosphere within which trusting relationships can be formed, and social isolation is diminished (2005, p. 138). helena korošec even observed that children unconditionally believe in the puppet’s life; they trust it, identify amihan bonifacio-ramolete et al., awakening philippine cultural consciousness in the 93 with it in certain situations, and solve their problems, or the puppet’s problems – and they learn along the way (2012, p. 43). writing for children was a very exciting period for lapeña-bonifacio. she started writing plays based on philippine folktales. later, she wrote plays based on folk narratives of several asian countries, such as the sixth secret weapon (india), king of the jungle (china), the counting of the crocodiles (japan), and you cannot please everyone (malaysia). lapeña-bonifacio really wanted a theatre dedicated to young audiences. she ensured the storyline was simple and very clear since children have limited experience and language. she even emphasized in her up open university video with luna sicat-cleto: “you have to be like a child yourself and write what is understandable to them, what they will appreciate. […] children are very honest as an audience. they’re the most active audience” (sicat-cleto & lapeña-bonifacio, 2014). in the video produced by the ncca and upou lapeña-bonifacio also explains how she saw the important role of the theatre in the appreciation of the youth to history and culture. remembering her childhood experience of watching the sinakulo with her family every year, lapeñabonifacio dreamt of doing something that young audiences would understand and appreciate. she remembers watching the siete palabras (seven last words) and seeing christ dying on the cross. she was inspired by this imagery and saw the possibility of the carved figure of christ becoming a puppet. this idea came into reality in 1985 with the premiere of papet pasyon (the passion of christ in puppetry). papet pasyon is the sole sinakulo inspired by the pasyon performed in puppetry for young audiences. it is also the metropolis’s longest-running and most traveled religious puppet play. the making of papet pasyon spain introduced christianity to the philippines in the 16th century. the christianization of the islands began as a cultural and political affair. spanish missionaries saw themselves as soldiers of christ waging war to overthrow the “devil” as manifested in the natives’ pagan religion. historian john leddy phelan explains, “christianity was presented [..] not as a perfect expression of their pagan beliefs but as something new. any resemblance between the two religions was dismissed as a diabolical conspiracy in which the devil deceived unbelievers by mimicking the rituals and beliefs of christianity (2011, p. 53). most islanders were converted to christianity at the beginning of the seventeenth century. nonetheless, there was one problem: several were baptized to the new religions, but the clergies were lacking. this paved the way for the ordination of locals to the priesthood, leading to what phelan argues was an important catalyst for the philippinization of spanish catholicism. eventually, even the narrative of christ found in the scripture was localized, as in the pasyon’s case and in the sinakulo’s performance. lapeña-bonifacio notes, “realizing the effectiveness of the actual dramatization as opposed to readings and sermonizing, the spanish friars tried to teach the filipinos their new religion by the re-enactment of the various events in the life of christ” (1972, p. 4). the dramatic presentation of the passion of christ is popularly known as sinakulo. this is commonly performed for eight days, from palm sunday to easter sunday (fernandez, 1996). it starts at nine o’clock in the evening and may end at one or two past midnight. aside from the sinakulo, a pabasa or the recitation of the narrative on christ’s life, passion, and death (known as pasyon) is also performed during holy week (semana santa). palm sunday, or domingo de ramos in the philippine vernacular, is the beginning of the semana santa. during domingo de ramos churchgoers wake up early in the morning to attend the procession of the palaspas (palm leaves) (tiongson, 2000). on this day, the presiding priest of every catholic church enacts the grand entrance of jesus into jerusalem. for many catholics harmonia: journal of arts research and education 24 (1) (2024): 88-10494 (approximately 86% of the total philippine population), attending palaspas is a fulfillment and one of the many pledges of their allegiances to the catholic church. it is said that those who actively participate in these cultural traditions do so because of a panata or religious vow whereby the devotee promises to make some form of sacrifice for their faith in the hope of being rewarded. in 1980, lapeña-bonifacio traveled to germany to see the oberammergau, the german passion play performed every ten years. however, she missed the performance since tickets were no longer available on her travel and stay dates in germany. nonetheless, lapeña-bonifacio could see another puppet play about the passionate narrative of christ in steinau, germany. she met the play’s director and the owner of the puppet theatre, karl magersuppe, who gladly toured her to the backstage of his puppet theater. magersuppe handed over an autographed full-cover poster of the passion play, a children’s bible, and a children’s book with colored photographs of a tv performance of the oberammergau passion play and its script in german. a few months later, lapeña-bonifacio got an english translation of the oberammergau from another friend residing in germany. when she returned home to the philippines, she vowed to write her own passion play, inspired by the puppet performance she saw in steinau and the children’s bible handed down to her by magersuppe. lapeña-bonifacio decided to adapt the most important events in the passion narrative since christ’s life is complicated, and she wanted her young audiences to understand the life and suffering of christ. lapeña-bonifacio’s treatment of the scriptures is twofold: one of a literal transliteration (or a direct lift from the bible to the stage) and another of a recontextualization. lines from the play that came from the bible include the lord’s prayer, the temptation of jesus in the garden of gethsemane, and jesus’ seven last words. in recontextualization, the texts from the scriptures are translated into filipino – a transformation of one worldview to another since a word is not just a sound but a microcosm of its own. papet pasyon is based on the pasyong genesis, which narrates the life and works of jesus christ during his brief stay on earth. the presentation of the pasyong genesis is comprised of the following: (1) birth of christ, (2) public life of christ, (3) sufferings of christ, and (4) resurrection. after rereading the pasyong genesis, a children’s bible, and the english version of the oberammergau passion play, looking over photos of the book and many illustrations and even buying art pieces--a marble fresco of the pieta and a reproduction of a crucified christ— lapeña-bonifacio set the atmosphere for her to write the play. the play’s first draft was finished in may 1984, and the final draft in january 1985. she found it rather difficult to squeeze into a one-and-a-half-hour show the story of the passion of jesus christ. she finally decided to choose the most important events: (1) the creation narrative; (2) christ’s entry to jerusalem (palm sunday); (3) the cleansing of the temple (holy monday); christ’s healing of the sick and magdalene’s washing of his feet (holy tuesday); the meeting of judas and dathan and the meeting of jesus and his mother mary (holy wednesday); from christ’s last supper with his apostles and the washing of their feet to the agony in the garden of gethsemane to his eventual arrest and peter’s denial of him during the trial with pilate (maundy thursday); trial before herod and then back to pilate leading to the cross and his death; and (4) resurrection. lapeña-bonifacio transforms the scripture into something relatable to young audiences, making the characters speak in the vernacular. according to hizon (1986), “papet pasyon is unique because its very form serves as a classic paradigm of the dynamism of the philippine literary culture. it is a microcosm of how our cultural traditions are born of an ethnic amihan bonifacio-ramolete et al., awakening philippine cultural consciousness in the 95 base but filled with layer upon layer of external influences which are subsequently indigenized and made our own. [...] its main foundation, of course, is the story of christ’s passion as found in the native pasyon (bonifacio’s opus thus carries with it the value systems and the ideology lodged in the pasyon). this genre is in itself a local metamorphosis of the pasyon which seeped into our culture through the process of christian proselytization.” (p. 11) while writing the play, work was being done on the design of the puppets. the artistic team’s main concern was the design of the faces of jesus and mary. will they pattern it after the caucasianlooking images or figures seen in catholic churches or the bible? or, those seen in the movies and shown on television every holy thursday and holy friday? the discussion and arguments ended with the final decision of lapeña-bonifacio to make them “look filipino—pugged noses and dark-skinned” (tiatco and ramolete, 2015, p. 59). the puppet’s faces, hands, and feet were carved from wood and painted by the woodcarvers from laguna. for the second year of its staging, lapeña-bonifacio decided to include a puppet of the crucified christ. she did not include the crucifixion scene during the premiere staging because she thought it would be too gruesome for young audiences. however, due to the feedback of some friends and after discussions with the mulat puppeteers, lapeña-bonifacio agreed to include the crucifixion scene since this shows the ultimate sacrifice of jesus to atone for the sins of humanity. the scene does not show the actual nailing on the cross but reveals jesus already on the cross saying his last words, “father, into your hands i commit my spirit” (psalm 31:5). to compress the performance into less than an hour and a half without compromising the basic story, lapeña-bonifacio utilized projections on a screen which aided in moving the narrative forward. examples of these include the opening scene, i.e. creation, serious talk of jesus and mary narrating jesus’ birth and imminent death, and the crucifixion. the pasyon is “written to be chanted before an altar during the holy week” (lapeña-bonifacio, 1972, p. 7). in her version of the pasyon, ten (10) songs were composed. the boy and girl narrators sang six songs to introduce the next scene. one song welcomed jesus in jerusalem, and one song each for jesus, mary magdalene, and judas described their dilemmas in life. the songs, composed by rodolfo de leon, were accompanied by the strumming of a guitar. the voices for the child narrators were members of the choir group university of the philippines (up) cherubim and seraphim, composed of students from the up integrated school (biñas, 2020). aside from the songs, incidental music, using bamboo and other native instruments, was used to set a scene’s action, mood, or transition between scenes. theatre artists were invited to record their voices for the play. lapeña-bonifacio opted to record the voices to allow the puppeteers to concentrate on manipulating the puppets. directing the puppet play commenced in march 1985 with benjamin ramos as assistant director. the first day the group met, lapeña-bonifacio discussed the play’s details and the puppets’ assignment. daily rehearsals took place in a shed beside the residence of lapeña-bonifacio inside the campus. the puppeteers, composed of high school and college students from the university of the philippines in diliman, came to rehearse after their classes. lapeña-bonifacio and ramos had formal training in the theatre, but neither had formal training in puppet theatre. through observation, watching puppet performances on videos, and exposure to puppet performances in international festivals, they worked together to train mulat members to manipulate the puppets. puppeteers were taught the basics in manipulation--maintaining the puppet’s level, establishing eye contact with other puppets, learning how to walk, enter and exit the stage, and knowing when and how the puppet should move. puppeteers were encouraged to experiment on the moveharmonia: journal of arts research and education 24 (1) (2024): 88-10496 ments of their puppets and try these out when they were part of a scene. aside from being puppeteers, each member is expected to learn how to set up and strike the puppet stage, take care and store the puppets, and clean the rehearsal space, among other things. after rehearsals, the bonifacio household would share a meal with the mulat members. when mulat members graduate from the university and eventually work, they do not have the time to join in the performances. but since they have performed in papet pasyon, mulat alumni are invited to join the annual staging provided they have the time to attend the rehearsals usually held on weekends. this gives former members the opportunity to perform once again and get to know new members. those who continue to perform have made it their panata (vow) to participate in papet pasyon as their offering in the observance of the holy week and as a reminder of and thanksgiving for christ’s blessings (teatrong mulat ng pilipinas, 2020). the staging of papet pasyon for young audiences lapeña-bonifacio believes that teaching christ to children is very abstract, but when a puppet tells the story, the children start to listen (alano, 1986, p. 9). papet pasyon premiered on a good friday, april 5, 1985, at the tanghalang aurelio tolentino (little theater), cultural center of the philippines (ccp) in pasay city upon the invitation of then ccp president lucrecia kasilag. lapeña-bonifacio agreed to stage papet pasyon at the ccp because “she wants her children to know what it’s like to sit on a nice seat at the posh cultural center, instead of an old warped bench (bangko) or on soggy ground (lupa)” (alano, 1986, p. 9). she recalled how she carried her own bench as a child to watch a passion play in their neighborhood. to reach out to more audiences, lapeña-bonifacio partnered with parishes and organizations so that communities could watch the performance. from the ccp stage, papet pasyon was staged in different catholic churches in the metropolis and, in the next years, in the nearby province of bulacan, particularly at the st. francis chapel in meycauayan, and in intramuros, the walled and old city of manila. in 1993, papet pasyon found its permanent home at the amelia lapeña-bonifacio papet teatro-museo, mulat’s permanent theatre house in quezon city. since then, papet pasyon has been staged every palm sunday to signify the start of the holy week. setting the palm sunday performance became a tradition that mulat members and papet pasyon audiences looked forward to. it allowed the mulat members and its audiences to learn about the passion of christ in a language and medium understandable to them. although the target audience for papet pasyon is the youth, an equal number of adults usually watch because they accompany their child/younger sibling or because they are curious to watch. papet pasyon has been attributed as the only passion puppet play in the archipelago dedicated to young audiences (tiatco & ramolete, 2015; biñas, 2020). every papet pasyon performance begins with lapeña-bonifacio welcoming the audience to the venue and performance. she would ask: alam n’yo ba kung ano ang pasyon? [do you know what a pasyon is?]; alam n’yo ba kung ano ang ipinagdiriwang natin ngayong linggo? [do you know what we are celebrating this week?]. she then explains that papet pasyon is based on the traditional philippine literary narrative pasyon and a children’s bible, and was inspired by the german passion play oberammergau and the gospel stories. at the same time, lapeña-bonifacio emphasizes the morals and values of christ’s death and suffering to humankind. she would then ask the children if they understood why christ had to die on the cross. unanimously, the children would answer: “opo, dahil mahal niya po tayo!” [yes, because he loves us so much]. lapeña-bonifacio then continues to tell the audience that, indeed, they are correct. the performance is a reamihan bonifacio-ramolete et al., awakening philippine cultural consciousness in the 97 collection of that love for everyone, so they must follow christ as an example. lapeñabonifacio then tells everyone to reflect on the death of christ and think of it as the ultimate expression of god’s love for humankind — giving his only son to die on the cross. she then explains that instead of actors performing, they will see puppets. most would say they have not when asked if they have watched a puppet show before. she describes the puppets as being inspired by the indonesian wayang golek and beautifully made by the woodcarvers of paete, laguna. she explains that the ones moving the puppets are called puppeteers who are wearing black costumes. black, in japanese bunraku, means being invisible. she would emphasize that they may be distracted by the hands or presence of the puppeteers, but eventually, these would fade away, especially when the puppeteers are able to move the puppets gracefully. during this pre-show conversation, lapeña-bonifacio would remind her young audience that they should acknowledge what they feel about the scene. for instance, if they are terrified by the characters or feel sad about a scene, lapeña-bonifacio encouraged the children to describe the experience or the encounter to their adult companion. lapeñabonifacio’s grandchildren were terrified when the devil puppet came out the first time they watched the show. it is for this reason that she decided to include this reminder before the start of the show. before the show begins, lapeña-bonifacio calls on the puppeteers for them to offer a prayer. the prayer, translated into filipino, is from a malaysian shadow puppet play. “this is meant to teach children that the theatre, apart from being an educational and entertaining experience, is also a moral activity,” explains lapeña-bonifacio (in velasquez, 1978, p. 40). during the prayer, a puppeteer leads while the rest, together with lapeña-bonifacio, repeat what has been said. at the end of the prayer, the puppeteers and lapeña-bonifacio bow at the strike of the gong. as the puppeteer exits, lapeña-bonifacio invites everyone to enjoy the show. the play opens with a song about the world’s creation, the animals and plants, and how jesus came to this world. the creation part is done through shadow puppet projection while jesus is introduced first as a baby, using a baby jesus figure, then as a grown man, using a rod puppet. afterward, a lame boy narrator enters the stage, happily greeting the audience, saying he needs the crutches and wants them to know that he was once lame. he then narrates the day he saw jesus and how he was healed. he then introduces each day and scenes within the day to guide the audience. a sign is then seen with the words domingo de ramos (palm sunday). he reads it very slowly, saying “do ming go de ra mos” as if he is still learning how to read until he is able to say the words correctly. he then tells the audience, “just stay there. to jerusalem, to jerusalem. (a flock of birds enters) oh, birds. let’s go, birds, to jerusalem! to jerusalem…” then, the townspeople enter happily singing, awaiting jesus’s entry into jerusalem. holy monday: the boy narrator reads the sign “lu nes san to” and continues to say, “in the temple. the following day, in a church. did you know, children, that jesus also gets angry like our fathers? and you know what, his gentle eyes glared because he was very angry.” the people turned the church into a market. this makes jesus very angry, destroying the goods being sold. this incident causes trouble for jesus. the high priests (particularly caiaphas and annas) begin to plot against jesus, citing him as a dangerous man: someone who can incite a revolution anytime soon. holy tuesday: the boy narrator introduces the day, “here, mar tes san to in the temple and mount of olives. on this day, jesus healed me. many people wanted to get cured. i was lucky that he noticed me even if i was small.” as jesus heals the sick, magdalene overhears the pharisees plotting the arrest of jesus. she harmonia: journal of arts research and education 24 (1) (2024): 88-10498 warns jesus and is afraid that she will not see him again. jesus promises magdalene that if that ever happens, she will be the first to see him. on the same day, jesus forewarns his disciples that he will be arrested, mocked, and killed. holy wednesday: the boy narrator reads the sign, “here, mi er ko les san to, it’s mierkoles santo already! the first scene happens in bethany, in the house of mary, and the second scene outside the house of mary. kids, here’s judas. let’s see what’s his problem. just stay there!” judas, one of jesus’s close allies, expresses his confusion through a song. he is beginning to doubt jesus as a leader. judas meets the high priests and connives with them by telling them where to find jesus. he tells the priests that the person he will kiss in gethsemane’s garden is jesus. judas then proceeds to mary’s house, looking for jesus. mary, jesus’s mother, confronts jesus, asking him what the pharisees want with him. jesus explains that this is the plan of his father and that he is bound to die to save them from their sins. mary is devastated to hear this from jesus. maundy thursday: the boy narrator introduces the day, saying, “here, hu we bes san to. huwebes santo in gethsemane. did you know, kids, on this day, jesus and his apostles gathered for the last supper. i’ll leave for now...last supper... last supper” jesus reveals that someone among his chosen ones will betray him, and someone will deny him. jesus names judas and peter as the betrayer and the denier, respectively. judas walks away while peter insists that he will never deny jesus. in the next scene, jesus prays in the garden of gethsemane. in the prayer, he questions god regarding his destiny to die but later finally accepts that fate because it is “for the betterment of humankind,” as stated in the holy scriptures. judas arrives with the roman guards, and the kiss of betrayal is enacted, leading to jesus’s arrest. good friday to black saturday: the boy narrator introduces good friday by saying, “here kids, the most sacred day, bi er nes san to, biernes santo, will happen in different places: the living room of caiaphas, then the palace of pilate, then the palace of king herod. after the sentence, go on to the road to the mountain and then to mount golgotha.” then jesus is presented to caiaphas, who, in turn, instigates the people to punish jesus by death. the trials of jesus with pontius pilate and king herod happened. in between the trials are judas’s hanging of himself for having betrayed his master and peter’s denial of being one of the disciples when confronted by the soldiers. jesus is sentenced to die on the cross. resurrection day (easter sunday): jesus ascends to heaven. he is first seen by magdalene, followed by his disciples. here, the boy narrator joins them, waving goodbye and repeatedly saying, “goodbye, jesus! come back someday!” to connect the story to the audience, lapeña-bonifacio included two children who serve as narrators who introduce each day of the week: palm sunday to resurrection day. they give their own observations about the scene or a character’s dilemma. this technique of involving a modern-day child in the story of jesus instills in the young audiences that anything is possible as long as they believe and have faith in him. since most of the young audiences are from the national capital region, the pasyon and sinakulo are alien cultural traditions to them, especially since these are usually performed in the provinces. papet pasyon is lapeña-bonifacio’s way of letting the children experience the form firsthand, albeit in puppet form. watching the play is an attempt at cultivating or preparing the children as future audiences of the cultural art forms and the theatre. mann van de water (2012) explains that these are the necessary goals of any theatre for young audiences. after the curtain call, the puppeteers and lapeña-bonifacio move around the auditorium. the puppeteers engage the audience by letting them experience manipulating the puppets. the puppeteers amihan bonifacio-ramolete et al., awakening philippine cultural consciousness in the 99 give the audience instructions on how the puppet moved on stage and discuss how the puppets were made. other puppeteers ask the kids which puppets they liked or what they learned from the performance. this also gives the audience the opportunity to take photos with the puppets, puppeteers, and lapeña-bonifacio. some kids would also reach for lapeña-bonifacio’s hand and press their forehead on her hand. this philippine custom is known as “pagmamano” or “honoring gesture” as a sign of respect or as a request to be blessed by the elder. mulat puppeteers were preparing for the staging of papet pasyon 2020 when the covid-19 pandemic happened. metro manila was under enhanced community quarantine (ecq) from march 14 to april 14. the ecq status meant restrictions on the movement of people, prohibiting the conduct of face-to-face activities such as classes in schools, performances in theatres, mass gatherings, and many more. mulat then decided to put together clips from past papet pasyon performances, footage of rehearsals, and recent interviews with lapeña-bonifacio about the show. the final video was live-streamed on april 5, 2020, via mulat’s facebook page. unfortunately, this was the last papet pasyon lapeña-bonifacio watched because, on december 29, 2020, he passed away at the age of 90. awakening through papet pasyon philippine theatre historian doreen fernandez implies that lapeña-bonifacio’s contribution to philippine theatre is the institutionalization of a localized children’s theatre through the teatrong mulat. fernandez notes, “we also note the great strides taken by children’s theatre, especially in the hands of amelia lapeña-bonifacio and her puppet theatre teatrong mulat, which has gone, along with campus and semiprofessional theatre, into folklore, folk theatre, and other directions. one of her most recent successes was papet pasyon. her philippine/asian repertoire continues to play at schools, in small theatres, and in the house she has converted into a children’s theatre/museum. along the way she has developed writers, puppeteers, musicians, and an audience.” (fernandez, 1995, p. 113) the frustration of not seeing the passion play at oberammergau and the dream of staging the sinakulo for children led to papet pasyon writing. lapeña-bonifacio saw the value of continuing a filipino cultural tradition and the power of puppets in imparting lessons on the life and suffering of christ to young audiences. puppets have been used in rituals, education, therapy, and puppet theatre (kroflin, 2012). aside from the use of puppets in education, puppet theatre forms in asia are often associated with or are in itself a religious ritual. the traditional repertory of puppet theatre in india and a majority of southeast asian countries is based on the indian epics ramayana and mahabharata. these epics teach valuable spiritual and life lessons and that good will always defeat evil (orr, 1974). kröger and nupponen (2019) examined the potential of puppets in the educational context. considering lapeñabonifacio’s vision of an educational and entertaining theatre for young audiences, let us now examine the impact of the performance of papet pasyon using kröger and nupponen’s framework for education, which we mentioned earlier in the introduction. generating communication the pre-show conversation of lapeña-bonifacio with the audience is one way of putting them at ease, especially for first-timers in the theatre and preparing them for the performance. she is introduced as “lola amel” (grandma amel) to create a familial atmosphere. aside from having her own grandchildren, this resembles the popular “lola basyang,” a grandmother who gathers her grandchildren to tell stories meant to teach moral lessons after supper. lapeña-bonifacio would ask questions like “sino na sa inyo ang nakapanood harmonia: journal of arts research and education 24 (1) (2024): 88-104100 ng puppet show?” (who among you have watched a puppet show?) and the audience members would respond. lapeña-bonifacio introduces in the play the narrator, a lame boy who serves as the bridge between the play and the audience. he greets the audience at the start, introduces each day by reading the signboard, describes the following scenes, and sometimes gives a commentary, like a scene in the temple where jesus knocks down the merchants’ tables. the boy even becomes part of the scene where jesus heals the sick and gets healed himself. the boy narrator makes the audience feel like they are part of the play. the boy narrator introduces each day by reading the sign aloud. he reads it first by syllables as if learning how to read the words. after figuring it out, he confidently says the day/words. this makes the puppet childlike and may be viewed as a peer by the young audience, especially those who are just learning to read. supporting a positive classroom climate in the case of papet pasyon, consider the performance space as the equivalent of the classroom where experiential learning transpires. lapeña-bonifacio’s use of “lola amel” in the pre-performance conversation removes the formalities and establishes a more relaxed environment. this invites the audience to participate in the conversation. the introduction of the lame boy narrator and his role in introducing each scene to the audience prepares them for what to expect from the scenes to follow. although papet pasyon depicts the passion of jesus christ as part of the catholic tradition, the performance is open to the public, whether they are christians/ catholics, non-christians, or even nonbelievers. aside from introducing christ’s life, welcoming non-christians or even non-believers to watch the show fosters respect for another person’s beliefs. the positive climate or environment is felt during and after the performance and before the actual performance (i.e., during rehearsals). mulat puppeteers say that they are happy every time they join the production. it gives them the opportunity to work together, eat together, and perform while reliving the life of christ through puppets. seeing the audience appreciate and enjoy the show gives them joy and fulfillment. in 2019, a total of fourteen (14) puppeteers joined the staging of papet pasyon--five (5) first timers, four (4) have performed for the second time while five (5) have performed for six or more times already. enhancing creativity the puppets used in papet pasyon are rod puppets with no moving eyes or mouth. the only moving parts are the head, hands (and feet for some puppets). the goal of the puppeteer is to give life to the puppet as it delivers its lines. this challenges the puppeteer’s creativity in finding ways to animate the inanimate puppet. on the other hand, the audience uses their creativity and imagination to understand what the puppet is trying to say. they have to listen with their ears and eyes to create meaning from the things that they hear and see onstage. “the puppet may be the product of the imagination of the person who made it, but once created, it exists in its own right” (ackerman, 2005, p. 26). since papet pasyon is performed every year, the mulat members find ways to “do something different,” like using bamboo instead of cloth to cover panels of the puppet stage or changing some props. lapeña-bonifacio is open to new ideas proposed by her young artists. if she believes the idea will work, she gives her full support. in 2018, the group decided to do a new recording of the play, inviting young theatre artists to give voice to the puppets and sing the songs. regular patrons of the show noticed the difference in the audio and were very happy with the aural experience. lapeña-bonifacio was equally happy with the outcome of the recording and congratulated the team who was in charge of the recording. amihan bonifacio-ramolete et al., awakening philippine cultural consciousness in the 101 fostering cooperation in and integration into a group the puppeteer gives the puppet life. the puppet “exists through interaction with an audience, and only the imagination of the spectators gives it life. the puppet and audience interact, the puppeteer interacts with the audience, and the puppet and the puppeteer interact. the participation of the audience has an effect on the movement and action of the puppet” (ackerman, 2005, p. 27). the presence of an audience completes a performance. their presence and the energy they exude affect the puppeteers’ performance. the interaction between the audience and the puppeteers is made through the puppet. cooperation is fostered when members of the audience observe proper decorum in the performance venue. they respond to the questions of lapeña-bonifacio during the pre-show conversation and the boy narrator during the show. there was one performance where a group of kids coming from the palm sunday mass had their blessed palm leaves with them. while watching the scene of jesus’ entry to jerusalem, they started waving their palm leaves into the air in tune with the music. it was a moving sight not only for lapeña-bonifacio but also for the puppeteers. the feeling of community is created after the show when the puppeteers go to the audience area and interact with the members of the audience. children are curious about how the puppets move and volunteer to hold them. they also ask questions like why jesus looks different (from the ones seen in the church). a few want to see what is behind the puppet stage. behind the scenes, the atmosphere in the theatre is very homey, warm, and nurturing. lapeña-bonifacio ensured the puppeteers were provided with snacks/ meals after rehearsals and performances. the puppeteers enjoy sharing stories with lapeña-bonifacio during meals. the bond created between the puppeteers and lapeña-bonifacio is similar to the asian practice of master-apprentice. changing attitudes the writing and staging of papet pasyon is lapeña-bonifacio’s way of letting the youth experience the sinakulo and pasyon first-hand, albeit in puppet form. watching the play is an attempt at cultivating or preparing the youth as the future audience of the cultural art forms and of the theatre. parents bring their children to watch papet pasyon because they are curious about how christ’s passion is being staged using puppets. it is also one way of introducing to the young ones the life and suffering of christ in a simple manner. those who really enjoy the show would come back the following year, bringing along a friend or a relative. there are those who watched the show when they were still single, and now that they have a child, they bring their child to the show to share the experience with them. it is interesting how people come and watch the show through word of mouth. during the meet and greet with the puppets, audience members express appreciation and admiration for how the puppeteers move the puppets. they thought that moving the puppets was easy, but they found it difficult to move when they were given the chance to hold a puppet. papet pasyon has taught its audience cultural traditions and the mulat puppeteers. like the cultural tradition practiced by devotees of the sinakulo, mulat puppeteers also engage in a panata (vow) to participate in the staging of papet pasyon as a way of thanksgiving for blessings received or to ask for guidance. if a puppeteer volunteers to participate every year, s/he will likely hold the same puppet/s the following year. more experienced members of the group mentor the younger ones and pass on what they have learned in the previous years. through this show, the mulat puppeteers realize the importance of doing a good show for the audience. they perform not for the sake of performing but harmonia: journal of arts research and education 24 (1) (2024): 88-104102 because of the cultural and spiritual value of the whole papet pasyon experience. the puppeteers see mulat not as a formal organization but as a family where they treat each other as brothers and sisters and consider lola amel as their grandmother. because of this familial atmosphere, the work in the production is light and enjoyable. conclusion no one in the philippine theatre scene has dedicated her life—as an educator, artist, and mother—to engaging children and the youth in the arts. from the height of philippine literature in the 1960s until the 1980s, literary figures focused their writings on the nationalist agenda due to president marcos’s 1972 proclamation of martial law and the suppression of human rights. lapeña-bonifacio isolated her energy on a different nationalist agenda: creating literature and theatre to awaken young audiences to the beauty and richness of philippine and asian cultures. the staging of the papet pasyon intended to teach the children and the youth (both the audience members and puppeteers) about philippine cultural traditions, particularly the pasyon (oral tradition), the sinakulo (traditional theatre form), promote the filipino language, and introduce asian puppet traditions. papet pasyon is a landmark in philippine children’s theater, or even philippine drama, because it sows the seeds for a distinctive, synthetic, interdisciplinary puppet tradition in the philippines. lapeña-bonifacio’s exposure at an early age to literature and theatre, the opportunity to learn more about them, and her concern in raising a child exposed to foreign entertainment led her to introduce a new philippine cultural tradition, a children’s sinakulo in puppetry, that continues to touch the lives of the young and the old. through an intertextual reading of papet pasyon, the play is a story of hope offered to young audiences who are the hope of the future. for 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(1978, september). “theater under the stars.” who magazine, 38 42. https://www.youtube.com/watch?v=_ps1yr3xspa&t=9s https://www.youtube.com/watch?v=_ps1yr3xspa&t=9s https://www.youtube.com/watch?v=_ps1yr3xspa&t=9s https://www.facebook.com/272696889472801/videos/870050610087012 https://www.facebook.com/272696889472801/videos/870050610087012 https://www.facebook.com/272696889472801/videos/870050610087012 152 costume characteristics of children creation dance in kindergarten at buleleng bali langen bronto sutrisno, luh suartini, i gusti made budiarta faculty of languages and arts, ganesha university of education ahmad yani 67 singaraja, bali indonesia e-mail: langenbronto@yahoo.com received: november 19, 2015. revised: november 29, 2015. accepted: december 4, 2015 abstract study related to characteristics of costumes worn in children creation dance in kindergarten at buleleng, bali is aiming at (1) understanding the characteristics of children creation dance costume in kindergarten at buleleng, bali, (2) understanding the aesthetic characteristic of costume of children creation dance in kindergarten at buleleng, bali. the research employed qualitative method while the discussion part was presented in descriptive. data was collected through observation, interview, literature, as well as documentation study. in a general view, characteristic of the costume was still in close proximity to the tradition but some others characteristics have quiet different to the tradition. aesthetic aspect in dance costume that has adjacency to the tradition is shown in patterned costume, especially the use of kamen prada. the use of colour tends to be bright and cold which may show the atmosphere of happiness and assurance. on the other hand, the characteristics of costume is not traditional tends to emphasize dots and stripes. the impression of dots is shown in the use of sequin while the stripe impession is shown in fabric colour boundaries. in addition, the colours chosen for this type of costume are considerably similar to the colour chosen in traditional costume of creation dance which are bright and cold and give the impression of happiness and assurance. keywords: costume; dance creation; children how to cite: sutrisno, l., suartini, l., & budiarta, i. (2015). costume characteristics of children creation dance in kindergarten at buleleng bali. harmonia: journal of arts research and education, 15(2), 152-159. doi:http://dx.doi. org/10.15294/harmonia.v15i2.4690 harmonia : journal of arts research and education 15 (2) (2015), 152-159 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v15i2.4690 p-issn 1411-5115 e-issn 2355-3820 zation of the costume, indeed, is hoped to be appropriate with the children mental or physiological development since the dance performed here is usually has been suited to the children’s psychological development. the form of children dance performed also in line with the development of the era. in addition, for children dance, creation is not only seen from the movement, but also the music accompaniment. music accompaniment here used here is not only the traditional, but also the modern one. in other words, it can be called as pentatonic or diatonic music. further, this study is not introduction costume worn in children creation dance for kindergarten students is a manifestation of artistic expression by teachers, parents, and professional fashion stylists. if the costume is observed closely, it will be clearly seen that the costume is an artwork produced by adults. it shows the ability in organizing, matching, as well as corresponding the theme of the dance that is going to be danced. moreover, the ability in shaping the costume into the elegant fashion look is also shown here. organilangen bronto sutrisno, et al., costume characteristics of children creation dance ... 153 only observe the appearance of the dance costume, but deeper to the costume aesthetic characteristics. the analysis of the child costume focuses on kindergarten students in the buleleng sub district. eventhough the costume is an artwork created by adult, however, it is believed that children’s passion of art will be increased here. also, it is a form of manifestation in implementing a moral message in the dance’s themes. creating dance costumes are also a form of art practice in the field. here, teachers do the activity of expressing arts in special events or occasions for both teachers and students, i.e. graduation party for kindergarten students. for those occasions, teachers do not only practice in arranging costume work by the students, but more to make it looks elegant on stage. practitioners who are doing the costume for kindergarten commonly do not have an art education background. they usually did pgtk (kindergarten teacher education program) or pgpaud (early age teachers education program) for their undergraduate degree. therefore, result of art expression by kindergarten teachers is considerably needed to be analyzed, especially one related to the costume form. this study is limited to analyze kindergarten students in buleleng, in academic year 2014/ 2015. the study was specifically conducted at the end of the academic year. preschool education, as in kindergarten is a significant education period for children’s early stage development. what children observed, heard, and experienced will be stuck in their memories. in order to support this, the comfort and conformity of the costume for children’s flexibility in moving is considered important. thus, it is believed that the study related to the costume worn by kindergarten students in dancing children creation dance is unique and interesting to be studied deeper. method this research employed qualitative method, while the study result was presented in descriptive. the study was related closely to the object of costume art in creation dance. sampling technique was conducted at tk negeri pembina singaraja (state kindergarten of pembina singaraja). this research sampling could be used as the medium in studying the characteristic of costume aesthetic that was generally typical to represent all kindergartens in buleleng, bali. data was collected by conducting observation, interview, literature, as well as documentation study. the data was then analyzed based on the problem statement formulized in this study. results and discussion basic elements on children’s dance creation costume children’s dance creation costume in buleleng basically had a unique characteristic, the developed costume that had traditional elements and the costume that didn’t have traditional elements. the costume that had adjacency to the tradition both for boys and girls usually consisted of headband, t-shirt, kamenprada, short black lagin, and prada belt. meanwhile, the costume that less traditional was a dress for the girl dancer; shirt and pants for the boy dancer. the costume that had traditional elements usually imitated the local style, or the place where the dance was performed. for example, the pattern of the accessories on the prada resembled balinese tradition. the balinese pattern on the fabric and the beauty of the prada showed that the dance creation was still based on local culture around them. the representation of the balinese was strongly reflected through the costume. the combination of t-shirt and pants represented the less traditional costume, so the impression reflected in the children’s appearance was the modern children that hopefully didn’t abandon the tradition. children’s dance performance that less traditional was another side of balinese. this kind of performance didn’t represent balinese local culture. the universal performance of the dance didn’t exhibit the culture of the society in which harmonia : journal of arts research and education 15 (2) (2015): 152-159154 the people were religious and obedience to the tradition. however, both costumes that had adjacency to the tradition and less traditional has their own aesthetic value and characteristic in each performance. the elements of the costume constituent would be analyzed by observing the costume of child dance creation in buleleng from an aesthetic point of view. the constituent elements were the basic and supporting elements. the following were the basic elements that were observed: dot pattern there was dance creation that had adjacency to the tradition and less traditional on the four dances that were performed at negeripembinasingaraja kindergarten. to observe the dot on the costume that has adjacency to the tradition could be done by observing the traditional touch. the dot could be observed on the patterned costume, such as kamen prada. figure 1. dance costume “macepat-cepatan” documentation: fitri ayu nurjannatin, june 6, 2015 the dot on the center of the flower pattern used supporting elements, such as colour, light, and the relation between the dot and its surrounding. the gold dot on the flower pattern gave glamorous impression. it was like emitting light from the pattern of the prada. the flower shape showed the relationship between it and balinese tradition especially in buleleng. the flower pattern was the harmony between human and nature. all activities were to create beauty and harmony. the flower was a symbol of beauty and flowers were the symbol of the culture that represented bali. the flower was also the symbol of the relationship between human and gods. the flowers were used as the offering because they were the symbol of beauty and life harmony. dot could also be seen on the children’s dance costume that was not traditional. even though, the costume worn was owned by the dancer, it could be seen that there were dot elements on the pattern of costume. on the picture below, it could be observed that there were children dancer wearing a dot patterned dress. figure 2. dance costume “malu sama kucing” documentation: fitri ayu nurjannatin, june 6, 2015 stripe pattern stripe pattern on figure 3 was made of combination of colour fabrics that kind of forming stripe pattern. according to djelantik, stripe was a pattern that contains more meaning than death, because stripes created a particular feeling for the observer. strong stripes created a different feeling than curvy stripe. one gave stiff and hard impression while the other gave a soft and smooth impression (1990, p. 20). it could be seen on the costume of the boy above that stripe on the belt and pants gave hard impression. on the skirt of the girl’s costume, the stripes were actually straight, but the upper part of the dress was uneven because of the use of elastic on the upper part of the dress. even though the stripes were straight, they seemed curvy and gave langen bronto sutrisno, et al., costume characteristics of children creation dance ... 155 a soft and smooth impression. figure 3. dance costume “mamaku marah-marah” documentation: fitri ayu nurjannatin, june 6, 2015 dance titled “mamaku marah -marah” was not a traditional dance. however, the costume still included a belt which was a part of traditional costume. there were horizontal stripes on the belt and other horizontal stripes onthe ankle section. the size of the stripes was actually small, but because of the combination of the colour, the stripes on the belt and ankle section seemed thick. moreover, djelantik explained that the impression was based on the size, thickness, thinness,and also the position of the stripes while colour would add different quality (1990, p.20). the impression got on the boys’ dance costume was that the size of the waist seemed big and the legs seemed small. the reason of the arrangement was probably to suit the body shape. the waist because it was bigger had big stripes and colour combination, while the legs had narrower stripes and colour combination because they were smaller. meanwhile, on the skirt of the girls’ costume, the lines of the colour formed a stripe. the bright colour would give a cheerful and happy impression. they were a little bit different from the colour that formed stripes on the boys’ costume, it could be seen that the bright and harmonic impression on the boys’ costume suited the costume on the girls’. meanwhile, the stripes on the waist gave stiff and hard impression. organized stripes in bright colours gave plain impression. the use of bright colour reflected happiness. it would evoke and increase the children’s emotion so they would also feel the happiness. stripes pattern was also found on the children’s shirt in the dance that was less traditional titled “malu sama kucing”. the dancer wore vertical and a horizontal stripe shirt. figure 4. dance costume “mamaku marah-marah” documentation: fitri ayu nurjannatin, june 6, 2015 the stripes on the boy dancer’s shirt gave hard impression. if the thickness and thinness of the stripes on the dancer costumes ware observed, the size was different between one another. the size of the stripes was small or medium. there was no costume standard in this dance. the presence of the dot, stripes, and the others were inadvertent factors from the style of the dance that usually was the dancer’s parent. however, the colour of the children’s costume worn by the children may improve the costume quality. the visible stripes were usually plain. it showed that the harmonia : journal of arts research and education 15 (2) (2015): 152-159156 figure 6. dance costume “sakitnya duh disini” documentation: fitri ayu nurjannatin, june 6, 2015 the manifestation of supporting elements in the costume of children creation dance for kindergarten students at buleleng, bali after the basic element was presented, supporting elements will be described in this part. supporting elements discussed here are: movement, lightning, and colour. the element of movement children creation dance in buleleng was dancing on a simple stage during midday, so that, lightning effect was not needed here. in addition, during the performance, costumes worn by the children did not complement the movement danced with the children neither as the theme nor the property. in this study, however, a specific discussion related to the costume would be described. according to djelantik (1990), because of the involvement of space dimention, dance aesthetic elements, i.e. symmetry, asymmetry, balance, variation, contrast, and prominence were brought to a dance performance. indeed, those aesthetic elements were involved in a dance choreography. further, djelantik states that in creating dance movement, movement form each dancer as well as a group of dancer included its adjustment to the space, lightning, colour, karawitan (one of indonesian traditional music accompaniment), and literature form a dance management called as “choreography” costume tended to be simple and far from luxurious. plane pattern plane, according to djelantik could be flat, curved, or wavy, flat with uneven surface (1990, p. 21). there were plane patterns on the costume worn in the dance creation. the dance creation that had adjacency to the tradition still had traditional elements of the costume, for example coming prada is worn in “macepatan-cepatan” dance. it had plane pattern with rough surface because of the presence of prada pattern. t-shirt and pants combination seemed casual, and they were combined with patterned kamen prada that seemed glamour, it was used to maintain traditional dance and less traditional dance so they have dynamic combination. figure 5. dance costume “macepat-cepatan” documentation: fitri ayunurjannatin, june 6, 2015 the dance creation costume in less traditional dance had plane pattern, for example on the girl’s skirt that was worn in “sakitnyatuh disini” dance. however, the plane pattern had rough surface because it was decorated with sequins. so if the surface was touched, it would fell rough. however, the combination of the skirt and t-shirt seemed simple and plain; the sequins were intended to give glamorous and dynamic impression. langen bronto sutrisno, et al., costume characteristics of children creation dance ... 157 (djelanti, 1990: 23). if a costume in a one entire choreography was observed, for instance in “macepat-cepatan” dance with costumes as shown in figure 1 or 5, the elements of rhythm, arhythm, tempo, as well as balance, variation, contrast, and prominence would be clearly shown. the symetrical element in costume would be frequently found in parts of costume, such as: the fabric, skirt, or pattern. the application of the common parade in a costume showed that patterns were made evenly and a symmetrical shape was formed. an asymmetrical element was also found when the patterned fabric or kamen prada was combined with plain tops or pants. assymetrical impression did not mean that the costume was bad. on the other hand, it would create more balance and gave a more beautiful impression. besides, it also acted as a bridge between pattered and plain costumes. the use of patterned and plain costume would also show contrast and created a more alive impression. the prominence impression that was shaped from the patterned costume as in kamen prada, especially with the shining effect from the prada, would create a more luxurious impression. the element of lightning lightning of the performance was utilizing sun shine during the daylight. there was a light shadow near the dancers. this was beautifying the costume worn by dancers. the shadow showed the impression of shape and dimention from the costume that attached to the children’s body. the element of colour appealing colour was the most influencing element that might support the performing arts. based on djelantik (1990), colours are divided into: primary colour that is based colour that cannot use a combination of other colours to create. the colours are red, yellow, and blue. secondary colour or second stage colours are colours that are produced from the combination of two primary colours. the colours are the combination of: red and yellow that turns into orange, yellow and blue turns into green, blue and red turns into purple. tertier colours or the third stage, also known as intermediate colours are colours that were produced from the combination of primary and secondary colours. there are: red and orange turns into reddish orange, red and purple turns into reddish purple, yellow and orange turns into yellowish orange, yellow and green turns into yellowish green, blue and green turns into bluish green, blue and purple turns into bluish purple (djelantik, 1990, p. 26-27) during the performance, for example for “macepat-cepatan” dance, a combination between primary and secondary colours could be found, that were yellow and green. another combination colour was the primary and tertier color, yellow and pink. for the creation dance that was far from traditional such as “mamaku marah-marah”, primary, secondary, and terrier colours (yellow, green, and pink) were used. it can be seen from a short illustration above that in both dances, traditional or nontraditional dances, bright colours were worn. if we observe closer, according to djelantik (1990: 27-28), the fundamental natures of a colour are complexion, tone, brightness, power, temperature, and atmosphere. more traditional creation dance, “macepat-cepatan”, uses bright colours such as light green for boys and pink for girls. in line with this was in the less traditional dance, “mamaku marah-marah” that used light green and indigo for girls and light green for boys. another colour use here was yellow that could be seen from both traditional and less traditional dances. in addition to the colour chosen for the costume, it seemed that the dance used harmonia : journal of arts research and education 15 (2) (2015): 152-159158 cold colour –like green – in “macepat-cepatan” and “mamaku marah-marah” dances. according to djelantik (1990, p. 28), each colour can create a specific atmosphere impression. happiness is symbolized by yellow, gold, and dark red. here, anger was illustrated by light or dark red. calm was represented by green, light blue, as well as light grey (silver). sadness was symbolized by purple and brown. purity was represented by white or light yellow. lastly, gloom was illustrated by the colour of black and dark grey. based on the argument as stated above, bright colour was often used in children creation dance. it gave the atmosphere of happiness and calm. the impression of happiness and calm were seen in “macepat-cepatan” by choosing yellow for the tops as well as green and golf for the kamen prada. in line with this was in a less tradition dance that used yellow for tops to create the atmosphere of happiness, and green for the boys’ pants to give the impression of calm. the aesthetic characteristics of costume worn by children creation dance dancers in kindergarten at buleleng, bali while observing costume aesthetic of children creation dance, researchers found out that the elements affected their psychology most were shaped and colour. the shape that was close to tradition in general was the use of combination between modern and traditional culture of bali. it was shown in the combination between tshirt as the tops and kamen prada that represented the ethnic of bali. psychologically, a child is hoped to be able to recognize and understand costume –or outfit – that is often worn in daily life, while at the same time is able and feel proud of bali’s traditional clothes as well. the appearance of prominence in the form of dots and stripes that was shown in prada pattern and characterized the traditional side of bali was expected to be able to make children familiar with traditional costume of bali, visually. kamen prada with the touch of luxury and beautiful gold colour psychologically made children clad in wearing it. thus, they were expected to be more confident in dancing while wearing the costume. in addition to the form of less traditional costume, the use of t-shirt and skirt accentuated the shapes that might attract children. the shape of the skirt as is worn in “mamaku marah-marah” dance was created in puff model. the use of stripes in every colour border also gave the impression of cumulation to the skirt. it was the same with what was shown in “sakitnya duh di sini” dance that used sequins for the skirt. from a distance, the costume seemed to have sparkles in the form of dots. the pile shape and sparkle from the sequin of the skirt caused the costume to be more rousing. for children, this aspect might grow their spirit and cheerfulness in performing the dance. a very prominent part of this costume in general was the use of bright colour that gave the impression happiness but calm at the same time. bright colours frequently used here are yellow and pink, whereas cold colours chosen for the costumes were green and a little amount of blue. yellow and indigo with a little touch of green were also expected to create the feeling of happiness but calm while performing on stage. a psychological understanding towards children at a very first place might become the basic consideration of creation dance costume making. it was hoped the understanding may show the sense of happiness. according to nelva rolina (no year) in her article entitled “memahami psikologi perkembangan anak bagi pengembangan aspek seni anak usia dini” (understanding children developmental psychology for the aspect development of children in early childhood) states that the development of art for children can be also used as medium to express emossion in healthy way without hurting or disturbing others. for example, during the occasion of ‘panggung ceria’ in state kindergarten of pembina singaraja, children expresse it while dancing happily with full of confidence. the confidence and happiness were suplangen bronto sutrisno, et al., costume characteristics of children creation dance ... 159 ported by a bright and interesting costume for children. the emotion and confidence of the children were spread out on stage without the feeling of fear or force. conclusion in general, costume of children creation dance in kindergarten at buleleng had the same form between tradition and less tradition costume. aesthetic elements in dance costumes for the more traditional dance and costume were shown in patterned costume, especially for the use of common prada. dots, stripes, plane and space were represented in the prada patterned costume, whereas the costume colour was more to bright and cold colours. others were colour that might create the atmosphere of happiness and calm. further, the less traditional costume tended to accentuate dots with sequin and stripes as boundaries between colours. colours accentuated here were bright and cold ones, also colours which gave happiness and calm impression. bright and cold colours that might create happiness and calm impression were suited with children’s psychology. this was aimed at a free expression by children while performing on stage. children were believed to be able to perform expressive, cheerful and confident movements while they wore interesting and colourful costume that might support the atmosphere of happiness. references sachari, a.(2002). estetika makna, simbol dan daya. bandung: itb. damajanti, i.(2013). psikologi seni. bandung: kiblat djelantik, a.a.m. (2001). estetika sebuah pengantar. bandung: mspi (masyarakat seni pertunjukan indonesia) bersama dengan kubuku. kartika,d. s. dan perwira, n. g.(2004).pengantar estetika. bandung: rekayasa sains. kusumastuti, e. (2011). pendidikan seni tari pada anak usia dini di taman kanak-kanak tadika puri cabang erlangga semarang sebagai proses alih budaya.harmonia: journal of arts research and education, 5(1). doi:http://dx.doi.org/10.15294/harmonia. v5i1.826 lommelaars, h.ca. (1968). pengantar ilmu warna.yogyakarya: akademi seni rupa indonesia. rolina, n. (no year). memahami psikologi perkembangan anak bagi pengembangan aspek seni anak usia dini. retrived from https://www.staff. uny.ac.id/sites/default/files/tmp/ artikel-unk-p4tksb.pdf djelantik, a.a.m. (1990). pengantar ilmu estetika jilid i estetika instrumental. denpasar: sekolah tinggi seni indonesia (stsi). djelantik, a.a.m. (1992). pengantar dasar ilmu estetika jilid ii falsafah keindahan dan kesenian. denpasar: sekolah tinggi seni indonesia (stsi). 147 creativity education model through dance creation for students of junior high school malarsih* herlinah** dance department, faculty of languages and arts, semarang state university jl. sekaran campus gunungpati semarang, indonesia, 50229 e-mail: unnesmalarsih@yahoo.com department of dance, faculty of languages and arts, yogyakarta state university jl. colombo 1 yogyakarta, indonesia 55281 e-mail: herlinah60@yahoo.com received: october 2014. revised: november 2014. accepted: november 2014 abstract this study aims to realize dance as a real product of a dance education process. the product is packaged in a form of audio-visual as well as a scientific publication. as the benefit from this study, the product can be used by school and specifically by dance teacher as a guidance in conducting dance lesson at school. the study on the model of creativity education through the creation is being understood as a form of developmental research. as a developmental research, the research plan is initiated by analyzing the teaching material related to dance lesson, and relate it to the creativity education which has to be accomplished through dance lesson, specifically for junior high school students. the study will be continued with theoretical/conceptual analysis and observation which is related to creativity education through the dance creation. in the end of this study, model of creativity education through dance creation is produced, particularly for students of junior high school level. results of the study show that, in doing creativity activity through dance creation, the value of the dance as an art is not become the primary aim. moreover, the main aim of this process is towards the creativity process itself. while producing and creating the dance, two major educational points are derived, which are: the creativity and product value in a form of dance. keywords: creativity; dance work; education; learning how to cite: malarsih & herlinah. (2014). creativity education model through dance creation for students of junior high school. harmonia: journal of arts research and education, 14(2), 147-157. doi:http://dx.doi.org/10.15294/harmonia. v14i2.3296 harmonia : journal of arts research and education 14 (2) (2014), 147-157 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v14i2.3296 p-issn 1411-5115 e-issn 2355-3820 certain context, appreciation and creation/ expression education is defined as an attempt to increase students’ sensitivity and creativity in facing and appreciating life. according to sedyawati (2006), art education in public schools is aiming to develop the students’ appreciation upon arts as part of the bigger purpose which is to shape students’ character. the goal is introduction purpose of providing art education in public schools including in junior high school, is not to encourage students to produce art products in the level of artists. as stated in curriculum guidelines, art education is aiming to give students an appreciation and creation education. in harmonia : journal of arts research and education 14 (2) (2014): 147-157148 entirely different from the purpose of art education in art schools which is to produce art performers or artists. this paper is mainly discussing art education as the main or compulsory subject in public schools; especially in this context is junior high school. whereas, regarding to art education taught as one of extracurricular lesson, the expected output is unquestionably different since it concerns more to the development of talents and interests had by students. art education in extracurricular is not necessary need to be taught by school teacher or extracurricular teacher. however, lesson can be given by instructors who are considered skillful in that particular field. this paper focuses on creativity education through dance creation activity, given by junior high school teachers as a main subject at schools. jazuli (2005) states that creativity education in public schools becomes more important since it may maximize students’ imaginative creative power, develop personality, as well as pro vide students with an access to express their creativity. creativity education through dance creation is written in this paper is not only to respect the fundamental thinking related to philosophical foundation of art education in junior high school, but also to continue the previous research done by writers (malarsih, 2011; 2012). in the previous study, research had been conducted under the title “model pengembangan metode pembelajaran tari dalam konteks pendidikan apresiasi dan kreasi untuk siswa sekolah menengah pertama” (the model of development of dance learning method in the context of appreciation and creation education to students in junior high school). the main result of the research was the necessity of continuing the research regarding to creativity education through dance creation activity. based on the background, this paper is aiming to answer a major question which is about how creativity education in junior high school as public schools can be realized through the activity of dance creation. creativity is closely related to a person’s creation power which results in a new form of product and/ or different with the previous products and those can be verbal, nonverbal, real, or abstract (munandar, 1988). the presence of creativity based on ross (1978); lowenfeld and brittain (1982) are characterized by several indicators. among the indicators are having sensitivities to problems, flowing ideas, having the flexibility to adapt, having a sense of originality in responding and solving problems, having a freedom in revealing ideas, able to solve problems with different ways as others, having an ability to reconstruct situations, and also having the ability to analyze and synthesis. santrock (1988) and sumaryanto (2001) argue that creativity is an ability to think about something in a new way in order to discover the unique troubleshooting. it has been put forward by vogel (1986) that there are at least two capabilities involved in creative thinking, which are divergent production and transformation abilities. according to vogel, creativity seems to correlate with the flexibility in thinking, or in other words, it relates to the presence of ideas which leads to the complexity in thinking. in addition to that, vogel and sumaryanto define creativity as the thinking process which results in new conceptions or problem-solving. in its relation to the understanding of creativity concept is the relationship of the concept with the aspects inside the conception of the dance itself. as de fined by ellfelat (1977) dance is movements containing the power of life, beauty, and sometimes peculiar. in most cases, he pictures the planned movements rhythmically. furthermore, soedarsono (1976) claims that dance is a soul expression of human which is expressed with beautiful rhythmical movements. in addition to that, sachs (1975) explains that dance is a series rhythmical movement. further, it is concluded by najamuddin (1983) that dance has three main elements, which are movement, rhythm, and beauty. in other malarsih & herlinah, creativity education model through dance creation for students 149 words, najamuddin argues that dance is emotional pressure inside the body as well as the human’s soul expression which are reflected through the beautiful rhyth mical regular body movements which is also suited with the rhythm of the accompaniment music in a particular space and time. dance cannot be separated from movements since the typical substance of dance is movement (soedarsono, 1976). a movement that is discussed here is the move ment which has received special treat ment based on feeling, fantasy, perception, interpretation or movements which is resulted from the combination between aesthetical experience and its intellectually. from this study, it can be explained that dance is movements which have been stylized and rhythmic. there are two forms of stylized movement. the first is gerak murni (pure movement), which is movement produced from raw movement or wantah in javanese. it means it only needs to express the movements without meanings behind it. the second is gerak maknawi (meaningful movement). meaningful movement is raw movement that has meaning behind it. thus, it also expresses meaning instead of only the beauty of the movement itself. sasmintamardawa (1983) explains that dance is one branch of art that is illustrated in rhythmical movements, as well as emitted by a facial expression that has been matched with the meaning behind the dance. thus, dance contains three main elements or basic aspects, which are wiraga, wirama, and wirasa. wiraga is the harmonious movement of all parts of the body. it includes attitude, changing of movements, as well as the shift of movements. wirama is the harmonious movement between the body and the music accom panying the dance. wirasa is the conformity between wiraga and the expression in conveying the meaning behind the dance. the understanding of creativity and dance is closely related to a creativity to produce a new dance in its relation to creativity education through dance creation. according to joseph (2004), essentially, education is an effort to change the students’ behavior to be better and more civilized in affective, psychomotor, and cognitive level. at schools, creativity is also given under affective, psychomotor, and cognitive scale. however, in the realization, it is not clear which aspects are prominent in the process of education. creativity education through dance based on the current curriculum can only be achieved if the realization is involving the dance creation. in order to do that, dance creation activity in art subject needs to be given to students and becomes the main priority of the lesson. it is hoped that by teaching and giving students an opportunity to create dances, teachers can stimulate students to be more creative in thinking. therefore, the product of the dance creation is not the most important factor which needs to be taken into consideration when evaluating the students. evaluation is emphasized more in the process of creat ivity. if it can run well, two benefits can be taken into account. first is the value of creativity while the latter is the value of products (the dance). creativity is a human nature that is closely related to the ability to create. as a result, creativity is always be needed by people throughout their life to serve their own needs (syafii, 1999). art is the world of creativity. it means that activities in art always require and involve creativity. experts in the field of education agree that education that makes use of art as the medium will provide a bigger chance for the development of potential creativity (triyanto, 2001). an art work for its creator is a free expression medium in expressing all of psychic encouragement. an art object in a certain work is a real form of dream, imagination, and fantasy that cannot have a place to be realized in a real world. therefore, in the process of establishing an art work, the creators feel as if they communicate with the world and express themselves freely by using the symbolization of art medium (zaenuri, 2008). according to murdowo (2006), the harmonia : journal of arts research and education 14 (2) (2014): 147-157150 image always follows imagination. what is resulted first by imagination is image. there fore, the image has an essential role in terms of the interactional correspondence between objects. image is determining to what extent the truth can be trusted. in addition to this, murdowo argues that truth is an assumption that requires an early investigation. in analogy, it can be said that image which has influenced truth always demands for objectification in interaction. human’s spontaneous gesture, move ment in reacting to certain situations are relatively more valuable than other creatures. incredible happiness, deep sadness, and sincere gratitude are illustrated in a series of unique movement that symbolizes humanity and sensitivity. it is also the basic asset in creating dance and the art of the dance (wardhana, 1994). according to dea (2001), there are four principles which need to be fulfilled in order to establish a dance. there are, (1) sawiji, (2) greget, (3) sengguh, and (4) ora mingkuh. these principles need to be obeyed by both the creator and performers. daryusti (2010) sees another side of the creation and creativity of dance by examining the functions. according to her, there are four functions in creating dance. the functions are (1) the reflection of life, (2) secular and ritual expression, (3) social entertainment, (4) relaxation from stress, (5) aesthetical activity. these five functions are taken from both psychological and social aspects of dance performance. it also can be related to economical aspect when the dance is created purposefully to meet the economic needs. in this case, creativity which forming the dance will be matched with the societies’ taste. creativity theory from csikszentmihalyi (1999) in its relation to art creation indicates that, an artwork will be able to be accepted and used by society if (1) some one created an art work based on the culture owned by societies, (2) it can be easily imitated, and (3) it has an economical impact. in its relation to the first statement by csikszentmihalyi, art needs to be based on something real, live, and known by societies. in addition to it, sumarwahyudi (1996) presents an example of creativity in sculpture arts. in order to receive attention from societies, a carver needs to build a statue of a well-known figure that has been widely known by societies. there fore, in order to create a dance as a means to creativity education, it is possible to adapt to the existing dance in the society. in other words, the dance is not relatively new but still original for the appreciators. method a study about creativity education model through dance creation, according to gegne & wager (1992) and hartono (2007), is classified as developmental research. since it belongs to developmental research, this study is initiated by analyzing the material related to dance as a subject at junior high school. it will be continued by doing a theore tical/conceptual analysis and field study related to creativity education through dance creation. at the end of the study, it is expected that the study will result to a model of creativity education through dance creation for junior high school students. results and discussion in this part, the results of the study are presented and elaborated. through this developmental research, results and discussion of the study are going to be presented by firstly analyzing the material related to dance lesson. in analyzing the material, it will be linked to the creativity education that has to be accomplished through dance lessons in junior high school. material related to creativity education is dance appreciation material and dance creation material. the learning steps and explanation of dance appreciation and creation learning are going to be presented in the following subsections. malarsih & herlinah, creativity education model through dance creation for students 151 tumes, make up, and the role of the play. in terms of local dance, the main discussion topic is generally about the nature and history of the popular traditional dance, classical traditional dance, and/or creation dance. in relation to the performance form of a dance, it is possible to be done in single dance, paired dance, and group dance. in its relation to the function of dance, it is explained that the functions of dance are usually as a means of ceremonies, performances, and the medium of education. in conjunction with the presentation of the supporting elements of dance is that dance needs to be equipped with at least make up, costumes, property, stage decoration, and lighting. the uniqueness of a form of dance performance is related to variety of the movement, the accompanying music, costumes, make up, and the stage property. those elements are dominantly taught in the classroom using lecturing and question-answer method. as a consequence, most of students do not give full attention to the lesson. in particular for appreciating the dance, the lesson is usually given by implementing the method of imitating and drill. here, students need to practice to dance by imitating the teacher and later memorizing it. through the development of this proposed method, which uses the method of appreciation, the learning patterns are changed. by changing the patterns of learning, it is hoped that the students will receive a better opportunity to appreciate dance as a medium of appreciation education. the learning steps adapt the appreciation method that should be able to bring the students to appreciate the dance itself. the learning process needs to be given by implementing the ‘crawling’ steps, namely: (1) description, (2) analysis, (3) interpretation, and (4) evaluation. first, in description stage, students are first introduced to the contextual understanding of the dance before they know the dance itself. in contextual learning, students are informed about the types, messages and history behind the dance. further, dance appreciation learning dance appreciation learning has been programmed in the lesson plan. the competency standard is taken from curriculum under the heading ‘appreciating dance work’. in the curriculum, there are only two competencies need to be taught in dance lesson: appreciation and creation. appreciation comprises identifying the types of single dance from the local region and showing appreciation towards the uniqueness of the local single dance. the accomplishment is indicated by the ability of students to: (1) explain the definition of dance, (2) mentions the main elements of dance, (3) mention aesthetic aspects of dance, (4) mention the types of local region dance, (5) mention the supporting elements of dance, (6) identify the uniqueness of one type of single local dance performance, (7) show serious attitude in learning, express their own opinion briefly, (8)appreciate some body else’s opinion, (9) cooperate with friends. as the outcome, it is expected that students will be able to: (1) presents the identification results in a group, (2) formulate serious responses towards the group identification results, (3) show serious attitude, express opinion briefly, and appreciate somebody else’s opinion. the aim of the lesson itself is for students to be able to appreciate the uniqueness of local single dance created in the region where the school is located. in the dance learning material, dance is defined as a real form of human’s soul expression that is expressed by a series of beautiful rhythmical dance movement. the main element of dance is movement and the beauty aspects of dance are wiraga, wirama, and wirasa. wiraga is body movements that are compiled and stylized based on the proper form. wirama is the conformity between movement and rhythm. wirasa is the feeling that is expressed through the face and movements. if there is one more aspect that is affecting the beauty of dance, it will be wirupa. wirupa is the clarity of dance movement that is shown through conformity between cosharmonia : journal of arts research and education 14 (2) (2014): 147-157152 the students are also told about the functions of the dance in the society. dostia and aminudin (1987) argue that the descrip tion of the dance needs to be firstly given by introducing the dance itself. introducing the art can be done through feelings and inner sensitivity towards the arts which are introduced. after the contextual side of the dance has delivered by giving students the description of the dance, then the actual performance of the dance can be presented to the students. the dance can be shown by using audio-visual medium or directly on stage. according to wadiyo (2009), the use of audio-visual medium is considerably essential in art appreciation learning. audio-visual medium can be used to display a complete dance show from the beginning to the end and can be played repeatedly. in addition, if teachers need certain parts to be repeated, audio-visual medium is very helpful for this. overall, audio-visual medium is considered better to be used as an appreciation medium rather than live performance. it is because typical human has short memory. by watching live performance, students can easily forget the input and it cannot be repeated. after the description stage has been fully delivered to students from the contextual perspective, the next is the step of analysis. at this stage, students need to understand the elements of dance and the dance performance. it is important since the students need an adequate foundation to understand the definition of dance textually. no matter how the dance is formed and presented, dance is a rhythmical movement that contains the elements of beauty. in addition to it, according to soedarsono (1976), dance is an expression of the human soul that is expressed by beautiful and rhythmical movements. in line with soedarsono, ellfelat (1977) defines that dance as a series of movements that contains the power of life and beauty. in many ways, he illustrates the dance as the planned movements that have rhythm. another definition is from sachs (1975) by saying that dance is a rhythmical movement. from the three previous definitions, it can be understood that dance has three basic elements which are movements, rhythm, and beauty. in addition to this stage, students have been familiar with the actual form of dance since it has been shown in audio-visual medium. the aesthetic aspects of dance, the types of dance, the supporting elements of dance, the uniqueness of dance, as well as the functions of dance are explained here. this stage occupies lecturing and questions-answers method as part of the bigger appreciation method. lecturing and questions-answers methods are dominantly used for this stage is giving more attention to the cognitive aspect rather the affective one. next is the stage of interpretation. after the students learn the description and have an opportunity to analyze the dance, presumably they have understood dance from the contextual and textual perspective. later, their understanding will help them in interpreting dance. by interpreting the dance, students will have more opportunity to appreciate dance. moreover, students will be also more familiar with the implicit and explicit elements of the dance. besides, they also have an opportunity to enrich their knowledge about the types of the dance, message of the dance, the origin or historical part of the dance, aspects of the dance, and many other elements of the dance that can be appreciated by students. the last is the stage of assessment or evaluation. this stage relatively needs extra attention from teachers since it relates closely to the conception of right or wrong. however, there is no right or wrong for the arts. there is only a subjective assessment related to the beautiful or not beautiful, attractive or not attractive, and fascinating or not fascinating. when appreciators find that a particular art has more positive elements than the negative one, then the art will be appreciated properly by the appreciators. it is what is considered by appreciation in the arts. this is the task of art teachers to teach their students to appreciate art. malarsih & herlinah, creativity education model through dance creation for students 153 dance creation learning creation learning in the context of art education does not mean that teachers have to help students to produce artwork that is good from the normative perspective, but more to train students to use maximize their creativity using the arts. in line with the method of creation that is done by the junior high school teach ers are the results of the previous research by triyanto (2001) about the art learning undertaken by teachers for pre-school children when they perform activities of drawing. whatever the form of art or images produced by the students, the teacher always says nice and add additional suggestions to make the pictures better. thus, students are motivated to continue what they are doing in art, in this context is to draw pictures, because psychologically they have the urge to always do better without ever feel that their drawings are bad or wrong. in terms of the education of value, here, the value is meant by the effort done by students in creating something new. in other words is how valuable creativity is for the human life. when human life is not always creative then people will not be able to maintain and improve the quality of life. life always requires creativity to overcome all the things happened in this world. art is considered to be important as one means of human creativity education since the nature of art itself is soft. art will never exist if it was not made by human. an innovation as a result of creativity is always required because people need to be creative to meet the complex needs in every second, minute, and hour of their life. there is no evidence which explains that teaching creativity can only be done through an art subject or art education. of course, there are other ways to teach it. however, at least, human creativity education through the arts will be resulted to the refined creativity, in line with the typical nature of art, indeed. it will sharpen the students’ sense of feeling to always be able to do the best in life. a person who does a creative work will bring a positive impact for themselves and others. in other words, people who do a creative work will have an opportunity to develop themselves and the result of the creative work can be enjoy ed by others. creativity through the arts can pleasure the person who does the work and can be also to please others. thus, the success of a perfect creativity education can be felt by the students themselves as well as perceived by all people related to them. creativity resulted by educating people in the context of art education, will always carry positive impacts to other people. in its implementation at schools, creation learning is derived from the standard of competence ‘to express them selves through the arts of dance’ written in the curriculum. art in the public school’s curriculum has two points of competency standards, appreciation and creation. the basic competence of expression can be understood as exploring dance movements or finding suitable dance movements which can be used to set up a dance. the material itself can be taken from the local-regional dance, ethnic dance, national dance, or international dance starting from southeast asian dance to every country in this world. thus, before giving students the lesson on the topic of creation, students would have had to learn appreciation in advance. students will not be able to do much when they are given the lesson on creation while have not been familiar with appreciation. for instance, through the appreciation of asian dance, eventually students can understand certain types of asian dance textually and contextually. the appreciated dance can be used as a ground to do other creative artwork by students. another creative art work means that students can adapt the certain types of appreciated dance textually or contextually in order to develop the original version of the dance to a new creation of dance. in addition, through the observation activity by watching the video of asian dance that is facilitated by the teacher, students can have an affective ability as the asset to create a creation of dance. creations are results of appreciation. harmonia : journal of arts research and education 14 (2) (2014): 147-157154 through a better appreciation, ideas and concepts are eventually grown. appreciation for the foreign dance that is used as teaching materials in schools turns out to foster new ideas related to dance creations. more importantly, each student can develop different ideas related to the dance. certain ideas will foster a different conception. for instance, a group of students has an idea to develop an indian dance, it turns out that they have different concepts in creating a new dance. from the ideas and concepts, it can lead to the idea of move ments. students might have the same ideas of movements that they will use to their dances. however, their conception of the movement is clearly different from each other. although the idea and concept are the same, the products remain to be different. the point is, the difference is in how the students realize their ideas and concepts to a new product of dance. based on the realization of ideas and concepts, the next will be closely related to the ability of each student in connecting their thoughts. connecting each idea with a different concept will produce different types of movement. the same specific ideas and concepts will result in different types of movement. especially if the ideas and concepts are different, of course, it will result to very different types of movement. moving from the ability of linking ideas in mind will let to different ideas. if this new ideas are linked to other ideas in mind, it will produce a new product, over again. this is where the various movements will appear in a set of new dance. therefore, in creating dances, every child will produce different types of dance even if they use the same theme as the initial point of thoughts. the journey in fostering the ideas of movements and combine them to create a dance, has been understood as creating a new product of dance even if it is still in a simple form. the important aspect is that each student has the ability to produce different dances. according to pradopo (1999) every person was given the ability to create, because creating does not mean all new. natural phenomena, social, as well as culture in human society, are included to artworks that are ever existed or ever seen, everything can be used as a ground to create or to be creative. creativity education through dance creation one of the purpose of art lesson in public school is to build students’ creativity in facing life. dance creation is one of the mediums to train students to live creatively. there are several experiments done in this study. here, we label the experiment as a pilot project. the main aim of pilot project done in this study is related to what is done by teachers in teaching art education in public schools as the medium of creativity education. teacher asks students to create dance in order to train them to think and do creatively. the main aim is not the product itself, but more to the process of creating a new product. in the first pilot project, students were given a hipogram (the existing dance given as a basis to create something new), which was the javanese traditional dance. students were shown with several kinds of javanese traditional dance, not only the traditional classical dance but also the traditional populist. besides, students were also given an overview related to sociocultural and physical nature phenomenon where the dance was created and developed in a certain area in central java. after seeing and giving their attention to the hipogram, students would be able to create an understanding. this understanding became a background of an idea that would be applied to create a new dance. they had an imagination or reference from the existing art. in other words, students received a reference about the socio-cultural phenomenon and physical nature of the areas where the dance was preserved. in giving reference to an existing artwork, first, students were shown the composition of dance. it consisted of the movement of the head, body, and legs. malarsih & herlinah, creativity education model through dance creation for students 155 there were several head movements, head movement illustrates how we moved the head to look at the right side, left side, and rotating. body movements were upright and leaning movement. leg movements were small walk, small run, and jump. hand movements were stretching, placing the hands on the waist, and swinging. those movements could be understood as the sources of other extending movements. it could be developed freely based on the dance composition exists in the group movements. when students created the movements in a group, it would form of a mutual giving and receiving among friends. however, there must be one or two students who dominate the group. the second reference in creating dance was the musical accompaniment. each dance had different music accompaniment and the composition of the movement would be also different based on the music accompanying it. therefore, students needed to give their attention to the music accompaniment as well as to the movements based on the music accompaniment. in this way, students were expected to find the idea of what types of music and dance movement would be created by them. the third reference was about make up and costumes. every type of dance was followed by a different kind of make up and costumes. make up styles were varied based on its purposes. there were pretty make up, character make up, and fantasy make up. make up was always related to the costumes worn by the dancers. varieties of costumes that were usually worn by the dancers are pants, tank top and shirt. based on the various hipogram given as the example to students, students began to create a new dance. however, it was not enough to the hipogram alone. students also needed to give their attention to the local community cultural phenomenon of central java in general because the students were asked to create javanese dance. besides, students also needed to pay attention to the physical nature area of central java in general. physical nature could be trees, rivers, sea, and mountains. thus, later students or groups of students could create a new dance based on the certain theme that might be provided. based on the combination of hipogram of the existing arts, hipogram of social and cultural conditions, as well as the hipogram of the physical nature of society, then, a new type of dance was created. the new creation of dance, in this experiment or pilot project, was formed as a group dance. after that, the dance was named after the theme. the name was expected to connect the art consumers to the javanese sociocultural and physical nature phenomenon that became the basic theme of the dance so that the dance could be appreciated. the second pilot project was to give students a hipogram related to national and national dances, the steps were given exactly in the same way as the first pilot project. in the end, students were evidently able to create a new form of dance. even though in the process of creating the dance they were working in group, basically as individuals they were able to realize the creative process to create a new dance. creativity linked with creative person or a group of people who produce some thing in the shape/form of a new or different from the others (munandar, 1988). presence of creativity by ross (1978), lowenfeld and brittain (1982) is characterized by several indicators, among others, have a sensitivity to the problem, have the idea that smoothly, with the flexibility to adapt, has authenticity in responding to and solving problems, free to express ideas, able to solve the problem in a different way to that done by someone else, have the ability to reorder the situation, as well as having the ability in analysis and synthesis. creativity is closely related to a person/a group of people’s ability to create product in a new form that is different from others (munandar, 1988). based on ross (1978), lowenfeld and brittain (1982), the presence of creativity are characterized by several indicators, such as having a sensitivity towards problems, have flawless ideas, having an ability to adapt, having harmonia : journal of arts research and education 14 (2) (2014): 147-157156 a sense of originality, having an ability to solve the problem in a unique way, having the ability to reconstruct the situation, as well as having ability to analyze and synthesis. in its relation to dance creation, what has been done by the junior high school students has produced a new dance form. according to ellfelat (1977), dance is movements containing the power of life, beauty, and sometimes quite peculiar. in many ways, he described the planned movements rhythmically. soedarsono (1976) argues that dance is an expression of the human soul that is expressed by beautiful rhythmical movements. sachs (1975) suggests that dance is a rhythmical movement. based on the opinion of the previous experts, najamuddin (1983) finally conclude that, in principle, dance has fundamental elements, there are movement, rhythm, and beauty. closely related to the understanding of dance creativity is dance creation as a creativity to produce new products in conjunction with creativity education through dance creation. creativity education through dance learning can only be achieved if the implementation is done by creating art. therefore, the creation of dance as one of material to be taught in art subject at school must have become the main priority in the learning implementation in order to educate students to be creative. conclusion in creativity through dance creation, products are not the main focus of the lesson. in order to receive the value of creativity education, the lesson is emphasizing more on the process of creativity. through dance creation, two points of educational value are derived, the value of creativity itself and the value of the product in a form of dance. based on this foundation of thinking, the pilot project could be conducted. the pilot project was done in a form of teaching dance creation to junior high school students. it is hoped that the pilot project can be used as the art learning model in the near future. one of the purpose of art lesson inpublic school is to build students’ creativity in facing life. dance creation is one of the mediums to train students to live creatively. the presence of creativity are characterized by several indicators, such as having a sensitivity towards problems, have flawless ideas, having an ability to adapt, having a sense of originality, having an ability to solve the problem in a unique way, having the ability to reconstruct the situation, as well as having ability to analyze and synthesis. in its relation to dance creation, what has been done by the junior high school students has produced a new dance form. creativity 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(2008). estetika ketidaksadaran: konsep seni menurut psikoanalisis sigmund freud. jurnal seni imajinasi, 2(2), 210-218. 256 baris memedi dance in jatiluwih village tabanan bali: a strategy to preserve traditional arts i wayan dana, ni kadek juni artini institut seni indonesia yogyakarta, indonesia submitted: 2021-09-03. revised: 2021-11-21. accepted: 2021-12-26 abstract the baris memedi dance depicts a group of ‘ghosts’ who live in haunted places such as graves, cliffs, and in large trees. it is danced by 7-15 male dancers. this dance is performed in ngaben (cremation) ceremony called pitra yadnya, using the baleganjur gamelan accompaniment. the objective of this study is to analyze the form of existence of the baris memedi dance in implementing the pitra yadnya ceremony. another objective is to understand the strategy for its preservation as a traditional art so that this dance can live and be long-lasting until today. the additional objective is to find the uniqueness of the dance that it needs preservation. the method used was a qualitative method that considers the issues of cultural context, ideology, interests, power in the culture, and meaning which refers to the culturalistic-humanistic paradigm, namely civilizing humans and humanizing humans. based on observation, baris memedi dance has four stages in its presentation form. the preservation strategy is the active role of supporting the community, the role of jatiluwih village apparatus, jatiluwih artists’ participation, and the government’s support. the most important aspect of baris memedi it is inseparable from its community. the proponents of traditional arts should continue to pursue these preservation efforts so that the arts have cultural resilience through ajeg bali. keywords: baris memedi dance, preservation strategy, traditional art how to cite: dana, i. w., & artini, n. k. j. (2021). baris memedi dance in jatiluwih village tabanan bali: a strategy to preserve traditional arts. harmonia: journal of arts research and education, 21(2), 256-265 harmonia: journal of arts research and education 21 (2) (2021), 256-265 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i2.31890 and one city, namely jembrana, tabanan, badung, gianyar, klungkung, bangli, karangasem, buleleng, and denpasar city. the predicate shows that the island of bali has culture and customs that are integrated with implementing hindu religious teachings. this place has beautiful natural scenery that attracts attention, and many tourist attractions present a variety of traditional arts offerings full of allure. traditional arts live, grow, and develop synchronously and diachronically; history records it so that the ‘remains’ of its traces can be recognized to this day. introduction bali island is known to the world community with various predicates such as the island of gods, the island of paradise, or the last paradise on earth, the island of thousand temples, the morning of the world, and the island of love, the interesting peaceful (“inilah julukan pulau bali,” 2017). this island, which is often also called dwipa island, the heavenly island, and the island of arts, is a province in indonesia whose capital city is denpasar. bali province is divided into eight districts corresponding author: e-mail: iwayan_dana@yahoo.com p-issn 2541-1683|e-issn 2541-2426 i wayan dana & ni kadek juni artini, baris memedi dance in jatiluwih village tabanan 257 holt (1967) argues that social facts and artifacts and some other remaining hardware provide essential information to discover the journey of arts in the past. this information shows that arts, especially in bali, can be grouped into three categories: (1). the heritage; (2). living traditions; and 3). modern art. traditional art, especially dance, manifests the diversity of regional identities (ethnic, cultural identity). art in bali is present, maintained, and preserved. the dances performed are related to a series of religious ceremonies. these include dances such as rejang, sanghyang, pendet, baris, barong, and topeng. these dances are presented imbued with hindu cultural values, united in the expressions of movements that contain ritual and theatrical elements from ancient balinese, hindu bali, and modern balinese people (sediawati, 1986, p. 191 and dibia, 1999, p. 7). sugiartha (2018) also points out that traditional dance and music are closely tied to hinduism. balinese traditional dances, as mentioned above, have been passed down from generation to generation until today through various means including direct learning in the banjar environment (community group at the level of neighborhood association), sekaha (community group based on expertise), and organizations as studios, hermitage, and such. this learning transforms the form, technique, and content practically between the teacher and the students. the process of ‘inheriting’ can also indirectly occur; for example, the younger generation sees how, the older generation practices their skills in performances at various events in the community. the next generation, according to their talents, practice the skills themselves have expertise in their fields. the next generation can also learn from the ‘remaining’ artifacts, such as gamelan and recordings on temple walls. at the temple, the dance poses, dance costume designs, and perhaps dance compositions are recorded. now, the inheritance of traditional dance (art) in each region is evident through formal education (art schools), upgrading, workshops, continuous training, through recordings of digital video discs (dvd), films, and other sophisticated tools. these are passing down or transmitting traditional dances by raising children’s awareness about tradition, making them conscious of their history, and recognizing the past (georgios, 2018). while recording and using strategic plans are also beneficial for the preservation (nilvanich & wisuttipat, 2107). preservation emphasizes more on the process, namely the activity of preserving. it can also mean protection from damage, destruction, or extinction, so those preservation activities are needed. of course, there is a management of human resources in this preservation activity so that the tradition can be ‘competitive’ to ensure its continuity and benefit the lives of present and future generations. tradition is interpreted as a paradigm of the creative process. an era will influence the innovative tradition, meaning that the tradition is constantly changing. this time, we study the baris memedi dance in jatiluwih village, penebel district, tabanan, bali to preserve traditional arts. the name itself depicts its meaning, baris means line-up, memedi means ghosts. people perform this dance at the ngaben ceremony (the burning of corpse ceremony), including the pitra yadnya ceremony. the community believes that the baris memedi dance is a sacred and rare tradition inherited from their ancestors because it is only performed during a ngaben or pitra yadnya ceremony (dibia, 1999, p: 17) serves to lead the spirit to heaven realm. the baris memedi dance is performed by 7-15 dancers, depicting spirits dressed in keraras (dry banana leaves), and other leaves around the cemetery, expressing spontaneous movements from the cemetery to the family home carrying out the pitra yadnya ceremony. the specific purpose of this study is to analyze the strategy of preserving the traditional art of baris memedi in bali so that this dance remains alive, exists, and is preserved until today. another purpose is harmonia: journal of arts research and education 21 (2) (2021): 256-265258 to find out the process of the performance in the pitra yadnya ceremony. the urgency is to understand the baris memedi dance so that it does not become extinct or disappear. this can happen because some balinese-hindu people in carrying out a religious ceremony, consider the practical side, efficiency, and influence of sampradaya (teacher-student schools or traditions that carry new traditions). therefore, it is essential to emphasize preservation by sticking to the values of the three basic frameworks of hindu-nusantara teachings, namely tatwa-susila-upacara (philosophy, ethics, form of offerings). the ajeg (steadiness in preservation) of implementing hindu teachings continues to be lived and practiced to achieve sustainable harmony between the tiny universe and the great universe. without ‘inheritance’, of course, traditional dances, which incidentally are arts that are performed ‘for a moment’, surely the remnants will not be recorded by the current generation. the inheritance process is meaningful that traditional dances, such as baris memedi as the nation’s ‘cultural heritage’, can be recognized, known, and continuously studied by the next supporting generation. the current generation, as the next generation of tradition, has rights and freedoms to reinterpret the ‘tradition’ they have received by the spirit of the era of the local area. this means that history records that the tradition has always ‘lived’ in each generation of its recipients based on the mindset and behaviour pattern that surrounds their ethnic environment. sanderson (1999) puts forward if there is a change in infrastructure, such as advances in technology, economy, and the environment, it will also impact the social structure. social structures, such as the world of education, social organizations, differences in tasks/works, or professions will certainly affect the course of the superstructure (ideology). this also makes traditional dances in the past different or changing from today. this existence shows that traditional dances are ‘living’ because the community as the supporter for the next traditional dance culture has the right and opportunity to move, develop, and create a ‘tradition’ that always remains grounded in its roots and does not lose its meaning. holt refers to such cultures ‘living traditions’ according to the striving spirit of the communities that support them. traditional arts, such as the baris memedi dance, have had a long history, in line with the development of the humans supporting them. therefore, this dance’s diversity is a fact that can establish a harmonious relationship between ethnicities, complement each other, enrich each other, and need each other in line with the life order of the balinese people, especially jatiluwih village. now, jatiluwih village is one of the tourist villages promoting the beauty of the panorama. it also supports the existence of the baris memedi dance, so it is very important to get attention and preservation. based on the previous explanation that preservation in bali is not only transmission and recording but closely tied to balinese culture and society, we can formulate the problems: what is the presentation form of baris memedi dance in the pitra yadnya ceremony in jatiluwih village? how is the strategy for preserving the traditional art of baris memedi dance implemented in jatiluwih village so that this dance remains alive, exists, and preserved until now? third, what is the uniqueness of baris memedi dance in jatiluwih village so that it is important to carry out a preservation strategy? from answering the three key questions, other accompanying questions will emerge to answer how and what is the uniqueness of baris memedi dance as a traditional art so that it is essential to preserve it. method the efforts to preserve the baris memedi dance is a cultural activity. the study of cultural activities is basically more appropriate to use qualitative methods, which consider issues of cultural context, ideology, interests, power in culture, and i wayan dana & ni kadek juni artini, baris memedi dance in jatiluwih village tabanan 259 meanings that refer to the culturalistic-humanistic paradigm. this type of research is intended to analyze, including selecting, classifying, and reducing various qualitative data. we chose qualitative-analytic with the consideration that the principal activity was carried out in the field to observe the implementation of the baris memedi dance presentation and culturalistic-humanistic (civilizing humans and humanizing humans) in the local community during the pitra yadnya ceremony. one way is by inviting the people who support the baris memedi dance together with the leadership of jatiluwih village to jointly discuss the interests of continuing, fostering, developing, and utilizing these traditions so that they are not eroded by global culture in the millennium era. this is carried out theoretically, which refers to the baris memedi dance as a wali dance (sacred ceremony). the promotion of culture, including preserving the baris memedi dance, emphasizes the meaning of protection, development, utilization, and guidance so that indonesian culture can grow strong. baris dance is one of nine types of balinese dance recognized and designated by unesco as an intangible world cultural heritage on december 2, 2015 (santoso, 2015). the nine types of balinese dances, including the wali dance (sacred ceremonies), are the rejang dance, sanghyang dedari dance, and the ceremonial baris dance. at the same time, those belonging to bebali dance (ceremonial/semi-sacred) include sidhakarya mask dance, gambuh dance, and wayang wong dance. dances that are included in the bali-balihan (entertainment) group are legong keraton dance, barong ket dance, and joged bumbung dance. this balinese traditional dance which unesco recognizes strengthens the theoretical basis, which is also the responsibility of the supporting community, the bali provincial government, regencies/cities throughout bali. in addition, the central government also plays a role in preparing facilities and infrastructure for preservation and further development. this implies maintaining the sanctity and harmony of bali’s nature and its contents to create a prosperous life for the balinese people sekala-niskala (visible and invisible) physically and mentally. the role of the community is quite prominent in maintaining and developing traditional balinese dances, such as the baris memedi dance, which functions as a ceremonial dance. the study area is in jatiluwih village, penebel district, tabanan, bali. jatiluwih village is now listed as a tourism village in western bali that relies on a rural atmosphere that is still calm, beautiful and presents the best and widest natural scenery of terraced rice fields on the island of bali. even though it is made a tourism village, the people still preserved the traditional art of baris memedi dance, which was only present at the pitra yadnya ceremony. therefore, jatiluwih village is appropriate as a study area to preserve traditional arts in bali. whether tourism affects activities to preserve traditional arts is also interesting to explore more deeply. in the initial stage, we collected the data cumulatively from the literature study. this data collection was done by tracking scientific writings in the form of printed books, journals, papers, and the results of previous research, especially those published. the literature study was carried out at the library of the indonesia institute of the arts (isi) yogyakarta, isi denpasar, hindu dharma institute in denpasar, and at the regional library of tabanan regency in bali. after the literature study, then proceed with direct observation of the phenomena that occur in the field. we obtained the most important and valuable data when we were in the field, through interviews with resource persons and informants met in jatiluwih village; the performers and executors of the pitra yadnya ceremony were the primary sources in the field. we interviewed informants based on purposive sampling. we determine sampling by setting specific characteristics that are under the research objectives so that we expect it to answer research problems. harmonia: journal of arts research and education 21 (2) (2021): 256-265260 thus, purposive sampling is subjective sampling because the sampling technique relies on self-assessment when determining the population to take part in research-based considerations that have been previously known. the analysis began with all data obtained from literature studies, observations or observations in the field, results of in-depth interviews with resource persons and informants. various events that occurred related to the baris memedi dance were recorded audio-visually. through recording, we hoped that data describing the implementation of the preservation of traditional arts and behavior and experts in the field could be observed repeatedly. data analysis on aspects of physical activity was carried out from an ethical point of view without leaving an emic point of view. ethic and emic points of view were used according to traditions, norms, and values simultaneously, which analyzed the data in more detail with the analyticalcorrelative method. this data analysis was then used to discuss the research problems in the presentation of the results and discussion. results and discussion the tabanan regency area is an agricultural area recognized as a world cultural heritage (wcd) by unesco, including jatiluwih village in the penebel district (agung, 2019). this village is closely related to the surrounding villages regarding the irrigation from catur angga batukaru. jatiluwih village is easy to reach, from denpasar city about 49 km to the northwest, tabanan regency city approximately 26 km to the north, and penebel district city 13 km to the north. since 2000 this village has become a tourist destination, especially those who like the atmosphere of beautiful natural scenery supported by a wide expanse of terraced rice fields, maintained its sustainability, the air is cool at an average altitude of 700 meters above sea level (artini, 2021, pp. 32-39). agricultural culture is an inseparable part of the activities of the jatiluwih community. agricultural culture is an inseparable part of the activities of the jatiluwih community. these activities include a series of rituals mapag toya (taking water), ngendag land carik (plowing the fields), pangawiwit (planting season), ngrasakin (rice harvesting ceremony). , ngadegang batari sri (embodies the goddess batara sri), and mesaba nini or manyi (rice harvest). the farmers of jatiluwih village run a rice planting system for two periods a year by planting local balinese rice to maintain the availability of sandalwood brown rice, glutinous white rice, and black rice, for the basic needs of the community (figure 1). figure 1. rice fields in jatiluwih note. from bali ricefields [photograph], by c. f. ortiz, 2018, unsplash (https://unsplash. com/photos/tf1qng9ezhq) besides carrying out life activities in the agricultural world, jatiluwih people are also involved in traditional arts, such as the sekaha (art group) of topeng, prembon, joged, baris tombak, and baris memedi. baris memedi dance has become an icon of jatiluwih village in the preservation of traditional dances that are thought to have emerged in prehistoric times. prehistoric times in bali have bequeathed ritual-magic performing arts forms that are influenced by elements of animism and dynamism (dibia, 1999, pp. 1-3). bai wayan dana & ni kadek juni artini, baris memedi dance in jatiluwih village tabanan 261 ris memedi dance in jatiluwih village has been preserved and developed according to the spirit of time of the local area. the existence of baris memedi dance in the era of the entry of jatiluwih village as a tourism village and the emergence of sampradaya (school of teacher student) in carrying out ritual traditions need a strategy to preserve traditional arts so that they are not threatened with extinction. in addition, it is considered important that the baris memedi dance is included as a ‘cultural heritage’ resulting from the creation, taste, initiative, and special work of the indonesian nation that needs to be preserved. baris memedi performance in the pitra yadnya ceremony the baris memedi dance in the pitra yadnya ceremony in jatiluwih village, is performed by 7-15 male dancers aged 35-45 years. of that number, some played the male baris memedi, some played the female baris memedi, and one played the penambrat (king of baris memedi). the king of baris memedi is armed with a klakat (woven bamboo) as a symbol of the command stick to give direction to the baris memedi when escorting the spirits of the dead to heaven. the number of dancers is more or less the same with the dance in the neighboring village, in desa wongaya gede, which consists of nine dancers (purnamawati, 2019). the presentation process is unique, carried out through the following stages: (1) matur piuning (asking for permission), i.e., all dancers perform a ritual asking for permission before the rulers of setra (cemetery) called sanghyang bhairawi and sanghyang prajapati, which are centred in pura dalem prajapati. (2) mepayas (makeup and dress up), namely the baris memedi dancers, begin to make up and dress up according to their respective roles by utilizing some means available at the cemetery. (3) mesolah (dancing), this stage is the core part. after finishing their makeup and dress-up, the dancers walk inline (parade) to the pitra yadnya ceremony. arriving at the ceremony venue, the dancers carry out the ritual process of prayascita, byekaonan, and penyambleh bebek bulu sikep (purification and sacralization). then the parade dances to the accompaniment of the gong kebyar gamelan with a line-up symphony combined with baleganjur (a type of ancient gamelan ensemble). the dancers express spontaneous movements according to the dynamics of the accompaniment, prioritizing the expression of marching movements. the dancers repeatedly move until they go into a trance to dance like memedi (ghosts), which are sometimes scary and funny. at this time, the dancers undergo a ritual to ask for salvation so that the spirit of the deceased goes to the heavenly realm. at that time, the complete offerings in the form of segehan agung and penyambleh bebek bulu sikep were presented until the dancers regained their senses. (4) ngaluhur (closing) is the final stage of the baris memedi performance; all dancers receive the segehan ritual located in dalem prajapati temple court, followed by penglukatan (cleaning themselves) in capuhan (the meeting of two rivers into one). the baris memedi performance in the ngaben ceremony (pitra yadnya) is a manifestation of the commitment of the supporting community as the driving organization, with the jatiluwih village apparatus as a local resource for preserving traditional arts (figure 2). the supporting community believes that baris memedi, as a sacred ceremony dance has magical ritual properties and syncretism from belief systems or religions with local customs and rerencangan (supernatural beings) in the local cemetery (artini, 2021, pp. 64-67). therefore, the community feels they have an obligation to continue to maintain, care for, preserve, and develop this ritual according to the spirit of the era of the local era for traditional purposes, namely the success and smoothness of the pitra yadnya ceremony. harmonia: journal of arts research and education 21 (2) (2021): 256-265262 figure 2. baris memedi sacred dance note. from tari sakral baris memedi masih eksis di jatiluwih (baris memedi sacred dance still exists in jatiluwih), 2018, bali post traditional arts preservation strategy preservation is understood as protection from destruction and maintaining or caring for and continuing the form of traditional art, which can be carried out in two ways, namely continuing and revitalizing; continuing the form of artistic activity that is still taking place in the midst of society according to its interests so that it continues to exist; revitalizing or reviving artistic forms or activities that have taken place, but are experiencing lethargy, leading to their extinction. both continuing and revitalizing art forms that are in accordance with the expectations of the supporting community require appropriate and careful steps, as well as generations who have a ‘sense of belonging’ and love local traditional arts so that a sustainable inheritance process occurs. inheritance and preservation contain the value of development, guidance, protection, and also utilization according to the interests of the supporting community. in contrast, in some cases, people do not realize the importance of the safeguarding or preservation of intangible cultural heritage (srinivas, 2008). preservation of intangible cultural heritage has three important benefits. first, it has a cultural value that can help people understand a particular time’s social and cultural fabric (smith & akagawa, 2008). it has an economic value, which is often related to tourism (deng & ma, 2014). it has an aesthetic value (ahmad, 2006). balinese traditional arts are alike, but there is more to this. balinese traditional arts are unique and have superior values and are inherited from their ancestors and carried out by each generation traditionally and sustainably. the supporting community has an important role and responsibility for the central government, bali provincial government, and districts/cities government. here, penebel district is the vanguard as a ‘driver’ to provide facilities and infrastructure to preserve wali art (sacred ceremonies). this responsibility is undertaken as a form of a strong and consistent commitment to fostering a culture in the lives of individuals, communities, and institutions to improve welfare and harmony in balinese krama life, in a sekala-niskala (visible and invisible). based on the stipulation as an intangible cultural heritage, traditional arts such as baris memedi need to be strengthened and promoted so that this tradition exists in the present and future generations. therefore, the role of the supporting community and the village as the driving force for strengthening and advancing traditional arts has the value of local wisdom. supporting and driving organizations at the village level become the center of baris memedi management as a cultural resource that has spiritual values that are protected to anticipate the impact of the dynamics of local, national, and global societal changes that may affect the existence of balinese culture and its development. ajeg bali is a strength in the strategy of preserving traditional arts and the search for a ‘new foothold’ that respects and at the same time implements tri hita karana (the teaching of harmonious relations between humans and the divine realm, between humans, and humans with the environment). this ajeg bali context becomes the motto and guide for the balinese hindu community, which implies the need for socio-cultural ‘self-defence’ (nordholt, 2007), including preserving traditional arts. this ‘spirit’ of ajeg bali is one of the practical solutions that are seen as being able to strengthen the ‘endurance i wayan dana & ni kadek juni artini, baris memedi dance in jatiluwih village tabanan 263 spirit’ of balinese culture, including protecting the existence of baris memedi from the storm of globalization. the spirit of ajeg bali, as a solution, is seen as being able to strengthen the ‘resilience’ of balinese cultural traditions. globalization, a culture of efficiency, practicality, fast food, which is present in amid indonesian society, especially in bali, should not become a serious threat to the existence of the traditional art of baris memedi, but become a motivational medium to drive local people and to make them having global spirit. so, the strategy for preserving the traditional art of baris memedi, in accordance with ajeg bali will continue by inviting the participation of the supporting community as the key actors of preservation. the invitation movement encourages the collective spirit of the supporting community through the jatiluwih village prajuru (traditional village apparatus) to establish participation, togetherness and knit the continuity of the existence of baris memedi. arts for the hindu community in bali, such as in jatiluwih village, are inseparable from the creativity of the supporting community. they live from the activities of agrarian nature, namely the world of agriculture, whose ecological system is integrated with artistic creativity. this fact is referred to as cultural communication that put between the village and the center of the kingdom as the centre of the cultural life of the dialogue between the ‘small tradition’ and the ‘big tradition’ (kayam, 1981, pp. 38-40). the arts that are present, such as the baris memedi dance in jatiluwih village, are seen as art belonging to the community. it comes from the community for the benefit of the local community, and its existence needs to be maintained. until now, most communities on the island of bali view themselves as the heirs and successors of hindu culture brought by their ancestors from java (pitana, 1994, pp. 3-12 and picard, 2006, pp. 16-20). the cultural journey for the balinese people continues based on religious teachings that characterize the dynamics of innovative and creative socio-cultural movements (kerepun, 2007, pp. 10-47). the socio-cultural dynamics of the balinese people are strengthened by the spirit and essence coming from the teachings of the hindu religion which every step is based on religious philosophy, religious ethics, and the implementation of religious ceremonies (triguna, 1994, pp. 73-88). the three forms of teaching are based on the concept of panca sradha (five beliefs in hinduism) which are implemented in faith and daily life amidst the global community, including the preservation of traditional arts. cultural advancement set forth efforts to increase cultural resilience and the contribution of indonesian culture in amid world civilization through the protection, development, utilization, and fostering of culture. through implementing cultural advancement, building cultural practices at the village level, driving local resources, strengthening the local cultural ecosystem, becoming a pillar of the strategy for preserving traditional arts. cultural resilience, such as the spirit of ajeg bali, synergizes with elements of ideology, socio-culture, security, and other elements at the village level. furthermore, the strength of ‘endurance and striving force’ articulates local wisdom and motivates creative activities, sharpens sensitivity, and generates awareness to continue preserving the traditional art of baris memedi. thus, the purpose of cultural advancement is to develop the noble values of the nation’s culture, enrich diversity, strengthen identity, strengthen unity and integrity, educating life, improve welfare, and preserve the nation’s cultural heritage. it includes the traditional art of baris memedi dance in jatiluwih village, penebel district, tabanan, bali. conclusion in tabanan regency, especially in jatiluwih village, baris memedi dance is an integral part of people’s lives. this dance has four stages in its presentation form: asking permission, making up and dress up, dancing, and then closing. to differentiate harmonia: journal of arts research and education 21 (2) (2021): 256-265264 this research from other cultural preservation researches, we can summarize that the preservation strategy is as follows: 1) the active role of supporting the community; 2) the role of jatiluwih village apparatus that the village is a driving village; 3) jatiluwih artist’s participation; and 4) the support of the national government, especially the local government. all those are in accordance with the spirit of ajeg bali. the single most important aspect of baris memedi dance is that it is inseparable from its community as a belief system. the implementation of the preservation of traditional arts in bali can be seen in the transmission and continuation of the arts, including the creation process, which is carried out in three main contexts, namely in the family environment, in local communities for generations, and informal educational institutions. traditional arts, such as the baris memedi dance, have had a long history, in line with the twists and turns of the development of human life that supports them. the supporting community is at the forefront as agents of change who maintain, protect, develop, utilize, and nurture the next generation of baris memedi from time to time. they continue to inflame a sense of love for traditional arts with superior values to see the importance of the strategy of inheriting the nation’s cultural heritage. the process of ‘preserving traditional arts’ is not easy to implement because the currents of internal and external influences come and go bringing changes, especially in today’s era of global information technology development. the development of innovative digital and information technology, such as adaptive robotics, artificial intelligence, the internet of things, human-machine interface, is moving rapidly to change and shake things up, permeating various aspects of human life, including publishing baris memedi. this unesco stipulation, for example, adds energy to strengthening cultural advancement, thus bringing fresh air in developing the noble values of the nation’s culture, enriching diversity, strengthening identity, and preserving the nation’s cultural heritage, and influencing the direction of the development of world civilization. implementing the ‘preservation of traditional arts’ strategy means that its execution is in the driving and supporting community and the practice of strengthening cultural promotion is at the village level. the resilience of local culture that contains local wisdom articulates creative activities, sharpening sensitivity and creating shared awareness in the supporting environment to love traditional arts. togetherness and participation from the supporting community of traditional arts is a very distinctive and prominent character. this shows the spirit of commonality, participation, and dedication of its supporting to strive collectively for the existence of baris memedi dance in order to keep it preserved. references agung, i g. g. (ed.). (2019, november 15). kegiatan pendataan dan pemetaan di kawasan warisan budaya dunia (wbd) di desa jatiluwih [data collection and mapping activities in the world cultural heritage (wch) area in jatiluwih village]. kemdikbud. retrieved august 3, 2021, from https://kebudayaan.kemdikbud. go.id/bpcbbali/kegiatan-pendataan-dan-pemetaan-di-kawasan-warisan-budaya-dunia-wbd-di-desa-jatiluwih/ ahmad, y. (2006). the scope and definitions of heritage: from tangible to intangible. international journal of heritage studies, 12(3), 292-300. artini, n. k. j. (2021). fungsi tari baris memedi bagi masyarakat desa adat jatiluwih tabanan bali [the functions of baris memedi dance for the traditional village community of jatiluwih tabanan bali] [unpublished thesis]. indonesia institute of the arts, yogyakarta. deng, t., & ma, m. (2014). resource curse in tourism economies? an invesi wayan dana & ni kadek juni artini, baris memedi dance in jatiluwih village tabanan 265 tigation of china’s world cultural and natural heritage sites. asia pacific journal of tourism research, 19(7), 809-822. georgios, l. (2018). the transformation of traditional dance from its first to its second existence: the effectiveness of music movement education and creative dance in the preservation of our cultural heritage. journal of education and training studies, (6)1. holt, c. (1967). art in indonesia: continuities and change. cornell university press. inilah julukan pulau bali yang perlu kita ketahui [these are bali island nicknames we need to know]. (2017, july). longtripmania. retrieved june 22, 2021, from https://www.longtripmania.org/2017/07/julukansebutan-pulau-bali.html irawati, e., richardus, w. n. ch., & haryono, t. 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(1994). dinamika masyarakat dan kebudayaan bali: sebuah antologi [the dynamics of balinese society and culture: an anthology]. bali post. purnamawati, m. s. p. (2019). rangkaian profesi tari baris memedi pada upacara pitra yajnya di desa pakraman wongaya gede kecamatan panebel kabupanten tabanan (analisis pendidikan etika hindu) [research]. ihdn denpasar repository. http://repository.ihdn.ac.id/repositori/detail/1061.html sanderson, s. k. (1999). macrosociology: an introduction to human societies (4th ed). longman. santoso, a. b (ed.). (2015, december 3). sembilan tari bali yang akhirnya diakui unesco sebagai warisan budaya dunia tak benda [nine balinese dances that unesco finally recognized as intangible world cultural heritage]. tribun news. retrieved august 2, 2021, from https://www.tribunnews.com/travel/2015/12/03/ sembilan-tari-bali-yang-akhirnyadiakui-unesco-sebagai-warisan-budaya-dunia-tak-benda smith, l., & akagawa, n. (2008). intangible heritage. routledge. sugiartha, i. g. a. (2018). relation of dance and music to balinese hinduism. journal of archaeology and fine arts in southeast asia. http://dx.doi.org/10.26721/spafajournal. v2i0.564 tari sakral baris memedi masih eksis di jatiluwih [baris memedi sacred dance still exists in jatiluwih] [photograph]. (2018). bali post. https://www.balipost.com/ news/2018/08/16/53188/tarisakral-baris-memedi-tetap...html triguna, i. b. g. y. (1994). pergeseran dalam pelaksanaan agama: menuju tattwa [shifts in religious practices: towards tattwa]. in i g. pitana (ed.), dinamika masyarakat dan kebudayaan bali: sebuah antologi [the dynamics of balinese society and culture: an anthology]. bali post. 429 social criticism in wayang kulit purwa performance by purbo asmoro, study of interpretation (sanggit) and treatment (garap) sugeng nugroho institut seni indonesia surakarta, indonesia submitted: 2023-07-07. revised: 2023-08-15. accepted: 2023-10-04 abstract this study intends to examine wayang kulit purwa performances [from central java] of the plays réyog ponorogo and sang batara sambo “prahara suralaya,” created by purbo asmoro (2022). both of these works are fascinating to study because in addition to the fact that they are allusions to topical conflicts [in indonesia] presented in the form of social commentary, the structure and texture of these performances differ from the treatment of wayang purwa performances in general. this problem is studied based on the ethnoart paradigm, using the interpretation (sanggit) and treatment (garap) theories and critical analysis. research data was collected through literature studies, documentation studies, and interviews. the results of the study show that the social criticism revealed in lakon réyog ponorogo is blatant, while the social criticism in lakon sang batara sambo “prahara suralaya” as a whole is equivocal, but in the closing scene it is blatant. in creating a ‘new’ lakon, the dalang must master various references—both written and spoken—which will later be used as hipogram texts, interpret various hypogram texts into a story, and translate them into lakon wayang. the artistic ability of the dalang greatly influences the quality of wayang performances, the ability of the dalang to choose the elements of pakeliran treatment to be highlighted in each scene, the dalang’s ability to organize the performance supporting team, and the ability of the dalang to read the situation of the audience. keywords: wayang kulit purwa; purbo asmoro; social criticism; interpretation and treatment how to cite: nugroho, s. (2023). social criticism in wayang kulit purwa performance by purbo asmoro, study of interpretation (sanggit) and treatment (garap). harmonia: journal of arts research and education, 23(2), 429-443 harmonia: journal of arts research and education 23 (2) (2023), 429-443 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.45759 the purpose of marking the week or bulan after the birth of a baby, dalang usually take the lakon from the catalogue of stories concerning the birth of a wayang character (lairan). for the purpose of a circumcision, the story is taken from a repertory of lakon concerning the coming-of-age amulets granted to humans by the gods (wahyu). for the purpose of a wedding, the lakon comes from the repertory concerning marriages (rabèn). for the commemoration of someone’s death, the lakon will concern introduction wayang kulit purwa performances (hereafter referred to simply as pakeliran) occur in specific contexts in society and do not stand alone as art-for-art’s-sake like theater performances do. this is why the story for performance is chosen from a repertory of lakon that fits the needs of the sponsor, who may be observing a lifecycle event such as the birth of a baby, a circumcision, a wedding, or a death. for corresponding author: e-mail: sgngnugroho@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (2) (2023): 429-443430 a character’s willful rising up to the heavens to end their life (muksa) (murtiyoso & suratno, 1992). hence, we can surmise that even though the main sources of stories in wayang are the ramayana and mahabharata, not all lakon are taken from [the indian versions of] these epics. much of the lakon repertory in wayang comes from works created by dalang themselves, which in javanese dalang circles are called carangan. new javanese–created lakon that still fall within the context of the indian ramayana or mahabharata, or the pustaka raja purwa by ranggawarsita (poerbatjaraka, 1964, pp. 151–157) are referred to as carang dhinapur, while new lakon that are entirely separate from the three sources above are referred to as sempalan (feinstein et al., 1986). further, (poerbatjaraka, 1964, pp. 151–157) states that even much of pustaka raja purwa by ranggawarsita, which is the main source for the javanese performance community, came from local dalang’s versions of stories back then. often, the lakon does not come from the repertory a dalang has prepared but is determined on a request by the hiring party in the moments before the performance begins. this happened at a performance by the dalang anom soeroto for an event at which the sponsoring party asked for wahyu tunjung sanga (the nine lotus flowers amulet). in fact, this lakon does not exist in the repertory. in such a situation, the dalang has to create the story on the spot, on stage (interview with anom soeroto, 1 may 2021). one of many reasons behind so many wahyu stories always popping up in the central javanese repertory—for example wahyu tohjali, wahyu cengkir gadhing, wahyu hidayat jati, wahyu legundhi wulung, wahyu katentreman, to name a few (feinstein et al., 1986)—is that these types of stories are believed to bring good fortune to the sponsor (murtiyoso & suratno, 1992). in the new order era, wayang shows occurred not only due to the needs of the general public but were also put on by governmental institutions that frequently sponsored wayang performances. in response to this development, the repertory of lakon used for such performances fit the needs of the government sponsors at that time. a few of the lakon with political messages that propped up the power of the new order regime was, to name a few, wahyu waringin kencana (the gift of the golden ficus tree), darma bekti putra pandhawa (the pandhawa children’s devotion) (van groenendael, 1987, pp. 204–205), and semar mbabar jatidhiri (semar lays out his true intent) (darmoko, 2020). the concept of sorting wayang stories by theme was proposed in the research by (murtiyoso & suratno, 1992), with the categories that follow. based on the titles of lakon, there are ten types of lakon, that is: the birth of a character (lairan), the marriage of a character (rabèn), competition over a female character (alap-alapan), the death of a character in battle (gugur or léna), the building of a something (mbangun), the coronation of a king (jumenengan), the granting of a boon, amulet, or power (wahyu), the title being the name of a character (for example, ngruna-ngruni, mumpuni, watugunung, and the like), the events of a character’s life from birth to death (banjaran), and an emissary from one country to another (duta). when sorted according to important event types instead, there are nine types of wayang stories, which are: a travesty committed by one character upon another (paékan), an attack or rebellion (kraman), a love story (asmara), a search for the meaning of life (wirid), an apprenticeship (ngèngèr), a character’s transformation to a different form (kilatbuwanan), a large battle with many victims (prang ageng), the movement of a number of figures from one place to another (boyong) and allusions to specific topical events (pasemon) (murtiyoso & suratno, 1992, pp. 49–75). of these nine types of lakon based on important events and laid out in the work of (murtiyoso & suratno, 1992), the lakon pasemon (allusion) featuring social criticism and commentary did not exist from the new order through the beginning of the reformation era. this type of allusisugeng nugroho, social criticism in wayang kulit purwa performance by purbo asmoro, 431 on–based, social commentary only arose again in 2021 at the hands of purbo asmoro. against the backdrop of the covid–19 which had been going on since 2 march 2020, purbo asmoro created two new stories alluding to the situation during the pandemic, lakon semar namba (semar heals) (24 july 2021) and tamba teka lara lunga (remedy shows up, malady gives up) (28 september 2021). ever since then, purbo asmoro’s creativity through new lakon flowed nonstop. this was seen again when gamelan was declared to be an intangible heritage of humanity by unesco on 15 december 2021 (tempo, 2021), and purbo asmoro created a new lakon with the title dumadiné gamelan (the mythical origin of the gamelan) (22 january 2022). the controversy as to whether or not wayang was “haram” after ustadz khalid zeed abdullah basalamah’s statements (detikcom, 2022), was met with another new lakon entitled wayang urip (wayang flourishes) (27 february 2022). when there was an uproar over the village performance tradition of réyog from ponorogo, east java, indonesia being claimed by malaysia as their own, the lakon entitled réyog ponorogo (réyog from ponorogo) was created (15 april 2022). also, when the murder of brigadir nofriansyah yosua hutabarat by irjen polisi ferdy sambo received serious attention by the current indonesian leader, president joko widodo, the lakon entitled sang batara sambo “prahara suralaya” (the great god sambo “tumult in the suralaya heavens”) (24 august 2022) was created. all of these new works by purbo asmoro were live-streamed over purbo asmoro official on youtube. based on the titles of the lakon and the conflicts they address, the performances of réyog ponorogo (hereafter referred to by in english as réyog from ponorogo) and sang batara sambo “prahara suralaya” (hereafter referred to in english as the great god sambo “tumult in the suralaya heavens”) are the two social–commentary lakon the most interesting to analyze. these are interesting not simply because of the topical events issues addressed, but also because the titles themselves exude blatant social critique. in addition, the performances’ structure and texture differ from the styles of wayang performances in general. lakon wayang which contains social criticism, has indeed been composed by boedihardjo (the minister of information in 1968–1973) with the title salya bégal. this lakon was first presented by manteb soedharsono in 1996 to celebrate boedihardjo’s 75th birthday. even so, the social criticism conveyed is not as clear as the lakon réyog ponorogo and sang batara sambo “prahara suralaya” by purbo asmoro. many previous researchers have carried out research on wayang performances, but no one has researched it based on the theory of interpretation and innovation. kats analyzed the catalog of wayang stories and the manner in which they are organized (kats, 1923); brandon discussed the lakon rama nitis, irawan rabi, karna tandhing and performance practice at the time (brandon, 1970); becker looked at the stories and plots of wayang (becker, 1979); feinstein et al. discussed the concept and repertory of what are known as lakon carangan (feinstein et al., 1986); murtiyoso dan suratno discussed the repertory of wayang stories prevalent over the five years previous to their publication in the surakarta area (murtiyoso & suratno, 1992); and sears addressed the differences in interpretation of the ramayana and mahabharata during the time of indian, islamic, western, and post-colonial influences (sears, 1996). triyogo dan wiryamartana discussed the inter-textuality of the lakon banjaran gathutkaca (triyogo & wiryamartana, 2001); kayam wrote about changes in the structure of the world of javanese dalang and wayang due to the interest in wayang by the new order (kayam, 2001); junaidi examines the symbolic meaning of the wayang kulit purwa lakon salya bégal, as a form of communication between the art house community and boedihardjo (junaidi, 2003); murtiyoso discussed the development of lakon (murtiyoso b et al., 2004); nugroho discussed the interpretation and harmonia: journal of arts research and education 23 (2) (2023): 429-443432 treatment of lakon banjaran (nugroho, 2012, 2015); kathryn anne emerson discussed the innovations and performance practice of purbo asmoro (emerson, 2017; emerson, 2022); wibowo, priyatna, and sobarna discussed modifications to the traditional art of wayang topeng malangan which had long been developed in malang city, east java (wibowo, priyatna, & sobarna, 2019); darmoko discussed the sections on power in the story semar mbabar jatidhiri (darmoko, 2020); and widyastutieningrum and herdiani discussed the innovations in the form of the sriwedari wayang orang performance in surakarta (widyastitieningrum & herdiani, 2023). although research on purbo asmoro’s performance style has been discussed by nugroho (2012) and emerson (2017; 2022), both of them did not discuss the work of lakon réyog ponorogo and sang batara sambo “prahara suralaya.” likewise, even though social criticism in wayang performances has been studied (junaidi, 2003)and (darmoko, 2020), the lakon studied is different from the object of this research. thus, this research is original. methods this research uses the ethnoart paradigm, which views a creative work from a stakeholder’s perspective within that culture (ahimsa-putra, 2003). the analysis of the two lakon pasemon by purbo asmoro utilizes the theories of sanggit (interpretation) and garap (treatment) laid out by (nugroho, 2012). sanggit is the creative work of a dalang, and can refer to a brand new work but also a new interpretation for an existing work. garap is the implementation or treatment by which the desired interpretation is carried out by the dalang and his team, to reach the aspired quality of performance. the main aspects of sanggit theory in wayang include examining the structure of the story, the intertextuality, the relationships between characters and their roles in the story, the themes of the story, and the messages or food for thought embedded within the lakon (nugroho, 2012, pp. 48–55). the main aspects of garap theory include the producer, the tools and equipment, the elements in performance, the form of performance, the conceptor, and considerations (supanggah, 2009; nugroho, 2012, pp. 425–428). interpretation and treatment within the pasemon lakon creations by purbo asmoro are also analyzed using the critical methods of feldman (feldman, 1967), and the concepts of javanese dalang and wayang studies (sumanto, 2002). the research data was gathered through literature studies, documentation studies, and interviews. the literature study focused on books and manuscripts that served as primary sources for the two lakon mentioned. the documentation studies involved analysis of the wayang performances of réyog from ponorogo and the great god sambo “tumult in the suralaya heavens” on the youtube channel “purbo asmoro official,” on 15 april 2022 and 24 august 2022 respectively. interviews were conducted with purbo asmoro, other dalang, and commentators in the field of wayang. the analysis of the data was conducted in stages: choosing and filtering the data, presenting the data, and drawing conclusions from the data (miles & huberman, 1984). results and discussion interpretation of the lakon: réyog from ponorogo the structure of the lakon réyog ponorogo is binary, composed of two layers. the structure of the first layer is in three parts: (a) a réyog parade, (b) the debate between two characters who both claim réyog as their own, and (c) the scene with an elder mentor (warok) telling the village of wengker about the history of réyog. the second layer is structured as a series of conversations and battles concerning the history of réyog in ponorogo. the structure of the first layer of lakon (marked with numbers) and the structure of the second layer (marked with letters) are presented below: sugeng nugroho, social criticism in wayang kulit purwa performance by purbo asmoro, 433 prologue a réyog parade: jathil (are young cavalry, either young women, or young men with an effeminate look), bujang ganong (a thin, young, male, the leader of king klana’s troop who performs acrobatic moves), klana (is the antagonist archetype king in réyog culture and other east javanese stories, who kidnaps the archetype refined princess of the main court), and dhadhak merak (is a huge mask depicting a mythical lion wearing a headdress of peacock feathers, known as singa barong). a debate between two characters who both claim réyog as their own (see figure 1). figure 1. two characters both claim réyog as belonging to their culture (screenshot, purbo asmoro official, 2022) scene in wengker hermitage: this begins with the apprentices in wengker hermitage practicing supranatural selfdefense skills, followed by a warok (an old mentor or trainer in the context of a traditional apprenticeship who offers various types of learning philosophical, spiritual, or skill-related) instructs his students. the warok tells the story of the origin of réyog to his students (see figure 2). figure 2. the scene in wengker hermitage (screenshot, purbo asmoro official, 2022) “outside the audience hall” scene in bantarangin: a senior member of the court, together with defense minister bujang ganong, discusses the deteriorating economic situation in bantarangin kingdom. the king only thinks of his need to travel to other kingdoms and develop his spiritual power. they decide that as senior members of the court, they need to try to get a handle on this problem. b. scene in the kingdom of bantarangin: defense minister bujang ganong advises king klana sewandana to marry soon to assure the longeviety of his rule. after some discussion, klana sewandana orders bujang ganong to apply for dewi sanggalangit’s hand in marriage on his behalf. she is the princess of kadiri kingdom. “outside the audience hall” scene in bantarangin: bujang ganong and his troops depart for kadiri kingdom. in the public square of kadiri fierce battles erupt between soldiers from a number of kingdoms, who are all competing for the hand of sanggalangit. the princess tries to stop the battles while putting forward the conditions for both sides to fulfill. the requirement is in the form of a new performing art called réyog. scene in lodaya kingdom: king singa barong has fallen in love with sanggalangit, but doesn’t have the courage to ask for her hand in marriage because he is afraid to be in competition with klana sewandana. hence, he orders minister singa premada to kidnap sanggalangit. “outside the audience hall” scene in lodaya: singa premada departs for kadiri, accompanied by an army of animal troops. intermezzo: gareng, petruk, and bagong (dressed in costumes the style of ponorogo, east java) talk about réyog performances. scene in the middle of the forest: sanggalangit explains to semar that she has left the kingdom of kadiri because she does not wish to marry anyone. if it happens that one of the applicants is able to fulfill her requests, the marriage will go harmonia: journal of arts research and education 23 (2) (2023): 429-443434 ahead only in name and only to preserve peace in the kadiri kingdom. sanggalangit’s younger brother crosses paths with the lodaya troops and battles ensue. after the troops flee, he meets with sanggalangit. scene in the middle of the forest: klana sewandana meditates, asking for guidance from the gods to fulfill sanggalangit’s requests. his meditation is disrupted by a serpent, who transforms and turns into a priest. klana sewandana is given a whip known as samandiman or wuluh gadhing (ivory wool) and also 144 handsome youths on horseback, all in uniform. half of the horsemen youths are kidnapped by singa premada and guided toward lodaya kingdom. scene in the kingdom of lodaya: after singa barong receives the handsome youth calvary, he departs for kadiri. klana sewandana receives a report from bujang ganong concerning the loss of some of the horsemen. bujang ganong meditates so that the portion of the calvalry that was deported to lodaya will return. in the middle of their travels, the troops from lodaya cross paths with those from bantarangin. battles ensue. klana sewandana defeats singa barong with the samandiman whip (see figure 3). singa barong is ordered to accompany klana sewandana on his travels back to kadiri. figure 3. klana sewandana (right) faces off with singa barong (left) (screenshot, purbo asmoro official, 2022) scene in the wengker hermitage: in the end, the warok explains that there are a number of versions of the réyog ponorogo outcome: (a) klana sewandana succeeds in marrying sanggalangit but then later they split up, (b) klana sewandana is given yet another condition, that he must build a kind of tunnel, and he succeeds, (c) klana sewandana perishes in the tunnel that he builds. then the warok explains the philosophy behind the village tradition of réyog ponorogo. a parade of réyog from ponorogo figures, consisting of warok, jathil, bujang ganong, klana, dhadhak merak, and musicians (see figure 4). figure 4. a parade of réyog ponorogo figures (screenshot, purbo asmoro official, 2022) this structure of scenes satisfies the concepts required by traditional javanese wayang studies known as tutug, kempel, and mulih (sumanto, 2002). tutug means that the story presented comes to a resolution that is in accordance with its title. in this case réyog from ponorogo. kempel means that the scenes are closely intertwined and connected. mulih means that the conflicts in the story are resolved; the performance starts with a réyog parade and ends with a réyog parade, the story starts with a scene in the wengker hermitage and a discussion of the origin of réyog ponorogo, and it ends with a scene in wengker hermitage that explains the significance of réyog ponorogo. the structure of the lakon réyog from ponorogo is linear, and the impression is that it follows the conventional scene structure of surakarta-style wayang performances and wayang gedhog performances [is a type of wayang using flat shadow puppets like wayang kulit purwa but telling the stories of the javanese legendary figure panji sugeng nugroho, social criticism in wayang kulit purwa performance by purbo asmoro, 435 instead of the ramayana and mahabharata] in particular, that is: a scene in the outer audience hall of bantarangin (paséban jawi), a palace scene (jejer kraton) in bantarangin, an outer audience hall scene (paséban jawi) in bantarangin that continues into a departure of the troops (budhalan). scenes a, b, and c, in addition to having the same setting, that is the bantarangin kingdom, also present a repetition of the conflict. we also find a conventional structure in scenes e and f, which can be likened to the sabrang rangkep scene [is an optional scene in traditional, all-night wayang structure. typically, part one (pathet nem) of a traditional wayang starts with a scene in a familiar kingdom and moves on later to a foreign kingdom scene for a second plotline. sometimes there is yet another, different foreign kingdom scene (sabrang rangkep) before part one is over] in surakarta-style wayang performances. so it is also with scenes g, h, and i, which can be likened to gara-gara, forest scenes and perang kembang (a battle between a virtuous prince and an ogre) in surakarta-style wayang performances. based on the structure of réyog from ponorogo, this lakon can be categorized as a mixed work between conventional performance practice, abbreviated performance practice, and condensed performance practice, with a duration of four hours (see the analysis of the form of performance). the treatment of this lakon is innovative in the way the story behind réyog from ponorogo is told, which in most performances would be only narrated, but by purbo asmoro is acted out as an embedded performance (see the second layer of the structure). the lakon réyog from ponorogo has never before been performed as a wayang story of any kind, including wayang gedhog stories that tell the tales of panji, and wayang klithik that tell the tales of the majapahit kingdom (soetarno, sarwanto, & sudarko, 2007). this lakon is a new work by purbo asmoro, created specifically to address the issue of malaysia’s attempt to claim réyog from ponorogo as their own. there are four versions of the background story to réyog from ponorogo: the one set in bantarangin, the one centered around ki ageng kutu, the one with batoro katong, and the one set during majapahit (kurnianto, 2013; sujud, 2007). based on its layout, purbo asmoro’s work clearly has an intertextuality with the version of the origin of réyog set in bantarangin, although [the details of] this tale have been reworked by purbo asmoro. this [the versions and his work’s connection to the bantarangin version] was noted by purbo asmoro at the beginning of the performance, but, as he said then, the important thing for him was that the lakon featured the main elements of réyog, which are warok, jathil, bujang ganong, klana, and dhadhak merak (interview with purbo asmoro, 15 april 2022). the characters presented in the lakon have clear and direct relationships to each other, and support as well as compliment each other. as mentioned, the lakon is structured in two layers and each character also appears in two contexts: the context of the lakon (the first layer) and the context of the tale [about réyog] within the lakon (the second layer). by looking at the presentation of the lakon itself as a whole, we can see two types of characters: main characters and supporting characters. the main character is the warok who tells the tale of réyog being from ponorogo, while the supporting characters are the disciples in wengker hermitage who listen to the story about réyog from ponorogo being told by the warok. in looking at the story embedded within the lakon, we find six types of characters: main character, supporting character for the main character, the antagonist character, the supporting character for the antagonist, the =tritagonist, and the supplemental characters. the main character in the [embedded] story is klana sewandana. the main supporting characters consist of bujang ganong and the troops of bantarangin kingdom. the antagonist in the [embedded] story is singa barong. the supporting characters for the antagonist consist of singa premada and the animal troops from lodaya kingdom. the harmonia: journal of arts research and education 23 (2) (2023): 429-443436 tritagonist in the [embedded] story is princess sanggalangit. as for the supplemental characters consist of sanggalangit’s younger brother and semar, gareng, petruk, and bagong. the relationships between characters in réyog from ponorogo can be seen in figure 5. figure 5. relationships between the characters in the story réyog from ponorogo the theme of réyog from ponorogo is social commentary and critique. this is evident from the prologue scene depicting a debate between two characters, claiming réyog as their own. the first party (represented by the wayang figure on the right) accuses the second party (represented by the wayang figure on the left) of claiming réyog as his own people’s tradition. on the other hand, the second party retorts that he has no intention of claiming anything as his own but only wishes to preserve and develop réyog, since it has not been cared properly for by the first party. this criticism is communicated directly and plainly in the context of the lakon, but falls outside of the context of the embedded story. criticism and commentary that is so direct and obvious in javanese wayang theory are known as méthok (direct) criticism or tandang kuli (workers behavior) criticism (nugroho, 2020, pp. 35–36). the moral lesson or message for the lakon is evident when the warok speaks to his pupils in the wengker hermitage scene (number 3), about what réyog tradition stands for: harmony and unity, cultural identity, honesty and straight-forwardness, virtue, a healthy body willing to work, love and empathy, a performance that calms the soul and happiness in life. the lion serves as a symbol of strength, the peacock a symbol of beauty, klana a symbol of aspiration to gain status, bujang ganong as symbol of skill, the young horsemen symbols of attraction, and the warok a symbol of someone offering true direction in life. interpretation of lakon: the great god sambo “tumult in the suralaya heavens” the structure of the lakon the great god sambo “tumult in the suralaya heavens” is singular—unlike the story-within-a-story structure of réyog from ponorogo—with the following chronology: scene in the dandangmangore realm: goddess durga is bored in the land of demons. she has taken up residence there due to god guru’s curse on her, which seems to have no end in sight. because of this, she decides to work together with her son, the god kala, to cause a disruption in the heavens. scene in the suwelagringging goddess chambers: dewi susti is devastated to find out that god sambo, her husband, is having an affair with dewi swayana. this is despite their marriage producing four sons: sambosa, sambawa, sambojana, and sambodana. she plans to report the affair to her father. sambawa tries to convince citrarata to cause trouble after citrarata’s youngest brother, arjuwinanga, has been named head of the troops by his father, the god indra. citrarata cannot be swayed, to the point that a battle ensues. sambawa and his siblings are all defeated. citrarata, together with citranggana, citrasena, jayantaka, jayantara discuss the new division of loyalties in the army of the gods: god sambo and god brama’s group versus god indra and god bayu’s group. sugeng nugroho, social criticism in wayang kulit purwa performance by purbo asmoro, 437 citrarata tells his siblings that everyone must heighten their awareness and watch over things to assure peace reigns in the world. sambo is love-making with swayana (see figure 6). suddenly sambodana arrives to tell him that his mother is going to report sambo to his grandfather, hyang guruweda. sambo orders sambodana to keep an eye on his mother [sambo’s wife]. figure 6. the god sambo, love-making with swayana (screenshot, purbo asmoro official, 2022) guruweda has had a hunch that there is trouble between susti and sambo. suddenly, indra arrives, accompanied by arjuwinanga. indra reports that in an effort to unite the military again, which sambo broke into factions, he appointed arjuwinanga to serve as commander of the troops. hyang guruweda suggests that indra report sambo’s actions to the god guru [indra’s father]. indra departs and temporarily leaves arjuwinanga with guruweda. susti shows up and reports the problems in her household. guruweda suggests that susti meet with swayana without the knowledge of sambo. susti departs and is accompanied by arjuwinanga. scene in the argamaruta heavens: bayu is distressed, thinking about the chaos that has come over the heavens. the gods are supposed to protect the human race, but they do whatever is in their own interest and for power. because of his worries, bayu tells his four sons (sumarma, sudarma, sangkara, and bismakara) to proceed with clear thinking and act with extreme caution. scene in the argadahana heavens: brama is pleased because his two sons (maricibrahma and naradabrahma) are siding with sambo. intermezzo: gareng, petruk, and bagong (dressed in godlike outfits) joke around outside of the context of the lakon. scene in the cakrakembang heavens: semar visits the god kamajaya and the goddess ratih to inform them about the tumult in the heavens. kamajaya tells semar about the split in the army troops. semar asks kamajaya to find a way to bring peace to the heavens. sambodana discovers that arjuwinanga is helping susti, can catch up with him, handcuff him, and bring him to sambo. sambodana comes before sambo, with arjuwinanga in handcuffs. sambo is furious with arjuwinanga, who has agreed to become commander of the heavenly troops. sambo feels that he himself has more of a right to organize the heavenly army than indra, because he is the eldest son of the god guru. his anger only grows as he hears sambodana’s report that arjuwinanga is also interfering with sambo’s private affairs. in the end, arjuwinanga is beaten to a pulp by sambo (see figure 7) and thrown into the candradimuka cauldron. figure 7. the god sambo beats up arjuwinanga, witnessed by sambodana and sambawa (screenshot, purbo asmoro official, 2022) the god yamadipati is shocked to see arjuwinanga cast into the candradimuka cauldron. but because yamadipati is unable to come to arjuwinanga’s assistance, semar advises that yamadipati report the incident to the god guru. harmonia: journal of arts research and education 23 (2) (2023): 429-443438 scene in the jonggring salaka heavens: the gods guru and narada listen to indra’s news about the tumult that has overcome the heavens. yamadipati then arrives to report the fate arjuwinanga has suffered. because guru cannot overcome all of these problems, he decides to go to hyang wenang to explain everything. susti confronts swayana and accuses her of being the source of all her family troubles. swayana feels attacked and defends herself, even to the point that a battle starts. they engage in a number of clashes, and eventually, susti is rendered unconscious. in the candradimuka cauldron, arjuwinanga is rescued by wenang. wenang orders guru, who has come to see him to fully investigate the sambo issue and to do so without covering anything up. susti, who is unconscious, is revived by semar and kamajaya. guru and arjuwinanga appear and explain everything to semar. semar becomes furious and really chews sambo out for what he has done. bayu’s four sons, who want to find arjuwinanga, are blocked by brama’s two sons and sambo’s four sons, until a fierce battle erupts. even sambo joins in the battle, attacking bayu’s four sons. indra and bayu descend to the battlefield and confront sambo. semar sees the ever–worsening mess and confronts sambo on the battlefield. sambo is rendered weak after kala, who had entered his being much before this moment, leaves his body. durga also leaves swayana’s body. semar gives sambo a lecture in front of durga and kala, telling him that when a person is unable to control their desires, their soul is vulnerable to these invasions by kala (or, in other words, satan) also, that those who do evil will eventually reap what they have sown. the structure of the lakon the great god sambo “tumult in the suralaya heavens” aside from fulfilling the concept of tutug (a story that comes to an end in accordance to the title given it) is also more kempel (with scenes following one another being closely intertwined) than réyog from ponorogo. the density and compactness of the interpretation are more evident. by density here, we are not referring to the length, which is shorter than réyog from ponorogo, but rather to the structure of the story which has more “causality” from one scene to another (sudarko, 2003). for example, even though scenes one, two, three, and four have different settings and different conflicts, they are tightly wound up together plotwise. the structure of the lakon the great god sambo “tumult in the suralaya heavens” also fulfills the concept of mulih. the desire of the goddess durga from the very beginning to cause destruction and chaos in the heavens is resolved in the end by semar preventing all her efforts. also, the affairs and questionable actions of the god sambo are eventually revealed. the tale of god sambo is found in the serat paramayoga by ranggawarsita, a poet from the era of king paku buwana vii’s reign through to king paku buwana ix’s reign (1845–1873) (poerbatjaraka, 1964, pp. 151–157). it is said that the god sambo is the eldest son of the god guru and his wife dewi uma. he resides in the suwelagringging heavens. he has two wives: dewi susti (hyang guruweda’s daughter) and dewi swayana (hyang pancaweda’s daughter). the god sambo descended to earth at one point and became a king in mendangprawa, named sri maharaja maldewa. his defense minister was sage acakelasa (padmosoekotjo, 1979, pp. 79). even though this background exists, this tale has never before been performed as a wayang. because of that, the lakon the great god sambo “tumult in the suralaya heavens” can be considered a new work. the characters in this lakon are very complex and consist of a main character, a supporting character to the main character, an antagonist, a supporting character to the antagonist, a tritagonist, supplemental figures, and other minor characters. all of the characters have a very close relationship to each other, and support and complement each other. the main character in this lakon is the god sambo. the supporting characters in the first layer of the story are the god kala sugeng nugroho, social criticism in wayang kulit purwa performance by purbo asmoro, 439 and goddess durga, while the supporting characters in the second level are dewi swayana (who is having an affair with sambo). the third supporting character level is sambo’s sons (sambosa, sambawa, sambojana, and sambodana), the god brama and brama’s sons (maricibrahma and naradabrahma). the antagonist in this lakon is dewi susti (sambo’s wife). the first level supporting character for the antagonist is arjuwinanga, while the second level supporting character for the antagonist is the god indra and his sons (citrarata, citranggana, citrasena, jayantaka, jayantara) and the god bayu with his sons (sumarma, sudarma, sangkara, bismakara). the tritagonist characters are guruweda, semar, and hyang wenang. the supplemental characters are the gods guru, yamadipati, and kamajaya. the rest of the characters, all in minor roles, are dewi ratih, the god narada, gareng, petruk, and bagong. the relationships between the characters in the lakon the great god sambo “tumult in the suralaya heavens” can be seen in figure 8. figure 8. relationships between the characters in the lakon the great god sambo “tumult in the suralaya heavens” the lakon the great god sambo “tumult in the suralaya heavens” theme is social commentary and critique. this is reflected in every section of the story. the god sambo is depicted as an ambitious and audacious character. simply to get what he wants in marrying dewi swayana and controlling the army of the gods, he is willing to go to all ends, including dividing the loyalties of the army led by the god indra, his younger brother. he felt felt satisfied when he received the support of the god brama, his younger brother, as he gained control of half of the army of the gods. this is why, when arjuwinanga was promoted by the god indra as the commander of the troops with the explicit task of uniting the troops once again, the god sambo was furious. his anger grew even more when he found out that arjuwinanga was thought to be interfering in his personal affairs. this is why arjuwinanga was beaten up and ultimately killed. although the content of the lakon has many similarities to the case of ferdy sambo, the social commentary is in fact veiled, which in javanese wayang theory is called medhang miring or semon mantri (equivocal) (nugroho, 2020, pp. 36–37). the dalang, as the creator of the lakon, did not in any way refer to the case of ferdy sambo. however, at the end of the lakon, via semar, the dalang criticizes those currently in power who only think of themseves and their party. thus the performance of the great god sambo “tumult in the suralaya heavens” also contains direct and obvious social commentary (méthok or tandang kuli). the theme of this lakon is stated by semar at the conclusion—anyone who cannot control their passions will be overtaken by kala (satan). the [indonesian] people are currently quite disappointed with the actions of those in power who do not protect society and do not serve as role models, whereas trust is the most expensive of all traits. if the people can no longer trust our leaders, the nation will fall into disrepair. a leader must be useful to the people and not only to himself and his party. anyone who is arrogant and audacious (adigang), feels they can control others (adigung), and feels smarter than others (adiguna) will eventually suffer misfortune. harmonia: journal of arts research and education 23 (2) (2023): 429-443440 treatment of the lakon réyog ponorogo and the lakon the great god sambo “tumult in the suralaya heavens” the producer purbo asmoro as the creator of the new works discussed, is an artist of the highest quality. he is a master of all aspects of wayang treatment. he not only has mastery of wayang stories, but also popular legends (babad) and stories that are transmitted orally (gotèk). as for the wayang performance itself, he is a master of a wide span of the javanese language (old javanese, modern javanese, dialects, and the idiolects of specific wayang characters), he is skilled in the movements of many different types of wayang figures, he has mastery of the musical repertory (in fact has mastery on all gamelan instruments), has a good voice and a mastery of the repertory of sung poetry (sulukan), also the techniques for striking the copper plates with his foot which hang off the right side of the wayang box (keprakan) and the knocks from the wooden striker (dhodhogan). his musical troupe supporting the performance—consisting of musicians (pengrawit), female vocalists (pesindhèn), and male vocalists (penggérong)—forms purbo asmoro’s collaborative team for every performance. this musical troupe led by purbo asmoro is called “mayangkara, “ an abbreviation of mangèsthi wayang kagunan rahayu. there is clearly an emotional connection between the dalang and the musical troupe, such that anything the dalang wishes from the troupe can be accomplished. as for the lakon réyog from ponorogo, the dalang invited a réyog group from ponorogo in addition to mayangkara. the dalang as well as all the supporting artists were wearing traditional outfits from ponorogo (warok outfits for the men, and jathil outfits for the women). the tools and equipment the equipment used in the performances of réyog from ponorogo and the great god sambo “tumult in the suralaya heavens” were exhaustive and representative of the ideal, which in the world of javanese wayang is known as mrabot. the wayang figures, the gamelan, the wayang frame (gawangan) and screen (layar) along with the performance lamp (bléncong) used were all owned by purbo asmoro. the wayang collection used in the lakon réyog ponorogo consisted of figures of wayang characters from wayang madya, wayang gedhog, and wayang klithik, all owned by purbo asmoro. what is more, in order to realize what was needed for the story, new figures were created, such as the warok, jathilan, bujang ganong, klana, the lion-peacock mask known as dhadhak merak, and the music ensemble used specifically for réyog accompaniment (see figure 4). the wayang collection for the performance of the great god sambo “tumult in the suralaya heavens” used wayang kulit figures owned by purbo asmoro. the god guru figure used was a shadow-puppet figure known as the god guru wanda reca (statue version), which is famous for being created in the islamic mataram era. the god narada figure used was from a wayang kulit style of the kartasura palace (wearing a crown like a king but not wearing priestly robes and without slippers) (sajid, 1958). the figure used for the god sambo is a wayang figure by pringgasutata and commissioned by purbo asmoro himself (interview with purbo asmoro, 24 august 2022). this figure of the god sambo wears a crown like a king, no robes, and no slippers (similar to the narada figure from the kartasura palace), and has a body and clothes of light gold, with a pink face. semar, gareng, petruk, and bagong were new figures and all wore crowns and noble headdresses. the gamelan used to support the wayang performances of this two lakon was a full gamelan with both the sléndro and pélog scales (gamelan ageng), of the type usually for a gamelan concert in java (a klenèngan). for the performance of réyog ponorogo this was supplemented by a set of accompanying instruments used during réyog sugeng nugroho, social criticism in wayang kulit purwa performance by purbo asmoro, 441 brought from ponorogo, east java, consisted of a kendhang and ketipung (types of hand drums), a kethuk with pitch 2 sléndro, a kenong with pitch 5 in sléndro, a kempul on pitch 5 in sléndro, a pair of angklung instruments pitched 6 and 5 in sléndro, and a traditional, village reeded instrument known as a slomprèt for the melodied in the pélog scale. the elements of performance the elements used to manifest in these performances included narration from the dalang and dialogue between characters, movements of the wayang figures (sabet), musical selections by the gamelan (gendhing), and songs used by the dalang (sulukan). all the above elements supported and complemented each other to form the package known as garap pakeliran. the narration presented by the dalang took two forms: (1) narration spoken while a musical selection was playing, known as janturan; and (2) narration without musical accompaniment, known as pocapan. both of these types of narration serve as description—description of a scene, the telling of an event in the story, or the depiction of mood in a character’s heart. the movement techniques consist of two types: (1) “representative” movements which are modeled after realistic human or animal movements, and (2) “thematic” movements, which are meant to depict an aura, such as the daydreaming of a character, love, chaos, and the like. the musical selections serve to (1) accompany various scenes, including battles, and (2) intensify a particular atmosphere in a scene. sulukan (poetry sung by the dalang) serve to: (1) intensify a certain atmosphere (if the sulukan occurs before a larger musical selection), (2) create a particular atmosphere (if the sulukan occurs in the middle of a narration or a dialogue between characters); and (3) support a particular atmosphere (if the sulukan is presented after a musical selection) (nugroho, 2012, pp. 429–438). the form of performance the performance of réyog from ponorogo is a combination of conventional, abbreviated, and condensed styles. conventional wayang, or all-night wayang, is a style in which the template of scenes is set, such that even if the story is different the structure of the scenes and battles is the same. the duration is approximately seven hours. pakeliran ringkes, or abbreviated performance style, resembles all-night conventional wayang, but each scene or battle is simply abbreviated and focused upon the main problem and main characters, such that the duration is shorter (around three to four hours). pakeliran padat, on the other hand, is a style with an alternative structure in which the placement of scenes and battles entirely depends on the major issues faced by the main character in carrying out the plotline. much of the execution of these performances uses templates from conventional treatment. for example, the way that the bantarangin palace scene is followed by the depature of the troops bantarangin. the lodaya kingdom scene is also followed by the departure of the lodaya troops. in addition, there are intermezzo scenes with gareng, petruk, and bagong which are removed from the context of the lakon, just like gara-gara scene in a conventional performance. this is followed by the perang kembang between dewi sanggalangit’s little brother and the ogres. but the performance of the great god sambo “tumult in the suralaya heavens” leans more toward the structure of a pakeliran padat (condensed performance). the order of the scenes and the battles do not follow the structure of conventional allnight performances. the conceptor kondang sutrisno, chairman of the association of indonesian wayang, central branch came up with the idea of the lakon réyog from ponorogo. although this lakon was then developed by purbo asmoro, it was requested by kondang sutrisno (interview with purbo asmoro, 15 april 2022). as for the great god sambo “tumult in the suralaya heavens,” purbo asmoro himself harmonia: journal of arts research and education 23 (2) (2023): 429-443442 was the one to decide to create a story around this idea. it was not at the request of anyone else. considerations the fall of the new order regime in 1998 was the starting point for the reform of the indonesian nation. with the issuance of regulation 39 in the year 1999 regarding basic human rights, all citizens of the indonesian nation now enjoyed freedom in the areas of politics, economy, social engagement and the arts, including the receiving and diseminating of information. because of this, dalang, whose job it is to convey the big questions of philosophy, ethics, spirituality and morality to their wayang fans, were no longer hesitant to explore topical societal or governmental issues openly. thus, purbo asmoro was not concerned about engaging in socio-political commentary through his wayang performances of réyog from ponorogo and the great god sambo “tumult in the suralaya heavens” moreover, there had already been widespread coverage of these two issues in both mass media and electronic media. conclusion based on the descriptions and analysis above, it can be concluded that the social criticism presented in wayang performances can be blatant (méthok or tandang kuli), equivocal (medhang miring or semon mantri), or personification (nyampar pikolèh or èsem bupati). the social criticism revealed in lakon réyog ponorogo is blatant, while the social criticism in lakon sang batara sambo “prahara suralaya” as a whole is equivocal, but in the closing scene it is blatant. in creating a ‘new’ lakon, the dalang must master various written and spoken references that will later be used as hipogram texts. the dalang must also be able to interpret various hypogram texts into a story and translate them into the treatment of lakon wayang. the quality of wayang treatment is greatly influenced by the artistic ability of the dalang in staging, the ability of the dalang to choose the elements of pakeliran treatment to be highlighted in each scene, the ability of the dalang to determine the thickness of the elements of pakeliran treatment in each scene, the ability of the dalang to organize the performance supporting team, and the ability of the dalang to read the situation of the audience. acknowledgments the author wishes to acknowledge the generous contributions of dr. kathryn “kitsie” emerson, ba, ma, who translated this article to english from indonesian and supplied vital pieces of data that altered the original thesis of the article. references ahimsa-putra, h. s. 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(2023). pelestarian budaya jawa: inovasi dalam bentuk pertunjukan wayang orang sriwedari. panggung, 33(1), 58–71. 264 revealing the exotic rhythm and tonality in bright sheng’s dance capriccio qian deng, loo fung chiat university of putra malaysia, malaysia submitted: 2023-08-28. revised: 2023-10-03. accepted: 2023-11-06 abstract for the different embodiments of exotic styles in musical compositions, composers have provided a number of examples of patterns and new directions, broadly summarizing it as the musical characteristics of a different region, whether apparent or not, that are reflected in a musical work. bright sheng is one of the leading chinese-american whose significant works exhibits a strong exotic style using western compositional technique. this article analyses sheng’s dance capriccio composed in 2011, featuring sherpa folk music. the analysis focuses on how sherpa folk song and dance are reflected in dance capriccio, emphasizing how the tonal and rhythmic construction reflects the traditional folk song. it is also gathered that the gestural movement of sherpa dances are reflected in this work. this paper will provide an insight into the infinite possibilities of modernist works through the integration and narration with exotic characteristics. keywords: exotic-style; rhythm; tonality; bright sheng; dance capriccio; sherpa dance how to cite: deng, q., & chiat, l. f. (2023). revealing the exotic rhythm and tonality in bright sheng’s dance capriccio. harmonia: journal of arts research and education, 23(2), 264-278 harmonia: journal of arts research and education 23 (2) (2023), 264-278 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.47152 na to the united states, sheng began to re-evaluate chinese culture, and reflected on his own work, which led to a constant transformation in his writing style and the state of mind he wanted to express in his works. he was invited by the famous cellist yo-yo ma (b. 1955) in 2000 and 2008 to take part in two silk road projects. after years of exploration and many field trips back to china, sheng (2011, p.1) came to a startling conclusion that chinese musical culture has always been a hybrid or fusion. china has been in the process of exporting and absorbing musical culture as early as the han dynasty (202 b.c.-220 a.d.). for example, while the persian pipa was introduced to china during the tang dynasty, the chime (1046-771 b.c.) from native china were praised and preached introduction sheng (b. 1955), a leading chineseamerican pianist and composer, was born and raised in china. despite having a background and training in western music since 1982, his composition mostly embraced the genre of traditional chinese folk music. his hallmark of using the traditional folk genre in the style of western art music may be the reason for his frequent return to china to collect traditional folk material that followed his settlement in the united states, in which sheng feels that a true integration between cultures must come from the deepest roots of both cultures (sheng, 2011, p. 1). in the early 1980s, about a decade after his moving from chicorresponding author: e-mail: lfc@upm.edu.my p-issn 2541-1683|e-issn 2541-2426 qian deng et al., revealing the exotic rhythm and tonality in bright sheng’s dance ca265 by foreign emissaries. the rich “other” culture is evidenced in the 56 ethnic groups in china, such as those from mongolia, xinjiang, tibet, dai, and so on; each has a unique musical culture. certainly, due to globalization, local music is no longer limited by geographical and environmental concerns, and new styles of music from all over the country and the world have been incorporated not only into musical works but also other arts genres such as musical theatre, dance, and opera. many composers in china have adopted an approach that combines traditional and western elements into compositions. however, bright sheng is one of the few musicians who not only combines most of a variety of traditional cultural elements with western compositional techniques, but also frequently explores the development and variations of his own compositional techniques fostered by his life experiences in different parts of the world. as sheng grew up in china with a background of thousands of years of history, this background enabled sheng’s works to be multicultural in nature. after he went to the united states to continue his musical studies, the opportunity to meet musicians such as yo-yo ma and have the silk road experience provided sheng with exposure to the sherpa musical culture that was different from both chinese and american cultures. the subject of this study, dance capriccio, is sheng’s attempt at an exotic stylistic paradigm. the sherpas are historically part of the eastern branch of tibet and could be summarized as a new ethnic group that is an extension of tibetan china. due to their unique geographical and social environment, the sherpas have unique styles and ethnic identities that are different from those of tibetans and nepalese, and these unique human landscapes and historical cultures are reflected in the living customs, daily work, culture and arts, especially in the traditional sherpa folk dances (liu, 1991).when sheng returned to the plateau during the silk road project, his memories of the sherpa dance form and the new musical elements he encountered inspired a sense of deep insight. “dance capriccio” was composed in 2011 as a piano quintet for peter serkin and the shanghai string quartet and is commissioned by the maxine and stuart frankel foundation in honor of lois beznos, the president of chamber music society of detroit. approximately 12 minutes, the work was premiered at the seligman center for the performing arts in detroit on february 11, 2012. sheng gained inspiration for his work through his travels along the silk road, and thus this work attempts to capture the various characteristics of the sherpa dance, from slow to fast, from gentle to raucous and even wild. exotic expressions in art and the influences on music the word exotic is derived from the greek word “exo” (outside), which is defined as “something foreign being introduced”. beginning with the rise of european colonialism in the 16th and 17th centuries, the stimulus of oriental trade led to a growing european interest in non-western (especially oriental and middle eastern or asian) art. the rise of colonialism seems to have provided new inspiration for western artists, as the west gradually appropriated the defeated countries of the east, and the transfer of land was accompanied by a transfer of population and culture. from the beginning of the 17th century, “exotic” was interpreted as “the charm of the unfamiliar” (sund, 2019, p. 8), and its influence can be seen in many artistic genres of this period. on the one hand, the “exotic” style of art under the influence of colonialism began to appear in european literature. ‘exoticism’ refers to the way in which different geographical or ecological features are interposed or incorporated, which thus demonstrates not only the writer’s love for countries that seem strange, exciting, new, or intriguing but also their fascination with the various depictions of such places (tally, 2009, p. 20). in the seventeenth century, european fiction appropriated and attempted to undermine functional interpretations of harmonia: journal of arts research and education 23 (2) (2023): 264-278266 human nature and tended toward subtle portrayals of gender and cultural differences (douthwaite, 1992, p. 8). as seshagiri (2001, p. 13) points out, european travel writing tends to figurate non-european peoples as documentary reenactments of exotic customs through descriptions that assume the omniscient authority and omnipresent vision of the western observer. on the other hand, in music, exoticism is a genre in which tunes, notes, and instruments are designed to make the audience feel like they are in an exotic place or old time. the change from land division to cultural transfer to artistic creation has led to a change in the form of tonal musical dominance, with tonal tones slowly expanding from the dominant to other tones, such as the fifth (dominant) (taylor, 2007, p. 17). jones (2013, p. 7) defines exoticism in art and literature as the reproduction of one culture for the consumption of another. for example, in the early 18th century, exotic themes in opera were commonplace, such as barthold feind’s (1678-1721) ballet section in his opera gedanken von der opera (1708), which simulated funeral dirges, jewish oriental and pagan rituals. feind brought all these nations together in order to show a holistic classification of other nations, a hallmark of the modern european worldview of other nations (taylor, 2007, p. 43). in “essay on exoticism”, segalen (2002, p. 17) reveals the aesthetic and ontological value of exoticism, which was born in the age of imperialism, as well as an important cultural “otherness” that took the form of primitivist ethnocentrism or humanism. in particular, around the 1850s, the european revolution led to a massive immigration from many western countries, resulting in a dramatic increase in musical creativity. europeans brought musical tastes that embodied more sophisticated notions of nationalism and exoticism. for example, when american composers wrote music for indian war dances after the influx of musicians, the themes of american operas, ballets and other theatrical productions led to the portrayal of indian savages in a typically patriotic style that was clearly tinged with turkishness (bellman, 1998, p. 158). however, these concepts brought about some negative political or social implications and was sometimes evaluated as a negative reflection of the creator’s creation of an “imaginary other” or “obsession with the other” (horn, 2013, p. 79). as a result, such exaggerated or onesided portrayals of exotic ethnic groups in literature or artworks were not positively evaluated and promoted, and the direction and purpose of the creators were gradually influenced by the duality and authenticity of things as well as the long-term development of artworks. in order to gain more support for their works and more objectivity in describing the real lives of different peoples and receiving different cultures, creators began to learn about foreign cultures through field trips or as indepth as possible. for example, the french composer darius milhaud (1892-1974) left his home country for work and came to brazil, and it was this passive act of “traveling” that led to the birth of saudades do brazil, (1920), in which the composer used the brazilian pentatonic scale, the natural major scale with descending seventh notes (mixed with the lydian scale). in these two years, the composer felt the charm of dance music such as tango and samba, and interspersed the rhythm of dance music in the piano piece saudades do brazil, the melody of which is in the brazilian style tuning that descends the seventh tone (mixed lydian mode) with the american jazz style blues scale (that descends the 3rd, 6th and 7th degrees of the natural major). at the end of the 19th century, the paris world’s fair and the trans-mississippi exposition deepened artists’ awareness of “other” cultures, and the impact and charm of foreign cultures led some artists to gradually break the chains of “occupation”. debussy saw the musical cultures of eastern countries other than the western countries of france and the united states, such as chinese opera, japanese art, and malaysian instrumental music (bellman, 1998, p. 225). the pentatonic qian deng et al., revealing the exotic rhythm and tonality in bright sheng’s dance ca267 scale appears prominently in debussy’s works in a specific eastern context, and an apparent early fusion of eastern and western tonal procedures reflects the gradual normalization of the evaluation of exotic styles. in addition to instrumental works, in the late nineteenth and early twentieth centuries, italian opera brought artworks with exotic styles to their peak, such as puccini’s turandot (1924-1926) and madam butterfly (1904), which used oriental elements as an entry point for exoticism that was blended with western musical composition. for example, the melody of the traditional chinese folk song jasmine is perfectly incorporated in turandot. the melody of the song is repeatedly used during the main character’s appearance and at plot reversals, or in the form of transpositions and adaptations. the melodies of the american national anthem and the japanese folk song sakura are used in the opera madam butterfly, which thus further justifies the background and synopsis of this work. given the popularity of these works, the use of exotic representation in these genres seems to have been perceived and accepted successfully. based on some one-sided or negative conceptions of exotic style works before the 19th century, the newer and more accessible exotic style after the 20th century may serve as a creative direction for the construction of exotic images, self-reflection and self-discovery (chai, 2008, p. 8). music played a key role in the process of acculturation, as it continually used the concept of exoticism to add a sense of attractiveness and timelessness to the cultures and narratives of different peoples. as a result, works associated with exotic styles from the mid to late 20th century and to the present day are more about the perception and expression of difference or diversity, with exotic cultures having qualities that differ from their own native cultures (altglas, 2014, p. 98). in addition, the “other” culture is also used by contemporary chinese composers as a source of inspiration for their works. for example, in tan dun’s symphony 1997, the composer incorporates cultural inspiration and exotic musical materials; chou wen-chung’s willow are new imitates east asian sounds and incorporates a distinctive articulation and scale system; chou wen-chung’s other works metaphors and pien, combine traditional musical systems, forms and timbres with a unique synthesis of western and asian musical idioms. within musical compositions, the “exotic style” paradigm is particularly appropriate for instrumental works that candidly express exotic intentions (locke, 2007, p. 479). for example, the recurring violin solo in rimsky-korsakov’s twentieth-century symphonic suite scheherazade said to represent scheherazade himself begins with a haunting staircase minor melody in which each dominant alternates with adjacent tones above in a triplet (5-4-5, 4-3-4, 3-2-3, 2-1) and forms an ornamental curving line that often referred to as “arabic” (bhogal, 1977, p. 98; potter, 2003, p. 143). these musical embodiments of exotic styles, commonly used in the 20th century, have been broken through in more innovative ways in 21st century works. locke (2007, p. 480) suggests that exoticism in musical works is a matter of composition’s aesthetic art, allowing notes to be arranged and combined in unconventional ways. sheppard (2019, p. 21) also argues that contemporary musical works can be expressed through musical details of stylistic characteristics of one or more exotic sources (e.g., parallel tetrachords or pentatonic scales, rhythms or melodies from exotic cultures, etc.) with direct context and foreground. sheng’s seems to continue the approach with new experimentation and combinations of exotic works, opening up ideas for the composition of musical works and giving new meaning to the integration of music with other cultures through the imitation of sherpa dance rhythms, even the dance movements of the hands and feet, and the cross-sensory modes of collaboration. this has also become one of the labels of sheng’s personal compositional style. no matter how closely western composers imitate exotic music, it harmonia: journal of arts research and education 23 (2) (2023): 264-278268 will never represent the ‘actual’ genre due to the change in instrumentation. therefore, exotic elements serve only as an imagination of fusing different cultures and arts, as the 20th century scholar discussed. for locke’s opinions on ‘the exotic style only” paradigm and ‘all the music in full context’ paradigm, sheng’s use of the exotic style more tend to a “fusion”. as sheng once said, he “is 100% chinese and 100% american”, and the truth that he raised in china, then immigrated to the u.s. and returned to china, precisely explicates sheng’s ability to express multiple cultures, and his integration of traditional chinese, tibetan, sherpa, and western music culture is not just limited to “exotic styles”, rather it is more like a presentation of the larger cultural context. exotic style of the sherpa culture and folk dance for this study, the definition of the exotic style involved prefers the perspectives of locke and sheppard. the composer constructs instrumental works by arrangement and combination in a nontraditional way, incorporating musical details of stylistic features from several exotic sources into the work. the sherpa people are primarily found in nepal and in the townships of chentang, dingjie county, nyalam county, zhangmu township, jomtien township, tingri county, and the tibet autonomous region (qie and sang, 2006, p. 64). due to their unique geographical and social environment, the sherpa has a distinctive style and ethnic identity that is different from that of the tibetans and nepalese. traditional sherpa literature and art is a reflection of their social and cultural life and also reflects the ideology of sherpa spirituality and emotion. their historical and ethnic origin has created a unique human landscape and historical culture, which is reflected in the sherpa’s living customs, work, culture and art (liu, 1991, p. 141). all these factors are reflected particularly in sherpa folk dance. as a result, sherpa dance has absorbed the styles of surrounding tibet as well as the exotic characteristics of nepal, and the three (nepal, sherpa, tibet) have gradually merged over time and with the development of society to form the existing dance styles that have become a peculiar treasure in the world of dance (liu, 2003, p. 40). due to the special geographical environment of the plateau, its history cannot be traced back to as early as that of the central plains, but due to the development and expansion of the silk road, tibetan music culture has also formed a unique style as a result. traditional tibetan music is distinctive and diverse, including folk music, classical music (court music), and religious music (including chanting music, religious ritual music and dance qiangmu, and temple instrumental music) in three categories. tibetan music has been a source of inspiration for sheng that cannot be ignored, works including tibetan dance (2000) and tibetan air (2005). sheng’s most works related to tibetan are based on “duixie” dance and “nangma” dance, which are often accompanied by instruments such as zanian扎念琴, xianzi弦子 (biwang碧 旺), yangqin扬琴, teqin特琴, erhu二胡, jinghu京胡, flute and mandolin (a musical instrument imported from italy to china), in which the ornamentation, the imitation of the timbre of the instruments, the rapid change of tonality, etc. are the direction of sheng’s compositions. from the existing studies, papers on the association of sherpa music with exoticism are found to remain limited, while tibetan music in the context of western art music and exoticism is used by many western composers and mostly associated with tibetan buddhist music. for example, john william included a dyadic buddhist chant sequence in the opening score for the film seven years in tibet (1997) with augmentation by the sounds of non-parallel dung-chen (a tibetan buddhist ritual trombone), gongs, and various soft and hard-hitting cymbals (brownrigg, 2007, p. 313). these “other” exotic instruments, scales, and rhythms form a truly tibetan musical style with buddhist musical forms. in addition, yo-yo ma used exotic instruqian deng et al., revealing the exotic rhythm and tonality in bright sheng’s dance ca269 ments and tunings to express the tibetan musical characteristics in his score for this film. the combination of the pentatonic scale d#-f#-g#-a#-c# in the strings and the addition of portamento to imitate single-string fiddles provides the melodic line an “exotic style “ due to the characteristic oriental grace notes (brownrigg, 2007, p.315). philip glass starts the film kunlun (1997) with a dramatic series of glissando chords, complemented by soaring tremolo strings and loud chords in the high register of the piano. the music intriguingly sways on a pedal, chanting a modal motive (a-b-d-c-b) that lends an exotic flavor to the rest of the primarily b-centered triadic harmonies (brownrigg, 2007, p. 317-318). in the 19th century, russian music, especially opera, ballet and other classical music, contained a great deal of “orientalism”. for example, mikhail glinka’s opera a life for tsar (1831), with its georgian tunes and its frequent tightly ornamented and clearly augmented seconds, was not mainstream in russian music at the time, so it was found to be a derivative of exoticism (bellman, 1998, p. 198). from these examples of combining elements of tibetan music with western art music and exotic backgrounds, it can be seen that composers tend to hybridize tibetan instruments with western orchestras or mimic melodies, scales, or rhythms to feature exoticism. this provides some direction for the analysis of this study but also emphasizes the distinctive characteristics of sheng’s exotic compositional approach, which specifically relates the physical movements of exotic music and dance to the construction of pitch relationships. sherpa folk dance has accumulated history and gradually formed an artistic and literary identity with sherpa characteristics. like another traditional genre, sherpa folk music consists of folk songs, instrumental music, and dance music. gequ and yangjin-zhuoma (2006, p. 32) list some important genre categorizations (figure 1). figure 1. the categorizations of sherpa folk music sherpa folk dance is generally a form of group dance, and the songs are mostly choruses and labor songs, both of which were developed in the context of collective work in a traditional culture that was not yet divided. the music is gentle and beautiful, the lyrics are delicate and emotional, and the dance movements are graceful, subtle, and rich. the lyrics are generally closely linked to the people’s daily life, and the songs are mostly about love, labor, glorification of and praise for the motherland, etc. they are rich in content, concise in their language, and lively in rhythm. in general, sherpa folk dances appear in two formats in the portrayal of folk tales (wang, 2016, p. 3). firstly, the dancers usually dance in a circle, and folk stories provide the creative context for the dances, which are combined with such stories and music and then transmitted. the storytelling is fully reflected in the dance movements. secondly, the dance is interspersed with storytelling, such as the chanting of folk epics such as that of gesar. this form involves dancing and singing at the same time and achieves a perfect fusion of dance and the chanting of folk literature. the separation of literature and art has not yet been fully realized in traditional folk culture; dance itself is syncretic and intertextual with poetry and drama, and the artistic characteristics of both are very similar. ronström (1991, p. 71) also agrees that dance performances for the stage are one of the most widely used ways of the transmission of folklore and often the one that attracts the largest audiences. the literary nature of sherpa folk dance is reflected both in the stories of local sherpa literature and the traditional folk humanistic sentiments of the local tibetan people (qin & guan, 1982, p. 35). in other words, the musicality of sherpa folk dance is reflected in the complementarity harmonia: journal of arts research and education 23 (2) (2023): 264-278270 of dance and music. as wang (2016, p. 3) once pointed out, “in the modern classification of art, folk dance and folk music are separate but co-existing. “ like other traditional genres, dance, and music are rarely separated in sherpa folk dance, and it is only in the music that the dance unfolds (wang, 2016, p. 4). sherpa music fuses the rhythm of the music with the movement of the dance and brings out the positive ideas and abstract symbols of the sherpa through movement (wu and nie, 2017, p. 29). the rhythm of the steps is almost identical to that of the music, and the moods of the two are very similar. for example, the scuffing and stepping can be expressed as accents or skips with a strong beat in the rhythm; the lifting and flinging of a hand gesture can be expressed as a succession of notes, a prolongation of a tone or a wave, and so on; the “two steps and a stomp” can be expressed as a free switch between long and short notes; the “staggering step” is a continuous staccato or skipping. method this study utilized score analysis methods commonly used in musicological research to reveal how a chinese-american composer interprets sherpa dances by breaking through the sensory system as well as the manifestations of exoticism in the composer’s compositional style. the method of data collection was through email interviews with the composer, asking semi-structured questions to provide contextual information for the dance capriccio. texts, videos, and journal articles on the presentation of exoticism in western musical compositions and sherpa musical culture were also referenced to analyze the score to reveal the various characteristics depicting sherpa dance, especially tempo and timbre. result and discussion exotic perspectives of sherpa folk music in dance capriccio this analysis aims to examine how the sherpa folk music and dance, along with the characteristics of the dance in dance capriccio, are encapsulated in a western string quartet. although the theme of this work is ambiguous in terms of providing a clear structure, all the musical materials and their progressions are constructed mainly through vertical harmonic effects for a variety of sound possibilities rather than a simple linear direction in pursuit of harmony and melody, which is why, although partially recognized, all the transitions are smoothly connected. before any specific sherpa tonality is highlighted, the sense of orientalism is emphasized at the beginning of the work through the intervals of fourths and fifths (figure 2). this indirectly provides a five-note scale that alternates between the semitone in certain notes, such as c#-d-e-f# (f)-g in the piano introduction and e-f(f#)-g-a-b in the string instruments. the pitch development of the melody and harmony of the piece is based on interval relationships in fourths or fifths. figure 3 provides the thematic constructions in the piano and string sections, where the combination of intervals in fourths and fifths is obviously identifiable, such as g#-c# and f#-c# in the piano section, and d-g, c#-g, c#-f#, etc. in the string section. the use of pitch is based on the seven-note scale and is typically orientalist in character, and the traditional chinese zhi qingyue 徴清乐 (a heptatonic scale as v-vi-vii-i-ii-iii-iv-v) is repeatedly involved in the tonality of the work. the construction of the pitch relationship of the qingyue scale is similar to that of the western major scale, which consists of two tones one semitone three tones, while the qingyue scale is similar to the mixed lydian scale, which consists of two tones one semitone two tones one semitone. in this piece, the zhi qingyue scale is repeated. for example, bars 41 to 52 (figure 4) are a mini-climax of the second section, as its intensity crosses from mf-fff, to the dense notes, etc., that facilitates a rapid shift in tonality. the piano part demonstrates that each phrase continues with either moving qian deng et al., revealing the exotic rhythm and tonality in bright sheng’s dance ca271 a semitone or a tone gap from the previous one; from e zhi qingyue in bar 42, to f# zhi qingyue in bar 46, to f zhi qingyue in bar 50, to g zhi qingyue in bar 51, and finally to a zhi qingyue in bar 52. in accordance with the range of musical exoticism or the characteristics of exotic musical works described earlier, these heptatonic scales, which combine traditional chinese pitch relationships with western tonal characteristics, represent if not an “exotic” style, at least a strong flavour in orientalism. there is a simplicity in the composer’s use of tonality, although the sound does not sound tonally harmonious or melodious, due to the way in which the composition is arranged in a multidimensional combination of vertical and linear coexistence, and the li diao (离调, which is out of tune shortly) compositional technique in sherpa music is used to articulate the vertical harmonies. the description of sherpa folk music in qin and guan (1982, p. 35)—in which the seventh tonic modulation is accompanied by the appearance of the fourth or fifth temporary tonic change to produce a short off-key (li diao) —is similarly found in dance capriccio. coincidently or not, it is not known if this tonality design was consciously used by the composer. in the combinations of the tonal series offered earlier, there are alternations of the same tone, such as f in c#-d-e-f# (f)-g for the piano part of the introduction and e-f(f#)-g-a-b for the strings, or a in the melody g#-a# (a)b#-c#-d# in the theme in bar 11, which can be interpreted as a brief li diao (离调). in contrast to other traditional folk music, zhi and yu tunings as well as the specific pitches like f#, c#, d#, b♭ are predominantly used in sherpa music. interestingly, the distance from the first note of each of the heptatonic series to the dominant is exactly four degrees, such as e-a, #f-b, f-b♭, g-c, a-d. moreover, each of the dominant notes of these scales can be arranged in the same order as the introduction (figure 2)—e-f(f#) -g-a-b, which reflects the composer’s subtlety. figure 2. the use of fourths and fifths in the introductory section, bar 1-5 figure 3. the theme in the piano and the strings, bar 11-14 and bar 18-20 besides the exotic style of the tonality and its oriental colors, the composer observes the organization of pitch structures as an important development to the extent that it becomes a distinctive orientalist or exoticism sign. although the use of fourths and fifths in western works is commonly a general trait in the reflection of orientalism, these intervals were indeed also an important feature in sherpa music. as mentioned above, there are short li diao ( 离调) that commonly occur in sherpa music, usually on the fourth or fifth intervals, which cause the original pitch relationships to be altered. as illustrated in the example of the “sherpa drinking songs” provided in figure 5, the organization of the fourths and fifths is consistently used in melodic progressions such as c-f, b♭-e♭, e-a, etc. the sherpas use the drinking song to express their welcome to visiting guests or relatives, and apart from the most obvious melodic progressions in fourths and fifths, a large number of repetitions of a particular note or jumps from a single note to an octave are also featured in this work. this harmonia: journal of arts research and education 23 (2) (2023): 264-278272 kind of characteristic with a blatant octave color is found in all aspects of the composition. a similar emphasis on the scale is also present, where the chromatically overlapping placement of chords is reflected in the interval relationships between fourths and fifths, such as the first chord of the piano part in bar 161, with d-g, f-c#, g-d, etc. (figure 6). figure 4. the tonalities of “dance capriccio”, bar 40-52 figure 5. sherpa drinking songs qian deng et al., revealing the exotic rhythm and tonality in bright sheng’s dance ca273 figure 6. dance capriccio, bar 161-168, the interval relationships between fourths and fifths in addition to the first section, which has been analyzed in detail, a large number of pitch structures in fourths and fifths also occur in other parts of the work, some examples of which are provided in figure 7 and figure 8. some examples include f-b♭, b♭-e♭, etc., and the same distance between the vertical chords in the piano part (figure 8), g#-c#, c#-f#, b-f#, etc. figure 7. dance capriccio, bar 138-140, pitch structures in fourths and fifths figure 8. dance capriccio, bar 183-186, pitch structures in fourths and fifths rhythm and articulation that mirrors sherpa dance steps where exotic dance is concerned, it is interesting to observe how this western string quartet projects it. the traditional sherpa dance could be identified on the basis of three features: the movement of hands, feet, and body waist. the hand movements include lifting, shaking, and throwing; foot movements include rubbing and stepping; and body/trunk movements include twisting, swinging, and raising. the most common and distinctive combinations are known as “staggering steps” and “two steps and a stomp”. zhaxi and gan (1989, p. 24) provide a detailed reference on the combination of sherpa movements with musical rhythms. for example, the steps usually precede the movement of other body parts in each repetition, and in each cycle of two to three beats, there is a scuffing or stepping movement of the right foot, followed by a lifting or swaying of the hand movement. this trait could be mirrored from bar 59 onwards in section iii (figure 9), where the first repetition of each bar in the viola and cello can be observed as a footstep, while the repeated rapid repetition of two notes tremolo in the violin can be interpreted as a hand lift and sway, and the arpeggio in the piano part as a waist twist (bars 67-69, also bars 116118). harmonia: journal of arts research and education 23 (2) (2023): 264-278274 figure 9. dance capriccio, bar 59-62, “staggering steps” of sherpa dance zhaxi and gan (1989, p. 25) also mention another dance step, the “two steps and a stomp”, in which the right foot takes a step forward while the left foot strides forward, followed by a hand movement where the right hand is swung in a circle to the right while the left hand is raised upwards. these dance steps can be reflected by the multiple structures. the “two steps and a stomp,” which involve a free switch between short and long notes, thus occurs in many sections in this piece’s second and third passages. for example, in bar 132 of section iv (marked in figure 10), the sudden short-long rhythm from the piano moves rapidly from an octave (or a series of phrases that unfold in octaves) to the next sustained long note with fff dynamics. meanwhile the swings from the hand movement could be portrayed by the triplets string melody making ascent and descent in fifths with ff dynamics, thus recreating the hand movements in which the arms are swung up and down in a circle. figure 10. dance capriccio, bar 133-134, “two steps” and the movement of arms in sherpa dance the sherpa drinking songs that was mentioned in the previous section also characteristically feature this short-long rhythm pattern, as can be observed from the field scores collected by moja and from chinese documentaries on sherpa dance, which usually has a free rhythm and transitions between short and long notes in a repetitive pattern or rhythm and forms an accent to emphasize the rhythm. this rhythm is known in the sherpa as the scuffing, stepping and stomping of footsteps. in the seventh part of this piece (figure 11), the piano continues to reflect the footwork, as each vertical chord represents a change of step in the dance, along with the strings that represent the hand or waist movement, such as a legato line that indicates an arm swing. qian deng et al., revealing the exotic rhythm and tonality in bright sheng’s dance ca275 figure 11. dance capriccio, “the scuffing, stepping and stomping of the sherpa dance steps”, mm. 183-198 another sherpa dance rhythm may have borrowed from “qiamu liya “, as demonstrated in figure 12. there are three rhythmic groups that can be included in this rhythm pattern: pattern i (two quavers), pattern ii (one quaver and two semiquavers), pattern iii (four semiquavers), and pattern iv (two semiquavers and one quaver). in dance capriccio, the piano begins with a large number of semiquavers (pattern iv) in bars 185-224 (bar 225), from where the composer introduces this unique dance step. from bar 232 onwards (figure 13), not only does the piano part reproduce this rhythm, but the string instruments also join in. this rhythmic pattern of the qiamu liya is employed in the work and adds new rhythmic patterns to the original one, which consists of pattern i (two quavers), pattern ii (one quaver and two semiquavers), pattern iii (four semiquavers) and pattern iv (two semiquavers and one quaver). figure 12. sherpa dance music “qiamu liya” figure 13. dance capriccio, the progress of rhythm pattern of sherpa dance music from qiamu liya in dance capriccio, mm. 230-237 bright sheng’s exotic compositional style traditional approaches to musical analysis have mostly explored the harmonic, tonal, structural and rhythmic aspects in-depth, yet have not really understood the feelings and intentions of the creators. as locke (2012, p. 321) suggests: “…the creator (or creative team, for example, for a stage production) of an exotic musical work realizes a vision, or reflects a distant and different realm… he or she confides these visions to the page. the skilled, sensitive performer then commuharmonia: journal of arts research and education 23 (2) (2023): 264-278276 nicates the marks on the page—and the meanings behind them—to generations of listeners.” although the representation of exotic styles in musical works is controversial or dichotomous, these possible and negative discussion do not hinder the output or development of the artwork, and the musical analysis of such works generally should consider around the composer’s original intent and the context of the work; because in the non-figurative world of music, it is only through aspects such as notes, rhythms, tonality, and textures that the composer’s feelings are conveyed. in a commentary of sheng’s music, chang (2007) stated that sheng expresses the fusion of east and west through the subordination of the musical material to a rigorous and imaginative development of motifs; as evidenced through the use of different combinations, texture, tonality/modality, and structure; so that the listener feels that the richness of the music emerges naturally from the melody rather than it being imposed. through the analysis of this piece, it can be understood that despite being encapsulated in western string orchestration, exotic style is indeed emanated much in dance capriccio than in sheng’s previous works. although the composer returned to the united states later in life, he was still drawn to the sites of traditional cultural in china, as demonstrated in dance capriccio where the sherpa folk song is highlighted. by personally traveling to qinghai, xi’an, gansu and xinjiang for inspiration through his participation in two silk road projects, sheng demonstrates the approach of infusing exotic culture in the cotemporary instrumental works in 21st century, which significantly through rhythm construction and patterns. by examining the culture of the “other” in the field and enabling the reproduction of this non-popular culture, the composer corresponds to jones’s (2013, p.7) definition of exoticism in art and literature as the reproduction of one culture’s consumption of another, emphasizing the description of the positive influence of exotic styles in musical works. as a successor of 20th century modern music and one of the representative composers of the 21st century, bright sheng’s dance capriccio has led the way and provided innovative ideas that incorporate and promote visualized dance movements into a purely aural experience that can pioneer thought and new directions for other composers and later generations. sheng not only takes into account the characteristic of exotic works from the 19th century, such as in terms of tonality, scales, melodies and dance rhythm, as well as the objective evaluation of the value of the “other” culture, but also the modernist style of composition from the 20th century onwards, which is based on fusion and innovation. this approach not only opens up ideas for the creation of musical works, but also gives a new meaning to the integration of music with other cultures. this has also become one of the labels of sheng’s personal compositional style. by using the exotic style as a decorative tool, sheng enables the work to have both a traditional, harmonious music that differs from the chinese style as well as a separate, individual music that differs from the western modernist works. in addition to the chinese and american musical cultures that influenced the composer’s work, sherpa music was incorporated as an input of “other” cultures, which in part reflects schaffer’s view of exotic styles incorporated into a work of art can serve as a decorative backdrop, add an unusual dimension to the work, or serve as one of the ways for the creator to satisfy the space for imaginative expansion (schaffer, 2000, p. 3). this has also become one of the labels of sheng’s personal compositional style, as the motive of imitation or non-musical inspiration about ethnic dance movements is found in dance capriccio and his other works, such as tibetan dance (2000). conclusions in this study, it can be concluded that while the exotic style of the music can neqian deng et al., revealing the exotic rhythm and tonality in bright sheng’s dance ca277 ver be perfectly transferred or transcribed, some of its features had been reflected in sheng’s compositions from a few aspects. at first, the rhythms of tibetan tap dance are broken down into different modal groups, and the segmental manipulation is reflected in the use of interpolation, extension and deletion of syllable and tone durations in dance capriccio. secondly, the irregular arrangement of legato and cross-bar lines enabled the piece to present the characteristics of tibetan dance while emphasizing the composer’s innovative techniques of altering the accents of the notes in order to reflect some of the significant sherpa dance movements. in addition, the exotic style of dance capriccio was depicted not only from the music but also from the gesture that includes movements from the sherpa dance. the rhythmic pattern in sherpa dance emanates from the irregular and complicated writing in the quartet, which also portrays that the important dance steps and movements are not ignored. through the flexible use of legato and cross-bar legato lines to echo the accents of the sherpa dance, and the manipulation of segments to arrange the rhythmic structure, this compositional technique allows the exotic flavors of sherpa music culture to interact with the western compositional structure, resulting another form of exotic composition. in short, the gestures, footwork, and body movements of the sherpa are echoed in western instrumental writing expressed through the arrangement of the notes, the construction of the pitch material, and the organization of the rhythms. moreover, through the analysis of tonality in both vertical and linear dimensions, the relationship between the fourths and fifths in sherpa music and the ethnic compositional technique of li diao, these highly orientalist elements demonstrate the composer’s contemplation of works with exotic aesthetics. this comes not only in terms of the expression of exotic style in instrumental works, but also in the different meanings of the works. although using western composition approach may never replicate the original exotic genre, the exotic subject serves as a source thereby promoting innovation in compositional techniques 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(1989). sherpa folk dance夏尔巴民间舞蹈. tibetan art research, (01), 24-25. http://brightsheng.com/articles/essayfilesbybs/never%20far%20away-article.pdf http://brightsheng.com/articles/essayfilesbybs/never%20far%20away-article.pdf http://brightsheng.com/articles/essayfilesbybs/never%20far%20away-article.pdf 208 development of professional competencies of the future costume designer in the design system elvira faizulina, aliya yessengaliyeva, venera jumagaliyeva makhambet utemisov west kazakhstan state university, kazakhstan submitted: 2022-10-04. revised: 2024-01-08. accepted: 2024-06-12 abstract high requirements for specialists, specifically in the field of design, who can quickly respond to modern socio-economic conditions and work effectively in a market economy necessitate a substantial upgrade of the professional education system for training costume designers. this study aimed to substantiate and implement the methodology for developing professional competencies of future costume designers in higher education institutions in kazakhstan. the methodological approach of this experimental study was based on the development of a methodology for developing the professional competencies of the future costume designer and readiness components: motivational, cognitive-activity, creative, and reflective. the content of the basic terms “professional competence” and “designer’s professional competence” was determined; their signs and features were covered, and and a methodology for developing professional competencies of the future costume designer in the design system was developed and implemented. in the conducted experimental study at the ascertaining stage of the experiment at makhambet utemisov west kazakhstan university, methodological tools were developed to increase the readiness of the future costume designer to develop professional competencies in the design system. after conducting an experimental study, promising areas for improving the methodology for the readiness of a future costume designer to develop professional competencies in the design system in higher educational institutions of kazakhstan were formed. the practical value of the study lies in training a specialist who can implement scientific ideas and developments in the field of fashion design in kazakhstan. keywords: professional activity; labor market; clothing design; competence; design education how to cite: faizulina, e., yessengaliyeva, a., & jumagaliyeva, v. (2024). development of professional competencies of the future costume designer in the design system. harmonia: journal of arts research and education, 24(1), 208-220 harmonia: journal of arts research and education 24 (1) (2024), 208-220 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v24i1.50298 kazakhstan’s existing educational system for training costume designers faces several challenges in keeping pace with these developments. one of the principal tasks of the modernization of higher education in kazakhstan is the qualitative training of a professionally competent specialist capable of competing in the international labor market. due to the high requirements for specialists, specifically in the field of introduction in recent years, kazakhstan’s fashion and design industry has been rapidly evolving, fueled by changing consumer demands, globalization, and technological advancements. this growth has necessitated a transformation in the way fashion designers are trained to meet the dynamic needs of the industry. however, corresponding author: e-mail: elvirafaizulina99@gmail.com p-issn 2541-1683|e-issn 2541-2426 elvira faizulina et al., development of professional competencies of the future costume 209 design, who are capable of quick reaction to modern socio-economic conditions and work effectively in a market economy, there is a need for a substantial update of the system of professional education for the training of costume designers. many higher education institutions still rely on traditional teaching methods that emphasize theoretical knowledge over practical, hands-on experience. this approach often fails to equip aspiring designers with the essential skills required to navigate the fast-paced and competitive fashion landscape. furthermore, the curriculum may not adequately address contemporary design trends, emerging technologies, and the evolving expectations of consumers and businesses. the rapidly changing nature of the fashion industry demands that costume designers possess a diverse set of professional competencies. these include artistic and creative abilities, technical proficiency, problem-solving skills, adaptability, and an understanding of market dynamics and consumer behavior. failure to develop these competencies can severely limit the employability and success of fashion graduates in the workforce. moreover, the integration of kazakhstan’s fashion industry with global markets necessitates training designers who can compete internationally. this requires a solid foundation in design principles, cross-cultural awareness, effective communication skills, and the ability to collaborate with diverse teams and stakeholders. an analysis of the scientific achievements of specialists on the research problem suggests that improving the quality of higher education in kazakhstan and the competitiveness of costume designers in the labor market is embedded in the formation of their professional competencies (diachenko, 2021). the researchers noted that the effectiveness of the development of professional competencies of future costume designers increases substantially when their educational activities are involved in professional activities (mayer et al., 2014). thanks to innovative policies and transformation strategies, considerable changes are taking place in the educational sector of the national economy, closely related to the formation and practical implementation of new vectors of the individual’s professional development. therefore, the purpose of this study was to form the readiness of future costume designers to master professional competencies in higher educational institutions of kazakhstan based on the implementation of project activities. the higher education system in kazakhstan is undergoing a transformation associated with a systemic change in the model of socio-economic and cultural development of society and the nation. sametova et al. (2022) believe that the current economic conditions of kazakhstan’s development dictate the need for national support of design specialties. according to the researchers, the strategy of modernization of professional education defines the “competence-based approach” as one of the principal conditions for its renewal, modernization, and transformation due to the new values of society of the 21st century, based on knowledge, information, and innovation. it is assumed that the updated content of education will be based on the development or formation of key professional competencies of applicants for education. the authors’ research indicates the importance of developing the mathematical readiness of future costume designers to study special disciplines. such readiness will simplify the development of current computer technologies and means of intercultural communication and ensure competitiveness in the labor market. dzhusubalieva et al. (2019) think that competence includes intellectual and cognitive components that are in constant interaction, namely general cultural, social, communicative, cognitive, and special. professional competence is integrative since it includes several homogeneous or closely related skills and knowledge that correspond to a relatively wide field of culture harmonia: journal of arts research and education 24 (1) (2024): 208-220210 and activity (legal, informational). according to the researchers, with an integrated approach, institutions of higher education in kazakhstan engaged in the training of costume designers should reconsider and rethink the content of the professional training of future designers. tisch et al. (2016) believe that the basis for the development of design education is the formation of a creative personality capable of possessing the full range of professional competencies. cognitive and creative activity involves a constant search for new knowledge, artistic and design solutions, the study and use of advanced techniques and methods of work, the introduction of new, progressive, previously unused elements into the labor process. researchers believe that, together with the active development of digital technologies and design and technical communications, design has a dominant role in increasing the competitiveness of all socio-economic sectors. albers (2013) considers the competence approach to be one of the main conditions for the development of the project culture of a future costume designer capable of project thinking, innovative design. such specialists are aimed at working for the benefit of the state, its enrichment and prosperity. aitbaeva and shaihozova (2022) believe that the problem of improving the quality of higher education in the field of design has acquired a special status and priority of development in recent years. the modern national educational policy of kazakhstan pursues the goal of determining strategic priorities to develop design education by forming a national model of multi-level continuing education that integrates into the global educational space and meets the needs of the individual and society. the professional training of designers should be directed towards the formation of readiness for the implementation of project activities using a creative approach. thus, the professional competencies of a costume designer should be in an integral unity between practical professional skills, creative presentation of ideas, and the implementation of their analysis, as well as the ability to put them into practice. beetham and sharpe (2013) believe that the professional competencies of future costume designers should be formed while studying at higher educational institutions. kiynova et al. (2021) and natarajan et al. (2021) believe that in the conditions of modern development of globalization processes, the principal task of design specialists is the ability to develop projects. this approach is key in the educational process of preparing future costume designers and is the key to the development of professional competencies, the ability to creatively solve problems, and generate out-of-thebox ideas. educational programs in higher educational institutions of kazakhstan are mainly focused on learning outcomes and are aimed at expanding professional recognition and mobility of a specialist in the labor market. addressing these challenges is crucial for nurturing a new generation of talented and versatile costume designers who can contribute to the growth and competitiveness of kazakhstan’s fashion industry. it is imperative to evaluate and revise the existing educational methodologies to ensure they are aligned with industry demands and equip students with the necessary professional competencies. higher education institutions can play a pivotal role in bridging the gap between academic training and industry requirements by conducting research and implementing innovative pedagogical approaches. this will benefit aspiring costume designers and contribute to the overall development and recognition of kazakhstan’s fashion industry on the global stage. in current conditions, developing and improving the methodology to master the professional competencies of the future costume designer in the design system in higher educational institutions of kazakhstan becomes relevant. thus, the purpose of this study was to substantiate and implement a methodology for the development of professional competencies of elvira faizulina et al., development of professional competencies of the future costume 211 future costume designers in institutions of higher education in kazakhstan, based on the use of design as a guarantee of their readiness to carry out professional activities. main objectives: to define the key professional competencies required for future costume designers and identify their components and criteria; to develop and implement a comprehensive methodology for enhancing the professional competencies of future costume designers, incorporating various teaching strategies, project-based learning, creative problemsolving techniques, and involvement in exhibitions and competitions; to evaluate the effectiveness of the proposed methodology in improving the motivational, cognitive-operational, creative, and reflective competencies of future costume designers through an experimental study; to provide empirical evidence and practical recommendations for educational institutions in kazakhstan to align their curriculum and pedagogical approaches with the identified professional competencies and the proposed methodology for competency development. method the main methods during the experimental study were aimed at investigating the problems of formation of the future costume designer’s readiness for the development of professional competencies in the design system of higher education in kazakhstan, which made provision for the development of a methodology for creating readiness components and criteria for them, namely motivation-based (motivational-value), cognitive-activity (cognitive-operational), creative, reflexive, and relevant indicators. assessment of the formation of readiness components was carried out at three levels: high, medium, and low. the methodology of formation of the future costume designer’s readiness to develop professional competencies in the design system ensured the use of effective methods that contribute to the improvement of professional education with an artistic focus. such methods included the use of modeling through completing projects by respondents to create clothes of a certain assortment with their subsequent defense, questioning, testing, conversation, observation, surveying at the stage of ascertaining experiment to determine the input level of readiness of the future costume designer to develop professional competencies in the design system. the experimental study was conducted at makhambet utemisov west kazakhstan university. to ensure the representativeness and reliability of the sample, the features of the formation of the control and experimental groups, age, and gender were determined. the control and research array was formed by pairwise selection. the condition was considered that at the end of the selection, the number of the experimental group met the requirements of representativeness. the sample consisted of 68 undergraduates. thirty-six respondents were involved in the control group, and 32 respondents were in the experimental group. from among the selected respondents, 30 women and 38 men were selected for the experimental study. at the ascertaining stage, it is necessary to explore and analyze the literature on the subject under study, compare the opinions of scientists, systematize, classify and generalize theoretical data, comparative analysis; modelling and generalization of the training methodology for future costume designers, the components of the future designer’s readiness to develop professional competencies in the design system are determined: motivation-based, cognitive-based, creative, and reflective. the study examines modern problems and conditions for increasing the formation of the future costume designer’s readiness to develop professional competencies in the design system, which can be effectively and efficiently solved by using this technique in practice; the contingent of participants is determined, diagnostics of individual levels of formation of components of harmonia: journal of arts research and education 24 (1) (2024): 208-220212 the development of professional competencies of the future costume designer in the design system is performed, a questionnaire of undergraduates studying according to the educational program 7m02118 “design. fashion design”, the necessary conclusions are made. the formative stage of the experiment involved the analysis of the effectiveness of the outlined components of the readiness of the future designer to develop professional competencies in the design system. the author’s courses “project graphics”, “design graphics,” “methodology of modern scientific research,” “modern technologies of design activity” and “costume composition” were developed with their subsequent introduction into the educational process under the educational program 7m02118 “design. fashion design.” the students were involved in competitions and exhibitions, which allowed the development of the creative abilities of future costume designers. implementation of author’s projects using the system of creative search by molyako is provided. a survey of undergraduates was carried out, diagnostic conversations, questioning, and testing were carried out to identify problems and solutions for training future costume designers. the data obtained was processed using mathematical statistics, processing the final indicators of the formation of the level of readiness of future designers for the development of professional competencies in the design system. at the control stage of the experiment, the analysis of the results obtained, their generalization and conclusions were made. result and discussion key components and criteria for professional competencies of costume designers the development of modern design in the field of clothing manufacturing is an integral component of the development of an innovative society of the 21st century. the implementation of high-quality training of costume designers in higher educational institutions of kazakhstan is the newest educational area which is actively developing. since design education is a synthesis of art, science, and technology, presently kazakhstan is actively searching for ways to develop the professional competence of costume designers, new forms and technologies for their education, which requires the introduction of innovations into the practice of higher education and their implementation in modern conditions of training specialists (on approval of the…, 2019). considering the requirements of modern kazakhstan society, the formation of professional competencies at a prominent level is the key to the successful introduction of modern innovations into the practice of design education and their implementation in new economic and political conditions. the formation of professional competencies of the future costume designer in the design system is a prerequisite and an indicator of the readiness of specialists for professional activity. specifically, the introduction of artistic disciplines into the practice of training a future costume designer, the content of which is based on a competency-based approach, plays an important role in general education training (wesselink et al., 2020). the term “professional competence” refers to the willingness of a specialist to carry out their professional activities in a certain area at a high professional and methodological level, as well as to conduct self-assessment of the results of their activities. the study defines “designer’s professional competence” as readiness and ability to solve professional tasks and problems in the field of design at a high methodological and organizational level, as well as to carry out self-assessment of the results of their activities. in the study, the professional competencies of the future costume designer are coordinated with the direction of their professional activity and consist of the following stages: 1. acquisition of professional knowledge, skills, and abilities; 2. acquisition and practical application of a system of creative, artistic, and elvira faizulina et al., development of professional competencies of the future costume 213 analytical abilities; the presence of a developed imagination and spatial thinking; 3. integration of acquired competencies into modernity, which allows competition in the labor market. based on the results of the analysis of scientific achievements on the training of future costume designers in kazakhstan, as well as based on a survey of students at the ascertaining stage of the experiment, studying at makhambet utemisov west kazakhstan university under the educational program 7m02118 “design. fashion design” defines the main professional activities of a costume designer, namely (reiser, 2001): 1. artistic and graphic activity includes the mastery of design graphics, a variety of artistic and graphic techniques, and technical means; skills in artistic design, layout, and modeling; knowledge of the elements and laws of composition; and aesthetic taste; 2. project activity consists of organizing the planning of the creative process, conducting exploratory sketching when creating design projects, and implementing performing skills; 3. d e sign activity is aimed at the ability to use methodological, regulatory, technical, and other directive materials to design individual elements and compositions, considering the requirements of ergonomics and aesthetics; 4. technical activity. its essence lies in possession of skills to implement project schedules at a quality level, apply graphic techniques and technical layout tools, possession of modern technical means of computer graphics ability to perform structural drawings and templates, carry out the development of technical and accompanying documentation for design projects with the professional use of computer technology or conventional technologies; 5. technological activity includes knowledge of the technological features of sewing materials, using the latest design technologies, creating a technological map of the industrial replication of the designed product, and carrying out projects using design engineering technologies; 6. organizational and managerial activity includes the ability to build an algorithm for the technical implementation of the project and the manifestation of organizational abilities; 7. controlling activity. it is based on the ability to control the compliance of production programs and work schedules, aesthetics in production, ergonomics, scientific organization of labor, safety, industrial sanitation, and ecology provided for by the project; 8. research and experimental activity. its purpose is the highquality execution of experimental work in the design authorship. based on certain types of professional activity, the term “costume designer’s professional competence” can be interpreted as the integration of theoretical and practical readiness to carry out project activities that characterize a specialist as a professional in their field. the designated types of professional activity of a costume designer underlie the components of the development of professional competencies of a future costume designer in the design system, namely motivation-based, cognitiveoperational, creative, and reflexive. based on the analysis of scientific achievements in the field of training the future costume designer and the selected components of readiness, criteria are outlined that allow building a system for improving professional competence. the highlighted criteria include: 1. motivational-value – consists of goals, motives, needs, values, and professional interests; 2. cognitive-operational is manifested in the presence of knowledge: general professional, professional, special, methodical; skills and abilities to implement them in practice; 3. creative manifests itself in the ability to generate new ideas and implement modern projects, forecasting fashion styles and trends; 4. reflexive, 5. manifests itself in the ability to analyze psychological characteristics and professional inclinations, predict and control the results of their activities, and mobilize personal potential, creative energy, self-expressiveness, self-development, and self-improvement. implementing and evaluating the competency development methodology harmonia: journal of arts research and education 24 (1) (2024): 208-220214 during the ascertaining stage of the experiment, a set of adapted methods for studying the levels of development and formation of professional competencies of the definition under study at different stages of the experiment was designed. a comparative analysis of the scientific sources on the subject under study, systematization, classification, and generalization of theoretical data was carried out, modeling and summarizing the training methodology for future costume designers, determining the components of the future designer’s readiness to develop professional competencies in the design system: namely, motivational, cognitive-activity, creative, and reflective. the sample size was 68 makhambet utemisov west kazakhstan university students studying under the educational program 7m02118 “design. fashion design”. thirty-six respondents were involved in the control group, and 32 respondents, including 30 women and 38 men, were involved in the experimental group. during the ascertaining experiment, a survey of undergraduates enrolled in the educational program 7m02118 “design. fashion design”, the contingent of participants was determined, the diagnostics of individual levels of formation of the components of the development of professional competencies of the future costume designer in the design system was performed. makhambet utemisov west kazakhstan university provides training for the educational program 7m02118 “design. fashion design”. during the training, students in this area learn to use modern trends, carry out technological preparation of garments, apply the method of constructing clothes, consider the characteristics of the fabrics from which clothes are made, choose a rational technique when making sketches, decorating garments. specialists in this field are engaged in the design and construction of clothing. during the training, students acquire knowledge of the principles of constructing simple geometric fonts, font compositions, and fine-font compositions; rules of technical safety in the execution of sketches; and properties and purpose of various working tools used in the work. the modeling method, one of the basic approaches to training specialists of a certain specialty, was used to determine the input level of development of future costume designers’ professional competencies at the experiment’s ascertaining stage in the control group. the role of the modeling method is to build clothing models using modern computer technologies, graphics, and materials. since educational modeling is an important component in the design education system, during the experimental study, respondents were asked to design a project work according to the requirements for performing such work. at the defense of graphic works, first of all, the acquired professional competencies of future costume designers were evaluated. testing was also carried out in the disciplines “project graphics”, “design graphics”, “methodology of modern scientific research”, “modern technologies of design activities”, “costume composition” to assess the professional competencies that students have, interviews, observations, a survey among respondents to determine the level of their training and prospects for improving the content of the outlined disciplines. the results of the evaluation of completed projects and the survey of students allowed concluding that the respondents are mainly at an average and low level of development of professional competencies. the results are presented in figure 1. at the formation stage of the experiment, the methods to develop professional competencies of future costume designers in the design system were selected. to form professional competencies in the experimental group, the author’s courses “project graphics,” “design graphics,” “methodology of modern scientific research,” “modern technologies of design activity,” and “costume composition” were developed. they were taught the methods of enhancing creative activity: modeling, problematic, heuristic, “case elvira faizulina et al., development of professional competencies of the future costume 215 method”, and “brainstorming” (individual and collective). this approach ensured the qualitative formation of motivational and cognitive-creative readiness components. figure 1. the results of diagnostics of the future costume designer’s readiness to develop professional competencies at the ascertaining stage of the experiment the content and topics of scientific research provided for by the educational program 7m02118 “design. fashion design” makhambet utemisov west kazakhstan university. the requirements for final creative works have been increased, the involvement of respondents in exhibition and competitive activities has been strengthened, to ensure the activation of creative processes, which will open new prospects for creative work and the implementation of design projects in practice. due to the involvement of students in exhibition activities, according to the results of the initial stage of the experiment, there was a considerable increase in the development of the creative and reflexive component of readiness by forming an informational and practical mechanism of interaction between future costume designers and the manufacturer. the creative projects were implemented through the creative search system by v. molyako, the purpose of which is to activate the process of working out five main strategies, including combinatorial actions, search for analogs, reconstructive actions, universal strategy, spontaneous substitution strategy (wasson & kirschner, 2020). at the same time, it is acknowledged that the problem of the formation of professional competencies of future fashion designers cannot be solved within the framework of a course of academic disciplines. it is necessary to involve future costume designers in creative and project activities. during the implementation of the experimental methodology, the respondents’ knowledge and practical skills gained when studying the history, artistic features, composition, and manufacturing technology of the national kazakh costume were considerably updated. this stimulated the development of the creative imagination of future costume designers. during compositional search for a costume upon learning the discipline “composition of a costume”, namely the model-image (model-idea), students summarize all their preliminary considerations and express them in sketched ideas. according to one of the most expressive for scenarios, interestingly solved plastically, compositionally, graphically and reflecting the theme, the completed composition is performed. the finished work is a multiplot composition. the results of the data obtained at the initial stage of the experiment are presented in figure 2. based on the conducted experimental research, it was established that the formation of professional competence is an important component of the professionalism of a specialist in the design profile. implementing the competence approach in the preparation of the future costume designer forms the ability to carry out effective practical activities, provides a creative approach to solving professional tasks, and has a work culture. it is considered expedient to base the professional competencies of future costume designers on specialized competencies, which is an important indicator of their readiness to carry out professional activities. the specialized competencies include artistic aesthetic and visual ones. thus, the development of professional competencies of harmonia: journal of arts research and education 24 (1) (2024): 208-220216 the future costume designer in the design system is a system that takes place in the educational environment of training such specialists. the continuity of the educational component is an important condition for the expansion and deepening of professional competencies and opportunities for professional growth. as a result of the conducted experimental study, a methodology was developed to improve the formation of professional competencies of future costume designers in higher education institutions of kazakhstan based on the use of project activities. the results of the data obtained in the control and experimental groups confirm the relevance of the proposed methodological tools. figure 2. the results of diagnostics of the future costume designer’s readiness to develop professional competencies at the initial stage of the experiment discussion modern socio-economic changes are taking place in kazakhstan today; its entry into the world economic community has led to the need to modernize social institutions, namely the system of higher education, directly related to the system of training artistic and design personnel. aitbaeva and shaihozova (2022) believe that the strategy of modernization of education defines the “competence approach” as one of the basic conditions for its renewal, modernization, and transformation due to the new values of society of the 21st century, based on knowledge, information, and innovation. in our study, the identification of the key professional competencies required for future costume designers in kazakhstan were categorized into four components: motivational, cognitive-operational, creative, and reflective. this comprehensive framework addresses the multifaceted nature of the costume designer’s role, encompassing not only technical skills but also cognitive, creative, and self-reflective abilities. by delineating these competencies, the study provides a clear roadmap for educational institutions to align their curriculum and pedagogical approaches with the specific requirements of the profession. it is assumed that the basis of the updated content of education as the main goals will be the development or formation of key competencies of future costume designers (ulendeeva, 2015). our study also outlined specific criteria for assessing each of these competency components, such as motivational-value, cognitive-operational, creative, and reflective criteria. these criteria serve as valuable tools for evaluating the effectiveness of educational programs in developing the necessary competencies among aspiring costume designers. institutions can use these criteria to assess their students’ progress and identify areas that require further attention or improvement. beetham and sharpe (2013) stated that people should not limit themselves solely to professional competencies acquired during formal education since selfeducation, professional development, and participation in exhibition activities also play a significant role. in our experimental study, the competence-based approach in higher professional education of training future costume designers should be focused on the comprehensive development and training of applicants for education throughout the educational process, as well as the work of students on their self-improvement, self-education, creative decision-making and the development of humanistic values. the results from the ascertaining stage of the experiment revealed that the current level of professional elvira faizulina et al., development of professional competencies of the future costume 217 competency development among costume design students at makhambet utemisov west kazakhstan university was predominantly low to average. this finding underscores the need to implement the proposed methodology and highlights the existing gap between the industry’s demands and the current educational practices. by identifying this gap, the study justifies the necessity for educational reform and the adoption of innovative approaches to better prepare future costume designers. mynbayeva et al. (2017) believe that in educational practice, competence as an educational goal has recently become one of the central concepts, and the inclusion of the formation of key competencies to educational goals and related changes in teaching methods is the main area of reforming (modernization) of educational activities. the authors of this study support the opinion of the mentioned scientists and believe that the term “competence” is ambiguous: opportunities for applicants for education in the field of their specialty questions on which applicants for education have experience. this study is an attempt to clarify this ambiguity by defining the term “professional competence” in the context of costume design education and specifying the components (motivational, cognitive-operational, creative, and reflective) that constitute professional competencies for future costume designers. the current study aligns with the idea of competence being a central concept in educational practice. it focused on identifying and developing the professional competencies required for future costume designers, which is essential for their success in the field. according to reinmann et al. (2022), in the training structure of a future costume designer, there should be not only structural components of the designer’s professional competence, but also functional ones, among which development is distinguished: cognitive-operational, motivationalvalue, individual-personal components. nevertheless, the present study identifies the following components of the future costume designer’s readiness to develop professional competencies in the design system, namely: motivation-based, cognitive-operational, creative, reflexive. the current findings offer a practical implementation of this approach within the specific context of costume design education in kazakhstan. goes beyond just identifying the necessary components; it also proposes and implements a methodology for developing these components among future costume designers. this methodology, which includes project-based learning, creative problem-solving techniques, and involvement in exhibitions and competitions, provides a practical framework for enhancing functional competencies. the authors of this study support the opinion of bartlett and burton (2020), who believe that design activity in education is becoming a considerable subject area, the basis of which is the system of continuous design education, the core of a new subject area is a competency-based approach to the formation of the content of education. modern concepts of design education are based on the following ideas: 1. it is important to ensure the effect of using design and design education as important factors in improving the welfare of the population; 2. improving the efficiency of the use of design and design education as key factors in the growth of competitiveness of products and services of enterprises in various sectors of the economy; 3. promoting the development of design education and design enterprises, factoring in the growing contribution of marketing and design services to the company’s structure – the cost of both consumer and industrial goods. the purpose of the designer’s activity is the qualitative implementation of the design and creation of a human subject environment. the subject of the costume designer’s work lies in the implementation of the artistic and technical design of the garment and the creation of working documentation. the current research is contextualized to the specific needs and challenges of costume design education in kazakhstan, making current findings harmonia: journal of arts research and education 24 (1) (2024): 208-220218 more relevant and applicable to the local context than the opinions of bartlett and burton (2020). chyrchyk (2017) believes that a costume designer should have the following skills: the desire to create new things and constantly improve and develop, master color theory, have their own professional style, and be empathic and disciplined. the researcher, conducting research on the process of training future costume designers, noted that academic disciplines in the training of costume design specialists should be aimed at the development of creative thinking. in terms of the results obtained in this study, the use of the proposed approach may be correct, namely, the purposeful design-imaginative thinking of costume designers should be developed throughout the entire training period in practical and theoretical activities. the essential condition for the development of professional competencies of future costume designers is the use and adaptation of kazakhstan’s national culture and folk crafts to the needs of modern design. rooij et al. (2020), conducting research on the development of project activities in the modern fashion industry, noted that a future costume designer, along with professional competencies, should have programmatic competencies in the field of fashion design, the use of which will contribute to the development of general and professional competencies in the field of design. focusing on modern technologies of design activity in work allows a costume designer to realize their creative potential through the following competencies: 1. the ability to demonstrate the presentation of professional knowledge methods of designing spatial structures of complex design projects of clothing; 2. the ability to independently solve issues and conduct research on the development of creativity as a type of design activity; 3. assimilation of skills, methods, and knowledge of the criteria for the characteristics of the main heuristic methods of design activity; 4. the ability to carry out a campaign to search for an informative base to investigate research information in project work; 5. mastering the skills of scientific and methodological transformation of heuristics; 6. mastering the skills of applying scientific and design analysis methodology in design activities; 7. summarize the results of pre-project and project studies conducted within the framework of design activities. while rooij et al. (2020) focus primarily on programmatic competencies related to fashion design and project activities, the current research proposes a more comprehensive framework that encompasses a broader range of professional competencies essential for future costume designers. in the study, the specific challenges and needs of training future costume designers are taken into account, ensuring our findings are more directly applicable to this specialized field. the study identifies the necessary professional competencies and introduces and implements a comprehensive methodology for developing these competencies. this methodology incorporates various teaching strategies, projectbased learning, creative problem-solving techniques, and involvement in exhibitions and competitions, offering a practical and actionable approach. the improvement of the ways of forming the professional competencies of future costume designers should be ensured by introducing updated forms and methods of training, methods of training such specialists, the implementation of the readiness components outlined in the study. the methodology of training future costume designers should make provision for modelling the process of developing the professional competencies of the aforementioned specialists in the design system. thus, the improvement of professional training of future costume designers will solve a number of problems related to the development of design education in kazakhstan and will create conditions for the rapid professionalization of future costume designers in the labor market. conclusions elvira faizulina et al., development of professional competencies of the future costume 219 the terms “professional competence” and “designer’s professional competence” were defined during the study. promising areas for improving the process of formation and development of professional competencies of the future costume designer in the design system in kazakhstan have been formed. upon conducting the ascertaining stage of the study, it was found that future costume designers’ training level and the competencies they acquire during such training are at a low and average position. this trend requires the creation of the necessary methodological tools, which will increase the training of future costume designers and, as a result, the development of their professional competencies. the study outlined the components of the readiness of future costume designers to develop professional competencies in the design system, namely motivation-based, cognitive-activity, creative, reflexive, as well as criteria: motivationalvalue, cognitive-operational, creative, and reflexive and indicators for them; the method of their formation has been developed and implemented. the generalized data of the results of the initial stage of the experiment after the introduction of the proposed methodology allows concluding on the effectiveness of the implemented methodological materials. in this regard, the policy of educational institutions of kazakhstan should be aimed at updating the methodology of training future costume designers in the design system. a promising area for further research is the consideration of modern international-level programs for future designers with the possibility of their involvement in design competitions both in kazakhstan and abroad through the introduction of the results of their research. scientific research, as well as the conclusions formulated on its basis, can be used in the future as an effective basis for improving the training of undergraduates and ways to increase the level of professional competence using the practices of foreign countries. a promising area for improving the professional training of future costume designers is also the introduction of digital resources for organizing research activities of applicants for higher education, designing clothing collections, and expanding the study of the structure of professional competencies of future costume designers in the design system. references aitbaeva, a. b., & shaigozova, z. n. 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(2020). models and principles for designing competencebased curricula, teaching, learning and assessment. in competence-based vocational and professional education. technical and vocational education and training: issues, concerns and prospects (рp. 533-553). cham: springer cham. i editorial suharto suharto harmonia: journal of arts research and education, volume 23, issue 2, comprises seventeen articles presenting current issues in art and art education from indonesia, malaysia, spain, kazakhstan, ukraine, japan, hungary, and the united states. what is encouraging is that some of the articles result from collaborative research from different countries. liu xiao chen, wang i ta, and wong kwan yie’s article titled “suzuki piano method and flow experience among adult piano beginners: a quasi-experimental study” begins the issue with research regarding a western music teaching method, the suzuki method. this research explores the link between the suzuki piano method and csikszentmihalyi’s flow theory. it also suggests that the suzuki piano method may promote flow experiences among adult beginners in piano learning. the study’s implication signified that the collaborative and interactive learning inherent in the method might be beneficial in achieving a flow state and could be considered in conducting group piano classes. meanwhile, bramantyo, in his critical historical research “historical accounts of the indonesian 16thcentury music road,” concludes that the music road of indonesia was so prosperous that when francis xavier, a co-founder of the jesuits society in lisbon, portugal, came to ternate in 1543, he was astonished to find out how the local children were so capable of singing gregorian chants in both latin and portuguese texts so beautifully. still on music research, hafifi mochtar and clare suet ching chan explored max as a digital platform for performing noise music through a practice-led research method. the article’s title is “max as a digital platform for noise music performance.” this research argues that max has much potential for creating a variety of digital sounds that are harsh and dissonant to the ears, therefore contributing to the musical diversity in noise music performance. these sounds are the results of the features of audio self-processing, random pitches, automatic audio panning objects, and self-changing pitched drone audio signals relying on random midi values that appeared in max. paloma, in “shadow theatre as a performative art for the development of uninhibited corporal expression and group cohesion in pupils in sixth-grade students of primary education,” investigates that shadow theater has proven to be a valuable teaching resource for promoting uninhibited body language and group cohesion among sixthgrade students. qian deng and loo fung chiat, in “revealing the exotic rhythm and tonality in bright sheng’s dance capriccio” analyses sheng’s dance capriccio composed in 2011, featuring sherpa folk music. the analysis focuses on how sherpa folk song and dance are reflected in dance capriccio, emphasizing how the tonal and rhythmic construction reflects the traditional folk song. one of the analyses concluded that the exotic style of dance capriccio was depicted not only from the music but also from the gestures that included moveharmonia: journal of arts research and education 23 (2) (2023), i-iv available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.50008 p-issn 2541-1683|e-issn 2541-2426 ii ments from the sherpa dance. iskakova, kassymova, zhamalova, chalimbayeva, and utegenova in “new art therapy technology – quilling” writes their pedagogical experimental result that quilling art has a positive effect on individuals, as well as on the general mood of the group, and the use of the quilling technique as an art-therapeutic tool brings positive changes to the psychosomatics of an individual and a group in general. still research from kazakhstan, assiya b. darkembayeva et al. reported their research in the article titled “new art therapy technology – quilling” that modern methods of teaching children with visual impairment are based on the musical accompaniment of educational activities since the musical form allows the development of moral values. visually impaired students are characterized by insufficient development of the visualimaginative level of mental activity, which determines the uniqueness of specific conceptual thinking due to visual perception disorders and limited visual experience. djatiprabudi and bayu tejo sampurna, in their article, “art discourse in modern fine arts in surabaya: an analytical historical research,” try to understand the art discourse that is the foundation for developing modern fine arts in surabaya. according to their research, the development of visual arts in surabaya over three decades has passed through three phases of historical discourse as the foundation of modern art practices in the city. this phenomenon represents continuity and changes in historical discourses, demonstrating similarities and differences in the art discourses that underlie modern art growth in jakarta, bandung, yogyakarta, and bali. jaeni, in “arts communication model: the development of performing arts through empowering cultural art-based tourism,” researches how to create a model of performing arts communication through empowering cultural art-based tourism. this research resulted in a workflow for developing cultural art to create art products and cultural art-based tourism spaces to arrive at a model of performing art’s communication. a significant contribution from the perspective of performing arts communication is the understanding of value relations between actors and their public. valeria zharkova et al., in “g. ligeti’s hamburg concerto as a summary of late artistic tendencies,” investigates how to conduct an in-depth study, comprehensively covering, analyzing, and generalizing the panoramic display of the creative traditions of g. ligeti in the context of world musical art. the result of the study was the individual author’s concept of vision of the role, significance, and content of g. ligeti’s work in the history of academic musical art. the practical importance of this study was manifested in the demand for the results of this study among students of secondary and higher musical educational institutions, as well as among specialists investigating the processes of transformation and expansion of the boundaries of the melodic, compositional, and technical arsenal of professional musical creativity. the article “reinterpretation of gender concept and its influence on preservation of barong show performance in blora” was written by agus cahyono et al. it is a research understanding of the social construction of men’s and women’s societal roles. these roles include male and female dancers whose motions express diverse traits while maintaining the performance’s significant values. this research concludes that the dancer’s role in the barongan blora performance has a distinctive and variable gender reinterpretation. this reinterpretation clarifies the actor’s gender concerning the character being performed. iii a collaboration between indonesian and japanese researchers is reported in the article titled “comparative study of japanese and indonesian panji mask in light on fine art elements and principles.” the research revealed similarities and differences between the panji and noh masks. several principles are shared by panji and noh masks, including point elements, line shape, the principle of unity, balance, rhythm, proportion, and the principle of harmony. the line, field/shape element, color element, texture element, and emphasis principle are all different. these similarities and differences are due to various factors, including the two countries’ geographical proximity (both on the asian continent) and their history, customs, and culture. the article titled “the role of parents in their children’s artistic education: the effect of parental involvement in the transgenerational process” is written by researchers from hungaria, namely tímea szűcs, judit váradi, henrietta kelemen, zsófia miklódisimon, and gabriella pusztai. the research using the prisma (preferred reporting items for systematic reviews and meta-analyses) procedure found that the share of the different artistic fields is highly disproportionate in the literature on parental involvement. coverage is negligible compared to music, theatre, dance, and visual arts. during our study, we managed to classify types of parental involvement and found that it showed variety across different branches of art. wilma sriwulan, irwan, selvi kasman, yon hendri, erizal report their research related to minang culture in the article titled “minang women’s music in matrilineal kinship: revealing the boundaries of ethics and performance aesthetics,” conclude that women’s music based on adat salingka nagari is a women’s music that blends with adat (tradition) and provides an opportunity to actualize themselves in the societies; as a result of being an anak dendang they get more than enough benefits and as family breadwinners. research using the literature review method is backed by researchers in the article “aesthetic morphology of animation.” this literature review method is a comprehensive literature review (clr). the researcher are andrian wikayanto, nuning yanti damayanti, banung grahita, and hafiz aziz ahmad. it demonstrates a strong connection between the history of animation aesthetics and the study of aesthetic morphology in animation. therefore, according to the researchers, the analysis of the aesthetic morphology of an animation requires a considerable amount of data. collaborative research articles on music education are presented again in this december edition. this collaborative research carried out by researchers from malaysia and america is presented in an article titled “teaching piano to blind children: an analysis of positive perceptions based on perma framework in qingdao, china.” this research, which had subjects in china, demonstrates that teachers’ preparation experience, positive attitudes, engagement, and building rapport with blind children and their parents are crucial to promoting their piano learning. this study offers readers the chance to get insight into the field of piano instruction for blind people and illumination from thought and empirical support for piano teachers and music educators in inclusive music education in china. the last article, titled “social criticism in wayang kulit purwa performance by purbo asmoro: study of interpretation (sanggit) and treatment (garap),” is carried out by sugeng nugroho. this research concludes that the social criticism presented in wayang performances can be blatant (méthok or tandang kuli), equivocal (medhang miring or semon iv mantri), or personification (nyampar pikolèh or èsem bupati). the social criticism revealed in lakon réyog ponorogo is blatant, while the social criticism in lakon sang batara sambo “prahara suralaya” as a whole is equivocal, but in the closing scene, it is blatant. s. suharto editor-in-chief harmonia: journal of arts research and education how to cite: suharto. s.(2023). editorial. harmonia: journal of arts research and education, 23(2), i-iv 246 the role of dance education for personality development of upper primary school students huidrom rakesh singh, laimayum subhadra devi manipur university, india submitted: 2021-08-16. revised: 2021-09-25. accepted: 2021-12-26 abstract this paper studies the history of dance education in manipur and social value, psychomotor domain, and creative development of students at the school curriculum in manipur (india). dance education plays an essential role in molding a person into a perfect human being with good health and behaviour in society. it also furnishes the essential elements humans need to live in our society other than imparting knowledge and skills. in overall development, manipuri dance plays the most crucial role in the school curriculum. the descriptive research method used in this study revealed the importance and the role of dance education for the four upper primary school students, i.e., class vi to class viii of imphal west district and imphal east district, where dance class had been adopted as one of the subjects in these schools. the 915 students have been taken from the following four schools: kendriya vidyalaya-lamphelpat, tolchou ibeton memorial academy-hiyangthang, rajkumari sanatombi devi vidyalaya-haotal pangei, and sl arena of learning-khurai khaidem leikai. the researcher collected 70% of students’ respondents, of which 287 are males and 343 are females out of 630 students. finally, the investigator has found that the social value of students is significantly improving due to dance education. dance education helped in realizing one’s own potential for self-enhancement, confidence, problem-solving, and creativity among the students. moreover, it also developed and enhanced the psychomotor domain and the students’ creativity to a certain extent. thus, dance education should be made compulsory as a curriculum subject at all levels of schools. keywords: dance education, social value; psychomotor domain; creativity development how to cite: singh, h. r. & devi, l. s. (2021). the role of dance education for personality development of upper primary school students. harmonia: journal of arts research and education, 21(2), 246-255 harmonia: journal of arts research and education 21 (2) (2021), 246-255 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i2.31634 cessible, innovative thinkers to develop social value, psychomotor domain, creativity, and loyalist of the country. this article presents data from an investigation conducted with four upper primary schools where dance class has been adopted as one of the subjects in the schools. according to the national curriculum framework-2005, it is considered that art education is a compulsory subject in the teaching-learning process in school. it has introduction propose of providing dance education in formal schooling is not a single unit to encourage creative minds to our students but also to retain our unique cultural diversity and richness. the dance education aims to impart a significant influence on our young generation to enable appreciation to the various art forms to maintain our traditional dance by making them accorresponding author: e-mail: rakesh_huidrom@ymail.com p-issn 2541-1683|e-issn 2541-2426 huidrom rakesh singh & laimayum subhadra devi, the role of dance education for 247 been provided to facilitate this as a subject up to class x. dance education must be integrated into the school curriculum to provide an aesthetically viable atmosphere for encouraging creativity in students. it is not only focusing on the dance but also sensitizing to acknowledge and expertise the need of arts for the entire development of an individual. the three previous national curriculum frameworks (ncfs) of 1975, 1988, and 2000 emphasized art education by defining its aims and objectives in the school curriculum. the teaching of the different arts—dance, music, painting, etc.—should be based on the same fundamental principle of providing students opportunities for perfecting their capacities and helping and encouraging them in the process. there was a paradigm shift in the objective of art education from the dignity of labor by working on crafts to developing aesthetic sensibility and free expression. these ncfs recommended that the art education program should concentrate on exposing the learner to folk arts, local specific art, and other cultural components, leading to an awareness and appreciation of our national heritage. art education should not be fragmented. therefore, it should adopt an integrative approach at all stages up to class x. iyengar mukunda kalpana (2015) explains the relationship between bharatanatyam (a dance form) and mathematics. the researcher was adopted mixed research methods. the study conducted that many asian indian students learn bharatanatyam for cultural maintenance and preservation. dance is also a beneficial medium of teaching basic geometric shapes to young children because dance is an engaging art curriculum. as a result, dance movement called adavus, cultural relevance, integration of elements from dance and geometry, and alternative strategies such as dance instruction to teach and learn basic geometric shapes. regarding, national education policy (2020) ecce (early childhood care and education) ideally consists of flexible, multi-faceted, multi-level, play-based, activity-based, and inquiry-based learning, comprising of alphabets, languages, numbers, counting, colors, shapes, indoor and outdoor play, puzzles and logical thinking, problem-solving, drawing, painting, and other visual art, craft, drama and puppetry, music and movement. it also focuses on developing social capacities, sensitivity, good behavior, courtesy, ethics, personal and public cleanliness, teamwork, and cooperation. the overall aim of ecce will be to attain optimal outcomes in the domains of physical and motor development, cognitive development, socio-emotionalethical development, cultural/artistic development, and the development of communication and early language, literacy, and numeracy. therefore, the implementation of this policy will be led by various bodies, including mhrd, cabe, union and state governments, education-related ministries, state departments of education, boards, nta, the regulatory bodies of school and higher education, ncert, scerts, schools, and heis along with timelines and a plan for review, in order to ensure that the policy implement in its spirit and intent, through the coherence in planning and synergy across all these bodies involved in education. the historical stages of dance education in manipur (india) are elaborating as follows. the 1st official order to teach ‘manipuri dance’ was issued by the govt. of manipur on december 5, 1972. the order indicated four teachers as appointed dance teachers temporarily. they are smt. (mrs.) rajkumari sabitri devi, shri. (mr.) haobam ibochouba singh, smt. (mrs.) pebam rasmani devi and shri. (mr.) irengbam nupamacha singh. the order consists of particular instructions to be followed by the four teachers. the appointed teachers were giving three government schools under his/her jurisdiction. further, the four selected teachers were sub-divided into senior and junior for the proper impartation of the dance education. the order was issued and signed by mr. l. tomcha singh and mr. th. gouro, respectively as harmonia: journal of arts research and education 21 (2) (2021): 246-255248 the director of education (s), and the deputy director of the education(s), govt. of manipur, (order no. 40/2/10s.e. dated 4/4/72). one of the female senior dance teachers had served in many government schools such as tamphasana girls (t.g.) higher secondary school, ibotonsana girls higher secondary school, and sagolband m.e. school are all in imphal city. she joined as a dance teacher in 1972 under the education (s) government of manipur. her salary started from rs. 175.00 rupees per month as a senior dance teacher. during her service, she taught many important religious dance activities, namely ‘chali jagoi’ (basic steps of dance) and ‘lai-haraoba’ (merry-making of the gods in meetei communities), to her beloved school students. she addressed and propagated the detailed lesson of mutual understanding, cooperation, love, peace, the spirit of brotherhood, a sense of good morals, and discipline. another senior dance teacher from the male also served in many government schools during his working period. here is the list of the government schools that singjamei girls m.e. school, singjamei girls higher secondary school, and sainik school, imphal. he firmly believes that he needs to actively promote manipuri dance and music worldwide as much as possible. notably, there were no prescribed books and syllabus recommended by education (s), government of manipur to instruct the students in those days. to fill the void for proper and formal teaching of dance in manipur, he authored “meitei jagoi lamjing lairik” (name of the book) in 1983. the book was the first and foremost book on manipuri dance that was taught to students till-date. it is one of the marvelous works in manipuri dance in the history of manipur. the remaining two junior dance teachers, the female dance teacher served in khurai girls high school, wangkhei girls junior high school, yaiskul girls junior high school, and the male dance teacher served in kwaikeithel girls high school, thangmeiband girls junior high school, keishamthong girls junior high school respectively. the duration of the dance classes was 40-50 minutes for all four teachers, as mentioned earlier. among the four appointed dance teachers, three of them were the first batch of j.n.m.d.a (jawaharlal nehru manipuri dance academy) in 1972 with diploma holder. the j.n.m.d.a is a constituent unit of the sangeet natak akademi, new delhi (india) is the foremost academy for teaching manipuri dance, music and thang-ta (martial art of manipur) established in 1954. whereas, (mrs.) pebam rasmani devi was not an alumnus of this institute. further, out of four teachers, two teachers, namely (mr.) irengbam nupamacha singh and (mrs.) pebam rashmani devi was expired, unfortunately in the years 1994 and 2008. however, (mr.) haobam ibochouba singh and (mrs.) rajkumari sabitri devi was teaching manipuri dance to the govt. schools more than 30 years above and retired in the year 2006 and 2008 respectively. statement of the problem dance is the body’s movement in a rhythmic way, usually to music and within a given in space, to express an idea or feeling, release energy, or take delight in the movement itself. if the manipur dance is implemented on the school curriculum, there is high hope of having a better chance in the social status of the state. there is an alarming degradation in morals, culture, tradition, and lifestyle of youth which can have a harsh impact in the future. it can be prevented if students are exposed to the performing arts (dance) and physical fitness, where they can find a platform to bring out their hidden talents. students will also learn to regard the culture and tradition of their fellow beings, which will ultimately help in the vast development of art and culture at significant. every school should be implementing curriculum subjects, e.g., dance, music, theatre, etc., and organize some workshops to improve the art activities. thus, dance education as a curriculum subject should be compulsory at all levels of schools. based on the background above, the huidrom rakesh singh & laimayum subhadra devi, the role of dance education for 249 objectives of this study are (1) to study the effect of manipuri dance on the social value in the teaching-learning process, (2) to examine the benefits of manipuri dance on the performance of psychomotor domains in the teaching-learning process, and (3) to find out the creative development of manipuri dance in the teaching-learning process. method descriptive research studies are the studies to achieve pertinent and precise information concerning the correct status of phenomena and, whenever feasible, draw a valid conclusion from the facts discovered. they are restricted not only to fact findings. however, they may obtain results in the formulation of essential principles of knowledge and solve significant problems concerning local, state, national, and international concerns. it investigates phenomena in their natural setting, and it varies significantly in complexities. the investigator had adopted the descriptive research method and find out the role of dance education for personality development of upper primary school students of class vi to class viii in imphal west district and imphal east district at schools. population and sampling technique for the present study, all the 915 students of class vi to class viii (2020-2021) session of kendriya vidyalaya-lamphelpat, tolchou ibeton memorial academyhiyangthang, rajkumari sanatombi devi vidyalaya-haotal pangei, and sl arena of learning-khurai khaidem leikai, imphal west district, and imphal east district, and affiliated to bosem (board of secondary education manipur) and cbse (central board of secondary education), were taken as the population of the study. for the present study, the researcher collected 70% of students’ respondents, of which 287 are males, and 343 are females out of 630 students. a study sample was collecting from different schools such as kendriya vidyalaya-lamphelpat, tolchou ibeton memorial academy-hiyangthang, rajkumari sanatombi devi vidyalaya-haotal pangei, and sl arena of learning-khurai khaidem leikai, imphal west district, and imphal east district. the investigator took due care in selecting the appropriate sample technique. a simple random sampling technique was adopted from the target population (students) for the present study. procedure and data collection the investigator took appointment from the school’s principal of kendriya vidyalaya-lamphelpat, tolchou ibeton memorial academy-hiyangthang, rajkumari sanatombi devi vidyalaya-haotal pangei, and sl arena of learning-khurai khaidem leikai, imphal west district and imphal east district of the schools and explained the purpose of the visit. the teacher of the concerned subject was consulted and explained the visit. the researcher collected the list of the students and their email addresses, contact number of guardians from the office on the appointed day after getting approval from the school’s principal. the questionnaire was sent through a google form link to all the students’ email and whatsapp with proper instructions and requested all the students to fill up the necessary entries. they are assuring that their responses would be kept strictly confidential and used for research purposes only. the respondents give three and half-month to fill up and submit the forms, and there were few mortalities in the questionnaire. finally completed the filled questionnaire were 630 students. the sampling technique in this research uses simple random sampling. it means that every member of the sample is selected from the total population so that all members of the population have essentially the same probability of being selected. this is the most popular, basic method of sampling. it is considered the most trustworthy method of securing the representativeness of the whole population. but it is neither arbitrary nor careless or haphazard. instead, the random method of selecharmonia: journal of arts research and education 21 (2) (2021): 246-255250 tion provides an unbiased cross-section of the population. ideally, this would require each population member to be assigned a number; then the sample would be selected from a table of random numbers or other random selection. for example, if we wished to draw a sample of 50 individuals from a population of 600 students, we could place the 600 names in a container and blindfolded, draw one name at a time until the sample of 50 was selected. this approach is also known as sampling from a sequential list or sampling by a lottery system (sidhu, k.s; 2011). tool used in the present study, for collecting the pertinent data, the investigator used for the development of a questionnaire with the ability to measure the aspects specifically aimed for (such as the effect of social value in the teaching-learning process of manipuri dance; benefits of psychomotor domains in the teaching-learning process of manipuri dance; and creativity development of manipuri dance in the teachinglearning process), the starting point was the scales developed by dr.vishal sood, dr. (mrs.) arti anand, suresh kumar on social skills (2019), dr. chandra kumari, ayushi tripathi on life skills (2019), dr. alpana sen gupta, dr. arun kumar singh on moral value (2019), dr. rajiv kumar on children’s curiosity scale (2019) and referring ncert book on training package on art education for primary teachers volume-i, volume-ii and arts education (resource book for teachers), “national focus group on arts, music, dance and theatre” (ncf-2005). the questionnaire is three-dimensional. it comprised 60 items, and each dimension has 20 items each consisting of: social value in the teaching-learning process of manipuri dance; benefits of psychomotor domains in the teachinglearning process of manipuri dance and; creativity development of manipuri dance in the teaching-learning process. scoring procedure the prepared questionnaire consisted of 60 items. the three parameters are social value, psychomotor domains, and creative development of the teachinglearning process of manipuri dance. social value on manipuri dance in the teachinglearning process has 20 items (4 items for negative statements and 16 items for positive statements), psychomotor domains on manipuri dance in the teaching-learning process has 20 items, (5 items for negative statement and 15 items for positive statements) and creativity development on manipuri dance in the teaching-learning process has 20 items, (7 items for negative statements) and (13 items for positive statements). in scoring the statements, this research uses the likert scale. in addition, the questionnaire has a 5-point scale for the positive statement and negative. thus, each respondent can score 250 at the maximum, and they can also score 50 at the minimum. result and discussion sources: research data 2021 figure 1. effect of manipuri dance education on the social value in the teaching-learning process of school in imphal west-district and imphal east district, manipur table 1. effect of manipuri dance educahuidrom rakesh singh & laimayum subhadra devi, the role of dance education for 251 tion on the social value in teaching-learning process of school in imphal west-district and imphal east district, manipur g en de r n o. o f s tu de nt s m ea n s. d . s. e . m . s. e . d . si g. (2 -ta ile d) df t male 287 74.70 6.6 0.375 0.50 0.103 628 -1.633 female 343 75.52 6.31 0.340 sources: research data 2021 from table 1, it can be seen the value of df 628 at a .05 level of significance is 1.96 (two-tailed). since our calculated t value of 1.633 is below the table value, so it is not significant at a .05 level of significance. hence, the null hypothesis is retained. therefore, it can be considered that there is no significant difference in the effect of manipuri dance on the social value in the teaching-learning process of male and female students. figure 2. the benefits of manipuri dance education on the performance of psychomotor domain of school in imphal west-district and imphal east district, manipur table 2. benefits of manipuri dance education on the performance of psychomotor domain of school in imphal west-district and imphal east district, manipur. g en de r n o. o f st ud en ts m ea n s. d . s. e .m . s. e .d . si g. (2 -ta ile d) df t male 287 69.42 6.54 0.38 0.53 0.231 628 -1.199 female 343 70.05 6.71 0.36 sources: research data 2021 from table 2, it can be seen the value of df 628 at a .05 level of significance is 1.96 (two-tailed). since our calculated t value of 1.199 is below the table value, it is not significant at a .05 level of significance. hence, the null hypothesis is accepted. therefore, it can be considered that there is no significant difference of benefit of manipuri dance on the performance of the psychomotor domain in the teachinglearning process between male and female students. figure 3. the creativity development of manipuri dance education in the teaching-learning process of school in imphal west-district and imphal east district, manipur table 3. the creativity development of manipuri dance education in the teaching-learning process of school in imphal west-district and imphal east district, manipur g en de r n o. o f s tu de nt s m ea n s. d . s. e . m . s. e .d . si g. (2 -ta ile d) df t male 287 69.45 6.30 0.52 0.73 0.001 628 -3.625 female 343 72.12 6.71 0.51 sources: research data 2021 from table 3, it can be seen the value of df 628 at a .05 level of significance is 1.96 (two-tailed). since our calculated t value of 3.625 is higher than the table value, so it is significant at a .05 level of significance. hence, the null hypothesis is rejected. therefore, it can be considered that there is a significant difference in the creative development of manipuri dance in the teaching-learning process between male and female students. and thus, female students have more creativity development than male students. social value for manipuri dance in the harmonia: journal of arts research and education 21 (2) (2021): 246-255252 teaching-learning process research results show the effect of manipuri dance education on the social value in the teaching-learning process of school students at imphal west district and imphal east district, manipur (india). therefore, it is essential to implement and direct the curriculum containing dance as a subject. it is related to the previous statement delivered by mangal (n.d., p.124) that children’s social development is most significantly by the schools’ social environment and functioning. the human companionship maintained by the school, the kinds of programs and activities achieved, its tradition, values, principles, the social qualities, and behaviour of the teachers and schoolmates all influenced the child’s social development. students can flourish basic skills of the art forms through hands-on experience and implementation of dance as a pedagogy subject. they can also use these skills during school any function. these courses provide a chance for self-analysis, self-conception, and interpersonal relations while observing schools as sites for societal change, developing social awareness, and the scope to listen and empathize. performance of psychomotor domain for manipuri dance in the teaching-learning process results show the benefits of manipuri dance education on the performance of the psychomotor domain of schools in imphal west district and imphal east district, manipur. students might be getting valuable life benefits and personal development, gaining holistic knowledge, and making aesthetical life. this includes the cognitive domain (thinking ability), the affective domain (emotions or feelings), and the psychomotor domain (physical or kinesthetic). further explained by uppal shveta. (2006, p. 26) the performing arts have different types in nature. they aretheatre, narrative, music, dance, puppetry, etc. it helps give immense flexibility to the students’ psychomotor (physical or kinaesthetic) and affective domain (thinking skill)—the performing need to become an essential component of learning in the curriculum subject. dance teaching as part of the formal curriculum provides several distinct advantages, which are probably encouraged only in the indian system of dance practice. creativity development of manipuri dance education in the teaching-learning process this study shows the creative development of manipuri dance education in the teaching-learning process of schools in imphal west district and imphal east district, manipur. dance education is the art form that student uses their own body, face, and presence as a medium of expressing their performances. according to rabindranath tagore, “literature, music and the arts, and all are necessary for the development and flowering of a student to form a total integrated personality.” the nep2020 (new education policy) also mentions the importance of arts and culture of several creativity to nourish language, arts, and culture in school children. the prominence of music, arts, and crafts all over school levels. “in the 4.7. part of the policy, art-integration is a cross-curricular pedagogical approach that utilizes various aspects and forms of art and culture as the basis for learning concepts across subjects. as part of the thrust on experiential learning, art-integrated education will be embedded in classroom transactions to create joyful classrooms but also for imbibing the indian ethos by integrating indian art and culture in the teaching and learning process at every level. this art-integrated approach will strengthen the linkages between education and culture” (nep, 2020, p. 12). further, kala vidya’s articles deal with arts published in the year 1918. many shantiniketan (name of the place) and visva bharti did not support the inclusion of music and art as the main subject. however, they were ready to accept music and art as an item of entertainment, but not as huidrom rakesh singh & laimayum subhadra devi, the role of dance education for 253 subjects like literature, grammar, philosophy, science, and history, which were deemed suitable for higher studies at the university level. gurudev rabindranath tagore said that man expressed his personality through the quality of mind, which might be developing with the help of art. in all the countries, civilized or uncivilized people have sympathy for art. conclusion based on the results of the study for the role of dance education analysis, it is shown that the personality development of school students’ needs upon (1) social value; (2) psychomotor domain; (3) creativity development. this is due to the background of dance teachers working in different schools for teaching-learning. it helps with personal identity and self-esteem and helps to create cultural awareness and empathy. dance education helped realize one’s own potential for self-enhancement, confidence, problem-solving, and creativity. it enables to recognize the importance of group work and socialization among the students. references amado, d., molero, p., del villar, f., tapiaserrano, m. á., & sánchez-miguel, p. a. 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(2012). flamenco dance in primary education: a living theory approach to dance education. educational research for social change, 1(1), 51–68. 254 polemic and reasons for reusing wayang and gamelan as a medium for contemporary preaching islam religion in central java, indonesia aris setiawan institut seni indonesia surakarta, indonesia submitted: 2022-07-07. revised: 2022-10-19. accepted: 2022-11-28 abstract this study aims to reveal the main reasons why wayang kulit (shadow puppets) and gamelan music were used again as tools of islamic da’wah after the wali sanga era (nine saints). in central java (banyumas, solo, demak, pati), there has been a phenomenon of islamic preaching and recitation performed by kiai using wayang kulit and gamelan music. this study uses a phenomenological approach, which is to get an explanation of the apparent reality. this approach focuses on events that are seen as having an impact, polemic, and discourse on life. this study also uses a critical approach, looking critically at the phenomenon of -artbeing researched to test how far the view that puts that wayang (and gamelan) is not by religious rules is accepted, rejected, and even opposed. the result shows that although da’wah using wayang and gamelan has sparked a lot of polemics, the use of wayang and gamelan music is considered more effective in spreading islamic teachings to grassroots communities due to two factors. first, continuing the trace of tradition brought by the first islamic missionaries in java (wali sanga). second, to make people aware, especially young santri (prospective preachers) or congregation today, realize that islam is spread peacefully and without resistance through art. keywords: islam, wayang, gamelan, da’wah, tradition, santri, pesantren how to cite: setiawan, a. (2022). polemic and reasons for reusing wayang and gamelan as a medium for contemporary preaching islam religion in central java, indonesia. harmonia: journal of arts research and education, 22(2), 254-267 harmonia: journal of arts research and education 22 (2) (2022), 254-267 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i2.38636 which include javanese shadow puppet characters and gamelan. wayang, synonymous with the mahabharata and ramayana stories, was later changed to have an islamic flavor. this reminds us of the story of sunan kalijaga (a member of the nine saints) in the mission of spreading islam in java (ismurdyahwati, 2013). it is common information that sunan kalijaga uses wayang in his preaching. lukens-bull (2008) said that the wayang was reinterpreted from a play with hindu nuances. even the shape and form of the wayang were changed (stylized) by introduction in february 2022, the people of indonesia were shocked by the opinion of a well-known preacher, khalid basalamah, that wayang kulit (shadow puppets) performances are haram and, therefore, the existence of wayang must be destroyed (ucu, 2022). his statement went viral and sparked a lengthy debate among the public. contrary to this, some kiai in java views that da’wah (preaching, which is an invitation or call to the way of god) can be done using a variety of mediums, some of corresponding author: e-mail: arissetiawan@isi-ska.ac.id p-issn 2541-1683|e-issn 2541-2426 aris setiawan, polemic and reasons for reusing wayang and gamelan as a medium for 255 sunan kalijaga, so they were not like humans because islam forbids depicting a person’s face and body. such a mission is trying to be reproduced in a contemporary frame by some kiai such as; bintoro (solo), sun haji (banyumas), mastur (jepara), ki goro-goro (demak). the same thing also started to happen in east java, which was pioneered by ki fadil (sidoarjo). they are kiai, ustad, or pesantren graduates who preach, and carry the mission and message of islam through javanese culture for their santris (in the pesantren environment), and the public in general. in the life of the javanese santri world, wayang and music (gamelan) may become something foreign. however, not a few pesantren use wayang and music as a means of preaching and entertainment (relaxation). the core meaning of the word santri is islamic school students (woodward, 2004, p. 119). in general, it is possible to distinguish between santri who practice ritualistic and mystical aspects of javanese islam and reformist santri who have close links to fundamentalist movements in the middle east. meanwhile, the “traditional” pesantren in java can be categorized as a meeting room between the two poles of “java and islam” (ricklefs, 2007). santri, believes that all the requirements of normative piety must be met to enter the mystical path. most also think that the inner element of religious life is more important than the outward form. geertz (1960, p. 126) even views traditional santri live in a solitary world. moreover, the concept of santri, which stirs up hindu, javanese, and islamic teachings, is currently considered to be something oldfashioned but can provide a balance of life as a stable javanese human. more on this, greets added: “santri, who are very conservative, even though they are often called “orthodox” is actually not the most islamic javanese muslims, but they are less than that. they create the minimum shift from traditional systems, where the animistic elements of hinduism and islam are found in stable equilibrium” geertz (1960, p. 125). based on this view, such santri, wayang, and gamelan are indicated as relics of ancient javanese teachings (hinduismbuddhism); in fact, they are used and are still preserved. we can trace this to hairus salim’s writing “pertemuan wayang dan pesantren: pandangan seorang santri terhadap kesenian” (2003). however, the relationship between pesantren and the arts is often paradoxical and ambivalent. on the one hand, art is supported and practiced as a valid daily expression. especially after art is understood not only in terms of its aesthetic side but as part of religious expression; on the other hand, art is resisted and punished. this is especially true if art is considered an activity and expression that rivals and even go against the religious values believed to be (salim, 2003). furthermore, how can art be standardized based on religious values? how is art rejected and accepted by the religious community, especially the kiai, the santri, and life in the pesantren? hairus, in his research, tried to find this relationship by reading a part of the autobiography of kiai saifuddin zuhri (minister of religion in the demokrasi terpimpin (guided democracy) era under president soekarno [1962-1966], and minister of religion in the ampera cabinet under president soeharto [1967]) in the book guruku orang-orang dari pesantren (1974). the book was published again by the lkis publisher in 2012. on the back of the book cover are comments from historian and cultural observer kuntowijoyo, who said that the book was precious for knowing how the santri were familiar with wayang and gamelan. the comment is quite interesting because there is a clear affirmation of the familiarity of the santri with wayang and gamelan. the statement can also be read in a different light. first, the intimacy between santri and traditional javanese art in the world of pesantren is considered something unusual or distant from the general public’s life. in other words, wayang and gamelan are areas that are considered “public property” not belonging to the santri in the pesantren. second, the exisharmonia: journal of arts research and education 22 (2) (2022): 254-267256 tence of a statement of closeness between santri and traditional javanese art shows that the power of traditional pesantren is not only formed in the dominance of religiosity in the form of sacred religious dogmas but looks flexible and acculturative. third, the relationship between the santri and the wayang-gamelan explains the pattern of continuing the tradition. for traditional santri, wayang and gamelan are considered part of religious preaching. no matter how strong the reforms in islam are that reject all things that smell like traditionalism, these pesantren are still trying to hold on to the narrative or cult story about the wali (nasir, 2019). however, hairus salim’s reading needs to be reinterpreted as important information, especially through kiai saifuddin zuhri’s autobiographical book in the 70s. that year, the polemic between the “right-wing” and “left-wing” who identified as a communist was still felt. automatically, this affects people’s perceptions of artistic life (lekra: lembaga kebudayaan rakyat [the people’s cultural institute] under the indonesian communist party) and the pesantren world. the affirmation of the closeness between santri and wayang or gamelan then became quite a sensitive issue, so it needed great consideration to express it at that time. in addition to the references mentioned above, several previous studies that have discussed the relationship between art (especially local wisdom) and pesantren are ma’sum, triyanto, & syarif (2018), nurdianto, joebagio, & djono (2019), fauzi (2019), hudaeri, karomah, & al ayubi, (2020), patriadi, bakar, & hamat (2015). almost all of these studies explain the local wisdom that is each region’s main characteristic of pesantren. of the many references, no one explicitly discusses the relationship between wayang and gamelan with pesantren and kiai. it is in this context that this research is essential to do. while siti (2005) and usulludin’ (2003) studies try to offer a different novelty alternative, siti explained that “art is not for art” because it must express spiritual dimensions, the principles of monotheism, to guide humans to god’s way. this type of art which, according to usulludin, has not been widely available or created, even if there is one, is only an artistic expression that is not much different from the others (popular art). both of these views seem to want to explain that the essential thing in the context of art is its spirituality. whereas, in reality, on the field, the kiai (in this study) are also playing in the area of aesthetics. one of them is by working on the musical side, which is quite riveting, wayang plays which are not only new but also full of creative humor. in other words, islamic art, in the context of this research, is an attempt to juxtapose the spiritual side with the high aesthetic side; there is a balance between the two. the main problem is a movement has emerged to reject the arts (traditional, especially wayang and gamelan) from being used to preach islam. this research shows that there is resistance from the preachers. they use wayang and gamelan as a means of da’wah. the novelty of this study is to explain the findings of the strategy chosen by islamic preachers in preaching using wayang and gamelan. the kiai then had a large number of congregations and fans. this proves that efforts to weaken the traditional arts (wayang and gamelan) as a means of islamic da’wah continue to be met with massive resistance method this study uses a phenomenological approach, placing phenomena as subjects to be read and interpreted further (qutoshi, 2018). this approach focuses on events seen as having an impact, polemic, and discourse on life (holroyd, 2001). in the analysis process, phenomenology is not based on hypotheses or assumptions (sanders, 1982). this approach requires researchers to be further involved, observe, and take data directly on the phenomenon or subject of the study (neubauer et al., 2019). in other words, the presence of researchers in the field is essential to prove whether the phenomenon is merearis setiawan, polemic and reasons for reusing wayang and gamelan as a medium for 257 ly a usual social symptom or has further implications for the existing social order (greening, 2019). the polemic about the prohibition of wayang (and gamelan) performances because they are considered inconsistent with islamic religious norms is contrary to the phenomenon in grassroots society. puppets and gamelan are used as an essential part of islamic da’wah. this study also uses a critical approach, looking critically at the phenomenon of -artbeing studied (geahigan, 1983) to test how far the view that puts that wayang (and gamelan) is not following religious rules is accepted, rejected, and even opposed. this can be observed from grassroots preachers (north coast of java) trying to fight hegemony, namely preaching using wayang and gamelan. to get answers to questions such as; why do they do that? in addition to observation (baker, 2006), interviews are essential (mathers, fox, & hunn, 2000). interviews were conducted with preachers who use wayang and gamelan as part of their da’wah. the da’wah presentation became a show enjoyed by the public. therefore, an ethnographic approach as an effort to understand a phenomenon is necessary (humphreys & watson, 2009). this is to find out to what extent da’wah with wayang and gamelan has received appreciation and even resistance from the public result and discussion experience wayang and gamelan it is interesting to find out more about kiai saifuddin zuhri’s experience with the world of gamelan and wayang, especially in pesantren; here is his statement. “in the pesantren, watching wayang is hardly contested about the law, haram or permissible. some take the attitude of not permitting. it is not explained to what degree the impossibility of it, whether it is haram or makruh with the argument of listening to exciting sounds until they are neglected from remembering allah (dzikrullah). even though not remembering allah is haram. besides, mixing between men and women at night can lead to immoral acts. some take the position of being allowed because it is said that wayang is the creation of the saints (wali sanga) in assimilating hinduism into islam. after all, one can take the essence of the lessons that are contained in wayang plays” (salim, 2003). furthermore, although watching wayang or playing music (gamelan) is against the law, it is not easy to choose whether it is haram or permissible. the problem then is that watching or playing the wayang all night long means that the santri have left their main task (reciting the al qur’an). the thing that was feared later was that the santri was too late and found the spectacle’s ecstasy in the wayang show. moreover, physical boundaries are often eliminated; men and women can mingle to watch without barriers. in the world of islamic boarding schools (pesantren), this is strictly avoided. but once again, the students still view and appreciate that this art is a legacy of sunan kalijaga. the award is not only in terms of forwarding and announcing presenting wayang in the world of pesantren but also reading books other than the al qur’an, such as the yellow book [kitab kuning] (bruinessen, 1994). moreover, wayang, teaching life guidance is not just a spectacle (figure 1). figure 1. ki joko goro-goro’s “da’wah show” stage. (photo: setiawan, 2015) like most santris, kiai saifuddin’s childhood at the pesantren was closely connected with the world of wayang. his father allowed him to watch the wayang but had to recite the al qur’an in the morning (salim, 2003). as previously explained, harmonia: journal of arts research and education 22 (2) (2022): 254-267258 watching a wayang means emptying the recitation schedule; it must be replaced automatically. moreover, little saifuddin, when he was at the pesantren, explained to him that the five pandawa figures (yudistira, bima, arjuna, nakula, and sadewa) symbolized the pillars of islam. even the names of the wayangs are also trying to be connected in islamic arabic, such as janaka, which means janatuka (which means heaven), and arjuna who gets a secret weapon called kalimasada, which muslims consider to be short for sentence shahadat (lukens-bull, 2008). figure 2. ki joko goro-goro using wayang as part of his preaching (photo: aris setiawan, 2015) documentation of the photos in this study were taken from 2015 to 2017. however, da’wah activities using wayang and gamelan are still being carried out today (gm media, 2022). wayang plays in the pesantren world do not only originate from the epics of ramayana and mahabarata. ki joko goro-goro (personal communication, march 2015) explained that the puppet plays that were displayed had very islamic nuances such as nggoleki tapake nabi muhammad (looking for the prophet muhammad’s footprints), semar ngislam (semar converted to islam), pandawa sholawat (pandavas converted to islam), puntadewa dadi ustad (puntadewa become a kiai) and so on. likewise, with the play that little saifuddin watched, entitled bima ngaji (bima reading the al qur’an). the world of wayang then influenced the santri, and little kiai saifuddin, even he and his friends often imagined playing wayang at the mushola. some become dalang (puppeteermasterminds) while accompanied by gamelan music using their mouths. “sometimes i imitated the puppeteers’ stories when we were about to sleep at the kiai khudhori’s langgar (small mosque). we occasionally sleep together. when the night is quiet and the lights have been turned off, a friend imitates the puppeteer when telling a story. the various stories are imitated, the story of the birth of gatotkaca, srikandi meguru manah, or petruk dadi ratu. if a friend pretends to be a puppeteer, the rest of us pretend to be gamelan musicians. of course, the sound of the gamelan is sufficient by mouth. i’ve been appointed to be a pretend puppeteer. i kept telling stories; suddenly, my friends were all sleeping” (salim, 2003). however, it is not certain whether the position of the santri at that time (the 1920s) was merely a spectator or it was permissible to hold wayang performances as part of learning in the world of pesantren. by looking at the phenomenon that occurred in kiai saifuddin, it appears that the world of wayang is a favorite spectacle for students. moreover, his teacher’s opinions and statements that the wayang is a representation of islamic teachings. the dynamics of pesantren life, especially those based on nahdlatul ulama (nu), are quite interesting to observe regarding students’ concessions to watch and enjoy wayang puppets. lukens-bull (2008:4) even said that many islamic boarding schools are the main sponsors of wayang performances, gamelan concerts, and other javanese traditional arts. this means that puppets can be performed freely in islamic boarding schools, such as when the gontor islamic boarding school presented ki anom suroto on its 90th birthday (2016). the ambivalence of the relationship between wayang, gamelan, and pesantren triggered abdurrahman wahid to write an article entitled “seorang santri menilik pandawa lima (a santri looks at five pandavas)” (march 24, 1988). he revealed aris setiawan, polemic and reasons for reusing wayang and gamelan as a medium for 259 that wayang stories provide lessons or other teachings not found in pesantren. with a strong religious background (a descendant of nu’s founder and a very respected kiai), abdurrahman wahid tried to defend the wayang and gamelan performances. as seen in figure 1, there are words: angeluri buddhaya jawi, mangga sami ngaji, ngugemi agami, manut tak lampahipun para wali (preserving javanese culture, let’s recite the koran, stick to islam, and follow all the saints’ actions). these words try to explain that the islamic religion becomes more apparent if it adheres to the teachings of the wali (nine people who are purified). in other words, the interpretation of the al qur’an verses and the prophet muhammad’s hadiths are easily understood by the people of indonesia, and java in particular, because of the struggles and existence of these saints. the wayang (and gamelan) polemic in the pesantren world thus drew a lot of attention between the permissible and the forbidden, thus requiring well-known kiai like abdurrahman wahid and kiai saifuddin to provide clarification with their respective versions and views. however, there are limits to what plays are “acceptable” to the santris and are not acceptable. generally, santris like plays have powerful islamic teachings compared to plays in general. even to enter the world of pesantren, wayang plays often have to be changed or adjusted (masroer ch., 2015) figure 3. santri and community the da’wah using wayang and gamelan at one of the pesantren in pati (photo: aris setiawan, 2017) regarding music, resistance also accompanies it, but in certain contexts, music is more acceptable in the world of pesantren, such as the reading of islamic songs sourced from albarzanji (ashari, 2012), sholawatan (aryani, 2017), puji-pujian (said, 2018), and so on. music in this context is considered an integral part of islamic teachings because it can accommodate direct reading of the al qur’an verses. the most striking thing we can observe, for example, is in the performance or the maiyah recitation conducted by em ha ainun najib (cak nun) with his kiai kanjeng gamelan group (jamuin & saputri, 2017). cak nun uses gamelan music to preach and sing sufistic islamic praises (howell, 2001). thus, the presence of music can be felt more flexible and adaptive. handayani and swazey (2018) explained that, in fact, pesantren is very democratic in terms of the arts, especially among the nu circles). as long as the logical reasons are well explained and beneficial to the people, pesantren will not reject it. however, according to ki joko goro-goro (personal communication, march 2015), all must be sorted and selected for their meaning and philosophical values. the excess is that many pesantren graduates work as preachers using wayang and gamelan music. figure 4. ki joko goro-goro used gamelan as a means of preaching (photo: aris setiawan, 2016) regarding understanding gamelan’s presence in the world of pesantren, it can be observed from the traces of contact between islam, saints, and gamelan sekaten. in the footsteps of islam’s journey in java, gamelan sekaten has become an harmonia: journal of arts research and education 22 (2) (2022): 254-267260 important element in terms of music and its religious function (rahayu et al., 2020). gamelan sekaten is made with jumbo size, five times bigger than ordinary gamelan, capable of generating loud sound echoes within a far radius. the local community became interested to see it. however, enjoying the sekaten gamelan is not free. local people have to perform ablution and read two sentences of the creed (shahadat) if they want to see and enjoy the sekaten repertoire (utami, 2011). after the gamelan was played, sunan kalijaga preached, and the people consolidated themselves to convert to islam. this is a method of spreading islam in java (sulaeman, 2019). gamelan sekatan is used to commemorate muhammad s.a.w.’s birthday for a whole week in front of the great mosque of surakarta. daryanto (2015) even mentioned that preaching using the gamelan sekaten had been carried out by saints since the demak kingdom’s era in the 16th century. however, the existence of gamelan sekaten at that time was not known until now. the idea of using gamelan sekaten is the answer to the obstacles that arise when the saints spread islam. at that time, the javanese people had powerful beliefs in hinduism and buddhism. so, tools were needed to make the da’wah of islam more attractive, and sekaten was the answer to that (waridi, 2006). sekaten itself comes from the word syahadatain, which means two sentences of the shahada (rahayu et al., 2020). the two sentences of the creed are also symbolized by the two sets of sekaten gamelan, which have the names kiai guntur sari and kiai guntur madu, which are placed on the south and north sides of the masjid agung (great mosque) of the palace. two musical compositions (gending) are presented, namely rambu and rangkung. the music was presented as a kind of musical concert, watched and enjoyed by people who had previously converted to islam. it is said that the preaching of sunan kali jaga accompanied it. by looking at the history, the kiai (as mentioned above) seem to find justification for the use of wayang and gamelan in their preaching, both within the pesantren environment and society in general. it is a practice of continuation of the same tradition that the saints had done. ki mastur (personal communication, may 2015) explained that da’wah using wayang and gamelan today is urgent to return islam as a rahmatan lil alamin. considering that currently, there are many anarchist events under the guise of religion, it is as if islam is inhospitable, harsh, and cruel. through wayang and gamelan, the kiai tried to recall the importance of preaching islam, which is more polite, respects others, and still adheres to the existing culture as in the early history of its spread. in other words, wayang and gamelan are symbols for peace-loving islam. wayang and gamelan for preaching islam the first islamic kingdom in java was on the north coast, marked by the great demak mosque’s construction. ricklefs (1974, p. 17) said that the emergence of an islamic kingdom in java was dominated by “secular” monarchies who portrayed themselves as saints. at this point, the hindu-buddhist kingdoms experienced a political decline and were subsequently taken over by the islamic kingdom. furthermore, when java was colored with islamic kingdoms, the javanese king’s title became “sultan” or “sunan” (burdah, 2017). this is an effort to strengthen the religious mandate of islam. in this area, then islam is not only a partial religion or suddenly exists, but it needs missionaries who spread it. missionaries are known as saints. islam tries to be as flexible as possible so that there is no radical clash with javanese culture, which previously embraced hinduismbuddhism. this subtle way of spreading islam is the marker and the beginning of islam to be accepted peacefully. the method used is preaching through wayang (and gamelan). even at this point, the assumption often raised is that art is changed and polished so that preaching can be carried out poliaris setiawan, polemic and reasons for reusing wayang and gamelan as a medium for 261 tely and does not cause conflict. wayang is an important tool in this context. the wali sanga is considered to be the pioneer and the main originator of creative ideas of preaching through wayang and gamelan arts (muljana, 2005). as a result, islamic teachings did not become dogmatic rites but blended and became linked with javanese culture. automatically, islam in java has a unique side. in this regard, woodward (2004, p. 83) explained that the history of the linkage between javanese and islamic culture is still very obscure. the origins and spread of islam in southeast asia (indonesia and java in particular) have never been written in full due to the lack of reliable reference sources (lukens-bull, 2008). as we know, for example, the javanese belief that the wayang kulit form today is the result of the creativity of sunan kalijaga. however, there is no reference that clearly and accurately portrays the incident. as a result, sunan kalijaga has become a kind of “social myth” that is believed in its existence (sumarsam, 2018, p. 132). sunan kalijaga is very well known in javanese culture. he is seen as one of the nine saints who performed many miracles. in shadow puppets, sunan kalijaga changes the shape or face of a leather puppet so that it does not resemble a human face. islam forbids the depiction of human faces. wayang kulit is also made to be more “strange” but unique (sumarsam, 2018). her hands and nose are too long, and her body is flatter. islamic stories are included in the narrative of wayang stories. it is even said that a javanese puppet story, dewa ruci, about bima’s journey to meet his lord, was born. the story is outside the two major narratives, namely ramayana and mahabharata. javanese culture is a world of symbols. wayang, with all the furniture and medium, are life symbol (subiyantoro et al., 2020). wayang plays are also full of meaning. mystique, heroism, love, courage, and heroism are symbols of life disguised as wayang shadows in the dramaturgy frame played by the puppeteer. this proves that wayang is a world of symbols, only those who have “landhep rasa” (inner sensitivity) can decipher the symbols and their meanings behind the screen called “kasunyatan” or reality (sumarsam, 2018). it is javanese philosophy that has formed the symbols in the wayang. it is realized that all the results of human thoughts and experiences in their journey toward perfection are a fixed pattern. javanese philosophy is one of the philosophical traditions that has grown and developed in indonesia and the accumulation of javanese society’s thoughts, experiences, and feelings, which have crystallized into a culture. this javanese philosophy is embodied in the form of symbols in wayang performances (mrazek, 1999). thus wayang performances are seen as a symbolic language of life that is more spiritual than outward. such as islamic practice, which emphasizes the transcendental aspect of religion rather than worldliness. so for people who love wayang, wayang performances are used as a guide for attitudes and actions, as is the islamic perspective on the nature of life, the origin and purpose of life, the relationship between humans and god, humans and humans, and humans with nature (soetarno, 2005). based on this fact, art and religious lovers will truly appreciate the puppet show, listen to all the dalang’s narratives of the puppets, and absorb all the essence of islamic teachings manifested in wayang performances with a predetermined duration. while in music, there is a latin term that reads, qui bene cantat bis orat, which means whoever sings well, prays twice. in both catholic and christian religions, music is used for dialogue with god, usually known as liturgical music. in hindu society, dialogue with god is also usually done by mouth music, usually called mantra or commonly through pesantian. people who believe in god almighty in java often have dialogues with god on certain days with oral music, commonly called mamaca. the people who believe in god almighty in batak, commonly known as parmalim harmonia: journal of arts research and education 22 (2) (2022): 254-267262 use the gondang sembilan music to get closer to god. music does not only intersect with religious facilities. in the nusantara tradition, music plays a role in strengthening traditional institutions during ritual ceremonies. in the dayak banuaq community, the kelantan music media, is used to accompany the belian sentiu ceremony. the madurese people use the media of music and singing to hold the sandhur dhamong ghardham ceremony. the madurese people ask for blessings from god so that their harvest from the sea can always be fulfilled. the toraja people use a vocal musical instrument called ma’badong in the death rites of rambu solok. the combination of the typical torajan dance and vocals is believed to be a means of praying so that god can accept people who die. even ma’badong is an expression of the sad lament of those who are left behind. thus, the existence of music in the community that supports it is born to fulfill aesthetic fulfillment in the context of entertainment and fulfill religious needs. with its universal language, music can be a powerful means for organizing the “rites of life.” music is a language that all people can accept without the person having to know its contents verbally. still, music can convey various hopes and surrender to god almighty’s power as a servant of the weak (fung, 2016). among the preachers of islam themselves, music has become familiar and commonplace for voicing religious calls (cahyono et al., 2020). in indonesia, there is rhoma irama (dangdut singer) who collaborated with zainudin mz (preacher) in the “nada dakwah” event. bimbo and several other artists collaborated with preachers to entertain with religious calls. this collaboration became a cultural phenomenon in that era. even during its golden age, this phenomenon reaped a high percentage of organizing more than non-preach music concerts, especially when religious celebrations had arrived. let’s say that the month of ramadan was the moment of holding religious music. apart from religious music development with pop nuances, nowadays there are many islamic preaching that uses traditional music, especially gamelan. call it ki bintoro (solo), ki sun haji (banyumas), ki mastur (jepara), ki joko goro-goro (demak), ki fadil (sidoarjo). also, see emha ainun nadjib with gamelan kyai kanjeng, ki enthus susmono with satriya laras, ki junaedi through gamalen wayang walinya, ki sukron suwanda who, when preaching, uses the media of wayang and gamelan figures. even the religious scholars with nu students’ backgrounds packed wayang and gamelan into preaching dishes that were very attractive to the common people, entertaining and enlightening. therefore, serving that involves gamelan in the preacher arena is recognized as something to captivate the public because it is an embedded culture that builds seriousness, not just the delivery of verbal and monotonous language. still, it is interspersed with music as a breaker or a freshener. religious music polemic right-line muslims argue that using music actually leads to haram. several prominent islamic figures, such as al wahidy, abdullah bin abbas, abdullah bin mas’ud, imam ibnu katsir, stated that music is unlawful (sinaga, 2001). imam ibn kathir, in his interpretation, explained that after allah told about the condition of happy people in verses 1-5, namely those who received guidance from allah’s word and they felt that they enjoyed and benefited from reading the qur’an. allah told them in verse 6 about the miserable people who turn away from listening to the qur’an and turn towards singing and music. abdullah bin mas’ud is of the view that music is something that is haram. abdullah bin abbas, who is nicknamed turjumanul qur’an, is convinced that the above verse explicitly prohibits the use of music as a means of religion. the position of music in the content of the al-qur’an has not yet been found. the words musiqi, qhina, or the same, aris setiawan, polemic and reasons for reusing wayang and gamelan as a medium for 263 which involve the meaning of music, are not found in the qur’an (choudhury, 1957). not found a statement or a single word about music in the al qur’an, which is direct and explicit, which identifies the concept of music. however, those who reject music base their argument on allah’s condemnation in qs 26: 224, which reads, “wasyusyu aro’u yattabi’ uhmul ghowun, “which means” and those poets, followed by evil people. “ those who forbid music agree that music is “useless speech” (lahwal-hadith), “something that sheds light” (saamiduun) and “contains false testimonies” (adzadzuura). in contrast to the above view, many muslims support that music is commonplace in religion and even music is a gift for life. they interpret the term beauty or soundness in the qur’an as synonymous with music. as noted by choudhury (1957), according to his supporters, music is nothing but melodious / and music is nothing but tone poetry. among the verses in the al-qur’an that music supporters often use or support their arguments are: that “the beauty of sound” is mentioned in al qur’an sura 35: 1, with the following sound: yadzidu fil khal maa yasyaa allah has added his creation according to his will, namely the beauty of sound. that “sweet voice” is mentioned in al qur’an sura 30:15, with the following sound: fahum fii roudotim yuhbaruun they were rejoicing in the garden listening to beautiful songs from heaven. whereas the term “song” is mentioned in al qur’an sura 73: 4, with the following sound: warottil qur’ana tartila and read the al qur’an with chanting. imam al ghazali shows qs-31: 19 as a verse that conceptualizes the understanding of allah’s praise for a beautiful voice, even though it is pronounced differently: “indeed, the worst sound is the voice of a donkey” choudhury (1957, p. 62). of all the arguments of the qur’an and its views on music, by music supporters as well as by those who reject the existence of music, there is not a single word that directly or explicitly identifies the concept of music. in this case, choudhury (1957, p. 64) commented that it is difficult to place music in islamic teachings properly. this means that the qur’an does not say that music is allowed or not, nor does it indicate anything that criticizes or allows music. thus, perhaps it can be said that whether or not a musical activity is allowed is an interpretation of the verses contained in the al-qur’an from people interested in music. the qur’an does not clearly allow or prohibit music, but what do the scholars think? in the book ihya ulum ad-din (reviving religious sciences), a great scholar imam al ghazali explained in choudhury (1957, p. 64) that hearing song, namely “sweet voices,” is permitted by islamic teachings to understand that people who hear that sweet voice will get pleasure. a sweet voice is a blessing that allah gives to his servant and one of the characteristics of a prophet, as narrated by tarmidzi, which reads, “allah ta’ala did not send a prophet, but his voice was great.” according to al ghazali (choudhury, 1957), the prohibition of hearing a sweet voice was not due to the beauty of the sound itself, but due to something outside it, the context of “who makes the sound,” “who listens” to the voice. the context of the prohibition put forward by al ghazali is explained as follows: if the person making music is the opposite sex from the listeners (with a note that it is permissible for them to be married according to islam), then this is prohibited because they are worried that sexual desire will arise, which is something that is prohibited in islamic teachings. in this context, al ghazali also explained that singing has advantages that can move sexual desire (choudhury, 1957, p. 64-65). those who listen make singing their custom and way of life to take their time from other tasks, such as religion. according to al ghazali, this is forbidden because anything done excessively is prohibited (choudhury, 1957, p. 64-65). musical instruments are used as symbols. according to al ghazali, drinharmonia: journal of arts research and education 22 (2) (2022): 254-267264 kers of khamar (a type of drink that contains alcohol) are iraqi serunai, fiddle, and instruments that symbolize people who liken themselves to women (mukhannats), namely long drums with small centers [domes]. according to al ghazali, the iraqi serunai, the rebab, and the dome are prohibited instruments. muslims consider khamar drinkers and mukhannats to be sinners, and anything that has become their tradition is also prohibited from being imitated (jähnichen, 2012). songs contain bad, vile, insulting words and lies against allah, the prophet, and his friends. according to al ghazali, this was forbidden both for those who made it and those who heard it. likewise, texts that characterize the shape of a woman’s body and other things contain things that are haram (jähnichen, 2012). from the explanation put forward by al ghazali, it can be said that a melodious voice or singing in the context of music is allowed in islam’s teachings (susetyo, 2005). the prohibition against melodious voices or singing is caused by negative things prohibited by islam, which are associated with these musical activities. based on the above understanding, it seems that islamic preachers in central java (bintoro [solo], sun haji [banyumas], mastur [jepara], ki goro-goro [demak]) are positioning themselves to use the positive side of wayang and gamelan. the positive side places wayang and gamelan as a catalyst in making da’wah easier to be accepted. wayang and gamelan function more as media, not subjects that are the main focus of the problem. thus, wayang and gamelan are considered as means that only deliver da’wah to be more accepted and understood, especially by grassroots communities. its main essence is in the content of the da’wah, not in the wayang and gamelan. the story of the harmonious relationship between wayang-gamelan and kiai saifuddin zuhri in the world of pesantren shows that traditional arts are generally well accepted as long as they have a strong positive impact. conclusion based on the analysis, it is seen as a whole that music is an important part of a religious message, apart from all the polemics that accompany it. inside the pesantren walls, the contact between santri, wayang, and gamelan has long historical traces. however, it must be admitted that the relationship between pesantren and art (music) is often paradoxical and ambivalent. on the one hand, art is supported and practiced as a valid daily expression. moreover, art is understood not only from an aesthetic point of view but also in terms of the expression of the spread of islamic teachings, such as in the history of the saints in preaching. but on the other hand, art is resisted and punished. especially if art is considered an expression that goes against the religious values that art believes in; in this context, wayang and gamelan (music) are more aesthetic expressions so that the public can accept preaching and have a mission to raise awareness about peaceloving islam. these are the reasons why many kiai preach using puppets and gamelan. the results of this study indicate that the rejection of wayang and gamelan in the latest islamic discourse has a fairly elementary error, namely focusing solely on material forms, not on the essence of the da’wah conveyed. the polemic related to this is due to a lack of basic understanding of the traces of contact between islam and java that take place flexibly in positioning wayang and gamelan as catalysts so that da’wah can take place ideally. the kiai, who became the object of this research, carried out a massive movement using wayang and gamelan in preaching to win the hearts of the grassroots community. the implication is twofold. firstly, the essence of da’wah can be accepted easily. second, traditional arts, which in this context, wayang, and gamelan, can continue to be sustainable. aris setiawan, polemic and reasons for reusing wayang and gamelan as a medium for 265 references aryani, s. a. 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(2012). guruku orang-orang dari pesantren. lkis. 163 persepsi masyarakat terhadap pertunjukan musik dangdut organ tunggal eka titi andaryani pgsd universitas negeri semarang, kampus jl. kemandungan tegal e-mail: ekatiti@gmail.com abstrak penelitian ini bertujuan untuk mengetahui : (1) bentuk pertunjukan dan budaya masyarakat setempat terhadap pertunjukan musik dangdut organ tunggal; (2) persepsi masyarakat kota tegal terhadap pertunjukan musik dangdut organ tunggal. penelitian ini menggunakan pendekatan deskriptif kualitatif dengan cara menggambarkan atau menguraikan keadaan yang terjadi pada objek penelitian yang dalam hal ini pertunjukan musik dangdut organ tunggal di kota tegal. teknik pengumpulan data yang digunakan adalah studi pustaka, observasi, wawancara serta dokumentasi. data dianalisis dengan menggunakan analisis data deskriptif. berdasarkan penelitian ini dapat disimpulkan bahwa pertunjukan musik dangdut organ tunggal di kota tegal seringkali dihadiri oleh banyak penonton dari berbagai tingkatan usia. lagu-lagu yang disajikan pada pertunjukan organ tunggal sebagian besar berupa tarling dangdut. pertunjukan musik dangdut tersebut dijadikan cerminan status sosial masyarakat kota tegal. social perception towards solo organ dangdut musical performance abstract this study is aimed to find out: (1) performing arts and culture of local people in solo organ dangdut musical performance; (2) tegal people’s perception towards solo organ dangdut musical performance. this study uses descriptive-qualitative approach by describing or figuring out the facts in the solo organ dangdut musical performance in tegal. techniques of data collection in this research include library study, observation, interview and documenting. this research uses descriptive analysis. from this research, it is concluded that the solo organ dangdut performance in tegal attracts more audience of different ages. the songs that are presented in the solo organ performance are mostly dangdut. the dangdut musical performance can reflect social status of tegal people. kata kunci: pertunjukan musik, organ tunggal, dangdut, persepsi pendahuluan indonesia kaya akan ragam musik, baik musik tradisional seperti: karawitan/ gamelan, rebana, gambang kromong dan lain-lain, maupun musik internasional seperti : jazz, rock, pop, dan lain-lain. dari keragaman musik tersebut yang cukup mendapat tempat di hati masyarakat kota tegal adalah musik dangdut. hal ini dapat dibuktikan dan disaksikan dengan tumpah ruahnya pengunjung bila diselenggarakan pertunjukan musik dangdut di kota tegal. berbeda dengan musik lainnya, misalkan saja pertunjukan musik gamelan dan klasik, penontonnya relatif sedikit dan biasanya hanya sebatas jumlah kursi yang disediakan saja. begitu juga dengan muharmonia, volume 11, no.2 / desember 2011164 sik keroncong, kebanyakan penonton atau pengunjungnya adalah para orang tua. bukti lain bahwa musik dangdut cukup mendapat tempat di hati masyarakat kota tegal, yaitu dengan meluasnya pertunjukan-pertunjukan musik dangdut yang mampu merambah tempat-tempat yang berkesan elit seperti di hotel-hotel berbintang, gedung-gedung, diskotik yang mulanya menyuguhkan musik rock, pop, jazz, r & b, kini dapat dinikmati pula musikmusik dangdut yang dimainkan di sana. musik dapat berkembang pesat sejalan dengan kemajuan teknologi, salah satunya adalah ditemukannya alat musik elektronik yaitu organ. organ adalah sebuah alat musik elektronika yang dapat diprogram sesuai dengan kehendak orang yang memainkannya. berkaitan dengan musik dangdut, organ dapat memainkan suara-suara seperti kendang, seruling, tamborin gitar dan lain-lain, yakni dengan memprogram komposisi musiknya sehingga dapat dimainkan oleh satu orang (tunggal). di masa sekarang, masyarakat pada umumnya khususnya yang bertempat tinggal di kota tegal suka terhadap hal-hal yang bersifat praktis dan ekonomis begitu juga dalam hal musik. kehadiran musik organ tunggal dewasa ini mampu memberikan nilai praktis di masyarakat yaitu hanya dengan satu alat musik elektronika saja (organ) dapat memainkan bermacammacam musik tergantung pada orang yang memainkan dan juga permintaan dari para pendengarnya. pemain organ tunggal, memprogram saja suara alat musik yang akan digunakan, dalam memprogram pun tidak hanya suara satu alat musik saja yang bisa dimainkan, akan tetapi organ dapat memprogram bermacam-macam suara alat musik yang dibutuhkan seorang pemain organ tunggal. meskipun dalam penampilannya, biasanya organ tunggal menambah personil yaitu satu orang untuk memainkan gitar dan satu orang lagi umtuk memainkan suling. selain praktis, musik organ tunggal juga ekonomis artinya tidak banyak mengeluarkan biaya dalam pementasannya. musik organ tunggal tidak banyak melibatkan pemain musik, sehingga pelayanan terhadapnya (pemain) relatif lebih murah. lain halnya dengan pemain musik dangdut lengkap (orkes dangdut), dilihat dari segi pemainnya saja sudah lebih dari lima orang. hal ini jelas akan menambah biaya pelayanan yang harus dikeluarkan oleh orang yang mempunyai hajat (me-nanggap). selain praktis dan ekonomis, organ tunggal juga mampu menarik minat penonton untuk datang ke sebuah pertunjukan organ tunggal. karena pada pertunjukan organ tunggal menampilkan sosok perempuan sebagai biduan yang dalam membawakan lagunya identik dengan baju seksi dan goyangan khas dangdut. dilihat dari segi penonton yang hadir dalam suatu pertunjukan, organ tunggal mampu menarik perhatian masyarakat dari berbagai lapisan usia, mulai dari anak kecil sampai dengan orang dewasa. hal ini tentu saja menimbulkan persepsi yang beragam bagi masyarakat yang menyaksikan. kehadiran musik di tengah-tengah masyarakat tidak dapat berdiri sendiri tanpa berkaitan dengan kebutuhan hidup manusia, sehingga musik secara luas dapat berfungsi bermacam-macam. musik disini dapat bertujuan untuk memuaskan kebutuhan manusia baik jasmani maupun rohani. dipandang dari pengertian demikian, maka musik dalam memenuhi kebutuhan rohani dapat digunakan dalam acara yang berkaitan dengan keagamaan, sedangkan dalam memenuhi kebutuhan jasmani merupakan santapan estetik yang dirasakan sebagai hiburan. seperti yang telah diuraikan di atas, bahwa seni yang tumbuh dan berkembang di tengah-tengah masyarakat cukup beragam. dari berbagai keragaman tersebut, tentu memiliki bentuk dan ciri-cirinya, baik dari segi fisiknya maupun dari segi cara memainkannya. demikian juga dengan kehadiran musik dangdut organ tunggal yang memiliki bentuk atau ciri-ciri yang sampai sekarang masih tetap eksis. menurut informasi dari beberapa informan, bahwa kehadiran musik dangdut eka titi andaryani, persepsi masyarakat terhadap pertunjukan musik dangdut 165 organ tunggal secara umum dibuktikan dengan banyaknya orang yang menanggap atau menghadirkan grup musik dangdut organ tunggal pada acara-acara tertentu dan didukung pula dengan munculnya grup-grup musik dangdut organ tunggal seperti : style music, soni music, heru music, rsm music, citra ayu music, dan grup-grup musik dangdut organ tunggal lain yang sampai sekarang masih digemari di sekitar wilayah kota tegal. penulis memilih lokasi penelitian di kota tegal karena setiap ada pertunjukan organ tunggal di wilayah kota tegal seringkali dihadiri oleh banyak penonton dari berbagai tingkatan usia. mereka tidak sekedar menyaksikan secara pasif, melainkan juga aktif berpartisipasi dalam pertunjukan organ tunggal dalam bentuk menyumbang lagu, berjoget, memberi sawer (uang tips) dan lainnya. selain itu, materi lagu yang banyak dimainkan pada pertunjukan organ tunggal di wilayah kota tegal memiliki ciri khas yakni memiliki perbendaharaan lagu-lagu dangdut tarling seperti : mabok bae, sepayung loroan, pesisir balongan, kucing garong, waru doyong, dan lain-lain. disamping perbendaharaan lagu, letak kemenarikan pertunjukan musik dangdut organ tunggal di wilayah kota tegal tersebut adalah : (1) pertunjukan musik dangdut organ tunggal menjadi cerminan status sosial sebagian masyarakat kota tegal. masyarakat yang mampu menghadirkan pemain organ tunggal dan penyanyi yang mempunyai popularitas (pernah tampil di media massa khususnya televisi dan radio) apalagi sudah mengeluarkan album, orang yang menanggap akan merasa terangkat status sosialnya di masyarakat, (2) masyarakat yang menonton pertunjukan organ tunggal sering memberikan sawer (uang tips) kepada penyanyi untuk meminta lagu dan berjoged bersama. permintaan lagu yang tidak memberikan sawer (uang tips) seringkali tidak dipenuhi, (3) pertunjukan organ tunggal dapat memberikan nilai-nilai estetik bagi orangorang yang menyaksikan, merupakan media penyaluran bakat khususnya bagi para pemain musik dan penyanyi serta dapat melestarikan budaya khas indonesia. pengertian seni musik dewasa ini sudah sangat berbeda dengan pengertian orang yunani ribuan tahun lalu, seperti yang disebutkan oleh dharmo budi suseno (2005: 23). ia menyatakan bahwa musik adalah rekayasa komposisi bunyi menyangkut bentuk (form), kerangka dasar (struktur), nada (parameter kepastian tinggi rendahnya suara atau sound pitch yang selalu dapat dipindahsuarakan (transposisi) dalam ketepatan ukuran yang sama) ritme (irama), melodi (lagu), dan organisasi suara-suara nada (harmoni) hingga tercipta suasana dan watak bunyi (tone color). sunarko (1990:5) menyatakan bahwa musik adalah penghayatan isi hati manusia yang diungkapkan dalam bentuk bunyi atau suara yang teratur dengan melodi dan ritme serta mempunyai unsur harmoni dan keselarasan. disebutkan pula oleh al. sukohardi (1978:36) bahwa musik adalah curahan hati atau ekspresi dari pengalaman atau penghayatan hidup manusia. lebih lanjut jamalus (1988:1-2) mengemukakan bahwa musik adalah suatu hasil karya seni bunyi dalam bentuk lagu atau komposisi musik yang mengungkapkan pikiran dan perasaan pencipta melalui unsur-unsur musik yaitu irama, melodi, harmoni, bentuk/struktur lagu dan ekspresi sebagai satu kesatuan. irama adalah rangkaian gerak yang terdapat dalam musik (joseph 2001 : 27). irama terbentuk dari sekelompok bunyi dan diam dengan panjang pendek yang berbeda lama waktunya. bunyi adalah peristiwa getaran. getaran bunyi dapat cepat dan dapat pula lambat. jika sumber bunyi bergetar dengan cepat maka bunyi yang dihasilkannya tinggi, dan sebaliknya jika sumber bunyi itu lambat maka bunyi yang dihasilkan adalah rendah (jamalus, 1988: 16). diam atau tanda diam adalah tanda yang mempunyai nilai dan bilangan yang sama dengan titinada (not). irama juga diartikan panjang pendek nada dalam lagu. nada ialah bunyi yang dihasilkan oleh suatu sumber bunyi yang bergetar dengan kecepatan getar yang teratur. istilah asing irama adalah rhythm (inggris), yang diterharmonia, volume 11, no.2 / desember 2011166 jemahkan ritme. melodi adalah susunan rangkaian nada-nada yang kita dengar berurutan. menurut sumaryo (1987:104) melodi adalah rentetan nada-nada yang disusun secara ritmis dengan ditetapkan ketinggiannya masing-masing. lebih jelasnya jamalus (1988:16) menyatakan bahwa melodi adalah susunan rangkaian nada (bunyi de ngan getaran teratur) yang terdengar berurutan serta berirama dan mengungkapkan gagasan. harmoni adalah gabungan dua nada atau lebih yang berbeda tinggi rendahnya dan terdengar serempak. sugeng basuki (1980:42) mengartikan harmoni adalah paduan beberapa nada yang tidak sama tingginya dan kedengaran selaras serta merupakan satu kesatuan yang bulat. lebih lanjut rochaeni (1989:34) mengartikan harmoni sebagai gabungan dari berbagai nada yang dibunyikan serempak atau arpeggio (berurutan) atau tinggi rendah nada tersebut tidak sama tetapi selaras terdengar dan merupakan kesatuan yang bulat. arpeggio adalah permainan nada-nada dengan cepat secara berurutan seperti petikan pada alat musik harpa (kodijat, 1989 : 5). bentuk atau struktur lagu adalah susunan serta hubungan antar unsurunsur musik dalam lagu sehingga menghasilkan suatu komposisi atau lagu yang bermakna (jamalus, 1988 :35). dasar pembentukan lagu ini mencakup pengulangan suatu bagian (repetisi), pengulangan dengan macam-macam perubahan (variasi, sekuens), atau penambahan bagian baru yang yang berlainan atau berlawanan (kontras), dengan selalu memperhatikan keseimbangan antara pengulangan dan perubahannya. bentuk adalah bentuk musik yang berdasarkan susunan rangka lagu yang ditentukan menurut bagian-bagian kalimatnya, bentuk dapat a-b, a-b-a, a-b-c, dan seterusnya (suseno, 2005 :23). lebih lanjut sugeng basuki (1980: 53) menyatakan bahwa bentuk ialah gubahan atau sebuah karya musik atau lagu yang terdiri atas kesatuan dari: melodi, ritme, dan harmoni apabila dengan suara banyak. ekspresi adalah ungkapan pikiran dan perasaan yang mencakup semua nuansa dari tempo, dinamik, dan warna nada dari unsur-unsur pokok musik, dalam pengelompokan frase yang diwujudkan oleh pemusik atau penyanyi, untuk disampaikan kepada pendengarnya (joseph, 2001:93 ). lebih lanjut jamalus (1988:38) menjelaskan beberapa unsurunsur ekspresi dalam musik adalah tempo atau tingkat kecepatan musik (kecepatan suatu lagu dan perubahan-perubahan kecepatan lagu itu), dinamik atau tingkat volume suara atau keras lunaknya suara, dan warna nada yang merupakan ciri khas bunyi yang terdengar bermacam-macam, yang dihasilkan oleh sumber bunyi yang berbeda-beda, dan yang dihasilkan oleh cara memproduksi nada yang bermacammacam pula. metode penelitian ini dilakukan di kota tegal. penelitian ini menggunakan pendekatan deskriptif kualitatif. pembahasan permasalahan dilakukan dengan cara menggambarkan atau menguraikan keadaan yang terjadi pada objek penelitian. sifat kualitatif mengarah pada mutu kedalaman uraian dan pembahasan, yang menyangkut seluk beluk organ tunggal di kota tegal. sumber data yang digunakan dalam penelitian ini meliputi : (1) sumber data utama adalah keterangan lisan dari informan yang dicatat melalui catatan tertulis atau melalui perekaman; (2) sumber data berupa tempat dan peristiwa yang diabadikan melalui foto yang dihasilkan oleh oang lain dan peneliti sendiri; dan (3) sumber data tertulis berupa bahan tambahan berasal dari buku statistik untuk menjelaskan kondisi sosial budaya masyarakat kota tegal, dan buku-buku lain seperti makalah, penelitian-penelitian skripsi, karya ilmiah dan lain sebagainya sebagai bahan penunjang penelitian ini. teknik pengumpulan data yang digunakan meliputi : (1) studi pustaka dari sumber data tertulis dan dokumen aueka titi andaryani, persepsi masyarakat terhadap pertunjukan musik dangdut 167 penyebutan nama “dangdut” merupakan onomatope dari suara permainan tabla (dalam dunia dangdut disebut gendang saja) yang khas dan didominasi oleh bunyi dang dan ndut. nama ini sebetulnya adalah sebutan sinis dalam sebuah artikel majalah awal 1970-an bagi bentuk musik melayu yang sangat populer di kalangan masyarakat kelas pekerja saat itu. musik dangdut adalah jenis irama musik yang cukup merakyat berpengaruh dalam musik indonesia. ciri khas irama musik ini ditandai oleh permainan gendang kembar yang menghasilkan bunyi dang dan dut. pukulan tetap bunyi kendang rangkap yang memberikan bunyi dang pada hitungan 4 dut pada hitungan 1 dari birama berikut. diperkirakan irama musik ini merupakan paduan irama melayu deli, musik kasidah dan irama tabla dari india (suharto, 1992:27–28). lebih lanjut pono banue menjelaskan bahwa dangdut adalah cemooh atau kata ejekan bagi orkes melayu dengan gaya hindustan yang mengikutkan suara tabla (gendang india) dengan cara membunyikan tertentu sehingga terdengar suara “dangduut”, dikenal sebagai orkes melayu gaya baru guna membedakan dengan orkes melayu asli dari pantai timur sumatra (deli, riau, dan sekitarnya di samping malaysia). pengganti alat musik tabla menggunakan bongo atau kendang tradisional setempat. ciri khas utama musik dangdut yang paling menonjol adalah berupa hentakan-hentakan yang dinamis dan hentakan-hentakan tersebut dihasilkan dari bunyi kendang atau ketipung. ciri lainnya yaitu pada pembawaan yang selalu menggunakan cengkok mendayu-ndayu serta menggunakan unsur irama melayu yang selalu diikuti detak gendang. tema lagu dangdut mengangkat kenyataan hidup masyarakat sehari-hari yang disampaikan secara lugas dan tidak ditutuptutupi sehingga dapat diterima khalayak dan terasa lebih dekat dengan masyarakat (ukat dalam citra musik, 1990). mengenai syair lagu dangdut kadang menceritakan tentang kebahagiaan maupun kesedihan. namun demikian baik syair yang bercerita dio visual; (2) observasi yang digunakan adalah observasi non partisipasi artinya penulis tidak terlibat langsung kegiatan tersebut; (3) wawancara yang digunakan adalah wawancara dengan teknik bebas terpimpin, maksudnya informan bebas dalam mengemukakan pendapat atas pertanyaan dari peneliti. selain wawancara bebas terpimpin, wawancara yang digunakan peneliti berupa wawancara berencana dan wawancara tidak berencana. (4) dokumentasi, teknik ini digunakan untuk mencari sumber informasi yang ada kaitannya dengan penelitian yaitu berupa dokumen foto yang diambil pada saat pertunjukan berlangsung. analisis data penelitian ini dimulai dari reduksi data, diteruskan penyajian data, dan akhirnya ditarik kesimpulan atau verifikasi sebagai sesuatu yang jalinmenjalin pada saat sebelum, selama, dan sesudah pengumpulan data dalam bentuk sejajar untuk membangun wawasan umum (analisis). dan analisis yang digunakan yaitu analisis deskriptif. hasil dan pembahasan musik dangdut dangdut merupakan salah satu dari genre seni musik yang berkembang di indonesia. bentuk musik ini berakar dari musik melayu pada tahun 1940-an. dalam evolusi menuju bentuk kontemporer sekarang masuk pengaruh unsur-unsur musik india (terutama dari penggunaan tabla) dan arab (pada cengkok dan harmonisasi). perubahan arus politik indonesia di akhir tahun 1960-an membuka masuknya pengaruh musik barat yang kuat dengan masuknya penggunaan gitar listrik dan juga bentuk pemasarannya. sejak tahun 1970-an dangdut boleh dikatakan telah matang dalam bentuknya yang kontemporer. sebagai musik populer, dangdut sangat terbuka terhadap pengaruh bentuk musik lain, mulai dari keroncong, langgam, degung, gambus, rock, pop, bahkan house music. dangdut kontemporer telah berbeda dari akarnya, musik melayu, meskipun orang masih dapat merasakan sentuhannya. harmonia, volume 11, no.2 / desember 2011168 tentang kesedihan maupun kebahagiaan, tetap saja masyarakat yang menikmati musik dangdut akan tergerak untuk berjoget atau bergoyang. dalam perkembangannya, musik dangdut mulai terkenal pada tahun 1960an dengan munculnya seorang penyanyi asal jakarta bernama ellia khadam yang mengembangkan suatu gaya nyanyian yang “setia” pada produk orkes melayu, dan menciptakan suatu irama dan suara baru (dengan instrumen india, arab, dan gendang indonesia, suling bambu) yang meminjam dari musik dalam film-film india yang membanjir pada masa itu. ia (ellia khadam) memasukkan suatu dinamisme dan sensualitas yang unik ke dalam musiknya, dan denyutannya dalam sebuah lagu hits “boneka dari india” (syairnya ditulis oleh hussein bawafie tahun 1956). lagu “boneka dari india” yang dipopulerkan oleh ellia khadam ini merupakan tonggak cikal bakal musik dangdut asli indonesia (dloyana kesumah 1995: 20) meski kala itu nuansa unsur india masih sangat mendominasi. di akhir tahun 1960an, bermunculan berbagai kelompok musik yang mengadakan inovasi terhadap musik melayu (musik dangdut). mereka memasukkan beberapa elemen musik melayu deli dan keroncong tradisional dalam karya mereka. tahun 1973, rhoma irama dengan kelompok sonetanya membuat perombakan baik dalam hal syair maupun instrumen musik dangdut, yaitu berupa paket da’wah dengan tujuan selain musik dangdut sebagai pelepas lelah dan hiburan, juga digunakan sebagai media untuk menyampaikan pesan. tahun 1980an bergerak mengikuti kemajuan jaman yang menuntut manusia lebih dinamis, maka bermunculan bintang-bintang dangdut yang membuat karya musiknya sesuai dengan latar belakang pemusiknya, seperti reynold panggabean membaurkan disco ke dalam musik dangdutnya, dan rhoma irama yang terus menciptakan karyanya dengan menghadirkan rock dangdut yang semakin mampu membius masyarakat di seluruh indonesia. tentunya keberhasilan karya-karya pemusik dangdut tersebut semakin mempopulerkan musik dangdut dan semakin menunjukan bahwa musik dangdut adalah musik yang diinginkan masyarakat indonesia. dangdut sangat elastis dalam menghadapi dan mempengaruhi bentuk musik yang lain. lagu-lagu barat populer pada tahun 1960-an dan 1970-an banyak yang didangdutkan. genre musik gambus dan kasidah perlahan-lahan hanyut dalam arus cara bermusik dangdut. hal yang sama terjadi pada musik tarling dari cirebon sehingga yang masih eksis pada saat ini adalah bentuk campurannya: tarlingdut. musik rock, pop, disko, house bersenyawa dengan baik dalam musik dangdut. demikian pula yang terjadi dengan musik-musik daerah seperti jaipongan, degung, tarling, keroncong, langgam jawa (dikenal sebagai suatu bentuk musik campur sari yang dinamakan congdut, dengan tokohnya didi kempot), atau zapin. mudahnya dangdut menerima unsur ‘asing’ menjadikannya rentan terhadap bentukbentuk pembajakan, seperti yang banyak terjadi terhadap lagu-lagu dari film ala bollywood dan lagu-lagu latin. kopi dangdut, misalnya, adalah “bajakan” lagu yang populer dari venezuela. organ adalah alat musik yang berbentuk papan piano yang bercorak keyboard, berteknologi canggih, dan alat ini dapat diprogram untuk menghasilkan suara-suara tiruan dari berbagai macam alat musik seperti suara string gitar, piano, bass gitar, saxophone, kendang, dan juga dapat diprogram untuk mendapatkan efek suara-suara. dalam kamus besar bahasa indonesia, organ disebut sebagai alat musik yang nadanya dihasilkan melalui dawai elektronik (kamus besar bahasa indonesia 2003:1019). organ sering disebut juga dengan musik mesin atau musik masa depan (dorling kindersley 1992:62), karena instrumen tersebut dapat menghasilkan sinyal bunyi yang luas cakupannya, juga dapat meniru bunyi alat musik lain bahkan suara yang belum pernah kita dengar sebelumnya. pada kesempatan ini perlu kiranya kita perkenalkan dasar-dasar synthesizer eka titi andaryani, persepsi masyarakat terhadap pertunjukan musik dangdut 169 (musik elektronik) untuk mengetahui bagaimana suara-suara itu bisa diciptakan dari alat ini. synthesizer adalah musik elektronik, perbedaan yang sangat mendasar antara alat musik elektronik dengan musik akustik dapat diilustrasikan sebagai berikut : sound flute misalnya ditimbulkan oleh suara yang berasal dari pipa yang ditiup, dan kemudian menimbulkan resonansi udara di dalamnya, yang kemudian bereaksi terhadap udara di sekelilingnya dan akhirnya kita dengar. begitu juga dengan suara gendang, yang suaranya ditimbulkan oleh karena getaran kulit atau mika yang di pukul kemudian diperkeras oleh kotak kayu gendang tersebut. sedangkan synthesizer menggunakan sirkuit elektronik yang dapat menghasilkan data digital yang kemudian dibentuk menjadi signal elektronik yang kemudian diperkuat oleh rangkaian amplifier, maka jadilah bunyi. synthesizer biasanya dilengkapi dengan tuts-tuts seperti piano, dimana tiap-tiap tuts sebenarnya merupakan saklar untuk mengaktifkan atau mematikan sirkuit suara (seperti tombol on/off). alat ini merupakan instrumen yang cakap dalam berbagai hal, karena dapat membuat suara-suara tiruan, dari suara instrumen tiup sampai drum atau gendang. namun demikian tidak semua suara dapat digunakan untuk kepentingan musik. kata “tunggal” menurut kamus besar bahasa indonesia artinya satu. kata “tunggal” memiliki kesamaan juga dengan kata “solo” yang berarti satu. sebagai contoh ; seorang penyanyi solo, artinya bernya nyi yang dilakukan oleh satu orang (kamus besar bahasa indonesia, 2003:1220). selanjutnya kata “tunggal” menurut kamus besar bahasa indonesia diartikan dengan “bukan jamak” (dua yang menjadi satu / lebih dari satu). kaitannya dengan musik dangdut organ tunggal, yaitu pada umumnya orang bermain instrumeninstrumen musik dangdut lebih dari satu orang, karena harus ada seorang pemain kendang, pemain gitar, pemain bass gitar, pemain seruling, pemain keyboard, pemain tamborin, dll. hal ini mengandung arti bermain dangdut dengan banyak orang. lain halnya dengan bermain tunggal, artinya alat-alat tersebut diatas cukup dimainkan oleh seorang pemain organ saja, yakni dengan memprogram dahulu bentuk komposisi musiknya kemudian disimpan datanya ke disket selanjutnya dimainkan. pertunjukan organ tunggal mempergunakan instrumen-instrumen musik yang keseluruhan bunyi alat musik yang dibutuhkan dapat diprogram dan dimainkan dengan menggunakan sebuah alat musik yaitu organ (keyboard). keterangan selengkapnya tentang alat musik dangdut adalah sebagai berikut. seruling seruling adalah alat musik yang berbentuk pipa dengan sejumlah lubang penjarian (seruling dangdut memakai 6 lubang), dibuat dari bahan bambu, kayu, logam, atau paralon, yang merupakan instrument melodik yang berfungsi sebagai penuntun lagu utama, pemberi varian dan selingan improvisasi di celah-celah jalur melodi. kendang kendang adalah alat musik yang berbentuk lonjong terbuat dari kayu yang dilubangi, sumber bunyinya terbuat dari kulit (sapi, kerbau, atau kambing). pada musik dangdut, kendang merupakan alat perkusi yang digunakan sebagai pengiring utama yang memberi ciri khas musik dangdut. tabla tabla adalah alat musik india, bentuknya semacam kendang yang lazimnya dimainkan berpasangan. badan resonatornya dari kayu, yang satunya besar yang lainnya kecil. tabla biasanya dimainkan dengan duduk bersila, tetapi kemudian dimodifikasi dengan dibuatkan tempat, sehingga dapat dimainkan dengan berdiri atau duduk di kursi. tamborin tamborin adalah alat musik sejenis rebana berbentuk bundar dengan kepingan logam (kerincing) disekitar harmonia, volume 11, no.2 / desember 2011170 bingkainya. namun ada yang merubah tamborin dengan lempengan logam (biasanya dipakai dua buah gergaji besi) yang pada ujung lempengnya dilubangi, kemudian dikaitkan dengan besi panjang sebagai penopang. gitar gitar adalah alat musik petik yang sangat populer di masyarakat, umumnya berdawai enam dari bahan kawat atau nilon, dimainkan dengan jari-jari tangan atau dengan bantuan sebuah plectrum. sesuai dengan kemajuan teknologi, disamping gitar akustik dikenal pula gitar elektrik, yang perolehan dan penguatan bunyinya dibantu dengan tenaga listrik. dalam kegiatan musik, gitar berperan sebagai alat musik tunggal maupun pe nyerta alat musik lain. jangkauan nadanya cukup luas, lebih dari tiga oktaf. drum drum adalah seperangkat alat musik perkusi yang dimainkan dengan cara dipukul. terdiri dari snar drum, bas drum, dan cymbal (hi-hat cymbal dan ride cymbal). keyboard atau organ keyboard adalah alat musik sejenis dengan teknologi canggih. alat ini dapat diprogram untuk menghasilkan suarasuara tiruan dari berbagai macam alat musik, juga dapat diprogram untuk mendapatkan efek-efek suara (style). persepsi penonton persepsi merupakan suatu proses yang dapat dipelajari melalui interaksi dengan kehidupan di sekitarnya. persepsi dapat tumbuh dan berkembang karena adanya interaksi belajar dengan orang lain. maka dari itu persepsi orang sangat dipengaruhi oleh lingkungan sosialnya. dari sisi lain dapat dikatakan pula bahwa persepsi seseorang merupakan hasil pembentukan pengalaman. saparinah sadli (1976:46) menjelaskan bahwa persepsi merupakan proses aktif di mana yang memegang peranan bukan hanya stimulus yang mengenainya, tetapi juga ia sebagai keseluruhan dengan pengalaman-pengalamannya, motivasinya, dan sikap-sikap yang relevan terhadap stimulus tersebut. menurut pringgodigdo (1973:103) persepsi adalah suatu proses mental yang menghasilkan bayangan pada diri individu, sehingga dapat mengenal suatu obyek dengan jalan asosiasi dengan suatu ingatan tertentu, sehingga bayangan itu dapat disadari. persepsi setiap orang dapat berbeda-beda, karena setiap individu memiliki lingkungan fisik dan sosial, struktur jasmaniah, kebutuhan dan tujuan hidup, serta pengalaman pada masa lampau yang berbeda-beda. sehingga dalam menghayati atau mengamati suatu pertunjukan berbeda-beda dalam menanggapinya (beda persepsi). hal tersebut dianggap wajar dalam kehidupan sosial masyarakat. sehubungan dengan hal tersebut lindzey and aronson (dalam wadiyo, 1992:10) menerangkan bahwa persepsi adalah bagaimana seseorang memandang atau mengetahui ciri-ciri atau sifat-sifat pihak lain. dijelaskan bahwa persepsi bermula dari biologi, yang berarti hasil kegiatan indera ketika mendapat rangsangan dari suatu objek yang visual. kemudian konsep tersebut digunakan oleh ilmu jiwa untuk memberi arti bagi pengetahuan seseorang mengenai suatu objek. roger sebagaimana dikutip lawrence a. parfin (dalam wadiyo 1992:10) beranggapan bahwa individu memandang dunia sekitarnya secara unik, hingga terbentuklah suatu dunia fenomena yang unik pula pada benak individu tersebut. dalam pikiran individu ini terbentang suatu gambaran konfiguratif yang merupakan hasil simbolisasi yang dilakukan secara sadar maupun tidak sadar. dalam tulisan ini, penulis menggunakan persepsi menurut lindzey and aronson (dalam wadiyo, 1992 : 10) yang menyatakan bahwa persepsi adalah bagaimana seseorang memandang atau mengetahui ciri-ciri atau sifat-sifat pihak lain. persepsi bermula dari biologi, yang berarti hasil kegiatan indera ketika mendapatkan rangsangan dari suatu objek yang visueka titi andaryani, persepsi masyarakat terhadap pertunjukan musik dangdut 171 al kemudian konsep tersebut digunakan oleh ilmu jiwa untuk memberi arti bagi pengetahuan seseorang mengenai suatu objek. persepsi masyarakat yang dimaksud adalah tanggapan masyarakat kota tegal terhadap pertunjukan organ tunggal di daerah tersebut yang meliputi: tanggapan terhadap pertunjukan organ tunggal secara umum, tanggapan terhadap penampilan penyanyi, dan tanggapan tehadap lagu-lagu yang dibawakan. tanggapan masyarakat terhadap pertunjukan organ tunggal secara umum repertoar lagu yang banyak disajikan dalam pertunjukan organ tunggal di kelurahan tegal sari cukup beragam, seperti ; campur sari, keroncong, dangdut, dan lain-lain. lagu-lagu tersebut biasa dinyanyikan oleh penyanyi dengan iringan beberapa instrumen musik yang diaransir dalam alat musik organ. dari beragam jenis dan aransemen lagu yang disajikan, dangdut merupakan lagu yang cukup digemari. tanggapan masyarakat terhadap tampilan penyanyi setiap pemain musik organ tunggal yang pentas di keota tegal biasanya mempunyai perbendaharaan lagu yang banyak, khususnya lagu-lagu tarling dangdut. pemain musik organ tunggal biasanya menyediakan disket-disket yang berisi lagu-lagu tarling dangdut baik lama maupun terbaru, karena animo masyarakat setempat terhadap pertunjukan organ tunggal cukup besar dan mereka cukup kritis dalam menanggapi sebuah pertunjukan musik dangdut organ tunggal, sehingga apabila ada permintaan lagu yang tidak dipenuhi seringkali muncul ejekan yang ditujukan kepada pemain musik, seperti “lebih baik tidak usah main organ saja di sini”. penyanyi yang tampil di kelurahan tegal sari cukup bagus apabila dapat menguasai lagu-lagu tarling dangdut cirebonan di samping lagu-lagu dangdut yang lain. selain dapat menguasai lagu dangdut dan tarling cirebonan, seorang penyanyi organ tunggal juga harus dapat memberikan penampilan terbaiknya berupa suara dan joged. tanggapan penonton terhadap lagu-lagu yang dibawakan tanggapan masyarakat kelurahan tegal sari yang menonton pertunjukan dangdut organ tunggal terhadap lagu yang dibawakan cukup baik, terbukti penonton sangat antusias menyaksikan dan mendengarkan pertunjukan organ tunggal sambil berjoged. tentang lagu-lagu yang dibawakan, ternyata sebagian besar penonton lebih menyukai lagu-lagu tarling cirebonan. tanggapan dan perhatian dari lagu-lagu tarling cirebonan dapat dilihat dari banyaknya permintaan lagu-lagu tarling cirebonan melalui pembawa acara maupun langsung kepada penyanyi. begitu besarnya perhatian dan tanggapan yang diberikan, bahkan tidak sedikit penonton yang nyawer yaitu memberikan sejumlah uang kepada penyanyi yang membawakan lagu kesukaannya. besarnya pemberian uang saweran cukup beragam, dari 5000 rupiah sampai 100.000 rupiah akan mereka berikan asalkan penya nyi bisa memenuhi permintaan lagu yang dipesan. selanjutnya para penonton yang memberikan uang sawer ikut berjoged di atas panggung. simpulan pertunjukan musik dangdut organ tunggal adalah suatu pertunjukan musik yang menampilkan lagu-lagu dangdut dan dalam penampilannya, suara alat-alat musik seperti gitar, kendang, bass dan suara-suara lain dapat dimainkan oleh sebuah alat musik saja yaitu keyboard yang cukup diprogram saja dapat memunculkan bunyi-bunyian menyerupai alat musik yang diinginkan. pertunjukan musik dangdut organ tunggal juga cukup diminati masyarakat kota tegal, karena secara geografis kota tegal termasuk sebagai daerah pesisir atau pinggiran dimana penduduknya sebagian besar bekerja sebagai nelayan sehingga baharmonia, volume 11, no.2 / desember 2011172 nyak masyarakatnya yang cukup menyenangi musik dangdut. persepsi penonton terhadap pertunjukan musik dangdut organ tunggal umumnya cukup menyukai terhadap pertunjukan organ tunggal. hal ini dibuktikan dari banyaknya penonton yang hadir di setiap pertunjukan musik dangdut organ tunggal yang berasal dari berbagai kalangan usia. mereka tidak sekedar menyaksikan secara pasif pertunjukan organ tunggal melainkan juga aktif berpatisipasi dalam pertunjukan organ tunggal yaitu dengan menyumbang lagu, berjoged, memberi sawer (uang tips) dan lainya. adapun jenis lagu yang sering dibawakan pada pertunjukan organ tunggal di kota tegal adalah jenis lagu tarling dangdut. bagi masyarakat kota tegal pertunjukan musik dangdut organ tunggal menjadi cerminan status sosial sebagian masyarakat kota tegal. masyarakat yang mampu menghadirkan pemain organ tunggal dan penyanyi yang mempunyai popularitas (pernah tampil di media massa khususnya televisi dan radio) apalagi sudah mengeluarkan album, orang yang menanggap akan merasa terangkat status sosialnya di masyarakat. selain itu juga budaya masyarakat kota tegal adalah ketika menonton pertunjukan organ tunggal penonton sering memberikan sawer (uang tips) kepada penyanyi untuk meminta lagu dan berjoged bersama. pemberian uang saweran pun dijadikan prestice tersendiri bagi masyarakat kota tegal. dengan memberi sawer yang sebanyak-banyaknya, maka orang tesebut akan terangkat juga status sosialnya di masyarakat. permintaan lagu yang tidak memberikan sawer (uang tips) seringkali tidak dipenuhi. pertunjukan organ tunggal dapat memberikan nilai-nilai estetik bagi orangorang yang menyaksikan. pertunjukan musik dangdut organ tunggal juga merupakan media penyaluran bakat khususnya bagi para pemain musik dan penyanyi, sebagai media sosialisasi antar masyarakat, serta dapat melestarikan budaya khas indonesia. daftar pustaka banue, pono. 2003. kamus musik. jakarta : penerbit kanisius. bastomi, suwaji. 1992. wawasan seni. ikip semarang press. jamalus, 1988. pengajaran musik melalui pengalaman musik. jakarta : depdikbud. joseph, wagiman. 2001. teori musik i dan ii. fakultas bahasa dan seni universitas negeri semarang. kesumah. 1995. pesan-pesan budaya lagulagu pop dangdut dan pengaruhnya terhadap perilaku sosial remaja kota. semarang : depdikbud. khodijat, l. 1989. istilah-istilah musik. jakarta : djambatan. kindersley, darling. 1992. musik. jakarta : pt. saksama moleong, j. lexy. 1990. metodologi penelitian kualitatif. bandung : remaja rosda pringgodigdo, ag. 1973. encyslopedi umum. yogyakarta : yayasan kanisius. purwadarminta, w.j.s. 2003. kamus umum bahasa indonesia. jakarta : balai pustaka sedyawati, edi. 1981. pertumbuhan seni pertunjukan. jakarta : sinar harapan. sudiana, dendi. 1986. komunikasi periklanan cetak. bandung : remaja karya suharto, m. 1995. kamus musik indonesia. jakarta : pt. gramedia. sukohardi, al, 1978. teori musik umum. yogyakarta : pusat musik liturgi. sumaryo, l.e. 1987. komponis, pemain musik. jakarta : pustaka jaya. suwanda, tirto. 1992. nilai-nilai budaya susastra jawa. jakarta : depdikbud. wadiyo. 2004. ” musik dangdut dikalangan remaja kota semarang”.dalam harmonia. jurusan psdtm. fakultas bahasa dan seni. universitas negeri semarang 187 vernacular typography design of bamboo keben craft as an opportunity of creating digital typeface ni luh desi in diana sari, i wayan mudra, ni ketut pande sarjani institut seni indonesia denpasar, indonesia submitted: 2022-02-02. revised: 2022-05-21. accepted: 2022-06-16 abstract keben for the balinese is a medium that functions to package ceremonial facilities made of bamboo. craftsmen in kayubihi village, bangli sub-district produce kebens with various designs of vernacular typography motifs that have the opportunity to be developed in the form of digital typefaces. this study aims to: (1) analyze the vernacular typographic design of the keben motif and its opportunities in the creation of digital typefaces; (2) analyze the meaning of keben in kayubihi village in a socio-cultural context. qualitative methods are used in this study. typographic design principles consisting of legibility, readability, visibility, and clarity are used to analyze the vernacular typography of the keben motifs, while saussure’s semiotic approach is used to give meaning to the keben of kayubihi village from the spirit and the concept behind it. data collection strategies were carried out by observation and interviews, online and offline. meanwhile, data analysis was carried out by interpreting, namely interpreting in-depth the collected data according to the research objectives. the results show that the vernacular typography of the keben motifs was arranged alphabetically to form words as a symbol of identity. geometric motifs inspired by the environment around the craftsmen can be classified into five groups: the sun, flowers, traditional fabrics, objects, and cultural symbols of balinese hinduism. these motifs can be developed into digital typefaces. keben in kayubihi village spiritually means creativity, preservation of culture and identity. this creativity can be used as a source of inspiration in designing typefaces that offer novelty. the vernacular typography design with the keben motif is indigenous creativity, representing the identity of the local balinese culture. keywords: keben, vernacular typography, digital typeface, indigenous creativity how to cite: sari, n. l. d. i. d., mudra, i. w., & sarjani, n. k. p. (2022). vernacular typography design of bamboo keben craft as an opportunity of creating digital typeface. harmonia: journal of arts research and education, 22(1), 187-199 harmonia: journal of arts research and education 22 (1) (2022), 187-199 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i1.34861 continues to this day (sugiarto et al., 2017). kayubihi village developed various keben ranging from shapes, colors, and motifs by exploring the traditions of balinese local cultural wisdom as capital for craftsmen in their work (mudra et al., 2020). the most in-demand innovation in introduction the woven bamboo craft of kayubihi village is passed down from previous ancestors to the next generation in the family and community environment. this shows the process of cultural enculturation and corresponding author: e-mail: niluhdesiindianasari@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (1) (2022): 187-199188 the market today is keben with a letter motif design known as vernacular typography. the vernacular typography design of keben is a product of visual communication design in the form of various forms and written designs, adorning the surface of keben by the craftsmen of the kayubihi village becoming part of the daily life of the community. a vernacular typography design with a keben motif adorns the surface of the keben, made manually from bamboo using traditional woven techniques. the term “vernacular” comes from the word “vernaculus” with the root word “verna” meaning slave children born around the master’s house. then it is interpreted as a local language, native accent, and dialect in everyday life, different from the formal language studied in academics (concept magazine edition of february, 2011). the vernacular typography design with the keben motif is a creation of new letters sourced from the environment around the community. it makes an impression of tradition, familiar, distinctive, and unique by highlighting local cultural identity (akbar & raden, 2016). in typography, the placement of letter motifs as part of the keben is not limited to only letter elements, but the arrangement of letters in a layout. based on this, the arrangement of letters in the keben is referred to as vernacular typography, not vernacular letters because it involves aspects of the layout of the letters on certain surfaces and areas (carella et al., 2017). letters as one of the elements of visual communication design have an important role to support the success of delivering messages to the target audience. according to haswanto in lukman (2015), typography can create an atmosphere in a visual communication design work, reflected through the characteristics of the letters used. the selection of the right letter characteristics in a design work can support success in delivering the message. the visual form of letters should be able to send messages and meaning and more importantly should be able to visualize the level of sound, feeling, hierarchy, importance, information, and clarity (haswanto, 2009). success in delivering messages is also influenced by optical factors in the form of legibility related to the ease of recognizing and distinguishing each letter/ character. readability relates to the level of being easy to read a text (rustan, 2011:22). the tradition of weaving bamboo carried out by the kayubihi village community can be categorized as an intangible cultural heritage included in the category of traditional crafts which play an important role as a medium of defense of existing cultural diversity (idris et al., 2016). previous studies related to woven bamboo crafts have been carried out in the scope and field of science. a study by mudra (2020) does not specifically discuss the keben made from bamboo with the weaving technique. another study by swaratama (2020) states that dayak tattoo motifs and techniques as a cultural tradition of the dayak tribe contain a value and uniqueness as a typeface. using an iconographic approach, it produces a formulation in the design of typefaces based on the iban dayak motif. the findings of swaratama’s (2020) research, in the form of a typeface, can be used as a reference in this study, with the object of research being a vernacular typography design with a keben. the inspiration for the design of a new typeface can be obtained from various sources, for example, the decoration of the temple. nugroho’s (2019) research has the same goal as a form of preserving local cultural heritage in the form of the typeface. meanwhile, the research was conducted to explore the vernacular typography design of the keben motif with the weaving technique as a source of inspiration to strengthen the initial stages of creating digital typefaces. another relevant result of putri’s (2014) research states that woven bamboo crafts in the kejapa bamboo handicrafts tigawasa village, buleleng regency, produce various forms of products with varied motifs. the product forms consist of tissue boxes, bags, wallets, jewelry boxes, ring boxes, pencil cases, and photo frames, ni luh desi in diana sari, et al., vernacular typography design of bamboo keben craft as 189 while the resulting motifs include the motifs of saudbah, tapuk manggis, nagasari, patra, pis bolong, and wajik. this research is a reference that in other areas in bali there are bamboo craft centers that develop various types of products with different characteristics. research by haswanto (2009) reveals that in designing letters, a designer can create various types of letters containing different meanings and impressions embodied in one letter family package. based on this, the keben opportunity to be designed into a new typeface in a letter family package that can give a certain meaning and impression. the novelty of this study shows that the vernacular typographic design of the keben as a traditional cultural product can be preserved across generations in the current modern era adaptively, so that tradition can still exist in technological advances without reducing the value of local wisdom contained in it. this further emphasizes that modernization does not crush tradition, but that tradition has the opportunity to be developed in modern ways through digital technology. through this research, it is hoped that it can contribute ideas to the treasures of visual communication design, especially typography. this research can be used as references that specifically discuss the vernacular typographic design of the keben motif and the meaning of keben as a cultural product. keben with a vernacular typographic motif design full of local balinese cultural wisdom values that are not found in other areas. keben motifs developed by the kayubihi village craftsmen are local indigenous creativity (raharja, 2017:69), which have the opportunity to be developed digitally so that they can be preserved and documented. however, there has been no in-depth research on this subject. this research is important to do as an effort to introduce one of the local cultural wisdom of the balinese people originating from the keben produced by the craftsmen of kayubihi village. this research specifically aims to analyze: (1) the vernacular typography design of the keben using the bamboo weaving technique in kayubihi village that has the opportunity to be developed and adapted with digital techniques in the creation of typefaces; and (2) the meaning of the keben of kayubihi bangli in the sociocultural context. method this research was conducted in kayubihi village, bangli sub-district because it is the largest center for keben craftsmen in bali. qualitative methods are used with the support of data collection strategies such as observation, in-depth interviews, and documentation. primary data sources are informants who are involved in the keben craft of kayubihi village. while the secondary data sources are photographs, pictures, and related documents. the source of the data was determined by using a purposive sampling technique, which was initiated by determining the key informants first. through key informants, several informants were obtained who were able to provide data following the research objectives. the object of research in the form of keben is determined based on certain criteria, namely woven bamboo keben with vernacular typographic design motifs, forming a word that is found on the surface of the keben as a decoration. to obtain adequate data, researchers also conducted searches through online media to the seller accounts of keben on instagram social media. data were analyzed descriptively qualitatively, using a typographic design approach consisting of legibility, readability, and visibility related to the ease of reading letters and text at a certain distance. clarity is related to the quality of letters and text in its function as a means of delivering messages so that they can be clearly understood (akbar & raden, 2016). exploring the meaning of keben by the craftsmen of kayubihi village uses the semiotic approach of ferdinand de saussure, describing the relationship of the sign system consisting of signified + signifier and sign harmonia: journal of arts research and education 22 (1) (2022): 187-199190 in the socio-cultural context of bali. result and discussion vernacular typography design of keben motifs of kayubihi village vernacular typography design of keben motifs by craftsmen of kayubihi village bangli sub-district can form letters of the alphabet from a-z and numbers categorized as latin letters. through the strand weaving technique with repeated sloping lines, up and down, high and low, providing a static and dynamic rhythm, resulting in geometric motifs arranged to adorn the entire surface, keben can have an opportunity to be developed as digital typefaces (rahayuningsih, paresti, 2018:6). in the modern era, latin letters have become the most effective written communication medium. latin letters can be categorized as a type of phonetic script in the form of a phoneme symbol (ab-c-d-e) (nugroho, 2019). keben for the balinese people is a product of cultural arts that has an essential function and role in religious and sociocultural life as a reflection of the culture of the community (sabana, 2007). therefore, the creativity in the design of keben found in the village of kayubihi bangli (2021) has developed following the needs of the community in carrying out religious rituals and following fashion trends in bali with designs or models still with traditional patterns (arinasa&peneng, 2013;108). the presence of various keben depicting the characteristics of the kayubihi village identity aims to explain the characteristics of local culture that have the opportunity to be developed in the form of typefaces by adopting vernacular typographic designs with keben motifs (rahayuningsih & paresti, 2018:3). the vernacular typography design of the keben motifs by the craftsmen of kayubihi village develops sustainably following the development of the creativity of the craftsmen and through stages of deep reflection, produces various forms of natural motif design patterns. based on the results of creativity and shape, it is possible to classify the keben motifs of the kayubihi village into five groups consisting of sun, flowers, traditional fabrics, objects, and cultural symbols of balinese hinduism as presented in table 1. the shape of the vernacular typographic pattern is designed by changing the shape (distortion), modifying the style, and rearranging it (repetition) so that various vernacular typographic designs adorn the surface of the keben (saragi, 2018). vernacular typography design with keben motifs in kayubihi village as it characterizes the creativity of ideas and cultural values embodied in various designs made by the craftsmen of kayubihi village as a reflection of the value of local cultural wisdom of the balinese people who are known to have an artistic spirit. this is in line with covarrubias’s view which states that balinese people deserve to be called artists (mudra et al., 2020). keben craftsmen in kayubihi village are artists who are formed from the social environment of the surrounding community in joint activities so that a collective identity emerges (carella et al., 2017). vernacular typography designs with keben motifs in kayubihi village were spread verbally from one crafter group to another following the request from the customer. customers of keben who come usually bring samples of pictures they get from the internet. these craftsmen are creative by looking at the trends being updated from social media through smartphones. this process takes place repeatedly so that various vernacular typographic design innovations with keben motifs are created, and the shape and color of keben are always novel (me juna 65 years old in interview, december 2021). this process is interpreted as a transfer of skills between craftsmen and others as a pattern of inheritance of the art of woven bamboo crafts from the kayubihi village community (sugiarto et al., 2017). the naming of the vernacular typography design with the keben motif came from the environment around the kayubihi village craftsmen which was then mutuni luh desi in diana sari, et al., vernacular typography design of bamboo keben craft as 191 ally agreed upon to make it easier for the crafter group to make orders. customers who come if they want keben with a motif according to their taste, simply by showing a picture, the craftsmen will make the keben according to the wishes of the customers. this communication is closely intertwined between the crafter groups without ever claiming that the motifs created belong to a certain group of craftsmen and the various motif designs that developed into the collective identity of the kayubihi village craftsmen. as a form of community commitment through artisan groups to always maintain the noble culture of bali so that it does not become extinct. all traditional and religious activities are carried out following the uniqueness and original cultural values (karuni & suardana, 2018). vernacular typography on the keben created by the craftsmen of kayubihi village is an inseparable part of the various keben described in table 1. the vernacular typography design of the keben motif in the manufacturing process is always combined with various motifs tailored to the customers’ tastes. vernacular typography design with keben motif is designed not based on design rules because it is a form of visual communication that is not limited by theory. the natural shape follows the instincts of the keben who made it and is easy to understand (hermanto, 2019). although they were made without paying attention to design standards, the keben craftsmen have sensitivity in arranging the designs of these motifs so that they can be arranged well on the entire surface of the keben in various shapes and sizes. according to ni nengah adnyani (37 years), one of the keben craftsmen from br bangklet kayubihi in an interview in december 2021, the vernacular typography design of the keben can be applied differently according to the size of the keben. keben measuring 40 cm can contain a maximum number of 12 types of letters. keben measuring 30 cm can contain a maximum number of 8 types of letters. keben measuring 20 cm can contain a maximum number of 5 types of letters. keben with this motif generally forms a word order as the identity of the name of the owner of the keben, presented in figure 1. figure 1. keben of various sizes with vernacular typography designs arranged to form a name identity. source: document of desi, 2021 according to the kayubihi village craftsman, i wayan swadi (49 years), keben with vernacular typography motifs are currently the most popular with buyers before the holiday because most of the religious ritual traditions in bali use keben as a place for praying. this causes the keben brought to potentially be confused with someone else’s. adding a name identical to the keben, of course, helps the keben owner to identify his keben so that it is not confusing. to add aesthetic value, these kebens are then arranged by combining geometric motif designs and attractive colors according to the customer’s tastes. keben with vernacular typography designs is becoming a trend among the public and can be ordered for souvenirs and gifts. the keben craftsmen have expertise in arranging woven patterns in forming vernacular typography motif designs to convey communication messages to the viewer. although the craftsmen in kayubihi village do not receive formal design education, they have creative ways to make it harmonia: journal of arts research and education 22 (1) (2022): 187-199192 easier for the craftsmen to be creative. the first step taken by the keben craftsmen of kayubihi village in making the vernacular typography design for the keben is to make a guide first. this guide consists of an arrangement of alphabetical letters made in one sheet of woven bamboo and the finished product as a reference in weaving keben as presented in figure 2. figure 2. the alphabetical arrangement of the keben motif with vernacular typography as a reference for craftsmen in kayubihi village source: document of desi, 2021 the creativity carried out by the keben craftsmen of kayubihi village by making references to weaving techniques to form vernacular typographic designs has opportunities for the creation of digital typefaces. however, in the process, the vernacular typography motif designs created by the craftsmen of the kayubihi village were analyzed first using the design typography principles consisting of legibility, readability, visibility, and clarity to determine the level of readability, the interaction of letter motifs on the keben to the space and visual elements around it as a reinforcement for digital typeface creation. the legibility principle legibility is related to the quality of the letters in their ease of being recognized or read (sihombing, 2015:165). the form of the vernacular typography design of the keben motifs with woven techniques in the principle of legibility is easy to recognize and can be distinguished from one letter to another, made in the form of an uppercase (capital letter) presented in figure 1. the legibility principle of the vernacular typography design of keben motifs of kayubihi village is determined by the width of the bamboo strands used for weaving. the thinner the woven bamboo strands, the easier the vernacular typography of the keben motif can be recognized and read. the shape of the woven pattern with small and tight fiber widths or known as sisit geles can also affect producing a consistent letter shape. in figure 3, the design of the vernacular typography motif with the sisit geles weaving technique can produce letter shapes that meet the legibility principle. the arrangement of the letters that make up the word bu bintang is clearly legible, each letter can be recognized and easily distinguished from one letter to another. this shows that the design of vernacular typographic motifs has the opportunity to be developed into new types of typefaces by adopting the weaving technique of kayubihi village craftsmen which is digitally adapted with adjustments. the readability principle readability is related to the ease and convenience of reading the information in a layout (sihombing, 2015:165). the readability principle of the keben motif is very strong because it is supported by the application of the figure and ground aspects that are set on the surface of the keben focused on one flat surface. the craftsmen of kayubihi village can visualize the readability principle by applying the figureground aspect. the figure-ground aspect, as shown in figure 3, shows that two spaces provide a stimulus for the viewing eye to be able to distinguish between the color combination of the motif as the background and the identity text of the name bu bintang as a figure made as if there is a separation of space emphasized by the presence of a rectangle line as a frame without compromising the principle of unity. the figures and ni luh desi in diana sari, et al., vernacular typography design of bamboo keben craft as 193 the setting support each other so that the informational text presented can be easily and comfortably read without dominating the others. this is reinforced by the application of the figure-ground principle to be able to separate the figure in the form of bu bintang text (see figure 3) with a black and red color combination background which can be identified by separating the text part as a figure and the color part as a ground so that the legibility is getting stronger. figure 3. the vernacular typography design of keben motifs of kayubihi village meets the principles of typographic design. source: document of desi, 2021 the text of bu bintang on the keben, as shown in figure 3, is easy and comfortable to read because the use of contrasting colors between the figure and the background is very clearly visible. the application of two black and white colors, as shown in figure 4, shows that the readability principle can be achieved optimally. the text of bu danta written on the surface of the keben (figure 4) can easily be recognized and read. this further emphasizes that with their traditional skills, the keben craftsmen in kayubihi village have been able to apply design principles through self-taught learning through repeated verbal learning, and through various trials and errors to create vernacular motif designs that develop at the moment. the visibility principle the visibility principle relates to the ease with which text can be read at a certain distance. this can be proven by the shape of the character letters created by the craftsmen in kayubihi village with a weaving technique that gives a firm, strong impression with a composition of balanced and proportional letter sizes in their placement on the surface of the keben. so that the information presented can be easily read from a certain distance. the success of applying the visibility principle of keben motifs is strongly influenced by the small width of the woven fiber used and the density of the weaving technique, resulting in a woven pattern of the vernacular typography design that is detailed, smooth, and neat. the text of bu danta as part of the vernacular typographic design of the keben motif shown in figure 4 contains information on the name of bu danta as the identity of the owner of the keben and has met the visibility principle well. there is a color contrast with a black background that affects the readability of the information text if it is read at a certain distance. figure 4. the vernacular typography design of keben motifs of kayubihi village meets the principles of typographic design. source: document of desi, 2021 the clarity principle the clarity principle relates to the quality of letters and text in their function as a means of delivering messages so that they can be understood clearly. the arranharmonia: journal of arts research and education 22 (1) (2022): 187-199194 gement of letters forms the word bu danta in figure 4, able to clearly communicate the identity of the owner of the keben, and the shape of the letters is easy to recognize and distinguish from one another. the motifs as decorations and the letter characters arranged into informational text in a keben appear to form a unified whole, harmonious and functioning well as a sign of identification/identity of the owner of the keben. the successful application of the principles of legibility, readability, visibility, and clarity is strongly influenced by the weaving technique in making keben which depends on the process of making and forming bamboo fibers through several stages. weaving is a technique in making crafts by crossing woven materials consisting of warp and weft, similar to the weaving technique. warp, as the basic material for woven and weft, is a woven medium that is inserted into the warp (surya & mutmaniah, 2015). the bamboo material used by the kayubihi village craftsmen in making keben is a type of rope bamboo or tiing tali/ tiing tiantan (bali) (gigantochloa apus (ja & jh schultes) kurz). a bamboo rope has the characteristics of upright stems and dense clumps, with a trunk diameter of 7-12 cm, a wall thickness of 11-14 mm, and a height of 14-16 meters (yeny et al., 2015:15). a bamboo rope was chosen as the raw material for making keben/sokasi by the craftsmen of kayubihi village because the walls of the reed are thick, the bamboo reeds are easy to blade/disisit (bali), durable, and flexible, and not easily broken so that they can form various forms of woven products and all parts can be used (arinasa & peneng, 2013:46). for the craftsmen in kayubihi village, the weaving stage requires skill, patience, and thoroughness to produce a qualified keben. the technique of making keben with bamboo rope by kayubihi village craftsmen is carried out in two stages; the first stage is the preparation of woven raw materials by processing bamboo first. the second stage is weaving the raw materials into keben with various vernacular typographic motifs. the process of making a vernacular typography design with a keben motif begins with making the base/pad/useh (bali) as a ready-to-weave ulatan/sheet, which is presented in figure 5. the keben used by the craftsmen of kayubihi village is the sok jampel/ulat isi weaving technique. sok jampel/ulat isi technique is done by weaving ulatan in a tilted position/ngandang (bali). through this stage, various motif designs can be created (see table 1) and can be combined with vernacular typography motifs containing information on the identity of the keben owner. figure 5. basic weaving technique of keben/ ulatan source: document of desi, 2021 the craftsmen carry out weaving techniques in making vernacular typographic designs of keben motifs using special techniques, especially in arranging letters that form words. make the bottom part of the keben using a weaving technique from left to right, like writing on paper, see figure 6. meanwhile, to make the lid, make the last letter upside down, see figure 7. the keben craftsmen also have a formula for making vernacular typographic motifs. making one type of letter motif takes five strands/segment, except the letter t spends six strands/segment. letter i spends three strands/segment, and letter v, y spends four strands/segment. by knowing this formula, the craftsmen can easily arrange the motifs of these letters into a word that usually contains the name of the keben owner with a proportional and balanced division of fields. ni luh desi in diana sari, et al., vernacular typography design of bamboo keben craft as 195 figure 6. the technique of weaving a keben base with vernacular typographic motifs source: document of desi, 2021 figure 7. the technique of weaving a keben lid with vernacular typographic motifs source: document of desi, 2021 the presence of vernacular typographic designs with keben motifs of kayubihi village is always combined with various types of geometric motif designs to add to the aesthetic value of the keben and adjust to the customer’s tastes. the various types of motif designs produced by the keben craftsmen of the kayubihi village are done using traditional weaving techniques, which can be categorized into two types, namely: 1) the motif design in the form of latin letters that reads a-z can be categorized into a letter type without hooks/san serif with characteristic no serif/ hooks/fins at the ends of the letters, with the same thickness and giving the impression of being modern, efficient, contemporary as shown in figures 3, 4, 6 and 7 (sihombing, 2015:160). 2). geometric motif designs as aesthetic elements that adorn the surface of the keben can be categorized into decorative typefaces created from patterns of woven lines to form motifs, as presented in table 1 (sihombing, 2015:185). these two categories of motif types can be developed in the creation of digital typefaces. based on interviews with several competent sources, they found that various types of motif designs created by the keben craftsmen in kayubihi village were used as decorations to improve the aesthetics of keben so that the product was in demand by buyers. keben motif design as a result of collective creativity, forms a distinctive identity of kayubihi village craftsmen created through weaving techniques passed down through habits without being documented and recorded (yeny et al., 2015:60). therefore, documentation and recording of various vernacular typographic motif designs are required in kayubihi village in digital form. the tradition of weaving bamboo carried out by the kayubihi village community can be categorized as an intangible cultural heritage included in the category of traditional crafts, playing an important role as a defense medium for existing cultural diversity (idris et al., 2016). table 1. vernacular typography design of keben motifs by kayubihi village craftsmen have opportunities as digital typefaces in the form of decorative letters. motif design design development 1. sun (figure 8) the motifs of sun, square sun, swastika sun, and connected sun 2. flowers (figure 9) the motifs of lantinglanda, kedukduk, and seroni. the motifs of jasmine, sakura, and hermes. 3. traditional fabrics (figure 10) the motifs of rang-rang, poleng, and songket. 4. object of things (figure 11) the motif of a windmill, chess, sari chess, candles, and ceramics. 5. balinese hindu religious cultural symbols (figure 12) the motifs of swastika and tamiang harmonia: journal of arts research and education 22 (1) (2022): 187-199196 figure 8. vernacular typography design in sun motifs source: document of desi, 2021 figure 9. vernacular typography design in flower motifs source: document of desi, 2021 figure 10. vernacular typography design in traditional fabric motifs source: document of desi, 2021 figure 11. vernacular typography design in object of thing motifs source: document of desi, 2021 figure 12. vernacular typography design in balinese hindu cultural symbol motifs source: document of desi, 2021 the meaning of keben in kayubihi village the semiotics approach by ferdinand de saussure is used to reveal the meaning of keben made by the kayubihi village craftsmen because of the associational relationship between the signified and the signifier. keben with a vernacular typographic design motif as a sign because of the unity of the signifier and the signified. keben dengan motif desain tipografi vernacular sebagai tanda karena adanya kesatuan dari penanda (signifier) dan petanda (signified). a signifier is “meaningful scribbles” produced through a weaving technique to form a letter arrangement into a word as the identity of the keben owner followed by geometric motifs classified into five groups as described in table 1, in the form of an image of a woven motif design, which can be read and seen as shown in the figure below. figure 1, figure 2, figure 3, and figure 4 are assembled into a unified whole with a vernacular typographic design. at the same time, a signified is a “concept description” behind various types of motif designs for the kayubihi village (felix, 2020) which can be interpreted from the concept of creativity, cultural preservation, and identity. the meaning of creativity, according to csikszentmihalyi in piliang (2019:62), refers to the social and cultural domain in it; some people express unusual thoughts with new, original, fresh, enlightening perspectives and can fundamentally change the existing culture. the craftsmen of kayubihi village in creating vernacular typographic designs with keben attach the meaning of creativity through thoughts that generate new ideas in the form of a keben which is a pictogram or visual language as a form of expression that describes the harmonious relationship between humans and nature, humans and others, and humans with the creator known with the term trihitakarana in balinese hindu culture (saragi, 2018). the keben motif as a result of the creativity of the kayubihi village craftsmen was created because of ni luh desi in diana sari, et al., vernacular typography design of bamboo keben craft as 197 the three pillars of creativity according to csikszentmihalyi in piliang (2019:63). first, domain, in the form of procedures, symbolic methods, or knowledge in processing and weaving bamboo which is a cultural tradition of the kayubihi village community passed down directly from generation to generation through a process inherited by parents (mother) in filling their spare time by weaving. in this process, there is an intense interaction between humans and bamboo, generating bamboo weaving knowledge and skills (yeny et al., 2015:60). second, field, all individuals consisting of craftsmen, government, culturalists, and communities are tasked with maintaining and preserving the domain and deciding whether an idea or new product can be included in the domain so that kayubihi village becomes a center for woven bamboo crafts which is quite famous in bali. three, person, in this case, the craftsmen individually recognize natural resources, and culture in the form of symbols that exist in a domain and then created to produce new ideas, systems, principles, forms, or patterns in creating various typographic designs with keben. these three pillars are the result of the creativity of the keben in kayubihi village in creating new motif designs, and innovations in the form of keben being able to grow and develop until now. the meaning of preservation is related to efforts to maintain the local cultural heritage of the kayubihi village community in the form of woven bamboo crafts for a long time and sustainably with the aim of not becoming extinct (mubarat & junoko, 2021). the existence of bamboo crafts/ keben in kayubihi village is currently still in demand because it is closely related to the cultural traditions and religious rituals of hindus in bali (putra et al., 2019:3). motivation, enthusiasm, tenacity, and being supported by creative individuals are the capital for craftsmen to continue to be creative, innovate, and produce various types of keben motif designs to maintain the art of bamboo crafts in modernization and globalization. the creativity and innovation continuously carried out by the keben craftsmen in kayubihi village always adhere to socio-cultural values because the keben created is closely related to the sociocultural of the balinese people and is affirmative by accepting new ideas to develop keben crafts, making the dynamics of innovation and tempo of change very quickly (piliang, 2019:63), so that in a short time there are always new motif designs created. this shows the conservation efforts made by the keben craftsmen to maintain the art of bamboo crafts as a cultural heritage and become the characteristic/identity of kayubihi village. the meaning of cultural identity in the vernacular typography design of the keben motif as part of indonesian national culture can be in the form of processes and products. keben as a cultural process forms a cultural identity that can be reflected through the creative thinking of the keben craftsmen through their intelligence, openness, creative spirit, discipline, full of imagination, fantasy, sensitivity, love for what they do, ability to produce various weaving techniques as a skill which can continue to be inherited as intangible local cultural wisdom. meanwhile, keben as a product of handicraft culture has a role in the traditions of the balinese people, namely as a place for prayer facilities and traditional ceremonies as local cultural wisdom in the form of objects (setyawan & dopo, 2020). the presence of a vernacular typography design as a keben motif with its characteristics in the socio-cultural life of the balinese people functions as the identity of the keben owner and represents a certain social status in society. balinese people, in carrying out religious ceremonies always use various ceremonial facilities; a person’s social status is determined based on the ceremonial facilities used (karuni & suardana, 2018). through this research, it is hoped that the public, especially the younger generation, can recognize various types of vernacular typography design of keben motifs that can be used as references to continue to innovate to produce various creative works while preserving keben with distincharmonia: journal of arts research and education 22 (1) (2022): 187-199198 tive motifs and traditional weaving techniques. this research also contributes to the development of the creative industry with local cultural nuances that can compete in the global creative industry arena. from the creative industry perspective, woven bamboo handicrafts are part of the art of craft and design that have the potential to be developed into various types of products (hendriyana et al., 2020). keben crafts as part of the creative industry will always develop as long as there is creativity and innovation in it (yeny et al., 2015:52). conclusion the vernacular typography design of the keben motif has a distinctive visualization, character, and the opportunity to be developed and utilized in the form of other cultural products. the form of development and utilization of the vernacular typography design of the keben motif can be done by exploring the visual form of the keben motifs into digital typefaces that are full of elements of local culture through visual communication design. the uniqueness and detail of the design of the keben motif has the potential to be digitally adapted as a new typeface by highlighting the local cultural wisdom of the kayubihi village craftsmen who are part of balinese society. this can be interpreted from the concept of creativity, cultural preservation, and identity that can be used as a source of inspiration for the younger generation to work based on local cultural wisdom. this local cultural wisdom is indigenous creativity, which represents local balinese cultural identity and must be preserved as a form of appreciation for local values to enrich aesthetics in digital form and a strengthen of the cultural identity of the indonesian nation. this creativity can be used as a source of inspiration in the creation of typefaces that offer novelty and as a form of preserving values and cultural artifacts that exist in society so that they can continue to be enjoyed by the next generation. references akbar, t., & raden, a. z. m. 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(2015). kerajinan anyam sebagai pelestarian kearifan lokal. jurnal dimensi seni rupa dan desain, 12(1), 1–10. https://doi. org/10.25105/dim.v12i1.65 http://dx.doi.org/10.23887/jjps.v7i3.11404 http://dx.doi.org/10.23887/jjps.v7i3.11404 140 ngesti utomo rodhat dance as a means of bersih sendang dadapan ritual in boyolali regency suharji indonesia institute of arts, surakarta, jl. ki hajar dewantara 19 surakarta 57126, indonesia e-mail: suharji_harji@yahoo.com received: october 22, 2014. revised: november 1, 2014. accepted: november 24, 2014 abstract rodhat dance is one of the dances used for bersih sendang ritual in the slope of mount merbabu. this study investigated the role of rodhat dance in bersih sendang ceremony. this study was conducted using qualitative method, and the data collection techniques were observation, interview, and documentation. the approach used in this study was anthropological approach. data analysis techniques in this study were reduced, reformation, and conclusion. the result of this study shows that rodhat dance is a folk dance used as a means of ritual in the society. the accompaniments of the ritual are sesaji (offerings) and ujuban (prayer). acculturation occurred due to the mix of the ancestor’s worship tradition and islamic tradition. the dance is conducted every year to free the spring from bad attitudes of human beings, so that the water in the spring is always available for the welfare of the local society. with the plentiful water, the people is happy because their farm is irrigated. bersih sendang ritual is an expression of gratitude to the creator who has given his gift to the people living in gunungan lor, jeruk village, sela sub-district, boyolali regency. keywords: acculturation; bersih sendang; ritual; rodhat dance how to cite: suharji. (2014). ngesti utomo rodhat dance as a means of bersih sendang dadapan ritual in boyolali regency. harmonia: journal of arts research and education, 14(2), 140-146. doi:http://dx.doi.org/10.15294/harmonia. v14i2.3295 harmonia : journal of arts research and education 14 (2) (2014), 140-146 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v14i2.3295 p-issn 1411-5115 e-issn 2355-3820 performance. the attitudes of rural society are usually adapted to the natural condition in order to maintain the harmony with the nature. many rules and prohibition are made for that purpose. for example, sesaji (offerings) should not be something fried or crispy or dried because it is contrary to water, something wanted by the people. it is not allowed to burn incense in a mosque, but almost all people smoke cigarettes with incense so that the smell is everywhere in the mosque. it is believed that if some one does something prohibited, his village will be in danger. it will be difficult to find water so that people will have a serious problem. big trees around the spring must introduction bersih sendang ritual is part of the cultural aspect which has become a tradition, and it is preserved by some people living in gunungan lor, jeruk village, sela sub-district, boyolali regency in order to get the blessings in the form of sufficient water supply needed by every human. bersih sendang ritual can still be found in some areas in central java, such as undaan in kudus, and jimbung in southern klaten. this tradition is the social manifestation of the power of nature. there are various ways in conducting this tradition, such as tirakat, sedekah bumi and folk art suharji, ngesti utomo rodhat dance as a means of bersih sendang dadapan ritual 141 not be cut, and they are considered sacred because of supernatural beings dwelling those trees. if those trees are cut, disasters such as land-slide or drought will occur. there is no logical reason for those traditions since people just follow what is told by the elders. bersih sendang dadapan ritual which is conducted every bakdamulud (a javanese month) on rebo pon (rebo, wednesday; pon, a name of a day in javanese calendar) is always accompanied by rodhat dance from “ngesti utomo” art association led by tarji and nursalim. this art festival is held on the day from 15.00 until 17.00 and at night from 20.00 until 23.00. this event involves three types of traditional rodhat dance, which are performed by women, by men, and by both women and men. the performers are chosen from the people living in the area of rt 01 rw 0i. this study explains how bersih sendang ritual is conducted in gunungan lor and how rodhat dance is. theoretically, this study gives clearer information about the ritual with rodhat dance, which is influenced by islamic values. the form of dance as a means of ritual according to soedarsono, the characteristics of ritual are a proper selection of day, dancers who are accustomed to the ritual, a specific place, sesaji or offerings, and prayers (soedarsono, 1999, p. 162-163). in the abstract sense the definition of art form is a structure. the structure in the dance is a set of relationships in unity. it refers to the relationships among parts of a whole unit. in the concrete sense, form means an arrangement. then, the concept of form is related to parts of a whole. in the context of rodhat performance as a means of ritual, the study of the form examines parts of the dance performance as an aesthetic activity for human beings who desire beauty. the form of art must be so interesting that its audience can enjoy it. a performance needs audience’s appreciation, and therefore a dance performance as a set of movement, stage design, make-up, costumes and music is arranged beautifully to satisfy its audience. method research methods and approach this study was a qualitative study resulting in descriptive data in the form of written or spoken elaboration or the explanation of a policy (moleong, 2002, p. 112). this study applied anthropological approach which considers art as an expression of human feelings. however, rodhat dance has its social aspect due to its missionary purpose. the data were collected directly from the sources, and the researcher became part of the main analytical instrument. the data were in the form of words or pictures with certain meanings (sutopo, 2006, p. 40). the main data sources were verbal expressions and actions, and the additional sources were pictures and recordings of karawitan (javanese music ensemble. data collection techniques the data collection techniques were observation, interview, and documentation. the observation was conducted in two ways, namely direct observation of the sources and indirect observation through recordings made in this study. in the direct observation, the researcher observed the preparation of sesaji and kenduri (an expression of gratitude to god by gathering people, praying together, and giving them food) by actively participated as a participant in masjid jami’ gunungan lor where rodhat dance was performed. those processes were also recorded so that there was no missing information. the indirect observation was conducted by observing the recordings made in the direct observation and the ones made before it from library collections, in addition to books. the use of computer helped the image transfer process. besides, the researcher examined the data kept by the leaders of ngesti utomo. the interview was conducted in two ways, namely free interview and programmed interview. free interview was conducted to some informants in order to obtain general data. this interview had been conducted since the researcher came to the harmonia : journal of arts research and education 14 (2) (2014): 140-146142 field. the questions of the interview in cluded the history of rodhat dance, the history of the artists, the artistic concept, and the artists’ artistic expressions. free interview was intended to get along well with the informants and make them open to share required information for the purpose of the study. the interview was noted and videotaped, so that there was no missing information. the main informants were nursalim, 43 years, living in gunungan lor and acted as the co-leader of rodhat accusation, and tarji, 40 years, living in dusun gunungan lor and acted as the head of the committee of bersih sendang. from the interview, the researcher obtained the data related to the month in which bersih sendang was conducted, the process, and the required money. the other informants were dulkamit, 58 years, from gunungan lor. they gave the data about the prayers and sesaji. other important information about the development of rodhat dance and the condition of the local society was obtained from one of the pioneers of traditional rodhat dance, jarkoni, 64 years. programmed interview was conducted to obtain necessary data for the study. the researcher had prepared a list of questions related to the conduct of the ceremony, selamatan (or kenduri), funding, dramatic structure of rodhat dance, the history of the performers, institution conducting the event, supporting factors, obstructions, the ways of overcoming problems, and the number of audience. the main informant was the leader who was also a dance trainer named ki warsito, 39 years, a farmer. ki warsito is the creator of tari prajuritan gagrak tumapel which made him a well-known artist in boyolali regency. he actively participated as a trainer of rodhat “ngesti utomo” and rodhat kalijaga from suboto village. he provided the data about the performers of rodhat dance, the participation in the ritual, and the spirit to preserve the dance. the form of the performance, the equipment, and the environment in the supporting society were documented using audiovisual means. this study attempted to find the relation of rodhat performance with the belief of the society and the artists with the cultural life of their supporting society. data validation technique the data of this study is validated through data triangulation technique. according to moleong (2007, p. 178) triangulation is a data validation technique which uses something outside the data themselves in order to check or compare the data. triangulation techniques applied in this study were triangulation of data source and triangulation of methods.triangulation of data source is a technique to explore some different data sources in order to obtain similar data as a way of validating the data. triangulation of methods is data collected from similar sources using different techniques. data analysis technique the data of this study were analyzed using interactive process. the data collected from interviews were compared to data from observation. next, the data were analyzed using three analysis components, namely data reduction, data presentation reformation, and conclusion or verification. data reduction was conducted by analyzing the data related to the ritual, the form of rodhat performance, supporting factors and obstructions, and functions, which were selected, simplified, and abstracted. data reformation was a complete arrangement of information and description. the conclusion was made when there were sufficient data. when there was missing information, the researcher came back to the dancers, committee and members of of ngesti utomo to obtain the required data. result and discussion geographical condition of gunungan lor dusun gunungan lor is one of fifteen dusun (small village) in the area of jeruk in the eastern slope of mount merbabu. gunungan lor is confined in that slope, with suharji, ngesti utomo rodhat dance as a means of bersih sendang dadapan ritual 143 dusun surodadi in the western side of the area, dusun tempel of suboto village which is part of the semarang regency in the north, a downward-sloping road in the east, and farmland in the south. in order to reach the area, someone can ride a motorcycle or drive a c-class car. big vehicles can only reach dusun surodadi due to its narrow road. the road to gunungan lor has been covered with asphalt with 50-degree declivity. this area has narrow roads. the houses in this small village are clean, and the architecture is the typical style of village house characterized by the narrow front yard, unplastered walls, and tiled floor. almost all houses have walls made of bricks from soil, bricks from cement, and stones. there is limited water, so that some people depend on rain as a source of water and distribute the water to several houses. water is a crucial thing in this village, so the ritual of searching for sources of water is conducted. dadapan spring is one of the important sources for people living in dusun gunungan lor. kinship the relationships between an individual and another one, among a group of individuals, and with the nature encourage human beings to know each other, fulfill biological, physical, and mental needs. human beings then create various tools and technology, arts, and patterns of attitude known as culture. in culture, there are patterns of kinship. based on the observation, the people in gunungan lor and the members of ngesti utomo were very close to each other without disparities, and they lived with a traditional system called paguyuban (togetherness and close interaction with a group people). all people participated in every activity, and the money for the ritual was from donations. the dance performance also involved almost all people living in rt 01, rw 01 gunungan lor (ki tarji, interview on february 13, 2012). dusun gunungan lor consists of one rukun tetangga or rt (a small area in a village with a few people living close to each other) in one rukun warga or rw (a small area in a village which is larger than rt) with 49 houses in which 251 people lived. the tradition and the ritual of bersih sendang dadapan almost all people still embrace the tradition from the ancestor, and this can be seen when the elder people burn incense and cast a spell in the ritual. ujub is an acculturation of the expression of gratitude to the prophet and dahyang (supernatural being dwelling certain places), while the prayers are all taken from al qur’an. almost all people gather around sausage accompanied by the prayers of the elders. there are three types of sesaji in the ritual. the first offering, which is given in the morning, consists of bunga telon (three kinds of flower) and boreh, big tumpeng (cone-shaped rice), ingkung ayam (chicken), crackers, a bunch of banana, traditional snack or jajan pasar, and dawet and so on. ujub sesaji is intended to be delivered to the prophet muhammad saw, supernatural beings in bale griyo inside and outside wangon, baginda kilir the ruler of water and baginda ilyas the ruler of the land. this is conducted every jumadil akiran of jumat kliwon. it is expected that they give their blessings for safety, peace, and success of the people living in gunungan lor. prayer for safety in bersih sendang is conducted after ujub sesaji, which is symbolized by burning incense and casting a spell. this is done for safety, prevention from danger, plentiful water in dadapan spring, and a good crop of vegetables and palawija (supplementary food other than rice). before the time of dhuhur (midday prayer), all people gather in the mosque of the village for selamatan (javanese grateful ceremony). all people bring tumpeng, steamed tahu and tempe, vegetables, and a lodong dawet. no fried food is allowed. there is no incense which is burned, but almost everyone smokes cigarette with incense or klembak menyan, so that the smell is everywhere. one of the elder people, then recites prayers, and the participants replied the prayers by saying amen. after harmonia : journal of arts research and education 14 (2) (2014): 140-146144 people (jarkoni, interviewed on february 13, 2013). the forms of rodhat dance include the sequence of staging, make-up and fashion, and karawitan music supporting the dance. sequences of staging before the dance begins, there is terbangan (islamic percussion ensemble) accompanied with the synopsis of the origin of the dance, which is said to be an expression of gratitude to the warriors of mount merbabu called aryo saloka and mundingsari. the dance consists of several movements. first, the dancers walk in a row consisting of four persons and energetically wave the fans in their right hands vertically, while their left hands wave in the similar direction to the fans. all the dancers enter the stage in five rows, each of which consists of four dancers. second, after the accompanying music changes into gendhing (composition of javanese orchestra) with rearranged composition, the dancers dance with clenched left and right hands, slightly bent bodies, and heads turning left and right. left and right hands are moved vertically, and bodies are moved upright and bent alternately and turned left and right. left and right feet are moving and bodies are bent. the dancers then take the position in which their heads are turned left and right while they move their heads left and right alternately. third, the music changes into gamelan from saron penerus and drum. the dancers form a 4-5 formation, forming a crossed pattern and then two columns. fourth, the music changes into terbangan, the dancers walk and wave their fans, forming a circle and facing each other. fifth, the music changes into compositional music, the dancers perform jalan kicat, wave their fans and face each other then turn around back to back. every movement change, the dancers wave their fans and perform jalan kicat. the dancers start with a circle formation facing each other, with left hand akimbo and right hand holding fans in front of the stomach, and then they walk sideways to the right and make a circle. the dancers then form that, everyone can eat the food brought by them. the offerings consist of a cup of sweet tea, two cigarettes, baked sweet potato, baked cassava. the prayer is recited by the leader of rodhat group. all prayers in kenduri are influenced by islam. the first prayer is alfatihah verse, then the prayer for both parents, the prayer for the fellow moslems, and the prayer for safety in the world and the afterlife. after selamatan, there is an art festival in which people perform folk dances. folk dances are usually simple with no detailed work on movements, and they function more as entertainment and tribute to the supernatural beings for certain purposes. ritual dances are performed for overcoming any disruptions, either naturally or supernaturally. ritual dances are always related to supernatural things. ngesti utomo rodhat dance ritual ceremony is something rare since it is used by a certain society only in a certain occasion. ngesti utomo rodhat dance is performed specifically to accompany bersih sendang ritual which has been held for a long time ago. rodhat dance is performed to commemorate ki ario saloka and munding sari from mount merbabu for their merit to the people of gunungan lor. since 2010, there are three traditional rodhat groups, each of which is per formed by men, women, and both men and women. most people living in gunungan lor believe that the dance has magical power. female rodhat dance is performed at the beginning of verse sendang, followed by male rodhat dance, and then all dancers dance together as the closing. the performance is intended to get angsar or benefits. the performance is held in a wide open space with tepak panggung made of sengon wood owned by a local dance group for the accompaniment. dance forms the form of rodhat dance to complete the rites is prajuritan dance with an islamic theme,a religion of most gunungan lorsuharji, ngesti utomo rodhat dance as a means of bersih sendang dadapan ritual 145 information while slightly bending their bodies and then make a circle again. sixth, the music changes into ganjur, two couples in the north and the southern sides face each other and then face other dancers in the west and the east. seventh, composing music is played, the dancers form a faceto-face formation with four dancers facing four others and then form a two column formation. eight, the music changes into srepeg, the dancers form a circle while waving their fans, face each other and then turn around back to back. the ninth, the music gets more intense, and the dancers perform acrobatic movements. tenth, the music reaches its peak, the dancers form an acrobatic formation like a mountain, and then make a two column and leave the stage. energetic dance as an expression of the feeling of the society has a great power and benefits for them (ki warsito, interview on may 10, 2012). the letter formations represent the name of the association. what is important in the ritual dance is the spirit of togetherness and harmony for reaching inner peace rather than its aesthetic aspects. make-up and costumes make-up is used to make a change to the dancers’ faces. the colors used are mostly black and white. face powder is applied first, and then the eyebrows and sideburns are bonded using black pencil. thus, the men look handsome and the women look beautiful. the costume consists of black cap called peci with yellow edge, sunglasses, white long-sleeve shirt for men and women, golden cloth slings, black or green vest, bangles, black cinde pants, and sandals. karawitan as the accompaniment karawitan used in rodhat dance is a combination of javanese karawitan and terbangan. the instruments are four terbang (a kind of percussion), three saron penerus, one bedhuk, one drum and one organ (see figure 2). there is acculturation in this accompaniment. diatonic music is mixed with pentatonic one. this new creation of music supports the performance very well. figure 1. costumes for male dancers figure 2. instruments used in rodhat performance conclusion bersih sendang ritual in gunungan lor, which was previously a means of spreading islam and an entertainment, developed into a means of praying for water as a source of fertility needed by the people there. drought causes crop failure and makes the people suffer. therefore, it is necessary to cooperate and work together to undergo and overcome it. it is believed that preserving rodhat performance gives them fertility for their land, safety, peace, and happiness. the form of rodhat performance in bersih sendang ritual comprises the sequence of the performance, make-up and cos tumes, and karawitan as the accompaniment. harmonia : journal of arts research and education 14 (2) (2014): 140-146146 references abdullah, m. i. n., bakar, s. a., & annuar, t. m. 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(2006). metode penelitian kualitatif. surakarta: uns press. 37 the essence of siganjua lalai values in dance movements of minangkabau women fuji astuti department of arts, drama, dance and music, faculty languages and arts, universitas negeri padang, indonesia received: march 16, 2019. revised: may 4, 2019. accepted: june 28, 2019 abstract customary and cultural values are an important part which may be found not only in daily routines, but also reflected in all actions, particularly in art. women’s smooth characteristic in minangkabau tradition is called siganjua lalai. this research needs to be conducted since some choreographers make princess dance using masculine movements. this research aims at studying and finding the basic concept of women’s dance movements according to the concept of siganjua lalai. this research employs qualitative and experimental methods with social approach of minangkabau culture. analyzed using interpretive qualitative techniques, the data are in the form of siganjua lalai dance movement concept, including the design of 1) space, 2) time and 3) energy. the experiment was conducted with students of sendratasik study program, faculty of languages and arts, padang state university. based on the research results, the basic patterns of siganjua lalai cover attitudes, leg and arm movements. the philosophy also considers the space, time, and energy. therefore, the pattern design refers to the philosophy of siganjua lalai. the dance may be expressed in accordance with minangkabau women’s characteristics in reflecting their cultural identity. keywords: women, dance movements, siganjua lalai how to cite: astuti, p. (2019). the essence of siganjua lalai values in dance movements of minangkabau women. harmonia: journal of arts research and education, 19(1), 37-47. harmonia: journal of arts research and education 19 (1) (2019), 37-47 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i1.23622 hereafter, the rules will become a norm with collective values, so that they become part of culture as a symbol implemented in society life (wahyudi et al., 2018, p. 134). the values may be observed in attitudes, behaviors and characters which reflect respective individual’s personality, including they who reside and live in minangkabau, west sumatera. minangkabau has cultural values which are derived from the processes of history and life developing in its supporting people’s surroundings (nursyam & supriando, 2018, p. 308). certain values or norms may be obintroduction every region has different culture, and such culture contains values adhered to and followed by the people in the region. the values contained in an ethnic or group in indonesia consists of aesthetic values and ethical values. besides, customary and cultural values in rules guide individuals to act (saraswati & narawati, 2017, p. 229). society’s benchmark of acting depends on existing values in their culture. mutually agreed rules should be upheld. corresponding author: jl. prof. dr. hamka, no.1 air tawar barat padang e-mail: astuti@fbsunp.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 19 (1) (2019): 37-4738 served from various art media, such as through dance, music, literature, painting, etc. minangkabau dances are works of which range of movements reflect the life of minangkabau people (elina et al., 2018, p. 308). based on the research conducted by astuti (2016), there is no philosophical values of siganjua lalai contained in current minangkabau women’s dance movements. the meaning of expression siganjua lalai states kok bajalan suruik nan labiah, samuik tapijak indak mati, alu tataruang patah tigo (when walking, one steps back more, ant getting stepped on won’t die, hammer getting stumbled over is broken three). this philosophy reveals how smooth the attitude and personality of a minangkabau woman is, that when she is stepping forward, it seems as if she is stepping back, the smoothness is also as if when getting stepped on, an ant will not die, but these are not reflected in dance movements shown by current minagkabau women. in this regard, the philosophical essence of siganjua lalai values referring to women as a symbol of smoothness should be upheld in performing daily activities and in art, including dance. astuti (2016a) asserts that minangkabau women’s smoothness does not mean they are weak and can be suppressed. behind the smoothness, they are strong, as expressed in the expression alu tataruang patah tigo. the strength symbolized in the adage alu tataruang patah tigo does not necessarily be expressed vulgarly in a form of body movement, jumping, kicking, rolling with big movement volume or using strong movement. the philosophical essence of siganjua lalai is interpreted that minangkabau women are careful, alert, cautious, and logical in their acts, as well as tough in facing any social phenomena in life. the value essence certainly should also be reflected in acting, making decision in art activities like minangkabau dance movements specially played by female dancers. referring to the past, art activities are principally only played by men, while minangkabau women do not have chance in art activities, especially dance. astuti (2004) states that the reason of women’s existence in art activities is that minangkabau women redefine the norms that have been mutually institutionalized and agreed upon. weakening control of mamak in protecting kemanakan and existing dance art education in formal school curriculum open the opportunity for women to enter the dance world. right now, the existence of women in dance art increases significantly, dominating men. in the past, dance art is only performed by men, which is identical to permainan anak nagari. however, the values have shifted, that male adolescents are not willing to dance, that dancing is deemed only appropriate for women. this shift may be caused by women’s dominance in dance art activities and incompatibility of dance materials given, which do not distinguish men’s from women’s movements. for example, feminine movement character is incompatible with men. on the contrary, masculine movement character is deemed to be more compatible with men. however, the current phenomena are that female dancers perform agile dance movements with big and strong movement volume, leaping, jumping and kicking with masculine movement character, not representing minangkabau women’s femininity, as contained in the siganjua lalai philosophy. such acts and movements are, according to (astuti, 2016b), discordant (inappropriate for minangkabau women to perform). astuti (2016a, pp. 53–55) also asserts that although women’s existence is currently more dominant, astuti worries that women’s involvement in dance art seems to be beyond the limit of the concept of women’s role in minangkabau society with their limited movement space in daily activities. moreover, with regard to the concept of minangkabau society’s return to nagari, men’s role involvement in the art world should be balanced with that of women. astuti considers that it is necessary to review dance creation by female minangkabau choreographers, so that women, in fuji astuti, the essence of siganjua lalai values in dance movements of minangkabau 39 regard to dance, will not go beyond their disposition as ideal minangkabau women. there are twelve inappropriate acts of minangkabau women referred to as sumbang duo baleh, which means that norms in minangkabau customary adages used to measure and shape an ideal minagkabau women’s attitudes and personality. the concerned sumbang duo baleh include (1) sumbang duduak, (2) sumbang tagak, (3) sumbang diam, (4) sumbang jalan, (5) sumbang kato, (6) sumbang caliak, (7) sumbang pakaian, (8) sumbang karajo, (9) sumbang tanyo, (10) sumbang jawek, (11) sumbang bagaua, dan (12) sumbang kurenah (hakimy, 1994, pp. 67–69). sumbang duo baleh which are taken as markers in shaping minangkabau women’s attitudes are not reflected in minangkabau dance movements played by female dancers. for example: 1) sumbang jalan, it is not recommended for women to walk in hurry and kicking, 2) sumbang duduak, it is inappropriate for minangkabau women to sit cross-legged like how men do. in other words, the essence of sumbang duo baleh values limits women’s movements by prohibiting them from performing what men usually move. this means that the two abovementioned values (siganjua lalai and sumbang duo baleh) are rules that must be upheld by minangkabau people, both in daily life and in art activities. in reality, however, the two values are abandoned, while they should be adhered to by minangkabau female dancers and choreographers and dance artists. method this research employed qualitative method, that it was designed using experimental and qualitative descriptive analysis with minangkabau socio-cultural approach. the sociological facts realized in minangkabau social system were taken as the target to design dance model with philosophical essence of siganjua lalai values. the data were analyzed using an interpretative qualitative technique. the qualitative approach was employed to analyze the basic form of dance movements based on siganjua lalai, covering space, time and energy designs. space design is related to 1) movement volume, 2) level, 3) movement range level. energy design is related to movement intensity and movement dynamics. time design is related to tempo, which is how fast or slow a movement is performed. utilization of the three basic elements of dance might be observed from the effectiveness of dance movements presented referring to the philosophical essence of siganjua lalai values. data in the form of siganjua lalai based movement concept were analyzed through fgd and validated by experts, and an experiment was then conducted with students of sendratasik study program, faculty of languages and arts, padang state university. after the improvement of experimental data, tests were conducted with students of junior high schools and senior high schools in padang city. therefore, the basic movement pattern of minangkabau dances may be taken as the basis of development for creative and innovative dances with the concept of dance based on the siganjua lalai philosophy. result and discussion women reflection in minangkabau society minangkabau society, with its matrilineal kinship system places women at two unique positions. first, women are placed in a respectable position, with a status of bundo kandung. in this regard, women are metaphorically taken as limpapeh of rumah gadang, umbun puruak pengan kunci, sumarak dalam nagari (hakimy, 1994, p. 105). this means that minangkabau women take the position of mother, who is able to give her descendants and people example so that lineage is based on mother’s line. likewise, heirlooms and the economy are managed and maintained by women. minangkabau women are not expected to get involved in public affairs, but only for domestic affairs instead. therefore, they must be kept, respected and protected. second, harmonia: journal of arts research and education 19 (1) (2019): 37-4740 although minangkabau women seem to be spoiled, on the other hand, however, their movement space is limited. some matters are deemed taboo for women to do, for example, regarding public affairs, that women are not recommended to get actively involved in art activities, thus such role is taken by men. the women’s limited movement space is also implied in customary adages, referring to the values of sumbang duo baleh and philosophy of siganjua lalai. the essence of sumbang duo baleh values is used to regulate woman’s attitudes and personality shaping. meanwhile, the philosophical essence of siganjua lalai values add gentleness to minangkabau women’s character, but still tough in solving problems they face in life. those women are respected and protected in minangkabau society, minangkabau custom categorizes women into three groups. first, women are called simarewan, which is a symbolization of women with polite behavior and good words, socialization, and manner towards people older than them. these women’s characters are not desired in minangkabau society. second, mambang tali awan, women who are full of themselves, arrogant, and libelous. such women are also not desired in minangkabau society. third, perempuan, women who are considerate, with praiseworthy character according to custom, and good while still being single and after becoming a mother. the third group has women’s attitudes or behaviors desired by minangkabau society (boestami, 1993, p. 124). based on the three-group classification, we may conclude that minangkabau women’s behaviors are kept strictly. the limitations on movement space institutionalized by the custom means that all forms of women’s acts must be in compliance with the custom, as expressed in a customary adage kok babuek handaklah sasuai manuruit alua jo patuik, raso jo pareso, raso dibawo naik, pareso dibao turun, which means that we should act according to correct, logical and ethical path by balancing emotion and thought (amir, 1997, p. 76). ideally, these must be reflected in art activities played by minangkabau women. as explained by (geertz, 1983), art is a cultural system. therefore, the sense (aesthetical) values are given, put, and habituated by society as an interactional guideline for the society. the sense (aesthetical) values are the interaction between humans with (aesthetical) symptoms they experience. the two are correlated dialogically, and even dialectically, in line with simatupang’s statement (2013, p. 13) that tradition will get damaged and destroyed when its successors do not perform or organize it anymore in any form since it is only by practice that the meaning of tradition will survive now. dance as cultural identity a number of female minangkabau choreographers achieve their popularity rapidly, both at national and international levels. the popularity and creativity achieved should be aligned in consideration of the values underlying the dance works created. designing a dance work, a choreographer will certainly start by determining the source of work as the basis of that dance work, thus a clear pattern will be found to be developed in the set of dance created. this way, the dance’s display and performance will represent the culture on which it is based. the meaning of siganjua lalai as a symbol of minangkabau women’s smooth character should be reflected in dance repertoire taught to students, both through formal and non-formal educations. in this regard, siganjua lalai symbols must be expressed through patterned movements as the basic footing of further dance movement development. this means that with a movement pattern which may be taken as a standard or benchmark, choreographers and/or pioneering dance artists may be creative while not abandoning values applicable in local area. therefore, dance work and or dance repertoire they create will actually represent the cultural identity on which it is based. as stated by indrayuda fuji astuti, the essence of siganjua lalai values in dance movements of minangkabau 41 (2002, p. 131), dance as culture serves as an activity which needs to be habituated in the life of society to which it belongs. dance as culture means that it must be habituated to be used, functioned, and preserved through inheriting from one generation to other generations. choreographers should not abandon their identity in realizing the works they create. this means that it is alright for choreographers to take any source of work from various objects they observe, but the work should not be immersed in the object taken as the source of work. when the audience watches the work, they will still recognize that the choreographers are minangkabau artists. this implies that the cultural values followed by a choreographer will never fade away, but will always be reflected in the works instead, even if in another form of version. this may also be observed from a chinese painter who was always highly consistent in and committed to each of his works in 1990s. many of chiang yu tie’s painting works were inspired by social life order outside the item as the object, such as taking javanese women or balinese women in their daily activities like dancing and weaving as the object. chiang yu tie successfully expresses them into painting works, while not losing his identity. people still recognize that that is the work of a chinese painter. besides his painting technique which is influenced by chinese painting style, he consistently put chinese calligraphy and a red seal at a corner of his works, which is the painter’s identity. we may conclude that even if chiang yu tie tries to combine local value in terms of object and chinese painting style from the perspective of painting technique, but chinese tradition is still inherent as marked with chinese calligraphy and red seal which become the painter’s identity (pandanwangi & damayanti, 2017, p. 128). likewise, a female minangkabau choreographer works using a modern technique, but minagkabau women’s habit and character should also be reflected in the form of dance movement she creates, thus her identity will still be kept pursuant to her disposition as a minangkabau woman. for minangkabau female dancers, choreographers and minangkabau dance initiating artists not to lose their identity, it is the time for them to wake up from complacency, who have already made dance works while prioritizing creativity to meet the market taste, without considering the existing and institutionalized values. therefore, dance initiating artists must open wide their eyes, think and look ahead to place appropriate direction and form of minangkabau dance for female dancers while not abandoning philosophical values contained in customary adage, “siganjua lalai”, as a symbol of smoothness of minangkabau women. this is supported by erlinda (2012, p. 3), that traditional dance development must stand on the root of tradition on which it is based. the form of movement and composition of dance may change and develop, but the technical and philosophical characteristics and specifications/specialties of dance must not change. this means that the essentially traditional values should be maintained. we may state that the development of dance movement for women prepared and designed for dance set should always consider logical, ethical and aesthetic elements. meanwhile, the ones most responsible for determining the direction and form of dance movements for minangkabau women based on the philosophical values of siganjua lalai are the institutions that manage dance education, such as padang state university, indonesia art institute of padang panjang and vocational high school of padang. besides, this is also likely to include non-formal educational institutions such as creative artists serving as choreographers and dance initiators participating in dance studios developing in west sumatra. through higher education institutions which manage dance, basic dance movement pattern should be found to distinguish dance movements for men and women. siganjua lalai based basic dance movements are deemed compatible with harmonia: journal of arts research and education 19 (1) (2019): 37-4742 minangkabau women’s character and maybe taught to students as their basic capital of dance skill. curriculum content, for example, a curriculum of sendratasik education of padang state university, should give an opportunity for discussion and interpretation of the symbols of siganjua lalai, which are at the same time applied in the form of dance practice. this has not been noted by lecturers and study program administratively, which should have been available in curriculum and syllabus contents, especially for minagkabau basic dance movement, minangkabau traditional dance, and minangkabau creative dance subjects. the essence of minangkabau basic dance movement, minangkabau traditional dance, minangkabau creative dance, sociology of dance and anthropology of dance subjects may be taken as the medium to discuss and understand the philosophical values of siganjua lalai. based on field experience, basic dance movement materials given at the beginning of course to students do not distinguish movements for men and women and do not show any characteristics leading to the philosophical attitudes of siganjua lalai, as a reflection of movement character for women. we may imagine if the same occurs with other institutions, such as indonesia art institute of padang panjang and dance vocational high education (smk) of padang, the form of dance played by female minangkabau dancers will be fading away even more, without identity as a reflection of cultural values on which it is based. art, ethics, and aesthetic siganjua lalai based dance cannot be separated from its supporting society, thus such a product is the outcome of culture on which it is based. art is the manifestation of culture as the outcome of human’s work and creation covering dance art, music art, drama art, visual art, etc. (rizali, 2012). kusmadi (2010, p. 65) adds that art is a form of human’s new work and creation within which there is beauty and expediency in life. therefore, art is one of the outcomes of culture created by human with new meaning qualifying the beauty requirement. beauty may be realized when humans are interested to feel the beauty. it is natural that art meets the characteristic. beauty is generated by the composition which contains harmonious meaning, which is called aesthetic (harmaen & muhyi, 2012, p. 22). discussing aesthetics in art, we may state that aesthetic is uniqueness and antiquity, bearing the meaning of antiquity of human thinking history and uniqueness of problems it contains (susanti, 2000, p. 5). the requirement for art to have aesthetic value is ethics. in art, especially performing arts, artists should prioritize ethics in art. ethics, according to dahlan (2008, p. 4), is a moral system and principles of human behaviors which are taken for standardization of what is good-bad, wrong-right, and moral-immoral. nurdiansyah (in yusuf, 2009, p. 2) states that ethics cannot be separated from existing concept for each individual or group to evaluate whether the activities performed are right or not. therefore, a choreographer who reflects on cultural values in dance art should understand beauty and not be separated from ethics which become the benchmark of whether the product to be performed is right or not. as stated by gell (2005, pp. 43–44), in art, one should first consider ethics and then aesthetic. this way, the artwork will become a typical characteristic of local culture. this means that performing arts are “the technology of enchantment,” which is how art contributes to society as a medium to reflect in daily life, with shared values. a dance created by a choreographer does not only feature creative and aesthetic aspects but is also related to ethical and norm issues mutually established to regulate any acts and behaviors in society life. minangkabau dance performance, particularly presented by a minangkabau woman must consider ethical issue, since dance, as a symbolic expression of behaviors in human life, has cultural values built on experience in consideration of aesthetic and fuji astuti, the essence of siganjua lalai values in dance movements of minangkabau 43 ethical aspects. meanwhile, ethics in every act of minangkabau women are regulated in customary philosophy called siganjua lalai and sumbang duo baleh. the aesthetic of minangkabau dances lies in aggressive movement form, staccato with break movements, movement trajectory, and movement dynamics. in addition, the aesthetic of minangkabau dances lies on dancers’ body attitude and position, and how they dance. besides, the other part of the aesthetical value of minangkabau dances also lie on minangkabau dance style rooting from the agility and vigilance of pencak silat technique (indrayuda, 2001, p. 12) observing the concept of aesthetic, minangkabau dances, in indrayuda’s opinion, are only appropriate to men’s movement character, but not appropriate to women’s dance movement character referring to the philosophy of siganjua lalai. so far, young choreographers have placed pencak silat as the basic source of minangkabau dance movements, without considering appropriate movement character for men and women. this requires female dancers to perform masculine movement character which is contradictory to the philosophy of siganjua lalai, which should be visualized in feminine movement character. meanwhile, men and women are naturally different. similarly, from the perspective of anatomical structure, movement range and movement character of men and women are clearly different. there is no reason to equalize men’s and women’s movements, especially with dance movement played by minangkabau women. as stated by anya peterson quoted by astuti, “just dance, and i will know where you come from”. this statement requires dance performed to show the identity pursuant to the culture on which it is based. the audience will find it easier to know the identity presented. this is in line with the opinion of (indrayuda, 2001) that art work is initially created from idea which is implemented by human through their creation with a creation process between thinking and feeling. from imagination developing in mind with logics, the form is eventually assessed and felt through feeling. therefore, art work has aesthetical element, besides logical element. actually, art work created should refer to a clear source as well as a clear rule, thus the creation will be acceptable by the society since it is supported by its value, logical, ethical and aesthetical essences. therefore, any alarming clumsiness in minagkabau women’s dance movement may be solved. siganjua lalai based dance choreographers and artists who initiates minangkabau dance must consider the philosophy of siganjua lalai as a reflection of minangkabau women’s smoothness expressed through dance movement and find the form of design/pattern of siganjua lalai based dance movement. according to (astuti, 2016b), utilization of design of movement volume, movement intensity and movement dynamics may enrich feminine character appropriately to dance movements for women. movement volume, movement intensity and movement dynamics may be utilized as the basis to create/develop creative repertoire of innovative minangkabau dances. to reveal identity in dance art work creation, choreographers are free to express any ideas into movement. however, the symbolic philosophy of siganjua lalai should be understood harmoniously, both through a dance creator’s act and form of dance performed by a woman. therefore, there must be differences in dance movement to be appropriately played by men and women since they naturally have obvious differences. choreographers must determine the form of dance movement to be performed by women logically pursuant to their disposition. this way, customary values will remain protected and upheld. dance movement design referring to the philosophy of siganjua lalai taken into consideration in producing dance movement for minangkabau women may be processed through basic dance movement covering space, energy, and time. harmonia: journal of arts research and education 19 (1) (2019): 37-4744 space it is related to (1) movement volume, which is the extent of movement space used in dance movement, (2) movement range, for example, arm movement is limited only up to shoulder level, and legs are only opened so far as foot length. similarly, the foot should not be lifted too high. lifted, foot should be maximum one feet high, (3) use of level, which is related to the height of limb in a movement. energy energy is related to (1) intensity, which is big-small and strong-weak power used in making dance movement, (2) dynamics, which is accentuation and emphases made in a movement. time it is related to speed of movement, which may give calm, happy impression and atmosphere, as well as smoothness and sharpness of movement. therefore, the elements of siganjua lalai based dance movements may be observed in the table 1. besides siganjua lalai, the essence of sumbang duo baleh values in dance may also be used in selection of attitude and movement to be displayed, for example with legs, arms, head, and body movements. in legs movement, in a pose condition, legs should cross at front or behind. similarly, opening legs, the space between the right and left legs should be one foot. this is not significantly different from what is stated by (jamal, 1984, p. 9) that for pitunggua tangah attitude in a pose condition, both legs should be opened shoulder-width apart. the gap between the right leg and left leg offered by mid jamal is relatively equal to one foot length. similarly, one should only lift his/her leg one foot high above the floor. when a specific movement requires a higher position, it may be elevated higher until the distance between foot and the floor is one and a half (1.5) feet. in other words, lifting a leg, the knee’s position should not be on line with the hips, making the upper leg and lower leg form a 45-degree angle at the knee. the movement may be forward or sideward; thus the upper leg and lower leg will not form a 45-degree angle at the knee. the standard measurement of using foot helps adjust to the distance of movement for each dancer’s anatomy for him/ her to make a balanced movement. in movement science (kinesiology), an individual can only move his/her body parts pursuant to the level of movement range determined by his/her anatomic structure and any movement exceeding the level of movement range of his/her form of anatomic structure may be fatal (kiram, 1994, pp. 1–2). the standard used for arm movement is the shoulder. lifting arm on shoulder line, both arms may be stretched out rightward and leftward, and or forwards and upward. when arms are opened online with shoulder rightward or leftward, the arms should be lightly bent so that the upper arm and forearm will form a 45-degree angle at the elbow. similarly, between the upper arm and body may open 45 degrees; it will be a more beautiful position if the arm forms a diagonal shape rightward or leftward. furthermore, head movement may be made by lifting the head upfront or oblique left and right front, making 45 degrees between the chin and neck base. meanwhile, for body movement, the body may be bent leftward and rightward and or rotate table 1. elements of dance pattern of siganjua lalai based dance movement space energy time volume level intensity dynamics leg arm head the extent of movement space used. height of level used. big-small and strong-weak power used to make a movement. giving of accentuation and emphases made in a movement, which may give sharpness and smoothness of a movement. quick or slow movement made, giving calm, happy impression and atmosphere as well as smoothness and sharpness of a movement. fuji astuti, the essence of siganjua lalai values in dance movements of minangkabau 45 leftward and rightward 90 degrees. the standard or measurements may relatively form feminine movements and are appropriate to women’s movement while avoiding something deemed discordant/taboo. this means that the movement or step may be performed orderly, as stated by jamal (1984), that disorder in stepping is called berserak or discordant step. discordance is interpreted as disharmony. meanwhile, interpretation of dance is made if the dancer may express rhythmically and harmoniously and there is order and beauty. in line with it, morphy (1994, p. 183) states that to achieve aesthetic, there must be an assessment or standard to be achieved and created on an object for that art object to be assessed. the integration of the concept of siganjua lalai philosophy into dance repertoire has been socialized in the society of padang city. the researcher tries to collaborate with students of sendratasik education study program, faculty of languages and arts to develop siganjua lalai based basic dance movement pattern taken as a rule in creating a dance; thus dance work created will be based on siganjua lalai. in the initial trial, students were given with an understanding of the concept of siganjua lalai, and then given with movement design/pattern in consideration of dance movement elements as presented in table 1, which were taken as the basis to develop dance movements. the students were then divided into small groups, and they went to junior high schools and senior high schools in padang city to develop the concept of siganjua lalai based dance, compiled in a set of dance. eventually, the students successfully created siganjua lalai based dance form, which was indirectly socialized in the society, especially in junior high schools and senior high schools in padang city. conclusion for dance work performed to represent the cultural identity on which it is based, a choreographer must consider any values set forth by the custom in the society. in other words, the existing norms in society are the rule to realize any works created. choreographers, particularly female choreographers, may creatively understand their identity while not losing the soul of cultural values. it is inappropriate for minangkabau women to dance in masculine movements limitlessly since in minangkabau custom, women should abide by any of their limitations. besides, a sense of shame culture is also instilled in women, requiring them to continuously protect their honor, as realized through their attitudes and behaviors. therefore, any dance works created will still show minangkabau women’s character and have identity pursuant to the culture on which it is based. we may state that utilization of the concept of sigajua lalai by including space, time and energy elements into dance movement design may build movement limitation to distinguish men’s and women’s movements. this means that the existing phenomena in the society related to women performing masculine movements are deemed inappropriate to women’s character and may be solved by including the concept of siganjua lalai into dance movements. it needs to note that cultural values serve an important role as a reference or source to create a dance. the concept of siganjua lalai is implemented in dance elements so that a movement pattern with appropriate character to a woman as represented in the philosophy of siganjua lalai is found. if the essence of cultural values such as the philosophical essence of siganjau lalai values is introduced to children more early, it will be less likely that dance initiators will fall into something deemed in conflict with ethics which should be reflected in a dancer’s behaviors shown in the society. utilization of the cultural essence of siganjua lalai values patterned in the form of dance movement attitude may be taken as a medium of communication. this harmonia: journal of arts research and education 19 (1) (2019): 37-4746 means that the messages communicated through movement medium may reflect the identity of culture on which it is based pursuant to the essence of meaning implied in the philosophical essence of siganjua lalai values. this concept becomes a set of innovative dance creation to solve and be solution to the existing phenomena in dance activities, especially female dancers developing in society. we may conclude that for choreographers not to fall into something deemed illogical and in conflict with customary norms in dance performance, establishing a pattern to be based on in producing dance is highly expected. in this regard, for dance managers, especially minangkabau female choreographers and female dancers, limitations of the form of difference in movement patterns for women and men must be clearly described. references amir, m. 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(2017). reog bulkiyo dance learning to increase student patriotism values. jurnal panggung, 27(3), 225–235. simatupang, l. (2013). pergelaran : sebuah mozaik penelitian seni-budaya. jalasutra. susanti, s. (2000). filsafat seni: antara pertanyaan dan tantangan. harmonia: journal of arts research and education, 1(2), 4–16. wahyudi, a. v., narawati, t., & nugraheni, t. (2018). penanaman nilainilai kasundaan berbasis pembelajaran tari pakujajar di smp negeri 5 sukabumi. panggung, 28(2), 133–146. https://doi.org/10.26742/panggung.v28i2.462 yusuf, s. (2009). pendidikan etika profesi hubungannya pada penggunaan komputer. medtek, 1(2), 1–6. 10 sri mulih pendawa sebagai sarana pelengkap grebeg sekaten di keraton kasunanan surakarta sukatno institut seni indonesia surakarta, jalan ki hajar dewantoro 19 surakarta e-mail: katno@yahoo.com abstrak lakon sri mulih pendawa merupakan garapan baru yang menggabungkan lakon versi jawa dengan versi mahabarata. keluarga pendawa mengalami ketidak tenteraman karena dewi sri dan sardono murca bersama dengan lumbung padinya dari tempat penyimpanan. dewi sri bertempat di keraton pundak sitegal suatu keraton baru yang dipimpin seorang raksasa yang arif bijaksana. untuk mengembalikan dewi sri sebagai lambang kemakmuran dan kebahagian hadir seorang tokoh probokusuma berasal dari kahyangan untoro segoro yang mencari pengakuan putera janaka. probokusumo akan diterima sebagai anak janaka jika dapat mengembalikan dewi sri. atas pertolongan burung goh endro probokusuma dapat memboyong dewi sri setelah kembang ajari tangan dapat dibawa bersama sardono. kembalinya dewi sri dan sardono bersama lumbung padi, lesung dan alat penunbik padi ketempat penyimpanan sebagai tanda kemakmuran, kebahagianan dan ketenteraman keraton amarta. sri mulih pendawa as completory facility of grebeg sekaten at surakarta kasunanan palace abstract sri mulih pendawa play is a new performance that blends javanese version play and mahabarata version. pendawa families went through tumultuous life because dewi sri and sardono were wrathful with their rice mill out of its storage. dewi sri dwelled in pundak sitegal palace, a new royal palace led by a noble and wise king. to return dewi sri as a goddess of prosperity and happiness, a figure named probokusuma came from untoro segoro heaven, who searched for admittance of janaka son. probokusuma would be admitted as janaka son if he could return dewi sri. by dint of goh endro bird, probokusuma could carry away dewi sri after sardono had brought ajari tangan flower. the return of dewi sri and sardono with the rice mill, trough and rice masher to the storage represents prosperity, happiness, and convenience of amarta royal palace. kata kunci: sri mulih, wayang kulit, sekaten, garapan baru. ramayana, arjuna sasra dan sri mulih. pada peringatan maulud nabi muhammad saw di keraton surakarta 2013 diselenggarakan pertunjukan wayang kulit purwa yang bertempat di sitinggil keraton surakarta. sejak tanggal 18 hingga 26 bulan japendahuluan di dalam pertunjukan wayang kulit purwa terdapat banyak sumber ceritera yang digunakan. sumber ceritera yang lazim di antaranya adalah versi mabaharata, sukatno, sri mulih pendawa sebagai sarana pelengkap grebeg sekaten di keraton ... 11 nuari 2013 setiap malam sekatenan dipertunjukan pertunjukan wayang kulit yang dilakukan oleh para abdi dan sentana dalem. lakon yang dipilih menyesuaikan dengan kebutuhan untuk peringatan yang bersifat ritual. lakon wirataparwa mengawali pertunjukan. kusus pada tanggal 24 januari 2013 yang bertepatan dengan kelahiran nabi muhammad saw, pada siang hari digelar pertunjukan wayang kulit dengan lakon sri mulih pendawa. garapan lakon memadukan konsep budaya jawa dalam lakon dewi sri dengan versi mahabarata. penggarapan lakon didukung oleh segenap seniman dan seniwati yang tergabung dalam kerabat keraton. dalam pertunjukan terdapat berbagai konsep pertunjukan diantarannya konsep murca yaitu meninggalkan tempat oleh karena sudah terabaikan oleh pendukungnya, konsep badar yaitu kembalinya ujud semula setelah tokoh merubah ujud dirinya untuk penyamaran, konsep mencari ketenangan hidup, kebahagian hidup dan konsep persatuan dan kesatuan. keluarga pendawa yang memerlukan kebahagian dengan selalu memelihara tradisi, menghormati leluhur ternyata melupakan dewi sri dan sardono sebagai lambang kecukupan sandang dan pangan. para ksatria hatinya sedih jika kawula kekurangan sandang dan pangan. para tokoh kemudian saling menginstropeksi diri dan meneliti perilaku yang dianggap menyimpang. ternyata para kawula dan kesatria pendawa telah melupakan pada dewi sri dan sasdono dewa sandang dan pangan. dewi sri telah pergi, murca meninggalkan pendawa karena telah banyak dilupakan dalam arti tidak ditempatkan pada mestinya. dengan usaha yang gigih dan melalui perjuangan yang berat akhirnya dewi sri kembali ketangan keluarga pendawa. amarta kembali sejahtera, bahagia kecukupan sandang dan pangan. permasalahannya adalah bagaimanakah penggarapan lakon sri mulih yang dipergunakan sebagai sarana penunjang gerebg sekaten? mangapa lakon sri mulih pendawa yang dipentaskan di sitinggll keraton surakarta pada siang harinya setelah selesainya hajad gunungan sekaten diperebutkan masyarakat? gerebeg sekaten merupakan tradisi keraton surakarta dalam rangka memperingati kelahiran nabi muhammad saw. perayaan sekaten di surakarta sebagai peristiwa multi dimensi. tujuan diselenggarakanya pertunjukan wayang di sitinggil keraton surakarta adalah pertama untuk melestarikan budaya wayang yang telah mendapatkan pengakuan internasioal sebagai peninggalan budaya masterpiece intangibel heritage di paris tahun 2003. kedua sebagai media dakwah islam, dan ketiga sebagai sarana ekonomi, sarana hiburan dan sarana wisata. keraton memiliki tanggung jawab moral untuk mengembangkan kebudayaan dan syiar agama (puger, wawancara 18 januari 2013). keraton sebagai pendukung budaya jawa dan pelindung agama terutama islam, wajib menyemarakkan syiar islam. para sunan senantiasa berusaha menyelaraskan lingkungan budaya dengan membangun berbagai sarana, baik yang bersifat struktural maupun kultural demi tercapainya syiar islam (dipo kusuma, dalam hadwiyah 2011: 156). dalam sekaten masyarakat islam melakukan ritual sesuai ajarannya, misalnya pengajian, syiar melalui ceramah, pertunjukkan rebana dengan menyajikan syair-syair islami, sholat berjama’ah, dan pameran buku-buku islam. dengan demikian sekaten memberi arti penting dalam perkembangan dakwah islamiyah, terutama kepada masyarakat yang masih peka terhadap tradisi kejawen, dapat lebih mengenal dan memahami ajaran-ajaran islam. kehadiran gamelan sekaten di depan masjid agung oleh sebagian masyarakat masih diyakini dapat memberi ‘berkah’ dalam kehidupannya, bahkan dikeramatkan. tersedianya seperangkat sesaji yang beraneka ragam bentuknya, misal berupa makanan, bunga-bungaan, bahkan terdapat bedak dan pewangi lainya merupakan bukti atas kedalaman penghayatan keagamaanya. sebagian masyarakat masih meyakini apabila mendapatkan salah satu dari sesaji , akan mendapatkan berkah harmonia, volume 13, no. 1 / juni 201312 yang bermacam-macam, misalnya awet muda, panennya subur, banyak rezeki, panjang umur dan berbagai bentuk berkah lainnya. aktivitas mencari berkah dalam upacara shahadatain merupakan bentuk akulturasi budaya islam-jawa secara nyata yang masih berjalan dan berkembang. kenyataan mencari berkah terlihat dari sebagian masyarakat yang berusaha mengais rezeki dengan berjualan makanan berupa sego liwet, cabuk rambak yang kemudian menjadi bagian tradisi sekaten. sebagian kelompok pedagang sengaja berjualan setiap tahunnya untuk mendapatkan ‘berkah-nya’ pada upacara sekaten, pada hal hidup kesehariannya mereka bertani, usaha pande, pedagang hewan dan bermacam usaha lainnya. kehadiran pertunjukan wayang kulit garapan baru yang dilakukan setelah hajad gunungan sekaten sebagai pelengkap upacara merupakan perkembangan bentuk baru yang sebelumnya belum terjadi. menurut puger, pada jaman para wali sanga syiar ajaran islam melalui pendekatan budaya. pertunjukan wayang kulit sering dilakukan oleh sunan kalijaga di beberapa tempat tanpa meminta imbalan jasa. bagi warga yang membutuhkan konon cukup dengan imbalan pengucapan sumpah dengan membaca dua kalimah sahadat yang berati sebagai tanda masuk islam. untuk melestarikan budaya wayang dan juga siar islam, mulai tahun 2013 akan diselenggarakan pertunjukan wayang yang bertempat di sitingggil bersamaan dengan dibunyikannya gamelan sekaten di depan masjid agung (puger, pengantar pertunjukan 18 januari 2013). islam di indonesia merupakan islam singkretis yaitu percampuran dengan budaya lama yang lebih dahulu ada seperti misalnya dengan kepercayaan jawa, hindu, dan budha. saat ini terjadi akulturasi dan asimilasi budaya. sebagai contohnya melalui gerebeg sekaten dan upacara selamatan. gambar 1. ki dalang ki anom sukatno keberadaan islam khususnya di tanah jawa berkaitan denan keinginan keraton untuk memperkuat legitimasinya. penyebaran islam di seluruh jawa dan kemudian ke kepulauan lain di indonesia, dilakukan oleh mereka para ulama yang tergabung dalam wali sanga. kehadiran wali sanga merupakan awal masuknya islam dalam budaya nusantara, di mana kebudayaan islam berkembang di pusat-pusat pemerintahan. salah satu wali yang terkenal bagi orang jawa adalah sunan kalijaga, seorang ulama yang sakti dan cerdas, budayawan yang santun dan seniman yang hebat. bahkan sebagian orang jawa menganggap sebagai guru agung dan suci di tanah jawa (purwadi, 2003: 150). dakwah sunan kalijaga dalam penyebaran ajaran islam adalah dengan pendekatan sosial budaya, seperti pertunjukan wayang, upacara tradisi, tembang macapat yang telah terlebih dahulu berkembang dalam kehidupan masyarakat jawa. berkaitan dengan proses spiritualime jawa; islam dan kultur jawa, sebagai pro-islam dan kultur jawa, sebagai proses alkulturasi acapkali dianggap sebagai perilaku sinkretik, yang mana keduanya mengalami peristiwa akulturasi. secara ekstrim ada yang berpendapat bahwa islam dalam masyarakat jawa telah mengalami proses penjawaan yakni penyesuaian ajaran islam dalam kultur jawa. akulturasukatno, sri mulih pendawa sebagai sarana pelengkap grebeg sekaten di keraton ... 13 si bukan terletak pada intinya, tetapi pada ‘kulit-kulitnya, yang lebih merupakan pada perilaku ‘mualamah’ (djojokusumo, 1996: 222 dalam hadawiyah 2013: 156). sunan kalijaga tidak membongkar kebudayaan yang ada lalu mengganti dengan yang baru, sebaliknya mengisi ruang budaya untuk keperluan dakwah ajaran islam. islamisasi di jawa memiliki keunikan di mana islam hadir bukan di lingkungan masyarakat yang sederhana dan tipis kebudayaan, akan tetapi berjumpa dengan masyarakat yang memiliki peradaban dan kebudayaan tinggi. akulturasi keagamaan dan kebudayaan sebelumnya yaitu prahindu, hindu, budha, melahirkan konfigurasi kebudayaan yang mempengaruhi spiritual dan moralitas masyarakat. proses islamisasi membutuhkan rentang waktu yang panjang, gradual, dan berhasil terwujud dalam satu tatanan kehidupan masyarakat santri yang saling hidup berdampingan. akulturasi budaya merupakan ciri utama filsafat jawa yang menekankan kesatuan, stabilitas, keamanan dan harmoni. dalam etika kebijaksanan hidup jawa, pola hidup berporos pada dua kata kunci yaitu kerukunan dan hormat (magnis suseno 2003: 38) gambar 2. werkudara dalam adegan paseban jaba proses kreativitas dalam menggarap lakon dalam pertujukan wayang dengan lakon sri mulih pendawa peneliti juga adalah sebagai seniman dalang yang melakukan pertunjukan sehingga observasi dapat dilakukan sebelum pelaksanaanya dalam rangka memilih lakon dan kedua pada waktu pelaksanaan peneliti juga melihat animo penonton dari segenap lapisan masyarakat yang menjejali tempat pertunjukan. dalam pertunjukan juga didukung banyak seniman yang secara langsung terlibat maupun khusus datang untuk melihat. pada saat adegan cangik limbuk seniman dalang dilakukan oleh puger sebagai sesepuh yang mewakili keraton untuk menjalin hubungan dengan masyarakat penonton. setelah adegan cangik limbuk peran dalang kembali diambil oleh ki anom sukatno. pada waktu adegan tengah alas wono tunggal dengan beberapa tokoh panakawan, banyak seniman terkenal secara langsung ditunjuk untuk berpartisispasi seperti misalnya ny supadmi, ny sukesi. pertunjukan wayang di keraton dalam rangka mauludan bersifat ritual, semua pelaku seni dan panitia menggunakan samir warna kuning emas, semua yang datang terlibat dalam peristiwa magis. beberapa selingan disisipkan untuk lebih bersifat hiburan dan tontonan. berbagai aspek ikut menjadi obyek misalnya aspek ekonomi, aspek hiburan, aspek memperkuat status. pada saat pertunjukan berlangsung juga dilakukan pencatatan oleh beberapa wartawan dan peneliti muda serta rekaman audio visual. untuk lebih memperjelas pengambilan data juga dilakukan dengan wawancara. dalam wawancara dilakukan dengan dua cara yaitu wawancara bebas dan terprogram. wawancara bebas dilakukan terhadap beberapa informan dan nara sumber seperti kepada gusti puger, gusti bei dan sentana yang lain. pada saat pertunjukan juga terjadi dialog antara seniman dalang dengan beberapa tokoh yang bermuara pada variasi pertunjukan. dalam pertunjukan wayang untuk kepentinga ritual dan hiburan yang baru pertamakali digelar di sitinggil keraton surakarta dokumentasi sangat penting. beberapa catatan tertulis dan gambar diperlukan untuk membantu dalam mengalisis data penelitian. dokumentasi dibantu tenaga senior yang juga professional harmonia, volume 13, no. 1 / juni 201314 dan sardono segera kembali. puntadewa segera berganti busana untuk masuk ke sanggar pamujan. cangik memberikan wejangan kepada limbuk tentang hajadan dalem yang berupa pentas wayang kulit. menjalin hubungan dengan penonton serta semangat untuk lebih melestarikan budaya jawa. sulukan: ada ada greget kukusing dupa kumelun. adegan paseban jawi. musik : lancaran gambuh pelog nem. tokoh: setyaki naik kuda didampingi prajurit ampyak. udawa berjalan dikawal prajurit ampyak, werkudara lumaksana magita gita, gatutkaca cancut taliwanda terus terbang. adegan pudak sitegal musik: ladrang moncer slendro nem tokoh: nila dadi kawaca, emban, karungkala, nila daksoko. inti ceritera: negera pudak sitegal selalu gemah ripah loh jinawi karena ditunggui dewi sri. emban melapor bahwa putera mahkota nila daksoko ingin memperisteri dewi sri. karungkala diperintah raja memanggil nila daksoko dan menunggui kembang ajari tangan supaya tidak diganggu musuh. sulukan: singgah-singgah disambung srepeg. nila daksoko datang menghadap nila dadi kawaca. nila daksoko diperintah raja untuk menghidari dewi sri. nila daksoko menolak bahkan ingin mempersunting. nila dadi kawaca marah, akhirnya nila daksoko diusir dari pudak sitegal. adegan perang gagal musik : srepeg dan sampak slendro. 6 tokoh: setyaki perang melawan pajurit pudak sitegal. gatutkaca perang melawan prajurit pudak sitegal. sulukan: bumi gonjang –ganjing. perang gagal, belum ada yang menang maupun yang kalah. semua tokoh melakukan jalan persimpangan. diantaranya suharji, subandi dan staf audio visual. beberapa hari sebelum pentas dilakukan, seniman telah terlebih dahulu berlatih, mengaransir gending yang akan dilantunkan, sarasehan dengan semua kru yang akan melaksanakan kewajiban luhur. beberapa ulasan dan sumbang pemikiran diuji coba serta dilakukan perekaman agar pentas tetata rapi dan memenuhi harapan banyak orang yang melihat. kegiatan pentas untuk ritual di keraton memerlukan latihan kusus. struktur alur dramatik lakon sri mulih pendawa jejer i : keraton amarta. musik: gending karawitan. tokoh: puntadewa, werkudara, janaka, nakula, sadewa, kresna, dan baladewa janturan dilanjutkan sulukan ; pathet nem. ada-ada girisa. inti cerita: para pemimpin amarta dalam keadaan prihatin karena dewi sri dan sardono meninggalkan keraton amarta tanpa meninggalkan pesan dan tanda-tanda kepergiaannya. kresna menyarankan untuk instropeksi, kemungkinan ada salah seorang kerabat yang yang melupakan kedua dewa itu. baladewa memberikan informasi bahwa terdapat keelokan di negara pudak sitegal /ujung bribik ada seorang raja muda raksasa yang kekayaannya melebihi amarta. keseluruhan sandang pangan tercukupi. kemungkinan batari sri dan sardono berada disana, hal itu dapat dibuktikan dengan sifat rajanya yang arif bijaksana mesikpun dari kelompok raksasa. werkudara usul mengadakan penelitan. semua kesatria setuju. bedol jejer dengan iringan gending ladrang ubaya. kedatonan musik: ladrang bayem tur tokoh: limbuk, cangik, drupadi, puntadewa. inti ceritera: puntadewa menyuruh drupadi menyediakan tempat pamujan untuk memohon kepada tuhan agar dewi sri sukatno, sri mulih pendawa sebagai sarana pelengkap grebeg sekaten di keraton ... 15 adegan tengah alas wana tunggal sulukan: sangsaya dalu araras, sanga gaya surakarta. disambut lagu ilir-ilir slendro sanga. musik : gendhing ketawang gambir sawit slendro sanga tokoh: probokkusumo, semar, gareng, petruk dan bagong. lelagon jineman uler kambang, bawa caping gunung jenggleng, bawa kutut manggung sinom nyamat plg., gending ladrang sholawatan salamullah shalatulah sulukan; inti ceritera: probokusumo hatinya sedih mengajak panakawan mencari orang tuanya janaka. sulukan: “bumi gonjang ganjing langit kelap kelap……………..oo”. disambung pocapan diteruskan musik srepeg. kedatangan prajurit pudak sitegal yang dipimpin oleh cakil ,gendir penjalin. terjadilah silang pendapat sehingga terjadi peperangan. musik: gending lancaran kemuda slendro. sanga. cakil terbunuh dengan kerisnya sendiri, semua prajurit pudak sitegal melarikan diri. musik : srepeg sampak datang menghampiri probokusumo dua tokoh amarta yaitu kresna dan janaka. inti ceritera: janaka bersedia mengaku probokusumo sebagai anak jika dapat mengembalikan dewi sri dan sardono kepangkuan pendawa. probokusumo didampingi semar, gareng, petruk dan bagong berangkat mencari dewi sri. adegan keputren pudak sitegal musik: gending ayak-ayak slendro. manyura. tokoh: dewi sri, nila wati, nila daksoko. isi ceritera: dewi sri telah kerasan tinggal di pudak sitegal. nila daksoko merayu dewi sri agar bersedia menjadi isterinya. dewi sri menolak, nila daksoko ingin memperkosa sehingga dewi sri berlari dan dikejar nila daksono. di dalam pelarian berjumpa dengan probokusumo dan mohon perlindungan. terjadilah peperangan antara probokusumo melawan nila daksoko. nila daksoko berubah wujud menjadi ular yang menyemburkan bisanya kepada probokusumo hingga pingsan. kemudian, datang garuda goh indro yang membantu. ular penjelmaan nila daksoko dipatuk dan putus badannya. nila daksono melapor kepada nilo dadi kawoco. oleh karena bersalah justru nila daksoko ditelan oleh raksasan nila dadi kawaco. adegan di tengah jalan . musik: srepeg. tokoh: dewi sri, nila wati dan probokusumo. isi ceritera: probokusumo telah dapat mengalahkan nila daksoko, dewi diminta bersedia diboyong ke amarta. dewi sri bersedia jika probokusumo dapat mengambilkan kembang ajari tangan yang tersimpan di suatu tempat yang dijaga simobarung. dengan perantaraan semar mudah bagi probokusumo untuk mendapatkan kembang ajari tangan, akan tetapi pada waktu akan mengambil muncul seekor simobarung yang menerkam. dengan cekatan probokusumo mengarahkan gendewa bajra berserta busurnya, segera dilepaskan kepada simobarung. simobarung badar atau berujud rupa dewa sardono. dewa sardono bersedia bersama probokusumo. adegan terakhir. keraton pudak sitegal iringan: srepeg manyura tokoh: nila dadi kawoco, karungkala. isi ceritera: karungkala melapor bahwa kembang ajari tangan direbut oleh probokusumo. nila dadi kawoco marah, terjadi peperangan. oleh karena terkena jemparing probokusumo berubah menjadi gembung tanpa sirah atau lesung dengan alunya. akhirnya probokusumo memenangkan peperangan dan melapor kepada dewi sri. atas jasanya, probokusumo dicalonkan menjadi suami nila wati, dewi sri dan sardono diboyong ke amarta. tayungan musik: srepeg manyura. tokoh: werkudara, karungkala. isi ceritera: karung kala ikut bela pati. terharmonia, volume 13, no. 1 / juni 201316 jadi perang antara werkudara melawan karungkala. atas kerperkasaan werkudara, karungkala dapat dikalahkan dan badar atau berubah wujud menjadi lumbung silajur. dari ceritera lakon akhirnya terbukti bahwa semua tokoh pudak sitegal adalah penjelmaan dari seluruh perlengkapan penyimpanan padi yang menjadi wewenang dewi sri dan sardono. dengan kembalinya dewi sri dan sardono ke pangkungan pendawa, amarta menjadi sejahtera murah sandang dan pangan. gambar 3. pengrawit dan penonton. berbagai faktor pendukung dan penghambat masyarakat selalu berubah yang disebabkan oleh berbagai faktor, di antaranya karena pertambahan penduduk, bencana alam, dan konflik sosial. setiap perubahan masyarakat berpengaruh pada perubahan pola tata nilai yang berlaku. perubahan tata nilai mempengaruhi selera dalam kebudayaaan termasuk kesenian. perubahan masyarakat yang terjadi disebabkan oleh dua faktor utama yaitu faktor internal dan faklator eksternal (sutarno 2005). dalam pertunjukan wayang kulit munculnya seni kemasan yang dibuat ringkas, padat dan humoris untuk kepentingan pariwisata. dalam konteks pertunjukan wayang di sitinggil keraton surakarta, pertunjukan wayang dilaksanakan untuk lebih menambah daya tarik masyarakat yang ingin melihat sekatenan. terdapat dua faktor yang mempengaruhi terlaksananya pertunjukan wayang kulit di sitinggil keraton surakarta. faktor internal 1. pertunjukan wayang kulit melibatkan banyak peraga untuk melibatkan dirinya, terutama anggauta masyarakat yang telah memperoleh kekancingan sebagai abdi dalem keraton sebagai pengemban budaya. para seniman dalang, pengrawit, pesinden dan pembantu lainya merasa puas jika dapat berperan aktif menjadi peraganya. para seniman merasa terhibur dan mendapatkan legitimasi dari pihak keraton sebagai pengemban pendukung pusat budaya sehingga lebih menambah semangat untuk selalu berusaha mempertahankan pertunjukan wayang kulit oleh karena memuaskan banyak lapisan masyarakat. 2. pertunjukan wayang kulit dilaksanakan baru dimulai tahun 2013, diharapkan setiap tahun selalu diselenggarkan bertepatan dengan malam sekaten, pemeranya dapat bergantian sehingga dapat menampung perkembangan selera anggauta masyarakatnya, dalam pertunjukan wayang kulit untuk kepentingan yang semi ritual simbolis yang penting semua yang terlbat merasa senang dan juga penontonnya puas sehingga menambah daya tarik masyarakat yang ingin menyaksikan malam sekaten. 3. seniman dalang dipilih yang relatife berbobot, tidak terlalu mementingkan ekonomi dan pendukung yang lain melibatkan warga masyarakat sehingga merupakan alat pergaulan yang baik. 4. seniman dalang yang mendalang tidak terbatas pada warga keraton akan tetapi juga warga masyarakat yang telah mendapatkan pengakuan dari pihak keraton sehingga dalam peristiwa pertunjukan wayang lebih mengutanakan pengabdian kepada lingkungan istana sebagai pendukung budaya yang ingin memberikian hiburan kepada masyarakat surakarta dan sekitarnya . 5. pertunjukan wayang kulit telah mensukatno, sri mulih pendawa sebagai sarana pelengkap grebeg sekaten di keraton ... 17 dapatkan pengakuan internasional sebagai warisan dunia non kebendaan yang adiluhung bangsa sehingga perlu dilestarikan. faktor eksternal 1. masyarakat yang datang ke maleman sekaten merasa lebih mantap jika setiap tradisi mauludan selalu dimeriahkan dengan kesenian yang diperagakan oleh masyarakat keraton. warga masyarakat yang datang haus hiburan yang non komersial , pesta perayaan maleman sekaten akan lebih menarik peminat. 2. pemerintah pengageng keraton diharapkan memberikan bantuan dan pengarahan kepada warga untuk nguri-uri kesenian, melestarikan warisan budaya adiluhung dan setiap tahun selalu memeriahkan peringatan dengan lebih mendekatkan diri pada masyarakat umum yang datang dari jauh untuk menyaksikan kiprah keraton dalam partisipsinya terhadap syiar agama yang diminati sebagian besar masyarakat. 3. dinas pariwisata kota surakarta dapat menggunakan wadah pertunjukan wayang kulit sebagai daya tarik wisata. pertunjukan wayang kulit di sitinggil keraton surakarta akan menjadi tolok ukur kecintaan masyarakat terhadap budaya adilhung dan koreksi untuk meningkatkan pembinaanya. 4. banyaknya penonton dari luar daerah selalu menambah gairah bagi anggauta seniman dan keluarga besar keraton untuk selalu berusaha memperbaikai pertunjukaanya. simpulan pertunjukan wayang kulit dengan lakon sri mulih pendawa merupakan garapan baru. lakon diciptakan untuk menambah daya tarik masyarakat dalam rangka menghadiri peringatan maulud nabi muhammad saw, dengan pekan raya sekatenan keraton kasunanan surakarta. pertunjukan dilaksanakan oleh abdi dan sentana dalem bertempat di sitinggil keraton pada siang hari mulai pukl 13.00 higga 17.00wib. pertunjukan wayang dimaksudkan untuk lebih melestarikan budaya jawa dalam syiar islam. masyarakat disuguhi hiburan dan ritual bersama-sama sehingga lebih memberikan kesempatan kepada kahayak yang lebih luas dalam mengisi kehidupan. banyak nilai yang dapat dipetik dengan pertunjukan wayang yang berisi ajaran tentang kehidupan. masyarakat dapat mencontoh kesatria yang menderita akibat melupakan kewajibannya. dewi sri dan sardono sebagai lambang lumbung sandang dan pangan harus dijaga, ditempatkan pada tempatnya, sehingga menambah ketenteraman dan kebahagiaan. dewi sri meminta probokusumo memboyong kembang ajari tangan merupakan tanda sebagai anjuran bahwa untuk hidup berdekatan dengan sandang dan pangan diperlukan usaha dengan menggerakan tanganya, memiliki kreativitas tinggi sehingga menghasilkan sesuatu yang berguna yang pada akhirnya mendapatkan harta yang diinginkan. prabu nila dadi kawaca merupakan perubahan ujud dari sebuah lesung tempat menumbuk padi. merupakan lambang jika lesung tidak dirawat akan menjadi berubah ujud, lesung dengan padi merupakan kesatuan untuk mewujudkan nasi. warga masyarakat supaya dapat menangkap isi pesan dalam lakon yang dipentaskan dalam rangka mengakhiri ritual, serta sedekah gunungan dari keraton surakarta. pihak keraton menambah sedekah kepada masyarakat berupa pentas seni pertunjukan wayang di sitinggil, merupakan wujud tanggung jawabnya sebagai pusat budaya. daftar pustaka amir, hazim. 1994. nilai-nilai estetika dalam wayang. jakarta: pustaka sinar harapan jazuli, m,. 2003. dalang negara dan masyarakat sosiologi pedalangan. semarang: limpad. ------------2011. sosiologi seni. surakarta: uns press. harmonia, volume 13, no. 1 / juni 201318 marjono, 2010. “sanggit catur nartosabda dan manteb sudharsono dalam lakon kresna duta”. surakarta: isi. tesis s 2 tidak dipublikasikan. murtiyoso, b. sumanto, suyanto. kuwato. 2007. teori pedalangan bunga rampai elemen elemen dasar pakeliran. surakarta: isi . padmosoekotjo. 1990. silsilah wayang purwa mawa carita. jld vii tamat. surabaya: pt citra jaya murti. purwadi, 1992. serat pedhalangan lampahan kresna duta. sukoharjo: cv. cenderawasih. randyo, m. 2011. “makna simbolis lakon kangsa adu jago dalam pertunjukan wayang kulit purwo”. semarang: harmonia jurnal pengetahuan dan pemikiran seni vol xi edisi juni . rustopo, 2012. seni peway angan kita dulu, kini dan esok, bunga rampai. surakarta: isi press solo. soetarno. 2005. pertunjukan wayang dan makna simbolisme. surakarta: stsi press solichin, waluyo, sumari. 2007. mengenal tokoh wayang. surakarta: cv asih jaya. solichin. 2010. wayang. masterpiece seni budaya dunia. jakarta: sinergi persadatama fondation. subandi, 2010. “barathayuda suluhan gatutkaca gugur sebagai pahlawan”. dalam harmonia jurnal pengetahuan dan pemikiran seni vol x edisi 2 semarang: unnes. fpbs. sudarko, 2003. “plot wayang purwa dan pandangan hidup orang jawa. dalam harmonia jurnal pengetahuan dan pemikiran seni vol iv no 3. semarang: unnes fpbs. suparno, slamet. 2009. pakeliran wayang purwa dari ritus sampai pasar. surakarta: isi press solo. 298 bia music: traditional music heritage and preserving tradition across generations richard junior kapoyos, suharto, syakir universitas negeri semarang, indonesia submitted: 2022-07-11. revised: 2022-10-28. accepted: 2022-11-28 abstract this research aimed to see the phenomenon of the bia music of the minahasa tribe that needed to be carefully observed in considering bia music then until now was shifting and changing due to the society’s lack of awareness towards bia music. this traditional music was very concerning due to the decreasing quantity and quality of the players. the objectives of this research were to analyze: (1) the traditional music heritage and preserving tradition across generations and (2) the educational process in traditional musical performances. the research applied a qualitative method with data collecting techniques by interview, observation, and literature review. data validation technique based on credibility criteria, using data triangulation. data analysis techniques consisted of collection, data presentation, data reduction, and data verification. the results of the study show that the younger generation realizes that bia music has become distinctive music that belongs to the community. this music has become part of the social life of the people in batu village, north minahasa, so that the educational process in society occurs naturally as a model of inheritance that occurs continuously in society. keywords: bia music, traditional music, heritage, educational process how to cite: kapoyos, r. j., suharto, s., & syakir, s. (2022). bia music: traditional music heritage and preserving tradition across generations. harmonia: journal of arts research and education, 22(2), 298-310 harmonia: journal of arts research and education 22 (2) (2022), 298-310 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i2.37619 vince. this musical instrument is usually played in various community activities in batu village. culture is the whole complexity that includes knowledge, beliefs, arts, morals, laws, customs, and other capabilities, and also the habits acquired by the human as a member of society (taylor, 1958) the advance of technology in various fields greatly impacted various aspects of art life, both in terms of expression and appreciation. various forms of cultural behavior, such as lifestyle, language, clothing, and food, are included in the art that is shown on the screen, which is considered the best. cultural behavior that is captured by society was just imitated without learintroduction the north of sulawesi province consists of five major tribes that are domiciled in that province. those ethnic groups are minahasa tribe, bolaang mongondow tribe, sangihe tribe, talaud tribe, and siau tribe. however, the ethnicity in north sulawesi is more heterogeneous. the five tribes have different characters and traditions. one of the traditional music of the minahasa tribe is bia music. bia music is a wind musical instrument made of conch houses/shells. this musical instrument is found in batu village, likupang district, minahasa regency, nort sulawesi procorresponding author: e-mail: suharto@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 richard junior kapoyos et al., bia music: traditional music heritage and preserving tradi299 ning the compatibility and the function. the consequences could be seen as related to the concepts, rules, insights, or category that in the beginning was considered the standard and then changed by something “new.” this thing made a big contribution to the shifting of cultural values, including the change in character. what used to be considered good and right according to moral norms is now no longer even. on the contrary, what was once considered taboo and wrong is now regarded as normal. even among young people, it is considered slang; in other words, it is good and right. this phenomenon greatly affects the taste for art images (soehardjo, 2005) the important realistic and contextual perspective to consider with the changes is the real problem surrounding the cultural phenomenon and its proponents. any form of a cultural phenomenon, its position is unstable. in minahasa, bia music only existed in one village in the north minahasa regency, batu village, the likupang district. other music instruments such as kolintang and bamboo music developed in all regencies in north sulawesi, while bia music only developed in batu village. bia music is very typical and unique traditional music, so bia music is marked as the traditional music of north sulawesi province. bia music is made of shells or conch houses. initially, around 1938 a resident of batu village in north minahasa used the shells or conches as a communication tool to invite the community to gather and do activities like mapalus (service work) and work together to clean the village. the people of batu village are mostly farmers, and the highest income in this village is the fruit that is sold all over indonesia, but in batu village, they have traditional music made from shells or conch houses. the materials to create this musical instrument were obtained from the coast. along with the times, bia music is used as one of the traditional musical instruments in batu village. this traditional music is very concerning that the players from year to year are decreasing in quantity and quality. it is very rare to find people that want to play this musical instrument because it is hard to be played, and also the material is also difficult to be found because they were taken from shells or the sea conches. usually, the people of batu village take the empty conch, or the animal inside the snail is already out of the shells. bia music is one of the traditional music that is almost extinct because the main materials that are bia are very hard to find since the ecology destruction destroys the habitat of this animal. on the other hand, the government wants to preserve this musical instrument because bia music is a traditional music of minahasa tribe. the developments that are known to be better now include the efforts to preserve that related to efforts of maintaining, developing, and spreading the bia music in north sulawesi province. artists, government, society, and the younger generation play very important roles in preserving bia music as a cultural asset while maintaining its authenticity. therefore, through the artists and their partners, the government conducts regular performing arts activities regularly witnessed by the people of batu village and the young generations, who continue to be tasked with preserving traditional music that is almost extinct. bia music is one of the components of traditional music that stores various local wisdom and has cultural values that reflect the cultural and social identity of the community. inheritance refers to the efforts of the inheritance of traditional art, while the traditional arts have been known as the arts that have been inherited from one generation to the next generation. (kasim, 1981) stated that “the result of traditional arts is usually accepted as the traditions, the inheritance that is bestowed from the younger generations to the younger generations. the inheritance process was conducted through the transfer learning of ideas, values, and skills. the concept of inheritance adopts the real world in which an entity/object can have a derivative entity/object (jazuharmonia: journal of arts research and education 22 (2) (2022): 298-310300 li, 2011). inheritance is about encouraging and preserving the performance components from the old generations (the generations who inherit) to the young generations (the generations who are inherited) and the inheritance of values that occur in a family or society (jazuli, 2014). the inheritance or culture value transmission is something that has been passed down from generation to generation, although it is often difficult to trace its origin (cahyono, 2006). therefore, inheritance can also be interpreted as transmitting culture from generation to generation. soehardjo (2005) explained that the inheritance system is participatory or parental succession. various motives why the parents inherit something from their biological children, among others, the main one is the struggle for life. values, beliefs, and traditional faiths may become a pattern of some need or completeness of the concerned community. not only the forms that are transmitted but also including the values and norms that are believed and admitted by the supporting community. the norms and values that the parents inherit are always strived to be highly respected. legacy from generation to generation is passed down historically. a generation owns a culture through a learning process. culture is not a biological heritage but a social inheritance from one generation to the next. it’s about all the knowledge, experience, and strategies of human adaptation to meet their life needs. art is one of the necessities of life. needs that have been integrated in society will continue to be maintained through education. education can be done by anyone who has an interest in order to maintain the shared values that are morally justified (rohidi, . rituals, for example, are one of the needs of society. rituals that are preserved can be due to the community’s need for art, which has become a part of their lives. for example, the use of pantun in the ceremony of sedekah bumi in the malay community, which is also very religius (andari & suharto, 2020). vertical inheritance means from the parent to the children that inherit values, skills, beliefs, cultural motives, etc. horizontal inheritance means someone learns from his peer (in primary or secondary groups) during development. oblique inheritance means someone learns from the adults and institutions (e.g., in formal education). the enculturation behavior (inheritance) works as a mediating variable in the relationship between the acculturation attitude and entertainment product from cultural heritage (kizgin, h, and a . jamal, 2018). education serves as the enculturation medium carried out systemically within a family, school, and community. as the enculturation medium, every formal and non-formal educational institution is expected to inherit and instill the systems of knowledge, belief, ideas, and community cultural values where the education takes place (raharjo et al., 2021). there is always an educational process in the process of cultivating culture, including enculturation. education is how that culture is passed on in everyday life through the family and society. as a result, local culture, which has become local wisdom, accidentally becomes a daily habit (marhayani, 2016). in general, the habits of the people who have become local wisdom have a function and become part of the community’s social life. the function of bia music itself, which used to be a means of ritual and communication, has now turned into a means of entertainment (kapoyos, 2018). bia music is one of the music that very unique. it used to have only one tone later due to the development of the current patterns. bia music now has seven diatonic notes. however, now there is a lack of demand because the young people of batu village do not really like traditional music, so only the elders play it. in the process of preserving it, the people still continue to play this bia music because the bia music has already been there since the era of japanese colonial in around 1938, which used to be a communication tool when the community was in danger, so the people want to pass richard junior kapoyos et al., bia music: traditional music heritage and preserving tradi301 down to their grandchildren because this music has become an identity of the community in minahasa regency. in fact, bia’s music still exists in people’s daily lives, such as in worship, communication, and entertainment. based on existing phenomena regarding the existence of bia music, its use in social life, religion, and entertainment in the batu community, researchers investigated how it is preserved from generation to generation and its educational process. method the study applied a qualitative research method with an interdisciplinary approach and ethno pedagogy. this approach is important because this research pays special attention to local genius and wisdom by disclosing cultural values as educational practices in various domains that emphasize local wisdom (alwasilah, a. c., suryadi, k., karyono, 2009). the research focused on bia music: traditional music heritage and ) the educational process in traditional musical performances. data were collected through observation, interview, and literature review. the researcher placed himself as the observer of the participant’s observations. the observation and interview results were recorded and analyzed, followed by visual recording with the aid of a photo camera and voice recorder. data were analyzed using milles and huberman’s reduction, presentation, and verification theory (miles & huberman, 1994). the results of obtained data were related to the inheritance process. result and discussion the inheritance of bia music and preserving tradition across generation the government’s role in maintaining and preserving bia music tradition already exists. in july 2010, bia’s music was performed at the pinabetengan batu tradition music festival, the pa’dior tompaso cultural arts institute foundation at the cultural center of north sulawesi, minahasa regency, north sulawesi province for the first time. and this was awarded the world record-breaking award (setiawan, 2010). the perception of the people in batu village towards bia music is based on the narrative of the informants in the field, the original meaning of playing being an individual or group entertainment. this music used to be used as a communication tool, ritual, and dance music. the successor of this art has already lost the true meaning due to the shifting of culture: beliefs, demographies, new discoveries, and technologies. at this time, the function of bia music has already shifted, no longer as a ritual tool, communication, and dance music but has increasingly developed into traditional music that can be a means of entertainment for the people in batu village. based on the direct observation and interview results with several participants in batu village, it is known that the efforts to preserve this music have been dynamic. positively by the potential of the community, especially the younger generation. the public is generally known to respond enough and express positive views and understandings of the efforts to preserve bia music. bia music, in every journey, has to deal with institutions of power like the community, the state, and particularly the heir of the art that is the people of batu village. seeing the increasing global products that continuously threaten the existence of bia music. preservation is the effort to maintain, develop, and spread. thus, it is time for the government now realizes the changes in the batu village community. the community has important roles in decisions to influence and benefit their environment’s life. positive steps taken by the educational institution towards bia music are through art performances, both music, dance, and drama. the existence of an art education institution that continues to grow will maintain the continuity of local culture, particularly bia music, which proharmonia: journal of arts research and education 22 (2) (2022): 298-310302 longs its life from extinction. as an effort to anticipate the facts above, a strategy is needed in the implementation of art education in the community of batu village. by re-activating traditional art activities that live in the community. one way is to form a culture council whose task is to provide consideration and input to the government related to preserving and developing traditional culture. furthermore, through the technical agency (tourism and culture office), the government conducts guidance according to the input given by the culture council. it is necessary to preserve the original form because bia music is the typical character of the people of batu village. it is a pride to have a local wisdom reflecting cultural identity and social community as the owner of the art that is actualized in the form of particular music. music is seen as something that can evoke the feeling of an artist (bia music), can be used as an emotional and interesting expression to see and watch. preserving the original form is very important, preserving the original form, the artist, community, and related parties. it is necessary to preserve the original form of bia music because this bia music is a characteristic of the traditional music of the people in batu village, which is relatively simple but has a uniqueness that is played by blowing into the holes that have been made in the bia. bia music is actualized in the form of voice art. the people of batu village see this voice art as something that can evoke feelings, be used as an expression, and be pleasant to hear. the artist opens the spaces to the community, particularly the young generations, as the successor of this traditional art to learn the bia music. they can join the exercises in the afternoon in the culture center of north sulawesi, pa’dior, foundation of the tompaso culture arts institute, minahasa regency, north sulawesi province. this is done so that bia music is continiously preserved in the community of north sulawesi, particularly the batu village. the participants who joined the exercises were from various circles: college students, school students, and communities. in addition to exercises with college students, school students, and the community, usually the bia music groups: mutiara kasih, permata laut, and mutiara, exercise together in preparing for the shows which perform bia music dan also the governments’ events. in every performance, bia music’s original form is always preserved. in the past time, bia music was only a means of communication, rituals, and dance music for the people of batu village, which has changed its function to become a traditional musical instrument of the people in batu village. it has now become a musical instrument whose function has changed. bia music of batu village community was used as a communication tool, ritual, and music dance. now, its function has changed into the traditional music of the people of batu village. now, the ‘mutiara’ bia music group, under the control of mr. yano tooy (an artist), has developed it due to the demands of music and the current development of times, seeing people prefer modern performances to traditional performances. therefore, bia music, which used to be played by only a few people, now it can be played in an ensemble (figure 1). the music players can go to thirty in one group of bia music. figure 1. the practice of bia music (document: kapoyos) efforts to spread bia music have been carried out by related parties such as artists and the government, where they have richard junior kapoyos et al., bia music: traditional music heritage and preserving tradi303 become regulatory partners. dissemination is not only through music performances and sales but also live workshops, tv interviews such as tvri of the village head of batu and several communities (artists), and broadcast throughout north sulawesi. dissemination has also been carried out by publication through coverage of national television, cnn indonesia, in 2012, about the existence, uniqueness, and beauty of bia music in the village of batu (cnn indonesia, 2012). figure 2. the interview of the artists and the head of batu village (document: kapoyos) the effort showed the seriousness of the government and regional artists to spread the bia music to the young generations so that many people know that this bias music is the traditional music from batu village, south likupang district, north minahasa regency. through the workshops and tv interviews, bia music can be spread and known by many people (figure 3). but, more importantly, through the education channels. because through the education channels are the right target because, in art subjects, the students are required to get to know the local arts. figure 3. traditional music seminar in batu village (document: kapoyos) bia music as the means of community social culture since the prehistoric period, bia music plays a vital role in delivering messages because it is known that a number of bia types can produce varying tones which sound sonorous. at the time, the messages or signs listened to by the people had different tones. the differences based on the meaning of the delivered messages, such as calling the people to gather, are different from asking the troops to get ready. besides that, the purpose and the voice tones that were listened to can be different in every area or tribe. for sure, the use of bia as the delivering messages tool helped the people or the tribe a lot in the various corners of the world in delivering and receipting messages or signs like calling the people to gather, doing parties, opening an activity or tribe meeting, opening a sports competition, asking the troops to get ready or attending a ceremony, even more, the kingdom troops often sounded bia music as the sign of victory after the war (wenas, 2000) in the daily life of the villagers, bia music was a sign of starting activities or works; there were the fish selling in the village market, the sign of praying, the sign of sailing activities, porting, or the sign of thick mist in the ocean. in addition, bia music was used as a sign of danger of enemy attacks, wild animal attacks, or even natural disasters. finally, bia music was also used as a sign of the death of the tribe members or leaders and a sign of welcoming important guests, particularly government officials. communication knowledge focuses on the interaction between humans in creating meaning through symbols. as stated by clifford geertz that culture is a learned behavior and a mental phenomenon. while communication is a tool to learn and create the mental in the form of symbols (purwasito, 2002) on the other side, communication is harmonia: journal of arts research and education 22 (2) (2022): 298-310304 a mechanism to socialize society’s cultural norms horizontally, from one society to another, or vertically from one generation to the next generation. just like culture determines the norms that are appropriate to a particular group refers to the ability of humans to bequeath knowledge from generation to generation ( mulyana, 2004) in the era of japanese colonialism, bia music was also used as a sign when the enemies attacked the village because, around 1938, this music was used as a communication tool by the villagers to avoid the japan troops who often attacked the villagers in the minahasa tribe. after being more developed, bia music became a communication tool to gather in order to work together and do plantations in the gardens; the villagers of batu usually call it mapalus. figure 4. bia music used for calling people to do mutual assistance in the ricefield (mapalus) (documentation of richard jr. kapoyos) in the minahasa community, there is a local wisdom called “mapalus” that is a system or technique of mutual assistance for the common interest that the ancestors inherit from the land of tohat and lumimuut in the minahasa tribe that means “humans live to live other humans” (sumual, 1995) mapalus is mutual assistance based on shoulder-to-shoulder cooperation among the villagers. on the other parts of the community, such as people in minahasa, the nature of mutual assistance culture can be realized through “mapalus”. this is one of the concepts of “si tou tumou tou” which means “humans live to live with other humans.” (koentjaraningrat, 2002) stated that in rural communities, still traditional, the culture of mutual assistance is a characteristic and way of life passed from generation to generation. this culture in the life of each community has various implementation systems, including mutual assistance based on reciprocity (shoulder for shoulder) and mutual assistance that only fulfills the obligation as the community member. mutual assistance is a solidarity form of traditional agrarian communities. these communities belong to each other based on social relations that are called closed family ties, geographic location, and faith. the basic word of mapalus is palus which means pouring or directing; therefore, mapalus means an attitude or behavior that is based on the awareness of the necessity to do activities by gathering (unifying) the power (strength and intelligence) of every member of the community to gain an optimal result in accordance with what has been agreed previously (sumual, 1995) in the beginning, mapalus was particularly conducted in the events related to agriculture, such as land clearing and harvesting that are called mapalus tani. mapalus culture is not limited only to agriculture but also conducted in every social event in every life area. just like the traditional ceremony events, weddings, funerals, and so on. mapalus are the events such as land clearing for settlements, agriculture, rice fields or fields that are carried out with mutual assistance and shoulder to shoulder among families, villages, and community members (rachbini, 1990; turang, 1983) the communities which became members of mapalus are helped in reducing the fee costing their land processing them becoming mapalus members to process their land. the people of batu village at work are also called mapalus (gotong royong), where everything is done by mutual cooperation. mapalus is usually used in social events that aim to help each other. and this sorichard junior kapoyos et al., bia music: traditional music heritage and preserving tradi305 cial service is often carried out by bia music groups. in the author’s observation: the lottery club is in the form of money, goods, or services. this is conducted two times a week before the music practice takes place. this gathering is not only limited to lottery clubs, but many things are discussed, including sharing information about music development, playing techniques, how to choose songs, and emotional activities created in the membership so that there is culture unifying and a kinship relation between each other. the educational process of bia music performances and sociocultural activities art learning on a community basis has higher durability because the community will continue to live, grow, and develop. therefore, the potential that exists in the community needs to be optimized. in many places, traditional music is still the aesthetic tool or means that brings the satisfaction of enjoying music while still being valued as the cultural heritage of the ancestors that are highly valued, because traditional music represents the feature and characteristics of a particular area where the music is used to be based. the more people like the style and the composition of modern music today, the more traditional music still exists as a procession that is still maintained, although quantitatively not as much as people who enjoy modern music. education in music performance on various occasions, bia music takes part in the entertainment of people. the performance in various events is arranged by the music groups themselves based on the invitations or direct requests from the event organizers of folk performances. the bia music is very important to the villagers of bau to liven up the celebration atmosphere, such as big national days and other big days. the atmosphere will be less attractive if there is no bia music in those folk performances. performing arts are an important tool in arts education. in musical performances such as in commemoration of national days, in addition to increasing the sense of nationalism, the musical atmosphere that is obtained during the musical performances also increases. besides that, we will also get valuable education through symbols, songs that are played, and costume performances (asia ramli, 2021). bia music as the minahasa people’s identity will educate them to feel proud of their identity. it is the attitude that members of a nation have when they care about national identity. national sense is the attitude possessed by members of a society or nation when they care about national identity marja heimonen, david g. hebert (2012) . music education in the church activity bia instruments of various sizes can produce a variety of sounds with different types of sounds (cnn indonesia, 2012). church members use this for ensemble groups to accompany worship choirs and instrumentals. with the guidance of a music coach, they sound the notes according to the sound they have through the bia instrument (figure 5). it is not difficult for them to be guided to sing church songs that are usually sung because they are used to singing songs in their services at church. figure 5. practicing bia instrument in the church (documentation of kapoyos) as in a choir, participants who hold musical instruments will be trained to concentrate on their vocals and maintain a balance of rhythm and harmony (isgro, 1982). even more important is the process of christian character education in this educational process (purba, 2020). this educational process starts from the training, proharmonia: journal of arts research and education 22 (2) (2022): 298-310306 cess from the trainer to the trained up to the presentation in worship activities. learning method to be able to become a band and form a beautiful harmony there are at least 15 bia blowers. each blower can supply 2 tones (cnn indonesia, 2012). bia music is taught to the younger generations of the church through practices with the coaches and the musicians in the batu village so that they can perform in the sunday services. the younger generations learn how to play this musical instrument from these practices. the musicians of this musical instrument teach with a repetition method. because of this bia music is a wind instrument; therefore, the first thing to be trained is the breathing technique then, followed by the diatonic scale technique. after that, the bia musicians applied the drill method so that the new learners could practice the techniques their seniors explained. one essential technique in learning this musical instrument is the fingering technique. the technique can be interpreted as the ability of the player’s fingers to determine their position in relation to the tone of the game to be produced. thus, the player must first clearly recognize the position and use of the fingers of the right/ left hand in accordance with the formation of the notes. the position of the fingers on the left hand is used to hold the instrument, while the fingers of the right hand are used for fingering (especially on brass instruments). the index finger is located on the first valve, the middle finger on the second valve, and the ring finger on the third valve (latuni et al., 2019). the bia musicians applied the drill method so that the new learners could practice the techniques their seniors explained. the drilling method is one of the most important methods in learning it. according to sudjana (1996), the method is an activity that does the same thing, repeatedly in earnest, intending to strengthen an association or perfect a skill to become permanent. the drilling method is carried out because of the abilities of players of various ages, musical instruments of various sizes, and different types of voices. luckily, their musical background, which is used to singing in various voices during church services, helps them maintain their musicality when playing the instrument. the distinctive feature of this method is the repetition of the learning activities from the same thing. thus, it is formed as knowledge or a skill that is ready to be used by the person concerned. the drill teaching method (training) is a good way of teaching to instill certain habits, as well as to obtain dexterity, accuracy, opportunity, and skills on the subject matter that has been learned. the drilling method in playing bia music together is an activity of doing the same thing over and over again in earnest with the aim of strengthening an association or perfecting a skill, so that it is permanent. drill is a way of teaching by providing exercises on what students have learned so that they get something. and, the exexcise is when they playing individualy and playing together in one composision. bia’s sense of belonging to music and their enjoyment of music makes them seriously take up the practice. moreover, there is high public support for the use of bia music both in community social activities, worship and entertainment. interest of learning in a person determines that person will be serious in learning or not, because of encouragement or stimulation can make someone wants to do a study seriously (febriyona et al., 2019; cnn indonesia, 2012) one other method of learning is conveying subject matter with songs. the use of media by singing and utilizing music can increase the effectiveness of learning so that learning objectives will be achieved (supartini et al., 2020). the songs used can be used as learning models, but there are also songs used in worship activities and entertainment in the community. this is where the role of the mentor is very important in this activity. teachers needed to improve musical competence. the ability of teachers to compose or crerichard junior kapoyos et al., bia music: traditional music heritage and preserving tradi307 ate songs in the learning process based on developing students’ religious character implied that teachers also had to possess literacy skills by investigating studies that were able to enhance their abilities (julia et al., 2022). yano tooy is a mentor who drills the bia music group in batu village ( figure 6). figure 6. researcher together with yano tooy as the keynote informant of this study (documentation of richard jr. kapoyos) bia music as performing art in terms of musical performances or religious songs in the church, the bia music can not be separated, or the congregation is indirectly entertained by the religious song performances as a human need. the performance of bia music in some events, in the religious ceremonies, competition stages, and cultural missions is a means of publication and entertainment. music observers and lovers usually attend the events at various societal levels. the community’s enthusiasm is reflected in how they still put traditional music as a means of entertainment for the community. based on the monograph data about the belief system of the batu village community, it was explained that the majority of batu village community embraced christianity. this thing had a great impact on the existence of bia music in batu village. this bia music usually plays at religious services like easter and christmas, although the bia music is also played when welcoming honorable guests such as the president, governor, regent, or mayor who come to visit batu village. jerry nikson sampelan clears this as the head of batu village and as the player of bia music. in his interview with the authors as follow; “..musik bia ini nda cuma sekedar musik biasa bagitu, musik bia ini so ada dari zaman penjajahan jepang tahun 1938. dulu ini musik bia cuma jadi sarana komunikasi warga, ja pake ba pangge warga supaya bakumpul d lapangan for mo ba mapalus gotong royong ato ba kerja bakti, mar karena so berkembang lama-lama ini musik bia ini jadi musik tradisi desa batu. kong akhirnya musik bia ini dimainkan di dalam gereja, kong biasa kalo ada tamu sama deng gubernur, bupati ato walikota bagitu, pasti musik bia ini mo jadi musik penyambut tamu.” (“..this bia music is not only usual music, and this bia music has already existed since japanese colonialism in 1938. long ago, bia music was a means for people to communicate, was used to call the people to do social work, but as it developed more, this music became a traditional music of batu village. finally, this music was played in the church. when there are guests such as the governor, regent, or mayor, this bia music becomes a welcoming music.”) based on those interview quotes, it can be concluded that bia music is a form of art culture which is a religion breathed in, particularly christianity, so that it has a close relationship with batu village. in this case, the majority of batu village community who embraces christianity seriously influences the development of bia music in batu village (figure 7). performing arts, such as drama, dance, and musical arts, involve performing in front of an audience. performances are usually associated with staging performed in a building, arena, proscenium, etc. according to (brandon, 2003), performance is an art part of the life of an individual or group whose presence is supported by the related individual or group, whose function can be used to share interests in society as its support. based on the relationship between art and its supporting community, there harmonia: journal of arts research and education 22 (2) (2022): 298-310308 will be changes, and various roles can be owned by the performing arts, which are largely determined by the circumstances of the community and the environment. throughout the journey of human life, it is recorded that the performing arts are presented to meet various interests ranging from ritual demands, education and profane entertainment (soedarsono, 2010). he also argues that in the era of modern technology, in general, the performing arts in human life are classified into three: (1) as a means of the ceremony, (2) as personal entertainment, (3) as a show. although, in this changing era, the function of performing arts, the function of the oldest performing art is still preserved, some have shifted their functions even though their forms have not changed much. and there are those whose functions shift and their shape changes or overlaps. besides, of course, there are also new forms due to human needs and creativity. musical form or technique is part of music theory that includes studying rhythmic and melody structure. in bia music, there are rhythmic and melodic patterns that are presented in each performance. a rhythmic presentation is a form of instrument playing pattern in each structure or part of the playing. so that several patterns of playing emerged in each instrument, while the melody is the harmony in the performance. bia music was classified as simple performing arts. if we talk about the form, the simplicity of the forms is not the only one that becomes the determiner in the life of traditional performing art. however, other forms are still contained in this tradition of art. therefore, basically, an art form is not only something tangible or an art object that is visible or palpable, but an art form has an abstract definition, structure, articulation, the overall result of the relationship of the most intertwined factors, or more precisely the way of in which all aspects are assembled involving the notion of form, expression, which makes art have a unique character. figure 7. bia music performance (documentation of richard jr. kapoyos) based on the instruments used in the show, bia music performances are included in the type of wind music. bia music performances are not only played in an ensemble but also can be combined with other traditional musical instruments such as kolintang, seng bamboo, bamboo music. it is customized to the needs or desires of a music composer. the presentation of bia music can be displayed in various places, for example, on the stage, courtyard (terrace), and house yard. this bia music can be played in a sitting or standing position, and the costumes used by players, both men and women, do not have to wear formal clothes except for attending formal events that must use suits or batik. many educational processes in cultural events involving music can be part of the social community. the education starts from how they learn to play the instrument, practice, and control the rhythm to balance and harmonize. what is even more important is learning and instilling the values that exist in the use of bia music in the social life of the batu village community. karena pada dasarnya pendidikan itu untuk mempertahankan nilai-nilai yang disepakati baik bagi suatu masyarakat (rohidi, 2012). conclusions bia music has become a source of pride for the people of batu village, north minahasa. the music has become part of the social life of the people of batu villarichard junior kapoyos et al., bia music: traditional music heritage and preserving tradi309 ge, so several social and religious activities have used this music. because of this, the educational process occurs naturally and is conditioned by the community and local government. the learning process carried out by the community involves people across generations. because of this sense of belonging, an educational process takes place socially, naturally resulting in cultural preservation in the form of music in the village. they believe that through bia music education in their social life, the music is believed to be sustainable in batu village. the process of education through music can be good for society, religion, and musical performances have educated people about the values of social life, spirituality, and of course, the beauty of music. the habit of the people to worship using diatonic type songs facilitates the learning process and the use of bia music. acknowledgments we would like to extend our sincere thanks to the promoter and co-promoter for their encouragement, patience, and invaluable supervision and guidance. their kind, generous and thoughtful assistance means a lot to us in completing this article. the author also thanks profusely to yano tooy as the keynote informant of this study, all the bia musicians, the head of batu village and all the people in batu village. references alwasilah, a. c., suryadi, k., karyono, t. 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(2000). sembilan seni tradisi di sulawesi utara. institute budaya sulawesi utara. 153 sirojul ummah: music in social interaction febbry cipta, sandie gunara universitas pendidikan indonesia, indonesia submitted: october 14, 2019. revised: january 9, 2020. accepted: november 4, 2020 abstract this article describes music’s role in social interactions carried out by female members of the marawis group sirojul ummah. the marawis music is the medium they use in their efforts to convey islamic knowledge and understanding, both for this group itself and for the surrounding community. the research method used is qualitative, in which data are collected from observations, interviews, and literature review, while the technique in analyzing data is done through a contextual approach. social interaction in this study is viewed from the associative and dissociative aspects in the form of actions that include rational instrumental action, value rational action, effective action, and traditional action. music is present in each of these actions. music is both a subject and an object in social interaction, both in-groups, and out-groups. the associative and dissociative aspects of in-groups can be seen from how musical ideas and performances are developed and honed through practice activities. this activity is carried out because good musical performance is supported by techniques and methods of singing, playing, and presenting musical articulation, ornamentation, and harmonization. at the same time, the associative and dissociative aspects of out-groups can be seen from their activities in filling out events in society. the interaction process is built-in pleasant and informal situations which are shaped by an interest in music and family relationships. since childhood, they have known each other; thus, they understand the characteristics of each person. maturity, the maturity of thinking, and acting tend to avoid emotional conflicts that may occur. in this context, music is not only a medium for interaction, but can be a motivation in building these interactions. keywords: marawis; music; women; social interaction how to cite: cipta, f., & gunara, s. (2020). sirojul ummah: music in social interaction. harmonia: journal of arts research and education, 20(2), 153-160 harmonia: journal of arts research and education 20 (2) (2020), 153-160 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i2.21456 and the musical accompaniment that cover language texts (lyric) becomes a medium in interpreting and interacting with others. on the other hand, umar (2017) states that music is built by taste, which through feeling, a person can make a more effective relationship with god and fellow humans. thus, these views can be used as a basis for researchers to understand more deeply about the activities of sirojul ummah in social interaction to spread and develop knowledge and understanding of monotintroduction if we pay attention to the journey of spreading islam in indonesia, music has long been used as a medium of preaching by the ulama (scholars), even since the days of wali songo (patzold, 2011). meanwhile, when referring to the opinion of seashore (1967), and pradoko (2019), it is used because music has a contextual aesthetic, namely music is not limited to the form of tones and rhythms, but melody patterns corresponding author: e-mail: febbrycipta77@upi.edu p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (2) (2020): 153-160154 heism and piety to the community. the study of the role of music in social interaction is not new. several articles related to this study have been written, including by azoma and nuqul (2017), haris and amalia (2018), widiyanti, wadiyo, and sunarto (2016), and kurniawan and djohan (2017). however, at least this article that we write gives something different when viewed from the subject, namely the marawis group consisting of housewives who call themselves sirojul ummah. this study focuses on the problem of how the characteristics of social interaction and how the actions were taken by the marawis group sirojul ummah in their process of developing aspects of articulation, ornamentation, and musical harmonization. referring to the opinion of zinn and hogenson (1987), aspects of music are constructed by sound attributes, which include frequency, amplitude, timbre, and duration. frequency is related to pitch, namely high and low tones, the amplitude is related to dynamics, namely the loudness and softness of the sound, while timbre is related to the tone color or sound color, while duration is related to time, namely fast or slow, as well as long/short sounds and mute (silent signs). whereas when referring to andjani (2014) it can be said that music, in addition to sound and silence, tone and rhythm, or space and time, is deeper than that; music is text and context, or object and subject. some may argue that music is a universal and abstract language, but many people can communicate with these abstract musical languages more effectively. social interaction includes aspects of purpose, emotion, and behavior (santoso, 2010). he expressed his opinion that a group consisting of individuals is formed because of the same goal, supported by the same emotional atmosphere, and the efforts made through each member’s activities. on the other hand (wulansari, 2013), apart from cooperation, social interactions can also take the form of disputes, competition, and accommodation. cooperation can occur because of the same goal, both among individuals in a group, and among groups in a society. each individual and each group try to interact to support and help each other and build ethical and effective communication. meanwhile, disputes can occur when interactions turn out to result in differences of opinion and views, while conflicting people and conflicting groups have difficulty building good communication, making it difficult to determine solutions to problems. on the other hand, competition is a form of social activity that can take social struggle. competition can occur because there is the same motivation to get something. still, something is limited in number so that each individual or each group must compete in achieving these goals. meanwhile, accommodation is a condition when a dispute or conflict can be resolved to reestablish good interaction. besides, capacity can also be in the form of activity to accommodate competition through competition concepts, with various procedures and work systems that competing parties and accommodating parties must comply with. gilin and gilin (1950) in their discussion of the dynamics of social organization, distinguish forms of social interaction into two characteristics of social processes that are caused by social interactions, namely associative and dissociative. referring to (soekanto, 2017), these associative characteristics are in the form of cooperation, accommodation, assimilation, and acculturation. meanwhile, disputes, contradictions, and competition are included in the dissociative characteristic. the social process characteristics are based on actions regarding the goals, work steps, and results achieved by interested individuals and groups. social interaction is built by various relationships between individuals with one another, or it can be individual relations with groups and relationships between group and group. these relationships are carried out through actions that can affect social systems and structures. meanwhile, according to ritzer (2012), these actions febbry cipta & sandie gunara, sirojul ummah: music in social interaction 155 can be distinguished in instrumental rationality, value rationality, affective actions, and traditional actions. the act of instrument rationality is based on the expectation of individual objects and behavior as a condition and means of achieving goals through rational efforts. value rationality is a social action based on thoughts and efforts in which the condition and means of interaction are related to subjective and objective values, as well as ethical and aesthetic. at the same time, effective actions are social actions based on individual feelings and enthusiasm in responding to social conditions. traditional actions are actions that interact through work steps that are considered normal because of inherent habits. method this research is a type of qualitative research with a design described descriptively. this is done by researchers to examine more deeply various phenomena and information obtained in the field. the steps are taken and the procedures carried out during the research are more open based on the observation and interview guidelines that have been prepared. referring to alwasilah (2011) and subandi (2011), this method was chosen and carried out as an effort for researchers to study various phenomena that occurred in the field, so that researchers could gain in-depth understanding and knowledge about music in social interactions in the marawis group sirojul ummah. during the research process, the researchers built a good relationship with the research subjects to get a complete and comprehensive picture of how the characteristics of social interaction occur, and the social actions carried out by the members of the marawis music group sirojul ummah in music, both between personnel with personnel (in-group) as well as between members of the marawis music group sirojul ummah and the community (out-group). the research data collected is the result obtained from observation, interviews, and documentation, which was carried out in the period of late august 2019 to midoctober 2019. observations made by researchers were divided into two categories, namely direct and indirect observations. direct observations were made when the researchers observed various things that were happening in the field, which were related to various activities of the sirojul ummah music group personnel, such as their involvement in music, economics, education, communication, and religion. meanwhile, indirect observations were made when the researchers observed various documents obtained, such as video, audio, and photos of the activities of the marawis music group sirojul ummah. the interviews conducted by researchers were unstructured, even though the researcher also prepared important notes as a guide in conducting interviews such as the names of personnel, the formation of the marawis music group sirojul umah, practicing and performing activities, social relations among group members and with the community, education, and hobbies. to obtain data, validity, observations, and interviews were also carried out on other objects and parties that were considered relevant to this study’s purpose. the collected data were then analyzed using a contextual approach. this technique is done by researchers because at first, researchers did not know for certain about how the actual conditions that occur in the field. however, they already had the basics of knowledge about the topic of this study. the researcher’s analysis process refers to the content, narrative, and discourse aspects as an effort to understand how the relationships between statements and events are. when referring to alwasilah (2011), budiasih (2014), and junaid (2016), it can be said that this technique is carried out from field data and then analyzed using relevant theories. results and discussion the dual role of sirojul ummah personnel harmonia: journal of arts research and education 20 (2) (2020): 153-160156 sirojul ummah is a marawis music group domiciled in wado district, sumedang regency, west java province. this group consists of personnel who are mothers around the ages of 47 to 70 years. apart from being housewives, these women work as sellers of home-processed food and work in the fields in their daily lives. they do this work, apart from helping their husbands increase their income for household needs, as well as an activity to spend their spare time. likewise with musical activities, through marawis, they can earn a little income from invitations to fill the event, and especially these activities become a medium of their interaction on religious values, namely gratitude to allah swt., and prayer to the prophet muhammad saw., and social interaction in building good relationships with fellow humans. this group was officially established on february 1, 2010, found to develop knowledge and practice understanding of sholawat through marawis music. in language terms, sirojul means charisma or role model, while ummah means people who adhere to the prophet muhammad saw’s teachings. so, it can be said thatt the word sirojul ummah is a name that has meaning and hope. the meaning is the nature that describes the prophet’s charism for the people, and the hope is that this group can always convey the charism of the prophet to the community, especially in cilengkrang village, wado district, sumedang regency. sirojul ummah is supported by 10 personnel, one of which is a 57-year-old man who plays drums. at the same time, the other nine people are mothers with an average age of 60 years. one of the nine mothers is a mother whose age is the youngest among the others; 47 years old, and she is the vocalist of this group. what will be discussed in this section is the dual roles of women personnel of sirojul ummah. this attracted researchers’ attention because they saw the interest and potential of these mothers in their efforts to develop creativity and musical skills. wibowo (2011), dewi (2012), patnani (2012), and intan (2014) argue that the dual role of women concerns the role of tradition and transition. the role of tradition is the roles of sirojul ummah personnel as a wife, mother, and household manager. meanwhile, the transitional role is women’s role as members of society who have rights and obligations in social interaction and demonstrate their abilities in their respective fields. both the role of tradition and the role of transition, for these mothers, do not become obstacles that affect each other’s roles with other roles. according to them, the key to undergoing all of this is patience, awareness, and sincerity. however, the inevitable choice for them is the role of tradition, which means that the position in this role is higher than the role of transitional. on the other hand, the support of husbands and children to the mothers of sirojul ummah personnel is one aspect that fosters the spirit to perform and participate in spreading knowledge and understanding of islam to the surrounding community through fun and entertaining ways. activities carried out by sirojul ummah personnel in carrying out their traditional roles can be seen from how mothers’ roles in general. namely, an example where a mother prepares meals for her husband and children, washes clothes, and the biological needs of husband and wife. even these things are commonly done by sirojul ummah women and are not at all a burden on the roles of transition, especially in the activities of marawis. one of the factors is, from the researcher’s observations, it was obtained a description of the age of the children of the sirojul ummah personnel. we found that some of their children are in adolescence who have the maturity to think and act. and some of them are adults, some even have families and have children. so, at least this factor is one of the factors that alleviate traditional roles, where the opportunity to carry out the transition roles is quite a lot. interpreting associative and dissociative processes through music process febbry cipta & sandie gunara, sirojul ummah: music in social interaction 157 the associative and dissociative processes in sirojul ummah’s social interactions are present as a result of the motivation to develop self-competence, which is based on creativity and musical skills. both creativity development and skills development are carried out through practice routines. these activities become an associative medium, in which there are cooperative, accommodating, and assimilating behaviors to improve the ability to create music, improve techniques for singing lyrics and melodies, as well as techniques and patterns of playing instruments. meanwhile, in terms of dissociation, both in-group and out-group, researchers tend not to find this, this is due to the factors of age and maturity, as well as the life experience of each personnel, which has an impact on self-maturity, as well as ways of thinking and acting to avoid conflict. referring to soekanto’s opinion (2017), this associative behavior has been instilled since childhood in the family environment and kinship groups, as sirojul ummah personnel still have kinship ties with one another. in addition to the existence of these family ties, the pleasant atmosphere during the practice and performances, as well as mutual respect for the skills of each personnel, develop into a habit which is a factor that supports association interaction. during almost 10 years of journey in marawis art activities, efforts to regenerate the sirojul ummah group were carried out in a flow, following the flow of time and the development of community interests. no invitation is forcing the next generation to join this group. nevertheless, the attention and appreciation of the next generation towards this group, especially women, is shown through an interest in learning in an unstructured pattern. for example, once there was a community member, she was a woman who was still in school at the senior high school level, who participated in practice activities with sirojul ummah several times. then because of her obligations at school that could not be abandoned, it made her not train with sirojul ummah for a long time, so that she could focus more on his school activities. after a while, because there was free time, she wanted to take part in the practice again and would be accepted by sirojul ummah to return to her activities together again. similar opportunities are also given to other young women who are interested in developing, not only in islamic values but also in terms of playing marawis music skills. the motivations shown by external parties as above are the impact of consistency by carrying out routine practice, participating in recitation activities together, and performing at community thanksgiving events, to build learning in the surrounding community, especially children and young girls, both learning about the deepening of the verses and the aspects of the music, including learning about adab (proper behavior) in socializing. the form of cooperation among sirojul ummah personnel in developing musical skills and creativity is built through practice processes. in the process, each person can exchange ideas and provide input to other personnel about developing techniques for playing musical instruments, developing playing patterns, and musical forms and structures. these developments are intended to provide variations on a song. this is done because, along with the development of a public appreciation for music, it requires sirojul ummah personnel to study and develop patterns, forms, and structures of islamic songs that are popular or are currently popular, apart from songs with salawatan lyrics in arabic. the practice routine becomes an activity that accommodates each personnel in building solidarity in playing music. although there is no individual conflict among personnel, conflicts can occur when learning new songs. that is the conflict when, for example, one of the marawis instrument players does not yet understand the play of percussion patterns resulting from the development of arrangements, which of her lack of understanding can annoy other players. usually one of the personnel will appear to accommoharmonia: journal of arts research and education 20 (2) (2020): 153-160158 date these obstacles. one way to do this is to do independent practice according to the tools being played. after being understood by the conflicted players, the practice was then continued at the joint practice stage. soekanto (2017) believes that the accommodative process generates adaptive spirits, namely adjustment efforts in overcoming obstacles. adjustment of the above case can be seen from each person’s willingness to learn the complexities of several musical techniques with solutions, among others, through routine practice, or reducing musical complexity according to the ability of the players. figure 1. routine practice activities of the marawis music group sirojul ummah when doing combined practices, accommodative methods are also applied. for example, to practice songs with a fast tempo, it is usually done in stages, from slow tempo first, then developed at fast tempo according to the original song’s tempo. these accommodative methods are carried out to accommodate the differences in skills possessed by personnel. even though this group has been founded for a long time, it does not mean that every time learning new material can be completed with just one practice. because of the conflicts caused by musical aspects, the effort to accommodate them is by practicing repeatedly learning songs at other designated times. in addition to the habit of working together and being accommodating in developing musical competences, the assimilation process in social interactions can be seen from personnel’s efforts to identify themselves with the interests and goals of the group. this assimilation is a behavior in adapting to the circumstances that occur. so that the situation in question becomes self-awareness when personnel tries to improve their creativity and musical skills, thus, it can be said that the assimilation process is a space where each person understands each other about the work steps of developing and maintaining their musicality. however, it is undeniable that sometimes personal conflicts become an obstacle to the formation of assimilation, especially problems outside of musical activities. social actions in musical activities according to ritzer (2012), social action is an individual action that has a meaning or subjective meaning for himself and is directed to others’ actions. individual actions directed at inanimate objects are not social acts. an action can be said to be a social action if the action is directed at another individual. social actions are based on instrumental rationality, value rationality, effective action, and traditional action. action can be an individual subjectivity behavior, influenced by situations, and directed at other people or other groups. the instrument’s rationality is a social action based on the goal in which the goal has a role as a means (instrument) that leads the actions taken. this action is carried out consciously by the individual in response to the conditions of space and time and can use supporting facilities. it can be said that, in the case of the musical process, musical instruments are used as a means of conveying musical ideas and thoughts to other people or other groups. however, these ideas and thoughts require processes in processing and developing musical aspects. thus, if sirojul ummah aims to convey knowledge and understanding of islamic values to the community, they use marawis music to interact with other people or other groups (out-group). meanwhile, it can be found from the ingroup side in practicing activities to develop and cultivate musical aspects. in terms of value rationality, the mefebbry cipta & sandie gunara, sirojul ummah: music in social interaction 159 ans used are conscious considerations in interacting, but interaction goals cannot be separated from individual values. when related to the activities of sirojul ummah, it can be said that religious values and musical values are in each of its personnel. based on religious values, sirojul ummah strives to convey allah’s oneness (swt) and stories of the example of the prophet muhammad saw. to the community so that interaction is established, both ingroups and out-groups. figure 2. one of the activities of the marawis music group sirojul ummah in the activity of interacting with religious values to the community, one of the efforts made by sirojul ummah is to use marawis music as a medium that accompanies their activities. as the opinion of umar (2017), this is based on the view that the use of musical aspects is seen as effective in conveying religious messages to people because, in music, there is a process of processing taste. according to dewantara (1967), the impressions that arise on feelings and temperament are deeper than knowledge because these impressions give satisfaction while knowledge does not. the understanding of musical aspects possessed by sirojul ummah personnel is the result of a series of musical activities, both through practice activities and performance activities. the conditions in which each personnel help each other in increasing their abilities can be said as an act of affection. referring to the definition, affection is a psychological category that exists because of feelings, enthusiasm, mentality, and emotions. having affection in a person encourages him to take actions to achieve expectations by relying on the values they believe in. thus, it can be said that the effective actions shown by sirojul ummah in social interaction are principally based on their hopes by relying on religious values and musical values. the hopes of sirojul ummah from relying on religious values are that they can interact with the public about islamic values as rahmatan lil alamin, whose foundation is allah swt’s oneness the role model of muhammad saw., as the best human being. meanwhile, musical values’ hopes are sharpening of taste through creative efforts, supported by musical skills. regarding traditional actions, it can be said that the behaviors shown by the personnel of the marawis music group sirojul ummah in social interactions are formed by their habits that have been embedded since they were young. they have gained an understanding of religion since childhood. however, the understanding of musicals was only obtained from the interaction among sirojul ummah personnel; then it developed over time due to the interactions of the personnel with the community outside the sirojul ummah group. conclusion age does not become a barrier for sirojul ummah personnel to develop creativity and skills in expressing musical ideas. music’s role is seen as necessary in interacting with the community so that this becomes the basis for them to routinely learn and practice to hone their musical taste, performance cohesiveness, and techniques for playing instruments and singing islamic lyrics with harmonious melodies. music is a medium in social interaction, but the music becomes a motivation for social interaction. the social interactions carried out by members of the sirojul ummah music group are based on the act of instrument rationality, namely actions that are based harmonia: journal of arts research and education 20 (2) (2020): 153-160160 on the goal of imparting knowledge of islamic values, with the hope of developing an understanding of the rights and obligations as muslims to society. as an effort to achieve goals and hopes, music is used as the medium. therefore, it cannot be denied that musical values are both the subject and the object of interaction, both in-groups and out-groups in terms of associative and dissociative aspects. the enthusiasm in achieving the group’s goals and expectations and in interacting to develop musical aspects is a tangible manifestation of affective actions. affective actions are formed because of traditional actions, namely actions that become part of the life process, then become habits for the personnel. references ahdiah, i. 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(2013). sosiologi: konsep dan teori. bandung: pt refika aditama. harmonia : journal of arts research and education 14 (2) (2014), 123-130 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v14i2.3293 p-issn 1411-5115 e-issn 2355-3820 singing as a strategy to enhance the ability to speak for early childhood lidya ndaru kristyana junior high school pius, jalan kapten tendean no 16 tegal, indonesia s. suharto departmen of music, universitas negeri semarang, kampus sekaran, indonesia e-mail: suharto@mail.unnes.ac.id received: august 20, 2014. revised: october 12, 2014. accepted: november 7, 2014 abstract song is one form of typical communication. therefore, singing is implemented in this study as a strategy to enhance the ability to speak. this study is aimed to find out the role of songs in enhancing the ability to speak for children in early childhood. this classroom action research is conducted in two cycles, there are: planning, acting out and observing, as well as reflecting. data were collected by conducting observation technique, documentation, and test. it is shown from the results of the study that the ability of children to speak is increasing for every cycle. in the beginning, the cycle reached by only 56% or in the average 51, cycle i reached 60% with mean score 68,08 and cycle 2 reached 97% with the average score 83. from the percentage, it is shown that results of cycle ii has passed the minimum score for students in kindergarten level. in other words, it is proven that singing has been successfully implemented as a strategy in teaching speaking. it has enhanced the ability of children to speak. it is suggested for teachers in kindergarten level to implement singing as a teaching strategy to bridge the need to teach kindergarten students to speak during the learning process. keywords: early childhood; singing; ability to speak how to cite: kristyana, l. (2014). singing as a strategy to enhance the ability to speak for early childhood. harmonia: journal of arts research and education, 14(2), 123-130. doi:http://dx.doi.org/10.15294/harmonia.v14i2.3293 introduction one of the basic aspects of development which is developed at a school for children in early childhood is language. the mastery of vocabulary is considerably influential towards the ability of children in using language to speak. children who are learning vocabulary from early childhood will be relatively skillful in using language since the vocabulary itself has been planted inside the children’s brain. in its relation to language developmental aspect, speaking is one of crucial aspect in the development of basic ability in using language for children in early childhood. speaking is mental-motor ability. speaking is not only involving the coordination of different voice mechanism muscles, but it also has a mental aspect which is the ability to associate the produced sounds. several previous studies have shown that in every age level, passive vocabularies or “understanding” has largely been mastered by children rather than the active vocabularies or “speaking”. as, for example, before children are capable to speak, children would have understood the general meaning of what is said by others. children’s understanding does not result from their understanding towards the meaning of the words uttered, but more as a result of their understanding towards the intonation of certain sounds, signs, or facial expression of the speakers. 123 124 harmonia : journal of arts research and education 14 (2) (2014): 123-130 in line with the language, music in one of the medium to introduce universal language and can be used as a means of communication with others to express intention, ideas, thought, as well as feeling. here, music has a similarity with language. learning music is aiming to form verbal and non-verbal communication in order to achieve an optimal learning result. besides, music also has a role as a creator to express ourselves as a whole as one of the necessities of human life. the song is a written language which can be formed as a spoken language by adding music and tone in it. music and tone need to be added to the song in order to beautify the lyrics, so that it will be able to be sung and heard. the song can be heard if it is sung. singing is a kind of activity which is always done by children. almost all children who enter early childhood education will be taught to sing. children’s songs can be identified from the perspective of musicality, lyrics, as well as words contained within the song, and also from the perspective of children as the recipient of the song. the song is one of typical communication form. the distinctness appears in its characteristics, which are: one-way communication (the song does not require a direct dialogue with the listener), rhythmical, having a dense language, and containing an aesthetic value. a song comprises two forms of expression, which are musical expression in a form of song and rhythm and linguistic expression in a form of lyric. language within the song is formulated through alliteration, assonance, rhyme, and rhythm. this will create happiness for children. happiness can relieve children’s anxiety and foster children’s self-awareness to learn. this is an ideal condition to learn since the obstacles can be eliminated and information can be easily enjoyed and absorbed (nurgiyantoro, 2005, p. 98-101). through the language of a song, children will gain high sensitivity towards the sounds of language and they will realize the functions and power of words on the next stage (nurgiyantoro, 2005, p. 101). in the language of a song, there is a difference between the languages used as the lyric of an adult song with the language used as the lyric of a children’s song. differences in the type of language used in the songs are based on the purpose of to whom a song is intended to be given for. adult songs, for instance, usually use a series of vocabulary related to love, and broken heart. whereas children’s songs are created by using simple vocabularies related to children’s world and experience and how to see those experiences from the meaningful perspective (nurgiyantoro, 2005, p. 353). the children’s world and experiences are closely related to the things around childhood, such as: parents, teachers, friends, animals, and environment. children’s songs have a central role in children’s growth and development which are as a medium of self expression and education in order to improve the quality of human life. a good children’s song with a decent lyric and in line with the development of children will give a positive contribution in the establishment of children’s character from early childhood. a good children’s song is a song which contains valuable lessons delivered through the lyrics of a song. the development of children’s language is the increasing ability of children’s communication tool in written, spoken, and/or sign language. according to gunarsa (1995, p. 11), the early childhood period is also called as the pre school period for children ages 2-6 years old. characteristics of this period are the development of language and thought. language is considered to be essential for pre-school children since language is considered as the most effective communication tool to start an initial communication. along with the communication which happens at school and neighborhood, children’s language is also developed and children can receive new vocabularies. capability means having abilities; skills; power (depdiknas, 2005, p. 22). speaking can be understood as delivery of intent (ideas, thought, or heart feeling) lidya ndaru kristyana, singing as a strategy to enhance the ability to speak for early 125 of one person to another person using spoken language, so that the intention of the speaker can be understood by the listener (depdikbud, 1984, p. 7). the ability to speak needs to be developed since people need a considerable number of vocabularies to deliver their purpose in communication. an earlier argument was put forward by suhartono (2005, p. 138) by delivering that in order to develop the ability to speak, there several aspects which need to be done, there are: stimulating the intention to speak, practicing to combine the sounds of language, enriching the vocabularies, knowing and understanding of simple sentences, as well as knowing about the symbol of writing. apart from the aspects which had been mentioned previously, there are several other criteria within the children’s ability to speak. according to syamsul (2009, p. 191), one of the criteria is self-centered speaking (egocentric) and speaking, which is placing the center on others (socialization). here, we focus on socialization, since talking to others needs an ability to understand vocabularies and express ideas. therefore, singing as a strategy to teaching speaking for early childhood is essential. by singing, children will be able to express themselves freely and purposefully conveyed. meanwhile, singing is an activity to produce voice (sounds) with rhythmical lyrics. thus, singing as a strategy is a kind of effort to empower all speaking aspects (intrinsic and extrinsic) to achieve the intended purpose which is to enhance the ability to speak. in addition to the aspects of speaking are intrinsic aspect comprises articulation, rhythm, and intonation, while extrinsic aspect encompasses the meaning of a song, and the aesthetic experience of the singer. gordon (2011) is a music psychologist who states that in the process of introducing children to music is to learn music which has the same stage as they learn to speak. from the explanation from gordon, we can say that parents as well as teachers have a significant role to guide children to understand music and the languages used in the music. it is because by learning language, we will able to learn other things which we didn’t know before. music gives children a rare opportunity to create new things and be eloquent in thinking. they respond the music in unique ways by listening or moving their body to follow the music, or creating a new song by changing the lyric of a given song. meanwhile, schellenbergh (2003) relates music with a series of cognitive skill. he argues that the improvement of children’s ability after the implementation of singing as a strategy in teaching speaking is closely related to the period of focused attention, memory, and concentration which is needed while listening to music, playing music, or creating music. kindergarten is the best place for children to play, sing, draw, dance, and study with other children of their age. kindergarten is seen as a place for children to train their creativity by using several tools, so that children can develop their activity and creativity. suharto (2000, p. 400) explains that one of the functions in giving music lessons at school is to act as the aid to optimize the right brain of children, so that their the feeling and imagination can be balanced with the development of logic which is operated by their left brain. therefore, the strategy of singing is considered to be enough to contribute to the ability of children in speaking. besides singing is considered to be fun, children can also learn something by singing. for instance, children may learn to understand lyrics, intonation, articulation, meanings and the kinds of vocabularies. moreover, by singing, children are trained to memorize and challenged to produce sentences well. language is an essential factor to be mastered by children since the development of intellectuality of a child is closely related to language. when children are singing songs, they are indirectly and subconsciously also learning the language. the words have an important role since it draws the content or meanings of a song. children’s songs also serve as educational music which concerns to the effect of music 126 harmonia : journal of arts research and education 14 (2) (2014): 123-130 towards the growth and development of children (tyasrinestu, 2013). in addition to this, she argues that children’s song which is integrated in the lesson makes children to understand the lesson more since it will be sung repeatedly and remembered for all time. through her study, it is revealed that the characteristics of indonesian children’s songs ought to be adjusted to the children’s growth and development. the early childhood period is also called as a golden age period. it is characterized by the rapid changes in physical, intellectual, cognitive, and emotional development. this is in line with the development of the brain which has reached up to 50%. therefore, in this period, children are able to accept any kinds of input from their neighborhood quickly, including language and music. music is not only pleasant but also appropriate to the child’s condition and soul which are cheerful and keen on playing. that is why music can be easily accepted by children. for that reason, learning through singing the lyrics of a song will be able to develop the children’s language quickly as well. the influence of environment, including a mother, also determines the development of children’s language since a mother is relatively the closest person to the children who spend most of the time together with the children. as a result, almost all of experiences which are related to music and language, such as: pitch, tempo, rhythm, tone will influence the ability of children in producing language and playing music (bergeson & trehub, 2002, p. 72). cyrille & mireille (2004, p. 341) reveal their results of study by arguing that the intensive music training can influence the children’s perception of pitch contour in spoken language. it means the habituation of music or singing through musical training can influence the ability of children to speak. thus, music is capable of influencing the ability of children at an early age since it is able to develop the children’s intelligence, language proficiency, coordination skills, as well as children’s imagination. with the presence of music lesson, children may build up their talents as well as for early age children to grow based on their talents and interests in the field of language, communication, physic, emotion, cognition, knowledge, social, and aesthetic. it means the ability to play music, mainly to sing, is also contributing to the language ability of children based on the stages of language development of the children themselves. as it was mentioned earlier, in the period of golden age, the music and language proficiency will be very quick to be developed. the music itself is a pleasant lesson which is highly preferred by the children because of its playful nature and fun aspects. learning to sing a song which contains the aspects of language is believed to be able to enhance the ability of children to speak. precisely, children will be able to speak with a clear intonation of utterances as well as many vocabularies through the lyrics of a song which is frequently sung. method this study is conducted using classroom action research which is done by planning, doing, and reflecting the collaborative and participatory action with the aim of improving the performance of teachers, so that students’ learning outcomes can be improved. this study is divided into two cycles, which are cycle i and cycle ii, which is initiated by the stage of precycle. cycle i and cycle ii consist of three meetings. in the first and second meetings, the learning process is held. while in the third meeting, the assessment and evaluation were conducted. the procedure of this classroom action research comprises planning, classroom implementation, observation, analysis, and reflection. further, this study is carried out using both qualitative and quantitative approaches. qualitative is implemented here to analyze the data which cannot be measured by numbers. this typical of data is usually obtained in a form of cases, so that the data will require further elaboration lidya ndaru kristyana, singing as a strategy to enhance the ability to speak for early 127 scores pre-cycle cycle i cycle ii pre-cycle cycle i cycle ii 1. 86-100 0 0 5 0% 0% 24% 2. 71-85 0 13 18 0% 60% 73% 3. 56-70 11 9 1 56% 35% 3% 4. ≤55 13 2 0 44% 5% 0% through description. in this research, the sources of data comprise: 1) the location of the research (research site); 2) a brief history of the school; 3) facilities and infrastructure; 4) programs of the kindergarten; 5) number of students; 6) the teachers. quantitative is used to analyze the data which is measured by numbers. the data collected in this study are taken in the form of assessment results through the children’s interests in following the singing lesson and the results of the study is taken from the written test of students. in this research study is conducted in pertiwi kindergarten, tegal. data is collected by using documentation technique, observation, and test. documentation technique is a data collection technique which is done by collecting documents which are related to students and the school. observation technique is a kind of direct observation conducted in the research site and relates closely to the phenomenon happened on the research site. there are several aspects which are observed here. among them are attentions, interaction between students and the teacher, as well as positive response. the test is a series of question used to measure skills, knowledge, attitudes, abilities, and aptitudes which are had by individuals or groups. furthermore, instrument of research can be developed during the preparation of research proposals or after the research is accepted and implemented. this study is conducted to find out the results of study after the implementation of singing as a strategy in teaching speaking. the test itself is implemented by encompassing several aspects in speaking ability, there are: expressing ideas, mastering vocabularies, making sentences, and pronouncing sentences. results and discussion singing as a strategy to teach speaking the results of this study comprise the stage of pre-cycle, cycle i, and cycle ii. a pre cycle test was conducted to find out how active and how far the ability of children in speaking before the strategy was implemented in classroom teaching and learning. the pre-cycle data was collected after the pre test related to the results of the students’ learning was held. pre test encompasses the ability to express ideas, vocabulary mastery, the ability to create sentences and the ability to pronounce sentences, while the assessment of interest was taken from the observation of children’s behavior during the learning process. in the beginning of the pre-cycle stage, the mean of students’ learning outcomes only reaches the number of 51 or in the category of less able, whereas the results of the observation of interests show the negative behavior is still dominant at this stage. children are still indifferent to the learning process 62.5%, children talk to themselves or chatting with others 83% and children still have trouble following the teaching and learning process 83%. after pre-cycle was conducted, cycle i started to be implemented using the strategy of singing to teach speaking. results show that the average of learning outcomes is increased up to 68.08 or in the category of adequate, whereas the direct observation starts to show the positive attitudes of students in facing the learning material. in detail, the percentage can be explained, as follows: students who pay attention table 1. the improved learning outcomes for each cycle no range of number of students percentage 128 harmonia : journal of arts research and education 14 (2) (2014): 123-130 to the teacher while explaining the song 62.5%, students who following the way to sing properly 75%, children who show positive response and actively participated 83%. those results show that the implementation of the cycle i has not yet optimum. it can be seen from the average of the score which is still under the minimum standard score. it needs to be noted that the minimum standard score for kindergarten students in speaking is 80, while the result in the cycle i shows that the average score of students is 68.08. as a consequence, cycle ii was conducted in order to achieve higher results. it emphasized on the ability to pronounce sentences fluently. researchers gave motivation for students to be more active and brave in delivering ideas. as a result, the ability of students to speak is increased up to 83 in average. it belongs to the category of satisfying. the results of this study indicate that singing has a good impact in the development of children’s language. according to globe (1987), music has several similarities to language. learning music can help to form the verbal and non-verbal communication in order to achieve an optimum learning effort. moreover, besides helping people to express feeling, music can also act as a creator to show ourselves as a whole as one of the necessities of human life. specifically for children, by singing, they can receive a kind of language game which is presented in the form of music and rhythm, so that the children can be more interested in learning language and speaking by using singing as the strategy. results shown in this study is in line with what have been delivered before by mitchell (2003, p. 73). mitchell delivers that the game of languages can be achieved from several means of alliteration, assonance, rhyme, and rhythm which can make children to be happy and enjoy as well as eliminate the children’s anxiety and raising children’s awareness to learn. therefore, if the previous arguments are combined, it can be concluded, as follows: singing has a significant role in its relation to the language, if a child is able to understand the vocabularies, then the ability of children in speaking is also increased. in addition to this, if children are capable to use languages, accordingly, they will use the language to talk to others. from the languages of songs, children gain high sensitivity towards the sounds of language and in the next stage of their age; children will realize the functions and the power of words. a researcher, wolf (1979), did an experiment by gathering children in early childhood to see whether the habit of playing music to children will give positive impacts towards the children’s motor skill. results showed that children’s familiarity towards music which had been routinely given before we’re able to fill the empty spaces of social and emotional aspects of children. music is proven to be able to increase the confidence of children when they have to face a large room with a considerable number of people in it, including their friends and teachers who were originally perceived as a threat. in the journal entitled harmonia, joseph (2003, p. 77) states that music is given at school as a tool to optimize the function of the right brain in order to balance the feeling and imagination had by human to the development of logic in the left brain. however, in the implementation of this idea for children, the music materials are still needed to be adjusted to the guidelines of appreciation and creation education. in line with joseph, the result of this study also reflects the conception delivered by him. it can be seen from the ability of students in integrating the rhythm well. it can be seen from the creativity of an individual in doing the school tasks, such as: drawing or matching pictures. in doing those tasks, children are able to illustrate the pictures with an interesting idea. during the process of teaching and learning, the presence of singing as one of the strategy has a quite essential meaning. during the process, the vagueness of the presented material can be helped by presenting a song as the medium in exploring the materials. the complexity of the materials which ought to be given to students lidya ndaru kristyana, singing as a strategy to enhance the ability to speak for early 129 can be simplified by using songs. the strategy of singing can represent of what cannot be explained by teachers using certain words or sentences. this strategy can make the materials easier to be understood. teaching four and five-years-old students to speak who are generally unable to express ideas and master the vocabularies need to stress out the importance to develop the students’ ability in creating sentences so that the children can deliver the sentences fluently. in this regards, the use of singing as a strategy to teach speaking is considered to be appropriate. giving children a musical stimulus, can help them to synchronize ideas, vocabularies, and utterance while singing. hence, again, the use if singing as a strategy is seen to be appropriate to be given to students since it combines music and language as well as an ability to speak. the use of singing as a strategy in teaching the ability to speak is considered to be ideal to be used in order to ease the teacher in explaining the learning materials. the easiness obtained from the use of strategy is the teachers can develop the aspects of children with language ability. besides, teachers will also able to build a positive communication to children. the most essential role of this strategy is to grow the children’s interests and motivation towards the learning activities. in other words, singing can stimulate children’s ability to speak. music which is played by various instruments, such as guitar, is also considered to be interesting for children. it opens an opportunity for children to sing happily according to the rhythm of the music, so that the abilities of students to sing and speak are increased. finally, it can be underlined that, the use of singing as a strategy can result in positive outcomes if it is implemented appropriately. conclusion from the research conducted in pertiwi kindergarten, it is proven that the implementation of singing as a strategy to teach speaking for students has been successful in increasing the ability of children to speak. the success of the strategy implementation can be identified by the increase of students’ score, from the average score of 68.08 in the cycle i to 83 in cycle ii. the increase in the language ability, especially in speaking, is caused by the languages of songs they sing every time. from the lyrics of the childen’s songs, children gain high sensitivity towards the sounds of language and in the next stage of their age; children will realize the functions and the power of words. besides, by singing, children will be able to express themselves freely and purposefully conveyed. meanwhile, singing is an activity to produce voice (sounds) with rhythmic lyrics. thus, singing as a strategy is a kind of effort to empower all speaking aspects (intrinsic and extrinsic) to achieve the intended purpose which is to enhance the ability to speak. in addition to the aspects of speaking are intrinsic aspect comprises articulation, rhythm, and intonation, while extrinsic aspect encompasses the meaning of a song and the aesthetic experience of the singer. the teachers of the early childhood need to give more attention to the children, especially when they are singing. they should be able to guide and develop a child’s ability in singing and producing words. besides, parents should choose the songs carefully. the songs which are sung by children ought to be appropriate to the children’s character, so that, the development of children’s language can be welldirected. references arostiyani, d. 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(pp. 225-235). . 18 malang mask puppet in era of globalization: social and cultural impact arining wibowo department of culture studies, faculty of social and communication, universitas kebangsaan, indonesia received: march 15, 2019. revised: may 16, 2019. accepted: june 19, 2019 abstract this article discusses socio and cultural impact as an effect of the commercialization of malang mask puppet in the era of globalization. padepokan seni asmoro bangun located at kedungmonggo hamlet malang regency modifies the art of malang mask puppet in order to turn the function of traditional art from ritual to the commodity. this research method is qualitative by using observation, interviews, and documentary studies for data collection. the result shows that modification creates three impacts, social and cultural impacts, also the occurrence of new senses in terms of malang mask puppet includes creativity, prosperity, education, aesthetic, conservation, and identity sense. keywords: commercialization, socio, profane, cultural, impact, malang mask puppet how to cite: wibowo, a. (2019). malang mask puppet in era of globalization: social and cultural impact. harmonia: journal of arts research and education, 19(1), 18-28. harmonia: journal of arts research and education 19 (1) (2019), 18-28 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i1.16101 humans to socialize both with their family and social environment. oral tradition was being considered as a communication medium. the impacts of oral tradition for society and their environment simply happens by watching, listening, and enjoying art performances. oral tradition alongside its content includes meaning, values, cultural norm, and local wisdom which is being stated by sibarani (2014) is about “remembering the past, understanding the present, and preparing the future”. malang mask puppet as the oral tradition of kedungmonggo hamlet was functioned as a bonding of solidarity of its surrounding society. according to kayam cited by safarudin (2014, p. 169) that society will understand their values and behaviour pattern form tradiintroduction according to suparlan as cited by prasetyo (2017) cultural change is the turn of idea system of society which consists of rules, norms, values, and technology. the cultural change is the impact of modernism. the flow of modern life influences the surrounding society of kedungmonggo hamlet, malang regency as well. the art of malang mask puppet which was once precious and sacred art turns to be old fashioned and ignored local art. malang mask puppet was once oral tradition and sacred art which was being considered as a tie between humans and god and humans and relatives and his/her surrounding society as well. as explained by sibarani (2014, p. 54) that oral tradition encourages corresponding author: jl. terusan halimun no 37 bandung, indonesia e-mail: arining73@gmail.com p-issn 2541-1683|e-issn 2541-2426 arining wibowo, malang mask puppet in era of globalization: social and cultural im19 tional shows. but, globalization and development bring society to the various side of reality such as comfort, pleasure, appearance, and freedom of desire. on the other side, gildens (2001) predicts the existence of “huge threat in form of private meaning emptiness” as the impact of the lost of values and wisdom of the past (ritzer & goodman, 2012, p. 610-611). moreover, the development of modern art in the form of new amusement of television and the internet, which caught the attention of the young generation influences oral tradition, malang mask puppet as well. malang mask puppet once was forgotten. but then, nowadays malang mask puppet tries to exist and survive in the era of globalization due to the effort of several art studios (padepokan) and artists. even though malang mask puppet is being revitalized, according to pratisto (2017) mask dance nowadays is being held in order to entertain audiences, whereas at the ancient ages it functioned as a sacred procession. the values of this oral tradition to worship god and ancestor fade away. malang mask puppet has been out of its real context. moreover, the aim of the malang mask puppet performance as an entertainment medium is to make a profit. malang mask puppet has become a commodity and traded product. the high frequency of tourism promotion of the government of malang turns the art to the assets for the development of the regency. according to brandt t (1997) the centralized administration, better infrastructure, and better lifestyle are preferable in order to operate larger cities. factors such as education, transportation, mass media, communication and other sectors as well are related to the change of socio-cultural aspects of society. as revealed by pitana (2015, p. 115) that tourism influences the socio-cultural life of society, but other factors take part in changing the condition of the socio-cultural as well. the change of malang mask puppet brings several both positive and negative impacts include social, profane, and cultural impacts. the art of malang mask puppet includes dance and story performed by various masked figures. based on javanese ethnic society, this art is considered as an old traditional art due to the occurrence since the ix century (timoer, 1980). in the show of malang mask puppet, the dancers wear masks or kedok which cover their faces. dancers play their characters by the guidance of the narrator (dalang). according to kartodiharjo dance of malang mask puppet formerly functioned as a religious ceremony for hinduism at the era of majapahit emperor and tradition such as animism, shamanism, and the worship of ancestors (timoer, 1980, p. 11) the tradition of masked dance functions as worshipping was being considered as a medium to free human from danger and get protection from their ancestor. the arrangement of this ceremony was being considered as the prevention of disaster and obstacles in man’s life. the importance of masks and the role of the puppet was viewed as an absolute element of their life. at that time, malang mask puppet grew and was considered as the appropriate art of the era. malang mask puppet was admitted as a tradition to worship ancestors’ spirits. but then according to timoer (1980: 13) the realization of the ancestor’s spirit changes. alongside the revitalization, the simple shape of the mask turned to the smoothen and more beautiful shape. the function of mask changes as well, formerly as a medium of religious ceremony to the medium of art show (timoer, 1980, p. 14). the growth of moderate islam and the development of modernism influence the changing function of malang mask puppet. padepokan seni asmoro bangun, is located at kedungmonggo hamlet, pakisaji, malang regency, one of the art studios which still maintains malang mask puppet. malang mask puppet is succeeded to change its function from sacred to the profane art. thus, malang mask puppet regains its position in society and spreads its popularity. growth and development of malang mask puppet in kedungmonggo harmonia: journal of arts research and education 19 (1) (2019): 18-2820 hamlet is started by mbah karimun and inherited by kek serun, a great-grandchild of mbah karimun. according to hidayat (2008, p. 29), kek serun and another grandchild of mbah karimun participate to develop the art of malang mask puppet at kedungmonngo hamlet. they gather and become dancers, players of gamelan, mask crafter. they have been faced with various and dynamic conditions, up and down for 25 years. the rise of malang mask puppet began in the middle of 1970. both old and young generations participated and held many shows in several big cities in indonesia. in 1978, dancers of kedungmonggo hamlet held a performance in the presidential palace at the era of president suharto. in 1980, kedungmonggo hamlet renovated malang mask puppet. they renewed the quality of movement, performance, and products of malang mask puppet. the result of this effort succeeded to brings malang mask puppet to get a predicate as a local asset of malang tributed by the government of malang. as admitted superior local asset, the government of malang usually ask kedungmonggo mask puppet to participate in several festival and cultural event in order to promote their local tourism (hidayat, 2008, p. 42). thus, because of the growth of kedungmonggo mask puppet, the member changed its name to be padepokan asmoro bangun. asmoro bangun is named after the main figure of malang mask puppet, panji asmoro bangun (safarudin, 2003, p. 36). now, padepokan asmoro bangun is under the lead of handoyo, as the heir of his pioneer. in the performance of malang mask puppet, there are several pieces of equipment needed to create a high quality of the art. supporting equipment owned by padepokan seni asmoro bangun includes: javanese narrator called as dalang, puppet child, gamelan (javanese music instruments), gamelan player, stage, and costume. the meaning of javanese narrator or dalang is a particular person who has a special talent in playing puppets. dalang is the main artist in the mask puppet performance. dalang functions as director, the writer, narrator, singer, music arranger, stage arranger, and dancer as well. as a narrator, dalang must have skills in controlling janturan (description about king or empire which is being narrated in form of poetry or specific monolog), cariyos or kanda (story), gunem or pocapan (the figures of dialog), suluk (javanese poetry with special rhythm), dhodhogan (controller of musical composition of gamelan), and kepyekan or kepyakan (supriayanto, 1997, p. 79). the main dalang of padepokan seni asmoro bangun is kasnam who has been trusted as the best javanese narrator of mask puppet because of his acknowledgment of pakem of malang mask puppet. dalang has an important role because the success of malang mask puppet performance depends on him. the puppet child is a team of actor who has good skill in mask dance. they have double roles because the costume arrangement of malang mask puppet is possible to wear by double roles characters. the change of character needs only a change of mask (supriyanto, 1997, p. 81-82). the number of puppet children depends on the story and the price of the show. the story of walang sumirang walangwati, for example, has eight persons as puppet child. panjak or gamelan music player is a group of gamelan player accompanied by the choir in the show of malang mask puppet. panjak of padepokan seni asmoro bangun is group of local people of kedungmonggo hamlet who have known the art of malang mask puppet. gamelan is the intruments of music. in the performance of malang mask puppet usually includes laras slendro or laras pelog. while for east javanese puppet, laras slendro is usually preferable. the series of gamelan are: bonang balok, bonang penerus, demung, saron, peking, gender balok, gender penerus, gambang, kendang, kethuk, kenong, kempul, and gong (supriyanto, 1997, p. 88-89). whereas, gamelan which is usually used at padepokan seni asmoro banarining wibowo, malang mask puppet in era of globalization: social and cultural im21 gun is more simple includes kenong, ketuk, gong,bonang penerus, bonang babon, kendang, saron, peking, and demung. the arrangement of musical instruments and stage is aimed to make dalang easier to manage the flow of the show because dalang needs to unite panjak and dancers of malang mask puppet. the stage is a part of important equipment to support the success of show performance. in malang mask puppet, the stage can be in the form of a permanent or temporary stage. the arrangement of the stage depends on the demand of audiences. the setting of the show influences type of stage, while the show holds in a building and appropriate place available to arrange gamelan, other properties, and decoration, the crew does not need to prepare a stage (timoer, 1980, p. 73). oppositely, if the show holds at the yard, the crew needs to prepare a temporary stage which is usuaaly called as terop. the model of the stage usually prepared for malang mask puppet performance by padepokan asmoro bangun is in form of pendapa. padepokan seni asmoro bangun provides costumes for puppet children for the show of malang mask puppet. supriyanto (1997, p. 89) divides costume of malang mask puppet into seven parts, include 1) head embellishment such as jamang, udeng, fabric to cover head, and wig 2) ear embellishment such as sumping, 3) masks as face embellishment 4) neck embellishment includes kace necklace and sampur, 5) hand embellishment includes klat bahu and dekes, 6) body embellishment such as kace, stagen, timang, keris ladrangan, and 7) foot embellishment, pants, rapek, socks and gongseng. mask functions as the main complement of malang mask puppet. the shape and color of the mask show the characteristic of the figures. methods qualitative method is used in this research. the study focuses on the worker, artist, and society of kedungmonggo hamlet in terms of their effort to modify malang mask puppet as an oral tradition to the art product which can be traded. in qualitative research, the approach of the researcher does not have refer to the dichotomy of true or false, but rather stressing on the approach of the researcher itself (ida, 2016) techniques of data collection are including observation, interview, and documentary study. observation is aimed to see and observe the changes of the growing social phenomena, thus the change of assessments needed, for the observer to observes certain moments, then separates necessary data (margono, 2007, p. 159). according to kurnia (2007), information taken from observation includes the doer, location, activity, object, action, incident, and time. the use of the observation technique is aimed to displays the realistic description of the work and event, to answers questions, helps human behaviour, and evaluates and measures certain aspects and gives feedback to the measurement. the use of observation is conducted by directly observe the activity and process in the field especially at the time of malang mask puppet performance show. observation is conducted also at the time when there is no performance show to obtain the situation and information in terms of the skill of the malang mask puppet doer. the interview is conducted by the researcher in the next step. the aim of the interview according to nazir (1988) is a process of getting information in research by giving a question and asking answer face to face among the interviewer and informant. interviewers as a technique of data collection use tools named as an interview guide. the interview is conducted by communicating with the data source. communication is conducted by question-answer orally whether direct or not (i. djumhur & surya, 1985). while according to walgito (1987) interview is one of the methods to collect data both from child and adult by holding direct relation to the informant. sukardi (1983) stated that the interview is a tool to get data or facts or information from students orally. the interview is harmonia: journal of arts research and education 19 (1) (2019): 18-2822 conducted to get the data needed (winkel, 1995). researcher conducts interview to the several respondents, they are handoyo (owner, manager, doer, and crafter of malang mask puppet at padepokan seni asmoro bangun), tombro (doer and dancer of malang mask puppet), sunari (doer and art observer of malang mask puppet), and balok (art observer and researcher of malang mask puppet). the documentary study is the technique of data collection that is conducted by the researcher to get data based on the historical dan developmental process of malang mask puppet. definition of the document according to gottschalk (1986, p. 38) is the authentication process based on written, oral, description and archeology. according to bungin (2007) documentary study is one of the methods conducted in the qualitative approach to tract historical data. the documentary study helps the researcher to decide the level of credibility of the researcher based on the existed documents. the documentary study is conducted by the researcher by finding and seeing directly to the show of malang mask puppet and the production of the skilled art of malang mask puppet. the documentary study is also conducted to find the change and shape of malang mask puppet at padepokan seni asmoro bangun and at several places such as inggil restaurant where the display of various faces of malang mask puppet can be found. the documentary study is conducted to find several references in the form of books and information related to the malang mask puppet in malang public library, bookstore, and internet. result and discussion the result and finding of this research is divided into three clusters, first explains the social impact of the modification of malang mask puppet, second is the cultural impact, and third explains the senses of malang mask puppet. social impact of the modification of malang mask puppet the positive impact which can be considered as the social aspect of the modification process of malang mask puppet is the increase of income and living standard. the surrounding society of kedungmonggo hamlet uses malang mask puppet as their choice of daily occupation. society including children, teenagers, and the elderly learn to dance dan carve the mask. these people live near to the kedungmonggo hamlet compete with each other to sell their product. as a show which is being performed once a month usually in monday-legi (based on javanese calendar) and called as gebyak senin legian, malang mask puppet attracts the society to participate. tombro, one of the data resources said: after handoyo handles seni asmoro bangun (name of one of traditional dance art studios in malang), the mask becomes not only art but also a resource of a job. the job of product masks is now considered as a job, no longer becomes only part-time job [tombro, 35]. moreover, the decrease in unemployment is another positive impact. the bonding of togetherness and awareness to help each other event and performance of malang mask puppet can be considered also as another social impact of the modification. after handoyo succeeds in bringing malang mask puppet to perform internationally, the people of kedungmonggo including the elderly, children, and teenagers compete to participate. they assume that they can be productive by selling the assets through creation of traditional art. after kedungmoggo hamlet is signed as kampoeng topeng by jtv, many visitors come to enjoy the show performance, to study and research. this means that the modification process of malang mask puppet gives a positive impact whether in the economic, education, and mass media sector of malang. the development and the improvement of malang mask puppet which gives good and positive impact certainly are being followed by a negative and decreasing aspect. the modification process arining wibowo, malang mask puppet in era of globalization: social and cultural im23 of mask puppet creates two management systems, the organization, and juragan (master) system. the organization system assumes to have members but the juragan system assumes to have workers. this system of management indicates the social and economical gap among the members of padepokan seni asmoro bangun. the gap includes a position in an organization setting, income, and job vacancy. according to piliang (2011, p. 429) the segmentation based on their taste, so it creates the social contrasts. the contrast and segmentation system is really complicated and different from a person to another. it also has another difference level: the different levels of person, class, society, nation, and race. the gap among the members of the organization decreases solidarity and affects the development of malang mask puppet. as stated by suroso: if padepokan seni asmoro bangun applicants these two systems of management (organization and juragan system), the gap among members is hard to be avoided [suroso, 50]. the art of malang mask puppet which is rooted in the oral tradition has deep aesthetic and sacred values. malang mask puppet is being considered as the medium to worship and respect the ancestor’s spirit. people held this ritual continuously and concerned about faith values. but, the art of malang mask puppet faces the change of culture from time to time. before becoming the art of castle which was performed by and for the noblemen, mask puppet was formly performed by and for civil society. the creature was even made from stone at that time. the sacred values of the malang mask puppet as a custom ceremony created many calculations. the calculation includes the electing day of the ceremonial show or called naga dina, fasting three days continuously before the show, and choosing lakon, which is important to appropriate the representation of the hopes and goals of the ceremony. according to kusmayati cited by safarudin (2014), the ceremony is aimed to worships the ancestors, express gratitudes, ties to the life cycle, and relates to the appeal. but then, malang mask puppet changes the role of the art from the medium of ceremony and ritual to the enjoyable performance. turning to the entertainment aspect, wayang mask malang is being marked by omitting some sacred values sunari, one of the data resources stated in the interview in july 2016: the disappearance of the sacred values of the malang mask puppet is being influenced by the inability of the old generation to transform and the young generation to absorb the religious context as well. as the medium of praying, the performance of malang mask puppet contains the worship symbol of god as its basic philosophy. but, nowadays show, the focus turns to the visualization aspect. religion values no longer become the main purpose of the ceremony [sunari, 34]. the modification process of malang mask puppet brings profane impacts. the increase of the market demand to turn malang mask puppet to be commodity indicates the goal of profit. padepokan asmoro bangun commercializes and gets the profit as the impact of the modification of malang mask puppet performance. tombro, is interviewed in december 2016 revealed: the show of malang mask puppet nowadays is different. the show follows the market taste. the limitation of duration and dancer compress the performance. tombro mentions the compression of malang mask puppet as pethilan. pethilan is the impact of modification that signs the profanation process of malang mask puppet. according to salim cited by balok (2014, p. 172), the turn of cultural things to the commodity creates a larger production process, imitation, and reduces the quality. in the performance of art, the show is being packaged and modified in its several aspects which causes the loss of important philosophical values. the cultural impact of modification of malang mask puppet as an oral tradition, malang mask puppet is being considered as one of the harmonia: journal of arts research and education 19 (1) (2019): 18-2824 cultural assets and heritage of malang. thus, the original values of malang mask puppet must be conserved and maintained. even though this traditional art faces the transferring and inheritance process, the artist of malang mask puppet must be able to create the strategy of inheritance to keep the existence of this art. in the globalization era, the modification process of malang mask puppet at padepokan seni asmoro bangun indicates the desire and market taste to turn the art to the commodity. according to piliang (2004, p. 197), the openness to the other culture, interaction, and exchange process which is possible must be completed with critical thinking. there must be a mechanism of cultural filter which possibly minimalizes the culture to the other. the packaging show of traditional art is considered as needed to appropriate customer demand. this modification process is the big factor in the loss of the original values and meaning of malang mask puppet. first, the influence of the modification process impacts the limited duration of the show. malang masks puppet performance which has to be held during all night changes to only two hours. the philosophical values change the economical values as well. moreover, the development of technology put the art of malang mask puppet easier to enjoy. people do not need to attend directly to the show performance and possibly to re-watch repeatedly via television, radio, internet, and other digital media. malang mask puppet which has been medium of praying and worship to the ancestors changes its function as the commodity to fulfill the need of artists and workers. malang mask puppet support the surrounding society as well. based on history, the rising of malang mask puppet at kedungmoggo hamlet is in the era of preaching of hindu. eventhough many hindu temples can be found as the proof of the preaching, these historical sites change to be an organization nowadays. the preservation of traditional art such as dance, karawitan, and skill art occurs. the senses of malang mask puppet the creativity sense the turn of the function of malang mask puppet from the medium of ritual to the public theather creates a new important role for the surrounding society of kedungmonggo hamlet. malang mask puppet solves problems which are happened in this region over the years. according to kasim cited by iswantara (2000) that since the ancients ages, the public theater is functioned as the facilities to ask society participation directly. as a public theater, malang mask puppet performance gives simple and easy-accepted communication. thus, malang mask puppet becomes the medium to solve the developmental problems of the surrounding society. this oral tradition nowadays creates welfare and prosperity for people of kedungmonggo hamlet. according to wardana (1984, p. 40), the function of oral tradition can be slaved on social importance and being part of the social life from time to time. according to piliang (2003, 249), the change of meaning is caused by the process of encoding which reproduces meaning by the standard of other text as its reference. the rules such as “similitude” and “resemblance” are applicated without considering deeper semiotical dimensions such as concept, content, idea, meaning, myth, or ideology. moreover, during a long period of time, malang mask puppet faces various kinds of changes whether in terms of its form and function. the changes of malang mask puppet affect its represented meaning. according to piliang (2003, p. 249), the changes of meaning occur because of the encoding process. beskalan putri dance is one part of malang mask puppet whose meaning changed. the prior function of this dance is to represent the fertility ceremony and welcome the ancestor’s spirit. this dance is originally held at the ceremony such as opening a new area or building a house. however, because of the pattern of inheritance, this dance was modified as a welcoming dance performance. its function is entertainment. princess beskalan arining wibowo, malang mask puppet in era of globalization: social and cultural im25 dance became a tourist attraction. considering the iconic character of beskalan putri dance, the modification shows the loss of ideological values and the rise of the beautification of art. in the name of creativity, padepokan asmoro bangun creates a new pattern and renovates this dance. the number of dancers, limitation of duration, choreography arrangement, briefing story plot, janturan, kandha, antawacana, and sulukan/lagon and stage adaptation become the focus to modify. malang masks puppet function changes to commercialize and creates jobs for the people of kedungmonggo hamlet. various kind of creativity occurs and creates new art of malang mask puppet show, its dances, and handicrafts. the prosperity sense in terms of the modification process of malang mask puppet, padepokan asmoro bangun has a specific strategy and plan to support the surrounding society. one significant purpose of this art modification is to increase the prosperity of the local people of kedungmonggo hamlet. the increase of income which possibly helps surrounding society to fulfill their daily needed becomes the concern of modification. the development of tourism in malang influences the growth of malang mask puppet. padepokan asmoro bangun formulates three basic patterns to support the development of tourism in malang. first, the place as destination tourism has to be beautiful and unique. second, people who live around tourism site characterize as kindly residence, friendly, give secure, comfort and prime services to the visitors. third, parcel as products that represent the culture and uniqueness of the place. the parcel which functions as the handicraft is portable and represents memories. thus, parcel gives the visitors the vibe to remember or desire to come back to this tourism site. revitalization of malang mask puppet as the local culture of malang extends profit for its society. an increasing number of visitors and tourist whether from another region of indonesia or even another country establish productivity related to the malang mask puppet. this art is being commercialized in order to open new job vacancies and creates a prosperous society. as stated by sutarto (2004, p. 58) that the function of local and cultural products which is still in the process could support the growth of the tourism industry and produce many devices. but this shows that the changing meaning of malang mask puppet turns from sacred to profane. due to the perspective of padepokan asmoro bangun which considers malang mask puppet as the medium to support its surrounding society to fulfill their daily needed. malang mask puppet then becomes the playground to get jobs and occupations. this condition is unavoidable due to the change of sociocultural background as well. globalization flow brings influences to the padepokan asmoro bangun to change the function of malang mask puppet. education sense malang mask puppet takes an important role to build and teach manners toward children. fun learning media such as malang mask puppet contributes to the education aspect through the story. the story contains moral messages to guide children to choose a better way of life. as revealed by sutarto (2004, p. 35), the malang mask puppet as the cultural identity has the potency to be developed, whether in terms of aesthetic of art or educational sense. panji, as the main figure of malang mask puppet, is the one significant example of a hero who could possibly becomes role model. besides moral messages, education for children is being applied through dance training and practice. pendapa (studio) of padepokan asmoro bangun becomes the place for children to learn and dance. the learning process creates togetherness and respect without considering one’s social degree. children are being taught about solidarity, helping each other, and peace. harmonia: journal of arts research and education 19 (1) (2019): 18-2826 figure 1. children learn to dance at pendapa the aesthetic sense the aesthetic sense of malang mask puppet is being represented through artist, dancer, and audience. these stakeholders have role to express values of malang mask puppet itself. that’s why the change of generation influences the aesthetic sense of malang mask puppet. at kedungmonggo hamlet, the change of the meaning of mask puppet itself begins from the change of pakem especially in terms of dance choreography. the old generation considers malang mask puppet as a guidance due to the representation of philosophy of life. malang mask puppet contains the balance of nature and human alongside with their religious aspect. oppositely for nowadays society, malang mask puppet is being considered as an entertaining dance which attracts people. malang mask puppet becomes a product whose dance movement and custom are modified. bapang dance for example originally portrays a figure with the firm character who is marked by wide hand movement, moves left to the right, wide eyes, long nose, and red coloured mask. bapang dance portrays the bad character as the enemy of panji. whereas at this time, bapang dance is simply being understood as the icon of malang. the understanding of the audience toward the aesthetic values of malang mask puppet is limited only from two hours show performance include dance and story. while dancing and story have been packaged to match the demand for a more enjoyable performance. as stated by rusyana (1999, p. 2) that tradition could be a part of a culture that is being a common reflection of the whole culture, then it has a certain meaning for the supporting society. malang mask puppet as an oral tradition has a dynamic characteristic to change its structure and function. the existence of malang mask puppet in the era globalization follows its social context. figure 2. the aestethic of malang mask the conservation sense even though malang mask puppet has existed in various places of malang, padepokan asmoro bangun strongly conserves and maintains traditional art. located at kedungmoggo hamlet, pakisaji as one subdistrict of malang, this art studio has been tried several efforts to maintain malang mask puppet from extinction. the renewal of the inheritance system is significantly being chosen. the inheritance system of malang mask puppet is called ngabdi for the very first time. ngabdi which means one has to be student who follows particular ritual to be accepted and had chance to learn the art of malang mask puppet. while nowadays, padepokan asmoro bangun changes its system and allows every person to learn and practice dance on sunday. the schedule is even possibly being appropriated to the demand of participants. moreover, the permission of girl participation adds the number of students. the conservation effort of malang mask puppet succeeds to add a number of participants in dance training because it attracts not only adults but also teenagers and children. the result of this training brings children to show their talent at the arining wibowo, malang mask puppet in era of globalization: social and cultural im27 event of gebyak topeng senin legian. this proves the effort of padepokan asmoro bangun to develop the next generation in order to maintain the art of malang mask puppet. the identity sense as an oral tradition that has developed at malang, the art of malang mask puppet becomes a reflection of the cultural identity of this regency. thus, malang mask puppet attracts the heirs, artist, and its supporting society because of its important role to build up the identity of malang. the function of malang mask puppet is important for the life of its surrounding society, as revealed by koendjaraningrat (1984, p. 286) due to the ability of malang mask puppet to spread and functioned as a social medium. as traditional shows which turn to be public (popular) art, malang mask puppet reaches each layer of the society of malang. moreover, it becomes the identity of a certain group of people. including students, such as a student of state university of malang (um), kanjuruhan university of malang, or santo yosep senior high school who come to padepokan asmoro bangun for studying and researching about malang mask puppet. even the researcher comes both from another local region of indonesia and another country such as japan. the existence and meaning of malang mask puppet attract a particular group of people to own information and collect data about it. according to piliang (2011), cultural identity is the process of becoming. it does not mean only an existence which has passed the time, place, history, or culture, but also the presence of learning and association process of it. conclusion the turn of malang mask puppet form the sacred and traditional art to the profane and popular show at kedungmonggo hamlet indicates the influence of globalization flow. once an art enters the globalization flow, it must follow the rule of global. as a local asset of malang, malang puppet mask is considered to have a role in supporting the development of malang city, both in terms of economic and cultural assets. some art studios (padepokan) include asmoro bangun, then modify malang mask puppet and turn its functions as commodities and products. the modification process on the other side is indeed the effort of padepokan seni asmoro bangun to maintain dan conserve malang mask puppet. the modification process of malang mask puppet creates not only job vacancies, but also awareness of the heirs and surrounding society to work harder to revitalize and develop their traditional art. whereas, while an artist is being modified, several loss follows. sacred and philosophical art is turned to be an entertaining show. the sacred and philosophical side of malang mask puppet contains local wisdom and continual guidance of life. meanwhile, the fun show creates the occurrence of several aspects, such as prosperity, identity, creativity, education, etc. this signs ambivalence of the modification process, because positive and negative impact equally occurs. acknowledment this research was supported or partially supported by lembaga pengelola dana pendidikan (lpdp) ri as one of the funding agencies and credible scholarship in indonesia. i am also grateful, thanks to aquarini priyatna for her assistance with brilliant guidance, cece sobarna and sutiyono mahdi who moderated this paper and in that line improved the manuscript significantly. references andalas, e. 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compromise between culture and religion kanit sripaoraya universiti malaysia kelantan, malaysia submitted: 2022-02-04. revised: 2022-05-21. accepted: 2022-06-04 abstract throughout the timeless centuries before the modern era, the people of the proud state of kelantan enjoyed ‘mak yong,’ a traditional form of entertainment. the ‘mak yong’ performance brought the people together to view this folk dance-drama, largely because it was created by their ancestors and represented continuity and cultural heritage. this dance also served to heal illness, performed by mixed-gender entertainers. significantly, this authentic performance was worldly inscribed in 2008 on the unesco representative list of the intangible cultural heritage of humanity. however, due to the interpretation of the politicized religious aspect of kelantan state government, this performance was reconstructed by eliminating the female components. the new form of male mak yong was created. this research aims to discuss the contemporary issue of kelantan mak yong and to propose the safeguarding method that compromises between culture and religion by reflecting the lessons learned from three participation anthropological fieldworks as a mak yong practitioner, a traditional dance-drama researcher, and a traditional dance-drama lecturer from 2014 until the present day. this study applied multi-disciplinary approaches such as performing arts and dance studies, anthropology, and gender analysis to investigate and collect the data. the results found that, instead of eliminating the female components, kelantan mak yong can be utilized as a means for cultivating gendered behaviour, inculcating the religious doctrine, transmitting the moral-coded, and enhancing self-empowerment for kelantan society by incorporating the guideline of the state arts policy (dasar kesenian kelantan) to the performance’s components. keywords: mak yong, lesson-learned, safeguarding how to cite: sripaoraya, k. (2022). the kelantan mak yong: dancing towards a compromise between culture and religion. harmonia: journal of arts research and education, 22(1), 15-27 harmonia: journal of arts research and education 22 (1) (2022), 15-27 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i1.34913 theatre and a ritual dance drama. as a folk performance, mak yong consists of storytelling, singing, and dancing through the three main characters: pak yong (a king or a prince) a male protagonist; mak yong (a queen or a princess) a female protagonist, and peran (a hunter) a persona or a jester who also plays the part of the male protagonist’s counsellor. as a ritual dancedrama, this performance takes the important introduction beyond modern state borders, mak yong is considered a “folk theatre” and a “ritual dance-drama” belonging to malay cultural-ethnic groups, representing their shared culture. it can be found in southern thailand, malaysia, and indonesia’s riau islands. yousof (1976) and hardwick (2009) have described mak yong as a folk corresponding author: e-mail: sripaoraya@umk.edu.my p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (1) (2022): 15-2716 part in main puteri (so-called teri), a folk healing ritual derived from an ancient belief system. in the ritual process, a patient will be diagnosed by tok bomoh (the healer) of his/her symptom; if ancestral spirits cause one’s disease, mak yong’s divine mentors, non-retrieving personal spirit (semangat), imbalance of wind element inside the body or any mental disorders affected by suppressed desires (angin), the patient needs to participate in mak yong theatre: dressing up, role-playing and dancing in order to release the patient’s tension or cure mental conditions (pelapas) under the supervision of tok teri, the spirit medium who diagnoses the illness, and tok minduk, the spiritual mediator. even though the origins of mak yong cannot be clearly traced back, it long ago became both folk theatre and ritual dancedrama with eminent functions in several malay ethnic groups, it has been stated (yousof, 1976, pp. 49-50) that in this theatrical performance remains very popular in kelantan, where it was once supported and patronized by the kelantan sultanate as a royal performance during 1886-1935. being a kind of royal regalia, hardwick (2009) addressed that mak yong has been elaborately “developed” to serve the royal preference by making more magnificent costumes imitating royal garments, refining graceful dancing, composing a panegyric named mengadap rebab for symbolically referring to the state establishment, administration and rulers’ functional roles and reiteratively representing royal authority and exceptional powers. it has been noted (sripaoraya 2017, pp. 363-374) that these powers could belong either to ‘king’ or ‘queen’. after the fall of the kelantan sultanate, the royal-style mak yong was preserved by former kelantanese court dancers. from that, it has been transmitted with the sense of the royal-figured continuation by some common people’s theatrical communities, for instance, kumpulan bunga emas sri panggung, the troupe of universiti malaysia kelantan and kumpulan mak yong kijang emas, the troupe of the national department for culture and arts, kelantan (jkkn kelantan), which run parallel to the folk-style presentations. however, after a political party named parti islam se-malaysia (pas) won the election in kelantan in 1988, the party turned kelantan into an islamic state under the islamic reformation policy, or “islamization.” cultural activities and pre-islamic performances such as manora dance, shadow puppet show, mak yong, and many folk theatres were declared contrary to the religious principles of shariah law. these performances were prohibited in public places as islamism defines them as characteristics leading to unethical behavior. although mak yong theatre has been forbidden in public spaces in kelantan for several decades, it was put forward to the united nations educational, scientific and cultural organization (unesco) as a national performance of malaysia and proclaimed as an intangible cultural heritage in 2005. three years later, it was officially inscribed and registered as part of the intangible cultural heritage of humanity, declared as a prominent ancient theatre belonging to the indigenous malay’s ethnic groups with two main cultural functions: entertaining and therapeutic functions. the contrasting situation between its conditions today in kelantan and the cultural values mentioned in documentary sources leads to the ambiguity of kelantan mak yong. the documents state that the performance is significant among malay communities’ dramatic arts, but the communities cannot appreciate it freely in real life. hence, the kelantanese mak yong communities attempt to maintain their survival by changing the drama’s functions and searching beyond the state borders to find its new permanent performance space. the kelantan state’s traversing further was described (gonzales 2017a; 2018b; 2021c) that, mak yong had access to its new realms: academic institutes and cultural organizations. in the educational sphere, mak yong was offered for the malay traditional media subject (teater tradisional melayu). kelantanese mak yong performers since then have changed their kanit sripaoraya, the kelantan mak yong: dancing towards a compromise between 17 roles to become special lecturers (adiguru) to give lessons theoretically and practically. with this role, the mak yong veterans have shifted their teaching process from the traditional experience-gathering process to the class-attending one, emphasizing students’ performance skills measured by theatrical productions, with the integration of contemporary techniques, in modern theatres. in the cultural space, several organizations started widely opening for mak yong, for example; the national department for culture and arts (jabatan kesenian kebudayaan negera) and the national department for culture and arts, kelantan (jabatan kesenian kebudayaan negeri kelantan). directly at that time, both academic and cultural-organizing systems took responsibility for supporting and maintaining art and culture persistency; they created, produced, and managed mak yong performance along with a workshop seminar. additionally, pusaka, a non-profit organization from pasir puteh, kelantan, sets up a cultural space for the state’s dramatic arts to disseminate and preserve the precious knowledge through a knowledgesharing process between local instructors and learners in local-cultural contexts. even though many sections paid much attention to seeking mak yong’s survival and performing space, all activities served only for promotion and network connections under restrictive state laws. mak yong was still set apart from its own cultural ecology. the pas’s islamization policy inaccurately identified its “worth” and “value”, so it seemed quite impossible to revive this traditional performance as cultural heritage. that challenging situation kept continuing until unesco took action for mak yong communities’ participation. the islamization policy of parti islam se-malaysia (pas), kelantan state’s organization, brainstormed with other sections for a solution by suggesting new performing norms, the islamic ones. eventually, the governing parties have legislated rules to monitor folk theatres such as shadow puppet shows, manora dance, and mak yong from openly performing in kelantan. from the government’s viewpoint, the theatrical arts mentioned above are “syirik” or “un-islamic” because all were created before the advent of islam to the malay peninsula. these performances showed the polytheistic concept of interweaving among the animistic belief, the local faiths and the hindu-brahman which is against islamic doctrine. simultaneously, the performing arts and entertainment act, so-called “siasah syar’lyyah,” the integration between al-hadith principles from al-quran and shariah laws, has been enforced to these theatrical activities. henceforth, the “new-normal” style (mak yong versi baru) of this dance-drama, which is permitted in public areas, is conceptualized by shariah laws in the name of mak yung kelantan patuh syariah (a mak yong syariah-compliant). it is under the supervision and responsibility of the cultural, tourism, and religious sectors of the kelantan state government. it has been stated by abdullah (2019) that the new mak yong was permitted to be performed publicly on september 25, 2019, under the following regulations: female dancers are not allowed in any public show; male and female dancers have to separate from each other; the performers have to dress appropriately depending on islamic principles, and non-islamic worship is forbidden. this remade mak yong performance was firstly arranged as a serial show entitled “jejak warisan dan jelajah makyung patuh syariah”. it traveled to showcase throughout several districts, including tanah merah, jeli, pasir mas, kuala krai, kota bharu, and machang. the stories were selected from the ancient male-only tales, as well. selectively, mr. rosnan bin abdul rahman, a famous pak yong dancer (who has been promoted into the position of director, national department for culture and arts, kelantan, a position he retains today) played the pak yong role with supportive performers from the state art and culture institute and alliances from other sections. hardwick (2020) highlighted this new mak yong as a male performance; all-male performers were reharmonia: journal of arts research and education 22 (1) (2022): 15-2718 quired to appear without stage makeup. profoundly considered, although this “new mak yong” seems like a compromising way to revive this classical dance-drama by being publicly permitted in wider spaces under the state policy, the performance actually distorted its own traditional value, the bonding with indigenous malay’s long-standing history. besides, this redefining performance isolates the historical-cultural roots that originated with shared culture and folk beliefs. women’s characters, even mak yong (the female protagonist) herself, are also forced to fade away by being given lesser and lesser importance or even “being removed” from the stage. from the structuralfunctional perspective, power has moved from the local people’s hands to the state government’s authority. thus, both the performers and the audiences, who once could freely recreate and dynamically adapt this dramatic art themselves, are now forced to hand creative choices over to the academic institutes or government cultural organizations. being detached from its actual performing context and “free space” may ruin this inestimable cultural heritage, gathered by people’s recollection. as hardwick (2020) addressed, the new male mak yong does not represent its true importance as communal intangible cultural heritage, but turn it into a politicized islamic performance where the sociopolitical parties attempt to redefine traditional malay muslim gender roles, further confining the historic public, economic and politically powerful roles of women. accordingly, mak yong, the malay ethnic folk theatre and ritual dance-drama with all its cultural values and meanings, is “reformed” (or even “deformed”) by the state government, which reinterprets this performing art to serve religious and political contexts. superficially glimpsed, the new mak yong seems like a practical compromise with the ethical will of the state. profoundly considered, on the contrary, some controversial issues will be pointed out in this paper: • without “mak yong,” can the theatrical art be called “mak yong” any longer? • without “mak yong,” how can we perceive the representation of malaysianmalay women? • without “mak yong” does “herstory,” through this female protagonist’s own aspect, still exist? • without “mak yong,” is the women’s glorious role as the leaders removed from both today’s society and people’s memories? the questions above lead to lessons learned about the current situation of kelantanese mak yong in preparation for seeking and finding the most suitable compromises to create theatrical art within the state legal framework while maintaining its “value” and “worth” as an inherent cultural tradition. to approach the problem solving, the researcher investigates the relevant literature. the recorded performance especially the archival record of mak yong from various sources together with the participatory-observation fieldwork for studying the problem and conflict that occurred between “state law” and “cultural practice” and between “supervisors” who authorize the law and “performers” who exercise the tradition. by expecting that, the result of this study can provide “a compromising place”, for the female characters, and the female performers to stage the mak yong performance that sustain this invaluable culture “smoothly” and “dynamically” corresponds to islamic principles. method this study is qualitative research with diverse methods. the primary sources are the kelantan mak yong performances that have been staged, altered, and modified since 2014. the participatory observation in mak yong fieldworks was initially cumulatively conducted to deepen the understanding. researchers has engaged with the mak yong performances in various roles, including a mak yong practitioner, a traditional dance-drama researcher, and a traditional dance-drama lecturer from 2014 kanit sripaoraya, the kelantan mak yong: dancing towards a compromise between 19 until today. with this participatory observation technique, the researcher can decode mak yong’s significance from the emic’s perspective. the additional methods used for carrying out this study are observation and interview. the researcher employed this observation technique to interpret the message and the hidden message of the onstage components, especially the role of female performers that rendering through storytelling and female characters and the interaction between the performer and the onlookers. besides, the researcher conducted the interview with two techniques an indepth interview for the purposive sampling, including the mak yong activists, the mak yong dancers, and the cultural officers, and a snowball sampling for the audiences and onlookers that attended the mak yong performances in different occasions. the interview data can be used to strategize the safeguarding method for kelantan mak yong performance. the secondary sources of this study are the literature materials. two main approaches are based on literature review and mak yong’s state of knowledge investigation from related articles, academic papers, news, theses and dissertations, along with the archival resources and recorded performances. laws, acts, and principles toward performing arts and cultural activities in kelantan are examined to analyze how mak yong is “produced-reproduced and (re)constructed” from the past to the current politicized islamic context. to analyze the data, the multidisciplinary approaches were integrated. the performing arts and dance studies approach were used to decode the traditional value and the hidden message interweaved in the mak yong structure. the anthropological perspective was applied to deepen the functions and relations of mak yong and kelantanese community. the gender approach was examined the gender issues found in this kelantan mak yong performance. the lesson-learned method, from both documentreviewing and field work experiences, has been applied in the analytical and synthesizing processes to search for appropriate suggestions for safeguarding and compromising the mak yong performance. to collect the data, the researcher firstly conducted the participatory-observation fieldwork about mak yong in 2014 as a role of cultural researcher. at first, the perception about mak yong was just a pure entertainment art form performed by the muslim communities who live in the three southern thai provinces. but then the researcher had a chance to conduct anthropological fieldwork at than to district, yala province, with the mak yong troupe led by mr. saman dosormi, the cultural activist of raman village, yala province. during that trip, i discovered that this dance drama is a remnant of historical, political, and cultural practice intertwined between malay traditional beliefs and islam. under his supervision, i gained crucial information about mak yong in thailand, where there is a conflict between traditional and modern practice. from his point of view, mak yong is a culture of its own that can be played and practiced traditionally to present generations. in contrast, the religious perspective marks mak yung as ‘haram’ or ‘forbidden’ because the practice significantly demonstrates outdated superstitions. however, to compromise between these two viewpoints, mr. saman practiced maintaining the essence of mak yong as a cultural heritage while replacing animistic elements with islamic practice. the mak yong performance in which i participated at baan than to was a ‘village mak yong’ (mak yong kampung), conducted and performed by local activists by memorizing an oral transmission from their forefathers. the critical circumstances for this traditional malay performance involve a lack of onlookers, being undocumented, and being marginalized when it comes to government sponsorship. the mak yong that struggles to live on is self-supported. to explore what remains of the mak yong in its glory days, mr. saman advised me to view the kelantanese mak yong performance as it had been refined and polished under royal patronage. his guidance inspired me to cross the nation-state borders. and so, harmonia: journal of arts research and education 22 (1) (2022): 15-2720 i came to kelantan. searching for the mak yong troupe brought me opportunities to learn and perform the ‘mengadap rebab’ (the salutation of rebab), the opening performance of mak yong. my first performance as a mak yong dancer was with the national department for culture and arts, kelantan, in june 2014 for the traditional arts showcase 2014 at the jkkn wilayah theater, kuala lumpur. my second staging was with the “bunga emas sri panggung” troupe for “the largest mengadap rebab” at universiti malaysia kelantan, malaysia in september 2014. while conducting participatory observation as a dance practitioner, i discovered the essence of mak yong performance as formed by traditional beliefs and sociocultural-political codes. these significant points shifted my interest from being a dance practitioner to becoming a dance researcher, integrating the anthropological perspective to investigate dance as a cultural expression of each community. this turning point inspired me to deepen my study of the cosmologies, concepts, and philosophies that structure the performance’s components. by using multi-disciplinary approaches for analyzing dance, my findings (2017) explored the ‘share-cultural roots’ and ‘similarities’ that have been naturally intertwined across a state demarcation. those crucial findings have reflected the role and status of women as remnants of a matrilineal community and a respect for nature as a great source of living. the result tended to show the political structure of the malay society in the past. my involvement in the mak yong field was significantly shifting from a dance practitioner to a traditional dance lecturer at faculty of creative technology and heritage, universiti malaysia kelantan. in this role, i have taught students to explore the mak yong and malaysian dance performing by incorporating knowledge from 14 weeks of classes, each one hour of theory and three hours of practical studies. my pedagogy didn’t mainly direct students to become dance professionals but to appreciate the intrinsic value of dance as a part of intangible heritage. theoretically, students have been instilled with philosophical knowledge by integrating with dance anthropology and performing art concepts. practically, i have transformed the dance studio into an experimental space where students are able to explore, challenge, and develop their psychomotor and dance skills. with this experimental class, the students have been exposed multi-level skills through cognitive learning, soft skills, and affective enhancement. by practicing the dance and staging the performance, self-confidence was cultivated. at the end of a 14-week course, their perspective is unlocked, they enjoy their self-discovery. they are also enthusiastic about challenging themselves on stage for cultural events at the university and they respect their classmates. knowledge gained from examination and participatory observation fieldwork sharpened my understanding of mak yong performance. mak yong performance is not only a cultural expression but also remains of historical, political, and religious practice that interwoven, between malay culture, the traditional beliefs, and islam. the discussion and suggestion for the safeguarding method of kelantan mak yong will be addressed and elaborated on in the following section. results and discussion the study aims to address the significance of mak yong performance as a cultural-religious practice in which both men and women can participate. instead of eliminating the female stage performance, this paper provides a negotiated aspect that the mak yong dance can be valued and appreciated significantly by adhering to and integrating malay customs with islamic principles. in surveying state legal documents, i discovered that although the kelantan state government interprets to ban the female mak yong performance. the state has also imposed the arts policy (dasar kesenian kelantan) as a guide for performers. regarding this matter, the resekanit sripaoraya, the kelantan mak yong: dancing towards a compromise between 21 archer suggests a compromise solution for safeguarding the kelantan mak yong by highlighting the significance of women and female components as a remnant of matriarchy and proposes the concepts of ‘personal development toward islamic-based art appreciation’ and ‘integration of islamic principles with folk arts’ from the state art policy to empower women, culture, and religion. discussing these crucial points will be initially accentuated followed.: mak yong: from the historical remnants of matriarchy society to the women empowerment “folk theatre” is a creative product by humans. most play narratives are embedded with virtuous, moral, and ethical concepts or with suggestions of appropriateness and socio-cultural manners. local belief and religious morality are, perhaps, reflected or represented in the same tale, which can be either a revealable or unrevealable one. an untold (or unable to be told) story, likewise, is possibly revealed through the semi-real theatrical narratology. on the one hand, the play scripts may glorify the heroes’ or heroines’ greatness (either the historical or mythological characters). on the other hand, the performed stories may criticize the oppression caused by society or rulers and even remind people of a critical time. the selection of “tale” and “teller” brings about a selective aspect. it can create meaning and form an understanding in one direction. by changing the storyteller, especially from a man to a woman or vice versa, the essence of that tale can be changed, put amiss, or distorted from its actual meaning. in the worst case, it misleads the audiences by a binaryopposite understanding. azman bin mohd daham, vicedirector of public relations office, kota bharu islamic city municipal council informed that the main purpose of the enactment and enforcement of “siasah syar’lyyah” is to protect women’s grace and honor from being “the objects of gazing” in public areas (interview on may 20, 2019). the act, therefore, does not permit women to freely perform dances, singing, or any live performance in the open public spheres. a mixed-gender performance is allowed only if female performers are under the age of twelve. female dancers have to dress properly according to islamic principles if they are muslims; if not, they can wear national costumes with great concern about suitability in each occasion. nevertheless, female performers are allowed in only “close spaces” or “female preserving areas” without any male participants. importantly, all theatrical activities require written permission from the municipal office at least fourteen days in advance. the project detail is obligatorily attached, too. if a non-permitted mixedgender or any inappropriate performance is informed, the officers in charge can report and comparatively fine anytime. this law has been strictly upheld for all cultural performances in kelantan, the malay muslim community, and all minority groups. the only exception will be if the show is performed in the religious realm for ceremonial purposes. in addition, the performance has to be conducted at a particular hour, avoiding the five daily prayer times as well as not conducting any performance between 6 pm thursday and 6 pm friday, the main religious day for muslims. it seems indisputable that both the siasah syar’lyyah act and the state law enlarge the unpleasant effect on local artists, performers, and cultural practitioners. having no free space for stage performance leads to a lack of cultural productivity, so the performing arts, which should have dynamically been created and developed by the owners, are “forced to be frozen”. some folk performers, driven by economic need, leave their stage unwillingly to start new jobs to earn a living. this erosion means that cultural knowledge of the traditional malay heritage and wisdom starts to slide through the lack of transmissive opportunities. the extinction of a sophisticated art form is becoming more likely since it cannot resist the huge surge of globalizatiharmonia: journal of arts research and education 22 (1) (2022): 15-2722 on, digitalization, and the 4.0 industrial revolution in the modern world. looking from the opposite viewpoint on female prohibition (which should be more accurately put as “to disallow women to tell herstories”) in public performance, the “protection” may be re-interpreted as “prevention”: to reject women’s potentiality and capacity on the stage. in fact, due to some historical remnants, mak yong possibly originated from “women” in matriarchy society (that is still traceable in this dance drama up to today). yousof (1976a; 2017b; 2019c) addressed this crucial point, who remarked that mak yong was probably a ritual conducted among the peasant communities. in his study, the word of mak yong may originate from mak hiang, the ritual for appeasing the rice’s soul (semangat padi) based on animistic-spiritual belief. this statement was also accented by kanha sangraya (cited by satyawadha, 2020, pp. 491-494), who related the ritual of mak hiang as ceremonial worship for dewi sri, the female rice goddess according to the malay traditional belief. based on the interview of mr. saman dosormi a thai-malay mak yong performer, sripaoraya (2017) pointed out that mak yong refers to the noble lady. the word mak denoted mother, while yong referred to the honorable status of women. her study of the mengadap rebab verses further emphasized this statement by analyzing and interpreting the verses in-depth. her studies assumed that mak yong might be constituted by “woman” or the “femalequeen” in the past matriarchy society during the glory day of patani kingdom. regarding the linguistic approach, the word mak yong was deeply investigated by satyawadha (2019). her study related the origin of mak yong with ma rong, a woman who possessed the highest status of her clan in tai/thai/ dai traditional communities. therefore, in her viewpoint, mak yong presumably signified the ritual or ceremonial activity for the veneration of matrilineal ancestors. shifting the analysis of mak yong term to the mak yong story, sripaoraya (2017) examined the ritual mak yong story called dewa muda (the young price) compiled by yousof (1976a; 2017b; 2019c). her investigation elaborated on the three female characters who play critical roles in this story. dewa muda was a young prince who dreamt about a white deer with golden horns. once he awoke, he and his servants went to the forest to hunt that deer, but no one found it. he got lost and tried to find the forest pond to cleanse his body. he then found the petal’s flower with the message written by the sky princess named puteri ratna mas inviting him to come up to the sky. the young prince fell in love and forcefully endeavored to meet the princess. he went back to his palace, asked for the magic kite owned by his mom, and flew up to the sky. when they met each other, the princess disguised the young prince as a white flower and put on her headdress. she took him to her palace, and they lived together until her servant noticed the mistresses’ behavior. one day her servant saw the prince, and she fired an arrow to kill him. the prince became unconscious, and his body was brought down to the earth for cremation. while the funeral was prepared, the princess came to revive his vital life. eventually, the prince revitalized; they both returned to the sky and lived together forever. even though this folktale narrated the young prince’s journey, her research discovered that this story could not be recounted. applying the thompson motif’s study, the tale of dewa muda has meaningful motifs that indicate the critical roles of female characters. for instance, the female creator – the beautiful princess wrote the message on the petal of a flower, magic object received from mother – the magical kite owned by the young prince’s mother, women gain exceptional knowledge and mystical power – the princess employed her magical knowledge to disguise the prince, and revive him from the dead. these essential points show the essential roles of female characters that need to be sustained. selecting only the male mak yong story to kanit sripaoraya, the kelantan mak yong: dancing towards a compromise between 23 perform is banning the female performers and eliminating the female characters in the male story. therefore, how does this performance called mak yong without the mak yong character? another point that needs to be discussed is about the crucial role of female performers. it cannot be denied that the kelantan mak yong performance became very well-known because of the performance by women. for example, khatijah awang (1941 – 2000), the primadonna mak yong, ruhani mohd zin, a mak yong activist who led the mak yong troupe of jkkn kelantan, zamzuriah zahari, a distinct mak yong activist for both traditional and contemporary stages, and noor hayaki zakaria, a troupe advisor for the mak yong troupe of universiti malaysia kelantan. these significant roles of women contribute to mak yong’s performance as a female performer. historical remnants above emphasized the significance of women that should not be removed or declined. the existence of women should not be forgotten or retold by the non-female performer. women should be encouraged to narrate a rightly named “herstory.” instead of “deleting” them from the legends, appropriate storytelling can be selected and revised by a state authority. the aim should be to cultivate the respect of women as a mindset in the thinking of all citizens. care must be taken regarding the application, integration, and insertion of islamic principles, malay customs and local philosophies in the play script, and traditional socio-cultural values. finally, if the play is properly “composed” and “performed” by female performers, women’s honor and rights will be honorably encountered and recounted. mak yong: performing arts and the self -empowerment as a traditional dance lecturer who takes responsibility for training inexperienced students to better understand performing the art, including mak yong, practicing and performing dance can enhance self-esteem. exercising dance is not to expose or reveal the body in any sense of disgrace. contrarily, the art of dance is “a set of cultural codes” constructed by dance motifs and movements, which reflect cultural values and reveal deep structures within society that dance performers and audiences can absorb into their way of life. the study of malay traditional dance gestures and motifs as a reflection of sociocultural practices was initially analyzed by nazaruddin (1995). his study interpreted the “malay convention” performed through dance performers’ dance movements and characteristics that the bending posture indicates the malay’s humbleness. the modest movement with mindfulness is related to politeness and good manners. the continuation of the movement shows up the group’s unity or the ‘togetherness’ of the community. the curvedness or fluidity of movement symbolizes the harmonious nature of a community where everyone lives interdependently. in addition, gonzales (2018) furthered the eminent characteristics of male and female dancers, respectively, demonstrating leadership and followership. ideally, a man is a leader of a family and is the breadwinner. in a binary position, a woman plays an important role as a supporter, responsible for household duties and the socializing of her children. these idealistic characters are appropriately projected in the malay traditional dancer’s body. the male dancer exhibits a straight back position with widened shoulders; the female dancer shows her gracefulness by bending her knees with steady and controlled movements. apart from the malay customs, the islamic principles, both the ‘halal’ and ‘haram’, are crucially “interpreted” and “represented” through the concepts and theatrical movements. for instance, each performer must wear his/her attire as appropriate under the religious code. at the same time, they have to control their thought, minds, eyes, and feelings, expressing them only as befits appropriately ‘halal’ or ‘allowed’ in islamic practice. whenever religious concepts are “identified” in accordance with the appropriate masculinity and femininity of harmonia: journal of arts research and education 22 (1) (2022): 15-2724 male and female dancers, their “meanings” and “intangible values” are vividly and magnificently emphasized. since dance, including the prelude (mengadap rebab) and the epilogue (tarian ragam), is the most important and inevitable feature of mak yong, it should be freely allowed in an aesthetical performance. in addition, this performance can be a means to impart the cultural code, the religious concept and philosophy, especially the gender perspective to prevent encoded values and meanings from being misrepresented by replacing female dancers with male or ‘non-male non-female ones. investigating the study of dance in islamic culture, the study by faruqi (1978) and faruqi (2014) revealed strong correspondence to islamic notions of beauty and truth. their studies disclose the five basic characteristics of the dance of islamic culture: dance as abstract art; dance as improvisation; dance as small, intricate movement; dance as serial structure; dance as a series of mini-climaxes. to further discuss the forms of expression of islamic art and culture, the analysis highlights the existence of geometric patterns, vegetal and floral calligraphy, and abstracts in islamic art forms. these concepts seem irrelevant within the art of stage performing if we consider dance as meaningless entertainment. indeed, from my perspective, dance can be a ‘means’ to convey the conceptual message throughout its components. visualizing the abstract message such as the religious ideals or socio-cultural code into a story and dance movements or characters can indirectly command the attention of society, especially teenagers who are required to adhere to moral values. from a conventional gender perspective, ethical concepts as suitably performed by a female dancer to stress the role of a traditional malay woman can convey tolerance, devotion, and discipline. on the other hand, backer (2018) stated that in the post-modern interpretation, a woman is able to characterize her strength regarding the contemporary issues such as resisting, dialoguing, or negotiating with the male-dominant society by rendering a contemporary, inspirational dance form. at this crucial point, malay women also can utilize this performance on-stage to expose the reality of their existence to public view. the herstory issues will be addressed, noticed, heard, and respected by performing female aesthetics that combine a strong personality, devotion, determination, herself, and voice. apart from philosophical and aesthetic knowledge, the study by harrington (2019) showed dance could empower selfesteem, especially among females. this enhancement has gradually formed from an internal examination; self-esteem, perseverance, endurance, and self-responsibility toward themselves and others as a form of harmonious teamwork and team unity. due to the classroom lesson learned, i discovered that practicing dance is a means of cultivating students’ self-development. my students have grown to be professional stage performers who accept responsibility and always pay strict attention to their onstage commitments. they also have a second role as qualified audience members who provide supportive comments and encourage their classmates during dance exercises. as most of my students are non-skilled dancers, i motivate them to challenge themselves. i turn the dance studio into an experimental space where they can actively become involved, correct mistakes, and engage in self-observation. at particular times, the outdoor space was used to conduct the dance classes to slightly build up students’ self-confidence. my method of teaching dance is not about beautifying every step for perfection in looks but coaching them to enjoy dancing through self-practice with supporting teamwork. i positioned myself as a facilitator. in the beginning, i demonstrated the movements, then assigned students to repeat by viewing my reflection in the mirror. when one student is able to memorize and follow the movement, that student has to be a coach to teach another; then, they switch roles. as harrington (2019) stated, working in a group by switching kanit sripaoraya, the kelantan mak yong: dancing towards a compromise between 25 roles emphasizes a sense of involvement and a communal spirit. this exercise significantly enhances self-empowerment. individual students challenge themselves to follow the guidance of other students, making them forget that ‘being gazed at’ feeling. any sense of discomfort or concerns about being objectified is blurred and diluted. self-confidence becomes fostered progressively. exercising through dance in a mixed-gender group, students adopt an appropriate gendered behavior as they indirectly learn and adopt the religious teaching and the socio-cultural practices that are coded in the dance performance. how can teenagers learn to adopt, practice, and cultivate gendered behavior in their everyday lives by prohibiting or banning female performance? dance can be used to communicate acceptable behavior by choreographing appropriate socialized movements and gestures. dance should be promoted as an efficient means of conveying knowledge for cultivating people’s attitudes, behaviors, personalities, and emotional intelligence. dance leads to other aspects of human value development. instead of banning the female stage performance, mak yong performance can be utilized for cultivating the appropriate manner, indoctrinating the traditional moral, mores and religious teachings together with inculcating self-respect for every gender. with the dance performance, the young generation will instill to act, interact and socialize decently. mak yong: “ritual dance-drama” and crystallization of historical and cultural knowledge mak yong narratives and narratology are priceless human heritage making a precious contribution to folklore, anthropology, and cultural studies. this theatrical knowledge also reflects, emphasizes, and reveals historical evidence of each period’s social, religious, cultural, political, and economic conditions. after decoding its story play, dance structure, and theatrical features of the performance, i can say these signify people’s long-lasting shared cultures, which existed in southeast asia before establishing “modern states.” this is especially true of indigenous beliefs: the respect for nature, the belief of the existence of a human’s soul’ or personal spirits, the female rice spirit’s fertility cult, and other ancestral concepts. in addition, mak yong performance consists of intangible cultural heritage, folk knowledge, local wisdom, and traditional craftsmanship, which belong to one person’s clan and the whole community. the dance-drama, therefore, should be studied and documented as a part of cultural history. based on the results, it is suggested in this article that the complete knowledge of traditional mak yong should be carefully managed before editing, adjusting, or eliminating any parts. this important and unique cultural heritage in the future will become a worthy living history belonging to malay communities and the whole nation. conclusion throughout the documentary and fieldwork research methods, this research article forms a pioneering lesson to seek the safeguarding method for staging the mak yong performance in kelantan by compromising religion and culture. the result of this study found that by applying the kelantan state government’s arts policy as the main key to “interpret” this traditional performance, mak yong performing space can be regarded as “a compromising space” where both male and female performers dynamically practice the culture and religion. this study discovered that instead of rejecting the existence of women, mak yong performance should be encouraged to perform as a cultural-religious practice by both men and women. it enhances gendered behavior, imparts the religious doctrine, emphasizes the moral coded, and encourages self-esteem in kelantan society. so that the value of mak yong will be permanently and dynamically safeguarded. harmonia: journal of arts research and education 22 (1) (2022): 15-2726 references abdullah, s. m. 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(2019). mak yong: world heritage theatre. penang: areca books asia. 62 the arts learning model of bpk2 (creative work practice learning) activities warih handayaningrum, djoko tutuko, agus suwahyono department of arts, drama, dance and music, faculty languages and arts, universitas negeri surabaya, indonesia received: march 7, 2019. revised: may 17, 2019. accepted: june 24, 2019 abstract the study program of drama, dance and music arts (sendratasik) of fbs unesa often gets visits from various schools in the city of surabaya and surrounding areas for specific purposes, one of which is sma negeri 6. sman 6 surabaya is one of the schools that organizes creative work practice learning (bpk2) at sendratasik fbs unesa. so that the implementation of bpk2 activities runs optimally, an appropriate learning model is needed. the purpose of this study is to describe the art learning model in bpk2 activities at sma negeri 6 surabaya in sendratasik fbs unesa. the qualitative approach was used in this study, the subjects are 306 students of sma negeri 6 surabaya, 20 lecturers, and 20 students of fbs unesa. the object of research, art learning models in creative work practices learning activities (bpk2). location in sendratasik fbs unesa. data collection techniques: observation, interviews, documentation data analysis is done during data collection, interactive with flexible techniques. research results: learning art with bpk2 activities use a humanistic approach that is optimizing the potential and interest of students in art. art learning material includes appreciation and creation. project-based models and apretensive models are used to produce works until they are performed. staging learning outcomes as projects that must be completed by students are carried out well until bpk2 activities become meaningful learning because the benefits continue to be felt when returning to school. this research is important to encourage freedom of learning, so that art education according to its function gives rise to student creativity. keywords: art learning package, learning creative work practices, art learning model, free learning how to cite: handayaningrum, w., tutuko, d., & suwahyono, a. (2019). the arts learning model of bpk2 (creative work practice learning) activities. harmonia: journal of arts research and education, 19(1), 62-70. harmonia: journal of arts research and education 19 (1) (2019), 62-70 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i1.23626 aim to study dance or music that will be used for the purpose of overseas trips, and there are also those that aim to fill activities in the middle of the semester. sukorejo state junior high school malang has visited unesa’s sendratasik department twice by bringing all of its students to appreciate dance and music. another school that visited was ciputra school which brought introduction sendratasik fbs unesa is often visited by school children, the community or institutions. school children who visit ranging from kindergarten, elementary, junior high or high school which mostly aims to appreciate more about art in the sendratasik majors. but there are also those who corresponding author: e-mail: warihhandayaningrum@unesa.ac.id p-issn 2541-1683|e-issn 2541-2426 warih handayaningrum, djoko tutuko, agus suwahyono, the arts learning model of 63 kindergarten and elementary students to appreciate in the arts. sma negeri 6 surabaya recently also visited the department of sendratasik unesa to organize creative work practices learning (bpk2) for three days. the department of fbs sendratasik unesa responds positively to schools that want to learn or appreciate whatever the goal is because this has a positive impact both for the sendratasik department and for schools. these benefits include building synergy between the sendratasik majors and schools, which can create fun learning. this is in accordance with the opinion of a.s neil (in pamadhi, 2012) that children’s enjoyment will increase if they get a variety of learning materials with art and skills. students will be motivated to study art because it matches their interests and talents. learning motivation is an energy in humans that encourages learning activities with specific goals (sani, 2016). this is in accordance with the policy of the minister of education nadiem makarim on merdeka belajar, namely education that provides opportunities for both teachers and students to be free to think. in addition, the department of sendratasik has the advantage of providing experience to students, namely tangible teaching experience that is relevant to the learning management program to prepare students to become scholars of education who serve as teachers with professional skills and pedagogical competencies in terms of educating, teaching, guiding, directing, training and evaluating students (tim lp3m, 2017) and the most important thing is that unesa does not become a university that is far from the community and can bring in income for majors. vice principal of student affairs at sma negeri 6 surabaya said the impact of bpk2 sma negeri 6 surabaya’s activities carried out at sendratasik fbs unesa was extraordinary. students get hands-on experience of enjoyable art practices, within 3 days they can perform on the stage for dance, music, theater, and cosmetology as a result of learning. as for students who are interested in learning staging management, are very enthusiastic and after returning to sma negeri 6 surabaya, they lead the successful holding of school events (utami interview, 10 january 2018). so that the implementation of bpk2 activities runs optimally, it is necessary to prepare an appropriate learning method that can accommodate all learning materials that are only carried out with a duration of three days. based on this background, the purpose of this research is to describe the art learning model for students of sma negeri 6 surabaya at sendratasik fbs unesa. methods the research approach used is a qualitative research based on the philosophy of constructivism which assumes that reality is plural, interactive, and exchange of social experiences interpreted by individuals (sukmadinata; syaodih, 2013). this type of research is a case study that focuses on a phenomenon that wants to be understood in depth (denzin, 2009) the phenomenon is a program of activities called creative learning practices (bpk2). the subjects of the study were students of sma 6 surabaya who took part in the midterm activities in sendratasik fbs unesa odd semester 2017/2018, namely class xi totaling 306 students, 25 accompanying teachers of sma negeri 6 surabaya and 25 lecturers of sendratasik fbs unesa 20 students of sendratasik fb unesa. the object of research is the management of art learning in sendratasik for sma negeri 6 surabaya. research location at sendratasik fbs unesa. data collection techniques using interviews carried out with, principals, students, and teacher assistants on several matters relating to bpk2 activities. documentation related to archives and supporting libraries, observations were made to obtain data during bpk2 activities. done. data analysis is performed during data collection, interactive with flexible techniques. harmonia: journal of arts research and education 19 (1) (2019): 62-7064 results and discussion based on research, this section will discuss the implementation of art learning, learning models used, and learning outcomes achieved from bpk2 activities. art learning implementation of sma negeri 6 surabaya at sendratasik fbs unesa 306 students are grouped, given the freedom to choose classes according to their interests, so that when learning art arrives the child happily enters the room provided. slameto (2010) states that interest is a feeling of preferability and a sense of attachment to a thing or activity, without anyone asking. interest is basically the acceptance of a relationship between oneself and something outside of oneself. slameto states that: interest is a feeling of preferability and a sense of attachment to a thing or activity, without anyone asking. interest is basically the acceptance of a relationship between oneself and something outside of oneself. the stronger or closer the relationship, the greater the interest. the following are the results of class division according to students’ interest in bpk2 activities. table 1. distribution of classes and materials for the performing arts groups field of art number 1 traditional makeup and clothing 33 2 modern dance and makeup 33 3 traditional dance 40 4 non-traditional dance 39 5 traditional music 38 6 non-traditional music 35 7 music illustration 38 8 drama 31 9 event organizer 19 total 306 according to soehardjo (2011), learning of art is an activity, performance, or process that must be carried out. in art, lessons include two major things, namely creation and appreciation. creative activities are productive activities, and appreciation activities are responsive activities. in learning the art of creation and appreciation, it is functioned to get the follow-up results from their experience in the awareness of the art process, not to create students to become artists or art observers. 55-61the meaning of art education is the giving of aesthetic experience to students. aesthetic experience is given through appreciation and creative/artistic creations, where in creative activities students are given the experience of creating/ reproducing, displaying art works (masunah, 2003). multicultural art education is a conscious effort to promote socio-cultural diversity through the provision of aesthetic experiences in the form of appreciation and artistic recreation/recreation activities. in creating creative works students can depart from the nearest environment, find their own methods, problems, develop self-expression/free to be creative. 55-61in the implementation of art education in the sendratasik department, each class is accompanied by two to three lecturers and 3 students. with the varied material mentioned in the table above, it is really a positive environment building because all students learn from each other with their friends. in the context of art education, humanism has a meaning as a system of thought, human interest and development become central and dominant, tends to glorify the culture and practice rather than scientific and speculative. in terminology, humanism is a theory that focuses on the problem of how each individual is influenced and guided by people they relate to their own experiences. the humanistic view that humans have a soul wealth that is loaded with potential to be developed (firdaus, 2017). one of the teacher’s tasks is to build interest and talent in a pleasant atmosphere, the teacher must be friendly, caring, tolerant and consistent. it is an important aspect of relationships with students. using a seat map, to produce productive work. for music classes or warih handayaningrum, djoko tutuko, agus suwahyono, the arts learning model of 65 dance seating maps can be perceived with maps of musical instruments (rhythmic, melodic or harmonious) or maps of certain dance styles (traditional, new, modern creations) according to students’ interests. 55-61the principle of art learning in schools highlights its uniqueness and contribution specifically towards lifelong learning. throughout schooling, students are expected to be involved in the practice of each branch of art and can reflect on experiences for the development of knowledge, skills (sutedja, 2007). ideally art learning has a positive impact on student competencies in real life in the school, home and community environment (mudjiati, 2014). learning art is an activity, performance, or process that must be carried out (soehardjo, 2011) . in art lessons include two major things, namely creation and appreciation. creative activities are productive activities, and appreciation activities are responsive activities. 55-61the implementation of bpk2 activities uses a learning model, it is a conceptual framework in the form of a systemic procedure that is developed based on theory and is used in organizing teaching and learning processes to achieve learning goals (sani, 2016). the stages of learning that students go through in bpk2 in sendratasik fbs unesa are as follows: (1) each lecturer, who is responsible for his development class, provides motivation for the arts and inspiration for the preservation of local arts; (2) students are given reading material that will be used, to enrich insight into the material being studied; (3) students are shown learning procedures and mentoring; (4) each group is given a project to be completed with their group; (5) students present the results of their group work in the form of creative arts products; (6) make a report of the activities carried out; (7) the teacher monitors student activities in each class; (8) providing assistance if there are technical problems in the field. 55-61according to (trianto, 2007) the learning model above is project-based learning. supporting learning theory in the project based learning model is social constructivism learning theory, developed by lev semenovich vygotsky who argues that cognitive formation and development are formed through internalization/mastery of social processes. students participate in social activities without purpose, then internalization or construction of new knowledge, and the transformation of knowledge through adult guidance (eggen, paul ; kauchak, 2004; sani 2016). the initial step is to gather and integrate new knowledge based on real experience. the operational steps are as follows: determine fundamental questions, design project planning, arrange schedules, monitor project activities and progress, test results, evaluate activities. the connectedness of the standard stages in art and subject matter of art learning according to (soehardjo, 2011) is as follows: for creative art, the sequence of standard actions is sensing, imagery, media introduction and media processing. as for the art of appreciation, the introduction of media, sensing, imagery and media processing. in the art process the stages in the actual art activities cannot be clearly demonstrated the limits of the existence of sensing, imagery, media introduction and media processing because all is in inner actions. it functions as a framework for art learning strategies (soehardjo, 2011). figure 1. student creative work process in dance (doc. sman 6 surabaya) a number of dance learning methods are conducted by lecturers to provide experience to students of sma negeri 6 surabaya, including the application of selected learning methods tailored to the harmonia: journal of arts research and education 19 (1) (2019): 62-7066 implementation of the bpk2 program which is carried out for 3 consecutive days starting at 07.00 a.m3.30 p.m and every day is divided into 2 sessions namely: (1) the process of introducing teaching objects / materials (theoretical philosophy); and (2) the creative process of artistic work (practice) . in the first stage: the process of introducing teaching objects / materials (theoretical) is the earliest step taken in the implementation of dance learning which was carried out on april 18, 2017, the first session. the aim is to introduce the basic knowledge of dance. on this initial occasion, two classes were held in an integrated manner in one room and alternated presentations. the technique used in learning by using audiovisual media that is, students are invited to observe video footage of dance forms as material to be studied. it is also supported by lecture methods to convey knowledge of the basics of dance movements, both traditional and non-traditional dance, especially those related to the material to be studied. not enough with an introduction of material, instructors and technical staff also provide motivation for students to learn. motivation is done in the form of a pleasant learning atmosphere, and when delivering material students also seem to be able to receive well. in accordance with the opinion, that with the motivation to learn that is poured to provide certain conditions so that children will and want to do. figure 2. non-traditional dance learning at this stage, students are given insights into dance and basic knowledge about arranging dance moves. when the learning process takes place students look very enthusiastic about paying attention to the instructor’s explanation. students also seemed motivated in responding to the material delivered by the instructor, and this was revealed in his enthusiasm in asking various questions to the instructor related to the discussion of the material. next is the second session, namely the creative process of artistic work (practice), which is the most core stage in dance learning activities. that is, in this activity is the introduction of dance forms material through the practice of direct gestures. therefore, this creative process places more emphasis on students’ psychomotor abilities. in this stage, the instructor conveys the material assisted by technical personnel who act as models. the dance model (technical staff) is carried out by students of sendratasik education study program who have the competence and technical skills of dance moves. with the assistance of technical staff (dance visuals), it is hoped that they can support the effectiveness and efficiency of delivering material to students. art education which is oriented towards art learning skills uses training. and the impact is the transmission of teacher skills to students. such a model is called apprentice in line with behaviorism. the goal of the behavioristic theory is the formation of behaviors as learning outcomes that appear to be obtained by strict arrangement and reinforcement (sani, 2016). the teacher transfers his skills to students, as a result the technique of one class is the same as what their teacher does. duplicating learning methods are teaching methods that guide students to imitate existing forms of art or ready-made arts. using the duplication method in learning is justified so that effective learning and copying are instinctive in human nature. such learning is solely to achieve artistic skills in students, which does not encourage children’s creativity. art skills are important in the learning process of art production. this art skill is then continued in the creative process of developing apperception and imaginative. if you stop at art skills, art eduwarih handayaningrum, djoko tutuko, agus suwahyono, the arts learning model of 67 cation is the same as carpentry training (soehardjo, 2011). figure 3. art learning flow map in the aprentisip learning model figure of a flow map with the topic of production art for chart a and chart b is for the creation or response art. the topic is determined by the teacher before the learning process. each process consists of four standard actions and two main actions of art production and art responsiveness (soehardjo, 2011). it is also a model for 6 surabaya high school students when participating in music activities. progressive model this model is also used in the learning of sma n 6 surabaya students. art is the result of contemplating feelings of results that are supported by the aesthetic thoughts and experiences of students. aesthetic experience is the performance of interactions between art actors/students and the aesthetic environment supported by sensing (soehardjo, 2011). this progressive model is in line with constructivist learning and learning theories, where the learning process creates a learning climate that allows students to construct their own knowledge and skills. the learning of progressive art models is a feeling based model. this learning optimizes learning outcomes that prioritize the expression of feelings so that the learning outcomes are expressions. this learning depends on the substance expressed and how the performance takes place. the nature of the expression is personal, so the results are very personal and cannot be assumed to contain novelty. this is the expected learning outcome and is largely determined by the condition of the student and the technique of expressing his feelings. in education, there is certainly no absolute freedom which is often misunderstood. freedom of learning still prioritizes its benefits. the requirement for progressive learning is that students have sensing abilities. students must be able to store the results of sensing in their own awareness. the results of sensing will produce shadows, imaginations, art ideas and responses in the form of feelings. so it becomes very important sensing education before applying a progressive model. the structure of the progressive model of learning art is a set of procedural actions of teachers and students gradually. in a progressive model, the learning of the art of individual differences in students is an important concern. who has finished the stage can go directly to the next stage, not having to wait for his friend to finish? this is deliberately given freedom by the teacher so that students are free to express their freedom in doing their work. the teacher’s task is always to control the course of the learning process. freedom to behave in learning becomes a principle of progressive models. teachers’ perspectives and environmental conditions are subject choices by the teacher. students who have a broad perspective will be the capital in completing their tasks and will be an obstacle for students with narrow sensing. because sensing ability is the key to open the entire learning process of art. the figure 4 explains part a is a flow map of the learning process of art production and part b is a map of the flow of the responsiveness learning process. learners work on assignments from the teacher individually. topics and objects are determined by the teacher with various alterharmonia: journal of arts research and education 19 (1) (2019): 62-7068 natives and students choose themselves according to their sensing abilities. sensing is done before the learning process takes place. students after determining the topic and object, means students already have perceptions about imagery, about the media to be determined and process it after knowing the characteristics of the media. the final act is the realization of shadows through explorative or experimental actions. in response to art, the selected object is followed by sensing to determine the response (soehardjo, 2011) figure 4. arts learning flow map in the progressive learning model standard stages in the art process based on the opinion of malcolm ross, the essence of the contents of the art curriculum contains four elements of art, namely sensing, imagery, media introduction, media processing. the four elements are explained as follows according to (soehardjo, 2011). sensing sensing is an action within the framework of recognition. in sensing arts, for example seeing a mask with the sense of sight, listening to music with the sense of hearing, observing movements with the sense of sight and hearing. in art, sensing is only focused on forms that can be sensed and artistic. through intense sensing sensory experience will emerge. sensory experience in art will bring up creativity, give rise to artistic encouragement, build art ideas and contribute experiences for others. in appreciation, an atmosphere of feeling will give an artistic response and describe for others in order to contribute experiences. sensing in the learning framework aims to foster aesthetic awareness. sensing is the initial stage in learning arts. when students have sensed the process of sensory interaction occurs with the environment then enters the imaging process in the stage of imagery. imagery the imagery process is realizing a certain form in wishful thinking. not a dream but real. imagery in the arts is a continuation of the process of sensing aesthetic objects in the process of observation that involves aesthetic attitudes. the results of imagery are to build art ideas, and aesthetic awareness. both of these are as souls for the birth of art and as a means of expressing the meaning of artwork to be responded to. these two things really determine the process for its work. media introduction the introduction of the media is as a means to provide a manifestation of the senses of the shadows, imagination or art ideas that are in consciousness. the introduction of media in appreciation as a means to trigger an aesthetic response from observers. the introduction of media comes from the raw material of objects, sounds and certain movements for manifestation media to become art, music and dance. students must recognize the characteristics of the embodiment media well. the experience of students getting to know the media is absolutely necessary. in its overall role the media as a means of embodiment of art in creative arts and a means of communication in the art of appreciation (soehardjo, 2011). media processing media processing is the function of raw materials and their characteristics to realize the idea of art in the form of inner works of art into works of art. in the process of creation, it involves awareness of reasoning, especially the sense of essence, which is functioned as a means to organize the elements of art in the framework of warih handayaningrum, djoko tutuko, agus suwahyono, the arts learning model of 69 realizing the idea of art. in media processing creation is responding to the aesthetic objects through oral or written aesthetic response statements. appreciation to build attention, provide responses through interpretation of images and imagination. art learning outcomes of sma negeri 6 surabaya students at sendratasik fbs unesa students can master the material provided by each expert in the art they learn both appreciation and creation material. this can be seen on their last day showing the results of their learning in the headline, namely drama, dance and music as well as organizing students who participated in the event organizer. according to ministry of education and culture regulations no 104 in 2014 the objectives of the assessment are (1) knowing the level of mastery of competencies; (2) establish mastery of competency mastery; (3) establish improvement or enrichment programs based on competency mastery levels; (4) improve the learning process. the students are very motivated to hold performances, because so far, many school activities are carried out, with learning experience from sendratasik they know how to organize actual performances. students get hands-on experience in art, which they don’t get at school. his views on art have changed especially in traditional art. in the beginning, students choose to feel that their choices are outdated, but they don’t want to stop practicing after feeling and enjoying them. this can be seen in traditional dance groups, traditional music. the process of learning good art is by experiencing empirically first, feeling how it feels then practicing it (pamadhi, 2012b). art learning conducted by lecturers invites children to experience learning explained further in the ministry of education and culture regulations number 104 of 2014 curriculum 2013 uses authentic and non-authentic assessments. an authentic assessment in question is an assessment of the attitudes, knowledge, and skills of the learning process to do the task in a real situation. in completing learning achievement the minimum level of attainment of attitudes, knowledge, and skills of students must be complete mastery of the substance and mastery of learning within the period of learning. an authentic assessment emphasizes the ability to learn to demonstrate the knowledge they have in a meaningful and tangible way (nurgiyantoro, 2008). according to muller (basuki, i, 2014), authentic assessment is defined as a form of assessment that requires students to perform real-world tasks that demonstrate meaningful applications of essential knowledge and skills. according to (basuki, 2014) the nature of educational assessment according to authentic assessment is the process of collecting various data that can provide an overview of the development of student learning. this is important because the teacher will know the development of student learning. if the learning development of students does not match the objectives, the teacher will be able to take appropriate actions. the purpose of authentic assessment is to measure a variety of skills in various contexts that reflect the real situation in which the skills are used. an authentic assessment requires learners to demonstrate knowledge, skills, and products (nurgiyantoro, 2008). they also get discipline, cooperation, responsibility, for 3 days studying at sendratasik fbs unesa. they arrived on time, persevering and working together. in learning art, disciplined attitudes are embedded, respecting beauty, and responsibility. this awareness they get by realizing staging. because the staging agenda will not become a reality if the players are not disciplined and serious. lecturers and students collaborate to serve learning appreciation and creation, this provides direct experience for students to prepare for practice at school. providing space for lecturers for community service and research as well as research for students. from this activity, 3 ppm reports and 2 research reports have been produced. as a promotional event for sendrataharmonia: journal of arts research and education 19 (1) (2019): 62-7070 sik at the school, students will be motivated and inspired according to their talents, and provide financial input to sendratasik fbs figure 4. general repetition of the atmosphere on stage at sawunggaling performance hall (foto: septika dwi n, 20 april 2017) conclusion universities such as unesa with the formulation of the blu policy, can manage various learning activities that can be sold. sendratasik fbs unesa as a work unit has developed businesses related to education. businesses in the form of learning performance art can be packaged briefly and offered to schools, as a variety of activities outside of school to fill midterm activities. art education of school children in sendratasik uses a project-based model, while using a short amount of time for 3 days. this model is effective in being able to produce performances for the whole field of art that students are interested in. interest-based learning is able to create fun learning and encourage students to preserve their local culture. the form of art education activities for school children in sendratasik can be in the form of learning performance art in a short manner. this collaborative activity will enhance the sendratasik role in schools and the community. references basuki,i, h. 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(2010). belajar dan faktor-faktor yang mempengaruhinya. rineka cipta. soehardjo, a. . (2011). pendidikan seni. p3t ikip malang. sukmadinata, syaodih, n. (2013). metode penelitian pendidikan. pt remaja rosdakarya. sutedja, w. (2007). panduan layanan konsumen. pt. grasindo, anggota ikapi. tim lp3m. (2017). buku pedoman program pengelolaan pembelajaran. unesa. trianto. (2007). model-model pembelajaran inovatif berorientasi konstruktivistik. prestasi pustaka. 45 peningkatan kemampuan vokal melalui metode solfegio putut sulasmono sekolah menengah pertama negeri 2 kayen, pati e-mail: pututsulasmono@ymail.com abstrak tujuan penelitian ini adalah untuk mengetahui peningkatan kemampuan vokal setelah diberikan metode solfegio pada peserta didik kelas viii a di smp negeri 2 kayen kabupaten pati tahun 2009/2010 dan untuk mengetahui peningkatan aktivitas belajar vokal setelah diberikan metode solfegio peserta didik kelas viii a di smp negeri 2 kayen abupaten pati tahun 2009/2010. teknik analisis data yang digunakan adalah analisis deskriptif kualitatif dan kuantitatif, rancangan penelitian tindakan kelas dilakukan dua siklus setiap siklusnya empat pertemuan, pada semester dua tahun pelajaran 2009/2010. hasil penelitian menunjukkan bahwa dari 40 peserta didik mencapai kriteria baik jumlahnya 33 peserta didik (82,5 %). penelitian menunjukkan bahwa penerapan metode solfegio di kelas viii a smp 2 kayen kabupaten pati dapat meningkatkan kemampuan vokal peserta didik. berdasarkan analisa data keadaan dipengaruhi adanya respon yang baik dari peserta didik terhadap latihan intonasi, ritme serta harmoni. penelitian menunjukkan bahwa penerapan metode solfegio di kelas viii a smp 2 kayen kabupaten pati, peningkatan aktivitas belajar pada kegiatan visual activities, listening activities, oral activities serta motor activities pemberian latihan-latihan dengan metode solfegio memberikan stimulus yang menyenangkan terhadap aktivitas belajar sehingga terjadi perubahan pengalaman belajar. rerata aktivitas belajar vokal peserta didik dengan nilai 3.86 dengan skor 40 – 52 (50) predikat aktivitas belajar sangat baik. improvement of vocal skill through solfegio method abstract the goals of this research are to find out the improvement of vocal skill of students at viii a class of 2009/2010 year of public junior high school 2, kayen, regency of pati after having been treated with solfegio method and to identify how the method could improve the students’ vocal learning activity. technique of data analysis used descriptive qualitative and quantitative analysis. the design of action research was conducted in two cycles; each cycle consisted of four meetings, in the second semester of 2009/2010 year. the finding shows that among 40 students, 33 of them reached a good criteria (82,5%). the research shows that the use of solfegio method in the class could improve students’ vocal skill. based on data analysis, the condition was influenced by good response from students toward intonation, rhythm, and harmony practices. it also shows that the use of the method could enhance students’ visual, audio, oral, and motor activities; giving more exercises by solfegio method could give an enjoyable stimulus to their learning activity so that their learning experience changed accordingly. the average grade of students’ vocal learning activity was 3.86 with the score of 40 – 52 (50); the learning activity was considered very good. kata kunci: kemampuan vokal, aktivitas belajar, solfegio. harmonia, volume 13, no. 1 / juni 201346 pendahuluan pembelajaran vokal dapat dijadikan sebagai sarana pengungkapan perasaan, juga dapat dijadikan pelatihan rasa estetis pada peserta didik. untuk memahami ataupun menguasai vokal secara teori maupun praktek, tentu saja diperlukan ketekunan sehingga perlu dipelajari secara terus menerus melalui latihan-latihan rutin. didalam proses mengajar belajar ada beberapa komponen memegang peranan, yaitu : pendidik, peserta didik, tujuan yang ingin dicapai, materi yang disampaikan, metode penyajian yang tepat dan alat /sarana penunjang proses belajar, kegiatan belajar mengajar, sumber belajar, dan evaluasi (djamarah, 1995:41-50). kelas viii a di smp 2 kayen tak ada hal yang sangat membedakan dengan kelas yang lainnya hanya karena keinginan yang tinggi terhadap musik, namun kebanyakan dari peserta didik di kelas ini kemampuan vokalnya sangat lemah. identifikasi awal ditemukan bahwa hampir 70% peserta didik kelas viii a smp negeri 2 kayen pati pada tahun pelajaran 2008/ 2009, kemampuan vokal sangatlah rendah (daftar nilai guru seni budaya, 2009:3). kegiatan yang dilakukan guru seni budaya khususnya seni musik di kelas viii a nampak peserta didik cenderung pasif, sebagai fakta ketika peserta didik diminta menyuarakan nada yang dicontohkan dengan alat musik piano peserta didik khususnya viii a seakan malas untuk menirukan. kegiatan ini sering terjadi terus menerus walaupun pengulangan pembelajaran telah dilakukan. kondisi yang kurang baik ini tentu saja sangat berpengaruh terhadap aktivitas belajar seni musik khususnya vokal sehingga mempengaruhi nilai hasil belajar vokal peserta didik cenderung rendah. dampak lebih jauh tentu akan mempengaruhi pula potensi terutama kemampuan menyanyi di smp negeri 2 kayen pati secara menyeluruh. menurut pengakuan salah satu peserta didik kelas viii a diketahui bahwa peserta didik sebenarnya ingin sekali bisa menyanyi namun ada perasaan takut salah dan takut ditertawakan teman-temannya karena kemampuan vokalnya lemah. peserta didik lain yang juga di kelas yang sama juga menyebutkan bahwa ketika menyayikan suatu lagu, ada perasaan takut salah dalam menyanyikan lagu. dalam seni musik terdapat 2 (dua) unsur yaitu vokal dan instrumen. vokal adalah alunan nada-nada yang keluar dari suara manusia sedangkan sedangkan musik insrumental berasal dari sumber suara selain suara manusia atau nada-nada yang keluar dari alat musik yang dipermainkan. vokal dalam penelitian ini mengandung maksud tentang suara/bunyi yang dihasilkan oleh manusia. oleh karena itu pembahasannya meliputi jenis suara pria ataupun jenis suara wanita,dan anak-anak namuan tidak dibedakan menurut pembagian jenis suara (pranajaya, 1976:58-59). vokal adalah suara yang dihasilkan dari manusia, baik itu suara pria meliputi: tenor, bariton, maupun bass serta suara wanita meliputi: sopran, mezzo sopran serta alto serta suara anak-anak. kemampuan vokal merupakan kesanggupan seseorang dalam bernyanyi sesuai dengan teknik vokal yang benar. kemampuan ini merupakan gabungan dari dua faktor, yaitu faktor kebiasaan dan pembawaan (benward, 1989:9). kemampuan vokal adalah kesanggupan atau kecakapan melakukan kegiatan olah vokal meliputi teknik vokal, materi suara sesuai dengan jenis suara yang dimiliki seseorang melalui kegiatan olah vokal atau menyanyi, pembawaan lagu serta penampilan. mempelajari vokal bertujuan agar peserta didik dapat mempelajari teknik menyanyi dengan baik dan benar, suara adalah salah satu modal utama terjadinya vokal. agar suara dapat digunakan untuk bernyanyi dengan baik maka diperlukan latihan teknik vokal. ada berbagai teknik yang harus dilakukan dalam menyanyi secara baik dan benar antara lain : sikap tubuh, teknik pernafasan, teknik resonansi, teknik artikulasi/pengucapan, vibrasi, interpretasi lagu, intonasi, tanda tempo, tanda ekspresi, harmoni, akor, tanda dinamik. belajar diartikan sebagai aktivitas putut sulasmono, peningkatan kemampuan vokal melalui metode solfegio 47 tingkah laku, dari tidak tahu menjadi tahu, dari tidak memiliki sikap menjadi memiliki sikap, dari tidak mempunyai ketrampilan menjadi punya ketrampilan (hari, 1986 :3). lebih lanjut dikatakan bahwa belajar adalah proses perubahan tingkah laku yang baru secara keseluruhan sebagai hasil pengalaman individu itu sendiri dalam interaksinya dengan lingkungan (surya, 1990: 1). teori behaviorisme yang dikemukakan oleh pavlop, mengungkapkan bahwa belajar merupakan perubahan tingkah laku yang terjadi berdasarkan stimulus dan respon (s –r), yaitu suatu proses yang memberikan respon tertentu terhadap yang datang dari luar. behaviorisme menekankan adanya pengkondisian. jika sebuah stimulus terjadi berbarengan dengan bagi respon refleks, setelah beberapa kali perpasangan (pairing) seperti itu maka stimulus yang baru itu sendiri akan menghasilkan respon. proses pengkondisian ini pertama kali dideskripsikan oleh pavlov, memungkinkan setiap respon dalam perbendaharaan refleks bawaan untuk muncul ketika ada stimuli baru selain yang semula memunculkannya (hill, 1990:47). dalam belajar, seseorang tidak akan dapat menghindarkan diri dari suatu situasi. situasi akan menentukan aktivitas apa yang akan dilakukan dalam rangka belajar. bahkan situasi itulah yang mempengaruhi dan menentukan aktivitas belajar apa yang akan dilakukan. beberapa aktivitas belajar dalam pembahasan ini adalah :(1) mendengarkan (2) memandang (3) menulis atau mencatat (4) membaca (5) mengingat (6) berfikir (7) latihan atau praktek (ahmad, 2002:131-137). belajar yang berhasil, harus melalui berbagai macam aktivitas, baik aktivitas fisik maupun psikis. aktivitas fisik ialah peserta didik giat, aktif dengan anggota badan. membuat sesuatu ataupun bekerja, ia tidak hanya duduk dan mendengarkan, melihat atau hanya pasif. jenis-jenis aktivitas dapat digolongkan menjadi: (1) visual activities, yaitu segala kegiatan yang berhubungan dengan aktivitas peserta didik dalam melihat, mengamat, dan memperhatikan. (2) oral activities, yaitu aktivitas yang berhubungan dengan kemampuan peserta didik dalam mengucapkan, melafazkan, dan berfikir. (3) listening aktivities, aktivitas yang berhubungan dengan kemampuan peserta didik dalam berkonsentrasi menyimak pelajaran. (4) motor activities, yakni segala keterampilan jasmani peserta didik untuk mengekspresikan bakat yang dimilikinya (dierich, dalam hamalik, 2001:172). dengan demikian, aktivitas belajar adalah semua kegiatan belajar meliputi mendengarkan, memandang, menyimak, menulis atau mencatat, membaca, mengingat, berfikir, mengucapkan, melafazkan, dan berfikir, mengekspresikan, oleh peserta didik di kelas. metode dalam kegiatan belajar mengajar adalah seperangkat upaya yang dilaksanakan dan disusun dengan tujuan menciptakan suasana belajar mengajar yang menguntungkan (djamarah, 2006:46). hal ini mengandung arti dalam suatu kegiatan belajar mengajar pendidik hendaknya mempersiapkan segala sesuatunya dengan sedemikian rupa sehingga nantinya dapat tercipta situasi belajar mengajar yang menguntungkan. metode solfegio adalah latihan kemampuan pendengaran atau ketajaman pendengaran musik, baik ketepatan ritmik maupun ketepatan nadanya. solfegio adalah istilah yang mengacu pada menyanyikan tangga nada, interval dan latihan – latihan melodi dengan sillaby zolmization yaitu, menyanyikan nada musik dengan menggunakan suku kata (stanly dalam sumaryanto, 2005:40). dalam perkembangannya solfegio bukan hanya menyanyi saja tetapi juga mendengar dan membaca nada. kemampuan membaca nada disebut de ngan sight reading, indikatornya antara lain: (1) kemampuan membaca ritme/irama, (2) kemampuan membaca melodi/rangkaian nada, dan (3) kemampuan membaca akor/ keselarasan gabungan nada. kemampuan mendengar nada disebut dengan ear training tiga indikator kemampuan, yaitu: (1) kemampuan mendengar dan mengingat ritme/irama, menuliskan serta menyuarakan kembali, (2) kemampuan mendengar harmonia, volume 13, no. 1 / juni 201348 dan mengingat melodi/rangkaian nada, menuliskan serta menyuarakan kembali, (3) kemampuan mendengar dan mengingat akor/keselarasan gabungan nada., sedangkan kemampuan menyanyi disebut dengan sight -singing tiga indikator, yaitu: (1) kemampuan menyanyikan melodi atau rangkaian nada, (2) kemampuan menyanyikan interval nada, dan (3) kemampuan menyanyikan tangga nada (sumaryanto, 2001:40-42). dari uraian di atas permasalahan penelitian ini adalah apakah metode solfegio dapat meningkatkan kemampuan vokal peserta didik kelas viii a di smp negeri 2 kayen kabupaten pati tahun 2009/2010? apakah metode solfegio dapat meningkatkan aktivitas belajar vokal peserta didik kelas viii a di smp negeri 2 kayen kabupaten pati tahun 2009/2010 ? tujuan penelitian ini adalah untuk mengetahui peningkatan kemampuan vokal setelah diberikan metode solfegio pada peserta didik kelas viii a di smp negeri 2 kayen kabupaten pati tahun 2009/2010 dan untuk mengetahui peningkatan aktivitas belajar vokal setelah diberikan metode solfegio pada peserta didik kelas viii a di smp negeri 2 kayen kabupaten pati tahun 2009/2010. metode penelitian ini berawal dari pemahaman dan kondisi yang ada di lapangan mengenai permasalahan kemampuan vokal peserta didik di smp negeri 2 kayen kabupaten pati kurang mencapai kriteria ketercapaian maksimum atau kkm yang di bawah 70 sedangkan kkm harus mencapai 70 . melalui penelitian tindakan kelas permasalahan yang muncul akan direncanakan, diimplementasikan kemudian diobservasi dan dianalisis menggunakan teori yang ada, sehingga kemampuan vokal melalui metode solfegio akan dapat ditingkatkan. penelitian ini dilaksanakan pada peserta didik kelas viii a di smp negeri 2 kayen kabupaten pati. penelitian ini dilaksanakan dalam 2 siklus dengan 2 bulan efektif pelaksanaan tindakannya dan setiap siklus direncanakan berlangsung 1 bulan atau setara dengan 4 kali pertemuan, masing-masing siklus dengan tahapan perencanaan, pelaksanaan, pengamatan, dan refleksi. hasil dan pembahasan hasil penelitian pra-siklus pada kegiatan pra–siklus aktivitas belajar peserta didik dalam pra siklus dapat dikategorikan cukup baik. pada kegiatan pra–siklus hasil kemampuan vokal peserta didik menunjukkan bahwa kemampuan solfegio peserta didik dalam pra-siklus dari hasil pretest metode solfegio menjelaskan tidak tepat atau kriteria kurang baik. berdasarkan data pra siklus kemampuan vokal peserta didik yang mendapat predikat baik 2 peserta didik atau 5 %, predikat cukup baik 12 peserta didik atau 30 % selanjutnya 26 peserta didik mendapat predikat kurang baik atau 65 %. hasil penelitian siklus i setelah dilakukan implementasi tindakan observasi dan tes kemampuan vokal kompetensi dengan metode solfegio pada siklus i, peneliti melakukan refleksi. hasil observsi dan pemberian tes kemampuan solfegio berdasarkan pertemuan satu, dua dan tiga serta tes kemampuan vokal menyanyi lagu model pada siklus i, peneliti dapat menyimpulkan beberapa hal antara lain : (1) peserta didik pada awal pertemuan dengan penggunaan metode solfegio nampak asing dan ada kesulitan memahami langkah-langkah yang akan dilakukan, (2) peserta didik masih kurang mempersiapkan untuk menerima metode dengan langsung dipraktekkan, ragu-ragu dan takut masih dimiliki oleh peserta didik (3) pemahaman metode solfegio masih kurang ( 4) pemahaman teori serta konsep belum dimiliki (5) masih banyak peserta didik yang belum berlatih atau mengerjakan teori dan praktek di rumah. dari permasalahan di atas perlu ada perbaikan putut sulasmono, peningkatan kemampuan vokal melalui metode solfegio 49 efesien, (4) pembimbingan guru secara menyeluruh kepada peserta didik dilakukan dengan baik, (5) target maksimal telah dicapai oleh peserta didiksehingga pelaksanaan kegiatan olah vokal dapat dicapi maksimal oleh peserta didik, (6) hasil refleksi telah diberikan secara langsung pada peserta didik sehingga peserta didik bersemangat dalam proses pembelajaran. dari hasil penelitian dari pra-siklus sampai dengan siklus ii kemampuan solfegio, aktivitas belajar serta kemampuan vokal dapat di jelaskan sebagai berikut : tabel 1. ketercapaian penelitian prasiklus ketercapaian pra siklus kriteria kemampuan solfegio 1.02 kurang aktivitas belajar 1.9 cukup kemampuan vokal 55.9 kurang pada pra-siklus rerata nilai kemampuan solfegio peserta didik 1.02 (atau dibulatkan rerata nilai 1) oleh karena itu pada pra –siklus kemampuan vokal peserta didik kurang baik. rerata aktivitas belajar 1.9 (atau 2) kriteria pada tabel menunjukkan cukup baik, sedangkan kemampuan vokal peserta didik pada pra-siklus dengan nilai 55,9 dengan kriteria kurang baik. rerata siklus i nilai kemampuan solfegio peserta didik 1.478 (atau dibulatkan rerata nilai 1) oleh karena itu pada siklus i kemampuan vokal peserta didik cukup baik rerata aktivitas belajar 2.3 (atau 2) kriteria pada tabel menunjukkan cukup baik, sedangkan kemampuan vokal peserta didik pada siklus i dengan nilai 62.0 dengan kriteria cukup baik. rerata siklus ii nilai kemampuan solfegio peserta didik 2.218 (atau dibulatkan rerata nilai 2) oleh karena itu pada siklus ii kemampuan vokal peserta didik baik . rerata aktivitas belajar 3.86 (atau 4) kriteria pada tabel menunjukkan sangat baik, sedangkan kemampuan vokal peserta didik pada siklus ii dengan nilai 76.16 dengan kriteria baik. berdasarkan data tersebut prestasi atau kemampuan vokal peserta didik tepada siklus berikutnya atau siklus ke ii yaitu: (1) pemahaman dasar notasi balok dan tanda diam, nilai notasi, nilai ketukan maupun nilai tanda diam perlu dijelaskan lebih mendalam, (2) informasi tugas diberikan sebelum pelaksanaan pembelajaran berangsung, (3) sarana dan prasarana dipersiapkan sebelum pembelajaran dimulai agar waktu proses belajar mengajar efektif dan efesien, (4) guru diupayakan memberikan bimbingan secara menyeluruh kepada peserta didik agar tidak ada yang bercanda, (5) target maksimal harus diberikan pada peserta didik agar pada elaksanaan kegiatan olah vokal dapat dicapai maksimal oleh peserta didik, (6) hasil refleksi harus diberikan secara langsung agar peserta didik lebih bersemangat. hasil penelitian siklus ii setelah dilakukan implementasi tindakan observasi dan tes kemampuan vokal dengan metode solfegio pada siklus ii, peneliti melakukan refleksi. hasil observsi dan pemberian tes kemampuan solfegio berdasarkan pertemuan satu, dua, tiga dan empat serta tes kemampuan vokal menyanyi lagu model pada siklus ii, peneliti dapat menyimpulkan beberapa hal antara lain: (1) peserta didik pada awal pertemuan dengan penggunaan metode solfegio pada siklus ii mulai memahami metode solfegio nampak senang melakukan langkah-langkah dipraktekkan, (2) peserta didik persiapannya untuk menerima latihan metode solfegio lebih baik dan mulai menikmati dan perasaan takut mulai mereda, (3) pemahaman metode solfegio sudah baik, (4) pemahaman teori serta konsep sudah dipahami, (5) banyak peserta didik sudah berlatih atau mengerjakan teori dan praktek dirumah. dari permasalahan diatas pada siklus ii yaitu: (1) pemahaman dasar notasi balok dan tanda diam, nilai notasi, nilai ketukan maupun nilai tanda diam telah dipahami, (2) tugas yang diberikan sebelum pelaksanaan pembelajaran berangsung telah dikerjakan dengan baik, (3) sarana dan prasarana telah dipersiapkan sebelum pembelajaran dimulai agar waktu proses belajar mengajar efektif dan harmonia, volume 13, no. 1 / juni 201350 lah melakukan atau mengerti tentang teknik vokal yang meliputi: irama, intonasi, harmoni, materi suara meliputi: teknik pernafasan, vibrasi, pembawaan lagu: birama, ekspresi, tanda tempo,tanda peubahan serta penampilan yang telah mengerti pesan yang disampaikan lagu. namun peserta didik belum ada yang mencapai nilai sangat baik karena faktor waktu latihan, sebab dalam praktek vokal dapat dicapi dengan sangat baik diperlukan latihan yang rutin dan butuh waktu yang lama. sebagai misal latihan vibrasi dibutuhkan waktu minimal 4 bulan dengan latihan rutin 2 jam per-hari. hal –hal seperti telah disebutkan itulah penyebab prestasi sangat baik belum dicapai dalam penelitian ini. selain itu faktor kemampuan dasar peserta didik yang belum terbina sejak dini. ketercapaian peserta didik seperti dalam tabel dapat dijelaskan sebagai berikut: (1) kemampuan solfegio pada prasiklus kriteria baik 2 peserta didik, kriteria cukup baik 11 peserta didik ,kriteria kurang baik 27 peserta didik. (2) kemampuan solfegio pada siklus i pertemuan 1 kriteria baik 0, kriteria cukup baik 21 peserta didik, kriteria kurang baik 19, pertemuan 2 kriteria baik 0, kriteria cukup baik 21 peserta didik, kriteria kurang baik 19, pertemuan 3 kriteria baik 2 peserta didik, kriteria cukup baik 20 peserta didik, kriteria kurang baik 18, pertemuan 4 kriteria baik 6 peserta didik, kriteria cukup baik 32 peserta didik, kriteria kurang baik 2 peserta didik, (3) kemampuan solfegio pada siklus ii pertemuan 1 kriteria baik 11 peserta didik, kriteria cukup baik 29 peserta didik, kriteria kurang baik 0; pertemuan 2 kriteria baik 21 peserta didik, kriteria cukup baik 19 peserta didik, kriteria kurang baik 0 ; pertemuan 3 kriteria baik 33 peserta didik, kriteria cukup baik 7 peserta didik, kriteria kurang baik 0; pertemuan 4 kriteria baik 38 peserta didik, kriteria cukup baik 2 peserta didik, kriteria kurang baik 0, pemahaman metode solfegio yang baik menjadikan peserta didik senang melakukan kegiatan belajar mengajar sehingga tugas-tugas praktek maupun teori dikerjakan dengan baik. oleh karena itu hasil dari penelitian seperti yang tertulis diatas menunjukkan aktivitas belajar peserta didik sangat baik dan jumlah peserta didik yang melakukan aktivitas belajar dengan baik mencapai 30 peserta didik (90%). ketercapaian peserta didik seperti dalam tabel 5 dapat dijelaskan sebagai berikut: (1) aktivitas belajar pada pra-siklus kriteria sangat baik 0 peserta didik, kriteria baik 0 peserta didik, kriteria cukup baik 36 peserta didik , kriteria kurang baik 4 peserta didik. (2) aktivitas belajar pada siklus i pertemuan 1 kriteria sangat baik 0 peserta didik, kriteria baik 4 peserta didik , kriteria cukup baik 32 peserta didik, kriteria kurang baik 4 peserta didik; pertemuan 2 tabel 2. ketercapaian penelitian pada siklus i ketercapaian pertemuan rerata kriteria1 2 3 4 kemampuan solfegio 1.38 1.41 1.48 1.64 1.478 cukup baik aktivitas belajar 1.96 2.11 2.40 2.73 2.300 cukup baik kemampuan vokal 0 0 0 0 62.0 cukup baik tabel 3. ketercapaian penelitian siklus ii ketercapaian pertemuan rerata kriteria1 2 3 4 kemampuan solfegio 2.06 2.11 2.2 2.5 2.218 baik aktivitas belajar 2.7 2.85 3.00 3.03 3.86 sangat baik kemampuan vokal 0 0 0 0 76.16 baik putut sulasmono, peningkatan kemampuan vokal melalui metode solfegio 51 kriteria sangat baik 0 peserta didik, kriteria baik 5 peserta didik, kriteria cukup baik 31 peserta didik, kriteria kurang baik 4 peserta didik; pertemuan 3 kriteria sangat baik 0 peserta didik, kriteria baik 13 peserta didik ,kriteria cukup baik 27 peserta didik, kriteria kurang baik 0 peserta didik; pertemuan 4 kriteria sangat baik 0 peserta didik, kriteria baik 27 peserta didik, kriteria cukup baik 13 peserta didik, kriteria kurang baik 0 peserta didik. (3) aktivitas belajar pada siklus ii kriteria sangat baik 0 peserta didik, kriteria baik 22 peserta didik ,kriteria cukup baik 18 peserta didik ,kriteria kurang baik 0 peserta didik.; pertemuan 2 kriteria sangat baik 0 peserta didik, kriteria baik 29 peserta didik , kriteria cukup baik 11 peserta didik, kriteria kurang baik 0 peserta didik, pertemuan 3 kriteria sangat baik 0 peserta didik, kriteria baik 33 peserta didik, kriteria cukup baik 7 peserta didik, kriteria kurang baik 0 peserta didik; pertemuan 4 kriteria sangat baik 0 peserta didik, kriteria baik 36 peserta didik, kriteria cukup baik 4 peserta didik, kriteria kurang baik 0 peserta didik. (1) kemampuan vokal peserta didik pada pra –siklus kriteria sangat baik 0 (0%) yang mendapat kriteria baik 2 peserta didik ( 5%), cukup baik 12 peserta didik (30%), kurang baik 26 (65%). (2) kemampuan vokal peserta didik pada siklus i kriteria sangat baik 0(0%) yang mendapat kriteria baik 10 peserta didik ( 25%), cukup baik 22 peserta didik ( 55%), kurang baik 8 (20%). (3) kemampuan vokal peserta didik pada siklus ii kriteria sangat baik 0 (0%) yang mendapat kriteria baik 33 peserta didik ( 82.5%), cukup baik 17 peserta didik ( 17.5%), kurang baik 0(0%). tabel 6. jumlah peserta didik dalam kemampuan vokal kriteria pra siklus siklus i siklus ii sangat baik 0% 0% 0% baik 5% 25% 82.5% cukup baik 30% 55% 17.5% kurang baik 65% 20% 0% hasil penelitian diatas secara umum kemampuan vokal peserta didik sangat dipengaruhi oleh aktivitas yang dilakukan oleh peserta didik dalam melakukan latihan dengan penggunaan metode solfegio. keberhasilan peserta didik dalam kemampuan vokal kelas viii a di smp tabel 4. jumlah peserta didik dalam kemampuan solfegio kriteria pra siklus siklus i pertemuan siklus ii pertemuan 1 2 3 4 1 2 3 4 baik 2 0 0 2 6 11 21 33 38 cukup baik 11 21 21 20 32 29 19 7 2 kurang baik 27 19 19 18 2 0 0 0 0 tabel 5. jumlah peserta didik dalam aktivitas belajar kriteria pra siklus siklus i pertemuan siklus ii pertemuan 1 2 3 4 1 2 3 4 sangat baik 0 0 0 0 0 0 0 0 0 baik 0 4 5 13 27 22 29 33 36 cukup baik 36 32 31 27 13 18 11 7 4 kurang baik 4 4 4 0 0 0 0 0 0 harmonia, volume 13, no. 1 / juni 201352 2 kayen disebabkan pendekatan metode solfegio yang meliputi: kemampuan sight reading: membaca melodi, membaca irama, dan membaca akor; ear training: mendengar ritme, mendengar melodi, mengingat melodi dan menyuarakan melodi; sight singing: mendengar rangkaian nada, menyuarakan rangkaian nada serta menyanyikan melodi. pemahaman metode solfegio sangat dibutuhkan oleh peserta didik, praktek yang dikembangkan dalam tes seperti pemahaman tentang ritme, intonasi, harmoni meliputi: pengambilan nada sesuai dengan akor, produksi suara yang tepat, menyanyi dengan pemakaian frasering, pemakaian dinamika yang tepat, penggunaan tempo yang sesuai, serta mampu melakukan ekspresi sesuai dengan lagu dilakukan peserta didik dengan baik sehingga hasil yang dicapai juga menunjukkan nilai baik. menurut ahmad (2002), belajar yang berhasil harus melalui berbagai macam aktivitas, baik aktivitas fisik maupun psikis. aktivitas fisik ialah peserta didik giat, aktif dengan anggota badan. membuat sesuatu ataupun bekerja, ia tidak hanya duduk dan mendengarkan, melihat atau hanya pasif. peserta didik yang memiliki aktivitas psikis (kejiwaan) adalah jika daya jiwanya bekerja sebanyak-banyaknya atau berfungsi dalam pengajaran. teori behaviorisme, belajar merupakan perubahan tingkah laku yang terjadi berdasarkan stimulus dan respon (s–r), yaitu suatu proses yang memberikan respon tertentu terhadap yang datang dari luar. behaviorisme menekankan adanya pengkondisian ( hill, 1990:47). menurut dierich dalam hamalik, (2001) serta ahmad, 2002 kemampuan peserta didik sangat ditentukan seberapa besar tingkat aktivitasnya dalam mengikuti kegiatan belajar mengajar. menurut benward (dalam sumaryanto, 1983) kemampuan vokal peserta didik meningkat karena dipengaruhi oleh aktivitas belajar dari peserta didik yang baik yaitu meliputi aktivitas membaca intonasi, melodi harmoni, menulis melodi, intonasi harmoni, praktek melodi, irama, harmoni. hasil penelitian ini selaras dengan pendapat di atas bahwa kemampuan vokal dapat dicapai dengan baik karena aktivitas peserta didik meliputi: visual activities, oral activities, listening activities dan motor activities juga menunjukkan baik, nilai kemampuan vokal rendah karena aktivitas belajar peserta didik rendah. metode solfegio memberikan pengkondisian respon terhadap peserta didik untuk melakukan kegiatan beraktivitas baik itu visual activities, oral activities, listening activities dan motor activities sehingga metode solfegio memberikan dorongan kepada peserta didik untuk selalu aktif melakukan kegiatan sehingga terjadi perubahan sikap, perilaku serta ketrampilan dalam berolah vokal. kemampuan vokal peserta didik sangat dipengaruhi seberapa jauh kemampuan solfegio peserta didik serta aktivitas belajar peserta didik dalam melaksanakan proses pembelajaran. keberhasilan seseorang sangat ditentukan seberapa besar stimulus yang diberikan dan seberapa besar respon yang dilakukan seseorang. simpulan dan saran hasil penelitian menunjukkan bahwa dari 40 peserta didik mencapai kriteria baik jumlahnya 33 peserta didik (82,5 %). penelitian menunjukkan bahwa penerapan metode solfegio di kelas viii a smp 2 kayen kabupaten pati dapat meningkatkan kemampuan vokal peserta didik. berdasarkan analisa data keadaan dipengarui adanya respon yang baik dari peserta didik terhadap latihan intonasi, rytme serta harmoni. penelitian menunjukkan bahwa penerapan metode solfegio di kelas viii a smp 2 kayen kabupaten pati peningkatan aktivitas belajar pada kegiatan visual activities, listening activities, oral activities serta motor activities (mengamati, memperhatikan, membaca, mendengar, menyimak, melihat, mengucapkan, melafazkan, latihan/praktek, mengekpresikan, berfikir, menulis, serta membuat rangkuman) dari hasil data aktivitas belajar pemberian latiputut sulasmono, peningkatan kemampuan vokal melalui metode solfegio 53 han-latihan dengan metode solfegio memberikan stimulus yang menyenangkan sehingga terjadi perubahan pengalaman belajar. kegiatan belajar yang bersifat berfikir, mengekspesikan, melatihkan/praktek banyak dilakukan ternyata aktivitas belajar dicapai maksimal. rerata aktivitas belajar vokal peserta didik dengan nilai 3.86 dengan skor 40–52 (50) predikat aktivitas belajar sangat baik beradasarkan kesimpulan di atas dapat diberikan saran sebagai berikut: guru mata pelajaran seni musik, untuk menggunakan metode solfegio dengan membuat latihan-latihan kegiatan pembelajaran irama, melodi, harmoni secara bertahap dan berkesinambungan, kegiatan yang bersifat motor activities perlu dilakukan terus menerus sehingga dapat dicapai hasil yang maksimal. kepada sekolah khususnya smpn2 kayen, hasil penelitian ini hendaknya dapat dijadikan kebijakan. pengembangan test dan latihan dengan metode solfegio dengan movable do atau fix do perlu dikembangkan untuk penelitian selanjutnya, sehingga kemampuan vokal peserta didik akan lebih baik sehingga aktivitas pembelajaran semakin. daftar pustaka ahmad, abu dan supriyono. 2003. psikologi belajar. rineka cipta. jakarta benward. 1983. work book in ear training. ilinois: itaska conant, howart. 1996. art educations. new york. the center for applied reseach in educations. depdiknas. 2002. pedoman pengembangan silabus sltp. jakarta: dikdasmen. de porter, bobbi dan mike hernachi. 2008. quantum learning: membiasakan belajar nyaman dan menyenangkan. penerjemah: alwiyah abdurrahman. bandung: kaifa. djamarah, syaiful b. dan zain, a. 2006. strategi belajar mengajar . rineka cipta. jakarta edmund prier, karl. 2009. kamus musik. yogyakarta.pusat musik liturgi. hartoyo, jimy. 1994. musik konvensional dengan do tetap. yogyakarta. yayasan pustaka nusantara. hill, winfred f. 1990. teories of learning. teori-teori pembelajaran. konsepsi, komparasi dan signifikasi. terjemahan m. kosim. bandung: nusa media trubit and hines, robert. 1979. ear training and sight-singing. new york: a division of macmilon publishing co., inc. hamalik, umar. 2007. proses belajar mengajar. jakarta: pt. bumi aksara mahmud, at. 1995. musik dan anak. jakarta: direktorat jendral pendidikan tinggi jazuli, m. 2008. paradigma kontekstual pendidikan seni . semarang: unisa university press. jamalus. 1987. musik iv. jakarta: proyek pengadaan buku spg. ----------. 1988. pengajaran musik melalui pengalaman musik. jakarta: departemen pendidikan dan kebudayaan. kodiyat, latifah. 1983. istilah-istilah musik. jakarta. depdikbud koentjaraningrat. 1989. masalah pengajaran sebagai suatu sistem. jakarta: bina aksara kartono. 1990. strategi belajar mengajar. jakarta: depdikbud kennedy, michael. 1985. the oxford dictionary of music. new york. oxford university press. miles & huberman,terjemahan rohidi. 1992. model analisis data interaktif pengembangan lembaga pendidikan tenaga kependidikan dan kebudayaan . malafronte, judith. 2006. singing in style : a guide to vocal performance practices.opera news. new york. juli 2006. vol. 71.iss.1;pg.63,2 pages. nazir, moh. 1988. metode penelitian. jakarta: ghalia indonesia osborne, conrad l. 2006. the voice and singing. opera news.new york. oktober 2006.vol.71.iss.4; p.78 (1 page). randel, don michael. 1999. the harvard consice dictionary of music and musicians. england. the belknap press harmonia, volume 13, no. 1 / juni 201354 of harvard university press. repelita, malona. 1994. makalah temu ilmiah dan festifal mspi. jakarta rohidi, rohedi cecep. 2000. ekspresi seni orang miskin.adptasi simbolik terhadap kemiskinan. bandung . nuansa yayasan nusantara rowlins , robert. 2006. “ the amirican music teacher”. cincinnati. dec.2005/ jan.2006. vol.55.iss.3; halaman 2630. suharsimi arikunto. 2007. penelitian tindakan kelas (classroom action research car). jakarta: penerbit bumi aksara. sumaryanto, f. totok . 1997. pengembangan instrumen pengukuran kemampuan solfegio, tesis (tidak dipublikasikan), ikip jakarta 138 continuity of tradition dance: acedemicians’ intervention on artists and performing arts groups indrayuda faculty of languages and arts, padang state university, sumatera, indonesia jl. prof. dr. hamka, air tawar barat, padang, sumatera barat 25131 e-mail: indrayudayusuf@yahoo.co.id received: november 19, 2015. revised: november 29, 2015. accepted: december 4, 2015 abstract this article intends to uncover a concept of developing tradition-art groups in west sumatra, which is considered that they have been left behind by modern-art groups in terms of packing aspect, presentation, and technical skills. hence, this article reveals intervention of the academician in developing and providing support in the forms of improving skills and knowledge of the artists and art groups. the support includes improving skills and knowledge of expressing arts through giving packing techniques and arranging art performance, orientated toward educational and social extension actions. the knowledge may consist of techniques for developing movements, dance music, costumes, and make-up affecting skills of arranging and packing performance arts that can be divested in art industries. the method used in this investigation was games that aimed to cope with boredom and improve new awareness of concepts of how to pack performance arts. in addition, the case study was employed to solve problems faced by partners in the field. moreover, practices about how to pack the arts were critical to be done through brainstorming, discussing, and lecturing. keywords: performing art groups; packing; performing art industry how to cite: indrayuda, i. (2015). continuity of tradition dance: acedemicians’ intervention on artists and performing arts groups. harmonia: journal of arts research and education, 15(2), 138-143. doi:http://dx.doi.org/10.15294/harmonia. v15i2.4454 harmonia : journal of arts research and education 15 (2) (2015), 138-143 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v15i2.4454 p-issn 1411-5115 e-issn 2355-3820 for the time being, even though development and management have been conducted by the state government or the local one by the art department, the development is still not able to make the groups pack or arrange their performances according to the performing art contexts. whenever they put on performances, thus, they are still not able to be categorized as the realizable value of entertaining consumption. according to survey results of performing artinvestigation team of drama, dance, and music department of languages and arts faculty, padang state uniintroduction performing art groups are places to manage kinds of performance arts. this group, in west sumatera, can be found in every level 2 region which consists of regency and city, such as tanah datar, agam, padang pariaman, padang, and bukittinggi. on average, performance groups in west sumatera are spread across the province in every regency controlled by the state government. in cities, performing art groups are not owned by state government, but they belong to individuals or particular artists. indrayuda, continuity of tradition dance: acedemicians’ intervention on artist ... 139 versity (2011), it was shown that performance arts experienced some problems making them difficult to compete in the art industries nowadays. those problems were: (1) lack of knowledge and skill mastering in generating economic potency of art performances; both dance and music, (2) lack of knowledge and skill mastering in techniques of organizing dance and music forms that can be sold as performance arts in entertainment and tourism industries, (3) lack of knowledge and skills in arranging and packing shows for entertainment industry, (4) lack of knowledge and skills in utilizing technology to provide support in production process and performing art shows in entertainment industry. besides, their capability to publish their productions and analyze the market are included, as well. in addition to the increase of performing art development which becomes more popular in west sumatera, drawback faced by most of performing art groups in various regions is that they are still not able to compete against urban performing art groups. a great deal of alumni from art academic institutions and colleges enrolling in performing art groups in the cities has made such groups either semi-professional or professional. those groups have received the knowledge of choreography and composition, harmony, techniques, performance arrangement, make-up and costumes as well as management orientated toward performing art industries. urban performing artgroups in turn are able to arrange their shows to enhance the quality and generate audience’s interest, particularly performing art industries. lack of knowledge and skills in most of performing art groups, especially the ones related to science and technology underlies perspective of performance-art, performing art industries, or marketing problems. there are, in fact, many performing art groups in regions marginalized by performing art industries. in the shows organized by department of tourism and regional creative economy, performances of the concerned groups were less satisfactory in terms of visual, audio, and the arrangement. in turn, many tourism organizers were dissatisfied with the performances, so the consumers watching them voiced a complaint to the department of tourism and culture. although they are traditional performance arts, they contain lots of unique things. uniqueness, however, is not enough to satisfy art-lover’s taste. talking about shows, there are a lot of aspects needed to be taken into account by both performers and art organizers – ones of which is packing. aspects of skills and presentation are included, as well. in terms of those aspects supporting performances, in order to place practical, artistic, and aesthetic values on the performances, it is needed to be trained and learned through learning those aspects. as skills and knowledge do not come naturally – without efforts and learning, the performing art groups in rural area are still not able to compete against urban performing art groups. this can be confirmed since rural performing art groups do not master the skills and knowledge of performing art aspects very well, which nowadays become industry commodity. looking at the importance of skills and knowledge for society, particularly performing art society, one of the means needed to be carried out is giving meaningful and valuable contributions to the society. knowledge and skills, in turn, are able to be utilized to improve their insight and knowledge as well as skills which are orientated towards their life welfare at the time being and in the future. contribution given is making up for their lack of knowledge and skills to the aspects which becomes their weaknesses in presenting performance art. according to the field observation, the basic one becoming weaknesses of performing art groups is packing, presentation, and their capability in doing and arranging the composition. due to the fact that performance arts in rural area are lack of science and technology aspects, attitude and behaviors as a group of performance arts orientated harmonia : journal of arts research and education 15 (2) (2015): 138-143140 toward art industries are taken into account that they are needed to be revised – the concerned performing artgroups so that the performance arts contain holistic quality in aspect of attitude as an artist who are able to service art lovers, aspect of skills in playing or presenting the performance, and aspect of knowledge in organizing self, works, and things related to the works. aspect of attitude frequently becomes unnoticed weakness for performing art groups – both in urban which are developed area and in rural area. thus, behavior as the one serving many people is required to give knowledge of how to serve society well in order to make them enjoy the dances presented. the results of such investigation function as a gate to conduct social and cultural intervention in order to make social and cultural changes in artist society as a means to improve knowledge, skills, and their prosperity. therefore, the effort carried out is knowledge and social interventions by giving knowledge of organizing arts – technique developing movements, music, costumes, and makeup – which affect skills of organizing and packing performance arts which become value for money in art industries. in addition, it also gives knowledge of performing art management that is beneficial to produce, organize, publish, and analyze market in performance arts. discussion as an academician, we are under obligation to carry out tree dharma perguruan tinggi (three missions of the university), and one of which is providing social services. in this context, an academician is supposed to be perceptive into the surroundings; both social and cultural environment, as the one that happened in regions of west sumatera. it has been explained in the background that many rural performing art groups are still not able to compete against the urban groups. this threatens development of traditional dances as performance art in those regions. in fact, there are endangered traditional dances as performing art groups are still not able to pack and develop the traditional dances into the new ones. they, later on, will be gradually ignored by the society. in relation to those problems, it is urgent that traditional dances and performing art groups need to be preserved. one of the means is by academician intervening since through exchanging knowledge and skills, traditional artists will acquire insight, knowledge, and skills. as a result, they are able to improve endangered traditional dances. one of the academician’s responsibilities is giving socialization to the surrounding. nowadays, there recent phenomenon in which academicians are engaged in college or studio, ignoring the development of traditional arts and artists in the regions. they at least want to take advantage of such situation for research purposes without intending to develop the artists as well as performing art groups. as a matter of fact, developing artists and traditional performance arts affect the continuity of their research objects. this is still not realized by most of academicians both in west sumatera and in other provinces. looking at the issues that occur in most of performing art groups and artists in west sumatera, it is important that academicians give intervention in knowledge and skills of performing arts. those artists and performing art groups will be dropped behind by the more-modern ones if academicians do not give intervention in knowledge and skills. later on, inability of traditional performing art groups influences the continuity of traditional-dance development in west sumatera. in giving knowledge to the artists or traditional-dance groups, it is better to begin with various methods that are able to encourage and motivate them in order to acknowledge academicians. if it is not based on the characteristics of society in a rural area of west sumatera, they will be sceptical about the academicians once they build relation for gathering or giving information, even though the information indrayuda, continuity of tradition dance: acedemicians’ intervention on artist ... 141 accommodates the society. consequently, the way of taking part in traditional artists and performing art groups should be done using appropriate methods. in the following, it will be explained kinds of method to exchange knowledge and skills in traditional artists and performing art groups which consists of games, case study, modelling, brainstorming, discussion, and lecture. games were carried out to develop a fresh situation in transferring knowledge and skills of performing arts, so the knowledge given would be easily understood by them without feeling inferior to the academicians. giving materials of performing arts also overcame monotonous situation and increased new awareness of concepts in performing arts which was able to be economic potency in the entertainment industry. it was predicted that this method developed sense of familiarity with the academicians. case study was conducted by investigating cases, particularly the ones faced to discuss how to solve problems faced by traditional artists. it was suggested that solving such problems employed persuasive approach. this approach was considered to be able to appreciate them as ego of traditional artists was commonly difficult to conquer. thus, to break down their cases, it was needed persuasive approach. practice or modelling was processed in one of the indicators which would be carried out by academicians in exchanging knowledge and skills in performing arts by artists and traditional performing art groups. to stimulate the imagination and motivation of traditional artists in order to make them able to understand the knowledge such as packing creation dances based on the traditional ones, it was needed academicians who demonstrated the skills transferred such as developing movement motifs, music motifs, and constructing dance organization as well as accompanying music of the dances. this practice was carried out for material concerning on skills and the way to solve them. brainstorming is the process of collecting ideas collectively and compiling them into an inventory of the stated ideas. brainstorming was carried out for specific science materials. traditional artists preferred voicing opinion in solving problems since they did not want to be degraded. exchanging knowledge in improving dance organization in west sumatera done by academicians was sometimes failed since there was no discussion. this problem was triggered by the characteristics of west sumatera people who were independent and democratic. they preferred discussion, sitting at low or standing equally high. people of west sumatera or minangkabau were people who never wanted to be patronized, so they lived in a rural area, particularly traditional artists who were sensitive. therefore, brainstorming method was a correct choice in developing their motivation in order to make them accept the knowledge of performing arts given by academicians. the discussion was a process conducted to examine the problems faced. discussion was carried out in terms of things related to materials given – both knowledge and skills. this was very important to uncover what knowledge they might need to organize and pack performance arts as well as planning effective performance arts. discussing intensively enabled giving intervention of knowledge and skills from the academicians, so what was given would be easily absorbed by traditional artists or performing art groups. as a result, intervention of knowledge about composition, choreography, music organization, and performance packing would be able to be well-done. lecture was done to give normative material (rules applied locally and nationally). in addition, it also explained activity plan as solution steps on problems accepted by the traditional artists. lecture, however, did not have to patronise the society, but it gave issues and overview on goal aspect. the lecture would be able to explain qualitatively about intervention materials harmonia : journal of arts research and education 15 (2) (2015): 138-143142 needed to begin with giving knowledge about performing arts generally. we then continued on performing techniques – performing dance and music, costumes and make-up, as well as arranging magnificent shows. it would be better to begin the first session by giving knowledge about organizing dance in choreography perspective that their dances they showed were monotonous. by giving knowledge about choreography guided by performing art groups, it was given knowledge of improving patterns, arranging such patterns into movements. the movements were then organized based on the moving-sentence rhythm – berner, terner, and rondo. the moving sentences were arranged according to ab-ab order (berner), abc-abc order (terner), and acbaac-bccabcca order (rondo). after the first session discussing about arranging patterns in moving sentences and rhythm pattern of each sentence, the following session was designing stage and room as well as organizing dynamic and dramatic designs. the society was given knowledge about how to design firm and diverse stages in addition to dynamic and dramatic ones. by the dynamic and dramatic examples with graphics, the team gave the explanation that dynamic and dramatic design absolutely determined the unity of dance performances. in the next session, we gave training on how to design the desired music, especially how to adjust movement-rhythm patterns. by adjusting movement-rhythm patterns to musical rhythm pattern, motif of the music which would be used to accompany the dance could be arranged. in this session, training of designing suitable costumes to the characteristics of dance movements was also given as well as make-up worn. it was explained that costumes and make-up determines dance performance for the audience. even though the movements and dace organization accompanied by music were considered to be good and attract the audiences, if the costumes and makeup were not well-arranged, the – knowledge of choreography, composition, performing art packing orientated towards entertainment industries. lecture needed to be supported by analogies related to their experiences, and it should avoid using jargon and academic terms. academic terms would be confusing, so transferring knowledge and skills resulted in failure. hence, language choice in lecturing should be contextual and close to their cultures in the form of guiding art creators. guiding activities for art creator were skill training and giving knowledge about performing arts orientated towards performing art industries. skill training and giving knowledge about performing arts consisted of: a) procedures for packing performance-arts that were full of content and form; b) procedures for presenting and organizing shows in terms of place, arts, attitudes to the audience, and expressing self; c) moving skills, playing music, and selecting costumes and make-up; and d) arranging show repertoire. in the case of the approach in exchanging knowledge in traditional artists and traditional-art groups, we needed to try to engage in dialogue to explain the importance of knowledge about performing arts that had to be mastered by creators and artists in west sumatera. a performing art group had to be able to change their paradigm, missions, and visions. they are living in the era of information, technology, and science that has been quickly developing. in the past, the roles of dance or traditional arts were related to traditional ceremonies or social and cultural activities. this knowledge has been set for a long time in the society who organized arts, particularly those to whom we referred in the guiding process. presentation of their works, therefore, was packed tediously, and it seemed to be simple. according to the dialogue and explanation of the advantages of training program that has been conducted informally, aiming to improve their knowledge about performing arts leading to economic purposes, they were expected to be enthusiastic about such suggestions. thus, we indrayuda, continuity of tradition dance: acedemicians’ intervention on artist ... 143 dance, in terms of its presentation would attract unwanted attention from the audiences as the packing was not able to be completely arranged. after training has been given to the artists, the instructors needed to do a knowledge test to measure how far those guided artists absorbed the given instructions. knowledge test was conducted by performing shows – both the ones which have never been guided in terms of performingarts knowledge and the ones gained such knowledge. by turn, they performed, and it was discussed with the guided artists; both organizers and performers, to ask for comments. this was done as an indicator of success in this activity. conclusions activities of knowledge and skill intervention needs to be conducted to assist the society in improving skills and knowledge of arts and performing arts. performing art groups in west sumatera are generally lacking of knowledge which guides them to be able to compete and expand cultural heritages they have. in the end, their cultures are gradually degraded and ignored by the development of entertainment industries in west sumatera. therefore, the intervention of academicians in exchanging knowledge and skills has answered suspicion among the society about the degeneration of local dance from the entertainment industries. this intervention has already overcome the inability of local artists to develop traditional dances. intervention of knowledge and skills from the academicians is a part of true dharma perguruan tinggi (three missions of the university) which plays role as one of the means to educate society and assist the society in solving problems, especially cultural problems such as performing art problems. thus, by educating society and motivating them as well as creating entertainment-spirited society, they are able to have ability orientated towards economic values which can improve their welfare. references dibia, wayan i. 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(1982). pengantar pengetahuan tari. jakarta: departement of education and culture. 144 community identity politics of brijo lor society, klaten in ki ageng glego myth through reog performance sutiyono sutiyono, bambang suharjana department of dance education, faculty of language and arts, universitas negeri yogyakarta, indonesia received: august 15, 2017. revised: november 24, 2017. accepted: december 1, 2017 abstract this research is aimed to describe community identity politics of brijo lor society, klaten in ki ageng glego myth through reog performance. the research questions are how is the community identity politics in brijo lor society, and what is the relationship between the identity politics with ki ageng glego myth through reog performance? the research approach used is qualitative. data collecting technique was obtained by these ways: observation, documentation, literature, and interview. data analysis was conducted by: data collection, data reduction, data diagnose, and conclusion. to ensure the validity of the data, the researcher conducted triangulation. the result of this research proposed that community identity politics in brijo lor society in preserveing reog is a strategy to maintain traditional art for many other traditional arts are extinct. reog performance conducted regularly is a mediationof the society who ngalap berkah (beg for blessing) to ki ageng glego spirit. when reog is performed, ki ageng glego spirit descends upon the world. many people come to watch reog because they want to get blessing for the descend of ki ageng glego spirit. ki ageng glego myth became an identity political way of brijo lor society through reog performance. keywords: identity politics; community of brijo lor society; reog how to cite: sutiyono, s., & suharjana, b. (2017). community identity politics of brijo lor society, klaten in ki ageng glego myth through reog performance. harmonia: journal of arts research and education, 17(2), 144-152. doi:http:// dx.doi.org/10.15294/harmonia.v17i2.12060 harmonia: journal of arts research and education 17 (2) (2017), 144-152 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i2.12060 gives. therefore, to be thankful for god’s blessing, brijo lor society does the reog performance. hence, reog art is influenced of ki ageng glego myth. people think that the story of ki ageng glego is real. besides, it is considered as a sacral story to strengthen reog art in brijo lor sacred. ki ageng glego story is considered as the principle story of reog performance ritual. people of brijo lor also believe that ki ageng glego is forefather who first inhabited brijo lor village. reog art performance ritual to reintroduction reog performance is one of traditional arts that still exist in brijo lor village, trucuk, klaten. the reog performance is the way people respect ki ageng glego that spread islam in brijo lor and its surrounding. ki ageng glego was a person who was persistent and hard worker to do holy deed which was spreading islam. besides, reog performance is also aimed to devote and be grateful to god. human must obey and be grateful with what god corresponding author: jl. colombo no. 1 yogyakarta 55281 p-issn 2541-1683|e-issn 2541-2426 sutiyono sutiyono, bambang suharjana, community identity politics of brijo lor society 145 peat ki ageng glego must be done because they believe by having done reog performance they will live peacefully and safely avoided from any danger and sickness. a vary of cultural richness that grows in this society is known, believed and admitted as elements that can thicken a social cohesion among the people (haba, 2007). reog performance is an expression to communicate with supernatural spirit. brijo lor people believe that reog is a sacred ceremony. therefore, the existence of reog becomes sacrosanct. they think so because they believe that reog can be a blessing for the society (yeung, 2011). if it is abolished, they believe there will be no blessing comes upon then, which means it is a disaster. the existence of reog in brijo lor cannot be separated from the globalization influence. everything that exists in globalization era always changes. there is also a change in reog, even though the people cannot feel it. one of the changes is that the change of performance elements, such as costume, make up, dance, property, duration and the plot. this change is one of ways to maintain and preserve the existence of reog in globalization era. the reog performance that occurs annually is kuda lumping that relates the actors with the supernatural ancestors. reog performance and ki ageng glego myth as an identity has attracted society of brijo lor and outside to come and watch this reog performance and also ngalap berkah as well. in this globalization era, there are many traditional arts that are left by people, but reog art is still socially accepted by society of brijo lor and outside. besides, the power of ki ageng glego myth has shaped the mindset of people in brijo lor to perform reog in every beginning of shawwal month. brijo lor community as a collective society tries to understand the myth of ki ageng glego to believe the sacred values. these values are not only applied in prohibitions, but also applied in regular and factual ceremony. the mindset of the society in brijo lor toward the scared myth of ki ageng glego is done by annual reog performance and as a blessing prayer. the reog performance is a way to shape the identity politics for brijo lor community toward ki ageng glego myth. the identity of a community or society is really close to awareness of collectiveness (wrahatnala, 2015). this awareness of collectiveness becomes a must for community of brijo lor to perform reog to ngalap berkah. the reog performance which is the representation from many aims in community of brijo lor to ngalap berkah can be considered as a identity politics by brijo lor society community toward ki ageng glego myth. the identity politics of society community is shaped by collective mindset. based on those reasons, the research problems are how is identity community politics in brojo lor, and what is the relationship between this identity politics with ki ageng glego myth through reog performance? method this research method is qualitative method. with this method, it is expected that a vary aspects observed are valid, reliable, and relevant with the needs. the location of this research is brijo lor village, kalikebo, trucuk, klaten, especially in al-fatah mosque and its yard, and also ki ageng glego cemetery. in this village, there is a community of reog actors. data collection techniques used were observation, interview, and documentation. the data collection steps were: (1) observation; that is a way that the researcher used to see a dance learning process, (2) interview; where the researcher tried to reveal how the research subjects define the dance learning process, (3) documentation; where the researcher designed and placed terminologies and theoretical sources in this research. the main instrument in this research is the researcher. the researcher involved directly in this research by going to the field, doing observation in ki ageng glego’s cemetery in brijo lor, kalikebo, trucuk, klaten and also interviewing the harmonia: journal of arts research and education 17 (2) (2017): 144-152146 informants. the researcher had prepared it before, by bringing any stuffs that could help the research in the field. those stuffs were tape recorder, and notebook. tape recorder was used to record the interview, and notebook was used to take a note of observation in the field. the data collected by observation, interview, and documentation were qualitative data. the techniques used to analyse the data were interpretative descriptive analysis data by these steps: (1) choosing relevant data/document and coding, (2) making an objective notes and classifying and editing (reducing) the answers as well, (3) making a reflective note, writing the ideas of the researcher as an interpretation with its relation to objective note, (4) concluding data by making a format based on data analysis technique that the researcher wanted, (5) doing triangulation, that was checking the data validity by concluding double data. the data analysis procedure was conducted by data reduction process, data presentation, and data verification with interactive analysis cycle model (miles & huberman, 1992). results and discussion community identity politics of brijo lor society in identity politics, the most important question is who are we that form themselves in cultural themes like the homogeneity of religion, language, history, value, habit and institution. in this case, there is a question occurred who are the community of the descendants of ki ageng glego that still have willingness to preserve reog art in brijo lor up to now? horowits (1998) used ethnic term to show a very exclusive group identity based on the homogeneity of background, member based on relatives and especially the typical of culture. it is obvious that social and situation experience, and the closeness with the cultural modernization that is determined by identity politics, are on the top position to determine the definition of cultural way of living in groups, in terms of affiliation of religion-culture tradition. in addition, to see “who are we?” it is questioning who is the community of reog preservation? identity politics stated that there is a strategy to see themselves through the others. the other people here means individual, group, tribe, ethnics, race and nation with its all the differences like age, sex, history, belief, religion, politics, social and culture. the process of identity construction generally covers accentuating of essential and substantial similarities and differences with ‘the other’. yet, it must be remembered that identity is never fixed, static, or final but it is always changing and dynamic, or in constant mutation (during, 2005). according to hall (1997) identity construction is never complete and this process is happening inside, not outside, representative. this reog performance is one of representatives therefore, it is an interesting media to observe how the community and the society offer the ideal identity of society. based on the identity politics concept and reog performance, it is revealed that society in brijo lor that has reog performance that relates to ki ageng glego myth is a means to construct identity community of society brijo lor. the society that comes to watch reog performance and beg for ki ageng glego blessing are ‘the other’ that becomes projection for society and community in brijo lor to shape the identity. their general identity is society who comes to take a part in ngalap berkah. in some cases, it is revealed that multiple identities like family gathering in brijo lor, as merchants, bring relatives to be cured, cultural experts, students, researchers and art spectators. the strengthening of identity politics in ki ageng glego myth through reog performance in brijo lor as well as the cultural identity movement to raise the local culture, as well as the extinction of local culture. with a loud and provocative voice in reog performance in front of many people, the society of brijo lor said, ”i am the descendant of ki ageng glego” that still maintain reog. the society coming to watch the reog sutiyono sutiyono, bambang suharjana, community identity politics of brijo lor society 147 performance also beg blessing from ki ageng glego through reog performance. both society of brijo lor who perform in reog and the other people come to watch reog and visit ki ageng gribig’s cemetery is people who wants to ask for blessing. besides, because of the extinction of traditional arts in villages as the impact of globalization era, there is revitalization movement occurring to develop the traditional arts. it shows that people in village do identity political movement to show the cultural movement that leads to movement to preserve traditional arts. the improving of cultural movement as a identity political movement as well as village strengthening where its position as a developing subject is not developing object like in new order. besides the awareness of society about the importance of local culture that has been used as a social-culture activity pattern as well as to filter foreign culture that comes to indonesia. thus, identity politics carried out by society in brijo lor can implement cultural movement to strengthen reog performance as a step to preserve and continue from the predecessors. the identity political project is expressed in reog performance every beginning of shawwal month. identity politics, that has been tested to be applied in cultural entity in sermon or islam spreading by reog performance. or, by having reog performance, it is expected there are more klaten people to hold islam by islam sermon (triyanto et al., 2016). according to klinken (2007), people who take all of buildings of local political institution are the local elites. it is same as all relatives of the descendants of ki ageng glelo who took all institution buildings of reog cultural performance movement in brijo lor that is formed in a society brijo lor media. it is proved that, except the descendants of ki ageng glelo are not allowed to come in this community. it means that identity politics is used to differentiate between us and them, to keep the purity of the descendants of ki ageng glelo. it is a matter because they have gone so far to maintain the good relationship among the descendants of ki ageng glelo. they are worried if there is someone else involved with this, they just spoil the good relationship among the descendants of ki ageng glelo the identity politics make the cultural awareness toward the society of brijo lor village to maintain the reog performance. this cultural awareness make them to always have annual reog performance. besides enjoying the aesthetic art, they always keep the relationship between the community in brijo lor village who are the descendants of ki ageng glelo. helping each other between the community to maintain reog is a way to strengthen a good relationship. they really respect social values to have a team work, maintain togetherness, and maintain the unity with the descendants of ki ageng glego. the social values that relate the togetherness is believed by the society as a cultural identity shaping. however, sometimes there are difficulties and crush with the other ideologies. it is occurred because there are members of reog performance join muhammadiyah, lembaga dakwah islam indonesia (ldii), nahdatul ulama (nu) and javanese ideology. on the other words, there are some of them joining fundamentalism group. yet, the process in unity is done by all societies in brijo lor. the suggestion to maintain the togetherness is always emphasized by the predecessors. all community is bound by the togetherness as a big family of ki ageng glego, and it is expected can understand each other. they realize, that it is the risk to built cultural politics to become a process to defense and strengthen reog. the establishment of ki ageng glego community cannot be separated from the construction of identity politics of elites who strive to reduce and manipulate their business to be a desire on behalf of society in brijo lor to re-invented their community possession right and historical possession right (the right of the descendants of ki ageng glego as a islam disseminator after the collapse of majapahit). start from that point, it can be concluded that thinking, harmonia: journal of arts research and education 17 (2) (2017): 144-152148 outside java always go to their hometown when there is reog performance. brijo lor village, myth and ngalap berkah brijo lor village is a village that belongs to kalikebo urban village, trucuk sub district, klaten regency. this village is located around 40 km in the east part of the center of klaten. in klaten regency, there are 50,97% (33.412 ha) land as a field, 39,29% (25.760 ha) land non-field, and 9,74% as a housing complex. (section of integration cultivation and dissemination statistic of klaten regency, 2014:2), klaten regency is divided into 26 sub districts and 391 urban villages. brijo lor village is known as a village that still conserves reog. all reog committees are the descendants of the first reog inventor who is ki ageng glego around the 16 centuries. brijo lor village belongs to the part of suburb of javanese, that has islam history. ki ageng glego started his islam teaching here. in this village, there is the cemetery of ki ageng glego, behind al-fatah mosque. in front of ki ageng glego’s cemetery, there are 6 smaller cemeteries that are predicted as the cemeteries of ki ageng glego’s students. there are always people come to visit ki ageng glego’s cemetery every day. especially in friday kliwon night and tuesday kliwon night, there are always groups form klaten or outside klaten visit. even, those pilgrimages come from jakarta, surabaya, and denpasar. they who come are hope for many things, like praying for ki ageng glego’s spirit, find inspiration, get a great charisma, get a better job position, and get a peaceful life. ki ageng glego’s myth becomes the spot of the attention of brijo lor community. when a reog performance is shown in the yard of al-fatah mosque, there are many people come. these people ask their family members to tell about the sickness so that the sickness can be healed like before, beside, they who come to the reog performance also ngalap berkah. they come from kalikebo village and outside kalikebo like delanggu, bayat, klaten, solo, wonogiri, and so on. there are also peopbehavior, and action of community in brijo lor village that has been established is aimed to produce active awareness to built reog art. there are two conclusions. first, the identity constructed by elites is clearly aimed to keep and preserve the community that preserves reog, also to maintain reog now and in the future that becomes the identity of society, brijo lor village. the position of identity of group/community that preserves reog becomes important as a way to unite people in this globalization era where there are many traditional arts that are going to be extinct because of the society are weakening and being marginalized. the identity of conservation community is established by responding a love element and the main symbol like in ki ageng glego glory that spread islam with reog media in 18 century. second, the construction done by elites is a politics indication that place community of brijo lor village can conserve reog art compared to elites in other villages where its traditional arts extinct. besides, the community in brijo lor is able to show that they are equal with the other communities that still conserve traditional arts in klaten. therefore, community in brijo lor can be considered as a community that is good. hence, identity construction in brijo lor is a political and cultural admission in society. identity is not else as a past chain in any social relations, cultural, economical in society. there is a synthesis process that lead to various past relations that made people want to be admitted of its existence, in personal or group in context place and time (rutherford, 1990). the social life in society in brijo lor village that conserves reog is shaped because of the social interaction with the descendants of ki ageng glego, which means they have the same historical background and culture. in this case, they always choose to gather to watch reog every beginning of shawwal month. for instance, the descendants of ki ageng glego that has stayed outside, like magelang, wonogiri, bandung, jakarta, or even sutiyono sutiyono, bambang suharjana, community identity politics of brijo lor society 149 le who come directly to ki ageng glego’s cemetery to pray. before it, the caretaker of the cemetery has made an offering like flowers and incense. the incense is burnt in a small stove from 8 am in the yard of ki ageng glego’s cemetery. the smoke produces sweet smell. it is meanwhile, in front of al-fatah mosque around 11 am has started the reog performance. they who just visit behind the mosque, go to mosque yard to watch reog performance. besides, there are some people who just sit in front of their house to have a talk with people around them nearby the reog performance. moreover, in ied mubarak day, they come far away to meet their relatives. while they spend time with their family, they talk with the others and also enjoy the reog performance. either people who watch reog or just have a chat have the same orientation; that is ngalap berkah. based on that myth, people in brijo lor believe that ki ageng gribig always comes on earth through the reog dancers. with his descend, people hope they got a blessing that ki ageng glego brings to the earth. to welcome the presence of ki ageng glego, the descendants of ki ageng glego that become the community of the society in brijo lor performed reog. to make the presence of ki ageng glego can be welcomed by many people, this community choose an important event like the beginning of shawwal month, which is on 1,2, or 3. around those days, there are many people gather. in a situation where many people go home and visit each other, they do reog performace as a ngalap berkah ceremony for the families. to celebrate ied mubarak too, there is reog performance in the yard of al-fatah mosque. therefore, the beginning date around 1,2 or 3 in shawwal month, in brijo lor village, there is always a reog performance as well as ngalap berkah from the society in brijo lor and around it. in this ngalap berkah, people really expect the blessing from god through ki ageng glego. the legend of ki ageng glego raden mas sura lawung or known as ki ageng glego came form majapahit. ki ageng glego is the war military of majapahit kingdom. however, one day, ki ageng glego was slandered by the majapahit relatives, because they were envy and jealous with ki ageng glego and his two relatives, they were jayengresmi and selegoro. one day, in majapahit kingdom there was a leadership succession. hayam wuruk was replaced by brawijaya. with this succession, there were many slanders, to get rid of the politics rivals. one of the slanders came to one military, who was ki ageng glego. because of that slander, the king exiled ki ageng glego and his relatives that made them leave majapahit. the leaving of ki ageng glego was followed by his two best friends, jayengresmi and selogoro. they were really best friends. it is like when one feels sick, the others feel sick too. if one feels happy, the others feel happy too. they also had the strong willingness to leave majapahit kingdom because they were slandered by some people in majapahit. on his way at night, they spent night in the house of sunan kalijaga’s student. sunan kalijaga knew the presence of those three people that stayed in his student’s house. then, sunan kalijaga asked his student to tell those three people to go to the southwest from majapahit. by going to the southwest, they finally arrived in one place, which is now called brijo lor. when they arrived ar brijo lor, they did what his sunan said to do tapa brata. tapa means getting away from secular, and brata means, something that must be done. however, they got different order from the sunan. ki ageng glego was ordered to deal and immerse in literature field. jayengresmi was ordered to deal in kanuraga or self defense. selogoro was ordered to deal in spiritualism. sunan kalijaga asked them to do so with a reason because they already fulfilled their destiny to do those commands. when ki ageng glego firstly came iin brijo lor, the inhabitants were only 10 people. the coming of ki ageng glego made the citizens of brijo lor left their hometown. they were the real inhabitant of harmonia: journal of arts research and education 17 (2) (2017): 144-152150 brijo lor village who hold buddha. they felt that they had different faith and felt inferior with the presence of ki ageng glego. to built his village, ki ageng glego had been shown by sunan kalijaga to adore allah and did islam law. according to sunan kalijaga’s command, ki ageng glego did sermon and spread islam to all people in brijo lor and around it. ki ageng glego also showed the right and the wrong way. he taught to worship god, not stones or woods. in his sermon, ki ageng glego felt the differences to persuade people to do good deeds. his sermon result brought a result after some years when there were three people who did islamic law. seeing that only a few people held islam, ki ageng glego had a strategic idea. this idea was creating reog art that should be used to gather people. by this art, ki ageng glego spread islam. this effort was succeed, because when there was a reog performance, many people in brijo lor came. they got islam sermon from ki ageng glego. some people held islam. reog performance performance form of snrbl is divided into three, they are: (1) pre-performance, (2) performance, and (3) closing. the first part, per-performance is a preparing step done before the performance done. in this part, there is slametan ceremony by the community in brijo lor, which is one week before the reog performed. this ceremony is accompanied with offering making like, a bunch of banana, rice which is rounded (golong), white rice, red rice, tumpengan, roasted rooster, kinang, and abon-abon duit satus, lodeh soup, liman flower and incense. this offering is intended to respect ki ageng glego which was respected as the predecessor of reog creator. besides, there is also an exercise for dancers and musical players. a day before the performance, there will be besik activity; that is an activity to clean the graveyard area in ki ageng glego cemetery that is done by all society in brijo lor. they also set the stage where the reog performance is carried out around the yard in al-fatah mosque. to limit between players and audiences, they build a fence made of steel. as the entrance and exit door, they made tarub the second part, the performance is continued with hitting bendhe that is done by predecessor of the society in brijo lor that indicates the performance will start. bendhe is hit once, means that all players are putting on make up and costume in their own homes. the next one hour, bendhe is hit once, and then twice. it signs that the make up time is almost over. not long after, the bendhe is hit three times to show that the make up time is over. after that, bendhe is hit frequently (nitir) to show that the players must be in rush to go to al-fattah mosque yard. figure 1. performing arts reog in the court yard of the mosque of al-fatah, brijo lor, (photo: sutiyono, 2015) the reog performance can be detailed as it follows. (1) there is no a strict rule in dance of reog. there is no limitation, so the dance movement seems free, but regular. this dance movement is centered in leg movements that are adjusted to the theme which is welcoming. (2) the musical instruments in reog performance are kendhang batangan, bendhe with slendro notation ( the total is three, which each of them is 2 (ro), 1 (ji), 5 (mo),tambourine and angklung. the placement of the musical instruments has been decided in the past and it cannot change. the place of the musical instruments is in the yard of al-fattah mosque. the song played like monggang by using three notation, such as 2 (ro), 1 (ji), 5 (mo) sutiyono sutiyono, bambang suharjana, community identity politics of brijo lor society 151 with vigorous and fluent rhythm each scene. (3) the make up put on is just to add aesthetic value and to differentiate between players and audience. the characters used are a manly man character. the costume worn is also simple. the properties used are kuda kepang, dodor (bamboo stick), jebeng (palm trunk), sworn, tameng gentelo (wood), and gembung (made of mortil sleeve with traditional herb wrapped in white cloth). the reog performance is actually not limited by the length of the show will be around 5 until 6 hours. it starts at 11 am until 5 pm. the place is in the yard of alfattah mosque. the decision location is based on the place of ki ageng glego’s cemeteru. the location of al-fattah mosque is near the king ageng glego’s graveyard. the purpose with this rule is to remember the role of one predecessor called ki ageng glego. conclusion community in brijo lor village who strives hard to preserve reog is a strategy to preserve reog which is effective in improving the position to the society inside and outside brijo lor, trucuk, klaten. in globalization era, many traditional arts are weakened even extinct, but reog still exists because it is maintained by the community in brijo lor village. in front of general public, the society in brijo lor called themselves as the descendants of ki ageng glego which is bound by routine meetings followed by the descendants of ki ageng glego come from inside or outside brijo lor once a month. this strategy is considered to be the most possible thing to be done by the community in brijo lor as the actors of reog preservation in its relation to community objective as the descendants of ki ageng glego who see that many traditional arts are weakened and extinct as the effect of globalization era. this strategy is also a means to develop many efforts in strengthening cultural identity politics and the community in brijo lor village. reog performance which is conducted regularly is a mediation to supernatural world; that is connecting people who are being ngalap berkah to ki ageng glego spirit. it is caused because when the reog is performed, ki ageng glego spirit come down to the earth. many people come to watch reog performance to ngalap berkah for the coming down of kiageng glego spirit. this myth of ki ageng glego becomes a means to give identity politics in community of brijo lor village through reog performance. references during, s. 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(2011). constructing sacred space under the forces of the market: a study of an ‘upper-floor’protestant church in hong kong. culture and religion, 12(4), 401-418. 303 the identity construction through music notation of the indigenous style of gitar tunggal lampung pesisir riyan hidayatullah, muhammad jazuli, muhammad ibnan syarif universitas negeri semarang, indonesia submitted: 2021-05-18. revised: 2021-09-09. accepted: 2021-11-15 abstract this study aims to reveal the meaning of music notation writing of gitar tunggal lampung pesisir written by imam rozali. imam is a gitar tunggal player who wrote his technique and playing style in notation symbols. this article uses a case study research design with pattern matching techniques (yin, 2018). data were collected through observation, interviews, document analysis, and audio recordings. a series of tests were carried out on the notation and other supporting information to improve the validity of the data. laboratory analysis was carried out to describe signs, interpret symbols, and compare western musical notation. as a result, (1) the music notation written by imam rozali is a musical expression used as a medium for remembering; (2) the writing of imam rozali’s musical notation constructs his musical identity as a gitar tunggal lampung pesisir player; (3) imam rozali’s music notation symbolizes an indigenous style which has its concept of gitar tunggal music; (4) imam rozali tries to add value to his musical identity among gitar tunggal players because the notation is a symbol of intellectuality. keywords: music notation, gitar tunggal lampung pesisir, indigenous style, lampung culture how to cite: hidayatullah, r., jazuli, m., & syarif, m. i. (2021). the identity construction through music notation of the indigenous style of gitar tunggal lampung pesisir. harmonia: journal of arts research and education, 21(2), 303-317 harmonia: journal of arts research and education 21 (2) (2021), 303-317 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i2.30253 mic culture, sumatra has people who are familiar with string musical instruments like gambus and guitar. even though both musical instruments are not from local indigenous culture, the society has included many local traditional music idiom elements through their string music. gambus can be found in palembang, riau, jambi, and lampung. meanwhile, guitars are used in rejung art (bengkulu), biduk sayak (jambi), ‘sahilinan’ (south sumatra), and gitar tunggal (lampung) (barnawi & irawan, 2020; firmansyah, 2020; harahap, 2005; misthohizzaman, 2006; roveneldo & barnawi, 2021; rukmana et al., 2018; yamintroduction indonesia is an archipelagic country that has lots of traditional musical instruments. string instruments that are quite popular such as sasando (ntt), sapek (kalimantan), rebab and kacapi (west java), and so on. each of these string instruments has its own distinctive character of sound and local shape (organ). meanwhile, some traditional music uses conventional musical instruments, such as guitars from europe and gambus from the middle east.. as a malay land where almost all of its territory is influenced by arab-islacorresponding author: e-mail: riyanhidayat28@students.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 21 (2) (2021): 303-317304 polsky, 1999). in lampung, playing guitar accompanied by singing is known as a gitar tunggal; it is also mentioned as lampung classical guitar. as the expression of ‘sai bumi ruwa jurai’ which symbolizes the two groups of indigenous lampung people (hadikusuma, 1990), the lampung gitar tunggal art is divided into two styles, coastal and pepadun styles. the coastal-style guitar is identical with peminggir or saibatin people, which the music tends to be minor, consistent plucking patterns, and melodic vocals. at the same time, the pepadun-style gitar tunggal has more variations on the tuning and plucking system. in addition, pepadun’s gitar tunggal is more inspired by portuguese, dutch, and malay-islamic music (barnawi, 2017; barnawi, hasyimkan, & hernanda, 2020; misthohizzaman, 2006). coastal lampung society the indigenous people of lampung are divided into two groups, namely the saibatin and pepadun (hadikusuma, 1984, 1990; hadikusuma, barusman, & arifin, 1977). pesisir people are known as peminggir because they generally occupy coastal areas (syahrial, 2019), while the pepadun people come from several clan descendants: abung, pubian, mego pak, bunga mayang sungkai, and way kanan (funke, 2018). the indigenous people of lampung are called ulun lappung (irianto & margaretha, 2011). the lampung people’s philosophy of life is known as pi’il pesenggiri, which means self-respect or shame (hadikusuma, 1990). this philosophy is broken down into five points, including: pesenggiri (selfrespect), nemui nyimah (hospitality), juluk adok (maintaining a big name), nengah nyappur (mingling), and sakai sambayan (mutual cooperation) (amaliah, sariyatun, & musaddad , 2018; ariyani, 2015; fachrudin & haryadi, 1996; hadikusuma et al., 1977; irianto & margaretha, 2011). the indigenous people of lampung are mostly muslim and proud of their ancestral heritage. islamic values are shown very strong, especially in the coastal lampung culture. for example, dibingi dance is symbolized through costumes and bedana which highlights the concept of malay-islamic music. the definition of malay here refers to martiara (2014, p. 12) concept that malay no longer describes a social hierarchy but as a horizontal identity. it means that malay music at least refers to a new identity that emphasizes ethnicity, religion, language, geographical location, and customs (see: weintraub, 2010; yampolsky, 1996). furthermore, the representation of islamic-themed music can be found in coastal lampung string music. gambus tunggal music contains praises to allah swt and sholawat to the prophet muhammad saw. this is due to the acculturation of middle eastern culture (tejapermana & hidayatullah, 2020). the coastal lampung society is different from the coastal society in java. coastal javanese people tend to be straightforward, spontaneous, rude, and egalitarian (thohir, 2017; triyanto, 2020). meanwhile, the coastal lampung people are more polite, fine, gentle, open, and symbolize an acculturative-adaptive art form (daryanti, 2020). this condition is further strengthened by vickers’s (2009, p. 16,88) statement about the inherent and pluralistic nature of coastal civilization. therefore, the term ‘coastal’ is no longer used to define a uniform type of society and culture. that is, cultural accommodation and conflict may occur because it consists of the interaction of various groups with high mobility. gitar tunggal lampung pesisir guitar is a string instruments family which is often found in traditional music in indonesian archipelago. the existence of this musical instrument is almost spread throughout sumatra, kalimantan, sulawesi, java, sumba, nusa tenggara, maluku, and other areas (harahap, 2005; hastanto, 2005; irawan, 2013; kartomi, 1980; nettl, 1997; parto, 1995; yampolsky, 1996, 1999). therefore, these sources prove that the riyan hidayatullah, et al., the identity construction through music notation of the 305 guitar is quite popular in the musical tradition in the archipelago. even though it is well-known and spread throughout the archipelago, it does not mean that the way to play it is musically uniform. each region has a different way of playing, terminology, and even organology. in lampung region, for example, the guitar has become part of the cultural expression of the coastal society. the coastal lampung people recognize the gitar tunggal lampung pesisir as an element of their cultural identity. in addition to the lyrics in lampung (dialect ‘a’), the tuning system, the plucking patterns also characterize the music. historically, gambus music first appeared and was popular among the people of coastal lampung. it refers to the islamic music style, which is equipped with verses of praise to allah swt. there are two types of gambus used by lampung people, namely gambus balak (large) and gambus lunik (small) (barnawi & irawan, 2020). after that, the coastal-style gitar tunggal became recognized after a senior gitar tunggal player named hila hambala popularized it (hila hambala, interview, 23 june, 2021). gitar tunggals are becoming popular among the coastal-saibatin society and the pepadun people (suttan purnama, interview, june 22, 2021). although it is quite influenced by gambus music with malay-islamic theme, gitar tunggal lampung pesisir actually carries a light communication message which is relevant to people’s lives, rather than highlighting elements of islamic music in the lyrics or musical elements. gitar tunggal lampung pesisir in the context of mass culture mass culture is associated with popular culture (burton, 2012, p. 38). in the field of musical performances, mass culture cannot be separated from public entertainment context because generally this type of music is deliberately made to be heard. siregar (1997, p. 137) defines the characteristics of mass culture, as a culture which is mass produced and consumed, has a standard format, and is widely spread. kadir (1988, p. 4) adds that mass culture is symbolic and popular to all levels of society. if drawn in its context, music which has support from many people (the masses), can be categorized as popular music (wadiyo, haryono, soedarsono, & ganap, 2012). gitar tunggal in mass culture perspective is also related to the music industry (wadiyo et al., 2012, p. 11)because there are products that are sold or traded (raden, 1994, p. 170). commercialization in the music industry is usually supported by three things: (1) the author, (2) the marketer, and (3) society needs (gans, 1999, p. 29; siregar, 1997, p. 137). in lampung music industry, the gitar tunggal lampung pesisir is used as entertainment, a medium of expression, social media, and imitation. therefore, the music is needed by the local people. the gitar tunggal lampung pesisir is included in the treasure of traditional culture because it contains elements of local (lampung) idioms, then develops into a popular one since it belongs to the area of mass culture. the gitar tunggal lampung pesisir was first developed and popularized by hila hambala. once it became popular, the music belonged to the saibatin-coastal community and the wide community entirely. the influence of gambus and ‘batanghari sembilan’ style the technique of gitar tunggal lampung pesisir playing is inspired by gambus and ‘sahilinan’ batanghari sembilan styles. this is because (1) hila hambala, the one who carries the gitar tunggal from lampung using coastal style, is also a gambus player; and (2) batanghari sembilan guitar songs were first popular in lampung. the musical structure of the batanghari sembilan guitar contains rhymes and poetry which previously functioned as communication media (andari & suharto, 2020). then, the music developed for the needs of entertainment, traditional ceremonies, rituals, and artistic expression of the society. the lyrics in batanghari sembilan guitar are presented with spontaneous, humorous, and slightly pornographic rhymes, which harmonia: journal of arts research and education 21 (2) (2021): 303-317306 makes the music attractive (firmansyah, 2020). the song lyrics in the gitar tunggal lampung pesisir are different from the batanghari sembilan guitars. the lampung gitar tunggal tends to express daily life stories with relaxed language, while batanghari sembilan music is more dominant with rhymes. gambus and lampung gitar tunggal performances are both performed solo by one person. a gambus tunggal or guitar player sings the rhymes accompanied by dynamic pluck ornamentation. however, gambus can be combined with other musical instruments in certain situations, such as violin, tambourine, accordion, and gong (hidayatulloh, 2020). just like the lampung gambus, the guitar in batanghari sembilan is also often presented in an ensemble format with violin and gambus (firmansyah, 2015). at the same time, lampung gitar tunggal is generally presented entirely by one person only. although it is also often modified on the vocal elements for reasons of the need for voice color or because of the singer’s limitations in playing the guitar, more than one player is needed. gitar tunggal performances nowadays are more common than gambus tunggal. besides being served at wedding receptions, circumcisions, and similar traditional events, the popularity of gitar tunggal lampung pesisir music is increasingly supported by the role of the media, such as rri (radio republik indonesia) which always presents lampung gitar tunggal music every week. in addition, the existence of video sharing platforms such as youtube is also very influential on the transmission of gitar tunggal music nowadays. senior gitar tunggal artists, such as hila hambala and edi pulampas also transfer their works through the youtube channels ‘hila hambala’ and the ‘edi pulampas official channel.’ youtube is also used as an online-based gitar tunggal learning medium (hidayatullah, 2019). music transmission and writing traditions before entering the digital era, gitar tunggal lampung pesisir music transmission occurred orally through an enculturation process. the learning process is carried out by imitating directly from existing examples. as electronic media such as smartphones are becoming more widespread, everyone can see and listen to the gambus and gitar tunggal playing through their personal smart devices. learning guitar can be done by recording via handphone and playing back many times the transmission of country’s local music tends to occur orally, while written traditions are rare. this condition is different from the history of european music in the middle ages where the tradition of writing (notation) was part of the development of music (berger, 2005). regional music does not yet have a definite reference pattern in terms of writing. for example, the notation system that was attempted to be developed for gamelan music on the basis of western notation thought around the 19th century. as a result, the concept adapted from the ‘outside’ actually undermined the order of gamelan music itself (becker, 1980; rice, 2014). traditional regional music (especially in this case, gamelan) is like thai music, which is rich in improvisational nature, and ideas are constantly evolving, making it difficult to standardize (myers-moro, 1990, p. 101). indigenous music notation cardew (1961, p. 22) states that music production involves the phenomenon of sound that has to be written. that is, the process of composing any music requires a notation system. cardew adds that if music is like a language, anyone can create a language for the purpose of saying something, or develop it so that he can say anything. music notation is a language that defines what can be said. the western system of musical notation, also known as sheet music notation, has long been the standard mode in expressing musical sounds in written form. this system has long been the standard format for musical notation. ‘the grand staff’ is the most recognized musical notation in the world riyan hidayatullah, et al., the identity construction through music notation of the 307 today. based on consensus, the system is very convenient when used in classicalwestern music traditions. however, many types of music have different values that these notations cannot express. for example, in traditional korean music, continuous bending lines are used to represent pitch changes rather than the conventional western notation symbols created earlier (killick, 2013). this shows that the western notation system cannot always be used in the context of world music. in certain contexts, the use of notation actually limits the way of thinking and creating music (sloboda, 1985). notation continues to evolve into very different forms of improvisation (cage and xenakis), and complex graphic forms (ligeti and stockhausen) (stein, 1979). in other areas, literature and music are written according to their respective traditions to meet their own musical writing needs. myers-moro (1990) and becker (1980) argue that western musical notation as a derivative of foreign thought dramatically influences the natural appearance of music in java. becker discusses how thai and javanese music have similar formulations, especially in terms of improvisational elements. on the other hand, becker rejects the notion that western notation is placed on indigenous gamelan music. this intervention undermines the authenticity of local popular music as well as changes the mentality of musicians. a myers-moro review of becker’s book concluded that the original thai notation system was more dedicated to the memory and accelerated music teaching, whereas the western notation was used for preservation. musical notation is also used as a social tool as long as it serves the purpose of communication and it is understandable. this is because notation also functions to transmit one’s musical ideas (schütz, 1951). seeger (1989) even considers that written culture (notation) and musical literacy are still used as pleasure and instructional needs, for example learning, teaching, and media for remembering. in fact, notation is not as widely used as we read and write everyday words. the same thing was also proven by ishida (2008) on local gamelan musicians in solo. the melodic structure in a song is much limited by the writing, thus reducing the ‘improvisational’ nature of the music itself. only a few rural and socially close musicians still use such a method. sudirana (2019) shares the same perspective on western notation in traditional balinese music. this idea came from several musical works by colin mcphee, who used western notation to compose and analyze local balinese music (bakan, 1999; gold, 2004; herbst, 1997; tenzer, 2000; vitale, 1989). sudirana criticized the lack of understanding of indigenous balinese music theory, which resulted in several attempts to generalize the notation system of local music. the beauty of the local (balinese) notation system, which cannot be written down but is taught directly from generation to generation, is its non-musical element. as a result, this becomes a weakness in the description of local written traditions related to their cultural context. the original style of creating a musical notation system should be a significant consideration in developing local music theory for music transmission. yung (2019) sees the other side of musical notation, which is part of local musicians’ creativity. notation is part of the traditional music transmission medium. even that does not rule out the possibility that the transmission of traditional music will change. various methods do the desire to write music always exists and the way of writing. some traditional musicians still use the concept of western notation, while the rest try to develop their own system. ‘indigenous style’ on a coastal lampung solo guitar rose (1995) says all that is included in the term ‘indigenous music’ is identical to traditional music, folk music, and ethnic music. therefore, local music idioms as a representation of local culture are very likely to be highlighted, including attitude aspects in music. for this article, the term “indigenous style” refers to people’s attituharmonia: journal of arts research and education 21 (2) (2021): 303-317308 des towards the transmission of music (especially among guitarists). there is a kind of collective tendency to be self-showing and ethnocentric so that they (local musicians) look superior. this mindset becomes slightly more excellent in terms of showing talent which is better to other musicians. almost all coastal lampung gitar tunggal player claim that they are self-taught. in fact, they keep asking their peers, siblings, or close family members. they seem to hide their musical journey, especially from the researchers. the technique of playing coastal lampung gitar tunggal is indeed inspired by the batanghari sembilan guitar, then by several players combined with plucking the strings of gambus. the goal is to create the’indigenous’ impression, as the lyrics are adapted to the local language, namely the lampung language. the musical guitar instrument in a gitar tunggal is certainly not an original item developed by guitar players and the ornamentation of the plucking style that has existed before. ‘indigenous style’ emphasizes the musical attitude which is attached to its musical identity. so far, gitar tunggal music is only transferred in spoken and practice. there is no written tradition system which is similar to western musical notation. based on preliminary research, it was found that gitar tunggal notation system in ‘indigenous’ style was created by imam rozali, a gitar tunggal player from south lampung. this is an interesting fact for a local musician who is able to create his own music writing system. because, in general, lampung gitar tunggal players only rely on memory and intuition in music. in addition, there are only few people use the written tradition to preserve their musical works. method this case study was held in gayam village, south lampung. interview and observation were conducted with one of the local musicians, imam rozali, a gitar tunggal lampung pesisir player, to collect primary data. the primary data were in the form of notation books, audio files, and videos of interview with key informants. according to information, the notation document was inherited from the grandfather of imam rozali. researchers tested the imam’s musical notation documents to philologists. as a result, the notation is not included in ancient manuscripts “... because it has already used paper media, pen-like writing instruments, and typewriters” (rahmad, lisa, interview, october 5, 2020). lampung writers and cultural observers further tested the notation document; the result was that the writing used in the notation was not included in the lampung script or ancient lampung writing category. the ancient lampung script does not contain the syllable ‘kh’ or ‘gh’, because the ancient lampung script contains only 19 letters (see: marsden, 1811; van der tuuk, 1868) and was added based on the agreement of traditional leaders in 1985 (udo karzi, interview, october 5, 2020). the next stage was to do laboratory analysis (merriam, 1964) by describing each symbol, term, doing a comparison using western music notation, and explaining how imam used his musical notation. hermeneutic perspective was used in interpreting symbols in imam rozali’s musical notation. the interpretation of symbols is carried out by observing the views or interpretations of the symbol maker (turner, 1974), who is imam rozali himself. furthermore, the meaning of the notation symbols was analyzed using an ethnomusicological point of view. in this case, imam rozali’s musical notation is seen as a ‘text’ (ahimsa-putra, 2000, p. 404). other supporting data was obtained from digital sources on the internet in the form of photos, images, videos, and website articles. supporting informants came from gitar tunggal players, artists, academics, and lampung cultural practitioners. after fieldwork collection, empirical and theoretical fact pattern matching is carried out (yin, 2018). the next step is to make and conclude the proposition. every information about a gitar tunggal and its notation system was reviewed from the riyan hidayatullah, et al., the identity construction through music notation of the 309 point of view of key informants and supporting informants to ensure that all data were accurate. one of the tools to confirm field results is the triangulation technique (miles, huberman, & saldaña, 2014). after the laboratory analysis was completed, the ethnographic data were then analyzed to find the factors behind the writing of musical notation by imam rozali. referring to the thinking paradigm of ahimsa-putra (2015), this article does not merely analyze imam rozali’s musical notation system as an artistic phenomenon, but also tries to view notation as a symbol of socio-cultural phenomena. result and discussion imam rozali’s works as a text imam rozali is a gitar tunggal lampung pesisir player who lives in sidomulyo village, sidorejo, north of kalianda. his daily activities are gardening, teaching al-qur’an, and trading. his musical activities are usually carried out on weekends or according to the needs of events in society (figure 1). besides being known as a gitar tunggal player, imam is also skillful in singing kias. kias is one of lampung’s spoken traditions which is sung in the form of lyrics and narratives containing heart expression, joys and sorrows, legends, and folklore (syahrial, 2019). nowadays, kias can be found among the coastal society living in kalianda. imam rozali is one of the artists who started to accompany the kias with a gitar tunggal. imam rozali’s gitar tunggal playing style is also influenced by the gambus technique using plucking techniques called ngalalawai and segata (keen, 2017). in gitar tunggal, imam plays a wide range of melodies. during singing, imam also plays guitar melodies following his vocal melody. symbols and terms in imam rozali music notation imam rozali personally has a musical note in the form of a notation printed in the a book (figure 1). the writing consists of two types of elements: (1) symbols are written manually using a pen; and (2) a description of the symbols typed using a type machine (shown in the font used). both elements undermine the claim that the notation is passed down from generation to generation. the artist is considered creative, especially in creating symbols and arranging them into a system. as seeger (1989) states about one of the functions of notation as a medium for storing memory, imam rozali’s musical notation is closer to that concept. based on the way to read, imam’s notation is divided into two functions; the first is a symbol that functions as an explanation or description (figure 1). figure 1. imam rozali is playing a gitar tunggal at the circumcision ceremony (source: researcher’s document, 2019) all terms used to describe the numbers in the musical notation are written in lampung language, for example the words sai = 1, khua = 2, telu = 3, pak = 4, lima = 5, num = 6, pitu = 7, sai = 1 (higher octave). the symbols used in bennang (string) and suakha (tone) are both used to indicate the strings and the level in the scale used (figure 3), just like the seven notes in the diatonic scale arrangement (do-re-mi-fasol-la-si). jong jengan is a symbol used by imam to explain the position of the fingers on certain scales and frets. slightly different from bennang and suakha, the pitch of jong jengan is distinguished by the circle harmonia: journal of arts research and education 21 (2) (2021): 303-317310 above the symbol. patting suakha is part of the stage of developing themes and plucking techniques in imam’s notation. because it is a combination of the three elements which are suakha (tone), bennang (string position), and jong jengan (finger or fret position) (figure 2). figure 2. cover of imam rozali’s notation book (source: researcher’s document, 2018) figure 3. bennang, suakha, jong jengan, dan patting suakha (source: researcher’s document, 2018) table 1. comparison of imam’s notation symbols with scales in western notation notation 1 2 3 4 5 6 7 western’s note do re mi fa sol la si imam’s note sai khua telu pak lima num pitu the next symbol is pekhmainan suakha which serves as melodic pattern generally used by imam rozali in improvising. based on figure 4, it can be seen that the scale pattern resembles the diatonic pattern used (b-c♯-d♯-e-f♯-g♯-a♯-b) . figure 4. pekhmainan suakha (source: researcher’s document, 2018) imam rozali’s gitar tunggal tuning system is generally same as the standard tuning (e-a-d-g-b-e), the difference is that the b note (5th string) is changed to a. the b note on the 5th string functions as bass and is played together with the b note on the 2nd string, which plays rhythm. second, the b note becomes the basic chord that supports the movement of the melody on the first string (figure 5). the melody is generally played on a high-pitched fret starting from the 7th, 8th, 10th, and 12th frets. the basic b minor and e minor chords are commonly used in imam rozali’s songs, especially in classical segata theme songs. the b minor chords serve as the tonic for the songs. because the b note on the 5th and 2nd strings are often used as bass and rhythm parts, this tuning system also gives the gitar tunggal lampung pesisir playing characteristic or character, which is more dominant in the running melody. therefore, the tone that functions as the bass is always converted into an open string state (los strings). the goal is to facilitate the movement of the left finger in playing the melody. imam rozali’s musical notation offers a very strong ‘indigenous’ concept. this can be seen from the dialect, the use of local terms (lampung), understanding of the concept of harmony, symbols of expression and articulation, the tuning sysriyan hidayatullah, et al., the identity construction through music notation of the 311 tem, and the ornamentation of the running melody combined with the bass in each guitar plucking. the concept of harmony on the gitar tunggal lampung pesisir lies in the tone equation that forms an octave, for example the b tone which functions as the central tone (figure 5). figure 5. the structure of imam’s gitar tunggal playing is divided into form, bass, rhythm, and melody-improvisation imam rozali’s work as contexts the symbolic analysis of the imam rozali’s notation system shows that innovation is the main capital. adhering to yung’s opinion (2019), creativity is common in the development of traditional music. musical elements such as notation are part of the creativity of local musicians. a notation system is a form of innovation. schramm (1986, p. 99) asserts that tradition and innovation are not only alive but occur simultaneously and complement each other. musical awareness and knowledge have encouraged guitar players like imam rozali to innovate. the notation system, in addition, is created from a previously acquired musical experience. the way imam listens to and plays more music also supports his musical understanding of notation. the musical experience of sound is more important than the visual notation (campbell, 1991; tan, wakefield, & jeffries, 2009). so far, the imam’s notation system cannot be applied as a communication tool. because the function of the symbol only reaches by imam himself. the communication function of the notation supposes to deliver musical ideas (schütz, 1951). meanwhile, imam here has not socialized his musical notation. however, imam rozali’s musical notation has added interrelation in the gitar tunggal lampung pesisir musical communication system since lampung pesisir gitar tunggal consists of various elements that bind its existence (hidayatullah, 2021, p. 124). in the end, the imam’s notation system shapes dichotomies: (1) notation is only a means of remembering, or (2) notation is used as a preservation tool (myersmoro, 1990). the difference is, notation as a means of remembering has no social consequences because it is only interpreted personally. meanwhile, a notation that functions as a preservation tool covers a wide musical area, starting from recording, preserving, to defining the elements in it to be taught to others. the concept of western musical notation aims to preserve existing musical works, create new musical compositions, and transmit them to other musicians. musical notation in the classical music tradition in the west has mathematical proportions related to each other, notes on a stave that are connected to the position of the fingers on a musical instrument, such as a piano. killick stated that the principle cannot be applied to all types of music, especially traditional music or certain regional pop songs. for example in traditional korean music, the melody seems to use a microtonal arrangement that is difficult to write using western notation. another example is percussive music that has no steady beat duration for each bar. (sheffield arts humanities, 2018). as ulun lappung (lampung society), imam rozali also has a tendency to legitimize his existence as a musician. attempts to highlight ethnic group identity and superiority often occur in conversation. this is a form of resistance to social and cultural dynamics. one of the resistances that arise is the creativity of writing notation. this phenomenon is known as “taking the immigrants’ knowledge” (irianto & margaretha, 2011, p. 146), because it is driven by the desire to be appreciated and recognized while supporting and immigrant communities. on the other hand, imam rozali interacted quite a lot with many groups, including local and foreign researchers, students, and the local tourism office. this interaction process allows the emergence of interest so that it gives rise to cultural acculturation and hybridization (ahimsaharmonia: journal of arts research and education 21 (2) (2021): 303-317312 putra, 2015, pp. 19–20). the gitar tunggal lampung pesisir is a form of mass culture. at the same time, the musical notation system of imam rozali is a symbolic form of the phenomenon of a written tradition in local music. notation is a symbol of intellectuality, as in western traditions. by aligning himself with the tradition of european society, imam has constructed his identity as a gitar tunggal player who has intellectual awareness in writing. in addition, among the gitar tunggal players of coastal lampung, imam builds an identity value that is different from the others. if the traditional music of nusantara (or more broadly in the context of world music) has been difficult to separate the hegemony of the western music theory system, creativity in imam rozali’s notation system actually offers a strong local concept. awareness to find the concept of notation is one indicator of one’s musical understanding (gromko, 1994); understanding means creating (piaget, 1973). by creating musical notation, imam shows his level of musical understanding. the character of local music that seems dynamic and improvised is also found in imam rozali’s musical notation system. the use of the symbols of bennang, jong jengan, petting suakha, and pekhmain suakha depend on imam’s interpretation as a guitar player. this case is the same as the concept of jianzipu (qin) notation in china which also does not directly represent the tones accurately as in the west (yung, 2019). on the one hand, notation needs to be developed as a medium of social and instructional communication. on the other hand, it is an ‘indigenous style’ writing tradition that local musicians are trying to develop. yung added that the creativity of local artists or musicians keeps local music alive and evolving. notation is part of the dynamics of local musical performances, but not everything. musical notation was not created for the benefit of the audience or music audience, but for composers, performers, and historians (lippman, 1953, p. 555). based on that point of view, music notation needs to be developed for indigenous-based music education. writing musical notation, especially for gitar tunggal, can contribute to critical pedagogy in the context of local musical inheritance in lampung. as has been explained in previous research on various problems faced by local musicians with western notation systems (ayangil, 2008; becker, 1980; breathnach, 1986; cardew, 1961; myers-moro, 1990), the musical notation system needs to highlight stronger communication aspects. music notation is a musician’s intellectual product whose purpose is to document his works. the writing of the notation needs to pay attention to several simple steps. the symbols are arranged through an abstraction process, then phonetized to the formation of words. the idea is to put a sound value on each symbol (treitler, 1982). when thinking about notation, many researchers consider the various elements of culture that can influence attitudes, perceptions, philosophies, thoughts, and behaviors. therefore, ‘native’or indigenous musical notation requires aesthetic knowledge and education. preservation can use the musical knowledge of local musicians. cardew (1961) added that notation can expand the space of thinking and being more creative in music. collaboration between academics and indigenous musicians should be encouraged to form a dialectic that leads to good musical literacy. imam is not the only local musician who is capable of creating musical notation; more importantly, his musical notation inspired local musicians to produce an indigenous writing tradition. in addition, literacy and the discovery of notation are very important to produce a broad musical structure (blacking, 2000). as well-known stated by white (1949) and cassirer (1944), humans always depend on symbolic activities. imam rozali’s musical notation system is a symbolic phenomenon that is interpreted and given meaning because it has a form. in addition, the imam’s musical notation system has symbolic devices. the symbolic devices include: (1) material; (2) behavior and actions; (3) language or conversation; riyan hidayatullah, et al., the identity construction through music notation of the 313 as well as (4) ideas, thoughts, and knowledge (ahimsa-putra, 2015, p. 22). material aspect imam rozali’s notation system is written in an 11-page-book (included 1 page of the book cover). imam himself compiles the notations written in the book and the book is not widely published. the writing in the notation book consists of techniques, namely typing techniques (using machines) and handwriting. seeing from the condition of the book that is not well maintained, it seems that there has been no special effort to update or massproduce the manuscript. behavioral aspect the sound produced by imam rozali’s gitar tunggal is a symbol since it is interpreted by imam himself and by his music lovers. through music, imam conveys certain messages in the form of an expression of feelings. in his music notation book, imam also writes expressions that function to play and interpret songs. terms that show these expressions include: ropel, ais, khebbah, debbah, khanggal, and hias. language aspect the book or manuscript of imam rozali’s notation is written in the lampung language. the dialect used is ‘a’ (api), according to the imam’s background as a member of the saibatin community. therefore, the language aspect is one of the strongest elements forming the identity of imam’s musical notation. some terms such as suakha, bennang, jong jengan, and patting suakha are terms taken from everyday language and do not belong to certain valuable literary languages. because the notation is only used by imam himself, this set of symbols used as notation does not become a collective knowledge, but it is only interpreted and used by imam himself. in addition, the lyrics in lampung pesisir’s gitar tunggal songs also use the lampung dialect or language. knowledge aspect knowledge used in imam rozali’s musical notation can be identified from the use of language. the terms used in imam’s musical notation are not derived from the collective meaning of the local community, but it comes from the everyday language adopted into the musical language. the behavioral aspect comes before the notation, so the notation system is formed based on imam’s knowledge and experience as a gitar tunggal player. meanwhile, other abstract knowledge, such as views of life and belief systems, do not appear in imam rozali’s musical notation system. conclusion myers-moro and becker had recorded notation as a means of memory, teaching, and preservation. here, imam rozali’s musical notation shows a ‘indigenous’ notation writing style, at least in terms of visual ideas. signs that symbolize string level, pitch, finger position, and fret are a form of imam’s creativity. although the concept of the gitar tunggal lampung pesisir itself is influenced by similar music in other areas, the ‘indigenous’ notation writing style shows him how to play, sing, and write down the notation symbols. imam rozali’s musical knowledge is used as capital to create a ‘indigenous’ style notation system. in terms of the concept and use of notation as a reminder medium, this contains a high element of creativity. imam rozali’s musical notation is an intellectual form of a gitar tunggal player in constructing his identity. all symbolic devices in the form of material, behavior, language, and knowledge are contained in the notation. although the notation writing style has not been legitimized as a communication medium, imam rozali’s musical notation leads to a form of literacy and writing tradition. in other words, imam rozali’s style in writing the music notation is one among other efforts in maintaining the gitar tunggal music of lampung pesisir. harmonia: journal of arts research and education 21 (2) (2021): 303-317314 references ahimsa-putra, h. s. 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(kata kunci: sejarah, kebudayaan, tari bali, ritual, sekuler) a. pendahuluan : latar belakang historis seluruh perjalanan sejarah yang dialami oleh suku bangsa bali dapat digolongkan ke dalam dua jaman, yaitu : prasejarah dan jaman sejarah. pembagian itu secara rinci, adalah sebagai berikut (soekmono, 1989): 1. jaman pra-sejarah secara garis besar jaman pra-sejarah dibagi menjadi jaman batu (jaman palaeolitikum, mesolitikum dan neolitikum) dan jaman logam (jaman tembaga, perunggu dan besi). dari jaman palaeolitikum misalnya, ditemukan kapak genggam di daerah kontamani dan sembiran. alat-alat dari jaman neolitikum ditemukan di gua selunding bali selatan dan juga hampir diseluruh pulau bali. tahta batu, punden berundak-undak, teras, piramid dari jaman mesolitikum cukup banyak terdapat di bali (tim penyusun monografi daerah bali, 1976). namun, ada penemuan yang cukup penting oleh r.p. soejono, yaitu penemuan perkampungan dari jaman logam tahun 1963, 1964, dan tahun *staf pengajar jurusan sendratasik/fbs/unnes vol. 1 no. 2/september – desember 2000 75 harmonia : jurnal pengetahuan dan pemikiran seni 1976, di gilimanuk. hiasan-hiasan berupa kedok, pilin berganda, lingkaran matahari yangt erdapat pada nekara perunggu yang sekarang tersimpan di pura penataran sasih di desa pajeng, kabupaten gianyar, menunjukkan tingginya kebudayaan bali pada jaman pra-sejarah (cacarrubias, 1972). pengaruh kebudayaan hindu yang masuk ke bali kemudian, tidak banyak mempengaruhi tata cara hidup masyarakat pada waktu itu. misalnya, mereka masih menaruh mayat-mayat di dalam hutan atau di tepi-tepi danau begitu saja lalu ditinggalkan. mereka percaya jika orang itu berbuat baik dalam hidupnya maka mayatnya akan hilang dengan sendirinya, tetapi jika ia berbuat dosa dalam hidupnya maka mayatnya akan dimakan binatang buas (wagner, 1959). 2. jaman bali kuna jaman ini sangat didominasi oleh agama dan kebudayaan hindu serta pengaruh jawa yang sangat besar. dilihat dari pengaruh-pengaruh itu maka jaman ini dapat dibagi menjadi empat jaman yaitu: a. jaman bali asli jaman ini meliputi jaman sebelum mendapat pengaruh agama hindu sampai dengan datangnya penagruh agama hindu yang berawal kira-kira tahun 700. ciri-ciri jaman ini, antara lain: cara hidup kamunal, yaitu cara hidup ebrkelompok yang masyarakatnya mempersembahkan seluruh jiwa raganya kepada dewa. mereka percaya bahwa tanah yang ditanami dan air yang diminum serta segalanya adalah kepunyaan dewa. kepercayaan inilah yang menumbuhkan persatuan yang bulat di kalangan masyarakat dan agama adalah jiwa segala-galanya. kehidupans emacam ini sampai sekarang masih dapat dijumpai, misalnya masyarakat bali yang ada di desa tenganan pegringsingan di kabupaten karangasem atau adanya karang desa dan krama desa (cavarrubias, 1972). b. jaman bali hindu jaman ini ebrlangsung kira-kira tahun 700 hingga 900. ketika bali ditaklukkan oleh sri sanjaya mataram agama hindu sudah berkembang pesat di jawa dan banyak pemimpin agama hindu masuk ke bali, lalu banyak didirikan kahyangan atau pura yang merupakan tanda persatuan seluruh desa. enam buah pura penting yang disebut sad kahyangan adalah : lompuyang, besakih, yoh jeruk, batur, uluwatu, dan batukaru (wagner, 1959). vol. 1 no. 2/september – desember 2000 76 harmonia : jurnal pengetahuan dan pemikiran seni pengaruh hindu, kecuali berupa bangunan kahyangan, juga tampak adanya upacara penanaman mayat. sebelumnya mayat ditaruh di gua-gua atau di lembah gunung atau pada peti-peti yang terbuka. perayaan tahun baru nyepi lahir pada jaman bali hindu ini. dalam hal kebudayaan, pengaruh jaman ini tampak pada bangunan pura dan betuk upacara-upacara. c. jaman jawa hindu jaman ini kira-kira berlangsung dari tahun 900 – 1350. pada jaman ini bali mendapat pengaruh dari kerajaan kediri, singasari, dan majapahit yaitu jaman berkembangnya agama siwa dan budha. agama siswa adalah kepercayaan dalam konsep trimurti yang menganggap siswa sebagai dewa tertinggi atau mahadewa; agama budha adalah kepercayaan yang berpangkal pada kupasan-kupasan upanisad (usahausaha untuk membuka tabir rahasia alam gaib) dengan menempuh jalan maksa untuk melepaskan diri dari hukum karma dengan tidak mengakui sama sekali kitab weda yang notabene adalah kitab suci hindu. kedua agama inilah yang memasuki kehidupan masyarakat jawa yang melahirkan peradaban jawa hindu (wagner, 1959). pengaruh dari jaman ini sampai pada bidang: agama, seni rupa, arsitektur, kesusastraan, dan lain-lain. d. jaman jawa hindu bali jaman ini adalah jaman pemerintahan adipati yang ditempatkan oleh majapahit di bali, yaitu kresno kepakisan dan keturunannya. melihat tahun pemerintahannya (1350-1880), jaman ini ada kaitannya dengan awal masuknya agama islam ke pulau bali. 3. kedatangan islam kedatangan islam di bali berawal pada abad ke-14. pengaruh kedatangan islam di indonesia tidak banyak beragama di bali, tetapi beberapa kabupaten yang mendapat pengaruh yang terpenting adalah: kabupaten jembrana, buleleng, dan badung karangasem. 4. jaman kedatangan bangsa barat kedatangan bangsa barat (belanda) di bali untuk kepentingan penjajahan, berlangsung pada sekitar awal abad ke-20 dengan berturutturut jatuhnya kerajan buleleng (1840), badung (1906) dan klungkung (1908), setelah melewati suatu perlawanan sengit dalam wujud perang puputan. bersamaan dengan kedatangan bangsa barat sebagai pegawai pemerintah jajahan, maka turut serta pula pada misionaris penyebar agama kristen ke pulau bali. vol. 1 no. 2/september – desember 2000 77 harmonia : jurnal pengetahuan dan pemikiran seni 5. jaman revolusi setelah indonesia merdeka, pada tanggal 18 februari 1946 tentara sekutu mendarat di bali dengan dalih untuk melucuti jepang. tanggal 2 maret 1946 nica mendarat di bali dan dalam beberapa hari mereka menduduki denpasar, gianyar, tambanan, dan singaraja. melihat situasi seperti ini, maka pemimpin-pemimpin pemuda memindahkan pusat perjuangan ke gunung-gunung dan terjadi pertempuran di mana-mana. adapun yang terpenting adalah pertempuran besar yang dikenal dengan puputan margarana tanggal 20 november 1946 di marga, disitu letkol i gusti ngurah rai gugur. b. perkembangan agama hindu di bali ketika bali ditaklukkan oleh sri sanjaya mataram banyak pemimpin agama hindu masuk dari pulau jawa masuk ke bali. takluk pada masa itu tidak berarti menerima perintah langsung, tetapi hanya menjadi daerah untuk memasukkan pengaruh. masuknya agama hindu ke bali berjalan dengan sangat lambat, ini terjadi karena agama yang baru itu (hindu) harus banyak menyesuaikan dengan kepercayaan lama yang memang sudah ada di pulau dewata itu. sungguhpun demikian, lambat laun agama hindu dapat berkembang hingga keseluruh bali dan bahkan dapat melebur dengan kepercayaan kuno itu (soekmono, 1989). 1. agama hindu pada jaman weda orang menaruh kepercayaan yang besar kepada para dewa. jaman weda dimulai dengan datangnya bangsa arya kira-kira 1500 sm di daerah hulu sungai sindhu yangt erkenal dengan nama “panjab”. agama jaman weda sesungguhnya adalah agama bangsa arya yang sumber utamanya adalah rigweda, yaitu syair-syair pujian terhadap dewa-dewa. dari sinilah maka dikenal ebrmacam-macam dewa, diantaranya adalah : agni (dewa api), bayu (dewa angin), surya (dewa matahari), candra (dewa bulan) , marut (dewa badai). dewa-desa lain, adalah: waruna (dewa angkara), parjanya (dewa hujan), indra (dewa perang), acwin (dewa kembar, yang menjadi dewa kesehatan), usa (dewa fajar) dan lain sebagainya (wagner, 1959). vol. 1 no. 2/september – desember 2000 78 harmonia : jurnal pengetahuan dan pemikiran seni pada jaman brahmana keagamaan berpusat kepada saji, bersaji telah menjadi ilmu tersendiri. brahmana adalah kitab suci yang menguraikan dan menjelaskan tentang saji dan upacaranya: apa artinya suatu saji, apa syarat-syaratnya, tenaga gaib apa yang tersimpul dalam upacaranya, maka golongan pendeta (brahma) menjadi golongan yang paling terkemuka pada jaman ini. pembagian lebih tegas lagi pada jaman brahmana ini terdapat pada pembagian kasta yang disebut catur warna atau 4 kasta, yaitu: a. brahmana (para pendeta) b. ksatriya (raja dan para bansgawan) c. caicya (pedagang dan buruh menangah) dan d. sudra (petani dan buruh kecil, juga budak). jaman ketiga adalah jaman upanisad, bukan upacara dan saji yang dipentingkan, tetapi pengetahuan batin yang lebih tinggi yang dapat membuka tabir rahasia alam gaib itulah yang menjadi pokok pandangan hidup. namun, yang paling penting pada jaman ini, adalah adanya cita-cita yang lebih luhur lagi, yaitu: moksa. cita-cita ini berpangkal pada kepercayaan bahwa hidup itu berlangsung berulang-ulang. setelah mati, manusia akan hidup kembali, dan tiap hidup barunya itu ditentukan sifat dan kedudukannya oleh perbuatan-perbuatan (karma) dalam hidupnya yang lalu. hukum karma ini menimbulkan samsara, yaitu lingkaran yang merangkaikan : hidup – matilahir – hidup lagi – mati lagi, dans eterusnya. maka, cita-cita yang luhur itu ialah berusaha melepaskan diri dari samsara, membebaskan diri dari hukum karma agar menajdi smepurna dan tidak dilahirkan lagi (cavarrubias, 1972). 2. trimurti trimurti berarti tiga badan, maksudnya adalah dewa yang tertinggi, yang menjadikan dan menguasai alam semesta. tiga badan itu masing-masing bernama : brahma, mempunyaikekuasaan mencipta, wisnu mempunyai kekuasaan memelihara, dan siwa atau dewa waktu yang mempunyai kekuasaan membinasakan. diantara ketiga dewa itu, maka dewa wisnu dan siwa mendapat pemujaan yang luar biasa, sehingga ada pengikut hindu yang memuja wisnu lebih daripada ciwa dan brahma. tetapi ada pula pemuja siwa yang lebih daripada wisnu dan brahma. hal ini adalah wajar, mengingat wisnu dan siwa kekuasaannya ada hubungan yang erat dengan kehidupan manusia sehari-hari. vol. 1 no. 2/september – desember 2000 79 harmonia : jurnal pengetahuan dan pemikiran seni 3. kepercayaan kuna kepercayaan kuna amsyarakat bali sebelum hindu masuka dalah penyembahan terhadap leluhur/nenek moyang dan kekuatan gaib. dengan oengaruh hindu yang masuk terjadilah sinkritisme antara kepercayaan kuna dengan kepercayaan hindu secara evolusi. penyembahan terhadap leluhur dengan kekuatan gaib ditambah dengan penyembahan terhadap tuhan yang maha esa. agama hindu percaya dengan adanya panca kepercayaan, yaitu : a. percaya adanya sanghyang widhi wasa (tuhan yme) b. percaya adanya atma (roh leluhur) c. percaya adanya hukum karma phala d. percaya adanya samsara (punarbhawa) e. percaya adanya moksa di bali dengan agama hindunya masih percaya kepada makhlukmakhluk supernatural baik yang berbentuk seperti “manusia”ti “binatang” atau merupakan suatu kekuatan gaib. fantasi tentang dunia gaib (supranatural) melahirkan dan memajukan kesenian. manusia menjelma fantasinya dengan membuat gambar-gambar dan patung, sedangkan cerita-cerita tentang makhluk-makhluk gaib dan upacara-upacara menunjukkan beberapa jenis tari-tarian, nyanyian dan drama. c. sejarah seni tari bali tari bali merupakan bagian organik dari masyarakat pendukungnya dan merupakan pencerminan perwatakan dari masyarakat itu/ menurut struktur masyarakatnya, seni tari bali dapat dibagi dalam tiga periode (djayus, 1980), yaitu : 1. periode masyarakat primitif (pra hindu) (2000 sm – 400 m) 2. periode masyarakat feodal (400 m – 1945) 3. periode masyarakat modern (1945 – sekarang) 1. masyarakat primitif (pra hindu) pada jaman ini masyarakat bali sangat dipengaruhi oleh alam sehingga seni tari merekapun mencerminkan gerak-gerik dan kehidupan di dalam alam semesta ini. gerak alunan ombak, pohon ditiup angin, kumbang-kumbang berkejara-kejaran, dan gerak binatang sangat mempengaruhi seni tari mereka dan masih terpelihara hingga saat ini. vol. 1 no. 2/september – desember 2000 80 harmonia : jurnal pengetahuan dan pemikiran seni pada jaman ini, masyarakat bali tidak hanya bergantung kepada alam, tetapi mengabadikan seluruh hidupnya kepada kehidupan spirituil, sehingga animisme dan totamisme juga mempengaruhi seni tari bali. ciriciri tari ini adalah adanya unsur-unsur magis, ketaksadaran diri, penuh pengabdian, polos dalam penyajian dan berfungsi sebagai penolak bala (tim penyusun monografi daerah bali, 1076). 2. masyarakat feodal pada jaman ini, pengaruh kebudayan hindu sangat mempengaruhi perkembangan seni tari bali. pengaruh hindu di bali ini ebrjalan sangat lamban, dimulai pada abad ke-8 pada waktu pemerintahan raja ugrasena di bali. kemudian pada abad ke-10 terjadi perkawinan antara raja udayana dengan mahandradata (ratu dari jawa timur), yang dari perkawinan tersebut lahir raja airlangga yang kemudian menjadi raja di jawa timur. sejak itu, terjadi hubungan yang sangat erat antara jawa dan bali yang menyebabkan terbawanya kebudayaan hindu ke bali. hubungan ini makin dipererat lagi oleh mahapatih gadjah mada dari kerajaan majapahit waktu bali ditaklukkan oleh majapahit pada abad ke-14. terbawanya kebudayaan hindu ke bali secara total terjadi pada abad ke-15, yaitu pada saat jatuhnya kerajaan majapahit ke tangan islam. orang-orang hindu yang tak mau mengubah agamanya lari ke bali dan membentuk kerajaan baru di pulau bali. disamping para bangsawan, banyak dari orang yang lari tersebut berupa seniman, tukang dan ahli-hali lainnya yang mempertahankan, mengembangkan, serta mengajarkan pengetahuan mereka kepada generasi penerusnya yang baru. kebudayaan bali yang berdasarkan atas penyembahan leluhur (animisme dan totenisme) bercampur dengan hinduisme dan budhisme, sehingga kemudian menjadi kebudayaan bali hindu seperti yang kita lihat sekarang. bali disebut juga sebagai museum hidup dari kebudayaan hindu jawa, disebabkan smapai saat ini sisa-sisa kebudayaan hindu masih terpelihara dan tersimpan dalam lontar, pada bangunan-bangunan purbakala dan dalam bentuk-bentuk tari bali yang kita lihat sekarang ini. kebudayaan pada jaman feodal ini didukung oleh para raja, khususnya kehidupan musik (gamelan) dan tari dipusatkan di istana, namun para pelakunya diambil dari desa. mereka dididik di istana dan setelah pertunjukan vol. 1 no. 2/september – desember 2000 81 harmonia : jurnal pengetahuan dan pemikiran seni mereka dikembalikan ke desa (tim penyusun monografi daerah bali, 1976). 3. masyarakat modern dalam masyarakat modern, yang dimulai sejak kemerdekaan ri pada tahun 1945, patronisasi dari kerajaan-kerajaan jaman feodal tidak diperlukan lagi, sehingga masyarakat memelihara dan mengembangkan keseniannya masing-masing. sistem banjar, sekehe, atau grup lainnya, memberi kehidupan kepada kesenian itu, disamping untuk kepentingan agama, seperti yang tercakup di dalam panca yadnya: dewa yadnya, resi yadnya, manusa yadnya, pitra yadnya dan bhuta yadnya. di dalam masyarakat modern, kecuali drama tari yang diwariskan dari jaman feodal, banyak juga diciptakan kreasi-kreasi baru. kreasi itu masih berlandaskan pada unsur-unsur tradisional, yaitu hanya mengubah komposisi, mengintrepetasikan lagu yang dituangkan ke dalam gerak. di samping itu masih banyak digarap kreasi baru berupa drama tari yang disebut sendratari. jenis-jenis sendratari yang telah digubah, antara lain : sendaratari ramayana, rajapala, mayadanawa, arjunawiwaha, dan lainlain. seni tari bali di samping berbentuk total theatre (terdiri dari berjenis-jenis unsur), juga bersifat communal theatre, artinya penonton tidak hanya sekedar menonton, tetapi lebih daripada itu. penonton bahkan melakukan tugas-tugas tertentu seperti kerasukan (intrance), contohnya dalam tari sang hayang dan calonarang. seni tari merupakan organik dari masyarakat pendukungnya. maka, di dalam pertunjukan tari bali faktor penonton sangat menentukan. penonton yang bisa menghargai pertunjukan seni tari itu, baik maupun buruk, menyebabkan berhasilnya suatu pementasan. d. macam-macam tari bali sesuai dengan keputusan “seminar seni sakral dan seni profan bidang tari, yang berlangsung di denpasar tanggal 24-25 maret 1971, dilihat dari segi fungsinya tari-tarian bali dapat diklasifikasikan dalam tari wali (religious dance), tari bebali (cereminial dance) dan tari balih-balihan (djayus, 1980). 1. tari wali yang dimaksud engan tari wali ialah seni tari yang dilakukan di pura-pura dan di tempat-tempat yang ada hubungannya dengan upacara vol. 1 no. 2/september – desember 2000 82 harmonia : jurnal pengetahuan dan pemikiran seni keagamaan dan sebagai pelaksana upacara pada umumnya tidak membawakan lakon. yang termasuk jenis tari ini antara lain: tari rejang, tari sang hayang, tari pendet, dan tari baris upacara. a. tari rejang tari rejang adalah tari klasik yang gerak-gerik tarinya sangat sederhana (polos) dan penuh pengabdian kepada leluhur. penarinya lakilaki dna perempuan yang diiringi dengan tabuh gegaboran. tari rejang ada bermacam-macam bentuknya, misalnya: rejang dewa, rejang reteng, rejang bengkol, rejang regong, rejang lilit, dan lain-lain. begitu pula tabuhnya terdiri atas beberapa gabor, misalnya: gabor longgor, gabor selisir, gabor brbancangan, dan gabor ganjur. bagian terakhir dari tari rejang biasnaya dilanjutkan dengan tari perang yang mempergunakan senjata ebrmacam-macam, seperti tombak, gada, cakra, bajra, bandrang dan lain-lain. tari perang ini diakhiri dengan siratan tirtha amerta oleh sang sulinggih. konon, peperangan itu menceritakan peperangan antara dewata nawasanga dengan para raksasa ketika memutar gunung manara untuk merebut tirtha amerta. ketika itu para dewata diiringi oleh watek gandarwa yang membawa alat bunyi-bunyian gamelan. akhirnya, peperangan dimenangkan oleh pihak dewata nawasanga dan tirtha amerta yang diperoleh itu dipakai untuk menikmati kehidupan di dunia. b. tari pendet tari pendet adalah tari pemujaan yang dilakukan di pura-pura. tari ini merupakan sajian untuk para leluhur yang disebut bharata dan barhari, yang juga menggambarkan penyambutan atas turunnya para dewa ke marcapada. pendet dilakukan oleh para wanita dengan memakai pakaian adat membawa sebuah bokor yang penuh berisi canang sari, kawangan, dan bunga-bunga. sebagian membawa alat-alat upacara seperti sangku, cawan, kendi, dan lain-lainnya. c. tari sang hyang tari sang hyang adalah salahsatu dari berjenis-jenis tari bali sisa kebudayaan pra-hindu. tari sang hyang adalah tarian kerawuhan (intrace), karena pada waktu menari ini para penarinya kemasukan roh (hyang) yang menyebabkan mereka tak sadarkan diri. tari sang hyang disebut juga tari kecak atau cek atau tari kera. disebut tari kera karena gerak-gerik dan suaranya banyak menyerupai gerak-gerik dan suara kera. vol. 1 no. 2/september – desember 2000 83 harmonia : jurnal pengetahuan dan pemikiran seni tari ini bersifat massal dan mementingkan nyanyian bersama, seperti koor, dan tidak diiringi tetabuhan atau gamelan. tari ini biasnya menceritakan ramayana, dimulai dari penculikan dewi shinta oleh rahwana sampai pada peperangan alengkadiraja. jalan ceritanya diambil sesingkat-singkatnya tanpa menyimpang jauh dari isi cerita yang sesungguhnya. jenis-jenis sang hayang yang dijumpai di bali pada saat ini, adalah: sang hayang dedari, sang hyang jaran, sang hyang deling, sang hyang memedi, sang hyang bumbung. d. tari baris upacara kata “baris” diduga berasal dari kata “bebarian” yang berarti “darat, leret, jajaran, dan banjar”. baris adalah salahsatu tari upacara yang snagat penting di bali dan sifatnya sakral (suci). tari baris adalah tari pahlawan yang berjiwa ksatria sejati, pantang mundur demi membela kebenaran. tari ini dipertunjukkan oleh penari laki-laki dari 4 smapai 64 orang. tari baris mempunyai gerakan yang sangat unik, menekan keseimbangan dan kestabilan dari langkah-langkah pada waktu berbaris dan juga mengutamakan cara memainkan senjata. pakaiannya juga sangat unik. para penari memakai hiasan kepala yang disebut gelung, yang dibuat dari cukli, berbentuk kerucut. pakaian bawahnya berbentuk awiran dan lelamkan yang dibuat dari kain berwarna dan di prada. pada leharnya memakai bapang yang terbuat dari kain bludru dan disulam dengan berjenis permata. ada puluhan jenis tari baris di bali, diantaranya adalah: baris tombak, baris tamiang, baris dadap, baris cina, baris prisai, baris tekokjago, baris poleng, baris pendet, dan lain sebagainya. diantara bermacam-macam tari baris ada yang tidak sakral dan dipertunjukkan untuk hiburan biasa, yaitu baris pengelembar. 2. tari balih-balihan “balih-balihan” adalah sebuah istilah yang dipergunakan untuk menyebutkan seni tari sekuler di bali. tari balih-balihan ialah segala seni tari yang mempunyai fungsi sebagai seni serius dan seni hiburan yang mempunyai unsur dan dasar dari seni tari yang luhur, namun tidak tergolong dari wali (suci). contoh tari-tariannya, adalah: legong (legong keraton), kebyar, joged, janger, dan lain-lain. a. legong keraton vol. 1 no. 2/september – desember 2000 84 harmonia : jurnal pengetahuan dan pemikiran seni yang dimaksud dengan “legong”, yaitu suatu tarian yang dilakukan oleh dua atau tiga orang gadis, seorang diantaranya berperan sebagai condong, yaitu nantinya akan membeirkan kipas kepada kedua penari berikutnya: condong artinya pelayan. menurut perkiraan, kata “legong” berasal dari kata “leg” yang artinya “gerak tari” dan “gong”, yang artinya “gamelan”. ladi, “legong” bisa berarti tari yang diiringi gamelan. sedangkan kata “keraton”, berarti istana yang hanya sebagai tambahan saja dari kata “legong”. gerakan dalam legong sangat dinamis, indah dan abstrak, tetapi dibalik gerakan-gerakan itut ersembunyi sifat yang dramatis. pakaiannya terdiri atas: gelung hiasan kepala, berkebaya kelampi prada, simping dan badong penghias leher, lamak untuk ampak-ampak dan komben prada untuk kainnya. antara pakaian condong dan legong tidak ada bedanya, hanya untuk condong berwarna merah dan legong berwarna kehijauhijauan. ada dua sumber utama yang menjadi ide para seniman dalam menciptakan tari legong, sumber itu adalah (djayus, 1980): a. pada suatu hari bhatara siwa ingin menguji kesetiaan istrinya bhatari giriputri, ia pura-pura sakit dan hanya sembuh bila minum susu lembu. istrinya lalu turun ke bumi dan secara kebetulan berjumpa dengan deorang gembala. bhatari giripun bermaksud meminta air susu lembu itu, tetapi tidak diberikan oleh sang gembala kecuali jika ia mau bermain asmara dengan gembala itu (yang tak lain adalah jelmaan bhatara siwa). bhatari giriputri menyetujui dan akhirnya lahir dari kedua belah kakinya dua orang anak perempuan. keduanya diperintahkan untuk tetap tinggal di bumi untuk menjadi dewi tari-tarian, yaitu lenggong. selanjutnya giriputri dikutuk oleh suaminya karena lemah imannya, sebagai penjaga kuburan. b. japatuan, seorang jejaka, kawin dengan ratnaningih. pada suatu hari istrinya meninggal. karena sangat cintanya kepada si istri japatun memohon kepada para dewa agar diperbolehkan bertemu dengan istrinya di sorga. mula-mula tak diijinkan, tetapi atas desakan japatuan istrinya dikembalikan ke bumi. istrinya lalu mengajarkan tari legong kepada orang-orang kampung seperti yang diajarkan para bidadari ketika ia di sorga. selain kedua sumber di atas, ebrdasarkan pada sebuah lontar, dikatakan bahwa ide tari-tarian legong ini berdasarkan mimpi i dewa agung vol. 1 no. 2/september – desember 2000 85 harmonia : jurnal pengetahuan dan pemikiran seni made karma yang dalam semadinya melihat dua putri cantik dengan hiasan yang serba indah membawakan sebuah tari-tarian yang lemah gemulai. tari itu dinamakan sanghyang legong. b. tari kebyar tari kebyar sering disebut tari bali modern. “kebyar” artinya : sinar yang berasal dari musik pengiringnya yang disebut gong kebyar. kalau di dalam tari baris, jauk dan lain-lain. penari berkuasa penuh atas perubahan dinamika di dalam musik, maka di dalam tari kebyar musiklebih menentukan dinamika tari. pada tahun 1925, seorang penari baris dan jauk dari tabanan bernama i ketut maryo, menciptakan sebuah tari kebyar duduk dengan mempergunakan kaki bersilang dan jongkok yang mewataki tari kebyar duduk. tari kebyar duduk disebut juga tari trompong, karena sambil menari si penari memainkan trompong (salah satu gamelan diantara gamelan gong). sejak tahun 1925 tari kebyar berkembang pesat dan satu persatu bentuk tari kebyar diciptakan, diantaranya (wagner, 1959) : 1. tari oleg tamulilingan, menggambarkan dua ekor kambingtina) yang saling mengejar di taman bunga. tari ini diciptakan oleh i ketut maryo tahun 1952. 2. tari tenun, menggambarkan orang yang sedang menenun yang gerak-geriknya seperti orang menari. tari ini diciptakan oleh i nyoman ridet dan i wayan likes tahun 1957.; 3. tari wiranata, menggambarkan gerak-gerik seornag ksatria serta perwatakannya. tari ini diciptakan oleh i nyoman rodet tahun 1960; 4. tari panji semirang, mengisahkan seorang perempuan yang menyamar sebagai seorang laki-laki, karena ditinggal oleh kekasihnya. sang kekasih dicarinya kesana kemari, lama kelamaan akhirnya merka berjumpa kembali. tari ini diciptakan oleh i nyoman kaler sekitar tahun 1942; 5. tari mergapati, menggambarkan gerak-gerik seekor harimau atau raja hutan yang akan menaklukkan mangsanya. tari ini diciptakan oleh i nyoman kaler tahun 1942. vol. 1 no. 2/september – desember 2000 86 harmonia : jurnal pengetahuan dan pemikiran seni c. tari janger semacam tari muda-mudi, karena tarian ini ditarikan olehs ejumlah pemuda yang disebut “kecak” , dan sekelompok pemudi yang disebut “janger”. mereka menari berpasang-pasangan sambil berpantun. tari ini berasal dari lagu-lagu rakyat kemudian menjadi pantun dan di sini dengan gerak tari. susunan geraknya sangat sederhana, tetapi penuh semangat. d. tari joged joged bumbung adalah semacam tari pergaulan muda-mudi yang diiringi dengan gamelan yang terbuat dari bumbung bambu. penari joged pada awalnya menari sendiri yang disebut ngelembar. setelah itu penari mencari pasangannya laki-laki diantara penonton lalu diajaknya menari bersama. 3. tari bebali tari bebali adalah seni tari yang berfungsis ebagai pengiring upacara dan upakara di pura-pura ataupun di luar pura, serta pada umumnya memakai lakon. tari yang digolongkan dalam seni tari bebali, ialah seni pewayangan (termasuk wayang wong dan wayang parwa), topeng, jauk, gambuh, barong, serta beberapa seni tari lainnya, yang diciptakan berdasarkan kepada tiga jenis tari-tarian di atas. a. seni pewayangan wayang merupakan peninggalan kebudayaan pra-hindu yang merupakan manifestasi kepada penyembahan dan penghormatan leluhur. wayang bukan hanya sekedar drama yang semata-mata bersifat hiburan, tetapi juga merupakan seni pertunjukan yang mengandung ajaran-ajaran keagamaan dan filsafat, peperangan antara kebaikan dan kejahatan, yang berakhir dengan kekalahan pada pihak yang jahat. ada bermacam-macam jenis wayang, tetapi yang penting, diantaranya adalah (wagner, 1959) : 1. wayang purwa, yaitu jenis wayang kulit di bali yang mengambil lakon asta dasa purwa atau cerita mahabaratha karangan mpu kanwa. wayang purwa menurut fungsinya dibagi menjadi empat jenis: wayang biasa, wayang sapuleger, wayang sudhamala, dan wayang lemah; 2. wayang wong, yaitu wayang yang pelaku-pelakunya manusia. ia merupakan perwujudan dari tari lakon bali, perpaduan antara tari drama dan musik. di bali yang dimaksud dengan wayang wong ada vol. 1 no. 2/september – desember 2000 87 harmonia : jurnal pengetahuan dan pemikiran seni lah wayang wong ramayana, karena mengambil lakon dari wiracita ramayana. disamping kedua jenis wayang diatas, masih ada banyak macam wayang, diantaranya : wayang calonarang, sejeni wayang parwa dengan lakon calonarangm yang bertunjukannya bersifat magis dan mengandung praktek-praktek ilmu hitam; wayang cupak, peralatannya sama dengan wayang purwa, lakon yang dipakai adalah cupak-gerantang, dua kakak beradik simbul dari kebaikan dan keburukan. b. tari topeng tari topeng adalah tarian yang dimainkan dengan memeprgunakan tpeng untuk semua adegan yang dimainkannya. di bali kini ada dua jenis pertunjukan topeng, yaitu : topeng pajegan dan topeng panca. topeng pajagan adalah satu kodi topeng yang ditarikan olehs eornag penari saja dengan berganti-ganti topeng, sedangkan topng panca berasal dari perkumpulan tari topeng dengan anggota lima orang yang dipimpin oleh ida bagus bodha. tari topeng ini berkembang terus dengan pesatnya. c. gambuh ditinjau dari etimologinya, “gambuh” berasal dari kata “gam” = jalan/gerak, dan “buh” = raja. “gambuh” berarti : jalan hidup raja yang berisi kemewahan, kegembiraan, roman, kesedihan, peperangan, yang semuanya dilakukan dengan penuh melekat sebagai yang disbeut-sebut dalam ceita panji. gambuh berarti tari drama atau teater yang paling lengkap yang berunsurkan total teater. gambuh adalah drama tari paling tua di bali dan sangat dipengaruhi oleh tradisi rakyat bali. gambuh juga memakai cerita damarwulan, sebuah cerita yang terjadi pada sekitar abad ke-14 di jawa timur. cerita lain yang menjadi tema dari gambuh adalah rangga lawe yang memberontak terhadap raden wijaya dari majapahit. gambuh dipertunjukkan pada upacara-upacara, adalahs eperti : manca wali krama, eka dasa rudra, karya padanan, galungan dan kuingan. selain itu tari gambuh dipentaskan di keraton-keraton. d. jauk tari jauk menggambarkan seornag raksasa yang sangat sombong, kasar dan tidak mengenal kesopanan. tari ini sejenis dengan tari topeng dan pembawaannya sangat keras. vol. 1 no. 2/september – desember 2000 88 harmonia : jurnal pengetahuan dan pemikiran seni e. barong salah satu tari babali yang amat angker di bali dan diduga peninggalan kebudayaan pra-hindu adalah tari barong. baronga dalah ninatang mitologi yang dianggaps ebagai pelindung. jika dilihat dari bentuk tapel-tapel barong yang dijumpai di bali, nampak adanya perpaduan antara kebudayaan hindu dengan kebudayaan bali kuna, khususnya kebudayaan hindu yang bercorak budha, karena topel-topel barong seperti itu dijumpai di negara-negara budha, seperti jepang dan cina. barong diwujudkan dalam bentuk-bentuk binatang berkaki empat. hampir semua topeng binatang di bali disebut barong. ada bermacammacam barong yang dijumpai di bali, seperti barong macan, barong bangkal, barong anjing, barong gajah, barong sapi, dan lain-lainnya. barong dianggap sebagai pelindung bagi masyarakat bali, karena ia mempunyai kekuatan magis, yaitu : white magic. white magic itu terdapat pada atau mukanya, dan biasanya dipusatkan pada matanya atau jenggotnya. jenggotnya itu terbuatd ari rambut manusia. jika salah sebuah desa diserang penyakit sampar, maka pemangku barong dengan cepat meredam janggut dai barong itu dalam cangkir air bersih dan setelah itu air itu dianggap mengandung kekuatan white magic dan bisa menyembuhkan dan menyelematkan orang-orang deasa dari penyakit sampar yang merupakan akibat sihir dari rangda (black magic) (tim penyusun monografi daerah bali, 1976). pakaian barong sangat megah. badannya dibuat dari rotan yang ditutupi dengan bulu-bulu prakson atau kain beludru dan material lainnya, seperti kulit yang diukir dans ebagainya. pakaian barong tergantung pada bentuk tapel yang dipergunakan. barong biasanya tiap enam bulans ekali diarak ke laut (dipawaikan). konklusi bagi masyarakat bali, tari bukanlah hanya sekedar pertunjukan sekuler dan hiburan, tetapi lebih daripada itu tari dihubungkan dengan upacara keagamaan maupun penangkal sihir atau bala penyakit. tari semacam itu sangat bersifat sakral, dinamika musik yang mengalun cepat dari lembut mendadak keras atau sebaliknya., ditambah getaran tubuh, tangan atau jari danlemparan bola mata penari ke kiri dan ke kanan mengikuti hentakan kendang, membuat tari ini berksan angker. memang tidaklah salah kalau bali disebut museum hidup jaman hindu vol. 1 no. 2/september – desember 2000 89 harmonia : jurnal pengetahuan dan pemikiran seni jawa, karena di balilah sebagain besar unsur hindu masih hidup bahkan merasuki kesenian. tidak salah juga kalau cavarrubias, seornag ahli kebudayaan asal cuba yang pernah hidup cukup lama di bali, mengatakan bahwa bali bagaikan dunia tersendiri yang terpisahkan dari dunia lain karena keistimwaannya. bali adalah salah satu propinsi di indonesia yangs angat potensial dan sangat kaya akan keseniannya. banyak wisatawan dari luar negeri yang datang ke bali untuk menyaksikan segala keunikan ddisamping keindahan alamnya yan tentu mendatangkan devisa bagi indonesia. kita bangga, tetapi kita mempunyai kewajiban memelihara bahkan mengembangkan kebudayaan yang diwariskan oleh para leluhur. sejarah tari bali adalah emrupakan fenomena alam, di mana keterkaitan dengan tradisi sangat erat. antara tradisi di satu sisi dan di sisi lain tari bali terjadi suatu hubungan sebab-akibat. keduanya membangun cakrawala yang utuh, tidak terbelah. daftar pustaka cavarubias, miguel, 1972, island of bali, oxford : oxford university press. djayus, nyoman, b.a. 1980, teori tari bali. denpasar : cv. sumber mas bali. soekmono, r, drs. 1989. pengantar sejarah kebudayaan indonesia 2, yogyakarta : kanisius. tim penyusun monografi daerah bali, 1976. monografi daerah bali, jakarta : proyek pengembangan media kebudayaan direktorat jenderal kbudayaan, departemen pendidikan dan kebudayaan ri. wagner, frits a, 1959, the art of indoensia : the art ofan island group. new york : grown publisher, inc. vol. 1 no. 2/september – desember 2000 90 125 makna simbolis dan peranan tari topeng endel ika ratnaningrum universitas negeri semarang, kampus sekaran gunungpati semarang e-mail: kakaika50@yahoo.com abstrak tari topeng endel termasuk dalam jenis tari tradisional kerakyatan, karena di ciptakan oleh masyarakat setempat. tari topeng endel penciptaannya pada masa itu dipengaruhi oleh seni pertunjukan dari kota cirebon, yaitu dengan adanya tari topeng cirebon. tari topeng endel yang memiliki makna simbolik yang menjeng, lenjeh, kemayu dan genit, serta gerakan yang kasar. makna simbolik tersebut menggambarkan karakter masyarakat tegal sendiri khususnya kaum perempuannya. tari topeng endel sendiri sudah tercatat sebagai rekor muri, yaitu pernah menampilkan 1000 penari pada saat hari jadi kota tegal. setelah mendapatkan predikat rekor muri, pemerintah kota tegal mempopulerkan dengan menjadikan tari topeng endel sebagai tarian yang dimanfaatkan sebagai upacara sakral kabupaten, sebagai hiburan dan sebagai sarana pendidikan. dengan harapan, tari topeng endel bisa dikenal dan diakui oleh seluruh kalangan masyarakat kota tegal sendiri dan masyarakat sekitarnya. symbolic meaning and roles of endel mask dance abstract topeng endel is one of traditional folk dances since it was created by the local people. the creation of endel mask dance was influenced by performing arts from cirebon, which was cirebon mask dance. endel mask dance has a symbolic meaning such as being effeminate, coquettish, and having rough motions. the symbolic meaning shows the characters of tegal people especially the women. endel mask dance has been noted in muri record for performing 1000 dancers during the anniversary of tegal. after having the award from muri, the local government of tegal has popularized endel mask dance as a dance used as a sacred rite at tegal regency, as an entertainment and an education media. tegal people hope that endel mask dance will be widely known and recognized by the local people as well as by people from other towns. © 2011 sendratasik fbs unnes kata kunci: tari topeng endel, makna simbolik, peranannya pendahuluan tari adalah salah satu bentuk budaya masyarakat yang lahir, tumbuh dan berkembang di kalangan masyarakat itu sendiri. tari menurut soedarsono dalam bukunya djawa dan bali; dua pusat perkembangan drama tari tradisional di indonesia, sebagai berikut : tari adalah ekspresi jiwa manusia yang diungkapkan melalui gerak-gerak ritmis yang indah. (soedarsono, 1999:3). sedangkan tari menurut wisnoe wardhana (1990:8) salah seorang tokoh tari modern indonesia; tari adalah kerja rasa dari manusia yang menyalurkannya melalui urat-urat. harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 125-129 available online at http://journal.unnes.ac.id/nju/index.php/harmonia p-issn 1411-5115 e-issn 2355-3820 harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 125-129126 pemahaman gerak secara implisif terdiri dari otot dan atau urat tubuh. maka tari sebenarnya berkait erat dengan gerak dan sistem mekanisme tubuh (uraturat) yang bersifat teknis. tari menurut sedyawati (2000), seorang arkeolog yang mempunyai perhatian besar pada seni tari memahami seni tari sebagai berikut: bentuk upaya untuk mewujudkan keindahan susunan gerak dan irama yang dibentuk dalam satuan-satuan komposisi. seni tari merupakan kesenian yang diungkapkan lewat media gerak, yang indah, sesuai dengan irama musik dan merupakan ekspresi jiwa manusia. di setiap daerah di negara kita tercinta ini memiliki warna dan ciri khas bentuk tarian masingmasing. jenis tari sendiri dibagi menjadi 2, yaitu tari tradisional dan tari modern. menurut jazuli (2002), bahwa tari tradisional sendiri terbagi menjadi dua yaitu tari tradisional keraton yang biasa disebut dengan tari klasik dan tari tradisional kerakyatan. tari tradisional keraton yaitu tari yang hidup dan berkembang dikalangan keraton dan hanya dimanfaatkan untuk acara-acara di keraton saja. sedangkan tari tradisional kerakyatan adalah tari yang hidup dan berkembang di kalangan rakyat setempat. dalam hal ini, akan dibahas tentang tari tradisional kerakyatan dari daerah kota tegal, yaitu tari topeng endel. tari topeng endel merupakan satu-satunya jenis tarian tradisional kerakyatan yang hidup dan berkembang di daerah kota tegal dan menjadi ikonnya. dahulu banyak masyarakat kota tegal yang belum mengenal tari topeng endel. namun selaras dengan perkembangan jaman, sekarang tari topeng endel sudah banyak yang mengenal diseluruh kalangan masyarakat. oleh karena itu, sekarang tari topeng endel sudah banyak peminatnya dan banyak yang bisa menarikan, baik dari kalangan anak-anak sampai orang dewasa. berikut ini akan dibahas tentang tari topeng endel tarian khas kota tegal yang sudah mulai populer dan tercatat rekor muri. metode penelitian ini menggunakan pendekatan kualitatif. data diambil dengan metode wawancara, observasi dan dokumentasi. analisis digunakan dengan analisis interaktif dari meilles dan hubermann (1992:17), yakni proses analisis ini diaplikasikan secara serempak mulai dari pengumpulan data, mereduksi, mengklasifikasi, mendeskripsikan, menyimpulkan dan menginiterpretasikan semua informasi secara saelektrif. langkah selanjutnya adalah melakukan pemeriksaan keabsahan data, mengacu pada dependabilitas dan konfirmabilitas (lincoln dan guba dalam jazuli 2001 : 34). di samping itu juga menggunakan member ckheking yaitu meminta pengecekan dari informan, pemain serta penonton. pembahasan secara etimologi, kata topeng terbentuk dari asal kata ping, peng, pung yang berarti biasa bergabung ketat dengan sesuatu, bertekan pada sesuatu. serupa dengan kata tapel (bahasa bali) yang juga berarti topeng. terbentuk dari kata pel, yang artinya: biasa melekat kepada sesuatu, menempel kepada sesuatu. sebutan lain topeng adalah kedok, artinya adalah pelumas. pelumas yaitu berupa pupur atau bedak atau cat yang biasa digunakan untuk melumas muka supaya dikenal. selanjutnya, arti topeng berkembang menjadi sebuah pertunjukan tari. menurut hazeu dalam surjaatmadja (1997), topeng adalah suatu pertunjukan dimana yang tampil adalah laki-laki dan juga perempuan yang menggunakan topeng di mukanya. sering juga menggunakan pakaian tertentu, khususnya penutup kepala dan perhiasan kepala seraya memerankan orang-orang tertentu dan kadang juga binatang. selanjutnya bagian dalam topeng/ kedhok, terdapat tangkai dari kayu yang melengkung sebagai alat untuk digigit oleh pemakainya supaya bisa melekat kuat di mukanya. ika ratnaningrum, makna simbolis dan peranan tari topeng endel 127 topeng dalam bukunya juynboll dalam surjaatmadja (1997), yang berjudul das javanischen maskenspiel (topeng), memuat keterangan bahwa pengukiran topeng yang dipakai dalam pertunjukan topeng diciptakan oleh sunan kalijaga. pembuatannya dengan meniru bentuk (raut muka) dari boneka wayang gedog. oleh sunan kalijaga, pertunjukan topeng digunakan sebagai alat dalam menyebarluaskan agama islam di tanah jawa. pada akhirnya sampai sekarang banyak dijumpai tari-tarian yang menggunakan topeng ditanah jawa seperti tari klana topeng, tari topeng cirebon, tari topeng endel, tari topeng barong, tari reog ponorogo dan masih banyak lagi. profil tari topeng endel dilihat dari namanya, tari topeng endel berarti sebuah topeng yang digunakan untuk menari dengan endel. kata endel sendiri memiliki arti lenjeh atau kemayu. kata endel dalam bahasa jawa sendiri berasal dari kata kendel, yang berarti berani. maka dapat disimpulkan bahwa tari topeng endel adalah tarian yang menggunakan topeng dengan menampilkan gerakan-gerakan yang lenjeh/kemayu dan dalam menarikan terkesan sangat berani dalam memperlihatkan gerakan-gerakan erotis di depan umum atau penonton. tari topeng endel berasal dari kota tegal. karena letak kota tegal tidak jauh dari kota cirebon yang memiliki tari topeng cirebon, maka bentuk seni pertunjukan yang hidup dan berkembang di kota tegal dipengaruhi oleh seni pertunjukan dari kota cirebon. alhasil terciptalah tari topeng endel dari tegal yang sekarang menjadi tari tradisional kerakyatan kota tegal. tari topeng endel juga termasuk dalam tari pergaulan. menurut jazuli (2002), tari pergaulan adalah tari yang dipergunakan untuk kepentingan hiburan semata bagi penontonya terutama penonton laki-laki. biasanya para penonton diperbolahkan untuk ikut serta dalam acara pertunjukan tersebut. namun di dalam tari topeng endel walaupun disebut sebagai tari pergaulan, tetapi tidak terdapat pe nonton yang ikut menari. jadi hanya penari perempuan saja yang dianggap sebagai penari dan sifatnya menghibur bagi kaum laki-laki tari topeng endel tumbuh dan berkembang dikota tegal, yang tepatnya di desa slarang lor kecamatan dukuhwaru kabupaten tegal (slawi). pada jaman dahulu, tari topeng endel digunakan orang untuk mbarang (seniman keliling) untuk mencari uang dan belum terkenal atau diakui seperti sekarang. setelah dianggap sebagai salah satu pertunjukan yang menarik, akhirnya tari topeng endel tidak lagi digunakan untuk barangan, tetapi digunakan untuk pertunjukan pada acaraacara tertentu di tegal. pencipta tari atau koreografer dari tari topeng endel sendiri adalah ibu darem, penduduk asli dari dukuhwaru tegal. tari topeng endel ini sudah diturunkan melalui tiga generasi. setelah ibu darem tidak mampu meneruskan untuk menari, maka secara turun temurun diturunkan ke anaknya yang bernama ibu warni pada tahun 1950an. lalu diturunkan lagi kepada anak cucunya yang bernama ibu sawitri pada tahun 1970an. tidak dikarenakan ibu sawitri dianggap sebagai koreografer tari topeng endel, melainkan dapat menarikan tari topeng endel dengan baik di usianya yang tidak lagi belia. maka ibu sawitri sendiri sekarang dinobatkan sebagai sang maestro tari oleh dinas kebudayaan dan pariwisata pusat di jakarta. makna simbolik tari topeng endel tari topeng endel ditarikan oleh penari perempuan dan tidak boleh ditarikan oleh penari laki-laki. mengapa hal tersebut bisa terjadi, karena tari topeng endel ini menggambarkan perilaku seorang wanita, yaitu wanita-wanita yang ada di kota tegal. koreografer tari topeng endel ibu darem menciptakan gerakan dengan melihat kenyataan yang terjadi dan dilihatnya setiap hari. dipadukan dengan gerak-gerak dari tari gaya sunda dan pemakaian topeng seperti tari gaya cirebonan, menjadikan tari topeng endel menjadi lebih meharmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 125-129128 narik, berkesan dan bermakna bagi orang yang melihatnya. tari topeng endel sebagai tari pergaulan di masyarakat. sebenarnya pernyataan tersebut merupakan simbol saja dan memiliki makna tersendiri. didalam pertunjukannya tidaklah seperti tari pergaulan lainya, seperti tari tayub yang dalam pertunjukannya penari laki-laki (pengibing) boleh ikut menari bersama penari diatas panggung. namun tari topeng endel tidaklah seperti itu, melainkan hanya sebagai hiburan dan untuk menarik perhatian saja. tari topeng endel yang terkesan menggoda para penonton, khususnya penonton laki-laki terlihat melalui gerakangerakannya yang erotis dan terkesan untuk menarik perhatian kaum adam. pemakaian topeng sendiri memiliki makna simbolis dalam tarian topeng endel. topeng yang digunakan sebagai penutup muka, selain menjadikan sebuah keunikan dari tarian topeng endel. topeng yang dipakai menggambarkan seorang wanita berwajah cantik jelita, de-ngan rias wajah yang anggun dan senyum yang menawan. topeng tersebut digunakan pada pertengahan pertunjukan tari berlangsung. pada saat penari masuk belum menggunakan topeng dan setelah pertunjukan akan berakhir, topeng tersebut dilepaskan kembali. hal yang perlu diketahui, kenapa pemakaian topeng hanya dipertangahan pertunjukan. kronologisnya bahwa pada waktu penari masuk, penari masih menjadi dirinya sendiri dengan gerakan yang lemah lembut dan gemulai. dipertengahan pertunjukan, penari memakai topeng dan sudah tidak menjadi dirinya sendiri melainkan memperagakan gerakan sesuai dengan topeng yang dipakai. dengan gerakan yang menantang, energik dan terkesan berani atau erotis, bisa menggambarkan karakter kota tegal yang merupakan daerah pantai yang panas dengan perilaku masyarakatnya yang khususnya wanita dan banyak terdapat tempat-tempat prostitusi. namun perlu digaris bawahi, tidak semua wanita di tegal seperti itu. setelah diakhir pertunjukan si penari akan melepaskan topengnya dan akan menjadi dirinya sendiri kembali. gerakan-gerakan tari topeng endel memiliki karakter dengan gerak yang menjeng, lenjeh, kemayu, genit, gerakan yang kasar dan cenderung berani. contohnya saja seperti gerakan ngegot, esot, dan geol, merupakan gerakan yang menggambarkan bentu gerak yang erotis dan menari perhatian bagi penontonnya. bentuk gerakan tari seperti itu cenderung seperti gerakan pada tarian gaya sunda jawa barat. model gerakan tari putri yang seperti itu, merupakan ciri khas dari gerakan tari topeng endel dari tegal yang membedakan dengan tari yang lainnya. fungsi sosial tari topeng endel pada masa sekarang tari topeng endel sudah dikenal oleh masyarakat luas kota tegal dan sekitarnya. tari ini sudah menjadi tarian kebanggaan dari kota tegal, sehingga masyarakat setempat diharuskan mengetahui seluk beluk dan diharapkan bisa menarikan tari topeng endel ini. karena pesatnya pertumbuhan dan perkembangan tari topeng endel tegal, akhirnya meluas sampai ke daerah lain dan tercatatlah tari topeng endel sebagai rekor muri. tari topeng endel mendapatkan gelar sebagai rekor muri pada waktu dipentaskan di hari jadi kabupaten tegal, yaitu dengan menampilkan 1000 penari topeng endel di lapangan terbuka sebagai tari penyambutan tamu. setelah tari topeng endel mendapatkan predikat sebagai rekor muri, para seniman-seniman tari yang ada di kota tegal dalam perannya di dunia seni pertunjukan semakin bersemangat. seniman tari yang bekerja sama dengan dinas kebudayaan dan pariwisata kota tegal, ikut serta berusaha bekerja keras untuk mempopulerkan tari topeng endel malalui seminarseminar dan pelatihan-pelatihan bagi guru maupun siswa dari berbagai jenjang pendidikan. selain itu, juga mengajarkan tari topeng endel kepada anak didiknya di sanggar. secara umum, tari topeng endel dalam perkembangannya di kehidupan kota ika ratnaningrum, makna simbolis dan peranan tari topeng endel 129 memberikan kesan yang positif. kesan positif yang muncul yaitu memberikan pesan bahwa orang hidup harus bekerja keras dan semangat dalam menghadapi segala tantangan. dari beberapa fungsi tari topeng endel diatas dapat disimpulkan bahwa sebuah tarian walau bagaimanapun bentuknya akan memberikan manfaat untuk kepentingan masyarakat dimana dia hidup dan berkembang. simpulan simpulan yang bisa diambil dari pembahasan tentang tari topeng endel diatas bahwa tari topeng endel merupakan salah satu budaya yag dimiliki oleh kota tegal. didalam perkembanganya sampai saat ini, tari topeng endel masih eksis di dunia hiburan dan masih banyak dikenal oleh masyarakat setempat maupun daerah disekitarnya seperti brebes, pemalang, dan purwokerto. keberadaanya dari dahulu sampai sekarang juga banyak memberikan manfaat bagi masyarakat dan bagi penarinya sendiri. tari topeng endel sendiri ditarikan oleh kaum hawa dengan gerakan yang sangat indah, sehingga akan dapat menghibur dan memberikan kepuasan bagi orang yang melihatnya. daftar pustaka hadi, s. 2005. sosiologi tari. yogyakarta: pustaka. jazuli, m. 2002. metode dan teknik pengajaran tari. harmonia: jurnal pengetahuan dan pemikiran seni. vol. 3 no. 2. moleong. l. j. 1994. metode penelitian kualitatif. bandung: remaja rosdakarya offset miles, m. b & huberman, a. 1992. analisis data kualitatif. terjemahan tjetjep rohendi rohidi. jakarta: ui press. sedyawati, e. 2000. pertumbuhan seni pertunjukan. bandung: sinar harapan. soedarsono. 1999. metodologi penelitian seni pertunjukan dan seni rupa. yogyakarta: masyarakat seni pertunjutegal, memiliki beberapa fungsi sosial budaya bagi masyarakat setempat. menurut hadi (2005), bahwa sebuah tarian yang hidup dan berkembang di masyarakat, akan memberikan manfaat dan menggambarkan karakter dari masyarakat setempat. maka dapat dibawah ini adalah fungsi sosial budaya dari tari topeng endel: sebagai upacara sakral tari topeng endel di manfaatkan oleh masyarakat setempat untuk upacara sakral. biasanya tari topeng endel digunakan dalam acara peringatan hari jadi kota tegal. pertunjukan tari topeng endel wajib ditarikan setiap tahunnya pada waktu pembukaan acara peringatan hari jadi kota tegal. tarian khas tegal ini berfungsi untuk menyambut datangnya para tamu undangan. dalam penyambutan tamu, tari topeng endel bisa ditarikan secara masal, berpasangan maupun sendiri di panggung ataupun di tempat terbuka seperti lapangan. sebagai hiburan tari topeng endel sebagai salah satu bentuk wujud budaya daerah di kota tegal, dimanfaatkan masyarakat setempat sebagai wahana hiburan semata. tari topeng dalam penampilannya diharapkan dapat menghibur para penonton, sehingga penonton menjadi terhibur terutama penonton laki-laki. karena dengan gerakannya yang erotis, menggoda dan menarik perhatian, menjadikan penonton laki-laki terkesima dibuatnya. selain itu juga membuat para penonton menjadi penasaran ing in melihat wajah dibalik topeng, sebelum topeng dibuka. sebagai sarana pendidikan tari topeng endel di tegal sudah dikenal dan banyak peminatnya untuk belajar, baik itu di sanggar-sanggar seni tari maupun di sekolah pada setiap jenjang pendidikan. melalui belajar menari tari topeng endel, diharapkan dapat mengambil pelajaran dari apa makna yang ada di dalam tariannya. tari topeng endel walaupun terkesan negatif, namun juga harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 125-129130 kan indonesia. surjaatmaja, m. 1997. tari topeng cirebon dan peranannya di masyarakat. yogyakarta: stsi. wardhana, w. 1990. pembelajaran tari di sd. jakarta: grasindo. vol.1 no.1_mei_agustus 2000.pdf �$!���� #!$�'( �%��% "!�!�����'�� �� �%��� ���" ��������� � ���� anak-anak sebagai generasi penyangga kehidupan seni tradisi (baca: karawitan) di masa yang akan datang, dirasa perlu untuk diwarisi pengetahuan dan ketranipilan bermain gamelan. dewasa ini, di tengah-tengah semaraknya dan gema kecanggihan (adiluhung) seni karawitan di dunia internasional, di negeri sendiri (baca:indonesia, khususnya jawa), sebagai sumber lahirnya seni karawitan tidak banyak diminati oleh anak-anak. apabila kondisi seperti ini dibiarkan terus berlangsung, merupakan preseden buruk bagi kelangsungan hidup seni karawitan pada masa yang akan datang dewasa ini intensitas penetrasi budaya dari luar ke budaya jawa cukup tinggi. hampir di semua sendi budaya jawa terkena arus tekanan budaya luar, termasuk seni karawitan. walaupun sejarah telah membuktikan adanya feksibilitas budaya jawa dalam berakulturasi dengan budaya luar dengan memodifikasinya menjadi budaya bentuk baru yang dikenal dengan istilah local genius, namun akhir-akhir ini perkembangannya cukup menggelisahkan. karawitan jawa, yang sejak lama telah dikenal oleh masyarakat seni internasional (lihat: “gamelan di mana-mana”, kompas, 9 juli 1995), bahkan pada saat ini seni karawitan jawa bukan hanya menjadi milik orang jawa atau indo-nesia saja, melainkan telah menjadi milik dunia internasional (men-dunia), di dalam negeri sendiri oleh mayoritas generasi muda kita ter-utama anakanak, dianggap sebagai “kasur tua” yang hanya membikin ngantuk. generasi kita belum me-nyadari dan merasa memiliki seni karawitan. walaupun banyak ka-langan sering menyebutnya sebagai produk budaya jawa yang adi-luhung (lihat: sunarto, 1995), namun pemahaman ini belum mampu ditangkap oleh anak-anak kita. keadiluhungan seni karawitan yang banyak terucap dari para bu-dayawan dari dalam dan luar negeri belum mampu menggerakkan cu-riousity anak-anak untuk mengakrabi gamelan. anak-anak kita terlihat cenderung mengesampingkan keberadaannya. keadaan seperti ini tentu saja boleh dibiarkan. sebab pada kenyataannya, kehidupan, kelestarian dan kemajuan seni akan sangat tergantung pada dukungan masyarakatnya. suatu jenis seni akan te rus eksis apabila ditopang dengan baik oleh masyarakat pendukungnya, sebaliknva apabila masyarakat telah tidak mendukung keberadaannya dapat dipastikan jenis seni tersebut akan banyak menghadapi masalah dan dimungkinkan lambat laun akan mengalami kematian. akankah seni karawitan meng alami nasib yang demikian? kalau diamati dari sinyalemen yang ter jadi di dunia anak-anak, dimungkinkan pada masa yang akan datang hal itu bisa terjadi. pengkaderan secara paksa dalam bidang seni tampaknya tidak demokratis. pengkaderan lebih bersifat fakultatif ditujukan kepada generasi baru, atas dasar senang atau tidak terhadap obyek yang didekatinya (seni). kalau ternyata seni karawitan telah tidak diminati oleh anak-anak kita, mengapa harus re-pot mempersoalkannya! lebih baik, enak dan demokratis keadaan ini biarkan saja terjadi dan diserahkan saja pada kehendak masyarakat. masyarakat (termasuk anak-anak) mempunyai hak untuk memilih. mengakrabi dan mendalami jenis seni apapun yang ada lingkungan-nya. dalam bidang seni mereka di-hadapkan pada banyak pilihan. di masyarakat tersedia jenis seni tra disi bangsa sendiri. negara lain, po-puler, kreasi baru, eksperimental dan lain-lain. masyarakat juga ber-hak memilih jenis-jenis seni dengan nilai yang mereka kehendaki. pada lingkungannya juga tersedia bermacam-macam jenis seni dengan nilai yang bermacam-macam pula, yang diantaranya terdapat seni yang bernilai adi-luhung, etik, religi dan estetik yang tinggi, dan jenis seni lain yang bobot nilainya sangat beragam. sudah barang tentu sikap yang terungkap di atas tidak akan pernah mengemuka dari siapa pun yang peduli terhadap eksistensi seni karawitan, dan bukan pula sebuah ungkapan yang pantas terucap dari seseorang akademisi dan budayawan. keterangan di atas hanyalah sebuah ungkapan ngelu-elu, yakni sebuah kiat halus dalam budaya jawa, mengajak pihak-pihak yang berkepentingan untuk meninjau kembali terhadap persoalan yang dihadapi. ungkapan di atas bukan pula pertanda keputusasaan. di tengah masyarakat seringkali ditemukan sikap masa bodoh terhadap kelangsungan hidup budaya jawa, khususnya seni karawitan. hal ini bisa dimaklumi karena kebutuhan mereka akan seni masih relatif kecil. biasanya kebutuhan terhadap seni mulai terpikirkan setelah kebutuhan primer dan sekundernya relatif terpenuhi dengan baik. masyarakat kita tampaknya belum mau repot untuk memikirkan kelestarian dan kelangsungan hidup seni tradisi, karena mereka masih tergolong dalam proses perkembangan, yang lebih direpotkan untuk memenuhi kebutuhan primernya. sungguhpun demikian menurut hemat penulis, kita semua diharapkan mau menyisihkan perhatian barang sejenak untuk memikirkan keberadaan seni tradisi kita (baca: karawitan) demi kelangsungan hidupnya di masa yang akan datang. perhatian yang serius tentu saja sangat diharapkan datang dari para seniman, budayawan, lembaga pendidikan, akademisi, pemerintah, media masa, studio rekaman dan pihak-pihak lain yang dirasa mempunyai posisi strategis dalam pengembangan seni tradisi. tampaknva hal ini penting untuk dilakukan. karena melihat kecenderungan yang berkembang di masyarakat akhirakhir ini, anak-anak kita yang diharapkan sebagai penopang kehidupannya di masa depan, kelihat an tidak tertarik untuk mendekati seni tradisinya. pihak-pihak tersebut di atas sangat diharapkan dukungan kongkritnya. tanpa ada-nya uluran tangan dari pihak-pihak tersebut, bukan tidak mungkin ge ma keadiluhungan seni karawitan yang telah terdengar di dunia internasional sejak lama, di masa yang akan datang akan kehilangan induknya, yakni kehidupan di habitat semulanya (jawa), yang hanya tinggal nama besarnya saja. kalau kemungkinan ini benar-benar terjadi, kita akan kehilangan harta karun yang mahal harganya untuk menemukannya kembali. kekhawatiran ini bukannya tidak beralasan. gejala yang ter lihat akhir-akhir ini cukup menggelisahkan. anak-anak kita. mayoritas tidak simpati terhadap seni tradisi karawitan. lebih ironis lagi mereka terlihat sangat merasa asing dengan laras slendro dan pelog yang merupakan milik kita sendiri. dalam hal kepekaan laras, mereka lebih akrab dengan tangga nada diatonis (mu sik barat) daripada pentatonis (slendro pelog). dalam meughadapi persoalan ini, rasanya kurang adil kalau kita hanya mempersalah-kan anak-anak. secara biologis dan psikologis mereka berada pada fase pertumbuhan. pada fase ini. secara alamiah mempunyai karakter tertentu, diantaranya ditandai dengan adanya rasa ingin lahu (curiousity) yang kuat. coriousity-nya selalu terlihat pada setiap kesempatan. mereka akan meniru apa saja yang terjadi di sekelilingnya, termasuk dalam bidang musik. jenis musik yang mereka lihat dan dengar di lingkungannya akan mempengaruhi rasa ingin ta hunya untuk mencoba. kalau diperhatikan, tayangan musik di media elektronik, lagu lagu yang ditampilkan adalah dengan garapan peralatan musik barat yang notabene bertangga na da diatonis. waktu penayangannya pun diperkirakan ketika anak-anak sedang ada di rumah, yaitu pagi jam: 08.00 wib., untuk konsumsi anak-anak yang belum sekolah, dan jam: 16.00 wib., dari tayangan ini dapat dibayangkan betapa besar pengaruh lagu-lagu tersebut terhadap musikalitas anak. padahal sesuatu yang dikenal pertama kali oleh anak, termasuk jenis musik tertentu. bagaikan sebuah fondasi bangunan yang menjadi dasar pembentukan bangunan berikutnya. alasan inilah yang salah satunya menjadi penyebab kekhawatiran penulis. secara lebih detail paparan tentang faktor-faktor yang dirasa besar pengaruhnya terhadap pembentukan musikalitas anak diantaranya seper ti terurai di bawah ini: lelagon dolanan anak yang tumbuh dan berkembang secara intensif di masyarakat akhir-akhir ini menjadi faktor yang cukup besar pengaruhnya terhadap pengenalan dan pembentukan kepekaan musikalitas anak. kalau disimak, dari aspek kuantitas dan frekuensi tayang di media elektronik (tv, radio) perkembangan peredaran lagu dolanan anak yang digarap dengan perangkat gamelan atau la-ras slendro dan pelog nyaris tak terdengar. hampir seluruh lelagon dolanan anak yang beredar di pasaran digarap dengan perangkat musik barat atau tangga nada diatonis. lagu-lagu tersebut digarap dan dikemas dengan baik sesuai dengan karakteristik dunia anak. dengan penggarapan seperti ini tentunya diharapkan oleh pihak-pihak terkait agar dapat menarik perha tian dan menghibur anak-anak selain dan aspek bisnis ingin meraup keuntungan. semenjak berkibarnya penyanyi-penyanyi cilik yang diprakarsai oleh ananda joshua dan kawan-kawannya. lagu-lagu mereka sangat populer di mata anak-anak. kehadiran mereka, semakin digandrungi oleh anak-anak. lagu-lagu yang ditampilkannya diaransir dengan peralatan musik barat yang bertangga nada diatonis. oleh karena itu tangga nada diatonislah yang populer di mata anak-anak. di pihak lain karena tidak satupun lagu yang ditampilkan dengan garap menggunakan peralatan gamelan yang berlaras slendro dan pelog, laras kita ini semakin tidak mendapatkan tempat di hati anak-anak. intensitas peredaran lelagon do-lanan anak dengan aranseman mu-sik barat pada saal ini semakin tinggi. di media elektronik hampir setiap saat dapat disaksikan penyanyi-penyanyi cilik yang membawakan lagu-lagunya dengan garapan perangkat musik barat. kaset-kaset rekamannya bisa diperoleh dengan mudah di pasaran. anak-anak kita pada setiap saat bisa menikmati suguhan lagu-lagu tersebut lewat media elektronik. sehingga dari sini saja dapat dipastikan anak-anak kita akan semakin akrab dengan tangga nada diatonis dan semakin jauh dengan laras slendro dan pelog. fakta di lapangan menunjukkan bahwa anak-anak kita saat ini sangat enjoy dengan lagu-lagu tersebut dan selalu menyanyikannya pada setiap kesempatan. pada lain hal anak-anak yang kenal dengan tangga nada pentatonis dapat dihitung dengan lima jari. hal ini dapat dimengerti. bagaimana mungkin anak-anak kenal dengan laras slendro dan pelog? sedangkan musik yang mereka lihat dan dengar setiap hari tidak ada yang berlaras slendro dan pelog. gending-gending lelagon dolanan anak dan tembang jawa dengan aransemen laras slendro dan pelog tidak mudah didapatkan. paguyuban-paguyuban karawitan yang concern untuk menyajikan lelagon dolanan anak hampir tidak pernah ada. kita merasa kesulitan untuk mendapatkan kaset-kaset rekamannya. kalaupun ada kaset rekamannya, disamping sudah sangat langka, merupakan kaset rekaman lama yang menyajikan lelagon dolanan lama pula dan belum dikemas dengan teknologi canggih sepeni halnya kaset-kaset atau cdnya lagu-lagu anak yang yang beredar luas akhir-akhir ini. tentu sa ja produk rekaman gending dolanan anak-anak yang telah kadaluwarsa tersebut ditinjau dari aspek penggarapan maupun pengemasannya sudah tidak menarik perhatian anakanak. faktor lain yang basar pengaruhnya terhadap pembentukan musikalitas anak adalah lingkugan sekitarnva. lingkugan keluarga, sekolah, dan masyarakat saat ini jelas tidak kondusif untuk mewariskan laras slendro dan pelog pada anakanak. anak-anak nyaris tidak per-nah mendapatkan sentuhan laras slendro dan pelog dari sana. larasslendro dan pelog telah menjadi sesuatu yang asing bagi anak-anak. lingkugnan yang mengelilinginya telah tidak kondusif untuk mewaris-kannya pada anak-anak kita. oleh karena itu tidak mengherankan apa-bila laras slendro dan pelog sema-kin menjadi barang tak dikenal di mata anak-anak. kondisi ini bagi penulis cukup membuat gelisah. semoga saja perasaan yang sama juga dirasakan oleh rekan-rekan pelaku dan simpatisan seni karawitan yang lain. ajakan mi tidak dimaksudkan un tuk menyebarluaskan kesedihan. tetapi sebuah harapan dan sekedar mengingatkan, kepada pihak-pihak tersebut, untuk tetap peduli dan terus memperjuangkan eksistensi seni karawitan demi kelangsungan hidupnya di masa yang akan datang. penulis menduga kalau kondisi yang terjadi saat ini dibiarkan berlarut-larut bukan tidak mungkin di masa yang akan datang kita akan kehilangan generasi penyangga kehidupan seni karawitan. oleh kare na itu sebagai pewaris dan pecinta budaya jawa sudah barang tentu berharap, tertuju kepada semua pihak yang punya kepedulian ter hadap kehidupan seni karawitan, terutama perhatiannya pada partumbuhan dan perkembangan gending dolanan anak-anak, untuk ikut memikirkan dan mencarikan jalan keluarnya. dambaan sungguh-sung-guh selanjutnya adalah bergairah-nya kehidupan karawitan anak versi gamelan seperti halnya versi musik barat. syukur bisa menjadikan gending dolanan anak versi gamelan menjadi menu harian di rumah sendiri yang selalu dinyanyikan oleh anak-anak kita pada setiap kesempatan. untuk mewujudkan harapan di atas, perlu adanya peran serta kongrit dari berbagai pihak yang telah disebut di atas. daftar pustaka alfian. (ed.). 1985. persepsi masyarakat tentang kebudayaan. jakarta: gramedia bastomi, suwaji. 1990. wawasan seni. semarang: ikip semarang press. mardimin. 1994. jangan tangisi tradisi. yogyakarta: kanisius. sunarto. 1995. “gamelan jawa: suatu konsepsi seni adiluhung”. dalam berita nasional. supanggah rahayu. 1987. kesenjangan karawitan anak anak. solo: aski. waridi. 1991. trend karya karawitan di jawa tengah dalam panca warsa terakhir. surakarta: stsi. 369 the image of woman in the sintren and kuda kepang arts: gender reality and aesthetic exploration wahyu lestari, veronica eny iryanti, syukur samuel barus universitas negeri semarang, indonesia submitted: 2021-04-21. revised: 2021-07-03. accepted: 2021-11-26 abstract the image of women that is actualized through the construction of gender roles, positions, and adaptation processes in artistic expression through sintren and kuda kepang performances is very different. in this regard, the research aims to: (1) explain the forms of art performances of sintren and kuda kepang; and (2) explain the image of women in the art performances of sintren and kuda kepang in the context of gender reality and aesthetic exploration. the research was conducted on the art of sintren ujung gede in pemalang regency and kuda kepang turonggoseto in semarang regency. the research data were collected using the techniques of (1) observation, (2) interviews, and (3) document studies. the validity of the research data was carried out using the confirmability technique. the study used an interactive model analysis procedure, which was carried out with the stages of data collection, data reduction, data classification, and drawing conclusions. the results show that: (1) sintren and kuda kepang arts are forms of traditional folkart performances in which there is a scene of trance. this art is usually performed on stage or open arena by involving women as players; (2) the presence of women in the sintren performances is a requirement that traditionally must be fulfilled until now. on the other hand, in the kuda kepang performances, the presence of women is a new phenomenon that provides opportunities and freedom for women to express themselves through dance. in the sintren performance, the position of women becomes the center, subject, and object during the performance process. as a result, changes in the function of arts often result in the exploitation of sintren dancers. on the other hand, in the kuda kepang art, the involvement of women with all their adaptations provides a new space for resistance to the existing gender stereotypes. keywords: woman, sintren, kuda kepang, gender, aesthetic exploration how to cite: lestari, w., iryanti, v. e., & barus, s. s. (2021). pedagogical competency of dance instructors in the training of malay court dance skills. harmonia: journal of arts research and education, 21(2), 369-376 harmonia: journal of arts research and education 21 (2) (2021), 369-376 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i2.29927 bumen, kendal, klaten, kudus, magelang, pati, pekalongan, pemalang, purbalingga, purworejo, rembang, semarang, sragen, sukoharjo, tegal, temanggung, wonogiri, and wonosobo. the development of technology and industry that took place globally causes changes in various aspects of life, including in the arts. some of the arts that were introduction central java as one of the provinces in indonesia has a variety of traditional arts, some of which still exist today. various traditional arts exist in 29 districts consisting of banjarnegara, banyumas, batang, blora, boyolali, brebes, cilacap, demak, grobogan, jepara, karanganyar, kecorresponding author: e-mail: wahyupyarlestari@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 21 (2) (2021): 369-376370 originally related to existing traditional rituals gradually changed their function into entertaining arts to fulfill the aesthetic needs of their supporters. in this regard, this article examines two traditional art forms that are very popular in central java, namely the traditional arts of sintren and kuda kepang. the study focuses on the issue of the presence of women as players in both arts. the performance process of the sintren art, which is popular in the northern coastal areas of the island of java, is carried out in the same way in various existing districts. kurungan (a cage) as the main property is used as a closing tool for sintren dancers at the beginning of the show. furthermore, after the dancer is possessed by a spirit, through the help of a performance handler, the sintren dancers are released from the cage in a state of dance attire and wearing dark glasses. in a state of the unconscious (trance), the sintren dancers will dance on stage to the accompaniment of the music that is played (suharti, 2013; azzahro & indriyanto, 2019). the sintren art, as one of the folk arts, places women as the main players who are also used as economic commodities for the benefit of groups or art associations. in the performance, the role of women in this art dominates the entire plot. the very prominent role of women is shown through the procession of nyawer or saweran, namely the activity of the audience throwing money at the dancers on stage. this tradition can certainly generate profits for art groups or art performers. traditionally, to become a sintren dancer, ritual requirements must be met, such as (1) the selection of a female dancer who requires that she is a young or unmarried girl, and (2) female dancers must be in a state of purity or not menstruating. during the performance, the sintren dancer is accompanied by a handler or shaman who controls the various procedures for the performance that takes place. in addition, the performance includes offerings (in javanese culture, they are called sajen) which consist of at least three types of flowers, namely roses, jasmine, and kanthil flowers, as well as various snacks, drinks such as tea, coffee, young coconut water (degan), fruits, and other crops that cannot be left behind. in addition to these accessories, a ritual is also carried out by burning incense to bring out a magical aroma during the performance. the phenomenon of women as an economic commodity in the sintren art also occurs in the tayub art. tayub art which is popular in blora regency is an entertainment dance for men who often place tayub dancers as ‘comfort girls’ (windrati et al., 2005). tayub dancer, in the eyes of the audience, is seen as a perfect woman, beautiful, good at makeup, good at dancing, and has a sweet voice. the dancers must be friendly and give their charm by giving a smile through their lips, and the dancers only surrender when they are harassed by pengibing. concerning this issue, chiga maro’atussofa and eny kusumastuti (2019) find that in the context of the lengger art in wonosobo, female dancers are often abused during performances. as in the arts of sintren and tayub, in this art, there is also an act of saweran or suwelan to the dancers which is sometimes done in an impolite way. in contrast to what happened in the sintren art, in the kuda kepang art, the position of women as dancers in performances is currently a new phenomenon that shows openness and equality in artistic expression. the women in this art get the opportunity as players even though they must adapt to being male in their appearance of motion and clothing (ismah, 2018). the kuda kepang art is one of the most popular forms of traditional folk dance, which grows and develops in almost all areas of central java and even outside central java (slamet, 2019; hendriko & effendy, 2019; malang & radhia, 2017; primastri, 2017). the dance, which was originally only danced by men with a dashing and brave appearance using a property in the form of an imitation horse as a mount made of woven bamboo, is currently in wahyu lestari, et al., the image of woman in the sintren and kuda kepang arts: gender 371 great demand by women. therefore, regionally this art can develop more widely in central java (interview, pramono, 29 mei 2021). concerning the image of women in the arts, of course, it is closely related to the various supporting institutions. from a gender perspective, the kuda kepang art as a dance that used to be performed only by male dancers is now no longer the case. there has been equality of roles between men and women (lestari & barus, 2020, p. 123). however, even in the broader context of dance creativity, it shows that the involvement of women in dance is still very dominant (sugiarto, 2019). the reality that occurs shows that art is never stagnant but always dynamically adapts to a movement of change, which has implications for the loss and emergence of new forms, including breaking away from gender boundaries. therefore, the participation of female dancers in the kuda kepang art is a new phenomenon that allows traditional dances to live, grow and develop at any time following the development of human culture. changes in art as a driver of life provide understanding for life by understanding the nature and role of individuals in the context of their culture (rohidi, 2000). this research on the image of women in sintren and kuda kepang arts in the context of studies in gender perspective and aesthetic expression aims to: (1) explain the forms of sintren and kuda kepang arts; (2) explain the image of women in the art performances of sintren and kuda kepang in the context of gender reality and aesthetic exploration. method a qualitative method was chosen to describe empirical phenomena arts of sintren and kuda kepang through a phenomenological approach, employing participatory observation when performances take place without adding or reducing the findings of empirical data in the field (rohidi, 2012; marshall & rossman, 2006). the research was conducted on two cases of art, namely sintren art and kuda kepang art, which were oriented to the study of gender phenomena in the arts. the research was carried out in ujunggede hamlet, pemalang regency, and regunung hamlet, semarang regency. pemalang regency is one of the regencies in central java province that has sintren arts such as the hamlets of padurasa, mengori, taman, as well as mulyoharjo, and ujunggede. ujunggede hamlet was chosen because the existing sintren performances still use traditional music, while several other areas have combined the accompaniment of sintren music with the addition of dangdut music. the kuda kepang turonggo seto group in regunung hamlet was chosen because this traditional art is one of the art groups whose players are women. the main subjects of the study were the sintren dancers of mulyorejo, ujunggede, pemalang regency, central java and the kuda kepang dancers in the turonggo seto art group, karang gondang hamlet, regunung village, tengaran district, semarang regency, central java. the researchers also chose another source person as supporting data, namely the leaders of these traditional arts groups. the research data were collected using the following techniques: (1) observation, (2) interviews, and (3) document studies. participation observations were carried out during the research process with the help of audio and video recording equipment. interviews were conducted with dancers, musicians, group leaders, and observers of performing arts. document studies were conducted on field notes, artworks of sintren and kuda kepang, in the form of audiovisuals and photos. the validity of the data uses the triangulation of data, sources, and theory was carried out. the data analysis was carried out using an interactive model with the following stages: (1) data collection, (2) data reduction, (3) data classification, and (4) drawing conclusions (milles & huberman, 1994). harmonia: journal of arts research and education 21 (2) (2021): 369-376372 results and discussion sintren and kuda kepang art performances sintren and kuda kepang art performances, as well as several other traditional arts in rural communities in central java, are usually performed at ritual ceremonies, celebrations such as sunatan, weddings (mantenan), merti desa, or village clean, and the commemoration of national holidays (ghofur & rini, 2015; hardwick, 2017). in this context, there are two main functions of this art: traditional ritual ceremonies, social facilities, and entertainment. however, the function for ceremonial purposes has begun to be abandoned. the function of a ceremony is only carried out by people in certain areas whose traditions are still strong. on the other hand, the function of dance as entertainment in this art is currently increasing (romadi, 2019). sintren is a traditional art that places women as dancers and main players. the performance is held on an open stage supported by a group of accompaniment music players. apart from dancers and musical accompaniment players, sintren is also supported by a handler who is spiritually in charge of controlling the dancers. kurungan (a cage) is an important property in the performance, which is used as a place when the dancer is in a state of unconsciousness (trance). changing clothes is a half-round woven bamboo with a cloth covering. kurungan in everyday life in javanese society is usually used as a place to confine animals such as chickens, ducks, or geese. in the sintren performance, there is an interaction between the dancer and the audience. when the audience throws money at the sintren dancers, the interaction is carried out. the audience performs this ritual with the hope that the sintren dancer will change the form or be aware of the trance. this interaction is the characteristic that distinguishes sintren art from other traditional arts in central java. the sintren dancers in dance costumes equipped with sunglasses accessories become the subject and the dominant object and become the central character during the performance. there are several requirements and demands that a sintren dancer must-have, which makes not all women able to become sintren dancers. the special criteria as the main requirements such as dancers are women who are still young and pure, meaning that they have never had sex with men and are not menstruating while playing sintren. the central position of sintren dancers in the performance can be seen in figures 1 and 2. figure 1. performances and costume of the main dancer in sintren art performance (documentation by ika, lestari, 2021) figure 2. the trance scene in sintren performance (documentation by dika, lestari 2021) in contrast to the sintren art, the kuda kepang art performance was initially performed by male dancers. male players with dance costumes and property support in the form of imitation horses made of woven bamboo (kepang) better reflect the masculine dance performance or gagahan. in the performance, this art is usually performed on an open stage with the support of a group of accompaniment muwahyu lestari, et al., the image of woman in the sintren and kuda kepang arts: gender 373 sic players who are on stage. this format of performance is done so that the music playing and the kuda kepang dancers can be seen clearly by the audience. almost as happened in the sintren performance, there is also trance at certain times in the kuda kepang performance. although originally this art was only played by men, at this time, there have been emerging kuda kepang art groups whose dancers are women. one of them is the turonggo seto art group which is the subject of the research. although karang gondang hamlet, regunung village, tengaran district, semarang regency, central java also has a kuda kepang art group whose dancers are all male. this condition is relevant to vinlandari and dan gunawan (2020) opinion, which states that dance is an activity that can be carried out by both men and women, even though the issue of gender construction is still a benchmark in determining dance style or character. figure 3 and figure 4 describe the kuda kepang performance played by female dancers and the setting of the performance. figure 3. front view of one of the formations at the beginning of the kuda kepang performance and its setting stage (documentation by lestari, 29 mei 2021) figure 4. one of the formation and movements of the kuda kepang dance with imitation horse property made of woven bamboo (documentation by lestari, 2021) the image of women in the sintren and kuda kepang art performances: gender reality and aesthetic expression the image of women that refers to the construction of women’s roles in sintren and kuda kepang arts in the context of gender has differences. realities that are socially constructed and defined culturally are closely related to the development of stereotypes which are ideas or images that have been predetermined for generations in various fields of activity, including gender (hussain et al., 2015). in the context of sintren art as one of the traditional arts, it is shown that, although the function aspect of this art has changed, the presence of female dancers has never been replaced. some of the requirements attached to dancers from generation to generation are maintained. even currently, the existing sintren arts are almost entirely adapting and developing the performance format for entertainment purposes (nurlelasari et al., 2017). at this time to become a sintren dancer is not easy. several requirements must be met, such as (1) a woman who is still a virgin, (2) being willing to fast before performing, and (3) when fasting; dancers must maintain their diet and avoid actions that can destroy their sanctity. this is done with the belief that the spirit will not experience difficulties when it enters the body of the sintren dancer at the time of the performance. in the sintren art, the position of women as the central character during the performance is more of an entertaining object. all rhythmic dance moves that start from the moment you get out of the cage until the end of the performance are unconscious expressions (trance). the dancers are under the control of a “handler” and the musical accompaniment is stimulated to swing and dance to fulfill the demands and desires of the audience. in the economic context, sintren dancers’ attractiveness and their popularity become a commodity for the art groups they participate in. apart from getting paid from the penanggap, this art group benefits harmonia: journal of arts research and education 21 (2) (2021): 369-376374 from sawer or money from the audience directed at the sintren dancers in each of their performances. in a situation like this, the position of the sintren dancer becomes vulnerable to harassment by men and even exploited because when dancing, they do not realize what they are doing. in dance or other physical activity, women and men are often considered different because of innate differences in body structure (oliver & risner, 2017). however, in reality, what happened to the sintren art was different from what happened to the kuda kepang art. the kuda kepang art, a dance that men usually play, is now commonly played by female dancers. the turonggo seto kuda kepang group consisting of young women is one example of the existing groups of kuda kepang. the presence of women as dancers in the performances in this group is a different proof that not all dances reflect the gender identity of the dancers (bassetti, 2013) the article focuses on the “problem of the male dancer”. once discussed the historical genealogy of the stigma and its effect on men’s participation in dance, i consider three stigma “antidotes”. two of them – artisticprofessional excellence, manifest in structural inequalities, professional practice and social discourse ; and athleticism, involving discursive and representational strategies – consist of emphasising the masculinising aspects of dancing-as-art/ profession (virtuosity, creativity. in the kuda kepang art, the trance attraction is also the part that the audience has been waiting for. nevertheless, the aspect of dance as a medium of aesthetic expression for the dancers and their audiences is currently a major concern for the choreographers and the audience. based on these characteristics, kuda kepang art from the aspect of number and distribution can develop more widely when compared to sintren art, which can only survive and thrive on the northern coast of java, especially central java. the emergence of kuda kepang art groups consisting of female dancers is proof that this art is more adaptable to changes in the construction of the roles of men and women in artistic practice. the turonggo seto kuda kepang group, which consists of female dancers, does not show a trance scene, unlike other art groups that usually consist of male dancers. in the performance, female dancers of the kuda kepangturonggo seto group try to adapt to play a gagahan dance that men usually play. by riding the kuda kepang property, dancers explore aesthetics supported by costumes, make-up, variety of movements, floor patterns, and expressions in rhythm with the accompaniment music and the existing characterizations. this context proves that there has been a cross-playing activity as a form of resistance to gender stereotypes by employing male character dances played by women (mahfuri & bisri, 2019). conclusion the sintren and kuda kepang performances are traditional arts that still exist in the society of central java. as time advances, it has triggered a change in the form of the show. the art that is usually performed on the open stage at rituals, celebrations, and other performance events, from the aspect of the involvement of female players, there are differences. in the sintren art, the presence of women as central figures during performances for ritual purposes is a tradition that has been passed down from generation to generation until now. on the other hand, in the kuda kepang art, the presence of women is a new phenomenon that is starting to develop in various areas in central java. when the sintren and kuda kepang arts changed their function into entertainment arts, the female dancer during the performance had a position as both a subject and an object that was vulnerable to exploitation to meet the economic needs and demands of the audience. on the other hand, in the kuda kepang art, the existing entertainment events can provide space for women to show their ability to explore dance even though they must make wahyu lestari, et al., the image of woman in the sintren and kuda kepang arts: gender 375 various adaptations. adaptation done is the form of resistance to gender stereotypes, such as performing a range of gagahan motions for men, wearing a costume and makeup like a man, and expressions in rhythm with the existing dynamic music. 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(2013). tari ritual dan kekuatan adikodrati. panggung, 23(4). https://doi.org/10.26742/panggung.v23i4.154 48 western song singing model to improve junior high school students’ singing ability in indonesia wadiyo, udi utomo, slamet haryono department of drama, dance, and music, faculty of languages and arts, universitas negeri semarang, indonesia received: march 15, 2019. revised: may 2, 2019. accepted: june 22, 2019 abstract singing activities are general activities that seem very easy. it could be said that anyone can sing. however, to be able to sing well and correctly seems to need to be learned. for junior high schools in indonesia, singing activities are included in the teaching material of cultural arts sub music material. this study aims to “analyze how singing activities are taught in classes on learning art and sub music material”. the approach of this research is interdisciplinary which involves music disciplines and music learning. the research method applied is interpretive qualitative. the research location is semarang, by involving semarang junior high school students and teachers as the subject of research. data collection techniques used in this research is observation, interviews, and documentation studies. the data validity technique is using data source triangulation. data analysis techniques used in this research are interactive flow. the results showed that teachers taught singing, both in classes vll, vlll, and vlll. singing activity for class vll focused on basic singing techniques. the eighth grade is focused on singing, whose vocals or singing techniques are more applied to singing local songs and nusantara songs. meanwhile, singing activity in class viii is more focused on improvising any song. this study concludes that teachers always emphasize the use of western song singing models as a basic technique, regardless of the type of song used in the learning process. keywords: singing; learning; vocal technique; song how to cite: wadiyo, utomo, u. & haryono, s. (2019). western song singing model to improve junior high school students’ singing ability in indonesia. harmonia: journal of arts research and education, 19(1), 48-54. harmonia: journal of arts research and education 19 (1) (2019), 48-54 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i1.23490 dents finishing their study in elementary school for their 1st-6th grade. the singing lessons for the junior high school level are included in the teaching materials of cultural arts sub music material. in this sub art of music art, singing activities are often carried out even though there are other aspects of music that are equally important to teach, such as the technique of playing general and local musical instruments and general knowledge about music. related to this, chin & harrington (2007) stated introduction singing is an activity that is usually done by anyone. expressing a song using a human voice or vocal, usually said as a singing activity. even though singing is something natural, in public school including junior high school level, singing is also becoming one of the teaching materials. in indonesia, junior high school belongs to the primary education level which serves students in 7th, 8th, and 9th grade after stucorresponding author: b2 building, sekaran, gunung pati, semarang 50229, indonesia e-mail: wadiyo@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 wadiyo, udi utomo, slamet haryono, western song singing model to improve junior 49 that research suggests that even children with a special gift such as musical ability as part of art or academic, still need to be supported in order to develop their talents and achieve their maximum potential. some people have done the results of the research related to learning music and singing, for example, research on how to improve the activities and learning outcomes of nusantara music appreciation through the use of model songs in viii grade students of smp 1 pangkah tegal regency (herminingrum & sumaryanto, 2013). this type of research applies the classroom action research model using two cycles. the first and second cycles use different model songs. the data collection technique is done by observation, documentation, tests, and questionnaires. based on the problem and the method of research conducted in the research, it can be seen that learning using nusantara songs can improve the learning activities of singing nusantara songs and improve the students’ appreciation of nusantara songs. it is also found that model songs are important media to be used as learning media in their relationship to improve music or song learning activities and can be used to improve students’ ability to appreciate songs taught by teachers. the next research study is related to efforts in increasing the interest and learning outcomes of reading musical notes by applying the method of writing beam notation using the sibelius program in class vii of students in smpn 4 ungaran, semarang regency (herdinasari & sumaryanto, 2013). the type of research applied is classroom action research by applying the two-cycle steps. the steps are taken to find data until the results obtained using observation, interview, documentation, questionnaires, questionnaires, and performance as an action from the pre-cycle to the final cycle. the results of the study show that the application of learning media using the sibelius program can increase interest in reading musical notes and increase the results of learning beam notation. the sibelius program implemented by the teacher can be used as a method to increase interest in being able to read and write musical notes as well as efforts to improve the ability to read the musical notes. the description of the results of the research presented here is not similar to the problem and or research objectives to be achieved in this study. the main problem raised in the study is about “how singing activities are taught in the middle class on learning cultural arts sub material music.” thus, it is not the same between the problems raised in this study with what has been studied by others. even though it is not the same, there are still relationships because they are both related to music learning and singing. for that reason, at least the results of the existing research can be used as a guide to see how singing activities are carried out in a teaching and learning process in the junior high school class in the learning of cultural arts submusic material that exists now. the concepts and or theories used to discuss the problems in this study will certainly relate to creative learning using vocal techniques or singing techniques. what is seen as learning is a business carried out by humans with the intention of facilitating others? specifically, it can be understood as an effort made by educators with the intention or purpose of helping students so that students get the ease of learning to achieve the desired goals optimally (gagne et al., 1992). learning principles can also be seen as being related to learning material or the material being taught. however, it is clear that learning is not just about teaching the material, but it will also always be related to approaches, methods, media use, and evaluations that are associated with learning objectives (joyce, 1987). learning to sing will never be separated from vocal techniques or singing techniques to get maximum results. in singing, at least it must use good and right singing techniques to sound beautiful and not damage the tools attached to the body that are used to produce singing sound. in singing at least there are three breathing harmonia: journal of arts research and education 19 (1) (2019): 48-5450 techniques. those are sound formation techniques, diction and articulation, and resonance. all of these techniques must be mastered by everyone who will sing to get a sweet and pleasant sound. as previously stated by brixen, sadolin, & kjelin (2002) and destiannisa (2012), using the correct technique while singing at the same time will avoid the damage of tools associated with body cells used to produce the singing product. methods this research uses interdisciplinary approaches that involve music disciplines and music learning. the research method applied is interpretive qualitative. based on myers & klein (2001) and banfield & cayago-gicain (2006) interpretation research methods aim to produce an understanding of the context of information systems, and the process by which information systems influence and are influenced by context. the interpretative qualitative method builds a philosophical and conceptual foundation, so that all the data from the research results are attempted to be interpreted in an emic and ethical manner. the research design applied is a case study by only seeing singing learning in intra-curricular learning at a particular junior high school education level which in this context is semarang city middle school (see denzin & lincoln, 1994). here is the focus of research, data collection techniques, data validity techniques, and data analysis techniques. research focus the focus of this research relates to singing in the learning of sub-material cultural arts at the junior high school level. thus, researchers will focus on teaching materials related to vocal techniques and songs used in learning. singing techniques mainly in breathing techniques, sound formation, diction and articulation, and resonance are the main concerns by also paying attention to whether the teacher conveys the learning objectives of the student, the use of media, the appropriate method, and evaluation or assessment. data collection techniques the first data collection technique is observation. observations were taken when the teacher taught vocal and singing techniques, precisely how vocal techniques were applied in singing activities. when these singing techniques are given in the learning process, the researchers, as an observer really pay attention. the researcher pays attention to learning from starting the lesson until giving core material and closing. the detail that is found in observation is interviewed to the teacher and some students. what taught by the teacher is also seen in the documentation relating to the planned implementation of learning (silverman, 2000). the technique of data validity and data analysis what the researchers did in the data validity technique here was primarily to match the data obtained from observation, interviews, and documentation studies (smith, 2003). data analysis uses an interactive analysis carried out starting from data collection, data reduction, data presentation, and verification or conclusions (dey, 1993). in short, departing from the field, data obtained from observations, interviews, and study documentation by researchers is reduced, presented in descriptive analytical form, and verified as commonly used in a qualitative study. to see the reliability and validity of the data, researchers were assisted by research members in observing several schools. likewise in interviews and looking for documentation data, researchers were also assisted by team members and several other aid workers. in the end, all the data obtained were analyzed using an interactive model that was always interpreted by researchers so that emic ethics always walk together (amady, 2015). wadiyo, udi utomo, slamet haryono, western song singing model to improve junior 51 submission of learning content in this submission of learning content, the teacher explains the learning texts delivered to the students, in which the knowledge and practice are incorporated. this can be said in accordance with what is the goal of art education that in art education all things theory and or knowledge must be dissolved with practice so that students can learn music with musical experience (welch, et al. (2004)) and or through learning art can be gained experience aesthetics (sutherland, 2013). mastery of breathing techniques in singing it was conveyed in learning to sing that there are 3 breathing techniques namely shoulder breathing, chest breathing, and diaphragmatic breathing. in shoulder breathing, it is done by taking a breath with part of the lungs being developed so that the shoulder is pushed up. breath in this way is very shallow, it doesn’t last long and the posture becomes less beautiful. chest breathing, carried out with full breath inserted in the lungs so that the chest cavity penetrates forward. the weakness of this technique is that the lungs quickly become tired in holding the air. here the sound produced is not stable because the released air is not produced well. in diaphragmatic breathing, the lungs can be fully filled without being pinched because the room is expanded by tightening the bulkhead of the body cavity or the diaphragm moving downward. here the lungs expand slightly. expulsion of breath occurs with the diaphragm pressing against the lungs from below and assisted by the abdominal muscles and muscles of the body. thus, the expenditure of breath is governed by our own will and produces a convincing sound. from all those three types of breathing technique to sing, diaphragm is the best breathing. however, it is believed that not everyone can do this diaphragmatic breathing (sundberg, 1992). results and discussions in this part, the results and discussion of the study are reported. it is an effort to make the results of the research and discussion clearer. in this study, the results of the research and discussion were put together united or not separated. the following are the results of the study with this discussion delivered from the opening of learning, the delivery of the content of teaching material, and concluding to find out how actually this singing activity is delivered as a learning process to be seen in terms of the process and products. opening of singing lesson in learning to sing in front of the class, the teacher opens the lesson by explaining the singing technique to be able to sing well and correctly to the students. as an effort to be able to sing well and correctly, there are some steps to be followed. the first way is to master the breathing technique. second is forming sound capability. third is mastery of diction and articulation. fourth is the capability of utilizing resonance. for the opening of this learning the teacher has delivered the learning objectives but the media and teaching methods are still very conventional. it is still just oral that the teacher has not really used the media and applied the method according to the teaching material given. according to jacobs, renandya, & power (2016) actually there was already a general description in accordance with the main elements of learning that must be delivered in the opening lesson which were not only related to apperception but also the delivery of learning objectives. it is should be given by describing teaching material to be delivered. in addition, the media and the delivery method should have been implemented and there was also a little evaluation related to what was conveyed in the opening. thus, even though it is still in its opening stage, everything that will be delivered in the core material of the lesson has been clearly described. harmonia: journal of arts research and education 19 (1) (2019): 48-5452 sound formation before we sing, we have to pump the air into the lungs sent by the muscles of the abdomen, the chest muscles and the muscles of the body and the diaphragm. then the air is blown out in a way that vibrates the vocal cords. then the vibrations become clear and beautiful sounds in the oral cavity. the ability to pronounce both vowels and letters is because humans have pronunciation tools or articulations. the articulation tools are lips, teeth, tongue, hard palate and soft palate, oral cavity, nasal cavity, and pharynx (sundberg, 1992). articulation articulation is understood as speech clarity. in singing, articulation this connects to form a clear but beautiful sound. the way to produce good diction and articulation is to open your mouth wide. the width in opening the mouth to produce the expected sound is by pulling the jaw down. use reasonable letters to train, namely letters a, i, u, e, o in a repetitive manner. after that the vowels can be connected with dead letters and finally can be with any word. all is done naturally but the principle is to form a clear but beautiful voice with the shape of the mouth that really matches the letters or words spoken (wolfe, garnier, & smith, 2009). resonance in music, what is called as resonance is actually a word or term that has something to do with many spaces or cavities in the human body. in singing, the cavities must be utilized. the main resonance cavity is on the head, where there are many air chambers that are very influential in tone formation. the vocal cords radiate into the air in the chambers, which reflect sound to be strong. the quality of the singer’s tone depends on utilizing this resonance. the most important thing in relation to this resonance is that in singing it must utilize the resonance in the head. the main purpose of singing is to create a beautiful sound. not just loud (wolfe et al., 2009). closing of learning to sing in the activity of closing this learning, what is more, emphasized by the teacher is making sure that the students have done singing practice activities, whatever results are achieved. this is in accordance with nilson, mcmurray, & fetherston (2013) who argued that the purpose of learning the art of music in schools is to develop attitudes and abilities so that students are able to be creative and sensitive in the arts, or provide the ability to work and appreciate art. regarding the knowledge of what conditions must be mastered by someone to be able to sing well and correctly, not only delivered in the opening session of learning but actually practiced in the content of the lesson and still re-emphasized in closing the lesson. therefore, the subject matter of teaching material can be delivered following the learning objectives set. the activity closes the lesson and reminds students that teachers always do that students try to always learn about the material provided. conclusion in learning to sing, what is prioritized by the teacher is the knowledge of the basic techniques of singing and practicing in singing activities. the teachers make this singing technique a guide to singing any song. if the material sung is a diatonic song, this technique is a singing technique that fits right because this singing technique does adopt from what is in diatonic music. the problem is to sing pentatonic songs and or traditional non-western songs. this is the habit of the indonesian music teachers that whatever singing material is, all the tones are changed 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(2009). vocal tract resonances in speech, singing and playing musical instruments. human frontier science program journal, 3, 6–23. retrieved from papers2://publication/ uuid/436a9ea1-db8e-4d27-90b72dbb1125f93e 136 mangkunegaran dance style in the custom and tradition of pura mangkunegaran malarsih, tjetjep rohendi rohidi, totok sumaryanto, hartono faculty of language and arts, universitas negeri semarang, indonesia received: august 22, 2017. revised: october 21, 2017. accepted: december 1, 2017 abstract mangkunagaran dance style is regarded as a cultural identity that is highly upheld by mangkunagaran’s society. in the organization that lives in mangkunagaran, the sustainability of mangkunagaran dance style is protected by the special art institution namely langen praja, under a bigger organization in mangkunagaran namely reksa budaya. the existence of mangkunagaran dance style is in fact related to the custom and tradition in pura mangkunagaran. the aim of this research is to find out how mangkunagaran dance style is and what kind of roles that mangkunagaran dance style has that may influence the custom and tradition in pura mangkunagaran. methods used in this research is qualitative. techniques of data collection used were observation, interview, and documentation study and the data validity technique implemented was data triangulation. meanwhile, the data was analysed by using text analysis towards the mangkunagaran dance style and the context analysis towards the role of mangkunagaran dance in the custom and tradition had by pura mangkunagaran. keywords: dance; dance style; custom; tradition how to cite: malarsih, rohidi, t. r., sumaryanto, t., & hartono. (2017). mangkunegaran dance style in the custom and tradition of pura mangkunegaran. harmonia: journal of arts research and education, 17(2), 136-143. doi:http://dx.doi. org/10.15294/harmonia.v17i2.12128 harmonia: journal of arts research and education 17 (2) (2017), 136-143 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i2.12128 2007). based on the history, pura mangkunagaran was established on 16 march 1757 ad (prabowo, 2007). the establishment of pura mangkunagaran is the result of struggle or the result of effort and tenacity of raden mas said through the war against the king of mataram kartasura and the netherlands. raden mas said is the eldest son of kanjeng gusti pangeran arya adipati (kgpaa) mangkunagara in kartasura, later known as raden mas arya pangeran suryakusuma, or prince sambernyawa, and then prince adipati mangkunagara (reksa pustaka mangkunagaran 1970, introduction in the era of kingdom life or to be more specific in the era of keraton (javanese word for a royal palace) or kasunanan (sunanate) of surakarta and kasultanan (sultanate) of yogyakarta, mangkunagaran has its own centre of government or being known by people as pura mangkunagaran. until now, pura mangkunegaran has its own arts and cultures, and one among the others is the dance which claims to have the original style created by people of pura mangkunagaran themselves, known as mangkunagaran dance style (malarsih, corresponding author: b2 building, 2nd floor, sekaran, gunungpati, semarang, 50229 indonesia e-mail: malarsih@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 malarsih, tjetjep rohendi rohidi, totok sumaryanto, hartono, mangkunegaran dance styl137 p.12; siswokartono, 2006). there are some researches related to the mangkunagaran dance style and in its relation to the history of the establishment of mangkunagaran’s government. for example, the research that was written by suharji and published in bedhaya suryasumirat’s book (2004) and siswokartono (2006) who published the book entitled sri mangkunegara iv sebagai penguasa pujangga (2006). however, none of the books had discussed about the relationship between mangkunagaran dance style with the custom and tradition in pura mangkunagaran. till recent years, mangkunagarnan dance style is still exist and well-known by people, or at least by mangkunagaran society. however, due to the development of the era as well as the raise of new cultures and arts, the existence is no longer as famous as before. in relation to that, at least mangkunagaran dance style is still be used as an art media in some events such as the traditional ceremony as known by the common society in order to continue the keraton’s tradition in pura mangkunagaran. therefore, the aim of this research is to (1)explain about how the form of mangkunagaran dance style from the choreography aspect is., and (2) explain about the role or function of mangkunagaran dance style in the custom and tradition in pura mangkunagaran. what is being seen as style is the characteristic that is shown by the specific identity of individual or regional or era (murgiyanto, 1985). what is seen as mangkunagaran dance style is an understanding of the specific identity of mangkunagaran dance style that is shown by the dance characteristic in relation to kemangkunagaranan region. in this context, the dance style of mangkunagaran is usually compared with the other two styles, the surakarta dand yogyakarta style. it is due to the historical aspect of origin on which what has been had by pura mangkunagaran (in the context of dance) is closely related with what had been had by both surakarta and yogyakarta (suharti, 2005). related to how mangkunagaran dance style is seen from its role and function in the custom and tradition in pura mangkunagaran, then we should learn about what custom is. custom is understood as a cultural system (kontjaraningrat, 1984; robinson & klingelhofer, 2002). this custom or cultural system has a complexity form of ideas, values, norms, rules, and etc. in relation to cultural system is the social system. social system is related to the human’s pattern of action. this social system consists of human activities that interact, relate, and mingle with each other in every moment and/or time. through this, the role of mangkunagaran dance style in relation to the social and cultural life of society of mangkunagaran can be seen from the side of how the art of mangkunagaran dance style can be used or functioned by the owner or society that supported the dance style. custom has strong relation to what is called as tradition. what is known as tradition, according to simatupang (2013) is a pattern that is established as a result of continuing or preserving. it means, there are past habits which are continuously done by people of the recent era. in other words, the habit is passed from old generation to the new one. however, in tradition, generally, only certain habits which are considered positive, that can be labelled as tradition. in line with what is explained by simatupang related to the understanding of tradition is the explanation by lindsay. according to lindsay (1991) and johnstone (2005) tradition is shown as a code about behavior and faith that can be accepted by group and continued by certain society or community. in addition, sedyawati (1981), kartomi (2004), and suharto (2016) believed that specific tradition can only be felt by certain groups or communities as it belongs to a group or community or some specific societies and is used by the group or community or specific societies continuously from the old to the next generation. this is where the context of this research problem will be seen and studied; on which the discussion will be around the harmonia: journal of arts research and education 17 (2) (2017): 136-143138 role or function of mangkunagaran style dance in relation to mangkunagaran tradition and custom, as well as the function of mangkunagaran dances style in certain activities in pura mangkunagaran. method approaches which are applied in this research are choreology and social culture with qualitative as the method. choreology and social culture were used to see the dance style aspect and the role of the dance. in this context, there is mangkunagaran dance style in pura mangkunagaran’s custom and tradition. the research design in this study is a single case study which only sees a case; that is about mangkunagaran dance style and its role in pura mangkunagaran’s custom and tradition. location and objective study in the research this research was done in pura mangkunagaran surakarta with the research objectives of mangkunagaran dance style and its role in the custom and tradition in pura mangkunagaran. dance style that is primarily seen is about the movement composition in custom and tradition in pura mangkunagaran. to be specific is the role of mangkunagaran dance style in custom and tradition of pura mangkunagaran which is seen from the function of the dance in pura mangkunagaran and its relation to the continuity of the dance which has been hereditary preserved and used by pura mangkunagaran society. data collection technique techniques of data collection applied in this research are observation, interview, and documentation study. observation is done when there is a performance of the dance and practice of the dance along by observing directly the physical condition and life of pura mangkunagaran in its relation to the dance activity. the interview is done by the interviewer to the the key informant, who is pengageng putra mangkunagaran, a person who is in charge with mangkunagaran dance, dance stylist, dance instructor, dancer, pengrawit (the instrument player) and abdi dalem. documentation data is used in relation to the documents of the existence of dance in mangkunegaram, either in the form of pictures and/or audio-visual recordings of the community of pura mangkunagaran that is directly or indirectly involved in the activities of the arts in mangkunagaran. data validity technique data validity technique applied in this research is data triangulation. data that is used in this research are the data from observation, interview, and documentation. another way to gain the data for the triangulation is by doing the interview with some of interviewees in different time, but using same questions. this is done to check the consistency of the answers or details from the interviewees. the next step of the triangulation data technique is by doing the cross check from one interview to another interviewee. (denzin & lincoln, 2011). data analysis technique data analysis technique used in this research is text analysis in choreography context (slamet, 2016) and context analysis in interactive form (miles & huberman, 1992; rohidi, 2011; nasution, 1996) by following these steps: 1) data collection, 2) data reduction, 3) data presentation, 4) formulating conclusion/verification. the first data collection was related to mangkunagaran dance style that was seen from the model or movement aspects. the next step is by looking through and analyzing the surakarta and yogyakarta dance styles to see the characteristics which had formed the mangkunagaran dance style. in relation to the role of mangkunagaran dance style in the custom and tradition in pura mangkunagaran, the researchers also had to observe the role of custom and tradition collected from all activities done in pura mangkunagaran. the most important moment that we had to observe was when this mangkunagaran dance style was used by pura mangkunagaran and malarsih, tjetjep rohendi rohidi, totok sumaryanto, hartono, mangkunegaran dance styl139 how the interaction was developed after the use of the dance. finally, all data which had been collected was reduced or chosen to see which data was appropriate with the research problem that was being analyzed. the was data then presented in descriptive form and written in a short narrative in the form of conclusion. result and discussion in this study, the research results are presented along with the discussion. it is not presented separately. results of the research are explained using relevant concepts and theories. mangkunagaran dance style in choreographic review in this mangkunagaran dance style study, the main issue discussed is related to the characteristic or specification of gesture and movement technique, and not about the entire choreography. gesture and movement techniques cover the gesture and movement of the feet, body, hands, and head (rochana, 2006; pramutomo, 2005). this is done by considering that those aspects basically have shaped and formed mangkunagaran dance style to have its own characterization. gesture and movements of the feet gesture of the feet covers the top part of the feet; from the part of upper thighs to ankles, soles of feet, and toes. gesture of the top part of the feet for female dancers is known as mendhak (both feet are bent), meanwhile for the types of soft man dance and strong man dance, the feet movement is done by bending one of the foot, and another foot stands straight. gesture of soles of the feet for ‘woman dance’ or ‘putri alus’ (movement of dance representing woman behaviour and gesture) is both of the feet are oblique to the front (heel parallel to the heel and finger parallel to the finger). this gesture is used if the dancer is standing in the spot (tanjak), but if the dancer is moving or walking, then the gesture will be one feet is oblique and another feet is crossing. it is similar to the soles of the feet gesture for the ‘soft man type of dance’ or ‘tari putra alus’ and ‘the strong man type of dance’ or ‘tari putra gagah’. to differentiate the types of the three dances, i.e. the woman dance, soft man dance, and strong man dance, size of the soles of feet movement can be observed. the distant between feet soles (measured from one heel to another) for woman dance is one fist size when the dancer is in standing position; for the soft man dance, the distance is one-foot sole; and two foot soles for the heel distance in strong man dance. besides the size of soles, movement of soles also can be used to differentiate those three types of the dance. movement of the soles for woman dance is gejug, soft man dance is sered, and hard man dance is lifted feet (junjungan). however, for the gesture of feet fingers, all types of mangkunagaran dance style are using nylekenthing gesture (feet fingers is lifted up). other provisions for foot gesture which is used for this type of dance in general are thighs stretched, knees open, and soles of the feet are crossing. overall, the main technique for foot movement lays on the ankle as the center of movement. it aims to keep the ideal position of the body movement while the dancers moves freely. body gesture and movement technique in order to form the body gesture and breathe smoothly in one time, the feelings of tension must be released. the way of breathing also should be controlled to prevent the change of the gesture. movement technique from the body is centered in cethik (hip joints with the body). for the gesture of the body, backbones stand upright, shoulder is open, chest is bloated, and stomach is deflated. hand gesture and movement technique hand gesture consists of arm movement and hand fingers movement. to differentiate woman dance type, man’s soft dance, and hard man dance, the size of dancer’s arm is observed. the size of arm gesture for woman dance type is arm leads harmonia: journal of arts research and education 17 (2) (2017): 136-143140 about how the real interaction of individuals that have been related may create a social relation in pura mangkunagaran. this research will also discuss about the use of social relation as a social structure that moves and develops dynamically using a frame of real phenomena of what happened in pura mangkunagaran. that frame is a structure of organization of pura mangkunagaran that has been working hand in hand to make a great mangkunagaran. the main parts of that structure are secretariate, the mandrakumara regency, and reksa budaya. the secretariate secretariate is led by a coordinator and helped by leader of technical/ nontechnical planning, leader of financial, leader of personnel, and leader of public relation/ protocol. in their daily life, secretariate has responsibility to sri paduka mangkoenagoro ix. the main job of secretariate is to operate/ keep the document as well as operate the official letter of sri paduka mangkoenagoro ix, prepare and records the documents of decree and other types of important documents. the coordinator becomes a connector of communication between sri paduka mangkoenagoro ix and other parties. the mandrapura regency mandrapura regency is led by a pengangeng that is helped by a vice leader, a treasurer, and a secretary. they also have responsibility to sri paduka mangkoenagoro ix. the main duty of mandrapura regency, are: 1) arranging and managing household of the kingdom, structuring and maintaining pura mangkunagaran; 2) caring the heirloom, building, yard, garden, electricity installation and water installation; 3) managing the matter of ulama; 4) protecting safety of kingdom; 5) protecting the tourism site/ museum, in which the operation process is given to selected tourism agency. reksa budaya office reksa budaya office is led by a pendownwards and if we draw a straight line, then between cethik and wrist is parallel. for man soft dance type, if we draw a straight line then the shoulder and wrist is parallel. for mangkunagaran dance style, the size of arm gesture can differentiate the characteristics of the three differen types of dances the characteristic is that if the hand is in a bent position, then the line between cethik and wrist must be parallel and there is a distance of one hand of palms for the woman dance, and two span palms for the soft man dance, while for the hard man dance, the bending of elbows should be approximately 90 degrees. besides the gesture of the arm, another hand gesture is hand fingers movement. hand movement used to all types of dance is nyempurit (for the right hand) and ngruji (for the left hand). another gesture of hand fingers is still used for hard man dance type, like, hand finger gesture of ngepel, hand fingers gesture of kinantang, and hand fingers gesture of naga rangsang. hand movement technique is centred in the wrist, followed by the arm and elbow. this is done in order to make sure that the arm and elbow position is in stable condition. head gesture and movement technique head gesture is separated into two parts, those are gesture and eye sight (pandengan: java) with the provision of an open eyelid, chin pulled back, a sharp view, and attention focused on the movement. the technique of neck motion (pacak gulu: java), is centered on the bending (coklekan: java) jiling, that is when the head joint with the neck (both for tolehan and pacak gulu). the role of mangkunagaran dance style in pura mangkunagaran’s custom and tradition the role of mangkunagaran dance style in pura mangkunagaran’s custom and tradition can be seen from the real interaction of individuals that create the social relation. the next discussion will analyze malarsih, tjetjep rohendi rohidi, totok sumaryanto, hartono, mangkunegaran dance styl141 gageng, helped by a vice leader, expertise (interviewee), treasurer, and secretary. in running their job, they are responsible to sri paduka mangkoenagoro ix. the main duty of reksa budaya is to make pura mangkunagaran as a centre of mangkunagaran culture development. in doing their daily job, reksa budaya office works together with reksa pustaka, langen praja, and barawiyata. in detail, duties of those parts are stated as followed: reksa pustaka the duty of reksa pustaka is searching, developing, doing the inventory, translating, and maintaining the books of the library as well as documenting the main letters. langen praja the job of langen praja is to do gladen (dance practice) and dance show, karawitan, and singing which songs and dance are based on the cultural believe of mangkunagaran culture. another job of langen praja is doing the regeneration in their field. barawiyata barawiyata’s job is to maintain and operate the life of educational institution, either the general education or specific education in relation to cultural art. satria kawedanan office kawedanan satria office is led by a pengageng with a help of vice pengageng, trasurer, and secretary. they are responsible to sri paduka mangkoenagoro ix. jobs of kawedanan satria are: (1) searching and maintaining the way of behaving, fashion, and ceremonial activity based on mangkunagaran custom in general and pura mangkunagaran specifically, that has positive values, (2) receiving the report of birth, marriage, and death of the son of sentana dalem, (3) managing the book of the descendants and relatives of jumeneng mangkoenagoro and issuing the charter or certificate, (4) managing the book of the descendants of punggawa baku and issuing the charter or certificate, (5) managing graves and guest house, (6) putting out pepanci of sentana dalem, and (7) operating custom and tradition in pura mangkunagaran. mangkunagaran dance style is considered as the type of art that becomes the job of sub organization named langen praja under reksa budaya office, doing gladden or practice and dance show, which is based on the result of the culture of mangkunagaran as well as doing the regeneration in their field. all supporters of mangkunagaran dance style said that mangkunagaran dance style is admitted as an icon that is important to bring up the cultural wealth owned by mangkunagaran which is highly upheld by all mangkunagaran culture’s supporters. the role of mangkunagaran dance style as a custom and tradition keeper in pura mangkunagaran can be seen from its function. those functions are similar with what has been stated by royce (2007) by citing the the dance function from shay (1971). the functions of dance are: first, as a social order creation. second, as the media of expression, that has both secular and religious belief. third, as a social entertainment media or refreshing activity. forth, dance is functioned as soul release media. fifth, dance is functioned as an aesthetic activity. sixth, dance is functioned as an economic activity. mangkunagaran dance style also has its own strategic function inside of pura mangkunagaran as a cultural identity which its existence is highly upheld. therefore, in the structure of the organization in pura mangkunagaran, mangkunagaran dance style is given a place to be protected, taught, and used for various important agenda in pura mangkunagaran. this is also used as custom and tradition in pura mangkunagaran. what is seen as tradition is the nobility and existence of that dance which is protected and respected by all supporters of mangkunagaran culture. mangkunagaran dance style is always used in pura mangkunagaran’s cultural events and welcoming dance as well as all events that often held by pura mangkunagaran. based on the meaning of custom, generally as koentjaraningrat (1990) and harmonia: journal of arts research and education 17 (2) (2017): 136-143142 rigsby (2006) stated that custom has a similar meaning with cultural system. custom or cultural system is a complex form of ideas, values, norms, rules, etc., as an ideal cultural form. another system that has relation with cultural system is social system. social system is related to patterned activity of human. this social system consists of human activities which are interacted, related, and socialized between one and others in every moment and time. the role of mangkunagaran dance style for the social life of mangkunagaran society is seen from how mangkunagaran dance style is used and functioned in some special activities. the use of its style in some special activities is connected to the custom or cultural system and social system of mangkunagaran society specifically in pura mangkunagaran. the dance is being seen as a form of physical culture among those three aspects and connected as one chain. in fact, all organization elements and individual in pura mangkunagaran uses custom that is applied in pura mangkunagaran. custom has strong connection with what is said as tradition. according to simatupang (2013), tradition can be seen as a form of continuity. in this case, what is stated as continuity is elements from past time that is delivered to the current time, and/or future. tradition is also often called as habit. however, in tradition, generally only specific habit that has positive values that can be labelled as tradition. in line with what is stated by simatupang (1991) explained that tradition shows a code related to behaviour or faith that is accepted by a group and continued in a community or society. it is supported by sedyawati (1981) by saying that a specific tradition is only used by spesific community or society as a next generation. what has been explained by social and cultural expertise about custom and tradition is in line with what is happened in pura mangkunagaran in relation to mangkunagaran dance style. conclusion mangkunagaran dance style is type of dance that has its own character which is only had by mangkunagaran dance itself. the main character of mangkunagaran dance style from dance aspect is on the specification of feet, body, hand, and head gestures and movements. generally, the role of mangkunagaran dance style in custom and tradition in pura mangkunagaran is first, as cultural identity of mangkunagaran’s society. second, in relation to that cultural identity, mangkunagaran dance style is used as a nobility keeper of mangkunagaran. further, mangkunagaran dance also serves as a means to support important events held n pura mangkunagaran. references denzin, n. k., & lincoln, y. s. (2011). handbook of qualitative research. london: sage publications. johnstone, b. (2005). what is tradition? from pre-modern to postmodern. australian ejournal of theology, 5, 1-22. kartomi, m. (2004). some implications of local concepts of space in the dance, music, and visual arts of aceh. yearbook for traditional music, 36, 1-49. koentjaraningrat. (1990). pengantar ilmu antropologi. jakarta: rineka cipta. lindsay, j. (1991). klasik, kitsch, kontemporer. yogyakarta: gadjah mada university press. malarsih. (2007). profil pura mangkunagaran dalam struktur organisasi dan pengelolaan organisasi seni. harmonia: journal of arts research and education, 8(2), 118-127. miles, m. b., & huberman, a. m. (1992). analisis data kualitatif: buku sumber tentang metode-metode baru. terjemahan oleh tjetjep rohendi rohidi. jakarta: universitas indonesia press. murgiyanto, s. (1985). koreografi. jakarta: dewan kesenian jakarta. nasution, s. (1996). metode penelitian natumalarsih, tjetjep rohendi rohidi, totok sumaryanto, hartono, mangkunegaran dance styl143 ralistik kualitatif. bandung: tarsito. prabowo, w. s. (2007). sejarah tari. jejak langkah tari di pura mangkunagaran. surakarta: institut seni indonesia surakarta. rigsby, b. (2006). custom and tradition: innovation and invention. macquarie lj, 6, 113. robinson, d., & klingelhofer, s. (2002). the rule of law, custom and civil society in the south pacific: an overview. third sector review, 8(1), 211 rohidi, t. r. (2011). metodologi penelitian seni. semarang: cipta prima nusantara. sedyawati, e. (1981). pertumbuhan seni pertunjukan. jakarta: sinar harapan. simatupang, l. (2013). pergelaran. yogyakarta: jalasutra. siswokartono, w. e. s. (2002). sri mangkunagara iv. semarang: aneka ilmu. slamet, m. (2016). melihat tari. surakarta: citra sain. suharji. (2004). bedhaya suryosumirat. semarang: intra pustaka utama. suharti, t. (1990). tari di mangkunagaran suatu pengaruh bentuk dan gaya dalam dimensi kultural 1916. yogyakarta: universitas gadjah mada. suharto, s. (2016). banyumasan songs as banyumas people’s character reflection. harmonia journal of arts research and education, 16(1), 49-56. 346 reinterpretation of gender concept and its influence on preservation of barong show performance in blora agus cahyono, sunarto sunarto, deasylina da ary, nadia sigi prameswari, endik guntaris universitas negeri semarang, indonesia submitted: 2023-07-28. revised: 2023-10-20. accepted: 2023-11-02 abstract barongan blora is a traditional folk dance in central java that has existed since 1830. the passage of time brings up new social conceptions that influence the implementation of barongan performances, particularly those relating to gender. this research aims to look into the gender roles of barongan dancers and how they interact with social and cultural components of society. gender interpretation aims to understand the social construction of men’s and women’s roles in society. these roles include male and female dancers whose motions express diverse traits while maintaining the performance’s significant values. this study employs a qualitative research design with case studies on various barongan groups in blora, indonesia. in may 2023, data was gathered through interviews, observation, and documentation. the results suggest that cat motions dominate the barongan dance steps, which are supported by strong, energetic, and nimble characters. on the other hand, each character’s movements are tailored to the roles and the dancers who portray them. male dancers are cast as characters who appear strong and emphasize masculine attributes, such as barongan, gembong amijoyo, joko lodro, untup, and nayantaka. meanwhile, female dancers who play male characters, such as barongan and jathilan, must be agile, strong, and feminine. gender distinctions in barongan performance can be noticed in the movements created. still, there are no substantial disparities in physical appearance between male and female dancers because both needed a physique corresponding to the characters being played. the barongan performance also impacts society’s social and cultural features. regarding social qualities, barongan embodies the populist traits of the blora people, which are based on humanist principles. in terms of culture, barongan blora has evolved to keep up with changing times, yet it remains and can be appreciated by all levels of society. due to its uniqueness, barongan’s preservation is still carried out in line with the times while maintaining cultural values and content in physical and non-physical forms. keywords: barongan show; gender; preservation how to cite: cahyono, a., sunarto, s., ary, d., prameswari, n. s., & guntaris, e. (2023). reinterpretation of gender concept and its influence on preservation of barong show performance in blora. harmonia: journal of arts research and education, 23(2), 346-362 harmonia: journal of arts research and education 23 (2) (2023), 346-362 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.46332 is frequently associated with sex, even though gender is distinct from sex. in general, sex is used to distinguish distinctions in biological anatomy between men and women, whereas gender focuses on introduction the term ‘gender’ is often used in today’s society, but many of us still do not fully comprehend what it means. gender corresponding author: e-mail: aguscahyono@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 agus cahyono et al., reinterpretation of gender concept and its influence on preservation 347 social, cultural, and other non-biological elements. gender in the social sciences refers to differences between men and women that are not entirely biological but result from social forms (macdonald et al., 1999). thus, gender is a key phrase to refer to femininity and masculinity, which are socially produced based on location and change through time. gender differences create gender disparities, and gender differences cause numerous injustices in society. gender equality issues have recently become more prominent. meanwhile, gender equality refers to the creation of equal conditions for men and women to achieve equal chances and rights as human beings, allowing them to play a role and participate in all parts of life, including dance performances. female dancers’ engagement in dance performances is inextricably linked to economic needs, which drive women to take over the economy for family well-being. women in blora recently participated in the barongan performance, playing equal roles on stage. this study aims to examine gender roles in barongan dance performances. barongan performance is a prominent folk art in blora, particularly in rural areas (jazuli & alam, 2020). barongan reflects the traits and familiarity of the blora people, such as spontaneity, kinship, simplicity, roughness, toughness, compactness, and truth-based courage (jazuli et al., 2020). barongan performances may be found in almost every region of indonesia, including central java, east java, bali, north sumatra, and yogyakarta. barongan blora, following reog ponorogo, is the most well-known barongan performance in central java (gottowik, 2008). in blora, the barongan performance has nothing to do with jaran kepang; instead, it appears alongside gendruwon, a figure in a black mask with a gigantic face, usually wielding a sword (karyono, 2015). because of its distinctiveness, the blora regency government has designated the barongan blora show as an intangible cultural heritage since 2009 (ibda, 2019). barongan is a form of dance that uses a large tiger-shaped mask called singabarong (dewi et al., 2018). conceptually, the story of the barongan performance originates from hikayat panji, which is a story about the journey of raden panji asmarabangun or pujangga anom from the kediri kingdom, who wanted to propose to dewi sekartaji from the jenggala kingdom (jazuli et al., 2020). barongan performances are in the form of group dances that mimic the mighty movements of a giant lion, accompanied by musical instruments such as kendhang, gedhuk, bonang, saron, demung, and kempul (arisyanto et al., 2021). karyono et al. (2015) revealed that initially, the barongan was a ritual dance related to totemism, namely the belief in four-legged animals that were considered to have protective powers. functionally, the barongan performance is used in the rituals of bersih desa, lamporan, murwakala, sedekah bumi (almsgiving), as well as weddings and circumcisions because barongan is considered to be able to get rid of the bad character of the dhanyang (evil spirit) of the village (amboro et al., 2020). barongan is performed by two dancers known as pembarong, one in charge of the front as the head and the other as the tail (junarto & eny, 2013). the barongan’s leader, known as caplokan, is formed of a dhadap wood frame wrapped in tiger skin and dreadlocks, while the body is composed of a blacu cloth with a tiger skin pattern (herly, 2017). the motions of the barongan are solely improvised, simulating the movements of a tiger and being carried out spontaneously by the barongan following the rhythm of the music that accompanies it (utina, 2019). the range of motions in the barongan performance can generate a dynamic, energetic, daring, and mystical impression on the audience, providing artistic value (komariah & wiyoso, 2017). several distinct individuals appear in the barongan blora performance, including gendruwon, nayantaka, untub, pak genthung, mbok bong, and belot (mangundiharjo, 2019). barongan dancers (pembarong) are chosen based on their talent in motion methods and popularity as pembaharmonia: journal of arts research and education 23 (2) (2023): 346-362348 rong (slamet, 1999). in general, a man plays the barongan, even though the weight of the barongan can reach 30 kg. furthermore, the male pembarong can describe the characteristics and character of a tiger, such as strong, ferocious, savage, agile, and mighty (dewi et al., 2018). female pembarong can now be easily encountered, particularly in the barongan samin edan group. female pembarong are distinguished by their ability to dance the barongan mask, which is deemed sufficient. furthermore, a feminine woman’s basic character can perform the barongan movement, which is forceful, dashing, and violent (sarastiti et al., 2022). barongan performances that use female pembarong are usually not tied to trance, so the dance’s nature is only entertainment (septiyan, 2021). adelita (2017) researched the factors that influence changes in the role of jathil dancers in reog ponorogo. there is a phenomenon of dancer gender transition in jathilan art in ponorogo regency occurs because of gemblakan practices, and the longer the dance movements performed by male jathil dancers become feminine so that jathilan art dancers in ponorogo regency are danced by f another study, by dewi et al. (2018), shows features of female contractors’ appearance, such as talent, abilities, and means / media. meanwhile, rapoport (2021) says that the transition in the role of jathil dancers from male to female is due to the audience’s desire for a more artistic presentation that is no longer mysterious and magical. the female jathil dancer is thought to have a specific appeal to the audience. as a result, the study on gender roles in dance focuses on jathil dancers. even though it is still one unit with the barongan dance, the gender change in jathil dancers is limited to one character. meanwhile, research into gender change in the barongan dance remains restricted. therefore, the researcher was interested in examining the gender roles in the movement and character of the barongan dancers and their relationship with society’s social and cultural aspects. men and women have different roles in the barong dance. men are frequently thought to be more macho, whereas women are thought to be more feminine. the concept of feminine characteristics, according to thesander (1997), covers features, traits, or qualities that are traditionally defined as typical or commonly associated with women. however, it is crucial to realize that these perspectives are strongly dependent on individual cultures and social situations, resulting in differences in the interpretation of feminine features from one country or community to the next. some characteristics of feminine traits commonly associated with women are gentleness, kindness, empathy, sensitivity, humility, and the ability to communicate well (hekman, 2014). however, it should be noted that not all female individuals exhibit these traits, and there is debate as to whether they should be considered exclusively female qualities. according to blair et al. (1994), , it is important to remember that views about gender and feminine or masculine characteristics have evolved over time and are still changing in modern society. many people today argue that these traits should not be attributed exclusively to one particular sex or gender, as each individual can have diverse combinations of traits, independent of their gender. if it is related to dance performances, feminine qualities are also needed. on this point, the media is essential in promoting masculinity and femininity, which are not absolute for particular genders. in performances, the word cross gender refers to artists who have a man’s personality but can appear as a woman at any time. cross-gender dancers do not appear abruptly in culture or art. still, cultural history demonstrates the existence of this phenomenon and its emergence in numerous places, such as japan’s theatrical arts of kabuki, takarazula, and nihon buyo. stree vesham is a hindu ritual. dan dan nan dan and yueju opera are popular in china. commedia dell’arte is popular in europe (mahfuri & bisri, 2019). many dances in indonesia are performed by men yet are feminine, such as the bebancihan danagus cahyono et al., reinterpretation of gender concept and its influence on preservation 349 ce in bali, the randai art in padang, west sumatra, the wayang wong art in yogyakarta, the warok art in east java, the mask dance in west java, and the lengger lanang banyumas dance in central java. meanwhile, masculinity is a very nuanced and dynamic concept. according to connell (1998), masculinity is influenced by various factors and is directly tied to socioeconomic standing in society. masculinity is a type of gender commonly described in terms of identity, social roles, and forms of power and is generally, but not solely, associated with men. men are taught in social circles to reject or shun everything associated with feminine; therefore, men tend to be tough and aggressive, repress emotions (other than anger), emotionally and physically remove themselves from other men, and seek competition, success, and power (mankowski & smith, 2016). according to barker (2007), masculinity does not emerge naturally as a gift from god but rather as a result of conflict with culture. as a result, society deems a man to fail in social life if he lacks male characteristics such as strength, action, control, solidarity, autonomy, and work. vigority and curry (1998) state that male qualities vary by culture. societal, cultural constructions often mold masculinity, particularly in eastern regions such as indonesia. men must demonstrate masculinity by regulating their looks, how they dress, how they speak, the type of activity they engage in, how they handle problems, verbal and nonverbal reactions, and the accessories they wear. in every area, including dance, this hierarchical structure produces different body spaces for men and women. according to hallensleben (2010), a dancer’s attributes and movements are a sign of identity, such as culture, history, emotional state, and gender. dancers’ conscious or unconscious signs are social creations so that the dancer’s body becomes a performative that reflects the culture in a society. both male and female dancers must do some dances in this case. the dance, on the other hand, can be regarded as gendered. that is, the dance itself might be assigned as feminine or masculine (ikeh et al., 2020). masculinity in the barongan dance signifies robust, strong, well-built, and skilled male fighters. masculinity can also be observed in the show’s qualities. in this scenario, dance as a traditional medium can help to direct a clear view of society’s gender stereotypes. according to wahyudi and gunawan (2020), several dances in indonesia include male characters but are performed by female dancers, such as the angguk dance, reog dance, teruna jaya dance, wiranata dance, and panji semirang dance. several earlier studies on gender in traditional performances have been conducted, such as adelita’s (2017) study on the phenomena of gender transition in jathil dancers in reog art in ponorogo regency. according to this study, there are elements that influence changes in the role of jathil dancers in reog ponorogo. sarastiti et al. (2022) also address the function of female pembarong and humanistic values in the performance of barongan samin edan in semarang. dewi et al. (2018) additionally discussed female pembarong in the barongan samin edan group. no one had expressly examined gender roles or themes in barong dance in earlier research. as a result, in this study, we will go over the gender roles in barong performances for both men and women in greater depth. the debate focuses on character roles and gestures in the performance that reference masculine and feminine characteristics. it also addressed the impact of barongan performances on the social and cultural aspects of the surrounding community. method this study uses a type of qualitative research. creswell (2013) states that qualitative research is a process of scientific research that is intended to understand human problems in a social context by creating a comprehensive and complex picture presented, reporting detailed views of sources of information, and carried out in harmonia: journal of arts research and education 23 (2) (2023): 346-362350 natural settings without any intervention from researchers. this research was conducted on may to june 2023. this research focuses on examining the role of gender in the barongan performances, as well as the correlation barongan among social and cultural context.data collection was carried out by observation, interview with modern barongan group, and documentation methods. data collection technique used was purposive sampling. purposive sampling is used to select respondents that are most likely to yield appropriate and useful information, and is a way of identifying and selecting cases that will use limited research resources effectively (palinkas et al., 2015). in this research, there were 7 respondents, such as: two barongan dancers both female and male, two joko lodro dancers both female and male, one jathilan dancer, and two bujang anom dancers both male and female. the instruments were used observations sheet and questionnaire. the questionnaire was used to collect data from the dancers. the analysis used thematic analysis. thematic analysis was used to identify patterns and themes and to develop interpretations of the data (braun & clarke, 2012). the analysis in this study consists of an analysis of the barongan dance visualization, the role of men in barongan dance, the role of women in barongan dance, social context, and cultural context.the data gathered during the research are organized in order and classified based on different characteristics and types. interviews with barongan dancer were conducted to obtain information regarding the role of each dancer in barongan performance, especially the different between male dancer and female dancer seen from physically and mentally. observations were made by observing the movement and visualization of each figure in th barongan dance. result and discussion barongan dance visualization every character in the barongan performance has distinct visual traits. the gender of the dancer who performs the character also impacts this depiction. therefore, the concept of gender in barongan needs to be reinterpreted in order to understand each character. makeup and apparel are important in creating an appealing visualization for each dancer. female dancers’ makeup and costumes are more elaborate than male dancers. female dancers’ visuals are also more attractive to certain spectators since they are seen to emanate beauty. meanwhile, the depiction of male dancers is simplified but powerful. barongan dancers, also known as pembarong, dress simply. wide red or black trousers, a black short-sleeved shirt, and a headband are worn (see figure 2.). pembarong apparel is simple and only consists of t-shirts, intending to make the dancers feel at ease while entering the barongan. an additional jarit is tied around the waist of some female dancer, coupled with decorations on the body and gold bracelets on the hands. nonetheless, there are no set criteria for barongan dancer. the barongan mask’s outfit is constructed entirely of white material with a pattern mimicking a tiger’s body, with body and leg patterns in orange and black. pembarong’s makeup is simpler than that of a jathilan dancer. female pembarong were given varying makeup; some were given full cosmetics, while others were merely polished with powder. the goal is to provide the dancers with a genuine impression. meanwhile, no makeup is required for male pembarong. the visual movement perceived by the barongan dancers starts with a simple dance in which the barongan’s body looks graceful to the right and left (see figure 1a). the dancers then try to match their motions with the music rhythm, elevating their legs and swinging their bodies (refer to figure 1b). following that, the barongan begins to demonstrate movements macanan or cat movements by moving freely and initiating the whipping scenario done by the handler, particularly in the traditional barongan group (see figures 1a and 1b). agus cahyono et al., reinterpretation of gender concept and its influence on preservation 351 figure 1. visualization of barongan dancers visually, the movements of the jathil dancers are described as a group of horsemen with the mighty nature of a knight. the movements are firm and powerful. starting with the movement of riding a horse with legs widened and (2a), then the legs are raised as if to fight (2b), then the dancer’s body faces 90°(2c), then forms a wide formation to welcome gembong amijoyo (2d). the makeup used by dancers jathilan uses makeup of cosmetic tools in the show. the makeup of the jathil dancers is adapted to the character of jathil’s movements which are feminine, agile, kenes (cool), and firm. the jathil dancer’s eyeshadow uses dark colors such as dark blue combined with brown and pink, aiming to give an elegant impression but still look feminine. the lipstick color uses bright red to represent jathil’s assertive movements and to make it look more masculine. at the same time, the eyebrows use brown with a black combination to give the impression of a feminine character. meanwhile, the jathil dancers wear black tayet pants knee-high, green/red jarit with white motifs, black stagen, pink camisole, red headband and sampur, and a black and golden yellow belt with a pattern of kace and shoulder plate (see figure 2). additional accessories include glass and golden yellow tassels, wristbands patterned with kace, and black anklets. furthermore, the dancer bujang anom is the bodyguard of the character joko lodro in the barongan performance. usually, the presence of the bujang anom figure always accompanies the bujang garum figure. visually, the bujang anom dancer is seen wearing black shorts, a red velvet vest, a red and yellow scarf tied around the waist, a black belly girdle, black wristbands, and also a mask with a singo barong image (see figure 3). the bujang anom and bujang garum dancers do not use makeup. meanwhile, the resulting movement is the agile waddle dance following the strains of gamelan music (see figure 3a), then the bujang anom dancer performs somersaults (see figure 3b). the bujang anom and bujang garum dancers performed a front roll attraction and jumped very agilely. (a) (b) figure 2. visualization of jathilan (masculine) dancers joko lodro is the main character in the barongan dance, he is described as a mandraguna who is powerful and can transform into a giant. in the barongan performance, joko lodro fights with singo barong so that singo barong can be conquered, but in the end, singo barong can live again because he has almost the same supernatural powers as joko lodro. joko lodro’s dancers and joko lodro’s character shadow dancers wear white knee-high trousers created with black lines, red fingers, stagen cinde, belts, and black, yellow, or red straps tied around the neck, shoulder plates made of motifs with pants, and wrist and ankle bracelets (see figures 4a and 4b). it’s just that the costume for the shadow dancer of joko lodro’s nature uses a black and white striped velvet vest which harmonia: journal of arts research and education 23 (2) (2023): 346-362352 is created with yellow gold stripes at each end. joko lodro’s costume design depicts the role of a warrior who is dignified, courteous, and wise. joko lodro’s form of shirtless clothing was made to support joko lodro’s character as a knight who is calm and intelligent. the attire of joko lodro’s shadow figure is not much different from joko lodro’s attire. the difference lies only in the vest and the properties of the mask/makeup worn. the visualization of joko lodro’s movements and joko lodro’s shadow begins with a dance by swinging the body to the right and left and gracefully moving the hands up and down. one hand is always on the waist, while the other hand is moved around (see figure 4a), after which the dancer moves all over the stage with fast movements ending by lifting one leg and placing one hand on the leg that is being raised (see figure 4b). meanwhile, joko lodro’s shadow dancer uses a black mask with the initial movement the same as the original joko lodro’s. the dancers continue to sway around the original joko lodro, approaching the jathilan dancer by walking backward, making movements as if breaking his shoulder, and moving his stomach. meanwhile, the dancers nayantaka and gainah do not have a standard dress code. nayantaka and gainah are portrayed as simple and comical people. hence in some barongan groups, these two characters merely wear ordinary attire, such as negligee with masks in black, white, yellow, or cream. nayantaka’s figure, on the other hand, wears a black vest with a yellow gold beret, a black belt, an orange scarf knotted around his waist, a jarit, headgear, and a black mask in another barongan group. while the character gainah is seen wearing a kebaya, shawl, head cover, and a yellow mask, it is clear that this is a funny character. visualizing the ensuing motions is usually spontaneous and improvised. therefore, there are no regular movements in every performance. (a) (b) figure 3. visualization of bujang anom dancers figure 4. visualization of joko lodro dancers and the shadow trait of joko lodro each character has its visual form based on the feeling it bears. in actuality, the image differs for each barongan group, even if the visualization of each character is nearly identical to the standard barongan group, in contrast to the character depiction in modern barongan performances, which has evolved significantly. creations were made to give a different impression to appeal to a wide range of audiences. this picture helps to realize how intricate the barongan performance is. every detail must be studied to create a strong visual impression and character. using makeup and clothing is vital in creating realistic fictional characters. dancers use makeup and costume as a form of expression to represent the characters they play. according to vukadinovi and markovi (2017), vision in dance is caused by supporting variables such as scenography, spatial dynamics, agus cahyono et al., reinterpretation of gender concept and its influence on preservation 353 physical characteristics of dancers, dancer motions, and choreography. dance is typically able to transmit information to the audience about the physical and mental health of the dancer’s character while on stage through this imagery (brown et al., 2006). the visualization in the barongan performance takes the form of tiger-like motions. each character has a distinct movement that reflects the character’s personality. some characters move gracefully, yet other ones move quickly. according to young-mee and jin-young (2016), the visualization of dance affects the psychological elements of the dancers and the audience, as well as the physical motions of the dancers. the visualization of dance can boost motivation, and self-confidence, melt away tension and improve attention. the role of men in barongan dance no precise regulations govern the number of dancers appearing in the barongan performance. the dancers in the barongan act are usually in groups of 4-8. the number of dancers is typically varied based on their activity. the number of dancers is regulated to the budget of the people who perceive barongan art, especially at amusement occasions. the greater the economic level, the greater the number of dancers in the barongan arts. barongan, jathilan, bujang anom, pentul, nayantaka, gainah, and untup are the figures of barongan art. the dancers in the barongan character are usually performed by four people, three of whom are men and one of whom is a woman. male dancers typically do barongan performances (see figure 5a). this is inextricably linked to the community’s idea that male dancers represent power, so male dancers play a more dominant role than female dancers. this is also inextricably linked to community concerns about men, who find it easier to carry barongan masks than women because the weight of the masks surpasses 30 kg. male pembarong’ body contours are tighter and firmer, revealing the pembarong’s body muscles. there was also a brawl in the middle of the show between joko lodro and barongan, who jathilan dancers surrounded. as a result, the male barongan dancer must have a muscular body to be ridden by joko lodro’s shadow during the war scene. the barongan movement, which is played amid the performance, is marked or accompanied by ponoragan music. figure 5. malepembarong bujang anom is played by a male dancer in the barongan performance. bujang anom and bujang garum are the two bujang anom figures. the characters are amusing, agile, and powerful. dancers in this character are attractive dancers who can perform front somersaults, wheel poses, cartwheels, front rolls, and back rolls. men perform all of the bujang anom character dancers. the mask’s character and the musical accompaniment affect bujang anom’s movement. the only moves displayed are somersaults, forward rolls, and reverse rolls. harmonia: journal of arts research and education 23 (2) (2023): 346-362354 figure 6. male dancers as bujang anom characters the next role is as a character dancer joko lodro. there are 5 joko lodro figures, 1 is the original joko lodro character, and 4 are shadows of joko lodro’s character. joko lodro’s character is described as having a firm, strong, dignified, and courteous personality. all of the dancers who play the character of joko lodro are male. joko lodro’s dance moves and shadows use pure movements or wantah movements, namely movements arranged to obtain an artistic form. figure 7. male dancer of “joko lodro” character the next role is as the character nayantaka. together with the character gainah, the character nayantaka has a humorous and humorous personality. usually, the nayantaka character is played by men, while women play the gainah character. but this is not a standard, gainah can also be played by men dressed as women. there is a possibility of a dual role in the pentul character because this character functions to entertain the audience with his funny moves. meanwhile, gainah is an old female character that a man can dance. in her dances, gainah is usually accompanied by untup and nayantaka. untup and nayantaka are two characters wearing black masks and white masks. the mask’s shape is unique because it does not cover the entire face, so the beards of the dancers will be visible. the existence of gainah and untup characters symbolizes feminism in the barongan performance. the movements of the two characters are also made like the body movements of a woman who is graceful, flirtatious, and waddling. this is a challenge for male dancers because they must portray characters differently from their daily lives. the male dancers who play the two characters are required to be able to sound like women, wear older women’s costumes, and act like women. as indicated above, masculinity is represented by strength, agility, and muscularity. according to connell (1998), masculinity refers to traditional or societally accepted attributes of men, such as courage, assertiveness, physical strength, independence, logic, ambition, domination, competitiveness, and lack of emotional expressiveness. the objects and qualities of barong dancers are more focused on the male gender role, which is macho. this representation of the concept of gender leads to an examination of characters who are suited for playing based on their gender. the role of men in the barongan performance is, of course, more than that of women. of all the characters in the barongan performance, 70% are performed by men. apart from being strong, men can play all the characters well. even characters that women should play can also be played by men. in this case, the nature of feminism appears in the male dancers who sway on the stage. even so, this trait is carried out as a form of the totality of male dancers towards their work. the role of women in the barongan dance in the past, the barongan dance was only performed by male dancers because men were considered to have the power agus cahyono et al., reinterpretation of gender concept and its influence on preservation 355 to imitate barongan movements. gender reinterpretation makes the roles in barongan performances more varied. however, currently, the barongan performance is not only limited to male dancers, but women also take part in playing the characters in the show. women in barongan performances can also act as barongan dancers. the barongan character is strong, brave, and agile, but the female barongan can perform macanan or cat movements spontaneously and improvitatively (see figure 8). this is unique because not all women can imitate the movements of the barongan well, especially the barongan mask, which can weigh up to 30 kg. of course, it is not an easy thing to control the mask while dancing. to lift the barongan mask, female dancers are trained with physical and spiritual exercises to use the strength of their teeth and neck muscles. but there is a difference between barongan played by women and barongan played by men. if the male barongan dancers are required to be able to lift the barongan (dadak merak) mask, which weighs up to 30 kg, the female barongan dancers only use the usual barongan mask. to be able to portray the character of barongan in totality, sometimes there are special rituals that must be carried out by the female bridegroom before the barongan performance begins, one of which is the “buka klambu” ritual, where the female baron who the shaman likes must have intercourse with the aim of transferring energy from the shaman to the pembarong so that when the performance begins, the barbarian becomes strong and invulnerable to sharp objects. physical training is also needed so that female pembarong has a muscular body and can demonstrate the barongan well on stage. even so, there was no difference in the movements or costumes used between the female and male pembarong on stage. the figure of jathilan (figure 4) is generally played by 5-9 female dancers and is danced in groups. jathil dancers are, on average, 20 to 24 years old. it is suspected that an odd number of dancers is used to create a symmetrical spatial composition so that, generally, there are only 7 jathilan dancers. in the past, jathilan dancers were played by men, but now jathilan dancers are fully played by women. this aims to make jathilan’s movements look more streamlined, increase the attractiveness of the audience, and build a lively atmosphere. there is an aesthetic expression that jathilan dancers want to show to the audience that male dancers cannot express. jathil dancers have a sassy, cool, agile, and energetic character. the expression of a dancer shows talent and skill in fighting on a horse. in the show, the jathil dancers pair up with each other. jathilan dance movement is a meaningful movement (gesture) with a specific meaning or purpose and has been stylized. this shows that the jathil dance moves are included in the representative movement category because the jathil dance moves are the movements of a soldier riding a horse which shows his soldier side. figure 8. femalepembarong in barongan performance the warrior’s movements make the female jathilan dancers appear more masculine since they stress nimble and wellbuilt attitudes and a body form similar to a man’s. figure 4 shows that the jathil dancers do not waddle but instead demonstrate their strength by riding a horse. these male characteristics do not appear independently; rather, they require thorough training so that dancers may act like soldiers on stage. harmonia: journal of arts research and education 23 (2) (2023): 346-362356 figure 9. female jathil dancers in barongan performance the inclusion of female dancers in the barongan performance attempts to demonstrate an aesthetic impression emanating from the aura of women, particularly in barongan art, which is intended for entertainment and spectacle functions. women’s roles are also featured in the performance dancers to provide a more feminist impression, particularly for the jathilan figures. the character accentuates feminine movements that are thin, cool, and agile. this implies that there must be a female role in this barong performance. some characteristics of feminine traits commonly associated with women are gentleness, kindness, empathy, sensitivity, humility, and the ability to communicate well (hekman, 2014). furthermore, a societal shift is causing fewer and fewer male dancers in the barongan show. to get around this, female dancers are an alternative as part of the regeneration of barongan dancers. this is contrary to the situation in the past, where female dancers in barongan performances were considered unethical, so men mostly performed the role of barongan dancers. the female pembarong gives a distinct impression compared to the male pembarong. the characteristics of masculinity, movement techniques, and appreciation of the roles performed by female dancers in barongan do not have the effect of alienating the audience. from this explanation, it is necessary to reinterpret the concept of gender in barongan performances so that the performance can run more optimally. on the contrary, the audience is fascinated by the existence of these crossgender roles. this innovation of transition between male contractors and female contractors is called tunner in sarastiti et al. (2022) as a liminal stage (threshold) or unusual events (anti-structural). women’s barongan performance art has a rich meaning regarding cultural, social, and welfare aspects. the definition of culture is the preservation, revitalization, and development of local cultural traditions. the social significance is linked to an improved sense of community among activists and the creation of artistic creativity spaces for women. well-being refers to increased well-being, including spiritual and material gratification from creative activity. in the performance of barongan, the gender change that occurs in female pembarong appears to communicate an implicit message about the prevalence of gender equality and humanist values in society (durkheim & muzir, 2003). based on table 1, there is no significant difference between the movement, physical form, and character of the male and female barongan dancers. even so, there is a slight difference between the two. the movements of male and female dancers in the barongan performance use many of the surakarta dance styles, namely ulap-ulap, ngrayung, ngithing, ngepel, mendak, mbaya mangap, and junjung nekuk. however, the movements of each character in the barongan performance played by men, such as joko lodro, barongan, and bujanganom are more violent, frightening, and attractive than the movements of the characters in the barongan performance played by women. in contrast, the movements are more spontaneous, smooth, and soft. then, female and male dancers must have strong and well-built bodies, except jathilan dancers, who women specifically play due to their feminine, sassy, and graceful features. while the character of each role played by both female and male dancers is the same, the character does not alter just because a male or female plays it. therefore, the dancer must adjust to the character being played. this is consistent with the notions agus cahyono et al., reinterpretation of gender concept and its influence on preservation 357 table 1. gender roles and the movements of each character gender character movement physically characteristics male barongan using surakarta dance style movements, namely ulap-ulap, ngrayung, ngithing, and ngepel. while the foot movements use somersaults, junjung, ngaklak, senggot, gebyah, dekeman,kucingan, geter, thathakan, glundungan, mbekur, and thapukan. overall, the movements of the male barongan dancers are wilder, more attractive, and more powerful. strong, stocky body spontaneous, strong, mighty joko lodro using surakarta dance style movements, namely the junjung nekuk, ulap-ulap, bapangan, and ngepel movements. overall, joko lodro’s movements are more frightening by showing the movements of a soldier who is ready to kill singo barong. strong, stocky body and strapping violent, firm, energetic bujang anom the movements used are ngrayung, ngepel, and mendak. be more attractive by doing somersaults, wheel poses, and front rolls. stocky body and strong celelekan, lively, strong, attractive female barongan using the movements of the surakarta dance style, namely ulap-ulap, ngrayung, ngithing, and ngithing movements. while the foot movements use chartwheel, junjung, ngaklak, senggot, gebyah, dekeman, kucingan, geter, thathakan, glundungan, mbekur, and thapukan. overall, the resulting movements are softer and not too crazy on stage. generally, movements are only done in one place. must have strong and strapping spontaneous, strong, mighty jathilan more feminine but still shows the movement of a warrior on horseback who is mighty and tough graceful and elegant, but her soldier side remains seen feminine, lively, energetic, timid, and kenes. joko lodro using surakarta dance style movements, namely the junjung nekuk, ulap-ulap, bapangan, and ngepel movements. overall, the resulting movement is simpler but still authoritative. must have strong and strapping physique like a warrior authoritative, strong, and dashing warrior bujang anom the movements used are ngrayung, ngepel, and mendak. overall, the resulting movements are elegant and attractive, but a little bit of extreme acrobatic movements stocky body and strong celelekan, lively, strong, and a little bit attractive harmonia: journal of arts research and education 23 (2) (2023): 346-362358 of feminine and masculine. visser (2002), defines feminine qualities or characteristics as traits or characteristics that are typically associated with women. gentleness, sensitivity, empathy, and elegance are examples of such qualities. these characteristics are frequently related with emotions and care for others. in the meantime, masculine refers to attributes or characteristics that are typically associated with men. courage, physical strength, aggressiveness, and independence are examples. characteristics: in barong performances, males will play characters with more masculine features, while women will play characters with more feminine characteristics. this is done to give the character a more heartfelt appearance. social and cultural context of barongan barongan has had a substantial societal impact on the residents of blora. the barongan performance incorporates moral and social ideals embody the blora people’s populist traits, such as kinship, spontaneity, simplicity, roughness, toughness, compactness, and truth-based courage. barongan relationships regularly arise in the blora area due to close affinity. even though there are numerous barongan groups, they all support one another. this is meant to be a type of cultural preservation done by the community to keep barongan alive. changes in societal structure have an impact on barongan performance. at its inception, the barongan performance was solely performed by men. patriarchal ideology, which elevates men’s positions above women’s, and gender stereotypes, which assign specific identities to men and women, are still deeply ingrained and ubiquitous in many aspects of people’s life. however, in the context of this study, the findings suggest that the existence of a barongan performance group is capable of serving as a socialization and change agent in the construction of men’s and women’s roles. barongan performances are functionally viewed by all groups in society, from youngsters to teens to adults. for adults, the barongan performance is a source of enjoyment and belief in the story’s validity and moral message. barongan has been turned into an entertaining performance for teenagers and little children. the barongan act is intriguing because it includes dances that form a formation and are performed by skilled and professional players. furthermore, the barongan dance is backed with costumes, equipment, and music rich in local culture, piquing the interest of young people. sundar et al. (2020) discovered that people are often educated indirectly by every barongan art performance because every work of art carries a message or meaning. a piece of art can serve as a teaching aid by providing stimuli. barongan art is useful for guiding and educating one’s mentality and behavior so that it improves and progresses. this is one example of how the barongan performance can promote societal aesthetic and ethical values. barongan is a kind of cultural preservation practiced by the blora people for millennia. barongan blora’s long history distinguishes it from its original shape. samin surosentiko imported barongan blora from sumoroto ponorogo (haryono, 2008). barongan was brought to blora as a medium to elicit sympathy from the blora people for them to live more autonomously. furthermore, when it first appeared, barongan blora served as a ceremonial medium in the ruwatan murwakala or ruwatan wong sukerta rites. because this tiger-shaped mask is considered to have supernatural powers and to be a guardian who is thought to be the incarnation of batara wisnu named narasima against buta kesipu, the manifestation of batara kala, barongan blora can ward off evil spirits. this is a hindu concept in which the tiger serves as the temple’s guardian and is also known as the kalamakara. this is a hindu concept in which the tiger serves as the temple’s guardian and is also known as the kalamakara. aside from that, barongan blora is thought to be a way of joining the spirit of the tiger totem animal, which the agus cahyono et al., reinterpretation of gender concept and its influence on preservation 359 javanese refer to as kyai. this is also related to the tiger being prophet sulaiman’s favorite animal. because of this, barongan blora is particularly connected to the blora people’s socio-cultural existence. barongan blora has evolved from mystical rites or customs to become a common form of entertainment. the transcendental function of barongan blora allowed it to develop a more creative and appealing grip through changes in dance styles, performers’ costumes, time of performance, and story plots. the appearance of the barongan blora mask in the play has also changed, particularly from an artistic standpoint. even though barongan blora has evolved into a kind of entertainment, it has retained elements of ritual or custom. after several barongan performances in the blora regency environment, the public became aware of barongan blora’s performances. other versions do not have the qualities of barongan performances. this demonstrates how the barongan blora show evolves and grows dynamically, beginning with the basic barongan blora presentation and progressing to the present day, full of innovations and variants or changes. barongan blora is unique, yet it must adapt to changing times without losing its essence and cultural values in physical and non-physical forms. as a result, all artists must innovate to address the changes and challenges of the times. conclusions the dancer’s role in the barongan blora performance has a distinctive and variable gender reinterpretation. this reinterpretation clarifies the actor’s gender in relation to the character being performed. although the figures’ actions mirror traditional animal or human features, the redefinition of gender adds an additional layer to the play. in this setting, gender interpretation is crucial in portraying biological distinctions and delving deeply into the core of performance. male and female dancers in the barongan performance have motions that express various traits, but without diminishing the performance’s significant values. the barongan performance is one of the cultures that still exist in blora today. visually, each character in the barongan performance has its characteristics. the movements that appear in the visualization of the barongan dancer express the movement of a cat and mouse (macanan). at the same time, other characters played by men are visualized with movements that are agile, dashing, and full of dexterity. meanwhile, the female characters in the barongan show are depicted with graceful and spontaneous movements. however, in general, there is no significant difference in the show. barongan blora has exceeded the boundaries of social construction in society. the dancers’ roles are no longer grouped based on a certain type of gender but are more flexible. overall, gender differences in the barongan show are only seen in the movements produced. however, physically and in the characters played, there are no significant differences between male and female dancers because both are required to have the physique and personality according to the characters played. the existence of the barongan performance has also impacted the local community’s social and cultural features. from a societal standpoint, the barongan performance is accessible to all groups since it teaches humanism and populist principles held by the blora people, such as courage, honesty, kinship, and mutual collaboration. in terms of culture, the barongan blora show has evolved, so today’s barongan is not only involved in mystical rites but also as an attractive and easily accepted entertainment medium by all levels of society. with its uniqueness, barongan preservation continues to be carried out following the periods without compromising the substance and cultural values in physical and non-physical forms. harmonia: journal of arts research and education 23 (2) (2023): 346-362360 references adelita, w. k. 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(2016). influence of dance visualization of dance majoring university students on dance immersion and dance performance anxiety. indian journal of science and technology, 9(25), 1–10. https://doi.org/10.17485/ ijst/2016/v9i25/97225 https://www.sciencedirect.com/science/article/pii/s0277539502003126 https://www.sciencedirect.com/science/article/pii/s0277539502003126 https://www.sciencedirect.com/science/article/pii/s0277539502003126 vol. 1 no 2 sept_des 2000.pdf harmonia : jurnal pengetahuan dan pemikiran seni seni tari dalam persepsi masyarakat jawa (dance art in java society perception) oleh : hartono* abstrak tari tradisional dalam budaya rakyat didukung oleh masyarakat petani atau masyarakat pedesaan. sebagaimana budaya tradisi istana, budaya tradisi rakyat muncul dalam perkembangan kebudayaan indonesia setelah adanya pembeda sosial antara kelas kerajaan dengan kelas rakyat atau antara negara dengan pemerintahan desa. konsep peisahan itu tidak dapat dielakkan mengingat akan kekuasaan absolut par apenguasa pada jaman hindia belanda, di mana kedudukan yang kuat pada puncak tatanan kemasyarakatan dan kekuasaan magis politis yang diwariskan dalam kerajaan begitu kuat berakar dalam kebudayaan jawa. dalam konsentris kerajaan jawa, dapat dilihat konsep-konsep yang menegaskan kekuasaan tradisional sultan sebagai sumber satu-satunya dari segenap kekuatan dan kekuasaan (soemarjan, 1986). lingkaran terakhir dalam konsentris kerajaan jawa, disebutkan daerah manca negara. daerah tersebuh walaupun secara formal diakui sebagian dari kerajaan, tetapi sistem yang berlaku serbab berbeda yang diberlakukan di daerah tersebut. (kata kunci: persepsi, masyarakat, tari jawa, kebudayaan ) a. masyarakat jawa suku bangsa jawa, pada umumnya, dapat dikatakan telah mempunyai kemiripan dengan bangsa yang beragama hindu. budaya hindu lebih banyak terserap dan mengakar sebagai jairngan pranata sosial yang baku (pamadhi, 1985). mulyono (1982) mengutip disertai haze (1987), tentang pengaruh hindu di jawa, sebagai berikut: telah sama-sama diketahui, suku jawa yang terbanyak mengalami pegaruh kebudayaan hindu, sehingga pada seluruh peradaban baik material maupun spiritual meninggalkan cap hindu. vol. 1 no. 2/september – desember 2000 48 harmonia : jurnal pengetahuan dan pemikiran seni *staf pengajar jurusan sendratasik/fbs/unnes sedangkan peranan hindu dalam aktualisasinya dengan kebudayaan setempat diceritakan dalam kitab sastramiruda dan tersirat pula dalam pustakaraja, sebagai berikut : kacarita para dewa kang akhyangan ing tanah hindhi bareng angejawantah tumenduk ing marcapadha tanah jawa, padha ngagem sesebutan resi, penggedhene asma sang hyang jagadanta, iya iku bathara guru, ngagem sesebutan resi mahadewa budha, banjur dadi uyun-uyunane wong ake angabut jawata, tegese: garuning tanah jawa, awet ing nalika iku mula bukane para dewa pada sinebut jawata, maregi taun candra 104, sinengkalan: dadi dedhuwuraning janam (sadu budhi dalam pamadhi, 1985). (para dewa menjelma turun di pulau jawa, pakai nama panggilan resi, pemimpinnya bernama sang hyang jagadanta, yaitu bathara guru dengan panggilan resi mahadewa budha, kemudian orang banyak menyebut jawata, artinya gurunya orang jawa, sebab ketika itu pada mulanya para dewa disebut jawata, jadi petinggi manusia). dari surat ini dapat ditarik suatu penegrtian bahwa kedatangan pengaruh hindu ternyata bersamaan dengan bentuk aliran atau agama lain, yaitu : hindu dan budha, kedua agama ini di negara asalnya dapat dikatakan tidak pernah toleran satu dengan yang lain, namun setelah masuk di indonesia, justru bersatu menjadi hanyut dalam satu bentuk, yaitu agama hindu (pamadhi, 1985: 4). sebenarnya, secara keseluruhan perkembangan masyarakat jawa dipengaruhi oleh beberapa unsur, masing-msing unsur tersebut mempunyai bentuk budaya. tahapan pengaruh berupa: agama, politik pemerintahan atau kesenjangan penetrasi budaya: yaitu datang dari agama islam dan belanda. dengan menarik inti pengaruh budaya di pulau jawa ini soedarso memberikan tahapan perkembangan masyarakat jawa yang dihubungkan dengan hasil kebudayaannya dalam hal ini seni tari: jaman pra-sejarah, jaman purba (jaman kedatangan hindu), jaman madia (kedatangan agama islam), jaman modern (sorokin dalam pamadi, 1985: 5). sedangkan mulyono (1982) menghubungkan perkembangan masyarakat jawa dengan perkembangan kesenian pewayangan di pulau vol. 1 no. 2/september – desember 2000 49 harmonia : jurnal pengetahuan dan pemikiran seni jawa, sebagai berikut: a. jaman pra-sejarah, yaitu sejak permulaan adanya manusia dan adanya manusia dan adanya kebudayaan sampai abad ke-5 sm. pada jaman pra-sejarah ini mlai adanya pertunjukan bayang-bayang (wayang). b. jaman sejarah, yaitu jaman sejak abad ke-5 sampai sekarang, yang terbagi menjadi: � masa kedatangan orang-orang hindu dari tahun 400 masehi sampai runtuhnya kerajaan majapahit (tahun 1478 atau abad ke 5-15) � masa kedatangan agama islam diawali dengan berdirinya kerajaan demak pada tahun 1478 sampai runtuhnya kerajaan mataram ke-2 atau kedatangan bangsa belanda (tahun 1596). � masa penjajahan negara-negara asing berturut-turut sejak portugis, belanda sampai perginya penjajahan tahun 1945 (abad ke-14-15). � masa baru atau jaman merdeka, yaitu sejak proklamasi 17 agustus 1945 sampai sekarang. kedua pendapat tersebut menunjukkan hakikat pengertian terhadap perkembangan masyarakat yang sama. terutama tanggapan terhadap jaman pra-sejarah (pamadhi, 1985), menjelaskan bahwa taraf budaya mereka baru sampai meramu bahan alam tingkat awal, atau “simple hunting and food gathering societies”. tentu saja pranata sosial tersebut belum kompleks sebagai sistem baru muncul setelah hindu mengawali penyebaran pada sat ini sistem religu berada di atas. dapat dikatakan semua pranata sosial digiring oleh kepercayaan. sedang terhadap perkembangan masyarakat sangat besar pengaruhnya, yaitu munculnya sistem pemerintahan yangt eratur sebagai kerajaan. kerajaan tersebut adalah medang kamula di jawa barat, tepatnya disekitar gunung pangrango, dan kemudian berpindah lokasi di lereng gunung lawa dengan mana kerajaan “tejamoya”. dalam sastramiruda disebutkan sebagai berikut : nuli para resipunggawa padha ayasa padha leman sowang-sowang, ora adoh sakan kedhaton, warna-warna wewangunane, nalika samana isih ingaran nagara maha sewa budha jumeneng nata akekutho ono ing medhang kamulan tanah jawa kulon mung lima tahun, banjur ngalih ana ning gunung mahandra, iya iku ing gunung wiyasaning bumi (sadu budi, tt). (kemudian para resi punggawa menghadap, tak jauh dari keraton, macam-macam bangunannya, ketika itu masih bernama negara maha dewa budha berkedudukan di madhang kamulan tanah jawa barat hanya lima tahun, kemudian di gunung mahendra, yaitu vol. 1 no. 2/september – desember 2000 50 harmonia : jurnal pengetahuan dan pemikiran seni gunung wiyasaning bumi). setelah budaya india mengakar, akhirnya menunjukkan bentuk pranata sosial yang maju dengan pola mistik sinkritik dalam setiap sistem upacara. maka terjadi hal yang terbalik setelah islam masuk. namun, islam tidak memberikan “counter politics”, kepercayaan merapat terlebih dahulu dalam bentuk budaya islam. sehingga tidak terasa telah masuk ke dalam budaya hindu. perlu diketahui bahwa agama islam yang pertama kali masuk berasal dari gujarat india yang dipengaruhi oleh aliran tasawuf persia dan mistik india (hadiwiyono, 1983). oleh karena itu, kehadiran agama islam tidak menimbulkan perpecahan dan peperangan, bahkan seolah-olah terasa menyatu dengan kepercayaan sebelumnya. kedatangan islam memberikan andil pada kematangan seni ornamen, yaitu yang biasanya melekat pada kostum maupun gerak tari dan mendorong sampai pada masa kerajaan demak. kelebihan pihak islam ialah berhasilnya menarik pranata sosial yang dipengaruhi kepercayaan hindu dengan sangat kuat menuju pola kerajaan. berpalingnya konsepsi kepercayaan kepada konsep kerajaan berpengaurh besar terhadap penciptaan seni. akhirnya, pola “istana sentris” tersebut dimanfaatkan belanda untuk menjajah. ide kerajaan sebagai pusat pemerintah yang berfungsi sebagai pusat budaya, dan raja adalah tokoh yang kharismatik. segala perintahnya bagi perintah dewa, sehingga kekuasaan terhadap pranata sosial dikeluarkan melalui raja. kaum bangsawan menempatkan dirinya sebagai kaum ningrat berdarah biru, berhak menempati posisi paling atas dalam perhelatan upacara. hakhaknya tidak dapat disamakan dengan umum non bangsawan, termasuk hak terhadap pemakaian hasil seni (tari, batik, kain, dan ornamen) (pamadhi, 1985: 6). b. seni tari secara hakiki pembicaraan mengenai masyarakat jawa masuk dalam tema cakupan pembicaraan masyarakat timur. termasuk pula dalam kajian masalah penciptaan seni tari, konsep cipta seni masyarakat timut cenderung dipengaruhi oleh unsur religi. peran konsepsi religi ini menjadi jaringan tradisionalistik pranata sosial. hal ini disebabkan oleh “masyarakat timur memandang bahwa agama itu merupakan soal yang vital dari kehidupan sehari-hari” (gozalba dalam pamadhi, 1985). pendapat ini diperkuat oleh koentjaraningrat (1982):”kebudayaan timur itu mementingkan kehidupan keruhanian, mistik, pikiran pra-logis, keramahtamahan”. vol. 1 no. 2/september – desember 2000 51 harmonia : jurnal pengetahuan dan pemikiran seni kehidupan kerohanian ini tmapak jelas pada ekspresi dalam cipta seni tari. pada seni rupa di jaman pra-hindu bentuk-bentuk naif banyak yang muncul, dengan penuh makna yang serba misteri. namun, setelah hindu memberi proses seni cipta dan agama sebagai simbolnya, maka sedikit demi sedikit mulailah seniman merekayasa bentuk-bentuk yang magisreligius. dan bermunculan pula karya seni tari hasil gabungan imajinasi dan simbol agama. beberapa hal yang melandasi penciptaan seni tari klasik, sebagaimana yang dikemukakan oleh pamadhi (1985), yaitu: 1. konsep filsafati seni adalah pengucapan batin seorang yang sangat mulia, sebab proses cipta seni melalui pengendapan batiniah. bertolak dari eksplorasi terhadap lingkungan ditariklah moment-moment estetis yang menjadi tangkapan indrawi. kemudian dengan mood serta dorongan moralnya, mereka jabarkan dalam media karya seni. keterkaitan moral atau etika dalam wujud karya seni sangat dipengaruhi oleh tanggapan terhadap lingkungan sekitarnya, termasuk pranata sosial, konsepsi filosofis masyarakat setempat, moral religi serta pandangan terhadap arti keindahan itu sendiri. akhirnya, menjadi asas cipta. konsep penciptaan seni menurut masyarakat jawa, adalah pandangan hidup masyarakat jawa terhadap manusia, tuhan, dan pandangan terhadap alam sekitar manusia hidup. hal tersebut mempengaruhi tanggapan estetisnya. sedangkan bentuk dan wujud pandangan hidup tersebut sudah berjalan berabad-abad lamanya, sejak manusia mengenal alamnya sendiri. jadi, unsur mistik dan sinkretik juga mempengaruhinya, serta ungkapan terhadap kehidupan setelah mati merupakan kajian penting. untuk mengungkapkan pandangan terhadap manusia, tuhan, serta lingkungan alam oleh masayrakat jawa, dapat dilihat dari semboyan hidup: “sangkan paraning dumadi” (asal muasal manusia), ujud karya seni mengarah pada prelogis, hal-hal yang metafisik. ekspresinya berupa: bentuk-bentuk simbol, penuh teka-teki yang misterius, seperti halnya: ornamen dasar ikal, tumpal, pada seni rupa: tari bedoyo yang terdiri dari sembilan penari: tari srimpi dengan empat penari. kesemuanya itu mempunyai makna tentang asal-usul manusia. vol. 1 no. 2/september – desember 2000 52 harmonia : jurnal pengetahuan dan pemikiran seni sebenarnya, filsafati ini banyak dipengaruhi oleh keadaan alam yang subur seperti pulau jawa ini yang hanya dengan menancapkan tanaman akan memetik hasilnya. maka kehidupan setelah bercocok tanam diladang, kebun, atau sawah, mereka gunakan untuk memikirkan hal-hal sesudah mati dan alam gaib. bentuk karya seninya berupa simbolika filosofia. beberapa contoh di atas memberikan dasar pengertian kepada kita, bahwa filsafat hidup masyarakat jawa ini tampak dalam inspirasi seninya. gerakan empasis sangat mendasar pada bentuk-bentuk alami, dan diungkapkan dengan kelembutan dan keramah tamahan. karya-karya seninya tidak tampak bentuk-bentuk yang realistis, tetapi lebih pada simbolik yang penuh dengan makna. 2. konsepsi moral konsep religi ini akhirnya mempunyai pengaruh yang sangat kuat dalam pranata sosial, dimana kedudukan rakyat sebagai wong cilik harus memberikan pernghormatan kepada yang lebih tinggi dan berakhir raja sebagai penguasa tunggal. dalam segi bahasa saja sudahd apat dilihat akan rumit dan kompleksnya skema alur pranata sosial. terdapatnya kromo hinggil, kromo madyoo, dapat memberikan bukti. sedang pada seni rupa tampak dalam penggunaan sinjangan. sehingga tidak akan mungkin rakyat kecil perlente dengan sinjangan parang rusak atau parang burung garuda. konsepsi moral religi terhadap cara cipta seni kelompok islam sedikit banyak berpengaruh pada visualisasi bentuk-bentuk, terutama dalam teknik pengayan. bentuk pra-hindu yang naturalistik, idealistik, menjadi idealistik yang dekoratif. permainan bentuk alam sebagai usaha rekayasa inspirasi manusia, hewan, serta makhluk hidup yang lain. kecenderungan meninggalkan bentuk-bentuk naturalistik menuju dekoratif ini agaknya terdapat suatu tafsiran terhadapp ayat al qur'an tentang pengembangan makhluk hidup. anggapan sebagian kelompok puritan islam membawa seni patung idealistik menuju relief, dan akhirnya sampai pada pahatan kayu berukir. pengayaan motif dasar ornamen dikembangkan menuju bentuk-bentuk yang simbolik, dengan kelengkapan sengkalan/candra sengkala, sengkalan memet. 3. konsepsi keindahan konsepsi indah untuk masing-masing orang mempunyai cara pandang yang berbeda-beda. konsep indah menurut masyarakat jawa agak erat vol. 1 no. 2/september – desember 2000 53 harmonia : jurnal pengetahuan dan pemikiran seni vol. 1 no. 2/september – desember 2000 54 harmonia : jurnal pengetahuan dan pemikiran seni halus (softness). sementara itu, patronage wong cilik terhadap budaya rakyat yang berkembang di pedesaan diaggap tetap kasar dan tidak selesai, bahkan kadang-kadang hanya merupakan imitasi yang samarsamar dari kebudayaan baku. namun demikian, tetap diidealisasikan sebagai kreativitas yang spontan dan jujur (kuntowijoyo, 1987). sejak jaman penjajahan hingga sekarang, diantara istana-istana yang berkembang di jawa, yaitu kesunanan surakarta dan kesultanan yogyakarta masih tetap sebagai pusat budaya tradisi jawa. dua pusat tradisi budaya jawa tersebut secara historis muncul setelah perjanjianm gianti tahun 1755. setelah perjanjian itu masing-masing istana melangsungkan aktifitas sosial kulturalnya sendiri-sendiri berdasarkan pada akarnya yang lebih besar yakni budaya tradisi mataram. seni tari sebagai aktifitas budaya tidak lepas dari seluruh kompleksitas yang ada di dalam lembaga budaya itu. seluruh imajinasi tidak dapat dipisahkan dari pengaruh sosial yang ada ketika karya itu diciptakan. budaya dan pengalaman manusia itu menyerati pengalaman kreatifnya (sarokin dalam sumadi, 1991). sleuruh aktifitas sosial yang kait mengkait saling tergantung secara integral mencerminkan suatu kosmos, dalam hal ini dunia keraton. tari tradisional sebagai produk budaya istana, sampai sekarang masih digemari dengan menampilkan nilai-nilai, etika, sikap, dan pandangan hidup kaum aristokrat jawa. seperti istana yogyakarta yang lebih banyak mengembangkan bentuk komposisi tradisional wayang wong, sampai sekarang banyak dikenal masyarakat luas. tari tradisional yang bersumber dari etos mahabarata dan ramayana, sejak pemerintahan sultan hamengkubuwono i sampai sultan hamengkubuwono viii tetap menjadi acuan di lingkungan ningrat istana, sebagai pertunjukan yang erat kaitannya dengan ritus kenegaraan (soedarsono, 1984). khususnya pada pemerintahan hamengkubuwono viii, perkembangan seni tari di istana mencapai puncak kejayaannya. kemewahan sultan yang tidak memperhitungkan pengeluaran besar untuk penyelenggaraan pertunjukan tari, terbukti selama pemerintahannya yang tidak begitu lama (1921-1939) telah memproduksi wayang wong sebanyak 11 kali (soedarsono, 1984). pertunjukan itu diselenggarakan 2-4 hari berturut-turt, dimulai dari pagi hari hingga malam hari, dengan menampilkan tidak kurang dari 400-500 penari (sumandi, 1991). vol. 1 no. 2/september – desember 2000 55 harmonia : jurnal pengetahuan dan pemikiran seni puncak perkembangan pertunjukan seni tari pada jaman pemerintahan sultan hamengkubuwono viii dengan tema senralnya atau normanya masih dalam rangka melegitimasikan serta mengkramatkan posisi raja, pengaruh nilai-nilai sosial maupun ekonomi merupakan inspirasi yangterkait dengan bentuk-bentuk simbolis yang da. sejak jaman pemerintahan sultan hamengkubuwono ix hingga saat ini telah mengalami perkembangan atau perubahan karena pengaruh nilai-nilai yang ada. gejala yang tampak nyata adalah mengenai kebijakannya, mislanya istana mulai terbuka untuk umum, pertunjukan rati tidak saja hanya dimintai oleh kalangan kerabat istana saja tetapi “go publik”. penyebaran keluar tembok, baik pementasan tari maupun yang ingin belajar tari tidak terbatas lagi. usaha-usaha itu tidak dibatasi oleh lingkungan kerajaan, tetapi mulai ke kawasan nusantara bhkan keluar negeri, akibatnya tentu saja menimbulkan perubahan proses simbolis pada nilai-nilai tari. nilai-nilai simbolisnya tidak terlalu ritual mengkramatkan posisi raja. ini merupakan suatu perubahan besar yang sesuai dengan jamannya. langkah tersebut telah disadari oleh pihak istana sebagai suatu keharusan. seperti sultan hamengkubuwono ix, yang terkenal dengan pandangannya yang cukup luas, tidak khawatir dengan gejala itu. pandangan-pandangannya yang cukup luas dari sultan hamengkubuwono ix, yang memberi makna penting terhadap kehidupan budaya tradisi yang ada. sebagai pewaris tahta saya berjanji akan tetap “menegakkan tahta untuk rakyat” baik kelestarian dan kesejahteraan kehidupan seosial bagi kehidupan rakyat. dengan tekad seperti itu, cita-cita menjadikan keraton sebagai pusat kegiatan dan pengembangan kebudayaan dalam harmoni tradisi adhiluung dengan dukungan semua pihak mudah-mudahan dapat tercapai. sebagai generasi penerus saya “ora mingkuh” untuk mengamalkan etos perjuangan pendiri keraton pangeran mangkubumi i (sultan hamengkubuwono x, 1989). akhirnya penegasan sultan hamengkubuwono x pada waktu naik tahta dengan momentum peneguhan “tahta bagi kesejahteraan kehidupan sosial bduaya rakyat”, mengandung dua makna yan satu sama lain seolah tidak terpisahkan yaitu makna batiniah dan lahiriah. makna batiniah berhubungan dengan pwaris tahta yang ingin melegitimasikan keraton yogyakartam sedangkan makna lahiriah tidak terlepas dengan keberadaan keraton di tengah-tengah masyarakat dengan statusnya sebagai daerah vol. 1 no. 2/september – desember 2000 56 harmonia : jurnal pengetahuan dan pemikiran seni istimewa yogyakarta. jumenengan atau naik tahta itu dianggap sebagai momentum kultural spiritual dengan harapan menjangkau dimensi yang luas. adanya mobilisasi seni dari atas ke bawah pada hakekatnya bertujuan menegaskan legitimasi penguasa untuk melestarikan tata tertib di lapisan sosial. pusat kerajaan dianggap pusat kreatifitas yang sah, sedangkan desa hanay diakui sebagai daerah pinggiran budaya dan kreatifitasnya hanya dianggap sebagai tiru-tiruan yang belum selesai dan masih mentah (pamadhi, 1985:17). meskipun di daerah pedesaan telah terjadi perkembangan tetapi difatnya sitagmatis, yaitu hanya ditampakkan dalam perbedaan dalam perbedaan variasi atau cengkok saja. sementara polanya tetap (kuntowijoyo, 1987). kita dapat menunjukkan engaruh tari istana terhadap tari rakyat, yaitu tari jatilan, pada pertunjukan tiruan tersebut tampak jelas pada gerakan-gerakan tarian maupun busana yang dikenakan, jenis tari drama rakyat yang berkembang di masyarakat desa, disamping pola gerak, busana, tema ceritanya terpengaruh wayang wong dari istana dengan menampilkan epos ramayana dan mahabarata. perkembangan kesenian pada umumnya mengikuti proses perubahan yang terjadi dalam kebudayaan suatu masyarakat. sebagai salah satu unsur kesenian, tari merupakan isi budaya yang dihasilkan melalui simbol-simbol ekspresif yang merupakan ekspresi secara sadar dari seorang seniman sebagai ungkapan untuk menanggapi alam sekeliling dengan melalui bahasa gerak.melalui pengalaman yang ekspresif yang memerlukan pengertian, penjelasan, dan penyatuan diri tersebut, tari memberi kepada pencipta suatu perasaan penyesuaian diri dan hubungan harmonis dengan dunianya (sumanduyo, 1991: 107). d. konklusi keberadaan masyarakat dewasa ini telah berbeda dengan masyarakat yang dulu, sehingga menyebabkan berbagai dampak terhadap perkembangan atau perubahan kebudayaan. khususnya kebudayaan masyarakat indonesia sekarang ini yang telah mengalami perubahan jaman dari masyarakat agraris menjadi masyarakat industri. meskipun belum sepenuhnya menjadi engara industri, tetapi masyarakat indonesia telah kebanjiran produk-produk dari negara-negara industri. kondisi tersebut berpengaruh vol. 1 no. 2/september – desember 2000 57 harmonia : jurnal pengetahuan dan pemikiran seni sekali terhadap perkembangan seni tradisional yang dirasakan sebagai keadaan dalam posisi “transisi” atau berada pada “persimpangan jalan”. secara garis besar dapat dikatakan fungsi dan nilai ritualnya mulai berkurang, bentuk atau polanya sdah mulai beranjak dari patokan-patokan tradisi (soemarjan, 1986). keadaan tersebut dapat dimaklumi karena sebagai salah satu unsur kebudayaan, maka kesenian khususnya seni tari akan mengalami hidup statis dan tradisionalistik, sebaliknya akan ikut berkembang apabila kebudayaannya juga bersikap terbuka terhadap perubahan-perubahan. seni tradisi sebagai unsur kebudayaan suatu masyarakat akan ikut bertahan atau beurbah mengikuti gerak kebudayaan induknya. pada umumnya generasi tua lebih konservatif dalam sikap hidupnya, sehingga lebih cenderung untuk memepertahankan kesenian yang mereka alami dalam keadaan yang lebih tua. sebaliknya angkatan muda cenderung menghargai hal-hal yang baru. golongan ini cenderung memberikan aspirasi yang tinggi terhadap suatu bentuk dan penampilan yang baru. dalam proses pergerakan generasi muda menjadi generasi dewasa kemudian akan menjadi generasi tua, yang dianggap konservatif yang selalu mempertahankan kesenian yang mereka kenal dalam hidupnya. keberadaan tari tradisional dewasa ini tidak terlepas dari daya cipta kreatif senimannya yang merupakan sumbangan besar terhadap perkembangan kebudayaan di tengah masyarakat. tentu saja, hasil dari daya cipta seniman-seniman yang menghasilkan karya-karya baru tersebut belum tentu sesuai dengan apa yang diharapkan sebagai kebutuhan ataupun yang dirasakan oleh masyarakat. masyarakat mengharapkan suatu karya seni tertentu, tetapi tidak terpenuhi oleh para seniman, cenderung untuk tidak memperhatikan apa yang telah dihasilkannya, karena yang dihasilkan tidak dapat memenuhi harapannya, sehingga masyarakat cenderung mengatakan tidak ada perkembangan ataupun perubahan. namun, kita meyadari bagaimana wujud perkembangan tari tradisional dewasa ini, tetap merupakan sumbangan besar terhadap usaha pemeliharaan kehidupan kesenian tradisional. tari tradisi tmbuh dari kehidupan yang merefleksikan hidup, dari kehidupan itu sendiri, maka tidak mengherankan bila perkembangan seni tradisi tetap dapat dihayati dan dimengerti. vol. 1 no. 2/september – desember 2000 58 harmonia : jurnal pengetahuan dan pemikiran seni daftar pustaka budi, sadu, tt., noot gending lan tembang, solo. hadiwijaya, harun, 1983, manusia dalam kebathinan jawa, jakarta: sinar harapan. herusantoto, budiono, 1987, simbolisme dalam budaya jawa, yogyakarta: pt. hanindita humardani, 1979, “kreativitas dalam kesenian”, makalah., surakarta: depdikbud ishadi, “orang televisi remehkan seni tradisi”, yogyakarta: kedaulatan rakyat, 14 oktober 1998, hal. 2 kedaulatan rakyat, oktober, 1999: 6, “seni tradisi mengalami pergeseran fungsi”. khayam, umar, 1982, “kesenian keraton dan kesenian rakyat”, makalah penataran dosen ilmu budaya dasar, tawangmangu, solo, jawa tengah. koentjaraningrat, 1982, kebudayaan mentalitas dan pembangunan, gramedia, jakarta. koentjaraningrat, 1982, “kebudayaan jawa” makalah penataran dosen ilmu budaya dasar, tawangmangu, solo, jawa tengah. koentowijoyo, 1987, budaya dan masyaraka, yogyakarta: tiara wacana kutoyo dan sufyan (ed), 1977, sejarah daerah istimewa yogyakarta, yogyakarta, departemen p dan k. mulyono, sri, 1982, wayang, asal-usul, filsafat dan masa depannya, gunung agung, jakarta. vol. 1 no. 2/september – desember 2000 59 harmonia : jurnal pengetahuan dan pemikiran seni pamadhi, hajar, 1985, tinjauan sosiologis landasan idiil seni rupa klasik menurut konsepsi jawa, yogyakarta: fbp ikip yogyakarta soedardo, sp. (ed). 1991, beberapa catatan tentang perkembangan kesenian kita, yogyakarta: isi yogyakarta. soedarsono, 1984, the state ritual dance drama in the court of yogyakarta, yogyakarta universitas gajah mada press. soedarsono (ed), 1976, mengenal tari-tarian rakyat di daerah pola kehidupan sosial dan budaya, yogyakarta: direktorat kebudayaan, depdikbud. seorjobrongto, b.p.a, 1976, tari kalsik gaya yogyakarta, makalah, ceramah sarasehan musium keraton yogyakarta. sumarjan, selo, 1986, perubahan sosial di yogyakarta, diterjemahkan oleh h,j. koesoemanto, yogyakarta universitas gajah mada press. sumandiyo, y. hadi, 1991, “perkembangan tari tradisional usaha pemeliharaan kehidupan budaya”, dalam sudarso sp (ed), 1991, beberapa catatan perkembangan kesenian kita, yogyakarta: isi yogyakarta. sutopo, h.b., 1990,”methode penelitian kualtatif”, makalah disajikan di depan para dosen jurusan pendidikan teknologi dan kejuruan fkip universitas sebelas maret di surakarta, 21 desember 1990. triyanto, 1988, peningkatan pembinaan desain kerajinan keramik di desa kunden langenharjo kabupaten kendal. laporan hasil pelaksanaan kegiatan pengabdian pada masyarakat, jurusan pendidikan seni rupa dan kerajinan, fbs, ikip semarang. wibatsu, harianto, 1981, “beksan mataram sebuah renungan filosofi” makalah , ceramah ilmiah dies natalis ii isi yogyakarta. vol. 1 no. 2/september – desember 2000 60 harmonia : jurnal pengetahuan dan pemikiran seni wibatsu, harianto, 1992, primbon tari mataram, yogyakarta: soemadi djojo maha dewa. wibatsu, harianto, 1994, kitab primbon jannattulladhin adammakro, yogyakarta: soemadi djojo maha dewa. wibowo, fred, (ed), 1981, mengenal tari klasik gaya yogyakarta, yogyakarta: dewan kesenian diy vol. 1 no. 2/september – desember 2000 61 78 pendidikan multikultural di sekolah melalui pendidikan seni tradisi sri ambarwangi smk negeri 1 pringapus, jalan raya jatirungga ungaran e-mail: sriambarwangi@gmail.com abstrak indonesia adalah negara yang terdiri dari banyak budaya, karakter, etnik yang tersebar di pelosok negeri. itulah sebabnya masyarakat indonesia dianggap sangat plural. keragaman budaya dengan berbagai karakter ini juga ternyata menjadi ancaman perpecahan yang disebabkan kurangnya kesadaran tentang makna keberagaman ini. gesekan-gesekan yang berbau sara terus terjadi karena kurangnya kesadaran budaya masyarakatnya. pelajaran seni tradisi di sekolah menengah bisa menjadi wahana pembelajaran multikultural bagi peserta didik. pembelajaran multikultural ini penting bagi agar mereka siap dan sadar menjadi anggota masyarakat yang plural. multicultural education in schools through tradition art education abstract indonesia is a country consisting of countless cultures, characters, ethnic groups spread in various regions. that’s why indonesian community is very pluralistic. the diverse cultures with these considerable characters have threatened disunity caused by people’s consciousness of this diversity. the ethnic segregation and conflict have kept going because of the lack of community’s cultural awareness. subject on tradition and art in high schools could be a medium for multicultural learning for students. this multicultural learning is important in order that they are ready and aware of being pluralistic community members. kata kunci: pendidikan multikultural, pendidikan, seni tradisi. kan seperti kuda kepang, barongan, reog, rebana, dan kesenian lain. keadaan ini sungguh mengejutkan penulis karena selama ini penulis lebih banyak memberi pelajaran pada seni modern yang berbasis seni barat terutama musik. sementara pelajaran seni-seni tradisi hanya bersifat pengetahuan dan kegiatan apresiastif. yang mengejutkan dan menyadarkan penulis adalah begitu menghayatinya mereka melakukan kegiatan itu. mungkin juga karena sebagian mereka memang menggeluti kesenian itu di daerah tempat tinggalnya. tentu yang lebih pendahuluan tulisan ini terilhami setelah penulis menyaksikan pertunjukan anak-anak peserta didik di smk tempat penulis bertugas. dalam suatu ujian praktik mereka mampu menampilkan beraneka ragam pertunjukan kesenian tradisional di daerah masing-masing di mana mereka tinggal. lokasi sekolah yang berada di pinggiran kota yang dekat dengan perbatasan antara kabupaten semarang, salatiga dan grobogan ternyata memberikan variasi jenis kesenian tradisi yang mereka tampilsri ambarwangi, pendidikan multikultural di sekolah melalui pendidikan seni tradisi 79 mengejutkan dan membanggakan adalah mereka tidak merasa malu dengan kesenian yang dia mainkan. yang bisa penulis petik dari hal di atas adalah mereka melakukan pertunjukan itu dengan tidak menunjukkan persaingan di antara grup-grup mereka walaupun saat itu sedang ujian praktek pelajaran seni budaya. mereka bisa saling menghargai dan saling membantu jika ada salah satu grup meminta bantuan. di atas hanyalah contoh sederhana di tempat yang terbatas. di even-even yang lebih besar sebenarnya ada kegiatan seni yang mempertunjukkan seni-seni tradisi dari berbagai daerah di indonesia. festival seperti fls2n (festival dan lomba seni siswa nasional) selalu diadakan setiap tahunnya sejak tahun 2009 oleh kemendiknas. kegiatan semacam itu diharapkan akan menjadi ajang kreasi, apresiasi, dan tentu saja pelajaran kesadaran budaya. tidak bisa dipungkiri bahwa indonesia terdiri dari banyak etnis, budaya, bahasa dan berbagai macam karakter yang dimiliki masyarakatnya. sifat plural yang dimiliki negara ini sudah disadari oleh para pendiri negara ini hingga disepakatilah pancasila menjadi ideologi negara yang dianggap paling ideal. segala macam usaha merubah ideologi negara terus dilancarkan bagi kelompok yang ingin memaksakan kehendaknya dan tetap gagal seiring dengan keingian kuat masyarakatnya untuk tetap eksis dengan ideologi yang dianut sampai sekarang. kita sebagai masyarakat pendukung dan penganut pun tetap sadar bahwa merubah ideologi pancasila dengan yang lain misalnya ideologi agama, ideologi etnis tertentu yang lebih dominan, komunis, dan sebagainya berarti juga “membubarkan negara” yang berideologi pancasila yang notabene menyadari kepluralan masyarakat indonesia. atau, jika dipaksakan maka akan terjadi pertentangan yang sangat kuat hingga akhirnya menimbulkan perpecahan. pengalaman sejarah telah membuktikan hal ini. bahkan di saat indonesia yang masih tetap memegang teguh ideologi ini, kelompok tertentu masih berusaha memaksakan kehendaknya yang menunjukkan masih adanya kelompok tertentu belum menyadari pentingnya pemahaman tentang hidup bersama dengan masyarakat lain yang multukultur. akibatnya, riak-riak perpecahan terus terjadi dan menghantui negeri ini. ideologi bila kita tengok menurut sargent dalam bukunya contemporary political ideologies yang dikutip o’neil (2001:32-33) diartikan sebagai sistem nilai atau keyakinan yang diterima sebagai fakta atau kebenaran oleh kelompok tertentu. ideologi selalu menggambarkan mengenai karakteristik-karakteristik umum tentang alam dan masyarakat, serta keterkaitan antara hakikat moral, politik, dan prilaku lainnya yang bersifat evaluative. oleh karena itu ia tidak sekedar memberi informasi tetapi juga petunjuk yang bersifat imperative, bagaimana seharusnya masyarakat bertindak. ideologi seperti di atas yang biasanya juga menjadi suatu ideologi politik kemudian melahirkan juga ideologi pendidikan. ideologi suatu negara yang biasanya bersifat politik ini bagaimanapun akan berpengaruh pada ideologi pendidikannya. karena, ideologi biasanya mencakup juga sebuah utopia, sebuah cita-cita dan mimpi suatu negara atau bangsa. ideologi yang merupakan pandanganpandangan hidup suatu masyarakat atau bangsa selalu memiliki cara untuk mencapai impian itu. idiologi pendidikan yang dilahirkan dari sebuah masyarakat yang juga memiliki idiologi politik negara dan tentu saja juga berasal ideologi sosial masyarakatnya tidak akan lepas dari idiologi di atasnya tersebut. karena, jika ideologi pendidikan tidak sejalan dengan ideologi politiknya maka akan mendapat pertentangan di masyarakat sendiri. indonesia yang memilih pancasila sebagai ideologi negara maka semestinya juga memiliki ideologi pendidikan pancasila, atau paling tidak ideologi yang yang memiliki nafas dan cara-cara yang tidak berbeda dengan jiwa pancasila. ideologi liberal misanya, yang menganut ekonomi kapitalis, tidak akan cocok dianut sebagai ideologi pendidikan bagi harmonia, volume 13, no. 1 / juni 201380 negara indonesia yang menganut pancasila sebagai ideologi negara. jika ini terjadi maka akan terjadi komersialisasi pendidikan dan salah satu efeknya adalah tidak meratanya pendidikan dan mahalnya biaya pendidikan, sehingga akan terpinggirkan bagi masyarakat yang tidak mampu. hanya masyarakat kelas menengah ke ataslah yang dapat mengenyam pendidikan yang berkualitas baik. di samping itu, arah pendidikannya juga bisa jauh melenceng dari cita-cita negara yang berdasarkan pancasila. akibatnya, akan terjadi ketidakadilan pendidikan dan sosial yang jauh dari cita-cita negara pancasila. pelaksanaan pendidikan seni, termasuk pendidikan seni musik adalah sebuah implementasi dari kebijakan-kebijakan suatu sistem ideologi pendidikan suatu bangsa. sistem pendidikan termasuk kurikulum tentunya juga akan mengacu pada ideologi pendidikan yang dilahirkan keadaan masyarakat yang yang memiliki cita-cita tersebut. bangsa indonesia yang plural ini memiliki seni budaya yang sangat kaya yang bisa menjadi sumber inspirasi penyusunan kebijakan tentang isi kurikulum. dengan demikian, sebenarnya sangatlah tidak perlu indonesia mengimpor seni dari bangsa-bangsa lain sebagai bahan untuk mengkaji dan mengekspresikan seninya. keberadaan seni musik misalnya, yang menyebar di seluruh indonesia bisa menjadi materi pembelajaran seni di sekolah yang tak akan habisnya. seni-seni barat yang mungkin juga mengandung ideologi barat belum tentu cocok dengan karakter pendidikan di indonesia. seni musik barat dengan sistem gramatikal barat yang pelaksanaannya saat ini seolah menjadi materi wajib di sekolahsekolah perlu dikaji ulang tentang kebermanfaatannya dalam tujuan dan manfaat pembelajaran bagi anak didik di sekolah. pelaksaaan pembelajaran musik diatonik yang hanya kulitnya saja apakah memiliki dampak positif sesuai tujuan pendidikan seni musik sekolah? mengapa tidak menyelenggarakan pendidikan musik dengan menggunakan musik tradisi sebagai sarana untuk mengkaji, ekspresi dan kreasi siswa? nampaknya pendidikan seni kita masih terbelenggu oleh hegemoni musik barat. hegemoni ini telah melanda tidak hanya di bidang sosial, ekonomi tetapi juga budaya termasuk pendidikan seninya. di dalam seni musik sebenarnya juga lebih lama berlangsung sebelum indonesia merdeka. lihatlah semua lagu-lagu perjuangan, nasional bahkan lagu kebangsaan indonesia juga menggunakan sistem dan gramatika musik barat. mungkin karena sejak itulah maka penggunaan sistem itu akhirnya sampai sekarang pun pembelajaran musik di sekolah tidak bisa lepas dari belenggu itu. celakanya, pihak penguasa memanfaatkan keadaan ini untuk menciptakan hegemoni baru bagi masyarakatnya demi kepentingan politiknya. sebuah bangsa adalah “konglomerat” sosio-politis yang sangat rumit. dia dipersatukan oleh sejumlah alasan dan kepentingan. di sisi lain, hakikat seni tidak akan pernah bisa dikaitkan dengan sebuah bangsa, kecuali bila dipaksakan oleh sistem politik tertentu yang bersifat otoriter (dieter mack, 2005). dengan alasan untuk menciptakan persatuan dan kesatuan terciptalah kurikulum-kurikulum sebelumnya yang telah berlangsung puluhan tahun dengan menganut pendidikan musik dengan sistem gramatika barat. penyeragaman materi pelajaran pendidikan musik ini akhirnya menghilangkan eksistensi musik tradisi sendiri. kita mungkin lupa bahwa musik tradisi kita sangat kaya dan bernilai tinggi dan dapat menjadi materi pelajaran yang sangat membumi dan sesuai dengan karakter bangsa sendiri. kini, sebenarnya sudah ‘terlambat’ untuk membangkitkan kesadaran bangga akan seni tradisi sendiri karena masyarakat sejak dari generasi puluhan tahun lalu sudah dicekoki dengan musik barat. ini masih diperparah dengan media dan sistem informasi yang bertubi-tubi menyajikan-musik musik barat. lebih celaka lagi musik tradisi dianggap ketinggalan jaman sehingga masyarakat tidak merasa bangga untuk menyajikan maupun mempelajarinya. sehingga, tidak mustahil beberapa generasi sri ambarwangi, pendidikan multikultural di sekolah melalui pendidikan seni tradisi 81 mendatang, jika hal ini tidak diperbaiki, keadaan akan terbalik. kita akan mempelajari seni tradisi kita sendiri di negeri orang karena sudah merasa asing dan tidak ada lagi generasi yang mendukung dan mempelajarinya. keadaan ini nampaknya sudah terjadi dan berjalan pelan tapi pasti menuju ke arah itu. peran pendidikan seni di sekolah dalam kurikulum tingkat satuan pendidikakan (ktsp), pelajaran seni musik masuk dalam cabang mata pelajaran seni budaya yang tediri dari seni rupa, seni musik, seni tari dan seni teater memiliki tujuan antara lain: (1) memahami konsep dan pentingnya seni budaya; (2) memahami sikap apresiasi terhadap seni budaya; (3) menampilkan kreativitas melalui seni budaya; dan (4) menampilkan peran serta dalam seni budaya dalam tingkat lokal, regional maupun global. masing-masing cabang seni tersebut memiliki ruang lingkup sendiri berdasarkan bidang dan karakter seni tersebut. seni musik memiliki ruang lingkup yang mencakup kemampuan untuk menguasai olah vokal, memainkan alat musik, dan apresiasi karya musik. dari ruang lingkup inilah kemudian dijabarkan melalui sk dan kd pada setiap tingkatannya. walaupun mata pelajaran seni budaya, termasuk seni musik, mengandung unsur kata “budaya” namun aspek budaya ini tidak dibahas secara tersendiri melainkan terintegrasi dalam seni. mata pelajaran seni budaya merupakan pendidikan seni yang berbasis budaya. budaya meliputi segala aspek kehidupan mulai dari cara hidup (style of life), keyakinan (belief), berbahasa, sampai pada berekspresi termasuk berkesenian. berbicara seni tidak lepas dari budaya yang melingkupinya, seperti halnya kita belajar bahasa yang tak lepas dari budaya yang melatar belakanginya. jika kita mempelajari seni suatu daerah tertentu maka secara otomatis mempelajari pula budaya yang mengasilkan karya seni tersebut. seni budaya memiliki kekhasan atau keunikan tersendiri yang tidak dimiliki mata pelajaran lain sehingga cara pembelajarannya pun berbeda dengan yang lain. hal ini sangat bermanfaat bagi kebutuhan perkembangan siswa. dalam pendidikan seni untuk mencapai kebermaknaan ini dikenal dengan pendekatan “belajar dengan seni”, “belajar melalui seni” dan “belajar tentang seni”. kegiatan dengan pendekatan ini adalah untuk memberikan pengalaman estetik dalam bentuk kegiatan berkreasi atau berekspresi, dan berapresiasi. “belajar dengan seni” mengandung makna bahwa dalam aktivitas belajar apa pun kita bisa melibatkan seni di dalamnya. misalnya, belajar sambil mendengarakan musik. “belajar melalui seni” bermakna bahwa seni bisa digunakan sebagai sarana untuk mempelajari hal-hal atau bidang yang lain. misalnya, dalam mempelajari lagu, di samping belajar musik kita juga bisa sambil mempelajari sastra, sejarah, nasionalisme, sosial, agama dan lain-lain. konsep ini menganut pendapat yang dipopulerkan oleh h. read (1970) yang dikenal dengan pendekatan education through art. dan, “belajar tentang seni” bermakna bahwa untuk mencapai tujuan estetis siswa bisa langsung belajar pada seni tersebut yang meliputi segala aspek yang ada dalam seni tersebut. misalnya, siswa belajar musik diharapkan siswa mampu menguasai musik atau tujuan dari pembelajaran musik tersebut agar mampu menyanyikan atau memainkan musik tersebut sesuai dengan tujuan pembelajarannya. pendidikan seni budaya yang memiliki karakteristik sendiri inilah yang menjadikan pendidikan seni budaya ini memiliki tujuan khusus dalam mencapai tujuan pendidikan secara umum. ada tiga sifat yang dimiliki pendidikan seni budaya yaitu sifat multilingual, multidimensional, dan multikultural. multilingual artinya dalam pengembangannya bisa dilakukan dengan berbagai cara dan media seperti seni rupa, bunyi, gerak, peran, dan perpaduan dari media itu. multi dimensional bermakna pengembangan kompetensi yang meliputi konsepsi, apresiasi, dan kreasi dengan memadukan secara harmoharmonia, volume 13, no. 1 / juni 201382 capaian tujuan secara umum. siswa yang sudah mencapai taraf apresiasi dan kreasi yang tinggi bisa menjadi anak yang suka menghargai orang lain, kreatif, berperasan halus, toleran, berani tampil dimuka umum, percaya diri, bahkan cerdas. ciriciri manusia yang memiliki sifat tersebut bukankah merupakan bagian dari tujuan pendidikan umum yang meliputi berbagai macam jenis pendidkian? tidak mungkin tujuan pendidikan umum hanya bisa dicapai melalui jenis pendidikan yang melibatkan otak kiri yang meliputi logika, berpikir analistik, sistematik, dan lain-lain tetapi juga melibatkan otak kanan yang meliputi intuisi, fantasi, inovasi, sintesa (holistis), kreasi dan lain lain yang banyak didapat melalui kegiatan seni seperti irama, nada, warna (suharto, 1999). siswa yang aktif dalam kegiatan paduan suara, misalnya, akan terbiasa dengan sifat bekerjasama, suka membantu, toleran dan suka menghargai orang lain, menyukai keharmonisan, memiliki rasa musikal tinggi, berperasan halus, percaya diri dan disiplin. itu semua akibat langsung yang disebabkan dalam proses latihan sampai pada penampilannya. dan, itulah yang diharapkan dalam tujuan pendidikan umum. pembelajaran seni yang berakar pada seni tradisi sudah banyak pengakuan dari dunia bahwa seni tradisi yang dimiliki bangsa indonesia bernilai estetis sangat tinggi baik musik, tari, rupa, maupun seni lain yang tersebar di seluruh pelososok nusantara. gamelan misalnya, sudah banyak negara yang membuka kajian dan jurusan yang mempelajari musik ini. musik yang juga menganut sistem tangga nada pentatonik yaitu pelog dan slendro memiliki gramatika musik yang tidak kalah rumitnya dengan gramatika musik diatonik barat. kedua jenis musik ini sama-sama berasal dari musik tradisi. musik diatonik barat berasal dari musik rakyat dari eropa barat sementara musik pentatonik bisa berasal dari musik tradisi jawa, sunda, atau bali. mereka mengimpor musik tradisi kita dan mempe-lajarinya serta menikmati nis unsur estetika, logika, kinestetika, dan etika. dan, multikultural bermakna bahwa pengembangan kompetensi bisa melalui kegiatan yang menimbulkan apresiasi terhadap keragaman budaya nusantara dan mancanegara. pendidikan musik yang memiliki bidang garap sendiri yang tidak sama dengan bidang lain seperti bidang matematika yang menggarap bidang logika. bidang garap seni adalah rasa dan sikap apresiatif yang bisa dicapai melalui kegiatan apresiasi dan kreasi untuk memenuhi kebutuhan pribadi peserta didik yang harmonis. seni budaya merupakan kelom-seni budaya merupakan kelompok mata pelajaran estetika yang memiliki karakteristik pembelajaran yang khas dalam pencapaian standar kompetensi dan kompetensi dasarnya. manusia pada hakekatnya memiliki multi kecerdasan yang tidak hanya berdasarkan kecerdasan dan logika tetapi kecerdasan lainnya. menurut gardner (1993) manusia memiliki multi kecerdasaan (multiple intelligences) antara lain (1) kecerdasan linguistik (kemampuan berbahasa yang fungsional); (2) kecerdasan logis-matematis (kemampuan berfikir runtut); (3) kecerdasan musikal (kemam-; (3) kecerdasan musikal (kemam(3) kecerdasan musikal (kemampuan menangkap dan menciptakan pola nada dan irama); (4) kecerdasan spasial (kemampuan membentuk imaji mentaltentang realitas); (5) kecerdasan kinestetikragawi (kemampuan menghasilkan gerakan motorik yang halus); (6) kecerdasan intra-personal (kemampuan untuk menge-personal (kemampuan untuk menge(kemampuan untuk mengenal diri sendiri dan mengembangkan rasa jati diri); dan (7), kecerdasan interpersonal (social). kemampuan bekerja secara efektif dengan orang lain, berhubungan dengan orang lain dan memperlihatkan empati dan pengertian, memeperhatikan motivasi dan tujuan mereka. kecerdasan antarpribadi (kemampuan memahami orang lain). guru seni musik bisa memanfaatkan sifat kecerdasan manusia ini untuk mendapatkan konsep seni musik secara utuh dengan mengeksplorasi segala potensi yang ada. segala efek yang diakibatkan dalam pendidikan seni ini di sekolah memiliki tujuan khusus yang mengarah pada pensri ambarwangi, pendidikan multikultural di sekolah melalui pendidikan seni tradisi 83 musik ini sebagai bagian dari ekspresi seninya. kita bahkan lebih dari itu menjadikan musik barat sebagai ‘materi wajib’ di sekolah-sekolah walaupun di dalam kurikulum ktsp yang berlaku saat ini tidak tereksplisit berisi musik-musik barat di dalammya. namun, pelaksanaanya banyak guru yang lebih banyak memberikan musik-musik barat karena latar belakang pendidikan formalnya adalah musik barat. kegiatan pembelajaran musik yang menggunakan materi yang bersumber dari seni tradisi bisa melibatkan pada bebarapa aspek yaitu (1) materi pelajaran, (2) tujuan pembelajaran, (3) karakteristik siswa, (4) kemampuan guru, dan (5) sarana atau fasilitas yang dimiliki sekolah. materi yang telah ditetapkan tidak bisa serta merta diterapkan. jika salah satu dari empat aspek itu diabaikan dan tidak tersedia maka rumusan kegiatan pembelajaran yang ideal tidak bisa berjalan dengan baik. memaksakan kehendak, misalnya memaksakan dalam memberikan pembelajaran lagu tradisional jawa, dengan membaca notasi pentatonik, padahal guru tidak menguasai dan tidak mampu menyanyian tangga nada pentatonik jawa tengah akan berakibat fatal. perlu usaha keras guru untuk mempelajari sebelum memberikan materi itu pada siswa. oleh karena itu tidak ada cara lain bagi guru musik yang telah terlanjur mempelajari musik diatonik barat untuk juga mempelajari musik tradisi karena itu sudah tuntutan kurikulum sendiri. pelajaran seni budaya khususnya seni musik sesuai dengan ruang lingkupnya, utamanya adalah kegiatan apresiasi dan kreasi/ekspresi. pencapaian dua kegiatan itu memang bisa sederhana dan bisa juga sangat kompleks. selama guru bisa memilih dan mengelola materi dan mengelola kelas dengan baik maka proses pembelajaran tetap menarik siswa. kegiatan pembelajarannya dalam kurikulum ktsp sebenarnya hanya ada dua kelompok besar yaitu kegiatan apresiasi dan ekspresi/kreasi. namun demikian, guru perlu memahami kembali konsep-konsep apresiasi agar dalam menyampaikan materi tidak terbatas pada konseps (pengetahuan dan pemahaman) saja tetapi lebih dari itu. pembelajaran apresia-pembelajaran apresiasi tidak cukup dengan konsep yang diberikan secara teoritis tetapi juga memerlukan pengalaman estetis. pengalaman musik adalah utama dalam pembelajaran musik. dalam kegiatan mendengarkan lagu, misalnya, guru bisa mengajak siswa untuk mengidentifikasi unsur-unsur musik, jenis alat musik yang digunakan, karakter lagu atau musik, kesan lagu, sifat lagu, pesan lagu, tangga nada yang digunakan, sampai pada pemberian penilaian tentang lagu yang diperdengarkan. p e m i l i h a n lagu yang bervariasi memang perlu tetapi hal itu bukan tujuan utama. setiap pemberian kegiatan apa pun lagu model yang digunakan tidak lepas dari dua kegiatan itu. pengalaman estetis bagi siswa lebih penting sehingga tujuan musik akan tercapai. pengalaman estetis yang berupa pengalaman musik pada hakekatnya merupakan pengalaman belajar setelah berapresiasi dan berkreasi seni musik yang melibatkan proses mental dan fisik melalui berbagai interaksi. kurikulum ktsp khusus mata pelajaran seni budaya di sekolah menengah sebenarnya sudah cukup akomodatif jika dilihat dari sk/kd yang ada. namun demikian ini tidak akan ada artinya jika pelaksanaanya tidak berjalan denga baik. dibandingkan dengan kurikulum sebelumnya perhatian akan seni budaya bangsa indonesia cukup terakomodasi melalui rumusan-rumusan stadar kompetensi maupun kompetensi dasarnya yang ada pada setiap tingkat. sayangnya pelaksanaannya saat ini masih mengalami kendala akibat latar belakang guru seni budaya lebih banyak terlekat baju barat sehingga lebih suka mengajar seni barat terutama bidang seni musik. kini menjelang pelaksanaan kurikulum 2013 sebaiknya pemerintah lebih memperhatikan pendidikan seni tradisi di sekolah. isi kurikulum seni budaya harus terlihat nyata melalui rumusan-rumusan tujuan maupun dalam silabus yang rencaharmonia, volume 13, no. 1 / juni 201384 nana akan dibebankan pada pusat, bukan pada gurunya. usaha lain bisa melalui pelatihan guru-guru seni budaya terutama tentang keterampilan pembelajaran seni budaya setempat baik lokal maupun nusantara atau negara lain. diharapkan de ngan kemampuan akan seni tradisi ini guru akan yakin memberikan pembelajaran seni tradisi. berbahagialah bagi guru-guru mata pelajaran seni budaya karena yang sering dikuatirkan akan dihilangkan di tingkat satuan pendidikan menengah ternyata tetap dipertahankan keberadaannya. bahkan, mata pelajaran ini diusulkan dalam kurikulum baru itu menjadi mata pelajaran wajib, yang masuk kelompok b, termasuk prakarya, dan pendidikan jasmani, olah raga dan kesehatan dengan jumlah 2 jam pelajaran perminggunya. jumlah jam ini tentu lebih banyak dari pada kurikulum ktsp terutama di smk (non-seni) yang hanya 128 jam selama tiga tahun. pembelajaran multukultural melalui pendidikan seni tradisi pada awalnya mungkin akan mengalami kendala. namun, jiuka ini segera dimulai, maka beberapa tahun kemudian akan terlihat semaraknya anak-anak belajar seni tradisinya bangsanya sendiri sendiri baik daerah setempat maupun daerah lain. di masa mendatang mereka akan mulai sadar akan budayanya, masyarakatnya yang plural, dan tanggung jawab mereka untuk menjaga keutuhan bangsanya. akibatnya, terjalinlah rasa persatuan rasa memiliki, dan rasa tanggung jawab sebagai warga bangsa untuk memjukannya. penutup indonesia yang memiliki kekayaan seni budaya yang kaya termasuk seni musiknya bisa dimanfaatkan untuk media pembelajaran musik di sekolah. isi materi kurikulum ktsp yang ada sebenarnya sudah mengakomodasi hal itu. tetapi, pelaksanaannya belum dijalankan sebagaimana mestinya yang disebabkan latar belakang pendidikan guru yang biasanya banyak berasal dari pendidikan musik barat. suatu hal yang sulit dilakukan oleh guru yang terbiasa dan tertanam dengan musik diatonik kemudian mempelajari musik pentatonik. namun ini adalah suatu keniscayaan yang harus dilakukan guru. karena jika tidak pendidikan musik yang berakal pada budaya sendiri tidak akan pernah dilakukan. akibat yang lebih parah adalah semakin ditinggalkannya pengetahuan dan pengalaman musik tradisi oleh generasi penerus yang akan berakibat pula hilangnya seni tradisi di bumi nusantara ini di masa-masa mendatang karena generasi penerusnya sudah tidak mengenal dan tidak menyukainya lagi. harus ada kemauan keras dari pemerintah untuk menjalankan politik pendidikan yang lebih jelas dan terarah yang memihak pada kepentingan keutuhan bangsa dengan menyadari bahwa negeri ini bersifat plural yang terdiri dari banyak seni budaya. penyeragaman bukalah politik yang tepat dalam pelaksanaan pendidikan seni di indonesia. keanekaragaman materi pelajaran yang berakhar pada seni budaya setempat/tradisi bukanlah suatu ancaman. sebaliknya, keanekaragaman adalah saripati dari keindonesiaan dan kemerdekaan. daftar pustaka gardner, h. 1993. multiple intelligences: from theory to practice. new york: basic books mack, dieter. 2005. ”musik di antara seni dan politik: sebuah dilema abadi”. pengantar dalam buku ismail marzuki musik, tanah air dan cinta. jakarta:lp3es permendiknas, ri no 22 tahun 2006. tentang standar isi untuk satiuan pendidikan dasar dan menengah. jakarta: depdiknas. puskur depdiknas. 2007. ”kajian kebijakan kurikulum seni budaya”. jakarta: pusat kurikulum badan penelitian dan pengembangan. rohman, arif. 2002. ”akar ideologis problem kebijakan pendidikan di indonesia. jurnal fondasia, volume ii no 2 sri ambarwangi, pendidikan multikultural di sekolah melalui pendidikan seni tradisi 85 2002. sprinthall, r.c dan n.a. sprinthall. 1977 educational psychology: a developmental approach, sydney: addisonwesley publishing company suharto. 2007. “pengembangan materi dan kegiatan pembelajarannya dalam kurikulum ktsp bidang musik”. harmonia vol 8 no 3. semarang: sendratasik unnes press. ___________ “peran seni dalam pengoptimalan fungsi otak” dalam lingua artistika jurnal bahasa dan seni fbs unnes no 3 tahun xxiii september 2000. o’neil, william f. 2001. ideologi-ideologi pendidikan. yogyakarta: pustaka pelajar. 200 chinese music teachers’ perceptions of context issues and transmission modes in world music teaching chun mei zhuang, kok chang pan university of malaya, malaysia submitted: 2021-11-08. revised: 2022-05-21. accepted: 2022-11-03 abstract based on his academic background in multicultural music education and ethnomusicology, huib schippers developed the seven-continuum transmission model (sctm) in 2004 to describe the teaching situations of world music. the current study adopted the sctm as a framework to investigate chinese music teachers’ perceptions of context issues (tradition, authenticity, and context) and transmission modes (analytic/holistic, notation based/aural, and tangible/ intangible) in world music teaching. semi-structured in-depth interviews were conducted using a qualitative methodology with nine primary and secondary school music teachers from different provinces in china. this study found that chinese music teachers’ perceptions of context issues and transmission modes in world music teaching were more inclined to the formal, institutional settings rather than the informal, often community-based process. in addition, the music teachers were also influenced more by the “eurocentrism” values; however, their perceptions were less affected by ethnomusicology that interprets human music from a cultural perspective and by multicultural music education. keywords: chinese music teachers, perceptions, world music teaching, cultural context, transmission modes how to cite: zhuang, c. m., & pan, k. c. (2022). chinese music teachers’ perceptions of context issues and transmission modes in world music teaching. harmonia: journal of arts research and education, 22(2), 200-212 harmonia: journal of arts research and education 22 (2) (2022), 200-212 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i2.33225 requirements of “plurality coexistence and mutual understanding” under the global integration trend but also corrects the deviation of the long-standing westerncentered education in china. after combing the development history of chinese music education in the 20th century, the school music curriculum was deeply influenced by the “western-centralism” value. in general, chinese music education experienced four stages in the 20th century. in the beginning, it studied the western by following japan. from the 1920s to the 1930s, it learned from europe and the united states. in the 1950s, it imiintroduction multicultural music education has become the mainstream of international music education, and strengthening multicultural music education is arduous in china’s current music education. significantly, since 2001, the ministry of education of china has reformed the music curriculum for primary and secondary schools, and “understanding multi-culture” has accordingly been incorporated into the curriculum basic concepts of the new curriculum standards. this reform not only complies with the cultural development corresponding author: e-mail: zhuangchunmei@siswa.um.edu.my p-issn 2541-1683|e-issn 2541-2426 chun mei zhuang, kok chang pan, chinese music teachers’ perceptions of context issues 201 tated the soviet union (which was a reproduction of the tradition of germany and austria), and in the 1980s, it learned from europe and the united states again (guan, 2013; ho, 2010). until ethnomusicology was introduced to china in 1980, chinese scholars started to realize the uniqueness of chinese native music value as well as the necessity and urgency of its inheritance. in 1995, the thought of “our music education should take chinese culture as the mother tongue” was put forward in the “sixth national music education seminar.” in 1999, “the national academic seminar on ethnic music education” was held. the scholars discussed how to bring rich cultural resources of ethnic music into the school music curriculum (zhu, 2015). in 2001, the ministry of education of china reformed the music curriculum in primary and secondary schools and put “understanding multi-culture” into the basic concept of curriculum in the new curriculum standards. world music was then added to the textbooks. however, since numerous chinese music educators have grown up with a western-centered view, they are accustomed to using western music theory and its values to judge and interpret non-western music culture (zhu, 2009). this may lead to cultural misinterpretation and deviation from the teaching goal of “understanding multi-culture.” hence, the values and attitudes teachers uphold and the teaching methods they adopt determine the success of world music teaching. music from different cultures has its transmission systems. music teachers in primary and secondary schools may have to choose between traditional transmission systems and western formal music education or a combination of the two when developing teaching strategies. in teaching methods, for example, teachers face choices between atomistic (or analytical) and holistic approaches, notation-based and oral learning, and between the emphasis on tangible and intangible aspects of music. in the realm of values and attitudes where concepts such as “tradition,” “authenticity,” and “context” appear in the teaching of world music, their meanings may not be as precise and stable as they are in western classical music but may be interpreted more dynamically. tradition “tradition” is defined fairly statically in much writing about music (schippers, 2010, p. 42). campbell (1995) believes that traditional music “may refer to music that is less influenced by recent cross-cultural components or retains the bulk of its aesthetic essence despite modernization” (p. 6). the sociologist hobsbawm argues tradition’s “object and characteristic ... is invariance” (hobsbawm & ranger, 1983, p. 3). in contrast, willemsen (1992) interprets tradition as “ an essential dynamic reality.” (schippers, 2010, p. 43). nonetheless, nettl (2005) asserts that “if there is anything really stable in the musics of the world, it is the constant existence of change.” schippers (2010) argues that although western culture has commonly viewed tradition as a static phenomenon in the way of hobsbawm, most non-western cultures have traditions that constantly change with the requirements of the times, organically, or consciously maintain their relevance to their audiences. in addition, changes within a certain range are not only permissible but also part of these traditions’ essence. in this regard, any examination of different music traditions illustrates that almost no music tradition would qualify as all static or all flexible. authenticity according to volk (1998), a few american music educators were concerned with authenticity in the past such that if the music was printed in school music textbooks, then it must be accurate. with their acceptance of ethnomusicology concepts, people’s awareness and sensitivity to world music education increased, and authenticity suddenly became an issue. “authentic” has been strongly assoharmonia: journal of arts research and education 22 (2) (2022): 200-212202 ciated with “historically correct” from the early-music revival movement that emerged in the 1950s and 1960s and with “in original context” by ethnomusicologists, especially from the mid-1960s to the mid1980s (schippers, 2010). grove music online provides such a description: “authentic” performance may refer to one or any combination of the following approaches: use of instruments from the composer’s own era; use of performing techniques documented in the composer’s era; performance based on the implications of the original sources for a particular work; fidelity to the composer’s intentions for performance or to the type of performance a composer desired or achieved; an attempt to re-create the context of the original performance; and an attempt to re-create the musical experience of the original audience (butt, 2008). according to palmer (1992), compromise with absolute authenticity begins when music is removed from its original setting and original intentions. however, when the compromise will occur is not the question; the question is how much compromise can be allowed before the original is lost. fung (1995) considers the absolute authenticity of world musics not achievable due to factors such as the socio-cultural context of the classrooms and the equipment used (e.g., videos and recordings). using world musics supports music education and education in general rather than focusing on its original culture. green (2006) also doubts that authenticity in the classroom is an adult construction caused by too much focus on the product and not enough on the process of musicmaking. she suggests that teachers aim for not “musical authenticity” but “musiclearning authenticity.” wu (2012) believes that “music ‘authenticity’ is not always required” (p. 310). according to schippers (2010), the challenge for music educators was “to develop an understanding that is sensitive to culturally diverse realities but workable within specific educational environments” (p. 41), and that the task of an educator was one of making choices of “strategic inauthenticity.” context according to ethnomusicologists herndon and mcleod (1990), a context is “an interweaving of factors” (p. 49) that provides “a framework of explanation” (p. 26). in his 1964 the anthropology of music, merriam inspired ethnomusicologists to regard music as a product of its culture. thus, in 1980, nettl agreed that “music can be understood only in its cultural context.” ethnomusicological approaches to world music have a substantial impact on music education (schippers, 2010). therefore, as stated in the critical 1996 isme policy on musics of the world’s cultures (which nettl co-formulated), “music can best be comprehended in the social and cultural context and as a part of its culture. probably understanding culture requires some understanding of its music, and appreciating music requires some knowledge of its associated culture and society.” dunbar-hall (2009) proposes a concept of ethnopedagogy in which music learning and teaching are deemed culturally contextualized. however, in world music education, music contextualization has always been the focus of debate among teachers (campbell, 1996, p. 69). anderson (1980) suggests that teachers should provide students with a cultural context when presenting world musics. as an ethnomusicologist, miller recommended setting the music in its geographic and historical contexts and providing students with knowledge of the music makers themselves (campbell, 1996, p. 15). however, yung strongly opposed the contextualization of music. he maintained that verbal knowledge about music and its context were less important than the sound itself and he further claimed that “an emphasis on the cultural and social background of unfamiliar music tends to alienate the children from the music rather than draw them closer to it” (campbell, 1996, p. 40). facing these arguments, campbell (1996) proposes the solution that “is neitchun mei zhuang, kok chang pan, chinese music teachers’ perceptions of context issues 203 her ‘all context’ nor ‘none at all’, but rather, some midpoint in between” (p.70). eloquently, “…music should be the main feature of a music lesson …however, a few minutes spent on ‘setting the scene’ of the culture from which the music derives may be useful, so that students understand it more fully” (campbell, 1996, p. 70). nonetheless, on the question of what and how much context should be included in teaching world music, schippers stated that there was no stock answer and he believed that the decisions could only be based on intelligent considerations of various arguments for each specific situation and educational goal (schippers, 2010, p. 58). dimensions of transmission atomistic/analytic and holistic most western music learning methods are based on analytical and even “atomistic” teaching approaches (schippers, 2010), which date back to some influential western musical education principles proposed by swiss educator johann pestalozzi (1746-1827) in the first decade of the 19th century. he advised “to teach but one thing at a time -rhythm, melody, and expression, which are to be taught and practiced separately, before the child is called to the difficult task of attending to all at once.” (cited in schippers, 2010, p. 81). however, scholars across disciplines have begun to doubt the validity of only using atomistic approaches in recent years. they argued that perhaps learners should first be provided with materials and settings that are meaningful to them and afterward with abstractions. besides, research on the learning systems of traditional music such as in africa, vietnam, china, and north india has found that using the holistic approach has several advantages as it may address the learners’ analytical skills more than the intuitively considered atomistic approach. since the learners have holistic processing of the music in their minds, it may be easier to master. this idea also has significant implications for teaching music in a context (schippers, 2010). in nearly a century of the education debate, the pedagogical approaches associated with atomistic and holistic learning have always been prominent. while an atomistic/ analytical approach is closer to “monodirectional didactic teaching,” emphasizing a “single truth,” a holistic approach, on the other hand, leaves learners more room to construct their musical knowledge, thereby leading to a more individual approach (schippers, 2010). notation-based and aural as proposed by curt sachs (1948) regarding the essentials of transmission, there are four types of musical cultures dominated by aural, written, printed, and recorded forms. blaukopf (1979) argues that these could even represent a chronological order that is consistent with western civilization. however, this may form a misunderstanding that oral transmission and written notation are opposites. oral transmission is incorrectly considered the weaker, outdated version of advanced written music notation (patterson, 2015). patterson (2015) points out that the belief that there is a strict dichotomy between oral and written transmissions as well as the assumption that music through oral transmission is imperfect and written transmission is perfect could be a crucial misunderstanding. she further claims that oral and notated musical transmissions are two traditions that were developed to work together. the singing games and music children use during play are predominantly transmitted through oral methods, and adult musicians also use oral tradition abundantly. mp3 players, recording equipment, the internet, and social media are essential elements of contemporary oral tradition. schippers (2010) argues that staff notation is developed for western classical music and is usually combined with its practice. besides, he contended that staff notation cannot be superimposed on the musics of many world music cultures. cook (1998) also mentions the “endless controversies” between ethnomusicoloharmonia: journal of arts research and education 22 (2) (2022): 200-212204 gists. some believe that the staff notation is a “blunt but necessary instrument” when conveying unfamiliar music to readers. in contrast, others tend to argue that this approach is a kind of neo-colonialism if the western notation is set up as a universal standard. tangible and intangible schippers (2010) divides five domains to describe the subject matter; the “what” in learning music across cultures: (1) technical (instrumental and vocal) skills, (2) repertoire and performance practice, (3) theory (explicit or implicit) (4) creativity and expression, and (5) culture and values. he stresses that “not all domains are equally important in all music traditions.” (p. 65). schippers (2010) also argues that these domains are roughly from tangible to intangible in order, but each domain contains tangible and intangible aspects. the powerful western classical music training system developed at many public and private music schools tends to focus on reading music, (instrumental) skills, repertoire, theory, performance, and interpretation. however, studies on the transmission of popular music and music from the rest of the world have shown that different music traditions have a wide variety of priorities and approaches, sometimes similarly, while others are contradictory. “the perspectives on foci in music learning and teaching may vary considerably from culture to culture, genre to genre, institution to institution, and individual to individual” (schippers, 2010, pp. 64-65). based on his academic background in multicultural music education and ethnomusicology, huib schippers developed the seven-continuum transmission model (sctm) in 2004 to describe the teaching situations of world music. the present study adopts the sctm as a theoretical framework to explore chinese music teachers’ perceptions of context issues and transmission modes in world music teaching. in this model, schippers categorized issues such as tradition, authenticity, and context into “issues of context,” and further categorized issues such as analytic/holistic, notation based/ aural, and tangible/ intangible into “dimensions of transmission.” therefore, to explore chinese music teachers’ perceptions of the above issues in world music teaching, the research questions are 1) what are the perceptions of chinese music teachers about context issues (tradition, authenticity, and context) in world music teaching? and 2) what are the perceptions of chinese music teachers about transmission modes (analytic/holistic, notation based/aural, and tangible/ intangible) in world music teaching? method according to smith (2005), a semistructured conversation is the most effective way to gain the understanding and perceptions of study participants. thus, in the present study, the researchers used semi-structured interviews that allow for in-depth conversations about the participants’ perspectives. the instrumentation for the qualitative method includes interviews designed by the researchers. the interviews consisted of six questions, which were developed from the six issues provided by schippers’ sctm (2004). the respondents for this study include primary and secondary school music teachers in china. nine participants were recommended by music teaching and research staff from different provinces and regions. the participants in this study consist of four females and five males. except for one teacher who had a master’s degree, the other eight teachers had bachelor’s degrees. their teaching experience ranged from 3 to 30 years, with an average of 14 years. six of them taught in secondary schools and three teachers taught in primary schools. all the participants interviewed are chinese nationals. each participant completed a faceto-face semi-structured interview that comprises six questions. the interview duchun mei zhuang, kok chang pan, chinese music teachers’ perceptions of context issues 205 ration ranged from 15 to 20 minutes, and the study was conducted from october to december 2019. the names of the teachers interviewed were replaced by codes in this study. for example, nn1 refers to the first teacher interviewed by the researchers in nanning city. results and discussions issues of context chinese music teachers’ perceptions of “tradition” in the interviews with nine teachers, when they were asked the following question: “do you think ‘tradition’ is static or flux?” three teachers’ attitudes were “neutral.” four of them thought the “tradition” was a flux; however, the remaining two teachers preferred that “tradition” was fixed. with regard to viewing “tradition” as a flux, teacher js1 explained: “music takes on different forms in different times and cultural backgrounds…” the two teachers who preferred that “tradition” was fixed did not give more explanation. however, among the three teachers with “neutral” attitudes toward the “tradition” issue, teacher gz1 thought that “tradition” should be “a combination of change and unchanging. the external form can be changed, but the core musical characteristics should not.” in addition, teacher sd1 believed that most “traditions” should be constant, and a small part could be changed. meanwhile, teacher nn2 said: “in my opinion, on the one hand, we should remain unchanged; on the other hand, we should follow the changing times, blend with fashion, and form a new tradition.” on the issue of “tradition,” sociologist hobsbawm (1983) argues that tradition’s object and characteristic were invariances. accordingly, schippers (2010) concurs that this view represented “an unequivocally static interpretation of the concept” (p. 43) and was, hence, widely accepted in western culture. however, this view “may lead to musical misunderstanding as well as dubious educational principles” (p. 45). thus, ethnomusicologists agree that change is a constant existence (nettl, 2005, p. 275). in the present study, although some teachers viewed “tradition” as a static phenomenon in hobsbawm (1983), most teachers perceived it as “neutral” and “flux.” the ancient greek philosopher heraclitus once said that “no man ever steps in the same river twice.” according to his theory, nothing is permanent except change; everything is in flux. many ancient chinese philosophers believe that everything in the universe was set in perpetual motion and change — always in flux. “the analects” records confucius said on the bank of a river: “time is going on like this river flowing away endlessly day and night.” chinese people widely accept these philosophical ideas of “change.” in fact, china’s traditional music culture is also undergoing constant adjustments and changes in its long history of development. change is inevitable, but it is relative. the relationship between change and unchanged is dialectical unity. chinese music teachers’ perceptions of “tradition” are, therefore, consistent with those of ethnomusicologists like nettl. chinese music teachers’ perceptions of “authenticity” in the interviews with nine teachers, when they were asked the following question: “is authenticity often a concern in your world music teaching practice? why?” three teachers (sd1, nc1, & nn1) made it clear that they did not focus on the issue and just followed the textbook to complete the teaching plan. however, teacher js2 offered an alternative explanation: “i have not paid particular attention to this issue. for elementary school students, they will laugh when they listen to the original music. i think they should be given more ‘staged’ music in elementary and middle school, and more ‘original’ music in high school.” teacher gz1 only stated that he respected authentic music. four other teachers, on the other hand, stated that they were concerned about the “authenticity” issue. harmonia: journal of arts research and education 22 (2) (2022): 200-212206 the teacher, code-named nn2, believed that authentic music could only be used for general appreciation for the current junior high school students. however, its implementation of actual singing and performance was difficult because students preferred popular music. as a teacher, she presented authentic works to the students, but she also encouraged students to recreate them in the way they liked. additionally, teacher js1 was aware of distinguishing the authenticity of the audio material provided in the textbook. when she encountered music that was performed on stage rather than in its original context, she would explain it to her students. the teacher, code-named yl2, expressed a similar view that he would clearly distinguish between “authentic” works and works created with ethnic elements and explained them to his students in class. teacher yl1 said: “i am concerned about this issue, but i am constrained by my ability and the limited relevant materials collection.” on the issue of “authenticity,” whether to pursue a reconstructed authenticity or create a new identity in the world music classroom has become the focus of debates. some people insist that any art form exists merely to be reproduced in a historically correct manner or in the original context (nethsinghe, 2013; palmer, 1992). however, others argue that this bounded understanding of authenticity makes it challenging to implement in the music classroom; they believe that the key to authenticity lies in creativity, aesthetics, spirituality, or emotional effects (blair & kondo, 2008; fung, 1995; green, 2006; johnson, 2000; santos, 1994; swanwick, 1994; wu, 2012). interviews found that most chinese music teachers respected authentic music. when playing audio and video to students for appreciation, they would pay attention to whether it was authentic and explain it to the students. besides, it is also worth noting that most of them only used it for listening rather than teaching the students to play or sing, and very few teachers would ask the students to recreate it. in essence, when doing that, it was more about creating a “new identity” rather than pursuing the “reconstructed authenticity.” the reasons are that the students preferred pop music and the teachers could not teach playing and singing, in addition to the lack of relevant materials. according to the interview results, three teachers also made it clear that they did not focus on the issue and just followed the textbook to complete the teaching plan. their statements echoed volk’s (1998) claim that only a few were concerned about authenticity as they assumed that if the music was printed in the school music book, then it must be accurate. chinese music teachers’ perceptions towards “context” of the nine teachers interviewed, when they were asked the following question: “do you agree that music can only be understood in its cultural context?” five teachers (gz1, sd1, nn1, js2, &js1) explicitly disagreed with this view because they all believed that music is the common language of human beings and could be understood by people from different cultures. in this regard, students with a cultural context would certainly have a deeper understanding of music; however, they could also feel the beauty of music and its happiness or sadness without a cultural context. teacher gz1 said: “music itself can convey the most natural emotions and should not be given too many symbols.” teacher nn1 said: “i don’t think a foreigner must come to china and become familiar with chinese culture before they can understand chinese music.” teacher js2 said: “people are always moved by music first. they will not dig into the cultural context until they become interested in the music.” teacher nc1 agreed with this view, but he still believed that “students with a cultural background will certainly have a deeper understanding of music, but without a cultural background can also feel the beauty of music and its happiness or sadness.” three teachers (nn2, yl1, & yl2) also agreed with this view. teacher chun mei zhuang, kok chang pan, chinese music teachers’ perceptions of context issues 207 yl2 said: “only when people learn music on the basis of understanding the cultural background can they resonate. after i read the history of western music, i listened to beethoven and mozart again, and my understanding was different from before.” in the present study, most interviewees’ explicit rejections of the claim that “music can only be understood within its cultural context” echoed yung’s response in the interview conducted by campbell in 1996. they believed that music is the common language of human beings and could be understood by people from different cultures. they also echoed the arguments of bennett reimer (1995), who believes that musical experiences do not depend on the cultural context since it is possible to enjoy a profound musical experience without having been enculturated into the context of the music (pp. 6-7). overall, it is evident that chinese music teachers were more influenced by the statement “music is the language of the world” from the aesthetic education tradition. however, they were less influenced by the idea of “music must be placed in its cultural context to be understood” from ethnomusicology. dimensions of transmission chinese music teachers’ perceptions of the teaching approach the question on the “teaching approach” issue was as follows: there are two teaching approaches to world music education. one is the analytic/ atomistic approach, which means teaching one thing at a time, rhythm, melody, or expression, teaching and practicing separately, and finally composing coherent music. another one is the holistic approach, which is to provide the students with real pieces (not etudes or simplifications of real pieces); the teacher does not slow down the speed of playing, nor do they divide the piece into parts, and the students gain their understanding directly from their experience of the music by observing the imitation experience. which teaching approach is usually used in your world music teaching practice? of the nine teachers interviewed, five (nn1, nn2, sd1, js2, & yl2) declared they used the “analytical/atomic” approach. teacher yl2 acquired his musical ability through this approach, and he thought that this method would allow students to learn more. teacher nn1 also noted that adopting the “analytical/atomic” approach would fulfill the teaching requirement of western music theory, although she intended to take a holistic approach. two teachers (yl1 & nc1) believed that the two approaches should be combined. teacher yl1 stated that the approach used generally depends on the content. he used the analytical/atomic approach when teaching the music of beethoven and the holistic approach when teaching fengyang huagu (a genre of chinese folk music). however, in their practice, the two teachers mostly used the analytical/atomic approach. teacher yl1 explained that he acquired music skills and knowledge through this approach. besides, another reason is that the course evaluation system did not allow him to adopt a holistic approach throughout the lesson. moreover, teacher nc1 stated that he took a more analytical/atomic approach to complete the teaching task in the limited class time. a piece of music is usually seven or eight minutes long; thus, he would choose the representative parts to focus on teaching. two teachers (gz1 & js1) reported that they used the “holistic” approach. teacher js1 stated that she adopted the analytical/atomic approach in her early career because she was taught that the approach was the most scientific and rational. however, she would now prefer using the holistic approach because she found that using the former method would destroy the beauty of music and the students’ overall understanding of music. most western music learning methods are based on analytical, and even “atomistic” teaching approaches, but in many non-western societies, music is taught in a “holistic” way (schippers, 2010). ethnomusicologists believe that “a comprehensive understanding of the music of a culture includes the way it is learned and the harmonia: journal of arts research and education 22 (2) (2022): 200-212208 materials that are used to teach it” (nettl, 2005, p. 389). in the present study, most teachers were found to use the “analytical/atomistic” approach in their world music teaching practice. although some of them have recognized the value of the holistic approach, due to their abilities and the requirements of the teaching evaluation, more analytical/atomistic approaches have been adopted in practical teaching. it is worth noting that chinese music teachers seldom considered adopting the teaching approach used by the music in its origin, and no one mentioned the teaching approach used when music was transmitted in its original context. chinese music teachers’ perceptions of transmission modes of the nine teachers interviewed, when they were asked the following question: “do you think that written notation is advanced while oral/auditory transmission is weak and outdated?” one teacher disagreed with the viewpoint. teachers js2 and yl2 believed that the two transmission modes are equally important. meanwhile, teachers nn2, js1, and yl1 opined that oral/auditory transmission is more critical, and teacher js1 said: “the characteristic of folk songs is oral transmission, and the effect will be reduced if you learn through the music score.” nine teachers used musical notation; however, teachers nc1, nn2, and js1 did not rely on musical notation alone. teacher nc1 explained the reason whereby the students’ actual ability to read musical scores was not good. teacher js1 gave an example: “a song with ‘fewer words and more notes’ can be visually represented by music notation, which is convenient for students to analyze and memorize. but it must be combined with listening. i have hardly ever used a method of teaching music that relies entirely on musical notation.” teacher gz1 said: “if i need to compare and analyze two pieces of music, i use the notation. if it is for students to feel a certain piece of music, i may only use exemplary singing instead of notation.” two of the teachers (gz1 & yl1) stated that both staff and numbered musical notations were used. meanwhile, the other seven teachers stated that they only used numbered musical notation. in the present study, one possible reason for using the aural mode in teaching was “the students’ actual ability to read musical score was not good,” as stated by teacher nc1. although almost all teachers used music notation in their world music teaching practice, no one considered whether or what kind of music notation was used when the music was taught in its place of origin. chinese music teachers’ perceptions of the aspect focused on the question on the “aspect focused on” issue was as follows: in learning music across cultures, five key domains were summarized to describe the subject matter: technique, repertoire, theory, creativity, and values. they are arranged from roughly tangible to intangible. moreover, each domain contains tangible and intangible aspects. for example, in addition to the explicit explanation, implicit metaphors such as “as if there is a small bird sitting on your finger” were often used in the technique aspect. what aspect do you think should be focused on? of the nine teachers interviewed, two (gz1 & js2) stated that they emphasized more tangible aspects, aiming to ask students to do the right thing and sing correctly. three teachers (nc1, nn1, & yl1) expressed that although they emphasized the tangible aspects in their teaching practices, their goals were to achieve the intangible aspects. two teachers (sd1 & nn2) highlighted both aspects; the intangible aspects need to be based on the students’ mastery of the tangible aspects. two teachers (js1 & yl2), however, were more concerned with the intangible aspects. teacher js1 said: “whether music is pleasing to the ear is chun mei zhuang, kok chang pan, chinese music teachers’ perceptions of context issues 209 secondary. (what is) more important is to understand the culture behind the music.” another teacher, yl2, expressed an extent of helplessness: “if it is the singing work, the students can imitate it, but if it is the instrumental music, the students can’t play it, so i can only emphasize some intangible aspects.” in the present study, it is evident that most of the teachers realized the importance of emphasizing the tangible and the intangible aspects in their world music teaching practice. however, none of them considered the aspects emphasized when music was taught in its place of origin. regarding the context issues in world music teaching, particularly on the issue of “tradition,” the study found that most chinese music teachers perceived it as neutral and flux. on the issue of “authenticity,” most music teachers respected authentic music; however, they would just play the audio and video of authentic music for appreciation than let the students learn to play or sing. only one teacher allowed the students to recreate music in the classroom, giving the music a “new identity.” while three teachers were never concerned about the “authenticity” issue, on the issue of “context,” most of the music teachers did not believe that “music can only be understood within its cultural context.” they believed that music is the common language of human beings and could be understood by people from different cultures. regarding the modes of transmission in world music teaching, chinese music teachers were more likely to adopt the analytical/atomistic approach in practical teaching and were less concerned about the teaching approach used when the music was transmitted in its place of origin. besides, most of them did not think that “written notation is advanced while oral/auditory transmission is weak and outdated.” however, their use of the oral/auditory mode may be due to students’ musical literacy limitations rather than the transmission mode in which the music was taught in its place of origin. most teachers also recognized the importance of emphasizing the tangible and the intangible aspects of world music teaching, but none of them considered the aspect emphasized when the music was taught in its place of origin. based on the findings, the chinese music teachers’ perceptions of world music teaching can be represented by nodes and can be placed on schippers’ sevencontinuum transmission model (sctm), as shown in figure 1. figure 1. chinese music teachers’ perceptions of world music teaching on the sctm according to schippers (2004), a tendency towards the left of the continua, which is characterized by monocultural, analytic, written, and tangible, with static approaches to tradition, authenticity, and context suggests a more institutionalized/ formal organization of musical transmission of learning. meanwhile, a tendency towards the right, which is characterized by inter/transcultural, holistic, oral, intangible, and more fluid approaches to tradition, authenticity, and context, points to more informal, community music settings (p. 151). as can be seen in figure 1, the perceptions of chinese music teachers tend to incline to the right of the continua on both “tradition” and “context” issues, and to the left or middle on other issues. however, in this study, there seems to be a paradox in the context issue. the researchers judged chinese music teachers’ perceptions of the “context” issue to be biased towards the “recontextualized context” end, as most of the music teachers did not believe that “music should be understood in its context.” hence, the researchers hope that they would make choices harmonia: journal of arts research and education 22 (2) (2022): 200-212210 according to their own teaching situations based on the agreement of this viewpoint. this also shows that most chinese music teachers have little understanding of the important and complex concepts in world music teaching. alternatively, they included these concepts from the music view of “eurocentrism” rather than the music view of ethnomusicology. music is closely related to the “soil” in which it is rooted; therefore, in world music teaching, although we cannot appreciate the music of culture as an insider, we cannot use the aesthetic way of one culture to judge the “beauty” of other cultures. conclusions in general, chinese music teachers’ perceptions of context issues and transmission modes in world music teaching were more inclined to the formal, institutional settings rather than the informal, often community-based process. besides, they were also influenced more by the “eurocentrism” values and less affected by the ethnomusicology that interprets human music from a cultural perspective and by multicultural music education. music education in normal universities in china is still dominated by the monocultural music of the german-austrian system. thus, the music education curriculum focuses on imparting western music knowledge. western music has become the basis of music learning and is regarded as the universal truth and “world language “(zhu, 2009, p. 138). “all our music scores are numbered scores and stave scores. the gongche scores and guqin scores in traditional chinese music are missing; our music theory system is western; our appreciation and evaluation system for chinese traditional music and music of asia, africa, and latin america is western. our solfeggio practice is also based on the western twelve-equal temperament and western classical harmony system (chen, 2017, p. 33).” overall, ethnomusicology has not been deeply integrated into the curriculum and teachers’ teaching awareness (guan, 2012, p. 125). any consideration of musical diversity is ultimately linked to ethnomusicology. ethnomusicology affords a clear message to music educators that music is more than the sound itself; music is what people do with it and what it does for people. in fact, ethnomusicology also provides a more comprehensive understanding of music as sounds, behaviors, and values (campbell, 2018). thus, world music must not only be used as a material and needs to consider the transmission processes, learning behaviors, as well as musical contexts, functions, and meanings. in most cases, these processes are fundamentally different from those used to transfer and acquire skills and knowledge in a formal music education environment (green, 2008). as a result, this is indeed a challenge for chinese music teachers who have grown up with formal music education. in order to meet this challenge and improve world music teaching, the music education curriculum of normal universities in china should change the phenomenon of only paying attention to the cultivation and study of professional skills while ignoring the humanities education, as well as provide anthropology, folklore, sociology, ethnomusicology and other courses to cultivate students’ multicultural values. additionally, the education and teaching administration should increase the guidance and training for in-service music teachers and improve world music teaching evaluation system at large. besides, chinese music teachers must also have a deeper understanding of the diversity of world music culture. in any teaching situation, the teachers must consciously take a position according to their cultural context, be sensitive to the tradition, authenticity, and context options, and choose their teaching approaches accordingly. references anderson, w. m. 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(2012). reflecting on the implications, problems and possibilities http://www.grovemusic.com harmonia: journal of arts research and education 22 (2) (2022): 200-212212 raised by the entrance of ‘world musics’ in music education. british journal of music education, 29(03), 303316. doi:10.1017/s026505171200037x zhu, y. (2009). 基于实践哲学视野下的世界 民族音乐课程建构 [“the curriculum construction of the world national music based on the praxial philosophy”]. journal of nanjing arts institute (4), 136-140. zhu, y. (2015). 百年音乐文化价值观之变与 学校音乐课程的文化选择变迁 [“the change of music cultural values and the cultural selection of music curriculum”]. journal of xinghai conservatory of music (4), 121-127. 72 the popularity of waranggana tayub malang through body exploitation robby hidajat faculty of letters of malang state university, indonesia jl. semarang 5, jawa timur 65145, indonesia e-mail: gantargumelar@gmail.com received: july 3, 2014. revised: august 14, 2014. accepted: november 22, 2014 abstract tayub is a ronggeng type of dance performance. it is widely performed in javanese regions. originally, tayub functioned as a fertility ritual; then it developed as entertainment. the growth of tayub in malang in the 1950s was intended for identity and the main dancer called tandak was changed to waranggana. as a result, there was a transformation in the form of the dancer’s body: (1) exploring body-initiating identity, (2) manipulating the body through magical effect, and (3) body consumptive economization and love ruse. the qualitative method was used with an art phenomenological model in this study. the data were collected using interview and observation methods and was analyzed interpretatively. the result of the research was that female body interpretation is politicized to survive creatively, in order to maintain popularity and to support the lifestyle of the artist. keywords: body; creativity; exploitation; mask dance; waranggana how to cite: hidajat, r. (2015). the popularity of waranggana tayub malang through body exploitation. harmonia: journal of arts research and education, 14(2), 72-77. doi:http://dx.doi.org/10.15294/harmonia.v14i2.3288 harmonia : journal of arts research and education 14 (2) (2014), 72-77 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v14i2.3288 p-issn 1411-5115 e-issn 2355-3820 in blora regency, indonesia, the dancer of tayub is called ledek (ratih, 2005, p. 42). originally, tayub functioned to cheer the grand harvest party and to respect the king (holt, 2000). it was held on the edge of the farm. the dancer who danced (ngibing) first along with the ledhek was the village elders. such an event was called bedah bumi (earth sectioning), the symbol of sexual relationship between pengibing (ordinary people who dance) and the ledhek. the sympathetic magical power of the symbol of “women impregnation” affected the farm soil fertility, so that tayub party is called fertility ritual (suharto, 1999). nancy’s research (2000, p. 607) shows that these “seduction scenarios’’ are ways in which women, through their attractive power, help men transform their exuberant power into constructive spiritual potency. introduction professional dancers always have problems in their appearance, body, face, and dancing skill that can constantly fascinate their audiences. tayub malang puts the women (dancers) into primary characters. in the malang area of east java, a tayub dancer is called waranggana. nancy (2009, p. 609) call the dancer as a glamorous women singer who appear ordinary in their everyday lives, but become exemplars of extraordinary femininity in performances where flirtatious interactions may occur between them and male musicians. futhermore, the research states that through singing and silences, waranggana preserve men’s prestige and together with them participate in a social construction that usually keeps the peace at local levels. robby hidajat, the popularity of waranggana tayub malang through body exploitation 73 more superficially, men use these seduction scenarios to position themselves in a masculine prestige hierarchy. geertz perceives tayub as an entertainment in which the waranggana body spoils many men’s eyes. such the accusation is addressed to the waranggana who sings erotic song lyric, with passionate dancing, thereby making the wives jealous. many waranggana’s had love affairs with other’s husbands. the woman as a waranggana was accused of being a “prostitute”. women organization in the 1960s, perwari (priyayi women’s association) disliked and resisted the tayub performance (geertz, 2013). the tayub association needed a dancer who can perform excellently with varied dancing movement, sweet voice, slim bright body, and beautiful face. such these ideal criteria were difficult to meet with the women who had continuously chosen waranggana as their profession. a variety of strategies were taken to make the waranggana remain to be acceptable to the tayub devotees. waranggana grows over the years. originally tayub summoners presented only 2-3 waranggana’s, but in 2000s, they presented at least 508 dances. considering the waranggana growth in malang becomes an interesting study. on the one hand, the society dislikes because they are worried that their husbands will be fascinated by the waranggana’s. on the other hand, the number of women performing persistently the wrong profession was increased. the prospect waranggana’s were available to learn from the senior waranggana for many years. in a research, cahyono (2006, p. 19) shows that the inheritance pattern of tayub, where they sing and dance, is done traditionally and naturally. in their community, they do this inheritance pattern through learning by doing. this study aimed to learn the strategy to make a waranggana remaining to be favoured by the society. the problems formulated are (1) what strategies are used to make the waranggana popular? and (2) why is that strategy taken by the waranggana to be popular? methods this study employed qualitative approach, interpreting the data constituting the performer’s actions and words explored directly from the object. the data were collected using an interview and observation techniques. the model of research used was art phenomenology using developmental theory. the key informants in karawitan tayub area were sumantri (57 years), an artist of karawitan tayub who has been performing this art in 1950s, and ruminingsih (60 years), a waranggana and daughter of tayub drummer from jatiguwi. data analysis employed descriptive interpretative technique. data collection originally, tayub functioned as a means of a fertility rite, and then it developed as entertainment. tayub performance as entertainment still develops until today, particularly in the javanese north coastal area. the presentation has been collaborated with joged dangdut (dangdut dance) movement element. in malang regency of east java, tayub performance has been known since 1920s. generally, tayub had central java style. in 1950s, typical malang tayub began to be explored in order to be different from central java’s tayub. toward the end of 1960s, some tandhak (another name for waranggana) wanted to raise local characteristic as their identity, because so far the tayub style developing in malang was central java style. if observed closely, the malang-origin tandhaks’ effort seemed to be disturbed in by many other tandhaks from kediri, blitar, and tulungagung came to malang. results and discussion exploring body-initiating identity a tandhak named miskanah from gadang village initiated the innovation in gambyong dance (central java-style dance) appearance performed by malang tandak replaced with tari remo (remo dance). harmonia : journal of arts research and education 14 (2) (2014): 72-7774 miskanah was used to be a bedayan dancer in kethoprak and remo dance in ludruk. her effort was successful so that the tandhaks coming from out of malang area cannot copy maskinah’s appearance. at the end of 1970s, miskanah style dance had been popular among the tayub devotees. the miskanah dancing style was more dynamic, muscular, and energetic. the masculine movement pattern of remo dance was modified with pencak silat (self-defense art) pattern. because the performer was a female, her choreography felt to be aggressive, and her step and arm movement was always accompanied by a malang drum pattern and sometimes at the end of the movement an emphasis was given to intense jidor pencak sound (sumantri, interview on june 3, 2011). entering 1970s, tayub malang performing art organization attempted to change the morality image of the past tandhak by popularizing the term waranggana. this term derived from a predicate presenter in karawitan or leather puppet ensemble. the term waranggana for tayub dancer felt to be elegant and had javanese-bourgeois image. waranggana’s fashion originally wearing angkin cloth as kemben was changed into javanese kebayak. waranggana’s appearance seemed to be more elegant. this attempt is considered as a smart way, a political strategy of interpreting body to maintain tayub appearance among its devotees. waranggana at least got a more respected social position. in 1950s tandhak was often despised in front of the public by her devotees. sumantri (67 years) witnessed sexual abuses the tandhaks experienced. such unpleasant condition generally did not result in resistant reaction to that treatment. that treatment seemed to be ordinary. generally, the devotees who were dare to do so have much money. at that time suwelan (put the tips into the dancer’s kemben become a common habit (sumantri, interview on june 3, 2011). after the development of a miskanah style of remo tayub dance that was dynamic and energetic, the tayub devotees’ behavior changed. this change was at least because the waranggana’s more masculine appearance. cakraningrat style of remo dance’s fashion was modified by adding a small vest, higher sembong jarit, inserting cundrik (dagger for women) on the left side. male-style makeup with a thin mustache, hair bonded with udeng kemplengan (headben) ala madura young man was used (suprihatin, 1997). in 1980s, the development of tayub malang was increasingly popular. its waranggana’s appearance and dancing showed the true malang characteristic. such the peculiarity became the obstacle for the central java style of tayub dancer tayub malang dancer generation who carried such the typical style flourished in the beginning of 1970s. entering 1980s, tayub dancers from malang flourished. tayub summoners no longer presented 2 or 3 but 5-8 waranggana’s to cheer their party. the senior dancer performed remotayub with “tembelan” attraction performance. the development of remo tayub malang dance included silat (self-defense art) into its structure. the objective was to build an aggressive and dynamic characteristic; but in its development, the silat movement appeared only as accentuation, with strong and opened hand movement. in young waranggana’s hand, the silat element was faded by jogged ndangdut and jaipongan (sundanese music) movements, particularly in tembelan act. attraction of giving tips was done by attaching the money onto the dance body. the objective was to be capable of dancing with gendhings (javanese music) chosen by pengibing (javanese dancer). this tembelan attraction occurred in the opening, nembel tandhak remo dancer. the tembelan phenomenon developed around 1980-1990 popularized by such waranggana’sas sri utami, hani, rumaningsih, yayuk, sri mani, and other young waranggana’s (rumaningsih, july 12, 2011). the ‘timberline’ attraction has an artistic effect of tayub dance. however, viewed from the devotees, this phenomenon made it difficult for them to get involved robby hidajat, the popularity of waranggana tayub malang through body exploitation 75 in tayub environment. it should be taken into account and rethought. they should spend much money for attending one performance. a devotee should spend money for contribution to the host of the event (buwuh), playing song, tips for waranggana (the money was distributed evenly for all waranggana on the stage), and tembelan tips. therefore, surely the tayub devotees should not only blater (supple) but also have much money, and high position. body manipulation through magical effect the use of term pelandang serving as master of ceremony (mc) was considered as having image less equal to the term waranggana, so the term pramugari was used. this term was considered as more exclusive recalling that pramugari (stewardess) is the women who served the plane passengers. but some people attempted to use the term considered as more refined, pranata beksa (choreographer), meaning those serving to organize the ones dancing: waranggana and pengibing . at that time, the term pengibing was not changed. tayub devotees did not need image because they were those who have a position and money. so there was no designation for their prestige. they would be apparently strong when their wallet is thick. such the condition became a heavy challenge, particularly in the competition to get attention and the attempt of maintaining self-image, despite the change of their profession designation. they no longer get discretion to show their erotic attraction off on the stage. the name waranggana is required to improve the quality of performance, particularly her vocal quality. meanwhile, the change of term pelandang into pramugari did not bring about burden. the pelandang still has discretion to organize those who enter kalangan (stage). despite the common etiquette still prevailing, the first sampur (sash) will fall down to the host of event, and then to local functionaries such as lurah (chief of village) or camat (chief of sub-district). there after it will fall down to the devotees. the condition of waranggana’s’ improved self-image weakened their mentality. over time they looked for protection and maintained the market image in order to get sympathy from their devotees. young waranggana’s were less established viewed from their vocal technical quality and dancing basic skill. some of them often used shaman, as a shortcut, to manipulate their body by installing susuk (implant). particular metal with a half of needle size is implanted into the middle of the brow, the encounter between the two eyebrows, cheek, or the tip of lips. the use of beauty implant is no longer a secret. individual waranggana’s exchange information each other about the efficacy of implant installer. the lovely, beautiful and shining face is the strategy of attracting the devotees. some of tandhaks who have strong bravery come to a holy place (graves of ancestors) to ask for magic power called stren. this magical effect made the waranggana performing beyond her potential. waranggana stren has certain abstinence and is available to provide tumbal (something used to prevent misfortune) (sumantri, interview on august 5, 2011). this shortcut is taken because of the waranggana’s’ very low education level, generally elementary school. until 1990s, only one waranggana studied at junior high school (smp), rumaningsih. body economization and love ruse 1990s was the golden age for tayub malang development. the tayub presentation activity was not only due to the host of the event’s request. but, it had been organized in such a way that all devotees got the opportunity of holding tayub presentation consecutively. this system was called arisan. the presentation list has been arranged for a year (it stopped for a while in ramadhan month). during ramadhan month, it stopped from performing for a month. such condition became a distinctive problem to the waranggana. it ceased their income. meanwhile, they had no alternative skill to earn their life. most of waranggana’s were village females harmonia : journal of arts research and education 14 (2) (2014): 72-7776 keep enjoying their world development. some of them became dancing and vocal instructors, and some others became dukun susuk (medicaster). conclusion the result of research on tayub malang during 1950-1990 showed that the original period in 1950 was called as the era of searching identity and creativity, 1960s as the growth and the popularity era of tayub malang, and 1980s as (women) body consumptive commercialization politicized to survive in the terms of creativity, popularity and to support lifestyle as an artist. however, it is undeniable that economic factors also determine the choice of them to become a waranggana. this situation is supported by the needs of the devotees to express their passion for the art of dance and the desire to show their existence as one who are able to pay through saweran or even on other chance. this situation is, then, used by the waranggana to perform a variety of ways to increase the popularity by beautifying themselves, including by inserting the implant to their bodies so that the devotees interested in them. references cahyono, a. (2011). pola pewarisan nilainilai kesenian tayub (inheritance pattern of tayub values). harmonia: journal of arts research and education, 7(1), 18-26. geertz, c. (2013). agama jawa: abangan, santri, priyayi dalam kebudayaan jawa. translated by aswab mahasin. jakarta: komunitas bambu. haryono, s. (2002). penari tayub sebagai dukun dalam ritus bersih desa di jogowangsang, purworejo jawa tengah. jurnal pengetahuan dan penciptaan tari. 1(1), 20-31. hauser, a. (1982). the socialogy of art. chicago: the university of chicago. herusatoto, b. (2001). simbolisme dalam budaya jawa. yogyakarta: hanindita with agrarian background. when they be came waranggana, they stopped from doing activities as the farmers. they also rarely socialized with their neighbors. such condition forced the waranggana to look for self-salvaging strategy. the waranggana’s, whose main income from their husbands was not high, took shortcut by the opportunity of throwing the love ruse out to local functionaries such as lurah (chief of the village), camat (chief of sub-district) and a rich merchant. this conventional strategy was like what geertz reported in 1960s (geertz, 2013). the strategy of throwing the love ruse out was not vulgar and without background. waranggana’s who were able to throw the love ruse out had appearance potentials, including fascinating body, beautiful face and sensitive-emotionalcommunicative kinesthetic. thus, the physical symbols can conquer all men’s heart. the politicization for body consumptive economisation aimed to make the devotees feeling the need for consuming the dancer’s body. waranggana’s could make their devotees happy, imagining, and feeling as if they were dancing with the fairies. this sensation is a social ecstasy. such imaginary impression would not really be felt unless it is followed by liquor. the economic role of the liquor seller also contributed to strengthening the waranggana’s’ strategy. the effect of love ruse resulted in the marriage-divorce phenomenon. it was strongly assumed that such phenomenon resulted from the waranggana’s’ need for supporting their lifestyle as artists (suwito, interview on august 15, 2011). suwito’s information was also reported by raffles in the history of java. the ronggengs decided to divorce and have a new husband. having lived peacefully for some time in the village, they might decide to divorce and to get back into their original profession as ronggeng (raffles, 2008). for the waranggana’s who had been established economically, despite their status as the second wife, they focused on solidifying their status and they wanted to robby hidajat, the popularity of waranggana tayub malang through body exploitation 77 graha widia. hidajat, r. 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(2013). kesenian tayub di lingkungan seni “mekar pusaka”. ringkang. 1(3), 1-23. informants: sumantri (57 years), an artist of karawitan tayub who has been performing this art in 1950s. ruminingsih (60 years), a waranggana and daughter of tayub drummer from jatiguwi, malang. harmonia vol.1 juni 2011 (2).pdf �������������� � ����������� ��������� ������������ �������������� ������������������������������������ !"#$%$&'"(("�$)*&*+%,"-./" *+%0+1*&23"45"�$)*&*+%6)*'."7"8*.$+9'+$:;0;'<=)*'./>3)� � � � � �?��@�a!$+$.'9'*+"'+'"b$&9020*+"0+90c")$+%$9*10'"d*+")$+d$;c&'e;'c*+"e$)b$.*2*&*+";$+'"9*&'"d$+%*+")$+%%0+*c*+"e$+d$c*9*+"*e&$;'*;'/"" *+f**9"=*+%"d'1*&*ec*+"d*.*)"e$+$.'9'*+"'+'"*d*.*1"b*1*+")*;0c*+"c$e*d*"%0&0";$+'"b0d*=*"0+90c")$+'+%c*9c*+"1*;'."b$.*2*&";';g*"")$.*.0'"e$+d$c*9*+"*e&$;'*;'"d*+";';g*"d*e*9")$+'+%c*9c*+"c$9$&*)e'.*+"d*.*)")$)e&*c9$cc*+"d*+")$)*1*)'";$+'"9*&'"c10;0;+=*"9*&'/"" $93d$"=*+%"d'%0+*c*+"d*.*)"e$+$.'9'*+"'+'"*d*.*1")$93d$"c0*.'9*9'f"d$+%*+";90d'"c*;0;"d'"� 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'� ��������;��$���0���������* ���<!��.==>�)� u�%��!� �&$�)''''''''')�st8:6��6� 9:5� \�8�� ��$�����"�0&�&�;�u�)� �&�&)�+,,+)�k:�mem�mc� b:5:�����5 ����������� � �������" ������ �*�����.��]�� ��(���� �)�*���&�&)�+,,�)�k:�mem�mc� b:5:�����5 b:5e�ne�f�5� ?������"�#������̂����0%��%���#& �����#& ���)�i��+)�s5���6�6 �����n������ ��$�����"�� ���������������/�����$������_� �&��_��� ���)�i��,)�b:5e�e�f�5 9:5� \�8�̀ q�f� l�8� 9:fm��d k:5:c�d b:8��3���?�'�����"�;������ �)a)�� $����(&�a���)�+,,w)�9m6�m�mc� \�8�� a&�'(������"�� ���� 254 shadow theatre as a performative art for the development of uninhibited corporal expression and group cohesion in sixthgrade students of primary education paloma bravo-fuentes university of málaga, spain submitted: 2023-04-05. revised: 2023-11-05. accepted: 2023-12-05 abstract shadow theatre is an educational resource based on the use of silhouettes and the body as a means of communication. it allows the incorporation of music and sound effects that help students discover movement possibilities in the stage space. it also encourages collaborative work through the creation of groups. therefore, the aim of this research is the incorporation of shadow theatre as a performance art for the promotion of uninhibited corporal expression and group cohesion. an action-research methodology is used to define a didactic proposal that incorporates shadow theatre in the field of music education at primary school. the learning situation is carried out in two public schools in the province of malaga, with a sample of 213 students. the results indicate that shadow theatre effectively improved pupils’ body expression and group cohesion. some students had initial difficulties, but thanks to the anonymity provided by this resource, fear of ridicule was reduced. it is proposed to compare this resource with theatre in order to define whether the method of incorporating the shadow is really effective. keywords: musical education; theatre; body expression how to cite: bravo-fuentes, p. (2023). shadow theatre as a performative art for the development of uninhibited corporal expression and group cohesion in sixth-grade students of primary education. harmonia: journal of arts research and education, 23(2), 254-263 harmonia: journal of arts research and education 23 (2) (2023), 254-263 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i2.43958 mous community of andalusia, specifically located in the province of malaga, a direct observation of the music class was carried out. the main objective was to define the level of use of the body as a means of communication and expression through the disinhibition of movements. in this observation, difficulties in socializing with some classmates were also identified. in this sense, they accuse the media through the internet as the culprits as they have become the mode of interaction among young people, thus showing fear of public speaking and face-to-face relationships suárez (2019). introduction inhibition is a response to bodily expression activities in many cases, evidencing situations of nervousness, insecurity, and rejection towards their performance. undoubtedly, it is directly related to the behavior carried out by an individual based on fear or withdrawal in the face of certain stimuli or unfamiliar situations and people. in contrast, disinhibition is conceived as the absence of the cognitive process that suspends the manifestation of a specific behaviour (guimón, 2004). in two public schools in the autonocorresponding author: e-mail: paloma.bravo.fuentes@gmail.com p-issn 2541-1683|e-issn 2541-2426 paloma bravo-fuentes, shadow theatre as a performative art for the development of 255 the analysis of this situation determines the beginning of this research process in which, after knowing the reality of the classroom, the necessary actions to modify it are defined. in the field of education, it is necessary to promote the comprehensive development of students’ competencies. for this reason, it is necessary to create the appropriate scenarios to favour learning situations that offer resources and strategies to obtain tools that allow them to interact in social life in the best possible way. achieving corporal expression based on the disinhibition of movements will offer students the possibility of using their body to communicate and express feelings, emotions, and ideas; as well as an important resource for relating to the environment around them and other individuals. students should be able to face unfamiliar situations, overcoming the possible fear of ridicule through activities that encourage their free, creative and collaborative behavior with others. for all of the above, this research is based on premises affirming that teaching proposals must be meaningful and functional to become unforgettable for students by making them the protagonists of learning and favoring their integral development (heras, 2010). after a bibliographical review of previous work, the activity proposed to achieve the premise set out is the use of shadow theatre in the music education class. in activities that develop corporal expression, pupils may feel fear of ridicule (pérezpueyo and casado, 2011). thus, shadow theatre can offer greater safety as it does not consist of direct exposure of each student but through their own shadow projected on a white cloth (lópez-villar and canales, 2007). body expression can be defined as the discipline favoring the use of movements with a communicative intention, more importantly the knowledge and use of expression and communication skills of students rather than aiming for perfect technical execution (cifo, 2016). this communicative relationship attends to the definition of the body as a language (schinca, 1998; pelegrín, 1996) involving both the body and psychological and social aspects (pérez et al., 2012). the incorporation of drama and theatre at the primary education stage allows, through representation, to solve and address everyday life situations (holdhus et al., 2016). it favours the development of communication, empathy, socialization, the expression of emotions, and group cohesion. it also develops creativity critical thinking, and values education (trozzo, 2016; beetlestone, 200) by providing a safe space for the exploration of ideas. on the other hand, it is an interdisciplinary activity as it can incorporate plastic, dramatic, and musical elements to work on artistic expression. similarly, it fosters the development of communicative and linguistic skills and psychomotor skills. in addition, it facilitates the development and acquisition of social skills and conflict resolution as it is an activity that requires group work, favoring cooperative learning and consciously explores moods, feelings, and the consequences of the responses offered to different problems. for this reason, it is ideal for working on interpersonal intelligence and emotional education (goleman, 1996). there are numerous studies that incorporate dramatization in the classroom through the use of shadow theatre in the infant education stage (cifo and ureña, 2022). the benefits are so numerous that extrapolating it to the last level of primary school is an interesting resource to work on the disinhibition of movements, the use of the body as an instrument of communication, the improvement of interpersonal relationships, and the promotion of collaborative work. shadow theatre is defined as “the representation of stories, scenes, actions, etc., with shadows (bodily and/or objects) that are projected on a cloth or similar thanks to a spotlight” (cifo, 2016, p. 41), being an easy and economical resource in the music education classroom (martín harmonia: journal of arts research and education 23 (2) (2023): 254-263256 and lópez-pastor, 2007). with the use of this type of theatre, the total expression of the students is achieved, favouring their integral development (pallarés et al., 2014). the necessary elements to carry out a shadow theatre are a light projection (spotlight or torch) and material to project (white cloth), allowing the addition of auxiliary elements (costumes, objects) (cifo, 2016). the use of music and sound effects can also be incorporated. in this sense, the incorporation of current musical fragments is allowed under the teaching filter due to the possibilities of increasing the motivation and participation of students (flores, 2007; mok, 2017, 2018) and the development of their creative (hall, 2014) and musical skills (pulman, 2014). for this reason, many authors propose incorporating musical genres that are not limited only to academic music (woody, 2007). there are different basic techniques for the use of shadow theatre based on; 1) observing the shadow cast and knowing what the others see; 2) taking into account the distance to the focus, as the closer to it, the bigger the shadow cast; 3) the distance to the canvas, as the closer the shadow is, the more it defines the shadow and; 4) casting the shadows preferably in profile, as it allows better definition of the gesture (barba-martín, 2002). in this aspect, barbamartín and lópez pastor (2007) recommend starting the use of shadow theatre with simple positions to work, in a playful way, on the aforementioned techniques. the point is to use shadows as a means of corporal expression and the development of creativity. incorporating shadow theatre as a didactic resource in the music classroom has numerous benefits. on the one hand, as has been mentioned, it favours the integral development of the pupils as it triggers the students’ creative process, needing few means and technique to be carried out (lópez-pastor and lacruz, 2007). at the same time, it allows work on aspects related to multiculturalism, helping to improve knowledge of different cultures (iglesias and lópez-pastor, 2003). finally, it favours motor development, incorporating content related to the adjustment of the body schema, spatial-temporal structuring and perception (martín and lópez-pastor, 2007). it is an activity that works directly with the body, awakening curiosity to explore its possibilities and encouraging spontaneity and improvisation (pérez et al., 2012). method design the research design presents a qualitative approach as it is “an active, systematic and rigorous process of directed inquiry, in which decisions are made about what can be investigated in the field of the object of study” (pérez-serrano, 1998, p. 46). within this field, the dbr (designbased research) model is introduced, which includes the generation of initial research as the production of applications taken to direct practice (stokes, 1997) and consists of the design, development, and subsequent evaluation of specific educational interventions with the intention of contributing to the advancement of knowledge about them at the pedagogical level (plomp and nieveen, 2010). at all times, this type of proposal is included in real teaching contexts (barab and squire, 2004) to provide validity and ensure tangible conclusions that improve the initial situation (valverde-berracoso, 2016). therefore, these theories are not decontextualised and do not necessarily work in the same way in different educational settings (anderson and shattuck, 2012). this research seeks the influence of teaching practice (romero-ariza, 2014) to generate theories and conclusions of value to educational professions (clarke and dede, 2009). thus, the roles of researchers and teachers are differentiated, but cooperative work is fundamental (anderson and shattuck, 2012). therefore, this work can be framed within collaborative action research, which involves an intervention in a specific context without claiming to offer a generalisation (casals et al., 2008). this approach is functional for uniting educational theory paloma bravo-fuentes, shadow theatre as a performative art for the development of 257 and practice (moreno et al., 1999), seeking a joint construction of knowledge through the sum of the knowledge and experiences (desgagné, 1997). the procedure adopted follows a qualitative research sequence structured in several stages: it begins with a needs assessment and contextual analysis, followed by a literature review and the creation of a specific theoretical framework. it continues with a prototyping phase, where the intervention is designed and formatively evaluated and ends with a semi-summative evaluation to determine the satisfaction of the initial objectives, as described in plomp and nieveen (2010). this approach is distinguished by its focus on concrete processes and objects within the context of an application, avoiding the isolation of variables, and is defined as an interventionist model that seeks to improve educational interventions through a design based on practice and theory, as argued by valverde-berracoso (2016). context and participants the research was carried out with 213 pupils from two public schools in the province of malaga, both with four classes of sixth-grade primary education, chosen for their accessibility and layout, according to valid criteria established by úriz et al. (2006). the total number of participants making up the selected sample is 213 students. the study involved 159 students from two schools, with the malaga city school contributing 79 students aged 1112: 26 in the first class (16 girls, ten boys), 27 in the second (17 girls, ten boys), 26 in the third (12 girls, 14 boys), and 27 in the fourth (18 girls, nine boys). the marbella school had 80 students: 27 in the first class (19 girls, eight boys), 27 in the second (17 girls, 10 boys), 26 in the third (13 girls, 13 boys), and 27 in the fourth (16 girls, 11 boys). instruments the beginning of the research is characterised by the use of participant observation, where the researcher is involved in the actions, including experiences from other artistic fields such as theatre, according to lópez and san cristóbal (2014). this technique allows direct information to be collected, preventing certain aspects from going unnoticed (sarriá-sánchez, 2010). the findings are documented in a field diary with descriptions, subjective analyses and audiovisual records of the activities observed. the study used individual in-depth interviews with 10 educators (8 sixth form tutors and 2 music teachers) from the selected schools, following the criteria of being teachers at these schools and with at least five years of professional experience. the interviews were conducted according to lópez and san cristóbal (2014), favouring an environment of trust and using open and flexible questions to encourage an open dialogue (gómez et al., 2020). a “funnel” approach was used in the initial questions, detailed by kerlinger (1975), focusing on teachers’ perceptions, emotions and experiences of pupils’ comfort during the shadow theatre activity and their behaviour in group work, followed by a content analysis, which consists of “translating” the sample’s input into tangible evaluative information (kerlinger, 1975). process the research was conducted in the marbella school in the third term of the academic year 2020-2021, and in the malaga school in the same period but in the academic year 2021-2022. the performance art methodology focuses on a live musical performance, including elements such as creation, style and cooperation (kartomi, 2014). rodríguez-quiles (2018) suggests that this methodological strategy in the music class favours students’ development of skills and knowledge. the process of participation in the schools lasted three months in each institution, following a series of phases that make up the research procedure and culminating in the analysis of the results in order to improve aspects of the process based on the spiral cycle of observation, evaluation and reflection of harmonia: journal of arts research and education 23 (2) (2023): 254-263258 the results obtained, proposed by elliot (1991, 2005). the management and families of the students were informed, and their consent was obtained for the publication of the research results. as the children were minors, no personal data were disclosed for ethical reasons. the phases carried out are as follows: 1)initial observation and setting of objectives: it begins with a direct observation by the researcher in the music classes and recorded data on inhibition and group cohesion, which he then used to define the objectives and design a research proposal. 2) literature review: of previous work related to the topic in question that forms a theoretical and practical starting point on which to build in the context of schools. 3) designing and implementing a learning situation: a didactic proposal centred on shadow theatre was designed, carried out in five sessions with tutors and music teachers to create a graduation script with sequences based on the experiences of sixth grade students. the final proposal, which integrates music and corporal expression, results from the contributions of the students and the guidance of the teachers, emphasising the importance of teamwork to achieve great results (egger, 2019; espinosa, 2019; harrison et al., 2013; whitener, 2016). a motivating and respectful environment is essential, according to reid and duke (2015). the rehearsals, supervised by the researcher and the music teacher, prepared the students for the performance. 4)performing the shadow theatre live for the educational community: at this point the final aesthetic aspect will be a fundamental element, being an objective to be able to perform in the best possible way (hargreaves, 2012). 5) conducting an in-depth interview with the participating teachers and assessing the satisfaction of the participating: a word cloud was generated with descriptions of the participants to analyse satisfaction and compare it with previous observations, facilitating the drawing of concrete conclusions. result and discussion this section is based on the degree of acquisition of the objectives formulated in this process. thus, after the review of the literature, the use of shadow theatre is defined as an excellent didactic resource to get the sixth-form pupils to perform body expression movements in an uninhibited way, also favoring group cohesion. in the initial observation, data were collected in a field diary concerning two variables. on the one hand, with regard to the inhibition present or not in corporal expression activities carried out by the students in their practical music classes. on the other hand, it was also taken into account whether there were any difficulties when performing this type of task in a group. after this, they were analyzed and translated into a graph to be able to observe the percentage of pupils with impediments in carrying out these activities as a result of inhibition and/or lack of cohesion with the group. the graphs resulting from this initial analysis in each of the schools are shown below, showing how the percentage of students who carry out these activities have inhibition problems. in this sense, a slightly higher percentage are the students in malaga city. the image shows that the total number of students who act in a disinhibited manner is very low. figure 1. summary of results of participant observation in relation to inhibition figure 1 shows a higher percentage of pupils with difficulties in group cohesion and in carrying out cooperative activities. the malaga city centre shows less imbalance compared to the one in marbella. however, in both cases, it is a tangible element to be incorporated into the didactic paloma bravo-fuentes, shadow theatre as a performative art for the development of 259 proposal. figure 2, refers to the feelings and impressions about working in a group; 77% of the total were generally comfortable working with the others. within this 77%, 42% did not agree with the group at the beginning and even created situations of discord, but finally managed to get the work done. on the other hand, 33% did not feel comfortable working in a group, with 12% of participants adding that they would have preferred not to have carried out the task or to have done it individually. figure 2. compendium of participant observation results concerning cohesion/cooperation once this initial situation has been analyzed and the didactic proposal has been developed and implemented, the teachers are interviewed in depth. in order to clarify and group the contributions made by the sample of participants in the interview, they will be classified into the two topics mentioned in the previous lines. on the one hand, the initial theme is directly related to their sensations and perceptions of the class in terms of the level of comfort and comfort that they consider that the students have been able to feel when carrying out the shadow theatre activity. in this aspect, it can be affirmed that 72% of the participants have offered, at a general level, a positive answer, identifying the didactic proposal carried out as functional to achieve the objectives proposed in this educational context. “shadow theatre had never been carried out in the last cycle of the primary school and it is a success because they feel more protected as they do not show their faces and bodies directly and they participate and enjoy the activity” (teacher 1). students of this age tend to be shy when it comes to using their bodies as a means of expression and “the uninhibited attitude that i have been able to observe has left me speechless” (teacher 3). moreover, all the students participated, even those who usually find it more difficult to do so (teachers 4, 8, 9 and 10). the sample has identified the proposed activity as motivating and attractive for pupils (teachers 2, 5 and 7) and “simple to carry out in terms of the few materials needed” (teacher 6). even so, “i don’t know if it can be easily extrapolated to any primary school context because a space is needed to carry it out, and not all schools have one” (teacher 10). despite this, “i have never seen my students so motivated towards an activity in which the basis of everything is corporal expression” (teacher 6). being able to move around the space, taking into account a musical selection, “is also a task that is very difficult in the sixth grade because they feel embarrassed very early on” (teacher 1). in this sense, “i think that, in the infant stage, or even in the first levels of primary, carrying out activities that involve free and uninhibited corporal expression is easier because they are not so concerned about what others will think” (teacher 8) but, in this course, “using shadow theatre was something that had not occurred to me and i plan to incorporate it into my music education sessions” (teacher 4). in addition to these contributions, 28% of the total number of interviewees expressed mixed feelings about the didactic proposal carried out. on the one hand, they consider shadow theatre as “a resource that undoubtedly attracts their attention, because it is something different that is not usually done every day, far from it” (teacher, 10); moreover, “it can be fun playing with the silhouettes” (teacher 1) but, “i have not managed to see all the pupils comfortable at all times” (teacher 5), moreover, “some of them have had a hard time getting them to participate in the activity, they have done it, yes, but they would have preferred, without a doubt, not to do it” (teacher 7). in this sense, some of the harmonia: journal of arts research and education 23 (2) (2023): 254-263260 teachers interviewed said that what their students liked least was having to perform the final performance in front of an audience, which made them feel embarrassed, regardless of how they felt while rehearsing (teachers 5 and 7). the second question asked refers to the teachers’ perceptions regarding group work. in this aspect, 82% of the participants give answers that identify the activity of shadow theatre as an interesting proposal for the creation of cooperative groups. “there are groups of students who had never worked together before and i have been pleasantly surprised by what i have seen in them, the way they have been able to get the work done” (teacher 9). in this aspect, “i have created some groups that i know have difficulties in understanding each other, because i have known them for years and yes, at the beginning they had problems, but i think that, when they understood that this was their group with no possibility of change, everything started to work” (teacher 4). moreover, “i have been surprised by the attitude of some students who i thought would have difficulties in cooperation and they have worked phenomenally well” (teacher 8). in this sense, some teachers say that they will incorporate this type of proposal at other educational levels to encourage student cooperative work (teachers 6 and 9). on the other hand, there are negative contributions regarding the creation of cooperative work. in this sense, “i think it is very difficult to carry out a didactic proposal that is difficult for them in itself, as it is about corporal expression, in a collaborative way. from my point of view, i think that this makes the embarrassment they feel even worse” (teacher, 2). a proposal that is added is “to carry out these activities, but individually as an option so that those who do not want to work in a group can develop their uninhibited corporal expression without the conditioning factors of not being comfortable in their team” (teacher 3). finally, each student is given a piece of paper on which he/she has to write a word that defines his/her perception, how he/she felt, or how much he/she liked or disliked doing this activity. with the compendium of responses, a word cloud is designed as a data analytical tool that offers visually weighted words according to their popularity, representing the most frequently used words in a larger size (gómez garcía and therón, 2014). in this way, the visual result shows the most repeated and, therefore, most significant concepts (cano, 2020) so that no opinion in the sample is isolated (gross, 2008). figure 3. word cloud after compendium of responses figure 3 shows the word cloud created from the students’ responses. highly repeated words such as fun, amazing, awesome, i love it, and cool. the words nervous, fear and embarrassing are also incorporated, although to a lesser extent of repetition. in this aspect, it is interpreted that a percentage have not managed to overcome these feelings. to begin with, it is worth mentioning that the didactic proposal has exceeded the initial expectations with the sixth-grade students. the final performance carried out, and the compilations of answers given in the interview and the word cloud make the incorporation of shadow theatre a functional didactic resource to encourage uninhibited corporal expression and group cohesion at this educational level. the results offered after analyzing and compiling the field diary notes of the participant observation of the researcher involved show that a high percentage of pupils in each of the selected schools have paloma bravo-fuentes, shadow theatre as a performative art for the development of 261 difficulties in using their own bodies as a means of expression and communication. at the same time, it can be clearly seen how they have difficulties when it comes to working as part of a team. in this sense, after reviewing the literature, we advocate the inclusion of shadow theatre as a performative art to try to change this educational reality through a process of collaborative research-action. the comparative analysis of the data collected in the participant observation with the responses of the interview and the word cloud allows us to conclude that the use of shadow theatre has been an ideal resource to promote disinhibition despite the percentage of students who have not achieved complete inhibition. in the interview responses, it is defined in this way, by eliminating the close-up visualization of the students and replacing it with the projection of the silhouette, offering them an anonymous identity, giving rise to a means of expression that allows them to make free movements without fear of being ridiculed. particularly at this age, the feeling of shame is very intense and the fear of ridicule is all too present. this is because the desire to be accepted by the rest of the group is a constant reality (chimal, 2003). on the other hand, in direct reference to the promotion of teamwork and group cohesion, the results obtained are interesting, as they show, compared with the initial observation, that incorporating this didactic proposal improved group bonding. even so, a small percentage prefer to work individually and do not appreciate this type of activity. the reason may be that they have not done them before or have only incorporated them a few times. therefore, implementing them more regularly through different dynamics would offer full participation and enjoyment of the students. conclusion shadow theatre has proven to be a valuable teaching resource for promoting uninhibited body language and group cohesion among sixth-grade students. the elimination of direct visualization provides students with an anonymous means of expression. still, although the didactic proposal has improved teamwork, it needs to be incorporated regularly to encourage full participation and enjoyment. as a future line of research, it would be interesting to integrate this proposal at a higher interdisciplinary level, involving more areas and creating learning situations that favour the integral development of the students. furthermore, it would be very interesting to compare the inclusion of this resource with the theatre itself in order to define whether the incorporation of the shadow is really effective. references barba martín, j. j. 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(2007). popular music in the school: remixing the issues. music educators‘ journal, 93(4), 32-37. doi: 10.1177/002743210709300415 https://doi.org/10.47197/retos.v0i12.35036 https://doi.org/10.47197/retos.v0i12.35036 https://eric.ed.gov/?id=ej1146253 https://eric.ed.gov/?id=ej1146253 https://journals.sagepub.com/doi/10.1177/0255761418761258 https://bit.ly/3bu30oj https://journals.sagepub.com/doi/10.1177/0255761413491207 https://journals.sagepub.com/doi/10.1177/0255761413491207 https://journals.sagepub.com/doi/10.1177/0255761415569107 https://journals.sagepub.com/doi/10.1177/0255761415569107 doi:10.4067/s071627902018000100139 doi:10.4067/s071627902018000100139 doi:%2010.1177/0255761414541865 doi:%2010.1177/0255761414541865 doi:%2010.1177/002743210709300415 doi:%2010.1177/002743210709300415 29 the geculan bocah dance performance as a creative space for children lesa paranti, rimasari pramesti putri, sestri indah pebrianti department of arts, drama, dance and music, faculty languages and arts, universitas negeri semarang, indonesia received: march 16, 2019. revised: may 4, 2019. accepted: june 28, 2019 abstract this study aims to analyze the creativity of children (dancers) in the geculan bocah dance performance and how the performance becomes a space to arouse creativity. the case study in this research was the phenomenon of the geculan bocah dance performance in sanggar tanuwiyoyo semarang regency. the method used is a qualitative research method through a phenomenological approach. data collection was done by using the method of observation, interviews, and documentation. the data analysis test used the miles and hubberman model through data reduction, data presentation, and drawing conclusions. data validity used triangulation of sources, techniques, and methods. the results showed that geculan bocah dance performance consisted of 3 parts, namely the beginning, middle (core) and final (ending). each part of the performance requires the creative role of the child as a dancer. children’s creative roles include individual creativity, collaborative creativity, and communal creativity. individual creativity attempts every child to show good performance. collaborative creativity can be seen in the cohesiveness and togetherness during the show. the communal creativity arises because it is influenced by the audience and the atmosphere of the performance. the geculan bocah dance performance is a creative product, a creative space/ process, and a driver for the development of children’s creativity. keywords: dance, performance, children’s creativity how to cite: paranti, l., putri, r. p., & pebrianti, s. i. (2019). the essence of siganjua lalai values in dance movements of minangkabau women. harmonia: journal of arts research and education, 19(1), 29-36. harmonia: journal of arts research and education 19 (1) (2019), 29-36 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i1.23617 common, being danced by boys aged 4-12 years in groups. the basic idea originated from the warok figure, but both have differences in the make-up and clothing they use. the geculan bocah dance at the tanuwijoyo studio in semarang regency is usually held in an event of celebration, festival, and welcoming of tourists. the pattern of the show is usually adjusted to the interests of the show. the dynamics of dance performances for communal interests and tourism interests become the introduction as a medium of aesthetic expression, popular dance lives and develops among the supporting communities. one interesting phenomenon of folk dance to study is the presence of the geculan bocah dance in several studios in the telomoyo slope and mount merapi merbabu slopes, such as in the tanuwijoyo studio in semarang regency and warga budaya studio in magelang regency. being viewed in terms of the performers, they have one aspect in corresponding author: sekaran, b2 building gunung pati, semarang 50229, indonesia e-mail: lesa_tari@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 19 (1) (2019): 29-3630 background of the author studying the geculan bocah dance performance at tanuwijoyo studio. tanuwijoyo studio is located in tanon hamlet, ngrawan village, getasan sub-district, semarang regency. based on information from trisno as the activator of folk art in ngrawan village, the performance of the geculan bocah dance is always eagerly awaited by the surrounding community (interview with trisno, february 14, 2018). as an awaited performance, there surely are unique or unusual reasons. simatupang states that if ‘the ordinary’ is understood as an everyday reality, the ‘unusual’ performance is an event that presents an everyday reality (simatupang, 2013). the basic concept of the geculan bocah dance is taken from the warok character with a fierce face and high kanuragan knowledge. the makeup and clothing of the geculan bocah dance adopts from warok’s make-up and clothing as in the reyog ponorogo show. warok comes from the word wewarah or pitutur (advice). in javanese speech, it is explained that ‘warok kuwi wong kang wis purna saka sakabehaning laku, lan wis menep ing rasa’, the meaning of warok is a person who is already perfect in his life behavior and is able to control his mind. it can be seen that the creative role of the actors represents warok figures. they present ‘something unusual’ about warok. warok in the minds of the general public is known as a figure of a man who is brave, fierce-faced and has a high kanuragan knowledge, apparently in this dance warok is played by children aged 4-12 years, so it is often called warok bocah/warok kreasi. the children’s movements that give the impression of being funny and adorable make the warok bocah dance also called the geculan bocah dance. from the origin of the word, geculan bocah comes from the word gecul in javanese which means funny and bocah which means children. the distinctive feature of the geculan bocah dance can be seen from the shape of the dancer’s puffed cheeks (mecucu), while widening his eyes full of expression as if he challenges anyone in front of him. performance is more exciting when the scene fights or challenges alternately. the fighting scene requires a good inspiration and improvisation from the dancers to support the success of a performance. the geculan bocah dance performance gives a space for the dancers to explore their creativity. many people think that a good dance work is only seen from who the choreographer is, not by whom and how the role of the dancers (farrer, 2014). therefore, in this article the writer discusses further about how the creativity role of children (the geculan bocah dancers) in a performance is. simatupang asserted that art is a counter presentation of general assumptions through the enchanting reality-creator that was compiled through the application of techniques outside of everyday techniques. the success or failure of the ideas offered by art is not only influenced by the logical or illogical ideas offered, but also influenced by the ability of the art media to evoke a charm effect (simatupang, 2016). the body is the most important expression media in dance, therefore the presence and creativity role of the body of the dancers is very important in supporting the success of a dance performance. research on dance performance as a creative space is based on several previous studies. giguere’s research entitled “dancing thoughts: an examination of children’s cognition and creative process in dance” proves that dance influences children’s cognitive development. the process of creating dance in groups can develop children’s cognitive abilities maximally (giguere, 2015). cognitive ability can be seen from its ability to combine concepts (generative processes), and till they dare to try to find new concepts (exploratory processes). the geculan bocah dance performance provides wider opportunities for children to develop their thinking skills, because a performance has gone through a series of multi-layered creative processes. starting from how the dance was created, how the dance was taught, until the dance was staged. lesa paranti, et al., the geculan bocah dance performance as a creative space for chil31 related research was also conducted by farrel entitled the creative dancer in 2014 which provided a reference to the creative role of dancers in the creation of dance work. this research is based on the assumption that the role of dancers is often overlooked in the creation of dance works, whereas good creative work between choreographers and dancers is the key to the success of a dance work (farrer, 2014). based on these references, there has been much discussion about the creative process in the creation of dance works (choreography), but writing is rarely found that discusses the phenomenon of dance performance as a creative space for children. method this study uses qualitative research methods through a phenomenological approach. phenomenology seeks to provide a description of human experience. it covers the entire range of human experience regarding science, technology, art, culture, which reveals how the phenomenon is a construct of humans (sutiyono, 2011). the phenomenological approach can see the opportunity to what extent the dancer’s creative role in the geculan bocah performance. the research location is in the tanuwijoyo studio, tanon hamlet, ngrawan village, getasan sub-district, semarang regency. tanon hamlet is located under the foot of mount telomoyo which is inhabited by 37 family heads. the data collection techniques used are interview, observation, and documentation. the interviews used are structured and unstructured interviews. the informants chosen included the chairman of pokdarwis (trisno), the leader of the art group (bardi), the dance coordinator (yon) and the dancer (tanu). observations were made by the researcher during the telomoyo 02 festival to observe the phenomenon of the geculan bocah dance performance which includes the process of preparation, performance, and after a performance. the documentation used includes the documentation of the researcher and research. the documentation is in the form of photos, videos, and electronic newspapers that contain the geculan bocah dance. the data validity was tested using triangulation techniques. there are three forms of triangulation according to sugiyono including source triangulation, method triangulation and theory triangulation (sugiyono, 2008). this research used source and method triangulation. data analysis techniques used miles and huberman model data analysis. data analysis includes data reduction, data presentation, and drawing conclusions. a conclusion can be drawn after triangulation in order to obtain valid data. result and discussion geculan bocah dancers the geculan bocah dancer consists of boys aged around 4-12 years. the dancers are in the age range from kindergarten to elementary school. based on the data, currently, there are 8 children who join to become the geculan bocah dancers, who 2 people still go to kindergarten and 6 people go to elementary school. this age is a golden period to hone creativity (chappell, 2007). in garis-garis besar program kegiatan belajar kanak-kanak 1994, it is stated that the development of creative power is an activity that aims to make children be creative, smooth, flexible and original, in speaking, thinking, and doing hand and body exercise as fine motor and gross motor exercises (rahmawati, 2010, p. 52). when being viewed from the characteristics of elementary school-age children, they like to play, actively move, do group activities, and like direct practice (burhaein, 2017). based on this, the energetic geculan bocah dance which is danced by the group is very suitable for the characteristics of the child. dance performances have the opportunity as a space to develop children’s creativity. according to yon as the dance coordinator, there are no special requirements to become a dancer, the main thing is the harmonia: journal of arts research and education 19 (1) (2019): 29-3632 willingness to practice (interview with yon, dated february 12, 2019). they have some basic skills possessed by a dancer. basic abilities that need to be possessed by a dancer consist of 3 things, namely wiraga, wirama and wirasa (haryono, 2012). wiraga means the ability to move the body in accordance with the intended dance motion, wirama means the ability to feel the accompaniment and adjust the motion to the accompaniment, wirasa means the ability to express dance movements. the geculan bocah dancers can possess these three abilities because they practice intently. the most junior dancer named tanu who aged 4 years old said that he was accustomed to watching the geculan bocah exercise since childhood (interview with tanu on 12 february 2019). since childhood, children are allowed to see dance performances that are held in the village and out of the village, so they are familiar with community art activities. “community support ranging from parents, community leaders, and the art supporters are very important. the majority of parents have been supporting their children in art activities. the value of education to introduce children to arts has been implanted since childhood by inviting their children to watch art performances”(paranti & putra, 2019) support from parents and the surrounding community towards children in carrying out artistic activities is important for the realization of high motivation. children become more enthusiastic about practicing and feel more confident. geculan bocah dance performance an event has gone through a series of multi-layered creative processes. it started from how the work an event has gone through a series of multi-layered creative processes. simatupang said that there are three characteristics of performance; 1) intent to perform; 2) presenting something unusual; 3) an event that brings the presenter’s intention to hold something unusual in the hope that the audience will experience something unusual (simatupang, 2013). even though the geculan bocah dance has been repeatedly held, there is always something ‘unusual’. this unusual thing is actually a gap for the presence of geculan bocah dance performers. an anthropologist called victor turner stated that ‘unusual’ events occur in rituals, social drama, or theatrical drama. borrowing and developing arnold van genne’’s opinion about the structure of the ceremony, turner discovered the structure of the ritual process into the stages of separation, liminal, and post-liminal. in the liminal phase, ‘unusual’ things occur in conventional everyday structures (turner, 1982, p. 24). ). in line with turner’s opinion, there is also a liminal phase in the performance of the geculan bocah dance. the liminal phase appears when child dancers start to play the role of warok. warok in the minds of the general public is known as a figure of a man who is brave, fierce and has high kanuragan knowledge. apparently, in this dance warok is played by children. the character of the geculan bocah dance movement is lively and energetic. the typical movement is mecucu while opening wide their eyes. this movement is rarely used by people in everyday life. this is in line with what was formulated by barba regarding an “extra daily technique” which became an allure in performances (simatupang, 2013). similarly, a.gell said that the technology built-in art aims to foster enchantment (gell, 2005). the geculan bocah dance is categorized in folk art which has the characteristics of: 1) simple movement patterns; 2) lots of repetition; 3) focusing on compactness/togetherness. the geculan bocah dance pattern can be said to be simple because there is not much variation. each range of motion can be done repeatedly. this is what makes this art able to last up to 30 minutes. if it is presented for tourism purposes, it can be cut to 15-20 minutes by minimizing repetition in each range of motion. the geculan bocah dance structure is generally divided into 3 parts: the beginning, the middle (core), and the final part. the beginning part contains various ways lesa paranti, et al., the geculan bocah dance performance as a creative space for chil33 of respect as a symbol of respect for the audience. the core section contains 12 types of motion and 1 type of connector. each range of motion is followed by a linking motion that serves as a marker of change from one variety to the next, namely the movement of kuda-kuda menthul. the final part is filled with respectful gestures and waving as a symbol of final respect for the audience. geculan bocah dance performance as a creative space for children arnold said that dance is a form of self-aesthetic expression in which creativity is needed (arnold, 1986). creativity is the ability to make new combinations based on data, information, or existing elements. people usually interpret creativity as creative power, the ability to create new things. in fact, what is created does not have to be anything new, but it is a combination of things that already existed before. creativity in general can be viewed from 4 things; in terms of products, processes, personal, and booster (soefandi & pramudya, 2009). in terms of products, creativity is defined as the ability to create new and different products. if in terms of the process, creativity is seen as a busy activity that is effective. being viewed from the personal side, creativity can be interpreted as the characteristics of creative personality in a person. then, in terms of booster, it means that creativity can be as a booster both in the form of internal and external. the geculan bocah dance performance is a creative product because it has gone through a series of creative processes from creation, training, to staging. performance is also a creative process because the performance requires the creative role of children as dancers. observations on the creative role of children can be seen through an analysis of the structure of the geculan bocah dance performance. the structure and creative role of the dancer can be seen in the table 1. based on the table 1, creative roles can be divided into 3 types, namely individual creativity, collaboration creativity and communal creativity (chappell, 2009). individual creativity is creativity that arises in everyone. collaborative creativity is creativity that arises due to the influence of friends in a group (dance partner) so as to foster ideas that are mutually agreed upon. as explained by luczink as follows: “they acknowledge that creativity takes place over time, and most of the creativity occurs while doing the work. working with the medium is also an essential part of creative process and the creators often get ideas while working with their materials. in this framework however, creativity happens purely in the mind of the creator who only interacts with the external world. on the other hand, a more sociocultural approach describes the conditions required for creativity at the level of culture, society or group showing the positive impact of diversity over group, trust and positive climate for experimentation” (łucznik, 2015). tabel 1. the structure of performance and the dancer creative role structure description dancer creative role the beginning contains a gesture of respect as a symbol of respect to the audience individual and collaborative creativity the core section contains a variety of motions such as trecet, nglayang, nggantung, adu, mendem, jingkrak, kiprah, perang gendhong, mlaku, gogok, njenthit, and gejlig mubeng. the motions of adu, mendem, jingkrak, kiprah, perang gendhong, mlaku, gogok, njenthit, and gejlig mubeng is improvised motions where dancers may develop motion in accordance with their creativity individual, collaborative, and communal creativity the end contains a gesture of respect and waving hands as a final tribute to the audience individual and collaborative creativity harmonia: journal of arts research and education 19 (1) (2019): 29-3634 creativity often arises when working together or socializing. the communal creativity is creativity that arises due to the influence of outside parties such as the family environment, the surrounding community environment, schools, and cultural environment. communal creativity in performance events also involves the audience in the performance. if it is related to the concept that folk art is an art that arises from the people, by the people, and for the people, then it is possible for the audience to be involved in the performance. ahead of the performance event, the children first go through the liminal phase, where this phase is a transition phase between the pre-performance phase towards the performance. at this stage, the children must prepare physically and mentally. the liminal phase is the starting point for children playing the role of warok bocah with a fierce but funny face. this is where the child’s imagination is needed. the liminal phase requires high imagination and concentration for dancers. they are no longer themselves but play the role of warok bocah. in order for children to be able to demonstrate and express warok, they have gone through the earliest stages of the creative process, namely imagination. janice besty (cited in rahmawati, 2010, p. 56) states that for children the imagination is the ability to respond or do the fantasy they make. most children under 7 years old do a lot of that. child specialists now know that imagination is one of the most effective things for developing intellectual abilities, social language, and especially children’s creativity. imagination can develop the power of thought and creativity, without being limited by everyday reality. he is free to think according to his experience and imagination. imagination will help the ability to think fluency, flexibility, and originality in children. dancers try to play the intended expression in the geculan bocah dance. expressions are collections of one’s experiences that are framed and articulated. the children imagined what a warok would look like through a senior dancer story (generative process) so that they would be able to express the warok character with a fierce face that was integrated into the geculan bocah dance motions. this is where the creativity of each individual appears. after going through the liminal phase, children enter the early part of the show. they exited the stage in a respectful gesture. this motion is a form of respect for the audience. motion and floor patterns are the results of agreements made when they practice. they try to compact one another. when the dancer enters the beginning of the show to the core, each movement of the motion range is marked by the linking motion of kuda-kuda menthul, making it easier for children to remember the order of the various motions. their memory regarding the sequence of movements and dancing position (floor pattern) is trying to be optimized. it is required the ability to follow the accompaniment of music and express through gestures and facial expressions. in addition, it is also needed cohesiveness/togetherness as a characteristic of folk art. it was a funny creation when junior dancers moved ahead of other friends’ movements and tried to readjust immediately. the audience laughed spontaneously because of their innocent facial expressions when they forgot, but tried to show cohesiveness and togetherness. in this section, children enter into the development of complex creativity (collaborative creativity). the number of dancers is managed to be an even number because in this dance there are scenes of fighting or challenges. the highlight of the geculan bocah dance core is fighting. fighting or challenge is an improvisational motion, where each pair alternately has a fight. when one couple collides, the other dancer sits in the back doing an improvised motion that intends to provide support to the dancers who compete. the improvisation of the dancers is also influenced by the atmosphere of the performance that was built by the audience. if the audience cheers and gives applause, then the children become more confident. the dancers must be fully aware of their role here. although outside the stage they have planned concepts, but the reality on the stage is often different from practicing. according to rahmawati, one of the efforts to develop children’s creativity is through imagination and exploration (rahmawati, 2010). the writer sees the different results of creativity in each child. there are children who are brave, energetic, and explore their characters well but some are still shy and tend to follow the movements of their friends. nevertheless, the writer considers that their creative process is more important than the outcome. it is in this process that their selfdevelopment occurs. the last part of the performance is filled with respectful walking. in this section, it appears to be individual and collaborative creativity. each dancer expressed her joy because the show was almost over. they give their greelesa paranti, et al., the geculan bocah dance performance as a creative space for chil35 tings with respect and gestures. although each dancer is free to express, but they are bound to the group agreement regarding the pattern of the floor into entering the stage. they collaborate to form a floor pattern arrangement that attracts the attention of the audience. after being involved in the performance of the geculan bocah dance, the children feel happy and proud because they can display the traditional arts that have been abandoned by many younger generations today. children feel that they have unusual experiences. every performance event has a story and there is good learning to be learned. the process that occurs in the geculan bocah dance performance can increase children’s creative power. the characteristics of creative children include: 1) have a desire to change things around them, 2) have sensitivity or responsiveness to something, 3) have a high curiosity (soefandi & pramudya, 2009). their parents felt a positive change after their children joined to become the geculan bocah dancers. according to trisno as the parent of one of the dancers, their children feel more confident to appear in front of many people, are more compact with friends, and dare to be creative (interview with trisno on 12 february 2019). they finally have the understanding and experience to condition themselves (physically and mentally) to really be ready to dance. their bodies are fully used as a medium to express the geculan bocah dance. the individual creativity of each dancer is different, but overall there is a development of creativity in each child. the collaborative and communal creativity also occurs simultaneously. here the role of dancers, trainers, and parents’ support is very influential in creating individual and communal creativity. the geculan bocah dance performance is a creative product, a creative space/process, and a booster for the development of children’s creativity. the geculan bocah dance performance can be said as a space to develop children’s creativity because: 1) performance opens opportunities for children to imagine because imagination is the first step of creativity; 2) the structure of the geculan bocah dance, especially the fighting scenes, requires creativity and a good appreciation for the dancers; 3) performances provide space for dancers to show their abilities as well as a place to express themselves. conclusion it is concluded that the geculan bocah dance performance is a creative product, a creative process, and encourages children’s creativity. it is seen as a creative product because performance has gone through a series of creative processes from creation, training, to performance, as a creative process because in a performance the dancer’s creative role appears, and as a motivator for children’s creativity, because after involving in performances children feel confident, have the courage to express their ideas, and are more sensitive to the environment. the creative role of dancers in the geculan bocah dance performance at the tanuwijoyo studio is going well because art performers have a high motivation to learn, even though they learn art by themselves but they have the ability to absorb and try to express the geculan bocah dance in accordance with their abilities. the creative role of dancers in the geculan bocah dance performance consists of 3 types, namely individual, communal, and collaborative creativity. it is undeniable that creativity based only on experience without knowledge can lead to chaos, that is, incompatibility with the grip and cultural background. the performers still need to explore the possibility of different motions to hone the body’s abilities and creativity. therefore, the writer suggests dancers increase appreciation, practice, and continue to maintain cohesiveness. references arnold, p. j. 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(2005). the technology of enchantment and the enchantment of technology. in j. coote & a. selton (eds.), anthropology, art and aesthetics. clarendon press. giguere, m. (2015). dance education action research: a twin study. research in dance education, 16(1), 16–32. https://doi.org/10.1080/14647893.2 014.971231 haryono, s. (2012). konsep dasar bagi seorang penari. greget, 11(1). łucznik, k. (2015). between minds and bodies: some insights about creativity from dance improvisation. technoetic arts, 13(3), 301–308. https://doi. org/10.1386/tear.13.3.301_1 paranti, l., & putra, b. h. (2019). conservation of folk dance in the era of cultural tourism. 276(iconarc 2018), 65–69. https://doi.org/10.2991/iconarc-18.2019.70 rahmawati, y. e. r. (2010). strategi pengembangan kreativitas pada anak usia taman kanak-kanak. kencana prenada media grup. https:// books.google.co.id/books?hl=en& lr=&id=nwrbdwaaqbaj&oi=fn d&pg=pr7&dq=daya+kreatif+ana k&ots=cmrxvxrtax&sig=qx3risf chhn7pq4ayfkguigp0vs&redir_ esc=y#v=onepage&q=daya kreatif anak&f=false simatupang, l. (2013). pergelaran : sebuah mozaik penelitian seni-budaya. jalasutra. simatupang, l. (2016). dari cerita si kancil hingga wayang kancil : lapislapis kreativitas. in a. h. bin husain (ed.), prosiding seminar antar bangsa (pp. 21–28). soefandi, i., & pramudya, s. a. (2009). strategi mengembangkan potensi kecerdasan anak. bee media indonesia. sugiyono. (2008). metode penelitian pendidikan: (pendekatan kuantitatif, kualitatif dan r & d). alfabeta. https:// books .google .co . id/books?id=0xmcnqaacaaj&dq=sugiyono &hl=id&sa=x&ved=0ahukewizjsb -o5neahveu48kheypdioq6aeijz aa sutiyono. (2011). fenomenologi seni. insan persada. turner, v. (1982). from ritual to theatre : the human seriousness of play. paj publications. 97 tayub as a symbolic interaction medium in sedekah bumi ritual in pati regency sisca dwi suryani state junior high school of jaken pati, indonesia e-mail: chaca_24cute@yahoo.co.id received: august 13, 2014. revised: october 5, 2014. accepted: november 22, 2014 abstract this study aims to find, understand, and describe the process of symbolic interaction in sedekah bumi ritual and the supporting symbols of tayub as the symbolic interaction medium in the ritual. this study applies qualitative methods with the holistic approach. the research was conducted in dukuh guyangan, sidoluhur village, jaken, pati regency. in collecting the data, observation, interview, and documentation technique were implemented. further, the data were analyzed using the technique of data reduction, data presentation, drawing conclusion, as well as verification. the data was validated using the sources triangulation, the technique triangulation, and the time triangulation. tayub as the medium of symbolic interaction realizes in four interaction processes, as follows: 1) symbolic interaction processes between the ritual actors and the spirits of ancestors reflected in kenduren procession held in punden, 2) symbolic interaction process between ledhek and pengibing that is embodied in ibingan, 3) symbolic interaction process between wiraswara and the audiences that is seen during the dance performance, 4) symbolic interaction process between pengrawit and ledhek that is reflected in the dance movements and the accompanying music. the meanings of symbol behind the ritual itself are reflected through the realization of symbolic interaction. it consists of three elements, as follows: 1) kenduren prayer, 2) offerings and ambeng, 3) tayub dance. keywords: sedekah bumi; symbolic interaction; tayub how to cite: suryani, s. (2014). tayub as a symbolic interaction medium in sedekah bumi ritual in pati regency. harmonia: journal of arts research and education, 14(2), 97-106. doi:http://dx.doi.org/10.15294/harmonia.v14i2.3291 harmonia : journal of arts research and education 14 (2) (2014), 97-106 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v14i2.3291 p-issn 1411-5115 e-issn 2355-3820 as in wedding ceremony. tayub dance is performed in both occasions since it is believed that the dance can magically affect fertility. tayub dance as a symbolic interaction medium in the ritual tradition sedekah bumi creates the realization of symbolic interaction process between ritual actors and the ancestors and also between dancers and the audiences. the meaningful symbols illustrated in sedekah bumi ritual cause the symbolic interaction among the society in dukuh guyangan, desa sidoluhur, kecamatan jaken, kabupaten pati. people are always related to symintroduction historically, tayub dance came from an ancient kingdom. it was actually a part of religious ceremony which aimed to invoke for safety and as an expression of gratitude. tayub comes from javanese words, ‘tata’ which means well-ordered and ‘guyub’ means unity or harmonious. thus, tayub means a form of dance which is well-ordered so that it creates harmony or unity (herawati, 2009, p. 41). according to hadi (2003, p. 101), tayub is still often performed in populist ceremony namely sedekah bumi as well harmonia : journal of arts research and education 14 (2) (2014): 97-10698 bols. these symbols reflect to the phenomenon that occurs every day in human life. people are animal symbolism. it means that the symbolic thoughts and behaviors are characteristics that naturally had by human; and all developments occur in life are closely related to those conditions (endraswara, 2003, p. 171-172). symbolism in javanese culture society is considerably important because they use symbols in everyday life. this habit comprises the interaction between societies as the ritual actors and their ancestors. the interaction is symbolized by providing offerings placed in a special spot named punden as well as by holding a special performance in punden on certain days. human identity is formed and revealed in her expression. symbol is a means of communication for humans, especially in the religious world. religious fact itself by nature is already symbolic. because of that, eliade asserts that the symbol is a way of introduction that is typically religious by nature (suraji, 2006, p. 67). javanese symbolic actions are divided into three types, there are: (1) the symbolic act of religion which includes safety events, important events (death, birth, and bersih desa), giving offerings to a sacred object, (2) the symbolic action in traditions such as wedding ceremonies, ngabekten, or sungkeman for javanese society in eid fitr; and (3) the symbolic act in arts (herusatoto, 2001, p. 88). in other words, symbolic forms are categorized into three kinds of action, namely: 1) the symbolic act of religion, 2) the symbolic act of tradition, and 3) the symbolic act in the arts. the main concern in the theory of symbolic interaction is the dynamics of face to face interaction, the close interdependence between the individual’s self-concept and the experiences of a small group, negotiations on shared norms and roles of individuals, as well as other processes that covers individuals and patterns of interaction on a small scale (johnson, 1990, p. 4-5). the most fundamental propositions of symbolic interaction are: human behavior and interaction that can be distinguished since they are shown through symbols and their meanings. finding meaning behind the sensual becomes important in symbolic interaction (muhadjir, 2000, p. 183). there are three core of symbolic interactionism. first, people act against something by meaning owned by something (sunarto, 2000, p. 36). symbolic interaction from george theory places three basics of human activities in socializing, namely: (1) the characteristics of individual, (2) interaction, and (3) interpretation. the substance contains: (1) human life is surrounded by symbols, they respond to life with symbols as well, (2) through the symbols, human has the ability to stimulate others different ways, (3) through the communication of symbols, meanings and values can be learnt, and in addition to it, we can also learn the actions of others, (4) symbols, meanings and values are always related to human, then, they are used by human to think as a whole and even in a broader and more complex scope, and (5) thinking is an action of search, it is likely to be symbolic and useful to learn and predict the future things, interpret advantages and relative disadvantages based on individual judgment, in order to make a choice (kusumastuti, 2006, p. 185). based on the description of symbolic interaction above, it is concluded that symbolic interaction occurs between individuals from the process of socializing. it is continued to the activity of conveying something symbolically, and in the end to express meaning through the existing symbols. tayub dance as a medium of symbolic interaction in the ritual tradition sedekah bumi is a form of ritual. soedarsono (1998, p. 57) says that the ritual function is not only related to the important events of life, such as birth, pangur, first haircut, baby’s first step, circumcision, marriage, and death. performance to support the society’s ritual ceremony symbolizes the relationship between people and god. so that, people more concerned for the purpose of the ritual rather than in the form sisca dwi suryani, tayub as a symbolic interaction medium in sedekah bumi ritual in pati re99 of the arts. the ceremony is considered as important events. according to koentjaraningrat (2000, p. 377-378), there are four important aspects in holding ceremonies: (1) the place where a ceremony is held, (2) the time when a ceremony is held, (3) tools and equipments which are used in ceremonies, and (4) people who lead the ceremony. ceremony is the unitary series of sharing form and communicating the elements among people with the spirits of nature and the spirits of ancestors. ritual ceremony can be identified into twelve elements. there are: serving, sacrificing, eating food that has been given a prayer together, dancing sacred dances, singing sacred songs, playing sacred drama, fasting, intoxicating or obscuring thoughts by taking anesthetic medication to make themselves drunk (koentjaraningrat, 2000, p. 378). basically, traditional ceremony is an attempt to be closer to god or ancestors through supernatural power that are considered to exist around them in order to maintain safety and welfare to live together in a society. sedekah bumi ritual as is done in dukuh guyangan (a small village), sidoluhur village, is still constantly preserved by the society as an expression of gratitude to allah swt. sedekah bumi is one of the traditional rituals of society in java, which has lasted for generations. this tradition is held once a year in order to maintain harmonious relationships between individuals with their ancestors or with nature. javanese society develops the tradition of slametan (javanese grateful ceremony), visiting grave yard and visiting other sacred places. this is due to the belief of the society towards the existence of spirit. it is believed that the person who has died has a magical power to help the living generations. therefore, in order to respect for the given help, people keep worshipping the spirit of their ancestors (koentjaraningrat, 1984). at the sedekah bumi ceremony, usually, the entire society cook a special dish called tumpeng and come together to the house of a village elder or to the village halls or other places that have been agreed by the entire local society to hold this ritual. the elders will give a prayer to the tumpeng. after the praying session is ended, societies are allowed to eat the tumpeng together, or bring the tumpeng back to their house to be eaten by their entire family. method the method used in this study is qualitative method with a holistic approach. this is a type of qualitative research that will be resulted in descriptive data both in the form of written or spoken words. in this approach, the observed people or behaviors are directed to the background and individuals as a whole (holistic). data collection techniques conducted by researchers consist of observation, interviews, documentation. data validation technique used is sources triangulation technique. data will be analyzed using adshead et al. (cited from murgiyanto, 2002, p. 9-10) which divides the analysis process into four stages: (1) recognizing and describing the components, (2) understanding the relationship between components, (3) doing interpretation based on the socio-cultural concept and background, context of the performance, styles and genres, themes, as well as the concepts of specific interpretation, and (4) evaluating. results and discussion sedekah bumi ritual tradition in dukuh guyangan people in dukuh guyangan are mostly farmers. they cannot be separated from javanese culture and tradition. they are preserving and regularly doing the existing tradition in every farming activity. several examples of traditions that are culturally preserved are sedekah bumi (being grateful for the fertile soil) and miwiti (being grateful for the first harvest). those traditions are still conducted by the society as a means of preserving and maintaining their ancestors’ heritage. harmonia : journal of arts research and education 14 (2) (2014): 97-106100 the procession of sedekah bumi ritual tradition sedekah bumi ritual is held once in a year. it is always held on friday legi (legi is one of the day in javanese calendar). the procession is begun by reciting istighosah (big praying). when the research was conducted earlier this year, istighosah was held on thursday evening, june 5, 2014, in the house of the head of sidoluhur village. everybody was gathered at the house while the event itself was led by a kyai (a person who has considerably more knowledge about islam). the kyai also gave the audiences a short lecture about islam. in addition to that, teenagers of the village also played a special music instruments called rebana during the break time. the societies who gathered at the house were listening to the lecture solemnly as they respected the event, although, several jokes were also given by the kyai (islamic leader) in order to break the ice and entertain the audiences. on friday legi, around 10 a.m., the head of sidoluhur village prepared all offerings and ambeng to do kenduren. offerings prepared in the ritual consisted of: a bunch of bananas, chicken eggs, chilies, rice, trasi, incense, cikalan, brown sugar, gereh (salted fish), mboreh (name of a flower), kendhi, cigarettes, combs, money, and merang. as for ambeng, it consists of sego bucu, bumbon, ingkung, traditional snacks, such as dumbeg, gemblong, tape, bugis. the offerings and ambeng were placed in dundang (basket) then were stretchered together by villagers to the punden (a special staircase used in ritual ceremony). both the offerings and ambeng are important requirements for doing the sedekah bumi ritual. it symbolizes the ritual that is created as a means of achieving the purpose of guyangan society. this also symbolizes the interaction between the ritual actors and their ancestors through the ritual offerings and ambeng with danyang in order to ask for blessing from god and their ancestors. the event which was firstly held in ritual was kenduren, starting at 10.30 to 11.00 in punden mbah ro and later in punden wit ringin. kenduren was led by a muezzin as the initial part of the ritual procession. it was a series of prayers to allah swt, thanking for his grace and asking for safety and welfare of the society. the main event was held in the afternoon in punden wit ringin by presenting tayub dance in dukuh guyangan. it was started at 12.30 to 16.30. the ritual was started by gepyak which was presenting gendhing manyar sewu. especially in performing klonengan gendhing manyar sewu, it has been done for the last six years, starting from 2009 to 2014. at 13.00 am, tayub dance was performed. ledhek (the dancers) began to perform on stage that was placed in kloso (a special mat made by bamboos) in front of punden. gambyong tayuban was performed to show the skill of the dancers to the audiences. in addition to demonstrating their skills in dancing, they also sang several javanese gendhing. there were two types of ledhek performances but belonged to the same dance performance, namely gambyongan. the opening gambyongan tayuban was danced by three dancers that were belonged to cipto laras, a karawitan group. the next part was ibingan. in this part, the dancers were dancing with three men while also singing certain gendhing. the next event symbolized respect for the head of the village by asking the head to dance together with the ledhek. however, because the head of the village was a woman, her role was replaced by one of her worker. the performance was ended around 16.30 p.m. religious component in sedekah bumi ritual tradition there are several components needed to complete the ritual ceremony: a place to do the ceremony, the time, the ceremonial equipment, the ritual actors. in this study, the ritual ceremony was held in dukuh guyangan, in both punden mbah ro and punden wit ringin on friday legi, june 6, 2014. sisca dwi suryani, tayub as a symbolic interaction medium in sedekah bumi ritual in pati re-101 bolized in the offerings and ambeng that was created to bring the spirits of ancestors to communicate with the ritual actors. kemenyan (incense) and merang are media that are used to interact with the ancestors’ spirits. incense and merang need to be burnt first in order to send the scent into the spirit of the ancestors. besides the incense and merang, other offerings also need to be burnt, there are: a bunch of bananas, chicken eggs, chilies, rice, trasi, cikalan, brown sugar, gereh (salted fish), mboreh (name of a flower), kendhi, cigarettes, combs, and money. there are meanings symbolized in every single offering prepared in sedekah bumi. a bunch of banana symbolizes harmony or unity of the people in dukuh guyangan to be together praying to god as a form of gratitude for the harvest. chicken egg symbolizes unity (one), togetherness (round) and as a seed, it symbolizes a beginning of the future generations. a spicy chili symbolizes courage to organize the future life. rice symbolizes the daily basic food eaten by dukuh guyangan society. they hope by serving rice, their daily need will be is always fulfilled. cikalan (a coconut) symbolizes the civilized future generations of dukuh guyangan. brown sugar symbolizes the sweetness of life in dukuh guyangan in the future. gereh symbolizes the side dishes that are served with rice. mboreh flower symbolizes fragrant flowers that are used to invite the spirit of ancestors or danyang to come to the ritual. kendhi (a water jug which is made of clay) symbolizes a life that can give another life, meaning that we have to help each other in life. comb symbolizes tool for styling the hair. money symbolizes tool that is used in every sale and purchase. besides offering is the presence of ambeng in the ritual ceremony. ambeng consists of sego bucu, bumbon, ingkung, and snacks such as dumbeg, gemblong, tape, bugis. gemblong is a food made from glutinous rice as the basic ingredients, mixed with grated coconut and wrapped in banana leaves. dumbeg is food made from several ingredients, such as: rice flour, granulated as for the ceremonial equipment aspect, this ceremony is equipped with offerings and ambeng. the offerings consisted of: a bunch of bananas, chicken eggs, chilies, rice, trasi, incense, cikalan, brown sugar, gereh (salted fish), mboreh (name of a flower), kendhi, cigarettes, combs, money, and merang. as for the ambeng, it consists of sego bucu, bumbon, ingkung, traditional snacks, such as dumbeg, gemblong, tape, bugis. the offerings and ambeng were placed in dundang (basket) then were stretchered together by villagers to the punden mbah ro and punden wit ringin. ritual actors in this ceremony are mbah sukemi, the muezzin of dukuh guyangan, mrs. pariyem, the head of the village, and samiun who was assigned to assist the muezzin. tayub dance as the symbolic interaction medium the origin of tayub in the ritual tradition sedekah bumi tayub has been performed in this ritual ceremony for a long time according to the tradition that is inherited by the ancestors. according to the community leaders and head of the village, tayub is performed in sedekah desa in order to avoid dangerous disasters. another reason is because tayub is one of the favorite dances of the danyang (the spirits) in that village. it is believed that the spirits receive the offerings through tayub dance as the medium. here, tayub has double functions. first, it is functionalized as the ritual medium. second, it is used as an entertainment medium for the society in dukuh guyangan. symbolic interaction process between ritual actors and the ancestors the symbolic interaction process in the offerings the symbolic interaction process is also illustrated in the set of offerings used in sedekah bumi. symbolic interaction symharmonia : journal of arts research and education 14 (2) (2014): 97-106102 sugar, brown sugar, it is wrapped in young coconut leaf that has been folded as a cone. tape is food made from glutinous rice that has been mixed with yeast and wrapped in banana leaves. it has to be left for a few days before it is served. bugis is food made from glutinous rice paste and mixed with coconut milk, salt and filled with nuts or grated coconut, brown sugar, granulated sugar, shaped like a small ball and wrapped in banana leaves. ambeng and offerings are used as a symbol to interact with the spirits of the ancestor or danyang upon the kenduren ritual. this is a means of achieving the purpose of ritual ceremony and as an offering to the spirits. it is important to be done so that the society may obtain a blessing. procession of kenduren symbolic interaction is also seen when head of the village burns merang (the dried rice plant’s stem). then, muezzin leads the procession by reciting prayer in islam, witnessed by the village head, village elders, and dukuh guyangan society. they pray with the palms of their hands lifted, solemnly following the lead from the muezzin. once the prayer is finished, people take the ambeng-ambeng served at the event. it is believed that ambeng-ambeng will bring safety, welfare and prosperity to them. through offerings and ambeng as a media to invite the spirits of ancestor, interaction appears to be exist between the ritual actors and the spirits. by reciting prayers, it is believed that the ancestors are pleased and willing to pray for the welfare of the society. this is the process of symbolic interaction illustrated in kenduren as one of the ritual procession in the ceremony. although interaction appears to be between the society and the spirits of their ancestors, however, they devote the prayers to their god. the opening procession of tayub dance the opening procession of tayub dance is not giving much attention to the technique and beauty of the movements, but more to expression illustrated from the movements. this dance lasts for approximately six minutes with gendhing beksan pareanom as the accompanying music. before dancing gambyong tayuban, master of ceremony invites the dancers by saying “monggo poro kadang sutrisno kito sesarengan ningali gambyongan rumiyin, monggo mbakyu sing ayu-ayu kulo sumanggakaken” (let us see the dance together. for the dancers, the time is yours). after that, the dancers stand and start to dance gambyongan tayuban with one dancer sings javanese gendhing. tayub dance begins when the invitees (the village board) are invited to join the dancers. it is started by symbolically giving sampur (a piece of cloth used by the dancers to dance) to the invitees. after that, the dance is started with the local music or tembang irama tayub used as the music accompaniment. gambyong tayuban dance performed in the opening procession of tayub dance is also one of symbolic interaction between the societies to the spirits. it is hoped that by presenting the dance, the spirits will be pleased. meanwhile, the societies are also amused by the dance and feel relief knowing that they can honor their ancestors by pleasing them with the dance. the symbolic interaction process between the dance ritual stakeholders (dancers, musicians, master of ceremony) and the audiences the symbolic interaction process between the dancers with the audiences as it has been said earlier before, in tayub dances, we usually call the dancers as ledhek, the audiences as pengibing, and the master of ceremony as wiraswara. a symbolic interaction also occurs when the dancers have an opportunity to invite some of the audiences to dance. it is performed in punden, under a big tree where all audiences are gathered and stand in a circle. the symbolic interaction occurs when wiraswara invites several audiences sisca dwi suryani, tayub as a symbolic interaction medium in sedekah bumi ritual in pati re-103 to dance with the ledhek. audiences who want to dance need to queue. besides dancing, they also can request a song to be sung by the ledhek. symbolic interaction also occurs in ledhek and audiences’ performance. pengibing and ledhek are symbolized through the dance movements which is in a form of paired-dancing based on the music accompanied it. the accompanying music that is used usually gendhing asmarandana, palaran, and dhandanggula. besides, the interaction is also symbolized by the process of giving the dance cloth from the ledhek to the audiences, and from the audiences to the ledhek when they have finished the dance. direct interaction was also seen shortly before the audiences perform on stage. ledhek who has known the audiences, call the audiences and ask them to dance by calling their names, for example, “kamto, iki lho sampure!” (“kamto, this is the sampur!”). it means they ask a man named kamto to dance with them. the interaction also attracts the other audiences to see the performance. in mengibing scene, when the dancers are dancing with the audiences, the position of main pengibing is face to face with the ledhek, while pengguyub are behind the ledhek. after that, ledhek, pengibing, and pengguyub move their bodies to the right side clockwise. one round consists of two rambahan. every rambahan has two gandhian that is played. in total, there are four gendhing in one round. in each rambahan, the pengibing moves around the ledhek 180 degrees. ledhek is following the move by moving their body 180 degrees. thus, pengibing and ledhek who were firstly standing face to face will stay to stand face to face in the end of the dance. ibingan is part of tayub dance when the ledhek is dancing with men audiences. symbolic interaction is shown when ledhek hands sampur to the audiences accompanied by pengguyub. the appearance of the man along with ledhek. symbolic interaction between ledhek and pengibing is also shown through smiles and applause. this is symbolic interaction contained in ibingan, there are ledhek and pengibing. ledhek and pengibing are the symbol of ritual that contain meaning and value. the symbolic interaction process between pengrawit (instrumentalist) and ledhek symbolic interaction also occurs between pengrawit with the ledhek at the time of the performance. the interactions occur through the presence of music accompanying the dance and tembang-tembang that would be sung by ledhek. before the main performance begins, usually instrumentalists play klonengan gendhing manyarsewu or could be called as gepyak session. this is the session when the instrumentalists play gendhing-gendhing jawa. it aims to invite the villagers to gather to watch the show, entertain the audiences, and also as a diversion while waiting for the dancers to finish their make up. gendhing-gendhing jawa that are usually played are dhandanggula, asmaradhono, pangkur, palaran, and sinom. whereas gendhing played in klonengan gendhing is manyarsewu. all of tone in tayub is begun with laras slendro. symbolic interaction is also presented when ledhek sings gendhing-gendhing jawa. thus, interaction between ledhek and pengrawit is shown through the music. pengrawit have their own way to tell ledhek when they should sing. it is usually marked by kendang beats. when singing, ledhek is unconsciously communicate with pengrawit through the symbol of music. the symbolic interaction process between wiraswara (master of ceremony) and the audiences symbolic interaction is seen from gendhing-gendhing that were requested by the audiences. here, the requested gendhing is the symbol that can be heard and has meaning. for example, one of the audience asked gendhing kinanti to be sung, the lyric is as follows: “nulada laku utama, tumrape wong tanah harmonia : journal of arts research and education 14 (2) (2014): 97-106104 jawi, priyagung ing ngeksiganda, panembahan senopati, kepati amarsudi, sudane hawa lan nepsu, pinesu tapa brata, tanapi in siyang ratri, amamangun karenak tyasing sesame.” direct interaction was also seen when the wiraswara took a note and called every audience who are asked to dance. another interaction occurred when the wiraswara took a note every song that is requested by the audiences. as for example, ari, one of the audiences shouted aloud to the master of ceremony, “cong… cong… kembangrawe chs cong…” (hi, i request kembangrawe from chs). the master of ceremony then announce that the next song is kembangrawe . the explanation above illustrates the symbolic interaction between audiences and the master of ceremony. the sequence of events led by the master of ceremony indicates the smoothness of life that occurred in dukuh guyangan, namely keguyub rukunan (harmony) and peace. in general, it symbolizes harmony as illustrated by ledhek and the audiences who were dancing together. symbols that support tayub as the symbolic interaction medium in the tradition sedekah bumi tayub dance performance has meanings that are illustrated in symbols. it supports the performance of tayub as a means of symbolic interaction to honor the village ancestors. tayub dance becomes the main event in the ritual tradition sedekah bumi. meanings and values contained by the dance are part of symbolic interaction in the ritual tradition. these symbols are contained in kenduren prayer, ambeng and offerings, as well as in the tayub dance itself. kenduren prayer part of ritual ceremony sedekah bumi that is called kenduren, is actually an activity of praying together in punden or other sacred places. while praying, they use the offerings and ambeng that has been prepared before as the media that symbolizes their wishes. essentially, kenduren prayer that is recited by the muezzin aims to ask for safety and fortune to people in dukuh guyangan. through the muezzin who lead the prayer as well as offerings and ambeng as the communication symbol or interaction between the ritual actors and the spirits of ancestor, people in dukuh guyangan believe that the spirits will give their blessing. ambeng and offering offerings are an important requirement for the ritual, as a means of asking for safety of life. offerings in sedekah bumi consist of: a bunch of bananas, chicken eggs, chilies, rice, trasi, incense, cikalan, brown sugar, gereh (salted fish), mboreh (name of a flower), kendhi, cigarettes, combs, money, and merang. this offering is a symbol dedicated to the ancestors. ancestors who are pleased with the offerings will give safety and blessing to the society. offerings are placed in a sacred place which is called punden. a bunch of bananas symbolizes people in dukuh guyangan that will always be united and live in peace. besides, white rope in the offering symbolizes people in dukuh guyangan who will help each other to solve their problems. in addition to the offering is ambeng. ambeng is a variety of food served to the spirits. it consists of dumbeg, gemblong, tape, and bugis. it symbolizes that people in dukuh guyangan have the same purpose of life. together, they want their ancestors to bless their life. tayub dance the movement of gambyong tayuban is basically taken from gambyong dance, while for ibingan, it uses free-style movement that is following the accompanying music. tayub dance movements are actually unstructured. it doesn’t have any fixed movements yet. this because tayub is a kind of free-style dances that is done by the dancers spontaneously by doing several improvisations. sisca dwi suryani, tayub as a symbolic interaction medium in sedekah bumi ritual in pati re-105 tayub as a populist dance has a nature of spontaneous, rough, and very simple movements. this is the reason behind the free-style movements done by pengibing. movements in tayub are mostly improvisation results. the nature is spontaneous. especially when the dancers are dancing with the audiences, the free-style movements symbolize the overflowing of happiness. tayub dance emphasizes the movements on certain parts of body to make it beautiful to be seen. hip movement is frequently done in tayub since it may arouse the sexual desire of the audiences. thus, symbolic interaction occurs. ledhek who are pretty and dressed in beautiful costumes attract the audiences. besides, a dazzling smile, beautiful body, and melodious voice also have its own charm to attract people to see them. tayub dance is performed in the ritual tradition sedekah bumi has its own special meaning. people in that village believe that by performing this dance, the spirits of their ancestor will be happy so that there will be no obstacles during the procession of the ritual. conclusion the symbolic interactions in tayub dance performance in sedekah bumi ritual are reflected through four interaction processes. among them are: 1) symbolic interaction process between the ritual actors and the spirits of ancestors reflected in kenduren procession held in punden, 2) symbolic interaction process between ledhek and pengibing that is embodied in ibingan, 3) symbolic interaction process between wiraswara and the audiences that is seen during the dance performance, 4) symbolic interaction process between pengrawit and ledhek that is reflected in the dance movements and the accompanying music. the meanings of symbols behind the ritual it is reflected through the realization of symbolic interaction. it consists of three elements, as follows: 1) kenduren prayer, 2) offerings and ambeng, 3) tayub dance. references andaya, b. w. 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(2013). ronggeng: cultural artifact and its representation in indonesian’s fiction. leksika: journal of language, literature, and language teaching, 7(1), 40-49. 115 kidung: myth of welfare for kuthuk people in kudus regency hafid zuhdan bahtiar post graduate program of indonesia institute of art, yogyakarta, indonesia jl. parangtritis km. 6.5, sewon, bantul, daerah istimewa yogyakarta 55188, indonesia e-mail: hafidzbahtiarz@gmail.co.id received: october 2014. revised: november 2014. accepted: november 2014 abstract the study is to describe the art of kidung in kuthuk village blora regency. this study used qualitative method with structural functional theory approach. data in the form of the song, especially the lyrics and other data were used for primary data sources in addition to interviewing and observation. data were analyzed qualitatively with structural and functional theory and anthropological approach developed by malinowski. the result shows that the people of the village embracing many beliefs, have an art tradition of puputan ritual. in javanese culture, this ritual is done at the time of released cloth wrapping the baby’s navel. kidung, an expression of the people when request welfare to god, reflects the acculturation between islamic and non-religious beliefs, which characterize the people of those two cities that exist around kuthuk village. keywords: kidung; myth; puputan; saminism; welfare how to cite: bahtiar, h. (2014). kidung: myth of welfare for kuthuk people in kudus regency. harmonia: journal of arts research and education, 14(2), 115-122. doi:http://dx.doi.org/10.15294/harmonia.v14i2.3297 harmonia : journal of arts research and education 14 (2) (2014), 115-122 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v14i2.3290 p-issn 1411-5115 e-issn 2355-3820 a comparison of the number of people who convert to islam, christian, catholic, hindu, and buddha are quite balanced. in addition to these religions, there are also communities that embrace the doctrine of saminisme. samin community has special characteristics that become their identity in everyday appearance which is different from the surrounding community. it shows the character and identity of their equipment in accordance with the teachings of saminisme which they maintained from time to time neighbors rutama older generation. they feel the truth and strong beliefs against the teachings of samin surosentiko as a way of life that is very useful. attitude and actions of people samin always followed by concrete evidence and consequently corresponds to the accepted teachings (lestari, 2013, p. 74-86). accorintroduction kuthuk is a village located in the western part of kudus. the village is bordered with sukolilo, an area belonging to the regency of pati. as one of the cities in central java, kudus is known as the characteristics of the religious people. the existence of two tombs of sunan that reputedly had the power to conduct rituals of islam and to overtake the hindu power that had previously existed, becomes one of the historical evidences. by contrast, pati as a regency bordered by kudus, based on the history is inhabited by the community better known as abangan. the existence of the village of kuthuk which lies between two such different community characteristics, causes the people have diverse religions or beliefs. harmonia : journal of arts research and education 14 (2) (2014): 115-122116 ding lestari research, social interaction between samin community with surrounding communities is affected by various factors, namely the social situation, power group norms, personal goals, status and condition of the individual as well as the interpretation of the situation. according to one of the residents, the concept of saminisme is madep and mantep. the adherent of saminist titled ‘wong samin’ or ‘wong sikep’ which means ‘a person of samin’ or ‘a person of sikep’. sikep also mean honestly, it means they recognize that the human task in life is to live sikep (married/having sex) and also run tatane wong (creating descendants) (idhom, 2009, p. 45). seeing the background of the kuthuk community with their diversity of beliefs and religions has any implications to the diversity of art that develops in the village, one of which is the art of kidung. it is often referred to an artistic traditions puputan; that is a tradition done at the time of released cloth wrapping the baby’s navel. one kidung often sung by the java is “song of rumekso ing wengi” which is the work of sunan kalijaga. the song is often performed at traditional and religious sacred performances including puputan. the main temple of the kidung very known for containing tolak bala spell, while the next stanza of eight rarely sung because it was considered too long. it’s reminiscent of human behavior in order to draw closer to god almighty, than avoid the plagues and catastrophes more powerful. thus we are required to always dutiful, faithful and pious to god almighty. the kidung is a means of preaching in the form a popular tembang (javanese song) and become “kidung wingit” because it is believed to bring good luck like magic spells. the preaching was assembled into a metered dhandanggula tembang contains nine stanzas and as if until now. rural people are still many who memorized and practiced this kidung poem. as a means of preaching to children, the advice in the form a more lasting and durable tembang in memory. after the death of sunan kalijaga, this kidung belongs to the people, those who read and practice as prayer . kidung is prayer, and in the prayer one must be sure what language to use it (understand spoken), certainly with high confidence, and understand the meaning of prayer is used. thus, here sunan kalijaga create mantra prayer with javanese language because the javanese language prayer will easily understand and believed if the language understandable (chodjim, 2003, p. 23). sunan kalijaga is known as the guardian that combines javanese culture with the value of islam to spread the religion of islam (sofwan, 2000, p. 2). based on that, this article will describe the uniqueness of the art of kidung which becomes one evidence of the existence of arts in kuthuk village, which provides a large range of beliefs and religions. the study is done in the perspective of structural functionalism theory. method as outlined in the previous section, the art of kidung was examined using the structural functional theory from brownislaw malinowski. therefore, this section will describe the biography and theory in question. biography of malinowski malinowski was born in kraków, austria-hungary (now poland) in an upper-middle economic family. his father was a professor and his mother was the daughter of a landlord’s family. in his childhood, he was often sick and weak, but he was academically smart. he received his doctorate from the jagiellonian university in 1908, with a concentration of mathematics and physics. after that, he continued his study at the university of leipzig for two years where he began thinking of wilhem wundt influence through his theory of folk psychology. in addition to the sciences, malinowski also steeped in the science of anthropology. therefore, he decided to sail to the united kingdom to study at the hafid zuhdan bahtiar, kidung: myth of welfare for kuthuk people in kudus regency 117 london school of economics in 1910. at that time, james frazer and several other british writers known as best anthropologists inspired him. in 1914 he travelled to papua (now papua new guinea) conducted a re search in mailo area, one of the trobriand islands. he also ran into problems when conducted such research. the outbreak of the first world war at that time, made him detained as a polish who was in the territory of the united kingdom and not allowed to leave the area. only after some time, he decided to study the indigenous tribes of trobrianders and stayed with their community until finally, he could master their language, made friendship with the residents, and even rumored to have a love affair with a native woman. in that period, he began to do research in kula and produced a theory of participant observation which becomes one key to the current anthropology methodologies. deserved to recognize that war and malinowski’s living in isolation made a theory born; the theory which later widely influences the modern anthropology. in 1922 malinowski earned a doctorate in anthropology and began to teach at the london school of economics. in that year his book ‘argonauts of the western pacific’ were also published. the book was widely regarded as a masterpiece so malinowski became one of best anthropologists ever. during the next three decades, malinowski brought the london school of economics (lse) became the best anthropology learning center in the united kingdom. he taught a lot of people, including the students from the colonies of the united kingdom which later became important figures in their countries. he also taught at yale university, united states until his death in 1942. theory of function in the context of the theory of function, malinowski developed a theory about the function of the cultural elements that are very complicated. the core of this theory states that all cultural activities are basically intended to satisfy various needs of human instincts that are related to his whole life. therefore, in order to understand what a culture is, malinowski emphasized the importance of research on the relationship between various social aspects in society. malinowski argued there are three fundamental levels of needs in a given culture. this includes three levels: (1) culture should meet the biological needs; (2) cul ture should meet the instrumental elements (the need of law and education); (3) culture should meet integrative needs (religion and arts). relating to this theory, malinowski also stated that the results of his research about the magic at the trobriand turned out its function to reduce the anxiety of things that cannot be easily understood. this explanation is of course the reason of existence and preservation of the magic in the trobriand culture. based on the description above, the theory was used to study the function of the kidung in the village kuthuk. data in the form of the song, especially the lyrics were used for primary data sources in addition to interviewing and observation. furthermore, the data were analyzed qualitatively by the structural functional theory and anthropological approach developed by malinowski. result and discussion this section will describe on: (1) the ritual ‘kidung’ in the village of kuthuk kudus regency; and (2) the arts of kidung in the perspective of structural functional theory. ritual of kidung in kuthuk village kudus regency kidung is a form of expression that exists among the javanese community. in general this is expressed using the traditional javanese songs (macapat). kidung is chanted for the purpose to calm down one’s feeling. therefore, it is chanted when doing regular work and daily activities as harmonia : journal of arts research and education 14 (2) (2014): 115-122118 well. among women kidung is often chanted while putting the baby to bed or rocking the baby. this is done in the hope that his son could be more calm and no fuss. among kuthuk community, it is believed to have the power of mantra since it is able to provide a peaceful mind to the listeners. in addition, chanting qigong also has a number of functions, such as pleading for safety, health, less risk, and romance. in the context of pleading safety, according to the elders of the village kidung is considered as a chanted ritual that later becomes a myth for its residents. therefore, in the implementation of puputan, this song is chanted for his son’s blessing with safety, health, being protected from dangers, and being able to grow and thrive well. kidung ritual in the tradition of puputan is actually a kind of selapanan ritual, such as those in other villages. however, this ritual in kuthuk village was done while chanting a song like a mantra or a prayer. the ritual was chanted by the elders of the village commonly considered as a shaman or dukun (the term given by the local people), or religious leaders totaling about 5 to 7 persons. if some religious leaders or shamans could not take part in the ritual, they sometimes had to ask other religious leaders or shamans of several villages around to replace their parts. the ritual procession is often implemented and followed by the invited local people of the village. male will gather with the religious leaders or shamans, while the women are also grouped after the men. before the event started, the host family would prepare dishes, including snack or jajan pasar (traditional food), such as boiled peanuts, boiled yams, banana stew, bread, coffee, fried food, and cigarette. even so, there were families preparing food, such as rice, gudangan (vegetables with spicy grated coconut), or chicken opor. while enjoying the dish served, women in the room would carry the chanted child. after the break, the ritual would be continued by praying together led by an appointed person. the prayers asked to god are known as tahlillan or berjanjen, when the host family asked for safety, blessings, and things that their desire for the child would be fulfilled. the ritual of tahlillan was chanted in brief, just taking an essential prayer to the baby. after tahlilan was completed, the ritual continued with singing kidung. this ritual began when the religious leader puts himself in a provided place. he usually puts himself in front of the guests in order to be easily seen and replied ‘amen’ after all the kidung lyrics were delivered. after the religious leader and the guests put themselves, the chanted child was brought to one of the religious leaders while his parents joined with other guests. the ritual of kidung began when one of the leaders chanted a song while rocking the child. the usual chanted songs are kidung mantrawedha, salira ayu, and kidung rumeksa ing wengi. when one of the leaders was singing, other people replied amen anytime after all the kidung lyrics were delivered. need to remember that kidung is one of the prayers or wishes of a chanting person, so the other people invited reply amen in order that the prayers will be fulfilled in the future. after one religious leader completed a song, the child was given to the next leader, and the ritual continued. the next leader did the same thing while singing kidung. however, kidung is expressed by the religious leaders with a different theme between one leader and another, and replied amen by the guests. the ritual was repeated continuously until the dawn. after crowing cocks began to sound, the ritual concluded with a prayer led by one of the leaders. prayers delivered were the closing prayers. however, in the closing prayer there were also prayers devoted to the chanted child and his family. after all the rituals were performed and replied together, a child was then given back to his mother and the ritual ended up. hafid zuhdan bahtiar, kidung: myth of welfare for kuthuk people in kudus regency 119 pan dadi sarira tunggal ati adem uteku bagendha esis pangucapku hya musa napasku nabi isa linuwih nabi yakub pamiyarsaing wang yusup ing rupaku mangke, nabi dhawut swaraku njeng sulaiman kasekten mami, nabi ibrahim nyawa edris ing rambutku, bagindo ngali kulit ing wang abubakar getih daging umar singgih balung baginda usman sungsum ingsun fatimah linuwih siti aminah bayuning angga ayub ing ususku mangke, nabi nuh ing jejantung nabi yunus ing otot manmi, netraku ya muhkamad panduluku rosul, pinayung adam syara sampun pepak sakathahing para nabi dadya sarira tunggal wiji sawiji mulane dadi apan pencar saisining jagad kasamadan dening dyate, kang maca kang angrungu kang anyerat kang anyimpeni, dadi ayuning badan kinarya sesembur yen winacakna ing toya kinarya dus rara tuwa gelis krami wong edan nuli waras lamun ana wong kadhenda kaki wong kabanda wong kabotan utang yogya wacanen den age, nalika tengah dalu ping sewelas wacanen singgih, luwar kang kebanda kang kadhenda wurung, aglis nuli sinauran mring hyang sukma kang utang punika singgih kang agring nuli waras lamun arsotulus nandur pari puwarsa sewengi sedina iderana gegalenge, the art of kidung in the perspective of structural functional theory kidung is the procession of acculturation the cultures, customs, and beliefs that have existed approximately since the early 1970s. in the early in its development, the art was spearheaded by mr. soeparno, a retired elementary school teacher in kuthuk. at that time kuthuk people believed that many mystical elements were believed to bring prosperity and peace to their family members. therefore, through this art they convey the prayer to god and this art is implemented in the ritual of puputan. the procession is not a long series of activities; it is different from such rituals at the palace. the ritual is performed after the family asks for kids procession for their child. the following is one example of kidung mantrawedha, salira ayu, and kidung rumeksa ing wengi ‘s lyrics. ono kidung rumekso ing wengi teguh ayu luputa ingira luputo bilahing kabeh, jin setan datan purun paneluhan tan ana wani, miwah panggawe ala gunane wong luput, geniatemahan tirta maling adoh tan wani ngarah mring mami guna dhudhuk pan sirna sakehing lara pan samya bali sakeh ngama pan samya mirudha welas asih pandulune, sakehing braja luput kadi kapuk tibane wesi, sakehing wisa tawa sato galak lutut, kayu aeng lemah sangar songing landak guwane mung lemah miring myang pakiponing merak pagupaning warak sekalir nadyan arco myang sagar asat temahan rahayu kabeh, apan sarira ayu ing ideran sang widodari, rineka malaekat sakathahing rosul, harmonia : journal of arts research and education 14 (2) (2014): 115-122120 wacanen kidung iku sakeh ngama samia bali, yen sira lunga perang wateken ing sekul, antuka tigang pulukan mungsoh ira rep sirep tan ana wani rahayu ing payudan sing sapa wonge bisa nglakoni amutiha lawan anawa patang puluh dina whae, lan tangi wektu subuh lan den sabar sukuring ati, insya allah tinekan sakarsane reku, tumrap sanak rayat ira saking sawabing ilmu pangiket mami dhuk aning kalijaga the laras (javanese notation) of the first verse is as follows 3 6 ! ! ! ! ! 2 3 3 o no ki -dung ru mek –so ing we -ngi 3 3 2 2 ! ! ! ! ! ! te guh a yu lu put o ing i ro ! ! ! ! ! ! 2 !6 6 ! 2 2 2 2 2 lu-pu-to bi-lahing kabeh, jin se-tan da-tan pu-run 5 5 3 3 2 6 6 ! 3 1 1 2!22 222q pa-ne-lu-han tan ono wa-ni, mi-wah pang-ga-we o-lo 2 2 ! 3 2 2 ! 6 ! 2 3 3 3 333 gu-na-ne wong lu-put, ge-ni-a-te ma han tir to 3 3 5 3 ! ! ! ! ! ! ! ! 2233 ma-ling a-doh tan wa-ni nga-rah mring ma-mi 6 ! 2 2 3 2 ! 6 gu-no dhu-dhuk pan sir-no the following is all parts of the verse in english. there is a song which guards the night. be goodness and keep away from doom and disaster resolve all evil and misfortune from within devil and no one dare to disturb us there are no spells that are able to go with us and those who do evil to us are going to die if the person is doused with water no gunsmith dares to come to us the crime would be lost all pain may not return as many pests may go compassion will be seen all errors are such cotton falling into iron all can be clear wild animals become tame and obedient wood and ground turn into things that have a positive aura hedgehog’s caves are just a sloping ground and place for joking peacock place for although the mountain and the sea dry up but all would survive; the body is guarded by angels guarded as many angels and prophets so one peaceful mind my brain majesty esis my words moses my breath prophet isa, prophet yaqub my sight the prophet joseph my face, prophet david my voice, solomon my spirit prophet ibrahim my life idris holds to follow, wood and ground become a positive thing hedgehog’s caves is just a sloping ground and a place for joking peacock my marrow fatimah siti aminah my strength, ayub my intestine noah my heart, prophet jonah my muscle my eyes mohammed, my sight in the arm of prophets majesty ali my complexion, abu bakar my blood my flesh umar singgih my bones king usman hafid zuhdan bahtiar, kidung: myth of welfare for kuthuk people in kudus regency 121 genesis comes from the same seed then scramble to the rest of the world suffered by his substance the reading and listening the copying and saving be a safety agency as a means of repellent when applied in water used for the virgin woman in the bath together mate any crazy people can remember again if any male persons entangle debts and have a lot of debt better read den age at midnight read eleven times with an oath will get rid of the debt, and do not have any debt and quickly pray to god about that debt the ill will afford health if taking sincere to plant rice fitting only in a night a day walking around in dykes please read kidung all pests will definitely go if you go to war, center to adam already complete from the prophets all so one anyone capable of running fasting (mutih) to fight lust for forty days, waking up at dawn always be patient and many words of gratitude insha allah what you want can be achieved as well as for the child and society exalt science to fight lust like the knowledge of sunan kalijaga the number of verses in kidung rumeksa ing wengi is actually nine. however, the first verse is very well-known and becomes a kind of kidung wingit, which is believed to bring the repellent spell to keep doom and disaster away. if you take the meaning of the nine verses of kidung described, they contain a medium of propagation in the form of an incredible song. it once indicated that the proselytizers of islam as a religion in java in the early days of its development were able to understand, animate and simultaneously answer the needs of the spirituality of the society. the spirit contained in kidung is a message to remind people to continuously get closer to god almighty. as his creature, we convince ourselves and trust the power of god almighty, then any obstacles and temptations would easily be overcome, including those beyond the capacity of human reason. it is very functional for the theory to give priority to regularity and leave the conflict and social changes from the public. the reflection of the theory is proven that the villagers believe in any customs that cannot be abandoned. they rather appreciate the existence of this art ritual than modern thoughts as it is developing today. this ritual is considered to be able to convey directly what is desired by the community to god. the developing myth shows that thechildchanted on his ritual of proportion will later become a man with good characters, when compared to the children who aren’t. the position of kidung as mantra in the principles of structural functional theory mentioned that art as one of the elements of culture, occurs since people basically want to satisfy their needs of instincts through beauty (koentjaraningrat, 1980, p. 171). therefore, this context explained that the villagers want to satisfy their desires rather through prayers to godin the form of the art ritual of kidung than through their own prayers. the implementation of the ritual kidung, led by the religious leaders considers to represent of all good prayers, since the book of kidung has completely recorded a full spell and petition on health, intelligence, wit, soulmate, fortune and the demon repellent. that people’s belief of chanting kitten will provide safety for the chanter and his family is relevant to the theory. the theory discloses that someone will always attempt to reduce the anxiety of things that cannot be easily understood by doing harmonia : journal of arts research and education 14 (2) (2014): 115-122122 some certain ways. furthermore, when he feels no longer to be able to finish his earthly problems due to the limitedness of his ratio, then he finds out another way in his religious system called magic ( syam, 2007, p. 30). based on that interest, people create ceremonies in order to control nature. that is due to the limited capabilities of the ratio, then they create a ritual that is able to represent his desire. in this context, kidung is considered to be one of the power of the people against the amen hopes of welfare, while they are still doing anyway through the worship in the religion context. conclusion in modern times, the village of kuthuk in kudus regencystill has arts ritual that is perhaps rarely found. in the modernization and increasingly sophisticated technologies, most villagers still maintain and preserve the art of kidung as one of the important rituals in the implementation of puputan. through this ritual kuthuk village community believe that god will answer what they hope. based on the fact that proves what is expressed in the structural functional theory of malinowski is still relevant. kuthuk village community are still upholding the creation of regularity, leaving any conflicts and social changes in the community along with the existing development of technological advancement and modernization. references bandem, i. m. & fredrik e. (1981). kaja and kelod balines dance in transition. kuala lumpur: oxford university press. retrieved from https://id.wikipedia.org/wiki/ bronis%c5%82aw_malinowski. chodjim, a. (2003). mistik dan makrifat sunan kalijaga. jakarta: serambi ilmu semesta. geertz, c. (1973). the interpretation of culture. new york: basic books. hariwijaya, m. (2004). islam kejawen. yogyakarta: gelombang pasang. harry j., benda, h. & castle, l. (1969). the samin movement. journal of the humanities and social sciences of southeast asia, 125(2), 207-240. idhom, a. m. (2009). resistensi komunitas sedulur sikep terhadap rencana pembangunan tambang semen di pegunungan kendeng, sukolilo, pati jateng. thesis. yogyakarta: uin sunan kalijaga. kaplan, d. (1999). teori budaya, yogyakarta: pustaka pelajar. kirom, s. (2012). etika samin: suatu kajian filsafat nusantara. jurnal flsafat wisdom, 22(2), 113-121. koentjaraningrat. (1980). sejarah seni antropologi. jakarta: universitas indonesia. kuntowijoyo. (1987). budaya dan masyarakat. yogyakarta: tiara wacana. lestari, i. (2013). interaksi sosial komunitas samin dengan masyarakat sekitar. jurnal komunitas: research and learning in sociology and anthropology, 5(1), 74-86. pono, b. (1984). pengantar pengetahuan alat musik. jakarta: cv. baru. sachs, c. (1968). the history of musical instruments. new york: w.w. norton & company. soedarsono, r. m. (1972). djawa dan bali: dua pusat perkembangan tari tradisionil di indonesia. jogjakarta: gajah mada university press. sofwan, r. (2000). dampak metode para wali mengislamkan tanah jawa. jurnal jarlit dewa ruci, 3(3), 2-5. syam, n. (2007). madzhab-madzhab antropolog. yogyakarta: pt. lkis printing cemerlang. widodo, s. t. (2012). petangan tradition in javanese personal naming practice: an ethnoliguistic study. gema, 12(4), 1165-1177. harmonia vol.1 juni 2011 (2).pdf ���������� ��� ���� ������ ��� ���������� ���� ���������� ������ ������� �������� ������������������ �!" #$�%���#&�'"�(#)*+#,�**�-#. /"�'"�(##&�'"�#0 !"!�(#&�'"�#12113(0-"�*#4#$5�6"��75-�'"�89-"�*+:; �<=>��?@"��#a��"-b"�%#c..#-��5b"/"�#!"��#/��" �#9"�%# �*"*5#d�'5b#'"*"-#-" 9"�"/"!#b��'5e/5�%�9"#!��5!"-"#b"'"#-" 9"�"/"!#&�*"95#f� � ��#a5-"!��"#@�-5�+#@"��#a��"-b"�%#c..#'�:�b!"/"�#;*�d#a"5!�#b"'"#!"d5�#3ghi+#@"��#a��"-b"�%#c..#9"�%#j��/�-j"�%#b� "!#b"'"#-" 9"�"/"!#&�*"95#f� � ��#a5-"!��"#@�-5�#j��"/"�#'"��#%��"/e%��"/#!"��#�;�%%��%#&�e*"95+#k;� �b#!"��#a��"-b"�%#c..#9"�%#-��%� "d/"�#b��:��!""�# "-b"�#/�#l��l"�%#b����/"ed"�#'� 5 5�#/�'"*"-#c..#�"%"-+#$�*"�#� !�!�/"#9"�%#!��'"b"!#'"*"-#!"��"�#���#'� � 5"�/"�#'��%"�#��*"�#� !�!�/"#-" 9"�"/"!#&�*"95#�!5# ��'���+#@"��#���#!�'"/#d"�9"#j��m5�% �# �j"%"�#d�j5�"�#'"�# �j"%"�#b�� ��!" �#� !�!� 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���"���)�,�!��$���%�������*��������#��%������%�$��5���%�������#�eg������$����� �)� �!��������#������#����� ��%��!)� �!�����s�������$����at������)�������)� �!�����s����oooooooooo��*���!*��������#���������$���!�� �f �����#��*��������#����$����ab������������� foreword since it was onlined in 2011, journal of harmonia has been accessed by thousands of visitors from all over the world. international index institutions, such as the directory of open access journal (doaj), google scholar, mendely, citeulike, and worldcat, have been making harmonia as one of the journals linked there. likewise, national index institutions, such as the indonesia publication index (ipi/portal garuda), indonesian scientific journal database (isjd) that make harmonia a national indexed journal. based on the facts above, harmonia needs to adjust while enhancing the quality and quantity to be more tangible to facilitate the readers and the authors of the article. the change of journal subtitle originally named harmonia: jurnal pengetahuan dan pemikiran seni to become harmonia: journal of arts research and education, with the entire contents of english articles from volume 14 number 1 in 2014 is an effort towards the dissemination of the content of harmonia articles broadly. a manuscript writing guide is adjusted by using one of the standards of writing in the world of publication, namely the american psychology association (apa), though it is not entirely adopted. the addition of subtitles ‘education’ in the name of the journal affirms that the scope of the journal focuses on the content of the article about art studies and education. our great appreciation to all the readers, writers and observers of art and art educators who have been supporting the publication of harmonia. the expectation is that the presence of harmonia in a new edition can complete the art literature that can contribute to the development of the science of art and art education. greetings, suharto editor-in-chief 163 the character of gareng’s gecul movement in sumar bagyo version of dance dewi wulandari, slamet institut seni indonesia surakarta, indonesia received: july 17, 2017. revised: august 12, 2017. accepted: october 7, 2017 abstract the aim of this research is to describe and analyze the character of gerak gecul performed by sumar bagyo in expressing gareng. this is considered unique since sumar bagyo developed his own version of the movement. qualitative research by using ethnochoreology approach is used in this research. it is done by using some concepts and theories to support the research. those theories included social changing theory by a. boskoff, concept of solah ebrah by slamet, that is combined with effort-shape by ann hutchinson, physiognomy concept by prasetnyono, mimic and expressive gestures by morris. gecul movement which is performed, has its own characteristic that makes it different from other gareng characters. based on its wanda (gareng in purwa puppet), sumar bagyo belongs to wanda kancil since it has the characters of: praupan tengadah, medium face, round head, thin lips, wide forehead/ manyul (javanese), ovoid nose, up lips, gondhok neck, flat stomach, small slouch body, ndetheng body. gecul gareng movement in sumar bagyo has the movement motives of gejig, mlaku ceko, sikil mingkup buka, seleh asta, nyorok, nikelwarti, besut alusan, besut gagahan, uncal sikil, geol, and srisig. those movements always appear in the three types of sumar bagyo, either in puppet stage with gareng identity, or outside of the puppet stage by taking off the gareng identity. keywords: movement motive; gecul; gareng; character how to cite: wulandari, d., & slamet. (2017). the character of gareng’s gecul movement in sumar bagyo version of dance. harmonia: journal of arts research and education, 17(2), 163-173. doi:http://dx.doi.org/10.15294/harmonia. v17i2.10340 harmonia: journal of arts research and education 17 (2) (2017), 163-173 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i2.10340 gareng character. this makes him understand and familiar with gareng ngesti pandowo’s character and the punakawan humor. in 1986, marno sabdo was died. therefore, sumar bagyo was selected as gareng ngesti pandowo. sumar bagyo is one of the popular comedian especially in javanese comedy show. it is proven by the existence of sumar bagyo in javanese entertainment industry. he often has a show with some famous comedians, such as ki anom suroto, ki bayu aji, ki sigid ariyanto, ki introduction sumar bagyo, known as bagyo, was born in semarang, june 28th, 1965, in ngesti pandowo dormitory in anggrek, semarang. sumar bagyo was born form a couple, namely sumarno (marno sabdo) and surip. both of them are human puppet players of ngesti pandowo. sumarno is the second generation of gareng ngesti pandowo after darso sabdo. since he was little, sumar bagyo had studied about tobong in ngesti pandowo, especially the corresponding author: jl. ki hadjar dewantara no.19, jebres, surakarta 57126 e-mail: dewidariwulan2004@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 17 (2) (2017): 163-173164 mantep soedarsono, ki enthus soesmono, dan ki warseno slenk. sumar bagyo is famous as gareng, the character that always being played by him. make up and costume which are used is like gareng in javanese puppet story. usually, most of comedians are only using the gecul make up in every show without performing the human character of the gecul itself. based on rustopo (1991) gecul is the impression of rude, naughty, funny, etc., that caused by the movement of dance. sumar bagyo always performs dance in every of his show, either as punakawan of human puppet show, or guest star in a puppet show, or in another show. the dance that is performed by him are always considered unique since it has gecul movement motive as his identity. this dance then makes him different compare to the other comedians who only use their funny words or verbal jokes with other players in every show (wulandari, 2016). the image of gareng in puppet show, which is walking with his ceko/ bent hand and limp legs are expressed by sumar bagyo in his dance movement. gecul movement that is performed by him is matched with the musical instrument that accompanied it. this is also explained by saina in her research related to ngesti pandawa show in semarang. sainah stated that gareng character is really influenced by a lot of things. one of it is the movement character, or musical instrument which is dominated by kendang instrument. face character is influenced by the characteristic or behavior of that character (2010). in sumar bagyo’s show, either in puppet or outside of puppet show, he has some similar pattern of movements even with different instruments. those movement patterns then becoing the character of gecul movement that is performed by sumar bagyo based on his version. marwata in his interview (6 june 2015) said that nowadays, sumar bagyo is the only person that can act like the real gareng. it means, in these current years, there are no people that can perform the gareng character as good and as attractive as sumar bagyo. this is then making sumar bagyo as a phenomenon in today’s javanese professional comedy and humor world, especially punakawan character with his gecul movement. gareng gecul movement character that is performed by sumar bagyo in his version is an image of himself. this is a characteristic which is difficult to be imitated by others. it can be said that sumar bagyo is dancing as gareng according to his style or his own version, which then brought him known as ‘bagyo gareng’. the details i mentioned above, makes it interesting to do more and deeper research about gareng movement character that is always performed by sumar bagyo and become his characteristic in the three types of his performances. after exploring about sumar bagyo’s characterization, a question related to how gecul movement character performed by sumar bagyo in expressing gareng in every show then appeared. this research is a qualitative research by using ethnochoreology approach as the main approach in analyzing the data that is being researched. ethnochoreology approach is an approach in the research that focuses more in the dance as a research subject with dance genre materials. soedarsono explained that etnochoreology can be called as multi-discipline approach (soedarsono, 2001). to analyze about personification of gareng from shadow puppet to human puppet, body expression theory or expressive gestures and mimic gestures by desmon morris are used. expressive gestures are influenced by brain that showed through expression gesture which are face and body movement. in the end, those will influence the character. primary gesture fall into six main categories. five of these are unique to man, and depend on his complex, highly evolved brain. the exception is the category i have called expressive gestures. these are gestures of the type which all men, everywhere, share with one another, . . . they include the important signals of facial expression, . . . (morris, 2002) dewi wulandari, slamet, the character of gareng’s gecul movement in sumar bagyo ... 165 mimic gestures are done to imitate an object, in this context is the imitation of gareng in shadow puppet. mimic gestures are those in which are performer attempts to imitate, as accurately as possible, a person, an object or an action (morris, 2002). the formation of motion is analyzed using laban’s effort-shape theory in ann hutchinson (1977) which discusses the process of motion formation including elements of space, time, energy and body parts involved in symbols that can be read and converted into movement. in the javanese dance research, it can be assumed by the concept of solah-ebrah. solah is a movement or action of the body in the form of jumps, arches, tempos to the fast and slow which all form a movement including trajectory, volume, and level called ebrah (slamet, 2016). the analysis of character is done by implementing physiognomy concept that is explained by prasetnyon (2012) as an art and knowledge which are used to know someone’s character easily only by seeing its face. it is because face is part of body that usually has attention spot. face expression can give a clue about what he feels. the aim of this research is to analytically describe the gecul movement performed by sumar bagyo in expressing gareng in his own version. methods this research is a field research which needs a linear method with ethnochoreology as its main approach. researcher, in this case, uses a model that was unveiled by kurath (pramutomo, 2007). the steps taken by the researchers include field research, laboratory study, cross check data, present data, data analysis, merging analysis results, and drawing conclusions. the first step among all is observing and recording the data, then followed by the initial analysis of the data. to prove the truth, the researcher conducted cross check data by interviewing the interviewee and using book source to support the data. the data obtained is processed and presented. as textual research, movement is presented using laban notation. then, the conclusions are drawn. results and discussion gareng is one of the character of punakawan in shadow puppet. gareng never performs alone. the performance of gareng in shadow pupper is always together with semar, petruk, and bagong in certain scene namely gara-gara. based on sudjarwo et al. (2010) gareng is the first child of semar. however, it is different with sunda and banyumas shadow puppet story. this is supported by haryanto’s argument (1988) by saying that in pakeliran west java, bagong is the first child of semar, while petruk is the last child. bagong’s other name is cakrawangsa, pancal pamor, pegatwaja, and bambang jati pitutur, often called as nala gareng. nala means heart, gareng means dry/ crisp (java). nala gareng means the dry heart. it is because gareng is the character that always talk less. what he says will always be wrong, but he does not want to admit that he is wrong (hardjowirogo, 1982). the physical character of gareng is ceko hands (bent hands), cockeye, and limb leg. gareng symbolizes the value of human that should be careful in taking steps and acts. he has cockeye to the left and right which means that everything should be seen from various angles (sudjarwo, 2010). gareng in shadow puppet has some figures to represent certain character called wanda. wanda in purwa shadow puppet is the depiction of puppet figure in various characters in certain mental conditions through art (tatag sungging) which is manifested in various proportions and positions such as eyes, nose, mouth, face, color and accessories (kardju, 2009). according to sutarno et al. (1979) there are eight wanda gareng surakarta styles, namely wregul, prekul, gembor alit, gondok, kancil, gulon, and wewe. harmonia: journal of arts research and education 17 (2) (2017): 163-173166 the character of gareng sumar bagyo in shadow puppet is classified into wanda kancil, especially kancil kedhung bantheng in ki gondo darman’s style with some characteristics. those are praupan tengadah/ head looking upward, medium face, round head, thin lips, wide forehead/ manyul (java), ovoid nose, up lips, gondhok neck, flat stomach, small slouch body, ndetheng/ rigid body. this is proven by sumar bagyo in his performance on stage who always dominates the show. his thin body matches with the characteristics that has been stated before. praupan tengadah means that gareng always speaks loudly, added by his high and small voice. this is similar with gareng character performed by sumar bagyo (interview). in human puppets stage human puppet is the identity and origin of sumar bagyo that cannot be separated from him. as being known that sumar bagyo started his carrier as human puppet player in ngesti pandowo semarang. even if now he is not really active in every ngesti pandowo show, sumar bagyo is still remained under ngesti pandowo’s name. when he plays in human puppet, sumar bagyo is not playing alone. he plays with other punakawan players. the other players on the stage can affect the success of his performance. the joke performed by sumar bagyo on the puppet show was a joke of ngesti pandowo’s jokes. this joke will be different in every show. ngesti pandowo has different benchmark with other human puppets. that joke is called as tobong joke since it only applies to the human puppet on the stage. in puppet performances, bagyo must share his place and role with other punakawan. therefore, his joke portion is limited. each character has its own role, like sumar bagyo with his gecul movement. when entering the stage, he will always dance. there are two types of song that usually accompany gareng when he is entering the stage. first is ketawang subakastawa which is used for the mlaku alas scene. second is ladrang pangkur which is used for kiprah gareng. one of the song that always accompany his gecul dance in ngesti pandowo is gending srampat from east java with gonggomino kendang pattern. even if he plays with others, indirectly sumar bagyo became the spearhead of his successful performance. his big name becomes one of the main factors. the character of sumar bagyo that often seek spontaneity and gives fresh jokes, makes him the audiences’ favorite. his nosy act and creative in many ways often invites laughter. not only the audience, but his fellows of human puppet players also sometimes cannot hold laughter when they are on stage (interview). most of gareng gecul movement that is played by sumar bagyo in ngesti pandowo is the original dance movement. at the beginning of the creation of gareng gecul movement, sumar bagyo is helped by widayat by consulting with ki narto sabdo or mbah narto as the leader of ngesti pandowo karawitan at that moment. gareng ngesti movement also take gareng movement played by mbah narto as the example. movement like dance and kiprahan is personification form of shadow puppet movement performed by mbah narto when he is playing the shadow puppet. it is in line with morris’s statement about mimic gesture that is the imitation movement (morris, 2002). gareng movement performed by sumar bagyo has the similar pattern with cakil movement that is ceklekan. according to utomo in purwati (2016), ceklek’an means fracture. the fracture movement is on the elbow movement. sometimes, the kendang pattern in cakil and gareng dances are almost the same. gareng gecul movement performed by sumar bagyo is influenced by some dances, such as kuda-kuda dance, glipang, and remo. when sumar bagyo performed with other human puppet groups, then his performance pattern also will follow and match with where he has the performance. for example, when he has a performance with bharata and sekar budaya nusantadewi wulandari, slamet, the character of gareng’s gecul movement in sumar bagyo ... 167 gyo to perform around central java with him. since then, the name of sumar bagyo began to be widely known. sumar bagyo then can be more freely in exploring his performance on the stage. this is because sumar bagyo acts as a guest star, out of the puppet storyline. the performance of sumar bagyo as gareng in shadow puppet show is not really different from his performance in human puppet show either in costume, make up, or even his stage performance. one thing that makes it different is his weapon. when he performs in human puppet show, he will wear a weapon as his complementary clothing, meanwhile he never brings any weapon in his shadow puppet performance. gecul movement that is played by sumar bagyo in shadow puppet stage is more vary. started from gecul movement in human puppet stage, sumar bagyo is developing the movement by matching it with the kendang’s beat. sumar bagyo should be able to adapt with every kendang player. this is because every dalang has his own kendang player. when this kendang player is often having performance with sumar bagyo, then he will understand the pattern of his performance, especially his gecul movement. as a stage artist, sumar bagyo is required to continue to innovate by cultivating his creativity. it aims for the continuity of his artist carrier. in accordance with the theory of social change, boskof (1964) states that social change can occur due to internal factors arising from the dynamics that grow in the life of the support community or due to the influence that comes from outside society. creativity is seen as an internal factor in responding to the challenges in society arising from the theory of social change. therefore, the forms of gecul movement must always be vary, so there is renewal and development in every appearance. the movement motives that is presented tend to has large volume and widened. this is inversely to the gareng’s dominant movement with small volume of movement in narrow space. ra (sbn) jakarta, or sriwedari solo, sumar bagyo will adjust his play with the performance character of the art groups. however, gecul movement that is performed is not really different with what he has in ngesti pandowo, semarang. when sumar bagyo is dancing, gareng movement motive can be seen clearly in gecul movement. when he is not dancing, sometimes the motive or form of gareng movement cannot be seen. sumar bagyo is only standing and walking without showing his ceko hands and limp legs. however, sumar bagyo way of walking has already looked like it is limp without acting like it is limp. until right now, costume or make up that is used by sumar bagyo in every show is ngesti pandowo’s style. he never changes his look since the beginning. for sumar bagyo, what he wears now is the legacy of his parents that he should be proud of. sumar bagyo in his role as gareng in human puppet stage is still connected to the character that is performed. in this context, punakawan has symbolic function as guides, storytellers in the play, as well as entertainers (sainah, 2010, p. 60). this affects the form of his performance on stage that makes sumar bagyo cannot be free from exploring, both in his gecul movement and his jokes. in shadow puppet stage nowadays, shadow puppet stage is being a part of sumar bagyo’s life. started from this stage, sumar bagyo began to known by wider community especially in central java and east java. almost every sunday, sumar bagyo went out from the town to perform in shadow puppet show. now, sumar bagyo is accepting more shows in shadow puppet performance compared to the human puppet. since his performance in a show held by panitia apresiasi wayang kulit jawa tengah (pantap) 1995, he is often accepting jokes offer in shadow puppet show. the performance of sumar bagyo is considered to be a magnet for the audience. therefore, ki joko edan invites sumar baharmonia: journal of arts research and education 17 (2) (2017): 163-173168 most of the gareng gecul movement performed by sumar bagyo leads to the east java dance movement. for sumar bagyo, east java style has an energetic and dynamic image with the kendang’s beat power. from many east java dance forms, sumar bagyo tends to lead to remo dance form. the hands form of remo dance is similar with gareng hand style when he is dancing. this makes sumar bagyo to adapt the remo dance more which then being matched with gareng movement motive based on his interpretation (interview). the example of movement which becomes the identity and the character of sumar bagyo’s gareng in shadow puppet stage is nikelwarti. like when seleh gending part is played, he will put his hand in one of his hips and after the song finished, he will do nikelwarti movement but with curling up his body. that movement is not only done in shadow puppet performance, but in human puppet or outside of puppet as well. this is then makes that movement as an identity of gareng gecul movement by sumar bagyo when he is dancing (interview). one of the interviewee alsa added that the motive of that movement is only occupied by sumar bagyo. if someone else is using that movement, it is because he is copying the movement performed by sumar bagyo. limbukan and gara-gara scene in shadow puppet showalso consists of positive jokes that sometimes being plesetan through parikan-parikan/ funny javanese proverb. this part is also used as cooling down media to create refreshed atmosphere after following a serious storyline (sunarto, 2002). sumar bagyo, as the guest star, has a job to refresh the atmosphere through his humor. his humor also includes joking built between sumar bagyo and the javanese singer (sinden). sumar bagyo had to see who the dalang (puppeteer) is and who has the show. when the dalang is younger and can be freely invited to communicate, then sumar bagyo did not hesitate to tempt and taunt him on stage, for example is dalang ki sigid ariyanto. but if the dalang is a senior puppeteer, then sumar bagyo must also be able to place himself. he often looks for ways to make fun of him in an inoffensive way, for example are ki anom suroto or ki mantep soedarsono. this applies also to sinden (the javanese song singer). in addition to dancing, another stage performing characteristic when he is performing in shadow puppet stage is the way of his standing. the way his stands is to lift one hand like a singer singing, while the other hand holds the mic. this movement is seldom to use when he is on a human puppet stage. the content of comedy that often comes out is processing words/ making acronyms. this invocation always appears in every appearance, both in human puppet and shadow puppet. as one of the interviewee mentioned: “one of his identity is processing words. the words are made as an acronym. for example is semarang, what ‘s’ stands for. since the old time when i was with him or saw him, that kind of joke will always be used. another comedian is also sometimes using it, but mas gareng (sumar bagyo) always uses it” (interview) when he has a show with dalang ki anom suroto and ki bayu aji, joke that always performed by him is singing caping gunung jenggleng with parikan in the middle of the song. when the singer doing bawa (opening song of gending), sumar bagyo is dancing while jumping on the stage following the kendang beat. another style is dancing with the instrument of gonggomino tulungangunan kendang pattern that also being his stage character. for him, gonggomino dance has already being a part of him. not only when he has a show with ki anom suroto and ki bayu aji, but with other dalangs who serve gonggomino kendang pattern. because he often dances with that kind of instrument, thus, it is raising the perception that if the kendang pattern is gonggomino, then sumar bagyo will dance a certain pattern. outside of the puppet stage as a tobong artist, he has to know various performance stages. not only human and shadow puppet, campursari and ketodewi wulandari, slamet, the character of gareng’s gecul movement in sumar bagyo ... 169 prak stages also become a part of sumar bagyo’s journey in the art world. gareng character that becomes his identity does not become his obstacle to exist outside the puppet stage. he is still bringing gareng character as his identity outside the puppet stage. however, not in his every show. gareng will still be seen when sumar bagyo is performing in campursari stage, comedy, and when he becomes a host. meanwhile, when he is in ketoprak stage, he will leave the gareng identity behind. sumar bagyo has less identity in dancing when he is in campursari stage. he will joke and make fun of the singer more. based on jumadi bagong banyubiru, when sumar bagyo is performing in campursari stage, he will be more flexible. it means that sumar bagyo will be more free and easily to interact to the audience or the singer (interview). sumar bagyo is still using gareng gecul movement motive when he is dancing in a campursari performance. as an examples are the following fugures showing gareng sumar bagyo on the campursari stage. figure 1. left figure is uncal sikil movement motive, right fgure is ceko walking movement motive by sumar bagyo in campursari stage. doc. yanto 2013. sumar bagyo is type of humorous host. comedian identity that sticks on him makes him cannot be a host in formal occasion. with that humor that he gives, the fresh atmosphere is created. for example when he became a host in budaya jawa tengah parade 2013 in semarang and sinden idol competition 2012 in unnes. when he is leading the show, sumar bagyo is very rarely dancing, although in the implementation he uses costumes and make up of gareng. this is because at the event, he was not required to entertain the audience, but just as a humorous host. when he is performing in a ketoprak stage, sumar bagyo will take off his gareng costume, but not in his dance. gareng movement motives are still dominant even if the form of hand movement is changed. one of the example is in gejig movement motive. the form of his legs movement is still using gareng movement motive, which is one of the leg is tiptoe. for the hand movement, it is changed from gareng movement motive with opened palm hand and fingers in fan finger position to hold in fist position. that’s why gejig movement looks like a horse riding gesture. figure 2. gareng gejig movement motive in human puppet stage (fan hand finger) and in ketoprak stage (hand in hold in fist position). doc. dewi 2016. the example shows that gareng image is not only on the outside view, but it has penetrated and ingrained in sumar bagyo’s life. although he tried to remove the identity of gareng when he is performing outside the human puppet stage, but the dance he brought cannot be separated from gareng movement motives. anything that he dances on stage, still, gareng harmonia: journal of arts research and education 17 (2) (2017): 163-173170 impression cannot be separated from sumar bagyo. the character of gareng by sumar bagyo personal style in javanese dance is called as wiled (slamet, 2016). wiled is movement variation that is developed based on the ability brought by the dancer. that style of movement is supported by dancer gandar. gandar is dedeg-piadeg or the dancer’s body posture based on wanda’s role or the character of javanese dance that is being showed. gandar in javanese dance is having orientation to wanda wayang purwa (sriyadi, 1995). in this case, gandar sumar bagyo that has small appearance matches with wanda gareng in the shadow puppet, and supported by the colour of his original sound. all of gareng gecul movement character which is played by sumar bagyo becomes his characteristic when he performs on the stage. the use of effort shape happened because there is a creation process. inside of the creation process, there is an effort to make a creation, in this context is gareng gecul movement. effort that is done by sumar bagyo in creating gareng gecul movement is by having body elements in gareng’s movement identity. in the dance, body is the tool and material that is used to create. sumar bagyo is using his small posture body to do gareng dance when there is a specific technique to use it. technique used by sumar bagyo can be developed since there is a theme that he should bring up. technique is when a theme or idea is mixed in gecul materials to create a movement. theme is idea, by seeing gareng movement in shadow puppet and expressed in the tool and materials, which is body. meanwhile, because movement in the dance has rhythm, then a dance should have dynamic that related to time, duration, and beat (hutchinson, 1997). movement that becomes a character of gareng sumar bagyo consists of some movement motives. movement motive in creating a dance is needed to be used as a basic structure to gain the form (trinita, 2016). movement motive is the smallest unit from a movement that already had a meaning. if we see this from javanese movement motive that already has a pattern, the dancer should have ebrah or body shape that is matched with dancer body. javanese dance that has been choreographed has a need to be studied in the formation of motivation motives. analytically, movement motive is formed by the pattern of the main movement, the pattern of intermittent movement, and the pattern of variation motion (slamet, 2016). the basic motion leads to the motion that becomes the core that forms the motive of the movement. intermittent leads to motion that gives the motion to the movement, while the movement of variation is the movement that provides variations on the main movement and intermix. gecul movement that becomes a characteristic of sumar bagyo is the development of gareng’s basic form of movement. gareng gecul movement motive that becomes the identity of his dance are gejig, mlaku ceko, sikil mingkup buka, seleh asta, nyorok, nikelwarti, besut alusan, besut gagahan, uncal sikil, geol, and srisig. movement motive leads to the development of movement, and the development of this is intermittent and variations. one example on motive movement is ceko. motive movement of ceko is formed by tanjak foot movement pattern which is the main movement, plus the pattern of one hand movement bent in cethik and one hand bent elbow which is the movement of intermittent, and pattern of head tolehan motion which is kinds of movement variation. figure 3. mlaku ceko movement motive. doc. dewi 2016 besides the movements that have dewi wulandari, slamet, the character of gareng’s gecul movement in sumar bagyo ... 171 been explained above, there is one of the series of movement that always brought by sumar bagyo when he does gareng dance. those series consist of some of movement motives that already be explained with some additions. movement motive that occurred in those series are gejig, besut gagahan, uncal sikil, and geol. in shadow puppet show, those movement series will be performed in song with gonggomino gending pattern in tulungagung style. meanwhile, in human puppet show, especially in ngesti pandowo, those series will be played in srampat song with east java style by using kendangan gonggomino. sumar bagyo often performs it in the shadow puppet performance, then it makes those series of movement is well known as jogedan gonggominan. movements that become the character of gecul movement of gareng in sumar bagyo version is the way of using a lot of straight line which gives a firm impression. the movement presented is firm and fracture with the volume of movement that leads to a smaller volume. however, there is also a large volume of movement, so the energy released by sumar bagyo is not evenly distributed. the firm movement is adjusted to the music accompaniment of fast tempo and also jerking. this gives a dynamic impression on the movement being delivered. in addition, the space used is also tend to be narrow, just around his stands. showing the movement description that becomes the character of sumar bagyo, there are some identities that can be seen form the movement. the first characteristic is the palm hand form. the form of sumar bagyo’s palm hand when he is dancing is always in open position (fan hand position) or megar (javanese). this form is happened to be applied in every movement that he does, added by shaking the fingers as an accent of his movement. figure 4. form of fan hand fingers/ megar. doc. dewi 2016 second, most of the movements tend to be contracted or shortened, either the shape of the hands, feet, body, or mouth shape. this reinforces gareng’s small and defective physical form that cannot move too freely, according to mimic gestures (morris, 2002). this kind of movement is called ebrah, which means to give memorable character, it seems making the character looks smaller or bigger (slamet, 2016). third, the expressions displayed by sumar bagyo tends to be cheerful until he shows his teeth. sumar bagyo often closed his eyes when dancing on the spot. this is done as a confirmation of makeup, especially the eye that impresses gareng which has crossed eyes. in accordance with expressive gestures (morris, 2002), using facial expressions and body led to the character of gareng. according to prasetyono (2012), an unfocused (jereng) and unstable eye to a point when looking at certain objects, indicates his inconsistency and personal incompetence. the owner tends to be uneasy, dishonest, and unresponsive to the establishment. in this case, gareng version of sumar bagyo is gecul and lively. fourth, the movement that sumar bagyo do is affected more with east java dance movements that seem energetic and dynamic compared with other areas. harmonia: journal of arts research and education 17 (2) (2017): 163-173172 conclusion as the personification of puppet, the characteristics and characters used by sumar bagyo is similar with the puppet. gareng in surakarta style of shadow puppets has eight types of wanda which includes wanda of prekul, wregul, gembor, alok gembor, hyacinth, mouse deer, gulon, and wewe. referring to the wanda, sumar bagyo most closely similar with wanda kancil, with the following characteristics: preupan tumungkul, medium face, round head, thin lips, prominent forehead (javanese), round egg nose, slightly rising mouth, gondhok neck, stomach deflated, small body slightly bent, and ndhetheng (rigid) body. the nature of wangi kancil is more agile than other wandas, which in javanese term is called lanyap. the stage character of sumar bagyo is the gareng’s gecul movement in dance. movement which is inspired by gareng movement in shadow puppet is the ceko movement and gejig characters. both movement characters are always seen in every gecul movement which is done by sumar bagyo. sumar bagyo creates gareng gecul movement motives based on his interpretation and creativity. movement motive that becomes the character of gareng gecul movement in suma bagyo version includes gejig movement motive, mlaku ceko, sikil mingkup buka, seleh asta, nyorok, nikelwarti, besut alusan, besut gagahan, uncal sikil, geol, and srisig. gareng’s gecul movement in sumar bagyo version has some characters in each of the movement. some of the characters are (1) the shape of sumar bagyo’s palm which is always open, and vibrated, (2) most of the movements tend to be contracted or shortened to strengthen the physical form of small and defective gareng, (3) the expression that is shown tends to be cheerful until it shows the teeth, (4) sumar bagyo often closed his eyes as an impression of his make up in showing that gareng has crossed eyes, (5) gareng sumar bagyo movement is more affected by remo dance movements of east java. references ahimsa-putra, h. s. 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(2016). proses pencarian identitas gerak gecul gareng oleh sumar bagyo. greget: jurnal pengetahuan dan penciptaan seni, 15(1), 46-55. 126 the relation of kendang and jaipongan: functions and inspirations of kendang musicality on jaipongan’s journey asep ganjar wiresna1, cece sobarna1, endang caturwati2, gugun gunardi1 1universitas padjajaran, indonesia 2institut seni budaya indonesia, indonesia submitted: june 15, 2020. revised: september 9, 2020. accepted: november 24, 2020 abstract this study aims to describe the kendang relationship, as a traditional priangan musical instrument, to the jaipongan performing arts and dance. kendang, which has a central function in the jaipongan dance performance, has received less appreciation in west java arts’ discourse. the jaipongan dance art focuses on dance movements, although the song (gending) that accompanies the dance movement depends entirely on the kendang music playing. this study used qualitative research methods. the data collection technique is done through interviews, observation, and document study. data were analyzed through complete data collection activities and then adjusted the data and literature review, and in the end, described the research data. the results showed that kendang, as a musical instrument has a relationship and attachment with the creation and development of the jaipongan dance art. kendang and the player (pengendang) have a vital function, in contrast to the stereotype that these instruments are only accompaniment to songs/dances in the performing arts. the kendang instrument is an important part that regulates the tempo and the course of the jaipongan dance performance. pengendang, as artists and musicians, contribute greatly in communicating the performance of the performance both with dancers and the audience. kendang is a source of inspiration for the creation of jaipongan dance art. during the process of creating the jaipongan dance, gugum gumbira acts as a creator communicating with other artists, both dancers, and pengendang. keywords: kendang; jaipongan; kendang musicality how to cite: wiresna, a. g., sobarna, c., caturwati, e., & gunardi, g. (2020). the relation of kendang and jaipongan: functions and inspirations of kendang musicality on jaipongan’s journey. harmonia: journal of arts research and education, 20(2), 126-134 harmonia: journal of arts research and education 20 (2) (2020), 126-134 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i2.24953 tayub, and so on. through the kendang play, the identity attached to the performing arts and the locus (place) that is the development of the art can be easily identified. jaipongan, an art that uses kendang is a popular dance art form. jaipongan is a dance art that was created since 1979, combining traditional dance and martial arts (pencak silat) from west java (durban, 2010). according to durban, jaipongan dance, in its current development, preintroduction kendang, a traditional musical instrument from west java (priangan), plays an important role, namely, as a reference to the beat in each song. kendang is a symbol or representation of culture, used in the priangan arts, one of which is the jaipongan dance. kendang’s musicality in jaipongan dance is different from other arts such as bajidoran, wayang golek, corresponding author: e-mail: asepganjarwiresna@gmail.com p-issn 2541-1683|e-issn 2541-2426 asep ganjar wiresna et al., the relation of kendang and jaipongan: functions and inspira127 sents a variety of movements, music, and clothing and is displayed in local and international performances. although the jaipongan dance was born in bandung, it is well known throughout the priangan area. jaipongan dance reached its peak of glory and popularity in 1980 (durban, 2010). in its development, the jaipongan dance is known throughout indonesia and is performed in art events both locally and abroad. according to caturwati (2007), in contrast to other performing arts, jaipongan was born in the modern era so that all aspects underlying this art can be found clearly. aspects such as the origin of the character, timing, process, results of choreography, as well as the recording of gending accompaniment in jaipongan can be found. jaipongan is a representation of the dynamics of modern society towards performing arts. jaipongan is a form of gugum gumbira’s dissatisfaction, which is the creator of this dance against existing folk dances (nalan, 2007). however, the jaipongan dance is also a fragment of folk dance so that the folk-dance configuration is still present in the jaipongan dance. according to heriyani (2012), the source of the creation of jaipongan dance is folk arts/dances such as ketuk tilu, pencak silat, bajidoran, and banjet. the jaipongan dance repertoire has dynamic, attractive, and sensual dance movements. it is stated that sensuality and eroticization are elements that cannot be separated and the main attraction of jaipongan dance. there are two sequences in the jaipongan dance, namely the main movement sequence and the whole sequence. jaipongan is a dance that has clarity and a systematic pattern. dance and music movements are harmonized in the jaipongan dance with each other to complement each other so that they become a harmonious whole. names such as gugum gumbira tirtasonjaya and tati saleh are important and well-known figures in jaipongan dance. gugum gumbira is the creator of jaipongan and tati saleh is a prominent dancer. however, the literature on the art of jaipongan dance does not discuss the musicians/pengrawit as an essential part in the history of the development and preservation of this art. the birth and development of jaipongan cannot be separated from the role and existence of musicians (nayaga) and kendang instrument. for example, a singer named suanda, in collaboration with gugum gumbira is a figure who has contributed in creating the works that will become known as jaipongan. suanda, as a skilled pengendang, is also known as a musician who dares to break out of tradition when accompanying asikin (dancer and leader of topeng banjet karawang). suanda’s expertise contributed to creating jaipongan, which is a dance form that breaks out of the preceding traditional rules. it can be said that apart from choreographers and dancers, kendang and musicians also have an important relationship with the existence of jaipongan art. previous studies generally focused on the variety of kendang’s variety of tepak/ performance in jaipongan, which is considered to have its characteristics. tirwana (2017) in his writing, discusses how pengendang named agus supriyawan and yayan suryadi have different patterns. if agus supriyawan prefers to use tepak dasar bukaan jugala, yayan suryadi prefers to change tepak bukaan jaipongan instead. according to tirwana (2017), his research concludes that tepak kendang in jaipongan is something that can be developed but cannot be separated from its basic form and essence. another study conducted by saepudin (2013) explores the process of creating the kendang jaipongan tepak by suwanda. this research examines the ideas, concepts, and methods used by a creator in creating tepak kendang jaipongan. this research is different from what has been done by previous researchers who have focused on the tepak kendang and a creator but tries to generally review the relationship of kendang as a musical instrument and pengendang with the jaipongan dance art. this research is essential to do, considering the central function of the kendang harmonia: journal of arts research and education 20 (2) (2020): 126-134128 instrument in the creation and development of the jaipongan dance, which, unfortunately, has not been discussed and reviewed much. kendang and pengendang as artists and musicians should get the spotlight the same as the creators/choreographers, puppeteers, sinden/singers, and dancers get, considering the significant contribution to the arts of west java, including the jaipongan dance. method this research uses qualitative research methods. in this case study, data collection techniques of the relationship between kendang and the jaipongan dance are interviews, observation, and document study. this study explores the relationship between kendang and jaipongan dance, and this art with the community through symbolic meanings. so, a qualitative research method is a method that is following the research objectives. interviews were conducted with three kendang musicians/pengendang named oman rohman, who came from tasikmalaya, mamat rahmat, and ido, who came from soreang, bandung district. observations are made through activities such as watching the jaipongan dance performance, training in playing kendang, participating as a kendang player in performances, and other significant and relevant activities in collecting data and information. meanwhile, document study is carried out in order to complement research data and check the truth through literature reviews, which can be accessed online, in public libraries, and in private data sources/sources. data were analyzed through qualitative stages such as complete data collection, sorting out relevant and needed data to answer research problems, matching the data found with existing references/literature, and describing the research results that had been processed into narrative sentences. results and discussion the presentation of the relationship between kendang and jaipongan dance is divided into several parts, namely (1) the relationship between kendang and pengendang; (2) kendang in west java arts; and (3) kendang and jaipongan dance. kendang and pengendang kendang is waditra percussion made of wood, which is perforated in the middle, closed with dry skin, and tightened with ropes, tapped with palms and middle fingers. rosidi (2000), satjadibrata (2011), and danadibrata (2009) define kendang as an instrument or waditra which are equally defined as “gendang” in indonesian. kendang functions to regulate the rhythm of the song/gending, determine the song’s rhythm, and create the song characteristics or gending. kendang can be considered as an instrument that is dominant in the ensemble/performance of sundanese karawitan instruments. musical instruments are a form of art, which are created based on human taste and aesthetic value. musical instruments are divided simply into two parts, namely waditra tradisi, a standard instrument, and waditra baru, a form of instrument developed and reconstructed. musical instruments are manifested through tenacious thinking and a relatively long process so that they become a work that contains an accountable intellectual value. kendang is a work of art that can be classified in waditra tradisi, which has been known for a long time by the people of west java. in waditra kendang, there are two circles on the top and bottom, nine binding holes (rarawat), nine binders (ali-ali), resonator holes (udel), and black and white outer and inner shells. there are two types of kendang, namely kendang indung and kendang anak (kulanter). kendang is a musical instrument made of wood and played by tapping or beating using a kendang drummer. sundanese kendang usually uses the tones contained in the gamelan (pentatonic scale), namely ketiplak which has a high 5 tone (la, singgul), quotes that have a moderate 3 tone (), or that has a tone of da, goods, and or which has 4 medium tones asep ganjar wiresna et al., the relation of kendang and jaipongan: functions and inspira129 (ti, bem). figure 1. kendang unlike the javanese and balinese kendang, the sundanese kendang is placed on the left to the right or vice versa while lying straight/parallel in java and bali. the sundanese kendang is shaped the same as the javanese kendang and is different from the balinese kendang, which is formed straight without any indentation. one similarity between the sundanese kendang and the jaipongan dance lies in the tendency to seem to break traditional idioms. jaipongan dance is considered to ‘violate’ the generality of the graceful, gentle, and feminine traditional dance. like the sundanese kendang, which is played more attractively and expressively. according to oman the sundanese kendang was born in the saka year during the tarumanegara kingdom (sundanese kingdom). kendang is made from various natural materials; for example, to make kuluwung (resonator material), it should use jackfruit wood to make ancak from kananga wood, and the drummer should use chrysolite wood (oman, interview, 2011). the use of these materials is not without reason, jackfruit wood, for example, is considered not easily cracked and has a distinctive golden yellow color. munding, buffalo skin, is also used because it is strong and not hot for the pengendang hands. even better, if the buffalo skin used is the skin of the calf that died in its mother’s womb or it is usually called handalam. bamboo is used as awi tali, generally sought from a flexible material, so it is not easily cracked. these materials are ideal materials used in making/producing kendang. however, in its current development, the production of kendang sunda has undergone adjustments in terms of material, function, and wasp pattern. this phenomenon causes the emergence of new pengendang, who have good skills and potential. however, the respect and appreciation for kaditra kendang began to decrease, such as sitting, pulling, and striding kendang. it is not proper to do because waditra kendang is a source of livelihood that should be affixed with negative images and values. the behavior that does not respect and appreciate waditra kendang shows the thought that this musical instrument is not a valuable item. waditra kendang should be treated like western musical instruments such as guitar, drums, piano, bass, or cello that get special treatment from the artist. traditional musical instruments should be parallel to western musical instruments because they have the potential to be recognized and compete in the international arena. the treatment of the new pengendang for waditra kendang is currently influenced by self-taught learning through audio-visual media without the presence of a teacher. the presence of a teacher for pengendang is very important because it provides guidance and direction on the formation of potential, quality, and attitude. the teacher provides an understanding of the noble philosophical meanings and symbols of waditra kendang, based on the teacher’s empirical experience. it is not easy to be a good pengendang because it takes skill and mastery of the material. according to rahmat, who is a pengendang of the classical dance (interviewed on june 12, 2011, bandung), the correct and upright sitting method for pengendang is a function of improving blood circulation. the beating technique that is carried out must produce a round sound, pengendang must adjust the power appropriately, as well as understand the character of the dance, song, dancer, and measure the quality of the pengrawit. pengendang must also have spiritual provisions by doing tawasul, namely asking permission from god who he harmonia: journal of arts research and education 20 (2) (2020): 126-134130 believes and respects his parents, teachers, ancestors, and himself. a pengendang named ido (interviewed on june 14, 2011) stated that the clapping technique changed to slapping to produce a rounder sound. contemplation accompanied by remembering the ancestors and teachers is believed to help pengendang and read the verses of the koran, which are believed to increase the pengendang’s self-confidence. according to pranoto (2013), the kendang is a percussion instrument that functions to provide rhythmic accompaniment to the gamelan ensemble. oktriadi (2017) defines pengendang as a pengrawit in a gamelan ensemble which is tasked with playing waditra kendang. pengendang must have more musical knowledge than other pengrawit. the pengendang’s task is to lead the musical presentation course, namely, to control the rhythm, tempo, and stop the performance. knowledge of rhythm, tempo, songs contained in sundanese musicals is the main asset for pengendang. if a pengendang does not own the basic knowledge, then the musical’s aesthetic performance will not be adequately conveyed. oktriadi (2017) provides general descriptions of pengendang subjects who have special skills based on the locus of an institution in the arts, such as; bah rapi, mamat rahmat, to yayan supriadi. from the information presented by oktriadi in the mention of these names, there are important notes related to the dynamics of kendang pengendang, one of which is the data that shows the regeneration journey of the pengendang subject in the same place as well as the same specialization but produces different creativity. according to martopo (2006), creativity is a person’s ability to change the old order into a new order. the three names above represent dynamic time, namely; 1960s, 1970s, until the pengendang subject representing the 1990s to the present, all of which show the dynamics of changing creativity in the play of kendang, even though it is in a function of traditional art, such as; tayub and keurseus. there is an important point that pengendang creativity has occurred for a long time, and another important point that creativity occurs in the dimensions of a traditional performance. the formation of identity as a pengendang requires a very long stage to cultivate a sense of self-confidence (tawajuh). tawajuh, according to rohmat (interviewed on 12 june 2011) is a ripening process both physically and mentally, also known as “nyirepkeun”. through these stages, the pengendang will be able to release the energy that will be released through waditra kendang. thus, the expected kendang sound will come out. through these stages, the pengendang can also control the concept of bodily recall a momentary installation in a body frame that will be written on waditra kendang. this process also affects the level of awareness of pengendang to behave well. kendang in west java art kendang is a musical instrument that functions as a carrier of rhythm, tempo, and embat in both musical and dance arts. kendang is very influential in the art of dance because it accompanies dance movements. kendang also encourages the dancer’s characteristics in performing a type of dance so that the performance can be interesting and enjoyable not only for dancers, musicians/pengendang, but also for the audience. kendang is played differently in various dances so that the pengendang must understand and memorize each type of dance’s musicality. for example, in tari topeng klana cirebon, there are clapping such as bango tong-tong, pring ketimpak, adu bapa, tumpak mobil bandung, and so on. kendang is played to accompany and create the nuances of tari topeng klana cirebon, a dance art depicting a klana character who is known as a figure with bad character. the kendang used in tayub art is different, namely kendang kendor. the kendang has to adapt to the various characters and different movements in tayub art. tayuban was started by using gending tataluan, which was in the form of instrumental songs; the music presented included: gending kebo jiro, bajeman, watangan, asep ganjar wiresna et al., the relation of kendang and jaipongan: functions and inspira131 jipang walik, sarangan, kaloran, panglima, gendu, senggot and so on (ramlan, 2003). the kendang played in accompanying tari gatot kaca also distinguishes it from other dance arts. in tari gatot kaca, the technique used is bobot tepak , depicting the character of ponggawa lungguh, which is characterized by a dance that fluctuates. the arts in west java (sunda) cannot be separated from waditra kendang, such as wayang golek, wayang wong priangan, sandiwara, ketuk tilu, ronggeng gunung, ronggeng amen, and jaipongan. kendang serves as accentuation in musicality towards the movements of people and puppets. kendang also functions as a rhythm in channeling harmonization in the music performance. moreover, kendang provides aesthetic value and markers to the audience and communicates a type of art performance. in a traditional performance setting, the pengendang has fans or followers (related to the kendang performance pattern). the local community likes pengendang who are considered to have the ability, understanding of the kendang tepak treasury, as well as the pengendang relationship with the community. kendang is closely related to the priangan community and their arts. kendang sunda is found in almost all dance works ranging from puppet dances, folk dances, mask dances, new creation dances, and contemporary dances. kendang is found in sundanese arts, such as gong renteng or kromong. kendang has a symbolization of sound in an art performance, which is interwoven as oral communication. for example, the sound tertektek in bangreng art from sumedang and pengendang sounds kuluwung (the resonator part of the kendang) indicates that the dancer must tip to the pengendang. another example is what happened in ciamis regency in the art of ronggeng amen, when the clapping pattern became mincid , the dancer’s position became a big circle. the dancers follow the tempo performed by the kendang instrument so that it can be said that the pengendang gives accentuation, so the dancer follows by filling in the dance movements. kendang and jaipongan dance gugum gumbira as the creator of the jaipongan dance is a composer and choreographer who often explores several arts types. arts such as ronggeng amen, topeng pendul, ronggeng gunung, bajidoran, bangreng, pencak silat, and ketuk tilu. this affects the dynamic rhythm and complexity of jaipongan dance art. jaipongan became known and became very popular. according to durban (2010), jaipong reached its peak of popularity in 1980, so that both rural and urban communities favor this dance art. jaipongan is favored by all groups, from the young to the older generation, from the lower middle class to the uppermiddle class. the existence of jaipongan causes this dance art to be known in the country and in the international arena. jaipongan is a popular dance art that is a breakthrough form of the development of performing arts. jaipongan’s popularity has made this dance as performance material for most art groups (nuriawati & nalan, 2018), and even some art groups/communities that previously worked in other popular arts have switched to jaipongan. however, besides the popularity, existence, and progressiveness of jaipongan, history has recorded that the role of musicality is only a small part of the dance art. there is even a stereotype that karawitan (music) is only an accompaniment to the jaipongan dance art. this affects the existence and role of the underrated music in jaipongan. this causes kendang, as a musical instrument, to be not well known and favored by art connoisseurs or audiences. kendang’s appreciation and popularity follow from what the audience gives to dance/performance because this instrument is known only as an accompaniment to song and dance. this situation changed with the times and technology so that there was a collaboration between genres such as jaz, dangdut, and pop. kendang, as a musical instrument, was previously only known and focused on traditional space and installation [genre]. harmonia: journal of arts research and education 20 (2) (2020): 126-134132 the fact is that there is an inherent attachment between jaipongan dance and musical instruments that cannot be separated. kendang is the most influential musical instrument in the jaipongan dance because the tempo and dynamics are completely controlled in every jaipongan dance movement by the pengendang. there is a conception that the naming of jaipongan is an onomatopoeia of the kendang sound. in this context, sound and kendang as an instrument represent music elements in jaipongan (aziz, 2007). it can be said that kendang is the inspiration for the formation of jaipongan art. the emergence of the jaipongan dance by gugum gumbira, which was created in the city of bandung inspired and influenced the performance of kliningan bajidoran in the pantura area. the erotic movements of the jaipongan dance and the attractive tepak kendang have dominated the kliningan bajidoran show for up to ten years (caturwati, 2011). this shows the attachment of the kendang instrument, which has high progressivity, balanced and harmonious development in every development with the jaipongan art itself. jaipongan is the birth of a “new” dance movement that emerges from creativity, thus giving rise to new tepak kendang musically. according to saepudin and haryono (2010), the creation of a variety of tepak kendang jaipongan that is new, original, and acceptable to west java people shows the creativity and ability to play kendang that is owned by the artist. durban (2010) explains that creating jaipongan began when gugum gumbira discovered another type of ketuk tilu, with simple dance movements and energetic music. the attractive music, the voice of the singer, and the spontaneous rhythm of the gamelan player, as well as the joy and determination of the dancers, inspired him in creating the jaipongan dance. it can be said that every element, including music in which there is kendang, has an equal and central role in the creation of the jaipongan dance art. the jaipongan dance was then created into an art that was more dynamic and attractive than ketuk tilu. the movements of the arms and legs that are wider and alive are the advantages and differences that are found in the jaipongan dance. according to ratih (2001), the birth of relatively new dances has become a reality and demands of the soul who want the freedom of character, soul, and rhythm and escape from all forms of tradition. jaipongan, which was born in the modern era, is an expression of the desire for freedom and releases the performing arts from the traditional standards and idioms that have long existed in people’s lives. in creating dance compositions, there is often a stagnation or deadlock in practice, so it is necessary to find an inspiration that can be drawn from the musical aspect. this confirms that there is a dependence on dance composition with a musical system and composition. kendang and pengendang have a central position in the jaipongan dance, for example the pengendang named suanda creates many variations of the tepuk kendang patterns and is elaborated with the gugum gumbira dance movements. tepak kendang, such as bongbang, oray welang, galeong, mincid keureup, and so on which are then widely used by other pengendang. tepak is a term used in analogizing the kendang punch in sundanese musicals (soepandi, 1995). tepak can also be interpreted as a characteristic of a musician (pengendang) in playing kendang, which is influenced by the ability and experience of the pengendang. tepak kendang was popular and used as a barometer in the development of other tepak kendang in around 1978, even today. according to mamat rahmat (interviewed on june 8, 2019), the naming/terminology of the developing tepak kendang name is a process of creativity in work. the name tepak kendang becomes a communication sentence or symbol of meaning to preserve tepak kendang sunda. the relationship between kendang/pengendang and jaipongan is explained by saepudin (2007) that the elements of improvisation of the tepak kendang in the jaipongan dance are very high. jaipongan dancers, especially those who are proasep ganjar wiresna et al., the relation of kendang and jaipongan: functions and inspira133 ficient and experienced, tend not to follow the tempo, movement, or variety of taps to communicate and sensitivity from a pengendang must occur. this reason also causes jaipongan dancers to prefer to be accompanied by music and direct musicians, rather than only by audio/recording media. as a means of appreciation and entertainment, improvisation is an interesting side of jaipongan dance. kendang, who controls the musical instruments in the jaipongan dance, then needs a pengendang who is observant of the dancers’ improvisations so that the performance is successfully delivered. what is unique is that, through improvisation in the jaipongan dance, new patterns or motifs in the kendang sundanese also emerge. the relationship between the two is a dynamic relationship that brings together the creation of new works in the performing arts. creativity and development of the jaipongan dance have occurred to date, affecting elements of music, choreography, clothing, and make-up (nuriawati & nalan, 2018). conclusion from the explanation above, it can be concluded three points about kendang and jaipongan dance. first, there have been several kendang changes in terms of function, manufacturing materials, and pengendang ethics. traditionally, kendang is made with selected materials such as jackfruit wood and calfskin that died in its mother’s womb (handalam) to create good musical instruments and produce quality sound. pengendang as a player of this instrument, is required to have good ethics towards kendang, such as not sitting and striding, and showing respect for kendang as a musical instrument and a source of livelihood. changes in kendang production that do not meet the material requirements of choice have also reduced pengendang ethics for this instrument. the absence of the teacher for the pengendang also affects the attitude of the musicians towards kendang. meanwhile, the requirement to be a pengendang requires the ability to play music and spiritual acuity. second, kendang is a musical instrument that plays a major role in the performing arts of west java (priangan). arts such as wayang golek, wayang wong priangan, sandiwara, ketuk tilu, ronggeng gunung, ronggeng amen, or jaipongan use kendang as a carrier of rhythm and tempo. kendang is an important element in both the traditional and contemporary realms, serving to provide a musicality and identity for each art type. kendang is played differently in each performing art, adapting to various characters and dance movements. this marks the third conclusion from the above discussion. third, kendang has a relationship in the process of creating the jaipongan dance and the development of the art. during the process of creating the jaipongan dance, gugum gumbira as the creator, communicated and discussed both with dancers and pengendang, marking the importance of dance movements and kendang musicality in the art. jaipongan dance is known as a new breakthrough in the traditional arts of west java, which presents energetic and sensual female dance movements. the tepak kendang sunda that accompanies the jaipongan dance is considered out of the traditional idiom, played with an attractive and expressive tepak pattern. kendang has complete control over the tempo and rhythm of every movement in the jaipongan dance. on the other hand, the jaipongan dance gives rise to creativity and the creation of a variety of new, dynamic, acceptable, and even popular tepak kendang by the people of west java. references aziz, a. (2007). pencugan merupakan kreativitas tari jaipongan, in endang caturwati, ed., gugum gumbira dari chacha ke jaipongan. bandung: sunan ambu press. caturwati, e. (2007). tari di tatar sunda. bandung: stsi bandung. caturwati, e. (2011). kajian seni pertunjukan. bandung: stsi bandung. harmonia: journal of arts research and education 20 (2) (2020): 126-134134 herdiani, e. (2012). ronggeng, ketuk tilu dan jaipongan; studi tentang tari rakyat di priangan (abad ke-19 sampai awal abad ke-21). bandung: universitas padjajaran. martopo, h. (2006). paradigma baru penelitian seni (the new paradigm of art research). harmonia jurnal pengetahuan dan pemikiran seni, 7(3), 125-132 nalan, a. s. (2007). gugum gumbira: dari cha cha ke jaipongan. bandung: sunan ambu press. nuriawati, r., & nalan, a. s. (2018). kreativitas gondo dalam tari jaipongan. makalangan, 5(2). oktriyadi, r. (2019). pengendang dalam garap karawitan tari sunda. makalangan, 6(1), 29-36. pranoto, h. s. (2013). sacrilegious aspect of javanese gamelan: past and future. harmonia: journal of arts research and education, 13(1). ramlan, l. (2013). jaipongan: genre tari generasi ke tiga dalam perkembangan seni pertunjukan tari sunda. resital seni pertunjukan, 14(1). rosidi, a. (2000). ensiklopedia sunda. jakarta: pustaka jaya. ratih, e. (2001). fungsi tari sebagai seni pertunjukan (the function of dance as a performing art). harmonia jurnal pengetahuan dan pemikiran seni, 2(2) saepudin, a. (2013). garap tepak kendang jaipongan dalam karawitan sunda. yogyakarta: isi yogyakarta. saepudin, a. (2013). konsep dan metode garap dalam penciptaan tepak kendang jaipongan. panggung, 23(1). saepudin, a. & haryono, t. (2010). kreativitas suwanda dalam tepak kendang jaipongan di jawa barat. yogyakarta: universitas gadjah mada. tirwana, d. t. (2017). kemprung jaipong penyajian kendang dalam jaipongan. bandung: isbi. 131 keberadaan keyboard pada gendang guroguro aron dan pengaruhnya terhadap karakter mudamudi karo siti rahmah universitas negeri medan, jl. willem iskandar pasar v medan estate, medan e-mail: rahmah_siti@gmail.com abstrak penelitian ini bertujuan untuk mendeskripsikan kesenian guro-guro aron pada masyarakat karo yang menyangkut perubahan, dan pengaruh keyboard pada musik guro-guro aron. pada awalnya keyboard digabungkan dengan ensambel kesenian tradisional karo dalam mengiringi seni pertunjukan tradisional gendang guro-guro aron, namun belakangan alat musik barat tersebut digunakan secara tunggal untuk mengiringi gendang guro-guro aron, tanpa disertai musik tradisional. masuknya instrumen keyboard, menambah semaraknya pertunjukan. namun demikian, hadirnya musik keyboard memunculkan masalah yang baru pada satu sisi, yaitu masalah etika menjadi tidak diperhatikan bagi muda-mudi karo sebagai penerus budaya karo. tata cara menari yang semakin seronok dan serampangan sering terjadi dengan atau tanpa sengaja oleh komunitas pendukungnya. terjadinya penyimpangan dan pergeseran justru membuat survive keberadaannya. the use of keyboard in gendang guro-guro aron and its influence on the character of karo youngsters abstract this research is meant to describe guro-guro aron musical arts of karo community, dealing with changes and influences of keyboard on guro-guro aron music. formerly, keyboard was combined with ensemble of karo’s traditional music in accompanying gendang guro-guro aron performance. yet, recently the western music instrument has been used as a solo instrument to accompany gendang guro-guro aron, without any traditional musical instrument. the use of keyboard embellishes the musical performance. nevertheless, the use of keyboard causes a new problem, the indifference to local ethics of the karo youngsters as the next generation of karo culture. the perfunctory and vulgar dancing styles are often practiced deliberately or unintentionally by the supporting community. yet, the changing dancing practices have indeed established its existence. © 2011 sendratasik fbs unnes kata kunci: keyboard, gendang guro-guro aron, karakter pendahuluan masyarakat karo sebagai salah satu ragam suku bangsa indonesia merupakan bagian dari etnik yang ada di provinsi sumatera utara. sebagai satu provinsi, sumatera utara bisa dikatakan merupakan daerah yang heterogen dalam budaya, karena terdiri atas delapan suku bangsa (etnik) yakni, melayu, pesisir, batak toba, harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 130-142 available online at http://journal.unnes.ac.id/nju/index.php/harmonia p-issn 1411-5115 e-issn 2355-3820 harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 130-142132 karo, pak-pak dairi, simalungun, angkola-mandailing, dan nias. berbagai agama, sistem sosial, kesenian, dan unsur budaya lainnya hidup di tengah-tengah masyarakat. sejalan dengan apa yang dikatakan ki suratman (1992 :169) bahwa sifat kemajemukan budaya terdapat dalam berbagai bidang, seperti adat istiadat, bahasa, kesenian, agama, pandangan politik serta kondisi ekonominya. masyarakat karo dalam persebarannya dapat dikategorikan luas karena menempati beberapa daerah kabupaten di sumatera utara. sampai saat ini yang menjadi persebaran orang karo terdiri atas kabupaten karo, langkat, deli serdang, simalungun dan dairi. diasumsikan bahwa daerah asal orang karo adalah kabupaten karo yang sekarang. dengan demikian apabila masyarakat ingin menjalankan tradisi karo harus mengacu kepada tradisi yang masih ada di kabupaten karo. hal ini jugalah sebagai suatu alasan pendapat bahwa “taneh karo” identik dengan kebudayaan karo sehingga daerah kabupaten karo yang masih melaksanakan kebudayaan tradisi secara ketat dijadikan sebagai daerah yang standar/ideal untuk ditiru. kebudayaan dapat diartikan sebagai suatu sistem nilai dan pikiran yang hidup pada sebuah masyarakat. dalam suatu nilai dan pikiran tersebut berkembang pula sejumlah gagasan dan nilai-nilai seperti etika dan norma yang mempengaruhi tingkah laku warga sebuah masyarakat. isi pikiran dan nilai inilah kemudian di dalam kebudayaan manusia membedakan masya rakat yang satu dengan masya-rakat lainnya. menurut koentjaraningrat (1984:10) kebudayaan adalah keseluruhan gagasan dan karya manusia, yang harus dibiasakan dengan belajar, beserta keseluruhan dari hasil budi dan karyanya itu. karena cakupannya sangat luas, maka untuk memudahkan analisis konsep, maka kebudayaan dipilah kedalam unsur unsur yang bersifat universal. ada tujuh unsur yang bersifat universal dari kebudayaan, yaitu (1) bahasa; (2) sistem pengetahuan; (3) organisasi sosial; (4) sistem peralatan hidup dan teknologi; (5) sistem mata pencaharian hidup; (6) sistem religi; (7) kesenian. sebagai gagasan dan karya manusia, maka kebudayaan mempunyai tiga wujud, yaitu: (1) wujud ideel, yaitu sebagai kompleks dari ide-ide, gagasan, nilai-nilai, norma-norma, peraturan, dan sebagainya; (2) sistem sosial, sebagai kompleks akivitas kelakuan berpola dari manusia dalam masyarakat; (3) kebudayaan fisik sebagai benda-benda hasil karya manusia (koentjaraningrat, 1984:10). konsep ini penting untuk menjelaskan kesenian sebagai salah satu unsur kebudayaan yang bersifat universal. kesenian merupakan hasil karya manusia yang berkaitan dengan keindahan yang di dalamnya merupakan bentuk aktivitas manusia di masyarakat yang berasal dari ide-ide dan gagasan yang berisi nilai-nilai dan norma-norma yang dianggap berharga dan berlaku di masyarakatnya. kesenian yang merupakan satu di antara unsur budaya lainnya juga tidak terlepas dari keragaman sesuai dengan keragaman masyarakatnya. kesenian yang beraneka ragam itu pada hakikatnya mempunyai sejumlah fungsi. ia bisa berfungsi sebagai penerus adat kebiasaan dan nilainilai kebudayaan. di samping menambah kenikmatan pada hidup sehari-hari, kesenian dapat menambah eratnya ikatan solidaritas yang bersangkutan. kesenian juga merupakan bagian dari sistem kehidupan seperti halnya dengan etnik karo yang memiliki kekayaan bentuk-bentuk seni sebagai manifestasi aktivitas sosial masyarakatnya. beberapa aspek kesenian yang ada pada etnis karo ini seperti sastra, teater, musik (gendang), tari (landek). salah satu bentuk kesenian yang populer sekaligus sebagai suatu bentuk identitas budaya masyarakat karo terdapat pada kesenian guro-guro aron. guro-guro aron merupakan suatu pertunjukan musik dan tari yang dilaksanakan muda-mudi pada masyarakat karo yang berfungsi untuk hiburan. guro-guro aron sebagai bentuk kesenian yang hanya terdapat pada masyarasiti rahmah, keberadaan keyboard pada gendang guro-guro aron 133 kat karo mempunyai konteks, fungsi, dan struktur tersendiri sehingga keberadaannya sebagai salah satu ekspresi budaya dalam siklus aktivitas masyarakat karo adalah suatu hal yang penting. hal itu dapat dilihat dari sudut perilaku sosial, religi, adat, transformasi nilai-nilai, pendidikan, ekonomi, dan hiburan. pelaksanaan guro-guro aron pada awalnya berkaitan dengan siklus pertanian yaitu khususnya setelah masa panen berakhir. perayaan pada masa akhir panen ini disebut kerja tahun (pesta tahunan). di samping kerja tahunan sebagai salah satu konteks pelaksanaan, guro-guro aron merupakan acara yang bersifat gembira untuk kalangan muda-mudi. guro-guro aron sebagai satu bentuk kesenian tradisional masyarakat karo sampai saat ini masih dilaksanakan di tengah-tengah masyarakat etnik ini. meskipun telah melewati perjalanan waktu dari masa ke masa, kesenian ini masih tetap eksis, yang sudah tentu telah beradaptasi secara terus menerus sesuai dengan kepentingan masyarakat karo yang dinamis dalam mengikuti perkembangan zaman. artinya, perubahan dan pergeseran dalam kesenian ini terjadi searah dengan perubahan masyarakat karo dalam berbagai aspek kehidupan. sesuai dengan pendapat olsen (1968:136-137) bahwa setiap masyarakat, dalam dirinya sudah memiliki unsur-unsur potensial dalam menghasilkan perubahan dan dinamika . perubahan itu menjadi bagian integral dalam kehidupan masyarakat . kemampuan berubah selalu merupakan sifat yang penting dalam kebudayaan manusia. tanpa itu kebudayaan (kesenian) tidak mampu menyesuaikan diri dengan keadaan yang berubah. soedarsono (1995:21) dalam jurnal seni budaya mengatakan cepat atau lambat, kebudayaan selalu akan berubah. transformasi itu bisa berkaitan dengan bentuknya, tetapi kerap pula berkaitan dengan nilai-nilainya. berkaitan dengan hal tersebut, guro-guro aron sebagai suatu bentuk seni pertunjukan yang bersifat hiburan yang dilaksanakan berdasarkan adat sebagai salah satu ekspresi budaya dalam siklus aktivitas masyarakatnya merupakan suatu kajian yang menarik untuk diteliti. me ngingat bahwa laju pertumbuhan kesenian yang terus menerus mengalami perubahan adalah disebabkan oleh banyaknya faktor yang mempengaruhinya. hal ini menjadi ketertarikan tersendiri bagi peneliti, sehingga peneliti ingin melihat dan menggali lebih dalam tentang keberadaan keyboard pada pelaksanaan gendang guro-guro aron dan pengaruhnya terhadap karakter pemuda-pemudi karo khususnya. karena itu pula guro-guro aron sebagai suatu kasus sebenarnya memerlukan instrumen analisis yang multidimensional. dalam hal ini, ilmu bantu yang diharapkan dapat dipakai adalah bidang ilmu sejarah, estetika, antropologi, dan sosiologi. oleh karenanya perlu segera dilakukan suatu penelitian untuk mengungkap bagaimana pengaruh keyboard pada gendang guro-guro aron terhadap karakter pemuda-pemudi karo pada masa ini. menurut sitepu, dkk (1996:105), guro-guro aron berasal dari kata guro-guro dan aron. guro-guro artinya ”senda gurau” atau “bermain”, sedangkan aron artinya “muda-mudi dalam satu kelompok kerja berbentuk arisan dalam mengerjakan ladang”. pengertian yang hampir sama juga dilihat dalam kamus karo indonesia, guro-guro aron secara harfiah dapat diterjemahkan menjadi “bermain-main” (siregar, dkk, 1985 : 66). bermain-main dalam istilah guro-guro aron memiliki arti yang kultural, menyangkut aspek kebudayaan. seperti yang dikemukakan oleh huizinga (1990 : vii-xi) bahwa permainan yang di sini tidak bisa dipakai sebagai fenomena biologis, akan tetapi sebagai fenomena kebudayaan. permainan tidak hanya me yangkut dunia anak-anak saja, seperti yang lazim kita kenal, akan tetapi mengena kepada dunia kaum dewasa juga, sampai usia kakek nenek. selanjutnya ginting (1999:173) me ngatakan, bahwa guro-guro aron merupakan pesta muda-mudi karo yang berfungsi sebagai sarana hiburan, internalisasi musik tradisional karo, menjalin keintiman antar harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 130-142134 muda-mudi bahkan sampai perjodohan, melatih kepemimpinan desa dan lain-lain. pada awalnya pelaksanaan guro-guro aron berkaitan dengan siklus pertanian, yakni khusus pada masa panen berakhir. searah dengan konsep kepercayaan masyarakat karo pada zaman dahulu, bahwa pelaksanaan guro-guro aron merupakan satu upacara yang berkaitan dengan kepercayaan. guro-guro aron merupakan sarana menyam paikan berbagai hal, seperti: harapan agar pada musim tanam yang akan datang tidak terjadi kemarau; harapan agar tanaman yang akan datang tidak diganggu hama; ucapan syukur atas panen yang telah berhasil dilakukan, dan sebagainya. di lain hal, pelaksanaan guro-guro aron dimaksudkan untuk memberi hiburan bagi peserta dan masyarakat di suatu kampung/daerah, juga merupakan wadah pertemuan muda-mudi dan kesempatan bagi mereka untuk mencari pasangan yang kemudian meningkat ke jenjang perkawinan. guro-guro aron dapat diartikan sebagai suatu pesta ria muda-mudi yang dibentuk dengan menampilkan gendang karo dan perkolong-kolong. perkolong-kolong adalah penyanyi (vokalis) yang biasanya sepasang, satu pria dan satu wanita. berbagai macam fungsi terdapat dalam guro-guro aron ini, salah satunya adalah belajar etika. dalam melaksanakan guro-guro aron ini, anak perana (pemudi) dan singuda-nguda (pemuda) juga belajar etika atau tata krama pergaulan hidup dengan sesamanya. muda-mudi belajar mengikuti adat dalam hal “ertutur” (cara menentukan hubungan kekerabatan berdasarkan marga) karena satu sama lain pada saat menari tidak boleh ada yang sumbang (sumbang landek), artinya menari tidak menurut adat dan kekerabatan. jadi di dalam guro-guro aron berlaku norma adat dan etika yang harus ditaati oleh masyarakat karo. kata pertunjukan biasa ditambah “seni” di depannya dan memiliki arti “tontonan” yang bernilai seni, seperti drama, tari, dan musik, yang disajikan sebagai pertunjukan di depan penonton (murgiyanto, 1996:153). guro-guro aron sebagai suatu bentuk seni pertunjukan yang dimaksud dalam tulisan ini adalah merupakan sebuah penyajian karya seni pada saat dipentaskan. untuk memperjelas konsep seni pertunjukan guro-guro aron dalam hal ini peneliti meminjam istilah yang dikemukakan oleh behaque (1984:3-5), bahwa seni pertunjukan adalah cultural performance (pertunjukan budaya) yang kontekstual. selanjutnya, murgiyanto (1996:153) mengatakan pertunjukan budaya (cultural performance) mencakup pertunjukan seni, olah raga, ritual, festival, dan berbagai bentuk keramaian lainnya. perbedaan suku bangsa di indonesia ditentukan oleh antara lain suatu nilai yang mereka anggap baik dan buruk. ada sebuah peribahasa yang mengatakan, budaya menunjukkan bangsa/suku bangsa. sebagaimana diketahui, indonesia yang terdiri dari dan memiliki berbagai macam suku bangsa memiliki sendiri budaya serta adat kebiasaannya sebagai jati diri dari masing-masing suku bangsa tersebut. melalui dan menggunakan kebudayaan yang dimilikinya, manusia dapat beradaptasi dengan lingkungan alam maupun sosialnya supaya dapat tetap mempertahankan hidup. selain sebagai alat untuk beradaptasi, kebudayaan juga merupakan pedoman bagi tingkah laku manusia dan mengatur kehidupan kelompok. sebagai suatu pedoman yang bersifat umum, kebudayaan berasal dari ide-ide manusia yang terwujud dalam adat yang di dalamnya terkandung nilai-nilai budaya, norma-norma, dan aturan-aturan khusus. sistem nilai budaya ini diperkenalkan kepada setiap anggota masyarakat melalui proses sosialisasi dan enkulturasi, sehingga konsep-konsep tersebut berakar dalam jiwanya dan akan tetap dimiliki sebagai identitas dari suatu bangsa umumnya dan khususnya suku bangsa. hal ini sejalan dengan konsep yang dikemukakan koentjaraningrat (1969:19), bahwa karena sistem nilai budaya merupakan suatu rangkaian dari konsepsi-konsepsi abstrak yang hidup dalam pikiran sebagian besiti rahmah, keberadaan keyboard pada gendang guro-guro aron 135 adalah perubahan yang datang dari luar masyarakat dengan jalan difusi atau penyebaran kebudayaan atau peminjaman kebudayaan. kroeber mengatakan, difusi adalah salah satu aspek akulturasi. apabila kita mengikuti penyebaran satu unsur atau kompleks kebudayaan dari satu kebudayaan lain maka disebut gejala itu difusi. dan jika kita perhatikan akan adanya perbentukan antara dua kebudayaan dengan beratus-ratus unsur-unsurnya yang saling berdifusi, maka gejala itu disebut akulturasi. teori tersebut akan digunakan untuk melihat perubahan-perubahan yang terjadi pada bentuk pertunjukan guro-guro aron, dan faktor-faktor apa saja yang mempengaruhi perubahan tersebut. seperti yang sudah dipaparkan pada bagian sebelumnya bahwa ada beberapa macam fungsi terdapat dalam guro-guro aron ini, salah satunya adalah belajar etika. dalam melaksanakan guro-guro aron ini, anak perana (pemudi) dan singuda-nguda (pemuda) juga belajar etika atau tata krama pergaulan hidup dengan sesamanya. muda-mudi belajar mengikuti adat dalam hal “ertutur” (cara menentukan hubungan kekerabatan berdasarkan marga) karena satu sama lain pada saat menari tidak boleh ada yang sumbang (sumbang landek), artinya menari tidak menurut adat dan kekerabatan. jadi di dalam guro-guro aron berlaku norma adat dan etika yang harus ditaati oleh masyarakat karo. terjadinya perubahan dalam pertunjukan guro-guro aron yang dahulunya masih memanfaatkan musik tradisional sebagai musik pengiringnya yang selanjutnya perkembangannya saat ini sudah jarang bahkan tidak ada lagi karena kehadiran musik keyboard. melihat fenomena tersebut ada keinginan peneliti untuk melihat apakah karakter muda-mudi karo masih mempertahankan nilai-nilai/ norma adat yang harus ditaati dalam masyarakat karo. metode penelitian ini merupakan penelitian deskriptif kualitatif dengan menggunakan pendekatan multidisiplin dan penelitian sar dari masyarakat, sehingga sistem nilai budaya selain berfungsi sebagai suatu pedoman juga sebagai pendorong kelakuan manusia dalam hidup bahkan berfungsi juga sebagai tata kelakuan, seperti aturanaturan adat sopan santun, dan sebagainya. pada masyarakat karo, corak dari incest dan tabu lebih mengarah kepada “hubungan penghindaran”, yang juga lazim disebut dengan rebu. kata rebu berarti pantang, tidak pantas, dilarang, tidak dapat, tidak diijinkan melakukan sesuatu hal atau perbuatan. demikian halnya dengan sumbang landek yang merupakan larangan dalam acara guro-guro aron, yang sangat terkait dalam topik penulisan ini. rebu dan sumbang landek menunjukkan tata kelakuan yang merupakan suatu jaringan dari norma-norma, aturan-aturan, dan pandangan-pandangan yang harus dilakukan, karena jika di langgar akan dianggap tidak lazim, walaupun bila dilanggar tidak akan mendapat tekanan yang keras. melalui pengamatan terhadap perubahan bentuk pertunjukan guro-guro aron ini, peneliti juga ingin mendeskripsikan apakah benar telah terjadi pergeseran nilai budaya karo yang selama ini masih tetap saja dianggap luhur oleh sebagian masyarakatnya. untuk melihat perubahan tersebut, penelitian ini mengambil rujukan teoretis sebagai landasan berpijak sebagaimana dikemukakan herkovist (1948:525), bahwa perubahan kebudayaan dapat dilihat dari dua titik pandang, yaitu bagaimana yang terjadi pada masa lampau dan bagaimana pula yang terjadi pada masa sekarang. perubahan dapat juga dipandang dalam melihat bagaimana asal-usul sebuah budaya, apakah karena faktor internal atau eksternal. perubahan internal selalu disebut dengan inovasi, sedangkan perubahan eksternal selalu dihubungkan de ngan proses akulturasi. perubahan internal adalah perubahan yang dapat berasal dari dalam masyarakat sendiri, yang ditimbulkan oleh discovery (penambahan pengetahuan atau penemuan baru) dan invention (penerapan pengetahuan dan penemuan baru itu). sedangkan perubahan eksternal harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 130-142136 lapangan. penelitian ini merupakan kajian terhadap musik keyboard dalam gendang guro-guro aron pada masyarakat karo. perhatian penelitian yang utama adalah pelaksanaan atau pertunjukkan guro-guro aron di medan dan sekitarnya, misalnya di daerah pancur batu dan padang bulan karena komunitas masyarakat ini melaksanakan pertunjukkan tersebut. lebih jauh penulis juga menyaksikan beberapa pertunjukan di desa-desa tanah karo sebagai pembanding dan penambah wawasan terhadap perubahan-perubahan yang terjadi dalam pertunjukan guro-guro aron tersebut. pengumpulan data penelitian ini dibagi menjadi tiga bagian, yaitu studi dokumen, observasi, dan wawancara. analisis data dalam penelitian ini dilakukan secara kualitatif. analisis data ini merupakan bagian penting dalam metode ilmiah, karena dengan analisislah data tersebut dapat diberi arti dan makna yang berguna dalam memecahkan masalah penelitian (nasir, 1985:405). untuk menganalisis data dipergunakan teknik triangulasi yaitu pemeriksaan keabsahan data dengan memanfaatkan sesuatu yang lain diluar data itu untuk keperluan pengecekan sebagai pembanding terhadap data itu. teknik triangulasi yang di pakai adalah triangulasi dengan sumber. patton (1987:331) mengatakan, triangulasi dengan sumber berarti membandingkan dan mengecek balik derajat kepercayaan suatu informasi yang diperoleh melalui waktu dan alat yang berbeda dalam metode kwalitatif. hasil dan pembahasan sejarah persebaran masyarakat karo menurut sejarahnya, pada awalnya orang karo berasal dari tiongkok selatan (termasuk propinsi yunan di cina sekarang) yang melintasi siam (thailand) dan indochina menuju pantai timur sumatera bagian utara. pandangan meliala dan tambun dalam prints bahwa karo yang dikategorikan sebagai salah satu suku bangsa proto melayu (melayu tua) setelah tiba di pantai timur sumatera mendiami daerah sekitar pangkalan berandan dan belawan. mengacu pada pendapat tersebut, karo termasuk proto melayu yang berasal dari daerah cina selatan (prints dan prints, 1985:11). kedatangan bangsa deutro melayu (melayu muda) di pantai timur menyebabkan terdesaknya bangsa proto melayu, sehingga keturunan bangsa proto melayu mengadakan perpindahan dan menyebar ke daerah pedalaman sumatera bagian utara. penyebab perpindahan ini, prints dan prints menyatakan “karena adanya pendatang baru bangsa deutro melayu (melayu muda) dan sebagai akibat dari penyerbuan kerajaan mataram pada abad vii ke pantai timur dan barat pulau sumatera, serta terjadinya peperangan antara haru (karo) dengan mojopahit pada tahun 1331 sampai dengan 1364” (prints dan prints, 1985:12). setelah terjadinya penyebaran, disebabkan beberapa penyebab di atas sehingga menempati berbagai daerah yang pada akhirnya menjadi daerah domisili masyarakat karo. pembagian daerah administratif tk.ii di indonesia khususnya sumatera utara terjadi setelah kemerdekaan ri 1945 (singarimbun, 1975:1). sebagaimana yang diketahui bahwa persebaran masyarakat karo di daerah propinsi sumatera utara di kategorikan luas karena menempati beberapa daerah kabupaten di sumatera utara. etnis karo bukan hanya berdiam di daerah kabupaten karo saja, mereka berdiam di daerah-daerah tetangganya seperti di kabupaten deli serdang, langkat, simalungun, dairi, aceh tenggara, kodya medan, kodya binjai, dan berbagai tempat di belahan nusantara kita ini. menurut perhitungan kasar tahun 1985 tidak kurang dari 500.000 jiwa jumlah masyarakat karo yang ada di daerah-daerah luar kabupaten karo (bangun, 1986: 13 ). persebaran masyarakat karo yang mendiami daerah-daerah di luar kabupaten karo ini sebenarnya telah terjadi jauh sebelum belanda menjajah wilayah yang didiami suku karo sekitar tahun 1906, khususnya yang tinggal di dataran tingsiti rahmah, keberadaan keyboard pada gendang guro-guro aron 137 gi karo sekarang (pemda dati ii karo, 1981:3). setelah belanda menginjakkan kakinya di daerah wilayah karo, maka daerah ini dibagi-bagi oleh belanda menjadi wilayah pemerintahan yaitu onderafdeling karo-landen di pimpin controleur dimana pimpinan pemerintahan berada di tangan belanda. di samping itu ada pula pemerintahan bumiputera (lands-chaap) yang di bentuk berdasar “perjanjian pendek” (korte verklaring) tahun 1907 dan dibagi menjadi 5 landschaap yang dikepalai oleh sibayak. di bawah landschaap ada lagi kerajaan lebih kecil yang bernama raja urung. daerah onderafdeling digabung pula dengan simalungun, yang kemudian dijadikan sebuah afdeling dengan ibukotanya pematang siantar yang dikepalai seorang asisten residen berkebangsaan belanda (singarimbun, 1975:9). setelah indonesia merdeka, daerah yang didiami oleh sebagian suku karo dijadikan satu kabupaten, mencakup kabupaten karo sekarang ditambah wilayah karo jahe/dusun dengan tiga wilayah kewedanan yaitu kabanjahe, tigabinanga, dan deli hulu. pada tahun 1958, kewedanan deli hulu yang terbagi dalam 15 kecamatan kemudian dimasukkan ke dalam wilayah kabupaten deli serdang (bangun, 1986:15). persebaran yang luas sulit untuk memberi batasan demografi, mengingat sistem polietnik yang menempati daerah sumatera utara. menurut pandangan barth tentang kasus masyarakat yang menempati daerah polietnis, bahwa batas etnik tetap ada walaupun terjadi “penyusupan” populasi. selanjutnya menurut barth, perubahan identitas etnik dapat berubah dengan adanya interaksi polietnik (barth, 1988:23). seperti halnya di sumatera utara, khususnya masyarakat karo misalnya dengan sekitarnya tetapi tetap ada menunjukkan keakuan yang sama pada pola budaya etnik tersebut, yang tetap menjadi cirinya. demikian juga halnya dengan masyarakat karo yang mendiami geografi polietnik dan mendapat kebijaksanaan dari berbagai pihak, baik kolonialisme dan pemerintah ri, tetapi tetap memiliki yang menjadi cirinya. mengenai masalah batasan etnik ini tidak akan penulis bahas lebih lanjut. wilayah persebaran masyarakat karo pembentukan kabupaten di sumatera utara berdampak terhadap pembagian taneh karo, sehingga taneh karo terdapat di beberapa kabupaten yang memperlihatkan dua perspektif, yaitu: tradisi dan politis. secara tradisi, taneh karo dalam sejarah memperlihatkan adanya wilayah yang telah didiami oleh orang karo sejak kedatangan deutro melayu ke pantai timur sumatera. secara politis, setelah kemerdekaan ri 1945 daerah taneh karo tersebut terbagi sehingga terdapat di dalam beberapa wilayah kabupaten. pembagian secara politis sering menyebabkan taneh karo disamakan dengan kabupaten karo. singarimbun juga menekankan bahwa taneh karo bukan satu-satunya kabupaten karo sebagai satu sistem administratif modern, tetapi pembagian taneh karo menjadi beberapa kabupaten berlangsung sejak kemerdekaan ri 1945. sehingga taneh karo yang sebenarnya adalah yang telah didiami oleh masyarakat karo sejak dahulu kala, tetapi sekarang terbagi ke dalam beberapa kabupaten (singarimbun, 1975:1). walaupun pernyataan di atas taneh karo terdapat di beberapa kabupaten, tetapi masih banyak asumsi masyarakat karo bahwa asal seluruh orang karo adalah sama dengan kabupaten karo yang sekarang. hal ini sering diakui oleh masyarakat karo jahe bahwa beberapa nini (nenek) mereka masih berasal dari karo gugung. masyarakat karo, berdasarkan etno-sains mereka, membagi wilayah budayanya ke dalam dua kategori: (1) karo gugung atau orang-orang karo yang berada di wilayah pegunungan, terutama di kawasan kabupaten karo, langkat, dan deli serdang, (2) karo jahe, yaitu mereka yang berada di kawasan pesisir terutama di wilayah kabupaten deli serdang dan langkat. masyarakat karo gugung dianggap lebih murni menerapkan kebudayaan karo, sedangkan karo jahe lebih banyak mengalami akulturasi dengan kebudayaan harmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 130-142138 sekitarnya terutama dengan etnis melayu pengertian guro-guro aron guro-guro aron berasal dari dua kata yaitu guro-guro dan aron. guro-guro berarti hiburan atau pesta, sedangkan aron berarti muda-mudi. hal ini perlu disinggung untuk mengantarkan pemaparan pengertian dan bagaimana awal terbentuknya guroguro aron tersebut. pada zaman dahulu dalam hal pengolahan lahan pertanian, masyarakat di pedesaan masih tergantung kepada penggunaan tenaga manusia disamping penggunaan tenaga hewan. sistem pengerahan tenaga kerja di bidang pertanian masih menggunakan sistem tradisional yaitu sistem kerja sama dalam satu kelompok kerja, untuk menyelesaikan pekerjaan di sawah/ di ladang anggota kelompok secara bergiliran (circular). pada masyarakat karo khususnya, kerja sama seperti ini disebut dengan “aron”. keanggotaan aron berjumlah sekitar 8-12 orang dalam suatu kelompok kerja. dengan tekad bersama mereka menyatukan diri untuk menghimpun tenaga untuk menyelesaikan pekerjaan di sawah/ di ladang sesama anggota aron (tarigan, 1990:46). aron berdasarkan keanggotaannya dapat dibedakan atas dua kelompok, yaitu: aron singuda-nguda anak perana (mudamudi) dan aron pangke (orang tua laki-laki/perempuan). meskipun namanya aron singuda-nguda anak perana, bukan berarti bahwa seluruh anggota aron terdiri dari muda-mudi saja tetapi ada beberapa orang tua (sekitar tiga atau empat orang) yang ikut serta sebagai anggota aron. orang yang dituakan dalam aron (tua-tua aron) memiliki peranan sebagai guru/ pembimbing bagi muda-mudi untuk mematangkan diri mereka menuju ketingkat yang lebih dewasa (ibid, 1990:47). aron singuda-nguda anak perana bukan hanya sebagai sarana untuk menghimpun tenaga, tetapi juga merupakan sarana sosialisasi dalam bidang pendidikan, adat istiadat, sopan santun, serta hal-hal lainnya yang bermanfaat bagi muda-mudi. para orang tua yang ikut dalam kelompok muda-mudi tersebut akan selalu mengarahkan muda-mudi anggota aronnya untuk berbuat baik serta memberikan larangan-larangan tentang hal-hal yang dianggap kurang baik jika dilakukan di tengah-tengah masyarakat. guro-guro memiliki pengertian bermain-main atau bercengkerama. guro-guro aron biasanya diadakan setelah panen di suatu desa selesai. setelah panen usai sebagai ungkapan kegembiraan akan hasil panen yang melimpah ruah dan untuk melepaskan rasa lelah, biasanya kelompok aron mengadakan suatu kegiatan yang bersifat hiburan guro-guro aron. awal masuknya musik keyboard pada gendang guro-guro aron masyarakat karo memiliki sejumlah alat musik tradisional yang dikenal dengan sebutan gendang lima sedalenen yang berarti seperangkat gendang yang terdiri dari lima unsur. kelima unsur gendang tersebut terdiri dari: gendang indung, gendang anak, gung, penganak, sarune. pada masyarakat karo, istilah kata gendang memiliki makna yang kompleks. gendang memiliki beberapa macam arti, antara lain: gendang sebagai ensambel, gendang sebagai kumpulan komposisi (repertoar) atau lagu, gendang sebagai upacara/kegiatan/kerja, gendang sebagai instumen atau alat musik. gendang lima sedalenen merupakan nama lain dari gendang sarune. istilah gendang lima sedalenen sebenarnya merupakan penyingkatan istilah gendang telu sedalenen lima sada perarih. istilah telu sedalenen mengandung arti “tiga sejalan”, dan istilah lima sada perarih mengandung arti “lima satu hati atau satu suara”. gendang sebagai nama lain untuk sebutan alat musik karo mempunyai bermacam-macam peranan dalam kehidupan masyarakat karo. selain berperan sebagai salah satu cara yang mudah untuk mengumpulkan orang, juga memiliki peranan yang cukup penting dalam hal adat seperti: acara kematian, memasuki rumah baru, acara perkawinan, muncang kuta dan muncang rumah, dan pada acara gurositi rahmah, keberadaan keyboard pada gendang guro-guro aron 139 guro aron. pada bagian berikut akan dibahas alat musik/instrumen yang biasa digunakan dalam pertunjukan guro-guro aron pada waktu dahulu dan sekarang. hal ini dimaksudkan untuk melihat perubahanperubahan yang terjadi dalam pertunjukan guro-guro aron. perubahan pada gendang guro-guro aron perubahan yang sangat menyolok pada gendang guro-guro aron adalah pada perubahan alat musik yang digunakan. alat musik yang digunakan dahulu alat musik (instrumen) yang digunakan dalam pertunjukan guro-guro aron pada awalnya adalah instrumen tradisional yang disebut gendang sarune, yang terdiri dari sarune, gendang singindungi, gendang singanaki, gong, penganak. pada awal-awalnya keberadaan vokal (perkolong-kolong) juga belum ada. baru pada sekitar tahun 50-an guro-guro aron disertai dengan vokalis yang disebut dengan perende-ende, dan pada saat yang tidak pasti juga disebut dengan permangga-mangga. selanjutnya istilah permangga-mangga kembali berubah menjadi perkolong-kolong (sekitar tahun 1950-an). kemudian perkembangan selanjutnya terjadi penambahan instrumen yaitu kulcapi. beberapa informan mengatakan bahwa kelima instrumen yang pertama telah digunakan sejak awal dari guro-guro aron, sedangkan penambahan kulcapi sejak tahun 80-an. gambar 7. gendang sarune (dokumentasi timbul sitorus) gambar 8. gendang lima sedalenan (dokumentasi timbul sitorus) penyajian musik dan lagu selalu terkait kepada unsur religi dan adat istiadat. gendang/lagu memiliki peranan penting seperti dalam acara adat, acara kepercayaan, juga sebagai hiburan masyarakat. pada saat pembukaan gendang dalam pertunjukan guro-guro aron harus memainkan komposisi gendang perang empat kali, katoneng-katoneng, simalungun rayat. karena keberadaan nyanyian/lagu pada masyarakat karo terus bertambah, lagu-lagu yang sering dipertunjukan dalam guro-guro aron dapat dikategorikan menjadi dua bagian, yakni lagu tradisional dan lagu populer. lagu/gendang tradisional dapat dikatakan ”klasik” oleh sebab keterikatan gendang tersebut dengan konteksnya, misalnya pada saat dilaksanakan gendang adat yang dipakai untuk mengiringi landek biasanya lagu/gendang simalungun rayat (tempo lambat), odak-odak (tempo sedang), patam-patam (tempo cepat). sekitar tahun 50-an, cara menyebarluaskan dan mempelajari lagu dengan cara tradisi oral (nyanyian dipelajari dengan cara mendengar langsung dari kata-kata yang disampaikan orang). sekitar tahun 60-an, masuknya teknologi audio modern berdampak pada pertumbuhan dan perubahan nyanyian/lagu dalam pertunjukan guro-guro aron. dengan teknologi tersebut, mulailah dilakukan perekaman lagu dalam bentuk piringan hitam. sekitar akhir tahun 60-an, berkembang satu bentuk kesenian berupa kelompok band. nyanyian yang digunakan keharmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 130-142140 lompok band ini awalnya menggunakan nyanyian/lagu-lagu yang sering ditampilkan dalam guro-guro aron, yang telah di transfer dalam bentuk akord musik barat. selanjutnya dengan kreatif kelompok-kelompok band ini menciptakan lagu-lagu yang kemudian mengadakan rekaman. dengan demikian, secara bertahap tumbuh dan berkembanglah gendang/lagulagu populer pada masyarakat karo, yang juga sering digunakan dalam pertunjukan guro-guro aron. alat musik yang digunakan sekarang beberapa pertunjukan guro-guro aron peneliti saksikan, baik yang berada di wilayah kabupaten karo maupun di medan, pada umumnya menggunakan alat musik keyboard (orang karo menyebutnya kibot) sebagai musik pengiring yang utama. ada juga beberapa desa/kecamatan yang berada di taneh karo menggunakan musik kibot dan musik tradisional seperti gendang sendalanen secara bersamaan (dikolaborasikan). kehadiran musik keyboard di kalangan masyarakat karo yang dipopulerkan oleh seorang putra karo yang bernama jasa tarigan ternyata mendapat sambutan yang hangat, meskipun ada juga yang kontra. pro dan kontra sampai sekarang sebenarnya masih tetap ada, tetapi kehadiran musik kibot tersebut tetap eksis mengisi acara-acara guro-guro aron. dapat dikatakan bahwa kehadiran musik keyboard inilah sebagai pangkal penyebab terjadinya perubahan besar dalam pertunjukan guro-guro aron. gambar 9. musik keyboard sebagai pengiring guro-guro aron agustus 2011 keberadaan lagu-lagu populer dalam pertunjukan guro-guro aron saat ini terus mengalami perkembangan dari masa ke masa, disebabkan kalangan muda-mudi sangat menggandrunginya. terjadinya akulturasi budaya, secara sengaja ataupun tidak, membawa perubahan dalam kehidupan musik/lagu-lagu yang sering ditampilkan dalam guro-guro aron. terlebih lagi dengan masuknya instrumen keyboard, menambah semaraknya pertunjukan. tidak jarang irama dari lagu-lagu populer indonesia ataupun barat menjadi penambah semarak suasana dalam pertunjukan, seperti: irama lagu melayu, dangdut, disco, dan sebagainya. pengaruh musik keyboard pada gendang guro-guro aron terhadap karakter muda-mudi karo. gendang lima sedalanen sebagai musik tradisional karo merupakan simbol tradisi yang telah berlangsung sejak ratusan tahun silam hingga masa kini. penggunaan gendang lima sedalanen mengalami pergeseran pada instrumen yang digunakan. jika dahulu masyarakat karo menggunakan instrumen tradisional seperti, sarunei (kayu), gendang singindungi/singanaki (kulit), maupun gung/penganak (logam), digantikan oleh teknologi elektronik organ tunggal atau keyboard. pada tahun 1990 terjadi perubahan unsur kebudayaan yaitu keyboard telah masuk dan mengalami pembauran dengan gendang lima sedalanen (bangun dalam artikel “kedudukan budaya karo ditinjau dari aspek keseniannya, tanggal 7 maret 2008, http: //joebangun.wordpress.com). sekurang-kurangnya dua dekade terakhir musik karo telah menggunakan alat musik keyboard, yaitu alat musik modern yang memiliki berbagai fasilitas program musik. bahkan alat ini cukup dimainkan oleh seorang pemain, guna menghasilkan musik combo (band), maupun orkestra (big band). lebih jauh lagi telah terjadi konsensus di masyarakat karo secara tidak sadar untuk menggabungkan unsur modernitas dan tradisionalitas mereka dalam istilah siti rahmah, keberadaan keyboard pada gendang guro-guro aron 141 gendang keyboard. alat musik ini bahkan dapat menyerupai musik karo dalam berbagai ekspresi dan kreasi seniman-seniman karo. peneliti telah mengamati dalam beberapa tahun terakhir, telah terjadi pergeseran dalam gendang guro-guro aron (pesta muda-mudi) dan nganting manuk (malam sebelum upacara adat perkawinan karo berlangsung). kepraktisan penggunaan alat ini, justru sebagai salah satu faktor yang mendorong minat masyarakat menggunakan keyboard. selain itu penggunaan keyboard juga tidak banyak melibatkan jumlah pemain, bahkan umumnya cukup dimainkan oleh satu orang (player). kehadiran musik keyboard dalam pelaksanaan gendang guro-guro aron membawa perubahan yang sangat besar pengaruhnya terhadap cara pandang muda-mudi karo dalam menikmati dan melestarikan karya seni tradisi yang di agung-agungkan oleh masyarakat karo sendiri. terjadinya perubahan tersebut mengakibatkan gendang guro-guro aron semakin sering dilaksanakan oleh komunitas masyarakat karo, baik di wilayah kabupaten karo maupun di wilayah kota medan. hasil penelitian menunjukkan bahwa perubahan alat musik tersebut menimbulkan akulturasi di dalam seni pertunjukan tradisional karo. alat musiknya berasal dari barat, pemakaiannya di dalam konteksnya tradisional karo. fungsi perubahan alat musik menunjukkan tiga hal mendasar, yakni: terjadinya pergeseran fungsi musik, timbulnya fungsi musik yang baru, yaitu: fungsi ekonomi, fungsi imitasi dan individu, dan musik semakin berfungsi sebagai sarana hiburan dan sarana pengintegrasian masyarakat karo. perubahan alat musik tersebut juga melahirkan beberapa makna musik yang baru pada masyarakat karo, seperti: makna seni populer, ekonomi, keseragaman, ketergantungan teknologi akan tetapi dengan hadirnya musik keyboard memunculkan masalah yang baru pada satu sisi, yaitu masalah etika menjadi tidak diperhatikan bagi mudamudi karo sebagai penerus budaya karo. tata cara menari yang semakin seronok dan serampangan sering terjadi dengan atau tanpa sengaja oleh komunitas pendukungnya. kalau seandainya para pendukungnya banyak mengetahui tentang nilai-nilai budaya mereka, seharusnyalah mereka menyadari begitu luhurnya nilai budaya karo yang penuh dengan normanorma. dan sudah saatnya hal ini perlu dihilangkan untuk tetap menghormati adat dan etika karo. dari hasil wawancara yang dilakukan di lapangan, beberapa tokoh adat mengeluhkan tentang perubahan yang terjadi pada gendang guro-guro aron pada masa sekarang ini. namun mereka tidak bisa mengelak arus perubahan tersebut disebabkan cara pandang mudamudi karo sekarang sudah lebih terbawa arus perkembangan jaman. hal ini tidak bisa dipungkiri akibat kemajuan teknologi pastilah membawa dampak perubahan dalam segala hal. muda-mudi karo masih tetap menyintai musik tradisional mereka, namun mereka jarang bahkan hampir tidak pernah melihat lagi pertunjukan musik tersebut, sehingga mereka kurang peduli dengan eksistensi musik tradisional mereka yang hampir punah. pulumun ginting dalam tulisannya mengatakan bahwa gendang lima sedalanen bagi masyarakat karo, merupakan prosesi ritual yang berkaitan dengan sistem kepercayaan. oleh karena itu segala unsur gendang lima sedalanen dalam gendang kematian pada masyarakat karo mengandung simbol-simbol dan makna simboliknya. pudarnya sistem kepercayaan ini setidaknya mendorong perubahan maupun pergeseran pada penggunaan alat-alat tradisonal gendang karo menjadi alat musik modern berupa keyboard. memudarnya sistem kepercayaan asli masyarakat karo juga tidak terlepas dengan sistem kepercayaan agama-agama wahyu yang hanya percaya kepada tuhan yang esa. makna sakral yang terdapat pada gendang karo termasuk pada alat yang digunakan secara perlahan berubah menjadi makna profan, karena alat musik modern berupa keyboard mampu menirukan repertoar gendang kematian. secara perlahan masyarakat pemiharmonia : jurnal pengetahuan dan pemikiran seni 11 (2) (2011): 130-142142 likpun semakin kehilangan tentang makna dari gendang ini. simpulan perubahan yang terjadi dalam kesenian tradisional karo adalah perubahan pemakaian alat musik, yaitu alat musik tradisional digantikan oleh satu alat musik barat yang dikenal dengan nama keyboard. pada tahun 1990 terjadi perubahan, pada awalnya keyboard digabungkan dengan ensambel kesenian tradisional karo dalam mengiringi seni pertunjukan tradisional gendang guro-guro aron, namun belakangan alat musik barat tersebut digunakan secara tunggal untuk mengiringi gendang guroguro aron, tanpa disertai musik tradisional. hal tersebut dapat terjadi karena keyboard yang digunakan telah memiliki fasilitas untuk memprogram suatu irama musik tertentu, sehingga irama musik tradisonal karo dapat diprogram “menyerupai” bunyi musik karo. bunyi musik karo imitasi yang muncul melalui keyboard sering disebut dengan gendang keyboard. terjadinya perubahan tersebut mengakibatkan gendang guro-guro aron semakin sering dilaksanakan oleh komunitas masyarakat karo, baik di wilayah kabupaten karo, maupun di wilayah kota medan. dalam perkembangan selanjutnya, keyboard juga telah dipergunakan dalam beberapa konteks upacara tradisi karo lainnya. kehadiran musik keyboard dalam pelaksanaan gendang guro-guro aron membawa perubahan yang sangat besar pengaruhnya terhadap cara pandang muda-mudi karo dalam menikmati dan melestarikan karya seni tradisi yang di agungagungkan oleh masyarakat karo sendiri. hasil penelitian menunjukkan bahwa perubahan alat musik tersebut menimbulkan akulturasi di dalam seni pertunjukan tradisional karo. alat musiknya berasal dari barat, pemakaiannya di dalam konteksnya tradisional karo. kepraktisan penggunaan alat ini, justru sebagai salah satu faktor yang mendorong minat masyarakat menggunakan keyboard. selain itu penggunaan keyboard juga tidak banyak melibatkan jumlah pemain, bahkan umumnya cukup dimainkan oleh satu orang saja. terjadinya akulturasi budaya, secara sengaja ataupun tidak, membawa perubahan dalam kehidupan musik/lagu-lagu yang sering ditampilkan dalam guro-guro aron. masuknya instrumen keyboard, menambah semaraknya pertunjukan. tidak jarang irama dari lagu-lagu populer indonesia ataupun barat menjadi penambah semarak suasana dalam pertunjukan, seperti: irama lagu melayu, dangdut, disco, dsb. hadirnya musik keyboard memunculkan masalah yang baru pada satu sisi, yaitu masalah etika menjadi tidak diperhatikan bagi muda-mudi karo sebagai penerus budaya karo. tata cara menari yang semakin seronok dan serampangan sering terjadi dengan atau tanpa sengaja oleh komunitas pendukungnya. kalau seandainya para pendukungnya (muda mudi karo) banyak mengetahui tentang nilai-nilai budaya mereka, seharusnyalah mereka menyadari begitu luhurnya nilai budaya karo yang penuh dengan normanorma. dan sudah saatnya hal ini perlu dihilangkan untuk tetap menghormati adat dan etika karo. yang terjadi saat ini adalah eksistensi guro-guro aron pada masa sekarang hanya tinggal kulit luarnya saja. terjadinya penyimpangan dan pergeseran justru membuat survive keberadaannya, dan merupakan salah satu jawaban dari tantangan yang diberikan jaman modern yang juga telah menggeser berbagai aspek kehidupan, baik budaya, ekonomi, dan sosial masyarakat karo khususnya. daftar pustaka bachtiar, h. w. 1986. pengamatan sebagai suatu metode penelitian dalam metodemetode penelitian masyarakat. jakarta: gramedia. bangun, j. 1994. perilaku sosial dan gaya penyajian repertoar guro-guro aron pada masyarakat karo: studi kasus analisis komparatif musikologis gendang patam-patam oleh tiga instrumen pembawa melodi. skirpsi: universitas sumatera utara. siti rahmah, keberadaan keyboard pada gendang guro-guro aron 143 bangun, j. 2008. kedudukan budaya karo ditinjau dari aspek keseniannya. (http://joebangun. wordpress.com). diakses 13 oktober 2011). bangun, t. 1986. manusia batak karo. jakarta: inti indayu press. barth, f. 1988. kelompok etnik dan batasannya. jakarta: ui press. behaque, g. 1984. performance practice : ethnomusicological perspectives. usa: greenwood press. gintings, e. p. 1999. religi karo. membaca religi karo dengan mata yang baru. kabanjahe: abdi karya. hanna, j. l. 1970. dance and the social sciences: an escalated vision dance an art in academe. (martin haberman & tobie garth meisel, ed.). new york: teachers college press columbia university. haviland, w. a. 1993. journal antropologi 2. edisi iv. terjemahan soekijo. jakatra: erlangga. herkovits, m. j. & alfred. a.k. 1948. man and his work. terjemahan aisyah. new york. huizinga, j. 1990. homo ludens: fungsi dan hakekat permainan dalam budaya. terjemahan hasan basari. jakarta: lp3es. koentjaraningrat. 1969. rintangan-rintangan mental dalam pembangunan ekonomi di indonesia. seri no.i/2. jakarta: bhratara. kuntowijoyo. 1999. budaya & masyarakat. yogyakarta: tiara wacana. moleong, l. j. 2000. metode penelitian kualitatif. bandung: remaja rosdakarya. murgiyanto, s. 1996. seni pertunjukan indonesia. jurnal masyarakat seni pertunjukan indonesia. yogyakarta: yayasan bentang budaya nasir, m. 1985. metode penelitian. jakarta: ghalia. nettl, b. 1973. folk and traditional music of the western continents. new jersey: prentice-hall, inc. olsen, m. e. 1968. the process of social organization. new delhi, bombay, calcuta: oxford and ibh publising co. patton, m. q. 1987. qualitative evaluation methods. beverly hills: sage publications. pemda dati ii karo. 1981. monografi kabupaten karo. prints, d. 1996. adat karo. medan: tanpa penerbit. singarimbun, m. 1975. kinship, descent and alliance among the karo batak. usa: university of california press. siregar, s. dkk. 1985. kamus karo – indonesia. jakarta: pusat pembinaan dan pengembangan bahasa departemen p & k. sitepu, s, dkk. 1996. pilar budaya karo. medan : perc.bali soedarsono. 1995. mudra, jurnal seni budaya. no.3 th.iii. denpasar : stsi. suratman, k. 1992. puncak-puncak yang menimbulkan berbagai persepsi nasional dalam moedjanto, g. (dkk/ed.). tantangan kemanusian universal: antologi filsafat, budaya, sejarahpolitik & sastra. kenangan 70 tahun dick hartoko. yogyakarta: kanisius. tambun, p. dkk. 1958. sejarah adat istiadat dan tata susunan rakyat karo. kabanjahe: up. bukit mbelin gunana. 221 pedagogical competency of dance instructors in the training of malay court dance skills among upper secondary students at johor national art school muhammad fazli taib saearani, abdul hamid chan, nur nabila micheal lung abdullah universiti pendidikan sultan idris, malaysia submitted: 2021-08-20. revised: 2021-10-06. accepted: 2021-12-26 abstract dance pedagogy is a complex and dynamic field of competency that involves various skills and self-appearance. therefore, dance instructors must widen the scope of their competency to strengthen and improve their level. this research aimed to identify the competency of dance instructors teaching the practical subject of malay court dance based on factors including the components of pedagogy, curriculum, assessment, and professionalism. the data was collected from interviews with the instructors and was analyzed through thematic analysis. the findings indicated that the instructors’ competency level development could be mapped into three dimensions, namely orientation, agent, and competency content. it was concluded that art schools in malaysia need to develop dance instructors’ competency in terms of (1) 21st-century learning needs, (2) vertical and horizontal knowledge sharing, (3) workshop, study tour, and competition, and (4) standardization of technological development relevant for curriculum, across knowledge, practical, and feeling domains. keywords: dance pedagogy, competency development, instructor, court dance, malay dance how to cite: saearani, m. f. t., chan, a. h., & abdullah, n. n. m. l. (2021). pedagogical competency of dance instructors in the training of malay court dance skills among upper secondary students at johor national art school. harmonia: journal of arts research and education, 21(2), 221-232 harmonia: journal of arts research and education 21 (2) (2021), 221-232 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i2.31668 court dance, explicitly targeting the upper secondary students at johor national art school (sekolah seni malaysia johor). the main problem encountered by dance instructors teaching the practical subject of malay court dance for upper secondary students at the johor national art school was identifiedthe problem identified was the competency in the teaching and learning sessions held in classes and studios. factors that affected the level of competency for dance instructors were knowledge and specific education on malay court dance and whether the introduction the establishment of national art schools under the ninth malaysia plan has opened new perspectives in sustaining malaysia’s cultural arts and heritage. the art schools, situated in sarawak and johor, have been in operation since 2007, offering dance, music, visual arts, and cinematography programs. however, the problem is that most art schools hire instructors who are not pure educators to manage the teaching and learning processes. this study focused on one course, namely the malay corresponding author: e-mail: fazli@fmsp.upsi.edu.my p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 21 (2) (2021): 221-232222 instructors have adequate experience in teaching this subject. apart from that, several instructors still lack detailed knowledge of the malay court dance’s contents and syllabus, which requires skills such as movement demonstration and techniques of malay court dance during studio teaching. unfortunately, previous studies on dance and physical education keep adding new skills, despite the instructors already burdened by classical skills (eddy et al., 2021; gaunt &treacy, 2020; i̇nan, 2021) or called for technological and other noncompetency-based solution to the problem (petrie, 2020; you, 2020)teachers, and students. participants illuminate issues requiring action, including (1. little focus was emphasized on what competency instructors already have and how they develop them to fulfill the needs of the curriculum. the novelty of this research lies in extending the literature to the competency development of dance instructors, especially in court dance specialties. therefore, this article will discuss the issues and address whether the competency level of dance instructors includes the use of methods and dance teaching techniques that are suitable in the teaching of malay court dance. next, how the application of movement terminology and techniques is conducted will also be discussed. there is also an issue of the student’s level of understanding in the subject learned, which causes students lacking their focus during lessons. the dance instructors’ level of competency during the teaching and learning session of the malay court dance needs to be developed to address this issue. therefore, a study was conducted to identify the competency of the dance instructors who are teaching the practical subject of malay court dance, based on factors including the components of pedagogy, curriculum, assessment, and professionalism. through this study, the dance instructors were helped to improve and become more competent in the teaching and learning sessions, whether in classrooms or studios. literature review pedagogical knowledge (shulman, 1986b, 1986a) and personal knowledge (clandinin & connelly, 1987) are closely connected to the ability of the syllabus contents of a particular course (ball et al., 2008). as a result, the knowledge of the course contents will be the factor to develop the pedagogical skills of instructors (mabingo, 2019). many instructors have received and understood the general teaching of dance skills in dance pedagogy, but they do not have a vast knowledge of the teaching and learning strategies (fortin, 1993). meanwhile, the content of the dance learning is a complex topic as it covers various elements including the domains of dance ontology and epistemology (fortin, 1993). dance instructors must not only master the body and movement skills, but also the knowledge of the movement, creative dance, history, meaning, copying the dance, theory, choreography, and achievement (mabingo, 2019). therefore, dance instructors must understand the practical knowledge, namely the specific rule that relates historically to one particular culture in a dance, choreography, and the expression (lehikoinen, 2019). personally, dance instructors must have high level of creativity, sportiveness, good stamina, high interpersonal skills, be hardworking and dedicated, be cheerful, and work well as a team (tavishi, 2016). apart from that, instructors must also understand the aspects of ethics, culture, and health dance pedagogy (ladson-billings, 1995; leaf & ngo, 2017; kg lehikoinen, 2019). moreover, dance instructors must also have learning and choreography efficiency. the learning efficiency comprises the aspects of pedagogy, subject content, assessment and evaluation, speech and communication, and good class management. in contrast, choreography efficiency covers the elements of dance techniques, leadership, creativity, and discipline (rimuhammad fazli taib saearani, et al., pedagogical competency of dance instructors in 223 palda, 2019). the competency aspects, as discussed above, are indeed beneficial to be applied in teaching effectively, especially during lessons. dance teachers or instructors will face many problems that must be handled well. examples of these problems include students’ attitude, religious issues, the physical ability of students, noisy environment, students’ knowledge in doing the required movements, availability of space, giving equal attention to individual students, differences in students’ achievement levels, and the class size (ripalda, 2019). even though it might be perceived as static, the dance world is dynamic and full of new, developing ideas and trends (lehikoinen, 2003). with this, instructors who have mastered the different aspects of dance efficiency, as explained before, must also learn from their experiences and improve their efficiency to keep developing and expanding their knowledge, skills, and dance understanding (lehikoinen, 2019). indeed, the dance knowledge is complex due to the presence of ‘silent’ or subjective expertise, referring to the practical knowledge that words could not portray but could be shown or demonstrated (lehikoinen, 2019). this ‘silent knowledge’ is developed through experiences from time to time (polanyi, 1966). the existence of this silent knowledge of dance implies the development of various competencies. utilizing formal training is not enough to help in developing dance instructors’ competency (haerani et al., 2020). free and collective actions are also not that adequate yet (you, 2020). the result of competency in an accessible and coordinated way leads to the possibility of repeated training, especially in terms of practical aspects in the knowledge domain that is being critically observed by dance instructors (bruner, 1999). currently, studies on the development of competency for dance instructors in malaysia are still minimal. at this point, studies have mainly focused on competency in the context of higher education (gonzales, 2015). studies that aim to explore the competency and strategy of development for dance instructors of the national art school in malaysia in bridging the gap between current studies are still difficult to obtain. therefore, this study focuses on court dance as a dance genre with a sociocultural context and a more conservative historical background than other dance arts developed in this country. method the qualitative research methodology was employed in this study (marshall & rossman, 2016) to explore dance instructors’ efficiency and competency development. the qualitative research design enabled the researcher to convey the process, reflection, and experience (barbour, 2014) encountered by the dance instructors while teaching at johor national art school (ssemj). this study was conducted at johor national art school (ssemj), malaysia. this school is located at jalan persiaran ilmu, 81750 bandar seri alam, masai, pasir gudang, johor. the time of this study was in september 2020. the subjects for this research were the malay court dance course’s dance instructors at johor national art school (ssemj). three dance instructors with differing levels of teaching experience, namely junior, secondary, and senior were involved. the senior instructor, who is also the head of the dance department, is male aged 38 years old and has 16 years of experience in teaching. the secondary instructor is a male teacher with 8 years of teaching experience aged 40 years old. meanwhile, the junior instructor is a teacher with a year of teaching experience aged between 20–30 years old. the sampling of subjects was acquired utilizing the snowball sampling technique (noy, 2008). to elaborate, firstly the senior instructor was identified and asked directly for his permission to participate as a subject. next, with the help of the senior instructor, the secondary instructor and harmonia: journal of arts research and education 21 (2) (2021): 221-232224 the junior instructor were identified. the data collected consisted of primary and secondary data. the preliminary data was sourced from the dance instructors, while the secondary data involved academic documents and teaching materials for the malay court dance at johor national art school (ssemj). to find the secondary data concerning the framework and teaching materials for malay court dance, the sources before were requested before formal interviews were conducted. interview transcripts were then compared with the data from the documents and teaching materials for data triangulation. the case study at johor national art school (ssemj) was conducted using the qualitative methodology for semi-structured interview sessions. the interviews (n=3) were conducted with the senior, secondary and junior instructors teaching at ssemj. the objectives of the interviews were to explore the efficiency and the conduct of the dance teaching and learning, as well as supporting factors and limitations encountered. the researcher also inquired the informants on their strategies to overcome the limitations and develop their competency. a half-structured approach had enabled investigating various aspects that emerged during the interviews. this study applied the case study based on the data collected and analysed using thematic analysis (braun & clarke, 2006) relating to the instructors’ information and experiences during court dance at ssemj. the thematic analysis was conducted in six stages: data familiarization, early coding development, defining, observing, and deciding on the categorization, and reporting (braun & clarke, 2006). this analysis helped to produce the themes that best reflected on the instructors’ experiences. in this qualitative research, to ensure that the data collected was valid and reliable, several indicators of validity were applied: trustworthiness, validation, transferability, and credibility (sousa, 2014). validation is the objective aspect of data obtained while transferability would relate to the validity of the research. validation and transferability could be achieved simultaneously through triangulation. the triangulation technique helps to strengthen the trustworthiness of the data and source as it increases the possibility that a replicated study would be getting similar results if different methods were to be used. besides, triangulation could also increase the effect of transferability in the validity of the research (sousa, 2014). the thematic content analysis of the interviews was standardized with the policy documents’ contents, and the teaching materials for the malay court dance taught at ssemj. the credibility of research questions could be achieved by involving freelance experts of qualitative researchers who are not aware of the subject investigated and would not be affected by the research subject (creswell, 2007; creswell & creswell, 2018; hallberg, 2010). the experts in consultation had reduced the interview questions from eight to only four essential questions, focusing more on answering the research questions. results and discussion the senior instructor the senior instructor was observed to have changed; from an apprentice to an expert in dance teaching. in 2007 to 2010, it was stated that instructors should teach all types of dances from level 1 to level 5. at any point in time, any instructor could be transferred from one level of teaching to another. after 2010, instructors were able to specifically focus on their expertise in education due to the increase of instructors hired. however, only several senior instructors mastered all types of dances, who later went through a rolling process to bridge the gaps and needs in teaching specific dances. as the year approached in 2016, textbooks were available for all national art schools in malaysia. these textbooks had resulted in the dance curriculum to be specified into two categories: the asyik dance and the terinai dance. before the muhammad fazli taib saearani, et al., pedagogical competency of dance instructors in 225 textbooks’ were introduced, the number and types of court dances taught were different, especially for johor national art school (ssemj). the joget gamelan was also introduced during that time. therefore, in a way, the availability of the textbooks that defined the curriculum helped make learning court dance easier by focusing on only two types of dances. in the interview, it was also mentioned that the competency development was conducted in two levels: management level and execution level. at the management level in ssemj, workshops were organized via collaborations with other schools. meanwhile, at the execution level, there were two strategies of competency development. firstly, knowledge-sharing sessions were carried out in the society of instructors’ meetings. secondly, instructors were encouraged to ask and refer to other internal and external experts. johor national art school (ssemj) adheres to the ministry of education malaysia (kpm) in terms of the teaching module as there is already a standard learning module (stp) that must be implemented as the reference and guideline to the learning and assessments. for example, the external module from the sultan idris education university (upsi) could only be used as a secondary source. however, several conflicts exist on how the teaching and learning should be conducted based on the stp, as shown in the textbooks. teachers should still refer to the stp, widen their perspectives on new teaching and learning techniques, and not critically question the stp differences and practices. the 21st century learning (pak-21), oriented on communication, critical thinking, collaboration, and creativity, is also absorbed into the dance teaching and learning. the effectiveness and overall execution are still in the improvement processes. the interviews also observed no mutual understanding and agreement between the national art schools and the university curriculum. several informants felt no similarities between what was taught in the national art school and the university. consequently, there should be a continuity in terms of the curriculum standard for the dance subject. apart from that, there was no standardized module in the malay dance that could be applied in the teaching and learning process; thus, it all depends on practitioners or instructors to plan and conduct lessons. the textbook had only shown the overall outline of the teaching but not the content details of the dance learning. the intermediate level instructor the results from the interviews with the intermediate level instructor (who has eight years of teaching experiences) conveyed the observation of learning the dance based on the students’ thinking maturity and skills. in this matter, the role of instructors was to strengthen each student based on their different levels of skills. the interviewee identified three groups of efficiency: students with perfect practical ability and skills, students with high theoretical skills but low practical skills, and students who have poor practical and academic skills. the knowledge-sharing processes were either passive or active. in terms of active sharing, the instructor asked several questions to the students and shared the solutions and the issues faced in the teaching and learning process. meanwhile, in the passive sharing, the instructor observed several factors shown by the senior instructors, and therefore able to follow similarly on the senior instructors’ way of teaching. the teachers learn the tradition of ssemj while still maintaining the openness of perspectives. on the external level, the instructor agreed on the benefits of workshops and study tours. these provided knowledgesharing opportunities and provided advice and tips on competition planning and performances. these workshops and study tours had also enabled a unique program for the dance field to be carried out, which could further support the learning and increase the motivation for students who might become discouraged at specific points. harmonia: journal of arts research and education 21 (2) (2021): 221-232226 the instructors pointed out the importance of standardization. the standardization will reduce the differences in teaching among the current dance teachers at the art school. one of the weaknesses of the 21st-century learning implementation observed by the instructor was the technological aspect, which was still very limited in supporting dance learning. this limitation had caused difficulty for the teachers in achieving the learning objectives oriented in communication, critical thinking, collaboration, and creativity, which are conventional aspects that need external help in terms of technology. the junior instructor it was noted that the junior instructor depended a lot on the senior instructor by asking questions about the best teaching guidelines to be applied to the students at schools where they teach. the junior instructor has minimum teaching experience in the educational aspect, and the sultan idris education university (upsi) had given more focus on the industrial training. even though upsi is an educationbased university, it is noted that the dance education course has not been offered during the time this article is written. in other words, it could be stated that the junior instructor had not yet received enough exposure to teach the students in terms of the dance pedagogical aspect. relating to the course content, the junior instructor had also learned from students in upsi. during the students’ class performances, the junior instructor made observations and requested that the students show their dance techniques. the demonstration helped the junior instructor recall what she had learned in upsi and could further be implemented as the material to be taught to her students at ssemj. the textbook was regarded as an excellent reference to the teaching and learning of dance and its contents. however, the junior instructor encountered difficulty in the teaching guideline given by the textbook. the instructor found it easier to learn from the vcd that accompanied the textbook. the junior instructor had tried to apply what she had learned from the three sources explained above. she also found the interaction between her resources and the context experienced in the classes as a practical teaching guideline. the instructor supported the standardization of the dance module as it provided more straightforward guidelines and pathway of syllabus contents for the instructor to apply in her teaching. the primary data had revealed three critical issues, as observed from the interviews, which have the implications for the competency development of court dance instructors at johor national art school. these three crucial issues are orientation, agency, and the content of the competency itself. orientation the orientation dimension refers to which direction the competency development is geared. this dimension consists of external and internal orientations. the external orientation is how the competency development involves outside agencies, such as the private actors, non-government organizations, and education institutions. meanwhile, internal orientation refers to the activities carried out in the organization of the art school itself without involving the outside sectors. agency the agency dimension refers to those targeted in the development: students and instructors. the instructor’s incompetency will impact the students’ development as they transmit what they have learned in the development program to the classroom learning. students’ growth will also depend on the instructors as the developmental agents to the students. in this matter, the findings indicated that dance instructors’ efficiency could provide more understanding to the students in learning the malay court dance skills at johor national art school. it could have been less muhammad fazli taib saearani, et al., pedagogical competency of dance instructors in 227 impact at the beginning but will gradually be better as the instructors’ duration and experience of teaching increase. however, as an early career educator, the junior instructor who comes from a non-education background has more to learn in terms of pedagogy. competency the competency dimension refers to the aspect of dance competency that needs to be developed. the competency dimension relates to the bloom taxonomy that consists of the cognitive, affective, and psychomotor elements. in dance education, mental efficiency is implemented in the knowledge of the history and theory of dance. inspiration is essential for the malay court dance as it is a unique factor that differentiates between the malay court dance and the community or folk dance. the psychomotor dimension relates to the practical part, the students’ and instructors’ demonstration and direct movement. in the students’ context, the competency dimension will be developed through the instructors’ efficiency in planning and conducting the interaction to learn the dance skills at ssemj arena. based on the findings, it is confirmed that the efficiency factor must still be developed for the junior instructor due to the non-education background of the instructor, that conflicts with the need of planning and conducting of dance learning that is the requirement of efficiency in the field of education. the textbook is also handy for the dance instructors as a guideline to conduct the learning assessment of the court skills at ssemj. the quality depends on how the assessment experiences could be transferred from the senior instructors’ knowledge and the problem-solving fieldwork processes. the framework for competency development the three dimensions form the (2 x 2 x 3) three-dimensional block that functions as the basic block of framework help in developing the competency of court dance instructors. the combination of dimensions that should be the focus is the orientation and agency dimensions, as the competency dimension is a continuity that can be expanded quickly based on variations. this expansion is formed by the orientation and agency dimensions. figure 1 explains the framework: figure 1. framework for competency development of the malay court dance instructors (source: muhammad fazli taib, 2021). from figure 1, it could be observed that the internal competency development of students implements the concept from the ministry of education (kpm), which is the 21st century learning (pak-21). this standard becomes clear for the students, instructors, and the school. however, the findings showed that problems still arise in identifying an effective way to integrate technology into dance teaching, making it suitable to the aspirations and objectives of pak-21. the development of the internet technology in supporting dance learning must be used well. the internet has various mediums of support for dance learning through youtube for video learning and involving the students and professionals of dance for knowledge and experience sharing (lee et al., 2019; z. li et al., 2018; you, 2020). nevertheless, this also requires the increase of instructors’ competency in aspects of digital and communication efficiency (you, 2020). hence, the pak-21 leads to the knowledge, practice, and inspiharmonia: journal of arts research and education 21 (2) (2021): 221-232228 ration parts of the competency dimension. next, pak-21 also supports the instructors’ efforts in developing the students’ potential in learning the court dance skills at ssemj. the instructors are working hard to train the students individually by observing and understanding their backgrounds, one by one, and providing appropriate, specific training steps to improve each student’s potential. this strategy is experienced globally in the dance education. the dance classes must be regarded as individuals with different backgrounds, but shared similarities between these individuals are still maintained (seebuma & martin, 2018). however, these efforts still faced challenges, and the instructors find it challenging to keep track of potential development, especially creativity and technological usage. dilemma and conflict arise between letting the students be creative with their style and creations and following the dance standards guidelines. therefore, it is essential to relate to the dimension of external competency of the instructors too, where this includes the standardization aspect and technological-based learning. the efficiency development of the instructors in terms of internal aspects relates to the knowledge-sharing process. the process of knowledge sharing could be carried out vertically or horizontally. vertically, the knowledge-sharing process occurs between senior and junior instructors. from top to bottom of knowledge transfer, the senior instructors will help guide and teach the junior instructors. in contrast, the junior instructors ask for advice and supervision and give input or observe the teaching practices carried out by the senior instructors. horizontally, the process that takes place is the knowledge transfer and sharing between teachers and partners. this process occurs in the instructors’ groups at the same or different levels (muhammed & zaim, 2020). this development must happen in the three dimensions explained (knowledge, practical, and mental). the knowledge-sharing process will also help improve the instructors’ strength and confidence (rz li & vexler, 2019). relating to the external dimensions for the instructors, the standardization, development of technology, and suitability of curriculum are essential aspects in the competency development. the importance of dance standards is highlighted in the literature review sources as a vital aspect for developing the efficiency of dance instructors. standardization is essential to form a shared tradition, later adopted as a cultural identity (georgios, 2018). further, standardization is also crucial to ensure that the dance is accepted widely, representing the community, and providing the context where the instructors could be switched between different places to teach the similar dance art required. all involved parties would still understand what is being taught. however, situations in which standardization could be compromised are considered when emphasizing creativity, improvisation, and continuous transformation, where these aspects undeniably contrast with the standardization factor (georgios, 2018). nevertheless, standardization and non-standardization must be equal (dowell & goering, 2018; risner & schupp, 2020). for example, the ancient greece dance portrays the dynamism that shows the tenseness between two elements: standardization (standard, collectivity, cohesion, and time duration) and the aspects of creativity and innovation (georgios, 2018). a similar issue is observed in the dances of thailand, the philippines, and indonesia. without standardization, the dance would be seen as chaotic, without a precise portrayal of its identity and tradition. still, without creativity, the dance would be deemed uninteresting, passively repeating, and could be copied in a mimetic way, becoming stereotyped and unnatural (georgios, 2018; risner, 2019). the support given by external bodies or societies to the instructors’ development of competency is still lacking. the junior instructor stated that she encountered difficulty in learning and understanding the muhammad fazli taib saearani, et al., pedagogical competency of dance instructors in 229 textbook flow meant as a reference and guideline for the instructors. since dance art learning depends on ‘silent’ or implicit knowledge, it is reasonable that lessons could be demonstrated well visually using kinesthetic means. the junior instructor had also stated that it was far easier for her to understand the dance course content and teaching guideline through a video compact disc (vcd) compiled with the textbook rather than reading the book. video is indeed a visual artifact, and movements portrayed will be beneficial in learning and understanding dance (risner, 2017). it must be emphasized that standardization is different from the curriculum interpreted in the textbook. standardization is more connected to the competency in the content, while the curriculum is connected to learning. standardization helps not only the instructors but also practitioners in the industry to develop dance art. at the same time, the specific curriculum could be applied by the instructors to transmit their competency to the students. only the curriculum has been prepared, while the standardization could not be carried out yet. in implication, teachers who conduct lessons are still dependent on the knowledge they have obtained from previous studies and the organizational internal and external knowledge transfer. the curriculum connection between the national art school and the university is another crucial element in the findings related to the instructors’ external competency development aspect. the suitable curriculum shared by the national art school and the university will enable a smooth transfer process for students who would like to continue their education from secondary school until the tertiary level at the university. thus, standardization between the school and the university system is hoped to break the barrier caused by the incompatible curriculum (liao et al., 2018). it is encouraged that the school and the university collaborate in developing forums for learning, applying, and restructuring the curriculum together (bautista et al., 2021). apart from curriculum improvement, the collaboration between the school and the university would also help in the transformation process of both sides, making the development of identity easier to achieve, as well as socialization, and learning process for instructors, students, and lecturers (loughland & nguyen, 2017; rust, 2020). in addition, universities should identify new approaches based on theories and investigation and assess the effectiveness of learning while schools can be more up-todate with dance education developments (burroughs et al., 2020). the suitability of this curriculum implies the way instructors could improve students’ thinking maturity and skills and how the university prepares teachers to teach at national art schools. the common problem faced at the university is the difficulty in managing the transfer of level for the first-year students, from their school to the university, due to the significant gap encountered in the previous learning of dance techniques (rimmer, 2017). students have also faced pressure in taking whichever chance they could to bridge the skills gap between what they have learned in schools and what is currently taught at the university (cranmore et al., 2019). these problems could be solved if there is a standardization between the curriculum in the university and the national art school curriculum. the instructors could help prepare the students since their freshman year to understand the lectures, and new students should not be too stressed when undergoing their first year of study in the university. lastly, the external development of students’ efficiency comes from organizing workshops, study tours, and competitions. organizing workshops could help deepen the collective understanding of the broad scope of potential for dance movements; an individual can portray that to express their artistry (buono & burnidge, 2020). workshops and study or work tours enable students and instructors to gain different dance learning experiences, enriching their perspectives (seebuuma& martin, 2018). hence, this will diminish traditional harmonia: journal of arts research and education 21 (2) (2021): 221-232230 hegemony or a particular school of dance education and give standardization (heyang & martin, 2020). conclusions the competency of the dance instructors teaching the practical subject of the malay court dance found in this research is mapped into three dimensions: orientation, agent, and competency dimensions. the competency dimension itself consists of knowledge, practice, and feeling. these competencies are combined with other dimensions and create four competency groups: (1) pak-21, (2) vertical and horizontal knowledge sharing, (3) workshop, study tour, and competition, and (4) standardization of technological development relevant for curriculum—each of these competency groups has its knowledge, practical, and feeling dimensions. this research contributes to the literature review in terms of investigating the dance instructors’ competency to give the understanding of the course to the students, plan, conduct the learning interaction and assessment, and develop the students’ potential in learning the court dance skills at ssemj. the focus was on three different levels of teaching: the senior, intermediate, and junior at ssemj. the competency of instructors in three aspects was evaluated at the low, medium, and high levels. an essential element of the findings is how the instructors could bridge the competency gap they encounter through the strategy involving three dimensions: orientation, agent, and competency domain. it is best advised that the instructors are be able to improve their efficiency in all the fields. these fields include implementing the pak-21, sharing their knowledge vertically and horizontally, taking parts in workshops, work tours or visits, and competitions, and helping to develop curriculum standardization. the findings revealed the need for collective action involving the national art school organization and other vital sectors to support the development of competency among the instructors and students in learning the court dance. forming a standard that eliminates different variations in the learning content of the court dance is needed to develop the instructors’ competency systematically and consistently. several factors need to be reviewed in terms of the relevancy of the dance learning aspect in promoting a close connection between the curriculum of the secondary school, teachers, and education at the university. the strategies of elimination or addition of factors are needed in the form of internal and external knowledge sharing networking (vertical-horizontal) to develop dance instructors’ competency in the national art schools of malaysia. it is encouraged to take a step back to evaluate overall what needs to be improved and reviewed and insert suitable elements to develop. it is undeniable that humans are used to the bias additive element, which relates to the higher tendency to add more factors, not reduce them, in solving problems (adams et al., 2021). standardization and relevancy are efforts taken to mitigate prolonged factors that could hinder competency, as well as too much variety that could cause the meaning of identity and consistency to disappear. further research is advised regarding this issue to obtain a more comprehensive idea in developing the instructors’ competency through the external strategy. acknowledgments this research is funded by education-based university research grant (gpubp) (2019-0069-107-01) from universiti pendidikan 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�b�������-.�.t5d]45q:ss745pgkky2:s85\41912s5qg3:4s8512[5py7syh4��;��n� �<�b����� �b��?����-..��r����������u������������a�����a�����������������r �������lyk12:gh��u���j���=�������u�@������b�������� �+����-./p��\4hsykry]125q42:5\4hesy2syd12����������<�b�����a�������b���� ���nt��������-./o��fgkcg9:9:5d1h:5q4ry1]5\4sy2syd5\h1ds:95x1i:5u��������_�����������b������ �l� �������<��̀)̂ )b���b�����������-.�v��0s1v15[125x17:50y15\y91s5\4hd4kr12i1250h1k15d1h:5dh1[:9:g2175[:5w2[g249:1t�l� �������<�c��_���m�������@�������������b������ �����������c������ <����������������������c������gyh21755q42:5\4hsy2syd125mb����������j�-./vx-./f���������<�m�����������b����������_�������������� �-.//� 200 three characters moulded in music education tyas kartiko sutawi eduacational research and evaluation program, universitas negeri yogyakarta, indonesia received: june 10, 2018. revised: october 8, 2018. accepted: december 19, 2018 abstract character building is an emerging issue in the education field. character building in school is integrated through a learning process in each existing subject. music education as one of the subjects in school, could mean to students’ character building. it could be done through various musical activities which can be experienced directly by the students, one of them is an ensemble. the goal of this article is to reveal characters that could be developed through music education, especially ensemble. this research was done in a public senior high school in yogyakarta by choosing three samples based on proportional stratified random sampling technique. the data was gathered by using questionnaire based on exploratory factor analysis and confirmatory factor analysis techniques. reliability was counted by using cronbach alpha and variance reliability formula. also, descriptive quantitative is used as a data analysis technique in this research. the result shows that there are three characters molded through music education at school, they are “rasa” sensitivity, creativity and respect. keywords: music education; ensembles; creativity; respect how to cite: sutawi, t. k. (2018). three characters moulded in music education. harmonia: journal of arts research and education, 18(2), 200-207. harmonia: journal of arts research and education 18 (2) (2018), 200-207 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v18i2.9976 curriculum, but more about students’ attitude in playing music like responsibility in what they are learning, desire to always practice, willingness, interest, readiness, energetic and creative (berger, 2014). music education process contains an interaction process which covers perception or “rasa”, transforming, expressing and appreciating (astuti, 2010). perception activity is a process to understand and do art. transforming process is a creative process which contains thinking activity, feeling, imagination, intuition, and problemsolving. expressing activity is a process to express thoughts, feelings, and understanding through music, while appreciation is a reflective process, analysis, critique and introduction music could mean to embed value and ideology from a nation (wai & wing, 2004). it could be done by doing various musical activities like singing or playing instruments (hash, 2014). music education is seen as the right means to support character building because music has many positive impacts on children (mudjilah, 2012). a relating character with musical activities could draw students’ interest more so that it becomes more memorable (justina & wu, 2011). more than that, in music education, character plays an important role as the determinant of learning success. a character is not only what is written on corresponding author: jl. colombo, depok sleman 55281 e-mail: kartikot@yahoo.co.id p-issn 2541-1683|e-issn 2541-2426 tyas kartiko sutawi, three characters moulded in music education 201 value art through music. a teacher could embed character through studying song’s meaning or “students research song dealing with celebration, community, respect or individuality..study the lyrics”(petersen, 2012) or by using other activities like playing music together or what is a so-called ensemble. this learning in a form of the group enables students to explore “rasa”, attitude, and strategy in solving a problem just like in learning about the value (joyce, calhoun & hopkin, 2009). the ensemble is meant for students to have musical experience. hincley (see mark (2010) stated that “the middle school might also require short six-week rotations into vocal and instrumental experiences to stimulate interest in joining the regular ensembles”. the ensemble is done based on difficulty level and musicality style. according to those, some important aspects from designing ensemble activities are (considering) series of knowledge and skills mastered by the students. in preparation, a teacher has to consider students’ musical skills and knowledge to be able to choose the material to practice. the material chosen is not only songs that can be played easily by the students, but also the song that meets the requirements of the good musical standard. according to mark (2010) “this music curriculum should allow students to grow musically and artistically during the school years, and prepare them to participate in music for a lifetime”. even though it seems like not all students have a dream to be a musician, it can stimulate balanced musical sides (artistic). ensemble itself could train students to be able to work together with friends and listen to each other so that it can support social skills. through art and cultural education, students learn to think democratically and could express themselves freely. students will feel happy when they could express themselves by playing music. education process like this will be more conducive because students will be more autonomous and free in expressing themselves. besides, students will be more responsible to imaginatively decide the arrangement and design of the show autonomously (gilbert, 2016). art education determines students’ sensitivity in giving expression and respond in life. it also gives a chance for students to know and assess academic, social, emotional, cultural, moral, and other personal skills for spiritual development. character building is a continuous activity containing components that can support each other. astuti (2011) stated that there are some components that could support the success of character building, especially in art education, they are curriculum as the direction of character building, teachers as moral agent, the development of art materials that educate students, the development of character building’s method based on art, the development of character building based on art process, and the development of character building’s evaluation based on art. method sample selection was done by grouping 14 schools that conduct music education in yogyakarta into three parts, they are schools with high, medium and low rank. the data related to the rank was taken from schools rank data based on the grades on national exam in the school year 2016/2017 from education board of yogyakarta. from each group, the researcher chose one school by using a random sampling technique, until three sample schools were chosen. meanwhile, the sampling for students was done by using proportional stratified random sampling by using slovin formula (isaac, 1984) with 354 students as a total sample of students class vii. exploratory factor analysis was done on outcomes variable with 17 questions on the questionnaire. the analysis was then continued by using confirmatory factor analysis. results and discussion through a validity test by using expharmonia: journal of arts research and education 18 (2) (2018): 200-207202 loratory factor analysis, the value of kmo and sig bartlett’s test were obtained and summarized in table 1. table 1. kmo and sig barlett’s test value in efa total items kmo value sig bartlett’s test value 17 0,889 0,00 based on table 1, the kmo value is 0,889 which is greater than 0,5. it shows that every variable has strong relations and meets the total sample so that exploratory factor analysis can be done. next, the value of sig is 0,000 < 0,05, which means that there is a correlation between the tested variables. with that result, it can be concluded that the variable and sample used were possible to be analyzed more. next, the value of anti-image can be seen to determine the items that can be used. if that value is more than 0,5, the item can be used. however, if the value is less than 0,5, the item should not be used. the summary of anti-image value is shown in table 2. based on table 2, it is known that all msa values for every variable are more than 0,5 so that the analysis of all items can be continued because those items still can be predicted and can be analyzed. besides, communality value can also be seen in every item. communalities value explains how influential the formed factor in explaining the variable. the summary of communalities value can be seen in table 3. next step is determining the cluster based on eigenvalue. the value of eigenvalue is used to see how many clusters/ components formed. the number of those components/clusters can be seen from the total value of eigenvalue which is greater than 1. below is the summary of eigenvalue. table 4. summary of eigenvalues efa outcomes variable component eigenvalues initial total variancei (%) cumulative (%) 1 6,79 35,760 35,760 2 2,359 13,878 49,638 3 1,188 6,986 56,624 from table 4, it shows that there are 3 clusters formed from 17 items on a questionnaire with 56,624% as the cumulative contribution value. thus, it can be conclutable 2. correlation value of anti image in efa items anti image’s value items anti image’s value items anti image’s value b1 0,892 c2 0,910 d2 0,798 b2 0,893 c3 0,895 d3 0,797 b3 0,934 c4 0,886 d4 0,819 b4 0,907 c5 0,891 d5 0,883 b5 0,926 c6 0,931 d6 913 c1 0,882 d1 0,880 table 3. communalities value in efa outcomes variable item initial extraction item initial extraction item initial extraction b1 1.00 0,616 c2 1.00 0,661 d2 1.00 0,482 b2 1.00 0,508 c3 1.00 0,618 d3 1.00 0,723 b3 1.00 0,423 c4 1.00 0,647 d4 1.00 0,627 b4 1.00 0,632 c5 1.00 0,633 d5 1.00 0,562 b5 1.00 0,642 c6 1.00 0,537 d6 1.00 0,407 c1 1.00 0,588 d1 1.00 0,319 tyas kartiko sutawi, three characters moulded in music education 203 standardized solution of music education implementation in junior high school in yogyakarta. figure 1. standardized solution model outcomesvariable referring to p-value result from satorra-bentler chi-square of 1 > 0,05, it can be concluded that the data fit the model. this also applies to rmsea value of 0,00 < 0,08 which shows that model matches are acceptable. thus, referring to the matching value of each parameter, this model is the right fit. below is the figure of outcomes variable model of music education implementation seen from t-values. figure 2. t –value model outcomes variable the summary and conclusion of standardized loading factors and t-value to see item validity in each variable are shown in table 6. reliability on the questionnaire was counted by using alpha cronbach formula for efa, also variance extract (ve) and construct reliability (cr) for cfa. this test was used to count the reliability of each component and total which refers to efa and cfa value obtained. the result of coefficient reliability construct for efa ded that all items can be analyzed further using factor analysis with extraction and rotation methods using varimax. the result can be seen in table 5. table 5. rotated component matrix outcomes variable component 1 2 3 b1 .022 .783 .052 b2 .102 .671 .217 b3 .246 .559 .224 b4 .373 .702 .001 b5 .526 .601 .060 c1 .728 .194 .144 c2 .587 .563 -.021 c3 .753 .045 .220 c4 .721 .341 .102 c5 .576 .544 .068 c6 .609 .297 .279 d1 .340 -.015 .451 d2 .200 .024 .665 d3 -.008 .182 .830 d4 -.032 .117 .782 d5 .107 .104 .735 d6 .308 .092 .551 extraction method: principal component analysis. rotation method: varimax with kaiser normalization. in table 5, all loading factor values meet the required criterion which is ≥ 0.4. there are three clusters formed from 17 questions. they are (1) component 1 which consists of 6 items, included to the creative group, (2) component 2 which consists of 5 items, included to “rasa” sensitivity group, and (3) component 3 which consist of 6 items, included the respecting group. according to the clusters obtained from exploratory factor analysis, the analysis can be continued by using confirmatory factor analysis (cfa). the second cfa analysis was done on outcomes variable which measures the character of students. the analysis result shows chi-square value represented by satorra-bentler scaled chi-square = 0,0 with p-value of 1.00 and root mean square error of approximation (rmsea) = 0,00. here is the harmonia: journal of arts research and education 18 (2) (2018): 200-207204 is summarised in table 29. based on table 3, it can be concluded that questionnaire used in the research was reliable so that the instrument can be used to do another measurement on the same type of objects because it has coefficient reliability > 0,7 based on exploratory factor analysis, there are three groups of characters in music education, they are “rasa” sensitivity, creativity and respect. these three groups were then analyzed further using confirmatory factor analysis. from it, a fit model was obtained. it shows that the three character groups are the outcome of music education, especially ensemble, they are “rasa” sensitivity, creativity and respect. weiss (2006) explains that “rasa” is something complex, which related to ears and heart. “rasa” could mean a harmony between musicality, thought and body. “rasa” is also related to expressing music. thus, “rasa” sensitivity also means being sensitive to feeling, “rasa” or emotion. all those “rasa” elements can be realized using an expression, which also included in musical activities in class (fautley & savage, 2011). “rasa” sensitivity meant here is the sensitivity of beauty which is attributed to education needs, or in the art field. it is in line with the purpose of art & culture subject, that is to develop an aesthetic person, critical attitude, appreciation and creative attitude. according to dewantara (1961), children need to get used to the characters of beauty so that they can be persons who are beauty educated. educating children to get used to the characteristics of beauty means that educating children about discipline. besides, embedded the “rasa” of aesthetic cannot be taught mathematically to students. it should be done through the introduction of all forms of art and example observed especially how the closest environment gives appreciation to all kinds of beauty. the music itself is used to train/ educate feeling through listening which has influence deeper to feeling than seeing (dewantara, 1961). being sensitive to beauty is beneficial in the living process, which is to build someone’s character who likes to socialize and talk beautifully (pamadhi, 2012). from all explanations above, it can be seen that “rasa” sensitivity meant will go in line with what is learned in music education at school. aesthetic “rasa” sensitivity will automatically intersect with values obtained by students in the process of constructing knowledge and their experience in appreciation making in class. the table 6. cfa summary item code standardized loading factors (slf) ≥ 0,3 standard errors t-value ≥ 1,96 error variance result cv 0,75 0,43 13,01 5,53 good validity ts 0,93 0,14 13,90 1,49 good validity rs 0,43 0,82 7,87 15,19 good validity notes: cv : creative ts : “rasa” sensitivity rs : respect table 7. summary of coefficient reliability efa component cronbach’s alpha coefficient per indikator cronbach’s alpha coefficient in general construct reliability result kepekaan rasa 0,788 0,886 0,76 reliable kreatif 0,857 reliable respek 0,776 reliable tyas kartiko sutawi, three characters moulded in music education 205 orientation of “rasa” sensitivity is music theory as well as experience in playing music in class. because of that, students have to be the first subject in doing music education so that they can have direct experience (burke, 2014). it can be seen from the result of music education at school. the results are students can have musical sensitivity, like listening sensitivity either to tone, rhythm, dynamics and timbre as basic elements of music. that musical sensitivity is correlated significantly to children’s social intelligence aspect (djohan, 2009). thus, it can be concluded that “rasa” sensitivity has some indicators. some of the indicators are having music preference in a certain situation, showing emotional tendency which is delivered through tempo and dynamics in arrangement result, trying to show harmonic show, both in show concept or an arrangement, being expressive in listening to music, and respecting other people’s music. composing through art is such an important and fundamental form of creativity (wright, 2010). music can give contribution in helping children to be more creative (fitzpratick, 2013). to increase creativity in music education at school, the learning should be based on creative activity as well. besides, a teacher needs to explore learning activity from many sources, because teacher’s perception determines what kind of creative musical activity that will be done by the students (odena & welch, 2009). to support all aspects of students’ development, a teacher needs to make students accustomed to having created character through arranging or composing music in class (tomlinson, 2012). this can be done by gaining information or knowledge first about basic music theory, arrangement and composition as students’ basic to be able to develop creativity in processing sound and show. besides, research result from raymond, macdonald & miell (2000:58-68) shows that social environment, including communication between friends can influence students’ creativity,where students feel more comfortable in being creative in the environment that they are familiar with. students tend to be free in doing musical creation on time with a more satisfying result (black, 2011). the music teacher can consider expanding the learning so that students can have more time to respond to musical activity in class. a teacher should push students to be creative in any way using all genres and some instruments (kiehn, 2007). there are some indicators from a creative character they are able to arrange a new idea, spread new creation to a stranger, able to solve problems, get used to making one idea, have high imagination, and able to create new work or, especially in a music learning process, able to do some arrangement on a work. the last character is respect. respect is an attitude and action that push somebody to produce something useful in society, acknowledge and honor other people’s success. cranor (1975) said that there is a certain reason why somebody gives respect to others. the reason can be sympathy, or positive view about someone’s behavior or attitude. respect does not mean being obedient, but more than that, respect means showing honor (dimerman, 2009). honor is giving appreciation, to him/herself, others, or the environment. so it can be concluded that respect is giving appreciation to him/herself, others and an environment in the process of maintaining a balance between the obligation to finish responsibility and ability to fulfill personal needs, by not breaking other’s rights. to work in a musical group, respect and trust are needed, also the ability to negotiate and compromise. these characters are needed to support a conducive environment while the learning process is happening. respect can help students to work together well. music education gives chance to students to socialize in an activity which is done together and also needs togetherness, honor, and understanding from each member to another through ensemble activity. respect is related to social relationharmonia: journal of arts research and education 18 (2) (2018): 200-207206 ships among humans. hogene, oers & diestra (2014) explains that music education can influence children’s socioemotional ability. according to dora and poetiray (2012), the process of art making which related to culture, helps students to mold their characters because there is value transmission process happens in the learning to the young generation who needs mutual respect attitude in life. in the learning activity, respect character can be embedded through gaining knowledge about how to appreciate the uniqueness of every kind of music, either from musicality or from a performance. besides, this character can be embedded through practice playing ensemble, either one kind or mixed ensemble. respect character can be exposed through honoring friends or self in every learning activity. some indicators of respect are able to respect him/herself by not doing bad actions like cheating and etc, able to honor others by always be nice to friends and teacher, able to accept agreement even though he/she has a different opinion, also able and willing to work with anybody even though they have diverse backgrounds, views, and beliefs. conclusion music education is a medium to build students’ characters. an ensemble is one form of musical activity which not only liked by students, but also can build students’ character. through the research result, there are three characters formed as the result of ensemble activity in music education. the characters are “rasa” sensitivity, creativity and respect. those three characters are basic characters that students need to have related to music education. this research result can be a reference for a teacher to be able to increase students’ outcome quality related to character building. 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(2010). understanding creativity in early childhood. great britain: sage publications, inc. 87 the role of stakeholder in fostering traditional art awareness (a case study of sundanese local song ‘cianjuran’ artist training in sumedang regency west java, indonesia) julia indonesia university of education, sumedang campus jalan mayor abdurachman no. 211 sumedang, indonesia e-mail: juli@upi.edu received: april 21, 2016. revised: may 23, 2016. accepted: june 1, 2016 abstract this paper examines the process of seeding or training of sundanese song cianjuran by artists in sumedang regency that is conducted by a stakeholder of sundanese traditional arts. the study was conducted using descriptive analytic methods, and data collection was done through observation and interviews. results from the study explained that stakeholder participation was vital and influential towards the existence of sundanese song cianjuran, especially in growing cultural awareness and in generating candidates for local traditional artists. keywords: stakeholder; awareness; art; traditional; sundanese song cianjuran how to cite: julia. (2016). the role of stakeholder in fostering traditional art awareness (a case study of sundanese local song ‘cianjuran’ artist training in sumedang regency west java, indonesia). harmonia: journal of arts research and education, 16(1), 87-94. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6005 harmonia : journal of arts research and education 16 (1) (2016), 87-94 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v16i1.6005 p-issn 1411-5115 e-issn 2355-3820 traditional art appreciator is considerably harder. observation conducted by researchers at indonesia university of education sumedang campus, for example, found that traditional music, dance, and drama performance received less attention and appreciation from students. on the other hand, popular arts like band always received more attention. students from inside and outside campus always gathered together to appreciate this type of performance. therefore, it shows that students in general give less or no attention and appreciation to the continuance of traditional art. in west java, the lack of public awareness towards local art and culture had led to the extinction of hundred traditional arts. kurnia, et al. (2013) stated in current time, 500 types of sundanese art had alintroduction in the recent era, children and teenagers tend by all means to prefer popular art rather than other genres. their concern towards traditional or local art seems to be slowly forgotten as popular art has penetrated to all parts of their life in many ways. research conducted by purnamasari, suntoro, and nurmalisa (2013, p.12) shows that interest of teenagers towards traditional art depends closely to globalization that has changed one’s paradigm, spirit and lifestyle had by teenagers. as a result, it is considerably challenging to find children or teenagers who are able to become a good and reliable appreciator towards traditional art who, at the same time, possesses considerably insightful knowledge about the traditional art itself. in fact, in university level itself, finding a harmonia : journal of arts research and education 16 (1) (2016): 87-9488 ready extinct. furthermore, he added, there 40 types of art are in the state of early agony, 25 types are in extreme agony, and 15 others are alive (pikiran rakyat online, 2013). the reasons behind the extinction are varied, among them is because sundanese has lost their traditional art enthusiasts which results in the heredity discontinuation in traditional art preservation. preserving the traditional art, however, is not only the role of an individual. therefore, a stakeholder is viewed as a central figure in the process of traditional art regeneration. it is the role of stakeholder to observe and anticipate failure in traditional art regeneration. stakeholder here may refer to several parties, like, individual, group, or any person either male or female who has an interest, involve, or is influenced (either in a positive or negative way) by developmental activity or event (hetifah, 2003, p. 3; tutik, noor, & hayat, 2014, p.825). in other words, stakeholder as a term here is not limited to certain individual, but more to various parties that are able to act as it receives forces by certain willingness or purpose in increasing developmental programs, including development in the field of art and culture. thus, stakeholder can be in a form of state (country or government), private sector (private or entrepreneur) and society (hetifah, 2003, p. 3; noor & hayat, 2014, pp. 825-826). various parties classified as stakeholder, specifically one in the field of art and culture, basically have already existed in governmental or societal structures. they are well known as tourism department, education department, arts council, culture council either from government or private institution. however, the role of its parts in preserving traditional art is considered as doubtful for the term ‘role’ is a dynamic aspect of status only if it has been fulfilled by a person in the position in accordance with the rights and obligations attached to it (soekanto, 2002, p. 243; mahmud, haryono, and anggraeni, 2015, pp. 20-72). it means that stakeholder in this case has obviously had the position, however, the implementation of its position is still considered static or, in other words, has not given much influence towards certain developmental programs, especially the program related to art and culture in west java. it has then resulted in the extinction of hundred west java traditional arts. in the end, the problem of the role and position, here are becoming one source of problems in the process of traditional art inheritance as well as local culture awareness. nugroho, zahur, and suryadi (2014, pp. 16-17) formulates that the role of stakeholder can be categorized into four aspects: 1) policy creator, or parties that determine or decide policy; 2) coordinator, or parties that accommodate various needs or interests; 3) facilitator, or parties that facilitate or fulfil the needs of targeted groups; 4) implementer, or parties that implement policy; and 5) accelerator, or parties that wait for policy acceleration through government policy. thus, the role of stakeholder in preserving traditional art can be analyzed through these four aspects. in sumedang regency west java, hope and new atmosphere of establishing cultural and local art awareness in recent years is shown by the existence of stakeholder that had been loyally caring about the continuation of traditional art’s existence. the stakeholder here is not from the government representation, but an individual whose concern towards society and traditional art is claimed as more than the government’s. the name of individual stakeholder here is noerony hidayat soeriadikoesoemah, a doctor, the founder of pakuwon hospital sumedang and gentra pakuwon art center, who recently serves as director of pakuwon foundation, after finishing his duty as director of sumedang regency public hospital as well as director of al-ikhsan hospital bandung. one of the art type prioritized by noerony to be preserved is tembang or sundanese local song cianjuran. according to wiradiredja (2012, p. 283), sundanese local song cianjuran is a sundanese vocal art which employs a set of music accomjulia, the role of stakeholder in fostering traditional art awareness ... 89 paniment, including: kacapi indung, kacapi rincik, suling, and/ or rebab. in other words, as a vocal-instrumental art, sundanese local song cianjuran consists of two elements. the first is a vocal (song) sang by a singer (man and woman) and instrumental (music sound) played by a set of music accompaniment, consists of kacapi (kacapi indung and kacapi rincik) and suling or rebab (hermawan, 2014, p.26). sundanese local song cianjuran is a classical art that is popular in the realm of menak, was only enjoyed by menak, and was only developed among nobles. even though local song cianjuran has been enjoyed by various circles in recent era, however, the exclusive side of local song cianjuran is still performed in high sense of ethics and aesthetics. it is still bounded closely to certain norms as well and keep preserving this way by the society. this exclusivity is then considered as one of the factor affecting the reason behind dr. noerony’s decision in choosing local song cianjuran as his best concern since noerony is coming from the nobles himself. the effort of noerony in reviving the traditional art has been widely well known by people, especially other sundanese local song cianjuran artists from other regions. as a famous indonesian proverb says ada gula ada semut or when there is sugar there is an ant, people will be interested in going to a place where prosperity is a definite outcome. in line with the proverb, noerony is the ‘sugar’ in the world of sundanese local song cianjuran. noerony is considered to be able to give facilitation to other artists and future artists in rehearsing and performing the art. from the background of the study explained before, thus, this study is aimed at digging forms of role of noerony as well as its impact towards the society’s awareness towards efforts to preserve traditional arts. in its actual realization, indeed, art can stay alive and develop fast because of the real support given by stakeholder. in order to give clear limitation of the study, research question then focuses on two basic problems: 1) how is the role of stakeholder in embedding awareness of traditional arts in sumedang regency? 2) how is the result of stakeholder’s role in embedding awareness of traditional arts in sumedang regency? method this study implements case study as the research design as well as an analytic description as the method of study. descriptive method is employed in creating systematic, factual, and accurate description and illustration about facts, natures, and relationship between investigated phenomena (nazir, 2005, p. 54). in this research, the investigated facts and phenomena is related to the role of stakeholder in preserving sundanese local art cianjuran. in general, the implementation of this research refers to research method by rohidi (2011). location this study is conducted in sumedang regency, west java. there two main sites in this study which are the residence of noerony known as lingkung seni gentra pakuwon in sumedang west java and radio channel erks 106,1 mhz fm. data collection data analysis is conducted by implementing flow chart as one type of qualitative analysis model by miles and huberman (1994). according to this model, data analysis is conducted through several stages, there are: data reduction, data presentation, and verification (rohidi, 2007). in analyzing the data, data resulted from observation and interview are analyzed, interpreted, and compared with relevant theories. result and discussion forms of stakeholder participation in cultivating traditional art awareness in doing the role of stakeholder in sundanese traditional art, there are several stages done by noerony, as follows: harmonia : journal of arts research and education 16 (1) (2016): 87-9490 the stage of socialization and recruitment in this stage, noerony and his wife is doing socialization of society from various districts in sumedang regency related to the activity of training for future artists of sundanese local song cianjuran. this activity is usually done in the middle of health counseling for society in sumedang regency. noerony is able to do it this way since his role as the chair of ngo namely sumedang sehat sejahtera allows him to do so. one strategy used by him to attract people’s interest in local art is by asking the audience to sing together. by doing this activity, potential candidates for future artists will be seen. according to interview with the wife of. noerony, hj. ongki ani kendran, people sometimes also directly come to their residence to register themselves as candidates for future sundanese local art artists as they hear from people that there is a routine rehearsal in the residence (interview, 13 february 2016). thus, socialization strategy here is done through two main activities, diffusion and dissemination. diffusion is when information exchange between several individuals happens either in convergent or divergent way spontaneously. meanwhile, dissemination happens through planned, directed, and manageable spreading process (rusdiana, 2014). through those both ways, numbers of traditional art enthusiast are growing from time to time. further about recruiting future artists, people who have been recruited to be trained are called as “bintang ipukan” by noerony. ipukan comes from the sundanese language means training or ‘seeding’. interview with dr. noerony on 13 february 2016 found that the doctor prefers to choose young candidates for the sake of further development of the artists and their considerably longer time to spread and cultivate the art. in the study of cultural inheritance, this is what so called by berry, john. w, et al. (1990, p. 33) as sloping inheritance. sloping inheritance means the successor of a certain culture learn the culture itself from outside adults or institutions. in this case, the scheme of inheritance happens inside their own culture, however, the inheriting process is not directly given from parents to children (biological inheritance), but from an adult to another adult. the expected result is for the successor to have the same behavior and value as the ancestor outside their own biologic family’s value and behavior. the process of choosing candidates by stakeholder itself has reflected the use of educational concept of stakeholder, as mentioned by langeveld and sadulloh (2007, p. 33) that education in specific definition is a guidance given by an adult to less adult students to achieve maturity. here, the stakeholder expects the art learners to absorb knowledge and skill as much as they can. thus, in the future, the candidates will be able to transform from a trainee to be a great artist in a broader scope generally and inside their own cultural environment specifically. the stage of training the purpose of training stage is to give the trainee deep training about techniques of singing, mastery and control for every situation and condition that they may face on stage (rudy, 2008, p. 31). at this stage, noerony holds routine training activity by presenting senior vocal coach along with the music players. in 2015, senior vocal coaches invited to the training were enah sukaenah from sumedang, iwan mulyana from bandung, and rukruk rukmana from bandung. meanwhile, in 2016, the coaches are ujang supriatna and ade gangan gumilar from sumedang. variety of coaches are presented by stakeholder in order to bring enrichment in the field of vocal technique or ornamentation for the trainee. the training, further, is divided into two categories based on the ability level of the trainee. the first category belongs to beginner level that is held every day on friday evening at 4 p.m. to 6 p.m. or 6 p.m. to 9 p.m. in the training, all trainees are gathered regardless of skill level they master. meanwhile, in the second category is the training julia, the role of stakeholder in fostering traditional art awareness ... 91 communication between performers and listeners through the phone line. second, the publication is also done through television broadcasting. television broadcasting is done offline through vcd recording. lingkung seni genta pakuwon as a traditional art group has already taped their video and packaged it into video compact disk. the disk is then given to television broadcaster to be aired. besides, the vcd recording can also be accessed in youtube. figure 1. the activity of routine training at noerony’s residence the art spreading through mass media has relatively vital and significant functions. according to dominick in rachelita and ispandriarno (2014, p. 7), for local mass media, the function of cultural inheritance turns to be considerably essential considering that function of cultural value inheritance opens chances for individuals to adopt behaviors and values had by groups that are published in mass media. therefore, society believes that the mass media is one of changer and influence that may bring new values and norms to the new generations. third, the publication is also done through holding a competition. dr. noerony has been in cooperation with local government officers of sumedang regency in holding a competition of singing sundanese local song cianjuran and kawih sunda setatar priangan in 2015. for. noerony, this activity is basically considered as an event in which purpose is to establish and grow the mental readiness of the trainees. the mentality of an artist will be infor the mastered trainee that is held every saturday evening at 4 p.m. to 6 p.m. the training is usually followed by an activity of singing for radio broadcasting. in this category, the mastered trainee is sharpening their ability and fixing the technique into a better one. therefore, repeating becomes the method that is applied in this category. the method chosen during the training itself is generally implemented to achieve ability or skill from theory that has been learned by the trainee (majid, 2013, p. 214). the training system implemented during the process of inheritance in this context is identified and divided into two systems, the apprenticeship as well as the studio system. according to soehardjo, (2005, p. 9), the apprenticeship is a system that the characteristic key is laid on the sincerity between trainer and trainee to give and take. in this training center, the sincerity is seen from the role of stakeholder that is, in fact, bringing both trainer and trainee through moral and material support. on the other hand, the studio system is a training system in which development does not happen because of the trainer, but because of interaction that occurs during the training activity at the studio (soehardjo, 2005, p. 17). since the number of trainees is considerably numerous, therefore, interaction between trainees become one alternative strategy to develop each other ability as well as master the materials given by the trainer. further, according to soehardjo (2005, p. 10), regardless the system, the process of art inheritance is not merely a physical activity in transmitting the ability of doing art, but more to transmit philosophical values to the trainees. the stage of performance in this stage, noerony publishes the singers in several ways. the first way is through radio broadcasting. the radio broadcasting is aired every saturday at 6 p.m. to 9 p.m. in online radio erks 106,1 mhz sumedang. in this radio broadcasting, the program not only airs about songs, but also presents interaction or harmonia : journal of arts research and education 16 (1) (2016): 87-9492 deed grown and more established through stage performances or on stage experiences. simanungkalit (2008, p.55) states that there are five events happened during on stage performance: 1) changing of facial expression, 2) changing of breathing, 3) changing of mood, 4) memory break down, and 5) nervous. therefore, by giving chances for the trainees to perform on stage or pasanggiri, stakeholder expects them to be relaxed and get accustomed to the stage, so that the trainees can become professional artists in the future. related to this phenomenon, djohan (2003, p. 159) argues that an artist will become professional and relaxed on stage after they have performed for more or less 10,000 training hours during their life. figure 2. one of the activity of trainees, on air for sundanese local song cianjuran radio broadcasting program in radio erks facility and training support as evidence of noerony’s seriousness in preserving sundanese culture, a set of facility to support the art training, such as: gamelan, kecapi, sound system, etc. have been prepared by him. facilities given by noerony, at the same time, also attracts future artists to join since he does not charge the trainees for the training fee. even, noerony also gives satisfying and enough accommodation for trainees and the trainers. accommodation here is dinner, snack, as well as transport fee for both the trainers and trainees. further interview with noerony found that he spent more or less 30 million rupiahs each month to support the activity (interview, 13 february 2016). in other words, all activities related to traditional art done by noerony are non-profit oriented. all activities are done for the sake of sundanese traditional art preservation. as reported from youtube on gentra pakuwon sumedang channel, noerony hidayat soeriadikoesoemah established the art center, namely lingkung seni genta pakuwon as a medium to preserve sundanese art and culture, especially the sumedang culture. considering the expensive cost spent by noerony, a leading figure of sundanese local song, namely enah sukaenah argues that noerony has given his best sacrifice for the preservation of sundanese local art (interview, 14 february 2016). the trainees themselves can learn the art in a considerably comfortable condition with complete set of facilities that may lead to their high motivation of learning. basically, the availability of facilitation as well as accommodation from stakeholder here can be functioned as extrinsic motivation for trainees. in the theory of learning conception, motivation in learning art means that the art has to be able to push the trainees to do all activities of training to achieve the goal of training itself (sagala, 2006, p. 104). stakeholder, in this case, has given all motivation through his ability to provide all the training needs. results of stakeholder’s role towards society awareness in doing traditional art through cultural movement done by noerony, it can be identified that numbers of young generation attracted to traditional art is increasing. in the beginning of 2016, lingkung seni genta pakuwon has already had around 30 enthusiasts or trainees. this is indeed a new breakthrough in the development of sundanese local art where the informal education environment is able to bring in a considerable number of enthusiasts and to do continuous training for numbers of people for free by providing accommodation and facilitation at the same time. for future development, it is possible for gentra pakuwon to have more julia, the role of stakeholder in fostering traditional art awareness ... 93 trainees considering the strategy of mouth to mouth marketing about the existence of gentra pakuwon is still continuously done. furthermore, it is also possible that the activity here attracts other concerned parties, especially the party which is wanting to preserve or develop sundanese local tradition. one example here is a request to become a sponsor of passenger activity. in other words, the stakeholder here is occupying attractiveness that may invite other parties or individuals to cooperate with various motivations. according to vaughn in kusumah, rukmi, and adianto (2014, p. 82), an individual is attracted to become a member of a certain group because of similar proximity, attitude, interest, and belief that is interdependent to achieve a certain purpose, like, positive mutual support, emotional support, and social identity. as for enthusiast who are attracted with lingkung seni gentra pakuwon, they are motivated by social identity since sundanese local song cianjuran is a classical art enjoyed by the nobles. thus, people who are enrolling themselves in this community will feel the nuance of noble life while taking part in the group. the training done by lingkung seni gentra pakuwon is not only focused on the vocal skill development, but also on trainees’ character building development. specifically, for the character building development, the approach is by giving direct advice, good behavior habituation, as well as art management transparency. therefore, the training here has not only shaped the trainees character from the music perspective, but also to assist trainee during the process of softening one’s feeling since one of music role is to form one’s basic personality (rahmawati, 2005, p. 85). all these expected outcomes are possible with supports from the stakeholder. conclusion the conclusion of this study is divided into three major parts. first, the form of stakeholder’s role in rising traditional awareness in sumedang regency was done in three stages: 1) the stage of socialization and recruitment; 2) the stage of performance (publication); and 3) the stage of on stage performance. second, the role and participation of stakeholder had successfully brought numbers of youth to learn the sundanese traditional art, especially sundanese local song cianjuran. third, the presence of stakeholder who was able to give facilitation and accommodation to trainees and the trainers had been able to increase the development of traditional art preservation. thus, the role of stakeholder is considerably vital and influential for the existence and preservation of traditional art, especially in growing cultural awareness and in producing future traditional artists. in this case, noerony and his family can be categorized as multi-role stakeholder. they act as a policy creator, coordinator or as a party that prepares all needs of the training, as well as a facilitator or a party that gives facilitation to the trainees. vocal coaches and other trainers acted as implementing parties. further, it was also found in this study that the accelerator aspect only received less attention from the stakeholder. it means that the existence of sundanese local song cianjuran here did not depend on government policy. the existence of the training by noerony, on the other hand, indirectly had shown critics to the government which was seen as a policy maker that had not implemented the policy themselves. finally, noerony is categorized as 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(2012). peranan r. a. a. wiranatakusumah v dalam penyebaran tembang sunda cianjuran. panggung. 22(3), 283-292. interviewees: soeriadikoesoemah, noerony hidayat (1937), februari 13, 2016, on jalan raden sujud 9 sumedang, west java. kendran, ongki ani (1944). februari 13, 2016, on jalan raden sujud 9 sumedang, west java. sukaenah, enah (1941). februari 14, 2016, on palasari 72 kota kaler kecamatan, south sumedang, west java. 37 effect of music therapy on oxygen saturation level: a literature review ruma chakravarty1, neena mehta1, dharam vir2 1rayat-bahra university, india 2post graduate institute of medical education & research, india submitted: 2022-04-19. revised: 2022-05-04. accepted: 2022-06-11 abstract music therapy as a non-invasive therapeutic modality is gaining prominence worldwide both in hospital settings as an adjunct therapy as well as for community wellbeing. music therapy offers encouraging evidence-based outcomes for stabilising vital parameters to improve symptoms associated with complex illnesses such as autism spectrum disorder or major depressive disorders. the purpose of this review is to 1) identify scientific literatures that offer insights on the effect of music therapy on oxygen saturation levels of patients undergoing treatments for diverse conditions; 2) compare the effects of music therapy based on identified parameters 3) analyse the critical reviews of the researchers of studies included in this literature scan and 4) synthesise the review findings for the benefit of future scientific researches on the effect of music therapy on oxygen saturation levels. in this review, an analysis of relevant scientific papers published in the last 80 years from 1940 to 2020 (as available) was done by searching databases such as pubmed, cochrane library, wiley online library, gray literature sources such as google scholar, worldcat; doaj, and who global index medicus. eighteen relevant papers describing music therapy’s effect on the patient’s oxygen saturation levels (under different conditions) were included in the review. the results and discussions respectively compare and analyse characteristics of included studies, music therapy administered, measuring device used, the effectiveness of music therapy on oxygen saturation levels, and critical reviews of authors of the scanned literature. keywords: music therapy, oxygen saturation level, spo2, sao2 how to cite: chakravarty, r., mehta, n., & vir, d. (2022). effect of music therapy on oxygen saturation level: a literature review. harmonia: journal of arts research and education, 22(1), 37-47 harmonia: journal of arts research and education 22 (1) (2022), 37-47 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i1.36232 psychological, physiological, and other areas. it has become a norm to measure and maintain a normal oxygen saturation level, especially during the pandemic when oxygen saturation is being used as a marker of fatality for covid-19-affected patients (mejía f et al., 2020). a pulse oximeter (oximeter) has entered every home, and people are more conscious than before about their oxygen uptake and saturation; and how they breathe. at the same time, introduction music therapy is considered to be one of the best alternative, adjunct, and non-invasive therapeutic measures worldwide for alleviating diverse conditions/ symptoms of diseases and disorders. as a natural therapeutic and healing modality, researchers and scientists are conducting numerous experiments to assess the benefit of music therapy in neurological, corresponding author: e-mail: ruma.consult@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (1) (2022): 37-4738 people’s reliance on natural therapies to improve oxygen saturation level and uptake has increased significantly. music therapy is one such therapeutic measure accepted well across the globe. the effect of music therapy on diverse conditions has been studied for the past many years. there is a body of evidence-based scientific research where music therapy has shown efficacy in improving conditions, disorders, and symptoms. music therapy has been used for acute stroke rehabilitation (alexander street et al., 2020); to bring positive changes in cognitive, psychological (anxiety, depression), and behaviour aspects for patients having alzheimer’s disease (gómez gallego m et al., 2017); in lowering anxiety and distress of cancer patients during simulation procedure for radiation therapy (andrew rossetti et al., 2017); in better social skill developments, mood, language, sensory perception and behaviour in individuals having autism spectrum disorder (zhi-min shi et al., 2016) and for other symptom improvements. further research focuses on permanently damaging the coronavirus shell with ultrasound vibrations at frequencies between 25 megahertz to 110 megahertz (wierzbicki t et al., 2021). these frequencies for collapsing viral shells and damaging vibration of viral spikes are routinely used in medical imaging diagnostics. as a natural and non-invasive intervention, the impact of music therapy on oxygen saturation levels is studied for patients suffering from diverse conditions or undergoing treatments for some diseases. oxygen saturation is a key parameter in determining blood oxygen content as well as oxygen delivery. oxygen saturation is the measure of the proportion of oxygen attached to haemoglobin in the blood (that is, oxyhaemoglobin), estimated as a percentage. oxygen saturations are abbreviated spo2/ sao2 (for arterial saturation) or svo2 (for venous saturation). spo2/ sao2 is generally measured with a pulse oximeter as a clinically acceptable standard monitoring modality to assess oxygen sufficiency in clinical settings and also at home setups (andrew b. lumb et al., 2019). the normal spo2/ sao2 level is 95% 100% in healthy adults. the prevalent disorders and symptoms affecting respiratory system functioning, unstable oxygen saturation, oxygen uptake, lower oxygen saturation level in covid-19 patients, etc., have accentuated increased employment of natural modalities. these eventually help improve spo2/ sao2 – whether in clinical setup, home setup, or in rehabilitation procedures. considering music therapy as a natural therapeutic modality, studies have shown increased spo2/ sao2 for patients under different conditions and medical care. examples include women undergoing caesarean delivery (handan e et al., 2018), patients undergoing open-heart surgery (nilsson u, 2009), or babies in a neonatal intensive care unit (nicu) (berna alay et al., 2019). studies have also shown no effect of music therapy in certain cases where the duration of therapy was less (dixit ub et al., 2020) or for postoperative patients who underwent hernia repair (nilsson u et al., 2005). thus, in view of all the above aspects, it becomes relevant to find out what the recent literature narrates about the impact of music as a therapeutic modality on the oxygen saturation levels of patients undergoing treatments. at the same time, the purpose of the literature scan is also to ascertain whether music therapy can be considered a modality for improved oxygen saturation levels. therefore, the literature review was carried out with the objective of addressing the questions: ‘can music therapy be administered for patients having challenges with oxygen saturation level?’ and ‘can music therapy be an effective natural therapy for improving patients’ oxygen saturation level? ’ thus, this literature review aims to identify existing research papers that narrate whether music therapy has any effect on vital parameter oxygen saturation levels of patients undergoing treatments for diverse conditions. the further objective is to compare and analyse the findings and critical reviews/ reflections of authors of ruma chakravarty, et al., effect of music therapy on oxygen saturation level: a litera39 scanned literature and synthesise from those for widening the application of music therapy in future research works to assess its effectiveness on oxygen saturation levels. method search strategy a literature review was thus a logical progression to explore the purpose at hand and to find answers to the questions recounted above. databases searched for the review of literature are pubmed (jan 1940 – dec 2020), cochrane library (jan 1947 – dec 2020), wiley online library (jan 2004 – dec 2020), gray literature sources such as google scholar (jan 1940 – dec 2020), worldcat (jan 2011 – dec 2020); doaj (jan 2012 – dec 2020) and who global index medicus (jan 1940 – dec 2020) with the keywords ‘music therapy’, ‘oxygen saturation level’, ‘spo2’ and ‘sao2’. filter was applied for 1940–2020 as applicable for different databases. all relevant and original full-text articles that matched the search criteria of the effect of music therapy on oxygen saturation levels were included. selection criteria the selection criteria of the studies in the literature review were based on the following aspects: inclusion criteria were 1) original research papers published in the last 80 years (1940-2020) in peer-reviewed journals that report the effect of music therapy on the oxygen saturation level of a diverse group of patients; 2) the papers where the parameter was independently measured; 3) included full-text papers and 4) papers that were written in english. papers excluded were 1) review papers; 2) thesis, 3) ongoing clinical trials, and 4) papers without any outcomes concerning oxygen saturation level as a result of music therapy intervention. no other criteria were applied for the search of the literature in this review. result and discussion results characteristics of the included studies in total (n=321) unfiltered/ raw papers were found during the first phase of the literature search within the databases pubmed (33); cochrane (47); google scholar (172); wiley online library (49); worldcat (12); doaj (5) and who global index medicus database (3) (figure. 1). taking into consideration the objective of this literature review, the emphasis was to identify which of these (n=321) papers focus precisely on reporting any effect of music therapy on oxygen saturation levels of respective participant groups. removal of duplicate records resulted in (n=284) papers. through preliminary screening, records remained (n=93), which offered focused reporting of the impact of music therapy on oxygen saturation levels. further screening resulted in (n=30) full-text articles. final cleaning was applied in the analysis of the literature review scan when review papers and papers reporting no study results were removed; this resulted in (n=18) papers, which were included for review. close scrutiny of these eighteen literature-scanned papers helped compile study details, music type used in therapy, and study conclusions. the results are presented in table 1. eighteen studies included in the literature review have varied numbers of participants ranging from 26 to 202. 50% of the studies have less than 50 participants, while the rest 50% reported over 50 participants. three studies (20% of the total) reported participants to be more than or equal to 100. eight (44.4%) included studies are randomised control trials; five (27.8%) are experimental studies; the remaining five (27.8%) are quasi-experimental, pre and post-test, and single-group randomised clinical trial studies. adults (n=6; 33.3%) and preterm/ premature infants (n=6; 33.3%) constituted 66.7% of the studies, children and adolescents (n=5) held 27.8% of studies; while one study was conducted with full-term newborns (n=1; 5.5%). for assessing the efficacy of music harmonia: journal of arts research and education 22 (1) (2022): 37-4740 therapy on oxygen saturation level, most of the adult studies (66.7%) (handan e et al., 2018; nilsson u, 2009; nilsson u et al. 2005; saritas et al. 2016) were concerned with preintraand post-operative procedures while other two papers addressed terminally ill patients (antoniazza b et al., 2018) and icu patients with head injury (indriani, n. at al., 2018); three research papers (dixit ub et al., 2020; marwah n et al., 2005; tshiswaka sk et al., 2020) concerning children and adolescents recounted using music therapy pre-, intraand posttreatment for dental anxiety while two studies (calcaterra, valeria et al., 2014; atiye karakul et al., 2018) used the music during the recovery period after daycare surgery. for studies with full-term/ preterm/ premature, predominantly (66.7%) (berna alay et al., 2019; eskandari n et al., 2013; cristiane aparecida moran et al., 2015; jabraeili m et al., 2016; elham shafiei et al., 2020) the effect of music on physiological parameters including oxygen saturation level was measured; two (33.3%) studies (diler aydin et al., 2012; aydın, d. et al., 2014) reported assessing the effect of music therapy on stress too along with oxygen saturation levels. figure 1. database record search and selection from pubmed; cochrane library; google scholar, wiley online library, worldcat, doaj, and who global index medicus characteristics of music therapy administered types and forms of music administered varied across studies, and few papers reported using multiple genres of music in both vocal and instrumental modes. ten papers used only instrumental music, five used only vocal music, and three reported using both types. western classical music, lullaby, and turkish music dominated the music genres used as therapy. other music used includes popular live music, soft melodies, nature’s sound, favourite/ preferred songs/ music choice of participants, indian classical music, etc. classical music dominated the music genres chosen for music therapy as per the present literature scan that included western classical music (7), turkish classical music (2), and indian classical music (1) forms. in papers using western music therapy, two studies each reported using recorded classical music rendition of bach (saritas et al., 2016; atiye karakul et al., 2018) and mozart (berna alay et al., 2019; indriani, n. et al., 2018); two studies used ‘new age’ (nilsson u et al., 2005; cristiane aparecida moran et al., 2015) while another study used classical music rendition of bach, mozart, vivaldi, a. corelli and e. grieg holberg (calcaterra, valeria et al., 2014). four studies used lullabies as therapeutic music (berna alay et al., 2019; eskandari n et al., 2013; cristiane aparecida moran et al., 2015; elham shafiei et al., 2020). cristiane aparecida moran et al., 2015 used music as an adjunct therapy to respiratory therapy for preterm infants. music therapy duration for studies, except those reporting music therapy during surgery/ treatment, was between 15 minutes to 1 hour per session. overall music intervention length of the studies varied significantly from a single session (example: during caesarean section) to over a month (example: 29-32 days for premature infants). five of eighteen studies reported playing music from 25 db to 70 db. another study mentioned using ambient speakers. characteristics of measuring device used for measuring oxygen saturation ruma chakravarty, et al., effect of music therapy on oxygen saturation level: a litera41 levels, seven of eighteen studies used a pulse oximeter (oxymeter) while four studies reported using different instruments primus dräger (lübeck, germany), vital monitoring system dx 2010-lcd dixtal biomedical, saadat monitoring system (saadat, malaysia) and mennen vl4000 bed-side monitor. the remaining seven studies did not mention the oxygen saturation level measuring device name. the outcome of music therapy on oxygen saturation level eight out of eighteen papers (44.4%) concluded music therapy is an effective modality that showed statistically significant outcomes for improving oxygen saturation levels, while other ten (55.6%) studies did not show statistically significant outcomes. nine out of eleven (81.8%) qualified papers concerning adults, children and adolescents focus on assessing the effectiveness of music on oxygen saturation either pre-, intraand/ or post-operative/ treatment procedures. amongst these nine studies, in adults, three out of four (75%) papers that concerned with open heart (nilsson u, 2009), caesarean section (handan e et al., 2018) and general surgery (saritas et al., 2016) show increase of oxygen saturation levels of patients with music therapy intervention; while in children and adolescents, none of the papers reports improvement. two papers concerning adult patients one in icu with head injury (indriani, n. et al., 2018) and another (antoniazza b et al., 2018) with terminally ill patients stated statistically significant outcome where oxygen saturation level raised with music therapy. out of these nine studies concerning surgery/ treatment, ones that did not find music therapy effective include one study with adult patients undergoing open hernia operation (intra and post-) (nilsson u et al., 2005); three studies (dixit ub et al., 2020; marwah n et al., 2005; tshiswaka sk et al., 2020) with children undergoing dental treatment (intra-) and two (calcaterra, valeria, et al., 2014; atiye karakul et al., 2018) with children and adolescents undergoing day care surgery (post-). two (jabraeili m et al., 2016; elham shafiei et al., 2020) out of six (33.3%) studies concerning preterm and premature infants had shown a positive effect of music therapy on oxygen saturation levels while four (66.7%) studies (eskandari n et al., 2013; cristiane aparecida moran et al., 2015; diler aydin et al., 2012; aydın, d. et al., 2014) did not find music therapy effective for improvement of oxygen saturation level. in addition, the study (berna alay et al., 2019) with full-term newborns too showed statistically significant outcomes. discussion reviewed studies the present literature review identifies eighteen papers that describe the therapeutic effect of different types and genres of music on the oxygen saturation level of 1,151 participants undergoing some diverse medical treatments. the literature review does not focus on participant equivalence, disease equivalence, or music equivalence. accordingly, the review showed a mixed outcome. due to the heterogeneity of the study types, participant profiles, music forms used and the mode of applying the intervention a comparison between the outcomes may not be justified; however, the conclusions from the review may help future researchers to explore and validate the conclusions. music therapy on oxygen saturation level music had diverse effects on patients’ oxygen saturation levels as per the drawn conclusions. the review reports patients from different age groups, from neonates to adults of 80+ years of age, and thus the effectiveness of music on oxygen saturation level as per the outcome too varied significantly. adult patients were found to benefit most from music therapy intervention, followed by premature/preterm or newborn infants, while included studies with children participants showed no effect of music on oxygen saturation levels. papers narrating western classical music’s usage reveal better outcomes for the revieharmonia: journal of arts research and education 22 (1) (2022): 37-4742 wed literature. administration of western classical instrumental music in different forms helped increase oxygen saturation levels in adults in surgical intensive care units as well as in newborn patients under medical care. mum’s lullaby and brahm’s lullaby positively affected the oxygen saturation levels of preterm infants. favourite songs were chosen by women undergoing multiple caesarean section delivery. classical music for patients in the intensive care unit (icu) and instrumental music from live musical performances for terminally ill patients significantly increased their oxygen saturation levels. three papers with children having dental anxiety reported no change in the oxygen saturation level when administered with music therapy, including indian classical music, instrumental music, nursery rhymes, and portuguese children’s songs. all the studies in the literature review reported using receptive (or passive) music; while a single study reported that 1% of participants choose active live music therapy (instrumental music played by trained music therapists and nurses) as well. pre-, intra-, and post-therapy observations reveal that in one paper improved oxygen saturation levels were sustained even after 15 minutes of music therapy, while in another, the improved levels were observed during the intervention and until the completion of therapy administration. although many of the reviewed papers did not mention the types of instruments used to measure oxygen saturation levels, the ones mentioned did not significantly differ in outcomes. critical reviews, reflections, and gaps the authors of the studies included in the literature review have offered a few important critical reviews, reflections, and gaps in the process, which may be significant for efficiently using music in clinical setups in the future. those are bucketed under a few themes. 1) continuity in using music in clinical setups: even though using music did not show the expected effect in a few studies, patients responded positively to the music and voted in favour of listening to that in their subsequent visits (marwah n et al., 2005). continuity in applying music therapy to patients may offer a better outcome. for example, in a couple of studies (eskandari n et al., 2013; cristiane aparecida moran et al., 2015) with premature infants, although there were no significant improvements in oxygen saturation levels, however, there was a decrease in respiratory rates after the end of music therapy intervention. 2) in-service music therapy training: in-service music therapy training for nurses in icus, their continued use, and extended application for patient-care services need to be encouraged (saritas et al., 2016; atiye karakul et al., 2018). 3) rhythm variation and silence: positive effect of music was seen through variation in rhythms and silence in between the music interventions in a study with western classical music (calcaterra, valeria, et al., 2014). 4) stabilisation of oxygen saturation levels: multiple studies (diler aydin et al., 2012; aydın, d. et al., 2014; indriani, n. et al., 2018; atiye karakul et al., 2018) showed music therapy helped stabilise oxygen saturation level irrespective of whether there was an improvement or not. 5) music therapy expertise: four studies (calcaterra, valeria, et al., 2014; saritas et al., 2016; antoniazza b et al., 2018; atiye karakul et al., 2018) out of eighteen mention music design or selection by music therapist or trained/ expert musicians; two mentions trained research assistant (jabraeili m et al., 2016) or nurse (nilsson u, 2009) while rest twelve papers did not mention using expert musicians or music therapists for designing/ selection of music for intervention. 6) the mechanism in which music therapy works: studies that mention the improvement of oxygen saturation levels with music therapy do not clearly explain why it happens. a couple of studies (nilsson u, 2009; elham shafiei et al., 2020) suggest positive outcomes with deep breathing caused by soothing music. a few studies (eskandari n et al., 2013; cristiane aparecida moran et al., 2015; handan e et al., 2018 ;) do not report improvements in oxygen saturation ruma chakravarty, et al., effect of music therapy on oxygen saturation level: a litera43 levels with music therapy; however, they report better respiratory rates and qualities than control groups. other papers (diler aydin et al., 2012; aydın, d. et al., 2014; atiye karakul et al., 2018) report retention of oxygen saturation within normal levels. conclusions as is identified from the results and discussions of included studies in the review, it becomes evident that homogeneous research is required to comprehend how music therapy works on a similar patient base. even with heterogeneity in included papers in the present literature review, either positive outcomes of music on oxygen saturation level improvement or no effect was reported; no negative outcomes were reported. the mixed result may be attributed to the diversity and heterogeneity. thus, an exact comparison of the results may not be justified because of the diverse nature of the studies. secondly, how music therapy affects oxygen saturation levels is yet to be understood completely. for example, whether it depends on the type of patient groups; nature of the music such as classical music, lullaby or other music forms; live or recorded music; any soothing music that may positively affect respiratory activities resulting in deeper breaths; therapy duration; targeted music therapy procedural design; trained facilitators in clinical setups or apposite execution, needs to be researched extensively. to realise the sustained experience of music therapy, a continuity in the therapy process with trained professionals is mandatory per the patient’s status. this is the norm and is also being reported by the authors of the included papers. the selection and designing of music therapy by the experts is an area that needs more focused details in research papers because experience in designing and applying music therapy might influence the efficacy of the therapy procedure as well as the overall experience of participants or patients. further, the basis of choosing a piece of particular music for a specific patient condition is also not available, which again is very important to narrate; because designing relevant music intervention for therapy is important for a successful outcome that may not be homogeneous but may be targeted to the need and to be developed by experts in the domain. researchers may utilise the findings (both positive outcomes, reflections, and critical reviews) of the present literature scan as base level understandings to design future research work on the effect of music therapy on oxygen saturation levels in patients undergoing treatment for different conditions. more and more clinical research studies with relevant music therapy design need to be conducted with different patient profiles to understand the efficacy of music therapy and for standardisation of outcomes in this domain. music therapy is a well-accepted, non-invasive, inexpensive, and easy-touse modality that is used to address and improve patient conditions. also, along with identified disease areas, surgical settings, day care treatments, preterm infants, and others, there is an emergent need to conduct research to assess music therapy’s role on oxygen saturation levels of covid-19 patients and survivors. there is a dearth of literature on this domain of scientific work. overall, the review’s findings and critical analysis emphasise how music therapy as a therapeutic modality can be helpful for promoting natural therapy and further benefit humankind holistically. references alexander street, jufen zhang, susan pethers, lydia wiffen, katie bond & helen palmer (2020. neurologic music therapy in multidisciplinary acute stroke rehabilitation: could it be feasible and helpful? topics in stroke rehabilitation, 27(7), 541-552. andrew rossetti, manjeet chadha, jae k. lee, joanne v. loewy, louis b. harrison (2017). the impact of music therapy on anxiety in cancer paharmonia: journal of arts research and education 22 (1) (2022): 37-4744 tients undergoing simulation for radiation therapy. int j radiation oncol biol phys, 99(1), 103-110. atiye karakul, zehra bahire bolışık2 (2018). the effect of music listened to during the recovery period after day surgery on the anxiety state and vital signs of children and adolescents. j pediatr res, 5(2), 82-7. aydın, d., & yıldız, s (2014). effect of turkish music that premature infants are made to listen during care on stress, oxygen saturation level and length of hospital stay. journal of human sciences, 11(1), 1343–1359. barbara antoniazza, monica patricio pinto, matteo ferraraccio, massimo damini, damini, alfonso sollami, giuseppe marletta (2018). effects of music therapy on vital signs and anxiety: a study with terminally ill patients. j hosp palliat med care, 1, 002. berna alay, figen isik esenay (2019). the clinical effect of classical music and lullaby on term babies in neonatal intensive care unit: a randomised controlled trial. j pak med assoc, 69(4), 459-463. calcaterra, v., ostuni, s., bonomelli, i., mencherini, s., brunero, m., zambaiti, e., mannarino, s., larizza, d., albertini, r., tinelli, c., & pelizzo, g. 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seven melodies that are soft and relaxing were :43 minutes to 1 hour :intraand postoperatively :instrumental :pulse oximeter there were no significant differences between the three groups (intramusic, postoperative music and silence/ control groups) with regards to spo2, however postoperative group reported less anxiety with music therapy. marwah n (2005) 4-8 yrs. 40 anxious pediatric dental patients experimental study recorded instrumental music and nursery rhymes music as per patients’ choice :throughout treatment procedure :instrumental and vocal :pulse oximeter the values of oxygen saturation showed minimal variations during all the visits with instrumental music and rhymes groups. the results were not statistically significant. even though pain relief was less, the patients responsed positively to the music therapy and wished for listening to the same during their subsequent visits. nilsson u (2009) mean age = 65.5 yrs. 40 open heart surgery rct recorded soft and relaxing music musicure (musi cure) with different melodies of 60 to 80 beats per minute (bpm) :30 minutes; 50–60 db :post-surgery :instrumental the results found a trend towards higher sao2 in the music group compared with the control group although there were no statistically significant result obtained. the author mentions that patients might have taken deeper breaths during music listening, which might have helped subside pain perceptions. diler aydin (2012) preterm infants 26 stress experimental study recorded turkish classical music :1 hour; 45–60 db :during a scheduled time of the day : instrumental and vocal no significant change in oxygen saturation levels was observed before and after music therapy intervention however the levels were maintained within normal limits between the trial and control groups. d aydın (2014) premature infants 60 stress experimental study turkish music cd of dede efendi :musical instruments used in the cd reed flute, rebab, lute and dombra :30 minutes :during a scheduled time of the day :instrumental oxygen saturation values increased marginally at the onset attributed to the stimulating and relaxing effect of music therapy; however remained at the normal levels during hospital stay of 29-32 days. overall, there was no statistically significant difference in oxygen saturation between the experimental and control groups. valeria calcaterra (2014) 3 to 14 yrs. 42 day surgical procedures (including orchidopexy, inguinal hernia repair, circumcision) rct six tracks of slow (70-80 beats/min) and fast (140-150 beats/min) classical music (recorded) were used andante molto a. vivaldi; suite j. s. bach; suite e. grieg holberg’s rigaudon; andante w.a. mozart; suite j. s. bach; allegro a. corelli :20 minutes :postoperative (while awakening) :instrumental :primus dräger (lübeck, germany) while awakening at the recovery room spo2 decreased significantly with respect to admission and end of surgical procedure times. there were no differences between the music and non-music groups. narges eskandari (2014) premature infants 120 premature infants rct recorded lullaby (goodnight kid, produced by the national radio of iran) :20 minutes; 50-60 db :during a scheduled time of the day :vocal :pulse oximeter no statistically significant changes were seen in short term responses for oxygen saturation of premature infants following lullaby music intervention. however, infants listening to lullaby experienced decrease in respiratory rate at the end of the therapy session. cristiane aparecida moran (2015) premature infants 26 premature infants rct recorded classical music new – age :21 minutes ; 25 db :during respiratory (physical) therapy :instrumental :vital monitoring system dx 2010lcd dixtal boimedical between the control and experimental groups, there was no statistically significant difference in oxygen saturation level, however lower variation in respiratory rates were shown with music inclusion in experimental group. s çıtlık sarıtaş (2016) 18+ yrs. 202 patients in surgical intensive care unit quasi-experimental research recorded classical music bach’s, violin concertos :30 minutes; 60 db :pre-surgery :instrumental oxygen saturation increased with music therapy and the difference was considered statistically significant (p<.001). authors feedback were to offer in-service training of music therapy as nursing activity and maintain continuity. mahnaz jabraeili (2016) preterm infants 66 preterm infants rct recorded folkloric (turkish or persian lullaby) in mother’s voice (65-70 db) and brahms’ lullaby (65 db) :15 minutes each :during a scheduled time of the day :vocal :saadat monitoring system (saadat, malaysia) there were statistically significant difference in oxygen saturation of infants between brahm’s lullaby and mum’s lullaby when compared with controls during 15 minutes after music. the conclusion was that music therapy may be administered for shortterm vital benefits of the preterms. ruma chakravarty, et al., effect of music therapy on oxygen saturation level: a litera47 1st author (year) age range # subjects diagnosis study type music form – therapy duration conclusions novi indriani (2018) mean age = 36 yrs. 34 head injury in icu quasi-experimental study with pre-, post design recorded mozart’s music with a 60-80 beat size :90 minutes per day which was divided into 3 intervention times :morning, noon and afternoon :instrumental mozart’s music therapy had a significant effect on changes in oxygen saturation (p=0.008). the authors concluded that mozart’s music therapy may help shorten the icu stay of patients with head injury. handan eren (2018) mean age = 31 yrs. 60 caesarean section delivery experimental study favourite songs chosen by patients (recorded) :throughout treatment procedure :vocal a significant increase (p=0.017) in the oxygen saturation levels of women in the experimental group undergoing caesarean section procedure was observed. authors mention better repiratory qualities in response to music therapy during caesarean procedures. barbara antoniazza (2018) up to 80+ yrs. 50 terminally ill patients pre and post-test study live instrumental music by music therapist and trained nurse :instruments used guitar, long and/or wooden flute, maracas, drums, piano :30-40 minutes :during a scheduled time of the day :instrumental :pulse oximeter the study witnessed positive effects and improvement of blood oxygen saturation with statistically significant result between preand posttests (p<0.01) with live music therapy intervention. authors conclude that their study offers a strong scientific evidence in favour of the efficacy of music therapy for terminally ill patients and should be used for all health settings. atiye karakul (2018) 9-17 yrs. 65 day surgery of children and adolescents preposttest control group study recorded the art of the fugue by bach :20 minutes :post-operative recovery period/ awakening period :instrumental the study did not find significant effect on the oxygen saturation value of children and adolescents who listened to music while awakening post-operation. however in the experimental group, music therapy helped retain the oxygen saturation level within normal limits. berna alay (2019) full-term newborns 45 physiological measurements and stress symptoms rct mozart for babies music cd11 (valley entertainment inc, usa) and mother’s lullaby (both recorded) :30 minutes; 65 db :during a scheduled time of the day :instrumental and vocal :mennen vl4000 bed-side monitor oxygen saturation levels of full-term babies in the classical music group increased from the 10th minute and remained stable until the completion of intervention (p<0.05). lullabies did not affect oxygen saturation level. the authors as a reason conclude that may be recorded lullaby was not as effective as the live vocal singing of the mother. uma b dixit (2020) 4-6 yrs. 120 dental anxiety in paediatric patients rct recorded indian classical instrumental music (raag sohni, pt. shiv kumar sharma, santoor) :pre-, intraand posttreatment procedure :instrumental :pulse oximeter music therapy had no appreciably clinically significant effects on oxygen saturation in this study. the authors report using music therapy for just 5 minutes during the dental treatment procedure and that may be too short a time to have an effect on the vitals. serge kalongo (2020) 5 to 11 yrs. 40 dental anxiety in children experimental study thirty-seven children’s songs in portuguese were selected by the children. four songs were played live with 6 stringed guitar (pre). same recorded songs were played during treatment from among the 37 songs :pre and intradental procedure :vocal :pulse oximeter there was no significant difference in oxygen saturation in children who listened to music during dental care compared to the nonmusic group. elham shafiei (2020) preterm infants 40 preterm infants single group randomized clinical trial recorded mother’s lullaby :20 minutes; 50 db :during a scheduled time of the day :vocal :pulse oximeter statistical analyses showed a significant difference in oxygen saturation levels (p=0.039) of preterm infants between two stages of experiment – lullaby and non-lullaby. authors conclude that the soothing effect might have caused decrease in sympathetic activities that eventually helped deep breathing and thus improved oxygen saturation level. 177 the existence of aesthetic transformation in traditional batik colors based on the review of memetics theory (case study: traditional batik in tuban, east java, indonesia) fajar ciptandi, arini arumsari universitas telkom, indonesia submitted: 2023-03-14. revised: 2024-01-19. accepted: 2024-05-13 abstract this article discusses the existence of aesthetics in traditional batik colors in tuban, east java, indonesia, which is reflected in the appreciation of the deep values in the activity of making cloth. batik colors have been one of the foundations for producing traditional identity values belonging to the tuban community and have been preserved for generations. however, the existence of this aesthetic is gradually experiencing degradation due to some disruptions, such as modernity, trends, and technology, which has led to transformation. the purpose of the study is to interpret the relationship between the weakening of the existence of aesthetics in traditional tuban batik colors and the daily behavior patterns of people in current conditions. the research method was conducted using a phenomenological approach, and it is reviewed based on the principle of memetics theory to find out the factors that cause this phenomenon. it is essential to produce a conclusion to enrich fundamental knowledge in understanding the causes of transformation in the aesthetic existence of a tradition so that it becomes the basis for consideration in taking transformative action to preserve the tradition. keywords: transformation; aesthetic existence; color; memetics; batik how to cite: ciptandi, f., & arumsari, a. (2024). the existence of aesthetic transformation in traditional batik colors based on the review of memetics theory (case study: traditional batik in tuban, east java, indonesia). harmonia: journal of arts research and education, 24(1), 177-191 harmonia: journal of arts research and education 24 (1) (2024), 177-191 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v24i1.43243 symbolic motifs and the persistence of the process carried out by craftsmen for centuries (sachari, et al., 2020). the aesthetics of tuban batik, like other batiks in indonesia, also refers to an object that is able to produce and distribute its inherent values in the form of tangible and intangible expressions and is recognized as something “good” and “beautiful” (yulianto et al., 2020). the existence of this aesthetics can be seen among batik craftsmen through their batik-making activities, resulting in beautiful and highly valued pieces of fabric and creating a contemplative atmosphere introduction batik, for most traditional communities in indonesia, is believed to embody aesthetic values that can be perceived not only in its physical function but also in the philosophical meanings represented through symbols in the form of motifs and colors (widagdo, 2021; maulina et al., 2021; yulianto et al., 2020), and in contrast to most contemporary batik designs, which prioritize visual appearance, traditional batik patterns also depict a contemplative activity interpreted through corresponding author: e-mail: fajarciptandi@telkomuniversity.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 24 (1) (2024): 177-191178 influenced by tradition, history, and spiritual values believed during the production process (kusumawati et al., 2017). the aesthetic existence of tradition is a significant driving force. in the batikmaking process, for instance, the tradition will have good resilience when the practitioners work diligently by utilizing their skills and knowledge and contemplating their ideas, beliefs, and hopes (meranti & soeteja, 2021; puryanti et al., 2019). however, preservation should not only be interpreted as protective measures to maintain and reproduce the tradition in its original form but also the ability to adapt to various external interventions that transform the tradition into a new face and identity (kari et al., 2018; kim, 2013). this is a form of understanding the concept of tradition itself, which is not static but continually undergoes adjustments through fusion, addition, or withdrawal of its identity as an effort to maintain itself (ariffin et al., 2023; putra, 2020; raden et al., 2020). it is essential to explain the study of a traditional object transformation today by looking at its relevance to the context of change and innovation. research related to innovation in objects in the form of traditional products generally addresses the design appearance issue, which can develop into a design style that better represents modernity. according to nugraha (2011), a transformation tradition concept, ‘atumics,’ focuses on combining design elements that represent tradition and modernity to make a traditional object considered new. the elements contained in this concept include the micro level and macro level. at the macro level, elements include technique, utility, material, icon, concept, and shape. meanwhile, there are motivational components at the macro level, including economic, social, ecological, survival, and self-expression. according to leong & clark (2013) and lin (2016), these elements at the micro level are the ‘outer layer,’ referring to all tangible things from culture or tradition, while at the macro level, they are the ‘mid-layer,’ referring to behaviors or habits of the society. the atumics concept has not yet touched on issues related to the ‘inner layer’ related to matters of philosophical meaning and value. other research regarding the transformation of craft products, as carried out by tung (2021) and chen et al. (2022), also explains that transformation to produce novelty in traditional objects needs exploring the knowledge and skills of designers to collaborate with local craftsmen through practical use of local raw material, functional items inspired by traditional use, as well as form aesthetic decoration. then, the target for absorbing these products is the contemporary market. in this research, there is a gap at the fundamental level of tradition, where, according to sun et al. (2022), there are the essential elements that form traditions, namely ‘tradition teaching,’ which is the ‘mid-layer’ characteristic of tradition and culture. according to hill (2004), this traditional teaching is the driving force behind a tradition’s continued existence from the past to today through a natural learning process. apart from that, there is also ‘nonmaterial culture’ according to mcdonnell (2023) which is the ‘inner layer’ characteristic of tradition and culture that should be considered in intentionally developing and transforming traditions. if designers, in this case, do not have a deep understanding of this matter, it will impact the loss of the traditional roots in the products being developed. especially in the issue of traditional batik tradition, this idea of transformation arises from the way of seeing that traditional artifacts are a solution to finding ways to survive and improve the quality of life (norman, 2004). therefore, changes in a traditional artifacts are constantly happening, in line with the challenges of life that continue to increase. humans naturally do this to meet their most basic needs of feeling safe and happy (nugraha, 2011; nunn, 2022). the process begins with culture and conducting a ‘cultural dialogue’ between the original culture and the donor culture until various forms of ‘mixed’ culture are born over a long period until the final culfajar ciptandi et al., the existence of aesthetic transformation in traditional batik colors 179 ture format is established (lazzeretti et al., 2021; roibin et al., 2021). this condition is a concrete example in traditional tuban batik artifacts. since ancient times, tuban has been a port of ancient trade between the “west” and “east” regions. from there, tuban has experienced many foreign cultures outside its local culture, manifested in its batik aesthetics (ciptandi, 2021; sedyawati, 1992). the original culture of tuban batik, which experienced cultural dialogue with foreign cultures, resulting in a form of batik representation today, is something important to study. this original culture, of course, also exists in layers starting from outer, mid, and inner, each of which gives strength to the characteristics of batik itself. however, this has been widely discussed, especially at the outer and mid-levels, as in research in other areas of traditional transformation. so, it is also necessary to look in depth at the elements that form traditions at the inner layer level in order to be able to truly reveal what philosophical motivations are so strong in encouraging the rise of people’s awareness and behavior in creating a final product/artifact. in traditional tuban batik, one of the embodiments of its aesthetics is found in the colors of the batik fabric itself, which has always been a significant part of the tradition and even serves as the basis for reproducing traditional identity values held by the tuban community today. however, external interventions have influenced and transformed the understanding and appreciation of tuban’s aesthetic existence in the form of activities and identity values. therefore, it is necessary to address the intervention factors that have caused these changes using established cultural theories to produce findings in the form of an interpretation of the factors causing the weakening of the existence of aesthetics in traditional tuban batik colors and the daily behavior patterns of people in current conditions. then, it can enrich basic knowledge to produce a conclusion to enrich fundamental knowledge in understanding the causes of transformation in the aesthetic existence of a tradition so that it becomes the basis for consideration in taking transformative action to preserve the tradition. method the research was conducted using a phenomenological approach with the aim of obtaining a substantive understanding related to the experiences of a group of humans, where the researcher analyzes to describe a phenomenon as it is without manipulating the data within it (williams, 2021) while paying attention to the following aspects: (1) referring to reality, by setting aside personal understanding and references related to the subject being studied to produce objective knowledge and truth; (2) considering the object of study as something whole and inseparable from other objects (holistic), in order to obtain a complete understanding of an object; and (3) observing and paying attention to every detail of an event as important information (gallifa, 2018; rangarajan et al., 2022). the data collection through several processes, including: literature study from scientific journals, articles, main reference books belonging to ren heringa and judi knight acjhadi, as well as visual materials in the form of cloth photos, and observations. interviews were conducted to obtain detailed information about the phenomenon being studied and to discover something that has not been seen. in this interview process, questions were asked about the knowledge and real conditions perceived by the community and traditional batik craftsmen in tuban regarding the aesthetics of traditional batik colors. observation was carried out to observe various data and phenomena that occurred at the location, namely the center of batik production in tuban, precisely in the kerek district, which is spread across four hamlets, namely kedungrejo, margorejo, gaji, and karanglo. in addition, observations were also made in the form of observing interaction patterns that occur harmonia: journal of arts research and education 24 (1) (2024): 177-191180 among the craftsmen in the process of making and using batik. oral tradition was used to obtain evidence in the form of testimony from traditional practitioners that contained information from the history of previous generations that is difficult to find in written sources. this process was conducted with several parties, including 1) uswatun hasanah and sri lestari, who are thirdgeneration traditional batik makers in tuban and also entrepreneurs, 2) rukayah, a community figure who is also one of the main informants in heringa’s 1994 research. the data was then analyzed using data explication techniques (volodin, 2020) in the following steps: understanding the data obtained by creating a transcript (notes of all verbal and nonverbal communication) and summarizing it without preconceptions about the entire data; compiling individual phenomenology descriptions based on interview and oral tradition results by first cleaning the data from irrelevant statements and grouping and rearranging meanings into a series; performing explication on the obtained data by verbalizing the expressions given by the research subjects by going back, including implied expressions to make them easy to understand. this expression is arranged in sequence, from past experiences to current life, influencing the appreciation of tradition; linking data and phenomena found to relevant theories, namely: a. the three layers theory and the cultural object and design characteristics level (cl lin et al., 2016; r. lin, 2018) to explain the overall description of traditional fabric tradition in tuban, and b. meme theory explains the relationship between memes in humans as replicators that drive humans to the process of imitation so that traditions continue to be repeated from generation to generation, with external interventions/ interferences causing mutations/changes in the process of imitating these traditions. result and discussion tuban traditional batik making traditional tuban batik fabric involves a process from upstream to downstream. it starts with the traditional spinning of the thread, followed by weaving the thread into the fabric using a traditional weaving tool called gedhogan. then, the woven fabric is decorated with motifs using the traditional batik technique and dyed with natural dyes (achjadi & natanegara, 2010). traditionally, tuban batik serves several functions within the community, which are as follows: visual function: tuban batik serves as a differentiator from other batik fabrics. the visual characteristics include rough and irregular lines with unique colors obtained from natural dyes, giving an antique and old-fashioned impression. most of the batik motifs in tuban are inspired by the surrounding environment, such as the srigunting bird and ganggeng plant. additionally, some motifs are derived from foreign cultures, such as lokchan, a mythological bird commonly found in chinese ornaments brought to indonesia (ciptandi, 2021). physical function: tuban batik serves as both a jarit and sayut. jarit is a rectangular cloth with a width of 90 cm and a length of up to 250 cm wrapped around a woman’s body up to the chest and ankles. sayut is a cloth with a width of around 60 cm and a length of up to 300 cm, wrapped around the shoulders and waist to help carry daily necessities, especially when going to the fields (achjadi & natanegara, 2010; heringa, 2010). philosophical function: tuban batik is used specifically for sacred spiritual events, such as weddings, births, deaths, and other significant ceremonies. batik fabric also serves as a social status indicator for a particular group of people based on the patterns and colors used (heringa, 2010). bartering function: using the barter system, tuban batik also serves as a valuable trading commodity for daily necessities. this demonstrates that tuban batik gedhog is considered valuable and of high fajar ciptandi et al., the existence of aesthetic transformation in traditional batik colors 181 worth within the tuban community. moreover, some craftsmen still use batik fabric as a trading tool or pawn it to obtain some money (suryanto et al., 2022). therefore, four fundamental factors shape the tradition of making traditional tuban batik: artifacts, nonmaterial culture, traditional ecology, and tradition teaching. first, traditional artifacts are one of the essential elements that form the uniqueness of the tuban tradition and are the physical manifestation of the tradition that developed in the community. according to ciptandi et al. (2022) and nugraha (2011), the primary aspects that can be observed in traditional artifacts are 1) form (shape, function, dimension); 2) aesthetics (color and ornamentation); 3) material (all obtained from nature); and 4) technique (how to process materials properly using only hands or with the help of tools). second, nonmaterial culture consists of philosophical values in the form of beliefs, ideas, behavior, and assumptions that apply communally. third, traditional ecology refers to the environment in which a group of people live and interact with the elements of their ecology (including air, soil, sunlight, animals, and plants). this interaction occurs naturally, where communities and the environment make reciprocal efforts to care for each other. according to farkas (2022), fang & li (2022), and kaur (2011), traditional ecology can stimulate local knowledge and wisdom (customs, ethics, norms, and worldviews) to develop within it. fourth, traditional teaching is the way of passing on habits, knowledge, and skills from one person to another naturally, where the environment conditions the individual to observe and interact with a traditional activity and eventually master the habits, knowledge, and skills. the form of the traditional batik tradition of tuban is mapped based on the theory of three layers and levels of cultural objects and design features (lin et al., 2016; r. lin, 2018), as shown in figure 1 below: figure 1. mapping of the uncertainty of tuban batik tradition based on the theory of three layers and levels of cultural objects and design features. the existence of aesthetic in the colors of batik tuban and its transformation the existence of aesthetics, according to nimita & yundari (2017) and sachari et al. (2020), is referred to as the appreciation of aesthetics, defined as a contemplative activity that someone experiences when creating and producing, which is actually an expression of their beliefs and perceptions about their existence in relation to nature and human beings. this places full human consciousness as part of the macrocosm and microcosm, which maintains its balance as a peak of true aesthetics (pitana, 2023). according to harmaen (2016), aesthetic existence does not only appear in the form of individual expressions of beauty, but can also be collective because each individual is influenced by values between human beings and the environment outside of themselves so that what is expressed can complement and sustain the interdependence of the individual within a complex environment. the definition of aesthetic existence is also found in the term born of the local wisdom of the balinese community in indonesia, namely taksu, which is a manifestation of pure cultural creativity in an artistic activity that gives spiritual power to the artist to express themselves to become better than their current self (nilotama, 2006). to embody taksu or this aesthetic existence, hard work, dedication, and surrender are necessary so that it can also be reflected in a work that has its own soul and vitality (sunarya, 2021). the relationship of this aesthetic harmonia: journal of arts research and education 24 (1) (2024): 177-191182 existence with the tuban community is manifested in a deep appreciation for the batik tradition, where every process is detailed with a collective attitude towards their beliefs and perceptions related to the concept of cosmology, concern for nature, and earnestness in their work. by linking this with the color elements in traditional tuban batik, we can find the application of aesthetic concepts in the areas of cosmology, nature, and the skills involved, which are highly meaningful and appreciated as seen in figure 2. figure 2. background colors in tuban’s distinctive batik and their philosophical meanings the existence of aesthetics is related to the belief in the concept of the cosmological cycle of life applied to the colors on the background of batik, which represent the directions of the compass and symbolize the cycle of human life (heringa, 2010). this concept is not exclusive to tuban, but is also found among traditional communities in indonesia. the concept refers to the unity of the layout of a village that has been determined as the center, surrounded by four other villages positioned in accordance with the directions of the compass. this is known as mancapat, which is an arrangement of a village center surrounded by other villages to the north, west, east, and south (ridjal et al., 2020; meylinda et al., 2018). the market becomes a central point of various activities and meetings, surrounded by villages that are spread out in accordance with the four directions of the compass (aliyah, 2016; maulidi & rukmi, 2019). the white background of batik is called putihan, representing the eastern direction of the compass, where the sun rises as a symbol of birth and childhood. putihan fabric is used to wrap newborn babies. the red background of batik is called bangrod, representing the southern direction of the compass, symbolizing an important process in a woman’s life, namely the onset of menstruation. the blue background of batik is called biron, and the brownishpurple background is called pipitan, representing the western direction of the compass, symbolizing a woman’s transition to becoming a wife and mother. finally, the black background of batik is called irengan, representing the northern direction of the compass, symbolizing the end of human life, namely death, and is used during funerals. the process of making irengan batik involves dipping it in mud during the final dyeing process, as an analogy of “planting” the human body back into the earth (heringa, 2010). the manifestation of aesthetic existence is related to the awareness of preserving nature, as seen in the traditional batik colors made using natural dyes. these natural color sources are obtained from plants found in the surrounding environment of the community, such as leaves, fruits, flowers, stems, and roots. the resulting distinctive colors include white, red, blue, brownish-purple, and black, which aesthetically have become a visual feature of the fabric. the use of natural dyes, according to basri (2023); karadag (2021); widyawati (2018) is like most local wisdom in other regions, a form of existence based on knowledge of the potential of the surrounding nature, as well as an awareness and responsibility as part of nature. incorporating nature into the fabric they use daily is a way for humans to preserve nature itself. meanwhile, the manifestation of aesthetic in the technical process of batik dyeing can also be seen in the form of high fajar ciptandi et al., the existence of aesthetic transformation in traditional batik colors 183 expertise that reflects the skill of carrying out the practice of dyeing with full diligence, patience, and wholeheartedness, relying solely on the strength and skill of the hand. all relationships between colors in batik and the manifestation of aesthetic existence is evident by referring to the theory of cultural levels, as shown in figure 3 below: figure 3. the manifestation of aesthetic existence of colors in tuban batik. the transformation of the aesthetic existence of colors in tuban batik occurs in the form of changes in contemporary activities managed by craftsmen during the fabric dyeing process. the activity of dyeing, which was previously richly imbued with collective beliefs about the philosophies of life and their perception of the relationship between their existence and nature and between humans, as well as their seriousness in working, is now replaced according to the context of something that influences it. however, according to subawa & widhiasthini (2020), in the cultural context amidst the disruptive era, transformation is an inevitable factor that not only needs to be faced but must be faced. this is because humans actually have needs and desires that are constantly changing with diverse and uncertain environmental conditions. specifically, in the context of the existence of the aesthetic of traditional tuban batik colors, which is one of the elements forming the strong identity of local traditions, it has undergone transformation caused by various interventions, as follows:top of formbottom of form the form of fabric colors ( artifacts ) traditional tuban batik colors are still made by some craftsmen today, but they are not entirely consumed by the awareness of harmonizing with nature by using inspiration and natural materials as a form of human responsibility to live in harmony with nature. traditional colors such as putihan, biron, bangrod, and irengan that are still maintained have changed using synthetic dyes to achieve a visual appearance. this has happened because of the condition of craftsmen and market characteristics that do not understand the aesthetics of tuban batik and prioritize practicality, time efficiency, and cheap cost. other factors also come from programs rolled out by local governments, universities, and industries in the form of training presentations that introduce various alternative synthetic coloring techniques, gradually moving away from traditional methods. this then affects the aesthetics of the existence of tuban batik color artifacts, which previously upheld craftsmanship and nobility, now for the sake of practicality and economy. the non-cultural material of fabric color the cultural material in the form of philosophy in the traditional fabric of tuban has been present since the pre-islamic period (hindu-javanese) or even earlier. at that time, traditional fabrics also functioned as a medium for performing ritual practices, such as offerings to the earth, warding off disasters, weddings, births, and deaths. the aesthetic existence of colors in tuban batik is manifested in its use, which is connected to a talisman’s efficacy that can provide its users with goodness. later, after islam’s introduction, aesthetics in the colors of batik changed as the animistic and dynamistic ritual practices were harmonia: journal of arts research and education 24 (1) (2024): 177-191184 abandoned and replaced by ritual practices that contained prayers and worship to allah. however, in today’s conditions, the people of tuban are becoming more logical, realizing that batik colors are just a common material object and do not need to be interpreted philosophically, so its use is sufficient as a form of clothing identity. traditional ecology in fabric color the environment in tuban was originally dominated by agriculture, and there were sideline jobs such as making textiles for spinners, weavers, and batik craftsmen. however, today, there are also alternative jobs as factory workers, which were triggered by the establishment of the indonesian cement factory, which covers an area of 1,500 hectares and has a factory building area of 400,000 square meters, located around 7 km from the batik center in tuban. the establishment of this cement factory has also improved infrastructure development in tuban, opening up a free flow of information, trends, and technology. the establishment of the factory has also caused the loss of most cotton and other plantations. the factory has become the main intervention factor that changes the order of human interaction with nature and also impacts changes in the pattern of natural support as inspiration and supplier of raw materials to maintain the traditional textile culture. another intervening factor in the ecological context is the community’s homogeneity, which has changed due to many immigrants coming and settling in tuban, thus influencing their perspectives on life, social interaction patterns, skills, motivation, and aspirations. in the context of the meaning of batik fabric colors for the people of tuban, this has caused a shift in the existence of all actors within the systemic relationship in the supply chain organization, from upstream to downstream. previously, this relationship was driven not only by economic motivation but also by traditional and ecological harmony, but today, the relationship is purely transactional for economic motives. knowledge and teaching of traditional fabric dyeing knowledge of traditional fabric dyeing is important to maintain the aesthetic value of the tradition and pass it on to the next generation. however, today, knowledge of this practice among young people in tuban has degraded due to factors such as changing teaching methods. previously, it was taught through traditional methods such as observing and learning directly from parents while they were dyeing batik, listening to stories from past generations, and practicing under their direct guidance to preserve traditional aesthetics. but now, teaching has shifted towards formal institutions such as schools, courses, and training, which often prohibit various new techniques and materials in fabric dyeing. the traditional teaching method is considered more effective. the memetics theory of culture the means regarding memetics theory is actually based on an analogy with darwin’s evolution popularized by richard dawkins in 1976 with the term the selfish gene. the idea of this scientific evolution today has led to questions related to posthumanism. in cultural studies, memetics is a means to explain how to understand the replication of ideas and norms in cultural evolution (haw, 2021; wijayanto & soekarba, 2019). the meme analogy arose due to the discovery of the nature of dna genes in living creatures that can be inherited and passed down from generation to generation. uniquely in humans, it is found that there is another replicator besides genes that is also inherited, namely the replicator called memes (dawkins, 1976). so, in terms of terminology, memes can also be associated as an analogy to genes at the cultural level (harms, 1996). the term “selfish” here refers to the fact that this meme replicator only acts for itself, and its sole interest is to replicate itself for the next generation. this can take the form of knowledge, vocabulary, legends, behavior, games, songs, or rules fajar ciptandi et al., the existence of aesthetic transformation in traditional batik colors 185 and can be transferred, communicated, duplicated, and inherited (blackmore, 1999). quoting dawkins (1976), memes are easily spread because humans have a tendency to imitate others. memes can be an essential part of the evolution of the human species because humans have survived not because of the shape of our bodies but because memes enable the human species to manipulate the environment by creating tools for life. referring to wijayanto (2013) and harms (1996), the workings of memes can be compared to the workings of genes, namely: the existence of genes explains evolutionary changes that occur at the biological level, while the existence of memes explains evolutionary changes that occur within culture. genes replicate themselves through the process of reproduction, while memes replicate themselves by “jumping” from brain to brain through the process of learning or agreement. genes continue to duplicate themselves to maintain their non-replication, while memes work on the same principle but at the level of ideas and values. genes duplicate using cell enzymes, while memes duplicate through imitation. genes compete with each other in sexual reproduction to vie for a chromosome, and memes do the same with other memes to vie for human attention. if the selection fails, it will face extinction. memes require social life to imitate and grow within the cultural sphere. the workings of memes, as shown in figure 4, occur in the brain, which is the center for processing information in the form of thinking, remembering, and deciding on something. memes work by responding to and processing all kinds of cultural information that enters the brain (whether in the form of information heard, seen, touched, smelled, tasted, or other types of experiences that have been experienced), which then produces a decision translated by the body into repetitive actions, such as movements, verbal (sound), language, and emotions (baucal & lazić, 2022). according to (wijayanto & soekarba, 2019), memes can become winners influenced by the main factor, which is the information that enters the brain being doctrinal and cannot be debated. mutation brain a the consideration process involves memory, experience, and knowledge to make a decision the brain receives cultural information meme decision imitation b decision brain meme transmitted imitation c meme mutation memeplex d figure 4. illustration of how memes work notes : a: meme in social environment #1 b: meme in social environment #2, which is experienced by mutation meme decision c: meme in social environment #3, which is experienced by imitation meme decision d: meme b and c merged through acculturation, resulting in a memeplex. dawkins added that not all memes can be inherited and replicated as they originally were. the term is akin to dna genes that are also passed down from generation to generation, but it is unlikely that the same dna would persist in each generation. cultural imitation does not always proceed perfectly, and often, there are mutations due to external interventions, resulting in differences in behaviors and habits that have evolved since the classical era (dawkins, 1976). however, besides mutations (blackmore, 1999), there is also the concept of memeplexes, where various memes work together to form a unity that is caused by acculturation. in this case, a memeplex is a group of memes that come together to form mutual benefits. harmonia: journal of arts research and education 24 (1) (2024): 177-191186 memetics cultural theory review on the aesthetic existence of batik colors the true replicator meme is considered important in explaining the phenomenon of transformation in the aesthetic existence of color factors in batik, which is one of the elements that has produced the traditional identity of the tuban community. this is based on the explanation by wijayanto & soekarba (2019) that at the psychological level of memes, they can contribute to the formation of group behavior in society. in addition, there are also similarities in patterns and characteristics between memes and culture, both of which have inheritance systems at the level of values, beliefs, behaviors, and knowledge. the tradition of fabric in tuban, in the form of color expression, can maintain its aesthetic existence if viewed based on memetic theory, caused by memes at the idea level related to all knowledge and skills about those colors that easily spread among the community due to their trend to imitate ideas, thoughts, or conversations of others. dawkins (1976) states this is the first step in the learning process. thus, in the characteristics of memes, they have the ability to replicate themselves by “jumping” from one brain to another, and this process has been going on for generations in the inheritance of traditions from one generation to another. on the other hand, the conditions that cause a transformation in the existence of color aesthetics in tuban batik are due to the failure to meet the requirements for memes to continue their survival, including: the presence of interventions in the form of domination of new cultural information that is more attention-grabbing. this is evident in the change in market characteristics, which makes it difficult to understand the aesthetics of tuban batik, which is low quality, low prices, and fast processes. craftsmen feel this is more enjoyable and profitable, thus changing their motivation to be solely for economic reasons. another example is the presence of new postmodern cultural information that ridicules all traditional beliefs and concepts of tuban society, which previously still considered the fabric and its colors to have a relationship with ritual activities. in this condition, the meme has actually succeeded in infecting someone’s mind so that the expression displayed is a manifestation of mutation/change at the level of ideas in society. the widening tolerance towards changes within the tradition, especially in the context of ecology, is shown by loosening the relationship between humans and the concept of natural harmony by allowing the influence of the indonesian cement factory industry in tuban. the relationship between humans and the environment becomes a negotiable factor as long as there is a mutual benefit considered equal for improving the community’s well-being. today, the factory is increasingly dominated, and its negative impacts have been felt by the traditional cloth craftsmen in tuban in their efforts to preserve the tradition. according to the restoration of memetic theory by wijayanto & soekarba (2019), this is caused by the traditional ecological meme of the country competing with the donor meme to grab human attention. the final decision shows that the donor meme has won the attention, leading to the weakening of the aesthetic existence in terms of preserving the environment as part of the effort to maintain tradition. this is also supported by the failure to fulfill the conditions for the meme to win, namely the absence of information that cannot be debated in the form of rules or policies related to the preservation of the environment and tradition, both culturally and officially. the occurrence of acculturation is apparent in the openness to accepting new elements or complements in the activity of dyeing colors of tuban batik originating from donor cultures outside tuban. according to alam (2023), cultures that meet each other accept each other’s inherent values without experiencing conflicting conditions and have similarities in patterns and functions in their respective fajar ciptandi et al., the existence of aesthetic transformation in traditional batik colors 187 cultures. the use of synthetic dyes in the process of coloring tuban batik has persisted until today and has become part of the tradition in tuban itself, in addition to natural dyes. this tradition, as explained by bhatia & ram (2009), is not something static or represents something ancient and destructive, but rather something dynamic and evolving to adjust to existing contexts. this is explained by the theory of memetics as a memeplex, where a meme may not be inherited and duplicated to persist in its original form due to mutation. in this context, it is more influenced by the acculturation that occurs between the natural dye meme and the donor meme in the form of synthetic dyes that can run in parallel without causing conflict and enable mutual benefits. conclusions the tradition of coloring traditional batik fabric in tuban has undergone changes in the presence of aesthetics towards four fundamental elements of tradition: artifact, nonmaterial culture, traditional ecology, and traditional teaching. based on the recovery of the causal factors of this transformation, the failure to fulfill the requirements for meme replicators to continue inheritance is caused by mutation. this is triggered by competition at the level of ideas from several meme replicators in the minds of the tuban community and won attention by donor/intervention memes that can disrupt the ideal tradition conditions. the forms of intervention that exist and affect the traditional batik coloring tradition in tuban and the aim of preserving traditions amid the onslaught of intervention can become knowledge for anticipatory action by providing appropriate counters to each condition in the tradition that receives the intervention, including: at the level of ideas/spiritual, it is in the form of insights into modern lifestyle that are accompanied by concepts of belief in things that have not philosophical meanings, which is currently no longer relevant to people’s beliefs because it has shifted to an emphasis on logic, hybridity can be carried out by bringing these philosophical ideas no longer to the level of belief but to the level of concepts and accompanying narratives and product stories. at the social/behavioral level, it is in the form of disturbances in the form of domination of economic motivation due to the growth of the region towards industrialization, which leads all actors in the supply chain organization to act transactionally in carrying out the traditional color traditions on traditional cloth. it is can be done by still providing space for maintaining internal market segmentation for the kerek community so that community life patterns in making clothing for practical needs can continue. at the physical/material level, it is in the form of a weakening of the skills of craftsmen and a decline in the visual aesthetic form of the products. it can be developed to improve skills through workshop approaches and training initiated at the government, private, organizational, and community levels. in supporting innovation motivation, developments in techniques and materials do not need to be limited, as long as they still adhere to traditional principles, which in this case are related to the visual identity (color) of the batik itself so that it is still easily recognized. meanwhile, the factors that cause the defeat of meme replicators in the fight against intervention to maintain their traditional concepts/ideas are various, including: 1) the presence of new cultural information dominance that attracts more attention with an intense ‘attack’ on the brain; 2) a wider tolerance for change within the tradition that provides a ‘promise’ of a better life; and 3) the occurrence of acculturation at the level of 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(2020). shape and meaning of banyumasan batik motif: a study in the context of finding cultural identity. catharsis: journal of arts education, 9(2). https://doi.org/https://doi. org/10.15294/catharsis.v9i2.43112 268 music and identity: immortal rites’ art as the narrative of contemporary kejawen identity petrik mahisa akhtabi, lina puryanti universitas airlangga, indonesia submitted: 2022-07-06. revised: 2022-10-21. accepted: 2022-11-28 abstract this study explores the context of identity in the musical arts echoed by a black metal band from kediri, immortal rites. aesthetically, immortal rites articulate javanese locality using black metal, a sub-genre of underground music that emerged in indonesia in the late 90s. accordingly, the band lined up as one of the kejawen black metal whose consistency and depth of understanding are well appreciated within the scene. the unification of two different cultures provokes a complex contemporary value of a cultural reflection concerning identity. this study uses a qualitative research method with a descriptive approach. this study aims to discuss the narrative of identity that immortal rites wish to embody for its fans to understand. by focusing analysis on the main data of song lyrics with additional data in the form of interviews, we found that the echoed locality represents a notion of contemporary javanese identity. within the arts, there was a close relevance of the content with the identical javaneseness in the era of the kadiri kingdom. thus, based on the engagement of the arts and the kediri-based javaneseness, it leads us to an understanding of the mediated cultural representation of contemporary javanese identity, of a daha-based javanese identity. keywords: black metal, identity, javaneseness, locality, representation how to cite: akhtabi, p. m., & puryanti, l. (2022). music and identity: immortal rites’ art as the narrative of contemporary kejawen identity. harmonia: journal of arts research and education, 22(2), 268-282 harmonia: journal of arts research and education 22 (2) (2022), 268-282 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i2.37513 mtv’s global expansion to asian countries (baulch, 2003; wallach, 2008). one of these waves was the european black metal that first founded by a late 70s british band called venom and developed radically and more diabolically in early 90s in norway, precisely in oslo, with some seminal bands, such as: mayhem, darkthrone, emperor, immortal, etc. (moynihan & soderlind, 1998; patterson, 2013; spracklen, 2014). since then, many indonesians, especially the youth, are attracted to this ‘horrific’ musical-subcultural scene. some infamous indonesian bands are as follow: perish (malang), santet (purwokerto), makam introduction there are various types of ‘influential music’ in this world, especially in indonesia, but specifically, this study specifically focuses on discussing one of the kinds of musical aesthetics, kejawen black metal. as the name suggests, kejawen black metal is a kind of music whose nature was born from a combination of two very different cultures (akhtabi & riyanto, 2022, pp. 2 & 3). historically, kejawen black metal is a musical aesthetic that developed in the late 90s in indonesia when the underground music wave entered the country through the corresponding author: e-mail: lina-p@fib.unair.ac.id p-issn 2541-1683|e-issn 2541-2426 petrik mahisa akhtabi et al., music and identity: immortal rites’ art as the narrative of 269 (solo), immortal rites (kediri), djiwo (solo), dry (surabaya), etc. kejawen black metal is a hybrid musical subculture that articulates typical javanese values and concepts by using the black metal aesthetic. in addition, kejawen basically refers to everything in the javanese culture and custom (ciptoprawiro, 1986; geertz, 1976; koentjaraningrat, 1994; suseno, 1984). as we know, the main principle of kejawen rests on nobility, refinement, ‘whiteness’, harmonious traits and attitudes (endraswara, 2022; geertz, 1976; lombard, 2005). even, lombard argued that kejawen guides javanese to be always in a proper and well-dealt position to any problematic condition (lombard, 2005, p. 96). meanwhile, the essence of the black metal itself is a resistance, a ”child, conceived from the promiscuous intermingling of number evil seeds, with only the general of heavy metal as its fecund womb” (hjelm et al., 2012; moynihan & soderlind, 1998, p. 23). in its aesthetics, black metal mostly heightens a greater sense of evil, hate, horror, darkness, violence, noise, misanthropy, and terror rather than heavy metal (floeckher, 2009; hoffin, 2018; kahn-harris, 2007; masciandaro & connole, 2015; moynihan & soderlind, 1998; patterson, 2013; podoshen et al., 2018; vrzal, 2017; williams, 2012). black metal became the main and foremost medium for propagating ”left-hand” sentiments, such as the discourse of paganism, occultism, satanism, anti-religion, fascism, radical environmentalism, atheism, and even monotheism (cordero, 2009; fischer, 2022; granholm, 2013; hagen, 2011; irtenkauf, 2014; manea, 2020; moynihan & soderlind, 1998; noys, 2010; wilson, 2010). even the embraced radical ideology leads to the establishment and physical embodiment of transgressive activities, such as suicide, homicide, churches arson, self-torture, drug, and alcohol abuse, physical violence, etc. (moynihan & soderlind, 1998; patterson, 2013; richardson, 1991; spracklen, 2014). therefore, there is a contrast to the very nature of the two streams. even so, the contrasting nature of the two streams is able to unify. this unification makes the kejawen black metal becomes so unique since those ‘blackness’ and ‘whiteness’ incorporate, procreating a ‘grayish’ aesthetical state that blends tranquility and chaotic nuances into a synchronizing harmony (wallach, 2005). not only that, but it is also epic since it was created from the local struggle of emphasizing differences, aimed to elevate the hierarchy of local values in the more global cultural system (martin-iverson, 2012; riyanto, 2017a; wallach, 2005). specifically, we pay attention to immortal rites, a kejawen black metal band founded in 1997 kediri, east java, with the initial name of demon church (gerilya magazine, 2020). while actively playing in the band, two of the personnel, doni (vocal and rhythm guitar) and winoto (lead guitar) are actively involved in a conservative movement of preserving antique objects and sites, especially in kediri (gerilya magazine, 2020; hariawan, 2020). not only that, they often hold sharing sessions after the gigs devoted to talking about the javaneseness that inspires their creation of works (saputro, 2018). with approximately 20 years of being active in the indonesian black metal movement, this seminal kejawen black metal band stays true to the motivation of keeping javanese antiquity from being lost and forgotten (gerilya magazine, 2020). further, what made them so recognizable in the indonesian black metal scene is the use of ancient javanese language in some of their songs, such as in serpihan api and legiun api, which are being discussed further in this study (madyan, 2020; saputro, 2018). in the scientific realm, we are able to find several previous studies that specifically analyze the indonesian underground subculture. one of which was carried out by jeremy wallach in 2003, entitled “goodbye my blind majesty: music, language, and politics in the indonesian underground” which generally discusses language choice and images in the indonesian underground subculture. as it has been identified, walharmonia: journal of arts research and education 22 (2) (2022): 268-282270 lach argued that the local language—the javanese one in this case—is not really suitable to use in indonesian underground aesthetics for several reasons, such as: too provincial, representing something ‘backward’, too old and/or inappropriate for the young, and more suitable for traditional music not the for the modern one (riyanto, 2017a, p. 125; wallach, 2003). furthermore, wallach stated that the underground scene of indonesia is mostly ‘self-consciously national’; thus, local or regional convention does not really have a place in that subcultural community (wallach, 2003, 2008). such a practice also appears in the global scene, which shows a lack of emphasis on the significance of regional cultural interests (hoad, 2021; noys, 2010; thompson, 2012). in the context of identity, black metal musical practice mostly raises nationalism awareness. for example, in the scandinavian black metal scene, the exploitation and exploration of viking’s culture and traces foster an awareness of being nordic, not norwegian, finnish, or swede (granholm, 2011; olson, 2008; thompson, 2012). undeniably, this makes the indonesian scene different from the global one. we argue that the indonesian scene emphasizes the significance of regional culture, even on a smaller and more specific scale. further, narendra in glokal metal: dari black metal menuju jawa yang baru in 2017. he particularly discussed kejawen black metal practice and aesthetics in postmodern era. inside the writing, he gave general attention to some kejawen black metal bands to see their distinctive strategy of imagining ’java’, especially in terms of its antiquity, in contemporary culture, including djiwo (solo), immortal rites (kediri), and sacrifice (sidoarjo) (narendra, 2017). he found the three bands used different approaches in their mindset, immortal rites with spiritual and daily life reflection, djiwo is closer to literacy (literary art and scripture), while sacrifice uses mysticism (narendra, 2017). those three approaches are also found in global practices, especially by those who propagate paganism and occultism discourse (fischer, 2022; granholm, 2013). simply, we intend to answer a kind of ‘fundamental’ question attached by the existence of immortal rites as kejawen black metal band. firstly, what is the reason behind immortal rites status of kejawen black metal? secondly, what does the group try to narrate with the ‘javaneseness’ they resonate in today’s contemporary socio-cultural space? by looking at those questions, the significance of the study is to comprehend immortal rites’ complex socio-cultural and artistic performance in their subcultural movement and to explain how their music represents a degree of being as the kejawen one. the initial hypothesis that we provide is that what immortal rites did by the black metal they play strongly connects to the construction of the javanese identity they wish to manifest. for that, we particularly apply the concept of music and identity in contemporary culture to uncover. in the classical view, music is a medium that facilitates humans to communicate their verbally indescribable inner expression, emotion, and feelings (scruton, 1999). meanwhile, postmodernism develops a view that music is not just a medium but rather a form of ‘force’ that empowers humans to become fully ‘cultured’ creatures (denora, 2000). the contrasting arguments lead us to a thesis of how significant music is in the development of culture, especially in the world of aesthetics. based on the postmodernist perspective, we may think that music empowers humans with the framework of action (denora, 2000). such an argument is very logical considering some current musical practices. we can see that american-hip hop encourages the afro-american rapper to live in luxury, materialism, and glitter of jewelry (podoshen et al., 2014). there is reggae that allows jamaican-rastafarians to immerse in simplicity, easy-living life, and marijuana (bedasse, 2017). the punk also encourages the youth to rebel against the monarchy, capitalism, and any form of social inequality (ambrosch, 2018; moore petrik mahisa akhtabi et al., music and identity: immortal rites’ art as the narrative of 271 & roberts, 2009; wallach, 2014). likewise, black metal stimulates the scenesters to embody a chaotic-demonic figure to fight against religious authority they consider full of intrigue, lies and hypocrisy (masciandaro & connole, 2015; vrzal, 2017; williams, 2012). frith argued that music has a red thread of fate, considered to be the metaphor for identity (1996). if music was said to have the force to shape, music might influence the construction of the identity that humans wish to exhibit. hence, music constructs humans’ identity based on two premises; the first is that identity is moving. it is a process, not ‘things’, and entirely “a matter of becoming, not being” thus implying the works of experience within. the second one is that the experience of music—making music, listening to it, and everything that engages musical aspects— is a “self-in-process” experience (frith, 1996, p. 109; hall, 2018). it is indeed that music and identity are two different ‘properties.’ still, both put forward a similar pattern of representation that highlights performance and narrative of how to understand social to self, as well as the self in social, soul to the body, and body to the soul, about how ethics reflect aesthetics and vice versa (frith, 1996). therefore, it leads to an argument that aesthetical music gradually becomes a reference in our contemporary discussion about identity, in addition to race, ethnicity, nationality, gender, religion, and sexes (arivia, 2009; frith, 1996). thus, music’s nature has changed from merely a medium of mind and emotional representation to one that can construct humans themselves (denora, 2000; frith, 1996). through the musical and aesthetical experience, man is empowered to be able to embody their perceptions into attitudes of how to deal with realities one encounters, as they carried out extreme practices and embraced radical ideologies of the scandinavian black metal scenesters (frith, 1996; moynihan & soderlind, 1998; patterson, 2013; spracklen, 2014). in other words, music is not only something that exists as a set of aesthetical substances; it also becomes a kind of element that is inherently attached to the structural development of cultural performance (frith, 1996). furthermore, we hope this research can provide further insight into contemporary musical performance and aesthetics, especially in black metal practices, for both local and global ranges. the combination of locality in modern music may have been widely identified, but in this case, it is embodied in a convention that has long been extinct, making it unique and even strange in terms of modern musical aesthetics. hence, this study will also reveal the underlying motives and threads behind the artistic process. besides, we will also find out how music becomes a cultural medium that is able to transgress its principle nature and classical philosophical concept of music as aesthetics. in this study, music is explained as a medium and a “force” capable of empowering men to further understand their existential identity in an increasingly pluralistic cultural sphere. thus, we expect this study to be a major contribution to cultural, art, and music studies, especially in a contemporary scope. method this study uses the qualitative research method with a descriptive approach, aiming to describe an in-depth analysis of the cultural phenomenon of music and identity relevancy. particularly, we focus on the locality that a kediri-based kejawen black metal band, immortal rites, articulates and its relationship to the personnel’s construction of identity within the sociocultural space. the main data is immortal rites’ song lyrics to answer the first question. for that, we determined to take two immortal rites’ songs as the data, which are serpihan api and legiun api, which belong to the album of bathara api in 2020. furthermore, the original lyrics and the indonesian translated one were already transcribed inside youtube account called ‘doni wicaksonojati’, which turns out to harmonia: journal of arts research and education 22 (2) (2022): 268-282272 be the band’s vocalist. after that, we begin to interpret by prioritizing the lyrical content, both on what is explicit and implicit. by the interpretation, we wish to discover the sense of ‘javaneseness’ within, so that it can be useful to answer why the group bears the status as the kejawen one. for the more established answers, we think of another kind of data to strengthen further explanation about the javanese identity the band wants to represent through their arts. for that, we determine to use another data in a form of interview. this kind of data supports to strengthen our answers’, especially for both questions. therefore, we use the interview results that another party successfully carried out. we determined that we will use some interview videos on youtube, uploaded by the anarcho brothers, rotus reveal tv, and jtv biro kediri. based on the interview, we found some ‘representative’ utterances and signs refer to the “wished” purpose behind the narrative of the art. result and discussion before going into the discussion of immortal rites and their narrative of identity in socio-cultural space, this part specifically contains the disclosure of the articulated locality inside the media of black metal. for this reason, we specifically reveal the full lyrics of serpihan api and legiun api with the translated version in tables 1 and 2. extracting the javanese elements inside the lyrics, we basically use the similar logic that riyanto had done with the jogja hip hop foundation (riyanto, 2017a), and simply, the extraction is done by interpreting both the explicit and implicit. table 1. serpihan api original and translated lyric original translated ring samangkana; hana tatunggulning catru; layu2 katon wetani haniru; bang lawan putih warnnana; cakatonikang tunggul ika; irika tayanpangdawut; sanjata sang arddharaja lumakwaknan sayaprawi; niskarananujwi kapulungan; purwakani sanjata cri maharaja rusak; kusapu gelombang kejayaan; menerjang bara pawaka ujung negeri; dharma memanggil nurani; kejayaan daha nagara; dan akulah serpihan api there was flags; belong to the enemy; waving at the east of haniru; red and white (are) the colors; (after) seeing the flags; then back off; arddharaja’s army did a bad deed; escaping to kapulungan; that was the beginning of sri maharaja’s forces devastation; i wipe the wave of glory; crashing the bara pawaka at the end of country; dharma summons the conscience; the triumph of daha nagara; and i am the serpihan api table 2. legiun api original and translated lyric original translated ya têka kajamasakna kang rudira dya sang calwan arang; magimbal pwa kesanira dening marus; usus nya makasawitira; mwang kinakalungakenya; lagawanya ingolah kinabasang kabeh; makacaru eng butâ tah; sahana nikanang sema ngkana; makanguni paduka batari bagawati; adinika inaturanya; saksana mijil ta sira pada batari; sakêng kahyanganira; neher mojar ta sirêng calwan arang; uduh atmajamami kita calwan arang; apa kalinganta mangaturi tadah tumekêng hulun; bakti mangarcamana? atarima nghulun ri pangastutinta’ the blood (was) used to wash the hair of calon arang; her hair was tangled by the blood; intestine became a necklace; and (she) put in around; all roasted, quickly processed; used for the victim of blind beings; (and) everything that lives in the tomb; especially for the majesty, batari bagawati; the main sacrifice was made; immediately, she appears, the lord batari; from (her) palace; then, she said to calon arang; ‘my daughter, calon arang; what do you mean to offer me food?; worship? i accept your sacrifice’. petrik mahisa akhtabi et al., music and identity: immortal rites’ art as the narrative of 273 the existence of javaneseeness the most visible and literal element of ‘javaneseness’ of both songs is language since both use the ancient javanese one. historically, the ancient javanese language replaced the role of sanskrit in javanese literary affairs at that time. the language’s existence was first realized through the sukabumi inscription written in kawi script, dated 804 ad, in kediri, east java (zoetmulder, 1983). two other older inscriptions were found later, which are plumpungan inscription (750 ad) in salatiga and the sri ranapati inscription (787 ad) in temanggung (nikolic, 2008; sambodo, 2018) an ancient stone inscription found in the salatiga area. the manuscript dates back to the 8th century and is one of the main historical sources of the salatiga municipality. there is a tight connection involving the above mentioned inscription with the legitimacy of the javanese court at that time, as well as with the monarch, who was seen as halfman, half-deity. the monarch drew on the labor of his subjects in maintaining religious sites to ensure his place on earth, and in heaven. the plumpungan manuscript was a ‘legal document’ used to reassure inhabitants of the area that the monarch is the legitimate ruler, and to prevent further revolt. the monarch’s subjects in the salatiga area at the time were farmers disheartened with high taxes and the fear of volcanic eruptions, which later caused great migrations to east java. consequently, the monarch, using the plumpungan manuscript as a medium, decreed that the hampra village (present-day salatiga. so, it can be predicted that the old javanese language was first used around the 6th or 7th centuries since the oldest inscription dated back to 750 ad. the javanese language has at least three developmental periods before the medieval model in the 16th century, which is still frequently used today (de casparis, 2022). the three periods are the ancient one that is still borrowing a lot of sanskrit and is written in pallava, the 8thcentury language that started to portray something more ‘indigenous,’ and the 13th century in majapahit era (de casparis, 2022; zoetmulder, 1983; zuburchen, 1976). explicitly, it is very clear that language is the first element that represents javaneseness. the aesthetical process can be understood under the concept of mixing, combining elements that do not exist within the initial establishment of one musical type aesthetic (riyanto, 2017b). the mixing is not to undermine what has been established, but it tends to maintain the musical ‘tradition’ that continues today (riyanto, 2017b). further, given that immortal rites used the extinct local dialect, wallach’s argument in 2003 becomes less valid. clearly, what immortal rites did in their artistic manner contrasts wallach’s argument if such regional language is unlikely to be a candidate for underground songs (wallach, 2003). what immortal rites did feel like it was a “punch” since they epically used the “associated backward village” language in their arts, and they managed to do that (wallach, 2003). even they got great appreciation in the global metal scene, such as being invited to play and promote their album in 2017 in malaysia and being released by an independent european label, satanarsa record (madyan, 2020; saputro, 2018). the next process is to dig into something implied within the lyrics comprehensively. therefore, the interpretation now focuses on exploring what content actually inspires the formation of lyrics. generally, both of the songs are the narrative of retelling historical pieces of ancient javanese civilization, more precisely the history of java that closely relates to the capital city of daha whose existence becomes the forerunner of kediri’s present city. serpihan api is a piece of a historical story that is specifically written in an inscription. meanwhile, legiun api is much relevant to the ancient javanese religious-historical story written in the form of babad, one of javanese’s literary work types that contains religious myth and history (prabowo et al., 2015). our argument was proven as winoto emphasized in the interview with anarcho brothers in 2021. “kalau dulu, api dari timur itu menceritaharmonia: journal of arts research and education 22 (2) (2022): 268-282274 kan spiritualnya orang-orang kediri, kalau ini (bathara api) lebih condong terhadap sejarahnya” (the anarco brothers, 2021) “for the past, api dari timur told about the spirituality of kediri people, but for this time, it is more inclined to the history” api dari timur refers to their previous album, that was released in 2007. the two songs, serpihan api and legiun api, that are being discussed here belong to their second full-length album, bathara api in 2020. directly, winoto stated that each song inside bathara api leans towards the historical side of java, especially those related to the land and the society of kediri. serpihan api lyric retells a historical event of revenge, the re-establishment of the ancestor’s legitimacy, and betrayal that we can comprehend by reading what has been written in the kudadu inscription dated to 1216 saka or 1294 ad. the inscription contains the village of kudadu mandate as sima or free-tax area as the order of raden wijaya, the first majapahit king, for the help of kudadu’s people to hide him from jayakatwang’s troops (hardjowardo, 1965, p. 37; poesponegoro & notosusanto, 2019; yamin, 1962, p. 221). the main actor is jayakatwang or aji katong or jayaktyeng, the king of gelang-gelang that turns out to be the great-grandson of kertajaya (the last king of kadiri) who lost to ken arok (the founder of singhasari empire) (poesponegoro & notosusanto, 2019). apart from the kudadu inscription, this story was also written inside pararaton or the ‘book of kings’, kidung harsa-wijaya, and kidung panji wiyakrama (hardjowardo, 1965; pigeaud, 1967; poesponegoro & notosusanto, 2019; zuburchen, 1976). based on the translated version above, the implied context is about jayakatwang’s victory in coupling the singhasari empire. contextually, the defeat cannot be separated from arddharaja’s betrayal to his own father-in-law, kertanegara (the last king of singhasari). arddharaja saw gelanggelang’s red-white flying flags at the east of haniru, and so he immediately fled to kapulungan, causing a great devastation to the singhasari empire (poesponegoro & notosusanto, 2019; yamin, 1962). arddharaja’s betrayal was not without a reason because in fact, he is the biological son of jayakatwang, so we can say that this ‘betrayal’ is a manifestation of devotion to his own father. furthermore, the fighting singhasari’s troops were actually led by two person, the first one is arddharaja himself and raden wijaya, a prince who later became the first ‘cri maharaja’ of the majapahit empire (poesponegoro & notosusanto, 2019; yamin, 1962). apart from arddharaja’s betrayal to singhasari, jayakatwang’s coup success was inevitable to the clever strategy he used. when singhasari attacked and put all the strength in the west, jayakatwang’s ‘red-white’ army seemed to have kept an enormous force on the east side. when singhasari’s troops were exhausted and reduced in number because of arddharaja’s escape and died of war, raden wijaya and his 600 troops continued to fight in nomadic, by moving from place to place, from one village to the other, including pamwatan apajeg, kulawan, kembang sri, and finally kudadu with only 12 soldiers remaining (poesponegoro & notosusanto, 2019). by the end of the escape, jayakatwang himself managed to be in charge of singhasari, and at the same time, it became the point of the kingdom’s destruction. from the coup’s success, he re-established legitimacy, a right that belongs to his ancestral lineage, the kadiri empire or, as it is called inside the lyrics, the ‘daha nagara.’ furthermore, legiun api is basically a piece of an ancient javanese legend narrative inside babad calon arang or calwan arang. generally, the narrative implied a historical tale of power, revenge, parental love, the height of supernatural knowledge, ancient paganism, and exorcism. the details told the intricacy of king airlangga or resi gentayu or resi erlangga jatiningrat’s, the founder of kahuripan kingdom, life, power and priesthood (ardhana et al., 2015; olthof, 2019). king airlangga was a javanese king whose noble parent is udayana (king of bedahulu in bali) and mahendrapetrik mahisa akhtabi et al., music and identity: immortal rites’ art as the narrative of 275 datta (the princess of medang or mataram kuno) (ardhana et al., 2015; poesponegoro & notosusanto, 2019). in this regard, this babad became the primary source to the history of ‘daha’ kadiri empire, including the kingdoms of kahuripan, janggala, and panjalu “the kadiri,” in addition to negarakertagama. the legend of calon arang is generally narrated by the figures of king airlangga, mpu baradah and his son mpu bahula (bhikkhu), and ki rangda or the calon arang herself and her daughter ratnamanggali (mu’jizah, 1995; poesponegoro & notosusanto, 2019; prabowo et al., 2015). the story mostly describes mystical tradition, history, and religious-relationship of the hindu-buddha era (ardhana et al., 2015). the story itself closely relates to the people of east java and bali. even so, the difference lies within distinct ‘dimensions’ that they each believe. balinese reflection on the legend is more of an “imaginary sense” as it relates to the horror of mythological creatures of leak or rangda, while the javanese people, especially the people of kediri, tend to see that the story is not just fiction and was believed through the discovery of petilasan calon arang ancient site (ardhana et al., 2015). thus, this legend lied in an in-between state of myth and historical reality, making it to be an appropriate reference in understanding ancient civilization and antiquity. the story itself was found in various sources with different years, but the most famous, impressive, and widely used reference is prof. dr. poerbatjaraka in dutch in 1926, entitled de calon arang. in addition, within the context of legiun api itself, the lyric text has similarities to what has been copied by i made suastika in his dissertation in 1995. the lyrics, both the original and translated, of legiun api are exactly the same as i made suastika’s version. as he wrote in stanzas 10b: 13-15 up to 11a: 1-10 (suastika in ardhana et al., 2015, p. 27). here, we actually can find the match between immortal rites and the global black metal’s practice whose aesthetical exploration revolves around a dark and mystical ambient. it is such as pagan offerings ritual, glorification of ancient wrathful gods or goddesses, black magic, as well as numinous and physical realms intermingling (moynihan & soderlind, 1998; patterson, 2013). within its lyrics, immortal rites’ combines black metal and javanese aesthetics as they particularly use passages that convey the degree of the ‘dark side of ancient java and pagan rituals. this includes the worship of certain goddesses with human-based sacrifices with blood used to wash the hair, necklaces made of intestines, and whole bodies being roasted. the ritual that ki rangda carried out with a fairly sadistic description was meant to offer ‘food’ for the inhabitants of the graves, the subordinate of the main ‘cursed’ goddess she worshipped, paduka batari bagawati or commonly known as the goddess durga (santiko, 1997). through the offering, the goddess durga herself finally descended from the setra loka or her dark palace, depicting an event of theophany, a situation that represents how real (seen, touched, interacted) deity manifestation in the human physical realm (armstrong, 1994). events of this kind are found in many ancient texts, such as kresna (representation of vishnu), who gives teachings to arjuna in the mahabharata; yhwh, who performed the ten commandments miracle on mount sinai; the prophet muhammad s.a.w who travels and ‘talks’ to allah swt in the afterlife as in the event of the isra’ mi’raj (armstrong, 1994). the batari bagawati herself is actually a demystified version of goddess durga, who is well-known as the consort and the embodiment of shakti of lord shiva (amazonne, 2010; kramrisch, 1981). in shakti, she represents shiva’s primordial active force aspect of procreating realities (woodroffe, 2007). in worldly human affairs, she turned out to symbolize protection and motherhood, as she is often referred to as prithvi or the mother-earth (amazonne, 2010). the form of shakti itself is divided into 2, saumya (calm) and krodha (terrible), and in the case of calon harmonia: journal of arts research and education 22 (2) (2022): 268-282276 arang, she worshipped batari bagavati in her krodha form as durga (the excommunicated), not the saumya one as the parvati (the mountain spring) who gave birth to ganesha (amazonne, 2010; santiko, 1997). therefore, it is not so surprising that inside calon arang, durga is associated to the source of curses and witchcraft that cause plague outbreaks, drought, and unnatural deaths. based on the explanation above, it appears that immortal rites did explore ancient javanese legend and history chanted by using black metal’s aesthetic. what is unique about them is that it is not only the context that inspires the lyrics but also the use of the nonmainstream medium—the language, as well as the black metal itself—that mediates the javaneseness the group intends to chant. thus, we conclude that immortal rites’ specifically articulate javanese localities, including (1) the ancient javanese language, (2) the history of the land of java’s based on the daha figures or chronicles, and (3) the religious-historical legend that appeared in the setting of the capital city of daha during the reign of the javanese king airlangga. hence, we can see that the arts have the same pattern, which is a consistent context to the discourse of daha. immortal rites imagined their discourse of identity based on their insight to the history of the capital city of daha, the city where they ‘live’ in now as kediri. hence, we assume that they try to manifest the identity of daha-based javanese through the music they play. the arts as the narrative of contemporary kejawen identity in this present contemporary world, identity is wholly a matter of ‘becoming’ not ‘being’. rather than be something inherently ‘self-imposed’ in nature, humans realize that their state of identity is constructed along with the experiences they passed so that it is not naturally embedded but artificially existed. identity will never be performed as something permanent and stable, so it does not signify a solid and concrete core over time (hall, 1996, 2018). immortal rites’ musical aesthetics seems to emphasize that such a concept of identity is plausible. preaching an understanding about the state of being a javanese, they hinted—by their arts—that it is not only because a man was born biologically from javanese parents, but man also needs to be sensitive to any other qualities that mark it up, especially what close with the everyday process. furthermore, beholding both of the songs, we need to realize that the lyrical correlation to the history of kediri is not a coincidence. the first fact, it is clear that both songs were created to implicitly communicate the current region of kediri was chosen by the javanese king to be the center of civilization in the past. secondly, both songs have the ‘property’ of fire or api that refer to the kediri’s old name, dahanapura, which means the ‘city of fire’ (mardiwarsito et al., 1992, pp. 6 & 78). thus, immortal rites’ choice to articulate kediri history is kind of epic because they are likely to emphasize an alternative way of understanding the notion of being javanese. to understand and be worthy of being called javanese, man does not have to put or fixate themselves on the ‘middle’. through the art, immortal rites specifically emphasized ‘daha’ as a sign that connotes the notion of identity of kediri-based javanese they wish to manifest. the consistency in realizing kediri as an integral part of the whole of java indicates that their art is nothing more than to create a narrative of contemporary javanese identity. their speech during the interview with rotus reveal tv in 2020 emphasized the sense. “orang kalau nanti membeli bathara api itu, dia tahu, terjadi dialog-dialog dengan kita, dia akan tahu sejarah kediri…ayolah kediri ini dipelajari, kediri ini adalah kota kuno yang banyak meninggalkan ajaranajaran leluhur yang sangat arif dan sebagainya” (rotus reveal tv, 2020) “people, when they buy bathara api, they know there will be dialogue with us, they will know the history of kediri…come on, let’s us study about kediri; kediri is an ancient city that has left behind many wise ancestral teachings and petrik mahisa akhtabi et al., music and identity: immortal rites’ art as the narrative of 277 so on.” they expected that bathara api could mediate their wish to create dialogue about the topic and the embodiment of kediri-based javanese identity. they expected their listeners to gradually understand that the city is a kind of ‘relic’ left by the ancient daha-javanese ancestors. they hoped that the current people now, especially the youth in the scene, realize that the city’s modernity and development is an inevitable heritage, a treasure left by the daha ancestors’ wisdom and glory. they wished to provoke people to realize that those who live now are inevitable to the ancient javanese civilization of victorious daha. even they stated that the javanese cultural wisdom and nobility were not necessarily centered in the ‘middle’ because such ethics can be found throughout the city of kediri. further, in an interview with one of jtv (jawa timur televisi) bureaus in kediri, doni (vocalist) confirmed that kediri was ‘him’; he conveyed that kediri was who he really is. he consciously admitted that the true form of his ‘self’ is the kediri itself. “jadi orang kalau belajar, istilahe sebelum belajar kesana-sana, kudune belajar ke kotanya sendiri, ke kediri lah, awake dewe” (jtv biro kediri, 2021) “so, when people study, before they study about anything, they should study about their own city, the kediri, the self.” contemplating the statements, we may realize that kediri means something beyond just a city in east java. kediri becomes a sign that signifies the existence of man and the awareness of the embodiment of the self. thus, kediri is way beyond itself since it is a fact that its existence becomes a starting point for man to understand and imagine the existential nature of themselves. in addition, it is common that we find javanese have an ‘inner’ special comprehension for land as they appreciate its existence in various meanings, including land as it is, residence, prosperity, welfare, honor, ancestral attachment, heritage, and even identity (pujiriyani, 2020). not only that, but it is also common that we find javanese often reflect their’ state of identity through the perspective of historical tread between themselves and the former pioneers of the land (adji, 2017). both beliefs are merely context, leading to the truth that the music they play has encouraged and represented their philosophical grasp of recognizing self-identity in a contemporary way. through their arts, they instilled that people need to realize if every region in java is historic and inherently belongs to the noble javanese culture and wisdom as a whole. they implied that rather than focusing the mind on appreciating the existence of kraton as the axis of javanese culture, as the center of the most’ refined’ form of the javanese culture (florida, 1987), they reminded people to remember that javanese is not fully alive and developing just in there. it is a fact that kediri is a region that is not really taking place in the center of java; it is a fact that it once belonged to a specific javanese king that may be a nonnative to kediri, but living the javanese way of life and identity with a deeper tendency to a particular ‘kediri’ conveys further complexity of man’s reflection toward his land where they live in, maybe, for the rest of their life. therefore, to say that immortal rites’ represented a kediri-based javanese identity that comes from the daily lives-based sensibility is a proper logic. narendra (2017) was also aware that immortal rites did explore ‘javaneseness’ close to their daily lives for their basic inspiration of the music they love. for that, we then comprehend that narendra’s argument is well reasoned since immortal rites, in the context of api dari timur album, explores the daily reflections of beliefs and spirituality of ancient kediri. from here, it should be noted that it is indeed relevant if we assume that what immortal rites had done ‘by’ and ‘with’ the black metal aesthetic aims to manifest something that they constantly live by. something that constantly exists as an active micro-cosmical awareness in realizing their daily encounter with the macro-cosmical realities. the manifestation of the people of daha-kediharmonia: journal of arts research and education 22 (2) (2022): 268-282278 ri; a kediri-based javanese identity. the only distinction between this study and narendra’s is the difference of data source, since the two songs have not been released in 2017 yet. however, we both agree that immortal rites’ did explore ‘javaneseness’ in the context of their daily lives as the people of nowadays kediri; as the people that inherited the blood, the legacy, and the wisdom of the old daha. all in all, we both agree that their arts contain a narrative of how they imagine ‘java’ with a kediri-centered insight. if so, what prompts them to comprehend as such? of course, it is because the black metal they played. it is very likely that they would not have become what they are today if they were not immersed in the black metal culture renowned for its tradition of antiquity and yesteryear exaltation (masciandaro & connole, 2015). thus, it is true that through and by music, humans— both them and who listen—are fully aware of themselves. the black metal leads them to be conscious of their existential nature of themselves. the black metal provokes them to explore further knowledge and comprehension of their land’s historical background. again, the black metal encourages them to communicate what they believe in as what is inherently embedded into their lives so far. through the musical experiences, they went through, they were constructed to manifest their notion of a state of being in the socio-cultural activities they passed. the inner force of black metal has pushed immortal rites’ to reflect and chant their ‘wished’ and ‘believed’ javanese identity based on the contemplation of the historical dimension of land and its former people; based on regional antiquity. therefore, we assume that immortal rites’ art is the structured narrative of identity. we conclude that immortal rites try to narrate their reflective idea of the contemporary javanese identity, a kediribased javanese identity whose part of the javanese discourse as a whole. the degree of contemporary kediri-based javanese caught from the contents that inspire the creation of arts, including the story of jayakatwang and calon arang, the setting of the city of daha, and the characteristic of fire in both songs’ titles that refers to the dahanapura or old kediri’s name. not only that, it was caught, too, through the language they use and the pattern of self-philosophical reflection to the understanding of kediri land and pioneer. conclusion based on the explanation above, we conclude that immortal rites really articulate javanese local features and values through their art. it is why they bear the title the kejawen black metal. the first javaneseness inside their art is the obvious usage of the ancient javanese language for the lyrical convention. then, the second is the lyrical content of serpihan api which turned out to be a piece of javanese history about the success of jayakatwang’s coup to the singhasari empire and the re-establishment of the kadiri kingdom. last but not least, we found that legiun api related to the ancient mystical legend of calon arang whose contextual setting refers to the era of the javanese king of daha, airlangga. given that, we ascertain that immortal rites specifically imagines java through an insight that is massively formed toward exploring ancient javanese history and legend in the era of kadiri kingdom. for this reason, we believe that immortal rites’ arts signify a specific contemporary identity they want to manifest in today sociocultural space. here, we conclude that immortal rites’ arts are structured narratives, representing a particular contemporary javanese identity of kediribased. immortal rites show us that identity is unstable in nature. they showed us that identity is fluid and does not imply a stable core within itself. the represented javanese identity turned out to have a degree of instability, in the sense that its existence does not mean to refer as the one the global world mostly knows. they showed that becoming a javanese is not to focus on contemplating the existence of kraton, petrik mahisa akhtabi et al., music and identity: immortal rites’ art as the narrative of 279 but rather to deepen sensitivity to every ‘javanese properties’ close to daily lives. and, so yes, immortal rites did contemplate and represent a state of being javanese based on the ‘javaneseness’ that is close to the history of kediri, the place they live in. the degree of being kediri-based can be caught from the contexts that inspire the contents of their arts, including the story of jayakatwang, the legend of calon arang and the elements of ‘fire’ in both songs. then, the state of being not-so-really-different javanese is represented by the ancient language they use and the philosophical pattern of self-consciousness to the understanding of daha land and pioneer. references adji, h. 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(2021). kuliah metal eps: 8 win (immortal rites) the guardian. https://www.youtube.com/ watch?v=jl-hlihmswy https://radarkediri.jawapos.com/features/30/08/2018/doni-wicaksono-padukan-musik-metal-dengan-budaya-lokal https://radarkediri.jawapos.com/features/30/08/2018/doni-wicaksono-padukan-musik-metal-dengan-budaya-lokal https://radarkediri.jawapos.com/features/30/08/2018/doni-wicaksono-padukan-musik-metal-dengan-budaya-lokal https://radarkediri.jawapos.com/features/30/08/2018/doni-wicaksono-padukan-musik-metal-dengan-budaya-lokal 135 creativity of virtual dance competition of “beksan nir corona” in the kraton of yogyakarta kuswarsantyo kuswarsantyo, otok fitrianto universitas negeri yogyakarta, indonesia submitted: june 24, 2020. revised: september 9, 2020. accepted: november 18, 2020 abstract the objectives of this study are to: (1) describe and analyze the arrangement tutorial of beksan nir corona on a virtual dance competition in the kraton of yogyakarta; and (2) describe and analyze the level of similarity in imitation of movement patterns and creativity in the presentation of the participants in the dance competition of beksan nir corona. the method used in this research is descriptive qualitative supported by percentage descriptive quantitative data. the data collection process was carried out using observation, interview, and document techniques. data analysis was carried out by the stages of data reduction, data presentation, and drawing conclusions. the research results show that the virtual dance tutorial of beksan nir corona as a competition guide contains a recording of a dance model, which is a stylization of five steps of washing hands into a simple variety of movements in the classical dance of yogyakarta style. judges’ assessment results through dance performance videos uploaded by 196 participants showed that: (1) the ability of participants to imitate all movement patterns according to the dance material of beksan nir corona reached 85%; (2) the ability of participants to be creative which is manifested in the ability to express ideas only reached 60%; and (3) the remaining 40% of participants only danced the dance of beksan nir corona by imitating the movement patterns that had been exemplified. the average ability to imitate the movement patterns of the dance of beksan nir corona based on the assessment of the six judges is 85.5. in contrast, the creative ability in dance presentation is 70.5. keywords: creativity; beksan nir corona; virtual dance competition how to cite: kuswarsantyo, k., & fitrianto, o. (2020). creativity of virtual dance competition of “beksan nir corona” in the kraton of yogyakarta. harmonia: journal of arts research and education, 20(2), 135-143 harmonia: journal of arts research and education 20 (2) (2020), 135-143 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i2.25105 ation, the kraton of yogyakarta responded positively so that artistic activities would not stop during the covid-19 pandemic. one of them was done by bringing up the idea of holding a virtual dance competition with the headline #menaridirumahaja. in organizing the dance competition, beksan nir corona is created and selected as the material object. nir means nothing, and corona is covid-19, which is currently outbreaking. the dance of nir corona is made as to the title of a dance with the expectaintroduction since march 16, 2020, the indonesian government officially stated that the covid-19 pandemic had begun to enter indonesia. therefore, since then,, the indonesian government has imposed a work from home (wfh) policy, which must be implemented by all parties. various activities, both in offices, schools, and various other activities, including the arts, must not be done face-to-face. responding to this situcorresponding author: e-mail: kuswarsantyo@uny.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (2) (2020): 135-143136 tion that the corona victims do not grow again and soon gone. the idea for this dance came from kph notonegoro, pengageng kawedanan hageng poenokawan (khp) kridha mardawa kraton yogyakarta, assisted by abdi dalem mataya (dancer) rj. pulung ronggomataya (raden jajar) and mj. animayong sarimataya, as well as other dancers (mataya) as demonstrations. the contents of the dance of beksan nir corona describe the handwashing procedures that must be applied during the covid-19 outbreak. the who’s handwashing procedure (world health organization) became a reference for various movements, then it was transformed into a simple arrangement of classical dance in yogyakarta style. the five steps for washing hands which are the ideas in this dance include (1) washing between palms; (2) washing the joints in the finger joints; (3) washing the tips of the fingers by squeezing them; (4) tightening the thumbs by rotating it; and (5) tightening and rotating the palms completely. the arrangement of beksan nir corona is made as a medium to socialize healthy living habits by washing hands and using hand sanitizers. the implementation of the virtual dance competition in the kraton of yogyakarta in the context of education can be used as a model in implementing distance learning. this can be observed, starting from the initial procedure for the process of pouring out ideas to uploading tutorial material, which is a combined pattern to realize an effective learning process. this process is in accordance with a learning model that combines aspects of etymology, social, psychological, and pedagogical approaches that connect the brain and body, between individuals and individuals, between individuals and communities, and between domains of knowledge. in other words, it is a blended model of learning development that seeks to combine several subjects (beane, 1995) the imitative learning model in dance is currently the simplest to do. however, with the synthesis analysis structural model’s combination, the learning model will be effective, as has been applied in the virtual dance competition in the kraton of yogyakarta. thus, it is clear that the implication of the idea of a virtual dance competition can be applied as a practical learning model with other dance materials according to each institution’s needs. kraus (1977) states that learning of movement education in physical education is an integrated lesson that can contribute to the development of effective, efficient, and expressive movement responses in students to express thoughts and feelings to others. relevant to this statement, the exploration method in this context will be the main method centered on students (competitors) as individuals who are able to discover themselves (self-discovery) spontaneously. therefore, this phenomenon shows how important competition tutorials’ role is in motivating and driving the dance creativity in participants or students when applied in learning (jazuli, 2008). in line with jazuli’s opinion above, the concept of learning carried out by kridha mardawa with beksan nir corona in the virtual dance competition has implemented the idea of cultural integration into technology. this is expressed by kusumastuti (2004: 1) that the use of virtual media as the implementation of new concepts in learning is an integrated approach that can provide a holistic understanding for competition participants or students (kusumastuti, 2004). based on this background, the objectives of this study are to (1) identify and analyze the arrangement of beksan nir corona in the virtual dance competition in the kraton of yogyakarta; (2) know and analyze the level of similarity in the imitation results of the competition material of beksan nir corona in the kraton of yogyakarta. method this research is a qualitative descriptive study based on the observation of the process, starting from the making of learning materials of virtual dance, the upload kuswarsantyo kuswarsantyo & otok fitrianto, creativity of virtual dance competition ... 137 process, and the implementation of the assessment. observation, interviews, and documents carried out data collection techniques. observation activities were carried out during the process of making virtual dance competition materials and during the competition. interview activities were carried out with the speakers during the process and after the dance competition. resource persons in interview activities include (1) kph. notonegoro as the initiator of the competition; (2) mj. ronggomataya and animayong sarimataya as dance stylists; and (3) mj. murpratomo kumudamataya is the coordinator of the judging team. the research documents as a source of data in this study are competition tutorials, recordings of competition results, and judgments from the judges. to ensure the data’s validity, a source triangulation was also carried out, namely 20 participants in a dance competition that were determined purposively. data analysis was carried out by the stages of data reduction, data presentation, and drawing conclusions. data analysis activities are needed in the process of arranging data sequences and organizing them into patterns, categories, and basic description units (brannen, 1997). results and discussion the arrangement tutorial of beksan nir corona for virtual dance competition dance competitions are generally conducted face-to-face. however, under conditions of limitation due to the covid-19 pandemic, dance competitions virtually are the most likely alternative solution. this is because we can still maintain social distancing and physical distancing as recommended by the government. in the world of entertainment, the term ‘virtual’ is often used to publish other products or services. but for the level of traditional arts, especially classical dance in yogyakarta style, this virtual dance competition is something new. the classical dance, which is usually contested, requires space and time as well as the readiness of the organizers in a certain location, but with this condition, there is no need to prepare the venue and the equipment for the competition. the participants only need to study the material from home, record dance movements from home, upload the recordings, and wait for the judges’ assessment results. another dimension of the preparation for this virtual dance competition is that each participant can record repeated movements. the best one can be selected according to the tutorial carried out by the organizing committee before uploading. in addition, the freedom to add and or develop the concept of presentation is an opportunity for participants to express their creativity. this virtual competition model organized by kraton yogyakarta not only presents the concept of practicality in its implementation but more importantly in the process. this virtual competition creates a psychological effect which according to gardner is not for personal gain, but for the collective interest of everyone. can feel the results of personal creativity. at least gardner (1983) reveals that there are seven aspects that arise related to independent learning, namely; (1) linguistic intelligence; (2) musical intelligence; (3) mathematical logical intelligence; (4) spatial intelligence; (5) kinesthetic intelligence; (6) interpersonal intelligence; (7) intrapersonal intelligence. the tutorial used in virtual dance competitions as a guide for participants contains an overview of the various movements that must be developed. the movement illustration that must be developed comes from the five steps of washing hands, as summarized in the figure 1. based on the five steps of washing hands, a dance tutorial is made that is displayed as simple as possible, making it easier for participants to learn and follow it. as a learning model, the competition committee’s tutorials are intended so that the aesthetic learning process can take place systematically. the feedback from the learning model has a positive effect on the participants’ learning process (kusuharmonia: journal of arts research and education 20 (2) (2020): 135-143138 mawardani, 2019). an illustration of the tutorial movements of the dance competition of beksan nir corona in the kraton of yogyakarta can be seen in figures 2 and 3. figure 1. the five steps of washing hands that inspire the movement of beksan nir corona (doc. din. kes. yogyakarta city, 2020) figure 2. beksan nir corona in introduction part (source: tandhayekti of the kraton of yogyakarta, 2020) figure 3. the movement variation of keplok asta (source: tandhayekti of the kraton of yogyakarta, 2020) the step of the tutorial arrangement of beksan nir corona in this virtual dance competition is carried out in the following stages: (1) exploring handwashing procedures in the covid-19 era; (2) improvising movements based on classical dance in yogyakarta style; (3) performing movement stylization, from pure movement to symbolic movement; and (4) compiling a series of beksan nir corona complete with movement transitions based on the criteria of the dance movements in yogyakarta style. after the formation of beksan nir corona, the khp kridha mardawa team conducted an internal discussion to see how the difficulty level resulted from the arrangement of beksan nir corona. mj ronggomataya, abdi dalem mataya who composed the movements of beksan nir corona stated that the arrangement of the various movements was deliberately created as simple as possible. the aim is to facilitate the adaptation and imitation of participants. this was confirmed by kph. notonegoro, as the person in charge of the activity that the educational and entertaining aspects of working from home are the main objectives. education in terms of understanding traditional culture (cognitive) and dance practice (psychomotor). the arrangement of the movements of beksan nir corona is described in detail in table 1. the tutorial for the dance of beksan nir corona was delivered to the public through youtube. initially, the use of technology in traditional arts was responded with pessimism and even considered unnecessary. however, over time, it seems that traditional art and technology cannot be separated. as a result, what the public does not know at large, now people can easily understand how the position, history, function, and technical presentation of art around the world, only by opening access through technological devices from their own houses. the use of technology in the dance learning system is now a necessity. its implementation can help facilitate the transfer of knowledge and skills for students. as a distance learning model, this process answers doubts that learning dance material does not have to be face to face. it was proven based on the judge team’s assessment results showing that 85% of participants were able to transfer their visual observations to the dance of beksan nir corona. only 15% of participants could not still observe the existing dance movekuswarsantyo kuswarsantyo & otok fitrianto, creativity of virtual dance competition ... 139 ment patterns so that the accuracy in imitating the movement patterns was still not appropriate. based on these results, it can be said that the tutorial developed by the virtual dance competition organizer in the kraton of yogyakarta has been effective. the creativity of participants in the virtual dance competition of nir corona in the kraton of yogyakarta the virtual dance competition of beksan nir corona in the kraton of yogyakarta on april 2, 2020, was attended by 196 participants. in a relatively short time for approximately 12 days, the participants must do two things, namely imitating and creating a dance form based on the competition guide and existing video tutorials. to do these two things, of course, the participants are required to focus on the various types of movements that are in the dance of beksan nir corona. the process of creation of the participants, according to hawkins (1991), can be done in stages: (1) sensing (feeling); (2) feeling (feeling in participating in a competition); (3) imaging; (4) transforming; (5) forming. therefore, based on the existing tutorial, the participants have experienced directly how dance is learned and felt, thus forming an interesting presentation that reflects their creativity. one of the appearances of the virtual dance competition of beksan nir corona can be seen in figure 4. figure 4. one of the participants of the virtual dance competition (source: screenshoot, tandhayekti the kraton of yogyakarta, 2020) responses to the virtual dance competition material from the participants in this study were classified into two aspects. the first aspect is related to the level of material difficulty (imitation), and the second aspect is related to presentation arrangement opportunities (presentation creativity). the participants’ responses to the aspect of the difficulty level of the material show that, in general, the material is not too difficult to learn and imitate. meanwhile, from the opportunity for the arrangement of dance presentations, the participants stated that they still have very creative opportunities to create various dance movements based on existing tutorials. the positive response from the participants of the virtual dance competition of beksan nir corona was as expressed by table 1. the arrangement of movements of beksan nir corona in the virtual dance competition in the kraton of yogyakarta variety of movements quantification floor pattern sembahan sila (greet and bow), tangkep asta (clap hands) right and left 4x8 0 0 jengkeng (bow), wash hands realistically with hand sanitizer 4x8 static four-four stand, sabetan 1 x 8 static four-four drop tangkep asta wash hands, right 2 x 8 static four-four drop tangkep asta wash hands, left 2 x 8 static four-four sendi sabetan 1 x 8 static four-four clap hands ingset, right and left 2 x 8 static four-four nglawe, hold the right-left thumbs consecutively 4 x 8 static four-four sendi sabetan 1x 8 static four-four hold the palms of hands, rub, right-left 2 x 8 static four-four sabetan tancep, finish 1x8 static four-four harmonia: journal of arts research and education 20 (2) (2020): 135-143140 jerry as follows. …. the online dance competition is exciting and a new challenge. the material in this competition is easy to do, and opportunities to create are open; hopefully, there will be such competition next year. a similar opinion was also expressed by khoria fadillah, one of the female participants who stated. ….. the opportunity to express with the dance of beksan nir corona is very challenging, and we have no trouble doing it. this competition attracts all of us. regarding the assessment criteria which require participants to be able to make creative arrangement in addition to imitation, ferry komper argues as follows. ….. this is really a challenge for the participants. but in my opinion, it doesn’t matter because the theme of this dance is relevant to the situation that occurred in the covid-19 pandemic, so we can easily do it according to the situation around us.…. beksan nir corona, which was used as material for the virtual dance competition, according to the participants’ opinion, was not difficult. two important aspects of this dance competition, namely the ability of participants to imitate the existing movement patterns and the ability to create based on new ideas in the dance of beksan nir corona are possible. this is in accordance with the expectations of the initiators and organizers of the dance competition of beksan nir corona. participants’ interest in this dance competition can be taken into consideration for organizing similar dance competitions in the future. according to gardner (1983), the imitation produced by participants in participating in this virtual dance competition is determined by (1) musical intelligence, (2) kinesthetic intelligence, and (3) interpersonal intelligence. musical intelligence is related to the auditive stimuli that participants must have to help express movements according to the music’s tempo or rhythm. the kinesthetic body’s intelligence is related to dancers’ flexibility in performing movements of beksan nir corona. the interpersonal intelligence is related to dancers’ personal responsibility in actualizing beksan nir corona in groups to participate in virtual dance competitions. regarding the interaction in the process of participating in the virtual dance competition, lotman (1977) states views art as a specific way of communication, as a “language” that is structured in a “strange” way. the word “strange” here should be understood as something “unusual.” he gave the term “language” (code) as a comprehensive meaning, which is generally referred to in semiotics as a regulated system, which acts as a means of communication and uses signs. art is similar to a well-organized language generator. this means that there is indeed a “language of art,” in addition to the relationship between language and certain artistic texts (sayuti, 2012). the results of judges’ assessment through dance performance videos uploaded by 196 participants showed that: (1) the ability of the participants to imitate all the movement patterns in the dance material of beksan nir corona reached 85%; (2) the ability of participants to be creative which is manifested in the ability to express new ideas as expected only got 60%; and (3) the remaining 40% of participants only danced the dance of beksan nir corona by imitating the movement patterns that had been exemplified. the average of mimicking abilities (imitating) of dance movement patterns of beksan nir corona based on an assessment of 6 judges from 196 participants is 85.5. at the same time, the creative ability in dance presentation is 70.5. hence, the concept of the virtual dance competition of beksan nir corona from the kraton of yogyakarta has proven its effectiveness when viewed from an interactive approach based on visual imitation sensitivity. in practical learning theory, it is stated that imitation is the main basis for accelerating the process of understanding the material being taught kuswarsantyo kuswarsantyo & otok fitrianto, creativity of virtual dance competition ... 141 (kusnadi, 2018) the level of similarity (accuracy) in imitating movement patterns of beksan nir corona and the creativity of the participants in its presentation varies greatly. based on the data from the assessment results of the 20 participants who were nominated for the virtual dance competition of beksan nir corona in the kraton of yogyakarta, it can be explained as table 2. assessment of participants’ competence in the aspect of the ability to imitate movement patterns and creativity in the presentation of the dance of beksan nir corona by judges was carried out with a score range between 60-95 by using multiples of 5 (five). the score for the level of imitation and creativity is done with the following indicators (table 3). based on the data, table 2 shows that the imitation abilities and creativity of the 20 participants who entered as the winner nominees are: (1) the creativity scores of 3 participants are higher than the imitation ability score; (2) 9 participants have the same creativity score as the imitation ability score; and (3) the creativity scores of 8 participants are lower than their imitation ability scores. this shows that dancing skills are only one component of dance creativity. the rest is necessary to have the ability to come up with new ideas to develop and create a variety of dance movements following the set competition theme. guilford (1973) explained that in the art of dance, creativity requires other matters concerning fluency, flexibility, redefinition, and elaboration that enable the emergence of original ideas in the process of dance creation. relevant to the theory of creativity, dance creativity also needs other things concerning fluency, flexibility, redefinition, and elaboration that allow the emergence of original ideas in the process of dance creation (guilford, 1973). table 2. the level of similarity of movement patterns and creative abilities of the participants in the virtual dance competition name score movement imitation presentation creativity dwi prasetyo 85 85 angga ukauka 85 85 jerry 90 85 ferry komper 90 85 friday 85 90 suwarjiyo 85 85 dillo 85 90 yudha wicaksono 85 85 kidung 85 85 rangga 85 85 anggoro 85 80 amrih gunarto 85 80 fadil 80 85 irim irim laraswangi 90 85 muharam b. m. 90 85 risang 85 80 khoiria fadilla 90 90 ratih dwi anjani 85 80 sheryl intan 80 80 pramono 80 80 harmonia: journal of arts research and education 20 (2) (2020): 135-143142 conclusion the virtual dance competition of beksan nir corona organized by the kraton of yogyakarta, which was attended by 196 participants, received positive responses from the community. the guide and tutorial of virtual dance competition of beksan nir corona, which contains a recording of a stylized dance model of five steps of washing hands into a simple variety of movements of classical dance in yogyakarta style, can guide participants in practicing existing dance movement patterns and are able to stimulate participants to be creative. the ability of competition participants to imitate all movement patterns according to the dance material of beksan nir corona reached 85%. meanwhile, participants’ ability to be creative in the form of the ability to express ideas only got 60%. the difference in dance competition participants’ ability to imitate and be creative is due to participants’ ability to practice various dance movements; only one important component in dance creation. apart from the ability to dance properly, other things are needed relating to the ability to create, namely fluency, flexibility, definition, elaboration, and original ideas of dance creation. references aminatun, t. (2020). belajar dari covid 19. yogyakarta: uny. gardner, h. (1983). frames of mind. new york: liberty, ltd. guilford, j. p. (1973). a psychometric approach to creativity. in bloomberg, m. (ed.), creativity: theory and research (pp. 229-246). new haven, conn: united printing service, inc. hawkins, a. m. (1991). bergerak menurut kata hati. ed. wayan dibia. jakarta: ford foundation dan mspi. jazuli, m. (2008). paradigma kontekstual pendidikan seni. surabaya: unesa university press. kraus, r. (1977). history of the dance. new jersey: prentice, inc. kusnadi. (2008). strategi pembelajaran praktik. yogyakarta: uny. kusumastuti, e. (2004). pendidikan seni tari pada anak usia dini sebagai proses alih budaya. harmonia: journal of arts research and education 5(1). kusumawardani, d. (2019). aesthetic learning by implementing systemic approach to achieve educational values in performing arts. harmonia: journal of arts research and education 19(2),126-132. nickelsen, e. & lee ann. (2011). deeper table 3. scores and indicators of the level of similarity of movement patterns and creative abilities of participants in the virtual dance competition of beksan nir corona in the kraton of yogyakarta score indicator level of imitation presentation creativity 60 65 not able to imitate all parts of the movement pattern according to the model not able to display creativity in all parts of the dance performance 70 75 only imitate some movement patterns according to the model able to show creativity in a small part of the dance performance 80 85 able to imitate all movement patterns but cannot express it according to the model able to show creativity in half parts of the dance performance 90 95 able to imitate all part of the movement pattern and being able to express it according to the model optimally be able to display creativity in all parts of the dance presentation kuswarsantyo kuswarsantyo & otok fitrianto, creativity of virtual dance competition ... 143 learning (the seven strategy for learning). ed. pt indeks. jakarta. nicolisch, w. (2010). motoric, skills, and learning. imaji: jurnal seni dan pendidikan seni. notonegoro, k. p. h. (2020). lomba tari nir corona. yogyakarta: kraton yogyakarta,tepas tandhayekti. sayuti, s. a. (2012). pengkajian jagat seni sebagai sistem penandaan, dalam buku greged joged jogja. yogyakarta: bale seni , smki, isi and uny. soenartomo. (1998). struktur analisa sintesa dalam pembelajaran tari. yogyakarta: smki. walton, j. (1999). the art and science of teaching learning dance. http:// www.joanwalton.com/home/essays/the-art-and-science-of-teachinglearning-dance. 120 the inheritance of values in sundanese song of cianjuran in west java julia, tedi supriyadi faculty of education science, universitas pendidikan indonesia, indonesia received: january 29, 2017. revised: august 3, 2017. accepted: december 18, 2017 abstract this article examines the issue of inheritance that occurs in the sundanese song of cianjuran. during this time, the inheritance is dominated by the transfer of skills only, while the transfer of value tends to be ignored. consequently, the public cannot grasp the value of what is important to sundanese song of cianjuran, so that over time the sundanese song of cianjuran being abandoned. through research conducted by observation into the studio and the training venues of sundanese song of cianjuran, and interviews with the artists of sundanese song of cianjuran, the study results showed two things. first, the sundanese song of cianjuran contains the value both in lyrics and music accompaniment, in the lyrics have meaning is quite diverse, whereas the musical accompaniment contains any value in the form of symbolic treatment. second, the process of inheritance value, on the one hand, occurs at certain times through a casual chat after training sundanese song of cianjuran finished, and on the other hand, the value of inheritance is one drawback in the regeneration of sundanese song of cianjuran, because teachers tend to pass on the skills aspect alone keywords: inheritance value; the transmission of traditional arts; sundanese song of cianjuran how to cite: julia & supriyadi, t. (2017). the inheritance of values in sundanese song of cianjuran in west java. harmonia: journal of arts research and education, 17(2), 120-128. doi:http://dx.doi.org/10.15294/harmonia.v17i2.8645 harmonia: journal of arts research and education 17 (2) (2017), 120-128 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i2.8645 characteristics that differ the art from other types of local arts from other regions (suharto, 2016). sundanese song of cianjuran consists of two elements, vocal and pirigan. vocal is human sound in the form of rythmical tone and pirigan is the music accompaniment. this music accompaniment it self specifically uses several music instruments, such as: kacapi indung, kacapi rincik, suling, and rebab. furthermore, sundanese song of cianjuran is classified into classic sundanese art. the ‘classic’ character of sundanese song of cianjuran can be seen from its traditional form which reflects sundanese traditional music that exist in introduction this study attempts to study the sundanese traditional song, cianjuran. cianjuran as a type of sundanese traditional song itself can be seen and studied from various different perspectives, however, the researcher here is more focus to study the song’s inheritance system of values in its society. the sundanese song of cianjuran is a kind of traditional art originated from west java which is inherited from generation to generation as any other typical traditional arts from other regions. a previous research studying about local arts believe that every local art has its own corresponding author: jl. mayor abdurachman no. 211 sumedang jawa barat 45323 e-mail: juli@upi.edu p-issn 2541-1683|e-issn 2541-2426 julia, tedi supriyadi, the inheritance of values in sundanese song of cianjuran ... 121 the past, which is more special compared to other sundanese sounds (wiradiredja, 2012). the uniqueness of sundanese song of cianjuran also can be seen from its performance and aesthetic aspects reflected in both the song lyric and the music accompaniment (pirigan). as a traditional art which was born in royal environment, sundanese song of cianjuran has its own aesthetics of performance, as its way to perform in sitting position, communication in nonverbal form when the performance is being held by using musical signs, and the musical interaction between the performers and audiences which has deep appreciation from both sides. one of the senior singer of sundanese song of cianjuran, rina oesman (ziyan, 2016), said that sundanese song of cianjuran is usually performed for pasamoan (banquet/reception). it is not supposed to be performed in music concert or show which is full of audiences’ or crowd’s noise. this art is considerably unique. people are not allowed to talk during the song performance and are asked to deeply internalize the songs into their hearts. therefore, when there is a mamaos or cianjuran song show, people are not allowed to enter and leave the room freely. aesthetics that becomes the special identity of sundanese song of cianjuran, the aesthetics of song and its instruments, are represented through techniques, variations, and the ways to perform it to the audiences. according to hermawan (2014), the song is also having some elements that become the standard in scoring the beauty (aesthetic value) from the song, one from many and become the most important is song’s accessory or ornament that was shaped from dongkari chain. elis rosliani (herdini, 2002) translated dongkari as song ornament which is simple and contained in every type of sundanese sound. it means that the combination or series of dongkari-dongkari has formed a unity called ornamentation. while in its instrument, for example in kacapi indung as the main accompanist, the esthetic value is determined among others by the quality of the play (technique) and the richness of the beat pattern of kacapi indung. sundanese song of cianjuran is passed down from generation to generation through traditional oral ways. julia (2008) indicates that the art transmission in the kacapi indung instrument of sundanese song of cianjuran in the informal education environment is done through traditional oral method by means of pencatrikan or learning from a certain ‘guru’. while balasubramanian (2010) research results show that the learning of sundanese song is done through traditional oral culture, and it requires close relationship with the teacher, and active participation in various contexts and relevant activities is required. this way, all forms of ethics and aesthetics can be protected and preserved, even showing the development as well as the change over time, since the result of inheritance is often not showed in the form of repetition or is not exactly the same as the generation that inherits it (rochmat, 2013) . for example, the aesthetics of the song prove that after sundanese song of cianjuran spread out from the area of origin of cianjur regency to bandung, the sundanese song of cianjuran has increasingly showed the variants in the ornamentation of the song, as a result of the development of artists singing the sundanese song of cianjuran from bandung, such as the work of the late euis komariah. differences can also be found in the way kacapi indung instrument is played. wayang panambih (extra song) which was originally performed in the rhythm of basajan (usual/ slow), now turned to be faster in the musical beat, after receiving a touch of the sundanese pattern, which are kawih sunda and kendang sunda through the creative hands of artists of kacapi indung ruk -ruk rukmana, now referred as a ‘ropel’ beat (julia, 2011). in other words, all the changes and developments that occur in the sundanese song of cianjuran played a role in extending the age or existence of the arts. the success of inheritance of sundanese song of cianjuran which is generally done through informal education, turn harmonia: journal of arts research and education 17 (2) (2017): 120-128122 out to be more dominated on the level of inheritance alone, while the inheritance of the value contained in the cianjuran song is still relatively forgotten. worsen fact shows that even at this time, the skill inheritance is also decreased. it is proven by the decreasing numbers of paguron or studio of sundanese song of cianjuran which actively provides sundanese song of cianjuran training. in 2016, according to heri wijaya (ziyan, 2016), the number of participants are varied from 70-80 to 100 people. these days, numbers of people signed up for learning the song is no more than 50 people. men dominate the numbers. the chairman of pancaniti cianjur, d. andri kertanegara, delivered his dissapointment to see participants which is continued to decline in number every year. not to mention the quality is also decreased (heriyanto, 2016). however, better inheritance system is seen in sumedang district. it is resulted from the role of stakeholders who willingly provide facilities and sacrificing material (money) for the sake of inheritance of sundanese song of cianjuran (julia, 2016). the decrease in quantity of enthusiast’s number of sundanese cianjuran song could happen because sundanese people themselves are not able to capture and understand the values contained in the art, therefore, they do not consider the importance of sundanese song of cianjuran. furthermore, people have no desire to learn the art of sundanese song of cianjuran because they do not see values that can be applied or brought into their actual lives. while the tendency of people themselves are to learn new knowledge pr skill which is valuable, useful, and practical for their lifes both for having a good living or merely for pleasure. raditya (tyasrinestu, 2014) underlines this by claiming that the existence of a song should have a function and use in society; and music should be used as a medium in conveying messages of the lyrics. based on the above phenomenon, the researcher attempts to examine inheritance of value in sundanese song of cianjuran through observation and interviews of sundanese song of cianjuran’s artists. the assessment focuses on the following two things: 1) what values are contained in the sundanese song of cianjuran, and 2) how the process of inheritance value in sundanese song of cianjuran works. in the end, it is hoped that this study may result in a clear picture about the actual condition of the form of inheritance of value of cianjuran sundanese song. methods approaches implemented in this study are karawitanologi and socio-culture. karawitanologi is to talk about the song while social culture is to discuss the values and patterns of inheritance. the research itself was conducted in two districts in west java, i.e. the art pakuwon art studio in sumedang regency, and paguron elis rosliani in bandung regency. both places were chosen since the place is quite well-known in the inheritance of sundanese song of cianjuran till today. through the activity of sundanese song of cianjuran inheritance that is held in those two places, the researchers had dug the data about the process of the inheritance that is specifically related to the values contained in sundanese song of cianjuran’s lyrics and musics, both through the behaviour and communication patterns that occur among teachers and students. the data collection was done by exploring the data through direct observation. here the researchers are involved in the study as participant which commonly seen as participation observation. in this participation, the researcher stands as one of music player, playing kacapi indung instrument in regular exercise activity. in addition, researchers also collect the data through interviews and documentation studies. interviews were conducted by researchers by interviewing all individuals who directly involved in routine training activities. the content of the interview is related to the views of the players towards the value contained in sundanese song of julia, tedi supriyadi, the inheritance of values in sundanese song of cianjuran ... 123 cianjuran and the pattern of inheritance values that exist in the supporting community. documentation study conducted by exploring documents in the form of recording activities and record of sundanese song of cianjuran and the writings related to the sundanese song of cianjuran texts that are exist and used. furthermore, the data analysis technique is done through data collection process, data reduction, data presentation, and conclusion or verification. the data obtained through the data collection process is then analyzed using qualitative research analysis techniques by miles and huberman (rohidi, 2007) by data reduction, data display, and conclusions or verification. in the process of analyzing this data, the content of the song is being listed and the process of inheritance value in sundanese song of cianjuran that has been obtained during the study process are being interpreted and discussed using some relevant theories. results and discussions content value in sundanese song of cianjuran the value and meaning in the sundanese song of cianjuran can be seen from various perspectives (wiradiredja et al., 2001) since value is derived from the results of educational message contained in teaching and learning (wadiyo, 2015). in this study, the sundanese song of cianjuran was seen through two aspects, from the lyric’s meaning and sundanese’s pirigan aspects. specifically, the lyrical aspects are divided into two kinds, one is easily to be understood while another one is hard to be understood. in other words, lyrics are easy to be understood when the diction used by the creator is not metaphorical or explicitly explained. it is considerably difficult to understand meaning when the words used are full of figurative meaning since the meaning is implicitly said. due to this fact, only literary circle may serve this. for the sundanese song of cianjuran here, both meanings are included (wiradiredja et al., 2001). even, it can be said that the lyrics are mostly figurative and had hidden value. it implicitly gives the idea that the creators of the lyrics of sundanese song of cianjuran has quite a variety of literary skills. according to wiradiredja et al., (2001), the sundanese song of cianjuran contains certain values, such as historical, love of god, love of nature, and messages related to religious and customary education (moral, ethical, norm and law). while wiratmadja (1996) writes that the lyrics of sunda cianjuran song from 404 songs based on the percentage are as follows: kaendahan alam (natural beauty) 17%, ka-sunda-an (sundanesse) 6%, pepeling (advice) 9%, kabirahian (desire) 52%, 3% karumasaan (acceptance), sajarah (history) 9%, basa jawa (javanesse language) 3%, sanesna (others) 1%. this number can be increased by the existence of new songs composed recenty which has not been registered yet. as written by julia (2008), in 2008 alone, there are 700 songs which belongs to sundanese song of cianjuran. most of the songs, however, contain love message or relationships between people of different gender. in other words, if the lyrics of sunda cianjuran wants to be used as character builder, then obviously, not all lyrics are suitable to build people characters, especially in the context of character education and culture for school-aged children. through the musical aspect of sundanese song of cianjuran, in kecapi indung, especially, the values can be expressed among others through the attitude of kacapi indung’s old players. various treatments given to kacapi indung by the music player have symbolic meanings that cannot be separated from moral values in everyday life. for example, the attitude to treat or consider kacapi indung as his own wife, they play it gently and cover it with a cloth when it is not in use. it is not merely to create the concentration of the player or to deeply engage in the play of the luminance of the indung, creating a smooth sound, or keeping the dust from the music equipment. further, the behavior shows the conharmonia: journal of arts research and education 17 (2) (2017): 120-128124 ways respects kacapi indung, basically is a way to respect the god through its creation. in sundanese culture, this attitude is not only happened around sundanese song of cianjuran, the same attitude is also found in some other arts. for instance, tarawangsa arts in rancakalong district, sumedang regency. some groups, especially the old generation, treated tarawangsa nicely, even in the beginning of learning tarawangsa. they cannot play it carelessly, but there must be a line of ancestry, or at least family from karuhun. therefore, some people think that tatawangsa players are atheist since they give huge respect towards the instruments. one of the tarawangsa players, during the interview, said that the behavior is a ‘mupusti´ behavior not ‘migusti’, that has aim to maintain those arts and not to treat the tool as the god. another example is the goong renteng music instrument treatment in situraja district, sumedang regency. based on the interview during the study, it is reavealed that in situraja, the goong renteng music instrument has turned into a broken instrument that cannot produce sound. it even has cracked. however, people still respect the instrument by holding a ceremony with flower and incense, bathing the instrument every once a year in mulud month, as well as providing a special room for the instrument. in other words, the behavior of treating the instrument special can be seen as an attitude of respecting the instrument. the inheritance of sundanese song of cianjuran the process of inheriting culture along with the values contained in it, basically happened through three aspects, the vertical transmission, horizontal transmission, and oblique transmission (cavalli-sforza & feldman, 1981; berry et al., 2002). the inheritance process of value in sundanese song of cianjuran happened through some conditions, i.e: first, when people are learning sundanese song of cianjuran, they would ask the teacher or cept, that: first, ‘learning the ethics through kacapi’. the aim of treating the kacapi politely, according to one of the interviewee, is to know how far our ability in playing the kacapi as an ethic by considering the artistic ethic. here, the meaning reflects that the way the artist treats the music instrument may make him to get used to act politely and ethical, not only on stage but also in real life. it is believed that if an artist could treat his music instrument politely, then they he will live well and polite, too. as a small example is respecting kacapi indung during a performance, by not storing ashtrays or cigarettes over the kacapi. it can be an ethical habituation for the artist in their daily life. second, ‘doing small things before the big things’. treating kacapi indung politely, carefully, and keeping them clean, is not a big deal because it involves the individual relationship of an indistinguishable player with his own kacapi indung. if the attitude of caring for and maintaining the kacapi indung that in fact is easier, cannot be done by the player, then how can he do things bigger and more difficult than that? that is why, for the player, the habit of caring and maintaining kacapi indung may be a step to do other things, so this attitude can be seen as one of the representations of the ability to do bigger and more complex things in everyday life. third, ‘from the creator to his creation’. the attitude of kacapi indung players towards the kacapi indung instrument in showing their big respect to the instrument, basically shows social and spiritual relation. in this case, respecting kacapi indung is one way to respect and glorify their god. it means that if kacapi indung players are able to give the big respect to the kecapi indung, it is expected that he also has great respect towards the man who creates that instrument, and further if kacapi indung players are able to give his high respect towards the other humans, means that he also has high respect towards the human creator, that is god. therefore, behind the attitude of a kacapi indung player that aljulia, tedi supriyadi, the inheritance of values in sundanese song of cianjuran ... 125 trainer about the song. it may be related to the phenomena of behavior among the artists of sundanese song of cianjuran, or related to the musical and vocal aspects of sundanese song of cianjuran. this moment creates a communication between teacher and student, and in that moment the teacher gives advices to the students through a casual conversation after practicing the sundanese song of cianjuran. this activity can happen for several hours, even until late at night. the practice of sundanese song of cianjuran itself started after isya or around 19.30 until midnight. the more questions delivered by the students, the longer time will be needed by the trainer to answer the questions. therefore, one of the trainer during the interview has ever said that the inheritance value usually happened after the sundanese song of cianjuran. as what happened in his house, the students normally have casul conversation with him about the cianjuran songs till 2 a.m. in the morning. second, inheritence process exists when the teacher observes some improperactivities or attitudes done by the students. example of the improper attitude by students is when they sneak and look at the teacher while playing the kacapi indung. the teacher then explains the rule of playing the instrument which looking at somebody else’s play is considered rude and not respectful. domination and implementation of sundanese song of cianjuran inheritance also has significance differences in every paguron of sundanese song of cianjuran. for example, in pakuwon sumedang art studio, the inheritance of the value from the teacher are not really be shown directly since it is concerned more to the inheritance of the skills (figure 1). meanwhile, in this case, the habituation of the ethics is being taught directly by the stakeholder or the owner of pakuwon art studio, like, giving a rule that washing students’ own dishes and the teacher’s dishes is an obligation, introducing transparency in managing the show by presenting any payment proofs, allowing the students to perform everywhere with everyone, even if the students is the member of pakuwon art studio. it means that even if the learning process is happened informally, but it is not created feudalism atmosphere as happened in the life of the late sundanese song of cianjuran artists. figure 1. learning sundanese song of cianjuran in gentra pakuwon sumedang art studio while the inheritance of value in elis rosliani’s paguron, the results of the observation showed that the teachers can have a conversation that contained advices to the students, especially in the middle of break when the practice is taking place. among the advices is to accept the differences of song variation or ornamentation among the vocalists of sundanese song of cianjuran. in other words, elis rosliani teaches the students to accept the unity in diversity, because in sundanese song of cianjuran world, this thing is something that can elicit conflict, or known by some singers with terms “parebut senggol” especially when pasanggiri of sundanese song of cianjuran is being held. this thing becomes representation of elis rosliani as singer that commonly invited as judge in many pasanggiri of sundanese song or judge in competence examination of art schools. it means, as a judge that gets trust from the societies, of course this cannot be separated from the competence that she has and from her credibility as a judge who usually provide an objective assessment which based on pasanggiri rules. those values then become part of a pasanggiri’s judge of sundanese harmonia: journal of arts research and education 17 (2) (2017): 120-128126 song of cianjuran, and are being inherited to the students slowly through the routine practice of sundanese song of cianjuran (figure 2). therefore, soehardjo (2005) said that, whatever the system, process of the transmission of art is not simply by transmitting the art physically, but also by transmitting the philosophical values. figure 2. learning about sundanese song of cianjuran in elis rosliani’s paguron, bandung through the explanation above, in one side, it can be obtained about the description of the process of inheritance values in sundanese song of cianjuran which took place slowly but quite continuous. in other sides, the inheritance of values in sundanese song of cianjuran becomes a problem for some figures of sundanese song of cianjuran. for instance, one of he cianjuran song figure yusuf wiradiredja (56 year old), had ever stated that the inheritance value is one of the weaknesses in the inheritance process of sundanese song of cianjuran (interview on august 8, 2016). it is illustrated that started from the early age, the trainer or teacher only teaches about the song, there are no discussions to express the song, no analysis about the meaning of the lyrics, and no attempt to connect the lyric with the music. therefore, wiradireja as the cianjuran song figure, decided to transmit the values contained in sundanese song of cianjuran by analyzing meaning of the song during the training. through this way, wiradireja found that not all the lyrics of sundanese song of cianjuran have good values or quality that can be used as an educational tool. in order to implement those things to the wider society of sundanese song of cianjuran, wiradireja as one of the main committee of pasanggiri activity of sundanese song of cianjuran (ptsc) damas 2016, was trying to gathered the lyrics of song that has good quality, to be used as song lyrics that must be brought by the participants or patandang pasanggiri. the inheritance of the value through this song lyric is claimed by wiradiredja as an easier way in teaching values in cianjurang song because the lyrics of the song are more verbal and can be understood directly through the form of words or spoken. still according to wiradireja, another important aspect in the context of inheritance of sundanese song of cianjuran’s value is how to transfer values that is contained off the lyrics, that is from the musical aspect of sundanese song of cianjuran. this aspect can be validated since not all practitioner of sundanese song of cianjuran, especially the musical players behave in accordance with the values of sundanese song of cianjuran, or at least based on the characteristics of sundanese song of cianjuran that tends to be soft. it means that because of the soft characteristic of sundanese song of cianjuran, then soft character can be used as one way to build the behavior of its own practitioners to behave with touches of tenderness, decency, and etc. this condition is called by herdini as the internalization of the values of sundanese song of cianjuran (personal communication, february 26, 2016). the internalization of value also means integrating values within a person (fardus, 2010). it means that when there is a sundanese song of cianjuran’s practitioner that does not behave based on the high values contained in sundanese song of cianjuran, then those values of sundanese song of cianjuran are not being internalized into the artist. one of the strategy that can be done to realize the sundanese song of cianjuran’s values can be internalized more generally to the wider society through formal education. wiradireja explained that the transjulia, tedi supriyadi, the inheritance of values in sundanese song of cianjuran ... 127 formation of the values should be done in school environment. since school is the place of the young generation who will inherit the culture; and second, structural approach can be done in school environment. it means that the achievement of value learning can be measured since it is included in the area of school subject. by all means, the inheritance of sundanese song of cianjuran that usually happened in informal education environment which is dominated with skills inheritance, also needs to be done through formal education, at least in the local content area. as stated by sedyawati (2007), one of the channels for inheriting cultural values in a society is through a more or less formal education system, in which there are clearly differentiated roles between teacher and student. this is in line with hayati’s point of view, who stated that school or educational institution is not only as a medium to gain the knowledge, but as a medium to develop the civilization, which has a function to pass all the potentials to the younger generation. some of the benefits of teaching local culture and arts at school are: developing the intelligence, training the skills, creating a perfect personality, being sensitive to social life and as a cultural transmission, as well as, developing essential values as the provision of human life which is to pray to allah. this strategy can be a way to perfect the inheritance of values through the family environment, because the family environment is the first environment for mankinds, especially the artists of sundanese song of cianjuran to apply the values of sundanese song of cianjuran. conclusion based on the explanation above, two points can be concluded. first, sundanese song of cianjuran contains varieties of values. through the lyrics of the song, it can be identified that the meanings of song lyrics in sundanese song of cianjuran, includes: the historical aspect, the love of god, the love of nature, the love of fellow human beings, the messages relating to religious and customary education (moral, ethical, norm, and law), and self-reflection. meanwhile, through pirigan, it can be identified that the value is represented through symbolic treatment from the players to the musical instrument that they are played. these values live mainly on sundanese song of cianjuran’s in the past or old generation. second, process of inheritance of sundanese song of cianjuran has been identified as two points of view that have significance differences. through the first point of view, it can be concluded that the inheritance value of sundanese song of cianjuran happened in spesific times, that is in the middle of practice or after the practice, and can happen until mid-night through casual conversation. meanwhile, through the second point of view, it can be concluded that the inheritance of value is one of the weaknesses in the inheritance system of sundanese song of cianjuran, since the teachers of sundanese song of cianjuran rarely does the inheritance teaching related to the values contained by sundanese song of cianjuran, since they focus more in the inheritance of the skills. sundanese song of cianjuran also has not been classified as a learning material in primary level. therefore, generally, values contained in sundanese song of cianjuran has not been conveyed widely yet. references balasubramanian, a. 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(2016). tembang cianjuran menembus era globalisasi budaya (11 oktober 2016). galamedia online. 21 oktober 2016. 208 innovation of suminten edan stories by ketoprak wahyu manggolo pati sucipto hadi purnomo1, tri marhaeni pudji astuti1, agus maladi irianto2 1universitas negeri semarang, indonesia 2faculty of humanities, universitas diponegoro, indonesia received: december 21, 2017. revised: october 5, 2018. accepted: december 24, 2018 abstract this research aims at discovering the innovation performed by artists of people’s theatre to the stories which have been a tradition and commonly known to the audience. this research uses a qualitative-descriptive approach, focusing on the performance of sumonten edan (se) story by a ketoprak group wahyu manggolo pati. in performing the story, despite being bound by the basic norms of performance known as pakem, suminten edan story is performed with some modifications to show innovations. these innovations include both the story and performance aspects. keywords: ketoprak; javanese traditional theatre; innovation; suminten edan; wahyu manggolo how to cite: purnomo, s. h., astuti, t. m. p., & irianto, a. m. (2018). innovation of suminten edan stories by ketoprak wahyu manggolo pati. harmonia: journal of arts research and education, 18(2), 208-217. harmonia: journal of arts research and education 18 (2) (2018), 208-217 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v18i2.12435 ketoprak. during the beginning of this 21st century, this javanese-speaking performing art kept on flourishing in pati regency, central java. in pati, no less than 35 ketoprak groups exist. some of these groups performed more than a hundred times a year in various places and in many occasions. these groups generally perform from daytime to night in every performance order. one of these frequently performing ketoprak pati groups is wahyu manggolo group. this group led by sarjimin, whose stage name is mogol, has its secretariate in tanjungsari village, jakenan district, pati regency. in addition to leading this group, mogol is also a comedian (dhagelan) in this wahyu manggolo group. his wife, indra mandarin, in each performance she plays introduction the ketoprak performing art which constitutes one type of javanese traditional theatres has grown and developed in many areas in java island. born in surakarta in 1914 as per record (brandon 2003:71), ketoprak has developed in yogyakarta region in both audios recorded ketoprak, radio ketoprak, television ketoprak, and staging ketoprak. ketoprak mataram is what the ketoprak living in this region called. among ketoprak mataram, sapta mandala is the most popular ketoprak group. in addition, approaching the end of 20th century, in east java region a ketoprak performing art had also developed as characterized by the existence of a new-style ketoprak siswo budoyo in tulungagung, and in kediri there existed wahyu budoyo corresponding author: jl. sekaran gunungpati, semarang, 50229, indonesia e-mail: suciptohp23@gmail.com p-issn 2541-1683|e-issn 2541-2426 sucipto hadi purnomo et al., innovation of suminten edan stories ... 209 the role of a emban or nursemaid. in a year, on average this ketoprak group performs more than 150 times and in each performance they present two different plays, i.e. one play for daytime performance and the other for the night show. as with other ketoprak groups, wahyu manggolo performs folklores as sources of plays or stories. these plays can be from fairy tales, legends, myths, phables, chronicles, and histories or a mix of these sources. the latter is usually the history from kingdom eras, particularly those in java, prior to the independence. the stories performed in a ketoprak show are usually those who have been common knowledge for the audience. these stories are known from prior ketoprak performances, watched directly in person, from playing dvds, television, or listened to via radio or recordings in cassette/mp3 format. now that youtube.com exists, they can also enjoy ketoprak and plays performed via this channel. suminten edan is one of the plays most frequently performed by wahyu manggolo group and other ketoprak groups in pati. this play is a popular one among the people in general. the story is actually folklore from ponorogo, east java. through ketoprak, suminten edan has been widely known to javanese people, even in the north coast of central java, in such a way that it became a collective memory and from then on a story convention was formed. in 1983, a recording company fajar record published the play recording of suminten edan in cassette tape format. the play was performed by sapta mandala ketoprak group led by bagong kussudiarjo from yogyakarta. thereafter, the recording was sold for public and played by various radio stations. now, the recording can be found in mp3 format and can be accessed in youtube.com channel. the recording, in ketoprak artists and fans’ opinion, is considered as the pakem of suminten edan play since it is referred to by many presentations of this story in other performances. when performed on 12 february 1992 at bentara budaya jakarta by sapta mandala entitled suminten (ora) sida edan (suminten (doesn’t go crazy) (kristanto 1997, p. 131) which was presented in a parodical style, it was none other than a systematic parody of the play. this play is known as a rame (noisy) play since even the word included in its title suggests the existence of a crazy woman as its central character, i.e. suminten. at the organizer’s request, wahyu manggolo also performed the humorous version of suminten edan play when the group performed in pulo village, rembang district, rembang regency on 25 december 2015. this request to perform it in its humorous version indicated that the organizer wanted the ketoprak group to present something new or different from when the play in its usual basic norms. speaking about something new or innovation is incomplete without touching a convention. sujiman (1983), p. 43) mentions that a convention is a presentation which becomes a settled means of expression, which eventually becomes the commonly acceptable technique. in line with this, abram (1981-33) suggests that a convention is the prominent characteristics or repeated techniques in a literary work, such as types of characterization, plots, forms of poems, dictions, and stylistics. in performing arts tradition in java, this convention collides with the so-called pakem. pakem, in shadow puppeteering, is defined as the “original” story considered as the babon or parent from which all plays and stories are performed. pakem is where a player is stored (repertoire) which also serves a kind of dam or reservoir where the plays flow (murtiyoso 1998). pakem also means standards or principals, guidelines or directives; pakem balungan means a storyline in the form of story outline (jazuli, 2003). however, convention, as suggested by dewojati (2010, p. 1-2), is not limited to literary dimension, rather it also includes performing art dimension. thus, pakem is not limited to literary dimension, rather it also includes performing art dimension. harmonia: journal of arts research and education 18 (2) (2018): 208-217210 data appearing in written records in the field. this process takes place continuously during the research, even before the data are actually collected. data reduction includes: (1) summarizing data; (2) coding, (3) tracking theme, and (4) making clusters. data reduction is done as a part of an analysis to expand, classify, direct, exclude the unnecessary, and organize the data to draw the final conclusion. results and discussion synopsis and scenes two stories have their synopses shown, namely suminten edanpengadegan (se-1) played by the ketoprak group sapta mandala, yogyakarta and suminten edan (se-2) played by wahyu manggolo group. se-1 represents a text to which many subsequent ketoprak performances refer to, and se-2 which is the main focus of this study as well as the latest text which refers to se-1. the suminten edan play by sapta mandala group (se-1) which lasts for an hour (60 minutes) can be synopsized as follows. as the marriage between suminten and raden subrata is being prepared, patih trenggalek visits warok gunaseca’s house. his aim is to inform that subrata has gone from kadipaten trenggalek, thus subrata’s father, adipati sudibya ngalim, cancels the marriage plan. as this news is told to suminten, she collapses and when she is awake, she goes insane. subrata on his way out of kadipaten trenggalek meets cempluk warsiyah. this daughter of warok suramenggala is chased and forced to be gentha’s wife, the beast. however, subrata fails to outpower gentha. fortunately, warok suramenggala successfully thwarts gentha’s intention. gentha tells this to his father, surabangsat. yet, surabangsat is also defeated by suramenggala. from surabangsat, secadarma finally knows that the marriage between suminten and subrata is canceled since subrata will marry cempluk. thus, he this innovation, both in terms of story and performance dimensions, is what this research will investigate. therefore, innovation is not limited to literary dimension, rather it also includes performing art dimension. it is important to study innovation in suminten edan by wahyu manggolo, not just because this play is highly more popular than others, but also because wahyu manggolo is the most-watched ketoprak group that its artists make playing ketoprak as their main source of income. therefore, this research derives from one main problem: how are the innovations in suminten edan play performed by wahyu manggolo ketoprak group from pati? method this research is conducted using a qualitative-descriptive approach. using this approach, the innovation in a ketoprak play is explained in a description. the research object is the innovation made through the performance of suminten edan play by the ketoprak group wahyu manggolo. the data are collected mainly using documentation and note-taking techniques. the documentation technique is done to obtain a recording of a performance of the said play. note-taking is used to obtain more detailed data related to dialogs and acting of the ketoprak artists. to complement the collected data, participatory observation and interview are used. the participatory observation is employed to obtain an authentic description of the performance activity and the interview is done to the director and actors to obtain confirmation of the play presentation in the performance. three qualitative data analysis paths are used in this research, namely data reduction, data presentation, and conclusion drawing (miles and huberman 1992). data reduction is the process of selecting, focusing attention to simplification, abstracting and transforming the rough sucipto hadi purnomo et al., innovation of suminten edan stories ... 211 kidnaps cempluk from trenggalek. yet, his attempt is thwarted by suramenggala. eventually, suminten can be healed by suramenggala. on suramenggala’s recommendation, suminten’s issue is to be settled before the adipati in trenggalek. meanwhile, the synopsis of suminten edan play performed by the ketoprak group wahyu manggolo is as follows. hooligan causes a riot in kadipaten trenggalek region. for eradicating these rioters in gunung pegat, warok gunaseca is gifted by adipati trenggalek sudibya ngalim. the gift takes the form of a marriage between the son of this adipati, raden subrata, and the daughter of gunaseca named suminten. yet, subrata refuses this wish of his father’s. accidentally, on his way, subrata meets and helps cempluk warsiyah, the daughter of warok suramenggala, from jin gentho’s pursuit. they fall in love with each other. while subrata fails in thwarting gentho, warok suramenggala successfully drives away gentho. failing to accept his defeat to suramenggala, gentho asks for help from his uncle, warok surabangsat. surabangsat dresses up gentho in such a way that he resembles subrata. having a look like subrata, gentho is about to indulge in love with cempluk. however, it is found out by subrata. once again, it is warok suramenggala who succeeds in discovering gentho’s disguise. gunaseca who is preparing suminten’s marriage party receives news that the marriage is canceled since subrata will marry cempluk instead. suminten goes crazy as she is informed about it. gunaseca is enraged with cempluk who he thinks is the cause of suminten failing to marry subrata. he meets suramenggala and invites him to a duel. suramenggala defeats gunaseca and kills this father of suminten’s. furthermore, suminten can be healed by suramenggala. on suramenggala’s recommendation, subrata marries not just cempluk, but also suminten. based on these two synopses, it can be seen that there is no significant difference regarding the theme and message of the story. both present romances or specifically a marriage plan which is thwarted due to the presence of a third person nevertheless, se-2 has extended it with love meeting between subrata and cempluk warsiyah as well as a challenge from gentha which strengthens their relationship instead. meanwhile, the message which can be taken from both stories is that love will always require ones to fight for it regardless the obstacles in the way of it. however, to view the plot in detail, it is important to see each scene of the performance. in their presentation, both se-1 and se-2 performance are divided into several scenes (jejeran). se-1 consists of five scenes, namely: 1. gunaseca’s family are preparing the marriage ceremony between suminten and subrata. patih trenggalek comes to inform that the marriage plan is canceled since raden subrata leaves the kadipaten and has not come home. upon hearing the news, suminten collapses and as she awakes, she has gone crazy. 2. raden subrata accompanied by his servants meets cempluk warsiyah who is being chased by gentha. subrata tries to help, yet he fails to match gentha’s strength, thus both raden subrata and cempluk warsiyah run away. 3. subrata and cempluk tell the incident to her father, warok suramenggala. suramenggala successfully drives away gentha. gentha goes and comes again with his father, surabangsat. a duel takes place between suramenggala and surabangsat. surabangsat dies. subrata then proposes and asks to bring cempluk along with him to kadipaten trenggalek. 4. in kadipaten trenggalek complex a commotion suddenly occurs for cempluk has gone as reported by the servants to the adipati and subrata. when suramenggala is summoned and comes, he finds a clue that cempluk disappearance is gunaseca’s doing. harmonia: journal of arts research and education 18 (2) (2018): 208-217212 5. on their way, secadarma intends to kill cempluk since he thinks she is the cause of why suminten-subrata marriage plan fails. yet, before he does what he intends, suramenggala comes. secadarma and suramanggala are engaged in a duel. however, before the winner and the loser emerge, the currently insance suminten comes. suramenggala successfully heals suminten, thus she is no longer insane. they agree to settle suminten’s issue in kadipaten trenggalek. unlike se-1 which is presented in five scenes, se-2 which lasts for five hours and a half is performed in eleven scenes as detailed below. 1. a war erupts between the troops of kadipaten trenggalek led by patih reksapraja and the hoodlums led by singagubrah. singagubrah is assisted by surategel, suramentala, sampargeni, and samparangin. the trenggalek troops lose and run away, leaving the battlefield. 2. patih reksapraja meets warok gunaseca and says that there is a contest that anyone who can deal with the unrest, if he has a daughter then he will marry the son of sudibyangalim, adipati trenggalek. additionally, the contest winner will be rewarded with some wealth. gunaseca agrees to attend the contest. 3. gunaseca comes to the hoodlums’ hideout. it turns out the hoodlums’ action making some unrest was ordered by gunaseca. at this time, gunaseca comes only to ask singagubrah and friends to cease what they are doing. gunaseca even asks singagubrah to accompany him to appear before adipati sudibyangalim in trenggalek. 4. in kadipaten trenggalek, before the consort and her retainers, adipati sudibyangalim gives a reward to gunaseca. gunaseca’s daughter will be married to the adipati’s son, raden subrata. gunaseca excuses himself to come home and prepare the marriage party. the adipati summons subrata and tells him that he will be married to suminten. subrata rejects it and even leaves trenggalek palace. 5. together with maids and friends, cempuk warsiyah is having fun. suddenly, jin gentha comes. gentha comes to propose cempluk. cempluk rejects him, yet gentha keeps pushing. cempluk and the maids run away. 6. on their way, cempluk meets raden subrata. subrata helps, yet he loses when fighting gentha. cempluk and subrata run away. 7. warok suramenggala and nyai suramenggala who are farming in their ricefield receive a report from cempluk that someone is bothering her. they nearly mistaken subrata for the one bothering their daughter as he comes after the report. it turns out that the reported man is gentha. thanks to suramenggala, gentha can be driven away. 8. gentha comes to surabangsat and asks for help. surabangsat then changes gentha’s look to resemble subrata so that he can make love to cempluk. 9. upon coming to cempluk, subrata invites the girl to make love to him. however, as they are about to make love another subrata comes. it turns out there are two subratas near cempluk. cempluk is of course confused. fortunately, suramenggala comes and with his power he can tell which one is real and which one is fake. 10. servants are having fun in the midst of suminten-subrata marriage plan in gunaseca’s house. surategel comes to tell that the marriage is canceled since subrata will marry cempluk. upon hearing the news, suminten collapses. gunaseca is enraged and orders surategel to leave to kill cempluk. as she awakes, suminten has gone crazy. 11. warok suramenggala meets gunaseca and they duel. gunaseca dies. suminten, who comes later, is also healed by suramengala. and on suramenggala’s recommendation, suminten will also be married to subrata. sucipto hadi purnomo et al., innovation of suminten edan stories ... 213 pakem versus carangan (novelty) based on the performance duration and scenes, it is obvious that se-1 is presented in a compact pakeliran (show) pattern. on the other hand, se-2 is performed in a complete pakeliran pattern. nevertheless, it cannot be necessarily determined that se-2 has more and complete story units. in terms of its pakem, it can be noted that both hold their own pakem. se-1 is within the frame of ketoprak mataram pakem and particularly recording ketoprak during 1980s era. on the contrary, se-2 is in the frame of ketoprak pati pakem or coastal ketoprak. purnomo (2017) suggests that the convention of hired ketoprak in pati region and around or commonly called ketoprak pati pakem is characterized by: (1) the performance is generally lasting for four hours in the afternoon (around 13.00 to 17.00) and six hours in the night (from 20.30 to 02.30); (2) the ketoprak groups perform when they are hired (tanggapan) and they receive payment from the one hiring them; (3) the performance is presented on a temporary stage equipped with kelir; (4) the performance begins with talu, srimpen (gambyong), and tanduk (mentioning of play, characters and the one starring as them); (5) no complete scenario or script is available, except dhapukan and balungan lakon lists for a new play which is told to actors orally); (6) the story is generally from myths, legends, chronicles, and histories with their background being javanese kingdoms in the past); (7) the story plot is generally a progressive (indonesian: tarik lurus) plot ; (8) it uses javanese language with its registers and pati dialects; (9) the dialogs and ngudarasa are improvisations using utterances or songs; (10) the acting and blocking are intuitive; (11) costimes and makeups are realists; (12) the accompanying music is javanese gamelan jawa of pelog tones with an addition of drums and campursari dangdut musical instruments, (13) it always has war, romance, nursemaids (garden), and dagelan (comedy); (14) keprak sound becomes a sign when the performance stage opens and closes, commands/ signal for gamelan or actors, and actor’s utterance assertives. these 14 characteristics, both those of intra and extra performances, are all inherent to se-2. thus, it can be concluded that, in general, se-2 is presented in a performance pattern which complies with the pakem. nevertheless, this temporary conclusion is insufficient to ensure that there is no innovation in se-2. in reference to sudjiman (1990) who argues that innovation is the modification made by litterateurs, both in terms of the story or the way it is told and nugroho (2003, p. 186) who studies anglingdarma play and suggests that the elements of a story which show novelty (carangan) in a play includes the appearance of new characters, new place names, and interpretation of an event in a new way, it can be found that se-2 has the potentials. in se-2, the novelty occurs through the appearance of new characters. the fake subrata which is unknown in se-1, appears in se-2. this fake subrata occurs not just once, but twice and his presence is an additional problem in the story plot. the appearance of fake subrata is the result attempted by the character jin gentha, assisted by surabangsat, to win cempluk warsiyah’s heart. the effort is almost successfully if only the real subrata does not discover it and is settled by warok suramenggala. the appearance of fake subrata does not only make the performance duration longer, but it also adds its rame (noise) and lucune (funniness) weight. this is because of the appearance of fake subrata that gandrungan (romance) between the character and cempluk warsiyah occurs, thus the romantic scene increases. the confusion of character cempluk warsiyah to tell which one is real and fake is the tension is what increases both the rame (noise) quantity and quality. meanwhile, the fact that rohim, who in other performances is always playing the role of a comedian, is selected to be the fake subrata is to allow the character to present the funny effect. harmonia: journal of arts research and education 18 (2) (2018): 208-217214 this choice to present the play in its dhagelan or humorous version is as per the hirer’s request who wish to make the performance seem fresher, more entertaining, and trigger more laughter from the audience. in other performances, in general the comedians appear particularly in dhagelan or repat panakawan scene or what in shadow puppet performance is usually called as gara-gara scene. this dhagelan or repat is also common to appear in the following scenes to follow the male main character (rol lanang/bambangan), as is the case with emban (nursemaid) who only appears in emban scene, unless she assumes the function of the retainer of the female main character (rol wedok). suminten edan story develops among javanese people. such is what also presented in se-1, placing suminten as the main character. this is because the problem that suminten experiences are the story’s main problem and the suminten character is the one with constant influence in every part of the story. the marriage preparation in the first scene is made to welcome suminten’s marriage. the meeting between subrata and cempluk warsiyah in the second scene is a condition which adds more problem for suminten character, in this case as subrata falls in love with this daughter of warok suramenggala. the problems suminten is facing become more complicated when in the third scene, subrata actually proposes cempluk and intends to bring her along with him to kadipaten trenggalek. the same also applies in the fourth scene which narrates that the disappearance of cepluk cannot be separated from the jealousy and relation motif of suminten’s parent to cempluk since she is considered the main cause of the failure of suminten’s marriage to subrata. finally, the fifth scene executes the way to the settlement which is previously taken through a pulsating duel between warok suramenggala and gunaseca. the problems are solved by suramenggala when he heals suminten from insanity, and even on his recommendation subrata is also willing to marry suminten. unlike se-1, in se-2 subrata and cempluk warsiyah’s roles are more dominant and influence most scenes presented. in terms of appearance, suminten in se-2 appears only in two scenes, i.e. the tenth and eleventh or last scenes. on the contrary, subrata appears in five scenes, i.e. the fourth, sixth, seventh, ninth, and eleventh scenes. the same frequence of appearance is also owned by the character cempluk warsiyah, i.e. in the fifth, sixth, seventh, ninth, and eleventh scenes. the appearance of both characters subrata and cempluk warsiyah each in five scenes of the total eleven scenes is still added with talks about these characters in several other scenes wherein they do not appear. in the eighth scene which shows the character jin gentha and surabangsat, both talk about subrata, and even the character fake subrata appears. the name cempluk even becomes the main object of their conversation. they are also talked about in the tenth scene. in reference to the ketoprak performance tradition which always shows bambangan or rol lanang and rol wedok in each performance, then both positions have been occupied by subrata and cempuk casts. bambangan and rol wedok are the parts each ketoprak group relies on to be a means to attract an audience. however, going beyond this habit, these two characters are not played by the actors who used to play the role of bambangan and rol wedok. mogol who plays as subrata, is known not as bambangan, rather he is well-known as dhagelan (comedian). indra mandarin or blewok is not rol wedok either, rather she is known as the main emban (nursemaid) of wahyu manggolo. in addition to the shift of character position, compared to se-1, in se-2 some characters are added. the hoodlums who make the unrest in trenggalek region, namely singagubrah. singagubrah, surategel, suramentala, sampargeni, and samparangin, have never been known in se-1. this is in line with the absence of a scene which tells the war between the hoodlums and the troops of kadipaten trenggalek as sucipto hadi purnomo et al., innovation of suminten edan stories ... 215 what appears in se-2 (jejer i). the appearance of these characters is considered important in se-2, since without them being around the story, no war will erupt. it is them who mainly wage the war. especially, it is because war is a highly-rated element in each performance. without war, the performance will be less rame (noisy). this is different from se-i, di where no war between the two troops or groups is performed. the addition of fake subrata character is also functional to build a show which meets the “rame tur akeh lucune” (noisy and full of funninesses) demand. it is rame, because due to the appearance of fake subrata, the rivalry between (real) subrata and jin gentha becomes more exciting. it is lucu (funny) since, the two subratas, both the real and fake ones, are played by comedians. since the casts of subrata are comedians, the conflict between them does not become a tense scene, rather it becomes jokes. the same also occurs when the fake subrata meets cempluk warsiyah. the reality outside the stage that the cast for cempluk is the wife of the cast of real subrata who also leads wahyu manggolo group, makes rokhim as the cast of fake subrata states he is not brave enough to hug cepluk. he says he is afraid of being fired for that reason by mogol who plays like the real subrata. in addition, gentha character who in se-1 is depicted as a harsh and scarry character, while in se-2 he appears with caricatural and humorous characteristics. this, once again, cannot be separated from the fact that the artists playing this character, i.e. sendor, usually plays as a comedian in this group. gentha’s attempt to make cempluk warsiyah accept his love does not even become a scene full of tension, rather it creates an atmosphere full of laughter. the gandrungan performed by gentha to cempluk is relatively uncommon. gentha does not use javanese song lyrics from macapat songs, rather he takes the lyric from dangdut songs. it casts with rude characteristics usually do such a gandrungan using lyrics which begins with some lyrics like “ayune tumpuk undhung (the beauty is squared many times)…” which is immediately followed by rapid gamelan sound with kendang as the beat, in this scene gentha begins with “aduh, nyaiiii….” this lyric in indonesian language is the beginning part of dangdut song “cinta sabun mandi” by jaja miharja which was also popularized by the senior singer. dangdut is a popular type of songs for the audience. so is “cinta sabun mandi” song, which can be said that almost all audience remember the lyric thanks to this song’s popularity. making dangdut song a substitute for gandrungan song is an innovation shown by wahyu manggolo group through se-2. dangdut song as a gandrungan song is not just absent in se-1, it is also unusual in the performance of other stories in other ketoprak shows. usually, when the antagonist character doing this gandrungan to a protagonist character, while the gandrungan object refuses to respond, both her and her servants will feel intimated. yet, what is presented in the 5th scene is just the opposite. rather than frightening, cempuk warsiyah to whom the gandrungan is addressed by jin gentha is grinning sometimes. two nursemaids even invite gentha for a selfie. even gentha also develops the humor. prior to singing “cinta sabun mandi” song, he just sings, “hai yu cempluk…. mari ke sini.” these tone and rhythm are a fragment of “hai tukang ojek” song in an electronic cinema “ojek pengkolan” aired by the national television station rcti. rather than continuing to complete this “hai tukang ojek” song, after some laughters, gentha follows it with the intro to “cinta sabun mandi” song previously mentioned. thus, the gandrungan is done using dangdut song: “aduh nyai…. dengarkanlah/cintaku tulus nan suci sama nyai.” as cempluk tries to remind gentha when she says, “eling ya, dhi, aja dibacutke (please, dik (lil’ bro), refrain yourself from continuing it),” gentha pays no heed and harmonia: journal of arts research and education 18 (2) (2018): 208-217216 keeps on singing as if he were a dangdut singer singing the song while exclaiming, “newsenegol uenak…!” “kalau kaca bisa pecah/ kalau kayu bisa patah/ tapi cintaku pada nyai takkan pernah berubah…..,” as gentha sing. carried away by the dangdut rhythm, the nursemaids dance together with gentha when the “cinta sabun mandi” song is sung. at the same time, the accompanying music is no longer from javanese gamelan, it is the solo organ instrument which is particularly prepared to accompany the play as the performance goes, for both campursari and dangdut songs. still in the 5th scene, as cempluk warsiyah runs and gentha tries to chase her, emban pesek who is a friend and servant of cempluk is engaged in a joke. eventually, while chasing cempluk, gentha is also bringing emban pesek on his back. nevertheless, in general, the appearance of these characters does not change the story plot presented in se-1. in theatre performance, including ketoprak, the term plot means the arrangement of incidents occurring on the stage (kernodle 1966, p. 345). the story flows in a progressive plot, beginning with the background for suminten-subrata marriage plan. the only difference is that in se-2 the scene in which the crazy suminten appears is the penultimate or the 10th scene. nevertheless, the story in se-2 flows in the one same line which can be summarized in five parts. first, suminten’s marriage plan is canceled since subroto refuses to follow his father’s wish. second, the canceled marriage plan results in suminten going insane. third, subrata falls in love with another woman, i.e. cempluk warsiyah. fourth, gentha appears to bother cempluk. fifth, warok suramenggala becomes the character who settles all problems, be it faced by suminten, subrata, or cempluk warsiyah. while innovations do occur, in se-2 a number of conventions are still kept. this way, the convention or in javanese traditional performing arts are commonly known as pakem, in wahyu manggolo’s suminten edan performance includes at least three aspects, i.e. the story pakem, pakem pakeliran, and accompaniment pakem. this innovation is relatively complete, for example, with the innovation invented by nugroho (2003) in the ketoprak play anglingdarma, i.e. only limited to the story aspect as indicated in scheme 1. the story pakem refers to the story as a hypogram (se-1), pakem pakeliran refers to the pakeliran of ketoprak gagrag pesisiran, and the accompaniment pakem refers to the javanese gamelan accompaniment which is divided into pathet 6, pathet 9, and pathet manyura. figure 1. scheme the ketoprak play anglingdarma by nugroho, 2003). conclusions while a play performance pattern is alway bound to the performance norms or commonly known as pakem, the suminten edan play is presented with some modifications which indicate innovations. these innovations include the story and performance. in the story aspect, there is a shift of the main character, i.e. from suminten to cempluk warsiyah who is coupled with subrata. while still keeping the bambangan and rol wedok conventions, their characters and several other characters are played using a humorous approach. in addition to the shift in roles and characters, an addition is made in the form of a character unknown in se-1. this appearance of new character comes from the support to create sucipto hadi purnomo et al., innovation of suminten edan stories ... 217 a “rame tur akeh lucune” (noisy and full of funninesses) play. innovation can also be seen in several scenes, such as in gandrungan. in this scene, dangdut song is used as a means for doing gandrungan, unlike the usual which uses javanese songs. despite these innovations which indicate the elements of carangan, generally speaking the performance of se-2 is presented whil upholding its pakem. pakem in se-1 is like points of stations to depart, temporarily stop, and arrive at final the destination. meanwhile, carangan is the journey of the train itself, thus the train journey actually takes place along with its passenger and travel’s atmosphere dynamics. references abrams, m.h. (1981). a glossary of literary terms. new york: holt, rinehart and winston. brandon, j. r. (2008). jejak-jejak seni pertunjukan di asia tenggara. bandung: p4sti upi. dewojati, c. (2010). drama: sejarah, teori, dan penerpannya. yogyakarta: gadjah mada university press. gillitt, c. (2010). javanese performances on an indonesian stage: contesting culture, embracing change (review). asian theatre journal, 27(1), 185-187. jazuli, m. (2003). dalang, negara, masyarakat: sosiologi pedalangan. semarang: limpad. kayam, u. 2001. kelir tanpa batas. yogyakarta: gama media. kernodle, g. r. (1961). the invitation to the theatre. new york: harcourt, brace & word. kristanto, j.b. (1997). “ketoprak plesedan, tradisional sekaligus modern” dalam ketoprak orde baru (editor: lephen purwaraharja dan bondan nusantara). yogyakarta: bentang budaya. miles, m. b. dan huberman, a. m. (1992). analisis data kualitatif: buku sumber tentang metode-metode baru. tranlated by tjetjep rohendi rohidi. jakarta: penerbit universitas indonesia (ui press). murtiyoso, b. (1998). perkembangan pakeliran dan upaya membinanya. in dalang dan seniman magelang. magelang. nugroho, a. (2003). inovasi dalam cerita kethoprak anglingdarma. humaniora, 15(2), 181-180. nurhan, k (ed.). (2010). industri budaya, budaya industri: kongres kebudayaan indonesia 2008. jakarta: kementerian kebudayaan dan pariwisata republik indonesia. purnomo, s. h. (2017). drama tradisional jawa. kendal: rumah cabaca. purnomo, s. h (2014). rame tur akeh lucune: siasat estetis pemanggungan ketoprak pati. in internasional warisan nusantara 3, bandung. purwaraharja, l. dan nusantara, b. (ed.). (1997). ketoprak orde baru. yogyakarta: bentang budaya. sahid, n. (2012). konvensi-konvensi dalam drama dan teater rendra. resital, 13(2), 109-117. sudjiman, p. trisakti & handayani, e. w. (2007). “pengkemasan bentuk penyajian seni pertunjukan ketoprak sebagai strategi pelestarian seni tradisional”. report research. universitas negeri surabaya. turner, v. (1979). frame, flow and reflection: ritual and drama as public liminality. japanese journal of religious studies, 6(2) tumer, b. (1992). max weber: from history modernity. london: routledge. untung, t.b. (2005). aspek pemanggungan ketoprak (sebagai) teater modern. selarong, 4(1). 117 – 121. harmonia vol.1 juni 2011.indb 68 model pewarisan kompetensi dalang m. jazuli universitas negeri semarang, kampus sekaran gunungpati, semarang email : muhjaz@yahoo.com abstrak penelitian ini bertujuan untuk mendeskripsikan model pembelajaran (pewarisan) kompetensi dalang. untuk mengetahui model pembelajaran digunakan pendekatan pembelajaran tidak langsung dari roger yaitu non-directive interview. untuk mengetahui persyaratan dalang yang kompeten itu digunakan pendekatan strukturasionistik. setting penelitian adalah jagat pedalangan, sedangkan lokasi penelitian bersifat situasional yakni bergantung dimana dan kapan siswa belajar mendalang. hasil penelitian menemukan tiga model pembelajaran dalang. pertama, model pembelajaran dalang di sekolah dengan sistem dan aturan yang ketat, seperti kurikulum, jadwal belajar, memiliki standar kompetensi dan standar kelulusan. kedua, model pembelajaran dalang di luar sekolah, yaitu lembaga kursus. ketiga, model pembelajaran dalang di luar sekolah yang berbentuk sanggar seni. abstract this study aims to describe the learning model (inheritance) of dalang competence. efforts to overcome the problems of the study used qualitative research paradigms. to determine the learning model it was used an indirect approach of roger namely a non-directive interview. to fi nd out the requirements for competent dalang it was used structurasionistic approach. setting of the reseach is world of puppetry, while research sites are situational, ie, depends where and when students learn a performer. the reseach founded three dalang learning models. first, the dalang learning model school system and the strict rules, such as a curriculum, a schedule of learning, competency standars and graduation standards. second, learning models are in out of school (non-formal school), for instance in the course institution. third, the dalang learning model in out of school (non-formal school) named art studios. keywords: model pewarisan, kompetensi, dalang inheritance model of the dalang (puppeteer) competence pendahuluan studi ini dimotivasi oleh tiadanya model pembelajaran bagi calon dalang agar menjadi dalang yang kompeten dan berkualitas. hampir semua dalang yang eksis sekarang ini berasal dari keluarga dalang, seperti anak dalang, adik dalang dan saudara dalang. seorang dalang yang tidak berasal dari keluarga dalang nyaris tidak terlihat. jumlah dalang di jawa tengah ada sekitar 300 orang, yang bukan berasal dari keluarga dalang bisa dihitung dengan jari, tidak lebih dari 10 orang. dari 20 orang dalang terkenal atau populer di jawa tengah dan daerah istimewa yogyakarta hanya 2 orang dalang yang tidak berasal dari keturunan dalang, melainkan dari anak seniman pengrawit, masih terkait dengan dunia pewayangan (murtiyoso, 1995; jazuli, 2000). hal ini mengindikasikan bahwa proses transformasi kemampuan dalang hanya berlangsung dalam keluarga dalang saja. pertanyaannya adalah: mengapa orang dari luar keluarga dalang tidak mampu menjadi dalang? mengapa sistem pembelajaran calon dalang hanya berlangsung di dalam keluarga dalang. apakah orang yang menjadi dalang harus keturunan dalang? m. jazuli, model pewarisan kompetensi dalang 69 urgensi studi ini manakala pertunjukan wayang purwa yang oleh kalangan masyarakat pedalangan sering disebut dengan istilah pakeliran merupakan salah satu bentuk kesenian tradisional jawa yang sangat populer dan fungsional. bahkan pada tahun 2004 wayang telah memperoleh penghargaan dari unesco sebagai master piece of the oral and intangible heritage of humanity, sebuah karya agung bangsa indonesia. dalam pertunjukan wayang sang dalang menduduki posisi sentral, yaitu sebagai pelaku utama dan sekaligus sutradara. peranannya yang akomodatif dan komunikatif dalam menyampaikan pesan-pesan untuk tujuan tertentu sehingga dirinya ditempatkan pada posisi yang terhormat (lihat anderson, 1965; moeljono, 1975; moertono, 1968/1983; magnis-suseno, 1984; kayam, 1991; amir, 1991; walujo, 1994). posisi terhormat semacam itu sangat tampak ketika orde baru memegang tampuk kekuasaan di negeri ini. kini peran dalang banyak dimanfaatkan oleh partai-partai politik maupun perusahaan (iklan produk) untuk mempropagandakan kepentingan mereka. beberapa hasil penelitian yang melandasi penelitian ini di antaranya adalah: pertama, clara van groenendael (1987) yang mengkaji dalang di balik wayang. isi kajian mencakup posisi dalang sebagai pelaku utama pertunjukan wayang dan posisi sosial yang terhormat di masyarakat. dia juga mengulas sedikit tentang sistem pendidikan dalang di sebuah perkumpulan; kedua, amir (1991) mengulas nilai-nilai etis dalam wayang. amir banyak membicarkan nilai-nilai etika pedalangan dan persyaratan bagi seorang dalang, tetapi dalang masa lampau dan bukan dalang sekarang; ketiga, walujo (1994) yang meneliti “peranan dalang dalam menyampaikan pesan pembangunan”, banyak berbicara mengenai cara dalang menyampaikan pesan dari program pemerintah melalui tokoh punakawan. di sini jelas posisi dalang sebagai corong pemerintah; keempat, bambang murtiyoso (1995) dalam tesisnya mengenai ”faktor-faktor popularitas dalang” banyak membicarakan cara dalang menggapai kepopuleran dalang; kelima, jazuli (2000) dalam disertasinya mengkaji ideologi dalang yang sarat dengan kepentingan dalang untuk memperoleh prestise sosial, keuntungan ekonomi, dan agen budaya. ada tiga varian ideologi dalang, yaitu ideologi konservatif, pragmatis, dan ideologi progresif. di sini sedikit dibahas mengenai upaya dalang mencapai kualitas kemasan yang bisa diterima oleh masyarakat sekarang, tetapi belum mengarah ke industrialisasi pertunjukan wayang. bertolak dari paparan hasil penelitian di atas tampak, bahwa model pembelajaran (pewarisan kompetensi) dalang belum dikaji atau belum menemukan bentuknya. persyaratan dalang berkualitas memang sudah dibahas, tetapi untuk dalang tradisi masa lampau, sedangkan dalang yang mampu mengatasi kebutuhan zaman belum dikaji. apalagi memikirkan industrialisasi pertunjukan wayang agar mampu menjadi media alternatif dalam menghadapi kemajuan media teknologi informasi yang canggih seperti sekarang ini. pemikiran dalang masih bertumpu bagaimana dirinya bisa eksis, populer, dan menarik perhatian khalayak, belum ada economis recovery dan entertaiment industry. pada hal pertunjukan wayang akan selalu melibatkan perlengkapan dan peralatan yang dibuat oleh pihak-pihak tertentu. misalnya perajin pembuat wayang, perajin gamelan, perajin busana adat jawa, dan sebagainya. selain itu juga melibatkan profesi lain, seperti pesinden, pengrawit, operator tata suara, dan sebagainya. dengan uraian tersebut, penelitian ini mengakaji pada sisi lain yang belum terjamah oleh penelitian yang telah dilakukan. berangkat dari paparan di atas, masalah penelitian difokuskan pada model pewarisan (transmisi, pembelajaran) kompetensi dalang, dan persyaratan yang diperlukan untuk menjadi dalang yang kompeten. konsep pewarisan (inheritance) mengadopsi dunia riil yakni suatu entitas/obyek dapat mempunyai entitas/obyek turunan. dengan konsep inheritance, sebuah class dapat mempunyai class turunan. suatu class yang mempunyai class turunan dinamakan parent class atau base class. sedangkan class turunan itu sendiri seringkali disebut subclass atau child class. jadi suatu subclass adalah tidak lain hanya memperluas (extend) parent class-nya. dengan demikian pemaknaan pewarisan adalah melalui proses genetis. oleh karena itu pewarisan juga merupakan pemindahan biologis karakteristik individu dari pihak harmonia, volume xi, no.1 / juni 201170 orang tuanya (soemanto, 2006). dalam dunia pendidikan, konsep pewarisan di atas dapat diidentikkan dengan konsep pembelajaran, transmisi atau transformasi pengetahuan (transfer of knowlwdge) karena pada prinsipnya mencakup proses pengalihan kompetensi dari generasi ke generasi, dalam hal ini dari guru kepada murid. pengalihan itu dapat berupa karakteristik, pengetahuan, keterampilan, dan atau kompetensi lainnya. oleh karena itu konsep pewarisan dalam penelitian ini lebih dimaknai sebagai proses pembelajaran, yaitu proses interaksi antara siswa dengan guru dan sumber belajar pada suatu kondisi yang sengaja diciptakan agar terjadi perubahan tingkah laku. perubahan tingkah laku yang dimaksud menyangkut perubahan yang terjadi secara sadar, kontinyu dan fungsional, bersifat positif dan aktif serta tidak bersifat sementara, memiliki tujuan atau terarah, dan perubahan mencakup seluruh aspek tingkah laku. dalam pembelajaran terdapat berbagai model dengan pengkategorian yang beragam. misalnya pengkategorian model pembelajaran dengan nama: model interaksi sosial, model pengolahan informasi, model personal-humanistik, dan model modifi kasi tingkah laku. ada pula yang mengklasifi sikan model pembelajaran dengan sebutan: tidak langsung (non-directive teaching), pelatihan kesadaran (awareness training), dan pertemuan kelas (classroom meeting). sungguhpun demikian, model pembelajaran pada dasarnya merupakan bentuk pembelajaran yang tergambar dari awal sampai akhir yang disajikan secara khas oleh guru (uno, 2009). jadi model pembelajaran merupakan bungkus atau bingkai dari penerapan suatu pendekatan, strategi, metode, teknik pembelajaran, dan evaluasi. kompetensi adalah kemampuan yang memadai atas pengetahuan, keterampilan, sikap dan perilaku yang harus dimiliki dan dikembangkan pada diri setiap orang (siswa maupun guru). orang yang memiliki kompetensi dapat dikatakan orang kompeten. kompetensi yang penting dikembangkan dalam pendidikan (pembelajaran seni pedalangan) adalah kemampuan yang dapat menjembatani dan mendukung pencapaian tujuan pendidikan serta memberikan kesempatan setiap orang untuk meningkatkan pendidikan sepanjang hayat. kompetensi pedalangan mencakup dua faktor, yakni internal dan eksternal. faktor internal menyangkut pemahaman dan penguasaan tentang sanggit dan pakem. faktor eksternal menyangkut tentang pergaulan (relasi) sosial dalang serta komitmen dalang atas dharma pedalangan. sanggit dan pakem merupakan faktor utama pakeliran (pertunjukan wayang), yang bila dikuasi mampu merefl eksikan kemampuan dalang sehingga dianggap sebagai dalang yang kompeten dan berkualitas. sanggit adalah kreativitas dalang dalam menafsirkan cerita, melodi sulukan, gerakan wayang sesuai dengan rasa kemantaban pribadinya. barangkali inilah sifat khas seni lisan tradisional, pada satu sisi membawa batas-batas yang ketat dan konservatif, pada sisi lain setiap pembawaan juga mempunyai kebebasan untuk ditafsirkan kembali (feinstein, 1986). bagi dalang sanggit sebagai wahana pembawa pesan dan penggarapan aspek pakeliran meliputi: garap lakon (kerangka dasar lakon), garap adegan (urutan adegan), garap tokoh (dramatik dan kehidupan tokoh), garap catur (ginem atau dialog, janturan dan pocapan atau narasi), garap sabet (gerak boneka wayang), dan garap iringan (musik sebagai pendukung suasana) (murtiyoso, 1995; subono, 1996; jazuli, 2000). pengertian garap adalah kegiatan mengolah secara artistik, bernilai seni. dari sinilah peran kreativitas dalang ditunjukkan melalui pakeliran atau pertunjukan wayang. untuk mengetahui model pembelajaran digali informasi tentang tujuan, materi, strategi (metode dan teknik), proses, dan evaluasi pembelajaran. untuk itu digunakan pendekatan pembelajaran tidak langsung yang oleh roger diistilahkan non-directive interview (wawancara/pembelajaran tanpa menggurui), yaitu tatap muka antara guru dan siswa. selama proses pembelajaran, guru berperan sebagai kolaborator dan fasilitator dalam proses penggalian jati diri dan pemecahan masalah siswa. inilah yang dimaksud dengan ‘tanpa menggurui (non-directive). teknik pembelajaran untuk membimbing siswa dalam menyelesaikan karyanya dengan cara mencarikan topik-topik pelajaran tertentu yang menarik bagi siswanya. menurut roger untuk menciptakan iklim belajar gur harus memenuhi empat syarat, yaitu: 1) m. jazuli, model pewarisan kompetensi dalang 71 guru harus menunjukkan kehangatan dan tanggap atas masalah yang dihadapi siswa, 2) guru harus mampu membuat siswa mengekspresikan perasaannya tanpa tekanan, 3) siswa harus bebas mengekspresikan secara simbolis perasaannya, dan 4) proses konseling (wawancara) harus bebas dari tekanan dari manapun. untuk memahami dalang yang kompeten, dilakukan kajian tentang kompetensi dalang yang meliputi: kemampuan kesenimanan, komitmen terhadap dharma pedalangan, gaya pribadi yang khas, dan pergaulan sosial dalang. untuk itu digunakan pendekatan strukturasionistik dari giddens (1984). adapun karakteristik strukturasi, yaitu: (1) memperlakukan manusia sebagai makhluk yang aktif, kreatif dan komunikatif, dalam hal ini calon dalang maupun dalang sebagai pelaku budaya, knowledgeable agent; (2) cara bertindaknya bergantung dari cara memahami dan memberi makna pada perilaku; (3) proses bertindaknya ada kaitannya dengan motivasi tertentu, seperti seperangkat makna, alasan, dan kehendak karena manusia sebagai subjek yang bertindak dan berpikir ikut menciptakan dunia sekitarnya; (4) substansi dunia sosial adalah interaksi manusia, proses negosiasi makna intersubjektif; (5) pola reguler muncul dalam interaksi manusia dan memusatkan perhatian pada kenyataan yang penting serta sikap yang wajar (natural attitude). dengan demikian tidak semua aspek makna harus dinegosiasi secara konstan, meskipun dalam praktiknya sering terbingkai oleh virtual order (tatanan bayangan) dan generalizable prosedure (prosedur umum) yang ada dalam masyarakat, seperti norma, aturan, jaringan, skenario, dan pengambilan keputusan tertentu; (6) memberikan deskripsi dan eksplanasi pengalaman sosial keseharian dan pandangannya dalam skala mikro metode dalam upaya mengatasi problem penelitian digunakan paradigma penelitian kualitatif. setting penelitian ini adalah jagat pedalangan. pada satu sisi, yakni model pembelajaran dan perspektif siswa (calon dalang) yang terekspresi pada proses pembelajarannya. pada sisi lain adalah kompetensi yang harus dimilki oleh seorang dalang yang terekspresi dalam pakelirannya maupun pergaulan sosialnya. adapun lokasi penelitian adalah wilayah jawa tengah, khususnya surakarta. subjek penelitian adalah para siswa calon dalang, guru dalang, dan dalang yang dianggap kompeten. guru dalang meliputi poniran dan sri raharjo (guru smkn 8 surakarta), mujiono (guru dalang bocah di sanggar sarotomo surakarta), suparno hadiatmojo (guru dalang di sanggar ngesti budaya semarang). dalang yang kompeten adalah ki anom soeroto, ki manteb soedarsono, dan ki purba asmoro. strategi pengumpulan data dan analisis data dilakukan secara simultan di lapangan penelitian guna memperoleh kedalaman dan keluasan cakupan penelitian. adapaun teknik pengumpulan data adalah observasi, wawancara mendalam, dan telaah dokumen. observasi dilakukan dengan cara mengamati proses pembelajaran, yaitu tindakan guru yang meliputi pendekatan, strategi, materi ajar, dan evaluasi dalam proses pembelajaran. selain itu juga observasi untuk memahami dalang yang kompeten melalui aspek praktik pakeliran sebagai wahana ekspresi simbolik, yaitu garap lakon, garap sabet, garap catur, dan garap iringan, beserta analisis wacananya dengan teknik refl eksi diri. hal seperti itu juga diterapkan pada siswa calon dalang dalam proses pembelajaran. wawancara mendalam (in depth interview) untuk mendapatkan kesahihan terhadap respons dan pemahaman siswa atas tindakan guru dalam proses pembelajaran. selain itu juga untuk memahami makna atas kompetensinya yang diungkapkan dalang dalam pergelarannya. dalam telaah dokumen dilakukan dengan melihat program pembelajaran, seperti kurikulum, jadwal, dan dokumen lain yang diperlukan. untuk lebih memahami dalang yang ditempuh dengan menelaah hasil rekaman penyajian pakeliran dalang. analisis data dilakukan dengan cara membandingkan data yang diperoleh secara konstan dan berdimensi luas. hal ini menjadi teknik dan prinsip sepanjang proses penelitian guna menemukan pola pembelajaran yang dapat dirumuskan sebagai model harmonia, volume xi, no.1 / juni 201172 pembelajaran. pada sisi lain juga menemukan ‘peta’ kompetensi dalang, spesifi kasi dalang, dan makna khas, semacam structural question yang diajukan spradly (1979). data yang diperoleh diolah dengan cara pengecekan kelengkapan data, pengkategorian (komponen pembelajaran serta aspek-aspek dalam pakeliran), triangulasi sumber data, pemeriksaan teman sejawat (peer debrifi ng) melalui diskusi, dan analisis data. analisis yang digunakan adalah teknik deskriptif kualitatif. pertama, berhubungan dengan pembelajaran seperti tujuan, materi ajar, strategi, proses pembelajaran dan evaluasinya. kedua, berhubungan dengan kompetensi dalang yang terefl eksi dalam aspek pakeliran seperti garap lakon, garap sabet, garap catur, dan garap iringan, komitmen dalang dan pergaulan sosialnya. hasil dan pembahasan pendidikan dalang pendidikan dalang di jawa tengah diselenggarakan di sekolah (formal) dan luar sekolah (nonformal). pendidikan di sekolah dalang dapat dijumpai pada institut seni indonesia (isi) surakarta dan sekolah menengah kejuruan negeri 8 (smkn8) surakarta. kedua lembaga tersebut memiliki jurusan pedalangan yang bertujuan mencetak para calon dalang. pendidikan dalang di luar sekolah diselenggarakan oleh pasionaon dalang ing mangkunagaran (pdmn) surakarta, pasinaon dalang keraton surakarta (padasuka), sanggar seni sarotomo surakarta, sanggar seni ngesti budaya semarang. pendidikan dalang di sekolah formal sebagaimana yang disebutkan sudah mempunyai ketentuan dalam hal standar kompetensi, standar kelulusan, strategi pembelajaran (kurikulum, jadwal, pendekatan, metode, teknik) dan sistem evaluasi yang telah mapan dan terukur. berbeda dengan sekolah nonformal yang berbentuk kursus keterampilan, yang sebagian memang telah memiliki standar kompetensi, standar kelulusan, strategi pembelajaran, dan sistem evaluasi, meskipun tidak terlalu rinci dan pelaksanaannya tidak seketat sebagaiman sekolah formal. hal ini terutama terjadi pada pembelajaran yang disebut pasinaon. sedangkan bentuk kursus di sanggar-sanggar seni belum memiliki standar kompetensi, standar kelulusan, strategi pembelajaran (kurikulum, jadwal, pendekatan, metode, teknik) dan sistem evaluasi yang mapan, bahkan masih bersifat improvisasi. artinya program pembelajarannya menyesuaikan kehendak (minat) dan keinginan siswa yang belajar. barangkali pembelajaran di sanggar seni inilah yang dimaksudkan dalam penelitian groenendael (1987) masih bersifat improvisasi atau tidak berpola. pendidikan di sekolah menengah kejuruan negeri 8 surakarta semula sekolah menengah kejuruan negeri 8 surakarta (smkn 8) bernama sekolah menengah karawitan indonesia (smki) sebagai lembaga pendidikan memiliki tujuan yang selaras dengan tujuan pendidikan nasional. di smki terdapat jurusan karawitan, tari, dan pedalangan dengan masa studi di smki adalah empat tahun. para guru di smki banyak yang berasal dari keraton, seperti empu karawitan, empu pedalangan, dan empu tari. hal ini berlangsung sejak tahun 1960an sampai tahun 1980an, dan setelah itu banyak guru yang diangkat oleh pemerintah, pegawai negeri sipil (pns) yang berasal dari lulusan smki maupun stsi (sekarang isi) surakarta. smkn 8 memiliki lima program keahlian (jurusan), yaitu seni pedalangan, seni tari, seni musik, seni rupa, dan seni teater. jumlah siswa program keahlian seni pedalangan setiap tahun rata-rata 8 sampai 12 orang, sedangkan guru bidang keahlian seni pedalangan berjumlah 8 orang. tujuan program keahlian seni pedalangan sebagai berikut: 1)siap memasuki lapangan kerja sektor formal dan informal serta mengembangkan sikap profesional dibidang seni pedalangan; 2) mampu memilih karir, mampu berkompetisi dan mampu mengembangkan diri dibidang seni pedalangan; 3) menjadi tenaga kerja seni pedalangan tingkat menengah untuk mengisi kebutuhan dunia usaha dan industri seni, pada saat ini dan masa yang akan dating; 4) menjadi warga negara yang normatif, adaptif, produktif, kreatif dan inovatif dibidang seni pedalangan. struktur kurikulum terdiri atas tiga kategori, yaitu mata pelajaran, muatan lokal, dan m. jazuli, model pewarisan kompetensi dalang 73 pengembangan diri. mata pelajaran terbagi dalam tiga sifat yakni kelompok normatif, adaptif, dan produktif. muatan lokal berupa pembelajaran bahasa jawa. pengembangan diri berupa pembelajaran dalam konteks ekstrakurikuler dan bimbingan konseling. kurikulum seni pedalangan harus diselesaikan oleh siswa dalam waktu 3 tahun yang dijabarkan berdasarkan standar kompetensi, kompetensi dasar beserta indikator pencapainnya. standar kompetensi dan kompetensi dasar dapat dikemukakan seperti berikut ini. standar kompetensi (sk) meliputi: 1) memainkan wayang / cepeng sabet pedalangan dengan kompetensi dasar (kd) yakni menyiapkan berbagai macam wayang , melaksanakan teknik pemegangan wayang, dan melaksanakan teknik memegang wayang, 2) melaksanakan antawacana / sastra pedalangan dengan kd melakukan intonasi berdasarkan karakter wayang dan melakukan dialog berdasarkan jenis wayang, 3) melakukan olah vokal pedalangan dengan kd melantunkan nada, memilih laras, dan mempresentasikan sulukan, 4) melakukan iringan pedalangan dengan kd menginterpretasikan ritme, warna, dan gerak wayang, menyiapkan peralatan ricikan gamelan, dan memainkan gending iringan wayang, 5) melakukan teknik dasar dodogan dan keprakan dengan kd memilih bentuk dan warna dodogan/keprakan, memainkan dodogan, 6) memainkan cerita pedalangan dengan kd memyiapkan berbagai macam wayang, menyiapkan bentuk iringan, dan menyiapkan naskah cerita, 7) menulis cerita ringkas/padat dengan kd menentukan tema cerita, membuat struktur cerita, dan menulis naskah cerita, 8) menulis cerita utuh pedalangan dengan kd menentukan tema cerita, membuat struktur cerita, dan menulis naskah cerita, 9) merencanakan dan mendemonstrasikan pentas pedalangan dengan kd merencanakan kegiatan pentas, menyiapkan baha, peralatan dan lokasi, serta melaksanakan pentas wayang. pendekatan yang digunakan adalah klasikal – siswa belajar secara bersama dalam satu kelas dengan seorang guru. dengan kata lain bahwa pendekatan lebih berbasis pada guru karena harus mengajar sejumlah siswa dalam satu ruangan. sungguhpun seorang guru harus membelajarkan satu kelas siswa tetapi dalam pelaksanaannya telah menunjukkan perannya sebagai fasilitator dan motivator. artinya lebih banyak melayani siswa untuk mengembangkan pemahaman atas meteri ajar yang diterima, menemukan masalahnya sendiri, serta mengekspresikan perasaannya sendiri. strategi pembelajaran dalang diatur melalui sistem penjenjangan, yaitu tingkat i, tingkat ii, dan tingkat iii. setiap tingkat terdiri dari dua semester, yakni semester gasal dan genap yang harus ditempuh oleh siswa dalam waktu satu tahun. dari pembagian jenjang per tingkat dan per semester tersebut kemudian diisi dengan materi ajaran sesuai program kurikulum yang telah ditentukan. metode ceramah utamanya digunakan oleh guru dalam bentuk lisan satu arah untuk menyampaikan materi yang bersifat kognitif. metode ceramah yang disertai diskusi (tanya jawab) sering digunakan pada materi ajaran teori (pengetahuan pedalangan). dalam proses pembelajaran materi ajaran teori sering dilengkapi dengan pemberian tugas atau ujian tengah semester, dan pada akhir pembelajaran diadakan ujian tertulis sebagai bentuk evaluasi. dalam pembelajaran praktik keterampilan mendalang metode peragaan dan diskusi merupakan cara yang utama digunakan guru. guru memberikan contoh peragaan (mempraktikkan) yang ditunjukkan kepada para siswanya kemudian para siswa menirukan, seperti peragaan sabet (memgang wayang, menancapkan wayang, peragaan peperangan) catur (pocapan, ginem, sulukan, senggakan), dan iringan (membunyikan gamelan seperti kendang, bonang, dhodhogan). peniruan atas peragaan guru tersebut terutama terjadi pada tahap pelajaran dasar. pada proses pembelajaran praktik sering disisipkan metode diskusi, seperti tukar pendapat, membahas persoalan tertentu sehingga ada interaksi dan komunikasi antarsiswa maupun antara siswa dan guru. dari proses diskusi itulah mendorong siswa untuk memperkaya apresiasi, yaitu siswa diminta untuk selalu mengamati pertunjukan wayang. ketiga metode tersebut sesungguhnya senantiasa terintegrasi dan saling melengkap dalam pembelajaran praktik maupun teori. dalam pembelajaran klasikal seorang harmonia, volume xi, no.1 / juni 201174 guru memberi materi sesuai dengan standar kompetensi (sk) dan kompetensi dasar (kd) yang telah ditetapkan pada setiap tingkat dan setiap semesternya. pembelajaran dilakukan sesuai jadwal yang telah ditentukan. namun dalam pelaksanaannya terutama pada mata ajaran praktik, guru tampak hanya memberikan contoh seperlunya saja, dan lebih banyak memberikan motivasi kepada siswa untuk berkreasi sendiri atau mengembangkan dasar-dasar materi ajar yang telah diterimanya. misalnya ketika guru memberikan contoh mata ajaran sabet, seperti bedolan, adegan perekan atau jenis peragaan gerak wayang yang lain, siswa mengamati kemudian diharapkan mau mencoba dan berusaha mengembangkan menurut kemantapan rasa pada dirinya tanpa mengesampingkan prinsip dasar dari sabet itu sendiri. dari hasil pengamatan dapat disimpulkan bahwa sebenarnya pembelajaran praktik pedalangan di smkn-8 surakarta cenderung masih melanjutkan sistem dan proses pembelajarn yang dilaksanakan oleh para guru dalang tradisional di pendidikan dalang nonformal. hal ini dapat dimaklumi, sebab sistem dan proses pembelajaran dalang pertama di smki (sekarang smkn 8) telah disusun oleh para guru dari pdmn dan abdi dalem dalang dari keraton, seperti yang akan disampaikan di bagian belakang bab ini. sistem evaluasi sebagaimana pada sekolah formal lainnya, yakni ada evalusi tengah semester dan akhir semester. materi evaluasi bertolak dari kurikulum yang diberlakukan, baik yang teori maupun praktik. pendidikan di pasinaon dalang mangkunagaran (pdmn) surakarta pasinaon merupakan salah satu sistem pendidikan tradisi (nonformal) yang memiliki kontribusi besar dalam meningkatkan sumber daya manusia, terutama peranannya dalam menciptakan insan yang kompeten dalam bidang tertentu. pasinaon dalang mangkunagaran (pdmn) telah menghasilkan sumbangan positif bagi siswa calon dalang wayang kulit purwa, yakni tenaga-tenaga terampil sebagai dalang wayang kulit, sepert ki sudjarno (wonogiri) dan ki panut darmoko (nganjuk), dan ki manteb soedarsono (karanganyar). hal inilah yang menjadi alasan mengapa sistem pendidikan tradisi perlu diungkap untuk dijadikan dokumen budaya maupun sebagai bahan pengembangan pendidikan yang bermuatan budaya lokal. pasinaon dalang mangkunagaran merupakan tempat belajar dalam bentuk kursus untuk menjadi dalang. pdmn adalah milik pura mangkunagaran surakarta yang berada di jalan rm. said nomor 111 punggawan rt 02 rw 04 banjarsari surakarta. pdmn berdiri pada masa pemerintahan mangkunagara vii (tahun 1932-an). pendirian pdmn dilatar belakangi oleh menurunnya kualitas kompetensi para dalang di wilayah kadipaten mangkunagaran yang meliputi kabupaten wonogiri, karanganyar, sragen, dan sukoharjo. berdasarkan alasan tersebut, kemudian pada dalang dikumpulkan di mangkunagaran untuk menerima pendidikan (ditatar) tentang kawruh pedalangan oleh para pakar pada masa itu, seperti kanjeng patih partana, ki sutarta harjawahana, ki mangundriya dan kanjeng adipati mangkunagara vii ikut memonitor. setelah penataran kawruh pedalangan semakin mapan kemudian dinamakan pasinaon dalang ing mangkunagaran, disingkat pdmn. puncak keemasan pdmn diraih pada sekitar tahun 1960-an ketika seorang siswanya yang juga abdi dalang ki ng. wignyosutarno memperoleh popularitas di masyarakat luas. ng. wignyosutarno kemudian menjadi guru di pdmn dan berkat ketekunannya telah menghasilkan para dalang yang kompeten dan tersohor, seperti ki sudjarno (wonogiri) dan ki panut darmoko (nganjuk). semenjak ki wignyosutarno meninggal (1966) “pamor” atau popularitas pdmn menjadi menurun. penurunan popularitas ini lebih dimungkinkan lagi setelah smki (sekarang smkn 8) surakarta dan stsi (sekarang isi) surakarta secara formal telah membuka program pendidikan pedalangan. perlu disampaikan di sini bahwa semua guru dalang pdmn, sampai akhir 80-an, telah diangkat menjadi tenaga pengajar (honorer) di jurusan pedalangan kedua lembaga formal tersebut. mereka adalah: ki wignyosutarno, ki suratno gunomiharjo, ki suratno, ki darsomartono, dan ki suyatno wignyosarono. tujuan pendidikan dalang di pdmn antara lain adalah: 1) menyiapkan siswa untuk memasuki lapangan kerja di bidang pedalanm. jazuli, model pewarisan kompetensi dalang 75 gan secara profesional, 2) menyiapkan siswa agar kompeten dan mampu mengembangkan diri di bidang seni pedalangan, 3) menyiapkan lulusan kursus menjadi pengembang budaya, utamanya bidang pedalangan yang produktif, kreatif, normatif, dan adaptif. adapun pendekatan pembelajaran yang digunakan di pdmn adalah pendekatan berbasis siswa, artinya kegiatan pembelajaran selalu memfokuskan atau memberikan kesempatan yang luas kepada siswa untuk menyatakan diri secara bertanggung jawab. penggunaan pendekatan seperti itu dipandang proporsional mengingat pembelajaran seni pedalangan merupakan pembelajaran ekspresi kreatif – harus muncul dari dalam diri siswa sendiri. ekspresi kreatif dapat menimbulkan sifat yang unik, alamiah, dan tidak mengenal istilah benar-salah. dalam strategi pembelajaran, materi ajar pedalangan di pdmn pada intinya meliputi tiga aspek pakeliran, yakni catur, sabet, iringan. untuk mendukung kemampuan ketiganya diberikan mata ajaran pengetahuan pedalangan. bila ketiga aspek pakeliran dapat berlangsung baik dan mampu dikuasi oleh para siswa akan ditambah materi tentang lakon dan sanggit. berdasarkan ketiga materi pokok itu kemudian dikembangkan dalam suatu kurikulum yang diatur berdasarkan tingkat keahlian dengan penggolongan, yakni tingkat purwa warana (tingkat i), madya warana (tingkat ii), dan tingkat wasana warana (tingkat iii). ketiga jenjang pembelajaran tersebut diselenggarakan dalam waktu tiga tahun. pada tingkat i berisi pembelajaran dasar-dasar pedalangan, khususnya subgaya pedalangan khas mangkunagaran. tingkat ii dan iii pembelajaran teknik keterampilan aspek pakeliran sampai pada tingkatan terampil, krasa manteb dan mampu menarik penonton. sungguhpun demikian kurikulum tidak tersusun secara terinci sebagaimana pada sekolah formal. untuk mendukung kemampuan intelektualnya, para siswa atau biasa disebut dengan istilah “cantrik” pdmn dibekali beberapa mata ajaran teori (pengetahuan), seperti pengetahuan pedalangan, pengetahuan wayang, apresiasi seni, sastra pedalangan, pengetahuan lakon, dan pengkayaan sanggit. metode ceramah sering digunakan pada materi ajaran teori (pengetahuan pedalangan), meskipun kadang juga digunakan untuk menunjang pada materi ajaran praktik keterampilan.metode peragaan adalah cara yang digunakan guru dalam praktik keterampilan mendalang. guru memberikan contoh peragaan (mempraktikkan) untuk ditunjukkan kepada para siswanya, seperti peragaan sabet (misal: memgang wayang, menancapkan wayang, peragaan peperangan( catur, pocapan, ginem, sulukan, senggakan), dan iringan (membunyikan gamelan seperti kendang, bonang, dhodhogan). pada tengah-tengah penggunaan kedua metode tersebut sering disisipkan metode diskusi, seperti tukar pendapat, membahas persoalan tertentu sehingga antarsiswa maupun siswa dan guru ada interaksi dan komunikasi. ketiga metode tersebut sesungguhnya senantiasa terintegrasi dan saling melengkap dalam pembelajaran praktik maupun teori. apalagi tujuan pembelajaran pedalangan di pdmn mengarah pada profesionalitas, keteladanan, dan pengembangan moral. adapun teknik penyampaian materi ajar menggunakan bahasa jawa, baik jenis ngoko maupun krama. penggunaan bahasa jawa sebagai pengantar pembelajaran cukup beralasan. mengingat wayang kulit purwa berlatar belakang budaya jawa yang sarat dengan idiom simbolis dan fi losofi s budaya jawa. selain itu itu bahasa yang digunakan dalam pakeliran mayoritas bahasa jawa, meski ada bahasa kawi dan sedikit bahasa sansekerta. proses pembelajarannya, keberlangsungan proses pembelajaran didasarkan pada pengaturan jadwal yang telah ditentukan oleh pdmn. berdasarkan pengaturan jadwal per semester (gasal maupun genap) menandakan bahwa proses pembelajaran berlangsung secara teratur dan dapat dikontrol keberadaannya. mengenai siapa pengampunya, materi ajar apa yang diberikan, kapan dan dimana tempat pembelajarannya telah tertata dengan baik sehingga para siswa dan guru sudah mengetahuinya. hal ini mengindikasikan bahwa proses pembelajaran di pdmn berlangsung relatif tertib. sungguhpun demikian tidak jarang terdapat proses pembelajaran berlangsung di luar jadwal yang ditentukan. hal ini terjadi terutama pada pelajaran prakharmonia, volume xi, no.1 / juni 201176 tik, banyak siswa yang mengikuti pelajaran praktik di studio (ruang yang didesain seperti panggung pertunjukan wayang yang sesungguhnya), di luar jadwal yang terprogram. proses ini terjadi karena siswa biasanya telah melakukan kontak dengan sang guru untuk meluangkan waktunya dan berkenan memberi pelajaran tambahan. namun tidak jarang siswa sendiri yang datang ke stodio untuk latihan sendiri guna mengasah dan memperkaya kemampuan keterampilan praktiknya dan atau sebagai wahana persiapan para siswa yang akan mengadakan pentas di luar. kegiatan penambahan pelajaran seperti itu biasanya berlangsung di luar jadwal pembelajaran yang telah terprogram. para siswa biasanya datang ke studio pada pagi sampai siang hari karena jadwal pembelajaran dalang di pdmn berlangsung jam 16.00 sampai 21.00 wib. hal ini mengindikasikan bahwa proses pembelajaran di pdmn juga dapat berlangsung tidak formal. perpaduan proses pembelajaran yang formal dan tidak formal ini menunjukkan tiadanya konsistensi waktu pembelajaran. namun hal ini juga menunjukkan bahwa model pembelajaran dalang di pdmn memiliki karakteristik yang justu sangat kondusif bagi keberlangsungan pembelajaran dalang – karakteristik yang tidak kaku dalam hal pengaturan waktu belajar bagi siswanya. evaluasi dilaksanakan dalam dua cara, yaitu evaluasi proses dan produk. evaluasi proses untuk materi ajar praktik dilakukan ketika proses pembelajaran tengah berlangsung, sedangkan evaluasi untuk materi ajar teori dilakukan dengan tes lisan. evaluasi produk untuk materi ajar praktik dilakukan pada setiap akhir semester, yaitu siswa diminta memeragakan materi yang telah diajarkan secara integratif, sedangkan untuk mata ajar teori dilakukan dengan tes lisan dan kadang tes tertulis tergantung sang guru. pendidikan di sanggar seni sarotomo surakarta sanggar seni sarotomo surakarta merupakan sebuah tempat untuk menempa setiap orang, khususnya anak-anak yang ingin belajar seni tari, karawitan, dan yang paling menonjol adalah seni pedalangan. sanggar ini merupakan tempat pembelajaran pedalangan yang unik. siswa yang sebagian besar terdiri atas anak-anak, tidak dikenakan persayaratan apa pun, kecuali gemar atau senang pada kesenian tradisional jawa, khususnya pedalangan. siswa diberi kebebasan seluas-luasnya datang ke sanggar untuk belajar mendalang, sesuai dengan kesempatan waktu dan bidang apa yang diminatinya. menurut mujiono selaku ketua sanggar bahwa siswa juga tidak diwajibkan untuk membayar sejumlah uang agar menjadi anggota sanggar. artinya anakanak yang tidak mampu tidak harus membayar, dan mereka yang mampu juga tidak ditentukan berapa besar harus membayar. dengan kata lain mereka yang mampu membayar boleh membayar secara suka rela. pembiayaan sanggar biasanya berasal dari para donatur, seperti lembaga pemerintah maupun swasta, orang-orang yang peduli kepada pendidikan anak, dan sebagian sumbangan orang tua siswa maupun sponsor lainnya. tujuan pembelajaran pedalangan di sanggar seni sarotomo surakarta bertujuan: 1) untuk memperoleh pengalaman awal berkesenian kepada para siswa khususnya para anak-anak setingkat tk, sd, dan sltp; 2) agar para siswa lebih mencintai dan menghargai (mengapresiasi) bidang seni tradisional sejak usia dini; 3) agar siswa memiliki keseimbangan antara kemampuan emosional dan perkembangan intelektualnya. sebab dalam pembelajaran selalu diselipkan etika, tata krama dan norma budaya jawa agar mereka mempunyai budi pekerti yang baik. pendekatan yang digunakan pendekatan berbasis siswa, artinya kegiatan pembelajaran selalu memfokuskan atau memberikan kesempatan yang luas kepada siswa untuk menyatakan (mengeksprsikan) diri sesuai minat dan keinginan siswa tanpa tekanan dari orang dewasa atau gurunya. penggunaan pendekatan seperti itu dipandang tepat mengingat pembelajaran seni bagi anak-anak memang harus mempedulikan minat, kegemaran (selera), keinginan, dan dilaksanakan dengan cara yang menyenangkan siswa (anak-anak). sebab tujuan utamanya adalah untuk membekali/mendasari siswa agar lebih mencintai dan menghargai bidang seni tradisional sejak dini. strategi pembelajaran cenderung lebih m. jazuli, model pewarisan kompetensi dalang 77 merupakan arena bermain bagi anak-anak usia tk, sd, dan sltp. dengan demikian di sanggar seni sarotomo surakarta belum dirasa perlu penjenjangan seperti yang dilakukan di tempat pembelajaran pedalangan yang lain. secara sederhana, siswa hanya dipilah menjadi dua bagian, yaitu anak baru dan anak lama. pembagian sepeprti itu pun sering terjadi tumpang tindih, artinya dalam beberapa kasus para siswa dapat berbaur antara anak baru dan lama dalam kegiatan bersama, misalnya pentas. strategi pembelajaran di lingkungan sanggar seni sarotomo surakarta lebih tepat disebut ajang asah, asih, dan asuh. azas kekeluargaan sangat menonjol. berdasarkan uraian di atas, sanggar seni sarotomo surakarta tidak menerapkan kurikulum secara ketat, layaknya pada lembaga pembelajaran pada umumnya. sungguhpun demikian, materi pokok pedalangan yang dibelajarkan tetap berorientasi pada aspek catur, sabet, dan iringan yang dimulai dari yang paling dasar, seperti teknik menabuh gamelan, memegang wayang, mengenal titi laras gamelan, dan sebagainya. mengenai lakon dan sanggit diarahkan (dibuatkan) oleh guru pelatihnya. metode peragaan (demonstrasi) dengan nuansa bermain menjadi cara pembelajaran yang utama. sungguhpun metode diskusi atau tanya jawab turut menunjang dalam proses pembelajaran. untuk mendukung latihan praktik mendalang, para anggota sanggar juga diarahkan untuk mengenal praktik dasar menabuh gamelan, dodogan atau keprakan, dan sabetan wayang, sesuai dengan tingkat perkembangan anak. dengan demikian metode pembelajaran yang diterapkan cenderung mengarah pada belajar berkesenian sambil bermain. dengan cara ini, para siswa diharapkan lebih santai, nyaman, dan bebas dalam belajar mendalang bagian-bagian tertentu, sesuai dengan tingkat pemikiran dan kegemaran masing-masing siswa. untuk melengkapi pengetahuan apresiasi mereka, terutama untuk keperluan pentas bersama, para siswa diminta untuk saling membantu kepada temannya yang hendak pentas. misalnya menjadi waranggana, menabuh gamelan, dan mempersiapkan perlengkapan pentas pedalangan lainnya. bahkan tidak jarang juga didatangkan pelatih tari untuk memberikan contoh sejumlah repertoar gerak tari yang diperlukan, kerampakan, serta pengaturan pola lantai. pada awal proses pembelajaran, masing-masing siswa diberi kebebasan untuk memilih tokoh wayang yang paling digemari, kemudian pelatih memberikan contoh sabet (gerak-gerak wayang) sederhana sesuai dengan karakternya. selanjutnya, para peserta sanggar menirukannya. cara demikian ini dilakukan berulang-ulang sampai memiliki tingkat ketrampilan cukup dan sesuai dengan hasil yang dicapai anak. apabila satu ragam gerak dan karakter wayang sudah dikenal dengan baik dan secara teknis telah dikuasai anak, maka dilanjutkan dengan penjelajahan tokoh-tokoh wayang yang lain. dari sinilah pelatih/guru selalu memotivasi siswa mengekspresikan perasaannya positif maupun negatif tanpa tekanan. siswa secara bertahap mengembangkan pemahaman (kesadaran) akan dirinya, dan mereka berusaha menemukan makna dari pengalamannya. pelatih hanya memberi nasehat dari belakang siswa serta membantu mengklarifi kasi alternatif-alternatif yang diajukan oleh siswa, dan bila diperlukan juga memberikan alternatif. dengan demikian komunikasi antara pelatih dan siswa terlihat hangat, tidak ada jarak, bahkan terkesan saling bermain-main. bagi anak yang tidak sedang praktik sabet, oleh pelatih diarahkan untuk berlatih gamelan. berlatih gamelan ini dipandang perlu untuk mengenal berbagai jenis irama dan nada gamelan. pelatihan gamelan dimulai dari membunyikan ricikan pada bentuk melodi yang paling sederhana sampai pada sejumlah repertoar gending yang cocok bagi perkembangan usia dan/atau jiwa anak. para pelatih memberikan arahan kepada para siswa jenis ricikan (instrumen gamelan) yang paling sesuai dengan kemampuan anak. sebagian siswa ada yang belajar nembang (menyanyi lagu jawa) dan belajar catur (suluk, ginem, pocapan). posisi pelatih (guru) cenderung mengikuti kemauan dan keinginan siswa, kemudian mengarahkan sesuai karakter tokoh wayang yang sedang diekspresikan atau diperagakan oleh siswa. jadi guru lebih berperan sebagai fasilitator dan motivator saja. sebagaimana yang dikatakan mujiono (9 agustus 2009) bahwa: “ngajari lare menika harmonia, volume xi, no.1 / juni 201178 kedah sabar lan ngertos karepe bocah ... ya wis ben arep dikapakake wayange. lha mangke menawi sampun rumangsa bingung (ora ngerti) kula nembe paring pituduh “(membelajarkan anak mendalang harus sabar dan memahami keinginan anak ... biarkan saja apa yang mereka inginkan, mau diapakan wayangnya terserah. lha kalau sudah merasa bosan, bingung karena tidak tahu, saya baru mengarahkannya). evaluasi pembelajaran dilakukan dengan cara sangat sederhana, baik dalam saat proses maupun hasil pencapaiannya. evaluasi proses dilakukan agar anak menguasai teknik-teknik dasar yang tepat bagi minat mereka. kadang-kadang kompetisi interaktif di antara para anak (peserta didik) telah terjadi. sering terjadi anak yang memiliki ketrampilan lebih menonjol (senior), secara akrab, telah menegor sekaligus memperbaiki “kesalahan” yang dilakukan oleh juniornya, dengan cara memberikan contoh langsung dengan praktik. di luar proses pembelajaran, anakanak golongan senior, kadang-kadang sudah mempunyai jadwal pentas sendiri untuk bebagai keperluan di masyarakat (misalnya: ulang tahun, perpisahan sekolah, peringatan hari besar, khitanan, dan hajadan yang lain). untuk persiapan pentas inilah, biasanya seluruh anggota sanggar dilibatkan dan digunakan untuk memberikan evaluasi terhadap kemajuan yang dicapai oleh masing-masing anak. setiap satu kali pentas biasanya melibatkan tiga anak atau lebih sebagai dalang tabel 4. model pembelajaran indikator model smk negeri 8 pasinaon dalang mangkunagara sanggar seni sarotomo tujuan 1. siap memasuki lapangan kerja sektor formal dan informal serta mengem-bangkan sikap profesional dibidang seni pedalangan 2. mampu memilih karir, mampu berkompetisi dan mampu mengembangkan seni pedalangan 3.menjadi tenaga kerja seni pedalangan tingkat menengah untuk mengisi kebutuhan dunia usaha dan industri seni. 4.menjadi warga negara yang normatif, adaptif, produktif, kreatif dan inovatif dibidang seni pedalangan 1. .menyiapkan siswa untuk memasuki lapangan kerja di bidang pedalangan secara profesional, 2. menyiapkan siswa agar kompeten dan m a m p u m e n g e m bangkan diri di bidang seni pedalangan, 3. menyiapkan lulusan kursus menjadi pengembang budaya, utamanya bidang pedalangan yang produktif, kreatif, normatif, dan adaptif. 1. untuk memperoleh pengalaman awal berkesenian kepada para siswa khususnya para anak setingkat tk, sd, dan sltp; 2. agar para siswa lebih mencintai dan meng-hargai (mengapresiasi) bidang seni tradisional sejak usia dini; 3. agar siswa memiliki keseimbangan antara kemampuan emosional dan perkembangan intelektualnya. m. jazuli, model pewarisan kompetensi dalang 79 pendekatan berbasis kelas syarat menjadi siswa adalah lulus sltp, tes kesehatan, tes bakat. berbasis siswa, syarat menjadi siswa: sehat jasmani-rohani, memiliki minat dan motivasi, dan senang dengan pedalangan berbasis siswa dengan teknik bermain, syarat menjadi siswa hanya minat, motivasi kemauan, dan senang strategi pembelajaran 1. ada penjenjangan t yakni tingkat i, ii, dan tingkat iii 2. lama studi 3 tahun 3. kurikulum berlaku ketat 4. materi: sabet, catur, iringan, teori dan fi lsafat pedalangan 5. sarana pembelajaran sangat lengkap hingga untuk pertunjukan 1. metode ceramah, peragaan dan diskusi; 6. pengantar pembelajaran campuran bahasa jawa dan indonesia; 2. ada penjenjangan tingkat yakni i (purwa warana) ii (madya warana), dan iii (wasana warana) 3. lama studi 3 tahun 4. ada kurikulum tetapi tidak berlaku ketat 5. materi: sabet, catur, iringan, pengetahuan pedalangan 6. sarana cukup untuk pertunjukan sederhana 7. metode ceramah, peragaan, diskusi; 8. pengantar bahasa jawa 1. tidak ada penjengan 2. lama studi tidak ada batasan tergantung minat dan kemauan siswa 9. materi sebagian besar praktik sabet, catur, iringan, pengetahuan pedalangan 3. sarana sederhana, hanya bisa untuk latihan saja, 4. metode peragaan dan bermain 5. pengantar bahasa jawa proses pembelajaran 1. menurut jadwal dan mata ajaran, dan dilaksanakan pada jam 07.0013.00 2. pembelajaran praktik di studio (ruang praktik) dan teori di kelas teori; 3. peran guru sebagai tutor, fasiltatorr, motivator; 4. pembelajaran di kelas sangat serius dan ketat dengan aturan yang berlaku 1. menurut jadwal sesuai mata ajaran dan dilaksanakan pada jam 16.00-21.00 2. pembelajaran di studio (ruang praktik) dan teori di perpustakaan 3. peran guru sebagai fasilitatordan motivator; 4. pembelajaran serius tetapi tidak ketat 1. jadwal latihan satu minggu 3 kali: jam 14.00-18.00, khusus mimggu jam 11.00 17.00 2. pembelajaran praktik di pendapa sanggar 3. peran pelatih sebagai tutor dan motivator; 4. pembelajaran santai dan sambil bermain dalang yang kompeten berdasarkan data yang diperoleh dari para informan dan sumber-sumber tertulis dalang yang kompeten adalah dalang yang mampu memenuhi persyaratan sebagai berikut: pertama, memiliki kemampuan kesenimanan dalang, yaitu berkait dengan aspek pakeliran meliputi: garap lakon (kerangka dasar lakon), garap adegan (urutan adegan), garap tokoh (dramatik dan kehidupan tokoh), garap catur (ginem atau dialog, janturan dan pocapan atau narasi), garap sabet (gerak boneka wayang), dan garap iringan (musik sebagai pendukung suasana). kedua, komitharmonia, volume xi, no.1 / juni 201180 men terhadap dharmanya yang bersumber pada sesanti ‘mamayu hayuning bawana, mamayu hayuning bangsa, mamayu hayuning diri (sasama)’’, artinya selalu berupaya ikut menciptakan ketertiban dan kedamaian bagi dunia, bagi negara-bangsa, dan bagi sesama umat manusia tanpa melupakan kepentingan pribadi. darma dalang mencakup penguasaan dan penjiwaan lima darma yang disebut pancadarma. kelima darma yang dimaksud adalah pengetahuan tentang hakekat kebenaran (kagunan), berbagai norma yang disepakati secara budaya (kasusilan), keberanian dan berjiwa besar (kasudiran), bersikap bijaksana dan rendah hati (anuraga), dan selalu waspada (sambegana). selain itu juga komitmen terhadap trikarsa berisi tekad untuk melestarikan, mengagungkan, dan mengembangkan wayang. pancagatra mencakup seni pentas yang bermutu, yaitu: (1) menampilkan pergelaran yang bermutu (seni pentas), (2) mengolah iringan sesuai dengan tatanan yang berlaku dan berakar dari tradisi (seni karawitan), (3) membanggakan masyarakat pemiliknya (seni kriya), (4) mencakup aspek pendidikan dan falsafah (seni widya), (5) memiliki kreativitas yang tinggi tanpa melanggar nilai adiluhung pedalangan (seni ripta). ketiga, mempunyai gaya pribadi yang khas, dalang yang dianggap kompeten bila di dalam dirinya memiliki gaya yang khas. gaya yang khas dalam mendalang selain mengandung nilai kekhususan tersendiri karena membedakan dengan dalang lainnya, juga merupakan manifestasi keunggulan. contohnya ki manteb soedarsono dengan keunggulan pada aspek sabet (permainan boneka wayang). kelebihannya dalam berolah sabet inilah beliau pernah memdapatkan sebutan “dalang setan”, dalam arti memiliki keterampilan yang luar biasa dalam memainkan boneka wayang. ki anom soeroto memperoleh predikat “dalang suluk”, ki purba asmoro dikategorikan “dalang udanegara”, ki joko hadiwijaya memiliki predikat “dalang edan”. predikat atau sebutan semacam itu erat kaitannya dengan kekhasan kemampuan seorang dalang dalam gaya pedalangannya keempat, memiliki pergaulan sosial yang luas. pergaulan sosial dalang di sini dikaji melalui hubungan antardalang, hubungan dalang dengan budaya lingkungannya, dan hubungan dalang dengan pihak lain. simpulan sehubungan dengan model pembelajaran dalang telah ditemukan tiga model. pertama, model pembelajaran dalang di sekolah dengan sistem dan aturan yang ketat sebagaimana sekolah formal lainnya, seperti ada kurikulum, ada jadwal belajar, memiliki standar kompetensi dan standar kelulusan. barangkali karena pendekatan yang digunakan bersifat klasikal sehingga nampak kurang bisa memotivasi siswa untuk mengembangkan kreativitas dan keberanian mencoba secara lebih jauh. di antara penyebabnya adalah tingkat kepatuhan siswa kepada guru sangat tinggi sehingga guru lebih dipandang sebagai tutor (sumber belajar) daripada fasilitator dan motivator kedua, model pembelajaran dalang di luar sekolah, dalam hal ini lembaga kursus. model pembelajaran dalang di lembaga kursus juga sudah memiliki kurikulum dan jadwal belajar sehingga tampak tertib. standar kelulusannya sebatas siswa mampu pentas pakeliran saja, sedangkan kualitas kompetensi diserahkan pada pengembangan diri siswa sendiri. pendekatan proses pembelajaran yang berbasis siswa mengakibatkan hubungan komunikasi antara guru dan siswa tampak akrab, meskipun demikian masih tampak kepatuhan terhadap guru maupun aturanaturan yang berlaku. siswa memandang guru sebagai fasilitator dan motivator, hal ini tampak dalam proses komunikasinya yang lebih terbuka daripada di lembaga sekolah. ketiga, model pembelajaran dalang di luar sekolah, yang berbentuk sanggar seni. model pembelajaran dalang di sanggar tampak lebih terbuka dan luwes dalam hal komunikasi antara guru dan siswa, seperti tidak ada jarak dan berkesan sebagaimana anak bermain. demikian pula dalam penyampaian materinya, tiada tekanan dari guru sehingga kreativitas siswa lebih mudah muncul dan berkembang. apalagi siswa terlihat sangat diprioritaskan dalam memilih materi yang diminati dan diinginkan. pendekatan yang berbasis siswa tampak lebih tepat bagi keterbukaan siswa terhadap gurunya, terutama m. jazuli, model pewarisan kompetensi dalang 81 dalam menyampaikan kesulitan yang dihadapi siswa. kelemahan model pembelajaran dalang di sanggar seni terutama tampak kurang tertib atau siswa terlihat sangat bebas. dalam hal materi yang disampaikan terlihat tidak runtut dan sistematis, bahkan terkesan kurang terencana atau improvisasi. namun hal ini bisa dipahami mengingat model ini lebih mengutamakan pada peningkatan motivasi dan kreativitas siswa. model pembelajaran dalang di luar sekolah tampak lebih sesuai dengan teori yang dikemukakan oleh roger dengan empat syaratnya, yaitu: 1) guru harus menunjukkan kehangatan dan tanggap atas masalah yang dihadapi siswa, 2) guru harus mampu membuat siswa mengekspresikan perasaannya tanpa tekanan, 3) siswa harus bebas mengekspresikan secara simbolis perasaannya, dan 4) proses konseling (wawancara) harus bebas dari tekanan dari manapun. pada sisi lain, model pembelajaran di sekolah tampak kurang bisa optimal dalam memenuhi harapan roger. namun lebih tertib dalam pelaksanaan pembelajarannya dan lebih terukur kompetensi siswanya karena memilki standar yang jelas, siswa menunjukkan atau melaporkan hasil tindakannya (hasil belajarnya), dan kurikulumnya berlaku ketat. bertolak dari ketiga model pembelajaran di atas, nampaknya masalah kewirausahaan belum terprogramkan. hal ini terutama terlihat dari kurikulumnya, seperti bagaimana cara membuat wayang, sungging wayang yang baik, bentuk kemasan panggung yang representatif, dan sebagainya. pada hal seperti itu akan melibatkan industri lain yang terkait dengan pertunjukan wayang. di pdmn orientasi industri baru sebatas semangat, orientasi industri di sarotomo dan di smkn 8 belum ada, tetapi ada potensi bila mampu mendayagunakan melalui program kerja yang terencana secara sistematis. sehubungan dengan dalang yang kompeten. penelitian ini menemukan beberapa faktor yang mampu menunjukkan dalang yang kompeten. pertama kemampuan kesenimanan seorang dalang. kemampuan ini berkait erat dengan persyaratan teknis dan keterampilan dalam jagat pakeliran, seperti garap lakon, garap, adegan, garap catur, garap tokoh, dan garap iringan. dalang yang kompeten harus mampu memahami dan mempraktikkan aspek-aspek pakeliran tersebut. dalang harus mampu menggambarkan wewayanganing wong ngaurip lewat ekspresi pakelirannya. kedua komitmen dalang terhadap darma pedalangan. komitmen terhadap pancadarma, yaitu pengetahuan tentang hakekat kebenaran (kagunan), berbagai norma yang disepakati secara budaya (kasusilan), keberanian dan berjiwa besar (kasudiran), bersikap bijaksana dan rendah hati (anuraga), dan selalu waspada (sambegana). komitmen terhadap trikarsa berisi tekad untuk melestarikan, mengagungkan, dan mengembangkan wayang. komitmen terhadap pancagatra mencakup seni pentas yang bermutu, yaitu: (1) menampilkan pergelaran yang bermutu (seni pentas), (2) mengolah iringan sesuai dengan tatanan yang berlaku dan berakar dari tradisi (seni karawitan), (3) membanggakan masyarakat pemiliknya (seni kriya), (4) mencakup aspek pendidikan dan falsafah (seni widya), (5) memiliki kreativitas yang tinggi tanpa melanggar nilai adiluhung pedalangan (seni ripta). terakhir komitmen terhadap fungsi sosial yang dimaksud adalah dalang sebagai komunikator, fasilitator, akomodator, motivator, dinamisator, emansipator, dan inovator. ketiga dalang harus memiliki gaya pribadi yang khas, artinya seorang dalang harus memiliki ciri khusus yang membedakan dengan dalang lainnya. ciri khusus erat kaitannya dengan tingkat keahlian dan keunggulan atas aspek-aspek pakeliran. contohnya ki manteb soedarsono disebut “dalang setan” karena memiliki keterampilan luar biasa dalam meengolah gerak wayang. keempat pergaulan sosial dalang. hal ini berkaitan dengan gaya hidup, kedalaman wawasan sebagai akibat dari keluasannya dalam pergaulan di tengah masyarakat luas. dengan saling berhubungan dan berkomunikasi antardalang, dalang dengan pihak lain yang terkait dan dapat menunjang pertunjukan wayang, serta hubungan dalang dengan lingkungan sosialnya, para dalang akan memeroleh dan mengembangkan wawasannya sehingg dapat meningkatkan kualitas pedalangannya. dalang yang luas pergaulannya akan mudah menangkap suatu fenomena penting yang berlangsung di masyarakat dan harmonia, volume xi, no.1 / juni 201182 mudah meresponsnya. berdasarkan paparan hasil penelitian dan pembahasannya, maka dimajukan saran sebagai berikut. pertama, berkaitan dengan model pembelajaran dalang. dalam pembelajaran dalang perlu dilengkapi dengan materi ajar yang berkaitan dengan kewirausahaan (enterpreneurship) sehingga dapat mengembangkan sektor/bidang lain, seperti industri kerajinan wayang, gamelan, busana adat jawa, dan industri perlengkapan pertunjukan wayang lainnya. selain itu juga mampu mendayagunakan profesi lain yang mendukung pertunjukan wayang, seperti pengrawit, pesinden, dan para penata lain yang dibutuhkan dalam pertunjukan wayang. hal ini perlu ada pembelajaran secara khusus dan profesional. kedua, untuk meningkatkan kompetensi dalang. para dalang perlu belajar dan menguasai teknologi informasi yang terus berkembang pesat dan canggih agar dapat dimanfaatkan dalam mengemas pertunjukan wayang. tak pelak bila kemasan pertunjukan wayang selalu melibatkan teknologi canggih, boleh jadi akan selalu bisa diterima oleh masyarakat luas. tentu saja tetap harus menjaga atau mempertahankan esensi visi dan misi wayang sebagai media tontonan dan tuntunan, tanpa melupakan faktor lain yakni tatanan dan tantangan yang senantiasa menyertainya. daftar pustaka amir, hazim. 1991. nilai-nilai etis dalam wayang. jakarta: sinar harapan. berger, peter l. & luckmann thomas. 1990. tafsir sosial atas kenyataan. terjemahan hasan basri. jakarta: lp3es. bryant, christopher g.a & david ivevy. 1991. gidden’s theory of structuration: a critical appreciation. new york: routledge. giddens, anthony. 1984. the constitution of society: outline of the theory of structuration. cambridge: polity press. _____. 1991. structuration theory: past, preseny, and future, dalam bryan, christopher ga and david jarry (ed),. giddens’ theory of structuration: a critical appreciation. london: routledge,. p. 201-221. groenendael, clara van. 1986. the dalang behind the wayang. dordrect-holand: foris publication. jazuli, m. 2000. dalang pertunjukan wayang kulit purwa. studi ideologi dalang dalam perspektif hubungan masyarakat dan negara. disertasi universitas airlangga surabaya. _____. 2008. paradigma kontekstual pendidikan seni. surabaya: unesa press. kayam, umar. 1993/1994. contemporary wayang performance: its development and spreading. report of the first-year project toyota foundation. tokyo japan. lincoln, yvonna s dan egon g. guba. 1985. naturalistic inquiry. newbury park california: sage publicatin ltd. magnis-suseno, frans. 1984. etika jawa: sebuah anallisa falsafi tentang kebijaksanaan hidup jawa. jakarta: gramedia. murtiyoso, bambang. 1995. “faktor-faktor pendukung popularitas dalang”. tesis program pascasarjana universitas gadjah mada yogyakarta. ------dan suratno. 1992. studi repertoar lakon wayang yang beredar lima tahun terakhir di daerah surakarta. laporan penelitian. surakarta: yayasan musikologi indonesia. ritzer, george. 1980. sociology: a multiple paradigm science. boston, london, sydney, toronto: allyn and bacon, inc. -------. 1996. sociologi modern theory. new york: alfred a. knofpf. soedijarto. 1997. memantabkan kinerja sistem pendidikan nasional dalam menyiasati manusia indonesia memasuki abad ke-21. jakarta: proyek perencanaan terpadu dan ketenagaan diklusepora. soemanto, wasty. 2009. psikologi pendidikan landasan kerja pemimpin indonesia. jakarta: rineka cipta. spradley, james p. 1979. the ethnographic interview. new york: holt, reinhart and wiston. uno, hamzah b. model pembelajaran: menciptakan proses belajar mengajar yang kreatif dan efektif. jakarta: bumi aksara. waluyo, kanthi. 1994. peranan dalang dalam menyampaikan pesan pembangunan. jakarta: ditjen pembinaan pers dan grafi ka deppen. 133 traditional art kayori as an identity of taa society in district of tojo una-una in globalization era abdul rasyid hasan art-education postgraduate program, semarang state university bendan dhuwur campus, semarang indonesia e-mail: papatyazh@gmail.com received: november 15, 2015. revised: november 29, 2015. accepted: december 4, 2015 abstract kayori is someone’s or group’s statement expressed civilly in a particular time, so that the messages delivered are easily internalized and understood to nod in agreement. this research intends to identify form, function, and meaning contained in kayori traditional art of taa society. this research employed qualitative method with a cultural approach. the results of this study portray that kayori performance periodically held is an introduction media in increasing public awareness. kayori, embracing aesthetic values, functions to diffuse moral and aesthetic aspects to the society. education in kayori tradition follows the regeneration process in to society orientating towards the new roles for young generation to maintain their cultural heritages. kayori tradition implies valuable meaning of life and provides chance in understanding historical cultural heritages in tackling down recent issues in taa society. keywords: identity; kayori; taa ethnic group; tojo una-una how to cite: hasan, a. (2015). traditional art kayori as an identity of taa society in district of tojo una-una in globalization era. harmonia: journal of arts research and education, 15(2), 133-137. doi:http://dx.doi.org/10.15294/ harmonia.v15i2.4427 harmonia : journal of arts research and education 15 (2) (2015), 133-137 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v15i2.4427 p-issn 1411-5115 e-issn 2355-3820 yam (1981: 39) asserts that: “arts cannot be separated from society, as one of the most important parts in culture. the arts represent creativity of the culture”. art in human’s life is the characteristic of a region in which by performing arts people are able to recognize cultures growing and developing based on custom values applied in their region. diversity of traditional arts growing and developing in a region becomes an asset and the pride of the supporting society as well as characteristic of their region. as stated by acclaimed anthropologist, e.b tylor in his book entitled primitive culture published in 1924, culture is a complexity embracing knowledge, belief, art, morality, law, introduction art is one of universal cultural systems lying on world’s society. one kind of arts holding important role in society is traditional arts. cultural sacredness and traditional arts lie on people’s appreciation for their histories – not the objects appreciated. from the historical perspective, traditional arts are critical historical sources containing sustainability, dynamics, and identities of the owner. meanwhile, traditional arts, culturally become a mode transmitting values across generations. traditional arts are arts living inherently in society. they are humans’ works including their mindset either personally or collectively. concerning on such issue, kaharmonia : journal of arts research and education 15 (2) (2015): 133-137134 custom, ability, and behavior acquired by humans as a member of society (sulasman and gumilar, 2013, p. 17). district of tojo una-una which was part of the poso district contains a great deal of cultural uniqueness coming from local people’s customs, and it becomes pride in the middle of society such as malaolita, main kantar, karatu, mentompo, tende bomba, ganda potaru, mailogo, baku binti, main gasing, and padungku in addition to diverse musical instruments such as geso-geso, kapondo, senggona, talalo, lalove, and flute. unfortunately, the priceless abundance of arts is not well-maintained, and more seriously it is ignored by society – one of which is traditional art of kayori. kayori art, as a part of local wisdoms considered the reality of alternative cultural value stands in two local-cultural systems. national-cultural values are universally applied for the nation as well as the ones outside another local-cultural boundaries. values of local wisdom by all means represent indonesia as they are combined with other values that in fact are transmitted from values of local cultures. this research tries to describe the existence of kayori tradition in terms of its existence in taa society in the district of tojo una-una. kayori is closely related to values and norms which become a social keystone in the scope of of society. this research is a qualitative study of the cultural paradigm towards problems concerning on form, function, and meaning of kayori, in which kayori, in its rhymes is multi-dimensional and meaningful. method the research method employed in this context was qualitative-descriptive study. qualitative research is always descriptive, which means that type of data analyzed and the results of the analysis are descriptive in terms of the observed phenomena – not numbers or coefficients of variable relation. based on the issue investigated, this research aims to describe form, function, and meaning of kayori art in tojo una-una district. to conduct this research, i limited the observed regions which consisted of sub-district of ampana and ampana tete, district of tojo una-una, and province of central sulawesi. these locations were chosen under some considerations that (1) kayori performers were generally found in these locations (sub-district of ampana and ampana tete); (2) both sub-districts (ampana and ampana tete), had represented overall behaviors of taa society in transmitting and utilizing traditional arts. choosing data and source of data were conducted by random-sampling technique. data of this research were interpretative, so interactive analysis was employed in some stages – reducing the data, presenting the data, and verifying the data (miles & huberman, 1992) p.17-18) discussion from observations conducted, it can be stated that kayori art is not representation of local culture any longer. this was caused by some factors such as (1) young generation considered that oral tradition has been antiquated with current development. such stigma has been internalized in the youth’s mind considering that oral tradition is suitable for the older generation; (2) technology, which developing rapidly became an indicator of oral-tradition degradation. young generation tended to read comics, watch television, playing interactive games, facebook, etc. instead of listening to stories or advices from the elders which were not drawn to their eyes. in other words, printed and electronic media have become such an attractive medium instead of learning or listening to oral tradition. according to kusno k. rengka, the chief of the pusingi village in the buddistrict of ampana tete, “nowadays kayori tradition has been rarely held, and if it was carried out, it was different from the one in 30 years ago” (interview on may 30th 2015). based on his explanation, performance of kayori art functioned as entertainment meabdul rasyid hasan, traditional art kayori as an identity of taa society in district of tojo 135 ans for the society of tojo una-una since the past. whenever kayori was performed, people visited the crowd to listen to kayori performed. the elders, children, and even youth did not want to miss the chance. in such condition, kayori functions as a means for meeting with the others, so the chance could be used to assemble the mass. by kayori, we were able to provide developmental information, religion, and advices. for the youth, having such chance could be used to broaden the society. more importantly, it was an initial stage to find true love. kayori intoned particular rhymes accompanied by dance performed by some men and women. oral tradition of kayori was crooned, listened, and internalized together in a particular event. the events were related to the wedding reception, harvest festival, cultivation festival, and other events. kayori contained ideas, thought, doctrine, advices, and moral values. these ideas influenced attitudes and behavior of traditional society who had close collectivity relation. the existence of this localcultural product was considered as a historical proof of public’s creativity which could be utilized to increase solidarity. the spirit of solidarity realized in kayori has positively impacted on strengthening inner thoughts among society members. in this context, it can be seen that kayori (oral tradition) has a social function, as well. thus, it can be said that degradation of kayori in the society was an indication of degradation of social relation among the society members, and vice versa. this statement frequently appears on cultural observers who judge that socio cultural relation of a society has moved into individualistic and compormistic – no any longer reflection and representation of cultural system internalized in traditional society. when the kayori is performed (requiting poem) or when the women sing the rhymes, the men have to listen and think about what they are going to answer. the core value of kayori is public discussion to reach agreement. the rhymes used in every turn are different – depending on the event. anyone is welcomed to join kayori as long as he/she is able to follow the movements. kayori is commonly held in field, market, or baruga (place in which the elders/religious leaders assemble), and they perform kayori after praying isya’; at 8 pm till midnight. kayori is identical to padungku. it is yearly rice-harvest celebration. thus, whenever padungku is held, it will be blissfully cerebrated. before padungku is held, pre-aranduku or prakodi is carried out in which the farmer who has intents will sacrifice 2 or three chickens as needed, and their blood will be put on grains of rice which have been cut in the barn in order to avoid any dangers. people say when such ritual is not carried out, the farmers suffer deaf like being punctured by needles. once series of activities are finished, there will be held padungku which represents being grateful for mercies. in the middle of this event, there will be snipping-top playing, bakubinti (for men only), and mailogo. the major event of all activities is kayori (requiting poem) which intends to discuss the time to cultivate. once the agreement is reached, kayori will immediately end. characteristics of kayori takes place on the way of communication in requiting poem between men’s group and the women’s group. the language used in kayori is expressed poetically and metaphorically, combined with particular movements, as well. the way people communicate in kayori requires skills in switching the rhymes. the truth and information expressed in communication represent individual quality arranged in a united pattern. hence, communication in kayori can apply the informative and communicative functions. according to mr. asriman (interview on may 18th 2015), he stated things related to local identities of taa society in which they have to be developed and raised – one of the ways is performing kayori in addition to local language, traditional clothes, and history. good appearance of local harmonia : journal of arts research and education 15 (2) (2015): 133-137136 language, traditional clothes, and history affect the identity of taa society. basic values of their cultures are slowly replaced by values coming from products of global culture. it was also asserted by kusno k. rengka (interview on may 24th, 2015). in comporting perception with the meaning of minang, the society of taa has been different in terms of performance as social identity of taa. therefore, it is required efforts from the government, such in the following statement. “talking about custom (meaning) of minang, we; as the society of taa, has not reached an agreement! why? because we are never included in the discussion. they are only urban society who does not know about the customs of taa. we have to achieve equal perception related to tradition since taa is part of our identities, especially the ones related to custom. the statement above represents that developing identities in the society of taa, which has not been realized in understanding, still requires efforts to find out the cultural core or cultural value system. this phenomenon is in accordance with what is stated by storey (2007, p. 4) that cultural value system is a guide for the society to develop potency and dynamics in social life. cultures help developing structure and creating history in society. acceptance, welcoming, response, reaction, and attitudes of the taa society towards the meaning implied in kayori rhymes have never appeared in the surface. kayori is only known as oral tradition, but the society does not understand the form of oral tradition. in the society of taa, oral tradition of kayori is only recognized by a few groups of people – those who are aged. young generation is pessimistic about oral tradition. there is no such intention to learn and deepen the understanding of meanings implied in this oral tradition. preserving kayori tradition by both societies of tea and the government implies educative meaning. this occurs as by conducting preservation efforts of kayori tradition as explained above, the society who recently has lack of understanding oral tradition is expected to gain new understanding and understand their rights as well as responsibilities as inheritors of an oral tradition. in addition, the government will receive suggestions which can be used as guide in carrying the following works. educative process is a process of transmitting values, attitudes, and beliefs in which the existence of cultural system is believed, and its function as it does. moreover, educative process contains the process of implementing regeneration values as stated by redfield (in widja, 1993, p. 53). in other words, in this process, there is emphasis on discontinuity function, but it implies the function of preserving cultural values owned by the society. from the explanation above, it has been clear that educative meaning in preserving oral traditions of kayori follows a regeneration process in the society of taa. kayori tradition purposes to imply new messages for the young generation to preserve their cultural heritages even though there are aspects changing in cultural life. this is in accordance with preservation concept which intrinsically contains the cultural dynamic elements conclusions according to the explanation, it can be concluded that the existence of oral tradition has been significantly replaced by products of global culture. this condition will impact on stopping cultural heritages which are factually occurring. if this thing is ignored, one of local cultural product which is priceless will disappear. therefore, it requires efforts in preserving traditional art kayori periodically. the government and society have to maintain and preserve the balance between the continuity and changes, so kayori art will always appear. appreciation improvement of the society will provide a big chance for development of kayori which is threatened by products of global cultures. tradition of kajori has benefits which can influence national cultural structures since kayori is aestheticsymbolic product based on sociocultural abdul rasyid hasan, traditional art kayori as an identity of taa society in district of tojo 137 kualitatif. bandung: pt. remaja rosdakarya. storey, j. (2007). cultural studies dan kajian budaya pop. yogyakarta & bandung: jalasutra. sulasman & gumilar. (2013). teori-teori kebudayaan. bandung: cv pustaka setia widja, i g. (1993). “pelestarian budaya: makna dan implikasi dalam proses regenerasi bangsa”. dalam kebudayaan dan kepribadian bangsa. denpasar: pt. upada sastra experiences of the society. this preservation effort is carried out gradually through a process of internalization, socialization, and implementation. reference kayam, u. (1981). seni tradisi masyarakat. jakarta: pt djaya pirusa. miles, h b., heberman a m. (1992). analisis data kualitatif translated by tjetjep rohendi rohidi. jakarta: ui press. moleong, l. j. (2009). metode penelitian 143 pembelajaran berbasis anak dalam pengembangan bidang seni (rupa) di paud batik dan paud sabitul azmi sidoarjo nurul khotimah universitas negeri surabaya, jalan ketinteng surabaya 60231 e-mail: nurul_kh@ymail.com abstrak pembelajarannya berbasis anak adalah pembelajaran yang diterapkan di sekolah berdasarkan kebutuhan anak, berorientasi pada perkembangan anak, bermain sambil belajar, pengajaran berpusat pada anak, pakem (pembelajaran aktif, kreatif, efektif dan menyenangkan). penelitian ini menggunakan pendekatan kualitatif, studi komparatif yaitu studi perbandingan diusahakan untuk menemukan persamaan dan perbedaan kualitas pembelajaran pengembangan bidang seni (rupa) di paud batik dan paud sabitul azmi sidoarjo. hasil penelitian menunjukkan bahwa pembelajaran di paud batik dan paud sabitul azmi sidoarjo berbasis anak, pembelajaran mengacu pada kurikulum diknas dan kurikulum depag yang terintregasi pada menu pembelajaran generik dengan metode bcct dalam pengembangan bidang seni (rupa) melalui menggambar sederhana, mewarnai sederhana, dan menciptakan sesuatu dengan berbagai media dengan pendekatan ekspresi anak. kegiatannya dilakukan mulai dari perencanaan, pelaksanaan dan menghasilkan karya anak. kelebihan pembelajaran berbasis anak di antaranya: mengutamakan kebebasan anak, sesuai ekspresi anak, dan menghasilkan karya sesuai keinginan anak, serta meningkatkan aktivitas anak. child-based learning in fine arts enhancement in batik and sabitul azmi pre-kindergartens, sidoarjo abstract child-based learning is applied at pre-kindergartens based on children’s needs; it is child development-oriented and children-centered, which enables them to play and learn so that it is often referred to one motto pakem (an indonesia abbreviation, which means being active, creative, affective, and fun learning). this research used qualitative approach, comparative study to find out similarity and difference of learning quality in the two pre-kindergartens. the findings show that the learning in the two pre-kindergartens refer to national education curriculum and department of religion curriculum integrated in generic learning menu with bcct method in art development through simple drawing, coloring, and creating a craft with various media for children’s expression. the activity began with planning, implementation, and children’s products. the advantages of this learning method are that this method prioritizes children freedom, enables them to show their expression and increases their creativity. kata kunci: pembelajaran berbasis anak, pengembangan seni. harmonia, volume 12, no. 2 / desember 2012144 pendahuluan perkembangan masyarakat dewasa ini, telah merasakan akan pentingnya suatu pendidikan anak usia dini (paud). pendidikan anak usia dini (early child education) dilaksanakan sebagai dasar bagi pembentukan kepribadian manusia secara utuh, yaitu untuk pembentukan karakter, budi pekerti luhur, cerdas, ceria, terampil dan bertaqwa kepada tuhan yang maha esa. tujuan pendidikan seni berbasis anak yaitu meningkatkan kesadaran guru akan pentingnya pendidikan anak usia dini dan pengetahuan sikap, keterampilan di dalam mengasuh, merawat dan mendidik anak. setiap anak perlu diberi kesempatan yang seluas-luasnya untuk berkembang tanpa ada tekanan dari pihak guru. menurut freud (dalam salam, 2005: 18) tugas utama seorang pendidik adalah tidak menekan perasaan anak dan sebaiknya menyalurkannya ke arah yang positif. mulyasa (2005: 56) mengatakan bahwa pembelajaran pada hakekatnya adalah proses interaksi antara peserta didik dengan lingkungannya sehingga terjadi perubahan prilaku kearah yang lebih baik. pembelajaran adalah pendidikan, latihan, pembelajaran, teknologi pendidikan, yang lebih menitikberatkan pada penbentukan dan pengembangan kepribadian dan latihan (training) lebih menekankan pada pembentukan keterampilan (skill) (hamalik, 2009: 55). pembelajaran adalah suatu sistem yang luas, yang mengandung banyak aspek, di antaranya : (1) profesi guru, (2) perkembangan dan pertumbuhan siswa sebagai organisme yang sedang berkembang, (3) tujuan dari pendidikan dan pembelajaran yang berpangkal pada filsafat hidup masyarakat, (4) program pendidikan atau kurikulum sekolah, (5) perencanaan pembelajaran, (6) bimbingan di sekolah, dan (7) hubungan dengan masyarakat pada umumnya dan hubungan dengan lembaga-lembaga pada khususnya. pembelajaran identik dengan pendidikan. proses pembelajaran adalah proses pendidikan. setiap kegiatan pembelajaran adalah untuk mencapai tujuan pendidikan. pengertian pembelajaran ditarik dari pengertian belajar yang populer, pembelajaran adalah merupakan upaya untuk membelajarkan siswa. yang secara implisit terlihat bahwa dalam pembelajaran ada kegiatan memilih, menetapkan, dan mengembangkan metode untuk mencapai hasil yang diinginkan (mustaji, 2009: 17). berdasarkan beberapa pendapat di atas sebagaimana kesimpulan dari peneliti pembelajaran adalah kegiatan mengajar yang dilakukan oleh guru kepada siswa sebagai suatu sistem yang mencakup ada tujuan pengajaran, guru dan siswa, metode mengajar serta evaluasi dan penilaian. contextual teaching and learning (ctl) merupakan proses pembelajaran yang holistik dan bertujuan membantu siswa untuk memahami makna materi ajar dengan mengaitkannya terhadap konteks kehidupan mereka sehari-hari (konteks pribadi, sosial dan kultural), sehingga siswa memiliki pengetahuan/ketrampilan yang dinamis dan fleksibel untuk mengkonstruksi sendiri secara aktif pemahamannya (depdiknas, 2003: 5). landasan berfikir (filosofi) pendekatan ctl adalah konstruktivisme, yaitu bahwa pengetahuan dibangun oleh manusia sedikit demi sedikit yang hasilnya dikemudian hari. esensi dari teori konstruktivisme adalah ide bahwa siswa harus menemukan dan mentransformasi suatu informasi kompleks kesituasi lain, bila dikehendaki menjadi miliknya sendiri (depdiknas, 2003: 10). pembelajaran hendaknya menempatkan anak sebagai subjek pendidikan. oleh karena itu semua kegiatan pembelajaran diarahkan atau berpusat pada anak, anak diberi kesempatan untuk menentukan pilihan, mengemukakan pendapat, dan aktif melakukan atau mengalami sendiri. guru bertindak sebagai pembimbing dan fasilitator (depdiknas, 2005: 7). pembelajaran yang berpusat pada siswa akan menjadikan pembelajaran lebih bermakna. prinsip pembelajaran berpusat pada siswa: siswa terlibat, suasana nurul khotimah, pembelajaran berbasis anak dalam pengembangan bidang ... 145 menyenangkan, memberikan keasyikan belajar, belajar tidak dalam suasana tertekan, formal, dan tegang, serta memfasilitasi semua untuk belajar (materi pendidikan dan pelatihan, 2009: 6). jadi, pembelajarannya berbasis anak adalah pembelajaran yang diterapkan di sekolah berdasarkan kebutuhan anak, berorientasi pada perkembangan anak, bermain sambil belajar, pengajaran berpusat pada anak, pakem (pembelajaran aktif, kreatif, efektif dan menyenangkan). metode pembelajarannya dengan ceramah, diskusi, simulasi dan sebagainya dalam metode pembelajaran berbasis anak menggunakan metode bcct yaitu metode bermain sambil belajar yan berpusat pada anak, secara aktif dan kreatif disentrasentra pembelajaran bebasis pijakan guna mengembangkan dirinya seoptimal mungkin sesuai dengan potensi, minat dan kebutuhan. teknik dan taktik pembelajaran spesifik, individual dan unik. pada pembelajaran berbasis anak menggunakan teknik sentra dan individu anak sebagai dasar mengembangkan potensi anak dan setiap individu mempunyai keunikan masingmasing sesuai dengan kemampuannya. untuk pemecahan masalah pada penelitian yang berjudul pembelajaran berbasis anak dalam pengembangan bidang seni (rupa) di paud batik dan paud sabitul azmi sidoarjo perlu adanya kerangka berfikir pembelajaran berbasis anak. metode penelitian ini menggunakan pendekatan kualitatif, studi komparatif yaitu studi perbandingan diusahakan untuk menemukan persamaan dan perbedaan kualitas pembelajaran pengembangan bidang seni (rupa) di paud batik dan paud sabitul azmi sidoarjo. dengan menggunakan teknik pengumpulan data melalui metode observasi, wawancara, dan dokumentasi. pengumpulan data di dalam penelitian ini menggunakan beberapa teknik secara rinci sebagai berikut: observasi awal dilakukankan untuk menggali data dari beberapa paud yang berada di sidoarjo, gresik dan surabaya untuk mengetahui keadaan sekolah, pembelajaran berbasis anak, dan mengetahui paud yang telah menggunakan pembelajaran berbasis anak. observasi dilakukan untuk mengamati secara langsung proses pembelajaran di tempat paud batik jl. kwadengan barat no.68a sidoarjo dan paud sabitul azmi jl. raya kenongo no.33 tulangan sidoarjo. observasi dilakukan dengan obserobservasi terstruktur dan partisipasif, peneliti melakukan observasi sambil ikut serta dalam kegiatan yang sedang berjalan. peneliti mengamati aktivitas guru dan peserta didik dalam melaksanakan proses pembelajaran dalam pengembangan bidang seni (rupa) dari awal hingga akhir pembelajaran. hal ini dilakukan untuk mendapatkan data tentang kesungguhan dan keaktifan peserta didik dalam melaksanakan kegiatan seni dan kreativitas, kemampuan peserta didik dalam menggambar sederhan, mewarnai sederhana dalam kegiatan pengembangan bidang seni (rupa). wawancara dilakukan kepada elzim khosyiyati kepala paud batik, dan guruguru paud batik, selain itu wawancara kepada siti nuroikha kepala paud sabitul azmi beserta dewan guru, dengan aspek wawancara mengenai pembelajaran berbasis anak pada sekolah tersebut. wawancara kepada guru-guru yang mengajar di paud batik dan paud sabitul azmi dengan aspek mengenai proses pembelajaran berbasis pada anak yang telah digunakan pada sekolah tersebut. untuk mendapatkan informasi yang dibutuhkan mengenai pembelajaran berbasis anak, proses pembelajaran yang aktif dan menyenangkan pada anak usia dini. peneliti juga melakukan pengungkapan (enquiring) dengan wawancara informal secara mendalam terhadap guru pada saat penelitian ini dilakukan, yaitu tentang kemampuan yang telah dicapai oleh peserta didik dalam bidang pengembangan seni (rupa) dan mengidentifikasikan kesulitan-kesulitan pada proses pembelajaran berbasis anak yang dilaksanakan. harmonia, volume 12, no. 2 / desember 2012146 penggunaan dokumentasi, yang berupa aspek-aspek catatan yang ada, datadata yang diperlukan di paud batik dan paud sabitul azmi, pendokumentasian data dari hasil pencatatan semua fenomena yang ditemukan dalam penelitian mulai dari arsip kuisioner yang merupakan butirbutir pertanyaan wawancara, pemotretan profil, pencatatan hasil wawancara serta dokumentasi berupa gambar, video dan audio visual untuk memperkuat data yang ada. dokumen yang dihasilkan berupa hasil karya anak-anak dari paud batik dan paud sabitul azmi sidoarjo. data-data mulai dari rencana pembelajaran skh (satuan kegiatan harian), dan data mengenai pembelajaran berbasis anak. dan data berupa gambar/ karya anak. analisis dengan tiga tahap, yaitu reduksi data, penyajian data, dan diakhiri dengan menarik kesimpulan atau verifikasi data. analisis dilakukan dari tiga hal utama, yaitu reduksi data, penyajian data, dan penarikan kesimpulan/verifikasi sebagai sesuatu jalin-menjalin pada saat sebelum, selama, dan sesudah pengumpulan data dalam bentuk yang sejajar, untuk membangun wawasan umum (miles dan huberman dalam rohidi, 1992: 19). hasil dan pembahasan pendidikan anak usia dini (paud) batik berada di jl. kwadengan barat no.68a sidoarjo. pendidikan anak usia dini batik yang berada di kabupaten sidoarjo ini merupakan paud yang di dalamnya terdiri dari kelompok bermain dan tk di mana paud ini berada didalam kota sidoarjo yang letaknya cukup strategis, karena berada sekitar gelanggang olah raga gor sidoarjo, dekat dengan sun city waterpark sidoarjo tempat rekreasi anak di antaranya kolam renang, berbagai mainan, tempat penginapan, tempat seminar juga berbagai pertokoan berbagai jenis kebutuhan pangan, sandang dan kebutuhan lain, sehingga mudah dijangkau oleh warga dari seluruh wilayah sidoarjo. paud sabitul azmi berada di jl. raya kenongo no.33 tulangan sidoarjo. pendidikan anak usia dini sabitul azmi yang berada di kabupaten sidoarjo ini merupakan paud yang di dalamnya terdiri dari kelompok bermain dan tk dimana paud ini berada di kecamatan tulangan kota sidoarjo yang letaknya cukup strategis, karena berada sekitar pertengahan kecamatan dan jalur yang strategis berdekatan dengan berbagai sekolahan disekitarnya, diantaranya, sd negeri kenongo, smp muhammadiyah tulangan sidoarjo, smu muhamadiyah tulangan. di sebalah smu ada sebuah pasar tulangan sehingga mudah dijangkau oleh warga dari seluruh wilayah tulangan sidoarjo. pendidikan anak usia dini sabitul azmi dengan luas tanah 900 m2. sarana prasarana yang dimiliki pendidikan anak usia dini sabitul azmi terdiri atas 1 gedung sekolah yang mempunyai dua lantai terbagi menjadi 10 ruangan. bila kita masuk disekolah ruang pertama adalah ruang besar yang digunakn sebagai sentra persiapan. beberapa ruangan telah dijadikan sentra – sentra. ada ruang baca/ perpustakaan, dilantai bawah, ada ruang kepala sekolah, ruang guru, dan kamar mandi juga berada dilantai bawah. di lantai atas ada sebuah aula digunakan untuk kegiata menari, senam dan kegiatan lain yang menunjang dalam pembelajaran. beberapa sentra berada di lantai atas. pembelajaran berbasis anak pembelajaran berbasis anak adalah pembelajaran yang diterapkan disekolah berdasarkan kebutuhan anak, berorientasi pada perkembangan anak, bermain sambil belajar, pengajaran berpusat pada anak, pakem (pembelajaran aktif, kreatif, efektif dan menyenangkan) (wawancara yeti, kepala paud batik). pembelajaran berbasis anak adalah pembelajaran yang diterapkan di sekolah berdasarkan kebutuhan anak, berorientasi pada perkembangan anak, bermain sambil belajar, pembelajaran berpusat pada anak, pakem (pembelajaran aktif, kreatif, efektif dan menyenangkan) pembelajaran mengacu pada kurikulum diknas, kurikunurul khotimah, pembelajaran berbasis anak dalam pengembangan bidang ... 147 reka dapat menyenangi hasil pekerjaanya. hal ini dapat mengembangkan kemampuan mereka untuk menyelesaikan sampai tuntas. dalam pelaksanaaan pembelajaran berbasis anak juga menggunakn metode bcct sesuai dengan satuan kegiatan harian (skh). skh berisikan kegiatan sentra, tema, sub tema, hari, tanggal, kelompok. di dalam tabel berisikan no, indikator, waktu, kegiatan, metode, media, dan evaluasi. isi dari kegiatan: absensi, fisik, senam kupu-kupu, ikrar, membaca syahadat, menyanyi good morning, mars sabitul azmi, tepuk sabitul asmi, meditasi , materi pagi, menjawab apa dan dimana, pendidikan makan, sentra seni dan kreativitas (dengan setting pijakan sebelum , saat main, dan sesudah main. kelebihan dan kelemahan kelebihan pembelajaran paud batik sidoarjo kelebihan pembelajaran berbasis anak dalam pengembangan bidang seni (rupa) di paud batik, dilihat dari proses pembelajarannya (1) menggunakan pembelajaran berbasis pada anak, terbukti anak selalu di utamakan dalam proses pembelajaran. setiap anak bisa memilih kegiatan dalam pembelajaran, (2) lebih sistematik, dilihat dari awal pembelajaran sampai akhir pembelajaran, (3) mengutamakan kebebasan anak, di mana dalam sebuah sentra bisa bergiliran main sesuai keinginan anak tersebut, (4) menggunakan ekspresi anak, pada kegiatan pembelajaran guru hanya sebagai motivator saja. anak dibiarkan berekspresi sesuai keinginannya. kecuali anak memerlukan bantuan, (5) hasil ekspresi karya bermacam-macam, misalkan tema rumah, ekspresi anak bermacam-macam sesuai hasil karya menggambar sederhana pada hasil karyanya, (6) bisa memilih pengembangan seni yang diinginkan. sesuai kegiatan yang direncanakan. kelebihan pembelajaran paud sabitul azmi sidoarjo kelebihan pembelajaran berbasis lum depag yang terintregasi pada menu pembelajaran generik. pengembangan bidang seni (rupa) pengembangan bidang seni (rupa) wawancara suastini dan observasi di paud batik sesuai dengan proses sesuai kebutuhan anak dan orientasi pada anak dan berbasis anak. pada pengembangan bidang seni (rupa) anak secara bebas menuangkan idenya, misalnya dalam hal membuat gambar sederhana dan pemilihan warna. disebutkan dalam kurikulum (depdiknas, 2005: 25) bahwa bidang seni memiliki kompetensi dasar, yaitu anak mampu mengekspresikan diri dan berkreasi dengan berbagai gagasan imajinasi dan menggunakan berbagai media/bahan menjadi suatu karya seni. pembelajaran berbasis anak dalam pengembangan bidang seni (rupa) di paud sabitul azmi sidoarjo kelompok bermain dan tk sabitul azmi, adalah lembaga pendidikan anak usia dini yang program kegiatannya mengacu kepada kurikulum 2004 yang disempurnakan dan menu generik yang diintegrasikan dengan pendidikan keimanan, ketaqwaan dan akhlakul karimah atas dasar teori perkembangan anak. paud sabitul azmi sidoarjo menggunakan sistem dengan prinsip belajar melalui bermain, menggunakan sentrasentra yang dalam kegiatan belajar mengajarnya memberikan pengalaman kepada anak disentra yang berbeda-beda dan dalam hati yang berbeda-beda pula. anak-anak belajar melalui permainan untuk memahami dirinya. bermain adalah sangat penting seperti dalam kegiatan pendidikan keimanan dan ketaqwaan serta bermain peran. anak-anak beraktivitas, belajar bersosialisasi dan kebiasaankebiasaan dalam hidup beragama melalui kegiatan balok, seni, bahan alam, main peran dan persiapan. anak-anak bermain dengan bahan-bahan yang anak-anak gunakan untuk mempelajari macam-macam warna, angka dan huruf. mereka menggunakan kreativitasnya sendiri sehingga meharmonia, volume 12, no. 2 / desember 2012148 anak dalam pengembangan bidang seni (rupa) di paud sabitul azmi (1) pembelajaran berbasis pada anak sangat sesuai untuk anak. sesuai dengan perkembangan anak, dapat memilih kegiatan yang akan dilakukan anak. (2) lebih sistematik dalam proses belajar mengajar. anak dididik untuk mandiri, dan menentukan keinginan sendiri, (3) mengutamakan kebebasan anak. dimana anak bebas memilih kegiatan yang telah direncanakan oleh guru, (4) ekspresi bebas sangat mendukung dalam berkarya, (5) bisa memilih pengembangan seni yang diinginkan. sesuai sentra yang telah dibuka, (6) tempat lebih luas, pada sentra seni dan kreativitas di paud sabitul asmi lebih luas karena berada diluar ruangan lantai atas. terbukti pada situasi menggambar bebas di sentra seni dan kreativitas. kelemahan pembelajaran paud batik sidoarjo kelemahan pembelajaran berbasis anak dalam pengembangan bidang seni (rupa) di paud batik (1) hasil ekpresi kurang maksimal karena setiap anak mempunyai pengetahuan dan kreativitas masing–masing, (2) bila anak kurang mampu berkreasi gambar tidak maksimal, terbukti di hasil penelitian karya anak, (3) guru sangat berperan dalam pemberian motivasi, (4) guru harus pandai terhadap situasi, di mana bila anak memerlukan bantuan dalam berkarya, juga alat dan jenis warna yang dikehendaki. kelemahan pembelajaran paud sabitul azmi sidoarjo kelemahan pembelajaran berbasis anak dalam pengembangan bidang seni (rupa) di paud sabitul azmi (1) hasil ekspresi ada yang kurang, ada juga yang baik terbukti pada hasil pelaksanaan pembelajaran sesuai indikator, (2) guru sangat berperan dalam pemberian motivasi, (3) bila guru kurang menguasai teknik tidak dapat mengembangkan hasil karya anakanak maka guru harus pandai terhadap situasi. simpulan dan saran simpulan berdasarkan hasil penelitian yang telah dilakukan terhadap pelaksanaan kegiatan pembelajaran berbasis anak dalam pengembangan bidang seni (rupa) di paud batik sidoarjo dan pelaksanaan kegiatan pembelajaran berbasis anak dalam pengembangan bidang seni (rupa) di paud sabitul azmi sidoarjo maka dapat disimpulkan: pembelajaran berbasis anak dalam pengembangan bidang seni (rupa) di paud batik sidoarjo rencana pembelajarannya (penyusunan silabus) dapat berupa perencanaan semester (prosem) perencanaan mingguan (skm) dan perencanaan harian yaitu pembuatan satuan kegiatan harian (skh) dengan langkah pembelajarannya. pelaksanaaan pembelajaran berbasis anak penelitian dilapangan hal ini menjelaskan bahwa perencanaan pembelajaran berbasis anak dalam pengembangan seni (rupa) di paud batik sesuai teori menggunakan teori pembelajaran berbasis anak yaitu pembelajaran yang diterapkan di sekolah berdasarkan kebutuhan anak, berorientasi pada perkembangan anak, bermain sambil belajar, pengajaran berpusat pada anak, pakem (pembelajaran aktif, kreatif, efektif dan menyenangkan), menggunakan metode bcct dengan proses pembelajaran yang holistik dengan landasan filosofi konstruktivisme bahwa pengetahuan dibangun oleh manusia sedikit demi sedikit yang hasilnya di kemudian hari, sesuai dengan satuan kegiatan harian (skh). dengan menggunakan indikator anak dapat menggambar sederhana, anak dapat mewarnai sederhana, dan anak dapat menciptakan sesuatu dengan berbagai media. hasil pembelajarannya sesuai dengan skh dengan hasil produk karya anak sangat bervariasi antara anak yang satu dengan yang lain. pada indikator anak dapat menciptakan sesuatu dengan berbagai media di paud batik mengembangkan finger painting hasilnya pun sannurul khotimah, pembelajaran berbasis anak dalam pengembangan bidang ... 149 gat bervariatif. pelaksanaan pembelajaran berbasis anak dalam pengembangan bidang seni (rupa) pembelajaran berbasis anak dalam pengembangan bidang seni (rupa) di paud sabitul azmi sidoarjo dengan perencanaaan skh menggunakan indikator anak dapat menggambar sederhana, anak dapat mewarnai sederhana, dan anak dapat menciptakan sesuatu dengan berbagai media. pelaksanaannya sesuai dengan rencana skh. pembelajaran yang diterapkan di sekolah berdasarkan kebutuhan anak, berorientasi pada perkembangan anak, bermain sambil belajar, pengajaran berpusat pada anak, pakem (pembelajaran aktif, kreatif, efektif dan menyenangkan). hasilnya dalam pengembangan seni (rupa) berbeda antara hasil anak yang satu dengan yang lain. sedangkan indikator anak dapat menciptakan sesuatu dengan berbagai media di paud sabitul azmi pada pengembanganya menggunakan media komputer. pembelajaran berbasis anak meningkatkan aktivitas anak dalam perkembangannya baik secara kognitif, afektif, psikomotornya terutama bidang seni dan kreativitasnya, yang dapat membuat anak lebih aktif, ekspresif dalam melakukan kegiatan pengembangan seni (rupa). sesuai dengan pelaksanaan pembelajaran yang dilakukan di paud batik dan paud sabitul azmi sidoarjo maka kedepannya pembelajaran berbasis anak perlu adanya peningkatan baik dalam hal pembelajaran yang lebih bemutu di antaranya pengembangan seni (rupa) yang lebih bermakna dan bervariatif guna lebih meningkatkan kreativitas anak usia dini. kelebihan pembelajaran berbasis anak dalam pengembangan bidang seni (rupa) kelebihan pembelajaran berbasis anak dalam pengembangan bidang seni (rupa) di paud batik sidoarjo di antaranya pembelajaran berbasis pada anak, lebih sistematik, mengutamakan kebebasan anak, ekspresi anak, hasil ekpresi bermacam-macam, bisa memilih pengembangan seni yang diinginkan. kelebihan pembelajaran berbasis anak dalam pengembangan bidang seni (rupa) kelebihan pembelajaran berbasis anak dalam pengembangan bidang seni (rupa) di paud sabitul azmi sidoarjo di antaranya pembelajaran berbasis pada anak, lebih sistematik, mengutamakan kebebasan anak, ekspresi anak, hasil ekpresi bermacam-macam, bisa memilih pengembangan seni yang diinginkan dan tempat lebih luas khususnya pada sentra seni dan kreativitas. saran berkaitan dengan hasil yang dicapai dari penelitian yang dilakukan pada paud batik dan paud sabitul azmi sidoarjo peneliti mengajukan saran-saran sebagai berikut ini. guru selaku pembimbing perlu meningkatkan hasil belajar peserta didik dalam kegiatan menggambar sederhana, mewarnai sederhana, dan dapat menciptakan sesuatu dengan berbagai media de ngan suatu pembelajaran yang strategis dan terpola. salah satunya dengan penerapan secara optimal strategi belajar mengajar dengan pendekatan berbasis anak dengan metode bcct dengan proses pembelajaran yang holistik dengan landasan filosofi konstruktivisme bahwa pengetahuan dibangun oleh manusia sedikit demi sedikit yang hasilnya di kemudian hari. pendekatan berbasis anak secara terarah dapat meningkatkan ekspresi anak secara optimal. daftar pustaka baharuddin dan wahyuni, nur, esa. 2009. teori belajar dan pembelajaran. jogyakarta: ar-ruzz media. depdiknas. 2007. pedoman penerapan bcct dalam paud. jakarta: direktorat pendidikan anak usia dini, direktorat jenderal pendidikan luar sekolah dan pemula. harmonia, volume 12, no. 2 / desember 2012150 _________. 2005. pedoman pembelajaran di taman kanak-kanak. jakarta: direktorat jenderal manajemen pendidikan dasar dan menengah. _________. 2003. pendekatan kontekstual ( contextual teaching and learning (ctl)). jakarta: direktorat jenderal manajemen pendidikan dasar dan menengah, direktorat pendidikan lanjutan pertama. _________. 2002. acuan menu pembelajaran pada kelompok bermain. jakarta: direktorat pendidikan anak usia dini, direktorat jenderal pendidikan luar sekolah dan pemula. _________. 2002. acuan menu pembelajaran pada pendidikan anak usia dini (menu pembelajaran generik ). jakarta: direktorat pendidikan anak usia dini, direktorat jenderal pendidikan luar sekolah dan pemula. hamalik, oemar. 2009. kurikulum dan pembelajaran. jakarta: bumi aksara. hapidin. 1999. model-model pendidikan anak usia dini. jakarta: ghiyats alfiani press. lestari, dwi, gunarti. 2008. pembelajaran yang aktif dan kreatif melalui bcct. makalah disampaikan oleh tim petutor paud tingkat propinsi jawa timur. tanggal 29-30 april 2008. masitoh, dkk. 2005. pendekatan belajar anak di tk. jakarta: depdiknas, dirjendikti. miles, matthew b dan a. michael huberman. 1992. analisis data kualitatif. terjemahan tjetjep rohendi rohidi jakarta: penerbit unversitas indonesia. mulyasa, e. 2005. kurikulum berbasis kompetensi. bandung: remaja rosdakarya. mustaji. 2009. desain pembelajaran teori dan implementasi model pembelajaran berbasis masalah pla kolaborasi (model pbmpk) surabaya: unesa university press. nafik. 2008. metode pembelajaran de ngan pendekatan bcct. tim petutor paud tingkat propinsi jawa timur. tanggal 7 maret 2008. nur, mohamad. 2004. strategi-strategi belajar. surabaya: unesa university press. paud istiqlal. 2006. program bermain sambil belajar integrasi pendidikan agama dengan pendekatan bcct. jakarta: paud masjid istiqlal. pekerti, widia, dkk. 2008. metode pengembangan seni. jakarta: universitas terbuka. sumanto. 2005. pengembangan kreativitas seni rupa anak tk. jakarta: depdiknas, dirjendikti. yusuf, farida. (tt). program pendidikan pakem dengan kelas yang berpusat pada anak. 129 the symbolical meaning of macanan dance in barongan blora elinta budy institut seni indonesia surakarta, indonesia received: march 21, 2017. revised: august 23, 2017. accepted: october 10, 2017 abstract this study is aiming at finding out the symbolical meaning of macanan dance in barongan blora. the method implied in the study was qualitative with ethnochoreology approach. results indicated that macanan dance is a typical dance immitating the movement of an animal which is a tiger, which is known also in indonesia as ‘macan’. it also illustrates some movements which resemble the activity of a group of farmers. this study concluded that the movement of macanan dance contained specific meanings; specifically representing and illustrating the life of blora regency’s agricultural community in indonesia. keywords: meaning; symbol; dance; macanan; barongan how to cite: budy, e. (2017). the symbolical meaning of macanan dance in barongan blora. harmonia: journal of arts research and education, 17(2), 129-135. doi:http://dx.doi.org/10.15294/harmonia.v17i2.9284 harmonia: journal of arts research and education 17 (2) (2017), 129-135 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i2.9284 rongan can be seen some ritual activities, like in lamporan ceremony on which the barongan is used as a means of an important symbol of safety for the society. the emergence of barongan was started from ritual activity as part of bersih desa ceremony done by the blora society, such as, lamporan, murwakala, sedekah bumi, circumcision and wedding ceremony ritual. the blora society uses barongan as a means to send bad luck away, especially disease epidemic, by walking the barongan around the village (known as arak-arakan). barongan that is being developed recently, is a kind of stage performance consisting of several smaller parts, like, macanan, bujangganong, jaka lodra, jaranan/ jathilan, untub nayantaka, and nggainah. the macanan dance is a part that always exists in the initial part of the barongan performance. in 2003, the macanan dance is packed into 10 main movements as a form of stage performance. as a stage perintroduction barongan is a kind of performance which uses big mask and a sheet of cloth in stripes motives covering body. it purposes to make the performer to look like a tiger. the choice of tiger mask to be worn in barongan dance by the blora people is because of the belief hold by the people that tiger is the strongest animel which is able to protect all mankind (slamet, 2003). beliefs hold by the blora people towards the tiger becomes the main consideration of the use of tiger mask and the choice of barongan dance movements. functionally, barongan has a significant role in the life of the society, which is as part of social activity which is well known as ‘bersih desa’ ceremony. bersih means clean and desa means village. here, bersih desa refers to a kind of ritual aims to clean the village from evil spirit and bad luck. slamet (1999) once delivered that bacorresponding author: jl. ki hajar dewantara no. 19 kentingan, jebres, surakarta 57126 e-mail: mdslamet2008@yahoo.co.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 17 (2) (2017): 129-135130 formance, the form of barongan here will be a bit different with the type of barongan dance used in ‘arak-arakan’. slamet (2004) mentioned that there are 10 main movements in macanan dance, dekeman, gebyah, senggot, ngaklak, kucingan, geter, thatakan, glundungan, mbekur, and thapukan. in general, movements shown in macanan dance resembles the movements of a tiger and is adjusted with the habit and culture had by the society which mostly works as a farmer. the term macanan itself taken from the javanese word of ‘tiger’ which is known as macan. since the first emergence of barongan performance till now, the dance always shows the movement of ‘tiger’ in every of its show. the macanan dance as stage performance here emphasizes more to the aesthetic perspective in every of its show. it is seen from the well-ordered movement pattern. in addition, the existence of macanan dance can be seen more dominant in the blora barongan performance. this is shown by the duration of macanan dance show which took place in both the initial and the end of performace as well as the length of duration which is longer than any other dances containing in the same performance. macanan dance as the object of study here raises several research questions. spradley (1983) mentioned three basic aspects used to study culture: it is related to what is done by people, what is known by people, and what is used by people. the first aspect refers to the cultural behaviour or the act of doing arts. here, it is the barongan dance as the art. the second aspect refers to the knowledge of culture symbolizes in meaning, or the symbolical meanings of art. the third aspect refers to the result or product of a culture, which is the macanan dance. therefore, this study is aiming at studying deeper the macanan dance. to be specific is the symbolical meanings contained in macanan dance. related to further explanation about meanings contained in the macanan dance, a theory was taken from bandem (1996). bandem earlier took the theory about the same topic from allegra fuller snyder, which stated that dance is the symbol of human life and is an expressive kinetic activity. the meanings are formed through the stimulation, transformation, and unity. the theory delivered by bandem explained before is considered relevant to be used to analyze the meanings contained in macanan dance movement in barongan blora dance. the theory helps the researchers to analyze the macanan dance from the perspective of society and culture, considering that the macanan dance from blora regency is a product resulted from culture. meanings contained in the macanan dance can be seen from the process of movement formation, which consists of: (1) stimulation, revealing terms and movements; (2) transformation, revealing change; (3) unity, revealing formations and its meanings of macanan dance. method this study employed qualitative method. the approach used in this study was ethnochoreology. soedarsono stated that ethnochoreology, as like ethnomusicology needs to borrow theories, concepts, or system from other disciplines, therefore, the approach will be categorized as multidiscipline (pramutomo, 2007; cahyono, 2014). the data collection techniques of the study were in the form of observation, interview, and documentation study. the data analysis was conducted by employing interpretative analysis which is a direct data verification process in the data collection.the data gathered during the research are organized in order and classified based on different characteristics and types. the related data in this study are categorized based on the types of movement and symbolical meaning contained in the dance. results and discussion the macanan dance movements in barongan blora performance received several treatments before it became into a elinta budy, the symbolical meaning of macanan dance in barongan blora 131 whole and perfect set of movement. the process was initiated by the emergence of idea which was influenced by intuition, then was developed into imagination. from the imagination, it was continued into dance movement creation which was then resulted into ideas (smith, 1976). it can be said that the imagination or intuition of a dance creator will only be used or activated during the process of dance creation only. imagination is influenced by the ability or talent to form a realization of an idea that is used to do creation. the barongan dancers as well as the choreographer have a freedom of imagination towards the dance they perform. this intuition is supported by the knowledge of the barong dancer related to the kinds of movements as the main materials in the process of movement formation. ideas were taken from experiences in the form of stimulus in a series of movement that are transformed to a unity of movement till it may form meanings. from the previous research of mulyono (2003) about barongan as a tourism package that described about the manifestation of cat in arts, theory from desmond morris was applied. the theory discussed the theatrical mimicry which immitates the real movement of the real living object. the same as the study conducted by mulyono, macanan dance in barongan blora also contains movement adapted from the surrounding neighborhood, both animal and human’s movements. therefore, the immitation movement can be classified into two: (1) immitative, an immitation movement originally adapted from the immitation of animal and nature’s movement, (2) mimitive, an immitation movement, adapted from human movements and gestures (soedarsono, 1976). the formation of movement and simbolical meaning in macanan dance the dekemen movement is a kind of movement which requires the dancers to move forward entering the stage (known as beksan) while hands are placed in front of face, moving downward, as like worshiping. the head is nodding looking at the floor, while the mask is facing forward up high. the feet are opened widely and the body is crouching. the dekeman movement illustrates the attitude of a tiger while waking up from sleep. a tiger will only look pointlessly to the surrounding, while highly cautious, waiting for a prey. a tiger has a very sharp natural instinct in deciding which prey will it eats. dekeman, further, has meaning that as a human being, one should be focus in order to be success to achieve goals. figure 1. the dekeman movement using a tiger mask (elinta, 2017) the gebyah movement the gebyah movement is done by moving the tiger mask upward and downward,the hand is holding the mask, the body stands upright, while the leg is on jengkeng position; or legas are opened widely, the body of the barongan dancers moves by following the movement of the mask. the term gebyah itself is taken from the behaviour of blora society in farming. gebyah is the society habit, done every season while they are putting the rice plant to dry under the sunshine. while drying the rice plant outside, the farmers always stomp the rice plant’s bunch for the rice plant to blossom or expanding. the meaning presented here is the tradition that is still preserved by the society to maintain interaction for the tolerance and communication to be upheld well. it has the meaning that no matter one has reached success or not, one should not forget his origin. harmonia: journal of arts research and education 17 (2) (2017): 129-135132 figure 2. the gebyah movement wearing mask (elinta, 2017) the senggot movement senggot movement is done by moving the mask to the right and left sides while hands are holding the mask. the leg can stay stand straight or jengkeng, bending the leg up to 90 degrees. like gebyah, senggot is also a tradition for blora society. senggot is the activity of cutting grass by using arit, a javanese traditional bladder. the farmer itself usually do senggot in the rice field, or just around the the rice plant. the grass taken by the farmer is not allowed to be thrown carelssly, but to be given to the livestock. besides working in the ricefield, the farmers also rises livestokc,such as: goat, buffalo, and cow? the grass here bring both advantage and disadventage for the farmers. the advantage received by the farmers in harvesting period was doubled. the fee result of the harvest then can be used to filfill everyday needs. figure 3. the senggot movement wearing mask (elinta, 2017) meaning contained in the senggot movement is about how to value something positive and negaitve , good or bad, advantegous, and disadvantegous is based on the human itself. however, as human beingm we have to be selective towards it. the ngaklak movement the ngaklak movement is a mymesis of the movement of a tiger. on the other hand, ngaklak is the immitation of the tiger movemnt while eating, specifically after the process of stilative and distortive. in ngaklak movement, the mouth of the face are opened with the hands holding the mask and moving it upward and downward following the music accompaniment. it can be done both in fast and slow motions. figure 4. the ngaklak movement by wearing mask (elinta, 2017) the kucingan movement kucingan represents the movement of a tiger while targetting the prey. while targetting its prey, a tiger uses his eye six times better rather than a human. a tiger will always pay attention to its prey and kill it in the precise and correct time. the kucingan movements show the head of the barongan to get beaten by the barongan dancer, while moving and looking at surrounding, haunting a prey. the movement is naturally free and depends on the creativity of the dancers. it can be danced individually, in pairs, or even in a group. the movement of kucingan can be done both in high and low levels. moreover, since it is a kind of spontaneous movement, the music accompaniment pattern should adjust with the movement of the music players, mainly the kendhang. elinta budy, the symbolical meaning of macanan dance in barongan blora 133 the available natural resources. the word thathakan was originally taken from the movement that produces the sound thakthak on the hit wood. figure 7. thathakan movement by wearing mask (elinta, 2017) the glundungan movement glundungan, is movement immitating the tiger while it is rolling its body after experiencing the phase of stilative and distortive process. glundungan is movement on which the ‘tiger’ is rolling is body to the right and left side. figure 8. glundungan movement by wearing mask (elinta, 2017) the mbekur movement the mbekur movement shows the position of the tiger scratching its feet by doing wavy movement. it is done alternately from the right foot to the left foot with the biting technique. mbekur is a kind of immitative movement from the real tiger behaviour while biting its own foot after getting hurt or injured. a tiger, leaking its own leg while getting injured, so by showing this movement, it is hoped that one should have good impact both to himself and to other people within society by digging potential had by human being. figure 5. the kucingan movement by wearing mask (elinta, 2017) the geter movement geter is the movement of the dancers vibrating the mask. this movement is done with the movement volume narrow and fast dynamics. the character emerging from the movement is strict and stiff. the geter movement also functionalized as the connecting movement between one main movement to another main movement. the geter movement is an immitation of a person who is cutting woods by using sewer machine. small number of native blora society work as wood cuter in the woods which is known as mblandong. the activity is still frequently able to be seen till now since blora is well-known for its forest wealth. figure 6. geter movement by wearing mask (elinta, 2017) the thathakan movement thathakan is moving the mouth of the mask open and close while biting. the movement is done by hitting both hands into the mask’s mouth in turns. the movement of thathakan emerges from the activity when people are hitting woods. the wood craftsman is one of a profession had by the society in blora to make the use of harmonia: journal of arts research and education 17 (2) (2017): 129-135134 figure 9. glundungan movement by wearing mask (elinta, 2017) the thapukan movement thapukan is the movement of catching done in the position of sitting as well as standing with the biting the barongan technique. the movement is started by looking upward ad then crossing both hands as if the tiger is about to catch an object. the thapukan movement is an immitation of the tiger’s activity while catching its prey. macan is known to have vivid sensitivity and ability to catch its prey that will be impossible for the prey to run and get their freedom after getting caught. meaning attached within the movement is to use all of our energy to achieve the best for us. figure 10. thapukan movement by wearing mask (elinta, 2017) the movement organization in macanan dance soedarsono (1999) and cahyono (2014) once stated that movement consists of locomotion, pure movement, gesture, as well as baton signal. therefore, the movement in macanan dance is considered to have the four kinds of movement as stated above. the locomotion locomotion can also be categorized as transition movement. this movement is used to every transition, both in the dance (floor) pattern and the movement. these movements are danced by the dancers as the transition between two main stage patterns. besides, it also uses to connect one movement to the other movements. the movements belong to this category are kucingan and glundungan. the pure movement the pure movement in the macanan dance of barongan blora does not have any specific meaning. this movement is used to show the character of the tiger mask that is dnaced. usually, the movements are taken from the movements of a real tiger after they experience the phase of stilative and distortive. the pure movements in this dance are gebyah, senggot, and thathakan. the gesture gesture in the macanan dance of barongan blora has specific purpose. the meanings are related to the behavioral pattern of blora citizen as traditional society. all the meaning behind the dance is the reflection of the behaviour of the society living in the region where the dance were created. on the other hand, the dance contains value of society that is reflected through movements. gesture in this dance are seen in the movements of dekeman, ngaklak, mbekur, and thapukan. the baton signal the baton signal is the most dominant movement in macanan dance of barongan blora. this movement is related to the ability of the barongan dancers as well as the appropriate movement technique so that the expression can be seen based on the character of the mask that is performed. here, the movement belongs to the baton signal is geter. elinta budy, the symbolical meaning of macanan dance in barongan blora 135 conclusion the philosophical meaning is formed by the behavioral pattern of the society and the tiger as a symbol that is sacred by the society, that is believed to be able to protect the society from disaster and bad luck. in addition, the macanan dance movement in barongan blora illustrates the activity done by the society whose occupancy mostly are farmer; besides also showing the immitation of a tiger movement. the movement illustrating the activity of certain society is used to beautify and strengthen character, while the symbolical meanings are formed from the immitation of the movement of a tiger. references bandem, i. m. (1996). etnologi tari bali. denpasar: pustaka budaya. cahyono, a. (2014). pertunjukan barongsai dalam pendekatan etnokoreologi. mudra jurnal seni budaya, 29(1), 1-10. mulyono, h. (2003). tari barongan group risang guntur seto di kabupaten blora. skripsi. surakarta: institut seni indonesia surakarta,. pramutomo. (2007). enokoreologi nusantara (batasan kajian, sistematika, dan aplikasi keilmuannya). surakarta: institut seni indonesia press. slamet. (1999). barongan blora dalam ritus lamporan: kelangsungan dan perubahannya. jurnal sosiohumanika, 12(2), 131-140. slamet. (2003). barongan blora. surakarta: sekolah tinggi seni indonesia press. slamet. (2004). barongan blora dalam kemasan seni wisata. jurnal imaji, 2(2), 167-182. smith, j. (1976). komposisi tari sebuah petunjuk praktis bagi guru. translated ben suharto. yogyakarta: ikalasti. soedarsono. (1976). pengantar pengetahuan tari. yogyakarta: asti. soedarsono. (1999). seni pertunjukan indonesia dan pariwisata. bandung: masyarakat seni pertunjukan indonesia. spradley, j. p. (1983). calture and kognition: rules, and maps and plans. usa: chandler publising company. 197 developing android role playing game for elementary music learning r. gita ardhy nugraha1, totok sumaryanto2, kamsijo budi utomo2 1bethany elementary school, indonesia 2faculty of language and art, universitas negeri semarang, indonesia received: april 10, 2018. revised: october 7, 2018. accepted: december 24, 2018 abstract elementary students prefer to listen to modern songs from the device that they have in their daily life. in the music learning process, the student feels bored because of the monotone learning method, even though the music art learning process is an important process to promote student knowledge about indonesia’s traditional songs. innovation is needed because of this condition. this study aims to design and develop an android role-playing game (rpg) for music learning, especially indonesia’s traditional songs. this study also analyses the worthiness of android rpg game based on expert judgment validation’s score. based on expert judgment validation’s score, the music art learning media called “lagu nusantara” is worthy of supporting the student to learn about the basic of music learning and indonesia’s traditional songs. the average score is 3.6 for media representation, 4 for the material which presented in this game, and 3.3 for the use of language. the worthiness of this media is above 90% (precisely 90.83%). in conclusion, this rpg game can use by teachers or students to promote music art learning process, especially about indonesia’s traditional songs. keywords: role-playing game; android, music art; indonesia’s traditional song how to cite: nugraha, r. g. a., sumaryanto, t., & utomo, k. b. (2018). developing android role playing game for elementary music learning. harmonia: journal of arts research and education, 18(2), 197-207. harmonia: journal of arts research and education 18 (2) (2018), 197-207 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v18i2.14018 music learning in elementary school is an important process to tell and remind the student about indonesia’s traditional songs wealth. furthermore, indonesia’s traditional songs reflect people’s character who lived in the origin of traditional song (suharto et al., 2017; alfianto et al., 2014). indonesia’s traditional songs have deep moral value and can be learned through the learning process (indrawan et al., 2016). some of indonesia’s traditional songs also have spiritual significance as thanks to god (wijayanto et al., 2015; septiana et al., 2016). based on interview and observaintroduction music learning process in elementary school aims to make and develop student’s character. in the music learning process, the teacher can give moral and cultural value through songs that have provided by the teacher. the existence of music learning in the elementary school allows the teacher to develop student’s behavior, attitude, and character since the early stage (mulyono, 2012). furthermore, an aesthetic sense that trained through music learning is expected to build and develop a student’s personality in a better way (wicaksono, 2009). corresponding author: jl. kalipengging no. 4a, salatiga, indonesia e-mail: nug.ardhy@students.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 18 (2) (2018): 197-207198 tion in the music learning process, we found that the aim of music learning was not delivered well to the student. we saw some students were not paying attention to the material that given by their teacher. students felt bored because a lot of music learning process was delivered by theoretical and directly practice with a musical instrument, not playing songs directly (kusumadewi et al., 2011). they also more memorized pop or western songs than indonesia’s traditional songs (nadir, 2016). indonesia’s traditional songs become evicted because of foreign cultural influx which affects the way of playing music and singing a song in indonesia’s society (sumirat, 2014). moreover, the lack of introduction of indonesia’s traditional songs to children since early stage causing less interest of the child to know and learn their traditional songs (alam et al., 2014). based on observation, the music learning process in the elementary school perceived less utilize technology device that exists in the class. the teacher will use it if needed. music learning is focusing on theory and practice wherein theory be basic to do further practical method (amriyeni, 2013). the teacher admitted that the use of technological devices for music learning rarely used. the teacher realized that the lack of utilization of technological tools in the learning process makes students less interested in the learning activity. today elementary student generation are children who grow in the rapid development of technology. they were accustomed to playing games on their computer, gadget, and other technological devices (furió, 2015). if it used well in the learning process, the use of technological devices not only encourage motivation but also improves student’s positive behaviors (ciampa, 2014). no findings suggest that using technological devices provides adverse outcomes for the learning process (haßler et al., 2016). the using of technological devices especially mobile devices for music learning process is an alternative method to address the rapid development of technology. the teacher explained that use mobile devices for music learning process are needed if viewed from student’s habit who often use mobile devices. use a mobile device in the music learning process is an innovation that can help students to learn and improve student’s sense of music (rahmawan, 2016). the teacher also explained that music learning which packed by mobile games especially rpg games could affect student’s interest and motivation in the learning process because it is familiar for them like mobile legends game. rpg or role-playing game is one of games genre which has a storyline and main actor which played by the user (syaifudin, 2016). inside this game, some actors cannot play by the user. it is called non-player characters (npc). npc in this game helps the lead actor to finish storyline because they are connected to each other (perez, 2016, p. xxiv). this game also has a connection with each level and story so that students feel challenged to finish the story (maharani, 2016). through interview and observation, we found that learning media which packed in mobile games is needed to answer the challenges of information technology, especially in the music learning process. from the previous research, ciampa (2014) found that student could work cooperatively with their friends through mobile learning and increased positive behaviors. the using of mobile devices in the learning process also gives positive outcomes for students (fokides et al., 2016). makes music learning fun (wagner, 2017), engage student’s competences in basic music theory (chung et al., 2017), and increase student’s ability to read music score (ng et al., 2015) are the advantages of mobile game learning. rpg games in the learning process also worthy to use as learning media (hikam et al., 2013; sari et al., 2014; asriyatun et al., 2014; maharani et al., 2016; ningsih et al., 2016). music art is a kind of art that accepted by the human sense of hearing (bahari, 2008, p. 55). in education process, music art gives experiences for students and to r. gita ardhy nugraha et al., developing android role playing game ... 199 to listen to modern songs than traditional songs (nadir, 2016). although there is internet access in their school or home, they used the internet for entertaining their self like playing games or watching online video (su & cheng, 2015). the lack of student’s knowledge about indonesia’s traditional song also caused by parent habits. for example, parents are often listening to the modern song, and their children learn a song which heard by their parents (alam et al., 2014). because of this condition, the teacher wants to teach their students about indonesia’s traditional song in music art learning. the teacher knows that teaching indonesia’s traditional songs for elementary students is urgently needed. it will develop student’s character from the moral value that conceived by each song (alfianto et al., 2014; rosmiati, 2014; indrawan et al., 2016; sukoyo, 2017). it also helps students to know and learn indonesia’s culture (raharja et al., 2014; irawan et al., 2014; yudarta & pasek, 2017). the teacher also realized that teaching indonesia’s traditional song is an essential thing. because of that, the teacher makes every effort to explain it to students through learning innovation. the learning innovation that the teacher did is about the use of the technological device in the learning process. but, the teacher taught that was not enough to increase student’s interest and motivation for learning indonesia’s traditional songs. students seem bored while the teacher explained indonesia’s traditional song directly. the teacher needs something new to teach it to the student. based on student experiences about mobile devices, the teacher assumed that mobile devices could help the student to learn indonesia’s traditional songs. the teacher explained that the use of mobile devices in the learning process has a positive and negative effect. but, the teacher trusted that mobile devices could help student well in the music learning process, agreed with wagner (2017) and chung, (2017) explanations. in addition, adding games in the learning process through mohelp individual development that can impact on the growth of student’s mind, social, and emotion (desyandri, 2008, p. 61). music art also is a tool that helps students to get better personality and character (mulyono, 2012). music art can be delivered by digital media, especially mobile games. if it applied well, digital media gives a lot of advantages (daryanto, 2013) such as (1) makes message in the learning process clearly, (2) become a solution to overcome the limitations of space, time, energy, and sensory energy owned by teachers or students, (3) increase students interest and motivation, (4) allow students to learn independently. this study aims to design and develop android rpg game for music learning, especially indonesia’s traditional song. this study also analyses the worthiness of android rpg game based on expert judgment validation’s score. this game built with rpg maker mv software which developed by kadokawa games. method this study uses research and development method which is used to create and test the effectiveness of the product (sugiyono, 2015, p. 407). we used r & d model which design by branch (2009) with addie (analyze, design, develop, implement, evaluate) steps. we develop android rpg games based on “permendikbud no. 24 tahun 2016” especially for indonesia’s traditional songs in the elementary music art learning. we use rpg maker mv version 1.5.1 to build this game. our research data obtained from the validation test of material, media, and language. because of our limitation, we used a simple step of addie method and eliminate the “implement” step. result and discussion music art learning through mobile games is needed student knowledge of indonesia’s traditional songs was lacked. they prefer harmonia: journal of arts research and education 18 (2) (2018): 197-207200 bile devices is a better way to tell students about indonesia’s traditional songs. the student will be challenging because they can learn while playing a mobile game (ciampa, 2014). designing and developing an android rpg game for music learning based on the statement of the music teacher, we designed an android rpg game for music learning, especially on indonesia’s traditional song. our design based on “permendikbud no. 24 tahun 2016” and focused on music art learning in elementary school. this game called “lagu nusantara” because the student will play the main actor and adventure through every map. the player will find other people in the different village to learn a lot of indonesia’s traditional songs. figure 1 shows the storyline of this game. figure 1. flowchart of the storyline this game consists of several parts, such as a welcome screen, menu command, songs, actors, and map. every part is connected by machine language which is included on rpg maker mv software. figure 2 shows the welcome screen of this game. figure 2. welcome screen in figure 2, there show three menus that will allow the player to do some command in this game. the new game command used for starting a new game. continue command used for a beginning the game which has saved before. options command used for open options menu such as setting up the music volume in this game. we also design actors in this game that shows in table 1. table 1. actors on game main actor figure name kardi secondary actor figure name mr. parman non-player characters figure name pak supono bu melisa r. gita ardhy nugraha et al., developing android role playing game ... 201 didik bu ratih joko bu utami bu sinta pak dika pak hendro pak julian bu reina pak satrio inside this game, there is a map where the main actor learns about indonesia’s traditional songs. the main actor will read music score and sing together with npc as a mission that actor have to finish. after the mission complete, the actor will receive a paper which is a lyric and music score as a reward. in this mission, the primary and secondary actor will earn some experience points that can increase an actor’s base level. the example of the map shows in figure 3 and figure 4. then, in figure 5 and figure 6 are the example of android mobile deployment. figure 3. example map figure 4. example map figure 5. deployment on android device harmonia: journal of arts research and education 18 (2) (2018): 197-207202 figure 6. deployment on android device evaluation of android rpg game for music learning to test the worthiness of our product, we examined this game to the expert. we choose three expert judgment that consists of learning media expert, music art learning expert, and language expert. the media expert is adriyanto juliastomo gundo, s.si., m.pd., lecturer of faculty of information technology, universitas kristen satya wacana. the music art learning expert is iwan tri yulianto, music teacher at bethany elementary school. the language expert is dr. sunardi, s.pd., m.pd., lecturer of faculty of teacher training and education, universitas kristen satya wacana. from the learning media expert score, the android rpg game that we designed obtained 3.6 for an average score. this score category is perfectly worthy for music learning based on conversion score (purwanto, 2013). the music art learning expert gave a perfect score for this game. the average score is 4. then, from the language expert score, this game obtained 3.3 for an average score which score category is worthy. a detailed score of this product shows in table 2. from the learning media expert, there are some evaluation and suggestion for fixing our product. the expert evaluated that the music score and direction in this product is not clear enough. some music score in this product is difficult to read because of the size. for information, our product is not optimized well for the small mobile device (less than 5-inch screen size). so, the user will have an extra attempt to read the music score. the expert suggests adding some information to this game such as instructions of use item or button inside the game. the expert found that some button somewhat confusing, especially the okay button. there is a no different button for okay command and the boat ride button, so the expert suggests to make a difference between this button. but overall, this game is excellent to use in the music learning process, especially for indonesia’s traditional song learning. then, the part of product improvement shows in figure 7. in figure 5, the controller button repaired. controller button can hide the table 2. test score of expert judgement kind of test indicators score percentage learning media expert judgement test display of visual communication 3.7 92.5% software utilization 3.4 85% average score 3.6 90% music art learning expert judgement test rightness 4 100% material coverage 4 100% novelty 4 100% learning design 4 100% average score 4 100% language expert judgement test language 3.4 85% the use of spelling, terms, and punctuation 3.2 80% average score 3.3 82.5% r. gita ardhy nugraha et al., developing android role playing game ... 203 main controller by touched it while the song played. we also change music score to the bigger one so that player can read clearly. rule of thirds terms also fixed to arrange the better picture direction (aswin & muttaqin, 2014). figure 7. product improvement based on expert evaluation there are some evaluations and suggestions from the music art learning expert for this product. the music score needs improvement especially for the notes that shown in this game. the improvement focused on music notes with a slash. the expert noted that the explanations of slash in the music score must be clear and use the standard terms. in additions, the expert noted there should be clear instructions when the song played, for example adding gradations color like in karaoke lyrics to make it easier for the student to read the music notes. moreover, adding metronome to the song instrument is a better choice to make it easier to learn. from the music art learning expert, this game got a perfect score because the expert assumed that this game is very educational and the innovation in the music art learning process. the product improvement based on expert evaluation and suggestion shows in figure 8. based on language expert judgment, this game is good. there are some evaluations and suggestion for this product. the sentences which shown in this game should separate into two or three parts. the expert told that the sentences amount is too much. this condition will make the player feel bored. use sentences in bahasa should be shown as simple as possible but not decreasing the meaning. in addition, the dialogue text which displayed in the game should present well. the expert reminds about the term of the use of foreign words in bahasa. foreign words in this game must write in italic style. capitalize, and regular words also must be different. there is no necessary improvement in dialogue part because the expert gives a high score in this part. based on expert evaluations and suggestions, the product improvement shows in figure 9. figure 8. product improvement based on expert evaluation figure 9. product improvement based on expert evaluation in table 2, there is a score for this product based on expert judgment. in the media part, display of visual communication and software utilization got a score percentage above 80%. display of visual communication represents the attractiveness of learning media to attract student’s attention. color and image composition are essential things to make digital learning media eye-catching (hendrawan et harmonia: journal of arts research and education 18 (2) (2018): 197-207204 al., 2012; adinoto, 2015; febriyani & donna, 2016). adding pictures, sound, and animation in this product can interest students to focus on the storyline of the game. this game which developed with adding conversation and built in the mobile devices also support the student to establish comprehensive reading skills (kim & lee, 2016). from the material coverage which shown in table 2, this game presents the music art material very well. the perfect score that has given by expert is a proof. the material in this game consists of the basics of learning music score and how to learn indonesia’s traditional songs. the basics of learning music score include how to read the music notes and beats in music. this material is a primary material for elementary students before they learn about the complete music score. in the music learning process, the theory is an important thing to be mastered by the student (amriyeni et al., 2013). this product displayed indonesia’s traditional music score from the biggest island of indonesia as a representative form of the richness of indonesia traditional songs. adding songs from each of indonesia’s biggest island improve student’s knowledge about songs from various provinces in indonesia. this product is a kind of novelty in this technology era as a form of application of a useful model of art education (utomo, 2016). based on expert judgment score, this game is worthy to use as learning media. games that provided in the role-playing game genre is worthy to engage the learning process. the study before, told the same thing with this study which rpg game can use and increase student interest in the learning process (erwin & florensa, 2013; asriyatun & nugroho, 2014; sari et al., 2014; hartanto et al., 2016; maharani et al., 2016; ningsih et al., 2016; hermawan et al., 2017) . conclusion the lack of student interest and knowledge about indonesia’s traditional songs can make the existence of indonesia’s traditional song evicted. we know that today children generation prefers to listen to modern songs. so, music art learning process in the elementary school is urgently needed to remind and learn about indonesia’s traditional song. to promote student’s interest in indonesia’s traditional song, we need something new and innovative. as an innovation, mobile learning media for music art learning is necessary based on student’s habit who often play mobile games in their daily life. music art learning media can build into rpg games that to attract student interest. based on expert judgment validation’s score, the music art learning media called “lagu nusantara” is worthy of supporting the student to learn about the basic of music learning and indonesia’s traditional songs. the average score is 3.6 for media representation, 4 for music learning material that presented, and 3.3 for the use of language. the worthiness of this media is above 90% (precisely 90.83%). in conclusion, this rpg game can use by teacher or students to promote music art learning process, especially about indonesia’s traditional song. acknowledgements we would like to thank everybody who helps this study, especially to mr. adriyanto juliastomo gundo, s.si., m.pd., mr. iwan tri yulianto, and mr. dr. sunardi, s.pd. references adinoto, a. p. d. 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(2017). kecimol music as cultural identification of sasak ethnic. mudra, 32(3), 314318. 105 implementation of kupingan method in javanese karawitan music training for foreigners widodo1, bagus susetyo1, susan walton2, william appleton2 1universitas negeri semarang, indonesia 2university of michigan, united state submitted: 2021-04-26. revised: 2021-05-24. accepted: 2021-06-05 abstract the present work explores the implementation of kupingan method in the karawitan music training process to foreign participants with written tradition background. moreover, it aims to identify, analyze, and elaborate the strength and weaknesses of kupingan method in transfer knowledge of gamelan skills. the present study employed a descriptive-qualitative method and class-action research design. the research objects involved the training of javanese karawitan music to tlaga madu group from the university of michigan in 2019. the data were obtained through observation of participation, interview, and document study. the data were further validated by triangulation technique and analyzed by steps as follows: identification, classification, verification, reduction, and explanation. the results indicate that kupingan method is applicable in the karawitan music training for foreigners, yet, to a very limited extent. by implementing the method, the training participants can master simple gending (colotomic structure) instrumental of learning materials, such as basic technique and patterns of instruments in the small-format gending lancaran form. on the other hand, the materials of complex gending with larger formats than lancaran are more effective to be disseminated by karawitan notation that is written in detail and elaborated with a demonstration of the song play. keywords: kupingan method, javanese karawitan, gamelan, gending, training how to cite: widodo, w., susetyo, b., walton, s., & appleton, w. (2021). implementation of kupingan method in javanese karawitan music training for foreigners. harmonia: journal of arts research and education, 21(1), 105-114 harmonia: journal of arts research and education 21 (1) (2021), 105-114 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i1.29993 ce they mostly have a written tradition of music learning. on top of that, the system of inheritance and dissemination of musical works is also unique to most foreign learners (danandjaya, 1997). it is common within the javanese society to incorporate training and performance of karawitan as a process of inheriting and disseminating the works of karawitan composition. during these activities, the instructor transfers the gamelan skills to the learners in oral method: (1) imitating the fragments of gending (colotomic structure) of the song or instrument patintroduction since the twentieth century, javanese gamelan music, or karawitan, has successfully placed itself within a global discourse of traditional music. it features the unique physical appearance of the musical instruments as well as the musical procedures and cultural elements; these aspects are the magnet of karawitan to foreigners in learning and exploring the music (soesilo, 2018). the foreign learners of karawitan music might find the oral (folklore) tradition of karawitan music learning unique sincorresponding author: e-mail: widodo_bsejati@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 21 (1) (2021): 105-114106 terns and certain types of vocal by rengengrengeng (humming); (2) demonstrating the instrument play and certain types of vocal; (3) presenting the model of certain gending with reference to other relevant gending models, and other conducts. meanwhile, the learners absorb the knowledge by making use of their auditory senses while recording, imitating, memorizing, and developing the learning materials by themselves. within the activities, detailed notes regarding the musical aspects of karawitan are not of emphasis. the musical notation is only used as necessary as a reminder of the working model in certain parts of the musical that are considered important (supanggah, 2002). the learning process tends to avoid using a strict and detailed karawitan musical note since it can restrict the play model. such conduct can limit the learners’ creativity and weaken their musical sensitivity. the knowledge transfer model of karawitan music skills is also referred to as kupingan method, derived from ‘kuping’ or ‘ear’. the suffix -an illustrates the emphasis on utilizing ears or auditory senses in an activity to achieve the goals (widada & sukardi, 2001). the method is a common way of learning javanese karawitan music that has been passed down for generations. karawitan notation was firstly introduced in 1850-1860s in the form of musical notation adopted from the western musical tradition to record 49 sekar ageng songs as the learning materials of tembang in elementary schools (sumarsam, 2003). several other notations, such as rante, andha, and the latest, kepatihan, have also emerged at the later period. the embryo of kepatihan notation emerged in 1920s in kepatihan, the residence of patih sasradiningrat iv in the era of king pakubhuwana x of surakarta (pradjapangrawit, 1990). the notation takes the form of number one to seven to show the note progression and melodical groove of the karawitan composition. other aspects of the notation involve the letter sign, lines, dots, ticks, circles, and other signs to show the play of structural ricikan and the dynamics of gending creation. the note-taking of gending takes the form of an outline of song groove and gending structure. in this regard, the notation of karawitan composition is referred to as balungan gending notation. the notation functions as the reference of the play rather than a detailed note on the whole instrumental and vocal play of gending composition that the performers must follow (supanggah, 2009). perlman, mentions that balungan gending is an unplayed melody. meanwhile, sumarsam refers to it as an inner melody, while benamoue regards it as a reference melody (perlman, 1993; sumarsam, 1992; & benamoue, 2010). despite already having a proper notation system, the process of teaching gamelan skills still incorporates kupingan method. aside from its function as the reference, karawitan notation also functions as the interpretation of gending creation expressed in the joint performance through the sound signal and response between ricikan (instruments) and vocals. this aims to form an entailed, holistic, dynamic, cohesive, and unitary karawitan composition. brinner refers to this sound signal and response as the musical interaction, while santosa calls it musical communication (brinner, 1995; santosa, 2001). the signals are played by leading instruments in the form of sound of kendang drum, rebab fiddle, gender barung, and bonang barung to begin, pause, continue, accelerate, decelerate, strengthen, weaken, highlight, move, direct the song groove, end the performance, and show the dynamic of gending play. meanwhile, the supporting instruments respond by playing particular patterns in accordance with the musical signal from the leading instruments. the combination of instrumental signals, responses, the sindhenan, and gerongan vocal form the karawitan composition. since the sound signals and responses are auditive-spontaneous, the performers are demanded to hone their auditory senses and musicality to recognize the signals (walton, 1996). the musical working culture of jawidodo et al., implementation of kupingan method in javanese karawitan music training 107 vanese karawitan allows a huge potential of the development of kupingan method. to the practitioners of karawitan music, kupingan method has been very useful as a method of gamelan skill learning that enables them to develop a sense of musicality and auditory sensitivity. regarding the previous notion, the incorporation of kupingan method in foreign learners of gamelan that mainly apply written tradition is yet to be explored. in addition to its effectiveness, the learning materials’ acceptable level of complexity for the foreign learners and the strength and weakness of kupingan method is of high interest. the notions above serve as the rationale of the present classroom-action research. purohman opines that classroomaction research refers to applied research conducted during the teaching process in the class (purohman, 2018). the domain of classroom-action research involves instructor, learners, learning process and outcomes, curriculum, social capital, environment, and other aspects. the approach might incorporate a different academic background, from psychology, sociology, ethics, religion, economy, history, philosophy, and the like. the stages of classroomaction research involve planning, action, observation, and reflection. kopiez divides the auditory senses’ ability to grasp musical materials in musical training into two levels, high and low. the indicator of a high ability comprises the ability to grasp and break down the combination of notes in a particular rhythm pattern, notes that stand out without melody, note combination with a lowering pitch, as well as the combination of four notes and three notes; while a low ability is only capable of grasping simple musical elements (kopiez, 2018). the learners’ ability in the learning process of javanese karawitan refers to their mastery of musical aspects of karawitan music and its gending instruments as the learning materials. the gending instruments involve the play technique, vocals, céngkok, wiled, rhythm, laya, laras, pathêt, and dynamics (hastanto, 2009). the gamelan musicians play the instruments to express the musicality in a gending composition. a quality karawitan composition must ensure that the elements of gending can work optimally in accordance with the aesthetic and cultural principles. this is to generate a good taste of karawitan composition that emphasizes the character of gending (supanggah, 2009). in line with that, benamou highlights that aesthetics or ‘taste’ is the core principle of javanese karawitan music (benamoue, 2010). widodo refers the depth of karawitan as “laras”, or the beautiful and aesthetic ‘taste’ of karawitan. the performance of karawitan composition can awaken the “laras” feeling if the model is conducted properly according to the aesthetic and cultural principles that apply. in this regard, the composition performed will also show a dynamic, compact, holistic, vibrant, appreciative, but not emotional (widodo, 2017). method the researcher developed one’s research interest regarding the learning process of karawitan music in foreign learners since assigned as the instructor of karawitan music training at university of michigan in 2019. the training objectives are the most integral part of the whole process as the benchmark in designing the further activities, analyzing the situation, identifying what approach to use, preparing materials and implementing in a class, and revising. in line with this, classroom-action research involves several steps to achieve the learning objectives: planning, action implementation, observation, and reflection (purohman, 2018). the study employed a descriptivequalitative method and classroom-action research design. it was conducted in the training of javanese karawitan music to tlaga madu group, school of music theater and dance, university of michigan, united states, in 2019. the data were obtained through observation of participation, interview, and document study. the observation was conducted during the harmonia: journal of arts research and education 21 (1) (2021): 105-114108 whole training process, starting from midseptember to mid-december, 2019. a preliminary observation was carried out to analyze the situation of training facilities and infrastructure. upon that process, further observation was conducted to retrieve the data regarding the learning materials’ contents and level of difficulty and the students’ response in mastering the learning materials taught by kupingan method. the study aimed to observe the effectiveness of kupingan method in its correlation with the achievement of training objectives. kupingan method was applied since the earlier phase of the training process in the topic of basic technique and patterns of gamelan instruments to play gending lancaran composition. the method’s effectiveness was to be continuously evaluated and revised after the reflection phase. the method will no longer be used if the participants feel overwhelmed and find it difficult to master the complex learning material. moreover, a document study was employed to acquire the data on the musical thought process in the participants that apply written tradition. further, an interview was conducted with the learners to investigate the learners’ acceptance level of the learning materials taught by kupingan method. the data were further validated by triangulation of source, method, and theory. the results generated were verified, identified, classified, interpreted, reduced, and analyzed to generate an answer to the research question. further, the study elaborated on the strength and weakness of kupingan method regarding the learning materials as well as the learners’ acceptance and the set objectives. results and discussion training of javanese karawitan music to tlaga madu group, university of michigan objectives the objectives of karawitan music training in tlaga madu group at the university of michigan in 2019 are different in beginner class and advanced class. the training objectives in the beginner class are: (1) the learners are able to recognize names, shapes, types, and materials of gamelan instruments and mallet tools, as well as the play system; (2) the learners can demonstrate the basic playing techniques of gamelan instruments; (3) the participants can play patterns of gamelan instrument of lancaran composition; (4) the learners are able to perform the gending in a live show with general audience. in advanced class, the objectives of karawitan music training encompass: (1) the learners are able to play the instrument, and vocal patterns of gending lancaran, ketawang, and ladrang; (2) the learners can play the accompaniment gending for javanese classical dance; (3) the learners are capable of performing the gending as taught during the learning process in a live karawitan concert with the general audience. the learners undergo collective and private karawitan lessons. the private lessons aim to enrich the learners’ knowledge on certain patterns of instruments and vocals in the taught gending to optimize the participants’ performance. facilities and infrastructure the karawitan training process took place in the keverson rehearsal hall number 1320, william k & deloris brehm pavilion building, at school of music, theater, and dance university of michigan. the room’s area is 16 x 20 meter square with a soundproof acoustic system. the whole collective training sessions were conducted in the room, while some of the private sessions were conducted in different rooms in the same building. concerts that present the participants’ gending performance were held live in moore building, mcintosh theatre, school of music, theatre and dance university of michigan. the training process used complete gamelan instruments set of university of michigan property bought in 1966 by william palm. the gamelan set named kyai tlaga madu features several instruments: four units of kendang (bem, sabet, ciblon, and ketipung), three units of gender barung widodo et al., implementation of kupingan method in javanese karawitan music training 109 (laras slendro, pelog barang, and pelog bem), two units of gender penerus, bonang barung, and bonang penerus (laras slendro and pelog), two units of slentem, four units of demung, four units of saron, two units of sarong sanga, two units of peking, 13-pencon kenong, two units of ketuk-kempyang, 11-pencon kempul, two gong gedhe, two units of clempung, two units of gambang, and a pair of flute. the gamelan set is stored in wooden shelf in the back side of rehearsal hall. the gamelan set is used when training or for karawitan show. meanwhile, stationery, whiteboard, board markers, and eraser are the tools to be employed when discussing important topics of gending. other types of media employed in the karawitan training process are balungan notation of gending materials taught and notation of instrumental and vocal play written by the instructor in detail with kepatihan font for cipher notation in sheets of paper. the learners also bring recording tools to record the demonstration of instrumental and vocal play patterns as performed by the instructor. participants, materials, and training schedule the training participants involve the tlaga madu karawitan group members that enrolled in a training process and performance of karawitan music in 2019. the beginner class was enrolled by seven undergraduate students from different study programs in the local university. due to shortage of gending players, after the first karawitan concert in the indonesia cultural caravan midwest-2019 festival, the participants in beginner class were merged into the advanced class. the decision was made to introduce the participants to the various characters of gamelan instrument sounds and their combinations in javanese gending composition. in the advanced class, all participants were given the opportunity to enrich their vocal and instrumental play on topics with moderate level of complexity, i.e., saron, ketuk-kempyang, kenong, and vocal. the advanced class was enrolled by the tlaga madu group members who already have a prior knowledge of javanese gamelan before the training. the participants consisted of 14 individuals from the university and the outside of university that share a common interest in javanese gamelan music. the participants are offered to take a private class that discusses instrumental and vocal play patterns in the gending taught at the training process to increase their gamelan music skills. the private class mainly discusses instruments such as kendang drum, gender barung, bonang barung, gambang, clempung, and gerongan vocal. the collective sessions mainly discuss compositions of javanese karawitan. the variety and complexity of gending composition are adjusted to the participants’ ability and the learning objectives. in addition to the introduction to the gamelan instruments, mallet tools, technique and patterns of balungan instruments, structure, and composition, the beginner class also discusses gending lancaran composition of lancaran kotek sl. my. and lancaran ijo-ijo sl. my. the beginner class is also instructed to assist the advanced class in presenting retna pamudya classical javanese dance by playing the gending ladrang kandha manyura sl. my. in the indonesia cultural caravan midwest-2019 concert. other topics discussed involve klenengan and dance gending as the presentation material in a karawitan concert to end the training process. in detail, the material comprises: 1) bonangan ladrang semar mantu pl. nem; 2) lancaran tlaga madu pl. nem; 3) ketawang kaduk rena sl. sanga miring; 4) gending of klana gandrung dance: ada-ada, lancaran bendrong, ladrang pucung rubuh, lancaran bendrong, and sampak pl. nem; and 5) gending of gambir anom dance: adaada, lancaran rena-rena, ketawang kinanthi sandhung, and srepeg sl. nem. the training time and duration of beginner, advanced, and private class is scheduled by the university coordinator. the beginner class begins every tuesday, while the advanced class starts every wednesday, thursday, and friday. all classes harmonia: journal of arts research and education 21 (1) (2021): 105-114110 begin from 5-7 pm. on top of that, private sessions are conducted every saturday and sunday from 1-3 pm. all participants are subject to follow the schedule. karawitan training classes are closed at national days, mid-term break, and end-term break that apply in university of michigan. implementation of kupingan method in training of javanese karawitan music to tlaga madu group, university of michigan the first topic discussed in the beginner class is the introduction and basic techniques of gamelan instrument. the class implemented a lecture model to disseminate the theoretical lessons on the aforementioned aspects. the gamelan instruments of pencon, bilah, and other forms were made of metals with a combination of wood, leather, strings, and bamboo. the instruments comprise: gong, kempul, kenong, ketuk, kempyang, bonang barung, bonang penerus, slentem, demung, saron, peking, gender barung, gender penerus, gambang, clempung, siter, kendang drum, and rebab fiddle. javanese gamelan applies slendro and pelog scale system. the note sequence in slendro is 1, 2, 3, 5, 6, or ji, ro, lu, ma, nem, and in pelog: 1, 2, 3, 4, 5, 6, 7 or ji, ro, lu, pat, ma, nem, pi. the notes are embedded in all instruments and organized in the respective frames. the training applied kupingan method since the first topic. the pencon and bilah are played by striking with the respective mallets, while hand palms and fingers play the kendang drum. meanwhile, the rebab is played by fiddling with the kosokan stick, while the siter and cemplung are played by strumming with thumbnails. the flute is played by blowing air into it. the striking technique also involves the instrument lid; after striking, the pencon is closed with its lid to prevent echo, while the gong is let to reverb. all plate instruments except gambang are closed by fingers after struck. the closing technique consists of two methods: first, after striking, a note plate is closed (or held) before the second strike. the technique is applied in composition of gangsaran, sampak, and imbal saron patterns. second, the plate is closed (or held) simultaneously when striking another plate. this technique is applied in almost all forms and compositions of karawitan music. after demonstrating the basic techniques, the instructor instructs the participants to practice as demonstrated. the first sessions discuss basic techniques of balungan, involving instruments such as slentem, demung, saron, and peking. after the participants master the lesson, the instructor instructs them to play note three and six from the lancaran composition. in addition to enhance their mastery on basic techniques, the demonstration also aims to internalize the sequence of balungan notes in short gending. slentem, demung, and saron plates are played alternately and repeatedly to generate the notes, while each peking note plate is struck twice. once the participants are able to master the basic techniques, the training continues to discuss basic techniques of playing structural, kenong, kempul, gong, and ketuk instruments with a pattern of lancaran form. the notes selection is adjusted with the sequence of short notes as above. the kenong generates a sixth note at each even strike, while kempul generate the same not at each odd strike (except at the first strike where it is not played), gong is struck at the eighth tempo, and ketuk is played in between the strike of balungan notes of gending. both instrument groups are instructed to play simultaneously in several sessions. the next topic discusses technique and pattern of bonang barung and bonang penerus. both groups perform the gembyang pattern at sixth note with strike pattern in accordance with the interpretation of lancar density composition. the next instruction is to play the technique and pattern with other instrument groups without looking at the notation. the last lesson at this part is the technique of kendang bem and ketipung. the instructor teaches a technical lesson by lecture method and continues to the note exploration and demonstration. after demonstrating, the instructor asks the widodo et al., implementation of kupingan method in javanese karawitan music training 111 participants to demonstrate the play. the technical exploration of kendang play generates a thung sound (p sign), dhah (b sign), tak (t sign), and ket (k sign). once the participants are able to master the notes, they are instructed to compose a kendang sound composition to form a kendangan main pattern of lancaran as follows: the next instruction is to play the kendang pattern altogether with other instrument groups repeatedly by referring to each group’s pattern. at this stage, the participants are able to perform the piece of gending lancaran composition. the next session discusses the piece of balungan gending of third and second notes at the advanced stage. bonang barung and bonang penerus players play the second note gembyang, while kenong players play the second note, and kempul players play the sixth note at the same strike as previous part; the same also goes for gong and ketuk. while listening to the composition harmony, the instructor also monitors the players’ accuracy of techniques and pattern of each instrument. the last instruction in this part is to combine the pieces of two notes in the first part (third and sixth notes) and the two notes in the second part (third and second notes). the first note group plays three times, while the second group plays once. the combination of note sequences is played repeatedly until all participants are able to master their respective parts. at this stage, the participants have performed a gongan unit of lancaran karawitan composition. the next instruction for the participants is to play the fifth, third, second, and first notes. bonang barung and bonang penerus players play the first note gembyang, while kenong players and kempul players play the first note at the same strike as previous part; the same also goes for gong, ketuk, and kendang. afterward, the next topic discusses third, second, first, and sixth notes. once the participants are able to master the lesson, the instructor asks them to play the combination of the first and second notes alternately and repeatedly. at this stage, the harmony of notes represents the second gongan stanza of lancaran karawitan composition. the last verbal instruction is to play the combination of the first and second gongan stanza, each in two rounds. the performance is conducted repeatedly until the participatns are able to play the correct technique and pattern without using notation. once all participants with their respective instruments master the whole composition, the instructor explains that the composition they played previously is a lancaran form. the composition is named lancaran kotek laras slendro pathet manyura. the balungan notation of gending is then explained. figure 1. balungan notation of gending lancaran kotek, sl. my. figure 2. notation of kendang kalih (bem & ketipung) pattern in lancaran form description a: kendangan pattern of nampani buka functions to respond to the opening b. kendangan transition pattern from opening to the main kendangan c main kendangan pattern is performed repeatedly d: kendangan pattern of salahan is performed at the last stanza of gongan song e: kendangan suwuk pattern is performed to end the gending play harmonia: journal of arts research and education 21 (1) (2021): 105-114112 the effectiveness of kupingan method in training of javanese karawitan music to tlaga madu group, university of michigan based on the results, the kupingan method was implemented effectively to introduce basic technique and pattern of gamelan ensemble in a gending lancaran composition. almost all participants are able to master and demonstrate the technique and pattern at a relatively easy and fast level as instructed by the instructor. however, when the composition is performed in the next meeting without using notation, some of the participants were not able to remember their part. this implies that the instructor should remind the patterns of instrument at certain gending parts to the participants who could not memorize them. these cases mostly occurred in the response towards the gending opening, acceleration and deceleration of tempo, as well as increase and decrease of volume. despite having repeatedly played, some participants were not fully sure of the right time to start playing once the opening is performed. the problems urge the instructor to reflect and come up with a solution (purohman, 2018) to allow the participants to use notation. the participants are also allowed to incorporate the counting method to ensure that they can respond to the opening and play their respective instruments. the amount of beats is calculated starting from when the kendang plays the first strike at the nampani buka pattern to the gong note of gending opening. the eighth count pattern of all instruments plays the first note altogether to begin the gending composition. the same case also occurred in the play of gending dynamics initiated by the kendang while playing a certain note characteristic and pattern. however, when the kendang played the musical signal as the sign to accelerate the tempo (or vice versa) or increase the volume (or vice versa), other instruments were not able to respond accurately. this is presumably due to the lack of comprehension of the musical intention and memorization of the patterns. after conducting reflection, the instructor formulates a solution to ensure the placement of gending dynamics and marks it with karawitan notation. the solution is proven to be able to increase the participants’ musical feeling of the gending dynamics. despite that, the instructor should emphasize that the determination of gending dynamics is not supposed to be a standard aspect to implement. it is expected that the participants can adjust to the kendang signals spontaneously as in accordance to the aesthetical principles of karawitan music. this takes into account that the spontaneous interaction between ensemble parts is a distinct characteristic of gending composition in javanese karawitan music (brinner, 1995). some similar cases also occurred in private classes. when the composition and the placement of playing patterns of certain gamelan instruments have been shown orally in the balungan gending notes, it is not easy for the participants to play and remember them without using notation. the solution to this is that all the patterns of playing the instruments taught in private classes, i.e., kendang, gender barung, bonang barung, gambang and clempung, are written in detailed notation. the participants were able to master the parts quickly when the playing patterns were written down in detail, and also the meaning and the reading method were explained. however, these musical patterns are limited to following notes written in notation. as reflected from the cases, the study underlines several syntheses: (1) kupingan method can be used to teach gamelan skills for foreigners to a very limited extend, i.e., at the introduction of techniques and patterns of playing certain instruments in gending lancaran composition; (2) more complex gending lessons than lancaran (ketawang, ladrang, gending kethuk 2 kerap, etc.), as well as the playing patterns of the instruments and other complex gending models are more effectively conveyed through the use of musical notation media; (3) composition of a detailed karawitan musical notation is widodo et al., implementation of kupingan method in javanese karawitan music training 113 an alternative to facilitate the transfer process of gamelan playing skills, while also taking into account the need of emphasis that the notation is not supposed to be a standard matter to follow. by this, the participants are expected to develop musical skills and feelings as they experience javanese musical compositions. such detailed notations are never used for local javanese karawitan performers, as they might view these notations as too complicated, binding, and less functional. in contrast, a detailed musical notation record is needed to facilitate the transfer of gamelan playing skills for foreign learners. conclusion kupingan is a method of gamelan teaching used for generations in the javanese karawitan world in training and musical performances. the students grasp and internalize the teaching material by relying on their auditory sensitivity and musical sense. in these activities, the use of musical notation is not emphasized. the habit of kupingan method is able to enhance the performers’ auditory sensitivity and musical taste. the study underlines several interesting notes in implementing the kupingan method to foreign learners with written musical tradition. it is found that kupingan method is able to be incorporated in this context, despite to a very limited extent. as the results suggest, the participants were able to master the introduction to basic techniques and play patterns of gamelan instruments in gending lancaran composition. moreover, the patterns of instruments, vocal songs, and dynamics of relatively complex compositions are more effectively conveyed by using detailed musical notation. the habit of reading scores of western musical compositions makes it easy and fast for them to accept and master the karawitan composition topics compared to the kupingan method. references benamoue, m. (2010). rasa, affect and intuition in javanese musical aesthetics. oxford university press. brinner, b. (1995). knowing music making music javanese gamelan and the theory of musical competence and interaction. the university of chicago press. danandjaya, j. (1997). folklor indonesia. pustaka utama grafiti. hastanto, s. (2009). konsep pathêt dalam karawitan jawa [concept of pathet in javanese karawitan]. pps isi surakarta & isi surakarta press. kopiez, r. (2018). development and validation of the musical ear training assessment (meta). journal of research in music education, 66(1), 53– 70. perlman, m. (1993). unplayed melodies music theory in post colonial java. wesleyen university. pradjapangrawit. (1990). wedhapradangga. the ford foundation dan stsi surakarta. purohman, p. s. (2018). classroom action research alternative research activity for teachers. uhamka. santosa. (2001). constructing images in javanese gamelan performance: comunicative aspects among musicians and audiences in villages comunities. university of california, berkeley. soesilo, i. (2018). teknologi maritim dan teknologi pertahanan indonesia [indonesian maritime and defense technology]. biro umum kementerian koordinator bidang kemaritiman. sumarsam. (1992). historical contexts and theories of javanese music. cornell university. sumarsam. (2003). gamelan, interaksi budaya dan perkembangan musikal di jawa [gamelan, cultural interaction, and development of music in java]. pustaka pelajar. harmonia: journal of arts research and education 21 (1) (2021): 105-114114 supanggah, r. (2002). bothekan karawitan i. mspi. supanggah, r. (2009). bothekan karawitan ii: garap. pps isi surakarta & isi surakarta press. walton, s. p. (1996). heavently nymphs and eartly delight: javanese famale singer, their music and their lives. umi, michigen. widada, s., & sukardi. (2001). kamus basa jawa (bausastra jawa) [javanese language dictionary]. kanisius. widodo. (2017). konsep laras dalam karawitan jawa [concept of laras in javanese karawitan]. institut seni indonesia yogyakarta. 105 exploring students’ experiences of virtual learning environment for art history classroom jiyeon park, sooyun sohn hongik university, south korea submitted: 2022-12-19. revised: 2023-04-03. accepted: 2023-05-02 abstract during the covid 19, students and instructors experienced double-way synchronization distance classes. recently, the metaverse was drawn much attention to the online virtual world as a channel for social interaction. it has received renewed interest as a new method of surmounting the limitations of external activities after the pandemic. a few studies have focused on the usability of metaverse in a classroom, but no attention was paid to its applicability to art history as well as to the higher level of education. in order to compensate for the limitations of two-way synchronized remote learning in university art history classes, gather.town was adopted as a metaverse platform in both western modern art history classes and art history methodology classes. in this study, we surveyed and interviewed students who used both webex and gather. town. this study examines students’ experiences in accessibility, social presence, convenience of interaction, interest and immersion, and satisfaction when the students use the metaverse platform, gather.town. the examination of this study confirms that the virtual space of metaverse was more helpful in making students feel a sense of presence, interaction, and engagement than webex and demonstrates the possibility of this platform as a sustainable and valid tool in art history education. keywords: metaverse, gather.town, art history education, synchronous online learning how to cite: park, j., & sohn, s. (2023). exploring students’ experiences of virtual learning environment for art history classroom. harmonia: journal of arts research and education, 23(1), 105-120 harmonia: journal of arts research and education 23 (1) (2023), 105-120 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i1.41094 art history education, especially for higher-education institutions, requires higher-order cognitive skills (kali et al., 2015). according to erickson (1983), the traditional teaching methods of art history are exposing students to artworks, presenting information verified by art historians, and leading them to approach art history as a process of inquiry. teaching art history has been conducted mainly through lectures and text-based methods which have retained their traditional position in the university (black, 2015; elkins, 2007; simons, 2007). on the other hand, the inintroduction during covid-19, real-time nonface-to-face distance learning has become the main teaching method at universities. online classes have existed before the covid-19, but after the pandemic, online classes were operated by a double-way and synchronous interactive learning method. however, even if the place for education transferred from physical space to online space, the slide-table lecture was maintained as a main teaching method in art history education. corresponding author: e-mail: gratie@hongik.ac.kr p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (1) (2023): 105-120106 quiry of art history, teaching art historians’ thought processes to conclude artworks, encourages students to use their own original perceptions of the works of art (martikainen, 2017). also, an active learning approach is needed to educate students to cultivate the skills of an art historian. digital technologies contribute to promoting active learning in art history education (gasper-hulvat, 2017). recent discussions on art history education introduced new technologies such as digital images, virtual reality (vr) or augmented reality (ar), computer-based interactive methods, and remote learning (di serio et al., 2013; donahue-wallace, 2008; harris & zucker, 2016; janet & miles, 2009; pitt et al., 2003; simmons, 2008). especially extended reality (xr) technologies were noticeable at the museum website, and vr was utilized to support self-regulated strategy learning (lee et al., 2021; wu et al., 2021). after the lockdown due to the covid 19 pandemic, educators and curators attempted to search for a new online teaching method (noble, 2021). noble (2021) discovered the potential of virtual museum spaces for local residents for their connection, inspiration, and creativity. now, scholars have focused on the possibility of xr technologies in teaching art or art history. moreover, they experimented with blended learning, including face-to-face classes and asynchronous remote classes, by watching recorded videos or utilizing programs (lee et al., 2021; noble, 2021; wu et al., 2021). as the pandemic situation prolonged, the pros and cons of the double-way synchronization distance classes were revealed. all students who attended class equipped the electronic devices, which facilitates approaching digital resources such as high-quality images and additional references. on the other hand, most of the disadvantage of current distance learning has been caused by video conference meeting programs. students suffer isolation and loneliness because of an absence of interaction with peers and instructors (vandenberg & magnuson, 2021). besides, when participants mute and turn off the camera cause fatigue because of difficulty reading their reaction or being aware of their presence (nesher shoshan & wehrt, 2022). social interaction which is the perceived amount and frequency of students’ communication, and social presence which is the psychological feeling of other people’s existence are insufficient in distance learning than face-to-face learning (weidlich & bastiaens, 2019). metaverse refers to a term from neil stevenson’s novel, snow crash published in 1992 (lee et al., 2022), and it is the space that interacted with the virtual and real world to create social activities. it has received renewed interest as a new method of surmounting the limitations of external activities after the pandemic (park & kim, 2022a). the metaverse was categorized as a mirror world, life-logging, virtual world, and ar (lee et al., 2011) and it is often presented as a channel for social interaction (park & kim, 2022b). although many studies have considered the possibility of using the metaverse platform, there is a lack of practical application of the metaverse in a higher level of art history education. this study presents findings from a case study of synchronous online learning in the higher education art history classroom after the covid-19 pandemic. in the literature, a few studies dealt with metaverse in a classroom setting, but there was none of them on its applicability to art history. in particular, we will find out whether the metaverse is more suitable for students to actively inquire beyond textbased learning. this study examines students’ experiences in accessibility, social presence, the convenience of interaction, interest and immersion, and satisfaction when the students use the metaverse platform, gather.town in classes. the examination of this study confirms that the virtual space of the metaverse was more helpful in making students feel a sense of presence, interaction, and engagement than webex. these results verify the applicability of the platform as a durable and valid tool for teaching art history. this research was jiyeon park et al., exploring students’ experiences of virtual learning environment for art 107 performed in two classes, western early modern art history and methodology of art history classes at the h university in seoul, south korea, from september to december 2021. theoretical consideration smart-history is one of the early online art history educational programs that professors beth harris and steven zucker provided as a learning experience for the public in 2005 (goldman, 2014). smarthistory offers open access to high-quality images of the works of art in global art history. one of the purposes of smart-history is to provide an alternative to paper textbooks (harris & zucker, 2016) since the paper textbook has limited in size and the details of images are unreadable. especially in art history, image is a crucial source of inquiry. scholars in art history need high-resolution images for observation (mccann & ravas, 2010) and digital images can rotate freely or be viewed at a larger magnification than seen with the naked eye. the digital revolution in the 1990s facilitated the availability of high-resolution digital sources through digital cameras, projectors, and the internet. according to murray (2011), these changes revolutionize the way of projecting images in the art history classroom. however, murray points out that only presentation slides are mainly used in the recent art history classroom so further new exploration and collaboration of technical facilities are necessary. recently, instructors attempted to supplement varied digital resources to offer more realistic learning environments and experiences of viewing to students. smart-history can record not only lecturers’ voices but also background ambient sounds such as noise in a museum, including the echo of a cathedral (harris & zucker, 2016). walter benjamin (2018) mentions that interaction with actual artworks is preferable because working with reproduction images lacks presence in time and space. one of the methods for students to look at the work of art is to include a plan for visiting museums in the art history curriculum (kali et al., 2015). however, most students and scholars who study western, early modern art history in asia are hard to get access to real artworks because of distance and financial problems. vr and ar could be alternatively used for improved online experiences. during covid-19, furthermore, the world has experienced a critical situation with the obstacle limiting visitation. google art & culture with google street view technology enabled the public to take tours of various museums reproduced by 3d digital spaces. in addition, there are multiple digital resources on the website of museums and galleries and individual developers’ sources on the steam platform (cecotti, 2021). however, it is still hard to say that the vr experience is a complete solution to replace the real experience due to the limitation of the resolution of vr headsets. gamification is also one of the attempts to apply digital tools in art history education. most games are casual games, such as answering art history quizzes, identifying famous painters and matching paintings, and taking virtual tours (champion & foka, 2020). games, in particular, provide users with a relevant art history experience with an immersive environment for increasing motivation and encouraging active learning processes such as thlatro and arté: mecenas (hutson, 2022). applied virtual heritage and art history in the game clearly aroused interest and fun; however, adjusting the platform for use in art history education seems to blur the boundaries between academic and fun (champion & foka, 2020). in order to be used in art history classes, each educational content needs to be designed for each individual grade level (hutson, 2022). there are also some considerations in applying new technology to higher art history classes. for example, technologyassisted learning can stimulate the interest of learners, but it is questionable how helpful it is in real-world lessons where students need critical thinking (wu et al., harmonia: journal of arts research and education 23 (1) (2023): 105-120108 2021). although asynchronous online learning systems such as smart-history and moocs (massive online open courses) were operated, a new approach is necessary since the covid pandemic has made synchronous online learning the primary method of online learning rather than an asynchronous system at universities. asynchronous online learning systems such as smart-history and moocs seem to be more suited to the self-learning method. for example, studying lectures by smart-history did not need instructors and classmates at the same time. the advantage of an asynchronous online class is that enables one to study in self-paced learning. in addition, most of the lectures and materials are provided in english. korean subtitles are only partially provided and even viewed with google translator which sometimes mistranslates art terms. elsen (1954) argued that discussion is a useful pedagogical approach to sharing a variety of viewpoints and backgrounds when analyzing artworks. also, in the experiment of donahue-wallace & chanda (2005), when face-to-face interaction was not possible in art history online classes, learning was well achieved even when an alternative means called animated interactive activities were used, and the interaction between students was improved. since the pandemic situation, we have been able to try a new method of synchronous online learning. since the 2020 spring semester, h university has conducted synchronous online learning with the webex program (cisco-webex). the downside of webex is that if there are many students, more than 40, there are some transition issues. a delay between the instructor and the learner frequently happened in a chatting window. when the instructor wanted students to answer in the middle of a lecture, it takes time for students who turned off the camera and microphone for better screen quality. moreover, students hardly felt the presence of others, thus, not only students but also educators feel isolated to some degree. the metaverse was noted as an alternative tool to compensate for this shortcoming. webex is also a metaverse in a broad sense. however, the original purpose of webex was for meetings, and webex interface focused on the meeting function, in which people existed in a grid box with camera streaming. gather.town is a synchronous video conferencing platform and web browser-based application set on a 2-d virtual environment (najjar et al., 2022). gather.town enables people to enter the 2-d virtual space as an avatar, navigate through it and interact with objects. participants could move freely and connect widgets to external software. gather.town is available to access via the web which is unnecessary to install any program. according to latulipe & de jaeger (2022), students showed strong preferences for the gather.town class setting than zoom. 2-d gather.town environment improved students’ interaction, collaboration, and overall satisfaction with an online learning experience (najjar et al., 2022). furthermore, gather.town is easier to edit sites and objects compared to other programs providing virtual space with characters like zepeto, and second life. therefore, gather.town is more suitable for an active learning approach in non-face-to-face art history classes. method methodological approach the questionnaires for the survey began with some simple demographic questions, and the sub-factors consisted of accessibility, social presence, ease of interaction, interest, and immersion, and satisfaction. most of the questions are about the difference between webex and gather.town. table 1 shows the sub-factors, information of questions, and cronbach’s α value. the overall cronbach’s α was measured at 0.94 for internal consistency. this study defined social presence as the psychological feeling of other people’s presence in the group (bailenson et al., 2003; weidlich et al., 2018). the survey questions were modified jiyeon park et al., exploring students’ experiences of virtual learning environment for art 109 from bailenson et al. (2003) and weidlich & bastiaens (2019). to evaluate the degree to which students felt the situational interest in gather.town rather than in webex, the questions were modified from wang & adesope (2016). we have also added our own questions assessing student satisfaction with using the metaverse platform in the art history course. the response scale ranges from totally disagree (1) to totally agree (5). in the quizzes, we included open-ended questions that allowed students to explain their experiences in their own words. the questionnaires were conducted after the western art history course discussion activities. in-depth interviews were conducted by meeting them in person other than class time, after obtaining the volunteers’ consent among those students who completed the survey, and the in-depth interview questions were chosen based on the survey questionnaire items. in this sequential process, the two data were naturally integrated and analyzed. the interview took place over webex and lasted approximately 90 minutes. in the in-depth interview, most of the questions were analogous to the survey questions. additionally, we asked them to specifically explain how they thought gather.town had influenced their learning of art history and if they had any suggestions for a virtual classroom in gather.town over the next semesters. participants in this study, the survey participants were students in western early modern art history and methodology of art history during the 2021 second semester at h university in seoul, south korea. table 2 shows the participants’ characteristics, including grade, gender, and experience of the metaverse. fifty-nine participants are from the western art history class and five from the methodology of art history class. in the western art history class, there are eight first-year students (13.6%), 23 second-year students (39.0%), eight thirdyear students (13.6%), 13 fourth-year students (22%), and seven graduate students (11.9%). there were ten males (16.9%) and 49 females (83.1%) in the class, and only two students (3.4%) had previously used metaverse platforms. in the methodology of art history class, there were one thirdyear student (25%) and three fourth-year students (75%). by gender, there were two male students (50%) and two female students (50%). in this class, none of the students had used a metaverse platform before. designing virtual space in gather.town table 1. student experience of virtual learning questionnaires : composition and internal consistency sub-factor summary of questions quantity of questions cronbach’s α accessibility questions asking if there were any inconveniences or difficulties while using gather. town, and how quickly they got used to it 3 .74 social presence awareness of being in the same space with other users, high social presence, and easy formation of bonds 4 .86 ease of interaction easiness of communication and interaction with other participants and instructors 2 .78 interest and immersion active participation in classes in terms of fun, immersion, and interest 4 .90 satisfaction satisfaction and necessity in terms of continued use 4 .64 total 17 .94 harmonia: journal of arts research and education 23 (1) (2023): 105-120110 figure 1. building, lounge, and museum in gather.town figure 2. classroom for discussion and lecture in gather.town figure 3. the hall for presentation in gather.town dents could tour them during their break time. in the art history methodology class, each student made a presentation to interpret one work of art in the rijksmuseum collection with the methodology they had learned so far. as shown in figure 3, in a space similar to the actual space, students can interact with each other while presenting in front of their chosen work. students could move and watch artwork freely while listening to the other students’ presentations. this is different from presentations that use only the screen-sharing function. data analysis the process for analyzing the results of the questionnaires is as follows. the data collected in the survey were analyzed using the spss 21.0 program. first, to check the reliability of the research tool, virtual worlds are networking environment that mimics the physical world and organizes a place for activities in the physical world (maher, 1999). according to luke (2021), online lectures should engage students by creating an informal and approachable virtual learning environment. an immersive learning software must allow users to modify and customize content easily. also, software should allow instructors to add works of art and related data (cecotti, 2021). in gather.town, we designed the main building which was a replica of the art college building at hong ik university, as in figure 1. figure 2 shows the interior of a room for discussion, which was set like an ordinary classroom with chairs and a writing board. we also made virtual museums utilizing online resources provided by other museums and galleries, and stujiyeon park et al., exploring students’ experiences of virtual learning environment for art 111 cronbach’s ⍺ was calculated, the frequency and the percentage were calculated for the general context, and the analysis of the results of the research subject, and the mean and the standard deviation of each sub-factor of the questionnaire tool were analyzed. the in-depth interview data collected were transcribed and analyzed by content analysis by elo & kyngäs (2008). we read the content of the scripts repeatedly and then categorized the inductive coding patterns, which was an open coding process (moser & korstjens, 2018). subsequently, we used the highest level of abstraction through the integration of hierarchical categories. in this study, we focused on the student experience rather than the measurement of learning. table 3 shows the deductively derived themes in this study. result and discussion results of the student experience survey figure 4 illustrates the results of the student experience survey. experience of accessibility is highest at 3.73, followed by interest and immersion (3.47), ease of interaction (3.44), satisfaction (3.36), and social presence (3.07). social presence turns out to be a positive answer with 3.07 points out of 5, but the average score is the lowest among the other questions. figure 4. results of the student experience survey the overall average score is 3.4, suggesting that discussion activity in the art history classroom using gather.town was table 2. demographic of participants. n(%) experience of virtual learning questionnaires (n=59) grade freshman 8(13.6) sophomore 23(39.0) junior 8(13.6) senior 13(22.0) graduate student 7(11.9) gender male 10(16.9) female 49(83.1) prior experience of using metaverse platform yes 2(3.4) no 57(96.6) in-depth interview (n=4) grade freshman 0(0) sophomore 0(0) junior 1(25.0) senior 3(75.0) graduate student 0(0) gender male 2(50.0) female 2(50.0) prior experience of using metaverse yes 0(0) no 4(100) harmonia: journal of arts research and education 23 (1) (2023): 105-120112 more effective than webex. in the open-ended survey, twentyeight of fifty-nine students agreed that the avatars interaction feature in gather.town was more interesting and useful than webex. they talked about how the characters helped them; “interesting” and “fun” are the frequently mentioned words. additionally, there were endorsements such as ‘the feeling of participating in an actual classroom’, ‘revealing a presence through characters’, ‘making it easier to interact with characters by moving them’, and ‘becoming more active in the participation’. the second question was addressed to all the students of this questionnaire, asking for reflections on the conditions of a successful group discussion in the course of art history. ‘participation’, ‘deepening of questions’, and ‘atmosphere of freedom’ are the keywords often mentioned by students. results of in-depth interview this subsection discusses the results of qualitative analysis based on the indepth interview. use case for synchronous learning tools most of the participants talked about the tools they mainly used for online education such as zoom, webex, and microsoft team. however, during covid 19, h university used webex and this in-depth interview is mainly based on the students’ experience with webex. the limited number of student video screens and small webex video screens hampered student communication. one of the downsides of webex is that students have to ask the host to share their screen every time they want to view material on webex. student b noted, “webex is only half the size of a regular table.“ participants reported that they could not recognize others in class without turtable 3. deductively derived themes theme sub-theme use case for synchronous learning tools -webex digital resources (facility) limited number of student camera views – obstruction of communication small video view in big class inconvenience of screen sharing request when needed feeling a sense of presence, interaction and engagement low social presence and interaction difficulty in concentration -fatigue and tension from using the camera experience in using the metaverse platform , gather.town for class visually designed virtual space feeling a sense of realityclassroom designed like a real school space can be decorated avatars sense of self consciousness and others’ presence good for interaction good for concentration alleviation of mental burden of presentation disadvantage links with expiration it takes time to enter the classroom usability (applicability) of the metaverse platform in art history education efficiency in art history education good for exhibition plan 360-degree rotational viewing point of art work that is impossible in reality high-resolution artwork requirements for the course progress need for adjusting time for metaverse integrated platform needed approprite for small class suggested metaverse class in art history class for exhibition planning inclusion of metarverse in art history class composition jiyeon park et al., exploring students’ experiences of virtual learning environment for art 113 ning on the camera in webex. the uncertainty of the presence of others diminishes commitment. also, turning on the camera and microphone caused fatigue. “also, no matter how many students’ names are on the screen in webex, it doesn’t feel like that person exists there.” (student a). “because the audio volume comes at the same level to everyone, the microphones overlap unintentionally in webex.” (student b). “in webex, students should have to post words like ‘can i speak?’ in the chat window and present their opinions…so many times, i just replied as quickly as possible without thinking enough and finished it.”(student a). the second theme concerns students’ experiences using virtual spaces and avatars, which is the biggest difference between gather.town from webex. students said that there were more reasons why they think gather.town was more suitable for synchronous online learning. students felt like they shared the same place with one another as they were in a virtual space. in addition, students pointed out that a visual environment makes them more visually focused. ”i didn’t feel like we were all connected in webex, but in gather.town i felt like we were in one space.”(student a, from art history methodology class, dec.10, 2021). ”at the time of the presentation, i felt that our classroom was similarly implemented in gather.town like our real classroom. so it felt like we were in the same classroom together.”(student b). ”it was good to increase the concentration in class because it was no more boring.”(student c). avatars were very effective for communication and social presence. they made it easier for students to recognize others in gather.town than in webex. with avatars, they were able to see others around them, which made them feel connected in space, although they did not have their video on. “it makes me feel like they are here, and helps to realize they did not disappear after attendance processing.” (student d). “i think it was good because i felt like i was with the students when i went to gather town. […] avatars are moving and reacting… inform that everyone is there.”(student e). students felt avatars made it possible to participate more and express their reactions easily by confirming the existence of a body and physical properties in a classroom. one student even mentioned that avatars alleviated her mental burden of doing presentations before others. ”it was good for me to concentrate in class because it was not boring.”(student c). ”compared to webex, i think i could turn on the microphone in the class with a little less pressure.”(student a). in this study, although students’ responses to gather.town was more positive than webex, and the results for the degree of feeling social presence are the lowest compared to other factors in the survey. a previous study comparing zoom and gather.town found that gather.town gave students a more social presence than zoom did (latulipe & de jaeger, 2022; najjar et al., 2022). in fact, the communication between people in gather.town was more effective than webex. during the covid-19 pandemic, it seemed that students did not feel comfortable speaking at first in non-face-to-face classes. there were often moments of silence, so the discussion did not proceed smoothly. this seems to be associated with a characteristic of asian students. asian students in a big lecture tend to raise a hand and be called on by instructors for talking (takahashi, 2019). students reported that the expiration of links was not convenient. and unlike webex, one disadvantage of gather.town is that it took time to enter a classroom. usability of the metaverse platform in art history education the third theme concerns the usability of the metaverse platform in art history education. students presented their opinions on improvements to the use of harmonia: journal of arts research and education 23 (1) (2023): 105-120114 metaverse in the classroom. many students expressed positive opinions about the virtual space designed for the art history classroom and the necessity of a virtual space suitable for art history classes. students evaluated gather.town as more useful for using digital resources in art history classes: ”i feel that the metaverse is necessary for art history class because there are a lot of visual elements.” “paintings are flat, but sculptures are actually three-dimensional. it would be nice to have a function that i can turn over the sculpture or view sideways and backward.“ (student a, from art history methodology class, dec.10, 2021). ”the screen of gather.town was higher quality than that of webex. i could enlarge the screen in webex too, but the picture quality was poor.” (student b). ”in art museum, there are things i can’t see because of the person in front of me or my physical limitations. here, i can see more details.” (student c). regarding the final presentation held in a virtual museum, many students responded positively about doing a presentation as avatars. most students were satisfied with the way of using the metaverse in art history class. ”today the space implementation of rijksmuseum is the good direction of metaverse class.” (student b). ”i thought that it would be good if the students have the opportunity to design exhibitions in this kind of space by themselves.”(student e). there was a student opinion that online classes cannot completely replace face-to-face classes. however, it is judged that the metaverse platform has sufficient competitiveness in the western art history classroom in south korea. during the pandemic, cultural heritage institutions began to provide and develop digital resources due to restricting physical access (samaroudi et al., 2020). museums in italy are digitalizing works of art and archives to simplify museum administration with paperless documents, increasing social online interaction with the public (agostino et al., 2020). in this study, students reacted positively to using digital resources in art history classes to see artwork in a virtual space that is not physically observed in reality. in other words, digital resources can support investigations from multiple perspectives. however, digital resources are surrogate objects that can only reflect some of them. that restriction can force people to interpret the resource in a certain way (stanford, 2020). therefore, careful study is required of scholars when they utilize digital resources. when students analyze artworks, it will be helpful to find various points of view under the guidance of professors. the communication among people in gather.town was more effective than webex. to improve the student’s communication and participation in the gather. town, student d suggested that it would be great to have means of assistance such as roulette for students to participate spontaneously. furthermore, this method could function as a game in which students could have time to form a bond and intimacy like the time icebreakers. this also could facilitate participation by giving each part of the class a sequence. adding a function like this, to a certain extent, can be an alternative. as kreijins et al. (2003) argued, non-task contexts with informal and casual conversations foster creating social relationships and group cohesion better than task context can. therefore, additional distinctive sections could increase interaction and intimacy among students in non-faceto-face synchronous online learning. they also viewed gather.town would be more effective for a small class rather than a big class. ”since we had to use two platforms, webex and gather.town, we needed multiple devices. i thought that it might be a little difficult for students who are going to listen to a large lecture or do not have devices ready.” (student c). ”it was possible because it was a small class. it would not be easy to move avatars at the same time if there were fifty students or more than twenty students… i think it is best to have less than jiyeon park et al., exploring students’ experiences of virtual learning environment for art 115 ten people.” (student c). the students said they would take the metaverse class again next time, not because it was a metaverse class, but because it was fun and well-organized. thus, content and activities remain the most important factors in the classroom. there is a need for more creative teaching methods for metaverse classrooms. discussions this article examined the feasibility of using a distance learning course in contemporary art history using the metaverse platform. for this purpose, we first compared webex, which was used in post-pandemic distance education, and gather.town, a metaverse platform with an emphasis on visuals, to determine which platform is better and more appropriate for use in art history classes. in the first survey, the western modern art history 2 students were asked about their experiences in the metaverse platform course in the discussion section. the survey consists of the items that identify accessibility, social presence, the convenience of interaction, interest and immersion, and satisfaction sub-factors. in a non-face-to-face situation, many students did not encounter any technical inconvenience in various access environments when using gather.town, and they did not have much difficulty getting used to the new platform. overall, gather.town is better suited for classroom use than webex; in particular, student-student and studentlecture interactions in gather.town has been found to be easier than webex; this means that gather.town is a better platform to use than webex in lecture-style art history classes, where interaction among learners as well as between learners and instructors is important. next, in-depth interviews were conducted to investigate the specific experiences of students regarding the experience of using the gather.town platform in the art history methodology course. in the in-depth interview, we first compared webex and gether.town to find out why gather.town is better suited for art history lessons. as a disadvantage of webex, a student pointed out that it was difficult for students to communicate together. in particular, the difficulty in recognizing others and the communication depending on audio are the reason for this; even if the camera is in charge of the visual part, it increases the feeling of load and tension. on the other hand, in gather.town, the visual element that implements and replaces the existence of students called avatars, allows for more advanced mutual communication than webex. being able to recognize the existence of others and being able to visually check movements during class is helpful for class participation. in the in-depth interview, we tried to understand the usefulness of gather better.town in the art history course. students are aware of the importance of visual elements in art history lessons and the need to appreciate works of art in a spatial context. compared to webex, gather. town was rated suitable for using digital resources. indeed, by linking the original or high-definition image of the corresponding digital resource to the object, it is possible to appreciate the work from different angles that are not possible in reality, which is possible with a resource clear digital. one can notice that the courses take place in a virtual space designed as a real museum and connected to each object and digital resource, and that students can walk around in avatars is an element that makes them feel the need during the use of the metaverse platform in art history. in particular, if students listen to a presentation via screen sharing, such as webex, they only passively listen to the part shown by the presenter, whereas using gather. town, when listening to a presentation, the students can actively examine the digital assets of the works directly connected, allowing much more active participation in class. thus, the students thought using the metaverse platform with many visual elements in art history lessons was necessary. not only the study of digitized resources but the study of the use of digiharmonia: journal of arts research and education 23 (1) (2023): 105-120116 tal technology is required for researchers in art history education (drucker, 2013). the freedom of unlimited space, sustainability, and ease of updates contribute to developing the possibility of digital art history (westerby & keegan, 2019). digital tools are continually developing, and researchers have difficulty using the technology as an evolving. the field of art history is traditionally conservative and does not follow changes quickly (stanford, 2020). nevertheless, the consideration of digital art history has been proceeding. beyond the digitization of materials in art history research, attempting to use digital materials is helpful in diversifying the ways where digital resources can be additionally adopted in art history education. in higher education art history courses, traditional academic instruction in the form of lectures is essential. even though it is a static lecture, the interaction between the lecturer and students is essential, so gather.town, which facilitates communication and interaction with visual elements, is more suitable in art history classes than webex. because a strong visual element is effective in teaching art history, directly decorating a virtual space, where we cannot be visited physically and temporally, and moving around and checking the works greatly contributes to increasing participation and interest. recently, it has been very difficult for korean students studying early modern western art history to have a real excursion opportunity, and hence then, it is almost impossible to see real works in class. the development of digital resources increases the accessibility of modern western arts to korean students. despite the development of digital resources, sharing the ppt screen is mainly adopted in art history courses using synchronous online learning tools such as webex, and when using these tools, it has a certain limitation that the used visual materials are flat and shown via photo slideshows. the ability to connect, organize, and browse various digital resources in the gather.town virtual space makes gather. town more suitable for art history classes taken by korean students who rely heavily on digital resources. also, the ability to archive as a visual element linked to digital assets in gather.town’s virtual space is convenient for users by increasing visual intuitiveness. when the lecture takes place in the space created for the art history course, the students are allowed to explore works of art in a spatial context. in addition, active participation in class and the study of art history become possible. this can allow skill training to visually analyze works more actively in the classroom and enable in-depth investigation. metaverse platforms like gather.town can be a powerful tool that overcomes the physical and temporal limitations of art history education. conclusion this study presents the results of a case study of synchronous e-learning in the art history class in higher education under the evolving situation of digital humanities accelerated by the covid-19 pandemic. a few studies have focused on the usability of a metaverse in a classroom, but no attention was paid to its applicability to art history as well as to higher levels of education. the results from this study confirm that the virtual space of metaverse was more helpful for students to feel a sense of presence, interaction, and engagement than webex. the accessibility and convenience of digital resources were better. the feeling of reality from the similarly designed classroom space and the freedom of students to move their characters on their own are other effective advantages of the metaverse. in addition, while providing learning content and the exhibition space for the museum, gather.town was effective for students in art history to actively participate and interact by directly attaching spaces or additional materials. 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(2021). effects of the self-regulated strategy within the context of spherical video-based virtual reality on students’ learning harmonia: journal of arts research and education 23 (1) (2023): 105-120120 performances in an art history class. interactive learning environments, 0(0), 1–24. https://doi.org/10.1080/ 10494820.2021.1878231 harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 makna simbolis komposisi bedaya lemah putih (bedaya lemah putih composition symbolic meaning) moh. hasan bisri staf pengajar jurusan seni drama, tari, dan musik, fakultas bahasa dan seni, universtas negeri semarang abstrak keberadaan tari bedaya di lingkungan kraton memiliki beberapa fungsi penting yang terkait dengan upacara kebesaran raja, upacara penobatan raja, dan upacara resmi kerajaan. tari bedaya menjadi simbol-simbol status bagi raja dan merupakan pelengkap jabatan raja, dengan demikian wajar bila tari bedaya mendapat dukungan sepenuhnya dari raja. bedaya adalah suatu bentuk tari kelompok, yang dilakukan oleh sembilan penari putri dengan tatarias dan busana yang sama. masing-masing penari membawakan peran dan nama yang berbeda, yaitu: batak, gulu, dhadha, endhel weton, endhel ajeg, apit meneng, apit wingking, apit ngajeng, dan boncit. tari bedaya mempunyai konvensi tertentu, dalam hal isi maupun wujud tarinya, yang meliputi susunan tari, pola gerak, pola ruang, pola lantai, iringan, dan tatarias busana. di sisi lain tari bedaya mengalami perkembangan hingga keluar kraton, dan juga tentunya konvensi-konvensi pada tari bedoyo mengalami perubahan pula antara bedaya di luar kraton dengan bedaya kraton. hingga banyak bermunculan karya-karya baru tari bedaya bahkan lepas dengan konvensi bedaya kraton. kata kunci: simbol, bedaya, lemah putih, semiotik a. pendahuluan tari bedaya diperkirakan ada sejak zaman kerajaan mataram yaitu pada masa kekuasaan panembahan senapati. tari bedaya yang pertama muncul pada masa kekuasaan panembahan senapati adalah bedaya ketawang, yang diyakinai sebagai induk dari bentuk tari bedaya yang ada kemudian. tari bedaya mengalami masa kejayaan pada abad ke-18, yaitu pada masa kekuasaan pb ii, pb iii, pb iv, dan pb viii. artinya, pada masa-masa saat itu banyak diciptakan tarian bedaya. jika dirunut dari cakepan gendhing yang ada, sebenarnya terdapat 67 tari bedaya. dari 67 tari bedaya yang tercatat, hanya tinggal 11 yang masih dapat diketahui tariannya, hal ini dimungkinkan karena tariannya belum tersusun atau sudah tidak bisa dilacak lagi. adapun ke sebelas tari bedaya yang ada yaitu; bedaya ketawang, duradasih, pangkur, tejanata, endhol-endhol, sukaharja, kaduk manis, sinom, kabor, gambir sawit (setyastuti, jurnal harmonia, edisi vol. iv no. 3/th. 2003). tari bedaya merupakan salah satu bentuk seni kraton yang di latar belakangi oleh konsep dewa raja. bila ditilik lebih dalam, pelaksanaan perjalanan tari bedaya penuh dengan simbol-simbol, dari wujud kelengkapan sesaji, tempat pergelaran, gerak tari, hingga jumlah penarinya. kesemuaharmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 nya berkaitan atau memiliki makna simbolis. menurut peursen (1976) tentang simbol mengatakan bahwa: simbol bagi manusia merupakan pengejawantahan dari belajar manusia. dengan simbolsimbol manusia dapat menemukan arah perbuatannya dan memberikan keterangan-keterangan tentang pengetahuan dunia. proses belajar manusia dilakukan melalui bahasa, dalam arti luas bahasa adalah alat komunikasi yang bersifat arbriter/mana suka atau segala bentuk lambang seperti kata, gambar, isyarat, gerak atau tari-tarian (peursen, 1976). ernst cassirer (1945) mengatakan bahwa manusia adalah animal symbolicum, binatang yang mengenal simbol. secara biologis manusia termasuk jenis binatang menyusui (mamalia), meskipun demikian manusia berbeda dengan binatang karena kemampuannya melakukan simbolisasi. manusia adalah makhluk yang mampu menggunakan, mengembangkan, menciptakan lambang-lambang untuk berkomunikasi dengan sesamanya. melalui lambang-lambang pula manusia menanggapi lingkungannya (ahimsa, 2002: 2). kebudayaan jawa banyak mengenal simbol-simbol yang diwu-judkan dalam berbagai bentuk, salah satunya adalah melalui seni tari. pada jaman hindu tari-tarian yang ada dipercaya sebagai ciptaan dewa yaitu dewa shiva. pengaruh ini sangat besar dalam kehidupan seni di kraton-kraton jawa, mulai dari perangkat peribadatan sampai pada tari klasiknya (sedyawati, 1997: 163). tari bedaya yang hidup di lingkungan kraton mempunyai beberapa fungsi yang penting terkait dengan upacara kebesaran raja, upacara penobatan raja dan upacara resmi kerajaan. tari bedaya dianggap memiliki nilai sakral, gaib dan dianggap sebagai pusaka kerajaan yang adhiluhung. tari bedaya di lingkungan kraton sifatnya tertutup, artinya bahwa tari bedaya hanya bisa dipergelarkan di lingkungan kraton dan hanya untuk kepentingan-kepentingan kraton. pengertian ini mengandung maksud bahwa dengan nilai simbolik (sakral) tari bedaya tidak boleh di pentaskan atau di pelajari oleh masyarakat umum di luar kraton. perkembangan di era tahun 1970 an, yang sebelumnya ditandai dengan memu-darnya kekuasaan kraton sebagai pusat pemerintahan, yaitu pada masa pemerintahan pb xii, kanjeng susuhunan pakubuwana mengijinkan tari bedaya dipelajari oleh masyarakat di luar kraton yang bukan untuk kepentingan kraton. pertama yang mepelajari atau mengembangkan tari bedaya di luar kraton yaitu aski/ pkjt sebagi institusi yang berkepentingan untuk melestarikan seni budaya jawa. akhirnya perkembangan berikutnya secara luas tari bedaya dapat dipergelarkan dan dipelajari untuk masyarakat umum di luar kraton. (setyastuti, 2003) kondisi perkembangan tari bedaya yang lebih terbuka menjadikan bermunculan karya-karya baru tari bedaya oleh para seniman tari, baik yang masih menggunakan kaidahkaidah tari bedaya kraton maupun yang lepas dari kaidah tari bedaya. ada beberapa tari bedaya yang diciptakan oleh pencipta tari di luar kraton, seperti tari bedaya lemah putih yang ditarikan oleh 8 orang penari putri karya agus tasman tahun 1988 di surakarta, tari bedaya dudu karya sri sunarmi dari stsi surakarta tahun 1990, tari bedaya gendeng karya bagong kusudiardjo tahun 1990-an di harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 yogyakarta, tari bedaya kakung sigus-e yang ditarikan oleh 9 orang penari putra karya ira kusumorasri di surakarta tahun 2000. bermunculannya tari-tari bedaya di luar kraton menandakan adanya perkembangan jenis-jenis tari bedaya yang lebih terbuka, artinya arah perkembangan yang tidak selalu berpatokan dengan kaidah-kaidah tari bedaya kraton. lebih spesiflk bagaimana latar belakang kemunculan tari bedaya-bedaya baru di luar kraton, ini menjadi menarik bagi penulis untuk mengetahui latar belakang salah satu tari bedaya di luar kraton yang notabene bermuatan simbol-simbol, yaitu tari bedaya lemah putih dari padepokan lemah putih, yang masih pada genre tari bedaya. b. latar belakang keberadaan bedaya lemah putih komposisi bedaya lemah putih diciptakan pada 25 juni 1988 di arena mini widya manggala plesungan mojosongo surakarta, tempat ini merupakan lokasi padepokan lemah putih yang dikembangkan oleh tokoh seni suprapto suryodharmo. bedaya lemah putih diciptakan oleh agus tasman, s.kar. seorang koreografer tari yang menggeluti spesialisasi tari jawa. adapun latar belakang penciptaan tari bedaya lemah putih adalah pesanan dari suprapto guna kelengkapan upacara ritual kirim sedekah kepada istrinya yang sudah meninggal. hampir setiap bentuk suatu karya di dalam kesenian memiliki se-buah nama. sebab paling tidak nama itu sehari-hari dalam kehidupan kita termasuk dalam kehidupan kesenian dirasakan cukup penting peranannya untuk memberikan kepastian sesuatu yang dikenalnya. oleh sebab itu suatu nama dapat merupakan sebutan sesuatu yang di dalam sebutan sebuah benda mengandung makna tentang kepastian bentuk maupun ciri yang paling tidak secara umum, tetapi sifatnya khas pada benda yang dimaksud (tasman, 1988: 1). ada suatu pendapat bahwa simbol atau lambang adalah yang mempresentasikan atau mewakili sesuatu, dalam hal ini adalah nama bedaya lemah putih. di sisi lain mengatakan sebenarnya lambang atau simbol adalah segala sesuatu yang dimaknai. definisi simbol secara implisit mengatakan bahwa makna simbol tidaklah terdapat pada simbol itu sendiri. makna ini diberikan oleh yang menggunakan simbol, yakni manusia. menurut de saussure (dalam ahimsa, 2002:2) ketika dia berbicara tentang sign (tanda), jika simbol adalah sesuatu yang dimaknai, maka dalam bahasa simbol ini tentunya berupa kata-kata, sebab kata-kata inilah yang merupakan unit terkecil yang 'bermakna' atau dapat dimaknai atau mewakili sesuatu. demikian pula halnya simbol-simbol yang terdapat pada bedaya lemah putih. di dalam susunan komposisi tari bedaya lemah putih mempunyai bentuk bedayan yang terdiri dari 8 (delapan) penari putri, kemudian dinamakan bedaya lemah putih. kata "lemah putih" digunakan sebagai lambang untuk menyebut karya susunan tari. lemah putih dalam hal ini sudah mempunyai makna tertentu secara pasti tentang isi dan lainnya yang terkandung pada karya tersebut. lemah putih merupakan lambang atau nama dari imajinasi yang terwujud sebagai suatu bentuk karya tari. c. konsep penciptaan harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 kegiatan seorang penyusun tari yang paling menonjol adalah pada tahap menggolah medium, pada tahap inilah seorang penyusun berusaha untuk menuangkan isi dari alam imajinasi yang dikandungnya pada wujud sebuah karya. konsep yang digunakan dalam menggarap gerak bedaya lemah putih terkait dengan masalah ciriciri pokok tentang bentuk tari bedaya. dengan demikian dapat memberi lingkup atau batasan tentang gaya garapan. dalam hal ini ciri-ciri bedaya bukan hanya jumlah penari, tetapi lebih cenderung bahwa ciri itu dapat ditangkap pada rasa gerak, alur rasa, struktur komposisi, dengan pendekatan yang tidak kaku. menurut tasman (1988: 5) konsep isi lah yang dituangkan dalam bedaya lemah putih, yaitu tentang kemuraman, keyakinan, kerinduan. ketiga hal ini didapat dari upaya penjelajahan serta penghayatan tentang nama lemah putih d. tafsir isi tafsir isi (koreografer) dari kata istilah "lemah putih" yang digunakan sebagai simbol dalam mewujudkan dari suatu ide, yaitu bahwa lemah putih dalam kehidupan sehari-hari adalah sejenis tanah yang terdapat pada ladang maupun pertanian, kadang-kadang yang ujudnya kekuning-kuningan dan mengandung kapur. tanah seperti itu sulit untuk ditanami, dibuat bahan gamping pun tidak bisa, sehingga tidak banyak memberikan aspek banyak bagi kehidupan, terutama bagi para petani. lingkungan kehidupan yang memiliki tanah seperti itu rasanya atis, pesimis, gersang, tiada harapan. oleh sebab itu suatu pertanyaan yang timbul, apakah dalam bentuk bedaya yang akan digarap harus menampilkan suasana atis, gersang, tiada harapan. sebagai kelengkapan maksud maupun tujuan tentang bedaya lemah putih, dari pihak yang memiliki ide (suprapto, 1988) membuat suatu syair bebas. teks syairnya adalah sebagai berikut: dhuh gustiparinga nugraha, karahayon dhumateng sagung dumadi, m.ugi-mugi rahayu sagunging dumadi, lemah putih lembah manah andhap asor, darmastuti patrape, angrasuk kalacakra, sembahing hastabrata, suksma makarti hyang manon, nampa wigatining suksma. bumi balia na bumi banyu balia na banyu angin balia na angin geni balia na geni kalacakra manggilingan, suksma rahayu hambabar gesang, mrih sihing kluwarga mangesthi, bebrajan omah lan bebrayan agung, aduh gusti sembah nuwun rahayu. ternyata tafsir dari koreografer (tasman) tentang nama lemah putih tidak sesuai dengan makna dan isi syair di atas, karena pada syair tersebut berisi suatu gagasan yang mulia dan dalam, sebab ada makna air, angin, bumi, geni, hastabrata, angrasuk kalacakra. tafsir yang diberikan oleh koreografer tidak mengena dari apa yang dimaksud pada syair, maka untuk mendapatkan interpretasi yang sesuai dan ada kecocokan dengan garap tari perlu adanya suatu klarifikasi tentang pemaknaan yang medekati. guna melengkapinya diperlukan tafsir dari suprapto selaku pembuat syair. kelengkapan pengertian dan isi yang dikandung di dalam kata-kata yang padat, ternyata pengertian yang dimakharmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 sud dituangkan dalam bentuk syair gerongan, sebagai berikut: lemah putih lemah manah andhap asor, darmastuti patrape, angrasuk kalacakra, sembahing hastabrata, suksma makarti hyang manon, namp[a wigatining suksma. bumi balia na bumi banyu balia na banyu a.ngin balia na angin geni balia na geni. penjelasan tersebut ternyata syair gerongan merupakan sanjungan, kerinduan, kasih sayang, keyakinan, ketekatan yang kokoh, tetapi juga merupakan kebanggaan seorang suami terhadap isteri (garwa-jawa) yang sudah mendahului wafat. bedaya dengan penari berjumlah sembilan pada umumnya, adalah menggarap dan berpedoman pada pandangan hidup tentang "babahan hawa sanga", begitu lekatnya ajaran ini pada penyusun maupun kehidupan masa lampau, sehingga susunan tari bedaya mesti dengan sembilan penari putri. berbeda halnya dengan bedaya lemah putih, tidak menggunakan penari sembilan melainkan delapan penari, karena memiliki latar belakang yang berbeda, yaitu menggunakan konsep "hastabrata" (jawa). hatabrata adalah suatu pandangan hidup orang jawa yang terdapat pada lakon makuto rama yang sangat menarik dihayati sebagai suatu ajaran generasi masa lampau juga sampai sekarang. secara harafiah hastabrata terdiri dara kata "hasta" yang artinya delapan dan "erato" yang artinya ajaran. delapan ajaran terjabar pada masing-masing makna dan sifat untuk kehidupan sebagai garis dan arah wawasan hidup, yaitu terdiri dari, air, angin, api, bumi, surya, candra, kartika, daru. hastabrata bagi suprapto memberikan suatu pandangan atau wawasan hidup yang membentuk suatu sikap sebagai seorang suami. hastabrata dapat mewarnai keyakinan, sehingga mampu menciptakan suatu keteguhan bahwa "lemah putih" pasti sempurna menuju ke 'sana' diantaranya karena sifat keku-atan peranan hastabrata. menurut suprapto (1988), bahkan hastabrata juga merupakan "hasta arya marga" isinya tentang "delapan jalan utama" dalam budhis. hasta arya marga merupakan pandangan hidup yang mempunyai sublimasi yang puncak. oleh sebab itu angka delapan yang dimanifestasikan pada jumlah penari lemah putih benar-benar perwujudan pandangan hidup. bedaya lemah putih tidak harus menggunakan sembilan penari, tetapi tidak mengurangi gaya garapan, sebab memiliki dasar yang sama dengan bedaya sembilan penari. delapan penari bukanlah suatu kebetulan, tetapi merupakan dasar konsep penciptaan. pada akhirnya dalam mencari arti kata lemah putih, suprapto memberikan rincian secara diskriptif sebagai berikut: kata "lemah" (bahasa jawa ngoko) sama dengan "siti" (dalam bahasa jawa kromo), diterjemahkan dalam bahasa indonesia adalah 'tanah'. kata "putih" adalah abstraksi dan kesan suprapto terhadap istri (almarhum) yang dipandangnya sebagai wanita yang "cantik, suci, jujur, dan polos" dari situlah almarhumah di ibaratkan "lemah putih" meskipun sudah tiada, bahkan "siti" sudah kembali sempurna ke asalnya semula. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 bersatu dengan tanah bersatu dengan air bersatu dengan angin bersatu dengan api maka syair yang berbunyi bumi balia na bumi banyu balia na banyu angin balia na angin geni balia na geni kesan cantik, suci, jujur, dan polos, itu semua ternyata masih hidup dan menghidupi suami yang ditinggalkan sehingga memberikan kebanggaan sang suami. kehidupan itu jelas terbukti, bahwa sang suami masih rindu, masih mencintai dan menyayangi, karenanya suprapto mengadakan upacara pergelaran "bedaya lemah putih" yang merupakan bagian dari pencurahan isi hati dari sang suami. e. penutup dari tinjauan di atas dapat diambil suatu pemahaman, bahwa dari suatu fenomena yang sama memiliki tanda atau simbol tidak berarti dapat memunculkan tafsir yang sama dari orang yang berbeda. pandangan de saussure, sign merupakan unit terkecil dalam bahasa, dan ini memiliki dua sisi, yakni signified (tinanda) atau yang diberi tanda dan signifier (penanda) atau yang memberi tanda. tanda yang dicontohkan de saussure tidak lain adalah 'kata', sebab hanya katalah sebagai unit terkecil bahasa yang memiliki aspek signified dan signifier. pada tinjauan bedaya lemah putih, nampak jelas bahwa kata "lemah putih" sebagai objek, makna tafsir yang muncul tergantung oleh pemberi tanda signifier, seperti kasus koreografer (tasman) dengan suprapto terhadap tari bedaya lemah putih. tasman menafsirkan istilah "lemah putih" dengan pemahaman bahwa "lemah" (tanah) seperti itu sulit untuk ditanami, dibuat bahan gamping pun tidak bisa, sehingga tidak banyak memberikan aspek banyak bagi kehidupan, terutama bagi para petani. lingkungan kehidupan yang memiliki tanah seperti itu rasanya atis, pesimis, gersang tiada harapan. ternyata tafsir dari tasman berbeda dengan pemahaman suprapto yang memberi tanda "lemah putih" yang dituangkan dalam syair gerongan, karena pada syair tersebut berisi suatu gagasan yang mulia dan dalam, sebab ada makna air, angin, bumi, geni, hastabrata, angrasuk kalacakra. ternyata makna syair gerongan merupakan sanjungan, kerinduan, kasih sayang, keyakinan, ketekatan yang kokoh, tetapi juga merupakan kebanggaan seorang suami terhadap isteri (garwa-jawa) yang sudah mendahului wafat. banyak hal yang dapat dijadikan sebagi kasus pada tari bedaya lemah putih yang di uraikan di atas dari berbagi sisi dalam kajian simeotik. kembali pada pendapat filosof ernst cassirer (1945) yang mengatakan bahwa manusia adalah animal symbolicum. perubahan pandangan mengenai konsep sign yang muncul karena adanya konsep fonem yang menuntut pembaca untuk meninjau kembali konsepsi pembaca mengenai kebudayaan atau budaya yang ada. konsepsi sign harus sesuai dengan pandangan filosofls tentang hakekat manusia, yakni animal symbolicum., serta kenyataan bahwa manusia mampu melakukan penandaan. bilamana 'lambang' dan 'tanda' dapat di satukan dalam sebuah konsep tanda (sign) harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 maka kebudayaan dapat di definisikan sebagai perangkat tanda yang dimiliki lewat proses belajar dalam kehidupan suatu masyarakat dan digunakan oleh manusia untuk menghadapi lingkungannya (ahimsa, 2002: 4). perangkat tanda dinyatakan secara eksplisit oleh koentjaraningrat mencakup tiga macam kenyataan atau realita, yakni: 1. budaya material (material culture) yang merupakan hasil perilaku dan tindakan manusia. 2. pola-pola perilaku (behavioral culture) yang berupa perilakuperilaku yang mirip dan berulang kali terlihat. 3. pengetahuan (ideational culture) yang mencakup di dalamnya antara lain: nilai-nilai, pandangan hidup, sistem kepercayaan, norma, aturan. kehidupan tari bedaya lemah putih bukan hanya akan dilihat sebagi sebuah seni pertunjukan, tetapi bagi pemilik ide, bedaya lemah putih memiliki arti penting sebagai curahan hati 'kasih sayang' suami terhadap seorang istri, sebagai kenangan hidup. daftar pustaka ahimsa-putra, h.s., 2001, strukturalisme levi-strauss: mitos dan karya sastra, yogyakarta: galang press. ——————, 2002, tanda, simbol, budaya dan llmu budaya, (tulisaan makalah) yogyakarta: ugm cassirer, e., 1945, an essay on man, new haven: yale university press. errington, shelly, (tt), simbol dan hirarki kekuasaan, jakarta: yayasan obor. koentjaraningrat, 1987, pengantar antropologi, jakarta: aksara baru. peursen, van., 1976 strategi kebudayaan, yogyakarta: kanisius. sedyawati, edy, 1981, pertumbuhan seni pertunjukan, jakarta: sinar harapan. setyastuti, budi, 2003, maknak simbolis tari bedaya, jurnal harmonia, edisi vol. iv no. 3/th. 2003). semarang: jurusan sendratasik fbs unnes. soetarto, haries., 1990, "tari nuduhake karakter", mekarsari 17 oktober. tasman, agus,1988, "lemah putih, komposisi bedoyo", kertas kerja, surakarta: aski masinambow, dkk., 2001, semiotika, mengkaji tanda dalam artifak. jakarta: balai pustaka. yudanegara, g.b.p.h., 1982, kawruh joged mataram, yogyakarta: yayasan siswa among beksa. zoest, art van. dkk., serba-serbi semiotik, jakarta: pt. gramedia. —————, 1993. semiotika, jakarta: yayasan sumber agung. 68 representation of the meaning of indung in artworks rini maulina1, setiawan sabana1, nuning yanti damayanti1, teddi muhtadin2 1institut teknologi bandung, indonesia 2universitas padjadjaran, indonesia submitted: 2021-04-11. revised: 2021-04-26. accepted: 2021-05-20 abstract indung means mother in sundanese. indung in sundanese culture is found in paribasa, babasan, carita pantun, waditra (sundanese traditional musical instrument), traditional ceremonies, and others. the word indung, which is found in almost all elements of sundanese culture and manifests in sundanese artifacts, has an invisible meaning. the meaning of indung in the perspective of sundanese culture that exists in today’s society has not been explored. the meaning of indung from a cultural perspective needs to be searched for. there have not been found artworks with the theme of indung from a sundanese cultural perspective, so it is necessary to explore representations in artworks. this study employs the art-based research method, in which an investigation is carried out on the data, and the results are represented in artworks. through questionnaires, interviews, and literature studies, the meaning of indung is extracted and then tabulated to be classified and analyzed. the results of data processing showed that indung has many meanings, the result of converging data from the literature, questionnaire and interview the whole there are 17 meanings, among which the nurse, angel, house, huge, source of life, earth, embrace, harmony, the center of life, and love. the results of data processing are represented in artworks. artworks made based on the meaning of indung are limited to three titles, namely sumber kehidupan (source of life), merangkul (embracing), and rumah yang hangat (warm home). the visual exploration contained in the three titles is made using stylized forms with a decorative style, using elements of motifs and colors from west javanese batik. the media and techniques used are found in written batik. the results of the visualization of the meaning of indung of the three artworks that are created can be concluded that the meaning of indung cannot be symbolized singly. keywords: indung, meaning, sundanese culture, symbol how to cite: maulina, r., sabana, s., damayanti, n. y., & muhtadin, t. (2021). representation of the meaning of indung in artworks . harmonia: journal of arts research and education, 21(1), 68-78 harmonia: journal of arts research and education 21 (1) (2021), 68-78 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i1.29800 (prawira, 2017). artifacts containing the word indung are the result of the ability of the sundanese people to generate ideas. humans in their cultural life can create ideas that are realized through the ability to develop their cultural systems. these cultural systems are language, knowledge, social organization, technology, economy, religion, introduction sundanese people have cultural values that are carried in their lives. sundanese cultural values are contained in the cultural system. the entire system is manifested in various forms and artificial media so that in his life, humans are faced with a new reality, namely the world of symbols corresponding author: e-mail: rini.maulina@email.unikom.ac.id p-issn 2541-1683|e-issn 2541-2426 rini maulina et al., representation of the meaning of indung in artworks 69 and art (koentjaraningrat, 2009). indung is found in almost all elements of sundanese culture, such as in language, social systems, livelihood systems, religious systems, knowledge, and art systems. this shows that the indung is very important for the sundanese people. heryana (2012) states that: “the mention of indung when side by side with father will be more dominant; at least arrive first or earlier. keeping or mentioning the word indung before the father is not a coincidence or a handover of gratitude but based on a view that values indung (read: women) more than men.” indung is scattered in sundanese and cultural artifacts as paribasa, babasan, carita pantun, mantra/jangjawokan, waditra (sundanese traditional musical instrument), and customs. indung is written in sundanese such as suku indung, indung lengeun, indung kesang, indung beurang, indung peuting, leuit indung, pare indung, urat indung, and others. indung is also contained in the name waditra (sundanese traditional musical instrument) such as angklung indung, calung indung, goong indung, kacapi indung, and others. indung is also contained in carita pantun, gending karasemen, and wewengkon garut who are mentioned as mythological figures of sundanese women, as stated by heryana (2012) that there are several names (figures) in sundanese mythology who are identified as typical of sundanese women, namely dayang sumbi, sunan ambu, and nyi sri pohaci. it is hoped that these three distinct characters with different characteristics can unite and turn into indung, a mother. purna (2019) states that the natural power that can give birth to what is in this world is then personified as a goddess or mother. thus, the mention of indung is not limited to women who give birth. according to heryana (2006), the cultural indung is the name of indung who is intended for something (can be something or humanbeing) by taking on the feminine characteristics of a woman. the most important thing is characterization: giving the indung character to the object or person attached to it. indung in objects such as kacapi indung, leuit indung, indung in mythology, indung in paribasa and others, is a symbolic form, especially in a text (words). the word indung which is manifested in customs and artifacts has an invisible meaning. if someone wants to know and understand, he/she must look for it. prawira (2017) states humans are always looking for meaning in objects and phenomena that surround them with or without accuracy, true or not, and humans try to give meaning to these objects or phenomena. prawira (2017) states that society consists of three trends: first, people who maintain old traditions and customs; second, people who accommodate old and new cultures; and people who want new values to get new values and develop their culture. this study is limited to finding the meaning of indung from a cultural perspective in the last two groups, namely, people who accommodate old and new cultures and people who want new values and develop their culture (current sundanese people), through interview, questionnaires, and literature studies. in addition, in existing artworks in indonesia, there have not been found artworks with main themes from a cultural perspective, especially sundanese culture. based on this, the meaning of indung obtained from data analyzing is represented in visual artworks. method the object of this research is indung in sundanese culture. this research is located in several areas of west java, such as sumedang regency, cirebon city, karawang regency, and bandung city. the research was conducted from march 2018 to december 2020. the meaning of indung was collected through questionnaires, interviews, and literature studies. the questionnaire was conducted on 51 people consisting of 36 men and 15 women, aged 17 to 23 years, claiming to be sundanese. these questions are asked to harmonia: journal of arts research and education 21 (1) (2021): 68-7870 explore the meaning of indung in the present sundanese generation. interviews to explore the meaning of indung were conducted with resource persons with cultural and artistic backgrounds, namely h. asep sutisna, s.pd. (art division and head of k3s cilamaya wetan, karawang), mr. jeje (community leader, ceremony leader in ngalaksa village/rancakalong district, sumedang regency), prof. endang caturwati (professor of the institute of indonesian arts and culture bandung), ugo untoro (indonesian contemporary artist), associate prof. she-fong chung (director of the national cheng-chi university arts center, naational cheng-chi university), ir. eko prawoto, m. arch (lecturer in architecture, gadjah mada university), and drs. i ketut murdana (lecturer at the faculty of art and design at the indonesian institute of the arts, denpasar). a literature study is carried out to collect the meaning of indung from various sources such as books, journals, theses, conferences/seminars, articles on web pages, and others. the data of the meaning of indung from the results of the three data collection techniques are outlined in tabulated form. after the data on the meaning of indung based on the questionnaire, interview, and literature study is collected, the data is juxtaposed to obtain the converging of the meaning of indung. the meaning of indung converged is then represented in the creation of artworks to obtain a symbolic meaning for the meaning of indung. the work is made using techniques and media in traditional written batik making. the method used in the creation of artworks is art-based research (abr). abr is a transdisciplinary approach to knowledge building that incorporates the principles of creative arts in a research context. the practice of abr is a methodological tool used by researchers across scientific disciplines during any or all phases of research, including problem creation, data or content creation, analysis, interpretation, and representation (leavy, 2015). shaun mcniff (as cited in leavy, 2015) states that these tools adapt the principles of creative arts to address research questions holistically. therefore, this investigative process involves researchers in making art as a way of knowing. the practice of investigation is informed by the belief that arts and humanities can facilitate social scientific goals (jones, 2010). based on the statement above, abr is a method that is different from qualitative methods in general. abr involves art in research. in this regard, greenwood (2019) states that one of the main reasons for the growth of art-based approaches to research is the recognition that life experiences are multi-sensory, multifaceted, and related to complex ways to time, space, ideology, and relationships with others. traditional research approaches have been seen by increasing numbers of researchers as outstanding brain/mind, verbal, and temporal approaches to knowledge and experience. utilizing arts in research is one of many shifts in seeking honest inquiry and representation. results and discussion indung and basic beliefs of the sundanese people indung in kamus besar bahasa indonesia means mother; parents (kbbi kemendikbud, 2016). indung in the sundanese dictionary means 1nu ngakandung urang jeung ngajurukeunana (the person who conceives and gives birth to us), 2pun biang (mother), 3tuang ibu (mother) (danadibrata, 2006). the word indung in sundanese culture has various understandings, generally understood as a mother. however, based on the literature, the meaning of indung is not limited to the mother. indung can mean nature, role, symbol, philosophy, etc. based on heryana’s (2006) research, indung is divided into two categories: biological indung and cultural indung. biological indung is related to the nature and role of women in domestic life. marriage is the gateway for a woman to become inrini maulina et al., representation of the meaning of indung in artworks 71 dung. indung as a mother has female characteristics such as being gentle, loving and having cikahuripan (all the causes that make life) for children. in marriage, indung also functions as a process of family regeneration. according to toynbee et al. (1964), culture consists of patterns, explicit and implicit, of and for behavior acquired and transmitted by symbols, is the distinctive attainments of human groups, including their embodiment in artifacts; the essential core of culture comprises traditional. indung in a sundanese culture, based on kroeber and kluckhohn’s statement, can be seen as an explicit culture as well as an implicit culture. the explicit culture of indung is the word/text, while the implicit culture is the meaning of the word/text of indung. one of the elements of culture is a basic assumption. this element is in the deepest part and visible and which is the basis of culture. this basic assumption, built through a certain evolutionary process, consists of basic assumptions and beliefs, which become the foundation for acting in certain cultural societies in carrying out their lives (uyan dur, 2015). it can be concluded that the implicit culture, according to kroeber and kluckhohn is the same as the basic assumption according to banu inanc dur. heryana (2012) called indung of sundanese artifacts “mata holang”, which is a sundanese idiom that means the source, center of life, or the spearhead of activities. heryana’s statement above and understanding of the “mata holang” show that indung is a view of life and basic assumptions and basic beliefs about life in sundanese culture (see figure 1). further and in the practical field of art creation, ernst cassier stated (as quoted in prawira, 2017) that humans live in the physical world and live in a symbolic world. language, myth, art, and religion are part of that symbolic world. cassier also emphasized that humans, apart from having the ability to think systems, also have the ability for symbolic systems. with this system, humans develop symbolic thinking and symbolic behavior as human characteristics that are different from animals. figure 1. diagram of the application of indung as basic assumptions (source: personal data, 2019) the invisible meaning of indung shaules (2007) states that the visible products of culture are symbols of deeper meaning. artifacts are cultural forms (objects) created by humans. objects are visible cultural/product elements that contain invisible meanings. indung (text/ explicit culture/visible product) contained in sundanese cultural artifacts has yet to be explored. meaning can be extracted from the relationships between humans who establish communication. aart van zoest in prawira (2017) said the relationship between humans is established in communication using these signs. humans send and receive signs and recognize their meaning. furthermore, roland barthes (as cited in robinson, 2011) states that a sign, in this context, refers to something which conveys meaning – for example, a written or spoken word, a symbol or a myth. the explanation above can be seen in figure 2. figure 2. diagram of indung as a symbol (text) (source: personal data, 2018) harmonia: journal of arts research and education 21 (1) (2021): 68-7872 analysis of the meaning of indung artwork is made based on the results of research related to anthropology, the meaning of indung collected from sundanese culture is anthropological-related research that involves the practice of representation where the results of the research are represented in artworks. in this regard, preiser (2010) states that both art and anthropology rely on observation skills and various forms of visual literacy to collect and represent data. anthropologists represent their data mostly in written form through ethnographic accounts, and artists represent their findings through imaginative artistic media such as painting, sculpture, filmmaking, and music. based on this, before being represented in an artwork, the meaning of indung needs to be analyzed to get the essence of the meaning of indung. the meaning of indung obtained from literature data, questionnaires, and interviews are outlined in several tables. the results of literature studies show that there are 21 meanings of indung, which can be seen in table 1. the results of the questionnaire indicate 22 meanings of indung that can be seen in table 2. the results of the interviews showed that there were 18 meanings of indung that can be seen in table 3. table 1. the meaning of indung form literature studies writer meaning of indung data source dienaputra the value of silih asih, silih asah and silih asuh; loving each other (giving priority to compassion), perfecting or improving oneself (through education and sharing knowledge) and protecting each other (maintaining security). (dienaputra, 2012) sumardjo “the fields in sundanese society are called huma. in javanese society (sawah), there is omah which means “house.” but on mentawai island, huma means village. the match among rice fields, houses, and villages shows the importance of rice fields in sundanese society. because the house is a woman, so the most important part of the house has woman characteristics. (sumardjo, 2003) drs. agus heryana biological indung indung culture the female character is found in the mythological figures of sunan ambu and dewi sri. the characteristics of women such as gentle, affectionate, and cikahuripan for their children. indung becomes the spiritual central figure of the sundanese people. indung is a symbol of perfection for the attainment of spirituality that is lived in everyday life. (heryana, 2006) heri mohamad tohari in sri sadana’s carita pantun, there is a meaning of woman in symbolic, aesthetic, and ethical forms. in sri sadana’s mythology, it is found that the sundanese human mind places women in a great and very respectable position. (tohari, 2013) agus haryana the characteristics of sundanese women through sundanese mythological figures, namely dayang sumbi, sunan ambu, and nyi sri pohaci. the position of women as indung in sundanese culture is the eye of holang or the center of life in social activities. (heryana, 2012) r.h. hasan mustapa indung is the sign of all role models. something that is considered more, is called indung. people who educate children from an early age, even if they are not human, must be called indung. (mustap, hasan, 1985) rini maulina et al., representation of the meaning of indung in artworks 73 table 2. the meaning of indung from questionnaire results the meaning of indung 1 perfect 12 gentle 2 angel 13 determine 3 wingless angel 14 great 4 guardian angel 15 mother 5 have a heart like angels 16 take care of 6 mercy 17 care 7 god’s representative 18 caring for children giving birth 8 home 19 sacrifice 9 a place to return 20 sincere 10 important 21 protect 11 everything 22 affection table 3. the meaning of indung from interview results source person the meaning of indung 1. h. asep sutisna, s.pd. art division and head of k3s cilamaya wetan, karawang 1 ageung (big) 2 indung ngarangkul putra-putrana (embrace their children) 3 nada euyeup/low note 4 harmonization 5 leader 2. jeje (community leader, ceremony leader in ngalaksa village/rancakalong district, sumedang) 6 sanghyang dewi sri 7 source of life 3. prof. endang caturwati professor of the institute of indonesian arts and culture bandung 8 passion and power to turn people to be enthusiastic and dreaming 9 moves the outer and inner soul 10 dynamic and moving 4. ugo untoro indonesian contemporary artist 13 a place to return 14 irrational 15 instincts of women. 16 harmonious 17 regularity 5. associate prof. she-fong chung director of the national cheng-chi university arts center 18 selfless caring 8. ir. eko prawoto, m.arch. lecturer in architecture, gadjah mada university 19 earth 9. drs. i ketut murdana lecturer at the faculty of art and design at the indonesian institute of the arts, denpasar 20 nature of beauty harmonia: journal of arts research and education 21 (1) (2021): 68-7874 converging the meaning of indung from literature studies twenty-one (21) data on the meaning of the indung are obtained from the results of data collection of literature studies, based on the meaning, they can be reduced to five (5) meanings of indung as shown in table 4. table 4. converging the meaning of indung from literature the maening of indung converged into the center of spiritual source of life the center of life source of life sincere affection affection sunan ambu (affection) dewi sri (sacrifice) love sunan ambu (affection) nyi sri pohaci (sacrifice) sincere take care homehome gentle perfect great great very nice big honorable role modeldayang sumbi (role model) role model converging the meaning of indung from questionnaire results two twenty-two (22) data on the meaning of the indung are obtained from the results of data collection of questionnaires; based on the meaning, they can be reduced to five (5) meanings of indung as shown in table 5. table 5. converging the meaning of indung from questionnaire the meaning of indung converged into angel (3) angel wingless angel guardian angel have a heart of angels god’s representative (2) mercy mercy important affection sacrifice (2) sincere affection (2) mother (15) warm home warm home a place to return take care of (6) give birth protet gentle everything (5) greatperfect (3) great (2) role model role model converging the meaning of indung from interview results eighteen (18) data on the meaning of the indung are obtained from the results of data collection of literature studies, based on the meaning, they can be reduced to ten (10) meanings of indung as shown in table 6. the meaning of indung in tables 1, 2, and 3 are summarized to get the main meaning of indung into tables 4, 5, and 6, the meaning of indung is selected based on the similarity of meaning, then converge into nine meanings of indung (see figure 3). the three data are compared with each other to obtain similarities with one another in the hope that a generalization of the meaning of the indung obtained. of rini maulina et al., representation of the meaning of indung in artworks 75 the nine meanings of indung obtained have three meanings of indung that is closest to the life that is the source of life, embrace and home. table 6. converging the meaning of indung from interview the meaning of indung converged into sanghyang dewi sri source of life source of life soulful soulful embrace embrace selfless caring selfless caring a place to return a place to returnworld low tone beautiful beautiful big harmonious strong instincts regular dynamic and moving leader leader motivator inner and outer encouraging figure 3. correlation of questionnaire, interview, and literature data. (source: personal data, 2021) representation of the meaning of indung in artwork research on the meaning of indung produces the essence of the meaning of indung as presented in figure 3, the result is represented in the artwork. art is the practice of representation and the product is representation. when we speak, write, draw, take pictures, make digital images or make videos, there seems to be a bit of a dispute that what we are doing is making representations. viewers and readers engage with representation (bolt, 2004). artwork that represent the data processing results in figure 3 are limited to the three meanings of indung, namely the source of life, embrace, and home. the title used for artworks is sumber kehidupan (the source of life), merangkul (embrace), and rumah yang hangat (warm home). the meaning of indung as the source of life is visualized by the sun. as an analogy to the source of life needed by all living things, the sun is described as the main object in the artwork. the meaning of indung as an embrace is visualized by a tree. trees as an analogy to embracing, it is the same as accepting anyone. trees are needed by all living things. butterflies, beetles, bees, birds, other animals, and humans come to the vicinity of the tree to get food from the juice of the flower, sap, or fruit, and get protection from wind, rain, or heat, and the tree embraces all living things that need it. the meaning of indung as “rumah yang hangat” is visualized as a home. the home as an analogy to the warm house is the warmth and comfort of the shelter for all living things. the elements of the home, such as doors, windows, walls, and roofs, are described as the main objects. the concept of the three works consists of different aspects, each of which has an important role in the creation of visual work. these aspects are the stages of visual formation, these aspects are, reflection: a response to a visual form in nature. defection: development of images based on observations of the visual world. composition: organization of the image and quality in the creation of a unified statement designed objects and artworks. expression: the use of art materials as a vehicle or medium for saying something in a meaningful way (alberta education, 1985). the following is a visual concept from the work of sumber kehidupan, merangkul, and rumah yang hangat. the visual styles used are decorative using elements of motifs and colors from west javanese harmonia: journal of arts research and education 21 (1) (2021): 68-7876 batik (see figure 4). the visual style of batik is used as a sundanese aesthetic concept. sundanese aesthetic concepts are also found in sundanese batik (priangan) decorations. the aesthetic aspect of sundanese decoration has local wisdom values for sundanese culture (maulina et al., 2020). figure 4. “sumber kehidupan” by rini maulina 2021, written batik 80 x 80 cm. (source: personal data, 2021) the visual concept of “sumber kehidupan” (see figure 5) includes a) reflection, which uses forms found in nature such as plants, trees, mountains, water, clouds, sun, and sky; b) defection; these forms are then transferred in the form of stylized batik visual style using the technique of written batik; c) composition, the composition spreads to fill the area of a square box, by dividing curved and straight lines. the sun is analogous to the meaning of the source of life as the main object in the middle of the composition. mountain views of clouds, plants, water, and animals are placed around the composition, framing the main object; d) expression, the media used is fibre reactive dyes (brand remazol) on cotton cloth measuring 50x55 cm with written batik techniques and colet color techniques. the colors used are the colors found in batik cloth from west java. the visual concept of “merangkul” (see figure 5) includes a) reflection, which uses forms found in nature such as humans, animals, plants, trees, mountains, clouds, sun, and sky; b) defection, the shapes depicted in the form of stylized batik visual style using the technique of written batik; c) composition, the composition spreads to fill a square box, by dividing the diagonal curved line in the middle of the composition. the analogy tree of the meaning of indung to embrace as the main object is placed in the middle of the composition. human, plant, and animal objects are placed around the composition, framing the main object; d) expression, the media used is fibre reactive dyes (brand remazol) on cotton cloth measuring 50x55 cm with written batik techniques and colet coloring techniques. the colors used are the colors found in batik cloth from west java. figure 5. “merangkul” by rini maulina 2021, written batik 80 x 80 cm. (source: personal data, 2021) the visual concept of “rumah yang hangat” (see figure 6) includes a) reflection, which uses forms found in nature such as animals, houses, plants, trees, mountains, clouds, sun, and sky; b) defection, the shapes depicted in the form of stylized batik visual style using the technique of written batik; c) composition, the composition spreads to fill the area of a square box, with a straight-line division. the house is an analogy to the meaning of indung. home, as the main object, is placed in the rini maulina et al., representation of the meaning of indung in artworks 77 middle of the composition, views of mountains, clouds, plants, animals are placed around the composition, framing the main object; d) expression, the media used is fibre reactive dyes (brand remazol) on cotton cloth measuring 50x55 cm with written batik techniques and colet coloring techniques. the colors used are the colors found in batik cloth from west java. figure 6. “rumah yang hangat” by rini maulina 2021, written batik 80 x 80 cm. 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(2015). intercultural visual language and visual communication difference. european academic research, 2(12), 15252–15268. 227 lifestyle ambiguity: the visuals of cigarette advertisements in the dutch east indies era bedjo riyanto, nurhayatu nufut alimin, endri sintiana murni universitas sebelas maret, indonesia submitted: 2022-09-04. revised: 2022-10-04. accepted: 2022-11-28 abstract the focuses of this research are the visual style reconstruction of cigarette advertisements published in magazines during the colonial era of the dutch east indies and the expressions of lifestyle recorded in them. this study examines the visualization and visual style of cigarette advertisements published in magazines in indonesia from 1925 to 2000. this study also aims to reconstruct the lifestyle in the visual representation of cigarette advertisements as a reflection of the process of social change in indonesian society during the colonial to the post-colonial period (1925 2000). this research employed descriptive analytical methodology, with the main theory of the social history of art and david chaney’s lifestyle theory. the visual style of oriental modern eclecticism captures the indies’ hybrid lifestyle expression, namely: a pseudo-modernity lifestyle as a result of the integration among the colonized communities which were spread across the dutch east indies (1925-1942). the cigarette advertisements of that era presented an imaginary world that depicted the harmonious social interactions of various social layers which is contrary to the social reality of the segregated colonial life. keywords: cigarette advertisement, visual style, lifestyle how to cite: riyanto, b., alimin, n. n., & murni, e. s. (2022). lifestyle ambiguity: the visuals of cigarette advertisements in the dutch east indies era. harmonia: journal of arts research and education, 22(2), 227-240 harmonia: journal of arts research and education 22 (2) (2022), 227-240 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i2.38636 of studies. (al-bashaireh et al., 2018). moreover, since covid has become a global issue lately, it turns out that smokers also make things worse if they are infected with covid. the present analysis found that current smokers have an increased risk of presenting to the hospital with severe covid‐19 and are approximately twice as likely to experience severe or critical covid‐19 as former or never‐smokers. in addition, patients with a smoking history were more likely to experience disease progression and require mechanical ventilation (reddy et al., 2021). on the other hand, in terms of economic aspects, the tobacco industry is a very introduction cigarettes are very popular and controversial products. some of the substances contained in cigarettes are the causes of deadly diseases. this review journal provided clear evidence of the negative effects of smoking on the musculoskeletal system. evidence found that smoking is associated with lower bmd, an increased risk for fracture, periodontitis, alveolar bone loss and implant failure, increased joint disease, poor functional outcomes, and poor therapeutic response. moreover, it is evidence of adverse effects on muscles, tendons, cartilage, and ligaments, despite the scarcity corresponding author: e-mail: bedjoriyanto@staff.uns.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (2) (2022): 227-240228 important manufacturing industry in indonesia. the tobacco industry can provide a very significant income to the state and absorb labor and contribute to the prosperity of millions of its citizens. as evidence, the ministry of industry of the republic of indonesia mentioned that the tobacco industry creates 5.98 million employments, of which 4.28 million are in manufacture and distribution, and 1.7 million people work in tobacco farming. in 2018, the export rate of tobacco as cigarettes and cigars was 931.6 million usd, increasing by 2.98% compared to 2017 (andarini, 2019). according to the history of cigarettes and tobacco products, a manufacturing industry with a modern production process entered indonesia (dutch indies at that time) in the late 19th century. economic liberalization, imposed by the dutch east indies colonial government in the 1870s after the forced cultivation, provided an opportunity for foreign investors to invest in the dutch east indies. foreign investors exploited this opportunity outside the dutch east indies government, allowing the entry of an international cigarette industry network. the entry of foreign capital due to the political liberalization of the dutch east indies government allowed the entry of the international white cigarette industry. the development of cigarette types in the dutch east indies era produced a variety of products with distinct uniqueness that represented each of their production areas. one of them is rokok kretek (clove cigarettes), which has survived throughout the ages. rokok kretek is a type of cigarette which uses a clove and sauce mixture developed by haji djamhari at the end of the 19th century in kudus city. its existence marked a new era where the kretek industry was acknowledged as a local genius of the indonesian culture’s original heritage. the new opportunity of clove cigarettes as the product preferred by millions of consumers with hundreds of thousands of labor absorption had invited chinese merchants to invest in this field and enliven market competition with the indigenous kretek products. the economic potential of cigarettes was promising. thus, investment in the tobacco industry in the dutch east indies grew rapidly, especially since the international cigarette company british-american tobacco established its factory in cirebon in 1925, followed by its new factory in surabaya in 1928. cigarettes produced by the western industry were usually made from virginian tobacco which was called the white cigarette (white machine cigarette) (castles, 1982). since then, the cigarette industry in the dutch east indies entered a new phase as a modern industry. the industry is required to create a loyal consumer (customer) market, guarantee the availability of raw material supplies, master modern production technology, and create an integrated distribution network and marketing communication to win the market competition. the business development of the cigarette industry did not always run smoothly. business rivalry, combined with non-conducive political conflicts, had led to anti-chinese riots backed by the indigenous cigarette business actors and members of sarekat islam (islamic union) in october 1918. in the following developments, due to the decline of the indigenous kretek industry economy, especially in kudus city, the chinese ethnic kretek business actors managed to emerge as a major force that increasingly dominated the kretek industry in indonesia. the urban lifestyle and the growing instant popular culture spurred clove cigarette products to emerge as a commodity of enjoyment, status symbols, and class identity enjoyed by all social strata. each brand has its fanatical consumer layer according to its economic and social class. as non-functional impulsive convenience goods whose benefits to its customers are symbolic and intangible, market penetration was performed by relying on persuasive communication through advertising and promotional campaigns. advertising myths that were considered the builders of the consciousness and lifestyle of modern bedjo riyanto et al., lifestyle ambiguity: the visuals of cigarette advertisements 229 humans began to be utilized by the cigarette industries in the dutch east indies at the beginning of the 20th century. this was done to create the consumption desire that knew no boundaries. the establishment of the modern advertising services industry, such as aneta (algemeen-generaal-nieuws-en telegraaf agentschap) by d.w. berrety in 1905 further strengthened the development of advertising media as the front liners of the marketing force. professional graphic designers of art academics graduates from the netherlands, such as frits adolph van bemmel, cor van deutekom, is van mens, and others, played an important role in the advancement of the advertising industry in the dutch east indies. from then on, advertisement as the means of persuasive communication that relied on visual aesthetic charms effectively enabled the power of marketing appeal. beautiful pictorial advertisements (display ads) were supported by a combination of text/typography and illustrations to make the pages of newspapers and magazines published in those days to be more vibrant and pleasing to their readers. imaginative spaces were formed to build the image of cigarettes and their relation to modernity through advertisements (riyanto, 2017). cigarette advertisements appearing in the press were presented as reflections of the social order in the colonial era. in the advertisement of the shag van nelle tobacco company, published in kedjawen magazine in the 1930s, a transformation process and social changes in the life of the indigenous rural agrarian society toward modern urban society were portrayed in a realistic, detailed, and artistic illustration. the visuals of the cigarette advertisements in that era were presented as a harmonious narrative of the social solidarity bonds that existed between the colonizers and the colonized. the visual representation of cigarette advertisements became a symbol of modernity as well as an ideal imaginary space for ethical, ideological propaganda over the claim of political success to civilize the dutch east indies. through the visual representation of cigarette advertisements, it can be seen clearly that orientalism’s ideology as a western colonial ideology had established and represented the image of eastern nations as an exotic and romantic society, in contrast to the advanced, modern, and rational western binary opposition. figure 1 shag van nelle tobacco advertisement on (kedjawen magazine, 1939) advertisement seemed to have become a part of the means to construct the ideological romantic imagery of the beautiful indies (mooi indies) with its escapist characteristic as the spirit (zeitgeist) of the orientalist period of the era. through the imaginary space of cigarette advertisements, the ethics showed their success in producing educated indigenous people oriented towards modern western humans and acting and thinking like their white skin masters (black skin white mask). this study is a chronological reconstruction of the development of cigarette advertisements published in magazine media, as an expression of middle-class society’s lifestyle, since the colonial period of the dutch east indies before the japanese occupation (1925-1940). the selection of cigarette advertisements featured in the magazines is based on the consideration that magazines are popular cultural texts that are important to modern consumer society. through media magazines, the mass culture industry constructs tastes, lifestyles, and consumer behavior in terms of fashion, culinary, entertainment, aesthetic choices, sexual orientation, body care, harmonia: journal of arts research and education 22 (2) (2022): 227-240230 religious beliefs, and even the orientation of political ideology that the people believe. like kaur said, magazines, like other media, greatly impact readers; his research about beauty product advertisements in magazines stated that it manipulates women into buying a way of life (kaur et al., 2013). advertising has great expansive power, and without realizing it, advertising forms the consumer culture that is the cornerstone of marketing, goods and services. finally, advertising becomes part of the strategy and cultural manipulation that underlies the survival of the system capitalist economy. in short, advertising is created to manipulate and create continuously and simultaneously needs new to consumers. advertising is a lifestyle and beauty propaganda agent. as part of the lifestyle, popular culture embodies the power of provocation and seduction in the mass media, especially advertising as a representation of the image (aprillia, 2005). cigarettes are closely related to modern lifestyles, as written and recorded in history. celebrities such as humphrey bogart, marilyn monroe, and audrey hepburn helped to cement the association between cigarettes and style. “cigarettes had once been the vice of immigrants and juvenile delinquents”, writes sarah milov, in her intriguing history of the american cigarette. “but war, advertising, and hollywood had helped to broaden, professionalise, and glamorise smoking’s appeal” (burki, 2020). furthermore, the ad will affect the people who see it, especially adolescents. they are attracted by the ad and influenced to try to smoke. research in massachusetts by siegel, conducted in early adolescence, suggests that the television component of an antismoking media campaign may have reduced the rate of progression to becoming an established smoker among young adolescents (siegel & biener, 2000). additionally, biener research said that adolescents who, at baseline, owned a tobacco promotional item and named a brand whose advertisements attracted their attention were more than twice as likely to become established smokers (odds ratio = 2.70) than adolescents who did neither (biener & siegel, 2000). at the same time, another research mentions that exposure to retail cigarette advertising is a risk factor for smoking initiation (lisa henriksen, nina c. schleicher, ellen c. feighery, 2010). on the other hand, magazine reproductions are of technically good printing quality. thus, they may last longer according to their publishing cycle (weekly, monthly, quarterly, or yearly). the magazine layout is also more beautiful and charming, and it contains a variety of in-depth information that allows it to be a collectible and referential item for its readers (lane, w. ronald ; king, karen whitehill ; russell, 2009). taking on lifestyle expression recorded in the visual style of cigarette advertisements published in magazines from 1925 to 1940 as its formal object, the purpose of this research is to analyze the form and visual style of cigarette advertisements published in magazine media during the dutch east indies era before the japanese occupation (1925-1940). furthermore, it also explains the style of design as a reflection of indonesian society’s lifestyle in the dutch east indies era before the japanese occupation (1925-1940). method the primary sources of this research are cigarette and tobacco product advertisements published in magazines from 1925-1940. all the visual samples were obtained from the collections of the national library in jakarta, the mangkunegaran palace library, as well as the national press monument in surakarta. source selection was conducted according to a purposive sampling or criterion-based selection strategy that emphasized the creativity characteristics of the advertisement design style, message content, typography, creativity of advertising illustrations, and print quality rather than the level of its presence in the bedjo riyanto et al., lifestyle ambiguity: the visuals of cigarette advertisements 231 population. research periodization was selected during the dutch east indies era (19251940). it was based on the fact that since 1925 which was an industrialization process of cigarette production, where the activity demanded a modern marketing communication system increased along with the intensity of advertising in the press media. to analyze the description of the visual style development of cigarette advertisements and the lifestyle expressions presented in the visual messages, the art and design criticism by terry barret as described in his book criticizing art was used in the following steps (barrett, 1994). description stage: verbally describing visual representations so that the special characteristics of an artwork or design can be seen, identified, and ultimately appreciated. this stage uses a theory of art social history by arnold hauser and john walker to describe the social history of indonesian society. the main theory used in this research is the theory of art social history. the existence of an artwork or a design always describes the social position of the artist or designer as an individual in the network of the social structure in his supporting society in a certain historical space and time (hauser, 1951). further, hauser also stated that in its historical development, artwork originally served as an instrument of religious ritual in tribal or primitive societies. it then transformed into a propaganda medium for interest groups, clicks, political parties, and certain social classes. ultimately, in modern society, artworks serve as a recreational means that promote the interests of certain social strata to pursue their practical interests either openly or covertly. visual culture theory and the history of modern graphic design styles. the relationship between lifestyle and visual style that becomes the identity or the spirit of an era of artwork and design is always closely related. visual culture, a blend of lifestyle and style, is a culture built with visual elements as the main constructing forms. in the process of meaning construction, visual culture involves the dominant activity of sight (vision) or gaze. visual style always blends with lifestyle and the spirit of an era (zeitgeist), thus, it is called the style of the era (zeitstil). all visual styles of different periods can be present together so that no dominant style applies (walker, 2010). an analytical descriptive research model with the main theory of art social history is applied to reconstruct the development of the visual style of cigarette advertisement depicting the lifestyle expression published in magazine media during the dutch east indies era from 1925-1940 before the japanese occupation. interpretation stage; the act of identifying the secondary meaning by relating to the visual elements of an artwork or design described in detail in the previous stage, to the theme, concept, or event captured in the picture/image/form. judgment/evaluation stage; the act of understanding the essential and basic meaning or philosophical meaning of an artwork or design. result and discussion the development of the cigarette industry in indonesia in the dutch east indies era, the white cigarette symbolized the elite and upper-middle-class lifestyles, distinguishing them from the lower middle class or the people who mostly consumed clove cigarettes or homemade tingwe (manually rolled) cigarettes. until 1925, white cigarettes primarily consumed by white communities and indigenous elites were still imported from the west, with an average of 4 billion cigarettes each year. in the 1930s, there was a world economic crisis called the malaise era. the government of the dutch east indies experienced a decline in export revenue and taxes from foreign trade. since 1932, all packs of cigarettes must be sealed with a “tag” paper to show the retail price. this tag was obtained from the harmonia: journal of arts research and education 22 (2) (2022): 227-240232 customs service as a sign of payment of the cigarette sales tax (castles, 1982). to increase state revenue in the form of tax and cigarette excise taxes, the dutch east indies government implemented import substitution policies, granting britishamerican-tobacco (bat) a license to build its first factory of white machine cigarettes in the city of cirebon in 1925 and surabaya in 1928. in addition to cigarette products, one of the tobacco industries that did a lot of advertising promotion in the dutch east indies era was the shag van nelle tobacco factory which successfully captured the market interest in the 1930s. the success of van nelle’s marketing was supported by its courage to advertise in various magazine media and newspapers such as kedjawen, d’orient, sin po, pandji poestaka, and others with the themes of modernization of community life in the dutch east indies (hermanu, 2006). among the indigenous communities, cigarette industries originally produced on the household industry scale began to appear especially in the kudus region at the end of the 19th century. the presence of clove cigarettes produced by haji djamhari, which according to society, can cure asthma, began to be produced in large quantities and sold for general public consumption in kudus (budiman, 2016). the success of the clove cigarette industry was finally enjoyed by chinese entrepreneurs who made use of the lucrative findings of the indigenous people into a clove business conglomerate with a global reach of marketing lasting up to the 21st century. one decade later, haji djamhari’s clove cigarette findings became a large-scale industrial product in the hands of nitisemito who was considered the pioneer of the clove cigarette industry in indonesia, with a picture of three circles on all of the packs of his cigarettes called “bal teloe”, “bal tiga”, or “tiga bola” (s. margana, 2014). nitisemito carried out the marketing communications with creative concepts such as renting fokker aircraft from the dutch east indies (koninklijk lucht matschapij/klm) airline worth 200 guilders to distribute flyers of promotional pamphlets by air in jakarta and bandung. nitisemito also sponsored traditional performances and modern theaters such as plays, shadow puppet shows, wayang orang (traditional javanese plays), etc., that the people of the dutch east indies favored. nitisemito also pioneered modern sales promotion by providing gifts and bonuses as a sales volume incentive. some packets of cigarettes can be exchanged for prizes such as glasses, plates, cups, watches, clocks, and even bicycles which are luxuries of those days(s. margana, 2014). the success story of kretek king nitisemito inspired both indigenous and chinese entrepreneurs to establish new clove cigarette factories. the established factories spread from kudus to other cities such as semarang, surabaya, blitar, kediri, malang, surakarta, tegal, pekalongan, cilacap, banyumas, and cirebon. city, social changes, and lifestyle development in the press media during dutch east indies era the social change process that transformed the dutch east indies colonized society from the traditional feudal agrarian society to the modern urban society began when the agrarian law (agrarische-wet) of 1870 was applied. the law opened the possibility of liberalizing the colonial economy and trade system to capital private as well as foreign capital outside the dutch. the liberalization of the colonial economy led to a process of modernization for the colonized people in the dutch east indies. modern cities with all of their infrastructure and superstructure were soon built by the dutch indies government on a large scale, especially in java, sumatra, bali, and sulawesi. the settlement of capitalist businessmen and white professionals in these modern cities as the upper layers of the social strata of the dutch east indies society had brought a system of values, lifestyle, civilization, and modern western culture that they embraced. the beginning of the 20th century was a new era in the politics of the bedjo riyanto et al., lifestyle ambiguity: the visuals of cigarette advertisements 233 colonial state marked by the application of ethical policy (good deed repayment policy) with three priority programs education, irrigation, and transmigration. all three programs encouraged the dutch east indies to enter the process of transformation into a modern society. intensive cultural contacts between modern western civilization and indigenous traditional feudal agrarian cultures (especially the royal culture developed in the traditional royal centers in vorstenlanden) spawned a new cultural hybridization or cultural acculturation called the indis culture. this mixed culture became a new way of life that rapidly spread and was adopted by all social strata of society in the dutch east indies (wertheim, 1956). modern communication systems utilizing modern media communication technology soon became a vital need for the development of urban communities in the dutch east indies. in every major city in the dutch east indies, newspapers or magazines using dutch, malay, chinese, or local languages (such as javanese, sundanese, etc.) were published (von faber, 1930). the modernization of the dutch indies’ consumption since the beginning of the 20th century was portrayed in press advertisements that clearly illustrated the dynamic development of new lifestyles in urban areas. the advertisement was published in various dutch language press media such as de locomotief, java bode, bataviaasch handelsblad, de nieuwe vorstenlanden, soerabaiasch handelsblad, and other malay press such as betawi, sin po, trade news, betawi, etc., during the 1870s period. until the 1940s the advertisement depicted consumption patterns among the new economic elite (rich nouveau) and the new middle class of both white (dutch and european american), chinese and foreign eastern, and indigenous peoples. through various advertising information, the dutch east indies became an arena of marketing field struggles and consumer market of various industrial products produced by western developed countries. the new lifestyle due to the growth of modern cities with all facilities and public services, had formed a dandy society among the elite and the middle class of the indies communities. information about these products was obtained from advertisements in newspapers and magazines. the well-known brands of daily needs products from global companies were always advertised in newspapers or magazines and became the consumption of modern lifestyles at that time. health care and the use of modern medicines in hospitals, professional doctors, and pharmacies with their medical products were introduced through various press advertisements. the role of advertisement in the cigarette industry marketing competition the visuals of advertisements presented in various media have designated purposes and multiple interpretations. david ogilvy, a renowned advertising figure and founder of ogilvy & mathers advertising agency, stated that advertising has a dual role. on the one hand, advertising is a medium of information to transmit commercial or non-commercial messages to audiences. on the other hand, it also serves as an artwork with all of its visually enthralling elements. the synthesis of the messages should be easy to comprehend (legible) and contain a clear message (single-minded) aesthetically and creatively. building customer loyalty to realize brand-loving customer is a key to the success of modern marketing that big cigarette companies have realized since the dutch east indies. as a multinational company marketed its products in the dutch east indies, it had the white cigarette industry. therefore, advertising messages conveyed through an artistic, persuasive, and creative visual language designed by graphic artists from the netherlands were displayed on the pages of various newspapers and magazines in the era. chronologically, the development of advertising visuals in the tobacco and ciharmonia: journal of arts research and education 22 (2) (2022): 227-240234 garette industries published in the press media during the colonial period (the early 20th century before the japanese occupation of 1942) represented the spirit of stylistic eclecticism that can be grouped into two stages. the form is (1) an introduction/ product information form and (2) a dramatic narrative advertisement form. in this period, the advertisement did not only convey the use value of a product, but it also built the perception and delivered the symbolic value of the product (change value) to its customers. consumers are suggested to require a symbolic consumption associated with prestige, self-image, or awareness of the exclusivity of their social classes as the essence of the lifestyle of the era. thousands of guilders were spent by the white cigarette industry to put cigarette advertisements in various press media and produce enamel advertisements from italy and france to be installed as outdoor media advertisements in the dutch east indies. some of the most aggressive advertisers in the press media, which also produced outdoor enamel advertisements were the van nelle shipping tobacco companies, bat, philip morris, atc, faroka, r.j. reynolds, and jacobson van den berg. various brands of cigarettes such as camel, mascot, abdulla, lucky strike, capstan, davros, van nelle, etc., were advertised in almost every issue of newspaper and magazine publications. marketing promotion activities (propagandamiddels) in the form of top-class media advertising were still limited and undertaken only by the white cigarette companies. this is because white cigarettes, representing the segmented tastes of the middle and upper class of western colonial consumers, were still a class marker as well as a symbol of lifestyle modernity. meanwhile, clove cigarette companies, mostly owned by indigenous people and chinese businessmen, preferred to promote their marketing in the form of prizes, sweepstakes, sponsorship of public performances, and so forth (the term is now downstream media advertising) as exemplified by the cigarette company nitisemito in kudus . this was by the target segmentation of consumers, which was the lower class society as the majority of the population. figure 2 garrick cigarette adverstisement on (d’orient magazine, 1924a) the visuals of cigarette advertisements were getting more and more improved. garrick’s cigarette advertisement produced by uk garbert lambert & butler was the pioneer of display advertising form with a dramatic narrative which was distributed in the dutch east indies by the international cigarette company britishamerican tobacco coy (java) ltd. it was published on the page of d’orient magazine no. 39, dated september 27, 1924 (figure 2). the garrick’s cigarette advertisement used an endorser of david garrick, the greatest playwright of the era. it was the first advertisement in the campaign to promote cigarette products in the dutch east indies using the testimony and quotes of praise by the endorser. the readers were expected to align the quality of the advertised cigarette product with the achievements and the greatness of david garrick. the persuasive value of an advertisement was not only a display of product packaging as a form of direct selling (hardbedjo riyanto et al., lifestyle ambiguity: the visuals of cigarette advertisements 235 sell), but also as presented in “the seven stars” cigarettes advertisement, produced by nanyang bros tobacco coy batavia which was published in d’orient magazine no. 35 dated on august 30, 1924 (figure 2). this advertisement ilustrated the picture of the cigarette itself that looks piecefull and enjoyment. figure 3 seven stars advertisement on (d’orient magazine, 1924b) figure 4 mac gillavry cigarette advertisement on (d’orient magazine, 1925) a parodic approach to colonial social stratification as a visual appeal was presented attractively in the h.d. mac gillavry cigarette advertisement (figure 4). this cigarette advertisement produced in ambarawa-central java was published in the d’orient no. 40 magazine dated october 3, 1925. the sociographic segmentation approach appeared to have been utilized by describing the three most important social classes of the indies at that time: white people (dutch or european) as the ruling elite, the eastern (chinese or arab) foreign class as a minority between the middle classes, as well as the indigenous people as the lowest-held majority. all social classes were portrayed as loyal consumers of tobacco products. the new tendency to lure in the eastern culture with all of its aspects of life (orientalism) greatly affected the international cigarette industry. r.j. reynolds tobacco cigarette company (rjrt) successfully launched the camel white cigarette product (marketed in late 1913) that combined turkish tobacco flavor with burley and bright tobacco, which was then introduced as the flavor of native american cigarettes (figure 5). the oriental exoticism in the visual discourse of cigarette advertisements can be further seen in camel cigarette advertisements. the advertisement was published in d’orient magazine in 1937 (hermanu, 2006). in the era of the 1930s, which was the culmination of the dutch east indies advertising industry, there was a new media called enamel advertisement. enamel advertisement is a medium to convey an advertising message that is manufactured through a series of printing processes but not on paper but an iron board or steel plate. enamel advertisement can serve as an indoor advertising media as well as an outdoor advertising media. the modernization themes depicting the process of social changes in the dutch east indies were the most prominent visual appeal of enamel advertising and were most often featured by its illustrators. harmonia: journal of arts research and education 22 (2) (2022): 227-240236 figure 5. camel cigarette advertisement on (d’orient magazine, 1937) with the style of naturalism, the beauty and elegance of the dutch east indies colony were presented through astonishing technical skills in terms of accuracy, anatomy details, proportion, perception, lighting, brightness, color, three-dimensional plasticity, and the fashion style of indigenous and white people being displayed. the mooi style of indie or the elegant indies involved the visuals of design and advertising fields that showed a combination of western and eastern visual vocabulary that produced the popular eclectic style known as the indies style of that era (burhan, 2008). these tobacco enamel advertisements serve to show the importance of marketing and promotion practices. therefore they were reproduced in magazines or newspapers. a series of commercials made by shag van nelle tobacco company was more of a painting that built a narrative about the drama of colonial life in the dutch east indies as the central theme or the main idea (figure 6). human figures with diverse cultural identities and social roles were widely explored as cigarette advertisement figures that were emotionally considered to represent and serve as a link between the product and its customers. character figures with a variety of ethnicity, profession, social class, and cultural affiliation were used to help explain how the product was functioning or used. figure 6. shag van nelle tobacco enamel advertising in (shag van nelle tobacco enamel advertising, n.d.) the style of oriental modern eclectic advertisement design is a blend of the western advertising visual design styles with the traditional eastern life, resulting in hybridity that reverses the realities of colonial life into a dreamland of imaginary modernity in the advertising space. when within a period, there is an overlap of simultaneously present various visual styles of different periods, a stylistic eclecticism occurs, an absence of a dominant visual style that serves as the marker of an era. every period has a historical moment that gives birth to certain visual features called visual styles as an aesthetic paradigm that reflects the soul of the era (zeitgeist). the visual style takes place in a series of cycles of birth, growth, the peak of development, decline, and even an end. the visual style that manages to be the commonly acknowledged style of a certain period is called the “zeitgest” (soul of the times). in the process of historical development, the visual style as the marker of an era does not always present linear but is full of twists that are simultaneous and progressive, overlapping, and far from bedjo riyanto et al., lifestyle ambiguity: the visuals of cigarette advertisements 237 monolithic nature. some circumstances produce a plurality of mutually coexistent styles between the old and the new, predecessor and successor, inventor and follower that occurs dialectically. instead of showing indonesia’s exotic like in the ”mooi indie” era, the advertising tends to show indonesia’s new side. commonly in indonesia, there is a time period of the ”mooi indie” painting era, which was popular to show the life of the indigenous indonesian people as a harmonious, exotic, traditional, foreign, and mysterious ancient world life (burhan, 2008). the field of modern indonesian painting in the dutch east indies and the republic of indonesia today can be divided into four stages; the first phase (1900-1942): mooi indie; the second phase (1942-1950): indonesian identity; the third phase (19501965): nationally oriented and some were more internationally oriented; the fourth phase (1965-1995): figurative art. (spanjaard, helena, 2018, pp. 100-102). mooi indie resembles a lo western and eastern forms of art were dominated by the orientalism of ”mooi-indie” art. orientalism is based on forming a colonial image of the world of exotic and special eastern populations (iswahyudi, 2020). most modern cigarette advertisements present the beauty of indonesia as it was in the mooi indie era. aziz’s research shows the representational meaning in dji sam soe’s “mahakarya” advertisement, namely nationalism in mooie indie packaging and balinese cultural inclusion. the representation of national identity in mooie indie shows love for the homeland. love for the country of birth is visualized as the state of indonesia. it is in the form of own love country (aziz et al., 2019). on the other hand, the advertisement showed the opposite picture of the painting. instead, it was rather depicted as a process that had undergone progress and enjoyed the modern lifestyle as what “their white masters” enjoyed (though that was only in the imaginary realities of the advertisement space). the eclectic visual narrative of romantic modern orientalism in the cigarette advertisements in the indies became a simulation of imaginary reality. basically, a lot of ads make the audience feel it is the ideal form of something they want. as explained in the borau research, this study explains that advertisements that use female models become the ideal picture of a perfect woman. this became real, and many women who watched the advert made the female model their competitor in the ad (borau & bonnefon, 2019). in the strategic management of a brand’s communication, advertisements play a significant role. today’s advertising strategy aims to differentiate their products from those of competitors by connecting consumers’ lives to fictional worlds and inspiring strong associations with the product. organizations are constructed using myths, different symbols, and metaphors in advertising’s verbal and visual components. this accomplishes tasks including generating fresh meanings, transferring them, and enhancing their significance (yildirim, 2021). one of the best methods to introduce any product, concept, or service to its intended market is through advertising. advertisements actively contribute to the dissemination of ideologies, the creation of meaning, and the justification of the fundamental principles underlying the capitalist system. the target audience must be able to understand the messages being conveyed through advertising for this process to be successful. in other words, customers’ ability to perceive and interpret advertising communications is a noteworthy barrier to building favorable associations with and positions for the brand in their thoughts (yildirim, 2021). the visual style of oriental romance that captures the lifestyle expression of indies hybridity is pseudo modernity of lifestyle resulting from the integration of the colonized communities in the dutch east indies territory (1925-1942). cigarette advertisements from the dutch east indies era in communicative, creative and aestheharmonia: journal of arts research and education 22 (2) (2022): 227-240238 tic visuals appeared since the operation of the international cigarette industry which opened its factory in java in the early 20th century. at the same time, there are various modern advertising agencies that employ professional ad designers from the netherlands. display advertisements that presented images as the power of attraction no longer gave product information but showed romantic and dramatic narratives that recorded the ideal lifestyle of colonial society at that time. through hand drawing techniques, the cigarette advertisement graphic artist presented the process of modernizing the various social layers of the dutch east indies colonial society. cigarette advertisements became a hyper-realistic world show, an imaginary world that described the social interactions of various social layers involving the colonizers and the colonized. the ideal picture in the visual narrative is contrary to the social reality of the segregated colonial societies in which there were strictly social and political barriers to distinguish between the white colonizers and the colonized majority of indigenous peoples. the imaginary spaces for cigarette advertisements become an arena for presenting the hybrid indies lifestyle in various forms of fashion and consumption of other modern industrial products. it also describes the dreams of indigenous people who want to be modern and a narrative of how multiculturalism is practiced in everyday life. the self-identity displayed in the visual narrative of cigarette advertisements shows more personal meaning than the colonial era’s social collectivity. celebrities of the popular industrial world, such as public idols, were often used as an endorser and appeal for its product sales. they became a lifestyle reference and charm followed by fanatical devotees. being modern is celebrating the body as a spectacle as well as showing off popularity as a prestigious achievement. in a situation of pros and cons among supporters and opponents of cigarette and tobacco consumption which is increasing sharply in indonesia at this time, the results of this research can be used as input in the formulation of policies and laws regarding substances that are permitted or prohibited in advertising campaigns for cigarettes and tobacco products. it is based on the spirit of protection for the consumer community. the choice of lifestyle themes as the power of cigarette advertising persuasion is also expected to be an interdisciplinary study of sociology, anthropology, communication, marketing, media culture, psychology, etc. this is to get a more holistic outcome to enrich our perspective on the various dimensions of the issue, which concerns the cigarette and tobacco products industry that continues to cause controversy both in the scale of the national and the global community up to the present day. conclusion some of the layers of meaning that can be inferred from the visual narrative of cigarette advertisements during the dutch east indies era are: first, the cigarette advertisement simulation space serves as propaganda for the dutch east indies government’s success in advancing and modernizing the indigenous society through its emancipatory political policy. secondly, the cigarette advertisement simulation space serves as a demonstration of an egalitarian society that dissolves the discrimination and segregation of the colonial social stratification. third, the cigarette advertisement simulation room promotes the image of lifting the indigenous people as important actors who were always highlighted as the majority of cigarette product consumers although in the social reality, they remained third-class citizens who were underdeveloped and underestimated. acknowledgments we would like to express our great appreciation to 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(2021). enriching the meaning with associations in advertisements: semiotic analysis of turkcell fiber advertising. journal of social science, 20(1), 90–109. 116 pembelajaran angklung menggunakan metode belajar sambil bermain diah rizky kartika putri universitas negeri semarang, kampus sekaran gunungpati, semarang e-mail: putrikartika402@yahoo.com abstrak penelitian ini dilatarbelakangi oleh adanya kegiatan pembelajaran angklung untuk anak usia dini di tk negeri pembina kota tegal yang merupakan hal baru untuk anak usia dini. oleh karena itu, guru harus memberikan metode pembelajaran yang menarik dan mempermudah anak dalam belajar alat musik tradisional angklung. tujuan penelitian ini adalah mengetahui strategi pembelajaran angklung, kemudahan, dan kerugian pengunaan metode belajar sambil bermain dalam pembelajaran angklung untuk anak. pendekatan yang digunakan dalam penelitian ini adalah pendekatan penelitian deskriptif kualitatif yaitu mendeskripsikan, menguraikan, dan menggambarkan masalah yang dikaji. hasil penelitian menunujukkan bahwa penerapan pembelajaran angklung dengan menggunakan metode belajar sambil bermain adalah strategi yang efektif untuk menarik minat anak usia dini dalam belajar angklung. learning of angklung by means of learning and playing method abstract this research is based on angklung learning activities for children at public kindergarten, tegal as a new program for kindergarten children. therefore, teachers should give an interesting and simple learning method to children to learn traditional angklung music. the goal of this research is to find out learning strategies in angklung playing, feasibility, and disadvantages of using the learning method. the approach used in this research is descriptive qualitative approach, by describing and explaining the problems. the finding shows that the use of angklung learning by using this method is an effective strategy to attract children in learning angklung. kata kunci: pembelajaran, alat musik angklung, metode belajar sambil bermain. pendahuluan angklung merupakan salah alat musik tradisional asli indonesia yang berasal dari jawa bagian barat. angklung memiliki empat kharisma di mata internasional yaitu, murah, sederhana, unik, dan berpendidikan seni. angklung adalah salah satu alat musik tradisional asli indonesia yang berasal dari jawa bagian barat. selain itu alat musik angklung mendapat sorotan istimewa dimata internasional sebagai alat musik yang sederhana namun menakjubkan, karena menghasilkan bunyi yang indah dan unik dari pipa-pipa bambu yang dibenturkan. suara yang dihasilkan angklung sangat khas. keistemewaan inilah yang membuat angklung terkenal sampai ke kanca internasional. setiap orang dapat memainkan alat musik angklung baik orang dewasa, remaja, maupun anak-anak. keistimewaan yang dimiliki angdiah rizky kartika putri, pembelajaran angklung menggunakan metode belajar sambil ... 117 klung membuat para guru taman kanakkanak (tk) tertugah untuk membuat suatu pembelajaran angklung untuk anak sebagai langkah awal penerapan pendidikan, seni khususnya seni musik pada anak usia dini. tk negeri pembina tegal memiliki program ekstrakurikuler musik untuk memperkenalkan kepada anak tentang budaya asli indonesia. ekstrakulikuler tersebut adalah angklung. pembelajaran angklung dalam ekstrakulikuler musik di tk negeri pembina kota tegal menjadi favorit karena di dalam pembelajaran angklung anak mendapat hal baru seperti mengenal angklung, mengetahui asal usul angklung, memegang angklung, bahkan memainkan alat musik bamboo ini. ekstrakurikuler angklung di tk negeri pembina sering mengikuti pentas seni di depan walikota tegal, acara yang diadakan kota tegal, mengikuti lomba, dan menghasilkan banyak prestasi yang ditorehkan oleh anak-anak tk negeri pembina kota tegal. dari tahun ke tahun, ekstrakurikuler angklung mendapat dukungan dari banyak pihak seperti, bapak walikota tegal, orangtua murid, dan tentunya masyarakat kota tegal. para guru tk pembina tersanjung dengan banyaknya pujian yang datang untuk keuletan guru yang dengan sabar mendidik anak usia dini di tk pembina dalam ekstrakurikuler angklung. pembelajaran angklung dalam ekstrakurikuler angklung akan selalu dipertahankan dan ditingkatkan oleh pihak tk negeri pembina kota tegal guna menggalakan dan menanamkan kedisiplinan dan pelestarian budaya indonesia dalam diri anak tk. peneliti tertarik terhadap pembelajaran angklung untuk anak usia dini karena dewasa ini, di indonesia pengenalan alat musik tradisional sedang digalakan kepada para generasi muda untuk melestarikan budaya indonesia. pemberdayaan alat musik tradisional saat ini agar alat musik tradisional mendapat tempat dihati generasi muda. terutama, pada alat musik tradisional ataupun musik tradisional. tidak sedikit anak indonesia yang melirik alat musik yang terbuat dari bambu ini. anak lebih menghargai budaya bangsa indonesia dengan mengenal dan melestarikan alat musik angklung didalam warisan budaya bangsa yang mengungkap sesuatu yang indah dan bermakna. begitu pula dengan keberadaan alat musik angklung yang merupakan warisan budaya indonesia. anak sekaligus generasi muda akan menemukan sesuatu yaitu keunikan dari alat musik angklung. dalam penggunaan metode belajar dan bermain seorang anak akan memperoleh hal baru. belajar dan bermain bagi mereka juga merupakan sarana dalam mengembangkan berbagai ketrampilan sosialnya. kegiatan bermain dan belajar mereka akan mengembangkan otot dan melatih gerakan motorik mereka didalam penyaluran energi yang berlebih. de ngan adanya kegiatan belajar dan bermain, seorang anak akan menemukan bahwa merangsang suatu hal baru dan berbeda dapat menimbulkan kepuasan dan pada akhirnya seorang anak akan menjadi lebih kreatif dan inovatif. prinsip metode belajar sambil bermain itu sendiri adalah untuk mendidik, dimana memiliki nilai positif bagi perkembangan anak-anak, manakala mengandung nilai-nilai pendidikan. seperti mengembangkan kemampuan motorik, melatih verbal, latihan sosialisasi, dan mengembangkan emosi. metode belajar sambil bermain adalah cara menarik untuk mengajak belajar anak-anak dan akan mempengaruhi respon anak-anak melalui bermain. antara belajar dan bermain saling berkaitan satu sama lain. untuk mempermudah pembelajaran angklung di tk negeri pembina kota tegal, guru tk pembina memiliki rahasia teknik tersendiri untuk menarik minat anak untuk belajar angklung. not angka berwarna adalah media bagi anak untuk mempelajari lagulagu yang dimainkan dengan alat musik angklung. dengan not angka berwarna anak merasa mudah untuk memainkan lagu-lagu. guru tk pembina mengajarkan satu demi satu not lagu dengan menyisipkan warna di setiap not angka pada lagu. tentu saja not berwarna ini memiliki warna yang menarik dan disukai oleh anak harmonia, volume 12, no. 2 / desember 2012118 tk. dengan not berwarna anak tk merasa senang dan riang mempelajari angklung, walaupun hanya sebatas ekstrakurikuler musik. belajar menurut james o. whittaker adalah proses dimana tingkah laku ditimbulkan atau diubah melalui latihan atau pengalaman. cronchbach (dalam djamarah 2000: 76), belajar adalah suatu aktifitas yang ditunjukkan oleh perubahan tingkah laku sebagai hasil dari pengalaman. howard l. kingskey (dalam djamarah 2000: 76) menututurkan bahwa belajar adalah proses dimana tingkah laku ditimbulkan atau diubah melalui praktek atau latihan. metode merupakan sebuah penguji pengalaman secara seksama, tanpa prasangka teoritis, menemukan keesensialandari setiap pengalaman tersebut (boeree dalam buku metode pembelajaran dan pengajaran 2008: 53). sedangkan menurut kamus besar bahasa indonesia (pusat bahasa departemen pendidikan nasional, edisi ketiga balai pustaka 2005: 565), metode merupakan cara sistematis dan berfikir secara baik untuk mencapai tujuan, prinsip,dan praktek–praktek pengajaran bahasa. metode belajar sambil bermain sudah dikembangkan dalam berbagai jenjang pendidikan, termasuk sekolah usia dini yang justru sangat dekat dengan bermain. garis merahnya, para pendidik mencoba murid-muridnya untuk tidak hanya duduk diam, tapi mereka didorong untuk aktif. komunikasi pun dilangsungkan secara berdialog-komunikasi dua pihak. dengan begitu, muridpun akan lebih berkembang dan dipacu untuk berpikir. murid bukan hanya duduk diam dan mendengar, tapi juga berinteraksi dengan guru dan temantemannya. oleh karena itu, banyak sekolah usia dini yang sangat mengutamakan fasilitas bermain mereka. sekolah banyak memberikan stimuli-stimuli kepada anak untuk melatih keseluruhan sistem motorik anak (susana: 2010) setiap anak memiliki insting untuk bermain, yaitu kebutuhan untuk kreativitas dalam pola tertentu yang sangat membantu proses pertumbuhan dan perkembangannya. proses pertumbuhan initidak hanya menyangkut pertumbuhan fisik, tetapi juga berkaitan dengan perkembangan mental, sosial, dan kematangan emosional (miller dalam mulyadi, 1997: 9). rousseau (dalam jamalus, 1981: 1), menguraikan jenis-jenis pendidikan yang harus diberikan kepada seorang anak yang berkemampuan sedang. dalam bernyanyi, kita haruslah membangkitkan kepekaan murid terhadap irama dan harmoni. nyanyian yang berisi hal-hal di luar lapangan dan batas emosi mereka sebaiknya dihindarkan. anak-anak memang harus belajar membaca notasi musik, tetapi janganlah dipaksa buru–buru mempelajarinya, karena membaca itu sebenarnya hanyalah merupakan satu alat, sedangkan sebuah lagu akan dapat dinikmati dengan mendengarkannnya, bukan dengan melihat notasinya (rousseau dalam jamalus, 1981: 2). rousseau (dalam jamalus,1981: 4) menyadari bahwa kesanggupan belajar anak–anak tidak sama dengan orang dewasa. oleh sebab itu, beliau menganjurkan agar anak dibiarkan untuk berkembang secara wajar dan tidak dipaksakan. hendaknya pelajaran musik mampu menciptakan suasana gembira dikalangan anak-anak. rousseau (dalam jamalus, 1981: 5), tidak suka bila anak–anak dipaksa buru–buru harus mempelajari teori membaca musik sehingga mengurangi kesenangan anak–anak, oleh karena itu melodi dan lirik untuk lagu anak–anak harus sesuai dengan dunia anak–anak. menurut wardano (2009: 131), ada beberapa faktor mengapa media bermain dipandang sangat efektif terutama dalam melakukan suatu pembelajaran dibandungkan metode konvensional belajar secara formal. yang pertama, karena media bermain sangat dekat dengan kita (terutama masa kanak-kanak). karena kedekatannya kita sering sulit membedakan apakah kegiatan ini suatu permainan ataukah aktivitas umum lainnya terutama bagi anak-anak, permainan merupakan bagian dari kegiatan yang dilakukan anak setiap hari. kedua dilihat dari sisi metode (terutama dalam belajar) yang digunakan diah rizky kartika putri, pembelajaran angklung menggunakan metode belajar sambil ... 119 adalah suatu permainan mempunyai nilai lebih dibandingkan metode konvensial (belajar) secara formal lainnya. kedua faktor tersebut diperkuat dengan adanya metode-metode belajar baru yang mencoba menggabungkan dunia permainan dengan alat-alat moderen lainnya menjadi sebuah teknik belajar cepat (accelareted learning). metode belajar sambil bermain sudah dikembangkan dalam berbagai jenjang pendidikan, termasuk sekolah usia dini yang justru sangat dekat dengan bermain. garis merahnya, para pendidik mencoba murid-muridnya untuk tidak hanya duduk diam, tapi mereka didorong untuk aktif. komunikasi pun dilangsungkan secara berdialog-komunikasi dua pihak. dengan begitu, muridpun akan lebih berkembang dan dipacu untuk berpikir. murid bukan hanya duduk diam dan mendengar, tapi juga berinteraksi dengan guru dan temantemannya. oleh karena itu, banyak sekolah usia dini yang sangat mengutamakan fasilitas bermain mereka. sekolah banyak memberikan stimuli-stimuli kepada anak untuk melatih keseluruhan sistem motorik anak. dunia anak-anak adalah dunia bermain. semua anak selalu hidup dalam dunia yang satu ini, yaitu dunia bermain. dunia bermain merupakan tahap awal dari proses belajar pada anak-anak yang dialami oleh hampir semua manusia. setiap anak memiliki insting untuk bermain, yaitu kebutuhan untuk berkreativitas dalam pola tertentu yang sangat membantu proses pertumbuhan dan perkembangannya (miller dalam mulyadi, 1997: 9). ada lima karakteristik bermain menurut garvey (dalam mulyadi, 1997: 11) yaitu yang pertama adalah bermain merupakan sesuatu yang menyenangkan dan memiliki nilai positif bagi anak, artinya dengan melakukan kegiatan bermain, seorang anak akan memperoleh keasyikan tersendiri dan merasa senang. kedua, bermain didasari motivasi yang muncul dari dalam tanpa harus disuruh orang lain. ketiga,bermain memiliki sifat yang spontan dan sukarela, buka merupakan suatu kewajiban. keempat, yaitu bermain senantiasa melibatkan peran aktif dari anak yang memiliki arti bahwa ank benar-benar aktif dalam kegiatan tersebut baik secara fisik maupun mental, misalnya membaca dan melompat. kelima, yaitu bermain memiliki hubungan sistematik yang khusus dengan sesuatu yang bukan permainan. angklung merupakan alat musik tradisional indonesia khas sunda yang terbuat dari bambu dan dibunyikan dengan cara digoyangkan (bunyi disebabkan oleh benturan badan pipa bamboo) sehingga menghasilkan bunyi yang bergetar dalam susunan nada 2, 3, sampai 4 nada dalam setiap ukuran, baik besar maupun kecil (ningsih, 2010: 26). angklung merupakan salah satu kesenian dari jawa barat yang memiliki beberapa jenis diantaranya : (1) angklung kanekes / baduy. angklung di daerah kanekes digunakan sebagai ritus padi, bukan semata-mata untuk hiburan, (2) angklung dogdog lojor dogdog lojor terdapat di masyarakat kasepuhan pancer pangawinan dan digunakan angklung karena kaitannya dengan acara ritual padi, (3) angklung gubrag, (4) angklung gubrag terdapat di kampung cipining, kecamatan cigudeg, bogor. angklung ini telah digunakan untuk menghormati dewi padi dalam kegiatan melak pare (menanam padi), (5) angklung badeng. badeng merupakan jenis kesenian yang berfungsi sebagai hiburan untuk kepentingan dakwah islam, (6) angklung buncis. merupakan seni pertunjukan yang bersifat hiburan, di antaranya terdapat di baros (arjasari, bandung). pada mulanya buncis digunakan pada acara-acara pertanian yang berhubungan dengan padi. metode penelitian ini menggunakan pendekatan penelitian deskriptif kualitatif karena permasalahan yang dibahas dalam penelitian ini tidak berkenaan dengan angka–angka, melainkan mendeskripsikan, memaparkan, dan menggambarkan tentang metode pembelajaran. langkah pertama yang dilakaukan adalah reduksi harmonia, volume 12, no. 2 / desember 2012120 mengikuti ekstrakurikuler angklung. alokasi waktu yang beragam adalah ketika pukul 08.00 pagi dilaksanakan audisi atau seleksi untuk anak, di mana akan terlihat anak mana yang lebih peka terhadap bunyi yang keluar dari alat musik angklung, dan memiliki keinginan dan rasa penasaran terhadap angklung. kriteria inilah yang diambil dari anak yang akan mengikuti ekstrakurikuler angklung di tk pembina, menurut esti pelatih angklung audisi ekstrakurikuler angklung audisi untuk mengikuti ekstrakurikuler angklung adalah audisi yang terselubung. dengan kata lain, anak -anak tidak menyadari bahwa mereka sedang di seleksi oleh guru untuk mengikuti ekstrakurikuler angklung. alokasi waktu audisi diambil ketika pagi hari karena, anak anak–anak masih memiliki pikiran yang fresh dan motorik kasar dan halus yang masih lincah digerakan, ketika dua hal ini yaitu pikiran yang segar dan motorik yang masih lincah, sang guru berperan bak seorang pencerita dongeng yang menggugah rasa penasaran anak. stategi pertama yang dilakukan oleh guru adalah memperkenalkan alat musik angklung. seperti memperkenalkan bahan dasar angklung, memperkenalkan bunyi angklung, daerah asal angklung berada, cara membunyikan angklung, dan memperkenalkan berbagai macam jenis angklung beserta bunyi angklung tersebut. tujuan diadakan pembelajaran angklung adalah untuk memperkenalkan alat musik angklung pada anak usia dini yang merupakan warisan budaya indonesia. kemudian, tujuan yang lain adalah memberitahu bagaimana cara memainkan alat musik tradisional angklung yang berasal dari jawa barat ini. dengan pembelajaran angklung, anak dapat mengetahui salah satu alat musik tradisional dari negara mereka sendiri serta mereka akan dapat memainkannya. bermain itu penting untuk anak penyampaian materi angklung undata, kemudian selanjutnya adalah mengadakan reduksi data dengan jalan membuat abstraksi, setelah membuat reduksi data langkah berikutnya adalah menyusun ke dalam satuan–satuan, satuan–satuan tersebut kemudian dikategorisasikan sambil membuat coding, kemudian langkah terakhir adalah mengadakan keabsahan data (maleong 2000: 103 ). teknik pengumpulan data dalam penelitian di tk negeri pembina kota tegal terdiri dari beberapa tahap, yaitu teknik observasi, teknik wawancara, teknik studi dokumen (mencakup data penting sekolah, data administrasi, dan dokumentasi), teknik pemeriksaan keabsahan data, dan teknik analisis data. analisis data dalam penelitian ini terdiri atas tiga tahap, yaitu reduksi data, penyajian data, dan penarikan kesimpulan/verifikasi. data-data hasil observasi, wawancara, dan studi dokumen dukumpulkan kemudian direduksi atau dikelompokkan berdasarkan jenis data dan kelayakkan data tersebut. setelah direduksi data disajikan dan kemudian menarik kesimpulan data tersebut untuk diverifikasi keabsahannya. apabila terdapat data yang belum lengkap atau tertinggal pada saat pengumpulan, nalalisis data dapat diulang kembali dengan mengumpulkan data, mereduksi data, menyajikan data, dan selanjutnya menarik kesimpulan untuk diverifikasi kembali. hasil dan pembahasan proses penelitian dilaksanakan di tk negeri pembina kota tegal. ekstrakurikuler angklung merupakan ekstrakurikuler favorit yang diikuti oleh anak di kelas a1 dan a2 di tk negeri pembina kota tegal. ekstrakurikuler angklung dilaksanakan setiap hari selasa dengan alokasi di kelas a1 dan a2. karena, murid a1 dan a2 waktu yang beragam. alokasi waktu beragam ini dikhususkan untuk murid baru yang terdahulu sudah naik kelas ke kelas b1 dan b2, secara otomatis menjadi pengalaman dan hal baru bagi penghuni baru kelas a1 dan a2 di tahun ajaran yang baru ketika diah rizky kartika putri, pembelajaran angklung menggunakan metode belajar sambil ... 121 tuk anak usia dini tentu saja diselingi dengan bermain. seperti yang dikatakan oleh seto mulyadi dalam teorinya bahwa, dunia bermain merupakan tahap awal dari proses belajar pada anak–anak yang dialami oleh hampir semua manusia. setiap anak memiliki insting untuk bermain, yaitu kebutuhan untuk berkreativitas dalam pola tertentu yang sangat membantu proses pertumbuhan dan perkembangannya. bahkan, menurut pendapat bruner (dalam mulyadi, 1997: 10), yang menyatakan bahwa bermain adalah sebuah hal yang serius, bahkan sangat serius, sebab bermain dinilai sebagai suatu cara bagi anak-anak untuk meniru perilaku orang dewasa dan berusaha untuk menguasainya sampai mencapai kematangan. kesimpulan dari teori – teori oleh seto mulyadi dan bruner yaitu, bermain merupakan suatu cara untuk menarik hati anak untuk lebih giat belajar karena rasa ingin tahu sang anak akan tercurah dalam kegiatan bermain. seperti dalam penyampaian lagu ibu kita kartini. anakanak belajar memainkan lagu ibu kita kartini dengan bermain angklung yang telah diberi warna. anak akan mengikuti aba-aba dari sang guru untuk memainkan nada dalam lagu ibu kita kartini dengan me ngikuti aturan permainan guru untuk disiplin dalam memainkan angklung. materi pembelajaran angklung penyampaian materi dengan menggunakan metode belajar sambil bermain akan mengubah suasana kelas menjadi menyenangkan. guru akan menyulap suasana belajar menjadi arena bermain anak yang menyenangkan dengan cara, mengajak anak untuk memainkan angklung sesuai keserasian antara not warna de ngan angklung warna yang anak pegang. misalnya, guru menunjuk not warna biru muda, maka anak yang memegang angklung dengan tanda warna biru muda harus menggoyangkan angklung. seperti ini penyampaian meteri angklung dengan cara bermain, sehingga anak akan merasa nyaman dan terbawa seperti suasana bermain yang telah disulap sang guru di dalam kelas. bahan ajar angklung bahan ajar angklung adalah not berwarna. not berwarna adalah not warnawarni yang memiliki fungsi sebagai media bermain angklung. not ini dapat berbentuk lingkaran dan persegi. not angka berwarna digunakan untuk menarik perhatian anak dalam memainkan alat musik angklung. selain itu juga memudahkan anak untuk memainkan lagu yang dimainkan dengan angklung. misalnya dalam lagu ibu kita kartini, not berwarna yang ada dalam lagu tersebut terdapat delapan not angka yaitu do, re, mi, fa, sol, la, si , dan do, warna yang dibutuhkan adalah warna biru muda sebagai nada do, warna kuning sebagai nada re, warna merah sebagai nada mi, warna hijau muda sebagai nada fa, warna orange sebagai nada sol, warna cokelat sebagai nada la, warna hijau tua sebagai nada si, dan warna pink sebagai warna do tinggi. no warna not nada 1 do 2 re 3 mi 4 fa 5 sol 6 la 7 si 8 do tinggi tabel 1. not berwarna lagu ke puncak gunung harmonia, volume 12, no. 2 / desember 2012122 warna-warna inilah yang akan diperhatikan anak dalam memainkan lagu dengan menggunakan angklung. masing -masing anak sudah memilih warna angklung sesuai dengan not lagu yang akan dimainkan. inilah bahan ajar yang digunakan guru dalam ekstrakurikuler angklung di tk negeri pembina kota tegal. berikut table not berwarna dan gambar not berwarna dalam lagu ke puncak gunung. gambar 1. not berwarna dalam pembelajaran angklung di tk negeri pembina kota tegal metode belajar sambil bermain metode belajar sambil bermain adalah komandan dari metode-metode pembelajaran di tk pembina, seperti metode demonstrasi, bercerita dan bercakap -cakap. metode belajar sambil bermain mengajak anak untuk belajar dengan suasana yang menyenangkan. dengan ini minat siswa untuk belajar akan semakin memuncak tujuan penggunaan metode belajar sambil bermain dalam pembelajaran angklung adalah mengajak anak untuk mempelajari bagaimana cara memainkan angklung dengan cara yang menyenangkan yaitu belajar sambil bermain. proses pembelajaran angklung di tk negeri pembina kota tegal berjalan lancar. pembelajaran angklung di tk pembina berbeda dengan pembelajaran angklung biasa, karena subjek yang akan belajar angklung adalah anak usia dini. pembelajaran angklung di tk pembina memiliki beberapa tahap belajar sebelum akhirnya anak memegang angklung. tahap pertama adalah guru membuka pelajaran dengan membuat permainan terlebih dahulu. guru mengatur anak–anak untuk berbaris, kemudian setelah berbaris anak dipersilahkan untuk memilih angklung yang telah disediakan sang guru di depan barisan masing-masing. anak–anak akan memperoleh sebuah ilmu ketika mereka baris berbaris dengan teman sebayanya, sebelum pembelajaran angklung dimulai. ilmu yang diperoleh anak adalah kedisiplinan. dengan disiplin, anak akan lebih menghargai waktu dan menghargai guru mereka. anak juga akan lebih memperhatikan apa yang guru arahkan sebelum pembelajaran angklung dimulai ketika anak berbaris. angklung yang ada di tk negeri pembina sudah di setting atau diatur sedemikian rupa sesuai warna dan nada dalam lagu yang akan dimainkan. warna yang dimaksud bukanlah angklung yang dicat pink, namun kertas marmer warna pink ditempelkan pada angklung sebagai tanda bahwa angklung tersebut adalah nada do dalam lagu. anak harus mematuhi aturan permainan dari guru yaitu konsisten dengan angklung yang mereka pilih agar tidak rancu dalam pembagian nada lagu yang akan dimainkan. tahap kedua adalah guru mengarahkan pada anak cara membunyikan angklung yang benar agar ketika angklung dimainkan secara bersama-sama, suara yang dihasilkan akan harmonis dan tidak kacau. pengarahan dari guru akan membuat anak mengerti bahwa cara memainkan angklung yang benar adalah dengan cara digoyangkan. kemudian setelah pengarahan dari guru, saatnya anak–anak ambil suara dengan membunyikan angklung yang digoyangkan secara serempak. dari pengarahan guru tersebut, anak secara otomatis akan memperoleh suatu komunikasi. baik komunikasi terhadap guru maupun dengan teman sebayanya. komunikasi yang terjalin oleh anak terhadap guru adalah ketika anak menundiah rizky kartika putri, pembelajaran angklung menggunakan metode belajar sambil ... 123 jukkan kepada guru posisi menggoyangkan angklung mereka sudah benar atau belum. tentu saja komunikasi ini sangat membantu perkembangan kosakata anak dalam berbicara atau berinteraksi terhadap orang-orang di sekitarnya. nada dasar yang digunakan dalam pembelajaran angklung untuk anak usia dini adalah akord c. akord c digunakan karena paling mudah digunakan dalam memainkan lagu menggunakan alat musik angklung, jadi nada do dalam lagu adalah c. strategi pembelajaran hasil penelitian pembelajaran angklung dengan menggunakan metode belajar sambil bermain menunjukkan bahwa bermain dapat menarik pola belajar anak usia dini menjadi lebih menyenangkan. pola belajar yang diiringi dengan aktivitas bermain dapat memacu aspek yang membantu perkembangan fisik dan psikis dalam diri anak. teori dari mulyadi dan burner memaparkan bahwa, bermain adalah sebuah hal yang menyenangkan yang menjadi gudang imajinasi anak dalam menjelajahi suatu hal yang sebelumnya belum anak ketahui. tentu saja, dengan pernyataan teori kedua ahli ini, sangat berpengaruh dalam proses belajar anak. metode belajar sambil bermain adalah sebuah metode belajar yang menjadi strategi andalan guru di tk negeri pembina kota tegal untuk menarik perhatian anak dalam belajar angklung. dimana antara bermain dan belajar memiliki masingmasing prosentase. prosentase belajar dalam metode ini sebanyak 70% sedangkan prosentasi bermain 30%. dalam metode belajar sambil bermain menekankan belajar dibandingkan bermain. untuk mencapai suatu proses belajar yang maksimal untuk anak usia dini, guru memberikan suasana bermain sebagai penarik perhatian anak dalam mengikuti proses belajar. dengan menggunakan metode belajar sambil bermain, anak akan merasa terbawa dalam dunia mereka. guru dengan lihai menyulap area belajar angklung menjadi area bermain anak yang menyenangkan. guru mengatur stategi permainan dalam pembelajaran angklung. awal dan pertengahan proses pembelajaran angklung menjadi suatu proses bermain anak. pada awal belajar angklung, anak pertama kalinya mengenal alat musik angklung dan pertama kalinya memainkan angklung. hal ini menjadi hal bermain anak karena anak ingin lebih tau tentang cara memainikan angklung dan memainkan lagu dengan alat musik angklung. akan terjadi suatu komunikasi anatara anak dan guru yang menciptakan suasana bermain yang menyenangkan. pertengahan pembelajaran angklung, juga menjadi arena bermain anakam karena guru mengatur permainan dalam belajar angklung untuk anak. guru mewajibkan anak mematuhi semua aturan permainan. not berwarna menjadi media bermain anak dalam pembelajaran angklung. dengan media not berwarna, sang anak akan lebih tertarik dan akan memicu rasa ingin tahu anak. strategi yang digunakan oleh guru di tk pembina yaitu metode belajar sambil bermain merupakan strategi yang tepat untuk menarik minat anak usia dini dalam belajar angklung. apalagi guru membumbui proses belajar anak dengan media not berwarna. dengan not berwarna dan aturan permainan yang telah ditentukan guru, anak-anak akan berusaha mematuhi aturan permainan tersebut dengan berkonsentrasi memperhatikan guru yang menunjuk salah satu warna dalam not berwarna. kemudahan pembelajaran penggunaan metode belajar sambil bermain dalam pembelajaran angklung dapat menghasilkan suatu kemudahan bagi anak dalam belajar angklung. kemudahan yang diperoleh anak dalam pembelajaran angklung dengan menggunakan metode belajar sambil bermain adalah anak lebih memahami materi angklung seperti ketika anak memainkan lagu dengan menggunakan alat musik angklung, karena dalam pemberian materi lagu guru menggunakan metode not berwarna yang harmonia, volume 12, no. 2 / desember 2012124 menarik minat anak utnuk belajar angklung dan tentu saja anak lebih antusisas dalam memainkan lagu dengan angklung. simpulan berdasarkan hasil penelitian yang berjudul pembelajaran angklung dengan menggunakan metode belajar sambil bermain di tk negeri pembina kota tegal, maka dapat disimpulkan bahwa metode belajar sambil bermain yang diterapkan dalam pembelajaran angklung adalah metode yang efektif untuk diberikan pada anak usia dini. tk negeri pembina kota tegal memiliki juga strategi pembelajaran yaitu penggunaan not berwarna dalam pembelajaran angklung. kemudahan yang diperoleh anak dalam pembelajaran angklung dengan menggunakan metode belajar sambil bermain adalah anak lebih memahami materi angklung seperti ketika anak memainkan lagu dengan menggunakan alat musik angklung, pada dasarnya tujuan penggunaan metode belajar sambil bermain dalam pembelajaran angklung adalah untuk mempermudah pembelajaran angklung untuk anak. sehingga penggunaan metode belajar sambil bermain dalam pembelajaran angklung untuk anak tidak memiliki kerugian. guru sebaiknya mengikuti pola irama dan ketukan agar dalam pengajaran musik untuk anak, ketukan dan irama konsisten serta rasa irama dapat terkontrol dengan baik. seminar musik dapat menjadi alternatif yang guru ikuti sebagai langkah awal untuk mengetahui pengetahuan musik dalam menentukan warna untuk not berwarna, sebaiknya guru memberikan warna primer seperti merah biru kuning. kemudian dalam penerapan warna primer juga menerapkan sistem gradasi warna seperti merah dengan merah tua muda, biru tua dengan biru muda, kuning tua dengan kuning muda. hal ini dilakukan agar not berwarna lebih teratur dan menjadi edukasi warna bagi anak, serta menjaga kesehatan mata anak agar tidak bingung dalam membedakan warna serta jika ada yang tidak bisa membedakan warna langsung terditeksi sejak dini. daftar pustaka boeree, george c. 2008. metode pembelajaran dan pengajaran. jogjakarta: arruzz media. djamarah, syaiful bahri , 1999, psikologi belajar : jakarta rineka cipta. moleong, lexy j. 2001. metodologi penelitian kualitatif. bandung: pt remaja rosdakarya mulyadi, seto. 1997. bermain itu penting. jakarta: pt elex media komputindo. sumaryanto, totok. 2010. metodelogi penelitian 2. semarang: jurusan sendratasik, fakultas bahasa dan seni unnes. 153 the aesthetics effect of surakarta-style pakeliran on east javanese pakeliran sugeng nugroho faculty of performing arts, institut seni indonesia surakarta, indonesia received: october 18, 2017. revised: august 14, 2018. accepted: december 6, 2018 abstract this study intends to explore the aesthetics of east javanese shadow puppet (wayang kulit jawa timuran) show as one of the people’s style puppet show model. the problems discussed are related to how east javanese shadow puppeteers respond to the existence of the surakartastyle shadow puppet shows that are not only flourished in the central java region but also in most parts of east java. this study uses qualitative methods with descriptive analytical analysis. research data are collected through literature studies, documentation studies, interviews, and field observations. the results of the study show that east javanese shadow puppet show, both performance elements, the structure, and some elements of “garap pakeliran” have currently been colored by the idioms of surakarta-style shadow puppet show. keywords: aesthetics; shadow puppet show; surakarta style; east javanese style how to cite: nugroho, s. (2018). the aesthetics effect of surakarta-style pakeliran on east javanese pakeliran. harmonia: journal of arts research and education, 18(2), 153-161. harmonia: journal of arts research and education 18 (2) (2018), 153-161 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v18i2.1543 formance are very different from those of surakarta and yogyakarta styles. based on the style of the show, pakeliran jawa timuran can be grouped into four sub-styles, namely: (1) sub-style lamongan (with the mastermind ki subroto), lives and develops in the lamongan area and its surroundings; (2) sub-style mojokertoan (with the mastermind ki piet asmoro), lives and develops in the area of jombang, mojokerto, and its surroundings; (3) sub-style porongan (with the mastermind ki soleman), lives and develops in the sidoarjo area, surabaya, and its surroundings; and (4) sub-style malangan (with mastermind figures, ki abdul mukid, ki matadi, and ki wuryan wedharcarita), lives and develops in malang and surrounding areas. even from other jawa timuran sub-styles, this pakeliran malangan has a different introduction east javanese-style shadow puppet show (hereinafter referred to as pakeliran jawa timuran), or better known as ‘wayang jekdong’ or ‘wayang dakdong’, is a form of shadow puppet show that grows and de velops in the brangwétan region, which is across the east of the watershed brantas. this pakeliran has a relatively narrow of performing range when compared to the area of east java province which consists of 29 regencies and 9 cities. pakeliran jawa timuran only lives in villages in jombang regency, mojokerto, malang, pasuruan, sidoarjo, gresik, lamongan, and on the outskirts of surabaya. pakeliran jawa timuran, both the as pects of the wayang artistry, the structure of the play, and the style of the percorresponding author: jl. ki hajar dewantara no.19, jebres, kota surakarta, jawa tengah 57126 e-mail: sgngnugroho@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 18 (2) (2018): 153-161154 style of performance (timoer, 1988, p. 19). the differences in performance patterns in each region occur because each region has its own reference to puppetry which is formed from the individual styles of each puppeteer and inherited from generation to generation. pakeliran jawa timuran has a more simple, straightforward, familiar, and flowing aesthetics (javanese: gayeng, gobyog, ramé). the nuances of puppet art show which is gayeng, gobyog, ramé are strongly influenced by the nuances of togetherness and intimacy of rural and/or coastal communities (pesisiran) (kayam, 1981; 2001). based on the field study, it was found that not all east javanese puppeteers pre sented pakeliran jawa timuran, because not all east javanese people liked pakeliran jawa timuran. some communities in certain areas such as magetan, ngawi, madiun, nganjuk, pacitan, ponorogo, trenggalek, tulungagung, and blitar, prefer surakar ta-style pakeliran, so that the puppeteers who live in the area mostly adhere to the surakarta-style of pakeliran. why did this happen in the life of puppetry in east java? research on the aesthetics influence of the surakarta-style pakeliran on pakeliran jawa timuran is urgent to be done, conside ring that until now there has been no scien tific study to discuss it. the two previous writings, the wayang malangan, written by suyanto (2002), emphasizes more on the origins and life of malangan sub-style sha dow puppets; while “nyalap nyaur: the management model of jekdong puppet per formance in the celebration of east javanese traditions,” wisma nugraha christianto writing focuses on the management model of the east javanese puppeteers both du ring quiet and crowded stage performan ces (rich, 2012). meanwhile, the article entitled “artistic and aesthetic concepts of javanese puppetry art,” written by nugro ho (2007), only discusses the differences in artistic concepts and aesthetic concepts of javanese puppetry in general. “rasa: affect and intuition in javanese musical ae sthetics”, benamou’s writing (2010) focuses more attention on the issue of the feeling underlying the aesthetics of traditional javanese music. “the concept of taste in pur wa wayang kulit show,” written by sunardi (2012), only reveals indicators of rasa regu, greget, sedhih, and prenès in a puppet show. likewise “estetika wayang,” hadiprayitno (2014) writing, focuses more on the aesthe tic basics in wayang kulit purwa shows. based on the background problems above, the problems of this research are: how did the east javanese puppeteers react to it? that is, does the aesthetics of the surakarta-style pakeliran also affect pa keliran jawa timuran? if the answer is ‘yes’, why did it happen? in accordance with the formulation of the problem set, this study aims to explore the aesthetics influence of the surakarta-style pakeliran on pakeliran jawa timuran as a form of a popular style puppet show. methods this study uses qualitative methods with descriptive analytical analysis. the research data were collected through litera ture studies, documentation studies, inter views, and field observations related to the east javanese shadow puppet show. the literature study was focused on books and manuscripts about east javanese puppet show. the documentation study prioriti zes several audio-visual recordings of pa keliran jawa timuran. interviews were con ducted with puppeteers and east javanese shadow puppet observers. the field obser vations focused on pakeliran jawa timuran sub-style porongan, with the mastermind ki wardono (mojokerto); sub-style mojo kertoan, with mastermind ki pitoyo (mo jokerto); and sub-style malangan, with mastermind ki suyanto (malang). results and discussion performance devices the stage of pakeliran jawa timuran basically does not have a significant dif ference with the surakarta-style pakeliran stage. the difference is because before the pakeliran takes place, it is started with the sugeng nugroho, the aesthetics effect of surakarta-style pakeliran ... 155 ngréma dance performance, then there is usually an additional stage located in front of the shadow puppet stage. this additional stage is also be used for the ngréma dance performance arena, this stage is also sometimes used for the presentation of campursari music before the ngréma dance takes place. there is an additional stage that blends with the shadow puppet sta ge, located behind the seats of the panjak (central java: pengrawit or niyaga), there are some that are set apart from the sha dow puppet stage; depending on the con ditions of the venue. the gamelan used to accompany pa keliran jawa timuran, especially sub-style lamongan, mojokertoan, and lamongan before the 1970s, only had sléndro verses with 15 instruments: gendèr penerus, gendèr babok, rebab, kendhang, slenthem, gambang, panembung, bonang babok, bonang penerus, demung, saron i, saron ii, peking, kenong, kempul and gong. the sléndro gamelan and pélog at that time were only used in pakeliran jawa timuran sub-style malangan. however, in its development, all sub-style pakeliran jawa timuran have used the sléndro-pélog instrument, which consists of: gendèr penerus, gendèr babok, rebab, kendhang wayangan, ketipung, kendhang ageng, slenthem, gambang, panembung, bonang babok, bonang penerus, demung i, demung ii, saron i, saron ii, peking, kenong, kempul and gong. even with drums, cymbals, organs and guitars. the musical instruments of gamelan wayangan like the last one called are ‘new traditions’ that developed in javanese sha dow puppet show, both in surakarta, yo gyakarta and also in east javanese today. it was called a ‘new tradition’ because the arrangement only appeared in the 1990s, which was started by pantap style pakeliran, namely a puppet show held in the courty ard of the central java governor’s office by the committee of permanent appre ciation and puppetry art development on the initiative of soedjadi, chair of ganasidi (indonesian puppet art development agency) in central java. the use of drums and cymbals is for stabilizing sound effects when puppets fight, while the use of organs and guitars is to accompany campursari songs. pakeliran jawa timuran has a characteristic in sampiran arrangement (the term east javanese puppetry) or simpingan (the term central javanese puppetry), which means figures of puppets which are plugged in lined up on the right and left of the puppet show screen (javanese: kelir). sampiran kanan (from front to back) consists of batara kala, batara bayu, werkudara, bratasena baladewa, gathutkaca, antareja, monkeys, deities, subtle kings, king’s sons/ princes (javanese: putran), batara guru (facing left with the position above the other sampiran puppets), puppet princess, and small puppet figures. sampiran kiri (from front to back) consists of giant king figures (javanese: danawa raton), dasa-muka, suyudana, dursasana, pragota, prime ministers (javanese: patihan), round-eyed puppet figures (javanese: plelengan), puppet figures whose mouths are open so that their teeth and fangs appear (javanese: prèngèsan), setyaki, batari durga (facing right with the position above the other attachment puppets), the small-sized kurawa, king seberang who has a handsome face (javanese: sabrang bagus), and small puppet figures. before the shadow puppet show begins, in the middle of kelir (the screen) are embedded puppet figures semar and bagong sometimes accompanied by besut which are closed or located outside the kayon figure or gunungan. the arrangement of shadow puppet figures in pakeliran jawa timuran is diffe rent from the arrangement in the surakar ta-style pakeliran. the figures of the balade wa in pakeliran jawa timuran are included in sampiran kanan, in the surakarta-style pa keliran is on simpingan kiri. the figures of batara kala and the gods in pakeliran jawa timuran are included in the right side, in the surakarta-style pakeliran included in the puppet dhudhahan category, which is puppet figures arranged in kothak or on top of the kothak lid on the right side of the puppeteer. likewise, the small figures of dursasana, pragota, patihan, and kurawa in the surakarta-style pakeliran be included harmonia: journal of arts research and education 18 (2) (2018): 153-161156 the middle of the forest (knight confronted by panakawan: semar, bagong, and besut), continued by budhalan; (2) perang gagal or perang bégal, knight figures against giants which ends with the death of the giants; (3) jejer iv in a kingdom jejer i, ending with budhalan. the third part with the nuances of melody pathet serang, consists of three scenes: (1) jejer v in an accross kingdom, ending with budhalan; (2) brubuh war, a war between figures in jejer i against the figure on jejer v which ends with the death of one party; (3) jejer pamungkas (the final), the closing scene in a kingdom. there are three things that distin guish between pakeliran jawa timuran and pakeliran surakarta style. first, pakeliran jawa timuran has four pathet areas (a sys tem that regulates the role, position, and tone area of javanese gamelan), namely pathet sepuluh, pathet wolu, pathet sanga, and pathet serang; whereas pakeliran surakarta style only has three pathet regions, namely pathet nem, pathet sanga, and pathet manyura. second, all scenes (except paséban and war) in pakeliran jawa timuran are called jejer; whereas in surakarta style the term jejer is only used to refer to the first scene, for the following scenes are called scenes or candhakan. it is called a scene when accompanied by a certain composition and accompanied by a narration of the puppeteer, and is called candhakan if it is only accompanied by melody at the level of ayak-ayak, srepeg, or sampak and is not ac companied by the narration of the puppe teers. third, in pakeliran jawa timuran, the re are no kedhatonan scenes — which end in limbukan — and gara-gara scenes. kedha tonan scene is a scene that depicts a king’s empress accepting the presence of the king from the courtroom, while gara-gara scene is a scene that shows panakawan (gareng, petruk, and bagong) joking and singing hymns. the joking of the panakawan jawa timuran (semar, bagong, and besut) are displayed in jejer iii when they follow the knight who became their master. the first and second cases up to now are still preserved as typical characteristics of pakeliran jawa timuran, but for the thirin the category of wayang dhudhahan. the figures of semar and bagong in surakarta style pakeliran have never been kept toget her in simping with the kayon figure in the middle of kelir; these two puppet figures are in the wayang dhudhahan category. performance structure pakeliran jawa timuran has a different structure from the surakarta-style pakelir an. in east javanese tradition, before the pakeliran began, a special east javanese dance was performed, which is ngréma in two styles; women style and men style. the ngréma dance is a package from the shadow puppet show and is presented between 9:00 and 23:00, in addition to the opening performance or reception of guests, this performance as well as to in vite shadow puppet show viewers. besides dancing, ngréma dancers also sang cam pursari songs. they also received saweran from the spectators who participated in the dance (javanese: ngibing) on the stage. in certain performances that are mass ce lebrations, before the ngréma dance is usu ally enlivened with dangdut or campursari music performances which are presented by the committee from outside the shadow puppet group. they usually perform bet ween 19:30 and 21:00. pakeliran jawa timuran has a simpler structure compared to the pakeliran structu re of the surakarta style tradition. the first part consists of four scenes: (1) jejer (stan ding in line) in an empire (with nuances of melody pathet sepuluh followed by pathet wolu), a king is confronted by the minis ters, then the arrival of guests, and ending with all puppet figures leaving the place (javanese: bedholan or budhalan); (2) pasé ban, the prime minister ordered his troops to go to a place, ending with budhalan; (3) sepisan war, war between the royal forces jejer i against troops from other kingdoms; (4) jejer ii in an empire, accepts the arrival of guests, ends with budhalan. the second part with the pathet sanga nuances, consists of three scenes: (1) jejer iii in the hermitage (the priest is confronted by knights with panakawan: semar, bagong, and besut) or in sugeng nugroho, the aesthetics effect of surakarta-style pakeliran ... 157 case at this time it has begun to wear off. that is, at this time pakeliran jawa timu ran also displays limbukan and gara-gara as well as pakeliran surakarta style now in ge neral. limbukan’s appearance in pakeliran jawa timuran, refers to the 1990s-style lim bukan surakarta style pakeliran, which ap pears as a ‘loose scene’ without beginning with kedhatonan scene. likewise, gara-gara in pakeliran jawa timuran refers to the sura karta style of the nartasabda era (the 1970s) pakeliran which was adopted from the yogyakarta style pakeliran. the two scenes are used by the east javanese puppeteers to convey social messages as well as to pre sent campursari songs both at the choice of the puppeteer or the audience’s request. elements of garap pakeliran garap pakeliran includes all elements of pakeliran expression, which consist of: catur, sabet, gending, sulukan, dhodhogan, and keprakan. catur is the puppeter discourse presented in pakeliran. sabet is everything related to the wayang movements in pake liran. gending is gamelan music which ser ves to accompany the nuances of giving wayang performances. sulukan is a combi nation of poetry and songs performed by puppeteer to build a certain atmosphere in the pakeliran. dhodhogan is the sound of a wooden beater (called cempala) which is struck on the inside or outside of the puppet box to build a certain atmosphere in the pakeliran. keprakan is the sound of a number of metal plates (called keprak) which hang on the lip of the puppet box to build a certain atmosphere in pakeliran (nugroho, 2012). of the six elements of garap pakeliran, there is one element of ga rap that has similarities between surakarta style pakeliran and pakeliran jawa timuran, which is on garap catur, while the other garap elements (sabet, gending, sulukan, dhodhogan, and keprakan ) shows typical east java. catur in pakeliran jawa timuran, based on the form of speech and its functions can be grouped into three types, namely janturan, pocapan, and ginem. janturan is a narrative of puppeter to describe a scene that is presented along with the strains of melody that sound soft (javanese: sirep). pocapan is the puppeter’s narrative to desc ribe the events that have occurred and will occur in pakeliran which are presented wit hout strains of melody; if using the strains of gending sounds soft it is called pocapan gadhingan. ginem is a dialogue or monolo gue of puppet characters in pakeliran (ti moer, 1988). the naming of terms in this catur grouping can be ascertained to come from the term surakarta style puppetry, except pocapan gadhingan. for surakarta style puppetry, all the narratives of the puppeteers are presented in accompani ment of the sirep gendhing, both to describe a scene and events that have occurred and will occur in pakeliran, called janturan. janturan jejer 1 in the pakeliran jawa timuran although with different dialects and language styles has the same senten ce pattern and structure as janturan jejer on surakarta style pakeliran tradition, consis ting of: opening, royal names, geography, economic conditions, conditions of peace and state security, the loyalty of the cour tiers, the name of the king along with its meaning and character. the opening text of jejer i speech written as follows: “yanenggih, sirepé data pitana sekaring panguneng-uneng, tiyang ngringgit ing sedalu menika nggelar carita ja man purwa.” (this is a silence, a man mas terminds the puppet show this night-long holding stories of the beginning.) this text bears similarities with the opening text of the lacerations in the surakarta-style pake liran which reads: “swuh rep data pitana” (nojowirongko, 1960, p. 70). the janturan text that refers to the royal name in jejer i written as follows: “ingkang kanggé bebukaning carita anyariyosaken gelaring nagari darawa-ti. wah éka adi dasa purwa madya wasana. wah pengaraning wadhah, éka mring sawiji, adi linuwih, dasa sepuluh, purwa wiwitan, madya tengah, wasana wekasani kandha carita ing sadalu menika.” (as the beginning of the story is told the condition of dwa-rawati country. wah éka adi dasa purwa madya wasana. wah means container, éka means one, adi means beautiful, dasa (ten), harmonia: journal of arts research and education 18 (2) (2018): 153-161158 purwa (beginning), madya (middle), wasana (the end of the story tonight.) this is similar to surakarta style janturan jejer text which is written as follows: “anenggih pundi ta ingkang kaéka adi dasa purwa. éka sawiji, adi luwih, dasa sapu luh, purwa wiwitan” (nojowirongko, 1960, p. 70). janturan text that illustrates the geography of a state is written as follows: “...negari ngungkuraken gunung, ngayunaken lelayaran utawi samodra, ngéringaken pesabinan, nengenaken bengawan, mengku bandaran agung.” (... a country back to the mountain, facing the ocean, on its left is agricultural land, on the right is a large river, has a large port.) this is the same as janturan text in the surakarta style written as follows: “... nagari ngungkuraké pagunungan, ngéringaké pasabinan, nengenaken benawi, ngayunken bandaran gedhé” (nojowirongko, 1960). the text created by padhasuka (pasinaon dha-lang ing surakarta) in around 1923 actually depicts the geographical location of the surakarta palace, which is back to the mountain (pegunungan seribu), on the left (west) of agricultural land (boyolali and klaten), next to the right (east) has a bengawan solo stream, and in front of it in distance there is a port (tanjung emas, semarang). because janturan jejer text is standardized as a reference for surakarta style puppetry, the pdmn (pasinaon dhalang ing mangkunegaran) also uses the same pattern, even though the mangkunegaran palace faces south. janturan text that illustrates the eco nomic condition of a country is written as follows: “…tiyang dagang layar, botena para priyantun, senajan tiyang alit ingkang ahli nyambut damel kulak cantak wlijo bakul, adola godhong adola biting dodola suket utawi mubeng pasar tanpa bandha pisan padha seneng ati, cukup sing disandhang lan sing pangan, datan ana sing kacingkrangan uripé. menapa déné tiyang manca negari ingkang andon bebara nyambut damel ngantos jejel, tanah jembar ketingal rupek ananging andadosaken raharjané negari. tiyang alit ingkang narakisma panggaraping bumi lampahé pertanian samya mungkul pangolahing tetanem, samya tulus ingkang sarwa tinandur ....” (... traders and sailors, not only the upper classes, even ordinary people who like working as broker and traders, leaf sel lers, palm leaf ribs sellers, grass sellers or those who just go around the market without any capital are happy, fulfilled clothing and food, there is no miserable life. even foreigners who make a fortune to work as workers are so plenty, so the land becomes narrow but it adds to the excitement the country, the farmers are diligent in working on agricultural land, the plants grow well ....). this text is similar to janturan jejer in the surakarta style text, which is written as follows: “... gemah kang lumaku dagang, rainten dalu tan ana pedhoté, labet tan ana sangsayaning margi. aripah janma ing manca kang sami griya salebeting praja jejel apipit, pangrasa aben cukit tepung taritis, papan wiyar ka tingal rupak saking rejaning nagari. kar ta kawula ing padhusunan padha tentrem atiné, mungkul pangulahing tetanèn ....” (nojowirongko, 1960, p. 70). (... gemah means the course of day and night trade is endless, because there is no security disturbance. aripah means fo reigners who are domiciled in the king dom are seem crowded, their houses huddled together, wide boards appear narrow because of the hectic situation. karta means people in the countryside feel secure, diligently working on agri culture ...) the text describing the state of peace and security of a country is written as fol lows: “panguripané kawula ayem tentrem kadayan saka amané negara, lampahé durjana utawa maling brandhal kampak kècu datan ana, mila ingon-ingoné kawula alit rupia sato iwèn bèbèk ayam datan ana kang dèn-kandhangi, senadyan rupia rajakaya maèsi lembu kuda ménda datan ana cinancangan, yèn ènjing dèn-umbar ana pangonan abyoor sugeng nugroho, the aesthetics effect of surakarta-style pakeliran ... 159 kadya jambé jebug sinawuraken. montro wétan ngendanu kilèn wancinira jam sekawan setengah gangsal sonten rajakaya dèn-giring dhateng kandhangipun piyambak-piyambak ....” (people’s life is peaceful because of its guaranteed security; no thieves, hood lums, robbers, so that pets like ducks and chickens need not to be kept in ca ges: buffaloes, cows, horses, goats need not to be tied up, when the morning comes, they look for food b themselves, in the afternoon at four, half past four the livestocks are herded into each of their cages ...). this is similar to the surakarta style janturan jejer text, which is written as fol lows: “... ingon-ingon kebo sapi pitik iwèn tan ana cinancangan, rahina aglar ing pangonan, yèn bengi mulih marang kandhangé dhéwé” (nojowirongko, 1960, pp. 70–71 ) (... buf faloes, cows, chickens, ducks are not tied, during the day they are left in the field, at night they return to each of their cages.) the text describing the loyalty of the royal court officials is written as follows: “senadyan lampahé nayakaning praja dalah sak-panekaré dalah para mantri-mantri bupati samya bekti dhateng kuwajibané sumungkem ing negara njunjung dhateng kaluhuraning sang nata!” (royal court officials and their staff and the regent mantry work diligent ly faithful to the state, devoted to the king.) this text is similar to the surakarta style janturan jejer text, which is written as fol lows: “raharja tebih ing parangmuka, déné para mantri bupati padha kontap kautamané, bi jaksana limpad ing kawruh putus marang wajib pangrèhing praja, tansah hambudi we wahé kaluhuraning nata” (nojowirongko, 1960, p. 71). (raharja far from the attack of the enemy, while the regents seem loyal, wise, clever, able to carry out their obligations, always trying to improve the nobleness of the king.) the text that depicts the name of the king and its meanings and characters is written as follows: “... jejuluk sang maha prabu bathara kresna, ya sang prabu pad manaba, ya prabu harimurti, ya prabu da nardana, radèn narayana jeneng klairané. jejuluk bathara kresna, tegesé kres = tajem utawa landhep, na = wujud utawa ning, batha ra = déwa, ratu gung binathara sinebut déwa kamanungsan, wujudé ireng cemani nanging cukup kawuningané landhep panggraitané... seneng paring pepadhang wong kepetengan, paring kudhung wong kepanasan, awèh payung wong kodanan, awèh sandhang wong kawudan, paring pangan wong kasatan.” (... titled sang maha prabu batara kres na, prabu padmanaba, prabu harimurti, prabu danardana, raden narayana inborn name. batara kresna, meaning kres= sharp, na = manifested, bathara = deity, king which is alike god or deity in a human body form, has a black and smooth but very knowledgeable and intelligent... likes to enlighten darkness, gives a hat to someone who is hot, gives an umbrella to people who get wet in rain, gives clothes to people who do not have clothes, feeds to those who are starving.) this text is similar to the surakarta style janturan jejer text, which is written as follows: “... sri bathara kresna, prabu arimurti, padmanaba, narayana, késawa, wasudéwa, wisnumurti, danardana, janardana. mila jejuluk sri bathara kresna, cemeng pasarirané trus balung sungsum ludirané, yèn ayama ayam cemani, keni kinarya sarana, sanadyan sri kresna uga dadya sarana jayaning pandhawa ing bratayuda ... paring sandhang wong kawudan, asung pangan wong kaluwèn, awèh banyu wong kasatan, paring teken wong kalunyon, asung kudhung wong kepanasan, awèh payung wong kodanan, karya sukaning prihatin, amaluyakaken wong asakit” nojowirongko, 1960, p. 71). (... sri batara kresna, prabu arimurti, padmanaba, narayana, kesawa, wasudewa, wisnumurti, danardana, janardana. titled sri batara kresna, his skin is black to bone marrow and blood; if harmonia: journal of arts research and education 18 (2) (2018): 153-161160 chicken is a smooth black chicken, can be used as a tool, so too sri krishna can be used as a means of glory of the pandavas in bratayuda ... giving clothes to people who do not have clothes, feeding people who are starving, giving water to people affected by drought, giving sticks to people who walk on slippery roads, giving hats to people who are overhea ting, giving umbrellas to people who are in the rain, entertaining people who are difficult, treating sick people.) catur in pakeliran jawa timuran has a type of pocapan which functions to desc ribe the figure, clothing, and the magical power; to describe the shape of a vehicle (such as a train, horse, elephant) and its magic; to describe the form of a weapon (such as an arrow) and its magic; or descri be other things (like fire, water, wind) and their strength. this type of pocapan is called the term suwaka, which in the surakarta style of pakeliran is called pocapan pamijèn. although speaking with dialects and ty pical east javanese language styles, the po capan structure is similar to the surakarta style pocapan pamijèn structure. the ginem jejer structure in pakeliran jawa timuran has similarities with the ginem jejer structure and scenes in the surakarta style pakeliran, which consists of ginem blangkon followed by ginem baku. ginem blangkon is a cliche dialogue that contains welcome from the host to the par ty that comes to face, or contains a report of a royal court official to the king about the situation and condition of the country. the ginem baku is a conversation between groups related to certain problems dis cussed in a trial or meeting. the similarity the ginem type also occur in dialects and idiolects of puppet figures, for example: (1) the word ulun or jenengulun which is used to refer to ‘i’ for deities when dealing with servants; (2) the word jenengkita that is used to refer to ‘you’ for the god charac ter to his servant; (3) the word adhi guru is used by narada to call to batara guru; (4) the word yayi samiaji used by kresna to call to puntadewa; (5) a call jlitheng kakangku used by bima to call upon kresna; (6) a call jlamprong adhiku used by bima to summon arjuna; (7) the word bojlengbojlèng con-demned devil is used as an style of giants. related to when surakarta style pakeliran began to influence pakeliran jawa timuran, indeed it cannot be stated withcertainty. nevertheless, there is one clue, that since the surakarta kasunanan karaton established dalang (puppeteer) schoolsnamed padhasuka (1923) and mangkunegaran founded dalang schools named pdmn (1931), many puppeteers from outside surakarta even outside central java who had been selling well in their regions duyun attended puppeteer education in one of these places. that pakeliran style of padhasuka and pdmn became known as the surakarta style pakeliran. they partici pated in puppeteer education in padhasuka or pdmn in addition to increasing the puppetry’s intellectuality, as well as to increase prestige among the public observing puppets (van groenendael, 1987, pp. 53– 62). it is possible since that time the texts of the pakeliran jawa timuran discourse were contaminated by surakarta-style pakelirandiscourse texts presented by puppeter graduates of padhasuka or pdmn. the change in the artistic orientation of the east javanese puppeteers was increasingly apparent when the reality showed that the puppeters who had popularity above the other average puppeters were the surakarta-style pakeliran. a number of the names of puppeters are popular in central java, where they refer to surakarta style puppetry namely puja sumarta (klaten), nartasabda (semarang), anom soeroto (surakarta), manteb soedharsono (karanganyar), purbo asmoro (surakarta), and enthus susmana (tegal). even some east javanese puppeteers whohave popularity above the average of other puppeters, such as panut sasra dharmaka (nganjuk), harjunadi (nganjuk), sakri (madiun), hari bawana (lumajang), andsun gondrong (tulungagung) have surakarta style shadow puppet show. this means that the existence of the surakarta style pakeliran has a very strong influence not sugeng nugroho, the aesthetics effect of surakarta-style pakeliran ... 161 only in the central java region but also in most of east java. conclusion based on the description above, it can be concluded that wayang kulit as a work of art, both art and performing arts, is not a‘dead’ tradition, but a tradition of ‘living’. this type of art always changes and deve lops according to the context. likewise, pakeliran jawa timuran which grows and develops as an oral tradition, always chan ges from time to time in accordance with the wishes of its people. pakeliran jawa ti muran as ‘folk art’ or ‘small tradition’ in life has become increasingly marginalized, pressured by the ‘great tradition’ which in creasingly dominates the world of puppet shows, namely the surakarta style of pake liran. therefore, to maintain its existence, the javanese puppeteers inevitably had to make a breakthrough by adopting several sets of performances, part of the structu re of the scenes, and some elements of the surakarta style of pakeliran. references benamou, m. (2010). rasa: affect and intu ition in javanese musical aesthetics. usa: oxford university press. bogdan, r. c. & biklen, s. k. (1982). quali tative research for education: an intro duction to theory and methods. usa: allyn and bacon. hadiprayitno, k. (2014). estetika wayang. jurnal budaya nusantara, 1(1), 31–39. kartadirdjo, s. (1982). pemikiran dan perkembangan historiografi indonesia. jakarta: pt. gramedia. kayam, u. (1981). seni, tradisi, masyarakat. jakarta: sinar harapan. kayam, u. (2001). kelir tanpa batas. yogyakarta: gama media. miles, m. b. & a.m. huberman. (1984). qualitative data analysis: a sourcebook of a new methods. berverly hills: sage publication. nojowirongko, m.ng. (1960). serat tuntunan pedalangan tjaking pakeliran lampahan irawan rabi. jogjakarta: tjabang bagian bahasa djawatan kebudajaan departemen p.p. dan k. nugroho, sugeng. (2007). konsep-konsep artistik dan estetik seni pedalangan jawa. dewaruci, jurnal pengkajian dan penciptaan seni, 4(3), 319–338. nugroho, s. (2012). lakon banjaran: tabir dan liku-likunya, wayang kulit purwa gaya surakarta. surakarta: isi press. pramono, s.a. (2004). naskah pakeliran wayang kulit gagrag malangan. malang: universitas negeri malang. rich, w.n.c. (2012). nyalap-nyaur: model tatakelola pergelaran wayang jekdong dalam hajatan tradisi jawatimuran. humaniora, 24(2), 175–186. retrived from https://jurnal.ugm.ac.id/jurnal-humaniora/ article/view/1060/889 spradley, j.p. (1980). participant observation. new york: holt, rinehart and winston. sunardi. (2012). konsep rasa dalam pertunjukan wayang kulit purwa. jurnal pendidikan dan kebudayaan, 18(2), 192–203 sunardi. (2013). nuksma dan mungguh konsep dasar estetika pertunjukan wa yang. surakarta: isi press. surwedi. (2007). layang kandha kelir. ja karta: balai pustaka. suyanto. (2002). wayang malangan. surakarta: citra etnika. timoer, s. (1988). serat wewaton pedhalangan jawi wetan, jilid i. jakarta: balai pustaka. van groenendael, v.m.c. (1987). dalang di balik wayang. jakarta: pustaka utama grafiti. 143 the existence and practice of art for children (afc) yogyakarta as a non-formal art education bambang prihadi1, tjetjep rohendi rohidi2, tri hartiti retnowati1 1department of art education, universitas negeri yogyakarta, indonesia 2department of art education, universitas negeri semarang, indonesia received: august 30, 2018. revised: october 23, 2018. accepted: december 4, 2018 abstract this article examines the existence, role, and practice of art for children (afc) yogyakarta as a community art center for children in yogyakarta. due to its cultural and educational setting, the children’s art center serves as an alternative for non-formal art education. the data were gathered by the passive participant observation, in-depth interview, and document review and analyzed by using the interactive model. the research results in four things. first, the establishment of the art for children (afc) meets the needs of the self-actualization of both the artists and the parents in nurturing children’s art. teaching art to children becomes the honorable way for the artists to reach his self-fulfillment as artists as well as members of a society and, on the other hand, engaging their children’s in the art center is the responsibility for the parents to fulfill their aesthetic needs and to support their children’s education. second, the lesson emphasizes the process rather than the result; it is oriented to the development of art educational values rather than artistic skills. the training process involves collaboration between the artists and the parents. the artists engage the parents in active participation of guiding the children. third, through this strategy the children have produced original and creative drawings and paintings worthwhile for children’s aesthetic education and cultural activity in the city. keywords: art education; children’s art; children’s art center; sanggar; children’s drawing how to cite: prihadi, b., rohidi, t. r., & retnowati, t. h. (2018). the existence and practice of art for children (afc) yogyakarta as a non-formal art education. harmonia: journal of arts research and education, 18(2), 143-152. harmonia: journal of arts research and education 18 (2) (2018), 143-152 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v18i2.17052 & kissedu, 2016). the general purpose of education is to nurture the individuality of the individual and to align that individuality with the organic unity of the social group from which it originated and in that respect, aesthetic education is fundamental and important. in addition to physical maturity, growth only appears in expression through sound or visual symbols, then education is the processing of ways of expression (read, 1970). the essence of art education lies in its potential to provide a introduction arts and culture create cohesion, radiate reflection and insight, create communities that make people who they are, and give them consensus with the meaning of their society. therefore, the arts and culture should be parts of the lives of children from an early age (jelved, 2014). art education for children in particular has a closer relationship with culture, because art is a way to learn to communicate with himself and with the world around him (adu corresponding author: jl. colombo no.1, sleman, yogyakarta, indonesia 55281 e-mail: bambangpri@uny.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 18 (2) (2018): 143-152144 balance between intellectuality and sensibility, rationality and irrationality, as well as intellect and emotional sensitivity. art education is also a means to sharpen moral sensitivity and character (rohidi, 2000). nevertheless, because art is an activity that is commonly done by children, there are adults tend to assume that the art does not involve deep intellectual ability and less challenging for the child. many parents also consider that because they are liked by children, art is surely an easy thing (jefferson, 1969). art education in indonesia also faces a similar fundamental problem. art education is still considered “less important, as” complementary” that “may exist, but not necessarily” (rohidi, 2005). the impression that art education is not as important lesson as other subjects indicated by the lack of learning facilities and support from school managers (salam, 2013). given the weakness of art education in schools, support for art education from outside formal education becomes an urgent need. this is the background of the emergence of non-formal education of children’s art in the form of a community art center for children (sanggar) in yogyakarta since the early 1970s. the first children’s art center was sanggar kartapustaka which was founded by the department of art education of the teacher training and education institute of yogyakarta in cooperation with the indonesian-netherland library foundation kartapustaka (pamadhi, 2015). the establishment of the sanggar was then followed by other sanggars founded by art educators, including the well known sanggar melati suci and sanggar pratista . the children’s art activity, especially drawing or painting, became a means of recreation for children with their parents and a children’s art world in yogyakarta. there were as many as 30 sanggars in yogyakarta (http://regional.kompas.com, 2010). the existence of sanggars was not separated from competitions that mobilized children’s painting activities in local, national, and even international competitions (santosa and others 1994). thus, the children’s painting activity has become a part of the social process in yogyakarta known as the city of education and culture of indonesia. as a social activity that involved many people in the urban environment, the children’s art act inevitable got business intervention. the children’s art competitions were contaminated by the economic interest that disserved the management of the children’s art activity. the bias of the management caused the parents’ interest in the sanggars and competitions. more and more sanggars were closed and the number of competitions decreased. that condition, however, did not weaken the attention and spirit of the idealistic young artists in yogyakarta in nurturing children’s art. in 2004 yuswantoro adi and his colleagues established a community children’s art center called art for children (afc). it is a kind of sanggar but intended for the social purpose that parents can engage their children in drawing or painting activities freely, without any payment and requirements. this activity is funded by the local government. it can be said that this sanggar is the revival of the first idealistic sanggar. considering the limitations of the art education in schools i.e. formal education, sanggars play an important role in nurturing the children’s aesthetic expression as well as and the cultural activities in yogyakarta. related to this matter, this research was conducted to describe and analyze the existence, role, and practice of arf for children as a form of a children’s art center. the results of this research will be useful for the understanding of children’s art in the context of nonformal art education for children and cultural activity as a whole. methods approaches implemented in this research are children’s art, art education, and socio-cultural context. children’s art is to discuss the characteristics of drawing done by children according to their growth julia et al., improving prospective primary school teachers’ skill ... 145 and development. art education is to talk about the concepts underlying art education and methods used in teaching art to children. socio-cultural context is to explain the social and cultural background of children’s art activity. the data collection was done by participant observation, document analysis, and in-depth interview. in the observation, the researchers limited their interaction with the persons being observed, recording data from drawing lessons using a camera and field notes. the document analysis was used to explore data from children’s art exhibition catalogs, articles on websites and research journals, and other written documents. researchers conducted an indepth interview with the art teachers and parents, to gather information about their ideas and practices in helping children to draw. furthermore, the data analysis technique is done using the interactive data analysis model by miles and huberman (rohidi, 2007) which comprises such steps as data collection process, data reduction, data presentation, and conclusion or verification. in the process of analyzing the data, the teaching and learning process and the content of the children’s drawings are separated into its constituent elements, interpreted, and discussed using some relevant theories. results and discussion the background and existence of art for children (afc) yogyakarta is the capital city of the special administrative region of yogyakarta. it can be traced back to the mataram kingdom in the 18th century. the palace that brings the power of traditional culture meets the power of colonial culture to produce modernization (soemarjan (1981). this city is renown as the city of education. it is the place for educational institutions since the time before world war ii, including taman siswa founded by ki hajar dewantara (haikal, djumarwan, dewi, astuti, & dwi s 2012). given its background as a javanese royal city in the past, yogyakarta has preserved cultural heritage which especially encourages the people in this region to engage in arts activities. there have been here public and private art galleries, art museums, art forums, and art schools, so that art exhibitions and performances become a part of the people’s lives. yogyakarta is also the center of children’s art. drawing or painting is a typical and phenomenal art activity for children in sanggars which has a long history and has its relations to the art education practice and the cultural life of the city. sanggar traditionally denotes a kind of a guild where children are engaged in art training under the guidance of adult artists. the origins of sanggars can be traced back to 1970s and even much earlier. in 1940s pioneer painters like sujojono and affandi who founded sanggars for training young artists in yogyakarta. these sanggars in turn became the inspiration for the development of children’s the first art sanggars, namely sanggar karta pustaka, sanggar melati suci, and sanggar pratista which were, in turn, followed by many sanggars in the city and its surroundings. the advancement of sanggars brought up the drawing competitions held by the government institutions and the community, which some of them were commercially oriented. the commercial drawing contests surely, however, had a negative effect that some art trainers and parents tent to focus on the contests rather than the educational values of the drawing training. it was unfortunate that certain commercial judges had set the standards for “good” drawing: (1) all-over drawing techniques, (2) full-color gradients, (3) and stereotypes of objects. these standards were taken for granted by many parents as the basis for the training and this fallacy caused inevitable conflict between the parents and the professional juries of the contests. parents often protested against the juries about their judgments; they refused the juries to judge drawings which did not meet the harmonia: journal of arts research and education 18 (2) (2018): 143-152146 ning, they are assisted by imam andakara who replaced mochammad fajar—both of them graduated from department of art education of yogyakarta state university. afc is intended to be a social service, so that children and teenagers can join it voluntarily and free of payment and any requirements. the participants are children aged three to nine who most of them come from the lower middle-class families. they are highly motivated by their parents who are aware of the importance of children’s art as a special ability or talent that needs to be developed. in accordance with the mission of the children’s art center, however, they agree that the art activities in afc are more oriented to educational art process rather than to artistic skills. the teaching strategy and process the teaching strategy applied in first sanggars is oriented towards the development of aesthetic sensitivity and free expression. soesatyo (1984) summarizes some principles of teaching to art children as follows: (1) we must look at the child’s painting as a recording of his or her personality; (2) during the time the child works, always give the child wide opportunity to express the important experience in his life (opportunity of self-expression); (3) nurture the child’s familiar relationship with his natural environment with his or her sensitivity; (4) good technique development is done by tracing and encouraging the child’s own experience; (5) do not attempt to provide a particular theory or technique based on the notion of an adult; (6) give corrections or assistance if necessary and do not force the child to do things; (7) besides the final results, note also that the process should always be kept in a free and fresh atmosphere; (8) the guidance is given in the form of a question, for example: what image is it? how many hands does the mother have? where are the leaves of the tree?; (9) further guidance should be given through direct observation of actual objects; (10) if possible, invited the child to find his “faults” with his own experience; (11) do not rush to demand a naturalist standards as the winners. both the professional juries and the professional trainers denied the fake standards and commercial contests, so that many parents stopped involving their children in the sanggars. it was not until the early 2000s that the children’s art activity decreased and more and more sanggars were closed. since then the word “sanggar style” has been used to denote the typical style of children’s drawing which its influence still persists until today. art for children (afc) is an art center for children established in 2004 by a young artist community in yogyakarta. afc is funded by the local government and held as a a part of the cultural center called taman budaya yogyakarta (tby). the children’s art activity is held every sunday from 10:00 through 12:00 during the year in the societet building located in the center of the city. the art activities include visual art, music, dance, and theater. the visual art activities comprise drawing or painting and making three-dimensional art form, but this research is especially focused on the first activity. afc can be considered as a revival of an idealistic form of children’s art center or sanggar that attempts to foster the children’s aesthetic development. the purpose of this art center is to train or, precisely, to guide children in drawing or painting as self-expression. this sanggar was established based on the ideal of some young contemporary artists—among others namely yuswantoro adi and kuss indarto who felt disturbed with the degradation of the children’s art activity caused by commercial sanggars and children’s painting contests that ended with uncreative stereotypical drawing and a skill-oriented process of training. the drawing activity in afc has been guided by yuswantoro adi and dwi winarni who graduated from indonesia institute of the arts yogyakarta. although they both have no background of formal art education, they have much concern for children education and have long experience in teaching drawing to children in elementary schools. in doing their traijulia et al., improving prospective primary school teachers’ skill ... 147 style. in accordance to those principles, yuswantoro adi and dwi winarni are aware of the basic values of art creation i.e. the freedom of expression and creativity in delivering ideas into visual art forms and these instances also, by and large, apply to children. they personally have much care about children and children’s art which is unique and full of imagination. they, therefore, use a strategy of teaching that are suitable with those aspects of art creation as well as children’s conditions and abilities. to give a wide space, the drawing lesson is conducted in a porch of the societet building where children can sit on the floor while doing their work freely accompanied by their fathers or mothers. the presence of the parents here is needed to collaborate with the teacher in guiding their children individually, because it is impossible for the teacher to serve each of the children intensively. the parents’ role is mainly to help their children in preparing drawing materials and cleaning up, but they may give as minimum as possible assistance in solving the drawing problems. they should avoid dictation and encourage their children to work independently based on his or her own ideas and way of drawing. the teaching of drawing or painting art in afc shows the application of the creative expression method, which according to jefferson (1969), including such principles as follows: (1) every child has the opportunity to choose his or her own ideas or subject matter; (2) he or she has freedom to express it; (3) he has the right to organize it in his or her own way. to stimulate the children in the first lessons, however, they are introduced to drawing based on numbers and basic geometric shapes. in the later lesson the teacher stimulates the children with familiar themes. as shown in figure 1, all the participants sit on the floor forming a half circle, where the teacher, dwi winarsih, is at the center and surrounded by the children with their parents. by this formation, she could interact with children and their parents directly. first of all, she gave an explanation about the lesson including the theme or subject matter, form or composition, and technique that will be used in the drawing program. to assure the participants’ understanding, she gave one or more examples while explaining some concepts or aspects as clearly as possible. she intentionally gave a more detailed explanation of certain concepts and warnings only to the parents in order that they would use them in guiding their children, such as the function of the background and some principles of composition in a drawing. while giving her examples, she also presented appreciation of some children’ drawings or paintings done by other children or posted in catalogs to attract the participants’ interests. figure 1. teacher giving introduction to children and parents after the introduction session, all the children started doing their drawing independently. while inspecting each child’s work, the teacher gave an appreciation of his or her work and only helped him or her if needed. if a child had a problem that his or her parent could not resolve, for example in drawing people, the teacher would encourage and give some directions to the child to resolve it as possible as he or she could. if the child failed to do it, the teacher would give a minimal example directly on the child’s work that should be continued by the child. the children generally apply the usual steps of drawing or painting i.e. harmonia: journal of arts research and education 18 (2) (2018): 143-152148 drawing a sketch of objects using a pencil and then finished it with colors (figure 2). some children sometimes fail to complete their works in one meeting and they can finish it at home or in the next meeting. their works vary in terms of objects and ways of handling the coloring materials. crayons are used as the main materials, but children are also introduced to use acrylic media. this practice of teaching is in line with the necessary art learning condition insisted by mattews (as cited in kolbe, 1993) that interaction between a child and an interested, responsive and involved adult, is essential. they encourage each child to draw and talk in order that he or she can express his or her ideas and express them smoothly. this point is accordance with the finding of einarsdottir, dockett, and perry (2009) that while drawing and talking children construct and convey meaning and the combination of the drawing and the narrative is powerful means of helping children to draw. while drawing, there were children who talked either to themselves or to others, but there were those who unaware of the conversation around them. gardner (as cited in coats & coats, 2006) calls them as ‘committed visualizers’. the drawings and paintings resulted from the program were exhibited at the end of the year (figure 3). besides the annual local exhibition, afc also presented their works in the national exhibition, for example indonesia children’s art festival in galeri nasional jakarta in 2010. through this exhibition, afc socialized its program children and attempted to promote parents’ care for children’s art. in 2017 the children’s art center held workshops on teaching drawing to children (figure 4). this workshop was aimed to train parents as well as preschool and elementary school teachers to help children to draw or paint pictures. the children’s art center confirms the important role of adults in children’s drawing. as prompted by anning (2002), children’s drawing is a socio-cultural activity. adults model drawing behaviors on the basis of shared interests and activities. figure 2. child doing her drawing figure 3. annual exhibition of children’s works of drawing figure 4. workshop of teaching drawing the children’s works of drawing the following are examples of drawings created by the children of afc. using the method of drawing based on numbers, azam (5 years old) produced a drawing shown in figur 5. in this kind of drawing, numbers are associated with the forms of certain objects. he drew all objulia et al., improving prospective primary school teachers’ skill ... 149 jects based on numbers from zero to nine in the order of lines, resembling the way to write in a page. in the painting, for examples, the number “0” is developed into an orange, a lion, and a glass, number “2” into the shape of a goose, number “3” into a snake and an elephant, number “4” into a ship, number “6” into a snowman, and the number “9” into an owl. azam first drew objects in a schematic way and then filled the shapes with colors, but colors here are used in connection with reality. figure 5. drawing based on numbers by azam (5 years old) drawing based on numbers here is essentially an experiment to develop the shape of objects based on familiar forms. the numbers here serve as a stimulus to provoke the child’s memory of the shapes of objects close to the shape of the number, and make it easier for the child to draw the objects. they are, however, depicted separately, not thematically interrelated and arranged in the form of a register. this work shows the preschematic stage of children drawing. according to lowenfeld and brittain (1982), during this stage images begin to resemble symbols, but these may only be understood by the child. colors may also begin to be more realistic than they were in drawings of younger children. drawing based on basic geometric shapes is shown in figure 6. shasha (5 years old) drew two flowers in a pot by developing circles, half circles, and a trapezoidal. figure 6. sunflowers by shasha (5 years old) shasha here uses the freedom to use colors that the two large flowers are colored based on emotion rather than accordance with reality, except for the yellow color for flowers and green for the leaves. the large size of flowers indicates that she is more concerned with flowers than the stems and leaves of the flower and the pot. in addition to these main objects, she freely added the sun placed in the upper right corner and a doll in the lower right corner of the page and dots with various colors as the background. however, the sun and the doll may only exist as a stereotype in children’s drawing and have nothing to do with the sunflower. the objects in the page are arranged side by side or in juxtaposition. she used a marker to draw the outlines the did the coloring with pastels. this drawing has a uniqueness in the rhythm resulted from the repetition and variation of line, shapes, and colors. in the theme-based painting, the teacher provides a short theme, “smile” for example, then the children are asked to make their own interpretation of what should be drawn based on the theme. to expand the children’s interpretation and imagination, the teacher states that the act of smiling is not limited to people, but also to things in the surroundings. aisha (7 years old) drew a picture of a smiling tree with a marker and crayons (figure 7). harmonia: journal of arts research and education 18 (2) (2018): 143-152150 figure 7. smiling tree by aisha (7 years old) in her drawing, aisha combines forms of a tree and a human. the leaves are drawn resembling the hair and the pair of branches resembling the hands. the idea that aisha wants to express is that a tree can smile happily like a human. therefore, he depicted the lips in the act of smiling, the uplifted hands, and the opened fingers, giving the impression of excitement. as the main object, the tree and the grass are drawn schematically, and the background is just filled with outlines of abstract shapes with varying colors. figure 8 shows the work of krishna (5 years) which is also based on the theme of “smile” but with a different interpretation. according to lowenfeld and brittain (1982), an automobile becomes an object of interest to boys in the preschematic stage. in his drawing, krishna depicts a bus with the idea of a human face, with opened eyes and a smiling mouth. krishna first depicted the bus and then added the details of the object and other objects:. roads with stones, grass, trees, the sun, and clouds. krishna produced the above painting using markers and crayons. the use of markers here is only visible on the image of a bus and the sun, which indicates that these are the main objects whereas the other objects are added as complementary items. the colors are used in accordance with reality in general, such as gray and black for roads and stones, green for grass and leaves, brown for tree trunks, blue for the sky, yellow for the sun, and black for birds. figure 8. smiling bus by krishna (5 years old) although krishna is only five years old, his drawing shows some characteristics of the schematic stage (7-9 years). in this case he does not draw an automobile in general, based on a combination of simple shapes of a rectangle and two circles, but more based on reality. the picture shows the authenticity of the forms created by the child. the trees, for example, are depicted with details of leaves. another example is a drawing by jehan (6 years old) titled my cat (figure 9). it can be called a painting because it is made with wet media. jehan used acrylic paints in a transparent as well as dense manner. the first step was coloring the top of the canvas with blue paint in a transparent way as the sky or background and the bottom with light brown to suggest the ground. the next step was drawing the cat by adding yellow paint over the background. the cat’s head was further emphasized with yellow paint, while its body, legs, and tail of the cat are emphasized with a bright, transparent red paint. on the cat’s head was then added details with dark red and pink contours. the pink paint was also used to draw the mustache and stripes on the body and legs. the next step was adding a deep red paint to emphasize the details of the ears and face. julia et al., improving prospective primary school teachers’ skill ... 151 the last step was drawing the other objects such as bushes, flowers, clouds, and the sun. figure 9. my cat by jehan (6 years old) based on the analysis of the drawings created by afc participants, several general conclusions can be drawn: first, the characteristics of the children’s drawings are approximately in line with the stages of development according to lowenfeld and brittain (1982). second, through the methods of teaching used each child is able to develop his or her own ideas and manipulate drawing materials in his or her own way. third, each child is able to develop his or her own symbols to express their ideas, although there have still been symbols that become stereotypes, such as the symbol of the sun, clouds, trees, flowers, and birds. fourth, the children’s drawing and painting show the aesthetic qualities that deserve appreciation. the results of children’s painting in accordance with the approach used, namely individual guidance, freedom of expression, and constructivist learning. conclusion based on the explanation above, several main points can be drawn. first, art for children (afc) in yogyakarta becomes the revival of idealistic children’s art center founded in the 1970s, especially sanggar karta pustaka and sanggar melati suci. the establishment of the children’s art center meets the needs of the self-actualization of both the artists and the parents. teaching art to children is the honorable way for the artists to reach his self-fulfillment as artists as well as members of a society and, on the other hand, engaging their children’s in the art center is the responsibility for the parents to fulfill their aesthetic needs and to support their children’s education. second, afc mainly applies creative expression method of teaching art to children based on themes. consistent with recent research results, this art lesson emphasizes the process rather than the result; it is oriented to the selfexpression and art educational values rather than artistic skills. the training process involves collaboration between the artists and the parents. the artists engage the parents in active participation of guiding the children. fourth, through this strategy the children have produced original and creative drawings and paintings worthwhile for children’s aesthetic education and cultural activity in the city (adu, 2016). references adu, j. & k. k. (2016). exploring children’s communication through art in the early years: the role of the teacher. in incedi 2016 conference . accra, ghana: accra, ghana. coats, e. & coats, a. (2006). young children talking and drawing. international journal of early years education. 14(3). pp. 221-241. einarsdottira, j., dockettb, s. and perryb, b. (2009). making meaning: children’s perspectives expressed through drawings. early child development and care. 179(2). pp. 217–232 haikal, h., djumarwan, dewi, i.m., astuti, d.w., dwi s, h. (2012). pendidikan dan perubahan sosial di vorstenlanden. retrieved from universitas negeri yogyakarta website: http://staffnew.uny.ac.id/upload/132306803/ penelitian/pendidikan-dan-perubahan-sosial-di-vorstenlanden.pdf. jefferson, b. (1969). teaching art to chilharmonia: journal of arts research and education 18 (2) (2018): 143-152152 dren. boston: allyn & bacon. jelved, m. (2014). strategy for pre-school children’s encounter with art and culture. retrieved from https:// kum.dk/fileadmin/kum/documents/english%20website/current%20themes/rh_kum_engbrochure_smaaboern_05.pdf kolbe, u. (1993). co-player and co-artist: new roles for the adult in children’s visual arts experiences. early child development and care, 90(1), 73-82, doi:10.1080/0300443930900110 lowenfeld, v. & brittain, l. (1982). creative and mental growth. new york: macmillan pubishing co., inc. miles, m. b., & huberman, a. m. (1992). analisis data kualitatif: buku sumber tentang metode-metode baru. tranlated by tjetjep rohendi rohidi. jakarta: universitas indonesia press. read, h. (1970). education through art. london: faber & faber. rohidi, t.r. (2000). kesenian dalam pendekatan kebudayaan. bandung: stisi press. rohidi, t.r. (2005). penilaian seni dan upaya pengembangannya, permasalahan dan altematif pemecahannya dalam konteks “pendidikan seni”. in rekayasa sistem penilaian dalam rangka meningkatkan kualitas pendidikan. yogyakarta: penerbit hepi. salam, s. (2013). curriculum issues in visual art education: indonesian experience. in international seminar on language and arts. padang: fbs universis nnegeri padang. sanggar lukis anak menjamur di yogya. retrieved from http://regional .kompas.com/ r e a d / 2 0 1 0 / 0 7 / 1 3 / 2 0 3 9 3 5 9 9 / sanggar. lukis.anak.menjamur. di.yogya. santosa, h. (1994). kado kecil melati suci. in sanggar melati suci (1974-1994), (pp. 7-10). yogyakarta: sanggar melati suci. soesatyo (1994). peranan orang tua dalam pembinaan emosional estetik anakanak. in sanggar melati suci (19791994). yogyakarta: sanggar melati suci. soemarjan, s. (1961). perubahan sosial di yogyakarta. yogyakarta: gadjah mada university press. 174 the civilization of sandur watch’s transcendence in the age of globalization arif hidajad1, ida zulaeha1, nur sahid2, agus cahyono1 1universitas negeri semarang, indonesia 2institut seni indonesia yogyakarta, indonesia submitted: 2022-01-28. revised: 2022-05-26. accepted: 2022-06-16 abstract this research departs from the background that sandur has a form of sublimation of transcendent normativity values conveyed through folk theater products. the main focus of the problem’s formulation in this study is to analyze the symbol system in sandur, which is to connect to the meaning of transcendence normativity to be associated with the area of civilized society in the era of globalization. the aim is to prove the existence of the normative meaning of transcendence from the symbol system of sandur’s spectacle and to implement the meaning of the normativity of the transcendence of sandur as an effort to civilize society to face the negativity of globalization. the analysis in this study was carried out using descriptive qualitative methods through observation, interviews, documentation, and literature, then described based on the concept of clifford geertz’s interpretive anthropology. the results obtained in this study are (1) the symbol system in sandur’s rituals, scenes, and songs has a transcendent normativity in the form of mutmainah’s attitude and beyond meaning, as a network of interactions and relationships in the vertical and horizontal dimensions, and (2) the transcendence civilization of sandur’s spectacle in the era of globalization through beyond meanings and attitudes mutmainah to face the negative culture of globalization that allows the occurrence of cultural and moral decadence. the problem that becomes the focus of the transcendence civilization of sandur’s spectacle in this study is not rejecting the achievement of globalization progress but rather an attempt to internalize the values in the sign of globalization to maintain the mentality of cultural ecstasy of the people born of transcendence normativity. keywords: civilization, transcendence, sandur, globalization how to cite: hidajad, a., zulaeha, i., sahid, n., & cahyono, a. (2022). the civilization of sandur watch’s transcendence in the age of globalization. harmonia: journal of arts research and education, 22(1), 174-186 harmonia: journal of arts research and education 22 (1) (2022), 174-186 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i1.34803 as a means of relaxation, giving a short respite from life’s problems (sugiharto, 2013). meanwhile, if it has to be explained fundamentally, art is related to civilization, civilization, and civilization, which often gets debates among artists and academics. the foundation of “civilization” is built through science (science), philosophy, religion, and art. the dimensions of introduction the issues of art and modernization intersect in redefining their respective functions. today’s modern society understands that the function of art is nothing but additional skills and a means of entertainment to relieve fatigue at work, relieve stress, refresh the soul, and at the same time corresponding author: e-mail: idazulaeha@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 arif hidajad, et al., the civilization of sandur watch’s transcendence in the age of glo175 knowledge include the art of intervening according to their respective functions. just as the interrelationship of art and science is capable of creating technology, art and religion formulate beliefs and beliefs, while art and philosophy give birth to a critical view of art. it means that art plays a role as a pillar supporting civilizations that are tied to human life as the subject of driving the pace of modern civilization. human existence as the driving subject of civilization is never satisfied with the network of meanings and experiences; humans will always strive to continue to interpret the reality and experience of their lives from time to time so that modernization is born from the actions of human hands themselves. apart from the overlap and debate about the meaning and function of art in modern culture, it is appropriate to return the function of art to a phenomenological perspective. husserl’s phenomenology argues that life’s first and most fundamental reality is “a life that is experienced, lived, felt, and imagined on a pre-reflective and pretheoretical level.” the concrete world limits its form to the abstract world of science (science), the ideal world understood by morals, and the dogmatic world of religion. husserl calls the primary world like lebenswelt and life world, a world that can be directly experienced and the world of concrete life before being reflected as amorphous and very complex, thus forming a supernatural world (dowling, 2007). that is why art from a phenomenological perspective is closely related to understanding the nature of life to severe problems between subjects and objects in human life. art does not always provide solutions like science and religion, but art opens the possibility to see reality and new possibilities. the complexity and depth of human experience can be described freely and vulgarly through art. based on the phenomenon above, it can be explained why spiritual and transcendent religions often interact with art to explore the depths of the human mind. as sugiharto stated, art is ultimately a medium of communication from the artist’s thoughts and experiences that are connected to other human thoughts and minds, connected to the deepest mysteries of life, and connected to the dimensions of the supreme spirit (for example, god and gods) behind all things. incident. that is why art is “religious” and even “mystical” at a deep level. this phenomenological perspective on art can be implemented in sandur’s traditional art spectacle, which is possible to have a transcendent depth of meaning and function of art. historically, sandur art expresses gratitude for the harvest because sandur is believed to bring blessings to agrarian communities. blessing is attached to the sandur function (ritual), which is believed to produce a more abundant harvest so that the sandur spectacle can be found every harvest season (hidajad, 2021). the function of sandur as a ritual is closely related to the mechanism of spirituality and mysticism, which is indicated by the existence of the setren ritual before the performance, which aims to nyetrenke or ask for the protection and legitimacy of the ancestral spirits (dhahnyang) to hold a party through sandur performances (wibisono, catur, sulistiowati, trisno, as’ ad, 2009). as time goes by, the function of sandur has shifted; sandur no longer functions as a ritual for an agrarian society but shifts into a public entertainment spectacle that can be performed at any time according to the request of the responder. the change influences the shift that occurs in generations and changes in people’s lifestyles (sedyawati, 1981). the shift in the function of sandur amid globalization also affected the elements of the presentation of sandur. the shift occurred in the concept of sandur’s storytelling, which was initially closely related to the life of an agrarian society; now, it has changed to presenting people’s daily stories related to social, economic, and political issues. in addition, a shift has also occurred in the tembang poetry, which is more religious (islamic). the occurrence of a shift in sandur functionally and the form of presentation is a form of reconstructiharmonia: journal of arts research and education 22 (1) (2022): 174-186176 on of the community supporting sandur to preserve the sandur tradition so that it follows the spirit of the era and can be passed on to the modern generation (hidajad, 2021). apart from changes in function and various forms of presentation of sandur, researchers interpret sandur from a phenomenological perspective, namely as a historical experience and today’s reality. through phenomenology, a middle way can be taken that sandur has historically had a series of normative value orders that can be linked to learning according to today’s reality. this study is intended to civilize transcendence in the era of globalization. civilization in this study can be done by first analyzing how the normative values that sandur has because these values will later become the basis of the civilization effort. sandur’s normative values are attached to its structure and characteristics as a cultural system of a society, having a network of components in a distinctively patterned symbol system, which can be called a cultural ethos related to the normative value order of a society. geertz explains that the ethos of a society is the character, morality, rhythm, quality, and way of life reflected in its behavior (geertz, 1973). cultural ethos is influenced by both the physical and social environment also the influence of the individual characteristics of the supporting community members. this fact shows that people who hold to the normative value order no longer live solely in the physical universe, but humans also live in the symbolic universe, language, myth, art, and religion as part of the universe of life. the order of normative values in sandur can be known through the network of meanings from the elements of sandur’s presentation, bound to a symbol system that contains logical-analytic qualities or associations in thinking discourse. the symbol system in the sandur spectacle is formed based on the norms of spirituality and ancestral wisdom, which can stimulate or convey messages to encourage the formation of patterns of thought and action for sandur supporters. the quality of the norms of spirituality and ancestral wisdom in the sandur symbol system, if it can be directed to the transcendence area to open broader possibilities regarding the spiritual aspect as a unitary human orientation that cannot be separated from social, material, and metaphysical aspects so that it can shape human civilization: a noble one. the concept of transcendence used as the basis for the study in this research is directed at the conversion space of human existence, which is superior, sublime, beyond, and superlative. beyond human experience relates to what is forever beyond understanding everyday experience and scientific understanding (audi, 2015). transcendence will form awareness to want authority outside of oneself and be able to accept beyond as an effort to overcome the present, overcome joys and sorrows, bring humans beyond the boundaries of knowledge and experience, and place knowledge and experience in the broader context because transcendence will bring humans to awareness of something extraordinary and unlimited, both inside and outside humans (zahar, 2002). based on the background and analysis related to the research object and the study basis above, the problems to be studied can be formulated into several parts. they are (1) the normativity of transcendence in sandur’s spectacle, related to the analysis of the transcendence symbol system in rituals, scenes, and songs of sandur’s spectacle, and (2) civilizing the transcendence of sandur’s spectacle in the era of globalization, as an effort to deal with the negative culture of globalization that allows for cultural and moral decadence, which is closely related to greed and conflict in the space of materialism and hedonism. the urgency that is the focus of the transcendence civilization of sandur’s spectacle in this study is not rejecting the achievement of globalization progress but rather an effort to internalize the values in the sign of globalization to civilize and awaken the mentality of cultural ecstasy in society that arif hidajad, et al., the civilization of sandur watch’s transcendence in the age of glo177 was born from transcendence normativity. based on these problems, the objectives of this study are: (1) to prove the existence of the normative meaning of transcendence from the symbol system of sandur’s spectacle; and (2) to implement the normative meaning of sandur’s transcendence as an effort to civilize society to face the negativity of globalization. the novelty offered in this study relates to how to connect the symbol meaning for the sandur presentation with the transcendence study basis. the implementation of meaning in the form of transcendence in this study will be the first finding, which can then be drawn on the discussion related to socio-cultural phenomena as the second finding, namely the transcendence civilization of sandur’s spectacle in the era of globalization. method the qualitative analytical method was chosen for planning a discussion of the phenomena of transcendental meaning in the symbol system of the sandur spectacle through collecting data obtained from observations, interviews, documentation, and literature related to the traditional theater of sandur bojonegoro. the results of observations and literature are then classified into several categories of ritual symbols, scenes, and songs that contain transcendental values and meanings. furthermore, the classification that has been obtained is analyzed according to the concept of clifford geertz’s humanistic anthropology or interpretive anthropology, which seeks to find the orientation of cultural products as a system of ideas, values , and meanings through the interpretation of behavior and texts (hendro, 2020). the concept of analysis is applied based on cultural interpretation in several stages. one of them is finding the pattern of meaning expressed in the symbols of sandur’s performance. according to geertz, cultural products are patterns of meaning expressed in various symbols. the analysis is carried out by first interpreting what was communicated by the informants or by reflecting on what they have communicated and starting to organize meaning schemes (geertz, 1992). the informants in this study refer to the research subjects, namely the perpetrators and observers of sandur. the information obtained is then compiled through a model (for-of) to project a thick description to describe the object of the problem based on solid facts. the symbol of sandur’s spectacle, which is composed of rituals, scenes, and songs, is described based on a series of control mechanism concepts (a set of control mechanism) as a cultural product that contains a set of teachings, plans, recipes, rules, and guidelines to regulate people’s behavior. the phenomenon shows that sandur’s spectacle can be placed as a set of cultural products that have a series of transcendent normativity as a spectacle as well as community guidance in the form of folk theater plays. result and discussion the human mind constructs its world based on a symbol system, where the formation of symbolic construction functions as a concept to understand the world that is experienced and as a concept of how humans should live in that world. the symbolic function is formed based on the (model for) model for the reality of ideas, norms, and beliefs as a model for the cultural system’s teachings, demands, and rules. this reality forms another reality model as the capital of (model of) linguistic processes, graphics, mechanisms, and so on to express its cultural structure in an alternative medium (geertz, 2014). the alternative medium as a system of symbolic meaning, according to geertz, appears to be present in sandur’s spectacle as a model of (model of) spiritual normativity and ancestral wisdom, which is abstracted through symbols of ritual processions, scene forms, and the meaning of the songs in sandur’s spectacle. these symbols can be explained through an opeharmonia: journal of arts research and education 22 (1) (2022): 174-186178 rational model to (model for) describe the normativity of transcendence which is divided from the perspective of recognizing human dependence on its creator. the attitude of feeling enough with oneself by not seeing humans as the center and measure of everything so that it can overcome human instincts, such as greed and lust for power. transcendence also means acknowledging the continuity and standard measure between humans and their creators, namely the relativizing of all power, wealth, and knowledge, because transcendence is recognizing the superiority of the absolute standard of normativity over human reason (garaudy, 1982). the normative transcendence of the sandur ritual the tradition of performing sandur is affiliated as a mechanism for the spirituality of the people of ledok kulon village. this spirituality is presented through various rituals in sandur that seek to represent the recognition of human dependence on spiritual energy that is more powerful than oneself and places awareness of human weaknesses. these efforts involve the setren ritual procession before the performance and how to project the properties used in the sandur performance as a mediating tool for connecting energy from material and non-material dimensions (norkhosim, interview 2 september 2010). the property is in the form of a braided horse, discordant rope, and a whip, as well as the names of jaranan players and kalongking players, complete with offerings of ulu wetu, kembang setaman, and incenses that are kept at the tomb of ki andong sari, as ancestral figures (dhanyang) of ledok kulon village. the setren ritual procession becomes the norm of respect, requirements, and requests for permission to perform sandur performances against their ancestors, who are considered symbols of strength or figures who are given the power by the maha ruh (god) to control, protect and protect. after the setren ritual is completed, the people who support sandur believe that the sandur performance has received support, protection, and blessings through the spiritual energy of the ancestors. it has been mediated through the properties used in the stage. this belief involves the transcendence of the sandur supporters’ dependence on the ancestors’ strength and power as the representative embodiment of the maha ruh (god), the owner of absolute power and power. they understand that humans are not the center and measure of everything because there is a more significant and absolute power outside of humans. rituals in the sandur performance also position the venue as a symbol of javanese spiritual belief in the concept of sedulur papat limo pancer. the concept means controlling lust or emotions humans possess spiritually and emotionally (baehaqie, 2014). the spiritual perspective represents sedulur as an inner brother who accompanies and helps humans from the time they are born until their death. papat means the number of brothers with many terms of mention and is often associated with the four directions of the winds, the four elements of nature, and the weton calculation of human birthdays that indicate specific characteristics and destiny (macrocosm). at the same time, the limo pancer is intended as the center point of life (microcosm), namely the human body and soul itself (sari & muttaqin, 2021). in addition to the spiritual perspective, the sedulur papat limo pancer can be linked to a psychological perspective because it relates to human emotional intelligence as the ability to control emotions in dealing with everyday problems (mayer et al., 2007). this concept means that sedulur papat limo pancer for the javanese community applies as a rule of emotional management so that conceptually it can be interpreted as a combination of several cognitive abilities to feel, integrate, understand, and manage emotions (naeem et al., 2011). this cognitive ability is culturally influenced by the fabric of the javanese people’s spiritual norms. sedulur papat limo pancer’s perspectiarif hidajad, et al., the civilization of sandur watch’s transcendence in the age of glo179 ve, spiritually and psychologically, seems to be related to the sandur performance venue, which is a field bounded by a rope fence in the form of a square with a length of 8x8 meters called blabar janur kuning. the rope is decorated with yellow coconut leaf arches and various market snacks. there are ketupat, and sticky rice cakes or lepet are hung on the rope limiting the performance arena. at the corner of the meeting between north and east (northeast direction), offerings are complete with incense or incense. meanwhile, bamboo sticks are attached in the middle of the right and left sides of the performance arena. they have a height of approximately 10-12 meters. between the bamboos that are stuck on the right and left sides, a discordant rope is attached that connects the two bamboos so that the square-shaped performance arena seems to have angles—the center of the top, which will become a cone when used for the kalongking scene attraction. figure 1. arena blabar janur kuning the presentation of the venue is in the form of a square and the upper-middle corner, oriented to the principles of papat qibla and weton, namely east (pasaran legi), south (pahing), west (pon), and north (wage) while the center of limo pancer in the middle (kliwon). the cardinal directions and the time of birth are believed to be why humans are born into a world that carries its nature and destiny (noorwatha & wasista, 2019). human destiny has been determined by the supreme spirit (god) with four pillars of strength since it was in the form of a fetus, namely watman as the mother of human strength, a representation of the feelings of love for the mother who had conceived and gave birth to him. wahman is a blanket and guardian of the fetus (amniotic fluid) since humans are in the womb. rahman is the incarnation of blood, representing life, life, energy, and the human spirit. ariman is the incarnation of the fetal brother (placenta) since in the womb, who distributes and maintains human life. meanwhile, pancer, as a human spirit and body, represents human awareness and behavior towards a life centered on the will outside of oneself (susetya, 2016). human awareness and behavior are controlled based on emotional and spiritual intelligence how humans can put forward the lust of mutmainah as a representation of the creation of the supreme spirit (god), who carries the characteristics of khauf (fear), raja (hope), tawakkal (passover) and qanaah (accepting). in order to suppress the desire of alumiah lust as a consumptive human manifestation, supiyah’s lust as a manifestation of the human desire to rule and reign (social status), and suppress the lust of anger as a manifestation of greed, greed, jealousy, and envy of humans if only prioritizing alumiah lust and supiah without a balance of mutmainah’s nature (simuh, 2002). meanwhile, various forms of ritual offerings in sandur become a symbol of communication of gratitude and blessings of the community to the highest power that gives life and is the center of hope for the positive desires of the community (sholikhin, 2010: 49). sandur’s interpretation seeks offerings as a form of normativity for the supportive community that life does not only involve the human body and spirit, but other energies also celebrate life, such as the spirituality of sedulur papat, who has been a guardian and protector of humans since birth, as well as spiritual energy in the rule of law. supernatural beings, he believed. belief in the existence of the supreme spirit (god) as the creator places belief in the supernatural life as the value of the creator, who is also a supernatural harmonia: journal of arts research and education 22 (1) (2022): 174-186180 being. humans are endowed with reason and mind by him. they need to be able to connect and maintain harmony between their fellow-creatures. overall, the rituals in sandur are a form of community spiritual expression for the gift of the creator to fulfill human life on earth through blessings from the sky to grow all forms of food grown on earth (agrarian). therefore, the story presented in sandur fiber is related to socio-cultural principles. farming community culture. so, according to pramujito, sandur can be called insan lan tandur (sandur), which means humans and plants (interview, 2 september 2010). planting (tandur) in the continuity and development of sandur currently opens various interpretations apart from the meaning of agriculture, paving the way for sandur’s spectacle to display various socio-cultural themes of society and no longer bound by an agrarian society. the entire meaning of the ritual in sandur involves the normativity of transcendence as an acknowledgment of man’s dependence on his creator. the ritual also means the difference in strength and will between man and the creator. finally, the ritual also acknowledges the existence of life forms that need to be carried out as a form of gratitude. normativity transcendence scene and song sandur the scenes and songs in sandur’s spectacle go hand in hand to present a representation of the conflict in the lives of the people who support it. as the hallmark of traditional theater in general, sandur often presents socio-cultural, psychological, ecological, and spiritual mystical conflicts accumulated in the relationship between humans and other humans, humans and the environment, humans with themselves, and their relationship with the universe (khampha, 2015). this series of conflicts became the foundation of the big ideas and themes in sandur’s spectacle, which was divided into eight scenes into three acts, consisting of theatrical presentations, dance, and music. the first act is the opening sequence for sandur’s performance, the second act is a series of scenes presenting the main story, and the third act is the closing act. figure 2. main elements of sandur’s presentation form the opening act begins with the panjak ore scene, singing a series of songs led by germo as the puppeteer of the sandur performance. the opening theme begins with the phrase “bismillah” presenting a series of offerings of gratitude based on the intention by mentioning the name of the creator, which means asking for blessings and blessings to the almighty (god). likewise, in the song, aja haru biru calls for an appeal to the children of adam not to cause damage and chaos because the creator oversees human actions and wants humans to call for goodness according to the guidance and instructions of his messenger. temabang bismillah, aja haru biru, and mendung sepayung also embed sacred sentences as a remembrance in islamic religious teachings such as “lahaula wala kuta kersaning allah,” which means the power and greatness of the creator, that all affairs run according to his will. meanwhile, the song mendung sepayung is intended as a request to the power to prevent rain that night, followed by the song udeng gadhung as a song to celebrate the sandur game as a medium of entertainment for players and spectators (pelipuran). after the songs are sung, the jaranan dancers present a dance that accompanies the role players to the makeup place, usually done at the responder’s house. the cast of cawik, balong, pethak, arif hidajad, et al., the civilization of sandur watch’s transcendence in the age of glo181 and tangsil will be picked up by makeup artists, followed by jaranan dancers out of the blabar janur kuning arena to the makeup area. when the jaranan dance scene begins to be presented, a series of songs are sung, which is believed to be a form of offering to mediate with spirit energy (ndadi). for example, the jaranan dance scene (mbesa) is accompanied by the song kembang le li le lo gempol, and then the jaranan begins to circle the outside arena (mubeng blabar) accompanied by the kembang johar song, which serves to limit the pressure of the audience from the sacred arena. next is the jalok ngombe in jaranan scene accompanied by the song kambang jambe and the jalok leren scene accompanied by the kembang duren song. while releasing energy (awareness), the jaranan players are accompanied by the song kembang jambu which means jaranan asks for sleep. figure 3. jaranan dance scene (jaranan dance, according to people’s beliefs, moves because of the influence of supernatural beings) it did not stop there; various series of songs were continuously sung to accompany the makeup procession of the players, who also believed in the collaboration of the material nature and the spirit world. kembang gambas represents the actors when they are starting to do the makeup. the song pitik lancur represents powder to use, and the song kembang kawis represents the eyebrows. the song kembang laos represents the mustache. the song pitik lurik represents the use of jarik cloth. the song jaran dhawuk represents wearing a belt, and the song kembang semboja represents the moment. by using konca, and the song kembang terong represents the players wearing irah-irahan. after the songs were sung, the cast prepared to return to the performance arena. then the cast of jaranan left blabar janur kuning to pick up the actors who had made up. all the role players entered the arena stage accompanied by the song kambang otok with their heads covered with cloth, guided by makeup artists who carried torches as a guide to enter the arena. then the torch was handed over to pimp to circle blabar janur kuning in a clockwise direction until he reached the north side facing east. in the next scene, pimp starts nggundhisi, the mastermind, who tells of the descent of 44 female holy spirits (goddesses) down to earth. some are believed to have any involvement in shaping the characters in sandur, becoming a kind of incarnation, or possessing the bodies of sandur’s role players. among them is the incarnation of a goddess named wilutomo, who entered the body of pethak, drustonolo entered the body of the balong character, gagar mayang entered the body of tangsil, and suprobo entered the body of the cawik figure. the incarnation of irim-irim possessed pimp, panjak ore, panjak kendhang, panjak gong, kalongking, craftsman njaran, and other figures. the characters of the goddesses are believed to be incarnated in the body of the role players. this performance relates to the characters in the epics ramayana and mahabharata, which are often performed in wayang stories. figure 4. pimp nggundhisi scene (mendalang tells of the descent of the holy spirit “goddess” totaling 44 down to earth) harmonia: journal of arts research and education 22 (1) (2022): 174-186182 pimp performs the scene of nggundhisi summoning the holy spirits of the goddesses by facing the southwest; each narration told will be greeted with the answer “nggih” by the panjak hore as the vocalist of the song. after the nggundhisi scene, pimp removes the head coverings of the role players, accompanied by the song kembang corn, representing the holy spirit of the goddesses who incarnate in the role players starting to show their faces. pimp then guides and places role players in every corner, tangsil’s character is in the southeast, balong is in the southwest, pethak is in the northwest, and cawik’s character is in the northeast. with the presence of the role players in their respective positions, the song bismillah golek gawe began to be sung as a sign of the start of the main scene, presenting story plays with significant themes of agriculture, cultivating rice fields, livestock, and social interactions of agrarian communities. the song sung at the beginning of the narration brings public testimony that all forms of work are a form of grace and will from the creator; humans must mention the name of the creator before carrying out all activities as gratitude for the blessings that have been given. in each scene, the storytelling is interspersed with jaranan accompanied by the song salur pandan as a spell to summon the spirits that inhabit the four cardinal directions. the scene of jaranan (ndadi) performing dances and attractions represents the normativity of controlling human lust based on the muthmainah rule over alumiah, as a consumptive human embodiment, supiyah’s lust as a manifestation of the human desire to rule and reign, and suppressing anger as a manifestation of greed. humans are envious and envious if they only prioritize alumiah and supiah’s lust without any control from mutmainah’s nature. then the story will be closed with the song sampun completed with all players facing east. the song represents the social normativity of society to create peace on behalf of fellow creatures as brothers who need to remind each other of kindness, and humans should respect their ancestors as their predecessors who have started and opened life up to the life that is felt today. after the storytelling scene is finished, the closing scene presents the kalongking (ndadi) attraction, believed to be the incarnation of the bat spirit in the body of the cast, presenting a beautiful scene on a rope connected by two bamboo sticks 5 to 10 meters above the ground. the acrobatic attraction is performed with the eyes closed, climbing on the east bamboo pole and dancing in a bat-style movement which then hangs on to hook its legs on a rope with its head down and will descend on the west pole. all scenes shown through kalongking represent every human being in the center (pancer) of life which is connected to the vertical pancer and horizontal pancer dimensions. figure 4. kalongking attractions (action of kalongking, according to public belief, moves because of the influence of supernatural beings) overall, the scenes and songs in sandur’s spectacle present much normativity, how humans can actualize themselves by wanting authority outside of themselves (beyoud), and the will of altruism and spirituality (evans & evans, 2008). maslow called this ability transcendence, a higher level of holistic human awareness in behavior and relationships. this awareness has been attached as a goal for oneself, other people, fellow human beings, other species, nature, and the cosmos (maslow, 1978). as far as the actualization of the transcendent will is embraced, in the presentaarif hidajad, et al., the civilization of sandur watch’s transcendence in the age of glo183 tion of sandur’s storytelling scene, humans remain human beings who cannot be separated from the hierarchy of human needs, according to maslow (cloninger, 2004). it is divided into physical needs such as eating, drinking, air, sleeping, and sex (physiological needs). they need security, protection, and freedom from fear (safety needs). they need relationships with family, friends, friends, lovers, or social relationships in society (belongingness and love needs). it also explains the need to be appreciated and respected by others (esteem needs) and the highest needs related to potential, talents, and abilities (need for self-actualization). however, through the actualization of transcendence as a cultural norm, humans are adhered to by society. it is also possible to present humans intertwined with the need to live together and merge in the world that surrounds them because the journey of human life is related to its main characteristics and talents. making humans feel victorious in the competition they make, feeling satisfied with their achievements without seizing the will of others. this actualization puts humans in a state of feeling sufficient without lacking in their life circumstances (ventegodt et al., 2003). therefore, the existence of transcendence normativity in the system of scenes and songs of sandur can become public awareness in merging the hierarchy of human needs in a balance of life born of javanese culture and islamization, adhering to the transcendence teaching “habluminallah wa habluminannas.” sandur’s transcendence civilization in the era of globalization sandur’s transcendence civilization is intended as a form of control mechanism (a set of control mechanism) in rituals, scenes, and songs as a cultural product of the ledok kulon village community, which has a set of normative awareness to regulate human behavior based on transcendence principles. as in the setren ritual, offerings, blabar janur kuning, and all the attributes used in the sandur performance place the meaning of transcendence as the normativity of consciousness, that humans are not the center and measure of everything because outside of humans, there is more significant and absolute power and power. humans have been endowed with reason and mind by the creator and should put forward his wisdom to maintain the harmonization of life among his fellowcreatures. so humans must maintain an attitude by prioritizing the lust of mutmainah as a representation of the creation of the supreme spirit (god), who brings the nature of khauf (fear), raja (hope), tawakkal (passover), and qanaah (accept). in order to suppress the desire of alumiah lust as a consumptive human manifestation, supiyah’s lust as a manifestation of the human desire to rule and reign (social status), and suppress the lust of anger as a manifestation of greed, greed, jealousy, and envy of humans if only prioritizing alumiah lust and supiyah without the balance of the nature of mutmainah. likewise, sandur’s scenes and songs present a series of transcendent normativity, how humans can actualize themselves by wanting an authority outside themselves (beyoud). a high level of holistic or inclusive human awareness in behavior and relationships, where holistic awareness is not only used as a tool but also as a goal for oneself, other people, fellow humans, other species, nature, and the cosmos, human relations. with vertical and horizontal dimensions. the inclusion of belief in the power of the beyond establishes continuity and a standard measure between the creator and humans, recognizing the superiority of absolute norms that transcend human reason so that the norms adopted by the people who support sandur can relativize all forms of power, wealth and knowledge in the material dimension. harmonia: journal of arts research and education 22 (1) (2022): 174-186184 table 1. the transcendence of sandur’s spectacle sandur’s transcendence norm mutmainah attitude beyond meaning khauf (fear) holistic king (hope) inclusive tawakkal (submit) vertical relations qanaah (receive) horizontal relations this relativity becomes an area of purification of the mind and awareness that negative culture must be cleaned by recalling human nature’s spiritual dimension (transcendence). negative culture is believed to be inherent in the lifestyle of globalization towards hedonism, materialism, and cultural decadence (kuntowijoyo, 2008). because globalization is a worldwide diffusion, the expansion of the hegemonic power of capitalism is to increase the power of capitalist organizations and superpowers (ritzer, 2012). in line with the marxist theory, one of the biggest drivers of globalization are companies that make profits and hold long-term economic control and control over profitability by increasing cultural hegemony worldwide (litowitz, 2000). the negative interpretation of globalization is focused on forms of the global expansion of the general code and homogeneity, which are often associated with cultural imperialism or international intervention (capitalism power) in influencing the cultural values of thirdworld class societies (bohle, 2016). the fact is that globalization in the grip of the power of capitalism can produce millions of panoramas of panic. conditions accompanying daily activities in the discourse of capitalism, postmodernism, and cyberspace produce an “ecstasy mentality” as a celebration of excitement and peak speed (pilliang, 2004). the acceleration of globalization in indonesian society has led to material madness; economic madness, politics, commodities, fashion, and cyberspace madness. this state of madness pushes humans into a state of no ego, no identity, no territory, and no meaning. this idea is further exacerbated by the acceleration of the pace of information technology (digital) which is increasingly drowning humans in the madness of signs, trend madness, lifestyle madness, and prestige madness without internalizing the values in these signs (giddens, 2000). table 2. globalization negativity negativitas globalisasi cultural decadence moral decadence no ego supiyah (domination of arbitrariness) no identity alumiah (hedonism, materialism) territorial absence amarah (greed and envy) meaninglessness the issue that is the focus of the transcendence civilization of sandur’s spectacle is not how to resist the acceleration of the pace of globalization but rather an attempt to internalize the values in the sign of globalization to maintain the mentality of cultural ecstasy of society that was born from transcendence normativity. this idea means that the existence of a transcendent meaning system in sandur’s spectacle can be civilized, an effort to raise awareness and civilize society to reflect on the norms of spirituality and ancestral wisdom in order to internalize the symbols of globalization according to mutmainah’s attitude and the meaning of beyond so that there is no cultural or moral decadence. this transcendence awareness does not imply a backward and backward group of people but rather a form of cultural strength and bulwark against the expansion of capitalism which is closely related to greed and conflict in the space of materialism and hedonism. conclusions sandur’s spectacle through rituals, scenes, and songs places the meaning of transcendence as the normativity of arif hidajad, et al., the civilization of sandur watch’s transcendence in the age of glo185 mutmainah’s attitude, the recognition of the dependence of man and his creator, the difference in strength and will come between a man and the creator, human relations with other humans and the relationship between fellow creatures, as well as recognition of the existence of norms. norms of life need to be carried out as a form of gratitude to the creator. meanwhile, a series of scenes and songs in sandur’s spectacle can actualize the meaning of beyoud, the will to behave and relate, placing humans as pancer connected to the vertical and horizontal dimensions. the normativity of transcendence in the sandur spectacle can be placed as a civilization, awareness, and cultural effort to open up space for the conversion of the existence of a superior and dignified society. this idea is used as a form of the resilience of community normativity in facing the negative culture of globalization because the negativity of globalization is estimated to be able to allow the occurrence of cultural and moral decadence, which is closely related to greed and conflict in the space of materialism and hedonism. references audi, r. 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(2002). sq memanfaatkan kecerdasan spiritual dalam berpikir integralistik dan holistik untuk memaknai kehidupan. translated by rahmani astuti. bandung: mizan. 19 javanese cultural paradoxism: a visual semiotics study on wayang purwa characters of satria and raseksa figures slamet subiyantoro1, kristiani kristiani2, yasin surya wijaya1 1departement of fine art education, universitas sebelas maret surakarta, indonesia 2departement of economic education, universitas sebelas maret surakarta, indonesia submitted: january 4, 2020. revised: march 9, 2020. accepted: july 4, 2020 abstract this study aims to explore the paradoxical character values on visual semiotics wayang purwa of raseksa and satria profiles. satria and raseksa figures were selected using a purposive sampling technique, through wayang pandavas and kuravas. the study was designed with qualitative research approach; the data were collected using the techniques of interviews, observation, and document analysis. the data were analyzed following the steps of data reduction, data display, and verification. the results of the research revealed that in wayang, the raseksa and satria figures represent a paradoxical representation of both the external structure and the inner structure. the outer structure is in the form of wayang purwa visual elements, which turns out to be the opposite shape from both pandavas and kuravas figures. the inner structure is more about the inseparable meaning and value from the outer structure. in semiotics, the visual element (outer structure) of pandavas and kuravas figures can be represented or interpreted based on their values and meanings (inner structure) in addition to show a conflict of meaning. the paradoxical cultural value in javanese culture is essentially learning experienced-based humanity values manifested through puppet characters. this is exemplified by the islamic example of the prophet muhammad and its mandatory and impossible natures. the wayang satria may represent the obligatory nature (good character), and wayang raseksa represent the impossible (bad character) of humans. keywords: cultural paradoxes; visual semiotics; wayang satria; wayang raseksa how to cite: subiyantoro, s., kristiani, k., wijaya, y. s. (2020). javanese cultural paradoxism: a visual semiotics study on wayang purwa characters of satria and raseksa figures. harmonia: journal of arts research and education, 20(1), 19-28. harmonia: journal of arts research and education 20 (1) (2020), 19-28 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i1.17525 (widjajanto, et al., 2009). wayang is made of carved skin; thus, when exposed to light, shadow puppets will appear on the screen. puppet is a typical combination of various arts in the form of fine arts, performing arts, and music. fine art in wayang can be observed based on the essence of wayang in the form of carvings on the skin and painted with sungging techniques. performing arts through wayang performances are nothing but role-plays and stories played by a dhalang. while the art of introduction literally, the word wayang was derived from ancient javanese, which means shadow (supendi, 2007). wayang kulit consists of two words, wayang and kulit; wayang is javanese word meaning shadow or ghost, kulit means leather, and added together it translate as shadow from leather. so the wayang kulit is a two-dimension puppet, made of buffalo or goat leather, like paper dolls but with arms that swivel corresponding author: e-mail: s.biyantoro@yahoo.co.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (1) (2020): 19-2820 music that is applied is an accompaniment played during the wayang performance. many people across countries especially those of south east asian countries know very well wayang. internationally, wayang purwa has been recognized by unesco as the masterpiece of oral and intangible heritage of humanity, a grand masterpiece of local human heritage, which greatly contributes to shaping the high value of human civilization (nurgiyantoro, 2011). wayang purwa, in addition to being a spectacle, the wayang play reflects life guidance derived from stories, characters, and visual structures. wayang purwa is made by skilful handcraft with wellprepared and philosophically designed cultural art. a wayang is a representation of mainly human characters and the physical words and every part of the puppets/ wayang design reflects symbolic significance (widjajanto, et al., 2009). during, before and after the performance a special ritual ceremony is always held. the stories narrated in wayang purwa are inspired from hinduism ramayana and mahabarata epic stories (saptodewo, 2014). even though the wayang kulit uses shadow puppets, the story was not derived from both mahabarata and ramayana.there are varied types of wayang or puppets in indonesia, i.e., wayang golek, wayang beber, wayang suket and so forth. those varied types of wayang share different stories, characters, and even visual forms. there are tens or even hundreds of figures in wayang purwa, but in general only consists of two poles, namely the satria/ noble and raseksa figures. both poles are the wayang both good and antagonistic or evil characters. this is where the value of javanese cultural character lies in the soul of the wayang purwa traditional art. the figure is a representation of the javanese society lives where humans innate nature consist of black and white or good and evil. the shadow puppet show includes many fundamental values in human life, some of which are recognized as social, cultural, performance and religious values (sudarsono, 2014). in javanese society, wayang has been used as a medium for inculcating values to the people; it reminds humans to live consistently according to their nature, rules and norms agreed upon in the society. being a cultural art heritage, wayang kulit purwa experiences backwardness from its supporting society environment. puppet culture has rarely been staged in public as a performance art, one of the leading reasons is due to numerous proliferated alternative entertainment and varied information which literally have replaced people’s interest, moreover the youth who have been greatly influenced (purnama, 2010). thus, it is unsurprisingly the cultural events such wayang performance is more preferably by those the older generation. ironically, the older generation too would reluctantly teach their descendants on the importance of traditional art, more specifically wayang purwa. the character values cultivation may traditionally passed from generation to generation through cultural art, one of which is sourced from wayang kulit purwa. this is in line with pramono, suyanto & wahida (2017) puppet is not only one source of the search for values that are indispensable for the survival of the nation, but the puppet is also one of the rides or educational tools of good character. the extracted values may be sourced from stories, character traits, to the visual semiotic structure of each character empire where the wisdom and arrogance of kings in various kingdoms become a discussion of good and bad values (sutarso & murtiyoso, 2008). satria and raseksa figures in wayang purwa are a representation of the nature of good and bad. both of these qualities will always exist and contradict each other in human life. the task of humans is to choose and select those good qualities to obtain a wellbalanced, peaceful, and harmonious lives. this paper deliberately choose a theme “javanese cultural paradoxism: visual semiotic studies in wayang purwa of satria and raseksa figures”, which aimed at exploring the value of wisdom and badness in wayang purwa through semiotic visual slamet subiyantoro et al., javanese cultural paradoxism: a visual semiotics study ... 21 structures. paradoxism is in visual structure forms between the noble and raseksa figures. the typical parts of wayang satria’s shape are different from those of raseksa’s parts of shape. the paradox shape is, therefore, followed by the paradoxical character value. thus the character values found can be a valuable learning for human beings throughout generations, and people who would exalt the traditional noble values inherited from their great ancestors through wayang purwa. practically, the objectives of this study can be used as a reference for readers, the general public, and the academic world in introducing wayang purwa in terms of form and meaning structure reflected within. in principle, this study is also beneficial as a good source of character education for young people, as this study presents the principles and meanings of wayang kulit purwa. in addition, this study is one of the attempts to introduce and conserve cultural heritage, namely that of wayang kulit purwa. despite wayang kulit purwa ‘s life, it seems to have less attention and began to be forgotten by generations. among the studies related to wayang purwa were a study conducted by arifin (2002) on wayang kulit, wayang kulit is seen as an effective medium of character education inculcation since it reflects noble values. sarwono (2005) examines the kawung motive as a symbolism of the abdi dalems’ clothing in the wayang kulit purwa of surakartan style. additionally, hadipriyono (2014) discusses puppet aesthetics, puppet aesthetics, who concerned on shadow puppets instead of its aesthetics, face color, facial expressions, body style, etc. another study conducted by suyami (2006) highlights on puppet values reflected in the puppet which is worthy of being a spectacle, guidance and role model. further study was conducted by nurgiyantoro (2011) on puppets and the development of national character. the results of the study emphasized that puppets essentially have good values they are reflected in the figure characters, stories, and various other supporting elements. tjintariani (2012) explored on javanism public exorcism ‘ruwatan massal ‘through wayang kulit performance. subiyantoro and zainnuri (2017) examined the religious values in wayang sadat and their relevance in learning fine arts in schools. each symbol structure in the wayang sadat reflects islamic values. this value is quite relevant to the 2013 curriculum in addition to be used as a source of learning in fine arts learning. based on the results of several previous aforementioned studies, it shows that in general, shadow puppets have been examined from several aspects of puppet aesthetics, the value of guidance and spectacle, puppets as the development of character, and the significance of puppets on the world of education. thus, examining wayang purwa from the perspective of the satria and kurawa profiles has not yet been explored in depth. wayang purwa consists of many figures divided into two divisions, namely the profile of satria and raseksa. satria and raseksa are the representation of javanese culture about the value of good and bad when excavated from its structure both the external structure (visual) and the inner structure (meaning). understanding art and culture is not only in the visible (visual), but there is something behind that which appears in the form of meaning and philosophy. in the concept of balance, good and bad will always exist, it is impossible to unite them; however, the two are side by side, depending on how humans take sides whether towards good (satria) or bad (raseksa). satria figures become human symbols which manifest kindness, responsibility, andhap asor modesty’, simple, modest, wise, and are a manifestation of the perfect human nature. whereas the raseksa figure is a symbol of fear, badness, evil, lust, and a description of behavior that humans should not have. characters reflected from wayang purwa are a description of the human’s characters and deeds, each of which has consequences. all cultures generally share figures both fictitious and real figures as role models and where in javanese culture particularly reflected in the harmonia: journal of arts research and education 20 (1) (2020): 19-2822 puppet characters. in islam there is also a figure of the prophet muhammad who has a mandatory nature as things to be imitated and impossible traits that the prophet might not have. the significant difference in this study lays on the object of the wayang purwa, which are the satria and raseksa figures who represent the paradoxical values of good and bad. the puppet is, therefore, explored from their value of cultural characters reflected through the visual structure of the puppet using a semiotics perspective. thus this study has its own specific differences from the others. semiotics theory will be used in this analysis to answer the problems. semiotics is focused on visual semiotics, considering the object of study is the visual structure of wayang purwa. linguistically, semiotics is derived from the greek word of semeion which means “sign”. the term semeion seems to have been derived from hypocratic or asclepiadic medicine with its attention to symptomatology and inferential diagnostics. (sobur, 2004). semiotics is, lexically, a branch of science that deals with the study of signs and everything related to signs, such as the sign system and the sign processes (zoest, 1993). according to ferdinand de saussure, a sign is an inseparable part of two areas, such as a piece of paper, which is a signifier in the outward form or expression and a signified to explain concepts and meanings (piliang, 2010). signifier and the signified are interrelated means that the outward form or expression is related to the meaning or concept influencing each other and are inseparable. wayang purwa of satria and raseksa profiles will later be examined using a semiotic approach based on visual structure (appearance) and invisible structure (meaning). method this study was designed with a qualitative research method with a single case embedded strategy. this case was chosen since the object is the javanese purwa puppet characters, namely the satria and raseksa. the data were collected by applying the methods of interview, observation and document analysis techniques. the interviews were conducted with dhalang or experts in the field of puppetry. observation was conducted to wayang kulit performances, and document analysis concerns photo analysis, wayang literature, or direct shadow puppets. the studied wayang figures are the raseksa and satria which were selected by purposive sampling technique. the figures of satria were among others; pandavas lima figures, while the raseksa figures were drawn from several kuravas figures. the data followed the flow models of analysis procedures of data reduction, display, and verification, or conclusion. the used flow model of analysis in this study is adapted to the strategy used, which is a single case strategy. result and discussion puppet has been recognized by unesco, the world’s institution, as one of the world heritages. according to widjajanto, et al., (2009) wayang is a popular form of entertainment. sometimes it is an ancient heritage, a reminder of an age long past, some time a medium for contemporary artists experiments with shape, color, and movement. for countries it has been used to relate myth and legend and enact simple traditional farces. wayang is a cultural representation of the javanese society which is expressed through fine arts, music, literature, and performances. for potgier and brits (2014) puppets have been implemented for different purposes and areas, such as theater, education, therapy, and politics. in addition to being a spectacle, wayang reflects noble values and traditional guidance, which is why wayang purwa produces paradox figures between satria and raseksa groups. puppet show is a form of symbolic delivery of messages (sudarsono, 2012). in between the two figures it lays a good inclination, the figure is represented with satria puppet and the other is the opposite called raseksa. both good and bad already exist and become slamet subiyantoro et al., javanese cultural paradoxism: a visual semiotics study ... 23 the god’s destiny on earth. the human task is simply to sort out and choose the virtues and omit badness as a life lesson. one of the paradoxes of javanese culture are illustrated in both satria and raseksa characters. satria and raseksa figures have been well-recognized to people in common, especially when other figures like pandhawa and kuravas were mentioned. these figures are conflicting or paradoxical figures in nature. understanding both art and culture certainly may be insufficiently to only focus on what appears, one should deeply observe on invisible things behind, in addition to the outer and inner structures. sukarma and lestari (2015) emphasized the relationship between external and internal structures in case they are combined they will give birth to in separated forms and meanings like the elements of birth and mind in humans. thus in part of understanding the paradoxical forms in pandavas and kuravas puppets, they need to be seen from the physical or visual aspects in addition to the non-physical aspects or meanings. paradoxes in terms of visual (outer structure) purwa puppet shadow is a typical visual art. the fine art material subjects are closely related to visual aspects such as color, line, shape, texture, and the value in which they are closely related to means or symbols (subiyantoro & zainnuri, 2017). visual structure is a physical structure, therefore, the shape can be physically felt by human’s five senses, and each structure is symbolic and reflects a meaning. a symbol is a thing or situation which is the mediator of understanding towards object and human life always associated with symbols (randiyo, 2011). the visual structure of the pandavas and the kuravas is quite significantly different from each other in terms of the shapes of the eyes, nose, mouth, head, face, face color, direction facing, hand position, and clothing. in the javanese purwa puppet show, the pandhawa lima figures who hold protagonist role which consists of 5 characters, they are arjuna, werkudara, puntadewa, nakula, and sadewa. while the antagonist is kuravas who represents a very large number, reaching 99 figures. however, in this study only 5 figures are going to presented, namely buto cakil, buto terong, dursasana, kumbakarna, and sengkuni. based on the visual analysis on the two different puppet characters above, then the structure of pandavas puppet shapes’ figures are in contrast to the kuravas puppet’s. the visual analysis are illustratively described by the puppet shapes in table 1. based on the table 1 and table 2 analysis results, generally, there are a lot of paradoxical visual structures between pandavas and kuravas figures. the general shape of pandavas’s eyes is gabahan like a grain of rice, in contrast to kuravas character which generally shows telengan or bulging eye shape. the pandavas puppet’s nose is mostly a wiry nose where the shape is pointed like a wulent knife in an oblique position while the kuravas has a large pangotan-nosed and eggplant-rounded nose. all the kuravas puppets’ mouth is arjuna werkudara puntadewa nakula sadewa figure 1. visual representation of pandhawa wayang figures harmonia: journal of arts research and education 20 (1) (2020): 19-2824 different from those of kuravas with a typical prengesan. prengesan mouths a typical open-mouth shaped where the teeth and even fangs of the puppets are visible. the heads of pandavas figures luruh or look down, and some are in a sloping position or facing forward. the kuravas puppet’s position is to look up or face forward and slightly upward. all pandavas’ faces are calm in black while the kuravas are fierce or creepy in red and white. all puppet purwa pandavas figures face to the right while kuravas puppets face to the left. pandavas hand positions vary from straight, malang kerik, and tightly closed. however, all kuravas puppet hand positions are malang kerik or transversal, flaky or opened and bent like challenging positions. the last paradoxical form is in outfit shapes. in general, the clothes worn by the satria puppet are simple clothes, not even wearing clothes. in contrast to the kuravas puppets who wear clothes that are all luxurious and complete. paradoxical structure in the perspective of meaning (inner structure) in line with sukarma and lestari’s opinion (2015), the outer and inner structure of a wayang is inseparable and interconnected. thus, in an attempt to explore the underlying meanings of pandavas and kuravas puppets shapes, a researcher, therefore, needs to be focused on the external or visual structures of those characters. in representing the meaning in visual structure, one should study the science of sign, the so called semiotics. the word “semiotics” was derived from the greek’s word semeion which means “sign” or seme equally means “the interpreter of signs (mudjiono, 2011). representation or interpretation is part of seeking for meaning through the existing sign system. signs are the media we use in our efforts to find a way in the world, in the midst of humans, and along with the humans (mudjiono, 2011). barbieri (the visual structure of the pandavas and kuravas puppets becomes a sign and table 1. the visual structure of pandawa lima wayang shapes puntadewa werkudara arjuna nakula sadewa ayes gabahan telengan gabahan gabahan gabahan noses wali miring tumpul dempak wali miring wali miring wali miring mouths mingkem mingkem mingkem mingkem mingkem heads luruh luruh luruh longok longok faces calm calm calm calm calm facial colors black black black black black direction right right right right right hands’ positions straight malang tight straight straightly tight straightly tight outfits simple simple simple simple simple source: the results of literature study analysis) buto cakil buto terong dursasana kumbokarna sengkuni figure 2. visual descriptions of kuravas wayang figures slamet subiyantoro et al., javanese cultural paradoxism: a visual semiotics study ... 25 in certain representations which generate certain related meanings). javanese people used to recognize signs, which was why in every aspect of their cultural lives, they always intersect with signs and meanings, one of which is manifested in the art of wayang purwa. all puppets came to life as characters, and they can portray different personalities, share various traits, and they cross all culture (potgier & brits, 2014). every sign and meaning in the puppet always represents a character value. pandavas puppets tend to be gabahan and telengan which represent a common sense that the javanese people are the people of patience and rich with wisdom in leading the paths towards goodness. unlike the kauravas which illustrated with eyes as if being angry, suspicious, even cunning. pandavas walimiring’s puppet nose reflects a humble meaning, which shows common human nature of being modest, shows no arrogance compare to the kuravas character. the pandavas puppet’s mouth is all closed, which symbolically represents a quiet personality. being quiet culturally means to be wise and only good and useful words should ideally produce by one’s mouth. unlike the figure of kuravas with a typical prengesan mouth, which represents a big mouth character, laughing a lot, and greedy. humility in pandavas puppets are visible from the puppet head’s position which tends to fall or bow. people who live up life with good hearts and knowledge are usually inclined to bow as rice is filled, unlike the case with the kuravas wayang whose head position tends to look like rice that does not contain or is foam. the head looks up to mean people who are arrogant and not knowledgeable. the nature of wise, humble, arrogant is reflected in both the pandavas and kuravas puppets’ shapes of face. the pandavas puppets show a calm face and manifest in itself patient character. these philosophically means any bad circumstance should be faced calmly, patiently, and think for the way out. while the kuravas with a ferocious face or as if to show an angry or emotional face. the paradoxical nature of patience and anger is also shown from the facial color, which is black and red. pandavas puppet manifest a good character which is symbolized from the direction facing towards the right. while the puppet kuravas is a symbol of angkara or evil, it is identifiable from position of the puppet which is facing towards the left. the hands and clothes position of the two wayang purwa reflect a conflicting meaning. pandavas puppet hand positions tend to be straight, which simple worn outfits. a wise and unpretentious personality whose look and life principle show no extravagant and luxurious but in simple, innocent, and modest. unlike the arrogant people who tend to show off their luxurious things to other people know and are impressed with what that person has. wayang or puppet is a figure made by the javanese community as a guidelitable 2. the visual structure of kuravas wayang shapes buto cakil buto terong dursasana kumbakarna sengkuni eyes kedhelen plolot plolot plolot sipit lengkung noses pesek bulat terong pangotan pangotan pangotan mouths prengesan prengesan prengesan prengesan mingkem heads ndangak luruh ndangak longok ndangak faces fierce fierce fierce fierce tranquiling facial colors red white red red red direction left left left left left hands’ positions malang kerik malang kerik malang kerik malang kerik malang kerik outfits luxurious luxurious luxurious luxurious luxurious (source: the results of literature study analysis) harmonia: journal of arts research and education 20 (1) (2020): 19-2826 ne in running life a noble human being. as in islam there is a prophetic figure like the prophet muhammad, who plays a role model for mankind who qualifies with both the obligatory (good) and impossible (bad) nature. the obligatory nature of the prophet muhammad associated with 4 noble traits, sidiq (truthful and honest), trustful (trustworthy), tabliq (convey), and fatanah (intelligent and wise), additionally, there are also 4 the impossible nature of him, they are kadzib (lie), khiyanat (betrayal), khitman (hiding), and baladah (stupid) (mansyur, 2013). both the obligatory and impossible nature of the prophet is a representation of the wayang satria and raseksa figures. puppet is a figure that is made by the javanese community as a guideline in running life a noble human being. as in islam there is a prophetic figure like the prophet muhammad, who plays a role model for mankind who qualifies with both the obligatory (good) and impossible (bad) nature. the obligatory nature of the prophet muhammad associated with 4 noble traits, sidiq (truthful and honest), trustful (trustworthy), tabliq (convey), and fatanah (intelligent and wise), additionally, there are also 4 the impossible nature of him, they are kadzib (lie), khiyanat (betrayal), khitman (hiding), and baladah (stupid) (mansyur, 2013). both the obligatory and impossible nature of the prophet is a representation of the wayang satria and raseksa figures. conclusions based on the results and discussion above, a conclusion can be derived that the characters in raseksa and satria wayang figures reflect the javanese noble cultural values , which in their typical shapes are paradoxical in terms of external and internal structures. the external structure concerns visual elements representation which apparently show the opposite physical shapes between the pandavas and the kauravas characters. the shapes of the eyes, nose, mouth, head, face, facial color, direction facing, hand position, and clothing tend to show the opposite character bettable 3. signs and meanings on pandavas and kuravas wayang figures shapes pandhawa kurawa shapes/signs meanings shapes/signs meanings eyes inclined gabahan & telengan be patient & see goodness inclined to be glared, kedelen & sipit lengkung angry, suspicious & cunning noses walimiring modest pug, pangotan &eggplant round arrogant & haughty mouths mingkem quiet prengesan big mouth, laughing & greedy heads inclined to luruh modest, andhap asor& knowledgeable inclined looked up &longok arrogant, & fool faces calm patient fierce scary & angry facial colors black grief, patient red fierce direction right goodness left evil hands’ positions inclined to straight & tight wise malang kerik arrogant, haughty outfits simple simple and homely luxurious rich-like & arrogant (source: the results of literature study analysis) slamet subiyantoro et al., javanese cultural paradoxism: a visual semiotics study ... 27 ween one character to the other. the inner structure is more about the meaning and value where they both inseparable from the outer structure like in a human and his soul. in semiotics, the visual elements (external structure) of the pandavas and the kauravas are represented or interpreted in terms of their values and meanings (inner structure) and show a conflict. the paradoxical cultural value in javanese culture is a learning process for human beings which is manifested in the puppet characters. similarly to islamic religion, which places the prophet muhammad p.b.u.h along with his obligatory and impossible nature. puppet satria can represent the compulsory nature (good traits) and puppet raseksa represent the other around, the impossible traits (bad traits) of human beings. despite the fact that wayang or puppets have been internationally recognized, it seems that the people and generations of the nation do not seem to have a deep understanding of the art of wayang purwa. they merely know that wayang is an entertaining art media without necessarily need to know the manifested essential values. the rise of deviations, moral degradation, and criminal acts are results of the generation’s ignoranceas the society bearers to cultural values inherited from their ancestors. further studies should take the opportunity in implementing the cultural values in wayang purwa into the generation of character education. wayang purwa needs to be socialized in the realm of education, considering that education mainly serves function as the agent of character building after the family. in this world, there are absolute good and bad qualities, and the task of humans is to carefully select and choose those qualities. it commonly happened to people in falling into bad character due to the circumstances and inadequate guidance. thus, the nation’s character building is a joint task of both the society and the government to realize the more advanced nation and people with cultured characters. acknowledgments we would like to thank the rector of universitas sebelas maret of surakarta through the head of lppm who has given his trust and chance by funding our research through education, social and humanities grant. references arifin, f. 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(1993). semiotika: tentang tanda, cara kerjanya dan apa yang kita lakukan dengannya. jakarta: yayasan sumber agung. kata pengantar harmonia: jurnal pengetahuan dan pemikiran seni analisis struktur lirik lagu "indonesia raya" ciptaan w.r. supratman (structure analysis of the lyrics of the song "indonesia raya" composed by w.r. supratman) f.x. nugroho hp. staf pengajar jurusan musik, fakultas seni pertunjukan, institut seni indonesia yogyakarta abstrak lirik lagu " indonesia raya", karya komponis w.r. supratman, juga merupakan karya sastra. sebagai karya satra, ia memiliki struktur atau sistem dan tanda yang bermakna. strukturnya, terdiri atas beberapa fenemena dan elemen, seperti: ponologi, morpologi, sintaktsis, semantik, dan semiotik, tetapi mereka mempunyai relasi dengan total makna dalam lirik. vokal /u/ diulang tiga kali, sebagai contoh, merupakan relasi dengan kata-kata: "negriku yang kucinta", "aku", "kita", "bersatu", "indonesia", dan "raya". kemudian repetasi dan koneksi adalah tanda kesatuan dari masyarakat indonesia sebagai dasar jiwa yang cinta dan kebenaran dari persahabatan seluruh peradaban daerah "indonesia raya". artikel ini memuat tiga struktur analisis lagu, yaitu lirik, struktur, dan makna. kata kunci: lirik, struktur, makna a. pendahuluan "persatuan indonesia" masih menjadi persoalan yang amat berat bagi bangsa indonesia. lebih-lebih dengan pelaksanaan otonomi daerah dan pemberdayaan demokrasi, persoalan itu menjadi semakin berat. semangat kedaerahan dan pelaksanaan demokrasi yang kebablasan atau berlebihan, dapat menimbulkan pertikaian atau bentrokan antar daerah, suku, ras, agama, golongan, atau warga. bahkan, di daerah-daerah tertentu seperti di aceh, maluku, dan papua, telah terjadi pergolakan yang tidak hanya menuntut otonomi saja tetapi pembentukan negara baru yang terlepas dari negara kesatuan republik indonesia (nkri). persoalan di atas disebabkan oleh pemahaman mengenai "persatuan indonesia" yang masih sempit dan dangkal. selama ini, "persatuan" hanya diartikan sama dengan keseragaman, atau kesamaan wilayah, daerah, suku, ras, agama, budaya, golongan, dan pendapat. apabila sekelompok orang memakai pakaian batik dengan pola dan warna yang sama, misalnya, maka dikatakan mereka "bersatu". demikian pula apabila sekelompok orang mendirikan sebuah organisasi dengan faham atau ideologi tertentu, maka dikatakan mereka telah vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni membentuk "ikatan persatuan diantara mereka". dengan pemahaman seperti itu, "persatuan indonesia" menjadi sangat rapuh. padahal dalam arti yang sebenarnya, "persatuan indonesia" adalah persatuan yang dilandasi oleh semangat cinta kasih atau persaudaraan sejati diantara warga bangsa. pendapat ini selaras dengan apa yang dikatakan oleh drijarkara, yaitu bahwa sebagai makhluk sosial, manusia harus menjadi anggota masyarakat dan hanya dapat berkembang dengan dan dalam kesatuan dengan sesama manusia (drijarkara, 1984: 1). dengan pandangan seperti itu, maka lalu "persatuan indonesia" tidak lagi memandang latar belakang seseorang. seorang warga bangsa akan selalu menjalin hubungan persatuan/ persahabatan yang tulus dengan siapa saja dari segala golongan dan lapisan masyarakat manapun. dari lubuk hatinya yang paling dalam, seorang warga bangsa merasa bahwa dirinya merupakan bagian/anggota dari keluarga besar bangsa indonesia, dan dengan demikian akan memberikan yang terbaik bagi bangsa dan negaranyademi kejayaan indonesia. konsep persatuan seperti itu akan dapat menerobos dinding-dinding pemisah yang menimbulkan adanya perbedaan-perbedaan dalam masyarakat sehingga "persatuan indonesia" akan menjadi kokoh. sementara itu, menurut c. sumarni lirik sebuah lagu pada dasarnya juga sebuah puisi (sumarni, 2001: 62). puisi termasuk karya sastra. mengenai karya sastra, pradopo berpendapat bahwa karya sastra merupakan struktur atau sistem tanda yang bermakna (pradopo, 2003, 108). dengan demikian, lirik lagu, seperti lirik lagu "indonesia raya", ciptaan w.r. supratman, juga merupakan struktur atau sistem tanda yang bermakna. konsep "persatuan indonesia" yang didasari oleh semangat cinta kasih atau persaudaraan sejati, sebagimana dijelaskan di atas, adalah makna dari struktur link lagu itu. sebagai struktur, lirik lagu itu tersusun dari berbagai unsur: fonologis, morfologis, sintaksis, dan semantik, dengan gejala semiotiknya sendiri-sendiri, tetapi semua unsur itu saling terkait satu sama lain, dan membentuk makna struktur lirik lagu itu. vokal /u/ yang diulang sampai empat (4) kali, misalnya, terkait dengan kata-kata "negriku yang kucinta", "aku", "kita", "bersatu", "indonesia", dan "raya". pengulangan dan keterkaitan itu menunjukkan pengertian bahwa setiap warga bangsa wajib saling menjalin hubungan yang dilandasi oleh semangat cinta kasih atau persaudaraan sejati, sehingga semua warga bangsa betul-betul bersatu untuk mencapai "indonesia raya". jadi untuk menemukan maknanya, seorang pembaca harus mengetahui konvensi ketandaan dari struktur lirik lagu itu, dan keterkaitan unsur-unsur itu dalam pembentukan maknanya. artikel ini berusaha menganalisis struktur lirik lagu itu untuk menemukan maknanya. karena lirik lagu dan karya sastra merupakan struktur atau sistem tanda bermakna, maka untuk memahaminya/memaharni maknanya, diperlukan teori tentang pendekatan struktural sebagai dasar analisis. dan artikel ini bertujuan membantu pembaca agar lebih memahami apa sebenarnya makna dari "persatuan indonesia" yang tersurat dan tersirat dalam/melalui struktur lirik lagu itu. dengan demikian, membicarakan maknanya adalah penting karena dengan membicarakannya, wawasan pembaca tentang "persatuan indonesia" akan menjadi lebih luas sehingga implementasi maknanya akan lebih mengena. vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni b. karya sastra dan link lagu sebagai sistem atau struktur tanda bermakna segala sesuatu asalkan mengacu kepada suatu obyek, pengertian, makna, ide, atau nilai-nilai, adalah tanda atau menjadi tanda. kata, gerakan isyarat, lampu/rambu lalu lintas, tiupan peluit, gambar, kehidupan manusia, peristiwa, keadaan, bangunan, struktur karya sastra, struktur film, musik/lagu, dan lain-lain adalah tanda. kata "ibu", misalnya, menunjuk kepada sebuah obyek yang disebut ibu, yang mempunyai arti: "orang yang melahirkan kita". "anggukan kepala" mengacu kepada suatu obyek yang berupa gerakan menganggukan kepala yang menandakan "persetujuan". "lampu merah" di perempatan jalan raya menunjuk kepada sebuah obyek yang berwujud lampu lalu lintas berwarna merah, yang berarti "disini anda harus berhenti". " tiupan peluit" bapak polisi mengacu kepada suatu obyek yaitu tindakan meniup peluit yang dilakukan oleh bapak polisi di jalan raya yang dapat berarti "anda telah melanggar rambu lalu lintas". bunga "mawar merah" dan "melati putih" dapat bermakna " cinta yang membara" dan "cinta yang tulus". karena pengertian tanda yang memang luas seperti itu, maka sangat mungkin bahwa semuanya, ter masuk karya seni, sebagaimana ditegaskan oleh sumbo tinarbuko, dapat dipandang sebagai tanda-tanda atau bahasa (tinarbuko, dalam nugroho, 2003: 85). karya sastra adalah karya seni. oleh karena itu, karya sastra juga merupakan tanda, dan sebagai tanda karya sastra merupakan sistem atau struktur. sebagai sistem atau struktur, karya sastra tersusun dari berbagai macam unsur, seperti fonim, morfim, suku kata, kata, frasa, kalimat atau larik, dan alinea atau bait, dengan gejala semiotiknya sendiri-sendiri. namun masing-masing unsur itu saling terkait atau terjalin satu sama lain sedemikian rupa sehingga menghasilkan makna karya sastra secara keseluruhan. unsur sekecil apapun akan memberikan kontribusinya dalam pembentukan makna keseluruhan karya sastra itu. menurut teori aristoteles, dalam teeuw, sebagai struktur, karya sastra harus memenuhi empat syarat utama,yaitu order, unity, compexity, dan coherence. khusus untuk cerita atau prosa, dijelaskan bahwa order adalah urutan/ aturan; urutan aksi harus teratur, harus menunjukkan konsekuensi dan konsistensi yang masuk akal terutama harus ada awal, pertengahan, dan akhir yang tidak sembarangan. semua unsur dalam plot harus ada dan tidak bisa bertukar tempat tanpa mengacaukan atau membinasakan keseluruhannya; pengertian itu disebut unity. kemudian, complexity menunjukkan keluasan ruang lingkup dan kekomplekkan karya sehingga perkembangan peristiwa yang masuk akal dapat dimungkinkan. akhirnya, coherence berarti bahwa sastrawan tidak bertugas untuk menyebut hal-hal yang sungguh-sungguh terjadi, tetapi hal-hal yang mungkin atau harus terjadi dalam rangka keseluruhan plot itu, atas dasar tuntutan konsistensi dan logika ceritanya (aristoteles, dalam teeuw, 1984: 121 122). rachmad djoko pradopo mengemukakan pandangannya yang pada dasarnya sama dengan pendapat diatas sebagai berikut. karya sastra adalah struktur yang merupakan susunan keseluruhan yang utuh. antara bagianbagiannya saling erat berhubungan. tiap unsur dalam situasi tertentu tidak mempunyai arti dengan sendirinya, melainkan artinya ditentukan oleh hubungannya dengan unsur-unsur vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni lainnya yang terlibat dalam situasi itu. makna penuh suatu satuan atau pengalaman dapat dipahami hanya jika terintegrasi ke dalam struktur yang merupakan keseluruhan dalam satuansatuan itu. antara unsur-unsur struktur itu ada koherensi atau pertautan erat; unsur-unsur itu tidak otonom, melainkan merupakan bagian dari situasi yang rumit dan dari hubungannya dengan bagian lain, unsur itu mendapatkan artinya (pradopo, 2003: 108 -111,141 143). lirik lagu, sebagaimana disebutkan oleh c. sumarni, pada dasarnya juga merupakan karya sastra, khususnya puisi, karena lirik lagu, seperti puisi, mengacu kepada konvensi bahasa dan konvensi sastra. menurut pradopo, konvensi bahasa adalah kesepakatan sistem atau struktur ketandaan tingkat pertama, sedangkan konvensi sastra adalah kesepakatan sistem atau struktur ketandaan tingkat kedua yang juga dapat disebut konvensi tambahan. untuk mengungkapkan sebuah makna, pertama kali lirik lagu/karya sastra menggunakan bahasa sebagai medianya. bahasa, sebelum menjadi unsur sastra, sudah mempunyai arti sendiri atau meaning. kemudian, arti bahasa itu ditingkatkan menjadi makna atau significance oleh/ berkat konvensi sastra. arti atau meaning menjadi makna atau significance itu ditentukan oleh konvensi sastra atau konvensi tambahan, yaitu konvensi yang ditambahkan kepada konvensi bahasa. jadi makna lirik lagu/karya sastra itu bukan semata-mata arti bahasa, melainkan arti bahasa mendapatkan arti tambahan oleh konvensi tambahan itu (pradopo, 2003: 107). kata "ibu" dalam sebuah lirik lagu atau puisi, misalnya, menurut konvensi bahasa, berarti "orang yang melahirkan kita". tetapi, menurut konvensi sastra kata itu dapat bermakna "orang yang mencintai kita" karena "orang yang melahirkan kita" berarti "orang yang mempertaruhkan jiwanya untuk kita", dan "orang yang mempertaruhkan jiwanya untuk kita" berarti "orang yang mencintai kita". penjelasan lebih lanjut mengenai makna karya sastra dan lirik lagu diberikan di bagian lain tulisan ini. c. pendekatan struktural terhadap karya sastra baik teeuw maupun pradopo sependapat bahwa karya sastra adalah artefak atau benda mati, baru mempunyai makna dan menjadi obyek estetik bila diberi arti oleh manusia pembaca, sebagaimana artefak peninggalanmanusia purba mempunyai arti bila diberi makna oleh arkeolog (teeuw, dalam pradopo, 2003: 106). atas dasar ini, untuk memberi makna kepada karya sastra, dibutuhkan suatu cara atau pendekatan struktural karena karya sastra, sebagaimana dijelaskan di muka, merupakan sistem atau struktur tanda bermakna. dalam pendekatan ini, karya sastra dipandang sebagai struktur, semua unsur yang membentuk struktur itu dan keterkaitannya satu sama lain dianalisis untuk mendapatkan makna keseluruhan karya sastra itu. mengenai pendekatan struktural ini, teeuw memberikan penjelasan sebagai berikut. analisis struktural bertujuan untuk membongkar dan memaparkan secermat, seteliti, semendetil, dan mendalam mungkin keterkaitan dan keterjalinan semua anasir dan aspek karya sastra yang bersama-sama menghasilkan makna menyeluruh. yang terpenting dalam analisis struktural adalah justru sumbangan yang diberikan oleh semua gejala semiotik, seperti inversi sintaksis, pengulangan bunyi, dan lain-lain, pada keseluruhan makna, dalam keterkaitan dan keterjalinannya, juga dan justru antara berbagai tataran: fonik, vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni morfologis, sintaksis dan semantik. gejala bunyi dalam analisis struktural sajak, misalnya, disemantikkan, diberi makna lewat interaksinya dengan gejala makna kata, atau sebaliknya (teeuw, 1984: 135-36). seorang pembaca, sebelum memahami/memberi makna kepada karya sastra, terlebih dahulu harus mempunyai keyakinan bahwa karya sastra merupakan sistem atau struktur tanda sehingga di dalamnya pasti ada sesuatu yang patut dicurigai sebagai tanda bermakna. dengan keyakinan itu, maka segalanya yang ada dalam karya sastra itu, seperti keteraturan suku kata, pengulangan fonetik, susunan tipografi, banyaknya kata sifat, struktur kalimat, panjang pendeknya kalimat atau teks, kata-kata deiktik, keseluruhan organik teks, tema teks, ketidaklangsungan arti teks, dan lain-lain, semua itu dapat dianggap sebagai tanda. semuanya yang dapat diamati dan diidentifikasikan, dari hal yang terkecil sampai ke hal yang kompleks, dapat menjadi tanda. dengan kata lain, seorang pembaca untuk memberi makna kepada karya sastra, harus memperhatikan faktor-faktor yang berperan dalam pemaknaan karya sastra, yaitu konvensi bahasa dan konvensi sastra yang ada di dalamnya. sebuah sajak berikut ini dianalisis untuk menggambarkan uraian diatas. sajak itu berbunyi: berakit-rakit kehulu berenang-renang ke tepian bersakit-sakit dahulu bersenang-senang kemudian. (pradopo, 2003: 131) menurut ilmu phonetics, salah satu cabang dari ilmu unguistics, ada bunyibunyi yang sama dalam kata-kata dan larik-larik dari sajak itu sehingga terjadi pengulangan bunyi/kata/morfim dan kesejajaranlarik-lariknya (sifat homologous dan homophonic). bunyi yang sama atau diulang itu adalah /ber/,/ra/, /kit/,/re/, /nang/,/sa/,/se/,/hu/,/lu/, dan /an/. morfim yang diulang itu adalah ber-. kata-kata yang diulang itu adalah "rakit", "renang", "sakit", dan "senang". larik pertama sejajar dengan larik ketiga, dan larik kedua sejajar dengan larik keempat. secara linguistik/ menurut konvensi bahasa, pengulangan bunyi/kata/morfim dan kesejajaran larik itu tidak mempunyai arti, tetapi menurut konvensi sastra gejala-gejala sastra seperti itu mempunyai efek puitis yang sangat kuat terhadap pembentukan makna sajak itu. makna yang dapat tertangkap dari sajak itu adalah bahwa kalau manusia menginginkan sesuatu yang terbaik, manusia harus berusaha bekerja keras untuk mencapainya. keinginan terhadap sesuatu yang terbaik itu ditunjukkan oleh larik ke dua dan ke empat, sedangkan keharusan berusaha bekerja keras untuk mencapai keinginan itu ditunjukkan oleh larik pertama dan ke tiga. meskipun menurut konvensi bahasa atau secara denotatif, larik pertama, misalnya, berarti "berusaha menaiki alat transportasi sungai sederhana menuju ke pusat sumber air yang dalam dan berbahaya" dan larik ke dua berarti "berusaha menggerak-gerakkan badan di dalam air agar maju menuju ke bagian tepi sungai yang dangkal dan tidak berbahaya", tetapi secara konotatif atau menurut konvensi sastra makna tersebut tersirat secara tidak langsung melalui larik-lariknya itu. jadi, semua gejala: fonologis, morfologis, sintaksis, dan semantik saling terkait satu sama lain, dan masing-masing memberikan sumbangan yang besar terhadap makna keseluruhan sajak itu d. struktur lirik lagu "indonesia raya" vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni lagu "indonesia raya" yang diciptakan oleh w.r. supratman merupakan sebuah lagu kebangsaan indonesia. sebagai lagu kebangsaan, lagu itu berfungsi sebagai pembangkit semangat nasionalisme dan semangat pembangunan watak atau akhlak bangsa (nation and character building) sesuai dengan maknanya yang mengajari setiap warga negara untuk mencintai tanah airnya dan memberikan yang terbaik bagi bangsanya demi kejayaan bangsa dan negara. makna itu tersurat dan tersirat melalui struktur liriknya karena lirik lagu, seperti karya sastra, sebagaimana dijelaskan di muka, merupakan sistem atau struktur tanda bermakna. namun, sebelum makna itu dibahas lebih lanjut, struktur lirik lagu itu akan dijelaskan terlebih dahulu. lirik lagu itu cukup pendek tetapi padat dan kompleks karena hanya terdiri dari sepuluh (10) baris atau larik tetapi menyangkut banyak hal yang mendalam. sepuluh baris itu terbagi kedalam tiga (3) bagian, yaitu awal, pertengahan dan akhir. bagian awal terdiri dari dua (2) baris, bagian pertengahan empat (4) baris, dan bagian akhir empat (4) baris. dengan demikian, struktur liriknya akan terlihat, sebagai berikut: indonesia raya (judul lagu) awal: 1. indonesia tanah airku, tanah tumpah darahku 2. di sanalah aku berdiri jadi pandu ibuku pertengahan: 3. indonesia kebangsaanku bangsa dan tanah airku 4. marilah kita berseru "indonesia bersatu!" 5. hiduplah tanahku, hiduplah negriku, bangsaku, rakyatku, semuanya 6. bangunlah jiwanya, bangunlah badannya untuk indonesia raya akhir: 7. indonesia raya merdeka! merdeka! tanahku, negriku yang kucinta 8. indonesia raya merdeka! merdeka! hiduplah indonesia raya! 9. indonesia raya merdeka!merdeka! tanahku, negriku yang kucinta 10. indonesia raya merdeka!merdeka! hiduplah indonesia raya! (muchlis dan azmy, 1992: 1) karena lirik lagu merupakan sistem atau struktur tanda bermakna, maka apa saja yang ada dalam lirik lagu itu, seperti struktur, judul, bunyi, kata, kalimat, tanda-tanda baca, dan lain-lain, dapat menjadi tanda; semua komponen yang membentuk struktur lirik lagu itu saling terkait satu sama lain, dan dalam keterkaitannya itu menghasilkan makna lirik lagu itu. tanda mengacu ke sesuatu, dan acuan itu dapat berada baik didalam maupun diluar lirik lagu itu. secara struktural, bagian awal, pertengahan dan akhir mengacu ke judul lagu sehingga judul lagu merupakan ide sentral yang didukung oleh setiap komponen yang ada dalam ketiga bagian itu. setelah membaca judul lagu itu "indonesia raya", segera saja timbul pertanyaan, yaitu: indonesia yang bagaimana yang dimaksud dengan vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni "indonesia raya" itu? kata "raya" dapat ditinjau dari arti denotatifnya, yaitu "besar". "besar" identik dengan "kuat", "tahan uji", "jaya", atau "megah". jadi "indonesia raya" berarti "indonesia yang kuat, tahan uji, jaya, atau megah". kemudian, timbul pertanyaan berikutnya : agar "indonesia menjadi kuat, tahan uji, jaya, atau megah,aku harus bagaimana?" agar "indonesia menjadi kuat, tahan uji, jaya, atau megah aku harus mencintainya". setelah itu, muncul pertanyaan selanjutnya: mengapa "aku harus mencintai-nya"?. "aku harus mencintai-nya" karena "indonesia sendiri mencintaiku juga". indonesia adalah representasi dari setiap warga bangsa sehingga setiap warga bangsa harus mencintai bangsanya sendiri. dengan kata lain, sebagai warga bangsa, setiap warga bangsa harus saling mencintai. semua itu dijelaskan dalam ketiga bagian tersebut. bagian awal memberi introduksi dasar/fundamental, yaitu bahwa hubungan indonesia dengan aku dapat diumpamakan seperti hubungan ibuku dengan aku yang kedua-duanya saling memberi cinta kasihnya. kata "ibuku" berarti "orang yang melahirkan aku". "orang yang melahirkan aku" berarti "orang yang mempertaruhkan jiwanya untuk aku". "orang yang mempertaruhkan jiwanya untuk aku" berarti "orang yang mencintaiaku". jadi, kata "ibuku" berarti "orang yang mencintai aku". dengan demikian, aku merasa wajib untuk mencintai ibuku, sebagaimana seorang pandu atau pramuka yang secara ikhlas atau rela berkorban menolong orang lain yang membutuhkan bantuan atau pertolongan. bagian pertengahan merupakan isi yang menguraikan ungkapan nyata dari cinta kasihku terhadap indonesia. konsep " bersatu yang dilandasi oleh cinta kasih", adalah "bersatu yang didasari oleh semangat persaudaraan sejati" sehingga meskipun aku memiliki latar belakang budaya, agama, politik, kepribadian, dan lain-lain, yang berbeda dengan orang lain di indonesia ini, kita (aku, dan orang lain) "tetap bersatu" karena pada dasarnya kita semua adalah "bersaudara". "hiduplah semuanya, bangunlah jiwa raganya" menunjukkan bahwa karena adanya "semangat persaudaraan sejati" itu, semuanya akan menjadi hidup, bersemangat, sehat jasmani dan rohani, dan akan memberikan yang terbaik kepada bangsa dan negaranya. seorang hakim, misalnya, akan menjatuhkan hukuman yang seadiladilnya terhadap siapa saja atau lembaga apapun yang merusak lingkungan sehingga menjadi jera, dan kelestarian lingkungan akan tetap terjaga. seorang guru akan mendidik siswanya sedemikian rupa sehingga siswanya akan menjadi orang yang pandai dan berakhlak mulia. seorang siswa akan tekun dan rajin belajar demi kemajuan dirinya dan kejayaan negerinya. bagian akhir merupakan kesimpulan dari apa yang telah di introduksikan dan diuraikan di atas. kesimpulannya adalah " agar indonesia raya yang dicita-citakan itu terwujud, kita semua, sebagai warga bangsa, dari segala lapisan dan kalangan masyarakat, wajib berkarya atas dasar semangat cinta kasih atau persaudaraan sejati sehingga indonesia akan menjadi kuat karena sungguh-sungguh merdeka atau bebas dari segala bentuk kemiskinan, kebodohan, kekerasan, ketidak adilan, dan penindasan yang menyengsarakan warganya". berdasarkan kesimpulan itu, dapat diperoleh maknanya, yaitu bahwa dengan semangat cinta kasih atau persaudaraan sejati diantara warga bangsa, bangsa indonesia akan dapat vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni menyelesaikan segala persoalannya menuju indonesia raya. kata-kata "aku" atau "-ku" ."indonesia", "raya", "merdeka", "hiduplah" , "bangunlah", "bangsa", "tanah air", dan "negri" sering diulang sehingga terjadi pula pengulangan bunyi kata-kata itu, khususnya vokal /u/ dan /a/ yang mengakhiri setiap baris atau larik lirik lagu itu. vokal /u/ ada di setiap akhir baris atau larik pertama (1), kedua (2), ketiga (3), dan keempat (4), sedangkan vokal /a/ ada di setiap akhir baris atau larik kelima (5), keenam (6), ketujuh (7), ke delaman (8), kesembilan (9) dan kesepuluh (10). vokal /u/ yang semula diucapkan dengan mulut sedikit terbuka menjadi vokal /a/ yang kemudian diartikulasikan dengan mulut terbuka lebar. kata-kata "indonesia bersatu", "merdeka", dan "hiduplah indonesia raya" diberi tanda seru. kata "aku" dan kata ganti empunya "-ku" tidak hanya menunjuk kepada pencipta lagu atau pembaca saja, tetapi mengacu kepada kata "kita" dalam lirik lagu itu, yang berarti " kita semua sebagai warga bangsa". baris atau larik ketujuh (7) dan kedelapan (8) diulang dua kali. semua gejala fonologis, morfologis, sintaksis, dan semantik di atas saling terkait satu sama lain dan ikut berperan dalam pembentukan/ pemantapan / penegasan makna tersebut. e. simpulan makna yang terkandung dalam struktur lirik lagu "indonesia raya" ternyata sangat dalam. "persatuan indonesia" yang dimaksud tidak hanya sekedar " persatuan indonesia" yang bersifat lahiriah atau semu semata, tetapi "persatuan indonesia" yang betul-betul menyentuh hati nurani setiap warga bangsa sehingga " persatuan indonesia" akan memberi manfaat yang sebesarbesarnya bagi kesejahteraan hidup bangsa indonesia lahir dan batin. semua unsur yang membentuk struktur lirik lagu itu, baik fonologis, morfologis, sintaksis, maupun semantik, sebagaimana dijelaskan oleh para pakar ilmu sastra, saling terkait satu sama lain, dan dalam keterkaitannya itu, makna tersebut dapat ditemukan. oleh karena itu, setiap warga bangsa diharapkan memahami makna itu dan mengimplementasikannya dalam kehidupan sehari-hari sehingga bangsa indonesia akan selalu tahan uji dari segala tantangan, cobaan, dan persoalan hidup berbangsa dan bernegara, karena mampu mengatasinya. dengan demikian, indonesia akan betul-betul menjadi "indonesia raya", seperti yang dicitacitakan oleh bangsa indonesia.� daftar pustaka drijarkara n. sy., 1984, capita selecta filsafat pendidikan, yogyakarta: ikip sanata dharma. muchlis dan azmy, 1992, lagu-lagu untuk sekolah dasar dan lanjutan, yogyakarta: musika. nugroho hp, fx., "lukisan legenda sungai nil karya paul klee: se-buah ungkapan keluasan proses belajar manusia", ekspresi: jurnal lembaga penelitian, volume 8, tahun 3, 2003,.institut seni indo-nesia yogyakarta,. pradopo, rachmad djoko, 2003, beberapa teori sastra, metode kritik, dan penerapannya, yogyakarta: pustaka pe-lajar. sumarni, c., "gaya bahasa komponis ismail marzuki dalam lirik lagulagu ciptaanya", dalam ekspresi: jurnal lembaga penelitian, volume 5, tahun 2001, institut seni in donesia yogyakarta, vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni teeuw, a., 1984, sastra dan ilmu sastra, pengantar teori sastra, jakarta: pt. dunia pustaka jaya. vol. vi no. 3/september-desember 2005 bahasaan, karena suatu kescnian pada dasarnya adalah ekspresi p �������� 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�������������������� ������,���� ������������� �� ��������� �� �� �������� �� ���������� � ������������ �������2$4��� �� ��������2i4�� � ���������2j4� ������������2>4 � � ��������2� ���������� � ������������� ���.�#�g�������!����������������������������� � � ������ � ����4�� ������ � ������������ � ���� �8��$'����� �� ���� ���������������������/����� ���/����0���������� ���� � ����������������� �� �������� �������� ���� ������������'������������ ����������� ����� ������ ������������������������ � ����� �������������� � �������� �������� ������������������ �������� � �/���������0 ����������� ���������� � � ��������������� ���������� �/ �������� ������ �������������� �� �������� �� �� ��������� �������������������� �� �������������������� ����������l���������������� � /����/������ ����������������������������������� �������������� ���� ��&� )��'�0������+�����,��'�)�)�(��,���*��)�'��.�7'$�/� �� ����������� �'�)�)�(����)���.����#'#��'&-'�$�(���('8�(�����)���1��)�&'�$���#'8�+��� ��$'�'($����)���'&�#������('����.����&�)���#'#�&��&���#���3� �.���'/'6,��@a 0� @5��'�)�)�(���-��#��6��)�&�������)���'���)'��/���('.�)�����&���#��,�6��$����)�� &�#��(���(+(���(����#�������)���.�&�#��6��*�&'�'�$�(��,�)�&��� <���#'��� �����#�(�;7�� ��%'�#�$�#��'*'��� �(��$� kepribadion scseorang mulai terbentuk. salah satu sarana pendidikan untuk mnengembangkan kepribadian anak yang positif adalah pendidikan seni. hal mi sejalan dengan siti dloyana kusumah, yang mengatakan," pendidikan seni adalah salah satu sarana pendidikan, sebagai suatu upaya mengembangkan kepribadian anak yang positif dalam pendewasaannya kelak. dari sekian jenis kesenian, yang lekat dengan keseharian anak-anak adalah seni musik. pendidikan musik dapat memberikan nilai-nilai positif yang amat berguna bagi perkembangan anak. untuk dapat mencerdaskan kehidupan bang-sa, seni musik khususnya vokal dapat menumbuhkan daya ingat, melatih kedi-siplinan, serta percaya diri yang lebih besar bagi anak. musik juga memperhalus getaran jiwa terhadap keindahan sekitarnya, sehingga secara terarah membina terciptanya manusia indonesia idieal. hal-hal tersebut di atas dapat ditanamkan kepada anak-anak melalui lagulagu khususnya syair-syair lagu. lagu anak-anak berperan dalam perkembangan jiwa anak terutama perkembangan moral dan kognitif. lagu anak-anakpun dapat mengembangkan imajinasi anak. mahmud berpendapat, " isi lagu hendaknya sesuai dengan dunia anak-anak. bahasa yang digunakan sederhana, luas wilayah nada sepadan dengan kesanggupannya, dan tema lagu tidak menyim-pang dari dunia anak (jakrta: repoblika, 28 september 1997, no259, tahun v, him.3). hal ini sejalan dengan pendapat tarwiyah bahwa lagu anak yang baik diantaranya adalah lagu yang syairnya berisi pesan-pesan moral dan pendidikan bagi anak. (tuti tarwiyah,.1994 :5). kenyataan pada saat ini meunjukkan banyak lagu anak yang tidak sesuai dengan hal-hal di atas. kebanyakan berlirik dangkal dan bersifat satu pihak. hanya memenuhi keinginan rasa senang, padahal anak-anak juga membutuhkan rasa rasa haru, rasa kagum, rasa sayang, dan keinginan untuk tahu yang baik dan yang benar. belum lagi syair lagu yang tidak mempunai nilai-nilai pendidikan bagi anak. di samp ing itu lagu anak-anak yang baik juga harus menggunakan bahasa yang lugas dan sederhana namun tetap sejalan dengan tuntutan bahasa indonesia yang baik dan benar. amat efektif rasanya menanamkan nilai-nilai positif khususnya nilainilai pendidikan pada suasana yang menyenangkan anak ketika mendendangkan lagu. oleh karena itu, penulis merasa tertarik untuk meneliti nilai-nilai pendidikan dalam lagu-lagu yang mungkin dapat diajarkan ke anak-anak. untuk itu peneliti akan menganalisis lagu-lagu betawi. penulis sengaja memilih lagu-lagu betawi sekaligus sebagai ajang promosi pelestaian budaya betawi yang juga cocok diberikan dalam bidang kurikulum muatan local (mulok) dki jakarta khususnya bidang kesenian jakarta. untuk itulah tujuan dalam penelitian ini penulis ingin menganalisa nilai-nilai pendidikan yang terkandung dalam syair-syair lagu betawi. 1.2 identifikasi masalah berdasarkan latar belakang masalah tersebut di atas, penulis dapat merumuskan masalah yang mungkin timbul dalam menganalisis kumpulan lagu-lagu daerah betawi yaitu: apakah lagu-lagu daerah betawi mengandung nilai-nilai pendidikan bagi anak? 1.3 tujuan penelitian penelitian ini berujuan untuk mendeskripsikan nilai-nilai pendidikan dalam lagu-lagu daerah betawi. 1.4 kegunaan penelitian hasil penelitian ini diharapkan dapat menjadi masukan bagi: 1) aaahasiswa program studi seni musik sebagai colon guru musik di sekolah formal. 2) fiuru-guru musik yang mengajar di sekolah formal pada umumnya. 3) referensi bagi mahasiswa seni misik khususnya di univcrsitas negeri jakata. "5���������($�#����#�(� 5) pemda dki, khususnya dalam upaya mengembangkan dan melestarikan budaya beawi. b. hakiki nilai pendidikan pendidikan merupakan tindakan yang memiliki nilai. mengenai nilai itu sendiri, kita biasa mengaitkannya sebagai sesuatu yang memiliki harga, seperti uang, pangkat, pestasi, dan sebagainya. sedang pengertian nilai secara umum adalah sebagai suatu obyek atau yang memenuhi keinginan, yang memberikan kelegaan atau yang memuaskan kerinduan (martin sandy, 1985 :.3). selanjutnya dikemukakan bahwa nilai berkaitan dengan dua hal. pertama dengan standar, dasar atau azas penilaian yang kita pakai di dalam kehidupan untuk menilai segala sesuatu yang dihadapkan kepada kita untuk diputuskan. kedua, nilai berkaitan dengan benda atau hal yang bernilai itu sendiri (depdikbud, 1983: 10). sedangkan pendidikan itu sendiri adalah seatu proses belajar me-ngajar yang membiasakan para warga masyarakat sedini mungkin untuk menggali, memahami, menyadari, menguasai dan mengamalkan 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���)6,����$����� ���������#�������37��)��*�0����&��,��@ad5 �'(�'$���#��'*������,���-)���>��dd �$%>k,� �(��$�,��@ac� �����$��9���/������(��������"�*���'���,��'�����47������c�.�&��� ��$�����/�6�.,�� �� � ������#�������'�������($�$��'�(����.�����@@"� kata pengantar harmonia: jurnal pengetahuan dan pemikiran seni inkulturasi musik gereja di batak toba dan simalungun (inculturation of church music in batak toba and batak simalungun) juanita theresia adimurti staf pengajar fakultas seni pertunjukan 'program studi seni musik universitas kristen satya wacana salatiga abstrak musik ibadat gereja sangat besar peranannya untuk mendukung terciptanya suasana peribadatan. nyanyian musik ibadat gereja menjadi bersuasana lebih khidmat, terutama membantu umat dalam berdoa, karena dengan nyanyian, doa dapat diungkapkan secara lebih mendalam. penelitian ini mengetengahkan analisis hasil lokakarya musik liturgi sebagai proses inkulturasi musik gereja di batak toba dan simalungun dalam suatu kajian pustaka pada tahun 1986 sampai tahun 1995, dengan tujuan realisasi dinamis dari kepentingan musik liturgi dan suatu perembesan hidup katolik ke dalam unsur-unsur budaya musik batak toba dan simalungun pada khususnya serta untuk memperkaya musik gereja katolik. penyesuaian musik gereja terhadap unsur musik daerah batak toba dan simalungun terlihat jelas pada hasil lokakarya musik liturgi tersebut. musik batak toba pada umumnya bersifat kuat dan megah. musik batak simalungun bersifat tenang, mengalir. maka dua corak musik batak ini dapat memperkaya khasanah musik gereja. kata kunci: inkulturasi, musik gereja a. pendahuluan indonesia merupakan negara kepulauan yang mempunyai ciri keanekaragaman budaya yang berbeda namun tetap satu yakni bhinneka tunggal ika. hal itu merupakan kekayaan besar bagi gereja di indonesia dalam memanfaatkan kekayaan budaya tersebut dengan memasukkan tradisi etnik seperti tarian dan musik rakyat dalam ibadat. musik ibadat gereja sangat be-sar peranannya untuk mendukung terciptanya suasana peribadatan. nyanyian musik ibadat gereja menjadi bersuasana lebih khidmat, terutama membantu umat dalam berdoa karena lewat nyanyian, doa dapat diungkapkan secara lebih menarik. musik dalam ibadat itu disebut dengan musik pujian atau nyanyian liturgi. musik pujian atau nyanyian liturgi adalah musik yang digubah untuk perayaan ibadat atau nyanyian yang diciptakan khusus untuk ibadat sebagai salah satu nyanyian fungsional dalam urutan liturgi. semua nyanyian rohani untuk keperluan seperti pertemuan, pementasan dan hiburan digolongkan sebagai nyanyian non-liturgis. berdasar pada kondisi tersebut maka inkulturasi musik gereja dilaksanakan, dengan tujuan pengungkapan/ peravol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni yaan liturgi gereja dalam tatacara dan suasana yang serba selaras dengan citarasa budaya umat yang beribadat. (prier, sj., 1995: 3) proses inkulturasi musik gereja, di beberapa daerah di indonesia sudah mengalami perkembangan yang cukup pesat, namun untuk daerah sumatera utara, proses inkulturasi musik gereja ini masih dalam tahap awal. hal ini disebabkan inkulturasi di sumatera utara berhubungan dengan musik batak. dalam suku batak umumnya musik tradisional berhubungan dengan "gondang" artinya merupakan iringan tarian (tor-tor). sedangkan lagu daerah toba sudah sedikit menjauh dari pola ini dan mempunyai corak barat. suku batak simalungun yang kedudukannya dibayangan suku toba terdapat beberapa langkah menciptakan lagu gereja dengan irama dan cengkok simalungun. begitu pula pergaulan dengan lagu tradisional dan penga-laman dengan bunyi yang khas inkulturatif masih kurang. hal ini tidak mengherankan karena proses inkulturasi di daerah batak masih pada tahap awal. namun gereja protestan dan katolik memberi harapan besar akan perkembangan inkulturasi musik gereja di sumatera utara. secara detail akan dikupas analisis hasil lokakarya musik liturgi sebagai proses inkulturasi musik gereja di batak toba dan simalungun, sehingga dapat memberikan sumbangan bagi umat gereja katolik khususnya lagu gereja yang berdasar pada musik tradisional. inkulturasi dalam gereja di indonesia seringkali dibicarakan, baik dalam media cetak maupun forum-forum ilmiah. inkulturasi merupakan salah satu corak dalam penyesuaian liturgi. (chupungco osb, 1987: 100). sedangkan dalam konstitusi liturgi artikel 37-40 antara lain disebutkan istilah adaptasi dalam arti penyesuaian.(prier, 1994: 18) istilah inipun secara tidak langsung mau menunjuk kepada istilah inkulturasi yang dipa-kai oleh magisterium gereja yaitu penjelmwaan injil di dalam kebudayaan pribumi dan masuknya kebudayaan dalam hidup gereja. inkulturasi berarti perubahan batin dari nilai-nilai budaya pribumi melalui pengintegrasian nilai tersebut ke dalam agama kristen serta melalui penanaman agama kristen di dalam pelbagai kebudayaan. dalam proses perkembangannya, inkulturasi musik gereja melalui beberapa tahapan. (prier, 1994: 18) membedakan menjadi 4 tahap inkulturasi, seba gai berikut: 1. tahap terjemahan pada tahap ini proses inkulturasi belum mulai. karena penterjemahan syair dalam bahasa asing (belanda, jerman, latin, inggris) diterjemahkan ke dalam bahasa indonesia dan/atau bahasa daerah dengan dipertahankannya lagu asli (asing). terjemahan ini hanya merupakan suatu pendahuluan untuk inkulturasi. 2. tahap perpindahan dalam tahap ini unsur kebu-dayaan asli tidak mengalami suatu perubahan, tetapi hanya dipindah atau diambil alih begitu saja. jadi hanya terjadi suatu perpindahan lahiriah, karena unsur kebudaya-an yang dipindahkan itu tetap sa-ma seperti semula. seperti sebuah lagu daerah diambil alih begitu saja dengan diganti syairnya. 3. tahap penyesuaian unsur kebudayaan yang ada su-dah mengalami perubahan, dimana un sur kebudayaan disesuaikan dengan tempat atau peranan baru dalam ibadat. misalnya, bentuk ladrang (2 kalimat musik, 2 gongan) dipakai untuk mazmur, refren dijadikan 8 birama (1 vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni gongan), ayat dibawakan secara ritmis. pelaksanaannya belum tentu mudah, karena syair harus disesuaikan dengan kalimat musik yang teratur. 4. tahap kreasi baru unsur kebudayaan tidak diambil alih atau disesuaikan begitu saja, tetapi diciptakan suatu unsur baru khusus untuk ibadat berdasarkan kebudayaan setempat. tahap kreasi baru inilah inkulturasi sungguh-sungguh terlaksana sesuai dengan tujuan inkulturasi itu. untuk melaksanakan inkulturasi secara baik harus selektif karena tidak semua unsur budaya dapat dipakai dalam liturgi. semua yang bertanggung jawab terhadap pelaksanaan inkulturasi dapat menentukan unsur-unsur yang menjadi bagian dari kebudayaan untuk diangkat ke dalam liturgi agar tidak me-nimbulkan akibat negatif terhadap iman kepada tuhan. maka perlu juga adanya sikap luwes atau fleksibel yaitu dialog dan kerja sama yang baik dengan umat setempat dalam mengusahakan inkul-turasi. harus disadari pula bahwa inkulturasi dilaksanakan secara cermat dan bertahap. b. metode penelitian dalam melakukan penelitian ini, penulis menggunakan metode studi pustaka yaitu eksplorasi melalui referensi-referensi yang berkaitan secara langsung maupun tidak langsung pa-da obyek materi ini. studi pustaka dilakukan di perpustakaan pusat musik liturgi yogyakarta. berbagai data diseleksi dan kemudian dideskripsikan kembali. c. hasil penelitian pelaksanaan inkulturasi yang diuraikan bersumber pada lokakarya komposisi musik liturgi yang dilaksanakan atas kerjasama keuskupan agung medan dengan pusat musik li-turgi yogyakarta, sebagai proses inkul-turasi musik gereja. adapun pelaksa-naannya sebanyak 6 kali antara tanggal 15 juni 1986 hinga 7 februari 1995 di pematang siantar-sumatera utara. tahap-tahap lokakarya komposisi musik liturgi itu adalah: 1) inventarisasi lagu daerah menurut kelompok suku dengan mencari kedudukan lagu tersebut dalam masyarakat, ungkapan dan ciri khasnya. 2) menuliskan notasi lagu daerah tersebut. 3) menelaah lagu daerah dari ma-singmasing kelompok suku dengan memperhatikan motif lagu, tangga nada yang digunakan, biramanya dan sifat lagu. 4) mengarang syair untuk lagu ter-sebut dalam bahasa indonesia dengan tidak menutup kemungkinan bahwa lagu yang telah dihasilkan nanti juga ada dengan versi bahasa daerahnya. 5) pembawaan lagu tersebut oleh kelompok pengarang, tanggapan bersama dan perbaikan. 6) tercipta lagu baru dengan disu-sun aransemen, dilatih bersama, dipakai dalam ibadat, ditanggapi dan diresmikan. 1. proses inkulturasi musik gereja di batak toba lagu daerah dari batak toba yang berjudul andung ni bora sasada, menceritakan tentang ratapan putri semata wayang, yaitu ratapan seorang gadis tunggal yang tidak mempunyai saudara lakivol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni laki. meratap karena bila ayahnya meninggal, sudah tidak ada lagi yang diharapkan karena warisan akan punah, keturunannyapun akan sirna. juga karena marga hanya dihitung dari laki-laki, sedang perempuan tidak pernah dihitung lagi. lagu andung ni boru sasada ditulis dengan sukat 2/4. bentuk lagu a a' b yang terdiri dari beberapa motif dengan pengembangan pola irama yang bervariasi. tangga nada yang dipakai adalah tangga nada mayor, namun nada yang dipakai adalah a1 sampai d2. meskipun menggunakan tangga nada mayor lagu tersebut bersifat sedih sebagai ratapan putri semata wayang. motif be-serta pengembangannya dapat dilihat, sebagai berikut: motif a yang membentuk motif-motif lain. motif b ini adalah pengulangan motif a, terjadi sekuen turun pada akhir birama motif a. motif c merupakan motif penutup, motif yang mengakhiri kalimat a. motif e dan d adalah motif yang sahut-menyahut antara pertanyaan dan jawaban motif f adalah motif penutup pada akhir lagu atau sebagai coda. motif fl adalah interpelasi atau pada akhir birama dari motif f. berdasarkan motif-motif terse-but, kita dapat membuat melodi atau ritme dari pengembangan motif ter-sebut menjadi lagu baru. di sini diambil sebuah lagu hasil pengolahan atau pengembangan motif-motif di atas, yaitu lagu ale tuhan atau tuhan kasihanilah kami. lagu ini menceritakan ratapan manusia atas dosa-dosanya di dunia, mohon ampun, belas kasih pada tuhan. kedudukan lagu ini dalam ibadat, sebagai tuhan kasihanilah kami yang dinyanyikan sesudah seruan tobat bersama. melodi tuhan kasihanilah kami vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni lagu tuhan kasihanilah kami ditulis dengan sukat 4/4. bentuk lagu a b a ' yang terdiri dari pengembangan motif-motif lagu andung ni boru sasada. tang-ga nada yang dipakai juga tangga nada mayor, wilayah nada yang dipakai g1 sampai d2. adapun motif-motif tersebut ada lah: motif m merupakan potongan dari motif d lagu andung ni boru sasada. motif n adalah pengembangan dari motif e dengan sekuen turun. motif o merupakan sekuen naik dari motif m motif nl pengulangan motif n dengan pembalikan nada c2 dan mi b1. motif n2 juga pengulangan dari motif n namun diakhiri nada d'. setelah dilakukan analisis terha-dap lagu tuhan kasihanilah kami, motif m, n dan o adalah pengem-bangan dari motif d dan e lagu andung ni boru sasada, namun urutan motifnya berlainan, sinkop-sinkop juga tidak tampak pada lagu tuhan kasihanilah kami. nada re, mi, dan fa tetap dipakai sebagai ciri khas lagu ratapan. meskipun demikian tampak bahwa dua lagu tersebut memperlihatkan kemiripan. 2. proses komposisi musik gereja di batak simalungun lagu daerah batak simalungun yang akan diuraikan adalah ajimbo ajimbo. lagu tersebut berisikan tentang ajakan untuk saling bersatu padu dan dalam kebersamaan hendaknya saling bergembira dengan bernyanyi bersama. melodi ajimbo ajimbo lagu ajimbo ajimbo ditulis dengan sukat 4/4. bentuk lagu a b c yang terdiri dari beberapa motif dengan pengembangan pola irama yang bervariasi. tangga nada yang dipakai adalah tangga nada mayor, wilayah nada yang dipakai adalah f1 sampai c2 dan ada nada asing e1 yang muncul pada akhir lagu. adapun motif beserta pengembangannya dapat kita lihat, sebagai berikut: motif a merupakan motif dasar yang membentuk motif-motif yang lain motif b adalah bentuk motif baru yang menggunakan ritme x xx x sebagai ciri khas dari lagu ini motif c membentuk nada-nada sinkop vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni motif d sekuen naik dari motif b motif e adalah motif yang membentuk ritme polos dengan nada-nada yang mengalir. motif bl menutup motif e yang diambil dari potongan motif b, sekaligus juga menutup kalimat b. motif f pengembangan dari motif a dengan nada sinkop bes1. motif fl sama dengan motif f, hanya ada interpelasi pada awal motif. motif f2 sama dengan motif fl, hanya terdapat elise satu nada gantung pada awal motif. motif f3 pengembangan motif fl dan ada interpelasi pola motif sebagai pe-nutup motif. kita dapat menciptakan lagu baru dengan mengembangkan dan mengolah motif yang ada. adapun lagu baru yang tercipta adalah lagu dengarkan seruanku. lagu ini digunakan dalam masa prapaskah/tobat yaitu masa dimana umat tuhan senantiasa harus bertobat, mela wan egoisme dengan membuktikan niat baru dalam tindakan nyata untuk menyambut kebangkitan tuhan yesus kristus. kedudukan lagu ini dalam ibadat, sebagai lagu renungan yang dinyanyi-kan sesudah pembacaan sabda tuhan dari kitab suci untuk merenung dan menjawab sabda tuhan yang baru saja dibacakan. melodi lagu dengarkan seruanku lagu dengarkan seruanku ditulis dengan sukat 4/4. bentuk lagu a b yang terdiri dari pengembangan motif-motif lagu ajimbo ajimbo. tangga nada yang dipakai juga tangga nada mayor, wilayah nada adalah dari c1 sampai c2adapun motif-motif yang terbentuk adalah: motif m diambil dari motif a lagu ajimbo -ajimbo. motif n pengembangan ritme dari motif d dengan nada g1 dan mi a1. motif o menggunakan bentuk motif b ritme x xx x. motif nl pengulangan motif n dengan membuat variasi ritme yaitu xx x. vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni motif ol pengulangan motif o dengan sekuen naik pada dua hitungan terakhir motif p membentuk ritme baru, untuk membuat kontras antara kalimat a, b. motif q adalah motif nada-nada sinkop yang diambil dari motif f. motif r pengembangan motif f dengan pembalikan nada f1, g1 dan bes1. motif r1 adalah gabungan dari motif r dan p. motif p1 adalah sekuen turun dari motif p. motif ql adalah sekuen turun dari motif q. motif p2 adalah sekuen rurun dari motif p1. motif s adalah motif penutup. motif m, n, o, g, dan s, merupakan pengembangan dari motif a, b, c dan f dari lagu ajimbo ajimbo. karena disesuaikan dengan musik gereja maka nada mi pada lagu dengarkan seruan-ku tidak mengalami perubahan seperti lagu batak simalungun pada umumnya. d. simpulan dan saran lagu-lagu yang tercipta dalam lokakarya tersebut sangat variatif, karena cki khas yang terdapat dalam musik batak toba dan simalungun. dalam musik batak toba, tangga nada yang dipakai adalah tangga nada diatonis tak lengkap sol-do-re-mi-fa-sol (tidak ada nada la dan si). bentuk ritme yang dipakai yaitu sinkop-sinkop dan "cengkok" baik untuk lagu yang riang maupun lagu ratapan atau sedih, tetapi semua musik batak toba mempunyai karakter megah dan kuat. syair yang dipakai pada lagu batak toba mayoritas mengguna-kan suku kata terbuka yaitu huruf vokal a dan diakhiri dengan suku kata berhuruf vokal i. dalam musik batak simalu-ngun, tangga nada yang dipakai adalah tangga nada pentatonis do-re-mi-sol la (tidak ada nada fa dan si). bentuk ritme yang menjadi cki khas pada musik batak simalungun adalah xx x dan x xx untuk mendahului nada yang dituju pada ketukan berat. melodi dari musik batak simalungun berkarakter tenang, mengalk, tidak ada jarak interval nada yang besar. syair yang dipakai pada lagu batak simalungun bersifat muram, bulat-bulat dengan banyak menggunakan suku kata berhuruf vokal u. dari kedua daerah tersebut ter nyata tangga nada yang digunakan berlainan, dan dari masing-masing daerah juga mempunyai karakter dan daya tarik sendiri. bagi umat gereja di pelbagai daerah, supaya menjaga kelestarian musik daerah atau tradisional untuk mempermudah adanya pelaksanaan inkulturasi musik gereja sebagai penghayatan dan penghidupan kembali musik gerja dalam ibadat gereja; sehingga dapat memungvol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni kinkan untuk memperkaya perbendaharaan musik gereja inkulturatif. bagi pencinta musik gereja inkulturatif, agar didalam pembuatan lagu, hendaknya diperhatikan benar-benar mengenai ciri khas dan karak-ter dari masing-masing daerah. bagi semua kalangan baik pemerintah maupun gereja, agar membuka mata pada nilai-nilai kebudayaan tradisional sebagai identitas suatu suku atau daerah dimana nilai-nilai budaya tersebut tidak hanya ada pada masa lampau namun sampai sekarang masih dilestari-kan.� daftar pustaka aruan, robinson, 1977, "diskusi musik batak" dalam studi pempribumian liturgia dan kebaktian oleh indonesia regional asia program for advanced studies (irapas) di pematang siantar. chupungco, anscar j., osb, 1987, penyesuaian liturgi dalam budaya. yogyakarta: kanisius. jansen, arlin d., 1977, musik, arti dan peranannya dalam masyarakat batak dalam studi pempribumian liturgia dan kebaktian oleh indonesia regional asia program for advanced studies (irapas) di pematang siantar. kongregasi ibadat, instruksi tentang inkulturasi liturgi romawi, 1994, instruksi iv untuk pelak-sanaan konstitusi liturgi art, 37-40, roma, diterjemahkan oleh karl edmund prier, sj. konsili vatikan ii, 1993, konstitusi tentang liturgi, terjemahan r. hardawiryana sj., jakarta: dokpen kwi. manik, liberty, 1986, ,,suku batak dengan "gondang batak"-nya" paper, dalam dokumentasi lokakarya komposisi musik liturgi di pematang siantar tahun 1986, oleh pml bersama kam. yogyakarta: pml. prier, karl edmund, sj., 1993, ilmu bentuk dan analisa, yogyakarta: pml. prier, karl edmund, sj., 1995, inkulturasi nyanyian liturgi, yogyakarta: pml. prier, karl edmund, sj., 1997, nusantara bernyanyi 1 (lagu-lagu daerah sumatra), yogyakarta: kanisius. roest, crollius a., sj., 1990, dalam hans daeng, gereja dan kebudayaan, paper. simon, arthur, 1994, gondang toba, 2 lp dengan buklet, museum collection berlin (west), 12. berlin: museum fur volkerkunde. team pusat musik liturgi, 1986, lokakarya komposisi musik liturgi i, 15-23 ]uni 1986 di pematang siantar -sumatera utara. yogyakarta: pml. team pusat musik liturgi, 1986, lokakarya komposisi musik liturgi ii, 24 ]uni 4 juli 1986 di pematang siantar -sumatera utara. yogyakarta: pml. team pusat musik liturgi, 1987, lokakarya komposisi musik liturgi iii, 18-25 ]uni 1987 di pematang siantar-sumatera utara, yogyakarta: pml. team pusat musik liturgi, 1989, lokakarya komposisi musik liturgi iv, 27 maret 2 april 1989 di pematang siantar-sumatera utara, yogyakarta: pml. team pusat musik liturgi, 1989, lokakarya komposisi musik liturgi v, 2 8 april 1989 di pematang siantarsumatera utara, yogyakarta: pml. vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni team pusat musik liturgi, 1995, lok-akarya komposisi musik liturgi vi,31 januari 7 februari 1995 di pematang siantar sumatera utara, yo-gyakarta: pml. yampolsky, philip, 1992, music of indonesia 4 – music of nias and north sumatera (sf 40420), buklet cd. washington: smith-sonian/ folk-ways. vol. vi no. 3/september-desember 2005 vol.pdf ���+�����'��������#��#�������� �$�����#������� �����$#��'#�� ��������&��#$ ������+#���#������ '#��� ����������8������" ���� �������0����+���� " ���������� ��� �� ���������0������ �� ��(� �����0$�0 ���� ������������%������������������ !��� ��/����!2���� ��� ���������0��# ��� ��� ��������3 �����4� �������#��� �� ���%�������"������ �� �������� '� ������ � ��3���� ��"������6 ���� ��'������������� ���#��������'����#������� �7��$ � �� � �$������ 4 �������������� ���� � � �� ������ 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�����!� �'��*��� ��3��� �� e����������� � ���� �� * ��������� ���� � ��������� ���� ��� � ��������� ���� ��* � ������������* ���������� ����������� ���e�����������./2>).//@�� ���������� ;��� ./2.�� '�� � � � � ��� ��� � ���� �� * ��������� ���� � ���������� e����������� (������ ��;����+��� ./?0�� #������������� ���"��������� ��0��� � ! �� �6� *� ���& � "����3�&���,��� ����7�� ��� wida rahayuningtyas(4).indd 27 makna simbolis lakon kangsa adu jago dalam pertunjukan wayang kulit purwa *wida rahayuningtyas, **endang woro sdp, ***tjitjik sri wardhani *jurusan seni dan desain universitas negeri malang, email whed_tari@yahoo.co.id **jurusan seni dan desain universitas negeri malang, email endang_woro_um @ yahoo.co.id ***jurusan seni dan desain universitas negeri malang, email iriaji_tarium@yahoo. co.id abstrak berdasarkan data evaluasi terhadap kemampuan mahasiswa dalam pemahaman dan keterampilan gerak tari gaya malangan masih sangat rendah. metode penelitian menggunakan pendekatan penelitian tindakan kelas dengan dua siklus. subjek penelitian adalah mahasiswa prodi seni tari semester 4 universitas negeri malang. hasil penelitian menunjukkan bahwa dengan pencantrikan terbimbing yang menggunakan media pembelajaran audio visual sebagai metode pembelajaran dapat meningkatkan minat belajar dan meningkatkan pula prestasi hasil belajar mahasiswa pada mata kuliah repertoar i. media audio visual tersebut berisi ragam-ragam gerak dari materi tariannya. abstract based on an evaluative data conducted, it showed that students’ ability in understanding and mastering malay dancing style is still inadequate. the research method used action research in two cycles. the subject of research was the fourth semester students of dancing program at malang state university. the result showed that the audio-visual learning method of guided apprenticeship could increase the students’ learning interest as well as improve their achievement in repertoar i course. the audio-visual media contains various dancing styles and movements. keywords: metode pembelajaran, pencantrikan terbimbing, audio visual audio-visual learning method od guided apprenticeship pendahuluan program studi pendidikan seni tari adalah salah satu dari program studi yang berada di bawah naungan jurusan seni dan desain fakultas sastra universitas negeri malang. kurikulum program studi memiliki 147 sks, yang terdiri dari kelompok mpk (mata kuliah pengembangan kepribadian). mkk (mata kuliah keilmuan dan ketrampilan), mkb (mata kuliah keahlian berkarya) dan mbb (mata kuliah berkehidupan bermasyarakat). matakuliah repertoar 1 termasuk di dalam kelompok mata kuliah keahlian berkarya (mkb), adalah kelompok bahan kajian dan pelajaran yang bertujuan menghasilkan tenaga ahli dengan kekaryaan berdasarkan dasar ilmu dan ketrampilan yang dikuasai. adapun deskripsi mata kuliah repertoar i adalah: memahami pengetahuan dan ketrampilan tentang konsep gerak tari tradisi wayang topeng malang, kesejarahan, struktur, melalui nara sumber pemangku tradisi dan dapat mempergelarkan serta mendokumentasikan hasil karya studi wayang topeng malang. mata kuliah repertoar i tersebut harus ditempuh oleh mahasiswa pada semester ke 4 (empat) dengan prasyarat mata kuliah vokasi tari malang. tujuan daripada perkuliahan repertoar i adalah: (1)meningkatkan pengetahuan tentang konsep gerak tari tradisi wayang topeng malang, (2)memberi pengetahuan tentag sejarah tari tradisi wayang toharmonia, volume xi, no.1 / juni 201128 peng, (3)meningkatkan pengetahuan tentang struktur gerak tari tradisi wayang topeng malang, (4)meningkatkan ketrampilan teknik gerak tari tradisi wayang topeng malang, (5)memahami cara penggalian dan cara pendataan tari tradisi wayang topeng malang, (6)memperoleh pengalaman nyata dari narasumber, (7)mempergelarkan tari tradisi wayang topeng malang. selain itu, tujuan pengiring yang hendak dicapai dalam proses pembelajarannya adalah agar mahasiswa memiliki kemampuan dan ketrampilan mengidentifi kasi ragam gerak tari tradisi yang bergaya malangan. gaya adalah sifat pembawaan tari, menyangkut cara bergerak tertentu yang merupakan ciri pengenal dari gaya yang bersangkutan (sedyawati, 1981). gaya tari tidak hanya ditampakkan dari cara pembawaan, tetapi juga nampak pada teknis dan penyajian. setiap narasumber memiliki gaya tari yang berbeda satu dengan yang lainnya. berdasarkan data evaluasi yang dilakukan terhadap kemampuan mahasiswa dalam pemahaman dan ketrampilan gerak tari gaya malangan melalui materi wayang topeng malang, diperoleh data bahwa penguasaan ketrampilan teknis yang dicapai oleh mahasiswa masih sangat rendah. rendahnya kualitas ketrampilan teknis tersebut nampak dalam ketrampilan teknik yang meliputi wiraga, wirasa dan wirama yang kurang dikuasai oleh mahasiswa. rendahnya kualitas ketrampilan tersebut juga nampak pada kemampuan menghafal ragam gerak, struktur urutan gerak dan ketepatan membawakan tarian. rendahnya kualitas ketrampilan teknis dalam menguasai materi tari gaya malangan yang dicapai oleh mahasiswa tersebut di atas dimungkinkan sebagai akibat penggunaan metode pembelajaran yang salah, pengorganisasian materi belajar yang tidak tepat atau bahkan media pembelajaran yang kurang tepat. indikasi lain yang kemungkinan menjadi faktor penyebab yaitu: kejenuhan mahasiswa terhadap model pembelajaran konvensial dan verbal dari proses pembelajaran materi oleh narasumber, kurangnya semangat dan motivasi dari mahasiswa yang bersangkutan diakibatkan faktor-faktor internal mahasiswa yang bersangkutan, sulitnya membayangkan dan memahami penjelasan serta contoh gerak yang diberikan oleh narasumber, kurangnya kesungguhan dari mahasiswa ketika menyimak penjelasan, kurang maksimalnya pertemuan antar mahasiswa dengan narasumber dan atau bahkan media pembelajaran yang tidaak tepat dan kurang mendukung proses pembelajaran. untuk melakukan perbaikan prestasi belajar pada matakuliuah repertoar i secara simultan, diperlukan serangkaian kegiatan yang diantaranya adalah pemanfaatan audio visual sebagai media pembelajaran guna meningkatkan kualitas pembelajarannya. dengan memanfaatkan audio visual sebagai media pembelajaran diharapkan para mahasiswa akan mendapatkan gambaran yang lebih jelas dan nyata terhadap gaya tari dan ragam gerak dari tari tradisi wayang topeng malang yang dipelajarinya sebagai materi perkuliahan. perlu diketahui bahwa mata kuliah repertoar i ini adalah mata kuliah paraktek dimana mahasiswa mempelajari satu tarian bentuk yang merupakan bagian dari dramatari wayang topeng malang secara langsung dari berbagai narasumber yang ada di malang. proses pembelajaran sebagaimana yang dilakukan oleh mahasiswa tersebut dinamakan pencantrikan. tetapi keterbatasan waktu menyebabkan paara mahasiswa tidak bisa selamanya berada di lokasi nara sumber, sehingga perlu dibuat rekaman audio visual tentang materi tarian yang akan digunakan sebagai media pembelajaran dalam proses pencantrikan terbimbing oleh dosen pembina matakuliah dalam kegiatan perkuliahan di kelas. melalui rekaman audio visual tersebut mahasiswa dengan bimbingan dosen pembina mata kuliah akan bersama-sama mencermati gaya, ragam, struktur dan konsep gerak dari materi yang dipelajari oleh mahasiswa. secara teknis kegiatan pembelajaran yang dilakukan selama ini yaitu: peserta matakuliah dibagi dalam beberapa kelompok kecil dan kelompok tersebut memilih nara sumber tradisi yaitu seniman topeng malangan, dimana mereka akan belajar menari. atau dengan kata lain, mahasiswa “nyantrik” pada seniman topeng malang, untuk mempelajari tari topeng malang. metode pembelajaran yang digunakan selama ini masih menggunakan metode pembelajaran praktek wida rahayuningtyas. dkk, metode pembelajaran pencantrikan 29 secara konvensial tradisional dimana seniman yang bertindak sebagai guru, mentransfer materi dengan cara mendemonstrasikan tarian, selanjutnya peserta yang “nyantrik” tersebut menirukan gerakan yang dilakukan oleh “guru” tersebut. metode ini dikenal sebagai pentransferan ilmu dengan menggunakan sistem aprentinsip atau apprenticeship system (soeharjo, 2005). sistem aprentisip merupakan proses penularan komponen mahir berkesenian dari master ke apretis. yang dimaksudkan dalam penelitian ini, master adalah seniman topeng malang dan aprentis adalah mahasiswa peserta mata kuliah repertoar 1. dengan metode ini, kualitas hasil penularan sangat terganting kepada kualitas master baik dalam kaitannya dengan kemampuan ketrampilan seni, maupun kedalaman pandangan fi losofi (soeharjo, 2005). dengan demikian semakin tinggi kualitas kesenimanan sang master akan semakin tinggi pula kualitas kesenimanan aprentis. pada kenyataannya, seniman tradisi kelompok wayang topeng malang belum memiliki kualitas teknik penularan berkesenian yang bagus sehingga mahasiswa sulit menangkap materi yang diajarkan. akibatnya, mahasiswa kurang terampil dalam membawakan teknik gerak, ragam gerak,penjiwaan tarian dan penyelarasan dengan musik tarian. maka, metode pembelajaran repertoar 1 perlu diperbaiki dengan pemanfaatan audio visual sebagai media pembelajaran pencantrikan terbimbing sebagaiman diuraikan diatas. dengan audio visual yang dipergunakan sebagai media pembelajaran dalam proses pembelajaran maka para siswa diharapkan akan dapat menangkap gaya tari yang meliputi: bentuk gerak, ragam gerak, struktur urutan gerak tari secara rinci dan detail. dengan demikian harapannya, mahasiswa akan dapat membawakan tarian dengan baik, tepat sesuai dengan tuntutan substansi wiraga, wirama dan wirasa yang terkandung dalam gaya tari topeng malangan tersebut. prestasi belajar siswa dalam menempuh mata kuliah repertoar 1 beberapa tahun berselang menunjukkan kualitas hasil belajar yang sangat rendah dengan rentangan taraf penguasaan ketrampilan membawakan tarian sekitar 60%-70% saja, atau jika ditranslet dalam bentuk huruf, penguasaan ketrampilan teknis siswa dalam menyajikan kembali tarian hasil pencantrikan hanya mencapai taraf penguasaan dengan nilai c-b saja. padahal seharusnya jika merujuk pada kompetensi lulusan prograam yakni sebagai tenaga pengajar bidang seni maka setidaknya taraf penguasaan mahasiswa mencapai 75%-90% atau rentangan nilai b sampai dengan a minus (a-). metode penelitian ini dirancang dengan menggunakan pendekatan penelitian tindakan kelas (ptk). subyek dari penelitian ini adalah para mahasiswa program studi pendidikan seni tari semester ke 4, yang menenmpuh matakuliah repertoar 1 dan tim pengajar mata kuliah praktek repertoar 1 pada program studi pendidikan seni tari. prosedur penelitian dalam matakuliah repertoar 1 ini dilakukan dalam 2 siklus kegiatan. tiap siklus kegiatan dilakukan esuai dengan masingmasing rancangan dan informasi yang akan dikumpulkan. hasil observasi dan evaluasi tindakan pada setiap siklus dihasilkan refl eksi yang dipergunakan untuk merancang tindakan kelas selanjutnya sebagai tindakan perbaikan. secara rinci langkah-langkah ptk yang dilaksanakan ini adalah: siklus pertama, dalam tahap perencanaan, mahasiswa diberi penjelasan tentang rps, tugas-tugas dan kewajiban serta formatformat yang harus diisi serta kegiatan yang harus dilakukan selama 1 semester. tahap pelaksanaan, mahasiswa dibagi dalam kelompok dan segera untuk mendatangi nara sumber yang berada di wilayah malang selatan yang berada di desa jatiguwi kecamatan sumber pucung, desa jambuwer kecamatan kromengan dan dusun kedungmonggo kecamatan pakisaji. nara sumber yang berada di wilayah malang barat yakni desa jabung kecamatan jabung, dan dusun glagahdowo kecamatan tumpang. tahap pengamatan, mahasiswa melaporkan dan melakukan konsultasi dengan dosen pembina mata kuliah. tahap refl eksi dilakukan peninjauan terhadap hasil belajar yang sudah dicapai oleh mahasiswa. harmonia, volume xi, no.1 / juni 201130 siklus kedua dimulai pada pertemuan ke 9. jika pada tahap perencenaan siklus pertama mahasiswa dibagi menjadi beberapa kelompok, maka pada siklus kedua ini mahasiswa dibagi dalam 2 kelompok besar. tahap pelaksanaan pada siklus kedua, kelompok 1 melakukan pencantrikan di desa jambuwer kecamatan kromengan, sedangkan kelompok 2 melakukan pencantrikan di dusun kedungmonggo kecamatan pakisaji. hasil dan pembahasan hasil penelitian tindakan siklus 1 diperoleh hasil bahwa pemahaman terhadap penguasaan ragam gerak, gaya pembawaan dan struktur gerak serta ciri karakteristik penyajian tari topeng malang dari masingmasing narasumber yang berbeda-beda tersebut belum dapat dipahami oleh mahasiswa. demikian pula ketrampilan teknik membawakan tarian topeng malang yang dipresentasikan dihadapan dosen pembina maupun narasumber belum mencapai taraf maksimal. ini dibuktikan dari skor rata-rata mahasiswa pada kegiatan siklus 1 menunjukkan hasil rentangan skor antara 50-60 saja yang jika dikonferensikan dengan pedomman penilaian universitas negeri malang artinya c. hal tersebut disebabkan pencantrikan dilakukan oleh mahasiswa secara konvensial, yaitu mahasiswa mengamati demonstrasi tarian yang dilakukan oleh nara sumber di tempat pencantrikan, selanjutnya mahasiswa menirukan tarian yang didemonstrasikan oleh nara sumber tersebut. keterbatasan waktu yang hanya 2 kali pertemuan yaitu 12 jam tatap muka atau 12 x 50 menit kemungkinan adalah merupakan faktor penyebab kurang jelasnya penyerapan materi yang diterima mahasiswa selama melakukan pencantrikan. faktor lain adalah jarak pencantrikan yang cukup jauh. ketidak maksimalan terhadap pencapaian tujuan pembelajaran sebagaimana rencana dapat dieliminir dengan mengembangkan metode pembelajaran yang dilakukan. salah satunya dengan mengubah metode pembelajaran pencantrikan, jika pada siklus 1 para mahasiswa melakukannya pencantrikan secara konvensial dan mandiri maka pada siklus ke 2, strategi pembelajaran ditingkatkan dengan menggunakan metode pencantrikan terbimbing. dalam siklus ke 2, pencantrikan terbimbing yang dilaksanakan dalam penelitian ini, menggunakan media pembelajaran audio visual sebagai metode pembelajaran. media audio visual tersebut berisi tentang ragam-ragam gerak dari materi tariannya. dengan adanya media audio visual ini diharapkan taraf penguasaan pemahaman adanya perbedaan adanya perbedaan dan gaya pembawaan serta ketrampilan teknik menarikan tari topeng malang akan meningkatkan dan secara tidak langsung akan meningkatkan pula prestasi hasil belajar mahasiswa secara umum. dari hasil evaluasi yang sudah dilakukan pada siklus 1, dan mencermati perolehan skor, sehingga selayaknya harus ada tindakan yang dilakukan dalam siklus ke 2 ini dalam kaitannya untuk meningkatkan hasil belajar. dan salah satu tindakan nyata yang diharapkan menjadi motivasi perubahan ketrampilan adalah penggunaan media pembelajaran. karena materi tarian ada 5 buah maka seharusnya semua materi tari topeng dibuat rekamannya sehingga bisa dijadikan sebagai alat bantu mengajar. tetapi karena keterbatasan dana dan waktu yang ada maka penelitian ptk kali ini, media pembelajaran tari hanya dipersiapkan satu materi tari yaitu tari topeng klono baik yang berasal dari desa jambuwer maupun dari dusun kedungmonggo. tarian topeng klono dari dua wilayah tersebut memiliki perbedaan ciri karakteristik yang khas dan spesifi k, baik model penyajian struktur urutan geraknya, maupun penyajian ragam geraknya. hal ini menyebabkan dua tari tersebut bisa dikatakan memiliki gaya dan genre yang berbeda. perbedaan inilah yang seharusnya dipahami oleh mahasiswa, sehingga bisa menampilkan tari dengan tepat dan benar sesuai dengan gaya dan genre tari tersebut. pada siklus 2 ini ketrampilan teknik membawakan tari topeng malang yang dipresentasikan dihadapan dosen pembina maupun narasumber sudah cukup memadai sebagai sebuah sajian tari bernafaskan tradisi dengan masa waktu pencantrikan yang relatif singkat. ini dibuktikan dari skor rata-rata mahasiswa pada kegiatan siklus 2 menunjukan hasil rentangan skor antara 70-85 yang jika wida rahayuningtyas. dkk, metode pembelajaran pencantrikan 31 dikonfersikan dengan pedoman penilaian um artinya b sampai dengan a-. dengan demikian dapat disimpulkan bahwa penggunaan media audio visual dalam kegiatan belajar tari topeng pada mata kuliah repertoar 1 memiliki pengaruh yang besar terhadap alat-alat indra, juga terhadap pemahaman isi pelajaran. drngan demikian dapat dikemukakan bahwa dengan penggunaan media tersebut lebih menjamin terjadinya pemahaman yang lebih baik pada peserta didik. pembelajar yang belajar lewat mendengarkan saja akan berbeda tingkat pemahaman dan lamanya ingatan bertahan, dibandingkan dengan pembelajar yang belajar lewat melihat atau sekaligus mendengarkan dan melihat. pemanfaatan media dalam pembelajaran dapat membangkitkan keinginan dan minat baru, meningkatkan motivasi dan rangsangan kegiatan belajar, dan bahkan berpengaruh secara psikologis kepada peserta didik (hamalik, 1986). selanjutnya diungkapkan bahwa penggunaan media pengajaran akan sangat membantu keefektifan proses pembelajaran dan penyampaian informasi (pesan dan isi pelajaran) pada saat itu. kehadiran media dalam pembelajaran juga dikatakan dapat membantu peningkatan dan pemahaman peserta didik, penyajian data/ informasi lebih menarik dan terpercaya, memudahkan penafsiran data, dan memadatkan informasi. jadi dalam hal ini dikatakan bahwa fungsi media adalah sebagai alat bantu dalam kegiatan belajar mengajar. jika dibandingkan perolehan skor nilai yang dicapai oleh mahasiswa pada siklus 1 dan siklus ke 2, terdapat kenaikan yang cukup signifi kan. sehingga dapat ditarik kesimpulan bahwa perubahan metode pembelajaran dari metode pencantrikan (konvensional dan mandiri) menjadi metode pencantrikan terbimbing ternyata mendorong ketercapaian hasil pembelajaran yang lebih optimal, ini sesuai dengan rekomendasi majid (2009) bahwa keberhasilan proses pembelajaran dapat didukung oleh beberapa faktor diantaranya adalah ketepatan metode pembelajaran yang dipergunakan. simpulan berdasarkan hasil penelitian dan pembahasan disimpulkan bahwa proses pembelajaran dengan metode pencantrikan yang dilaksanakan secara mandiri dan konvensional sebagaimana yang sudah dilakukan selama beberapa tahun di dalam matakuliah repertoar 1 ternyata kurang dapat membantu mahasiswa mencapai hasil belajar yang optimal. oleh karena itu, diperlukan metode pembelajaran yang tepat yang dapat membantu mahasiswa mencapai hasil belajar yang optimal. proses pembelajaran dengan metode pencantrikan terbimbing memerlukan media pembelajaran yang dapat mendukung proses yakni memanfaatkan audio visual sebagai media pembelajaran. penelitian membuktikan pemanfaatan media audio visual sebagai media pembelajaran dalam proses pembelajaran dengan metode pencantrikan dapat meningkatkan prestasi belajar mahasiswa program studi tari universitas negeri malang dalam mata kuliah repertoar 1. daftar pustaka hamalik, o. 1994. media pendidikan, cetakan ke-7. bandung: pt. citra aditya bakti. majid, a. 2009. perencanaan pembelajaran: mengembangkan standart kompetensi guru. cetakan ke lima. bandung: pt. remaja rosda karya. moleong, l. 1994. metodologi penelitian kualitatif, cet. ke 5. bandung: pt. remaja rosda karya. sedyawati. 1981. pertumbuhan seni pertunjukkan. cetakan pertama. jakarta: pt. djaya pirusa. soehardjo. 2005. pendidikan seni. buku satu. malang: balai kajian seni dan desain fakuktas sastra universitas negeri malang. sudjana, n. & rivai, a. 1992. media pengajaran. bandung: penerbit cv. sinar baru bandung. 151 model pengembangan naskah audio lagu untuk melatih pencapaian perkembangan musik pada anak usia 4 6 tahun rina wulandari universitas negeri semarang, kampus sekaran gunungpati semarang e-mail: rina_wulandari@ymail.com abstrak masalah dalam penelitian adalah belum adanya model pengembangan media audio untuk melatih pencapaian perkembangan bermain musik di kelompok bermain. berdasarkan masalah yang ada maka rumusan masalah penelitian yaitu bagaimanakah model pengembangan media audio yang dapat melatih pencapaian perkembangan bermain musik anak usia kelompok bermain. tujuan pengembangan ini adalah untuk mengetahui model pengembangan media audio yang dapat melatih pencapaian perkembangan bermain musik anak usia kelompok bermain. model pengembangan produk media dikhususkan untuk menentukan langkah-langkah maupun jenis kegiatan dari analisis kebutuhan, desain, pengembangan, evaluasi, dan implementasi produk penelitian ini. development model of song audio lyrics to improve 4-6 years old children’s music aptitude abstract the problem dealt with in this research is the absence of audio media development model used to elicit children’s musical aptitude in a play group. accordingly, the problem formulated in this research is how the development model of audio media could improve children’s musical aptitude. the goal of this research is to find out how the development model of audio media could improve the children’s musical aptitude. this model is specified to determine stages as well as kinds of activities in terms of need analysis, design, aptitude development, evaluation, and implementation of the research product. kata kunci: model pengembangan, naskah audio lagu, perkembangan musik. pendahuluan upaya perbaikan kualitas pembelajaran sudah seharusnya dilakukan oleh guru untuk membantu anak dalam mencapai tahapan perkembangannya. terkait hal tersebut maka dibutuhkan media pengenalan musik untuk anak di antaranya adalah media lagu dalam format audio. memang untuk jaman sekarang ini, media dalam format audio-visual lebih diutamakan mengingat perkembangan teknologi yang terus berjalan. namun hal ini akan berbeda ketika bertemu dengan realitas di lapangan. sebagai contoh, dalam penelitian ini, peneliti melakukan observasi ke lapangan yaitu lembaga paud setingkat kelompok bermain di wilayah sleman, yogyakarta. sarana terkait pembelajaran musik di lapangan pada umumnya adalah perangkat pendukung media dalam format audio sehingga hal ini menjadikan salahsatu dasar untuk proses penelitian. media audio sengaja disusun sesuai tahapan pencapaian perkembangan anak sehingga anak terbantu dalam mencapai harmonia, volume 12, no. 2 / desember 2012152 tahapan perkembangan tersebut sehingga peran orang dewasa sebagai penyedia media pengenalan anak menjadi sangat penting. hal ini sejalan dengan pemikiran vygotsky (sujiono, 2009:115) yang menyatakan bahwa kita sebagai orang yang lebih dewasa dibanding anak usia dini merupakan faktor penting dalam perkembangan anak, berikut selengkapnya: vygotsky percaya bahwa kognitif tertinggi yang berkembang saat anak berada di sekolah yaitu saat terjadi interaksi antara anak dan guru. pengetahuan yang diberikan secara bermakna bagi anak akan memberikan dampak yang berharga bagi anak…vygotsky mengemukakan konsep zone of proximal development (zpd) sebagai kapasitas potensial belajar anak yang dapat terwujud melalui bantuan orang dewasa atau orang yang lebih terampil. gestwicki (2007: 132) menyatakan hal yang sama mengenai pengaruh lingkungan dalam pembelajaran anak yaitu: ”they need an environment that can support all that active energy and callenge with experiences that introduce ever more of the world”. sementara pendapat santrock (2002: 240) juga mendukung pengaruh lingkungan dalam pembelajaran anak yaitu : ”zona perkembangan proximal (zone of proximal development, zpd) ialah istilah vygotsky untuk tugas-tugas yang terlalu sulit untuk dikuasai sendiri oleh anak-anak, tetapi yang dapat dikuasai dengan bimbingan dan bantuan dari orang-orang dewasa atau anak-anak yang lebih terampil”. berdasarkan pernyataan-pernyataan tersebut maka terkait tujuan pendidikan anak usia dini dapat diberikan kesimpulan bahwa media audio merupakan wujud nyata dari kreasi orang dewasa di sekitar anak yang digunakan untuk menstimulasi anak itu sendiri. melalui media audio ini diharapkan pencapaian perkembangan bermain musik pada anak dapat terlatih. mengingat pentingnya pengenalan musik untuk anak maka perlu kiranya disusun sebuah model pengembangan naskah audio lagu anak terkait upaya melatih pencapaian perkembangan musik. penelitian ini menggunakan model pengembangan naskah audio dari sungkono (2008: 5-7). metode model pengembangan model pengembangan yang menjadi pedoman dalam kegiatan penelitian ini yaitu; (1) model pengembangan produk media audio yang dikemukakan oleh darmanto (1998), dan (3) model perekaman yang dikemukakan oleh purwacandra (2007). model pengembangan produk media menurut darmanto dikhususkan untuk menentukan langkah-langkah maupun jenis kegiatan dari analisis kebutuhan, desain, pengembangan, evaluasi, dan implementasi produk penelitian ini. adopsi model perekaman akan menitik beratkan pada teknis pelaksaan perekaman lagu. prosedur pengembangan prosedur pengembangan merupakan jabaran dari model pengembangan. terdapat 2 langkah utama dalam prosedur penelitian dan pengembangan ini, langkah prosedur pengembangan tersebut dapat dilihat pada gambar 1. dari gambar 1 dapat diuraikan tentang langkah prosedur penelitian pengembangan ini yaitu; (1) analisis kebutuhan, (2) pengembangan desain pembelajaran sehingga menjadi produk awal yang siap untuk diujicoba. langkah analisis kebutuhan analisis kebutuhan merupakan kegiatan studi pendahuluan atau sering disebut kegiatan penelitian sebelum dilakukan pengembangan uji coba produk. kegiatan yang dilakukan antara lain: (1) studi lapangan dilakukan untuk mencari informasi tentang kebutuhan pengembangan media audio serta mengidentifikasi berbagai permasalahan yang terdapat pada pembelajaran. (2) studi pustaka dimaksudkan untuk mengetahui informasi-informasi hasil penelitian yang ada kaitannya dengan materi maupun karakteristik media yang akan dikembangkan. rina wulandari, model pengembangan naskah audio lagu untuk melatih pencapaian ... 153 langkah pengembangan desain produk langkah ini lebih menitikberatkan pada kegiatan proses pembuatan produk media audio yang mengacu pada darmanto yaitu: a) tahap perencanaan, b) tahap prapenulisan, c) tahap pelaksanaan penulisan, dan d) evaluasi dan penulisan kembali. dalam model darmanto terdapat proses penulisan dimana dalam tahap ini peneliti menggunakan model perekaman dari purwacandra (2007). teknik analisis data data yang terkumpul dianalisis secara kuantitatif dan kualitatif. data kuantitatif yang diperoleh dari kuesioner akan dianalisis dan dikonversikan ke data kua 2. analisis kebutuhan pengembangan studi lapangan studi pustaka hasil penelitian yang relevan 1. pengembangan desain produk perencanaan prapenulisan pelaksanaan penulisan (recording, editing, mixing, dan mastering) evaluasi dan penulisan kembali (termasuk proses validasi ahli beserta revisi) produk awal siap untuk uji coba litatif dengan skala 5 kemudian dideskripsikan untuk mengetahui kualitas media yang dikembangkan. perolehan data ku-perolehan data kuantitatif tersebut kemudian dikonversikan ke data kualitatif dengan menggunakan skala lima (likert). hasil analisis data akan digunakan sebagai dasar untuk merevisi produk media yang dikembangkan. data kuantitatif yang diperoleh melalui angket penilaian dan wawancara akan dianalisis dengan statistik deskriptif kemudian di konversikan ke data kualitatif dengan skala 5 untuk mengetahui kualitas pro-mengetahui kualitas pro kualitas produk. konversi yang dilakukan terhadap data kualitatif mengacu pada rumus konversi yang dikemukakan oleh sukardjo (2005:55). berikut selengkapnya : gambar 1. model pengembangan modifikasi darmanto dan purwacandra tabel 1. kriteria penilaian skor kriteria rumus rentang x > xi + 1,8 sbi x > 4,08 sangat baik xi+ 0,6 sbi < x ≤ xi + 1,8 sbi 3,36 < x ≤ 4,08 baik xi 0,6 sbi < x ≤ xi + 0,6 sbi 2,64 < x ≤ 3,36 cukup xi 1,8 sbi < x ≤ xi 0,6 sbi 1,92 < x ≤ 2,64 kurang x ≤ xi 1,8 sbi x ≤ 1,92 sangat kurang ketentuan: rerata ideal ( x i) = 1/2 (skor maksimal + skor minimal) simpangan baku ideal (sbi ) = 1/6 (skor maksimal skor minimal) x = skor empiris harmonia, volume 12, no. 2 / desember 2012154 hasil dan pembahasan media pendidikan sadiman (2009:6) mengatakan bahwa ”kata media berasal dari bahasa latin dan merupakan bentuk jamak dari kata medium yang secara harafiah berarti perantara atau pengantar. med�� adalah peran-med�� adalah perantara atau pengantar pesan dari pengirim ke penerima pesan”. lebih lanjut sadiman (2009:7) menambahkan bahwa ”...apapun batasan yang diberikan, ada persamaan di antara batasan tersebut yaitu bahwa media adalah segala sesuatu yang dapat digunakan untuk menyalurkan pesan dari pengirim ke penerima sehingga dapat merangsang pikiran, perasaan, perhatian, dan minat serta perhatian siswa sedemikian rupa sehingga proses belajar terjadi”. smaldino (2008:6) menyatakan pengertian media yaitu: “derived from the latin medium (“between”) the term refers to anything that carries information between a source and receiver” (berasal dari bahasa latin yaitu medium, yang berarti segala sesuatu yang membantu dalam menyampaikan pesan antara sumber pesan kepada penerima pesan). berdasarkan kutipan diatas maka dapat disimpulkan bahwa media pendidikan adalah segala sesuatu yang dapat digunakan untuk menyampaikan pesan dari pengirim ke penerima sehingga dapat merangsang pikiran, perasaan, perhatian, dan minat serta perhatian peserta didik sedemikian rupa sehingga proses komunikasi dan pembelajaran terjadi. kegunaan dan manfaat media pendidikan media pendidikan mempunyai manfaat dalam pbm. hal ini senada dengan pernyataan sadiman (2009:17) tentang kegunaan media pendidikan secara umum, yaitu: (1)memperjelas penyajian pesan agar tidak terlalu bersifat verbalistis (dalam bentuk kata-kata tertulis atau lisan belaka). (2)mengatasi keterbatasan ruang, waktu, dan daya indera (misalnya: objek yang terlalu besar yang dapat digantikan dengan realita, gambar, film bingkai, film, atau model; objek yang kecil yang dapat dibantu dengan proyektor mikro, film bingkai, film, atau gambar; gerak yang terlalu lambat atau terlalu cepat yang da-apat dibantu dengan atau high-speed photography; kejadian atau peristiwa yang terjadi di masa lalu dapat ditampilkan lagi melalui rekaman film, video, film bingkai, foto, maupun secara verbal; objek yang terlalu komplek (misalnya mesin-mesin) dapat disajikan melalui model, diagram, dan lain-lain; serta konsep yang terlalu luas (gunung berapi, gempa bumi, iklim, dan lain-lain) dapat divisualkan dalam bentuk film, film bingkai, gambar, dan lain-lain. (3)penggunaan media pendidikan secara tepat dan bervariasi dapat mengatasi sikap pasif anak didik. dalam hal ini media pendidikan berguna untuk: menimbulkan kegairahan belajar, memungkinkan interaksi yang lebih langsung antara anak didik dengan lingkungan dan kenyataan, memungkinkan anak didik untuk belajar sendiri menurut kemampuan dan minatnya. (4)dengan sifat unik pada tiap siswa ditambah lagi dengan lingkungan dan pengalaman yang berbeda, sedangkan kurikulum dan materi pendidikan ditentukan sama untuk setiap siswa maka guru banyak mengalami kesulitan bilamana semua hal tersebut harus dilakukan sendiri oleh guru. hal ini akan lebih terasa sulit lagi apabila latar belakang lingkungan guru dengan siswa juga berbeda. masalah ini dapat diatasi dengan media pendidikan yaitu dengan kemampuannya dalam: memberikan rangsang yang sama, mempersamakan pengalaman, dan menimbulkan persepsi yang sama. berdasarkan kutipan di atas maka kegunaan media pendidikan yaitu: (1) memperjelas penyajian pesan agar tidak terlalu bersifat verbalistis (dalam bentuk kata-kata tertulis atau lisan belaka), (2) mengatasi keterbatasan ruang, waktu, dan daya indera, (3) mengatasi sikap pasif anak didik, dan (4) membantu guru dalam pbm. terkait dengan kesimpulan tersebut maka pesan yang akan disampaikan keparina wulandari, model pengembangan naskah audio lagu untuk melatih pencapaian ... 155 dapat disentuh dan dipegang oleh anak...diantaranya orang, guru, peserta didik, atau ahli bidang studi. sadiman (2007: 28-81) menyebutkan karakter media pendidikan berdasarkan kelaziman media pendidikan itu sendiri dalam proses pembelajaran di indonesia, yaitu: 1) media grafis, yang terdiri dari: gambar/ foto, sketsa, diagram, bagan/ chart, grafik, kartun, poster, peta serta globe, papan flanel, dan papan buletin. 2) media audio, yang terdiri dari: radio, alat perekam pita magnetik yang dalam perkembangannya menjadi cd, dan laboratorium bahasa. 3) media proyeksi diam, yang terdiri dari film bingkai, film rangkai, media transparansi, proyektor tak tembus pandang, mikrofis, film, film gelang, televisi, video, serta permainan dan simulasi. berdasarkan dua pendapat tersebut dapat disimpulkan bahwa jenis media pendidikan yaitu: text, auido, visual, video, benda yang dimanipulasi, dan orang. text dapat berupa bermacam buku, poster, papan kapur, layar komputer,...audio terdiri dari semua hal yang dapat di dengar, suara, musik, suara mesin (mesin mobil yang berbunyi), dan kegaduhan. visual adalah sesuatu yang digunakan untuk mendukung pembelajaran. terdiri dari diagram pada poster, gambar pada papan, grafik di buku, dan kartun. video adalah media yang menampilkan gerak yang terdiri dari dvd, kaset video, animasi komputer, dan semacamnya. manipulasi adalah bentuk tiga dimensi dan dapat disentuh dan dipegang oleh anak, diantaranya adalah orang, guru, peserta didik, atau ahli bidang studi. terkait penelitian pengembangan ini maka media audio termasuk salah satu jenis media pendidikan. karakteristik media pendidikan yang digunakan di indonesia dalam proses pembelajaran yaitu 1) media grafis, yang terdiri dari: gambar/ foto, sketsa, diagram, bagan/ chart, grafik, kartun, poster, peta serta globe, papan flanel, dan papan buletin. 2) media audio, yang terdiri dari: radio, alat perekam pita magnetik yang dalam perkembangannya menjadi cd, dan laboda anak dalam penelitian ini adalah lagu yang telah disesuaikan dengan perkembangan anak kelompok bermain usia (4-6 tahun) dengan tujuan akhir adalah melatih musikalitas anak tersebut. untuk memp-untuk memproduksi hal tersebut maka dibutuhkan naskah audio yang sesuai dengan standar penulisan naskah agar pihak lain yang ingin mengadopsi model naskah audio lagu anak juga mempunyai ataupun menambah wawasan tentang lagu anak. jenis dan karakter media pendidikan smaldino (2008:6) menyatakan jenis dari media yaitu: six basic categories of media are text, audio, visuals, video, manipulative (objects), and people. text...that may displayed in any format-book, poster, chalkboard, computer screen,... audio includes anything you can hear-a person’s, voice, music, mechanical sound (running car engine), noise,... visual are regulary used to promote learning. they include diagrams on poster, drawing on the whiteboard, photographs, graphics in book, cartoons,...video...are media that show motion, including dvds, videotape, computer animation,...manipulatives are three dimensional and can be touched and handled by students. people...teachers, students, or subject-matter experts. enam kategori dasar dari media adalah text, auido, visual, video, benda yang dimanipulasi, dan orang. text ...dapat berupa bermacam buku, poster, papan kapur, layar komputer,... audio terdiri dari semua hal yang dapat di dengar, suara, musik, suara mesin (mesin mobil yang berbunyi), kegaduhan,...visual adalah sesuatu yang digunakan untuk mendukung pembelajaran. terdiri dari diagram pada poster, gambar pada papan, grafik di buku, kartun,...video... adalah media yang menampilkan gerak yang terdiri dari dvd, kaset video, animasi komputer,... manipulasi adalah bentuk tiga dimensi dan harmonia, volume 12, no. 2 / desember 2012156 ratorium bahasa. 3) media proyeksi diam, yang terdiri dari film bingkai, film rangkai, media transparansi, proyektor tak tembus pandang, mikrofis, film, film gelang, televisi, video, serta permainan dan simulasi. terkait penelitian ini maka media audio yang dikembangkan adalah termasuk salah satu karakter media pendidikan yang digunakan di indonesia. bahan pembelajaran dalam bentuk audio pesan yang disampaikan dalam penelitian ini berupa lagu yang telah disusun sesuai perkembangan anak dalam bentuk audio. sejalan dengan hal tersebut maka berikut uraian tentang pengertian dari bahan pembelajaran dalam bentuk audio. pengertian dari file dalam bentuk audio dinyatakan oleh frantiska (2008:24) yaitu: “an audio file format is a format for storing audio data (sound) on a computer system or media. there are numerous file formats for storing audio files. they can be either uncompressed or compressed (to reduce the file size)”. (bentuk file audio adalah sebuah bentuk penyimpanan data audio (suara) di sistem komputer atau media. terdapat banyak jenis bentuk file dalam penyimpanan bentuk audio ini. baik dalam bentuk tingkatan kecil ataupun sebaliknya dilihat dari sudut pandang besaran muatannya). jenis dari file audio dinyatakan oleh smaldino (2008:283) yaitu: audio comes in two primary: digital and analog…educational materials in digital audio format can be purchased on compact discs, downloaded or streamed as mp3, downloaded as wav files from the web…digital recordings are then played back on a variety of players. audio terbagi atas dua jenis yaitu digital dan analog. materi pendidikan dalam format digital audio tersedia dalam compact discs (cd), hasil men –download dalam bentuk mp3, men –download dalam format wav yang kemudian hasilnya dapat diperdengarkan dengan bantuan sarana player (contoh: untuk mendengarkan lagu dalam format cd maka akan digunakan sarana penunjang yaitu cd player). bahan pembelajaran dalam bentuk audio dinyatakan oleh sungkono (2008:53), berikut selengkapnya: bahan pembelajaran audio dapat diartikan bahan belajar atau materi pelajaran yang direkam pada pita magnetik/kaset audio atau compact disk (cd) yang dapat didengarkan kembali dengan menggunakan alat penampil tape recorder atau cd player. program kaset audio/cd ini dapat dipakai untuk belajar secara perorangan/individual, kelompok, maupun klasikal. di samping itu program kaset audio ini dapat menjadi bahan belajar yang berdaya guna karena dapat didengarkan di kelas, ruang perpustakaan, laboratorium, di rumah, di halaman, bahkan di perjalanan. penyimpanan file audio dinyatakan oleh smaldino (2008:284) yaitu: digital files are preserved on digital storage devices such as a cd, a computer hard drive, a flash driver, or a handheld digital recorder. the digital files are typically saved in mp3 or wav format. file digital disimpan pada perangkat digital seperti cd, hard drive komputer, flash driver, ataupun perekam digital lain. ciri khas data digital adalah tersimpan dalam bentuk mp3 atau wav. berdasarkan pendapat-pendapat di atas maka dapat disimpulkan bahwa bahan pembelajaran dalam bentuk audio adalah bahan pembelajaran (termasuk suara) yang direkam pada pita magnetik/ kaset audio atau compact disk (cd) yang dapat didengarkan kembali dengan mengrina wulandari, model pengembangan naskah audio lagu untuk melatih pencapaian ... 157 gunakan alat penampil tape recorder atau cd player. indikator pencapaian perkembangan musik anak usia 4-6 tahun terkait dengan tingkat pencapaian perkembangan anak usia 4-6 tahun, berikut pendapat gestwicki (2007:8) yai-gestwicki (2007:8) yaitu: 1) usia 4 tahun anak sangat senang menyanyi berkelompok serta telah dapat memasangkan dan mengelompokkan sumber bunyi, volume bunyi, pitch dan durasi, 2) usia 5-6 tahun anak dapat menunjukkan pengertian kontras dari suara seperti keras/ lembut dan tinggi/ rendah, 3) usia 5 tahun anak dapat menggunakan suatu pukulan akurat mantap, nyanyian, dan pengulangan irama di (dalam) bernyanyi mereka, dan 4) usia 6 tahun anak da-usia 6 tahun anak dapat mengenal pasangan dari paduan suara sebagai persamaan atau perbedaan. kassner (2006:69) menyatakan perkembangan anak dalam seni musik yaitu: dalam usia 1 sampai 2 tahun perkembangan anak dalam musik menunjukkan perilaku yaitu menirukan bentuk potongan melodi lagu namun belum mencirikan tinggirendah nadanya. dalam usia 3 tahun anak dapat menemukan secara spontan lagu beserta karakter tinggi-rendah nadanya serta mengulang ritme dan melodi sebuah lagu...menghasilkan sajak dan nyanyian. usia 4 tahun, menemukan perbedaan antara berbicara dan menyanyi, mengubah kualitas lagu, menyanyi spontan dalam dua oktaf, menyanyikan 5 nada. berdasarkan kassner dan gestwicki maka berikut tabel yang menyajikan ciri khas pencapaian perkembangan musik khususnya unsur irama: tabel 2. indikator pencapaian perkembangan musik anak usia 4-6 tahun berdasarkan kassner dan gestwicki no usia indikator perkembangan kecerdasan musik 1 2-4 tahun 1. anak dapat menemukan secara spontan lagu beserta karakter tinggi-rendah nadanya. 2. senang menyanyi secara berkelompok. 3. mengubah kualitas lagu yaitu dengan menghasilkan sajak dan nyanyian. 4. memasangkan dan mengelompokkan sumber bunyi, volume bunyi, pitch dan durasi. 5. menemukan perbedaan antara berbicara dan menyanyi 6. menyanyi spontan dalam dua oktaf. 2 4-6 tahun 1. menunjukkan pengertian kontras suara keras dan lembut. 2. dapat menyanyi dalam wilayah tessitura (dari nada d sampai nada a). 3. memasangkan dan mengelompokkan sumber bunyi, volume bunyi, pitch dan durasi. 4. anak dapat menggunakan suatu pukulan akurat mantap, nyanyian, dan pengulangan irama di (dalam) bernyanyi mereka. 5. anak dapat mengenal pasangan dari paduan suara sebagai persamaan atau perbedaan 6. melodi disarankan lebih kepada melangkah,bukan melompat harmonia, volume 12, no. 2 / desember 2012158 model pengembangan naskah audio lagu untuk melatih pencapaian perkembangan musik pada anak usia 4-6 tahun sungkono (2008: 5-7) menyatakan langkah-langkah yang perlu ditempuh dalam penulisan naskah audio, yaitu: (1) menentukan topik, (2) melakukan riset pendengar, (3) merumuskan tujuan, (4) menentukan pokok-pokok materi program, (5) menulis draft naskah. berikut proses penulisan naskah dalam penelitian pengembangan ini. topik dalam penelitian ini bersifat auditif. materi yang akan direkam adalah bunyi dari midi yang berasal dari piano elektrik merk yamaha psr s-710 dan vokal manusia. topik audio diambil dari tema yang sedang berjalan di kelompok bermain. tema yang sedang berjalan adalah alam semesta. melakukan riset pendengar/ audience pendengar media audio ini adalah anak usia kelompok belajar dari usia 2 sampai dengan 6 tahun. pada usia ini anak sebatas hanya diberikan pengenalan terhadap lingkungan termasuk musik. penelitian ini nantinya akan menggunakan kombinasi antara suasana pembelajaran laissez-fair dan terpimpin dengan petunjuk. suasana pembelajaran laissez-fair menguntungkan bagi anak yang memiliki kekuatan untuk mandiri sedangkan suasana pembelajaran terpimpin kegiatan dikendalikan oleh guru. merumuskan tujuan/kompetensi, setelah mendengarkan produk audio ini anak dapat terlatih kecerdasan musikal ritmiknya. menentukan pokok-pokok materi meliputi pembuatan sinopsis dan pemberian treatment. sinopsis, berguna untuk mengenalkan anak tentang musik dapat ditempuh dengan menyanyi. dengan memperhatikan perkembangan dan pbm pada anak maka menyanyi dapat disampaikan salahsatunya dengan bantuan media audio. menceritakan terjadinya pelangi menggunakan metode pembelajaran dan suasana belajar anak yang sesuai akan mendukung lancarnya pengenalan anak terhadap musik. treatment, yang dilakukan meliputi: (1) musik pembuka yang dimainkan secara fade in, fade up, fade in to backsound menggunakan fx style tone messenger sub choir & pad, intro style song popbossa , braziliansamba, dan latindisco. masing-masing intro gaya musik akan digunakan sebagai musik latar pada announcer (annx) dan nar saat menyampaikan materi. (2) musik dimainkan secara fade in, fade up, fade in to backsound menggunakan style song rumba-island tanpa akompanyemen yang bertujuan untuk musik latar pada penyampaian syair lagu oleh pelaku. musik latar digunakan sebagai pengatur tempo. hal ini dilakukan beberapa kali agar anak mulai hafal dengan syair lagu. (3) musik intro yang dimainkan secara fade in, fade up menggunakan acompanyemen style song rumba-island untuk mengawali lagu. (4) komposisi fade in, fade up antara acompanyemen style song rumba-island, style tone fungkylead dan portatone sub synt & fx, style tone string, dan style tone flute sub flute & woodwind. perpaduan antara style song dan style tone membentuk awalan lagu. style tone membunyikan 8 ruas birama terakhir sedangkan style song memainkan akor yang mengenai 8 ruas birama terakhir tersebut. style tone fungkylead dan portatone sub synt & fx memainkan ruas birama 13 dan 14 sedangkan flute sub flute & woodwind memainkan melodi 15 dan 16. (5) komposisi fade in, fade up menggunakan fill in acompanyemen style song rumba-island persiapan ke syair pertama. (6) komposisi fade in, fade up, fade in to backsound. menggunakan acompanyemen style song rumba-island, style tone orch & horn, style tone orch & oboe, dan style tone vibraphone. musik style tone string perpaduan style song dan style tone memainkan lagu dari awal sampai akhir lagu. style song memainkan akor sedangkan style tone memberikan filler pada nada yang panjang. orch & horn berfungsi memberikan filler syair lagu pertama birama 3 dan 4, filler syair kedua pada birama 7 dan 8. orch & oboe menghasilkan melodi lagu dari awal sampai akhir, seiring vokal marina wulandari, model pengembangan naskah audio lagu untuk melatih pencapaian ... 159 nusia. vibraphone berfungsi sebagai filler syair kedua akhir. style tone string sebagai filler syair ketiga dan keempat. vibraphone : filler syair kedua akhir. (�) �etelah sele�. (7) setelah selesai proses di atas maka pelaku (vokalis) on mike untuk merekam syair lagu. (8) musik dimainkan fade in, fade up, fade in to backsound menggunakan musik intro acompanyemen style song rumbaisland yang berfungsi juga sebagai musik latar saat nar menyampaikan materi selanjutnya. (8) terdapat pengulangan dalam menyanyikan lagu. (9) ending lagu diakhiri dengan memainkan secara fade in, fade up, fade in to backsound menggunakan ending acompanyemen style song rumbaisland yang berfungsi menyampaikan informasi bahwa lagu telah selesai. bagian in sekaligus sebagai musik latar saat annx memberikan informasi bahwa lagu telah selesai. daftar pustaka frantiska. 2008. one sound is worth a thousand words: using and understanding audio files. the technology teacher. reston. vol. 67, iss. 5; pg. 23, 6 pgs. pada http://proquest.umi.com/pqdweb?inde x=5&did=1424218741&srchmode=1 &sid=8&fmt=3&vinst=prod&vt ype=pqd&rqt=309&vname=pq d&ts=1299072218&clientid=68516 (diakses 2 maret 2011). gestwicki, carol. 2007. developmentally appropriate practice curriculum and development in early education. third edition. delmar us. sadiman dkk. 2009. media pendidikan (pengertian, pengembangan, dan pemanfaatannya). jakarta: rajawali pers. sujiono, yuliani nurani. 2009. konsep dasar pendidikan anak usia dini. jakarta. indeks. smaldino, dkk. 2008. instructional technology and media for learning nine edition. ohio: pearson merrill prentice hall. 178 wix web-based dance learning media to support teaching in the pandemic era in high school frahma sekarningsih, agus budiman, gaung rizki gustiaji universitas pendidikan indonesia, indonesia submitted: 2020-11-28. revised: 2021-02-04. accepted: 2021-05-12 abstract this study intends to develop and design a web for dance learning for high school students. this design-based research focuses on two problems, namely (1) the concept of a dance website design which is expected to be suitable for use as a medium for learning dance in the current pandemic era, and (2) the effectiveness of the dance website that is developed as a digital literacy source that can be used as a medium for learning dance in senior high schools. the research method used in this research is design-based research (dbr) with research stages that include design process, design development, evaluation, and design revision. data collection techniques were carried out by interview and document study. data analysis was carried out by combining qualitative and quantitative methods. the results show that the website design developed is relevant to the needs and online-based student learning methods needed during the current covid-19 pandemic. after going through the validation and testing process, the website design developed can be applied properly. the website developed is easily accessible by students and teachers to support the implementation of dance learning that takes place online. access mechanisms, material structure, content, and existing supporting features can be used as a means of technology literacy education for students. keywords: website, digital literacy, dance learning how to cite: sekarningsih, f., budiman, a., & gustiaji, g. r. (2021). wix web-based dance learning media to support teaching in the pandemic era in high school. harmonia: journal of arts research and education, 21(1), 178-191 harmonia: journal of arts research and education 21 (1) (2021), 178-191 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i1.27420 vating the potential of their bodies. unfortunately, dance lessons that should include dance practice activities cannot be carried out due to the uncompromising pandemic conditions for the safety of teachers and students. learning activities in the pandemic era require learning to be done more by students online (adnan & anwar, 2020; kraehe, 2020; yao, rao, jiang, & xiong, 2020). so methods of teaching dance that are appropriate to current conditions are needed (cahyaningrum & kusumastuti, 2014). the current condition of the cointroduction dance learning in schools contains three learning activities: theory, appreciation, and practice (malarsih, 2016). theory learning activities aim to provide knowledge and understanding of dance material textually and contextually. the appreciation activity aims to provide real reinforcement of the material presented in theory through objects that students observe. practical learning activities are carried out to provide direct experience to students doing dance practice, such as culticorresponding author: e-mail: frase@upi.edu p-issn 2541-1683|e-issn 2541-2426 frahma sekarningsih et al., wix web-based dance learning media to support teaching in 179 vid-19 emergency has greatly affected the learning culture applied in various countries (cavus, sani, haruna, & lawan, 2021), including in indonesia. the transition from offline learning to online learning (onlinebased learning) has become an alternative to student learning and teacher teaching that is used almost all over the world (buchholz, dehart, & moorman, 2020a). the covid-19 pandemic situation greatly affects the teaching system carried out by teachers towards students (ferdig, baumgartner, hartshorne, kaplan-rakowski, & mouza, 2020). technology is used as a medium and resource for teachers and students in carrying out learning interactions (assunção flores & gago, 2020; avgerinou & moros, 2020; crick, knight, watermeyer, & goodall, 2020). in recent years there has been researched on the use of websites in learning activities. yasin, rochintaniawati, and prima (2021) conduct research on the development of websites used in science learning to help school students understand scientific phenomena in everyday life. astuti, wihardi, and rochintaniawati (2020) conduct research in developing educational websites that apply interactive content to help students learn integrated science material in discussing the topic of the human body. mumpuni and nurpratiwiningsih (2018) examined the development of website-based learning to improve students’ writing skills. however, there has been no research that has developed a dance website that is used in learning. teachers and students can use the website access to learn the dance to access the material resources needed in learning. digital learning is one of the learning trends used by teachers today (joosten, lee-mccarthy, harness, & paulus, 2020). educators developed various digital technology innovations in learning (fletcher, everatt, mackey, & fickel, 2020; jackson, 2020) to realize effective and efficient learning following the current pandemic conditions. digital technology is used by students to carry out various learning activities at school such as searching for information through internet media sources, running projects, making slideshows, and outside of school (communicating with people outside of school in the interests of joint project development) (rachel bolstad, 2017; lourie, 2020; tallon & milligan, 2018). digital technology can be used by teachers and students in learning activities outside of the classroom or school to obtain a more realistic learning experience (d u bolliger, mccoy, kilty, & shepherd, 2021; doris u bolliger & shepherd, 2018; hills & thomas, 2020; thomas et al., 2019). the development of technology in art and art education is one of the cultural influences of globalization (wibowo, 2019). today’s growing use of digital media technology shows a changing trend in the learning culture that students and teachers must adapt quickly (barker-ruchti, 2019; barker-ruchti, barker, rynne, & lee, 2016; enright & gard, 2016, 2018). the existence of digital technology media in children is very difficult to avoid (blankenship, 2020; hendry, 2019). ). the integration of digital technology in learning demands teacher competence in mastering technology and creatively developing technology in learning based on a pedagogical approach (ertmer & ottenbreit-leftwich, 2013; hendry, 2019; mccormack, 2019; sheffield, blackley, & moro, 2018; webb & doman, 2020). the use of technology in learning will help students understand the material they are learning through the process of observing the technology used in learning (mccormack, 2019; spencer, 2019; webb & doman, 2020). the tendency to use technology is more to present information (kirkwood & price, 2006). a teacher needs to utilize technology to optimize the potential of students, in the sense that learning carried out through the use of technology is more student-centered (åkerlind, 2003; cope & ward, 2002). teachers also use technology to assess student learning outcomes (ottenbreit-leftwich, glazewski, newby, & ertmer, 2010). technological developments in dance are often used in making interactive dance works (siegel & harmonia: journal of arts research and education 21 (1) (2021): 178-191180 jacobsen, 1998). digital technology is one part of technology that is used as a tool to help someone achieve their goals (larkin & lowrie, 2019; lindeman & anderson, 2015; vargas, 2017). currently, technology has become part of the educational web portal system (byker, putman, handler, & polly, 2017; goh, hii, tan, & rasli, 2020; wright, 2015). the use of digital technology in education has become part of the competency of skills that teachers and students must possess (grand-clement, devaux, belanger, & manville, 2017). the existence of digital technology has been able to assist teachers in creating creative learning for students (huddy, 2017). ). digital technology helps students to learn independently (r bolstad, 2017). explaining the term dance education will relate to teaching and learning dance in formal and non-formal school environments. this teaching and learning dance practice is often referred to as dance training and education (giguere, 2015). vocational dance education uses more conventional methods by teaching dance to students through imitating movements demonstrated by a dance teacher or trainer (bolwell, 1998). dance education in nonvocational schools does not target students to become dance experts (koff, 2000). the concept of dance education in schools emphasizes the individual development of students through self-exploration activities, the introduction of knowledge and understanding of dance based on elements in dance, namely the elements of time, space, and energy (ashley, 2019; gibbons, 2007; pickard & risner, 2020; purcell, 1994). dance education has the multidimensional achievement of learning outcomes such as motor learning, art creation, development of attitudinal abilities (developing self-esteem, emotional, spiritual), and cognitive (knowledge about culture, cultural benefits) (bresler, 2004; carter, 2004; hanna, 1999). the implementation of dance education in schools should provide opportunities for students to develop their creative skills (chappell, 2005, 2007; chappell, craft, rolfe, & jobbins, 2009; craft, 2012). however, in dance learning, the existence of technology can be used as a learning medium used by teachers to deliver learning materials (anderson, 2012a; holdt, 2013). pedagogy issues remain an aspect that needs attention in dance education, and this aspect becomes one of the challenges for a dance teacher to master it (mccarthy-brown, 2017). the use of technology in education is used in formal education and dance studios and dance courses where this technology is used by dance teachers and trainers (risner, 2009). various learning media are selected or developed by the teacher to make it easier for students to absorb knowledge and improve their skills during this pandemic. however, because the pandemic situation occurred so suddenly, teachers generally only used power points with the support of youtube which can be accessed freely via the internet. the low tendency of students’ interest in learning in dance subsubjects in schools, as expressed by the teachers, could be due to the teachers’ lack of innovation and creativity in selecting and using learning media. therefore, as one solution, through this research, websitebased learning media is developed which is deemed suitable for use by students as a source of digital literacy. this strategy is considered effective because students can freely access them using their smartphone communication tools through this media. method this research was conducted with a design-based research approach (dbr) which was carried out systematically in the process of designing and developing innovations that were oriented towards learning needs (flanagan & hall, 2017; saxe & saxe, 2016). in this research approach, there are three process stages which include: (1) design; (2) design development; and (3) evaluation and revision of the developed design based on the results of an in-depth and thorough study (komalasari, frahma sekarningsih et al., wix web-based dance learning media to support teaching in 181 budiman, masunah, & sunaryo, 2021). the data collection process was carried out using interviews, assessment sheets, and questionnaires. interview activities were carried out to obtain basic information for the development of dance learning materials in senior high schools. in addition, it is also carried out to obtain real and accurate information related to the need for dance websites that can be used by students in learning dance in high schools. the assessment sheet is used when the researcher validates the website design being developed. the questionnaire is used to determine student responses after using the website media developed during the trial. data analysis was carried out both qualitatively and quantitatively with the aim of comprehensive results. results and discussion characteristics of the nari kuy website developed the pandemic situation (buchholz, dehart, & moorman, 2020b) of course, forces students to study at home to avoid social crowds in overcoming the spread of covid-19 (coelho & menon, 2020). this situation is part of government policy as a social distancing policy to limit the gathering of people in various social activities, including learning activities in schools (adnan & anwar, 2020). students do learning activity at home using technology media. the nari kuy website is an innovative learning media designed by students and teachers to carry out learning at home. the nari kuy website provides several menu features and dance materials that students can access as a learning resource. teaching using technology is a new model (mcwilliam, 2008) that teachers must-do during the covid-19 pandemic. this website model is one of the alternative media used by dance teachers in implementing learning in schools. based on the results of observations and interviews conducted by researchers, the learning process of dance in high schools (sma) still often uses conventional learning media such as print modules and microsoft powerpoint presentation media. the audiovisual media often used by teachers in implementing e-learning is in the form of dance videos. as a result, learning resources that students can access are very limited. through videos, dance learning usually only focuses on practical material that is useful for students in understanding and memorizing the structures of motion needed for further exercise in movement techniques (sitti rahmah, yusnizar, & rahayu, 2019). meanwhile, learning dance using website media will be more flexible in providing the learning resources needed by students, both knowledge and skills. various learning resource materials in the form of text, audio, and social audio can be accommodated and organized in a website-based learning media space (anderson, 2012a). usability and accesibility the nari kuy website users targeted in this study were high school students. the device requirements needed for website users are computers, laptops, tablets, or smartphones connected to the internet network. therefore, students can easily access dance material textually and audio-visually on the website. the nari kuy website has a way of working that is easy for students to access by accessing it via a link https://narikuy.wixsite.com/website. even though the target users of this website are high school students during the trial, in its implementation, it can also be used by other users who need information and knowledge related to dance material contained on the website. there are several ways that users can access the nari kuy website. the first thing to do is determine what devices will be used to access the website such as computer devices (pcs), laptops, ipads / tablets, and smartphones. the nari kuy website’s software can use windows, dos, android, and ios. users can choose any browser to run the nari kuy website system. however, because this website is free, users cannot immediately search for the https://narikuy.wixsite.com/website https://narikuy.wixsite.com/website harmonia: journal of arts research and education 21 (1) (2021): 178-191182 name nari kuy on search engines such as google chrome, mozilla firefox, internet explorer, uc browser, opera mini, and browser. users can only access this website by entering the link (url) of nari kuy. supporting tools for accessing the website link are described in table 1. visual design of the nari kuy website one of the reasons for developing this website is the low learning interest of students in participating in learning dance art at school, especially class xi students at the high school level (sma). therefore, the designs made on this website pay attention to the quality of appearance to attract high school students to take dance lessons. this website design has a color composition, graphic layout, and presentation of contents from the textual and audio-visual side which is made interesting and unique to attract students’ interest to visit the website as a source of internet-based learning literacy. dance material on the nari kuy website the dance material content displayed on the nari kuy website is divided into two main parts: (1) a textual display of dance material and (2) an audio-visual display of dance material. the two displays of dance material are intended to solve students’ learning problems in finding the teaching resources needed in school dance learning. dance material textually contains basic knowledge of dance such as elements of dance movements (space, energy, and time), concepts and theory of dance composition, concepts of dance criticism, how to do dance criticism, important things that must be considered in making dance criticism, how to create creative dance, and how to design dance performance activities that can be applied in schools. the appearance of the website on textual material is as shown in figure 1. figure 1. website display on the textual material page (source: gaung rizki gustiaji, 2020) meanwhile, the audio-visual material page displays several video materials for local and indonesian traditional dance selected according to high school students’ learning needs. access to video material on this website is also linked to dance material on youtube so that students can have themselves according to their respective teaching material needs. website display on audio-visual material as shown in figure 2. figure 2. website display on video material pages connected to youtube (source: gaung rizki gustiaji, 2020) table 1. supporting tools for accessing the nari kuy website hardware software operating system (os) browser personal computer (pc) laptop ipad / tablet smartphone windows dos android ios google chrome mozila fire fox internet explorer uc browser opera mini browser frahma sekarningsih et al., wix web-based dance learning media to support teaching in 183 compability the software that is used to develop websites in this study is wix.com that can be accessed through the google chrome browser. this software is based on considerations of assessments from various sources that state it is very good in terms of reliability, price, ease of use, support, and features. as for the administrator, this study used the hardware and software to sustain the development and operation of the website. the hardware specifications used are as described in table 2. table 2. computer spesification/laptop asus x441u hardware spesification processor intel core i3 ram 4 gb hard disk drive 1 tb operating system windows 10 vga intel(r) hd graphics 520 functionally school art learning aims to shape students’ skills so that they have abilities and skills following the art subjects given by the teacher (budiman, nugraheni, & purnomo, 2020). the development of the nari kuy website is carried out to provide alternative dance learning solutions in developing dance learning media that utilize technological literacy as a learning resource. the nari kuy website was developed by paying attention to the pedagogical aspects of technology needed as a dance learning medium (anderson, 2012a; li, zhou, & teo, 2018; ostashewski, reid, & ostashewski, 2016). the concept of this website is in line with the development of internet-based social media which has long been popular in the world and indonesia. through this digital technology-based media, students can easily recognize, use, and utilize it in learning dance (dania, hatziharistos, koutsouba, & tyrovola, 2011; mabingo, 2015; risner & anderson, 2008). the development stage of the nari kuy website and the effectiveness of the application in learning the development stage of the nari kuy website the website name of nary kuy means an invitation to dance aimed at teenagers. the word ‘nari’ comes from the word ‘dance’ (menari in bahasa) which is often used in everyday language; then it is simplified to become ‘nari’. meanwhile, the word ‘kuy’ is a ‘slang’ language that is often spoken by young generation z or millennial adolescents. the word ‘kuy’ itself comes from the invitation word ‘ayo’ which was later simplified to ‘yuk’ and is now familiarly reversed to ‘kuy’. the researcher uses the name so that it is easy for high school students to remember who often use simple slang. the detailed development of the nari kuy website is carried out in 12 stages which include: (1) the stages of accessing wix.com; (2) the email address registration stage; (3) the stage of selecting the type of website; (4) the stage of selecting a website creation method; (5) the stage of selecting the type of website; (6) the stage of selecting the website name; (7) image and text insertion stage; (8) the information review & edit stage; (9) the stage of selecting the website theme; (10) stages of editing the pc display; (11) the editing model display stage, and (12) the website publishing stage. expert validation before the nari kuy website is applied in dance learning, it is validated first by experts who are competent in their fields from academics, teachers, and itbased media practitioners. the validation stage is carried out to provide an assessment of the website being developed. the assessment of the components of the website includes five aspects, namely: (1) the overall design of the website appearance; (2) the engineering of the software for acharmonia: journal of arts research and education 21 (1) (2021): 178-191184 cessing the website; (3) the ease with which students understand dance on the website; (4) the uniqueness of the presentation of the website from the initial appearance (home page), and (5) the use of the website as a source of digital technology literacy in dance learning. in the website content component, an assessment is carried out on the following aspects: (1) the design of dance material on the website; (2) clarity of dance; (3) the relevance of the dance material on the website with the material taught in dance lessons; (4) the uniqueness of the dance material on the web; and (5) clarity of text, images, and video material about dance displayed on the website. the results of the assessment on these two components are summarized in table 3. based on these data, it shows that the score for the assessment of it experts on the devices developed is an average of 88.4. while the assessment of dance material experts on website content is an average of 91.4. based on the results of this assessment, it shows that the media developed has very good criteria so that it is suitable for use in learning dance at school. although it experts give some critical suggestions for the improvement process, such as (1) instructions for using the website need to be clarified by adding images in each theme or content that will be accessed by students; (2) the resolution of text and images needs to be strengthened; (3) the use of the font color for each feature and theme needs to be clarified so that it does not overlap; (4) the layout of the letters (text) and images needs to be regulated and the level of legibility is taken into account. meanwhile, suggestions for improvement from the assessors of the website content components include: (1) clarifying the content of the text to be able to explain the dance subject matter to be delivered in the lesson; (2) choosing dance images that are more able to stimulate students’ creative thinking; (3) increasing the adequacy, breadth, and relevance of dance material based on the existing learning curriculum. the trial of the nari kuy website the website trial stage was carried out at one of the high schools (sma) in bandung, west java. the sample of the trial was 34 students who were in class xi. the trial implementation was carried out on students who took part in learning dance. the trial process was carried out table 3. aspek dan hasil penilaian terhadap perangkat dan konten website nari kuy aspects of assessment of website tools score overall design appearance 87 software engineering for accessing the website 85 students’ ease in understanding dance materials on the website 90 the uniqueness of web presentation from the initial appearance (home page) 88 the use of website as a source of digital technology literacy in dance learning 92 total 442 mean (average score) 88,4 aspects of assessment of website content design of dance materials on the website 91 clarity of dance materials 89 the relevance of dance material on the website with the material taught in dance learning 92 the uniqueness of content of dance material on the web 92 the clarity of text, images, and video material about dance displayed on the website 93 total 457 mean (average score) 91,4 frahma sekarningsih et al., wix web-based dance learning media to support teaching in 185 for 24 weeks totaling 12 hours of lessons which were completely carried out online using the developed website. the website developed during the learning process is used as a source of digital technology literacy that students can access through various technological devices owned by students and school facilities such as computers, laptops, tablets, cellphones, and other technological media devices. student assessments of the nari kuy website that were carried out after the implementation of the trial are described in table 4. based on the data, the results of the trial showed that the assessment of the clarity of the instructions using the website was 11.76%, and students rated it as adequate, 55.88% considered it good, and 32.35% considered it very good. assessment of the aspect of student ease in accessing the website was 5.88%, and students rated it as adequate, 70.58% rated it good, and 23.52% rated it very good. assessment of the relevance of the dance material on the website with the material taught in dance learning was 5.88% and students rated it as adequate, 79.4% considered it good, and 14.7% considered it very good. assessment of the aspects of the students’ ease of understanding dance on the website was 17.64% and students rated it as adequate, 44.11% considered it good, and 38.23% considered it very good. assessment of the uniqueness of the web presentation from the initial display (home page) was 2.94% and students rated it as adequate, 41.17% considered it good, and 55.88% considered it very good. assessment of the uniqueness of the content of dance material on the web was 2.94% of students rated it as adequate, 26.47% rated it as good, and 70.58% rated it very good. assessment of the clarity of the text material, images, and videos about dance displayed on the website was 5.88% and students rated it as adequate, 20.58% rated it as good, and 73.52% considered it very good. furthermore, the assessment of the aspects of the use of the website as a source of digital technology literacy in dance learning was 2.94% and students rated it as adequate, 38.23% considered it good, and 58.82% considered it very good. based on all aspects of the assessment, if added together, 46% of students rated it very good, 47% of students rated it good, and only 0.7% rated it on adequate criteria. advantages and disadvantages of the nari kuy website the website integrates the concept of learning dance with technology. this concept is in line with birringer (2002) regarding the integration of modern dance and technology when teachers and choreotable 4. student assessment on the nari kuy website aspects of assessment measurement scale 1 2 3 4 clarity of instructions using the web 4 19 11 student ease of accessing the website 2 24 8 the relevance of the dance material on the website with the material taught in dance learning 2 27 5 student ease in understanding dance on the website 6 15 13 the uniqueness of the web presentation from the initial appearance (home page) 1 14 19 the uniqueness of the content of dance material on the web 1 9 24 clarity of text, images, and video material about dance displayed on the website 2 7 25 the usefulness of the website as a source of digital technology literacy in dance learning 1 13 20 description: 4 = 76-100 (very good); 3 = 50-75 (good); 2 = 25-49 (adequate); 1 = 0-24 (poor) harmonia: journal of arts research and education 21 (1) (2021): 178-191186 graphers try to promote their work. dance videos are made accessible to students through technology. the use of websites in dance learning has become an effective learning strategy for students (mcdougall & jones, 2006; parrish, 2007). the concept of web-based learning is closer to social learning theory. this is of course, different from the use of other dance learning media such as videos, for example. as done by tomczak (2011), the more so, who only uses video to evaluate the progress of dance learning practices that occur during the dance learning process. the role of technology media can be used in the learning process to collaborate technology with student work in a live performance (brooks & kasra, 2017). ). however, in the context of this research, digital technology is used in designing websites which, based on their characteristics, are considered suitable for online learning. the website application has also been used by dias et al., (2019) in learning dance for blind students. however, the function of the website in the context of learning dance is only used by teachers to visualize the movements made by students. there are several advantages and disadvantages of implementing the nari kuy website in dance learning for further development considerations. some of these important things are summarized in table 5. even though there are some disadvantages, the website-based learning media developed are very suitable for the current learning culture of students. this is in line with the support and development of facilities as well as the tendency for students’ learning methods to be mostly carried out using technological media such as the use of smartphones (divayana, suyasa, & sugihartini, 2016). in addition, the use of the nari kuy website as a dance learning medium provides flexibility for students, including (1) all students (users) can register (sign up) to become members of this dance learning website; (2) students (users) can log in to the dance learning website at any time; (3) students (users) can easily understand and take advantage of the menus on the website; (4) students (users) can study dance art material online coherently; (5) students (users) can download images in the learning material; (6) students (users) can access or view videos to be appreciated; and (7) students (users. conclusion the nari kuy website is one of the innovations offered by researchers to dance teachers in carrying out dance lessons in high schools (sma) during the pandemic. this website can be used as a breakthrough in developing technology-based learning literacy resources that students can use in doing online learning. it is different from table 5. advantages and disadvantages of dance learning through the nari kuy website advantages disadvantages students can study dance material both inside and outside class hours. students can choose dance material according to the needs of the dance material that is being and will be studied. students can access the website link with their technology media devices such as computers, laptops, tablets, and cell. the nari kuy website can be used as a source of additional dance material and the dance material given in class. dance material on the website can be updated according to learning needs. they are educating students to be able to use technology positively in learning process activities at school. a strategy is needed to control how students learn. the achievement of student learning outcomes will be largely determined by the motivation and independence of students in learning. clear instructions are needed to guide student learning activities when using the website. there is limited space for interaction and discussion between students and teachers in discussing the dance material being studied. frahma sekarningsih et al., wix web-based dance learning media to support teaching in 187 the technology-based learning media that teachers and students generally use in the implementation of dance learning in schools so far. the nari kuy website has several advantages and flexibility in access that students can use to find sources of dance learning material in both textual and audio-visual form. according to the curriculum, the nari kuy website is equipped with several learning menu features such as dance pictures, dance learning videos, and dance learning knowledge text materials. in addition, this website pays close attention to the pedagogical aspect, which is different from other art and cultural information websites on the internet. therefore, the use of the nari kuy website in dance learning and a means of technology literacy education for students in utilizing technology as a learning resource. acknowledgment in this section, we would like to express our gratitude to all those who have helped complete this research until a published research article. gratitude is conveyed to the department of dance and lppm, universitas pendidikan indonesia, who have provided financial support to complete this research activity. 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(2021). the development of web based inquiry as online science inquiry environment. journal of physics: conference series, 1806(1), 12141. iop publishing. 168 popular banjar song: study on music form and media culture sumasno hadi, sulisno universitas lambung mangkurat, indonesia submitted: 2021-03-02. revised: 2021-04-26. accepted: 2021-05-29 abstract technological developments in society and their social practices contribute to the popularity of folk songs. in this regard, this study aims: (1) to analyze the form of popular banjar song music, and (2) to analyze the discourse and culture-media context that underpins the popularity of the banjar song. this research was conducted using qualitative methods with data collection strategies including observation, document studies, questionnaires, and interviews. in the aspect of content, analysis of the form of music is carried out in stages: (1) notating the popular banjar song document; (2) analyzing the form/structure of the music; (3) presenting the elements of the music form, and (3) making conclusions. meanwhile, in studying the culture-media discourse on popular banjar songs, it is carried out using the pierre bourdieu’s social practice approach which focuses on the concepts of habitus, capital, and the cultural field. based on the analysis that has been carried out, it is known that popular banjar songs have basic forms with three variations, namely the form of one part (a), two parts (ab), and three parts (abc). however, it shows that most of the songs that exist are in the form of two parts, with a tendency to use major tonality. this finding confirms that the popular banjar song is a product of mass culture, namely artworks produced from the popular culture ecosystem. in this study, it is also found that social and symbolic capital in the popularity of the banjar song becomes a social practice that takes place in the cultural field of the people of south kalimantan. the cultural field is a social space for cultural agents to actualize the popularity of the banjar song. keywords: banjar song, music form, cultural studies, symbolic capital, habitus how to cite: hadi, s., & sulisno. (2021). popular banjar song: study on music form and media culture. harmonia: journal of arts research and education, 21(1), 168-177 harmonia: journal of arts research and education 21 (1) (2021), 168-177 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i1.29349 yibi et al., 2015), it is known that there are four regional song titles in south kalimantan which are often used as learning materials in schools and research study materials, namely songs: (1) “ampar-ampar pisang”, (2) “paris barantai,” (3) “saputangan bapuncu ampat”, and (4) “anak pipit.” in many choir competitions, for example, both at the national and international levels, the song “paris barantai” is the banjar folk song that is most often used for arrangements. one of them is an arrangement in the form of a choir by ken steintroduction as has become common knowledge, there are not many folk songs in the province of south kalimantan (banjar) that are recognized and can be appreciated by the wider community. this can be seen if you look at the list of south kalimantan regional songs used in schools’ learning. from various teacher learning practices in schools and many studies that other parties have carried out (maryanto, 2013; maulida, 2020; sipahutar et al., 2015; thocorresponding author: e-mail: sumasno.hadi@ulm.ac.id p-issn 2541-1683|e-issn 2541-2426 sumasno hadi & sulisno, popular banjar song: study on music form and media culture169 ven (sakinah, 2018) which was presented by the padjadjaran university student choir in the “54th international competition of choral singing” in austria in 2017 which won first place in the folksong category and second place in the choral work category. the initial study of this research also strengthens the popularity of the four banjar song titles above. through the questionnaire that we have conducted, we have obtained 41 banjar song titles that are best known and appreciated by the people of south kalimantan. the four song titles mentioned above are included in the most popular category. from the data analysis of the questionnaire results regarding the popularity of the banjar songs that we did, a list of the most popular banjar songs in south kalimantan’s perception can be compiled. namely, as many as 14 song titles, which are dominated by songs created by anang ardiansyah. in studies that other parties have carried out, it is known that studies on banjar folk songs are mostly carried out from the linguistic and anthropological sides. namely, the exploration of the contents of certain cultural values and meanings in the song lyrics. for example, banjar songs by anang ardiansyah have been studied in the context of the discourse in the song lyrics (khadijah, 2019; nasrullah & ruswinarsih, 2019). another perspective that is quite important and has never been used in explaining popular banjar songs is the study of popular culture media. this discourse is interesting because this kind of study can see the link between the development of the banjar song and the system of its industrial society. through the study of popular culture, as stated adorno, the ideologies and motives behind the interests of the cultural industry that have an impact on the compromise and uniformity of producers can be explored and explained (strinati, 2007). the image of compromise and uniformity is assumed to be the “ethnic taste” of the public of banjar songs. this can explain the dominance of the popularity of anang ardiansyah’s banjar songs in public perceptions. in the discourse of the culture industry/popular music, the entity of banjar songs can also be assumed to function as a “social glue” for the people who support it. this means that the form of banjar songs is a popular type as an ideological product of its culture industry, in which it contains a kind of “technique” that is used to understand the conditions and at the same time its social aspirations. as adorno argues (storey, 2010), the social glue function of popular songs as in popular banjar songs, can occur because of the characteristics of the content of popular songs which tend to offer relaxation. the producer of the popular music industry by offering relaxation through songs to the public has made popular songs something that is deemed necessary. this can be understood because the characteristic of popular songs seems to be a medium that provides imaginations of happiness, resolution, and even reconciliation of daily life problems in society. from the convenience that the popular song/ music offers, one of the impacts is to make the audience stop thinking critically about the harsh and meaningless realities of capitalist society (strinati, 2007). on the other hand, popular song lyrics are thought to have more meaningful themes and content when social and economic conditions threaten (pettijohn tf & df., 2009). this kind of discourse is interesting and relevant to the topic of the popular banjar songs in south kalimantan, especially from the 1980s to the 1990s. the conditions at that time were that natural resources and the environment in south kalimantan, in reality, were quite critical and vulnerable, for example, in the reality of environmental damage to forests and rivers since the 1980s (subekti, 2016). as far as we have observed, studies on banjar songs from south kalimantan that have been carried out by other parties mostly use a pedagogical perspective, namely applying them to the development of learning practices in schools. of course, harmonia: journal of arts research and education 21 (1) (2021): 168-177170 it also includes the perspectives of social science, anthropology, and linguisticsphilosophical, as previously mentioned. previous studies of this kind have focused more on the formulation of certain meanings based on the lyrics of banjar songs (hadi & saputra, 2021; humaidi, 2016; khadijah, 2019; mahmudah, 2016; nasrullah & ruswinarsih, 2019; rohliyani, e., zulkifli, 2019). a musicological analysis of the music form of banjar songs has never been carried out in-depth. then, the culture-media study approach to analyze popular culture discourse on banjar songs intensively has never existed. therefore, the two perspectives chosen in this study (the music form and the media-culture study) are relevant to do and have a value offering scientific novelty. thus, it can be stated that the two objectives of this study are (1) to find the music form of popular banjar songs and (2) to explain the culture-media discourse, which is quite significant for the study of popular music in indonesia, especially in the object of popular regional songs. method the study of popular banjar songs was conducted based on a qualitativedescriptive paradigm. the data collection strategy was carried out by observing the phenomenon of the development of popular banjar songs, document studies (audio, video, musical score, and literature), questionnaires distributed to 50 respondents, and interviews with relevant resource people (selected purposively), such as musical figures, musicians, singers, and connoisseurs of popular banjar songs. the research was conducted in south kalimantan from 2020 to early 2021. analysis and interpretation of research data were carried out using an interactive model consisting of three lines: data reduction, data presentation, and concluding (miles & huberman, 1994). meanwhile, in analyzing the content of music, a music form theory framework (prier, 2017) refers to elements of music or song structure, which include sentences, motifs, periods, commas, symmetrical, musical phrasing, and song harmony. these stages are carried out in the following order: (1) notating the 14 popular banjar songs; (2) analyzing the form/structure of the music; (3) presenting the elements of the music form, and (4) making conclusions. analysis of the culture-media study of popular banjar songs uses the constructive structural approach (social practice) of pierre bourdieu, with a focus on the concepts of habitus, capital, and field. some of the data validity testing techniques for this study were carried out by extending the participation of researchers, the persistence of observations, triangulation, member checking, expert discussion, and referential adequacy. result and discussion concept of popular banjar songs the discussion about popular culture, especially popular music, has become a debate in academic knowledge. the debate covers the definition of popular music to its relation to the media. the question “what is popular music” is full of complex concepts. one party can define popular music based on the song concept/folk songs, that all songs are folk songs. that is, all music is popular music, even though it is only popular in certain circles (middleton, 1990). this concept is debated because it does not have clear boundaries, for example, about certain music categories. on the other hand, many music critics think that the main key to the definition of popular music is its commercialization value (shuker, 2005). from this perspective that seems more relevant, music can be said to be popular music when the music has a commercial orientation. this does not mean that the commercial aspects of popular music or songs are always the main thing, but rather the properties that can be enjoyed by large audiences (mass culture). based on this conception, music or song can be said to be of the popular sumasno hadi & sulisno, popular banjar song: study on music form and media culture171 type, but at other times it is not. even so, the popularity of music or song is still having problems, given the value of popularity that is sectoral or not universal. song charts and air-play radio, for example, will vary in each medium. one favorable conclusion to strengthen the conception of the popularity of a music/song with material value is by attaching the conditions for the music/song recorded. in addition, both the musicological and the socio-economic approaches agree that popular music has several characteristics. among them is the hybridity of traditions, styles, musical influences, and it can be an economical product that is invested in the ideological interests of its consumers (shuker, 2005). through the discussion above, the banjar song in this study can be very convincing to enter the concept of popular music. namely with its main supporters, as musical works recorded, mass-produced, can reach a wide audience, and have commercial value (sadie & tyrrell, 2001; shuker, 2005). it should be emphasized here that, the concept of “popular music” is not in the sense of “genre” of music: “pop”. this is because popular music is often a term used outside the academic field to refer to music as mentioned above. as for “pop music”, it is often seen as the boundary of a music genre that utilizes mainstream media channels. the popular banjar song in this study is not classified in the definition of “pop music”. music forms of popular banjar songs based on the analysis of music forms that have been carried out, it is known that popular banjar songs tend to be in basic forms, with variations in the form of one part (a), two parts (ab), and three parts (abc). as with the trend of popular song forms in general (middleton, 1990; sadie & tyrrell, 2001; shuker, 2005), most of the popular banjar songs are two-part songs. these popular banjar songs are also known to tend to use the tonality of major. this kind of tendency certainly describes the character of the popular banjar song as a product of mass art or artwork produced from the ecosystem of popular culture. musicologically, this tendency is indeed a characteristic of everyday musical forms, such as children’s songs, folk songs, and popular songs (prier, 2017). the following is a list of the results of the analysis of the music form of the 14 most popular banjar songs (table 1). based on the results of this analysis, to clarify the structure of the existing song forms, the following is an example of the results of the analysis of the song “pambatangan” in the form of two parts that use major tonality and have a symmetrical pattern (figure 1). pambatangan figure 1. the melodic notation and the structure of the parts of pambatangan habitus, capital, and cultural field habitus, as the main concept in bourdieu’s constructive structural theory, is a system of disposition, which is in the form of various permanent attitudes that are used to become, see, act and think, or as a long-term schematic system of perceptions, conceptions, and action (bourdieu & novenanto, 2018). habitus is a form of attitude or behavior in a social environment. traditionally, habitus is a character formed harmonia: journal of arts research and education 21 (1) (2021): 168-177172 by the community’s environment, but it is not natural because it is more shaped by learning and social-historical experiences. in practice, habitus can be in the form of skills and actions in certain ways such as a lifestyle, which stands on the unconscious/non-reflective. habitus is not produced by rational reason but rather by impulsive decisions. therefore, the form of habitus can be in the form of emotions, tastes, and can even become a philosophy of life. habitus is what then produces a particular social practice strategy (bourdieu, 1990). this habitus position will find its form in what bourdieu calls the cultural field. the concept of this field is similar to a cultural field or space where social actors “compete” to obtain cultural capital (lubis, 2014). thus, the prevailing social practice in bourdieu’s theory occurs on the accumulation of habitus with capital in certain areas. bourdieu’s theory of social practice can be formulated in the equation in figure 2 below. figure 2. bourdieu’s equation of social practice theory in the case of the popularity of banjar songs as a social practice, it can be assumed as an accumulation of the habitus with a cultural capital in the song, which is in the field of its formation. the critical table 1. song titles, music forms, tonality, and popular banjar song categories song titles music forms tonality (harmony) symmetric-nonsymmetric ampar-ampar pisang two parts (a-a-b) g mayor symmetric paris barantai one part (a-a) f mayor not symmetric pambatangan two parts (a-a-b-a) d mayor symmetric uma abah two parts (a-a-b-a) f mayor not symmetric halin two parts (a-a-b-b-a-a) f mayor symmetric sanja kuning three parts (a-b-c-b) d mayor symmetric kambang goyang two parts (a-a-b-b) f mayor symmetric sangu batulak two parts (a-a-b-b-a) d mayor not symmetric in motif 2 (a’) sungai martapura two parts (a-a-b-b) d mayor not symmetric sapu tangan bapucu ampat two parts (a-a-b-b) c mayor not symmetric pangeran suriansyah two parts (a-b-b-a) c mayor not symmetric mancari si jantung hati one part (a) c mayor not symmetric baras kuning two parts (a-a-b-b) f mayor symmetric anak pipit two parts (a-a-b-b) f mayor symmetric sumasno hadi & sulisno, popular banjar song: study on music form and media culture173 question is, how are the habitus and cultural capital behind the popularity of banjar songs? what cultural field supports the popularity of banjar songs as a social practice? the following is a review of these two questions. it is known that the song “paris barantai” by anang ardiansyah in the public view has the highest level of popularity. this song directs the figure of anang ardiasnyah as an important subject in the discourse of banjar songs in a broad sense. at this point, the habitus of the popularity of banjar songs will point to popular music culture as a social system. as shuker (shuker, 2005), “said, the “character” of popular music is the value of hybridity which then becomes an economic product so that it can be invested in the ideological interests of its consumers. habitus of banjar song’s popularity as a social system also needs to be seen in the building structure. the habitus system is a dialectic synthesis between objective structures and subjective phenomena (siregar, 2016). thus, the interaction between objective structure and subjective phenomena on the popularity of the banjar songs can be assumed as its habitus. in the objective structure, the popularity of the banjar songs will refer to two elements which at the same time become its capital/resource, namely: (1) the value of identity kebanjaran (banjar culture) internalized in; (2) banjar language. regarding the subjective phenomenon of the banjar songs’ popularity, the power relation to songwriters as cultural capital (social and symbolic), will then become a social practice for the south kalimantan public as a cultural field. discourse on identity and language one of the materials that can be used as an economical source in the popular music industry is regional identity and regional language material. music with regional languages has a big market opportunity. the banjar language has a large number of speakers. from the 2010 bps population census data, for example, the banjar ethnic group in indonesia is known to have a population of 4,127,124 people. of these, 2.7 people live in south kalimantan province, 1 million people outside south kalimantan province, and 500 thousand people outside kalimantan island (badan pusat statistik, 2010). this amount is large enough to become a consumer of banjar song music in the banjar language. thus, banjarese language music can also be part of the diversification of popular music products, with banjar ethnicity as the cornerstone of the market. for example, banjar songs by anang ardiansyah have been accepted by the banjar community as “common property” so that they are seen as representing the expression of the cultural identity of the banjar people. the regional identity in the banjar songs, which was initially subjective, is not permanent. from the 1980s to the 1990s, the popularity of banjar songs was represented by songs by anang ardiansyah which had certain musical characteristics. in the 2000s a different musical form emerged. for example, the musicality of the banjar song is more “modern” in the album “gawi manuntung” by the music group jef in 2019. in this era, banjar songs also appeared with a developing musical form, such as dangdut songs by nanang irwan and jazz musicality in this era. dino sirajudin and his group arranged banjar songs. apart from the musical aspect, the discourse on regional identity in the banjar songs needs to be traced to its industrial distribution media. in general, the media for the popular music industry in the 1980s to 2000s, the form of a cassette tape, cd (compact disc), and vcd (video compact disc), was the main one. in this kind of media, the visual packaging of banjar song recording media is very much filled with the visualization of banjar cultural identity. the visualization of tape covers of banjar songs produced by the suryanata record company (figure 3.) puts forward the banjar cultural identity through the visualization of banjar people’s traditional clothes and houses. things like this, the visualization of banjar cultural identity through harmonia: journal of arts research and education 21 (1) (2021): 168-177174 traditional clothing can also be seen on the cd cover visual of jef’s “gawi manuntung” album (figure 3). in addition to the visual of traditional clothing, other forms of visualization of banjar cultural identity were also found, namely the visual motif (cloth craft) of sasirangan on the cover of the tape of nanang irwan’s dangdut banjar song. in this visual (figure 4), you can see the shape of a triangle and a parallelogram (part of the various motifs of cloth crafts sasirangan and ornaments of banjar traditional house carvings) on the edge of the cassette cover. it is known that cloth sasirangan has become the cultural identity of banjar people, especially the people of banjarmasin city. figure 3. pictures of banjar traditional houses and clothes as a visualization of banjar cultural identity in the cover of the banjar song cassette produced by suryanata record (left) and the cover of the cd “gawi manuntung” by jef (right) based on the previous review, it is clear that the musicality aspect as an expression of identity kebanjaran in the banjar song is dynamic. this is different when seen from the language aspect. although objectively speaking, the banjar language practice in its users’ speech is dynamic, which affects the banjar language’s form in the banjar song lyrics, subjectively there is a value in the banjar language which can be said to be “essential.” essentialism of kebanjaran in banjar song lyrics is evident in the public’s view of south kalimantan, which is dominated by the view that the lyrics of the song should be in banjaranese language, with a particular linguistic form (hadi & saputra, 2021). the phenomenon of banjar songs in the 2000s that used certain banjar lyrics was often considered not to speak banjar in an ideal way. this has led to the public view of the banjar song, that the banjar song of the present era lacks banjar cultural value. discourses on regional identity politics in the banjar song add discourse material to popular culture studies. in other areas, similar discourses can be found. in the phenomenon of popular music in the bali area, for example, there is a competition for the maintenance of regional language forms with freedom of artist expression (ardini, 2017). figure 4. banjar’s regional identity is seen in the picture of the motif of the cloth sasirangan and the banjar traditional house ornament (triangular shape and parallelogram) on the cover of nanang irwan’s banjar dangdut tape cassette cover. social-symbolic capital and cultural field “paris barantai” as the most popular banjar song in the public view, is known to have been recorded for the first time by anang ardiansyah with the music group orkes rindang banua (active in surabaya) in the form of phonograph records or vinyl in lokananta (solo city) around 1959 sumasno hadi & sulisno, popular banjar song: study on music form and media culture175 (syaifullah, 2008). then the distribution on the national broadcast of rri (radio republik indonesia) has delivered this song to more mass audience reception. in that era, the popular music recording industry in indonesia still used vinyl media. in the late 1960s to 1990s, music recording companies in indonesia switched to recording the cassette tape media, replacing the vinyl media. in the area of south kalimantan, especially banjarmasin city, in the 1980s, there was a music recording company that produced cassette tapes (ardasa, 2018), namely suryanata record. from 1983 to 1995, suryanata records was known to have produced approximately 40 albums of banjar songs in cassette form, most of which are songs composed by anang ardiasnyah. in the decade of the 2000s, the popularity of “paris barantai” is getting bigger. this is related to the re-arrangement done by the music group radja in the album “journey to banjar” in 2015. the music group radja has a special position for the people of south kalimantan because of its important position in the national music industry. the public often refers to people who have entered the national entertainment industry as “artists” (meaning celebrities). one of the benchmarks for a person to be called an “artist” (celebrity) is having appeared on television broadcasts nationally. seeing the popularity of the banjar song as in the case of the song “paris barantai” which is related to the social capital of the actor (agent), both the author and the recording industry network such as the figures of anang ardiansyah and the radja group, this reinforces that social capital is connected to the symbolic capital brought by the social agent. specifically, this social capital can be seen in the knowledge and experience capital of banjar song agents. this can be seen in the social capital of anang ardiansyah, who started his musical career in java. as a soldier, at that time he had significant social-symbolic capital, that his military assignments in various areas outside south kalimantan such as bandung, cirebon, surabaya, makassar, and balikpapan, clearly added to his social capital load. anang ardiansyah’s profession as a soldier, activist of the golkar party, and later as a local government bureaucrat (deputy chairman of the north hulu sungai regency dprd in 1999-2004) was a special position during the new order era. prestige and symbolic reputation like this work in the social practice of banjar song. this practice certainly takes place with a supporting factor, namely the public’s trust in the intended symbolic quality (bourdieu, 1991), in this case, a character like anang ardianysah. like anang ardiansyah, another important banjar song figure who has social capital is hamiedan ac. hamedan is known as a music artist who has knowledge and experience in jakarta. hamiedan ac then added to its social-symbolic capital by establishing a hamico record company in kandangan city (hulu sungai selatan regency) in the 1980s. in this phenomenon, social capital is indeed built from social networks that can then be converted into economic and cultural capital to actualize (bourdieu, 1986). apart from the social capital of the artists’ agents and their music industry networks, one agent who has also contributed to the popularity of the banjar song is the political authority, in this case, the local government. as the discourse on regional identity in the banjar song that has been discussed earlier, this discourse is also supported and echoed by the regional government of south kalimantan. starting from the provincial to district level governments in south kalimantan, their various activities and policies pay a lot of attention to the banjar song. several records of banjar songs are known to be supported by the local government. physically, this can be seen in the appearance of the local government logo on the cover visual of the cd album “journey to banjar” of the radja group and the album “maragap nang anum” from taman budaya of south kalimantan province (see figure 5). one closely related case is the phenomenon of the harmonia: journal of arts research and education 21 (1) (2021): 168-177176 banjar singing and songwriting competition organized by the local government in south kalimantan. one of them is a banjar song singing competition organized by the barito kuala regency government (see figure 6). figure 5. the support of the south kalimantan local government in developing the banjar song can be seen on the logo of south kalimantan province (top corner) of the cover of the banjar song album, the music group radja (left) & the album “margap nang anum” of taman budaya south kalimantan (right) figure 6. the support of regional government in developing the banjar song appears in the logo of the barito kuala regency government (top left) on the poster of the 2020 banjar song singing competition the discourse of social and symbolic capital in the banjar song above, in the end, can be seen as a social practice that takes place in a cultural field of its people. the cultural field of the people of south kalimantan has become a social space where agents of the banjar song’s popularity compete with each other, through the potential for social and symbolic capital. these capitals have been shown to work on the popularity of the banjar song, as in the profiles of anang ardiansyah and hamiedan ac, the recording industry’s economic capital, and the social capital of the regional government of south kalimantan. conclusion some conclusions that this study can generate are as follows. first, the musical form or structure of popular banjar songs is simple, mostly in the form of two parts using major harmony tonality. second, based on bourdieu’s analysis of social practices, it is found that the habitus of banjar song popularity has its objective and subjective structure. its objective structure is supported by two social capitals/resources, namely: (1) internalized value of kebanjaran identity (banjar culture) and (2) the banjar language. whereas in the subjective structure, the popularity of the banjar song takes place in the power relation between songwriters (social and symbolic capital) and the public social practice of south kalimantan (the cultural field). acknowledgments we would like to express our gratitude to lppm, lambung mangkurat university, through program dosen wajib meneliti 2020, to support and facilitate this study from start to finish. another party who contributed to this study is the fkip ulm faculty leader, where we worked. finally, for the songwriters, singers, musicians, and connoisseurs of banjar songs in south kalimantan who have supported this study, we would like to express our highest appreciation. references ardasa, s. 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(2015). model pembelajaran kreativitas dan cinta tahah air. the 1st university research colloquium (urecol). joko wiyoso(1).indd 1 kolaborasi antara jaran kepang dengan campursari: suatu bentuk perubahan kesenian tradisional joko wiyoso universitas negeri semarang, kampus sekaran semarang email : jokowiyoso1962@yahoo.com abstrak tujuan penelitian ini adalah untuk mediskripsikan bentuk dan materi pertunjukan kesenian kuda kepang turanggasari. metode penelitian yang digunakan adalah kualitatif deskriptif. hasil penelitian menunjukkan bahwa sebagai daya tarik dari sisi pertunjukan, grup ini memasukan campursari ke dalam pertunjukan kuda kepang. perubahan tersebut nampak dari sisi penyaji maupun dari sisi penonton. dari sisi penyaji perubahan terjadi pada materi pertunjukan yakni yang semula materi pertunjukannya sebuah tari, saat ini menjadi tari dan musik. selain materi pertunjukan, perubahan juga terjadi pada unsur-unsur pendukung pertunjukan yang meliputi peraga, tata rias, tata busana, musik, tata suara dan tempat pentas. perubahan yang terjadi adalah penonton yang semula pasif sekarang menjadi penonton aktif. artinya, mereka memiliki kontribusi dalam pertunjukan. abstract the purpose of this study was to describe the form and material art performance of a group of dancers, kuda kepang tutanggasari at tambahsari village, limbangan district, regency of kendal. the research method used was qualitative descriptive. the results showed that to make the performance attractive, the dancers bring campursari in jaran kepang performance. the change is discernible in performer or its audience. in view of the performer, the performance topics changed, from the former dance to the latter dance and music. besides, the change also appears in the supporting properties of the performance including visual aids, make-up, costume, music, sound effects and stage. the change in the audience was that the audience no longer became passive but participating spectators. it means that they has given some contributions to the performance. keywords: jaran kepang, campursari, bentuk perubahan , kesenian tradisional collaboration between jaran kepang (plated horse play) and campursari: an inovation of traditional art pendahuluan di era globalisasi sekarang, dunia seakan tanpa batas yang mengakibatkan informasi dari berbagai bidang dengan cepat dapat diterima dari belahan dunia yang satu ke belahan dunia yang lain. persaingan di berbagai bidang kehidupan juga semakin ketat dan berat, termasuk kesenian tradisional. kehidupan kesenian tradisional ini terasa semakin berat, kalah bersaing dengan tontonan lain baik yang berasal dari barat maupun lokal yang menjanjikan tontonan lebih menarik. akibatnya, kesenian tradional semakin kurang diminati oleh para penonton, sehingga banyak kesenian tradional yang tidak mampu mempertahankan kehidupannya dan akhirnya semakin jarang dijumpai pertunjukannya di masyarakat. fenomena ini menjadi tantangan dan kendala yang berat bagi para pendukung kesenian tradisional tersebut untuk tetap mempertahannkan keberadaannya di masyarakat. mereka dituntut untuk lebih inovatif dan kreatif agar tampilannya tetap diminati masyarakat. kesenian tardisional jaran kepang adalah salah satu dari sekian banyak kesenian taridional yang terdapat di jawa tengah, harmonia, volume xi, no.1 / juni 20112 menurut soedarsono (1998) kesenian kuda kepang merupakan kesenian warisan pra hindu. kesenian kuda kepang yang terdapat di jawa tengah memiliki kesamaan dengan kesenian sejenis yang terdapat di daerah lain. salah satunya adalah di bali yaitu kesenian sanghyang. kesenian ini merupakan tari kerawuhan atau kemasukan. tarian ini di bali merupakan sarana untuk mengundang roh binatang (totem), oleh karena itu namanya disesuaikan dengan roh binatang yang di undang. ketika mengundang rong jaran maka tariannya diberi nama sanghyang jaran, ada lagi sanghyang jobog (kera), sanghyang celeng (babi hutan) dan sanghyang lelipi (ular). di desa tambahsari kecamata limbngan, kabupaten kendal terdapat sebuah kelompok kesenian tardisional kuda kepang turunggosari, kelompok kesenian ini aksi panggungnya mendapat respon yang luar biasa dari masyarakat, terbukti di setiap pertunjukannya selalu dipadati penonton. selain itu, permintaan untuk pentas atau tanggapan di berbagai acara di masyarakat baik dalam acara pribadi ataupun lembaga juga cukup banyak terutama pada bulan-bulan di mana masyarakat sering melaksanakan acara-acara hajatan atau pada hari-hari besar baik nasional maupun keagamaan. sebetulnya kelompok kesenian ini sebelumnya juga mengalami nasib yang sama dengan kesenian-kesenian tradisional yang lain, yakni jarang mendapat undangan pentas yang mengakibatkan aktivitasnya hampir mati. namun, situasi atau fenomena tersebut bagi kelompok ini disikapi dengan rasa optimis dan bukanlah akhir dari segala-galanya. akibat dorongan serta semangat untuk tetap mempertahankan keberadaan kesenian daerah, mereka mencoba mengemas pertunjukannya dengan memasukan campursari, dengan pertimbangan campursari digunakan sebagai daya tarik bagi penonton. ternyata dari usaha tersebut hasilnya sesuai dengan yang mereka harapan, masyarakat bisa menerima dan senang menikmati kemasan baru pertunjukan jaran kepang turonggasari tersebut. berawal dari situasi tersebut maka lambat laun keberadaan kesenian jaran kepang turonggosari mulai dikenal oleh masyarakat secara luas dan tidak hanya terbatas pada desa tempat mereka beraktivitas, melainkan mulai dikenal di desa-desa lain bahkan desa lain kecamatanpun juga mengenal kelompok kesenian ini. memasukan kesenian yang lebih popular di masyarakat ke dalam pertunjukan kesenian tradisioanal yang kurang “diminati” dalam satu pementasan, sudah barang tentu menuntut kecermatan tersendiri dalam mengelola pertunjukannya. hal ini untuk menghindari agar pertunjukan kesenian tradisional tetap menjadi materi pokok pertunjukan tersebut dan bukan sebaliknya pertunjukan didominasi kesenian yang lebih popular. selain itu konsekunsi lain juga muncul, secara ekonomi juga harus memiliki modal awal yang cukup karena jumlah personilnya juga bertambah, perlengkapan pentas juga bertambah. nampaknya permasalahan-permasalahan tersebut ternyata bisa diatasi oleh kelompok kuda kepang turonggosari. menu utama petunjukannya tetap jaran kepang kemudian campurasri dihadirkan sebagai selingan, sehinga pertunjukannya tergarap sedemikan rupa akibatnya para penonton merasa betah dan tidak beranjak dari tempat pertunjukan. berdasarkan paparan di atas, maka masalah dalam penelitian ini adalah bagaimana perubahan bentuk pertunjukan kuda kepang turonggosari di desa tambahsari kecamatan limbangan kabupaten kendal. manusia sebagai makhluk ciptaan tuhan yang maha esa, di muka bumi ini merupakan satu-satunya makhluk yang dilengkapi piranti yang namanya cipta, rasa, dan karsa oleh-nya. berkat ketiga piranti tersebut manusia mampu mengelola kehidupannya bukan semata-mata menuruti insting atau dorongan naluri belaka seperti layaknya binatang. kemampuan manusia mengelola kehidupan tersebut, pada akhirnya bermuara pada lahirnya kebudayaan yang tidak dimiliki makhluk lain selain manusia, dan sekaligus sebagai pembeda antara manusia dengan makhluk-makhluk yang lain di muka bumi ini. hal itu sejalan dengan apa yang didefi nisakan kuntjaraningrat mengenai kebudayaan, yaitu: “keseluruhan sistem gagasan, tindakan dan hasil karya manusia dalam rangka kehidupan masyarakat yang dijadikan milik diri manusia dengan belajar (kuntjaraningrat, 1984). berkat dorongan cipta, rasa, dan karsa, manusia memiliki beberapa karakter seperti joko wiyoso, kolaborasi antara jaran kepang 3 ingin tahu, tidak pernah puas, ingin tampil beda, ingin selalu lebih baik dalam menapaki perjalanan hidupnya, serta karakter-karakter yang lain. karakter-karakter semacam itu pada akhirnya bermuara kepada dinamika tata hidup manusia itu sendiri, yang pada akhirnya berpengaruh pula terhadap kebudayaannya yang secara otomatis ikut berubah pula. atau dengan kata lain, kebudayaan akan selalu dinamis selaras dengan dinamika kehidupan umat manusia itu sendiri. hal ini nampak sepanjang sejarah peradaban manusia di muka bumi ini, kebudayaan makhluk manusia selalu mengalami perubahan selaras dengan tingkat perubahan yang terjadi pada peradaban manusia itu sendiri. perubahan kebudayaan terjadi akibat dari upaya manusia untuk menjaga kelestarian kehidupannya yang lebih bersifat adaptif dari keadaan lingkungan yang tidak stabil, atau terjadinya perubahan-perubahan di dalam hidupnya juga lingkungannya (haviland, 1993). suatu proses perubahan kebudayaan tidak selalu menimpa seluruh unsur-unsur kebudayaan. akan tetapi, bisa jadi hanya satu unsur atau lebih yang mengalami perubahan. diketahui bahwa kebudayaan dari manapun asalnya atau timbulnya, memiliki unsurunsur yang bersifat universal. unsur-unsur tersebut sistem organisasi sosial, sistem mata pencaharian hidup, sistem teknologi, sistem pengetahuan, kesenian, bahasa, dan religi (kuntjaraningrat, 1984). kesenian sebagai salah satu unsur kebudayan juga mengalami proses dinamika kehidupan selaras dengan dinamka yang terjadi pada kehidupan masyarakat pendukungnya. hal ini senada dengan ungkapan umar kayam yang menyebutkan, bahwa masyarakat sebagai penyengga kebudayaan termasuk juga di dalamnya kesenian mempunyai peran sebagai pencipta, pemberi peluang untuk bergerak, melestarikan, menularkan, dan mengembangkan untuk kemudian menciptakan kebudayaan baru (kayam, 1981). ada beberapa faktor yang menyebabkan terjadinya perubahan kebudayaan dalam hal ini kesenian kaena kesenian ada di dalam kebudayaan itu, yaitu (1) karena adanya proses adaptasi terhadap lingkungan yang berubah, (2) karena kebetulan atau adanya pemahaman baru terhadap karakteristik kebudayaannya sehingga menyebabkan perubahan cara menafsirkan nilai-nilai dan norma-norma kebudayaannya, (3) akibat dari terjadinya kontak dengan budaya lain atau asing sehingga menyebabkan masuknya gagasan-gagasan baru, nilai-nilai baru dan yang lain yang akhirnya menyebabkan terjadinya perubahan di dalam kebudayaan itu sendiri. selanjutnya dijelaskan pula bahwa mekanisme yang terlibat di dalam perubahan kebudayaan itu adalah penemuan baru(invention), difusi, hilangnya unsur kebudayaan dan akulturasi (haviland, 1993). poerwanto, (2000) berpendapat bahwa perubahan kebudayan bisa juga dipengauruhi oleh perubahan lingkungan, selain itu juga bisa dipengauruhi adanya suatu mekanisme lain seperti penemuan baru atau invention, difusi dan akulturasi. bentuk adalah wujud (fi sik) yang tampak atau dapat dilihat, bentuk hadir di depan kita secara konkrit sehingga dapat dilihat serta diraba. apabila bentuk tersebut dikaitkan dengan peristiwa berkesenian, kemudian menjadi kata “bentuk pertunjukan”, maka bentuk yang terkandung di dalam kata tersebut dapat dimaknai wujud yang berupa tampilan sebuah kesenian yang dapat dilihat dan didengarkan. mengingat di dalam sebuah pertunjukan kesenian, pasti memiliki materi yang dapat dilihat juga dapat didengar, misalnya pertunjukan tari memiliki materi pokok gerak, namun memiliki materi lain yang terkait erat dengan tari yakni iringan (musik). ada pendapat yang menyatakan bahwa bentuk merupakan keseluruhan hasil tata hubungan dari factor-faktor yang mendukungnya, saling tergantung dan terkait satu dengan yang lain. oleh karena, itu bentuk adalah suatu media komunikasi untuk menyampaikan arti atau maksud yang terkandung di dalam tata hubungan atau alat untuk menyampaikan pesona tertentu dari pencipta kepada para penikmat (cahyono, 2006). lebih spesifi k lagi simatupang (2000) mengemukakan bahwa pertunjukan (performance) adalah peristiwa sosial yang memiliki tiga unsur pokok, yaitu: (1) bersifat terancang, (2) sebagai sebuah interaksi sosial, pertunjukan ditandai dengan kehadiran secara fi sik para pelaku peristiwa dalam sebuah ruang fi sik tertentu, dan (3) peristiwa pertunjukan harmonia, volume xi, no.1 / juni 20114 terarah pada penampilan ketrampilan dan kemampuan olah diri, jasmani, rohani, atau keduanya. ditegaskan pula, bahwa sebuah interaksi sosial, peristiwa pertunjukan selain melibatkan performer atau pemain juga melibatkan audience atau penonton. metode metode penelitian yang digunakan adalah kualitatif. lokasi penelitian ini di desa tambahsari kecamatan limbangan kabupaten kendal. data diperoleh melalui metode observasi, wawancara dan dokumentasi. setelah data-data terkumpul selanjutnya analisis data dilakukan dengan mengacu pada analisis miles dan huberman (1994), yakni proses analisis ini diaplikasikan secara serempak mulai dari pengumpulan data, mereduksi, mengklasifi kasi, mendeskripsikan, menyimpulkan dan menginiterpretasikan semua informasi secara saelektrif. langkah selanjutnya adalah melakukan pemeriksaan keabsahan data, mengacu pada dependabilitas dan konfi rmabilitas (lincoln dan guba dalam jazuli 2001). data yang diperoleh dari metode observasi, wawancara serta dokumentasi, selanjutnya ditafsirkan hingga penarikan kesimpulan melalui pengkajian silang dengan pakar atau teman sejawat. di samping itu, digunakan teknik member cheking yaitu meminta pengecekan dari informan, pemain serta penonton. hasil dan pembahasan bentuk pertujukan sebelum mengalami perubahan pertujukkan kuda kepang turonggosari merupakan perpaduan dari beberapa unsur atau aspek yang membangun menjadi satu kesatuan sehingga mampu menghadirkan sebuah bentuk yang dapat dikategorikan sebuah bentuk pertunjukan. oleh karena itu, untuk membahas atau mengkaji bentuk pertunjukan kuda kepang tersebut akan dikaji berdasar unsur-unsur atau aspek-aspek yang membangun pertunjukan kuda kepang itu sendiri baik dari aspek atau pihak penyaji maupu pihak penonton. penyaji pertunjukan kuda kepang turonggosari secara garis besar dapat dibagi menjadi beberapa babak atau bagian yaitu bagian pembukaan pertunjukan, inti pertunjukan dan penutup pertunjukan. pembukaan pertunjukan adalah kegiatan yang dilakukan sebelum pertunjukan dimulai. kegiatan ini berupa pembacaan mantra-mantra oleh pawang serta penyedian sesaji yang berupa jajan pasar atau makanan yang dijual di pasar seperti buah, kacang tanah rebus, brondong dan lain-lain. kemudian dilengkapi daun sirih, gambir dan injet. selain itu, ada beberapa minuman seperti kelapa muda, kopi, air asam, air kembang, teh dan santan, kemenyan. pembacaan mantra yang disertai sesaji ini dilakukan dengan tujuan untuk meminta keselamatan pada tuhan yang maha esa bagi seluruh masayarakat yang terlibat di dalam pertunjukan tersebut, baik para pemain, warga yamg nanggap juga para penonton dari gangguan mahluk gaib dan orang yang berniat jahat. selain itu juga diharapkan dapat memberi sugesti pada para penonton sehingga muncul rasa senang/suka pada tarian yang disuguhkan. usai pembacaan mantra, diteruskan dengan sajian gending-gending pembuka atau talu, dengan materi gending ladrang wilujeng disusul suluk ada-ada, kemudian dilanjutkan gending salam pambuka dengan tembang gambuh. inti peretunjukan ditandai dengan disajikannya gending srepeg bondo boyo sebagai iringan masuknya kelompok penari putri menuju arena pertunjukan. selanjutnya para penari tersebut menari dengan urut-urutan gerak antara lain, sembahan, para penari menuju arena berputar membentuk lingkaran lalu membentuk baris berbanjar kemudian posisi jengkeng (jongkok kaki kiri menyentuh tanah, tangan kanan ditekuk di depan dada), posisi kepala menunduk lalu ngugel/ memutar memberi salam hormat yang dipimpin oleh ketuanya pada posisi terdepan sambil memgang cambuk/pecut, lalu berdiri melangkah mundur posisi miring sambil memegang kuda yang digerak-gerakan (gerak meneliti kuda) kemudian maju, posisi ini bergantian kanan kiri. gerakan menunggang kuda, lalu memjoko wiyoso, kolaborasi antara jaran kepang 5 bentuk barisan yang saling berhadapan (pethukan) langkahnya maju mundur membentuk silang, selesai pethukan dilanjutkan. liyepan, para penari membentuk formasi lingakaran dengan posisi kuda menunduk, menghadap ke tengah lingkaran. setelah bertemu diteruskan gerakan pisahan melangkah mundur posisi kuda menengadah, lalu gerakan. teposan, para penari melakukan gerakan melompat 3 kali. lejitan, yaitu gerakan kaki kanan keluar masuk. bapangan, yaitu gerakan pacak gulu (menggerakan kepala dari gerakan leher). oyogan, yaitu gerakan jalan miring ke kanan dan ke kiri, lalu lampah/berjalan. mletik, yaitu gerakan melompat–lompat. kacolan kasatrian, yaitu gerakan kaki menggantung membentuk siku-siku. untu walang, yaitu gerakan kuda maju merunduk lalu mundur posisi kuda menengadah formasi penari terpisah menjadi dua.lompat balik, yaitu gerakan tiga langkah berbalik memutar. kiprah sampur, yaitu tangan mengibaskan sampur disela-sela lejitan dan bapangan. kiprah lombo, yaitu gerakan badan ke kanan dan ke kiri disela-sela lejitan dan bapangan. congklangan, yaitu gerakan angkat kaki kanan kiri bergantian. mincek-mincek, yaitu gerakan untuk melemahkan saraf agar kembali semula, dengan formasi memutar lalu membentuk satu baris kemudian secara bersama-sama keluar arena pertunjukan. setelah kelompok penari putri selesai melakukan atraksi tarian, kemudian dilanjutkan selingan lagu-lagu sebagi selingan sebelum kelompok penari putra memasuki arena petunjukan. setelah beberapa lagu selingan selesai, dilanjutkan kelompok penari putra dengan formasi serta urutan gerak yang sama, namun untuk kelompok penari putra biasanya para penari akan mengalami trance atau ndadi. para penari akan tampak mulai ndadi biasanya pada saat melakukan gerakan congklangan. saat-saat para penari mengalami ndadi, merupakan bagian pertunjukan yang paling menarik bagai para penonton karena para penari yang ndadi akan melakukan atraksi seperti makan beling (pecahan kaca), mengupas kelapa, menirukan monyet dan gerakan-gerakan yang lain yang dilakukan dengan gerakan atupun atraksi di luar kesadaran para penari. setelah bagian ndadi ini berlangsung beberapa saat, kemudian para penari yang ndadai disembuhkan oleh pawang sebagi tanda inti pertunjukan berakhir. penutup pertunjukan ditandai dengan srepeg gending ayak-ayak pangkur. lalu, disampaikan kata pamitan pimpinan yang isinya mengucapkan terimakasih atas perhatian dan apresiasi para penonton, sehingga pertunjukan berjalan lancar serta mohon maaf atas segala kekurangannya. unsur-unsur pendukung pertunjukan beberapa unsur yang mendukung pertunjukan kuda kepang turanggosari antra lain (1) peraga, (2) gerak (3) musik, (4) tata rias, (5) tata busana (6), properti, (7) tata suara, (8) tata lampu, dan (9) tempat dan waktu pementasan. para peraga yang terlibat di dalam penyajian kesenian ini berkisar 37 orang terdiri dari, penari terdiri dari kelompok penari putri dan kelompok penari putra, masing-masing kelompok berjumlah antara 8 samapai 12 orang. pemusik dan vokalis, pemusik atau penabuh gamelan teridi dari 10 sampai 12 orang laki-laki, kemudian ditambah 2 orang sinden (vokalis putri) dan 2 orang wira swara (vokalis putra), jumlahnya 16 orang. seorang pawang yaitu orang yang dituakan karena dianggap memiliki kelebihan tertentu yang berguna untuk mengobati para penari yang ndadi (trace). seorang operator soun sistem biasanya dioperatori oleh salah seorang pengrawit (disambi). gerak-gerak tari yang terdapat pada kesenian ini sama sepeti yang telah diuraikan pada urutan gerak yang terdapat pada inti pertunjukan di atas. gerak–gerak tersebut antara lain sembahan, liyepan, teposan, pethukan. lejitan, bapangan, oyogan, kacolan kasatrian,untu walang, kiprah sampu,r congklangan dan mincek-mincek. pertunjukan kesenian kuda kepang turonggosari didukung iringan yang dihasilkan dari beberapa instrumen gamelan jawa terdiri dari demung, saron barung, peking, kethuk, kempul-gong, kendang dan jidur/ bass drum. adapaun lagu-lagu atau gending yang digunakan dalam pertunjukan ini berfariasi, ada yang diambil darai gending tradisi juga ada lagu-lagu yang diabil dari lagu-lagu campursari maupun dangdut. gending tradisi yang digunakan antara lain bentuk ladrang, harmonia, volume xi, no.1 / juni 20116 srepek, ayak-ayak dan lancaran. kemudian lagu-lagu selain gending tradisi sepertri caping gunung, jangkrik gennggong dan yang lain.selain lagu atau gending yang diiringi musik, juga menggunakan solo vokal yang diambil dari tembang macapat maupun adaada (salah satu vokal yang terdapat di dalam pertunjukan wayang kulit yang dibawakan dalang). tata rias dalam kesenian ini hanya dilakukan oleh para penari, baik penari putri maupun penari putra. untuk para penari putri rias wajah yang dilakukan rias wajah cantik, seperti menebalkan alis denagn pensil alis, memerahkan bibir dengan pemoles bibir, memakai bedak tabur, memakai aye sadow dan pemerah pipi. kemudian para penari putra merias wajah agar dapat menimbulkan efek terkesan tampan dan jantan, seperti menebalkan alais, memahkan bibir, membuat kumis, jambang dan jenggot dengan menggunakan pensil alais, memakaki bedak muka dan pemerah pipi. busana yang dipakai dalam kesenian kuda kepang mempunyai bentuk yang sederhana, dengan tujuan agar lebih mudah saat dipakai, yang praktis, ebih longgar agar mudah bergerak. antara penari putri dengan penari putra mengenakan tata busana yang serupa bedanya terletak pada warna dan asesoris. untuk penari putri mengenakan jamang sedang penari puta mengenakan iket, penari putri menganakan asesoris kembang tiba ndada, penari putra tidak mengenakan asesoris serupa. rincian tata busananya adalah, bagian bawah celana ¾ dan atas baju panjang dengan warna mencolok dengan rompi yang warnanya kontras dengan bajunya. pada bagian bawah dililitkan jarit sampai pada atas lutut kedua ujungnya dilipat menyerupai dasi pada bagian bawah dan slayer ditalikan pada lipatan jarit. kemudian, untuk para penabuh gamelan menggunakan beskap berjelana panjang dan mengenakan blangkon. perlengkapan tari yang dikenakana antara lain kuda kepang dan pecu (cambuk). kuda kepang adalah anyaman bambu yang dibuat menyerupai bentuk kuda tanpa kaki dan ekor, selanjutnya anyaman bambu yang berbentuk menyerupai kuda tersebut diberi gambar kuda lengkap dengan asesorisnya, kemudian pada bagian ekor ditambahkan ijuk yang menyerupai ekor kuda. pecut atau cambuk adalah cambuk yang terbuat dari bambu yang dikepang memanjang dan mengecil di bagian ujungnya. pertunjukan kesenian ini tidak bergantung sepenuhnya pada ada tidaknya sound system. sound system pada pertunjukan ini lebih bersifat membantu terutama untuk vokalis agar suaranya lebih keras terdengar. untuk itu, perlengkapan yang digunakan biasanya cukup amplifi er, spiker dan satu atau dua buah mikropon. tata cahaya atau lighthing dalam pertunjukan kesenian ini tidak memerlukan tata cahaya khusus, melainkan tata cahaya statis yaitu sekedar memberi penerangan arena pertunjukan saja. tata cahaya baru diperlukan bila pertunjukan dilakukan di malam hari, sedang di siang hari tidak memerlukan tata cahaya. kesenian kuda kepang turonggosari ini dipentaskan di tempat terbuka yang biasanya di tanah lapang baik di lapangan atau halaman rumah warga tanpa panggung. untuk itu antara penonton dengan pemain berada dalam tempat yang sama, tidak ada sekat antara pemaian dengan penonton. mereka sewaktu-waktu bisa berinteraksi, misalnya pada saat penari ndadi kemudian nyetrum (menghipnotis) penonton sehingga ikut ndadi. pementasan kesenian bisa dilaksanakan siang hari maupun malam hari. kemudian waktu yang dibutuhkan dalam setiap pementasan tidak dibatasi secara ketat yaitu berkisar antara 2 jam sampai 4 jam untuk satu kali pementasan. waktu pementasan dilaksanakan tergantung yang nanggap. jika pementasan pagi hari, biasanya dimulai dari jam 10.00 sampai dengan jam 12.00. jika dipentaskan siang hari biasanya dimulai dari jam 14.00 sampai denga jam 17.00. untuk pementasan malam hari biasanya dimulai dari jam 20.00 sampai dengan jam 24.00. penonton penonton pertunjukan kesenian ini adalah masyarakat di sekitar arena pertunjukan dilaksanakan, mereka terdiri dari anakanak, remaja sampai orang dewasa berbaur menjadi satu antara wanita dan laki-laki. mereka datang melihat tanpa diundang juga tanpa dipungut biaya, baik oleh kelompok joko wiyoso, kolaborasi antara jaran kepang 7 kesenian ini ataupun waraga yang menanggap kesenian ini. para penonton mencari tempat sesuai dengan kehendak masing-masing ada yang duduk ada juga yang berdiri selama mereka merasa nyaman untuk menikmati sajian kesenian ini. penonton kesenian ini bersifat pasif, atau mereka sekedar menjadi penikmat saja tanpa melibatkan diri ke dalam pertunjukan itu. namun terkadang ada juga penonton yang tidak sengaja ikut kena imbas kesetrum ketiga para penari mengalami ndadi juga ikut-ikutan ndadi, kejadian ini tidak direncanakan sebelunya dan tidak diketahui sebelumnya. oleh karena itu, keterlibatan penonton di dalam pertunjukan betul-betul tidak disengaja. perubahan bentuk pertunjukan perubahan bentuk pertunjukan kesenian ini mencakup semua unsur atau aspek yang membangun peristiwa pertunjukan kesenian ini baik dari pihak penyaji maupun dari pihak penerima sajian atau penonton. berikut ini adalah unsur-unsur yang mengalami perubahan. unsur-unsur yang tidak mengalami perubahan atau tetap seperti sebelum masuknya campusari tidak akan dibahas. perubahan yang terjadi pada pihak penyaji pertunjukan kesenian ini setelah memasukan unsur musik campursari maka tata urutan penyajiannya mengalami perubahan khususnya mengenai materi yang disajikan di dalam tiap-tiap bagian pertunjukannya. pembabakan tetap, yakni teriri dari (1) pembukaan, (2) inti, dan (3) penutup. pembukaan materi perubahan yang terjadi di dalam pembukaan adalah disajikannya 3 sampai 4 lagu campursari setelah gending-gendhing pambuka (talu). adapun materi gending pambuka tidak mengalami perubahan atau sama dengan ketika belum masuknya campursari. pada saat penyajian lagu-lagu inilah penonton bisa meminta lagu dan juga menyawer penyanyinya serta berjoget. setelah lagu-lagu selesai disajikan, kemudian dilajutkan dengan bagian inti pertunjukan. inti pertunjukan diawali masuknya kelompok penari putri ke arena pertunjukan sampai dengan para penari selesai memperagakan ragam gerak pertunjukan ini. setelah para penari putri selesai dan keluar arena dilanjutkan sajian lagu-lagu campursari lagi antara 3 sampai 4 lagu. seperti pada bagian pembukaan para penontonpun bisa berjoget serta minta lagu maupun menyawer panyanyinya. lagu-lagu yang disajikan juga lagu-lagu yang akrab di telinga masyarakat seperti mister mendem, mendem wedokan, nyidam sari, caping gunung dan yang lain. setelah sajian lagu-lagu selesai, dilanjutkan penampilan kelompok penari putra sampai para penari mengalami ndadi. pada sat para penari ndadi musik campursari juga digunakan untuk megiringi para penari yang ndadi sampai pada saat para penari disadarkan oleh pawang. masuknya musik campursari ke dalam pertunjukan mengakibatkan peresonilnya pun menjadi lebih banyak yang semula hanya terdiri dari penari, penabuh gamelan, sinden, penggerong dan seorang pawang, kini menjadi bertambah musisi campursari yang terdiri dari pemain keyboard 2 orang, seorang pemain gitar bas, seorang pemain gitar melodi, seorang pemain kendang jaipong merangkap ketipung, seorang pemain drum dan 2 sampai 3 orang penyanyi. selain itu operator sound system tidak bisa lagi dirangkap oleh penabuh gamelan, karena memerlukan peralatan sound system yang lengkap sehingga harus ada seorang yang khusus mengoperatori sound sistem. sehingga jumlah personel penyaji kesenian ini kini menjadi kurang lebih 46 orang. materi gerak tari tidak mengalami perubahan, namun yang terjadi adalah masuknya gerak spontanitas dari penyanyi ketika menyanyikan lagu, juga gerakan-gerakan para penonton yang merespom nyanyian yang disajiakan. masuknya musik campursari sudah barang tentu instrumen musik yang digunakan di dalam pertunjukan kesenian ini mengalami perubahan atau tepatnya mengalami penambahan alat musik yaitu masuknya alatalat musik campursari seperti bass gitar elektrik, gitar elektrik, 2 buah keyboard, satu set drum dan kendang jaipong. secara musikalitas, kesenian ini juga mengalami perubahan. dahulu, musik pendukungnya hanya menggunakan lagu atau gending-gending jawa, sekarang ditambah dengan musik campursari. campursari digunakan untuk iringan harmonia, volume xi, no.1 / juni 20118 penari yang mengalami ndadi. selain sebagai iringan pada saat ndadi, campursari disajikan pada saat sebelum pertunjukan tari dimulai dan saat pergantian penari putri dan penari putra. atau dengan kata lain, musik yang dulunya berfungsi sebagi musik pendukung sajian tari, sekarang musik juga menjadi materi pertunjukan. tata rias dan busana bagi pendukung lama atau sebelum musik campursari masuk tidak mengalami perubahan baik penari maupun penabuh gamelan. kemudian untuk penyaji musik campursari, pemusik bercelana panjang dan mengenakan jas, tanpa rias wajah. untuk penyanyi campursari mengenakan pakain penyanyi seperti penyanyi pada umumnya seperti pakaian celana panjang meyatu dengan baju, kaos stret dan yang lain. para penyanyi juga mengenakan sepatu serta merias wajahnya dengan rias wajah cantik, seperti menebalkan alisnya dengan pensil alis, menggunakan eyesadow, memerahkan pipinya dengan perona pipi (ronge), merahkan bibirnya dengan pemerah bibir (lipstick), menggunakan bedak agar wajahnya tampak bersih dan cerah. sound sytem mengalami perubahan mengingat sekarang pertunjukannya tidak hanya pertunjukan tari, melainkan campuran tari dengan musik sehingga membawa konsekuensi sound sistem sebagai pendukung pertunjukan musik juga harus memadai. kelengkapan sound system biasanya terdiri dari mixer, power, aplifi er, sound control, sound out (sound luar) dan beberpa mikropon. tempat pertunjukan, kesenian ini mengalami perubahan yakni yang semula dipentaskan di arena terbuka berupa tanah lapang, sekarang harus menyediakan panggung untuk para pemusik dan penyanyi beraksi. panggung pertunjukan kesenian ini terbuat dari panggung yang bisa dibongkar pasang kira-kira berukuran 4 x 8 meter, tinggi 1 meter yang diberi atap dari deklit seperti tenda yang digunakan orang punya hajat lengkap dengan asesorisnya. para penari tetap beraksi di atas tanah. selanjutnya, waktu, yang meliputi waktu pementasan dan durasi pementasan. mengingat tidak dibatasi secara pasti mengenai aspek waktu, maka pertunjukan kesenian ini tidak mengalami perubahan. pertunjukan bisa dilakukan siang atau malam hari, sedangkan durasi tetap berkisar antara 2 jam sampai dengan 4 jam untuk satu kali pertunjukan. perubahan yang terjadi pada pihak penonton tentang siapa yang menonton kemudian dipungut biaya atau tidak, masih tetap sama seperti uraian aspek penonton saat belum memasukan campursari. setelah pertunjukan kesenian ini memasukan campursari, maka ada beberapa hal yang terkait dengan penonton yang mengalami mengalami perubahan. perubahan tersebut antara lain adalah, para penonton yang dulunya bersifat pasif dan tidak berkontribusi terhadap jalannya pertunjukan, kini para penonton lebih bersifat aktif juga berkontribusi dalam jalannya prtunjukan. hal ini bisa dilihat ketika para penonton berjoget saat sajian campursari, kemudian bisa minta lagu sehingga pertunjukan tidak berjalan searah tetapi dua arah. maksudnya adalah materi sajian lagu tidak hanya ditentukan oleh penyaji atau kelompok yang pentas, melainkan penonton pun bisa meminta lagu sebagai materi pertunjukan. selain itu, penonton juga bisa menyawer. hal ini secara tidak langsung memberi kontribusi terhadap kelompok ini khususnya pendapatan berupa uang sebagai tambahan dari uang tanggapan. simpulan berdasarkan pembahasan di atas, dapat disimpulkan bawa masuknya campursari ke dalam pertunjukan kuda kepang turonggosari, membawa konsekuansi terjadinya perubahan bentuk bertunjukannya. perubahan tersebut terjadi hampir pada semua aspek yang membangun pertunjukan kesenian tersebut, antara lain materi pertunjukan. hal ini nampak dari urutan penyajian bahwa materi pertunjukannya, selain tari juga musik. pendukung pertunjukan meliputi peraga, tata rias, tata busana, musik, tata suara dan tempat pentas. penonton yang dulunya penonton bersifat pasif sekarang menjadi penonton yang aktif bisa berinteraksi dengan penyaji. dengan demikian, sekarang pertunjukan kuda kepang berjalan dua arah, karena terjadi interaksi langsung antara penyaji denjoko wiyoso, kolaborasi antara jaran kepang 9 gan penonton. daftar pustaka cahyono, a. 2006. seni pertunjukan arakarakan dalam upacara tradisional dugderan di kota semarang. harmonia vol vii n0. 3. hadi sumandiyo y, 2006. seni dalam ritual agama. yogyakarta: pustaka haviland, william a. antropologi jilid 2. jakarta: erlangga, 1993 humardani, 1983. kumpulan kertas tentang kesenian. aski surakarta holt.claire. 2000. melacak jejak perkembangan seni di indonesia. terjemahan. r.m. soedarsono bandung: mspi jazuli, m. 1994. telaah teoritis tari, semarang: ikip press kuntjaraningrat. 1984. kebudayaan mentalitas dan pembangunan. jakarta: pt gramedia. kayam, umar. 1981. seni tradisi masyarakat. jakarta: sinar harapan mack, dieter. 1995. sejarah musik bagian ix musik di indonesia setelah tahun 1945. yogyakarta: pusat musik liturgi. masunah, j dan nara wati. 2003. seni dan pendidikan seni (sebuah bungarampai). bandung: p4st upi poerwanto, hari. kebudayaan dan lingkungan:dalam perspektif antropologi. yogjakarta; pustaka pelajar. simatupang, g.r.l. 2000. budaya sebagai strategi dan strategi budaya. dalam jurnal global-lokal.th.x 7-8 sudjana. 1996. pendidikan seni musik. jakarta: balai pustaka soedarsono. 1999. seni pertunjukan indonesia dan paeiwisata. bandung: mspi 48 local knowledge system in music education culture at indigenous community kampung naga tasikmalaya regency sandie gunara faculty of art education and design, universitas pendidikan indonesia, indonesia received: february 20, 2017. revised: march 19, 2017. accepted: april 2, 2017 abstract this study aims to investigate the teaching culture in the indigenous community. this study explores the local knowledge system in the practice of music teaching in an indigenous community of kampung naga, tasikmalaya regency. this is an ethnographic research to give a detailed analysis on each case and to understand the phenomena from the point of view of the doers. this study documents the local knowledge system in music teaching culture in kampung naga, including nu dirampa (tried, explored), nu dirasa (perceived, contemplated), and nu nyata (used, applied). hopefully, these findings can be the foundation of education, conservation, and innovation, and also as skills to improve the society’s welfare, not only kampung naga society, but also other societies, especially in the context of education at school. keywords: local knowledge system; education culture; music education; indigenous community of kampung naga how to cite: gunara, s. (2017). local knowledge system in music education culture at indigenous community kampung naga tasikmalaya regency. harmonia: journal of arts research and education, 17(1), 48-57. doi:http://dx.doi.org/10.15294/ harmonia.v17i1.8773 harmonia : journal of arts research and education 17 (1) (2017), 48-57 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i1.8773 especially indigenous community which has become its local knowledge system. based on its local knowledge, the indigenous people have their own way to see and connect to the world, universe, and other people (ascher, 2002; barnhardt and kawagley, 2005). their traditional education, developed from the process of observing and adapting the nature around them naturally (barnhardt and kawagley, 2005). their local knowledge plays an important role to decide how they should connect with the universe and the outside world (gunara dan setiawan, 2016). battiste (2002) states that their local knowledge derives from the process of creation and has a sacred purpose. all are attached and related to nature, human being, and huintroduction education is human’s effort to develop humanity values. through education, human tries to develop civilization needed in life. therefore, education has become everyone’s basic need. the need of education is believed to be a source of human’s success and welfare. education empowers human’s potential to inherit, develop, and build the future culture and civilization. on one side, education conserves positive cultural values, and on the other side, it creates changes towards more innovative life. an educational process which brings people to success and welfare, does not develop at school only but also in the society, corresponding author: jalan setiabudi no.229, isola, sukasari, kota bandung, jawa barat 40154 e-mail: sandiegunara@upi.edu p-issn 2541-1683|e-issn 2541-2426 sandie gunara, local knowledge system in music education culture at indigenous ... 49 man existence itself. education is seen as an enduring responsibility. as through education, people get knowledge which teaches them how to be responsible for their life and society. grenier (1998) reveals that local knowledge is related to indigenous, traditional, unique knowledge living in and developed by certain society condition. he thinks that local knowledge is dynamic. new knowledge develops continuously. the existed local knowledge will adapt new knowledge to be developed in the local situation. in the indigenous community, especially in africa, latin, asia, and oceania, local knowledge is a rationalization of everyday life practices that are useful to groups living in a particular region. for such community groups, local knowledge reflects a way of life with nature, cultural beliefs and origins for the well-being of their lives (semali and kincheloe, 1999). thus, local knowledge of indigenous people is derived from the learning process, social life, history and identity. this reflects their unique way of understanding life and how that knowledge can solve problems in a specific context. studies related to local knowledge systems in indigenous people have been widely done (alwasilah, et al., 2009; abrokwaa, 1999; semali and kincheloe, 1999; choudry, 2010; grenier, 1998; nurjanah, et al., 2013; j abah and denuga, 2015; kaino, 2013; thaman, 2009). the results of the study written in this article are a review of indigenous knowledge of indigenous people, as has been revealed by the researchers. the local knowledge-the local knowledge they studied, has been fundamentally awakened for centuries, in the form of messages and customs believed by the people and passed on from generation to generation. the local knowledge is expressed in music, dance, culture, beliefs, education, rituals, customary law, agricultural practices, living tools, and so on. of course, this form of knowledge is not structured systematically in the form of curriculum as it is implemented in formal education. local knowledge is shaped by informal education through natural and traditional processes. and the purpose of this article is to outline the local knowledge system studied in the context of music education practices that evolve over time and is still actively implemented. local knowledge system in the practice of music education took place in indigenous community kampung naga tasikmalaya regency, west java province. method the method used in this research is ethnography. this method comes from the field of anthropology. “ethno” means person or society, while “graphy” refers to the description of something. thus, ethnography is a description of the culture and way of life understanding that stems from the views of its people (mcintyre, 2008). ethnographic methods are chosen as the author tries to explore specific topics to help understand the immediate issues of his support community or persons associated with this issue, keeping in mind how informants describe and formulate answers. thus, the informant’s perspective on questions related to local knowledge systems in the practice of music education in kampung naga indigenous communities is accurate. as an ethnographer, the author has observed what happened, interviewed and listened to what the informants have said, and asked for all matters related to the research problem. the author has collected a lot of data which provide an understanding of the issues of this research. in collecting the data, the authors start by getting used to writing or recording events and all the activities of indigenous kampung naga, both in memo book and also handycam recordings. during this study, the author has field notes. these records make it easy for writers to keep up to date during this research process. the author as the main instrument in this study, has a vital role in producing, measuring, and recording information or data. more harmonia : journal of arts research and education 17 (1) (2017): 48-5750 information is recorded, allowing authors to obtain clear data, but the author’s sharp ability in writing field notes is required to make the process effective and productive. all the information in kampung naga, in a short period of time, quickly passed and then lost. therefore, the author takes notes and records what happened as soon as possible using camera and audio recorder to save all data. results and discussion kampung naga existence nowadays kampung naga is a village inhabited by a group of people who are still upholding the customs of their ancestral heritage. this is clearly visible when compared with other tasikmalaya people living outside kampung naga. the kampung naga community lives in order that is conditioned in an atmosphere of modesty and environment of indigenous wisdom (nurjanah, 2013, gunara and setiawan, 2016). administratively, kampung naga is located in neglasari village, salawu subdistrict, tasikmalaya regency, west java province. it is located around 27 kilometers from the city of tasikmalaya to garut direction and from the town of garut, it is at 30.5 kilometers tasikmalaya direction. this area is located at an altitude of 448 meters above sea level (nurjanah, 2013). there are 315 people living in kampung naga, 157 men and 158 women of 108 households. the number of residential areas of kampung naga of the number of the new buildings will not be expanded. this is not taboo, but is strictly constrained by the limited land. if it is imposed to enlarge the housing area, the farming area which is narrow already will be seized. therefore, if they want to build a house, they must voluntarily look for a place outside kampung naga (nurjanah, 2013; gunara and setiawan, 2016). this village is in a fertile valley, with borders, to the west of kampung naga is bordered by a sacred forest because within the forest there is the tomb of the ancestors of the highly respected kampung naga community, known as leuweung hadepan (hutan depan). to the east there are rice fields, to the south, it is also limited by the rice fields of the population, and to the north, it is limited by the ciwulan river whose source of water comes from mount cikuray in garut area. in this river stream, there is also a very sacred dragon forest called leuweung larangan (hutan larangan). the village area is limited, so it cannot be expanded to residential areas (nurjanah, 2013, gunara and setiawan, 2016). the settlement of kampung naga is concentric or grouped with empty land in the middle. kampung naga is located on a 1.5-hectare land area which has different heights. this situation resulted in established houses located on different sections of the soil, arranged on a different level, from the high land to the lowest land (nurjanah et al, 2013). the houses are the house on stilts with space beneath the house functions as chicken or duck coop, or as an agricultural tool and firewood storage. kampung naga residents call the house as they call themselves as the house has a head, body, and legs. the houses in kampung naga basically have the same basic pattern, arranged lined extending from west to east, rectangular in length and face to face. the function of the house that facing each other is to make the residents pay attention and communicate with each other s, in accordance with their lifestyle that is to hold togetherness and have a family life (nurjanah et al, 2013). figure 1. the housing pattern of kampung naga (photo: nurjanah, dkk) sandie gunara, local knowledge system in music education culture at indigenous ... 51 the settlements and valleys area including the cultivated fields, bordered on the north by nangtang village, in the south by kampung legok which is still part of neglasari village, in the west by tonjong village sukahurip village, east bordering babakan village is still neglasari village (nurjanah, 2013). according to nurjanah et al (2013), kampung naga comes from the sundanese word “nagawir” or cliff because the village is surrounded by cliffs. the word “naga” is taken so that people are more familiar with the name of the village. kampung naga has been established since 500 years ago. in addition, according to the elders of kampung naga, until now no one knows the origin of kampung naga (kang entang, interview july 23, 2016). they, as citizens of the original descendants, are not sure how they can exist and live there. this is because all data including ancient texts have been burned by di-tii rebels in 1956. the incident not only caused a long trauma, considering its loss not only in material form, but what is even sadder is that the event has caused bumi ageung (sacred house) burned down. for residents of kampung naga, bumi ageung is the only building that is always maintained and cared for well. the building is used to store heirlooms that have a relationship with their ancestors. in addition to the keris, spear, and other equipment, the place is stored manuscript leaf and copper plates. heirlooms made of iron were found again. but the manuscript has turned into ash and the copper charter is hard to be recognized anymore (nurjanah, 2013). currently, kampung naga is still well maintained. but because of the development of the times and necessities of life, in general the people of kampung naga are divided into two groups, namely: 1) a community group of kampung naga residing in the kampung naga residence itself; 2) a community group of kampung naga located outside the settlement called sanaga (kang entang, interview 23 july 2016; nurjanah et al., 2013). based on nurjanah et al’s study (2013) and kang entang’s statement (an elder at kampung naga) (interviewed, on july 23, 2016), there are several factors causing the migration of residents from kampung naga out of the village. first, the result of marriage with members of kampung naga community living outside the village, or with other members of the community outside their community. secondly, for economic reasons, so with a more practical choice, they choose to live outside kampung naga to open their business. third, due to limited land available in kampung naga, the newly married couple prefer to settle or build a house outside kampung naga with the consideration that the land in kampung naga is not possible to build a new house. therefore, if the number of families increases and no longer possible to live in one house, then the family must build a house and live outside kampung naga. however, at certain times, they gather in kampung naga. basically, those who live outside kampung naga are still bound by the village custom and are still recognized as part of their community. so in every ceremony of the traditional ceremonies, they come to kampung naga to make pilgrimages to the sacred tombs that are considered as the graves of their ancestors. however, for those who live outside kampung naga, they are not bound by the terms and conditions to make the house on stitlts and other rules (nurjanah et al, 2013). figure 2. the atmosphere of kampung naga (photo: sandie gunara). harmonia : journal of arts research and education 17 (1) (2017): 48-5752 a three-unit (sumardjo, 2011). the principle of tritangtu in sundanese society is based on repeated expression which is the unity of three words (sumardjo, 2011). determination, speech, lampah silih asah, silih asih, silih asuh. when compiled, the words that exist in the sundanese people, will be a very long list. the expressions of the unity of the three words are symptoms that show that there is a hidden concept or a cultural rationality which is the basis of the circulation of those phrases. if that is true, then there is a system of local knowledge that is rationalized for a very long time, so it becomes the philosophy of life of sundanese society itself. the principle of unity-three or tritangtu, is the basic principle of the old sundanese society. according to sumardjo (2011), tritangtu is a cultivator’s world view, as well as indigenous kampung naga. the farming community initially believed that all aspects of life were dualistic, but all the dualistic things are binary pairs that often cause conflict conditions. this condition should not be allowed because it will cause extermination. therefore, harmony between the dualistic pair is required. the harmony is an integration between the dualistic, so as to bring up the “third”. thus, dualistic thinking is transformed into a three-or three-point unity pattern, also called tritangtu. thus, the attitude of appreciation or harmony with nature is a “third” element. by appreciating this nature makes the kampung naga indigenous people always limit their productive activities. they cultivate on limited land, not excessive, only on the determined place. the concept of the above three patterns has become a system of local knowledge in their life. even these three patterns occur also in the context of educational culture within the indigenous community as a whole. the principle of tritangtu inmusic education culture of the indigenous people of kampung naga from a simple residential atmosphere and supported by the beautiful and still life pattern of indigenous people of kampung naga the indigenous people of kampung naga are part of sundanese society who are productive cultivators. they produce their own food by farming in the hills. as productive people, they are not always dependent on nature. this indicates that they never conflict with nature, it raises one thought of appreciation of nature. the appreciation and harmony of nature are formed from the three patterns that they have been practicing as cultivators. the three patterns in pre-modern indonesian culture flourish in primordial society living by farming. the cultivators are those living from rice farming, usually in hilly areas (sumardjo, 2011). according to sumardjo, the mindset of the cultivators is different from the gathering community. nevertheless, there are still mixing characteristics. the people are no longer fully dependent on nature because they can produce their own food by farming. the cultivators do not take full advantage of farming. they still need forests, especially when old fields are unproductive due to reduced fertility value. the pattern of three raises a harmony. harmony does not eliminate the first two entities, but “marry” them. in marriage, men remain men, women remain women, and both merge into a single entity that gives birth to a family entity, the child. a harmony is a paradoxical event, nothing is defeated, and nothing is won. both are winners, even give birth to new life (sumardjo, 2011). figure 3. the pattern of three in the life of the indigenous people of kampung naga figure 3 above shows a sundanese mindset that is called tritangtu principle or sandie gunara, local knowledge system in music education culture at indigenous ... 53 very traditional kampung environment (see figure 1 and 2), the indigenous people in kampung naga live their daily lives subject to and adhere to the rules set forth in the customary form, which includes all habits, duties and rituals or pamali (taboo) that serve as guides for good and right behavior. these rules are regarded as sacred, derived or inherited from the ancestors and must be carefully guarded. they consider that, the rule is an instrument to maintain the balance of the relationship between human and nature in order to maintain their survival (nurjanah, 2013). from customary rules that have been used for hundreds of years, local knowledge system of indigenous people kampung naga were produced; one of which is in the culture of education. there is a way to educate, how to learn and how the elders re-teach it to the young generation. one of them is in the practice of music education as an attempt to inherit or to transmit music tradition. in the practice of music education that they do so far, there are unique ways that can be studied more deeply. inheriting the traditional music, for indigenous peoples such as kampung naga, is something that is important to do. it is intended that the continuity of traditional rituals or ceremonies where music becomes one of the media, can continue. the music that has been continuously regenerated is terebang gembrung and terebang sejak, their original art. their concern for the continuity of both traditional music is very high, so it must be taught or inherited so as not to disappear (gunara and setiawan, 2016). in kampung naga, music and life has become an integral part. the practice of their lives has been going on for hundreds of years. this means that their system of local knowledge in the practice of music education as an effort to retain and pass the arts between generations, for the continuity of the activities of ritual ceremonies, proved successful. their local knowledge system deserves to be a source of innovation and skills that can be empowered for the welfare of society, not only for kampung naga people, but also for the public in general especially in the context of education in schools. the new generation of kampung naga certainly does not think that they will be born into a reality of life that they live at this time. wood framed house and coconut-fiber roof, with the walls of houses made of bamboo cubicles and live without electricity. since being born into a part of indigenous people who adhere to tradition, it is certainly inherited by way of life as their parents did long ago. there is an educational process that has educated them to survive to this day. the educational process they undertake indirectly has become their local knowledge system. when the boys and the girls in the kampung naga community begin to marry, the knowledge system they inherit, is re-applied to educate their children according to what their parents taught them. the system of local knowledge in the culture of education in the kampung naga, oriented in the past to establish the continuity of their existence. through their knowledge, they are able to strategize to achieve the future they want. this system of local knowledge they apply in the practice of music education terebang gembrung and terebang sejak. this system has become a pattern they used a long time ago. the pattern is nu dirampa (tried, explored), nu dirasa (perceived, contemplated), and nu nyata (used, applied). as sumardjo (2011) has pointed out about the pattern of three or tritangtu discussed earlier, in the culture of music education in kampung naga, there are also three patterns (see figure 4). figure 4. pattern of three in music culture education in kampung naga the basis of the cosmological beliefs of kampung naga in the culture of music harmonia : journal of arts research and education 17 (1) (2017): 48-5754 education above (figure 4) becomes the basis of the way of thinking for all things, namely the pattern of three. as sumardjo (2011) points out, the basic belief of this three-pattern is based on the antagonistic dualism belief of all things. the sky above, the earth below. the sky is wet, the earth is dry. the sky is female, earth man, the sky is bright, dark earth. both are separate and distant. partition is not good, because it will bring death. the separation of all things that dualistic antagonistic must end, ie by marrying both. life is possible because of harmony. the requirement of life is the harmony of two conflicting but complementary entities. when interpreting from field findings related to pattern three in the musical culture culture of kampung naga (see figure 4) with the cosmological beliefs described by sumardjo, there is something very interesting. the concept of nu dirasa (perceived, contemplated) does not eliminate the original two concepts, namely, nu dirampa (tried, explored) and nu nyata (used, applied), but merged. the concept of nu dirasa is the middle part which contains two contradictory concepts, namely nu dirampa and nu nyata. the concept nu dirasa is the relator, medium, intermediaries that bridge the two concepts that contradict earlier. the existence of the concept nu dirasa does not allow any contradiction. the opposition ends in harmony because it is complementary. based on the cosmological description of the local knowledge system of indigenous people of kampung naga above, it develops a new awareness that it turns out what the elders of kampung naga do to their young generation actually contains a noble meaning. thus, it is imperative to combine traditional and modern education. because according to j. abah and denuga (2015), thousands of years of local knowledge systems of indigenous people all over the world live and have their own educational system, long before modern education was introduced by the colonialists. the modern educational system currently exposes learners to the contradictory demands of schooling (modern) with local education because the purpose, content, and transmission of knowledge processes contradict the origins of its local cultural education system (thaman, 2009; j. abah and denuga , 2015). in some indigenous communities throughout the world, there has been a living knowledge system that can be integrated into the school curriculum system, to improve learning outcomes. this local knowledge system can be an important tool to use in bridging the gap between what is taught in the classroom (the modern knowledge system) and what is outside the classroom (the local knowledge system) (kaino, 2013). to that end, the authors believe that the study of the local knowledge system of indigenous kampung naga in the practice of music education should be done, considering the music education practices in the classroom that developed in indonesia today is more directed to western models such as kodaly, dalcroze, orff, gordon and so on. not to abandon these methods, because the authors believe that they are very good and are born from the context of the local community there. but it is the time we also reveal the teaching methods based on our local cultural concept, to bridge the gap earlier. in order to understand more deeply about the system of local knowledge in the musical education culture in kampung naga tasikmalaya, the author will explain it below. nu dirampa: tried and explored nu dirampa (tried, explored) refers to the process of direct learning and observation. in many activities while playing music terebang, parents or elders never forbid their children to see the rehearsals or performances. instead they allow the children to observe the exercise process, even the children are allowed to hold the instrument and try to hit it. children also observe how parents or elders beat the instrument. then, when the children try to themselves what they hear, the parents sandie gunara, local knowledge system in music education culture at indigenous ... 55 never admonish them that it is wrong or not. parents allow children to play with the instrument. even deliberately, the elder keeps his instrument in the hall, so it is not difficult for children to take and play with the instrument. the goal is to make it easier for children to practice and play it all the time. according to abah ojid as elder and coach, he also secretly sees the potential of children. he observes which children are potential to be taught to be a drummer in order for the art can be inherited. the concept of nu dirampa allows children to experience directly and allow them to explore. let the children know about the instruments they hold and explore the sounds through musical instruments. so the concept of nu deprived is a teaching that fosters the desire, curiosity, intentions and conscience of children. figure 5. two children of kampung naga are exploring how to beat terebang (photo: sandie gunara nu dirasa: perceived and contemplated the pattern is nu dirampa (tried, explored), nu dirasa (perceived, contemplated) , and nu nyata (used, applied) nu dirasa (perceived, contemplated) refers to the concept of learning to beat the musical instrument terebang. the patterns of rhythm and way of tapping are taught here, starting from the simple pattern. first, abah ojid teaches children a rhythmic pattern that is worth one tap. then, teach how to produce the color of sounds in music like pak, pong dan dung. the colors of the sounds are produced from different techniques of applause. the sound of the pak is produced by the side of the musical instrument with the fingers of the hands being pushed together and hitting it by being pressed. then the sound of the pong is produced by the side of the musical instrument with the fingers of the fingers of his hand still closed but hit not pressed but released. while the sound dung produced by the middle of the musical instrument fell by the way his fingers are not closed and hit him not pressed. all of these are taught by abah ojid at this stage. figure 6. kang entang and abah ojid are teaching terebang sejak (photo: sandie gunara) in practice, the concept nu dirasa is technical material. the children have started to feel the difference in the color of sound, the way of the beat and the pattern of the rhythm, strating from the simple pattern to a more complex one. from this experience, philosophically nu dirasa is the center and the peak of a triangular shape (see figure 4). nu dirasa is the process by which children are invited to feel and reflect on their experiences. this concept is very important and fundamental in the process of education and training terebang music in kampung naga. figure 7 shows abah ojid, an elder as well as a coach, is modeling the patterns of applause. then the children watch and imitate. there is no pattern written by abah ojid, all in his memory and experience because, in the past, he also he learned from the elders also like that (interview with abah ojid, july 22, 2016). harmonia : journal of arts research and education 17 (1) (2017): 48-5756 figure 7. kampung naga kids are having training with abah ojid (photo: sandie gunara) at this stage, the musical terebang in kampung naga is taught informally. the children of kampung naga observe and then imitate what is played by the elders. the learning is done orally and the music is taught with an aural approach. the musical patterns that are taught are not written down; they are all in the memories and experiences from generation to generation. the technique teaches by way of call and response, that is, the elders mention and demonstrate patterns of applause, then the children respond by imitating what is played by the parents. the patterns taught are very simple, but the difficult thing is to connect the pattern with other members (interview with mardiana, a child of kampung naga, july 23, 2016). nu nyata: used and applied nu nyata (used, applied) refers to the concept of learning when what has been previously learned was applied to produce beautiful music. the music does not only contain the colors of sounds and rhythm patterns, but also the lyrics that compliment the prophet muhammad and the life sciences. that content is then implemented in real life. real life is not only in the context of music performances, but also in the context of everyday life. the moral messages contained in the music they ponder, feel, and carry it out in real life. from the above discussion, it can be said that, the concept of nu dirampa, nu dirasa and nu nyata is a system of local knowledge in music education culture in kampung naga that occurred in a long time. there is a difference between the concept of learning in modern society and in the life of indigenous people. the more modern concept of learning emphasizes on results rather than meaning to life. meanwhile, the concept of indigenous peoples is not solely on the ability of the outcome, but also the ability to live in harmony with nature and the teachings of allah swt. based on the system of local knowledge in the music education culture, learning and playing musical instruments terebang gembrung and terebang sejak, in addition to obedience to allah swt and praise to prophet muhammad saw, indirectly also provide an identity and actively maintain the tradition that the elders have taught, so music terebang gembrung and terebang sejak representation of way of life and thinking as a kampung naga customary citizen, and the music of terebang gembrung and terebang sejak, that is taught to children from generation to generation, is not only aimed for preservation only, but also as a teaching for society, culture and religion. conclusions the purpose of the music education process in kampung naga is to instill socio-cultural values to the younger generation. the educational process is not organized in a formal form, but is shaped by the natural environment. the emphasis on creating a musical situation and active participation of elders and young generations is more important than formal teaching. the practice of music teaching organized in social life like this, allows children to learn gradually and comprehensively. not only related to the beating skills, but also related to the values of social life within the community of kampung naga itself. the main teaching methods used by the elders are oral traditions, demonstrations, imitations, and memories. all of that is done in the tritangtu principle of music education culture that includes nu dirampa (tried, explored), nu dirasa (perceived, consandie gunara, local knowledge system in music education culture at indigenous ... 57 templated), and nu nyata (used, applied). this research still needs to be discussed in more detail and comprehensively about the concepts nu dirampa (tried, explored), nu dirasa (perceived, contemplated) , and nu nyata (used, applied). further studies are needed so that the idea of local knowledge in the culture of education in indigenous people can be used as a necessity and courage to counter the flow of this modern and too global-oriented education. by elevating the local knowledge system in indigenous education culture in kampung naga, it is expected that there is continuity with historical origins and current condition and situation, so indirectly, we will not be far from our cultural environment, both local and national. references alwasilah, et al. 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(2015) prospect of integrating african indigenous knowledge systems into the teaching of sciences in africa. american journal of educational research, 3(6), 668-673. doi: 10.12691/ education-3-6-1. kaino, l.m. 2013. traditional knowledge in curricula designs: embracing indigenous mathematics in classroom instruction. stud tribes tribals, 11(1), 83-88. mcintyre, philip. (2008). creativity and cultural production: a study of contemporary western popular music songwriting. creativity research journal, 20(1), 40–55. nurjanah, nunuy. et al. (2013). nilai-nilai kearifan lokal masyarakat kampung naga tasikmalaya sebagai landasan sosial budaya pendidikan nasional. lppm upi: laporan penelitian. semali, ladislaus m dan joe. l koncheloe. (1999). what is indigenous knowledge? new york and london; falmer press. sumardjo, jacob. (2011). sunda: pola rasionalitas budaya. bandung: kelir. thaman, k.h. (2009). towards cultural democracy in teaching and learning with specific references to pacific island nations (pins). international journal for the scholarship of teaching and learning. 3(2). randiyo(3).indd 17 makna simbolis lakon kangsa adu jago dalam pertunjukan wayang kulit purwa randiyo institut seni indonesia surakarta, jl. ki hadjar dewantara 19, surakarta 57126 email : randy_isi@yahoo.com abstrak lakon kangsa adu jago merupakan salah satu lakon carangan yang bermutu yang mengandung nilai dan bermakna simbolis. adu jago mewakili suatu tindakan simbolis karakter generasi tua melawan generasi muda. disebabkan oleh simbolis yang kurang adil, bijaksana, terjadilah keteledoran penguasa mandura yaitu basudewa. di balik peristiwa adu jago sebenarnya kangsa ingin merebut kekuasaan dari tangan basudewa. yang dapat dipetik dari lakon ini adalah munculnya tokoh pandawa, simbol kesatria pembela keadilan, penuh pengabdian yang berhasil membantu menyelasaikan kewajibannya. melalui lakon kangsa adu jago, semangat persatuan, keadilan, kebenaran menjadi lebih kuat, terbentuklah kesatuan nasib antara keluarga yadawa dengan barata. simbol karakter tokoh dalam lakon memunculkan nilai herois dan pendidikan untuk dijadikan contoh teladan dalam hidup manusia. abstract kangsa cock fighting play is a qualifi ed carangan play containing certain symbolic meaning. adu jago (cock fighting) represents a symbolic action of old generation character against young generation one. behind the cock fi ghting, kangsa actually desired to seize power out of basudewa’s hand. this play especially reveals certain values through the fi gure of pandawa, a knightly character who strove for justice and with his great dedication succeeded in carrying out his duties. the values conveyed by this kangsa cock fighting play are hopefully expected to be able to build up a stronger spirit of unity, justice, and truth by especially learning from the destiny unity between yadawa and barata families. the symbolic characters in the play accordingly reveal heroic and educative qualities as examples for human’s lives. keywords: adu jago, lakon, wayang kulit purwa, kangsa symbolic meaning of kangsa adu jago (cock fighting) play in purwa shadow leather puppet show pendahuluan lakon kangsa adu jago juga sering dikenal dengan sebutan kangsa lena. lakon kangsa adu jago sangat terkenal dan hampir semua dalang yang popular seperti ki purba asmara, manteb sudarsana, ki subana, pernah memperagakannya. lakon telah menjadi paket untuk disajikan para mahasiswa dalam rangka menyelesaikan tugas akhirnya. lakon kangsa adu jago juga digunakan untuk pembawaan pada akhir tahun ajaran 2010. peneliti sendiri juga pernah memperagakan dalam bentuk pakeliran semalam. lakon kangsa adu jago memuat berbagai persoalan yang diangkat dalam kehidupan sehari–hari. persoalan besar yang menjadi tekanan menyangkut kekuasaan yaitu perebutan kekuasaan antara mandura dengan sengkapura, persoalan wanita yang menyangkut keadilan seseorang penguasa terhadap isterinya dan persoalan harta serta martabat yang merupakan pertaruhan dalam adon–adon. banyak tokoh terlibat yang merupakan simbolisme perilaku karakter tertentu. titik beratnya adalah kesalahan perilaku simbolis tertentu yang harus dihapus dengan berbagai perilaku lain yang lebih besar. lahirnya tokoh antagonis kangsa dewa merupakan sebuah kesalahan perilaku simbolis raja yang tidak dapat 18 harmonia, volume xi, no.1 / juni 2011 berlaku adil, jujur, dan bijaksana sehingga mengakibatkan kegoncangan yang menyangkut kehidupan seluruh keraton mandura. keadaan baru dapat diselesaikan setelah bantuan dari keluarga pandawa sebagai simbol tokoh penegak keadilan, kebenaran, kesucian dan persatuan. perilaku simbolis semua angkara murka yang disimbolkan kangsa dewa dapat terselesaikan. permasalahan dalam lakon ini adalah bagaimanakah karakter tokoh dan struktur adegan lakon kangsa adu jago? mengapa terjadi adu kekuatan antara kanoman dan kasepuhan ? landasan pemikiran simbol adalah suatu hal atau kedaan yang merupakan pengantara pemahaman terhadap obyek. manusia dalam kehidupan selalu terkait dengan simbol. setiap perilaku manusia dalam berkomunikasi dapat dibedakan menjadi (1) tindakan praktis, (2) tindakan pragmatis, (3) ketiga tindakan efektif dan keempat tindakan simbolis (herusatoto, 2008). di dalam berkebudayaan hampir semua tindakan manusia bersifat simbolis dan perilaku simbolis. lakon wayang sebagian besar menggunakan simbol dan perilaku simbolis. lakon wayang yang sedang dipertunjukkan di samping bernilai hiburan, pendidikan juga simbolis yang sulit untuk dapat dipahami secara rasional, karena merupakan ungkapan perilaku simbolis semua tokoh wayang. semua tokoh wayang adalah simbol perwakilan karakter tertentu, sedangkan lakon adalah ungkapan yang ingin menghadirkan makna tertentu. berdasarkan makna simbol maka simbol wayang mengandung pengertian bahwa pergelaran wayang menyampaikan sesuatu hal kepada penontonnya (solichin, 2010). sebagian besar lakon wayang bersumber dari versi mahabarata, ramayana, sebagian kecil dari arjuna sasra dan sri mulih. repertoar lakon wayang kulit purwa surakarta pada awal abad ke-21 kecuali lakon – lakon baku yang sudah ada, tetap masih menampilkan lakon–lakon carangan yang sudah ada. dari pergelaran–pergelaran yang dilakukan ketiga dalang yaitu ki purba asmara, ki sayoka dan ki susila, relatif tidak banyak jenis lakon yang ditampilkan, berkisar 20 sampai dengan 25 jenis lakon. semuanya diambil dari wiracarita mahabbrata. lakon–lakon carangan yang sering digelar dalang meliputi lakon–lakon banjaran dan lakon carangan. berdasarkan judul lakon, dapat digolongkan menjadi delapan jenis lakon. kedelapan jenis lakon meliputi lakon raben, alap– alapan, gugur/lena, mbangun, jumenengan/ wisudhan, wahyu, nama tokoh dan banjaran. pada jenis raben terjadi peristiwa perkawinan seorang tokoh tertentu yakni rabine wisanggeni. pada jenis alap–alapan, terjadi perebutan seorang putri raja di antara para ksatria atau raja dari beberapa negara, yakni kunthi pilih. pada jenis gugur/lena terjadi peristiwa kematian seorang tokoh tertentu yakni, kangsa lena atau kangsa adu jago, ngraman wiratha, dan karno rucat. pada jenis mbangun terjadi peristiwa pembangunan fi sik atau kondisi tertentu, yakni semar boyong. pada jenis jumenengan/wisudhan, terjadi peristiwa penobatan seorang tokoh tertentu menjadi raja, yakni parikesit jumeneng nata. pada jenis nama tokoh, bahwa tokoh tertentu pada lakon digunakan sebagai judul lakon, misalnya bima suci, sudamala, bima kopek, petruk dhukun, wisnu nitis. pada jenis banjaran terjadi penggabungan beberapa lakon mulai dari lahir sampai meninggal seorang tokoh tertentu, meliputi banjaran bisma, banjaran sengkuni, banjran druna, banjaran baladewa. pada jenis wahyu, terjadi peristiwa pemberian wahyu dari dewa kepada tokoh tertentu karena jasa yang diberikan kepada dewa yakni wahyu topeng waja (suparno, 2007). pada lakon carangan merupakan episode ceritera yang bukan bagian integral dari lakon, yang oleh komunitas pakeliran juga dianggap sebagai pakem (2007). konsep lakon wayang kulit purwa gaya surakarta pertunjukan wayang kulit purwa gaya surakarta sebagaimana diketahui pada hakikatnya adalah lakon. secara fi sik lakon wayang terbentuk dari perpaduan unsur–unsur garap pakeliran. sebagai media aktualisasi tokoh–tokohnya digunakan boneka wayang. lakon merupakan sentral sekaligus sebagai bingkai yang mewadahi kesatuan catur, sabet, dan karawitan pendalangan. oleh karena itu, jika melihat wayang semestinya bukan randiyo, makna simbolis lakon kangsa adu 19 terpukau oleh keindahan catur, keterampilan sabet, dan suasana yang ditimbulkan oleh karawitan, tetapi memusatkan hayatannya kepada lakonnya. lakon wayang terdiri dari serentetan adengan yang masing–masing adegan menampilkan seorang atau beberapa orang tokoh dengan status dan karakter masingmasing. perbedaan status dan karakter masing–masing tokoh mewarnai timbulnya perbedaan pandangan, sikap, perilaku, pembicaraan, situasi batin, dan cara mengambil keputusan ketika dihadapkan pada suatu permasalahan tertentu. tokoh–tokoh yang tampil pada lakon wayang, secara individu atau bersama oleh tokoh–tokoh lain membentuk kelompk–kelompok yang saling mendukung atau berseberangan. terbentuknya kelompok tokoh antara lain karena masing–masing anggota terikat hubungan keluarga, terikat kewajiban, persamaan tujuan, persamaan visi, persamaan kepentingan, dan persamaan golongan dalam setiap adegan yang dihadiri oleh tokoh– tokoh baik dari suatu pihak tertentu maupun berbagai pihak yang berseberangan selalu menjadi interaksi. munculnya interaksi sebagai akibat adanya permasalahan yang terdapat pada adegan. dalam menggapai suatu permasalahan meskipun tokoh–tokoh yang hadir hanya dari suatu pihak karena perbedaan karakter, status dan sudut pandang, seringkali timbul konfl ik meskipun masih dalam wacana kebersamaan seperti pada lakon kangsa adu jago. demikian juga interaksi antar tokoh atau kelompok tokoh dari pihak berbeda, karena perbedaan kepentingan, perbedaan visi atau saling berebut sesuatu yang sama, menyebabkan timbul konfl ik non fi sik atau konfl ik fi sik. konfl ik non fi sik adalah konfl ik dalam bentuk adu argumentasi atau perwujudan dilematis, sedangkan konfl ik fi sik biasanya berupa perang atau perkelaian. konfl ik diantara dua pihak kemudian berakhir degan kemenangan pada salah satu pihak. konfl ik juga dapat terjadi dalam diri seorang tokoh ketika tokoh yang bersangkutan sedang dilanda masalah. konfl ik pribadi lebih bersifat konfl ik internal atau konfl ik batin yang sering diaktualisasikan dalam bentuk konfl ik non fi sik dan fi sik. konfl ik–konfl ik inilah yang menyebabkan timbulnya peristiwa lakon. peristiwa–peristiwa lakon saling terkait sehingga menyebabkan terbentuknya alur lakon. berkaitan dengan alur lakon unsur–unsur garap pakeliran mempunyai peran antara lain: pertama mendukung terciptanya peritiwa lakon dalam setiap adegan, kedua mendukung terwujudnya perbedaan status dan karakter masing–masing tokoh dengan berbagai ragam pandangan, sikap, perilaku, pembicaraan, situasi batin, cara mengambil keputusan, serta ketiga mendukung terungkapnya berbagai ragam konfl ik dan penyelesaiannya (murtiyoso, 2007). dunia pendalangan mempunyai berbagai gaya dan ragam gaya, masing–masing mempunyai karakteristik yang berbeda, juga memiliki kemantapan sendiri–sendiri sehingga satu dengan yang lainnya tidak sewajarnya untuk diperbandingkan. pagelaran wayang tidak semata-mata “drama bayangan” melainkan sesuatu yang jauh lebih luas dan dalam, karena wayang menggambarkan kehidupan manusia dengan segala persoalan yang dihadapinya. pergelaran wayang adalah wewayangane ngaurip, yaitu simbol kehidupan manusia yang terstruktur dari kehidupan manusia dalam kandungan, lahir, dewasa dan saat ajal menjemputnya (solichin, 2010). wayang purwa adalah sebagai perlambang kehidupan manusia (zarkasi, 1977) lakon wayang kulit purwa gaya surakarta pada umumnya diawali dengan bedhol kayon dan diakhiri dengan tancep kayon. di antara bedhol kayon dan tanceb kayon terdapat seretan adegan yang secara garis besar terbagi dalam tiga wilayah pathet yaitu pathet nem, pathet sanga dan manyura. adengan dalam ketiga wilayah pathet saling berhubungan. karakter hubungan antar adengan adakalanya bersifat hubungan sebab–akibat (kausalitas), tetapi juga ada yang bersifat urutan (linier). setiap selesai satu adegan atau serentelan adegan yang berbingkai dalam satu keutuhan. setiap permasalahan selalu diikuti dengan jeda, setelah itu baru di lanjutkan adegan berikutnya, demikian seterusnya sampai berakhir pada tancep kayon. adegan–adegan yang tampil dalam lakon, berbeda tempat dan tokoh–tokohnya dengan tekanan masing–masing dan secara 20 harmonia, volume xi, no.1 / juni 2011 bersama–sama membangun terwujudnya lakon. topik yang ditampilkan pada setiap adegan saling terkait secara langsung atau tidak langsung secara kuat atau kendor. perbedan topik menyebabkan terbentuknya semacam pertanyaan dan jawaban (2007). penggarapan lakon kangsa adu jago atau kangsa lena. lakon kangsa adu jago di dalam dunia pedalangan berbeda dengan kangsa pada serat hariwangsa. pada hariwangsa kangsa adalah anak prabu drumila seorang raja denawa dari negara sauba yang bersanggama dengan seorang pramewari raja mathura. raja mathura adalah ugrasena, sedang basudewa seorang raja gowadana, raja kecil di bawah mathura. basudewa memiliki dua orang permaisuri yaitu dewi dewaki dan dewi rohini. dari dewi rohini lahir sangkarsana dan dari dewaki lahir kresna. kresna dan sangkarsana kemudian dititipkan nandagopa di wajra (padmosoekotjo, v, 1990). di dalam dunia pedalangan yang lama lakon kangsa adu jago banyak mengambil dari karya soemodarmoko yang berjudul kangsa lena. tata urutan lakon kangsa lena adalah pertama jejer mandura, kedua adegan widara kandang, ketiga adegan wana sigranggra, keempat adegan pertapaan giripurna, kelima adegan pertapaan argosonya, keenem adegan sukapura, ketujuh adegan mandura, kedelapan adegan mandura tancep kayon (soemadarmoko, 1981). uraian lengkap jalanya lakon sejak talu hingga sampak suwuk memberikan inspirasi bagi para seniman untuk berkreativitas. pada setiap pertunjukan berlangsung ternyata selalu terjadi perubahan garap baik dalam sanggit lakon, dialog antara tokoh maupun unsur garap yang lain. lakon kangsa adu jago diangkat dari fonemena sosial dalam kehidupan sehari–hari. suatu keteledoran penguasa akan berakibat fatal bagi generasi penerusnya. perselingkuhan akan berbuntut mala petaka yang fatal. sebuah persoalan wanita akan membawa bencana. menurut ibarat jawa sak dumuk sak nyari bumi akan diperjuangkan hingga titik darah yang penghabisan. sebuah lakon carangan kangsa adu jago juga merupakan sindiran seniman bagi situasi masyarakat saat itu. kangsa adu jago merupakan pertunjukan yang bernilai simbolis. di dalam pertunjukan wayang kulit purwa gaya surakarta, lakon kangsa adu jago menjadi bagian penting yaitu untuk tugas pembawaan, untuk pentas arisan dalang dan pencermatan beberapa pentas yang dilakukan para dalang dan calon seniman dalang. dengan berbagai sanggit dan garap lakon, setiap kali dipentaskan lakon kangsa adu jago selalu baru dan menarik perhatian. deskripsi lakon kangsa adu jago awal mula peritiwa terjadi dari keteledoran raja mandura yang meninggalkan istana untuk memuaskan rasa hatinya, secara simbolik basudewa tidak berbuat adil terhadap ketiga isterinya. basudewa pergi rekreasi dengan kedua isterinya yaitu maekah dan badraini. pada waktu prabu basudewa pergi ke hutan untuk cangkromo atau rekreasi, isteri pertamanya dewi maerah tinggal di istana, tidak diajak bersama prabu basudewa. terjadilah aib besar yang menimpa kerajaan mandura, dewi maerah kedatangan gorawangsa yang menjelma menjadi basudewa palsu, sehingga terjadi perselingkuhan antara dewi maerah dengan basudewa palsu. perselingkuhan antara dewi maerah dengan prabu gorawangsa (prabu basadewa palsu) membuat kehamilan dewi maerah (solichin 2007). setelah kepulangan basudewa yang asli terjadilah konfl ik antara kedua basudewa. basudewa palsu menjelma menjadi gorawangsa lagi dan dapat dibasmi oleh basudewa asli. ternyata prabu basudewa palsu telah menanam benih permusuhan tehadap basudewa. prabu basudewa tidak mau menerima maerah sebagai isterinya, akhirnya prabu basudewa memerintahkan kepada adiknya harya prabu untuk membawa dewi maerah ke hutan agar dibunuh. harya prabu tidak tega, merasa belas kasihan sehingga dewi maerah hanya dibuang di tengah hutan. tak lama kemudian dewi maerah melahirkan anak laki–laki yang dibantu oleh begawan maruto. setelah melahirkan dewi maerah meninggal, bayi yang baru lahir diberi nama joko maruta. di tengah hutan joko maruta ditemani seorang raksasa yang bernama randiyo, makna simbolis lakon kangsa adu 21 ditya surati mantra. ternyata ditya surati mantra adalah adik kandung prabu gorawangsa. setelah dewasa joko maruto diajak pulang ke negara guwobarong yaitu kerajaan gorawangsa. joko maruto menggantikan ayahnya sebagai raja dengan didampingi seorang begawan jarasodja dan pamannya ditya surati mantra. joko maruto diberitahu bahwa ayahnya telah dibunuh oleh prabu basudewa raja mandura. timbulah niat joko maruto ingin membalas dendam dengan cara menanyakan haknya. oleh karena terpaksa prabu basudewa mengakui bahwa joko maruto sebagai anaknya yang diberi nama kangsa dewa dan diberi kedudukan sebagai bupati di kabupaten sengko pura. kangsa diberitahu oleh pamanya surati mantra bahwa sebetulnya basudewa telah mempunyai anak dari isterinya maekah yaitu kakrasana dan narayana, sedang dengan bradraini mempunyai anak brata jaya atau lara ireng. sebagai pesaing menjadi pangeran pati, kangsa ingin menumpas prabu basudewa sekaligus merebut tahta kerjaan. keinginan kangsa dewa diawali dengan menumbuhkan kerusuhan dari kerajaan untuk membuat kelemahan kerajaan mandura. kangsa dewa menghadap prabu basudewa, menyanggupkan diri untuk meredakan kerusuhan dengan beberapa syarat. pertama, kangsa dinobatkan menjadi pangeran pati. kedua, ingin mencari tumbal anak bule dan ireng cemani. ketiga ingin mengadu kekuatan dengan cara memilih jago tokoh yang paling kuat di antara mandura dan sengkopuro. keempat, ingin memperistri lara ireng, anak demang antyagopa di widara kandang. merasa takut basudewa mengabulkan permintaan kangsa dewa. dalam adu jago yang menjadi jago bukan dari binatang akan tetapi dari manusia. kangsa dewa yakin bahwa cita–cita akan terkabul. basudewa memerintahkan ugrasena untuk mencari pertolongan ke wukiretawu, minta bantuan abiyasa untuk merelakan bimasena menjadi lawan surati mantra dan mewakili jago kasepuhan mandura. prabu basudewa yakin bratasena dari sapthahargo yang masih saudara keponakan dapat mengalahkan jago kanoman surati mantra. permohonan kangsa dewa adalah sebagai siasat secara simbolik untuk menggulingkan prabu basudewa, sehingga dapat menggantikan prabu basudewa sekaligus membunuh ketiga putranya. siasat kangsa dewa telah diantisipasi oleh basudewa. ketiga putranya dititipkan di widara kandang agar tidak diketahui oleh kangsa dewa. namun, atas pemberitahuan surati mantra, kangsa dewa telah mengetahui bahwa kangsa dewa bukan keturunan prabu basudewa, sehingga keinginan membalas dendam akan kematian ayahnya prabu gorawangsa sangat kuat. di dalam gelanggang pertandingan kangsa dewa melihat kekanan dan kekiri, mencari keberadaan kakrasana yang dianggap sebagai penghalang. dalam pertandingan kangsa dewa ingin memuaskan ambisinya, menghabisi seluruh kesatria mandura. pertarungan antara surati mantra melawan bratasena amat seimbang. permadi adik bratasena mengetahui siasat kangsa dewa yang licik sehingga timbul niatnya untuk membantu dengan merusak belumbang semangka, tempat memandikan surati mantra jika terjadi kekalahan. pada akhirnya surati mantra tewas. kangsa dewa mengamuk dan dapat mengetahui keberadaan kakrasana dan narayana sedang melihat pertandingan. kesempatan digunakan oleh kangsa dewa untuk membunuh kakrasana dan narayana. terjadilah peperangan antara kangsa dewa melawan kakrasana dibantu narayana. semula kedua kakak beradik itu dapat terpikut, namun akhirnya kangsa dewa dapat dibunuh oleh kakrasana dan narayana dengan pusaka nanggala dan cakra. pusaka nanggala menjadi milik kakrasana setelah melalui bertapa di grojokan sewu. atas terkabulnya permohonan kakrasana, brahma memberikan pusaka andalan yang dapat untuk membasmi musuh. pusaka cakra diperoleh narayana setelah berguru kepada padmanaba di nguntarayana. padmanaba sebenarnya adalah wisnu. surati mantra dapat dibunuh oleh bratasena setelah blumbang semangka tempat memandikannya dicampur dengan keris kalanadah, sebilah keris milik permadi sehingga airnya mendidih, menguap terus kering. membunuh surati mantra diperlukan kerjasama antara bratasena dengan permadi. membunuh kangsa dewa diperlukan ker22 harmonia, volume xi, no.1 / juni 2011 jasama antara kakrasana dengan narayana. secara simbolik persatuan di antara saudara sangat diperlukan dalam menghadapi segala bencana. pihak kerajaan mengetahui bahwa ternyata yang dapat membunuh kangsa dewa adalah anak kandungnya sendiri yaitu kakrasana dan narayana yang dititipkan di windoro kandang. setelah pemberontakan reda akhirnya kakrasana dinobatkan menjadi pangeran pati mandura, yang kelak menggantikan prabu basudewa. sebagai balas jasa dan mengikat keluarga yadawa, wresni dan barata, lara ireng dicalonkan sebagai istri permadi yang telah membantu menumpas pemberontakan. struktur adegan kangsa adu jago patet nem pada jejer pertama, dengan latar mandura, tokohnya antara lain basudewa, harya prabu, dan ugroseno. babak unjal dalam adegan ini adalah kehadiran kangsa inti pembicaraan meliputi, (1) kangsa meminta hak kepada basudewa sebagai anak sepenuhnya. (2) kangsa ingin mengadakan adon–adon, (3) ugrasena diperintahkan basudewa untuk mencari jago. dalam adegan kedua, dengan latar kedaton, tokoh yang muncul adalah dewi badrahini menerima kehadiran basudewa. inti pembicaraan dalam adegan ini basudewa memberitahukan kepada dewi tentang permintaan kangsa dewa. adegan ketiga dengan latar paseban jawi, tokoh antara lain harya prabu dan ugrasena. inti pembicaraanya adalah pembagian kerja. ugrasena akan pergi ke wukiretawu mencari jago. harya prabu ingin menjenguk keponakannya kakrasana, narayana dan lara ireng yang dititipkan di widara kandang. adegan keempat dengan latar sengkapura, tokoh yang muncul kangsa dewa, surati mantra dan prajurit raksasa. inti pembicaraan, kangsa dewa menyuruh prajurit raksasa untuk mencari lara ireng, kakrasana dan narayana. adengan kelima, denga latar widara kandang, tokoh yang muncul demang antyagopa, segopi, dan lara ireng. inti pembicaraan, kedatangan raksasa dari sengkapura yang ingin mengambil lara ireng. terjadilah kejar mengejar untuk menangkap lara ireng. atas kecekatan lara ireng, prajurit raksasa tidak berhasil. pathet songo adegan songo i dengan latar hutan siganggra, tokoh yang muncul antara lain arjuna/permadi, semar, gareng , petruk dan bagong. inti pembicaraan, permadi mengajak panakawan melihat adon–adon di mandura. di tengah jalan permadi berjumpa lara ireng dikejar prajurit raksasa. permadi menolong bratajaya dan segopi yang dikejar raksasa sengkopuro. terjadi perang kembang. adegan songo ii tokoh kakrasana dan brahma. inti pembicaraan, kakrasana yang sedang bertapa dihutan grojogan sewu kedatangan brahma. kakrasana mendapat anugerah senjata alugara dan nanggala. oleh brahma diberitahukan sebetulnya kakrasana adalah putra basudewa raja mandura. kakrasana diperintah brahma agar segara ke mandura oleh karena sedang ada dalam bahaya. pathet manyura adegan manyura i dengan latar nguntarayana, tokoh yang muncul narayana dan padmanaba. inti pembicaraan, narayana berguru kepada padmanaba. narayana di anugerahi pusaka kembang wijaya kusuma dan senjata cakra. padmanaba akhirnya menyatu dengan raga narayana. narayana melanjutkan pengembaraanya sehingga bertemu kakrasana. adegan manyura ii, dengan latar mandura, tokoh tokoh yang muncul antara lain basudewa, ugrasena, bratasena. inti pembicaraan, basudewa senang hati menerima kehadiran ugrasena yang membawa bratasena dari sapta harga sebagai jago. adegan manyuro iii dengan latar blabar kawat, tokoh yang muncul kangsa dewa, surati mantra, ugrasena, dan bratasena. inti pembicaraan, melakukan tantangan pertandingan jago. wakil jago kanoman surati mantra dan kasepuhan bratasena. dalam pertaruhan segala kekayaan dan kekuasaan dipertaruhkan bahkan nyawa dipertaruhkan. jika sengka pura kalah seluruh kabupaten diserahkan kasepuhan, demikian sebaliknya randiyo, makna simbolis lakon kangsa adu 23 jika jago kasepuhan kalah seluruh isi keraton mandura menjadi milik kangsa dewa. berkat bantuan permadi akhirnya surati mantra dapat dikalahkan bahkan mati. kangsa berang, kemudian melabrak kakrasana dan narayana. berkat terkena senjata cakra dan nanggala kangsa dewa tewas. adegan tancep kayon, tokoh yang muncul antara lain basudewa, kakrasana, narayana, lara ireng, ugrasena, harya prabu, permadi dan bratasena. inti pembicaraan, basudewa merasa lega karena kangsa dewa telah tewas berarti pemberontakan telah reda, kakrasana dinobatkan menjadi pangeran pati. permadi dicalonkan menjadi suami lara ireng. analisis simbolik tokoh basudewa basudewa adalah putra sulung prabu basukunti raja negara mandura dengan permaisuri dewi dayita, putri raja bojo (solochin, 2007). basudewa mempunyai tiga orang saudara kandung masing–masing bernama dewi prita/dewi kunti, arya prabu rukma dan arya ugrasena. basudewa mempunyai tiga orang isteri dan 4 orang putra. permaisuri dewi maerah berputra kangsa. kangsa sebenarnya putra prabu gorangwangsa, raja raksasa negara gowabarong yang dengan beralih rupa menjadi prabu basudewa palsu dan berhasil mengadakan hubungan asmara dengan dewi maerah. permaisuri dewi mahira/maekah prabu basudewa memperoleh dua orang putra bernama kakrasana dan narayana, sedangkan dengan permaisuri dewi badraini berpurtra lara ireng/ sumbrada. secara tidak resmi, prabu basudewa juga mengawini ken sagupi, swarawati keraton mandura dan memperoleh seorang anak bernama arya udawa. basudewa pandai olah keprajuritan dan mahir memainkan senjata panah dan lembing. basudewa sangat sayang kepada keluargannya. bentuk sunggingan basudewa mirip dengan baladewa hanya pandangan agak lurus kebawah sedang baladewa pandangan agak lurus kedepan. setelah usia lanjut, basudewa menyerahkan kerajaan mandura kepada putranya kakrasana, dan hidup sebagai pendeta di pertapaan radugumbala. cara hidup sebagai pertapa diikuti baladewa. prabu basudewa meninggal saat negara mandura digempur prabu sitija/bomanarakasura raja negara surateleng. kangsa dewa kangsa dewa sesungguhnya putra gorawangsa, raja raksasa negara gowabarong yang beralih menjadi prabu basudewa dan berhasil bermain asmara dengan dewi maerah, permaisuri basudewa, raja mandura. kangsa dewa lahir di negara bomba wirayang dan sejak kecil hidup dalam asuhan surati mantra, adik prabu gorawangsa (solochin 2007, iii). setelah remaja, oleh surati mantra, kangsa dibawa ke negara mandura untuk menuntut haknya sebagai putra basudewa. karena sangat sakti, basudewa merasa takut akhirnya bersedia mengakui kangsa sebagai putranya dan diberi kedudukan adipati di kasatriyan sengkapura. kangsa dewa berwatak angkara murka, ingin menangnya sediri, penghianat, keras hati, berani dan selalu menurutkan kata hatinya. pengaruh surati mantra, pamannya yang sakti, kangsa dewa berniat merebut kekuasaan negara mandura dari tangan basudewa dengan cara melakukan adon-adon. pemberontakan kangsa gagal. surati mantra mati di tangan bratasena dan permadi. kangsa dewa mati terbunuh dalam peperangan melawan kakrasana dan narayana, putra prabu basudewa dari permaisuri dewi mahendra/maekah. kakrasana kakrasana setelah menjadi raja bernama prabu baladewa adalah putra prabu basudewa, raja negara mandura dengan permaisuri dewi mahira/maekah. saat kelahiran kembar bersama adiknya, narayana dan mempunyai adik lain ibu bernama dewi sumbrada/dewi lara ireng, putri prabu basudewa dengan permaisuri dewi badrahini. baladewa juga mempunyai saudara lain ibu bernama arya udawa, putra prabu basudewa dengan ken sagupi, seorang swarawati keratin mandura. baladewa berwatak keras hati, mudah naik darah tapi pemaaf dan arif bijaksana. baladewa mahir dalam olah ketrampilan mempergunakan gada, hingga bima dan 24 harmonia, volume xi, no.1 / juni 2011 duryudana berguru padanya. baladewa mempunyai 2 pusaka sakti, naggala dan alugara, keduanya pemberian batara brahma. sebagai seorang raja mempunyai kendaraan gajah bernama kyai puspadenta. prabu baladewa suka bertapa sejak mudanya, menjadi pendeta di pertapaan argasonya. sebagai pertapa bernama wasi jaladara, menikah dengan dewi erawati, putri prabu salya raja mandaraka. dari pernikahan tersebut memperoleh 2 orang putra yaitu wisata dan wimuka. sebelum perang baratayuda, baladewa juga kembali bertapa di grojogan sewu. prabu baladewa diyakini sebagai titisan sanghyang basuki, dewa keselamatan (solichin 2007:46). baladewa berumur sangat panjang. setelah selesai perang bharatayuda, prabu baladewa menjadi pamong dan penasehat prabu parikesit, raja negara astina setelah prabu kalimataya/prabu puntadewa, dengan gelar resi balarama. baladewa mati moksa setelah punahnya seluruh wangsa yadawa. narayana narayana adalah kresna, putra prabu basudewa, raja negara mandura dengan permaisuri dewi mahendra/maekah. narayana lahir kembar bersama kakaknya, kakrasana, dan mempunyai adaik lain ibu bernama dewi sumbadra/dewi lara ireng, putri prabu basudewa dengan permasuri dewi badrahini. prabu kresna juga mempunyai saudara lain ibu bernama arya udawa, putra prabu basudewa dengan ken sagupi, seorang swarawati keraton mandura. narayana adalah titisan sanghyang wisnu yang terakhir. selain sangat sakti dan dapat beriwikrama sehingga berubah menjadi raksasa, juga mempunyai pusaka–pusaka sakti, antara lain: senjata cakra, kembang wijayakusuma, terompet/sangkala pancajahnya, kaca paesan, aji pameling dan aji kawrasatawan (solichin 2007). narayana mendapat negara dwarawati setelah mengalahkan prabu kalakresna, kemudian naik tahta bergelar prabu sri bathara kresna. wisnu dipercaya sebagai penjaga keselamatan, pada waktu perang baratayuda membela keluarga pandawa. hubungan keluarga yadawa dengan barata mulai terlihat sejak lakon kangsa lena. setelah meninggalnya prabu baladewa/resi balarama, kakaknya dan musnahlah seluruh wangsa yadawa, prabu kresna menginginkan moksa. kresna wafat dalam keadaan bertapa dengan perantaran panah seorang pemburu ki jara yang mengenai kakinya. lara ireng/bratajaya dalam versi india subadra adalah gadis negeri matura puteri wasudewa dengan rohini (subandi 1997). versi pedalangan jawa subadra dikenal sumbadra sewaktu gadis bernama lara ireng. untuk melindungi aib yang diderita basudewa, sewaktu masih kecil pengasuh diserahkan kepada nyai segopi dan kyai sagopa atau antyagopa. ketenaran mulai tampak setelah lakon adon–adon atau kangsa lena. oleh karena dikejar prajurit raksasa lara ireng lari kehutan berjumpa dengan permadi. semua prajurit raksasa dapat ditumpas. lara ireng dengan permadi pergi bersama melihat adon-adon di alon-alon mandura. lara ireng adalah puteri basudewa dengan badraini. lara ireng mempunyai wanda lentreng dengan ciri–ciri praupan ruruh, leher panjang, pundak lentreh/bagian belakang rendah, badan agak dengkeng/tegak ke belakang, kaki agak menyempit (1997). lara ireng mempunyai watak setia, murah hati, baik hati, baik budi, sabar jatmika, merak hati/menarik hati dan mudah tersinggung (1997). dalam lakon kangsa lena, lara ireng, juga melihat adon–adon dan menggoda kangsa dewa. perhatian kangsa terpecah sehingga kurang tertuju untuk membunuh kakrasana dan narayana. pada saat terlena kakrasana menghantamkan nenggala bersama narayana melepaskan cakra kepada kangsa dewa sehingga tewas. simbolisme lakon kangsa adu jago pergelaran wayang seringkali dimaknai dengan seni pertunjukan dengan menggunakan efek bayang-bayang. dalam perkembanganya ternyata banyak penapsiran yang beragam. menafsir simbol wayang sudah tentu terbuka untuk berbagai kemungkinan tafsir. perbedaan penasfsiran justru akan memperkaya perbendaharaan tapsir. wayang dapat saja dalam pertunjukan diangrandiyo, makna simbolis lakon kangsa adu 25 gap sebagai gegambaran kehidupan manusia. makna wayang sebagai gambaran kehidupan manusia akan menjadi daya tarik karena penonton akan berkaca pada wayang. penonton akan mendapat nilai kehidupan, nilai heroik kepahlawanan dan nilai pendidikan, terutma pendidikan moral. pergelaran wayang mencakup hampir semua unsur seni dengan landasan tata nilai yang kuat. memahami wayang sebaiknya tidak secara parsial seperti misalnya karakter tokoh, jalan ceritera. pagelaran wayang yang lengkap menyangkut berbagai aspek memberikan contoh kepada penonton. sebuah lakon yang dipertunjukan memiliki berbagai nilai jika dikaji dari aspek simbolis. lakon kangsa adu jago penuh dengan nilai simbolis. dalam adu jago ternyata yang menjadi jago bukan dari ayam aduan, akan tetapi manusia. kekalahan boleh terjadi apabila salah satu jago meninggal yang berarti pembunuhan. maksud utama kangsa dewa beradu adalah ingin membunuh kesatria mandura, jika semua kesatria terbunuh akan mudah untuk menguasai kekuasaan keraton mandura. kangsa dewa merasa kawatir jika dengan langsung menyerbu mandura akan dikeroyok semua kesatria, jadi untuk melampiaskan hatinya ia berpura– pura menuntut pengakuan sebagai seorang anak keturunan basudewa. dalam adon–adon sebenarnya secara simbolis adu kekuatan fi sik atau juga sebagai sebuah pemberontakan. kangsa yang sebenarnya anak gorawangsa, seorang raja dari gowabarong, diakui sebagai anak basudewa dan diberi tambahan nama kangsa dewa serta dianugerahi tanah kadipaten sengka pura. sebagai anak raja basudewa, kangsa dewa menjadi raja di kadipaten sengka pura. sebagai raja basudewa ia merasa terpojok dan tidak dapat berbuat banyak. sehingga, dari pada mengorbankan banyak kesatria kemudian menyetujui maksud kangsa dewa. basudewa memberikan arahana kepada para saudarnya supaya menyerahkan sepenuhnya kepada kodrat yang bakal terjadi (soemodrmoko 1981). basudewa mempunyai keinginan untuk menyembunyikan putra yang lain yang digandang sebagai pengganti raja yaitu kakrasana dan narayana yang masih terlalu muda dan dititipakan kepada antyagopada dan nyai segopi di widara kandang. kangsa dewa yang mempunyai akal licik telah diketahui oleh harya prabu yang segera memberitahukannya kepada keponakannya untuk mencari kesatria agar dapat menyingkirkan kangsa dewa. secara simbolis kakrasana mencari kesaktian dengan bertapa di grojokan sewu dan mendapat anugerah nenggala dan alugara dari bethara brama. narayana pergi ke nguntrayana berguru kepada padmanaba sehingga mendapatkan anugerah cakra dan kembang wijaya kusuma. padmanaba sendiri menjelma menjadi wisnu. terdapat tiga model pembelajaran yang secara simbolis diikuti oleh kangsa dewa yang menganut sistem raksasa, aliran seks bebas, pendidikan hutan serba bebas, dan mengandalkan kekuatan otot tanpa otak. kakrasana menganut cara otodidak dengan mencari sumber kekuatan dari dewa dengan tetap memerlukan kekuatan fi sik. narayana menganut cara belajar dengan berguru kepada ahlinya di samping mendekatkan diri dengan sumber kekuatan yaitu wisnu. lakon kangsa dewa ado jago yang juga dikenal kangsa lena secara simbolis merupakan adu kekuatan antara kekuatan otot dengan kekuatan otak yang dimenangkan oleh kekuatan otak. kangsa dewa secara simbolis juga lambang generasi muda yang menganut seks bebas, sombong, congkak ingin melawan kemapanan suatu negara. akhirnya, kangsa dewa menjadi korban karena wataknya yang jelek yang dapat dibasmi oleh watak yang baik. keturunan raksasa dibasmi oleh keturunan kesatria yang suka berjuang, penuh pengabdian, menjujung keadilan dan persatuan. melalui pengorbanan kesatria bratasena dan arjuna semua musuh mandura dapat dibasmi. simpulan lakon kangsa dewa adu jago yang juga dikenal kangsa lena manegandung banyak nilai yang diungkapkan. struktur dramatik lakon mengalir, runtut mengikuti alur berfi kir yang sederhana dan mudah dipahami. beberapa simbol karakter tokoh mewakili perilaku simbolis tokoh yang orisinil, belum dibuat–buat dan memberikan contoh kepada masyarkat untuk memilih yang sesuai dengan pribadinya. berbagai peristiwa besar masuk dalam lakon yaitu masalah kekuasaan, 26 harmonia, volume xi, no.1 / juni 2011 harta benda dan wanita, menjadi isi sebuah lakon yang berbobot. simbol tokoh mewakili perilaku simbolis tertentu untuk membukakan hati kepada masyarakat agar berperilaku yang adil, jujur, bijaksana dan mewakili jiwa persatuan yang kuat diantara keluarga. karakter tokoh basudewa yang agak lemah membuat semua tokoh lain sibuk menampilkan jati dirinya. kangsa dewa simbol tokoh antagonis, gegabah dan kurang perhitungan merupakan tokoh sentral yang harus dibasmi dengan semangat persatuan, keadilan, perjuangan dan kesucian. tokoh baladewa yang keras namun jujur, belajar secara mandiri untuk mencapai tujuan yaitu mendapatkan nanggala dan alugara. kresna yang dengan berguru, untuk memperoleh cakra dan kembang wijaya kusuma, memberikan wawasan tentang tata cara memperoleh kesaktian. munculnya tokoh pandawa sebagai prasyarat kemenangan menumbuhkan semangat bahwa dengan persatuan, kebersamaan, keadilan dan pengorbanan yang tulus merupakan modal untuk membasmi angkara murka serta menjadi sarana persahabatan antara keluarga yadawa, dan barata. lakon kangsa lena struktur adegannya jelas dan mudah dicerna, mengandung aspek simbolik dan selalu menarik perhatian. daftar pustaka herusatoto, budiono. 2008. simbolisme jawa. yogyakarta: ombak. jazuli, m,. 2003. dalang negara dan masyarakat sosiologi pedalangan. semarang: limpad. mulyono, sri,. 1983. simbolisme dan mistikisme dalam wayang. jakarta: gunung agung. murtiyoso, b. sumanto, suyanto. kuwato. 2007. teori pedalangan bunga rampai elemen elemen dasar pakeliran. surakarta: isi . padmosoekotjo. 1990. silsilah wayang purwa mawa carita. surabaya: pt citrajaya murti. randyo, m. 2009. peran semar dalam pertunjukan wayang kulit purwa gaya surakarta. semarang: harmonia jurnal pengetahuan dan pemikiran seni vol ix edisi des. 2009. soemodarmoko. 1981. pedalangan wayang purwa lakon kangsa lena. surakarta: aski proyek pengembangan iki. soetarno. 2005. pertunjukan wayang dan makna simbolisme. surakarta: stsi press solichin, waluyo, sumari. 2007. mengenal tokoh wayang. surakarta: cv asih jaya. solichin. 2010. wayang. masterpiece seni budaya dunia. jakarta: sinergi persadatama fondation. subandi, 1997. persepsi masyarkat terhadap symbol tokoh sinta dan sumbadra dalam pertunjukan wayang kulit purwa. surakarta: stsi laporan penelitian kelompok. suparno, slamet. 2009. pakeliran wayang purwa dari ritus sampai pasar. surakarta: isi press solo. ----------. 2007. seni pedalangan gargrak surakarta. surakarta: isi press. solo zarkasi, effendy. 1977. unsur islam dalam pewayangan. bandung pt. al-ma’arif. 129 plaosan temple ornaments as iconography metaphorical hindu-buddhist ideology handriyotopo handriyotopo institut seni indonesia surakarta, indonesia submitted: 2021-11-15. revised: 2022-05-26. accepted: 2022-06-16 abstract plaosan temple is a building structure filled with beautiful ornaments and decorations, reliefs, and statues. therefore, this research aims to analyze the metaphorical aspect of symbolism in the plaosan temple reliefs, which represent hindu and buddhist ideologies. it also aims to understand the iconographic meaning of this structure as a temple building that unites differences for a peaceful purpose. this is a qualitative descriptive and interpretative research with the “minus one” technique used to determine the effect of removing an element of the temple. the hermeneutic-metaphorical interpretive description was used to visualize the ornaments’ symbols and determine the philosophical meaning between the ideological domain of hindu symbolism and buddhism. the results showed that the manifestation of love from the plaosan temple is indicated in its temple’s relief elements and decorated ornaments. keywords: plaosan temple, metaphor, ornament, iconography, symbol how to cite: handriyotopo, h. (2022). plaosan temple ornaments as iconography metaphorical hindu-buddhist ideology. harmonia: journal of arts research and education, 22(1), 129-143 harmonia: journal of arts research and education 22 (1) (2022), 129-143 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i1.33358 and mythology (sugihartono & dharsono, 2020). one of the ways to explore and understand the history of this nation is by visiting its historical sites. for instance, the peoples’ lives and customs can be seen in the temples’ reliefs (yunmar & harjoko, 2014). a work of art exists in a contextual relationship with the space and time it was created. hidayanto (2014) stated that the birth of art is motivated by various problems and events in society. in this regard, javanese temples are edifices that show elements of local genius and the cosmopolitan web of cultural exchange between india and asia (perdana & ridwan, 2021). therefore, the temple known as plaosan is an artifact in the form of objects influenced by two different ideological backgrounds. there are numerous temple artifacts in inintroduction indonesia is a nation that respects history and its origins. one product of its historical heritage is the javanese architecture consisting of the hindu-buddhist and the javanese traditional eras. according to preliminary research by pertiwi et al. (2020), traditional javanese architectural works are still designed with ornaments. the buddhist borobudur and the hindu prambanan temples are two buildings that represent the political, religious, and cultural attributes of the javanese culture (kieven, 2017). borobudur temple was included on the world heritage list in 1991 (hasanah et al., 2020). the sculptures and reliefs in indonesian temples depicted in various forms represent hindu stories corresponding author: e-mail: handriyo@isi-ska.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (1) (2022): 129-143130 donesia, mostly located in java. some parts of these temples consist of ornaments, reliefs, heavenly figures, and statues that have a specific purpose and symbols of meaning. various geometric ornaments, tendrils, and animals can be seen in the temples in central java and yogyakarta (syafii, 2019). these temples are structured in a specific method, thereby leading to their unique shapes. the underlying religious ideology complemented the establishment of these temples. some symbolic forms include its composition, roof, statues, and reliefs (sarjanawati, 2010). plaosan is a very interesting temple in building aesthetics, full of decorative motifs that combine hindu and buddhist elements. this temple complex is located in plaosan hamlet, bugisan village, prambanan district. it consists of two groups of temples, namely plaosan lor and plaosan kidul. mahayana buddhism was built around the ix century ad by rakai pikatan and his wife named pramodhawardani, from the sanjaya and syailendra dynasties (istari, 2015). it is located in the north and east of prambanan and sewu temples. its structure in the middle is as central as temple buildings in general. plaosan is not bigger than prambanan and is a cultural heritage site that is significantly maintained. hindu-buddhist temple’ is a religious site and a local asset consisting of a different cultural artifact of hinduism’s early existence, which spread to indonesia from its home country in india. the reliefs are similar to those in india, indicating naturalist realists in the prambanan and borobudur temples. the early classic period often depicts indian heroic stories such as the ramayana and mahabharata and the buddha’s journey on temple reliefs (winaya & munandar, 2021). similarly, the temple artifacts in plaosan are a transformation of cultural forms from hinduism and buddhism. this process occurred due to the mutual influence and mixing of elements of artistic styles from two cultures. the form of transformation in art does not only happen in literature but through performance in sculpture or fine art (purwanti, 2020). the decoration of the plaosan temple has a unique shape compared to the prambanan. the metaphor of the decoration can be classified into many types of flora and fauna. besides, the statue is the main element in the relief that stretches north and south. plaosan temple, located in the village of budisan, prambanan district, klaten, central java, is known as lor and kidul. it is often considered a twin temple due to its identical shape between the north and south. the physical condition of the twin buildings and the existence of myths from hinduism and buddhism ideological backgrounds unite differences for a soothing peace goal. furthermore, the shape and structure of the building are decorated as a manifestation of the creator’s love. the process of creating the artwork is usually associated with two ornamental functions, namely, a pure and a symbolic decorative variety (istari, 2015). therefore, it is necessary to study the decoration and ornamental function of the plaosan temple as a manifestation of the love of the northern and southern domains. the meaning hidden behind the decoration can be determined by considering the close relationship between the results of art and religious values and observing the painted objects (haryono, 2008). according to haryono and istari, the symbolism in ornaments, both reliefs, and sculptures, can be traced to ancient history. this research’s main objective is to identify the metaphorical ornamentation of the acculturation from the reflection of hindu-buddhist culture that peacefully represents each ideology in a temple. plaosan reflects a peaceful and tolerating society that offers mutual love for prosperity. this research aims to formulate the plaosan temple decoration motifs that reflect the unification of the goal of love for hinduism-buddhism, which is loaded with religious values and peace. this temple’s reliefs show the metaphor of decoration, which means an ideological philosophy uniting love in various cultures. it is associated with the basic principles handriyotopo, et al., plaosan temple ornaments as iconography metaphorical hindu131 in the symbol of garuda pancasila, namely bhineka tunggal ika or tan hana dharma mangarwa, in the philosophy of the indonesian state with the same attributes. therefore, this research aims to identify the following: 1) the reliefs of the plaosan temple and the decoration forms of its ornaments, 2) the love of hindu-buddhist fusion reflected by these attributes, and 3) the metaphorical ornaments in the temple decorations and reliefs representing the dominant hindu and buddhist ideologies. numerous research has been conducted on the temple, one form of intellectual property inheritance of the archipelago’s ancestors. the research entitled comprehensive study of the philosophical meaning of javanese architecture by paramadhyaksa et al. (2013) focused on the realization of the temple as a whole and in parts. it was conducted using a multidisciplinary hermeneutic method based on an appreciation of hinduistic and buddhist teachings of fundamental values. the result showed that the javanese worship temples contain several symbolic conceptions. these include mount meru, the head of lord brahma, and a meeting of humans and god. however, this research explored and identified the decoration of plaosan lor and plaosan kidul temples. the hindu and buddist temples in central java were examined from the architectural perspective, focusing on the metaphorical decoration to reflect the love of the creators of different ideologies. the process of cultural acculturation rooted in hindu-buddhist classics inspires traditional javanese and islamic religious buildings in the mosque. classical islamic buildings and houses seem to follow javanese and hindu-buddhist principles in their facilities, elements, and spatial arrangement. the research conducted by noor cholis idham (2021) is based on acculturation and transformation in adopting traditional javanese installations that explore past values. it was conducted based on the process of cultural acculturation put together in building work at the plaosan temple. this research focused on using the acculturation process to read temples’ symbolic markers and iconographic values from both hindu-buddhist cultures. the decoration in the plaosan temple is based on the best strategy to represent the temple as a manifestation of love for the unification of different cultures between hindus and buddhists. research by dewi fajar indriyani, titled “the potential for temple tourism and the direction of its development in klaten,” aims to (1) analyze tourism temples in klaten regency and (2) determine the development direction of temple tourism objects (indriyani et al., 2018). this research was conducted using two approaches: scoring techniques to achieve the objectives and swot analysis of five temples. the results showed that (a) sewu, lumbung, and bubrah temples have high internal potential, (b) sewu, lumbung, bubrah, bubrah, plaosan lor, and plaosan kidul temples have high external potential, (c) sewu, lumbung, bubrah, and plaosan lor temples have combined high potential, and (d) merak temple has a low potential. directions for the development of temple tourism objects in the klaten regency are based on the existing swot analysis, namely (a) improving temple tourism objects and creating supporting attractions, and (b) completing supporting facilities (indriyani et al., 2018). this research is more relevant to the aspect of tourism to increase visits that impact the economic sector. indriani’s research is in line with hasanah’s on tourist visits. hasanah et al. (2020) reported that climate influences visit the borobudur temple. similarly, the present research on the plaosan temple was carried out to identify and interpret the decorative ornaments as a fused hindu-buddhist temple. this temple is a tourist asset of javanese historical aspects and cultural artifacts with metaphorical values. research on iconography in the relief of the panataran temple examined the iconography in the blitar city of east java province(afrizal, 2017). the result showed that the iconography in the panataran harmonia: journal of arts research and education 22 (1) (2022): 129-143132 temple relief, which started from the side of the terrace, has a real meaning that can be drawn from the relief. this also explored the meaning of the penataran temple relief story that contains the panji story starting from the description of pre-iconography, iconographic analysis, and iconological interpretation (afrizal, 2017). in the pre-iconographic stage, determined by analyzing the embodiment of temple visual relief, the relationship between forms and events was used to make expressional quality. this research analyzed the visual objects found in east java reliefs associated with the lean and balanced shape of temples. furthermore, it also seeks to present the value of the expression, which aims to liven up the atmosphere. the research of metaphors in the relief of the plaosan temple does not arrive at the reading of the iconology in the reliefs but on visual lessons with characteristics representing the shape of objects. a tripartite arrangement, which divides the appearance of the temple into three parts, namely the body, head, and feet, was used to examine the temple’s architecture (perdana, 2022). kemas ridwan kurniawan (2021) examined the concept of a “vāstu order” using historical architectural research methods to analyze temple samples. the finding showed that the temple’s architecture can be visually divided into seven parts belonging to the vāstu order. these include upapītha, adhisthāna, pada, prastara, gala, ikhara, and stūpi. they indicate that by testing the validity of the vāstu order in the temple, a new architectural order that is more comprehensive is obtained. javanese temples’ relevance is almost the same as that of artifacts in southeast asia. research on temple reliefs conducted by metusala et al. (2020) containing flora in the lalitawaswara reliefs at borobudur shows at least 63 types of plants used as ornaments. at that time, the ancient javanese people already had a high awareness of plant diversity as a philosophy of human life. therefore, these ornaments become an important part of the temple, such as the sulur motif. widhianningrum et al.’s research (2019) on borobudur reliefs in the karmavhibhangga traces the ancient javanese’s economic, social, and spiritual activities. the findings based on buddhist philosophy showed that social accounting is an economic control and mediator of conflict between humans, their needs, and the environment. frisky et al. (2021) researched ways to determine the depth of the borobudur temple using the rrd (registered relief depth) system. this process predicts the depth of artifacts with similar relief characteristics in the rgb data. these findings are useful for researching artifacts about material color or chemical reactions from temples to understand indonesian cultural heritage. the metaphorical iconographic analysis of the temple reliefs’ visual elements is important in determining the true identity of the plaosan temple through the concept of the “minus one” method. the buddhist temple becomes irrelevant when an essential element is removed. theoretical basis the theoretical foundation as a basis for comprehensive research and analysis of the object is the plaosan temple in klaten, central java. the formal objects or theoretical basis developed include the definition of temples, ornaments, reliefs, and their forming metaphors. temple and building structure the existence of temples in indonesia, especially those in central java and the yogyakarta special region, is in the form of a tomb to honor ancestral spirits combined with the religious ideology of hinduism and buddhism. however, its existence is different from those in india, a temple for worship. an embodiment is where the gods or ancestors dwell. according to soekmono (2005), in the book titled “temple of function and understanding,” temples are tomb buildings. in connection with the existence of the plaosan temple as a myth of romance from these two major ideologies, it is a grave and place of worship. however, the value of local wisdom handriyotopo, et al., plaosan temple ornaments as iconography metaphorical hindu133 respects the differences in the fabric of love to be interpreted and acts as a role model for the community. its structure is a general form of the temple in central java. according to soekmono (2005), the temple’s structure consists of three parts, namely, feet, body, and roof. it comprises hindu-buddhist elements, but the decoration makes it more beautiful with aesthetic value and symbolic philosophy manifested from the personal daily values of the religion. siaga (2002) stated that the temple building in the form of art, sculpture, and decoration is religious community life. all temples are closely related to the history, art, culture, and philosophy of the indonesian people in the past. temple ornament ornament is a flora and fauna decoration used to identity a symbolic reflection of hindu or buddhist ideology. ornament comes from ornare (latin), which means decorating (halim, 2017)temples and shrines have been known as a means of worshipping the gods and goddesses or one’s ancestors, especially in the religions of hinduism and buddhism. observers often regard the ornaments of these temples as mere visual art objects, as eye candy that may beautify their outward appearance. however, when examined more closely, these ornaments carry a certain meaning in each of the temples. the aim of this research study is to explore the deeper significance of these ornaments and their location. this research can be classified as qualitative, using the descriptive-analytical method. employing the purposive sampling method regarding ornamentation, eleven temples have been selected that meet the research requirements. both hinduism and buddhism have been known to make a division into three worlds, namely the lower, middle and upper spheres. this division has also shaped the elements of temples into their respective head, body and legs/feet. further categorization yields six motifs, all of which can be found in temples in various shapes, consisting of several types of ornament that embellish the three elements mentioned above. each of the motifs carries a variety of meanings. in this research study, the relationship between the meanings and their exact location (placement. the oldest motif is a geometric shape, which utilizes geometric elements, such as curved and straight lines, circles, triangles, quadrilaterals, meander shapes, swastikas, etc. (halim, 2017)temples and shrines have been known as a means of worshipping the gods and goddesses or one’s ancestors, especially in the religions of hinduism and buddhism. observers often regard the ornaments of these temples as mere visual art objects, as eye candy that may beautify their outward appearance. however, when examined more closely, these ornaments carry a certain meaning in each of the temples. the aim of this research study is to explore the deeper significance of these ornaments and their location. this research can be classified as qualitative, using the descriptive-analytical method. employing the purposive sampling method regarding ornamentation, eleven temples have been selected that meet the research requirements. both hinduism and buddhism have been known to make a division into three worlds, namely the lower, middle and upper spheres. this division has also shaped the elements of temples into their respective head, body and legs/feet. further categorization yields six motifs, all of which can be found in temples in various shapes, consisting of several types of ornament that embellish the three elements mentioned above. each of the motifs carries a variety of meanings. in this research study, the relationship between the meanings and their exact location (placement. there are vine motifs on the temple ornament in plaosan, similar to those of hindus and buddhists in central java. these include the sankha reliefs, whose tendrils protrude out in a circle. the form of ornamental motifs in the winged shells (sangkha) with stylized vines are found on the outer sides. other types of decoration found at the temple’s foot are paper motifs in rhombus, jasmine, recharmonia: journal of arts research and education 22 (1) (2022): 129-143134 tangular, and oval shapes. therefore, the geometrical, plant, and mixed decoration reflect hindu and buddhist acculturation, with decorative styles not limited to the foot but rather on the body and roof. temple relief temple relief is a form of a story or life depiction contained in the hindu or buddhist scriptures carved into the statues therein. when viewed from the relief side, it shows a story about the hindu religious books, such as the prambanan temple, which tells the story of the ramayanaread in the clockwise or pradaksina path direction. however, the plaosan temple’s relief does not reflect the story of a hindu or buddhist but is based on non-story and symbolism, which is highlighted by certain movements. istari ( 2015) stated that temples in central and east java generally have a narrative. this is visualized in the fauna decoration with widely written inscriptions and non-story relief decoration types, such as plants, geometrics, and their combinations in the plaosan temple. metaphors in temple decoration and relief a metaphor is a reading of visual text on the relief of the temple and its trappings. it is carried out by everyone in their daily life and is commonly used in figurative language text where the meaning is similar. however, the existence of a metaphorical perspective was developed for reading texts of two and three-dimensional visual works. the metaphorical function is a known concept in architectural studies. ancient architects have applied it as a medium of grammar to indicate symbols and signs, especially for mental and spiritual constructions (allahmoradi, 2018). similarly, in the architectural aspect of the plaosan temple, the structure is represented by the character and cultural ideology code of the two religions. metaphor is essentially the transference of meaning from one symbol (the topic) to another l (the vehicle) (morey, 2011). george lakoff and mark johnson, in their book metaphors we live, defined it as an unconscious shape associated with the way human beings think and act. for example, the conceptual metaphor that is commonly used is “argument is war.” this metaphor forms a language with an argument as a battle that must be won. the metaphorical area maintains the cognitive topology of the source domain in a manner consistent with the innate structure of the target domain (george lakoff and mark johnson, 2008). therefore, from the results of preliminary studies, the body and legs of the plaosan temple are a metaphorical reflection of the daily beauty of the surrounding community. when the temple building is removed, its ornamentation might not show the unusual function of the relics of hindu-buddhist artifacts in central java, especially plaosan. similarly, this temple is not just carved out; rather, there is a meaning behind the figure that is embraced on the stone wall, both in terms of movement and expression. temple iconography the iconography of the temple can be seen in the building’s structure, stupa, and reliefs. panofsky (1972) divided the reading of symbolism into three layers: preiconography, iconography, and iconology. therefore, to determine the elements that make up the plaosan temple, analysis involves the three meanings of symbolism. the pre-iconographic analysis is related to how the history of the plaosan temple was realized. iconography means the strategy used to realize the temple through its forms and elements. meanwhile, iconology means the intrinsic meaning of the symbolic value of the plaosan temple icon, which consists of the building’s shape and the meaning of the reliefs on the temple, starting from the ornaments, structures, and the statue. therefore, through panosky’s perspective and visual metaphors, the symbolic meaning to the plaosan temple, which represents hinduism and buddhism’s ideology, was determined. handriyotopo, et al., plaosan temple ornaments as iconography metaphorical hindu135 method this is a descriptive qualitative and interpretative research with the metaphorical method used to analyze the variety of decorations. the material object is the plaosan temple located in the bugisan village, klaten, central java. this temple is a site or artifact of relics, consisting of ornaments used for decoration, reliefs of statues, and building structures containing elements from hinduism and buddhism. geometric ornamental forms, ornamental plant, flora, fauna, and a combination of both decorations carved on the baths’ walls are based on the fact that the temple is a sacred shrine (istari, 2015). this is different from the prambanan temple, a relic of the hindu kingdom. the plaosan temple was selected because it is different from those around kalasan due to its unique characteristics of the myths and folklore about different religious backgrounds. the temple’s architecture consists of two levels with six chambers, three each on the upper and lower floors (istari, 2015). data source data were sourced from the reliefs and motifs of the plaosan temple in the village of bugis, klaten. additionally, data were also collected from literature in the form of journal articles, online, and ebooks that previously reviewed the topic issued by the balai antiquities. data collection technique data were collected by observing the field for photographic documentation of the temple structures and ornaments. this was followed by a literature review conducted on the research results and other scientific articles. data analysis the process of symbolic interaction that continuously produces relevant data is to find motives from the metaphor of plaosan temple decoration reflecting on hindu and buddhist ornaments. metaphor analysis is the steps used to determine the temple construction to the visual elements in the decoration, relief, and sculpture. this process was used to determine the domain position of plaosan lor and plaosan kidul temples. the process was carried out in the following stages; 1) identifying data from the plaosan lor temple decoration, 2) and plaosan kidul temple relief, 3) verifying it, 4) identifying the data and formulating the decoration, and 5). it identifies the symbolic meaning of the temple ornament. (a). when the ornament represents, an ideology is omitted. (b) recognize differences in ornaments that indicate each domain of hindu-buddhist whether the unity ideology content is represented in the temple building. metaphors can be identified and classified into four general domains of experience, namely movement, nature, artificial, and human activity. examples identified in the research are coded into images, concepts, doubles, etc. the analysis was carried out to explore how this metaphorical scheme relates to the four previously defined domains of experience (casakin, 2019). however, this research evaluates the temple and its constituent ornaments using the ”minus one” method. it also determined what will happen to assume one of the domains is removed. for instance, will there still be a connection between the two ideological target domains as a target source between hindus and buddhists? this process was obtained from handriyotopo’s minus-one theory applied in film and audiovisual to obtain a closed visual representation frame. this is intended to determine the difference in message content in each domain represented in commercial films (handriyotopo, 2019). handriyotopo’s method was used in the visual sign reading system on the structure, temple ornaments, and reliefs of the plaosan temple. result and discussion plaosan temple is not as big as prambanan or borobudur temples. however, many people have enjoyed visiting harmonia: journal of arts research and education 22 (1) (2022): 129-143136 the bagusan village to view this structural edifice in terms of beauty. plaosan temple artifacts can be traced from the prehistoric track record of the indonesian people, who were initially familiar with iconography or images etched on stone walls in the form of certain symbols or pictograms before introducing writing. an embodiment of a temple other than a tomb is where the ancestors dwell. according to raffles’s statement quoted by soekmono in the book “temple of function and understanding,” the statement about “cupola” is an indication that the temples are tomb buildings (soekmono, 2005). although temples in java are also places of worship, it only functions as an artifact that needs to be preserved. the plaosan temple’s structure differs from that of the hindu in prambanan and consists of three complexes. the first is a fence that bounds the parent temple with a connecting door. it comprises three rows of perwara temples around the two parent ones totaling 174 in the middle complex. in addition to these buildings in the north, there is a batur pendapa surrounded by two rows of small buildings in the form of stupas (istari, 2015). plaosan temple structure plaosan temple acts as an artifact that concerns the differences in the ideology of hinduism and buddhism between rakai pikatan and pramodhawardani, a buddhist. it is a reflection of a husband’s love, which is similar to what occurred in the taj mahal building located in india. the plaosan temple building structure is an architectural representation of past historical events in indonesia. the temple was built with andesite stone from mount merapi-yogyakarta. its structure rises and gets smaller, showing the peak of the reflection of the residing ancestral spirits. furthermore, it is a sacred building where ancestral spirits reside with a stupa on its roof. this building is a metaphor for arranging forms, reliefs, and ornaments. johnson (2003) stated that the building is important due to its effectiveness in imagination and creativity which can be increased through metaphorical thinking. according to ayiran (2012), this process helps turn it into its current shape. plason lor’s roof or crown is shaped like a buddhist stupa, as shown in figure 1. the reliefs at the main temple represent the figures of pramodhawardani and rakai pikatan. figure 1. the roof of the temple or the crown of the temple is shaped like the buddhist stupa. source: doc. handriyotopo, 2019 similarly, research on metaphors in temple building structures also pays more attention to the context. kloppmann-lambert (2018) researched to determine the architectural building of the plaosan temple. the research aimed to determine the strategies used to determine the temple’s position when the two major religions were present amid their supporting communities. this temple consists of reliefs and statues that surround its structure. there are two main temples that show the relief statue of a woman and man on the northern and southern sides. plaosan temple is surrounded by 72 moats, 286 perwara temples, and stupas (sahruni, 2021). the building seen at the initial entry point is a form of perwara temple that reveals the structure of a hindu and a reflection of a buddhist temple. handriyotopo, et al., plaosan temple ornaments as iconography metaphorical hindu137 figure 2. kala is found in all perwara temples in plaosan. source: doc.handriyotopo 2019 perwara is a courtyard surrounding the plaosan temple with a kala-makara above its entrance, which reflects the shape of hindu buildings like in prambanan. the makara is an ornament at the temple entrance whose outward form is a combination of a dragon, crocodile, and giant fish with bulging and creepy eyes. these features make it scary to visitors who come to the sacred building with bad intentions (kempers, 1959). therefore, the kala-makara is a temple ornament in the form of a creepy kala head consisting of various tendrils. figure 4 shows the combination of the perwara temple in the shape of a square and its pointed roof consisting of kala-makara on both sides, thereby forming a sewu temple. plaosan temples are often reflections of the shape of buddhists, as shown in figure 3. the symbolism of the kala is found in the perwara temple in plaosan, as illustrated in figure 2. figure 3. the perwara buddhist stupa numbered 126 in the plaosan temple. source: doc. handriyotopo, 2019 the circumference is surrounded by perwara temples of buddhist stupa characterized by cupola in borobudur and more than 126 sewu characterized by various hindu temples. the sewu temple, located approximately 800 meters from prambanan temple, is the second-largest buddhist temple after borobudur. it was established in the 8th century by rakai panangkaran from the ancient mataram kingdom. rakai panangkaran had a son named rakai pikatan from the sanjaya dynasty with a hindu background, who married pramodhawardani, a buddhist from the syailendra dynasty. the prambanan and sewu temples’ location indicates the established harmony of hindu-buddhist. harmonia: journal of arts research and education 22 (1) (2022): 129-143138 figure 4. perwara in sewu temple, the crown is in the form of a stupa. the ancillary ornament and shape in the plaosan temple have a metaphorical value, meaning mutual protection between hinduism and buddhism. when the perwara stupa temple is removed, the hindu perwara temple will appear and vice versa. however, when both are present as perwara temples, the metaphorical value raised is a sense of protection that hinduism can co-exist in harmony with the buddha or vice versa. temple stupa or crown that rises to the top as a reflection was built as a place of worship by the hindus or buddhists. temple ornament the ornament that adorns the plaosan temple consists of relief structure, decoration, and sculpture. this is in addition to the motifs on the walls of the flora and fauna elements and reliefs. each temple has distinctive ornaments that decorate it, similar to the bathing complex in klaten or prambanan. the hindu temple ornament identity in prambanan is known as the tree of life or kalpataru, which describes life in the upper, middle, and water world. similarly, in the buddhist temple in the sewu temple, there are relief lamps that symbolize and reflect high sacredness. figure 5. vines and vines with winged shells on the reliefs of plaosan temple. source: t.m. rita istari, 2015 the tendrils motif is the main aesthetic aspect of the temple in this area. similarly, in plan temple consists of tendril and winged clam motifs. the tendrils, especially the sangkha are the same as the motifs in the prambanan temple. it is the result of padma leaf station (red lotus), a distilled leaf shape that is curly in shape with its tip turning in the opposite direction. this spout motif comes from the sea snail’s left and right sides as a soft-shelled animal. it characterizes ornaments in hindu temples but is not found in the plaosan temple as it is in prambanan. the first appearance in the form of sangkha motif is an attribute of the god vishnu. in addition to the vines, there are geometric motifs on the temple walls and the foot, which collaborate with a floral motif in the middle. geometric or rhombus motifs are also found in prambanan temple as a hallmark of hindu. in the middle of the rhombus motif, there is a jasmine flower. this research starts with the history of the prambanan temple complex in klaten, central java. it comprises a large hindu and buddhist temple complex with ideological influences that grow and develop simultaneously. the prambanan and sewu temples are relics of the hindu and buddhist dynasties. aspects of elements that make up the structure and its ornaments affect the existence of the plaosan temple. therefore, the characteristics of the temple can be seen from the ornamental elements in tables 1 and 2. handriyotopo, et al., plaosan temple ornaments as iconography metaphorical hindu139 figure 6. geometry motifs combined with floral and vine motifs. source: doc. handriyotopo, 2019 based on table 1, the ornaments representing hindu-buddhist temples, not all elements are found in the plaosan temple, but the most prominent is the winged sankha motif as shown in figure 5. the shanka ornament is the main attribute used to determine the philosophical values of buddhism. hinduism has philosophical values on fertility and happiness. however, in the representation of hindu temple ornaments, the prominent ornament is the hayat or kalpataru tree in the prambanan temple, reflecting life in the world and the hereafter. in connection with fertility values, it is indicated by the presence of a lotus motif that protrudes from the latrine on the right and left. the main one is called the purnakalasa motif, as shown in the ornament on sewu temple in the prambanan complex. the buddhist temple cannot be seen from the structure of the building and its crown. according to hariyadi (2020), the sankha ornament, winged saṅkha decorations in javanese temples are generally combined with decorative motifs of tendrils and loops. the winged saṅkha accompanied by this motif can be observed in sambisari, ijo, barong, prambanan apit, perwara, prambanan, and plaosan temples. saṅkha, in buddhist belief, is a symbol of safety and well-being. its application in buddhist teachings to temples in java can be observed in plaosan and mendut (hariyadi, 2020). one form of a symbol that correlates with this fertility is the depiction of the winged śaṅkha, which is intended mythologically for the temple building and to support fertility (hariyadi, 2020). therefore, it can be concluded that the depiction of the winged saṅkha in hindu and buddhist temples in java is intended to present the water element for the temple and the environment to create fertility that can bring prosperity to the people (hariyadi, 2020). the metaphorical role of the iconography behind the philosophical meaning of the temple metaphors arise when viewers, users, critics, architects, and designers try to comment on the shape and appearance of a building (kloppmann-lambert, 2018). this research analyzes the plaosan temple to determine the meaning of the temple elements. it aims to examine the role of the metaphor in the formation of table 1. ornaments of the prambanan temple as a representation of a hindu temple; types of temple ornaments/ reliefs description of shapes relief of the tree of life/kalpataru (a combination of flora and fauna) it consists of brahma, shiva, and wahana temples. the ornament of the living tree / kalpataru symbolizes the presence of water, air, and land, as a form of nirvana. plant ornaments/flora tendrils sunflower it is located on the wall of the vertical foot of the temple trumpet flowers it is on the side of the circular temple roof. lotus flower tendrils in sideburns (purnakalasa) it is a lotus sticking out of the latrine and is located in the lorojonggrang temple. as a symbol of fertility and happiness. winged sankha ornament the sankha has wings found on the side of the apit temple. geometric ornaments it is found at the temple’s foot and the lankan fence. harmonia: journal of arts research and education 22 (1) (2022): 129-143140 table 2. ornaments of plaosan temple in prambanan represent buddhist-hindu temples. types of temple ornaments/reliefs description of shapes plant ornaments/ flora tendrils the motif of this vine and ribbon curtain surrounds the outer side of the upper part of the temple base. winged sankha ornament the motif of this vine and ribbon curtain surrounds the outer side of the upper part of the temple base. the shape of the sankha has tendrils and wings. furthermore, it is located at the base of the main temple, which is combined with decorative tendrils. geometric ornaments this is a decoration surrounding the outer side of the main temple body and the ancillary. it is also found at the outer edge of the main and perwara temples. a hindu-buddhist temple with the presence of perwara ornaments, flora, fauna, and crown motifs on its roof. this is conducted by examining the motifs as well as the stupa, which shows the relationship of ownership of the same ideology. according to ayiran (2012), it is natural to apply visual metaphors in architecture, similar to analyzing the plaosan temple. it has a unique shape compared to other temple forms, such as a triple structure, with a crown of various shapes and sizes to become a buddhist temple. metaphor is not just a matter of language, it is also associated with thought and action. they involve all the natural dimensions of the human sensory experience, such as color, shape, texture, and sound (george lakoff and mark johnson, 2003). similarly, the architecture of the plaosan temple consists of a metaphorical formation used to analyze the temple and its visual elements. the “minus one” appropriation method is used to determine the visual metaphors that show the relationship between hindu and buddhist ideologies (handriyotopo et al., 2019). when the perwara temple stupa is removed or not presented in the plaosan structure, it will not appear as a temple. however, suppose the perwara temples of kala are removed or not presented as complex. in that case, it becomes a reflection of the buddhist temple because only the perwara stupa temple decorates the plaosan twin complex. the plaosan temple, which hindu-buddhist characterizes, is more dominant in the stupa aspect of the perwara compared to the kala perwara. hindu decorations are more prominent regarding ornaments related to temple reliefs, with sangkha motif as the oldest. the relief ornaments of the plaosan temple consist of prominent hindu decoration, namely the sankha tendril motif. this means that the plaosan temple is a metaphor for buddhist because the aspect of the perwara temple (figure 3) is the most dominant. panofsky’s perspective on pre iconography, iconography, and iconology, was used to determine the overall structure of the temple. panosky (1972) stated that objects and events represented with lines, colors, and volumes could be identified. therefore, the pre-iconographic reading appears visually as the role of metaphors that make up plaosan temple. it comprises a hindu-buddhist representation, namely the presence of perwara temple ornaments, flora and fauna motifs, geometry, and crowns on the roof. the iconographic analysis deals with images, stories, and allegory instead of motive presuppose, with objects and events acquired through practical experience (panosky, 1972). judging from the results of the intrinsic analysis on the iconographic (conceptual) aspect, hindu temples characterized by ornamental design with tendrils coming out of the sangkha symbolizing god’s trumpet vishnu as seen in perwara temple number 58. the characteristics of buddhist temples can be seen in the 126 perwara stupas, which are the most dominant ancillary architectural forms. iconological interpretation requires something more than introducing a partihandriyotopo, et al., plaosan temple ornaments as iconography metaphorical hindu141 cular theme or concept, which is a world of “symbolic” values (panosky, 1972). the interpretation of the ideological meanings contained in the plaosan temple represents rakai pikatan’s love for pramodhawardani. therefore, the architecture of the plaosan temple is a metaphor for the reflection of their love despite being distinguished by different religious ideologies. rakai pikatan’s love for pramodhawardani is presented in a metaphorical relief that combines temple ornaments and decorations between buddhist and hindu ideology in the sankha vine motif as an embodiment of the value of fertility. this can be seen in the metaphorical visual representation of the hindu temple at prambanan (table 1) and plaosan temples (table 2). the sanka (figure 5) motif found at the foot of the main temple is combined with decorative tendrils. conclusion in conclusion, the decorative motifs in the form of building structures, stupas, and reliefs at plaosan temples reflect the combination of buddhist and hindu visual architectural iconography elements. one of the major differences between these temples is the crown shape. for instance, it is a buddhist temple where the structure is crowned with a stupa similar to the prambanan but slimmer. similarly, the plaosan, a buddhist temple, also has some elements of hindu in its structure. it is called a buddhist temple because the perwara stupa is more dominant than the perwara kala. therefore, through the “minus one” method, the perwara stupa is removed from the temple complex, making it appear dominant; hence it can be called a hindu temple. the combination of the hindu-buddhist elements related to the establishment of the temple is a form of acculturation between rakai pikatan and pramodhawardani from each religion’s hindu and buddhist dynasties. therefore, the perwara and perwara stupas are visual and architectural metaphors of the temple complex, compared to the ornaments or decorations that characterize the temple. the perwara and kala perwara stupas are the most dominant icons in the plaosan temple complex. based on panosky’s iconological interpretation of the intrinsic analysis of the iconographic (conceptual) aspect, the kala in perwara temple number 58 characterizes hindu. the ornament consists of designs with tendrils coming out of the sangkha, symbolizing the trumpet of lord vishnu. references afrizal. 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(2014). relief identification system on historical sites using android mobile devices (case study of borobudur temple). ijccs (indonesian journal of computing and cybernetics systems), 8(2), 133–144. https://doi.org/10.22146/ ijccs.6541 87 the art education construction of woven craft society in kudus regency eko sugiarto1, tjetjep rohendi rohidi1, totok sumaryanto florentinus1, dharsono sony kartika2 1post-graduate of art education, universitas negeri semarang, indonesia 2post-graduate, institut seni indonesia surakarta, indonesia received: february 22, 2017. revised: march 8, 2017. accepted: may 12, 2017 abstract one example of society-based local art which is constantly enculturated is woven craft of desa jepang (jepang village) kecamatan mejobo in kudus regency. this paper aims at explaining the enculturation of woven craft grown in jepang village kudus regency central java province indonesia as a form society-based art education. the approach employed in this study was qualitative with the cased study as the research design. data were collected through observation, nonstructural interview, as well as documentation study with interactive model analysis. research results show that art education grows within the society as the result of enculturation process of woven craft art in jepang village that takes place in the forms of: (1) the transmission of the craft skill and (2) the transmission of socio-cultural values. the transmission process is done between the old and young generations both in informal and non-formal ways. the woven craft of jepang village as an art product that has been enculturated is unique in terms of its form, media, technique, idea, as well as the modification aspects. keywords: woven; enculturation; society; art education how to cite: sugiarto, e., rohidi, t. r., florentinus,t. s. & kartika, d. s. (2017). the art education construction of woven craft society in kudus regency. harmonia: journal of arts research and education, 17(1), 87-95. doi:http://dx.doi. org/10.15294/harmonia.v17i1.8837 harmonia : journal of arts research and education 17 (1) (2017), 87-95 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i1.8837 and non-formal situations. these situations or scopes of education underlie the implementation of art education that results in the orientations of: (1) subject matter, (2) students, and (3) society (soehardjo, 2011, p. 56). in the society-based education orientation, the art expression in a certain sub culture will be more developed, sedimented, and also rooted as a new life guidance. the life guidance here shows the relationship strength between human living in a certain culture with its environment, so that knowledge, practice, and belief are formed and adaptively developed through introduction culture and education are two series of chain that cannot be separated from one to another. education is even considered as a special means to pass certain culture down from one generation to the next generation (rohidi, 2000). the definition implicitly means that the divertion of culture happens through the process of education. education is not only limited in a formal situation (education in public schools), but also includes education in informal p-issn 2541-1683|e-issn 2541-2426 corresponding author: jl. kelud utara iii semarang 50237 e-mail: ekosugiarto@mail.unnes.ac.id harmonia : journal of arts research and education 17 (1) (2017): 87-9588 inherited process by a culture transmission (bequette, 2017, pp.360-374). as part of a bigger culture, art and education in a society cannot be separated from the dynamics and development caused by modernization. clashes between one culture to another culture, or between traditional culture and a more popular culture also contribute to the development of arts in a society (rohidi, 2000). relationship between art expression and its environment is actually not only resulted from the dependency of human to their environment, but also the vice versa (graham, 2007). one of the society-based art product that is always preserved and developed through society education is woven craft in jepang village, kecamatan mejobo, kudus regency from bamboo as its main material. bamboo has more than 1,250 varied species. they are different in its structure and form. the difference is caused by the ecological condition of the country, whether the region belongs to tropical and sub tropical or climated area (setiawati, 2017). the bamboo woven craft of jepang village is a manifestation of art education existence in society. this is an informal form of art education which has been existing in society for a long time. previous researches related to art education representation in society has been informally done and concerned with various focuses. research from joedawinata (2005) discussed the aspects of artefact manifestation in cirebon. woven artefact as a driver aspect from the local natural ecology aspect comprises the aspects of water, soil, air, and abiotic components, as well as other biotic components. the artefacts of etno-cultural-ecophenotipic as a utensil artefact is an idea and attitude transformation process of a community to be manifested as certain objects. karppinen (2008) in a research entitled “craft-art as a basis for human activity” discusses craft and its correlation with art education in finland through the conception of action. the aim of the research creates the model of skill education conception. the result shows that craft art is explored as a basic human activity. further, pöllänen (2009) also conducted a research entitled “contextualising craft: pedagogical models for craft education”. it tells about craft education in finland which is seen from many aspects. these changes are related to the independent position of art as school subject which contains the lesson about textile and technical work as an implementation of the holistical process of art in curriculum. this is, in the end, related to the question about how craft should be taught at school. state of the art of the present research as the paradigmatic aspect and the implementation of art education in the society of woven craft artists living in jepang village which mainly focuses on the scope of knowledge enculturation, values, and skills from one generation to the next. the woven art in jepang village basically shows two basic dichotomic issues. in one perspective, the woven craft artist community in society faces the challenge of modern product which becomes the rival of traditional woven art product which is no longer famous in society. in other sides, there is also a continuous attempt from the artist community to maintain the existence of woven craft from old generation to the young one. this condition then builds the construction of art education. this paper will discuss the woven art enculturation within the society living in jepang village, kudus regency, central java province, indonesia, as a form of society-based art education. therefore, based on the context of socio-cultural transformation explained in this present study, it is seen that the hereditary system of woven craft in jepang village is considerably important to be discussed since it is able to give a concrete understanding and a clear picture of the representation of art education in local community, especially the society lives in the sub-cultural area of jawa pesisir lor-tengah (the mid-northern coast of java). eko sugiarto, et al., the art education construction of woven craft society in kudus regency 89 method this research employs qualitative method. researcher understands the phenomena of woven art inheritance in the field, describes it deeply and thoroughly, and analyzes it from the context of its society (emic) and conceptual by the researcher (ethic). design of the present research is case study on the collaboration between the school and the society. the research location is mapped in two big areas, from the geographical and cultural perspectives. geographically, this research is located in kudus regency in central java, while from the cultural perspective, this research is located in the sub cultural area of the mid-northern (lor-tengah) side of jawa pesisir (marshall & rossman, 2006; miles, 1992; lincoln & denzim, 2009). researcher uses the qualitative approach with case study design (see denzim & lincoln, 1994; sugiyono, 2008; miles, 1992). there are four main subjects of the research, (1) the community of artist, (2) the community of user, (3) the local public figure, as well as (4) teacher and student at school (the source implicature of local wisdom). the research location is focused on the area in jepang village kecamatan mejobo kudus regency. the data is collected through observation technique, deep interview, and documentation study. meanwhile, to validate the study results, source triangulation is employed. data in this research is qualitative. therefore, the analysis technique used in the study is the interactive analysis model, comprising: (1) data reduction, (2) data presentation, and (3) verification (miles & huberman, 1992, p. 17). results and discussion the woven craft of jepang village in kudus regency anyaman or woven in the context of craft art actually refers to the “technique of making” that can be given an analogy as carving. the woven technique is a technique that can be used to make craft objects (both in two and three dimensions) through creating and forming bamboo sheets that are done by using the structural-constructive structure by referring to “even distribution of load” in a high level of flexibility. most of this woven technique is applied in bamboo material (joedawinata, 2005, p. 88). anyaman or woven is an old craft art. the existence has been found since the establishment of humankind civilization. the first woven craft used bamboo as its material. the type of bamboo tree used to do the weaving was bamboo apus or gigantochloa apus and bamboo wulu or gigantochloa atroviolacea. these types of bamboo plants were considered strong, flexible, and straight. it had a good quality to be used as the material of woven craft since the plant fiber was long, strong, and flexible (setiawati, 2017). the weaving technique is visually interlaced, without a beginning and without an end in construction. similarly, the pattern and the weaving structure is not segmentaristic, but it is intertwined form one side to another side, so altogether they will form a certain pattern. in a formal aesthetic way, the forming structure of the weaving is considered rigid and made a recurred pattern. futher, in terms of its aesthetic-formal, the form and structure of the weaving are very formalistic (see bell in sahman, 1993; dharsono, 2004). the aesthetic-formalist builds the art excellency criteria on the quality of integrative formal arrangement of artwork that emphasizes on relations between visual aspects that is interconnected in a product of art. the woven craft product in jepang village is considered varied. the following is the matrix of woven craft products from jepang village. from the analysis results, it is found that the woven craft made in jepang village in kudus regency can be divided into two groups, based on the technique/ media used to create the woven craft, and based on the purposes of weaving. first analysis will be about the weaving techniharmonia : journal of arts research and education 17 (1) (2017): 87-9590 table 1. matrix of webbing craft types the woven craft products descriptions ekrak a bamboo woven used as a trash can. the motive characteristic is thick and thin bamboo incision with a tenuous distance. besek this type of woven craft is used as food packaging, usually rice. it uses motif of stairs. tambir tambir is used as a special container to dry foods under the sun shine. the diameter of a tumber is between 60-80 cms. kemlu kemlu is a woven craft product used as a special container to wash vegetables and fruits. the characteristic of kemlu is a tight and small motif. the diameter of a kemlu is between 25-35 cms. kranjang kranjang is used as a trash can. however, in the context of javanese culture, kranjang can also be used as a special container to keep any mithology needs and offerings. tampah tampah is used as a special container to select and sort out food materials, like, grains, peanuts, soya beans, etc. bodhak bodhak is a non-permanent container to place rice. it usually can only keep the rice for a short time and not for the permanent container. kipas kipas or fan is a traditional tool made from bamboo weaving. dunak dunak is like bodhak. it is used as a container to keep food. the diameter is between 20-30 cms. eko sugiarto, et al., the art education construction of woven craft society in kudus regency 91 in addition to this is caping (custom purposes) as the complimentary hat for kudus traditional outfit. based on the findings and analysis mentioned and described earlier, the woven craft products from jepang village can be syntesized into the following figures. the figure is created to show the conceptual mapping of woven craft types. figure 1. mapping of woven types of jepang village the ert education process in woven craft enculturation in jepang village of kudus regency woven craft from jepang village is inherited from the ancestors to the next generation in the scope of family and society. the inheritance process shows the presence of enculturation. the enculturation of woven craft in jepang village society is a form of societybased art education. the inheritance pattern of the craft is actually a representation of art education (that tends to be interpreted as skill transfer) that goes on explicitly. in inheritance system of woven craft in jepang village society, there are two substansial transmissions attached, (1) the skill-technic transmission and (2) the value (enculturation) transmission. for pöllänen (2009), art education in the society fully supports the contextualization of crafting education with a pedagogical model that establishes the holistical art conception. first, the inheritance system of woven craft (the transmission aspect of technical skill) can not be separated from the ecological aspect in the context of sub-culture area of javanese mid-western coast (pesisir lor-tengah). the cultural ecology tends to explain about causes of similarities and differences of socio-culture, as well as the que/media which is further divided into, basic weaving, creation weaving, and innovation weaving. essential weaving is a kind of woven craft made as a complimentary product to fulfil the basic needs of kudus people. this type of craft emphasizes on the domination of function or in another word, applicable. this product is widely known among kudus people and the motif used is basic without modification. usually, this type of weaving is used as household utensils and widely used as kitchen equipment and cleaning tools. second, the creation weaving. this type of weaving has been added by modification and motifs. this type of weaving has both aesthetic and functional aspects in it. however, the creational woven craft products have similar forms with its basic shape. the third is the innovation weaving. innovation weaving is a type of woven craft which has been significantly modified, both in terms of the technique used to create it and the materials used to make it. the innovation weaving is a transformative product. the most significant transformation lies on the use of materials to make it. the materials used to produce the woven craft product tends to be a plastic waste or other wastes. the orientation of production is shifted, from private consumption to mass consumption; and naturally profit oriented. second, based on the puposes of production, the woven craft from jepang village can be divided into basic-needs weaving, aesthetical-needs weaving, and custom/belief-needs weaving. the woven craft production for basic needs manifests in the form of products used to help the people to do daily activities. meanwhile, aesthetical weaving is closely related to the social aspect of kudus society (dharsono, 2004). lastly, woven craft produced for custom or beliefs purposes is closely related to the tradition done by kudus society in general, like, the tradition of burying baby’s placenta after born which uses the kranjang weaving, the tradition of kenduri which uses besek weaving, as well as tumpengan tradition that uses tampah weaving. harmonia : journal of arts research and education 17 (1) (2017): 87-9592 connection between the ecology problem with the culture of a human. in the ecological culture perspective, the inheritance system of woven craft in jepang village comprises the relationship between environment and technology, the relationship between behavioral pattern and technology, as well as an overview of a pattern of attitude that influences the other sectors within the culture. the social attitude in society always invites important meaning on the relation bertween the society themselves and the environment. according to stewrd (irianto, 2009, p.75), the basic assumption of the ecological and cultural theory is the environmental factors that have both positive and negative potentials in every cultural process. rohidi (2011, p.155) states that in cultural ecological approach, art is placed as one of the fields of study which is related to the environments and its changes. secondly, the inheritence pattern of woven craft (value enculturation aspect) cannot be separated from the aspect of socio-cultural area context where kudus is located in the mid-nortern coast of java (pesisir lor-tengah). the essence of a true education is actually the value transfer in certain culture framework. in the inheritance system of woven art, there is an integration of value in inheriting the woven craft skill from one generation to the next generation. the interesting phenomenon is the possibility of socio-cultural value shifting within the supported society. this way, the value is implicated to the change of inheritance system of woven craft in jepang village paradigmatically, comprising the believed concept, strategy, and the applied method. the woven craft in jepang village in kudus regency is a traditional fine art product in the sub system of the culture of society living in the mid-northern coast of java island. this socio-cultural aspect of culture cannot be separated from the dynamics and developments caused by the flow of change, and in that place, art is placing itself dynamically. art is then inherited from one generation to the next generation through the process of education within the society. it gives implications to the system of behaviour, attitude, and values attached in the inheritance process of a cultural product that is inserted into the process of education in the middle of an existing change in society. this is directly and indirectly will create a pradigmatic pattern towards art education in the society in jepang village through the inheritance (skills and values) of the woven craft. figure 2. the enculturation of woven craft in the context of art education in many social studies, the social change encompasses a wide area and even gives implication to the other fields. the social change is defined as variation and modification in every social process aspect, the social aspect, and social formations, as welll as “every modification of pattern between established inter-connected relations and standard of attitude” (see laurer, 1993). in the case of woven craft inheritance pattern in jepang village in kudus regency, the society (as the doer of every social interaction) with other institutions positioned as a whole, or in other words is considered as a “system” that is interrelated and later form systemic relations. for parsons (1964, p.337), the change can be only understood through an understanding towards the former structures (see rohidi, 2000). the art education construction (the woven society eko sugiarto, et al., the art education construction of woven craft society in kudus regency 93 craft) in the society art education is an integral part of education which generally accomodates the capacity of creative capacity and cultural awareness (unesco, 2006). the term fine arts education in indonesia has a similar understanding with the “art education” which is widely used in the u.s. and europe. in conceptual understanding, the term arts education has grown and developed earlier in western countries. an expert of arts education from america, lansing (1969, p.268) in his book entitled “art, artist, and art education” state that to accomplish the absolute purposes of education through arts, one (student) should have the experience to work creatively and to appreciate the arts itself. another famous expert namely read (1970, p.1) in his book entitled “education through art”, referred his understanding towards art education by citing plato’s idea which says that ‘arts has to be the basic of education’. plato (read, 1970, p.1) underlines the ideal potency and position of art education. in general, the art education conception which is based on the society needs sees that art education aims to fulfil the need of the society (salam, 2001,p.13). arts and art education cannot be separated from the perspective of culture. koentjaraningrat (1974) defines culture as a whole human activity formed by their ordered behavior and results of the behaviour that has to be obtained from learning and the society rules. the enculturation of woven craft in jepang village as part of certain cultural products definetely gives implications in the practice of craft education both informally and non-formally. the craft art education in the area of jepang village is, besides developes the technical skill of each individual while working, also emphasizes the aspect of artistical approaches and ideas. this is supported by karppinen (2008) who states that craft education is a part of art education system that naturally has basic differences than the skills made in schools (formal education). woven craft is an art which has two major functions: as a cultural product (art) and as an educational media. the woven craft is supposed to be able to represent the culture of local society both from the form of the arts and its the visual structure, as well as to persuade the society. based on the fact mentioned, therefore, the conception of art education in art education contains two substances, (1) an art skill as an ability that has to be inherited, and (2) an inheritance system and pattern. there is always values of life attached to it that has to be enculturated. in this conception, the cognitive aspect is reduced, the art skill aspect is explicitly dominant, and the value aspect is implicitly integrated into the teaching and learning process. paradigmatically, the believed conception will in the end result in the strategic implication and inheritance method pattern. first, the skill of doing arts is taught (1) non-formally from the generation who had previously learnt directly from the sources or nyantrik, (2) infromally from parents to the children by watching and immitating, (3) informally from the society living in surrounding neighbourhood, and (4) integrally from the art subject at school by involving the society and parents in it. second, the value is inherited through the attitudes that are deliberately given to the next generation (the learners) from the elder generation (the teacher). sillis (2000) mentions that the practical development in fine art education can be obtained through cross occupation cooperation between artwork project and mentor. hosang (2010) mentioned earlier that the relation between the art educators and the craft artists also gives a contribution towards the existence of art education. in woven craft education that happens within the society of jepang village, there are several basic philosophical understanding that has to be answered: “who learns what?” and “who learns from whom?”. first, crafting artists learned the skill of woven craft by invloving the aspect of the idea and media exploration (tool, material, and technique), so that the woven craft can be established. second, the artists learned from the (1) consumers, about the taste of arts liked by them; (2) ancestors or previous generations about the skill of weaving; on through the process of education within the society. it gives implications to the system of behaviour, attitude, and values attached in the inheritance process of a cultural product that is inserted into the process of education in the middle of an existing change in society. this is directly and indirectly will create a pradigmatic pattern towards art education in the society in jepang village through the inheritance (skills and values) of the woven craft. figure 2. the enculturation of woven craft in the context of art education in many social studies, the social change encompasses a wide area and even gives implication to the other fields. the social change is defined as variation and modification in every social process aspect, the social aspect, and social formations, as welll as “every modification of pattern between established inter-connected relations and standard of attitude” (see laurer, 1993). in the case of woven craft inheritance pattern in jepang village in kudus regency, the society (as the doer of every social interaction) with other institutions positioned as a whole, or in other words is considered as a “system” that is interrelated and later form systemic relations. for parsons (1964, p.337), the change can be only understood through an understanding towards the former structures (see rohidi, 2000). the art education construction (the woven society harmonia : journal of arts research and education 17 (1) (2017): 87-9594 and (3) society in a broad sense, about the orientation shifting and life needs. conclusion the craft products made in jepang village shows uniquess in terms of its shape, media, technique, ideas, as well as its modification aspects that are continuously developed in an inheritance pattern. the inheritance system of woven craft in jepang village is actually a representation of a bigger art education which contains two transmission substances, (1) the skilltechnical substance and (2) the value transmission (enculturation). the construction of art education in society, further, employs other two substances: (1) art skill as an ability which has to be inherited, and (2) within the inheritence system itself, there are life values attached to it that have to be enculturated. paradigmatically, the believed conception itself, in the end, will give implication to the inheritance strategies and systems, both from generation to the next generation or from the perspective of the artists who had learnt the skill of weaving from direct ancestors. this then forms a model of art education construction within society. references bequette, james w. 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(2000). non-formal training for arts education practitioners. in the 2nd world conference on arts education (vol. 1). seoul: cambridge university press. retrieved from http:// www.unesco.org/culture/en/artseducation/pdf/presentation107janesillis.pdf soehardjo, a j. (2011). pendidikan seni, dari konsep sampai program (buku i). malang: bayumedia publishing. sugiyono. (2009). metode penelitian kuantitatif, kualitatif, dan r&d. bandung: alfabeta. unesco. (2006). “road map for arts education”. proceeding the world conference on arts education: building creative capacities for the 21 st century, lisbon, march 6th, 2006. 144 commodification of gamelan selonding in tenganan pegringsingan village, bali i wayan suharta institut seni indonesia denpasar, indonesia submitted: 2022-02-14. revised: 2022-05-22. accepted: 2022-06-20 abstract gamelan selonding is a form of traditional music found in tenganan pegringsingan village, with a pelog tujuh nada in barungan alit classification that is sacred, unique, and deeply rooted in the community. the traditional way of life and productive religious activities with their numerous manifestations ensure gamelan selonding’s continuity and authenticity. according to historical dynamics, the influence of external culture and its various modernization styles disrupted gamelan selonding’s existence, resulting in its commodification. the commodification of gamelan selonding is a process that encompasses three stages, namely production, distribution, and consumption. in production, gamelan selonding is duplicated into a commodity by imitating its original form; distribution is an attempt to spread gamelan selonding production, which increases development consequences; and consumption gamelan selonding is used as a ritual compliment and an artistic medium. the gamelan selonding’s commodification occurs due to its adaptable nature; it can accept, absorb, and adapt to changing circumstances, resulting in a diversity of functions, not limited to ritual contexts, but a broader social context. the commodification of gamelan selonding is an artistic dynamic that empowers the potential of traditional arts in the formulation of contemporary performing arts expressions, accepted as a local spectacle capable of competing in a global culture. keywords: selonding, commodification, globalization, modern how to cite: suharta. i. w. (2022). commodification of gamelan selonding in tenganan pegringsingan village, bali. harmonia: journal of arts research and education, 22(1), 144-160 harmonia: journal of arts research and education 22 (1) (2022), 144-160 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i1.35062 ding, as a form of art and a component of culture, is inextricably linked to the context of the community’s life, which includes a system of knowledge, beliefs, values, and norms. according to sedyawati (1984, p. 21), art will always convey cultural messages that implicitly imply the aesthetic, creative, and appreciative requirements that constitute cultural needs. these requirements arise due to a person’s inherent desire to reflect on their existence as a civilized being. humans carry out the fulfillment of introduction gamelan selonding is a form of local wisdom for the people of tenganan village, believed to be critical in preserving the people’s traditions and culture. gamelan selonding can serve as a source of social identity and a conduit for social meaning in society, capable of generating and sustaining cultural assumptions and beliefs. the gamelan selonding helps make this belief a reality by influencing the activities of community life in tenganan village. seloncorresponding author: e-mail: wynsuharta@gmail.com p-issn 2541-1683|e-issn 2541-2426 i wayan suharta, commodification of gamelan selonding in tenganan pegringsingan vil145 aesthetic needs and other needs through culture. therefore, art is an inseparable part of the culture. art is not just a fulfillment of a sense of beauty but rather an integrative need. by viewing art as an element in culture referring to rohidi’s opinion (2000, p. 164), it can be seen its function in human life, that art can be a process of forming a culture that values newness, diversity, creation, imagination, sensibility, and freedom of self-expression. cultural formation in the renewal process is a form of commodification that requires effort, imagination, and the creative ability to realize the supporters’ freedom of expression. the commodification of gamelan selonding is a form of artistic representation through offerings that employ the deconstruction concept and method. born out of the desire and need to develop new musical languages and nuances in keeping with the spirit of the times while maintaining a firm foundation in traditional music. this does not mean abandoning tradition but instead expanding its meaning. commodification is a beautiful and harmonious dialectic integration for gamelan selonding’s growth and development in satisfying people’s preferences. several previous studies, especially with the theme of commodification, have been conducted in the balinese art and culture. first is a doctoral thesis of i wayan subrata entitle “commodification of barong performing arts in banjar denjalan batur, batubulan village, gianyar” (2012), in which incorporating the theory of hegemony, deconstruction, the theory of change, and the theory of aesthetics. second is another doctoral thesis by anak agung gede raka entitled “commodification of cultural heritage as a tourist attraction at penataran sasih pejeng temple, gianyar” (2015), with the commodification theory, hegemony theory, theory of power and knowledge. third is also another doctoral thesis by i ketut sariada entitled, “the commodification of the calonarang tektekan in baturiti village, kerambitan, tabanan” (2016), with the theory of deconstruction, theory of social practice, theory of aesthetics, and theory of the power of knowledge. ontologically, all three sources carry the theme of commodification. however, the focus of the study, the object of research, and the location of the research are different compare to this research. in addition, several selected theories used in this research are also different from those three sources: the theory of commodification, power of knowledge theory, postmodern aesthetic theory, and semiotic theory. the analysis of this research is using a cultural studies approach-trying to view the selonding not only on aesthetic principles, but also regarding its relationship with the current global local dialectic. many researchers in the balinese arts have not explored the use of local-global subjects in this research. selonding commodification is a form of adaptation based on the supporting community’s conditions, dispositions, and cultural representation. the renewal process that occurs is marked by the entry of new ideas to achieve conditions in accordance with the demands of the development of today’s society. methods as a material object, gamelan selonding becomes a source of information about how gamelan selonding is embedded in the lives of the people of tenganan village and serves as a medium for artistic creativity in bali. global developments directly impact tenganan village’s culture, including the gamelan selonding as a cultural heritage. in tenganan village, gamelan selonding spread to be owned by the balinese and then developed significantly in response to the audience’s aesthetic preferences. the purpose of this study, which employs qualitative interpretive methods, is to comprehend and interpret empirical phenomena in conjunction with logic systems and truth values pertaining to the commodification of the gamelan selonding in bali. it included the following stages: preparation, location determination, data collection, data analysis, and presentaharmonia: journal of arts research and education 22 (1) (2022): 144-160146 tion of data analysis results. the data is collected from participant-observation method, interviews, and literature study. these data are then systematically reduced, presented, and sammurized in order to equally present the native voices and academic voices. the writing mechanism analyzed the text described as a starting point for comprehending the evolution of gamelan selonding’s function and presentation. selonding’s function is not limited to a socio-religious context but as a musical medium packaged and utilized in a secular space with the sole purpose of artistic presentation. the analysis demonstrated gamelan selonding’s numerous unique characteristics and phenomena in a comprehensive manner that is scientifically justified. qualitative methods have been extended using interpretive techniques, which are typically textual in nature, referred to as qualitative interpretive methods. commodification as an object described in this paper is a process associated with capitalists, namely objects, signs, and qualities turned into commodities. objects, signs, and qualities, are implied to have a use-value and exchange-value for getting more profit. capitalism in accordance with its habitat is an effort to collect profits or surplus value in the form of money obtained by selling products, both those containing use values and exchange values as commodities. results and discussion the sacredness of gamelan selonding in tenganan village the gamelan selonding’s existence in tenganan village is connected to a legend passed down through generations about discovering “three iron plates” that are said to be the blades of the gamelan selonding. the people of tenganan pegringsingan believe that these three blades of the gamelan selonding are a piturun, and have given them the title ‘bhatara bagus salonding,’ which is extremely sacred and sanctified by the tenganan village residents. the three blades that have not been installed and have never been struck are stored at patemu kelod (see figure 1) and are carried and brought in a ceremony on specific days and times. figure 1. one of the bale patemu in tenganan village (photo is taken by the author) according to i wayan mudita adnyana, a musician, traditional script writer from tenganan village, along with the three blades believed to be a piturun, the people of tenganan village inherited three barung of gamelan selonding that are also considered sacred and are placed in each bale patemu(see figure 1), namely patemu kelod, patemu tengah, and patemu kaja (p.c. january 22, 2019). each barungan is made up of eight gamelan tungguh. six tungguh have four blades, while two tungguh have eight blades. the instruments that composed the gamelan selonding are shown in figure 2. figure 2. the instrument compositions of gamelan selonding (source: sudiarsa 2013) the residents of tenganan village uphold the gamelan’s sacred status by adhering to the concepts of desa (place), kala (time), and patra (state). the purpose of its sacredness is to preserve it by enforcing several ethics; it should not be touched by anyone other than a group of seven people known as juru gambel. according to i ketut i wayan suharta, commodification of gamelan selonding in tenganan pegringsingan vil147 sudiastika (interview in tenganan village, august 1st, 2017), the following described the juru gambel of gamelan selonding duwe in tenganan village. yan dados juru gambel, duk inguni sampun mamargi wantah saking keturunan, sane kajudi krama desa adat malarapan pasikian pikayun, yan kadi ring tenganan ketah kabaos uneh. juru gambel madue swadarma ring katengetang lan kesucian gamelan selonding, ten dados kagenahang ring genahe sane nenten manut lan katabuh ring galahe sane sampun kasumanggemin. the traditional village chose juru gambel based on the heredity and an agreement called uneh. juru gambel is responsible for the gamelan selonding’s sacredness and sanctity, which cannot be placed in random locations and can only be played at the appointed time. according to durkheim’s statement in sutrisno (2005, p. 89), the concept of sacredness can be used to demonstrate that there are always sacred or sanctified values in society, which he refers to as the sacred. the sacred can be translated as morality or religion in a broad sense that refers to something sacred, and that something sacred can take the form of primary symbols, values, and beliefs that form the foundation of a society. each person’s religious emotions are expressed humanely and naturally, and each person has their method of stabilizing their religious emotions. religious emotions expressed through sacred art are an artist’s expression of an offering, beginning with adoration for whom they can offer their best, for their exquisite taste to connect them to god, nature, humans, and other creatures. logic dictates that one of how religious rituals can express their sincere feelings is through art. according to lurry (1998, p. 17), religious ceremonies give form and substance to social relationships, restore or perpetuate social relationships, and confirm the occurrence of events with a flow of meaning. as a fundamental component of all societies, ceremony acts as a sort of anchor against the flow of culture. when the ceremony is conducted verbally and is associated with art objects, it becomes a visible part of the culture. from this vantage point, the use of art objects is critical to the success of a ceremony. not only gamelan selonding is highly respected, sacred, and sanctified in tenganan village, but it also embodies all of the tenganan village community’s vibrations in appropriate space, time, and circumstances. as a sacred object, the gamelan’s nature can be understood because it reveals the element of taste’s beauty. on the other hand, it can serve as the total of religious feelings experienced in the depths of human intuition. each community always maintains this natural balance of beauty and religious morals through the use of various forms of media and the conduct of religious ceremonies in a solemn atmosphere. the essence of the gamelan selonding’s sacred value is the totality of its thoughts, speech, behavior, and feelings. a desirable balance can be maintained in the inner peace that is holy, pure, and pure love. commodification of gamelan selonding in tenganan village global hegemony, which is pervasive in all spheres of life, is also dynamic in the arts. according to gramsci’s hegemony theory (soekanto, 1982, p. 287), a dominant way of thinking and life view is a concept that is disseminated throughout society, both institutionally and personally, where ideology dictates all tastes, moral habits, religious principles, and politics, as well as all social relations, particularly intellectual and moral. this prevalent mode of thought has a sizable influence on commodification in artistic life. commodification in art is an indisputable fact that commodification is a phenomenon that always colors the process and journey of art which has the impact of bringing change and renewal in the art. according to fairlough (1995, p. 207), commodification is a process that refers to the organization and conceptuharmonia: journal of arts research and education 22 (1) (2022): 144-160148 alization of the production, distribution, and consumption of commodities. referring to fairlough’s opinion, the factors that influence the commodification of gamelan selonding in tenganan village are as follows: (a) shifting attitudes and behavior of the community; (b) cultural heritage becoming a tourist attraction, and (c) the wave of globalization. shifting attitudes and behavior of the community changes in the attitudes and behavior of people accustomed to western cultural norms can easily create space and time for commodification. changes in attitudes and behavior in society are not always a result of external factors; they can also occur due to community encouragement. thus, the causes of change originate both internally and externally. according to barnet in hoed (2011, p. 122), changes in attitudes and behavior that originate within the community (internal) typically occur as a result of community desire. three principles must be considered: (1) creative considerations that include practicality, efficiency, and economy, (2) avoiding monotony, and (3) earning a more significant role and income. reflecting on barnet’s concepts can help identify the internal factors that influence the attitudes and behaviors of the people in tenganan village. external changes (external) that occur due to the introduction of external cultural elements significantly impact the occurrence of cultural changes in society. according to ralph linton in hoed (2011, p. 155), external changes can occur as a result of cultural ‘diffusion.’ diffusion can help advance culture as a whole and enrich the content of individual cultures, thereby propelling the people who support them forward. this occurrence appears to have occurred in tenganan village, a popular tourist destination. tenganan village’s uniqueness and diversity of traditions make it an attractive tourist destination. as a result, it is difficult to escape the global culture’s influence. global tourism can blur the sociocultural boundaries of traditional areas (salazar, 2006, p. 188). tourism has the ability to bring countries closer together as if there were no distances between them, including bali’s relationship with the rest of the world as indonesia’s primary tourist destination. this existence facilitates the process of cultural diffusion on a global scale. according to hoed (2011, p. 199), there are at least four channels through which international culture is brought to rural communities: television, tourism, industry, trade, and, most recently, the internet. a global society with a capitalist culture leverages space, time, and money as social assets (piliang, 2010, p. 162). capitalism has developed into a force that can persuade segments of society to use various resources to improve their lot in life. people’s perceptions of the world have shifted, particularly toward religion. according to abdullah (2006, p. 113), religion is not a source of value when shaping a lifestyle but rather a tool for doing so. the desire to influence society’s attitudes and behavior is materialist. naturally, this principle runs counter to indonesian culture, particularly in bali, which values and respects religious values. capitalist culture with a materialistic bent has the potential to influence the attitudes and behaviors of local communities toward modernity, defined by hoed (2011, p. 210) as the attitudes and behaviors of people who tend to abandon things that have traditionally been part of a society’s culture in favor of giving space and time for modernization. a modern impression was created when electronic and motorized vehicles entered tenganan village. tenganan village residents have made extensive use of the internet, television, and computer networks; even the average tenganan resident has facilitated their lives through the use of cell phones. the utilization of cultural heritages as tourist attractions global tourism in its contemporary manifestations, both cultural and natural, i wayan suharta, commodification of gamelan selonding in tenganan pegringsingan vil149 has unexpectedly become a source of contention for the international community. csapo (2012, p. 2012) stated that the cultural tourism industry’s role and position as a subset of global tourism are changing and evolving rapidly, both theoretically and practically. in order to satisfy the various desires of tourists, such as recreational purposes, personal development, or learning about the uniqueness of a tourist attraction, cultural heritage is one of the primary commodities used as a tourist attraction. greg ricards and wil musters in lee (2006, p. vi) revealed that the 1990s saw an explosion of research on the relationship between tourism and cultural heritage, owing to the discovery of cultural heritage as a general motor of postmodern economics. on the other hand, some argue that the 1980s marked the beginning of the post-capitalist era. at that time, the leisure hunter society began to form. this decade has seen the birth of theme parks, industries dedicated to cultural preservation, and increasingly exotic forms of tourism and travel entertainment. when dealing with global cultural currents and sacred and revered cultural heritages, it is unavoidable that clashes in the fields of culture, tradition, and religion will occur. global culture, which blurs the line between sacred and profane, presents a challenge for traditional villages seeking to maintain their existence as a repository of indigenous wisdom. durkheim warns us in pals (2001, p. 168) not to fall into the trap of believing that the distinction between sacred and profane is a moral one, that the sacred is good and the profane is evil. however, the distinction between sacred and profane values must be preserved without fusing them. both sacred and profane are necessary and cannot be eliminated. according to ardika (2007, p. 35) cultural heritage is a commodity product that can be used as an object or tourist attraction, in addition to natural beauty, beaches, mountains, lakes, customs, religious ceremonies, and so on (see figure 3). tenganan village’s inheritance of gamelan selonding, with its uniqueness, has the potential to attract tourists. selonding was initially a noncommodity product that evolved into one. according to barker’s (2014, p. 41) definition, a commodity is an item whose primary function is to be sold, in which objects, qualities, and signs are transformed into commodities. commodities are all things that seek market legitimacy through the process of commodification, transforming into an image world packaged as a commodity. figure 3. tenganan village as tourist destination, 2019 (photo is taken by the author) in general, tourists seek unique and original experiences, including traditional ones. this is what motivates the local community to preserve the unique and original for a display to tourists, even if it means manipulating events presented as traditional. according to burns in sariada (2016, p. 18), commodification is causing changes in the way elements of indigenous culture are used for tourism purposes, which are primarily born out of the need to fulfill new functions. gamelan selonding, as a religious cultural heritage, is manipulated into a tourist attraction commodity through duplication. globalization wave globalization as a process manifests itself as an event that affects the world on a cross-cultural (trans-cultural) level. according to lubis (2004, p. 25), a cross-cultural movement occurs when various cultural encounters occur, resulting in the process of inter-cultural interaction with the possibility that one party has a greater influence than the other. while cultural encounters harmonia: journal of arts research and education 22 (1) (2022): 144-160150 are symptomatic of one party’s exposure to another, their influences do not constantly occur in a two-way or balanced reciprocal process, but also as a process of cultural opposition, that is, cultural exposure that has a dominant effect on other cultures. cultural globalization has impacted numerous local manifestations of the global community. art, as a component of culture, is not immune to globalization. according to piliang (2010, p. 111), the development of globalization and mass culture in the third millennium altered the existence of various indigenous art forms, including traditional performing arts. globalization’s currents present a range of both optimistic and pessimistic future scenarios. globalization-induced optimism is believed to be capable of broadening the horizons of art in a global association, creating more opportunities for the creation of diverse forms, ideas, and artistic ideas that are richer and more valuable to life itself. meanwhile, pessimism believes that globalization does not automatically result in equality in all areas of development, including the arts. the commodification of gamelan selonding to the dynamics of balinese musical development is an optimistic and pessimistic existence as a result of cultural globalization. as a karawitan (musical) art that has captured the balinese people’s attention, the optimism that pervades the gamelan selonding is the spirit of creation, creativity, innovation, and improvisation with new values and breath that elicits applause from connoisseurs. on the other hand, as selonding develops into a public art form, pessimism appears to color the journey in which cultural globalization has resulted in the commodification of gamelan selonding, resulting in cultural discontinuity. according to piliang in suartaya (2016, p. 236) there is an extensive process of mental, inner, and cognitive discontinuity experienced by various forms of culture as a result of the influence of globalization, namely: (1) philosophical, epistemological discontinuity; (2) socio-economic discontinuity; and (3) conceptual aesthetic discontinuity. the commodification of gamelan selonding in the dynamics of balinese musical development shows the philosophical, epistemological discontinuity, and the conceptual aesthetic discontinuity. in the balinese performing arts, the philosophical, epistemological discontinuity positions the gamelan selonding as a separate entity from the psycho-religious integrality of the rituals. in the case of balinese performing arts, philosophical, and epistemological discontinuity positions the gamelan selonding as a separate entity from the psycho-religious integrality of the rituals. on the one hand, its disengagement from the entirety of religious rituals creates space for expression, but on the other hand, it becomes trapped in the secularity of cultural industrialization, even as a means of imaging power politics. meanwhile, conceptual aesthetic discontinuity situates the gamelan selonding in a mode of creative expression that emphasizes surface elements that seek a momentary appeal. globalization’s two major waves aided in the commodification of the gamelan selonding to the dynamics of balinese karawitan development. gamelan selonding production in tenganan village commodification is facilitated in several ways. tenganan village’s production of gamelan selonding attempts to transform cultural heritage through ‘imitating’ the original form of selonding duwe. due to the creativity of gamelan craftsmen, better known as pande gamelan, duplication production is packaged in such a way that it looks attractive and provides satisfaction to the audience or users. i nyoman partha gunawan (see figure 4), one of the tenganan traditional village’s heirs and juru gambel of the selonding, began to think modernly, distorting his mindset and behavior, believing that the gamelan selonding was adaptable; capable of accepting, absorbing, and adapting. the result significantly impacted gamelan selonding’s rapid development and spread. sudiarsa (2013, p. 5) states that i wayan suharta, commodification of gamelan selonding in tenganan pegringsingan vil151 since 1980, partha gunawan has replicated the original gamelan selonding given to the tenganan village residents. figure 4. i nyoman partha gunawan (late), selonding craftsman and teacher, 2009 (photo is taken by the author) the gamelan selonding was commissioned by a japanese woman named fobiko tamura. it was not taken after the gamelan was completed, but it was fully paid for and given to him. partha gunawan founded a sanggar (studio) called guna winangun to develop the gamelan selonding with the capital of a set of gamelan selonding gifts from the japanese. according to i made bandem’s statement, the gamelan selonding is produced in tenganan village. it was explained that in early 1982, i nyoman partha gunawan created the gamelan selonding on max serell’s request. the gamelan is still preserved and neatly stored at the california museum in los angeles. partha gunawan was the first to create ‘the best’ selonding in the style of tenganan selonding; the blades were artistically crafted and always gleaming with steel (interview at isi denpasar, july 28th, 2018). after partha gunawan deceased in 2015, his role as a teacher and craftsman in selonding was assumed by his son i putu suardana, also known as putu koblos, the heir of selonding (see figure 5). figure 5. putu koblos activity center, as a gamelan selonding craftsmen in tenganan village, 2019 (photo is taken by the author) putu koblos’ workshop is located at the pondok gamelan selonding, petemu kelod, specifically in front of the house yard called awangan, a public road that serves as a work area along the house yard’s northsouth boundary. the ’semi-permanent’ gamelan selonding hut serves as the gamelan selonding’s production site. it measures 4 x 3 meters in size. apart from its use as a production site for selonding, it is frequently used by other members of the community for social or religious activities. putu koblos, a selonding craftsman who began practicing in 2000, did not work alone; he enlisted the assistance of people from outside tenganan village. i kadek kembar from seked village, karangasem and i wayan dipa from tanah aron, karangasem are the tukang plawah. the blade craftsman collaborated with i ketut jati, a pande gamelan player from ngis village, manggis, karangasem, and putu arsa, a carver from tenganan village. the selonding plawah carving is designed in the form of gods and pepatraan motifs and is carved using classical carving techniques. plawah selonding is crafted from high-quality wood that is both strong and durable, as well as easy to work with. according to putu koblos, the best types of wood are tehep and suar, taking into account the manufacturing quality and the buyer’s capabilities. tehep wood is typically reserved for high-end orders, whereas suar wood is reserved for mid-level buharmonia: journal of arts research and education 22 (1) (2022): 144-160152 yers. the craftsmen of tenganan’s gamelan selonding offer a range of prices, starting at idr 40,000,000 for selonding with plawah lelengisan and rising to idr 50,000,000 for the carved plawah. in general, the gamelan selonding that is ordered and sought after by the community has three distinct motives: the gamelan selonding with the plawah lelengisan (pepelosan), the plawah decorated with poleng cloth, and the plawah maukir. selonding plawah lelengisan the plawah of gamelan selonding is generally shaped like a crate and comes in three sizes: large, medium, and small. the large size measures 65 cm in length, 35 cm in width, and 35 cm in height; the medium size measures 55 cm in length, 25 cm in width, and 25 cm in height. the small version measures 75 cm in length, 20 cm in width, and 20 cm in height. figure 6. selonding with plawah lelengisan, 2019 (photo is taken by the author) lelengisan, according to gelebet (1982, p. 420) is a decoration that displays the beauty of the composition of ornamental fields from materials that have a beautiful value of fiber, color, texture, and lelengisan decoration without using carvings or coloring (see figure 6). lelengisan makes use of the natural colors, uses natural materials that show the various decorative colors of the material, and is highlighted in the composition of the decorative fields. selonding with plawah in poleng cloth decoration indeed, the plawah decorated with poleng cloth is identical to the plawah lelengisan in shape and size; the visible portion of the plawah is decorated with poleng cloth. supartha (2001, p. 9) defines poleng cloth as a ‘balinese color’ with a black-and-white checkerboard pattern. poleng cloth appears to have become an integral part of hindu life in bali. poleng cloth is not only used for sacred religious purposes; it is also widely used for profane or secular purposes. poleng cloth is used to decorate trees and statues, giving them a supernatural appearance, as shown in figure 7. figure 7. poleng cloth esused as tree and statues decoration, 2019 (photos are taken by the author) according to rupawan (2008, p. 24) poleng cloth has been used for a long time, and poleng rwabhineda cloth is believed to be the first type used by hindus. following that, the poleng sudhamala and poleng tridatu fabrics appeared (see figure 8). poleng rwabhineda cloth is made of white and black checkerboard patterns and symbolizes distinction in hindu society. philosophically, rwabhineda refers to two opposed characteristics or circumstances, such as good-bad, diligent-lazy, rich-poor, northsouth, long-short, high-low, and so on. poleng sudhamala fabric is available in three colors: white, black, and gray. as a transitional color between white and black, gray is a reflection of rwabhineda mediated through intermediaries as harmony in contrasts. i wayan suharta, commodification of gamelan selonding in tenganan pegringsingan vil153 figure 8. poleng rwabhineda, poleng sudhamala, and poleng tridatu, 2020 (photos are taken by the author) the same philosophy is reflected in the poleng tridatu cloth, a three-color poleng cloth composed of white, red, and black. the tridatu’s color represents triguna’s teachings, specifically satwam, rajah, and tamah. when combined with trimurti, the red color represents lord brahma as creator, the black color represents lord vishnu as preserver, and the white color represents lord shiva as fuser. figure 9. gamelan selonding with poleng and tri datu colormotives and decorations, 2019 (photos are taken by the author) the poleng cloth decoration on the selonding’s plawah (see figure 9) is a form of production carried out by gamelan craftsmen, with the following reasons: (1) it can create various innovations, (2) it gives a sacred or magical impression, (3) festive appearance at a low price, and (4) adjusting and taking the buyer’s capability into account. the artistic tips in production carried out by the pandeg amelan are bright ideas and quality innovations in anticipating development dynamics. selonding with plawah maukir the production of gamelan selonding in tenganan is primarily based on carvings inspired by the manifestations of the gods; the remainder is based on papatraan designs tailored to the customer’s specifications. as putu koblos inherited and as a message from his father, who will never be forgotten, the paenem and patuduh instruments serve as selonding’s “teacher.” it has become a belief that the gods’ design motifs are chosen and placed on each instrument according to their duties and functions, such as lord ganesha on the paenem instrument, goddess saraswati on the patuduh instrument, lord brahma on the nyongnyong ageng instrument, goddess laksmi on the nyongnyong alit instrument, acintya on the gong ageng instrument, and lord brahma on the gong. this means that seven distinct types of god designs must be prepared and then poured out as relief sculptures for the eight distinct types of selonding instruments. figure 10. plawah selonding with pepatraan carving design, 2018 (photo is taken by the author) along with the carved motif representing the gods, the selonding plawah is carved in the shape of a pepatraan (see figure 10). according to gelebet (1982, p. 333) pepatraan is a style of ornate beauty compositions based on specific types of floral beauty. pepatraan ornament is a recurring pattern that can also take the form of a growing pattern. generally, patra sari is the pepatraan type chosen for the selonding plawah decoration. its shape is reminiscent of flora with a recurring circular trunk and a protrusion of the flower essence that serharmonia: journal of arts research and education 22 (1) (2022): 144-160154 ves as its identity, as indicated by the name patra sari (see figure 11). figure 11. plawah selonding with patra sari design, 2019 (photos are taken by the author) gamelan selonding distribution in tenganan village according to fairlough (1995), distribution is the process of socializing and spreading gamelan selonding using the appropriate technique and through specific events to reach and be accepted by consumers. distribution is the process of distributing manufactured goods. distribution is ineffective without promotion and marketing to ensure that products reach consumers. according to daum in moelyono (2010, p. 135), distribution and marketing constitute network capital. this means that networks or partners must be established to distribute commodity products. craftsmen and artists distribute and promote gamelan selonding by carefully selecting the appropriate institutions or consumers, ensuring that the distribution is precise in terms of demand and reaches the most vulnerable consumers. meanwhile, appropriate skills, knowledge, and comprehension of the products are critical throughout the distribution process. the professional attitude and behavior demonstrated and the ability to package information about gamelan selonding’s uniqueness are all efforts toward distribution to attract customers. satisfaction with the services provided is not limited to the provider; positive experiences may be shared with other consumers. bali arts festivals as a momentum for gamelan selonding distributions the bali arts festival (pesta kesenian bali), abbreviated as pkb, was initiated by the governor of bali ida bagus mantra to foster a sense of cultural awareness of the balinese people in the face of globalization. pkb has generated an appreciation of the balinese people for the values of balinese arts and culture and introduced balinese arts and culture to the broader community (mantra, 1996, p. 12). the diversity and the richness of art displayed by the artists confirm that art is indeed integral to the life of the balinese people; hence bali is known as the art paradise. as bali’s largest art event began in 1979 and ran annually for one month from june to july, pkb can generate a cultural vibration supporting the balinese people’s art and culture. at the very least, the balinese people’s cultural strategy hopes to hold pkb to maintain, foster, preserve, and develop cultural arts. in 1982, the karangasem regency government appointed and trusted tenganan village to represent its area by bringing selonding to the 3rd bali arts festival. to karangasem regency, it is an act of empowerment that revitalizes local potential and serves as a concrete measure to fortify identity and instill pride in the people of tenganan village. this, however, created a quandary for the people of tenganan. on the one hand, it is beneficial to demonstrate tenganan village’s indigenous wisdom, but on the other hand, the original gamelan selonding (selonding duwe) cannot be brought outside of tenganan village. due to the community’s view that this was a golden opportunity to showcase tenganan village’s potential and uniqueness to the balinese people, a ‘duplicate’ of the gamelan selonding was created by inviting pande gamelan i wayan pager from blahbatuh village, gianyar, bali. until now, the selonding was kept in a bale desa near the tenganan village parking lot (see figure 12). , i wayan suharta, commodification of gamelan selonding in tenganan pegringsingan vil155 figure 12. tenganan’s gamelan selonding on pkb in 1982 the work of i wayan pager, 2018 (photo is taken by the author) pkb as a cultural strategy offers solutions and contributes to developing the nation’s cultural identity in the face of globalization’s various negative effects (suartaya, 2016, p. 3). tenganan village’s selonding performance at balinese art events serves as a form of cultural repositioning by highlighting the potential of traditional arts in the development of contemporary performing arts expressions. selonding strengthens traditional balinese performing arts and has demonstrated an ability to adapt to the dynamics of balinese society and the globalization of life. the uniqueness of the gamelan selonding, which is deeply ingrained in the tenganan community, is recognized as a local spectacle with global cultural relevance. the inclusion of selonding in pkb 1982 was the right moment to distribute the gamelan selonding, giving significant meaning to the development of selonding in tenganan village. thanks to the hard work of partha gunawan and the “sanggar guna winangun” he built, selonding became known through his signature tenganan style repertoire. this is evident in the growth of the gamelan selonding outside of tenganan village. the presence of a recording ‘labeled’ selonding gamelan in tenganan village back in the 1986s indicates that this gamelan has garnered support and interest from bali’s art-loving community. balinese artists and selonding craftsmen apart from partha gunawan’s efforts at the bali arts festival, balinese artists and gamelan craftsmen have been actively involved in distributing gamelan selonding since 1982. magnissuseno (1992, p. 12) defines artists as possessing sensitivity and intuitive acuity. these are “super sensitive” individuals who have been trained to notice objects and events occurring around them that most people miss. due to the artist’s uniqueness compared to others, the artist is considered a “genius.” the significance of artists in terms of the value of life is more nuanced. artists have indeed devoted their lives to humanity throughout history. lubis (1992, p. 83) asserts that human existence will devolve into economic animals or power without values. suppose culture is defined as a manifestation of thought. in that case, the artist plays a critical role in humanizing it by introducing elements of beauty, balance, perspective, rhythm, harmony, proportion, and sublimation of human experience into the culture. as the main actors in the distribution of the gamelan selonding, balinese artists are creative people who always want to make something newer and useful to meet their needs according to the dynamics of development. according to sugiartha (2008, p. 59), balinese artists are classified as human beings with competitiveness and achievement motivation. various development efforts were made to the gamelan selonding by changing, processing, adding, and others, so that the existence of the gamelan selonding became vibrant. the gamelan selonding’s existence in bali began to “spread” due to the active role of balinese artists and gamelan craftsmen. gamelan craftsmen from tenganan village contribute significantly to the distribution of the gamelan selonding, and from outside tenganan village, such as pande i wayan pager, owner of ud. sidha karya, br. babakan, blahbatuh village, gianyar, bali. together with balinese artists, gamelan craftsmen act as distributors, introducing, disseminating, nurturing, and developing the gamelan selonding to spread and become known to the balinese and internaharmonia: journal of arts research and education 22 (1) (2022): 144-160156 tional communities. gamelan selonding consumption in tenganan village according to the concept, consumption refers to goods that meet human needs. the essence of all consumption objects is not in their function, economic value, physical appearance, or aesthetic appearance but their commodity status. the commodification of products or facts occurs when they are created to be exchanged for profit, imparting a distinctive character (lee, 2006, p. ix). commodities contain the essence of consumption objects; consumption is inextricably linked to the existence of the consumers who consume them. according to suprapti (2010, p. 61) consumer perceptions and behavior toward commodity products are determined by three factors: consumer motivation, which divides the market into three segments: quality, service, and economic aspects. the gamelan selonding is consumed in tenganan village by an individual, traditional organization, or community group. apart from its ritual function, the gamelan selonding is also used as a medium for art. selonding is not only placed in a sacred place but also in a secular space for entertainment, as a tourist attraction, and as a creative medium for artistic purposes. tenganan village community the people of tenganan village are the main consumers of the gamelan selonding. the traditional relationships and linkages between selonding and society brought up social behaviors, leading to the formation of cultural values that can be used as guidelines for the community members. gamelan selonding can morally and spiritually fulfill its citizens’ needs. the repertoire presented in a series of religious rituals can provide inner and outer peace and create togetherness between the community members. the religious ceremony for tenganan village is an inseparable link from the tatwa and filsafat, which are the goals of hinduism. susila is a rule that should be implemented to achieve goals. these three elements are universal in the teachings of hinduism. they must be understood and adhered to in an integrated and inseparable manner. tenganan village and its people still preserve and stick to customs based on agreed-upon customary laws (awig-awig). in terms of culture, with all its elements strengthened by customary life with traditional institutions, they contribute in the form of concepts and their implementation to maintain and preserve the environment. such conditions can be seen in the implementation of religious ceremonies and ways of living in a community, a social unit of individuals who have a relationship of mutual need. for the tenganan village residents, community activities involving various religious ceremonies are carried out obediently from generation to generation, with the gamelan selonding always present. the tradition of using the gamelan selonding in all religious ceremonies in tenganan village has existed for a long time and is deeply ingrained in the people’s souls. the combination of music and a series of ceremonies assists the people in maintaining a healthy balance of life. gamelan selonding, through its repertoire, preserves the noble values of life by supporting community activities. in a broader context, the gamelan selonding’s presence is critical for the residents of tenganan village. without the selonding, ritual activities are incomplete; even the excitement of the ritual atmosphere becomes more stable when the gamelan selonding is always present. balinese, archipelago, and international societies tenganan village’s cultural products, such as the gamelan selonding and religious activities, are unique to the balinese people, who typically receive something else. their presence in tenganan village is directly gratifying due to the diverse community activities that revolve around its unique ritual activities. the variety of patterns and uniqueness of the i wayan suharta, commodification of gamelan selonding in tenganan pegringsingan vil157 gringsing cloth as a result of community crafts and the uniqueness of the mageret pandan tradition with gamelan selonding accompaniment, which has retained its originality and authenticity. not only can balinese appreciate the uniqueness of selonding in tenganan village; the people of the archipelago (indonesia) devote a significant portion of their leisure time to witnessing the wealth of traditions in tenganan village. visitors include junior high school, high school, vocational school, madrasah, islamic boarding school, college students, government and private sector employees from surabaya, malang, yogyakarta, solo jakarta, bandung, aceh, and lampung. the visits are primarily part of a study tour to bali, and tenganan village is one of the destinations on their itinerary during the long summer vacation following promotion and graduation in june and july. meanwhile, the general public opts for alternate holidays to avoid conflicting with student holidays. some choose lengthy vacations, such as office workers (public and private), bank workers (public and private), and others. apart from balinese and indonesian people, international people can also consume gamelan selonding. the international community consumes selonding by watching the presentation of selonding directly during a visit to tenganan village. besides that, some tourists use selonding as an object of research and have selonding as a collection, specifically studying gamelan selonding and selonding as an artistic medium. foreigners or the international community who uses the gamelan selonding, such as (1) fobiko tamura (japan, 1980), as a collection, (2) max serell (california, 1982) as a museum collection, (3) wayne vitale (america, 1990), studied gamelan selonding, (4) michael tenzer (california, 2011), conducted selonding research, (5) edward herbst (america, 2016), studied gamelan selonding, and (6) vaughan hatch (new zealand, 2010), founded the gamelan selonding group called mekarbuana. the gamelan selonding’s uniqueness as a form of cultural heritage in tenganan village is not exclusive to the tenganan community. the society of bali, the archipelago (indonesia), and the international community can all benefit from selonding’s accompaniment because their arrival brings something unique and different. his presence in tenganan village provides him with a greater sense of fulfillment than purchasing various other commodity products, which provide him with valuable knowledge and experience to take back to his region or country. it benefits tourists, as it allows them to learn about the uniqueness of tenganan village, such as the ‘scissor principle,’ which states that once a hole is punctured, two more holes can be penetrated. come to tenganan village and experience one-of-a-kind traditions such as mageretpandan while also enjoying selonding. gamelan selonding as a tourism performing art since bali became a part of the global tourism network, balinese artists have begun to develop art forms that are specifically “peddled” or even “sold” to tourists. art is created by repurposing forms or elements from pre-existing traditional arts, including elements of balinese ritual art. as a result of this effort, significant elements of the arts in question have to be altered or even removed because they are deemed out of step with tourist tastes and needs. not only are there components that must be removed from the art’s content and form, but also from its appearance and presentation system (dibia, 1997, p. 31). tenganan village’s popularity as a tourist destination has a subtle effect on the artists. by utilizing the gamelan selonding, artists have the foresight to seize existing opportunities. this circumstance benefits the development of selonding with a variety of functions. initially, selonding was restricted to sacred ritual functions, but it evolved into an aesthetic presentation after being influenced by tourism. a noteworthy artistic dynamic is the development of the tenganan village’s gamelan selonding harmonia: journal of arts research and education 22 (1) (2022): 144-160158 as a tourism performance art since 1992 (see figure 13). selonding is a significant part of the dinner event at the amankila hotel in manggis, karangasem, bali, under sanggar guna winangun. figure 13. selonding presentation as a tourism art performance by sanggar guna winangun at hotel amankila, karangasem, bali, 2018. (photo is taken by the author) presentation in the context of tourism does not experience changes in form and principal musicality, but selonding has increased its function and presentation system. the repertoire is presented in the processing and development of pre-existing forms. some of which were even explicitly created for tourism purposes. soedarsono (1998, p. 121) describes the characteristics of the art of tourism as follows: (1) imitation of the original, (2) its short or concise version, (3) its sacred, magical, and symbolic values that have been eliminated, (4) full of variety, (5) presented attractively, and (6) low prices for tourists. selonding as a form of performing arts already has the characteristics of tourism art as described above. as a tourism performance art, selonding does not prioritize the importance of magical values but rather the value of the beauty of sound and excitement in welcoming guests or as an instrumental in accompanying the dinner. the repertoire that is usually played are sekar gadung, rejang ileh, rejang lente, rejang gucek, dan gending kelompok guna. kelompok guna is a special piece made for tourist offerings, which collaborated the gong kebyar repertoire (gambang suling) with the rindik technique and the gamelan angklung. conclusions commodification is how commodities’ production, distribution, and consumption are organized and conceptualized. the commodification of gamelan selonding in tenganan village emphasizes the production aspect, specifically efforts to transform cultural heritage through ‘imitating’ the original form of selonding duwe. duplication production is packaged in an attractive manner that satisfies the audience due to the pande gamelan’s creativity. commodification, which has been attributed to globalization’s influence, contributes to the erosion and degradation of traditional values. on the contrary, selonding can survive, stimulate, and develop through duplication. according to this definition, duplication is used as a teaching tool and is updated in the form of a new creation. commodification enables people to become acquainted with, enjoy, and educate themselves about selonding. nothing diminishes the original values of selonding; in fact, the sacredness of selonding in tenganan village is preserved. tenganan village’s residents are able to strike a balance between religious and productive issues, including for gamelan selonding. gamelan selonding is still revered and preserved by the people of tenganan village, and nothing diminishes the original selonding values; indeed, the very existence of selonding is preserved in its current form. on the other hand, the residents of tenganan village can use selonding as an opportunity to expand their business and improve their welfare. in the context of selonding, the community upholds the sacredness and authenticity of the gamelan selonding while also becoming a productive society, specifically by producing gamelan selonding through duplication. commodification has altered the dynamics of the selonding gamelan’s aesthetic principles, which were previously based on satyam, siwam, and sundaram; adjustments have been made to accommodate the concept of modern aesthetics. selonding, as a cultural object, is not i wayan suharta, commodification of gamelan selonding in tenganan pegringsingan vil159 only a purified and revered ancestral legacy but also an aesthetic object. using the gamelan selonding as a medium, each generation continues to innovate creatively and selectively to provide new ideas based on indigenous wisdom known as desa, kala, and patra to bring art closer to the context of people’s lives. references abdullah, i. 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(2005). teori-teori kebudayaan. kanisius. 19 relevansi proses pembelajaran mata kuliah instrumen pilihan wajib piano dengan tujuan kurikulum fpbs upi diah latifah universitas pendidikan indonesia jl. dr. setiabudhi 229, bandung 40154 e-mail: diah-singer@bdg.centrin.net.id abstrak penelitian ini bertujuan untuk mencari relevansi antara proses pembelajaran mata kuliah instrumen pilihan wajib piano, dengan tujuan kurikulum fakultas pendidikan bahasa dan seni upi. data penelitian adalah mahasiswa-mahasiswa peserta mata kuliah instrument pilihan wajib piano dan tiga dosen pengampunya serta dokumen kurikulum fpbs upi tahun 2009 yang memuat tujuan kurikulum. metode penelitian yang digunakan adalah metode evaluatif dengan ciri khusus studi kasus sosial inkuiri. hasil penelitian menyatakan, bahwa para peserta mata kuliah bersangkutan masih belum dibekali dengan materi komponen pembelajaran musik umum yang diaplikasikan melalui piano. rekomendasi menyarankan subyek mata kuliah diperkaya dengan materi yang bersifat pendidikan dan pembelajaran musik yang diaplikasikan melalui piano. relevance between learning process of compulsory piano instrument course and curriculum objectives at languages and art department, university of indonesian education (upi) abstract this study aims to explore the relevance of the instructions processes of “piano as a compulsory course” and the purpose of the curriculum of the faculty of education, language and arts at upi. data research participants were students of this course and three lecturers and the curriculum goals of fpbs upi for 2009. the method used is an evaluative method of case studies in social inquiries with special features. the results of research are; the participants stated that the course has not yet provided the students with the material components of general music instructions applied through piano. recommendations suggest that the subject of the course material be enriched with education and music instruction as applied through piano music. kata kunci: proses pembelajaran, studi relevansi, tujuan kurikulum. dapat melaksanakan program pendidikan dan pengajaran di sekolah dan luar sekolah, dan atau untuk melanjutkan pendidikan ke jenjang yang lebih tinggi. guru sebagai sosok profesional, harus mampu menerjemahkan kurikulum dalam konteks pembelajaran yang diimplementapendahuluan jurusan dan program studi di lingkungan fpbs bertujuan menghasilkan guru yang mempunyai wawasan dan kemampuan akademik serta profesi kependidikan di bidang bahasa dan seni, untuk harmonia, volume 13, no. 1 / juni 201320 sikan. pendidikan yang berorientasikan untuk menghasilkan calon pendidik dan kependidikan bidang musik harus memproduksi guru professional. guru dalam memaknai kurikulum yang di implementasikan dapat digambarkan seperti yang diungkapkan oleh brown et al. (1985:35) dibawah ini: “kurikulum bukanlah sekedar sesuatu yang ditemukan dari petunjuk berupa lembaran cetakan, (silabus atau rencana kerja), seperti apa yang guru laksanakan dalam kelas. ini merupakan adaptasi pada pengalaman belajar bermakna yang bernilai. guru seharusnya menggunakan petunjuk sebagai rancangan kerja dan harus merasa bebas untuk mengekspresikan metode mengajarnya dimana dapat menolongnya dengan jalan terbaik untuk menjadikanya sukses di kelas”. schaffer, memberikan pernyataan tegas, berkenaan dengan “siapa yang harus bekerja sebagai guru”, schaffer (1975:242) menyatakan “siapa yang akan mengajar musik? professional!, di sini tidak ada kompromi hanya professional. musik adalah disiplin ilmu kompleks mencakup teori dan pertunjukan, harus diajarkan oleh seorang yang berkualitas untuk melaksanakannya. tidak ada kompromi”. nilai-nilai pendidikan musik dalam implementasi kurikuler yang mewarnai proses pendidikan dan pembelajaran di pendidikan seni musik adalah pendidikan guru musik. sehubungan dengan tujuan ini lulusan fpbs diharapkan: 1. menguasai ilmu dan keterampilan berbahasa sastra atau berseni sebagai kewenangan utamanya (mayor) dan mampu mengembangkan ilmu dan teknologi untuk kepentingan pendidikan dan pengajaran dan atau untuk melanjutkan pendidikan ke jenjang yang lebih tinggi 2. menguasai ilmu dan ketrampilan berbahasa atau berseni yang menjadi pilihan kewenangan tambahan (minor) 3. menguasai ilmu dan ketrampilan tambahan bahasa atau seni yang dipilih sebagai kemampuan menciptakan pekerjaan di bidang ilmu dan ketrampilan yang relevan dengan kewenangan utama (mkkp) 4. mengusai pendekatan, metode dan teknik pembelajaran bahasa dan seni serta mampu mengembangkan wawasanya dalam aspek-aspek pengajaran tersebut 5. mengembangkan dan menguasai ketrampilan sebagai ahli bahasa dan sastra pada bahasa dan sastra indonesia serta bahasa inggris (sunaryo kartadinata dan tim pengembang kurikulum upi. 2009:116). 6. sebagai ulasan tambahan, pada bidang seni khususnya seni musik, jurusan pendidikan seni musik juga membekali mahasiswa dalam mengembangkan dan penguasaan ketrampilan sebagai ahli seni dan pendidikan seni khususnya domain ilmu seni musik. (dokumen kurikulum upi. 2009:95). proses pembekalan materi perkuliahan yang diharapkan, dalam pengembangan kurikulum menuju produk sosok manusia berkompeten sebagai tenaga pendik dan kependidikan musik, serta benar benar mendalami disiplin ilmu yang diampu, dan selalu mengikuti perkembangan ilmu, teknologi, harus difokuskan secara mendalam dalam domain keilmuan musik, serta bersifat kontekstual agar tepat guna dilaksanakan dalam pelayanan pendidikan dalam masyarakat. disamping itu proses evaluasi harus berjalan berkesinambungan, berkelanjutan untuk mengobservasi, apakah kesiapan setiap calon pendidik musik telah relevan dengan perkembangan ilmu, teknologi dan sosial budaya. mengapa mata kuliah ini wajib bagi mahasiswa? kompetensi musik yang diwakili oleh kemapanan seseorang dalam bidang musik, merupakan keahlian yang menjadi ciri khas setiap orang yang memiliki komitmen untuk menjadi ahli musik, terutama dalam hal ini guru musik, seseorang yang bertanggung jawab untuk diah latifah, relevansi proses pembelajaran mata kuliah instrumen pilihan wajib ... 21 membangun aspek rasa dasar musik bagi setiap siswa mereka. kompetensi musik mereka, harus dapat diterjemahkan baik dalam instrumen musik atau vokal, disamping kemampuan atau kompetensi praktek aransemen, harmoni dan komposisi musik. demikian pula dengan mata kuliah instrumen pilihan wajib piano, mahasiswa yang memiliki minat dan kompetensi yang memadai, mengambil mata kuliah ini, sebagai mata kuliah keahlian, untuk memantapkan diri mereka, dan merupakan cermin dari kepiawaian bahkan gambaran dari kompetensi musik mahasiswa, yang nantinya akan diterjemahkan dalam praktek pembelajaran musik melalui instrumen andalan mereka. ketika proses pembelajaran instrumen pilihan wajib piano dilaksanakan sebagai mata kuliah keahlian dan pendalaman kompetensi musik, pada semester yang sama mahasiswa yang mengikuti mata kuliah bersangkutan, mendapatkan pembekalan mata kuliah yang mengantarkan mereka sebagai calon guru profesional, diantaranya pada semester tiga, ketika mereka mengikuti mata kuliah instrumen pilihan wajib piano satu, mahasiswa peserta mata kuliah ini juga mendalami mata kuliah strategi belajar mengajar. demikian pula pada semester lima ,ketika mahasiswa mengikuti mata kuliah instrumen pilihan wajib piano tiga, peserta mata kuliah ini mendapat pembekalan mata kuliah evaluasi pendidikan. pada semester empat, para peserta mata kuliah instrumen pilihan wajib piano dua, dalam semester yang sama mengikuti perkuliahan pengelolaan pendidikan serta kurikulum dan pembelajaran. pada semester enam, saat mata kuliah perencanaan pengajaran dan penelitian pendidikan dilaksanakan, peserta mata kuliah instrumen pilihan wajib piano sedang mengikuti mata kuliah instrumen pilihan wajib empat. fakta empirik yang terjadi dalam perkuliahan instrumen pilihan wajib piano satu sampai lima, menunjukkan bahwa mereka yang dibekali pendalaman keahlian kompetensi bermain piano, pada semester yang bersamaan diberi materi yang bernuansa pedagogik sebagai konten kurikulum yang mengantarkan mereka sebagai calon guru profesional. aspek ini menunjukan keikulum yang di implementasikan merupakan kurikulum concurrent. gejala yang nampak, selama evaluator terlibat langsung sebagai pengajar, tidak didapati suatu pembekalan mahasiswa peserta mata kuliah instrumen pilihan wajib piano dengan materi yang bermuatan belajar dan pembelajaran musik yang dilaksanakan melalui piano. dengan fakta ini, evaluator menelaah proses pembelajaran instrumen pilihan wajib piano yang disesuaikan dengan tujuan kurikulum fpbs upi, untuk dicari relevansinya dengan produk yang dihasilkan, yaitu calon tenaga pendidik dan kependidikan profesional lebih khusus lagi guru musik umum disekolah. permasalahan terjadi, ketika para mahasiswa menghadapi ujian program praktek lapangan di sekolah, masih banyak mahasiswa lulusan mata kuliah instrumen pilihan wajib piano yang masih kurang fasih untuk mempergunakan alat keyboard atau piano sebagai pengantar pembelajaran musik, meski sekolah bersangkutan memiliki alat keyboard dan kandidat guru musik dari jurusan pendidikan seni musik upi dipersilahkan untuk menggunakanya. tetapi keseluruhan mahasiswa lulusan mata kuliah instrument pilihan wajib piano (pada saat kajian penelitian ini dilaksanakan), tidak mempergunakan instrument music keyboard yang disediakan sekolah tempat praktek mengajar. berdasarkan gejala dan fakta empirik yang terjadi, maka dianalisis bagaimana proses pembelajaran piano dilaksanakan. apakah piano dibekalkan hanya sebagai aspek pengantar musik piano secara estetik? apakah piano telah dibekalkan pada mahasiswa peserta mata kuliah instrumen pilihan wajib piano sebagai media dan pengantar pembelajaran musik umum di sekolah? dari paparan ini disusun rumusan permasalahan: bagaimana proses pembelajaran instrumen pilihan wajib piano dilaksanakan untuk memenuhi tujuan kurikulum harmonia, volume 13, no. 1 / juni 201322 fakultas pendidikan bahasa dan seni upi? hasil penelitian diharapkan mampu memberikan masukan mengenai keunggulan dan kekurangan mata kuliah instrument pilihan wajib piano dalam memenuhi tujuan kurikulum fakultas pendidikan bahasa dan seni. metode penelitian ini merupakan penelitian evaluatif fenomenologis, dengan pendekatan studi kasus sosial inkuiri untuk mencari relevansi proses pembelajaran mata kuliah instrumen pilihan wajib piano dengan tujuan kurikulum fakultas pendidikan bahasa dan seni upi. kajian fenomenologis dalam evaluasi kurikulum dinyatakan oleh landman sebagai berikut: fenomenologi adalah unsur unsur signifikan dari penelitian kurikulum, khususnya desain kurikulum dan evaluasi kurikulum, sebagai intisari fenomenologis berupa kemungkinan eksistensi, dan fenomenologi adalah refleksi penghargaan pada struktur fundamental dari pengalaman (landman, 2006). penelitian evaluatif pengajaran dalam pandangan stake memberi makna, bahwa hasil evaluasi bukanlah untuk penghakiman mutlak atas keterandalan suatu program kurikulum di implementasikan, tetapi untuk mendapatkan informasi mengenai kelemahan dan keunggulan suatu kurikulum dilaksanakan (stake, 2009). survey awal pada implementasi kurikulum yang dilaksanakan dengan cara mengobservasi secara langsung bagaimana para teman sejawat mengimplementasikan kurikulum yang berlaku. dokumen kurikulum yang dievaluasi adalah dokumen kurikulum 2009 diimplementasikan pada tahun 2010, suatu pengembangan kurikulum concurrent atau semasa yang bertujuan untuk memproduksi tenaga pendidik dan kependidikan profesional. instrumen penelitian yang digunakan saat melaksanakan penelitian, adalah pedoman observasi, pedoman wawancara, kajian dokumen kurikulum fpbs upi, serta studi dokumentasi proses pembelajaran yang dilaksanakan. bagan model evaluasi yang dipergunakan seperti di bawah ini: gambar 1. revised of circle design case study in social inquiry diah latifah, relevansi proses pembelajaran mata kuliah instrumen pilihan wajib ... 23 nerja para dosen pengampu mata kuliah instrumen pilihan wajib piano dalam mengimplementasikan perencanaan pembelajaran yang mereka susun. dari hasil interview, dikaji dan dianalisis serta dievaluasi apakah perencanaan pembelajaran yang diimplementasikan, dan aktivitas pembelajaran instrumen pilihan wajib piano telah sesuai dengan tujuan kurikulum fakultas pendidikan bahasa dan seni upi. pada dasarnya analisis implementasi pembelajaran yang bernuansa praksis diobservasi secara rinci apakah materi-materi pembekalannya telah relevan dengan tujuan untuk mendidik calon guru musik. irisan kedua dalam lingkaran inti kajian evaluasi memuat tujuan kurikulum fakultas pendidikan bahasa dan seni. dokumen kurikulum akan dianalisis relevansinya terhadap proses pembelajaran mata kuliah ini, apakah mata kuliah instrument pilihan wajib piano telah mempersiapkan pesertanya untuk lulus sesuai dengan tuntutan tujuan kurikulum fakultas pendidikan bahasa dan seni upi. lingkaran di luar lingkaran inti evaluasi, adalah lingkaran di mana evaluator mengevaluasi isu-isu yang terjadi dalam proses pembelajaran yang dievaluasi. isu-isu dan kasus kasus yang terjadi dikumpulkan, dan dianalisis, dengan cara pengambilan informasi yang dilakukan dengan menggunakan instrumen penelitian pedoman interview, pedoman observasi, pertanyaan-pertanyaan hasil informasi dari proses interview dan observasi (information question) yang hasilnya masih meragukan sebagai informasi hasil evaluasi sesuai tujuan evaluasi, kajian dokumen dan dokumentasi melalui vcr. penelitian ini merupakan penelitian kualitatif dalam studi kasus penyelidikan sosial. penelitian dilaksanakan dengan alur komunikasi yang kondusif. makna kasus penyelidikan sosial (case study in social inquiry), memberikan indikasi bahwa penelitian dikaji dan diselidiki dari makna hubungan komunikasi atau interaksi sosial pada studi terbatas dilingkungan fpbs, pada proses pembelajaran instrument pilihan wajib piano dan bagan gambar 1 menunjukkan sistem kerja model evaluasi yang akan dilakukan berdasar dari kajian penyelidikan sosial, memaknai keseluruhan interaksi yang terjadi dalam implementasi kurikuler di jurusan pendidikan seni musik. inti kajian evaluasi digambarkan sebagai lingkaran paling dalam, dengan dua irisan didalamnya. evaluasi proses pembelajaran musik melalui piano diwakili oleh satu irisan untuk menggambarkan bahwa pendidikan dan pembelajaran musik melalui piano bernilai proses, karena memiliki nuansa estetik kuat, mengembangkan rasa musikal setiap individu mahasiswa. proses dan praksis pembelajaran calon guru musik di sekolah, memiliki warna standarisasi dan juga mengembangkan sisi estetis mahasiswa, sehingga harus diwakili oleh satu irisan khusus, yang mengemas inti kajian pendidikan dan pembelajaran guru musik yang memuat standar kompetensi keguruan dan disisi lain juga mengemas pengembangan estetik setiap individu mahasiswa. pendidikan dan pembelajaran bersifat praksis untuk memproduksi guru musik umum di sekolah merupakan urgensi dari penelitian ini. kajian evaluasi untuk memproduksi guru musik melalui instrumen musik piano dimaknai relevansinya, melalui kegiatan pembelajaran piano, dengan teknik observasi yang dilaksanakan pada kegiatan proses dan praksis pembelajaran instrumen pilihan wajib piano yang dilakukan oleh tiga dosen pengampu mata kuliah instrumen pilihan wajib piano. observasi kegiatan pembelajaran instrumen pilihan wajib piano untuk memproduksi guru musik yang bernuansa praksis karena mengandung komitmen untuk memproduksi guru diamati secara khusus, apakah para dosen telah membekali mahasiswanya dengan materi-materi komponen-komponen pembelajaran musik umum yang dapat dilaksanakan melalui instrumen piano. evaluasi melalui interview proses dan praksis pembelajaran mata kuliah instrumen pilihan wajib piano untuk memproduksi guru musik dilakukan untuk memaknai relevansi kiharmonia, volume 13, no. 1 / juni 201324 relevansinya dengan tujuan kurikulum fakultas pendidikan bahasa dan seni upi, di jurusan pendidikan seni musik upi. studi sosial juga dibatasi dengan pertanyaan pertanyaan yang telah ada pada desain format studi evaluasi kajian studi yang dilaksanakan. hasil dan pembahasan proses pembelajaran mata kuliah instrumen pilihan wajib yang menjadi pokok kajian dalam relevansi pembelajaran dan hasilnya yang dilaksanakan memberikan fakta, peserta mata kuliah instrumen pilihan wajib piano harus lulusan mata kuliah piano satu dan piano dua dengan nilai minimum (b) proses pembelajaran mempergunakan pendekatan individual, sehingga para dosen pengampu harus dapat menilai potensi dasar musik setiap mahasiswa. setiap kekurangan sajian permainan piano secara estetik, misalnya touch, dinamika, artikulasi musik, dan lainya yang dilakukan mahasiswa saat proses pembelajaran berlangsung secara langsung diperbaiki, dan setiap aspek kemajuan dicatat. pemahaman potensi peserta didik, yang diamati perkembangannya secara individual, mengharuskan para dosen pengampu mata kuliah instrumen pilihan wajib piano, memiliki kepekaan dan kepiawaian lebih untuk mendeteksi berbagai keunggulan dan kelemahan mahasiswa, dalam mencerap materi pembelajaran musik piano yang diberikan. kepekaan musikal mahasiswa melalui piano yang dengan cepat dapat diamati oleh para dosen pengampu mata kuliah instrumen pilihan wajib piano, misalnya berupa kepekaan melodi dan kepekaan rasa ritmik, rasa irama dan birama dan kadang mahasiswa memiliki talenta untuk mengembangkan progresi akor atau rasa harmoni yang cukup kuat. ketika mahasiswa telah dapat dikategorisasikan termasuk dalam suatu kategori yang memiliki keunggulan, biasanya para dosen membuat keputusan, karya musik yang diberikan akan disesuaikan dengan karakter, bakat dan talenta serta potensi dasar mahasiswa bersangkutan, para dosen sering mempergunakan pendekatan melalui pengalaman, dalam hal ini pengalaman musik, dan kemudian dikembangkan dalam alur pendekatanan konstruktivistik, di mana para mahasiswa diminta untuk mengekspresikan musik yang dibawakan sesuai dengan ekspresi pribadi setiap mahasiswa, dan mengeksplorasi rasa musikal yang dimiliki setiap mahasiswa. untuk materi membuat pola iringan, mahasiswa hanya diberi rambu-rambu berupa alur melodi karya musik dalam style atau genre bervariasi, kemudian mahasiswa diminta untuk mengaransir pola iringan yang dimainkan, sebagai satu karya utuh melodi dan iringanya. metode yang di laksanakan oleh para dosen, dan sering dipergunakan, ceramah untuk memberikan arahan karya yang akan dibawakan, berupa metode tanya jawab yaitu dialog proses pembelajaran piano, terutama ketika mahasiswa menemui kesulitan dalam proses belajarnya. metode lain yang juga sering dilaksanakan adalah metode demonstrasi yang dimainkan oleh dosen dan diimitasi oleh mahasiswa, ketika mahasiswa mengalami kesulitan dalam mempraktekan pola pola melodi atau tangga nada dengan kesulitan tertentu. materi materi yang diberikan selain disesuaikan dengan talenta dan potensi dasar musik mahasiswa, juga dipakai acuan standar-standar materi pembelajaran piano, sesuai sejarah tradisi musik piano barat, dalam tingkatan grade, yang berawal dari grade 1 yang pencapaianya bervariasi, maksimum sampai dengan grade 8. proses evaluasi dalam pembelajaran instrumen pilihan wajib piano, dilaksanakan secara proses dan hasil. secara proses kemajuan para mahasiswa dicatat oleh setiap dosen pada setiap pertemuan. pada setiap pertemuan setiap kelemahan mahasiswa dicatat dan diperbaiki. evaluasi hasil dilaksanakan setiap triwulan, pada saat ujian tengah semester yang menilai kemajuan siswa sebagai hasil belajar, dan ujian akhir semester, merupakan ujian kelulusan setiap akhir semester. ujian akhir semester merupakan ujian hasil belajar, de ngan pengukuran sesuai dengan komitmen diah latifah, relevansi proses pembelajaran mata kuliah instrumen pilihan wajib ... 25 pencapaian yang telah disepakati oleh tim penguji mata kuliah piano. hasil evaluasi proses pembelajaran, menyatakan implementasi pembelajaran mata kuliah instrumen pilihan wajib piano memberikan pembekalan materi yang memiliki esensi pengembangan estetika musik berupa kecakapan dan kemahiran aspek-aspek pianistik dan interpretasi serta ekspresi untuk bermain musik melalui piano sesuai hukum-hukum musik yang berlaku. materi lain yang diberikan selain pembekalan seperti materi yang tersebut di atas adalah materi sight reading merupakan pembekalan kecakapan refleksi membaca notasi musik sesuai tanda-tanda ekspresi dan tempo yang terdapat dalam musik yang bersangkutan. pola iringan juga merupakan suatu materi yang diberikan untuk memperluas kecakapan pengembangan estetika musik melalui piano untuk lebih mengembangkan teknik-teknik yang diperlukan mahasiswa ketika mahasiswa harus mengiringi sebuah melodi baik yang dilakukan melalui vokal manusia, instrumen musik lain selain piano, bentuk musik chamber musik, yang menempatkan pola alur melodi lain dalam piano sebagai iringan, sebagai penyatuan karya musikmusik kamar piano, dalam hal ini berbagi wilayah pada satu piano dalam konteks musik kamar piano 4 tangan atau duo piano, serta mengiringi paduan suara. secara keseluruhan materi perkualiahan instrumen pilihan wajib piano membekali mahasiswa suatu kecakapan yaitu yang yang bersifat perseptual dan praktikal dalam konteks tradisi musik barat yang dilaksanakan melalui piano yaitu meliputi teknikteknik yang bersangkutan dengan penguatan penjarian dan berbagai aktivitas kerja fisik mahasiswa. dsi samping itu, ini juga diperkuat oleh rasa musikal untuk memproduksi bunyi musik yang sesuai dengan setiap style atau genre musik yang dimainkan berdasarkan konvensi musik yang sudah baku dalam tradisi musik bermain piano. misalkan, penguatan-penguatan jari yang dilakukan melalui latihan-latihan tangga nada, trinada, arpegio, cadens dan aktivitas penguatan jari yang lain diarahkan untuk membentuk satu alur teknik tension shading (dynamic and agogics) dalam keperbedaan style pada literatur musik piano. dalam memperdalam hal-hal yang seperti di atas mahasiswa dibekali dengan kecakapan memainkan alur melodi sesuai dengan fenomena melodi pada setiap jaman yang mewakili kecakapan bermain ritmik sesuai dengan fenomena ritmik yang mewakili pada setiap jaman, kecakapan memainkan harmoni sesuai dengan fenomena harmoni pada setiap jaman, dan kecakapan mengaplikasikan pola bermain piano pada struktur musik sesuai dengan fenomena struktur. bahkan, apabila dalam satu karya terdapat dua macam struktur yang terjalin mahasiswa harus secara cepat dapat mengaplikasikannya dalam pola permainan piano tanpa kesalahan persepsi. misalnya, pada “variation and fugue on a theme” dari handel, terdapat 2 pola struktur musik yang berstruktur polifoni dan dilanjutkan dengan struktur musik yang bercirikan pola romantik atau dalam satu karya terdapat dua macam gramatikal musik campuran antara style klasik dan romantik, biasanya pada karya beethoven, sehingga studi bermain piano merupakan aspek aplikasi dari teori-teori yang terdapat dalam sejarah analisis musik barat. studi selanjutnya merupakan studi articulation and touch. para mahasiswa dibekali dengan kecakapan berbagai aspek pada kesan-kesan musikal yang dapat dicapai melalui piano, misalnya bagaimana memainkan slurs pada setiap jaman, baik jaman baroque, klasik dan romantik yang menganalisis beberapa aspek ekspresi pada beberapa repertoar pada beberapa jaman. analisis ini misalnya, apakah kesan kesan yang terdapat dalam setiap jaman berbeda atau terdapat beberapa pemahaman ambigu dalam konteks musik karena terkadang makna yang digambarkan dalam pola bermain musik piano dimaknai dengan cukup berbeda. pernyataan allegro vivace dengan allegro con brio pada sonata beethoven op.31 nomor 1 dan sonata beethoven op.53 memiliki satu pemaknaan permainan piano dengan tempo cepat tetapi dengan ekspresi yang berbeharmonia, volume 13, no. 1 / juni 201326 da. allegro con brio memiliki makna yang dimainkan dengan tegas dengan adanya satu keberanian penegasan pada setiap frase musiknya sedangkan allegro vivace, satu kecepatan tempo dengan kecepatan allegro yang dimainkan dengan tempo yang lebih hidup dan biasanya agak sedikit lebih cepat. contoh seperti ini harus benar-benar dipahami oleh setiap mahasiswa ketika mereka memulai mempelajari dan mengaplikasikan berbagai tanda karakter dari musim yang dibawakan. artikulasi-artikulasi lain beserta touch-nya adalah juga satu teknik permainan yang harus dikuasai oleh para mahasiswa adalah (1) bagaimana mengartikulasikan melodi secara legato sesuai dengan konteks musik pada jamannya, (2) mengartikulasikan melodi secara stakato sesuai dengan konteks musik pada jamannya, (3) mengartikulasikan melodi secara portato sesuai dengan konteks musik pada jamannya, dan banyak lagi artikulasi-artikulasi yang harus dipelajari oleh setiap mahasiswa dalam setiap karya musik yang dimainkan. di samping memainkan piano sesuai dengan touch yang mewakili setiap style atau jaman musik yang dimainkan mahasiswa juga harus cakap dan terampil serta benar-benar paham untuk mempergunakan pedal. pedal difungsikan untuk memberikan efek sustained pada bunyi yang dimainkan sesuai dengan hitungan-hitungan melodi dalam setiap karya musik yang dimainkan mahasiswa. aspek lain yang juga harus mampu dilaksanakan atau diaplikasikan atau diterapkan dalam bermain piano adalah kecakapan mahasiswa dalam memainkan ornamen pada setiap jaman yang berbeda untuk repertoar piano. ornamen-ornamen itu misalnya mordent, turn, kombinasi antara mordent dan turn, grace-note, appoggiatura, trills, dan beberapa bentuk dari gabungan atau kombinasi beberapa ornamen. pemahaman mahasiswa pada kecakapan mereka bermain piano merupakan pembekalan yang diharapkan bersifat menetap dan secara otomatis mereka praktekan ketika mahasiswa memainkan karya musik piano sesuai dengan style dan jamannya. untuk memperkuat kecakapan ini butuh waktu yang cukup lama dan ketekunan mahasiswa yang bersangkutan untuk dapat memahami dan mengaplikasikannya. komponen komponen pembelajaran musik umum melalui piano tidak dibekalkan kepada mahasiswa, kecuali mempersiapkan mahasiswa menjadi guru piano tingkat anak anak dan dewasa, tetapi pada tahun 2010, materi ini sudah tidak dibekalkan lagi, karena komitmen beberapa dosen menganggap bahwa pemantapan materi estetik jauh lebih bermakna bagi mahasiswa dari pada materi komponen komponen pembelajaran musik umum yang disampaikan melalui piano untuk mengajar di sekolah. aplikasi ini adalah akibat dari perubahan kebijakan pemerintah yang di ajukan pada tahun 2005, tentang perubahan kurikulum lembaga pendidikan tenaga keguruan yang semila berkarakter concurrent secara bertahap menjadi concecutif. terdapat efisiensi atau pemadatan pada subyek kurikulum tahun 2009 hingga terjadi penghapusan subyek akademik pada struktur kurikulum di jurusan pendidikan musik. hasil penelitian apabila dibahas sesuai tujuan kajian penulisan, bagaimana relevansi hasil proses pembelajaran dengan hasil pembelajaran, mata kuliah instrumen pilihan wajib piano tahun 2009 hingga awal 2011 memiliki kelemahan. temuan penelitian menyatakan, proses pembelajaran mata kuliah instrumen pilihan wajib piano belum membekali mahasiswa peserta mata kuliah bersangkutan dengan komponen komponen pembelajaran musik yang dipergunakan sebagai pengantar pembelajaran musik umum di sekolah. dengan hasil ini, mahasiswa masih belum mampu untuk menghadapi tantangan mengembangkan ilmu dan teknologi dan seni untuk kepentingan pendidikan dan pengajaran. mahasiswa juga masih kurang mampu untuk mengembangkan diri sebagai calon guru profesional, untuk menguasai baik secara teoritik ataupun praktik secara mendalam bidang pendekatan, metode dan teknik pembelajaran musik serta mengembangkan wawasanya diah latifah, relevansi proses pembelajaran mata kuliah instrumen pilihan wajib ... 27 pada bidang ilmu pendidikan musik dan aplikasinya dalam pembelajaran musik di sekolah. sebagai ahli seni musik bidang piano memang tidak dirasakan bermasalah, tetapi tatkala lulusan dituntut untuk mengembangkan dan menguasai aspek pendidikan seni khususnya domain ilmu seni musik melalui piano, mahasiswa harus mengalami kembali penanaman domain pedagogi bidang musik, khususnya piano atau alat keyboard yang dipergunakan sebagai pengantar pembelajaran musik umum di sekolah. satu prinsip yang harus diwaspadai dalam pengembangan kurikulum concurrent, meski pembekalan pendalaman bidang studi musik dalam hal ini instrumen pilihan wajib, lebih khusus lagi piano, diberikan bersamaan dengan penanaman subyek yang bermuatan pemantapan kompetensi pedagogik sebagai acuan profesionalitas, apabila diinginkan hasil yang maksimal dalam kecakapan dan kompetensi yang terintegrasi antara kompetensi disiplin ilmu musik dan pedagogik, salah satu cara yang harus dilaksanakan adalah secara terpadu, tidak mungkin dipisahkan. karena ketika seseorang calon guru yang mengajar siswanya di kelas, dengan menggunakan instrumen musik andalannya, maka sosok-sosok calon guru bersangkutan harus dibekali materi yang terintegrasi antara pendalaman praktis dan teoritis pada instrumen musik yang dipergunakan sebagai pengantar pembelajaran musik umum khususnya disekolah. simpulan dan saran simpulan secara umum relevansi proses pembelajaran mata kuliah instrumen pilihan wajib piano apabila dihadapkan pada tuntutan tujuan kurikulum fakutass pendidikan bahasa dan seni upi, memberi makna: kemampuan atau kompetensi berbahasa, sastra dan seni sebagai kewenangan utama mahasiswa lulusan fpbs upi, secara khusus dalam kajian ini merupakan kewenangan disiplin ilmu musik yang dipresentasikan melalui piano untuk kepentingan pendidikan dan pengajaran cukup bermasalah, dan aspek ini merupakan kelemahan implementasi pembelajaran yang dilaksanakan pada mata kulian instrumen pilihan wajib piano. mahasiswa masih belum diberikan pembekalan materi aplikasi komponen-komponen pembelajaran musik umum yang dipraktekan melalui piano. disarankan, untuk memperluas materi pembelajaran mata kuliah instrumen pilihan wajib piano dengan muatan yang mengantarkan mahasiswa untuk berkompeten mempergunakan piano sebagai wahana pendidikan dan pembelajaran musik. penguasaan ketrampilan berbahasa dan seni yang menjadi pilihan,dalam hal ini instrumen pilihan wajib (piano), sebagai kewenangan diamati cukup memadai. lulusan dituntut untuk menguasai ketrampilan tambahan bahasa dan seni (dalam kajian ini instrumen pilihan wajib piano), untuk dapat menciptakan pekerjaan di bidang ilmunya. apabila mahasiswa dituntut untuk menciptakan pekerjaan pada bidang estetik musik, misalnya sebagai entertainer yang mempresentasikan karya musik, atau sebagai arranger dan player pada piano atau keyboard, beberapa mahasiswa memiliki kemampuan lebih dari sekedar standarisasi kemampuan estetik musik. tetapi apabila lulusan diminta untuk membuka kursus piano, yang membelajarkan siswa untuk mencapai standar standar estetik piano, diperlukan pembelajaran tambahan bidang penanaman aplikasi komponen-komponen pembelajaran, misalnya piano dipergunakan sebagai media dan sarana atau alat pembelajaran musik, piano dipergunakan sebagai pengantar pembelajaran musik, dan piano sebagai alat evaluasi pembelajaran musik, serta menyusun perencanaan pembelajaran musik yang diaplikasikan melalui piano. lembaga menuntut lulusan untuk menguasai pendekatan dan teknik pembelajaran bidang seni musik serta mampu mengembangkan wawasannya dalam aspek pengajaran musik yang dilaksanakan. dalam kemampuan atau kompetensi bidang tersebut di atas, mahasiswa masih harmonia, volume 13, no. 1 / juni 201328 cukup bermasalah, dan memerlukan pembelajaran tambahan untuk memperdalam bidang pengajaran dan memperluas wawasan bidang pembelajaran music yang diantarkan melalui piano atau alat keyboard. lulusan dituntut untuk mampu mengembangkan dan menguasai ketrampilan sebagai ahli bahasa dan seni, dalam kajian ini seni music yang diaplikasikan melalui piano. aspek ini cukup dikuasai mahasiswa, mahasiswa cukup mampu mengaransir dan menciptakan komposisi atau pola iringan pada piano sebagai wahana pengembangan estetik mereka pada instrumen musik piano. lembaga juga menuntut lulusan untuk menjadi ahli seni musik dan ahli pendidikan seni musik. sebagai ahli seni musik, diamati para mahasiswa lulusan mata kuliah ini mampu mengembangkan diri terutama dalam menyusun aransemen, menyusun pola iringan dan mengkreasikan komposisi musik melalui instrument piano. tetapi apabila mahasiswa lulusan mata kuliah instrumen pilihan wajib piano dituntut untuk mengembangkan aspekaspek pembelajaran dan pendidikan seni, maka diperlukan jam-jam tambahan untuk memperdalam mata kuliah instrument pilihan wajib piano yang berorientasi pada pendalaman aplikasi komponen-komponen pembelajaran musik pada piano guna menggunakan piano sebagai pengantar pembelajaran musik umum di sekolah. hasil evaluasi implementasi proses pembelajaran mata kuliah instrumen pilihan wajib piano memberikan informasi; proses pembelajaran piano secara umum berupa penyampaian materi bidang estetik musik piano, sifat mata kuliah yang pre rekuisit atau maju berkelanjutan pada mahasiswa tidak mengarahkan mahasiswa untuk menjadi calon tenaga pendidik dan kependidikan musik atau guru musik disekolah. meski pada saat bersamaan mahasiswa telah mengalami mata kuliah kependidikan dan pembelajaran umum, bahkan mata kuliah pembelajaran musik, tetapi apabila komponen komponen pembelajaran music tidak dibekalkan secara terpadu pada saat perkuliahan instrumen pilihan wajib piano, berdampak pada kekurang mampuan mahasiswa untuk menggunakan piano sebagai pengantar pembelajaran musik umum, khususnya di sekolah. beberapa materi yang masih cukup signifikan adalah pembekalan materi musik iringan. bidang ini bisa diterapkan pada saat mengajar untuk mengiringi lagu disekolah. direkomendasikan, agar mata kuliah ini diperkaya dengan materi yang bermuatan pedagogi, baik pedagogi pada pengajaran piano itu sendiri (piano course) atau penggunaan piano sebagai pengantar pembelajaran musik. daftar pustaka bessoms, m e. et al. 1980. teaching music in to days secondary schools. new york: holt, rinehalt and winston, inc. landman. 2006. translation (2006) of: landman, w. a.: fenomenologiese metode. pedagogiekjoernaal (1983) vol. 4, no. 2, 44-64.) schaffer, r. m. 1975. creative music education. new york: schirmer books. stake, r e. 2005. case study. tersedia dalam (http://www.uni-kassel.de/ fb5/kigg/dateien/stake,%20case%20 studies.pdf) stake, r e. 2009.case study in social inquiry. wawancara pribadi dengan penulis, tersedia dalam (stake@uiuc.edu) stake, r e. 2009. circle design case study. wawancara pribadi dengan penulis, tersedia dalam (stake@uiuc.edu) stake, r e. 2000. et al. evaluate teaching. tersedia dalam (http://www. ed.uiuc.edu/circe/publications/ e_t_contents_2000.pdf) stake, r e. 2001. teacher evaluation. tersedia dalam (http://www.education. ualberta.ca/educ/psych/crame/files/ rr98_01stake.pdf vol.pdf �#��������#���"���� �������� �� �� 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intermedial study in garin nugroho’s opera jawa sony wibisono sekolah tinggi multi media “mmtc”, indonesia submitted: 2022-10-18. revised: 2023-04-02. accepted: 2023-06-08 abstract the opera jawa (2006), directed by garin nugroho is an indonesian film with unique hybridity of art media (music, dance, visual art installation, acting, photography). this study aims to provide an overview of photographic ekphrasis’s form, process, and function. this research used a descriptive qualitative method. data collection was through observation with the note-taking documentation technique. through intermedial studies, data analysis was carried out using agnes petho’s cinematic ekphrasis and photo-filmic theory. the results of the study show that opera jawa displays the characteristics of intermedial reference media through cinematic ekphrasis of photography in film. this matter is manifested at the diegetic media level through family photos of the character setyo-siti, and the extra-diegetic media through photographic frames introducing film characters. cinematic ekphrasis works with exchange strategies and crossing the borders of basic media modalities (material, sensory, space-time, semiotic) from film to photography. cinematic ekphrasis ultimately forms a metaphor that mediates the experience and knowledge of film audiences toward the target media and the source media. thus, opera jawa, as the target media, can offer its ideology as a result of sinta obong’s source media interpretation. keywords: opera jawa, photography, photo-filmic, cinematic ekphrasis, intermediality how to cite: wibisono, s. (2023). photography as cinematic ekphrasis: intermedial study in garin nugroho’s opera jawa. harmonia: journal of arts research and education, 23(1), 64-78 harmonia: journal of arts research and education 23 (1) (2023), 64-78 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i1.39633 only opera jawa film shows all dialogues with songs. the achievement has received appreciation from national and international filmmakers, including being determined as the best film at the 2007 singapore international film festival, the best adapted scenario writer and the best music arranger at the 2006 indonesian film festival. opera jawa adapts the story from the traditional human puppet sinta obong’s performance, which is sourced from the fragment of sinta’s kidnapping in the epic ramayana. this film, both in terms of story and artistic performance expression, uniintroduction the opera jawa (2006) film directed by garin nugroho offers a new aesthetic to the world of indonesian cinema. the combination of cinematography with dance, music, and tembang (song in javanese), contemporary art, has become a characteristic that has not yet reappeared to date. sasono (sasono, 2009) sees that garin’s efforts are important in the context of film history because he made a breakthrough. it is a search for a hybrid form through the confluence of opera and film. while there are many musical films or tv operettas, corresponding author: e-mail: sonywibi@mmtc.ac.id p-issn 2541-1683|e-issn 2541-2426 sony wibisono, photography as cinematic ekphrasis: intermedial study in garin nugro65 tes the practice of traditional to postmodern artistic values. the consequences of this practice generate unique cross-media relations inside. in scientific studies in indonesia, the phenomenon of opera jawa has unfortunately never been studied through intermedial study (intermediality). this term refers to an approach that examines idea, form, content, relationship, and the unification of media. so far, studies on the relationship between film and literature or other art forms mostly used adaptation theory. hutcheon, one of the main thinkers of this field, also emphasized that, as a practice, adaptation is not limited to happening in the world of literature to films. since the victorian era, adaptation has occurred between various media starting from poetry to dance. people in the postmodern era have more choices to adapt. it is not only film, tv, radio, and the history of virtual reality experiments. therefore, the most important thing to understand is the nature of the adaptation process (hutcheon, 2006). hutcheon put an important theory related to the characteristics of intermediality. however, intermedial studies provide a wider space to define and analyze changes that occur across media, the phenomenon of media borders, and the ‘in-betweenness’ condition. rajewsky mentioned that intermediality is a term underlying all phenomena that occur among the media. intermediality is often identified with studies that examine form, idea, content, relationship, and the unification of media in art. simply intermediality is a practice that indicates the relationship between different media, and different art forms (shail, 2010, p.4). kristeva’s idea of intertextuality becomes the most relevant theory of intermediality. however, while bakhtin and kristeva’s theories are important for intermediality, neither of these theories consider the perspectives of medial transformation and fusion that currently occurred (eilitta, 2012). the potential of the intermediality concept lies in the fact that intermediality does not limit the study of “literary” media (language text-based works) only. it will enrich the study orientation with materiality aspects and social functions of the process (müller, 2010, p.22). heinrichs and spielmann provide an understanding of the main function of intermediality with similar studies. according to them, intertextuality explores the relationship of texts, the intermediality of the merger (combination), and transformation (transfer and fusion of forms) of different media elements. intermediality is positioned as a necessary historical process as long as the previous different media are merged, creating new (art) forms and forming a new medium. (shail, 2010) opera jawa, in the context of intermediality deserves further study. in this case, this film is an adaptation and offers a more complex intermedial relationship. the hybridity of opera jawa opens up the possibility that art forms are related in various ways and, at the same time, display unique relationship results. following the hybrid characteristics of opera jawa, there are also different points of view in enjoying and responding to it in academic studies. several studies from various disciplines have been carried out, starting from the deconstruction of film narrative expressions and gender issues (belasunda et al., 2014) and lacan’s psychoanalytic approach to the phase of character development (mukarromah & zamroni, 2018), studies of semiotics and ideology in installation work (budiman et al., 2013), leadership and gender discourse (toni, 2019). likewise, it is from the art of acting through a study of the form, style, and meaning of acting in films (novianto, 2010). the studies above also try to highlight the diversity of one of the other media (art) forms in film. however, so far, it has not shown media relations in an intermedial context, in terms of form and categorization, as well as the process of operating media modalities in cross-media relations. pieldner’s studies, “from paragone harmonia: journal of arts research and education 23 (1) (2023): 64-7866 to symbiosis. the sensation of in-betweenness in sally potter’s the tango lesson” is especially relevant. first, it approaches the diversity of mediums in film in the context of intermediality. the second explains the tableau vivant analysis as an allegory of eugène delacroix’s painting, jacob wrestling with the angel. the film’s characters, potter and pablo, copied the move, jacob tussling with an angel. this is a trope or the emergence of certain moments or scenes from a drama in another different drama. delacroix’s painting is a moment of imagination in painting which is then “replayed” in the tableau vivant and then transformed into the tango dance (pieldner, 2020). meanwhile, ignashev has also analyzed cinematic ekphrasis in otets i syn (father and son, 2003) directed by alexander sokurov. sokurov’s choice of style in the film is cinematic ekphrasis. the film in its visual, verbal, and audio manifestations, evokes associations taken from other artistic texts, juxtaposition of representations, and representations create new meanings (ignashev, 2020, p. 18). despite the fact that ignashev and pieldner use intermedial studies approach, they have not specifically discussed photographic ekphrasis in cinema. more specifically, there has been no attention to the practice of ekphrasis involving filmphotography. if we look at the intermedial potential as an object of study, it is very large, considering that opera jawa presents a variety of media and explores media relations. textually, this film is directly related to sinta obong’s text. visualization in the film is very strong with the form of expression of a human puppet combining dance, music, song to contemporary art. photography in this case becomes an interesting medium to study the intermedial relationship. it is because the photography and modes of photography displayed by opera jawa consistently present descriptions of the characters with attributes, costumes, which strengthen the references for sinta obong’s play. without denying several studies that have contributed to the scientific discourse of opera jawa, it can be concluded that it has not been found; a fundamental study related to the process and intermedial relationship of film-photography in opera jawa. this study aims to complement the study of opera jawa in terms of intermedial relationships, which can provide an overview of the forms of artistic expression of the film and the influence of other art forms inside. therefore, through an intermedial study of opera jawa, the study aims to: (1) find the form and working process of film-photography cinematic expression as a result of the intermedial process, (2) determine the function of cinematic ekphrasis strategy as an aesthetic practice in opera jawa. intermedial studies are considered the most suitable to fill the gaps of previous studies. intermediality can draw attention to the presence of other different and new artistic aesthetics. it will enrich the point of view of study cases, which are discussed only as the translation of one work of art into another (eilitta, 2012). this study stands on rajewsky’s tripartite intermediality theory, including ekphrasis (cinematic ekphrasis), and the photo-filmic petho concept, which specifically refers to the practice of ekphrasis with the involvement of the intermedial relationship of photography (still image) and film (moving image). it must be admitted that the discourse of intermediality is debatable, because of the similarities with other theories such as adaptation, and intertextuality. however, it can be understood that intermediality seems to open up a wider space for art and media to define relationships as developments occur in culture, including the way humans express themselves through new technologies. therefore, intermedial studies must determine the perspective of intermediality and define the term in a more specific sense. as rajewsky formulated three subcategories in intermediality: (1) medial transposition. intermedial quality in this case is the emergence of media products sony wibisono, photography as cinematic ekphrasis: intermedial study in garin nugro67 through the transformation of media products from basic media into other media, e.g. adaptation of literary works to films, writing novels based on films (novelization). (2) media combination) namely artworks in the form of multimedia, mixed media, and intermedia. the intermedia quality of this category is determined by the medial constellation, which is the process of combining at least two different forms of medial articulation. each form of medial articulation exists in its materiality and contributes to the constitution and marking of the whole product in a specific way. examples of this combination of media can be seen in theatres, films, performances, computer installations or sound art, comics, and so on. (3) intermedial references. in this category, only one medium is present materially. instead of combining various forms of medial articulation, the given media product can take a theme, evoke, or imitate elements or structures from other media that are conventionally different in use by the specific means of the media itself. examples of the use of film cinematography techniques are in literary texts, literary musicalization, ekphrasis, references in film for painting, painting for photography, and so on. (rajewsky, 2005, p. 52). intermedial reference, one of the categories in rajewsky’s tripartite intermediality, covers ekphrasis. the ekphrasis idea originated from ancient rhetoric, in greece, with the desire to make texts more expressive, and emotionally colorful. initially, ekphrasis was understood as a description of art (painting, sculpture, etc.) that appeared in the literature. at first, ekphrasis was often applied to the correlation between poetry texts and painting. over time, the idea experienced widening and changes (andreeva, 2020, p. 449). the widening of the ekphrasis idea also occurs in film studies with the term cinematic ekphrasis. furthermore, cinematic ekphrasis is used in this paper to discuss the problem of film ekphrasis. this idea refers to an embedding effort, a certain artistic representation in cinema or film. film studies from an intermedial point of view, particularly ekphrasis in experimental films in indonesia are still rare. similarly, it happened to opera jawa. nevertheless, adaptation, ekphrasis, to the combination of media involving literature, performing arts, visual arts, to photography, are very clear in this film. cinematic ekphrasis in the film requires several characteristics that do not merely link the artistic representation inside. some important aspects that are considered cinematic ekphrasis are as follows: (1) the art form embedded in the film must go beyond the function of diegetic representation (e.g., painting on a wall) and must be manifested as different media from what is seen in the cinematic image. in short, an ekphrasis requires the perception of the intermedial relationship, as objects or transformative figures of mediality in a work. (2) films explicitly try to adapt or develop styles from, other art forms. for example, expressionist films that transform moving images (videos/films) into moving painting sequences, (3) films that imitate other art forms are not the main ‘target’ of ekphrasis impulses, yet as mediators to other media, which are beyond concrete expression. a common example is the ‘picto film’, where a sense of ‘literature’ is conveyed through imitation of a painting or painter’s style (pethő, 2015, p. 295-296). another concept that is still considered in the practice of ekphrasis is photo-filmic. naturally, there is no media limit. media restrictions occur due to convention and this is necessary while discussing intermediality. the purpose of intermedial studies does not only concern the categorization of forms, changes, and combinations of intermedia. however, it is expected that it can describe the intermedial process on the receptors of readers, and viewers of artworks. therefore, it is necessary to understand the basic modalities of each media. the term ‘modality’ is related to ‘mode’. a ‘mode’ is a way of being or doing something (elleström, 2010). modality and mediality construct medial complexities integrating materialiharmonia: journal of arts research and education 23 (1) (2023): 64-7868 ty, perception, and cognition. the four modalities required are 1) material modality, namely the tangible and latent interface of the medium. 2) sensorial modality is a physical and mental activity to observe the interface of the medium through the five senses, 3) spatiotemporal modality is the process of structuring the sensory perception of sensory data from the material interface into experiences and conceptions of space and time, 4) semiotic modality, namely the creation of meaning in a medium that is understood spatially through various types of thought and interpretation of signs (elleström, 2010, p.15-23). media will involve a person interacting with the object; understanding information with all of our senses; pay attention to certain temporal and spatial relationships in materials, sensory and semiotic levels (bruhn & schirrmacher, 2022) method this type of research is qualitative with an intermedial study approach. this method examines changes in the media in a certain way. first, intermediality does not focus on one medium, but on the interrelationship of different media. second, approaching media change as an inter-medial relationship in which no single dimension is an exclusive determinant. third, intermediality tends to use triangulation of materials (data sources) and research methods (herkman, 2012). the object of research is the opera jawa film directed by garin nugroho, writers armantono and garin nugroho, the production of set film and new crowned hope in 2006, with a duration of 1 hour 55 minutes. the unit of analysis determined is the practice of media representation (cinematic ekphrasis) involving modes and forms of photography in opera jawa. data analysis was carried out interactively. miles and huberman state that interactive data analysis techniques shall be conducted interactively between data collection, data reduction, data presentation, and conclusion (rijalli, 2018). the data collection technique was through observation using the technique of note-taking documentation, as well as literature study. the steps taken were watching the opera jawa film repeatedly as the primary data source, noting the shots, scenes, and sequences that were relevant to the research question to identify important aspects needed as research data. this step seeks to collect film-photography intermedial practices. the primary data findings will be strengthened by secondary data in the form of theories, and data, from journals, books, and articles related to the research topic. data reduction was done to categorize the data based on the form of intermedial practice involving photography. intermedial analysis was carried out using the schwanecke media representation concept analysis method, which includes (1) what it is represented?; looking for type references presented by opera jawa, (2) how they are represented; describing the process and how the reference works in the intermediate relationship, and (3) where it is represented; finding the placement of these references in the film (bruhn & schirrmacher, 2022). intermedial analysis was carried out using the schwanecke media representation concept analysis method, which includes (1) what is represented, looking for type references presented by opera jawa, (2) how are they represented; describes the process and how the reference works in the intermediary relationship, (3) where it is represented; found the placement of these references in the film (bruhn & schirrmacher, 2022). intermedial analysis was carried out using the schwanecke media representation concept analysis method, which includes (1) what is represented? searching for reference types presented by opera jawa, (2) how is it represented? explaining the process and how the references work in intermedial relationships, (3) where is it represented? finding the placement of those references in the film. (bruhn & schirrmacher, 2022). data presentation was done by capturing (screenshot) shots and film sony wibisono, photography as cinematic ekphrasis: intermedial study in garin nugro69 scenes and describing them. the data will be verified based on the discussion and theoretical basis for further conclusions. result and discussion the results of the discussion of opera jawa from intermedial studies show the emergence of a cinematic ekphrasis strategy through photography that is present in a diegetic or non-diegetic manner. photography as an object that appears in the scene and a typical film style becomes the medium for the ramayana literary works and the sinta obong wayang wong performances. literature can appear in the film as the essence of the story, even though its appearance in opera jawa has undergone re-interpretation. this is also the case when literature is transformed into the medium of performing arts. every performance as an artistic event will never be the same, in terms of visual manifestation, acting, music, and artistic arrangement. the only stable thing is the essence of the story itself. so, opera jawa takes the outline of the characters and the plot of the story as a reference to the source media. this relationship is interesting because, generally, intermedial studies refer to works of art that are not moving, such as painting, sculpture, or architecture, like pieldner’s study, which found efforts to revive delacroix’s paintings through tableau vivants and tango dances. likewise, it was ignashev who analyzed sokurov’s film. references to the media sources here come from photography, and works of fine art. similar to pieldner, ignashev also found the practice of ekphrasis in painting based on stories from the bible jacob wrestling with an angel. the story has become the inspiration for a number of artists. if in the tango lesson the painting referred to is the work of eugene delacroix, then sokurov in o tets i syn refers to the painting by rembrandt. opera jawa-wayang wong : cinematic ekphrasis through photo-filmic the form, style, and story elements of the opera jawa film show the influence of human puppet performance. sumaryono explains that a wayang wong (human puppet) duplicates dance drama or imitates a shadow puppet show. the basic difference is that humans or dancers replace the puppet in the shadow puppet in the human puppet. the musical accompaniment uses gendhing gamelan and javanese tembang (songs). the source of the story is the story of ramayana or mahabharata (saputra, 2018). the structural aspect of the opera jawa story explicitly states that it comes from sinta obong’s play, which is a part of the ramayana story and is shown in the human puppet. the form of expression with a combination of opera jawa media, using acting, dance, choreography, gamelan accompaniment music, songs, and installation art, is also very clearly inspired by the wayang wong performance. likewise, the practice of reference between media bridges the relationship between the characters in the film and wayang performances. the phenomenon of the occurrence of intermedial relationships in opera jawa has started since the beginning. one of the film’s first frames focuses on an illustration of the rama-sinta puppets (00.00.42). a series of texts in javanese are shown, which mean approximately; “this story is based on sinta obong’s play, a part of the human puppet. this section tells while rama and rahwana were fighting over sinta. this section tells about the banishment of rama and sinta to the forest until rahwana kidnaped sita. when rama was able to retake sita, rama put sita in the fire to prove his love and loyalty. this section has indicated the practice of adapting the ramayana literature into the human puppet dance drama of sinta obong’s play. adaptation with this kind of transfer, in tripartite intermediality, can be categorized as medial transposition. it can be said that adaptation is a major transformation in opera jawa. however, on the other hand, this film meets the requirements of intermedial reference, in the form of the practice of ekphrasis or harmonia: journal of arts research and education 23 (1) (2023): 64-7870 more specifically taking the term of petho cinematic ekphrasis. opera jawa also takes other media elements and structures that are conventionally different from film conventions. as rajewsky said, a media product can have more than one tripartite category of intermediality. the description above explains the position of opera jawa in the research as an intermedial reference. the practice of ekphrasis, which is a part of the intermedial reference category is specifically carried out through photo-filmic. photofilmic practices include (1) the emergence of a collage effect from a still picture into a frame in a film (as an insert in a film), (2) or offering a photographic sensation in a film through the still frame and slow motion, (3) and moving image that is fixed as a still image (petho, 2016, p. 237-238)cinema, and other forms of visual culture respond to a digitized and networked world. traditional discourses on medium specificity, developed in distinct disciplines, often fail to provide an adequate description of the transformations that photography and film have undergone. the essays, written by internationally renowned scholars, encompass a broad range of different media such as video, documentary film, cinema, photography, and the internet, as well as different disciplines such as art history, film studies, photography theory, visual culture studies, and media theory. in this way they deal with various practices or techniques ranging from panoramas, drone surveillance, tableau vivant, press coverage, computer-based editing, digitized financial markets, and various concepts such as temporality and contemporaneity, ecoaesthetics and forensic practice, countervisuality, human rights and political imagination, social transparency and control, thus mapping the possibilities of photofilmic images within contemporary art and visual culture. this volume also contains, as an artist’s contribution, a substantial and richly illustrated interview with eric baudelaire. cotemporality, intermediality : time and medium in contemporary art / terry smith -futures past : imbricated temporalities in contemporary panoramic video art / alexander streitberger -ecoaesthetics, massacres, and the photofilmic / brianne cohen -specters, animals, youth, and love : inventing the possible via photofilmic images / hilde van gelder - eric baudelaire interviewed by alexander streitberger and hilde van gelder -eric baudelaire, letters to max (2014. photo-filmic practice can be seen from the presentation of photographic frames for introducing the characters and family photos of setyo-siti (figure 1). a series of frames for the introduction of the characters and supporting actors of the film display images that evoke a sense of photography in the audiences (00.00.4500.01.25). figure 1. photographic frame of opera jawa (00.00.45-00.01.25). from left to right, setyo, siti, and ludiro are in wayang wong costumes. source: opera jawa. (g. nugroho, 2006) this section introduces film actors with photography modes; still images with black and white tones. the main characters are shown with make-up and costumes of human puppet characters. martinus miroto is as rama, artika sari devi is as sinta, eko supriyanto is as rahwana. the three people are central characters in sinta obong’s play. the character recognition frame provides a slide show effect of photos in film, a cinematic technical strategy that demonstrates the photo-filmic practice. we can understand here that cinematic ekphrasis through photo-filmic attempts to display basic media types, namely still images (photography). sony wibisono, photography as cinematic ekphrasis: intermedial study in garin nugro71 modality shift in opera jawa’s photographic frame ekphrasis is always related to the presence of a certain way of expressing art that appears in other arts. the discussion of the “sense generation” of photography in the opera jawa film begins by placing photography with its four basic modalities as qualified media types. photography is understood as a visual art made using camera devices to record objects using light, which is then captured by the media (film or digital sensor). the results of photographic works can be enjoyed in print on paper or other materials and on various digital screens. traditionally this art genre has a material modality in the form of a flat surface; the sensory modality can be felt through the sense of sight. the modality of space and time can be seen from space and time, which is realized through the technical media of delivering photography, one’s subjective experience of the passage of time, or the perceived duration of events. the semiotic modality is in the form of an immovable image, which generally refers to signs categorized as icons, indexes, and symbols. at the same time, films have material modalities like flat surfaces and sound waves, cinema screens, home projectors, televisions, and so on. sensory modality is in the form of perception of the senses of sight and hearing (visual, auditory). the modality of space and time is space and time, which is manifested in the film. semiotic modalities are signs that include symbols, icons, indexes in moving images, and texts that are spoken through dialogue, sound effects, and music. opera jawa ekphrasis is in the photographic frame of moving character introduction from the basic modalities of film to photography. movement is temporary and needed to convey ideas as well as aesthetic expression. if the idea emphasizes the message, then the aesthetic is the way of conveying the message. aesthetic photography strategies will provide a different sensation in other ways. the sensation of seeing a still image in a series of moving images in a film is a process of shifting “between” or in-betweenness modalities, which is one of the characteristics of the intermediality practice. we can see more or less the same phenomenon from the practice of tableau shots in films, where there is a “suspension” of time for a few moments. this kind of shot invites the audience to focus more on exploring the expression, gestures of actors and, compositions with other actors in a certain dramatic environment, situation, and condition. the modalities of film and photography materials seen by the audiences in opera jawa are the same; a flat screen that displays a twodimensional image. the technical medium for delivery is the sensory modality that the audiences can perceive through sight and hearing and creates a photographic sensation. this stage creates sensations that have not been pretended. sensation, according to coon and benjamin is a fundamental experience that is immediate and related to the human senses. the sensation does not require any verbal, symbolic, or conceptual elaboration (widagdo, 2018, p. 10). the modality of space and timeshifted because a conventional film has the basic media type of moving image and inserts a still image. the modality of space and time organizes sensory experience from sensation to perception. sobur stated that perception is the process of receiving, selecting, organizing, interpreting, testing, and reacting to sensory stimulation (sumarandak et al., 2021). perception is thus more analytical, and this process is not always absolutely the same in each individual. notoatmodjo (sumarandak et al., 2021) said that the same thing tends to be seen in different ways by each individual. these differences are influenced by factors of knowledge, experience, and point of view. the perception of the opera jawa audiences naturally move from watching a movie to looking at a photo. the image does not move, giving an emphasis or invitation to the audience more through their senses. in the end, sensations and perceptions that are arranged in response to maharmonia: journal of arts research and education 23 (1) (2023): 64-7872 terial, sensory, and space-time modalities will lead to the signification process in semiotic modalities. back to the series of black and white “photography” pictures from an intermedial point of view, it is not just an introduction to the characters as is common in films. the ekphrasis concept in cinema is not only addressed as the presence of other media with the need for other artistic representations. as petho stated, “…given also the fact that the idea of ekphrasis is usually linked more closely not only the idea of representation for also to the aesthetic value of texts, whenever the relations of cinema and the other arts, or the other arts are involved…,”(elleström, 2010, p. 213). the “suspended” shots of the film will evoke the sensation of photographic image, emphasizing the drama of the story. the ekphrasis characteristic of opera jawa photography, eventually evokes memories, not only to the human puppet, but also to ramayana and the stories affiliated with the work. photography while in its concrete representation makes framing and suspension of time, yet on the one hand, it evokes memories. regarding the depiction of time in photography, jussim calls it a metaphor that reflects the difficulties we have in expressing “a complex series of experiences regarding the past, present, and future.” if this is the case, then the perception of the metaphor will depend on our experiences and memories and about how we map our own past through its memories and traces” (sutton, 2009, p. 34). this process of shifting the basic modality of film-photography is an attempt to cross-media borders. it exchanges, switches, and blurs the borders of basic characteristics such as motion versus stillness. as a result, cinematic and photographic sensations merge film-photography inbetweenness. rebuilding ramayana’s character on photo-filmic and family photography as mentioned earlier, opera jawa is a reinterpretation of the ramayana story. the title of the film using the word/opera/ becomes an offer between the definition of the western tradition and the interpretation of the indonesian filmmaker. one of the definitions from the west is “opera is a formal theatrical medium that expresses its dramatic essence by integrating its words and action with music. like drama, opera embraces the entire spectrum of theatrical elements: dialogue, acting, costumes, scenery, and action, (…)” (fisher, 2005, p. 14). thus, aspects of art that form the foundation of opera are play (drama) and music performed on stage. the characteristics of this kind of performance also appear in indonesia in the form of human puppet performances. garin wants to give a discourse on the javanese version of opera in the medium of film. in general, a puppet for a javanese people is a discourse to see the world widely. anderson (1965) stated that while mostly based on the indian epics of mahabharata and ramayana, for the javanese, a puppet is the means of seeing their existential position, their relationship with the natural and supernatural order, with their fellow human beings, and with themselves (nugroho, 2008). the film tries to represent the story and articulation of puppet performances, although they make new interpretations of the old values of the puppet. visually, the photographic representation emphasizes the human puppet icons as a comparison between the stereotypical characteristics of the characters rama, sinta, rahwana, setyo, siti, and ludiro in opera jawa. this effort is present at the level of diegetic media and extra-diegetic media. the representation of photography at the diegetic media level is in the form of photos of setyo-siti’s family, because it presents photography in the technical medium of delivery in the form of framed photos. meanwhile, the character introduction frame is an extra-diegetic photographic sensation in the film is the collage effect of a still picture into a frame. art creators can create ekphrasis with a variety of strategies. references can appear anywhere and will provide a diffesony wibisono, photography as cinematic ekphrasis: intermedial study in garin nugro73 rent experience for each audience. schwanecke stated that the representation of a medium could be applied to the story’s overall structure, imagery, plot design, or constellation of characters. references can appear at the diegetic, extra-diegetic, and even paratextual levels (such as the occurrence of titles of plays, poems, novels or short stories, chapter titles, and table of contents) (bruhn & schirrmacher, 2022, p. 173). the emergence of diegetic media is not always addressed simply by discovering the types of media and their patterns. the cinematic ekphrasis concept, in this case, also emphasizes the search for an intermedial relationship and positions them as intermediaries. the presence of diegetic media can be studied to find out what type of media and when it appears in the film. however, the diegetic media can also be an intermediary for references outside the film itself. a painting hanging on the wall of a house in a movie scene may only function as an interior decoration. nevertheless, the painting probably has a more symbolic relationship. other knowledge is needed that can support the interpretation of the painting with the scene in the scene, even the structure of the story as a whole. the same thing happened in opera jawa, in the scene where siti received an invitation letter from ludiro. siti is described as quietly reading the letter because she is being watched by sura, the maid assigned by setyo to look after her. siti moved from the guest chair to the hall. this movement made the shot show siti with an anxious expression combined with the background of setyo-siti’s photo in the rama-sinta costume on the wall (figure 2). figure 2. scene of siti reading ludiro’s letter, with the background of setyo-siti’s family photo (00.24.01-00.24.15). source : opera jawa (g. nugroho, 2006) the family photos of setyo and siti in the context of cinematic ekphrasis are an intermediary to recall the memory of the harmony of a married couple. from an intermedial point of view, the photo is also positioned as a diegetic medium, namely a form of photography that is presented as an object family photos are powerful icons to be interpreted as an ideal picture of a household. furthermore, this visual icon places setyo-siti in opera jawa with the time when they played rama-sinta in the sinta obong performance (figure 3). figure 3. clockwise. setyo-siti’s family photo with anom. siti opened her fashion box and returned to dress like sinta. siti in sinta’s makeup enters the installation of “vagina brocade” as proof of loyalty. source: opera jawa (g. nugroho, 2006) this matter can also be seen in the scene where siti looks at a black and white family photo showing herself, setyo, and anom in human puppet costumes. siti reminisces about her past and maybe hopes that the power of rama-sinta’s love can happen in her life. she rushed, opened the clothes box, and then put on sinta’s clothes and accessories. although there is an ideal hope for a husband and wife love relationship like rama-sinta, in the end, the reality of setyo-siti’s life is not as sweet as the plays they have played. the journey of their love life is a paradox. the challenge of proving loyalty to rama through the burning ceremony in sinta obong’s play can be passed by sinta. sinta, who the gods protected, did not burn in the slightest and proved that she was still pure. however, it is different from siti in opera jawa. siti harmonia: journal of arts research and education 23 (1) (2023): 64-7874 finally had to die at the hands of her husband, setyo, in a ceremony to prove her chastity. setyo kills siti and then reaches into her heart. it was done because setyo wanted to “ask” siti directly about the loyalty of her love. siti’s murder is also proof of setyo’s distrust. by aligning the characters in these two stories, film photography invites the audiences to explore knowledge through the complex dimensions of space and time. like the characteristics of photographic work, setyo-siti’s photo is not just a visualization of the past. as long as they can be seen, photos are always connected to the present. photos provide an imitation of ownership: past, present, and even future (sontag, 2005). intermedial studies emphasize multidimensional analysis methods based on clear and neat classifications. when finding traces of other media on a medium, that media should be treated as a source media because it can be recognized on other media, which can then be treated as a target media (elleström, 2017, p. 682)”issn”:”2027534x”,”abstract”:”a broad variety of media traits are transmedial in the sense that they can, to a certain extent, be transferred among media that differ in fundamental ways. this article presents a new theoretical framework for studying media transformation, which should be understood as the transfer of transmedial characteristics. the goal is to explain how meaningful data are changed or corrupted during transfer among various media. first, i launch a few fundamental theoretical distinctions concerning the creation of meaningful media data. the most fundamental distinction is that between mediation and representation. whereas mediation is the material prerequisite for representation in media, representation should be understood as a semiotic operation, that is, the creation of meaning in the mind. on the basis of this division, i also distinguish between two kinds of media transformation: transmediation and media representation. the article then continues with a section about the transmedial basis. all media have basic and universal (material, sensorial, spatiotemporal and semiotic. it can be said that there is a layered space-time dimension of photographic representation, both in the introduction of the main characters of opera jawa (setyo, siti, ludiro) and in the photos of setyositi’s family (figure 4). the first dimension is the past in the context of the opera jawa timeline. the embodiment of the photography is a picture of the time before the characters were involved in a love triangle. the second dimension is the space and time of stories and other art forms that originate from the classical to contemporary ramayana. opera jawa, from many variants of the ramayana story, emphasizes that it was inspired by sinta obong’s play in the wayang wong through the opening frame (00.00.42-00.00.57). figure 4. ludiro’s photographic frame in rahwana’s costume in front of the theater booth (left). ludiro’s illustration in the cow abattoir in opera jawa (right). source : opera jawa (g. nugroho, 2006) furthermore, from the different (multi-dimensional) dimensions of space and time, photographic representations provide an overview of the characters in opera jawa who experience reinterpretations of the source media when they are realized in the film as the target media. for example, setyo, as a representation of rama, is embodied in the character of pottery craftsmen and sellers. siti (rama), is as a housewife and is a housewife, and ludiro (rahwana) is a butcher. the names of characters and characterizations of jawa also form an interesting set of signs. this research does not specifically interpret signs through a semiotic approach but is limited to exploring the process of the emergence of signs as a semiotic modality in the practice of ekphrasis. sony wibisono, photography as cinematic ekphrasis: intermedial study in garin nugro75 such signs are, e.g., the name siti which in javanese means land. she is positioned as setyo’s wife, a pottery craftsman. pottery is a product made from soil. ludiro, in javanese, means blood and is close to his profession as a cow butcher, but also, at the same time, describes the psychological side of anger, lust, enthusiasm, and passion. the relationship between the meaning of names, professions, and characters in this film opens a space of meaning in the film’s semiotic system. if we look more broadly at the structure of the film’s story, there is an effort to image the three main characters as “ordinary” people and characteristics related to the three-dimensional aspects of the characters: physiological, sociological, and psychological aspects. these characters are positioned as if they are living a life story with sinta obong’s plot, but with different character development and space-time setting. this multidimensional relationship is reaffirmed through photographic representations that mediate the images of rama, sita, and rahwana which are well-known to the public. setyo, siti, and ludiro are assumed to be characters who are cursed to undergo the destiny of rama, sinta, and rahmana. in a singing opera jawa text (00.08.3100.08.51), setyo revealed that his life with siti was like rama and sinta, who were pushed out of their place. they, as javanese, still believe that puppet art is a means to look at the existence of human life. it is in line with the phenomenological view of seeing the close relationship between art and understanding the nature of human life. art can describe the complexity and depth of human freedom. while not always providing solutions, art can open up new realities and possibilities. this is one of the reasons for the interaction of art with religion, spirituality, and transcendent things (hidajad et al., 2022, p. 175). it reinforces the reason the practice of filmphotography cinematic ekphrasis always brings up setyo and siti in human puppet costumes. the process above shows that cinematic ekphrasis embodies a structural representation of photographic media through images and constellations of characters. the photographic representation then forms a system of metaphorical symbols. metaphors indirectly connect the signifier and the signified (surahmat & karina, 2019). lakoff and johnson emphasize that metaphor is a matter of language, thoughts, and actions. colors, shapes, textures, and sounds which are natural dimensions of human sensory experience, can be involved in metaphors (handriyotopo, 2022, p. 140). the function of a metaphor becomes a mediator in the intermedial relationship of photography, film, and the typical mainstream characters of rama, sinta, and rahwana. the mediation process of metaphor can be identified through various elements to the plot, such as costumes, character traits, and characteristics. conclusions as an intermedial reference work, opera jawa presents the practice of cinematic ekphrasis with photography. photography appears at the diegetic media and extra-diegetic media levels. photographic representations at the diegetic media level are presented directly through photos of the setyo-siti family. meanwhile, at the extra-diegetic media level, it is presented by generating a sense of photographic sensation and sensation through photographic frames for photo-filmic character recognition. both represent siti and setyo in rama sinta costumes used in human puppet performances. cinematic ekphrasis works with exchange strategies and crossing the borders of basic media modalities (material, sensory, space-time, semiotics). the main basic modality exchange in the photographic character recognition frame is sensory modality. the practice is visually in the form of freezing a moving image of film into a still photographic image with black and white tones. the main basic modality exchange in the photos of setyo-siti harmonia: journal of arts research and education 23 (1) (2023): 64-7876 family is also sensory modality. the practice is visually in the form of presenting still image photography media products in film scenes in the form of moving images. these two practices eventually form a metaphor as a semiotic modality by presenting setyo, siti, and ludiro as ramasinta, and rahwana. metaphor serves as a mediator of the experience and knowledge of film audiences towards the target media and the source media. audiences who are familiar with the ramayana narrative will have a more complete perception of the triangle love story of setyo, siti, and ludiro in opera jawa. thus, opera jawa, as the target media, can offer its ideology as a result of sinta obong’s source media interpretation. acknowledgments i would like to thank my colleagues who have become discussion partners in the fields of film, theatre, and communication; dr. koes yuliadi, dr. basuki agus suparno. dr. agnes petho for her brilliant mind of intermediality. finally, at sekolah tinggi multi media mmtc which facilitated this research. references andreeva, k. 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(2009). photography, cinema, memory: the crystal image of time. university of minnesota press. toni, a. (2019). wacana kepemimpinan perempuan dalam film ‘opera jawa’ karya garin nugroho. komunika: jurnal dakwah dan komunikasi, 13(2), 137–152. https://doi.org/10.24090/ komunika.v13i2.2072 widagdo, p. b. (2018). penyajian pameran museum melalui realitas maya. jurnal imajinasi, xii(1), 9–16. harmonia: journal of arts research and education 23 (1) (2023): 64-7878 this page itentionally left blank 39 strengthening national identity through the learning of east culture-based art education dedy setyawan, florentianus dopo department of music education, stkip citra bakti, ngada, flores, indonesia submitted: november 11, 2019. revised: february 9, 2020. accepted: july 4, 2020 abstract eastern culture-based art education is an effort to strengthen and build national identity through the transfer of knowledge and the transfer of value in the values of diversity and cultural preservation. the purpose of this study is to provide a conceptual picture of strengthening national identity through learning art education based on eastern culture. the method used is qualitative research by examining science theoretically through literature study, documentation, video, and audio study approaches that are analyzed descriptively. the results showed that some of the eastern cultural arts which are full of messages, moral values, and philosophy of life as a foundation for strengthening and building national identity through art education based on eastern culture are the arts of go laba, ja’i, and reba traditional rituals. the art is a tradition of the people of ngada, flores, ntt which is used as an accompanying event in traditional rituals such as the ritual of making a new traditional house, the ritual of making customary symbols (ngadhu-bhaga), and the ritual of pesat kampung (ka nua). while, the conceptualization picture of strengthening the national identity through learning art education based on eastern culture can be done by; first, the stages of classification by selecting various kinds of art genres (music, dance, theater, visual) eastern culture, to find meaning and values embodied in local wisdom. second, the identification stage by identifying the learning of arts-based on eastern culture in the form of text and context into the realm of affective, cognitive, psychomotor, and creative. third, the implementation stage by applying the results of classifying and identifying eastern culture-based art learning to be applied to students so they can understand the values contained in local culture and have cultural intelligence. keywords: art education; cultural arts; eastern culture; local wisdom; national identity how to cite: setyawan, d., & dopo, f. (2020). strengthening national identity through the learning of east culturebased art education. harmonia: journal of arts research and education, 20(1), 39-46. harmonia: journal of arts research and education 20 (1) (2020), 39-46 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i1.21711 cial phenomena that occur among millennial adolescents show a symptom of moral deterioration associated with juvenile delinquency, drug abuse, free sex, brawl, and other juvenile delinquency cases. one example of juvenile delinquency in the spotlight is drug abuse among students. survey results from the national narcotics agency and the indonesian institute of sciences show 2.3 million indonesian stuintroduction today, indonesia is confronted with various problems such as racism, political instability, violence, rape, radicalism, sara (suku, ras, agama, and antargolongan) issues, and multicultural conflicts. these problems cause an identity crisis of fading in national values, cultural values, and moral values as national identity. some socorresponding author: e-mail: dedysetyawan1623@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (1) (2020): 39-4640 dents have used and consumed narcotics. while drug abuse among students in 2018 reached 2.29 million people (puslitdatin bnn, 2019). the problems that occur in indonesia today are in an alarming condition and have the potential to cause divisions, loss of integrity and unity, and a reduction in meaning on national identity. the development of the times can change everything including the personality of a national identity that has been embedded for years and even centuries. the change originates from various causes, one of which is the effect of globalization which has developed rapidly throughout the world (kemendikbud, 2016). so that there is a shift in the mindset and lifestyle of eastern communities into westernized with individualistic behavior, hedonist, consumptive, apathetic, secular, free, and exclusive (setiarsih, 2016). the national identity is important for a nation because it will show the characteristics of the nation itself. a nation needs identity because building a nation is building the identity of a community called the nation (sastrapratedja, 2006). related to the present, building the identity of the indonesian people is by building a strong “indonesian identity”(sujana, 2003). to rebuild the identity of the indonesian people requires an effort to strengthen and develop national identity through education. the role of education has a very large role in shaping the identity of the indonesian nation and is seen as strategic to strengthen national identity through the transfer of knowledge and the transfer of value in pluralistic values and preservation of national culture holistically and comprehensively (setiarsih, 2016). philosophically, socrates stressed that education is a process of human development toward wisdom, knowledge, and conduct (elmubarok, 2009). besides, education is also an effective and efficient means of preserving cultural values and local wisdom, this is because education is practically inseparable from cultural values which are elements of national identity. education is also a human effort to develop human values. through education, humans try to develop the civilization needed in life. therefore, education has become everyone’s basic needs. educational needs are believed to be a source of success and human well-being. education empowers human potential to inherit, develop, and build the culture and civilization of the future. on the one hand, education preserves positive cultural values, and on the other hand, it creates change towards a more innovative life (gunara, 2017). one of the fields of education that has the potential to develop and strengthen the identity of the indonesian people is art education. the presence of art as a means of education in schools at least reflects that art has certain functions and benefits in shaping the personality of the students as a whole who have a sensitivity or social awareness as members of the community who uphold and respect the cultural values of society (triyanto, 2014). especially in the current era of development and the rapid flow of globalization has resulted in many changes in the culture of society because of the many cultures that are incompatible with indonesian society and are easy to enter into the community itself (setyawan, 2018). so that these changes not only have an impact on society, but art also changes. because basically art can develop and change according to the conditions of the culture itself. the change in question is a process that produces a situation that is different from the previous situation, which can be a setback or progress (setyawan, et al., 2020). therefore, in facing the changing times, art education must take part in developing character education and building a national identity that practices local values and universal nuances (julia, 2017). the context of art education described in this paper refers to the learning of art education based on local culture (eastern culture). the purpose of “eastern culture” itself in this study is a culture that resides on an island in eastern indonesia which is administratively included in the province dedy setyawan, florentianus dopo, strengthening national identity through the learn41 of east nusa tenggara (ntt). in ntt, there is a lot of diversity and uniqueness of art (music, dance, or appearance) and even culture that can be used as a learning material for local culture-based arts. where every art and culture contained in ntt is seen from the perspective of the context it contains a lot of meaning in the philosophy of life and the content of local wisdom following the values that apply to the local community. however, the problems that occur in the field of learning art, especially music art still tend to western music material or outside culture, and learning is not accompanied by providing an understanding of moral values. so that the impact of the teaching of music in schools, both primary, secondary, and higher education is limited to strengthening skills and taking care of material issues that focus more on western music material and outside culture. this is following the statement of dieter mack (1996) “that the learning of art education is not only limited to learning practice or skills training but finding and understanding the meanings contained in learning art education following the character and wealth of cultural environment background” (mack, 1996). it is important here that the learning of arts-based on local culture because arts and culture education has a role in the personal formation of students in harmony with attention to the development needs of children in achieving multi-intelligence consisting of intrapersonal intelligence, visual-spatial, musical, linguistic, mathematical logic, naturalist, adversity intelligence, creativity intelligence, spiritual and moral intelligence, and emotional intelligence (utomo & sinaga, 2009). the personal formation of these students has a very influential role in the new generation of indonesia in the future. therefore, if the depth of their art education is weak, it will lead to a generation that is not creative, lacks cultural awareness, is intolerant of the surrounding environment, and provides opportunities for the emergence of various violence that can harm themselves. therefore, deepening the field of cultural-based art education and incorporating cultural elements into education is very necessary to be implemented in the content of art learning. with the aim, to foster attitudes in every individual who has creative individuals, initiative, imagination, emotional wisdom, morals, ability to act critically, and freedom of thought and action (rohidi, 2014). based on the description above, the writer intends to explain the conceptual study of strengthening the national identity through learning art education based on eastern culture. this paper is expected to be able to contribute to the world of art education, to prioritize the learning of local culture-based arts rather than outside cultures. so that it will give birth to a generation of people who can protect, respect, and maintain local wisdom to strengthen and maintain national identity in a pluralistic nation in globalization. method this study is the result of an analysis of research previously conducted by researchers on the development of art education learning based on eastern cultures to strengthen national identity. discussion of the study in this study focused on eastern culture in ngada district, flores ntt. this type of research used in this paper is a qualitative research paradigm. qualitative research is a research procedure that produces descriptive data in the form of written or oral words from people and observable behavior (moleong, 2007). this research uses a literature study approach that is analyzed descriptively through a process of searching written sources in the form of books, documentation studies, videos, audio, and research journals relating to the problem under study. a literature study is a theoretical study and other references relating to values, culture, and norms that develop in the social situation under study, besides library research is very important in conducting research, this is because research will not be separated from scientific literature (suharmonia: journal of arts research and education 20 (1) (2020): 39-4642 giyono, 2011). in the context of this research, the data obtained is a description of the analysis of the results of a sociological approach to see all social problems that occur in the world of art education, anthropological approach to see the problem of values that are connected between art education and reality in society, and through the library, research to explore the theoretical and scientific study problems of the meanings contained in the learning of eastern culture-based art education to strengthen national identity. results and discussion exploring the meanings and values contained in art culture and local wisdom of “eastern culture” art is the result or expression of culture, whereas culture itself varies in form according to local customs and adjusts to the characteristics of the people in their environment. ki hadjar dewantara argues that art is a part of the culture that arises and grows with the soul of human feelings (dewantara, 1967). the term culture also contains two meanings, namely as a process and a product. culture as a process in daily life shapes a person’s cultural identity which is reflected in attitude, speech, action, and thinking. meanwhile, culture as a product contains a symbol system in particular tradition such as customs, dance, music, crafts, belief systems, and others (masunah, 2011). the arts and culture found in eastern indonesia, especially in ngada flores, east nusa tenggara, have their characteristics and are full of traditional values that contain local wisdom that is still very relevant to the current conditions so that they need to be preserved, developed, even adapted or adapted implement it into the world of education. in other words, learning art education must be given following the customs and characteristics of the local community. one of the arts that has a meaning and moral message about the philosophy of life in the ngada community is the traditional music of go laba/drum gong. go laba music is the traditional music of the ngada people that is used as accompanying music in traditional rituals such as the ritual of making a new traditional house, the ritual of making traditional symbols such as ngadhu-bhaga, and the ritual of pesat kampung (ka nua). go laba music contains many ancestral messages that are revealed in several philosophies of life. these philosophies that must be lived by the ngada community to preserve and maintain values that are already believed to be the fundamental fundamentals for shared life as a cultural community under the umbrella of ngada culture (dopo & sukmayadi, 2019). when viewed from the context, go laba music is ngada’s traditional music which is full of meaning and values of life contained in the procession of the traditional rituals of the people. because basically, traditional music does not mean music and various elements in it are old-fashioned, old-fashioned, or out of date. however, traditional music is music that is distinctive and reflects the culture of an ethnic or community (purba, 2007). traditional music is music that is rooted in the traditions of its people, hence its continuity in the present context as an effort to inherit from the previous community to the next society (setyawan, 2018). figure 1. music of go laba/gong gendang in tololela. not only traditional music but in ngada there is also a dance that is ja’i dance. the ja’i dance is one of the traditional dances of the ngada tribe that is perfordedy setyawan, florentianus dopo, strengthening national identity through the learn43 med in the sa’o ngaza rite. the dance performed as an expression of gratitude and excitement in the ngada community. ja’i dance is usually done in bulk, the more people who follow the dance the more wisdom (negerikuindonesia.com, 2015). the implementation of the ja’i dance in the ritual of the sa’o ngaza ceremony is a form of unifying and binding family relations in the ngada community. the philosophical meaning of the ritual of sa’o ngaza itself is: (1) changed ancestral ancestry/go weka da dela: (2) safety cage/kodo sua; (3) blanket/lawo ine; (4) place of residence/gubhu mu kaja maza (setda, 2005). the ja’i dance in the implementation of the sa’o ngaza ritual is the cultural tradition of the ngada community which has interrelationship between art and culture and the interdependence/lobo papa tozo, tara papa dhaga. besides being an expression of gratitude, ja’i dance, and the sa’o ngaza tradition also have life values that can be applied in daily life, such as togetherness, intimacy, unity, social values, and religious values (radarntt.co, 2018). this is in line with the philosophy of life in the ngada community, namely meze, mai, modhe, mesumora, and merameda. 1) meze olo go mese means first greeting with a smile, 2) mai papa gani means to take part in fellowship, 3) modhe pu’u zeta one sai ana woe which is an initiative to do for others, (4) mesumora pedhu mora sai boka means sincere, and (5) merameda mera moe mata taka meda moe ta’i ture that is always in togetherness (marzuqi, 2018). figure 2. ja’i dance in the ka sa’o ritual in addition to the arts described above, ngada also has a cultural tradition that is routinely carried out every year, namely the tradition of the reba traditional party. reba tradition is a traditional ceremony in the ngada area that is held every year or to welcome the turn of the year. reba is a new year in the ngada ethnic calendar. reba is a traditional party, a party of gratitude for the kindness of god (dewa zeta nitu zale who has given, abundance, and enjoyment to the ngada community through agricultural products, plantations, animal husbandry, and others (keda, 2019). reba rituals are included in the complex form of human behavior patterned contained in them, very closely related to economic, social, and religious aspects that exist in society and community life (kaka, 2019). reba is a guide for ngada people to interact in social communities and interactions with the surrounding natural environment (bogha, 2005). reba as a ngada religious rite, both in terms of mythology and in the stages of its implementation always talks about life as a whole. the above description is part of the cultural arts found in ngada flores, ntt. where each of these artistic and cultural activities contains meaning and noble values. so, it is not wrong if the arts and culture of the east are implemented into the learning materials of arts-based on eastern culture. so that what has been given and explained in the context of learning art education based on eastern culture makes students able to instill philosophical values contained in their culture. conceptualization of eastern culturebased art learning to strengthen national identity a local culture that is owned by each region in indonesia is a pillar of the national culture. according to wagiran local culture or what is referred to as local wisdom is a long experience, which is deposited as an indication of one’s behavior, local wisdom cannot be separated from the environment of its owner, and local wisdom is dynamic, flexible, open, and always adapts to the era. the substance of the scope of local wisdom is broad, namely: 1) thoughts, attitudes, and language, harmonia: journal of arts research and education 20 (1) (2020): 39-4644 art, and literature, 2) thoughts, attitudes, and actions in various cultural artifacts and 3) social thoughts, attitudes, and actions, such as sincere, polite, and udanegara (wagiran, 2012). the substance then becomes a root of national culture which is part of national identity. as part of national identity, local wisdom functions in building the personality of a nation based on ancestral values. preserving the values of local wisdom means living and implementing the local philosophy of the local area that is wise, full of wisdom, and kindness. it aims to provide direction in building national identity following the values of pancasila to create a conducive and harmonious atmosphere to respond positively to modernization in the era of globalization by national values. an education system that is rooted in national culture is an education system that is considered appropriate to teach knowledge about its own culture. in the context of culture, good people are people who know and understand their own culture. that is, without knowing one’s own culture, humans will not be cultured following customs, rules, or norms that apply in their environment (julia, 2017). the integration of art education based on eastern culture will strengthen national identity that can foster pride, nationalism, and patriotism towards the nation and state. this certainly will strengthen unity and unity within the frame of unity in diversity. strengthening national identity through art education based on eastern culture aims to create citizens who have awareness of their own environmental culture, namely citizens who are aware of the equality of human dignity, and protect and preserve the values of local wisdom in carrying out community life, nation and patriotic. conceptualization of arts learning based on eastern culture can be applied through several stages, including 1) classification, in this stage is to choose various types of arts (music, dance, theater, visual) and eastern culture, to find meaning and values. the value embodied in local wisdom. 2) identification, this stage is identifying the learning of arts-based on eastern culture in the form of text and context to the affective, cognitive, psychomotor, and creative domains. 3) implementation, at this stage, is to implement the results of the classification and identification of eastern-based art learning to be applied to students so they can understand the values contained in local culture and have cultural intelligence. the following is a figure 3 of eastern culture-based art education learning schemes: figure 3. learning scheme for eastern culture-based art education. in the application of eastern culturebased arts learning, the outcome expected of students is to have cultural intelligence. cultural intelligence according to khodadady and ghahari (2011) consists of metacognitive, cognitive, motivational, and behavioral components. as the first component, meta-cognitive reflects the process by which individuals acquire and understand cultural knowledge, cognitive as the second component, refers to a person’s knowledge and understanding of how cultures are similar to and different from one another. this reflects the general knowledge structure of knowledge about economic and legal systems, social norms, religious beliefs, practices, and conventions in different cultures obtained from education and personal experience. as a third component, motivation shows one’s ability to motivation in learning and functioning in dedy setyawan, florentianus dopo, strengthening national identity through the learn45 cross-cultural situations. this includes something inherent in a person experiencing and interacting with people from different cultures. the final component, behavior, refers to a person’s ability to exhibit proper verbal and nonverbal behavior when interacting with people from different cultures. conclusions strengthening national identity through learning art education based on eastern culture can be done by first, the stages of classification by selecting various types of arts (music, dance, theater, visual) and eastern culture, to seek meaning and values that are contained in local wisdom. second, the identification stage by identifying the learning of arts-based on eastern culture in the form of text and context into the realm of affective, cognitive, psychomotor, and creative. third, the implementation stage by applying the results of classifying and identifying eastern culture-based art learning to be applied to students so they can understand the values contained in local culture and have cultural intelligence. through learning arts based on eastern culture, students are faced with a picture of their own culture. culture with a cultural identity that is raised by presenting the treasures of local wisdom values in the community as a form of national identity. the application of local wisdom values can be used to measure the level of appreciation and creations of students towards learning material from a cultural perspective of art. thus, students are expected to become the next generation of the nation who have civilized intelligence, can understand the equality of human dignity and protect and maintain the values of local wisdom in the administration of community, nation and state life as a form of strengthening the national identity in the current development. references bogha, v. u. 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(2012). pengembangan karakter berbasis kearifan lokal hamemayu hayuning bawana (identifikasi nilai-nilai karakter berbasis budaya). jurnal pendidikan karakter, 3(2), 329– 339. vol.1 no.1_mei_agustus 2000.pdf �!�!#�� �%��&� ��$�� �����' �%��" �� �����!��� ����� ��&�( �%��% #!��!"���� �!�%�%� �!��!��!�'��� �������� �� sampai saat ini, sejarah musik indonesia belum ada yang ditulis oleh orang indonesia asli. adapun alasan-alasannya, adalah sebagai berikut. 1) tidak adanya tradisi ilmiah, sampai paling tidak satu setengah abad sejak abad ke-20, 2) dalam realitasnya kolonialisme belanda membuat para elite indonesia untuk terbiasa dengan tradisi barat dalam belajar musik, dan 3) perhatian terpusat pada musik daerah yang menghasilkan pengkotak-ko takkan tradisi musik indonesia. dalam rangka meletakkan dasar untuk menulis sejarah musik indonesia, perlu dipertimbangkan bebe-rapa kajian maupun ulasan dari para sarjana, seperti: 1) colin mcphee (1980: 42) yang dalam tulisannya mengulas mengenai relasi antara gamelan jawa dan bali, 2) schlager in hood (1954: 5) dalam tulisan nya mengenai keterkaitan antara musik jawa dan bali, 3) huntingdon dengan tulisannya “peradaban minor jawa” (huntington, 1959: 278-279: 404405), 4) schimdt (poer-batjaraka, 1952: vi) dan heine-geldern (covarrubias, 1972: 16) menulis tentang keaslian asia da lam masyarakat indonesaia, 5) beals dan hoijer (1959: 182) dalam tulisannya mengenai daerah pem-bagian ras mongoloid dan melayu yang berhubungan langsung dengan penemuan becker mengenai pembagian daerah jenis-jenis gong di daratan asia dan kepulauan asia tenggara (becker. 1980: 1), dan 6) heisenberg dalam tulisannya (capra. 1980: xi) untuk menarik perkiraan bahwa mengalirnya kebudayaan dari luar melahirkan kebudayaan tradisonal dan gamelan. kemudian mempertimbangkan gagasan tersebut di atas, dapat disanggah peranan penting gagasan soeroso tentang gamelan jawa dan bali yang memiliki istilah karawitan di sekitar surakarta pada tahun 1955 menyangkut perbedaan etnis, fenomena musikal, keaslian individu, dan kira-kira awal mulanya. istilah karawitan surakarta sebelum perang dunia merupakan perkumpulan tradisional beberapa nama musisi gamelan raja surakarta. � �� ��� �� ���� � di seluruh kepulauan indonesia, ada satu daerah yang dikarakteristikkan oleh huntington sebagai pembawa “budaya (tropis) minor” (huntington. 1959: 278-279). candi borobudur yang dibangun oleh wangsa syailendra, yang terkenal dan telah dinyatakan sebagai milik dunia, yang dibangun sekitar abad ke-14 dan 15, dan kedatangan islam di jawa. telah digunakan untuk mengidentifikasikan bahwa kebudayaan minor pernah ada di pulau jawa. adapun beberapa teori dari prinsip heisenberg menyangkut 6 (enam) pokok pikiran, yaitu: 1. tidak ada satupun di dalam 25 derajat di equator jenis kebudayaan yang benar-benar asli. 2. kebudayaan minor yang asli di seluruh daerah 25 derajat equator, semuannya seperti akan menjadi terlalu panas ataupun menjadi terlalu dingin pada saat puncak musim. 3. ada lima lokasi untuk kebudayaan, yaitu: a) kebudayaan maya di mexico dan guetemala, b) kebudayaan khmer di indocina, c) kebudayaan jawa kuno di pulau jawa, d) kebudayaan india selatan di india selatan. dan e) kebudayaan sinhala di srilangka. semua kebudayaan minor tampak keasliannya pada saat cuaca yang sejuk dan menjadi semakin bergairah pada saat sisa dari kebudayaan kono ini membangkitkan pengakuan kita. mereka dibawa ke daerah tro pis yang hangat dan lebih nyaman oleh para imigran yang kelihatannya telah terseleksi secara ketat oleh perjalanan yang panjang dan ganas. 4. kebudayaan minor secara alam hilang sedikit demi sedikit. hal ini berarti “kita tidak memiliki lagi bukti mengenai perkembangan kebudayaan primitif seperti apa yang diketemukan di asiatik dan arab”. 5. jika kebudayaan-kebudayaan yang tumbuh pesat di kebudayaan tropis menjadi terkikis, secara mudah dan pasti dapat diperkirakan bahwa mereka dibawa oleh para imigran dari daerah lain. 6. ketiga tipe kebudayaan tropis memiliki karakteristik, yaitu mereka binasa secara perlahan, tidak ada pengganti yang meneruskan mereka dan hidup secara terpisah dan sukar dilacak dalam kebudayaan sesudahnya. heisenberg tidak mengatakan perpindahan sebagai kunci untuk melacak kemungkinan akar-akar kebudayaan musik kuno indonesia bagian barat-daya. bagaimanapun juga. heisenberg mengingatkan kita akan kemungkinan perpindahan ketika kedua aliran budaya yang berbeda saling bertemu dan berinteraksi secara aktif. meskipun begitu, seseorang mungkin dapat berkata bahwa pengaruh kebudayaan india adalah yang paling kuat di jawa dan bali. akan tetapi, ada satu yang pertanyaan tidak mudah dijawab, yaitu bagaiamana beberapa jenis instrumen musik yang diambil dari india, khususnya saat orang sadar akan fakta bahwa gong-chine tidak terdapat dalam kebudayaan hindu. dalam rangka menjelaskan pengertian mengenai prinsip dari heisenberg, maka penjelasannya dapat dilihat, sebagai berikut: kemungkinan benar secara sangat umum bahwa dalam sejarah pikiran umat manusia perkembangan se ring mencapai puncaknya pada saat dua garis pemikiran yang berbeda saling bertemu. jalur-jalur ini mungkin mempunyai akar-akar yang sangat berbeda dalam budaya hidup, waktu, daerah atau agama: maka dari itu jika mereka benarbenar bertemu dan jika mereka saling berhubungan erat satu sama lain; dimana hubungan yang sesungguhnya dapat terjadi, maka orang dapat berharap mengikutinya (warner heisenberg seperti yang tercantum di dalam capra. 1980: xi). prinsip di atas mungkin terbuka untuk dua tingkatan transformasi, dan jika hal ini dterima kemudian kita dapat berpikir mengenai gamelan yang mana sebagai hasil transformasi dari pertemuan tiga aliran kebudayaan pada abad ke-5, ketika kerajaan hindu jawa yang per tama: kalingga mulai berdiri di utara jawa. sebagai perbedaan dari pemikiran huntington di atas, saya pikir ada dua gelombang kebudayaan minor yang terdapat di jawa. khususnya dalam sudut pandang psikologi, etnik di indonesia bagian barat-daya. yang pertama: ditemukan di pulau jawa, bali, lombok, dan madura, ditambah dengan bagian sumatera utara, adalah sangat didominasi oleh ciri dari shamanisme asia tengah dan ras mongoloid indonesia melayu (beals; hoijer. 1959: 182), pribumi dari asia tengah (huntington, 1959: 205-206) dan daratan asia tenggara (beals: hoijer, 1959: 182) dan kehadiran shamanisme utara dan ti-mur asia yang dibawa oleh imigran mongoloid asiatik (beals; hoijer, 1959: 182). dan kebudayaan minor yang kedua dibentuk dari lapisan yang pertama tadi, yang mana su dah tercampur dengan perkembangan hindu yang didominasi oleh kebudayaan india. resepsi antar budaya dalam bidang musik di indonesia barat daya, menurut prinsip heisenbergian, ada dua gelombang kebudayaan. hal tersebut seperti tercantum berikut ini. gelombang pertama pertemuan antar budaya di bidang musik dalam sejarah kuno indonesia bagian barat daya secara uniuin ditandai oleh masuknya genderang perunggu dari jaman praindic yang ditemukan di sumatera utara, jawa, bali, dan lombok; dan perkusi, dan juga tarian topeng ritual dalam tata cara ibadah kuno (eliade, 1979: 179). pertemuan ini terjadi dalam proses langsung, dimana shamanisme sebagai kebudayaan kuno secara penuh diterima oleh pribumi setempat yang dimasukinya. pengaruh kebudayaan shamanisme masuk ke dalam budaya asli dengan migrasi besar-besaran dari daratan asia tenggara dalam gelombang besar, paling tidak sejak 2.000 tahun sebelum masehi (heine-geldern dalam cuvarrubias, 1972: 16). sebagai kebudayaan, shamanisme asia tengah dan asia tenggara telah terbawa ke daerah, seperti terlihat pada: genderang perunggu masa pra-indic (soekmo no, 1985: 64-65), rangkaian genderang-genderang kecil, rangkaian gong-gong kecil, sistem syair dengan atau tanpa dua tingkatan bantuan (iran, 1980: 747), manikmanik (eliade, 1974: 179), permainan genderang yang menarik untuk penyejuk jiwa dan persembahan kepada arwah nenek moyang dan tuhan (hagen, 1961: 98), permainan gong (soekmono. 1985: 67), dan seterusnya. gelombang migrasi asiatik (deals: hoijer, 1959: 182) mem beri pengaruh harpa yahudi si beria, quangong (tanimoto, 1980: 400), yang di pulau bali disebut genggong, rinding dalam bahasa jawa, gong bertingkat, organ tiup cina, dan sheng, seruling bambu, musik gesek yang kemudian berkembang menjadi rebab, seperti instrumen perunggu kecil, chengcheng; definisi musik kuno pertamakali dikenal di cina pada 3.300 sebelum masehi (sedilot, 1959: 34), yang mengatakan bahwa seni musik adalah ekspresi penyatuan surga dan bumi, yang oleh raja jawa diterjemahkan menjadi adi-luhung: yang berarti damai dan agung. ide dari sistem pentatonik jawa. diterimanya musik ritual cina sebagai timbre musik atau pengaruh kualitas intonasi (holland, 1977: 51) dan seterusnya. satu dari bukti-bukti dalam hasil heisenbergian (syncretic) dalam interaksi tradisi musik mongoloid indonesia-melayu daratan dari asia tenggara dan mongoloid asiatik dari asia utara dan asia timur adalah instrumeninstrumen yang dinamai chengcheng (cymbal) yang merupakan bagian dari rangkaian instrumen, alat musik kuno yang mungkin asli asia tenggara dan dinami gong luwang dari desa kesiut yang dipergunakan untuk festival agama di gunung watukaru, bali tengah. terompong dan riyong yang terdiri dari gong berderat gong kecil: dalam tinjauan sejarah, mungkin berasal dari rangkaian me-lingkar gong asia yang asli dirang-kai dengan rotan, tetapi kangkala dimodifikasi dengan kerangka kayu (morton. 1980: 712, 714). gelombang kedua masyarakat kesukuan shamanis terdiri dari 2 ras: a) indonesia-melayu sebagai mayoritas, dan b) minoritas asiatik pada abad pertama di indonesia bagian barat-daya atau mungkin di bali juga, yang telah berpengaruh oleh pedagang hindu dan pencari emas dari jawa. orang-orang india, orang yang memberi nasehat-nasihat kepada para pemimpin setempat (ibid: 15), membawa juga hinduisme; lebih jelasnya kebudayaan hindu (banawiratma 1977: 15). pengaruh kebudayaan para pedagang ini masuk dalam kerajaan hindu jawa yang diketahui dengan jelas pada abad 5 sesudah masehi di jawa bagian utara, yang bernama kalingga; sebagai tingkatan awal 5 abad adalah waktu yang singkat untuk masuknya seni kerajinan tangan dan tradisi-tradisi yang dikenalkan oleh para pedagang ke dalam kerajaan. dalam bidang seni pentas, dalam rangka memelihara budaya shamanisme asia di jawa, imigran hindu memperkenalkan drama pa da abad pertama (wickham, 1985: 20), musik india, misalnya himne rig veda (malm, 1967: 68), instrumen dengung, genderang atau tala dan memasukkan musik praindic di jawa mungkin yang dinami gumlao oleh orang burma kachin: menjadi mridangga yang berarti pradangga (dalam bahasa jawa: gamelan), beberapa instrumen un tuk memperkenalkan ragas sebagai seperioritas musik mereka di seluruh petani-petani semi nomadic shamanis asia di jawa. sangat mungkin, mengacu pada seluruh karakter hinduisme dan kebutuhan akan kerukunan hidup berdampingan di antara petani-petani shamanis asia, setelah sukses membangun kerajaan kalingga di abad ke-5 setelah masehi, raja merasa perlu untuk mengganti organ tiup cina, sheng menjadi xylopone perunggu jawa, gender sebagai awal gamelan hindu jawa, diubah ke dalam bahasa yang lebih halus: pradangga, dimana kendang india yang diwakili mridangga mempunyai aturan dominan di festival candi pada masa setelah jawa shamanis. karena kebutuhan yang su-dah mendesak tersebut di atas, setidaknya, satu dari melodi-melodi pendek dan sederhana untuk pengiring tari dalam festival candi pada masa pra-indic yang mungkin juga diperdengarkan di festival pura bali, odalan di gunung watukaru, bali tengah; disadur dan dikembangkan ke dalam komposisi gamelan udanmas, dalam bahasa jawa berarti hujan emas yang dimainkan oleh gamelan jawa hindu: lokananta, yang berarti musik surga. pengamatan dangkal pada gamelan biasanya membuat kita berkata dengan gamelan di indonesia ba gian barat daya adalah asli dari ja wa atau bali. namun, dalam sejarah ini adalah hasil akumulasi kebudayaan-kebudayaan asli dari dua tingkatan interaksi kebudayaan indonesia melayu kuno, asiatik dan mengalirnya kebudayaan india, dimana prinsip heisenbergian terpakai seluruhnya.[] daftar pustaka banawiratma. 1977. yesus sang guru: penemuan kejawen. yogyakarta: kanisius beals, ralph l, and harry hoijer. 1959. an introduction to anthropology. new york: the macmillan company. berger. judith. 1980. music in modern java: gamelan in a changing society. honolulu: the university of hawai. berger. d.h., dan atmosoedirjo. 1962. sejarah ekonomi sosiologis indonesia. jakarta: p.n. pradjaparamita. capra. fritjof. 19... the too of physic: an exploration of the paralels beetwen modern phy sic and eastern mysticism. sic and eastern mysticism covarrubias, miguel. 1972. island of ball. djakarta: pt. indira. crossley-holland, peter. “new western: south-east asia”, dalam alec robertson and denis steven (ed.). 1978. the relican history of music: ancient from to polyphony. england: bantam books. eliade, mircea. 1974. shamanism: archaic techniques of ecstas. new jersey: princenton university press. heine-geldern, robert von. “bedetung und herkunft der altesten hinterindischen mettalltrommel (kesselgongs)”. dalam asia mayor, vii. 1933. leipzig. hood, mentle. “the enduring tradition: its music and theatre in java and bali”. dalam ruth t. mcvey (ed.). 1963. indonesia. new heven: yale university press. huntington, ellsworth. 1959. mainspring of civilization. new york: new american library, a mentor book. mcphee, colin 1980. music in bali. new heven: yale university press. malm. william p. 1967. music cultures of the pasific, the near and asia. englewood cliffs, new jersey: prentice-hall inc. morton, david. “thailand”. dalam stanley sadie (ed.). 1980. the new grove dictionary of music and musicians. macmillan publisher ltd. sedillot, rene. 1959. the history of the world. new york: new american library, a mentor book . soekmono, r. 1985. pengantar sejarah k.ebudayaan indonesia i. yogyakarta: kanisius. suhardjo parto, f.x. “gong lu-wang of the village of kesiut tabanan in historical perspective”. dalam ko tanimura. 1985. temple festival in bali: reseach report of tanimura team. research and exchange program of osaka university with the south pasific region. tran von khe dalam yosihiko tokomani, el. al. (ed.). 1990. tradition and its future in music: report of sims (the 4th symposium of international musicology society). osaka, tokyo: mita. wichani, glynne. 1985. a history of the theatre. oxford: paidon. 154 the conveyance of the japanese atmosphere to visitors as a performance at marugame udon, solo paragon lifestyle mall ainun majid1, suastiwi suastiwi2, gabriel roosmargo lono lastoro simatupang1 1universitas gadjah mada, indonesia 2institut seni indonesia yogyakarta, indonesia submitted: 2022-12-12. revised: 2023-03-11. accepted: 2023-05-13 abstract marugame udon is a japanese fast-food restaurant chain with many branches in indonesia. this study examines the conveyance of the japanese atmosphere to visitors as a performance. interior research based on performance theory has not been widely conducted. this study aims to determine the performative influence of marugame udon’s interior on visitors by exploring richard schechner’s performance aspects (action, interaction, relationship). this study uses a qualitative approach with a case study method to deeply explore data from visitors and interior elements. the data collection techniques used are observation, in-depth interviews, literature study, and company profile reading. data analysis is done by reduction, presentation, and drawing conclusions and recommendations. the findings of this study are: (1) the “action” exploration finds that the interior display is a manifestation of marugame udon’s identity as a japanese restaurant chain and its commitment to introducing japanese culture, especially sanuki; (2) the “interaction” exploration finds that the presence of interior elements is a mutually dependent system in displaying the atmosphere (japanese), and visitors interact most with noren and the theater kitchen; (3) the “relationship” exploration reveals that marugame udon does not only act as a restaurant providing food and drinks but also as a stimulating agent that influences visitors’ perceptions and evokes their memories and desires related to japanese culture. these three findings indicate that marugame udon’s interior is a static performative ecosystem that can interact and form relationships with visitors. keywords: performance studies, performative interior, japanese restaurant, marugame udon how to cite: majid, a., suastiwi, s., & simatupang g. r. l. l, t. (2023). the conveyance of the japanese atmosphere to visitors as a performance at marugame udon, solo paragon lifestyle mall. harmonia: journal of arts research and education, 23(1), 154-170 harmonia: journal of arts research and education 23 (1) (2023), 154-170 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i1.40854 when dining out that they cannot get at home. the desire to experience something different from everyday life encourages people to visit a place (j. zhang & walsh, 2021). therefore, interior design plays a strong role in the growth of restaurant businesses (wan, 2021). one of the restaurants often visited is a restaurant in a mall, especially lifestyintroduction dining out has become an urban lifestyle due to industrialization and urbanization (kowalczyk & derek, 2020, p. 4). looking at the current market, interior design has become an important consideration along with service and food. visitors want to experience the spatial experience corresponding author: e-mail: ainunmajid@mail.ugm.ac.id p-issn 2541-1683|e-issn 2541-2426 ainun majid et al., the conveyance of the japanese atmosphere to visitors as a perfor155 le center malls, which are integrated with apartments and have various kinds of services such as restaurants, health, and so on (lauren horwitz, 2015). the availability of various needs will attract people to visit for various purposes (yan & eckman, 2009)lifestyle centres, and traditional enclosed shopping malls. in this study, the researchers are interested in examining the “actions” that occur in the event of “dining out” using the perspective of performance studies by richard schechner. in his book, schechner (2006) explained that performance studies have a broad scope of objects. performance does not only occur in events that are orthodoxly defined as performances. in performance studies, performativity is not only possessed by living beings. indeed, not everything can be said to be a performance, but everything can be studied “as” a performance (schechner, 2006). performance puts meaning into four things: being, doing, showing the doing, and explaining ‘showing the doing.’ being is an entity that exists in the performance event. doing can be interpreted as a role attached to the entity. showing the doing is the act of presenting the entity and its role. explaining ‘showing doing’ is the substance of performance studies. schechner further states in his book that to study something as a performance, it must encompass three aspects: action, interaction, and relationship. according to goffman, performance can be defined as all forms of certain participants’ actions in certain opportunities, in various ways, to influence other participants (goffman in schechner, 2006). schechner (2006) argues that all events, in the context of broader performance, can be considered performance, but not all are performances. something is considered a performance only if, historically, in usage, convention, context, and culture, it is recognized as a performance, for example, theater performances, wayang, and music concerts. schechner then divides performances into two categories in the academic field of performance studies: (1) ‘is performance,’ which refers to orthodox performances, and (2) ‘as performance,’ which is schechner’s perspective that everything is performative and has performance value. the discourse of performativity in architecture talks about the transition from ‘what it is?’ to ‘what it does?’ (leatherbarrow, 2004). leatherbarrow refers to it as scripted and unscripted performances. performative architecture is a discourse that describes architecture as an open concept and part of a dynamic environment that must be able to adapt to things that were not previously planned, both written and unwritten, intentional or not. the ability of spatial dimensions to perform other functions or unscripted performances is called architectural performativity by kassem (2019). performance in architecture can be interpreted as an action and the result or value of what is produced (addison et al., 2009). several previous studies have been conducted in the realm of retail and restaurant design. kim et al. (2020) found an indirect relationship between visitors and aesthetic aspects that influence purchasing decisions. rahma et al. (2017) investigated the relationship between interior design and visitors’ nostalgic experiences. wardono et al. (2012) demonstrated that color, lighting, and room decorations affect social, emotional, and behavioral perceptions. aprilia et al. (2015) stated in their study that visual aspects in the interior are more easily recognizable because of humans’ pre-existing perception. other studies in the field of restaurant interior design have been conducted to reveal the connection between lifestyle and the determination of interior elements (rachmawati, 2017), the principles frequently used in modern japanese restaurants (grigorieva, 2012), and color as an identity formation (tantanatewin & inkarojrit, 2016). interior studies using performance theory as a basis have been conducted by georges-etienne carriere (2020) on the connection between the performance of brooke astor’s life as a socialite, writer, and philanthropist and the identity of her estate’s interior and by harmonia: journal of arts research and education 23 (1) (2023): 154-170156 corrigan et al. (2018) on observations in the criminal court space using dramaturgical principles. however, no interior study has viewed space and everything that exists and happens inside it as a form of performance. therefore, this study will investigate the performance value of marugame udon restaurant’s interior, based on three research questions: (1) how do the interior elements of the restaurant ‘act’ to influence visitors’ perceptions of the formation of japanese cultural image; (2) how do the ‘interactions’ between interior elements and humans within it affect the formation of japanese cultural image; (3) how do the ‘relationships’ between interior elements and humans within the japanese-themed restaurant? the output of this research can be used as a guide for creating interiors that display traditional themes as an effort to respond to sachari’s (2007) concerns about the loss of cultural meaning in the next generation. the existence of facilities that contain elements of locality and culture can become an indirect-educational media that cultivates love and pride for the nation’s culture (budiman et al., 2020). this study can be a new discourse in interior research, and consideration for the government in making policies to display local cultural elements in interiors, especially in malls. method this study used a qualitative approach. qualitative research is used to understand social phenomena that often require field observation because the problems are still unclear and tentative (sugiyono 2018). the method used was a case study. a case study is a type of qualitative research in which the researcher explores a program, event, activity, process, or one or more individuals in-depth. a case study is used to investigate and explain a phenomenon in an explanatory and evaluative manner (sumartono, 2017). the research was conducted at a restaurant inside solo paragon lifestyle mall, namely marugame udon. marugame udon is the only udon restaurant in surakarta. the restaurant was purposively selected based on three considerations: japanese theme, longest-standing, and most visited. data collection techniques were conducted using observation, interviews, questionnaire distribution, and literature review. observations were carried out through moderate participation, with the researcher visiting the research location to directly experience the spatial and area aspects related to the physical and nonphysical aspects that form the room’s atmosphere. through observation, the researcher will gain a deeper understanding of the context (sugiyono, 2018). participants were obtained by distributing online questionnaires, and 15 participants who were marugame udon visitors were obtained. the data analysis process refers to the stages described by miles and huberman, including data collection, data reduction, data display, and conclusion drawing or verification (miles, huberman in purwanto et al., 2021). observation data was obtained by reading the interior elements that form the atmospherics, namely the floor, walls, ceiling, furniture, decorative elements, lighting, window’s view, table setting, and shopfront (heung & gu, 2012; kotler, 1973; ryu & shawn jang, 2008). result and discussion reading the interior elements of marugame udon this study is based on the idea that interior design is a performance that is created to perform specific actions. reading is the first step to understanding the values within it (subiyantoro et al., 2020). the following are the results of reading japanese cultural elements in the interior of marugame udon as a performative object. transformation of the zen garden and tatami floor the floor material in marugame udon is granite. granite is widely used ainun majid et al., the conveyance of the japanese atmosphere to visitors as a perfor157 in traditional japanese buildings and gardens (locher, 2010). the overall color of the floor is grey. unlike chinese orientalism, which uses dominant natural colors like red, yellow, and green (d. zhang & zhang, 2019)and culture is often viewed as a system of symbols that arises from human interpretations of the world. the cultural codes of symbols and symbolism are imperative to be reexamined for any reinterpretation of a traditional culture. this article explores the origin and meaning of the yin yang symbol in chinese culture, and its subsequent numerological and color applications in classical chinese architecture, such as sanqing (three pure ones, japanese architecture tends to use natural colors like white, grey, brown, or black (locher, 2010). the stone element on the floor of marugame udon is also identical to japanese gardens, zen. stone elements are considered important elements in the process of contemplation (nakagawara, 2004). the floor in japanese architecture is generally less decorated than other elements. the floor becomes the interior element that interacts the most with the human body. the floor covering material in traditional japanese architecture uses tatami mats. tatami is a modular mat with a size of 182x91 cm, or a ratio of 2:1, made of woven straw used as a floor covering, as well as a heat and cold absorber in traditional japanese houses (erickson & schurch, 2011; hein, 2016; walther, 2021)with m < n monomers in which no four tiles meet at any point is m2 m + (m + 1. figure 1. the stone philosophy floor of the zen garden with proportion dimensions and arrangement adjusted to the tatami. shoji screen idea traditional japanese buildings are supported by supporting poles and ornamental partition walls (locher, 2010). the wall covering material is white paper (washi), then painted, colored, or left plain with a wooden lattice. shoji is a sliding or solid wall that separates the exterior and interior, covered with translucent paper (david & young, 2019, p. 152). its translucent nature is intended to create a bright room by maximizing natural light from the outside. shoji is rarely painted, but some are given a touch of different lattice arrangements as an aesthetic medium. figure 2. the philosophy of shoji applied to the shop front wall of marugame udon figure 2 shows the glass wall inside the shop front wall of marugame udon. in terms of shape and composition, this glass wall resembles shoji, consisting of several frames with constant dimensions, each frame is in the form of a rectangular plane, and the presence of the wall is a divider between the exterior and interior with the maximization of natural light entering. the top and bottom frames are not transparent planes, filled with tatami. in principle, the shop front in the mall unit is indeed required to use glass or no walls. for the mall management, this aims to allow visitors to access the interior aesthetics of each tenant unit. the wide glass wall also affects the reception and comfort of visitors with a wider impression (ozdemir, 2010). fusuma as an ornamental wall similar to shoji, fusuma is a wall with harmonia: journal of arts research and education 23 (1) (2023): 154-170158 paper lining. the difference between shoji and fusuma is that the paper lining on fusuma is not translucent. while shoji separates the exterior from the interior, fusuma divides the space within it (david & young, 2019, p. 274). fusuma consists of a frame structure and wooden lattice filled with paper screens. the wall in the dining area of marugame udon takes on the basic form of fusuma, which is painted, and the fusuma lattice is transformed into a more abstract form from its original shape (figure 3, 4). figure 3. the painting theme on fusuma often depicts kabuki scenes, such as the romance between a samurai and a geisha. unlike the floor, walls in japanese architecture are often decorated. the nature of washi on fusuma, which is not translucent, often makes it painted. paintings on fusuma commonly take themes from human life, animals, nature scenes, and abstract designs (david & young, 2019, pp. 306–307). fusuma acts as a canvas for painting natural scenery that also connects the space with nature (locher, 2010, p. 30). one of the dining area walls in marugame udon is painted with a kabuki theme (figure 3). kabuki is a traditional japanese theater performance involving many players and music, usually telling stories about history, moral problems, and love (david & young, 2019, p. 284). kabuki was originally a religious performance in shinto shrines but later became more secular (leiter, 2006, p. 374). kabuki often tells stories of the romance between a samurai and a geisha (halford & halford, 1956). this character can also be seen in one of the fusuma in marugame udon (figure 3). on the other hand, fusuma is displayed with paintings depicting the beauty of clouds and the sun (figure 4). japan is often associated with the sun. in japan’s oldest written record, kokiji 712m, japan is referred to as ‘nihon’, a combination of the words ‘nichi’ meaning ‘sun’ and ‘hon’ meaning ‘origin.’ japan even has a flag with a symbol of the sun. japan also has a word and an ideogram for the sun. the symbol of the sun in japan is interpreted as prosperity and new life (schultz & yamamoto, 1984). figure 4. shows how fusuma separates the kitchen area from the seating area with ornamented paintings of the sun and clouds. above the fusuma, marugame features multiple plywood paneling configurations that resemble traditional japanese wall patterns, namako. namako walls are commonly found in palace buildings, warehouses, and aristocratic houses (cheung, 2022). another ornamentation appears in the roofing arrangement that resembles a traditional japanese awning (figure 4). in the middle of the awning is a signboard with the words ‘marugame udon, udon & tempura.’ on either side of the signboard, marugame displays the names of the menu items written on 12 rectangular teakwood boards with hiragana letters. ainun majid et al., the conveyance of the japanese atmosphere to visitors as a perfor159 theater kitchen entering the main entrance of marugame udon, visitors are presented with an open kitchen. marugame udon calls this concept the theater kitchen. the theater kitchen concept allows all marugame udon visitors to witness the menu preparation show and experience the atmosphere of sanuki-style udon restaurants (toridoll, 2022). visitors can order by looking at the menu board and menu book while interacting directly with the cook (figure 5). based on data from marugame udon’s company profile, the spirit of this theater kitchen concept is a kitchen and performance space where visitors are expected to be entertained by watching the cook prepare their udon menu orders. the open kitchen concept provides a more interactive experience in enjoying udon. history says that udon was first made in sanuki, kagawa. until now, sanuki residents consume udon at least once a day (andoh, 2005, pp. 78–79). initially, udon in sanuki was sold only in simple kiosks until it gradually developed into restaurants (konzak, 1995). the characteristic of sanuki udon restaurants is the open kitchen. marugame udon wants to showcase japanese culture through the uniqueness of sanuki udon restaurants by featuring open kitchens in each of its outlets. figure 5. open kitchen depicts the essence of human interaction as a way of enjoying udon in sanuki. noren curtain besides the seating area, there is a sink area and the kitchen entrance and exit door (figure 6). the wall covering uses 20x20 black ceramic tiles up to a height of 2 meters, while the rest is namako wall. at a height of 2 meters, there is a small black curtain, called noren. noren is usually installed at the entrance of residential kitchens and traditional-style commercial buildings in japan (locher, 2010). noren also functions as a barrier to prevent cold wind from entering and usually displays the name or menu of a restaurant. the size and color of noren will differ depending on the location where it is used. the color will be more striking when it is in tourist areas, and the size will be longer if it separates private areas (oktay, 2015). as time goes by, noren also becomes a sign of whether a sushi bar is frequently visited or not, because many visitors wipe their hands with the noren when leaving, so the dirtier a noren is, the more visitors it indicates (geeraert, 2020). in its development in indonesia, based on field observations, many japanese culinary businesses involve noren as a statement of cultural identity. figure 6. noren in marugame udon functions like in japanese houses, located at the entrance to the kitchen wood materiality projection wood is one of the main materials used in traditional japanese architecture. japan is even known for its sophisticated woodwork (locher, 2010, p. 152). wood elements always appear in the constructiharmonia: journal of arts research and education 23 (1) (2023): 154-170160 on of traditional japanese houses, both in the floors, walls, and ceilings. the ceiling is a part of traditional japanese houses that are not decorated, making the exposed wooden beam roof construction visible (locher, 2010). marugame covers the ceiling with white-painted gypsum material and a series of elongated wooden panels with ornamental patterns extending to section c’s wall (figures 6 and 7). this configuration of wooden panels can be seen as a transformation of the ceiling of a traditional japanese house that uses wooden panels and rafters (locher, 2010, p. 326). however, this part deliberately displays an imbalance in the composition. the wooden lattice ornamentation is only applied to a part of the ceiling. the wooden panels are divided into two parts. one set is attached from the wall to the ceiling, the other set starts from the middle of the ceiling with a broken panel left exposed (figure 7). figure 7. ceiling with wooden panel ornamentation the appearance of the ceiling seems unbalanced and does not blend with the overall interior. however, it should be noted that the japanese philosophy of wabisabi believes in the beauty of imperfection, even in the form of asymmetry or things that do not match each other (foyr, 2022). furthermore, wabi-sabi in japanese aesthetics contains elements from nature, not man-made (koren, 1994). therefore, although all the elements in marugame udon are man-made, the intention to display natural materials can be seen in the decision to maintain the wood color in all wooden materials and hpl (high-pressure laminated). figure 8. the dominance of wood materiality on the shop front as a statement of traditional japanese architecture woodwork and brown wood colors are displayed even before visitors enter the room. the wall bulkhead ornamentation made of wood material with a namako motif on the shop front display can be seen (figure 8). the woodwork atmosphere is also displayed in the marugame udon tables and chairs (figure 9). of all the woodwork in marugame udon, only the tables and chairs use solid wood. figure 9. the black color on the pillows (makura) adds an organic impression of the woodwork on the table and chairs. some etiquettes for eating japanese noodles are to finish the noodles in 5 minutes and not to stay for more than 20 minutes (zuleta, 2020). visitors come, sit on stools, watch the chef prepare the dish behind the counter, eat, and then leave. the counter seating concept (kauntaseki) is wiainun majid et al., the conveyance of the japanese atmosphere to visitors as a perfor161 dely used by fast-food chains in japan, especially for ramen (nihongo master, 2021; zuleta, 2020). however, marugame udon does not adopt counter seating. marugame udon uses the table seating concept. this table seating concept is applied in all marugame udon branches, including in japan. this is because marugame udon specifically wants to showcase the udon restaurant atmosphere in sanuki, japan (toridoll, 2022), which also uses the table seating concept. warm white lighting lighting is a separate element of traditional japanese houses. lighting sources, such as candles, are only lit when needed and are made to illuminate only one person (locher, 2010, p. 299). creating such a situation is in line with marugame udon, which provides a dim impression through warm white colors and the dominance of brown colors on wood material (figure 10). lighting is one of the important factors in creating an atmosphere that supports the function and aesthetics of space. the color of lighting has a positive effect when selected according to the character of the environment (özkul et al., 2020). figure 10. warm white light intensifies the brown color of the wood and adds a natural impression. the warm white lighting in marugame udon makes food more appetizing, as almost all food and drink menus have a dominant brown color. the closer the light’s color is to the food’s color, the more it increases appetite (suk et al., 2012)observers selected the best and worst lighting colors by themselves using a “mini living colors (philipstm. on the other hand, warm white lighting can intensify the brown-colored wood materials (figure 14). it can be said that the selection of warm white color reinforces the japanese image that has been built, both from food and the interior materiality of marugame udon. figure 11. warm white lighting intensifies the color of food. in the reading section above, visual elements provide a strong cultural identity statement. this cultural identity becomes a distinguishing cultural character (syakir et al., 2022) that sets japan apart from other countries. in the interview session, visitors stated that the interior of marugame udon feels the most japanese compared to other restaurants. implementing performance value investigation in marugame udon interior action performance is action. schecner (2006) wrote that studying the action aspect of artwork means talking about repertoires or collections. in line with schechner, leatherbarrow (2004) stated that architectural performance lies in actions that are divided into two: (1) technically and productivelyoriented action; (2) contextual and projective action. the researcher tried to read aspect 1 of the action subtitle above. then, in this section, the researcher read aspect 2 of the action, which is reading the interior action aspect from the visitor’s perspective. starting from looking at the shop front, visitors can already read that marugame udon is a japanese restaurant. “you can already see it from the front,” said one visitor. not without reason, as explained harmonia: journal of arts research and education 23 (1) (2023): 154-170162 in the previous chapter, all units inside the mall are required to display their interior appearance from the outside. visitors can access the room contents, at least the seating area, from the outside. in addition to being a mall commodity, the shop front appearance helps visitors make decisions. visitors see signage or logo lights that are always installed on the shop front. in the case of marugame udon, the logo consists of kanji letters with the pronunciation “marugame seimen,” and the alphabet writing “marugame udon, udon & tempura.” visitors know where the kanji letters come from, what udon and tempura are, and where udon and tempura come from. from this knowledge, visitors not only see the marugame logo but also unintentionally conclude that this japanese restaurant sells udon and tempura. it should be noted that not all logos can describe the organization they display. the marugame udon logo is captured as an identity marker that goes far beyond the organization it carries. it is the trigger from the beginning of a sequence of perceptions about the japanese atmosphere by ignoring its functional and aesthetic value as a logo (figure 16). figure 12. words in marugame udon’s logos state restaurant identity the word “udon” on the logo acts very specifically toward visitors, dictating “this is a japanese restaurant.” some visitors have had experiences in several other japanese restaurants. they did not find the same menu, namely udon. most japanese restaurants or food stalls, even outside the mall, sell sushi, ramen, and rice menus. they did not find another restaurant that serves udon as the main menu. the word “udon” on the logo becomes a marker that marugame has a different menu from other places. from the visitor’s side, the word “udon” is a reminder that visitors have never eaten udon in solo, and visitors have never eaten udon in solo at a place that only serves udon. on the other hand, practically, the statement of the logo only becomes one of many triggers for visitors’ visit decisions. other more subjective factors will also be involved, such as the level of visitor crowds at that time. some visitors decide not to visit during peak hours. what is typically planned by visitors like that is that they will not only eat to fulfill their biological needs but also as a healing medium or gather with friends or relatives. when visitors decide to visit, the first thing they will do is go to the main entrance. there are two doors at marugame udon, the entrance and exit doors. marugame applies a one-way system, where the entrance door is only for entering, and the exit door is only for exiting or re-entering but not for ordering. as explained in the previous section, every visitor who has made a reservation can enter and exit through the exit door. however, visitors who have not made a reservation, if they enter through the exit door, must go back out to the main entrance to make a reservation. some first-time visitors to marugame udon often experience difficulties with the wrong door. not all visitors understand the shop front concept, where the main entrance is always located in the area where the logo is placed. in the field, the logo is often located right above the main entrance area. visitors do self-service like in fastfood restaurants, ordering and then carrying their food to the table. self-service is common here because marugame udon is a fast-food restaurant chain. however, marugame udon does not apply the principles of fast-food restaurant interiors in it. look at the fast-food restaurants around it, kfc, mcd, yoshinoya, and burger king; they have modern, minimally decorated interiors with striking, instant, and visually and tactilely fabricated colors. according to visitors, marugame looks harder in presenting its interior than other fast-food or japanese restaurants. the interior appeainun majid et al., the conveyance of the japanese atmosphere to visitors as a perfor163 arance of marugame udon is more representative of japanese visual values. visitors mostly talk about decorative elements or interior accessories as japanese identity markers in marugame udon, such as japanese characters, noren, paintings, tiles, and wooden nuances. visitors consider these interior accessories to have a strong japanese cultural image because they are not found in other restaurants. however, it does not mean that these accessories work alone. reading the japanese nuances in these accessories is influenced by factors, one of which is visitors’ aesthetic experience and the presence of other interior elements. the presence of all interior elements becomes an ecosystem that supports each other or can weaken each other. japanese cultural hegemony in each witness will also influence its readability, such as the interpretation of paintings from their titles. this is also the subject of discussion between researchers and visitors when researchers ask, “based on what, do you judge that the interior here is japanese and not korean or chinese?” visitors’ answers are almost always the same; they get knowledge about japan from anime in comics, tv shows, movies, and reality shows that they can access on cable tv and youtube. it is interesting that from the many elements of japanese culture, marugame can present a visual appearance that then instantly makes visitors aware of its japanese values. if reversed, japanese people are not necessarily instantly aware of javanese culture from its visual appearance if a javanese restaurant exists. of course, this study cannot prove this and requires further research. but what the researcher believes here is that static elements in the interior can act as agents that influence visitors in a broad context. interaction the interaction of visitors with the interior elements and contextual values generated has the same effect on visitors, namely triggering memories of the past about what they have witnessed that contains japanese content. this memory is aroused by symbolic displays and similar forms, which then make visitors feel the sensation of japan when they are at marugame udon. in interactive performances that involve symbolic forms, meaning is formed, and individual and cultural values are affirmed (stern and henderson in schechner, 2006, p. 24). considering a building as part of a performance means that it can be seen as an anticipation or response to an event, and ultimately what the building can do goes beyond its functional purpose (leatherbarrow in hensel, 2013, p. 11). the presence of marugame udon in solo paragon mall is a response to economic phenomena. as a restaurant, its presence can serve as a venue for dining and drinking activities. visitors come and enjoy their meals with satisfaction. however, the development of time and the spread of information have made these activities not just about eating and drinking. therefore, there is an interaction that is formed in the process of negotiating adaptation to change. performance occurs during this negotiation. although information excavation related to interaction does not focus on quality, the existence of such interaction needs to be proven. researchers then asked questions about their opinions regarding their spatial experience while in marugame udon. all visitors say that the atmosphere built in marugame udon is already very representative, “even though they have never been to japan,” says a visitor when giving their assessment. for visitors, the visual elements that they consider to be very representative are the noren, the theater kitchen, and the kanji lettering. in the previous reading of interior elements, at least nine elements were mentioned in observations and interviews. however, only these three substances bring visitors to memories of japan, which are discussed in “relationship.” according to visitors, noren and theater kitchens are always seen in japanese ramen shops, and kanji letters are a harmonia: journal of arts research and education 23 (1) (2023): 154-170164 general signifier of japanese identity. kanji characters and noren have a strong visual identity as representations of japan, even without any interaction with other interior elements. it can also be said that only by interacting with one of these three substances can the impression of japan be achieved. however, the configuration of the theater kitchen and roof exists in many other places, even outside the context of japan. visually, the kitchen does not display traditional japanese elements. all equipment and utensils used are modern items. the lighting is also very bright and white. in terms of materiality, the theater kitchen looks more like a modern cultural product than traditional japanese. the same goes for the roof; as a single entity, the roof does not characterize japanese identity. perhaps, if both configurations were placed in an environment outside the context of japan, their readability value could change, and they would no longer have any japanese identity. then, why visitors perceive these elements as having a strong japanese identity is a question that needs to be answered. researchers believe that the interactivity of interior elements becomes a system that supports each other in forming identity. the concept of a theater kitchen has a japanese identity because it is supported by several physical elements and the context surrounding it. from the outside of the restaurant, visitors interact with marugame udon’s logo and interior, then decide that what is served and displayed should be related to japan. once inside the room, visitors are presented with japanese food menus, traditional japanese chef uniforms, japanese greetings, and representative decorative elements of japan, such as noren and kanji characters. gradually, the perception of a japanese atmosphere begins to form from visitors’ interactions with the environment. therefore, entering the marugame udon restaurant can be likened to a venn diagram where all elements are considered part of one set, in this case, japanese cultural visual elements (figure 13). figure 13. diagram of the perception of a japanese atmosphere in marugame udon. the interactivity between interior elements forms japanese cultural values. the interaction of visitors with these japanese values results in different relationships for each visitor. some examples will be explained in the discussion of relationships. relationship the interpretation of performance is free and will always differ depending on the context (schechner, 2006). the interior performativity of marugame udon as a static agent in order to shape japanese culture is established through complex relationships among several community agents within a built interior ecosystem. at least from the above exposition, these relationships appear to involve several factors such as (1) marugame udon’s commitment to tradition and udon, (2) ergonomic/functional aspects, (3) aesthetic aspects, (4) market share, and (5) visitor interaction with japanese culture. each factor acts like a stream that converges to influence the formation of japanese cultural meanings. the researchers then classify these factors into three community agents: marugama udon, the mall, and visitors. each community consists of diverse factors that interact with one another. marugame udon has a vision, mission, commitment, and cultural background that it wants to convey. the mall has a specific image and regulations that must be adhered to by all involved elements. visitors have different senses, life experiences, and tastes. the interactiveness within each community then ainun majid et al., the conveyance of the japanese atmosphere to visitors as a perfor165 produces performative effects as a flow of meaning toward the reception of each visitor, as in the following 2 examples. visitors recall memories “do you have any specific memories that come to mind when you’re at marugame udon?” the researcher asked visitors. although some visitors admitted that they didn’t specifically and intentionally observe the interior of marugame udon, all of them claimed to have surfed through memories related to japan. one of these memories was their experience of watching videos and comics. the age range of the visitors in this interview is 20-50 years old. most of them have been exposed to japanese culture since childhood, starting with japanese cartoon shows that were always aired on sundays. visitors’ interaction with the theater kitchen (figure 5) and decorative elements, for example, reminded them of ramen shops they saw in cartoons, such as naruto. an interaction that occurs so quickly and instantly evokes memories of the shapes and atmosphere experienced in the past. figure 14. naruto ramen shop as a form of past interaction (ramen ichiraku) the appearance of the ramen shop in the naruto series and what visitors witness in the theater kitchen concept at marugame udon have similarities. both act to make visitors believe in the authenticity that they (marugame udon and the media) present as having a japanese identity even though visitors have never been to japan. each visitor does not feel the performative influence on the interior elements and time at the same time. for visitors who have been to japan, interacting with the interior of marugame udon becomes a trigger for their fond memories of japan. visitors mention that they were still free, not thinking about responsibilities, and not yet married at that time. being in japan is a big event that will be celebrated for a lifetime. meanwhile, the visitor is not in a state as beautiful as when they were in japan – in terms of freedom – and does not know whether they will have the opportunity to go to japan again. the emergence of memories from the interaction process with the interior indicates marugame udon’s success in presenting the image of japanese culture. other visitors experience the same thing. interaction with the decorative elements of marugame udon’s interior brings visitors surfing with memories of the past. “because my wife often watches wakuwaku, i also watch it and become happy,” said a husband of a visitor who at that time recounted his experience of watching the cable tv program wakuwaku. wakuwaku japan is a tv channel that features programs from japan. this visitor’s interaction with marugame udon’s interior brings his memory back to the experience of watching one of the wakuwaku programs while at a traditional japanese restaurant and house. “when we were still renting a place, we often watched wakuwaku,” said the female visitor. from these statements, it can be said that at least two memories emerge, namely memories that indicate physical form and memories that indicate time or events. schechner (2006) refers to entities that have similarities like this as simulations, which are highly performative replicas. marugame udon, a fast-food restaurant chain from japan, tries to make visitors believe – in performance studies, this effort is called make-believe – in the authenticity of its interior so that visitors can capture marugame udon’s identity as a corporation and feel the atmosphere of japan. before being in marugame udon, in the context of the japanese series visitors watch, visitors’ interaction with the visuharmonia: journal of arts research and education 23 (1) (2023): 154-170166 al elements they have experienced before makes them believe that what they see in the marugame udon restaurant characterizes japanese culture. the similarity in cultural objects forms acceptance (casta et al., 2021). thus, visitors’ previous interactions and interactions with marugame udon’s interior can shape their perception of japan. not only in its visuals, but make-believe is also evident in marugame udon’s cooking performance in the theater kitchen. the activities in the theater kitchen, performed by japanese uniformed chefs, make visitors believe in marugame udon’s loyalty to always serve customers with heart and maintain the quality of the menu served. make-believe creates a social reality performed by actors (schechner, 2006). visitors seek to know and possess the interaction between visitors and the interior of marugame udon also influences their activities both inside and outside the restaurant. not all, but some visitors have been stimulated to search for information about japanese culture after experiencing interaction with the interior of marugame udon. some search for information about traditional japanese food. marugame provides menus that are not commonly found in japanese restaurants. for some visitors, the variety of menus raises curiosity about other foods. others search for information on traditional japanese architecture. visitors’ curiosity in architecture arises because, according to them, the interior design of marugame udon is not entirely traditional. other visitors may search for different things. one visitor admitted to wanting to have the same eating utensils as those used by marugame udon. another visitor was inspired to have a home with a japanese theme. this is a small matter that needs to be reconsidered, especially in preserving a culture’s existence. this is not absolute among visitors, as there is always a possibility of dislike after exposure to the visuals. however, the symbolic interaction between visitors and the interior elements of marugame udon makes the physical substance of the interior not only act as an aesthetic symbol but also as a marker of specific events experienced by visitors at a specific time and place. traditionallooking furniture seems to respond to an emotional longing for the re-creation of memories of the past (dibbits, 2009). the examples above also explain horst’s statement that the investigation of the symbolic meaning of an entity is no more important than what the entity “does” (horst in dibbits, 2009). the discourse of functionality also needs to be set aside when a performance studies approach is applied (leatherbarrow, 2004). chairs are not discussed as seating. tables are not discussed in their role as food containers. walls are not observed as barriers between spaces. ceilings are not identified as covers for the channels above them. however, orthodox functional aspects still function, only not as the main role. chairs, tables, and other static agents are presented as places to sit and eat. however, performance-based research delves deeper into what events occur when agents perform their functions and their ability to anticipate new possibilities. applying performance as a telescope to view architecture means that buildings and spaces are seen as dynamic and open concepts (leatherbarrow, 2004). from the relationships that arise, the interior of marugame udon as a restaurant not only serves its role as a provider of food and beverages but also becomes a commodity for the mall, an emotional tourist arena for visitors, and acts like a fertilizer that nourishes visitors’ memories of pieces of japanese culture. these three things are some of the things referred to by leatherbarrow as unscripted performances and the manifestation of marugame udon’s adaptation as an open concept. conclusions through this research, the researchers were able to convey that the inclusiainun majid et al., the conveyance of the japanese atmosphere to visitors as a perfor167 ve use of performance theory can embrace all aspects involved in this study, such as the identity of marugame udon, the mall, and the visitors. the conclusions that can be drawn from this study are as follows. this study proves the existence of performance value in the interior of marugame udon. the interior of marugame udon can act as an influencer, generate interactions, and create specific relationships with visitors. an exploration of action finds that the interior appearance is a manifestation of the identity and commitment of marugame udon. an exploration of interaction finds two findings, namely that interior elements are a system that mutually supports each other in presenting a japanese atmosphere, and visitors interact most with decorative elements (noren and kanji characters) and the theater kitchen. an exploration of the relationship reveals that the marugame udon restaurant not only acts as a provider of food and drink but also as a stimulating agent that influences the perceptions of visitors and evokes their memories and desires related to japan, especially through the theater kitchen. these three findings indicate that marugame udon’s interior is a static performative ecosystem that can act, interact, and form relationships with visitors. acknowledgments the researchers would like to express their gratitude to lpdp and the indonesia ministry of finance as the sole funder of this research. the researchers would also like to thank marugame udon solo for providing space to the researchers. references addison, r., haig, c., & kearny, l. 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(2020). an introduction to ramen in japan boutique japan. https://boutiquejapan.com/ramen-in-japan/ 54 music education and taste forming of classical music style: case study in cultural institutionkarta pustaka yogyakarta indonesia inggit sitowati ethnomusicology majors, surakarta institute of arts, indonesia, jl. ki hajar dewantara 19, kentingan, jebres, surakarta, indonesia e-mail: inggitsitowati@gmail.com received: januari 2013. accepted: februari 2014. published: maret 2014 abstract karta pustaka is one of the cultural institutions in yogyakarta, which has a classical music concert program. the purpose of this study is to describe the history of karta pustaka and organizing classical music concerts, the concert format, and its role in supporting classical music education in yogyakarta. the method used in this study is qualitative research with historical and musicological approach.the data are collected by using interviews, documents and observations. data were analyzed using qualitative descriptions technicians. the results showed that karta pustaka as cultural institution has become a classical musicmedia which has a supporting role in classical music education in yogyakarta. the classical music concert program and classical music workshop held by karta pustaka information and knowledge for the students and people of musical art in yogyakarta. in addition karta pustaka also acts as a forming media and the development of consumer’s classical music tastes and styles in yogyakarta. © 2014 sendratasik fbs unnes keywords: karta pustaka; classical music education; andclassical music taste harmonia : journal of arts research and education 14 (1) (2014): 54-64 available online at http://journal.unnes.ac.id/nju/index.php/harmonia permalink/doi http://dx.doi.org/10.15294/harmonia.v14i1.2791 p-issn 1411-5115 e-issn 2355-3820 cal music expert, states that the medium for classical music appreciation in the community is low (marselia, 2007). classical music is rarely shown on television and radio. classical music is usually shown in the media for special events such as christmas or new year, and only in some particular media. although classical music in indonesia are rarely shown in public and rarely aired in the media, there are still fans of classical music. classical music education in indonesia is also growing. many people study classical music formally and informally. some indonesian universities also have departments or courses that teach classical music. in indonesia there are also several vocational schools of music. classiintroduction for most people, classical music is one type of music that is not easily understood and appreciated (riadi, 2008). even classical music is considered as boring and causing drowsiness, because it is difficult to understand. it takes time and learning to understand and appreciates classical music. therefore, people assume that classical music is a consumption for intellectuals and educated, who are able to understand and appreciate it better. classical music in indonesia is a musical genre which is rarely shown and performed for people in general. unlike pop and dangdut which are heavily performed in public. prof. andre de quadros, classiinggit sitowati, music education and taste forming of classical music style: case study ... 55 cal music education in the form of informal music lessons are also a lot in indonesia. this fact is a bit contradictory, because classical music is rarely shown, but indonesian peoples interest in classical music study can be summed up to be quite high. classical music conditions above are also occurred in yogyakarta. concerts and classical music performances in yogyakarta has less frequency compared to pop, dangdut, or rock. nevertheless, in yogyakarta there isa music vocational school, namely smk n 2 bantul. the two public universities in yogyakarta also have a music department, which are institut seni indonesia yogyakarta and universitas negeri yogyakarta. in addition, there are many music courses in yogyakarta that have classical music program. it suggests that in yogyakarta, the interest to learn classical music is quite good. in the midst of popular music industry and popular music media that flooded the music market, it turns out there isa media featuring classical music in yogyakarta. media that has a regular program of classical music in yogyakarta isa karta pustaka cultural institute. this media played a role in the existence and development of classical music in yogyakarta. the media has a mission and vision to popularize and educate the people of yogyakarta about classical music extensively. karta pustaka with classical music concert programsin yogyakarta today becomes an institution that is consistent in the implementation of classical music. as a media of classical music in yogyakarta, karta pustaka has a role in supporting classical music education world. it also became a media that foster and develop the tastes and styles of classical music consumption among the people of yogyakarta. method this study is prepared using qualitative methods. this qualitative research is trying to find the basis and theory, descriptively. qualitative research is also more concerned with the process and limit the study by focus (moleong, 2000, p. 27). the research was conducted by interview, the informant karta pustaka director as the main speaker. it is also conducted by interviewing several students which are classical music enthusiasts of ugm in yogyakarta. the method used in this work is qualitative research methods analysis-descriptive. the method of analysis descriptive qualitative research produces descriptive data, in the form ofthe written word and spoken by the people who become the object and whom behaviors are able to be observed. this study leads to background and studied individual holistically. so it does not isolate the observed individual in a variable or hypothesis, but saw it as part of all (moleong, 2000, p. 3). analysisdescriptive is a form of a depiction from the results data gathered in the field, both oral and written, and then analyzed as the conclusion of the study (kartono, 1996). this study was committed to the description of the experiences of the studied object. researchers trying to get into the world of conceptual object under study, and then to understand and to appreciate how an understanding can be developed by them around events in everyday life. the subjects of this study are mrs. anggi minarni (karta pustaka director) as the main informant. interviews are also conducted toward several classical music enthusiasts students of ugm in yogyakarta. they were selected randomly. the students who were selected as the study object or informants come from various fields of study, both social study program and exact study program. in addition, the informant came from different social and economic status. the informants who are selected are ugm student who really likes classical music, often watcha classical music concert, have collections of classical music, and actively engage in activities related to classical music. the informants also have the ability to play classical music, in the form of vocals, violin, and guitar. the data gathering technique was done by in-depth interviews. with inharmonia : journal of arts research and education 14 (1) (2014): 54-6456 depth interviews, so a complete and detailed information can be obtained. while the data analysis is done by reviewing the information or data that has been obtained, whether derived from interviews, observations, or from the study of the documents. all obtained data were then summarized and categorized according to the problem and study objectives. the categories that have been classified are then constructedby qualitative approach into description, which are analyzed and concluded. results and discussion the history of karta pustaka and classical music concert’s implementation at yogyakarta karta pustaka is a non-profit foundation which was established in 1968. the founder of karta pustaka was elisabeth theresia vania de brata, dick hartoko, sj, luve, sj, and supoyo padmo diputro. the managers of karta pustaka come from educational and cultural background, among others prof. dr. sardjito, harya danutirto, kasmat, andare currently still serving mr. and mrs. kunto wibisono. karta pustaka stands with the support and cooperation of the embassy of netherlands (sitowati, 2009, p. 123). karta pustaka was established with vision, mission and purpose to strengthen the friendship between indonesia and netherlands through culture. it also supports education in yogyakarta through facilities owned and activities held by karta pustaka. the activities which are organized by karta pustaka cover three areas, namely library, dutch language courses, and art and culture activities. arts and cultural activities include musical performances, dance, art exhibitions, discussions, and art performances, which is beneficial to the community. karta pustaka’s operational funding comes from the dutch embassy, donors, and contributions from members of the karta pustaka library. classical music concert is organized by karta pustaka since 1970. classical music concerts held by karta pustaka was initially located at wisma meister djodi gondokusumo on jalan sudirman. in this place the whole art and cultural activities organized karta pustaka was held, from 1970 to 1990. because the contract with this place is finished, then the place of the concert was moved to widya mandala building. the building is located in kotabaru, the situation is noisy and crowded, so it is not convenient for classical music concerts. one of the organizers of karta pustaka is the general medicine faculty’s deanof ugm, he offers ugm general medicine’s auditorium to karta pustaka as classical music concert place. the location of ugm general medicine’s auditorium is strategic and the building itself supports implementation of classical music concerts. because of that, from 1992 to the present karta pustaka music concerts is held at this place. when viewed from inside the concert place at ugm, that there is an impression of exclusive and elite, such as the attached image of classical music today. but according to the director of karta pustaka, the selection of classical music concert place does not intend to give the impression of exclusive and elite. incidentally ugm general medicine’s auditorium has a nice building, supported by good acoustics for classical music concerts. the location itselfis comfortable, not crowded, in the city center, and close to centers of education. these factors are the main reason for choosing the ugm general medicine’s auditorium as a venue for karta pustaka’s classical music concerts. according to the director of karta pustaka this is not a reason to make them selves exclusive as the place belongs to ugm. jazz then was also held by karta pustaka, as people of yogyakarta hasan interestin jazz music. at the first jazz concert was also held in the ugm general medicine’s auditorium. but since 2007 jazz concert was held in the auditorium of atma jaya university, due to the demand from atma jaya university it self. musicians who play in karta pusinggit sitowati, music education and taste forming of classical music style: case study ... 57 taka sconcerts are chosen netherlands’ musicians. they are the best professional musicians and have high quality. the musicians, who perform at karta pustaka, in addition to the original dutch musician, are also some musicians who come from other countries but settled and worked in netherlands. there are also musicians from other countries who won the classical music competition held by the netherlands government. the musicians who perform at karta pustaka’s concerts are funded by the dutch government. the musicians who are invited to the concert knows that the concert at karta pustaka is for cultural mission. they receive a stipend from the dutch government for concerts and workshops. but the amount that is paid for concerts and workshops are far below their standard rates if they perform in concert and commercial workshops. musicians payment, accommodation costs from their country to indonesia, administration, and permission from the ministry of foreign affairs are taken care of and covered by the dutch embassy in indonesia. while karta pustaka manages concert permit and accommodation costs for the musicians in yogyakarta (sitowati, 2009, p. 125). although the musicians who hold a concert at karta pustaka mainly dutch musicians, but occasionally, there are indonesian musicians who are invited to hold a concert at karta pustaka. the indonesian musicians who are invited has high achievement and quality. karta pustaka always holdsa concert music of the best and high quality musicians. preparation and administration to hold a music concert at karta pustakais conducted one year earlier. even for a very famous musician, it takes two years earlier. the netherland embassy in indonesia each year provides a list of activities and art performances to karta pustaka. then karta pustaka chooses activities and art performances which are appropriate and useful for the people of yogyakarta. there are several dutch cultural institutions in indonesia besides karta pustaka, among others are, in the cities of jakarta, bandung, semarang, and surabaya. these institutions also received an offer and cooperation of netherland embassy in indonesia. the dutch musician invited and funded by the dutch embassy in indonesia, held concerts in several cities at the same time where there is the dutch cultural institute. the frequency and amount of the concert at karta pustaka cannot be determined every year. because the activities and arts performance is determined by dutch culture’s counselor. they have a culture and arts recognition program themselves. the concentration of the type of the culture and art which are displayed also varies every year. if the counseloris a music lover, then the frequency of the concert program becomes high. but if the counselor does not like music, then the music concert program becomes low in frequency. culture and arts recognition program of the netherland embassy itself, among others are, in the form of art, dance, music, traditional arts, cultural heritage, literature, literary, and culinary. because it has a lot of programs, the program schedule should be shared in every field. in addition, dutch culture counselor’s interest affects the number of the programs. if dutch culture counselor like music, then the music concert program becomes many. if the dutch culture counselor does not like music, then numbers of music concerts become less. before 2000, almost every month classical music concerts are held. at least there are eight programs of classical music concerts hold by karta pustaka. but after 2000 the number is reduced the netherland embassy. according to the director of karta pustaka, after 2000 there are many other cultural events which are organized by the netherland embassy as an introduction and friendship program. because of that the activities are much more in the form of books related programs which are related to netherland books. so the music concert program from dutch embassy is reduced. in addition, the concentration of the culture is ‘heritage’. harmonia : journal of arts research and education 14 (1) (2014): 54-6458 cal music concert. although the classical music concert and the atmosphereis created to be not too stiff and not too formal, but still there are watching rules that should be applied. the rules, among others are, it should not be noisy during the concert, cell phones must be turned off or silenced during concerts, applause should only be given when the musician finished playing a song, and audiences should not eat and drink during the concert. not all audiences are accustomed to watching classical music concerts and understand the rule sets. therefore, before each concert begins, the rule will always be told to the audience, before the musicians perform. to make the atmosphere less formal, the host tells rule as informally as possible, not formal, not stiff, and with a few jokes. usually musical concert emcee at karta pustaka is ms. anggi, karta pustaka’s director herself. the emcee sometimes announced the rules with funny languages so that the audience does not feel dominated. a warm and friendly atmosphere is created like watching culture in yogyakarta. classical music concert format at karta pustaka is also made like that to eliminate the images of classical music in the society. all this time the images of classical music in the society is top class music, old man music, it is boring, and the music is elusive. with a cheap ticket, informal and not stiff event format, then the public will accept it easily. so far, classical music has an image as the music that is difficult to understand in society. classical music was considered high culture, rich man’s music, difficult to understand, and boring. karta pustaka tries to blur the image by the use of concert format. not harsh to the audience, delivered in a way that rules are delivered easily and as fluidly as possible. so to teach the culture of watching classical musicis delivered with ease. the classical music concert format follows the standards of other types of music format. standardization is done by classical music concertformat karta pustaka yogyakarta the formof classical music concert at karta pustaka is made to be not stiff or formal, in contrast to the classical music concert standard format. if the standard classical music concert attendances should wear formal clothing, namely suits and evening gowns, the audience at karta pustakacan wear any clothes. according to the director of karta pustaka (sitowati, 2009, p. 127), the audience may wear torn jeans, t-shirts, and flip-flops. these conditions are not forbidden for karta pustaka. the event was also held with a friendly, warm, and informal atmosphere. this is done to adjust to the culture of musical performances in yogyakarta which is relaxed. the culture of watching in yogyakartais different with the culture in europe. in yogyakarta gamelan and wing can be watched while eating and drinking, sitting cross-legged, with kinship atmosphere. so karta pustaka also does not make the concerts as formal as concerts in europe. if the seat is full and there arestill audiences who have not got a seat, they are permitted tosit on the ground in front. according to hauser (1974, p. 550), high art tends to only be enjoyed by the cultural elite and the like. in general, there is high demand in the high art that the art has a high aesthetic value. second, folk art usually enjoyed by rural agrarian society. but in folk art, it is difficult to separate between creators and connoisseurs of art. because folk art is collective result, although initially it is generated by individual. folk art is the creation of individual who belong to a lot of people. folk art in general is not required to have high aesthetic value, because it is spontaneous. because ofthe differences in the essence of high art and folk art, then the procedure is also different. in high art, music are seriously and formally performed. while in folk art, performances are more relaxed, familiar and familial. both of this cultural washing procedure are adopted by karta pustaka in their format of classiinggit sitowati, music education and taste forming of classical music style: case study ... 59 karta pustaka is in its presentation. standardized presentation of classical music concerts is the same as the presentation of other types of music in general. it is done so that people can easily accept and digest it. the standardization of a music presentation format must implement certain qualifications that are easily digested by society, which are easy and familiar like watching pop music concerts (strinati, 2007, p. 13). classical music concert audience at karta pustaka the audience of classical music concert at karta pustaka come from various backgrounds. spectatorsare not only from the upper class, but all of the social classes. although the musical concerts being held are seen as an upscale music, but karta pustaka will open opportunities for people from any classes to enjoy a classical music concert. karta pustaka does not restrict the audience only to certain circles. but the concert is aimed at anyone who wants to watch and learn classical music. so the audience comes from the bottom class up to the top class. karta pustaka just tries to eliminate the exclusivity of classical music. this is done by the lack of ticket and contribution from audiences. this makes people who are not capable to watch will be able to watch the concert at karta pustaka. especially for students and music majoring students who are less capable but need appreciation, they can watch and learn from the performing musicians. classical music concert at karta pustaka showed no differentiation as stated by bourdieu (1994, p. 56-57). there is no element of exclusivity, expensive, and only for the elite. bycheap concert ticket, it opens the opportunity for lower-middle class to be able to access and enjoy it. musical concerts of karta pustaka initially free. but from the inputs of several parties, it then made to be free no more. some viewers and friends of music protest that the concert is free. they say if the concert by dutch musician is free, if there is a concert by indonesian musician no one is willing to pay to watch it. so the ticket is made like that by karta pustakaso that if indonesian musicians hold a concert anyone will still appreciate it. it is also made to control the number of spectators. because when a free concert is being held without invitation, the number of viewers will exceed the seating capacity, so that the audience will sit on the floor. so then tickets are made with the purpose of controlling the number of spectators and an effort to maintain safety when there are natural disasters such as earthquakes (sitowati, 2009, p. 130) although music concert at karta pustaka is then used tickets and not free, but tickets are made as cheaply as possible, which are affordable for all people. currently the price of a concert ticket is rp 10,000,00 at karta pustaka. the ticket price is much cheaper than pop concert tickets even dangdut music concert at pura wisata. the ticket prices are also very different from the classical music concert ticket prices in the netherlands which are around 100 euros. the outcome from the concert ticket fee is then used to fund concerts and other artistic performances of musicians and artists of yogyakarta. publication of classical music concert at karta pustaka is not widely performed. information about classical music concert at karta pustaka is usually broadcasted in groups who is fond of classical music and become a loyal audience of karta pustaka. in addition, the information is also disseminated in educational institutions that have an appreciation of classical music such as isi, smkn 2, and ugm. also in some places in yogyakarta music courses. publications made by the karta pustaka gives the impression that the classical music concert is for particular few who really likes and appreciate classical music. although cheap tickets are intended for all people, but its publication is uneven and only in certain areas. the majority of the audience of classical music concerts at karta pustaka are young people, especially college students. in addition to isi students and students of harmonia : journal of arts research and education 14 (1) (2014): 54-6460 smkn 2, viewers are also come from another college students and public school students. according to the director of karta pustaka (8 september 2008), 90% of the audience is young people. most are students, but there are also a lot of teenagers. especially when the musician is handsome, young female audiences become many. incidentally, on the ticket and concert posters of karta pustaka has always displayed the musician photos. the physical appearance of musicians turned out to be a special attraction for spectators at karta pustaka. classical music concerts can not only be enjoyed by the essence of classical music performance, but the physical appearance is also one of the factors that can influence and attract the audiences to enjoy classical music concerts. the role of karta pustaka as a support in classical music education of yogyakarta classical music is chosen as the main focus with the aim of supporting music education in yogyakarta. in yogyakarta there is high school of music named smkn 2 bantul and the academy of music, now institut seni indonesia yogyakarta. because who studied there learn classical music, the students need support in the form of classical music performances from musicians who are professional and competent in classical music. because the mission of karta pustaka is to support education, classical music is chosen (sitowati, 2009, p. 12). classical music concert program at karta pustaka become support for students and musical art students in yogyakarta. as students and college students who worksin the field of classical music, they need some mediato train their appreciation of classical music. bourdieu says that the appreciation of art requires a long learning process and not just a momentary impression alone. “a work of art has meaning and appeal only to people who have cultural capability” (bourdieu, 1994, p. 2-3). the above cultural capacity is the ability to assess and understand a work of art. so it can be concluded that the ability to appreciate the classical music is a form of cultural capabilities. by watching a live classical music concert, the students and college students of art can gain a lot of musical knowledge and insight on how to play a good classical music. so their appreciation ability, assessment, and understandingin the works of classical music is increasing. educational mission of karta pustaka yogyakarta is not only conducted by organizing classical music and jazz concerts. musicians who are invited to play at the concerts also provide workshops for students, college students, and music teachers in yogyakarta. usually before or after the concert, musicians will give workshops. the one who is invited to attend the workshop are isi students and students of smkn 2 yogyakarta, isi lecturers and teachers of smkn 2 yogyakarta. the workshop is a transfer of knowledge. the musicians share the knowledge about their respective fields of music (sitowati, 2009, p. 125) the opportunity to attend the workshops from world class musicians is a very valuable experience and lesson for students and college students of musical art. they gained a lot of knowledge of world class musicians who perform in karta pustaka classical music concert. moreover the workshops are given by world-class musicians who have very good reputation and achievements. experience and no knowledge gained in the workshop will be a provision for the students and college students of musical art in their studies. the musicians who give workshops, sharetheir knowledge, especially about their playing technique, full comprehension and inspiration in playing a work of art, and gestures in playing a work of art. knowledge about playing technique, full comprehension and inspiration in playing a work of art, and gestures in playing music is needed by students and college students of musical art. they can apply these inggit sitowati, music education and taste forming of classical music style: case study ... 61 knowledge in their performance. the knowledge they gain can be provisioned when they had completed the study and doing their job. they can transfer their knowledge to their students. the musicians also share their knowledge about the history and background of the work performed by the students and college students of musical art that attends the workshop. science and knowledge of the history and background of a piece of music arethe basic thing required for a player to play the classical music. knowledge becomes supporting elements in playing and comprehend a work of art. without knowledge of the history and background of the work a music performer cannot play the musical piece totally. one important element in playing classical music is comprehension and inspiration. appreciation and knowledge gained from following a classical music concert and workshop at karta pustaka also make the students and college students of musical art skilled music listeners, which adorno referred to as the expert listener. adorno makes the classification of classical music listeners, in the form of eight types of listeners (dasilva, blasi, and dees, 1984, p. 67-68). the first type is the expert listener (skilled listener), is a listener who understands and knows very well about the ins and outs of the music he enjoys, so is able to judge music well, even for complicated work. they learn music or take music lessons. the second type is the good listener, the listener enjoysthe music not only for the prestige, but because of the tastes. this type is able to judge, but does notquite understand the music structures and techniques. the third type is the culture consumer¸ the consumer culture theyfocus on the performance skills in performing the work. the fourth type is the emotional listener, which enjoy music as it evokes the emotional and psychological aspects. the fifth type is the resentment listener, the listener cannot ignore the developments of music and trying to follow the orthodox customs of bach. the sixth type is the jazz fan, the happy listener. type seventh is the entertainment listener, which is the object of the culture industry. last type is unmusical or antimusic. in addition to the ability to play music, classical music listening skills are also needed for the students and college students of music department who will be working in the field of classical music. if they become the expert listener, they can assess a classical music performances which are good and which are bad. with the skills in listening to classical music, they can improve the performance of classical music according to the applied standard. the standard classical music including playing in accordance with the correct composition, comprehension and inspiration are in accordance with the history and background of the work. lecturers and teachers to also gain benefit from the world-class musicians. as well as the students and college students with art department gain knowledge about the music performance technique, comprehension and inspiration, gestures, as well as knowledge of the history and background of the work, the lecturers and teachers also benefit from these knowledge. the knowledge gained in the workshop become a provision for teachers and lecturers in their field of work. they can apply it to teach their students. in addition, the teachers and lecturers acquire knowledge about how to teach and convey knowledge of the world-class musicians to the workshop participants. the formingof classical music tastes and consumption styles of college students in yogyakarta according to sociologist bourdieu, taste is not universal and natural. tastes socially determined and defined by social location. it determines what is good and bad in social relations. hence taste in music is also not universal and natural, but is socially determined and act as a social product (bourdieu 1996, p. 56-57). based on bourdieu’s ideas above, it can be concluded that musical tastes are formed due to the social environment. that harmonia : journal of arts research and education 14 (1) (2014): 54-6462 social environment can be family, educational environment, friends, and social media. karta pustaka as a cultural institution witha classical music program can be summed up as social media that has a role in the forming of classical music tastes in yogyakarta. with the classical music programs, classical music fans in yogyakarta have a place for socializing. when the concert happens, the audience can interact with each other socially. this is where classical music socialization occurs among the audience. one tastemedia is a social environment. classical music program hold by karta pustaka forms a social environment that is the environment of classical music fans. the social environment is in line with bourdieu’s concept which is the arena concept. arena, according to bourdieu is a network of relationships between the objective position in it (jenkins, 2004, p. 124). arena is a social environment in which there is struggle and fight for resources and access. arena is a more or less homogeneous sphere, such as in artistic, journalistic, universities, and art. performers included in an arena must master the codes and rules. people will not understand the strategy of the perpetrator if he does not relate to the arena, where there are positions or their standing in it. occupant position in the arena can be either individual agents or agencies. based on the above, classical music fans can be assumed to be part and actors in the arena of classical music. community and classical music events that followed byclassical music enthusiasts is an arena where their positions are determined. in the arena, classical music fans should know and follow the codes and rules that are used. in the arena, fans of classical music are struggled to gain access and resources to classical music. the existence of classical music concert at karta pustaka become an appreciation on musical taste containers for fans of classical music in yogyakarta. besides being able to listen and enjoy good classical music, they also gain knowledge of variety classical music. classical music concert at karta pustakaalso provides a wide range of knowledge about the history of classical music, classical forms of music, composer biographies, and other classical music knowledge. classical music concert at karta pustaka in addition to presenting classical music, they also provide education about classical music. karta pustaka provides a transfer of knowledge to the audience. it helps classical music fans in yogyakarta in strengthening their classical music tastes by the use ofclassical music knowledge. it can be said that karta pustaka becomes a container and means of habitat development in the form of classical music tastes for classical music fans. according to bourdieu (1996), taste in music is one form of habits. so classical music tastes are habits. bourdieu’s define habits as the conditioning related to the presence of a social class. habits are the result of skills which becomes a practical action that is not always be realized, which later become the activator source in a particular social environment. habitus is formed through a process of internalization and education. habitus become the activator source of action, thought and representation. according to classical music fans, they got a lot of knowledge in classical music from classical music concerts hold by karta pustaka. according to one college student who is classical music fans in yogyakarta, he can learn about the techniques of playing music from a classical music concert at karta pustaka. the others college students and classical music fans in yogyakarta also said the same thing. they say from classical music concerts at karta pustaka, they learn a lot about classical music characteristic based on its time. they also learn how to make a good classical music presentation. they also become aware of the attitude and appearance of musicians on stage (sitowati, 2009, p. 145) classical music concert at karta pustaka provides a good example of musicians who perform for the informants on how to inggit sitowati, music education and taste forming of classical music style: case study ... 63 play classical music well. fans of classical music in yogyakarta, especially the people who learn in the field of classical music can see the good and correct techniques of classical music from the musicians who performed at the concert. such knowledge then can become the provision on when they play classical music. in classical music concert tickets at karta pustaka, they always write a short biographies of composers whose work is being played by musicians who performed in the concert. further more, quick explanation of musical forms and historical background of the piece of music that is played is also included in the invitation or boklet repertoire. that is the effect of a classical music concert at karta pustaka toward the informants. with a wide range of knowledge gained from watching a classical music concert at karta pustaka, classical music fans are more powerful in terms of its cultural capital. their knowledge of classical music is increased, thus supporting their skill in playing classical music. in addition to information on tickets and booklet repertoires, musicians who perform are often explained to the audience about the piece of music they play. they briefly describe the background of the composition they play. sometimes the musicians also describe briefly about the composer and the specialty of the composition which they play. information obtained from the classical music concerts performer are increasing the knowledge of the informant. based on the results of the interviews with the students of classical music fans in yogyakarta, karta pustaka influences the taste and style of their classical music consumption. influence in terms of knowledge and informationon classical music, playing examples and good techniques of classical music, also gesture and attitude in playing classical music. all the knowledge gained from these media influences the informant classical music playing capabilities. they can copy a good performance from the musicians. it also may become references to classical music performances for the informants. with the knowledge gained, then they can express the classical piece of music they play better (sitowati, 2009, p. 147). by watching live performances of classical music, classical music fans can see the musicians performance, along with techniques, gesture, and expression in playing a piece of music. because it can be seen directly, then this knowledge can be directly absorbed and practiced in their musical activities. all the information and knowledge gained from a classical music concert at karta pustaka, are being applied by the informants in the classical music field that they study. especially in terms of playing technique, gesture, the way to play a piece of music, and the concert format (sitowati, 2009, p. 148) the factors that make up habitusis internalization and education (bourdieu, 2996). by watching a classical music concert, the fans gain a variety of knowledge. knowledge is part of education in the forming of classical music’s habits. besides the habits to watch and the preferences of classical music are a form of internalization in the development of classical music habits. informal learning from watching a classical music concert at karta pustaka develop appreciation abilities of classical music as well as strengthen their tastes. according to bourdieu (1996), habitus uniformity within a group is the basic difference in the community’s lifestyle. lifestyle is part of the everyday social life of the modern world, in the form of action patterns that distinguish one person to another (chaney, 2004, p. 40-41). classical music concert for fans of classical music has become part of their social life, which distinguish themselves with others who are not fans of classical music. they claimed that watching classical music is a necessity to support the classic musical tastes and their activities. classical music concert becomes a necessity to complete and maintain their musical tastes. so watching classical music eventually becomes a lifestyle that supports their classical music tastes and their activities. lifestyle in the form harmonia : journal of arts research and education 14 (1) (2014): 54-6464 of watching classical music by the classical music fans can be understood, because it becomes a means of appreciation and learning. by watching classical music, they can appreciate their taste, and provide activities and lessons for learning classical music which they study. closing karta pustaka classical music media is existed until now and helped popularize classical music in yogyakarta. this media tries to blur the distinction and creepy image inherent in classical music, by changing the default format of classical music it becomes more popular and not rigid. this media also featured cheap classical music, making it affordable for all. classical music concert karta pustaka influence consumer taste and style in classical music of the classical music fans in yogyakarta. fans of classical music in yogyakarta become an audience of karta pustaka’s classical music concerts. classical music program hold by karta pustaka has a role in supporting classical music education in yogyakarta. students and college students gain knowledge and appreciation by watching classical music concerts hold by karta pustaka. another karta pustaka role in supporting classical music education in yogyakarta is holding workshops from musicians who performed in the concert. with the workshop of the world-class musicians, students, college students, teachers and lecturers gain more knowledge about classical music. karta pustaka providesany kinds of knowledge to the fans of classical music in yogyakarta. the most influential media in forming consumer tastes and styles of classical music ‘s fans in yogyakarta are karta pustaka. because the classical music concert featuring live performance, a lot of fans are acquiring knowledge in form of techniques, gesture, attitude, and comprehension of classical music. references bourdieu, p. 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(2003). musical taste and society”, in hargreaves, d. j. and north, a. c., 2003, the social psychology of music. new york: oxford university press sitowati, i. (2009). seleradan gaya konsumsi musik klasik di kalanagan mahasiswa ugm yogyakarta. tesis. yogyakarta: program studi sosiologi bidang ilmu-ilmu sosial strinati, d. (2007). popular culture; pengantar menuju teori budaya populer. translated by abdul mukhid. yogyakarta: jejak vol.pdf " ��������� ���������������#��!�� �������#������� ����������� ��� ��� �� ������ �������������� ��������� � ������� '� ������ � ��3���� ��'���� � �����6 ���� ��80 � �� ��'�����b�� ����� ��a������'� � ��� � � �$������ � ����� ���� ����� �������� ��� ���������� �������� �� ��� ����� ������ ������������������� ��� ��� ��������������������� ������ ��������������� � ������� ������ �������� ��������� ������ ������������������������ ����� &����������� ����� � �������4 ��� � � � ������� ����� ��� ������� ������� ��������� � � ������� �� * ��� ������ ����� ���������� ���������� � ����� ��� ������ ���� � ��&����� ���������������������� ������ ����������������������4��� ������"�� � ����*���� ������������ ���������� �� �� ��� ����� � ����� &���� � ������� � ������� ����� � ��� ������ ������ � ������ ������ � �������� ������ ���� � �� ������ ����� � ������� � ���� � ���� �� ���� � 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2023-02-12. accepted: 2023-04-30 abstract meta-figurative is a physical aesthetic discourse that reaches beyond the physical beauty of ideal bodies (skeletal construction, muscles, and skins). the interpretation approaches used new criticism, according to culler (2001), that goal to identify what the works repress or illuminate by concealing and portraying society and social attitudes. meta-figurative encompasses exploration pertaining to the interchangeable position and condition between tensions and pleasures of bodies in the social space. fifteen indonesian contemporary artists are: mangu putra, entang wiharso, chusin setiadikara, agus suwage, fx harsono, ivan sagito, heri dono, ronald manulang, nyoman masriadi, nyoman erawan, putu sutawijaya, laksmi sitaresmi, made djirna, ugo untoro, and bob sick yuditha have been conducting creative efforts and questioning about matters of the bodies’ position in the public space, conducting current interpretation through personal artistic and aesthetical language. there are five representation tendencies of meta-figurative paintings thematically, artistic images, and visual meanings: marginalized bodies, fictionalized bodies, bodies of expression, autobiographical bodies, and beyond famous portraits. indonesian contemporary artists have made figurative subjects in their paintings to make statements, selfreflections, and moral voices of their country’s socio-political conditions, which are educational values of indonesian contemporary paintings in social meaning. poverty, corruption, and antidemocracy practices still part of indonesian daily realities are area protests for contemporary artists. keywords: meta-figurative, contemporary painting, critical reading, education values how to cite: adnyana, i. w. k., totton, m. l., remawa, a. a. g. r., muka, i. k., ruta, i. m., wirakesuma, i. n., kondra, i. w., suardana, i. w. & sugita, i. k. a. (2023). tension-pleasure and education values of the meta-figurative of indonesian contemporary paintings. harmonia: journal of arts research and education, 23(1), 79-90 harmonia: journal of arts research and education 23 (1) (2023), 79-90 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i1.41296 tists choose marginalized bodies, and imaginative figurative characters, injure their self-portraits, and borrow heroic characters of famous names to show their moral stands. the tensions that endure in daily life, in their art practice, become challenges as well as ecstasy, albeit the risks of being introduction through layers of figurative language, indonesian artists want to say that national stakeholders still need much homework to materialize the nation’s goals as regulated in the state’s constitution. arcorresponding author: e-mail: wayankunadnyana@isi-dps.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (1) (2023): 79-9080 protested everywhere. since the independence struggles against colonialism in the 1930s, indonesian artists have been involved both in the physical war and moral war through their artworks when they founded the persatuan ahli gambar indonesia, indonesian association of artists (1936), which produced social arts with figures as subjects by artists like s. sudjojono, hendra gunawan, and affandi. also, during the new regime era, artists were involved in the struggle for social justice, as were done by painter semsar siahan, and gerakan seni rupa, new art movement (1970s), and the latest approaching the downfall of general suharto’s government (1998), there were also arts of defiance. in the meantime, a decade following the reformed era, indonesian contemporary art experienced the choice of figurative language with the birth of many more creative possibilities. however, one remains consistent and in line with history and has been the subject of figures as the moral language to protest social injustice, corruptive behaviors, and anti-democracy treatment. in iconological terms, figurative paintings tend to relate to the meaning of narrative on the romanticism of everyday heroism, as stated by adnyana (2018). this essay makes an original contribution to indonesian art discourse by writing maps of five representation tendencies of meta-figurative paintings thematically, artistic images, and visual meanings: marginalized bodies, fictionalized bodies, bodies of expression, autobiographical bodies, and beyond-famous portraits. the five categories explain the visionary reach/stretch of vision and the visual revolution of the latest indonesian artists’ creative practice in giving meaning to human bodies. these visual meanings also identify with educational values, which means theme, artistic, and visual aesthetic forms reveal social attitudes. method this research chose fifteen indonesian contemporary artists who explored and visualised the aesthetic of figurative terms in their paintings. these artists are: mangu putra, entang wiharso, chusin setiadikara, agus suwage, fx harsono, ivan sagito, heri dono, ronald manulang, nyoman masriadi, nyoman erawan, putu sutawijaya, laksmi sitaresmi, made djirna, ugo untoro and bob sick yuditha. it’s a qualitative research by purposive sampling that visual of contemporary paintings chosen by the identity of theme, artistic, and visual aesthetic. then, the paintings were identified and interpreted with a new criticism approach. the goal is to identify what the works repress or illuminate by concealing and portraying society and social attitudes, according to culler (2001). this approach consists of criticism of the interpretation of visual languages of the artist’s novelties. the figure is a term for bodies with multiple stages of meanings: artistic, aesthetic, and educational values that are constructed by visual representation of figures or bodies of human beings. because bodies have become subjects to touch social issues that intimidate their bodies, and simultaneously critically reading the phenomenon of social pleasure about bodies. in the interpretation that meaning is a significant process, the meaning by the recipient of a sign is suggested by eco in hoed (2008). result and discussion the beautiful concept of bodies (figures) in indonesian contemporary art, indeed, has shifted from the basis of the ideal image of proportionate bodies, athletes, and also bodies disciplined by consumption patterns (common in model drawings) to the issues of bodies (with souls) with the desire for freedom in social space/domain. according to godfrey (2020), the term contemporary art that is chosen echoes the problems we face in our daily lives: how to act, think, and believe. contemporary art, he suggests, can be entertaining, provocative, and even irritating. unarguably, the perception of the ideal body in the domii wayan ‘kun’ adnyana et al., tension-pleasure and education values of the meta-figura81 nant culture’s view is inherently discriminative both physically and in discourse/ discursively. figurative painting, or representational art form, means any picture that contains any recognizable images of the object. one of the aliens’ properties of figurative representations is that they are, in principle, readable to one extent or another, independently of place or time, as defined by avital (1997). several indonesian painters/artists have questioned this in the context of the exploration of figurative subjects to speak about the marginalized groups in the periphery and the poor. morgan stresses that silent features of form draw attention to particular traits of type or individual (2000). cartoonists have long understood the principle—we recognize the individual in caricature or the grotesque. it is also true of works of art which seek to emphasise aspects of human nature, such as gender, fertility, or power,” morgan (2000) suggested. thus, figures in contemporary indonesian paintings become a visual sign of many possibilities of human aspects. and the canvas surface becomes a medium for conceptual battle; bodies in the sense of the physicals are being woven and contrasted with the practice and perception of the dominant culture. marginalized bodies thus, bodies from secluded environments, isolated from urban modernization, became the choice of subject. bodies without any tendency to become idols, but bodies that are born, grow, and live to honor life itself. bodies that revere the souls more rather than simply beautify to parade physical amidst other bodies. the bodies being chosen were the souls’ vehicles that created harmony with nature. many artists trace the story of authentic bodies by visiting remote villages and even to mountainous regions. the artist gusti agung mangu putra (born in badung, bali, 1963) often scales the mountains’ steep roads in kintamanibali, about 45 km from the denpasar. in the kintamani region, several villages are economically isolated. as one of the ten best artworks, mangu putra, the recipient of the philip morris-indonesia art awards 1994, familiarizes himself and records the villagers’ daily lives. he recognizes well how diligent people must walk the steep terrains barefooted to cultivate the land, fetch clean water, and sell their produce to the market. all locations are separated by deep gorges and rocky roads, requiring much time. bodies of the villagers are made into actors in mangu’s attempt to make sense of the injustice of prosperity. meanwhile, in the concept of state politics, they are citizens who have an equal right to live decently. mangu putra’s work entitled “watching a carnival,” 400 x 145 cm (2 panels), 2008, oil on canvas, juxtaposes a mother carrying a baby with six children lining up on her side. only the children wear shorts; the rest are naked with very happy and excited faces. mangu putra indicates they are watching a carnival (perhaps an indonesian independence day carnival); although the painting does not show a carnival as such, by looking at the children’s enthusiastic faces, there is definitely a carnival happening in front of them. some of the children are waving empty plates and also a flag. the black and white painting with a combined technique of palette shows a family from kintamani mountainous region very characteristically. the small flag is intentionally put to contrast with the waving empty plates. the small flag can be interpreted as a pledge of citizenship where the nation has to guarantee equal prosperity. mangu is questioning the promise through his work. the painter chusin setiadikara (born in bandung in 1949) is also very familiar with marginalized bodies. chusin’s painting “radjin” (230 x 250 cm, 2003, oil on canvas) portrays a nude woman being juxtaposed with a gunnysack of chili peppers and a scale carrying a brand radjin. the nude woman is not a well-known figure, only an ordinary one painted provocatively nude pose. according to chusin, this painting is only to tease the audience’s inharmonia: journal of arts research and education 23 (1) (2023): 79-9082 terpretation; perhaps they will think that the naked woman has a connection with the gunnysack of chili peppers and the scale. it is only a visual play that juxtaposes the drawing subjects with no particular intention to connect them visually or in meaning. chusin understands more that each subject stands for itself. a point of view that subversively challenges the conventional way of seeing realities, particularly looking at artworks. artist ivan sagito (born in malang in 1957) also does the same/similar exploration and reflection. he paints middleaged women (mbok-mbok) in yogyakarta to imprint the matter of how life’s dignity must be maintained transcending suffering. ivan thoroughly and with full empathy visited the villagers after the earthquake that struck yogyakarta in 2006. women wearing kebaya and kemben dress persevere in shouldering the catastrophe without wanting to be pitied. they still look straight ahead despite houses that have been made flat to the ground. ivan portrays the women’s faces as extraordinary in training/educating their bodies; bodies can be hurt, sad, and poor, but the soul/ spirit must remain free and dignified. these marginalized bodies’ struggle, movement, and living modes are parts of mangu, chusin, and sagito’s creative research. anonym personas; a conscious choice not to choose bodies enwrapped in pop cultures, becomes a serious and mature step to recognize and arrange the real body narrative. popular names often prevent objective views about one’s understanding of bodies. because, in real life, the popular bodies only make use of anonymous bodies to control public space. the body of a popular name often discards the body’s position as a physic with soul by their envious, greedy, power-monger mental game. in the context of artistry, the three artists mentioned above chose a realist-photograph image to represent the drawing subjects. this is because they have such a mastery in the painting technique, where a realistic image is achievable through the common technique and unique personal/ individual techniques. mangu, in contrast, used a palette technique, with colors piled up in such a way and some glazed. chusin very often combined the oil paint technique with the charcoal drawing technique. ivan has a great ability in transparent watercolor technique. being established in the painting techniques is very important, which makes their works visually very characteristic and whole in materializing the concept. the “marginalized bodies” category is present on the basis of reflection on the field. meaning there are portraits of social bodies that become the foundation of the expression departure of the artists. the role of a more symbolic imagination is indeed apparent in sagito’s works by choosing the long braided women’s hair as a representation sign of the social bodies of javanese women. however, social critic themes through visuals are dominantly presented by images of imaginary figures and fictive maneuvering, very apparent in the works of heri dono, made djirna, and entang wiharso, which are marked in the “fictionalized bodies” category. in this term, the figurative paintings, that human form communicates through individual, social, and cultural traits which reveal personal type as well as the context of the specific action, suggested by morgan (2000). each person of artist explored their feelings, perspectives, and also self-reflections on macro social conditions. fictionalized bodies figures subject in the indonesian contemporary arts are also present in a very imaginative and fictive temperament. meaning that figure images visually transcend the photographic boundaries. figures become the artist’s intuitive language to represent social bodies. artists have more freedom to process and interpret bodies identities, either by intentionally elongating, fattening the proportions, or borrowing the representation of javanese puppet figures. the most important thing is how the narration and the theme can i wayan ‘kun’ adnyana et al., tension-pleasure and education values of the meta-figura83 be expressed thoroughly without dealing with the body subject’s photographic precision. also, unavoidably, fiction gives an unlimited opportunity for artists to fantasize about bodies. however, the desire formulated a critical social theme, sometimes make the imagination under the control of a discourse proposed by the artists. this condition poses a creative challenge for the artists and simultaneously a pleasure to always test imagination with/against reflection of critical thinking. several indonesian frontrunner contemporary artists embody this style of imaginative figures, namely heri dono, i made djirna, and entang wiharso. heri dono (born in jakarta in 1960) intensively explores the wayang aesthetic style and infuses it into contemporary art practice. in addition to various object works, and installations, heri dono’s paintings also combine the pattern/style of cartoon distortion with javanese leather puppet characters. the figures are as though presence flat without volume, comical, and also naïve. no matter how sharp social critic themes are, their mocking is humorous when expressed through these types of figures’ styles. this indonesian artist, who has participated in numerous international exhibitions, also explores and brings children’s cartoon figures into his works. the imaginary figures appear free, eclectic, plural, and hybrid, without any pretense to point to any particularities. according to karnadi (2010), hero dono developed a kind of narrative by drawing upon local messages and contexts which he has experienced. unlike heri dono, the contemporary artist i made djirna (born in ubud, bali, 1957), explores the primitive balinese forms and wayang as the figures’ narrative style. lines strokes form figures that create symbolic narration. djirna, who in 1995 joined an artist residence program in basel, switzerland , in his most recent works, uses collages from chinese coins (chinese coins with holes in the middle being used in rituals that are lately reproduced in bali). this collage forms an imaginary figure narrating old myths and archaic human life. djirna simultaneously questions as well as attempts to create new interpretations of myths, like questioning the ritual practice of balinese, who often are very wasteful and costly. he chooses to make sense of rituals from the context of philosophical substance. djirna’s painting “money flowers” (mixed media on canvas, 180 x 200, 2013) puts forward an imaginary figure, a human with a lizard tail wearing a money crown. the entire figure is formed from the kepeng, chinese coins. this reptilian human is swarmed by flying termites and dragonflies, the insects flying around the money crown. while other animals, such as snakes, goats, and diminutive humans in mobs, are approaching. a syllogism, a metaphor, may portray how a human being with lots of money can behave like an animal that entices other animals to come near. however, djirna chooses mockery rather than vulgar criticism. meanwhile, the artist entang wiharso (born in tegal, central java, 1967) does not entirely free the figures from the tendency to refer to a particular figure. fictive figures are still based on a representation of the reality of social bodies. he often paints self-portraits with such freedom; imagination is still the sensor device to free the representation pattern from the photographic pressure. the combined realistic representation with imaginative figures make entang’s works so impressive, serious, and haunt their viewers. figure 1. entang wiharso, forbidden exotic country, 300x600cm, 2005, entang wiharso’s catalogue, intoxic, rumah seni yaitu, semarang, 2007 harmonia: journal of arts research and education 23 (1) (2023): 79-9084 say, for example, entang’s work entitled “forbidden exotic country” (300 x 600 cm – 3 panels, oil on canvas, 2005), which bound to cause terror to viewers. nude bodies, seated lining up on a sofa, some are scattered and piled up under a table, and some are tied up. though the mouths of most of these bodies lying face up are closed, the impression they project is that of screaming in silence. though the message is obscure, the most important thing that can be interpreted from this works is that the issue of nakedness from the larger social perspective is often considered disgraceful. or, on a larger issue, how the body is perceived as a sinner that has to be thoroughly covered. the fictive figurative subject is present to free the painting from the shackle of photographic representation since they are bodies invented from the imaginative ideas of the artist. what is preferred is the drawing subject’s character, i.e., figures who tell stories. the three artists just mentioned freely distort the body representation to bring about imaginative bodies with personal character, but whole in telling the theme of social criticism. in the fictionalized bodies category, the subject matter arises from the artist’s realm of imagination, and some specific instance is linked with the mythology and the cultural artifact of the indonesian past, such as the wayang world. the subject matter that emphasizes more on the spontaneity of the painting process, the writer explains in a subtheme, “bodies of expression.” some of entang wiharso’s works show the sign of expressivity and spontaneity of figure image. indeed, “bodies of expression” has a close affinity with fictive bodies, where the body image is not painted realistically but through the personal perception process of the artist. this is a position where personal expression is more important to the theme outpouring than the factor of drawing a realistic representation (figure 1). bodies of expression artists do not always seem comfortable letting the painting practice run like a design technique requiring clearly planned stages. many indonesian contemporary artists treat body themes through spontaneous, quick, and free expression. outpouring authentic feeling is more important than running after the subject matter’s realistic sense. only by allowing the spontaneous expression running, the artist feels the ease that all of his or her restlessness over something and ideas are expressed through the works. the indonesian artists who represent this tendency are putu sutawijaya, ugo untoro, and bob sick yuditha. the three artists are of the same generation and go through formal education on the same campus, i.e., isi (indonesian arts institute) yogyakarta; however, their come from different cultural backgrounds. sutawijaya was born in bali, while ugo and bob sick come from java. the three make bodies as subject representations that are pictured in informal figures. bob sick yuditha (born in yogyakarta in 1971) presents bodies in spontaneous expressions of graffiti images. all kinds of body narratives appear full of scrawls, spiced with statements, scribble, and ornaments. like graffiti, bob sick’s paintings become an artistic expression pertaining to many things, including cynicism and social criticism. yuditha express how informal figuration can expose many messages that educate audiences to know social problems. bob sick originates from a bohemian artist who expresses a vagabond experience and a cultural memory expressed in the bodies of downtrodden characters. bodies are distanced from ideal proportion and often appear emaciated, tall, and vulnerable. the ornament images are wild and free of contrasting colors to accommodate the expression. bob sick’s strength lies in his ability to present his perception of the outside world with empathy on his personal canvasses. ugo untoro’s (born in purbalingga, central java, 1970) works can also reveal a similar tone. the social bodies narrative i wayan ‘kun’ adnyana et al., tension-pleasure and education values of the meta-figura85 presents rich and poetic in ugo’s works. unlike bob sick, ugo’s works are more minimalist in that informal bodies sometimes appear in their solitude, requiring no other sign, let alone merry ornaments. ugo appreciated the silence. the bodies that are drawn spontaneously often as though they are reflective and in a mental battle. the body poetic in the works of this artist, who received the award of one of the five best works of philip morris indonesia awards 1998, indeed transcends the visual narrative. there appears to be a sense of psychological impression that these solitary bodies are heading for. for instance, ugos’ painting entitled “javasutra#2” (100 x 120 cm, acrylic on canvas, 2008) presents a couple of malefemale bodies done with a very minimalist stroke, and the rest of the canvas is washed in gray. the male body is black with a red face, while the female’s is bright white. the two bodies are sweaty, as portrayed by the color that were allowed to drip and flow, creating a water rhythm. javasutra is of course a translation of kamasutra, the indian erotic text about sexuality. in java there is a similar text called serat centini. ugo portrays a fragment of sexuality through a poetic rhythm of a pair of male-female bodies. only with a brush stroke of red on the male figure can this painting talk about harmonious sensuality. the genitals are intentionally omitted from the picture representation. unlike sutawijaya and bob sick, ugo prefers to present solitary bodies. sutawijaya (born in tabanan-bali, in 1971) brings up the subject of movements of nude bodies. bodies moving in rhythm, like dancing, running, or peddling bicycles, are presented with spontaneous color strokes and brushes. nude bodies without genitals, parading and telling themes of rituals and bodies in daily actions. bodies in dynamic gestures appear in impressive landscapes created through textures and also from direct blotches of paints from the tubes. most of sutawijya’s works are artistically emphasizing the strength of lines and monochrome color. lines are produced with strokes of blunt brushes using black china ink. the lines and strokes form the configuration of bodies in rhythmic motions; details are sacrificed. the sense of motion is more important than anatomical correctness. exploring bodies in motions done with spontaneous means of expressing them makes sutawijaya’s works stand with very strong character. the thing that ties these three artists into the category “bodies of expression” is their mutual preference to labor into how the psychological and emotional condition of the artists are poured out into the spontaneity of informal bodies. the bodies represent the artists’ deeper emotive realities and not translating visual realities. reality is only an impetus, while the final treatment is the artist’s psychological impression through lines and a spontaneous painting process. to take a distance from a literal translation of reality is an artist’s greatest challenge because reality is always tempting to be reproduced. reality is always tempting, especially if the reality is associated with the painter. for instance, the pride in his physical body is commonly done in painter’s self portraits. but in the indonesian contemporary arts, the tradition of self-portrait has developed into the a critical power of the personal body. unlike “bodies of expressions,” paintings carrying subjects of painters’ biographical bodies still considering the interest of accurate expression of representation, especially to present the unique character of a body to ease identification. sutawijaya’s work “always alive” (140 x 190 cm, mixed media on canvas, 2004), for example, in a subtle way is actually disclosing the artist’s intention to explore his biographical body, in this instance in particular pertaining to his role as part of a balinese cultural body, like the kecak dancers bodies. the painting “always alive” intentionally proposed how the anatomical body of the barong dancers not only represents the dancers’ physical quality but also portray the sacred spirit of balinese arts that survives today. so, the artist’s personal physical images are understood harmonia: journal of arts research and education 23 (1) (2023): 79-9086 by the respective artist that it has moved from a mere practice of painting self-portraits. autobiographical bodies indonesian contemporary artists make personal bodies and face subject matters; they do not stop at the representation of body likeness in the pictures but maintain bodies and self-portraits as media of critical stance. many things can be conveyed from facial expressions, and many events can happen on the artist’s face and body. there are some who slice their facial pictures, and choose unusual facial expressions, as well as some who narrate many painful stories all over their bodies. in the context of “autobiographical bodies,” the artist’s ego in taking pleasure in the body spell may be motivated by the promise of social status, popularity labels, and others often abuse self portrait practice into narcissism. the tension happens when the artist has to take distance from his or her ego and is willing to make their bodies and self-portraits as media to express a critical stance and to deconstruct the perception of excessive self-pride. the principle of being critical of oneself becomes the most fundamental awareness in the practice of “autobiographical bodies.” say, for example, when examining the works of nyoman erawan (born in sukawati, bali, 1958), where one sees a face with both eyes shut tight and the rest is only drips and overflows of colors. a rock emitting fire flames pierced with needles hanging, interrupting the imperfect face. it’s a summary of a very subversive representation of a portrait painting. in work entitled “fire, depression and rock #3” (200 x 200 cm, acrylic on canvas, 2009), erawan proposes how self-portrait and portrait art has evolved from their original fate. the style of a drawing-based painting that originally is taken as an effort to capture an accurate picture of facial reality, a romantic interpretation of portrait art, by erawan is challenged and tumbled by consciously wrecking the face drawing with pierces, cuts, color wash, and overflows as well as presenting several drawing marks that are visually agitating like piercing needles, flames of fires, hanging rocks, or leaves in flames on his personal body and face. meanwhile, the yogyakarta born artist (1974) laksmi sitaresmi uses her own body as a subject to narrate pains and unending life struggles. take, for example, the work entitled “just enjoy this life’s pains” (200 x 80 cm, acrylic on canvas, 2005), where laksmi represents her nude body pierced with nails, and each of the nail’s end is attached with a string that has things tied onto it and also animals (a caterpillar, fish, and bird). blood is pictured trickling from the wounds, but laksmi is portrayed to remain silent, not hysterical. from the work’s title, the injured body by nails and hanging burdens do not succumb to the ground; she enjoys the nearly unbearable pains as a responsibility to nurture the soul. although it is not like a photographic portrait, laksmi’s painting remains very impressive in speaking about pain. different from laksmi, the artist fx harsono (born in blitar, east java, 1949) portrays his personal body gestures in a documentary way, like a historian studying historical documents. harsono interviewed history makers and witnesses during the mass killing of innocent people accused by the soeharto regime as members of pki (the indonesian communist party) in 1965-66. harsono reassembles the names of the victims who most people have forgotten. for example, look at the work “memory of the erased name #7” (triptych, oil on canvas, 120 x 150 cm each, 2010). harsono portrays himself as writing the names of the victims in chinese characters. he writes the names on a clear glass slab, so when viewed from the other side, the names resemble tattoos adorning harsono’s body. this painting is a still projection of harsono’s video art. this is a research-based work. he believes the beauty of art can also be a research path to reveal the historical truth. agus suwage, a purworejo-born artist in central java (1959), chooses face or i wayan ‘kun’ adnyana et al., tension-pleasure and education values of the meta-figura87 self-portrait more as an effort to create metaphors. see, for example, his self-portraits kissing a human skull, fashioning a pig’s head, or in his open mouth appears an extraction of edward munch’s “the scream.” he intentionally connects self-portraits with various icons. his works mock without anger. the feeling produced is more of a nuance of innocence and humor. expressions of depression, moaning, screaming, contemplative faces or laughing, smiling, or other funny expressions are chosen to convey matters outside the self. the choice of pose and unique means of expression of each artist tempts us to compare with how the indonesian public space is now filled with self-portrait poses of people who claim themselves as leaders, politicians, or bureaucrats. their poses are similar, blend smiles, and represent portraits lacking characters. perhaps it is because publicity machines produce them. perhaps it is because publicity machines produce them. the greetings accompanying the portraits are equally blended. as an illustration, ever since the democratization of the election of government heads and legislative at the regional and national levels, bodies of famous names have advertised themselves haughtily in every intersection, public facility, public transportation, and even public toilet. bodies wrapped in cosmetic attires, dominant cultural identities, power symbols, and contrived photographic gestures are all over in posters, banners, billboards, and stickers. the yogyakarta public art activists call this general election advertisement that is placed carelessly “visual garbage.” they often clean up these types of ads. in addition to choosing bodies and self-portraits as subjects, some contemporary indonesian artists also explore and reflect on famous bodies. agus suwage, for example, in addition to painting his body to speak out about the ironic macro social condition, borrows bodies and portraits of famous leaders. for instance, in his series of figures smoking cigarettes, he places a cigarette on the lips of famous people such as soekarno (the first president of indonesia) and others. famous bodies from the political, arts, and religious arenas are fascinating to reinterpret. this type of expression style belongs to the “beyond famous portraits.” beyond famous portraits notably, the figurative subjects in contemporary indonesian art have moved into and borrowed popular bodies, real or fictive. often the figures chosen are historically recognized and individuals who have significantly contributed to human life. the choice of faces like buddha, mahatma gandhi, mother theresa, soekarno, and other celebrated faces, including world-renowned singers like michael jackson. and also popular fictive bodies like batman, superman, and others. there are artists who intentionally choose controversial political figures. for the latter, often, the portrait is represented with mockery. we can suspect the influence of the 1960 pop art movement in america and europe inspired the creative character of contemporary indonesian artists. however, the works of these indonesian artists remain specific in visual style with a genuine perspective of interpretation. these types of figurative paintings that bodies or images visualized in the procedure involve a dazzling interplay of geometry, figurative art, perspective, and psychology of visual perception, the intelligible perception used by artists to construct images of the world, suggested by lazzaro and murra (2013). in the hands of indonesian contemporary artists, famous portraits with heroic values in fighting for human freedom from colonialism, poverty, and wars are often juxtaposed with the reality of the poor, marginalized, and other socially low groups. how the figures contributed toward life and history is painted through a unique point of view, but the narrative of the historical background of the figure is very readily guessed from the works. say, for example, paintings of sutjipto adi, born in jember, east java (1957), harmonia: journal of arts research and education 23 (1) (2023): 79-9088 who paints gandhi, theresa, or dalai lama and others with images of compassion and nonviolent struggle. in some works, adi paints many expressions of infant bodies besides the figures and portraits of that great figures. as though want to say how great the figure’s contribution has been to uphold the new generation’s optimism. adi’s painting technique appears in a tapestry of complex cubistic planes combined with unique drawing techniques creating imaginary spaces and dimensions to delve into the portrait’s photographic realities and representation of the current social sphere. at a certain time, the artist ronald manulang, a batak-born artist from north sumatera (1954), chose the dictator hitler figure in his works. hitler was portrayed as pregnant showing funny facial expressions. the appearance of a photo-realistic of hitler’s face with a bulging stomach is certainly a unique perspective and subversive of how we currently perceive hitler. perhaps, ronald loudly reminds us of the fascist potential progenies or mocks the possibility of certain people idolizing him again. this an exciting critique of how the current time visualizes history. it’s a plea and a critical reflection, but refreshing; this is the strength of arts in creating perception and interpretation. for example, manulang’s painting entitled “expecting a new born child” (189 x 200 cm, oil paint on canvas, 2009) portrays the figure of hitler as a pregnant woman nearing labor. only the face is identical to hitler, with longer pony brow hairs making it look funny. the anatomy, including the body and feet, is that of a woman. the gaze of this nazi leader is cold, with suits widely open, exposing the bulging stomach. gazing to the future or hoping the conceived progeny will have the same mentality. the gaze and hitler’s pregnant state are the most provocative part of ronald’s work, mocking the existence of this dictator. the theme of pregnancy does invite its interpretation since this is where hopes and human hopes of the future is told. in the context of “expecting a new born child,” this can be a paranoia of the possibility of history repeating itself or somebody intentionally hoping that history repeats itself. it is a state of mind of continual tension, and ronald manulang terrorizes our attention with the subversive visual representation. according to adnyana, remawa, & sari (2019), manulang painted a portrait of hitler that created a new metaphor by reframing, recasting, and mobilizing signs as an aesthetic concept. in the meantime, the artist nyoman masriadi (born in mas, bali, 1973) brings up the popular fiction figure. masriadi expresses in a witty satire our daily life through painting the narrative of drawing subjects resembling the pattern of comic narrative. complete with dialog bubbles, and he strengthens the drawings often adopted from popular fiction characters. art also is a type of thinking/making that allows people to form and develop their characters, as chamim et al. (2003) suggested. the work “sorry hero, i forgot” (200 x 300 cm, acrylic on canvas, 2008), for example, represents the two figures batman and superman in a dialog while they are in the toilets, in a separate cubicle. batman complains about the people he helps who never say thank you, and superman cheers him up by saying, “never mind, just let go, we’ll see, ok.” this fragment mocks the world of the superheroes, whether they do not need any reward for their good deeds or are genuinely sincere for the sake of doing good. no one expected that such a dialog would take place amongst heroes. the indonesian artists who put forward subjects about popular figures, fiction or real, are like bringing us to the questions about popularity. the language instrument of satire, humor, and comical becomes the choice to rewrite the position of favor. by presenting popular figures as subjects, the themes are made to go beyond localities and transcend the issue of the resemblance of the visual character of the figures. what’s more important is how the interpretation is allowed to be as liberal i wayan ‘kun’ adnyana et al., tension-pleasure and education values of the meta-figura89 as possible to reread the figure’s presence in a more expanded discourse arena. according to chiu & genocchio (2010), some art that has significantly impacted indonesia employs anime, cyber-gaming, comicbook imagery, and masriadi. in art practice, figurative painters access very complex levels of knowledge; to produce a painting requires, first, a deep analysis of the image of the reality and, afterward, the study of the reconstruction of this reality, suggested by de molina (2014). the artists’ ways of expressing the subject matter of popular bodies tend to choose realistic images. the realistic image eases the connection between the viewers’ memory with the artist’s creative power in interpreting the actor/figure as the receiver itself. according to abodunrin (2016), paintings have been used over time to express emotion and feeling to the perceiving audience. the artist’s critical ways within the perspective freedom give the popular figure richer meanings using body, artistic visual, and social meanings. conclusion figurative subjects on the indonesian contemporary arts are marked by layers of ideas and visual imageries. and the first layer is a question about the quality of bodies that were the basis of visual art representation all this time. bodies are no longer seen as an ideal posture to be recaptured exactly. many artists depart from the admiration of the body’s gestures, forms, and face criticism of how bodies become actors in the macro social narration. this sense accommodated education values that morality and democracy is represented in the new metaphor of aesthetic terms. how will the audience define values of social character that are requesting figures or social agents visualized by the artists. the term is figurative/visual art recalls the role of the social-cultural context—the social, political, and cultural environment, suggested by vasileva (2019) to tend the bulgarian art, particularly painting. the perspective being developed is often a condition of marginalized bodies, like in the works of mangu putra, chusin setiadikara, and ivan sagito. this creative framework makes marginalized bodies subjects in the “marginalized bodies”. the visual figurative indication also pertains to myths reinterpretation; heroic stories of the past that are narrated in chronicles or scriptures like ramayana and mahabharata being reinterpreted into the current context of progressing world. the world of wayang in the javanese tradition is utilized as a path to query the conduct of contemporary people. the tall and elongated figure of wayang enriches the subjects of invented and imaginative bodies, which then also color the bodies of a marginalized lot, and the desire to mock the borzoi’s group like in the works of heri dono, entang wiharso, and made djirna that are categorized into “fictionalized bodies.” meanwhile, the way artists pour their mental mood pertaining to private and social bodies through an expression of spontaneous and free painting technique is categorized into “bodies of expression.” bob sick yudhita, ugo untoro, and putu sutawijaya are artists in this category. the three artists consciously take sides to the psychological condition in perceiving realities rather than yielding to repainting realities. thus, the bodies present informal and distorted; the rest is an issue of a mental condition appearing on the canvas. the next figurative subject framework is “autobiographical bodies,” i.e., artists consciously make their bodies, faces, or private physical characters as the drawing subjects. they use their physic as a medium to speak of macro socio-political space. the artists often intentionally choose unusual portrait expressions like screaming in fear, sad, in pain, and laughing strangely. many also shred their body representations by adding visual markings or certain cultural tools to show identity and to protest. this is a choice taken by nyoman erawan, fx harsono, laksmi sitaresmi, and agus suwage. finally, indonesian contemporary art also exploits real and fictive popular boharmonia: journal of arts research and education 23 (1) (2023): 79-9090 dies, such as the faces of heroic figures of this age, which is categorized as “beyond famous portrait.” the bodies are often juxtaposed with the figure’s humanitarian works for marginalized people. thus, the making of the paintings is often associated with contemporary socio-political realities. the artists choose the faces of buddha, mahatma gandhi, mother theresa, soekarno, and figures from pop culture like michael jackson and others. art critic, avital (1997), read that figurative art (painting) is like all other symbol systems that emerged within culture; beginning with language, throught totemism, mythology, religion, and philosophy, and up to modern science, it is a sub-process of the total evolution of codes. the symbol system (evolusion of codis) in figurative paintings also exposed values of education released by artists who took social-political phenomena on inspired themes, artistic, and aesthetic achievements. for how the popular bodies are lent into new interpretation to provoke social perception about the history and the figure’s social role. references abodunrin, j. a. (2016). audience perception of effective communication in nigerian paintings. harmonia: journal of arts research and education, 16 (2), 103-115. https://doi.org/10.15294/ harmonia.v16i2.7824 adnyana, i.w. (2018). tiger-hunting scene on yeh pulu relief in bali. romanticism of people’s heroism in the study of iconology. cultura. international journal of philosophy of culture and axiology, 15 (1), 147-160. adnyana, i.w., remawa, a.a. g. r., & sari, n. l. d. i. d. (2019). metafora baru dalam seni lukis kontemporer berbasis ikonografi relief yeh pulu. mudra jurnal seni budaya, 34(2), 223-229. https://doi.org/10.31091/ mudra.v34i2.704 avital, tsion. (1997). “figurative art versus abstract art: levels of connectivity” in emotion, creativity, & art (edited by l. dorfman etc.). perm: perm cultural institute, 134-152. chiu, m., genocchio, b. (2010). contemporary asian art. london: thames & hudson ltd. culler, jonathan. (2001). the pursuit of signs (semiotics, literature, deconstruction). ithaca, new york: cornell university press. de molina, alberto c. (2014). color sensation in figurative painting. international journal of human movement and sport sciences, 2 (1), 1-4. godfrey. t. (2020). the story of contemporary art. massachusetts: the mit press. hoed, b. h. (2008). semiotika dan dinamika sosial budaya. jakarta: fakultas ilmu pengetahuan budaya universitas indonesia. karnadi, k. (executive art editor). (2010). modern indonesian art: from raden saleh to the present day. denpasar: koes art book. lazzaro, paolo di., and daniele murra. (2013). figurative art, perception, and hidden images in inverse perspective. energia ambiente innovazione, vol. 1-2, 42-51. morgan, lyvia. (2000). “form and meaning in figurative painting” in the wall paintings of thera (proceedings of the first international symposium). hellas: athens. rath, a. k. (2007). ketidaknyamanan dan penyakit di belakang layar orde sosial dalam karya entang. catalogue of intoxic: pameran tunggal entang wiharso. semarang: rumah seni yaitu. vasileva, zdravka. (2019). from figurative painting to painting of substance— the concept of an artist. open journal for studies in arts, 2 (1), 35-44. https://doi.org/10.15294/harmonia.v16i2.7824 https://doi.org/10.15294/harmonia.v16i2.7824 https://doi.org/10.31091/mudra.v34i2.704 https://doi.org/10.31091/mudra.v34i2.704 kata pengantar harmonia: jurnal pengetahuan dan pemikiran seni konsep "badar" dalam lakon carangan pewayangan tradisi yogyakarta (he concept of "badar" in yogyakarta pupettry tradition branch story) hanggar budi prasetya staf pengajar jurusan pedalangan, fakultas seni pertunjukan, isi yogyakarta abstrak tulisan ini bertujuan untuk (1) memahami lakonlakon semar dalam pewayangan tradisi yogyakarta dan keterkaitannya dengan peristiwa baratayuda dan (2) memahami konsep "badar" dalam pewayangan tradisi yogyakarta. wayang, seperti halnya jenis folklor yang lain memiliki logika tersendiri yang berbeda dengan logika umum. salah satu logika itu terlihat dari munculnya konsep"badar" dalam hampir seluruh cerita pewayangan, terutama pada lakonlakon carangan. konsep "badar" ini berasal dari mitologi jawa, bahwa seseorang yang memiliki ilmu dapat berubah menjadi bentuk lain, dan pada saatnya bisa kembali atau badar seperri aslinya. biasanya "badar" mengakhiri sebuah pertunjukan wayang. kata kunci: konsep badar, lakon carangan, lakon semar a. pendahuluan dibandingkan dengan wayang bali atau wayang sunda, wayang jawa jauh berkembang. hal ini dapat dilihat dari jumlah lakon wayang yang ada. lakon wayang jawa jumlahnya mencapai ratusan, sementara wayang sunda dan bali sangat terbatas. gronendael (1988: 209) menemukan 449 judul lakon wayang jawa, sedangkan wayang sunda dan bali masingmasing 26 lakon dan 8 lakon. sebagian besar lakonlakon yang diciptakan ini dikenal dengan lakon carangan, yaitu lakon yang diciptakan dalang dengan cara mengembangkan lakon baku, lakon yang terkait langsung dengan peristiwa baratayuda. ada berbagai jenis lakon carangan, yaitu lakonlakon tentang kelahkan, perkawinan, wahyu, kembar, dan gugat. sebagai lakon carangan, lakon gugat dan lakonlakon kembar bisa digolongkan sebagai lakon yang relatif baru. namun demikian, hingga kini masih belum jelas siapa pembuat dan kapan lakon tersebut pertama kali dipentaskan. untuk keperluan analisis, lakon yang dipilih adalah lakonlakon wayang yang disajikan oleh ki hadi sugito. pe-milihan dalang dilakukan dengan pertim-bangan, yaitu: pertama, telah tersedia rekaman dalam bentuk pita kaset. kedua, pertunjukan ki hadi sugito banyak diacu vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni oleh dalangdalang lain dan dapat dianggap mewakili tradisi yogyakarta. b. tinjauan pustaka cerita, termasuk lakon wayang, lahir dari imajinasi manusia, khayalan manusia, walaupun unsurunsur khayalan tersebut berasal dari kehidupan manusia seharihari. menurut putra (1997) cerita seperti ini dapat dipandang sebagai sebuah mitos. mitos yang dknaksud di sini berbeda dengan pengertian mitos yang biasa digunakan dalam kajian mitologi pada umumnya, yang memandang mitos sebagai cerita suci yang dalam bentuk sim-bolis mengkisahkan serangkaian peristiwa nyata dan imajiner tentang asalusul dan perubahan alam raya dan dunia, dewadewi, kekuatankekuatan adikodrati, manusia, pahlawan, dan masyarakat. di sini mitos merupakan suatu cerita (tidak harus suci) yang mengandung pesan-pesan tertentu. untuk itu lakon wayang dapat dianalisis secara structural. lakonlakon carangan telah banyak menarik peneliti dan penulis terdahulu. beberapa di antaranya adalah feinstein, dkk (1986) yang menulis mengenai lakon carangan yang tersebar di masyarakat surakarta. la berhasil mengumpulkan 106 judul lakon yang bersumber dari 43 dalang di surakarta. penulisan lakon carangan juga pernah dilakukan oleh (1) wiryoatmojo (1975) mengenai balungan lakon yang terdiri dari 20 lakon carangan tradisi surakarta. (2) meyer, ed (1883) menulis manuskrip serat pakem gancaranipun lampahan ringgit purwa 24 iji. (3) prawiro sudirdjo dan sulardi (t.t) menulis 20 buah cerita lakon carangan, (4) probohardjono (1961) menulis 14 cerita lakon. (5) mangkunegara vii (1927) menulis 176 lakon carangan. berbeda dengan di surakarta, di yogyakarta sangat miskin tulisan atau kumpulan lakon wayang. sejauh ini belum ada satupun buku kumpulan lakon carangan tradisi yogyakarta. yang ada hanyalah kumpulan lakon baratayuda yang ditulis oleh radyomardowo, dkk (1959) berisi 12 lakon. dari uraian di atas nampak bahwa penulisanlakon carangan telah dilakukan oleh penulis terdahulu. namun sayangnya hanya sebatas pengumpulan lakon saja. hingga saat ini belum ada tulisan yang mencoba membahas kumpulan lakonlakon carangan. lebih celaka lagi, hampir seluruh lakoncarangan yang telah dipublikasikan adalah lakon carangan tradisi surakarta. padahal, lakon carangan tradisi yogyakarta juga banyak sekali, namun hanya ada secara lesan. kalau cerita lesan tadi tidak segera dilakukan pendokumentasian, makabisa dipastikan bahwa sebentar lagi cerita wayang tradisi yogyakarta akan hilang dari pengetahuan masyarakat bersaamaandengan meninggalnya para empu dalang yogyakarta. untuk itu, penelirian mengenai lakon carangan tradisi yogyakarta masih relefan dilakukan. c. pengumpulan dan analisis data pengumpulan dan analisis data dilakukan dengan mengikuti cara yang pernah ditempuh oleh putra (2001) dalam menganalisis cerita rakyat dongeng bajo. langkahlangkah ini dimulai dengan, "membaca" kaset wayang lakon semar gugat (sg), semar bangun kayangan (sbk), dan semar kembar (sk) dengan cara mendengarkan rekaman kaset yang ada. dari pembacaan ini diperoleh pengetahuan dan kesan tentang isi cerita, tentang tokohtokohnya, tentang vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni berbagai tindakan yang mereka lakukan, serta berbagai peristiwa yang mereka alami. mengingat panjangnya cerita, ceri ta ini perlu dibagi dalam beberapa episode. episode ini hampir sama dengan pembabakan adegan. oleh karena itu perlu dilakukan pembacaan lagi lebih sesama, guna mengetahui episodeepisode apa saja yang mungkin ada dalam ceritera, yang dapat dijadikan dasar bagi analisis selanjutnya. episodeepisode ini dalam pertunjukan wayang sangat jelas, ditandai dengan pergantian gending (iringan), janturan (diskripsi tempat) dan ungkapanungkapan dalang misalnya" gantya kang dnarita, tunggal kandham seje prenahe" (sekarang berganti yang diceritakan, satu perkataan tetapi tempatnya berbeda" atau sinegeg kang winursita kang minongka sinambeting dnarita kacondra adeging negari ..... (berhenti dulu yang barusaja diceritakan, yang menjadi kelanjutan cerita adalah negara...), dan sebagainya. setiap episode ini umumnya berisi diskripsi tentang tindakan atau peristiwa yang dialami oleh tokohtokoh dalam cerita. sebagaimana dikatakan levistrauss (putra, 2001:212) tindakan atau peristiwa ini yang merupakan myteme atau ceritemehanya dapat ditemukan pada tingkat kalimat. oleh karena itu dalam analisis ini perhatian diarahkan terutama pada kalimatkalimat yang menunjukkan tindakan atau peristiwa yang dialami oleh tokohtokoh cerita. akan tetapi karena cara ini tidak selalu tepat karena sebuah pengertian atau ide tertentu kadangkadang diung kapkan dalam beberapa kalimat. oleh karena itu pula upaya untuk menemukan ceritemeceriteme di sini dilakukan de ngan memperhatikan rangkaian kalimatkalimat yang memperlihatkan adanya satu ide tertentu. dengan cara ini akan dapat ditemukan rangkaianrangkaian kalimat yang memperlihatkan suatu pengertian tertentu (putra, 2001: 212). sebagai kalimatkalimat yang berdiri sendiri, ceriteme sering belum begitu jelas maknanya. ceritemeceriteme tersebut perlu disandingkan dengan ceriteme lain yang tempatnya belum tentu berurutan atau berdekatan. hanya dengan menyandingkan berbagai ceriteme inilah akan muncul kemudian pengertian tertentu dari ceriteme tersebut. pengertian baru ini seolaholah lahir dari relasi ceriteme tersebut dengan ceriteme lain dalam konteksnya yang baru. dengan langkahlangkah analisis seperti di atas, akan cukup mudah menemukan oposisioposisi antarasatu tokoh dengan tokohlain berdasarkan atas tindakan yang mereka lakukan dan peristiwa yang mereka alami. meskipun begitu, berbagai oposisi ini juga tidak akan begitu banyak artinya bagi pemahaman tafsir kecuali dapat menempatkannya dalam hubungan dengan oposisioposisi lain yang berasal dari cerita wayang secara ke seluruhan. hanya dengan begitu interpretasi si peneliti atas berbagai oposisi tersebut akan menjadi lebih komprehensif, utuh, dan menyeluruh. setelah miteme yang ada dalam cerita didapadtan, langkah selanjutnya adalah mencari relasi dalam cerita tersebut. kumpulan relasi tersebut akan menunjukkan rangkaian-rangkaian transformasi lakonlakon carangan. dari rangkaian tersebut selanjutnya dapat dibuat sebuah model yang dapat menjelaskan atau membantu peneliti memahami makna lakon semar sebagai suatu kesatuan. dari sini kemudian peneliti akan melihat bahwa fenomena yang diteliti memperlihatkan adanya sebuah struktur tertentu yang bersifat tetap. struktur yang ditemukan ini selanjutnya digunakan untuk vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni menjelaskan makna lakonlakon semar dalam cerita wayang. berikut ini merupakan miteme dari lakonlakon wayang yang diteliti. d. miteme lakon carangan 1. semar gugat (sg) adegan i: negara dwarawati kresna mendapat laporan dari gatutkaca kalau keadaan di negara amarta sedang tidak aman, banyak warga amarta yang sakit dan meninggal. la datang ke dwarawati karena disuruh puntadewa (raja amarta) untuk mengundang kresna agar datang di negara amarta. kresna bersedia datang. gatutkaca di suruh berangkat dulu ditemani setyaki dan udawa adegan ii: tengah hutan resi wisuna dan dewawisuna dari selagringging ditemani togog dan bilung sedang beristirahat di tengah perjalanan menuju karangkabolotan. resi wisuna dan dewawisuna akan membunuh semar untuk meniadakan baratayuda. adegan iii: perang resi wisuna dan dewawisuna perang melawan gatutkaca, setyaki,dan udawa. begawan wisuna dan dewa wisuna kalah dan meninggalkan medan perang. gatutkaca meneruskan perjalanan. adegan iv: negara amarta prabu puntadewa bersama seluruh pandawa menerima kedatangan pandita durna. durna menyarankan agar seluruh pandawa mau berguru dengan resi wisuna dan dewawisuna untuk menghilangkan malapetaka di amarta. puntadewa, bima, arjuna, dan nakula bersedia, dan berangkat menuju astina. hanya sadewa yang tidak mau ikut ke astina dengan alasan menunggu negara. padahal sebenarnya ia curiga dengan ajakan durna. maka, dengan ditemani antareja, ia mengawasinya dari jauh. adegan v: tengah hutan sadewa didatangi kresna. sadewa memberitahu kalau para pandawa diajak durna pergi ke astina untuk berguru dengan resi wisuna. kresna ingin menghalangi keinginan pandawa dengan berubah rupa dan wujud menjadi raksasa besar bernama jajalwreka. jajalwreka berhasil menemui para pandawa. werkudara, janaka, dan sadewa kalah melawan jajalwreka. ketika berhadapan dengan puntadewa, jajalwreka badar dan kembali menjadi kresna. badarnya kresna disebabkan karena puntadewa mampu mengutarakan rahasia kresna. agar tidak mengecewakan durna, para pandawa tetap berangkat menuju astina. sementara itu kresna, sadewa, gatut-kaca, dan setyaki mengawasi dari jauh. adegan v: karang kabolotan semar menerima tamu abimanyu. abimanyu melapor keadaan negara amarta kalau di sana terjadi kekacauan. abimanyu mengajak semar menuju ke amarta. belum sampai berangkat, resi wisuna datang dan mengeluarkan aji kumayanjati sehingga semar tertarik dan tibatiba hilang. resi wisuna perang melawan semar. semar kena senjata trisura terpental sampai kayangan gandawaru dan akan gugat kepada sanghyang wenang. adegan vi: tengah hutan terjadi peperangan antara abimanyu dengan resi wisuna. abimanyu melepaskan jemparing pasopati kepada resi wisuna hingga terlempar sampai di negara astina. abimanyu dan petruk vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni membuntuti resi wisuna. bagong tertinggal dan mene-mukan sebuah baju milik batara guru. setelah dipakai, bagong berubah wujud menjadi batara guru. narada yang saat itu sedang mencari batara guru mene-mukan bagong dan segera diajak ke kahyangan. adegan vii: kayangan ngondar andir bawana sanghyang wenang dihadap oleh semar. semar menanyakan penyebab ketidakamanan di amarta dan menanyakan siapa sesungguhnya resi wisuna dan dewawisuna. sang hyang wenang memberitahu kalau yang bisa memberantas angkaramurka adalah semar. untuk itu oleh sang hyang wenang semar diubah rupa menjadi pendeta muda dengan nama begawan mayaretna. begawan mayaretna segera menuju arcapada. adegan viii: kayangan suralaya para dewa sedang menunggu kedatangan batara guru dan narada. tidak beberapa lama bataraguru dan narada datang. batara guru ingin meniadakan baratayuda. batara guru dan narada menuju ke arcapada. adegan ix: astina prabu duryudana bersama resi wisuna menerima kedatangan para pandawa. para pandawa diajak ke tengah hutan untuk diwejang resi wisuna. adegan x: tengah hutan abimanyu, petruk dan gareng bertemu dengan kresna. mereka menjumpai para pandawa yang sedang diajak ke tengah hutan oleh resi wisuna. sebelum diwejang, para pandawa disuruh mandi dulu menggunakan darahnya sendiri-sendiri. untuk itu resi wisuna akan menusukkan senjata trisura pada pandawa. saat senjata akan ditusukkan, gatutkaca dan kresna tahu. resi wisuna segera ditarik dan terjadi perang. gatutkaca kalah. kresna mencari bantuan dan mendapatkan seorang petapa bernama mayaretna. terjadilah peperangan, resi wisuna kalah, segera mengangkat senjata trisura dan mengarahkannya ke mayaretna. mayaretna badar menjadi semar. semen-tara itu batara guru yang sedang turun ke arcapada bertemu resi wisuna. bataraguru ditusuk dengan senjata trisura badar menjadi bagong. terjadi peperang an antara semar dengan resi wisuna. resi wisuna badar menjadi batara guru. resi wisuna badar karena kena kentut semar. demikian juga dewawisuna. la badar menjadi jaramaya. peperangan antara keduanya dipisahkan oleh sang hyang wenang. batara guru disuruh meminta maaf pada semar dan kembali ke kayangan. 2. semar bangun kayangan (sbk) adegan i: negara amarta prabu puntadewa menerima kedatangan kresna. di negara amarta sedang tidak aman. setiap memperbaiki percanden (makam leluhur) selalu rusak. kresna menyarankan agar dalam memperbaiki percanden, pusaka amarta dalam kondisi lengkap, demikian juga para penasehat pandawa, salah satunya semar, juga harus berada di amarta. sementara-itu semar sudah lama tidak datang di amerta. petruk disuruh semar ke amarta untuk mengundang para pandawa agar ber-kenan hadir di karang kabolotan karena semar akan membangun kayangan. kresna tidak memperbolehkan kerena hal itu dianggap menyaingi kekuasaan para dewa. kresna dan janaka menuju kayangan suralaya untuk melaporkan rencana semar. sementara itu, atas pe-tunjuk pusaka vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni amarta yang berupa jamus kalimusada, songsong tunggul naga, dan tumbak karawelang, tindakan semar itu benar. adegan ii : adegan paseban jawi petruk dengan bantuan antasena perang melawan gatutkaca dan setyaki. petruk bisa menang. adegan iii: kayangan suralaya batara guru dihadap para dewa sedang membicarakan permasalahan (garagard) di dunia. menurut narada, garagara disebabkan oleh adanya salah pengertian dari seorang manusi berjiwa dewa (kresna) karena perbuatan seorang dewa berjiwa manusia (semar) yang akan mengisi hidupnya. tidak lama kemudian, kresna datang dan melapurkan rencana semar yang akan membangun kayangan. batara guru menyuruh kresna untuk menghalangi tindakan semar dan menghalangi siapa saja yang heridak rne.mbantu semar. guru menyuruh durga untuk mengerahkan pasukan jin (bajobarat) dari pasetren gandamayit agar membunuh siapa saja yang mendukung perbuatan semar. agar tidak kelihatan, kresna nyamur laku (berubah rupa) menjadi raksasa besar, sedangkan kresna berubah menjadi singa besar. adegan iv: pertapan kendalisada. anoman merasa dipanggil semar menggunakan aji pamelingnya. maka anoman menuju karangkabolotan untxik menemui semar. di tengah jalan anoman bertemu dangan malingsukma dan malingraga dari paset±en gandamayit. mereka menghalangi keinginan anoman. terjadilah peperangan. malingsukma dan malingraga kalah, anoman meneruskan perjalanan. adegan v: karangkabolotan semar menerima kedatangan anoman, abimanyu, dan para pandawa kecuali janaka. para pandawa diajak masuk ke pertapaan. semar berkata kepada pandawa kalau ingin membuktikan dan merasakan semar dalam membangun kayangan, mereka harus menyatu dengan semar dengan cara mampu merasakan kematian dalam hidup. dengan cara seperti ini bisa mengetahui cara memulai membangun kayangan. keempat pandawa bersedia, mereka bersemadi dan menjadi satu dengan jiwa semar lalu bertemu dengan sang hyang wenang. sementara itu abimanyu dan anoman menunggu di pacrabaan, gathutkaca dan ontoreja datang. roh malingsuksma masuk jiwa antareja kemudian menggigit abimanyu hingga tewas. semar yang sedang bertapa dibangunkan dan menyembuhkan abimanyu. gatutkaca mengejar antareja. antasena datang. membantu gatutkaca. malingsukma keluar dari badan antareja. antasena perang melawan malingsukma. malingsukma kalah melaporkan ke batari durga. sementara yang berada dalam badan semar, sang hyang wenang diha dap empat pundawa, catur tunggal puntadewa, werkudara, nangkula dan sadewa. sang hyang wenang memberi tahu kalau kedatangannya ke dunia dalam tubuh semar karena permintaan semar untuk membangun kayangan dan mendapat pesan dari hyang nurcahya untuk memberikan ilmu sejati berupa kitab jitabsara. ilmu sejati itu sendiri terdiri dari lima hal seperti halnya lima pandawa. lima hal tersebut bertempat pada telinga, hidung, mulut, mata, dan hati. yang ada dalam hati digambarkan pada puntadewa. yang ada dalam mata digambarkan pada arjuna, yang ada dalam penciuman digambarkan pada werkudara. yang ada dalam mulud digambarkan pada nakula. vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni sedangkan yang ada dalam telinga tergambarkan pada sadewa, karena di situ ada kewajiban mengerti dan mendengarkan jiwa. kalau salah satu indera tadi tidak berfungsi, menggambarkan hilangnya kekuatan. sementara itu jitabsara berisi asalusul hidup "sangkan paraning dumadi" berupa ilmu sastra jendra wahyuningrat pangruwating dewa. setelah mendapat wejangan, keempat panawa diperbolehkan keluar dari tubuh ismaya. namun selama 40 hari tidak diperbolehkan pergi, harus bertapa di karangkabolotan untuk memperkuat tiga senjata yang telah dimiliki, yaitu jamus kalimasada, tumbak korawelang dan songsong tunggulnaga. jajalwreka datang akan membo-yong semar menuju kahyangan untuk dimasukkan kawah candradimuka. semar dan bagong perang melawan jajalwreka. jajalwreka kalah dan badar menjadi kresna. demikian juga harimau juga menyerang semar dan bagong dan badar menjadi arjuna. batara guru marah. guru dikalahkan oleh semar dan meminta maaf pada semar. demikian juga pasukan jin kembali ke pasetren gandamayit. 3. semar kembar (sk) adegan i: klampis ireng terjadi keributan karena semar menghilang tanpa diketahui oleh siapapun. semua orang berusaha mencarinya. arjuna mencarinya dan mendapatinya. namun semar tidak mau diajak pulang ke klampis ireng. la malah mengajak pergi ke astina. semar mengantar arjuna menemui banowati. gatutkaca, abimanyu dan anoman juga berusaha mencari semar. adegan ii: astina di negara astina membahas hilangnya semar. durna menyarankan agar kurawa juga mencari semar, karena kalau bisa mendapatkan semar nantinya dapat memenangkan baratayuda. berang-katlah pasukan astina mencari semar yang dipimpin oleh duryudana sendiri. mereka mendapatkan semar dan sangg-up dibawa ke astina. barisan kurawa bertemu dengan barisan anoman. semar akan diminta anoman, tetapi tidak diperbolehkan. terjadilah peperangan. anoman kalah, semar dilarikan ke astina. saat mengejar kurawa, anoman juga mendapatinya semar yang lain dan diajak pulang ke klampis ireng. adegan iii: keputren astina arjuna sedang berpacaran dengan banowati ditunggui oleh semar. tidak begitu lama datanglah rombongan yang sedang membawa semar. semar yang dibawa oleh kurawa bertemu dengan semar yang sedang menunggui arjuna pacaran. terjadilah perkelaian antara semar untuk menunjukkan keaslihan mereka. saat kedua semar bertengkar, arjuna lari dan menuju ke klampis ireng untuk mengecek barangkali semar yang sesungguhnya sudah ada. adegan iv: klampis ireng. semua sedang bersenangsenang karena anoman telah menemukan semar. arjuna datang dan mengajak semar ke astina untuk memisah kedua semar yang sedang berkelai. adegan v: alunalun astina perkelaihan kedua semar di astina belum berakhir, malah sekarang datang lagi semar baru. ketiga semar bergelut untuk menunjukkan semar yang sesungguhnya. ketiga semar bertengkar bergulingguling. vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni adegan vi: kayangan alangalang kumitir sang hyang wenang dihadap oleh roh semar ismayajati. semar ismayajadi melaporkan kepada sang hyang wenang kalau di dunia terlalu banyak semar. badannya telah digunakan oleh orang lain, sehingga ia sendiri sudah tidak mempunyai raga. sang hyang wenang menyuruh semar ismayajati untuk segera turun lagi kedunia untuk membadarkan semarsemar gadungan. adegan vii: astina. perkelahian tiga semar belum berakhir. tidak ada yang menang dan tidak ada yang kalah. semua menunjukkan ciriciri semar. semar ismayajati datang. ketiga semar yang sedang bertengkar dimusuhinya sehingga ketigatiganya badar. semar yang menggoda arjuna membelokkan tapanya sehingga ia hanyut bermesramesraan dengan dewi banowati badat menjadi dasamuka. semar yang ditemukan kurawa di hutan dan hendak dijadikan jimat bertuah di hastina untuk memenangkan baratayuda badar menjadi batara guru. semar yang ditemukan anoman dan dibawa kembali ke klampis ireng badar menjadi batara kala. berkatalah semar ismayajati kepada ketigatiganya untuk pulang ke alam masingmasing. e. cerita semar dan baratayuda secara umum, lakon wayang bersumber pada mahabarata dan ramayana. namun setelah menjadi pentas wayang, improvisasi dalang lebih dominan. salah satu improvisasi itu bersumber dari mitologi lokal. dalam menciptakan atau mempergelarkan lakon wayang, dalang harus mengacu pada konsep mulih, artinya cerita yang dibuat atau dipergelarkan memiliki keterkaitan dengan baratayuda namun tidak bertentangan dengan lakonlakon yang sudah ada. dari ketiga lakon di atas, semuanya terkait dengan baratayuda. lakon sg memperbincarigkan mengenai keinginan kurawa memenangkan baratayuda dengan cara membunuh semar dan pandawa. lakon sbk memperbincangkan mengenai keinginan semar untuk memuliakan pandawa agar nantinya memenangkan baratayuda dengan terlebih dahulu mendapatkan kitab jitapsara dan meningkatkan kekuatan ketiga senjata yang telah dimiliki oleh pandawa, jamuskalimusada, tumbak karawelang, dan songsong tunggulnaga. sementara itu lakon sk memperbincangkan mengenai diperebutkannya semar oleh kurawa. oleh kurawa, semar dianggap sebagai senjata, sehingga ketika hilang, kurawa ikut mencarinya dengan maksud akan digunakan sebagai senjata untuk memenangkan baratayuda kelak. masuknya mitologi lokal ke dalam pertunjukan wayang mengakibatkan berkembangnya cerita wayang. tentu hal ini tidak dialami oleh wayang ball atau wayang sunda. f. konsep badar dalam lakon carangan dari ketiga lakon di atas, ada sebuah konsep yangmenarik untuk diperbincangkan, yaitukonsep "badar". berikut ini tokohtokoh yang badar beserta peristiwa yang menyebabkannya dari ketiga lakon di atas. semar gugat (sg) nama tokoh penyebab badar keterangan resi wisuna kena kentut semar badar menjadi batara guru dewawisuna kena kentut semar badar menjadi jaramaya vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni jajalwreka rahasinya diketahui oleh puntadewa badar menjadi kresna semar bangun kayangan (sbk) nama tokoh penyebab badar keterangan jajalwreka mendengar mantra yang diucapkan oleh bagong badar menjadi kresna harimau mendengar mantra yang diucapkan oleh bagong badar menjadi janaka konsep ini berasal dari mitologi jawa, bahwa seseorang yang memiliki ilmu dapat berubah menjadi bentuk lain, dan pada saatnya bisa kembali atau badar seperti aslinya. biasanya "badar" mengakhiri sebuah pertunjukan wayang. menurut kepercayaan jawa, orang yang sakti bisa berubah bentuk menjadi binatang atau manusia dalam bentuk lain. secara logika biasa, hal ini tidak bisa diterima secara nalar. namun peristiwa ini biasa, karena seringkali folklor memiliki logika tersendiri. g. simpulan dari ketiga lakon di atas, terlihat bahwa ada beberapa hal yang tidak bisa dipikirkan secara rasio. dan hal ini biasa terjadi dalam pertunjukan wayang. seperti halnya jenis folklor yang lain, cerita wayang memiliki logika tersendiri (dananjaya, 1986:35). misalnya dalam lakon sbk, kresna berubah rupa menjadi raksasa besar, janaka berubah menjadi singa. dalam lakon sg, bagong berubah menjadi batara guru, sementara itu batara guru sendiri berubah menjadi pendeta. sementara itu dalam lakon sk, guru, kala, dan dasamuka berubah menjadi semar. yang menjadi pertanyaan sekarang, mengapa tokoh itu berubah menjadi tokoh lain? kalau diperhatikan sebenar-nya ada kecenderungan atau pola ter-tentu. dan ternyata hal itu tidak semena-mena. mungkin ada hukum tersendiri yang kadang-kadang dalang tidak menya-dari mengapa masing-masing tokoh itu berubah. tentu saja hal ini membutuh-kan penelitian lebih lanjut. � daftar pustaka dananjaya, james, 1939, folklor indonesia, jakarta: grafiti. feinstein, alan., bambang murtiyoso, kuwato, sudarko, dan sumanto, 1986, lakon carangan jilid iii, sura-karta: akademi seni karawitan indonesia gronendael, victoria m. clara, 1986, wayang theatre in indonesia: an annotated bibliography, dordrecht, holland: foris publication mangkunegara vii, 1927, serat pedalangan ringgit purwa, weltevreden: bale pustaka. prawirasoedirdja dan r.m. sulardi, (n.d.) pakem wayang punva wiwit purwaka ngantos dumugi sabibaripun bratayuda mawi gending sarta pawitjantenan,solo: sadu budi. probohardjono, r. s., 1961, pakem wayang purwa isi 14 balungan lampahan rinengga ing gambar 50 iji, surakarta: ratna. putra, heddy shri ahimsa, 2001, strukturalisme levistrauss: mitos dan kara sastra, yogyakarta: galang press. radyomardowo, mb., suparman, dan soetomo (ed.) 1959, serat baratajuda isi lampahanlampahan ingkang sampun nate kakeliraken wonten ing vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni sasana hinggil dwi abad, jogjakarta: kedaulatan rakyat. sindunata, 1996, semar mencari raga, yogyakarta: kanisius. daftar audio hadi sugito, 2004, semar bangun kajangan, semarang: pusaka record. hadi sugito, 2002, semar gugat, semarang: dahlia record. hadi sugito, 1999, semar kembar, (rekaman pribadi). vol. vi no. 3/september-desember 2005 preludium harmonia jurnal pengetahuan dan pemikiran seni � � 2������������ ��� ������ 9�:����� ���� �9�� ��:��� ��������� 9������� (the present change in the arrangement of classical leather pupperty “the surakarta style) ������������������������������������������������������������������������������������>����=����"� � �∗ ������� ���� � �� ��� � ��� ����� ������ ��& ���������������� ����� ���� �� ���������� ���� �������� � ���� � �� ���� � ������ � ��� �� ����� ����� � � ����� ��� ���� � �� � � ���� 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�(�,�������� ����� ����(��4�� �"������ �� ����""�� � &��� � �����(��� � ����� � �� � ��� � %�&��� � "��� � ��� �"���"��������&��������� � � �����(����"��4�(���������� � �� ���� � ��&���"� � "������&� � 4��� � ��&���"� � 8�,�� � +���� ����� ��:� ����������,�&����"��� �(��� ���� ��� �"����"� ����� ����: � � � � � ���� � ���� � (� ��(��� � ��4���� � �� 4�� � �;��� � ��(� :� ���������(��&� �"��� ����������,�&����"��� � �����(�����������9 ������� �"�:�������� :�(������������������ 9�dosen stsi surakarta vol. 2 no. 3/september – desember 2001 50 harmonia jurnal pengetahuan dan pemikiran seni � ������ � ���"������� ����������&���������(�"�� "���(������ ���� �,�� "���(� ��� ������� �����&����4������ �;���� ��"�,����:���,� ��:� 4������(���:��&�"����:� � � � � � � � �(��� ���&���������4�������������� �:� ����������,�&����"��� � �����(� ������"�����4������������������"� ���"����&�� ����4����� �(�� � ������� �+ � ���� �� �: � �� ����(�: � (�� � ���� � ��4����� � � � ���� � ��� "���(� ��� 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��<@@=��� ��������� ���� �������"��������������� ���������� ��������������������������� �����;��� ��� 2�4 �� <@@>�� ��� ������ ����� �+�3� ���������� � ������ ������� ����0���� "��������������� ������� � � � � � � � � 108 the aesthetic taste representation of coastal community joko wiyoso, bintang hanggoro putra department of drama, dance, and music, faculty of languages and arts, universitas negeri semarang, indonesia submitted: december 31, 2019. revised: march 9, 2020. accepted: july 4, 2020 abstract aesthetic tastes of a person to an art form are determined by the knowledge and experience that comes from the culture of the community. in this regard, this study aims to determine the aesthetic tastes of coastal communities as reflected in the collaborative packaging of the traditional art of barong ngesti wargo budoyo. the method used was a qualitative research method with data collection techniques, observation, interviews and documentation, then the data were analyzed based on interactive data analysis which the flow were data reduction, data presentation, drawing conclusions and verification. the results showed that the collaborative packaging of the traditional art of barong ngesti wargo budoyo received tremendous appreciation from coastal communities, it was shown that every performance of this art was always full of audiences of all ages. the audience in the show as if there is no distance, the audience can also interact with players. the phenomenon that occurs in collaborative performances of traditional arts, indicates that the collaborative packaging of traditional arts represents the packaging of shows that suits the aesthetic tastes of coastal communities. community tastes based on their characteristics can be categorized into popular taste. keywords: collaborative packaging; aesthetic tastes; coastal communities how to cite: wiyoso, j., & putra, b. h. (2020). the aesthetic taste representation of coastal community. harmonia: journal of arts research and education, 20(1), 108-116. harmonia: journal of arts research and education 20 (1) (2020), 108-116 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i1.17426 a large mask as an embodiment or depicts four-legged animals, in bali known as barong ket, barong celeng and barong landung (soedarsono, 2002) barongan, in blora, is the mask used is in the form of a tiger, this is related to the blora people’s belief that the spirit of the tiger is as the most powerful spirit in maintaining safety (slamet, 2003). therefore the movement also mimics the movement of the tiger. while the tiger dance movement that was developed, contains a special meaning, specifically representing and describing the life of blora regency agricultural community in indonesia (budy, 2017). introduction the area of weleri, kendal regency, precisely in penyangkringan area has a potential traditional art, it is barong (barongan), namely barong art group ”ngesti wargo budoyo”. the existence of this art is quite widely known by the weleri and surrounding communities. the indications are that each time the group performs, people flock to watch the performance. community members from children to adults mingle with one another to watch this artistic attraction. barongan is a group dance that uses corresponding author: e-mail: jokowiyoso1962@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 joko wiyoso, bintang hanggoro putra, the aesthetic taste representation of coastal com109 in general, barongan is in the form of group dances, which mimics the might of a giant lion. the role of singo barong in the totality in the presentation is a very dominant figure, in addition there are several inseparable figures, namely: bujangganong, pujonggo anom joko lodro, gendruwo pasukan berkuda, reog noyontoko untup (andri, 2017). barongan in barongan art is a tool that is made to resemble singo barong or a big lion as a ruler of a haunted forest and very fierce. the singobarong character in the barongan story is also called gembong amijoyo, which means a large tiger in power. barong art in the weleri penyangkringan area, turns out to be different from the art barongan illustrations mentioned above. barong art in weleri is unique in the format of the show. this uniqueness occurs as a result of the barong art performance material that collaborates on how many traditional arts in one show. traditional arts that are packaged into one performance include barongan, buroq, dawangan, jaran kepang, balinese dances, and balinese barong. the presence of an art presentation package, of course, cannot be separated from the role of the community as its supporters. therefore, collaborative packaging as happened in the singo barong ngesti wargo budoyo art group, can be received or get a positive response from the community certainly cannot be separated from the tastes of the community itself. collaborative packaging offered will be accepted and supported if the packaging is suitable or meets the wishes of the community as recipients. as mentioned at the beginning, the presence of this art which form of collaborative packaging has received a positive response from the north coast communities of java, especially in the kendal region. the community was very enthusiastic to watch each time the group performed. previous studies related to barongan art have been carried out, such as andri (2017), the results reported that the existence of barongan art in pati experienced a shift in function towards mere entertainment. septiyan (2018), the results reported that the form of barongan samin edan was a typical dance of blora which mimicked the movements of animals namely tigers. movement in barongan samin edan has a special meaning; specifically representing and illustrating the life of the farming community in blora, indonesia. dewi (2016), the results report that there has been a change in the function of the barong dance, which initially had more religious value but after being commodified changed functions to commercial values. karyono (2013), reported that the barongan children’s performance model can be used as teaching material for barongan children’s learning in schools or as a form of barongan learning model in sanggar or in barongan groups. some of the previous studies with the theme of barongan art above, their relevance to the research carried out are both related to barongan arts, the difference is the focus of their studies. research conducted by previous researchers is more focused on the form of performance and material changes, while the research conducted examines the fun of the barongan based on the perspective of the aesthetic tastes of those supporting the arts. furthermore, previous research on aesthetic tastes was done by sitowati (2012), the results reported that people who have classical music tastes as both appreciators and those who study them are citizens who belong to the upper classes in social strata. purhonen (2017), the results report that there is a connection or relevance between culinary tastes, musical tastes and political attitudes in finland. the research above, its relevance to the research conducted is the same topic about aesthetic tastes, the difference is the focus of the study. the research conducted by sitowati focuses on the case of the classical music community in yogyakarta, then purhonen’s research focuses on the relationship between culinary tastes and music tastes and political attitudes. while this research is focused on the aesthetic tastes harmonia: journal of arts research and education 20 (1) (2020): 108-116110 of the north coast communities of central java as a supporter of a performance at the singo barong ngesti wargo budoyo art group in weleri, kendal regency, central java. even though there have been several previous studies with the same topic, this research is still feasible, because this research problem has never been investigated before. of course this study is complementary to existing research specifically about people’s aesthetic tastes. it is hoped that the results of this research will contribute to the study of special arts from the perspective of the aesthetic tastes of the community. related to this, the focus of this research is how the form of collaborative performance packaging and how the aesthetic tastes of coastal communities represented in the packaging of the show. literally the word taste is one of the meanings of passion. while the word aesthetic has the meaning of something related to the beauty of art and nature. based on the literal meaning of aesthetic taste can be interpreted as a favorite about beauty, both beauty that comes from nature and beauty arising from the work of art. based on the literal meaning of aesthetic taste can be interpreted as a favorite about beauty, both beauty that comes from nature and beauty arising from the work of art. beauty is one of the needs of human life which is abstract, beauty cannot be touched with hands nor can be tasted with the tongue, beauty can only be felt by the senses. humans sometimes are willing to sacrifice both material and time, in order to meet the need of beauty. all humans basically have the desire to enjoy beauty wherever and whenever they are. enjoying beauty can reduce stressful thoughts, provide entertainment, and make a youthful appearance, because that activity can affect emotions and the human brain as an organ center that can affect the work of other organs (pujiati, 2017). people have different taste of beauty, both natural beauty and beauty of art. this is in line with the opinion of hadiyatmo (2017) which explains that art tastes lead to one’s temperament, both artists and connoisseurs of art. this temperament is of course not determined by education and knowledge (which can determine the understanding of the flow of art), but by life experience and innate talent. then raditya (2013) argues that aesthetically based on people’s tastes, while people’s tastes are based on cultural patterns that are built. kant (2000) argues that more personal tastes are the basis of a person to make decisions about beauty, therefore his judgment is more subjective. so that the assessment of beauty based on subjective tastes is more universal, kant as quoted by suryajaya (2016) divides the decision of beauty into four aspects, namely aspects of quantity, quality, relations and modality. the four aspects of the beauty decision can be summarized as follows. decision of taste is the ability to give decisions without influence and non-conceptual about an object that inevitably produces decisions universally and inherently contains a goal, but is evaluated without regard to these goals (suryajaya, 2016). according to home, quoted by suryajaya (2016) tastes are composed of two stages, namely the perception and affection stages. the perception stage is related to the absorption of the quality of a work of art, while the affection stage is related to the feeling of goodness or badness of a work of art. furthermore leibniz in suryajaya (2016) states that tastes are perceptions of disaggregated ideas. taste according to bourdieu as quoted by haryatmoko (2003) is not neutral and natural, but is determined and organized by the position of social class in society. taste as a cultural activity cannot be separated from the systems of typical representation of a social group, from a position in society, and from the desire to place themselves on an authority. one way a person distinguishes himself from social classes outside himself is through three structures of consumption, namely food, culture and appearance. taste is a form of cultural consumption structure. furthermore bourdieu in sitowati (2010) shows joko wiyoso, bintang hanggoro putra, the aesthetic taste representation of coastal com111 social patterns in the forms of tastes associated with basic social divisions such as social class, gender, rural and urban, and between higher education and lower education. taste is used to indicate differences in the level of social class of the community. each social class has their own tastes and struggles in the community (field) to determine and enhance their class in social life. bourdieu divides the class of tastes into high and low tastes. classes with ‘high’ tastes are called legitimate tastes, or aristocratic tastes. while those who have low taste are called popular tastes). legitimate or aristocratic tastes are tastes that are formed or developed through art subjects in schools or educational institutions. it can also be said that through an education it has formaly understood about a complete art concept include the ins and outs. therefore these legitimate or aristocratic tastes are tastes that have been habitualized (pramudya, 2012). this legitimate taste is actually a ‘pure’ perception which practically confirms objective and natural conditions. natural objects or objective situations are no longer seen and perceived naturally, but aesthetically. a moment when a natural object becomes an object of art (aesthetic) is a moment that prefers form (perspective and form) over function (pramudya, 2012). low taste or common taste (popular taste), usually develops ‘naturally’ due to contact with daily life. it could also be said that this taste is a continuity between art and life. therefore, reading and understanding based on the tastes of ordinary people are always associated with the context of their daily lives. so the beauty of an art is not seen as subliming the art itself as intended by kant, but as long as it is connected with the life experienced. bourdieu said, ordinary tastes always prioritize function over perspective or form.“everything takes place as if the “popular aesthetic” were based on affirmation of continuity between art and life, which imply the subordination of form to function,.(bourdieu, 1979) method the method used in this study is a qualitative research method, which is a method that presents the results of research in the form of narration or words. research data obtained through three techniques namely observation, interviews and documentation. observations were made on the performance of the show to determine the audience’s response and the enthusiasm of the public to watch the show. interviews were conducted with community members as spectators of the show to find out the reason they came to present the show, while documentation was carried out to complete the data obtained through observation and interviews. furthermore, data analysis refers to the analysis of interactive model data with data reduction paths, data presentation and conclusions as well as data verification. results and discussion collaborative packaging “barongan art” the packaging of traditional art “barongan art” of singo barong ngesti wargo budaya group, penyangkringan village, weleri district kendal regency, in the form of collaboration or combining of several different arts. furthermore, this collaborative packaging is presented in one show that divides into some stages. the first is the singo barong attraction, in this attraction featuring three barongs consisting of black barong, yellow barong and small barong. the second is dawangan, showing the attractions of two giant dolls that are moved by humans. the third is buroq, showing the attraction of two dolls resembling a buroq animal and an elephant moved by people. the fourth is jaran kepang combined with a number of balinese art icons. broadly speaking, the order of presentation of the collaborative packaging of the singo barong ngesti budoyo group is as follows. beginning with the black barongan comes out the stage, then do some attractions by moving its body mimicking a lion harmonia: journal of arts research and education 20 (1) (2020): 108-116112 that occasionally open his mouth. after a while doing the attraction followed by the exit of the yellow barongan, then the two barongan doing the attraction together on the stage. both of them walked around in circles in the arena of the performance. after a few moments of mutual attraction, the yellow barongan does the attraction of eating humans by swallowing one of the audiences through his mouth. after the attraction swallows humans, then the two barongan do attraction again in the arena of the show. a few moments later the yellow barongan performed the attraction of giving birth, then the child/small barongan also took part in the performance arena. so that in the arena there are three barongan that do attraction together. at the time of the three barongan attractions there is a kind of saweran from the audience by putting money into the mouth barongan. barongan attractions give birth as a sign that the first performance will end. after a few moments the three barongan perform attractions together, the presentation of the first round ended marked by the entry of the three barongan out of the arena. the presentation of the first part is approximately 20 minutes. the next performance is dawangan, this performance is signed by the coming out of two big dolls similar to ondel-ondel moved by a person. the dawangan doll one has a scary face and the other has a handsome face. the attraction of these two dolls is by moving his body, such as jumping around, spinning around, shaking his hands. sometimes spooky dolls chase after children who watch this show. after a few moments of attractions in the arena, the two dolls came out of the arena as a sign of the end of the show. in this second presentation is approximately 20 minutes. after dawangan, it is continued with buroq performance. this presentation is marked by the coming out of an animal which is like buroq or a pretty winged horse and an elephant doll. both doll are together to do an attraction on the stage by walking aroud and moving their bodies. sometimes, in this scene, there are children who want to ride buroq. after the attraction, the dolls leave the stage, and the performance ends. this presentation is about 15 minutes. the last presentation is jaran kepang collaborated with balinese dance. this presentation was marked by the entry of a group of jaran kepang dancers to the performance arena, after a while doing attractions with group dance, entered a dancer who wore a balinese dance costume topeng tua handed a whip to one of the jaran kepang dancers then left the stage. then entered two female dancers in the bali cendrawasih dance costume demonstrating the balinese dance, after acting for a while the two dancers exited the stage. next came two dancers in balinese dance costumes, the type of leyak or rangda, to the performance arena, teasing the dancers who still pose on stage. after a while in action the two dancers exited the stage. furthermore, the sitting jaran kepang dancers continue their attraction by dancing together till end. after the jaran kepang performance was completed, two female dancers appeared in balinese dance costumes resembling condong dance performing attractions imitating balinese dance movements followed by jaran kepang dancer who brought a whip, after a few moments in action the two dancers dressed in balinese dance came out onstage. next came three balinese dance exhibits of 2 rangde or leyak and 1 barong ket to the performance arena performing attractions like a balinese barong dance accompanied by a dancer of jaran kepang carrying a whip. after some attractions, the barong bali performers come out the stage and continued with jaran kepang dance till the end stage of the performance. this collaborative packaging is presented or staged in an open arena, there is no special stage as a performance arena, the arena or venue is held in a field, performers and the audience as if without limits. or in other words the show was held in a crowd of spectators. the audience watched the performance forming a formation around the arena of the performance, joko wiyoso, bintang hanggoro putra, the aesthetic taste representation of coastal com113 so that the audience with the performer merged. the audience watched this show so relaxed and informal, it was seen from their free position, they are standing, sitting, the children running and chasing the performers, people gave saweran, etc. the audience really enjoyed the show, it appeared from the look on their faces that looked cheerful and sometimes also laughed when the attraction was funny. spectators come to watch voluntarily and are free of charge. the collaborative packaging presented by the barong ngesti wargo budoyo art group appears to be based on the desire to capture the audience or pursue purely entertainment aspects. this kind of phenomenon also occurs in subang, as reported by setiawan (2013) that the collaboration of performing arts that takes place in subang tends to place more emphasis on entertainment aspects. or in other words, the main purpose of collaborative performance is solely to get audiences. the phenomenon of collaborative performance that is mainly focus on entertainment aspect, according to maquet in soedarsono (1999) is categorized as art of acculturation. representation of aesthetic tastes of the communities based on the performance material presented, this group took the initiative to integrate several traditional arts into one performance package. this effort can be said to be a creative and innovative in order to keep traditional art in demand by the public. it seems that the creation of the singo barong ngesti wargo budoyo art group is not in vain, it can be said that because the collaborative packaging they offer, turns out to get appreciation and good reception from the community. evidently this group is often asked to perform in weleri and surrounding areas in various activities, such as a celebration, celebrating holidays, celebrations and other activities and always filled with spectators. the positive response of the public to the packaging of this art can be seen from the enthusiasm of people of all ages coming to see this art performance on stage. the presence of community members in a group watching a performance, is an indication that the show material offered is in line with the tastes of the community where the performance was held. it was said so because people voluntarily came to see the show, which he also knew, so one of the motivations that moved them to come was the matching of people’s tastes with the show material. based on the above analysis it can be said that the collaborative packaging displayed by the singo barong ngesti wargo budoyo art group represents the tastes of the community where the packaging is displayed. this arts group has a range of performances in the north coast region of central java, especially in kendal and batang regencies around the north coast of java (pantura). therefore, it can also be said that the people who support the collaborative offerings of the singo barong wargo budoyo art group are part of the coastal communities, especially the north coast of central java. thus the collaborative packaging in the singo barong ngesti wargo budoyo arts group represents a performance package that meets the aesthetic tastes of the coastal community. referring to the theory about aesthetic tastes by bourdieu, it is stated that people’s aesthetic tastes can be divided into legitimate tastes, and popular tastes. for classes that have aesthetic tastes legitimate taste, appreciate an artwork prioritizing perspective and form and put aside in terms of function, while popular aesthetic tastes in appreciating an artwork prioritize function rather than perspective and form. based on this theory, the tastes of coastal communities supporting the collaborative packaging of singo barong ngesti wargo budoyo art can be categorized as aesthetic tastes in the popular taste category. categorized as such because people who come to watch singo barong ngesti budoyo performing arts, are citizens who need fresh entertainment and can immediately enjoy without having to have special provisions to enjoy their artistic performance. or harmonia: journal of arts research and education 20 (1) (2020): 108-116114 in other words, they prioritize their functions more than the form of their presentation. they can be directly involved with the show, can give saweran (some money), can take a figure 1 together or take a selfie with the presenter during the show, their children can ride one of the buroq dolls displayed, they merge with the show. this shows or indicates that the public came to watch not because of the consideration of the form or quality of the packaging of the show, but more concerned with the functional aspects for him. the interaction of the audience during the performance can be seen in the following figure 1. figure 1. a child rode a buroq doll. the figure 1 shows that the audience can interact directly with the performers during the show by raising their child on one of the buroq dolls, they also took a photo via cellphones. figure 2. audiences take figure 1s together with dawangan dolls the figure 2 shows that the audience interacts with the players during the performance by asking for a photo together with the performers. figure 3. the audience waving money to give saweran figure 3 shows that the viewers really enjoyed the show when they teased one of dawangan doll to give a saw, their faces were very happy to interact with the performers. figure 4. the audiences put saweran into dawangan’s clothes likewise figure 4 shows the audience was so happy to be able to nyawer (give some money) by putting money in dawangan’s clothes. the phenomenon that occurs in singo barong ngesti wargo budoyo art performance above also reinforces the argument about the aesthetic tastes of coastal communities supporting the arts into the popular taste category. as bourdieu said that aesthetic tastes in the popular taste category develop naturally and intersect with life so that in appreciating art, it is more the function rather than the form. bourdieu said (1979), “everything takes place as if the “popular aesthetic” were based on affirmation of continuity between art and life, which imply the subordination of form to function,…’ based on the show events iljoko wiyoso, bintang hanggoro putra, the aesthetic taste representation of coastal com115 lustrated above, showing that the audience emphasizes the function rather than the form of the presentation, they do not care about the packaging of the show, the main thing is that they can instantly enjoy the performance of the show even involved in the show. conclusion the show material, which was packaged in a collaboration of several traditional barong, dawangan, buroq, jaran kepang and some balinese art icons, was the choice taken by the singo barong ngesti wargo budoyo art group. this package is presented in one show which is divided into four parts or rounds. it starts with barongan attraction, then dawangan, continued by buroq and ends with jaran kepang combined with several balinese art icons such as barong ket, rangde, pendet dance, old mask, cedrawasih dance. the packaging offered turned out to get a good appreciation from the community, the indications that this group is often asked to appear in the community in various activities, and always crowded with people who want to watch the show. willingness of the community to voluntarily watch a performance, as an indication that the material displayed is in accordance with the wishes of the community, or in other words according to the tastes of the community in terms of performing arts. based on the event, especially the audience’s response to the show, it indicates that the aesthetic tastes of the people supporting the packaging are included in the popular taste category based on the bourdieu classification. 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(2016). sejarah estetika. jakarta: gang kabel. 160 implementasi metode pendekatan kognitif dalam pembelajaran paduan suara ayugi destiannisa sekolah menengah pertama negeri 2 kendal, jl.soekarno – hatta 187 kendal e-mail: ayugi_destiannisa@ymail.com abstrak pendekatan pembelajaran merupakan salah satu komponen penting dalam proses pembelajaran yang diduga berpengaruh terhadap baik buruknya hasil pembelajaran kelak. peran pembimbing ataupun pelatih dalam suatu kegiatan non formal seperti ekstrakulikuler paduan suara menggunakan pendekatan dalam pembelajaran yang tepat kepada siswa yang mengikuti agar dapat mencapai tujuan secara efektif, efisien, dan kondusif sesuai dengan yang diharapkan. dalam kegiatan pembelajaran ekstrakurikuler paduan di smp n 2 kendal pelatih menggunakan metode yang efektif yaitu metode pendekatan kognitif. hasil penelitian menyatakan bahwa penerapan atau aplikasi metode pendekatan kognitif dalam pembelajaran ekstrakulikuler paduan suara di smp n 2 kendal adalah melalui tahapan–tahapan seperti, (1) persepsi, (2) perhatian, (3) bahasa, (4) materi pembelajaran ekstrakulikuler paduan suara, (5) ingatan, (6) imajeri, (7) penalaran, dan (8) pemecahan masalah. implementation of cognitive approach method in choir learning abstract learning approach is one of important components in learning process since it will influence on the results of the following learning. the role of supervisor or trainer in a non-formal activity such as extracurricular choirs should take an appropriate learning approach into account so that students would grasp the learning effectively, efficiently, and conducively as it is expected. in the choir extracurricular learning activity at public junior high school 2 kendal, a trainer used a cognitive approach method. the result shows that the use or application of the approach was conducted through stages including (1) perception, (2) attention, (3) language, (4) choir extracurricular learning material, (5) memory, (6) imagery, (7) reasoning, (8) problem solving. kata kunci: pembelajaran, kegiatan ekstakurikuler, pendekatan kognitif, paduan suara. pendahuluan pendidikan seni meliputi semua bentuk kegiatan aktivitas dan cita rasa keindahan. aktivitas fisik dan cita rasa keindahan itu tertuang dalam kegiatan berekspresi, bereksplorasi, berkreasi dan berapresiasi melalui bahasa rupa, bunyi, gerak dan peran (balitbang depdiknas 2001:7). pendidikan seni juga bertautan dengan pendidikan pribadi, dalam berbagai tautannya sehingga pradigma pendidikan seni mengandung pula tujuan pendidikan keseluruhannya, demikian juga hal itu berlaku untuk pendidikan musik. pendidikan seni musik dapat diperoleh melalui pendidikan formal (sekolah), pendidikan non formal (sekolah kursus), dan dapat juga melalui pendidikan informal (keluarga). pendidikan formal adalah ayugi destiannisa, implementasi metode pendekatan kognitif dalam pembelajaran ... 161 pendidikan yang terorganisasi di dalam system sekolah yang diselenggarakan secara terpadu, mempunyai kurikulum dan tujuan akhir kurikuler (sumarno 1997:208). pendidikan non formal adalah pendidikan yang terorganisasi di luar system persekolahan baik yang diselenggarakan secara terpisah maupun terpadu untuk kegiatankegiatan yang amat penting dalam rangka melayani warga belajar. sedangkan pendidikan informal adalah pendidikan yang dapat diajarkan melalui keluarga yaitu misalnya ayah, ibu atau saudara. pembelajaran paduan suara di smp n 2 kendal merupakan salah satu kegiatan ekstrakurikuler siswa dalam bidang kesenian sebagai media pengembangan keterampilan siswa, dalam hal ini smp n2 kendal terus berupaya konsisten dalam pembinaan ekstrakurikuler paduan suara, hal tersebut dibuktikan dengan mendatangkan tenaga pengajar paduan suara dan tidak jarang juga memanggil beberapa mahasiswa jurusan seni musik dari perguruan tinggi unnes yang bergelut di bidang paduan suara untuk ikut mengajar ekstrakurikuler paduan suara di smp n 2 kendal. para pengajar tersebut yang juga senantiasa memberikan pengalaman serta motivasi dalam mengembangkan paduan suara. sebagai salah satu ekstrakurikuler yang diselenggarakan smp n 2 kendal, kabupaten kendal tampaknya paduan suara cukup diminati oleh beberapa siswa, hal tersebut dilihat dari jumlah peserta ekstrakurikuler yang berjumlah 35 anak. dari 35 anak tersebut sebagian dipilih menjadi kelompok paduan suara inti sejumlah 17 anak. prestasi yang dimiliki oleh paduan suara smp n 2 kendal sudah cukup terlihat dari beberapa kali mengikuti perlombaan dan diantaranya pernah meraih juara 1 lomba paduan suara smp tingkat kabupaten dan juara 1 sekaresidenan pati yang kemudian maju ke tingkat bakorwil dan meraih juara 3. semangat siswa sangat tinggi dalam mengikuti pembelajaran ekstrakurikuler paduan suara. mereka mampu bersaing dengan tim lain dari sekolah – sekolah yang juga berprestasi di bidang paduan suara. akan tetapi tim paduan suara smp n 2 kendal tidak kalah bagus dan seringkali tim paduan suara smp n 2 kendal memperoleh juara dalam perlombaan paduan suara di tingkat kabupaten atau tingkat provinsi. secara sederhana implementasi bisa diartikan pelaksanaa atau penerapan. majone dan wildavsky (dalam nurdin dan usman, 2002), mengemukakan implementasi sebagai evaluasi. browne dan wildavsky (dalam nurdin dan usman 2004: 70) mengemukakan bahwa “implementasi adalah perluasan aktivitas yang saling menyesuaikan”. pengertian implementasi sebagai aktivitas yang saling menyesuaikan juga dikemukakan oleh melaughin (dalam nurdin dan usman, 2004). pendekatan kognitif menekankan bahwa tingkah laku adalah proses mental di mana individu (organism) aktif dalam menangkap, menilai, membandingkan, dan menanggapi stimulus sebelum melakukan reaksi. individu menerima stimulus lalu melakukan proses mental sebelum memberikan reaksi atas stimulus yang datang. pada pendekatan kognitif juga menekankan hal yang berlangsung di pikiran seseorang bagaimana seseorang berpikir, mengingat, memahami bahasa, memecahkan masalah, menjelaskan berbagai pengalaman, memperoleh sejumlah standar moral, dan membentuk keyakinan. musik adalah bentuk penyajian seni yang ada kaitannya dengan nada-nada atau suara, serta menimbulkan perasaan puas bagi penyaji atau penghayatnya (gunawan, 1994:7). salah satu bentuknya adalah paduan suara yang merupakan bagian dari penyajian musik vokal. paduan suara disajikan dengan memperlihatkan adanya melodi dan irama tertentu, serta unsureunsur musik lainnya, sehingga mampu mengkomunikasikan ide, perasaan dan pernyataan pikiran pencipta kepada pendengarnya dengan baik. menurut simanungkalit (2008:50) terdapat sifat dan karakter jenis suara manusia yaitu jenis suara soprano, alto, tenor dan bass yang masing – masing mempunyharmonia, volume 12, no. 2 / desember 2012162 ai sifat dan karakter yang berbeda. pernafasan merupakan “motornya” orang bernyanyi. di antara bermacam–macam pernafasan (pernafasan dada, perut, pundak dan diafragma), pernafasan diafragmalah yang dianggap baik untuk bernyanyi. ada juga yang mengkombinasikan antara pernafasan diafragma dan perut (suharto, 2008). teknik produksi suara merupakan mekanisme dari koordinasi dan kerja sama alat-alat penghasil bunyi. jika kerjasama itu benar kita akan mendengar bunyi yang baik. istilah kerjasama mekanisme gerak ini sering disebut fisiologi. pita suara dapat digerakkan saling mendekat rapat dan menjauh, selain juga kendor atau tegang. jika dalam posisi saling menjauh, maka saluran kerongkongan terbuka dan kita dapat menarik atau melepas nafas dengan leluasa sebaliknya jika dalam kedua membrane itu saling mendekat hingga rapat, saluran kerongkongan tertutup dan nafas tidak bisa masuk. jika kita salurkan nafas dengan teratur melalui celah diantara pita suara itu, akan terjadilah suara karena kedua pita suara itu bergetar. suara akan menjadi nyaring karena ada alat pengeras (resonator) seperti rongga mulut, rongga kepala, rongga hidung dan rongga dada. alat-alat ini uang disebut resonansi suara. lengkapnya alat yang menjadi resonator adalah mulut, puncak leher, oral pharynx, nasal pharynx, post nasal cavities (rongga hidung) trachea, bronchi rongga dada dan rongga kepala. menurut urutan tingkat suara resonansi dapat dibagi menjadi 3 : resonansi kepala, resonansi tengah (rongga mulut dan hidung), dan resonansi dada. semakin baik ruang-ruang itu beresonansi semakin bagus dan kaya warna suara dan kekuatannya. suara yang bagus adalah hasil pembentukan bunyi (artikulasi, diksi) dan resonansi yang baik. padu bulat, menyatu (blend) adalah ciri utama musik paduan suara. suarasuara dari banyak peserta dan kelompok suara yang berbeda harus menjelma menjadi satu warna dan satu bahasa yaitu warna paduan suara. beberapa syarat untuk mencapai blend di dalam lingkungan satu kelompok suara (1) tinggi nada (pitch) harus tepat-bersih. nada yang tidak tepat antar suara menjadikan suara keruh. di sinilah perlunya pemanasan (vokalizi) sebelum membawakan lagu, 2) kualitas suara yang baik. ini tergantung dari cara membentuk suara dan cara membentuk vokal (vowels), (3) menggunanakan register yang sama penggunana register yang berbeda (ada yang falsetto dan ada yang suara leher), juga antara sopran dan alto yang jauh warnanya menjadikan suara tidak padu (berwarna warni). vibrasi boleh digunakan asal jangan terlalu besar intensitasnya dan jangan menonjolkan individu. sebaiknya hanya beberapa saja, kecuali dia sebagai solis. penyamaan dinamik agar tidak ada yang lebih menonjol, agar tidak terdengar sia-sia penggarapannya. faktor keseimbangan tidak lepas dari blend. jika dalam blend adalah untuk menciptakan kesamaan atau kepaduan antar personil dan kelompok suara maka teknik keseimbangan ini untuk menciptakan keseimbangan antar kelompok suara. keseimbangan ini untuk menghindari tidak ada kelompok suara yang palimg dominan suaranya. keseimbangan ini bisa meliputi kekuatan, warna, dinamik, irama dan sebagainya. yang membedakan musik paduan suara dan musik instrumentalia adalah pemakaian kata-kata yang membawakan nada-nada dari komposisi. perpaduan kata-kata dengan musik inilah yang harus dicermati pemimpin paduan suara agar tidak berjalan sendiri-sendiri. teks dalam lagu tidak sekedar menuntut kata-kata yang jelas, tajam secara teknis, tetapi lebih dari itu yaitu cara-cara mengucapkan sekaligus mengungkapkan makna, isi, bahkan sampai pada yang bersifat emosional. inilah yang disebut diksi. jadi diksi sudah termasuk artikulsi, yang merupakan upaya mencari interpretasi dari kata-kata. artikulasi adalah teknik pengucapan agar ucapan yang terdengar lebih jelas. teknik ini juga berkaitan dengan teknik ayugi destiannisa, implementasi metode pendekatan kognitif dalam pembelajaran ... 163 lain seperti diksi dan pembentukan suara. teknik artikulasi memperhatikan pada ucapan-ucapan huruf hidup (vokal) dan huruf mati (konsonan). frasering adalah teknik pemenggalan kalimat lagu. teknik ini terkait juga dengan pernafasan, an interpretasi. teknik ini penting karena salah menginterpretasi, terutama dalam pemenggalan kalimat, akan mengurangi keindahan termasuk juga maknanya. intonasi adalah teknik yang berhubungan dengan ketepatan nada (pitch). ini sangat bersifat individu. artinya, setiap anggota paduan suara harus memiliki kepekaan nada yang kuat sehingga mampu mengendalikan tinggi suaranya, dan tidak lagi terdengar nada-nada fals yang muncul saat penyajian. satu orang terdengar fals maka rusaklah paduan suara itu. jika banyak yang fals maka suara menjadi keruh. penguasaan ini akan menjamin nada-nada fals pada grup itu. sangat dianjurkan seluruh anggota paduan suara mampu membaca notasi music. latihan ini harus sering dilakukan, terutama saat vokalisi. cara ini akan berguna baik yang sudah mampu membaca notasi maupun yang belum. vibrasi adalah teknik menggetarkan/mengalunkan nada atau mefluktuasikan nada yang dibunyikan. pengolahan teknik ini harus sangat hati-hati. penggunaan yang tak terkendali akan merusak penyajian paduan suara. akan lebih baik jika sebagian saja yang menggunakan vibrasi. itu pun dengan intensitas yang sedang saja, kecuali sebagai solis. munculnya vibrasi pada suara manusia dikarenakan sudah mapannya posisi alat-alat produksi suara, walaupun suara yang bervibrasi belum tentu berkualitas terutama dalam vokal paduan suara. vibrasi dapat dilatih sejak dini sehingga muncul vibrasi lebih awal juga. teknik mendengarkan adalah memperhatikan suara diri sendiri maupun suara disekelilingnya. simanungkalit menamakan istilah ini dengan kegiatan bernyanyi dengan telinga. sebenarnya bernyanyi solo pun harus selalu mengontrol diri apakah suara yang terdengar cukup baik dari segi intonasi, artikulasi, keseimbangan dengan iringan, sampai pada ekspresinya. namun, bernyanyi paduan suara yang terdiri dari banyak sumber suara menuntut lebih banyak karena pencapaian blend dan balance suatu kewajiban jika ingin paduan suaranya padu dan utuh serta seimbang. teknik ini untuk menjamin suara perindividu, setiap seksi suara, sampai seluruh peserta, mantap dari segi teknik dan pembawaan. pembawaan dan interpretasi dan ekspresi, teknik ini cukup penting terutama berkaitan dengan bagaimana lagu itu dinyanyikan. pesan lagu, karakter lagu, sampai pada bagian-bagian lagu (termasuk tanda-tanda ekspresi atau dinamik) harus bisa ditangkap oleh pelatih dengan baik. tugas ini banyak dilakukan oleh pemimpin atau pelatih paduan suara. pelatih harus bekerja keras untuk mencermati seluruh isi partitur lagu dan menerapkannya dalam padua suaranya. kegiatan ini bisa dilakukan secara bertahap mulai saat proses latihan sampai dengan tahap penggosokan (finishing). saat penggosokan ini sebenarnya memerlukan waktu latihan yang cukup banyak agar hasilnya mengagumkan. banyak paduan suara yang akan tampil lomba hanya berhenti pada penguasaan notasi dan penafsiran yang belum cukup. padahal, semakin digosok paduan suara yang sudah “jadi” akan semakin “kempling”. akan terlihat dan dirasakan oleh peserta saat menyanyikannya terasa mantap, percaya diri dan menikmati, sedangkan yang melihat atau mendengarkan merasa terpesona dan terharu (termasuk jurinya) karena keindahan fisik maupun suaranya. metode data yang dibutuhkan dalam penelitian ini bersumber dari data atau informasi yang terdiri dari nara sumber yaitu pelatih, guru pendamping dan siswa yang mengikuti kegiatan ekstrakurikuler paduan suara di smp n 2 kendal. selain itu peneliti juga menggunakan dokumerntasi sebagai data. teknik pengumpulan data yang harmonia, volume 12, no. 2 / desember 2012164 tal atau aktivitas berpikir. proses mental atau pikiran ini meliputi bagaimana seseorang memperoleh informasi, bagaiman informasi itu disimpan di dalam ingatan kemudian dimunculkan kembali, bagaimana pengetahuan itu digunakan seseorang untuk mengarahkan perilaku-perilakunya. pendekatan kognitif juga sering disebut pemrosesan informasi. proses implementasi metode pendekatan kognitif dalam pembelajaran ekstrakulikuler paduan suara di smp n 2 kendal terbagi menjadi beberapa tahap, yaitu: (1) perencanaan, (2) pelaksanaan, (3) sarana dan prasarana, (4) evaluasi. kegiatan pembelajaran ekstrakulikuler paduan suara dengan pendekatan kognitif terdapat faktor-faktor yang mempengaruhi. faktor-faktor yang mempengaruhi faktor penghambat faktor siswa merupakan pengaruh yang sangat besar dalam menghambat proses pembelajaran. karakteristik siswa dengan usia yang masih senang bermain dan sulit diatur serta ribut didalam ruangan, membuat pelatih seringkali kewalahan dalam menangani siswa. jarak dari tempat tinggal pelatih yaitu semarang ke smp n2 kendal cukup jauh. jika ditempuh dengan kendaraan bermotor akan menghabiskan waktu kurang lebih 1 jam. ramainya jalanan yang tidak bisa diduga setiap waktu membuat pelatih kadang terlambat akibat macet di daerah tertentu dan membuat siswa yang mengikuti ekstrakulikuler paduan suara menunggu beliau. faktor sarana dan prasarana di smp n 2 kendal belum terdapat ruangan khusus untuk kegiatan ekstrakulikuler paduan suara, untuk seni hanya ada ruangan gamelan yang tentunya sudah penuh dengan alat-alat gamelan dan tidak dapat menampung siswa yang mengikuti ekstrakulikuler paduan suara. oleh karena itu setiap jadwal ekstrakulikuler padan suara, guru pendamping mencari ruangan yang kosong sebagai tempat digunakan dalam penelitian ini adalah observasi, wawancara (interview) dan dokumentasi. teknik ini dilakukan untuk memperoleh data sekunder guna melengkapi data yang belum diperoleh melalui teknik observasi dan wawancara. teknik pemeriksaan keabsahan data melalui dua tahap yaitu triangulasi data. teknik analisis data kualitatif dilakukan dengan teknik interactive model analysis (miles dan huberman, 1992). teknik tersebut terdiri tiga tahapan yaitu reduksi data, sajian data, dan simpulan (verfikasi). hasil dan pembahasan ekstrakulikuler paduan suara di smp n 2 kendal dilaksanakan setiap hari jum’at seusai kegiatan belajar mengajar yaitu pukul 13.00 wib di ruang yang biasa digunakan khusus untuk ekstrakulikuler paduan suara. ekstrakulikuler paduan suara tersebut diikuti oleh siswa kelas vii dan viii. sampai dengan peneliti melakukan observasi di smp n 2 kendal, siswa yang mengikuti ekstrakulikuler paduan suara berjumlah 35 siswa. smp n 2 kendal mendatangkan seorang pelatih untuk melatih siswa yang mengikuti ekstrakulikuler paduan suara. pelatih tersebut bernama theodora, yang bertempat tin bertempat tinggal di semarang dan mengajar di smp 9 semarang. beliau sudah dipercaya oleh guru seni budaya dan kepala sekolah smp n 2 kendal untuk membantu melatih paduan suara. alasan yang membuat guru seni budaya dan kepala sekolah smp n 2 kendal memberikan kepercayaan kepada pelatih adalah karena strategi pelatih yang berbeda dengan yang lainnya dalam memberikan pembelajaran kepada siswa yang mengikuti ekstrakulikuler paduan suara mengenai segala yang berhubungan dengan paduan suara. strategi yang dilakukan oleh pelatih dalam memberikan pembelajaran mengenai paduan suara adalah dengan menggunakan pendekatan kognitif. pendekatan kognitif dapat didefinisikan sebagai suatu studi ilmiah mengenai proses-proses menayugi destiannisa, implementasi metode pendekatan kognitif dalam pembelajaran ... 165 dilaksanakannya ekstrakulikuler paduan suara. faktor pendukung faktor siswa siswa yang aktif dan fokus sangat membantu dan memudahkan pelatih dalam proses implementasi metode pendekatan kognitif dalam pembelajaran ekstrakulikuler paduan suara di smp n 2 kendal. faktor sarana dan prasaran ruangan yang nyaman akan mempengaruhi konsentrasi siswa dalam proses pembelajaran ekstrakulikuler paduan suara. di setiap ruangan kelas di smp n2 kendal terdapat lcd proyektor, dan laptop yang disediakan oleh guru pendamping yang dapat digunakan pelatih apabila pelatih ingin memperlihatkan gambar atau video pada siswa sebagai bahan pembelajaran paduan suara. faktor pelatih dalam setiap pertemuannya dengan siswa yang mengikuti ekstrakulikuler paduan suara, beliau selalu berusaha menciptakan suasana belajar dan menyenangkan bagi siswa sehingga siswa tidak jenuh dan bosan. dengan berbagai pengalamannya dalam melatih paduan suara, menjadikan beliau dapat mengajar atau melatih paduan suara dengan baik. beliau tidak hanya melatih di smp n 2 kendal, akan tetapi juga melatih paduan suara di universitas– universitas di semarang seperti unika, undip, ikip pgri, dan usm. selain mengajar paduan suara, beliau juga mengajar vokal di beberapa instansi seperti kantor pelabuhan 3, kantor esdp. selebihnya beliau lebih banyak melatih di gereja. simpulan dan saran simpulan berdasarkan hasil penelitian dan pembahasan yang diuraikan dalam bab iv, maka dapat disimpulkan bahwa penerapan metode pendekatan kognitif merupakan proses mental atau aktifitas berpikir seseorang sehingga dapat mempersepsikan, memperoleh informasi, mengingat, memecahkan masalah dan menemukan solusi. implementasi pendekatan kognitif dalam pembelajaran ekstrakulikuler paduan suara di smp n 2 kendal secara rinci diterapkan melalui tahapan – tahapan seperti (1) persepsi, (2) perhatian, (3) bahasa, (4) materi pembelajaran ekstrakulikuler paduan suara, (5) ingatan, (6) imajeri, (7) penalaran, (8) pemecahan masalah, (9) evaluasi. faktor pendukung implementasi pendekatan kognitif dalam pembelajaran ekstrakulikuler paduan suara di smp n 2 kendal adalah adanya pelatih yang sudah berpengalaman melatih paduan suara dengan menerapkan metode tersebut, siswa yang aktif mengikuti pembelajaran ekstrakulikuler padun suara serta sarana dan prasarana yang memadai. faktor penghambat diterapkannya metode pendekatan kognitif dalam pembelajaran paduan suara di smp n 2 kendal adalah jarak rumah pelatih menuju smp n 2 kendal yang membutuhkan waktu lama sehingga seringkali terlambat sampai dan waktu yang digunakan untuk pembelajaran ekstrakulikuler paduan suara menjadi tidak efisien. kemudian ruangan khusus untuk pembelajaran ekstrakulikuler paduan suara belum disediakan oleh pihak sekolah sehingga setiap kali akan melaksanakan ekstrakulikuler paduan suara harus menempati ruang kelas yang biasa digunakan untuk kegiatan belajar mengajar pada jam sekolah saran berdasarkan hasil penelitian dan kesimpulan diatas, maka saran yang dapat disampaikan oleh peneliti terhadap pembelajaran ekstrakulikuler paduan suara di smp n 2 kendal adalah terkait dengan hasil penelitian tersebut penulis memberikan saran agar (1) pembelajaran ekstrakulikuler paduan suara dengan pendekatan kognitif di smp n 2 kendal perlu dipertahankan, (2) perlu adanya jadwal pelatihan yang berbeda antara siswa yang harmonia, volume 12, no. 2 / desember 2012166 baru saja mengikuti ekstrakulikuler paduan suara dengan siswa yang sudah dipilih menjadi tim paduan suara untuk perwakilan lomba, (3) pelatih hendaknya didatangkan tidak hanya pada waktu akan persiapan lomba akan tetapi setiap jadwal ekstrakulikuler paduan suara di smp n 2 kendal agar kedepannya pada saat akan maju mewakili sekolah,tidak terlalu berat dalam mengolah vokalnya. daftar pustaka arikunto, suharsimi. 1993. prosedur penelitian suatu pendekatan praktek. jakarta: rineka cipta depdiknas. 2003. kamus besar bahasa indonesia. edisi ke-iii. jakarta: balai pustaka. djamarah, syaiful b. 1994. prestasi belajar dan kompetensi guru. surabaya: usaha nasional. hadi, gunawan, dkk. 1994. pelajaran seni musik dan tari. surakarta: widyaduta simanungkalit, nortir. 2008. teknik vokal paduan suara. jakarta: pt gramedia pustaka utama sumaryanto, f.totok. 2007. pendekatan kuantitatif dan kualitatif dalam penelitian pendidikan seni. semarang : unnes press. leimena,catharinawawengkang.1994. teknik vokal penunjang nilai artistik suatu paduan suara (makalah seminar lokakarya musik gereja di caringin, bogor september 1994) suharto. 2008. “membina paduan suara di perguruan tinggi” makalah pelatihan one day training di fakultas psikologi universitas diponegoro semarang tanggal 12 nopember 2008. 35 performance assessment through motion literation to assess the motoric skill of junior high school students based on laban notation dinny devi triana1, rivo panji yudha2 1universitas negeri jakarta, indonesia 2universitas 17 agustus 1945 cirebon, indonesia submitted: 2021-02-17. revised: 2021-03-27. accepted: 2021-04-26 abstract motor skills integrate physical functions and coordination between the brain as a center for information and control through visual activities (reading) and tactile (writing) movement symbols. symbols and motion codes are found in labanotation, so the ability to read symbols and write symbol patterns is called motion literacy. it can be done through continuous assessment continuously in an effort to diagnose their abilities. the results of the study describe a change in the condition of students’ motor skills after intervention through labanotation-based motion literacy work assessment, namely the change in conditions from the intervention condition (b) to the final baseline condition (a’) decreases the students’ adaptability. however, at the final baseline condition (a’), the motor ability score improved better than in the phase before baseline (a). the total average score obtained in this condition was 62.86%. thus it can be concluded that the effect of performance appraisal through motion literacy provides benefits for improving brain function because structured and programmed motion exercises are useful in stimulating various learning centers in the brain. this also impacts on improving motor skills in students to undergo the learning process at a later stage. keywords: performance assessment, motion literacy, motor skills, laban notation how to cite: triana, d. d. & yudha, r. p. (2021). performance assessment through motion literation to assess the motoric skill of junior high school students based on laban notation. harmonia: journal of arts research and education, 21(1), 35-42 harmonia: journal of arts research and education 21 (1) (2021), 35-42 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i1.29132 these motor skills are found in dance learning, which requires the ability to mimic motion, develop motion, perceive motion, manipulate motion, and improvise motion. harrow’s theory states that the psychomotor realm consists of a manipulative motor and movement skills that require neuromuscular coordination (cooper & harrow, 1973). this neuromuscular coordination that leads to motion that is done using one’s cognitive is called motion perceptiintroduction dance can be defined as a physical movement consisting of ideas, movements, and rhythms to produce meaning. movement in dance is related to motor skills, which can provide enhanced concentration, flexibility, and beauty. gestures that can be used as media in a dance start from head-to-toe movements using fine movements (fine motor) and gross movements (gross motor skills) (larasati, 2013). corresponding author: e-mail: dinnydevi@unj.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 21 (1) (2021): 35-4236 on. motion perception can be seen from several sides, including expressing emotions through postures or gestures which are manifested in the form of motion. the way our bodies convey emotional information, such as adopting a collapsed posture when depressed or leaning forward to show interest, is also understudied. according to calvo et al. (2014), we have studied less in the field of emotional body expression, which models how people communicate emotions through body postures and gestures and how people make inferences about the emotional state of others based on perceived posture and gestures. less studied are how our body also conveys emotional information, such as adopting a collapsed posture when depressed or leaning forward to show interest. unfortunately, gratiolet’s work remains largely unknown since his book has never been translated into english (gratiolet, 2011) expressing motion in motor skills includes cognitive work, where harrow describes it as perceptual abilities, namely by combining cognitive abilities with motion and physical abilities, which are the abilities needed to develop high skill movements (cooper & harrow, 1973). motor skills in perceptual abilities and physical abilities must integrate physical functions that coordinate between the brain as a center for information and control, where the information is received and processed and then transferred by motor nerves into movement (triana, 2015). one of the activities that can be given to help the motor and cognitive stimulation process is through the introduction of dance symbols, namely laban notation. the symbols and codes in dance are quite complex, so dancers need to make written recordings of their movements, read symbols, and form symbol patterns. furthermore, in his research, bucek also explained that movement literacy is a tool to facilitate dance content skills. movement literacy is carried out using various methods of coding, kinesthetic (moving), visual (reading), and tactile (writing) to stimulate learning and understanding information (giblin et al., 2014). the study of movement literation is used to determine the ability to think and move through dance notation in the form of symbols and coding (bucek, 1998). in this case, the ability to think and move, in this case, motor skills, requires continuous training by assessing the development of his abilities. krasnow & chatfield have conducted an assessment through a qualitative research study that explains the clarity of movement intention: amplitude of range of motion, wholebody involvement (krasnow & chatfield, 2009). also referred to as ”spatial skills” or ”spatial integrity,” this theme relates to the concept of space, time, energy described by bartinieff fundamentals and laban movement analysis (angioi et al., 2009; krasnow & chatfield, 2009). changes in assessment strategy to measure skills in a complex global environment are needed (mctighe & wiggins, 2012). the change in measuring competencies should be integrated with indispensable knowledge skills for the future and is required innovative learning and assessment for teaching collaborative work that will reflect in skills, ability, and knowledge (babey, 2020; bennett-smailis, 2016). assessment of dance performances for the choreography course is an assessment of student dance work. one of the dominant aspects in assessing students’ dance performances is related to dance composition theory. in learning dance, theoretical knowledge about dance is needed to support practical lectures, one of which is the choreography course, which is an implementation of dance theory lectures, especially the “dance composition” course (triana, 2015). students are expected to solve problems through communication, information, media, and technology, including information literacy and media literacy (bennett-smailis, 2016). afterward, the use of digital assessment can be classified into 1) basic literacy as numeracy literacy, scientific literacy, technology literacy, and dinny devi triana & rivo panji yudha, performance assessment through motion litera37 information, financial literacy, and culture literacy; 2) competence or ability to handle various complex problems; 3) ability to survive in a changing environment (pendidikan & jakarta, 2017). learning models that can measure student skills, for example, are performance, assessment, portfolios, and others, as expressed by astuti et al. (2012: 40) in their research on the development of authentic scientific literacy-based assessment instruments on excretion system material, saying that “alternatives that can be conducted is using authentic assessment, the type of assessment developed is peer assessment, portfolio, performance, projects, attitudes, and tests, each of which is developed based on scientific literacy.” performance appraisal is an alternative form of assessment that requires students to actively show their performance because what is assessed is the final result and the process or skill to see students’ knowledge and abilities (meutia, 2013). performance appraisal such as the performance of our assignment presentations can assess the three existing aspects, namely cognitive, affective, and psychomotor aspects. in the context of learning, performance assessment is an assessment technique in which data collection processes for making decisions about individuals are carried out by means of systematic observation. there are five operational performance assessment definitions, such as (1) performance assessment is a process, not a single test or measurement device; (2) the focus of this process is data collection, using various instruments and strategies; (3) data were collected by means of systematic observation. the emphasis is on direct observation techniques rather than paper-and-pencil tests, especially not multiple-choice, although these tests can also be used in assessments; (4) integrated data is used for the purpose of making certain decisions that will guide the form and substance of the assessment; and (5) the subject of decision making is an individual, not a program or product that reflects a group activity (smp et al., 2013) various methods are used to develop motor skills so that children can develop their physical motor skills. one way that can make children active and make children happy is by using dance activities through learning movement literacy. junior high school students should be able to perform body movements in a coordinated manner to train flexibility, balance, and agility. from this problem, an assessment and improvement are needed that improves students’ motor skills. junior high school students need interesting and fun activities so that children do not get bored with the activities to be carried out. one of the activities that can be given to help the child’s gross motor stimulation process is through the introduction of dance symbols, namely laban notation. the symbols and codes in dancing are quite complex, so dancers need to make written recordings of their movements, read symbols, and form symbol patterns. furthermore, in his research, bucek (1998) also explained that the literacy movement is a tool to facilitate dance content skills. literacy movements are carried out using various coding, kinesthetic (moving), visual (reading), and tactile (writing) methods to stimulate learning and understanding information (sudlow, 2019). a variety of exercise patterns of motion can increase the potential for physical, emotional, social, and cognitive abilities. movement pattern training is very influential on a person’s potential for movement in physical skills. therefore it is necessary to know the body through experiences of movement. through awareness of body movement patterns, a person will be able to achieve the skills of body movement independently method this type of research is a descriptive quantitative experimental research with a research design carried out on a single case, namely comparing the same subject in different conditions. the design used in this study is aba. harmonia: journal of arts research and education 21 (1) (2021): 35-4238 in this design, there are three conditions observed, namely the initial condition or baseline one (a), which is motor skills before the intervention is carried out, then when the intervention is carried out (b), in the form of learning achievement assessment in laban notation, and baseline two (a ‘) is the condition after the intervention. in this study, the influencing variable or the independent variable was in the form of an assessment of the learning performance of laban notation, while the dependent variable was motor skills. motor skills were measured at the condition before the intervention (baseline), at the time of the intervention, and after the intervention (baseline). the subjects were students from ten junior high schools in jakarta, totaling 85 students. subjects are in the middle education age range and have a high interest in dancing activities. in this study, the instrument used was in the form of a performance instrument given to a person with the intention of getting a response that could be measured and used as the basis for determining quantitative data. in this study, the set of stimuli referred to is verbal instruction, and the measured response is in the form of actions that describe motor skills through movement literacy. data analysis in research using a single subject research design aims to determine the effect or effect of the intervention on the target behavior. each data obtained from the baseline (a) and intervention (b) stages was made a descriptive analysis. result and discussion there are three stages of the test given: the test at the initial baseline stage, the intervention stage test, and the final baseline. the test at the baseline stage aims to determine the initial ability of the subject before being given intervention, the test at the intervention stage aims to determine the effect of the intervention on learning outcomes, while the test at the final baseline stage aims to determine the effect of the intervention on motor skills when the intervention has not been re-applied (whether it is permanent or not. change in target behavior). before entering the intervention phase, the application of laban notation learning was carried out. daily gross motor skills tests are done after doing three basic series of motion literacy. motion literacy activities were stopped at the final baseline condition, but a gross motor test was still carried out. table 1 describes the summary of the results of data analysis in the following conditions: (1) the length of the conditions carried out in the baseline phase (a) is two sessions, in the intervention phase (b) is four sessions, while the baseline (a’) is two sessions; (2) based on the estimation line of the directional trend, it is known that the baseline condition (a) estimates the tendency to increase because the median score obtained in the right is higher than the median score in the left hemisphere in each condition, this means that the research subject has increased in motor skills; (3) the results of the trend of stability at baseline (a) are 0%, which means the data is not stable. in the intervention condition (b), it was 62.5%, which means it was unstable. at baseline conditions (a ‘), the trend of stability reached 100%, which means stable; (4) based on the trace line data, it is known that the baseline condition (a), the intervention condition (b), and the baseline condition (a ‘) are increasing because the median score obtained in the right is higher than in the left; (5) data on baseline conditions. (a), the score tends to increase but is not stable. at the baseline condition (a ‘), the data scores tended to increase but were stable in the range; (6) in the baseline condition (a) shows a plus sign (+) which means the data has increased, in the intervention condition (b) it has increased so that the data shows a plus sign (+) while in the baseline condition (a ‘) it has increased so that the data shows a plus sign (+). table 2 is a summary of the results of the analysis between conditions with the following explanation: (1) the number dinny devi triana & rivo panji yudha, performance assessment through motion litera39 of variables to be changed is one, namely the baseline condition to the intervention condition; (2) the acquisition trend of the direction between baseline conditions (a) to intervention (b) and intervention (b) to baseline (a’) is increasing. that means that the target behavior increases after the intervention is given; (3) the change in the stability trend between baseline (a) and intervention is variable to variable. while the trend of stability between an intervention (b) to baseline (a’) is variable to stable, (4) the motor skills from the baseline to the intervention conditions increased by 3.57%. meanwhile, the motor skills from the intervention conditions to the baseline (a’) decreased by 17.86%; (5) the percentage of overlap or overlapping data from the intervention (b) to the baseline (a) is 0%. based on the results of the data overlap percentage of 0%, it shows that the provision of intervention in the form of performance assessment in learning motion literacy has a significant effect on the target behavior, namely motor skills with reading specifications and describing junior high school students. according to wendt (2009), the percentage of non-overlapping data <50% shows that the intervention has no significant effect. the rate of non-overlapping data is 50% -70%, indicating that the effectiveness of the intervention still needs to be questioned. the percentage of nonoverlapping data 70% -90% shows that the intervention is quite adequate, and the rate of nonoverlap data >90% indicates that the intervention is very effective. based on the results of the study, it was found that the overlapping data was 0%; in other words, the percentage of non-overlapping data was 100%. this proves that the intervention is very effective in increasing target behavior. discussion in the baseline phase, the motor skills test was carried out on the subjects and got relatively low results with an overall average of 45%. in terms of the ability to move, the subjects experienced very slow motor maturity, poor coordination, difficulty in focusing, deficient physical health, and often absent due to illness. kaplan and sadock (2010) agree that mentally disabled children have deficiencies in coordinating movement and sensory, low tolerance, focus, difficulty understanding language, and doing work. the results showed that the level of physical fitness for mentally disabled children was in the deficient category. in the intervention phase, where table 1. summary of analysis results under one condition condition a b a’ duration 2 4 2 estimation of directional trend (+) (+) (+) trend of stability unstable (0%) unstable (0%) stabile (100%) stability level and range 39-57 61-79 61-64 level change 57,14%39,29% (-17,85%) 78,57%-60,71% (-17,86%) 60,71% -64,29% (+3,58%) table 2. summary of analysis results between conditions condition a b number of changes in variable 1 1 changes in direction and effects (+) (+) stability change variable to variable variable to stable level change +3,57% -17,85% overlap percentage 0% harmonia: journal of arts research and education 21 (1) (2021): 35-4240 children like the performance appraisal session through movement literacy, the students’ motor skills increase. this answers kurniati’s (2013) opinion that one of the learning objectives for students is to socialize, adapt, and have fun activities. the total average score obtained in this condition is 73%. according to sousa’s (2012, p. 258) statement, symbols can affect the body by changing the response, speed of seeing, reading, and the ability to describe. these responses result from the activation of the neural networks involved in motivation and pleasure. according to lwin et al. (2008), response to a motion is the first aspect that must be developed from a neurological perspective. of all the intelligence in a person, movement literacy has a big influence on humans and can develop other intelligence. in this case, movement literacy also contributes to the subject being able to remember motion, concentration, and happy mood. motion literacy also improves motor planning or motion planning abilities and optimizes individual cognitive performance. changes in conditions from the intervention condition (b) to the final baseline condition (a’) reduce the adaptability of mentally disabled students. however, at the final baseline condition (a’), the motor ability score increased better than in the phase before the initial baseline (a). the total average score obtained in this condition is 62.86%. learning to dance is a very useful alternative for physical activities. when individuals perform left, and right movement activities, blood flow in all parts of the brain increases; this activity will unite the motor and cognitive areas in the brain, namely the cerebellum, basal ganglia, and corpus callosum. and, it can stimulate the production of neurotrophins which can increase the number of synaptic connections. eye movements that follow hand movements will train the relationship between the center of vision and the center of the activity. balance exercises will stimulate several parts of the brain that regulate balance, such as the cerebellum, the center of the movement in the forehead area (frontal lobe) in the cerebrum. this is useful for mental concentration, planning, decisionmaking, the center of sense of attitude, and a sense of movement in the crown area ( parental lobe). the savion-lemieux, tal penhune, virginia b (2005) study shows that the distribution of exercise over several days, not the number of exercises, is the most crucial factor affecting motor skills learning. thus, in line with other studies (hauptmann & karni, 2002; korman et al., 2003; ofen-noy et al., 2003)it is not clear how much practice is needed to trigger long-lasting performance gains on a given task. here, using a letter enumeration task, we show that the transition of experience dependent performance gains to a relatively stable form, as well as the triggering of delayed, long-lasting, between session gains (both effects are considered manifestations of consolidation processes, we suggest that time travel is essential in order to get the maximum benefit from practice, since time delays allow for consolidation of learning, perhaps reflecting changes in cortical motor representations of skills. under variable delay conditions, the delay differently affects specific performance parameters on recall. we did not find any differences in performance between the varied exercise groups but found a global increase in training days suggests that the total amount of exercise was not the main factor influencing learning. in contrast, we suggest that the distribution of practices over several days may be a more important variable influencing learning. other studies have found similar retention for periods from several weeks to 2 or 3 years (hikosaka et al., 2002; karni et al., 1998; nezafat et al., 2001). in addition, kleim et al. (2004) have shown that the reorganization of motor maps and the formation of synapses occurs during the final phase of learning (beyond the first few practice sessions). from these two sets of findings, it might be hypothesized that dinny devi triana & rivo panji yudha, performance assessment through motion litera41 once a skill is well learned and performance reaches an asymptote, lasting functional and neural changes occur, resulting in the stable long-term memory of motor skills. the main contribution of this article is to map motor skills through performance appraisals using motion literacy based on laban notation, which provides a highlevel description of movement. this mapping does not depend on certain low-level motion representations. although we offer a comprehensive set of motion parameters approved by movement experts, our results are not tied to these representations. an extended or very different model of motion should yield the same motor skills. our aim is to produce a clear embodiment of the quality of motion literacy based on language notation and then demonstrate its relationship to motor skills as long as motion literacy shows the desired quality of motor skills, different animation techniques, parameters, or experts not a problem. the end product is a representation of the quality of effort and form, which is an apt concept. movement literacy can reflect the characteristics of a person’s motor skills. future research is an area of interest defining the relationship between motor skills and the quality of practice and learning and placing these relationships above personality-edited movements. similar techniques can be applied to study the mapping between motor skills and motion. conclusions based on the analysis and discussion results, it can be concluded that the motor skills before the implementation of performance assessment through motion literacy are relatively lower than when the performance assessment through motion literacy was applied. motor skills after the application of performance assessment through motion literacy were relatively lower than during the application of performance assessment through motion literacy, but the results were higher and stable compared to the conditions before the intervention. the effect of performance assessment through motion literacy provides a fairly good benefit to the improvement of brain function because structured and programmed motion exercises are useful in stimulating various learning centers in the brain. increasing motor skills in students has a good impact on learning effectiveness at school because children are better prepared to undergo the learning process at a later stage. in addition, exercise in the balance function has a good effect on emotional control, where children also experience disturbances. physical activity can change the function of the neurotransmitter system in the brain. physical activity activates the monoamine system and has an antidepressant effect. references angioi, m., metsios, g., koutedakis, y., & wyon, m. a. 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sumatera selatan. tari sending sriwijaya (tgs) dapat di jadikan salah satu bahan ajar muatan lokal di palembang. bahan ajar mulok diuraikan menjadi pokok bahasan/subpokok bahasan sebagai berikut. tabel 1: sebaran bahan ajar muatan lokal ��(�(�-�.�#�� ��-��(�(�-�.�#�� �����$���-'��(��* �����'2���.��� ��'��&���$��� �� '��#�$��� ��� '��#�$������)���&�&�6�� �������#'-�*���$����#�&-�$� $����$��)�#����� c��;��*#��$��� c���;��*#������#'-�*���$����#�&-�$�c� �;��*#������#'-�*���$����$��)�# "����*�&�*'��( "�����*�&�*'��(�����"� � ������*'��(���� d����������$�� ��������$������ b��7�#����$��� b����'#���*')'�b� ��'#�����(�#��*(��*�b�c��'#���)�)�$�b�"��'�'�)��*� g������'�$��$��� g�����8�&+&�8�&�����'�$������g���;��*#������'�$����� a�������#�(�����'�*����*�$�����#�(�����*������ tari-tarian daerah lain dapat pula dijabarkan seperti tgs, karena pada prinsipnya apabila berbicara tentang tari, minimal tentunya akan berbicara tentang sejarah, pencipta, jenis, fungsi, pola lantai, ragam gerak, busana, 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)����6�(���&'�������'�'�������'�*'$�.����6��*�(�'�$�1� 385��'�*'&-��*���&'$�)'�)������$�-��$��&'�)����*�$�&-�.�6��(�'�$�%�$�#� )���-'��2���#'8����(�'�$�1� 3)5����$��'��������)����8��*���$�(�&'������(�'�$�%�$�#� 3'5 � �'�*'&-��*�� � ��$'��(#� � *��� � )�� � &���) � )�� � ����#�� � ��$�( � &'������ �'&�(�����(�'�$�1� 7�*� � *��� � 6��* � #�)�. � &'�*�2�� � )� � �� � �$�� � )� � ���� � �'��� � )�-'��(��� �'�)�)�(�� � )�� � �'��$�.�� � (�'�$�%�$�#� � ��� � ��� � &'�2�)� � $��**��* � 2�/�-� �'&-�*� ��'�2�&�� ���$� ��'�)�)�(�� � 3����5, � )�.��� �7���� ��'��$���� ������ 37�b5,�6��*��)��)��)�'��.� 7�*��*����6��*������*��'�$��*,�*����.���#�&���&'�'1�'(#��)����6���r�'�6�)���� �(�� � ('(����*���6� � )�� � &�� � &'&���&��(�� � ('(����*���6� � )'�*�� �8���� -'��2���������.���#�&'�6�)���������-�./��6��*��(���)��2��+(���6���)���. amanat dan menyampaikannya kepada siswa menjadi kewa-jiban guru. tidak berarti bahwa guru sd yang tidak memenuhi kriteria di atas lalu tidak akan nengajarkan muatan lokal kepada siswanya . per-nyataan ini semata-mata •neminta kesadaran diri bahwa para guru sudah menerima amanat dan amanat tu harus di pertanggungjawabkan. salah satu wujud pertanggungjawabannya ialah dengan menyampaikan semua yang telah diamanatkan kepada semua guru, termasuk muatan lokal. 4. evaluasi muatan lokal seni tari kegiatan terakhir proses belajar mengajar adalah melaksanakan evaluasi untuk mengetahui hasil belajar dan mengajar selama periode tertentu. evaluasi adalah bdgian penting dalam pembelajaran. evaluasi adalah proses yang harus dilakukan oleh guru untuk mengetahui tercapai tidaknya tujuan pembelajaran yang telah ditetapkan. oleh karena itu, pelaksanaannya harus dilakukan terus menerus. evaluasi dilaksanakan pada proses kegiatan belajar-mengajar dan hasil karya dan kreativitas tari. evaluasi proses lebih menitikberatkan pada pengamatan terhadap ketekunan siswa mengikut proses belajar-mengajar dan melaksanakan tugas yang diberikan oleh guru. evaluasi hasil lebih mengutamakan hasil, yaitu berupa keterampilan siswa memperagakan tarian jadi. guru tidak melihat anak berlatih dari awal akhirnya anak dapat menarikan tarian itu. dengan kata lain, guru tidak perlu tahu prosesnya, yang diutamakan adalah penampilan tarian di depan guru. menurut abdurrahman dan rusliana (1983) kedua pelaksanaan evaluasi kegiatan tari seperti yang telah dikemukakan dapat dilakukan. masing-masing mempunyai kelebihan dan kekurangannya. evaluasi proses dilakukan selama berlangsungnya proses kegiatan. guru dengan lembar dan catatan tertentu mengamati kegiatan belajar yang dilakukan oleh siswa. kemajuan tahap demi tahap dicatat oleh guru. koreksi segera dilakukan jika siswa melakukan kekeliruan atau kesalahan melakukan gerak. evaluasi hasil dilakukan ketika siswa menampilkan tarian. evaluasi menggunakan instrumen yang berisi unsur-unsur. (a) wiraga, meliputi unsur'. hafal/penguasaan materi, teknik, paduan koreografi dan komposisi ruang (b) wirama, meliputi unsur: ketepatan ritmik, dan tempo (c) wirasa, meliputi unsur: ungkapan isi/tema yang selaras dengan peran-nya, paduan ungkapan isi/tema tarian, dan penjiwaan atas situasi dan kondisi menari 3)5�-��������&8����$����#��0�('#'����#�����)����/���*�,�/���#��)���/���+&�,� ('#'����#�����#���#'�$��'�)�(��*��$�#�&�#��*+&�#��*��'�����)�����)�+���6�� �'�����&'������('$'��&��������&'����,�*��������.���#�&'�������'�*'$�.�+ ����$���$'����$������� %����#��$'����)���(�(�����$�(�&'&-'��(����'����*� ('��)� #�#/��6��*�(����*�&�&���&'��(�(������($�(� ����'��$�� ���$�����(����)���.�#���.�#�$��-�)��*�#$�)��6��*��)��)���.���#��)��)�����)��� ����� ����8���6� �&��$�� � ��(�� �)� � #'(���. � 2��*���)���**���#'-�*�� �#8#��$�� 6��*�&'&-'-����*������'.���#�6��&��$�����(���)�2�)�(���#'-�*���#��$���2��*� 6��*�)���$ �&'�*'&-��*(���(�'�$�%�$�#�#�#/�� �����&'�2�)� �/�)�.�-'�(�'#�� )���-'�'(�'�#�� 7��6�( � 6��* � )���$ � )�2�)�(�� �&�$'�� �&��$�� � ��(�� � )� � ��� � �'��'(���*�&��� -�)�6��)�'��.,��)�$��#$���)�$,�$�$��8����)���$�$��(��&�,�#'��,�-�.�#����#��� )�� �$���#���#'�$��������('.�)�����)���$�)�����.�&'�2�)��&�$'���&��$�����(���� �'(���. � .���# � -'���+-'��� � 8'�&�$ � )���& �&'�'�$�(�� �&�$'�� � 6��* � �(��� )�2�)�(�� �&��$��� ��(��� ��'&���.���&�$'�� �&��$��� ��(�� � $�)�(�)�)�#��� ���'.� #�-2'($�%�$�#, �.��6� � ��*�� �)�(�$�(�� �� �� �)�� �&'�*��*��(�� �)'8�( � ����*� #�2��� �(��.�������6��*�)���(�(��,�&��$�����(���$�)�(��(���&'&-�/��&��1��$� -�*��#�#/�, ����.�#�$����&����-�)�6��6��*�)���$�)�2�)�(���&��$�����(����)���.�$���������� �)���.���*(������'��6�$����)���&�*'��(�������2�*��-'�1��*#��#'-�*���#���.� #�$� � �'��6�$��� � -�)�6�� � ����. � #�$� � &�$'�� � &��$�� � ��(�� � #'�� � $��� � )�� ���'&-��*��)���.������� ���������*�/� �� �'�)'(�$�� � 6��* � )�*���(�� � )� � )���& � �'&-'��2���� � &��$�� � ��(�� � �)���.� �'�)'(�$����($�1 �(�'�$�1 �)� �#�&���*��'�)'(�$���47���� �$�(��$�,�&��$��� ��(�� �&'&'���(���*����6��*�(�'�$�1�6��*�&�&���&'�*�($�1(���#�#/��&'������ &�$�%�#��)����($�%�$�#�-'��2��� �'-�*���&�$���'��2�����6��*�-'�)����#'�)���,�&��$�����(���)�'%����#��)���.�#��� '%����#� � $�)�( � )�*�-��*(�� � )'�*�� �&�$� � �'��2���� � ����� ���'. � (��'�� � �$�,� '%����#� � 6��* � )���(�(�� � .���# � -'���+-'��� � �-2'($�1� � %����#� � )����.(��� ('��)�����#'#�)���.�#��� �'&�*��$���#�������-'�*����)���&'�2�)��#��������$�(�(�$��-'��&�����&�� �+&�� ���&�)� �#&�/�, � �i� �2 ��4�� ��@@�m�'#(���#� � ���� ��'�)��* ����/�2�6�m� �(������ �� � ������� ���'&-��*0 � �'���$'&'� � �'�)�)�(�� � )�� � �'-�)�6��� � 3�'�)�(-�)5 � ���%��#�� ��&�$'����'��$��� �-)�����8.&��,���#�)�,�)�����#�����,��6�#���@ac� �'�� ������� �������� � �(��$�0� �'�)�(-�) �@ac��.0�������� ��������� �(��$�0��'�)�(-�) 4�(��.�&�2�6�, ���$���� � �� �'�� �3')5� ��@ab� �� �� �������.� � �� � ����� ����� � �����#������������� �(��$�0��'�'($���$��'#'����,��'�)�(-�)� ����.��,� ,������$��*�,��@ag� �#����# �� ���������� ���0����� � �(��$�0������*� �*��*� ���**����*,���#���,��@ag��#������������ ���������� �(��$�0���#$�(�������#��.� ����*�6��$�, � ����, � �@@c� �� ���� � # ��� � #������, � � ��� � ������ � ����� � �(��$����'%���������� �'('�$�,� �9�)���� ���8�� ��@@a��� ���������� ���#���������8 ������ �(��$�0� �'���$'&'���'�)�)�(���)����'-�)�6���� ���6���, ��/��, ������� $�.��� � m�'�*'&-��*���)�������(�#� ��'�*�2���������(�)�� �'(���.���#��m��#�����������/����'�)�(-�)���&�$'����'��$��� ��)'�$��, ������$�'�, � !!!� � m�'��2� ��'�)�)�(����'#'����m� �� ��� �3 ����� � ��&�� )����'������������(��$�5������(��$�0���'##�����(��$�� ���)�&����@ab��!�� ����������#���0����� ��/���# ���/���� �(��$�0�4����2�/��� �6�1���� � � � � � ���8�� � !! � �#�� �������� � ��/������ ���� ���<� � �(��$�0� ��%'�#�$�#��'�-�(�� f�1���$����@@@����#����� �� � ������#������ �(��$�0��'�)�(-�)� 140 mapping constraints of art extracurricular in indonesia as an effort of policy design dian herdiati, dani nur saputra universitas negeri jakarta, indonesia submitted: 2020-10-05. revised: 2021-01-30. accepted: 2021-04-26 abstract extracurricular arts programs are an integral part of instilling character qualities in students. this research aimed to map out the constraints to extracurricular arts in elementary schools in indonesia. to achieve the goal, this research looks at government initiatives aimed at enhancing the standard of arts extracurricular activities in elementary schools across the country, which were carried out from 2013 to 2019. the method used in this study is a qualitative method with a participatory observation approach. they were collecting data using participatory methods, observation, and guided discussion. this study’s results indicate that schools’ various obstacles in implementing extracurricular programs, ranging from the availability of competent teachers in the arts, funding constraints for trainers, and the existence of regional autonomy. this constraint mapping is very useful for designing policies and extracurricular programs that are appropriate for schools. keywords: technical guidance, extracurricular arts, constraints how to cite: herdiati, d., & saputra, d. n. (2021). mapping constraints of art extracurricular in indonesia as an effort of policy design. harmonia: journal of arts research and education, 21(1), 140-153 harmonia: journal of arts research and education 21 (1) (2021), 140-153 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i1.26480 cular activities can be carried out at school or outside of school (marsh and kleitman, 2002) and are generally understood to be a voluntary out-of-school hours program that has a regular schedule, with adult supervision to encourage positive development (oberle et al., 2019). the program is a discretionary activity that contains several structured parameters that can physically or mentally stimulate an individual (larson & verma, 1999). participation in extracurricular activities requires commitment and effort, acting as a forum for expressing students’ identity and enthusiasm; these characteristics distinguish extracurricular activities from recreational activities (akos, 2006). extracurricular activities have many introduction extracurricular is an activity that has great benefits for students both personally, morally, and socially. extracurricular activities are defined as “any organized activity led by adults that takes place outside the normal classroom setting during the school day” (el-batri and alami et. al, (2019). extracurricular activities are carried out to improve thinking skills, and developing students’ talents (inriyani et al. l, 2017). extracurricular activities include sports, music, scouting, debate, science, and math clubs. in indonesia, extracurricular activities for elementary schools are divided into four main areas: arts, scouting, sports, and science (permendikbud, 2014). extracurricorresponding author: e-mail: dherdiati@unj.ac.id p-issn 2541-1683|e-issn 2541-2426 dian herdiati & dani nur saputra, mapping constraints of art extracurricular in indone141 implications for participants and schools. extracurriculars encourage positive academic and psychosocial, and socio-emotional outcomes (akos, 2006; donelly et al., 2019). the existence of art extracurricular activities is expected to meet the needs of students in developing interests and talents, accommodating the development of creativity, and building children’s character formation (kesuma, 2011), and having personality, behavior, character, character, and character (amri et al. l, 2011). the embodiment of academic knowledge gained in class, attitudes, and skills in extracurricular activities produce values and the formation of noble morals in their social life, there is a strong correlation between extracurricular activities and the embodiment of character education (dahliyana, 2017). other than that, extracurricular benefits can be achieved if assistance is provided in the form of inclusive and adequate technical guidance throughout indonesia. the implementation of extracurricular activities in an informal form outside of the classroom can provide learning experiences and foster a sense of self-confidence in students, improving academic and social skills (balyer and yuksel, 2012; saputra, 2020). extracurricular activity has its own goals and interests, which can affect students’ personality development. each activity can provide comprehensive education where it can maintain aspects of leadership and teamwork, increase discipline, instill moral values, fill time with meaningful activities. (mohamad sari, n. and esa, a. 2017). art extracurricular technical guidance is one of the long-term work programs of the directorate of primary school development, directorate general of basic education, ministry of education and culture, which has been implemented since 2013. this program aims to enable schools throughout indonesia to carry out extracurricular activities of art with higher quality. besides aiming to maintain the benefits of extracurricular activities for students, extracurricular arts are expected to balance material knowledge, attitudes, and skills (sysoieva et al., 2020). in addition, extracurricular activities are carried out through practical activities that can improve students’ motor skills outside the classroom (nitu, 2011; saputra, 2021). currently, elementary schools are already carrying out extracurricular arts activities are still dominated by schools located in provincial cities such as jakarta, bandung, jogyakarta, bali, surabaya, and several schools in the west. meanwhile, the implementation of arts extracurricular activities in elementary schools in the regency areas has not been carried out well, especially in districts in eastern indonesia. the availability of teachers, infrastructure, and welfare are still the main obstacles. besides, there are obstacles in learning that can hinder learning from the factors of teachers, students, family, and facilities (ahmad, 2004). these obstacles can vary from one school to another because each school has its policies in developing an extracurricular system in its schools (vidulin, 2020). several studies have been conducted in assessing extracurricular activities. research on the impact of extracurricular activities has been carried out by many researchers, including (akos, 2006; mendes, 2021; el-batri and alami et al., 2019; covay and carbonaro, 2010; knifsend and graham, 2012; lestari, 2016; dahliyana, 2017; marsh and kleitman, 2002; mahoney, 2005; larson & verma, 1999). although a lot of research is on the topic of school extracurricular activities, most of the literature is written from a western cultural perspective, research exploring extracurricular activities in the asian region is still scarce (jailani , 2017). most of them are still local and only see extracurricular benefits from the school side as implementing policies. whereas in actual conditions, when viewed at the national scale, there are many obstacles in managing extracurricular activities at the educational unit level. therefore, this research is important to map the constraints in managing policies for extracurricular arts activities at the elementary school level in indonesia. this research can be useful both for the government as poliharmonia: journal of arts research and education 21 (1) (2021): 140-153142 cymakers and schools as policy actors. methods this research was conducted with a qualitative methodology in the form of participatory observation by integrating three data collection methods: participation, observation, and guided discussion. data collection was carried out in line with the author’s activities as a resource in developing a national extracurricular art policy from 2013 to 2019 involving 34 provinces in indonesia. this research aims to obtain accurate information about problems and challenges that occur in the field during the implementation of technical guidance. the subjects in this research are the technical extracurricular technical guidance of the arts and the extracurricular art actors’ actors in the field. access to technical guidance and research subjects is obtained by being directly involved in the policy development process and permission obtained from the organizing committee, namely the ministry of education and culture. the research procedure was carried out semi-organically. in this study, researchers were directly involved as a team of coaches of the elementary schools’ extracurricular technical guidance in the management and development of extracurricular arts with the ministry of education and culture organizers. meetings at the central, provincial, and district/city levels were held from 2013-2019. these meetings can be seen in the scheme below: 2013-2014 figure 1. meeting scheme method in 20132014 (source: dian herdiati, 2014) in 2013 and 2014, the arts extracurricular technical guidance implementation was carried out in 3 stages, namely stages i, ii, and iii. the first stage is the implementation of technical guidance at the central level, then the provincial level, and continues to the districts/cities. in the second stage, technical guidance is carried out at the provincial, district/city level and is followed by an evaluation of schools in districts/cities. in the third stage, back at the central level. the 2015 year figure 2. meeting scheme method in 2015 (source: dian herdiati, 2015) in 2015, the implementation of the arts extracurricular technical guidance was carried out in 1 stage. implementation of the first stage, the same as in the previous year, namely the implementation of technical guidance at the central level, continued to the provincial level and the district/city. the second stage, meetings at the central level. the 2016 year in 2016, the implementation of technical guidance was carried out in 2 stages. a workshop carried out the first activity in preparation of implementation guide extracurricular stage 1 then continued with the preparation of a stage 2. both stages are carried out at the central level. dian herdiati & dani nur saputra, mapping constraints of art extracurricular in indone143 the 2017 year figure 3. meeting scheme method in 2017 (source: dian herdiati, 2017) in 2017, technical guidance activities were carried out at the central level in the form of workshops, workshops, and sampling, followed by the implementation of supervision and monitoring and evaluation of elementary school arts extracurricular activities in 34 provinces. the 2018 year in 2018, technical guidance activities were carried out at the central level in group discussion forums, followed by monitoring schools in 34 provinces. the 2019 year in 2019, the implementation of the arts extracurricular technical guidance activities was no longer through meetings at the central, district/city levels but directly monitoring the implementation of the arts extracurricular activities in schools in 34 provinces. results and discussion implementation of technical guidance the elementary school arts extracurricular technical guidance took place from 2013 to 2019. participants at the elementary school arts extracurricular guidance consisted of participants at the central level, participants at the provincial level, and participants at the district/city level. the implementation of this extracurricular technical guidance has almost the same cycle at each stage. the following is a table of activities for the 2013-2019 elementary school arts extracurricular technical guidance. the first phase in 2013 was the implementation of the extracurricular education for elementary school arts, starting with technical guidance at the central level, then at the provincial level, and continuing to the districts/cities. thirty participants from unj attended the implementation of technical guidance at the central level, um, upi, itb, ikj, isi, p4tk, and gkmbs art teacher sabillilah malang. the 30 participants are hereinafter referred to as the central patrons (table 1). at the central level, a draft of the elementary school arts extracurricular guide was produced. to improve the draft of this extracurricular arts guide, a meeting was held at the provincial level. the committee presented five central trainers who were resource persons in the implementation of technical guidance to 48 participant representatives from 12 provinces such as banda aceh, north sumatra, west sumatra, riau islands, south sumatra, jogyakarta, bali, west kalimantan, east kalimantan, gorontalo. , south sulawesi, papua. each province is represented by one provincial education office and three lecturers. furthermore, provincial representatives are referred to as provincial trustees. in the meeting at the provincial level, constructive suggestions and criticisms were obtained from the participants of the provincial technical guidance so that a comprehensive extracurricular guide was compiled and expected to be right on target. at the district/city level, all the central and provincial coaches are present. each of them has to be a companion resource as well as the main resource. three teachers and one school principal attended technical guidance activities at the district/city level. this technical guidance activity in districts/cities explains how to organize extracurricular arts activities in schools and explain the strategy for disseminating this technical guidance to schools in one cluster. various suggestions arise because harmonia: journal of arts research and education 21 (1) (2021): 140-153144 table 1. implementation of technical guidance 2013 2019 no activities implementation date place of execution the year 2013 1. the first stage of the first tikat pusat elementary school arts extracurricular technical guidance 17-21 july 2013 grand serela, bandung 2. stage i elementary elementary school arts extracurricular technical guidance 27-31 august 2013 gino feruci, bandung 3. guidance for stage i elementary school arts extracurricular development team guidance 23-27 september 2013 in 12 provinces, (west kalimantan) 4. stage ii provincial elementary school arts extracurricular technical guidance 30 sept-4oct 2013 grand serela, bandung 5. technical guidance for stage ii elementary school arts extracurricular development team 24-28 oct 2013 gorontalo 6. monitoring and evaluation of elementary school arts extracurricular technical guidance to schools in 3 districts/cities 13-16 nov 2013 palembang 7. elementary school class iii elementary school extracurricular technical guidance 16-19 dec 2013 bandung the year 2014 1. class, i stage i elementary elementary school extracurricular technical guidance in 2014 11-15 feb 2014 poor 2. workshop on stage i provincial kindergarten arts extracurricular development team 25-29 march 2014 bandung 3. district/city level i arts extracurricular guidance 27-31 may 2014 aceh 4. stage i city district art extracurricular technical guidance 26-30 june 2014 bali 5. stage i city district art extracurricular technical guidance 15-19 july 2014 gorontalo 6. provincial art extracurricular guidance phase ii 21-25 sept 2014 surabaya 7. semiloka for the stage ii center level arts extracurricular development team 18-22 nov 2014 bandung in 2015 1. workshop on the first stage of elementary elementary school arts extracurricular guidance team guidance 24-28 march 2015 puncakbogor 2. workshop on the guidance team for the first stage of elementary school arts extracurricular guidance for the province of 27 april1 may 2015 bandung 3. semiloka for the development team for the extracurricular arts at the district/city level stage i 6-9 june 2015 bengkulu 4. workshop of the national development team for the elementary school arts extracurricular guidance 15-19 december 2015 bogorwest java in 2016 1. workshop on preparation of stage i elementary school arts extracurricular implementation guidelines 17-20 may 2016 tangerang-banten 2. workshop on preparation of stage ii art extracurricular implementation guidelines 8-11 june 2-16 bogor in 2017 1. art extracurricular coordination workshop at sd 16-19 feb 2017 bogor / rizen premiere 2. workshop on guiding elementary school arts extracurricular activities 18-22 july 2017 tangerang 3. picking test for elementary school extracurricular guide 23-26 nov 2017 sentul-bogor 4. supervision and monitoring and evaluation of elementary school arts extracurricular activities 12-15 dec 2017 west papua in 2018 1. fgd review elementary school extracurricular guide march 2018 puncak-bogor 2 monitoring of the implementation of the workshop on the implementation of extracurricular activities 24-28 sept 2018 west papua in 2019 1. monitoring of the implementation of the workshop on the implementation of extracurricular activities 20 23 august 2019 west sumatra dian herdiati & dani nur saputra, mapping constraints of art extracurricular in indone145 of the peculiarities of the arts in each region. information and discussion about the obstacles that occurred in the field were conveyed in the technical guidance activity, which lasted for five days. this diversity has sparked sharp but constructive debates towards the inclusiveness of extracurricular artistic practices. on this occasion, the researcher got an assignment in west kalimantan. in the second stage, researchers with the central committee and the provincial guidance team met again to implement technical guidance at the provincial level. in this meeting, all provincial coaches reported things they encountered and the obstacles that occurred during the implementation of technical guidance at the district/ city level in 12 provinces. the results are discussed together with the center advisor and all participants present. several inputs were used to revise the elementary school arts extracurricular guide and the strategy for implementing technical guidance at the district/city level. after that, all central and provincial guidance guides carried out the arts extracurricular technical guidance at the district/city level in 12 provinces with different target schools from the first stage. the objectives of the technical guidance in districts/cities are still the same as the first stage of the guidance in the districts/ cities. on this occasion, the researcher got an assignment in gorontalo. at the end of phase ii, monitoring and evaluation were carried out directly to schools in districts/ cities in 12 provinces. on this occasion the researcher got a monev assignment in palembang province, oki, oku, banyuasin, east baturaja, muara enim, prabumulih districts. some of the schools visited included sdn 01 oku; sdn 18 oku; sd fransiskus baturaja; sdn 30 prabumulih; sdn 13 tanjung enim; sdn no. 1 lawang kidul; sdn 19 talang kelapa; sdn 4 talang kelapa, banyuasin regency; sdn 12 talang kelapa; sdn 8 talang kelapa. monitoring and evaluation are intended to see the extent to which schools that have participated in the arts extracurricular activities have carried out arts extracurricular activities in their schools and have disseminated technical guidance to schools in one cluster. in the third stage, researchers together with the central committee and other central supervisors gathered again to evaluate the results of technical guidance activities that had been carried out starting from stages i and ii in 2013. various inputs from monitoring and evaluation results to schools in districts/ cities in 12 provinces were used as material for perfecting the contents of the extracurricular guide, which will be used for the implementation of technical guidance in the following year. at the same time, reviewing the applicability of the guidelines and the constraints that exist in the field. this monev is intended to see the extent to which schools that have participated in the arts extracurricular activities have carried out arts extracurricular activities in their schools and have disseminated technical guidance to schools in one cluster. in the third stage, researchers together with the central committee and other central supervisors gathered again to evaluate the results of technical guidance activities that had been carried out starting from stages i and ii in 2013. various inputs from monitoring and evaluation results to schools in districts/cities in 12 provinces were used as materials for perfecting the contents of the extracurricular guide, which will be used for the implementation of technical guidance in the following year. at the same time, reviewing the applicability of the guidelines and the constraints that exist in the field. monev is intended to see the extent to which schools that take part in the arts extracurricular training have carried out arts extracurricular activities in their schools and have disseminated technical guidance to schools in one cluster. in the third stage, researchers together with the central committee and other central supervisors, gathered again to evaluate the results of technical guidance activities that had been carried out starting from stages i and ii in 2013. various inputs harmonia: journal of arts research and education 21 (1) (2021): 140-153146 from monitoring and evaluation results to schools in districts/cities in 12 provinces were used as material for perfecting the contents of the extracurricular guide, which will be used for the implementation of technical guidance in the following year. at the same time, reviewing the applicability of the guidelines and the constraints that exist in the field. researchers together with the central committee and other central supervisors, gathered again to evaluate the results of technical guidance activities that had been carried out starting from stages i and ii in 2013. various inputs from monitoring and evaluation results to schools in districts/cities in 12 provinces were used as material to refine the contents of the guidelines. extracurricular activities will be used for the implementation of technical guidance in the following year. at the same time, reviewing the applicability of the guidelines and the constraints that exist in the field. researchers together with the central committee and other central supervisors gathered again to evaluate the results of technical guidance activities that have been carried out starting from stages i and ii in 2013. various inputs from monitoring and evaluation results to schools in districts/cities in 12 provinces are used as material to improve the contents of the guidelines extracurricular activities that will be used for the implementation of technical guidance in the following year. at the same time reviewing the applicability of the guidelines and the constraints that exist in the field. figure 4. technical guidance workshop in gorontalo stage ii (source: dian herdiati, 2013) in 2014, a technical guidance meeting was held at the central level, which involved all central coaches in the first stage. this activity was carried out to refresh the understanding of central coaches before implementing technical guidance in the field. other than that discussion, the arts extracurricular guide contents have been socialized and tested in elementary schools in districts/cities in 12 provinces for later refinement. continued at the provincial level, at the elementary school arts extracurricular workshop workshop, which involved 34 provinces, pembina provinces are mandated to carry out the arts extracurricular guidance in their respective provinces. it is hoped that the implementation of extracurricular arts can be carried out evenly in all elementary schools in districts/cities in 34 provinces in indonesia. for the district/city level, the art extracurricular technical guidance was held simultaneously in 34 provinces in may, june, and july 2014. on this occasion, the researchers were assigned assignments in aceh, bali, and gorontalo. with the existence of technical extracurricular arts for school principals and teachers, it is hoped that provincial regency/city schools that have not previously held arts extracurricular activities can organize art extracurricular activities based on the guided guidebook, also, schools that have received technical guidance are required to disseminate it to schools that are included in the cluster. in the second stage, researchers and central coaches, and provincial coaches met in the technical guidance activities at the provincial level to discuss the obstacles encountered when implementing technical guidance at the district/city level. in the workshop activity at the central level stage ii, the central coaching team shared the task of reviewing and perfecting the art extracurricular guide book according to their respective fields of art based on the results of discussions at the provincial level semiloka activities. in the 2015 year, technical guidance dian herdiati & dani nur saputra, mapping constraints of art extracurricular in indone147 at the central level, presenting a team of central coaches totaling 34 people. the activity began with presentations from central coaches about the obstacles that occurred in the field during the implementation of technical guidance at the district and city levels. then done renewal and addition of material in each field of art this activity resulted in an improved elementary school arts extracurricular guide and is ready to be used for technical guidance activities for elementary schools at the district/city level. technical guidance at the provincial level, the central guidance team together with the provincial guidance team totaling 200 people from 34 provinces, formulated strategies for further implementation of technical guidance at the district/ city level, especially in the delivery of the elementary school arts extracurricular guide. technical guidance activities at the district/city level, presenting different schools from the previous year. it is hoped that the attending schools will be able to hold extracurricular activities and be obliged to disseminate it. on this occasion, the researchers conducted technical guidance in bengkulu. figure 5. technical guidance team workshop(source: dian herdiati, 2015) after the implementation of technical guidance was piloted from 2013 to 2015, in 2016 at the central, provincial and district / city levels, technical guidance activities at the central level were focused on improving the guidelines for elementary school arts preparation extracurricular implementation. this is to anticipate obstacles in the field. activities at the provincial level no longer exist. this is due to the enactment of law number 23 year 2014 article iv article 9 paragraph 1 which explains that the management of primary schools at the provincial district / city level no longer has the authority to manage elementary schools. figure 6. workshop on preparation extracurricular guidance guidelines (source: dian herdiati, 2016) in 2017, technical guidance activities were no longer carried out in stages like the previous years. this year, the focus is more on improving the elementary school arts extracurricular guide. a “workshop followed this on guidance for the implementation of elementary school arts extracurricular activities,” which presented principals from 258 districts/cities from eastern indonesia who directly practiced various extracurricular arts that were easily held in schools. this was followed by “sample test for elementary school extracurricular guidance” which presented principals from 52 districts/cities. this activity was held to see the elementary school arts extracurricular guide book’s readability throughout indonesia. readability results starting from a cover that must be interesting, applicable elementary school governance, adding some examples of regional arts, adding a glossary for terms that are not understood and changing sentences that can still be perceived as multiple and correcting inappropriate punctuation collected to serve as the basis for the revision of the guidebook. the series of technical guidance activities in 2017 ended with the implementation of supervision and monitoring and evaluation of elementary school arts extracurharmonia: journal of arts research and education 21 (1) (2021): 140-153148 ricular activities in 34 provinces. researchers have been assigned to west papua province. supervision and monitoring, and evaluation were carried out directly to schools to see to what extent the extracurricular manual books had been implemented in schools located in districts/cities in 34 provinces. in 2018, the central level meeting was focused on improving the elementary school arts extracurricular guide. continued with monitoring simultaneously in 34 provinces. researchers have been assigned to west papua province. the schools monitored are one primary referral school and seven impact schools in 3 districts/ cities which are different from the previous more. supervision and monitoring and evaluation are carried out to see to what extent the extracurricular manual books that have been made and guided have an impact on the implementation of extracurricular arts in reference primary schools and impact schools. in 2019, the elementary school arts extracurricular technical guidance activities monitored schools to see how many schools in the district/city had organized arts extracurricular activities, regarding the enhanced elementary school arts extracurricular guide book. based on the activities that have been carried out in 2013 2019, researchers found several obstacles experienced in carrying out art extracurricular activities in indonesia. overall results from the 12 provinces that were monitored and evaluated, many schools had not implemented arts extracurricular activities. the constraints were the availability of the number of teachers, teacher competence, funding, and facilities that were almost the same obstacles all schools. besides, dissemination to schools in one cluster is also constrained. the reason is that the school is located in a remote cluster, the extracurricular guidelines are not socialized as a guide in organizing extracurricular arts at schools. as a result, not all schools in the district/city have organized arts extracurricular activities. the results of supervision and monitoring and evaluation of the overall implementation of extracurricular activities for elementary schools located in the city have implemented extracurricular activities, but not all types of extracurricular arts exist. besides, extracurricular activities in schools have not been well organized according to the art extracurricular guide book published by the directorate of primary and secondary education, ministry of education and culture. the district/city office and schools that have participated in technical guidance in previous years have not maximally conducted dissemination to impact schools in one cluster, so many impact schools have just learned about the existence of the art extracurricular guide book, and there are still many schools that have not implemented it. extracurricular. the availability of teachers and infrastructure is still the main obstacle in implementing extracurricular activities. of the 514 districts/cities in indonesia, only 170 districts/cities have been visited for monitoring and evaluation. overall the obstacles faced are the same. first, the availability of teachers, funds were often mentioned in every meeting. second, regarding regional policies because of the existence of regional autonomy, sometimes all instructions from the central government are ignored. third, it is difficult to disseminate to other schools because the schools are far from each other. fourth, the diversity of arts in each district/city province makes it difficult to unify the principal and teachers’ perceptions regarding the art extracurricular guide book. table 2 is mapping constraints that researchers have encountered while researching the field. constraints from the government of the provincial, regency/city education office. the office plays an important role in making policies for the implementation of this extracurricular technical training. several reasons caused several obstacles; the agency did not understand the importance of art, management of arts, and art content. the assigned service delegation dian herdiati & dani nur saputra, mapping constraints of art extracurricular in indone149 is sometimes not the person previously assigned, so the information is not continuous. the delegation of personnel who changed frequently made the technical guidance process hampered, and dissemination to cluster schools did not work. the education office, in this case, plays a role in bridging the process of implementing technical guidance at the provincial and district/city levels. implementing constraints at school. the school principal who was present did not understand the purpose of extracurricular training. this is due to the lack of focus on the participation of the principal in this technical guidance activity. a large number of invitations from various programs at the ministry of education and culture made it difficult for school principals to focus on just one program, so they often left technical guidance activities to attend other activities. the teachers who attended were more class teachers who were competent not only in the arts. so, many do not understand the importance of extracurricular activities and the importance of this technical guidance being implemented. disinterested, they often leave the room to just sit and smoke. understand the importance of extracurricular activities and the importance of this technical guidance being implemented, so they often left the room to just sit and smoke because they were not interested. the information obtained was ultimately incomplete. regional policy constraints. the existence of regional autonomy makes technical guidance activities that have been planned by the central government sometimes not running. the reason is that there are regional heads who do not consider it important to carry out extracurricular activities in schools so that, in the end, they do not support technical guidance activities to be continued at the provincial and district/city levels. the continuity of technical guidance is being threatened. apart from that, regional autonomy has also led to different province and district/ city policies. the impact is that there is no standardization for the provision of honorarium for extracurricular teachers in every province and district/city. regional policies sometimes lead to the diversity of art practices in every province and district in indonesia. lack of art facilities and infrastructure. government assistance is sometimes not on target, the art tools provided are not adapted to the needs of schools and the characteristics of each region, given the large variety of arts in indonesia, so they cannot be used optimally. the provision of financial assistance for equipment was intended only for referral schools, not evenly distributed to all schools in 514 districts/ cities. facilities are absolute, even if a good program has been designed, if good facilities do not support them, they will result in optimal results, even if they are still running. suryosubroto (2009) states that “extracurricular implementation will run smoothly if adequate facilities and infrastructure support it both in number, condition, and completeness of supporting activities. lack of availability of competent teachers. schools do not have teachers who are truly competent in the arts, so that art extracurricular activities cannot be maximally implemented. according to echols and shadly in jejen musfah, (2012) “competence is a collection of knowledge, behavior, and skills that teachers must possess to achieve learning and educational goals. according to suprehiningkrum & jamil (2014), the characteristics of professionally competent teachers are those who can develop responsibilities, carry out their roles and functions, realize school goals, and carry out their roles functions in classroom learning. some schools have art tools that cannot be used because the teacher does not understand how to use them. in the minister of national education regulation no. 16 of 2007 concerning educator and education standards, it was found that pedagogical competence is the ability of teachers to manage student learning. at least harmonia: journal of arts research and education 21 (1) (2021): 140-153150 table 2. constraints in the field based on provincial guidance obstacles cause due to the education office the lack of seriousness of the provincial and district offices in participating in extracurricular technical guidance. even though the dinas play an important role in terms of policymaking. don’t understand art, so don’t care, don’t have an interest. the assignment of personnel from the service sometimes changes people. the policy regarding the implementation of extracurricular technical assistance did not work properly so that dissemination of the technical guidance regarding the implementation of extracurricular activities in cluster schools was not achieved. the information obtained is not sustainable. school implementer the principal and the teachers who attended did not understand the purpose of extracurricular education. the principal did not focus on attending the extracurricular arts training. most of the elementary school teachers who attended were classroom teachers. the extracurricular technical assistance was not disseminated to cluster schools according to the goals of the ministry of education and culture. not everyone understands art. so that information is not conveyed. regional policy the existence of regional autonomy. the existence of regional policies prevents activities planned by the central government from running. the existence of different policies in each province/district. the regional head does not consider extracurricular technical activities as important so that in several districts/cities the extracurricular technical guidance did not continue the difference in the standard of honorarium for extracurricular teachers for each province and district facilities and infrastructure inadequate art facilities and infrastructure government assistance for the procurement of art equipment is sometimes not well-targeted. lack of funds for the procurement of facilities and infrastructure. the tools that are provided are not according to the needs of the school. art extracurricular activities use limited tools. tools are not utilized properly teacher competence little competent teacher many schools do not have teachers who are truly competent in the arts there are schools whose art extracurricular activities are improper with teachers who are not art teachers. there are even schools that do not carry out extracurricular arts at all. the use of existing art tools is not optimal, because the teacher does not understand how to use them. limited funds there is a tendency to take advantage of classroom teachers in arts extracurricular activities even though they are not competently adequate. limited availability of art equipment there are limited funds available in schools to provide competent teachers in the arts. limited funds for the procurement of facilities and infrastructure. the extracurricular is simple, student competence in art extracurricular activities is not as expected. art extracurricular doesn’t work geographical conditions locations between schools in one cluster from each other, the road is steep; it takes several hours to get to the location of the referral school. extracurricular activities cannot be concentrated in just one referral school. dian herdiati & dani nur saputra, mapping constraints of art extracurricular in indone151 the teacher can take advantage of existing learning technology (supikiraniningkrum & jamil, 2014). limited funds. to take a competent art teacher cannot be done due to limited funds, so the school uses class teachers for arts extracurricular activities even though many of these class teachers do not have competence in the arts. apart from that, limited funds also have an impact on the provision of facilities and infrastructure. this will support the implementation of extracurricular activities properly. the availability of extracurricular funds is defined as the number of funds provided by the school to make it easier for students to take part in extracurricular activities (suryosubroto, 2009). geographical condition of schools in clusters. the location of schools in a cluster that is far from each other and has to go through a steep road to reach the cluster school requires a long travel time, so it does not allow extracurricular activities to be concentrated in one reference school only. conclusion after carrying out the extracurricular technical education for elementary school for eight years, a map of the constraints faced by the government was found in conducting extracurricular art training in elementary schools. the mapping is mapped into 7 main obstacles, namely: constraints from the provincial, district/city government offices; implementing constraints at school; regional policy constraints; art facilities and infrastructure constraints; lack of availability of competent human resources, limited funds; as well as the geographical conditions of reference schools and cluster schools. according to mohamad sari, n. and esa, a, 2017 the main obstacles that can affect student participation in extracurricular activities include structural constraints (facilities, equipment, financial information), intrapersonal constraints (interaction between students and teachers), and interpersonal constraints (internal factors). students) need to be addressed appropriately so that students can participate in extracurricular activities without obstacles or distractions. in line with the findings of research conducted by yusuf suleiman et al., (2019) stated that the factors that influence extracurricular activities in school effectively are: availability of inadequate extracurricular facilities and lack of availability of extracurricular services (insufficient number of facilities, personnel, and other equipment). acknowledgment thanks are given to the directorate general of the ministry of education and culture for providing the opportunity for researchers to conduct this research. references ahmad, r. 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(2013). menumbuhkan pendidikan karakter di sd. jogjakarta: arruzz media. 132 iconography: sundanese calligraphy as artistic expressions of identity agung zainal muttakin raden1,2, rustopo rustopo1, timbul haryono3, dendi pratama4 1institut seni indonesia surakarta, indonesia 2universitas indraprasta pgri jakarta, indonesia 3universitas gadjah mada, indonesia 4politeknik bina madani, indonesia submitted: 2022-07-17. revised: 2023-02-12. accepted: 2023-04-06 abstract the sundanese script is one of indonesia’s traditional scripts. the existence of sundanese script is still being preserved by cultural activists and the sundanese script literacy community, one of which is through calligraphy in sundanese script. this article will analyze the calligraphy of sundanese script by edi dolan posted on his social media. the sundanese calligraphy that will be discussed is in the form of puppets, animals, and humans. the sundanese calligraphy will be reviewed through an iconographic approach. iconography has three levels in analyzing objects, namely (1) pre-iconography, which is to describe the formal aspects of the object; (2) iconography, which is to interpret images, stories, and metaphors; (3) content analysis through revealing the intricacies of the object. the results of the research elaborate on the formal aspects found in sundanese calligraphy objects, resulting in multidimensional interpretations built on images, stories, and other multidimensional object meanings, thus showing a complete correlation of all these aspects in expressing sundanese identity. keywords: artistic, calligraphy, expressions, identity, sundanese script how to cite: raden, a. z. m., rustopo, r., haryono, t. & pratama, d. (2023). iconography: sundanese calligraphy as artistic expressions of identity. harmonia: journal of arts research and education, 23(1), 132-140 harmonia: journal of arts research and education 23 (1) (2023), 132-140 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i1.37716 cultural artifacts are collected, then look for patterns underlying fixed formation. sundanese people are people whose mother tongue is sunda. through the language of sundanese cultural values are expressed. the sundanese people reveal their values through everyday behavior, through the objects they create. language and artifacts are manifestations of the collective values of sundanese society. cultural forms are analyzed to find basic patterns that become ideas and values expected to be realized in everyday life (suintroduction language and ethnicity are related to inherent identity, with language being a differentiator from other ethnicities. javanese and sundanese are two ethnicities that inhabit the island of java, and both have similarities. the javanese and sundanese have very similar cultures, languages, and cuisines, and the sundanese is the tribe inhabiting the western java region (syam et al., 2021). the characteristics can be seen when the entire sundanese corresponding author: e-mail: agung.zainalmr@unindra.ac.id p-issn 2541-1683|e-issn 2541-2426 agung zainal muttakin raden et al., iconography: sundanese calligraphy as artistic ex133 mardjo, 2003, p. 297). one of the collections of sundanese society is the script. the sundanese script that develops today is different from sundanese script in the 14th century to the 18th century but has the same function as a visual representation of language. sundanese script has differences in form with other regional scripts in indonesia. sundanese script can be expressed in various media and forms, including sundanese script fonts and calligraphy. sundanese calligraphy forms object that look interesting and beautiful. in writing calligraphy, parts of the artist’s body include the head, eyes, hands, fingers, and arms. the movements are real-time and highly dynamic. calligraphy with geometric shapes can influence emotions and character, creating aesthetically beautiful art (kao et al., 2021). the calligraphic letters are in the form of the visual art instrumentation and figuration (meliha, 2013). calligraphy is one form of art displayed in a variety of cultures and languages. calligraphy is a form technique to make beautiful handwriting (raden et al., 2019). each calligraphy has distinctive features and a different appearance that shows the authenticity of the culture and language. calligraphy is a craft that has had ties to life, human beings, religion, and communications since the cave times. thus, it has served as a vehicle where respect, knowledge, identity, and life have been deeply embedded throughout generations (boukerroui, 2013). calligraphy is a form of creative design. a wide variety of compositional expressions that involve repetitive forms and depictions that aim to develop, adapt and refine. a calligraphic composition is composed of elements (letters) and relations (relative arrangement of the letters) defining an overall organization (moustpha & krishnamurti, 2001). a calligram is a calligraphy that forms an object. these objects include living things, imaginary creatures, and buildings in the form of puppets. calligrams or figural calligraphy are most often connected to the turkish art of the 16th century (meliha, 2013). figurative calligraphy consists of many styles and shapes. types of figurative calligraphy include: (1) anthropomorphic calligraphy, humans as objects in calligraphy; (2) zoomorphic calligraphy, animals as objects in calligraphy; (3) botanical calligraphy, plants as objects in calligraphy; (4) architectural calligraphy, buildings and man-made objects as objects in calligraphy; (5) landscape calligraphy, earth, mountains, and oceans as objects in calligraphy; and (6) arabic calligraphy, geometric elements and asymmetrical shapes as objects in calligraphy. the sundanese script calligraphy that will be analyzed in this article is the work of a calligrapher named edi dolan. apart from being a calligrapher, edi dolan is also an artist. the calligraphy works were uploaded on his social media. besides showing beauty, this sundanese script calligraphy artwork also introduces the sundanese identity of the formed letters and figures. method this article uses erwin panofsky’s iconography analysis. panofsky argues that iconography is that branch of the history of art that concerns itself with the subject matter or meaning of works of art, as opposed to their form (panofsky, 1972, p. 3). this theory consists of three levels of approach in conducting studies. the three levels of the approach can be seen in table 1. table 1 describes the various levels panofsky uses to analyze iconography. iconography has three levels for analyzing a work of art. the first level is called primary or natural subject matter analysis or pre-iconographic analysis. this level study is based on a formalistic aspect such as line, shape, color, and texture. besides the studies’ formalistic aspect, this level also used perceptual aspects like harmony, rhythm, balance, and proportion. harmonia: journal of arts research and education 23 (1) (2023): 132-140134 table 1. erwin panofsky’s analysis object of interpretation act of interpretation primary or natural subject matter, (a) factual, (b) expressional constituting the world of artistic motifs. pre-iconographical description (and pseudoformal analysis.) secondary/conventional subject matter, constituting the world of images, stories, and allegories. iconographical analysis in the narrower sense of the word intrinsic meaning or content, constituting the world of “symbolical” values. iconographic interpretation in a deeper sense (iconographical synthesis.) source: (musa & abdullah, 2017) perceptual aspects are required to support formalistic aspects. the second level is called secondary or conventional subject matter analysis, also known as an iconographic description analysis. this level reveals the second meaning: an interpretation of images, stories, and metaphors. the secondary subject matter will be studies of sundanese calligraphy with text, image, and multidimensional relationships. the third level is intrinsic or content analysis or iconological interpretation. iconology interpretation aims to embody intrinsic meaning and values of arts phenomenon (panofsky, 1972, pp. 6–7). the meaning contained in each sundanese calligraphy in this article will be analyzed. result and discussion sundanese calligraphy the forms of sundanese calligraphy that will be analyzed are taken from edi dolan’s social media. edi dolan’s calligraphy works are very much with various scripts, for example, javanese script, pegon, and sundanese script. however, only sundanese calligraphy will be analyzed in this article. the reason to select this artwork is to view related in the form, script, and sundanese identity. sundanese identities on social media have a relationship with all aspects like a region aspect, identity, and sundanese culture. in the world of social media, sundanese culture gets important attention and emphasis in every discussion. this is based on the activities of social media users built based on sundanese cultural elements (iskandar, 2012, p. 111). social media provides experiences and new ways for a community to interact, communicate, and exchange information. all that can create a visual identity to present a sundanese identity within the community. generally, sundanese people are proud of their regional cultural identity. but, sumardjo argues, sundanese society will disagree when asked what sundanese cultural identity is. (sumardjo, 2003, p. 297). jampe (spell) the first work is entitled jampe, or known as the spell. jampe is a word in the form of a spell that is thought to have supernatural energy. figure 1. the character of semar is arranged in calligraphy sundanese script with the words composed as “jampe” figure 1 shows a sundanese calligraphy called jampe (spell). the jampe text that reads the words jampe-jampe harupat, geura cageur geura tobat (mantra of hope, get well soon, repent soon) is composed of wayang figures. the figurative calligraphy is formed from curved lines with a thin, thick contrast. the texture contained in the calligraphy is a smooth pseudo texture. the background color of this calligraphy agung zainal muttakin raden et al., iconography: sundanese calligraphy as artistic ex135 is light brown with black ink. the arrangement of the sundanese script to form a figure produces harmony so that the shape of the figure can be expressed. rhythm consists of repeating curved lines on the stomach and on the back. symmetry balance shows in this sundanese calligraphy with the axis located in the middle of the paper, making this calligraphy look proportional. the thin-thick contrast in the strokes that form the head and hands gives a picture of complete proportions. the shape of semar in the puppet morphic calligraphy is easily recognized. this can be seen from the anatomy of his body which has a distinct identity (raden & qeis, 2019). this sundanese calligraphy forms the figure of semar. semar is a punakawan figure in puppet stories. this figurative calligraphy is called puppet morphic calligraphy. the style used in these puppet morphic is experimental calligraphy done by the artists, creating a contemporary calligraphy style (raden & qeis, 2019). javanese spiritual places semar as a very wise figure that has a lot of expertise (halimah et al., 2020). semar also has an understanding of the culture of triloka (the three worlds), consisting of the world of gods, giants, and humans (raden & qeis, 2019). semar is a loyal figure accompanied by pandavas. semar is a wise figure and also accompanied pandavas; thus often asks for advice and consideration of the problems that occur. semar, sometimes also called ki lurah semar also known as a great teacher or leader (pamong agung) or kyai semar, is also a great teacher or leader for others. semar represents a tutor and leader, a guide of physical and spiritual of all ksatria (habsy, 2017). the semar form depicted in this calligraphy comprises the words jampe-jampe harupat geura cageur geura tobat. this mantra has a meaning to heal the soul caused by one’s own behavior that is contrary to the teachings of god. repentance means returning along the path of god or to the path of righteousness. semar’s figure was chosen for this form because semar is the most respected figure. semar is also considered a divine revelation (cahaya ilahi) to form good morals (welas asih, gotong royong), merciful, and human-oriented (habsy, 2017). the interpretation of this calligraphy is self-reflection. the healing of the soul can only be done by carrying out real repentance, by not repeating it again. this mantra is very popular among the sundanese people. jampé-jampé harupat is an incantation or song that is usually sung or spoken by parents to their children. this mantra is usually chanted for a small child to grow up soon and be able to run. growing up and running here means a child who is ready to face life in the future, but in this calligraphy, the artist changed the mantra a little to respond to the current phenomenon in indonesia. mantra is considered to have magical powers; people who read it have spiritual power, and those who are chanted will feel the impact. this mantra is transformed into the form of semar calligraphy. this form of expression comes from indonesian local wisdom and the embodiment of divinity. edun (crazy) the second work is entitled edun. edun is an admiration for something positive or to express something chaotic in a society. figure 2. rahwana character is composed in calligraphy sundanese script with pupuh asmarandana titled “edun” harmonia: journal of arts research and education 23 (1) (2023): 132-140136 figure 2 shows a sundanese calligraphy which is formed from the text edanedan jaman akhir, banyak yang bertingkah gila, yang sakit jiwa melongo, kalah saing jatah peran, jin setan jingkrak jingkrak, tambah teman sorak seru, sang alim takut kuwalat (crazy in the end times, many are acting crazy, mentally gawking, losing their competitive role. the demon genie is prancing, added cheerful friends. the pious was afraid of misbehaving), is composed of wayang figure. this figurative calligraphy is formed from curves and straight lines with a thinthick contrast. the textures contained in the calligraphy are the pseudo-smooth texture, the brush strokes and the motifs on the head. the background color of this calligraphy is light brown, with black ink and red ink. sundanese scripts are arranged into a form that produces harmony so that the shape of the figures can be expressed. the rhythm in calligraphy is the repetition of curves to the left and right sides of the body and hands. symmetry balance shows in this figure with the axis in the paper’s middle. the thin-thick contrast on the strokes of the head and hands shows complete proportions. the figure formed in this calligraphy is dasamuka (ten faces), or known as rahwana. rahwana, the king of alengka in nusantara’s wayang story, is the king of the three worlds. jinns, demons inhabit the lower realm, the center realm is inhabited by humans, and the upper realm is the nature of the gods. rahwana was a hermit and devoted worshiper of shiva (murtana, 2018). rahwana is a symbol of authority with a giant character as well as an antagonist in the ramayana story. rahwana is also famous in india and sri lanka. rahwana in sri lanka apart from being a giant and a demon king is also said to be a speaker of the hela language, which is a non-sanskrit native language of sinhala, and also the ruler of lanka, which is many times larger than the island of sri lanka (sanmugeswaran et al., 2019). in hindu mythology, rahwana is also known as the multi-headed rakshasa (demon) king. the interpretation between the text and the visualization of the figure of rahwana is related. rahwana as the king of the giants and giants has a greedy temperament. the words that make up the figure of rahwana are a traditional sundanese poem known as a pupuh. pupuh is poetry in sundanese language performed as a song (sekar) according to rules about certain sentence patterns (damayanti & nurgiyantoro, 2018). this calligraphy describes a phenomenon that is happening today. the weak literacy culture makes it easy to be provoked. thus, many people compete unhealthily, easily deceived, which ultimately makes the situation chaotic. this interpretation of the sundanese dasamuka calligraphy is the opposite of the sundanese semar calligraphy. the other hand, semar emphasizes merciful cooperation, while dasamuka emphasizes hatred and divisiveness. jago (rooster) the third work is entitled jago. jago is defined as a rooster. the rooster is an animal symbol in various cultures, beliefs, and religions. figure 3. the character of the rooster is composed in calligraphsundanese script with the text titled “jago”. figure 3 shows a sundanese calligraphy formed from the text of aing jagona jago, cag (i am the champion of all the masters, bear in mind that). this calagung zainal muttakin raden et al., iconography: sundanese calligraphy as artistic ex137 ligraphy is included in zoomorphic calligraphy. in zoomorphic calligraphy, an animal is made to be the object calligraphy (raden et al., 2019). the figurative calligraphy is formed from curved lines with thick-thin contrast. the texture contained in the calligraphy is a smooth pseudo texture. the background color of this calligraphy is light brown with black ink. sundanese scripts are arranged into a form that produces harmony so that the shape of the figures can be expressed. rhythm in calligraphy is the repetition of the curves in the tail. the asymmetry balance shown in this figure with the visual weight is predominantly on the right of the image. the stroke on the head, beak, comb, wings, tail, and legs shows complete proportions. this sundanese calligraphy is formed from the text of aing jagona jago, cag (i am the champion of all the masters, bear in mind that). the interpretation of the rooster is that there are various kinds of cultures, beliefs, and religions. according to folklore in chiangrai, the achaeans divide chickens into three classifications; the first is red jungle fowl, which is a chicken from the spirit world for consumption, not for rituals; the second is decoy chicken which has a higher status because it is between the spirit world and humans, the third is kampung chicken, which is a chicken from the human world. this type of chicken is often used for consumption and offerings in rituals that serve as intermediaries between the akha tribe and ancestral spirits (sujachaya & sitisarn, 2005). chinese culture believes chickens to be unmistakable, confident, courageous and perfectionist creatures. historically, the symbolism of the chicken presented a sacred meaning as a representation of strength. the people of the nusantara archipelago raised roosters in interesting folk tales such as cindelaras, ciung wanara, and i la galigo. the people of the nusantara archipelago view the rooster as an animal that symbolizes strength, power and courage. jaipongan (sundanesse dance) the fourth work is entitled jaipongan. jaipongan has roots in ketuk tilu, an umbrella term for various west javanese social dance traditions (spiller, 2011). figure 4. the female character dancing jaipongan is composed in calligraphy sundanese script with the text titled “jaipongan”. figure 4 shows a sundanese script calligraphy formed from the jaipongan text (sundanese dance). jaipongan is a combination of ketuk tilu dance and pencak silat (martial arts). jaipongan is purely indonesian or, more properly speaking, sundanese in origin and style (manuel & baier, 1986). this figural calligraphy looks like a dancing icon. this calligraphy is formed from curved lines with a thin, thick contrast. the texture contained in the calligraphy is a smooth pseudo texture. the background color of this calligraphy is light brown with black ink. sundanese scripts are arranged into a form that produces harmony so that the shape of the figures can be expressed. rhythm in calligraphy is the repetition of curved lines in the hands and feet. symmetry balance shows in this figure with the axis in the paper’s middle. the thin-thick contrast on the head, hands and feet strokes shows complete proportions. this figurative calligraphy is formed from the word jaipongan. the interpretation of jaipongan is a dance that has aesthetic values, dynamic and intense movements that reflect the character of sundanese women. jaipongan dance is an association medium formed harmonia: journal of arts research and education 23 (1) (2023): 132-140138 by the people’s entertainment situation consisting of the presenter and the audience simultaneously (nurhasanah, 2018). jaipongan is constantly identified with sensual and erotic dancing. jaipongan dance is an expression of gratitude and patience, associated with agrarian society with the process of melak (planting) and metik (picking or harvesting). the movements in jaipongan consist of fast and slow movements. fast movement is a symbol of gratitude, while slow movement is a symbol of patience. jaipongan dance is a symbol of fertility. apart from being an artistic expression, the four pictures by edi dolan also function as an expression of sundanese identity. efforts to maintain local culture in the global era need to be made, so the discourse on identity becomes important. the current cultural phenomenon arises when screen media spreads in human life. the screen display wants to motivate that the image has an advantage over the text. the transformation from a written-based culture to an image-based culture opens a new chapter in communication called hyper-visual language (song, 2012, p. 12). social media is a new vehicle for expressing and appreciating one’s identity in the global community. mirzoeff argues, by visual technology, i mean any apparatus designed either to be looked at or to enhance natural vision, from oil painting to television and the internet (mirzoeff, 2009, p. 3). the reinvention of sundanese culture and identity unconsciously appears on social media and arises from individual ideas to developing phenomena. in delivering visual ideas, social media bridges the gap between the past and present. it also provides an aesthetic experience for its users, exchanges pictures and information, and builds linear communication between the account owner and the network of friends within. jenks argues culture is a more manifest and collective category. culture resulting from human interaction includes interactions and thoughts in technology channels (jenks, 2017, p. 10). information technology has led to a digital era culture called cyber-culture. furthermore, communication and interaction are built through virtual spaces (cyberspace). the sundanese script is present on social media in the form of identity reinvention in the global era. cyber-culture is a vehicle for transferring real cultures to access these artifacts directly. conclusions sundanese people are people whose mother tongue is sunda. their characters and language are different from other ethnic scripts. sundanese script has a rigid form, in contrast to javanese script, which has a dynamic form. it can be used on digital devices to communicate and as a medium of artistic expression. calligraphic letters are in the form of visual art instrumentation and figuration. calligraphy is a craft that has had ties to life, human beings, religion, and communications since the cave times. the sundanese script calligraphy that will be analyzed in this article is the work of a calligrapher named edi dolan. edi dolan’s works above prove the existence, identity and expression of sundanese calligraphy on social media. the use of sundanese script in calligraphy prioritizes aesthetic aspects and artistic values, which are the final achievement of a work. on the other hand, in the field of language and communication aspects of information and clarity of messages are very important. for this reason, strict writing rules are regulated to prevent disinformation and miscommunication. the use of sundanese script in calligraphy works is intended to achieve artistic value. therefore, strict writing rules are not required. artisans experimented and explored shape, size, and character markers. the results of experimentation and exploration are figures. the results of experimentation and exploration are figures. exploration is carried out to create visually inspired by the current phenomenon, aesthetic experience of the artisan, and relations between text and figures. apart from agung zainal muttakin raden et al., iconography: sundanese calligraphy as artistic ex139 artistic and aesthetic achievements, preserving identity through sundanese script calligraphy is the more important value. acknowledgments we would like to thank edi dolan, a calligrapher of sundanese, javanese, carakan, pegon, and arabic scripts for their contribution in discussing this cultural phenomenon and their creations which were featured and studied in this article. references boukerroui, m. t. 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(2021). helicobacter pylori in the indonesian malay’s descendants might be imported from other ethnicities. gut pathogens, 13(1), 36. https://doi. org/10.1186/s13099-021-00432-6 43 the jaipongan drumming strokes in lagu gedé in sundanese gamelan asep saepudin, ela yulaeliah institut seni indonesia yogyakarta, indonesia submitted: 2021-01-02. revised: 2021-03-18. accepted: 2021-04-26 abstract this paper aims to describe the jaipongan drumming strokes in lagu gedé. lagu gedé is a type of song in sundanese karawitan that has a large embat (rhythm). this song includes a dish of drums vocals accompanied by gamelan pelog-salendro with characteristics that have tone, barrel, surupan, embat, gending, slow tempo, embat opat wilet, and bound by the standard rules. observations were made by appreciating jaipongan’s performances in bandung and karawang. besides, the author conducts interviews with several primary informants who are directly involved in the arrangement of jaipongan. gedé’s point here is to look at it with a smooth, soft, slow serving. the kiliningan genre has a specific punch motif name for gede’s song. the name of this variation is called tepak melem. melem has a delicious or gentle meaning. tepak melem to accompany sekar gending songs in kiliningan genre. the phenomenon that happens that lagu gede is served in kiliningan dish and used to attend jaipongan dance. when jaipongan’s work uses gedé’s song, it generates innovations. gedé’s song is no longer presented with a glued drum but with a tepak diteunggeul. diteunggeul contains the meaning of being hit hard, powerful, dynamic, and fast. this research concluded that jaipongan drumming strokes in lagu gedé is realized that drummers and dancers must explore many spaces because it has the freedom to work. after all, they present it in an embat opat wilet (big rhythm). this affects the widening of the number of beats, the position of kenongan, pancer, and gongan. artists have the freedom to do creativity in working on gede’s songs. the space of artists in their work can ultimately foster new creativity that impacts the growth and development of sundanese karawitan. keywords: tepak, lagu gedé, drumming, jaipongan how to cite: saepudin, a. & yulaeliah, e. (2021). the jaipongan drumming strokes in lagu gedé in sundanese gamelan. harmonia: journal of arts research and education, 21(1), 43-59 harmonia: journal of arts research and education 21 (1) (2021), 43-59 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i1.28206 suwanda was encouraged by gugum gumbira, who made several drumming styles for jaipongan dance movements. gugum acts as the innovator, conception, and director. at the same time, suwanda and gugum gumbira made jaipongan music in collaboration with other artists such as endang barmaya, dali, bao samin batu, suwanda, namin (herdini, 2014, p. 196). the collaboration of creative minds, especially introduction tepak kendang jaipongan or jaipongan drumming strokes are an arrangement/ technique of playing sundanese drums to accompany jaipongan dances. kendang are symbols or cultural representations used in jaipongan dances (wiresna et al., 2020, p. 1). suwanda, an artist from karawang, created the jaipongan drumming strokes. corresponding author: e-mail: asepisiyogya@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 21 (1) (2021): 43-5944 between suwanda and gugum with the help of other pangrawit, was the decisive factor in the success of jaipongan. this dance art reached its peak of popularity in the 1980s (saepudin, 2013, pp. 224–234). likewise, karawitan is also known as gamelan music (widodo, 2015, p. 36), grows and develops to achieve its stability thanks to the community’s support as the collective owners of karawitan (supanggah, 2009, p. 298). the artists working on jaipongan drums never run out of artistic creativity. creativity is meant, among other forms of experience, encounters, and slimness, with something beyond itself, especially nature and social circles (darmasti, 2012, p. 110). the number of drummers in each generation, the more jaipongan work is produced, and jaipongan’s broader range of inventions is a testament to his imagination. jaipongan drumming strokes result from changes of various types of art living in west java, such as ketuk tilu, topeng banjét, wayang golék, and kiliningan bajidoran, penca silat, and tarling (saepudin, 2013, pp. 27–112). ketuk tilu and topeng banjét are two essential arts underlying the jaipongan karawitan arrangement (ruchimat, 2015, pp. 1–521). at the turn of the 21st century, there was a striking change in the jaipongan arrangement with the emergence of lagu gedé entitled karatagan (irawan, 2014, p. 392). in the “jaipongan award 2004,” a creator composed a gedé song called kawitan written in the jaipongan version (suratno, 2007, pp. 129–131). it was an innovation in the development of sundanese karawitan. jaipongan drumming strokes, once used to accompany songs in embat dua wilet, were used to accompany songs in embat opat wilet at the turn of the 21st century. therefore, gedé’s piece’s arrangement is an innovation because it is outside the traditional sundanese tradition. the novelty in the creation includes the changes in various aspects, such as the tempo, rhythm, dynamics, drumming motifs, song melodies, musical roles, and instrument beats. equally important, the drum’s musical function, which initially serves to accompany the vocals, has changed to fulfill the dance needs (irawan, 2014, pp. 391–398). kiliningan, wayang golek, tembang sunda, and degung classical performances usually present gedé songs. these four genres present gedé songs in a soft and slow arrangement, except in wayang golek performance characters’ dance accompaniment. particularly in kiliningan, the drum arrangement is called tepak melem, i.e., drumming in the subtle character. tepak kendang or drumming serves to support the vocal of the pesinden so that the song character is following the aesthetic value contained in the sundanese music ensemble. lagu gedé, as the source of jaipongan creativity, is the result of artistic innovation to interpret lagu gedé in different genres. artists yearned for the golden days of lagu gedé in the past. encouraged by the diminishing popularity of lagu gedé, artists adopted lagu gedé to be the creative source in jaipongan performance art. equipped with years of experience and vast knowledge, strong sensitivity to various karawitan phenomena to various phenomena in karawitan, some artists could describe and explain karawitan arrangement in a complete, sharp, and exciting way (waridi in supanggah, 2009, p. ix). the artists revitalized lagu gedé with a new arrangement and technique in the jaipongan version. this arrangement reflects creative artists’ notion with attitudes, perspectives, new concepts, sensitivity, and responsiveness to their environment, cultural traditions, and their environment’s factual reality (sumardjo, 2000a, pp. 81–85). some of the emerging works of jaipongan come from lagu gedé such as tablo, kastawa, karatagan, kulu-kulu bem, jalak ngejat, rawayan, and raspati (see figure 1). asep saepudin & ela yulaeliah, the jaipongan drumming strokes in lagu gedé in sunda45 figure 1. jaipongan drumming performance art in lagu gedé by jugala raya group, bandung, entitled “rawayan.” (doc: adjie dunston i, 2015). according to the writer, the revitalization of lagu gedé as the source of jaipongan creation is impressive. first, the player does not readily present gede’s song because this song is immense. second, the drummer’s mastery of the character of lagu gedé is at stake because the drum functions as the mungkus of a piece or to bind the song. therefore, playing jaipongan drumming strokes in lagu gedé requires an accumulation of the drummer’s experiences, knowledge, and skill in arranging the music ensemble elements to support the song’s character and dance. the arrangement of jaipongan drumming in lagu gedé is the result of the artists’ creativity supanggah states that: “artistic production is a series of creative work from a person or group of performers in presenting a musical ensemble or karawitan composition to produce a sound with a certain quality or result by the purpose, needs, or goal of a work presentation of karawitan. artistic production is creativity in traditional arts” (supanggah, 2009, p. 4). ... ... “the freedom to behave, have an attitude in artistic expression and social interaction in society, as well as the demands to fulfill various needs and interests are the determining and driving factors for artistic innovation, including encouraging the development of fine arts ...” (supanggah, 2009, p. 242). accordingly, working on the jaipongan drumming strokes in lagu gedé is a series of creative works carried out by artists to produce a good quality of jaipongan performance that meets the purpose, needs, or goal. lagu gedé in jaipongan aims to accompany the dance instead of performing independently as in the kiliningan art. therefore, an understanding of embat (rhythm) is needed by a drummer. embat plays a significant role in the character formation of gendhing. moreover, embat is considered as the heart of gendhing. the drummer plays a crucial role in shaping the character of gendhing compositions through the interpretation of embat. jaipongan art provides artists with an opportunity to behave, create, and socialize in the community to develop gamelan ensemble works. the artists work on jaipongan art in folk art so that it is easy to adjust to the time. flexible rules, norms, and laws in lagu gedé are the assets for artists to innovate to create new arts based on traditions. this paper aims to describe the jaipongan drumming strokes in lagu gedé. the writer discussed the birth of creativity in the jaipongan drumming of lagu gedé due to the sundanese artists’ freedom of artistic expression arts to meet various demands and interests. this article’s final stages compare jaipongan drumming or tepakan kendang jaipongan using embat dua wilet, and embat opat wilet of lagu gedé was analyzed. the analysis result found that the various motifs of drumming in lagu gedé did not have common names. this fact shows that gedé songs are composed based on improvisation and the high degree of artists’ freedom in expressing their musicality. improvisation, according to the writer, does not refer to spontaneous irregular characteristics. instead, it refers to the standardized traditions shared among the artists and the competent artists’ accumulated history, experiences, knowledge, skills, and ability to respond to the movement and music spontaneously on a performance stage. harmonia: journal of arts research and education 21 (1) (2021): 43-5946 methods this research used observation and interview methods using the ethnomusicological approach. the author conducts observations to uncover images of art events, behaviors, and instruments used in a study, taking into account places and spaces, actors, activities, times, events, and objectives (tjetjep, 2011, pp. 181–194). data search through jaipongan performance observations in various circumstances. simultaneously, the author conducted interviews with several key informants directly involved in the jaipongan arrangement, such as gugum gumbira, suwanda, caca sopandi, ismet ruchimat, asep mulyana, ayi mulyadi, yaya suryadi, and musicians from jugala group in bandung. researchers discard their judgment to understand the culture from the owners’ perspective (nakagawa, 2000, p. 5). the principle is to process and interpret data through the cultural and habitual lenses of the owners of the culture, be they physical objects, musical events, or human feelings, which have something to do with music (hastanto, 2009, p. 5). therefore, any data relevant to the jaipongan drumming gathered from interviews with the informants is considered the primary data used as writing and analysis materials. the study used video cameras and photo cameras (soedarsono, 1999, p. 57) to obtain more accurate data. data collection through library studies in isbi bandung library and isi library in yogyakarta to find references, originality, and related theories. the research data is then compiled and selected to see the validity of the data from the informant. the author uses approach emic to categorize phenomena based on cultural owners (endraswara, 2006, pp. 33–36). the next step is to analyze and interpret the relationship between the jaipongan drumming strokes phenomena to conclude (nazir, 2005, p. 346). the analysis was also done on the jaipongan composition in lagu gedé to transcribe it in musical notation. the notation is essential to see lagu gedé musically in terms of its embat and tepak kendang. result and discussion the jaipongan drumming strokes tepak kendang jaipongan or the jaipongan drumming strokes are the arrangement/variant/pattern and drumming technique used to accompany the jaipongan dance. the word tepak means that the drumming is done by the hands’ palms, either using one hand or two hands (soepandi, 1995, p. 205). sunarto classifies the tepak into six categories, namely: tepak as a technique to sound the drum, the style of presentation, the level of rhythm, as a variety of drum composition in one phrase or line of a song, as a unity of variants of a particular dance, and as the distinctive markers of a specific drummer’s quality in drumming. sunarto concludes that the definition of tepak includes three categories, namely tepak, as art production, variety, and motifs of drums (sunarto, 2009, pp. 113–116). the drumming strokes are the unique characteristics that give the nuances, sense, and style so that upon hearing the strokes, we will associate it with jaipongan (suratno, 2007, p. 124). unique characteristics are seen in the techniques, patterns, embat, and motifs of gamelan play. the jaipongan drumming strokes are played using the diteunggeul method, namely by hard, powerful, and energetic strokes. the difference between this stroke from the other drumming strokes can be felt when the karawitan production presentation is changed. for example, in the kiliningan art production, the drumming strokes are suddenly altered by the drummer with strong strokes, then the display is automatically categorized in the jaipongan drumming strokes. besides, the drumming strokes are found in the golėk puppet show. even though the embat or tempo used to accompany a puppet show performance is embat sawilet, the jaipongan drumming strokes can be practiced when attending the punakawan or four comical companions’ main asep saepudin & ela yulaeliah, the jaipongan drumming strokes in lagu gedé in sunda47 heroes, the puppet characters. for example, when the drummer accompanies the music for the scene with the knights in the puppet dance, the drumming strokes alter the jaipongan drumming strokes when the punakawan characters enter the stage. there can be identified from the strong drumming strokes played by the drummer. the fact above shows that the jaipongan drumming strokes are created from the close relationship between the drumming strokes and the dance requirement. in this regard, trustho states that: “kendang and dance are partners in a show. the success of both parties depends heavily on the manners of communication. reciprocity occurs when both have a balanced consequence. the relationship goes from the dance to the drummer or the other way around. such a process happens naturally in a show, both conventionally and incidentally (trustho, 2005, p. 92). according to trustho, drums and dance have a close relationship. drums and dance have nonverbal communication. trustho defines the drumming as a miraga or the drumming piece that motivates dance movement for expression (trustho, 2005, pp. 94–98). the drummer should carefully follow the tempo of the dancers because if delayed a knock, it all becomes different (wahyu, 2013, p. 102). the connection between drum and dance in jaipongan is called drumming ngigelan for dance and dance ngigelan drumming (saepudin, 2013, pp. 201–202). it means that there is a close connection between the drum and the dance. there are times when drums have to follow the dance and vice versa; there are times when the dance follows the drums. the relationship between dance and drum also occurs in the sundanese dance courses or keurseus (spiller, 2016, pp. 13–30). there are three media in the dance courses where the choreographic unit is expressed in the dancer’s body movement, drumming patterns, and mouth drumming. the drummer and the dancer both use a mnemonic vocal system to learn the parts of the dance. the syllables spoken by the mouth drumming mimick the drumming sound, and the drumming imitates the dance. the dancers and the drummers do the same choreographic unit in two different sensory media, namely aural/audio (sonic) and gestural/tactile. there is an interdependence between the sonic aspect and the gestural aspect. in his conclusion, spiller states that the use of mouth drumming/ syllables in the music and dance proves artists’ roles in developing the ritual, social, and performance sundanese dance. hood (2016) highlights the relationship pattern between the drum and bali dance. he states that the interdependent relationship between the drummer and the balinese dancers is defined as ngunda bayu. ngunda means the use or distribution, while bayu means power or energy. ngunda bayu is transference and a system of channeling musical sounds’ power entering the dancer’s body. the dancer and the drummer are involved and learn the distribution of energy when interpreting and communicating in performance. ngunda bayu is a communication system where many gestures, responses, warnings, and signs are explicitly traded to interact when the drummer reads the dancer’s power. the dancer projects her energy (bayu) and experiences a direct presence (taksu) visible for the drummer to adjust the show. ngunda bayu is a transference of energy (bayu), where there is an interdependence between the sound of drums (ka-pak) and the dance movement (ki-pek). (trimillos, 2016, pp. 6–8) concludes that the relationship between the dance and the music is the result of the role of the body as a set of unity, namely as a medium to bring about the aesthetic impression to the audience, musicians, dancers, musician-dancers, and the dancer-musicians. according to gugum, generally, the jaipongan variety of movements includes bukaan, pencugan, besotan, and nibakeun (gugum, may 21, 2015). the structure of the jaipongan drumming strokes consist of pangkat (initial), pangjadi (transition), bukaan (accompaniment), mincid (walking), harmonia: journal of arts research and education 21 (1) (2021): 43-5948 and the repetition of bukaan and mincid, and ngeureunkeun (stop). the variety of structure, repetition, and motif depends on the song being accompanied. every frame has a different motif. for example, a pangkat could be initiated with a drumming stroke without using the rebab or a stringed instrument. another example is that repetition can happen in the bukaan part or the mincid part. it implies flexibility in the jaipongan drumming strokes. every structure has many motifs and variations in the drumming strokes of pangkat, pangjadi, bukaan, mincid, and ngeureunkeun. the wide variety of drumming strokes and the flexibility of structure are the innovative results for artists’ creative genius. the sundanese artists generally have a folk music background and have freedom for action and self-expression according to their full potentials (supanggah, 2009, p. 242). the binding handbook rules do not burden their innovations as in the palace court arts. the norms of handbooks in sundanese karawitan are not left as is but interpreted by artists. artists use the rule as a reference for creativity by modifying pakem into other forms or deviating from existing norms.the deviation from the requirements is called “pamijen” or creativity (supanggah, 2009, p. 298). according to herdini, the birth of the innovative sundanese karawitan is not merely the result of artists’ expressions but also influenced by the times and circumstances (herdini, 2014, p. 119). the situation and circumstances of the times are changing, altering the mode of communication among artists in west java to become freer. in short, communication is getting more comfortable between artists in bandung and artists in pantura (karawang and sabang). the freedom of associating provides a chance to grow the zeal of innovation and the jaipongan production blending. jaipongan production is getting more various, attractive, and dynamic. the show is more complex, the drumming motif is increasing in numbers, and the gamelan production is getting more active. artists keep developing innovation to fulfill various needs, especially in meeting market demands. the results show in the jaipongan drumming strokes structure, which blends the bandung style and pantura style due to reciprocal borrowing of a kind. the jaipongan drumming strokes are in the embat dua wilet, which means that the embat group consists of eight bars and thirty-two beats. the kenong stroke is sounded on the 8th, 16th, 24th, and 32nd beats, followed by the kempul stroke on the 4th, 12th, 20th, 24th, and 28th beats. embat dua wilet in the sundanese karawitan is usually used in the kiliningan genre. however, in its development, embat dua wilet is a steady embat used to accompany the jaipongan, characterized by the typical drumming strokes. saepudin (2012) explains that in the jaipongan drumming strokes, the gamelan piece’s signature characteristic is the use of bonang, kempul, and kecrek instruments (saepudin, 2012, pp. 133–135). in this piece, bonang is not only played in a particular method, i.e., digembyang or tapping two notes using both right hands and left hand simultaneously in one stroke. it is also played as a melody. likewise, kempul, which is usually played only five or six strokes in one gong, is hit many times, sometimes 50 strokes, in the jaipongan drumming strokes. kecrek in the jaipongan also adds a distinctive character because the strokes are not as steady as a rule. it is played in a rhythmic and varied when it is hit to follow the drumming strokes. the jaipongan karawitan to accompany the dance is usually much more straightforward, open, innovative, and daring than karawitan in an independent composition (suratno, 2007, p. 131). lagu gedé in sundanese traditional music ensemble lagu gedé is one of the types of songs in the tembang sunda, classical degung, golek shadow puppet, and kiliningan arts. the function of lagu gedé (besides the accompaniment of a specific puppet character in the golek shadow puppet) is geasep saepudin & ela yulaeliah, the jaipongan drumming strokes in lagu gedé in sunda49 nerally not to accompany a dance. still, as an independent music ensemble, namely melem gending accentuates the vocal aspect. in its development, the song gedé entered into melem gending and dance accompaniment. some dancers demanded to present gedé songs in the art of kiliningan. automatically, the style of jaipongan drumming strokes, which were initially tepak melem, changed into tepak diteunggeul. even though the traditional artists initially protested, the community gradually accepted the change (saepudin, 2013, pp. 116–118). gedé presents the same character’s vocals accompanied by music barrel pelog saléndro and using an ensemble of degung music. according to irawan (2014, p. 24), lagu gedé in kawih kepesindenan is a sundanese song containing literature and songs. lagu gedé is the type of kawih vocal presentation accompanied by traditional music ensemble or other instruments, musically characterized by tone, tuning, surupan, embat, and gending. lagu gedé is a type of song bound by a tapping rule called sekar tandak, or it can be called free metrical songs with a freestyled rhythm. this song has the characteristics of a slow tempo, embat opat wilet, tepak kendang melem or florid, subtle style of sundanese hand drumming for instrumental music or vocal accompaniment, a similar number of lyrics or words as in other songs. it means that it does not determine the shape of the song. salmun (as quoted on irawan (2014, p. 92) states that the song gedé began to exist in wayang golék performances at the end of the 20th century. gedé’s song serves as the show’s opening act, accompaniment to wayang dance, murwa, and interests in performing the play and sabet. an example is a kawitan song presented at the beginning of the performance, accompanied by puppeteer dance and puppeteer murwa. female vocalists sing kawitan to support the puppet dance movement. however, during the puppeteer’s murwa, kawitan functions as titincakan orcue for the puppeteer to sing a song in a puppeteer’s distinctive voice. as for the lagu gedé during the entertainment interlude, melem’s gending accentuates the song arrangement as the main focus of the work. musically, lagu gedé in the puppet show dance is different from the jaipongan dance in terms of structure, motif, tempo, and dynamics. the patterns, structures, and drum motifs for the puppet show accompaniment have the standard to match the puppet characters. in contrast, in the jaipongan dance, the pattern, structure, and motif can change according to the drummer’s style. the tempo in the puppet show accompaniment can be slow, medium, or quick, whereas the jaipongan dance’s tempo is medium in general. therefore, the golék puppet show’s tempo varies, making the dynamics of the drumming strokes very distinctively obvious when accompanying the golék puppet show. lagu gedé in the kiliningan art first appeared in the 20th century and gained popularity between the 1930s and 1960s (salmun, 1961, p. 211). kiliningan is a form of karawitan accentuating the female vocalist’s voice. the main characteristics of drumming strokes were tepak melem and sentug. tepak melem or a florid, subtle style of sundanese hand drumming for instrumental music or vocal accompaniment supports the song’s characters so that the audience can feel the aesthetic value. tepak sentug is a technique to play the drum by tapping the fingers on the skin of the gedug, or the surface of the big drum, without touching the drum’s skin. gamelan functions to support the vocal presentation’s success, instead of accompanying the dance as in jaipongan. when jaipongan used lagu gedé, the reference is no longer to the song but the dance. the function of lagu gedé has changed from being an independent karawitan to being a dance accompaniment. the changed leads to the change of roles and position of the gamelan as a whole, namely the change of dynamics, musical color, drum arrangement, and playing the instruments. these changes will, in turn, distinguish the characteristics of the lagu gedé arranged for jaipongan from those of harmonia: journal of arts research and education 21 (1) (2021): 43-5950 the lagu gedé arranged for other genres. the origin of jaipongan drumming strokes in lagu gedé the sundanese karawitan occurred because of artists’ creative efforts who have had the practical experience, both art experience and symptoms outside of art that shape their attitudes, mentality, spirit, and views (herdini, 2014, p. 9). knowledge is the result of contact, association, and even the struggle between awareness and symptoms or reality processed by artists to become the main material of the artwork (saini km, 2001, pp. 21–30). similarly, the development of the jaipongan piece in lagu gedé is inseparable from the artist, suwanda, who molded the creative experiences and efforts. according to suwanda, the diteunggeul drumming stroke in lagu gedé was already present during the glorious days of the topéng banjét art in karawang. in 1966, suwanda watched lagu gedé, the song in the tablo, played by kang mulud with the diteunggeul technique in the topéng banjét art group wadas, panyadapan (saepudin, 2010, pp. 194–195). lagu gedé in the diteunggeul stroke was not yet common in the sundanese karawitan. besides, dancers’ demand that suwanda follow their dance movements in the soft arrangement of lagu gedé was the starting point for suwanda to work on lagu gedé by playing diteunggeul drumming strokes (saepudin, 2013, pp. 116–118). suwanda’s statement above proves that the birth of the jaipongan drumming strokes is closely related to dance. this is reasonable because karawang and subang areas are famous for their improvised dances performed by bajidor artists in the jaipongan kiliningan. in this regard, williams argues that the core relationship in jaipongan is between drummers and dancers, not between musicians and dancers. the male drummers who are exclusively masculine occupy the highest position in the jaipongan show. the drummer holds the key to the entire jaipongan ensemble. jaipongan can be performed anywhere and anytime as long as the drummer can provide dance patterns or improvise dancers. therefore, the drummers and dancers are the most critical and central in jaipongan, symbolizing modern sundanese autonomy. williams also concluded that jaipongan was a sundanese art in response to the javanese’s dominant role in regional and national politics. thus, jaipongan affirms the sundanese identity, utterly different from the javanese identity (williams, 2016, pp. 335–355). suwanda said the following: “lagu gedé diantawisna lagu tablo, kidung, sareng kembang gadung tos digarap tibaheula, tapi ditarima ku masyarakat, padahal kedahnamah ngalagena (gelenyu), tapi kendangna diteunggeul.” (lagu gedé such as tablo, kidung, and kembang gadung have been used for a long time and have been accepted by the public. it should have been played softly, but the drum was hit hard) (suwanda, may 21 2015). suwanda boldly played the drum to accompany lagu gedé using the diteunggeul method in the 1980s even though he received traditional artists’ protests. as time goes by, people gradually accepted the arrangement of lagu gedé using the diteunggeul drumming strokes, especially after the 2000s, when artists produced innovations of lagu gedé. the innovation in lagu gedé is so flexible and easily accepted by the people with various dynamics of change as one of the typical folk art that has flourished outside the palace. the flexibility of rules, norms, ethics, and folk art standards allows artists to create the freedom to create in each creativity stage. the standards do not restrain and burden the artists from fulfilling their needs for expression. this results in many new innovative works of lagu gedé produced in the jaipongan version to fulfill the sundanese people’s musical needs. although the new creation has the same song or musical taste, the embodiment, appearance, and taste are different (regional taste, local flavor, group taste, even individual taste (supanggah, 2009, p. 5). the starting point for the production asep saepudin & ela yulaeliah, the jaipongan drumming strokes in lagu gedé in sunda51 of lagu gedé cannot be separated from the forerunner to the emergence of jaipongan. according to gugum, in sundanese karawitan, there are two types of arts representing freedom of expression: tembang sunda (sundanese song) and penca silat (martial art). both of these arts have freedom of expression, which inspires the origin of lagu gedé production. the liberty in question refers to the presentation that is not bound by the standard rules that can restrain the moving space, for example, by the number of kenongan, kempul, or gongan. although both art types are still in the concept of tradition, they allow artists to develop their creativity. in this case, creativity is rooted in the rules that live in a society (sumardjo, 2000b, p. 84). the principle of creativity is the same as innovation, namely adding value to objects, ways of operating, ways of life so that new products are always created. creating a work of art means realizing a work of art with new meaning and value (bahari, 2014, p. 23). thus, creativity results must have better, more beautiful, more true, more useful, more memorable values to satisfy those who need it (rusyana, 2008, p. 5). according to gugum, tembang sunda has a free-spirited rhythm in the main song called mamaos. in this song, each bar’s number of beats is not steady because the instrument, kacapi indung, is played to accompany the theme presented by the mamaos expert, juru mamaos (hermawati et al., 2011, p. 14). it means that the music becomes the basis for processing rhythmic and melodic kacapi players. mamaos songs are offered with free rhythms from the beginning to the end of the song. even though freedom of expression is freedom, this freedom does not reduce the musical aesthetics in tembang sunda. this can be applied in the production of lagu gedé to accompany the jaipongan dance. according to gugum, the jaipongan drumming strokes can be traced from penca silat (gugum, may 21, 2015). the padungdung kendor and padungdung gancang parts in penca silat are not bound by the number of wiletan and gongan (the space between each strike of the gong) the gamelan. this is because the musical taste is satisfied only by ending it with the sound of kempul. the number of kempul strokes in one bar is not determined because it follows the cues from the pengibing penca (dancer). the length and the number of kempul blows and the drumming strokes depend on the pengibing penca dancing (makalangan). thus, the drum and other instruments function to accompany the dance. the drumming strokes, the number of beats, the tempo, and the performance course, depending on the dancers. especially in padungdung kendor, the dancers have the freedom when to stop and when to start moving. dancers have the power to move because there is a free rhythm, even though the movement pattern is standard (herdiani, 2012, p. 370). based on the statement above, dancers have an essential role in the development of jaipongan drumming strokes. the jaipongan drumming strokes’ idioms emerged from the improvised dances performed by gugum and the bajidors (saepudin, 2013, pp. 30–33). the improvised dance in sunda is called an erotic triangle by spiller, which reflects a sundanese gender identity through three interrelated elements, namely ronggeng, drumming strokes, and male dancers. the erotic triangle model is patriarchal and involves women in the division of labor and status. the implication is that women are the object of desire of the other more substantial group (male). men are the subject, ronggeng is the object of desire, and the drummer is the middle man or mediator. drums are masculine, exoticizing the object of desire (ronggeng) as feminism. the male participant dances gender identity and his contradiction into immortality. the drummer has the power to influence and change the course of each body’s movements. so, the drummer represents the power that men want to attain (spiller, 2001, pp. 173–174). setyobudi and alkaf review the same thing: the dancer’s body in the jaipongan dance is related to power/knowledge, leharmonia: journal of arts research and education 21 (1) (2021): 43-5952 gitimizing male power. the jaipongan dance is the result of a ‘male gaze’ towards women. every tiniest part of a female body is carefully scrutinized. men see women who are watching themselves to become objects of the male gaze. the man is the subject, and the woman is the object. but the woman looks at her body vaguely. the vagueness occurs because women do not treat their bodies independently/autonomously. the jaipongan movement is constructed to follow the values and norms that men bias. likewise, women consider the jaipongan dance’s actions erotic and disturbing because they are trapped in the bias created by men. the female body is entangled in the formation of patriarchal culture so that the male body always guides and escorts the female body (setyobudi, i, and alkaf, 2011, pp. 37–48). based on the opinions above, it can be concluded that in sundanese improvised dances, there is a close power relation between drummers and dancers. the male power to reflect the freedom of expression is also reflected in jaipongan. gugum hopes that jaipongan can express freedom of expression for dancers and musicians as in the lagu gedé because it has a long embat/rhythm to improvise. dynamic sundanese improvised dances have stimulated people to move with drums as the main focus in dance while the implications of drums’ sound manifest in physical movements (spiller, 2001, pp. 119–120). according to the author, improvisation in the sundanese dance is not spontaneous without rules but is a tradition that artists must follow. improvisation is a skill of competent artists willing to respond to motion and music spontaneously on an open stage. improv provides their freedom to behave and conduct themselves in the face of various needs and goals. the existence of improvisation can foster the zeal of innovation to promote sundanese music’s growth and development. artists interpret the rules, norms, and laws that apply in freestyle dances to make innovations. this freedom to improvise is one reason for gugum to make innovations to produce the jaipongan version of lagu gedé. the embat opat wilet of lagu gedé, having 64 beats, can demonstrate the element of freedom in dance and music even though it is not as free as pencasilat. so it is not surprising, gugum’s works use lagu gedé in jaipongan, such as rawayan dance with gending tablo, paksi tuwung. even the new dance jalak ngejat, which was performed on may 22, 2015, uses the lagu gedé motif (see figure 2). figure 2. the jaipongan drumming strokes performance by jugala raya group in lagu gedé entitled “jalak ngejat.” (doc: adjie dunston i., 2015). embat opat wilet of lagu gedé in jaipongan dances the embat in sundanese karawitan refers to the term rhythm, which is related to the technical aspect. the technical elements that can affect the different levels of embat are aspects of the pattern of strokes, principles of presentation, and aspects of tempo (suparli, 2010, pp. 77–80). rhythm is related to two elements, namely space and time. rhythm is associated with the area, giving space to some ricikan or vocal elements to fill the space specified or related to rhythm. cadence relating to time is the tempo or grace period required for the presentation or movement of a balungan or note, a song or tetabuhan from a ricikan, a ricikan from one to the next following balungan, strokes, tones, or songs/songs (supanggah, 2009, p. 262). lagu gedé has a big rhythm / embat, namely embat opat wilet. embat opat wilet provides the freedom of movement for dancers to explore activities because of the asep saepudin & ela yulaeliah, the jaipongan drumming strokes in lagu gedé in sunda53 length of space and time in one stroke of a gong or gongan. however, jaipongan dancers’ movement is not as free as the ngibing movement in penca silat because the gamelan play rules restrict the jaipongan dance. in addition to the dancers, embat opat wilet also provides freedom for the drummers to manage the drumming strokes. the drummer has a huge role in shaping music by selecting rhythmic interpretations (supanggah, 2009, p. 268). the ample room for embat production allows drummers to demonstrate various drumming strokes to accompany the dance. based on the results of interviews with artists, they explained that lagu gedé had the flexibility to modify for dancers and pengrawit or players of the musical instruments. suwanda said that lagu gedé provided ample room for flexibility to explore, especially drums (suwanda, may 21, 2015). the results of interviews with other sources also show that in lagu gedé, there was a high degree of flexibility/uncharted territory to provide freedom for dancers and drummers to explore their movements or their drumming strokes (gugum, mulyana, mulyadi, 21-22 may 2015). more explicitly, according to caca sopandi, in lagu gedé, there is an ample opportunity for artists to explore/innovate (sopandi, may 22, 2015). yaya suryadi, a jaipongan drummer from bandung, stated that some of the advantages of recreating lagu gedé in jaipongan include: first, lagu gedé has a clear structure and framework of songs so that artists need to understand a little more. secondly, the space for modification in lagu gedé is vast, especially when viewed from the position of kenongan, pancer, and gongan. third, it takes a high degree of creativity to produce lagu gedé. after all, it has a high level of difficulty, including alok, kenongan, and gongan, which cannot be played anywhere because it has a certain standard. fourth, lagu gedé provides a higher level of complexity for drummers because they have to think about the song’s dance and character (suryadi, november 20, 2015). the production of jaipongan drumming strokes in lagu gedé according to suryadi, to produce a work that suits the song’s character, all parties involved in the production, i.e., drummers, dancers, and karawitan arrangers, must understand the song’s character before producing jaipongan in lagu gedé. after the piece is composed, the drumming motif is created to match the drumming strokes and the song’s character. the next stage involves producing the music used to accompany the piece before making the dance choreography (suryadi, november 20, 2015). such a process is considered more memorable to produce a jaipongan production that matches the character of lagu gedé. in contrast, another artist, asep mulyana, stated that: “lagu ageung digarap jaipongan teu sawios, asal ulah ngarobah, mungkin karuhun urang teu nanaon asal kaangge, gendingna dikemas asal teu dirobah cengkokcengkokna.” it means that “it’s all right to recreate jaipongan as long as it’s not altered. the masters may not object to the modification, as long as it is useful and the gending is rearranged, and the vocal twists are retained) (asep mulyana, may 22, 2015). asep mulyana’s opinion affirms that producing lagu gedé in the jaipongan version is acceptable. it is legal and lawful as long as it pays attention to the whole presentation, especially the song ornaments. although lagu gedé is used to accompany the dance, the gamelan’s musical tradition should be maintained. drummers guarantee that the song is presented intact to be enjoyed by the listeners, and the drumming strokes can accompany the dance movement. this is the test/challenge for drummers. on the one hand, they must think of the dance. on the other hand, they should also think about the song’s character to maintain the musical aesthetics by the rules in the sundanese karawitan. if the production of lagu gedé does not pay attention to the character of the song, it often happens that the song does not have its soul. this kind of thing often happens so that the jaipongan song in lagu harmonia: journal of arts research and education 21 (1) (2021): 43-5954 gedé seems too dense (the term asep mulyana uses is “bala teuing”/too crowded) (mulyana, may 22, 2015). according to suwanda, “garapan nu ayeuna, terampil nanging teu aya ruhna/teu aya mamanisna” (the current production is skillful but lacking in the spirit of sweetness) (suwanda, may 21, 2015). therefore, working on lagu gedé needs to consider various things, namely dance, drumming, song characters, and gending creations so that the results of his work can satisfy multiple parties. the explanation above confirms that the drummer has an essential role in working on lagu gedé. therefore, being a drummer is not an easy task because it has a level of complexity. according to suryadi, the artist’s background will give an impression of the drummer’s motif or style in producing his drumming strokes. this can be seen from the drum composition, such as tepak pangkat, pangjadi, bukaan, mincid, even tepak ngeureunkeun (suryadi, 20-112015). aspects to consider in composing lagu gedé include: first, the embat of lagu gedé is different from the embat in jaipongan. lagu gedé uses embat opat wilet, while the jaipongan song uses embat dua wilet. the different embat requires the drummer’s hard work to understand the concept of composing the music in the sundanese karawitan. second, the difference between embat lagu-lagu jalan and lagu gedé gives an impression of the widening bar and the increase in the number of beats twice than usual. embat dua wilet contains 32 seconds, while embat opat wilet the number of beats increases to 64 seconds. likewise, in embat dua wilet, the bar’s number is 16, while in embat opat wilet, the number is 32. this requires the drummer to understand the concept of working on both drums and their gending composition. facts show that often inevitable things, for example, lagu gedé, are sometimes not present in the full version. in one part of the openings, lagu gedé may only be shown in one gongan, immediately followed by naėk tepak mincid or increasing drumming strokes. gedé’s song is not enabled by independent karawitan, but rather as an accompaniment that prioritizes the dance. as a result, the production of lagu gedé does not match with the actual aesthetics. besides, there is also a change in the tone of the gongan at the end of the song. the contributing factors are: first, the song is cut in the middle of the performance to adjust to the dance. this results in a different gongan at the end of the song. second, when there is a transition from emba topat wilet to embat dua wilet (naėkeun), the last stroke of the kenongan is adjusted to the kenongan stroke of the next song in the embat dua wilet without following the rules of the song. it means that the standard of lagu gedé is no longer used. those are the various phenomena that occur when modifying lagu gedé in the jaipongan version. the variety of jaipongan drumming strokes in lagu gedé’s embat dua wilet and embat opat wilet suparli (2010) says that changes in embat result in narrowing and widening the bar obtained from doubling the number of beats, both twice fold and fewer. for example, when viewed from the number of seconds in one period, the embat opat wilet consists of 64 beats (16 bars). therefore, embat dua wilet consists of 32 beats (8 bars), while embat opat wilet consists of 64 seconds (16 bars). therefore, embat opat wilet is understood to have twice a slower embat or rhythm than embat dua wilet. changes in embat/rhythm mean a difference in the vocal twist. changes in rhythm can indicate the level of capacity, ability, and creativity of a musician in supporting character, nature, and sense of gendhing (supanggah, 2009b: 268). one of the differences between lagu gedé and other songs lies in the rhythm/ embat motif. according to irawan (2014, p. 83), the wiletan motif of lagu gedé generally uses a large or long wiletan, namely embat opat wilet or more, while the other sundanese songs use embat sawilet or dua wilet. the opat wilet motif is the size of one drumming cycle in one large gong consisasep saepudin & ela yulaeliah, the jaipongan drumming strokes in lagu gedé in sunda55 ting of 16 bars, 64 beats, and in the following the 16th, 32nd, 48th, 64th beats, the kenong stroke hits identified with the letter (n). the kempul stroke hits the 8th, 24th, 40th, 56th, and 60th beats, respectively. to describe an idea of the difference between the jaipongan drumming strokes in lagu gedé’s embat dua wilet and opat wilet, the notation of the jaipongan drumming strokes as an overture is presented. in the openings, different ways of jaipongan drumming strokes are widely presented. the way to read the notation is as follows: the symbol above the line shows the upper drum notation (kumpyang for the big drum and kutiplak for the small drum), while the sign below the bar shows the lower drum (gedug or big drum for large and katipung for small drums. the jaipongan drumming strokes in the opening/overture in embat dua wilet embat dua wilet consists of 32 beats while embat opat wilet consists of 64 seconds in lagu gedé. there is a widening bar from four to eight, which affects the difference when the gong is sounded. the gong in embat dua wilet is displayed at the 32nd beat, while in embat opat wilet, the gong is displayed at the 64th beat. the kempul in embat dua wilet is sounded at the 4th, 12th, 20th, 24th, 28th beats, while in embat opat wilet, the kempul is displayed at the 8th, 24th, 40th, 56th, 60th beats (suparli, 2010). in embat dua wilet, kenong is displayed at the 8th, 16th, 24th, 32nd beats, whereas in embat opat wilet, the kenong is sounded at the 16th, 32nd, 48th, 64th beats. in brief, the kenong blows are twice more in embat opat wilet than that in embat dua wilet (see figure 3-6). figure 3. tepak buka payung. (notation: asep s., 2020). figure 4. tepak pencugan. (notation: asep s., 2020). figure 5. tepak seredan. (notation: asep s., 2020). figure 6. tepak ngagooongkeun. (notation: asep s., 2020). transition/transfer from opening drumming strokes to tepak mincid the transition stroke occurs in both embats. the transition stroke in embat dua wilet is called tepak ngala, while the transition stroke in embat opat wilet is called tepak naékeun. although both types of strokes have different functions, the transition stroke of tepak ngala in embat dua wilet functions as the transition of various strokes, i.e., from the opening strokes to the mincid stroke in the same embat, i.e., embat dua wilet. on the other hand, the switching stroke of tepak naėkeun functions as the transition stroke from bukaan to mincid. it also functions as the transition from embat opat wilet to embat dua wilet. thus, even though both are transition types of strokes, the motifs are different (see figure 7-10). harmonia: journal of arts research and education 21 (1) (2021): 43-5956 figure 7. tepak ngala. (notation: asep s., 2020). figure 8. tepak mincid 1. (notation: asep s., 2020). figure 9. tepak mincid 2. (notation: asep s., 2020). figure 10. tepak ngagoongkeun. (notation: asep s., 2020). the jaipongan drumming strokes in the opening or bukaan part in embat opat wilet embat opat wilet in lagu gedé has more beats and bar, giving the impression that various motifs of drumming strokes can be explored. the drummers can produce new motifs different from the previous drumming motifs to add the styles’ variation and richness. the names of the drum motifs in gedé’s song have been well organized from the saggy wait, open umbrellas, wait for saggy, pencugan, seredan, cindek, and ngagoongkeun. as for gedé’s song opatwilet, the motive is not organized explicitly depending on the drummer’s creativity. therefore, the drumming strokes in lagu gedé are characterized by the bukaan or opening pencugan, cindek, dan ngagoongkeun/nibakeun drumming strokes, which have widely various motifs (see figure 11-22). figure 11. tepak besotan 1. (notation: asep s., 2020). figure 12. tepak besotan 2. (notation: asep s., 2020). figure 13. tepak pencugan. (notation: asep s., 2020). figure 14. tepak besotan 2. (notation: asep s., 2020). figure 15. tepak besotan 3. (notation: asep s., 2020). asep saepudin & ela yulaeliah, the jaipongan drumming strokes in lagu gedé in sunda57 figure 16. tepak besotan 4. (notation: asep s., 2020). figure 17. tepak besotan 5. (notation: asep s., 2020). figure 18. tepak ngagoongkeun. (notation: asep s., 2020). figure 19. tepak naékeun. (notation: asep s., 2020). figure 20. tepak mincid 1. (notation: asep s., 2020). figure 21. tepak mincid 2. (notation: asep s., 2020). figure 22. tepak ngagoongkeun. (notation: asep s., 2020). the jaipongan drumming strokes in lagu gedé usually only works on the bukaan drumming strokes. up until today, there has been no evidence of lagu gedé produced entirely from the beginning (tepak pangkat) to the end (tepak ngeureunkeun). at the opening or bukaan, the pencugan drumming strokes dominate the gongan (space between each strike of the gong). tepak openings are a motif to accompany the early movements of the dance. pencugan is a fixed movement, while nibakeun to complete the action or ngagoongkeun. as for the most widely used song in the song gedé. the musical sense in embat opat wilet of lagu gedé seems to be left hanging or unresolved, and it is the issue that must be answered in embat dua wilet. why is it so? there is no evidence of the jaipongan performance until today, which presents the whole lagu gedé using emba topat wilet entirely. each lagu gedé’s embat opat wilet is usually continued with songs arranged in embat dua wilet, namely the steadiest embat in the jaipongan karawitan (jaipongan musical ensemble). conclusions lagu gedé in jaipongan is flexible to work on. there is still ample room to explore. it happens because the space for modification in lagu gedé is vast, especially when it is arranged in an embat opat wilet, which affects the widening of the number of bars, beats, kenongan, pancer, and gongan. however, various motifs of drumming in lagu gedé did not have any familiar names. it then shows that lagu gedé is arranged based on improvisation and the high degree of the artist’s freedom in exharmonia: journal of arts research and education 21 (1) (2021): 43-5958 pressing their musicality. the presentation of the jaipongan version of lagu gedé was made possible because the sundanese artists have the freedom to behave and act in expressing themselves artistically, need to socialize in the community, and have the demand to fulfill various needs and interests as well. it is mainly because lagu gedé is included in the famous art that flourishes outside the palace environment. the jaipongan drumming strokes in lagu gedé gives artists the freedom to create creativity. the flexible regulations, norms, and laws imposed on jaipongan karawitan encouraged the artists to produce it into an art performance different from their origin. references bahari, n. (2014). kritik seni wacana apresiasi dan kreasi. yogyakara: pustaka pelajar. darmasti. (2012). tari sesaji pangentas bilahi sudra tingal. harmonia journal of arts research and education, 12(2), 108–115. endraswara, s. (2006). metodologi penelitian kebudayaan. yogyakarta: gadjah mada university press. hastanto, s. (2009). konsep pathet dalam karawitan jawa. surakarta: program pascasarjana bekerjasama dengan isi press, surakarta. herdiani, e. (2012). ronggeng, ketuktilu, dan jaipongan studi tentang tari rakyat priangan (abad ke-19 sampai awal abad ke-21). disertasi, universitas padjadjaran bandung. herdini, h. (2014). perkembangan karya inovasi karawitan sunda tahun 19202008. bandung: sunan ambu press. hermawati, s., arini, d., & supriadi, d. (2011). kacapi suling instrumentalia sebagai salah satu kesenian khas sunda. harmonia: journal of arts research and education, 11(1), 10–16. hood, m. m. 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(2013). jarog dance for children with special needs : case study in the celebration of the international dance day in surakarta. harmonia: journal of arts research and education, 13(2), supanggah. r. (2009). bothekan karawitan ii: garap. surakarta: isi press. widodo. (2015). laras in gamelan music’s plurality. harmonia : journal of arts research and education, 15(1), 34–45. williams, s. (2016). dancing toward autonomy: jaipongan and the assertion of sundanese identity,”dalam the fighting art of pencak silat and its musicfrom southeast asian village to global movement. paetzold u. and degrave j.m. brill: boston, 335-355. wiresna, a. g., sobarna, c., caturwati, e., & gunardi, g. (2020). the relation of kendang and jaipongan: functions and inspirations of kendang musicality on jaipongan’s journey. harmonia: journal of arts research and education, 20(2), 126–134. informants asep mulyana. (60 years old). a spike fiddle artist from jatihandap bandung. ayi mulyadi. (39 years old). a jaipongan drummer from jatihandap bandung. ismet ruchimat.( 47 years old). the karawitan organizer of the jugala group, lecturer at the karawitan department, isbi bandung. yaya suryadi. (48 years old). a jaipongan drummer in bandung, a pangrawit or gamelan player at the dance department, isbi bandung. vol.1 no.1_mei_agustus 2000.pdf �)���� �!�!��)� �� ��$*! �%��) �!�)���' #���$!�� �� ��! �)���$ ������ �� introduction action research has been known and regard as one of the new strategy for teachers development in indonesia. trough word bank project, for instance, action research has been decided as the second pilot project and today it has being tried out in eleven provinces in indonesia, include central java. as a ‘special’ subject, music, has many problems in teaching. it happens for years particularly in classroom. unfortunately, there is no serious effort of the teachers to look for what the problems are and how to overcome it. they should know that there are many problems for the students to learn music in the class. the problems of music learning usually happen in the classroom, both for students or for the teachers. however, as if the teachers do not care to the problems and become the problems as a routine duty. the difference of the student music experience problems can influence the learning process. the different background can also influence the quality of the learning process. the music learning in the classroom is a teachers’ responsibil ity in which they know how the students learn, the students’ characteristics, study environment, stu dents' motivations, students’ progression, etc. to reach a good result of the students’ achievement need to teachers’ responsibility efforts to observe, plan, apply, practice, and so on, to get the good way how to the student can learn music well. the way is carried out in many times, for about five to seven or even more then that to achieve a good environment and a good way to teach or how should the students can learn well. to achieve the way above the teacher need to observe trough research. and the properly research to the purpose is action research or classroom-based action research (car). why action research? the problem in the research is on the job problem-oriented. it means that the real problem that appear in researcher’s field become his responsibility. similarity, the problem research is the rill one that is faced everyday. if the resear cher is a teacher then the re search problems are the classroom problem or the school problems in which it has become his responsibility. one example, class room-based action research is a kind of research by teacher focused to the classroom / school problems. accordingly, the teacher is the sub-ject that mastery the problem in the class. bristol (1992: 44) point out that: ....a form of self-retlective inquiry undertaken by participants in a social (including educational) situation in order to improve the rationality and justice of (a) their own social or educational practices, (b) their understanding of these practices, and (c) the situations in which practices are carried out. related to the state priyono (1993) point out that the feature of the classroom-based action research is coloured by ‘critical’ approach and interpreted approach, namely; the most masters of the classroom or the school problems are the tea chers himself, not another ones (outsiders). the second feature of this research is that it is the problem-solving oriented research. the researches which only produce “understanding”, like in the empirical research are recognised as meaningless research, because it can not solve the problems. the third feature of this research is improvement oriented. action researches clarify how important each component of organisation system can develop well. if the system is a school then the components itself are teachers, students, principal, classroom environment classroom / school. they must improve it well. the concept is extremely coloured by critical research concept; the research must produce improvements (product oriented) (calhoun, 1993). the fourth feature of the research is multiple data collection. to fulfil critical approach, the many ways to collect data can use : (a) observation, (b) test, (c) interview, (d) questionnaire, etc. all of the ways are focused to achieve a valid research, because the truth is not only subjective butt also problematic. by implement all the data collections, then whal the reality or the truth can be solved. accordingly, the empirical re search that based on the ability of sensory can be questioned of the validity. the fifth feature is cyclic. action concept is applied by planning cycles, observing, action, and reflecting, that in fact draw critical /reflective thinking trough action effect. the solution of the action is not applied by trial and error but by thinking the problem is by analysing the root of the problem and then determines the appropriate action (priyono, 1999). according to hopkins, (1993:48) the spiral action research can be draw bellow: the last feature is collaborative. the researcher co-operative with any other colleagues or expert to do every step of the action research such as planning, observing, taking action and reflecting. according to plan reflective action/ observation reflective action/ observation reflective action/ observation revised plan revised plan tripp, (1996) there are clear, some major differences here, but essentially action research uses recognised research technique to describe and understand action outcomes, whereas reflective practice relies on a more everyday observing and taking note of what happens. accordingly, the actions research more use critical approach in each step of the research than just note and elaborate what hap pen as action effect. action research to solve music teaching problems every student has different ability of music skill or music knowledge. every student has also his own music educational background and his music experience. in one music class sometimes has one group of the same student’s ability, and has students’ music experience. but, it is possible that there is a special student who can influence learning process in the class. the learning process can be determined by the factors. musical interest of the students which aie caused by the process, for instance, can determine music learning process qual-ity. many problems happen in the classroom which are paced the teachers because of the characteristic of the subject, music. the special characteristic of the subject and different characteristic of the students can caused the music learning process are not effective. it can be terrific if the teachers can not know their students' characteristic. unfortunately, the sometimes, the teaching process always go on, without care about the goal of the music learning. as a result the student can not care about the lesson, too. it make the students attention to the music lesson is not interesting for the students. that means that the purpose of the lesson is failed. as mentioned above,the teacher should known each their students’ characteristic so that they can identify and determine the properly method to teach music in the class. if they can know the characteristic and the learning problem then the plan, apply, practice, etc. to solve the problems. teacher is the leader of the students in the class. all the students’ characteristics, students’ motivations, and students’ problems are the teachers’ responsibility. the goal of the students’ music learn ing can be achieved if the teacher can observe, plan, and, apply some effort to solve the problems by doing the properly research which is coloured by ‘critical’ approach and interpreted approach. the research is action research. the problem happens in one class even in one school may be diferent of each other, therefore, it may use different process of the research. the number of process or cycle depends on the complexity of the problems. one simple example to explain the action research of music learning problems is to answerd a question (problem) : “what are the students not enthusiastic in our music class?”. in the cycle, of cost, we need to observe the class activity, examine the students’ record of other subject, supply the questioner, analyse data, use new method, apply the method, analyse, and so on. actually, the research process can refer to hopkins (1993:48) has described. bibliography depdikbud. 1999. penelitian tidakan kelas (classroom action research). jakarta: tim pelatih proyek pgsm. car, w. and s. kemmis. 1986. becoming critical: knowing through action research. london: falmer press. candy. p.c. 1989. “alternative paradigms in education research. australian educational researcher”. 16 (3) 1-11. research. geelong: deakin university. calhoun. e.f. 1993. action research: three approaches. educational leadership. connole. h. smith b., wisemen. r. 1993. research methodology isues and methodes in reseach. davies. gilian. t.t. “action research: music teacher’s stories” (in andeas priyono, 1999: 14). fueyo, vivian and mark a. koorland. 1997. teacher as researcher : synonym for profesionalism. journal of teacher education. 48 (5): 336-344. tripp. d. 1996. scope program. perth: education depart-ment of western australia. 162 the application of asa berger humour technique by sabri yunus from the dramaturgy perception in “karoot komedi” mardiana binti ismail1, indrayuda indrayuda2, mohd effindi bin shamsuddin3 1faculty of music and art performance, sultan idris education university malaysia 2department of drama, dance and music, faculty of language and art, universitas negeri padang, indonesia 3sociocultural malay and malay language department, academy of malay studies, university of malaya, malaysia received: january 15, 2018. revised: october 25, 2018. accepted: december 10, 2018 abstract this paper aims to introduce sabri yunus as a dramaturgy in comedy especially in the popularised television program called “karoot komedi”. the method used in conducting this research is qualitative descriptive through a survey. the data was obtained through observation, interview and also documentation studies. the object of the observation is the drama performance “karoot komedi” by sabri yunus. the researcher is the instrument for this research, who is also in charge in collecting the data, conducting the observation and interpret the research questions based on the object. the analysis was able to be conducted successful using the model gotthold ephraim lessing, miles and huberman. the validity of the data obtained is examined by using the triangular method and also by the co-worker’s evaluation and insight. the finding of this paper shows that the humour elements are correlated to the spontaneous response and behaviour of the audience such as laughing and smiling. every individual has different spontaneous response and behaviour as it depends on the audience’s interest, inclination and also understanding towards a humour issue displayed to them. based on two episodes of the karoot komedi, the dramaturgy in comedy sabri yunus applied the humour techniques during the performance. to sum up each episode as a whole, each episode are assessed based on 4 categories which are language, logic, identity and action. keywords: sabri yunus; dramaturgy in comedy; humour; lelucon; karoot komedi how to cite: ismail, m. b., indrayuda, i., & shamsuddin, m. e. b. (2018). the application of asa berger humour technique by sabri yunus from the dramaturgy perception in “karoot komedi”. harmonia: journal of arts research and education, 18(2), 162-171. harmonia: journal of arts research and education 18 (2) (2018), 162-171 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v18i2.12725 data. the organization is called literary managers and dramaturgs of america which was built on the year 1985. the members of this organization are people who work in the literature field and have a firm belief that theatre is an important form of the art performance and have the power introduction for further explanation on the research and this article topic, researcher share some insight on the establishment of a non-profit organization and its member who voluntarily handle the dramaturgy corresponding author: tanjoeng malim perak 35900, malaysia e-mail: mardiana.yang@gmail.com p-issn 2541-1683|e-issn 2541-2426 mardiana binti ismail et al., the application of asa berger humour technique ... 163 to main, teach and also change an individual and its local community. kerkhoven (2009) in his article, a constant movement, feels the same worry as the development of art performance in europe was at a critical state at the time. the neoliberal politics and economy have evoked a conflict which caused the value of spiritual in the performance to decrease. in the article, short comments on the notion of european dramaturgy, kerkhoven (1998) discussed how dramaturgy starts to play an important role in a performance. furthermore, the asian dramaturgs’ network inaugural symposium 2016, asian dramaturgs’ network meeting 2017, asian dramaturgs’ satelite symposium 2017 dan asian dramaturgs’ network satelite symposium 2018 organized by the symposium shows the efforts pour by the organizers and participants for the dramaturgy profession to get acknowledgment from the public. therefore, based on the issue mentioned previously, it wise to broaden the role of dramaturgy. however, the application of dramaturgy is still new to malaysia at the moment. azman ismail (2007) states that the dramaturgy approach was still foreign in the drama performance context in malaysia even it is not the case for the western countries. it is a pity that there is little to no direct teaching on dramaturgy in the art art education charlene performance system. there is no review on the method, tools, function or role of dramaturgy in the art performance context in malaysia. according to behrndt, “........ dramaturgical work is about relationships: ‘this is a relationship, a dialogue, an interrelation between two or more people with the aim of creating or developing a piece of performing artwork” (behrndt, 2015, p. 254). in malaysia, dramaturgy needs to face issues on the professional relationship with the performance maker. behrndt stated that dramaturgy and the performancemaker (the theater director, dance instructor, artist, producer and curator and also other field relates to dramaturgy) need to have communication skills. with the proficient communication skill and sufficient knowledge on dramaturgy, people will feel comfortable and able to share their knowledge and experience with the performance-maker while they are in the art performance industry(behrndt , 2015, p. 254). according to the head director of istana budaya, datuk mohamed juhari shaarani “istana budaya minta pelawak tidak sentuh isu agama dalam pertunjukan. pelawak di negara ini dinasihatkan agar meletakkan batasan selain tidak menyentuh sebarang isu sensitif terutamanya soal agama dan kaum dalam pertunjukan .......” (mohd al qayum azizi, 2014). in other words, a comedian is advised to not touch on any issues involving the religion or any other sensitive issues such as religion and race in the performance that may arouse unwanted problems within the society. the reaction evokes by this issue shows how important is the dramaturgy role in performance as dramaturgy is an individual who will assess, giving feedbacks,, be an intermediary or a reference for a workpiece. there are two aims for this paper which are to interpret sabri yunus role as a dramaturgy through the modification of the television program karoot komedi and also to decipher sabri yunus’s performance idea through research analysis towards implementation of hilarious acting in the television program karoot komedi. this paper also questions on the (i) role of dramaturgy especially in managing the television program karoot komedi and (ii) the application of dramaturgy on the acting movement, action and also the use of language to help the development of the performance in karoot komedi. dramaturgy refers to the art or drama writing techniques which were created in a form of art of the theatre. the word ‘dramaturgy’ originates from a greek word, ‘dramaturge’ (romanska, 2016, p..2) which means the principles of dramatic arts. dramaturgy is a technique in arranging a dramatic performance.comedy relates to laughter (ketawa) and humor (humor) (sikana, 2013). humor in a comedy harmonia: journal of arts research and education 18 (2) (2018): 162-171164 performance can give a certain quality and value towards it (romanska, 2016). dramaturgy is essential in an art performance, especially in understanding the world of drama and theatre. this paradigm needs to be acknowledged as the definition of dramaturgy originates from the art performance field especially in the making of a drama text. barba (2010, p. 83) states that dramaturgy will only be able to identify through the drama text writings and the process of theater performance which involves the accumulation action and the actors’ movement, actions which suits the scenes throughout the performance, music, lighting, sound effect, voice projection and props used in a performance. meanwhile harymawan (1988) states that dramaturgy is an individual who creates, discovers and also interprets an issue; before, during and after the performance, in each piece. moreover, erving goffman had discovered the dramaturgy theory which focuses on his views towards the self. for instance, the presentation of self in everyday life (1955), talks about goffman’s view on the process and meaning from what is known as interaction (man to man). referring to the self-realization concept and the self mead, goffmn came back with a role theory as a basic dramaturgy theorist. goffman takes the prediction of individual life as a drama performance, complete with the setting of the place and an actor to play the role of the ‘life’ (azizah, 2012, p. 36). based on the development of dramaturgy in malaysia, the definition of dramaturgy is rarely used among the art performance researchers. in this context, raliby (1956) introduced dramaturgy as knowledge or skills in acting and also the drama author. hussain (1988) also introduces the word dramaturgy in his research as knowledge about the art of poetry and art of the role in a drama. this research tempts to carry out research that will be beneficial towards the education of art in malaysia. there is various content in this research that could be practiced by activist and art performance teachers and art performance promoters in order to create an intellectual workpiece especially comedy performance. according to the examples chosen for this paper, it can be a beneficial research resource in the future. furthermore, it can also add more references and inspire the future researchers of the art industry. method qualitative and observation are the main method used in the analysis the information gathered for this paper. the source of data obtained are mainly from the observation from the karoot komedi performance and the interview with the comedian figures, actors, dramaturgy specialist and also sabri yunus as the key information. this paper centers on the application of the asa berger humour technique by introducing four main aspects which are the language, the logic, the identity and the actions used by the dramaturgy sabri yunus in the television program “karoot komedi”. the research subject relies on the aspect of (i) language. through language, humor can be created by speaking rhetorically (bombast), playing with the sound of words pronounced, (infantilism), conveying a message which has a meaning opposite than its literal meaning (irony), misinterpreting the situation (misunderstanding), using wordplay (pun), having a discussion with quick response or feedback (repartee), addressing someone in a dismissive manner (ridicule),convey a sharp remark towards someone (sarcasm), criticizing a public figure using humor or exaggeration (satire), condemning any issue that hints of sexual innuendo (sexual allusion), and also outplaying someone by asking a question with a humor based statement (outwitting). aspect ii) logic. humour can surface in one’s mind through impolite manners (irreverent behaviour),laughing at someone’s misfortune(malicious pleasure), unreasonable action or irrational situation (absurdity), occasion which happens without plan (coincidence), surprise the audimardiana binti ismail et al., the application of asa berger humour technique ... 165 data is assessed through the triangular method, member check and also discussion among the co-writers. results and discussions sabri yunus mohd sabri yunus or his stage name, sabri yunus is an artist comedian of the second generation in malaysia and also an activist in theater performance, dramas and films which mainly based on comedy. looking at his previous achievements and awards throughout the years he had invested as an activist in this industry, sabri yunus is the most suitable subject to be the primer research sample for this paper. sabri yunus’s active participation in “karoot komedi” and his previous achievements gained such as tv best male comedian award in seri angkasa award in 2005, popular tv artist male comedian in anugerah bintang popular in 1993,1994, 1996 and 2000 and also tv best comedian male actor award in anugerah lawak warna in 2013 enable the researcher to narrow the scope and focus on the important information to about dramaturgy in comedy dramaturgy in comedy according to the research done by bolton (2011), it is shown that ‘explaining and exploring the concept of dramaturgy has been the focus of the researchers or decades even when it has been mentioned previously by g.e lessing in hamburgische dramaturgiie. the reflection findings in bolton’s research states that the dramaturgy approach can be applied through ‘script-led’ or ‘non-script-led’. ‘script-led’ concept is applying the dramaturgy concept in texts or even printed scripts while ‘nonscript-led’ is applying the concept without using any written sources. bolton stated that ‘script-led’ concept is the application of dramaturgy in making a connection between the texts and the performance while for ‘non-script-led’ the application of dramaturgy is to make a connection between scenario and the performance based on a specific context. however, the performanence with a drastic and an unpredictable changes (conceptual surprise), a situation which portrays dismay or sorrow with humor elements (disappointment), acting naive or innocent (ignorance), repetition of an action or a situation (repetition), and also by a conservative person with a indecisive personality (rigidity). the third (iii) aspect is identity. humour can be created by the identity of a character through an object or animal which possess human characteristics (anthropomorphism), build a character with an unusual behaviour (eccentricity), a reserved and awkward character (embarrassment), characters which display mysterious and unpleasant form (grotesque appearance),imitating one’s appearance or action (imitation), direct or indirectly impersonate another person’s character (impersonation), mimicking a style of a nobleman(parody), wearing an object with a bigger or smaller measurement (scale), stereotype, someone taking in a different form (transformation), or build drastic physical and visual changes(visual surprise). last but not least, the fourth (iv) aspect is action. physical action or also the non-verbal technique of humor action. as a guidance, action which refers to the asa berger humour is as such examples; using the whole body with maximum energy (clownish behaviour), display the act of awkwardness or careless in a movement (clumsiness), an act of chasing someone (chase), acting excessively on a scene (exaggeration), making comical facial expression(peculiar face), use unusual and amusing music (peculiar music), displaying comical sounds (peculiar sound), using hilarious voices (peculiar voice), harsh physical humor (slapstick), and also movements with high or low speed(speed). the analysis is done with the guidelines from the gotthold ephraim lessing, miles and huberman model. the researcher also refers to the forms and contents from the television program “karoot komedi” in order to obtain the cultural definition from this research. meanwhile to strengthen the validity of the findings, this harmonia: journal of arts research and education 18 (2) (2018): 162-171166 ce needs to covers issues on social, economics, politics and other relevant local community topics, whether the writer decided to use ‘script-led’ or ‘non-script-led’ concept to be practice in the performance. bolton views a dramaturgy as an innovative person who is creative and able to create a dynamic and quality workpiece. the approach of dramaturgy in comedy practiced by sabri yunus able to produce prestige workpiece which will able to help the community to overcome their problem by practicing the issues and solution presented in the performance. this dramaturgy solution was once presented by romanska (20160, p. 186): as ‘dramaturgy as a creative practice defined in relation to a shared set of attitudes towards the production and reception of theatre, and argues that a specifically dramaturgical contribution to theatre-making rests in this analysis of the dynamic between performance and spectator’. in the context of this research, dramaturgy sabri yunus introduce 14 episodes with various themes which covers a wide range of issue related to the community. among the 14 episodes, the researcher only chose 2 episodes with the same theme. the program selection to be the object for this paper is depending on the consistency of the program shown on the local television channels which are astro prima, astro warna dan astro mustika hd. furthermore, this selection was also influenced by the professional and local acceptance towards the program. the episodes selected for this paper research are “anak emas” and batu belah batu tertangkup” episode with the main theme of parental love towards their children. as a dramaturgy in comedy, sabri yunus has successfully modified the program “karoot komedi” to follow the selected theme. two interesting segments in the programme were studied for this paper which was the dikir barat performance and a sketch played by a few professional comedian, for anak emas it was acted by jeff and shuib sepah tu, ebby yus, yus jambu and nabil while batu belah batu tertangkup episode was acted by johan, jeff & shuib sepah tu, ebby yus and yus jambu with special guests, for anak emas and batu belah tetangkup episode respectively, were fauziah ghouse and sarah raisuddin. sabri yunus put the idea into the performance by the application of action, language, logic and also identify which closely portrayed the culture and daily lifestyle of malays. thus, these two episodes touch the audience emotions and feelings more than the other 12 episodes. for instances, the comedian applied the harsh physical humor (slapstick) in the episode “anak emas”. in this episode, the pregnant wife (acted by yus jambu) was pushed harshly off the sofa by her husband (acted by nabil) just so he could save his mother (acted by jeff sepah tu) who had a hard time breathing. as a dramaturgy in comedy, sabri yunus had trained and implemented the asa berger humour technique in his comedy workpiece by discussing and do various routine practices with the actors and actress on the humor technique until it fits the asa berger concept and will be able to make to a realization in karoot komedi. as mentioned by indrayuda (2015, p. 142), the creator of the workpiece is the manager who is able to train and understand the content of his piece which is orientated towards this industry. one of the essential information needed to be known the actors and actress is about the attitude and expression they need to show to the audiences. both of the information were not far different from the one portrayed by sabri yunus in his workpiece “karoot komedi”. sabri yunus able to implement the techniques in his workpiece by emphasizing on the identity played by the actors and actress and logical action which orientated by the asa berger humour technique. humour and lelucon humour or lelucon can be inspired by many sources, it can even be inspired from mardiana binti ismail et al., the application of asa berger humour technique ... 167 unreasonable or strange issues or immoral actions. those strange issues and immoral acts are able to be acted out with humour with entertainment elements. humour or lelucon can al.so e the human action or movement that appear as entertaining and makes the audience laugh (rahmanadji, 2007, pp. 213215). in this context, sabri yunus used this technique and asa berger humour technique in his workpiece karoot komedi. in other words, sabri yunus tried to apply any humour technique suits for his program which gives an impact to the audience through the identity, language and logical activities portrayed in the performance. comedy-dramas or film uses humour techniques as an approach to entertain and garner the audience’s interest and also make the audience laugh with the humour reaction portrayed by the actors and actresses. comedy-dramas and films also hold a happy scene where they intentionally create to entertain the audience, which able to arouse the audience emotion to laugh. that’s why the scene will be acted in an exaggerating manner, emphasizing the situation, language used, responses, relationship and also a character (berger, 2012, p. 2). in better words, sabri yunus has evoked the humour in his workpiece, ‘karoot komedi’ at astro channel. with the application of asa berger humour technique, sabri yunus set up a situation, language and action which makes the audience laugh out loud. sabri yunus has successfully presented a hilarious situation on the stage with exaggerating the issue, language or even action until it has created a sabri yunus’s version of interactive communication in the program ‘karoot komedi’ more so, examples of the application of asa berger humour from the identity aspect, it can be seen that the dato (acted by jeff sepah tu) was flirting with a widow (acted by ebby yus) in the batu belah batu tertangkup episode. this shows how sabri yunus creates a character with an unusual behaviour (eccentrivity) as the widow character should be acted out by a woman. the language used in both episode had also evoked humour in it. for anak emas episode, the characters used local dialects such as perak (spoken by jeff sepah tu) and negeri sembilan dialect (spoken by ebby yus) which created a conflict as both of the actors tries to understand the meaning and the story of their dialogues. referring back to the asa berger humour, there were a few elements used in the context such as misinterpreting the situation (misunderstanding), using wordplay (pun), and criticizing someone verbally (ridicule). the next example is through the aspect of logic abh (asa berger humour) which mentioned the unpredictable situation in a performance (coincidence). this aspect can be seen through anak emas episode when the married couple was having a drink and spur the water on each other’s body. from the short segment from the performance idea expressed by sabri yunus it is clear that sabri yunus has played his roles as a researcher, an operator, an intermediary and also an initiator in a drama-comedy performance. humour techniques have made comedy-drama and films more lively and attract audience attention and also makes them laugh. humour technique itself is a message conveyed in the film or drama with humour, and also functions as a stress reliever, making bonds between humans, evoke happy emotion and also avoid any stress emotion to evoke from the human (sugiarto, 2016, p. 4). figure 1. batu belah batu bertangkup episode harmonia: journal of arts research and education 18 (2) (2018): 162-171168 figure 2. anak emas episode according to a communication research, a humour would be a success the moment (the person who receive the humour) understands the meaning behind it from the humour stimulation conveyed by the comedian (communicator/humour actor) humour stimulus refers to the hilarious actions that evoke a smile or laughter caused by accepting the humour (rahmanadji, 2007). based on rahmanadji’s research, sabri yunus along with the asa berger humour concept has successfully create a humour performance where the language, logic, identity and action portrayed were able to touch the audience’s heart with the humour action acted by the comedian in the ‘karoot komedi’ performance on malaysia television cable, astro. this was done by sabri yunus as a dramaturgy who is able to analyze the local people situation until his workpiece contents with humour that is easy to understand by the audience. romanska stated that a dramaturgy needs to analyze, have communication skills and also a basic understanding of aspects of theater which will help them in connecting the text with the performance. for quality and high-class dramaturgy performance, producers should not fear constructive criticism (break down the walls) from the academic professors and art performance artists. even if an art or art piece continues to exist in the community for its values, it needs to go through various alteration and most of the alteration is due to make the performance more creative. as a consequence, there will be an issue on the original and new version of the performance due to the new technique used (saerani, 2015, 78). this can be seen in the program ‘karoot komedi’ produced by sabri yunus, where the humour techniques can be seen in the comedy piece until the restricted limitation as in the java dance art technique can occur in a drama piece orientated on the asa berger humour technique. compromising will still happen in the construction as it is viewed as a creative work piece for the karoot komedi by sabri yunus even with the limitation set. according to hadaway (2015:9) it is important for a dramaturgy to ‘analyze the text, do the research needed and apply that wisdom to your artistry, for your audience’. in hadaway’s research, there are 3 aspects needs to be considered by the dramaturgy while editing a workpiece. these 3 aspects will able to help in upgrading the level of the dramaturgy thinking. a dramaturgy needs to be more creative and critical toward theater workers. therefore,a dramaturgy needs to (a) analyze a literature piece aesthetics with the dramatic elements in it; (b) when reviewing the drama texts, hadaway advises to make sure the performance to be set as similar as a daily life routine of the community; ( c) a dramaturgy also needs to be smart to arouse the audience’s emotion to enable the audience to feel and appreciate the emotion play in the performance. in order to give a positive impact in performance it needs to involve a dramaturgy perpetrator in origination or in production. the implementation of the ideas from dramaturgy perpetrator will able to help the development of the whole origination or production. furthermore, the issues and solution presented will be more effective for the audience to overcome their problem. inserting dramaturgy in origination or a production able to create a more creative environment in the scenes in a performance. the effective dramaturgy involvement is focused on 3 phases; before, during and after the performance. the text for a film or a drama piece uses the asa berger concept in relating to the socio-cultural contexts where it will demardiana binti ismail et al., the application of asa berger humour technique ... 169 velop accordingly to the situation and condition of the text through the use of language. in other words, language is a medium to a communication media. in this context, the text mentioned is a text or a language used in humorous a film or drama such as warkop dki (hartono, 2015, p. 8). referring to the matter, sabri yunus is brilliant in choosing the words or language that will make an audience of karoot komedi laughing, of which talks about the collective socio-culture value in a community. this is the socio-culture value portrayed in a humorous drama comedy, karoot komedy which airs on the television channel astro. this shows the use of humour technique, language, using specifically in the asa berger humour technique context. in the application of asa berger humour concept and the dramaturgy perspective in karoot komedi, sabru yunus plays a role of a researcher, as sabri yunus did an observation towards the character and behaviour of malaysia’s society along with the character as a humour identity in the program, before the idea could put into realization. sabri yunus held a firm belief on the humour concept application from his approach towards the local culture until the cultural aspect becomes an idea to be produced in karoot komedi. with all the dramaturgy values sabri yunus owns, he pours it all by applying the asa berger concept in his workpiece, karoot komedi. sabri yunus’s effectiveness in planning, managing, and applying the humour concept in his comedy piece, karoot komedi was created through a dramaturgy perspective. according to the dramaturgy aspects that sabri yunus practice, it will enable him to realize all his idea will only the application of asa berger humour technique. conclusion dramaturgy perpetrator function as a researcher is to obtain data of an idea in a performance by conducting research. conducting further research on the idea on the history and how the people during the time dresses, a drama piece such a folks legend drama can be set accordingly to make the audience feel they are part of the play. a dramaturgy perpetrator also does research on the politic or mythology perspective that could influence performance. a dramaturgy perpetrator is also a collector who will collect suitable material to be used in a performance. therefore, in karoot komedi, aired in astro television channel, sabri yunus has collected all the materials needs for the set in order for the actors do their part in the performance successfully. the materials are not only be used during a performance but also in rehearsals. a dramaturgy perpetrator has the privilege to choose the script of a performance before the producer decided on the concept or form of the performance. the dramaturgy perpetrator may need to consider how the concepts they want can suit the producer’s needs. asa berger humour technique is a technique widely used by dramaturgy perpetrators. the most prominent technique used is on how the used of simple and friendly language can turn the performance into a communicative program where all the messages conveyed by the actors will able to make the audience laugh. moreover, language plays a role in the issues covered in the performance to be realistic and logical until it was able to make the audience immerse into the performance. a comedy piece can be successful for the communication between the audiences and the issue presented to them. this also includes the humour perpetrator action who able to express the context of the story by interacting with audiences. sabri yunus is a dramaturgy figure with his drama humour piece with the use of asa berger humour concept. the asa berger humour concept such as the use of a friendly language with the audience, logical story settings and simple performance that could be understood by the audience in the cultural aspect, and drama actors’ alluring gestures on stage.all of the four aspects was practiced by sabri yunus comharmonia: journal of arts research and education 18 (2) (2018): 162-171170 municative manner. sabri yunus has successfully applied the asa berger humour technique from the dramaturgy’s perspective. the humour technique done with the dramaturgy perspective considers various aspects such as the stage, acting, setting, dialogue and communicative interaction, work for the karoot komedi piece to be accepted and enjoyed by astro subscribers with positive feedback. the implementation of the ideas through dramaturgy enables to develops throughout the whole karoot komedi production until the asa berger humour technique was able to be applied successfully. the drama production was able to create a more creative local atmosphere with the involvement of dramaturgy in an organization or a drama production. the involvement of dramaturgy before, during and after the drama is aired is a wise procedure to implement in a performance’s process. acknowledgement i want to take this moment to express my gratitude to my co-writer, mohd effindi bin shamsuddin universiti malaya, malaysia and also indrayuda universitas negeri padang, indonesia for always keeping me motivated to complete this research. not to forget to show my appreciation to the ministry of education for sponsoring my ph. d research for these past 3 years. last but not least, a very special thanks to sabri yunus and his co-workers who were willing to give their time and cooperation for this research. 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(2015). dramaturgy in the making: a user’s guide for theatre practitioners. london: bloomsbury publishing harmonia : journal of arts research and education 14 (1) (2014): 65-71 available online at http://journal.unnes.ac.id/nju/index.php/harmonia permalink/doihttp://dx.doi.org/10.15294/harmonia.v14i1.2851 p-issn 1411-5115 e-issn 2355-3820 the lesung music in the village of ledok blora regency suharto* siti aesijah** *music department, semarang state university, jl. sekaran campus gunungpati semarang, indonesia e-mail: harto1965@gmail.com **music department, semarang state university, jl. sekaran campus gunungpati semarang, indonesia e-mail: aesijahsiti@yahoo.com received: januari 2013. accepted: februari 2014. published: maret 2014 abstract this research aims to identify in order to preserve traditional art lesung music in blora regency. this research use ethnomusicology approach. the subject of research is blora people who still play lesung music as an expression of social and cultural activities in the community. the setting of the research took place in ledok village. the technique of collecting data is observation and interview. the validity of data uses triangulation techniques. the data collected was analyzed with interactive type of miles and huberman. the result of research shows that the form of lesung music uses simple rhythms with elements of rhythm, melody, and harmony. harmony in music is from the rhythmic beats of polyphonic arranged. this kind of music at first had any functions for the purposes of ritual, entertainment, welcoming guests, harvesting/offerings, a sign of the eclipse. today, it serves as a means of musical entertainment at the village greeting, social interaction, and tourism. there is a shift of function due to the mindset of the people and the swift technology advances. lesung music needs a modification in its presentation by adding songs and games. another art element like dance can be added to make the show more interesting to be enjoyed. © 2014 sendratasik fbs unnes keywords: lesung music; functions of arts; ethnomusicology introduction the music of lesung is one of the traditional arts that flourishes along with the expression of gratitude over the bountiful rice harvest. this art with different terms can be found in various parts of the archipelago. the name adjusts of the local language, such as gejog lesung in yogyakarta, kothekan lesung in blora, ale tunjang in aceh, etc. the music of lesung is a traditional music with the instrument or tool of alu and lesung (meita, 1992: 1-2). at first, this traditional art grew and thrived in the midst of agrarian societies since most of the people relied on agriculture for living. pounding rice was a daily activity done by agricultural societies since it is the only way that could be used to separate rice grains from the chaff to be rice. while pounding rice, the people played music with lesung so that it produced music called lesung music, or music kothekan. it is called kothekan because it produces music that bleeps klotakklotek. 65 66 harmonia : journal of arts research and education 14 (1) (2014): 65-71 in the past, the sound of lesung was heard when one of the residents had khajat (duwe gawe), such as mantu, mbesan (marriage), circumcision, kaul and others. the sound of lesung was beaten hard and continuously as a signal that khajatan would start. it was at the time shortly after pounding the rice to be the raw material of traditional food for local people jenang. lesung could also be seen during the harvest season, when citizens together mashed the grain into rice heard from the distance, its voice was only “thok-thek-thok thok thek-thokdug”. it was the sound of alu – a tool of wood shaped like a long stick, which strucks regularly against a big wood made like a boat called lesung. nowadays, lesung is not used anymore to grind rice, but it is used as a traditional art that is usually played by women since once the grind rice with lesung was done by the women. the existence of lesung is still preserved as a traditional art. the art is in the alu’s voice strucking against lesung sequentially. the lesung musicians are around five to six people. to reproduce the variations of setting, the sound of lesung can be combined with traditional songs, which are performed in a group. there is a group of people singing or nembang while dancing. there is also a group of dancing people, bending their body while certainly swirling as if dancing with complete gamelan accompaniment. today, this traditional music is increasingly suffering more day; the extinction of the musical tradition in the era of cultural transformation of agricultural societies to the semi-industrial era is due to a lack of opportunity of this genre to exist as it used to be a part of the community supporters (bramantyo, 2000: 103). traditional music used to be a pride in the community; now begins to be abandoned. according to bramantyo, to revive and develop traditional music that owns a future perspective needs to be a formal transmission and an execution of largescale research programs in an integrated continuity. this process will encourage the world creation of art works with sophisticated techniques and simultaneously be followed the more reasonable aesthetical foundation as well. the young generation leaves a traditional music that his ancestors owned for a long time due to their lack of understanding about the traditional music, particularly the meaning contained in it. they consider traditional music is an ancient or underdeveloped music that does not correspond to the period. this circumstance is what happen to the existence of lesung music in the village of ledok, a village located in sambong, a part of blora regency. at the top of its fame, the music could only be played in certain places and certain times anyway. lesung music that uses the lesung instrument that is approximately 3 to 4 meters in large has specific meanings and symbols from both the property and the type of play. therefore, the reason of this certainty that lesung music played in certain places in the village was that the length of lesung symbolized the owner. this music continued its existence along with the rice pounding activities and the rice consumption needs. nevertheless, the music of lesung which is played by more than one person certainly has a specific function which makes the music survive in the decades, similarly with the instruments that are used, like a large lesung and alu. the result is a patterned music and the type of songs can be interpreted that the public has a sense of music in accordance with their musical experience. it cannot be denied that technological advances, shifts in culture, and the concepts of social life due to the advances in information technology affect the existence of the music of lesung from time to time. the progress of the civilization of the ledok villages in the way of rice producing ranging from planting rice to the final process of producing rice causes a fluctuation of lesung music condition. the younger generation has never watched this kind of music. it has been very rare to do such activity like rice pounding, to be replaceable suharto & siti aesijah, the lesung music in the village of ledok blora regency 67 by more modern grain grinder machines. in 1985 education and culture ministry conducted a research and recorded some lesung music in some areas in indonesia; in central java and east java the name is lesung, ale tunjang in aceh, alu’ galing in west kalimantan, and the name of kareku kandei and kareku necu in west nusa tenggara. furthermore, astono (2002) studied on the background of music creation of lesung (from historical side), organology (viewed by the karawitan), the social cultural aspects (of the javanese culture) with the focus of lesung banarata. aesijah’s research (2007) on the symbolic meaning and expression of kotekan music in the village of ledok illustrates that some of the functions of music has been left by the villagers. the function of the music like at the moment of sun or moon eclipse and offerings stated on the research are now difficult to find. the existence of traditional music in indonesia is on the wane. the existence of the traditional arts, including music that is usually embedded in social and cultural activities of the community began to disappear along with the loss of local social cultural activities were also abandoned. as a system, the function of art is not just in its use, but it ought to be explained as something which can be donated to a particular one in a system. the art is developed and standardized through social tradition arts of a society (rohidi, 1993; triyanto, 1993; suparlan, 1983). the purpose this paper writing is to present the result study, namely (1) ) the function of lesung music for social-cultural life of the ledok society, and (2) musical concepts of existing lesung in the village of ledok in the area of sambong subdistrict blora regency. method this research used a qualitative approach with textual and contextual study within the scope of ethnomusicology. the data collecting technique is an observation, interview, and document studies. the analysis is using an interactive model of milles and huberman by not leaving the framework of ethnomusicology as its approach. the validity of the data uses the triangulation technique, from methods and sources. ethnomusicology is a research approach by understanding the concept of music from the creating community. the researcher is able to study how to feel, play, and express like the owner of the music does. the study of music in the context of culture according to merriam (1964) known as the tripated model for the study of ethnomusicology could be examined from 3 levels, namely (1) the concepts about music, (2) the behaviour of music both from the players and the music connoisseur, and (3) the sound of the music itself. thus, the study of ethnomusicology in this research is not out of these three aspects in analyzing the data. results and discussion setting in ledok village ledok village is a village in the area of sambong subdistrict, blora regency. its territory is divided into several sections, like forest, plantation, farms and settlements; with an area of approximately 10 km2. to reach the village, the transportation of a good four-wheeled vehicle or a motorcycle is mostly taken in a fairly good road condition. the village is inhabited by 3392 people in 2013, most of who have an occupation as a farmer (287 people), peasants (163), civil servants (57) and many more. the interesting part of this is that most of the people get income from a traditional mining petroleum. this is derived from the mining wells as the legacy of netherlands colonial in the land of perhutani forests. therefore, ledok is actually a very rich village, especially in its potential of natural resources, from agriculture, forests to petroleum. agriculture and plantation sectors produce approximately 50 hectares of sugar cane plants that is super in quality as an ingredient of making sugar. this plant is the result of the cooperation bet68 harmonia : journal of arts research and education 14 (1) (2014): 65-71 ween the government of the village with the investors from outside of the region, and this sector has absorbed many labors both from within and outside of the region as well. from forestry sector, ledok has good quality forests. some consist of natural plants from the ledok region, like kepoh, forest bamboo, adiantum, and tales. every day in the paved streets of the village, pertamina trucks pass carrying the good oils derived from the wells owned by pertamina, or from the traditional miners. art life archives recently, some groups of music, like karawitan, keroncong, solo organ, and tayub are emerging. among those kinds of music, karawitan is the most favorable; then, solo organ is in the second place. these two kinds of music are exist since it is still considered to be functional and readily accepted in all social strata and age, and in the social life of their culture, while the music of lesung is played by older generation that the average age is over 65, and the number of players is decreasing. the moment of performing is only to commemorate certain events, such as welcoming special guests, the activity of clean village (bersih desa), the independence day, the invitation to the district, or subdistrict, while daily artistic activities unfortunately are not held. the life of art that used to be lesung music, or acoustic karawitan has never been heard faintly again. the most prominent one is the sound of electronic music from the loudspeakers in the celebration at the corners of the village. the functions of lesung music for the life of the ledok villagers the function of art is divided into six sections, namely the function of personal, society (social), physical, religious, education, and economic (setiawan, 2012). in ledok community, lesung music currently no longer serves as a means of religious or ritual both personal and social. the utilization of music performance is more spontaneous as a special guest welcoming. an offering ceremony to dewi sri, or sedekah bumi, at the time of the procession and live music performance would rather use barong, or kuda kepang. lesung music is rarely used for offerings in traditional oil drilling anymore. the performance of lesung music is far from the social life, and only involves a very limited group of society and not binding. it means this lesung music no longer belongs to a cultural system of the village community of ledok anymore. once, in any social event, or entertainment always poses such lesung music, like at the moment of sun or moon eclipse, offerings, entertainment to release tiredness after rice pounding, and codes of such events that are occuring in the village. it means without lesung music, all social cultural activities of the village community of ledok keep running normally. thus, the music of lesung, which incidentally is already difficult to find both musical instruments (lesung) and the performance, is no longer a part of the cultural system that is important to the people. as a system, the function of art is not just in its use, but it ought to be explained as something which can be donated to a particular one in a system. the art is developed and standardized through social tradition arts of a society (parsons, 1951; rondhi, 2002; triyanto, 1994; rohidi, 1993). thus, the existence of lesung music will gradually be extinct by itself if the lesung music is considered inessential and no longer relevant to the life of the community supporters. this situation has been going on in other rural areas in blora regency, in which the difficulty of finding lesung equipment almost owned by middleclass people is also such a problem. this situation is already caused by the function of nutu (pounding the rice) traditionally turning to rice mill machine which is considered more efficient and cheaper. not only that, the technology of modern arts, like solo organ, takes any part to push the existence of lesung music down. the existence of the group of lesung music founded by sisworo, a public relasuharto & siti aesijah, the lesung music in the village of ledok blora regency 69 tion of cepu international heritage club (cihc) in the village of ledok is concerned. six players of lesung have been very old, and two members that usually play music suffer from stroke. the efforts of cultural inheritance is running very slow. in addition, the difficulties of transferring knowledge and skill of the old players, and lack of the interest of the young generation toward this kind of music bring the existence in a bad situation. is more interested in modern music types that are considered more attractive. lesung music is considered outdated and does not meet their artistic needs him this global era. figure 2. three lesung players from village of ledok figure 1. lesung players at ledok the musicality of lesung music in the village of ledok the number of players of the group and the name of lesung music players have not changed for decades causing the game character and musicality of his music has not changed. moreover, they are the older generation who had never attended special education namely music. minimal musical experience of the players cause the game patterns, melodies and harmonies are very limited. western diatonic musical influences are virtually untouched by them. the music of lesung is a kind of music performance with main instruments of lesung and alu/antan. the performance in the village of ledok is shown by 3 to 4 people playing lesung. this art is very simple both in musical forms and the appearance of players, but the sound resulted from the lesung pounded is quite beautiful. unfortunately, the simplicity of this music does not interest the younger generation to learn. the younger generation rhythm some patterns of rhythm that is played are kang nganten, sekar lempang, and bluluk ceblok. the examples of rhythm pattern can be seen in the figure 3, figure 4 and figure 5. to dt dw tt figure 3. rhythm pattern of kang nganten to dw tt figure 4. rhythm pattern of sekar lempang 70 harmonia : journal of arts research and education 14 (1) (2014): 65-71 to dw tt figure 5. rhythm pattern of bluluk ceblok notes: to: tunggu omah dt: duduk tengah dw: duduk wingking tt: titir rhythm patterns such as kang nganten, bluluk ceblok, sekar lempang are always played from time to time without changing any variation. however, actually the rhythm patterns is exist with the background creation of each process. in addition, the background also has a specific meaning although the meaning is no longer considered important to the people’s lives. meaning that it became symbols that does not fully apply to social and cultural life of the village community ledok the complementarities of life are manifested in their play. the types of players with musical parts such as tunggu omah, duduk tengah, duduk wingking, and titir are examples of parts of the music performance. in javanese culture concept in the village of ledok, functions of the family members is very important in maintaining family harmony. if any of them deviate the family life will be disrupted. it is the symbolic meaning in the lesung music game in the village. melody and harmony melody played in the music of lesung is simply a short introduction of the lesung with a vowel sound. an examples of a melody below that serves as bowo are kang nganten and sekar lempang. in the definition of diatonic music, harmony is called sound adjustment caused by the combination of tones in a certain size that sound together. according to banoe (2003: 180), harmony relates closely to chord. in the music of lesung the harmony is in the rhythm without tones. if so, the sound harmony is actually caused by the shift of the intensity of the sound, not tones, while the frequencies are dealing with the tones. a tone has the size of frequency measured how much vibration or wave within a second. kang nganten and sekar lempang are examples of simple songs that are always played them since decades. the songs use a javanese pentatonic scale. they are generally just simple songs as an introduction (bowo), then they continue to play an ostinato in accordance with the rhythm pattern name. once again, the game will stop until the collision of rhythm is occurred (tumbuk). conclusions recently, lesung music in the village of ledok is no longer a cultural system that affect the social cultural life of the society. this is due to the function of lesung music that originally functioned as a part of social cultural life of the society, such as merti desa, a sign of eclipse, a signal of significant events, entertainment in commemoration of the important days, now turning to limited use. the lesung performances nowadays are only for incidental ceremonial occasions. the performance of lesung music is considered old-fashioned for the young generation since the musical system is very simple. this simplicity makes the young generation is reluctant to learn it for there is an electronic music that becomes more interesting. in addition, the mindset of people has turned to leave the ritual functions, such as a sign of solar eclipses, a sigsuharto & siti aesijah, the lesung music in the village of ledok blora regency 71 nal to call people, and marriage. the potential is that the village has become the ‘brand’ of the existence of lesung music although the existence was not the same as two decades ago. lesung music is recently only presented in certain events, such as the visits of foreign travelers and the performances requested by local, district, or subdistrict governments. both village and district governments need to attempt mainly through education, in the elementary schools and formal educations. this effort needs to be realized due to the lack of interest of young generation to this kind of music, remembering that the number of players is constantly descreasing. the inheritance pattern through formal educations, especially in elementary school, needs to be done with the adjustment of the size of alu to be easy to use for elementary school students. besides it, the various patterns of performance ought to be observed. it can be combined with other types of art, such as dance. references aesijah, s. 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(1993). pendidikan seni sebagai proses enkulturasi nilai-nilai budaya. jurnal media 16(4) 211-221. wibowo, f. (2000). seni tradisi di tengah kemajuan teknologi tinggi. ekspresi 2(1) 57-64. 119 the ability of choreography creative thinking on dance performance dinny devi triana department of dance, jakarta state university, jl. rawamangun muka jakarta, indonesia e-mail: dini_devi@yahoo.com received: november 28, 2015. revised: november 30, 2015. accepted: december 4, 2015 abstract this research aimed to measure the ability of creative thinking of dance students who became choreographer in education university, in which their final project was creating a dance or dance creation. the method used for this research was correlative study, it was used to give a clear description of the correlation between predictor variable (ability of creative thinking) and respond variable (assessment of dance performance). the sample was collected by using purposive sampling. based on the result, it was found that rsum was 0.510, while rtable for respondent n = 17 with significant scale 0.05 was 0.482. this meant rsum was bigger than rtable, and that meant there was correlation between the ability of creative thinking and dance performance. significant test showed that zero hypotheses was rejected, it meant that there was significant correlation between creative thinking and dance performance. the result was table 1.75; and t sum was 2.3. it showed that h0 was rejected and h1 was accepted. it could be concluded that there was positive correlation between creative thinking and dance performance. based on the coefficient determinant of the research result, it was found that the ability of students creative thinking was 25.96 percent, meanwhile 74.04 percent was determined by other factors which influenced dance performance. keywords: ability of creative thinking; choreography; creativity; dance how to cite: triana, d. (2015). the ability of choreography creative thinking on dance performance. harmonia: journal of arts research and education, 15(2), 119-125 doi:http://dx.doi.org/10.15294/harmonia.v15i2.4555 harmonia : journal of arts research and education 15 (2) (2015), 119-125 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v15i2.4555 p-issn 1411-5115 e-issn 2355-3820 in creativity lecture is needed. creativity, according to rhodes (as cited in supriadi (1994), is divided in person, process, product, and press dimension. meanwhile, according to supriadi (1994, p. 7) creativity is the ability of someone to produce a new thing, both an idea or a product, that is relatively different with the previous work. this statement is supported by munandar (1987) that stated creativity is an ability to create a new combination based on data, information, or existing elements (p. 47). based on the statements above, creativity emphasized on the product or new product based on an original idea. however, if we talk about a product, introduction the students of choreography lecture in art or non-art university (education) are expected to have the ability in organizing and developing traditional dance to create a dance. the process of dance creation is known as choreography. it is a selection process and movement creation of a dance, and also a movement planning to fulfil a specific purpose (cheney, 1999, p. 133). choreographer is a profession in dance performance field, particularly in dance creation. to support this profession, an ability to think creatively that is accumulated harmonia : journal of arts research and education 15 (2) (2015): 119-125120 it cannot be separated from the production process, and the production process cannot be separated from the person involved in the process. as explained by guilford (as cited in supriadi, 1994, p. 47) creativity refers to the abilities which are the characteristics of creative people. through creative thinking, a new creative product will be invented. the previous research was conducted to measure creative movement and education dance that was created by the students. the result of the research was developed to know the relationship between creative thinking ability that was measured through creative movement and the students’ dance performance in choreography lecture 1 and choreography 3. the purpose of the research was to find out the basic competence of a choreographer. thinking is one of mental activities or cognition that is related to processing, understanding and communicating information (myers, 1995, p. 236). chaplin (1986) translated by kartono stated that thinking is a symbolic process and problem solving that involve additional activity (kartono, 2000, p. 508) a linguist expert whorf (1956) stated that language form human ideas, meanwhile, according to myers (1995) it cannot be denied that words convey ideas and different language could express different ways of thinking. however, he also stated that there are some ideas of human thought that are not formed by language, but they are formed by mental picture, for example, when an artist thinks with their imagination (myers, 1995, p. 352) the process of creative thinking is the function of lateral and divergent right brain. the right side of the brain is marked by many (more than one) possible answer along with the function of processing nonverbal information, and willing to use holistic, intuitive, and imaginative, and also controlling the left side of the body. one of the functions of the right brain is the ability to create new things (januarius, 2003, p. 1) assessment of dance performance for choreography lecture is an assessment of the student dance creation. one of the dominant aspects in the assessment of students’ dance performance is related to dance composition theory. on dance learning, theoretical knowledge about dance is needed to support practice lectures, one of them is choreography lecture which is the implementation of dance theory lecture, especially “dance composition” lecture. to find out the achievement of choreography lecture, an evaluation tool that is relevant to the material characteristic and learning objective is needed. choreography lecture is a practice of dance management lecture that refers to dance composition theory. doubler (1985) explained that dance composition is a structure or structural unity of dance elements that is combined with variety, contrast, balance, climax, sequence, transition, repetition, and harmony (p. 42). this principle can be modified, but cannot be abandoned. dance element that is combined with the principle will produce characteristic in dance composition. smith (1985) stated that dance composition is a harmonic dance element structure that can be enjoyed aesthetically. the composing process using dance construction method produces a dance (p. 20). moreover, murgiyanto explained dance composition process include design, knowledge of art, choosing accompanying dance, group composition, costume, lighting, stage arrangement, and theme development. while content creation refers to the emotional experience, psychological that is determined by the choreographer’s knowledge and the richness of the soul (1983, p. 1) a dance can be categorized as valuable if the movement composition follows the theory or principles in dance composition. a dance is a realization of a harmonic system that has a signature characteristic. every vision of the choreographer will be realized in movement, because movement can be seen by the audience (smith, 1985, p. 34). habermem (as cited in smith 1983, p. 6) defined movement as follow: dinny devi triana, the ability of choreography creative thinking on dance performance 121 movement can be defined as the result of statement from various elements that are collectively gathered from aesthetic vitality, so that only within these elements do the movement can be understood. the unity becomes larger from its parts, the unifying process in which the movement can be achieved through composition. based on the statement, a dance composition is the basic knowledge in choreography, so that the dance can be meaningful and valuable. the definition of composition, according to smith, involving composition and harmonic elements, in which the relation and the unity form “something” that can be identified. seeing that the essence of dance is movement, based on the statement, dance is a result of choreography and other elements to produce harmony. la meri in her book dance composition divide the composition element into some basic elements. those elements are room shape, music, upper design, dramatic, dynamic, theme, and the movement itself (1965, p. 15). those are the designs that create harmonic movement in a dance, and in the end it will be focused on choreography. in dance composition it is often known as the final result of the composition process. sedyawati explained (1986, p. 121) dance composition or choreography knowledge is a knowledge about how movement is chosen and arranged to create a dance. choreography comes from greek words, choreia means koor dance and graphia means writing. choreography literally means selection and action or the selection process and the forming of movement into a dance (ellfeldt, 1977, p. 12). through dance composition theory, movement can be arranged as a choreography, so the success can be understood and measured. method this research aimed to measure the ability to think creatively for education students who became a choreographer, in which they have to create a dance for the final project, besides for testing the ability of students’ creative thinking, it can help the students to finish the final project, this research was conducted in jakarta education university for the 6th semester choreographer program that already took creativity lecture and at least already passed choreography 1 lecture. the research method used was survey method with correlative technique to give a clear description about the relation between the ability of creative thinking as free variable and dance created for a choreographer as bounded variable. the data were analysed statistically using the statistic requirement test, homogeneity test and normality test. statistic hypothesis test of the research was done by using simple linier regression test, significance regression test, linearity regression test, coefficient correlation, significance coefficient correlation, and determinant coefficient to know how big the percentage of the influence x variable on y variable was. purposive sampling method was used as the technique to collect the sample. the sample was selected based on certain consideration. the consideration was based on the objective of the study (singarimbun, 1989, p. 168). the sample was selected from the population with the same characteristic as the criteria. in this research, the writer used some instruments that had been validated by expert and tested to relevant respondent. it was done to get a test instrument of creative thinking through movement, and the assessment instrument of students’ dance created as the final project of choreography lecture. instrument of creative thinking ability the ability of creative thinking that was measured through movement, expression was the process of collecting data to know the fluency, the flexibility, originality, and elaboration in thinking, also the ability to explore an idea that was known as a creative dance movement. meanwhile, in this research, creatiharmonia : journal of arts research and education 15 (2) (2015): 119-125122 ve dance movement was defined as a total score that was procured from result of the assessment scale based on fluency, flexibility, originality, and movement elaboration. before the instrument was made, the prediction was made. dance instrument assessment in this research, dance assessment conceptually was defined as a decision making process using information through measurement (cangelosi, 1995, p. 21)., the information was a choreography oriented dance analysis, they were originality, quality, and form description (sukenik, 1997, p. 14), by analysing dance composition elements (murgiyanto, 1983, p. 1), that included air design, flyer design, music, design, dramatic design, dynamic, and movement (meri, 1965, p. 15). meanwhile, generally, dance assessment was scored from the measurement of choreography oriented analysis using creativity theories, psychomotor, and dance composition; they were originally to measure movement step and uniqueness, (2) quality to measure dynamic, upper design, and movement, (3) form description to measure floor pattern, drama, and music. before the instrument was made, the prediction was made as follows table 2. result and discussion data description based on the result of the data of creative thinking ability variable, the average was 70.24, the median was 67.5, the modus was 52, deviation standard was 15.54, and variants was 24.5. on the assessment of students dance creation, the data found was average = 77.97, median = 77.3, modus = 74, deviation standard = 7.50, and variants = 56.23. discussion based on the result of the requirement test, the normality and homogeneity is lsum = 0.002 and ltable = 0.206, in which lsum <ltable, it meant that the data was distributive normal data. meanwhile, based on the homogeneity test, the data was xsum= 9.010, and x table= 23.7, because of xcount < table 1. prediction of creative thinking instrument variable indicator descriptor question number time (second) creative movement 1. fluency 1. various pose demonstration 2. movement re-organization 3. series of head, legs, hand movement forming 4. basic level of head, hands, and legs movement series 5. themed movement arrangement 1.1 1.2 1.3 1.4 1.5 30 30 30 30 30 2. flexibility 1. series of movement with property 2 30 3. elaboration 1. themed movement demonstration with music 3 60 4. originality 1. a unique movement 4 the whole process dinny devi triana, the ability of choreography creative thinking on dance performance 123 that were unknown by the creator itself based on creative thinking, murgiyanto (1983, p. 11) called it creativity in arranging dance movement. a t partial test, a way to test the influence of variable by comparing tsum and ttable was done to know the significance of the relation between the ability of creative thinking and dance creation. based on the result, it was found that ttable significance level = (17-2) = 15 was 1.75; and the tsum calculation was 2.293. if they were compared, tsum > ttable (2.293 > 1.75); it showed that h0 was rejected and h1 was accepted, so it could be concluded that there was positive relation between the ability of creative xtable, the sample had homogeneity characteristic. on the regression test, it could be seen in the graphic below, and it could be concluded that the requirement of the linear regression was fulfilled. the result of hypothesis test was tested using correlation r product moment formula, the result was rcount = 0.510, while rtable for n-17 with significance level α = 0.05 was 0,482. it meant that the value of rsum> rtable. in other words, it meant that there were correlation between the ability of creative thinking and dance creation. dance creation was a creative product of a choreographer that needed divergent ability to process the information and new ideas table 2. prediction of assessment instrument dimension indicator code no. each indicator point the number of the points i. originality ii. quality iii. form description 1. movement source 2. specification 1. dynamic 2. design 3. movement 1. floor pattern 2. dramatic 3. music a1 a2 b1 b2 b3 c1 c2 c3 1,2. 3,4. 5,6 7,8,9. 10,11 12,13,14. 15,16,17,18. 19,20,21. 2 2 2 3 2 3 4 3 total 21 figure 1. result of linear regression test harmonia : journal of arts research and education 15 (2) (2015): 119-125124 thinking and dance creation. determinant coefficient of the research result could be interpreted that the variants of dance creation by dance art students that was determined by the ability of creative thinking was 25.96%; while the rest of 70.04% was determined by other factors that also influenced the dance creation. it could be seen that mental activity or cognition that was related to processing, understanding, and communicating information was known as thinking (myers, 1995, p. 236). chaplin (as cited in kartono, 2000, p.508) stated that thinking was a symbolic process and problem solving that included ideational activity. with the ability of creative thinking, divergent method was used to solve the problem by using information, idea or available elements in order find the other possible answer (davis, 1992, p. 90), so operationally the ability of creative thinking reflected fluency, flexibility, originality, and elaboration in thinking, also the ability to explore an idea (munandar, 1992, p. 45). according to myers (1995, p. 352) it could not be denied that words conveyed ideas and different language could express different ways of thinking, but he said there were some human ideas that were not formed by language, but they were formed by mental picture, i.e. how an artist thought with his imagination. an artist, in this case choreographer, conveyed their expression through a rhythmic and beautiful movement, both stilasi and distortion needed the ability of creative thinking to explore an idea into a dance creation. because of that, conveying an expression through movement was closely related to creative thinking in order to create a dance creation as the creative process of a choreographer. a dance creation of a choreographer was a result of creative idea as the outcome of thought and idea to produce a new and efficient thing, so the dance would be valuable, unified, and unique. however, other factors that influenced a choreographer in creating a dance were the mastery of dance composition knowledge, talent, intelligence, and also the choreographer’s experience that might have bigger percentage than the ability of creative thinking. for that, further research was needed to find out other factors that influenced choreographer in creating a dance and strong correlation among the factors. conclusion based on the result of the research, it could be concluded that there was a positive relation between the ability of creative thinking for education students who became choreographer and their dance creation. however, it was found that the ability of creative thinking variable only contributed 25.95%, and the rest of 74.04 was determined by other factors that also influenced the dance creation. this research could be a suggestion for the student’s learning process, especially for choreography lecture or students who chose dance creation as their final project. in order to finish their study as expected, the test of the ability of creative thinking was a good test for novice choreographer, it would be easier for the final project adviser to analyse the choreographer performance in creating a dance thoroughly. the ability of creative thinking was not the only variable that determined the success of a choreographer in creating a dance, there were other supporting variable that needed to be investigated further. references bungin, b. (2005). metodologi penelitian kuantitatif. jakarta: prenada media. cheney, g. (1999. konsep-konsep dasar dalam modern dance, translated by y. sumandiyo hadi. yogyakarta: manthili. cokrohamidjoyo, f.x. s. (1986), pengetahuan elementer tari dan beberapa masalah tari. jakarta: direktoratkesenian. davis. (1992). creativity is forever. third edition. dubuque lowa: kendall/ dinny devi triana, the ability of choreography creative thinking on dance performance 125 hunt publishing company. denova, c. c. (1979). test construction for training evaluation. new york: van nostrand reinhold. ellfeldt, l. (1977). a primer for choreographers.california: university of southern. gronlund, n.e. (1982). how to make achievement test and assessments. englewood cliffs: prentice-hall, inc. harrow, a. j. (1972). a taxonomy of the psychomotor domain: a guide for developing behavioral objectives. new york: longman inc. hawkins, a.m. (1990). mencipta lewat tari. translated by y. sumandiyo hadi. yogyakarta: institut seni indonesia. humphrey, d. (1983). seni menata tari. terjemahan sal murgiyanto. jarkarta: dewan kesenian jakarta. hutchinson, a. (1989). labanotation or kinetography laban: the system of analyzing and recording movement. new york: theatre arts bokks. jamaris. (2003). pengembangan kreativitas anak usia taman kanak-kanak (suatu penenlitian teoritis. jurnal pendidikan dini, 1(2). linn, r.l, &. grounlund, n. e. (1955). measurement and assessment in teaching. englewood cliffs, new jersey: prentice-hall. meri, l. (1965). dance composition : the basic elements. massachusetta: jacob’s pillow dance fesrival. munandar. (1987). memupuk bakat dan kreativitas anak sekolah menengah: petunjuk bagi guru dan orang tua. jakarta: gramedia. munandar, s.c.u. (1992). mengembangkan bakat dan kreativitas anak. jakarta: pt. grasindo. munandar. (1999). kreativitas dan keberbakatan. strategi mewujudkan potensi kreatif dan bakat. jakarta: pt gramedia pustaka utama. murgiyanto, s. (1983). koreografi: pengetahuan dasar komposisi tari. jakarta: departemen pendidikan dan kebudayaan. myers. (1995). pyichology. fourth edition. worth publisher. new york. nitko, a. j. (1996). educational assessment of students. englewood cliffs, new jersey: prentice-hall, inc. sedyawati, e. (1986). pengetahuan elementer tari dan beberapa masalah tari. jakarta: departemen pendidikan dan kebudayaan. smith, j. (1985). komposisi tari: sebuah petunjuk praktis bagi guru. translated by ben suharto. yogyakarta: ikalasti. supriadi. (1994). kreativitas, kebudayaan dan perkembangan iptek. bandung: alfabeta. trian, d. (2003). pengembangan instrumen pedoman penilaian tari. thesis. jakarta: post graduate programme, universitas negeri jakarta. triani, d. (2011). kompetensi koreografer pendidikan berbasis imtak dan ipteks. harmonia: journal of arts research and education, 8(2) 28 the experiment of jepara troso woven in local wisdom sarwono sarwono1, nadia sigi prameswari2, darwoto darwoto1, zunaila akhmad2, hanisa hassan3 1universitas sebelas maret, indonesia 2universitas negeri semarang, indonesia 3universiti malaysia kelantan, malaysia submitted: 2022-07-13. revised: 2022-10-21. accepted: 2023-03-29 abstract troso woven cloth, located in troso village, jepara city, is one of the various indonesian cultural heritages first discovered in ad. the purposes of this study are: 1) to investigate the woven cloth and its uses, the relationship between woven cloth with cultural and religious traditions, and the relationship between the woven cloth and local identity; 2) to design a new motif of troso woven cloth that incorporates the elements of jepara culture. the study used a practice-based research approach. the data were collected by purposive sampling technique. the results showed that the local community commonly uses woven fabric products as decorative. troso cloth is also used to design attires, gamis dresses, or koko shirts for the feast day or formal events. the craftsmen of troso woven fabrics made in jepara primarily receive orders with motifs from other regions, including bali, sumatra, and kalimantan. in contrast, the original woven fabric motifs distinctive from troso are rarely known to the general public. the study formulates a new digital-based motif of the troso fabric pattern that displays the iconic elements of jepara city. the iconic depictions of jepara are in the form of turtles, jepara wooden carvings, and wave patterns. this research is expected to elevate the troso fabric’s identity as a local identity of jepara city and contribute to the troso village community to develop the troso fabric unique to the region. keywords: identity, motive, ikat troso woven, jepara how to cite: sarwono, s., prameswari, n. s., darwoto, d., akhmad, z. & hassan, h. (2023). the experiment of jepara troso woven in local wisdom. harmonia: journal of arts research and education, 23(1), 28-39 harmonia: journal of arts research and education 23 (1) (2023), 28-39 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i1.37661 that the lurik textile is one of the oldest and most classic weaving fabrics, with specific textures, designs, motifs, and symbols, and has become a cultural heritage in the java region. moreover, the research conducted by purwoko et al. (2017) integrates the development of lurik weaving as an aesthetic element in furniture and interior design products, including selecting motifs, design styles, and combination techniques suitable for use. budhyani (2018) focuses on the function of decorative style in songintroduction batik is an indonesian technique involving the application of a wax-resist dyeing process to an entire cloth. in addition, the country is also known for its beautiful weavings, such as ikat troso, a traditional handicraft located in troso village, jepara city (kim, 2013). however, discussions on traditional woven fabric are yet to be explored by academia in indonesia. a study conducted by mulyanto et al. (2018) shows corresponding author: e-mail: sarwono59@staff.uns.ac.id p-issn 2541-1683|e-issn 2541-2426 sarwono et al., the experiment of jepara troso woven in local wisdom 29 ket woven fabrics that further highlight the beauty of indonesian textiles. another study by ningsih & widjaja (2020) describes traditional woven fabrics as part of the identity of regional fashion products and have become a fashion trend in indonesia for a long time. the current research focuses on woven fabrics, listed by unesco as one of the heritages of indonesian traditional cloth art that must be preserved. woven fabric that is almost spread all over the nation is an inheritance from the ancestors of indonesia (widiawati & rosandini, 2012). weaving has historical value as well as deep meaning in each of its motifs. therefore, promoting and disseminating traditional woven fabric must jepara has a distinctive craft, ikat troso weaving, typical in the troso village, pecangaan sub-district, jepara regency. the majority of its residents work as traditional craftsmen in the ikat troso weaving industry (ismanto, 2016). troso weaving is a local craft in jepara that has existed for a long time (indrahti et al., 2018). in 1943, troso residents began to develop tenun pancal (foot weaving) and then in 1946 switched to non-weaving machine tools (handloom) until now (asshofi & mukti, 2018). similarly to batik, troso woven has various motifs, such as flora, fauna, and geometry (shufa & wijaya, 2022). as the name implies, the woven fabric is called ikat because, in the process of making the fabric, it is tied to the thread or warp, which is further dipped in dye. the strength of this troso woven fabric is that it is durable, does not fade, and has a distinctive pattern (rosdiana et al., 2018). this uniqueness makes troso weaving distinctive and distinguishes it from other woven fabrics, making it one of the most requested materials in the domestic market. the weaving economic activity in jepara has existed since the 19th century in algemeen verslag residentie jepara, 1831 to 1835. this has positively benefited and encouraged numerous small-scale local trading activities. according to fernando (1996), craft workers in the jepara residency initially received meager salaries. however, the reverse is the case today. this is because the region, regarded as a place for developing the archipelago weaving industry, currently produces enough troso for various areas, thereby boosting their economy. most of the residents of troso village have a weaving business, so that the competition in the weaving industry is increasingly competitive, especially since troso weaving was made a civil servant uniform by the governor of central java in 1980, which led to increasingly fierce competition because most troso village residents chose to become weaving entrepreneurs (khasanah et al., 2022). this activity has been going on for the past ten years, until this free-market era, which incites craftsmen in jepara to publicize their products independently (intikaroh, 2018). based on the fact that this industry functions in a rapid, easy, and cheap manner, it is not surprising that the archipelago weaving fabric produced in jepara dominates the market. therefore, the ikat troso fabric is an industrial product and must not be claimed as a cultural heritage. currently, the majority of troso residents have switched from being craftsmen to modern factory (garment) workers in jepara due to the attractive large salary (budiman & zuliyati, 2015). this has reduced the number of craftsmen and the public’s interest in producing woven fabrics, including the mindset that working outside the city is more promising than being a weaver. troso weaving crafts used to flourish but are now declining due to production efficiency factors. a problem in the troso weaving craft industry is the lack of competitiveness with other textile and fashion industries, such as batik, in the international market (ngatindriatun et al., 2018). besides, various weaving motifs are produced in troso village. some are mori (fabric), “kantet” weaving sarong, and lurik (javanese cloth with small striped motifs). the “kantet” is a tie weaving that uses a middle connection on the material. although relatively varied, ikat weaving motifs produced in troso village have not harmonia: journal of arts research and education 23 (1) (2023): 28-3930 experienced numerous innovations. this has caused the customers or the public to become less interested because of its monotony, mostly geometric and other regional motifs. based on this phenomenon, it is necessary to ensure that the woven motifs undergo several innovations to keep up with the times and trigger public interest and the competitiveness of fabric sales. ikat weaving produced in jepara is often identified with those manufactured in jepara. however, in the real sense, the motifs are still regarded as “archipelago weaving” and culturally not considered “jepara weaving.” this occurred since the motifs on ikat troso weaving were adopted from other regions in the archipelago. in other words, jepara weaving does not have a distinctive motif that is regarded as its identity (ramadhani & subandi, 2015). this study examines the relationship between troso woven cloth and its uses, the fabric with religion and culture, and the relationship between the cloth and local identity, as cited by lungu et al. (2021), who examine heritage motifs as decorative furniture surfaces. motifs on woven fabrics can be implemented on walls, furniture, curtains, and others. caroline et al. (2021) focus on developing silk pattern designs for troso woven fabrics because, as a producer of woven fabrics, the troso area does not have authentic silk patterns and tends to imitate other places. the wastra pattern on the pattern of each woven cloth illustrates the cultural characteristics of the area where it is made, so it tends to contain elements of local wisdom and represents a sustainable industry. bahalwan (2017) emphasizes the importance of re-designing the motifs on troso woven fabrics, which focus more on local jepara identities, such as kartini beach, paduraksa gapura, bentar gapura, white sea hawk bird, and bracket tiger. the re-design of the troso woven motif is closely related to the increase in selling value for the craftsmen. semuel et al. (2022) point out the contributions of woven cloth as one of the pieces of equipment used to attend religious and cultural ceremonies. in addition, woven fabric has become associated with the country’s identity. the use of woven cloth in traditional ceremonies embeds sacred, philosophical symbols and values of local people. kahdar & yuanita (2013) also focus on the function of woven fabrics in society. it has been stated that woven fabric isn’t just a mere cloth; it also refers to social status, a ritual complements aspect, and many other symbolic purposes. for the people of indonesia, traditional textiles have the potential to stand on the same ground as any modern textile produced around the world. in this research, the jepara icon application on the ikat troso weaving motif, which serves as a visual identity, is an alternative novelty. previous studies were still limited to discussing the function and meaning of woven fabrics as the identity of the state and the life of local communities. in addition, other studies related to re-designing troso woven fabric motifs emphasize historical building motifs such as the paduraksa gate, the bentar temple gate, and the typical jepara fauna, the black hawk bird and the caged tiger. meanwhile, this research focuses on re-designing troso woven fabric motifs with design motifs originating from large turtles on kartini beach, stylization of jepara carvings, and beach waves representing jepara’s nature and culture which are implemented into ready-to-wear clothing through the digital media. in addition, this research seeks to examine the cultural aspects that appear in the motifs of troso woven fabrics to produce a separate identity for the local jepara community. this study adopted a jeparacentric artistic, practice-based approach, influenced by jepara’s potential & iconic natural resources, namely the sea turtle (penyu) fauna. the jepara iconic object, the turtle, combined with the distinctive motif of “suluran” and the sea waves that characterize the region as a coastal city, provides a visual identity in the motif. applying this visual identity to the fabric ensures ikat troso is legitimately regarded as “jepara weaving/ wastra.” this research sarwono et al., the experiment of jepara troso woven in local wisdom 31 aims to analyze motifs for woven fabrics in jepara. therefore, it is loaded with the distinctive characteristics of this city as a cultural identity. method this research was practice-based. practice-based research is an original investigation undertaken to gain new knowledge through practice and the outcomes of that practice (candy, 2006). in practicebased research, the creative artifact is the basis of the contribution to knowledge. this method is applied to original investigations seeking new knowledge through practice and its outcomes (skains, 2018). in an art creation or design, the methodology is not only the framework but also involves intuition and emotion in the researcher who determines good or bad design or work. many art and design research have different procedures, but most importantly, they can tell the process (chapman & sawchuk, 2012). several stages were involved in the process of re-designing the troso woven motif. the stages in this study were modified by supriyadi & prameswari (2022), including finding artistic ideas, the design, and the final stage. the research focuses on three processes of re-design troso woven motif, namely 1) identification of the idea, 2) sketching the design, and 3) making troso woven motif “sedulur penyu” to various types of ready-to-wear clothing through digital media. the data collection technique involved observation and interviews. interviews and observations were conducted at the troso woven fabric craft center in troso village, jepara, central java. this research was conducted in jepara city from 2020 to 2021. the study employed a purposive sampling technique by determining specific criteria for the respondents (patton, 2002). the research respondent criteria were as follows: 1) having a business in the manufacture of troso woven fabrics in jepara; 2) having been running the business for at least one year; 3) domiciled in jepara. interviews were conducted with three respondents. each interview session was conducted for 45 minutes. as creswell (2013) explained, the number of respondents who participated in the study must reach people, so the number was sufficient. bandur (2019) explains that the more specific the research sample, the more precise the characteristics, and the fewer respondents are studied, the more quality and in-depth the interview process will be. the study was conducted in several stages: 1) analysis of cultural and community conditions; 2) analysis of the influence of troso woven fabric as room decoration, in the religious aspect, and local identity; 3) analysis of troso woven fabric with unique elements of jepara city. this study also investigated the new motif of troso woven fabric that incorporates distinctive characteristics of the city of jepara to represent the region’s cultural identity. result and discussion identification of idea stage ikat troso weaving is one of the handicrafts of troso village people in jepara regency. this has been common since the 1800s, and as time progressed, the weaving fabric became popular in the archipelago and even abroad with various beautiful and attractive motifs (sakti & roisah, 2019). several people worked as craftsmen due to the high market demands of other areas such as bali, jakarta, bandung, kalimantan, etc. based on the interview result, the craftsmen in troso also make woven fabrics based on requests from areas outside troso, and these requests come with each region’s distinct motif. they accept orders from certain regions, such as bali, with their distinct motif pattern. motifs such as a blanket with a wide, long, and rough texture. the customers can choose their motifs; for instance, the orders from sumatera most commonly prefer checkered motifs. meanwhile, the requests from sulawesi prefer animalistic motifs such as harmonia: journal of arts research and education 23 (1) (2023): 28-3932 an elephant. in bali, people choose pura (temple) and barong motifs. it depends on the region. moreover, it is found that troso village is the largest center of traditional woven fabric all over indonesia. but, it could be said that troso is the largest woven fabric production center in indonesia because we produce fabrics all over indonesia with various motifs and various quality materials. apart from the high market demand, people also need superior-quality fabrics. therefore, to enhance the fabric quality, the craftsmen made innovative motifs. as a result, the following geometric and regional motifs are commonly circulating in the community (figure 1). however, they do not visually have the iconic jepara. figure 1. ikat troso woven fabric motifs commonly circulated culturally, the troso woven fabrics are based on local wisdom, which needs to be maintained. crafters must understand the market conditions to ensure survival because it is still in demand (borshalina, 2014)small and medium enterprises (smes. cultural preservation is necessary considering the possibility that the influence of globalization in the 21st century potentially erodes cultural values, one of which is the weaving practice in jepara. this is realized by revitalizing the troso weaving or re-designing the motif by prioritizing important values regarded as the jepara city identity. moreover, the troso production center initiates designing a new kembang motif. they are starting to design flower motifs which are unique motifs specially made for the troso and jepara. there might be more motifs outside java, but i have never seen flower motifs.” the results show that the original flower motif of troso village is being initiated and developed. the flower motif is chosen because there are no motifs from other regions that resemble flowers and are usually made with geometric shapes, animals, and representations of ancestors or gods of certain beliefs. woven fabric and its functions as cited in hartanti (2011), the existence of woven fabrics can be tracked since ancient times; it has been used as one of the aesthetic elements of the room in interior design. the use of woven cloth can be traced back to its application as an element of room decoration in rumah gadang traditional house, where the woven fabric is attached to a rope stretched between the pillars of the house. the use of woven clothes as an element of home decoration is also seen in their application to floors, walls, ceilings, and curtains. it is used as complementary accessories for furniture (sofa upholstery and cushions). woven fabric is also commonly applied in home decoration. the woven fabric is applied as a complement to home decoration. for example, it is used as a tablecloth. maybe only part of the table is covered by woven cloth. aside from that, the troso woven cloth is also used as tablecloths, curtains, or as display frames. it can be used for tablecloths and curtains or displayed in frames, and it depends on they request. weaving as an element of room decoration can also be seen in portraits of dutch people who lived in ancient indonesia. according to the book woven indonesian textiles for the home, published by cita tenun indonesia, it is said that dutch women used weaving as room decoration, such as their use on the dining table and cabinet upholstery, curtains, and throws on sofas. in other countries, woven fabrics for decoration usually match that country’s colors and seasons. in other countries, woven fabrics for decoration usually match that country’s colors and seasons. it is usually used for interior design. one time, i befriended a foreigner when i attended sarwono et al., the experiment of jepara troso woven in local wisdom 33 the inacraft exhibition. the foreigners are also interested in interior design and bought a certain amount of troso textile pieces for interior design. the colors and motifs are adjusted to the seasons in the country. for instance, if the country is in winter, they will choose colors that match a winter theme. woven cloth is still used as a complementary element in room decoration by select groups of people. for example, people who follow interior design trends incorporate troso woven fabric as an element of room decoration. based on the descriptions above, woven cloth is commonly applied as complements in home decoration. woven fabrics are usually used for tablecloths and curtains, installed in figures, and then displayed on the room’s walls. the troso woven textile is also exported abroad and used for room decoration; the fabric’s color is adjusted to the seasons in that country. woven cloth and cultural-religious traditions in indonesia, woven cloth has been associated with religions since the past. as a result, woven fabrics have been implemented as room decorations for walls, furniture accessories, curtains, etc. suadnyana (2020) points out the use of woven cloth as one of the pieces of equipment used for traditional ceremonies. in regions such as bali, toraja, and kalimantan, woven clothes are used in traditional rituals. the people use woven cloth for their traditional costumes or as an element in their traditional rituals. however, in kalimantan, they have a specific motif used for traditional ceremonies. the troso community in jepara uses costumes or attires from woven clothes to attend weddings. meanwhile, muslims also incorporate troso woven cloth as gamis dress of koko shirt. they use woven textiles as our attire to attend weddings or as gamis dress and koko shirt for eid al-fitr. in lombok and papua, most woven fabrics are made with animal motifs and shapes that represent the identity of their ancestors. therefore, they tend to apply geckos, skulls, horses, and other motifs that reflect their ancestors’ identity. in lombok, for example in sasak, the people usually use the natural surroundings and folklore as a reference for songket woven motifs (pratama, 2018) woven fabric is also traditionally applied in clothing and attires. the use of woven cloth in traditional ceremonies embeds sacred and philosophical symbols and values. in regions such as bali, toraja, and kalimantan, woven clothes are an essential part of the customary rituals. tenun endek is used in bali to cover statues representing gods and goddesses of hinduism, the major religion in the city. meanwhile, in lombok and papua, most woven fabrics are made with animal motifs and shapes that represent the identity of their ancestors. the troso community in jepara uses costumes or attires from woven clothes to attend weddings. they wear uniforms with close relatives to celebrate the wedding party. however, this is not quite common for other people because it is considered too formal. in addition, muslim people wear troso woven fabrics as gamis dresses for women and koko shirts for men. this dress is usually worn during eid al-fitr or other formal events. tenun and local identity indonesia is an archipelagic country that is featured in ethnic and cultural diversity. therefore, local identity is a significant subject of discourse to distinguish one area from another. the motifs in woven cloth can represent a distinct local identity in each region. based on the research conducted by riwu et al. (2020), the motifs found in woven fabrics could be used as identification so that people can find the local origin of the person wearing them. the design of the motifs in the woven cloths is different in each region; this is conducted so that each motif can represent the identity of each region all over indonesia. tenun troso is commonly used outside jepara with motifs from their regions, whiharmonia: journal of arts research and education 23 (1) (2023): 28-3934 le some are exported abroad. however, the community does not know that the woven fabrics in other areas are initially made in troso village, jepara. ironically, jepara has no original motif distinct to our region. the motifs are usually from bali, sumatra, and kalimantan. they requested we design their motifs in their order. so what people might know as sumatran, balinese, and other motifs are made in troso. several micro, small medium enterprise (msme) groups then took the initiative to develop original motifs from troso to represent the local identity of troso village, jepara, and are widely known by the public. they are still developing our original motif to introduce their identity to the public so that people can recognize our motifs. based on the previous explanation, the woven fabrics throughout indonesia have distinct motifs. currently, the craftsmen in troso, jepara, are initiating and developing their traditional clothing as their original identity of troso to preserve the cultural heritage in troso, jepara. this study finds out that the troso woven fabric is commonly used as home decoratives in the form of tablecloths, curtains, and wall display figures. moreover, from the point of view of religion and belief, the woven fabric is usually incorporated in rituals or traditional ceremonies in various regions of indonesia, such as in toraja, bali, and kalimantan. the motifs represent each region’s philosophical and symbolic meanings, depicted by geometric shapes, animals, and symbols that represent the ancestors of their native regions. troso village, jepara, is well-known as indonesia’s largest woven fabric producer and serves the demand for woven cloth from other regions. however, the region of troso, jepara itself, does not have its original motifs. in response, initiations and developments were made to design its original traditional clothing and motifs that represent the unique characteristics and original identity of troso, jepara village. troso woven cloth design in this study, the design process of the troso woven motif refers to the advantages and potentials possessed by jepara city. the research respondents explained this at the time of the interview. in addition, the respondents explained that jepara is known for its unique wood carving, and the carving motifs are the original characteristics of the city of jepara. in jepara, many craftsmen specialized in wood carvings. the carvings consist of many motifs and have become the original characteristic motifs of jepara. therefore, jepara wooden carvings should be preserved because they are a great asset for the people of jepara. moreover, the respondents also stated that jepara is known for its beautiful beaches. aside from that, jepara is also famous for its turtle habitat preservation. these are the elements to be preserved as valuable assets for jepara. in jepara, people tend to visit beaches a lot. this city has several beaches, such as kartini beach, bandengan beach, empu rancak beach, and many others. some of the beaches have white sand and turtle habitat. now turtles are getting rare, so i think they need to be protected to prevent extinction because beautiful beaches and turtles on the beach can attract tourists from outside the city or from abroad. the researchers initiated to design of the original jepara woven cloth motif design inspired by jepara’s potential, i.e., the wooden carvings, the beautiful beaches, and the turtles in jepara. the turtle motif was chosen as the central motif because it is an iconic symbol closely related to the city of jepara because of its habitat on kartini beach. thus, by making the turtle the central motif, the researchers intend to introduce the distinct motif from jepara to the public. turtle motive various marine invertebrates are properly bred in the jepara area, including the turtle, a marine animal commonly found in karimunjawa national park. this area is located on legon island and is considered a turtle conservation place (desarwono et al., the experiment of jepara troso woven in local wisdom 35 partemen kehutanan, 2004). apart from turtle breeding, one of the coastal tourist destinations, kartini beach, has a giant turtle-shaped building regarded as an icon in the jepara regency, as shown in figure 2 (surojo & wicaksono, 2019). this building consists of 2 floors. the lower part is a park containing various marine life, including turtles, while the upper serves as a supporting vehicle. figure 2. giant turtle building on kartini beach, jepara however, because the building is iconic in jepara city, the turtle is the central motif in the sedulur penyu weaving fabric. apart from that, it is also used to strengthen the distinctiveness of the motif. the turtle is regarded as an icon of jepara city; therefore, it offers an identity exhibiting the creativity of craftsmen in producing entirely new motifs. figure 3. turtle’s stylization becomes a motif this is realized by sketching the basic shape of a stylized turtle before it is developed into a fabric motif, as shown in figure 3. afterward, it is decorated with additional ornamentation or stuffing in the tendrils. however, using the turtle motif in the weaving helps conserve its cultivation, which has been breeding for a long time in jepara (soetijono, 2019). jepara carving motifs jepara carving products are widely known at home and abroad and are regarded as an export commodity for generating income (nangoy & sofiana, 2013). “the word carving center” is jepara’s nickname for “a carving city,” and a lot of people are pursuing a profession in the carving or furniture sector (gustami, 2000). jepara carvings are evident in numerous buildings, such as the hall, the great mosque of jepara, the gate, etc. furthermore, this object is used as the motif of the troso sedulur penyu weaving cloth, which visualizes the icon and uniqueness of jepara. the carvings have distinctive features like broad, fan-like leaves, narrow niches, and fruits, as shown in figure 4. these three characteristics differentiate jepara’s carvings from other regions. they are also applied and designed as motifs to show that the fabric visualizes the potential of jepara. figure 4. jepara carving motif in the woven fabric of sedulur penyu, jepara carvings are designed by simplifying complex shapes, despite showing the characteristics of jepara carvings. besides the simplified forms, dynamic niche shapes are also changed according to other motifs to create harmony and unity. motifs and designs for traditional ethnic clothing are linked to the social activities of the community as an effort to balance cultural creations and potential natural characteristics (ling & jusilin, 2018). harmonia: journal of arts research and education 23 (1) (2023): 28-3936 figure 5. jepara carving stylization the carvings’ stylization becomes a motif when certain features such as leaves, fans, fruits, and tendrils are applied. in this motif, jepara carvings are symmetrically made to facilitate the application of the fabrics. waves motif jepara is located at the northern border of java island, surrounded mainly by the sea, with most of its resident’s fishermen. therefore, it is regarded as a coastal city. it has several beautiful beaches as tourist destinations, namely bandengan, teluk awur, kartini, bondo, etc. therefore, to display the visualization of this coastal city, objects closely related to the sea, such as the waves, need to be adopted. waves are described as water exposed to the wind. it is identical to the sea; therefore, this object was chosen to visualize the sedulur penyu woven fabric motif. the blue color of the fabric is a visualization of the waters, which describes the sea potential in jepara. aesthetic ornaments and arches are also an exciting combination and an artistic idea. the motif takes the primary form of distilled waves, namely curves, as shown in figure 6. figure 6. sea wave stylization wave stylization is an additional motif used to decorate the edges of the fabric. initially, the shape of the curves was made to be minor, although it was further enlarged to give a dynamic impression like ocean waves (rukman, 2018). sedulur penyu motif the motif design known as sedulur penyu on the woven fabric of the ikat torso is shown in figure 7. this design represents the characteristics of jepara city, indonesia. figure 7. digital-based sedulur penyu motif the fabric motif shown in figure 7 comprises three elements depicting the iconic jepara: the turtle (main motif), jepara carving, and the sea waves. the process of selecting objects that visualize this city is to study those typical of jepara. the jepara carvings are depicted on the motif of the sedulur penyu due to the identity of jepara as the city of carving. the representation of the jepara carving motifs is simplified to adjust with the woven cloth but still refers to the wooden carvings’ base motifs. the third element in the motif is the ocean waves. the waves are associated with the existence of beaches in jepara. figure 8. clothing designs with sedulur penyu motifs sarwono et al., the experiment of jepara troso woven in local wisdom 37 technological advancement promotes changes dynamically from time to time because they prefer a commodity in line with the spirit of their era or zeitgeist (prameswari, et al., 2020). the expected novelty needs to be endeavored by troso weaving craftsmen following the changing times. the motif shows a novelty power that has never existed, namely promoting the socio-cultural identity of the jepara people. this adds to the woven motif’s selling value, which is regarded as a fresh commodity in the market. moreover, selling power emerges based on the maintained traditional values irrespective of the modern and complex designs (sarwono et al., 2020). integrating motifs identical to conventional values is necessary to strengthen the indonesian national identity (prameswari, mulyanto, et al., 2020). the artistic features of the shirt in the picture are designed by referring to troso woven cloth with a turtle motif combined with a plain fabric. although it might be perceived as old-fashioned, the designs are made contemporary following fashion design trends to suit the fashion style favored by teenagers. they can still look modern by wearing troso cloth as the primary material for the shirt. conclusions the use of woven cloth in interior design only attracts select market groups due to the unique impression it adds to a room. in this case, the application of woven fabric can be customized and combined with other popular design elements. moreover, the troso woven cloth can be made into shirts for muslims since most jeparanese people are muslim. this way, the woven materials available in the community can represent cultural and philosophical values in the motifs. the motifs depicted in the woven fabric uniquely represent a region’s identity. therefore, the existence of troso weaving in jepara must be preserved as the cultural heritage of indonesia. government and the community (particularly the young generations) are essential in preserving troso weaving art. further, troso weaving art can be developed and elevated by designing new up-to-date motifs that include iconic visual symbols of jepara, such as turtles, jepara carvings, and ocean waves. the new design is expected to increase public interest and preserve the existence of troso weaving art. acknowledgment we thank the msme of troso woven in troso 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(2012). natural dyes on indonesian traditional textiles a case study: geringsing woven fabric, in tenganan pegeringsingan village bali. the research journal of the costume culture, 20(1), 111–120. https://doi.org/10.7741/ rjcc.2012.20.1.111 173 ragam hias pada pendapa teras candi panataran di blitar rustarmadi universitas negeri surabaya, jalan jalan ketintang, surabaya 60231 e-mail: rustamadi_unesa@ymail.com abstrak sasaran penelitian ini adalah ragam hias pendapa teras di kompleks candi panataran. tujuan penelitian ini untuk memahami dan memberikan gambaran menyeluruh mengenai perwujudan ragam hias candi pada pendapa teras di dalam kompleks candi panataran, yang meliputi aspek visual, makna simbolik dan nilainilai pendidikan. penelitian ini menggunakan pendekatan kualitatif, sedangkan teori yang digunakan adalah teori semiotika pierce, roland bathes dan saussure, untuk memandang ragam hias candi sebagai tanda-tanda yang terbentuk dari unsur-unsur dan prinsip visual yang memiliki makna secara simbolis serta mengandung nilainilai pendidikan. hasil penelitian ragam hias candi sebagai berikut: (1) secara visual ragam hias terdiri dari ragam hias ceritera dan non ceritera, dengan objek manusia, tumbuhan, binatang, serta makhluk-makhluk ajaib, (2) model penggambarannya dekoratif realistis dan dekoratif imajinatif, (3) makna simbolis dari ragam hias melalui ragam hias ceritera, bahwa manusia pada dasarnya sedang melakukan perjalanan, menghadapi banyak rintangan, dan bila rintangan dapat diatasi akan mendapatkan kemuliaan. kemuliaan ternyata bukan dari pangkat, derajat, dan kekayaan tetapi dari keikhlasan dan kasih sayang. nilai-nilai pendidikannya adalah manusia tidak boleh sombong, hidup sederhana, ikhlas dan sabar. variety of decorative on pendapa terace of panataran temple in blitar abstract subject of this research are variety of decorative on pendapa terrace of panataran temple complex. purpose this research are to show and give an overview thorough regarding the embodiment fad ornamental temple on pendapa terrace inside of panataran temple complex, covering aspects of visual, symbolic meaning and education values. this study uses a qualitative approach, while the theory used is the theory of semiotics pierce, roland bathes and saussure, to look decorative temple as the signs are formed from the elements and principles of visual that has a symbolic meaning as well as containing the values of education. the results of temple decorative as follows: (1) visually, the ornament consisting of a decorative stories and non-stories, with the object of people, plants, animals, and magical beings, (2) model depiction are decorative realistic and decorative imaginative, (3) the meaning of symbolic ornamentation through ornament story, that people are basically traveling, faces many hurdles, and if the hurdles can be overcome to get the glory. glory was not of rank, degree, and wealth but of sincerity and affection. education value is that man must not be arrogant, living a simple, sincere and patient. kata kunci: ragam hias, aspek visual, makna simbolis, nilai-nilai pendidikan. harmonia, volume 12, no. 2 / desember 2012174 pendahuluan penelitian-penelitian candi melalui pendekatan kajian visual kesenirupaan belum banyak dilakukan. beberapa penelitian yang sudah dilakukan berupa deskripsi dari bentuk-bentuk ragam hias secara umum, misalnya oemar, dkk. (1989), dan murwandani, dkk (2003). tinjauan dari sudut teori semiotik belum ada yang melakukan. demikian pula buku-buku yang dipakai sebagai acuan mata kuliah sejarah seni rupa dan ragam hias, misalnya kempers (1959), affandi (1973), miksic (2002), kias (1991) tinjauan estetisnya kurang mendapatkan perhatian, mengingat buku-buku tersebut ditulis oleh ahli bukan dari bidang seni rupa. ngadiono dkk (2003) telah menulis secara lengkap, namun belum membahas lebih mendalam tentang kajian visual, makna simbolis dan nilai-nilai pendidikannnya. tabrani (2005) telah menyusun reverensi, salah satunya berisi hasil penelitiannya tentang candi melalui pendekatan komunikasi visual atau bahasa rupa, namun belum meneliti candi-candi di jawa timur. candi-candi di jawa timur belum banyak diteliti lebih mendalam, apabila dibandingkan dengan candi-candi di jawa tengah. buku-buku yang berada di perpustakaan perguruan tinggi seni rupa yang dikembangkan dari hasil penelitian belum banyak, terbukti sulit sekali menemukan daftar buku yang membahas secara detail masalah candicandi di jawa timur. candi penataran sebagai salah satu candi di jawa timur belum pula dikaji lebih mendalam, terutama dari aspek kajian visual. salah satu bangunan pada kompleks candi panataran adalah pendapa teras dan sering disebut pula sebagai batur pendapa, atau undak pendapa. lokasi bangunan pendapa teras berada di sebelah tenggara bangunan bale agung. bangunan tersebut seluruhnya dari batu, berbentuk empat persegi panjang dengan ukuran panjang 29,05 meter, lebar 9,22 meter dan tinggi 1,5 meter. diduga bangunan pendapa teras ini berfungsi sebagai tempat untuk menaruh sesaji dalam rangka upacara keagamaan, sebab di depannya ditemukan batur kecil untuk seorang pedanda (pendeta) melakukan atau memimpin upacara peribadatan (ngadiono, 2003:11). berbeda dengan bangunan bale agung yang polos bangunan pendapa teras ini dindingnya dikelilingi oleh ragam hias candi yang dibuat dengan teknik pahat (ukir). hampir semua bagian kaki pendapa teras ini dipenuhi ragam hias, baik pada bagian pelipit dinding kaki bangunan, sudut bangunan, maupun relief-relief cerita pada dinding kaki pendapa teras. bangunan pendapa teras ini berangka tahun 1297 saka atau 1375 masehi (wisnoewardhono, 1995:11). sinha (dalam kurniawan, 2001:49) mengemukakan semiologi dan semiotika berakar dari studi klasik dan skolastik atas seni logika, retorika, dan poetika. akar namanya sendiri adalah “semeion”, nampaknya diturunkan dari kedokteran hipokratik atau asklepiadiki dengan perhatiannya pada simtomatologi dan diagnostik inferensial. sejak kemunculan saussure dan peirce, maka semiologi menitikberatkan dirinya pada studi tentang tanda dan segala yang berkaitan dengannya. meskipun dalam semiotika peirce masih ada kecenderungan meneruskan tradisi sklolastik yang mengarah pada inferensi (pemikiran logis) dan saussure menekankan pada linguistik, pada kenyataannnya semiologi juga membahas signifikansi dan komunikasi yang terdapat dalam sistem tanda non linguistik. semiotika dilibatkan apabila orang disibukkan dengan perilaku-perilaku interpretative, dengan penunjuk (ini yang mengganti itu); dengan tanda (cara keberadaannya, fungsinya, hubungannya dengan tanda lain, penggunaannya, timbultenggelamnya dan sebagainya), dengan pembentuk arti, kebiasaan-kebiasaan arti, dan seterusnya. zoest (dalam soekowati 1993:7). barthes (dalam kurniawan 2001:53) mengemukakan semiologi hendak mempelajari bagaimana kemanusiaan (humanity) dan memaknai hal-hal (things). kehidupan sosial apapun bentuknya merupakan suatu sistem tanda tersendiri. pandangan rustarmadi, ragam hias pada pendapa teras candi panataran di blitar 175 barthers ini banyak dianut oleh semiolog lain, sehingga semakin luas ruang lingkup dan objek penelitian semiologi. peirce (dalam kurniawan, 2001:52) membagi tanda berdasar acuannya menjadi tiga, yaitu: (1) objeknya (sesuatunya), (2) interpretannya (orang yang menginterpretasi), (3) ground (respek atau penghargaan). relasi dari ketiganya tersebut menentukan ketepatan proses semiosis. menurut zoest (1993:23) objek (sesuatunya) dapat menggunakan istilah yang berbeda, dan peirce lebih suka menggunakan istilah denotatum. isnaoen (2005:32), dalam kaitannya dengan tanda peirce memusatkan perhatiannnya pada fungsi. tanda akan berfungsi bila unsur-unsur tanda saling berhubungan, yaitu (1) objek (denodatum), yaitu suatu keadaan benda yang ditampilkan melalui tanda, (2) dasar (ground), yaitu latar belakang yang dimiliki oleh penafsir tanda untuk dapat menafsirkan tanda, dan subyek (interpretant), yaitu pengertian tanda yang muncul dari benak orang yang menggunakan sehingga tanda original akan dapat berkembang menjadi tanda baru. metode metode penelitian adalah kualitatif, dengan pendekatan teori semiotik dari charles sanders peirce dengan analisis sintaksis, sematik, dan pragmatiknya dan ronald barthes dengan analisis denotasi dan konotasi. teknik pengambilan data dilakuka dengan observasi, wawancara, dokumentasi, dan studi literatur. analisis data menggunakan analisis interaktif dari miles dan huberman dengan rangka disesuaikan dengan pendekatan-pendekatan yang ditetapkan di atas. hasil dan pembahasan relief pada dinding soubasemen pendapa teras merupakan cerita dalam bentuk relief. cerita yang dipahatkan merupakan cerita-cerita yang telah berkembang di pulau jawa. tokoh cerita kebanyakan pria yang menggunakan topi “tekes” atau topi “panji”. yaitu topi bulat yang tidak menutup seluruh rambut. contoh tokoh cerita yang menggunakan tekes adalah sidapaksa, sang satyawan, dan gagangaking. tokoh-tokoh lain yang dekat dengan tokoh utama rambutnya diikat di atas dan ujungnya terurai, berambut pendek, bertopi pendeta yang sangat besar ukurannya. tokoh pria kebanyakan diikuti oleh pelayan “punakawan” yang dibuat atau dipahat lebih kecil (kerdil) dan rambutnya diikat dengan ujung rambut runcing. pelayan untuk pendeta umumnya juga menggunakan ikat kepala/topi. tokoh pendeta dibuat dengan topi yang sangat besar yang terbuat dari litan-lilitan kain atau miripdengan anyaman pita kain.. pakaian pria juga berupa kain panjang sampai di atas lutut, sebagian kecil dililitkan atau diikatkan ke atas sehingga mirip cawat. asessoris sangat minim, kecuali gelang dan anting-anting. sebagian dilengkapi dengan gelang bahu, dan kalung. untuk menggambarkan raja naga dan durga pakaiannya lebih banyak asessorisnya yang menempel di selendang dan kainnya, juga pada kalung, sumping (hiasan yang dipasang di telinga selain antinganting), dan topi raja. tokoh wanita yang masih muda umumnya rambutnya terurai, dan di dekatnya umumnya adalah pelayannya dengan rambut digelung. pakain wanita tersebut berupa kain panjang dengan garis-garis bukaan di depan, dilengkapi dengan selendang. kebanyakan tidak menggunakan kemben (kain penutup dada) tetapi sebagaian ternyata sudah memakai kemben. pada sisi utara pendapa teras terdapat penggambaran wanita dengan menggunakan topi semacam peci, dan banyak tokoh yang menggunakan topi pendeta. dalam relief terdapat pula gambargambar makhluk hidup yang imajinatif, raja binatang (raja naga), binatang ikan dan burung, bethari durga, manusia berkepala dan tubuh tumbuhan, manusia berkepala lidah api dan raksasa dengan rambut gimbal. harmonia, volume 12, no. 2 / desember 2012176 di sekitar tokoh objek manusia juga digambar/dipahat aneka tumbuhan. kebanyakan mereka adalah pohon palem, pohon mangga, dan pohon yang tampak direkayasa dengan batang yang berbelit seperti tampar. selain itu terdapat pohon pandan, pohon kelapa, semak-semak kecil yang jumlahnya lebih sedikit. kebanyakan dalam membuat pohon di bawahnya selalu diberi undak/batur atau semacam timbunan batu yang ditata rapi. ragam hias yang bersifat ornamentik, yang dalam seni ukir/pahat sering disebut pepatran, atau kakarangan, atau ada yang menyebutkan hiasan karang. pepatran ini antara lain pepatran tumbuhan, pepatran awan, dan hiasan-hiasan lain sebagai pemanis relief. beberapa digambar pula sungai atau laut dengan bentuk gelombang mirip sisik ikan (bulatan oval bergaris, yang tersusun rapi) pahatan rumah panggung, kuil (pura), binatang mirip sapi, dan anjing mengikuti tokoh-tokoh manusia dalam cerita. pada pelipit atas terdapat pahatanpahatan binatang, seperti kuda, sapi, buaya, harimau, banteng, kancil, kijang, kera, dan tikus. pelipit bawah dipahat badan ular dan kepalanya tersembul di setiap sudut candi, dan dua di sisi timur candi. yang menarik dua badan ular saling memlilit pada bagian dekat kepala, kemudian kepala ular hanya satu. bentuk ular ini ujuga sangat imajinatif. pada tangga juga dipakatkan ular di kiri dan kanannya. analisis semantik: denotasi dan konotasi (relief sri tanjung) tampaknya laki-laki yang dibuat besar adalah pengeran, di depannya seorang dayang yang sedang menyembah. perempuan duduk adalah dayang yang sedang menunggui sang putri yang sedang sakit, atau sedang tiduran. dayang yang sedang mmenyembah mengantarkan seorang pangeran yang akan menghadap sang putri ditemani orang-orang kerdil para pelayan atau punakawan. pelayan kedudukannya kecil, maka ukuran dibuat kecil pula. pangeran yang menghadap sang putri tadi, tampaknya pergi melakukan perjalanan, ditemani saudaranya dan abdi kinasihnya. saudara laki-laki sang pangeran dan abdi kinasihnya di dalam perjalanan tidak ada henti-hentinya melakukan percakapan. tampak laki-laki muda dengan menggunakan topi tekes akan mengirim surat kepada orang diseberang lautan. dia menggunakan jasa seekor burung yang besar (mirip burung kakatua) milik seorang pendeta. dengan kaki dilipat satu di atas kaki yang lain, maka laki-laki ini sedang berpikir keras, punya masalah, atau menghadapi problem. pohon melilit yang tumbuh di atas undak, membuktikan bahwa orang dahulu sangat menghargai keindahan, menata lingkungannya dengan baik. seekor burung dengah gigih terbang di atas lautan. di dalam lautan terdapat ikan-ikan besar yang memiliki sungut, beberapa sedang mengamati burung terbang seolah mengharapkan burung tersebut jatuh dan dapat dimakan. seorang putri akan menerima surat dari seorang laki-laki (kekasihnya), ditemani seorang pendeta perempuan atau bisa saja ibunya, dayang/ inang dan abdi laki-laki dengan rambut di kucir. seorang pendeta muda sedang berbincang dengan seorang perempuan, ditemani seorang cantrik atau seorang abdi. tampaknya pendeta ini sedang membahas tentang sesaji, seperti yang disusun di atas dua meja di belakangnya. ragam hias ceritera pada taferil ini penuh dengan adegan seks sehingga tampak agak porno. ada kemungkinan ini hanya bayangan dari pendeta tersebut terhadap pengendalian nafsunya kepada perempuan. juga bayangan nakal seorang abdi terhadap seorang perempuan. makhluk ajaib atau makhluk imajinatif ini sebagai patung burung garuda, meskipun sebenarnya lebih tepat disebut sebagai patung raksasa bersayap. garuda merupakan lambang burung yang gagah perkasa, dapat terbang tinggi mengarungi dirgantara, terbang di atas lautan, daratan, sungai, pegunungan, hutan, dengan mata tajam penuh kewaspadaan. garuda dibuat berbadan raksasa, untuk menunjukkan kekuatan, keperrustarmadi, ragam hias pada pendapa teras candi panataran di blitar 177 tempat. kelihatannya akan menanyakan sesuatu bagaimana cara memecahkan masalah yang sedang dihadapi. seorang laki-laki meninggalkan tempat pendeta tersebut, dan melanjutkan perjalanan sendirian. sampailah laki-laki yang melakukan perjalanan tadi di sebuat taman atau tempat yang dituju. seorang perempuan menghadap laki-laki tersebut dengan duduk timpuh dan menyembah. di belakang perempuan duduk pula seorang perempuan (inang atau emban) sedang menoleh ke belakang. tampaknya inang tersebut tidak ingin mengganggu percakapan tuannya. perempuan tadi terlibat perbincangan dengan laki-laki, yang duduknya mulai santai. melalui alur ceritera yang diketahui bahwa laki-laki yang duduk dengan melipat dan menempatkan satu kaki di atas kai lainnya biasanya menggambarkan kegelisahan , berfikir berat, atau merenung. laki-laki dan perempuan yang sedang berbincang tadi (sisi barat 15) melanjutkan perjalanan ditemani oleh abdi (punakawan). abdi tersebut tampaknya berposisi sebagai penunjuk jalan. seorang perempuan menggendong anaknya, dari perjalanan jauh melalui daratan luas dan menyeberangi sungai yang mengalir deras, sampailah perempuan itu pada perbatasan sebuah desa yang ditandai oleh bangunan tugu. seorang perempuan (ibu) yang bersusah payah membawa anaknya melakukan perjalanan jauh mencari suaminya. setelah berhasil bertemu ibu tersebut menyerahkan anaknya kepada suaminya. kemungkinan lain seorang inang mengantarkan anak yang diasuhnya kepada bapaknya yang masih keturunan ningrat. pangeran sidapeksa sedang duduk bersila di sebuah taman keraton, sedang berfikir keras mencari cara untuk pergi ke kayangan mengantarkan surat kepada para dewa siwa. tugas ini dari rajanya yang bernama prabu sulakrama. pangeran sidapaksa berbincang serius dengan sri tanjung. sidapaksa berpamitan mau pergi ke kayangan mau mengantarkan surat karena diperintah oleh rajanya. sri tanjung tentu menjadi kawatir terhadap keselamatan suaminya kemungkinan ke dua sidakasaan, dan kecerdasan. garuda adalah adalah tunggangan dewa wisnu. garuda melambangkan kecepatan, kecerdasan, kewaspadaan, kecermatan dalam menjaga habitatnya. negara indonesia memiliki burung garuda sebagai simbol negara kesatuan dan negara dengan dasar pancasila. dengan cepat garuda dapat terbang mengarungi samudra dan kepulauan indonesia sehingga dengan cepat dapat memelihara indonesia suatu negara dengan beribu-ribu kepulauan. kepala naga yang berada di samping kanan dan kiri candi, seakan badannya berada di bawah bangunan gugus pendapa teras, tampaknya naga-naga ini ikut mengangkat bangunan suci ini, seperti halnya naga-naga yang berada di setiap ujung candi, dan naga dua naga di sisi timur. ragam hias pada tangga ini disusun semetris. dua pemuda sedang melakukan perjalanan jauh menyeberang lautan, diikuti seorang panakawan/abdi yang membawa payung, dan tombak sesampainya di pantai mereka menambatkan perahunya dan melanjutkan perjalannya. seorang pemuda sedang melihat pertunjukan tarian yang diiringi musik gendang dan kecer.permainan musik ini tampaknya untuk menyambut kedatangan pemuda tersebut di suatu daerah/perkampungan. sejak jaman dahulu, orang membutuhkan hiburan dengan menari dan memainkan alat musik. rasa indah sebenarnya merupakan fitrah manusia. oleh karena itu manusia primitifpun sudah mulai menari, bermain musik dan membuat barang kerajinan dan menggambar. seorang laki-laki sedang memperbincangkan sesuatu dengan seorang perempuan. seorang inang datang menyembah. tampaknya pemahat ingin menampakkan bahwa perempuan tersebut cantik jelita dengan membuat postur tubuh langsing, tangan membengkok (gendewa pinenthang), rambut terurai. seorang laki-laki jatuh cinta pada perempuan jelita. seorang laki-laki sedang meninggalkan rumah atau tempat peristirahatan, dan di melanjutkan perjalanannya. laki-laki yang keluar rumah pada gambar sisi barat 11, ternyata ingin menghadap seorang pendeta pada suatu harmonia, volume 12, no. 2 / desember 2012178 paksa sudah sampai kayangan, sebab ada binatang aneh. sidapaksa dijemput salah satu bidadari. pangeran sidapaksa telah sampai di kayangan, di sambut tiga orang bidadari. seekor binatang surga (sebab binatang tersebut ajaib) menemani ketiga bidadari tersebut. dua perempuan berjalan tergopoh-gopoh. salah satu perempuan dalam posisi menyembah mengabarkan/ membicarakan sesuatu kepada perempuan di depannya. seorang inang mengatakan bahwa pangeran sidapaksa kembali. sri tanjung sedang gundah ingin sekali bertemu suaminya yang sudah lama meninggalkannya. laki-laki tersebut melambaikan tangan kepada perempuan yang duduk di atas ikan besar, tampaknya perempuan tersebut akan pergi jauh. pangeran sidapaksa terpaksa membunuh istrinya karena dituduh berselingkuh dengan raja sulakrama. seorang laki-laki muda dewasa ditemani abdinya melakukan perjalanan jauh. pangeran sidapaksa pergi bersama abdi punakawannya untuk mencari sri tanjung yang telah dibunuhnya. sidapaksa mengharapkan sri tanjung bisa hidup kembali. sepasang pendeta (laki-laki dan perempuan) mengantarkan seorang perempuan muda berpergian. sepasang laki-laki dan perempuan adalah begawan tambapetra dan sri warni menerima kedatangan pangeran sidapaksa dan abdinya dua orang kesatria sedang mengadakan perjalanan diikuti oleh seorang abdi (punakawan). seorang inang memberitakan sesuatu kepada tuannya. seorang inang/ dayang melakukan perjalanan jauh. ada kesan takut. tampaknya dayang tersebut sedang mendapatkan tugas dari tuannya untuk menemui seseorang. seorang inang mengantarkan surat kepada tuan putri. tuan putri ditemani oleh seorang pendeta perempuan (tampak pada model topinya) di belakangnya terdapat tiga inang. perempuan yang duduk di undak itu tampaknya memiliki inang yang cukup banyak. tiga orang inang terlibat pembicaraan dengan sang putri. tampaknya sang putri sedang gundah memikirkan sesuatu, dan para inang/dayang menghibur dan memberikan jalan keluar. sri tanjung yang hidup kembali memberi kabar bahwa pangeran sidapaksa sedang mencari dirinya. pangeran sidapaksa akhirnya dapat bertemu kembali dengan sri tanjung yang dahulu dibunuhnya. sri tanjung dapat hidup kembali karena tidak bersalah dan belum waktunya meninggal. para inang atau pelayannya ikut senang. suasana ini menggambarkan suatu pertapaan atau rumah tangga pendeta. terlihat dari model topi yang dipakai oleh ketiga orang tersebut. orang suci atau orang yang memberi contoh dan mengajarkan tentang moral sangat diperlukan dalam kehidupan ini. analisis pragmatik: nilai-nilai pendidikan perempuan dewasa muda, seperti digambarkan pada tokoh sri tanjung dan dewi suwistri ikon visualnya adalah gambar perempuan muda yang langsing tidak terlalu tinggi, tangannya memiliki ciri gendewa pinenthang (istilah bahasa jawa), rambut terurai ikal sampai ke bahu., serta tidak banyak menggunakan assesoris atau perhiasan. nilai pendidikannya adalah wanita yang baik dalam hidupnya tidak boleh makan minum dan berhias secara berlebihan. bahkan wanita waktu itu idealnya adalah wanita yang suka berpuasa, dapat merawat tubuh dengan jamu-jamu dari tumbuh-tumbuhan dan rempah-rempah sehingga tubuh menjadi langsing dan padat. tampak pula bentuk wanita yang ideal dalam wayang kulit jawa tengah umumnya. wanita di buat lebih kecil langsing, pinggangnya sangat kecil. wanita yang baik tidak boleh terlalu menuruti hawa nafsu, makan tidak boleh mendahului suami dan anak, dalam arti tidak mementingkan diri sendiri (”ngalah” bahasa jawa), tidak hidup boros. wanita harus selalu bersolek, tetapi tidak boleh berlebihan (sederhana), sehingga terkesan cantik alamiah. pria dewasa muda, seperti digambarkan pada tokoh pangeran sidapaksa dan sang satyawan, ikon visualnya adalah hampir sama dengan ikon pada wanita, yaitu badan langsing, tingginya sedangrustarmadi, ragam hias pada pendapa teras candi panataran di blitar 179 sedang saja tetapi semampai, dan tidak banyak menggunakan assesoris. perbedaannya adalah berambut pendek dan menggunakan topi yang sering disebut tekes, atau topi panji. nilai pendidikannya adalah, pria yang baik juga tidak boleh terlalu gemuk seperti halnya tokoh wanita. pria harus tetap kuat tetapi halus atau sopan. pria yang baik melalui ikon-ikon gambar tokoh muda tersebut juga harus memiliki kekuatan batin untuk mendukung pisiknya, dengan sendirinya harus sering menahan hawa nafsunya (bertapa). ikon semacam ini tampak pula dalam wayang kulit. tokoh arjuna yang terkenal itu adalah tokoh yang lemah lembut, suka bertapa, kalau berjalan tidak tergesa-gesa, selalu waspada, sakti, trampil dan tidak sombong. arjuna ini jarang muncul di pakeliran dengan bertolak pinggang, bahkan dalam berperang sekalipun. pakaiannya pun juga sangat sederhana, dengan kain yang dipakai model bulat di belakang (bokongan), dan kain selendang yang dikaitkan di belakang. arjuna tidak menggunakan perhiasan yang berlebihan tidak bergelang, tidak berkalung tidak menggunakan topi, kecuali hanya menggunakan hiasan telinga sederhana (suweng dan sumping) . rambutnya panjang, tetapi di gelung rapi, maknanya meskipun sederhana tetapi harus tetap merawat penampilannya. merawat tubuh bukan sekedar untuk kepentingan pribadinya, tetapi juga untuk kepentingan lingkungan masyarakatnya. apabila masyarakat melihat orangorang suka kebersihan dan rapi, meskipun sederhana tentu perasaan masyarakat di sekitarnya menjadi nyaman dan aman. berbeda dengan orang yang kurang memperhatikan tubuhnya dan pakaiannya, dan tempat tinggalnya dan bahkan lingkungannya tentu membuat masyarakat menjadi kurang senang. simpulan dan saran makna simbolis `makna simbolis dari ragam ceritera pada pendapa teras adalah hidup seseorang tidak pandang pangkat dan derajat tentu mengalami kesusahan dan kebahagiaan silih berganti. dalam kehidupan seseorang juga mengalami banyak rintangan. keberhasilan dapat dicapai apabila seseorang tersebut dapat mengatasi rintangan. kisah-kisah atau ceritera selalu dimulai dari perenungan atau memiliki tujuan, kemudian perjalanan, menemukan kebahagiaan, dan kembali menemukan masalah dan akhir ceritera kembali hidup bahagia. makna simbolisnya para tokoh tersebut adalah orang-orang yang sederhana, meskipun mereka seorang punggawa kerajaan, bahkan dewa. orang yang berpangkat dan punya derajat tinggi juga mengalami berbagai cobaan seperti orangorang lainnnya. hal ini dibuktikan bahwa pakaian seorang raja yang mendekati dewa atau raja yang tidak memiliki sifat kesederhanaan dibuat pakaiannya dan perhiasannya dibuat lebih lengkap. kandungan nilai-nilai pendidikan nilai pendidikan yang utama bahwa orang hidup jangan cepat menyerah terhadap semua rintangan yang ada. para tokoh ceritera memberikan inspirasi kepada pemirsa bahwa manusia tidak perlu sombong, hidup sederhana, tidak mudah menyerah, selalu beraktivitas, serta hidup itu harus saling mengasihi. seorang abdi (terutama abdi laki-laki) selalu digambar kecil tetapi selalu ada. makna pendidikannya bagaimanapun juga orang kecil sangat dibutuhkan dalam kehidupan para pemimpin/orang besar. tanpa orang kecil, orang besar tidak akan hidup, begitu sebaliknya. daftar pustaka affandi. 1973. sejarah seni rupa indonesia. yogyakarta: swadaya. alwasilah, a. chaedar. 2002. pokoknya kualitatif. dasar-dasar merancang dan melakukan penelitian kualitatif. jakarta: pustaka jaya. apriyatno, veri. 2004. cara mudah menggambar dengan pensil. jakarta: kawan pustaka harmonia, volume 12, no. 2 / desember 2012180 azwar, saifuddin. 2003. sikap manusia teori dan pengukurannnya. yogyakarta: pustaka pelajar. basrowi dan sukidin. 2002. metode penelitian kualitatif. surabaya: insan cendekia. bungin, burhan. 2003. analisis data penelitian kualitatif. jakarta: rajagrafindo persada. cahyono, dwi. m. 2010. kepurbakalaan kompleks candi penataran, wujud ekspresi seni rupa gaya jawa timuran masa hindu-buddha. makalah disajikan dalam hajatan seni 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��$�� ������ & ��*�n��&�"�� �g�!����n��&�"�� ��� %�(��&�� ��������.)/������ �& ��*� ��+��(���g��� ��&�"�� ���� 4������ ��� � � � �������� � ��(������ � ��4 � ��&�" �!"�(� � � ���� � ����� ��(������� vol. 2 no. 3/september – desember 2001 71 108 tari sesaji pangentas bilahi sudra tingal darmasti institut seni indonesia surakarta, jalan ki hajar dewantoro 19 surakarta e-mail: darmas-1958@yahoo.com abstrak tari sesaji pangentas bilahi ‘sudra tingal’ merupakan garapan baru yang ditarikan oleh sembilan penari putri. gerak tari sesaji mengacu para tari bedhaya. struktur tari sesaji dibagi menjadi tiga bagian yaitu maju beksan, beksan, dan mundur beksan. pada maju beksan penari bergerak dari pinggir menuju gawang pokok ke tengah pedhapa agung dengan pola gerak kapang-kapang, diiringi dengan pathetan vokal putra laras pelog nem dan iringan beberapa intrumen gamelan berupa gender, rebab, gambang dan suling. syair cakepan pathetan digunakan untuk menggambarkan memuja ke agungan yang maha kuasa. beksan pokok terdiri dari tujuh kesatuan gerak dengan berbagai garap iringan musikal seperti penggarapan gendhing sekaten, demung imbal merupakan penggambaran konflik batin antara situasi dan suasana yang terjadi. gerak beksan pokok merupakan penggambaran tentang segala usaha manusia dalam mendekatkan diri kepada sang penguasa jagad raya. mundur beksan penari berjalan perlahan dengan pola gerak kapang-kapang dari pendhapa agung keluar arena pentas, dengan iringan gending ladrangan, sebagai ungkapan rasa syukur kepada tuhan yang maha esa. tari dipentaskan dalam rangka wisuda sarjana seni dan magister seni institut seni indonesia surakarta yang ke empat puluh enam. sesaji pangentas bilahi sudra tingal dance abstract sesaji pangentas bilahi sudra tingal dance is a new performance, performed by nine female dancers. the movement of sesaji dance resembles that of bedhaya dance. the structure of sesaji dance consists of three parts, namely maju beksan, beksan, and mundur beksan. in maju beksan, the dancers move from the edge to central hurdle to middle pendhapa agung (grand ballroom) in kapang-kapang movement pattern, accompanied by pathetan vokal putra laras pelog nem and traditional musical instruments such as gender, rebab, gambang and suling (bamboo flute). cakepan pathetan lyric is used to express the worship of god almighty. beksan pokok consists of seven movement unity with several musical accompaniments such as gendhing sekaten, demung imbal to portray an inner conflict between outer situation and one’s inner atmosphere. the movement of main beksan is a description about human’s effort in coming closer to god almighty. in mundur beksan, dancers walk slowly in kapang-kapang movement pattern out of pendhapa agung to performance stage, accompanied by ladrangan gending, as a gratitude to god almighty. the dance is performed in commemoration of the 46th graduation ceremony of indonesian arts institute, surakarta. kata kunci: tari sesaji, garap baru, tari, wisuda. darmasti, tari sesaji pangentas bilahi sudra tingal 109 pendahuluan tari merupakan salah satu bentuk kesenian yang menggunakan media ungkap gerak tubuh manusia. gerak dalam tari bukanlah gerak realistis melainkan gerak yang telah distilir. gerak tari diungkapkan secara indah. gerak tari merupakan ekspresi kekuatan batin manusia. tari adalah gerak seluruh anggota badan, yang diiringi dengan musik gamelan dikoordinasikan menurut irama gamelan, kesesuaian dengan sifat pembawaan tari serta maksud tarinya (suryodiningrat, 1934:3). tari adalah ekspresi jiwa manusia melalui gerak-gerak ritmis yang indah. tari dapat dipergunakan dalam beberapa fungsi. tari sejak dahulu diciptakan oleh manusia untuk memenuhi hasrat kejiwaannya. tari jaman primitif sampai jaman modern masih sering digunakan untuk sarana yang berhubungan dengan kekuatan gaib seperti misalnya tari untuk meminta hujan, menolak balak, untuk mendatangkan rejeki. pertunjukan tari yang berhubungan dengan kekuatan gaib biasanya bersifat ritual. kegiatan ritual memerlukan berbagai persyaratan di antara dipilihnya hari yang tepat, kedua para penari telah terbiasa dengan laku tirakat, ketiga tempat yang tertentu, keempat penonton dan undangan sebagai jema’at pengikut upacara ritual, kelima terdapat sesaji dan doa (soedarsono, 1999:192-193). dalam kondisi sekarang muncul debut tari sesaji. sebutan tari sesaji dapat ditafsirkan dalam dua hal, pertama sebagai sebuah nama salah satu jenis tarian, kedua sebagai salah satu tari yang digunakan untuk kelengkapan suatu bentuk peristiwa kejiwaan tertentu. sesaji dari kata saji yang berarti hidangan berupa makanan dan lauk-pauk yang sudah disediakan pada suatu tempat untuk dimakan. kata saji sering juga disebut sajen, (wahyono, 2009). sajen adalah pisungsung yang diperuntukan bagi makluk halus. saji mendapat tambahan awalan semenjadi sesaji yang berarti persembahan manusia kepada makhluk gaib yang dianggap akan mendatangkan ketentraman, keselamatan, kesejahteraan dan kebahagiaan. perilaku kehidupan manusia yang sering melakukan sesaji biasanya merasakan dirinya serba lemah sehingga kurang percaya diri serta kurang berpikir rasional. perilaku sesaji mengalami perubahan pemaknaan yang cenderung bersifat simbolis serta dapat ditafsirkan untuk mengelabuhi makhluk halus agar tercapai apa yang diinginkan (subandi, wawancara 5 januari 2011). sesuai dengan perkembangan kebutuhan manusia, tari kemudian digunakan untuk berbagai macam sarana mencapai tujuan tertentu seperti misalnya sebagai hiburan, sarana pergaulan, identitas masyarakat, sarana pariwisata. bentuk tari kemudian berkembang menjadi simbolisme untuk menunjukan suatu derajad tertentu. tari-tari untuk kepentingan simbolis biasanya dapat bersifat pseudo ritual, sarana upacara, dan profan. tari untuk ritual yang berada di perkotaan jarang dijumpai, sekalipun sebutan tariannya menggunakan istilah ritual, seperti contoh tari keblat papat limo pancer, serimpi anglirmendhung, dan bedhaya ketawang. tari sesaji merupakan sebutan nama untuk satu repertoar jenis tari. tari sesaji biasanya dipertunjukan pada acara yang bersifat simbolis seperti misalnya penerimaan iso 1901, peresmian bandara, dan peresmian pembukaan pesta seni. tari sesaji selalu dipentaskan pada upacara wisuda para seniman dan sarjana lulusan perguruan tinggi seni di surakarta. sesaji bagi kalangan umat islam pada umumnya masih sering dilakukan dengan penafsiran yang baru. sesaji tidak dimaksudkan untuk makhluk halus akan tetapi sebagai ungkapan rasa syukur kepada tuhan yang telah memberikan karunianya yang banyak. bermacam-macam makanan, hasil tanaman, pakaian baru masih dapat dijumpai ditengah masyarakat, dengan diberi doa secara islami merupakan simbolisme hubungan manusia dengan tuhan yang masih dilakukan pada saat-saat tertentu masih seperti contohnya gunungan sekaten, sebaran apem yoko wiyu. harmonia, volume 12, no. 2 / desember 2012110 permasalahan adalah bagaimana bentuk dan elemen tari sesaji pangentas bilahi sudra tingal yang dilakukan untuk upacara wisuda? landasan pemikiran karya tari sesaji konsep kekaryaan tari sesaji memputari sesaji mempunyai rasa regu yang mengandung penger tian agung, berwibawa. pertunjukan tari sesaji dipertunjukan dalam rangka dies natalis isi surakarta yang ke empat puluh enam. suasana diimplementasikan lewat pola gerak yang halus, tenang, semeleh, menep, hening, dan wingit. tari sesaji diharapkan mampu membawa para penonton kepada suasana magis. semua hadirin menjadi bagian dari upacara ke arah semedi. pada saat pertunjukan berlangsung, semua yang terlibat beserta tamu undangan yang hadir di pendhapa tenang dan khidmat menghayati pertunjukan tari sesaji berlangsung. secara etimologi kata sesaji, saji, sama dengan cecaos, caos yang berarti persembahan. manusia melakukan persembahan dalam rangka menyatukan jiwanya kepada illahi (bausastra jawa 2000:64). pengentasan bilahi merupakan usaha membebaskan diri manusia atas nasib yang kurang menguntungkan perikehidupannya. sudra tingal tidak dimaknai sebagai tingkat kasta terendah, namun kelumrahan, kebiasaan-kebiasaan buruk dalam diri manusia. manusia sebagai ciptaan tuhan harus meninggalkan kebiasaan-kebiasaan buruk dalam diri manusia untuk dapat membangun kembali keseimbangan dalam menghadapi tantangan jaman. dalam konteks sebagai pelengkap wisuda, mahasiswa yang sebelumnya masih belum memiliki derajat sarjana seni atau seniman dianggap sebagai manusia lumrah atau manusia biasa, ditingkatkan derajatnya menjadi sarjana seni atau magister seni. melalui wisuda yang diawali dengan tari sesaji adalah untuk meningkatkan keluhuran budi. konsep kreatifitas manusia merupakan bentukan dari pengalaman, pertemuan, dan pergesekan dengan sesuatu di luar dirinya terutama alam dan lingkungan sosial. jiwa akan menentukan cara pandang manusia akan dunianya, yang terlihat lewat sikap dan perilaku. segala keputusan sikap dan perilaku merupakan cermin pemahaman manusia akan arti kebebasan yang sesungguhnya. pertimbangan pe ngambilan keputusan melibatkan tanggung jawab sosial, kebersamaan saling menghargai antara satu posisi dengan posisi lainnya. antara manusia dengan manusia. antara manusia dengan alam, manusia meyakini hubungan tiga realitas yaitu hubungan antara manusia dengan tuhan, manusia dengan diri sendiri termasuk dengan masyarakat dan manusia dengan alam (abdullah ciptoprawiro 1986: 46-47). tari sesaji sebagai karya seni terbagi atas dua bagian yaitu isi dan bentuk. ben-bentuk adalah perwujudan secara fisik yang dapat ditangkap oleh indera melalui penghayatan gerak, iringan, rias, dan busana, serta alat-alat lainnya yang kesemuanya merupakan medium tari untuk mengungkapkan isi. garap bedayan sembilanan penari sebagai ungkapan dalam bentuk fisik. isi merupakan kehendak atau karep, pesan yang ingin disampaikan. bentuk dapat diindera melalui penyajiannya serta pengamatan terhadap koreografinya. adapun isi dapat ditangkap melalui penghayatan terhadap penyajian bentuk. gagasan isi dalam tari jawa dituangkan ke dalam bentuk dengan cara sangat halus dan spesifik. setiap pribadi seniman pencipta tari, mengimplementasikan karya yang dihasilkannya. dengan demikian setiap karya tari adalah pengejawantahan dari jiwa senimannya. proses kreatif penyusunan tari dalam proses penyusunan tari sesaji diawali pejelajahan gerak tari tradisi dan mengacu pada sekaran tari gaya surakarta. penjelajahan dilakukan dengan cara mengapresiasi tari melalui koleksi rekaman video tari bedhaya yang telah ada. beberapa di antaranya bedhaya anglirmendhung, bedhaya duradasih, bedhaya pangkur, dan bedhaya ela-ela. dengan penjelajahan diperoleh perbendaharaan gerak. dengan darmasti, tari sesaji pangentas bilahi sudra tingal 111 banyaknya perbendaharaan gerak, tari sesaji mendapatkan bentuk yang sesuai untuk diwujudkan dalam gagasan isi. terdapat keterpaduan antara bentuk gerak dengan karakter. kekayaan perbendaharaan gerak menjadi semakin lengkap. salah satu contoh dari sekaran tari alus antara lain sidangan sampir sampur dalam tari sesaji menjadi sekaran putri nama ngalap sari ngolong sampur. dalam melakukan gerak mbukak tungkai volume dipersempit dan penthangan lengan tidak terlalu tinggi. kekayaan vokabuler sekaran geraknya menjadi tidak terbatas pada tari putri melainkan tari alus. elemen-elemen tari sesaji tari sesaji adalah sebuah tarian dilakukan oleh sembilan orang penari putri yang berbusana, tata rias, serta gerak tarian yang sama yaitu tari putri dengan kualitas gerak halus dan cenderung lembut. masing-masing penari tidak mempunyai nama-nama secara khusus di dalam komposisi penyajiannya. struktur pola penyajian tari sesaji terbagi menjadi tiga bagian. bagian pertama, maju beksan, penari berjalan perlahan dengan gerak kapang-kapang secara berurutan dari belakang menuju arena bagian tengah pendhapa agung menuju ke gawang pokok. bagian kedua para penari menempatkan diri pada posisi duduk bersila atau jengkeng nikelwarti dengan berjalan perlahan gerak kapangkapang, menyajikan serangkaian gerak sembahan sebagai gerak awal kemudian dilanjutkan berdiri menari dengan berbagai macam sekaran dan perubahan pola lantai kemudian diakhiri gerak sembahan. bagian kedua lazimnya disebut bagian beksan. bagian ketiga, mundur beksan merupakan kebalikan dari bagian pertama, yaitu berjalan perlahan berurutan menggunakan pola gerak kapang-kapang, keluar dari pendhapa agung. elemen-elemen yang membentuk tari sesaji dapat diamati meliputi: gerak, pola lantai iringan, tatagerak, pola lantai iringan, tatarias, dan tatabusana. gerak maju beksan diiringi dengan pathetan vokal putra laras pelog nem dengan iringan beberapa intrumen gamelan berupa gender, rebab, gambang dan suling. bagian pertama, maju beksan, penari berjalan perlahan dengan gerak kapang-kapang secara berurutan dari belakang menuju arena bagian tengah pendhapa agung menuju ke gawang pokok. gerak bagian beksan pokok dapat dikategorikan menjadi beberapa bagian berdasarkan peralihan iringan gending-nya. gerak bagian awal dimulai dengan gerak panggel-leyek, kanan, lungguh jengkeng, silih ukih, sembahan, berdiri leyekan, bersila atau jengkeng nikelwarti. gerak bagian beksan pokok kedua diawali gerak sembahan dua kali yaitu ngayang putar, ke kiri, leyek kiri, tangan atur, nyangga, menthang kanan, leyek kanan, nyangga kiri, leyek kiri, putar ke kanan menthang kanan, kenser kiri, ukel kanan, menthang kanan, manglung kiri. bagian beksan pokok awal dan kedua diiringi bentuk gending sekatenan dibarengi vokal bersama putra dan putri yang di awali buka bedhug. gerak bagian beksan pokok ketiga dimulai dari ngayang kekanan putar satu lingkaran, arah hadap pojok kanan depan, jalan kapang-kapang. pada bagian po-pokok ketiga diiringi ricikan bonang tabuhan sekaten. gerak bagian beksan pokok empat jengkeng timpuh manembah ukel kanan, kiri, manglung ke depan panggel. ukel mlumah lengget, kedua trap karno, lenggut mecut, menthang kanan kiri, ukel kembar ke kiri, gedeg, berdiri lenggut srisig. bagian keempat menggunakan iringan bentuk pathetan dengan vokal putri. gerak bagian beksan pokok kelima pacak gulu, miwir sampur kanan, manglung, usap, glebag kanan, sindet. gerak bagian beksan pokok keenam srimpet panggel jengkeng, sindet golek, glebakan dua kali kenser nanggung kanan, kipat srisig mundur sindet, manglung kanan, lenggut, kiri lenggut usap, srisig. gerak bagian beksan pokok ketuju engkyek, glebag, kanan, kenser ke kiri, glebag kiri sindet, ngalapsari, sindet, ngembat kanan, kebyok kiri, ukel kanan kiri sindet. iringan vokal putra dan putri yang digarap secara bergantian. sebagai pola gerak penghusebagai pola gerak penghubung antara lain kengser, srisig, lumaksana, harmonia, volume 12, no. 2 / desember 2012112 bentuk pola lantai rakit tiga-tiga. bentuk pola lantai tiga-tiga di dalam tari bedhaya pada umumnya gaya surakarta merupakan bagian akhir dari peperangan atau cinta kasih yang dilakukan batak dan endhel ajeg. kemudian tujuh penari berdiri, dilanjutkan kesembilan penari bergerak bersama membentuk rakit tiga-tiga. garapan pola lantai dalam karya tari sesaji agak berbeda karena gawang tiga-tiga jatuh pada akhir beksan dengan iringan bentuk ladrang garap tanggung dan lancar dan sesudah tercapainya cita-cita. gawang montor mabur posisi penari membentuk kapal terbang. posisi montor mabur dibentuk oleh lima penari berderet sejajar membujur tepat di tengah ruangan sementara dua penari berada di depan penari kedua dan ketiga, sedangkan dua penari yang lain berada di belakang penari kedua dan ketiga. gawang ketonggeng, posisi lima penari yang berada segaris membujur tepat di tengah ruangan; sedangkan dua penari berada di depan dan di belakang segaris melintang dengan penari yang berada di tengah. dua lainnya berada segaris dengan dua penari yang berada di depan dan belakang tepatnya di sisi luar penari yang berada di ujung kiri. gawang telu-telu, penari berjajar membentuk barisan dan setiap barisan terdiri dari tiga orang. gambar 2. formasi penari membentuk gawang tiga tiga. musik musik tari sesaji pangentas bilahi ‘sudra tingal’ menggunakan seperangkat dan sindet. gambar 1. pose gerak peperangan bathak-endel pola lantai susunan tari sesaji menggunakan pola-pola perubahan tempat yang dibentuk oleh sembilan orang penari putri. perpindahan penari dari satu ke tempat lain membentuk formasi tertentu dinamakan dengan pola lantai atau gawang. pola lantai atau formasi yang digunakan pada beksan dalam sesaji menggunakan pola lantai ketonggeng, montor mabur, dan tiga-tiga sebagai pola lantai penutup. kesan gerak penari menceritakan tentang sikap manusia dalam mencari kedamaian yang diwujudkan dengan dua penari menggunakan pola lantai adhep adu lawan. kedua penari memegang peranan utama, sedang ketujuh penari lainnya dengan posisi duduk jengkeng melakukan gerakan yang sama. pola lantai tersebut menggambarkan serta melukiskan dalam satu keluarga berusaha untuk mewujudkan kedamaian. pola lantai merupakan bagian yang sangat penting, karena dalam garapan tari sesaji bersifat tematis, penggambaran cerita terletak pada bagian kedua. makna simbolis dapat diambil pada adegan kedua adalah satu kesatuan antara kedua figur yang saling bertentangan. pola gerak yang digunakan dalam tari sesaji berupa gerak-gerak dengan posisi bersila, jengkeng nikelwarti, dan berdiri yang tidak mengubah pola lantai. gerak berjalan membuat pola lantai menjadi berubah. darmasti, tari sesaji pangentas bilahi sudra tingal 113 cakepan vokal putra laras pelog nem: maju beksan: puja puji mring sang hyang agung rahayu a sakeh ing goda sang maha agung, kang tansah welas asih, mring manungsa. kang pada demen manembah iku pada kawruhana. badan ira bakal bali ing sang murba, sampurnaning dumadi. dilanjutkan raciakn bonang: pathetan vokal putri laras pelog barang. dhuh jagad dewa batara, jalama westri datan kendat. paring peling marang sira, mungguh sasmita ning suksma, didohna saking durhaka selanjutnya masuk demung imbal. pada akhir tari sesaji, mundur beksan dengan musik ladrang –lancaran notasi: .5.5 6235 .5.5 623 .2.5 .2 .5 .2.3 563(5) .5.5 6235 .5.5 6235 .2.5 .2.5 .2.3 .6.(5) . 5.5 .2.5 .2.3 .6.5 .2.1 .6.5 .... ...(.) 111. 111. 111. 123(1) 111. 111. 111. 352(3) 333. 333. 333. 356(3) 1.5. 6.3. 156. 3.1(5) 4265 4254 2161 232(1) . tata rias dan tata busana tari sesaji merupakan tarian garapan baru. tata rias yang digunakan mengacu pada tari bedhaya istana tanpa menggunakan sogokan dan godheg. wajah menggunakan rias korektif cantik. tata rias kusus untuk mempercantik wajah penari dilihat dari aspek penonton. kulit badan mengenakan lulur agar kelihatan cantik. hiasan pada bagian kepala para penari mengenakan tatanan rambut gelung ageng yang dihiasi dengan sepasang untaian bunga melati disebut bangun tulak, gamelan jawa yang berlaras slendro dan pelog. dalam pementasan tari sesaji, iringan musikal dapat dikelompokan menjadi beberapa bagian. bagian pertama pathetan vokal putra laras pelog nem de ngan iringan beberapa instrumen gamelan berupa gender, rebab, gambang dan suling. pathetan untuk mengiringi para penari melakukan gerak kapang-kapang menuju ke gawang pokok. suasana yang hendak disampaikan pada bagian pertama yaitu keheningan. bagian kedua gending sekaten dibarengi vokal bersama putra dan putri yang di awali buka bedhug. bagian kedua untuk mengiringi para penari melakukan bergerak pelan-pelan jengkeng/nikelwarti sebagai awal manembah. suasana yang dibagun pada bagian kedua adalah tintrim, kekusukan dalam manembah. bagian ketiga tabuhan ricikan bonang bersamaan dengan pathetan vokal putri, dilanjutkan ladrangan demung: imbal. saron slentem: nibani dan srepeg barang miring demung dan slenthem, instrumental siter dan gender penerus. para penari melakukan serangkaian gerak manembah dengan beberapa perubahan pola lantai. suasana yang dibagun pada bagian ketiga adalah agung, wibawa yang menggambarkan sikap manusia sebagai kesatria gagah berani dan bertanggung jawab. bagian keempat gending ladrang barang miring dengan garap irama tanggung dan lancar. para penari melakukan gerak kapang-kapang menuju tepi pendapa sebagai tanda akhirnya pementasan tari sesaji secara keseluruhan. suasana yang dikehendaki lega dititik beratkan pada manusia telah berhasil dalam mengadapi segala hambatan. syair dalam cakepan pathetan digunakan untuk menggambarkan memuja ke agungan yang maha kuasa tentang segala usaha manusia dalam mendekatkan diri kepada sang penguasa jagad raya. penggambaran tentang usaha manusia diakhiri dengan ladrang yang merupakan ungkapan rasa syukur kepada tuhan yang maha esa. penggarapan gendhing dengan demung imbal merupakan penggambaran konflik batin antara situasi dan suasana yang terjadi. harmonia, volume 12, no. 2 / desember 2012114 dipasang di tengah sanggul, posisi melintang saling bertolak belakang. sanggul dihiasi dengan sepasang bunga kantil, disematkan pada bagian samping di belakang telinga kanan dan kiri. di antara bangun tulak dihiasi sebuah bros, diperindah dengan bunga melati. perhiasan yang digunakan adalah sebuah cunduk menthul yang ditancapkan dibagian atas tengah sanggul, menghadap ke belakang. leher mengenakan kalung semyok, pergelangan tangan menggunakan gelang permata. pada daun telinga dihiasi sepasang suweng. penari menggenakan kain samparan putih yang dikenakan bagian dalam dengan model samparan, dililitkan pada tubuh dari arah kanan ke kiri. bagian luar yang dipilih model busana bentuk dodot ageng. bentuk dodot ageng terkesan anggun dan berwibawa. bahan dipilih dari kain batik dengan motif babon angrem warna coklat tua dengan dasar warna hitam. motif babon angrem termasuk motif kebanggaan dan bermakna kesuburan. kain motif babon angrem dipakai baik penari maupun pengrawit. ragam hias yang terdapat pada motif kain babon angrem adalah adanya sepasang sayap, burung, tumbuh-tumbuhan dan gunung. bentuk dodot ageng babon angrem, dipadu dengan bentuk kain samparan berwarna putih. perpaduan bentuk babon angrem dengan kain samparan dipaduan lagi dengan sampur berwarna hijau. sampur yang dikenakan melingkari bagian perut, ke dua ujung ujungnya berjuntai ke bawah hampir menyentuh kaki. di atas sampur melingkar sebuah ikat pinggang slepe berwarna hijau tua bagian tepi diplisir dengan warna kuning. simpulan tari sesaji pangentas bilahi sudra tingal merupakan garapan baru. gerak tari sesaji mengacu para tari bedhaya. susunan geraknya terdiri dari maju beksan, beksan dan mundur beksan. gerak beksan pokok pertama diawali dengan panggelleyek, kanan, lungguh jengkeng, silih ukih sembahan, berdiri leyekan, sembahan dalam posisi duduk bersila atau jengkeng nikelwarti. gerak beksan pokok kedua sembahan dua kali yaitu ngayang putar, ke kiri, leyek kiri, tangan atur, nyangga, menthang kanan, leyek kanan, nyangga kiri, leyek kiri, putar ke kanan menthang kanan, kenser kiri, ukel kanan, menthang kanan, manglung kiri. ba-bagian beksan pokok pertama dan dua diiringi bentuk gending sekatenan dibare ngi vokal bersama putra dan putri yang di awali buka bedhug. gerak beksan pokok ketiga ngayang kekanan putar satu lingkaran arah hadap pojok kanan depan, jalan kapang-kapang. musik ricikan bonang tabuhan sekaten. ge-gerak beksan pokok empat jengkeng timpuh manembah ukel kanan, kiri, manglung ke depan panggel. ukel mlumah lengget, kedua trap karno, lenggut mecut, menthang kanan kiri, ukel kembar ke kiri, gedeg, berdiri lenggut srisig. bagian keempat musik bentuk pathetan dengan vocal putri. gerak beksan pokok kelima pacak gulu, miwir sampur kanan, manglung, usap, glebag kanan, sindet. gerak bagian beksan pokok keenam srimpet panggel jengkeng, sindet golek, glebakan 2 kali kenser nanggung kanan, kipat srisig mundur sindet, manglung kanan, lenggut, kiri lenggut usap, srisig. gerak bagian beksan pokok ketuju engkyek, glebag, kanan, kenser ke kiri, glebag kiri sindet, ngalapsari, sindet, ngembat kanan, kebyok kiri, ukel kanan kiri sindet. kemuda vocal putra dan putri yang garap secara bergatian. pola gerak penghubung antara lain ke ngser, srisig, lumaksana, dan sindet. tari sesaji diiringi dengan seperangkat gamelan jawa berlaras slendro dan pelog serta gamelan sekaten. struktur iringan menggunakan pathetan, gending sekaten, ladrang barang miring. tata rias menggunakan tata rias cantik, dan tata busana mengenakan dodot ageng babon angrem. kesan garapan tari sesaji bersifat anggun, agung, wibawa, tintrim dan regu. tari sesaji caosan pangentas bilahi ‘sudra tingal’ dipentaskan dalam rangka dies natalis dan wisuda isi surakarta yang ke darmasti, tari sesaji pangentas bilahi sudra tingal 115 empat puluh enam. daftar pustaka abdullah ciptoprawiro. 1986. filsafat jawa. jakarta: balai pustaka. anton m. moeliono, dkk, (ed.).1989. kamus besar bahasa indonesia. jakarta: departemen pendidikan dan kebudayaan balai pustaka. darmasti. 2011. “kidung kandhasanyata sebagai ekspresi estetik pesinden wanita mardusari”. harmonia jurnal pengetahuan dan pemikiran seni. fpbs. unnes. semarang: vol 11 no 2 hal 180-190. edi sedyawati. 1981. pertumbuhan seni pertunjukan. jakarta: sinar harapan. fred wibowo. 2002. tari klasik gaya yogyakarta. yogyakarta: yayasan bentang budaya. hasan shadily. 1984. ensiklopedi indonesia. jakarta: van hoeve icthtiar baru. hawkins, alma m.1990. mencipta lewat tari. terj. sumandiyohadi. yogyakarta; isi . hadikoesoemo, s. 1985. filsafat ke jawan. jakarta: yudhagama corporation. jazuli, m. 1994. telaah teoritis seni tari. semarang: ikip semarang press. soedarsono. 2000. masa gemilang wayang wong gaya yogyakarta. jakarta: tarawang press. suryodiningrat. 1934. babad lan mekaring djoget djawi. yogyakarta: buning. widada dkk., 2000. kamus bahasa jawa bausastra jawa. yogyakarta: kanisius. vol. 8 no.2 mei-agustus 2007.pdf harmonia jurnal pengetahuan dan pemikiran seni reog kemasan sebag aiaset pariwisata unggulan kabupaten ponorogo (the packes reog as the high tourism ofponorogo residence) maryono stafpengajar jurusan tori isi surakarta abstrak reog merupakan kesenian rakyat ponorogo yang berkembang di beberapa wilayah terutama di jawa timur, jawa tengah dan daerah khusus ibukota jakarta. reog sebagai seni kemasan pariwisata mulai digelar pada festival reog tingkat nasional dalam serangkaian grebeg suro pada tahun 1980 di ponorogo. reog dikemas secara ringkas dan padat agar dalam waktu pementasan yang singkat, gerak dimodifikasi, kualitas mutunya tetap terjamin dapat memuaskan selera wisatawan. seluruh penari reog menjadi pemegang peran, sehingga dapat menarik penonton. tari warok, dhadhak merak, bujangganong, jathtt dan klana topeng melakukan kreatifitas gerak tari sesuai dengan keahlian senimannya, sehingga memberikan nuansa baru. sebagai seni kemasan reog merupakan tiruan dari aslinya, relatif kaya gerak dan singkat dalam arti waktu pertunjukan relatif pendek, penuh variasi, mengesampingkan nilai sakral, magis serta simbolis dan relatif murah harganya. kata kunci: pariwisata, kemasan, reog ponorogo. a. pendahuluan pada awalnya bentuk kesenian reog merupakan salah satu bentuk kesenian rakyat yang sangat sederhana. kesederhanaan dan kesahajaan dapat diamati dari tata rias dan tata busana, bentuk gerak para penari yang relatif sederhana oleh karena semula hanya seperti berjalan-jalan kemudian sedikit agak bergoyang mengikuti bunyi instrumen terutama mengenai irama : keras-lirih, cepat-lambat, dan per gantian bentuk gending. dalam sajian reog, bentuk gerak yang relatif agak dominan terutama atraksi dhadhak merak dengan topeng ganongan. beberapa pemegang peran tari yang lain diantaranya adalah : dhadhak merak ( pembarong yang memainkan topeng kepala singa dengan jamang bulu merak yang ditata bagaikan kipas dengan ukuran lebar dua meter, tinggi dua setengah meter), topeng ganongan, klana topeng, jathil sebagai pemain kuda kepang, dan warok. bentuk sajian semula lebih tampak sebagai sebuah prosesi, banyak berjalan kadang-kadang berhenti untuk atraksi dhadhak merak yang berpasangan dengan topeng ganongan. kesederhanaan dan kesahajaan juga dapat diamati dari seperangkat instrumen yang digunakan sebagai iringan yang terdiri dari: sebuah kendang besar, sebuah kendang ketipung, sebuah seruling, sebuah terompet, gong besar dari besi, ketuk dari besi dan dua buah angklung. permainan volume viii no.2 / mei-agustus 2007 158 harmonia jurnal pengetahuan dan pemikiran seni instrumen relatif mudah disajikan. kendang mempunyai peranan yang sangat vital yaitu sebagai pengendali dan pengatur seluruh bunyi instrumen terutama mengenai irama: keras-lirih, cepat-lambat, dan pergantian bentuk gending. irama permainan kendang lebih banyak mungkus dalam mengiringi tarian, terutama atraksi dhadhak merak dengan topeng ganongan. irama gending seirama jalannya pasukan berbaris dan relatif agak monoton. irama dinamis terjadi pada saat dhadhak merak dan topeng ganongan melakukan atraksi. permainan diawali dari tarian topeng ganong yang mencoba menggoda dhadhak merak dengan gerak-gerak geculan, kemudian semakin meningkat menjadi sebuah permusuhan yang membuat pertunjukan semakin menarik dan memikat penonton. pemegang peran yang lain seperti warok, jathil, klana topeng sebagai penari depan yang berbaris menjadi cucuk lampah untuk mengawali barisan dengan bentuk gerak yang sederhana. reog berkembang di luar daerah asal mulanya seperti jawa timur, jawa tengah dan daerah khusus ibukota jakarta. sebagai kesenian, reog berkembang dalam berbagai bentuk mengikuti seniman penyajinya. reog oleh pemerintah kabupaten ponorogo diangkat menjadi kesenian khas tradisional yang menjadi aset pariwisata daerah. reog kemudian disajikan dalam berbagai bentuk pertunjukan. dalam beberapa festival, muncul reog yang dikemas secara ringkas dan padat akan tetapi tetap memiliki kualitas yang tinggi. reog dalam bentuk kemasan kemudian dijadikan andalan pariwisata. permasalahan yang utama adalah bagaimanakah sajian reog kemasan pariwisata yang menjadi obyek wisata unggulan? reog sebagai seni kemasan memerlukan penggarapan yang serius agar lebih menarik wisatawan baik domestik maupun wisata manca negara termasuk dalam berbagai pen-dukungnya. b. konsep pengembangan wisata menurut undang-undang republik indonesia nomor 9 tahun 1990 tentang kepariwisataan pada bab i ketentuan umum pasal 1 ayat 1 dan 2 disebutkan: 1. wisata adalah kegiatan perjalanan atau sebagian dari kegiatan tersebut yang dilaku-kan secara sukarela serta bersifat sementara untuk menikmati obyek dan daya tank wisata; 2. wisatawan adalah orang yang melakukan kegiatan wisata ( a. hari karyono.1997:21) dalam hal obyek wisata, setiap daerah memijiki keunggulan yang berbedabeda dengan daerah yang lainnya. obyek wisata secara garis besar dapat digolongkan menjadi dua bagian yaitu obyek wisata alarn dan obyek wisata budaya. obyek wisata alam dapat berbentuk keindahan alam seperti pemandangan yang indah, udara dingin pada suatu gunung, pantai, sumber alam, gua-gua atau bentuk obyek wisata yang lain. kedua wisata budaya tersebut merupakan hasil kreatifitas manusia. dalam obyek wisata budaya dapat berbentuk hasil kesenian dan dapat berupa atraksi budaya. reog sebagai sebuah kesenian merupakan obyek wisata yang berbentuk atraksi budaya. reog sekarang telah mengalami perkembangan baik dalam sajian maupun peminatnya. volume viii no.2 / mei-agustus 2007 159 harmonia jurnal pengetahuan dan pemikiran seni reog banyak disajikan untuk mengiringi berbagai keperluan. di dalam gbhn republik indonesia 1999 bab iv sub f bidang sosial dan budaya, poin 2 memuat arah kebijaksanaan kebudayaan, kesenian dan pariwisata, terdapat butir-butir yang menunjukkan hubungan antara seni dan pariwisata. a. melestarikan apresiasi nilai kesenian dan budaya tradisional serta menggalakkan dan memberdayakan sentra-sentra kesenian untuk merangsang berkembangnya kesenian nasional yang lebih kreatif dan inovatif, sehingga menumbuhkan rasa kebangga an nasional. b. menjadikan kesenian dan kebudayaan tradisional indonesia sebagai wahana bagi pengembangan pariwisata nasional dan mempromosikan ke luar negri secara konsisten sehingga dapat menjadi wahana persahabatan antar bangsa. c. mengembangkan pariwisata melalui pendekatan sistem yang utuh dan terpadu yang bersifat interdisipliner dan partisipatoris dengan rneng gunakan kriteria ekonomis, sosial budaya, hemat energi melestarikan alam dan tidak merusak lingkungan (1999: 25) obyek wisata daerah secara umum merupakan daya tarik daerah terhadap wisatawan untuk mencari hiburan. wisatawan dapat melakukan perjalanan wisata selama berhari-hari dan membelanjakan sejurnlah uangnya pada daerah tujuan wisata. berbagai penunjang pariwisata dibangun seperti misalnya keamanan wisata, jalan yang halus, hotel, penginapan, makanan khas dan berbagai toko souvenir sehingga wisatawan kerasan tinggal berlama-lama di daerah tempat wisata. di daerah kabupaten ponorogo obyek wisata budaya yang berupa kesenian khas adalah atraksi seni reog ponorogo. dengan mengemas reog secara ringkas maka banyak wisatawan yang datang untuk melihat sajian reog yang bernuansa baru tanpa kehilangan banyak waktu. para wisatawan akan membelanjakan sejurnlah uangnya untuk memuas-kan hatinya di ponorogo, sehingga akan menambah devisa daerah. sebagai obyek wisata budaya, tari reog ponorogo berupa atraksi wisata. c. reog sebagai obyek pariwisata unggulan pada awalnya reog sebagai seni pertunjukan rakyat tumbuh dan berkembang sebagai ekspresi masyarakat ponorogo. sebagai sebuah kesenian rakyat, sifat dan karakter reog merupakan pen-cerminan perilaku masyarakat pendukungnya. kesederhanaan, kepolosan, apa adanya tidak dibuat-buat merupakan ciri khas yang tampil dalam sebuah seni pertunjukan reog. pada tahun 1980 pemda ponorogo membuat kebijakan untuk melakukan lomba dan atau festival reog untuk menigkatkan mutu pertunjukan. masyarakat merasa tertantang dan mengikuti lomba untuk meningkatkan sajiannya. relatif banyak biaya yang diperlukan untuk memenangkan festival. motivasi peserta untuk mengikuti festival reog lebih didorong semangat merasa memiliki dan kebanggaan terhadap kesenian reog. volume viii no.2 / mei-agustus 2007 160 harmonia jurnal pengetahuan dan pemikiran seni disamping festival reog, setiap tahun menjelang bulan suro, pemda ponorogo juga mulai mengadakan regenerasi seniman-seniman reog lewat sebuah lomba reog mini, artinya para penarinya terdm dari anak-anak yang berusia sekitar 11 tahun. kegiatan lomba reog mini biasanya diselenggarakan setiap bulan agustus dalam rangka memperingati hari ulang tahun kemerdekaan republik indonesia. menurut pengamatan, cara yang dilakukan oleh pemda setempat dalam meregenerasi penari reog cukup berhasil, hal ini terbukti semakin banyabiya group-group reog mini yang mengikuti lomba. semarakriya lomba, selain diikuti oleh group-group reog mini dari wilayah kabupaten ponorogo, juga telah diikuti peserta dari luar ponorogo. festival menunjukkan semangat kompetitif antar group reog makin nyata. wahana festival reog yang secara rutin diadakan pemda ponorogo selain sebagai promosi wisata yang handal juga memiliki nilai ekonomis, sosial dan religius. kegiatan festival yang tengah berlangsung belasan tahun, semakin tahun mengalami perubahan dan perkembangan baik secara kualitas niaupun kuantitas. kesenian reog kini merupakan salah satu aset budaya dan pariwisata unggulan kabupaten ponorogo. sejak festival reog bertaraf nasional digelar di alun-alun ponorogo pada sebuah acara grebeg suro dalam rangka menyambut tahun baru hijriah oleh pemda tingkat ii ponorogo, bentuk pertunjukan kesenian reog berkembang dengan pesat meliputi dua unsur, yaifu gerak tari dan iringan. gerak tari reog banyak memikat para seniman khususnya koreografer untuk mencurahkan kreatifitasnya. pertunju kan reog yang ditangani secara profesional ternyata banyak menarik perhatian dan memikat bagi masyarakat kalangan seni maupun tanggapan publik secara umum. kepariwisataan kabupaten ponorogo bertambalti bergairah sewaktu festival reog mulai digelar. banyak wisatawan yang datang dari daerah sekitar maupun dari daerah lain di luar ponorogo. menurut soedarsono ada lima ciri utama dari seni pertunjukan wisata di negara yang sedang berkembang, yaitu : 1. tiruan dari aslinya; 2. singkat atau padat; 3. penuh variasi; 4. dikesampingkan nilai sakral, magis serta simbolisnya; 5. murah harganya bagi ukuran wisatawan (soedarsono, 2002:273). bentuk pertunjukan reog yang ditampilkan dari masing-masing kelompok yang datang dari berbagai daerah pada festival grebeg suro merupakan garapan ba.ru, yang bertolak dari bentuk lama. kekuatan magis yang sering dipamerkan sekitar tahun 1960 hingga 1980-an oleh para penari warok dan dhadhak merak tidak lagi dimunculkan. garap tarinya lebih berkualitas dan variatif, durasi waktu yang diperlukan sajian lebih singkat. dari penampilan yang semula memerlukan durasi waktu sekitar empat jam hingga lima jam, kini lama pertunjukannya menjadi tiga puluh menit. mutu penyajian semakin berkualitas karena munculnya koreografer-koreografer muda yang didukung penari-penari berbakat dari kalangan perguruan tinggi seni. lima jenis tarian terdapat dalam pertunjukan kesenian reog, masing-masing tarian memiliki karakter dan vokabuler gerak yang berbeda-beda. volume viii no.2 / mei-agustus 2007 161 harmonia jurnal pengetahuan dan pemikiran seni volume viii no.2 / mei-agustus 2007 162 harmonia jurnal pengetahuan dan pemikiran seni lantai tidak cenderung kelompok bergerombol, simetris namun juga diselingi pola-pola berpasangan, membentuk garis diagonal, menyebar kerangka satu unit, dan pola asemetris, diikuti pola-pola gawang asemetris. 2. jathil tarian jathil merupakan gambaran prajurit berkuda, pada awalnya ditarikan para penari pria yang memiliki sifat feminim, yang sering lebih dikenal sebagai gemblak. para penari jathil dalam sejarahnya merupakan pelayan segala kebutu-han seorang warok termasuk kebutuhan biologis. merupakan kebanggaan bagi seorang warok, semakin banyak jumlahnya gemblak yang dimiliki, sebagai pertanda semakin tinggi pula status sosialnya bagi warok di lingkungan masyarakatnya. dalam perkemba-ngan sekarang, tarian jathil kebanyakan ditarikan oleh remaja-remaja putri yang masih duduk di bangku smp dan smu. tata busana jathil antara lain: iket, baju panjang putih, srempang hitam, sabuk cinde, sampur dan properti jaran ( eblek ukuran kecil). semenjak awal dimulai reog pola garap jathil cenderung lemah, kurang semangat, seolaholah terbelengu dengan sifat feminimnya. penampilan tarian jathil seperti jaran lempoh ( hariyadi, wawancara:5 mei 1984). pernyataan hariyadi sebagai pengamat dan pencinta seni didukung fakta setiap dilakukan pengamatan pertunjukan reog, jathil tidak mempunyai power, cenderung gerak seadanya. permai-nan jaran kepang oleh penari jathil sangat lemah tidak mem-punyai greget maupun kualitas yang cukup, hal ini disebabkan penarinya tidak mendapatkan pengalaman dan kemampuan ke-penarian tetapi mereka diambil dari anak-anak putri yang mau di lingkungan kelompok reog berasal. para remaja putri kurang berminat menjadi penari jathil, oleh karena penilain masyarakat yang sangat rendah terhadap penari jathil. semenjak festival reog diikuti oleh kontingen dari prambanan yang personalnya terdiri dari kalangan akademis, kontingen dari daerah khusus ibukota (dki) jakarta yang penarinya barasal dari penari-penari pelangi nusantara taman mini indonesia indah dan pemain wayang wong bharata jakarta, pola garap tarian jathil semakin hidup dan berkembang. peningkatan dapat diamati dari jumlah vokabuler semakin * bertambah dan dari kualitas penam-pilan semakin berbobot. gebrakan baru muncul setelah group reog gajah manggala dari smu i ponorogo, bekerja sama dengan para mahasiswa sekolah tinggi seni indonesia di surakarta mencoba mengikuti festival reog di ponorogo tahun 1990. pola-pola garap gerak tarian jathil tampak mengarah pada garap gerak yang bersifat maskulin artinya lebih kenceng, gagah, bregas, berkualitas dan semangat memainkan jaran kepang terjiwai. pola lantai lebih tergarap dan terkontrol sehingga tampak variatif, tidak monoton, lebih dapat ditonton, dan diamati dari depan maupun dari samping, lebih tertata secara estetis, tidak ada kesan di atas panggung semrawut. pada .saat tari jathil memerankan tarian, banyak penonton maju mendekati, dan memadati di setiap sudut-sudut panggung sehingga penuh sesak. volume viii no.2 / mei-agustus 2007 163 harmonia jurnal pengetahuan dan pemikiran seni 3. tarian klana topeng klana topeng merupakan tokoh central yang memiliki akses terhadap seluruh pertunjukan. klana topeng berperan mengatur semua penari baik warok, jathil, bujangganong dan dhadhak merak. tarian klana topeng dalam kesenian reog pola garap gerak, iringan, rias dan busananya berorientasi pada pola-pola garap tari klana topeng gaya surakarta. dalam penyajian reog, tokoh klana topeng kebanyakan ditampilkan secara tunggal di tengah-tengah penari-penari warok, jathil dan bujangganong. perkembangannya klana topeng disajikan dalam bentuk kiprah bersama-sama dengan penari warok, jathil dan bujangganong. penari lain berfungsi sebagai prajurit sekaligus berperan sebagai background dengan harapan dapat menghadirkan dan memperkuat tampilnya klana topeng sebagai tokoh penguasa dan seorang raja yang berwibawa. 4. tarian bujangganong bentuk tari bujangganong merupakan perpaduan antara gerak-gerak tarian akrobatik dengan pola-pola gerak jenaka (gecul). gerak tari bujangganong relatif bebas sehingga memikat dan memukau para penonton baik anak usia sekolah, remaja hingga kalangan dewasa. tata busana bujangganong terdiri dari baju rompi warna merah, celana tanggung hitam yang dipelisir benang kuning maupun merah, di bagian luar samping kanan dan kiri serta bagian bawah melingkar, dan memakai topeng ganong merah yang berambut agak tebal sehingga terkesan galak dan menakutkan. penari bujangganong merupakan penari pilihan, memiliki keahlian khusus utamanya gerakan akrobatik yang spektakuler, sehingga membutuhkan seorang penari yang lentur dan elastis. biasanya penampilan bujangganong lebih memfokuskan pada gerak akrobatik. dalam perkembangannya pola-pola gerak gecul sebagai pembuka, isian pokoknya sudah mulai tergarap dengan cermat. bentuk garap berpasangan tarian bujangganong sudah tampak kompak, rampak dan harmonis baik pola lantai, gerak dan iringan. dominasi gerakan akrobatik tidak lagi tampak tetapi sudah terasa seimbang antara gerak akrobatik dan gerak-gerak yang berkarakter gecul. bentuk-bentuk gerak akrobatik meliputi gerak salto, jalan ngayang, rol kedepan, rol kebelakang, jalan dengan tumpuan kepala dan tangan, jalan perut sebagai tumpuan. adapun gerak-gerak gecul meliputi ngilo kaca, jalan sulingan, jalan entrakan, dan lairtnya. keseimbangan antara pola gerak akrobatik dan pola gerak gecul merupakan salah satu upaya penggarapan sajian secara utuh sebuah pergelaran reog sehingga tariannya lebih eksis dan berkualitas. 5. tarian dhadhak merak bentuk tari dhadhak merak biasanya disajikan dua orang penari dengan dandanan busana yang sama (kembar). adapun tata busana yang digunakan antara lain: topeng barong atau topeng kepala macan dengan rambut hiasan dari bulu merak yang ditata membentuk gunungan, tinggi topeng dengan bulunya mencapai 2.25 meter sedangkan lebar 1.75 meter. di atas kepala rnacan terdapal kepala burung merak yang disambung bulubulu merak. bagian badan memakai selembar kain merah dicat volume viii no.2 / mei-agustus 2007 164 harmonia jurnal pengetahuan dan pemikiran seni hitam dengan membentuk garis-garis menyerupai badan macan. penari dhadhak merak memakai baju kaos, celana tanggung (kompnmg) hitam yang pada bagian samping kanan dan kiri terdapat rumbai-rumbai kuning dan merah serta dibalut dengan sabuk atau kopel (ikat pinggang besar). penari juga memakai kaos dalam agar tidak licin jika terkena keringat. menurut islam iskandar wujud dhadhak merak memiliki makna simbolis. kepala macan merupakan personifikasi dari raja brawijaya dari majapahit, sedangkan burung merak sebagai personifikasi dari putri kerajaan campa. bentuk kepala macan yang dikendarai oleh seekor burung merak bermakna bahwa kekuasaan raja yang agung, berwibawa ditaklukkan dan dikuasai oleh putri dari campa. proses simbolisasi menunjukkan makna sebagai akhir yang menjadikan runtuhnya kerajaan majapahit (iskandar, wawancara 15 fehruari 2002). hancurnya kerajaan majapahit, munculnya pusat kerajaan baru di jawa tengah yaitu kerajaan demak yang merupakan kerajaan islam pertama di pulau jawa. menurut ceritera rakyat raja brawijaya yang beragama budha dirayu istrinya ratu campa untuk pindah memeluk agama islam akan tetapi raja bersikukuh tidak mau, akhirnya sang raja berpisah dengan istrinya ratu campa dan memilih pergi ke hutan menjadi seorang pertapa. penyajian dhadhak merak biasanya berpasangan, vokabuler gerak sangat terbatas, hal ini sangat terkait bentuk dan beratnya dhadhak merak yang mencapai hingga 20-30 kg. vokabuler gerak yang sangat menarik yaitu bentuk kebat, bahkan untuk menarik penonlon, para penari tidak segan-segan menaikkan seorang anak kecil di atas kepala macan. bagi penari yang sudah profesional selain gerakan dimaksud juga akan melakukan kebat di lantai sambil bergulung-gulung melingkar hingga mencapai 3-4 putaran. pola-pola tersebut merupakan gerak-gerak atraktif yang sangat ditunggu-tunggu penonton. pola gerak tari dhadhak merak yang lebih atraktif, lebih banyak vokabuler geraknya, menjadikan daya tarik tersendiri bagi banyak penonton. 6. garap iringan kesederhanaan dan kesaha-jaan tari reog dapat diamati dari garap iringan yang semula relatif monoton. instrumen iringan terdiri atas : satu kendang besar, satu kendang ketipung, sending, terompet, gong besar dari besi, ketuk dari besi dan dua buah angklung. permainan instrumen relatif mudah disajikan. diantara alat instrurnen, kendang mempunyai peranan yang paling vital. kendang sebagai pengendali dan pengatur seluruh bunyi instrumen terutama mengenai irama: kerasiirih, cepat-lambat dan pergantian bentuk gending. irama permainan kendang semula mungkus dalam mengiringi tarian, terutama pada atraksi dhadhak merak dengan topeng ganongan. irama gending yang mengikuti gerak tari relatif agak monoton. irama dinamis hanya terjadi pada saat dhadhak merak dan topeng ganongan melakukan atraksi. penggarapan iringan ke-mudian berkembang sesuai dengan kreasi seniman pengrawitnya. sekalipun instrumennya masih tetap sama dengan yang lama, akan tetapi teknik pemukulan dan garap volume viii no.2 / mei-agustus 2007 165 harmonia jurnal pengetahuan dan pemikiran seni gending memiliki rasa yang relatif berbeda. iringan mendukung dan menyatu dengan gerak tari yang disajikan. oleh karena kebebasan penari untuk menunjukkan kreatifitasnya maka diperlukan kerjasama yang baik dan kekompakan antara penari dengan pengrawit dalam sajian. reog dengan iringan yang dinamik lebih memikat, hentakan dalam bunyi lebih menarik dan tidak membosankan. para penonton lebih merasa terpesona jiwanya. permainan gerak tari yang semula hanya dilakukan oleh tarian topeng ganong yang mencoba menggoda dhadhak merak dengan gerak-gerak geculan, kemudian semakin meningkat menjadi sebuah permusuhan yang membuat per-tunjukan semakin menarik dan memikat. permainan kemudian berkembang kepada seluruh penari untuk menunjukkan kreatifitasnya. dengan demikian peran iringan diperlukan improvisasi sehingga sangat mendukung sajian secara keseluruhan. d. kegiatan pentas reog bulan muharam atau lebih dikenal dengan bulan suro dalam penanggalan jawa, bagi masyarakat jawa merupakan bulan yang sangat disakralkan. hari-hari di bulan suro bagi masyarakat jawa yang masih kental dengan adat-istiadat budaya jawa, dipercayai sebagai hari-hari yang keramat yang membawa sial maupun musibah apabila digunakan untuk orang punya kerja (hajadan) seperti resepsi pernikahan, supitan, membangun rumah, pindahan rumah dan lain-lainnya. sebagian masyarakat mempercayai bahwa bulan suro merupakan bulan yang khusus untuk hajadan ratu pantai selatan yang lebih dikenal dengan sebutan nyai ratu roro kidul, sehingga masyarakat jawa takut menggunakan bulan suro untuk berbagai keperluan yang sifatnya hajadan. bagi masyarakat jawa bulan suro rupanya lebih banyak digunakan untuk acara-acara ritual yang terkait dengan adanya hal-hal yang gaib, tirakatan terutama pada waktu malam hari yang kesemuanya itu lebih ditujukan untuk men-dapatkan keselamatan bagi dirinya maupun keluarga serta harta kekayaan yang dimilikinya. dalam ajara islam sebenarnya bulan muharam atau bulan suro termasuk bulan suci, bulan yang baik, bulan yang dimuliakan. bagi umat muslim semestinya menghormati bulan muharram dengan lebih men-dekatkan diri kepada allah tuhan yang maha esa misalnya memperbanyak dzikir pada malam hari, sholawat dan juga dengan tidak melakukan perbuatan yang musyrik, kejahatan atau juga perbuatan yang dilarang oleh syariat agama islam. bulan yang suci ternyata telah melahirkan berbagai penafsiran di tengah kehidupan masyarakat jawa. bulan muharam dianggap keramat dan suci. keramatnya bulan suro juga dipercayai oleh masyarakat ponorogo, maka tidaklah mengherankan jika disetiap penghujung suro tepatnya malem tanggal satu suro masyarakat ponorogo mengadakan tirakatan dengan tidak tidur semalam suntuk. berbagai cara mereka lakukan, namun kebanyakan dari masyarakat yang tinggal di kota dan sekitarnya, kebanyakan warga perkotaan memilih dengan cara berjalan-jalan menuju tengah kota, tepatnya di alun-alun kabupaten. mereka volume viii no.2 / mei-agustus 2007 166 harmonia jurnal pengetahuan dan pemikiran seni mempercayai betul bahwa kehadirannya di alun-alun, membuat kepuasan tersendiri, sehingga tradisi mengtinjungi alun-alun setiap malem suro telah memasyarakat bagi kalangan penduduk ponorogo. dapat dibayangkan begitu padatnya situasi kota ponorogo terutama di alun-alun, dipenuhi dengan kedatangan manusia balk dari dalam maupun luar kota. alun-alun dipenuhi manusia dari berbagai lapisan masyarakat dari tingkat rendah hingga pejabat tinggi, dari anak kecil hingga orang tua, baik laki-laki maupun perempuan. situasi dan kondisi yang ramai ditangkap oleh pemerintah daerah ponorogo sebagai kesempatan yang sangat tepat dan luar biasa untuk mengembangkan kepariwisataan dan perekonomian. sejak tahun 1994, menjelang tanggal satu suro selama satu minggu pemerintah daerah ponorogo mulai mengembangkan atraksi wisata dengan cara mengadakan festival kesenian khas daerah yaitu reog. festival reog yang digelar di tengah alun-alun merupakan serangkaian grebeg suro yang memiliki daya tarik dan daya pikat luar biasa, sehingga perayaan menyongsong pergantian tahun islam hijriah menjadi semakin semarak. pada awalnya setiap menjelang tanggal satu suro atau pergantian tahun hijriah, bagi masyarakat ponorogo hanya diisi dengan jalan-jalan dan sebentar singgah di alun-alun, sekedar duduk lalu berangkat pulang. setelah pemda menggelar festival reog, dengan acara puncak kirap pusaka dari makam bathara katong menuju kantor kabupaten sekarang, dilanjutkan malamnya penyerahan hadiah dan tropi serta piagam bagi nominator yang sekaligus tampilnya penyaji terbaik dari peserta festival, membuat masyarakat didalam memeriahkan pergantian tahun baru hijriah semakin bersemangat. kirab pusaka sebagai rangkaian grebeg suro, dari makam bathara katong hingga kantor kabupaten sekarang, jaraknya mencapai 13 km. didukung oleh para pejabat struktural eksekutif, dewan perwakilan rakyat daerah (dprd), jajaran pgri, siswa-siswi smu dan tokoh-tokoh masyarakat ponorogo, jumlahnya mencapai 5000 personil, kegiatan pariwisata lebih semarak. grebeg suro pada awalnya dibarengi dengan perayaan hari jadi ponorogo, namun mulai tahun 2006 telah dipisah, untuk grebeg suro tetap diadakan setiap menjelang bulan suro, sedangkan hari jadi kabupaten ponorogo dilaksanakan pada tiap tanggal 11 agustus. selain festival reog dan kirab pusaka, grebeg suro juga dimeriahkan pergelaran berbagai ragam kesenian yang hidup di daerah ponorogo dan kegiatan-kegiatan seni yang lain, diantaranya : ketoprak, hadroh, taritarian dari berbagai sanggar atau kelompok seni, pameran seni rupa, lomba karawitan jawa, lomba seni bonsai tingkat nasiona, pemilihan kakang-sendok sebagai dutaduta wisata kabupaten ponorogo. serangkaian kegiatan grebeg suro dibuka dan ditutup dengan pesta kembang api. festival reog yang bertaraf nasional telah menjadi agenda tahunan bagi pemerintah daerah ponorogo. disamping mengembang kan bidang pariwisata terutama atraksi wisata budaya, juga sebagai wahana untuk pengembangan dan pelestarian budaya khususnya kesenian reog. sebagai sarana seni, reog merupakan kebanggaan dan volume viii no.2 / mei-agustus 2007 167 harmonia jurnal pengetahuan dan pemikiran seni sarana ekspresi yang dirasakan masih sangat lekat dan membudaya bagi masyarakat ponorogo. secara ekonomi dapat dicermati bahwa kegiatan festival merupakan ajang promosi produk-produk unggulan dan sebagai kesempatan yang mampu menggerakkan roda perekonomian dengan adanya pasar malam dan bazar yang digelar selama tiga minggu. banyak pedagang yang menawarkan berbagai produk banyak menjajakan hasil dagangannya mulai dari aneka ragam makanan, mainan anak, asongan, kebutuhan rumah tangga, hingga dagangan tekstil. dengan semaraknya grebeg sum yang ditandai dengan semakin ber-kualitas nya penyelenggaraan festival reog, semakin meningkat pula wisata domestik maupun mancanegara sehingga berdampak pada per-kembangan ekonomi. e. penutup tidak ada satupun di dunia ini yang abadi, semua berubah. perubahanperubahan yang terjadi dalam kehidupan manusia berkaitan erat dengan adanya suatu usaha untuk meraih suatu kehidupan yang lebih dari keadaan sebelumnya. hal tersebut seperti yang terjadi dalam kehidupan kesenian reog di kabupaten ponorogo. reog mengalami perubahan dengan cara dikemas agar dapat lebih memenuhi selera masyarakat reog kemasan merupakan salah satu atraksi wisata seni dalam upaya pelestarian budaya dan sebagai penopang pengembangan bidang pariwisata. pengembangan seni kemasan pariwisata seperti diungkapkan oleh soedarsono memiliki lima ciri utama : 1. tiruan dari aslinya; 2. singkat atau padat; 3. penuh variasi; 4. dikesampingkan nilai sakral, magis serta simbolisnya; 5. murah harganya bagi ukuran wisatawan, merupakan jalan yang harus ditempuh untuk meraih dan menciptakan seni kemasan yang layak jual. dengan kegiatan festival reog baik tingkat mini maupun tingkat nasional, telah mendorong kegiatan pasar, untuk menambah tingkat kehidupan perekonomian utamanya wilayah kabupaten ponorogo. hal ini dapat dicermati dengan meningkatnya jumlah pendukung kegiatan wisata yang berupa; hotel, toserba, rumah makan dan waning makan. pembangunan sarana dan prasarana seperti pembangunan jalan yang lebar, pembangunan gedung pemerintah yang cukup mewah, pembangunan patung-patung tarian reog pada setiap perempatan, sarana komuni-kasi dan pada tempat lainnya merupakan daya tarilc pariwisata. peningkatan kualitas dan kuantitas festival reog terus diupaya kan sehingga peserta utamanya dari luar wilayah ponorogo semakin tertarik dan tertantang untuk mengikuti festival. hal ini membuat pertunjukan reog dalam ajang festival semakin semarak dan bergengsi serta mampu menembus pasar global yang semakin ketat. pola regenerasi kesenian warok yang dilakukan dengan cara festival reog mini merupakan strategi yang sangat tepat dan cermat. keberhasilan kesenian reog sebagai seni atraksi wisata, sekarang tengah mengalami kemasan baru sehingga mampu bersaing dan eksis di tengah-tengah masyarakat di era budaya global. volume viii no.2 / mei-agustus 2007 168 vol. 8 no.2 mei-agustus 2007.pdf harmonia jurnal pengetahuan dan pemikiran seni simbolisme adegan jejer kedatonan dan perang gagal pada sajian wayang kulit purwa surakarta (simbolism of episode jejer kedatonan and peranggagal on the surakarta wayang kulit purwa) sudarsono stafpengajar jurusan pedalangan isi surakarta abstrak wayang kulit purwa surakarta telah berkembang dengan berbagai konsep garap. pakeliraqn garap semalam lebih mantap, banyak mengandung nilai simbolis. simbolisme pakeliran terjadi pada semua tokoh wayang, garap catur, gerak dan juga garap pendukungnya. adegan jejer i, pedatonan dan perang gagal merupakan simbolisme dari perjuangan hidup manusia sewaktu masih muda, ungkapan-ungkapan yang digunakan relative lebih simbolis. tinadakan simbolis juga terjadi pada aspek penanggap wayang, dalang, pembuat properties wayang, dan paraga pengiring pertunjukkan wayang. kata kunci: wayang kulit simbolisme, surakarta. a. pendahuluan pertunjukan wayang kulit purwa surakarta mengalami perkembangan yang pesat pada abad setengah terakhir. perkembangan sajian terjadi baik dalam konsep garap lakon, bentuk sajian maupun property^ (peralatan). perkembangan juga dalam kualitas garap sajian dan kuaiititas pertunjukkan. munculnya konsep garap lakon menjadikan pertunjuk-kan wayang lebih ber variasi. terdapat tiga konsep garap lakon yang sudah dikenal dikajian pedalangan. pertama konsep garap pakeliran semalam. konsep ini diikuti oleh sebagian besar dalang senior yang telah lama dikenal di masyarakat. durasi waktu per tunjukkan sekitar delapan jam, yaitu dimulai dari jam 9.00 hingga jam 05.00 pagi. pertunjukkan semalam banyak mengandung ajaran moral, religius dan makna simbolis. pertunjukan semalam, pada umum nya menggarap lakon hingga tuntas, sejak bedol kayon hingga tancep kayon. konsep kedua adalah "garap pakeliran ringkas". konsep garap ringkas durasi waktu yang diperlukan sekitar dua jam. bentuk pertunjukan menyerupai pakeuran semalam, akan tetapi teijadi berbagai pengurangan pada adegan yang tidak perlu, atau penghilangan pe ngulangan adegan. pakeuran ringkas masib menggunakan pedoman urutan patet, yaitu patet nem, patet sanga dan patet manyura. lakon juga masih digarap utuh dalam arti terdapat bagian pembukaan, inti dan penutup. ketiga konsep garap pakeuran padat. pada konsep padat yang dipentingkan adalah isinya, volume viii no.2 / mei-agustus 2007 202 harmonia jurnal pengetahuan dan pemikiran seni bukan lamanya waktu pertunjukan. penggunaan patet dan kaidah garap ringkas berbeda dengan pakeliran semalam. di dalam sajian dapat saja pertunjukan dimulai dengan perang, adegan roman, atau adegan lain yang dipandang perlu. penggunaan dimulai dan patet dapat saja patet manyura kemudian ke patet sanga. patet tidak mengikat dalam sajian. dalam pakeliran padat diperlukan penghayatan yang seksama, jeli sejak awal hingga akhir pertunjukan. pengulangan gerak, dialog dan iringan hampir tidak pernah terjadi. bentuk pertunjukan wayang kulit juga sudah demikian ber-variasi. menurut soetamo (2000) dalam makalahnya yang berjudul dampak perubahan sistem nilai terhadap pertunjukan wayang kulit menyatakan bahwa masyarakat dewasa ini telah berubah. perubahan sosial eksternal menyebabkan mobilitas sosial yang membawa perubahan hubungan suci menjadi sekuler. temuan dan basil penelitian di lapangan menunjukan bahwa pertunjukan wayang kulit dewasa mi ada kecenderungan makin berkembang menjadi bentuk hiburan dan sebagai komoditi komersial, bentuk penyajian pakeliran lebih menekankan kemampuan komunikasi daripada penghargaan kritis penonton. dalang sebagai penyaji lebih suka memilih estetika resepsi daripada estetika kreasi. keindahan pakeliran lebih cende-rung pada kemampuan untuk memenuhi selera dan memadahi permintaan massa dengan kebutu-han publik. selain itu garapan tokob dalam lakon yang disajikan menunjukkan gejala antihero dengan mempresentasikan tokoh gambaran manusia biasa seperti limbuk, cangik, gareng, petruk, bagong. beberapa perubahan itu kiranya berhubungan dengan apa yang sedang terjadi di masyarakat yakni adanya perubahan sajian. (soetarno, 2000:7). pertumbuhan jumlah lakon relatif berkembang pesat, hingga kini lebih dan 400 judul lakon yang telah dibuat dan sejumlah lakon yang ada, paling banyak adalah lakon versi mahabarata disusul kemudian versi ramayana. di dalam kehidupan masyarakat dengan banyaknya lakon dan bervariasinya bentuk pertunjukan menjadikan banyak pilihan, sehingga pertunjukan wayang tetap diminati oleh sebagian besar masyarakat. lakon yang sering disajikan ditengah masyarakat pada umumnya mengambil versi mahabarata. durasi waktu pemanta-san yang diperlukan adalah sekitar 8 jam, dengan konsep pakeliran semalam. hal itu menunjukan bahwa masyarakat masih menyukai pertunjukan yang memiliki nilai simbolis, etis, religius dan estetis. permasalahannya adalah bagai-manakah makna simbolisme pada adegan jejer, kedatonan dan perang gagal pada pertunjukan wayang kulit purwa surakarta? b. simbol dan perubahan bentuk pertunjukan wayang. 1, simbol dan tindakan simbolis simbol dan tindakan simbolis dalam pertunjukan wayang, telah lama dikenal oleh para pendukung wayang. simbol tokoh-tokoh wayang keluarga pandawa seperti tokoh bima dikenal oleh banyak orang, bahkan simbol itu sekarang dipajang beberapa tempat, di gilingan, di waning pelem surakarta. patung arjuna yang mengendarai kereta dapat dijumpai seperti di manahan. simbol adalah volume viii no.2 / mei-agustus 2007 203 harmonia jurnal pengetahuan dan pemikiran seni sesuatu hal atau keadaan yang merupakan pengantara pemahaman terhadap objek. simbol dalam hal mi berbeda dengan isyarat dan tanda. (herusatoto, 1983:11). isyarat adalah sesuatu hal atau keadaan yang diberitahukan dan subyek kepada objek misalnya menunjukan jar mengangkat tangan, menggelengkan kepala. isyarat berlaku pada sesuatu saat sedang tanda adalah sesuatu hal atau keadaaii yang menerangkan atau memberitahukan objek kepada subyek misalnya rambu rambu lalu linta's. simbol sering juga dikenal sebagai lanibang yaitu sesuatu hal atau keadaan yang memimpin pemahaman si subjek kepada objek. simbol lebih luas pemahamannya. tindakan simbolis juga merupakan bentuk pemberitahuan bahwa ada maksud tersembunyi di balik tindakan yang dilakukan seperti misahiya membungkukan kepala sebagai penghormatan. mengucapkan surakartam, berdiri pada waktu penganten akan dipertemukan, adalah contoh tindakan simbolis. berbagai bentuk kegiatan manusia itu sebenarnya penuh dengan perilaku simbolis. manusia adalah makhluk yang menggunakan simbol simbol, animal symbolicum (cassirer, 1990: 40). dalam pergaulan manusia, hampir semua komunikasi meng*gunakan simbol simbol seperti bahasa, seni dan filsafat. sikap manusia dan tindakannya selalu berhubungan dengan simbol. kadang kadang simbol itu jelas oleh karena sudah terlebih dahulu terdapat kesepakatan bersama, akan tetapi banyak simbol yang kurang jelas sehingga diperlukan pemaha-man yang lebih seksama. perilaku manusia penuh simbolisme. tindakan manusia perlu ditafrirkan kembali agar dapat me mahami maksud yang terselubung. tindakan simbolis mengandung berbagai arti. mengacungkan ibu jan kearah dapat ditafsirkan beragam, dapat saja perbuatan itu berarti memperesilakan menunju tempat yang disediakan. dapat juga berarti menunjukkan ada sesuatu yang istimewa seperti barang yang khusus. arti simbolis manusia tergantung pada pemahaman subjek terhadap objeknya. dalam ke-hidupan manusia sehari-hari banyak terdapat makna simbolis. dmu pengetahuan seperti matematika, bahasa, menggunakan simbol. kesenian seperti wayang kulit penuh dengan simbol. di dalam pertunjukan wayang kulit purwa sedikitnya terdapat 4 macam tindakan simbolis. tindakan simbolis yang per tama antara lain perilaku penanggap wayang. sebelum pertunjukan wayang disajikan, terlebih dahulu penanggap datang menghadap kepada dalang, memintanya memperagakan keahliannya me-mainkan wayang. ada beberapa alasan seseorang menanggap wayang, misal memiliki maksud untuk hajad pernikahan, khitanan, nadzaran, upacara bersih desa. menanggap wayang untuk sekedar bersenang-senang atau hiburan, menanggap wayang dengan motif ekonomi misalnya untuk mempromosikan usaha, untuk pem-bukaan usaha perdagangan. pertunjukan wayang untuk upacara gereja. tindakan simbolis penanggap wayang, bermula dengan mendatangi kepada dalang. penanggap kemudian meminta dalang untuk menyajikan wayang dengan persyaratan yang ditentu-kan. ki dalang kemudian menjawab ya atau tidak. jika terjadi kesepaka volume viii no.2 / mei-agustus 2007 204 harmonia jurnal pengetahuan dan pemikiran seni tan kemudian mereka membuat janji atau kangsen tentang segala perlengkapan yang diperlukan dalam rangka pentas sajian wayang. tindakan simbolis yang kedua adalah perilaku dalang dalam pertunjukan. sejak bedol km/on hingga tancep kayon hampir sepenuhnya tindakan dalang bersifat simbolis. sebelum memulai mendalang panitia menyerahkan tokoh wayang tertentu sebagai pemegang peran dalam lakon kepada ki dalang. jika pertunjukan selesai ki dalang juga secara simbolis mengucapkan beberapa perkataan yang dianggap perlu. misal kupat janure tuwa menawi jepat nyuwun pangapuro. keu'ga, tindakan simbolis semua paraga pengiring pakeliran. termasuk pengiring dalam pertunjukan adalah pesinden, peng rawit, wirosuwara, penyimping dan pengatur peralatan pendukung. tindakan pengrawit membunyikan instrumen gamelan merupakan kegiatan simbolis. dalam vokal adakalanya berisi ajaran moral, keagamaan, pendidikan dan ajaran yang baik merupakan simbol. semua notasi musikal ditulis dengan symbol. keempat, pembuat perleng kapan wayang. dalam membuat wayang berbagai kegiatan dilakukan yaitu misalnya membedah wayang/ muterani, menyungging wayang, ngedus dan gapit. adakalanya watak seseorang pembedah wayang ikut mempengaruhi hasilnya. jika watak pembedah wayang lembut maka hasilnya juga halus demikian pula sebaliknya. menyungging wayang dibutuhkan satu keahlian lain yaitu menata warna. pembedab wayang belum tentu ahli menyung ging, akan tetapi ada juga yang ahli keduanya. degradasi warna merah, hijau, biru, kuning, ungu memerlu-kan keahlian dan kesabaran. adakalanya dalam menyungging wayang disertai tirakat atau juga do'a tertentu agar hasilnya maksimal. 2,perubahan bentukpertunjukan. pertunjukan wayang kulit telah mengalami kemajuan. bentuk wayang sangat lengkap, bentuk wayang setanan seperti milik ki manteb sudarsono dan karanganyar relatif paling lengkap. demikian pula dalam sajian garap pakeliran khususnya sabet. garap sabet ki manteb sangat popular sehingga sering mendapatkan julukan dalang setan, artinya kehebatannya me mainkan pada saat sabet. pada keahlian catur, garap catur ki anom suroto, ki toto atmadja dan ki warseno dan surakarta memiliki kemampuan yang bagus. warna suara anom suroto, garapan suluknya bagus. ki purbo asmara, ki blasius subono dan ki bambang suwama merupakan tiga sosok dalang inovatif di isi surakarta, perubahan perubahan garap pakeliran sering dilakukannya. menurut bambang suwarna dalam tulisannya mengatakan: pakeliran merupakan surakartah satu bentuk seni pertunjukan tradisional, bersifat luwes. artinya, pakeliran mampu menyesuaikan situasi dan kondisi zamannya. keleluwesan yang dimaksud tidak hanya terbatas pada kandungan isinya, tetapi juga bentuk atau wadahnya. meskipun pakeliran itu mempunyai aturan atau waton yang telah mapan, akan tetapi karena setiap seniman dalang mempunyai keleluasan didalam mengemas sajian sesuai dengan kemampuanya, sehingga muncul berbagai variasi garap atau komposisi pakeliran: volume viii no.2 / mei-agustus 2007 205 harmonia jurnal pengetahuan dan pemikiran seni semalam, ringkas, dan padat. masing masing komposisilgarap pakeliran mempunyai konsep konsepnya tersendiri tidak dapat disejajarkan saw dengan lainya. komposisi pakeliran bentuk semalam andaikata masakan lebih bersifat tanak, karena durasi waktunya relatif panjang, sehingga semua unsur unsur pakelirannya yang meuputi catur, sabet, sulukan dan gending tesaji secara utuh. komposisi pakeliran bentuk ringkas sajiannya hampir sama dengan pakeliran bentuk semalam, namun karena dibatasi oleh waktu, sehingga unsur-unsur pakelirannya tidak tersaji secara utuh. berbeda dengan kedua bentuk pakeliran yang telah disebutkan, komposisi bentuk padat meskipun juga menggunakan prabot prabot seperti halnya pakeliran bentuk semalam,yaitu repertoar lakon, figur wayang, catur, sabet, sulukan ,gending, dhodhogan dan keprakan, akan tetapi komposisi bentuk garapnya sangat berbeda. pakeuran padat muncul dan tumbuh untuk memenuhi keperluan kita, yaitu sebagian dan kita yang tuntutan kesenianya lain atau tidak sama seperti waktu dahulu. orang sekarang tuntutannya dalam kesenian tidak sama dan tidak pernah sama. ada yang tuntutan keseniannya seperti dahulu dan ada yang lain. tuntutan tersebut adalah tuntutan kemantapan .adanya tuntutan kematanpan baru, yang menimbulkan komposisi bentuk pakeuran padat. padat dalam hal mi bukan waktunya, melainkan garapnya yaitu pertama mernusatkan pada masalah yang digarap dan kedua masalah yang digarap itu terbatas dan menggumpal rnerupakan kesatuan (bambang suwama, 1996:2). pakeliran sekarang sangat beragam dan banyak terpengaruh oleh kondisi sosial ekonomi masyarakat, masyarakat sudab berubah sehingga terjadi perubahan sistem nhlai. dampak perubahaan sistem nilai banyak mempengaruhi pertunjukan wayang. soetarno menyoroti dampak perubahan tekhnologi komunikasi; perubahan sistem sosial dan perubahan sistem nilai, menurut soeetarno bahwa perubahan yang terjadi dalam dunia pedalangan menjadi: pesan yang disampaikan masalah duniawi, bentuk kemasan, kecenderung meninggalkan nilai saicral, magis dan simbolis, penuh variasi dan aspek hiburan yang lebih menonjol dan kovensi sastra makin menipis garapan ginem tokoh tokoh yang ditampilkan tidak hanya ke arah demokratiasi tokoh saja, tetapi tidak jarang narasi tokoh dibuat lebih realistik. demikian pula dalam pakeliran suasana sakral, magis, dan mistik lenyap bersama masuknya lawak, penyayi, bintang tamu, penonton kepanggung wayan.g kuut (soetarno 2000:12-15). kemajuan pakeliran me rupakan wacana yang balk demi kelangsungan pakeuran itu sendiri ditengah masyarakat. pakeliran sekarang telah mendapatan pengakuan dan unesco menjadi salah satu warisan budaya international yang perlu dilestarikan. bentuk sajian pakeliran mengalami beberapa perbedaan dipengaruhi kondisi sosial setempat, situasi jamannya dan kemampuan dalang yang me nyajikannya. hai mi menambah variasi pertunjukan wayang kuut purwa surakarta ditengah masyarakat pendukungnya. volume viii no.2 / mei-agustus 2007 206 harmonia jurnal pengetahuan dan pemikiran seni c. simbolasme jejer, kedatonan dan perang gagal. i. adegan jejer i pada pertunjukan wayang kulit purwa surakarta sebelum sajian wayang dimulai terlebih dahulu dibunyikan gending gending patalon. gending patalon diantaranya adalah cucur bawuk, srikaton, pareanom, suktna rang, ayak ayakan, srepegan dan sampak. menurut sri mulyono (1979) ternyata gending patalon yang disaj ikan merupakan simbol dan maksud tertentu yaitu simbul ketujuh pangkat penjelaman zat atau ketujuh martabat, yaitu pohon dunia, cahaya (nur), cermin, nyawa (roh flahi), dian (qandil), permata (darah) dan dinding jalal (penjelmaan alam insan kamil). bagi masyarakat pada umumnya relatif kurang mamahami maksud gending patalon. setelah terjadinya perubahan sistem nilai, temyata sekarang gending yang digunakan sebagai patalon adakala nya diganti gending karawitan, bahkan sering dihilangkan, hal itu mengingat waktu yang sudah terlalu malam saat dimulainya pertunjukan oleh karena waktu petang sebelumnya dilakukan pesta hajatan. * pakeliran langsung dimulai dengan jima kali pukulan kotak. dalam wind hidayat jati maksud simbul pukulan kotakjuga dapat ditafskkan (sri mulyono 1979: 107), akan tetapi jarang para penonton yang memperhatikan maksud pukulan kotak. dalang yang ingin kreatif dapat saja memukul kotak atau memukul alat yang lain sebagai tanda dimulainya pertunjukan. ki gondo darsana juga pernah melakukan pukulan sebagai tanda dimulainya pertunjukan tidak dengan memukul kotak akan tetapi memukul barang lain, dalam hal sabet juga melakukan gerak yang eksentrik, tancepan wayang pada simpingan kin sangat banyak sehmgga memerlukan tempat pada anakan kotak wayang, jumlah wayang jejer i dapat mencapai 15 buah (edy sulistiono, 1996:58). tindakan simbolis pertama adalah mencabut gunungan penlahan lahan, dinaikan sedikit terus diturunkan, diputar tiga kali disertai do'a mantera yang intinya mohon keselamatan dan keberhasilan pertunjukan wayang kulit yang sedang dilaksanakannya. doa mantera yang diucapkan setiap dalang berbeda-beda tergantung dalangnyajperilaku dalang memiliki maksud simbolis yang terselubung. pada umumnya setelah gunungan dicabut kemudian disusul keluarnya dua parekan yang memiliki bentuk simbol wayang yang sama, dalam hal mi juga dapat ditaf sirkan secara simbolis tersendiri, akan tetapi pakeliran sekarang perilaku dalang dengan menghadirkan dua tokoh parekan jarang dilakukan, adegan kemudian disusul dengan jejer i. dalam pertunjukan wayang kulit purwa surakarta adegan pertama disebut jejer 1. pengertian adegan jejer, istilah jejer dapat diartikan berdiri berderetderet, yaitu deretan simbol tokoh wayang pada suatu posisi/tancepan tertentu. dalam pertunjukan wayang kulit yang mengambil serial mahabarata, jejer biasanya diiiringi dengan gending-gending yang sudah mapan. gending untuk karawitan iringan jejer amarta/ pandawa berbeda dengan jejer untuk iringan astinalkurawa atau keraton yang lain seperti misalnya untuk jejer kahyangan, dwarawati, mandura. suasana dalam jejer juga berbeda volume viii no.2 / mei-agustus 2007 207 harmonia jurnal pengetahuan dan pemikiran seni beda misalnya suasana merdiko/netral, sedih, gembira, marah, geding yang dipilih juga berbeda. gending yang mempunyai rasa mantab sebagai pendukung lakonlah yang dibunyikan. biasanya untuk adegan kedua dan selanjutnya dalang telah terlebib dahulu memberikan sanepa/kiasan untuk memerintah niyaga membunyikan instrumen tertentu misalnya akan keluarnya tokoh banuwati, dalang memberikan abaaba demikian.. .tedakira banuwati gumbira pangalihe pinda nganti sekar puspawarna. sanepa mi ditafsirkan oleh niyaga supaya membunyikan gending puspawarna pada adegan kedaton astina yang tokoh utamanya ratu banuwati. pada pakeliran purwa surakarta, karawitan iringan jejer amarta diantaranya adalah gending kawit (patet nem), gending sumirat dan ramyang (manyura) atau dapat juga manik maninten, sedang untuk mengiringjejer astina adalah gending kabor (slendro) atau gending logondang pi 5. untuk jejer kahyangan adalah gending kawit sedang karawitan untuk jejer dwarawati adalah gending kerawitan. gending untuk jejer amarta dan kahyangan biasanya sama oleh karena ada anggapan bahwa pandawa itu keturunan dewa. terdapat maksud tertentu yang berhubungan dengan simbolis me dalam masyarakat. jejer biasanya juga tergantung pada lakon yang dipilih oleh penanggap wayang. banyak warga masyarakat yang memiliki maksud tertentu dalam rangka menanggap wayang. masyarakat jarang menanggap wayang tanpa disertai keinginan angsare. artinya sebagian masyarakat jawa relatif tidak suka menonjolkan diri/pamer. penafsiran lakon didalam masyarakat juga berbeda beda. sejumlah masyarakat memandang lakon adalah perlambang kehidupan, kelompok yang lain memandang lakon adalah konflik sosial, pemegang peran seperti wayang lakone bimasuci, ada pula yang memandang pertunjukan wayang adalah pemuja an kepada roh nenek moyang. perihal lakon sekarang telah berubah sangat cepat, terdapat berjenis lakon yang dapat di kategorikan sebagai lakon pakem dan la/con carangan. terdapat pula yang membedakan lakon dalam bentuk lakon, raben, lakon wahyu, srimulih dan yang lain, bahkan pengertian lakon sendiri telah berkembang kepada penafsiran yang beragam. menurut penelitian sudarko, sekarang ini berdasarkan judul lakon terdapat sepuluh macam lakon dalam wayang kulit purwa. diantaranya adalah : 1. lakon lairan, 2. lakon raben, 3. lakon alapalapan, 4. lakon gugur/lena, 5. lakon mbangun, 6. lakon jumenengan, 7. lakon wahyu, 8. lakon nama tokoh seperti ngruna -ngruni, watugunung, 9. lakon banjaran, 10. lakon duta (sudarko, 1996:3). pada pakeliran purwa surakarta, terdapat adegan yang ajeg yaitu raja selalu datang lebih awal dibanding para sentana yang lain seperti dengan patih, senapati dan tamu. setelah raja duduk di singgasana kemudian para sentana datang menyembah dan kemudian duduk pada tempat yang tersedia. terdapat tata urutan tatakrama duduk sebagai simbol menurut pangkat dan kedekatan dengan raja. secara simbolis raja menjadi panutan/tuladha dan para sentana sebagai pengikutnya. raja selalu volume viii no.2 / mei-agustus 2007 208 harmonia jurnal pengetahuan dan pemikiran seni datang dan duduk pada bagian kanan, hal mi dapat ditafsirkan raja hams memiliki perangai yang selalu balk yang pantas dkontoh. dalam dialog raja selalu memberikan keputusan, hal itu merupakan simbol bahwa raja memiliki kekuasaan penuh, secara simbolis dapat bertindak sebagai pengayom, pemimpin, hakim dan juga penguasa. tindakan yang akan diambil tentu bermula dan raja. raja menjadi pemimpin dunia dan peminpin akhirat (sunan/sultan dan kalifatulah). dalam pewayangan, raja selalu disebut sinuhun, prabu, adajuga sebutan bathara.. setelah jejer lengkap, semua raja memiliki idiolek kafa permulaan untuk rnenyebut penguasa yang paling dilriormatinya. seperti contoh; hwang sukma adilinuwih, hong bawana langgeng untuk sebutan idiolek bathara kresna. menandakan bahwa dalam hubunganya dengan pasewakan raja tetap secara simbolis menghormati sesuatu yang dipercaya memiliki kekuasaan yang lebih tinggi. dalam catur antara simbol tokoh wayang dengan tokoh yang lain banyak terjadi ungkapan simbolis. misal raja menanyakan keselamatan nya atau secara ringkas bage binage. contohnya puntadewa; kaka prabu bathara kresna, ingkang rayi ngaturaken kasegahan panakrami rawuh jengandika wonten praja ing amarta. catur demikian sifamya simbolis. bage binage selalu terjadi pada setiap adegan/jejer. setelah catur selesai, dan menyarigkut tugas dan kewajiban, misal mencari wahyu cakrangingrat, jarang sekali raja melaksanakan tindakanya sendiri. dengan sanggit ginem yang bagus, prajurifc atau para senapatilab yang melaksanakannya. ini membuktikan bahwa raja menjadi ideator dalam bertindak dan juga benteng terakhir dalam malapetaka, peperangan /konflik. secara simbolis, raja itu sebagai simbol negara. jika raja masih hidup berarti masih ada negara. pada saat dialog/catur antara raja dengan sentana terdapat bahasa yang kusus untuk masingmasing tokoh, hal itu menunjukan bahwa ada degradasi yang secara simbolis menunjukan tingkat dan derajat. pada akhir catur, kemudian disambung pocapan dalang yang menandakan jejer berakhir, maka dalang memberikan sanepa kepada para niyaga misalnya; wus paripurna anggenira pasewakan, tedakira prabu puntadewa binayang bayang, srikaton saking mandrawa "pinda dewa man geja wantah. artinya niyaga diminta membunyikan gending srikaton. pada saat keluarnya simbol tokoh wayang, raja pulalah yang mendahuluinya sedang para sentana setelah melakukan sembahan baru kemudian keluar! enta-entasan. hal mi menandakan bahwa raja harus selalu dihormati dijaga secara simbolis dieluelukan, dicontoh segala perilakunya. 2. adegan kedhaton. tokoh adegan kedhaton diantaranya adalah permaisuri, raja yang baru saja selesai memimpin pasewakan dan dua tokdh cangik dan limbuk. untuk tokoh cangik dan limbuk hampir pasti ada sedang raja dan permaisuri biasanya dibungkus dengan gerak dan ilustrasi, adakalanya digedong artinya sekedar diucapkan/ pocapan dalang. adegan dimulai dengan gerak gunungan yang ditancapkan di gedebok (pohon pisang) atas dan volume viii no.2 / mei-agustus 2007 209 harmonia jurnal pengetahuan dan pemikiran seni kemudian pada waktu raja melewati gunungan ditarik kebawah sebagai ilustrasi dan gapura kedhaton. raja dan permaisuri kemudian berjalan berjajar. adakalanya permaisuri mengajak dialog dengan raja tentang pasewakan yang baru saja selesal jika pasewakan genting/tidak normal, biasanya raja tidak mau bercengkerama, akan tetapi langsung naik ke sanggar pamujan /palanggatan untuk meminta wewenganing jawata/pandangan dewa. biasanya dalang menyanggit bahwa sang raja telah tiwikrama dengan membakar dupa yang sebesar kepala gajah. kalau doa mantera tidak dikabulkan, raja kemudian masgul, dupa dibanting kemudian raja makan sekenyangnya, dan dilanjutkan tidur pulas (kusus duryudana). jika raja dwarawati, kemudian raja berganti busana memakai busana keprajuritan, memimpin peperangan/ konflik. bagi pakeliran purwa surakarta adegan cangik dan limbuk keberadaannya penting, sebab merupakan sikap mengendorkan ketegangan yang baru saja terjadi, artinya lakon dibuat kenceng kendo. keluarnya cangik dan limbuk biasanya diiringi gending geculan tertentu misalnya gending merak kesimpir untuk keluamya cangik dan limbuk setelah jejer amarta, sedang gending damarkeli untuk keluarnya cangik dan limbuk setelah jejer astina. pada hitungan ke empat atau pada gong setelah cangik ditancapkan pada gedebog atas, limbuk dikeluarkan secara mendadak terkesan mengagetkan, kemudian dilakukan tarian dan dialog/catur dengan cangik yang sifatnya sederhana/ringan. catur yang dilakukan menjadi jalinan komunikasi dengan penonton. makna simbol terlihat path saat seorang raja bertemu dengan permaisuri, gerak wayang, catur dilakukan sebentar yang menjadikan suasana menggugah birahi, dilanjutkan raja tidak berkenan kembul bujana, raja kemudian masuk kesanggar pamujan! pelanggatan, membakar dupa yang sebesar kepak gajah, dilanjutkan berganti busana. seluruh kegiatan yang disajikan dalang bersifat simbolis. raja kemudian diiringi sulukan masuk disusul dengan keluarnya cangik. setelah cangik dan limbuk muncul terjadilah dialog misainya demikian. cangik : anaku nduk maria kondang malangi limbuk: hana apa yung, teka pijer nimbali anakmu woe, yen ndak sawang kaya ana bob kang kudu kok wedarake yung. cangik : hiyo nduk, ana nduk, amarga kowe dadi guru kudu ngerti gebengane guru!. limbuk: gebengane apa yung? cangik : guru iku pendidik, ya panutan,mula nggegurue marang sesantine km. dewantara! limbuk: upamane apa yung? cangik : kudu ing arso asung tuladha, ing madya man gun karsa, tutu wuri handayani. limbuk: werdine apa yung. cangik : koive kuwi kudu bisa dadi canto, bangun sentangat, lan kudu anut bebener. limbuk: llm kae yen dosen stsi kae kok, kerepe lunga peye kae apa ya bisa diconto yung! volume viii no.2 / mei-agustus 2007 210 harmonia jurnal pengetahuan dan pemikiran seni cangik: hits kowe kuwi aja sembmna, peye iku penting, ning kene kowe diundang am kena ngrasani yen duwe gawe/iya sing ngundang, bisa mulih orang diparingi amp/op. limbuk: ngono tha yung, yen aku amplop iku orapenting ,singpenting isine kokyung. demikianlah sekilas contoh catur, yang bernada sindiran untuk mendapatkan simpati penonton. setelah dira.sakan komunikasi dengan penonton cukup, dalang mengucapkan kata kata paribasan seperti contohnya keripik gedang keripik tela, setitik edang waton rata, yang artinya adegan limbuk dan cangik telah cukup kemudian dilanjutkan adegan paseban jawi. dengan aba aba dalang; ganti kang ana paseban jawi para wadya bala wus sumadya, yen cinandra saldng mandrawa kadya kumuda rangsang. dalang meminta supaya niyaga membunyikan gending kemuda untuk mengiringi budalan para parajurit, bentuknya sebagian ben si sikap rampokan, lumaksono prajurit, kapalan, dan berbagai sanggit yang lain. begitu kapalan selesai disambung adegan jejer 11 . jejer mi sebenarnya dapat berupa adegan yang berseberangan dengan jejer i. iringan yang dibunyikan juga sudah lebih dinamik meskipun masih dalam satu patet yang sama yaitu patet nem. dalam adegan mi intinya raja mempunyai niat tertentu yang sama dengan inti pada adegan jejer i atau dapat juga berseberangan dengan jejer i. 3.perang gagal. perang gagal adalah berperangnya dua kubu prajurit dan dua kubu yang berbeda yaitu dan prajurit hasil jejer i melawan prajurit hasil jejer ii. karawitan iringan pakeliran biasanya gending kemuda, srepegan patet 6 atau gending lain yang mendukung suasana. adegan perang gagal merupakan pertemuan dua kubu prajurit ditengah jalan. kedua kubu saling merasakan lebih berwenang, lebih benar, lebih berkuasa sehingga terjadilah konflik/ peperangan. meskipun sangat seru dan saling berebut kemenangan, akan tetapi tidak ada salah satu yang menang . kedua prajurit gagal, mereka kemudian saling meyimpang jalan untuk mencari jalan yang lain untuk mencapi tujuan yang diinginkan rajanya masing masing. dalam perang gagal tidak tenjadi kematianlpembunuhan. kedua kubu saling membatasi amarahnya. perang gagal memberikan simbol bahwa setiap cita-cita itu tentu memiliki hambatan. setiap tujuan pasti ada tantangannya, balk yang berupa saingan oleh karena sama sama diinginkan atau juga objeknya menarik semua yang mengetahuinya. perang gagal merupakan simbolisme dan kehidupan manusia, bahwa manusia itu haras mengatasi semua rintangan, hambatan, tantangan, gangguan. dalam perang gagal rintangan jelas berasal dan luar. sifatnya menggugah kesadaran agar memiliki sikap mental yang tangguh untuk mencapai sesuatu yang dicita citakan. gagal dalam hal ml tidak berarti selesai/gugur atau gagar wigar tanpa tilas. perang gagal memberikan simbolisme suatu ajaran bahwa ngelmu iku kelakone kanti laku, manusia hidup hams berjuang sedang keberhasilan akan ditentukan oleh lakon yaitu yang diciptakan oleh maha pencipta. lakon wayang purwa itu dapat saja dilustrasikan denga simbolisme kehidupan manusia sehingga volume viii no.2 / mei-agustus 2007 211 harmonia jurnal pengetahuan dan pemikiran seni berupa pendidikan disamping hiburan. wayang kulit purwa surakarta disamping tontonan juga tuntunan. d. simpulan. pakeliran wayang kulit purwa surakarta dengan konsep pertunjukan semalam yang disajikan secara utuh ternyata masih banyak digemari para pendukungnya. simbolisme kuat sekali pada adegan patet nem yaitu pada jejer 1, kedathonan dan perang gagal. lakon wayang kulit purwa ternyata telah berkembang dengan berbagal variasi namun nilai simbolis pada pertunjukan wayang hingga kini masih kuat. simbolisme diperlukan penafsiran kembali sesuai dengan pekembangan masyarakat.pada jejer 1, sebagian besar mengandung unsur simbolisme balk dalam gerak, catur dan karawitan iringan pakeliran. pada garap lakon juga dapat ditafsirkan unsur simbolisnya yaitu seperti perjalanan kehidupan manusia. kebebasan dalang terbatas pada kreatifitas garap, sanggit ginem, gerak wayang sedang semua tokoh akhirnya sudah ditentukan dalam lakon. pakeliran wayang kulit purwa surakarta merupakan seni pertunjukan yang bernilai simbolis. daftar pustaka abduliah ciptoprawiro, 1986, filsafat jawa, jakarta: balai pustaka. suwama, bambang 19%, perancangan komposisi pakeliran, makalah seminar, yogyakarta:is'. budiono herusatoto, 1983, simbolisme dalam budaya jawa, yogyakarta; pt. hanindita. cassirer ernst, 1987, manusia dan kebudayaan: sebuah esei tentang manusia. di terjemahkan oleh alouis a. nugroho jakarta: gramedia. edysulistiono,1996, ki gondo darsana kehidupan dan pengaruhnya terhadap dunia pakeliran sekarang, surakarta; stsi, skripsi si. effendy zarkasi, 1977, unsur islam dalam pewayangan, bandung: pt. alma'arif. padmosoekotjo, 1986, silsilah wayang purwa mawa carita, surabaya: p t. ctra jaya murti. santosa, 2004, mencermati seni pertunjukan ii, perspektf pariwisata, lingkungan dan kajian seni pertunjukan, surakarta: stsi dan the ford foundation. seno sastraamidjojo, 1964, renungan tentang pertunjukan wayang kulit, jakarta: pt.kinta. siman wiyatmanta, adiparwa, jilid 1. yogyakarta: up. spring. soetarno, 2000, dampak perubahan sistem nilai terhadap pertunjukan wayang kulit, surakarta: stsi, makalah seminar due like. volume viii no.2 / mei-agustus 2007 212 harmonia jurnal pengetahuan dan pemikiran seni sri mulyono, 1978. tripama watak satria dan sastra jendra, jakarta : gunung agungm 1979, simbolisme dan mistikisme dalam wayang, jakarta : gunung agung, sudarko, 1996, lakon raden, surakarta : stsi laporan penelitian. woro. aryandini, 2002, seni pertunjukan indonesia dengan pendekatan filsafat, studi kasus pagelaran wayang kulit, surakarta : stsi makalah seminar internasional. volume viii no.2 / mei-agustus 2007 213 harm vol ix no 2 2009.pdf dampak perubahan sistem nilai terhadap tari bedhaya surya sumirat sebagai kreativitas tari bedhaya baru di mangkunegaran suharji jurusan tari, institut seni indonesia surakarta e-mail : s_harji@yahoo.com abstract changes in society have an impact on culture and creativity. changes in society will lead to changes in orientation to the values espoused. among previous mangkunegaran temple, not allowed to create a dish bedhaya dance, because dance bedhaya considered sacred dance, which should only be presented in the environment kasunanan sultanate of surakarta and yogyakarta. because of changes in value systems and supporting artists, then in mangkunegaran then created bedhaya dance. bedhaya dance originally created the dance bedhaya anglir clouds as a monument honors the first mangkunegara services. in the process, because internal and external influences, the creation of dance bedhaya sumirat surya bedhaya dance that resembles the other. surya bedhaya dance dance sumirat is a new creation as the creativity to meet the need for entertainment. surya sumirat bedhaya dance is a fusion of traditional dance and contemporary dance. location of novelty, observed through the makeup, dressing, dance movement and impression of movement. surya sumirat bedhaya dance performed according to the needs. dance bedhaya has undergone many changes in function and mobility, although his soul was still reflects the nature of female soldiers. kata kunci: surya sumirat, bedhaya baru, mangkunegaran pendahuluan pura mangkunegaran merupakan pemisahan dari kasunanan sura-karta sebagai akibat terjadinya pem-berontakan raden mas sahid yang lebih dikenal dengan sebutan pangeran sambernyawa. sebagai bagian dari kasunanan pura terdapat anggapan bahwa tari bedhaya dianggap sakral dan merupakan simbolisasi hubungan antara penguasa keraton dengan ratu asri penguasa laut selatan. tari bedhaya dianggap sebagai pusaka untuk menambah legitimasi. sebagai akibat dari perubahan orientasi masyarakat pendukung budaya setempat, lambat laun timbul kesadaran bahwa kebebasan berekspresi merupakan tuntutan hati nurani seseorang, di samping upaya untuk pelestarian seni budaya. beberapa pengaruh internal dan eksternal telah mengubah pola pikir para pendukung seni di mangkunegaran sehingga lahirlah budaya baru terutama penciptaan tari bedhaya. lahirnya penciptaan bedhaya anglir mendung merupakan dampak pelestarian budaya yang berisi monumen perjuangan raden mas said (santoso 1994: 151). dalam menjaga kesinambungan, masing-masing mangkunagara memiliki penafsiran yang berbeda terhadap pelestarian budaya. terdapat dinamika kepemimpinan yang berbeda-beda pada setiap masa kepemimpinan mangkunagara. di antara para penguasa terdapat sifat yang relatif tetap dari para penguasanya. kesamaan di setiap kepemimpinan ialah tetap terpeliharanya semangat kepahlawanan dan demokrasi yang telah ditanamkan sejak masa raden mas sahid menjadi mangkunegara i (soedarsoso, 1999:1870). tari bedhaya anglir mendung relatif berbeda jika dibandingkan dengan tari bedhaya lain yang berasal dari pangeran adipati arya k.a.g.p.a.a. mangkunegara i (1757-1795) dengan k.g.p.a.a. mangkunegara ix, secara berkesinambungan sebagai pemimpin kerabat, terkesan lebih merupakan pencerminan tari prajurit wanita. pada tahun-tahun belakangan ini, muncul lagi tari bedhaya sumirat yang merupakan kreativitas seniman bersama panguasa mangkunegaran saat ini. tari bedhaya surya sumirat merupakan tari ciptaan baru yang merupakan perpaduan antara tari tradisi dengan tari modern ( rusini, solopos, minggu, 22 februari, 2009). pada masa kini pada saat kepemimpinan mangkunagara ix, terdapat perubahan yang pesat, terutama disebabkan oleh perubahan eksternal mangkunagaran. pengaruh kebijaksanaan yang diambil oleh pemerintah republik indonesia telah menyebabkan pihak mangkunagaran harus menentukan sikapnya terutama pada bentuk pengelolaan aset budaya nasional yaitu pura mangkunegaran. sebagai jawaban terhadap perubahan eksternal maka terdapat kejadian yang menarik yaitu mangkunegaran telah berhasil menciptakan dan menyajikan sebuah tarian bedhaya surya sumirat. sebagai mana tari bedhaya yang lain, bedhaya surya sumirat ditarikan oleh sembilan wanita, relatif mengambil beberapa vokabuler gerak bedhaya yang disajikan di keraton kasunanan surakarta dan kasultanan yogyakarta. diperlukan pengamatan yang seksama untuk menemukan beberapa perbeda-annya, antara lain ragam gerak, desain lantai, tata arias dan tata busana serta waktu pementasannya yang tidak harus ajeg pada saat peringatan jumenengan atau peristiwa khusus lain yang memerlukan sajian tari bedhaya. latar belakang penciptaan tari bedhaya surya sumirat keraton mataram memiliki ketentuan-ketentuan sangat khusus berkaitan dengan kekuasaan. ketentuan itu, merupakan undangundang yang harus dipatuhi dan hanya dapat di-patuhi oleh keraton dan sama sekali dilarang dipergunakan oleh pihak lain. dalam bahasa jawa, dikenakan istilah mbalela kepada pihak-pihak yang secara sengaja melanggar ketentuan-ketentuan sekalipun tidak tertulis. tari bedhaya, semula adalah sebagai lambang dan pusaka yang hanya dimiliki keraton yang secara khusus berkaitan dengan kekuasaan. beberapa bedhaya milik mangkunegaran dikecualikan dengan catatan, beberapa unsurnya tidak sama dengan bedhaya keraton misalnya jumlah penari. tari tradisi istana jawa yang dikenal sekarang, secara garis besar terdiri dari tari tradisi surakarta dan tari tradisi yogyakarta. berdasarkan tradisi-tradisi sastra yang menyertainya, asal-usul penciptaannya senantiasa dikembalikan kepada raja-raja yang bertahta pada saat itu, seperti panembahan senapati, sultan agung, hamengku-buwana i, pakubuwana, dan mangku-negara. hal tersebut berkaitan erat dengan cita pikiran tentang kedudukan raja yang dipercayai bersifat dewa, yang berkuasa di negara kosmis (heinegeldern, 1982: 16). mereka sebagai tokoh-tokoh besar dalam dinasti mataram baru yang dianggap pencipta dari tarian-tarian jawa yang dikenal sekarang ini merupakan suatu kebulatan kosmos yang tidak lepas dari masa-masa sebelumnya (sedyawati, 1981: 1) pura mangkunegaran seperti halnya istana-istana di jawa, hingga sekarang terlihat masih menyelenggarakan suatu bentuk tarian yang dinamakan bedhaya. pada umumnya bedhaya di mangkunagaran ditarikan oleh tujuh orang penari puteri seperti bedhaya bedhah madiun, walaupun sebelumnya ada pula komposisi yang terdiri dari tiga orang penari puteri yaitu bedhaya anglir mendhung. dalam perkembangannya sekarang, terdapat bedhaya yang menggunakan sembilan penari puteri yaitu bedhaya suryasumirat. istana merasa perlu menampilkan tarian yang selalu dihubungkan dengan ritus, tidak lain sebagai bagian dari upaya yang ditujukan bagi kepentingan tegaknya wibawa pemerintahan istana. tari bedhaya adalah tari puteri yang hidup dan berkembang di istana. sebelum abad xviii tari bedhaya mutlak milik kerajaan. oleh karena itu tari bedhaya hanya dipentaskan di dalam istana. hal ini sebagai pegaruh adanya anggapan bahwa bedhaya merupakan pusaka kerajaan. tari bedhaya dianggap sebagai kekayaan yang memberikan kontribusi dalam mengkultuskan raja dan meningkatkan kewibawaan raja. kepemilikan bedhaya juga menunjukkan status yang tinggi, sehingga kemudian tradisi memiliki bedhaya mulai diikuti para penguasa di bawah raja. beberapa adipati, bupati, dan wedana mulai banyak yang memiliki bedhaya (rini, 1997: 50). bila penggunaan bedhaya surya sumirat di mangkunegaran adalah suatu kesenga-jaan maka secara politis, hal itu dapat dikatakan ada gejala untuk menyamai praja meskipun dilakukan secara halus. penyajian bedhaya surya sumi-rat karena ketidaklazimannya, tentu memiliki maksud-maksud tertentu yang mungkin berbeda dengan yang telah ada sebelumnya. bedhaya baru ini sedemikian besar artinya sehingga sudah barang tentu mengandung maksud-maksud yang besar atas penyusunannya. oleh karena itu perlu dipahami juga proses pembentukannya serta apa yang berbeda dari bedhaya yang lazim dimiliki oleh keraton. perbandingan bentuk pertunjukan tari bedhaya dengan bedhaya surya sumirat bedhaya surya sumirat sebagai karya seni terbagi atas dua bagian yaitu isi dan bentuk. dewitt h. parker menyebutkan bahwa isi merupakan superior sedangkan bentuk adalah subordinat. bentuk adalah perwujudan secara fisik yang dapat ditangkap oleh indera seperti gerak, iringan, rias, dan busana, serta alat-alat lainnya yang kesemuanya merupakan medium tari untuk meng-ungkapkan isi. isi merupakan kehendak atau karep tujuan yang diungkapkan dalam bentuk fisik (rustopo, 1990: 134). bentuk dapat diindera melalui penya-jiannya serta pengamatan terhadap koreografinya. adapun isi dapat di-tangkap berdasarkan pengamatan terhadap penyajian bentuk. meskipun begitu dalam dunia tari jawa kadang-kadang agak sulit mendapatkan isi dengan cara tersebut. gagasan isi dalam tari jawa dituangkan ke dalam bentuk dengan cara sangat halus dan sangat spesifik sehingga pendalaman terhadap isi se-bisa mungkin dilakukan dengan cara menanyakan langsung kepada pihak-pihak yang berkaitan. dalam pen-ciptaan, pribadi seniman pencipta tari sangat besar pengaruhnya dalam karya yang dihasilkannya. pola penyajian tari bedhaya pada umumnya sama, namun perbedaan tempat dan senimannya berpengaruh pada isi garapannya. lazimnya tari bedhaya terbagi menjadi empat bagian. bagian pertama biasanya disebut maju beksan, penari berjalan pelan secara berurutan dari dalam bangsal prabasuyasa menuju pendhapa ageng sasana sewaka bagi keraton kasunanan sura-karta, atau dari bangsal kencana bagi tradisi keraton kasultanan yogyakarta. khusus bedhaya ketawang, para penari berjalan pelan melingkar kearah pentas dengan posisi raja di kanan penari (pradaksina). bagi tradisi keraton kasu-nanan surakarta, bagian pertama di-iringi pathetan atau lagon (yogyakarta), yaitu suara bersama pria dengan pola lagu tertentu yang disertai dengan garap ricikan gender, rebab, gambang dan suling. setelah sampai di daerah pentas, penari kemudian duduk bersila meng-hadap raja dan menyembah. bagian kedua (beksan), diawali dengan suara ricikan rebab (buka rebab) atau buka celuk suara sindhen, kemudian pada akhir lagu (baik buka rebab mau-pun buka celuk) yang tepat pada suara ricikan gon, para penari melakukan gerakan sembahan sebagai gerak awal yang kemudian dilanjutkan menari de-ngan posisi berdiri dengan berbagai pola lantai. akhir bagian kedua ini ditandai dengan gerak sembahan dalam posisi duduk bersila atau jengkeng nikelwarti. bagian ketiga, pelaksanaannya sama dengan bagian kedua, hanya lebih banyak menampilkan peran batak dan endhel ajeg yang membawakan gerak-gerak simbolis peperangan, percintaan atau perdamaian, dan juga yang lain sesuai dengan tema tari masingmasing bedhaya. bagian ketiga ini menggunakan gendhing bentuk kethawang. bagian kedua dan ketiga lazimnya disebut bagian maju beksan. bagian keempat (mundur beksan) merupakan kebalikan dari bagian pertama, yaitu berjaln pelan berurutan menggunakan pola gerak kapang-kapang, juga dengan iringan yang sama seperti bagian pertama pathetan atau garap ricikan gamelan lengkap dengan bentuk gendhing ladrangan (kusmayati, 1988: 44-48). perbedaannya terletak pada tem-pat para penari mulai bergerak menari yaitu dari ndalem (bagian dalam istana) menuju pendhapa agung (pendhapa besar). perbedaan lain juga terletak pada iri-ngan maju beksan yang menggunakan lagon ada-ada, ladrangan saron (garap selang-seling slendro dan pelog) dan ditutup dengan pathetan. begitu pula iringan untuk mundur beksan biasanya terdiri atas gendhing ladrangan saron. baik maju beksan maupun mundur beksan menggunakan gamelan dua laras ber-gantian slendro dan pelog disertai instrumen musik barat seperti genderang atau tambur. tari bedhaya surya sumirat disajikan oleh sembilan orang penari putri, masing-masing ditandai dengan nama endhel ajeg, batak, endhel weton, apit ngarep, apit mburi, gulu, apit meneng, dhadha, dan buncit. sajian tari ini disusun berdasarkan perbendaharaan gerak tari dengan menggunakan aturan-aturan tertentu dalam pelaksanaan gerak yang meliputi sikap dan gerak dari pandangan mata, leher, badan, lengan, tungkai serta tumpuan. para penari dituntut memahami konsepkonsep yang berlaku di dalam istana yang menunjuk pada kewujudan tari tradisional seperti bentuk, vokabuler-vokabuler tertentu, kualitas karakter tari putri yang dinamakan konsep driya laksmi, mengacu kepada ketentuan ketentuan seperti dijelaskan dalam serat kridawayangga. penari juga harus mema-hami konsep hasthasawanda dalam me-lakukannya (dewi 1994: 77-78). setelah para penari memahami beberapa konsep, penari diharapkan semakin meningkat kualitas geraknya, terlebih pada tari bedhaya surya sumirat yang harus benar-benar berolah rasa. peristiwa penyajian bedhaya surya sumirat dalam acara boyong dalem, mengandung dua hal ketidaklaziman. pertama, bedhaya surya sumirat memiliki ciri khusus bedhaya keraton dan bukan sematamata bedhaya mangkunegaran. tari bedhaya keraton kasu-nanan surakarta masih tetap berpijak pada tari bedhaya ketawang, misalnya, memiliki rasa ragu yang mengandung pengertian agung, berwibawa. pola geraknya halus, tenang, semeleh, menep, hening dan wingit, maka tarian ini mampu membawa penonton kepada suasana magis seolah-olah berada di alam lain, hal ini kiranya sangat tepat sebagai sarana yang menuntun ke arah semedi. kedua, waktu penyajiannya juga tidak lazim, artinya disajikan dalam waktu yang tidak biasa bagi penyajian tari bedhaya. bedhaya ketawang dipentaskan pada saat penobatan atau jumenengan raja baru atau peringatan penobatan raja (tingalan jumenengan), bedhaya kaduk manis disajikan dalam acara perkawinan agung raja keraton, bedhaya anglirmendhung dipentaskan dalam acara penobatan bupati baru atau penobatan di mangkunegaran. adapun bedhaya surya sumirat dipentaskan pada saat pesta boyong dalem perkawinan k.g.p.a.a. mangkunegara ix dan juga pada upacara lain yang dipandang sangat penting. berkaitan dengan jumlah penari, tari bedhaya memiliki pengertian sebagai salah satu komposisi tari putri yang dibawakan oleh sembilan wanita. merujuk riwayat bedhaya menurut prajapangrawit, pada jaman pemerintahan sultan agung hanyakrakusuma di keraton mataram (1613-1645) jumlah penari bedhaya yang semula terdiri dari tujuh orang penari ditambah menjadi sembilan orang penari. sejak itulah tari bedhaya lebih dikenal sebagai tari tradisional keraton baik keraton surakarta maupun yogyakarta yang ditarikan oleh sembilan orang penari wanita (pradjapangrawit, 1990: 70). dari uraian tersebut, maka dapat diklasifikasikan, tari bedhaya termasuk dalam jenis tarian tradisional yang berkembang dikeraton, di dalamnya mengandung makna simbolik yang cukup dalam, sebagai sebuah tari yang biasa ditarikan sembilan orang penari putri mengenakan busana yang sama. tari bedhaya biasanya lebih difung-sikan sebagai sarana upacara ritual tertentu di dalam lingkungan keraton. dilihat dari jumlah penari, tari bedhaya merupakan tari kelompok dan dapat digolongkan ke dalam tari tradisi kera-ton, yang dilakukan oleh sembilan atau tujuh orang penari, digunakan untuk kepentingan raja, tidak ada perbedaan karakter pada saat sajiannya. tari bedhaya pada dasarnya da-lam penyajiannya mencakup tiga bagian yang saling melengkapi, yaitu : per-tama, bagian tari yang mencakup gerak dan pola lantai dengan banyak meng-gunakan posisi baris; kedua, bagian karawitan yang menunjuk garap gen-dhing kemanak; ketiga, bagian kidung yang menggunakan sekar kawi (pradjapangrawit, 1990: 70). susunan tari bedhaya surya sumirat masih memperlihatkan unsur tari yang berupa penggunaan voka-buler-vokabuler gerak nonrepresentatif atau abstrak dengan menggunakan pola-pola perubahan tempat yang dibentuk oleh kesembilan penari putri. perpindahan dari satu tempat ke tempat lain dan membentuk formasi tertentu dinamakan dengan pola lantai atau gawang. beberapa gawang pada susunan tari bedhaya surya sumirat adalah gawang montor mabur, gawang urut kacang, gawang jejer wayang, gawang ketonggeng, gawang blumbangan, gawang perang, dan gawang tiga-tiga. pada umumnya tari bedhaya dipandang sebagai tari yang paling keramat, paling kuna, dan paling kom-pleks. di keraton, tari-tarian ini hanya dipergelarkan pada peristiwaperistiwa yang sangat penting dan memerlukan upacara besar seperti penobatan (jumenengan) raja baru, ulang tahun penobatan (wiyosan jumenengan), perja-muan untuk tamu raja dan pembesar tinggi asing, serta perkawinan kerabat kerajaan (brakel, 1991: 46). tari bedhaya surya sumirat dipentaskan menurut kebutuhan dan juga untuk wisata. faktor-faktor yang mempengaruhi terciptanya tari bedhaya surya sumirat faktor internal lahirnya bedhaya surya sumirat merupakan perpaduan kehendak antara kanjeng gusti pangeran adipati aria (k.g.p.a.a) mangkunagara ix dan sulistyo. di satu pihak k.g.p.a.a mangkunagara ix berkeinginan mewu-judkan suatu monumen berupa tarian, sedang di pihak lain sulistyo sebagai salah seorang keturunan mangkunagara berkeinginan mempersembahkan suatu karya seni sebagai buah pengabdiannya kepada dunia tari yang membesarkan-nya dan sekaligus sebagai keluarga mangkunagaran. k.g.p.a.a mangku-nagara ix bermaksud mewujudkan tekadnya ke dalam suatu tarian bedhaya dengan tujan antara lain untuk ngleluri semangat mangkunagara khususnya semangat kepahlawanan pangeran sambernyawa. menurut k.g.p.a.a mangkunagara ix, bahwa berdasarkan petunjuk yang diterima, bentuk monumen tersebut adalah sebuah tarian yang menggambarkan jiwa keluarga mangkunagaran. jiwa tersebut telah ditanamkan secara turun temurun dan kuat sekali mengakar di dalam kehidupan seluruh anggota keluarga mangkunagaran, dan secara sangat jelas jiwa itu adalah semangat perjuangan yang dilambangkan melalui tokoh sambernyawa itu sendiri (mangkunagara ix, wawancara sulistyo s. tirtokusumo, 20 juli 2000). keinginan lain yang ingin disampaikan oleh k.g.p.a.a mangku-negaran ix adalah: (1) bahwa k.g.p.a.a mangkunegaran ix sebagai penerus generasi mangkunegaran wajib menjaga kelestarian keluarga sehingga terbentuk generasi penerus antara generasi pendiri sampai generasi kini sehingga tari ini menggambarkan kesatuan ‘rasa’ mangkunegaran meskipun orangorang yang ada di dalamnya silih berganti menurut generasinya masing-masing; (2) hendak melestarikan dalam bentuk tari (yaitu bedhaya surya sumirat) yang telah menjadi keyakinan keluarga mangkunegaran, misalnya watak ksa-tria yang seumpamanya diwujudkan dalam kepahlawanan pangeran sambernyawa; (3) mewujudkan suatu monu-men budaya berbentuk tari yang dapat menjadi pengingat akan tugas suci seorang kepala mangkunegaran apalagi melihat begitu beratnya tugas yang di emban dalam masa sekarang ini; (4) hendak mewujudkan tekad dan doa hidup agar dalam mengarungi hidup yang berat ini selalu mendapat berkah dari tuhan yang maha esa serta didukung oleh rakyat. tekad k.g.p.a.a mangkunegaran ix ini selanjutnya secara eksplisit diserahkan sebagai pisungsung kepada permaisuri yaitu kanjeng bandara raden ayu mangkunegaran pada hari pernikahannya. hal tersebut menjadi lambang bahwa mangkunegaran ix telah bertekad memulai sesuatu yang baru di mangkunegaran yang dimulai dengan menanamkan jiwa sambernyawa pada dirinya. boyong dalem dianggap saat yang tepat untuk memproklamasikan tekadnya sehingga tepatlah jika monumen berupa tari bedhaya dipentaskan pada acara tersebut. hasil-hasil pelestarian kebu-dayaan mangkunegaran sampai seka-rang masih relatif sedikit yang dapat dinikmati. seiring dengan perubahan jaman, terdapat fungsifungsi yang berkembang. di dalam alam kemerdekaan negara republik indonesia se-karang hasil-hasil kebudayaan mangkunegaran memiliki fungsi lain yang mungkin tidak terbayangkan sebelumnya ialah peranannya yang besar dalam menghidupkan dan memberikan warna pada dunia pariwisata. sajian tari umpamanya tetap terpelihara dengan baik sekaligus menjadi sajian yang menarik bagi para wisatawan asing maupun domestik. sulistyo juga menya-dari bahwa generasi mangkunegaran saat ini di bawah pimpinan pengageng pura k.g.p.a.a. mangkunegaran ix sama-sama merasakan tanggung jawabnya untuk melestarikan kebudayaan mangkunegaran. para pemimpin kera-bat dituntut untuk membuat sejarah baru bagi kelangsungan mangkunegaran, berupa giliran mewariskan sesuatu kepada generasi penerus atas hasilhasil karya seniman-seniman yang hidup sejaman, untuk mengangkatnya sekaligus sebagai upaya penyegaran dan pembaharuan. lebih jauh sulistyo mengemukakan dasar pemikiran penyusunan bedhaya surya sumirat secara rinci diantaranya sebagai berikut. a) sebagai manifestasi dari sikap tangggap dan aktif para pewaris budaya setempat untuk ikut menjaga, melestarikan, dan bertanggung jawab terhadap kelangsungan kehidupan seni di pura mangkunegaran di masa pasca kemerdekaan. b) mempersembahkan sesuatu yang bernilai khususnya kepada kanjeng gusti pangeran adipati aria (k.g.p.a.a.) mangkunegaran ix dalam rangka pernikahan “boyong dalem” dengan kanjeng bandara raden ayu (k.b.r.ay) mangkune-gara pada tanggal & juli 1990. c) keinginan untuk tetap menjaga api semangat pangeran sambernyawa sebagai pahlawan nasional. d) ikut serta mempercepat proses sadar budaya umpamanya menghapus asumsi tentang adanya perbedaan penggunaan jumlah penari bedhaya pada pemerintahan yang berbentuk kadipaten dan keratin karena di masa kemerdekaan ini hal itu sudah tidak relevan lagi. ciri pokok yang ingin ditampilkan sulistyo dalam garapan bedhaya suryasumirat antara lain sebagai berikut. 1) ragam gerak tari bedhaya suryasumirat mengacu pada ragam-ragam gerak tari yang sudah ada seperti srimpi pandelori, bedhaya bedah madiun, bedhaya anglir mendhung, bedhaya pangkur, bedhaya doradasih, dan bedaya tejanata. bedhaya surya-sumirat menggunakan penari putri berjumlah 9 dengan rias dan busana. 2) menampilkan ciri khas budaya mangkunegaran melalui penggunaan slempang dengan lambang mata-hari berwarna hijau dan kuning (pareanom), serta jamang yang bermotif cirebon. 3) menampilkan kesan agung dan berwibawa melalui penggunaan iringan tari berupa gamelan mangkunegaran yaitu kyai udan asih dan udan arum serta kyai kanyut mesem yang dipadukan dengan alat musik tambur. 4) menggambarkan kisah perjuangan pangeran sambernyawa melalui pola lantai umpamanya pada gawang rakit gelar, rakit pistolan, dan rakit lumbungan atau blumbangan. 5) menggambarkan suasana perjuangan dengan menggunakan property berupa tiruan senjata colak atau pistol. semua ciri pokok dimaksudkan untuk merefleksikan sifat keprajuritan dan kepahlawanan pangeran sambernyawa. tari bedhaya surya sumirat diha-rapkan menjadi salah satu jenis pusaka mangkunegaran yang bernilai sakral dan magis, sehingga pentas sajiannya relatif pada saat tertentu, yang penting seperti misalnya ditarikan pada acara upacara ritual, pernikahan raja, ulang tahun jumenengan, dan menyambut tamu penting pura mangkunegaran. pada masa pasca kemerdekaan republik indonesia (1945) kebebasan kreativitas dijamin. sebelum kemer-dekaan sekitar tahun 1937 tidak ada kebebasan untuk kreasi seni. kebebasan tampak seperti yang telah dilakukan oleh ibu minto laras (bencok) antara lain berhasil menyusun karya tari diantaranya menak koncar, gambyong pareanom, gambyong padasih, campursari, dan priyobada mustakaweni. kebebasan berkreasi yang diberikan telah dimanfaatkan sebaik-baiknya namun masih sebatas pada penyusunan wireng dan beksan. kreasi yang telah dilakukan umpamanya oleh ronosuripto tahun 1988/1989 yang berhasil menyusun gambyong langen kusumo, pada tahun 1990 gatutkaca dhadhungawuk, bogodhenta werkudara, situbanda (dua raksasa kamuflase indra dan bayu melawan werkudara) yang disusun un-tuk keperluan festival keraton nusantara (ronosuripto, wawancara 9 juni 2000). penyusunan bedhaya surya sum-rat yang terkait dengan perubahan ma-syarakat adalah wajar dan sah bagi proses pnciptaan seni. tari memiliki dinamika sendiri dan sekaligus meru-pakan kreativitas kebudayaan. masyarakat sebagai penyangga kebudayaan, lalu kebudayaan yang berupa kesenian mencipta, menularkan, mengembangkan untuk kemudian menciptakan kebudayaan baru lagi (kayam, 1981: 39). kewajaran dan keabsahan juga disebabkan oleh adanya pemikiran bahwa setiap generasi tidak akan puas dengan warisan pusaka yang dalam hal ini tari bedhaya yang diterimanya pada masa lalu sejak mangkunegara i secara berkesinambungan hingga sekarang, sehingga berusaha membuat sumbangannya sendiri (duverger, 1981: 356). sebagai salah satu trah mataram, mangkunegara ix juga berusaha mengikuti dan melakukan pesan leluhurnya yang mensyaratkan bahwa trah mataram yang baik dan besar harus memahami seni tradisi sebagai bagian dari kehidupannya. besarnya rasa hormat terhadap leluhur dan berbagai pengaruh internal dan eksternal men-jadi landasan yang kuat digubahnya tari bedhaya surya sumirat di pura mangku-negaran sekaligus sebagai pelestarian budaya keraton. faktor eksternal pengaruh dinas pariwisata indonesia setelah menurunnya harga mi-nyak dunia, devisa negara juga menga-lami penurunan. pemerintahan memerlukan sumber dana dari sektor yang lain. pemerintah kemudian meningkatkan sektor pariwisata yang oleh negara lain sangat menguntungkan. bisnis pariwisata mulai digalakkan. objek wisata mencakup dua macam yaitu keindahan alam dan kegiatan budaya. dalam hal budaya dikelompokkan menjadi dua yaitu peninggalan sejarah dan purba-kala serta atraksi budaya. pusat—pusat kegiatan budaya mulai digali dan atraksi seni menjadi primadonanya. dengan atraksi seni diharapkan lebih menarik kedatangan para wisatawan. mangkunegaran sebagai salah satu pusat budaya juga menjadi pusat perhatian. kegiatan budaya seperti kirap pusaka setiap malam satu suro, pentas seni rakyat, festival keraton nusantara sering dipentaskan di mang-kunegaran. diperlukan ciri khusus yang dapat menarik wisatawan. atraksi seni di mangkunegaran ternyata banyak diminati masyarakat sehingga sampai sekarang kegiatan seni berjalan seiring dengan kegiatan wisata. kegiatan pen-tas seni menjadi salah satu andalan mangkunegaran. dengan makin me-ningkatnya minat masyarakat, maka atraksi seni yang menyertai kegiatan pokoknya seperti boyong dalem, jumenengan lebih menarik. tari bedhaya surya sumirat menjadi sebuah kebutuh-an untuk lebih menyemarakan upacara adat dan pelestarian budaya. tari bedhaya surya sumirat sekarang telah menjadi semacam identitas dan pusaka pura mangkunegaran. perubahan orientasi masyarakat sekitar wilayah mangkunagaran. mobilitas masyarakat surakarta yang semakin cepat mempengaruhi kehidupan masyarakat sekitar mangkunegaran. orientasi masyarakat kemu-dian berkembang ke arah yang lebih bersifat meteriil. seni tari kemudian juga dipengaruhi oleh perkembangan selera pendukungnya. lahirnya penciptaan tari bedhaya surya sumirat juga merupakan asimilasi dan adaptasi dengan perkembangan pola pikir ma-syarakatnya. bedhaya surya sumirat merupakan karya cipta seni sebagai perpaduan antara tradisi dan seni kontemporer. bedhaya surya sumirat di samping berfungsi sebagai pelestarian budaya leluhur, seni juga untuk kepentingan hiburan bagi para tamu dan wisatawan yang datang ke mang-kunegaran. simpulan tari bedhaya surya sumirat merupakan tari bedhaya baru yang mengambil vokabuler tari bedhaya yang telah diciptakan terlebih dahulu dipadukan dengan ide cita rasa kepahlawanan mangkunegaran. tari bedhaya surya sumirat juga merupakan perpa-duan antara tari tradisi dengan tari kontemporer. dalam gerak tarinya tari bedhaya surya sumirat relatif mengambil sebagian gerak tari pada tari bedhaya yang telah ada terlebih dahulu, dipadukan dengan gerak menurut interprestasi senimannya, adapun tata riasnya menggunakan tata rias seperti prajurit wanita dengan asesoris senjata pistol diselipkan pada epek timang yang melilit di depan perut sembilan penarinya sedang iringan mengguna-kan seperangkat gamelan slendro dan pelog ditambah genderang atau tambur pada musik barat. tari bedhaya surya sumirat diciptakan bersama antara mangkunegara ix dengan sulistyo yang juga masih kerabat mangkunegaran. tari surya sumirat memiliki beberapa fungsi, di samping sebagai kelengkapan dalam upacara penting di mangkunegaran juga sebagai hiburan untuk kegiatan pariwisata. sebagai tari bedhaya yang baru, penciptaannya dipengaruhi oleh faktor internal dari dalam seniman dan juga faktor eksternal. tari bedhaya surya sumirat dapat dipertunjukan menurut kebutuhan. daftar pustaka brakel, clara. 1988. the sacret bedhaya dances of kratons of surakarta and yogyakarta. leiden: repro drukklolletief van onderen. daryono. 1999. ”dampak pariwisata terhadap tari tradisional di karaton kasunanan dan pura mangkunagaran”. yogyakarta: ugm tesis s 2. duverger, maurice. 1981. sosiologi politik. terj. daniael dhakidal. jakarta: rajawali. heine-geldern, robert von. 1982. konsepsi tentang negara dan kedudukan raja di asia tenggara. terjemahan. deliar noer. jakarta: rajawali. kusmayati, hermien. 1988. “bedhaya di pura pakualaman pembentukan dan perkembangannya 19091987”. yogyakarta: ugm tesis s 2. kayam, umar. 1981. seni, tradisi dan masyarakat. jakarta: sinar hara-pan. dewi, nora kustantina. 1994. “tari bedhaya ketawang reaktualisasi hubungan mistis panembahan senapati dengan kanjeng ratu kencanasari dan 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� )��� -'�$�(�&�#�(�6��*�)�-�/�(���$��**����$���-'�('��&��(� �'&'�+'�'&'��)�#�� �&�#�( �6��*��$�&��)���&��6��6��� ��)���., � 3�5 ����� � � 6��$� � *'��( � 6��* � $'��$�� � )��� � #��$� � #6��� � �$�� �&�#�( � 6��* �&'�*��)��*� �'�'(��+��+�'�'(�����-��6��)���&���$'�%���6��*�$'��$���)���)���$�)��(��,� 3 5 �� ����� �6��$���'�6�������#'2�&��.����$�����)��6��*�#����*�-'�.�-��*��� )���&'&-'�+$�(�#��$��'(#��'#� ���)�+��)��)���&�&'��)�, � 3c5 �� ���� �6��$�� (�$�+(�$��-�.�#��6��*�)���)�(���)���&�#��$��(��6��&�#�(,�)���3"5���������� 6��$��%���&'�-��6� yang kuat, icmbut, dan perubahan yang berangsur-ongsur dari kuat ke lembut dan kebalikannya. kombinasi ritme, melodi, dan syair mcnimbulkan kesan keutuhan pada suatu nyanyian. dalam lagu, eicmen-elemen ini sating berhubungan. hubungan yang paling erat adalah antara ritme dengan melodi, karena keduanya sating tergantung. hubungan antara syair, ritme dan melodi tidak erat. perubahan terhadap syair dapat dilakukan dengan bebas tanpa mempengaruhi komposisi musikal suatu lagu, terutama pada nyanyian anak-anak yang ditujukan untuk merangsang kreativitas atau kebutuhan tertentu. sebaliknya, perubahan terhadap ritme atau nada secara langsung akan mengubah komposisi musikal suatu lagu, sehingga lagu tersebut'berubah" menjadi bukan lagu semula lagi. tindakan artistik seperti menyanyi, selalu merupakan tindakan ekspresi kreatif. salah satu kenikmatan terbesar dalam hidup adalah ekspresi kreatif. ini merupakan hal yang wajar dan merupakan dorongan kuat dalam diri semua manusia. kepuasan terbesar dari ekspresi kreatif biasanya dijumpai dalam seni. terdapat beberapa f aktor yang dapat mempengaruhi kemampuan menyanyi seseorang, yaitu: (1) antusiasme, kecintaan akan musik dan kegembiraan berekspresi, (2) cita rasa nada dan ritme yang baik, (3) imajinasi dan cita rasa interpretasi yang mendalam, (4) kesehatan, kemampuan fisik dan kebiasaan yang sehat, (5) inteligensi, (6) kepribadian yang kuat dan menyenangkan, (7) ketekunan belajar dan pernyataan diri, tanggap akan ide-ide baru. tidak cepat puas diri, dan punya kebiasaan ingin mencapai kemampuan.jebih tinggi, (8) kemampuan membaca musik dan bermain piano/ organ iringan, (9) memiliki instrumen vokal yang baik, (10) fisik yang kuat dan koordinasi fisik yang tinggi dan wajar, yang antara lain diterapkan pada pernafasan dan otot-otot penghasil suara (christy, 1978: 3). kemampuan anak bernyanyi ditentukan oleh banyak hal. hal terpenting adalah lingkungan hidup anak, terutama semasa usia dim. beberapa pendapat yang berkenaan dengan hal tersebut di atas adalah: (1) kemampuan membeda-kan nada melalui audiasi. (2) kemampuan menyanyikan nada dengan tepat yang dipengaruhi kemampuan audiasi, (3) kemampuan merasakan ritme yang juga ditentukan oleh kemampuan audiasi, (4) kemampuan memainkan alat musik ritmik serta alat musik melodik untuk pematangan konsep tonalitas (swanson, 1962: 84-86). oleh karena itu pembelajaran menyanyi pada anak, dianjurkan pula memainkan alat musik pukul berbilah (xylophone, bellyra, kolintang, dan lainnya). beberapa hal yang perlu diperhatikan berkenaan dengan nyanyian yang tepat untuk anak-anak berusia 6-7 tahun. adalah: (1) nyanyian yang memiliki jangkauan nada dari d' s/d a', yang dopat dicapai oleh 75% anak usia 6-7 tahun, sedangkan 25% menguasai jangkauon nada c' s/d g', (2) nyanyian yang memiliki interval nada yang dapat dinyanyikan dengan tepat adalah prime, sekonde dan � �����3c5��6��6����-'�#(������)���'�$�$���(�)���)��$���(,�3"5��6��6����6��*� &'&���(����$&'�&8$��(�6��*�(��$,�#8�'�$����*��&��#,���*��$��� �2���� ������4� )�� ������6�, � 3d5 � �6��6��� � 6��* � 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$'�)��� �)���0 � 3�5�('*��$���-'��2�� �&�#�(�)���(�(���#'8�������&��.,� &'�6'���*+(��, � ��/'# � )�� � &'&-'��(�� � ('#'&��$�� � -'�('&-��*� (�'�$�%�$�#,�3 5�('*��$���-'��2���&�#�(�)���$�)���(�(���)����&�/�($��#��*(�$,� $'$��� � �'��. � �'�*���&�� �6��* � -'�&�(��, � 3c5 � )���$ � )��&�$�, � #'�'�$�� (�&��#�#��)���(��'�2�� �+&�� -��&�)� ��#�-'�,������,��@b � ��� ��� ������ ����# ���������5 � ���( ������,�'�� !����������������������( ���������'/�f��(0�����'���)��$�$��� 7�/'�, �b���, �7��$i��, �����, ���h�2��8, ���7�, ��@ag� ��������� ��� ��� ������ � ���� ���'/�f��(0����)�&����#'� 4����,�'�������)�,���7���@ga��=� ���0 �@� �������������� �����0 �(��� ����� � ����a� �, �' � � �� � =��� �� �'�������� �4���&-�# � 0 � 4.���'# � � � �'����� ��-��#.��*�4�&���6� 4.��#$6,�����,��@ga��b����������������������>c�.����-�l�',���0�9���4��7��/�� 4�&���6���-��#.'�#� �'�7���,� )/��)�,��@@!��� �������(�� ����2� �/ ����������4�� �(��$�0� 7�������� ���)��,� � �, ��@@!� �'�#�����( ��������� �� �����) * ��������+����� =������4.�8�*�0����������-��8�$���#,���8� �.�#��, �����, � �@@c� �; �8���� ������ � ��� � ��� � � ��� ��c� �#���� � .�������� "���������������@@@� harmonia: jurmal pengetahuan dan pemikiran seni 3�'��')6,�������@a!����� �=����� �<?����� �������� ����#���������)��0� �e1��)� ��%'�#�$6���'##� ��#(6,����"���('�2�,���,��@a"��'��,�����������+�����=����� ���9�#��*$��� �4�0��.'���$�������##�#��$����1����.'� )�8�$�����1�f���*�4.��)�'�� �����)������4� �,��@ac���� ���0������ �(��$�0��������(6�$� ���$$,��9���,��@b!����) *�.�� ���� �������#���������#�����������'/�f��(0� ���8�&������4�����6� �'*'�#(�,�����,��@a���� �������� � ����#�������'/�f��(0��8.��&'��7��(#� santrock, j.w., 1988. psychology: the science of mind and behavior. dubuque, iowa: wm.c. brown publishers. �/��#��m�7���,��@b ��#���������� �.������������=����� ���4���1�����0� 9�)#/��$.���-��#.��*�4�&���6� treffmger, d.j., 1980. encouraging creative learning for the gifted ana1 talented. ventura, california: venture county superintendent of school office. ��*'�,� ����@ab�����������' ������ ������ ��4.�8�*�0��'�#��+����� 9�#-'6,�����,��@a!��#���������� ������ ����( ��������7��$�&��'0� ��%'�#�$6����(���'##� kata pengantar harmonia: jurnal pengetahuan dan pemikiran seni estetika ketidaksadaran: konsep seni menurut psikoanalisis sigmund freud (1856-1939) (aesthetics of unconsciousness: art concept according sigmund freud psychoanalysis) ahmad zaenuri mahasiswa program studi pendidikan seni pascasarjana universitas negeri semarang abstrak psikoanalisis sigmund freud mendasarkan pemikirannya pada ketidaksadaran sebagai analisis ilmiah. ketidaksadaran dalam perilaku digambatkan sebagai kesalahan-kesalahan perilaku, keseleo lidah, kelupaan, imajinasi, fantasi dan mimpi yang disebabkan karena dorongan psikis tidak sadat yang disebut sebagai libido. libido, dalam psikoanalisis merupakan energi psikis yang mendasari segala perilaku manusia sejak keberadaan manusia di dunia. libido sebagai energi yang paling dalam pada individu bersifat naluriah, instinktif dan primitif yang mendorong makhluk hidup untuk bertahan hidup, memiliki hasrat seksual dan naluri kematian. libido (id), mendorong manusia untuk melakukan segala sesuatu yang berprinsip pada kesenangan, namun dorongan ini dibatasi oleh ego yang berprinsip pada realitas sehingga perilaku yang dimunculkan adalah super ego. dorongan yang terpendam karena represi menekan psikis sehingga muncul perilaku tidak sadar sebagai manifestasinya. ketidaksadaran, oleh seniman surealisme bermanfaat sebagai ide untuk menciptakan karya seni yang imajinatif dan fantastik. seni surealisme merupakan bentuk estetika ketidaksadaran dalam kesadaran manusia yang menggambarkan mimpi-mimpi sebagai produk fantasi dari dorongan energi psikis yang direpresi. surealisme adalah otomatisme murni dari perilaku yang terlepas dari kontrol kesadaran dan masuk dalam permainan pikiran. kata kunci: psikoanalisis, seni, surealisme, esatetika a. pendahuluan pemikiran freud tentang kepribadian menyatakan bahwa manusia terdiri dari tiga sistem, yaitu id, ego, dan super ego. id sebagai dorongan psikis yang paling mendasar pada manusia, dorongan ini berupa naluri, instink, dorongan untuk makan, minum, dan dorongan seks. dorongan id berprinsip pada kesenangan (pleasure principle) sebagai dorongan primitif. ego merupakan perantara antara dorongan naluriah id dengan realitas. ego berfungsi sebagai pengontrol terhadap munculnya dorongan id dengan prinsip realitas (reality principle), agar tuntutan id dapat diterima masyarakat. super ego berfungsi sebagai pembatas atas semua dorongan dengan berprinsip pada norma. dorongan-dorongan psikis ini digambarkan seperti vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni gunung es dan id sebagai dorongan yang mendapat tekanan dan terpendam dalam lautan, sementara yang muncul di permukaan adalah super ego. dorongan id merupakan dorongan yang murni, belum dipengaruhi oleh kebudayaan, dan dorongan ini berada dalam ketidaksadaran. dorongan id meliputi dorongan untuk bertahan hidup (life instinct) yang disebut denganerros, yaitu dorongan seksual atau libido dan dorongan kematian (death instinct) yang disebut thanatos. ketidaksadaran, dalam analisis freud dikemukakan dalam bentuk keseleo lidah, kekeliruan perilaku, fantasi, lamunan, dan mimpi. pandangan freud yang deterministik menganggap bahwa perilaku tidak sadar dipengaruhi oleh sesuatu yang mendasarinya. freud dengan keyakinan biologisnya menganggap bahwa manusia adalah salah satu spesies binatang dengan keistimewaan tertentu sebagaimana dikemukakan darwin dalam teori evolusinya. b. riwayat hidup sigmund freud 1. riwayat hidup sigmund freud lahir di moravia pada tahun 1856, namun pada tahun 1860 keluarganya pindah ke wina tempat ia hidup dan bekerja sampai akhir hayatnya. semasa bersekolah, ia sudah tertarik pada seluruh kehidupan manusia yang luas dan ketika memasuki universitas wina sebagai mahasiswa kedokteran, ia tidak merasa cocok dengan ilmu pengobatan, malah mengikuti kuliah-kuliah lain seperti kuliahnya filsuf yang berpengaruh di bidang pikiran manusia pada waktu itu, franz brentano. freud yang sangat tertarik pada biologi dan menghabiskan waktu enam tahun melakukan riset di laboratorium milik fisiolog besar masa itu, brucke, menulis banyak naskah mengenai topik-topik teknis seperti sistem saraf ikan. la hampir saja menciptakan sebuah reputasi kontroversial bagi dirinya sendiri ketika mempelopori penggunaan kokain untuk keperluan medis. freud memerlukan pekerjaan yang memberikan jaminan keuangan lebih baik sehingga dengan rasa malas ia mulai bekerja sebagai dokter di rumah sakit umum wina, agar dapat menikahi tunangannya, martha bernays. pada tahun 1886, ia memulai praktek pribadi dalam penyakit-penyakit saraf. kebanyakan pasien awalnya adalah wanita-wanita wina yang menderita gangguan kejiwaan yang kemudian disebut "histeria", dan kemudian melanjutkannya dengan merawat bermacam-macam masalah psikologis sampai akhir hidupnya. 2. karier dan karya intelektual sigmund freud karier freud dapat dibagi menjadi tiga bagian utama. pada fase pertama, ia bergulat dengan hipotesis-hipotesis aslinya mengenai hakikat masalah-masalah neurotik dan membangun sebuah teori dan perawatan yang berbeda dengan yang ada sebelumnya, sekarang dikenal dengan nama "psikoanalisis". ketertarikannya kepada psikologi manusia dan masalahmasalah kejiwaan semakin dikobarkan dengan sebuah kunjungan ke paris pada tahun 1885-1886 untuk belajar di bawah bimbingan charcot, seorang ahli saraf francis yang menggunakan hipnotis untuk merawat pasien-pasien "histeria". histeria kebanyakan diderita wanita yang memiliki kegilaan misterius, kehilangan kemampuan berbicara, atau kehilangan sensasi dalam beberapa wilayah tubuh, namun bukan diakibatkan kelemahan atau luka pada saraf mereka, melainkan hanya beberapa konsep umum mengenai bagian-bagian tubuh seperti "tangan" atau vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni "lengan". secara erimologis, kata "histeria" berhubungan dengan penjelasan kuno mengenai beberapa gejala gangguan rahim dan sekarang kata ini umum nya dimaknai sebagai kondisi emosi irrasional namun pada zaman freud kata ini memiliki arti sebuah sindrom yang rumit sehingga pengobatan ortodoks tidak dapat menyembuhkannya (tentu saja orang mungkin heran bahwa penyakit ini berhubungan dengan wanita-wanita borjuis akhir abad kesembilan belas yang situasi sosialnya tertekan). pada awalnya, freud terkesan oleh metode hipnotisme psikologis murni charcot yang kelihatannya dapat membawa kesetubuhan ini. freud, menghadapi gejala-gejala yang sama pada pasiennya sendiri menanganinya dengan mempergunakan elektroterapi dan hipnotis sugestif, namun hasilnya tidak memuaskan sehingga ia mulai mencoba metode lain yang dipelajarinya dari breuer, seorang konsultan senior dari wina yang menjadi temannya. pendekatan breuer didasarkan pada asumsi bahwa histera disebabkan oleh beberapa pengalaman emosional yang kuat yang disebut "trauma", yang telah dilupakan sehingga perawatannya adalah berusaha memanggil kembali pengalaman tersebut dan "melepaskan"nya dengan emosi yang serupa. hipotesis bahwa orang dapat menderita dari sebuah "konsep"; memori atau emosi yang tidak disadari, namun dapat dihilangkan dengan membawanya pada kesadaran merupakan dasar freud mengembangkan psikoanalisis. freud menemukan ide-ide relevan yang dimiliki pasien secara khas memiliki beberapa bentuk seksual tertentu, dan ia berspekulasi bahwa neurosis selalu memiliki akar seksual. dalam banyak kasus pasien-pasiennya datang melaporkan "godaan seksual masa bayi" yang dialaminya sekarang kita menyebutnya pelecehan seksual anak-anak. mula-mula ia percaya cerita-cerita ini, namun kemudian arah teorinya berubah secara dramatis yang ia sadari sebagai sebuah penemuan krusial. la sampai pada pikiran bahwa cerita-cerita tersebut memiliki dasar yang besar pada fantasi yang merefleksikan keinginan-keinginan bawah sadar dalam subjek melebihi memori-memori atas apa yang sebenarnya terjadi. pada tahun 1895, ia menerbit-kan studi tentang histeria bersama breuer, namun tak lama kemudian kolaborasi ini pecah, dan freud mulai membuat teorinya sendiri. (perpisahan ini mempakan perpisahannya yang pertama dari sekian banyak perpisahan yang akan dialami dengan kolega-koleganya.) freud, pada tahun-tahun akhir abad kesembilan belas mulai memformulasikan teorinya yang kontroversial mengenai seksualitas infantil dan interpretasi mimpi, keduanya merupakan pusat teori psikoanalisis. la memperkenalkan konsep-konsep teoretis yang berbeda mengenai resistansi, represi, dan transferensi. pada saat itu, ia sedang menulis (dan melakukan surat menyurat dengan fliess, seorang dokter yang banyak memberikan spekulasi yang tidak ortodoks dan dengen kuat mempengaruhinya pada periode ini) proyek bagi sebuah psikolagi ilmiah. dalam karya ini, freud mencoba menghubungkan teori psikologi yang dikembangkannya kemudian dengan basis fisik sel-sel saraf otak, sebuah topik yang telah dipelajarinya dalam penelitian fisiologi sebelumnya. meskipun proyek ini membawa banyak kesenangan, namun ia terlalu banyak menimbang-nimbang sehingga tidak mencoba menerbitkannya. manuskrip ini hilang dan tidak ditemukan serta tidak diterbitkan hingga tahun 1950. vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni pemikiran freud pada fase kedua yang mulai menunjukkan kematangan teorinya terlihat jelas melalui penerbitan interpretation of dream pada tahun 1900, sebuah buku yang diakuinya sebagai bukunya yang terbaik. buku ini diikuti psikopatologi everyday life pada tahun 1901 yang di dalamnya ia menganalitis kesalahan-kesalahan tingkah laku sehari-hari yang disebabkan oleh bawah sadar kita, seperti keseleo lidah, dan tahun 1905 terbit tiga esai teori seksualitas yang menerapkan teori psikoanalitis atas seluruh kehidupan kejiwaan nomal manusia, bukan hanya kasus-kasus neutosis. pengakuan internasional dan penyebaran psikoanalitis dimulai: pada tahun 1909 freud diundang ke amerika tempat ia memberikan lima kuliah tentang psikoanalisis, sebuah pemaparan ideidenya secara pendek yang pertama kali dilakukan dan paling terkenal. pada tahun 1915-1917, ia memberikan pengantar kuliah tentang psikoanalitis lebih lama & universitas wina yang di dalamnya ia menguraikan teorinya secara lengkap dan siap dikembangkan lagi. freud, pada fase ketiga sejak akhir perang dunia i sampai kematiannya, membuat beberapa perubahan penting dalam teori-teori fundamentalnya dan mencoba membuat spekulasi yang luas agar dapat mengaplikasikan idenya bagi pertanyaan-pertanyaan sosial. pada tahun 1920 terbit di luar prinsip kesenangan, berisi pengenalannya yang pertama atas konsep "naluri kematian" (untuk menjelaskan agresi dan destruksi diri), sebuah konsep yang sama kuatnya dengan "naluri kehidupan" (pemeliharaandan seksualitas) perkembangan akhir yang lain adalah tiga struktur jiwa manusia — id, ego, dan super ego yang ditampilkan pertama kali dalam id dan ego (1923). dalam karya populemya, permasalahan analisis awam (1926), disebut demikian karena di sana ia mendiskusikan apakah kualifikasi medis perlu bagi praktek psikoanalisis, ia menguraikan ide-ide dasarnya dalam terma-terma tiga struktur jiwa manusia yang baru ini. freud, pada sebagian besar tahuntahun akhir hidupnya lebih memusatkan diri pada teori sosial psikoanalisis (pada tahun 1913, ia sebenamya telah mencoba menetapkan teorinya pada antropologi dalam totem dan tabu. dalam masa depan sebuah ilusi (1927), ia memperlakukan agama sebagai sistem kepercayaan yang keliru yang kedalaman akarnya pada pikiran manusia hanya dapat dijelaskan secara psikoanalisis. dalam peradaban dan ketidakpuasannya (1930), ia mendiskusikan konflik-konflik antara tujuan-tujuan masyarakat beradab dengan naluri-naluri manusia, dan dalam musa dan monoteisme (1939), ia menawarkan sebuah interpretasi psikoanalitik yang kontroversial mengenai sejarah yahudi. pada tahun 1938, nazi mengambil alih austria dan orang-orang yahudi berada dalam bahaya, namun karena hubungan internasionalnya yang besar freud di-izinkan terbang ke london, tempat ia menghabiskan tahuntahun kehidupan-nya dengan menulis sebuah karangan yang berani mengenai kerangka kerja psikoanalisis. c. psikoanalisis dan estetika 1. psikoanalisis pemikiran freud timbul dipengaruhi descrates yang berpangkal pada semboyan cogito ergo sum menetapkan objek psikologi adalah kesadaran (suryabrata, 1988:141). psikoanalisis memberikan gagasan yang mendasar bahwa semua pikiran dan tindakan sadar adalah proses yang tidak disadari vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni yang diringkas dalam frase pikiran yang tidak sadar. perilaku dalam kehidupan sehari-hari merupakan perilaku sadar dalam ketidaksadaran, karena dalam perilaku sadar terpendam perilaku yang tidak disadari yang akhirnya mempengaruhi perilaku sadar. freud (1983:47) menjelaskan: tugas pertama yang diserahkan psikoanalisis adalah menjelaskan neurosa-neurosa. dengan berpangkal pada resistensi serta transferensi dan mengikutsertakan amnesia sebagai fakta yang ketiga, psikoanalisis berhasil menyusun suatu teori tentang represi dan memperlihatkan peranan yang dimainkan oleh naluri-naluri seksual dan ketidaksadaran dalam neurosa-neurosa. manusia memiliki dorongan-dorongan psikis yang berprinsip pada kesenangan (pleasure principle) yang mendasar yang bersarang dalam id atau das es, namun dorongan ini mendapat hambatan atas prinsip realitas, yaitu ego atau das ich yang bertugas membatasi dorongan primitif sesuai dengan prinsip realitas dan das uber ich yang biasa disebut super ego yang berprinsip pada norma. dorongan psikis id merupakan dorongan yang paling besar yang membentuk energi psikis sehingga segala bentuk perilaku berasal dari ide. manusia yang mendasarkan perilakunya pada id sebagai dorongan primitif dan mengekspresikannya tanpa batas, dalarn lingkungan sosial tidak akan diterima dan mendapat kecaman. semakin manusia dikuasai oleh dorongan seksual maka manusia tidak akan dapat bertahan hidup lebih lama dalam lingkungan masyarakat. represi, dalam hal ini mempunyai peranan penting dalam menciptakan stabilisasi dalam masyarakat (osborn, 2005:80). ...ego manusia lambat laun terlatih dengan pengaruh kepentingan eksternal untuk menghargai realita dan meng-ejar prinsip realita, dan dalam berbuat itu, harus melepaskan untuk sementara atau selamanya bermacam objek dan tujuannya -tidak hanya secara seksual—keinginan untuk memperoleh kenikmatan. tetapi meninggalkan kenikmatan adalah selalu merupakan hal yang sulit bagi manusia ia tak dapat berhasil tanpa suatu kompensasi (freud dalam rader [ed.], 1962:127). manusia, meskipun sudah membatasi perilakunya dengan prinsip realitas, usaha mencari kesenangan masih tetap menjadi dorongan psikis dalam ketidaksadaran yang kuat dan menuntut untuk dipenuhi. dorongan-dorongan naluriah ada dalam setiap makhluk hidup yang berprinsip pada kesenangan yang dibatasi oleh ego dan super ego. kuatnya dorongan id menekan ego, sehingga memunculkan konflik dalam kehidupan psikis manusia. konflik yang tidak teratasi akan membentuk neurosa yang berakibat terjadinya gangguan mental. perilaku yang disadari merupakan produk interaksi antara dorongan naluriah dan realitas luar yang cenderung membatasi dan menyangkal ekspresi. naluri, pada umumnya dianggap sebagai dorongan bawaan dari lahir yang mendasar yang berhubungan dengan pelestarian individu dan spesies. menurut freud (dalam osborn, 2005:17), naluri dapat digambarkan memiliki sumber, objek, dan tujuan. sumber adalah keadaan eksitasi atau keadaan yang mudah dipicu dalam tubuh. naluri yang mendasari manusia adalah naluri seksual. vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni naluri seksual pada kehidupan awal yang dikenal dengan naluri komponen merupakan eksistensi yang mandiri, dengan cara-cara mencari penghargaan sendiri dan masih mendominasi. dinamika kepribadian, menurut freud (dalam suryabrata, 1988:149) bahwa organisme manusia sebagai suatu kompleks sistem energi, yang memperoleh energinya dari makanan dan mempergunakannya untuk bermacam-macam hal. freud menamakannya sebagai "energi psikis". energi psikis dapat dipindahkan ke energi fisiologis dan sebaliknya. jembatan antara energi tubuh dengan kepribadian ialah das es atau id dengan instink-instinknya. sumber instink adalah suatu proses perangsangan terhadap organ tertentu, dan tujuan instink adalah pelepasan atau pemuasan dari stimulus organis ini (freud, 2003:41). energi psikis dikatakan sebagai libido yang kemudian mendapat represi oleh ego. ketidaksadaran yang dianalisis lewat tafsir mimpi, untuk menginterpretasikan terhadap mimpi sebagai suatu bangunan psikologis yang menunjuk pada aktivitas psikis dalam alam bawah sadar yang sarat makna dalam alam sadar. menurut freud (2001:3), mimpi didefinisikan sebagai aktivitas psikis seseorang ketika ia berada dalam kondisi tidak sadar atau sedang tidur. kemudian dilanjutkan: manusia zaman purba membedakan mimpi sebagai berikut: pertama, mim-pi yang nyata dan berharga, yang diturunkan kepada si pemimpi sebagai peringatan atau untuk meramalkan kejadian-kejadian di masa depan. kedua, mimpi yang tak bernilai, kosong, dan menipu, yang bertujuan untuk menyesatkan atau menuntun si pemimpi pada kehancuran (freud, 2001:3). mimpi yang menggambarkan masa depan adalah mimpi sebagai gambaran yang menjadi harapan pemimpi yang direpres dalam ketidaksadaran. materi yang menyusun sebuah mimpi berasal dari pengalaman yang direproduksi atau diingat lagi di dalam mimpi. sumber materi yang direproduksi bisa berasal dari masa kanak-kanak. mimpi tidak hanya memasukkan hal-hal paling signifikan yang layak untuk diingat, seperti dalam alam sadar, tetapi juga detail-detail yang tidak menarik dan tidak signifikan (freud, 2001: 20). mimpi merupakan simbolisasi dari realitas kehidupan yang perlu pemahaman dan interpretasi agar dapat dimaknai. psikologi kesalahan mengungkap kesalahan-kesalahan pengucapan, perilaku dan proses lupa terhadap sesuatu. ketidaksadaran dalam perilaku dimotivasi oleh dorongan-dorongan psikis yang direpres untuk tidak dimunculkan dalam perilaku namun secara tidak sengaja muncul dengan sendirinya yang dianggap sebagai sebuah kesalahan. kesalahan pada perilaku pada dasarnya memiliki tendensi bawah sadar yang muncul tanpa disadari. psikoanalisis, mendasarkan pemikirannya pada proses bawah sadar yang membentuk perilaku dan segala penyimpangan perilaku sebagi akibat proses tak sadar. psikoanalisis tidak ber tujuan atau mencari apapun kecuali penemuan tentang alam bawah sadar dalam kehidupan mental (freud, 2002: 424). proses ketidaksadaran sebagai energi psiskis yang mendapatkan represi yang terus-menerus tanpa sublimasi akan memunculkan gejala yang bera-kibat pada neurosa dan berlanjut pada vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni gangguan mental. freud, baginya im-pian adalah suatu pemenuhan (tersem-bunyi) dari suatu keinginan (yang di-tekan atau diabaikan) atau dengan kata lain, impian merupakan sejenis kode. simbol-simbol yang dimunculkan da-lam mimpi merupakan simbol dari ketidaksadaran yang mendapatkan represi. 2. estetika ketidaksadaran (aesthetics of unconsciousness) kesadaran yang muncul dalam dunia realitas hanya merupakan bagian kecil dari dorongan psikis yang ada dalam diri manusia. dorongan psikis yang terpendam sebagai energi psikis atau disebut libido, sebuah kata lain dari dorongan seksual yang sangat mempengaruhi kehidupan seseorang sehingga muncul dalam perilaku tidak sadar. libido sebagai energi psikis merupakan faktor utama yang penting dalam berperilaku. perilaku yang didasarkan pada libido mendapatkan filter sebagai bentuk penyesuaian terhadap dunia realitas eksternal sehingga perilaku merupakan reduksi dan deformasi dari dorongan libido. kesadaran perilaku sebagai bagian kecil dari libido yang sudah mendapatkan "ijin" atas ego untuk dimunculkan dalam realitas perilaku. represi atas ketidaksadaran akan termanifestasikan dalam perilaku tidak sadar seperti pada keseleo lidah, kekeliruan perilaku, fantasi dan mimpi. mimpi, dalam bentuk realitas bagi seniman merupakan ide yang imajinatif untuk dituangkan dalam karya seni karena mimpi seperti halnya yang dilakukan seniman terutama seniman aliran surealisme dalam menuangkannya sebagai simbol-simbol bagi karya seninya. simbol-simbol yang tertuang dalam karya seni surealis merupakan gambaran sederhana dari dorongan libido dan merupakan kode yang perlu dipecahkan oleh audiens tentang apa yang terkandung dalam karya seni. libido, saat frustrasi bergerak mundur, kembali pada posisi semula dan menarik fantasi agar memuka jalan jalan ke arah fiksasi yang tertutup. dengan masuknya libido ke dalam fantasi penyaluran energi oleh fantasi semakin besar sehingga mendesak untuk terwujud dalam realitas sehingga terjadi konflik antara fantasi dan ego dan ditarik ke alam bawah sadar. sumber fantasi yang tidak disadari kembali pada titik fiksasinya, hal ini oleh c. g. jung dinamai introversi (freud, 2002:406). setiap manusia memiliki dorongan energi psikis sejak permulaan kehidupan sesuai dengan tahap-tahap perkembangan usia dan berlanjut pada usia dewasa. dorongan-dorongan libido muncul dalam perilaku yang "ekslusif' yang dapat diterima oleh realitas dunia eksternal. dorongan libido dalam perkembangan dari masa kanak-kanak, anak-anak, latensi dan usia dewasa hingga tua berorientasi pada pe-menuhan kebutuhan akan erotis yang berujung pada kesenangan akan pemuasan kebutuhan seksual. orientasi libido dalam perkembangan usia bervariatif sesuai dengan perkembangan psikisnya. pada wanita muda kehendak erotik mendominasi fantasi hampir secara ekslusif, karena ambisinya pada umumnya dipadukan dalam kerinduan erotisnya; pada pemuda kehendak egoistik dan ambisius sangat jelas terungkap bersamaan dengan kehendak erotiknya (freud dalam rader [ed.], 1962: 131). tampilan-tampilan dalam perilaku dan bentuk keindahan yang muncul merupakan manifestasi kecil dari dorongan libido dan sebagian besar tersembunyi karena represi oleh realitas vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni ekternal. energi psikis yang memperoleh pemuasan atasnya, akan menjadikan kehidupan individu seimbang karena dorongan-dorongan yang mendasarinya dapat terpenuhi sehingga tidak menimbulkan konflik psikis dan tidak menimbulkan ketegangan. pelepasan energi psikis bervariasi, tergantung pada individu dalam mengarahkan kelebihan energi yang ada dalam dirinya sehingga mampu menyublimasi dalam bentuk perilaku yang adaptif. proses represi terhadap libido oleh fiksasi terendap dalam alam bawah sadar oleh seniman energinya diubah dalam proses berkarya seni. tekanan-tekanan psikologis dalam diri seniman dapat berupa harapan, impian, cita-cita, keinginan, perasaan senang atau tidak senang, pengalaman traumatis, kecemasan neurotik (anxiety), ketakutan (pobhid), baik dalam kehidupan pribadi maupun dalam kehidupan sosialnya. perasaan yang menjadi tekanan dalam psikis seniman dijadikan ide yang kreatif dan imajinatif guna menciptakan karya seni yang estetis. proses sublimasi yang kreatif ini merupakan proses penyampaian tekan-an yang dapat diterima oleh masyarakat dan bahkan mendapat penghargaan dari masyarakat. pengungkapan tekanan sebagai mekanisme pertahanan ego (defense ego mechanism) yang mengalami represi, diolah secara imajinatif menjadi ide dalam karya seni. freud (freud dalam kirsner, 2003: 188) menjelaskan sebagai berikut: pikiran, kita terdiri dari id, ego, dan superego (istilah bahasa jerman itu bisa diterjemahkan menjadi it, i, dan overme "dia", "aku", dan "yang mengatasiku1). dorongan id yang tidak bisa diterima oleh masyarakat akan direpres, sehingga lama-kelamaan akan membentuk suatu tekanan psikologis yang memerlukan cara tertentu untuk mengungkapkannya sehingga dapat diterima oleh lingkungan masyarakat. karya seni, bagi seniman merupakan media berekspresi bebas dalam mengungkapkan segala dorongan psikis. objek seni dalam karya merupakan bentuk nyata dari impian, imajinasi, dan fantasi yang tidak memperoleh ruang dalam dunia nyata sehingga dalam proses berkarya seni, seniman merasa sedang berkomunikasi dengan dunia luar dan berbicara sebebas-bebasnya dengan menggunakan simbolisasi media seni. simbolisasi dalam karya seni mendapatkan kebebasan tak terbatas pada seni aliran surealisme sebagaimana alam mimpi yang menampilkan simbol-simbol imajinatif dan fantastik sehingga perlu in terpretasi mendalam atas simbol tersebut. pembebasan dorongan id atau libido mendapatkan tempat dalam surealisme. proses kesadaran, dalam hal ini bahwa yang dilakukan adalah merupakan usaha sadar sehingga perilakunya dapat diterima dalam masyarakat namun disisi lain, isi atau makna yang terkandung dalam karya merupakan proses ketidaksadaran dari dunia psikis yang diolah secara kreatif dan imajinatif yang fantastik sehingga dapat dimunculkan menjadi sebuah karya seni surealis. simbolisme-simbolisme dalam karya seni sama dengan bentuk simbolsimbol dalam mimpi, karena mimpi merupakan produk dari ketidaksadaran yang menekan dan mendapat represi namun muncul dengan sendirinya da-lam ketidaksadaran yang terdistorsi oleh proses sensor dan terjadi perubahan arah oleh proses regresi sehingga interpretasi mimpi melewati proses yang rumit. seni merupakan objek fantasi yang vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni dibuat dengan kesadaran mencip takan karya seni namun secara tidak sadar dalam karya seni memunculkan objek dari dorongan terdalam dunia psikis yang tidak terungkapkan di dunia luar. produk fantasi yang berupa lamunan merupakan pemenuhan semu dari ambisi dan hasrat erotis. dalam lamunan memperlihatkan kebahagiaan semu dan pemenuhan keinginan pada kondisi terlepas dari sanksi realitas. lamunan adalah inti dan model mimpi pada saat tidur. mimpi adalah lamunan yang terdistorsi oleh bentuk aktivitas mental pada saat tidur dan dimungkin kan untuk terbentuk karena kebebasan atas kenikmatan instingtual pada saat tidur. mimpi memberikan kebebasan pada libido untuk mengungkapkan segala dorongan terdalam meskipun dorongan tersebut merupakan dorongan yang tidak bisa diterima dalam dunia realitas eksternal, seperti hasrat seksual, agresi dan lain sebagainya baik yang bersifat indah, jorok, destruktif maupun konstruktif. alam mimpi merupakan bagian ketidaksadaran manusia yang memberikan kebebasan tak terbatas meski simbolisasi dalam mimpi mendapatkan pertentangan oleh dunia realitas, karena dalam mimpi, si pemimpi tidak dapat membatasi impian yang akan dimunculkan. mimpi sebagai perilaku ketidaksadaran, dalam kesadaran muncul dalam bentuk lamunan. lamunan tidak harus selalu tidur karena lamunan bawah sadar juga ada. lamunan bawah sadar serupa dengan sumber mimpi dari gejala neurosis (freud, 2002:405). fantasi, lamunan, harapan, dan dorongan libido yang disublimasi oleh seniman menjadi sebuah karya seni merupakan usaha seniman dalam mengalihkan energi psikis dan pencapaian kepuasan yang dapat diterima oleh dunia eksternal. psikoanalisis mengamati alam bawah sadar yang tidak mendapatkan perwujudannya sehingga menjadi gejala neurosis. neurosis merupakan tanda suatu konflik, yaitu dorongan naluriah libido yang menuntut untuk dipenuhi dan ego yang membatasi dan merepres. seniman surealis, dalam hal ini merupakan individu yang mampu memberikan jalan keluar atas dorongan-dorongan libido dengan cara sublimasi melalui karya seninya. freud mengatakan bahwa seni tidak lebih dari sekedar pengetahuan yang awam; dirinya bukanlah seorang ahli baik dalam sikapnya maupun pengalaman ketertarikannya terhadap seni (wollheim dalam neu, 1992:249). karya seni yang dibuat oleh seniman merupakan karya yang dapat dinikmati oleh audiens dari berbagai kalangan tanpa pembatasan yang pasti. pemahaman, apresiasi dan interpretasi terhadap karya seni memberikan kebebasan kepada audiens sesuai dengan pengalaman estetiknya untuk memberikan apresiasi dan interpretasi terhadap karya seni. seni merupakan bentuk komunikasi antara seniman dan audiens dengan melalui karyanya, sehingga ekspresi, ide, dan segala bentuk pesan baik pesan mendalam dari dalam diri seniman, seperti tekanantekanan psikis yang sedang dialami oleh seniman maupun pesan sosial bahwa seniman dengan segala kepekaan sosialnya menyampaikan segala bentuk tekanan-tekanan sosial, kehidupan masyarakat, sistem budaya dan lain sebagainya yang ingin disampaikan dalam karya seni dari dalam diri seniman dapat diterima oleh audiens dengan memberikan kebebasan kepada audiens sesuai dengan pengalaman seninya dalam memahaminya. vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni psikoanalisis dengan berbagai teorinya berusaha memberikan penjelasan bahwa karya seni sebagaimana halnya dengan impian dan mitologi merupakan perwujudan dari keinginan manusia terdalam yang' memperoleh kepuasan lebih besar dalam bentuk seni ketimbang dalam penghidupan sehari-hari (the liang gie, 1996:27). tekanan-tekanan psikis yang direpres oleh seniman memperoleh perwujudannya dalam bentuk karya seni, sehingga karya seni merupakan simbolsimbol dari bahasa seniman dalam menyampaikan pesan-pesannya kepada audiens. pesan-pesan dapat berupa impian dan harapan seniman yang mempengaruhi perilaku tidak sadar sehingga terwujud karya seni. penanda yang dimunculkan seniman dalam karya akan memunculkan petanda yang bervariatif dan signifikan. .. .bertumpu pada hasil-hasil penelaahan psikoanalisis telah dikemukakan teori bahwa proses penciptaan seni adalah pemenuhan-pemenuhan ba wah sadar dari seorang seniman, sedangkan karya seninya merupakan bentuk terselubung atau diperhalus yang diwujudkan ke luar dari keinginan-keinginan itu (the liang gie, 1996:27-28). karya seni mampu membangkitkan emosi pelaku dan pcngamat dengan peresapan atas dunia karya seni. freud (wollheim dalam neu [ed.], 1992:249) berkata, "...karya seni sungguh memberikan pengaruh yang kuat pada saya, terutama karya-karya sastra dan patung, dan kadang-kadang saja karya seni lukis". karya seni memiliki nilai estetis sehingga pemahamannya tergantung pada pengalaman estetis individu dalam menafsirkan setiap pananda yang muncul dalam karya seni hingga membentuk petanda yang arbritrer. konflik antara dorongan libido dan ego memberikan energi psikis bagi kreativitas untuk megolah dan berimajinasi. freud (wollheim dalam neu [ed..], 1992: 249) selanjutnya mengatakan: sejumlah penulis estetika telah tahu bahwa keadaan kebingungan intelektual tersebut merupakan kondisi yang harus ada apabila suatu karya seni ingin mendapatkan daya pengaruh yang hebat. hanya dengan keengganan yang besar saya dapat memaksa diri percaya pada keharusan itu. nilai-nilai estetika yang tampak dalam karya seni memiliki daya yang kuat untuk memunculkan penfsiran akan tanda yang dihadirkan dengan perasaan. ekspresi yang dituangkan seniman dalam karya seni merupakan gambaran imajinatif dari alam pikkan tidak sadar dalam simbol dan dituangkan dengan bentuk simbol karya seni. perilaku tidak sadar yang disublimasikan dalam karya seni, memberikan pengalaman batin yang mendalam bagi dunia perasaan untuk berapresiasi terhadap karya seni dan menginterpretsikan bahasa pe-nanda dalam petanda. kesewenang-wenangan sistem tanda yang ada dalam karya seni merupakan bentuk komunikasi atau bahasa yang terstruktur dalam atomisasi yang bermakna sebagai objek fantasi bagi dunia mimpi. freud (dalam rader [ed], 1962:127) mengatakan bahwa dalam fantasi, orang tetap dapat menikmati suatu kebebasan dari cengkeraman dunia vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni eksternal, sesuatu yang telah lama ia lepaskan dalam reality. pembebasan dunia psikis dorongan libido mengharapkan sebuah kemerdekaan yang tidak terbatas seperti halnya dunia mimpi yang mengungkapkan segala dorongan psikis yang terpendam dalam bentuk simbol-simbol yang mungkin lain dari kenyataan sehingga perlu adanya interpretasi atas mimpi. pada prinsipnya, dorongan libido mengarah pada kesenangan, yaitu pelepasan dorongan psikis sehingga mencapai kepuasan. bentuk perilaku dalam mencapai kepuasan masih berprinsip pada kesenangan baik dalam bentuk pemuasan libido yang masih dapat diterima oleh masyarakat namun pada prinipnya sama. dorongan seks lebih dominan bagi individu yang berakibat pada pembentukan perilaku. dorongan seks menjadi energi psikis yang penting dalam aktivitas manusia. keindahan yang ditampilkan dalam perilaku manusia seringkali tidak terlepas dari gambaran seksual yang ambigu. simbolisasi dalam perilaku menghadapi dunia eksternal akan mendapatkan filter dari ego sehingga sesuai dengan super ego, namun dibalik perilaku tersebut menyimpan banyak misteri yang tidak terungkapkan. sebagaimana dikatakan freud (2003: 27) tentang keindahan yang menghadirkan dorongan seks bahwa pembangkitan birahi melalui kesan optis dan proses seleksi akan dijalankan pada keadaan ini dengan menjadikan objek seksual sebagai sebentuk keindahan. d. pengaruh: surealisme surealisme merupakan aliran seni yang menghadirkan ketidaksadaran dalam seni. karya seni yang diciptakan seniman merupakan otomatisasi dari dorongan energi psikis seniman yang terkonstruk secara sempurna dengan kebebasannya sehingga menjadi objek keindahan. surealisme lahir pertama kali dalam bentuk sastra sebagai sebuah judul drama oleh appolinaire pada tahun 1917. dua tahun kemudian, yaitu tahun 1919, andre breton dan phillipe soupault mengambilnya untuk eksperimen dan metode penulisannya yang spontan. breton (dalam juan, 2005) mempublikasikannya tahun 1924 dalam "first manifesto of surrealism" yang didefinisikan, sebagai berikut: pure psychic automatism by which it is intended to express, either verbally or in writing, the real function of thought, in the absence of any control exercised by the reason and outside of all aesthetic and moral preoccupations. surrealism is based on the belief in the superior reality of certain forms of associations neglected until now, in the omnipotence of the dream, and in the disinterested play of thought. it leads to the destruction of all other psychic mechanisms and substitutes itself for them in solving the principal problems of life. ketidaksadaran dalam surealisme tertuang dalam proses berkarya seni dalam bentuk otomatisme ketika menciptakan karya seni. kebebasan dalam karya seni surealis dalam mencapai kepuasan libido merupakan permainan dari pikiran yang imajinatif tanpa terikat apapun dalam penyampaian simbol sebagai sebuah asosiasi bebas sehingga tercipta keindahan dalam seni. surealiseme mengungkapkan objek dari kesadaran yang masuk dalam ketidaksadaran dan diolah secara imajinatif oleh seniman sehingga membentuk objek realitas ketidaksadaran vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni dalam simbolisasi melalui media karya seni. proses simbolisasi ketidaksadaran berasal dari objek kesadaran yang direduksi dan didistorsi sehingga muncul objek ketidaksadaran. 1. sastra karya sastra memiliki kebebasan mengungkapkan segala bentuk dorongan psikis dari seniman dengan menggunakan media bahasa yang tinggi. karya sastra menampilkan simbolisasi bahasa yang terstruktur sedemikian rupa sehingga menjadi karya yang imajinatif. karya sastra merupakan bentuk penanda dalam bahasa yang menghadirkan petanda dalam imajinasi audiens. kesewenang-wenangan tanda dalam sastra muncul dalam bentuk oposisioposisi bahasa yang menyatu, sebagaimana dikatakan oleh malan (1995:vii), seorang penyair surealis, "..seperti puisi lahir memperlihatkan adanya ikatan dan oposisi lain, kemudian menyusun hubungannya sendiri dalam ikatan ini". bahasa sastra memunculkan mi os yang simbolik dari bentuk bahasa yang arbriter. kebebasan seniman dalam bahasa sebagai simbol dari ungkap an atas dorongan libido sebagai bagian yang terpisahkan dengan realitas eksternal yang diadopsi sebagai konstruksi baru. ketidaksadaran, oleh sastra muncul dalam bentuk bahasa yang memiliki struktur tanda arbriter sehingga memunculkan makna baru atas penanda tersebut. puisi dalam sastra menampilkan bahasa yang intuitif dan mendalam sebagai kemunculan dari dorongan psikis individu yang unik dan khas dalam ketidaksadaran. puisi seperti datang dari belakang pikiran mereka, melakukan mobilisasi teks di luar pelembagaan kata, dan membuat lingkungan permainannya sendiri di situ (malna, 1995:viii). 2. seni rupa: lukis seni rupa aliran surealisme memberikan gambaran yang terlepas dari alam realitas, yaitu alam mimpi yang menampilkan simbol-simbol objek dalam karya seni yang tersusun secara imajinatif dan fantastik. objek yang ditampilkan dalam karya seni rupa surealis dapat berupa adopsi murni dari dunia realitas yang dideformasi atau bentuk dari objek alam yang mengalami dekonstruksi sesuai dengan keinginan dan harapan seniman sehingga mampu mewakili dorongan psikis yang ingin dimunculkan. alam bawah sadar dalam karya seni rupa surealis hadir dalam pandangan semiotika mampu memunculkan mitos bahasa, yaitu bahwa objek penanda dengan petanda pertama yang terkadang berubah menjadi dari petanda pertama menjadi penanda pada tingkatan kedua sehingga menjadi semacam mitos pada tingkatan kedua ini. objek yang tampil tampak se-bagai objek yang mengalami deformasi dan memunculkan objek lain dalam objek tersebut. kebebasan berkarya seni rupa surealis adalah proses ketidaksadaran dalam kesadaran berkarya seni. pencapaian kepuasan dengan menghadirkan simbol-simbol yang tersembunyi namun memiliki makna sebagai dorongan libido menjadi ketidaksadaran dalam kesadaran membuat karya seni. seni rupa surealis menghadirkan kebebasan yang tak terbatas dalam simbol dari mimpi yang terlepas dari sanksi realitas. objek dalam seni lukis surealis adalah objek mimpi, yaitu sebuah penggambaran objek yang tidak nyata namun sarat makna yang nyata dalam realitas. surealisme menciptakan dunia yang absurd dari realitas yang terdistorsi sehingga membentuk objek yang menampilkan estetika dalam seni. vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni nietzsche dengan "nihilisme" nya menggambarkan kehidupan menjadi tidak nyata, memalsukan dan mendepresiasikan dalam fiksi untuk mencapai nilai-nilai yang lebih tinggi dengan kehendak untuk menolak dan meniadakan kehidupan. menurut nietzsche (dalam deleuze, 2002:145): bagi seniman, penampilan tidak lagi berarti negasi atas yang nyata dari dunia ini, namun semacam seleksi, koreksi, penggandaan kembali, dan penegasan. dengan demikian, kebenaran mungkin memiliki arti baru. kebenaran adalah penampilan. kebenaran ber-arti menggunakan kekuatan atau kekuasaan tertinggi. ' seniman, dapat menganggap bah-wa kehidupan sebagai sebuah mimpi atau alam yang abstrak dari harapan dan citacita akan realitas kebenaran. seni-man mengharapkan adanya kebenaran yang nyata dalam kehidupan bukan ha-nya kebenaran yang fiktif, dan kebenaran yang nyata hanya dalam dunia metafisika. chernyshevsky (2005:12) mengatakan bahwa keindahan dalam realitas cuma suatu khayalan, yang kita julukkan pada realitas dengan imajinasi kita. pelukis-pelukis yang termasuk aliran surealisme adalah arp jean, max ernst, andre masson, dahane magritte, yves tanguy, salvador dali, pierre raja, paul delvaux, dan joan miro. berlandaskan keyakinan realitas yang superior, maka timbul dua tendensi dalam surealisme, yaitu surealisme ekspresif dan surealisme murni. seniman surealisme ekspresif dalam berkarya seni melalui "masa tertentu" semacam kondisi tidak sadar untuk melahirkan sirnbol dan bentuk pada karya-karyanya. seniman surealis murni menggunakan teknik akademis dalam menciptakan ilusi yang absurd. 3. film surealisme dalam film menggambarkan alam mimpi yang tidak mungkin dijangkau dalam dunia realitas. film surealis adalah fantasi dan imajinasi dari seniman dalam mengungkapkan dorongan naluriah untuk mencapai kepuasan dengan memunculkan harapan, impian, dan tekanan-tekanan psikis dalam bentuk objek yang imajinatif. film surealisme seringkali menghadirkan sesuatu harapan dan keinginan yang tidak nyata yang mengadopsi dari objek nyata yang mengalami deformasi objek, misalnya harapan manusia untuk bisa terbang tanpa alat, seperti dalam film superman; harapan manusia untuk menjadi kuat, seperti dalam film hulk dan lain sebagainya. sebaliknya dorongan libido yang berupa kecemasan (anxiety), ketakutan (phobia) akan dunia realitas sekitar yang muncul dalam film-film drama, keluarga, horor dan lain sebagainya yang didramatisir sedemikian rupa dan realitas sebenarnya tidak ada. hal-hal yang demikian cukup jelas bahwa film-film merupakan simbolisasi dari dorongan libido atau energi psikis seniman penulis naskah skenario yang mengalami represi dan supresi oleh ego. e. simpulan ketidaksadaran adalah bentuk perilaku manusia yang terlepas dari kontrol kesadaran. ketidaksadaran merupakan dorongan psikis murni dan naluriah yang kemudian dalam psikoanalisis disebut sebagai libido yang membentuk energi psikis. energi psikis merupakan faktor vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni utama dalam pembentukan perilaku individu se-jak manusia hadir di dunia. ketidaksadaran dalam perilaku muncul berupa kelupaan, kesalahan perilaku, keseleo lidah, imajinasi, lamunan, fantasi, dan mimpi. estetika ketidaksadaran yang dihadirkan dalam karya seni surealisme merupakan manifestasi dari mimpi, harapan, kecemasan (anxiety), ketakutan (phobia), dan fantasi dari dorongan libido sebagai energi psikis yang tidak mendapatkan tempat dalam dunia realitas eksternal. estetika ketidaksadaran muncul berupa simbol-simbol dari kesadaran yang direduksi dan dideformasi dengan sintaksis tanda yang arbritrer sehingga tercipta karya seni surealisme. surealisme merupakan otomatisme murni dari perilaku individu dengan proses pemikiran yang sebenarnya dan diekspresikan secara verbal, tertulis, ataupun dengan cara lain yang tidak terkontrol oleh kesadaran hingga masuk dalam dunia bebas norma dan etika. surealisme berdasarkan pada realitas yang superior menuju kebebasan aso siasi dan mencapai keserbabisaan mimpi dalam permainan alam pikiran yang fantastik. � daftar pustaka chernyshevsky, n. g., 2005, hubungan estetika seni dengan realitas, diterjemahkan oleh samanjaya. bandung: cv. ultimus. deleuze, gilles, 2002, filsafat nietzche, diterjemahkan oleh basuki heri winarno. yogyakarta: ikon teralitera. descharnes, robert dan gilles neret, 1992, salvador dali, translated by michael hulse. kohl: benedikt taschen. fleming, william, 1979, arts and ideas. new york, chicago, san francisco, atlanta, dallas, treal toronto, london, sidney: t, rinehart and winston. fichner-rathus, lois, 1992, understanding art. englewood cliffs, new jersey: prentice hall, inc. freud, sigmund. 1983. sekelumit sejarah psikoanalisis, diterjemahkan oleh k. bartens. jakarta: pt. gramedia. _________. 1962. "wishfulfillment and unconscious". dalam malvin rader (ed.), a modern books of esthetics. new york: holt, renehart andwinston. him. 127-140. _________. 2003. teori seks, diterjemahkan oleh apri danarto. yogyakarta: jendela. _________. 2001. sigmund freud: tafsirmimpi, diterjemahkan oleh apri danarto, ekandari sulistyaningsih, evita. yogyakarta: jendela. _______. 2002. general introduction to psychoanalysis: psikoanalisis sigmund freud, diterjemahkan oleh ira puspitorini. yogyakarta: ikon teralitera. juan, e. san jr., 2005, antonio gramsci on surrealism and the avantgarde. international gramsci society online article, http:// www. italnet.nd.edu/ gramsci/resources/online_article$/ar ticles/san_juan_01 .shtml#_ednref27. january. malna, afrizal. 1995. arsitektur hujan: empat kumpulan sajak afrizal malna. yogyakarta: yayasan bentara budaya. osborn, reuben, 2005, marxisme dan psikoanalisis, diterjemahkan oleh tim alenia. yogyakarta: alenia. smith, linda dan william raeper, 2005, ide-ide filsafat dan agama dulu dan vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni sekarang, diterjemahkan oleh p. hardono hadi, yogyakarta: kanisius. freud him. 95-99; c.g.jung hlm.100-103. stevenson, leslie dan david l. huberman, 2001, sepuluh teori hakekat manusia, diterjemahkan oleh yudi santoso dan saut pasaribu, yogyakarta: yayasan bentang budaya. the liang gie, 1996. filsafat seni: sebuah pengantar. yogyakarta: pusat belajar ilmu berguna (pubib). wollheim, richard, "freud and the understanding of art", in jerome neu (ed), 1992, the cambridge companion to freud. cambridge: cambridge university press. hlm. 249266. vol. vi no. 3/september-desember 2005 75 laras concept and its triggers: a case study on garap of jineman uler kambang widodo, victor ganap, soetarno postgraduate, institut seni indonesia yogyakarta, indonesia received: november 11, 2016. revised: january 23, 2017. accepted: april 2, 2017 abstract laras is one unresolved aesthetic concept and gendhing garap models as the triggers have not been identified yet either. this paper is a case study which discusses a case of jineman garap uler kambang pélog lima, the first winner of sindhèn idol contest 2012, which is considered to have the most qualified performance to meet laras criteria. the purpose of this research is to figure out the laras concept construction and identify the gendhing garap models as its triggers. laras concept reconstruction within the aesthetic framework of javanese karawitan and identification of gendhing garap model are discussed based on concept of garap in javanese karawitan. this research uses a qualitative-descriptive method. the results show that laras is a beautiful, delicate, and deep karawitan sense containing elements of mat, lega, betah, adhem, ayem, tentrem, jinem, sengsem, and marem. the triggering gendhing garap models include: garap of leres, rempeg, greget-urip, and sarèh-sumèlèh. keywords: laras; gendhing; model of garap; javanese karawitan how to cite: widodo, ganap, v., & soetarno. (2017). laras concept and its triggers: a case study on garap of jineman uler kambang. harmonia: journal of arts research and education, 17(1), 75-86. doi:http://dx.doi.org/10.15294/harmonia. v17i1.7805 harmonia : journal of arts research and education 17 (1) (2017), 75-86 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i1.10771 ver, the owners and actors are not in one linguistic understanding to comprehend the laras concept and feel its presence in gendhing. in a competition or contest for example, gendhing is commonly discussed at the end of contest and explicitly used as a quality benchmark of participants’ masterpiece works to determine the winners and intensely proceed, yet eventually without solution similar to a sindhèn idol 2012 contest case which works on the compulsory material of jineman uler kambang. uler kambang is a name of the oldest classical javanese karawitan of jineman musical composition which is still popular until now (waridi, 2002, p. 126). it is selected as the compulsory garap material based on introduction in this paper, laras is considered as one javanese karawitan aesthetic sense. javanese karawitan sense has an important position as the orientation and parameter of gendhing quality and aesthetic channel in obtaining their beautiful essence (sedyawati, 2006, p. 128). the javanese art sense is the culmination of aesthetic perception which unifies subjects and objects (marianto, 2011, p. 154-156). one karawitan sense occupying the position is laras. laras is frequently attached to gendhing which parts are made in a particular garap model following the characters, performance functions, and applicable garap rules. howecorresponding author: jl. parangtritis km 6,5, sewon, bantul, yogyakarta, daerah istimewa yogyakarta 55188 e-mail: widodo_bsejati@yahoo.com p-issn 2541-1683|e-issn 2541-2426 harmonia : journal of arts research and education 17 (1) (2017): 75-8676 the following considerations: (1) its composition is a classical popular gendhing vocabular; (2) its sense is based on prenès and kenès, yet contains glorious and dignified elements favoured by many people; (3) the performance duration is relatively short; and (4) the sindhènan vocal garap is highly emphasized. according to the strength of performance sense, the garap sindhènan jineman uler kambang pélog lima is eventually performed by one of the finalists, lina rohmiyati from wonogiri, central java who is supported by the professional karawitan players from several prominent gamelan group members from semarang, is decided as the first winner among the other nine finalists who have also performed the same sindhènan gendhing vocal, yet followed with different laras and pathêt. sindhenan is a vocal material containing ricikan garap with elements processed and translated with musical language (budiarti, 2013). laras as a rare aesthetic sense is discussed by various karawitan researchers. there are many discussions made but mostly in the context of sléndro-pélog and only within its tones. supanggah (2002, p. 86) in bothékan karawitan book i briefly defines laras as an aesthetic sense but its relationship formed with gendhing garap is not further discussed, similarly to sumarsam 1992, p. 1) who starts his dissertation by quoting tembang texts containing the word laras as one karawitan aesthetic sense. soetarno (2007, p. 13) states that javanese karawitan was born from a long searching process symbolically expressed through a vocal medium with laras léndro dan pélog. the performance function is not only intended to meet the entertainment purposes but also social, moral, cultural, and spiritual senses. javanese gendhing has various basic senses and performance functions (benamou, 1998, p. 129-134). the disclosure of various basic gendhing senses is made through works, balungan gendhing interpretations, choices, and implementations of vocabular techniques and playing patterns on gendhing parts based on the composition characters and performance functions. when the work is broken, the effort to express the basic sense and to achieve the essence of its beauty fails, as sultan agung said in the following serat sastra gendhing. pramila gendhing yèn bubrah gugur sembaé mring widdhi batal wasesaning salat tanpa gawé ulah gendhing déné ingaran ulah tukirèng swara linuhung amuji asmaning dat swara saking osik wadi osik mulya wentaring cipta surasa translation when gendhing is broken the worship to god is broken as well the power of worship is void gendhing processes are useless it is called processes due to the glorious vocal to praise the god’s names voices of the secret movements the dignified ones which create ideas and senses work in javanese karawitan refers to a creative and systemic musical work consisting of several interconnected and supportive stages to realize the qualified karawitan work. work also means doing or making things into materials (supanggah, 2009; perlman, 1993). the concept contains several elements covering gendhing and balungan gendhing as the material works; pengrawit, wiraswara, and waranggana as the composers; gamelan as the expressing means; vocabular technique, cengkok, and wiled as the working devices; the authority of people, institutions, social functions and musical services as the work determinants; while the physical and psychological conditions of karawitan musicians and external conditions are situational and accidental as the work consideration. gendhing is a javanese karawitan musical composition in the forms of sampak, srepeg, lancaran, gangsaran, ayak-ayak, kemuda, ketawang, ladrang, jineman, ketawanggendhing, kethuk 2 kerep, kethuk 2 arang, kethuk 4 kerep, kethuk 4 arang, kethuk 8 kerep and kethuk 16 kerep; as well as pamijen (rustopo, 2000, p. 34). in particular, gendhing widodo, victor ganap, soetarno, laras concept and its triggers: a case study on garap ... 77 means karawitan musical compositions in the forms of kethuk 2 kerep and other bigger ones. jineman is a particular gendhing form, while balungan gendhing is as an abstraction form of song composition made based on the flows of the vocal song which part numbers and lengths are different for each composition. gendhing has the elements of irama (rhythm), laya, laras, pathêt, and dynamics. the work refers to the structure and composition of balunngan gendhing tones, composition characters, and performance functions. irama concept is related to tempo gradations as well as ricikan and vocal playing contents. the gradual gendhing tempo results in the widened and narrowed beating distance between sabetan balungan. those spaces are filled with ricikan and peking work playing in two folds increased or decreased number of beating. javanese karawitan has five irama gradations covering lancer symbolized with 1/1, tanggung 1/2, dadi 1/4, wiled 1/8, and rangkep work. symbol 1/1 shows the number of peking beating on each sabetan balungan gendhing and the symbolic meaning of the other irama gradations (martapangrawit, 1975, p. 2). laya is gendhing speed at the same irama gradations, including: laya tamban or slow, laya sedheng or medium, and laya seseg or fast (supanggah, 2002, p. 123). laras as the gendhing musical element means that sléndro-pélog musical scales and tones contained within that are written in the form nut kepatihan in numeric symbols called titilaras (sumarsam, 2003, p. 155-161). pathet is the sèlèh sense atmosphere on gendhing song lyrics made by the phase combinations of raising, lowering, gantungan, ageng tengah, and alit tones (hastanto, 2009). dynamics refers to various and proportionate works at all musical elements. most ricikan gamelan are in the forms pencon and plates made of the finest bronze metal. ricikan pencon includes: penembung, bonang barung, bonang penerus, kenong, kethuk, kempyang, kempul, gong, engkuk, and kemong; ricikan plates include: gendèr barung, gendèr penerus, slenthem, demung, saron, peking, and gambang; other ricikan forms: rebab, kendang, bedhug, siter, clempung, suling, kemanak, gong beri, and kecer. due to its musical roles, when working on gendhing, ricikan gamelan is divided into three: (1) balungan, that is, ricikan played close to balungan tone compositions including: slenthem, demung, saron, peking, and penembung; (2) work, that is, ricikan played by working on balungan gendhing, including: ricikan garap ngajeng (front): kendang, rebab, gendèr barung, bonang barung, sindhè, and ricikan garap wingking (back): gendèr penerus, gambang, siter, clempung, suling, bonang penerus, and gérong; and (3) structural, that is, ricikan which playing forms gendhing construction structures, including: kethuk, kenong, kempul, gong, engkuk, kemong, kemanak, and kecer (supanggah, 2002, p. 71). gamelan quality is determined by its materials, shapes, and laras sounds which have various interval patterns called embat (hastanto, 2009, p. 22). metal ricikan is played by beating it with the beating device called tabuh; rebab is swiped with rangkung; flute is blown; sitar and clempung are plucked; and kendang is beaten with palms and fingers. some ricikan have special vocabular playing techniques: gemakan, kecekan, and genjotan on ricikan balungan; besutan, plurutan, sendhal pancing, kadhal mènèk, ngicrik on rebab; and mbalung, samparan, sarugan, pipilan, genukan, ukelan, gugukan, umbaran, pêthêtan on gendèr barung. céngkok is also called sekaran, kembangan or playing pattern, that is, tone and rhythm configuration in certain length unit. its implementation on gendhing garap has been given musical ornamentation called wiled. gendèr barung has the most various céngkok vocabulars, namely: éla-élo, dualolo, jarik kawung, ayu kuning, kacaryan, ora butuh, tumurun, kutuk kuning, dhebyang-dhebyung, puthut gelut, puthut semèdi, gantungan, nduduk, rambatan, and ya surakka. céngkok-céngkok is also called adapted by rebab, gambang, siter, clempung, and gendèr penerus. other ricikan also have céngkok vocabulars, namely: milah, mipil, gembyang, imbal-sekaran, and klénangan on bonang barung; pinjalan, kinthilan, imbalan, nyacah, harmonia : journal of arts research and education 17 (1) (2017): 75-8678 and pancer on ricikan balungan; and kendangan on gendhing shape with kendang bem or combination kendang bem and ketipung, kosek with kendang sabet, and kendang ciblon on kendang (sukamso, 1992, p. 54). work in gendhing parts results in its models. those using on gendhing determine karawitan senses, including laras. this type of aesthetic sense arises from the particular model implementation based on balungan gendhing tone structures and arrangements, composition characters, performance functions, and the applicable working rules. however, laras as an aesthetical concept, abstract idea dealing with karawitan beauty with certain characteristics, has been unresolved (alfian, 2003, p. 1-3), as well as gendhing garap models as the triggers. those problems are then discussed through a case study of jineman uler kambang laras pélog pathêt lima, the first champion of sindhèn idol contest 2012 which performance is considered meeting laras criteria. these gendhing garap elements are discussed to figure out the construction of laras concept and gendhing models as its triggers. method the object of this research is the garap of jineman uler kambang pélog lima as the first winner of sindhèn idol contest 2012. sindhènan vocal performed by lina rohmiyati while ricikan gamelan is played by the collaboration of some karawitan professional musicians from semarang, central java: karawitan group of sekar dhomas semarang, suka raras semarang, and studio rri semarang. research data are in the form of information about laras elements as the javanese karawitan aesthetic sense and various aspects of gendhing garap models as the triggers. the first data are collected through literature sources and karawitan practitioners who are directly involved in gendhing garap and as appreciators, while the second ones are contained within the direct performance of jineman uler kambang, pélog lima as well as in the audiovisual recording documents. the literature data sources are collected from literature studies; observation directly conducted in karawitan concert; document recording studies are made through the recording media; and respondent interviews are employed to gather the required data. data are verified using triangulation techniques to ensure its validity. valid data are identified based on the problem solving needs which are classified into two groups: data of laras elements and aspects of work models as the triggers. the data are first analysed in the framework of javanese karawitan aesthetics to figure out its conceptual formula, while the second ones are discussed in the framework of javanese karawitan working concept to figure out the work model characteristics as laras triggers. the research processes and results are then descriptively explained. results and discussion description of sindhènan vocal work sindhènan work involves vocal technique, céngkok and wiled selection and application, as well as the use of cakepan wangsalan, parikan, and abon-abon on gendhing sections. jineman uler kambang vocal consists of several parts: (1) buka celuk, that is, short vocal song performed by a single pesindhèn to start gendhing; (2) sindhènan wangsalan, that is, céngkok sindhènan using wangsalan text applied on song lyric of ulian or sèlèh; (3) sindhènan parikan, that is, sindhènan céngkok vocal using parikan texts; (4) sindhènan abon-abon or isen-isen, that is, short céngkok sindhènan with abon-abon texts; and (5) sindhènan andhegan, that is, sindhènan vocal performed in the middle when gendhing is stopped as the bridge to the next gendhing section. the above sindhènan vocal parts are found in the garap of jineman uler kambang sléndro pathêt sanga, sléndro pathêt manyura, pélog pathêt lima, pélog pathêt nem or nyamat, and pélog pathêt barang. in broad, the vocal garap sindhènan jineman uler kambang, pélog lima performed by the first winner of sindhèn idol contest 2012 is presented as in figure 1. widodo, victor ganap, soetarno, laras concept and its triggers: a case study on garap ... 79 figure 1. garap of jineman uler kambang harmonia : journal of arts research and education 17 (1) (2017): 75-8680 posing of two or four regular rhymes. the last syllable of the first and the third phase as well as the second and the fourth phrase (if parikan consisting of four phrases), or the first and second phrase (if parikan consisting of two phrases) have similar sounds, as follows. sayuk rukun, rukun karo kancané gotong royong nyambut-nyambut gawé kinclong-kinclong, kinclong guwayané mubyar murub, mancorong katon tejané brambang sak sèn lima berjuang labuh negara brambang sak sèn telu berjuang dimen bersatu translation unity in harmony with companions mutually working cooperation pure and obviously clear the water glowing, shining, and illuniminting aura is shown one cent (gets) five red onions fighting for the state and the nation one cent (gets) three red onions fighting for the sake of unity of the nation abon-abon or isèn-isèn is short texts which sometimes are meaningless or the meanings are not taken into account. sindhènan abon-abon in gendhing is performed to fulfill the vacant space before or after the main vocal song (waridi, 2002, p. 130). abon-abon texts in sindhènan vocal above are: ya mas, ya rama ya rama-ramané dhéwé, ha-lah yo mas, ya mas ya mas, and man-émanéman-éman. ricikan garap jineman uler kambang performance involves kendang, gendèr barung, gendèr penerus, gambang, suling, kenong, kethukkempyang, gong, clempung, siter, and gérong. gendèr barung starts the performance of grambyangan playing as laras and pathêt guidance for pesindhèn to innitiate buka celuk tones. at jineman uler kambang above, gendèr barung plays grambyangan pélog pathêt lima to guide buka celuk tones in laras of pélog pathêt lima. after the flows of rhythmic song passes through tone five, kendang responds it with kendangan patterns cakepan cakepan is a vocal song lyric. the above sindhènan vocal uses cakepan wangsalan, parikan, and abon-abon used in sindhènan vocal. wangsalan is a literary work in the form of puzzles which questions and answers are implicitly expressed. wangsalan is also frequently used in cirebon classical tarling songs (suharto, 2016). in wangsalan, the questions and answers may be found after the formation of its phrases are analyzed based on its meaning and relation. the example of wangsalan analysis is as follows. kawi lima putra priya dahywang durna pancasila dasaré nagri utama jarwa tirta, tirta wijiling angkasa nyenyuwuna, mrih kasembadaning sedya translation kawi (language) (for the word) five, is the son (name) of resi druna pancasila (becomes) the (main) state principle the term (to mention) water, is the water (which) falls from the sky pray, that your wishes may come true the first wangsalan consist of two phrases: kawi lima putra priya dahywang durna; and pancasila dasaré nagri utama. the first phrase is the question while the second is the answer. the explicit question is what kawi language for the word five is. the answer is mentioned in the second phrase, that is, panca as a part of the word pancasila. the second explicit question is what the name of resi druna’s son is. the answer is aswatama, tama is a part of the word of utama mentioned in the answer phase. the second wangsalan consists of two phrases: jarwa tirta tirta wijiling angkasa; and nyenyuwuna mrih kasembadaning sedya. there are two question phases covering jarwa tirta and tirta wijiling angkasa. the answer to the first question of jarwa tirta is banyu (water), the word part of nyu is derived from the word nyenyuwuna. the answer to the second question phase is udan (rain), as the word part of kasembadan. parikan is pantun literary work comwidodo, victor ganap, soetarno, laras concept and its triggers: a case study on garap ... 81 of nampani buka irama dadi using kendang ciblon. at the second ketegan, ricikan garap group simultaneously plays gendhing together. at the eighth gatra which is ended with panunggal or siji tone, there is a rhythmic transition from dadi to rangkep initiated with the slowing down tempo. at the first gatra rangkep, the performance of mandheg is continued with single sindhènan as the bridge to the following gendhing part section until suwuk. ricikan garap interpretation refers to the structure and composition of balungan gendhing tones from the abstraction of the flows of the vocal song as in figure 2. since buka celuk, kendang has welcomed it with pematut pattern. this pattern is played along gendhing playing interrupted by kengser pattern in the middle of the first gatra of the second kenong, and ngaplak pattern in the third kenong of the second gatra. when approaching gong panunggal, tempo is slowing down shifting to rangkep work. ngaplak pattern is also performed in rangkep work before the final andhengan of the first gatra of the second kenongan. céngkok-céngkok gendèr barung implemented to gendhing sections is followed by ricikan song work, namely: a quarter of sèlèh 6 to respond buka celuk, followed by half of gantungan 1 tumurun 5, puthut gelut, dhebyang-dhebyung, dualolo 6, tumurun 5, and kkg1. slenthem plays balungan gendhing tone composition, while kenong plays its tones at the end of kenongan based on balungan gendhing tones except panunggal tones are played five to build a harmonic sound, kethuk-kempyang plays a pattern, such as in ketawang ladrang, gong gedhé giving a strong sèlèh impression at the end of the fourth kenongan, and at the fifth gatra with gong of suwukan panunggul, while gérong plays imbal keplok, senggakan, and alok. discussion almost all javanese karawitan players enjoy their performance either directly or through audio visual recording document including that uploaded by suharto (2013) in youtube media. some media acessors generally appreciate that by revealing their compliments, such as “duh...nggarai ati adem, suaramu waduh-waduh mak nyes, serak-serak penak lan laras banget, gayeng tenan, rasane tekan ati, jan mat tenan, manteb banget, nyamleng tenan, gawe ademe ati, marem, sampai ngantuk. the expressions of various aesthetic words are the proofs of individuals who enjoy the beauty of the show performance. those expressions are due to the arising emotions when enjoying the music, because music can express emotions (juslin, 2013). this video has been viewed by more than 40,000 people and of those, 161 people show that they enjoy the video by giving their thumbs up. in the discussions of board of jury panel to determine the championships, some members feel that their performance mengkorokaké githok or make their hair stands and ends, the predicate given on something, including the extraordinary beautiful objects which provide deep impression. from vocal sindhènan point of view, the beauty of performance is influenced by many factors: first, pesindhèn basic voice is more astonishing with kenès but gentle voice type, strong character, subtle and complex gregel, soft vibration, and broad ambitus. that basic tone has a chance to voice more complicated vocal flows, broad ambitus, and various musical characters. second, the tones on laras sléndro and pélog are sophisticatedly mastered. darsono, a javanese karawitan vocal expert from isi surakarta as the chairman of board of jury panel in the contest, asserts that the flows of the vocal song may be performed in pleng when the vocalist has mastered figure 2. balungan gendhing, result of abstraction harmonia : journal of arts research and education 17 (1) (2017): 75-8682 laras sléndro-pélog. the pleng concept referring to the tone sounding of the flows of the vocal song is relatively accurate, not exceeding the limits of laras sléndro and pélog tone frequency tolerance. no matter how complicated wiled to céngkok vocal song, it is not meaningful if one or more tones are not pleng or bléro, sasap. the tone arrangement in wiled and céngkok-céngkok of sindhènan vocal above is expressed in pleng that the performance is pleasant to be heard and felt. thirdly, céngkok and wiled variously use and their implementation to the proper gendhing parts, not nglèwèr nor nungkak. nyi supadmi, javanese karawitan sindhèn master from surakarta as the member of board of jury panel, explains that nglèwèr shows sèlèh the flows of the vocal song is far behind sèlèh balungan gendhing, while nungkak is far forefront. from this perspective, sindhènan vocal work above is considered the most qualified one. céngkok dan wiled in several sèlèh panunggul tones are different, as well as the other sèlèh tones with the relatively accurate implementation which results in dynamic musical impression, unison, and integrated manners in the dynamic integrity of gendhing garap. fourth, cakepan is correctly, clearly, and firmly expressed. vocal text pronunciation unclearness may lead to multiple interpretations of meaning. thus, the work is considered a fatal error which greatly reduces the esthetic value of the performance. vocal text expression correctly, clearly, and firmly shows that the vocalist understands javanese language, text meaning, and how to pronounce it. fifth, gendhing characters and their parts are strongly expressed through vocal work model performed with full concentration, spirit, and understanding, in addition to menep, sarèh, and sumèlèh, patient, not in hurry inspired by the characters of gendhing composition. the vocal work performance greatly provides the spirit to gendhing parts that its performance is greget-urip, dynamic, energetic, and alive. sixth, pesindhèn performance upholds the aesthetic values and the applicable cultures. pesindhèn appears in timpuh,a seated position with both folded hands over his thigh in a calm and dignified manner. a complete javanese traditional cloth is worn to make pesindhèn look stunning based on the applicable aesthetic and cultural norms in javanese karawitan. some musical and cultural aspects above are taken into consideration by the board of jury panel to decide the winners based on the criteria of leres, rempeg, and laras. lina rohmiyati is named the first winner because she is considered as the most qualified one meeting the criteria. however, its beauty may not be realized without the supports of ricikan garap and gendhing musical elements. in terms of ricikan engagement, its technical work, playing patterns, and dynamic, the supporting ricikan gamelan playing is expressed correctly, clearly and firmly in the evenly, balance, unison, and integrated composition dynamically under the lead of sindhènan song and kendangan dynamics which result in depth and holistically striking karawitan sense. the manifestation of karawitan sense is also due to the support of kyi cakra kembang’s gamelan devices belonging to semarang state university which laras and materials are highly qualified. laras concept: a study on jineman uler kambang pelog lima the results of the research on jineman uler kambang pelog lima are supported by the views of the research respondents through the findings of some keywords on laras concepts: (1) laras is a kind of sense, atmosphere, or impression of beautiful, delicate, comfortable, deep, and holistic containing the element of mat, lega, betah, adhem, ayem, tentrem, jinem, sengsem, and marem; (2) the triggering events contain many elements with specific characters, roles, and functions; (3) these elements interact each other to realize the common goals; (4) interactions between elements run dynamically, truly, fairly, evenly, in balance, unison, and integrated manners within one integrated purpose made at the atmosphere of togetherness, mutual respect, widodo, victor ganap, soetarno, laras concept and its triggers: a case study on garap ... 83 and helping each other to follow the applicable norms; and (5) its interaction models form the perfect balance centers called the harmonic points as the sources from which laras occurs. in javanese karawitan, that event is called klenèngan or karawitan concert with its activities in the forms of a gendhing garap processes. laras concept is schematically made as follows. figure 3. laras concept the keywords appearing in figure 2 are similar with the viewers’ comments on a youtube video uploaded by a youtuber, suharto (2013) and that has been watched by more than 40,000 viewers. the expressions made by the observers and viewers are considered as conceptions. meanwhile, conception is a particular meaning given to a term by particular individuals. based on these conceptions, a concept may be created. thus, concept is an abstract notion based on a set of conceptions or a sharpened conception (rohidi, 2011, p.126) as concept is also considered as an abstract and general idea of a particular case. concept is what exists in the mind as a representation (as of something comprehended) or as a formulation (as of a plan), concept may apply to the idea formed by consideration of instances of a species or genus or, more broadly, to any idea of what a thing ought to be (merrieam-webster, n.d.). thus, laras concept is made after understanding the conceptions, such as mat, lega, betah, adhem, ayem, tentrem, jinem, sengsem, marem. gendhing garap model triggering laras laras which concept has been defined does not suddenly appear. some gendhing garap models as laras triggers are leres, rempeg, greget-urip; and sarèh-sumèlèh. literally, leres means true, accurate, appropriate (widada et al., 2000, p. 59 & 590). the concept in gendhing garap refers to the selection and implementation of vocabular techniques, patterns, and wiled of true or precise playing based on balungan gendhing’s structures and song flow patterns, character compositions, and performance functions based on the applicable work patterns in javanese karawitan. literally, the word rempeg means unison, simultaneous, and dense (widada et al., 2000, p. 667). rempeg in gendhing performance refers to the work in gendhing elements which are dynamic, balance, evenly, unison and in integrated manners with the unity of work idea. dynamic impression appears from various works; balance shows the playfulness of ricikan as well as the clear and proportional vocal: evenly means all gendhing elements are touched by the work, there is no dominant or dominated element: unison is playing or céngkok and wiled patterns in gendhing parts based on each musical tasks following the composition types and shapes as well as balungan gendhing tone composition. greget refers to the disclosure of gendhing garap models which are full of concentration, spirit, strength, and understanding shown by the characters of composition parts which enliven gendhing spirit or soul and its parts arising urip (alive) impression meeting the basic sense of gendhing. sarèh-sumèlèh refers to the work expressions which are quietly, patiently, unhurriedly made based on the mastery of the mature work device aspects indicating that the competence of karawitan work composers is greatly qualified. schematically, gendhing garap models as the triggers of laras are as follows. harmonia : journal of arts research and education 17 (1) (2017): 75-8684 figure 4. the triggering aspects of laras laras in gendhing performance may not be realized only from one work aspect. some aspects are closely related and support each other to realize the karawitan gendhing as a whole. laras sense in jineman uler kambang pelog lima is realized due to the triggering combination of leres, rempeng, greget urip, and sarèh sumèlèh work models in each composition parts. gendhing garap aspects as laras triggers have been formulated based on gendhing garap function analysis, which is combined with the opinions of board of jury panel as javanese karawitan experts as well as the respondents. the compliments expressed by the viewers after watching the show either directly or through youtube are the original expressions on the aesthetic senses which have been experienced by the viewers. conclusion laras is a type of sense, atmosphere, or a deep impression of beautiful, delicious, comfortable, and entirely containing elements of mat, lega, betah, adhem, ayem, tentrem, jinem, sengsem, marem arising from interactive events which processes are made dynamically, correctly, clearly, fairly, evenly, in balance, unison and integrated manners in forming the perfect equilibrium centers called synchronized points. the presence of gendhing is triggered by the application of laras work model, technique, pattern, and wiled play as well as gendhing elements played correctly; rempeg, gendhing elements are made dynamically, evenly, in balance, unison, and integrated manners; greget-urip, gendhing garap expressed in full concentration, spirit, and understanding, and sarèh-sumèlèh gendhing garap performed quietly, patiently, not in a hurry based on the mastery of mature work device aspects. references alfian, t. i. 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(1994). kamus kawi-jawa.yogyakarta: gadjah mada university press. respondents darsono, 60 years, an expert of javanese karawitan vocal works, indonesian arts institute (isi) of surakarta supadmi, 63 years, an expert (mpu) of javanese karawitan sindhènan vocals, surakarta glossary abon-abon : a sindhènan vocal part which uses meaningless texts adhem : cool alok : unimpeded toneless shouting vocal andhegan : gendhing stops at a moment before accent. ayem : at peace ayu kuning : a playing pattern type of gendèr barung balungan gendhing : gendhing song framework, sketch, or outline betah : feeling at home, happy, comfortable cakepan : vocal song lyrics céngkok : playing pattern; gendhing song length unit; karawitan style celuk : a vocal song to start gendhing clempung : a plucked instrument larger than sitar ciblon : a javanese drum type instead of bem, sabet, and ketipung demung : a metal plate instrument of the largest balungan group dhadha : a reference to tone telu (three) commonly called lu with numerical symbol 3 dhebyang dhebyung : a playing pattern type in gendèr barung dualolo : a playing pattern type in gendèr barung ela-élo : a playing pattern type in gendèr barung embat : a jangkah pattern variant in larasan gamelan engkuk : pencon’s structural metal instrument as kemong’s partner gatra : musical unit consisting of four sabetan balungan. gambang : wooden plate instrument of wingking work group gamelan : a set of musical instruments in karawitan gangsaran : a form of small size javanese gendhing gantungan : a playing pattern type in gendèr barung gemakan : a playing technique type in slenthem gembyang : octave, a playing pattern type in bonang gendèr b arung : a metal plate instrument of ngajeng work group gender penerus : a metal plate instrument of wigking work group gendhing : karawitan musical composition; karawitan musical composition posessing mérong and inggah part. genjotan : a playing technique type on demung and saron. gérong : (male) vocalist performing gérongan vocal type. gongsa : gamelan gong : the biggest metal instrument of pencon’s structural group harmonia : journal of arts research and education 17 (1) (2017): 75-8686 grambyangan : a short composition played by the earliest instruments gregel : a set of tones played in rapid tempo greget : full of energy or spirit gugukan : a playing pattern type in gendèr barung. gulu : a reference of tone loro read ro with a numeric symbol 2 irama : a gatra widening and narrowing jarik kawung : a playing pattern type in gendèr barung jinem : a very comfortable feeling jineman : a javanese gendhing type emphasizing on vocal work kacaryan : a playing pattern type in gendèr barung kadhal mènèk : a playing technique type in rebab kawahan : a kendang playing pattern to mark accent kawilan : a playing pattern type in kendang ciblon kecekan : a playing technique in sitar, celempung, demung, and saron kecèr : toneless metal plate instrument kempyang : pencon’s metal instrument as kethuk’s partner. kempyung : two tones with two-tone distance played together kemong : pencon’s metal instrument as engkung’s partner. kendang : a double-sided membrane instrument kenong : a big metal instrument of pencon’s structural group keplok : applause ketawang : name of small-size karawitan composition form kethuk : pencon’s instrument as kempyang’s partner kinthilan : a playing pattern type in saron 1 and saron 2 kutuk kuning : a playing pattern type in gendèr barung lancaran : name of small-sized karawitan composition form laya : gendhing performance speed at the same irama (rythm). lega : relieved, satisfied leres : correct, acurate, proper mat : delicious nduduk : a playing pattern type in gendèr barung ngaplak : kendang ciblon playing pattern performed right before gong ngelik : gendhing’s high tone composition part ngicrik : a playing technique type in rebab nut kepatihan : karawitan notation using numeric symbols ora butuh : a playing pattern type in gendèr barung pangrawit : gamelan player panunggul : a reference of tone siji (one) read ji with the numerical symbol number 1 parikan : javanese quatrain text form pathêt : sèlèh sense atmosphere in gendhing melodic flow peking : the smallest-size plate instrument of balungan group. pélog : type of javanese karawitan musical scales in addition to sléndro pencon : a hollow round shape metal instrument with a pencu on its surface penembung : the biggest-size bonang like pencon instrument type pêthêtan : a playing technique type in gendèr barung pinjalan : a playing pattern performed with demung and slenthem plurutan : a playing technique type in rebab puthut gelut : a playing pattern type in gendèr barung rebab : a friction instrument in gamelan music rempeg : a sense of cohesive, unison, and integrated musical performance. ricikan : gamelan instrument sampak : a reference of small javanese gendhing form. samparan : a playing technique type in gendèr barung saréh : patient saron : metal plate instrument of balungan group sarugan : a playing technique type in gendèr barung sekaran : a playing pattern senggakan : a vocal type played between the main vocals sengsem : fascinated sindhèn : female vocalist performing sindhènan vocal sindhènan : a rhythmic vocal in gendhing with wangsalan texts, parikan, and abon-abon siter : a plucked instrument other than clempung sléndro : a type of musical scales in javanese karawitan other than pélog. srepeg : a reference of small gendhing form suling : a blowing instrument made of bamboo sumèlèh : a feeling after the burden is removed, relieved suwuk : gendhing ending performance tabuh : gamelan beating device tentrem : a very comfortable feeling thinthingan : gendèr barung playing to guide vocalist voice timpuh : a woman sitting way whose legs are folded down tumurun : a playing pattern type in gendèr barung ukelan : a playing technique type in gendèr barung 191 ‘’langen tayub padang bulan” as a manifestation of social and cultural change in community anik juwariyah department of drama, dance, and music, faculty of languages and arts, universitas negeri surabaya, indonesia received: august 30, 2018. revised: october 23, 2018. accepted: december 4, 2018 abstract this study examines langen tayub’s artistic position in social and cultural changes in society, especially in nganjuk regency. langen tayub as a product of a society that has undergone a change, also made innovations in nganjuk community, this innovation was manifested in the form of a performance called langen tayub padang bulan. the research methods used include: qualitative research approaches, data collection techniques uses: interviews, observation, documentation and recording. data analysis used is the talcott parsons theory abbreviated as agil (a (adaptation), achievement goals (g-goal attainment), i (integration), and l (latency) or pattern maintenance. results showed that as a traditional cultural product, langen tayub experienced the changing form of presentation: social and cultural changes that have taken place in the community have shifted the old model of langen tayub to langen tayub padang bulan, with some special characteristics that are adapted to the present conditions of society. keywords: langen tayub padang bulan; social and cultural change; society how to cite: juwariyah, a. (2018). ‘’langen tayub padang bulan” as a manifestation of social and cultural change in community. harmonia: journal of arts research and education, 18(2), 191-199. harmonia: journal of arts research and education 18 (2) (2018), 191-199 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v18i2.17052 (1985) says that village cleaning is a tribute to dewi sri (goddess prosperity/rice). ahmad tohari (1992) states that tayub’s oldest function is for fertility ceremonies. suharto (1999) explains that tayub dance in the midst of society also carries a sacred duty, because it becomes the center of village cleaning ceremonies, rasulan (after harvest), ruwatan, nadaran etc. the tayub dance is closely related to fertility which is symbolized by the relationship between men and women which is a symbol of hope for fertile plants). according to soedarsono (1991, p. 35) in an agrarian culture, fertility is the only hope that is always coveted by farmers. in the minds of traditional farmers, introduction as a traditional performing art that still exists, langen tayub is supported by the solid construction of various supporting elements. it is very interesting to be observed, considering that from the current era, the position of traditional arts is very important in its position to support the development of national culture as well as a cultural identity that needs to be continuously preserved and developed. langen tayub has symbolic meaning (based on the concept of clifford geertz, tayub dance for clean village ceremonies is to have a meaning of fertility, safety, and community solidarity or harmony. kayam corresponding author: jl. lidah wetan, surabaya, jawa timur 60231, indonesia e-mail: anikjuwariyah@unesa.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 18 (2) (2018): 191-199192 soil fertility is never enough by only achieved through the improvement of new agricultural systems, but it also needs to strive through intangible forces. thus, it can be translated that the traditional farmers in their efforts to achieve agricultural fertility to succeed well, not only through rational means, but also make contact with the magical powers (irrational) in the form of ceremonies. this symbolic relationship seems to be the background of the presence of tayub, a ritual for fertility, both fertility in the form of fertilizing agricultural products, as well as fertility for marriage. sudikan (1997) states that: “folk performing arts have a characteristic that is simple, spontaneous, belongs to the community and from the community, and unites with the lives of the people” (this understanding in central and east java is usually contradicted with the palace performing arts which are said to have been born in the palace environment so that it appears the impression of “adiluhung” (realizing virtue, “maintained”, graceful and smooth). various folk art performances will be known as traditional arts if the art comes from and can be felt by the supporting community. art, presents, develops and is standardized through the social traditions of a society. as with other cultural elements, art also functions to sustain and preserve community togetherness (rohidi, 2009). development era demands that the form of langen tayub’s presentation that is vulgar, erotic and impolite becomes the public’s spotlight and needs to be concerned. it seems that the form of langen tayub’s presentation of the old model also occurs in similar art forms as said by weintraub, (2008). in his writing, he highlighted the social and political contributions of authority and power during the turbulent period of indonesian history carried out on stage and recorded in various discursive fields, including oral. according to weintraub, many people, and newspapers and personal accounts characterize scenes inspired by singers as carnivalesque, chaotic, and sometimes even violent. in 195964, it was considered as a “sinden crisis”, which coincided with soekarno’s guided democracy (1959-65), a period in indonesian history characterized by a weakening of the state, economic difficulties, and rampant political pragmatism. based on this description, the purpose of this research is to examine langen tayub’s position in social and cultural changes in society, especially in nganjuk regency. method this study uses a qualitative approach, with researchers as the main instrument in the research process. the researcher chose qualitative research with the aim to be able to know the phenomenon of langen tayub’s art construction in natural conditions in everyday life in society. denzim and yvonna s. lincoln (2000: 670) state that constructionist interpretation always adheres to reliable or reliable empirical materials. reliability itself includes four main components, namely credibility, transferability, dependability, and confirmability. data collection techniques used in this study are: (1) interviews, (2) observation, (3) documentation, and (4) recording. data analysis uses the theory of social change in society. data analysis uses talcott parsons’s theory abbreviated as agil (a (adaptation), achievement of goals (g-goal attainment), i (integration), and l (latency) or pattern maintenance. results and discussion the concept and presentation of the old model langen tayub langen tayub’s old model was the term for the presentation of langen tayub held by the community before the tayub padang bulan was socialized. langen tayub’s old model became a forum for langen tayub community members to express and carry on their freedom. if in their daily lives they are not free to drink liquor, etc., then in the performance of langen tayub they can freely drink to their heart’s anik juwariyah, ‘’langen tayub padang bulan” as a manifestation ... 193 content. in the presentation, langen tayub has the following characteristics: dancers, performers and pengrawit are in one level, there is no separation of langen tayub’s actors with the stage. they are on the floor with carpet or mats. in the dancing arena, the distance of dancers and penayub is free, can be both very close and in a distance. in performances where the number of penayub and the waranggana are many, the stage looks crowded. in this condition, it is very possible for the impolite penayub to tempt waranggana, there is someone who pinches, kisses and even acts more disrespectful. saweran for waranggana (dancer langen tayub) is given by means directly on stage or during the ndara-ndara phase. often this opportunity is used by a naughty penayub to give saweran by laying a hand in a way between breasts. taking a turn of gendhing can be done at any time. in the request for a change in gendhing accompanied by saweran (cash) for pengrawit. frequently, there is a fight between penayub because of fighting over the gendhing. the newly sung gendhing can be replaced immediately. it is a very rare situation where gendhing can be sung until it’s finished. with conditions like this, those who dance also seem chaotic, because it cannot be enjoyed, yet the gendhing takes a turn to change. the show last for an overnight. in the old langen tayub model, the performance was carried out from 21.00 wib to 04.00 wib (before dawn). as a result of the all-night performance, those who are involved in the show are not able to do normal work the next day. besides that, shows that last night can disrupt the surrounding environment, which is likely to be less or not like the performance of langen tayub. the debate of sensuality in some shows in indonesia has become an interesting national debate for some groups, especially with the culture of nyawer given to performers in an irreverent manner. as the point in the dangdut show, bader & richter, (2014) states that through the interaction of menyawer on the stage between singers and penyawer it can continue off-stage which is a fierce conservative discourse by academics. they consider this to be a matter of feminist discourse about exploitation and empowerment. women’s sexuality and what is called by bader (2011, 2013) as ‘nyawer meeters’ have long been a hallmark of traditional javanese and sundanese arts and performances. richter (2008) called these forms as ‘other worlds’ physical movements among players. beautiful women on the stage are considered to have magical powers to seduce men from their wives. their attitude on stage often has sexual connotations (peacock, 1967). concept and presentation of tayub padang bulan in decades, langen tayub in the community had a bad impression, resulting from drinking and negative things that accompanied it. based on this, the parties involved compiled a new formula / concept with the hope that it would be more acceptable to the wider community. langen tayub nganjuk experienced a change in the form of presentation. the idea was made by the head of the nganjuk district tourism and culture office in 2006, tri wiyosoputra. the concept of the idea is langen tayub padang bulan. this concept was inspired by the padang bulan performance of kyai kanjeng by emha ainun najib. with the idea that in ancient times there was a crowd usually carried out on the full moon. with that expectation, the performance of langen tayub was carried out routinely every month at langen tayub workshop art (summarized from the results of interview with triwiyosoputro as head of the nganjuk and waras as the head of disparbudda of nganjuk, the head of culture section disparbudda of nganjuk regency on september 24th, 2009 in disparbudda office of nganjuk district). after two years running, langen tayub padang bulan was held in rotation in the sub-districts in nganjuk regency, so it was not staged in only one place. by applying this way, it harmonia: journal of arts research and education 18 (2) (2018): 191-199194 formers to the ancestral heritage and a respect for the elements of javanese culture. by wearing traditional javanese attire, they mean preserving ancestral heritage. before langen tayub began, pramugari read langen tayub’s ethics or orders about the rules of the tayub performance that were allowed. penayub must be welldressed, dressed and trousers (not shirts and / or training). the need for penayub to be well-dressed is expected to match the appearance of waranggana, pramugari and pengrawit. by dressing neatly, people will be more appreciative, than in staging penayub wearing training or other casual clothes. amount of penayub and waranggana penayub that gets sampur must match the number of waranggana when performing. this rule is arranged so that the beauty of the performance of langen tayub can be enjoyed, also to make it look more organized and orderly. by limiting the number of penayub on stage, a maximum of two times the number of waranggana, then the possibility of penayub to do less polite can be avoided. giving tips to waranggana giving tips to waranggana is only given through shaking hands or placing it on trays. it was common knowledge that langen tayub was close to irreverent acts, such as giving a sawer to the dancer’s chest, or a drunken penayub. however, both of these things are a serious concern of the tourism department and other related parties. so now how to give a tip or sawer is given by handshake. the opportunity mengibing for penayub penayub is given the opportunity to give a maximum of 3 gendhing sequentially until the last song-poem has finished (there is no gendhing rotation in the middle of gendhing playing). this order clearly intends to minimize the chaos that is often caused by the competition of sudden demand for gendhing from penayub. by giving a sawer in seems that it is even more able to stimulate life in rural communities. now, the special rules for the performance of langen tayub padang bulan are as follows. gamelan on the stage is approximately 40 cm from the floor the provisions of the gamelan are placed on the stage are an attempt to lift the position of the gamelan, so that the audience can see it. with the existence of the stage, it is possible to enjoy it up to a distance away. stage height the stage for dancing must be approximately 20 cm from the floor. the existence of a stage for dancing waranggana and penayub, it aims to elevate the dignity of langen tayub performers. besides, it is aimed for those who are dancing on stage can be enjoyed their beauty. in the old langen tayub concept (before tayub padang bulan), where there was no stage was very possible to be only in one tayuban area, the number of penayub could not be limited and the atmosphere became crowded. in this case, the beauty of langen tayub is less enjoyable. besides that, it is very possible for penayub to do indecent things. for more details, see figure 1. figure 1. the number of penayub clothing for pengrawit, stewardess and waranggana the wearing of kejawen clothing is a form of adherence of langen tayub peranik juwariyah, ‘’langen tayub padang bulan” as a manifestation ... 195 the middle of the gendhing, penayub tried to show their selfishness which eventually became a source of contention among penayub and the performance could be chaotic. with this rule, langen tayub can also be more enjoyable. the person who listened to langen tayub’s performance from a distance could listen well to the singing that was sung. for waranggana (dancer langen tayub) group, the langen tayub padang bulan model is said to be better, as stated by waranggana, sriatun (interview with sriatun, february 18th, 2012 at 14.00 to 16.00 wib in east java cultural park, jl. gentengkali 85 surabaya): “it is better for tayub padang bulan, because it is more organized, more polite, more enjoyable and rare until there is a riot, because the gendhing is sung until the gendhing is finished not cut off in the middle of the playing”. gendhing fee the cost of gendhing is only given through pramugari when penayub rises on stage. the cost of gendhing given through pramugari minimizes the efforts of penayub who want to be rude to waranggana. the cost of this gendhing is usually placed on a plate or tray. distance penayub with waranggana the distance of penayub / penayub with waranggana performing time is at least one meter. the old langen tayub model that did not limit the number of penayub who danced with waranggana resulted in chaotic performances. the distance of dancers who are too close gives an opportunity for those who are not polite to do bad things. langen tayub’s performance also became less enjoyable for aesthetics. prohibition of smoking on the stage smoking on stage is very dangerous for waranggana and other penayub. for this reason, as long as penayub dance with the dancers, they are prohibited from smoking. smoking is allowed when sitting at a table with their community. prohibition of smoking in the stage arena prohibition of drinking liquor on stage also aims to create beautiful and enjoyable performances as prevention of disturbance made by drunken penayub who continue drinking on stage to make chaos. penayub who drink on stage can have less control over themselves, and that is dangerous for others. prohibition of carrying sharp weapons or firearms bringing a sharp weapon / firearms is strictly prohibited at the stage, except for officers, because if someone brings that prohibited object and this person who is drunk can endanger others. security officers are allowed to carry weapons because they are in charge of maintaining security during the show. stage time the end of stage time is 24.00 wib. langen tayub’s performance which lasted until early morning can cause disruption to the surrounding environment. besides, the performance above 12 a.m., sometimes it is less manageable, such as performance in tempuran village (observation of the langen tayub show at pardani’s house, tempuran village, ngluyu district, nganjuk regency, april 25th, 2012), the performance above 12 a.m. is dominated by the younger generation. langen tayub’s performance in the context of social and cultural changes the study of tayub performances in the context of social and cultural change, the researchers used talcot parson’s theory, which gave birth to the concept of agil. according to parsons in (ritzer, 2004) a function is a group of activities directed at meeting one or two system requirements”. there are four functional imperatives needed by the whole system, namely: a (adaptation), achievement of goals (g-goal attainment), i (integration), and l (latency) or pattern maintenance. the four altogether are called the agil harmonia: journal of arts research and education 18 (2) (2018): 191-199196 scheme. in order to survive, the system must carry out these four functions. the condition of the langen tayub art in nganjuk district when examined with the agil concept from parsons is as follows: adaptation adaptation (a) implies that the system must address situational needs that come from outside. it must adapt to the environment and adapt the environment to its needs. in langen tayub’s art, the efforts made by the parts of the system to adapt were done by: continuously renewing gending which are sung in the performance of langen tayub. gending campur sari that is currently popular also often played, such as: bojo loro, rujak jeruk, alun-alun nganjuk, etc. the design of the stage has undergone some changes from the level of the ground, now elevated higher than the spectators, the place of the gamelan is even higher. the hour of the show also changes, if the previous performance lasts until dawn or even more, now it is maximal at 02.00 a.m. which frequently happened only until 12:00 p.m. the dancing distance between tayub dancers / waranggana and pengibing is not too close, about one meter. even though it could be full if there are plenty of waranggana on the stage, and the distance among the dancers cannot be far apart. waranggana makeup and clothing are also better than it was before, they look more beautiful and are more able to dress up. the disparbudda of nganjuk regency as an institution which responsible for increasing the potential of this art also continues to provide guidance to the artists of tayub, both waranggana, pengrawit and also for pengibing. this is done so that the artists are not outdated and always on the path outlined. coaching material is directed at aesthetic and ethical aspects in the arts. as shown in the following figure: figure 2. training for tayub artists by the disparbudda nganjuk in general, the form of adaptation carried out is the concept of langen tayub padang bulan, which is now a concept that is always carried out in any performance of the tayub. goal attainment goal attainment (g) means that the system must define and achieve its main objectives. in relation to the determination and achievement of these objectives, it is clear that the system that regulates the implementation and guidance of staging takes various efforts, so that the goal of preserving this traditional culture runs well and is supported by the local government. integration integration (i) means that the system must regulate the relationship of the parts that become its components. it also must regulate the relationship between the three functional imperatives. for the integration process, which is the arrangement of relations among these parts is clearly seen in the flow of activities that need to be done by tayub artists in performing the show. there is a path that these tayub artists and the community must go through to hold a langen tayub performance. for those who have the interest, they must get a staging permit at the local police station. the granting of stage permits is important to control so that the performance runs in an orderly manner anik juwariyah, ‘’langen tayub padang bulan” as a manifestation ... 197 and does not interfere with other community activities. the form of permission granted by the local police station will be installed in front of the house of a person who has an interest. latency latency (l) (maintenance of the pattern) means that the system must complete, maintain and renew individual motivation and cultural patterns that create and maintain that motivation. disparbudda as a motivator, the driver of the running of this traditional art so that it can continue to develop and be accepted by the community to take several actions, including issuing the concept of tayub padang bulan with various innovations such as (1) attending invitations from the people who held langen tayub performances, (2 ) conduct training by training new gendhing and movement to the waranggana, holding gambyong dance competitions / festivals for the waranggana, and (3) holding gembyongan waranggana with various variations in its applications; etc. in the evenings show, they did not hesitate to go directly to the field, both to review and motivate them, the tayub artists, to continue developing this traditional art. the description above shows that in order langen tayub art to survive, the system must carry out these four functions, namely adaptation, purpose, integration, and pattern maintenance. as parson said, based on structural-functional assumptions can be explained further as follows. the system has an order and parts that depend on each other, can be seen in how each component in the langen tayub performance system provides positive support for a change made, both changes in rules and concepts of implementation. the system tends to be the order that maintains itself, or equilibrium. with some changes to the rules for organizing the langen tayub stage, it is clear that the existing order will be well-maintained, both local customs, forms of art and the existing social system. everything is created for an equilibrium state, a balance. the system can become static or undergo an orderly process of change. with the concept of tayub padang bulan, the process of change has indeed been laid out beforehand and planned carefully. not only that, the motivation given by the disparbudda on the elements of the performance of the langen tayub has made the arrangement to be carried out as expected. the nature of one part of the system has an impact on the possibility of other parts. the nature of one of the elements in progressive and positive langen tayub performing arts clearly has a positive impact on other elements. in this case the nature of “picking up the ball” from the disparbudda brings a good spirit for tayub artists to continue developing while preserving the art of this tradition. the system maintains boundaries with their environment. it is clear that the norm limits applied to the performance of langen tayub are an embodiment of the rules that exist in their environment. allocation and integration are two fundamental processes needed for equilibrium conditions of the system. the system surrounding langen tayub art is a solid basis for the creation of an existing balance or equilibrium system. the unification of elements in the langen tayub art becomes a unifying relationship in the existing social system. hauser (1982) explains that social change in a region will produce a distinctive style of art, in accordance with the form of society at that time. a type of art which at a certain period is ritual art, can become a popular art in the next period. a type of art that originally functions as a religious rite in a particular era can be a means of power, and eventually becomes a commodity / market. in line with hauser’s opinion, the development of langen tayub now shows its function more towards art for entertainment. the folk art which used to be for the sake of fertility rituals, is now more dominant as entertainment for both men and women. nevertheless the function of entertainment is still dominated by men. in harmonia: journal of arts research and education 18 (2) (2018): 191-199198 the big indonesian dictionary (1990: 909) it was stated that the tayuban is a dance performed by men and women accompanied by gamelan and songs usually to enliven the party (marriage, a feast celebrating s circumcision, etc.). hidajat (2014, p. 73) states that in tayub performances generally requires a dancer who can perform very well with continuous dancing movements, sweet voice, slim body, and beautiful face. this is according to hidayat (2014), as an ideal criterion in tayub performances. various strategies were taken to make waranggana acceptable to tayub worshipers. however, the number of waranggana can increase from year to year, adjusting the intent and purpose of the event. conclusion art is dynamic. as social and cultural changes in the art community which originally functioned as rituals, the function will eventually turn into an entertainment art. the langen tayub padang bulan concept that is currently being implemented in the langen tayub performing art in nganjuk shows evidence of that. the life values of the traditions contained in langen tayub will eventually be displaced by the concepts offered by the government (tourism and cultural services) of nganjuk regency, for example in the rules on the number of gendhing that may be carried out by the penayub. the old langen tayub model made this art an arena for people’s freedom in the countryside to express their artistic value. the klangenan element which is limited by limiting the number of gendhing requested in accordance with the provisions of langen tayub padang bulan made fanatical langen tayub actors feel less satisfaction. in addition, the arrangement has obscured the notion of folk art that langen tayub carried with prominent features that are simple, spontaneous, belonging to the community and from the community, and united with simple and free people’s lives without binding rules. references bader, s., & richter, m. m. 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(1972). jawa dan bali dua pusat pengembangan kesenian tradisional indonesia. yogyakarta: gajahmada university press. soedarsono, r. m. (2002). seni pertunjukan indonesia di era globalisasi. yogyakarta: gajah mada university press. sudikan, s. y. (1997). tantangan seni pertunjukan rakyat(tradisional) dalam menghadapi era teknologi komunikasi. prasasti, 7, 12–23. suharto, b. (1999). langen tayub, pertunjukan dan ritus kesuburan. bandung: masyarakat seni pertunjukan indonesia (mspi). sumardjo, j. (2000). filsafat seni. bandung: itb. supratno, h. (2010). sosiologi seni, wayang sasak lakon dewi rengganis dalam konteks perubahan masyarakat di anik juwariyah, ‘’langen tayub padang bulan” as a manifestation ... 199 lombok. surabaya: unesa university press. weintraub, a. n. (2008). the “crisis of the sinden”: gender, politics, and memory in the performing arts of west java, 1959-1964. in popular music, 27(3), 367-392. doi:10.1017/ s0261143008102185. 125 implementasi pembelajaran musik untuk mengembangkan mental dan psikomotorik anak penderita down syndrom mayliza defly ardina universitas negeri semarang, kampus sekaran gunungpati semarang e-mail mayliza.shaqila@gmail.com abstrak pembelajaran musik berfungsi sebagai pembentuk mental dan fisik anak down syndrom di balai besarrehabilitasi sosial bina grahita “kartini” temanggung. tujuan penelitian ini adalah: (1) mengetahui bagaimana implementasi pembelajaran musik yang meliputi perencanaan, pelaksanaan dan evaluasi untuk mengembangkan mental dan psikomotorik anak penderita down syndrom di balai besar rehabilitasi sosial bina grahita “kartini” temanggung. (2) mengetahui faktor-faktor pendukung dan penghambat apa saja yang ada dalam rangka mengembangkan mental dan psikomotorik anak penderita down syndrom. metode yang digunakan dalam penelitian ini adalah metode kualitatif. data dikumpulkan dengan teknik observasi partisipan, wawancara dan dokumentasi. data yang diperoleh dianalisis dengan menggunakan reduksi data, penyajian data dan kemudian penarikan kesimpulan/verifikasi. hasil penelitian menunjukan bahwa pembelajaran musik mampu mengembangkan mental dan psikomotorik anak penderita down syndrom dengan cara memberikan alat musik ritmis dan memperdengarkan jenis aliran musim beragam seperti pop, rock, jazz, klasik, terutama musik beraliran dangdut yang sangat diminati anak. implementation of musical learning to develop mental and psychomotor aptitude of children having down’s syndrome abstract music learning has functions to shape mental and physical condition of the children with down’s syndrome in the rehabilitation center. the goals of this research are (a) to find out how the implementation of music learning includes planning, implementation and evaluation to develop mental and psychomotor aptitude of children with down’s syndrome in the rehabilitation centre, temanggung, (2) to find out what supportive and inhibitive factors are existing in order to develop mental and psychomotor aptitude of children with down’s syndrome.the method used in this research is qualitative method data, which was collected by means of participant’s observation technique, interview, and documentation. the obtained data was analyzed by means of data reduction, data presentation and then conclusion drawing, verification. the finding shows that music learning could enhance mental and psychomotor aptitude of children with down’s syndrome by giving them rhythmic musical instruments and introducing them with various music genres such as pop, rock, jazz, classic, even more so to dangdut music that attract adults as well as children. kata kunci: tuna grahita, temanggung, down syndrom, pembelajaran musik. harmonia, volume 12, no. 2 / desember 2012126 pendahuluan musik dapat berfungsi sebagai hiburan. dengan musik, suasana ruang batin seseorang dapat dipengaruhi. entah suasana bahagia ataupun sedih, bergantung pada pendengar sendiri, yang pasti, musik dapat memberi semangat pada jiwa yang lelah, resah, dan lesu, sebagai hiburan, musik dapat memberikan rasa santai dan nyaman atau penyegaran pada pendengarnya. musik membantu menenangkan, dan merangsang bagian otak yang terkait ke aktivitas emosi, dan tidur. peneliti dari science university of tokyo, menunjukan bahwa musik dapat membantu menurunkantingkat stress, dan gelisah. penelitian menunjukan bahwa mendengarkan musik klasik adalah cara terbaik untuk membantu mengatasi depresi (aristoteles dalam widagdo: 2010). selain berfungsi sebagai hiburan musik juga berfungsi sebagai terapi kesehatan. ketika seseorang mendengarkan musik, gelombang listrik yang ada di otak dapat diperlambat atau dipercepat, dan pada saat yang sama kinerja sistem tubuh pun mengalami perubahan. musik mampu mengatur hormon-hormon yang mempengaruhi stres seseorang, serta mampu meningkatkan daya ingat. musik dan kesehatan memiliki kaitan erat, dan tidak diragukan bahwa dengan mendengarkan musik kesukaan seseorang maka akan mampu terbawa kedalam suasana hati yang baik dalam waktu yang singkat. musik juga memiliki kekuatan untuk mempengaruhi denyut jantung dan tekanan darah sesuai dengan frekuensi, tempo, dan volumenya, makin lambat tempo musik maka denyut jantung semakin lambat, dan tekanan darah menurun. musik bekerja pada sistem saraf otonom yaitu bagian sistem syaraf yang bertanggungjawab mengontrol tekanan darah dan denyut jantung dan fungsi otak yang mengontrol perasaan serta emosi. kedua sistem tersebut beraksi sensitif terhadap musik. fungsi kesehatan lain adalah membantu kelahiran, dengan mendengarkan musik, ibu hamil akan terbantu dalam menghadapi rasa sakit saat melahirkan. musik juga bersifat terapeutik atau sebagai alat terapi dan bersifat menyembuhkan. musik menghasilkan rangsangan ritmis yang ditangkap oleh organ pendengaran dan diolah di dalam sistem saraf tubuh dan kelenjar pada otak yang mereorganisasi interpretasi bunyi ke dalam ritme internal pendengar. ritme internal ini mempengaruhi metabolisme tubuh manusia sehingga prosesnya berlangsung dengan lebih baik. metabolisme yang lebih baik akan mengakibatkan tubuh mampu membangun sistem kekebalan yang lebih baik, dan dengan sistem kekebalaan yang lebih baik tubuh menjadi lebih tangguh terhadap kemungkinan serangan penyakit. terapi musik adalah pemanfaatan kemampuan musik dan elemen musik oleh terapis untuk meningkatkan dan merawat kesehatan fisik, memperbaiki mental, emosional, dan kesehatan spiritual klien. terapi musik terdiri dari 2 elemen utama yaitu elemen terapi dan elemen musik. elemen terapi yang meliputi keterampilan musik bagi terapis, membangun hubungan terapis dengan pasien, aktivitas yang terstruktur dan dianjurkan oleh tim yang merawat pasien untuk mencapai tujuan yang spesifik dan obektif bagi klien. elemen musik sebagai alat utama yang meliputi irama, melodi, dan harmoni. terapi musik dapat dilakukan dengan berbagai cara yaitu menyanyi, mencipta lagu, memainkan alat musik, improvisasi, mendiskusi lirik dan mendengarkan musik. dalam bermain musik diharapkan dapat merangsang dan menarik penderita untuk mengikuti alur irama yang selanjutnya akan menciptakan suasana santai, gembira dan pada akhirnya akan menciptakan perubahan positif pada penderita (campbel, 1997). musik juga digunakan pada lembaga-lembaga pendidikan inklusi. pendidikan inklusi adalah termasuk hal yang baru di indonesia. ada beberapa pengertian mengenai pendidikan inklusi, di antaranya adalah pendidikan inklusi merupakan sebuah pendekatan yang berusaha mentransformasi sistem pendidikan dengan mayliza defly ardina, implementasi pembelajaran musik untuk mengembangkan mental ...127 meniadakan hambatan-hambatan yang dapat menghalangi setiap siswa untuk berpartisipasi penuh dalam pendidikan. hambatan yang ada bisa terkait dengan masalah etnik, gender, status sosial, kemiskinan dan lain-lain, dengan kata lain pendidikan inklusi adalah pelayanan pendidikan anak berkebutuhan khusus yang dididik bersama-sama anak lainnya (normal) untuk mengoptimalkan potensi yang dimilikinya. salah satu kelompok yang paling diperhatikan dalam memperoleh pendidikan adalah siswa penyandang cacat, tapi ini bukanlah kelompok yang homogen. sekolah dan layanan pendidikan lainnya harus fleksibel dan akomodatif untuk memenuhi keberagaman kebutuhan siswa. mereka juga diharapkan dapat mencari anak-anak yang berkebutuhan khusus dan jenis pelayanannya. sesuai program direktorat pembinaan sekolah luar biasa tahun 2006 dan pembinaan direktorat jenderal manajemen pendidikan dasar dan menengah departemen pendidikan nasional pendidikan adalah sebagai berikut : (1) tuna netra, (2) tuna rungu, (3) tuna grahita: (anatar lain down syndrome), (4) tuna grahita ringan (iq=50-70), (5)tuna grahita sedang (iq=25-50), (6) tuna grahita berat (iq 125 ) (7) kesulitan belajar (antara lain hyperaktif, add/adhd, dyslexia/baca, dysgraphia/tulis, dyscalculia/hitung, dysphasia/bicara, dyspraxia/ motorik), (8) lambat belajar (iq 7090, (9) autis, (10) korban penyalahgunaan narkoba, dan (11) indigo pendidikan merupakan kebutuhan dasar setiap manusia untuk menjamin keberlangsungan hidupnya agar lebih bermartabat. karena itu negara memiliki kewajiban untuk memberikan pelayanan pendidikan yang bermutu kepada setiap warganya tanpa terkecuali termasuk mereka yang memiliki perbedaan dalam kemampuan (difable) seperti yang tertuang pada uud 1945 pasal 31 (1). namun sayangnya sistem pendidikan di indonesia belum mengakomodasi keberagaman, sehingga menyebabkan munculnya segmentasi lembaga pendidikan yang berdasar pada perbedaan agama, etnis, dan bahkan perbedaan kemampuan baik fisik maupun mental yang dimiliki oleh siswa. jelas segmentasi lembaga pendidikan telah menghambat para siswa untuk dapat belajar menghormati realitas keberagaman dimasyarakat. anak – anak yang memiliki perbedaan kemampuan (difable) disediakan fasilitas pendidikan khusus disesuaikan dengan derajat dan jenis difabelnya yang disebut dengan sekolah luar biasa (slb). secara tidak disadari sistem pendidikan slb telah membangun tembok eksklusifisme bagi anak–anak yang berkebutuhan khusus. tembok eksklusifisme tersebut tidak disadari telah menghambat proses saling mengenal antara anak–anak difabel dengan anak–anak non-difabel. akibatnya, dalam interaksi sosial di masyarakat kelompok difabel menjadi komunitas yang teralienasi dari dinamika sosial di masyarakat. masyarakat menjadi tidak akrab dengan kehidupan kelompok difabel. sementara kelompok difabel sendiri merasa keberadaannya bukan menjadi bagian yang integral dari kehidupan masyarakat disekitarnya. seiring dengan berkembangnya tuntutan kelompok difabel dalam menyuarakan hak–haknya, maka kemudian muncul konsep pendidikan inklusi. salah satu kesepakatan internasional yang mendorong terwujudnya sistem pendidikan inklusi adalah convention on the rights of person with disabilities and optional protocol yang disahkan pada maret 2007. pada pasal 24 dalam konvensi ini disebutkan bahwa setiap negara berkewajiban untuk menyelenggarakan sistem pendidikan inklusi di setiap tingkatan pendidikan. adapun salah satu tujuannya adalah untuk mendorong terwujudnya partisipasi penuh difabel dalam kehidupan masyarakat. down syndrome adalah suatu kumpulan gejala akibat dari abnormalitas kromosom, biasanya kromosom 21, yang tidak berhasil memisahkan diri selama meiosis sehingga terjadi individu dengan 47 kromosom. down syndrom ini pertama kali diuraikan oleh langdon down pada tahun harmonia, volume 12, no. 2 / desember 2012128 1866. anak penderita down syndrom sangat membutuhkan pendidikan inklusi untuk memenuhi kebutuhan pendidikannya. adapaun pembelajaran yang diajarkan di sekolah pendidikan inklusi atau slb adalah mengembangkan proses berpikir tingkat tinggi, yang meliputi analisis, sintesis, evaluasi, dan problem solving. untuk anak berkebutuhan khusus yang memiliki inteligensi di atas normal adalah dengan menggunakan pendekatan student centered, yang menekankan perbedaan individual setiap anak. adanya keterbukaan atau lebih terbuka (divergent), memberikan kesempatan mobilitas tinggi, karena kemampuan siswa di dalam kelas heterogen, sehingga mungkin ada anak yang saling bergerak kesana-kemari, dari satu kelompok ke kelompok lain dan menerapkan pendekatan pembelajaran kompetitif seimbang dengan pendekatan pembelajaran kooperatif. melalui pendekatan pembelajaran kompetitif anak dirangsang untuk berprestasi setinggi mungkin dengan cara berkompetisi secara fair. melalui pendekatan pembelajaran kooperatif, setiap anak dikembangkan jiwa kerjasama dan kebersamaannya. mereka diberi tugas dalam kelompok, secara bersama mengerjakan tugas dan mendiskusikannya. penekanannya adalah kerjasama dalam kelompok, dan kerjasama dalam kelompok ini yang dinilai. dengan cara ini sosialisasi anak dan jiwa kerjasama serta tolong menolong akan berkembang. dengan demikian, jiwa kompetisi dan jiwa kerjasama anak akan berkembang harmonis. hal itu disesuaikan dengan berbagai tipe belajar siswa (ada yang bertipe visual, ada yang bertipe auditori dan ada pula yang bertipe kinestetis). tipe visual, yaitu lebih mudah menyerap informasi melalui indera penglihatan. tipe auditoris, yaitu lebih mudah menyerap informasi melalui indera pendengaran. tipe kinestetis, yaitu lebih mudah menyerap informasi melalui indera perabaan atau gerakan. guru hendaknya tidak monoton dalam mengajar sehingga hanya akan menguntungkan anak yang memiliki tipe belajar tertentu saja. salah satu tipe auditoris adalah dengan anak diberikan pelajaran musik, anak bisa disuruh mendengarkan musik klasik atau dengan memperkenalkan bunyi-bunyi alat musik pada anak. musik dapat meningkatkan daya ingat verbal, dan mempertimbangkan implikasi penelitian bagi anak-anak dengan down syndrome, dalam sistem memori kerja, anak-anak dengan down syndrome memiliki kesulitan tertentu dengan verbal memori jangka pendek, mereka merasa lebih sulit untuk mengingat informasi verbal dari informasi visuo-spasial dalam tes memori jangka pendek. selain itu, dalam dekade terakhir, para peneliti telah mulai menyelidiki secara detail bagaimana pengalaman dapat mempengaruhi struktur otak dan fungsi kognitif. satu studi tertentu dibandingkan struktur otak sekelompok musisi dan non-musisi, dan mereka menemukan bahwa individu dengan pelatihan musik cenderung memiliki temporal lobe kiri membesar bila dibandingkan dengan orang tanpa pelatihan musik. memang, studi pasien dengan kerusakan otak telah menunjukkan bahwa lobus temporal kiri terutama menengahi memori verbal, dan bahwa memori visual terutama diproses oleh daerah temporal kanan. ho cheung dan chan menemukan hasil yang menyatakan bahwa anak-anak dengan pelatihan musik menunjukan lebih baik verbal (tapi tidak visual) memori daripada mereka tanpa pelatihan musik. analisis menunjukkan bahwa kemampuan belajar verbal dari kelompok pemula secara signifikan lebih rendah dibandingkan kelompok pelatihan dilanjutkan dan dihentikan pada awal penelitian. satu tahun kemudian, kelompok terus menunjukkan peningkatan yang signifikan dalam memori verbal, tetapi kelompok dihentikan namun tidak berubah. untuk meringkas, anak-anak yang menerima satu tahun pelatihan musik (terlepas dari latar belakang musik mereka), menunjukkan perbaikan berlangsung dalam belajar verbal dan kemampuan retensi. dengan jelas menunjukkan bahwa pengalaman musik mempengaruhi perkembangan fungsi kognitif. tujuan penelitian ini adalah untuk mayliza defly ardina, implementasi pembelajaran musik untuk mengembangkan mental ...129 hasil dan pembahasan implementasi pembelajaran musik untuk mengembangkan mental dan psikomotorik anak penderita down syndrom adalah dengan cara memberikan materi yang diberikan pada anak berupa materi lagu anak-anak seperti lagu naik delman, pelangi-pelangi, balonku dan lain sebagainya, selain itu untuk menghilangkan kejenuhan anak sesekali guru memberikan materi berupa lagu dangdut, aliran musik dangdut sangat disukai oleh anak karena menurut mereka lagu dangdut membuat mereka gembira. pembelajaran musik di balai besar rehabilitasi sosial bina grahita kartini temanggung merupakan sarana rekreasi pada anak maka, pembelajaran yang diterapkan tidak seperti pelajaran musik seperti pada umumnya di balai besar rehabilitasi sosial bina grahita kartini temanggung guru memberikan materi sesuai dengan keinginan anak biasanya materi yang diberikan pada anak hanya sebatas mengulang materi yang sudah karena keterbatasannya kemampuan anak dalam menerima materi. guru akan merangsang fokus anak dengan memainkan lagu dangdut, karena anak down syndrom sangat menyukai musik dangdut. ketika mendengar irama lagu dangdut mereka langsung berkumpul dan bersama-sama bernyanyi dan menari mengikuti irama lagu yang dimainkan. setelah anak-anak bisa dikondisikan kemudian guru akan menguji ketepatan mereka dalam menembak nada guru akan memainkan nada dan anak mengikuti bunyi nada. dikarenakan pelajaran musik di sini hanya sebagai media hiburan dan rekreasi bagi anak maka dalam kegiatan belajar materi yang banyak dipelajari adalah bernyanyi dan menari. dikarenakan kemampuan anak yang terbatas guru tidak pernah memberikan tugas untuk mereka. karena kemampuan mengingat dan juga karena keterbatasan tingkat kesadaran mereka maka guru tidak memberikan beban tugas pada mereka. kegiatan belajar hanya dilakukan saat jam pelajaran saja sebagai sarana rekreasi mengetahui bagaimana implementasi pembelajaran musik yang meliputi perencanaan, pelaksanaan dan evaluasi untuk mengembangkan mental dan psikomotorik anak penderita down syndrom di balai besar rehabilitasi sosial bina grahita kartini temanggung dan untuk mengetahui faktor-faktor pendukung dan penghambat apa saja ayang ada dalam rangka mengembangkan mental dan psikomotorik anak penderita down syndrom. metode penelitian menggunakan pendekatan kualitatif karena peneliti ingin mendeskripsikan tentang implementasi pembelajaran musik untuk mengembangkan mental dan psikomotorik anak penderita down syndrom di balai besar rehabilitasi sosial bina grahita “kartini” temanggung yang dalam proses pembelajaran musik bisa membuat anak menjadi lebih santai, dan juga lebih rileks sehingga tujuan dari proses pembelajaran yaitu mengembangkan mental dan psikomotorik anak down syndrom dapat dicapai. selain itu juga menjelaskan proses pembelajaran musik di balai besar rehabilitasi sosial bina grahita kartini temanggung. proses analisis data dalam penelitian ini dimulai dengan mengumpulkan data yang telah diperoleh. data yang telah terkumpul selanjutnya diproses sebelum siap digunakan, tetapi analisisnya tetap menggunakan kata-kata yang disusun ke dalam teks yang diperluas. dengan merujuk milles & huberman analisis data dilakukan melalui tiga tahap, yaitu reduksi data, penyajian data, menarik kesimpulan. peneliti melihat bagaimana proses belajar berlangsung, anak diberikan materi berupa memainkan alat musik ritmik seperti kendang, drum, tamborin kemudian guru memainkan musik dangdut dengan menggunakan keyboard. peneliti mengikuti terus perkembangan anak dari hari ke hari, minggu ke minggu, dan bulan ke bulan agar peneliti dapat mengetahui seberapa jauh mental anak dapat berkembang dengan diberikan pembelajaran musik. harmonia, volume 12, no. 2 / desember 2012130 dan penyaluran bakat minat mereka. kemampuan anak dalam bernyanyi adalah bakat alami dari mereka sendiri, guru hanya menjadi wadah bagi mereka yang memiliki bakat di bidang musik. mereka melakukannya karena mereka senang dan berdasarkan keterangan dari guru selama di asrama mereka juga sering mendengarkan musik dangdut terutama dangdut koplo, entah berasal dari ponsel mereka maupun mereka membeli kaset sendiri,tapi sebagian besar kaset dan lagu-lagu yang mereka punya adalah lagu dangdut, sehingga setiap kali pertemuan anak sudah menguasai lagu dangdut yang baru dan sudah mampu untuk menyanyikannya didepan kelas. hasil dari kegiatan belajar musik untuk anak down syndrom di balai besar rehabilitasi sosial bina grahita kartini temanggung adalah mental anak down syndrom menjadi lebih terasah anak yang semula pemalu menjadi berani tampil, anak yang semula pasif menjadi aktif , dari kegiatan pembelajaran musik anak menjadi bisa bersosialisasi dengan lingkungan sekitarnya. kemudian psikomotorik anak juga semakin berkembang dari hari ke hari, anak menjadi mampu menggerakan seluruh anggota badan dari memainkan alat musik dan dengan menari dan juga anak mampu melafdzkan kata dengan baik dari menyanyikan lagu-lagu yang mereka sukai sehingga teknik pengucapan berangsur lebih jelas. faktor pendukung dari kegiatan pembelajaran musik adalah tersedinya peralatan musik yang lengkap serta ruangan yang nyaman. faktor penghambatnya adalah konsentrasi anak yang terganggu sejak anak mulai mengenal handphone sehingga saat jam pelajaran anak lebih sering memainkan handphone. simpulan dan saran simpulan hasil yang diperoleh yaitu pembelajaran musik yang ada di balai besar rehabilitasi sosial bina grahita kartini temanggung selain bertujuan untuk pengembangan mental dan psikomotorik anak penderita down syndrom pembelajarn musik juga bertujuan untuk mewadahi bakat dan minat anak serta sarana rekreasi anak dalam bermusik . tahap awal pembelajaran musik yaitu guru mempersiapkan materi berupa lagu-lagu dangdut, lagu anak-anak, dan cara memainkan alat-alat musik ritmis. biasanya materi yang diberikan pada anak hanya sebatas pengulangan materi yang sudah diberikan pada minggu-minggu sebelumnya karena faktor keterbatasan anak dalam mengingat dan menerima materi. guru lebih sering memberikan materi menggunakan lagu dangdut karena dengan cara memainkan lagu dangdut manfaat dari pembelajaran musik bisa dirasakan. minat anak dalam mengikuti pelajaran seni musik berbedabeda bagi anak debil mereka akan bisa bisa mengikuti pelajaran dan bisa lebih diatur daripada anak embisil atau down syndrom, mereka akan bertingkah semaunya sendiri apabila mereka tidak menyukai lagunya mereka akan jalan-jalan sendiri di kelas atau memainkan alat musik yang ada disekitarnya sehingga menganggu jalannya pelajaran. namun ketika mereka menyukai musik atau lagu yang diajarkan mereka akan dengan antusias mengikuti pelajaran dengan baik terkadang mereka pun ambil andil seperti,mereka akan meminta sendiri untuk menyanyi atau mengambil kendang dan memainkannya. guru memberikan penilaian kepada anak dengan menyuruh anak tampil didepan kelas. anak disuruh untuk menyanyi lagu yang mereka sukai atau lagu yang pada minggu lalu telah dipelajari kemudian memainkan alat musik sesuai dengan irama lagu atau perintah guru. penilaian ini dilakukan setiap satu bulan sekali dan satu semester sekali. penilaian tersebut dilakukan untuk melihat seberapa jauh perkembangan mental anak selama mereka mengikuti pelajaran musik. faktor pendukung pembelajaran musik ini adalah tersedianya peralatan yang lengkap dan ruangan musik yang nyaman kemudian faktor penghambatnya adalah anak konsentrasi dan fokus belajar anak terganggu dengan adanya hand phomayliza defly ardina, implementasi pembelajaran musik untuk mengembangkan mental ...131 ne. saran berdasarkan hasil penelitian disarankan agar kepala balai besar rehabilitasi sosial bina grahita kartini temanggung untuk lebih memperhatikan pembelajaran musik bagi anak dengan cara membatasi jumlah anak dengan cara membagi waktu kegiatan belajar anak dalam jumlah kuota sedikit agar mereka dapat mendalami pelajaran musik dengan baik dan bisa berprestasi di bidang musik bagi guru diharapkan dapat lebih kreatif dalam menyampaikan materi kepada anak, dan juga belajar lebih banyak lagi mengenai anak-anak down syndrom sehingga dapat memberikan asupan materi dengan lebih baik lagi dengan mendalami karakter anak down syndrom dan juga mengikuti keinginan anak agar anak bisa lebih nyaman lagi. daftar pustaka ahmadi, munawar sholeh. 1991. psikologi pengembangan cet. i; jakarta: rineka cipta ali, muhammad. 1985. penelitian pendidikan prosedur dan strategi: angkasa arikunto, suharismi. 1992. prosedur penelitian: suatu pendekatan praktik. jakarta: bina aksara b. miles mattew dan a. michael huberman. 1992. jakarta:universitas indonesia forum psikologi ugm, campbel, 1997, terapi musik, http://forum.psikologi.ugm. ac.id/psikologi-klinis/terapi-musik) diakses 11 maret 2011 ifdlali. 2010. pendidikan inklusi terhadap anak berkebutuhan khusus (http:// smanj.sch.id/index.php), diakses 5 januari 2011 laduni. 2011. pengetahuan down sindrom (http://the-ladunni.blogspot.com), diakses 12 desember 2011 moleong, lexy. 2000. metodologi penelitian kualitatif. bandung: pt. remaja rosdakarya mudjiono. 1994. belajar dan pembelajaran, proyek pembinaan peningkatan mutu tenaga kependidikan .jakarta. depdikbud muhiddin syah. 1995. psikologi pendidikan suatu pendekatan baru cet. i; bandung: remaja rosdakarya tim mkdk ikip. 1996. psikologi belajar, semarang:ikip semarang press 47 organizing bandung isola performing arts festival (bipaf) as a market of innovative performing arts in indonesia yudi sukmayadi1, juju masunah2 1department of music education, universitas pendidikan indonesia 2department of dance education, universitas pendidikan indonesia submitted: may 8, 2020. revised: june 9, 2020. accepted: july 4, 2020 abstract the purpose of this article is to discuss a festival model which promotes innovative performing arts in indonesia. this qualitative approach used a project-based research method. the procedure of this research began with diagnosing the problems, making plan to conduct the festival in bandung, conducting the festival, and evaluation. data were collected by participation observation, interview, study of documentation, focused group discussion, and personal reflection. the findings of this research showed that bandung isola performing arts festival (bipaf) is a festival model as a form of market for innovative performing arts. the activities of bipaf began with selecting/curating the performing artworks, holding art incubation, making promotion, show casing and pitching, as well as discussion and evaluation. bipaf organizer designed a meeting within choreographers/producers and festival directors, curators and promotors of performing arts in villa isola outdoor stage in universiatas pendididkan indonesia. this meeting was followed up by performing some pieces from bipaf in the stage of sipa and imf surakarta, and korean festival in south korea. this festival contains a strategy value to develop creative industry sub sector of performing arts in indonesia. keywords: bipaf; creative industry; model festival; performing arts market; villa isola how to cite: sukmayadi, y. & masunah, j. (2020). organizing bandung isola performing arts festival (bipaf) as a market of innovative performing arts in indonesia. harmonia: journal of arts research and education, 20(1), 47-57. harmonia: journal of arts research and education 20 (1) (2020), 47-57 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i1.24380 ritual practices or rituals. referring to the opinion of murgianto (2016), he identified ten activities that build festivals as ritual behaviour or rites, they are rites of valorization, rites of purification, rites of passage, rites of reversal, rites of conspicuous display, rites of conspicuous consumption, rituals dramas, rites of exchange, rites of competition, rites of devalorization. this ritual behaviour is characterized by the characteristics of the show and its purpose. indonesia has many festivals, organized by the community of village, district, province, and the central government. introduction in every country, there are many festivals with various forms and purposes. getz (2010) states that a festival is a cultural event that has a function, meaning, and impact on society. murgianto (2016) defines the festival as a celebration in certain religious or non-religious, an annual celebration to honour someone or offer it to someone, a cultural event, a market, and cheerfulness, joy, happiness, and excitement. this understanding is more social and cultural which, if repeated, can build corresponding author: e-mail: yudi.sukmayadi@upi.edu p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (1) (2020): 47-5748 major festivals in indonesia include the indonesian art summit (asi), indonesian dance festival (idf), solo international performing arts (sipa), indonesia mask festival (imf), jogja international performing arts (jipa), salihara festival, indonesia performing arts market (ipam), and others. the festival repeats itself as an annual, biennial, and even triennial festival aimed at international appreciation and collaboration. based on the analysis of researchers, ipam is a festival that has a direct relationship with the context of the creative economy (masunah, 2017). in this creative economy era, mari elka pangestu (2015) expects creative actors [including performing arts] to gain added value socially, culturally, and economically. the direction of ipam activity is the promotion of the work and its creators so that it can be appreciated by the wider community, including foreign people. ipam was held by the central government, the location of the event was in solo, bali, and in 2013 in jakarta. at present, ipam is no longer implemented, even though such a festival model is very important for the development of the creative industries in the performing arts sub-sector in indonesia. in contrast to south korea, which held the performing arts market in seoul (pams) since 2005 and consistently held every year until now. the form of festival at the pams event was followed by many countries. researchers analyzed the target of ipam 2013 and pams 2015, it turns out that both of them have the same target activity namely the festival in the country and overseas tours (masunah, 2017). if referring to the categorization proposed by murgianto above, the ipam and pams are classified as a rite of exchange because the festival has the aim of “selling” creative works of performing arts to prospective buyers, namely festival directors and presenter venues, curators, and promoters from various countries. this concept was adopted by the organizers of the bandung isola performing arts festival (bipaf) at universitas pendidikan indonesia. bipaf refers to the concept of the creative economy because the performing arts presented are not only seen as cultural activities but also have economic goals. the city of bandung has many festivals and creators of performing arts but does not yet have a festival model that allows artists or producers to promote their work to prospective buyers. performing art creators from bandung have not been able to play a role in the performance of the performing arts market in indonesia or abroad (masunah & milyartini, 2016). therefore, researchers conducted projectbased research in the form of festivals that aim to realize rites of exchange or the art market that promotes innovative works of performing arts artists of bandung, west java, indonesia. this research is important to be done to strengthen the performing arts as one of the creative industry subsector in indonesia. the purpose of this article is to discuss the organization of bipaf as a model festival in bandung that acts as an innovative performing arts market in indonesia. bipaf has been held since 2016, but in this article, the study is more focused on organizing bipaf 2017 to 2019, because in that year bipaf was held internationally by three parties namely: upi lecturer team; centre for research and development of the creative economy, entrepreneurship, and tourism industry (ekkip centre) centre for research and community service (lppm) upi, and bipaf community. hopefully this study will be useful for performing arts artists who will present their work in the upcoming bipaf, for stakeholders who will select innovative performing arts from indonesia, and for bipaf organizers. method this research was conducted in the city of bandung. the location of the research setting as well as the stage for the show is villa isola parrk, universitas pendidikan indonesia on setiabudi street 229 bandung, west java. yudi sukmayadi, juju masunah, organizing bandung isola performing arts festival (bi49 the participants of this research are creative performers in bipaf, performing arts stakeholders/buyers, namely festival directors and festival curators who are invited by the bipaf committee, bipaf community, and the researchers themselves. creative actors are choreographers or performers of performance art performed at bipaf, especially from 2017 to 2019. performing arts observers or buyers include the director of the solo international performing arts (sipa) and the director of the indonesia international mask festival (iimf), one of the directors of the indonesia dance festival (idf), the director of “seni sini sana”, and the director of the international jogja performing arts (jipa). this study uses a qualitative paradigm, with the project-based research method (stoecker, 2005). the main characteristic of this research is applied research. the researchers apply the concepts and ideas of the festival as a performing arts market in the city of bandung. the researchers began the activity by diagnosing the potential and problems of promoting performing arts for artists in the city of bandung, in particular. then the researchers designed a festival model that used the villa isola site specific stage as the stage background, then the researchers organized the festival, and finally conducted an evaluation. data collection techniques are carried out through literature study, participatory observation, interviews, documentation study, and reflections. a literature study was conducted to obtain a framework for thinking about the festival model. the results of previous research done were used as a reference in building a framework for thinking about the festival model. observations were made at the time of the show and the experience of researchers as organizers, conducting studies of video and photo documentation. various meetings were held in preparation for holding bipaf together with the committee and organizer. data analysis is carried out inductively, which is to build patterns, categories, and themes based on the data and facts found; then do the interpretation. results and discussion bipaf as a performing arts market bipaf uses two place names, i.e. bandung and isola, while the festival content is performing arts. so, this festival is called bandung isola performing arts festival (bipaf). on the other hand, through two place names, bipaf organizers want to build an image of the city and at the same time the location of the campus where the performance is held as an identity. bipaf organizing group called bipaf community. however, bipaf community also involves presenters and observers of the work at the festival. this is in line with the thinking of levi (2003). levi (2003) suggests a festival model whose ideas are related to celebration, identity, community. at the festival, there is celebration, but it contains efforts to build community and networking, interact with one another, exchange experiences, and learn from one another. in the levi concept, identity as the individual identity of the artist who also offers his work, and networking. levi exemplified several festivals in los angeles, the united states that have social and cultural functions. getz (2010) categorizes festivals into three points of discussion, namely festivals that have a function, meaning, and impact socially and culturally tourist festivals and management festivals. tourist festivals and management festivals are new discussions compared to festival studies that have a function, meaning, and impact on society. furthermore, getz (2010) examines the festival based on the themes, experiences, and meanings that appear in the festival. one of the themes that are closely related to bipaf is community, culture, place identity, and attachment. in this category, getz (2010) says that festivals are related to culture and place, giving each other’s identity, and helping to cement people in their community. the concept of levi (2003) is in line with getz’s (2010) views on the categories of community, culture, place identity, and attachment festival themes. to build a performing arts community in harmonia: journal of arts research and education 20 (1) (2020): 47-5750 addition to presenting works, places, there are also “art participants” (ardipal, 2015). in the context of bipaf, the art community is built by all art participants who are involved while supporting bipaf, including creators, performers, committees, creative workers, spectators, and observers or buyers. if associated with tourist festivals, cultural venues and events are tools to attract people to visit. this is in line with avraham (2014) view of “hosting events as a tool for restoring destination image”. avraham (2014) argues that one of the strategies to build an image of a tourist destination or the marketing of tourist attractions is to create an event. seven events are analyzed that can be a place promotion tool, namely “(1) mega sports events; (2) sports events; (3) cultural events; (4) events that the brand contradicts to the stereotype; (5) events with opinion leaders and celebrities; (6) conferences and conventions; (7) events that convert negative characteristics into positive ”. these activities are quite successfully used to build the image of a place from negative to a positive image. also, davis (2016) says that the environment can be an incentive to create festivals and make the identity of a place. when referring to the view of avraham (2014) about organizing events, cultural events such as this festival are instruments for building destination images. examples of the most successful festivals in building image venues, building a performing arts community, and other performing arts and cultural events are the edinburgh fringe festival, uk. the location of edinburgh is the old city with its magnificent heritage. the festival is visited by more than 500,000 people a month. the performance art that was staged at the festival was the most curated performance art from around the world. most of the spectators who attended were festival organizers and presenter venues who would buy the performing arts. performing arts performing at the festival can increase the purchase of performance art, and the city is a tourist destination for performing arts in the uk. the show was held in several venues and paid (tickets) for a full month in august. the festival here has an economic impact on artists and society, and the government. another festival that is no less great is the adelaide fringe festival. caust and glow (2011) argue that the adelaide annual festival has a more cultural function, although, in the context of the creative industry, an entrepreneurial spirit is developed that leads to the economy. bipaf’s long-term goal as a cultural activity or cultural event can build a new image of a tourist destination in bandung. if bipaf still adheres to the concept of the creative economy, then this festival is part of a flow forum for the creation of artworks to be distributed and received appreciation from the wider community. bipaf can also be seen as part of a performing arts ecosystem (masunah, 2019). for example, a creation that is produced cannot develop and continue without distribution to performances that are appreciated by the community. therefore, bipaf aims to facilitate the performing arts artists, creators, art presenters, and creative work teams to present their work, so that collaboration and connections or networks with their stakeholders occur, both at national and international levels. bipaf as an innovative performing arts market has three parties which are a unity or community, namely the festival organizer, artists, and their works, as well as stakeholders/buyers. performing artworks are creating products that have novelty or innovation and are characteristic of the area where the work was made by the artist. the organizer of the festival is an agent whose role is to promote and distribute works of art (also called suppliers) in the showcase and pitching events and discussions in the country. stakeholders/buyers are people who have a stage/ performing arts festival that has an interest in selecting works according to the stage they have, both at home and abroad. these three parties are depicted in the form of a chart like the figure 1. yudi sukmayadi, juju masunah, organizing bandung isola performing arts festival (bi51 bandung isola performing arts’ festival (bipaf) figure 1. festival model as a performing arts market (masunah, 2019) the model festival chart above illustrates a series of bipaf activity processes involving bipaf organizers, performing arts artists, and stakeholders/buyers or buyers. the bipaf organizer as a facilitator resides in all boxes and circles and the direction of the arrow, from the threecircle container (creation/production, selection/curation, incubation/creative product) that shows bipaf preparation, then short arrows pointing towards promotional activities and distribution (supply), then the green elliptical arrow which means proceed to a large circle called the market. within this market circle, bipaf organizers present the work of artists in showcase and pitching that present observers/stakeholders including the director of sipa/imf, idf curators, jipa curators, presenter/cultural park venues, performance art promoters, and other stakeholders. the steps can be explained as follows. collecting performing arts as a result of the creation and production of performance artists from communities, groups, and universities in indonesia and abroad. selecting and curating performance artworks by referring to the criteria, namely having the novelty and characteristics of the region/country where the work originated. selected works from the results of curation are included in the incubation process. in this process, the producer/ choreographer will receive guidance from a mentor or expert, both aesthetically and artistically, especially to adjust to the bipaf stage at taman villa isola upi, the duration of the work is between 10 20 minutes, and a limited number of artists. the work that has entered the incubation process has become an innovative performing arts product that is ready to be promoted by the organizer of bipaf through posters and social media electronically. then the organizer of bipaf distributes this innovative product through a showcase or pitching. showcase and pitching are forms of marketing innovative performance art because in this activity, the organizer of bipaf presents stakeholders/buyers, namely the festival director, venue presenters, curators, and performance promoters. in this activity, the producer/choreographer communicates with stakeholders, which is expected to occur transactions for staging on their stage. in this bipaf, performance artists or choreographers present their work, both in the showcase and pitching, and actively communicate directly with their stakeholders in discussions facilitated by bipaf organizers or based on their agreement. stakeholders or buyers are involved in bipaf to observe and evaluate the work performed in the showcase or pitching, then discuss it with the presenters or performing artists. it is hoped that among them there will be a follow-up discussion and communication to stage on broader stages. in particular, the general audience was invited through promotion on garuda television & 0cannel, the web rimma. co, fpsd.upi.edu, and social media, as well as special invitations in the form of letters. bipaf observers specifically invited included: director of the indonesia dance festival (idf), from jakarta; indonesian performing arts promoters, from jakarta, director of solo international performing arts (sipa) who is also the director of the international mask festival (imf). we also invited representatives of government agencies such as the city of bandung, west java, and others, as well as the general audience and students. the general tarharmonia: journal of arts research and education 20 (1) (2020): 47-5752 get audience of 500 people. however, the number of bipaf viewers reached around 1,000 people, exceeding the target set. the presence of observers is very important in bipaf because they are expected to respond by performing artists to develop their artistic quality and market networks. observers were presented at the showcasing and pitching event and continued with the discussion. in the discussion program, there was interaction and dialogue between the organizers and observers, as well as evaluating the work and organization of bipaf. characteristics of performing arts in bipaf in bipaf 2017 to 2019, the venue will be held in a special site (site-specific) at the rear of villa isola park where the villa isola heritage building will be the setting. performing arts also focus on dance or dance theater. unlike bipaf 2016, which uses villa isola’s specific site by exploring the pool and front page of villa isola, the outer and inner courtyard of the amphitheater, and the isbi bandung auditorium, so that the types of works vary, namely music, dance, and theater. in this paper, i will focus on bipaf 2017 to 2019, because bipaf in recent years has found a form of presentation that is showcase and pitching, with dance works and/or dance theater. showcase in bipaf 2017 to 2019 the characteristics of performing arts that are staged in bipaf 2017 to 2019 through the showcase can be grouped into three types of works namely creations based on traditional indonesian traditions, a collaborative dance between indonesia and abroad (south korea), and dance and theater dances of foreign artists (korea south) based on the country’s traditions. what is meant by indonesian tradition is limited by regional characteristics where the artist originated, while collaborative dance works are dance works produced by one or two overseas choreographers or more by choreographers and/or dancers/ performers from indonesia. indonesian traditional dance-based works at bipaf 2017 and 2018 feature 8 works, namely 6 works by west java artists and 2 by artists outside west java. in 2017, the work performed was “cepot hamot hamong hamemangkat” abbreviated ch3 by citra nurateni from bandung, “nyai wiranggana” by asep kusmana from lika 04 community, subang. the 2018 bipaf was “gunem wadasan nopeng” by yoyoh siti mariah and juju masunah from bandung, “lara” by nurfitri yani padjriah (aka pier) from isbi bandung. bipaf 2019 featured “sanghyang awi” by ayo sunaryo and “agrapana ing kujang” by dhendi firmansyah from bandung, “inyiak balang” by saian badaruddin (2019) from the 21 production studio padang, and “room rock” by nanda chahya from surabaya. the collaborative dance work between south korean artists, park nahoon, and upi dance education students and lecturers, in bipaf 2017 is “touching unknown people”. in 2018, “touching unknown people” was re-worked by ayo sunaryo and produced the work “new touching unknown people”, and a new work on “contemporary korean mask” by son yea ran, south korea, with five dancers from upi dance education department students. to work on this collaborative work begins with a workshop of 30 students on choreography techniques to prepare the work “touching unknown people”, then selected 10 dancers namely 9 men and one woman for this collaborative work and worked using the hammock tool as a dance property. preparing the “contemporary korean mask” begins with the training of the basics of south korean traditional dance in extra-curricular activities at the upi dance education department, then five dancers are chosen. in 2019, bipaf performed the “scissor tail sergeant” by nahoon park with a dancer from a dance department student, ismail muladi. in preparing this work, nahoon park discussed the idea of works and dance techniques with dancers, then it was these dancers who interpreted the ideas in the form of solo dances yudi sukmayadi, juju masunah, organizing bandung isola performing arts festival (bi53 and performed at bipaf 2019. dance works from abroad, especially south korea in 2017, are park nahoon’s three airs and in bipaf 2019 featuring the work “storm”. three airs describes three strange living creatures filled with air. which sometimes shows eccentric, stupid, and strange. this work was performed by three dancers namely park sang joon, moon hyung su, and kim sang gak and supported by music operator, ji hoon yum; lighting designers are an yun mi; and stage assistant, an young-mi. this work was once staged at solo international performing arts (sipa) 2016. irawati commented on the work of three airs at bipaf 2017 with the stage whose icon is vila isola, “that’s amazing,” he said. this is different from the sipa 2016 stage with the background setting of fort vansterburg, solo. however, rama thaharani said, “the three airs dancers looked exhausted from mastering the stage, it would be better if it was shown in the studio.” the next overseas work at bipaf 2019 is “the slaughter” by heiner mueller, a german playwright, which was worked on in the form of performance art by kiryong son and storm group. storm is a south korean performing arts group and youngsan university, specializing in overseas performances by experimenting with glocal (global-local) work, global themes but local content in south korea. this work is divided into three parts, namely, the first part is presented in the form of drama depicting humanity’s loss of humanity caused by war, part ii describes the message of world peace with installation art, and the third part displays percussion music with drums that are performed while dancing attractively. pitching in bipaf 2017-2019 pitching is a form of offering work to its stakeholders through exposure. the works presented on pitching are dance works that are ready and work that is still in process, considering the stage and the number of dancers. dance works on pitching at bipaf 2017 are “belekok su” by irwan fitriayan from bina tari anak (bitaria) art show & education, west bandung; “sinom” by wildan kurnia from shocking rajah performing arts, west bandung; “kidung perkasa” by devi supriatna from isbi bandung. these three works have been staged in bipaf 2016. in terms of work, these three works are highly adapted to the site-specific stage. “belekok suit” was displayed in the pool in front of villa isola, while “sinom” was displayed in the front yard of villa isola next to the pool. “song of mightiness” was displayed outside the parking area of the upi amphitheater building. besides, “hanoman duta” by tatang taryana and iwan gunawan from upi bandung using villa isola park with quite several dancers and musicians were staged at the 63rd anniversary. bipaf 2018 presented works that were still in the process of “ronggeng pakidulan” by arbi nuralamsyah, and “lalayang salaka domas” by dody kholid and asep supriatna, while intact works were displayed “srimpi menak lare” by sri rochana widiastutieningrum from surakarta, and “pandji caroeban” by raka renaldy. in 2019, the curators chose three works to be presented in pitching but was present and presented only one of his works namely rd. siti ratu dinda from bandung titled “supata”, while others showed her unpreparedness. the works presented in this pitching are expected to receive input and evaluation, both aesthetically and artistically. however, the presenter/choreographer is not able to understand how the presentation and its importance to offer work to its stakeholders. after pitching, the discussion continues between the presenter and the stakeholders. this is where the choreographers are required to attend, both whose work is staged in the showcase session and on the pitching. discussion and evaluation the discussion program that is held after pitching is a good opportunity for producers/choreographers to communicate with stakeholders or buyers. at this event, stakeholder interests will also be harmonia: journal of arts research and education 20 (1) (2020): 47-5754 known for the work presented. discussions in bipaf 2017, director of sipa and imf, responded to the collaborative work: “it is a pleasure to collaborate, with hammock being known by young people. hammock can perform at sipa, only the proposal is that bandung dancers are reduced but korean dancers are included, so there is a competitive element, and that becomes stronger friendship, and can be offered to indonesian and foreign festivals. the theme is good, introduction to friendship. it would be wonderful if there were korean dancers.” furthermore, irawati also commented on the work of ch3, “amazingly, a female choreographer works on a male dancer, there is a funny movement but there is a serious mission behind it. if you want to be surrounded, you have to reduce the players.” ch3 portrays the figure of cepot, one of the panakawan figures in wayang (wayang golek) who represents ordinary people. he has the nature of openness (hamot), able to filter out new elements (hamong), and sterilize a value into a new value (hamemangkat). his role is as an entertainer and exciter of social criticism. this work is the result of art creation master examination at the indonesian cultural arts institute (isbi) bandung. this work is supported by 24 dancers and music players. therefore, irawati also asked the presenter to reduce the number of artists, and he also suggested that the dancers wear masks. the comments by ch3 were made by the director of seni sini sana, rama thaharani: “there are figures who voice the people and interesting ideasthe discussion program that is held after pitching is a good opportunity for producers/choreographers to communicate with stakeholders or buyers. at this event, stakeholder interests will also be known for the work presented. discussions in bipaf 2017, director of sipa and imf, responded to the collaborative work: “it is a pleasure to collaborate, with hammock being known by young people. hammock can perform at sipa, only the proposal is that bandung dancers are reduced but korean dancers are included, so there is a competitive element, and that becomes stronger friendship, and can be offered to indonesian and foreign festivals. the theme is good, introduction to friendship. it would be wonderful if there were korean dancers.” furthermore, irawati also commented on the work of ch3, “amazingly, a female choreographer works on a male dancer, there is a funny movement but there is a serious mission behind it. if you want to be surrounded, you have to reduce the players.” ch3 portrays the figure of cepot, one of the panakawan figures in wayang (wayang golek) who represents ordinary people. he has the nature of openness (hamot), able to filter out new elements (hamong), and sterilize a value into a new value (hamemangkat). his role is as an entertainer and exciter of social criticism. this work is the result of art creation master examination at the indonesian cultural arts institute (isbi) bandung. this work is supported by 24 dancers and music players. therefore, irawati also asked the presenter to reduce the number of artists, and he also suggested that the dancers wear masks. the comments by ch3 were made by the director of seni sini sana, rama thaharani: “there are figures who voice the people and interesting ideas.” the special comment from rama was about the trend of works that the festival director liked was international collaboration. international collaboration is an activity of trying to cross each other’s cultural boundaries, preservation of culture tends to defend our ideas. the big note about collaboration is about equality. rama also said that “international collaboration, one of the most effective marketing, also allows for festival interest because it represents two countries.” touching unknown people’s work contains several ideas, but there is a good movement that is the power of the push-up movement is very interesting. like kusumastuti’s comment, according to rama, the problem of each touching unknown people dancer is the body. rama said that “dancers are still not of one vision.” yudi sukmayadi, juju masunah, organizing bandung isola performing arts festival (bi55 the response of stakeholders, especially the director of the festival, idf, sipa, and imf said that the work performed at bipaf could continue to another stage with audiences from different contexts. the director of idf who attended bipaf 2017 was very interested in performing “three airs” but had to go through a curatorial process first. sipa and imf directors are interested in “touching unknown people”, “sinom barataning rasa”, and “ch3”. in 2018, jipa’s curator was impressed with the work of “lara”, but the duration of the time was too long, and the number of music players was considered by jipa. the director of sipa is also interested in the work of “lara” because the dancers have mature skills. for imf, irawati requested the work “gunem wadasan nopeng” to be staged in solo. meanwhile, in 2019 the idf curator commented on “scissor tail sergreant” that “the dancer’s body was good, the only exploration of his work was still too limited.” the sipa and imf directors were impressed with the variety of works from three cities in indonesia, and two foreign works. bipaf achievements as a market of performing arts bipaf as a performing arts market has a target, namely the implementation of festivals in the country and tours in and outside the country (masunah, 2017). bipaf has been successfully held continuously in bandung from 2016 to 2019. the works are dominated by bandung choreographers and surrounding areas rather than works outside of bandung. this is intended to further maximize the promotion of bandung’s choreographed works. however, bipaf as an international festival in 2019, bipaf’s works have expanded to include works outside of bandung and abroad. however, the promotion priority is still in the scope of bandung and its surroundings. one indicator of bipaf achievements is that the works presented in the showcase and pitching can be invited by stakeholders/buyers to perform on their stage. stakeholders who have come to the bipaf event are the representative and curator of the indonesian dance festival (idf), sipa and imf director, the director of seni, sini, sana, jipa curator from jogjakarta, and imaco from andong, south korea. in a discussion held by bipaf 2017, rama thaharani said that: usually, festival directors look for works following their artistic framework and themes, the relevance of work for the festival itself, with the context of the audience, so it is not simple form where the works are staged. the director of the festival will look directly at the show, to choose the appropriate work. so, any work has its market, however, the festival can publish the work specifically. usually, works that have local stories and symbols are very local, rather difficult to be taken out of the context of the area that has a story. it would be nice if the organizer raised themes that were known to many people such as ramayana for the work of hanoman duta. performing artworks that were staged at bipaf 2017 and 2018 have succeeded in building networks with the directors of sipa and imf. collaborative dance work by park nahoon (south korea) and ayo sunaryo (indonesia) entitled “touching unknown people” and “ch3” traditionbased creations by citra nurateni that were staged at bipaf 2017 have been invited and performed on the sipa stage on 7-8 september 2018 in surakarta. cirebon mask-based traditional dance work entitled “gunem wadasan topen” by yoyoh siti mariyah and juju masunah performed at bipaf 2018 was invited to perform on the imf stage on 26-27 october 2018 in surakarta. the work “lara” was staged at bipaf 2018 invited by the director of sipa in 2019 with all the dancers and musicians. two students from department of dance education, mario patogian and ismail muladi, who supported collaborative work in 2018 were asked by nahon park to become a duet dancer at the korean festival, in seoul. the works presented at bipaf 2019 and observed by idf curators and the director of sipa/imf hopefully present the harmonia: journal of arts research and education 20 (1) (2020): 47-5756 works of bipaf 2019 at the festival they will be held in 2020. another achievement is the formation of bipaf community in 2018 as the main organizer of bipaf 2019. bipaf community is an organization/community consisting of students, alumni, and upi lecturers who organize bipaf. bipaf community was originally a temporary committee of bipaf organizer. in terms of building community, ardipal (2015) discusses the role of art participants. art participants are people, who are involved in art activities, they are art figures, artists, musicians, including music listeners. ardipal argued that these people support the arts. by quoting from the national endowment for the art (nea), ardipal (2015) described an art infrastructure building whose foundation consists of: art scene, art organization, art school, voluntary financial support, unity, and association network, and public policy. this art infrastructure is a group of people as a community somewhere. in the context of bipaf, the art community is built by all art participants who are involved while supporting bipaf, including creators, performers, committees, creative workers, spectators, and observers, or stakeholders, or buyers. conclusions bandung isola performing arts festival (bipaf) is a festival model that uses the concept of the performing arts market or rites of exchange. this model is one of the strategies in developing the creative economy of the performing arts subsector. three parties are supporting the festival, namely organizers as suppliers, performing artists who work on innovative works, and stakeholders or buyers. the steps of bipaf activities start from the selection/curation of works, incubation, promotion and distribution, presentation (showcasing and pitching), discussion, and evaluation. the form of performance art that is presented in bipaf is dance or innovative dance theatre that is staged on a special stage open at villa isola park, upi. the characteristics of the performing arts in bipaf are the works of indonesian artists who have novelty but have regional characteristics, works of art produced by international collaborations, and works of foreign artists that have one of the characteristics of the country’s performing arts. judging from the variety of works that were staged at bipaf 2017 to 2019, bipaf is included at the international level. stakeholders/buyers present at bipaf are the director of sipa/imf, idf and jipa curators from jogjakarta, and the general secretary of imaco from south korea. the works and artists who successfully performed outside bandung include sipa and imf in surakarta, and the korean festival, south korea. the holding of bipaf 2019 as an international festival can be carried out because of the cooperation of various parties, especially bipaf community. references ardipal. (2015). peran partisipan sebagai bagian dari infrastruktur seni di sumatera barat: perkembangan seni musik talempong kreasi. jurnal resital seni pertunjukan, 16(1), 15–24. auspos, p., & fulbright-anderson, k. (2006). community change: theories, practice, and evidence. maryland: aspen institute. avraham, e. (2014). hosting events as a tool for restoring destination image. international journal of event management research, 8(1), 61–76. davis, a. (2016). experiential places or places of experience? place identity and place attachment as mechanisms for creating festival environment. journal tourism management, 55(1), 49–61. getz, d. (2010). the nature and scope festival studies. international journal of event management research, 5(1), 1–47. caust, j., & glow, h. 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(2016, august). building entrepreneurship in performing arts industry through the incubation model. in 2016 global conference on business, management and entrepreneurship. atlantis press. murgianto, s. (2016). kritik pertunjukan dan pengalaman keindahan. jakarta: pascasarjana ikj. pangestu, m. e. (2015). globalisasi, kekuatan ekonomi baru dan pembangunan berkelanjutan: implikasi terhadap indonesia. depok: fakultas ekonomi dan bisnis universitas indonesia. retas. vol. 3 september 2017. jakarta: badan ekonomi kreatif. stoecker, r. (2015). research methods for community change. california: sage publication. 84 professional competence of teachers in learning music at elementary schools in pontianak imam ghozali program study of performing arts education, department of language and art, faculty of teacher training and education, universitas tanjungpura, indonesia submitted: may 14, 2020. revised: june 9, 2020. accepted: july 4, 2020 abstract learning the art of music that has characteristics, special characters, and is carried out within an integrative thematic frame in elementary schools, needs to be supported by the professional competence of classroom teachers. the purpose of this study was to determine the professional competence of classroom teachers in learning music in elementary schools. this paper is the result of interpretive descriptive research with the main data source of classroom teachers, while the source of supporting data are students and principals. data collection techniques are done by tests, observations, and interviews. the data collection process is carried out starting before the learning stage until the learning evaluation process. based on the results of the study showed that: (1) the average mastery of classroom teachers to the knowledge of music theory needed in learning has only reached 45%; (2) the average teacher mastery of musical basic competencies has only reached 42.5%; and (3) the average teacher mastery of musical instrument playing skills competencies needed in learning has only reached 33.75%. the results of tests conducted on the teachers turned out to be relevant to the data obtained during the implementation of learning. it was proven that learning material in the form of musical knowledge such as music symbols, time bars, and various tempos is only taught by one class teacher. the practice of singing traditional songs is not supported by the teacher’s ability to give examples of reading song notation in accordance with the demands of the teacher’s handbook. practical learning material for playing musical instruments is also only implemented by one classroom teacher. the implementation of music art learning in which most of the time allocation is filled with singing songs that are mastered (memorized) by the teacher. this shows that the classroom teacher in the implementation of music art learning has not been supported by adequate professional competence. keywords: art and culture; learning of music; professional competence how to cite: ghozali, i. (2020). professional competence of teachers in learning music at elementary schools in pontianak. harmonia: journal of arts research and education, 20(1), 84-94. harmonia: journal of arts research and education 20 (1) (2020), 84-94 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i1.24932 tegrated into various themes, the content of music learning in elementary school contains material on bar, rhythm, tone, tempo, dynamics, and sound color. in its implementation it can be developed by the classroom teacher in accordance with the existing grade levels. the learning process as expected in introduction music education in elementary school (sd) curriculum documents is one part of the four material fields of art material namely, visual, music, dance, and theater, which are thematically accommodated. seen from the learning material incorresponding author: e-mail: imam.ghozali@fkip.untan.ac.id p-issn 2541-1683|e-issn 2541-2426 imam ghozali, professional competence of teachers in learning music at elementary ... 85 government regulation number 19 of 2005 which was amended by government regulation number 32 of 2013, and amended again through government regulation number 13 of 2015, stipulates that the education process should be carried out according to certain standards. these standards include content standards, process standards, education standards, facilities and infrastructure standards, management standards, financing standards, and assessment standards. therefore, the fulfillment of all these standards in the implementation of learning becomes important in order to guarantee the achievement of the expected goals. the 2015-2019 strategic plan targets two milestones, they are: (1) realizing broad, equitable, and equitable access, and (2) realizing quality learning. in order to achieve these targets, the implementation of learning at the elementary level in pontianak is still experiencing problems. the two main obstacle are the condition of facilities/infrastructure and human resources. the obstacle related to infrastructure are the availability of classrooms. the number of elementary school classrooms is less comparable to the existing study groups (rombel). if one study group must use one classroom then there is still a shortage of classrooms at the elementary school level of 657 spaces. this condition is different from the levels of junior and senior high schools, each of which has an excess of classrooms. the shortage of classrooms needed by study groups in elementary schools is compounded by the lack of other facilities such as the uks room, library room, computer room, and other supporting rooms (central statistics agency of pontianak, 2017). the obstacle related to human resources is the feasibility of teaching. the level of eligibility of teachers teaching for elementary school levels in pontianak and surrounding areas is classified as the lowest when compared with the level above it, both junior high and high school. teachers who are not eligible to teach at the elementary school level are 1,472 people or 52.18%, so there are still more teachers who are not eligible to teach compared to teachers who are worth teaching. benchmarks for the eligibility of teachers teaching refer to law number 14, 2005 concerning teachers and lecturers (law no.14 / 2005). teachers who are deemed worthy of teaching at the elementary, junior high and high school levels are those who have a bachelor’s degree or diploma iv or higher. the high number of unworthiness is due to a change in policy regarding teacher qualifications at the elementary school level, from before it was a diploma ii diploma, to a bachelor’s degree qualification. teachers as professionals in the field of education must have an understanding of things that are philosophical, conceptual, to the technical nature. understanding and mastery of teachers in the technical field is closely related to the implementation and management of interactions in learning. in understanding and mastery in the technical field implies that a teacher must have the basic ability to make the design of learning, as well as having the ability to communicate it to students. these basic abilities are competencies that must be possessed by a teacher. sardiman (2007) specifies that there are ten competencies that must be possessed by a teacher, they are : (1) mastering the material; (2) managing teaching and learning programs; (3) managing classes; (4) using media / learning resources; (5) mastering the foundations of education; (6) managing teaching and learning interactions; (7) assessing student achievement for teaching purposes; (8) know the functions and programs of guidance and counseling in schools; (9) know and organize school administration; and (10) understanding the principles and interpreting the results of educational research for the benefit of teaching. the ten competencies mentioned above can be grouped as professional and pedagogical competencies. professional competence includes mastery of materials and mastery of media / learning resources. mastery of materials means that teachers master aspects of learning material as harmonia: journal of arts research and education 20 (1) (2020): 84-9486 material to be taught. while mastery of media / learning resources is another aspect of teacher professional competence, which allows teachers to use everything, to be used as media or learning resources. eight other aspects can be grouped in pedagogical competencies, which include everything related to the learning process and the accompanying science. in this definition, evaluation is not discussed, which it is actually an inseparable part of the learning process. the principles of teacher professional competence are demonstrated by his ability in mastering the material, and developing a wide and in-depth coverage of the material. in addition it is also added with its ability to understand and describe the substance of the material contained in the curriculum. related to this, kosasih (2008) in his thesis explained that, professional competence can be described as: (1) ability to master materials and technical skills (need education and training); (2) knowledge, skills, and basic values that are reflected in the habits of thinking, feeling, and acting; (3) the abilities and characteristics possessed by an employee in the form of knowledge, expertise, and behavioral attitudes required in carrying out the duties of his position; (4) have knowledge about learning and human behavior; and (5) having knowledge and mastering the field of study they foster. teachers need professional competencies. by teachers’ professional competencies, learning will lead to the goals of education that should be achieved. because with these competencies the teacher will be able to sort out, choose, and make the right decisions in the design and implementation of learning. this is as stated by ibrahim (1988), that the ability of teachers as professionals is the key to success in the management of learning activities. direct interaction between the teacher and his students makes the teacher a figure who will always be seen as an example in various ways. therefore, in addition to mastery of methods and approaches in learning, mastery of the material is also something that teachers must have. with these abilities, the teacher will be more confident, thus enabling learning to be more developed. a teacher who carries out music art learning, in particular is also required to have professional competence in the mastery of music teaching materials / fields. without this, music learning will only enter the cognitive realm. even if practical learning takes place without knowing the direction and objectives to be achieved according to curriculum requirements, government regulation no. 19 of 2005 provides the professional competency guidelines for integrated art teachers across the curriculum as can be seen in the table 1. learning that is carried out in elementary schools currently uses an integrative thematic approach, which is a learning approach that integrates various competencies from various subjects into a variety of basic themes. thematic learning has the following characteristics: (1) student centered, (2) provides direct experience, 3) the separation of subjects is not very clear, 4) presents concepts from various subjects 5) is flexible, 6) learning outcomes are in accordance with interests and student needs, 7) use the principles of learning while playing and having fun. (rusman, 2013). learning the art of music is one of the teaching materials in elementary schools that are included in thematic learning. learning the art of music has a correlation with other subjects, as a transfer of learning and transfer of value from other disciplines. learning art in general aims to develop the ability to think, behave, and value education for himself as an individual, as well as social and cultural beings. according to a teacher, researcher, and editor from the united states who is active in learning art (music), there are 8 basic principles that must be considered in learning art, especially music. the principles consist of:1) audiation, 2) music aptitud 3) methodology, 4) learning squence activities, 5) classroom activities, 6) early childhood, 7) specific application to music instruction, imam ghozali, professional competence of teachers in learning music at elementary ... 87 dan 8) types and stages of audiation (gordon, 1985). these principles are still relevant enough to be implemented in music learning in the current curriculum. learning art at the elementary school level emphasizes aspects of appreciation, expression, and creation, which in the realm of education can be broken down into cognitive, affective and psychomotor. these three domains work simultaneously and cannot be separated from one another. physical activity and the taste of beauty are contained in the activities of appreciation, exploration, experimentation, and creation through visual language, sound, motion and roles. each activity includes fostering and providing facilities to express art ideas, work skills and appreciation in the socio-cultural context of the community. related to the function of art, learning music in elementary school has functions directly or indirectly. these functions are related to one another and complement and strengthen each other, according to the characteristics of age at the elementary school level. directly, music functions as a medium of expression, communication, playing, and talent development for students. indirectly, it serves as a medium of education and media for the development of basic abilities of students, which include: emotions, imitation, social, copyright, aesthetics, and so on. thus, indirectly music with its flexibility has a very important role as a medium for delivering subjects in other fields, as well as a medium for personality development. this needs to be emphasized, given the learning of art in elementary schools that have a strategic function. the function of art including music can be described as figure 1. music learning as a medium of expression, is an art field that is quite flexible because it does not have to require time, place, or special equipment. sound as a music medium can be listened to and produced anytime and anywhere, with other people or only alone, known to others or without others knowing. children can express themselves through singing, with or without accompaniment of musical instruments, overt or covert, all these activities table 1. competencies of elementary school art teachers main competency learning experience material scope assesment 1. mastering art learning material widely and deeply for integrated and cross-curriculum art education. knowing the importance of the function of art as an integrative factor in the implementation of integrated art education across the curriculum. the function of art in education simulation, observation portfolio 2. mastering the scientific substance of art in relation to other fields of study. implementing the scientific substance of art in relation to other fields of study in carrying out learning the nature of art as a form of aesthetic communication genre and art function simulation, observation portfolio 3. insight into integrated education based on relevant local arts, skills and culture. implementing integrated educational insights based on arts, skills and local culture that are relevant in implementing learning. the nature of integrated education; local arts, skills & culture as an integrated education base simulation, observation portfolio 4. able to improve the ability to express and appreciate art. implementing the ability to express and creatively appreciate art in learning. creative personality; the basics of art expressions; the basics of art appreciation observation. assignment harmonia: journal of arts research and education 20 (1) (2020): 84-9488 can be done. figure 1. the functions of art at elementary school learning music as a medium of communication, because the practice requires more than one subject, namely as a creator and appreciator. for elementary school children, the function of music as a medium of communication is still very limited. most are still recipients of messages, but within a limited scope elementary school children have also been able to make music as a medium of communication. learning music as a medium of play, because music provides a stimulus to move. basically, playing in children is a movement activity to get pleasure that is not forced. in a variety of games, the song is often the main thing that is used as a companion and media driving the game. music learning as talent development, because talent is a potential ability that is not obtained through learning and or training. however, it is necessary to get a media and opportunity to be appreciated by others. through vocal and instrument music training, musical talents or talents can be developed and get the opportunity to explore and express optimally through sound media. learning art at the elementary level includes nine important characters (syukur, 2008). for this reason teachers need to be equipped and equip themselves with competencies related to the area of expertise, namely professional competence. with professional competence, teachers will be able to verify and to choose the music material that are suitable with the character of elementary school students. beside that, music learning shoulde arranged in accordance with children’s necessity and development. music can also be able to give supportance to children’s creativity. the characteristic of music used in learning of elementary school student should consider these criteria: (1) melodic and rhythmic patterns that are short and easy to remember, (2) incorporate musical elements such as tempo, dynamics, sound, and musical expression that can be processed and expressed. this is important to provide opportunities for children to gain musical experience, (3) use song poetry that suits the childhood with positive messages, (4) promote local wisdom, and (5) stimulate movement through rhythmic activity of children (soeteja dkk, 2008: 43). the learning process through the integrative thematic model in elementary school in the 2013 curriculum for all levels is carried out using a scientific approach. the steps of the scientific approach in the learning process include: digging information through observation, asking questions, experimenting, then processing data or information, presenting data or information, followed by analyzing, reasoning, then concluding, and creating. for learning the art of music, not all of them can be used by the scientific approach. therefore teachers are required to be able to develop in learning, so it is not fixated on just one approach. various studies in music learning show a close relationship between teacher competence and the implementation of learning. the results of the study (utomo, 2013) show that the competencies needed by a music education teacher in the context imam ghozali, professional competence of teachers in learning music at elementary ... 89 of implementing action-based learning include: (1) mastery of musical concepts and symbols obtained through various musical experiences (singing, playing musical instruments, creating music, etc.); (2) art music learning strategies that include methods, learning activities, and supporting media; (3) the ability to play an instrument; and 4) the ability to create model songs that are needed in music art learning. related to teacher competency, music art learning which is carried out by class teachers in primary schools, is faced with constraints in the form of curriculum coverage, school policies, media, learning resources, and availability of facilities. this has an impact on teachers who feel they do not have sufficient ability to teach art materials, more specifically the art of music. in general, they feel they are not talented, and assume that teachers who teach music education should not be class teachers, but teachers of music subjects. in another study, utomo (2010) revealed various obstacles experienced by classroom teachers in learning music arts including (1) the limited ability of teachers to translate the contents of the music arts curriculum, (2) the limited ability of teachers to optimize the potential of children’s music art (children become creative and active) (3) the limitations of the teacher in applying the methods used in learning the art of music, (4) the limitations of the teacher in utilizing music learning tools and media (5) the limitations of the teacher in utilizing the potential of the surrounding cultural and natural environment in music learning, and (6) the teacher’s limitations in developing forms of music art learning assessment in the classroom. the low level of knowledge in the assessment and music learning strategies, led to the implementation of learning of elementary school teachers in puerto rico running under ideal conditions (lópez & león, 2015). the study also highlighted the lack of music teachers as one of the causes of teaching conditions under the ideal, because the shortcomings are filled by teachers from various backgrounds who are not related or do not support their duties as teachers in learning music art. the purpose of this research is to examine in order to find out (1) how the implementation of music art learning at elementary school in pontianak, (2) teacher professional competence in learning music art at elementary school in pontianak. the benefit of this research is to develop science in the field of music art learning, and also to determine the professional competence of classroom teachers in learning music art, so that it can be followed up with the preparation of teachers who have professional competence in learning music in elementary school. methods this study uses a qualitative workflow with an interpretative analytic method approach. in this research the focus is on aspects related to the professional competence of teachers in the field of music art learning. thus it can explain the conditions, categorize information, and discover something new. the approach used in this research is the phenomenology approach. the focus in this research relates to professional competence in the implementation of music art learning at elementary schools in pontianak and surroundings. the main data source in this study is the class teacher in elementary school as the main actor who carries out art learning. this study involved four class teachers from different schools and levels. the determination of the research subject is carried out purposively, with various considerations, which support the implementation of this research. the instrument in this study was the researcher himself. researchers as instruments play a role in taking data through interviews with research subjects, observing research subjects and objects, determining documents related to research, and documenting research data. in carrying out its function as an instrument, researchers use test instruments, observation harmonia: journal of arts research and education 20 (1) (2020): 84-9490 guidelines, interview guidelines, and list of documents. to do the test, indicators of knowledge, musicality and instrument playing skills are used. data collection techniques used in this study include test, observation, and interview techniques. while the data validity test uses triangulation techniques, namely to check and understand data through various sources, research subjects, methods (theory, methods, techniques), and time. data analysis in this study uses an interactive analysis model. the data analysis process is carried out simultaneously with data collection. the interactive process is also carried out both when the data collection is still ongoing, for example in the form of comparisons between units, grouping, and final data collection. results and discussion the implementation of learning in four elementary schools as research subjects, refers to the 2013 curriculum. learning load in k-13 for elementary / mi classes i, ii, and iii are 30, 32, 34 respectively while for classes iv, v, and vi each 36 hours each week, with elementary / mi study hours are during 35 minutes. with this additional learning hours and a reduction in the number of basic competencies, allowing teachers to have more time to develop learning processes that are more oriented to active students. however, this learning needs to be supported with adequate competence, especially teacher professional competence. in accordance with the existing policies, in general the implementation of music art learning which is an integral part of art and culture material, is carried out by the class teacher. the implementation of music art learning by classroom teachers is carried out in elementary schools where the research is, in accordance with curriculum policies carried out in a thematic frame, with the integration of several subjects. however, the development of learning processes that are oriented towards active students is only limited to physical activities, teachers tend to carry out learning with instructional models. learning tends to only follow the material contained in the book. the transfer of material summarized during observation in learning, is still not much different from the previous curriculum, only different in the thematic package. music art learning material in elementary schools from grade one to grade six starts from getting to know, differentiate, make, and practice: (1) various rhythmic patterns, (2) tempo and dynamics, (3) short lengths and highs of low notes, (4) simple melodies, (5) simple harmonies (6) musical instruments, and (7) organizing musical performances. related to curriculum material, especially in learning music, based on the data obtained shows that teachers generally do not submit explanations related to theoretical material. pada kasus ini siswa lebih sering hanya diminta apa-apa yang tertulis di buku. meanwhile, to read song notation in the form of number notation, only one subject of research is able to do, the rest choose to hand over to students or choose a song that they know. for material that is musical practice and everything related to musical conditions, almost all of them say they are not capable. thus, starting at the time of planning, determining the material and indicators of success, implementation, and evaluation of learning can not be arranged in accordance with the substance of the material and learning objectives of music. this is in line with what was stated by ibrahim (1988) that the key to success in managing teaching and learning activities is the ability of teachers to have professional competence they have. if the teacher does not have professional competence then the decision making in choosing and determining the approach used in the learning process may be incorrect or misdirected. professional competence of classroom teachers in music arts learning in elementary schools referring to several studies on teacher professional competence (sardiman, imam ghozali, professional competence of teachers in learning music at elementary ... 91 2007; hamzah, 2008; sugeng et al, (2005); sukmadinata, 2007; and permendiknas number 16, 2007) show that in principle in general teacher professional competence in music art learning is related to the following matters: 1) understanding music art teaching material contained in the curriculum and able to develop the scope of music learning material; 2) understanding the classification of music art material and the principles of its relevance to the interests of music learning in accordance with the objectives to be achieved; 3) having the ability to use information and communication technology for the benefit of music learning; 4) have the initiative, willingness, and ability to conduct research in the interests of enhancing the learning of the art of music, and the development of selfprofessionalism; 5) have the skills to play certain musical instruments and be able to teach the skills they have; 6) demonstrate the ability to work music, and try to encourage and guide students to actively work. in learning music in elementary school has different characteristics from the implementation in secondary schools, because it is carried out thematically and integrated with other teaching materials. the professional competence of classroom teachers in learning the art of music in this study is divided into two parts, namely: first, scientific mastery, which includes: (1) conceptual mastery, (2) musical ability, and (3) mastery of instrumental skills, and secondly, mastery in learning which includes: (1) planning, (2) implementation, (3) selection and use of methods, (4) selection and use media, and (5) evaluation. this indicator was taken by adapting the results of research by utomo (2013) and syukur (2005). the results of the ability tests conducted on class teachers as research subjects, showed that in general scientific mastery the research subjects had weaknesses in conceptual mastery and musical mastery. meanwhile, for mastering the skill of playing musical instruments from four research subjects, one person has the skills to play a musical instrument in either category. from the results of knowledge tests on classroom teachers who carry out music material learning, with material about the concepts of musical elements and the use of musical symbols, it shows that a prominent weakness is the use of musical symbols. this is mainly related to the use of musical symbols used in writing block notation. for the use of numerical notations, in general only know about the mention of tones (solmization), while the duration of each note is not understood. in the following table 2 is the result of the test of the ability to master knowledge of the class teacher who is carrying out the learning of music material. table 2. test results of knowledge mastery name concept mastery music symbol mastery subject 1 4 2 subject 2 2 2 subject 3 3 2 subject 4 2 2 11/20 8/20 value: 1 = very poor; 2 = poor; 3 = enough; 4 = good; 5 = very good from table 2 can be seen that the mastery of knowledge of research subjects is still slightly under 50% of the overall mastery of knowledge test material. this shows that the level of knowledge of research subjects in general is still inadequate to carry out music art learning. thus the implementation of theoretical music learning cannot be carried out in accordance with curriculum demands. for the basic abilities of musical research subjects are done with tone sensitivity tests (listening and imitating tones), interval sensitivity (listening and imitating tone intervals), rhythmic sensitivity (listening and imitating simple rhythmic patterns), and melody sensitivity (listening and imitating simple short melodies). in this test shows lower results when compared to the knowledge ability test, the results of the basic musical ability test as shown in table harmonia: journal of arts research and education 20 (1) (2020): 84-9492 3. based on the table 3 can be seen that the musical ability of research subjects is lower than the mastery of knowledge (42.5%). this has an impact on the implementation of learning. research subjects tend not to give examples/demonstrate material in the form of songs by singing before the students sing it, especially if they have to sing the notation. that is because in addition to the ability to read music symbols that are still weak, it is also problematic when having to sing certain intervals in the song. if you get material in a book in the form of unknown song notation, another possibility that is often done is to give assignments to students to present / sing at the next meeting, individually or in groups. in the test of mastery of musical instrument skills showed the lowest results when compared with the mastery of knowledge and musical competence. only research subjects are able to play more than one instrument, with good and enough categories. while other research subjects are only able to produce one to three notes. for rhythmic instruments, because there are not many choices in each school, only included in other equipment groups. the results of the test are as in table 4. based on the table 4 can be concluded that the mastery of playing skills of musical instruments of class teachers, overall the lowest when compared with other abilities (33.75%). only one class teacher (subject 1) who has the ability skills in the category is quite adequate in playing a musical instrument. so that in the implementation of learning they are concerned more confident and are able to invite students to dig deeper into the material for musical expression.weaknesses in the mastery of knowledge, musical ability, and mastery of playing musical instruments on average research subjects, affect the implementation of music art learning. the learning implementation includes planning, choosing methods, using media, and also the ability to integrate in a thematic frame, to carrying out the evaluation. the implementation of music art learning carried out by research subjects from observations supported by document studies through analysis of the learning implementation plan (rpp) shows that art teachers in pontianak elementary schools tend to not meet the criteria as revealed by sugeng (2005). the characteristics of elementary school music learning required by soeteja table 3. results of musical mastery tests name tone mastery interval mastery rhythm mastery melody mastery value subject 1 3 3 3 3 5 = very good 4 = good 3 = enough 2 = poor 1= very poor subject 2 2 2 2 2 subject 3 1 2 3 1 subject 4 2 2 2 1 8/20 9/20 10/20 7/20 table 4. test results for mastering musical instrument skills name musical instrument mastery / score rubric valuepiano/ keyboard guitar recorder other instruments subject 1 3 4 3 2 5 = very good 4 = good 3 = enough 2 = poor 1 = very poor subject 2 2 2 2 2 subject 3 1 2 1 1 subject 4 1 1 1 1 7/20 7/20 7/20 6/20 imam ghozali, professional competence of teachers in learning music at elementary ... 93 et al (2008) are almost entirely unmet. of the six criteria implemented only in learning are related to the use of poetry in accordance with the world of children and songs that lead to local wisdom. learning materials that have been determined in the curriculum are: (1) rhythmic patterns, (2) tempo and dynamics, (3) short length and high pitch, (4) simple melody, (5) simple harmony (6) musical instrument practice, and (7) music performance, in general only four points are carried out, and even then it is only contained in the practice of singing. while in the form of explanations knowledge is not carried out at all. the results of this study are in line with the findings of research conducted on the implementation of learning of elementary school teachers in puerto rico, which runs under normal and ideal conditions due to the limited knowledge of the teachers in music learning (lópez & león, 2015). it is also in line with other studies (utomo, 2010) that identify the weaknesses of teachers in learning. likewise, the results of sun and leung’s (2013) research in china, which found problems with the weaknesses of music learning that result from: 1) inadequate teacher in terms of quantity and quality, 2) inadequate teacher professionalism, 3) the burden of teaching many subjects, and 4) limited knowledge in music learning. thus learning music in elementary schools needs to be carried out by art teachers who have professional competencies, in addition to the three other competencies that must be possessed by a teacher, namely pedagogical, personal and social competencies. this needs serious attention in order to achieve the learning objectives of art as mandated and listed in the curriculum document. conclusion the implementation of learning on music art material carried out by classroom teachers elementary school in pontianak has not met the criteria for good music learning. aspects of appreciation, expression, and creation have not yet appeared in learning because learning patterns tend to be instructional. in general, teachers have not demonstrated professional competence, both in scientific mastery and in 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(2013). pengembangan instrumen penilaian unjuk kerja (performance assessment) kompetensi ekspresi dan kreasi musik di sekolah menengah pertama (smp). harmonia: journal of arts research and education, 13(1), 1-9. 208 music and mathematics: processing repetition techniques with the least common multiple (lcm) in rajékan music composition hery budiawan, rizky fauzy ananda universitas negeri jakarta, indonesia submitted: 2022-12-17. revised: 2023-02-13. accepted: 2023-03-29 abstract this article aims to find a new way to process repetition in musical composition with the least common multiple (lcm) mathematical approach. music and mathematics have a very close relationship; in music, the element of mathematics with the derivation of physical science is the most relevant and always interesting study of musical composition. this study aims to analyse the music composition of rizky fauzy ananda’s work, rajékan, by looking at mathematical theory with the approach of the least common multiple (lcm). the method used with practice-led research as an approach to music composition. the creation research methodology used is artistic research through a practice-led research approach which is also integrated with mathematical theory and musicology, especially music composition. the results of this creative research prove that repetition in music and in the context of life is important and mathematics always present in human life. repetition has largely underpinned development in music. in the context of life, reps are things that always exist in everyday life, such as worship activities and lifestyles. such repetitive phenomena can also provide certain learning or meaning for the individual. in the context of education, reps are the easiest and most basic way of learning to learn and recall about understanding something. repetition processing whose ideas come from the phenomenon of researchers’ self-experience, produces two repetition processing techniques with the lcm mathematical style (1) magnification and reduction of sound values that make up the cycle, (2) imitation. keywords: practice-led research, repetition, least common multiple (lcm), music composition, mathematics how to cite: budiawan, h., & ananda, r. f. (2023). music and mathematics: processing repetition techniques with the least common multiple (lcm) in rajékan music composition. harmonia: journal of arts research and education, 23(1), 208-222 harmonia: journal of arts research and education 23 (1) (2023), 208-222 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i1.41034 is a measure of how many vibrations per second a sound wave produces (raghu, 2018)wood, membranes. likewise, the duration of a note can be represented using time, which is a measure of how long the note lasts. there are many mathematical concepts, some of which include algebra, geometry, calculus, trigonometry, and introduction music and mathematics are two fields that are often thought to be closely related. this is because many aspects of music, such as rhythm and melody, can be represented using mathematical concepts. for example, the pitch of a musical note can be represented using frequency, which corresponding author: e-mail: herybudiawan@unj.ac.id p-issn 2541-1683|e-issn 2541-2426 hery budiawan et al., music and mathematics: processing repetition techniques with the 209 number theory (maifi et al., 2021; stoutemyer, 1983). algebra is the branch of mathematics that deals with the study of equations and variables, while geometry is the branch that deals with the properties and relationships of points, lines, angles, and shapes. calculus is a branch of mathematics that deals with the study of rates of change, such as rates of change of position or rates of change of acceleration (noor afniandari et al., 2021). trigonometry is a branch of mathematics that deals with the study of triangles and the relationships between the sides and angles of triangles. number theory is the branch of mathematics that deals with the study of numbers and their properties of numbers. the least common multiple (lcm) of two or more numbers is the smallest positive integer, a multiple of all numbers (djanković, 2021). for example, the lcm of 2 and 3 is 6, because 6 is the smallest positive integer that is a multiple of 2 and 3. likewise, the lcm of 4 and 6 is 12 because 12 is the smallest positive integer, a multiple of 4 and 6 (dias, 2005). therefore, to find the lcm of two numbers, you can use the following steps: list the multiples of each of the numbers, starting with the smallest multiple of each number. find the smallest multiple that appears on both lists. this is the lcm of the two numbers. for example, to find the lcm of 4 and 6, you could list the multiples of 4 and 6 as follows: multiples of 4: 4, 8, 12, 16, 20, 24, 28, 32, 36, 40, 44, 48, ... multiples of 6: 6, 12, 18, 24, 30, 36, 42, 48, 54, 60, 66, 72,... the smallest multiple that appears on both lists is 12, so the lcm of 4 and 6 is 12 (essouabri et al., 2022). the least common multiple (lcm) is a concept from mathematics that is not typically used in music. in music, the most common use of the term “lcm’’ is in the context of “lowest common multiple,” which is a term used to describe a group of notes that are played at the same time, with the lowest note being the “lowest common multiple” of the group (runisah & ismunandar, 2020). some many other concepts and techniques are more central to the study and practice of music. for example, musical notation, melody, harmony, rhythm, and form are all important concepts in music theory. lcm makes rajékan’s musical work an idea of creation. many composers depart from mathematics and physics. rajékan is a term for rajékan soy sauce, a linguistic term for repeating words in the sundanese language. these interjections are then used as ketchup rajékan or a repetitive word such as “trang-tréng-trong” from the word ‘trang’ which mimics the sound of a pot repeatedly clashing or cooking in the kitchen, and “dar-dér-dor” from the word ‘dor’ which mimics the sound of repeated pistol fire (yudibrata, 2003). these two examples include ketchup rajékan trilingga, a rewording that is a word repeated three times and undergoes a change in the sound of the vowel. kecap rajekan is a base word that is used repetitively or mentioned twice. it can be said twice as a full word for the first and second word (such as aki-aki, bapa-bapa, etc.); or only the first syllable for the first word and full word for the second word (such as babagi from bagi-bagi ). however, there is also an exception called kecap rajekan semu, in which the repetition is part of the base word. for example, the words papatong, kukupu , and pipiti have repetition, but the first syllable has no base word. kecap rajekan is classified into six categories: 1. kecap rajekan dwipurwa 2. kecap rajekan dwi madya 3. kecap rajekan dwi murni 4. kecap rajekan dwi reksa 5. kecap rajekan trilingga 6. kecap rajekan binarung rarangken (fitriyani, 2019). this work puts forward a concept of developing mathematical theory (lcm), which is the basis for the idea of music composition, where lcm is a technique for processing reps in rajekan’s music composition. there are a lot of musical works about repetition techniques, from simple to complex. this work as an offer techniharmonia: journal of arts research and education 23 (1) (2023): 208-222210 que to process repetition with the least common multiple (lcm). repetition can generally be interpreted as repetition. repetition in linguistics can be interpreted as an iteration applied to an important sound, word, or part with the intention of affirmation. in educational psychology, repetition is a method to understand a learning concept by reteaching after remembering, saying, hearing, and doing than understanding (wikanengsih, 2010). the word in music can be interpreted as the iteration of motifs, rhythm patterns, chords, and parts. it is one of the simplest and most fundamental composition techniques. in addition to minimalist music, reps also appear in sonatas-shaped works. the recapitulation section has important points for recapturing, renouncing, reviewing, and repeating what has been introduced in the exposition section at the beginning of the (hammerschmidt et al., 2021; london, 1994)absolute durations may seem longer as the tempo—the rate of an underlying pulse or beat—increases. yet, the perception of tempo itself is not absolute. in a study on perceived tempo, participants were able to distinguish between different tempo-shifted versions of the same song (± 5 beats per minute (bpm. psychologist diana deutsch discovered the illusion of “the speech-to-song illusion” in which a recording of a repetitively played part of a speech can make the passage sound musical (rowland et al., 2019). the repetitive part gives rise to a regularity of tempo and rhythm that makes it sound musical. reps also cause expectations for their listeners. a study of the repetitive works of howard skempton states the role of repetition from a psychological point of view can lead to a sense of expectation/expectation and thus the desire to make a repetition of disturbing patterns (suhaya et al., 2020), which are then recreated to present a sensation of satisfaction in a particular moment (cavett, 2022; hananto & sukerta, 2020). from the above statement, it can be concluded that reps play an important role in music. repetition is widely used as the basis for development in music. in music composition from reich’s work, reich’s previous repetitive pattern of “come out” into a tape is looped, and then reich tries to play the same figure on the keyboard along with the tape loop, then tries to accelerate ahead of the tape loop which results in (reich & paul, 2004; schwarz, 2009). the experiment was then continued with the work “piano phase” in which two acoustic piano instruments with humans playing them tried to produce phasing without the aid of electronic devices (schwarz, 2009). several piano works that can be found to explore repetition in both solo piano and piano four hands can be exemplified by the piece ‘piano phase’ by s. reich, composed in 1980. in this work, two pianists play simultaneously with the same rhythmic pattern but at different tempos. this concept of repetition becomes intriguing to listen to as a form of developmental repetition. the tempo increase lasts until the pattern shifts to one-sixth of the notes and then again holds the initial tempo; after some repetition, the tempo is raised again until the pattern shifts to one-eighth of the pattern play played by the first pianist, and so on until the second pianist again plays a pattern identical to the first pianist (digney, 2022; epstein, 1986)organizational support, and service under pressure. figure 1. the final phase of pattern 1 is in the “ piano phase” (reich, 1980). repetition through the lcm technique becomes interesting to discuss and can be used as a separate composition technique with various kinds of processing. moreover, the process of creating and analyzing this work is a step in how the world of musical composition is not only related to taste, but music is very close to the exact hery budiawan et al., music and mathematics: processing repetition techniques with the 211 sciences, so many possibilities for the use of lcm are able to provide a new style of music with the processing of new techniques as well. this lcm research novelty in a technique of processing reps in musical composition. by using this technique, composers can create musical works by making only one musical sentence, then the theme of the work sentences is processed with this lcm to make the music work intact. composers do not need to think about the melodic ideas of the next sentence of the song; just with the concept of lcm the musical work will be created and have its own sensation with the processing of reps through lcm. moreover, the lcm technique in music lies in its ability to simplify the composition process by using the concept of lcm to process repetitions of a single musical sentence into a cohesive and unique musical work. it allows composers to focus on a single melodic idea and create a complete musical work without the need for additional melodic ideas. this can lead to a new approach to music composition and may result in new and innovative musical works. method the creation research methodology used is artistic research through a practice-led research approach which is also integrated with mathematical theory and musicology, especially music composition. this approach is a scientific research methodology that reveals the creative process of art creation from the artistic experience. artistic research can also be understood as conducting historical or historiographical research to re-actualize older forms, technical objects, or modes of expression (schwab, 2019). practice-led research is a research approach that combines creative practice, creative methods, and creative results into a research design and as part of the research results (candy, 2006, 2011). in creative practice, of course, a creative thinking process is needed. a thought can be said to be creative if it becomes an original and adaptive idea, solution, or insight (runco & chand, 1995). figure 2 is a diagram of the process and basic components of creative thinking. figure 2. the creative process (runco & chand, 1995). in this diagram, there are two levels where the first level (problem discovery, ideation, and evaluation) has a relationship between simple but important abilities (skills) to understand creative thinking, while the second level (knowledge and motivation) is a component that influences but does not control factors but depends on the main factor (budiawan & martyastiadi, 2020; runco & chand, 1995). the stages of creation in practice-led research are dynamic, so they do not have binding and structural steps, adjusting to the researcher’s unique way. the stages of creation research that researchers go through are derived from literature reviews and some of the researcher’s artistic past experiences; data collection (minimalist music, repetition, sundanese), creation deepening, and studio works. result and discussion the work entitled “rajékan” (with the letter é voiced the same as e in the word evaluation) is taken from the term ketchup rajékan, a linguistic term for repeating words in the sundanese language. this work is an absolute piece of music based on the development of a repetition technique with an enlargement (augmentation) and reduction (diminish) of the value of notes to a series of melodies. in this work, the researcher enlar harmonia: journal of arts research and education 23 (1) (2023): 208-222212 ged the note value by 1 ½ times, 2 times, 3 times, and 4 times, and reduced the note value by ½ times and ¾ times presented in the form of a marimba ensemble. in its processing, researchers chose a pitched percussion type instrument because this type of instrument can be freer to sound notes that are rather tight and fast with clearer attack articulation compared to wind or friction instruments. audio is presented with vst (virtual studio technology) on the sibelius notation writing an application which can be accessed via the following link: rajékan audio. in this practice-based research, the composer had a special set of plots in creating rajékan’s work. the following are the steps that composers perform: movement i (exposition) the initial part of the work includes the introduction of the main motif or theme and its development in the same way as the exposition part in fuga. motifs are introduced one by one, starting from the theme, followed by its development with certain rules called the repetition cycle. to create a repetition cycle, researchers perform several stages. in the initial stage, composers can create an original motif or theme that will be repeated and developed in terms of its pitch values. this serves as the basis for applying the least common multiple (lcm) as a technique for processing repetition. the researcher then observes the composer performing calculations by determining the potential rhythmic occupancy based on the duration of the notation and time signatures of the theme. if the duration of a theme occupies one complete measure, the rhythmic occupancy is considered 100%. similarly, if the duration of a theme occupies two complete measures, the rhythmic occupancy is valued at 200%. in cases where the theme does not occupy a complete measure, the ratio of filled beats to the time signature used can be used to calculate the rhythmic occupancy. the number of voice divisions and the types of value developments are determined, ensuring that the number of voice divisions corresponds to the number of value developments. this step is essential for determining the lcm of the value developments and recording the result. in the first movement, the resulting lcm is divided by the predetermined types of value developments, and each result is recorded. this step is necessary to calculate the number of repetitions for each type of value development within one cycle. multiplying the lcm result and the calculated results from the fifth step by the respective rhythmic occupancy percentages allows for the determination of the duration (in beats/time signatures) for each type of value development and a cycle. a crucial point to consider is creating a repetition cycle mapping diagram. the number of voice rows corresponds to the number of value developments in the motif, the number of measure columns matches the duration of the cycle (in terms of measures), and the highest value augmentation is placed in the top row while the lowest value diminution is placed in the bottom row. in this research, the table was made to guide the work process of the composers, but for the filling of the value of the rhythm change notes and others, the composer has the full right to enter the number of repetitions of motifs that refer to previous compositional work. figure 3. music composition proses. figure 4. mapping reps that have been filled in with the calculation results. after the diagram is finished, it is applied to the score by introducing the https://drive.google.com/file/d/1wbccjnfhg76ubssiat6m8isdvck-ggyr/view?usp=sharing hery budiawan et al., music and mathematics: processing repetition techniques with the 213 repetitioned theme first, followed by the development motif one by one, as is the case in fuga’s works. the appearance of the motive must exactly correspond (or to multiples) with what is already calculated in the diagram; otherwise, the repetition cycle will not occur. after all the voices and motives of development have emerged and there has been a cycle, the work with this development rep technique can be continued to the second part. movement ii (development) in this section, each instrument/ sound division plays a whole variety of predefined note value development types alternately and sequentially. in order not to have the same repetition in one cycle or parallel (there is a type of repetition of the development of the same motif that is reviewed vertically or horizontally), the author performs the following steps that make this work processed serialism. the table below is an example of what composers can do in repetition through lcm instruments order. table 1. presentation of motive. in the second movement of development, several important compositional tasks are carried out, with the primary task being the selection of desired instruments by the composer, which are placed in the index column for instrument allocation. meanwhile, the index rows are filled with the presented order a voice/instrument division, following a series of development presentations applying the following sequence: ×0.5, ×0.75, ×1, ×1.5, ×2, ×3, ×4 (this series can be adjusted and does not have to be sequentially arranged from smallest to largest as used by the composer). table 2. the initial filling of the motif presentation table with a predetermined row. after the series is placed in the bottom row, the researcher or composer proceeds to fill the table with subsequent rows, ensuring that each row follows the same sequence as the bottom row without introducing any gradual changes in the series. table 3. advanced filling of tables with the same series but in different sequence sequences. in the next step to apply lcm here, the composer places the smallest multiple by multiplying the number as shown in the table below. what needs to be noted is that all rows and columns are filled, this stage is carried out by researchers to ensure and verify that the series remains consistent and that no development is the same reviewed horizontally (rows) or vertically (columns), so that each column and row has a different number before the motif is executed in the musical work. table 4. sof completed sequences are filled in and verified. in order to apply lcm in musical harmonia: journal of arts research and education 23 (1) (2023): 208-222214 works (composition), the next step involves composers verifying the division of sounds or instruments and entering them into the instrument index column, as shown in table 5. the sequence of note value development in the piece “rajékan” is then presented. once the sequence of development for each voice division or instrument is determined, the researcher applies it to a musical script (sheet music) with all the sounds distributed simultaneously according to the order specified in the table. each development is played once without repetition. a repetition cycle may occur in this second part, and its duration can be calculated by adding up the values of the entire note value development. in the case of this work, changes in tone values of 0.5, 0.75, 1, 1.5, 2, 3, and 4 result in a cycle duration of 12.75 (11 full rhythms + 3 beats). if the cycle continues, the subsequent cycle will end on the rhythmic segment of the 25th order of the 2nd beat. to conclude this part of the work, researchers chose to use the initial tone of one theme throughout the entire sound section, making a few simple adjustments. table 5. order of presentation of the development of the value of notes on the work “rajékan”. description and analysis of the work “rajékan” rajékan is taken from a linguistic term in sundanese kecap rajékan, which means reword. this work is given the title because it is based on reps or commensurate terms in music for repetition. the repetition technique in this work was developed by means of enlargement (augmentation) and reduction (diminus) of the value of notes. the work is presented in the form of a marimba ensemble with seven presenters. the main motif or theme found in rhythm 1 contains (similar) notes found in the barrel degung with da tones approaching ab tones in the western scale (figure 6). the symbol contained in the score is a sign that the motif is an original theme or motif without any development of augmentation or diminution. this pattern continues to be played until one rhythm before part b, (time to 32). figure 5. the main motif or theme in work “rajékan” is found in marimba ii (b) in rhythm 1. the development of motifs and the magnification of note values can be seen and observed in rhythm 3, particularly focusing on marimba iv (a) in the composition “rajékan.” this is done by researchers with a view to analysing the technique of magnifying the value not as much as twice the value of the main motive, which is visually indicated by a certain symbol . through a detailed examination of the musical script (score) and musical interpretation, the researcher has the full right to select the creative work created by the composer and explore the artistic impact of this technique on the overall music composition. hery budiawan et al., music and mathematics: processing repetition techniques with the 215 figure 6. the appearance of the main motif that has been augmented two times in marimba iv (a) in conjunction with the original motif in marimba ii (b) starting from rhythm 3. a motif with the development of a one-and-a-half-time note value augmentation begins to appear in rhythm 6 on marimba iii (a) with a symbol (x1. 5) as its marker. by looking at table 5 in row iii marimba with lcm usage used; x 1.5; x 2; x 3; x 4; x 0.5; x 0.75. the use of these multiples means that the musical movements in marimba iii and others will never be the same, but unlike canon works, with lcm we make the works seem to be complex fuga movements. figure 7. the appearance of the augmentation development motive 1.5 times in rhythm 6 in marimba iii (a). a motif with the development of a three-time addition of note values begins to appear in rhythm 9 on marimba iii (b) with a symbol as its marker . in marimba iii (b) this becomes a based line of musical works which is a repetition technique with lcm through enlargement of note values by magnification multiplication; x 1; x 1.5; x 2; x 3; x 4; x 0.5; x 0.75. lcm provides space for movement in each note that is written, making the motif or theme of the position like a bass sound separate from the repetition processing through the lcm approach. figure 8. the appearance of the motive for the development of augmentation 3 times in rhythm 9 in marimba iii (b). a motif featuring a four-time addition of note values emerges in the twelfth rhythm on marimba iv (b), marked by a distinctive symbol . this development runs parallel to other musical elements and never coincides with the same motif. however, the composer has the ability to control the duration of this motif’s presence by manipulating a predetermined table. by employing calculations involving small and large multiplication units in relation to the departing notes from the initial motif, the composer can determine the length of time this motif will be heard. this motif, characterized by the addition of note values in multiples of four, makes its appearance in the twelfth rhythm on marimba iv (b) and is denoted by a symbol. throughout its development, this motif remains independent from other musical motifs, running in parallel without ever intersecting. nevertheless, the composer has the flexibility to dictate how long this motif will be heard by employing a precalculated table. by calculating the multiplication units for both small and large note values in relation to the departing notes from the original motif, the composer can control the duration of this motif’s presence in the composition. harmonia: journal of arts research and education 23 (1) (2023): 208-222216 figure 9. the appearance of the motive for the development of augmentation 4 times in rhythm 13 in marimba iv (b). in the composition, a motif undergoes a development characterized by a diminution of three-quarters of its original time value. this development commences in the fifteenth rhythm on marimba i, and it is distinctly marked by a symbol . as this motif evolves, its temporal duration becomes increasingly condensed, creating a sense of compression and acceleration within the musical structure. initially, the motif is introduced in its full time value, occupying a certain duration within the rhythmic framework. however, as the development unfolds, the composer implements a diminution technique that reduces the motif’s time value by three-quarters. this means that the motif’s duration becomes significantly shorter, creating a compressed and intensified musical effect. the 1/16 rhythm serves as the starting point for this development, with marimba i being the instrument that brings forth the motif. the motif’s presence is emphasized through the use of a symbol as its marker, indicating its significance within the composition. this symbol acts as a visual cue, alerting the performers and listeners to the evolving nature of the motif. as the development progresses, the motif with the diminished time value continues to reappear throughout the composition, contributing to its overall rhythmic complexity. the repetition and variation of this motif, now condensed in duration, adds a sense of urgency and forward motion. it becomes a recurring element that engages the listeners’ attention, creating a dynamic and evolving musical experience. figure 10. the appearance of the development motif is minuses 3/4 times in rhythm 15 in marimba i. the composition introduces a motif that undergoes a development characterized by a reduction of half its original time value. this development emerges in the rhythm of the 18 pads on marimba ii (a) and is distinctly marked by the symbol x 0.5. the motif, initially presented with its original time duration, undergoes a transformation as its temporal value is halved, resulting in a more compact and accelerated musical effect. starting in the 18th rhythm, marimba ii (a) takes centre stage in introducing this motif development. the symbol x 0.5 acts as a marker, signalling the change in the motif’s time duration. it serves as a visual cue for both performers and listeners, drawing attention to the altered rhythmic structure and the subsequent intensification of the musical passage. as the motif develops, its time value is consistently reduced by half. this means that its duration becomes progressively shorter, creating a sense of compression and increased tempo within the composition. the motif reappears at various points, maintaining its halved time value, and contributes to the overall rhythmic complexity and energy of the piece. the recurrence and variation of this motif, now condensed in duration, imparts a sense of urgency and forward momentum. it becomes a prominent element that shapes the musical narrative, evoking a sense of tension and heightened dynamics. the deliberate use of the x 0.5 marker ensures that performers and listeners can follow the motif’s development and appreciate the transformative effect it has on the composition. hery budiawan et al., music and mathematics: processing repetition techniques with the 217 figure 11. the appearance of the development motif is minuses 1/2 of the time in rhythm 18 in marimba ii (a). the polyrhythmic formed from the presentation of development motifs and original motifs played simultaneously is 1:11/2:2:3: 4:6:8 with motif patterns that cross several rhythmic segments to be able to start from the beginning of the motif with the exact same tone simultaneously. the pattern collides on rhythm 21 with the explanation of the graph below then the repetition pattern will collide back on rhythm 33 (although researchers eventually in rhythm 33 continue with part b), thus forming an asymmetric polyrhythmic. in the case of this work, a repetition collision will occur once every 12 times. this can be found using the lcm formula (smallest guild multiple) of the value of the entire amount of development, both augmentation and diminution. in the second part (time 33-45), each presenter plays a variety of motif developments sequentially and alternates with the order that has been created in table 6. after the entire series of each end, the work closes with a slowdown in tempo (molto rall) 2 rhythms before the last rhythm and ending with the note g beginning with marimba iv (b) as the lowest note, then followed later by marimba i, ii, iii, and iv (a) on time 46. table 6. mapping the repetition cycle in work “rajékan”. figure 12. rhythm 43-46 “rajekan” as the title implies, this work is inspired and based on repetition. the phenomenon of repetition in the researcher’s selfexperience is interpreted into repetition in musical terms which is then developed by magnification (augmentation) and reduction (diminish) of the value of notes. this work is an absolute piece of music whose interpretation is focused on numerical computing (calculation). the main motif in this work uses the application of the degung barrel in the sundanese degung karawitan with the distance between the notes in cents of (in order) 424-70-212-424-70 (fausta, 2019a) with the da tone (in sundanese terms) approaching the ab tone (in western terms), then the mi tone approaches the g tone, na approaches the eb tone, the it tone approaches the db tone, and the la tone approaches the c tone. the emergence of development motifs that are played simultaneously with original motifs and other developments produces chords incidentally and polyrhythmically. these namely rhythmic patterns, contrast, and are independent at the same time (kamien & kamien, 2013). however, the polyrhythmic formed is an asymmetric polyrhythmic with the possibility of collision that can be calculated by the smallest common multiple (lcm) of the 2 largest developments (enlargement or reduction) of the note value. in this work “rajékan” the greatest multiple of his communion is worth 12 with an original motif of 1 rhythm. thus, collisions or cycles will occur in every 12 rhythmic segments. discussion in the context of composition, reps are the easiest and most basic way to deharmonia: journal of arts research and education 23 (1) (2023): 208-222218 velop musical composition techniques. the repetition processing carried out by researchers produces a repetition processing technique with the magnification and reduction of the sound value that forms the cycle (ananda et al., 2022; hargreaves, 1984, 2012). minimalist music produces several works that use repetition whose components do not change. originally repetitive moments were the most striking feature of minimalist music. many minimalist composers work with highly repetitive patterns, such as philip glass, who essentially concentrated on static repetition and harmony for electrically amplified violins in his composition “strung out” (1967) (ensemble & culture, 1990). while glass tends to vary repetition, steve reich uses this musical technique for his audio cassette compositions and his work “piano phase” (1967) in a way that continues unchanged (hill et al., 2018; schwarz, 2009). in rajékan’s work its use and application is different from research or repetition processing techniques from other composers, lcm works in music composition work is perceived by researchers as a new way that can ease the making of musical works (azaryahu et al., 2023), just as the manipulation of motifs in music composition can make the time of working on musical works more effective ways (a. l. uitdenbogerd & zobel, 1998; a. uitdenbogerd & zobel, 1999). in this research, the least common multiple of the time signatures in a piece of music is if one part of a song is in 3/4 time and another part is in 4/4 time, the lcm of these time signatures would be 12/4, which is equivalent to 3/1 (also known as “whole note” or “quadruple whole note” time). in particular, discovered that there are three methods for determining the least common multiple (lcm) between two numbers: creating a multiple and divide involves creating an ordered list of consecutive multiples of one number while simultaneously checking each new entry for divisibility by the second number (bollobás, 2022). prime-factorization involves comparing the prime factorization of the two numbers and locating the minimal product of prime powers that contains both of their factorization (heyman & tóth, 2022). set intersection involves creating an ordered list of consecutive multiples of each number and finding the first one that appears in both lists. this tells the musician the length of one cycle or measure of the repeating pattern in the music and helps to synchronize the different parts of the solo, duet, trio, and ensemble. from the results of the discussion above, techniques for enlarging and reducing note values using lcm were carried out. in the mathematical sciences this technique aims to take two or more integers as input and returns the smallest positive integer divisible by all input integers without leaving a remainder (bagdasar, 2014). in other respects, the use of reps in music generally aims to influence the emotions of the human beings who listen to it; in minimalist music, the listener is deliberately invited to listen to a repetitive theme in order for the listener to go “trance” (rowland et al., 2019). similarly, in indonesian ethnic art performances, one of which is the “lumping horse” in the music kuda lumping deliberately repeated so that listeners, in this case the “kuda lumping” actor, can “trance” so that the show is more interesting (hendriko & effendy, 2019a, 2019b). in this research, lcm as a repetition technique was not used to influence human emotions but as a technique for making compositions in the processing of musical themes which were used as tools to create musical works with only short themes. in the sub-discussion, several ways have been given to use this lcm technique as a concrete form of application of composition techniques (azaryahu et al., 2023). in contrast to minimalist musical works in repetition processing such as steve rich does repetition processing techniques, but he does it by way of playing tempo (dauer et al., 2021). steve reich’s piano phase offers listeners an easy-to-hear formal structure with unpredictable local events. for example, repeating patterns can create strong expectations broken by small devihery budiawan et al., music and mathematics: processing repetition techniques with the 219 ations in time and pitch. in musical composition, rajékan is very different from steve rich’s style of music processing (schwarz, 2009). during the development of his composition “piano phase,” steve reich became captivated by the idea of creating an electronic device specifically designed to execute the phasing process. this device would serve as an instrument, capable of being played in live performances to replicate a distinct type of phasing activity. unlike previous phasing techniques that focused on altering the rhythmic relationship between two identical melodic patterns (schwarz, 2009), reich’s new approach involved initiating with a chord and gradually shifting individual tones out of phase. this transformation would transition the initial vertical harmonic entity into a continuously evolving series of horizontal melodic patterns. reich’s fascination with this concept drove him to explore new avenues of musical expression and expand the possibilities of phasing composition. rajékan repetition processing with lcm technique plays at note value and plays ensemble marimba with the same tempo; in minimalist music above ensemble plays with different tempos in each instrument. weakness in tempo processing there is a tendency to inaccurate the end of the musical work as well as when playing in the middle of the work. however, when using the lcm technique, players can minimize and even be accurate in playing the work in the middle and at the end of the work. the different musical works in the classical era also used the repetition technique; in that era, the repetition technique was used by means of a pitch modulation system or instrument change with the same motif. an example can be taken from beethoven’s fifth symphony. beethoven did a lot of reps by means of modulation and instrument displacement. repetition with the use of lcm in its development and utilization can be found in-game music or game music, where the music acts as background music that constantly undergoes repetition or looping and puts the function of music as a state of mind. a type of music with repetition considered to work effectively “hypnotizing” to bring game players into the desired mindset towards gaming, rajékan is one part of manipulation the listener through the lcm technique. figure 13. beethoven’s fifth symphony with analysis music computing (hu et al., 2022). conclusions finally, the use of the least common multiple (lcm) in “rajékan,” a work by rizky fauzy ananda, has shown how closely mathematics and music are related. the study looks at how mathematical elements, especially those derived from physics, are fascinating and extremely important in the realm of music composition, producing new knowledge that is useful for the composition process. by examining the effectiveness of employing lcm, this study sought to identify novel techniques in the field of music composition. a practice-led research strategy was used in the technique, which combined musicology, mathematical theory, and creative study specifically in the context of music composition. repetition in music, independent of context, strongly overlaps with mathematics, according to the study, making lcm a useful tool for composing music. composers concentrate on creating themes or motifs that are then implemented utilizing the lcm technique, as described in this article. additionally, composers continually develop new methods and produce comprehensive musical works of art by incorporating insights from several fields. through personal experiences, the researcher has found two repetitiharmonia: journal of arts research and education 23 (1) (2023): 208-222220 on processing methods that use 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(1983). nonnumeric computer applications to algebra, trigonometry and calculus. the two-year college mathematics journal, 14(3), 233. https://doi. org/10.2307/3027093 suhaya, s., rachman, a., sinaga, s. s., & alfayad, d. m. (2020). percussion pattern of terebang gede in panggung jati studio, panggung jati village, serang. harmonia: journal of arts research and education, 20(2), 223–230. https://doi.org/10.15294/ harmonia.v20i2.18067 uitdenbogerd, a. l., & zobel, j. (1998). manipulation of music for melody matching. proceedings of the 6th acm international conference on multimedia, multimedia 1998, august, 235–240. https://doi. org/10.1145/290747.290776 uitdenbogerd, a., & zobel, j. (1999). melodic matching techniques for large music databases. multimedia 1999 proceedings of the 7th acm international conference on multimedia (part 1), 7(1), 57–66. https://doi. org/10.1145/319463.319470 wikanengsih. 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(2003). tatabasa sunda kiwari. upi, 174. http://file. upi.edu/direktori/fpbs/jur._pend._ bahasa_daerah/196302101987031yayat_sudaryat/tatabasa_sunda_kiwari/tatabasa_sunda_kiwari.pdf kata pengantar harmonia: jurnal pengetahuan dan pemikiran seni lakon anoman duta garap padat: sebuah penelitian singkat (the condensed creativity of anoman duta : a short study) subandi staf pengajar mku, jurusan pedalangan stsi, surakarta abstrak anoman duta merupakan lakon wayang yang bersumber dari salah satu episode dalam ramayana versi pedalangan jawa. berbagai bentuk seni pertunjukan wayang digarap oleh para seniman tradisi untuk melestarikan nilainilai luhur yang terkandung didalamnya. lakon anoman duta dipergelarkan dalam bentuk seni pertunjukan wayang kulit purwo oleh seniman dalang biasanya memakan durasi waktu sekitar enam jam. pada pementasan yang berujud sendratari, lakon anoman duta digarap ringkas dengan durasi waktu sekitar dua jam. bentuk pertunjukan dengan konsep padat digarap dalam waktu sekitar 30 menit. lakon anoman duta digarap padat dalam pengertian konsep, isi dan ekspresi estetis oleh padepokan sarotama di surakarta. penghilangan berbagai ragam gerak yang diulangulang, catur yang tidak perlu dengan iringan musik tradisi yang menyatu menunjukkan lakon anoman duta dengan garap padat tetap berbobot dan lebih menarik serta memberikan kepuasan baru bagi para penikmat seni yang relatif memerlukan waktu terbatas untuk dapat melihat secara keseluruhan isi dan makna yang disajikan dalam pertunjukan. dengan bentuk pertunjukan anoman duta garap padat pelestarian seni tradisi melalui garap lakon berlangsung dengan berbagai variasi. kata kunci: wayang, anoman duta, garap padat a. pendahuluan anoman duta merupakan salah sa-tu lakon dalam seni pertunjukan wayang sudah sangat dikenal didalam masyarakat jawa terutama bagi sebagian besar pecinta wayang baik yogyakarta maupun surakarta. lakon anoman duta sudah lazim dikenal melalui bacaan di sekolahsekolah, pertunjukan wayang kulit, wayang orang. sejak tahun 1785 ceritera anoman duta yang semula merupakan salah satu karya sastera dari india hasil karya walmiki, telah digubah oleh pujangga jawa yosodipuro menjadi ceritera wayang yang berbentuk tembang macapat. dengan sumber ceritera itu kemudian oleh para seniman disusun lakon wayang yang siap dipentaskan pada sendratari kara jonggrang di prambanan. setiap tahun pada bulanbulan purnama dalam penanggalan jawa yang biasanya jatuh pada bulan april hingga oktober selalu dipertunjukkan serial lakon ramayana. pada hari kedua biasanya di pergelarkan lakon anoman duta. vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni di surakarta oleh para senimanseniman dalang dan tari lakon itu juga sering dipergelarkan. wayang orang di taman sriwedari dahulu juga pernah menyajikan anoman duta. pada peringatan hut proklamasi yang ke-50 tahun emas serial wayang kulit dengan ceritera ramayana yang salah satu episode mengangkat lakon anoman duta secara maraton digelarkan di pendopo taman sriwedari oleh dalangdalang terkenal yaitu anom suroto dan manteb sudarsono. corak garapan kreativitasnya masih menggunakan pola lama yaitu semalam suntuk atau sebanding dengan enam hingga tujuh jam pertunjukan. dalam pertunjukan wayang orang sri wedari dan rri surakarta biasanya digarap ringkas yaitu setara dengan dua hingga tiga jam pertunjukan. wayang bocah sanggar seni sarotama yang sekarang berubah nama menjadi padepokan sarotama yang menggunakan tempat latihan pentas di pendopo tbs dan ngringo 13 karanganyar, menggarap lakon anoman duta dengan konsep pakeliran ringkas sekitar 1 jam. pentaspentas penting yang pernah dilakukan diantaranya adalah pentas dengan lakon anoman duta di taman mini indonesia indah pada tahun 1995 dalam rangka festival wayang orang panggung amatir indonesia di-singkat wopa iv yang memperoleh juara pertama. pada hari berikutnya dengan lakon yang sama di rumah bapak angkatnya yaitu h. sampurna. pada hari ketiga diundang di rumah salah satu seorang komandan polisi di jakarta. dengan demikian selama tiga malam berturut-turut lakon anoman duta disajikan. pada tahun 1996, di stsi surakarta juga dipergelarkan lakon anoman duta oleh padepokan sarotama dalam rangka dies natalis yang ke-32. lakon anoman duta dengan garap ringkas juga pernah dipergelarkan di magelang dalam rangka festival borobudur 2001. lakon anoman duta sekarang telah digarap padat oleh padepokan seni sarotama dengan durasi waktu sekitar 30 menit. pengertian padat dalam seni pertunjukan adalah padat dalam konsep, padat dalam isi dan padat dalam ekspresi atau bentuk penyajiannya. permasalahannya adalah pertama bagaimanakah deskripsi lakon anoman duta garap padat yang dilakukan oleh wayang bocah/anak padepokan sarotama surakarta. kedua mengapa lakon anoman duta digarap padat oleh para senimannya ?. hingga sekarang ini lakon anoman duta digarap dengan berbagai variasi oleh wayang bocah yang paraparaganya masih usia kanakkanak. b. metodologi 1. landasan pemikiran garap padat dalam pengertian konsep dalam pertunjukan wayang dirintis oleh tokohtokoh seniman stsi surakarta. dalam pertunjukan wayang bocah, garap padat dalam lakon anoman duta awal mulanya dilakukan oleh mujiono dengan wayang bocah sanggar seni sarotama di surakarta. pengertian padat dalam konsep seperti dirilis oleh bambang suwarno dalam makalah 1996 yang menyatakan, pengertian komposisi padat itu bukan bentuk pendek yang berhubungan dengan singkatnya waktu penyajian. komposisi padat yang dimaksudkan adalah terletak pada garapnya, yaitu garap yang secara padat merupakan kesatuan yang utuh, tidak kurang tidak lebih antara wadah dan isi yang disampaikan. di dalam komposisi pakeliran padat diusahakan pernyataan yang sepadat-padatnya, karena itu masalah waktu dan tempo sangat penting, sehingga memervol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni lukan perhatian sepenuhnya bukan hanya dari dalang, melainkan juga dari pengrawit dan swarawati. dengan demikian komposisi pakelkan padat ini, sudah ti-dak lagi mengikuti waton, caracara dan pola-pola tradisi yang ada sampai sekarang. akibat dari garapan komposisi padat waktunya menjadi berkurang tidak semalam suntuk. pengolahan komposisi bentuk yang padat itu meningkatkan tempo, penggantian bentuk dan pola meskipun bahan-bahan catur, sabet, sulukan, iringan dan wayang adalah perbendaharaan yang sudah ada dengan perubahan sedikit atau banyak dalam penyampaian, dengan demikian memacu daya kreativitas (dalam kalangan pedalangan disebut sanggit) dan memperluas teba garapan. diantaranya penataan adegan, penyusunan dialog, penggarapan sabet dengan gerakgerak yang berbicara, penggarapan iringan, pemilihan wanda wayang yang tepat guna menampilkan tokoh yang sesuai dengan lakon dan suasana. komposisi pakeliran padat harus ditata terlebih dahulu dengan masak, tidak inspkasi yang spontan, kegunaan menempati waktu tiga atau lima menit itu ada masalah. penampilan tokoh dalam pakeliran harus ketok urip (kelihatan hidup). jelas yang dimaksud di sini bukan hidup senyatanya atau hidup sehari-hari, melainkan hidup dalam penghayatan, yaitu kejelasan dalam penghayatan seni atau dengan kata lain kejelasan seni yakni kemantapan. dalam komposisi padat, yang perlu adalah menggarap isi yang wos dan mentes. wos tidak berarti njujuk atau apa perlune, akan tetapi juga variasi atau bumbunya yang menyebabkan wos kecekel, rasanya mantep. mentes artinya wadah dan isi pas, tidak kurang tidak lebih, jadi isi tidak kocak dan wadah tidak ada yang kosong, semunya terpenuhi menjadi satu kesatuan yang kempel, tergantung sanggitnya (naskah sarasehan seminar sehari, 1996:45). garap padat dalam suatu pertunjukan wayang bukan sekedar menghilangkan bagian tertentu saja dengan semenamena. garap padat merupakan suatu pilihan yang penting untuk hayatan, isinya tetap yaitu misalnya : misi keluhuran budi, kedisiplinan, kepahlawanannya perjuangan dan keadilan. 2. langkah penelitian: a. pengumpulan data pengambilan data yang permulaan adalah pengamatan. pengamatan dilakukan dalam dua cara yaitu pengamatan secara langsung yaitu pada saat pertunjukan dan pengamatan yang tidak langsung yaitu melalui rekaman audio visual yang diambil pada saat pentas dilakukan. pada saat pendeskripsian peran video sangat penting oleh karena dapat djamati secara seksama secara berulangulang. untuk lebih efisien dilakukan transkrip ke dalam pita kaset dan cd. fungsi dari kaset adalah membantu dalam mentranskrip garap lakon yang berupa dialog, kocapan dalang dan musik karawitan sebagai iringannya. adapun cd berguna untuk dapat melihat kembali setiap saat sehingga memudahkan pendeskripsian. pengumpulan data selanjutnya dilakukan melalui wawancara dengan berbagai nara sumber dan informan diantaranya ketua padepokan sarotama, menejer pertunjukan, konseptor lakon, dalang sebagai sutradara dan beberapa orang paraga/pemain. wawancara dilakukan dalam dua cara yaitu wawancara yang terprogram dan wawancara bebas atau tidak terprovol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni gram. wawancara meliputi riwayat pentas sebelumnya yang pernah dilakukan yaitu berupa pentas panjang, pentas ringkas di berbagai kota dan festival. wawancara juga tentang penggarapan musik sebagai iringan, lakon dan properti serta penyutradaraan. wawancara akhirnya terpusat pada garap padat, dalam wawancara juga dilakukan pencatatan cepat dan rekaman dengan pita kaset. b. analisis data pertunjukan wayang bocah dengan lakon anoman duta garap padat diperlukan pengamat yang cermat dan seksama oleh karena proses pertunjukan relatif singkat sekitar 30 menit. hampir pengulangan kata/dialog, pengulangan gerak tari, pengulangan adegan dan karawitan iringan musiknya dihilangkan sehingga pertunjukan mengalir memuat isi yang padat. teknik analisis data digunakan dengan deskriptif interpretatif. semua data yang telah dikumpulkan hampir seluruhnya penting dan dicatat sehingga dapat dilaporkan secara sistematik. c. deskripsi lakon anoman duta garap padat adegan perang tanding tokoh wayang : anoman, anggada iringan/musik : gending komposisi tradisi disambung lancaran cundaka slendro manyura. anoman keluar arena lumaksono melompatlompat mengitari arena terus mengambil posisi di tengah menghadap ke depan sambil menarinari (jogedan), sabetan, kiprahan. pada samping kiri arena muncul anggada, iringan sesek dados suwuk. dalang adaada slendro 6 yang liriknya demikian. jaja muntab lir kinetab, duka yayah sinipi jaja bang mawinga wengis, kumejot pedothing lathi, oooo ... dialog anoman : kaya tak waspadakake kakang anggada anggada : geneya kowe durung lali karo aku anoman : kakang anggada duive karep apa methuki aku anggada : anoman, kowe baliya, aku sing dadi duta anoman : aku mundi datvuhe gustiku prabu rama anggada : ora gelem bait sida tak gendhing igamu perang tanding antara anoman dengan anggada iringan lasem/ srepeg slendro 6, gerak tari kedua tokoh sabetan komplit, maju tiga langkah rangkulan, saling dorong, maju, mundur, terlepas saling ulapulap, jeblosan, prapatan, dugangan. anggada mundur pada posisi sebelah kanan arena pertunjukan sambil mengambil gadha terus berdiri tanceban, tangan kiri memegang gadha tangan kanan menunjuk anoman sambil melantunkan palaran durma ½ bait, dengan iringan palaran durma, yang liriknya sebagai berikut. babobabo anoman si murang toto ywa siro lenengjurit disisipi iringan srepeg slendro 6 anggada maju memukul anoman pada samping kanan, samping kiri akan tetapi dapat dihindari, gadha direbut anoman. anoman berdiri tegak di sebelah kiri arena, tanceban, tangan kanan memegang gadha, tangan kiri menunjuk anggada sambil melantunkan bait palaran durma, liriknya sebagai berikut. vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni poya tangkep jojo nyata sira prawiro gentaran bahu sayekti mara majua d�ngo l�na prapteng lalis begitu selesai anoman mengejar anggada untuk memukulnya namun dapat dihindari. gadha kembali dipegang anggada. anoman kemudian tiwikrama, berdiri tegak di tengah arena dengan ke dua tangannya sedakep. anggada memukul anoman dari berbagai penjuru, na mun tidak merubah posisi anoman. dengan iringan/musik sesek sampak slendro 6, anoman kemudian menyerang anggada, anggada jatuh masuk meninggalkan arena, anoman menari, sabetan komplit terus melompatlompat mengejar anggada. adegan goro-goro iringan palaran sinom liriknya demikian : isine kang gorogoro, lindu ping pitu sehari, kumocak mawetu gelap, horeg bumi prakempita. kocapan dalang : gorogoro langsung diiringi srepeg komposisi suwug disambung julajuli surabayan. tokoh wayang : gareng, petruk, bagong dan semar. iringan berbunyi : nada lagu jula juli surabayan gareng mengucapkan liriknya demikian, gawe pager potong kayu, mangan tempe da pinggir kali, kepengin pinter sregepa sinau, suk yen gedhe ben dadi menteri. ngonongono garek nasibe, tuku bolah gawe layangan, pamit sekolah neng yangyangan. gareng keluar melantunkan vokal ludruk sambil jogedan 2 rambahan, dengan senggakan seniwati. petruk keluar menyaut lantunan vokal gareng dialog dengan tetembangan. gareng : dina iki dina apa ? petruk : dina iki dina minggu gareng : dina minggu ana apa ? petruk : dina minggu ana tontonan petruk : tontonane ana apa ? gareng : tontonane warnawarna petruk : seni tari, karawitan, uga ana pedalangan gareng : kabeh mau saka ngendi ? petruk : padepokan seni sarotama gareng : teka kene sing ngundang sapa ? petruk : pondok seni budiharjo dialog gareng : ngudarasa bagong : datang menangis (mencari perhatian) disambung tetembangan dengan lagu nabuh gamelan dua rambahan, lagu ini aransemen ki mulyanto, lokananta, liriknya demikian. ayo konco nabuh gamelan mituhu dawuhe eyang, wiwit cilik kudu tresna kabudayan, karawitan seni tari lan pedalingan, senengseneng sinambi tetembangan. ayo konco nabuh gamelan, gik nung, nung gik nung tho nung gik nung nung gik nung gong gik nung gik tho 2 3 5 6 5 6 1 6 1 5. gik nung, nung gik nung tho nung gik nung nung gik nung gong gik nung gik tho 2 3 5 6 5 6 1 6 1 5. dialog singkat gareng, petruk dan bagong untuk meminta lagu lain yaitu dunia atau wong donya dua rambahan. setelah selesai melantunkan lagu, datang anoman bersama semar diiringi srepeg slendro 9. dialog semar : haeh haeh haeh ... gareng : sido piknik iki ... petruk : piknik menyang ngendi kang bagong : ning nggone kangmase he he he ... anoman : semar, gareng, petruk, bagong kowe manjinga ana kancing gelungku, ayo budal vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni mangkat teka alengka diraja. iringan srepeg slendro 9 : semar, gareng, petruk, bagong sambil menari masuk melalui sentuhan ekor anoman. iringan berubah sesek sampak, anoman sabetan, cancut tali wanda terus gedruk bumi terbang. iringan berubah lancaran mikat manuk slendro 9. dari arah kiri kataksini lumaksono sambil kiprahan, bendrongan, iringan menjadi sampak 9. anoman ditelan kataksini. kataksini : h� h� iki wewujudan putih ndak saut, ndak untal, koyo ngene bangsane apa iki. dalang kocapan: kocap kacarita, sang kapiwara ya sang rama dayapati, manjing jroning waduk, sang kapiwara sigro kruda medhot usus ngremet jejantung pejah kapisanan. sang kapiwara sigra mijil. dialog singkat: kataksini : he he he perang tanding : wil kataksini melawan anoman anoman : wah, kataksini kelakon ngathangathang dadi bathang dalang kocapan : kataksini pejah kapidoro iringan sampak, sesek suwuk anoman masuk. iringan ditabrak gending ketawang rujit slendro 9. (1) 1 2 5 3 2 1 5 6 5 2 5 3 2 (1) 1 2 1 6 5 3 5 6 5 6 5 3 (5) 5 2 3 2 1 2 1 6 5 2 3 2 (1) 3 3 5 3 2 3 1 1 6 5 2 3 2 (1) dilanjutkan sampak slendro 9 5 5 5 5 1 1 1 (1) 1 1 1 1 2 2 2 2 6 6 6 (6) 6 6 6 6 1 1 1 1 5 5 5 (5) adegan taman soka tokoh wayang : sinta, trijata, anoman. pada gong pertama trijatha keluar diikuti sinta. gerak tari putri alus untuk sinta dan lanyap untuk trijatha, begitu iringan selesai trijatha keluar menghadang anoman. dialog trijatha : we lha tobat tobat iki ana wanara seta lumebu ing taman, kowe apa iya bisa tata jalma ? anoman : kula saged tata jalma trijatha : banjur sapajenengmu lan ngendi pinangkamu ? anoman : wingking saking redi mangliawan utusanipun gusti kula sang rama wijaya? sinta kemudian berputar beralih posisi ditengahtengah, trijatha disamping kirinya dan anoman menghadap sinta disamping kanannya. iringan sirep, dalang janturan mijil. padang trawang tuk pawarta yekti sing lipuring batos, sang sinta dahat kacaryang tyase, sotya ludiro agem sang aji, dahat angranuhi mring citraning kakung. dialog sinta : anoman banget panarimaku, mi-nangka tandha bektiku kancing gelung agem ingsun iki aturna gustimu pangeran rama, anoman. anoman : lnggih sendika ngestokaken dha-wuh. amit kalilan madal pasilan. sinta : anoman pangestuku dadya pepa-yung lakumu ing dedalan. anoman : inggih dahat kacandhi kusuma dewi. anoman kemudian maju memberi kan cincin rama kepada sinta, sebavol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni liknya sinta memberikan kancing gelung (tusuk konde) kepada anoman untuk dihaturkan kepada rama. sinta kemudian masuk, anoman menggoda trijatha iringan srepeg 9 wudar anoman kemudian merusak taman dan bangunan keraton. iringan kompo sisi gending disambung lancaran slebrak, srepeg pelog kemudo. tiga buta/raksasa dan buta cakil datang menangkap, semua raksasa gagal. dalang : adaada manyura, iringan sampak manyura, srepeg manyura. indrajit datang, mengucapkan umpatan wah kethek putih ngrusak taman konangan indrajit sido dadi bandan. indrajit melepaskan naga pasa, anoman teringkus dan dibawa ke pasewakan alengka. iringan : srepeg suwuk. adegan alengka tokoh wayang : rahwana, indrajit, prajurit raksasa dalang kocapan : kocap kang cinarita, rahwana raja tedak ing pasewakan kumricik suarane. iringan: lancaran ricikricik sala lancaran ricikricik 6 6 3 5 6 5 3 2 3 5 (6) // 3 5 6 5 6 5 1 (6) 3 5 6 5 6 5 1 (6) 3 2 3 2 3 2 1 (6) 3 2 3 2 3 2 1 (6) // rahwana keluar menuju arena lumaksono maju, kiprahan, bendrongan lengkap satu kali rambahan disusul datangnya indrajit membawa anoman yang sudah diikat. iringan berubah menjadi sampak manyura. rahwana berkata : jid kowe putraku bocah sigis sowan ora tak timbali ana wigati apa jid. indrajid sambil menyembah berkata: kula nuwun diwaji, punika wonten wanara seta damel risak wonten praja alengka. iringan suwuk. dialog rahwana : kowe ketek putih sapa jenengmu anoman : aku anoman utusane gustiku rama wijaya rahwana : duwe karep apa rama wijaya anoman : goleki sisihane gusti rekyan sinta rahwana : bedes elek. jid anoman digawa menyang alondiobong jid. indrajid : nuwun dateng sendika adegan aloonaloon (semua prajurit mengepung anoman) iringan : sampak manyura menjadi gangsaran anoman diobong dengan api oleh semua prajurit. anoman tiwikrama berubah ujud menjadi besar rambutnya terurai banyak prajurit yang mati dan disekitar terbakar. iringan : ayakayak penutup tancep kayo d. faktorfaktor yang menyebabkan garap padat 1. faktor intern faktor intern adalah faktor yang berasal dari dalam diri senimannya dan juga konseptor pertunjukannya. adapun faktor itu diantaranya sebagai berikut: a. pertunjukan wayang bocah dengan lakon anoman duta telah berulang kali baik dalam bentuk pertunjukan yang biasa maupun dalam bantuk garap ringkas dengan durasi waktu sekitar 2 jam. pertunjukan dengan lakon yang vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni sama di pertunjukan ber-langsung tiga kali di jakarta, satu kali di malang, satu kali di wonogiri dan sekali di magelang. para penyaji seba-gian besar dilakukan oleh anakanak yang sama sehingga timbul rasa kebo-sanan. beberapa penyaji kemudian kurang giat berlatih dan para pelatih juga kurang bergairah. muncul ide baru yaitu menggarap lakon anoman duta secara padat. dengan pemadatan diperlukan latihan yang serius, memadukan antara segenap unsur-unsur dan keadaan diperlukan kerja seni yang lebih seksama. kreativitas para konseptor mendapat sambutan para penyaji. bentuk pertunjukan wayang bocah dengan lakon anoman duta dengan garap padat tercipta. menurut mujiono pelatih dan ketua padepokan sarotama, anakanak agak jemu dengan pertunjukan yang telah berulangulang dilakukan sehingga diperlukan ide garapan baru diciptakan. ide muncul oleh karena ingin memberikan suguhan yang segar bagi para penikmatnya. dengan sedikit sentuhan dan nasehat para seniman yang telah berkecimpung dalam pakeliran padat, maka lakon anoman duta garap padat terlaksana. b. seni pertunjukan merupakan karya seni yang terus diciptakan agar kese-nian itu tetap lestari. menurut dalang pakeliran padat bambang suwarno setiap bentuk pertunjukan itu dapat digarap semalam, ringkas maupun pa-dat. hal itu tergantung kepekaan dari senimannya. jika senimannya telah profesional, semua lakon dapat digar-ap menurut selera kreatornya. misalnya lakon wahyu makutha rama. ben-tuk sajiannya dapat panjang dan hal itu garapan yang biasanya dilakukan oleh hampir semua seniman dalang baik di surakarta maupun dari daerah lain. lakon itu juga sering dipentas-kan dalam bentuk ringkas yang me-makan durasi waktu dua jam seperti untuk festival iss di stsi barubaru ini. dalam suatu keperluan tertentu lakon makuta rama juga digarap padat tanpa mengurangi bobot atau isi dari sajiannya. pengurangan terjadi relatif pada sabet atau gerak yang tidak perlu, iringan, kingan dan caturnya. hal itu sematamata oleh karena kerja kreatifitas senimannya (wawancara, 9 agustus 2004). demikian juga lakon anoman duta, dengan digarap padat merupakan tun-tutan akan kebutuhan hayatan. dalam garap padat semua unsur menjadi penting dan kempel, mantep. c. wayang bocah merupakan wayang yang disajikan oleh anakanak. pada umumnya psikologi anak itu gampang berubah, enerjik, dinamis dan sesuai dengan tingkatan umurnya mereka sebagian segera menginjak remaja yang jiwanya labil. bagi mereka mem-pertunjukkan lakon yang berhasil akan menimbulkan kepuasan/ kesenangan tersendki. sesuai usia perkembangan anak maka lakon yang disajikan atau peran yang diembannya akan berubah. lakon yang semula menarik menjadikan kurang menarik karena sudah kurang sesuai dengan jiwanya. demikian juga lakon yang sama akan segera menimbulkan kesan vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni kuno dan kurang pas. untuk menye-suaikan dengan perkembangan pema-innya dan juga situasi yang cepat berubah maka diperlukan kerja kreatif seniman untuk menciptakan bentuk pertunjukan baru meskipun dengan medium yang masih lama. lakon anoman duta dengan garap padat kemudian menjadi tuntutan untuk lebih memberikan variasi sajian yang menarik untuk dipergelarkan. 2. faktor ekstern penggarapan lakon wayang dengan berbagai bentuk, lebih banyak ditentukan oleh halhal yang berasal dari luar diri senimannya. adapun yang menyebabkan lakon digarap padat diantaranya adalah, sebagai berikut: a. keperluan untuk kepentingan hayatan, perhatian manusia pada umumnya tidak berlangsung yang lama, sajian seni yang memerlukan waktu yang la-ma akan kurang menarik jika penyajinya tidak profesional dan kreatif. untuk itu diperlukan bentuk sajian yang mengikat bagi penontonnya agar tidak jemu dan meninggalkan arena pentas. pertunjukan wayang dengan garap padat memberikan alternatif bagi penghayat untuuk dapat mencerap isi dan makna, melalui sajian estetik dengan lakon anoman duta. b. keperluan wisata para wisata baik domestik maupun mancanegara hanya mempunyai waktu yang terbatas dan terprogram un-tuk sebuah rekreasi. sajian wayang bocah dengan lakon anoman duta akan lebih mengesankan kepada wisatawan oleh karena digarap padat sehingga seluruh isi sajian dapat dite-rima dengan senang hati dan berke-san sehingga merupakan aset publi-kasi dan ekonomis yang berharga. c. untuk kepentingan festival atau lomba sebuah sajian seni diperlukan penataan yang prima dalam segenap aspek dan unsur pertunjukan. dalam festival dan lomba semua sajian mendapatkan penilaian. dengan kerja kreatifitas yang tinggi sebuah sajian akan mendapatkan penghargaan yang tinggi. hal ini seperti sajian wayang bocah padepokan sarotama dalam festival wayang orang panggung amatir seluruh indonesia di jakarta 1995 (wopa). ternyata dengan garapan yang padat dan ringkas lakon anoman duta yang menjadi duta seni surakarta menjadi juara umum. d. untuk keperluan tontonan, dalam sebuah sajian setiap penyaji diharapkan dapat memernakan tokoh yang mewakili peran tertentu. masyarakat penonton akan menilai dan menghakimi terhadap setiap pertunjukan yang dilihatnya. sajian yang memukau penonton, menarik dan tidak memerlukan waktu yang lama akan lebih memikat dan tidak membosankan. penonton biasanya akan mencela pertunjukan yang terlalu lama dan kurang fokus. dengan garap padat ternyata lakon anoman duta yang dilakukan oleh wayang bocah padepokan sarotama berhasil selalu terampil menarik dan memikat penonton sejak awal hingga akhir pertunjukan. e. simpulan lakon wayang yang disajikan dalam seni pertunjukan ternyata da-pat disajikan dalam berbagai garap kreatifitas. lakon anoman duta yang disajikan oleh wayang vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni bocah padepo-kan sarotama disajikan dalam bentuk padat. pengertian padat dalam ini sajiannya padat dalam konsep, dalam isi dan bentuk pertunjukan. gerak-gerak yang diulangulang, catur yang berbelitbelit dan karawitan yang pan-jang dihilangkan sehingga pertunjukan langsung menukik pada misi yang ingin disampaikan. lakon wayang anoman duta yang digarap padat ternyata masih memiliki isi dan bobot yang berkualitas tinggi. sajian padat memerlukan pencermatan dalam berbagai aspek dan unsurunsur pertunjukan. sajian padat akan jebih berkualitas apabila semua penyaji me-miliki banyak pengalaman pentas yang berhasil. demikian juga garap padat akan lebih mencapai sasaran estetis jika menyenangkan penghayat atau penontonnya. � daftar informan 1. bambang suwarno, 50 tahun, dosen/dalang padat, stsi surakarta 2. ludiro, 40 tahun, pelatih tari, seniman wonogiri 3. lukas, 46 tahun pengrawit, stsi surakarta 4. mujiono, 48 tahun, karyawan/ketua padepokan sarotama, tbs, surakarta 5. orbawati, 42 tahun, pegawai/penari, kodia surakarta 6. sudarko, 52 tahun, dosen/konseptor, stsi surakarta 7. suratno, 52 tahun, dosen/dalang, stsi surakarta daftar pustaka bambang suwarno, 1996, "perancangan komposisi pakeliran, makalah seminar, yogyakarta : isi. jakob sumardjo, 2000, filsafat seni, bandung : itb. mardjiyo, 2003, menilik ramayana dalam episode taman soka", laporan karya seni tari s2, surakarta: stsi. mujiono, 2000, "sarotama padepokan seni", kliping, surakarta. _____ , 1995. "anoman duta", naskah festival, surakarta: sawitri, 2003, "pendidikan kesenian padepokan seni sarotama surakarta", skripsi si, surakarta: stsi. sutarno haryono, 1997, "penyutradaraan wayang wong sriwedari", laporan penelitian, surakarta: stsi. suyatna anirun, 1978, pengantar kepada seni peran, bandung: lembaga kesenian bandung. suwaji bastomo, 1993, gemar wayang, semarang: dahara prize. the liang gie, 1978, garis besar estetik. yogyakarta: karya. yosodipuro, 1785, seratrama. yogyakarta: bunning. vol. vi no. 3/september-desember 2005 kata pengantar harmonia: jurnal pengetahuan dan pemikiran seni spiritualitas dan seni islam menurut sayyed hossein nasr (spirituality and islamic art according to sayyed hossein nasr) siti binti a.z. dosen fakultos dakwah iain raden intan bandar lampung abstrak seni bukan untuk seni sendiri. tidak ada istilah i'art pour i'art. karya seni, bagi nasr harus digali dan mengekspresikan dimensi-dimensi spiritual, merefleksikan prinsipprinsip tauhid, sehingga ia mampu mengingatkan dan menuntun manusia untuk kembali kepada tuhan. inilah ciri khas pemikiran nasr yang perennial. seni islam, juga berdasarkan hikmah, yakni pengetahuan yang diilhami oleh nilai-nilai spiritual. seni islam mewujudkan realitas-realitas yang ada dalam 'pembendaharaan ghaib' (khazain alghaib) lewat bantuan ilmu pengetahuan tentang dunia batin (hikmah). seni islam adalah buah dari spiritualitas islam, merupakan hasil dari pengejawantahan keesaan pada bidang keragaman. la merefleksikan kandungan prinsip keesaan ilahi, kebergantungan seluruh keanekaragaman kepada yang esa, kesementaraan dunia dan kualitas-kualitas positif dari eksistensi kosmos. sumber seni islam harus dicari di dalam realitas-realitas batin (haqaiq) al-qur'an yang merupakan realitas-realitas dasar kosmos dan realitas spkitual substansi nabawi yang mengalirkan 'barakah muhammadiyah' (al-barakah al-muhammadiyah). aspek-aspek batin dan barakah nabi inilah yang merupakan sumber seni islam, yang tanpa keduanya tidak akan muncul seni islam. kata kunci: islam, spiritualitas, seni, estetika a. pendahuluan seni islam, menurut nasr, setidaknya mengandung tiga hal, (1) mencerminkan nilai-nilai religius, sehingga tidak ada yang disebut seni sekuler. tidak ada dikotomi religius dan sekuler dalam islam. kekuatan atau unsur sekuler dalam masyarakat islam selalu memiliki pengertian religius seperti halnya hukum ilahi yang secara spesifik memiliki unsurunsur religius. (2) menjelaskan kualitaskualitas spiritual yang bersifat santun akibat pengaruh nilai-nilai sufisme. (3) ada hubungan yang halus dan saling melengkapi antara masjid dan istana, dalam hal perlindungan, penggunaan dan fungsi berbagai seni. seni islam, karena itu, bagi nasr, tidak hanya berkaitan dengan bahan-bahan material yang digunakan tetapi juga unsur kesadaran religius kolektif yang menjiwai bahan-bahan material tersebut. vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni b. riwayat hidup dan karya besar sayyed hossein nasr dilahirkan di teheran, iran, 7 april 1933, dari keluarga terpelajar. ayahnya bernama sayyed waliyullah nasr adalah dokter dan pendidik pada dinasti qajar, kemudian diangkat sebagai pejabat setingkat menteri pada masa dinasti reza syah. pendidikan awal nasr dijalani di teheran ditambah dari orang tuanya yang menanamkan disiplin keagamaan secara ketat, kemudian di qum dalam bidang al-qur'an, syair-syair persia klasik dan sufisme. nasr kemudian melanjutkan pendidikannya di massachusetts institute of technology (mit) di amerika serikat dan meraih gelar b.sc. dalam bidang fisika dan matematika teoritis. pada tahun 1954 dan seterusnya meraih gelar m.sc. dalam bidang geologi dan geofisika dari harvard. namun pada jenjang berikutnya nasr lebih tertarik pada bidang filsafat, sehingga meraih ph.d. dari harvard pada tahun 1958, dalam bidang sejarah ilmu pengetahuan dan filsafat dengan desertasi berjudul an introduction to islamic cosmological doctrine di bawah promotor har. gibb. selama menempuh pendidikan di amerika, khususnya di harvard, nasr banyak mengenal tokoh pemikiran filsafat timur, seperti gibb, massignon, henry corbin, titus burchardt dan schoun. pemikiran tokoh-tokoh ini diakui banyak memberikan pengaruh pada pandangan nasr. tahun 1958, nasr pulang ke iran, la lebih mendalami filsafat timur dan filsafat tradisional dengan banyak diskusi bersama para tokoh terkemuka agama iran, seperti thabathabai, abu hasan alqazwini, dan kazin asar. nasr, dalam kegiatan akademik mengajar di universitas teheran, menjadi dekan fakultas sastra pada lembaga yang sama pada tahun 1968-1972, dan pada tahun 19751979 menjadi direktur imperial iranian academy of philosophy, sebuah lembaga yang didirikan dinasti syah pahlevi, untuk memajukan pendidikan dan kajian filsafat. keberhasilannya dalam tugas ini, nasr mendapatkan gelar kebangsawanan oleh syah kredibilitas nasr sebagai intelektual dan akademisi tidak hanya dikenal di negaranya sendki tetapi juga diakui di negeri lain sehingga sering diundang semi-nar atau memberi kuliah di luar negeri, antara lain di harvard, amerika pada tahun 1962-1965; di universitas amerika di beirut (american university of beirut) pada tahun 1964-1965, dan menjadi direktur lembaga aga khan (aga khan chair of islamic studies) untuk kajian keislaman pada universitas yang sama. nasr juga memberikan makalah pada pakistan philosophycal congress, di pakistan pada tahun 1964; memberikan kuliah di universitas chicago pada tahun 1966 atas sponsor rockefeller foundation, dan pada tahun 1981 memberi kuliah di giffort lectures, lembaga yang didirikan oleh universitas edinburg (edinburg university) pada tahun 1989. pada tahun 1967, nasr bersama muthahhari juga bergabung dengan husainiyah irsyad, sebuah organisasi atas prakarsa ali syariati (1933-1977m) yang bertujuan untuk memberikan panduan intelektual pada masyarakat, berdasarkan pemikiran, pandangan, dan kebijaksanaan imam husayn serta berlandaskan ajaran islam, kondisi masyarakat dan ajaran syiah pada masa kini. karena perbedaan prinsip dengan ali syariati, nasr dan muthahhari akhirnya mengundurkan diri dari organisasi tersebut. menurut nasr, masalahnya ali syariati telah membawa faham liberation theologi dari marxisme dan barat ke dalam islam, dan berupaya vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni menyajikan islam sebagai kekuatan revolusioner dengan mengorbankan dimensi kerohanian islam, sering melancarkan kritik terhadap ulama tradisional, dan menyalahgunakan lembaga itu untuk kepentingan politik. nasr pernah datang ke indonesia atas undangan yayasan wakaf paramadina pada tahun 1993. nasr, di indonesia memberi tiga ceramah dengan topik berbeda, yaitu (1) tentang 'seni islam' yang sekaligus peluncuran buku spiritualitas dan seni islam (bandung, mizan, 1993); (2) tentang 'spiritualitas, krisis dunia modern dan agama masa depan'; dan (3) tentang tilsafat perenial'. pada saat terjadi revolusi iran yang digerakkan oleh khumaini, tahun 1979, nasr terpaksa meninggalkan tanah airnya untuk menuju amerika karena dianggap pro-syah. meskipun demikian, kredibilitasnya dalam bidang keilmuan tidak berkurang. la menguasai beberapa kajian keilmuan, antara lain sejarah timur dan barat, filsafat dan ilmu-ilmu pengetahuan sosial, kajian teologis islam dan kristen baik yang klasik maupun yang kontemporer, dan perkembangan studi islam baik mistisisme, spiritualitas, seni, maupun budaya. nasr, karena itu diangkat sebagai guru besar studi islam di george washington university dan guru besar studi islam dan agama-agama pa da temple university, philadelphia. nasr banyak menghasilkan karya tulis, antara lain, an introduction to islamic cosmological doctrines (disertasi, london thames and hudson ltd., 1978); idealis and realities of islam (london, george alien & unwim ltd., 1966) yang berisi ceramah nasr dalam perkuliahannya di america university of beirut tahun 1964-1965; islamic studies, essays on law and society, the sciences, and philosophy and sufisme (beirut, librairie du liban press, 1967); the encounter of man and nature, the spiritual crisis of man and nature (london, george alien & unwim ltd., 1968) yang berisi materi perkuliahan di the university of chicago bulan mei 1966; science and civilization in islam (harvard, harvard university press, 1968), berisi tentang berbagai hal dari perspektif islam; sufi essays (london, george alien & unwim, 1972) berisi kumpulan artikel tentang sufi dan sufisme yang tersebar dalam berbagai jurnal ilmiah; islam and the plight of modern man (london, longman press, 1975); knowladge and the sacred (edinburg, edinburg university press, 1981) berisi obsesi nasr membangun filsafat berlandaskan tradisi universal yang berlaku sepanjang zaman. nasr, selain itu juga aktif menulis artikel untuk jurnal-jurnal ilmiah di berbagai negara, antara lain, journal millawa milla (melbourne, australia), journal iran (terbit di london), studies in comparative religion (london, inggris), the islamic quartelly (london, inggris), hamdard islamicus, dan word spirituality. c. sumber seni islam sebuah bangunan masjid dan gereja tidak akan disamakan oleh seseorang, meskipun misalnya, bahan bangunan masjid diambil dari gereja. menurut nasr, artinya cikal bakal seni islam dan kekuatan-kekuatan serta prinsip-prinsip yang mendasarinya tidak mungkin digali dari kondisi sosio politik yang mengiringinya tetapi harus dihubungkan dengan pandangan-dunia (world vew) islam sendiri. sumber seni islam harus dicari di dalam realitas-realitas batin (haqaiq) alvol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni qur'an yang merupakan realitas-realitas dasar kosmos dan realitas spiritual substansi nabawi yang mengalirkan 'barakah muhammadiyah' (al-barakah al-muhammadiyah). aspek-aspek batin dan barakah nabi inilah yang merupakan sumber seni islam, yang tanpa keduanya tidak akan muncul seni islam. al-qur'an memberikan doktrin keesaan sedang nabi memberikan manifestasi keesaan ini dalam keserbaragaman dan kesaksian dalam ciptaan-nya. barakah muhammadiyah memberikan daya kreativitas yang memungkinkan seseorang menciptakan seni islam. menurut nasr, kenyataannya para maestro seni islam senantiasa memperlihatkan rasa cinta dan kesetiaan yang istimewa kepada nabi dan keluarganya. seni islam, selain itu juga berdasarkan hikmah, yakni pengetahuan yang diilhami oleh nilai-nilai spiritual. seni islam mewujudkan realitas-realitas yang ada dalam tembendaharaan ghaib' (khazain al-ghaib) lewat bantuan ilmu pengetahuan tentang dunia batin (hikmah). hal ini dapat dilihat antara lain, pada ba-ngunan masjid syah di isfahan atau arsi-tektur masjid lainnya yang dibangun dengan pola geometri dan arabeska (kaligrafi tradisional) yang luar biasa, atau pada melodi-melodi musik arab tradisional yang memberikan alunan musik yang sangat menawan, yang jika direnungkan secara mendalam pasti akan sampai pada sebuah kesimpulan bahwa semua itu digali dari keindahan dunia kasat mata. demikian, sehingga karakter intelektual dari seni islam tidak bisa dianggap sebagai hasil dari semacam rasionalisasi, melainkan dari suatu penglihatan intelektual akan pola-pola dasar dari dunia terestrial. seni islam juga tidak meniru bentuk-bentuk lahir alam, tetapi memantulkan prinsip-prinsipnya, sehingga ia bukan empirisme, tetapi sebuah scintia sacra yang hanya bisa diraih berdasarkan cara-cara tertentu. kenyataannya, dimanapun kehidupan intelektual dan spiritual islam mencapai puncak, kreativitas seni islam juga mencapai kesempurnaan ; sebaliknya ketika kehidupan spiritual islam mengalami keruntuhan, kualitas seni islam juga mengalami kemunduran. seni islam, dengan demikian bukan sekedar karena ia diciptakan oleh seorang muslim tetepi lebih karena didasari oleh wahyu ilahi. seni islam adalah buah dari spiritualitas islam, merupakan hasil dari pengejawantahan keesaan pada bidang keragaman. la merefleksikan kandungan prinsip keesaan ilahi, kebergantungan seluruh keanekaragaman kepada yang esa, kesementaraan dunia dan kualitaskualitas positif dari eksistensi kosmos. menurut nasr, namun demikian meski seni islam diilhami spiritualitas islam secara langsung, wujudnya tetap saja dibentuk oleh karakter-karakter sosial budaya yang meliputinya. hanya saja karakter-karakter tersebut tidak sampai mengurangi kebenaran dan kandungan batin dan dimensi spiritual islam yang menjadi sumber seni islam. d. klasifikasi seni berdasarkan uraian di atas, dimana seni islam bersumber dan berkaitan dengan aspek spiritual atau aspek batin wahyu, nasr mengklasifikasikan seni dalam tiga bagian. pertama, seni suci, yaitu seni yang berhubungan langsung dengan praktek-praktek utama agama dan kehidupan spiritual. lawannya adalah seni profan. kedua, seni tradisional, yaitu seni yang menggambarkan prinsip-prinsip agama dan spiritual tetapi dengan cara tidak langsung. lawannya adalah seni antitradisional. perbedaannya antara seni vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni suci dengan seni tradisional bisa dilihat pada contoh sebuah pedang. pedang yang dibuat abad pertengahan, baik islam maupun kristen, tidak pernah digunakan secara langsung dalam acara ritual keagamaan meski merefleksikan prinsip ajaran islam atau kristen. karena itu, ia masuk kategori seni tradisional. berbeda dengan shinto di kuil se di jepang. pedang shinto dikaitkan langsung dengan ajaran agama tersebut dan merupakan objek ritual yang bermakna tinggi dalam agama shinto, sehingga dimasukkan dalam seni suci. ketiga, seni religius, yaitu seni yang subjek atau fungsinya bertema keagamaan, namun bentuk atau cara pelaksanaannya tidak bersifat tradisional. masuk dalam kategori ini adalah lukisan-lukisan religius dan arsitektur barat sejak renaissance dan beberapa lukisan religius di dunia timur selama seabad atau dua abad lalu di bawah pengaruh seni eropa. seni suci, untuk memahami labih lanjut, menurut nasr (1994 :133-134) seorang mesti memahami pandangan masyarakat islam tentang realitas, kosmik maupun metakosmik. dalam pandangan filsafat islam, realitas adalah multistruktur, yaitu memiliki berbagai tingkat eksistensi. realitas berasal dari yang esa yang terdki atas berbagai tingkat yang sesuai dengan kosmologi islam, dapat diringkas sebagai alam malaikat, alam psikhis, dan alam material (fisik). manusia hidup dalam alam material namun sekaligus dikelilingi oleh seluruh tingkat eksistensi yang lebih tinggi. yang suci menandai suatu pemunculan dunia yang lebih tinggi dalam hal eksistensi psikhis dan material, keabadian dunia temporal. semua yang datang dari dunia spiritual adalah suci karena berperan sebagai sarana untuk kembalinya manusia menuju dunia spiritual. namun kemungkinan ini kembali ke dunia lebih tinggi tidak dapat dipisahkan dari realitas penurunan dari yang atas, karena pada dasarnya hanya yang datang dari dunia spiritual itulah yang dapat bertindak sebagai sarana untuk kembali ke dunia yang lebih tinggi. karena itu, yang suci menandakan adanya 'keajaiban' nilai spiritual dalam duni material. la merupakan gema dari surga untuk mengingatkan manusia di bumi akan tempat asalnya, surga. seni suci, berdasarkan hal tersebut mempunyai atau mengikuti prinsip-prinsip tertentu yang berkaitan dengan nilainilai ilahiyah atau dimensi spiritual islam. pertama, mengikuti prinsip kesatuan kos1 mos dan apa yang ada di balik semesta dengan kesatuan prinsip ketuhanan (nasr, 1993:72). kosmologi islam dida-sarkan pada penekanan tuhan sebagai satusatunya sumber segala sesuatu, yang mengatur dan menghubungkan eksistensi-eksistensi yang ada di bawahnya; menghubungakan dunia material dengan dunia ghaib, dunia ghai dengan alam malaikat, alam malaikat dengan alam malaikat muqarrabin, alam malaikat muqarrabin dengan alruh dan ruh dengan karya kreatif primordial tuhan. semua bergerak dinamis dalam pola dasar yang selaras dan seimbang (nasr,l 993:57). masjid sebagai bentuk seni arsitektur suci islam juga memperlihatkan hal serupa. kekosongan, kesederhanaan, dan kemiskinan bentuk serta ppla menunjukkan status onologis dunia sebagai yang papa dan miskin di hadapan tuhan yang maha kaya. ihwal ruangruang yang sunyi merefleksikan kedamaian, sedang lengkungan dan kolom-kolom ruangan adalah ritme yang mengimbangi eksistensi kosmik yang menjelaskan fase-fase kehidupan manusia dan juga kosmos yang datang dari-nya maupun yang kembali kepada-nya (nasr, 1968:58). vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni kedua, mengikuti prinsip kesatuan hidup individu dan masyarakat yang diatur oleh hukum ilahi (al-syari'ah). masjid di sebuah kota islam tradisional, misalnya, bukan hanya sebagai pusat kegiatan religius melainkan juga seluruh kegiatan masyarakat, baik kultural, sosial, dan politik, juga pada tahap tertentu kegiatan ekonomi. karena itu, secara organis, masjid senantiasa berhubungan dengan pasar sebagai pusat ekonomi, istana sebagai pusat kekuasaan politik, sekolah sebagai pusat kegiatan intelektual, dan seterusnya. siapa yang memperhatikan kota islam tradisional pasti melihat kesatuan dan keterpaduan. di pusat kota pasti ada masjid, berdekatan dengan istana dan pasar. e. fungsi spiritual seni islam seni islam tidak berbeda dengan seniseni lain yang mengandung banyak fungsi (the liang gie, 1996:47-52), seni islam mengandung fungsi-fungsi khusus. menurut nasr, seni suci islam setidaknya mengandung empat pesan atau fungsi spiritual. pertama, mengalirkan barakah sebagai akibat hubungan batinnya dengan dimensi spiritual islam. tidak bisa diingkari, seorang muslim yang modern sekalipun, akan mengalami perasaan kedamaian dan kegembiraan dalam lubuk hatinya, semacam 'ketenangan' psikologis, ketika memandang kaligrafi, duduk di atas karpet tradisional, mendengarkan dengan khusuk bacaan tilawah al-qur'an atau beribadah di salah satu karya besar arsitektur islam nasr, 1993:214). kedua, mengingatkan kehadiran tuhan dimanapun manusia berada. bagi seseorang yang senantiasa ingat kepada tuhan (al-baqaiq). bahkan seni islam yang pada dasarnya dilandasi wahyu ilahi adalah penuntun manusia untuk masuk ke ruang batin wahyu ilahi, menjadi tangga bagi pendakian jiwa untuk menuju kepada yang tak terhingga, dan bertindak sebagai sarana untuk mencapai yang maha benar (al-haqq) lagi maha mulia (al-]alal) dan maha indah (al-jamal), sumber segala seni dan keindahan (nasr, 1993:214). kenyataan tersebut terjadi dalam semua bentuk seni islam. seni kaligrafi misalnya. kaligrafi yang merupakan seni perangkaian titik-titik dan garis-garis pada pelbagai bentuk dan irama yang tiada habisnya merangsang ingatan akan tindakan primordial dari pena tuhan. la merupakan refleksi duniawi atas firman tuhan yang ada di lauh mahfuzh, yang menyuarakan sekaligus menggambarkan tanggapan jiwa manusia terhadap pesan ilahi dan merupakan visualisasi atas realitas-realitas spiritual yang terkandung dalam wahyu islam (nasr, 1993:27-29). begitu pula dengan seni liturgi, tilawah al-qur'an, mengingatkan manusia akan keagungan tuhan. hal senada juga terjadi dalam syair-syair, musik dan karyakarya sastra lainnya yang notabene lahir dari model teks suci al-qur'an. keselarasan bait-bait syair dan irama musik menghubungkan diri dengan keselarasan dan ritme universal kosmik (nasr, 1993:102-170). ketiga, menjadi kriteria untuk menentuka apakah sebuah gerakan sosial, kultural dan bahkan politik benar-benar otentik islami atau hanya menggunakan , simbol islam sebagai slogan untuk mencapai tujuan tertentu. sepanjang sejarah dan dengan kedalaman serta keluasan manifestasi otentiknya, mulai dari arsitektur sampai seni busana, seni islami senantiasa menekankan keindahan dan ketakterpisahan darinya (nasr, 1993: 218). apakah mereka yang mengklaim berbivol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni cara atas nama islam juga telah menciptakan bentuk-bentuk keindahan dan kedamaian? apakah ada kualitas ketenangan, keselarasan, kedamaian, dan keseimbangan yang menjadi ciri khas islam maupun manifestasi artistik dan kulturnya, dalam sikap dan perilaku gerakangerakan dan organisasi islam tersebut? keempat, sebagai kriteria untuk menentukan tingkat hubungan intelektual dan religius masyarakat muslim. saat ini banyak tokoh berbicara tentang islamisasi pendidikan, sistem ekonomi maupun sistem masyarakat islam sendiri, disamping banyak yang melakukan berbagai usaha konkret untuk mencapai tujuan tersebut. semua itu bukan usaha yang mudah dan pasti menghadapi kendala dan tantangan yang berat. apakah mereka yang melakukan usaha-usaha tersebut menyadari bentuk keislaman di luar ketentuan syari'ah yang bersifat eksoterik? seni islam dalam pengertian universalnya dapat dijadikan kriteria untuk menilai sifat prosespencapaian tersebut beserta hasil-hasilnya, karena tidak ada yang otentik islam tanpa memiliki kualitas yang lahir dari spiritual dan menjelmakan dirinya disepanjang sejarah seni tradisional islam, mulai dari tembikar hingga sastra dan musik (nasr, 1993:218). artinya, tingkat keberhasilan yang dicapai yang bisa diukur lewat data-data empkis berkaitan dan sekaligus menunjukkan tingkat kualitas spiritual yang menyertainya. � e. simpulan seni bukan untuk seni sendiri. tidak ada istilah i'art pour i'art. karya seni, bagi nasr harus digali dan mengekspresikan dimensi-dimensi spiritual, merefleksikan prinsip-prinsip tauhid, sehingga ia mampu mengingatkan dan menuntun manusia untuk kembali kepada tuhan. inilah ciri khas pemikiran nasr yang perennial. gagasan ini hampir sama dengan teori seni dan keindahan iqbal. bedanya, seni nasr merupakan ekspresi dimensi spiritual sedangkan seni iqbal adalah ekspresi kreativitas ego. namun, lepas dari corak pemikirannya, cara pandang nasr adalah suatu yang sangat positif, bisa digunakan sebagai jalan alternatif atas dampak negatif modernitas yang ternyata justru menjauhkan manusia dari spiritualitas, sehingga menimbulkan kekeringan jiwa dan menimbulkan kerusakan (nasr, 1983:32-33). namun, hal ini bukan berarti tanpa persoalan. menurut faisal ismael (1996: 65-66), jika seni dikaitkan atau bahkan dibatasi oleh agama akan menyebabkan beberapa hal, yaitu (1) adanya keterikatan bentuk dan isi dari seni itu sendiri, (2) adanya ketegangan antara nilai seni yang longgar dengan nilai agama yang ketat, (3) terbatasnya ruang gerak seni karena dipakai sebagai bagian dari praktek keagamaan, (4) terganggunya kebebasan kreativitas karena adanya norma-norma agama yang mengatur. berdasarkan hal ini, pemikiran nasr justru akan menyebabkan seni islam sulit berkembang. daftar pustaka azra, azyumardi, 1993, "tradisionalisme nasr: eksposisi dan refleksi", dalam jurnal ulumul qur'an, nomor 4, vol. iv, him. 107. dahlan, abd aziz (ed.), 1996, suplemen ensiklopedia islam ii, jakarta: ichtiar baru van hauove. ismael, faisal, 1996, paradigma kebudayaan islam, yogyakarta: ilahi press. vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni nasr, s. hossein, 1993, spiritualitas dan seni islam, diterjemahkan oleh setejo, bandung: mizan. ______, 1986, ideals and realities of islam, london: george allend & unwim ltd. ______, 1993, islam syiah asal-usul dan perkembangannya, diterjemahkan oleh johan effendi, jakarta: pustaka grafiti. ______, 1986, sains dan peradaban dalam islam, diterjemahkan oleh mahyudin, bandung: pustaka. ______, 1981, knowledge and sacred, edinburg: edinburg university press. ______, 1968, the encounter of man and nature, london: george allend &unwim ltd. ______, 1983, islam dan nestapa manusia modern, diterjemahkan oleh anas mahyudi, bandung: pustaka syari'ati, ali, 1994, membangun masa depan islam, diterjemahkan oleh rahmani astuti, bandung: mizan. smith, jane i., “sayyed hossein nasr”, dalam johan l. epsosito (ed), 1995, the oxford eucyclopedia of the modern islamic world, new york: oxford university press. wiryoprawira, zein, 1986, perkembangan arsitektur masjid di jawa timur, surabaya: bina ilmu. qodir, t.t., filsafat dan ilmu pengetahuan dalam islam, jakarta: pustaka jaya. vol. vi no. 3/september-desember 2005 vol. 8 no.2 mei-agustus 2007.pdf harmonia jurnal pengetahuan dan pemikiran seni tari pendet sebagai tari balih-balihan ( kajian koreografi) (pendet dance as welcome dance coreography research) siluh made astini dan usrek tani utina stafpengajar jurusan sendratasik, fakultas bahasa dan seni, universitas negeri semarang abstrak tari pendet merupakan salah satu jenis tari putri yang biasa ditarikan secara berkelompok dan atau berpasangan, dengan menggunakan properti berupa bokor. pendet termasuk jenis tarian bali yang memiliki susunan gerak yang simpel pada awahiya tari pendet tergolong ke dalam jenis tari wali ( tarian sakral ), dengan ciri kesederhanaa penggarapan koreografinya. sifat kesederhanaan muncul pada susunan gerak yang selalu berjalan beriringan dengan penggunaan ruang dan waktu serta tata rias dan busana. terjadinya perubahan koreografi tari pendet disebabkan pula oleh adanya penyesuaian terhadap kepentingan pemenuhan kebutuhan akan hiburan, hal ini menuntut seniman bali untuk dapat kerkreasi pada tataran yang lebih tinggi, sesuai dengan perubahan fungsinya dari tari wali ( sakral) menjadi tari balih-balihan (tarian hiburan atau tarian ucapan selamat datang). kata kunci: tari pendet, koreografi, tari balih-balihan a. pendahuluan perkembangan pertunjukan tari di bali dari masa lampau sampai pada era globalisasi ini sangatiah berarti bagi eksistensi sebuah kesenian bali. perkembangan tersebut merupakan wujud dari kreatifitas seniman bali. wujud kreatifitas dituangkan melalui ide-ide baru sehingga menghasilkan karya seni lama yang bernuansa baru. karya seni lama yang dimunculkan dalam bentuk koreografi baru di-harapkan masih tetap menarik, sehingga dapat mem-pengaruhi jiwa penonton dan penikmat seni lainnya. munculnya ide-ide dari para seniman disebabkan oleh beberapa faktor diantaranya adalah adanya perubahan di bidang politik dan ekonomi. perubahan bidang politik dan ekonomi dapat mempengaruhi ter-jadinya perubahan selera masyarakat penikmatnya. perubahan juga sangat mungkin disebabkan oleh keberadaan seni tari yang tidak mampu lagi bersaing dengan seni pertunjukan lain. akibat dari hadirnya era globalisasi, para seniman memiliki ke bebasan untuk menampilkan gaya yang mereka inginkan. akibatnya, timbulah semacam arus perkembangan seni yang lazim kila sebut sebagai multikulturalisme ( multiculturalism ) atau pluralisme, yang menghargai karya seni dengan gaya apapun dan dari negara manapun. seni istana sudah tidak menjadi kiblat, demikian pula volume viii no.2 / mei-agustus 2007 170 harmonia jurnal pengetahuan dan pemikiran seni aliran-aliran seni dari mancanegara. dalam bidang seni pertunjukan, setiap kelompok etnis di indonesia ingin menampilkan jati diri mereka ( soedarsono, 2002:112) pendet merupakan salah satu contoh bentuk seni pertunjukan yang telah mengalami perkemba-ngan dalam dua dekade. perkembangan ditandai dengan munculnya kembali tarian pendet baru yang memiliki bentuk, isi, dan tata penyajian serta fungsi yang berbeda dengan tarian pendet pada waktu sebelumnya. tari pendet baru disajikan dalam bentuk, isi, dan struktur penyajian yang terpola. unsur-unsur seni yang terkandung dalam tari seperti : musik, gerak, pola lantai, level, ruang, dan waktu diatur dengan sebuah tatanan yang terstruktur, sehingga dapat memunculkan sebuah sajian tari yang menarik. menurut dibia (1993:31) ada sejumlah tari-tarian hiburan/ tontonan yang biasa disebut dengan tari bahh-balihan. tarian ini biasanya dipentaskan sebagai seni hiburan, baik bagi masyarakat bali sendiri maupun masyarakat di luar pulau bali ( wisatawan ) yang berkunjung di pulau dewata dengan tujuan untuk menghibur atau sebagai suguhan hasil kreatifitas seni berkualitas tinggi. jenis tarian hiburan meliputi berbagai jenis tari klasik tradasional, seperti : tari telek/jauk, topeng, arja, wayang wong dan legong, serta tari lepas lainnya seperti tari baris tunggal, pendet, gabor, dan lain-iain. peranan tari pendet sangat penting dalam kegiatan sosial dan keagamaan, karena itu tari pendet masuk dalam golongan tarian suci .tari pendet sering dijumpai pada saat upacara-upacara keagamaan (bebali), yang biasanya dipentaskan di halaman pum(jeroan ), atau halaman tengah (jdba tengah ), dan diiringi oleh gamelan berlaras pelog atau gamelan gong kebyar. pada jaman dahulu tari pendet merupakan tarian pura yang fungsinya untuk memuja para dewa-dewi yang berdiam di pura selama upacara odalan berlangsung (kusmayati dkk ,2003:78). seiring dengan perkembangan jaman, kebutuhan akan hiburan semakin banyak diperlukan oleh sebagian besar masyarakat bali, sehingga sekarang pendet beralih fungsi menjadi tari hiburan atau tari penyambutan. sebagai tari penyambutan, pendet difungsikan untuk menyabut kedatangan tamu atau sering disebut dengan istilah tarian selamat datang. ungkapan kegembira an, kebahagiaan, dan rasa syukur diwujudkan melalui gerak-gerak yang lembut dan indah. tari pendet merupakan salah satu jenis tari yang bisa dijadikan inspirasi oleh seniman bali untuk dikembangkan baik dari gerak, ruang, dan waktu. dilihat dari beberapa aspek pertunjukannya selain yang telah disebutkan di atas, seperti iringan, rias, dan busananya juga sudah ditata dengan apik. b. proses garap tari pendet pemikiran dan perenungan tidak bisa ditampik lagi dalam penggarapan gerak tari pendet, sehingga satu dengan yang lainnya saling jalin menjalin membentuk satu tarian yang utuh. menurut hawkins (dalam murgiyanto, 1983:39-40) proses garap tari melalui tahap eksplorasi, improvisasi, dan komposisi. berikut ketiga tahap dalam proses garap tari pendet sebagai tari balihbalihan atau sebagai tari hiburan. volume viii no.2 / mei-agustus 2007 171 harmonia jurnal pengetahuan dan pemikiran seni l. eskplorasi beberapa seniman ball yang namanya tidak disebutkan mulai terinspirasi untuk mengembangkan tari pendet. sejalan dengan teori smith (1985:20-23) bahwa rangsang dapat didefinisikan sebagai sesuatu yang membangkitkan fikir atau semangat atau mendorong kegiatan. eksplorasi sebagai pengalaman pertama bagi seorang penari dan penata tari untuk menjajagi ide-ide, rangsang dari luar bagi penata tari. tahap ini dapat dipersiapkan terlebih dahulu, atau sama sekali belum terencana dan atau distrukturkan yang berarti koreo-grafer sudah mempunyai rencana-rencana tari, ide-ide serta rangsang-rangsang apa yang dibutuhkan (hadi,1996:40). ketika melihat tari pendet yang belum dan yang sudah di kembangkan, kita akan bisa meraba-raba rangsang yang digunakan oleh beberapa seniman bali untuk mengembangkan tari pendet yang lazim dipentaskan sekarang. a. rangsang ide atau gagasan rangsang ide muncul ketika beberapa seniman bali melihat kesederhanaan gerak, ruang, dan waktu yang ditampilkan oleh tari pendet yang difungsikan untuk upacara agama. rias dan busanapun tidak luput dari pengamatannya. bokor sebagai properti tari ini dialih fungsikan, yang dulunya sebagai tempat sesaji sekarang berfungsi sebagai tempat bunga -bunga yang siap ditaburkan. b. rangsang kinestetik beberapa gerak tari yang ada pada tari pendet sebagai tari upacara masih di pakai pada tari pendet sebagai tari hiburan, seperti agem, angsel, megol, nyeregseg, ngumbang dan lain-lain. ada beberapa gerakan menarik yang bisa dilihat pada tari pendet sebagai hiburan seperti : gerak ngelung, melincer sambil nyeregseg, gerakan metimpuh sambil sembahan, gerak tabur bunga sebagai simbol ucapan selamat datang. ruang dan tempo gerakan sudah bervariatif. c. rangsang audio atau rangsang dengar tari pendet sebagai tari upacara diiringi dengan gamelan berlaras pelog dan berlaras slendro. gamelan berlaras pelog terdapat pada gamelan gong kebyar, sedangkan gamelan berlaras slendro terdapat pada gamelan gong semar pegulingan. tari pendet sebagai tari hiburan, gamelannya tidak ter-pancang dengan dua jenis gong di atas, akan tetapi bisa diiringi dengan jenis gamelan angklung dan jenis gamelan yang lainnya. pendengaran seniman-seniman begitu jeli hingga durasi waktupun diperpanjang sampai 8 menit, yang dulunya hanya kurang lehih 3-4 menit. 2. improvisasi improvisasi diartikan sebagai penemuan gerak secara kebetulan atau spontan, walaupun gerak-gerak tertentu muncul dari gerak-gerak yang pernah dipelajari atau ditemukan sebelumnya, tetapi ciri spontanitas menandai hadirnya improvisasi (hadi,1996:43). kecenderungan dari seniman-seniman bali melakukan improvisasi ketika mendengarkan musik. gerakan yang didapat lewat improvisasi terkadang dievaluasi terlebih dahulu kemudian dikomposisikan sesuai dengan tempo iringannya. 3. komposisi volume viii no.2 / mei-agustus 2007 172 harmonia jurnal pengetahuan dan pemikiran seni berdasarkan teori hadi (19%:3337) komposisi tari atau tatanan tari merupakan penyelek-sian atau pembentukan gerak menjadi wujud tarian, tujuannya adalah mengembang kan aspek-aspek ruang, waktu, dan energi yaitu gerak itu sendiri sebagai materi tari. pengembangan materi tari dalam koreografi tari pendet terdiri atas pengembangan ruang, waktu/ dan energi. menurut hadi (1996:12-13) tari dapat dipahami dari bentuk dan teknik yang berkaitan dengan komposisinya (analisis bentuk atau penataan koreografi) atau teknik penarinya (analisis cara melakukan atau ketrampilan). menurut martin (1993) dalam smith (1985:6) bahwa bentuk ... sesungguhnya dapat didefinisikan sebagai hasil pernyataan berbagai macam elemen yang didapatkan melalui vitalitas estetis, sehingga hanya dalam pengertian itulah elemen-elemen tersebut dihayati. proses pernyataan dimana bentuk dicapai disebut dengan komposisi (smith,1985:6). komposisi gerakan tari pendet setelah diamati ternyata banyak sekali terjadi pengulangan gerak, seperti gerakan yang ada pada agem kanan terdapat juga gerakan agem kiri. gerakan angsel selalu dijadikan gerakan transisi di dalam tari pendet pada dasarnya motif gerak tari pendet hanya beberapa gerakan seperti : megol, ngelung, agem kanan dan kiri, nyeregseg, ulap-ulap, dan tabur bunga. motif gerak yang ada kemudian distilir dan distorsi ewat beberapa pengulangan seperti pengulangan secara persis, gema ulang, dan pengulangan yang lain. c. aspek pertunjukan gerak tari pendet balih-balihan sudah mengalami per-kembangan yang maksimal ,artinya tidak hanya gerak agem, megol, nyeregseg, dan angsel saja melainkan di dalamnya sudah disisipi dengan gerak lain yang membuat koreografi tari pendet lebih terlihat menarik. gerak tersebut adalah gerak melincer ( gabungan dari gerak nyeregseg yang dilakukan dengan memutar di tempat 360 derajat ),gerak ngumbang ( jalan memutar membuat lingkaran besar ), ngumbang di tempat diikuit dengan perubahan arah hadap yaitu ke kanan, kiri, depan, dan belakang, gerak ngelung, gerak tabur bunga dengan posisi badan duduk simpuh dan gerak tabur bunga yang dilakukan dengan berjalan rnaju mundur. perubahan pada penamba-han gerak signifikan dengan diikuti perubahan tatanan ruang, antara lain terdiri dari variasi volume gerak (kecil : agem kanan dan kiri, ngumbang, nyeregseg, dan lain-lain. volume gerak besar atau lebar tampak jelas terlihat pad gerakan ngelung, disamping itu pola lantai yang sudah tertata rapi memberikan nuansa baru pada penggaran tari pendet. level yang bervariatif seperti level tinggi, sedang, dan rendah juga sangat mendukung dari keindahan tari tersebut semenjak tari pendet berubah fungsi, tempat pertunjukanpun dialihkan, yang semula sering ditemukan di halaman pura, sekarang sudah bisa ditemukan di banyak tempat seperti di panggung tertutup, terbuka, dan bahkan di lapangan juga di jalanan. waktu disebut juga durasi yaitu lamanya sajian tari pendet di atas pentas. hitungan waktu dimulai dari awal mulainya tari pendet sampai dengan berakhirnya volume viii no.2 / mei-agustus 2007 173 harmonia jurnal pengetahuan dan pemikiran seni sajian tari pendet. lamanya waktu sangat berpengaruh pada lamanya iringan musik. waktu yang di gunakan dalam sajian tari pendet adalah delapan menit. waktu yang berkaitan dengan tempo (cepat dan lambat ) dibuat bervariasi, artinya tempo iringan disesuaikan dengan tempo gerak atau sebaliknya. tempo meliputi tempo lambat, sedang, dan tempo cepat. tempo lambat terdapat pada gerak agem kanan dan kiri, luk nerudut dan luk naga satru serta duduk sineba diikuti dengan gerak tabur bunga. tempo sedang terwujud pada gerak ngumbang ditempat diikuti perubahan arah hadap. tempo cepat dapat terlihat pada gerak ngumbang memutar, nyeregseg, melincer, dan gerak tabur bunga maju mundur. penggunaan property bokor sloko mutlak dipakai. pada pinggiran bokor dihiasi dengan ornamen berupa janur (daun kelapa yang masih muda dan berwarna kuning). ornamen janur bisa dihias sesuai dengan motif potongan janur yang sesuai dengan selera penggunanya. ada yang menghias bagian tengah janur dengan potongan bermotif kotak, ada pula yang memilih motif irisan berbentuk belah ketupat atau gabungan dari kedua motif tersebut. perkembangan busana memberi kan ciri khas bahwa tari pendet balih-balihan merupakan tarian hiburan atau tarian ucapan selamat datang. busana di buat semenarik mungkin agar dapat memikat daya tarik penonton. perubahan tata busana terlihat pada penggunaan tapih berornamen bunbunan ( daun dan bunga-bungaan), kamen prada dengan jenis patra sari, sabuk prada ornamen bun-bunan atau kekngan tebu, serta selendang prada dengan motif patra sari. pusung gonjer adalah sanggul yang dipakai oleh penari wanita belum bersuami ( anak-anak dan remaja). sanggul ini terdiri dari dua bagian yaitu bagian pertama di beri nama batu pusungan yaitu pangkal sanggul yang berbentuk lingkaran letaknya di tengah pada bagian belakang kepala, sedangkan gonjeran adalah sisa rambut yang ditata menjuntai kebawah sampai batas bawah payudara ( dalam diktat buku ajar smkk,tt:9-10 ). sama halnya dengan pusung gonjer, pada pusung tagel juga memiliki dua bagian sanggul. bagian pertama disebut batu pusungan dan bagian kedua disebut dengan tagelan yaitu sisa rambut yang diikatkan kembali pada bagian batu pusungan sehingga membentuk lengkungan. pemakaian pusung tagel dan pusung gonjer mengalami per-kembangan seiring dengan perkembangan jaman. tidak ada lagi perbedaan dalam pemakaian pusung atau sanggul pada penari anak-anak, remaja, maupun dewasa, semuanya memiliki kebebasan sesuai dengan selera masing-masing. bahkan sekarang muncul sanggul dengan model baru yang banyak dikenakan penari pendet yaitu sanggul angka delapan. hiasan sanggul berupa tiga macam bunga, yaitu bunga jepun (kamboja), bunga mawar (mawa ), dan bunga mas terdiri dari bunga sandat dan bunga semanggi. masing masing disusun pada tata aturan yang berbeda, yaitu sebagai berikut: l).bunga jepun atau bunga kamboja diletakkan di sepanjang pusungan dan tagelan, juga pada kepala bagian belakang sunggaran letaknya volume viii no.2 / mei-agustus 2007 174 harmonia jurnal pengetahuan dan pemikiran seni melengkung dari atas telinga kiri menuju atas telinga kanan. 2).bunga mawar diletakkan di tengah kepala bagian atas tepat di belakang susunan bunga jepun. 3).bunga ' sandat disususn di separtjang susunan bunga jepun, tepatnya di belakang bunga mawar dan bunga jepun. 4).bunga semanggi diletakkan menjuntai ke bawah dengan cara menyelipkan tangkainya pada batu pusungan, tepatnya di belakang susunan bunga sandat. lebih lanjut, kedua jenis sanggul ini berkembang menjadi sanggul angka delapan,dengan aksesoris sama dengan yang dipakai pada model-model sanggul se-belumnya.sedangkan tata rias wajah pada tari pendet balih-balihan sudah mengalami kemajuan,hal ini terlihat pada penggunaan alat kosmetik berupa bedak , lipstik , pensil alis dan alat rias lainnya sebagai wujud kongkrit dari peru-bahan fungsi tari pendet wali menjadi pendet balih-balihan yang selalu mengutamakan keindahan gerak dan keindahan tampilan wajah. d. konsep keindahan tari pendet tari pendet sebagai salah satu bentuk tarian yang ekspresif, semua elemen perbendaharaan gerak, keseluruhannya dibuat dan disusun oleh penata tari dengan sedemikian rupa sehingga semua memiliki kaitan satu sama lain. bagian-bagian geraknya memiliki maksud tertentu sebagai wujud dari penggambaran sesuatu. dengan sentuhan estetis dari setiap motif gerak, maka yang nampak pada tari pendet adalah sebuah tarian yang memiliki rangkaianrangkaian komponen gerak yang representatif, sehingga gerak yang dipertontonkan akan menjadi mudah untuk dikomunikasikan kepada penonton. i made bandem memperkuat pernyataan di atas dengan pendapatnya bahwa masih ada aspek parameter lain yang sangat menentukan adanya keindahan pada tari yaitu gerak, ruang, dan waktu ( elemen dasar tari ). gerak bisa ditafsirkan sebagai gerak tubuh, gerak mata, tangan, dan gerak kaki. ruang menyangkut ruang tubuh seperti gerak agem serta komposisinya, yang disebut sebagai ruang internal, sedangkan ruang eksternal meliputi panggung dan lantai tempat pertunjukan. adapun yang menyangkut waktu adalah yang berhubungan dengan diurasi gerakan, panjang pendeknya tarian dan ritme musik. aspek lainnya adalah pernapasan yang berhubungan dengan udara, udara menciptakan bayu atau energi, selanjutnya energi didistribusikan pada saat menari sehingga lahirlah estetika. estetika dalam seni adalah sesuatu yang hanya bisa dinikmati dengan rasa. rasa keindahan pada tari dapat terwujud melalui keutuhan penggarapan yang dapat menimbulkan rasa ketertarikan pada semua penikmatnya. keutuhan penggarapan itu meliputi berbagai aspek yaitu keharmonisan, keseimbangan, dan penekanan. keindahan tari pendet terletak pada konsep keindahan tari bali pada umumnya yaitu:agem, tandang, tangkep, dan tangkis. djelantik dalam astini mengemukakan tentang teori keindahan yang dapat digunakan untuk me-ngamati keindahan-keindahan yang ada pada tari pendet. ada tiga unsur yang mendasar dalam teori volume viii no.2 / mei-agustus 2007 175 harmonia jurnal pengetahuan dan pemikiran seni keindahan djelantik yaitu: 1.unsur keutuhan dan kebersamaan (unity ), dengan keutuhan dirnaksudkan bahwa karya yang indah menunjuk pada keseluruhan sesuatu yang utuh tanpa cacat. dalam karya seni ada tiga macam kondisi yang mem-punyai sifat memperkuat keutuhan, yakni: simetri, ritme, dan harmoni. 2.unsur penonjolan atau penekanan (dominance), penonjolan mempunyai maksud untuk mengarah kan perhatian orang yang menikmati sebuah karya seni ke suatu hal yang tertentu yang dipandang lebih pantas daripada hal lain dalam karya seni itu. s.unsur keseimbangan (balance) merupakan syarat keindahan yang mendasar dalam sebuah karya seni. unsur tari pendet yang terkait dengan prinsip keindahan djelantik adalah sebagai berikut: 1. unsur keutuhan atau kebersatuan (unity) keutuhan dan kebersatuan erat kaitannya dengan simetri, ritme, dan harmoni. ketiga unsur ini dapat memperkuat keutuhan karya seni, khususnya seni tari,termasuk juga tari pendet. pada tari pendet keutuhan atau kebersatuan dapat terlihat dari gerak, iringan, dan kostumnya. gerak tari pendet sangat dinamis, kedinamisan gerak itu dapat terwujud dari penggarapan tempo gerak yang variatif. pada awal tarian atau intro ada gerak yang digarap dengan tempo cepat. gerak tersebut diwujudkan pada gerak ngunibang (berjalan), nyeregseg, melincer, dan gerak berjalan pada tabur bunga. gerak dengan tempo lambat dapat dilihat pada gerak luk naga satru, luk nerudut, serta gerak duduk sembah. iringan pada tari pendet dibagi menjadi tiga bagian yaitu bagian awal disebut sebagai pengantar singkat (papeson) digarap dengan tempo yang cepat, bagian tengah atau pengadeg diiringi musik dengan tempo lambat dan sedang, dan pada bagian akhir (panyuwud) diiringi musik dengan tempo cepat. selain gerak dan iringan, terdapat kostum yang juga men-dukung keindahan pada tari pendet. kostum tari pendet memiliki ciri khusus yaitu pada penggunaan property berupa bokor. bokor berfungsi sebagai alat untuk tempat bunga tabur. bunga tabur yang biasa dipakai adalah bunga mawar. gerak tabur bunga dilakukan sebagai simbol pe-nyambutan tamu atau ucapan selamat datang. tari pendet sering mengenakan kostum dengan warna-warna yang mencolok dan kontras antara warna kain dalam, kain luar, dan kain selampek atau selendang, serta stagen, misalnya warna kain dalam merah muda, sedangkan kain luarnya berwarna kuning,dan selampeknya berwarna ungu, dengan stagen yang berwarna-warni. disamping warna kain mencolok, terdapat juga ornamen kain dengan motif bun-bunan (dedaunan) dan pemakaian accecories rambut yang sangat menarik pula. ketiga unsur tersebut yaitu gerak, iringan, dan kostum memiliki hubungan yang sangat harmonis sehingga terwujud dalam sebuah satu kesatuan yang utuh sehingga menjadi sajian tari yang menarik dan dapat menarik perhatian penonton 2.penonj olan/penekanan (dominace) penonjolan mempunyai maksud untuk mengarahkan perhatian penonton agar tertarik volume viii no.2 / mei-agustus 2007 176 harmonia jurnal pengetahuan dan pemikiran seni dalam menikmati pertunjukan karya tari tersebut. penonjolan atau penekanan pada tari pendet terlihat dari gerak tabur bunga. gerak tabur bunga sebagai simbol ucapan selamat datang bagi tamu yang datang dalam acara tertentu, hal ini sangat cocok dengan fungsi tari pendet sebagai tari penyambutan. ^.balance (keseimbangan) keseimbangan merupakan syarat keindahan yang sangat mendasar dalam semua karya seni termasuk tari pendet. pada tari pendet unsur keseimbangan dapat dilihat pada garapan gerak, ruang, dan waktu yang variatif, sehingga dapat menciptakan tampilan ke-seluruhan tari pendet menjadi lebih komunikatif. wujud kongkrit dari teori keseimbangan tersebut terdapat pada penciptaan gerak yang sederhana namun komunikatif serta dinamis, aspek ruang kelihatan menarik karena penggarapan volume gerak yang bervariasi mulai dari volume gerak sempit contoh pada gerak ngumbang, volume gerak sedang yaitu pada gerak duduk sembah,dan volume gerak lebar seperti gerak ngelung dan gerak melincer. arah hadap penari dibuat bervariasi sehingga dapat dilihat oleh penonton dari berbagai arah, contoh: gerak luk nerudut, luk naga satru, tabur bunga dibuat menghadap ke depan, sedangkan gerak melincer penari dibuat memutar. pola lantai menggunakan dua macam jenis garis, yaitu garis lengkung dan garis lurus. pola lantai dengan garis lengkung terwujud pada gerak ngumbang dan gerak melincer, pola lantai yang menggunakan garis lurus dapat dilihat pada saat penari melakukan gerak nyeregseg dan gerak tabur bunga. penggarapan level juga terlihat pada koreografi tari pendet, diantaranya adalah adanya level tinggi yaitu level yang diciptakan penari pada saat berdiri di atas pentas, hal ini diterapkan pada gerak ngumbang, agem kanan dan agem kiri, luk nerudut dan luk naga satru, ngelung, nyeregseg, melincer, dan gerak tabur bunga. level rendah tercipta pa'da saat penari duduk simpuh di atas pentas sampai dengan merebahkan badan di atas lantai. level redah tampak pada saat penari melakukan gerak duduk metimpuh dan nyawang kembar. aspek waktu terb'agi menjadi dua antara lain waktu yang berhubungan dengan durasi atau lamanya sajian tari dan waktu yang berhubungan dengan tempo gerak. waktu yang terkait dengan durasi atau lamanya pertunjukan tari pendet relatif sedang yaitu delapan menit, sedangkan waktu yang berhubungan dengan tempo gerak sangat bervariatif. kevariatifan tempo gerak muncul disebabkan karena sifat pada gerak tari pendet yang sangat dinamis,ada saatnya menggunakan tempo cepat kemudian melambat dan kadang-kadang menggunakan tempo sedang pula. ketiga aspek komposisi tersebut ( gerak, ruang, dan waktu ) pada koreografi tari pendet ditata dengan bagus sehingga menjadikan tari pendet menjadi salah satu jenis tari bali yang mudah berkembang di semua tempat seiring dengan perkembangan jaman. hal ini terbukti banyaknya perguruan tinggi negeri seni dan perguruan tinggi negeri non seni yang memiliki jurusan seni tari, memasukkan tari volume viii no.2 / mei-agustus 2007 177 harmonia jurnal pengetahuan dan pemikiran seni pendet menjadi salah satu materi dasar tari bali. selain itu tari pendet juga diajarkan di berbagai lembaga pendidikan non formal (sanggar tari) di luar pulau bali dengan pertimbangan selain geraknya yang sederhana dan menarik juga durasi waktunya yang relatif singkat sehingga mudah untuk dipelajari oleh anak-anak. e. penutup tari pendet merupakan sebuah tarian yang biasa di tarikan secara berpasangan maupun kelompok. awal mula sejarah tari pendet merupakan tarian upacara yang bersifat sakral atau sering disebut sebagai tari wali dan berkembang seiring dengan perkembangan jaman, sehingga beralih fungsi menjadi tari balih-balihan ( tarian hiburan/tarian ucapan selamat datang). di beberapa tempat, tari pendet sebagai tari wali sering dijumpai tampilannya di halaman pura. para penari mengenakan busana berupa pakaian adat bali. properti yang dipakai berupa bokor yang berfungsi sebagai tempat sesaji. sesaji tersebut berupa bunga, kepingan uang, hio, dan berbagai jenis makanan yang biasa dikonsumsi oleh masyarakat bali sehari-hari ,serta perlengkapan sesaji yang lain seperti : kendi, sangku, dan cowan. seiring dengan perkembangan jaman, banyak usaha dari para seniman tari di bali untuk tetap mempertahankan eksistensi tari pendet agar tetap digemari masyarakat bali serta para wisatawan asing maupun wisatawan domestik. maka, tari pendet dikemas dengan sedemikian rupa sehingga menjadi tarian yang ekspresionis. sifat kesederhanaan yang terdapat di dalam tari pendet dikemas dengan cara mengolah dan menambah pola pola gerak yang sudah ada, dengan sedikit memberi sentuhan pada aspek ruang dan waktu, sehingga sajian tari akan terlihat lebih dinamis. bukti eksistensi tari pendet adalah banyaknya perguruan tinggi negeri seni dan non seni yang berada di luar pulau bali menjadikan tari pendet sebagai mata kuliah tari dasar bali. bukti lain dapat dilihat pada sebagian lembaga pendidikan non formal ( sanggar seni tari ) di luar bali memasukkan tari pendet di dalam kurikulum pembelajarannya. keeksistensian tari pendet juga sangat dipengaruhi oleh sifat kesederhanaan dan kedinamisan geraknya, sehingga mudah dan menarik untuk dipelajari oleh berbagai kalangan ( anak anak, remaja, dan dewasa ) khususnya di luar pulau bali. daftar pustaka astini,siluh, made. 2000." dalam lakon basur pertunjukan arja di desa tegal darmasaba bali". tests program studi pengkajian seni pertunjukan dan seni rupa jurusan ilmu-ilmu humaniora fakultas pascasarjana: universitas gajah madayogyakarta bandem, i m. l996. etnologi tari ba/i.denpasar:kanisius dibia, i w.1999.sezay<mg pandang seni pertunjukan bali. bandung:masyarakat seni pertunjukan indonesia volume viii no.2 / mei-agustus 2007 178 harmonia jurnal pengetahuan dan pemikiran seni dibia, i w.l996.prinsip-prinsip keindahan tari bali dalam jurnal seni pertunjukan indonesia 100 127. yogyakarta: masyarakat seni pertunjukan indonesia hadi , sumandiyo. l996. aspek aspek koreografi kelompok:yogyakarta:manthili soedarsono, r m.2002.sem pertunjukan indonesia di era g/ote/w«sz.yogyakarta:gajah mada university press sedyawati edi.l981.pertumbuhan seni pertunjukan.jakarteisinar harapan smith, jacqueline. l985. komposisi tari sebuah petunjuk praktis bagi guru. terjemahan ben suharto.yogyakartarlkalasti kusmayati, h.2003aneka tari -tarian nusantara dalam indonesian heritage murgiyanto, sal.1975. koreografi. jakarta: dirjen pendididkan dasar dan menengah depdikbud n n.t t.tata rias rambut dalam buku diktat sekolah menengah keterampilan keluarga.tegal volume viii no.2 / mei-agustus 2007 179 154 community-based art education as a cultural transfer strategy in the jaran kepang art performance of semarang regency eny kusumastuti, tjetjep rohendi rohidi, hartono, agus cahyono universitas negeri semarang, indonesia submitted: 2021-03-08. revised: 2021-04-10. accepted: 2021-05-24 abstract jaran kepang semarangan is a community based art product. it is a product that has existed in between generations. this research reviews community-based art education as a means to transfer the culture of jaran kepang performance. this research is qualitative research with an interdisciplinary approach of sociology to discuss community-based art education and anthropology to dig deeper into the system of knowledge, values, and beliefs within the performance of jaran kepang. the research includes a field study in semarang regency. the researchers collected the data through observation, interviews, and documentation. the researchers validated the data through triangulation of technique, sources, theory, and times. the data were analysed based on the theories of janet adshead along with miles and huberman. the research finds that 1) there is a change of community-based art education, including the system of knowledge, values, and beliefs; 2) the transfer of jaran kepang is similar to the theory of cavalli-sforza and feldman under the scheme of agil (adaptation, goal-attainment, integration, latent-pattern-maintenance). there is a shift of inheritance system which is from vertical transmission (intergeneration of family) to horizontal transmission or planned regeneration via social media, training, and performance; 3) the development of jaran kepang semarangan is categorized into five types, which are ritualistic ceremony; entertainment of people who hold events, such as marriage, circumcision, gratitude events; rayonan; and entertainment in tourist attraction, cultural festival, or dance competition. keywords: community-based art education, cultural transfer, agil, vertical transmission, horizontal transmission how to cite: kusumastuti, e., rohidi, t. r., hartono, & cahyono, a. (2021). community-based art education as a cultural transfer strategy in the jaran kepang art performance of semarang regency. harmonia: journal of arts research and education, 21(1), 154-167 harmonia: journal of arts research and education 21 (1) (2021), 154-167 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i1.30181 of identity to the society where it belongs. this study focuses on jaran kepang, a symbol of identity for javanese village farmers. initially, jaran kepang is a medium of ritualistic ceremony (pigeaud, 1938). javanese farmer community performs the tradition as a medium of prayers for the safety, wealth, and security of their community to god (sedyawati, 1981). irianto (2017b) adds that jaran kepang (also known introduction art is an integrative need that includes the element of beauty, wisdom, and acceptance. as an integrative need of aesthetics, art contains guidance of systems, values, knowledge, and beliefs (rohidi., 2000). there are various forms of art in society, especially in the village, which are invented as forms of creativity and symbol corresponding author: e-mail: enykusumastuti@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 eny kusumastuti et al., community-based art education as a cultural transfer strategy in 155 as jathilan) represents the identity of javanese farmers. jaran kepang or jathilan is a traditional dance performed by a group of people with a dummy horse. the dance contains a meaningful symbol of society’s daily life and their togetherness as a group of farmers (nugraheni, 2014; nuryani, 2008). society preserves the culture by maintaining the existence and performing it humbly in public. ironically, there is a rising stigma that jaran kepang is identical to dirty, slum, and cheap culture. this stigma exists due to the simple costumes: kneelength pants, jarit, stagen (belt), and head band without any facial makeup. the dance is performed with a simple look since the performers are in a trance during the whole presentation. they were possessed by spirits while doing some attractions. they are unaware that their costumes are dirty with mud and dust. most of the time, their costumes are ripped while dancing. jaran kepang has a magical element of which the society believes that it mediates them with the spirits. hence, the society also believes that they hold the performance or become the member of jaran kepang performers to keep them away from spirits. the society feels that the magical element in the performance prevent future disturbance of spirits. therefore, jaran kepang is performed along with a ritualistic ceremony to communicate with the ancestor’s soul regardless of public demands. as in the other traditional community, the supporting community has the idea that this art becomes the medium of communication of the society to the spirit of ancestor. lindsay (2006) mentions that traditional art has a strong correlation to social context comparing to the public demand. semarang regency is an area where the society still preserves and respects the traditional art of jaran kepang. the statement is proven from the high number of events and audiences within the performance of jaran kepang. semarang regency’s locals call the tradition jaran kepang or reog. around 306 groups of jaran kepang performers spread in villages, districts, and areas in semarang regency. there are three villages which have groups existing for a long time (dottcom, 2015). along with the development of knowledge and technology, rationality becomes the main principle of life apart from religion and social norms. as time goes, cases of public spirit possession or trance decrease, although they are not completely gone. this is evident in the modern presentation of jaran kepang. child performers are not actually in a trance since they are afraid if the possession might interrupt their minds during their school activities. another influencing factor to the development of jaran kepang is a religious belief. people tend to hold communal prayers led by an ustad or an islamic religious leader rather than hold a jaran kepang in public to prevent spirit attacks. modern jaran kepang is packed following the aesthetics of the technological era. people include the element of modernity. paranti (2014) explains that the influencing factor for the development of jaran kepang includes the element of quality and quantity. in terms of quality, the presentation of jaran kepang incorporates the components of aesthetics. in terms of quantity, there is a high number of public performances of the dances. palevi et al. (2016) mention that jaran kepang develops along with the growth of the local tourism industry in semarang regency. with the opening of a tourist location, the society can see the performance of jaran kepang regardless of its dimming reputation. however, the process of managing tourism does not involve society. this method of management is not helpful to the tourism industry since it does not include the local’s aspirations. hence, it does not help to the promotion of jaran kepang. minarto (2009) describes that villagers need the support and power to promote jaran kepang. it is correlated to their local custom, such as the ritual to clean the village and the village institution. the membership of jaran kepang group contains the member from the physical and transcendental nature called as punden/ harmonia: journal of arts research and education 21 (1) (2021): 154-167156 mbahukrekso of the village. the balance and harmony of society with the village institution is the current status quo that every party should preserve. prior studies about jaran kepang show that the society uses an adaptive strategy to preserve traditional art as an identity for the local community. the studies also show that the dance has a function as a social and ceremonial symbol to society. jaran kepang does not only has a function for entertaining people, but also facilitating people to hope and pray (irianto, 2015, 2016, 2017a; e. kusumastuti, 2020a; palevi et al., 2016; paranti, 2011, 2014; sugihariyanto et al., 2019; yusuf rizki irawan, 2016) kemudian mengalami perluaasan fungsi digunakan dalam tradisi merti dusun, sebagai mobilisasi massa, sebagai media intregrasi sosial, se-bagai simbol identitas masyarakat. (3 based on the phenomena and studies above, this research discusses the community-based art education on the cultural transmission of jaran kepang. this research finds that there is a changing pattern of the transfer of jaran kepang within the community based art education to the newer generation. this research also finds that there is a unique phenomenon where the modern jaran kepang includes the element of dramatic fake possession to attract public attention. methods this research is a qualitative research with an interdisciplinary approach of sociology to discuss the community-based art education and anthropology to dig deeper into the system of knowledge, values, and beliefs within the performance of jaran kepang. the research includes a field study in semarang regency. there are 19 dance groups from each district that become the object of the study. the primary data of the study are the intra aesthetics of jaran kepang and the extra aesthetics of the dance, including the processes of community based arts, patterns of knowledge, values, and beliefs as the basis of jaran kepang, and the strategies of cultural transmission through socialization, internalization, and enculturation. the secondary data of the research include the location, the geographical condition, and the demography of the field study site. the sources of the primary data are the head of the dance group, the choreographer of the dances, the dances, the musicians, and the audiences. the sources of the secondary data are the head of the village and the society in general. the researchers collected the data through observation, interviews, and documentation. the observation focuses on the people and the environment who is correlated with the culture to produce accurate and detailed data (rohidi., 2011a). the researchers conducted a structured observation. first, the researchers observed the location, physical condition, geographical situation, the scope of the area, and the demography of the field study site. second, the researchers observed the dance groups. third, the researchers focuses on the pattern of the community-based art education as a mean of cultural transmission, specifically in the process of socialization, internalization, and enculturation. the valid information was acquired by interview (rohidi., 2011). this research employed structured interviews. moleong (2011) explains the steps of interviews as (1) plannings of the interview, (2) execution of interviews, (3) collecting data of interviews, and (4) post-interview activities. the interviews were conducted to the head of the dance groups, the dancers, the musicians, the handler of the possessed dancers, and the audiences. a study of documentation was done to strengthen the proof that there was research to the presentation of jaran kepang. the researchers collected the data by documentation. the researchers made a list of required data, including the stories, pictures, and videos of jaran kepang. the archived data regarding jaran kepang becomes the main information to this research. apart from that, the researchers eny kusumastuti et al., community-based art education as a cultural transfer strategy in 157 collected recordings containing the description of the dances, the movements, the backsound music, the costumes, and the properties for the performance. the researchers also collected pictures and videos of the dance presentation. the research validated the data through triangulation. in this process, the researchers need to verify the conclusion of the findings in general. the researchers validated the relevance and consistency of the title, problems, and significance of the research based on the discussions. moleong (2011) says that triangulation is important to validate interviews. triangulation includes the validation of research techniques, sources, theories, and timelines. the process of data analysis began with raw data presentation. then, the process continued with the systematic ordering of the scientific data. this step refers to the theory of miles and huberman. meanwhile, the analysis for the structured performances of jaran kepang is based on adshead (1994). in adshead (1994), the analysis of research is ordered from 1) the introduction and description of the elements of performances, 2) the understanding of each component, 3) data interpretation, to 4) data evaluation. results and discussion the development of jaran kepang tradition traditional art is a product of local creativity through intergenerational inheritance based on the symbols of cultural and spiritual symbols (chamim, a.i, 2003). traditional art has its own uniqueness and specification. this art has a function as a means of communication and as a tool for individual as well as collective expression for villagers and suburban communities (hersapandi, 2012). d’amico, (2002) affirms that authentic tradition roots deeper in their supporting society’s belief, while the performers are becoming the actor preserving the culture. the performance of jaran kepang is still preserved well nowadays in java. jaran kepang, also known as jathilan or kuda lumping, connects the values of a ritualistic ceremony held together by the local community around it. jaran kepang (also known as kuda lumping, jathilan, jaranan, reog) is a community-based tradition that reflects a horse’s movement through the property of dummy horses made of bamboo. jaran kepang came from javanese words of jaran, which means horse, and kepang, which means dummy horse made of braided bamboo. a performance of jaran kepang displays a group of horse riders possessed by spirits and performed attractions that highlight their physical endurance and magical power. pigeaud (1938) describes that the dance contains the movement of a dancer carrying the dummy horses imitating a person who rides a horse. soedarsono (1998) adds that this culture came from prehistoric indonesian, called sangyang jaran in bali and jaran kepang in java. jaran kepang is a medium to invite the soul of the ancestors or a spirit of monkeys, horses, or tigers based on public demand. theoretically, this presentation is called totemism. totemism means the reflection of nature in society’s moral structure, which systematically relates nature and humans in culture. as stated by levy strauss in rindorindo (2016), jaran kepang invites a spirit or totem animals to symbolizes the gain of power to repel the disturbing spirit from the local community or simply prevent bad lucks to the society. the ceremony is a more important part in jaran kepang than the totem’s invitation. the core of the tradition is the communal praise of the clan to the cult of their culture. a clan is a group of people from the same family line based on their parents. the ritual is sacred to strengthen people’s belonging to their clan (durkeim dalam syamsuddin, 2017). jaran kepang was originated from the pre-hindu age when it was used in a ceremony of rites. the left identity can be seen on the offerings, prayers, and mantras to invite the spirit of dead ancestors. in this case, the society respects their elderly that harmonia: journal of arts research and education 21 (1) (2021): 154-167158 they believe they can invite their soul although their body has been deceased and brought to the afterlife. another belief explains that the ancestor who had high spiritual power influenced and advises which helped their offsprings in living their lives (pramana dalam kuswarsantyo, 2013). ambarwangi (2014) states that the culture is not only applied to an egalitarian society but also to a patriotic one. in this sense, the supporter of the culture contains meaningful symbols. jazuli (2015) sides with the patriotism that people should be involved in preserving the culture. in his words, the people in semarang regency should have the feeling of owning the dance of prajuritan dance or jaran kepang by developing the dance and promoting it. jaran kepang is promoted well in the era of science and technology. the dance has been packed with modern choreography in variative moves, shorter duration, and appealing costumes. the performance was recorded well and filed in vcd, dvd, or another portable document saver (sutiyono & suharjana, 2017). the development of the tradition has grown the pattern of the social culture. within the performing elements, the dance has more complicated choreography, back sound, and properties. the development includes the details, such as 1) the combined use of diatonic and pentatonic tone back sound through the use of keyboard, drum or snare drum, and trumpet; 2) free movements and style; 3) the incorporation of leak culture from bali; and 4) the emergence hundreds of local dance groups in semarang regency. society also promotes the culture in their social media. in general, jaran kepang semarangan’s development are classified into five types or performance, which are ritualistic ceremony, entertainment of people who hold events, such as marriage, circumcision, gratitude events; rayonan; and entertainment in a tourist attraction, cultural festival, or dance competition. jaran kepang’s performance usually begins with the provision of offerings and rituals. the dancers were then in a trance due to the spirit’s invitation. the trances could happen at a sudden moment. the handlers were responsible for controlling the possessed people during the performance. the dance then continues with the culture of nyekar pepundhen (providing offerings), ngguyang jaran (handling the possessed), kepungan (controlling the possessed), citing mantras, and burning the incense. the handler prepares these activities before and during the events so that the performance can be executed well. the preparation includes asking the dancers to pray together before the public presentation (figure 1). figure 1. pre-performance prayer (documentation: agus 2018) jaran kepang has a function to redeem an oath within marriages, circumcision, and gratitude events. this purpose begins with spreading yellow rice and coins and continues with the trance for the stage performance. the public is usually excited to see the possessed performers. usually, suppose the duration of the dance is longer. in that case, there will be more people possessed from the audiences as in figure 2, or the performance of celeng dance by paguyuban langen turonggo jati in a small field located in jatijajar, bergas. rayonan jaran kepang is a collaboration of jaran kepang performance by one dancing group and the other ones. the dance within rayonan performances is jaran kepang and topeng ireng, gedruk, and soreng. there will be around three to five groups from different villages or districts collaborate for public performance within eny kusumastuti et al., community-based art education as a cultural transfer strategy in 159 this combination. usually, the groups have known each other’s members; thereby, they do not fix the price for the performance. the fee to hold a rayonan was paid by the organizer. the dance troop will get a transportation allowance of rp. 500.000,00 to rp. 1.000.000,00 depending on the distance from the group’s studio to the location of the performance (e. kusumastuti, 2020a). in figure 3, baruklinthing dance troop from bejalen, ambarawa is performing on april 11, 2018. figure 2. mass possession of the dancers and audiences (documentation: kusumastuti 2019) figure 3. baruklinthing troop from bejalen, ambarawa (documentation: kusumastuti, 2018) the performance of jaran kepang for dance festivals or tourist entertainment is different to the dance for a ritual. for the festival, jaran kepang is performed by following the rules demanded by the organizer. the repackaging of jaran kepang is based on the surakarta style of the dance. it is evident from the movements, back sound, facial make-up, costumes, floor pattern, and properties. the following picture shows a performance done by langen budi sedyo utomo troop in the festival of jaran kepang on dream land, salatiga, on november 26, 2017. figure 4. the performance from langen budi sedyo utomo troop (documentation: kusumastuti 2018) the development of jaran kepang is based on three stages, training, management, and assistance based on the community-based art education (e. kusumastuti, 2020b). the change of presentation comes from internal and external influences of society. the packaging of the performance is varied. it can be performed by adult or young male or female performers. the development of jaran kepang in semarang regency began in 1980 from the creation of prajuritan dance by hernowo sujendro, sutrisno, and sugiyanti. the dance is also called penataran since this dance came from a presentation in gedong songo temple. the society initially called the dance songo dance since the dance symbolizes nine moves of gedong songo temple. prajuritan dance pictures the struggle of prince sambernyawa against the dutch colonial. prince sambernyawa’s slogan is included into the dance, which is tiji kabeh (mati siji mati kabeh, mukti siji mukti kabeh or one dead the others also dead, one alive the others also alive), and hold the concept of tridharma (rumongso handarbeni or being aware, melu hanrungkebi or sense of belonging, mulat sariro hangrosowani or being involved) (dtwdb, 2019). prajuritan or songo dance contain the repetition of nine moves. it was deemed monotonous. hence, there was an idea to develop the moves. in 1996, experts include some elements of conventional dance. the additional moves are varied based on the basis of surakarta dance. the dance floor pattern was varied following the harmonia: journal of arts research and education 21 (1) (2021): 154-167160 changes of level and the element of dance composition. the backsound of the dance only came from bende, gong, and kendang. nowadays, the back sound had additional sounds from pelog or slendro in the combination of pentatonic and diatonic music. the make-up and costumes of the dance followed the style of surakartan ksatrian costume and make-up. in figure 5, langen budi sedyo utomo group wears the make up and costumes for classical dance in surakartan style. figure 5. langen budi sedyo utomo group (documentation: ragil 2018) apart from the apparels, the development of the presentation is visible from the arrangement of the stage, lighting, and music. the performance is not only on an outdoor field like it was in the past. modern jaran kepang dance is performed on a proscenium or portable stage. the organizer begins to use spot light for the lighting and follows the spotlight with huge power. the dance also uses a better sound system for the music so that the sound of gamelan can be heard from a distance. jaran kepang still exists since there are many javanese supporters. many people are still performing, seeing, and preserving the dance despite the existence of western modernization. the attempts to preserve this become the basis to maintain the identity of the javanese people. community-based art education learning art is for developing the cultural value and meaning of humans. humans’ cultural values and environments grow based on imagination, institution, thoughts, creativity, and sensitivity. local wisdom is created through wide knowledge, intelligence, common sense, insights, careful attention, and breakthrough (buchori, 2000). art is used as a way to achieve the purpose of education, which is to fulfill the aesthetic needs of humans. art education gives a chance for people to know their culture, identity, and personality individually or collectively. the elements of culture include knowledge, values, and beliefs (triyanto, 2014). rohidi (1994) explains that the process of transmitting culture can happen through education. the process needs the involvement of the elderly, society, educators, and students. the main idea of art education is to ensure that the substance within the art can guide the learners to live strategically and adaptively and become the model of their thought to act individually in general public. cognitively, it is expected that art education develop human’s cognitive, affective, and psychomotoric development. the process of cultural transfer througj community based art education is done to the society. hence, the society should be involved within the development of this type of education. there is a reformation of centralized education (government-oriented education) to become decentralized (communityoriented education) (suharto, 2017)(suharto, 2005). in this case, a local group of art enthusiast should be involved in building the curriculum of local, regional, or national cultural education (sagala, 2004) (suharto, 2005). sihombing (2001) mentions that the society’s involvement in planning, executing, evaluating, and growing the attempt in educating people should have the same future-oriented mindset. society is placed as the organizer or actor in community based education (hasmiati, 2020). the process of this type of education should not be based on strict regulation (surakhmad, 2000). the execution of community-based education is based on six ideas, which are 1) sensitivity and concern of society to education, 2) the awareness to the importance of education, 3) the awareness of the society that educaeny kusumastuti et al., community-based art education as a cultural transfer strategy in 161 tion develops their potential growth, 4) the understanding that education provides a clear career path, 5) people’s participation and activity in education, and 6) peoplebased funding and infrastructure development (surakhmad, 2000). indonesian education is ruled under regulation number 20 the year 2003 article 13 section (1). it includes formal, informal, and non-formal education that synergizes, complements and enriches one. a functional paradigm is used for community-based education from the regulation (suharto, 2017). community-based art education binds thoughts, values, and beliefs. for jaran kepang semarangan, a social system of thought becomes the core of knowledge in the teaching of the dance. most dancers of jaran kepang do not have a background of choreography. the performers learn the movements based on what their ancestors taught them. hence, the routines of jaran kepang do not have a set of ordered movements. jaran kepang was originated from a farmer community. they use a dummy property of horse to entertain themselves from a day of farming. irianto (2017b) explains that javanese farmers always try to find something to entertain them while working. the farmers live nomadically based on the season. hence, they try to strengthen the bonding and peace of the community by expressing their identity through traditional arts without any basis of art education. jaran kepang contains the system of javanese normative values. the culture contains the norm of appreciating arts and opinions from other people. the appreciation came from selecting people’s input, whether it is a good or bad one (kuttsoft in setianingsih, 2005). koentjaraningrat (1993) theorizes that humans have a system of religion where beliefs and deities are centralized from a mysterium in a tremendous and sacred moment. jaran kepang is a sacred art with meaningful and powerful deitic components. the secrecy includes 1) something useful for the society; 2) something with an aesthetic and genuine value to people; and 3) something accepted and followed unconditionally by people (kuttsoft in koentjaraningrat, 1993). jaran kepang also holds the value of brotherhood, regardless of age, social status, and gender. almost all people work together to help each other in preparing the place, properties, and other needs in every performance. in general, there are three moral values of jaran kepang, which are philosophical (abstract), normative, and concrete. philosophical value came from people’s validation of external human power out which is higher than their position. normative value refers to the changes of rules or systems within the activities and tradition of ancient and modern people. concrete value means the accessory and main medium of jaran kepang, which is a dummy horse made of bamboo. the other accessories are black glasses, make up, and costumes. jaran kepang contains the value of bonding the communication with the spirit world with the local community. the basis of communication is between the performers and supporters of jaran kepang and the invited spirit based on their resignation. the communication begins with trust and sincere appreciation. the bonding goes well with the provision of offerings to the spirit. the appreciation causes cooperation between both parties; thereby, the performers are in trance and ready to perform. it is expected that after the performance, the ancestor will provide their acceptance and help to whatever problems faced by the community. the changes of cultural transmission pattern of jaran kepang semarangan traditional art is a cultural element which should be transferred between generations. the process of cultural transmission happens through education. kusumastuti (2004) and rohidi (1994) explain that cultural transfer happens from an educator to their students so that the materials can guide the students’ lives. harmonia: journal of arts research and education 21 (1) (2021): 154-167162 the processes of cultural transfer happen through socialization, enculturation, and internalization. the introduction of culture is an attempt of humans as creatures of thought to effectively build their civilization (zanden in rohidi., 1994). parents, family, friends of the same age, school friends, mass media, and society are the media for socialization (rohidi., 1994). the steps of socialization include conditioning, modeling, and integration to children’s personality (rohidi., 1994), enculturation is a process of combining knowledge, values, ideas, and beliefs in a comprehensive way for human to communicate, preserve and act in fulfilling their needs (koentjaraningrat, 1990) (koentowijoyo, 1987) (geertz, 1973; rohidi., 1994; suparlan, 1983). cultural actions are motivational, cognitive, and spontaneous. it involves the elderly, relatives, and society in controlling individual’s feelings, cognitive orientation, values, and aesthetic tastes (triyanto, 2017). cultural actions are internalized since a person was a child to their adulthood. the action is not only limited to their family but also to their surrounding community’s environment. the internalization and master of culture come through the process of a workshop, training, and conditioning. these actions contain the adaptation of human’s sense, passions, interests, and emotions (koentjaraningrat, 1990; rohidi., 1994). each individual has their own set of feelings above developed through education. children organize the information based on how their environment conditions them (hall in zaenuri, lestari, 2009). these opportunities were formed as the basis for people to bold their identity. the strategies of cultural transmission are planned by the dancers, choreographers, and the audiences during the training, development, and presentation. the transmission aims to inherit the thoughts, knowledge, and skills of the newer generation. kusumastuti (2020) says that jaran kepang’s transmission pattern is the same as the theories of cavalli-sforza and feldman. in their words, the inheritance comes through the processes of adaptation, goal attainment, integration, and latency. the adaptation focuses on the integration of modern science and technology. in this case, the erection of jaran kepang group studio is a simple, flexible, and helpful platform which organizes the transfer of the art. the platform has a modern organization, containing the head of the group, secretary, treasurer, and the members. institutionalization is not based on commercialization, yet it is based on fulfilling members’ personal satisfaction and responsibility. the adaptation also includes the creation of the facebook group of reog’r, which becomes the place of dancers, audiences, and supporters to preserve the tradition of semarang regency. the preservation of jaran kepang has a clear goal. it is evident that the group members have the same vision to create the group for expressing their appreciation to their culture, instead of only for money. the integration of jaran kepang semarangan into the community’s life is reflected through the creation of lkk (lembaga kesenian kecamatan or district art institution) formed by each district under the assistance of semarang regency art board and the facebook group of reog,r. jaran kepang processes the latency by maintaining and preserving the art within a routine performance and creation of art. in preserving traditional art, there should be regeneration. hayuningtyas and handayaningrum (2019) say that regeneration includes two aspects: (1) scientific regeneration within the kinship line. the process occurs within family and social environment; and (2) intentional regeneration through mass media, training, and performances. according to cavalli-sforza and feldman (as cited in kusumastuti et al., 2020), there are two regeneration systems for jaran kepang: vertical transmission (genetic) and horizontal transmission. vertical transmission occurs in-between generation. it involves ancestors, parents, and eny kusumastuti et al., community-based art education as a cultural transfer strategy in 163 offsprings. the pattern happens through internalized socialization of values and dances to the next generation. this type of transmission is also called biological transmission. apart from the vertical one, transmission can happen horizontally through educational training from schools and dance studios. the theory above supports (supariadi & warto, 2015), (badhowi, 2020), (septiani & afsari, 2018). the transmission of jaran kepang began with the vertical transmission in between families through training inbetween generation. the elderlies taught their offsprings how to dance. an example of this transmission can be seen in langen budi sedyo utomo troop, where the owner, dancer, and trainer, ragil, has the awareness and appreciation to the art from the tutelage of his father, djuni. he was a dancer in the troop and taught ragil the dance since he was eight years old. as time goes by, ragil is able to dance and continue the life of the dance troop and socialize that to the general public. the intergenerational transfer can be seen in the following figure. figure 6. the family tree of the mulyonos (source: ragil 2020) from the figure, the information regarding the dance came from mulyo sidik up until rafin and irfan. the inheritance stops for a while since ragil’s children are still very young, and rafin and irfan are too young to have a kid. the inheritance will continue only if the offsprings of ragil, irfan, and rafin are willing to learn how to perform jaran kepang. there is a strong bonding between the dance troop. the group of langen budi sedyo utomo performs not only to fund themselves but also to entertain the members. the troop has become a second home where the members are deemed as siblings, one to the others. the biological regeneration of the art is seen during the performance in sombron village. there is a routine performance of jaran kepang to celebrate eid and suro (the tenth day of the first month of the javanese lunar calendar). people in tlompakan has an appreciation to the dance that they invite langen budi sedyo utomo group to perform. apart from genetic socialization, langen budi sedyo utomo also conducts horizontal transmission via non formal art education. as in yuniardi (2017), the inheritance happens through non formal educational institutions, such as dance studio, dance troop, and artists. in non formal education, the teaching activities happen in a structured way across culture. planned horizontal transmission happens in langen budi sedyo utomo by training young recruits. the youngest member of the group, rafka learns how to dance by joining the troop. rafka came without any art background from his parent, yet he has been recruited due to his talent. he has joined the group since he was eight years old. in figure 7, rafka and putra are practicing the basic movement of jaran kepang on sombron community hall, the training site of langen budi sedyo utomo. people can transmit arts through social media, such as facebook, twitter, tiktok, youtube, et cetera. in this case, facebook is a relevant media with million users. people can share pictures and market their products in facebook. for art promotion, people can share videos about the art in their timeline. in relation to jaran kepang, the use of facebook helps dance group to promote their existence. some harmonia: journal of arts research and education 21 (1) (2021): 154-167164 groups of dancers in facebook are pecinta seni budaya area banyubiru (banyubiru art appreciation group). for this research, reog’r has already had 78.1 thousand followers in indonesia. figure 7. rafka and putra are practicing (documentation: ragil 2019) jaran kepang is socialized in public to be promoted. by conducting a public performance, a group of jaran kepang dancer can attract people to learn the dance and eventually join the troop. the interaction between dancers and the audiences will smooth the regeneration and later will preserve jaran kepang as a traditional part and identity of indonesia. conclusion jaran kepang is transferred through the strategies of adaptation, goal-attainment, integration, and latency. the inheritance of jaran kepang happens through vertical and horizontal transmission. in terms of vertical transmission, the culture is transmitted in intergenerational teaching. meanwile, the culture is transferred horizontally through planned promotion in social media, public training, and performances. in the end, the development of science and technology influences the preservation of jaran kepang since it is not only regenerated within the genetical transmission. the change of jaran kepang transmission pattern affects people’s system of knowledge, values, and beliefs. in the beginning, most performers do not understand dancing since they did not come from the background of choreography. hence, the lack of background relevance made the initial form of the dance monotonous. through dance troops or studio and social media, the dance developed to be more modern. in terms of value, jaran kepang taught the value of kindship regardless people’s age, social status, and gender. that is to say; people cooperate in preparing the dance’s property and place. there are three values from jaran kepang as an art form: philosophy (abstract), normative, and concrete. jaran kepang has a development of performance purpose and time. there are five occasions of the performance: ritualistic ceremony; entertainment of people who hold events, such as marriage, circumcision, gratitude events; rayonan; and entertainment in a tourist attraction, cultural festival, or dance competition. jaran kepang’s performance usually begins with the provision of offerings and rituals. the dancers were then in a trance due to the spirit’s invitation. the trances could happen at a sudden moment. the handlers were responsible to control the possessed people during the performance. jaran kepang has a function to redeem an oath within marriages, circumcisions, and gratitude events. this purpose begins with spreading yellow rice and coins and continues with the trance for the stage performance. rayonan jaran kepang is a collaboration of jaran kepang performance by one dancing group and the other ones. the performance of jaran kepang for dance festivals or tourist entertainment is different from the dance for a ritual. for the festival, jaran kepang is performed by following the rules demanded by 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smith van waesberghe d.j sunarto department of drama, dance and music, faculty of languages and arts semarang state university, indonesia e-mail: 132233483@staff.unnes.ac.id received: december 2013. accepted: februari 2014. published: maret 2014 abstract this paper aims to discuss the comparative terms of arsis and thesis in the study of western music. the purpose of the study is to study the forms of music from the terms of language and its application, because there are many elements of music that are not understandable. method of this study uses classical literature and musicology approach in which the great phrase rhythm of gregorian music was more appropriately take a literary term; arsis and thesis. the focus of this study is to discuss the terms of arsis and thesis used in the section of rhythm elements of nontraditional music. this study reveals several musical terms in which there are similarities and differences between the rhythm and bars of music. the similarities and differences in the analysis are based on the history of western music from gregorian music. gregorian was monophonic music that still existed in europe until the 19th century. there were only two phrases in gregorian music; when the melody moved up and when it moved down. in this case, there were two main elements in gregorian music; they were different in rhythmic and they were in one rhythm of music. arsis is a hard melody while thesis is a soft melody. it could be said that arsis and thesis are also parts of the dynamics form of music work. keywords: arsis; thesis; music rhythm; nontraditional music. © 2014 sendratasik fbs unnes keywords: arsis; thesis; music rhythm; non-traditional music harmonia : journal of arts research and education 14 (1) (2014): 46-53 available online at http://journal.unnes.ac.id/nju/index.php/harmonia permalink/doi http://dx.doi.org/10.15294/harmonia.v14i1.2790 p-issn 1411-5115 e-issn 2355-3820 appropriate when jaap kunst begins his inquiries about bars of music and rhythms with a note: “there are no similar opinion from two experts of music theory about bars of music and rhythm ... this is the conclusion of the terms “rhythm” and “bars of music” (kunst, 1950, p. 1). so, even though this essay discusses a rather abstract problem, it is still an actual problem today. it is really important for any music fan, both young generation and the older one. these are the reasons why we choose ‘arsis’ and ‘thesis’ as the subject of this essay. we begin our investigation about the essence of rhythm and non-traditional muintroduction in the first reunion of the alumnae of the academy of music indonesia (ami), the chairman of the academy asked us to prepare an article on non-traditional music. we decided to choose rhythm as the main discussion of the essay, because in our opinion, this is a very useful information, especially for music lovers. rhythm can be considered as “the most basic element of music”, according to d’indy (d’indy, 1902, p. 2021). in addition, scientific discussions about the essence and embodiment of the music rhythm is not yet finished, so it is sunarto, arsis and thesis: a review of two elements of rhythm in non-traditional ... 47 sic with a short division of the whole substance of this essay. at first we will conduct an analysis of the ‘experience of rhythm in general’ and ‘experience of rhythm of the music’ in specific. we focus primarily on the rhythm composition according to its concrete existence, including its all aspects. we call this rhythm as great rhythm, which exists in a whole music sentence. the second analysis is about the composition of the macrocosm of ‘entire music phrases’ which consists of at least two basic parts, namely ‘arsis’ and ‘thesis’ which we will find a song, later, in the microcosm or ‘concrete relation between tone and tone’. in this case, as a consequence of our investigation, we will explain the difference between small rhythm and arrangement of bars of music. finally, we hope that peole can make use this analysis to practice music lively, and then we reflexively focus on ‘rhythm experience of the entire melody’, both being played, or sung. as a consequence of the investigation, we cover the essay with the formulation of some basic theory about the rhythm of the music. rhythm experience we may not be able to experience the rhythm of the music in its purest state such as; when we are standing on the beach looking something that is called by claude debussy (1862-1918) in its composition la mer: jeux de vagues, “waves play”, it turns out that the ocean continuously moves characterized by the up-and-down movements. the term ‘rhythm’ in various foreign languages is based on the greek verb, rheoo (lidell and scott, 1953, p. 1576), which means “to flow”, then we can easily understand that by looking at the waves of the ocean, we can find some basic characteristics of rhythm. but in that way, it has not been specifically described about rhythm as a subject matter of our investigation, namely rhythm and music. rhythm in a state of a bit music as we see in the ocean waves and as also happens in music, for modern people, it’s no longer experienced as a symptom of rhythm. why? at least since the 15th century, non-traditional music is no longer arranged according to the principles of rhythm, but it uses a different principle called ‘bars’ or “metrum”, a latin term meaning “count” (lewis and short, cabbage 1951, p. 1141 b). so, for a music fan of the 20th century, it is very difficult to imagine the rhythm of the music. in general, he focuses his attention on “bars of the music”. however, we can experience the rhythm of the music purely if we focus our attention on the beauty of its compositions within melody. for example, aria from suita d major, an essay by js. bach, or aria from suita holberg, written by edvard grieg. in fact, the most obvious example of the true music rhythms is found in vocal music for one sound only. we know that nontraditional european music evolved on the basis of vocal music that its aesthetic values are highly appreciated by famous composers, including mozart (1756-1791) and paul hindemith (1895-1963). whereas, the two composers lived different times and also compose the different style of music. so, as an example of a true music rhythm, we will analyze a sentence or phrase melody of gregorian music (plainsong), a single music in europe until the 19th century. as well as the rhythm experience of the ocean before, we find out that the rhythm of the gregorian melody was apparently characterized by up-and-down movements, but the tone stream has a start and an end. many gregorian songs begin with a tone and rises to a peak of the tone; then goes down to the early tone, to put an end of the whole movement of the melody, as well as to achieve the aimed tone in recreating a calm atmosphere. therefore, the classical structure of the gregorian melodies reflects the same thing as the rhythm structure that we find in the previous ocean-rhythm analysis. we can distinguish two main parts on the phrase of gregorian music: the first part is equal to the time when the waves move up, the second one is when the waves move down. in other words: there are two main elements which harmonia : journal of arts research and education 14 (1) (2014): 46-5348 are different on rhythmic in the sentence of gregorian classical music, and thus, both of those main elements form a movement of complete great rhythm. so, it’s definitely right when the rhythm of great phrase of gregorian music uses famous terms of classical literature, namely “arsis” and “thesis”, moreover when these two greek words are used according to the basic meaning, namely: ‘ lift ‘and’ put ‘(lidell and scott, 1953, p. 248 col a and p. 794). in the rising part, the tones are rose to its peak, aren’t they? and in the down part, the tones, as if, are put in a quiet place gently, aren’t they? it’s understandable that the music phrase also uses the terms “arsis” and “thesis”. the “arsis” of melody does not only show a rising line movement, but they are also rather strong and somewhat short, especially when compared with the part of tension releasing of the melody, right? and vice versa, “thesis” musical sentence: it does not only show a descending melodic line, but it is also a dynamic which reduces its power until it runs out, and takes more time than “arsis” , right? thus the macrocosm structure of the gregorian melodies is arranged of at least two basic elements of rhythm, namely: “arsis” and “thesis”. both main elements of great rhythm is not only different on aspects of melody direction, but also on aspects of length and dynamics of both of the great rhythm. when the conclusion about the arrangement of a great rhythm has been well received, we can begin the second phase of our investigation, namely the arrangement microcosm rhythm or “concrete relation between tone and tone” because the whole and the unity of the melody are valued higher than the refrective knowledge of small rhythm or microcosm. on the contrary, if there is no awareness and knowledge about small rhythm, people can’t play music although the composers arrange it beautifully. therefore we will explain that small rhythm also has the elements of “arsis” and “thesis”, and compare this rhythm with “bars of music”. analysis of small rhythm the new stage of our investigation is a continuation and application of analysis conducted on a great rhythm before; then, we begin with some observations about the composition of the small rhythm of gregorian music. then we will complete this information with a little investigation on small rhythm of other music. we need to discuss it first because of the assumption that small rhythm is based on tone in which its time can not be divided. in other words: an analysis of a small rhythm starts with the point of “atomic time” or the greek term, prootos chromos (lidell and scott, 1953, p. 2009, a cabbage), means ‘time base’ which underlies the whole system of music. therefore, “small rhythm” can only be formed by adding at least two ‘atomic time’ or tone that can not be divided (kunst, 1950, p. 9; badings, 1959, p. 41; hood, 1971, p. 35). in modern musicology, this rhythm is called additive rhythms’ (sum rhythm) or synthetic rhythms (rhythm which is used as one). then it should be noted that small rhythm is different from rhythm, based on the tones that can be divided (into half, quarter, eighth, sixteenth, and so on). this rhythm is called divisive rhythm, means that the rhythm with down distribution of rhythm, or also rhythm analytical, means: rhythm that needs to be investigated in details (jaap kunst, 1950, p. 8-9; badings, 1959, p. 41; hood, 1971, p. 35). as a conclusion of a small rhythm or synthetic rhythm based on the time which can not be divided (atomic time) , should be noted here: it needs, at least, two time unitaries to form the simplest rhythm. then the rhythm consists of two tones is called single binary rhythm, means “one second”. when the rhythm consists of three basic unity of time, which is of the three tones, we use the term lineer single rhythm, means “one third”. we just talk about a small rhythm of gregorian music in terms of length tones that forms melody. the composition of the macrocosm rhythm will be found in the microcosm rhythm or in the relationship sunarto, arsis and thesis: a review of two elements of rhythm in non-traditional ... 49 between one tone and the next tone. it means that there are “arsis” and “thesis” in small rhythm, there is a rising melody movement which become stronger and faster, and then goes down to be slower and quieter. we receive this information from the founder of singing method of gregorian, called “solemnes method”, i.e. dom andre mocquereau osb (1849-1930). in the most basic time of “solemnes method”, which is entitled le nombre musical gregorien (tournai: volume i, 1908; vol ii, 1927) artists and music paleography experts explain, as follows: 1. true rhythm of movement always starts with an arsis that is in the small rhythm ternary disobel, and ends with a thesis that can never be disobel but can be followed by one arsis again. 2. arsis is always tense, on the other hand, thesis is a relaxation. 3. arsis is strong, means bre-cresendo; otherwise thesis is soft or decrescendo. 4. generally, thesis needs more time than arsis. 5. arsis melody is called a tone when it is followed by a lower tone; the second tone is called thesis melody. it might be surprising that we do not find the terms “accent” or “pressure” in the whole description of gregorian. the theories of dom mocquereau also uses the common terms, not technical terms, so it is rather difficult to understand the accents as found on other music that is not rhythmically free. inspite of the lack of authentic information about the solemnes method, we should remember that, at least, implicitly there is an accent on the gregorian small rhythm. it is said that an arsis is tense, strong, and shorter than a thesis, then it can be called that this rhythm section is accented, without any danger of this pressure will be equated with other accents in the other music. even the nature of the gregorian accent becomes truly apparent, when someone plays the gregorian melody, the arsis melody is accompanied by arsis dynamics. thus, the structure of great rhythm movement is reflected perfectly in a small rhythm arrangement. to avoid misunderstanding about the type of accent here, it is better if we use the term of ‘ arsis accent’. while accent which is discussed later in the rhythmical music is called “thesis accent”, dom moncquereau reveals specific characters of arsis and thesis in a small rhythm of gregorian by giving the name ‘elan’ and “repos” which means (roughly) as “preparation move” and “peaceful” or “relaxation”. so far, we only talk about small rhythm in its simplest form, i.e. single rhythm, either binary or triner. the most important thing is the relationship between one small rhythm and another one, or rhythm compound (in french dom mocquereau use the term le rhyme compose) (1908, p. 80-90). we will limit our discussion on two principal aspects of this compound rhythm, which will be completed in the third section, and we will focus our attention on the rhythm experience of the melody. 1. it should be noted that the rhythm of melody also begins with an arsis and ends with a thesis. 2. the existence of ‘arsis’ compound rhythm depends on the structure of the entire music sentence that can be divided into a number of small rhythms. because there is a close relationship between the structure of melody and the composition of this compound rhythm, it’s better to discuss the description of the more complex rhythms in the last part of this essay. before we focus on great rhythm, we need to check the small difference between small rhythm and bars of music. bars of music begins in the middle age, becomes more powerful in music, so, it is easier for us to feel it than a small rhythm. to clarify the differences between small rhythm and bars of music, please pay attention to the meaning of the term bars of music or ‘metrum’: the latin word metrum is based on the greek word, metron, means: “size” or “count”, right? “(lidell and scott, a cabbage 1953, p. 1123). it’s different from the word “rhythm” which in greek means “principle of movement” or “dynamic”, the word harmonia : journal of arts research and education 14 (1) (2014): 46-5350 nature of thesis accent is that it requires longer time than arsis (remember to number 4 on the description of the “method selomnes” earlier), this trait is strengthen when the first pitch is widened. in other words, both small rhythm and bar of music always begin with an accented tone: but those accents are truly different. the difference between these two types of accent is shown when a conductor gives command to gregorian songs and to music of nongregorian. we should remember the explanation in “le nombre musical” about gregorian music directors. in the second volume of article 13 and 14 mocquereau explains special knowledge about gregorion directors or cheironomi, means that the rule or the command by hand (mocquereau, volume ii, 1927, p. 684-750). we know that the hand command upwards is an expression of “arsis” which is important in gregorion rhythm. maybe the differences of thesis accent and arsis accent can also be seen in the dynamics embodiment which becomes refractive in a non-traditional music, since about 1750. the dynamics of the baroque era is “register dynamic” which merely distinguishes between forte and piano. moreover it begins with the german style of music called “school manhheim”, this register dynamics is replaced with “transitional dynamics”. since the romatik times then, people have been accustomed to an embodiment of the dynamics of music which is really not static anymore, but obviously is dynamic, means: the nature becomes a little bit hard from piano to forte, and conversely it softens from forte to piano. if someone wants to use the ‘thesis’ accent to reveal the modern dynamics, the thesis accent should include a small and short decressendo. on the other hand, arsis accent needs to express a cressendo. kunst (kunst, 1950, p. 8), wrote that he had read a surprising sentence in handbook of harmony, that is: arsis is also alled thesis, and kunst continued his writing: “the author does not capture the ultimate meaning of these terms.” so, in the same essay, jaap kunst explained: “arsis and thesis are opposites in essen‘bars of music’ expresses free principle and it’s static. in addition, bars of music or count principle focus on the length of a tone and musical time, not on dynamics. in ancient times, the term “metrum” is used to set the classic poem, for example in greek drama, sentences with short and long syllables must be arranged according to one of the “metron”, line by line: long-short-shortlong-short-short, or short-long-short-long. in other words, previously, “metron” does not arrange stress or accent, but the time and the length of syllables. therefore, it is natural that the term “metron” or “bars of music” is used to measure the time of music. and even on a rhythm system, that kind of measure can be very beneficial. because the bars of music expresses the good order aspects in music, so this factor may be viewed as an expression of the human being in music, based on the body and especially on the soul (badings, 1959, p. 41). but if the principle of bars of music is previously used to organize and measure the length of the tones, this does not mean that there is no relationship between bars of music and stress or accent. in the development of music, bars of music also sets the tone accents, this can be seen in the lines of vertical bars which firstly appeared in the music manuscripts in the 15th century. and the development of the main features of bars of music is also justified in various books of modern music theory, such as emotion and meaning in music, written by leonard b. meyer (chicago, 1965). it should be emphasized that the difference between the principle of bars of music and rhythms is on dynamics aspect. indeed, bars of music are divided according to binary and ternary, as well as in a small rhythm. but, it needs to emphasize the difference between the two principles of music movement, they are: there is always a thesis (not arsis) at the beginning of bars of music. the first blow of bars of music is always accented, and this accent is totally different from that of arsis greorgian music. it’s just the same as the conductor gestures direct the first blow of bars of music downwards, so this is a bit heavy accent. the sunarto, arsis and thesis: a review of two elements of rhythm in non-traditional ... 51 ce “(1950, p. 8). however, this does not mean that rhythm and bars of music are opposites! people emphasize the differences between the two elements of the melodic movement, both of this music factors are completed and strengthen to each other. although arsis and thesis have different accent, even in free rhythm, such as in gregorian music, it doesn’t need to refuse bars of music factor. in the last number of this essay, we will discuss free rhythm which can be accompanied by the composition of free “bars of music”. meyer, as quoted above, inserts a selection of five types of bars of music which is used in ancient times to prepare the greco-roman classical poetry. these five types of bars of music is used to describe the structure of the simplest rhythms and bars of music (mocquereau, volume ii, 1927, p. 1-40; howeler, 1952, p. 154-157 (+ table ii: lengte en sterkte metra); meyer, 1965, p. 103). this is a conclusion of the difference between rhythm and bars of music that can be formulated as follows: bars of music can only be aranged by binary or ternary bars: trochaeus : long-short dactylus : long-short-short jambe : short-long anapaestus : short-short-long amphibrachus : short-long-short we still need to discuss the difference between accents of ‘arsis’ and ‘thesis’ before we close the chapter on a microcosm of small rhythm, particularly the problem of the difference between small rhythm and bars of music composition. when a person wants to summarize the entire history of rhythm development of non-traditional music, it will be strictly distinguished into three stages, namely: 1. free rhythm (in georgian music) 2. a rhythm called “flying rhythm” (in classical polyphone music). there will be an explanation about the difference between arsis accent and thesis accent), 3. the rhythm is bound to the same bar of music. the second rhythm, flying rhythm, is a privilege of polyphone music of the 16th century. its specific is that the first blow of bar of music does not occur at the same time for each sound, so, sometimes the rhythm seems a true poly-metric (kempers, 19479091). the problem of rhythm of the music of the middle ages which was not monophon but true polyphone, was getting difficult because people generally assume that the accent should occur on thesis only. therefore, the thesis accent is often said to be occured in a heavy rhythm section. but, historically, the music of the middle ages is directly based on the free rhythm of georgian music, so, it is not surprising that the ‘arsis’ accent also often play an important role, in other words: it’s not true if the compositions of flying rhythm are added with the lines of bars of music (which at first did not exist in middle age manuscripts). due to the presence of bars line, the first sign in each bars of music is called tactus means “touch”. this kind of interpretation is developed when polyphone music is replaced by a new musical style, that is ‘monodi’. thus, the term “flying rhythm “ is often equipped with the term “freely”, to express clearly that the rhythm of the monophon middle age music, i.e. “free rhythm”, is different from a rhythm that is bound to a fixed bars of music system. then we will discuss about the description of the great rhythm and melody. synthetically, we get closer to the great rhythm of the melody, based on small rhythm analysis experience of synthetic-reflexive great rhythm as stated at the beginning of this essay, the analysis of the second part are rather abstract and is only intended as a principle; then as the third step, it needs the analysis results of small rhythm to be confronted with a practice of live music. indeed, people of the 20th century are accustomed to experiencing great rhythm structures by bars of music. then the description of the third part will justify the practice of music. it is stated earlier that both rhythm and bars of music are different but they are complete each other, right? harmonia : journal of arts research and education 14 (1) (2014): 46-5352 this assumption is very clearly stated by meyer in his book. meyer, a professor of music from chicago university, explains how the same bars of music, for example in three quarters, can be used in a variety of different rhythms! menuetto of the first simfoni composed by beethoven uses a very clear melody, that is jemble rhythm (short-long), while menuetto of symphony no. 94, composed by haydn (mit dem paukenschlag or “by surprise”), uses a melody with amphibrachis rhythm (short-longshort). though this menuetto is based on the classical bars of music for menuetto, that is three-quarters, but we can see in the second example that there is a composition of melody, which change its rhythm started on the third amphibrachus, and suddenly it’s replaced by jemble rhythm (short-long) which is added with anapaestus (short-short-long). these examples prove, that freedom of rhythm and the accuracy of bars of music strengthen the beauty of the synthesis of the two factors of this music, it means, it does not interfere each other. according to ir. h.h. badings in his book charles lalo: elements d’une eshetique musicale scientifique, one person might be more interested in a clear metrum, as we find in music with a rather freely rhythm, as the tendency of the romantic era music. but the tastes just show anaccidental differences in the actual assessment. in other words, the tastes differences show a different accent, not an absolute contradiction. in terms of its efforts to complete and to balance each other, it can be justified that the classical definition from the fourth century bc, that is: “rhythm is flowing bars of music; bars of music is a rhythm that is tied to a particular form” thus: flavius sosipater charisius in his essay: ars grammatica, means: grammatical science. to achieve the purpose of balance, both small rhythm and bars of music should play role seriously in the whole melody. in other words, the basic elements of music should participate as a composition factor in the establishment of great rhythm of the whole melody. it may be said that bars of music and small rhythms contain only the materials, which must be souled and brought to life by melody! this is why the famous conductors pay special attention on the structure of the melody as a whole, taking into account the whole ‘arsis’ and ‘thesis’ either harmonious or agogis. related to this fact, i remember an interview of the conductor of the orchestra “concertgebouw amsterdam”, eduard van beinum, when he was pointed as the orchestra conductor. to the question: which principle do you take to conduct the orchestra, he answered: “i heard the composition of the melody to be played, and that melody becomes the inspiration to conduct any orchestra”. the awards of high melody is also found on the famous switszerland conductor, ernest ansermet, who was in an international meeting between artists in the city of geneva in 1948 states the following: “the melody was not only the first factor for the music to be occur, but rather a natural event inside that is continually occur”, a statement that is asserted in the book acrits sur la musique (neuchatel (switzerland), a la bocanniere. however, small rhythms and bars of music can not be souled fully and deeply, though it is aided by its melody as a whole, if the rhythm and bars of music are not meant as ‘arsis’ and ‘thesis’. it is important to notice the distinction and the comparison between the two levels of the music, which is at a basic level or a microcosm of rhythm, as well as the whole melody. both levels are not separate reality. both levels are new patterns that would reveal the full ability, when seriously considered both the melody as a whole, as well as all the elements of rhythm and bars of music inside it, based on a careful analysis. based on this conviction, and especially descriptions we provide in section iv of this essay, it is time to end the investigation of the essence ‘arsis’ and ‘thesis’ in the field of non-traditional music bygiving some statements as follows: each tone in a particular melody is already ‘thesis’ or ‘arsis’! a particular tone can get a ‘thesis’ sunarto, arsis and thesis: a review of two elements of rhythm in non-traditional ... 53 accent, for example, if it occurs on the first count in the bars of music; and it gets an ‘arsis’ accent, if it occurs on an even count in bars of music; therefore, on the ground level, there might not be two ‘thesis’ follow each other directly; it always needs to be punctuated alternately at least by one ‘arsis’. ‘arsis’ is always typically characterized by an upward movement of the hands, which are lightweight, short, strong, and usually performed with cressendo. ‘thesis’ is always characterized typically by a downward movement of the hand that is heavy, long, hard, and usually performed with decressendo. closing this is the end of our investigation of the essence of ‘arsis’ and ‘thesis’ as the elements of the rhythm in non-traditional music. we are aware that many problems that are closely related to this issue, now can only be touched. for example, dr. f.a. steinhausen: in die physiologe der bogenfuhrung have viewed how ‘arsis’ and ‘thesis’ is influenced by the vertical harmony. or: does the information of solemnes method about small rhythm pay enough attention to the balance between ‘arsis’ and ‘thesis’? or: do ‘arsis’ and ‘thesis’ as described earlier was parallel to how to play the violin with up and down friction? actually these kinds of problems are closely related to the subject of this essay investigation. however, in this reunion, it would be wise, if the material is restricted to this subject, because those problems can not be solved only with the few words. perhaps there is a doubt about the benefits of such a vast writing of rhythm in monophon music (= with one voice) of the middle ages. but in this case we can quote prof. mantle hood who assess monophon music of middle age as higher than the rhythmic music ‘divisit’ as found in all western music since the renaissance. the reason is because the monophon music plays role as an educational tool to be ‘sensitive to the time’. inspite of the weakness of this essay, we restrict ourselves to a particular issue in a non-traditional music. we hope that this essay becomes a small contribution to the success of this reunion. and we truly support this activities. references ansermet, e. (1971) acrits sur la musique, neuchatel (switzerland): a la bocanniere. badings, h.h. (1959) “rhythm, tempo en metrum”, in encyclopedie van de muziek,volume ii, amsterdam, elsevier. charisius, f.s. “ars grammatica”, in m. cary cs, (1953), the oxford classical dictionary, oxford: clarendon press, p. 184 col a. d’indy, v. (1902). cours de composition musicale. paris: durand. hood, m. (1971). the ethnomucicologist, new york: mcgraw-hill book company. howeler, c. (1952). rhythm in vers en muziek, the hague: mouton & co. kempers, b. (1947). muziekgeschiedenis, rotterdam, brussels: miy uitgevers. kunst. j. (1950). metro, rhythm, multi-part music, leiden: e.j.brill. lewis, c.t. & short, c. (1951). a latin dictionary. oxford: clarendon press. lidell, h.g. & scott, r. (1953). a greekenglish lexicon. oxford: clarendon press. meyer, l.b. (1965). emotion and meaning in music. chicago: university of chicago press. mocquereau, d.a. (1908) le nombre musical, volume i. tournai: desclee & cie. steinhausen, f.a. (1920) die physiologe der bogenfuhrung. leipzig: breitkopf & hartel. 131 implementation of arts education in society through the thematic community service program juju masunah1, lely kurniawati2 1department of dance education, faculty of arts and design education, universitas pendidikan indonesia, indonesia 2department of early childhood teacher education, faculty of education science, universitas pendidikan indonesia, indonesia received: march 15, 2018. revised: july 2, 2018. accepted: december 12, 2018 abstract since the transmission of arts education in the family is limited in indonesia, the exploration of teaching strategy for community becomes imperative as a form of informal education. this article aims to report research results on the implementation of arts education in society through thematic community service program, namely pos pemberdayaan keluarga (posdaya) or “family empowerment post.” this qualitative study used a project-based research method, which began by diagnosing the problems, creating a plan for activities, implementing the plan, and evaluating the results. participants of this research were women and children from bandung barat regency of west java and students of universitas pendidikan indonesia. data were collected from interviews, participant observation, and study documentation. the data were triangulated and interpreted. the research found a collaborative teaching strategy between students, advisors, and women who worked for posdaya to implement arts education for children through creating dances and musical dramas. the story in the drama contains moral values such as caring for others, appreciating one’s parents, tolerance, and environmental awareness. implementation of arts education through the community service program conducted by students and or faculty members is beneficial to develop children’s creativity and character. keywords: arts education; dances for children; community service program, family empowerment post how to cite: masunah, j., & kurniawati, l. (2018). implementation of arts education in society through the thematic community service program. harmonia: journal of arts research and education, 18(2), 131-142. harmonia: journal of arts research and education 18 (2) (2018), 131-142 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v18i2.13769 tional. since 2009, the research and community service institution (lppm) in upi has implemented the community service program for students using themes or thematic programs. one of the themes is “pos pemberdayaan keluarga (posdaya),” or “family empowerment post”. this theme was created by the damandiri foundation in indonesia to help low-income families increase their welfare. the thematic comintroduction a community service program conducted by students is one of the teaching and learning activities in higher education in indonesia. this program in universitas pendidikan indonesia (upi) is a compulsory course subject that should be taken by all undergraduate students (lppm upi, 2016), but other universities consider it opcorresponding author: setiabudi street, bandung 40154, indonesia e-mail: jmasunah@upi.edu p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 18 (2) (2018): 131-142132 munity service program, posdaya, aims to establish a forum for communication within social organizations in the community and to strengthen the roles of families to mutually share knowledge and experiences to increase welfare in the community. in this context, advisors for the thematic community service programs along with the students are encouraged by the institution to collaborate with members of a community to increase their knowledge and skills based on each advisor’s expertise. since 2010, we have actively participated in programs involving students to implement activities in the field of arts education. in 2011, one of us (ms. masunah) worked collaboratively with upi students, women, children and artists in ciater village of subang, west java, to create a form of performing arts to attract tourism (masunah, 2012). however, after the program ended, many forums could not continue the activities that the students had created together with the members of posdaya. therefore, when ms. masunah, was appointed an advisor again for the same program in 2016 in west bandung regency of west java, she created activities to incorporate arts education for women and children in the community. she believed that women as mothers play a role in educating their children informally due to the unlimited space and time at home. in indonesia, arts education in the community has been developed informally over the course of time within various spaces. this case can be traced back to the roles of performing arts in society. soedarsono (2002) wrote that performing arts serve as a part of rituals, personal entertainment, and aesthetic presentations. through these roles, the knowledge and skills of the arts are transferred and accessed by the children in the community, so the performing arts, like mask dances from cirebon continue to exist until today. for example, masunah (2000) wrote how sawitri, a traditional dancer of mask dance from losari in cirebon, learned mask dances from her father and older sister through watching their performances, hearing the gamelan, and practicing dance during the tour or performance in the community. then, sawitri taught mask dances to her family members in astana langgar village, losari, cirebon. sal murgianto, in his book of cahaya merah memudar (1993), described how the children in bali learned dances by watching adults during dance practices. caturwati (2008) published some articles in the edited collection tari anak-anak dan permasalahannya [children dances and their problems], which discuss strategies and methods to create dances for children and show some examples of children’s dances, such as “kariaan [ceremonial] dance,” “traditional game dance,” and “dance choreography for children.” this book provides knowledge for teachers and people who want to explore children’s dances. however, the implementation of this knowledge in society is still missing in the discussion. so, we once again served as the advisor for the community service program in 2016, we did research and worked collaboratively with the students and the people in the family empowerment forums to train people in arts education, particularly for women and children. the purpose of this research is to find a strategy to implement arts education in a society that provides knowledge and opportunities for women to create children’s dances. according to mariam giguere (2011), there are three forms of children’s dances, namely dances for children, with children, and by children. the research explores dances for children as part of the implementation of arts education in the thematic community service program, namely posdaya or the family empowerment post. method the research took place in parongpong sub-district, bandung barat regency, west java, indonesia. parongpong sub-district is located close by north bandung city. the activities took place in seven villages in parongpong sub-district, juju masunah, lely kurniawati, implementation of arts education in society through ... 133 namely cigugur girang, cihanjuang rahayu, cihanjuang, cihideung, ciwaruga, karyawangi, and sariwangi. each village has a forum of family empowerment posts where the students of upi conducted their community service program. the research involved 21 women who actively worked for the forums of family empowerment post, called women pioneers, students who worked for the community service program, and researchers as the participants. this qualitative research used a project-based research method (stoecker, 2005). according to stoeker (2005), one of the characteristics of this method is the contribution it makes for a social change of individuals, organization, community, and even society. this research began by diagnosing the problem, creating a plan for teaching adults, implementing the plan, and evaluating the results. before creating a plan to implement arts education for women in the community, we prepared the materials by selecting fourteen children’s songs and compiling them in a cd, searching for stories appropriate for children, and designing teaching activities for adults. we coordinated the students to work with the women in the field and to organize the workshop of arts education as well as to create dances for children. each group of students selected two representatives to participate in the workshop, while each family empowerment post invited three women to attend the workshop. other students acted as committee members to organize the workshop. the advisors and researchers were represented as speakers, trainers, and evaluators of the project. then, we diagnosed the problems by asking whether the women sing children’s songs, make creative movements, and tell stories for children in their daily life. from 21 respondents, 90% of them did not do any of the activities; only 10% of the respondents sing children’s songs and tell stories for their children. it can be said that 10% of the mothers contributed to their children’s early childhood education. our expertise as the advisors for the community service program at upi is in dance and music, so we created a plan to teach the mothers to sing, to dance, and to tell stories, then we led them to create dances for children. we used mariam giguere’s (2011) concept of dances for children. then, to implement the concept, we designed the syntax for teaching dance which begins by introducing a concept, exploring movements, creating a dance, and presenting the dance (masunah et al., 2012). because this research involved adults who did not have enough experience with children’s songs and the elements of dance, we modified the steps of synectic approach by adding training activities after introducing the concept. the next step is exploring the movements using analogy and various stimulating actions, such as ideas, visual, audio, kinesthetic, and tactile stimuli. music is related to the audio stimulus. lely kurniawati (2015) stated that learning music by itself will be boring, making it necessary to combine music with movements to make teaching and learning interesting. also, music can stimulate students to explore the movements. the materials for dances to be explored in the creative process are the elements of dance, such as the body, time, space, and energy. the final product of the project is a dance for children involving the work of adults. therefore, we treated adults as students who conducted a community service program and the women as pioneers of the family empowerment post. the project was completed in two stages. in the first stage, we held workshops on arts education for adults, namely for the women and the students of upi. in the second stage, we supervised the adults in creating dances for children. the project was held from june to august 2016. we evaluated the project from the process of the workshop through to the performance of the dances created for children. results and discussion a workshop of arts education for harmonia: journal of arts research and education 18 (2) (2018): 131-142134 like spiritual and social competences (ministry of education and culture, 2013). according to gilbert (2002), as the impacts of learning creative dances, children will gain cognitive, affective, physical, and social skills. through concrete examples about the cases of children’s and adults’ behaviors, the participants will understand how to educate their children through arts. the next step in the workshop is training adults to develop their skills in children’s songs and creative movements. lely kurniawati, one of the researchers and lecturers in the early childhood teacher education program at upi, trained the participants to sing several children’s songs that she created by herself, such as “hey hello siapa namamu [hi hello what is your name],” “semua alat musik [every musical instrument]” “mejikuhibiniu”, “maju mundur [moving forward and backward]”, and “jagalah lingkungan” [save the environment]. she also taught others songs, such as “tebak cita-cita [guess my dreams]” “soleram”, “anak kambing saya [my lamb]”, “tokecang”, “orayorayan” [imitating the snake], “lalamunan” [dream], “niron tentara [imitating the soldier]”, and “gumbira [happiness]”. the participants practiced the 10 songs, and then kurniawati taught the women rhythmic movements based on the songs. it seems the women already knew some sundanese songs. therefore, kurniawati emphasized teaching the songs in indonesian language until the participants remembered the lyrics. after the participants learned singing skills, the dance instructor trained them with elements of dance such as the body, space, time, and energy. before doing the movements, the participants identified parts of their body which can be moved in locomotor and non-locomotor movements. they warmed up by exploring the hands, shoulders, head, and legs. then, the researchers instructed participants to use rhythmic songs for exploring the movements through energy, time, and space. the women were actively working in the group while they were singing children’s adults the purpose of the workshop is to increase knowledge, experience, and skills of adults on understanding the concept of educating children, using materials as a source for creating dances for children, and doing creative processes to compose and present the dance. the workshop was held on july 20, 2016, in the auditorium of parongpong sub-district, west bandung regency. there were 21 women and 14 students who participated in the workshop. materials included children’s songs, creative movements, and storytelling. as we modified the synectic approach from masunah (2012) discussed above, the activities in the workshop began with introducing the concepts of educating children, followed by training the adults with songs, exploring the movements, telling a story to give ideas of dances and moral values, and creating and presenting the children dances performed by adults. we introduced two concepts to the adults (women and students) about educating children: creativity in arts education and moral values. creativity is the heart of art education because it relates to thinking and behaving. this can be seen from the creative dance approach developed by gilbert (2002). gilbert (2002) uses a conceptual standpoint that leads people to make self-expression and develop their skills through movements. maralsih and herlinah (2014) stated that “creativity is an ability to think about something in a new way” (p. 148). children will have developed ideas through thinking about themes of dance. they will also explore the elements of dance by acting like animals, flowers, or abstract things, for example. during the practice, children will work with peers, and parents or teachers can observe how they behave when they work together. according to maralsih and herlinah (2014), the creative process of dance creation will affect students’ creativity. the moral values are discussed in connection with character education. in the 2013 curriculum, character education is required as part of the learning outcomes, juju masunah, lely kurniawati, implementation of arts education in society through ... 135 songs and stylizing the movements. to give some ideas about embedding moral values in the practice of dancing and singing, we also told stories. we read stories about “kupu-kupu merah [the red butterfly]” created by rendila r. utami (2016), and the well-known story in indonesia about “si kancil” [the clever mousedeer] (elang duta, 2015). the red butterfly tells the story about various colors of the butterfly; the red one is very friendly to others. the story “si kancil” represents dishonesty, even though si kancil is a clever mousedeer. kancil frequently stole cucumbers in the farm, and so one day he was caught by the farmer, and he was finished. the women created personal and direct analogies about kancil and the farmer. in order to provide the structure of the dance, one of the women acted as a director of the musical drama. she organized the participants to play as kancil, the farmer, butterflies, trees, and flowers. they created dances accompanied by the children’s songs. during the presentation about the musical dramas, the women were not aware of the stage. therefore, we taught the women to be aware of the audience in their performance. the women practiced without problems for the context of the performance. finally, they presented dances in the musical drama of “si kancil”. through the activities, the women understood the concept of creativity and the moral values in the work of dances. referring to smith’s construction method of dance composition or choreography, as cited in the book art and art education (masunah & narawati, 2012), storytelling is the ideational stimulus and the songs are the audio stimulus. through these stimuli, women who rarely danced perform their ability to dance and in dance-making. they felt the workshop was beneficial for them to teach their children when they get home. the students who participated in the workshop also promised to work with the women in their posdaya to implement their knowledge and experiences to educate the children in the villages. creating dances for children in the musical drama as a follow up to the workshop on arts education, the students and the women created dances for children in their respective villages. the purpose of this second step is to learn how adults create and work with children collaboratively. giguere (2011) described dances for children created by adults as “cultural creations, or creative products, that adults have made for children’s consumption.” in this context, the children are the product of adults’ education and experiences, either teachers or choreographers in the studio. the aesthetic values of the choreographers or the teachers will appear in the dance that is presented in the practice and performance. according to giguere, “these formats allow for a showcase of skills learned by the students to be displayed” (p. 85). the strength of this approach lies in the connection between the students and the teachers, the choreographers, the studios, and the local dance community. the weakness of this method is that the children cannot be involved in the process of creating dances. the other approach is “dances created with children and adults” (giguere, 2011, p. 86). this approach allows children to give some input to the final product of the children’s dance. the role of the teachers or choreographers is to give instructions and to form the dance. the approach of “dances created by children without adults” (giguiere, 2011, p. 87) is a creative process and product of dance created by children themselves. this approach is usually intended for teenagers who have freedom of expression. they can solve their own problems, have creative thinking, and are in search of personal identity. they also can work collaboratively with peers. for the purpose of this study, we used the concept of dances for children offered by giguere (2011) to examine the types of children’s dances in the work of musical dramas. therefore, there are simiharmonia: journal of arts research and education 18 (2) (2018): 131-142136 lar steps in the creative process of arts education in the community. in the first step, the adults make stories to be written down into the script of musical drama. the script contains a story, songs, music, and moral values. then, the students along with the women organize practices with the children, such as looking for appropriate places to practice and perform, making a schedule, and designing costumes for performances. every posdaya used various places like the space for creating and presenting the musical, such as the auditorium of the village’s office, the family room, the mosque, and the house yard. from july 22 to 29, 2016, the students of upi worked collaboratively with the women and children in the villages to make dances for children. in the end, the advisors of the students visited the seven villages from july 30-31, 2016, to evaluate the children’s dances as the final products. the musical “saudagar jeung bendunganana” by posdaya karya mandiri in karyawangi village the title of the musical drama in karyawangi village was “saudagar jeung bendunganana,” (the rich merchant and his dam) written by the students who conducted the community service program. the story is rooted in the village, regarding a merchant who was wealthy (saudagar), but he only thought of himself. in the story, the rich merchant built a dam for the irrigation of his rice field without considering the people in the village. the impact was that people had trouble finding water for their rice field irrigation. the son of the rich merchant was unfriendly with his peers and naughty. one day, the son of the rich merchant was sick. fortunately, the people from the village who had the ability to cure illnesses helped the rich merchant cure his son’s illness. these people’s attitude touched the rich merchant’s heart and made him aware of the people around him. he then opened the dam for the welfare of the community. this story was discussed by the women pioneers of the family empowerment post. then, they also discussed the actors, the dancers, the singers, as well as the audience. the women served as narrators, actors, and singers, while the students worked as music composers, choreographers, and committee organizers. the children explored traditional games such as “orayorayan [imitation of the snake]” and “panen [harvest]”. they practiced and performed in the aula of karyawangi’s office. ten children stayed in line, while their bodies moved left and right following the rhythmic song of “oray-orayan”. two children had a role to catch up to the last children who stayed in line. the dance movements consisted of steps forward along with shaking the head, and the hands’ movement resembled people walking. the girls wore kebaya and long skirt. the music used minus one with gamelan, while the songs were sung by the women pioneers of posdaya and one village girl, while the students of upi managed the music and backstage crews. the location of performance was in the auditorium of the village’s office. in the musical drama, there were two boys representing the guards of the rich merchant’s son. they wore sunglasses and acted like adult bodyguards. they disturbed the girls who played in the yard. as children’s musical drama, the two boys did not fit the figure of children, because they acted like adult bodyguards. if they had acted naturally as naughty boys, the musical drama could be more appropriate for children. fortunately, the strategy of collaborative work between the students of upi, the women, and children was very successful, because the women participated actively as performers and audiences. the musical “usep yang berubah” by posdaya terasa beriman in cihanjuang village the story of the musical drama staged in cihanjuang village was titled “usep yang berubah [the new usep].” this story describes the change of usep from being a naughty boy to a good boy. usep lived with his grandparents because usep’s parents passed away when usep was born. juju masunah, lely kurniawati, implementation of arts education in society through ... 137 usep’s grandparents were busy working in the rice fields, so usep did not have enough attention from them. usep always disturbed his friends, particularly the girls, even his teacher and other adults. usep’s grandparents could not handle usep’s bad behavior; therefore, the grandparents sent usep to a religious boarding school. however, usep dropped out of the school and stole the money of a jamu (herbal drinks) seller. on his way to get back to his grandparents’ home, usep was crashed by a motorbike, until he fell unconscious. when usep gained his consciousness, he came to realize how bad his attitude was. finally, usep changed into a good boy and became obedient to teacher and grandparents. in the performance, there is a dialogue between usep and the grandparents. the character of the teacher was played by a child, while the other children danced and made games. the songs chosen were relevant to the story. for example, when usep woke up, the song was “bangun tidur” [getting up]. when usep went to the school, the song was “oh ibu dan ayah [oh mother and father]”. when usep said that he wanted to be a soldier, the song was “niron tentara” [imitating the soldier], and when usep met a jamu seller, the song was “sue ora jamu”. the dance movements were matched with the music and songs. all the characters were represented by children. the children looked happy and enthusiastic to dance and sing together. the moral value embedded in the musical drama is an appreciation of one’s parents. the women pioneers of posdaya played their role in preparing the hall and the music. the songs were selected and recorded by a woman who actively taught at an early childhood education school. the teacher also had access to a hall that can be used for teaching and practicing the dance. the musical “si landik yang kesepian” by posdaya asri in sariwangi village posdaya asri in sariwangi village presented “si landik yang kesepian (the lonely landik)” by 21 children and 4 women. “si landik yang kesepian” is a fable, which tells about animals, namely a porcupine or landak who is called “landik”, a turtle, a dog, a rabbit, a tiger, and other animals. landik lived alone, far away from the other animals, because his body was fully covered with quills. he was unconfident, unhappy, and always afraid that his quills would hurt others. one time, the turtle persuaded landik to join his birthday celebration party. finally, landik joined the other animals and they had a great time at the party. suddenly, a tiger came and launched his attack. landik was able to protect his friends from the tiger by attacking the tiger with his quills. the story contains a lesson for children to be confident, appreciative, and helpful to other people. for young children, the story of animals is interesting. they imitated the animals by wearing head accessories made of paper representing the characteristics of certain animals, combined with a long skirt and t-shirt. the girls wore kebaya and cloth designed for children. the boys wore pencak silat costumes. to create a variety of movements, the musical used eleven songs to accompany the dances. the students took five songs from the cd, such as “hey hello” as an instruction song, then the children moved backward and forward accompanied by “maju mundur” song. the children also moved in a circle into “mejikuhibiniu”’s song. they delivered a message to save the environment with the songs ”jagalah lingkungan” and “lalamunan”. the students who conducted community service program added some songs like “sipampa”, “dengarkan curhatku” (listen to my heart), “sang kodok” (the frog), “selamat ulang tahun” (happy birthday), “hip-hip hura” (hip hip hooray), and “kelinciku” (my rabbit). the women pioneers of posdaya took part as narrators in the musical drama and organized the activities as a whole. the children practiced and performed their dances in the house yard of a villager. the yard was decorated as a hall for the performance. the collaborative teachharmonia: journal of arts research and education 18 (2) (2018): 131-142138 ing of posdaya asri was a successful one because the women, the students, the community, and children worked cooperatively, either in the process or in the presentation of the product. in fact, their product was selected as the best musical drama compared to the other six musical dramas. therefore, “si landik” musical drama was performed at the end of the community service program in parongpong sub-district on august 2, 2016. figure 1. children’s dance by posdaya asri (doc. of masunah, 2016) the musical “putri elsa dan 1000 merpati” by posdaya pandawa in ciwaruga village the story of “putri elsa dan 1000 merpati (princess elsa and the 1000 birds) ” describes princess elsa as a daughter of the king who had many birds. some of the birds were given by people in the kingdom. there was only one child who did not give a bird to the princess; rather, he gave her a ribbon. princess elsa really needed one more bird to reach a number of 1,000 birds because she already had 999 birds. suddenly, a bird with a blue ribbon flew by and stood next to the 999 birds. princess elsa was so happy because now she had 1,000 birds. unfortunately, a child came to pick up the bird. the child said to princess elsa that to buy that bird the child had to save money for a year. finally, princess elsa returned the bird to the child. in the following days, the child came back to the princes and gave the bird back to the princess. princess elsa was surprised by the child’s action. the child explained that she took the bird away from the princess because it was sick. the child would like to take care of the bird until it became healthy before returning it to the princess. princess elsa was surprised by the honest and loyal child, and then the princess asked the child to take care of all birds in the kingdom. the child was very happy to receive the job from the princess. at the same time, the princess learned how to appreciate people because there were unfortunate people who were not as lucky as she was. when princess elsa held a birthday party, the children presented dance movements integrated with children’s songs. the songs were “maju-mundur” and in the final dialogue the children sang “pelangi” song. the movements followed the rhythm of the songs: moving forward and backward, jumping, and moving in a circle. the story and the costumes fitted children’s characteristics. the costume is like the daily clothes and the accessories were made from paper. the story contains moral values to appreciate others. the children were very happy in dancing, singing, and acting. they practiced and performed in a small mosque or musala. unfortunately, the women of the family empowerment post did not get involved in creating dances for children; instead, it was the students of upi and the mothers of the children who prepared everything. the mothers of the children who attended the performance were happy that their children joined the activity to sing and dance. the musical “angsa yang buruk rupa” by posdaya muda mandiri in cigugur girang village “angsa yang buruk rupa (the ugly swan)” describes one of four cygnets who had a “different” look. the ugly cygnet was always alienated by her siblings and friends; therefore, she always stayed alone. one time, there was a rabbit that got carried away by a flood caused by heavy rain. no one could help the rabbit. fortunately, the ugly cygnet took the risk to save the rabbit’s life from the heavy flood. the story implies the social value of helping each other. several songs were selected in conjuju masunah, lely kurniawati, implementation of arts education in society through ... 139 nection with the story, beginning with the introductory song “jagalah lingkungan [save the environment]”, then “kupu-kupu [butterfly]”, “lalamunan [dream],” “hey hello”, and at the end, “pelangi [rainbow]”. the location chosen to practice the dance and perform the musical drama was the hall of the office village in cigugur girang. there were about 50 children who participated in the event. the students from upi facilitated the children as trainers, musicians, narrators, and costume designers, as well as mc. the women of the family empowerment post supported the event, even though they did not join the performance. the musical ”si hitam yang tak kenal lelah” by posadaya pamaneuh rasa, in cihideung village the story from posdaya pamaneuh rasa was “si hitam yang tak kenal lelah (the black ant who never gives up)” or “the black ant who never gives up.” it was told that a black ant, a king of an ant kingdom, along with all ants was walking to a certain place. while they were walking, they sang the songs such as “kukururuk, (cock a doodle doo),” “hey hello siapa nama mu [hi hello what is your name],” “bunyi hujan [sound of the rain],” “pelangi [rainbow],” “maju-mundur [moving backward-backward],” and “jagalah kesehatan [take care of your health]”. the story represents an ethos of work. they practiced their dance in a small mosque. in the beginning, the children looked so shy. after they sang the songs, the eleven girls looked very happy. from this activity, they developed confidence and courage to present the movements in front of their mothers and the researchers. the mothers said that the children’s dance could be performed in the night of independence day celebration, 17 august. the musical “selo harimau cantik yang sombong”” by posdaya juang rahayu in cihanjuang rahayu village the musical drama in cihanjuang rahayu village was very attractive because many early young children and primary school age children participated in the event. the story of “selo harimau cantik yang sombong (selo the beautiful but arrogant tigress)” describes a beautiful tigress that was arrogant. she did not appreciate other animals, because she felt the best. eventually, she came to appreciate the other animals, after one particular animal helped solve selo’s problem. figure 2. children’s dance in cihideung village (doc. of masunah, 2016) the children performed children’ songs and children’s dance, and there was a talented child who performed jaipongan dance. the students of upi collaborated with the women of the family empowerment post to handle the event. the head of posdaya supported the children by providing a place in the yard of posdaya’s office for children to practice. most of the women in this village were busy with their daily business because during the day they sold flowers. therefore, the children spent the day by doing meaningful activities with the students of upi to practice and perform their dances. figure 3. the musical drama in cihanjuang rahayu village (doc. of masunah, 2016) harmonia: journal of arts research and education 18 (2) (2018): 131-142140 the analysis of implementing arts education in society collaboration is a strategy of implementing arts education in society. in this research, the collaborative work was made among the students, the advisors, and the women pioneers of posdaya. the seven posdayas in parongpong sub-district successfully created dances for children. examining the children’s dances created in the musical dramas described above, we came to a conclusion that the dances are classified as dances created by adults (giguere, 2011). they have two categories of presentations. first, dances for children created by adults and presented by children. there are four villages whose dances belong to the first category, such as cihanjuang rahayu, cigugur girang, cihideung, and ciwaruga. the second category is dances for children created by adults presented by children with adults. they are three posdayas included under this category, such as sariwangi, karyawangi, and cihanjuang. the moral values embedded in the story performed are mostly concerned with social values. social values are contained in stories with characters interacting with each other. this interaction between characters can be seen in the stories staged by the villages. for example, posdaya asri in sariwangi village presented the world of animals, in which the animals interact with each other and they work together to help make “landik” become confident and sociable. another example is posdaya karya mandiri in karyawangi village. the musical drama titled “saudagar jeung bendunganana” they staged contains a message to share with others in need. posdaya pandawa in ciwaruga foregrounded the values of understanding as is demonstrated by putri elsa. posdaya terasa beriman in cihanjuang village presented “usep yang berubah”, representing the value of appreciation for one’s parents. posdaya pamaneuh rasa in cihideung village worked with “si hitam yang tak kenal lelah” which conveys the message of work ethic. posdaya mandiri in cigugur girang village teaches tolerance and environmental awareness through its “angsa yang buruk rupa”. posdaya juang rahayu in cihanjuang rahayu village teaches cooperation through the performance of “selo, harimau cantik yang sombong”. all of the musical dramas contain character education. when we refer to the 2013 curriculum, social values are required as social competence of learners (muhamad nuh, 2013). social values in the character education are related to living values. kokom komariah (2016, p. 37) explained that living values are the foundation of human relations with themselves and with others. it is important that social values are embedded in the practice of teaching arts education because indonesia is a pluralistic society. in urban areas, children live with people who are different in terms of culture, language, gender, social class, and religion. it is important that children have the moral value of tolerance to live in society. the syntax that is applied to create the musical drama in all posdayas matched mary joyce’s concept of creative dance. joyce (1994) describes teaching dance for children, beginning with introducing the concepts, exploration, and formation. in each respective village, the students were first introduced to the concepts through stories, and then the students explored the movements directly trained to them while singing the songs. in the end, the students formed or created dances for children. in telling stories, the students emphasized the moral values such as cooperation, environmental awareness, and appreciation. the implementation of arts education in the workshop and in the seven villages could take place as a result of collaborative work among the students of upi, the women as pioneers of posdaya, the children, and the community. the training model developed by the students of upi is similar to the deductive model. kamil (2003) explained that the deductive model has a clear problem for all participants. juju masunah, lely kurniawati, implementation of arts education in society through ... 141 conclusions the implementation of arts education in society through community service programs conducted by upi’s students is a strategy to stimulate informal education in the family and the community. in the thematic program of the family empowerment post, students and advisors collaborated with the women pioneers of posdayas to educate children through the arts and creative process that embed moral values. through the program, the women in the seven villages in parongpong, west bandung, increase their knowledge and experiences about singing and dancing. then, they created dances for children in the musical drama. dances for children created by adults were created in two steps. in the first step, adults were trained to sing, to dance, and to tell stories. we trained adults with arts education by modifying a synectic model offered by masunah (2012). syntactically, the training for adults begins with introducing the concepts, training the materials, exploring the movements, creating the dance, and presenting the dance. teaching children in the community through practicing and presenting the musical drama is actually a tool to teach children moral values such as creativity, empathy, caring for others, politeness, and collaboration. these character traits represent living values which are important for children to live together in a pluralistic society. the thematic community service program related to the family empowerment post or other themes can be embedded in teaching arts education that embeds social values to motivate families educating their children through arts. references desfina. 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(2016). kupu-kupu merah (unpublished story). bandung. sri hermawati (2).indd 10 kacapi suling instrumentalia sebagai salah satu kesenian khas sunda *sri hermawati dwi arini **didin supriadi *universitas negeri jakarta, kampus rawamangun, jakarta, email: srihermawatiarini@yahoo.com **universitas negeri jakarta, kampus rawamangun, jakarta, email: didinsupriadi55@yahoo.com abstrak penelitian ini untuk mendeskripsikan jenis-jenis kacapi sebagai kesenian khas sunda. penelitian ini menggunakan pendekatan kualitatif deskripsif. hasil penelitian menunjukkan bahwa ada macam-macam kacapi sunda, yakni kacapi perahu, kacapi siter dan kacapi ritmik. masing-masing kacapi memiliki fungsi seni, tergantung tempat dan waktu dimainkannya. ada juga kacapi yang berfungsi sebagai hiburan. kebanyakan kecapi dimainkan bersamaan yakni yang berfungsi sebagai melodi dan iringan. yang termasuk kecapi ini adalah kacapi calempungan dan wanda anyar. jenis kacapi lainnya adalah kacapi suling. wanda anyar merupakan perkembangan kecapi. ini dapat dilihat dari pengemangan teknik dan komposisi. abstract this study was to describe the various kacapi as unique sundanese arts. this study used a descriptif qualitative approach. the results showed that there are various kacapi sunda, ie boat kacapi, zither kacapi and rhythmic kacapi. each kacapi has the function of art, depending on the place and time played. there is also kacapi that performs as entertainment. most kacapi that are played simultaneously ferform as melody and accompaniment. which include these kacapi are kacapi calempungan and wanda anyar. other type is fl ute kacapi . it is development of the kacapi. this can be seen from the development of techniques and composition. keywords: kacapi suling, wanda anyar, fungsi pertunjukan kacapi, kesenian khas instrumental bamboo kacapi as one of unique art of sundanese pendahuluan sebagai salah satu unsur budaya, seni pertunjukan senantiasa harus mengikuti arus perputaran zaman yang terus berkembang, sejalan dengan perkembangan teknologi dan kehidupan masyarakat yang terus berubah. eksistensi seni pertunjukan terutama dalam seni musik masih terus berkembang keberadaannya sampai saat ini. seni pertunjukan di indonesia yang berangkat dari suatu keadaan dimana ia tumbuh dalam lingkungan etnik yang berbeda satu sama lain. dalam lingkungan etnik ini, adat atau kesepakatan bersama yang turun temurun terutama mengenai perilaku, mempunyai peran yang amat besar untuk menentukan bangkitnya kesenian atau seni pertunjukan. peristiwa ke-adat-an merupakan landasan eksistensi yang utama bagi pergelaran-pergelaran atau pelaksanaan-pelaksanaan seni pertunjukan (sedyawati, 1981). dikemukakan oleh aristoteles bahwa, seni adalah kemampuan membuat sesuatu dalam hubungannya dengan upaya mencapai suatu tujuan yang telah ditentukan oleh gagasan tertentu. sastrawan rusia terkemuka leo tolstoy mengemukakan bahwa, seni merupakan kegiatan sadar manusia dengan perantaraan (medium) tertentu untuk menyampaikan perasaan kepada orang lain. musik mempergunakan medium bunyi sri hermawati dwi arini & didin supriadi, kacapi suling instrumentalia 11 (nada), tari mempergunakan medium gerak, sastra mempergunakan kata-kata, seni lukis mempergunakan garis, bidang dan warna, dan lain-lain. kalau seni dapat dianggap sebagai bahasa maka setiap cabang seni memiliki bahasa tersendiri, seperti sastra memiliki bahasa verbal, seni rupa memiliki bahasa plastis, tari memiliki bahasa kinetis, musik memiliki bahasa audio, seni lukis bahasa visual. selain bahasa, seni juga memiliki dimensi, seni musik mempunyai dimensi waktu, seni tari memiliki dimensi gerak, dan seni rupa memiliki dimensi ruang. ketika kita mendengar alunan kacapi suling, kita langsung dapat mengenali kekhasannya, dan dapat mengatakan asal daerahnya, dari larasnya, dari warna nada instrumen alunan sulingnya dan petikan-petikan kacapi diiringi instrumen lain. kacapi suling adalah dominan sebagai melodi. kacapi suling banyak dikenal luas oleh masyarakat kita yang heterogen dan menjadi sebuah harapan selain gamelan yang pada suatu saat akan dikenal luas di seluruh dunia. kegiatan-kegiatan adat budaya pesta rakyat selalu dikaitkan dengan kejadian penting dalam kehidupan seseorang atau masyarakat. berbagai kegiatan adat budaya ini juga mengambil bentuk kegiatan-kegiatan seni yang berkaitan dengan proses inisiasi perorangan seperti kelahiran, perkawinan dan kematian ataupun acara-acara ritus serupa selalu ada unsur musik, tari, sastra, seni rupa dan sebagainya. manifestasi dari aktivitas kehidupan budaya masyarakat merupakan miniatur yang mencerminkan kehidupan sosial yang luhur, gambaran wajah apresiasi keseniannya, gambaran identitas budaya setempat. kegiatan adat budaya ini dilakukan secara turun temurun dari zaman nenek moyang dan masih terus berlangsung sampai saat ini, sehingga seni menjadi perekam dan penyambung sejarah. berdasarkan konteks budaya bahwa, ragam kesenian terjadi tersebabkan adanya lapisan-lapisan yang bertumpu pada sejarah dari zaman ke zaman. jenis-jenis kesenian tertentu mempunyai kelompok pendukung yang memiliki fungsi berbeda. kebudayaan indonesia adalah satu kondisi majemuk karena bermodalkan berbagai kebudayaan, yang berkembang menurut tuntutan sejarahnya sendiri-sendiri. pengalaman serta kemampuan daerah itu memberikan jawaban terhadap masing-masing tantangan itulah yang memberi bentuk kesenian dan kebudayaan. perkembangan musik tradisi ada yang berkembang luas, dan ada juga yang berkembang hanya di daerah asalnya. identitas sebuah bangsa dapat dikenali melalui kebudayaannya, kekhasan daerah adalah dicermati dari jenis musiknya, laras (tangga nada) tabuhan (ritmiknya) ataupun petikannya. beberapa kesenian berdasarkan pertimbangan fenomena kesenian yang hidup di masyarakat atau dengan kata lain kesenian bermutu yang mengandung banyak hal untuk mengungkap masalah seni budaya. kacapi suling adalah salah satu seni budaya yang hidup yang memiliki kekhasan dan mengandung banyak hal yang menyangkut budaya daerah dan pendukungnya. kacapi suling dilihat dari mentuknya merupakan kesenian yang terdiri dari instrumen kacapi dan suling. kacapi yang dimainkan adalah siter atau kacapi kawih. sulingnya berlubang 6 dan berlaras pelong slendro dengan susunan nadanya da – mi – ra – ti – la – da. kacapi termasuk alat musik petik (waditra) berdawai 7 sampai 20 (bahkan bisa lebih, karena keperluan teknik) misalnya kacapi hasil kreasi mang koko dapat berdawai 22 sampai dengan 26 senar. resonator dari kayu dan cara memaninkannya dipetik. alat petik tersebut ada yang disebut jentreng yang bersenar 7. kacapi adalah bentuk akulturasi dari alat musik k’in dari cina dan koto di jepang. terdapat kesamaan antara bentuk k’in, koto dan kacapi, namun berbeda dalam jumlah senar, laras atau tangganada dan cara memetik atau memainkannya saja. alat-alat musik sebagai hasil akulturasi kebudayaan juga mengalami kemungkinan yang sama dalam pertumbuhannya. faktorfaktor yang mempengaruhi perkembangan alat-alat musik adalah lingkungan alam, pertemuan antar berbagai bangsa di seluruh dunia. jenis permainan alat musik kacapi ini harmonia, volume xi, no.1 / juni 201112 dapat digolongkan menjadi 2, (1) permainan mandiri, atau (2) permainan sebagai pengiring. ada beberapa cara dalam memainkan alat musik kacapi sunda, misalnya suling, kacapi tembang. celempungan, wanda anyar. petikan-petikan kacapi di dalam tembang sunda sangat berperan terutama dalam lagu, pepantunan lamenkan, dedegungan dan penambih menurut sal murgiyanto aspek penting lain yang harus diperhatikan adalah fungsi atau tujuan sebuah pertunjukan. sebuah pertunjukan dapat dilakukan sebagai sebuah persembahan/doa/puji kepada arwah leluhur, ungkapan bakti kepada dewa, tuhan, atau penguasa semesta alam. bisa juga dilakukan untuk menghibur diri pelakunya dan atau orang lain, untuk meneguhkan identitas atau menguatkan nilai-nilai yang diyakini seseorang atau sekelompok orang, dan bagi kenikmatan ragawi (pleasure) pelaku dan penontonnya. fungsi kesenian dianggap tak berbeda dengan fungsi ritual. kerumitan bentuk-bentuk kesenian mendorong kita untuk memilih istilah, kesenian agama dan kesenian hiburan komersial. kriteria klasifi kasi ini dapat dikatakan sebagai ungkapan jenis kesenian. selanjutnya murgiyanto (2004) mengatakan, sesuatu karya harus indah. pandangan ini juga didukung oleh liang gie, bapak estetika seni (1964), yang menyatakan bahwa, ciri pokok seni adalah ekspresi, oleh karena itu penilaian terhadap karya seni harus dilakukan berdasarkan ukuran perasaan estetis dan lain-lain. bagaimana kita dapat mengidentifi kasikan sebuah karya seni khususnya kesenian tradisi berdasarkan fungsi-fungsinya. fungsifungsi seni terdiri atas fungsi ritual, pendidikan, komunikasi, hiburan, artistik dan fungsi guna. suatu pertunjukan yang digunakan untuk sebuah ucapan yang berhubungan dengan upacara kelahiran, kematian, ataupun pernikahan. contoh, gamelan yang dimainkan pada upacara ngaben di bali yakni gamelan luwang, angklung, dan gambang. gamelan di jawa kodhok ngorek, monggang, dan ageng. seni yang berfungsi sebagai pendidikan contohnya musik angklung dan gamelan dikarenakan kesenian tersebut mempunyai nilai sosial, kerjasama, disiplin dan wirausaha. tujuannya pembelajaran angklung adalah siswa pempunyai pemahaman dan penguasaan musikal yang tinggi. siswa memiliki kepekaan terhadap nada-nada musik dan mempunyai ketrampilan memainkan jenis-jenis musik seperti; angklung, arumba maupun gamelan salendro. tujuan lain yang dicapai terutama musik angklung, di samping harus mempunyai kemampuan berinteraksi secara harmonis dengan orang lain, dan siswa bisa bersatu bersama-sama untuk mengikuti pembelajaran musik angklung, walaupun diantara teman mereka memiliki latar belakang berbeda, sosial, ataupun kerakter pribadi. suatu pertunjukan yang digunakan sebagai komunikasi atau kritik sosial melalui media seni tertentu seperti, wayang kulit, wayang orang dan seni teater, dapat pula syair sebuah lagu yang mempunyai pesan. seni yang berfungsi hiburan, sebuah pertunjukan khusus untuk berekspresi atau mengandung hiburan, kesenian yang tanpa dikaitkan dengan sebuah upacara ataupun dengan kesenian lain. seni yang berfungsi sebagai media ekspresi seniman dalam menyajikan karyanya tidak diperuntukkan untuk komersial. misalnya terdapat pada musik kontemporer, tari kontemporer, dan seni rupa kontemporer. karya seni yang dibuat tanpa memperhitungkan sebagai karya seni murni, sebaiknya jika dalam proses penciptaan seniman harus mempertimbangkan aspek kegunaan, hasil karya seni itu disebut seni guna atau seni terapan. musik dapat dipergunakan untuk terapi misal terapi korban trauma tsunami, trauma suara-suara dan juga penderita autis, pasien diberikan situasi yang menyenangkan dengan kegiatan mendengarkan musik dan bernyanyi atau bermain musik. musik tradisional tidak dapat dilepaskan hubungannya dengan keraton, mengingat di tempat itulah pertunjukan seni selalu dikaitkan dengan ritual-ritual. pada jaman pemerintahan belanda perkembangan kesenian kacapi tembang atau kacapi suling ini perkembangannya sri hermawati dwi arini & didin supriadi, kacapi suling instrumentalia 13 hanya dilingkungan masyarakat ningrat saja atau para pejabat pemerintah saja pada saat itu, sedangkan kacapi siter berkembang di masyarakat bawah, dan biasanya itu dipentaskan pada saat upacara ritual seperti acara ruatan panen padi atau pada saat penyimpanan padi di lumbung [tempat penyimpanan padi]. pementasan kacapi siter ini biasanya lebih dikenal dengan kacapi pantun, karena dibawakan oleh seorang juru pantun. juru pantun ini biasanya orang yang menguasai ceritra-ceritera legenda, seperti lutung kasarung, sangkuring, nyi roro kidul dan sebagainya dan bisa menyanyi karena seorang juru pantun itu membawakan ceriteranya sambil menyanyi. pangeran suryadiningrat dan pangeran tejakusuma dari kasultanan yogyakarta pada tanggal 17 agustus 1918 menggagas seni istana mulai diupayakan untuk bisa dinikmati dan dipelajari oleh rakyat, dan boleh dinikmati untuk keperluan apa saja dan oleh siapa dan di mana saja. pada permulaan abad ke 20 juga terjadi kecenderungan seni yang mulai memiliki bentuk seni tersendiri yang tidak bercitra istana. walter spies memberi saran agar para seniman menciptakan seni untuk hiburan, namun tetap mempergunakan pijakan/pakem tradisi. adanya perubahan fungsi dapat membentuk perubahan yang hasil-hasil seninya disebabkan oleh dinamika masyarakat, kreativitas, dan pola tingkah laku dalam konteks kemasyarakatan. dalam penelitian ini difokuskan pada metode deskriptif, dikarenakan untuk memperoleh informasi tentang gejala pada saat penelitian dilakukan untuk memetakan sifat situasi pada waktu penelitian ini dilakukan. metode penelitian ini menggunakan pendekatan kualitatif dengan mengambil lokasi di balai latihan kesenian sunda di rri jakarta. sumber data diperoleh melalui wawancara dan dokumentasi. wawancara tentang asal usul kacapi, perkembangan ditinjau dari komposisi dan instrumennya. triangulasi dan diskursus digunakan sebagai metode keabsahan data. dalam diskursus temuan penelitian didiskusikan dengan pakar. hasil dan pembahasan sistem tangga nada kacapi alat musik gunzheng dan koto adalah yang menginspirasi terbentuknya instrumen kacapi. persamaannya antara kedua jenis alat musik di atas dengan kecapi ada pada bentuk dan cara memainkannya. instrumen ini adalah hasil akulturasi budaya. sementara itu, perbedaanya kacapi berlaras pentatonis atau dioatonis, komposisi dan jumlah senar. laras tangga nada pentatonic kacapi adalah pelog, slendro, dan madenda. untuk memainkan lagu berlaras diatonis yakni dengan cara mengatur 2 senar (distem) sehingga menghasilkan tangga nada diatonis. perkembangan jumlah senar dan komposisi jumlah senar kacapi jumlah senar kacapi berubah-rubah untuk menyesuaikan komposisi musiknya. perkembangan ini disesuaikan dengan kebutuhan termasuk untuk memperkaya teknik permainan. saat ini ada jenis kacapi modifi kasi berlaras tetap pelog slendro. kacapi jenis ini resonatornya lebih besar, jumlah senar menjadi 20 dan bahan senar sama dengan bahan senar gitar. kacapi yang mempunyai fungsi hiburan kacapi yang memiliki fungsi hiburan antara lain kacapi kawih, kacapi perahu, dan kacapi rincik. kacapi perahu dan rincik lebih banyak dipentaskan untuk kalangan ningrat, tetapi sekarang sering dipentaskan pada saat upacara perkawinan, menyambut tamu kenegaraan atau acara-acara pertemuan para tokoh adat sunda, dan sekarang dipentaskan juga diperhotelan. kacapi siter lebih banyak dipentaskan dalam acara pantun jenakaan yaitu seorang pemain kacapi merangkap menjadi juru ceritera, penyanyi, pelawak dan sebagainya. kacapi siter juga sering dimainkan untuk mengiringi paduan suara atau di sebut rampak sekar yang dibawakan oleh anak-anak sekolah atau ibu-ibu pkk, dengan menambah inharmonia, volume xi, no.1 / juni 201114 strumen kendang dan gong. kacapi suling instrumennya terdiri dari kacapi dan suling. jenis kacapinya adalah kacapi kawih/siter, sementara sulingnya berlaras da-mi-na-ti-la-da, dengan 6 lubang. kacapi kawih/siter dapat pula dimainkan untuk permainan individu. kesenian kacapi suling biasanya jenis kacapi dengan permainan lagu-lagu instrumentalia, dan jenis lagunya pop sunda. kacapi ini berlaras pelog dan slendro atau berlaras da-mi-na-ti-la-da. yang berlaras pelog bernuansa lembut dan yang berlaras slendro bernuansa china, gembira, berlaras lebih tinggi, oleh karenanya warna suaranya berbeda. fungsi seni kacapi ini semula untuk pengiring upacara siraman dan dinikmati bangsawan cianjur. tetapi, kini permainan musik ini untuk hiburan. gambar 1. kacapi kawih/siter berlaras pelog dan slendro gambar 2. suling kacapi permainan kacapi suling secara mandiri permainan kacapi yang dapat dimainkan secara mandiri adalah kacapi tembang cianjuran, celempungan, dan wanda anyar. kacapi tembang cianjuran fungsi seni kacapi tembang cianjuran adalah sebagai pengiring, berlaras pelog, slendro dan madenda. perangkat instrumennya antara lain kacapi perahu (indung) yang berfungsi sebagai tangan kiri, iringan atau bas. kacapi rincik berfungsi sebagai melodi dan pengatur ketukan irama atau tempo lagu. fungsi kacapi indung sebagai ritem dan bas, sedangkan kacapi rincik yang lebih kecil berfungsi sebagai melodi dan sulingnya sebagai pembawa lagu. permaianan kacapi yang ada vokalnya atau mamaos disebut kacapi tembang sunda cianjuran. salah satu contoh lagu tembang cianjuran adalah lagu papate yang dibawakan oleh juru tembang atau disebut sinden (juru mamaos) dalam kacapi tembang. lagu-lagu dalam tembang sunda seperti lagu papatet ini bisa disajikan dengan vokal atau bahkan bisa disajikan dengan suling saja, yang disebut kacapi suling instrumental. gambar 3. kacapi rincik melodi dan rincik birama gambar 4. kacapi perahu/indung celempungan celempungan adalah permainan satu atau dua buah kacapi siter ditambah instrumen rebab sebagai pembawa melodi lagu, instrumen kendang yang terbuat dari kayu dan sri hermawati dwi arini & didin supriadi, kacapi suling instrumentalia 15 kulit sebagai pembawa irama, vokal atau juru sinden sebagai pembawa lagu, dan instrumen gong sebagai pemanteb. dalam penyajiannya celempungan biasanya membawakan lagulagu yang terikat oleh birama atau tempo, seperti misalnya lagu es lilin, manuk dadali, dan sebagainya. wanda anyar wanda anyar adalah permainan kacapi kreasi baru yang lebih banyak dimainkan pada alat kacapi siter elektrik dua sampai tiga buah kacapi siter dan dalam penyajiannya lebih banyak membawakan lagu-lagu yang lagi populer ngetren pada jamannya. kalangkang dan cinta ketok mejik adalah contoh-contoh lagu yang sering dimainkannya. permainan kacapi instrumental wanda anyar menunjukkan teknik petikan kacapi dan macam-macam tekniknya. ciri khas petikan wanda anyar ini adalah: (1) aransemen dan gelanyu sebagai jembatan antar melodi, (2) aransemen yang disukai kaum muda, ekspresif nada-nadanya, penuh kreasi, (3) kaya akan hiasan lagu, (4) memiliki etude petikan kacapi. kacapi yang dimainkan adalah kacapi kawih/siter. simpulan dan saran simpulan berdasarkan temuan penelitian, teori dan diskusi dengan pakar dapat ditarik kesimpulan bahwa: kesenian kacapi ada yang berfungsi ritual dan hiburan, kesenian kacapi yang mempunyai fungsi hiburan dan merupakan kesenian mandiri adalah kesenian kacapi suling instrumentalia, kacapi tembang cianjuran, celempungan, wanda anyar. kacapi kawih/ siter dimainkan pada kesenian kacapi suling instrumen dan wanda anyar. kacapi perahu/ indung dan kacapi rincik dimainkan pada kesenian kacapi tembang cianjuran dan celempungan. kacapi yang berlaras pentatonik dan diatonik ini ternyata disenangi oleh genrasi muda sehingga terciptalah lagu-lagu etude kacapi yang disebut cacarakan. fungsi seni kacapi sebagai fungsi seni estetik merupakan ungkapan rasa keindahan, kepuasan, agar dapat dinikmati oleh penonton atau pendengar. usaha-usaha ini dapat dilihat dari perkembangan teknikteknik petikan kacapi dan pola irama serta tempo permainannya. saran agar kacapi dikenal luas, perlu penciptaan aransemen sesuai dengan selera kaum muda seperti yang telah dilakukan mang koko. usaha ini adalah untuk memenuhi keperluan masyarakat akan pengalaman yang berbeda dengan pengalaman mereka sehari-hari, sehingga dapat menggugah rasa agar dapat dinikmati. membuat pertunjukan kesenian serumpun dari 3 negara yang menggunakan alat musik serupa, guzheng dari china, koto dari jepang dan kacapi dari indonesia perlu dilakukan untuk mengenalkan kesenian ini di dunia luar. usaha lain yang cukup menarik adalah dengan membuat pertunjukan kesenian perpaduan (kolabirasi) diatonis dan pentatonis seperti instrumen piano dan kacapi. daftar pustaka abdurachman, maman. 1990. peranan kacapi dalam tari sunda. bandung: asti, akademi seni tari indonesia. atik soepandi. 1983. khasanah kesenian daerah jawa barat. bandung: pelita masa, pelita masa. depdikbud. 1977. sejarah seni budaya jawa barat. bandung: depdikbud don campbell. 2001. efek mozart, memanfaatkan kekuatan musik untuk mempertajam pikiran, meningkatkan kreativitas dan menyehatkan tubuh. penerjemah t. hermaya. jakarta: gramedia pustaka utama. edy sedyawati. 2002. keragaman silang budaya. dialog art sumit jurnal seni pertunjukan, bandung : 1998/1999. hadji hasan moestapa. 1913. bab adat oerang priangan djeung oerang soenda lianti eta. betawi: kantor tjitak kangdjeng goepernemen. kusumadinata, mahyar angga. 1968. seni raras. jakarta: balai pustaka. rohidi, tjetjep rohendi. 2000. kesenian dalam pendekatan kebudayaan, bandung: stisi. harmonia, volume xi, no.1 / juni 201116 bandung. ruswandi, tardi. 2000. “diktat kuliah alat petik kacapi. bandung: stsi sekolah tinggi seni indonesia. soedarsono. 1992. pengantar apresiasi seni. jakarta: balai pustaka. suanda, endo. 2007. pendidikan seni berbasis budaya, makalah disampaikan pada seminar pendidikan apresiasi seni universitas negeri jakarta dan akademi jakarta. tridjata s, cacelia. 2005. dasar-dasar estetika. jakarta: fakultas bahasa dan seni, universitas negeri jakarta. 91 the patterns of music learning in phenomena of valerio international guitar festival birul walidaini, suminto a sayuti, am susilo pradoko universitas negeri yogyakarta, indonesia submitted: 2022-03-24. revised: 2022-05-22. accepted: 2022-06-20 abstract this study aims to reveal the finalists’ learning patterns and outcomes at the 2018 valerio international guitar festival. it is qualitative research with the phenomenological approach. it was conducted in the final round of the open category of the 2018 valerio international guitar festival. the informants in this study include the finalists, judges, and organizers. the data were obtained through observation, interviews, and documentation studies. the research findings show that the music learning process among the finalists of the 2018 valerio international guitar festival is carried out through lectures (formal), courses (non-formal), and community (non-formal). the learning patterns experienced by the finalists have shaped the competitive mentality of the finalists of the 2018 valerio international guitar festival. the competitive mentality formed includes: (1) increasing repertoire mastery which reflects independence in achieving the target of mastery of the chosen repertoire that will be performed; and (2) the mentality to perform on stage in the competition arena. in this mentality, the finalists have high motivation when performing on the stage. the motivation that grows comes from within and outside the finalists. in addition, the finalists also have the mentality to be ready to face various possibilities that will be experienced, both in terms of musical and non-musical abilities, such as how to use the right strategy when facing the audience and maintain calm while playing. keywords: classical guitar, music education, music learning how to cite: walidaini, b., sayuti, s. a., & pradoko, a. m. s. (2022). the patterns of music learning in phenomena of valerio international guitar festival. harmonia: journal of arts research and education, 22(1), 91-102 harmonia: journal of arts research and education 22 (1) (2022), 91-102 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i1.35775 a fun way and make students interested in learning it. in addition, another uniqueness of art education is also in the processing of flavors that can shape students’ sensitivity in understanding and interpreting the beauty of the work of art. as revealed by pamadhi (2012, p. 6), art education as aesthetic education is based on taste for fostering sensitivity to respond to natural beauty and artificial beauty in the form of works of art. one of the artistic activities from various branches of art is music, which includes playing guitar. introduction art education has a role in developing students’ potential. through art, students can improve their ability to imagine, express, and process feelings. the importance of art education is expressed by merryl goldberg (1997) who initiated the concept of learning about art, learning with art, and learning through art. an interesting aspect of art education is that there is an element of recreation in the process so that art education can be carried out in corresponding author: e-mail: birulwalidaini.2018@student.uny.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (1) (2022): 91-10292 playing guitar singly is one of the many kinds of artistic expression in the music branch. solo guitar performance or also called classical guitar, contains a series of learning processes carried out by students accompanied by teachers to provide instructions or explanations related to guitar materials that become the learning materials. in solo guitar learning, activities can lead to performances as a show of learning outcomes that students and teachers have previously carried out. competitions for classical guitar at regional, national, and international levels are increasing the interest of classical guitar players. the actors are not only guitar players but also guitar teachers who try to improve their teaching to train their students to play classical guitar. classical guitar as a choice of musical instrument has its own place among performers and music lovers. so it can be concluded that classical guitar performance is a guitar performance that comes from western music traditions, and the music formats played are standard formats, such as symphonies, sonatas, and suites. like most classical music in general, to understand or play a classical repertoire requires stages and thoroughness to comply with the rules contained therein. therefore, the process of learning classical music, especially classical guitar, must go through official institutions such as schools, colleges, and music education institutions outside of school. this is to achieve a goal, namely to produce human resources in the field of classical guitar who are educated academically through learning stages based on a clear music program and curriculum. human resources in the field of classical guitar are those who take music studies and choose classical guitar specialization, who is expected to play a role in musical activities, especially classical guitar. the classical guitar competition itself has grown very rapidly, the initiator of which is one of the music education institutions. various types, formats, and rules have been applied, including internal competitions, which means that only people within the organizing institution may participate. then, the competition in general and open to anyone who wants to participate. valerio international guitar festival is an event that attracts special attention among classical guitar players in indonesia. this competition is held every year and is based in yogyakarta, indonesia. it provides a platform for classical guitar players to participate in demonstrating their skills in playing classical guitar in front of the jury. the contested categories are divided into two: children (junior) and adults (open). in the open category, the participants are dominated by students from various cities in indonesia and also from neighboring countries. valerio international guitar festival participants show their guitar playing skills as a result of their learning to be presented to the jury in order to achieve maximum performance success. this competition began to be held in 2013 on a national scale and continues every year. in 2014, this competition expanded its scope to become a classical guitar competition on an international scale. in an interview quoted by yanuar (2019), the lead organizer of the valerio international guitar festival stated that this competition was a classical guitar competition with several categories and assessments based on guitar playing techniques, musicality, and level of difficulty in playing songs (yanuar, 2019) in another news source (prasetyo, 2018), it is stated that the valerio international guitar festival is an effort to revive the guitar world in the country so that it does not lag behind its neighbors and the international community. it is further explained that the valerio international guitar festival is the only annual, routine guitar festival in indonesia that is a reflection of the world of the classical guitar itself (prasetyo, 2018). another news source states that the valerio international guitar festival has an orientation that the winner of this competition can have a portfolio or achievement that can lift the career and reputation of the participants who become birul walidaini, et al., the patterns of music learning in phenomena of valerio interna93 champions of this festival (manuel, 2018). one of the classical guitarists from jogja who has won the valerio international guitar festival, said that the competition was his attempt to develop his guitar playing skills as well as his motivation to continue to develop himself and maintain his existence as a guitarist (guitanesia, 2020). there are several notes that can be used as materials for discussion for all of us. first, the valerio international guitar festival as an international event has interesting aspects of studying, namely that the concept of the event and the rules of the competition itself have different characteristics from other competitions. valerio international guitar festival has produced many winners and made a real contribution to the development of music education, especially classical guitar in indonesia. competition is a test of the outcomes of the learning that the students have undertaken. a classical guitar student goes through a learning process with certain musical disciplines to achieve the teacher’s or the student’s targets. it is the result of the learning process that requires a place to test whether the method of learning used can be said to be appropriate. in addition to the result of trials or evaluations of the learning process, competition can be seen as a learning process and social interaction with the public. a student will not be able to develop his potential if he does not interact with the public in general. in a competition like this, the interaction process will be established to grow social values obtained by anyone involved in this classical guitar competition. in addition, the classical guitar competition which is held every year can provide a benchmark for the development of classical guitar and music education. the benchmark in question is that we can see which educational institutions or origins are actively participating from this classical guitar competition. we can also see the development of guitar players and the emergence of new classical guitarists every year. from the initial observations that the researchers made of the valerio international guitar festival, there are interesting things about what is behind the implementation of the guitar festival. competition in the guitar festival format that has been running and has been existing for several years contains learning patterns applied by the festival participants. the festival participants consist of mostly students or guitar students from various colleges or music course institutions. these learning patterns can be explored from the experiences the participants have gone through, from the preparation to the execution of performances. dewey reveals that experience is the basis of education or referred to as a means and purpose of education (dewey, 2014). many studies on music competitions from various countries have been carried out and have produced many articles. some of the articles that are the background for this research include a journal article written by phibion (phibion, 2012). in his article, phibion examines competitions held in botswana, divided into two types of choral competitions: school choir competitions and adult community choir competitions. the main aspects highlighted in the article are song selection, the jury system, and sponsorship. phibion writes that humans have a natural urge to compete, so the organization of music competitions is the right place to accommodate the desire to compete (phibion, 2012, p. 98). in his article, phibion concludes that choir competitions are carried out as an extra-curricular activity to support music learning in schools long before music education is introduced in formal schools. in addition to this, phibion writes in his article that music competition activities give good results as a means of teaching music. the community competitions outside their school, in which students take part, support their musical knowledge and insight in formal schools and facilitate their music learning process. further research is presented by lowe (2018), which raises the debate between supporters and those who are against music competition. in his writings, harmonia: journal of arts research and education 22 (1) (2022): 91-10294 lowe debates the merits and demerits of a music competition, which led to the idea of creating a cooperative festival. he argues that participants who come from schools should not fight for the championship but are staged together. participants from other schools were given the opportunity to perform in a good musical performance, giving students a more artistic appearance. participants are also given the opportunity to generally and are encouraged to learn more about music. several important points from this article written by lowe are that competition in music education is actually very likely to hinder students’ motivation besides that competition is not necessarily the will of the students themselves. lowe’s research should be considered, especially for music competition organizers to reconsider the factors and elements that exist in the series of competition events. another writer, joseph, suggests that in the music scene, there are at least three known musical actors as determinants of progress or activity, namely: composer (creator), performer (re-creator), and connoisseur (appreciator). all the three actors occupy successive segments from top to bottom in the form of a pyramid (joseph, 2000, p. 20). joseph also expressed his view on music competitions that music competitions are a form of basic appreciation and general activity, not professional work. they are the activity loved and respected by music lovers (joseph, 2000, p. 22). furthermore, it is emphasized that there is no measurement for music competitions because, unlike sports activities, music activities have not been formally and institutionally regulated” (joseph, 2000, p. 23). from the introduction that has been described, the researchers conclude that music competition is an interesting topic to study. however, the researchers also conclude that there has been no study on music competitions that discusses the learning aspects in it. as a performance featuring guitar playing from the participants and finalists, it can be concluded that behind the performance of a finalist in the competition stage, there is a learning process experienced by the finalists. this research aims to explore the learning experiences of the finalists in the context of their participation in the 2018 valerio international guitar festival and to reveal the competitive mentality of the finalists gained from the learning experiences. method this qualitative research explores more deeply the phenomena and problems that occur in the field. as creswell (2010, p. 264) revealed, qualitative methods are used to examine and understand the meaning experienced by individuals and groups of problems related to society and humanity. in this study, the data source was determined purposively. therefore, it adheres to the purposive procedural strategy. the purposive procedure is a strategy for determining informants according to the criteria which are relevant to the research problem (bunging . the criteria in question are parties who are involved in an activity and have the information needed by researchers. the data collection in this study was carried out by means of observation, interviews, and document study. the researchers observed the course of the 2018 valerio international guitar festival through video and photo documentation that they got from the organizer. in this observation, they listened to each stage of the activity and noted things that were considered important. interviews were conducted with the parties related to the 2018 valerio international guitar festival. the informants in this study consisted of main informants and supporting informants. the former consisted of seven finalists, while the latter consisted of the organizers, judges, and guitar teachers. the interviews were conducted from october to november 2021. the informants live in different places such as jogjakarta, magelang, and jakarta. meanwhile, the jury informants live in the netherlands and spain. the interviews birul walidaini, et al., the patterns of music learning in phenomena of valerio interna95 were conducted online by utilizing remote meeting technology so that the essence of the interview could still be obtained. the next stage was the study of documents. the document study was carried out by observing thirteen scores and archives of performance documents in the form of photos, videos, and news archives. data analysis is an ongoing process that requires continuous reflection on the data, asking analytical questions, and writing short notes throughout the research. the researchers also had to prepare, analyze, explore, present, and interpret the data that had been obtained (creswell, 2010, p. 274). in this study, the technique used to check the validity of the data is to carry out circular validation by making repeated observations of informants, key informants, texts, inter-texts, and sources related to the research focus to obtain data validity and research results that are reliable. result and discussion the 2018 valerio international guitar festival is the sixth of all the valerio international guitar festival events, which were first held in 2013. in 2018, publications and information related to the event’s organization were carried out around the beginning of the year through posters distributed through printed media and social media. the 2018 valerio international guitar festival poster mentioned that the registration was from may 31 to july 15, 2018. it is mentioned that the 2018 valerio international guitar festival 2018 was on august 2-5, 2018, at kj hotel, yogyakarta. this festival carried several categories that were contested, including the open category, which was the focus of the researchers in this research. in addition to competitions, the 2018 valerio international guitar festival held masterclasses and concerts and invited judges from within and outside the country who were competent in the field of classical guitar. the 2018 valerio international guitar festival has also been carried out thanks to sponsors from various parties such as music course institutions, hotels, guitar manufacturers, audio device brands, and travel agents. in addition to sponsors, the 2018 valerio international guitar festival committee also established partnerships with various parties such as the media and fellow competition organizers from abroad. one of the competition categories in the 2018 valerio international guitar festival, which is the focus of this research, was the open category or open-to-the-public category. in terms of the age level, this category was the highest category because there was no age limit in it. anyone might register and participate by following the rules made by the committee, namely: playing a single guitar within a time limit of no longer than 10 minutes in the preliminary round, which was held on august 2, 2018, wherein the 10-minute duration participants might play more than one piece of music or repertoire. after the preliminary round, there were eight finalists who were fully determined by the jury to advance to the final round. in the final round, the selected finalists were asked to play a single guitar for a duration of shorter than 17 minutes, in which the finalists might play more than one piece of repertoire. figure 1. poster valerio international guitar festival 2018 as to the musical works or repertoire performed in the final round, it was not allowed to repeat the musical works that harmonia: journal of arts research and education 22 (1) (2022): 91-10296 had been performed in the preliminary round. if the finalists exceeded the specified time limit, they were disqualified. the participants and finalists were required to play guitar by rote and were not allowed to read texts or scores. the 2018 valerio international guitar festival was held from 2 5 august 2018 at kj hotel, yogyakarta. this festival offered several categories that were contested, including the open category, which is the focus of this research. in determining the registration fee, the committee offers two payment options: if participants register between march 31 and may 31, 2018. the registration fee they must pay is four hundred and fifty thousand rupiahs. however, if participants register between june and july 15, 2018, the registration fee is five hundred and fifty thousand rupiahs. in interviews conducted by researchers with the organizers, information was obtained that the management board under the main coordinator was divided into two divisions, namely the technical performance division and the administrative division, each of which had a coordinator and members. an interview with the organizers stated that the members of the valerio international guitar festival 2018 committee were volunteers, most of whom were from yogyakarta, and many were students majoring in music. the organizers also added that the selection of students as volunteers also aimed to provide experience and learning to students on how to organize a good guitar festival. the finalists were dressed neatly while demonstrating their skills in playing guitar. this concept has previously been expressed by sloboda and lehman (john. a sloboda & lehmann, 2001), who state that in classical music, the behavior on stage that is expected is to dress formally, for example, wearing a dark color suit and tie for men and evening dresses for women. the finalists had prepared for the competition months in advance, including at the most important moment, namely the implementation of the competition, and were more focused on the final round. the informants were finalists who had passed the first round by eliminating other participants. as a long-awaited moment, the finalists prepared and built the best possible concept in this final round. not only from a musical point of view but also from a non-musical point of view was it well prepared, such as how to dress. in the final round, the finalists were dressed neatly, the men wearing suits and women wearing dresses, very well structured and varied. the differences in learning patterns of the finalists of valerio international guitar festival 2018. before discussing the pattern of music learning in the 2018 valerio international guitar festival, we need to look at the general view of learning as expressed by saputri who states that learning will always provide a stimulus and response to students. the relationship that occurs between the stimulus and response will become a habit if it is carried out repeatedly (saputri, 2013, p. 38). more specifically, saputri adds that learning is an activity that involves the main components, namely: students, teachers, objectives, lesson content, methods, media, and evaluation (saputri, 2013, p. 38). the researchers found some music learning patterns obtained from extracting informants’ information. the music learning patterns found included independent practice, learning in lecture classes, learning through music courses, and learning through the guitar community. the finalists revealed their learning experiences in accordance with what they experienced in the context of preparation until the implementation of the 2018 valerio international guitar festival. after determining the repertoire program to be presented for the 2018 valerio international guitar festival, the finalists carried out independent exercises on a regular basis every day, and this exercise could be done for hours a day anywhere, including at home, in rooms, on campus, or in other places that could provide a conducive atmosphere to practicing. birul walidaini, et al., the patterns of music learning in phenomena of valerio interna97 the place used for practice was a private place, which supported concentration and exploration of guitar playing. however, in certain situations, sometimes exercises were also carried out in crowded public places with the aim of staying focused on the repertoire being trained. in independent practice, there were several types: technique, reading notation, practicing expression, and interpretation. when the 2018 valerio international guitar festival was implemented was approaching, the practice focused on playing the entire repertoire in succession without repetition. this effort was made to bring the atmosphere of a competitive stage into their practice process. not infrequently, they also wore concert clothes and demonstrated how to walk, respect, and sit in independent practice to better familiarize themselves with the atmosphere of the competition. the independent practice pattern above is in line with the training concept proposed by lehman (lehmann et al., 2007), which states that practice is an important activity that musicians need to do to improve their skills in playing music. lehman explains practice from two perspectives: practice in the macro-and micro-perspectives. practice in a macroperspective is an exercise that is carried out and is a major part of the life of a musician. the practice in this macro-perspective refers to the habits of musicians in practicing their activities in a room; family room, and other rooms. meanwhile, the practice in the micro-perspective is a more detailed exercise focused on the goals to be achieved. in practice in this micro-perspective, musicians usually have plans, notes, or important points they want to improve. lehmann et al. (lehmann et al., 2007, p. 62) explain that practice has always been a major part of a musician’s life. however, in some countries, music students now have the habit of practicing in their respective rooms or in the living room with the supervision of their parents. in addition, conservatory students usually practice alone in small cubicles or in their own homes. in addition to the information about practicing independently, the researcher also received information about the training activities carried out in the lecture room. some of the finalists in the 2018 valerio international guitar festival were students who took music studies, be it music education, pure music, or music presentation. learning activities in this lecture were carried out through discussion and consultation with the lecturer in guitar practice lectures. in the discussion and consultation aimed at improving skills in playing the guitar, the lecturer provided corrections, input, and solutions if there were difficulties in playing guitar. in addition, lecturers also provided direction and strategies for what to do to face the competition. in addition to studying in lecture classes, some of the finalists also learned through the guitar community which was formed on the initiative of fellow guitarists. in this guitar community, the members learned how to play guitar and communicate and interact socially with other guitarists. in the guitar community, ahead of the competition, they took the initiative to hold a repertoire class where they set up a stage for the performances of the members who would compete. in this repertoire class, the members give each other input and support each other so that the game gets better. this is in line with lehmann’s opinion (lehmann et al., 2007) that training activities like this will provide direct feedback to musicians, teachers, and colleagues so that they can immediately comment on mistakes and irregularities during the joint practice. the comments given can range from details to basic techniques and fingering. harmonia: journal of arts research and education 22 (1) (2022): 91-10298 figure 2. learning patterns of finalists of 2018 valerio international guitar festival as explained in detail, the learning process that was passed from the finalists was not a short process. on the contrary, the learning process is quite long, starting from selecting repertoire, making, consulting with teachers or lecturers, sharing with colleagues, and staging in the competition arena. the finalists took the learning process according to what they had experienced; as previously stated, the learning that the finalists went through came from lectures, courses, and community. in the music learning from the lecture class, the finalists gained practical knowledge of playing the guitar and other supporting abilities that supported guitar practice skills. at the 2018 valerio international guitar festival, there were three music students who were still actively taking practical lectures on campus, so the skills used in the competition were still related to the lecture materials. these students also applied the skills of music theory, music analysis, and history to support their ability to master a repertoire. the second learning pattern is learning that is carried out through the community. at the 2018 valerio international guitar festival, there were two finalists who 2018 learned through the community and shared it with their peers. they were also music students but learned through the community because they had completed guitar practice courses. because they were no longer taking guitar practice lessons, these finalists improved their skills in participating in this competition by being active in the community. the third learning pattern is the learning gained at a course. at valerio international guitar festival 2018, one finalist learned guitar through courses. the learning process through this course is certainly different from the learning carried out in the lecture class because the learning activities are more focused on practice to master the repertoire in the music course. motivation and mentality to compete for the finalists of the 2018 valerio international guitar festival. in addition to training patterns, this study found that the motivations of the finalists in participating in the 2018 valerio international guitar festival were very diverse. the informants who were finalists of the 2018 valerio international guitar festival had their own motivations, such as wanting to gain experience, trying to play in public, being active, following the development of the guitar, and wanting to improve their ability and skills to play guitar. from the opinion of the informants, it can be concluded that the competition event can be used as a medium for achieving various goals. from the many goals or things that motivate, it can be seen that the main goal is to increase self-capacity, both from the musical and non-musical aspects. lehmann et al. (lehmann et al. 2007, p. 46) explain that playing music and liking music is intrinsically motivating activities. many people are naturally attracted because this activity is a valuable experience. intrinsic motivation can arise from childhood experiences and the pleasure gained during a music learning process. while in terms of extrinsic motivation, bloom writes that musical experiences that occur in childhood will stick and become motivation in later life. people who later become musicians characterize their early childhood musical experience as enjoyable (cutietta, 1985). the findings of the research by slodoba (1990) suggest that birul walidaini, et al., the patterns of music learning in phenomena of valerio interna99 children who have had strong experiences, perhaps by attending live performances, are more likely to continue to engage in music than those who have not. this study from sloboda also shows that peak experiences are most likely to occur in situations where a child does not feel compelled. in this situation, the intrinsically pleasurable nature of music can affect children. as a result, many decide to become musicians or at least take musical training at a young age. interest in music and a fun-oriented approach can be powerful motivators during childhood. many musicians cite “love music” and “having music” as the reasons for spending so much time on music (green, 2002). musical activities are so enjoyable that musicians refuse to call it “practice” or “study.” this musical activity shows a strong urge to master the music they like. intrinsic motivation in music is also very important for music students undergoing formal music education. mcpherson found that budding musicians who made the most progress in their first year of music lessons tended to express intrinsic reasons for playing music for personal enjoyment (mcpherson & renwick, 2001). lehmann et al. (2007, p. 49) explain that performing in musical performances can be a very powerful experience for musicians. this activity can strengthen and become a driving factor for intrinsic motivation. the presence of a live audience can increase the sensitivity of the performer. the aesthetic rewards gained by being involved in a quality performance can inspire budding musicians to greater self-actualization. professional musicians more often participate in concerts as students than non-professionals (moore et al., 2003). in addition to explaining the idea of intrinsic motivation, lehmann et al. (2007, p. 49) also explain extrinsic motivation factors, which are important aspects of one’s musical development. the main extrinsic sources are parents, teachers, and peers. figure 3. seating position of finalist and jury this study also found structured and varied learning carried out by the finalists in facing the competition. although the competition in the 2018 valerio international guitar festival was solo, the finalists did not always practice alone continuously. they also looked for other sources and places of learning to improve further their ability to play guitar, although the independent practice was still an important part of the preparation for participating in the 2018 valerio international guitar festival. from the description above, a spirit to compete from the finalists can be captured. the spirit to compete is also formed from the motivation that comes from the finalists, both intrinsically and extrinsically. the enthusiasm for the competition is the spirit to show the maximum outcome of the preparations that have been made months before the competition, starting from practicing independently, studying in lectures, studying in courses, and studying in the community, up to conducting competition simulations through repertoire classes. for the finalists, this competitive spirit is more than the spirit to win or to get a champion, although there must be a hope to become a winner. however, other than that, the finalists also realized that many other things could be gained from the competition, namely improving their ability to play guitar, interacting with many parties, and building networks. the competitive mentality can be explained in more detail in two important points. the mentality to develop guitar skills through mastery of repertoire harmonia: journal of arts research and education 22 (1) (2022): 91-102100 in a competition, the finalists must master and play a repertoire with a highlevel skill to compete and obtain maximum performance. the repertoire in guitar competitions can be classified as a repertoire with a high-level skill and a long duration. therefore, mastering a repertoire worthy of being played in a guitar competition is an achievement in itself, which is the target of the finalists. in an effort to improve the ability to master this repertoire, awareness, and independence from the finalists are needed. independence is the key to success in increasing mastery of this repertoire. as stated by parker (yusutria & febriana, 20193), independence is a strength contained in a person that can be obtained through the process of self-reliance and individuation, which is responsible for all actions and actions are taken. the finalists did exercises independently to prepare for a good performance. this independent exercise is driven by strong motivation from within plus motivation from the surrounding environment, such as teachers, colleagues, and the community. the independence that grows from the finalists is a stimulus of intrinsic motivation. it is said that intrinsic motivation is an impulse that arises from within oneself to explore something more. meanwhile, extrinsic motivation comes from the surrounding environment, such as teachers, colleagues, and the community (marta, 2021). she also explains that extrinsic motivation is encouragement that is obtained through external stimuli (marta, 2021. in addition, the value that can be captured in a competition is the value of mutual respect. this is shown by the finalists in the competition. the finalists paid their respects to the audience and the jury as a form of appreciation. the values of independence and mutual respect are the values shown by the finalists during the 2018 valerio international guitar festival. the mentality to perform in the competition arena the finalists of the 2018 valerio international guitar festival had prepared their respective repertoires with maximum preparation. furthermore, they determined the stage of the competition as a place to display the repertoire that they had prepared. their mentality to perform on stage was formed from the learning process that they had gone through. playing in competition has its own challenges; of course, it is different from playing on a music stage other than competition. in the conditions leading up to the competition, it was not uncommon for the finalists to experience anxiety. in relation to this, according to larasati and prihatanta, anxiety is a feeling of not being able to face-threatening conditions and dangers; this feeling arises when a person does not have an appropriate response in dealing with the problems he faces (larasati & prihatanta, 2019). furthermore, they explain that anxiety is a feeling often faced before participating in the competition (larasati & prihatanta, 2019). in a performance, the performers will be the center of the audience’s attention. moreover, in the competition arena, the performer gets the attention from the audience and the jury that rates the performance. in addition, in classical music performances, the audience will focus and pay attention to the stage because there are procedures that the audience must obey in classical music performances. as stated by sitowati, in classical music concerts, there are audience rules that must always be followed, including not making noise, turning off mobile devices, giving applause only when the performer finishes their repertoire, and not eating and drinking during the performance (sitowati, 2014, p. 58). from the description of the atmosphere of a classical music concert, it can be stated that the atmosphere in the competition stage arena is very calm, quiet, and peaceful. therefore, the finalists are required to have both musical and non-musical abilities, including the ability to self-control, birul walidaini, et al., the patterns of music learning in phenomena of valerio interna101 overcome nervousness and anxiety, and concentrate. as explained by yalesvita, the purpose of concentration is to be able to provide mental and physical control on stage (yalesvita & eliza, 2020). conclusion organizing a music competition can be used as an interesting study material to explore something in it. this study concludes that in a guitar competition, there is a series of learning experiences that are passed by the finalists in which there are stages from preparation, and implementation, up to the implementation of the 2018 valerio international guitar festival. the 2018 valerio international guitar festival competition gave the finalists both musical and non-musical experiences, such as having the courage to appear in front of many people, competing on stage but maintaining social relationships off stage, either through community or practicing together. in addition, the music learning experience that the finalists went through also fostered a competitive mentality in which there were aspects of independence and courage to perform in the competition stage arena. acknowledgments the author would like to thank all informants, including finalists, organizers, jury, and instructors who participated and were involved in organizing the 2018 valerio international guitar festival and who had provided information and data so that this research could be completed. references bungin, b. 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(2019). aktualisasi nilai-nilai kemandirian dalam. 8(1), 577–582. https://doi.org/10.29313/ tjpi.v8i1.4575 harmonia : journal of arts research and education 14 (1) (2014): 37-45 available online at http://journal.unnes.ac.id/nju/index.php/harmonia permalink/doihttp://dx.doi.org/10.15294/harmonia.v14i1.2789 p-issn 1411-5115 e-issn 2355-3820 reogas means of students’ appreciation and creation in arts and culture based on the local wisdom sri ambarwangi* s . suharto** teacher of vocational school 1 pringapus semarang district, indonesia e-mail: sriambarwangi@gmail.com lecturer of music department, semarang state university e-mail: harto1965@gmail.com received: july 2013. accepted: februari 2014. published: maret 2014 abstract this paper is the result of the study and the implementation of learning in the field of the author, especially in the implementation of the study of arts and culture in the vocational schools. the purpose of this paper is to show that by learning local culture based on learning objectives the corresponding to the curriculum can be reached. in fact, the local culture also containing more local wisdom is felt directly by the students. the art of reog, known around pringapus semarang regency, can be used as means of learning arts for students, especially in the activities of appreciation and expressions. the existing values in the art of reog can be conceptually presented in class, as well as directly through the students’ activities of appreciation and expression in the form of performances in the school environment. students can easily receive learning materials and can be more expressive while presenting the show. the values that are in the presentation of the art of reog are social, religion, nationalism, and culture. students can present reog with enthusiasm and expressive as a show that has already exist since a long time in the environment of their own, and even many have become the performers of reog in their neighborhood. reog has already been part of his life that has the role of self-actualization, expression, social, and cultural. most of those students feel proud to be a part in the show in his living quarters so that they do not feel ashamed of serving the art in school. keywords: reog; possessed; based on local wisdom; arts and culture introduction school-based curriculum (ktsp curriculum) of arts and culture for the non vocational school of art in fact has already accommodated local arts grants to be awarded in the lesson. its implementation has already given the freedom for education to develop units in accordance with the circumstances, the means, and the local environment. the standard of competence in art music and dance has already accommodated arts as a part of an aesthetic learning which includes artistic appreciations, creations, and expressions. there comes to a problem in learning that a large number of teachers have different interpretations. even many just give western art concepts due to their background of western art without any opportunity for the students to understand the use of the concept and the expression. thus, the learning objectives are not achieved. lack of understanding in application and different art background from the concept to be achieved in the curriculum lead to many different interpretations among teachers. it is understandable if teachers with educational background of western music which has been ingrained in wes37 38 harmonia : journal of arts research and education 14 (1) (2014): 37-45 tern notation system should teach a different javanese traditional music notation system. however, it does not mean that teachers should stop searching for new innovations to the implementation of learning the art of local traditions that indeed should be given will be stopped anyway since the learning objectives which are relevant to the competency standards in schools should include appreciations, expressions, and creations. and to achieve it, there are actually a lot of ways to be done by the teachers, both in class and outside of class. it is wise to learn the art of tradition that comes from the local art. learning resources in the form of abundant local art traditions around schools can be used in learning. this course will also enable teachers to provide the materials for the students that are accustomed to learn this tradition. this would be much better than giving western music learning materials that are difficult for students to understand due to the infrastructure as well as the heterogenous background of students. western music is really foreign to them. smk pringapus is a state vocational school located in the village of jatirunggo in sub-district pringapus, whose territory borders on boyolali regency, grobogan, and the town of salatiga. for several years the author had difficulty in teaching arts to the students. students still have not easily received the material of art music primarily in the concepts, such as notation of melodies, harmony, and so that west grammatical. likewise in the management practices of learning music. this might be due to environmental background of the students who are still unfamiliar with the materials. instead, they were pretty enthusiastic if invited to a discussion of the music traditions of the local area such as reog. reog is a kind of art that has flourished since decades ago until now in semarang district which borders on boyolali regency, salatiga city, and grobogan. it is like a kuda lumping, jaran kepang, and jathilan. reog in semarang district is not as grand as the show of reog ponorogo, but it has its own peculiarities customize existing local traditions in the area. up to this point a show is always packed with hundreds of spectators, even thousands. reog could still exist and is favorable until now. the reason is in its functions as either an entertainment or other functions, such as the socio-cultural and ritual purposes. this is what inspires the author to investigate the arts in order to make it as a medium of appreciation and expression, including the creation of vocational students of pringapus. during served in the school environment, it is always followed by enthusiastic students, both as a performer or a dancer as well as the audience. in fact, according to their testimony, they have become the performers of reog since they were children. the author also explores their artistic endeavors in their living quarters, especially in the arts of reog, so local values can be achieved when it is used as a medium of learning. the art of reog has long grown and becomes a part of the life of the local community expression. it is believed to contain positive values that can be used in the world of education. values that are believed to eventually become a part of the society, which are often called local wisdom, will facilitate this material as a medium of learning arts. in accordance with its character, the lesson of arts and cultural has its own peculiarities and it has a specific purpose. the existence of arts subject at schools is not to create artists, nor to brighten students with their math-logic. it is such a special purpose to soften the senses, intellectual, moral, and to strengthen the sense of nationalism. besides psychologically, arts can help students develop their smooth and gentle nature and a sense of solidarity in accordance with the nature of art that it plays or invests (dewantara, 1977; adipal, 2010; campbell, 2001) . the values in the traditional arts are believed to be good for decades of life to be a right medium for students to express themselves and be creative if it can be managed well in the learning process. this could concern in the management of sri ambarwangi, reog as means of students’ appreciation and creation in arts ... 39 time or the exact subject matter, the determination of classes, and the performances of material parts accordingly. the parts that cannot be applied at schools can be selected without omitting the main substance in the reog art. this is what authors continuously examine the implementation of learning the local tradition art especially reog in smk negeri pringapus. role of art education in schools art music in school-based curriculum (sbc) of vocational schools is a piece of the arts and culture subjects, including other arts such as visual arts, dance and theater arts. in the background of the competency standards of this lesson serve an objectives amog other things: (1) to understand the concept and the importance of art and culture, (2) to show appreciation attitude towards art and culture, and (3) to express creativity through arts and culture (depdiknas, 2006) . arts and culture has its own distinctiveness or uniqueness that does not belong to other subjects, so learning this subject must be different from others any way. this is very beneficial to the development needs of students. in arts education, to achieve meaningfulness is known by the approach of “learning with arts”, “learning through arts”, and “learning about arts”. the activity with this approach is to provide an aesthetic experience in the form of creative activity or expression, and appreciation. “learning with arts” implies that in any learning activities we can engage the art in it. for example, studying while listening music. “learning through arts” implies that the art can be used as a means to learn things or other fields. for example, in learning songs, while learning music we could also learn literature, history, nationalism, social, religion, and others. this concept is embraced the notion popularized by read (1970), known by the approach to education through art. “learning about arts” means that to achieve the aesthetic goals students can directly learn arts covering all aspects of the art. for example, when learning music students are expected to master it or the learning objectives in order to be able to sing or play music that is suitable for the purpose of the lesson. an arts education with its own characteristics makes it have a special purpose in achieving the goals of general education. there are three properties owned by the education of arts and culture; they are the nature of multilingual, multidimensional, and multicultural. multilingual means the development can be done in various ways and media, such as visual arts, sound, motion, roles, and the mix of those media. multi-dimensional means the development of competencies that includes conception, appreciation, and creation by blending harmoniously with the elements of aesthetics, logic, kinestetics, and ethics. and, multicultural competency means the development of competencies through meaningful activities that lead to an appreciation of the cultural diversity of indonesia and foreign countries. music education has its own domain which is different from other fields, such as mathematics which is farming out the domain of logics. the field of art is a sense and appreciative attitude that can be achieved through the activities of appreciation and creation to meet the individual needs of harmony. arts and culture is a group of subjects which has the aesthetic characteristics of learning distinctive competence and standard in the achievement of basic competencies (ambarwangi, 2013, p. 78). human beings essentially have multiple intelligence which is not based solely on intelligence and logical, but other intelligence. according to gardner (1993), human beings have multiple intelligences among others (1) linguistics (functional language proficiency), (2) logical-mathematical intelligence (the ability to think coherently), (3) musical intelligence (the ability to capture and create a pattern of tones and rhythm), (4) spatial intelligence (the ability to form mentally images about reality), (5) physical-kinesthetic intelligence (the ability to produce fine motor movements), (6) intra-personal intelligence (the 40 harmonia : journal of arts research and education 14 (1) (2014): 37-45 ability to know yourself and develop a sense of identity), and (7) interpersonal (social) the ability to work effectively with others, connect with others, and to show empathy and understanding, to observe their motivations and goals. interpersonal intelligence (the ability to understand other people). music teachers can take advantage of the nature of human intelligence to get the whole musical concepts by exploring all the existing potential. any effects resulting in the art education in schools will lead to general education purposes. students who have achieved the standard of high appreciation and creation could be the ones who like to respect others, creative, gentle, tolerant, able to come up in public, self-confident, even intelligent. human traits with these properties are not parts of the general education objectives of various types of education. it is not possible to achieve the objectives of education only through the kind of education that involves the left hemisphere of logical, analytical, systematics, and so on, but also involves the right hemisphere of intuition, imagination, innovation, synthesis (holistic), creations and so on which are obtained through arts activities, such as rhythm, tone, color (deporter and mike hernacki, 2000, p. 27). students who are active in the choir, for example, will be familiar with the nature of the work, like helpful, tolerant and respect other people’s love, harmonious, have a high musical taste, gentle, confident and disciplined. it is all a direct result caused in the process of training up to her appearance. that is to be expected in the general education goals. one important thing to enhance the creativity and intelligence of the students is a tribute to local culture itself. because the local culture is the basis for the character of a society as well as the success of an educational attitude parameters. local wisdom often called a local genious can be understood as a human effort using his intelligence (cognition) to act and to behave towards things, objects, or events that occur in a given space. this definition is arranged in etymology, in which wisdom is understood as the ability of a person in using reasonable mind to act or to behave as a result of an assessment of things, objects, or events that occur (ridwan, 2007, p. 27). local specifically refers to a limited interaction space with a finite system of value. as an interaction space that has been designed in such a way that it involves a relationship pattern of man with man, or man with his physical environment. these patterns of interaction that have been designed are called settings. it is an interaction space in which one can sort the face-to-face relationships among their environment. a life setting that is directly formed will produce values. these values will be the cornerstone of their relationship, or as a reference for their behavior. for example, local genius that still persist in the life of javanese is a javenese psychological notion. this psychology is a kawruh javenese psychiatric. this includes the volatility of reason, sense, and desire of javenese people to hold their lives. a javanese generally lives in psychiatric world (endraswara, 2003, p. 211). values of begja, watak nrima and rasa rumangsa are examples of local knowledge which generally embrace javanese people. the tradition art is a living art tradition in the area with a tradition and local wisdom enclosing. values that exist in both the background of the creation as well as existing symbols in the tradition art are local tradition alive hereditary for generations. the cultural values in a particular society are supposed to only be quatified with the local culture rather than other cultures. this is due to the reason that something that is considered to be good in certain communities may not be good in others. because these values are only produced by a system that is local to a specific cultural value thus cannot be measured with the system originating from other cultural systems, though it is considered universal. for this case then comes the indigenous psychology that first appeared in the 1970s in asian region. the core of this study is sri ambarwangi, reog as means of students’ appreciation and creation in arts ... 41 that psychological theories from the west could not be used as a basis for the study of people from eastern societies that were local and came from different cultural systems. kim and berry (1993) define an indigenous psychology as the scientific study of human behavior or mind that is native, that is not transported from other regions, and that is designed for its people. today many scientists both anthropologists as well as psychology experts use this as an approach to his research. method this type of research is classified into qualitative research using analytical and descriptive writing and ethnomusicology approach. ethnomusicology is a research approach to understanding the music concept of community maker. researchers can learn to feel, plays, expressed in accordance with those of society. the study of music in the context of culture according to merriam (1964), known as a model for the study tripated ethnomusicology can be studied from three levels, namely (1) the concepts of music, (2) the behavior of both players and music lovers, and (3) the sound of the music itself. thus the study of ethnomusicology should also not far from the three aspects in analyzing the data. techniques of data collection by interview, observation, and documents. data were analyzed with the interactive analysis technique of miles and huberman with the ethnomusicology research approach. result and discussion functions of traditional arts in human life the emergence of art, whether nonphysical or physical arts has functions for human beings or their lives. art has taken a role in the progression of human civilization in the world since prehistoric times until the contemporary. thus the function of art can vary in line with the human civilization. according to chapman (in setiawan, 2012) the function of art is divided into six sections, namely a private function, social, physical, religious, educational, and economical functions. as one of the cultural elements, art has a function as a reference of action to its supporters. as a cultural system, to meet the needs of aesthetic, art can serve as a regulator, manager, or controller in arts activities. this exists in the traditional arts. as a system, therefore, the function of art is not just usability, but it is meant to function as something that can be donated on a particular party in a system. the art develops and standardizes through the arts of social traditions of a society (parsons, 1951, rondhi, 2002, triyanto, 1994, rohidi, 1993). thus, it is clear that an art would disappear when it is no longer a part of the particular cultural system of society. a particular art tradition will be lost if no longer used for ritual, social events, as well as entertainment. its current status is not a cause of art to be manifold, one of which is a shift in culture that exists in society such as the globalization era, an era in which the influence of technology is so powerful to change society. traditional arts reog reog, or something like kuda lumping, ebeg, jatilan, and kuda kepang are already known in the javanese community. these arts have become a national art which was in the past concentrated to mystical (ndadi, or possessed) as one of its appeals. in fact, groups of javanese, wherever they are in the world, almost have a group of kuda lumping (suara merdeka, 15 september 2012). if it is seen from the property used, the form of performances, as well as the background of the meaning behind the art, reog has similarities with other arts. reog and similar types of art, have players/dancers using artificial horse made of woven braided bamboo, or animal skin/lumping, then they dance to form such as cavalry formations, by providing elements of magic as one of its appeals. sometimes in some areas such as kebumen, brebes, and 42 harmonia : journal of arts research and education 14 (1) (2014): 37-45 elsewhere add barongan and penthul as an integral part. in ponorogo, this kind of art has become a magnificent show with a fully equipped property with the name reog ponorogo . this art has exist and continue to be preserved for generations without being known who and when first played. nevertheless, the community support this kind of art and consider that it is part of their life as an aesthetic expression, the expression of joy, anger, a sense of mutual, even a sense of nationalism or heroism. of the form of the show, this art reflects the expression of an egalitarian society, but also patriotic. as well as other folk art, this is not art since the feudal appears as reverence and devotion the people on him (the king). this art appears as if the supporters are already aware of their positions just as the commoners. it can be seen from the meanings in any parts of the show that are filled with symbols. the role of barongan (or barong in brebes) symbolizes a king or a leader who has the right to receive money (tribute) from the audience, and the role of penthul as a symbol of the king’s advisers, who despite his small but highly appreciated by the king, or other players. the interesting part of this art performance events is ndandi after the ritual of burning incense. people who perform this ritual should be considered a qualified person as it is considered for the supporters as an important part that do not mess around. the ritual of burning incense symbolizes the beliefs of the ancient javanese that still believed in animism and dynamism as well as the influence of hinduism. in some particular areas, it is a symbol of devotion to god that shall pray for salvation. in fact, kuda lumping in brebes is to summon spirits. it could be either the ghosts of deceased ancestors or deceased animals. while in the areas that are still close to the palace of surakarta and yogyakarta, the ritual of burning incense is a symbol of prayer or asking for help on satyrs or ethereal (especially those considered to be good) to help the fight like in the story of the show. the cavalry troops depicting brave mataram troops still have to get reinforcements from the invisible army of nyi rara kidul in each battle. at least, that is the myth that javanese community believed that this kind of art was expressed in a scene of burning incense in the show (ananda, 2011). reog art as expression and art appreciation of smk pringapus students the state vocational school of pringapus is located less than 15 km from the downtown of semarang regency to the east. this school is built on hilly ground which is not much different from the hilly environment surrounding area. most of the students come from the surrounding areas close to the borders of boyolali regency, grobogan, and salatiga. the school is located on the outskirts of the city that was originally set up to accommodate people from the outskirts of the city to meet the needs of the garment industry that happens to set up around the area garment industry. one of the departments in this school is fashion, and the others are the engineering automotive to motorcycle and multimedia. the subject of arts and culture is one given in each class which include music, dance, and visual arts. however, since there is only one teacher whose educational background is music, then the music class is more dominant, although it only lasted a few years. next, the teacher is doing innovation as the response to students that the music lesson is less encouraging. the lack of a good response from these students is more because most materials are presented a lot of western music notation and other types of diatonic music. whereas a lot of students are from the communities that cultivate the traditions of art like reog. finally, the author, as one of the teachers of the art and culture utilize reog as a medium to convey the material of culture and arts, ranging from theoretical studies to showing reog presentation at the school by students. reog is a traditional art that has sri ambarwangi, reog as means of students’ appreciation and creation in arts ... 43 existed for decades in the region. many reog groups are establieshed in this region and frequently perform for both institutions and individuals. reog similar art with jaran kepang, jathilan, ebeg, and reog ponorogo remains a kind of art that is in great demand by the local community. every show is always attended by hundreds of people around. reog performances in school is one of the programs that is always done in state vocational school of pringapus. in addition to channel students’ interests and means of expression at the arts, it is an effective medium in learning culture as well as growing sense of social solidarity and national unity. reog performances in the school are expected to be used as a means of instilling a sense of solidarity, mutual aid, in addition to the symbolic values of heroism that exist in reog. because it is a symbol of heroism which describe the gallant troops who drive horse (interview with sunoto, the leader of reog turonggo jati, dated may 25, 2013). the performance of tradition arts in school can also instill values directly to students through the expression and appreciation activities like reog. cultivating of mutual respect over the tradition arts by the students is also a concrete manifestation forms of multicultural lessons for students. the cultivating of multicultural education is suitable provided through arts can be very effective if properly managed (ambarwangi, 2013, p. 78-85). students who play and watch alike learn through the performing tradition arts like reog. when playing reog they can directly express the arts and feel a sense of solidarity and togetherness, mutual trust, mutual respect while coordinating these performances. likewise, students who watch. they can appreciate it, and can appreciate friends who enthusiastically express the tradition arts. being reog player in the community in which they live is a pride, they do it with no shame to show that expression in the school environment. with these values are believed to be good and proven over decades this art still exist. they enjoy the show including the performance of possessed or ndadi. nevertheless the ndadi is less vulgar when performed at schools. figure 1. vocational high school students playing at school ndadi or possessed is a highly anticipated attraction by audiences in each performance of reog, jaran kepang, and many others. according to sunoto parmin, a handler of reog turonggo jati pringapus, the type of ndandi can vary depending on the spirits called. the ghosts could be the deceased animal spirits, genies/demons, and ancestral spirits. if the spirits are summoned by the handler the spirits of the animal, then the dancer will behave like animals so they can eat the leaves or climb trees very quickly like a monkey. the author can see when viewing the show of reog turonggo jati group. a dancer suddenly climb the coconut trees around the area of show very quickly as a monkey. figure 2. players who take her clothes off and dance for ndadi 44 harmonia : journal of arts research and education 14 (1) (2014): 37-45 the performance of ndadi at schools can be packed solely for entertainment and a means of artistic expression for the students. the deceased animal spirit can be summoned so the performer only eats the leaves. however, according to one of the dancers, faisal, this ndadi can pretend if his intention is simply to entertain. if you do not believe the incident, ndadi will not happen; all happened is pretense. however, if the offender believe it, then he will actually be possessed. and have a professional handler who can do that, either when making ndadi to healing or reviving. value of local wisdom in reog and its functions in pringapus ndadi can possibly happen as the spirits are called and enter the soul of the player when the handler prays to call. praying to summon spirits and burning incense is a symbol of faith to always pray to god. according to one of the religious leaders, qozin (35) most of the communities around the pringapus sub district is not real islam (islam abangan). animism and dynamism as well as very strong hindu influence are in their spiritual lives. there are distinct positive values in the show either it is done at school or in the community where this art came from. positive values in the school have been discussed in item 3.1 above. the existing values in the community can be felt when the author made observations and interviews with the leaders and performers on the field. the reception was very friendly and enthusiastic as one evidence that appreciate the guests is one that should be done by every citizen. even the author was given the freedom to cover every show without any interference from the dancers on the stage. another positive value is that the players supporting a group totaling 40 personnels very easily coordinated by the group leader. their solidarity is very high. they never compete in the income problem. often the money the group received ranges from 3 to 4 million per show to be saved for the group once. that money could be used for social activities of the community. even the way the money can be obtained dues to every citizen, especially if the response is in order along with ritual and celebration events like merti desa. from the explanation above it is clear that the art community for the reog pringapus supporters has social functions. collecting societies in which they mutually interact in a single art activity they like and most of them simply do not get any rewards are strong evidences of the local community to commit to building a society and its culture. and, this will make the traditional art reog will continue to exist in this area. the care of the society has been proven when recruiting many teenagers involving to be dancers. it proves a great support from the community towards art to remain sustainable. moreover, the music players and the dancers are mostly from students of the state vocational school and the ones graduated from the school in which the author serves. it will be a very natural model of inheritance, in addition to the continued support of education in holding reog performances in the school environment with special packaging for the world of education. conclusion reog in the region of semarang district still exist since there is good support from all elements of the community supporters, local governments, as well as the education world. however, another element that stands out is because of the functions of art to the community. those functions such as for personal aesthetic needs, the social needs as a means of interacting with others in order to meet the social needs of collectivity, as well as spiritual needs, and cultural functions. these functions work systematically to establish a separate system to create harmony in the society in the pringapus district. if the value of harmony is drawn into the world of education, it will give a positive effect. the show runs well since it is maintained by the community, can be the lesson and learsri ambarwangi, reog as means of students’ appreciation and creation in arts ... 45 ning in schools. these values, in addition to other positive values, can be packed into one of the cultural arts media, in which the role of the cultural arts lessons can be very strategic to build the characters of students. the implementation of arts and culture subject by bringing local art that is believed to contain local wisdom in pringapus vocational schools is a synergistic effort due to the fact that most of the learners are also the actors of these arts in their areas. the duty of teachers and education units is to relate it in the management and selection of material, so it is completely consistent with the objectives of art education in the public schools as a means of appreciation, creation, and expression for students. thus, an art education has a special purpose to be really useful in the framework of achieving the objectives of education in general. the results of this study can be used as an input in order to find a learning model of the arts and culture on the basis of local wisdom of the area where the school is located. therefore, it is necessary to hold a comprehensive study covering all aspects. those studies could be classrom action research (car), school action research for the supervisors and principals, as well as a cultural research. this is so for the results of this comprehensive study in finding the results of a learning model that is suitable for learning art and culture subject in schools. 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(2013). fungsi seni dalam kehidupan manusia. retrieved http://alixbu miartyou.blogspot.com/p/biografi. html. may 15, 2013. ardipal. (2010). kurikulum pendidikan seni budaya yang ideal bagi peserta didik di masa depan. jurnal bahasa dan seni. 11(1). ananda. (2011). ebleg akar kesenian kuda lumping. retrieved http://adisulistyo.wordpress. com/2011/05/06/ ebleg-akar-kesenian-kuda-lumpingebleg-the-root-of-traditional-kudalumping-dancing. may 16, 2013. campbell, d. (2001). efek mozart bagi anakanak. jakarta: gramedia pustaka utama. deporter, b. & mike hernacki. (2000). quantum learning. transalated by alwiyah abdurrahman. jakarta: kafifa dewantara, k.h. (1977). pendidikan bagian pertama. yogyakarta: majelis luhur persatuan taman siswa. endraswara, s. (2003). mistik kejawen: sinkretisme, simbolisme, dan sufisme dalam budaya spiritual jawa. yogyakarta: narasi. gardner, h. (1993). multiple intelligences: from theory to practice. new york: basic books kim & berry. (2006). indigenous and cultural psychology: understanding people in context. new york: springer. mack, d. (2005). musik di antara seni dan politik: sebuah dilema abadi. pengantar dalam buku ismail marzuki musik, tanah air dan cinta. jakarta: lp3es merriam, a.p. (1964). the antropology of music. bloomington: northwestern university press. permendiknas, ri no 22 tahun 2006. ”tentang standar isi untuk satiuan pendidikan dasar dan menengah”. jakarta: depdiknas. 117 improving prospective primary school teachers’ skill in playing gamelan degung: an action research in indonesia julia, tedi supriyadi, prana dwija iswara faculty of education, universitas pendidikan indonesia, indonesia received: august 30, 2018. revised: october 23, 2018. accepted: december 10, 2018 abstract prospective primary school teachers had low skill in playing gamelan degung (indonesian gamelan). to improve skills in playing gamelan degung correctly, prospective primary school teachers need to be taught techniques of ringing, muffling (menengkep), and memorizing the compositions. therefore, this research seeks to improve students in playing gamelan degung. the action research report presented in this article exemplified the work of the involved collaborative team in making reflective-critical steps to change the students’ ability from their initial state of being unable to play gamelan degung properly to be able to play gamelan composition properly. the results of the action had shown changes in the ability of students in playing gamelan degung with 97.6% skill change level of the students and 57.15% success rate of students improving from the inept category to the adept category in playing gamelan degung. as a result, the skills of prospective primary school teachers in playing gamelan degung can be improved through some development steps in action research. keywords: action research; gamelan composition; gamelan degung; music skills; prospective primary school teachers how to cite: julia, j., supriyadi, t., & iswara, p. d. (2018). improving prospective primary school teachers’ skill in playing gamelan degung: an action research in indonesia. harmonia: journal of arts research and education, 18(2), 117130. harmonia: journal of arts research and education 18 (2) (2018), 117-130 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v18i2.15698 rent physiological, psychological and cognitive structures. these differences create different learning styles (metin, yılmaz, birişçi, & coşkun, 2011). meanwhile, research on learning style has indicated that students succeed academically in learning environments that match their learning styles (kolb, 2014; mccarthy, 1987; peker & mirasyedioğlu, 2008). through observation during the last three years in the teaching place of the researchers, the prospective primary school teachers were not very focused on the deepening of one field of study, thus raising the problem on the level of mastery of the material in a field introduction in indonesia, prospective primary school teachers are equipped with knowledge and skills in various fields of study, such as mathematics, language, natural sciences, social sciences and art (music, dance and fine art). after finishing college, they will become teachers (referred to as classroom teachers) who have an obligation to teach all areas of study to learners in primary school. as a result, they have different ways and learning styles with students who study one particular department/course. each individual has diffecorresponding author: jl. mayor abdurachman no. 211 sumedang e-mail: juli@upi.edu p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 18 (2) (2018): 117-130118 of study taught in the lecture. as the problem in this research, students in the primary school teacher education program in one university in west java province, indonesia, were not focused on learning the materials of traditional music lectures, especially in the material of gamelan degung (musical ensemble from west java province, indonesia, consisting of: saron, bonang, jenglong, kendang and gong). as a result, they found difficulties in playing gamelan degung with proper technique. meanwhile, in primary school in west java province, gamelan degung became one of the musical instruments that should be taught regularly and properly as part of achieving the basic competence in the primary school curriculum that was playing rhythmic and melodic instruments. therefore, they needed to be taught how to properly play gamelan degung. skills in playing gamelan degung as a part of musical skills in prospective primary school teachers need to be improved because they will provide the foundation of music skills for students in primary school. in indonesia, primary school is pursued in six years. if during that time the teachers did not teach music skills due to their incompetence, the learners would lose the initial opportunity to develop their musical ability, including the ability to be creative and to express their feelings through music. moreover, the main tasks of music teachers at primary schools are: to create emotional and aesthetical attitudes to music, to guide the development of musical and aesthetical spiritual needs and taste, to enlarge and enrich the ability for profound understanding of musical compositions (burdeva, 2005, p. 4). thus, it is essential to equip prospective primary school teachers with music skills, especially in playing gamelan degung as one of the preferred musical instruments taught in primary schools in indonesia. there has been quite a lot of writing about the study on gamelan, such as thomas (1972), roth (1981), shehan (1984), kartomi (1990), steptoe (2001), sorrell (2007), mcintosh (2009), hood (2010), henley (2015) and others. however, studies that specifically examine gamelan learning are still limited, especially gamelan degung learning. goldsworthy (1997) investigated the teaching of gamelan in australia and explained several approaches in teaching gamelan in australia and discussed problems faced by students of this tradition in a cross-cultural situation. resna, yusniarsih, and yuliani (2017) directed their research to the use of gamelan degung as music therapy. on the other hand, hardman (2015) directed his research on the analysis of minimalist musical composition in the gamelan. meanwhile, shah and saidon (2017) focused their research on developing a graded examination for the malay gamelan. of all research traced beforehand, there has been no research that specifically provides treatment to learners to master the playing techniques or the composition of gamelan degung. to properly teach music in primary school, the prospective primary school teacher needs to master music skills. in this case, music skills that need to be mastered by learners must be mastered first by the teacher. micheal houlahan and philip tacka (2015) state that “development of music skills is related to the students’ knowledge of rhythmic and melodic elements”. it also means that prospective primary school teachers need to master the knowledge of rhythmic and melodic elements. both of these have become a fundamental requirement in music learning, as once explained by hargreaves (1986) or schafer (1976). moreover, gardner (1973) suggests that “a reasonably competent 7-year-old should understand the basic metrical properties of his musical system and the appropriate scales, harmonies, cadences and groupings”. this means that prospective primary school teachers also need to master the various elements of the music so that the musical ability of learners can also develop well. they also need to know the potential musical abilities that appear in primary school students, such as the ability in “dejulia et al., improving prospective primary school teachers’ skill ... 119 veloping tuneful singing, reading, inner hearing, writing, improvisation, playing instruments, creative movement and listening skills (mícheál houlahan & philip tacka, 2015b). therefore, various theories of music development in children as described by d. butler (1992) and walters (1989), or examples of teaching music practice in primary school (mícheál houlahan & philip tacka, 2015a, 2015b, 2015c, 2015d, 2015e), becomes a fundamental requirement for prospective primary school teachers. this is a tough challenge for them, because basically they are not taught to be musicians, yet they are required to have cognitive knowledge and music skills such as musicians. without these basic skills, it is impossible for them to teach music well in accordance with the development and characteristics of learners in primary school. therefore, in line with the main problems in gamelan degung learning, action research was conducted to students as prospective primary school teachers. those non-musician students were given treatment through stages developed in accordance with the needs and results of reflection-critical conducted during the research. thus, the purpose of this research is to improve the skills of prospective primary school teachers in playing gamelan degung. methods based on a needs analysis, action research was used as a research design. many examples of action research approaches exist in education and specifically academic library literature (adelman, 1993; ferrance, 2000; hendricks, 2012; jefferson, 2014; marrow, 1977; moroni, 2011; newton & burgess, 2008; watson-boone, 2000). the use of action research design was in line with the needs of the researchers, who really needed to be involved in all stages of research, because “action research opens up opportunities for practitioners to actually be involved in research, which has immediate relevance and application” (koshy, 2005). through this action research, the researchers could be involved intensely in every step of learning, so it could explore a practical problem with the intention of developing a solution to the problem (creswell, 2015). collaborative aspects the principles of collaboration were employed in conducting this research, as the action researchers collaborated with others, it often involves co-participants in their research (creswell, 2015; schmuck, 2008). studies that employ collaborative action research processes in education involve collaboration between teachers, or between teachers and researchers (d. l. butler & schnellert, 2012; feldman, 1999; fernández-díaz, calvo, & rodríguez-hoyos, 2014; jaipal & figg, 2011; levin & rock, 2003; messiou, 2018; vaino, holbrook, & rannikmäe, 2013). the parties involved in the collaboration included researchers as teachers of gamelan who were lecturers of traditional arts at the research site, colleagues as observers who also taught the arts in different courses, and some students who had been trained as tutors to guide students in groups in playing gamelan degung. peer observation was very useful to portray learning activities as a whole, and this was a “simple way of gathering information on basic topics, such as questioning techniques, onor off-task behavior, and classroom management” (hopkins, 2008). meanwhile, all collaboration teams greatly contributed to the reflection of learning activities as “reflexive process that advocates continued learning and development” (stringer, 2013). research site and subject description the research was conducted in the primary school teacher education program in one of the universities in west java province, indonesia. research subjects were 126 students from three classes who joined a class of students who enrolled in music education courses. thirteen (10.3%) students were men and 113 (89.7%) students were women. their age was in the range harmonia: journal of arts research and education 18 (2) (2018): 117-130120 of 17-21 years. their origins were quite diverse, which were from various regions in west java province. forty-seven (37.3%) students were from sumedang, 19 (15.1%) students were from bandung, 18 (14.3%) students were from majalengka, 22 (17.5%) students were from cirebon, two (1.6%) students were from garut, four (3.2%) students were from kuningan, two (1.6%) students were from indramayu, one (0.8%) student was from subang, three (2.4%) students were from other areas in west java and eight (6.3%) students were from other areas outside west java. the various areas represented coastal areas, mountains, rice fields and fields. development of indicators of playing gamelan the assessment indicators in playing gamelan degung were developed to see the development of skills on the students. the assessment focused on one of the musical instruments in gamelan degung that served as a melody in the composition of gamelan, which was soaring instrument. saron was selected because this instrument required fairly complex playing techniques, since the prospective primary school teachers are non-musician students. meanwhile, the assessment was directed into two things, namely to play saron individually (solo) without accompanied by other gamelan instruments as pre-unit evaluation and to play saron as an ensemble as postunit evaluation. the assessment indicators were developed into five levels (beginner, elementary, intermediate, upper intermediate and advanced) and five categories (very inept, inept, fairly adept, adept and very adept). assessment indicators can be viewed in detail in table 1. results and discussion collection and analysis of pre-unit data table 1. skill indicators in playing gamelan capability level key features category beginner wrong sitting position; wrong technique in holding saron beater rigid body movements; stiff wrist not able to memorize the melody completely not able to do muffling (tengkepan) technique not able to play with up and down tempo very inept elementary correct sitting position; correct technique in holding saron beater flexible body movements; relaxed wrist not able to memorize the melody completely not able to do muffling (tengkepan) technique not able to play with up and down tempo inept intermediate correct sitting position; correct technique in holding saron beater flexible body movements; relaxed wrist able to memorize the melody completely not able to do muffling (tengkepan) technique not able to play with up and down tempo fairly adept upper intermediate correct sitting position; correct technique in holding saron beater flexible body movements; relaxed wrist able to memorize the melody completely able to do muffling (tengkepan) technique not able to play with up and down tempo adept advanced correct sitting position; correct technique in holding saron beater flexible body movements; relaxed wrist able to memorize the melody completely able to do muffling (tengkepan) technique able to play with up and down tempo very adept julia et al., improving prospective primary school teachers’ skill ... 121 degung correctly could not be realized. table 3. initial test results of gamelan degung playing skill level total percentage (%) beginner 116 92.07 elementary 10 7.93 intermediate upper intermediate advanced once the level of student ability in playing gamelan degung was known, they were required to rate statements in likert scale. their motivations–based on their ability–to learn gamelan degung properly was identified. from table 4, it could be inferred that the majority of students had built opinion on the importance of being able to play gamelan degung properly even if they had to learn this in their age at that time. in fact, they showed disagreement if only musicians or music teachers who need to have the skills to play gamelan degung properly. the result of the analysis from the pre-unit survey showed that students did not have adequate skills in playing gamelan degung, but they had high motivation to learn gamelan degung in order to play it properly. critical evaluation units of gamelan degung learning the results of the pre-unit analysis resulted in seven critical steps to be applied in gamelan degung learning in prospective primary school teachers. the seven steps were done along with thorough observations by the collaborative team and regular reflections on each action and learning outcomes. for the purposes of writing notation, sibelius software was used to write notes symbols and parnumation font was used to write numeric notation. step 1: introduction of gamelan degung playing technique an explanation of the correct techniques in playing gamelan degung was given. more specifically, an example of how the initial picture of the knowledge and experience of students in learning gamelan degung was identified. therefore, 126 students were assigned to answer questions in the form of a guttman scale as shown in table 2 below. table 2. experience in gamelan learning experience in gamelan learning yes no do you know what is gamelan degung? have you ever learned how to play gamelan degung? 116 69 10 57 do you know the proper technique of playing gamelan degung? 59 67 table 2 explains that the majority of students (92.1%) had already known about gamelan degung. in fact, the majority of students (54.8%) claimed to have ever studied gamelan degung. however, their recognition also showed that the majority of them (53.2%) did not know the proper technique of playing gamelan degung. to ensure the knowledge and skills of the students in playing gamelan degung, the initial test was conducted. it was conducted through the performance of a gamelan degung instrument, which was saron instrument. saron instrument requires a special technique that is the technique of tengkepan that must be mastered properly. they were tested one by one to play a series of simple melodies on a saron instrument. each students’ test took about two minutes. the indicators were the sitting position, the technique of holding saron beater, the movement of the body while playing the melody, the movement of the wrist, melodic memories, muffling technique and tempo changes. the test results showed the table 3. table 3 shows that the majority of students were still at the beginner or inept level, and few students were at elementary or inept level. this explained that they could not play gamelan degung correctly. the technique of playing saron had not been mastered and the way of holding saron beater and the sitting position was still incorrect. thus, their confession of having known the technique of playing gamelan harmonia: journal of arts research and education 18 (2) (2018): 117-130122 to play gamelan degung, especially saron instrument, was given with demonstration method. saron was the only blade-shaped instrument in gamelan degung, so it can produce long sound if it is not muffled. hence, if a thread of melody on saron is sounded without using tengkepan technique, then the sound can collide and interfere with the harmony of sound and can sound neither tidy nor clean. therefore, all aspects that must be mastered were practiced, such as how to sit properly for men and women to be able to move flexibly to follow the direction of the melody of the musical composition, how to hold saron beater to be able to beat powerfully and play with a fast tempo, how to muffle saron blade to produce soft and harmonious sound and how to set the power for the saron to sound it softly or loudly. step 2. giving music composition to gamelan degung after students learned and tried to practice how to play saron, they were given a musical composition entitled “gambir sawit” in the form of notation to be learned and practiced. this composition was commonly used as opening music in gamelan performance with dynamic tempo (slow-fast-slow). the main melody was in the saron instrument. while other instruments, which were bonang as the rhythm, jenglong as the frame of the song, kendang as the controller of the rhythm and gong as the marker of the cycle of musical composition. students were focused on learning saron first which was considered more difficult and this instrument was also used as a benchmark for the assessment of their ability to play gamelan degung. figure 1 below is the notation of gambir sawit music composition. the students were assigned to learn the melody by reading the notation and then memorizing it. however, a new problem emerged. they were not used to reading notation, so it was still difficult to memorize saron melody. this became a reflection to develop the next step that could make it easier for students to memorize the melody. table 4. motivation to learn to play gamelan degung motivation to learn to play gamelan degung strongly disagree disagree fairly disagree agree strongly agree playing gamelan degung properly is very important to master. 1 11 47 67 learning to play gamelan degung for the sake of teaching in primary school needs to be done even in adulthood. 1 10 49 66 only musicians or music teachers who need to be able to play gamelan degung properly. 54 46 19 6 figure 1. gambir sawit music composition julia et al., improving prospective primary school teachers’ skill ... 123 step 3. memorizing gamelan degung melody through daminatila notation daminatila notation, a sundanese music notation system created by r. mahyar anggakusumadinata that was commonly used by sundanese musicians in west java, indonesia to mention each tone, was employed in this research. this notation consists of five levels according to the tone level of gamelan degung. level 1=da, level 2=mi, level 3=na, level 4=ti and level 5=la. thus, if sorted then the title for each tone is g=da, f#=mi, d=na, c=ti, and b=la, or g=1, f#=2, d=3, c=4 and b=5. in this notation system, the high octave is marked with a dot below the number, and the low octave is indicated by a dot above the number. for a higher or lower octave, the point increases from one point to two points. the order of saron melody with daminatila notation as a whole based on the saron melody in figure 2. students were assigned to memorize two things: first, the tone sequence that 1=da, 2=mi, 3=na, 4=ti, and 5=la, and second, the whole saron melody in figure 2 using daminatila terms. while memorizing the melody, they were conditioned to sing it together first. within a week, they managed to memorize a series of saron melodies using daminatila. however, a new problem of a big number of students emerged, as there were 126 students that had to be divided into three classes. on the other hand, there was only one set of gamelan, so they did not have the opportunity to learn tengkepan technique in turns due to insufficient lecture hours. through reflection activities, there was an idea to create an exercise medium, which was a simple, easy to make and a handy gamelan simulator. step 4. learning through gamelan degung simulator all students agreed to create a gamelan simulator. they agreed to create it from styrofoam because it was easy to get, cheap, easy to shape, and handy. however, its weakness was that it could be easily damaged. within one meeting, the students succeeded in creating a saron simulator. the shape was almost the same as the original saron with the same number of blades, but it could not produce sound and the size was reduced to be easy to carry. thus, the saron simulator only mimicked the shape of a saron just for the sake of memorizing melodies and practicing tengkepan technique. at this stage, the students had memorized the saron melody series, and also had made the saron simulator, so the learning was done through the method of one person playing on the original saron to illustrate the tone and the rest play on saron simulator. this method was done repeatedly so that they quickly memorized and were able to do tengkepan technique. this method was effective enough to make them memorize a series of saron melodies. however, another problem emerged. there were a lot of students who had difficulty to do tengkepan technique. the right hand could play saron in accordance with the rhythm and the melody, but the left hand was still difficult to follow the melodic groove of saron. the results of the reflection decided that an individual approach was taken by directing the hand flow directly to every student who was having trouble. step 5. learning through the guidance from lecturer and tutor since the majority of students were not accustomed to playing musical instruments, the basic ability to play a musical instrument that combines the right hand and left hand to work with separate focus was difficult to master. meanwhile, tengkepan technique requires the ability, where the right-hand plays the melody and the left-hand closes or stops the sound that has been played by the right hand simulfigure 2. saron melody with daminatila notation harmonia: journal of arts research and education 18 (2) (2018): 117-130124 taneously. thus, the combination between the right hand and the left-hand should be as figure 3. the combination of hitting the saron blade (right-hand) and gripping the saron blade (left hand) as in figure 3 will produce a clean and neat saron sound. however, the errors made by the students look like in figure 4. figure 4 shows that the student could not perform the menengkep technique at the same time as playing saron with the right hand, but more like a sound delay. therefore, some of them were helped by having their hands held and directed directly to combine the play on the right hand and left hand so they could feel how to control the hand to play a role in different focus in playing the instrument. the result was quite effective; those who were assisted in this way were able to do the tengkepan technique although in a slow tempo. from this development, it was decided on the reflection to continue this way by involving the tutors, which were students who had been trained and already had the ability in the advanced level, so that all students could get enough attention. the majority of students who had not been able to do tengkepan technique practiced under tutor guidance. the mentoring process did not only happen in the lecture hours, but many of them were outside of the lecture hours. they learned tengkepan technique more often by using saron simulator because they could learn anywhere that way. moreover, there were only two original sarons available. some tutors reported that this was quite a good way to help students who had difficulty in doing tengkepan techniques. however, it was also reported that there were also students who could not be assisted fully by the tutor, which was related to the speed of memorizing the melodic series because this was very dependent on the ability of each student. basically, students in this category required extra hard practice in order to match the learning outcomes of other students who could memorize faster. step 6. performing in the form of gamelan degung ensemble after the individual learning, all students played saron combined with other instruments, which were bonang, jenglong, kendang and gong. it aimed at training them in the real gamelan show in the form of an ensemble. there were several aspects that were trained here, which were the cohesiveness, the dynamics and the tempo. technical learning was still done in turns, some were playing original saron and others played saron simulators. in the initial phase, students were focused on playing saron only, while other instruments as supporting music were played by tutors. however, in the next phase, students who had been adeptly performing the union of musical composition took turns to try to learn other instruments by staying under tutor guidance. thus, in the end, all instruments of gamelan degung could be played by them. figure 3. combination of right hand and left hand figure 4. error in tengkepan technique on left hand julia et al., improving prospective primary school teachers’ skill ... 125 step 7. final test in playing gamelan degung after going through six steps of skill development in playing gamelan degung, students were tested to play saron accompanied by other instruments. the test was done individually and was directly assessed based on the indicator of gamelan degung playing skill that had been made. the test results can be seen in table 5. table 5. final test results of gamelan degung playing skill level total percentage (%) beginner 3 2.4 elementary 11 8.7 intermediate 40 31.7 upper intermediate 55 43.7 advanced 17 13.5 based on table 5, it could be identified that there was an increase in students’ skill in playing gamelan degung. beginner level, which initially consisted of 116 (92.07%) students had been reduced to three (2.4%) students. the elementary level had increased, from 10 (7.93%) students to 11 (8.7%) students. meanwhile, the intermediate level increased from zero to 31 (31.7%) students. the upper intermediate level also increased from zero to 55 (43.7%) students. similarly, the advanced level increased from zero to 17 (13.5%) students. the improvement of students’ skill in playing gamelan degung from pre-test to post-test is depicted in figure 5 below. figure 5. graph of the improvement of students’ ability in playing gamelan degung as depicted in figure 5, the pre-test was still dominated by beginner level students. however, after the post-test, they spread to all levels, with dominance at the upper intermediate level. at the beginner level, only three students remained stagnant or did not make progress in playing gamelan degung. on the other hand, the students who were initially at the elementary level had improved their skills and had been replaced by the students from the beginner level. according to students, there was a difference in performance between playing gamelan degung during exercise and during post-test. twenty-five (19.8%) students admitted that the performance during the post-test was the same as the exercise, 38 (30.2%) students admitted that the posttest performance was better than the exercise and 63 (50%) students admitted that the post-test performance was worse than the practice. they were questioned further, “what was the cause of your performance getting worse?” the majority of students gave answers because of nervousness and lack of confidence. to address this issue, zakaria, musib, and shariff (2013, p. 226) believe that “music students have to undergo some training programs that can develop personal confidence, enhance motivation and skills in managing stage fright, proper breathing techniques and body communication”. post-unit data collection and analysis results of treatment for students in playing gamelan degung had shown a positive result. one hundred twenty-three (97.6%) students had improved their skill and only three (2.4%) students were stagnant. if accumulated, the students who were still in the inept category (beginner-intermediate) were 54 (42.85%) students, while students who were already in the adept category (advanced) were 72 (57.15%) students. thus, the majority of students were already in the adept category. these results had essentially demonstrated good student skill. however, these results were still not satisfied becauharmonia: journal of arts research and education 18 (2) (2018): 117-130126 se a lot of students, which were students at the beginner, elementary and intermediate level still needed to improve their skills in playing gamelan degung. as for the students in the adept category, the weakness that still needed to be improved was to play gamelan degung with a dynamic tempo. students who were still in the inept category were asked further, “what is the difficulty you faced in learning gamelan degung?” one student expressed, the difficulties were to perform tengkepan technique and to harmonize with other musical instruments. there was also a student who said that it took a long process to be good at playing it and they should do a lot of practice. this opinion was in line with students who were already in the adept category. one student said that practicing diligently, earnestly and with sufficient time would make it easier to learn. thus, the frequency of exercise became one of the decisive factors in mastering the techniques in playing gamelan degung. they were then asked, “to master gamelan degung material, how many times do you practice in a week?” one (0.8%) student admitted to not practicing, 76 (60.3%) students admitted to practice 1-3 times, 41 (32.5%) students admitted to practice 4-6 times, two (1.6%) students admitted to practice 7-9 times and six (4.8%) students admitted to practice more than 10 times. thus, the majority of students practiced 1-3 times a week. meanwhile, they were also asked, “do you need the help of friends/tutors to master gamelan degung?” one hundred eighteen (93.7%) students answered ‘yes’ and eight (6.3%) students answered ‘no’. hence, the majority of students learned collaboratively with friends or tutors to be able to master gamelan degung. after the students completed all series of gamelan degung learning, their understanding based on their experience in learning gamelan degung was investigated. they were given several statements to rate on a likert scale. table 6 depicts statements of the students who had agreed that gamelan degung was a musical ensemble suitable for teaching in primary schools and could help students develop their musical abilities. this was based on their experience in learning gamelan. statements at fairly disagree scale were identified from students who had difficulty learning gamelan, where their skill in playing gamelan could not reach the adept category. nevertheless, the majority of the students agreed that gamelan degung material was feasible to be taught in primary school. it also represented that students in general at that time had better knowledge and skill in playing gamelan degung. through this action research, some fundamental problems in music learning, which were the problem of reading notation and frequency of exercise, could be identified. in music learning in formal educational institutions, reading notation became a fundamental need for learners. although indonesia was a country with a traditional oral culture in art inheritance, what was needed in the context of formal education was the ability to read notation, because there were so many students table 6. gamelan degung lesson gamelan degung lesson at school strongly disagree disagree fairly disagree agree strongly agree gamelan degung material is in accordance with the curriculum in primary school about learning rhythmic and melodic instruments. 30 56 40 gamelan degung must be taught in primary school. 24 42 59 gamelan degung can help primary school students develop their musical skills. 13 53 60 julia et al., improving prospective primary school teachers’ skill ... 127 who had to learn at the same time. sharpening the ability to read notation was ideally done in separate time by learning the instrument directly. in other words, “the ability to read notation is a separate task from the physical manipulation of musical instruments” (tucker, 2007, p. 51). hence, learning to read notations before learning musical instruments offered a more profitable opportunity and could accelerate the process of learning a composition on musical instruments. relevant research had also proven the importance of having the ability to read musical notation (darrow, 2008; douglas & willatts, 1994; gromko, 2004). success in performing musical compositions was also influenced by the frequency of practice. a well-tested method to master the musical composition well is the drill method. playing musical instruments require various types of automaticity. it is essential to attain the speed needed to perform and read music with meaning and accuracy. careful drill offers the means of achieving this automaticity (tucker, 2007, p. 51). “the performance of actual works of music often occurs only after extensive drill” (duerksen, 1972). in fact, to achieve the level of professional musicians, 10,000 hours of lifelong practice was required (djohan, 2003). thus, to be able to perform the composition of music well, students needed to do regular exercise more than 1-3 times a week. drill method can be a solution for students’ lack of mastery in the composition of music. gamelan degung as a music ensemble requires a strong commitment from its players to learn collaboratively. the lack of commitment in attending training schedules can obviously disrupt the course of music practice. this is the challenge of working on ensemble music. “music ensemble courses are also unique when compared to other academic core subjects because of additional required class time that may be scheduled outside of the school day” (rawlings, 2015, p. 2). thus, only through critical reflection and dialogue can educators and learners create the conditions and circumstances in which they can search together collaboratively for more comprehensible authentic and morally appropriate ways of valuing and engaging in musical practices (ben-tal & salazar, 2014; o’neill, 2012). thus, collaborative learning for this type of ensemble can be a solution to improve students’ skill in playing musical instruments. conclusion this research proved that initial students’ skill in playing gamelan degung was very low. they did not get the teaching of good gamelan playing technique and did not even have good ability in reading notation. through this action research conducted collaboratively between researchers, colleagues and students (tutors), the prospective primary school teachers’ skill in playing gamelan degung could increase well. they were able to improve their ability to play gamelan degung and to read notation for gamelan degung. the skills in playing gamelan degung of 123 (97.6%) students with different levels of ability were improved. the majority of students successfully entered the adept category in playing gamelan degung. thus, action research could be an 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(2013). overcoming performance anxiety among music undergraduates. procedia-social and behavioral sciences, 90, 226-234. vol. 8 no.2 mei-agustus 2007.pdf harmonia jurnal pengetahuan dan pemikiran seni kompetensi koreografer pendidikan berbasis imtak dan ipteks ( competence on educational choreography based on science technologi and spritual) ' dinny devi triana staf pengajar jurusan seni tar i, fakultas bahasa dan seni unj abstrak koreografer merupakan salah satu profesi yang" mulai diminati mahasiswa maupun alumni luhisan perguruan tinggi kependidikan. sebagai koreografer yang lahir dari lptk seharusnya memiliki idealisme dengan memperhatikan nilai-nilai pendidikan dalam setiap karya tarinya. pada perkembangannya "keharusan" dan "kenyataan" ini tidak menjadi perhatian bagi koreografer pendidikan, sehingga orientasi terhadap moral dan intelektual tidak lagi menjadi pertimbangan dalam berkarya tari. untuk menjawab kesenjangan ini maka penulis mencoba menguraikan kompetensi yang harus dimiliki koreografer di lingkungan akademis , sehingga diharapkan dapat menyadarkan koreografer pendidikan untuk terus berkarya sesuai dengan gelar akademiknya yaitu sarjana pendidikan, khususnya bagi mahasiswa yang memilih karya tari sebagai penyelesaian tugas akhir. kata kunci : koreografer pendidikan, "nilai", imtak dan ipteks, etika, estetilka, kreatifivitas, "kebebasan". a. pendahuluan kompetensi merupakan kematnpuan yang meliputi pengetahuan, keterampilan dan sikap yang harus dimiliki seseorang. kompetensi koreografer umumnya lebih diartikan sebagai kemampuan dalam mencipta tari yang ber-orientasi pada keterampilan dan eeringkali mengesampingkan aspek pengetahuan maupun sikap. koreografer sendiri lebih kepada salah satu profesi seseorang dibidang seni tari, khususnya pada iptaan atau penataan tari. proses penciptaan tari di-dengan istilah, "koreografi" yaitu suatu proses penyeleksian dan pembentukan gerak ke dalam sebuah tarian, serta perencanaan gerak untuk memenuhi tujuan khusus (sumandiyo hadi 1999:133). tujuan khusus inilah yang harus diperhatikan seorang koreografer pendidikan, karena dalam proses penciptaan atau penata tari, koreogrefer memiuki kebebasan berkespresi, sehingga arti kebebasan sering kab menjadi tidak terkendah' karena mengatasnamakan "ekspresi diri" dan "kreativitas" dan tujuan menjadi tidak jelas lagi. kreativitas menurut rhodes (1961) dalam supriadi, dibedakan volume viii no.2 / mei-agustus 2007 136 harmonia jurnal pengetahuan dan pemikiran seni ke dalam dimensi person, proses produk dan press, sedangkan kreativitas sendiri menurut supriadi adalah kemampuan seseorang untuk melahirkan sesuatu yang baru, balk berupa gagasan maupun karya nyata/ yang relatif berbeda dengan apa yang telah ada sebelumnya (supriadi 1994:7). demikian pula kreativitas menurut munandar, adalah kemampuan untuk membuat kombinasi baru berdasarkan data, informasi atau unsur-unsur yang ada (munandar, 1987:47). berdasarkan pernyataanpernyataan tersebut, kreativitas yang dimaksud lebih menekankan kepada produk atau hasil yang baru dengan gagasan yang orisinil. namun demikian apabila berbicara produk, maka tidak terlepas dari proses bagaimana produk itu dihasilkan, dan proses tidak terlepas dari individu itu sendiri. seperti dijelaskan oleh guilford (1965) bahwa creativity refers to ok abilities that are characteristics of creative people (supriadi, 1994:7). dimensi kreativias bukanlah segalagalanya bagi seorang koreografer, koreografer pendidikan harus memiliki pandangan terarah terhadap nilai moral dan intelektual dengan memperhatikan "etika" dan estetika, sehingga karya tan yang diciptakan seorang koreografer dapat bernilai sesuai dengan budaya masyarakat setempat oleh karenanya kebermaknaan nilai-nilai tersebut harus berbasis keimanan dan ketakwaan serta keberman-faatan ilmu pengetahuan dan teknologi yang digunakan sebagai sarana dalam pendptaan karya tari. dasar imtak dan iptek adalah base yang harus dimiliki koreografer kaitannya dengan nilai-nilai keimanan, ketakwaan, serta pengetahuan, teknologi dan seni. keimanan merupakan keyakinan dalam hati bahwa tiada tuhan selain allah, sedangkan makna takwa merupakan sikap batin dan perilaku untuk tetap melaksanakan perintah allah dan menjauhi larangannya. nilai-nilai iptek tercermin dalam sajian yang berlandaskan pengetahuan dan teknologi kaitannya dengan keterampilan dalam mencipta karya seni tari. berdasarkan tinjauan di atas, maka hal yang perlu dikaji untuk mendapatkan kesamaan dalam menetapkan kompetensi koreogfer adalah kesepakatan arti ''nilai" dari "etika" dan "estetika" serta arti kebebasan dalam dimensi kreativitas yang bermuara pada tujuan. dengan demikian kompetensi berdasarkan pengetahuan, keterampilan dan sikap dari seorang koreografer yang berbasis imtak dan ipteks dapat terefleksi dalam karya-karya seni tari, sehingga sebagai produk dari proses kreativitas dapat dipertanggungjawabkan, baik secara moral maupun intelektual. b. orientasi koreografer keimanan dan ketakwaan merupakan barometer dari segala bentuk profesi dan kegiatan dalam kehidupan sehari-hari. demikian pula dengan ilmu pengetahuan dan teknologi harus dilandasi iman dan takwa agar tidak terjadi penyimpangan-penyimpangan yang tidak sesuai dengan norma dan ajaran agama. ilmu pengetahuan dan teknologi yang dilandasi dengan iman dan takwa akan merefleksikan sikap dan keterampilan yang memiliki moral dan intelektual, sehingga dapat digunakan sebagai penunjang dalam mengimplemantasikan volume viii no.2 / mei-agustus 2007 137 harmonia jurnal pengetahuan dan pemikiran seni penyusunan, penataan atau penciptaan tari ke dalam bentuk karya tari yang dapat dipertanggungjawabkan. kompetensi inilah yang harus dimiliki seorang koreografef pendidikan, sehingga tujuan khusus dapat dicapai dengan baik sesuai dengan makna dan pesan yang terkandung dalam karya tari tersebut. masyarakat dapat menerima karya tari yang diciptakan koreografer sebagai karya seni yang bernilai. apabila dianalogikan dengan pohon kehidupan piway (hermawan, 2006), maka iman dan takwa adalah a=akar yang harus kuat, ilmu pengetahuan & teknologi b=batang yang apabila akarnya kuat, batangnya pun akan kokoh, seni dan keterampilan adalah c=cabang, baik-buruk, benar-salah, indah-jelek sebagai d=daun, maka akan menghasilkan buah sebagai karya tari yang dapat dipertanggungjawabkan. pohon kehidupan piway juga disebut dengan buah abcd yang merupakan framework sederhana dari seorang koreografer dalam mentipta karya tari, sehingga dimensi kreatif sebagai hasil ekspresi diri seorang seniman (koreografer) pendidikan dapat diterima secara universal, universality dan university (3u). pemahaman terhadap pohon kehidupan piway ini, diharapkan dapat membatasi kebebasan dalam berekspresi diri melalui wadah kreativitas yang sesuai dengan kebudayaan masyarakat setempat. koreografer tidak lagi mengekspresikan diri secara "bebas tak terbatas", oleh karenanya dibutuhkan "koreografer pendidikan" dan "pendidik yang kompetensi .koreografer". artinya sebagai koreografer harus berorientasi pada pendidikan dan sebagai pendidik memiliki kompetensi koreografer bennuatan imtak sebagai akar, ilmu pengetahuan sebagai batang, sikap & keterampilan sebagai cabang dan etika-logika-estetika sebagai daun daun rimbun, sehingga menghasilkan karya tari yang bernilai. hal tersebut dapat dijelaskan dalam bentuk bagan (lihat gambar: 1) gambar : 1 dasar nilai-nilai keimanan mempunyai indikator sebagai berikut: (1) gemetar hati jika disebut nama allah, (2) khusu' dalam melakukan shalat, (3) menjauhkan volume viii no.2 / mei-agustus 2007 138 kompetensi koreografer karya seni tari yang dapat dipertanggungjawabkan l o g i k a e t i k a e s t e t i k a l o g i k a e t i k a e s t e t i k a sikap ketrampilan ilmu pengetahuan dan teknologi iman dan taqwa harmonia jurnal pengetahuan dan pemikiran seni diri dari perbuatan dan perkataan yang tidak berguna, (4) menunaikan zakat, (5) menjaga moral dan mengontrol tabiat dan perilaku sosial, (6) memuliakan tetangga dan tamu, (7) menghormati dan mencintai saudara-saudaranya, (8) mampu membaca tanda-tanda kebesaran allah dalam alam semesta. nilai-nilai ini tercermin dalam bentuk sikap dan perilaku seorang koreografer, sehingga hasil karya yang dihasilkan selalu merefleksikan keimanan dirinya. demikian pula dengan nilai-nilai ketakwaan yang memiliki indikator (1) memiliki kepekaan moral untuk mengerjakan atau tidak mengerjakan sesuatu perbuatan, (2) memiliki mata hati yang menembus jauh untuk melihat yang baik dan yang buruk, (3) selalu menghindari hal-hal yang dilarang allah swt, (4) jika terlanjur berbuat salah, segera bertaubat dan tidak mengulangi perbuatan tersebut, (5) memiliki kekuatan batin (mental) dan mampu menghadapi saat-saat yang kritis, untuk mencari pemecahan dan jalan keluarnya (dinny, rahmida dan hikmah, 2003:19). individu-individu pada masyarakat modern seringkali menghadapi kendala disintegrasi dalam kepribadiannya. disintegrasi dalam makna nilai-nilai religi tidak terintegrasi di dalam implementasi perilaku kehidupannya sehari-hari. disintegrasi dapat terjadi antara nilai-nilai yang ada dalam sains atau nilai-nilai yang ada dalam lingkup etika dan estetika yang hidup dalam suatu masyarakat. manusia dalam masyarakat modern seringkali memisahkan antara nilai-nilai religi atau nilai-nilai keyakinan yang dianutnya dengan nilai-nilai yang ada dalam sains, atau menilai tidak seimbang antara keduanya, lebih mementingkan salah satu dari pada memadukan keduanya. pandangan ini menjadikan pribadi-pribadi yang tidak utuh, sebagai individu yang disintegrasi, inilah permasalahan dari kehidupan masyarakat modern. hal ini diperkuat oleh pendapat dewey yang dikutip ghulam haider aasi yaitu the problem of restoring integration and cooperative between man's beliefs about the world in which he lives and his beliefs about the values and purposes that should direct his conduct is the deepest problem of modern lije (ghulam, 1985:52). sedangkan pendapat lain yaitu dari iqbal yang dikutip oleh penults yang sama yaitu man, for iqbal, is vicegerent of god on earth and co-worker to him. man is not a passive co-worker, but an active co-worker in god's ever creating activity. his purpose of lije is to bring about god's will here and now after it has been revealed to mankind (ghulam 1985:58). bahwa manusia menurut penjelasan ini adalah seorang khalifah tuhan di atas bumi dan sebagai seorang yang memiliki tugas untuk membantu secara aktif bukan diciptakan sang khalik. maksud dari kehidupan di dunia ini adalah bahwa kesejahteraan, kebahagiaan hidup masa sekarang dan masa datang dalam kehidupan sesuai dengan kehendak yang maha pencipta di alam ini seperti yang . telah disampaikannya melalui utusan-utusannya kepada umat manusia. penjelasan ini mencakup makna keterpaduan (integrasi) antara kemampuan manusia yang aktif untuk memelihara, mengelola alam dan pesan-pesan yang ada terkandung dalam kehendak maha pencipta dalam menciptakan alam ini (dalam konteks moral, akhlak, etika yaitu memelihara untuk kesejahteraan kehidupan manusia volume viii no.2 / mei-agustus 2007 139 harmonia jurnal pengetahuan dan pemikiran seni masa kini dan masa datang sesuai dengan petunjuknya). berdasarkan penjelasan ini maka dapat ditegaskan bahwa individu manusia yang utuh, terintegrasi secara utuh memiliki minimal dua elemen dasar yang selayaknya terbentuk saling mendukung secara erat dan kokoh yaitu antara penguasaan elemen sains, ilmu pengetahuan dan teknologi dengan elemen moral etika atau akhlak. 2. ilmu pengetahuan dan teknologi ilmu merupakan bagian dari pengetahuan dan pengetahuan merupakan unsur dari kebudayaan. kebudayaan di sini merupakan seperangkat sistem nilai, tata hidup dan sarana bagi manusia dalam kehidupan (jujun, 1998:272). dengan demikian ilmu dan kebudayaan berada dalam posisi yang saling tergantung dan saling mempengaruhi, pengembangan ilmu dalam suatu masyarakat tergantungdari kondisikebudayaannya, sedangkan di pihak lain, pengembangan ilmu akan mempengaruhi jalannya kebudayaan. lebih rinci koentjaraningrat (1984 :2) membagi 7 unsur kebudayaan yaitu (1) sistem religi, (2) sistem kemasyarakatan, (3) sistem pengetahuan, (4) sistem bahasa, (5) sistem kesenian, (6) sistem mata pencarian serta (7) sistem teknologi dan peralatan. pengetahuan, merupakan terminologi dari ketahuan yang diartikan sebagai keseluruhan bentuk dari produk kegiatan manusia dalam usaha untuk mengetahui sesuatu (dalam bahasa inggris sinonim ketahuan adalah knowledge) (jujun, 1998:293). fetilah ilmu pengetahuan umumnya digunakan untuk science dan pengetahuan untuk knowledge, dalam tulisan ini digunakan istilah ilmu pengetahuan untuk science karena science terbagi menjadi social science yang berhubungan dengan ilmu-ilmu sosial dan natural science berhubungan dengan ilmu-ilmu alam. ilmu-ilmu alam dan ilmu-ilmu sosial ini termasuk humaniora (sent, filsafat, bahasa, dsb). ilmu pengetahuan, teknologi dan kesenian merupakan bagian dari kebudayaan yang akan sating mempengaruhi perkembangannya, oleh karena itu diperlukan frame agar aspek tersebut dapat dipertanggungjawabkan secara moral dan intelektual, sehingga tatanan religi dan kemasyarakatan akan menjadi sistem yang harmonis dan seimbang. asas moral dan intelektual sebagai tanggung jawab koreografer harus mengedepankan kebenaran dan pengabdian secara universal. kebenaran dapat dilihat dari kegunaan khusus yakni kegunaan yang universal bagi umat manusia dalam meningkatkan martabat kemanusiaannya. 3. makna "nilai" koreografer pendidikan yang memiliki pribadi utuh terefleksi dalam sikap dan keterampilan yang bermuatan imtak dan iptek, sehingga akan menghasilkan karya tari sebagai wujud kreatifitasnya dengan "nilai" yang dapat diterima secara universal. kata "nilai" merupakan kata jenis yang meliputi segenap macam kebaikan dan sejumlah hal yang lain. "nilai" dapat dilihat dari beberapa sisi seperti "nilai" yang terkandung di dalam obyek, "nilai" yang merupakan sikap subyek terhadap obyek atau "nilai" volume viii no.2 / mei-agustus 2007 140 harmonia jurnal pengetahuan dan pemikiran seni kaitannya hubungan antara subyek dengan obyek dalam keadaan tertentu. oleh karenanya "nilai" dapat dipandang sebagai nilai intrinsik dan nilai instrumental. "nilai" intrisik apabila berbicara "nilai" yang terkandung dalam obyek, sedangkan nilai instrument berbicara sikap subyek terhadap obyek. sangatlah luas apabila "nilai" akan dijelaskan secara terperinci pada pembahasan ini, karena pendekatan aksiologi hakikat nilai dapat dijawab dengan 3 cara : (1) "nilai" sepenuhnya hakikat subyektif, apabila "nilai" ditinjau sebagai reaksi yang diberikan manusia, (2) "nilai" yang merupakan esensi logis dan dapat diterima oleh akal (obyektivisme logis), (3) nilai merupakan unsur-unsur obyektif yang menyusun kenyataan. untuk itu diperlukan makna yang terkandung dalam "niki", sehingga mempunyai kesepakatan dalam menilai hasil karya tari dari seorang koreografer. secara singkat "nilai" memiliki makna: 1. mengandung "nilai" (artinya berguna) 2. merupakan "nilai" (artinya "baik" atau benar" atau "indah") 3. mempunyai "nilai" (artinya merupakan obyek keinginan, mempunyai kualitas yang dapat menyebabkan orang mengambil sikap "menyetujui" atau mempunyai sifat/'nilai tertentu) 4. memberi "nilai" (artinya menanggapi sesuatu sebagai hal yang diinginkan atau sebagai hal yang menggambarkan nilai tertentu). berdasarkan uraian di atas, maka "nilai" dalam sebuah karya seni tari kiranya merupakan suatu proses verifikasi dengan melakukan penyelidikan serta pelukisan melalui tanggapan-tanggapan secara empiris. dewey berpendapat bahwa "nilai" diberikan karena adanya suatu kualitas yang terdapat di sekitar obyek yang menyebabkan orang menanggapinya sebagai sesuatu yang bernilai, demikian pula dalam theory of valuation, menurut dewey pemberian nilai menyangkut perasaan, keinginan dan sebagainya, pemberian "nilai" tersebut juga menyangkut tindakan akal untuk menghubungkan sarana dengan tujuan (katrof, 1996:340). dari pendapat tersebut dapat disepakati pemberian "nilai" terhadap suatu obyek dalam hal ini karya tari yang diciptakan koreografer, diperlukan campur tangan akal secara aktif sebagai logika untuk menentukan kebenaran yang dianalisis melalui ilmu dengan metode ilmiah atau tanggapantanggapan yang didasarkan fakta serta tujuan-tujuan. seperti halnya pada koreograti bahwa proses penyeleksian dan pembentukan gerak ke dalam sebuah tarian, serta perencanaan gerak untuk memenuhi "tujuan khusus". a. hubungan "nilai" dengan etika etika sebagai ilmu pengetahuan dapat diartikan sebagai tanggapan-tanggapan terhadap kesusilaan, sedangkan etika sebagai ajaran sangat berkaitan dengan membuat tanggapan-tanggapan kesusilaan. perbedaan dari penjelasan tersebut adalah pada "keharusan" dengan "kenyataan", bahkan seringkali etika dipandang sebagai ukuranukuran atau kaidah-kaidah yang mendasari pemberian tanggapan atau penilaian terhadap perbuatanperbuatan. dengan demikian etika volume viii no.2 / mei-agustus 2007 141 harmonia jurnal pengetahuan dan pemikiran seni sangat terkait dengan kesusilaan, sehingga perlu menyingkap prinsipprinsip yang dapat dipakai sebagai dasar membuat tanggapan kesusilaan, dan perbuatan-perbuatan yang dapat dibenarkan dari segi kesusilaan serta makna yang dikandung oleh kata "seharusnya" sehingga merupakan suatu kewajiban. di indonesia masalah kesusilaan ini dirumuskan dalam rancangan undang-undang anti pornografi dan pornoaksi (ruu app). batasan kesusilaan inilah yang perlu dipahami dalam mengkaji ruu app dan pengkajian tersebut harus didasari pada imtak dan perkembangan iptek. dengan demikian diperlukan pemikiran dan tanggapan yang jernih terhadap rancangan undang-undang tersebut. demikian pula dengan karya tari yang diciptakan koreografer pendidikan, ntiai-nilai kesusilaan menjadi penting untuk diperhatikan bahkan menjadi prinsip dalam proses berkreativitas, sehingga karya tari menjadi bernilai dan memiliki makna. namun demikian tidak berarti nilai-nilai kesusilaan menjadi pengikat "kebebasan" dalam berkarya tari. b. hubungan "nilai" dengan estetika sebagian mengatakan bahwa seni tidak semata-mata berusaha menyatakan keindahan dan keindahan mungkin merupakan salah satu hal yang hendak dinyatakan oleh seni. namun pada dasarnya keindahan yang dihasilkan dari suatu karya seni apabila hakikat dari karya tersebut dapat berhasil diungkapkan, demikian menurut melvin rader (katrof, 1996:382). dengan kata lain estetika tari dapat dipandang dari sisi keberhasilan koreografer dalam mengungkapkan ide sesuai dengan tujuan khususnya. terdapat perdebatan mengenai keindahan menurut croce yang menyatakan estetika dilakukan melalui analisa kejiwaan (intuitif), sehingga keindahan bukan dilihat pada obyek fisiknya. pandangan yang dianut oleh croce bersifat subyektif, karena hakikat seni diletakkan pada intuisi serta perasaan seseorang. hal ini ditentang oleh jacques maritain dalam buku yang berjudul art and shcolasticism yang mengatakan akal berhubungan dengan keindahan bukanlah obyek perasaan, melainkan obyek tangkapan alkali, karena akal menangkap sesuatu dengan jalan melakukan analisa melalui alat inderawi. keindahan ditangkap sebagai suatu bentuk yang dapat menimbulkan kesenangan pada akal dan hanya dengan pengetahuan yang diperoleh melalui akal budi yang dapat menjangkau bentuk keindahan. john dewey berpendapat lain mengenai keindahan, menurutnya pengalaman sebagai unsur yang hakiki dalam penilaian estetis, jika tidak terdapat pengalaman, maka tidak mungkin ada penilaian estetis. pengalaman tidak dapat dipisahkan dari alam lingkungan tempat individu yang bersangkutan berada, karena tidak mungkin ada pengalaman yang terpisah dari suatu keadaan lingkungan tertentu. volume viii no.2 / mei-agustus 2007 142 harmonia jurnal pengetahuan dan pemikiran seni menanggapi pendapatpendapat di atas, hal yang perlu digaris bawahi adalah (1) karya tari dapat dinilai estetis apabila karya tersebut berhasil mengungkapkan makna atau ide yang akan disampaikan sesuai dengan tujuan khusus dari koreografer, (2) menangkap keindahan dalam karya tari harus didasari pada pengetahuan atau pengalaman dimiliki seorang individu, karena tidak mungkin seseorang dapat menilai keindahan suatu karya seni tanpa merniliki pengetahuan yang dapat ditangkap secara akali atau menilai keindahan harus berdasarkan pengalaman diri yang tidak dapat dipisahkan dari lingkungannya. 4. dimensi kreativitas kata kreatif dewasa ini digunakan secara sangat longgar, sehingga kata itu hampir kehilangan sesuatu makna yang nyata, demikian pula dengan kreativitas, karena kreativitas dimiliki manusia lahir bersamaan dengan lahirnya manusia itu. sejak lahir, manusia memperlihatkan kecenderungan mengaktualkan dirinya yang mencakup kemampuan kreatif. kreativitas adalah suatu kondisi sikap atau keadaan yang sangat khusus sifatnya dan hampir tak mungkin dirumuskan secara tuntas, sementara orang menganggap kreativitas sama dengan keberbakatan, sedangkan pendapat lain mengkaitkan kreativitas dengan perkembangan penalaran, dan perkembangan afektif. konsep terbaru dari kreativitas didasarkan atas fungsi dasar berpikir, merasa, penginderaan cipta talen dan intuisi bagan yang ditampilkan merupakan model integrative yang mencakup empat fungsi dasar (diadopsi dari conny semiawan, dkk, 2002:60-61) yaitu a) berpikir rasional, (b) perkembangan emosional atau perasaan pada tingkat tinggi, (c) perkembangan bakat khusus gambar:2 (penginderaan cipta talen) dalam kehidupan mental dan fisik pada tingkat tinggi dan (d)tingkat tinggi kesadaran yang menghasilkan penggunaan imajinasi, fantasi dan pendobrakan pada kondisi ambang dan kesadaran atau ketaksadaran. jadi kreativitas selalu mencakup interpenetrasi keseluruhan kehidupan berpikir, merasa mengindera dan intuisi yang terjadi secara menyatu dan menerobos. dengan bergeraknya satu fungsi atau sebagian fungsi dari keseluruhan fungsi saja, maka kreativitas belum terjadi sepenuhnya. (lihat gambar, 2) meskipun setiap fungsi memiliki ciri masing-masing dan memiliki kekuatan dan kelebihan, kreativitas baru terjadi bila fungsi yang satu berinteraksi dengan yang lain, oleh karenanya pertumbuhan volume viii no.2 / mei-agustus 2007 143 kondisi kesadaran yang dipcroleh dari ketaksa-daranintuisi kondisi perasaan dampak emosionat yang racnuntut kondisi berpikir, rasional, terukuran kondisi cipta talenproduk baru~ diperolchdari orang lain harmonia jurnal pengetahuan dan pemikiran seni dari berfungsinya semua fungsi tersebut dalam suatu interaksi yang menyeluruh (holistik) merupakan tujuan yang harus dicapai dalam pelayanan pendidikan. dengan demikian tidaklah mitngkin karya tari merupakan hasil kreativitas hanya dipahami sebagai wujud ekspresi diri yang diperoleh dari ketaksadaran (intuisi), tetapi juga dampak emosional (perasaan) yang menuntut kesadaran diriaktualisasi diri dengan memperhatikan sikap atau etika, dan tidak hanya sebatas itu, kreativitas harus dipandang dari fungsi lain yaitu kondisi berpikir, rasional yang memiliki keterukuran, disamping kondisi cipta talen yang menghasilkan produk baru sebagai tuntutan keterampilan melalui penginderaan. memahami uraian tersebut, maka koreografer pendidikan haruslah memfungsikan empat aspek kreativitas tersebut secara menyeluruh, tidak mengedepankan intuisi semata-mata untuk berekspresi melalui gerak tari, sehingga kreativitas menjadi kehilangan makna. kemampuan ekspresi sendiri berkaitan dengan pendidikan afektif, di mana kemampuan ekspresi manusia merupakan kemampuan dalam komunikasi efektif yang membawa kepada pengertian dan perlu ditambahkan pendidikan afektif yaitu pendidikan yang berkenaan dengan perkembangan emosional maupun pendidikan watak yaitu pendidikan yang berkenan dengan tindakan yang betul atau etis sebagai unsurunsur dalam kemampuan manusia untuk berekspresi (zanti arbi,1998:151). 5. "kebebasan" dalam pendidikan menurut teori libertarianisme, kebebasan harus dibayangkan menurut "kebebasan dari" berbagai kendala. orang harus mempunyai kebebasan dasar untuk gerakan, kebebasan berpikir, kebebasan berbicara, dsb, akan tetapi sesudah itu terserah kepada dia, apa yang ia lakukan atau menjadi apa dia itu. konsep kebebasan pada teori ini tidak mengandung petunjuk-petunjuk yang positif. pendapat lain tentang kebebasan dinyatakan bahwa kebebasan selalu "kebebasan untuk" melakukan atau merupakan berbagai hal. kebebasan seseorang harus dilunakkan dengan tanggung jawab, kalau tidak mudah saja alasannya untuk melakukan sekehendak hatinya. kebebasan harus mempunyai signifikansi dalam kehidupan seseorang, kebebasan harus mengandung idealideal yang positif. kebebasan adalah salah satu cara hidup, bukan hanya satu potensialitas yang kosong (zanti arbi, 1998:256). melalui pendidikan didapatkan karakteristikkarakteristik kepribadian yang memungkinkan untuk menghidupi suatu kehidupan kebebasan yang positif dengan menetapkan tujuantujuan yang berharga. bagaimanapun juga, kebebasan selalu harus dibatasi dan dikualifikasikan dan kebebasan itu haruslah sesuatu yang positif agar berharga untuk diusahakan pencapaiannya. c. penutup koreografer merupakan salah satu profesi yang dewasa ini volume viii no.2 / mei-agustus 2007 144 harmonia jurnal pengetahuan dan pemikiran seni banyak diminati, tanpa mengetahui tanggung jawabnya balk secara moral maupun intelektual, sehingga kebebasan berekspresi dengan mengatasnamakan kreativitas menjadi tidak bermakna. perasaan, emosional dan intuisi bukanlah segala-galanya untuk mewujudkan hasil kreativitas, karena proses kreatif harus dibarengi pula dengan berpikir, rasional yang memiliki keterukuran dan aktualisasi diri yang berhubungan dengan sikap atau etika. kebebasan ekspresi sendiri melakukan berbagai hal dengan memperhatikan tanggung jawab dan mempunyai signifikansi dalam kehidupan seseorang, kebebasan harus mengandung ideal-ideal yang positif. jika arti kebebasan dan kreativitas ini dipahami oleh koreografer, xnaka karya seni tari yang dihasilkan akan memiliki "nilai" yang dapat diterima secara universal. untuk menghasilkan karya tari ber"nilai" secara universal yang perlu diperhatikan adalah keimanan dan ketakwaan, sebagai dasar dalam memahami dan menerapkan ilmu pengetahuan & teknologi, sehingga akan terbentuk pribadi individu yang utuh. apabila pribadi utuh sudah terbentuk, maka akan terefleksi sikap dan keterampilan dengan memperhatikan aspek logika, etika dan estetika. koreografer diperlukan campur tangan akal secara aktif sebagai logika untuk menentukan kebenaran yang dianalisis melalui ilmu dengan metode ikniah atau tanggapan-tanggapan yang didasarkan fakta serta tujuan-tujuan. seperti halnya pada koreografi bahwa proses penyeleksian dan pembentukan gerak ke dalam sebuah tarian, serta perencanaan gerak untuk memenuhi tujuan khusus. etika harus dipahami sebagai "keharusan" dan "kenyataan", bahkan etika dipandang sebagai ukuran-ukuran atau kaidah-kaidah yang mendasari pemberian tanggapan atau penilaian terhadap perbuatan-perbuatan. dengan demlkian etika sangat terkait dengan kesusilaan, sehingga perlu menyingkap prinsip-prinsip yang dapat dipakai sebagai dasar mernbuat tanggapan kesusilaan, dan perbuatan-perbuatan yang dapat dibenarkan dari segi kesusilaan serta makna yang dikandung oleh kata "seharusnya" sehingga merupakan suatu kewajiban. nilai estetika dalam karya tari apabila karya tersebut berhasil mengungkapkan makna atau ide yang akan disampaikan sesuai dengan tujuan khusus dari koreografer. menangkap keindahan dalam. karya tari harus didasari pada pengetahuan atau pengalaman yang dimiliki oleh seorang individu, karena tidak mungkin seseorang dapat menilai keindahan suatu karya seni tanpa memiliki pengetahuan yang dapat ditangkap secara akali atau menilai keindahan harus berdasarkan pengalaman diri yang tidak dapat dipisahkan dari lingkungannya. berdasarkan uraian di atas kiranya diperlukan kesepakatan untuk menentukan indikator-indikator yang jelas dalam mengukur kemampuan koreografer tersebut, sehingga profesi koreografer dapat dipertanggungjawabkan secara moral dan intelektual. daftarpustaka katrof, louis o, 1996. pengantar filsajat ilmu, yogyakarta : tiara volume viii no.2 / mei-agustus 2007 145 harmonia jurnal pengetahuan dan pemikiran seni arbi, sutan zanti, 1998. pengantar kepada filsajat pendidikan, jakarta : departemen pendidikan dan kebudayaan direktorat jenderal pendidikan tinggi proyek pengembangan lembaga pendidikan tenaga kependidikan. devi t, dinny, rahmida s, hikmah. 2003. bahan ajar bermuatan imtaq dan iptek untuk tk & ra 12, (jakarta : proyek pembinaan kurikulum balitbang departemen pendidikan nasional bekerjasama dengan lembaga penelitian universitas negeri jakarta. cheney, gay, 1999. konsep-konsep dasar dalam modern dance, terjemahan y. sumandiyo hadi. yogyakarta :manthili. haidaraasi, ghulam. 1985. dewey and iqbal on moral and society : a comaparative study of their thought. jurnal vol. vhi no. 4/1985. hasan, "hakikat kurikulum" disampaikan pada seminar nasional kurikulum berbasiskompetensi universitas negeri padang panjang, pada tanggal 25 september 2002. hermawan, piway : cahaya di atas cahaya, makalah kuliah filsafat ilmu, 10 oktober 2006. wacana. koentjaraningrat,1994. kebudayaan, mentalitas dan pembangunan. jakarta: gramedia pustaka utama. munandar, 1987. memupuk bakat dan kreativitas anak sekolah menengah: petunjuk bagi guru dan orang tua. jakarta: gramedia. semiawan, connyr, putrawan,! made, setiawan, 2002. dimensi kreatif dalam filsajat ilmu, bandung: pt remaja rosdakarya. supriadi, 1994. kreativitas, kebudayaan dan perkembangan iptek. bandung: alfabeta. suriasumantri, jujun s, 1998. filsafat ilmu : sebuah pengantar populer, jakarta : sinar harapan. volume viii no.2 / mei-agustus 2007 146 8 the philosophy of puppet characters bathara in murwakala play for the value of leadership ethics wahyu lestari state university of semarang, sekaran gunungpati, semarang, indonesia e-mail: wahyu_pyarlestari@yahoo.co.id received: august 2013. accepted: februari 2014. published: maret 2014 abstract the study aims to find out the values of leadership ethics in murwakala play. which is beneficial to society in empowering the existence of the puppet. the position of puppeteers in central java is now farther away from the younger generation and society. the preferred method is through an objective method to find out the design of performance according to contemporary tastes, as well as referring to the theory of structuralism in order to uncover the meaning of the textual and contextual performance. method of observation, interview and documentation are also used, in order to get comprehensive data. the results showed the findings of the ethics of leadership from the teachings of puppet plays murwakala asthabrata or eight teachings contained in nature into eight figures in the play, which synergized with the nature of the universe, such as the nature of clouds, rain, water, stars, moon, sun, fire, ocean and earth. the findings are collaborative performances murwakala played in the new format, according to contemporary tastes, semitheatrical performances. another finding is souvenirs designs and culinary business run with team leadership ethics, to enhance the creative industry and economy, establish a relationship with buyers and affiliated institutions, with a supporting program of stakeholders. © 2014 sendratasik fbs unnes keywords: ethical values; leadership, puppets; bathara; murwakala. harmonia : journal of arts research and education 14 (1) (2014): 8-15 available online at http://journal.unnes.ac.id/nju/index.php/harmonia permalink/doi http://dx.doi.org/10.15294/harmonia.v14i1.2785 p-issn 1411-5115 e-issn 2355-3820 generations. but, the reality of the practice indeed reversed, because there are not many people who appreciate the value-of the noble legacy of its ancestors, both the value of ideology, historical values, moral values, as well as other positive values. a significant progress of information technology and national electronic and mass (7 stations), urban aesthetic standards demanded spectacle spectacular, glamorous, and slapstick as a joke an urban setting have been deliberate or not constitute a pressure into every corner of the country. after exclusion of rural areas served to the audience or the local arts began absorbed by the societies. the audience is reduced again due to two things (l) mass media atintroduction traditional arts, known as wayang kulit purwa, have been recognized as a world cultural arts, and have been awarded a recognition by the united nations educational scientific and cultural organization (unesco) on november 7, 2003 as a masterpiece of the oral and intangible heritage of humanity. a recognition from the international world that the art of puppets viewed as a masterpiece of nonobject culture as a heritage for all mankind (unesco, 2003, p. 2). that is the moral responsibility of the government of indonesia is quite heavy, which should continue to submit to the cultural heritage for wahyu lestari, the philosophy of puppet characters bathara in murwakala play ... 9 titude and broadcast attitude from big cities which look down on urban local arts as something backward, and deserve to be laughed at, (2) the attitude of leaders of social and religious art that label the regional arts is not in accordance with religion and moral value. the classical arts are also under pressure, the disappearance aegis of the kingdoms of the past forced the art that grew in the palace looking for new sponsors from the public, media and art education institutions funded by the government. the theory developed is the aesthetics and ethics in the context of understanding the values of morality in the puppet (suseno, 1991, p. 27-45). of course, the thoughts are based on structural approach that directly intersects with the social system as a multi-cultural situation of the current civilization (sears, 1996, p. l2l-135). the expected result is the reconstructed product on puppet show, for example involving the maker of puppets, puppet accessories with themes of leadership, and souvenirs. this can not be removed with the handling of management as a model puppet show production in specific formats and marketing side (silalahi, 1994, p. 161). the indonesian nation seems to need to overcome the various problems facing the nation today, ranging from political issues, economic, religious, social and cultural rights. everywhere still encountered various conflicts, such as demonstrations and vandalism, and massive robbery (metro tv, august 20, 2010), which caused deaths and serious injuries, blasphemy, also addressed to the leaders of the country. citizens ask for justice, and firmness from the leaders. natural disasters occur in all parts of indonesia, which, if observed events appear in 26th, tsunami, train collision, until the mount merapi erupts, what does it mean? meaning, 2 plus 6 equals 8 divided by 4 equals two, which could be interpreted heart and thought. heart and thought must be balanced, cannot stand alone, meaning that what human beings think about, which is realized in action, must also be internalized by the heart, in order to obtain a balance mentally and physically, and life becomes serene and peaceful, not to cause flare in surroundings (rustono, 2010, november 8, 2010). national competitive grant research strategy is based on six national strategic fields that had been proclaimed by the president in 2008, and was developed by direktorat penelitian dan pengabdian masyarakat (dp2m) into l2 themes. themes of art and culture / creative industries (art and culture/ creative industry) are one of the selected research themes under the title understanding ethical values leadership puppet plays murwakala: dissemination and implementation for the society. the theme proposed is consistent with what had been determined, because it was oriented in applied research and has a regional / national scale. the inheritance of cultural values through the presentation of the arts is more directed to oral tradition, the more pressure it can be seen in the form of the development of imaginative, reflective, and dramatic, burns (1973, p. 45-60) called the conventions of art that is attached directly to its form. inheritance is really a matter that cannot be avoided in the modem era, such as the emergence of show variations that in accordance with the means and the context. the research begins with literary research activities in particular bathara from murwakala puppet plays, then applied in the field with the condition of the performing arts that have been collaborating. afterward, the design of works of art is arranged in an innovative format according to the demands of the audience, that mostly the younger generation. darnawi (1985, p. 32) points out that these values can be heard through the wise puppet figures and religious as well as from the utterances of punokawan in puppet. the value has been attached to the individual interaction in a puppet life community. values and the meaning of harmonia : journal of arts research and education 14 (1) (2014): 8-1510 life which became the paradigm of era civilization (timur, 2006, p. 174). the values of tenderness also appear in art, pointed to the tenderness of heart that is embodied in wise behaviour, which is a way of life which guarantees human dignity as the main human beings (sardjono, 1995, p. 23) lestari (2009, i) revealed that ethical leadership of figure bathara from murwakala puppet plays, containing philosophical values of life exemplified by a variety of puppet characters in it such as: character of bathara teacher, bathara endra, bathara bayu, bathara yama, bathara aqni, bathara kala and dalang kandabuwana and puppeteer who each have characters that can be a good model for a leader. preserving and responsible to the cultural heritage of ancestors, continually make great efforts in order to make puppets remain to be attracted to the younger generation. therefore, in order to raise again the values of leadership to do with empowerment of the creative industries of art craft as well as encouraging community economy, research needs to be done by building a theory, and the new format puppet shows to fit the demands of the present generation.the empowerment of the puppet masters who their current activity displaced by other forms of performance, bravely acting out puppet plays murwakala. encouraging the craftsman to collaborate each others in a performance event. method the subjects of the research were society, the puppet masters and souvenirs craftsman. society as individuals and as leaders should understand and emulate the character of the puppet characters, who become asthabrata tenet. the puppeteers dare to act out murwakala plays. the research object is the puppet show plays murwakala, that the characters in the play are a symbol of leadership character. the method used is an objective method, namely a way that describes the research as there are materials that are used as objects of research, namely murwakala puppet plays. the analysis used is an object of research forms. description: (2) universe includes elements that affect the community social environment. its form is the design and accommodation of the performance, namely the ruwatan ceremony with performance of leather puppet show murwakala have been collaborating, in order to bring about a new shape or appearance, which involve players or characters that exist within the play, with the puppeteer and the audience. (2) consisting of puppet spectators, participants of ruwatan, or guests, arts observer organizations, who is invited to attend the show. (2) artist or the players, and the characters in the play. (3) trial method is used to determine whether the work result has fulfilled the wishes and tastes of society. the effectiveness of trial method was determined by experts brought in the performance arts, performance arts observer, performance art critics, cultural and arts practitioners of puppetry. the aim is to explore the input to the refinement and improvement of the artwork design. (4) ocialization method, is one way of introducing the product of artwork design to the public, in accordance with the concept that has been implemented, through seminars that bring the relevant participants/ stakeholders. the steps are as follows. 1. arranging murwakala puppet play script. 2. composing musical singing of puppet show 3. arranging staging draft, techniques and procedures 4. exercises 5. text reading by puppeteer 6. appreciation of figures 7. joint exercises between the puppeteer and the musical accompaniment 8. performance testing 9. evaluation 10. preparation of reports including documentation of testing. in order to realize the design that has wahyu lestari, the philosophy of puppet characters bathara in murwakala play ... 11 been prepared, it needs to do an observation both on the location of the show as well as the players involved in the show. observations of the location can be conducted either outdoor or indoor. trial method is also intended to determine whether the work design result has met thewishes of society, such as hold and offer ruwatan ceremony to the public, campuses, or tourismq place, so there will be found input or refinement and improvement of artworks in the future. interview interviews were conducted to the informant such as puppet masters in the central java region, with samples taken from puppeteers in semarang included ki jokoedan, and ki sayuti, kisupraptono, from surakarta ki suyanto, and from yogyakarta ki timbul hadi prayitno. the results of observations were cross checked with the references as well as findings related to literary form, observation and practice in the field related to the show. documentation documentation was recording the action of the murwakala leather puppet show, and then translated it, both in each scene, as well as the characters within the play. the results of the translation, further interpreted, thus found the values that exist in the show including the characters in it, like a figure of eight gods. this eight gods character then so called hastabratatenet, which is a guidance that can be inspired by everyone in his life, especially in the concept of leadership. results and discussion the design form of murwakala plays designing the puppet show is not making it up that the puppet is still a mainstay in the delivery of a certain material, expectedly to contribute to the general public about various things related to contemporary problems or issues of government programs and the wishes or expectations of massive societies. the other interests are giving the improvement of appreciation to the audience about the art of leather puppet purwa which also conveyed the content of the moral values of leadership represented by the presence of puppet characters who play in murwakala, so that people can take lessons from the show, which be able to apply in daily life in the future. the design objective is to create an alternative leather puppet show that is called murwakala along with other buffer. the result of designing performance becomes a means of enlightenment, education, and entertainment that focuses on the universal problems encountered in daily life. without having to leave the grip of puppet show, the show was designed in collaboration with other art forms outside of the art of puppetry. not excluding it will be included also all the sporting programs tailored to the unity of the whole chosen themes, so it is possible to involve the other types of arts. the design is as follows: 1. the form of the puppet is leather puppet carved in a simple flat 2. the characters involved in a puppet show murwakala 3. the use of javanese gamelan with special arrangement as musical accompaniment in the show 4. at the end of the design is the presentation of the textbook which is ready to be staged by any puppeteer who is interested. procedures of design in this section the activities started by designing a variety of devices that have been planned to include: the first stage 1. plotting particular puppet character played by human figures such as kala bathara figures, derma derma and ulamdermi, as well as jokojatusmati figures, and the figures of puppeteer kanda buwana, provided approximately l0 puppets. 2. arranging the script which lately staharmonia : journal of arts research and education 14 (1) (2014): 8-1512 an authoritative figure of the leader in a community, and simple figures that can be played by another player who has been plotted or spontaneous players from the spectators. 4. bathara guru should go directly to the world to give examples of his leadership to people about how to dispel the existence of kala. 5. the eight gods, which in javanese culture symbolized as so-called asthabrata tenet (8 behavior) eight characters that can be inspired by people, from the eight gods’ characters, which later, the element of number 8 (eight) synergized with eight elements of nature characters, including the nature of water, fire, wind, moon, stars, oceans, clouds and sun, from the eight natural properties can be used as the teaching of leadership to the community, leadership inspired from nature could be a guidance for a good life. the presence of bathara guru necessarily has to work hard to give enlightenment to the human the ways of dealing with problems of daily life. of course, the desire of evil bathara kala, will take all sukerta’s children will run smoothly because of the existence of bathara kala, through this figure of kandhabuwana puppeteer, the secret of the existence of kala can be undermined by human beings. all elements of the murwakala story plays is applied to the show structure combined with the form of arts outside the art of puppetry. the stage arrangement of murwakala puppet plays can be seen in the scheme as follows. ethical dimension of murwakala puppet play the results of study shows there were value of leadership ethics in murwakala puppet plays, which emerged from the eight characters in the play. the research findings are also supported by the sutarno opinion (2006, p. 50-119). the finding that strengthens the eight god’s characters synergized with the conged completely. the collaboration between the puppeteer who plays shadow puppet and dialogue with murwakala played by the people. 3. arranging music to accompany the show 4. technique plan of puppet plays stage with murwakala as the main figure 5. socialized to the public, students, academics and the puppet masters and artists, the activity is assumed as legen tuesday night activity in unnes, and had been held on november 8th, 2010. the second stage 1. the main figure of the stage basically contains the main idea that must be delivered through the figure’s trip, groups, and community. then it is poured into the plot and scenes in the overall play. the basic idea of the murwakala puppet play stage is like to give enlightenment and public information about the existence of the character, in javanese culture, bathara kala is a symbol of catastrophe and misfortune spreader. up with the 21st century, such play related to sacred ceremonies are still performed, either in massive or individually. 2. the central themes of murwakala puppet plays, is a comprehensive understanding of the existence of bathara kala as a symbol of catastrophe that should be avoided by people. the spiritual value contained in the figure is a puppet of enlightenment for the audience, as well as the concepts of leadership, such as how a person should be able to hold the promise that has been uttered, loyalty to the job. 3. then the theme of leadership is poured into the structure of the presentation of puppet plays, so the source of the presentation based on the convention of purwa shadow puppetry as can be found in the community. furthermore, step by step, the story of bathara kala flow to the daily story by presenting public figures, such as community leaders, kyai ageng buyut wangken as wahyu lestari, the philosophy of puppet characters bathara in murwakala play ... 13 dition of the natural character that must be watched out and understood by the public. the value of leadership ethics can also be found from the murwakala puppet play, one meaning of words can be seen is murwa that means managing and kala means time, so murwakala mean show to respect the time, the respect of time is one key to success. another key to success is if people could be disciplined, discipline starts from leading to himself and continue to lead on a wider scale. the tenet of leadership can be explored through the puppet figures, which over the puppet characters, we would know its nature and character, which can be a good model in daily life. one of the tenets of javanese culture is called asthabrata which is an ethics code of leadership, since the previous time till now, even when the future still remains relevant to be learned and applied, and observed by anyone, who wants to have the soul of leadership, though he is not as a formal leader in an institution. every individual is essentially a leader for himself/ herself. astabrata tenet is not only learned through written literature, but also through art performance. in the art performance/ show, the tenet is shown from the symbolic figures with leadership character. leadership character is assembled from the eight gods’ character that is as representative of natural objects’ character the lead character refers to the eight gods’ character such as: the endra god, the surya god, the bayu god, the kuwera god, the baruna god, the yama god, the chandra god and the brama god. the eighth character of the god is also synchronotes: 1. puppet box 2. puppet box lid 3. kendhang batangan, ciblon and bem 4. gender slendro pelog 5. slentem slendro pelog 6. finder 7. sither 8. sither 9. kenong slendro pelog 10. demung i 11. demung ii 12. saron i 13. saron ii 14. peking 15. bonang barung and penerus, slendo pelog 16. gong = puppet master = waranggana figure 1. the stage arrangement of murwakala puppet place harmonia : journal of arts research and education 14 (1) (2014): 8-1514 nized or in line with the character of natural objects such as: the nature of the earth, water or ocean, fire, wind, sun, moon, stars, and cloud. according to community development, the nature or eight-gods’ character that at first became the leader’s characteristic only has been developed in general guidance for all people without any exception, is that one should be able to become the sun, capable as the moon, a star, the earth, water, could be a tree, could become wind, and capable of being cloud for others. the consequence is that if any of those characters are not owned, it will be handicapped for human. the discussion of puppet show design is not making it up that puppet is still a mainstay in the delivery of a certain material, with the hope to contribute to the general public about various things related to contemporary problems or issues of government programs as well as the wishes and expectations of the larger society. other interests are enhancing audience’s appreciation to the art of shadow/leather puppet which conveys the message of leadership moral values represented by the presence of puppet characters that play in murwakala, so that people can take lessons from the show which can be applied in daily life. conclusion the creation and design of bathara from murwakala puppet plays, the setting of the main figure tells about the events and issues of daily life. reminding that the art of puppet show has a standard or reference, then the system in presenting murwakala as the main figure cannot be abandoned. this means that elements such as puppet show setting, gamelan, singing, and main figure structures become a very important consideration. the story of puppet play can be a means for the puppeteer to convey thoughts, feelings and responses of an event that happened in the real world. for example, most of the puppeteer has to do, namely as an aspiration for development, so that through the characters of puppet show, puppeteer addresses the issue of family planning, building construction, religion, advances in technology and ethics or aesthetics, according to his abilities and mastermind’s creation. frequently, also various nuisance of environment is manifested into dolanan song, dialogue between characters, without bothering the puppet story structure presented. the theme design of murwakala story revolves around the events and issues of everyday life. given the art of puppet show has a grip, then the system plays murwakala presentation cannot be abandoned. this means that elements such as setting buffer in the show of puppets, gamelan, singing, and structures play a very important consideration. the design of the murwakala puppet play show is unlike traditional stage sets, this was done because the concept of the show was collaborated with other art forms, then the consideration of place and space arrangement of the stage is adjusted with the aim of the show. two barrel slendro and pelog of gamelan divided into two parts arranged in a row, right behind the puppeteer provided a space for theatrical scenes, so that the arrangement requires more space than a traditional stage. the asthabrata tenet is not only learned through written literature, but also through the art performance show. in the show, the tenet is presented from symbolic figures with the lead character. it refers to the eight gods’ characters that constitute the eight characters of natural objects. references bidney, d. (1967). “myth, symbolism and truth”. thomas seboek (ed.), myth simposium. blomington and london: indiana university press. cassirrer, e. (1965). an essay on man, an introduction to a philosophy of human culture. new york: new haven. kanthi, w. (1995). wayang kulit as medium of communication. faculty of communication university of dr. soetowahyu lestari, the philosophy of puppet characters bathara in murwakala play ... 15 mo, surabaya. kasidi. (1998). inovasi dan transformasi wayang kulit. yogyakarta: institute for javanese study ________. (2004). teori estetika untuk seni pedalangan. isi yogyakarta: lembaga penelitian isi yogyakarta. kayam, u. (2001). kelir tanpa batas. yogyakarta: gama media. kuntowijoyo. (1986). budaya dan masyarakat. yogyakarta: tiara wacana. lestari, w. (2009). seni pembebasan: estetika sebagai media penyadaran. harmonia: jurnal pengetahuan dan pemikiran seni. 9 (1). _______. (2009). masalah pengembangan seni dan industri seni melalui pendidikan seni. semarang: cipta prima nusantara. _______. (2009). kepemimpinan etis dalam lakon wayang murwakala bagi pemberdayaan industri kreatif sebagai salah satu peningkatan ekonomi kerakyatan, research report. unpublish. jakarta: dp2m jakarta. lorens, b. (1996). kamus filsafat, jakarta: gramedia pustaka utama. magnis-suseno, f. (1987). etika dasar: masalah-masalah pokok filsafat moral. yogyakarta: kanisius. _______. (1991). wayang dan panggilan manusia, jakarta: gramedia pustaka utama. _______. (1993). etika jawa, jakarta: gramedia. _______. (1993). etika jawa sebuah analisa falsafi tentang kebjaksanaan hidiqa jawa, jakarta: gramedia pustaka utama. sajid, r.m. (1971). bauwarna wajang jilid 1. surakarta: penerbit widia duta. scheller, m. (1973). formalism in ethics and non—formal ethics values, eramston: northwestern university press. suratno, p. (2006). sang pemimpin, menurut asthabrata wulang reh tripama dasa darma raja. yogyakarta: adiwacana. harmonia : journal of arts research and education 15 (2) (2015), 144-151 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v15i2.4691 p-issn 1411-5115 e-issn 2355-3820 music as an integrated education tool for preschool students wadiyo music department, faculty of languages and arts, semarang state university jl. sekaran campus gunungpati semarang, indonesia, 50229 e-mail: wadiyosemarang@gmail.com received: november 19, 2015. revised: november 29, 2015. accepted: december 4, 2015 abstract this article intends to uncover a concept of developing tradition-art groups in west sumatra, which is considered that they have been left behind by modern-art groups in terms of packing aspect, presentation, and technical skills. hence, this article reveals intervention of the academician in developing and providing support in the forms of improving skills and knowledge of the artists and art groups. the support includes improving skills and knowledge of expressing arts through giving packing techniques and arranging art performance, orientated toward educational and social extension actions. the knowledge may consist of techniques for developing movements, dance music, costumes, and make-up affecting skills of arranging and packing performance arts that can be divested in art industries. the method used in this investigation was games that aimed to cope with boredom and improve new awareness of concepts of how to pack performance arts. in addition, the case study was employed to solve problems faced by partners in the field. moreover, practices about how to pack the arts were critical to be done through brainstorming, discussing, and lecturing. keywords: education message song; singing; integrative; children; preschool how to cite: wadiyo, w. (2015). music as an integrated education tool for preschool students. harmonia: journal of arts research and education, 15(2), 144-151. doi:http://dx.doi.org/10.15294/harmonia.v15i2.4691 introduction kindergarten curriculum brings out the art indicator to be used as an education tool that is beneficial for the development of the student. in music field, its application can be done through playing music instruments and singing activity. art education is one of the education medium to enhance children positive personality (tarwiyah, 2004). ideally, the actual art education must be implemented and taught since children were in childhood age since that was the time when a person’s personality began to take shape (carr dan lehrer, 2004). art education is given at school, not only to develop the personality of a child but also to help multi intelligence of children to occur (wardani, 2006). merritt research in ‘simfoni otak’ (the brain symphony) book (2003) about the correlation between music and intelligence explains that music is useful in stimulating the child’s iq, eq and sq. further, according to her, music which is advantageous to stimulate the interest of iq, eq and sq would be more appropriate if it is played from early age, around 0 to 8 years. during the period, the talents that will be useful for children’s future will begin to form. in relation the fact, it seems to be appropriate if children in preschool or kindergarten age are introduced to music. 144 wadiyo, music as an integrated education tool for preschool students 145 every form of music can be used in stimulating children in doing activities related to gross and fine motor movements. generally, the implication of learning music at public school, especially at preschool or kindergarten level, can be seen after it is integrated with other fields or subjects in accordance with the theme of learning that is taught by teachers during the learning process. here, the discussed problem is about how the implementation of learning the art of music is in the context of integrative learning in preschool education, especially kindergarten. art education that places integrative arts as an educational tool in public schools, including in preschool or kindergarten, seems to be always implement the approach appreciation and creation or vice versa. before understanding what is meant by appreciation and creation, one must first understand what is meant by message in art education. according to melalatoa (1989), message here is the content of an artwork. for children, the ability in understanding the content or message of an art work might be different from one to another. it is based on the comprehension and condition of each child as an individual. what is meant by appreciation here is assessment giver for the work of art. in order to be able to obtain it, one needs to undergo several stages. among the stages are: introduction of text and context, understanding contain of the text and context, interpretation or comprehension, and evaluation or assessment from efficiency side for each appreciators (bahari, 2008). what is meant by creation is new product or product that is considered to be different from others (csikszentmihalyi in stenberg, ed., 1999; soehardjo, 2012). the education of creation and appreciation is believed to be able to make students to produce or create and feel their experiences. if it is developed seriously, it will influence the development of students’ thinking process in other fields (pautz in sumaryanto, 2002). in short, through the education of creation and appreciation, it will not only develop the students’ ability in making or creating an artwork, but also bring good impact for students’ general intelligent. triana (2005) argues that education of creation at school should be done through students’ activities. here, students are required to perform the activity of arts. meanwhile, education of appreciation is done through the activity of responding the arts. art activity focuses on students on which they are asked to practice the art by exploring ideas and feelings. the ideas and feelings are being associated with their selves and their environment. at this stage, students’ sense of sensitivity and imagination are being trained by doing experiments in the form of organizing the elements of arts. the students work by using chosen materials, voices, mediums, and spaces, on which a series of stimulus materials and works employed both individually and in groups. students present their work to their friends in school and out of school. based on surya (2003) school can choose the way to implement the art activities, while students are the one who will explore the themes, ideas, and feelings by using a set of disciplines of each field of art in various combinations. a considerable number of those activities may involve the creation of music (music accompaniment) by teachers, for example, music used to accompany students’ play or dance as an integrated art form among different types or mediums. rohidi (1999) delivers that responding art is a form of appreciation education that is usually learned by students by giving responses to the artworks. students are stimulated to identify and explain the main characteristic of art that being presented by their selves or being presented by others. in this context, it can be the students’ friends. the art can be relatively simple as long as it is based on the knowledge of the children. students can use their own art language or express their selves by doing art activity or singing. here, students are taught by some of the different ways of expressing art and communicating ideas and feelings of an artwork that being displayed or the song that being sung. the outcome 146 harmonia : journal of arts research and education 15 (2) (2015): 144-151 will be that students are able to identify and explain some of the characteristics of art that being displayed, or in another word, appreciate it. those ways will help to guide students to be a more creative and appreciative person towards all phenomena that they may face. method this research was studied by implementing approach from the perspective of music and education. research method implemented here was qualitative interpretative in relation with developmental research. research location, research object, data collection technique, validity of technical data, and data analysis technique will be respectively described, as follows: location of the study this study is located in semarang, including both the city and regency area. there are two schools in the city of semarang becoming subject of the study. there are state kindergarten of pembina kota semarang and kindergarten tirta dharma kota semarang, whereas from semarang regency, there are christian kindergarten of ungaran and kindergarten ihyaqul qulub. object of the study object of this research is closely related to the problem that becomes the main focus of this research that is about the implementation of music learning by teachers in integrative context of pre-school level, especially kindergarten. data collection technique data was collected by using observation technique, interview, and documentation study. observation was conducted by fully observing the classroom. the observation focuses on how teacher uses music or song in the implementation of teaching and learning process. what kind of music or song used by teacher, how the teacher uses it, and the way (how) teacher explains the message to the students become the main focus of this observation. the interview was also conducted here. teachers were interviewed about the use of songs in their classrooms and the way they select it. in addition, the reason behind the process of song selection as well as the expected outcome had by teachers after teaching by using songs also became the main content of the interview. other than this was a question related to songs which were frequently sung by teachers. this was considered to be important for the answers derived from this particular question could be used to find out the kinds of message that was emphasized more by teachers. further, documentation study technique was also applied here in order to find out the availability of songs had by the schools, especially for the songs which were frequently used in integrative teaching during the teaching and learning process. what were seen by documentation study were the written songs by teachers as well as songs in the form of tape or compact disk which had been already owned by the school. data validation technique in validating the data, triangulation was employed to see whether there was a pattern resulted from observation conducted by researcher regarding to the teaching and learning process in the actual classroom. it also used to see the similarity and difference in using the song as media in teaching integrated themes for students from one school to another. later, after all data from different teachers, headmasters, and school was able to be compiled, it was then analyzed and validated (checked) in order for the compatibility and triangulation form from many sources to be seen. data analysis technique the data obtained from the study was analyzed by developing previous theory by nasution (1996); bogdan & biklen (2007); and miles & huberman that had been translated into bahasa indonesia by rohidi (1992), that is interactive analysis. in interactive analysis, an analysis will be wadiyo, music as an integrated education tool for preschool students 147 started from data collection, continued by data reduction, data display, and finally conclusion or verification. the process also involved checking and rechecking the source of data while adding or eliminating the relevant data. results and discussion based on the data analysis that had been done by researcher, the results of the study were able to be obtained. following the procedures of presenting research results of qualitative method, results of the study here would be followed up by discussion in order to be able to analyze the results deeper. here, even if the initial planning of this research was for both developmental and qualitative research, however, in this paper, parts of results and discussion will focus more on the qualitative part. thus, the following would be the results and discussion to answer the research question in this study about how the implementation of music learning in integrated learning context in preschool level especially kindergarten that was done by the teacher is. the development of music teaching materials for the curriculum that being used for preschool students, especially kindergarten is open for interpretation. however, although the curriculum is open for interpretation, the curriculum itself has considered character education and development of national identity. it is also significantly implemented in preschool education in this context kindergarten education. regarding to the development of art teaching material in preschool education level, especially kindergarten, the curriculum has been understandable. according to tarwiyah (2004), kindergarten curriculum which points out the indicator of art, emphasized on how the art can be used as an educational tool which is useful for the student’s development. it is not used to force students to be able in doing art. in its application during the learning process, music can be taught through singing and playing music instrumentals, but, the main focus in during the learning is not on the music itself, but more to the educational messages that is delivered through the music or song. all of the teaching materials that developed today are contained in the matrix or annual program of kindergarten. that art is taught by interpreting the matrix which is divided into developmental scope, achievement level developments, indicators, themes, and estimated time of week. developmental scope is composed of religious values and morals, which consists of the physical gross motor, fine motor, and physical health. additionally, within the scope of development, there is cognitive that consists of general knowledge and science, the concept of shapes, colors, sizes, and patterns. in this developmental scope, there are also the concepts of numbers, symbols, and letters. there is also a scope associated with the development of language. there are some languages that consist of language acceptance, language expression, and literacy. another aspect other than those already mentioned earlier is all scope under social developments. according to carr and lehrer (2004) it is actually ideal that arts education must be instilled since childhood because here is the time when a person’s personality begins to take shape. what is done and developed in learning process for children in preschool level in this context is kindergarten, on which art is used as education media, has been regarded as something appropriate. education of art which is given at school also meant to help the students’ multi intelligent (wardani, 2006). multi intelligence of art as proposed by wardani has been proven through the result of research conducted by merritt (2003). merritt’s study shows that music helps children in stimulating much intelligence. in regard to that interest, it will be more appropriate if music is being listened since the early age. the basic thinking of curriculum for the preschool level also explains that music in any forms can be used to stimulate the children to do an activity 148 harmonia : journal of arts research and education 15 (2) (2015): 144-151 that is associated with gross and fine motor movement. in the actual implementation, the learning process of art in public school especially for preschool or kindergarten level has been integrated with other fields in accordance with the learning theme that should be delivered by the teacher during the learning process. based on a researcher’s study in kindergartens that became the sample of this research, theories stated by experts had been implemented. by singing, students were not only invited to sing, but also to analyze what was contained as an educational message inside the song or art taught at the classroom. the analysis was given both verbally and non-verbally by teachers to be understood by the students. in matrix or kindergarten annual program is explained the level of achievement of the development. the scopes of development related to religion values and morals describes the level of achievement development that comprises some aspects, i.e. knowing god through religion, imitating worship movement, praying before and after doing something, knowing good/polite behavior, familiarizing themselves in well behavior, and greeting and returning the greetings. the aspects above were taught by using songs and also applied through verbal or nonverbal language. this is why making art, music, and song as an integrated tool in kindergarten education is important. art or music or song is integrated in learning process to achieve various purposes that are in line with the curriculum. the real implementation of art education through appreciation and creation approach has been in line with the expectation of bahari (2008) and soehardjo (2012). students felt the song with expression in accordance with the message of the songs that were sung, like happy, amazed, and sometimes proud. creative of students could also be seen when they were singing the song while doing movements that related to the content or the message of the songs. this is one form of responding art in appreciation and creation context as being stated by pautz (in sumaryanto, 2002); rohidi (1999); triana (2005). it is so real that through the expression of art done by students, the message of the song delivered to the students is proven. similar to what is explained by melalatoa (1989), through the message of art, everything that is inside of the art will be accepted easily and happily by its appreciators. every child as an individual should not always be the same in accepting the message cognized (altenbernd and lewis, 1970). all of those things depend on the background and condition of each child that naturally one and others are probably different. in addition to what has been proposed, in learning curriculum for children in preschool education, especially in this context is kindergarten, it states about physic development scopes that correlated with gross motor. there are some aspects of the achievement level of development, those are: (1) imitating the movement of animal, trees blowing in the wind, flying plane, and etc, (2) imitating hang movement (clinging), (3) doing jump, slide, and coordinated run, (4) throwing something directionally, (5) catching something accurately, (6) doing anticipated movement, (7) kicking something directionally, and (8) utilizing the playing tool outside of the class. physic development scope instead of the gross motor is fine motor. in achievement of development scope of fine motor, there are (1) making vertical, horizontal, curved, oblique, and circle lines, (2) copying the shape, (3) coordinating eyes and hands to do a complicated movement, (4) doing manipulated movement to create a shape by using all kinds of media, and (5) expressing their shelves by making art work using all kinds of media. in the scope of physical development in relation to gross and fine motor, through singing and expressing using song as stated by csikszentmihalyi in stenberg (1999) and surya (2003), as a form of creativity, children are also being stimulated by the teacher by giving the freedom to the students to express wadiyo, music as an integrated education tool for preschool students 149 the song. each child is expressing songs with their own ways. some of them are laughing, funny, screaming, holding their friends, or even by hitting their friends in joking context, and many other ways that have been done by the students regarding their expression in understanding and feeling the song that they are sung. beside of the scope of fine motor development, there is the scope of the development of physical health. the level of the developmental achievement is correlated with three physical healthy, those are: (1) it has suitability between age and weight, (2) it has suitability between age and height, and (3) it has suitability between weight and height. it is clear that generally all aspects related to physic is just gross motor, fine motor, and physical healthy. the following in physical development with achievement level is continued by cognitive aspect. gardner (1997) explained that “music may be a privileged organizer of cognitive processes, especially among young people” (p. 9). scope of cognitive aspect development as has been stated on the front is divided into three aspects, those are; (a) general knowledge aspect and science, (b) concept of shape, colour, size and pattern, (c) concept of numbers, symbols, and letters. general cognitive aspect and science, the development of achievement results is to: (1) know the thing based on its function like a knife to slice, (2) uses things as a symbolic game like chair as a car, (3) understand about symptom causation related to their selves, (4) know the simple concept of daily life drizzle, rain, dark, light, twilight, and etc, (5) create something in accordance with his own idea. it is also supported by fortner (1997) who suggests that science teaching can be made more relevant through integration teaching, while yasso (1991) encourages integration to increase intrinsic motivation for science. the achievement of development level of aspects of concept of shape, colour, size, and pattern, are to: (1) clarify things based on its shape or colour or pattern, (2) classify objects into similar groups or groups in pairs, (3) know people in ab-ab and abc-abc patterns, and (4) understand sort objects based on five variations in the size or colour. the others development scope about this is regarding to the concept of numbers, symbols, and letters in which at the achievement level of development covers: (1) knowing the concept of many and few, (2) numbering many things from one to ten, (3) knowing the concept of numbers, (4) knowing symbols of numbers, and (5) knowing the symbols of letters. the next is language development scope, in which it is connected with accepting language, expressing language, and literacy. accepting language in achievement of development level covers: (1) repeating the simple sentence, (2) answering simple questions, (3) expressing feeling by using the adjective (naughty, stingy, kind, brave, good, ugly, and etc), (4) mentioning the words known, (5) expressing opinions with others, (6) stating the reason for something to be desired or disapproval, and (7) retelling the story or fairy tale that ever heard. still in scope of language development side, it is correlated with literacy. level of literacy development achievement covers: (1) showing independent behaviour in choosing an activity, (2) sharing, helping, and help a friend, (3) showing the enthusiasm in playing competitively in a positive way, (4) controlling the feeling, (5) obeying the rules of the game, (6) showing the self confidence, (7) protecting their selves from the environment, and (8) respecting other people. johnson and johnson 1975 argued that a truly cooperative behavior occurs when there is (1) personal incentive to achieve; (2) positive interdependence so that each individual has a different but integral role in the group; and (3) a common goal. making music provides a positive example of all these principles of cooperative learning. when music is studied and played to represent an idea, concept, or historical period, it can also provide a common goal for academic objectives. 150 harmonia : journal of arts research and education 15 (2) (2015): 144-151 in matrix or this annual program, essentially related to the scope of the development described at the level of achievement of development and explained to be carried out with the written indicator as guidance to be developed in the teaching learning process. started from the development scope that explained using its basic indicators, all of those things are using the expected theme and time in a week during the learning practice. the theme that determined in annual learning program is about me, my environment, my need, animal, plant, recreation, my homeland, and universe. it is not stated implicitly in the matrix or annual programs about a name of learning material, but the teacher should be able to translate by their selves in the practice of the daily learning process. based on the matrix or annual program, the teacher can select about what and how the learning practice should be conducted. for the learning field in its relation to art, the teacher could be selected from what is contained in the matrix/ program, especially from indicators point that should be run by the teacher. based on many indicators that should and must be run by teachers, it can be stated at one point that related to the art learning process, especially music that sometimes should be integrated with other material, like indicators of singing simple religion song. this is included in the achievement of development about know god through religion that they believed in scope of religion values and morals development. kilpatrick (1994-95) suggested that music should be sung or played together, channel the emotions toward hope and caring, and tell a morally satisfying story. active participation is not meant to substitute for recitals or concerts, but is to bring students and teachers together in the cooperative and constructive act of making music as an integrated part of the regular classroom. another indicator that included in the matrix or annual program that should be done by teachers in teaching learning process is as the example indicator of moving heads, hands, foot while following the rhythm of the music or rhythms. it shows that music and dance material is lessons that cannot be separated. still in the same indicator point, there is also something that same. it is about express their selves freely according to the rhythm of music. this indicator is included in the series of achievement of development level in utilizing playing tool outside of the class in physic development scope related to the gross motor. making sound using all kinds of tools as an indicator that should be done in the learning process related to self expression by working in the arts using all media in physical development scope and also related to the fine motor. another indicator that related to this is make a simple music instrument like to make “krincingan” of bottle caps, playing music using simple and sober musical instrument, and clapping with two patterns to create patterns. burton (2001) suggests a number of benefits of integration, including applying basic skills to real-life situations, raising standards, enhancing teacher creativity, developing less teacher isolation and providing a more positive classroom climate. according to barrett (2001), national music standards dealing with ‘understanding relationships between music, the other arts, and disciplines outside the arts’, and ‘understanding music in relation to history and culture’ embrace the concept of quality integration for students to develop a deeper understanding of subjects through their interaction with each other. music is also integrated through development scope in expressing language in achievement of development level using feeling by adjective with the indicator in singing a full children’s song, fabricate or create poetic based on the ability of children, and utter words of songs. those indicators are the only indicators that correlated with arts, especially music material that contained in the matrix/ annual program of kindergarten. besides, it is blended with other materials, the practice of its learning process on the idea of the appreciation and wadiyo, music as an integrated education tool for preschool students 151 creation process is melting in its contextual learning and integration. conclusion the model of the development of art teaching materials in kindergarten is referring to the theme that relates to children’s life and their environment. music material, once used as the main subjects of integrative and other materials to instill the knowledge and example of behavior as well as aesthetic educational tool in conjunction with the scope of development and the level of achievement of development as outlined in the matrix / annual program. for example, scope of development that given music is religion development scope especially on the level of the development of religion values and morals that done by singing song that contained 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(1991). discovering science in art, literature, and music. science activities. 28(1), bahasaan, karena suatu kescnian pada dasarnya adalah ekspresi p ��� � ������� ����� #��$� ��� �������� #�$��4 ����� ���#� � ��������� 2'����� ����(�����7�� ������� �������������� � ����� �� ������ �(���� ��� 4�� ����( ����&� 5 �0�&��) (�����������*�� ��������*� ����������� ��������� �� ������ ���� � �� � ������� ������� ����������������� �������� ��������������*���� � ������������/ ����������*�� ��� ��������0�������������������������������� ������ � ��������������������� ���� ������������������� �������� ������������� *�� ��� ���/������ ��*��������*�� ��������� *���������������� ������� �� �������� ��������� ��������������*�� ������������� � �������� ����� ��� ��������/������������� ��� ����������� ��� �������� ������*�� ������ �����������*�� ���d������ �������� �������������� �������� ������� � ������� � ������*�� �� ��������������� �����/���������� ������ � �������� � ��� ��&� ���'�( 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keterangcm bahwa: wahyu adalah sesuatu yang luar biasa, jadi dengan ita lain wahyu tidak dimiliki oleh sembarang orang dan tidak akan diterima eh orang yang sombong, angkuh dan tamak (1985'.20). . jenis-jenis lakon wahyu, wujud wahyu dan penggolongan lakon wahyu . jenis lakon penggolongan jenis lakon wahyu didasarkan atas pertimbangan dua hal; ertama, kemiripannya dengan jenis lakon yang lain yaitu jenis lakon kilatbuwalan, lakon boyong dan jenis lakon paekan. kedua. alur cerita yang paling menon)ol atau isi pokok yang menonjol. hal ini dapat dipahami secara tersurat lewat judulnya. misalnya: sinta nitis, janaka pudhak, atau lakon wahyu dalam jens raben misalnya: rabine antasena, rabine wisanggeni, kuntul winanten dan retna jumanten. adapun jenis nama tokoh tidak dipertimbangkan karena lakon tersebut sudah termasuk ke dalam jenis lakon kilatbuwana atau jenis raben dan atau jenis lakon paekan. lakon tersebut adalah: begawan lomana, kumbara resi-kumbara dewa, kuntul winanten, dan retna jumanten. jenis-jenis lakon wahyu yang beredar pada saat ini ada enam jenis yaitu: 1. jenis wirid, 2. jenis kilatbuwanan, 3. jenis nitis, 4. jenis raben, 5. jenis boyong dan 6. jenis paekan. 2. wujud wahyu wujud wahyu dalam lakon wahyu dapat berupa: a. seorang putri. misalnya dalam lakon: kuntul winanten. retna jumanten, rabine wisanggeni, rabine antasena, janaka pudhak, pulung pusaka retna catur. b. berupa seberkas cahaya, yaitu pada lakon wahyu cakraningrat, wahyu cahyaningrat, wahyu dayaningrat, wahyu sumarsana wilis, wahyu garudha kencana, wahyu jitabsara, wahyu purba sejati. c. berupa pendeta yaitu dalam lakon wahyu panca budaya bernama begawan sabda jati. d. berupa ajaran atau wejangan terdapat pada wahyu makutharama,wahyu darma, wahyu dyatmika, wahyu cupu aaanik astha guna. e. berupa binatang yaitu pada lakon sri cemani, lakon kate mas atau kate kencana. f. berupa dewa terdapat pada lakon wahyu sandhang pangan, lakon sri mulih g. berupa senjata dalam lakon wahyu teken wuluh 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"����!�!!!������(��$�0�4������.�-���$�� ��-���)���$�,� � �����,��@ad����$��,���2���.�9��$��96��*�����b�� �(��$�0� �'��/��*�� ��#$���&�)2�2�,���,��'�����@bc��1 �������� ������� �����/�����7�/���� ��������2�(��$�0����$�� ��&��$�,� !! ��m��(����'�(�/�����3��2�����'(#$����)������#$'($���5m� ��(���.���#�&���(�����)���'&��������-�.��'�'��$����)��� �'&-'��2��������*��&��'����')����*��0����*��&�� +��('������ ����(��$�� harmoonia jurnal pengetahuan dan pemikiran seni suratno, 1996. "limbukan pada pakeliran wayang purwa gaya surakarta dalam lima tahun terakhir, tinjauan tentang kedudukan dalam pertunjukan, perkcmbangan dan peranannya dalam masyarakat". laporan penelitian sekolah tinggi seni indonesia surakarta. nara sumber hardjoko purwo pandojo, (67 tahun) (klaten, wawancara tanggal 11 agustus 2003). narjotjarita, (78 tahun) (sukoharjo, wawancara tanggal 13 juli 2003. sutino, (70 tahun) (wonogiri, wawancara tanggal 31 juli 2003). 107 lareh nan bunta: power systems and the concept of musical aesthetics in talempong basaua in luhak 50 koto minangkabau andar indra sastra, wilma sriwulan, yon hendri institut seni indonesia padangpanjang, indonesia received: february 6, 2018. revised: april 23, 2018. accepted: june 10, 2018 abstract the goal of this article is to bring to light lareh nan bunta as a form of representation of the system of democracy – or power – developed by dt. nan sakelap dunia. the discussion in this paper uses a qualitative method which is backed up by quantitative data. the data was collected through participant observation, interviewing, discussion, and analysis. the analysis was carried out using a descriptive method using theoretical reasoning, with knowledge of aesthetics and art. the results of the research show that conceptually, talempong basaua is a musical reality which represents lareh nan bunta in luhak 50 koto minangkabau. lareh nan bunta is a synthesis of the influence of power – or dialectic – between lareh kotopiliang (autocracy) and lareh bodicaniago (democracy), each with its own system of leadership. the dualism in the autocratic and democratic systems of power form a balancing power known as lareh nan bunta – a combination of all three existing conceptions. lareh nan bunta is also reflected in the concept of musical aesthetics in talempong basaua in luhak 50 koto minangkabau. talempong basaua represents a combination of two musical concepts, namely talempong and the rhythms or irama of dendang (vocal music), which are combined to create a new genre. keywords: lareh nan bunta; power; aesthetics; talempong basaua; 50 koto; minangkabau how to cite: andar indra sastra, wilma sriwulan, yon hendri. (2018). lareh nan bunta: power systems and the concept of musical aesthetics in talempong basaua in luhak 50 koto minangkabau. harmonia: journal of arts research and education, 18(1), 107-116. doi:http://dx.doi.org/10.15294/harmonia.v18i1.13280 harmonia: journal of arts research and education 18 (1) (2018), 107-116 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v18i1.13280 this tradition consistently mentions two functionaries of the law, dt. parpatiah nan sabatang and dt. katumangguangan, who according to legend quarreled about the government system to be enforced after the era of adityawarman. their disagreement led to the establishment of two political and legal systems – systems of leadership – namely kalarasan kotopiliang headed by dt. katumangguangan and kalarasan bodicaniago headed by dt. parpatiah (dobbin, 1992). these two sources of law initiated the conflict between the followers of parpatiah and katumangguangan, and introduction lareh nan bunta represents the dialectic of a conflict between the ideologies of two legendary minangkabau figures, namely: dt. katumanggungan and dt. parpatiah nan sabatang. according to legend, these two figures were involved in a conflict of ideology, especially after the end of adityawarman’s reign of power (13471375) in minangkabau. christine dobbin states that from this time on, the history of minangkabau entered into an oral tradition – known by the local people as tambo. corresponding author: jln. bahder johan no. 35 padangpanjang –sumatra barat, 27128 e-mail: andarstsipp@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 18 (1) (2018): 107-116108 each district (nagari) in luhak nan tigo minangkabau has since had a tendency to follow the leadership of one of these two traditions. v rifai (2007), as quoted by junaidi in harmonia, states that leadership is the process of influencing, motivating, and improving the behavior of people in an organization [community] in achieving the goals of the group and their culture (junaidi, 2017). politics and law are related to a government system, which in turn is oriented towards the system known as kalarasan (a customary government system), and this refers back to these two legendary figures. andar indra sastra in humaniora states that these two figures established the two government systems that were subsequently followed by every district (nagari) in minangkabau. dt. parpatiah nan sabatang’s government system was known for its concept of mambusek dari bumi (bursting from the earth), which was more democratic in nature. in this system, decisions were made by a government by process of deliberation. dt. parpatiah nan sabatang’s government system is also commonly referred to as lareh bodicaniago (andar, 2017). dt. katumangguangan with his kalarasan kotopiliang established an autocratic government system which nevertheless retained an element of deliberation and discussion. decisions were only discussed by officials at the highest level, while lower officials and the general public had to accept the results of the decisions made by those higher up in rank. this kalarasan kotopiliang style of government is known symbolically as manitiak dari ateh (dripping down from the top) which means instructions are given from the highest level (andar, 2017). in other words, the government system of dt. katumangguangan was oriented towards the system of a monarchy; and from this time onward, the two systems that were based on different ideologies became involved in the conflict. the conflict described between these two figures led to the implementation of these two systems in every nagari. according to christine dobbin, each imposes a different legal tradition – known as lareh or laras. limo kaum is the central point for all nagari which follow the kalarasan bodicaniago system. sungai tarab, meanwhile, is the central point of the rival tradition – lareh kotopiliang (dobbin, 1992) – both of which are found in luhak tanah data. mochtar naim states that the conflict between these two figures led to a kind of phratry dualism which up to the present day continues to colour all areas of life and culture in minangkabau. to the outside, and in all intents and purposes, the minangkabau community is united, but on the inside, its social and cultural system displays dialecticism, dichotomy, and bipolarity (naim, 1983). this bipolarity in the conflict of the two different ideologies led to the emergence of a third figure, rajo babandiang, who took the initiative to integrate the two conflicting systems to create a third system, known as lareh nan bunta or lareh nan panjang. over the course of time and as a result of the migration of some members of the minangkabau community, a fusion between the two traditions began to appear in some nagari. in his dissertation, andar indra sastra states that in general, nagari which purely retain the tradition of koto piliang are more prominent in luhak tanah data, while those who purely retain the tradition of bodi caniago are found primarily in luhak agam. in luhak 50 koto, meanwhile, there is a combination of the two traditions (sastra, 2015). this ideological conflict has also influenced the formation of a musical concept which aesthetically is worth discussing in more detail. musically, the significance of this concept can be seen in the music system that was created, both from bronze music (talempong) and from the concept of vocal music. this new form of talempong music promotes the concept of basaua. the concept of basaua is a talempong playing technique which produces different melodies from those used in the performance of talempong bararak (played in procession) and talempong duduak (played while seated). numerous studies related to the poandar indra sastra, wilma sriwulan, yon hendri, lareh nan bunta: power systems ... 109 wer system in minangkabau have been carried out, amongst others by christine dobbin (1992); muchtar naim (1983); a.a. navis (1986); taufik abfullah (1987); and zuryadan zubir (2010). their thought concepts are used to construct a framework of thought and provide an explanation of the social system – of politics and law – in the community of luhak nan tigo minangkabau. meanwhile, studies about talempong from a different perspective have been written by nadiya fulzi (2014) and andar indra sastra (2015). the information obtained from these two researchers can be used as secondary and comparative data for writing this article. the research results related to music as the material object originate from the knowledge or thought concepts of talempong basaua artists in luhak 50 koto, minangkabau. method a qualitative method was chosen for this research since it was considered suitable and relevant for the focus of study. the researcher was the main instrument responsible for the collection of data about the material object – talempong basaua in luhak 50 koto (kabupaten 50 kota). the collection of primary data was carried out through participant observation, interviewing, and documentation. the primary data obtained through these three models of investigation formed the basis of the analysis in accordance with the focus of the research. in addition, secondary data was also needed to strengthen the argumentation so that the results of the research could reach a level of credibility that could be accounted for. participant observation was the second step and involved watching a live performance of talempong basaua in luhak 50 koto, after the writer had first read a variety of literature and articles related to talempong basaua in the luhak 50 koto community. the information collected along with the empirical knowledge acquired through direct involvement in the performance provided the guidelines for interviewing the informants. the data obtained from the interviews with informants was divided into two sections, first about the concept of lareh nan bunta in the social system of the luhak 50 koto community; and second, related to the performance of talempong basaua, including: the number of players and musical concept of talempong – polong, tongah and tingkah, each holding 2 (two) talempong. the polong plays talempong 2 and 4; the tongah plays talempong 1 and 3, and the tingkah plays talempong 5 and 6. in addition to interviews, documentation was also made through audio-visual and visual media. this was needed to complement the other data and strengthen the argumentation that this event really is taking place and is in accordance with its context. equally important in connection with the documentation is the re-enactment of a talempong basaua performance in accordance with its context – for the purposes of the analysis. the data analysis was carried out inductively – in accordance with the nature of the qualitative research. the researcher constructed an emic way of thought to provide an explanation. the explanation was strengthened with a theoretical thought concept – etic – in order to add to the scientific level of the problem addressed. results and discussion lareh nan bunta: adaik kotopiliang, langgam bodicaniago rajo babandiang’s system of kalarasan, known as lareh nan bunta, is a combination of kalarasan kotopiliang in its structure of customary leaders and kalarasan bodicaniago in the implementation of its government system. this model of government, which combines the two systems, is referred to with the expression adaik kotopiliang, langgam bodicaniago (customs of koto piliang, style of bodicaniago). a.a. navis states that in luhak agam, the nagari that follow the two systems are called lareh nan bunta, which literally means a round district. in tanah datar the term harmonia: journal of arts research and education 18 (1) (2018): 107-116110 used is lareh nan panjang (a long district). the meaning of the words bunta and panjang in this sense can be understood as an expression that has the same meaning (navis, 1986). lareh nan bunta and lareh nan panjang in the minangkabau system of leadership are the syntheses of the creation of a dialectical balance between kalarasan bodicaniago and kalarasan kotopiliang. lareh nan bunta or lareh nan panjang in a customary expression are described as follows: pisang sikalek-kalek utan pisang tambatu nan bagatah bodi caniago inyo bukan koto piliang inyo antah tranlatated in english: a type of banana from the forest a type of banana with seeds and sap bodi caniago he is not koto piliang he is not either this customary expression means that their system does not take sides – whether of kalarasan bodicaniago or kalarasan kotopiliang – but is a combination of the two. it states that they are neither bodicaniago nor kotopiliang (see the explanation above). both lareh nan bunta and lareh nan panjang show that there is a consensus to epitomize the process of synthesizing as an attempt to seek balance – to share power. this balance of power ultimately led to the concept of a trilogy in the traditional minangkabau government system (kalarasan), known as tali tigo sapilin-tungku nan tigo sajarangan (literally: “a rope made of three strands, a stove supported by three stones”). all three systems have legal norms which reflect the power of each, and are not integrated but exist within three conceptions. for a clearer picture, see the figure 2. the figure 2 shows that the dialogic or dialectic process that took place between lareh bodicaniago and lareh kotopiliang resulted in the formation of lareh nan bunta/panjang, which symbolizes the process of a synthesis that has created balance or harmony. yakob sumardjo states that the wisdom of the minang people is harmony; anything that is dualistic in nature is not resolved through the victory or defeat of either side; instead both sides must remain as themselves – harmony is a paradox in peace (sumardjo, 2010) – existing within two conceptions. however, one thing that escaped sumardjo’s attention is that this paradox produces a third party, in this case lareh nan bunta/panjang – thus creating a three-way pattern. each of the three systems has its own style of architecture for the traditional houses, and at the same time this acts as a symbol of identity that distinguishes the three different figures. figure 2. concept of a three-way pattern: tali tigo sapilin dan tungku nan tigo sajarangan note: = conflict = symbol of conflict = lareh nan bunta = middle world = three-way pattern information: lbc = lareh bodi caniago lkp = lareh koto piliang lnb = lareh nan bunta lareh nan bunta/panjang is a synthesis that combines the two traditional government systems (kalarasan) in a new customary tradition. nadya fulzi agrees that the lareh nan bunta system is a combination of lareh kotopiliang in the structure of its customary leaders and lareh bodicaniago in the implementation of its government system. the system through which the customs or traditions of an area are implemented is referred to using the expression “adaik kotopiliang, langgam bodiandar indra sastra, wilma sriwulan, yon hendri, lareh nan bunta: power systems ... 111 flict not only brings about division; on the contrary, it is a source of dynamics for the community. zayardam zubir states that conflict holds an important position in developing the dynamics of a culture. conflict not only results in division, on the contrary it is a source for the dynamics in the minangkabau community (zubir, 2010). the dynamics in the life of the minangkabau community are founded on a dichotomy of two systems of values which define the behaviour and views of the community, both in lareh kotopiliang and lareh bodicaniago, and from both a traditional perspective and a religious perspective (islam). the two systems can sometimes exist side by side but on other occasions there is a potential for bitter and prolonged conflict in the life of the community. a simple example of this is in the case of marriage, in which tradition forbids marriage between two people from the same ethnic group or clan (kawin sapasukan), while islam allows it, with the exception of marriage between a brother and sister or with one’s own mother. if this rule is violated, it may lead to conflict in the community. the meaning of conflict is reflected in the traditional expression: basilang kayu dalam tungku, di sinan api makonyo hiduik, which means that cross-disputes or differences are acknowledged as something that are necessary to create conflict in the community. conflict is an integral part of a community and is a way to create balance. balance is transformed into a three-way pattern, both in the concept of minangkabau culture and also in the concept of the musical aesthetics in the performance of talempong basaua (intertwined). the concept of musical aesthetics in talempong basaua the creation of music in a community cannot be separated from a number of concepts, in that a concept is a source of knowledge originating from a world of ideas. in order to understand music in the life of a community – in this case the music of talempong lagu dendang, we must look caniago” (fulzi, 2011). ibrahim dt. sanggoeno diradjo states that lareh kotopiliang is characterized by a style of leadership that is reflected in the philosophy kato surang gadang sagalonyo (with one word alone everything is decided) (diradjo, 1986). this means that in decision-making, priority is given to the person with the highest position, while the task of those in a lower position is to implement the decisions that have been made. on the other hand, the implementation of the customs of lareh nan bunto displays the characteristics of bodicaniago in which democracy, with deliberation and discussion to reach a consensus are the methods followed in decision-making, and the system is strongly oriented towards the common interests of the people, as reflected in the traditional philosophy: kato surang dibuleki, kato basamo kato mufakat (the word of one person is unanimous, the word of many is a consensus). as nadya fulzi states, in the traditional system for decision-making in lareh nan bunto, every person [leader] has the freedom to express an opinion, regardless of position. a meeting is not allowed to begin if one of the traditional leaders is not present in the meeting hall (fulzi, 2011). the emergence of lareh nan bunta in a democratic system – or leadership – in luhak nan tigo minangkabau has created harmony in the social system of the community. harmony symbolizes the potential for conflict that imagines dynamics to be the result of a dichotomy of dualism and bipolarity in the community. conflict exists because of the difference in values which form the behaviour and knowledge of the people. taufik abdullah states that the meaning of conflict is viewed from the dual perspective of traditional and religion (islam). in minangkabau, the concept of conflict is not only recognized but also developed within the social system itself. conflict is viewed dialectically, as an intrinsic element for achieving balance in the community (abdullah, 1987). this means that conflict plays a significant role in developing the dynamics of a culture. conharmonia: journal of arts research and education 18 (1) (2018): 107-116112 at its concept, which is rich in a variety of meanings. from these meanings discourse will then arise about the paradigms of knowledge about talempong basaua as a music, both as a culture and also in a cultural context. j.o. ihlau states that a concept is a symbol that is given a particular meaning (conception) for a particular event (object) (john j.o.i. ihalaw, 2004). basaua is a symbol that is conceived as a form of playing – performing – talempong using a special technique, the basic principle of which can be compared to the technique of hocketing in western music. the name basaua (intertwining) comes from the impression of basaua that is present in the performance of the melody, which at a glance displays similarities with the performance of talempong renjeang (carried). apel (1972) states that hocketing is a technique which uses the quick and continuous alternation of single or groups of short notes played by a number of different sound sources. while one part plays, the other parts remain silent, so there is seldom, or never, a clash of notes [sounds] in this process and the end product is a perfect melody. the melody referred to here is a melody produced from the rhythmic vocabulary of dendang (vocal music) that is commonly played in a performance of bagurau saluang (a kind of minangkabau music played by a traditional wind instrument). talempong basaua is performed by three talempong musicians; nadya fulzi states that musically each player holds a pair of talempong, the three pairs being known as polong, tongah and tingkah. the polong consists of talempong 2 and 4; tongah consists of talempong 1 and 3, and tingkah consists of talempong 5 and 6. the ensemble also includes a double-headed drum, or gandang (nadia fulzi, 2014). the structure of the instrumentation is ideal for developing a composition of talempong basaua music with a rhythmic character, and developing a melody filled with improvisation and dynamic ornamentation. musically – aesthetically – the polong, tongah, and tingkah each play a specific role in accordance with the register of the pitches in the melodic structure of the dendang. conceptually, the three parts are related, each having a different role or authority. gilles deleuze states that all concepts are joined together through a variety of problems, without which the concepts would be meaningless. a concept has a sense of becoming which involves relationships with various other concepts situated on the same plane (gilles deleuze & fellex guattari, 2010). from the perspective of the anthropology of music, alan. p. merriam states that on the whole, concepts form the framework for music that is regulated in the community and the framework for the people who think about what the music is and what the music should be (merriam, 1964). as a concept, polong, tongah and tingkah are a musical framework created by the community which invented or first gave rise to the music with all its uniqueness. sandi gunara (2016) in harmonia states that in the practice of this music … there is a unique way that can be learned and inherited so that it does not disappear (gunara, 2017). as a musical genre, talempong basaua is closely related to the cultural concept of the community by which it was created, namely the community of luhak 50 koto. according to minangkabau culture, the people of luhak 50 koto fall under the control of lareh nan bunta. this connection is in line with alan p. merriam’s idea that the sound of music as the result of human behaviour has a specific structure – separate from the cultural concept of its community (merriam, 1964: 32). from a sociological perspective, fabio dasilva (1983) in m. jazuli states that the existence of music in a community in fact shows the social and cultural phenomena or conditions of the community (jazuli, 2014). what merriam and fabio dasilva are saying reinforces the argument that a music culture – in this case talempong basaua – must be synchronous with the cultural concept that gave birth to the music. from a musical – or aesthetical – perspective, the concept of talempong baandar indra sastra, wilma sriwulan, yon hendri, lareh nan bunta: power systems ... 113 saua is different from that of talempong renjeang. the differences are in the pairing of the talempong instruments played by each musician (table 2). the figure above explains that musically, there is a difference in the concept of the talempong pairings between talempong basaua and talempong renjeang. this difference is not only related to the musical or aesthetical principle but also includes the form of the music or the talempong melody. talempong renjeang plays melodies formed from the interlocking rhythms of the three musicians. talempong basaua uses the technique of hocketing to produce the rhythmic melodies of dendang minangkabau (see photo and notation below). figure 2. talempong basaua performance (photo. documentation andar 2017) the notation of dendang mudiak arau shows that the music is created using the technique of hocketing amongst the three talempong players, who play the polong (talempong 2 and 4), tongah (talempong 1 and 3), and tingkah (talempong 5 and 6). the three musicians each strike the talempong to create a sound, in accordance with the course of the dendang melody. meanwhile, the talempong renjeang – jantan, paningkah, and pangawinan – is also played by three musicians using interlocking techniques. the talempong basaua with its hocketing technique can be described as a representation of lareh nan bunta. the talempong basaua which uses a hocketing technique is only found in luhak 50 koto minangkabau. the rhythms of the drum (gandang) in talempong basaua make up an essential part of the musical composition, and the main function of the gandang is to provide rhythmic accents and to accompany the melodic line. however, the gandang does not have the function of determining the tempo of the music, since this is completely controlled by the talempong players. nadya fulzi states that the performance of the music begins with the player who is responsible for playing the first note of the melody. the other players then join in, playing their notes in turn to form a melody. this continues, with the musicians taking turns to play their individual notes to create an unbroken melodic line (unless a particular piece requires that there is a break in the melody). in principle, the three players all have the same role, namely to form a melody, but based on a careful audio and visual observation, the talempong that are more dominant in the process of forming the melody are the polong and tongah players, since the majority of the pieces from the saluang dendang darek repertoire that are played by this ensemble use mainly notes 1 to 4. the use of note 5 in the formation of the melody occurs mainly at the beginning of the melodic cycle (though there is an exception in mudiak arau), and subsequently, note 5 is used more often to provide a kind of ornamentation (tingkah/garitiak) throughout the course of the piece. this indicates that a higher level of skill is required for the polong and tongah players, who must display a high level of musicality to produce a complete and perfect melody, while at the same time displaying creativity and spontaneity in table 2. difference in pairing between talempong basaua and talempong renjeang talempong basaua talempong renjeang talempong pair talempong pair polong tongah tingkah jantan paningkah pangawinan 2 and 4 1 and 3 5 and 6 1 and 6 3 and 5 2 and 4 harmonia: journal of arts research and education 18 (1) (2018): 107-116114 developing and interpreting the saluang dendang darek melody (providing melodic interpolations (sisik) or ornaments (bungo)) according to the version of talempong lagu dendang, so that the melody created is treated in a different way from the original version. the terms sisik and bungo describe the types of ornamentations that the talempong players create to produce a more attractive sound. for this reason, it is only possible for senior players with a high level of musicality to exchange roles with each other in the performance of talempong lagu dendang. in order to perform a technique known as basilang, the three talempong players each strike their own notes, in turn, according to the melodic line that has been chosen. in this process, all three players must pay careful attention to be accurate in the placement and duration of the notes so as to define the melodic line rhythmically. therefore, in order to apply the basilang technique properly in talempong lagu dendang, it is necessary for the players to have memorized the melody so that they are fafigure 3. notation of mudiak arau (transcription by nadya fulzi 2011) andar indra sastra, wilma sriwulan, yon hendri, lareh nan bunta: power systems ... 115 miliar with the order of the notes that they must play. the problem of timing and accuracy in the striking of every note is an essential part of the basilang technique. if a note is played too soon, it will clash with the previous note, and if it is played too late, it will make the melodic line disjointed. talempong lagu dendang artists describe this as donga-mandongakan (listening to each other) or nanti-banantian (waiting for each other), which means that the players must be constantly watching and paying careful attention to each other, and control their emotions while they play in order to create a perfect melody. they compare this to a group of people who are discussing a problem. when one person speaks, the others remain silent and listen, and only give their answer when the first person has finished speaking. the development of talempong lagu dendang involves the use of ornamentation (tingkah/garitiak); willi apel describes ornamentation as follows: musical ornamentation originates from the spontaneity of the players, in the way they present, enhance, develop, or vary a written or traditional melody through their own technique of improvisation. melodic figures that are more or less “cliché” or “stereotypical” in nature, when altered or added to within the original notes of the melody, are known as ornaments. one form of ornamentation is improvisational ornamentation, which depends entirely on the improvisation of the player (apel, 1972). in talempong lagu dendang, ornamentation is provided by the tingkah player, who plays note 5 with a short duration and a regular rhythmic pattern throughout, to accompany the melodic line. this kind of ornamentation is known by local musicians as tingkah or garitiak. conclusion lareh nan bunta, which represents the power system in luhak nan tigo minangkabau, emerged as the result of a dialectic that led to a conflict of ideologies between two legendary figures in minangkabau, namely dt. katumangguangan and dt. parpatiah nan sabatang. this ideological conflict was based on the implementation of the two different power systems by these two figures, in which dt. katumangguangan was more autocratic or monarchy-oriented, leading to the birth of the government system known as lareh kotopiliang. on the other hand, the lareh bodicaniago system, established by dt. parpatiah nan sabatang, was more democratic in nature. lareh nan bunta is a synthesis of the ideological conflict between parpatiah and katumangguangan. lareh nan bunta is a combination of lareh kotopiliang, in terms of the structure of its customary leaders, and lareh bodicaniago, in terms of the implementation of its government system – which in the minangkabau tradition is known as the concept of adaik kotopiliang, langgam bodicaniago. the musical – aesthetical – the concept of talempong basaua is built on the concept of polong, tongah, and tingkah. this means that each of the three players plays 2 talempong instruments. the polong consists of the talempong pair 2 and 4; the tongah talempong 1 and 3; and the tingkah talempong 5 and 6. talempong basaua uses a technique of hocketing to create the rhythmic melodies of dendang minangkabau. talempong renjeang uses the concept of jantan, paningkah, and pangawinan – consisting respectively of the talempong pairs 1 and 6, 3 and 5, and 2 and 4 – also using three players. the rhythmic patterns created by the interlocking technique creates the short melodies that characterize talempong renjeang minangkabau (see the notation for malin kailia). in extra-aesthetical terms, the talempong basaua is a representation of the concept lareh nan bunta (naim, 1981) references abdullah, t. 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(2009). tambo alam minangkabau. bukittinggi: kristal multimedia. ihalaw, j. i. (2004). membangun teori. third edition millennium. salatiga: satya wacana university press. jazuli, m. (2011). sosiologi seni: pengantar model studi seni. 1st printing. universitas sebelas maret: surakarta. junaidi. (2017). leadership characters in shadow puppet show. harmonia: journal of research and education, 17(2), 181-189. merriam, a. p. (1964). the anthropology of musik. chicago: university illinois press. naim, m. (1981). minangkabau dalam dialektika kebudayaan nusantara. in analisis kebudayaan, year ii. (pp. 87–93). navis, a. a. (1984). alam terkembang jadi guru adat dan kebudayaan minangkabau. jakarta: temprin. sastra, a. i. (2015). “konsep batalun dalam penyajian talempong renjeang anam salabuhan di luhak nan tigo minangkabau”. postgraduate program: isi surakarta. sastra, a. i. (2017). the aesthetics of a three-way pattern: the musical concept of talempong renjeang and the social system of the people of luhak nan tigo minangkabau. humaniora: journal of culture, literature, and linguistics, 17(1), 61-71. sumardjo, y. (2010). estetika pradoks. stsi bandung: pub: sunan ambu press. zubir, z. (2010). budaya konflik dan jaringan kekerasan. yogyakarta: insist press. 119 analysis of movement and music characteristics of performance art in “touching the heart for a broken wing” performance fenny rochbeind, tutut pristiati universitas negeri malang, indonesia submitted: 2022-02-01. revised: 2022-05-22. accepted: 2022-06-01 abstract research related to performance art in indonesia has been carried out but has not been studied in-depth, and the topics are different from those analyzed by researchers. this study aims to describe the characteristics of motion and music and to know the relationship between the actions of the performer’s body in the performance. qualitative methods were used in this study with an interdisciplinary approach. data sources are obtained from performers and audiences, while data collection techniques are through observation, interviews, and documentation. data analysis used roselee goldberg’s performance art theory. these findings include 1) the characteristics of the performer’s body movements spontaneously visualizing gross and fine movements that are artistically related to music and other elements, and 2) the characteristics of music that spontaneously accompanies the performer’s body movements. the benefits of research on the performance art of “touching the heart for a broken wing” can be understood and appreciated by the public as a new form of art that provides new value to the art treasures in indonesia. keywords: analysis, movement and music, performance art, touching the heart for a broken wing how to cite: rochbeind, f., & pristiati, t. (2022). analysis of movement and music characteristics of performance art in ”touching the heart for a broken wing” performance. harmonia: journal of arts research and education, 22(1), 119-128 harmonia: journal of arts research and education 22 (1) (2022), 119-128 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i1.34858 to interpret the events in east kalimantan’s forests, where there is rampant hunting of endangered animals that should be protected. law number 5 of 1990 in article 21 paragraph (2) letter d, regulates the conservation of living natural resources and their ecosystems, which is the reason why researchers analyzed the performance art presentation of “touching the heart for a broken wing,” which voiced the treatment of endangered animals through movement and music. through the actions of the performer’s body, supported by various elements, he directly conveys to the public the importance of protecting endangered animals. until now, hunting and slaughter introduction performance art is defined as an art practice in the form of an action conceptualized by an artist, where the presence of the body in a certain space and time becomes the main medium in expressing an event. according to roselee goldberg, performance art’s characteristics are improvisation, spontaneity, audience interaction, and political protest (goldberg in sandström, 2010, p. 4). performance art has a broad meaning that enters the fields of art discourse, art history, and theoretical art. the performance art of “touching the heart for a broken wing” is presented corresponding author: e-mail: frochbeind@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (1) (2022): 119-128120 are still happening, especially in kalimantan. this performance really touches the feeling of both the motion and the music blending in with the other elements. according to goldberg, as a non-traditional art form, performance art is presented directly in front of an audience by combining various art disciplines, including visual arts, acting, poetry, music, and dance (sandström, 2010, p. 3). the concept of the body as a medium of expression is the right choice to mediate the taste implemented in performance artworks, meaning that the presence of performers is needed in its presentation. according to goldberg, performance art is declared live art (ayerbe, 2017). literature studies are used to examine data sources in the form of writings from scientific works and relevant research journals, including: “the study of performance artwork of melati suryodarmo” (pradipta, 2013). this research is focused on the representation of the body as a medium and is based on the point of view of art by using aesthetic theory, art criticism, and foucault’s theory of body politics. melati works with video, photography, and installation media, a work entitled “i’m a ghost in my own house”; her work is intermedia or uses two or more media. there are similarities and differences between the performance art of “touching the heart for a broken wing.” still, the advantages that are analyzed are body actions based on roselee goldberg’s theory, and what is analyzed are the characteristics of movement and music and the relationship between performers and other elements. the approach in this research uses the study of the body, gaze, camera focus, and theories from postmodernism. meanwhile, the performance art of touching the heart for a broken wing uses an interdisciplinary approach to analyze the characteristics of movement and music as well as the relationship between the performer and supporting elements without using digital media, which is displayed live. then the research entitled “representation of the women’s body in performance art by melati suryodarmo” (isnanta, 2010). the research focused on the work of melati suryadarmo, which was analyzed using semiotics, particularly the imagery of roland barthes’ rhetoric. the analysis of melati’s work is aimed at revealing the political motivations behind the process of its creation and the activity of presenting it. melati suryodarmo describes the problem of the personal body and the social body. the research is entitled “a study of fenny rochbeind’s performance art” by tutut pristiati. this study examines the characteristics of kethuk roso’s performance art using multiple theories. this research focuses on the performance of “kethuk roso,” which relies on the spirit of moving the bodies of performers, participants, and audiences to prove the existence of an emotional connection directly without being limited by time, space, and interests. meanwhile, the research on the performance art ‘touching the heart for a broken wing’ can influence the audience’s psychology so that they are spontaneously directly involved in this performance and give new meaning to clarify the message to be conveyed through this work. another relevant research is the stockholmes sociology journal universitet by edvin sandström entitled ‘performance art’ a mode of communications. this paper uses a phenomenological approach to study performance art. the results of the empirical analysis show that artists use performance art to challenge ‘what is art.’ this study explains how artists use performance art as a communication model, communication-based on the use of sound in different models. by using electronically filtered sound, the artists capture the audience’s attention while simultaneously challenging their own narrative and presence. this study finds that artists generate existential and political consciousness for their audience. meanwhile, in the performance art, the performer uses the performer’s own voice, which spontaneously touches the audience’s senses through the sense of fenny rochbeind, et al., analysis of movement and music characteristics of performance 121 hearing; it seems that the sound is full of emotion that is quite jarring, explosive, sad, full of anger and pain combined with the sound of the violin, which also supported by the soundscape. this research is important because it contributes to developing new art in indonesia and adds insight into an appreciation for the public as art connoisseurs. furthermore, the performance art of touching the heart for a broken wing can influence the audience’s psychology so that they are spontaneously directly involved in this performance. this involvement does not occur in other performing arts, where the audience plays a role and becomes part of the performance. this study aims to analyze the characteristics of motion and music and the relationship between the actors and other elements in a performance art titled “touching the heart for a broken wing.” method qualitative methods used in this study with an interdisciplinary approach, namely the review, are carried out from various perspectives of cognate sciences that are relevantly integrated. performance art is a performance that is presented to the audience. usually, this branch of art is interdisciplinary or involves two or more artistic, academic, or scientific disciplines (merriam-webster, 2008, p. 873). this interdisciplinary approach includes fine arts, music, and performing arts disciplines related to aesthetic values. meanwhile, the data validation technique uses source triangulation, and the data analysis technique uses roselee goldberg’s performance art theory. observations made are direct and indirect. for example, directly witnessed the performance art of touching the heart for a broken wing when it was presented at the raos batu malang gallery as an audience, and indirectly through interviews with resource persons, six performers, and three audiences. as for the results of interviews with performers, about the creative process through movement and music that appear expressively, following the flow of feelings that are expressed spontaneously, enough to influence and involve the audience’s emotions. the increased cooperation between artists and the inclusion of audience members, regardless of artistic background, is what allows performance art to reach and move such a diversity of people (krivchenia, 2017). this means that through the actions of the six performers’ bodies, they can voice the story of the slaughter of endangered animals in the kalimantan forest that touches the hearts of the audience through a combination of movement and music. results and discussion performance art is a form of living work that often looks abstract when appearing in front of the audience; on the other hand, the audience/audience gains insight into the performers’ unique experiences. according to (isnanta, 2009), talking about performance art is talking about the spirit of renewal in art. one spirit that can make viewers challenged for adventure. an adventure to watch viewers, like every artist, always go on an adventure every time they create art. in addition, performance art is often referred to as the art of brief presence, which involves the artist (performer) performing bodily actions at the same time. according to (golberg in ayerbe, 2017, p. 552), performing arts are declared living art because they require the presence of artists in their presentation. according to roselee goldberg, the concept of performance art, “this translation of the concept into live works resulted in many performances which often appeared quite abstract to the viewer since there was seldom an attempt to create an overall visual impression or to provide clues to the work through the use of object or narrative. rather the viewer could, by association, gain insight into the particular experience that the performer demonstrated” (goldberg, 2011, p. 153). harmonia: journal of arts research and education 22 (1) (2022): 119-128122 through the performance art of “touching the heart for a broken wing” the performers demonstrated a snippet of animal slaughter that touched the audience’s feelings. its presentation involves a group action of six people, taking place in the gallery during the opening of a painting exhibition with the theme of protecting endangered animals in the forests of borneo. the trade-in endangered species in samarinda, east kalimantan, has been discovered by the natural resources conservation agency, which managed to confiscate 150 hornbill beaks or heads, orangutan skulls, and elephant tusks to be smuggled abroad. therefore, the community must sympathize and empathize with events in certain areas, especially in kalimantan. the uniqueness and novelty of the performance art presentation of touching the heart for a broken wing lie in the strength of the concept of the body as a medium that produces new meanings and contributes to the understanding of art and artistic expression. works of art become the basis for further experiments that lead to the creative expression of a higher level of life. thus the form of performance art that refers to conceptual or avant-garde art is more likely to experiment in search of endless newness; exploration allows the emergence of new things (kartika, 2004, p. 151). performance art in terms of motion and musical aspects, this work expresses the feelings of one’s soul, which are conveyed through the sound of a violin and human voice (vocals), then melts into a fantastic work of art and contains an educational, moral message. according to goldberg, artists or performers in the art of performance play themselves, so that performance is not the same as theater. basically, in performance, an action is revealed through body movements based on feeling. in addition, the role of music is very influential and even solid in its presentation to be enjoyed directly. when presenting performance art, performers use the body as a medium of expression. according to isnanta, by using the body as a medium, in the end, performance art is like dematerializing art (soedarso, 2006). this means the totality of movement and music that empowers feelings to divert inner pressure, which is used as the basis by artists in an effort to produce expressive works of art to purify aesthetics. this means an affirmation of purity, essentially a form of the total expression of the soul when practicing art. the function of artistic expression, in particular, is not just entertainment for inner satisfaction but can be in the form of appeals, criticisms, and enlightenment on the human will, which does not apply only to individuals but to groups of people. in addition to gestures and musical sounds, facial expressions that describe the performer’s emotional mood are another determining factor. the convention of movement arises from the response of the melodic sound played by a single violin to communicate with the performer and the audience. for example, the movement of hands, feet, eye contact, and all body language in musical compositions can be realized through rhythmic patterns. the characteristics or characteristics of performance art are borrowing styles and ideas from other art forms or sometimes from other forms of activity that embrace popular art forms, not related to art, such as rituals, daily activities, and even sports. performers in performing bodily actions experience the exploration of feelings, such as anger, joy, sadness, and disappointment, which are expressed spontaneously and conveyed to the audience. the audience was successfully communicated through a series of bodily actions, namely the integration of body movements with the sound of music and other supporting elements. movement characteristics it is necessary to understand the elements to examine the visualization of performing arts, including the body as a mefenny rochbeind, et al., analysis of movement and music characteristics of performance 123 dium of expression, time, space, and the audience. performance art is an art practice in the form of an action conceptualized by the artist, where the presence of the body in a particular space and time becomes a medium for expressing movement and music (murti in mary, 2014, p. 4). the body as a medium of expression is naturally present to create an atmosphere or an event that is based on natural reality to bring social distance closer so that communication relationships are established, where the body is a medium of feeling between the performer and the audience and with other people around him. body action is an intermediary that conveys messages not limited by space and time; anyone with a body can express their feelings freely and openly without pressure. the body is the physical structure in which emotions and cognition occur. body movements communicate feelings and inspiration. leo tolstoy defines art as a means of communication for emotions and that communication always requires the presence of a communicator, the artist, and the communicant, namely the public (banoe, 2003). the movement of body language is a form of communication that the audience can understand through performance art. according to james william, emotions come from problems with psychological disorders, namely feelings or inner experiences from psychological disorders. (james william in solomon & rothblum, 1984, p. 238) states, “an emotion is a ‘perception of disturbances originating from within the body caused by a traumatic perception.’ if emotion comes from within as an inner experience, it cannot be observed, even though emotion is a universal symptom in humans who have the same symptoms for everyone. on the other hand, what can be observed is the behavior of the performer and the audience, who are interactive at the place and time of the creative activity of the performance art of “touching the heart for a broken wing.” while nonverbal communication is a method of communicating with other people without using words but using body movements based on feelings, the most visible characteristic of the movement is the gestures used when speaking. these gestures directly coordinate with the speech action revealed through the performer’s vocals. gestures can be interpreted as beats that are used in conjunction with speaking and maintain the rhythm of speaking to emphasize some words or sentences. this form of gesture is integrally connected with the performer’s vocals and musical participation that engages emotion and reason. in the presentation of the performance art of “touching the heart for a broken wing,” gross and fine movements such as expressions of anger, fear, hatred, regret, joy, and satisfaction are very clear. so, subtle movements can be seen through the facial expressions/mimics of the performers when presenting body actions, meaning the presentation of the performance art of “touching the heart for a broken wing.” mimics or facial expressions can be interpreted through facial muscle movements, a form of non-verbal communication. figure 1. visualization of fine motion, microexpressions. (documentation: fenny r, 2021) in psychology, to interpret performance, there are two types of expressions shown by the face: macro and microexpressions. through facial expressions, one’s emotional condition can be known, as well as facial expressions that provide the most information and are easier to observe harmonia: journal of arts research and education 22 (1) (2022): 119-128124 and understand, called macro expressions. microexpressions are expressions that occur unconsciously and are relatively brief. meanwhile, gross movements include footsteps, stomping, standing, squatting, jumping, kicking, and running. in contrast, the performer’s hand movements are hitting, pulling, pushing, hugging, gripping, stroking, clapping, and so on. overall body movement is divided into three upper movements, example, standing and running, middle movements such as squatting, and lower movements such as crawling, shuffling, and lying down. this means that every movement made in the performance art of “touching the heart for a broken wing” has a meaning and a motive. the movement performed by the performer when presenting this performance is an expressive movement that is as free as possible without any limits, especially when exploring the space in which it moves. body movements like this are almost the same as the notion of movement or movement from one place to another, such as rolling, creeping, and walking ( see figure 2). figure 2. gross motion, macro expression, spontaneous action of performers freely exploring space. (documentation: fenny r, 2021) performers in the performance art consciously perform spontaneous movements according to brain commands such as dancing, jumping, walking, standing, sitting, pulling, touching, lifting, and so on. likewise, there are rhythmic/simultaneous movements performed simultaneously by performers, as shown in figure 3. figure 3. rhythmic motion, overall, up, middle, and down (documentation: fenny r, 2021) the relationship between music and performers’ body gestures involves aspects of physical movements, such as hand movements, eye contact, facial expressions, and so on. gestures in the performance art of “touching the heart for a broken wing” are movement conventions that result from the response of the melodic sound played by music players to communicate with the audience. interactivity has, in fact, opened up to artistic practice and participatory artworks from dada to fluxus, but if we look at staged performances, we clearly see how the presence of an audience can have an impact on the actor/ performer (calvi, 2013, p. 236). musical characteristics it is necessary to understand the elements of music so that the relationship between music and the presentation of “touching the heart for a broken wing” is clear. it is to analyze the characteristics of music in performance art. the sound of music affects the sensitivity of hearing, then causes a reaction to human emotions that spontaneously respond to the sound of the music. this means that musical elements such as rhythm, harmony, tempo, and up and down melody strongly influence emotions. according to hevner, emotions are already present in music and do not require emotional experience from listeners (hevner in djohan, 2005, p. 47). fenny rochbeind, et al., analysis of movement and music characteristics of performance 125 the modern era has been a period of turbulent musical composition and style change. many contemporary music composers experiment with exploring the sound of musical elements in non-traditional ways. however, artists are not satisfied with conventional values in artworks that seem exclusive and rigid, so artists try to get out of this situation. music in the performance was the result of physical activity as a form of interaction between music and body movements. from the musical aspect, this work expresses the feelings of the performer’s soul, which are conveyed through the sound of the violin combined with other elements in the performance work with the character. music as an accompaniment of gestures represents sign language through sound. (banoe, 2003) revealed that music is a branch of art that discusses and assigns various sounds into patterns that can be understood and understood by humans (pamungkas, 2020). sequentially from the beginning to the end of a performance presentation, the performer spontaneously plays the melody by slowing and accelerating the tempo when other performers suddenly move, changing places in response to the audience and objects around the room. the music that accompanies the performance art, “touching the heart for a broken wing” is created according to the sense’s sensitivity to follow the performer’s motion and vocals in poetry. music can symbolize something that is seen from aspects of the music itself, such as tempo. body movements can also be based on the rhythm of clapping hands, pounding feet, dialogue, eye gaze, and even performers’ expressions. music in the performance art of “touching the heart for a broken wing” is a spontaneous musical composition that does not have a specific form like other forms of music. the performer (violin) frees himself to explore musical ideas without ties and standard rules, taking the time to be himself. there are several essential stages in the process of creating a musical composition, including ideas, concepts, forms, structures, and styles (pangabean, 2006). according to miller, 20th-century music style tends to use a more freestyle. wider use of dissonance, tonality often obscured, even opposed and discarded more complex rhythms, and new experiments in the metric scheme (miller, 2017, p. 197). in principle, making musical compositions by chance is almost similar to aleatoric music. according to (pamungkas, 2020), john cage, a composer, gives a place and provides opportunities for musical events to occur, and someone who gives up the intention to determine his personal choice of expression (bezrucka, 2011). aleatory music is a musical composition whose method of performance is determined by elements of chance or uncertainty, aiming to liberate sound from traditional contexts. likewise, the musical composition of performance uses the aspects of opportunity to explore musical elements, which will determine the composition’s overall structure. according to inayat khan, the highest and ideal form of composition expresses life, character, emotions, and roles because these inner worlds are seen by the mind’s eye (khan, 2002, p. 205). sound is a major component of music; musical structure, culture, and the violin’s desire for expression are all part of the aesthetics of musical works. every piece of music has a foundation on which everything is built. musical compositions are formed from the arrangement of tones, such as melody, rhythm, timbre, harmony, and other musical elements that make up the essence of the work. one of the important things in music management is that rhythm depends on the pattern and movement elements. rhythm is also formed from various combinations of tones and their durations that vary based on the length and shortness of the notes; when combined, they form regular and irregular rhythm patterns. a common rhythm pattern usually has a reharmonia: journal of arts research and education 22 (1) (2022): 119-128126 gular note value. in musical compositions, irregular rhythm patterns, prominent and syncopated, become a characteristic of their own style (pristiati, 2018). in making a piece of music, the first thing is to find a musical idea that will later determine the direction of the overall composition. inspiration often comes suddenly and then lets the idea flow naturally. musical ideas are formed into a motif, a phrase, and then form a melody. next, the musician’s imagination appears spontaneously along with the performer’s body movements when applying paint to the performer’s body. this form of nonverbal communication is the method used by music players to communicate with performers and audiences, accompanying expressive body painting with kalimantan motifs. melodies are usually constructed from smaller phrases and motifs, where each phrase has a specific role in bringing the overall melody. each work of art has its own elements, styles at a certain time period, and everything related to special characteristics. in addition to its shape, each work of art has a unique or distinctive form and has a characteristic aesthetic taste. music in the performance art of “touching the heart for a broken wing” is a work of art whose presentation process has its own characteristics. according to goldberg, performance art’s characteristics are improvisation, spontaneity, audience interaction, and political protest. aesthetic elements in music usually vary from the nature, soul, rhythm, melody, beat, and instruments in the music, bringing the impression of a song like reality. the functions of music include, as an expression of emotional feelings, selfappreciation and expression, a means of communication, entertainment, driving, and burning enthusiasm, and as a characteristic of a culture. artists, both musicians and performers, present body actions in live performances through movement and music together. barthes asserts that a live performance can only live in its improvisation or actualization if the performer and the audience both play a role, even if the role of the performer is more than that of the writer or the performer (warsana, 2013). musical extemporization is a creative activity in composing music that is made directly by combining bodily actions with emotions to produce instrumental techniques and spontaneous responses. for example, the musical composition in the performance art of “touching the heart for a broken wing” is made directly through the exploration of musical elements with an intuitive and improvised approach. technically, the music in the performance art of “touching the heart for a broken wing” is played with free improvisation techniques that are not tied to conventional standards. according to hawkins, improvisation provides greater imagination, selection, and creation opportunities in the exploration stage (warsana, 2013). the way performers explore contemporary musical ideas in a wider context through an intuitive approach. intuitive music is a form of musical improvisation based on instant creation where fixed principles or rules may or may not be used. intuitiveness is the process of creating a work of art with an approach through taste instead of reason, then using inner awareness centered on the heart so that music spontaneously is created so that it touches the audience’s feelings. a musician is required to be able to communicate with the public, both verbally and non-verbally, through the music he plays. music players use this form of nonverbal communication to communicate with other performers and the audience. nonverbal communication is a method of communicating with other people without using words but can use the sound of music, namely a single violin. he said that the beauty to be achieved in the art of music is supported by the main elements of music and its supporting elements, such as song literature and media. fenny rochbeind, et al., analysis of movement and music characteristics of performance 127 the interaction relationship between performers’ actions, including music players, with the performers’ body movements intertwining and supporting each other, can be seen through facial expressions, hand and foot movements, and heard through violin scraping sounds, voices of poetry, and heart-wrenching screams. the interaction between body movement and music is the process of reasoning combined with emotion resulting in appreciation, as well as between performers and musicians who are experienced when simultaneously moving their bodies and playing music spontaneously. unplanned and unintentional body movements or actions can be contrasted with spontaneously made music, where music imitates aspects of movement, namely the performer’s gestures through music, and sound information is transmitted through musical instruments. music as a communication tool is a medium for delivering language through melody. melodies are played by slowing and accelerating the tempo and following the motion when the performer moves or changes places in response to the audience and objects around the room. conclusion the performance art titled “touching the heart for a broken wing” is a form of body acts as a medium of expression that is presented to interpret human behavior that does not care about the extinction of endangered animals in east kalimantan. the characteristic of the movement in the performance is an expressive movement that is free without any boundaries, especially when exploring the space in which it moves. the convention of the performer’s body movements spontaneously moves in response to the melodic sound played by the violinist to communicate with the audience. the interaction between body movement and music is the process of reasoning combined with emotion to produce appreciation. musical characteristics in the performance art of “touching the heart for a broken wing” is an electronic music composition that spontaneously does not have a certain form like music. as a nontraditional art form, performing arts presented directly in front of the audience is appropriate if it combines various art disciplines such as visual arts, acting, poetry, music, and dance. it is because this art form is stated as a living art that is easy to understand. by the audience. the audience easily understands that. practically, performance art is exciting to analyze from various aspects, and its presentation is useful to increase knowledge and insight into art for art actors and the public. furthermore, artists and the public want to change and novelty in the presentation of pure art, which initially seemed exclusive, rigid, and stuck in the conventional era. currently, through the actions of performers in displaying performance artworks, 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(2013). tumpang tindih: sebuah komposisi musik dalam interpretasi personal. resital: jurnal seni pertunjukan, 13(1), 79–94. https://doi. org/10.24821/resital.v13i1.515 73 history of inheritance of wayang topeng malangan (malang traditional mask puppet) in pakisaji and tumpang arining wibowo1, joko kurnain2, juanda juanda3 1universitas kebangsaan, indonesia 2institut seni budaya indonesia, indonesia 3universitas komputer indonesia, indonesia submitted: may 5, 2020. revised: june 9, 2020. accepted: july 4, 2020 abstract this study aims to explain the history and process of inheriting mask puppet art in two representative hermitages (padepokan) (in malang, namely padepokan asmoro bangun in pakisaji sub-district and mangun dharma in tumpang sub-district). this research uses a qualitative approach. data collection techniques are done through interviews, observation, and study documents. the process of inheritance includes art practices such as dancing, puppeteering, playing musical instruments, and making masks and transferring knowledge about wayang topeng malangan. inheritance is generally done since offsprings (children/grandchildren) are still at an early age. the history of the inheritance of the traditional mask puppet art in padepokan asmoro bangun has occurred for six generations of this family since before 1930 starting from the serun period. the sixth padepokan asmoro bangun heirs are two daughters named winnie padnecwara (15 years old) and dita andhika raja padmi (12 years old) who learned this art since the age of four. padepokan mangun dharma is the home of mask puppet art, as well as music, traditional dance, and theatre, macapat, puppetry, and shadow puppets. the history of the inheritance of this hermitage began with the great-grandfather of the puppeteer soleh namely kek sainten (grandpa sainten). the current heir of padepokan mangun dharma is the son of the puppeteer soleh, supriyono hadi prasetyo, who also learned puppetry both autodidact and formally through college. although inheritance occurs vertically, which is hereditary in each hermitage, horizontal inheritance also occurs between the two. this indicates that the inheritance process of padepokan asmoro bangun and mangun dharma are related to each other. keywords: inheritance; mask puppet; malang; mangun dharma; padepokan asmoro bangun how to cite: wibowo, a., kurnain, j., & juanda, j. (2020). history of inheritance of wayang topeng malangan (malang traditional mask puppet) in pakisaji and tumpang. harmonia: journal of arts research and education, 20(1), 73-83. harmonia: journal of arts research and education 20 (1) (2020), 73-83 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i1.24785 dreds of years in the life of the people of malang through the process of inheritance carried out by artists and hermitages. this traditional art has become its own identity and contains local teaching about moral, philosophical, and historical values. nevertheless, the preservation of mask puppet art in the city of malang deserves introduction inheritance (transmitting cultural values) is a hereditary tradition that considers values, beliefs as a matter of necessity and completeness from certain communities (cahyono, 2006). the art of wayang topeng malangan has developed for huncorresponding author: e-mail: cacamarisa90@yahoo.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (1) (2020): 73-8374 attention because the number of active hermitages is no longer found. furthermore, the art of malang mask puppet is no longer widely known by the younger generation in the city of malang. the younger generation considers traditional art as an ancient thing, some do not even know and have access to mask puppet art (nirwana & setiyati, 2018). art practices and appreciation activities are limited to only a few groups such as artists, art students, researchers, and cultural observers, without the support of the community who is the owner. if it relates to the process and model of inheritance of the malang mask puppet art, padepokan asmoro bangun and padepokan mangun dharma are two good examples. both these hermitages are still intensively carrying out art practices to aim at bequeathing knowledge and maintaining the preservation of the malang mask puppet art. john w berry divides the inheritance system into two, namely vertical transmission and horizontal transmission (rochmat, 2013). vertical transmission is a hereditary inheritance system, according to jazuli (2011) that inheritance is a genetic process. horizontal transmission is a system of inheritance through educational institutions, including the hermitage and art studio. educational institutions can be a medium of inheritance because another meaning of inheritance is the process of transferring the competencies of teachers to students (jazuli, 2011). inheritance is the process of transmitting values, beliefs, cultural motives, and especially skills. according to rochmat (2013), the process of inheritance is not only done through learning, but also daily experiences, observations, folk tales, and so on. inheritance in the malang mask puppet art of refers to the transmission of skills in the fields of dance, puppetry, mask craft/creation, as well as traditional music. the process of inheritance also transmits knowledge, history, puppet characters, philosophical values, and symbolization. according to hidayah et al. (2012), cultural inheritance is not only about recording the material aspects, but also understanding the meaning [art] for members and their communities, the relationship between members, and the relationship between the arts and their supporting communities. the inheritance of art in padepokan asmoro bangun and mangun dharma is carried out to transmit the malang mask puppet art to the family, from one artist to another, and the general public. suprihatin and pratamawati (2019) in their research explained that the success of inheritance of malang shadow puppets occurred through routine padepokan activities such as dance training and mask making, compiling promotional media, and expanding relations with relevant stakeholders. according to suprihatin and pratamawati (2019), these activities made padepokan asmoro bangun one of the four successful hermitages in preserving the art of malang mask puppet to date. in contrast to what has been reviewed by suprihatin and pratamawati, this study focuses on the process and practice of inheritance (vertically) and between artists (horizontally) that occur in padepokan asmoro bangun and padepokan mangun dharma. this research aims to explain the role and interests of the heirs of the arts in realizing the success of the preservation of the art of malang mask puppet. the inheritance model between offspring and between artists carried out by these two padepokan can be an example for padepokan, the arts community, as well as artists to preserve traditional and local arts so that they can last for generations, from generation to generation of artists’ families. the inheritance model carried out by padepokan asmoro bangun and mangun dharma also shows that collaboration between padepokan and artists is a vital factor in the preservation of traditional arts. method this research is a type of qualitative research using data collection techniques through interviews, observations, and document studies. the object of research in this paper is two padepokan, namely paarining wibowo et al., history of inheritance of wayang topeng malangan (malang tradi75 depokan asmoro bangun in pakisaji subdistrict and padepokan mangun dharma in tumpang sub-district. interviews were conducted with two padepokan leaders namely tri handoyo and soleh adi pramono, along with several family members from the two padepokan. the process of interviewing, observing, and studying documents periodically had been conducted from september 2017-may 2020. data collection techniques through observation are carried out through participation in art activities in both schools such as performances, exhibitions, seminars, workshops, or discussions. the document study was carried out by searching for written sources both through the personal library of the interviewees and the public library, to complete the research data and become a secondary data source in this study. result and discussion two representative padepokan in the development and preservation of traditional arts, including wayang topeng malangan, namely padepokan asmoro bangun in pakisaji and padepokan mangun dharma in tumpang. in 1930-1960, there were more than 220 art groups in the city of malang, but only a few have survived to this day. through the presentation of inheritance and history from padepokan asmoro bangun and padepokan mangun dharma, it can be assumed that the success of the process has an impact on the sustainability of the arts. two patterns of inheritance, namely vertical (in descendants/ family) and horizontal (between artists), carried out by padepokan asmoro bangun and padepokan mangun dharma over the past few decades have made these two padepokan still standing and actively contributing to the development and preservation of traditional art in malang, especially the mask puppet. padepokan asmoro bangun is located in the kedungmonggo hamlet in the karangpandan village of pakisaji subdistrict, malang. the name of the hermitage is taken from the name of the most central figure of mask puppet, panji asmorobangun. the padepokan asmoro bangun arts group started from the generation of serun with the name pandawa lima in 1880-1917. in hidayat’s writings (2008), it is explained that serun learned the malang mask puppet art from his uncle named gurawan when he was in bangeran plantation area in the wijiombo region, gunung kawi. whereas gurawan studied malang mask puppet directly from mbah reni in polowijen village, known as malang mask maestro. kusdewanti et al. (2014) mentioned in her writings that serun who came from kedungmonggo was a student of gurawan’s. serun was the one who brought the mlangan mask puppet art to the kedungmonggo hamlet in karangpandan village, pakisaji sub-district, malang. this family has an important role in making mask puppets a part of folk art and for generations to maintain the continuity of the malngan mask puppet art in pakisaji sub-district. serun’s leadership was bequeathed to his son named kiman after serun passed away in 1930. kiman was better known as pak pario (mr. pario) and during his leadership, his cousin named rasimen until 1980 was known as a puppeteer whose abilities were recognized with clear, loud, and unique vocal characteristics, so that the malang mask puppet performance in the era of kiman and rasimen was always lively (hidayat, 2008). during kiman’s leadership, this art group was known as ‘garuda ngarep’ and had many followers even from other cities such as pasuruan, probolinggo, and lumajang. kiman’s son, parijo (known as karimun) was known to be very serious in learning malang mask puppet and began to learn to dance since 1933 (safarudin, 2013). afterward, the leadership of the arts group was then led by karimun, taslan harsono, and tri handoyo as the third, fourth, and fifth family heirs. this family art group is known by the name padepokan seni asmoro bangun since the third leadership period, karimun, also changed not only to the art group that performed harmonia: journal of arts research and education 20 (1) (2020): 73-8376 the malang mask puppet show, but also craftsmen or mask artists since that time. padepokan asmoro bangun has been passed down for five generations concerning the malang mask puppet show and three generations concerning mask crafts. presented by balok safarudin (interview on 22 april 2018), karimun was known for his seriousness in learning malang mask puppet. karimun has never missed the mask puppet learning from malang since he was a child, although the other students were adults. karimun studied not only dancing but also masterminding and carving masks. during karimun’s leadership, this art group began to be known as padepokan asmoro bangun and managed to hold performances even outside the city such as pasuruan, probolinggo, lumajang, situbondo, and generally in villages in malang. despite many obstacles, karimun and his son, taslan harsono diligently maintained the existence of the malang mask puppet. both of them did a lot of fixing dance material and carving art (sculpture). in this era, not only artists were active in learning the malang mask puppet, but each art group was interrelated and related to one another (hidayat, 2005). artists in this era learned the malang mask puppet directly from the teachers they wanted, for example, kangsen from jabung studied the malang mask puppet from tirtowinoto (supriyanto & pramono, 1997), chattam ar, known as the mask puppet artist learned from karimun and kangsen (hidayat, 2005), sujopo (interview 7 april 2018) explained the learning process from karimun in kedungmonggo and also in glagahdowo. in that era, according to him, artists were interconnected with each other and generally, students came to the hermitage and the place where their teacher lived to learn the malang mask puppet. inheritance of the malang mask puppet through a good family system refers to two things, namely the family in terms of heredity and family in the sense of being part of a large community that lives in one area and the owner of the malang mask puppet art. the inheritance of the malang mask puppet through descent occurs in every art group such as that in the padepokan asmoro bangun family in kedungmonggo or padepokan mangundharma in glagahdowo, and other hermitages in malang. as the fourth heir of this family, taslan harsono died first in 1992 due to illness while karimun as the third heir died in 2010. the leadership of padepokan asmoro bangun which was officially established in 1982 was later taken over by tri handoyo and his brother named suroso although, at the time, only tri handoyo was directly and officially held. in both the leadership of padepokan and other activities, family members such as wife, children, nieces, sisters, and brother-in-law of tri handoyo actively participated in dancing, teaching dance, becoming pengrawit, and as a craftsman in masks. inheritance through generations in the family has become a habit and is considered to have its privileges. based on the story that is commonly known by this family, explained by bayu (interview on 29 september 2017) that at first, tri handoyo did not have the desire to inherit the leadership of padepokan asmoro bangun. however, in the end, tri handoyo felt that the inheritance of the malang mask puppet and mask craft had become an obligation for the descendants of this family. tri handoyo leads padepokan asmoro bangun and participates in many events both at home and abroad to preserve and develop malang mask puppet. the inheritance of malang mask puppet and the family mask crafts was done on not to the eldest son or daughter but to offspring who were considered to have the dedication and desire to maintain padepokan asmoro bangun. tri handoyo himself is the second son of taslan harsono. in his childhood, handoyo often ran away from the learning of his grandfather karimun but in the current era chose to quit his permanent job and dedicate his life to padepokan asmoro bangun and malang mask puppet. while suroso chose to become a civil servant and was not arining wibowo et al., history of inheritance of wayang topeng malangan (malang tradi77 directly involved in the leadership of padepokan asmoro bangun. as having been done from generation to generation, the inheritance of padepokan asmoro bangun, malang mask puppet, and the family mask crafts will also be done on to the two daughters of tri handoyo. tri handoyo and saini have two daughters who are actively involved in padepokan asmoro bangun’s activities. tri handoyo’s two daughters are named winnie padnecwara (15 years) and dita andhika raja padmi (12 years). dita, especially as the youngest daughter is considered to have a strong desire to inherit the leadership of tri handoyo. saini said (interview on 30 september 2017) that her youngest daughter from childhood until now has a desire to inherit what her parents have done and is even considered to have excellent dancing skills. the two daughters of tri handoyo and saini actively participated in the mask puppet performance in malang on a regional, national, and international scale and also participated in dance training conducted at padepokan asmoro bangun on children in the neighbourhood of padepokan and tourists or visitors who came. it was stated by winnie padnecwara (interview on 29 may 2018) that the learning of dancing and malang mask puppet was carried out from 3.5 years old while dita andhika raja padmi started at the age of 5 years. winnie said that the interest in the shadow puppet mask was due to seeing what was done by parents especially tri handoyo, while according to dita (interview on may 29, 2018), many friends learned malang mask puppet, or more precisely dancing mask in padepokan asmoro bangun also motivate him to study malang mask puppet more diligently. besides, the factor that almost all family members are dancers and performers of malang mask puppet art also motivated the learning process of tri handoyo’s two daughters. in addition to tri handoyo and saini, other family members such as their uncles and aunts or children also actively become mask puppet performers in padepokan asmoro bangun. yati and edi wibowo, for example, are the younger siblings of tri handoyo who work in making masks or bayu who are the nephews of tri handoyo who are active as pengrawit in malang mask puppet performances in malang. winnie padnecwara and dita andhika raja padmi are the sixth heirs of this family who are also the first female heirs to lead padepokan asmoro bangun in the future. mask puppets are known as traditional arts which in the past were exclusively occupied only by men so that the inheritance of winnie padnecwara and dita andika raja padmi who are women is a crucial step and challenges the tradition of padepokan asmoro bangun. although it has been passed down from generation to generation and can be said to be successful until the sixth generation, the inheritance of the malang mask puppet art in padepokan asmoro bangun to winnie padnecwara and dita andika raja padmi has not been finished. the learning and inheritance process runs throughout the lives of these young artists, especially when it comes to malang mask puppet which requires mastery not only in dance, but also puppetry, the ability to make masks and play music. the puppeteer is considered as the central figure of the show leader and the arts community, the musical accompaniment is a representation of prayer, while the mask is the spiritual and most sacred point in malang mask puppet. so, the heirs of this art should master each of these fields as being done by generations before them. however, both winnie (15) and dita (12) are still at a relatively young age to master the entire field of the malang mask puppet, so the process of inheritance to the two from the dance field. moreover, in malang mask puppet, it is required for artists in sharpness and mental processing called waskito (melany & nirwana, 2016). so that the inheritance of the malang mask puppet art in padepokan asmoro bangun is a lifelong process. the inheritance of the malang mask puppet performed by padepokan asmoro bangun towards their family or descenharmonia: journal of arts research and education 20 (1) (2020): 73-8378 dants not only emphasizes the ability as an artist but also the attitudes that must be inherited by the heirs of the malang mask puppet. based on the results of an interview with dita (june 29, 2018) that the desire to teach and maintain the continuity of the malang mask puppet is done with no strings attached and without even benefiting materially. the malang puppet heirs are considered to be ready to provide learning wherever they are asked whether with or without financial benefits. padepokan asmoro bangun has experienced six times of hereditary inheritance. the heirs of the malang mask puppet art from padepokan mangun dharma from time to time dedicated themselves to the development of these traditional arts. so, when talking about mask puppet, padepokan asmoro bangun is one of the representative art communities from malang who has succeeded in carrying out the process of inheritance to date. in addition to the hermitage named and built by karimun in 1982, another hermitage in tumpang named padepokan mangun dharma is also another representative of the malang mask puppet art. padepokan mangun dharma is located on the slope of mount bromo in tulus besar village, tumpang district, established under the name ‘mangun dharma’, taken from the name of the street where the padepokan was built in 1989. padepokan mangun dharma is home to a variety of malang traditional arts, but malang mask puppet is an icon and the main material of this hermitage (jannah & yanuarti, 2019). padepokan mangun dharma is known for providing non-formal arts education to prospective artists who come from families, surrounding communities, students from outside malang, to foreign countries. the panji festival annual event was held at padepokan mangun dharma in 2001 (interview on 8 february 2019), which was an initiation in maintaining the continuity of the panji culture and its arts. padepokan mangun dharma then from year to year represents the city of malang as a participant of the panji festival which is also followed by several regions such as pasuruan, kediri, blitar, tulungagung, yogjakarta, jakarta, as well as from representatives of other countries such as thailand and myanmar. based on the results of an interview with soleh adi pramono (may 10, 2020), the era of the art community of the padepokan mangun dharma family began in 1800 by the great-grandfather of the puppeteer soleh adi pramono named kek sainten (grandpa sainten). kek sainten established a padepokan named padepokan mangir because it was located in the mangir gorge in kemulan hamlet of tulusbesar village, tumpang sub-district. the return of the puppeteer soleh to the tumpang area and establishing padepokan mangun dharma can be considered as returning to the place where his ancestors devoted themselves to the arts in the tumpang area. kek sainten has been involved in traditional arts since the leadership of raa surya adiningrat who is known for his support of the malang mask puppet art and mbah reni (grandma reni), a prominent and respected mask artist in the polowijen area. kek sainten learned the art from ki abunawas in bunder village. the son of kek sainten named gartam had a community of mask puppet continuing the dedication of his parents. gartam then became the regent of malang and obliged each village to foster the malang mask puppet activities. gartam’s efforts paid off within 1820 there were approximately 220 art groups throughout the greater malang. the district employees also received mask dance training. in 1911, kek sainten’s son, kik roesman, continued the leadership of padepokan tuluayu. through the dedication of kik roesman, malang mask puppet art began to spread in the area of east malang to the tengger mountains. in the tengger area, malang mask puppet plays a substitute for the mahabarata and ramayana stories. according to pramono (2014: 99-100), the mountainous area must not perform wayang kulit (shadow puppet) because shadow puppet actors are taken from ramaarining wibowo et al., history of inheritance of wayang topeng malangan (malang tradi79 yana and mahabaratha which will feature figures of pandavas gods and ancestors who must be worshiped, then the role of ruwatan media of shadow puppet is replaced with media of shadow puppets with panji actors. malang maks puppet with the background of the panji story was held in upacara sedekah bumi, ujar kaul, and ruwatan lakon jagad gumelar. the spread of the panji story took place in the tengger area such as wanakersa, ledhok amba kedhampul, dhuwet, and gubuk klakah which contained the pabanyola inscription issued by kadewangurwan in madhalan, pajar village. malang mask puppets are also scattered in the ngarai valley such as nggedhok codho, jambesari, karanganyar, kidhal, glagahdowo, tamiajeng, jabung, and other areas. in 1928-1935, kik roesman’s son tirtowinoto took over the leadership of padepokan tuluayu. tirtowinoto played a major role in the dissemination and preservation of the malang mask puppet in east malang and was later called by the konsevatori karawitan indonesia (indonesian karawitan conservatory) in surabaya and provided dance, karawitan, iringangan, and pedhalangan wayang topeng malangan (malang mask puppet performance). surabaya then has the malang mask puppet competency standards, which is one of the contributions of tirtowinoto, the uncle of the puppeteer soleh adi pramono. precisely, in 1935, padepokan tuluayu was replaced by padepokan pencak silat and mocopat malangan, led by tirtowinoto’s younger brother, sapari. in 1984, sapari’s son, the puppeteer soleh adi pramono, built a new hermitage. the padepokan built by the puppeteer soleh adi pramono is the third hermitage of this family. the puppeteer soleh also owns the malang mask puppet association named wiruncana mocopat ndarumulya in glagahdowo. this padepokan named padepokan mangun dharma which is located on jln. raya mangun darmo no.8 rt/rw 28/03 kemulan hamlet, tulusbesar village, tumpang sub-district, malang. padepokan mangun dharma consists of several units, namely: (1) malang dance unit; (2) wiruncana wtm unit; (3) parijati pedaling unit; (4) ndarumulya mocopat unit; (5) kerawitan unit; (6) turonggokusumo jaran kepang unit; (7) banthengan handhokomulyo art unit; (8) mask craft unit; (9) shadow puppet craft; (10) fashion and makeup unit (interview on 10 may 2020). until now, padepokan mangun dharma is led by the puppeteer soleh adi pramono with the help of his son and the heir named supriyono hadi prasetyo. looking at the pedigree of the puppeteer family, soleh adi pramono shows that the heirs of this family spread the arts to several regions in the greater malang. the puppeteer soleh decided to return to tumpang and established padepokan mangun dharma because it coincided with the tumpang area which was planning the formation of the semeru bromo tengger national park tourism working group. kemulan hamlet is right between jago temple and gunung tabor tumpang tourism lodging as sbt national park transit tourism. mask puppet was held as an art performance that was presented. until the year 2000, tulusbesar village received the cultural arts tourism village award. this has encouraged many mask dance students to come both from within and outside the country. besides, another personal reason that the kemulan hamlet is the origin of the puppeteer soleh’s father, sapari. the puppeteer soleh said that the construction of padepokan mangun dharma was a calling of the soul and continued the mandate in continuing the socialization of wayang topeng malangan, wayang kulit, and mocopat malangan. as a descendant of the puppeteer, soleh adi pramono holds the status of a true puppeteer and has an honorable status in the community and the local artist community of malang. the puppeteer soleh (interview on 8 february 2019) explained that status as a true puppeteer gives the right to hold ruwatan (ceremony to reject disaster). this was inherited by the puppeteer soleh from his uncle tirtowinoto who was knoharmonia: journal of arts research and education 20 (1) (2020): 73-8380 wn and believed to be the puppeteer. in his time, tirtowinoto was the main choice in holding a ruwatan ceremony (hidayat, 2019). in the eyes of the puppeteer soleh, ki roesman and his uncle tirtowinoto are artists who aspire to the return of malang mask puppet in their fostered areas. malang mask puppet suffered a setback and gradually disappeared from 1945 until its peak stopped in 1965. in 1976, the government began to revive malang mask puppet and one of the students from tirtowinoto named am munardi, a teacher at surabaya high school took part contribute to this effort. in 1972 after graduating from high school, the puppeteer soleh studied at konri (conservatory karawitan indonesia). the puppeteer soleh worked as an employee of the kasi culture technical staff, ministry of education and culture malang in 1975-1979. in 1979, the puppeteer soleh then majored in dance at the yogyakarta art institute and graduated as a dance graduate in 1984. the puppeteer soleh also studied the malang mask puppet art in several prominent artists and puppeteers in malang following his uncle tirtowinoto, mbah karimun (kedungmonggo), mbah samoed, mbah rasimun, mbah kimun, and mbah jakimen. the puppeteer soleh (interview on 8 february 2019) also said that he studied art in madura by occasionally quoting some songs in madurese when he was met at his place. the puppeteer soleh had been a lecturer at ikip malang (now malang state university/um) in 1984-1992. the puppeteer soleh decided to stop teaching formally at ikip malang in 1992 and preferred to pursue his activities as an artist. it was stated in his profile in the book drama tari wayang topeng malang (1997) that the puppeteer soleh also fostered foreign students from japan and america in collaboration with merdeka university of malang who was studying the malang tradition art. supriyono hadi prasetyo is the next heir of the arts from the puppeteer family soleh. in an interview (february 8, 2019), the puppeteer soleh mentioned that supriyono hadi prasetyo, his eldest son was a partner in running padepokan mangun dharma. the puppeteer soleh and his son had a lot of discussions, wrote books together, and put on shows. supriyono studied art from an early age of three years. supriyono deals with art as a descendant of artists and vocations, (interview on 10 may 2020). actively and routinely, supriyono watched the performance of the malang mask puppet and then practiced the results of his learning. the self-taught learning from the puppeteer soleh and other artists was then continued by supriyono through formal education by majoring in pedalangan. nevertheless, puppetry is not the only field occupied by supriyono hadi prasetyo, but also in the fields of dance, music, macapat, drawing, and singing. however, the inheritance of masterminding skills learned by supriyono was selftaught and formally marked the success of padepokan mangun dharma in passing down every element of malang mask puppet to the descendants/family. as said by the puppeteer soleh, supriyono hadi prasetyo is not only an heir to the family arts but a partner in running and preserving the traditional arts of malang. the puppeteer soleh adi pramono not only succeeded in the process of inheriting art in a lineage. together with supriyono hadi prasetyo, padepokan mangun dharma contributed to the inheritance of traditional art on the general public. according to the puppeteer soleh, padepokan mangun dharma (interview on 5 may 2020) called students from prominent artists such as kek tirtowinoto, mr. gimun, mr. rasimun, mr. djakimin to provide learning to male/female students. the term cantrik/mantrik for students who study traditional art in padepokan mangun dharma follows the term nyantrik, which is the tradition of traditional art learning in indonesia (martono, 2011). the process of inheritance in the community is implemented through activities such as the indonesian tour which is funded directly by the provincial government of east java, and the city and regency arts council of maarining wibowo et al., history of inheritance of wayang topeng malangan (malang tradi81 lang. the process of inheritance is also carried out through mass dance performances played by school children, giving workshops and lectures to artists, government, knpi, scouts, dance studios, and art/dance teachers. various other activities such as the writing of a book about the puppets of wayang topeng malangan, wayang kulit, manten malang, and karawitan malang. even padepokan mangun dharma routinely provides training in making masks and dances for school children both from domestic and abroad. activities promoting the mask museum were also carried out in indonesia, los angeles, america, and australia. every year, many students from australia come to padepokan mangun dharma to learn about malang mask. the inheritance process is not only carried out by the main family of the puppeteer soleh adi pramono, but also a large part of this family. these processes are assisted by soleh’s sister named turiani who has a tarib and karawitan studio in the tumpang area, and a younger brother named djumikarah who runs the ganesha bokor mudra studio in turen, malang. the process of inheritance aimed at preserving and maintaining traditional arts is the mission and great dedication of the puppeteer family of soleh adi pramono. every month, a dialogue called “budaya tunggul wulung malang”, cultural dialogue at cafe mesem and tumpang gallery. dance, karawitan, and traditional music performances are held to increase the mask mascot network throughout indonesia. padepokan mangun dharma also provides performing arts services both at home and abroad. students often come to padepokan mangun dharma to conduct guidance and study assignments. according to the puppeteer soleh, through tv panji which was worked on by semar suwito surabaya, art appreciation activities by the young generation are more likely to occur. these activities are the embodiment of the horizontal inheritance process carried out between artists, as well as the public. both padepokan mangun dharma in tumpang and padepokan asmoro bangun in pakisaji have succeeded in carrying out the process of hereditary vertical inheritance in the family, as evidenced by the existence of the heirs and the maintenance of traditional art practices to date. between the two padepokan, there is cooperation, mainly according to the puppeteer soleh as a form of interaction between the padepokan that their ancestors left behind. the puppeteer soleh adi pramono himself is a student of mbah karimun, founder of padepokan asmoro bangun. each hermitage must work hand in hand in the process of the inheritance for the preservation of malang’s traditional arts. in 2001, all hermitages in the greater malang recorded a video about the malang mask puppet as a form of documentation. in 2000-2005, for example, padepokan mangun dharma annually invited groups of associations to give periodic performances on every sunday. however, the activities were considered useful in generating spirit, togetherness, and motivation to advance each group stopped after five years due to limited funds. inheritance efforts among hermitages, artists, and trainers are also carried out through the issuance of guidance books on mendalang, karawitan, dance, gendhing, costume arrangement, and so on. dance, karawitan, mask-making lessons were also carried out. padepokan mangun dharma also contributed to the production of plays, gendhing, vocals, and role characteristics, as well as the instructor’s media in the form of a script that must be understood by the casts in the malang mask puppet. this activity was supported by malang state university, department of dance, and other arts colleges in indonesia through workshops, discussions, and mask culture interaction visits. however, said by the puppeteer soleh (interview on 5 may 2020) that the challenges faced by artists and hermitages lie in the lack of script bank writing, as well as the recruitment or number of viewers who love the performance and art of malang mask puppet. furthermore, the government is considered to be half-meharmonia: journal of arts research and education 20 (1) (2020): 73-8382 asures in support of fostering, especially in old artists and art groups. this causes no promotion given to these artists and art groups. the government is still too focused on schools and art galleries. appreciation of the government in the malang mask puppet was still small, exemplified by their absence in meeting the invitation of artists or hermitage. according to the puppeteer soleh, in the future, padepokan mangun dharma plans to provide wtm learning and performing practices (through the solid and concise work performance and can be accounted for in terms of its artistic/aesthetic). padepokan mangun dharma will offer the claim to the art teachers and art community found in the school. padepokan mangun dharma in tumpang and padepokan asmoro bangun in pakisaji are two examples of two successful hermits in the process of inheriting the malang mask puppet. both these hermitages become a historical part of the development of malangs traditional arts, specifically wayang topeng (mask puppet). conclusion the history of the inheritance of mask puppet traditional art performed by padepokan asmoro bangun in pakisaji and padepokan mangun dharma in tumpang marked the long journey by artists and their families to dedicate life to local arts and culture. the calling of the soul, as a descendant of artists, gives children reason and motivation in pursuing traditional art. generally, children know and learn the art from an early age, between 3-5 years so that vertical inheritance is successful. in the horizontal inheritance process carried out between artists and public, the whole family member participates to realize the goal of preserving traditional art. in the process of vertical inheritance, artists/padepokan focus their offspring on elements of art such as dance, puppetry, karawitan, music, macapat, etc. their sons/daughters are not only self-taught in mastering the practice of art, but also set attitudes and knowledge that reflect the noble values of traditional art. in the process of horizontal inheritance, artists strengthen cooperation and togetherness with the same standards and goals. padepokan plans ways and media to inherit the public, using both technology media and traditional methods. padepokan expects cooperation with the government, educational institutions, researchers, observers of arts and culture in the process of inheritance. although showing a similar inheritance model, padepokan asmoro bangun and padepokan mangun dharma show one difference. in its history, the heirs of the padepokan asmoro bangun family settled and dedicated themselves to pakisaji sub-district, while members of the padepokan mangun dharma family moved around and spread from one region to another, with the mission of spreading the arts throughout the eastern part of malang. references cahyono, a. 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(2018). perancangan brand dan publisitas padepokan seni topeng asmorobangun untuk meningkatkan ekuitas merek. aksa jurnal komunikasi visual, 2(1), 100–117. kata pengantar harmonia: jurnal pengetahuan dan pemikiran seni seni postmodern dalam wujud konkretnya (postmodern art in a concrete form) malarsih staf pengajar pada jurusan sendratasik, fbs, unnes abstrak seni postmodern lebih tampak secara konkret sebagai seni adonan, namun bukan adonan dalam tataran kolaborasi. adonan dalam corak postmodernisme selalu menonjolkan kelokalannya dan bahkan kelokalan itu digunakan sebagai ciri utamanya. sebagai seni adonan, sekalipun kelokalannya ditonjolkan sebagai ciri, tetap saja kehilangan jiwa yang terdalam yang terdapat pada aslinya. jiwa yang terdalam dari yang asli berbaur dengan seni massa yang dijadikan bahan dasar untuk mewujudkan seni postmodern. seni postmodern dapat populer karena dukungan media massa. dalam banyak perbincangan dikatakan, seni postmodern ibarat wanita cantik namun kecantikannya hanya ada di wajah. la cantik karena bergincukan seni massa. jiwanya tetap rapuh, nuraninya terbelenggu kefanaan, berseri namun tanpa kedalaman makna. kata kunci: postmodernisme, budaya massa, seni lokal, modern a. pendahuluan dalam dunia seni dikenal adanya berbagai aliran, jenis, macam, dan bentuk seni. seni posmodern termasuk bentuk seni yang tergolong baru namun telah banyak dikenal orang sekalipun orang mengenalnya masih sebatas kenal istilah atau sebutan. jika ditanya, seperti apakah wujud konkret seni postmodern itu? orang pada umumnya kebingungan menunjukkan secara nyata. untuk dapat menunjukkan wujud konkretnya, tentu harus diketahui terlebih dahulu pengertian atau konsep seni postmodern. jika tidak diketahui pengertian atau konsep postmodern, tentu tidak akan bisa menunjukkan wujud konkret seni postmodern. sebelum merabaraba seperti apa wujud konkret seni postmodern menggunakan pijakan konsep yang akan dikemukakan dalam artikel nanti, tidak ada jeleknya jika ditengok terlebih dahulu awalmula munculnya gerakan postmodernisme. menurut oetama (1996) muncul nya postmodernisme sebenarnya karena dipicu oleh adanya modernisme. dominasi sains menjadi ciri utama modernisme dan akibat darinya menjadikan tatanan sosial berubah total. perubahan tatanan sosial tidak selamanya dirasa baik dan dianggap menguntungkan. akibat darinya melahirkan pula berbagai konsekuensi buruk bagi kehidupan manusia dan alam pada umumnya. apa yang ada dalam modernisme menurut sugiharto (1996) adalah: 1) vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni pandangan yang membagi seluruh kenyataan menjadi subjek dan objek, spiritual-material dan lain sebagainya yang mengakibatkan objektivisasi alam yang berlebihan dan pengrusakan alam yang berlebih-lebihan pula dan mengakibatkan krisis ekologi, 2) pandangan yang bersifat objektivitas dan positivitas yang mengakibatkan manusia disamakan de-ngan objek juga akhirnya masyarakat pun direkayasa bagai mesin, 3) ilmu-ilmu positif-empiris dijadikan standar kebenaran tertinggi, 4) materialisme menjadi primadona, agama tidak lagi menjadi dasar tuntunan hidup, 5) karena nilai moral dan agama diabaikan maka muncullah militerisme. kekuasaan dilindungi oleh kekerasan. kekerasan inilah untuk mengatur manusia, dan 6) bangkitnya kembali tribalisme atau mengunggulkan kelompok sendin. kondisi yang demikian muncullah pemildran postmodernisme yang sebenarnya adalah masih bagian dari modernisme namun bersifat melawan modernisme. kelebihan postmodernisme adalah pada penolakannya terhadap konsepsi sifat manusia atau makna kehidupan manusia yang universal, serta penolakan pada asumsi barat sebagai wakil kebudayaan-kebudayaan untuk hidup berdampingan, tanpa perlu mengusik kebebasan masing-masing, tanpa mencampuri urusan konsepsi, kebaikan moral satu sama lain (piliang, 1998: 186). dalam hal konsekuensi negatif dari modernisme, akhirnya memicu berbagai gerakan postmodern yang hendak merevisi paradigma modern. pertama, adalah pemikiran-pemikiran dalam rangka merevisi kemodernan cenderung kembali ke pola berpikir pramodern. kedua, pemikiran yang terkait pada dunia sastra dan banyak berurusan dengan persoalan linguistik. ketiga, tidak menolak modernisme secara total, tetapi memperbaharuhi sebagian premis-premis modern. di sini cenderung mengungkapkan kritik-kritik imanen untuk mengatasi berbagai konsekuensi negativenya. yang dimaksud dengan kritik imanen yaitu kritik yang sambil mempertahankan ideal-ideal modernisme tertentu mencoba pula mengatasi segala konsekuensi buruk dari modernisme (sugiharto, 1996). b. seni postmodern, modern, dan budaya massa jika ditengok awal mula munculnya gerakan postmodernisme, kita akan bangga dan sekaligus menaruh seribu harapan dengan sejuta keoptimisan. mengapa? karena dengan munculnya gerakan potmodernisme itu seolah se gala hal yang berbau modern menjadi sempurna bagi kepentingan hidup manusia. kita merasa seolah dibawa terbang ke langit untuk melihat secara nyata betapa indahnya hidup di dunia, betapa baiknya hubungan antar manu-sia, betapa sejahteranya hidup di muka bumi, dan betapa lestari alamnya. namun demikian apakah semua dapat terwujud? ya. orang boleh berkhayal dan orang harus berusaha untuk sega-lanya yang terbaik, namun tidak boleh kecewa jika khayalan dan harapan itu tidak menjadi kenyataan. yang jelas tidak setiap pemikkan postmodernisme dalam realitanya pasti lebih baik dari pemikkan modern. bagaimana dengan dunia seni? dalam dunia seni, istilah postmodern sangat populer dan persis di bidang seni, istilah postmodern dipertentangkan pula dengan istilah modern. seni yang disebut modern menjaga kemurnian dari kecenderungan untuk jatuh menjadi hiburan populer yang bersifat massal. seni modern mengikuti standarstandar formal, dan berusaha mempertahankan kebudayaan luhur dari masa silam. berlawanan dengan itu, seni yang disebut postmodern justru mendukung vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni kebudayaan massa. ada sebuah pemberontakan radikal terhadap ide formalisme dan pelecehan seni hiburan populer. pemberontakan radikal sudah dirintis sejak tahun 1960-an sebagai "counter-culture". batas-batas kebudayaan elit dan kebudayaan massa yang dijaga ketat dalam seni modern justru dihancurkan dalam seni postmodern (hardiman, 1993: 179). menurut suka hard) ana sebagaimana diuraikan oleh daldjoeni dan sastrosupono (1981) bahwa, di indonesia dari sekian banyak cabang kesenian, musik lah yang paling parah kena dampaknya. jika di negara asalnya penemuan-penemuan teknologi digunakan semestinya dan pada tempatnya dengan tetap melestarikan karya-karya artistik, di indonesia hanya digunakan sebagai alat main-main saja oleh para pemusik. di sini lah karena tidak siap menerimanya secara dewasa, mereka menjadi imitates yang membabi buta. jutaan kaset, piringan hitam, pita rekaman, diproduksi secara massal dengan omzet milyaran rupiah. akibat yang buruk adalah matinya "kreativitas". sebenarnya gejala seperti musik hiburan, musik pop, industri kaset, dan sebagainya merupakan percikan belaka dari budaya massa yang kini melanda dunia. kritik tajam terhadap tamu yang kurang sopan muncul di mana-mana, terutama dari para pendukung "budaya tinggi". suka hardjana sebagai salah seorang musisi handal dan kritikus seni yang berasal dari golongan pendukung "budaya tinggi", menyayangkan matinya kreativitas budaya yang bertalian dengan berbagai konsep, fantasi, keyakinan, dan filsafat hidup. budaya massa membanjiri dunia, mendesak mundur budaya klasik, budaya agamawi-humanitis dan budaya nasional. memang orang dapat berpendirian bahwa budaya harus tersusun oleh lembaga norma, simbol, mitos serta gambaran yang dapat menerobos masuk individu begitu rupa sehingga memberikan struktur kepada insting-instingnya dan memberikan arah kepada emosinya. penerobosan berjalan melalui sarana fungsi rohani dari proyeksi dan identifikasi yang diarahkan kepada simbol, mitos, dan gambaran tadi. namun demikian karena sifat budaya massa tidak otonom maka budaya massa dapat berbaur dan mendesak mundur budaya nasional, budaya agamawi, dan humanistis (daldjoeni dan sastrosupono, 1981). dapatlah dimengerti mengapa sikap hidup yang humanistis selalu menyayangkan lancarnya invasi produk budaya tambahan dari industri modern. golongan konservatif yang mengaku intelek memandang budaya massa sebagai hiburan murahan bagi kaum tolol yang santai. kaum humanistis radikal menuduh budaya massa sebagai obat bius ciptaan kaum kapitalis. lebih marxistis lagi adalah penilaian bahwa budaya massa konsumsi waktu luang sehingga sama saja dengan budaya palsu. lepas dari penilaian baik atau jelek terhadap budaya massa, di sini perlu dimengerti secara konseptual mengenai apa yang dimaksud dengan istilah buda ya massa dan bagaimana perannya da-lam dunia seni. dalam dunia seni, budaya massa tidak dapat dilepaskan dari pola hiburan masyarakat. istilah budaya massa (mass culture) sering saling dipertukarkan dengan budaya populer (popular culture), begitu pula dengan hiburan, sebab cakupannya lebih luas (siregar, 1997: 137; hauser dalam northcott, 1982: 598). wujud budaya massa lebih dimengerti sebagai seluruh produk terpakai atau barang konsumsi yang diproduk secara massal dan ber-sifat fashionable yang formatnya terstandardisasi serta penyebaran dan penggunaannya bersifat luas. luasnya penggunaan produk massa vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni antara lain menandai terbentuknya masyarakat mondial (skegar, 1997: 137138). dalam arti serupa, budaya massa dimaksud-kan sebagai sesuatu yang simbolis yang diminati oleh semua golongan masyarakat atau biasa disebut dengan khalayak ramai (kadir, 1988: 7-13). lebih jauh ditegaskan oleh gans (1974), hiburan massa berkaitan dengan pola rekreasi masyarakat yang mencakup tiga aspek, pertama media rekreasi yaitu fasilitas yang memungkinkan warga masyarakat mendapatkan produk budaya massa yang memiliki fungsi kesenangan; kedua produsen media rekreasi, yaitu individu atau institusi yang menciptakan, atau sebagai fasilitator, atau pihak yang melakukan pendistribusian produk budaya; dan ketiga konsumen yang menggunakan produk kebudayaan untuk tujuan psikologis atau sosial. secara sederhana produk budaya massa berfungsi untuk menghibur, dan didukung oleh sistem massal dalam pendistri-busiannya. pendukung produk budaya menurut hauser dalam northcott (1982) dan siregar (1997) adalah produsen dan konsumen, yang dalam hal ini produsen dan konsumen produk budaya tidak mungkin terlepas dari domain lainnya. kecuali faktor-faktor domain lainnya sepenuhnya memberikan otonomi dan memang menyediakan peluang produk yang berasal dari domain seni dapat murni dalam orientasi ekspresif. namun demikian sulit untuk menemukan orienttasi ekspresif yang murni otonom, tanpa pengaruh dari domain lainnya. setidaknya pengaruh dari domain agama, sehingga seni berada di bawah pengaruh orientasi normatif. domain agama dan politik pada hakikatnya sama, yaitu berorientasi normatif, kare-nanya sering terjadi produk seni juga berada di bawah atau mendukung kekuasaan negara. adakalanya domain politik bergerak kepada orientasi instrumental, karenanya domain lainnya diatur atau diberi peluang agar memiliki orientasi instrumental. produk budaya massa tentunya dipengaruhi berbagai orientasi. pengaruh bersifat struktural menjadi faktor imperatif dari muatan dan fungsinya di tengah masyarakat. orientasi instru mental yang menggerakkan domain ekonomi akan menentukan pasokan suatu produk budaya dan penyelenggaraan media rekreatif. menurut mcquail (1984), selain pandangan struktural yang saling pengaruh an tar domain sosial, keberadaan media rekreasi dapat dilihat dari sisi konsumen. dengan cara lain keberadaan media rekreasi dapat dilihat dari fungsinya dalam masyarakat. berdasar fungsinya dalam masyarakat setiap individu memiliki pola rekreasi yang khas, yang biasa dikatakan fungsi media bertolak dari motivasi penggunanya. dengan demikian pola rekreasi dapat dibedakan dari tujuan yang ingin dicapai oleh khalayak dan atau individu-individu, sehingga pasokan produknya dapat diklasifikasikan atas dasar kecenderungan konsumennya. secara umum tujuan yang ingin dicapai adalah kesenangan, karenanya setiap media rekreasi yang menggunakan produk budaya semacam ini akan menyentuh dunia subjektif khalayak yang bersifat afektif. fungsi rekreatif dari media rekreasi membedakannya dengan massa yang dimaksudkan sebagai media sosial. media rekreasi untuk memenuhi kecenderungan subjektif/ imajinatif bagi khalayak, sementara me dia sosial lebih bersifat fungsional untuk memenuhi satisfaksi objektif/sosial. namun demikian dijelaskan lagi oleh mcquail, bahwa fungsi-fungsi ini dapat saja bertumpang tindih sehingga media rekreasi dan media sosial tidak dapat dipilah secara tajam, bahkan lebih banyak berbaur. vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni berkait dengan hal yang telah dikemukakan di atas, cans (1974) berpendapat bahwa bagian terbesar dari produk media adalah hasil rekayasa oleh pihak produsen media bertolak dari keinginan khalayak, dan khalayak merasa motivasinya dapat terpenuhi. hal ini jika diterapkan khususnya terhadap masyarakat kota, setidaknya akan terlihat bahwa ke-beradaan media rekreasi sudah menggunakan kaidah-kaidah modern. penyediaan media rekreasi tidak lagi dilakukan oleh komunitas sebagai kegiatan bersama. penyedia media rekreasi merupakan sistem ekonomi dengan produsen-produsen budaya pemasoknya berasal dari luar lingkungan masyarakat lokal. dalam kajian ini seni sebagai suatu domain budaya menjadi materi bagi media rekreasi seperti dalam kancah proses di atas. dengan kata lain materi seni dijadikan muatan dalam media rekreasi atau menjadi bentuk budaya massa yang bermaterikan atau bermuatan seni. c. postmodernisme berpijakan seni lokal dalam wujud konkret berdasar konsep postmodernisme yang telah dimengerti, yang pada intinya bahwa postmodernisme dalam bidang seni adalah tumbangnya batas antara "budaya tinggi" dan budaya pop. mengacu pada konsep postmodernisme dalam bidang seni itu, dapat diambil contoh kenyataan kehidup-an seni rakyat model sekarang yang diduga sebagai wujud konkret seni postmodern. wujudnya hanya mengambil fisik muka yang bukan isi atau kedalaman seni rakyat itu dipadukan dengan hal-hal yang berbau modern, kontemporer, dan kekinian sebagai selera pasar. dalam kepentingan kepopulerannya, disebarluaskanlah melalui media massa, baik elektronik maupun cetak. contoh ini tentu hanya sebagai rabaan kasar, mungkin itu yang dikatakan salah satu aliran seni postmodern berdasar konsep seni postmodern yang dipegang sebagai acuan dalam tulisan ini. seni wayang misalnya. apa yang disebut seni wayang semula dimiliki sebagai seni yang tinggi sebab selain mengutamakan keindahan, juga mengutamakan sebagai alat penyebar agama, alat pendidikan kepada masyarakat, dan lain sebagainya. saat ini dalam pertunjukan, banyak makna yang telah dikaburkan. banyak adegan-adegan hanya dijadikan alat guyonan yang penting rame dan pengunjung dapat tertawa. alat musik gamelan sebagai pengiring, saat ini telah dicampur alat musik barat yang larasnya kadang sangat berbeda. tembang yang semula dibawakan oleh pesinden dengan keharmonisan nada dan kama, saat ini telah dicampur dengan nyanyian rock, dangdut, dan lain sebagainya sehingga baur aduk-adukan. adegan punakawan yang semu-la berisi petuah perilaku dan nyanyian merdu, saat ini penuh diwarnai dengan dangdut yang sengaja dibawa untuk adegan goro-goro punakawan tersebut. di mana batas "budaya tinggi" dan budaya pop? hilang! yang ada ha-nya percampuran antara seni gamelan, cerita wayang yang kabur, dan musik populer. adegan yang mestinya me-ngandung makna pendidikan tinggi te lah dirusak dengan pendangkalan mak na dari isi suatu cerita. dicontohkan cerita perkawinan kumbayana. dikisah-kan bahwa kumbayana adalah seorang pendekar yang sakti dari tanah seberang. kumbayana ingin mengunjungi kawannya di pulau jawa yang satu perguruan dengannya. sesampainya di pantai kumbayana bingung karena harus menyeberang lautan sementara tidak ada kapal untuk menyeberang. kumbayana berkata bahwa siapa saja yang dapat menyeberangkan kalau laki-laki vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni akan diangkat menjadi saudara sejati kalau wanita ingin dikawini. datang lah seekor kuda betina yang dapat berbicara dan sanggup menyeberangkan lautan dengan dibawanya terbang. kudanya memang sakti dan dapat terbang karena kuda betina itu jelmaan bidadari, yang tidak disadari oleh kumbayana. namun bagaimana adegan tersebut dibawakan oleh "dalang sekarang"? dalam adegan kumbayana benar-benar diperagakan naik kuda menyeberang lautan dengan terbang dan kumbayana diperagakan menyetubuhi kuda betina itu karena telah dianggap sebagai isterinya. bagaimana dengan contoh seni rakyat yang lain? dapat ambil contoh dari seni panggung jawa, ketoprak misalnya. kisah cinta dalam adegan ketoprak biasanya secara tradisional hanya diekspresikan dengan nyanyian (sinom, gandrung) yang penonton sudah tahu maksudnya secara mendalam bahwa gandrung adalah adegan percintaan. dengan mengatasnamakan selera masyarakat, adegan percintaan dalam seni ketoprak sangat lah fulgar dengan raba-raba dan ciuman sungguhan. hal-hal yang mestinya distilisasi, sudah dijadikan bentuk apa adanya dan yang ditampakan bukan kedalamannya. kandungan isi yang dalam, sudah tidak ada lagi. percintaan yang begitu luhur dan mulia pun hanya diekspresikan dengan seksual. jadi intinya cinta cukup dengan peraga-an hubungan seksual. seni rakyat jatilan yang semula naik kuda lumping, ada yang memeragakan tanpa kuda, yaitu dilakukan dengan badan biasa seolah-olah hubungan badan antara laki-laki dan perempuan. ini terjadi pada pertunjukan kuda lumping yang digunakan untuk lelucon yang dilakukan oleh dagelan kesenian ketoprak di yogyakarta. pada adegan itu si wanita benar-benar ditengadahkan dan digumuli di panggung. termasuk seni postmodernkah ini? jika melihat pendangkalan suatu makna seni yang ada, tampaknya hal ini adalah masuk dalam seni postmodern, karena identitas postmodernisme dalam bidang seni juga dapat dimaknai sebagai penggabungan seni yang mengambil permukaan tanpa peduli kedalamannya. akhirakhir ini ditengerai adanya kemunculan gambyong campursari yang dalam penyajiannya menggabungkan antara jenis gambyong satu dengan yang lain dengan mengubah pula musik iringan disesuaikan dengan penyajian gam byong campursari. secara nyata tampak bahwa, adanya pendangkalan suatu isi atau pesan pada gambyong dan telah terjadi pengaburan seni budaya asli ta-nah jawa yang dianggap adiluhung demi memburu kepopuleran yang secara nyata memang telah mencandui masya-rakat secara umum. d. simpulan wujud postmodernisme dalam seni (utamanya untuk seni pertunjukan), ternyata tidak seindah muasal kemunculan gerakan postmodernisme yang akan memperbaiki kelemahan-kelemahan modernisme. postmodernisme seni tidak punya pijakan kuat untuk berdiri dengan cirinya sendiri tanpa mengadopsi seni massa, yang dalam seni massa erat berkait dengan selera pasar dan pembudayamassaan seni. seni juga ambigu. dalam arti, bisa ditafsirkan apakah seni postmodern atau hanya gabungan dari unsur-unsur seni yang dikenal oleh masyarakat. ciri-ciri tradisional atau kelokalan yang diambil dan digabungkan dengan seni massa atau seni-seni yang tengah populer di masyarakat juga tidak pernah jelas batas-batasnya. kadang-kadang postmodernisme dalam bidang seni hanya tampak konyol dari sisi kedalaman makna, namun anehnya untuk masyavol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni rakat indonesia pada umumnya dan masyarakat jawa pada khususnya kesenian yang ditengrahi jenis seni postmodern juga digemari. permukaan-permukaan seni tradisional yang diambil dan dihubung-kan dengan permukaan seni-seni lain, ternyata menjadikan daya tarik tersendiri juga, yang notabene seolah menjadi seni hiburan alternatif yang dibutuhkan oleh banyak golongan masyarakat. � daftar pustaka bambang sugiharto, i., 1996, postmodernisme tantangan bagi filsafat, yogyakarta: kanisius. daldjoeni, n dan sastrosupono, supriyadi. 1981, benturan nilai dalam kemajuan, yogyakarta: alumni. cans, herbert j., 1974, popular culture and high culture an analysis and evaluation of taste, new york: basic books, inc. hardiman, budi f., 1993. menuju masyarakat komunikatif: ilmu, masyarakat, politik dan postmodernisme menurut jurgen habermas, yogyakarta: kanisius. hauser, arnold, 1982, the sociology of art, chicago: the university of chicago press. kadir, wa. 1988, budaya populer dalam masyarakat melayu bandaran, kuala lumpur: dewan bahasa dan pustaka kementerian pendi-dikan malaysia. mcquail, denis, "with the benefit of hindsight: reflection on uses and gratifications research", dalam gurewitch dan levi (eds.), 1984, mass communication review yearbook vol. 5, sage publica tions beverly hills. oetama, jakob. 1991. "transformasi kebudayaan: ilmu, teknologi, dan seni", dalam menerawang masa depan ilmu pengetahuan, teknologi, dan seni, bandung: itb piliang, yasraf amin, 1998, dunia yang dilipat realitas kebudayaan milenium ketiga dan matinya postmodernisme, bandung: mizan. siregar, ashadi,. "budaya massa: se buah catalan konseptual ten tang produk budaya dan hiburan massa" dalam seni: jurnal pengetahuan dan penciptaan seni, 1997,yogyakarta:bpisi. vol. vi no. 3/september-desember 2005 40 ulahahan babatu orchestra: concept and functional role of inclusive music community citra aryandari, karel martinus siahaya, fariz al hazmi institut seni indonesia yogyakarta, indonesia submitted: 2023-01-28. revised: 2023-04-06. accepted: 2023-05-17 abstract the presence of toki batu music in ulahahan village as a cultural product cannot be separated from the musical narrative of the maluku people, which has been part of social and cultural life since ancient times. this study aims to explain the concept of inclusiveness within the group and its functional role in society as an inclusive music community. the research method uses a descriptive qualitative with an ethnographic approach. data collection techniques were carried out through observation, semi-structured interviews, and documentation. the study results explain that the concept of inclusiveness in the ulahahan babatu orchestra community lies in membership open to people from various backgrounds, both children and adults. the community also does not provide special requirements to be able to join the group because toki batu’s music belongs to the community, and anyone should be able to contribute. the leadership style used is based on local culture by adopting respect for elders. as a result, the leader is someone who is older and more experienced in community management rather than someone who has mastered music. functionally the role of the toki batu music community revives community creativity and influences collectively in various fields such as recreational, educational, communication and religious facilities. keywords: ulahahan babatu orchestra, music, inclusive community how to cite: aryandari, c., siahaya, k. m. & hazmi, f. a. (2023). ulahahan babatu orchestra: concept and functional role of inclusive music community. harmonia: journal of arts research and education, 23(1), 40-52 harmonia: journal of arts research and education 23 (1) (2023), 40-52 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i1.42411 choir event called “pesparawi” in central maluku regency attracted a lot of attention when participants with thirty children performed stone music. the children sing with playing stone to entertain the audience, who see the chorus with repeated choruses and choices. this music game became known as “toki batu.” toki batu comes from the word “toki” and “batu” (stones), which means hitting the stones. stones playing is combined with several other instruments, such as simple musical instruments made of wood and bamboo, while singing songs. introduction music has become a part of human life as an expression of feelings through art. the process of self-awareness understands that the need for expression in music raises creativity to be shared with others. humans are easily able to identify themselves and make music their own, which is known, liked, used seriously, infused, and shares every meaning of life through music (gilbert, 2010). in this case, music is the result of self-creativity that is used for self-needs and social needs. in 2018, a corresponding author: e-mail: farizalhazmi16@gmail.com p-issn 2541-1683|e-issn 2541-2426 citra aryandari et al., ulahahan babatu orchestra: concept and functional role of inclu41 “toki batu” music originates from ulahahan village, located in central maluku regency, in the interior of south seram. maluku, the city full of songs, dances, and beautiful music which is always echoed, both at home, in the alleys, and at the official stages that are held, makes the atmosphere lively and changes various situations ranging from sad situations. these situations are tense and worried in a beautiful, romantic, and meaningful atmosphere. music and singing that flow beautifully not only exist in the cities, but the strains of singing and music penetrate time and space and the quiet countryside, including in the village of ulahahan. then, to improve the management of toki batu’s music, a community called “ulahahan babatu orchestra” abbreviated ubo was formed on october 7, 2021. the community was formed by anez latupeirissa, a music artist from ambon city who took this initiative on the awareness that it is very important to manage this music group to be more professional and can even strengthen the identity that the owner can use. identity can be used so that people feel they belong to certain groups that are built and maintained collectively (chen, 2014). what’s interesting about the ubo community is the inclusive concept that is used to bring together individuals of different ages, ethnicities, and backgrounds, including non-musicians. the community can be said to be a solution that becomes a new problem because it is formed by people who have the same feelings but leave other people with different feelings (willingham, 2021). inclusion itself is a useful approach to developing and building an open environment. in inclusion, people of different ethnicities, backgrounds, statuses, skills, and conditions come together as one group. forming an art group has an important role in building people’s lives in various aspects. art is a creative process and a cultural product with a social function. so, managing the arts to become a group creates various functional roles the community uses. music community management is used to describe the inclusive concept of ubo’s music community. according to yerichuk & krar (2019), this theoretical approach is used to identify goals; leadership; inclusive musical structures and processes; inclusive social structures and processes. thus, an inclusive community can accept various forms of diversity and difference and accommodate them into various structures and infrastructures within the community. small (1998) stated that one way to describe social communities related to music is through the people involved. in identifying the role of the ulahahan babatu orchestra music group, the approach is carried out using functional roles. the role is a combination of self-concept and social recognition determined by others (wehner, 2014). the role concept involves the ego’s perception of his social position and the expectations of others (wehner, 2014). biddle (as cited in lemay, 1999) defines a functional role as a form that is understood as shared normative expectations that determine and explain behavior. according to şesen (2015), the functionalist approach sees roles as an expectation that society places on individuals in economic (changing opinions), legal (adjusting behavior), and social (paying attention to benefits) aspects. according to feldman (1967), art shows a social function if: 1) the art seeks or influences the collective behavior of many people. 2) the art was created to be seen or used in public situations, and 3) the art expresses or explains aspects of social or collective existence as opposed to various personal and individual experiences. research in the realm of understanding the concept of inclusive music groups is still very foreign, especially in terms of social relations and their roles. previous research conducted by welch et al. (2014) explained that involvement in musical activities could have an impact on social inclusion, such as a sense of self and social integration, which can be developed through the educational process. research from nethsinghe (2009) explains that formal schools may not be able to meet all the harmonia: journal of arts research and education 23 (1) (2023): 40-5242 different cultural needs of multicultural groups, so each community needs to provide opportunities for future generations to achieve their goals. then the results of research by veblen (2007) explain that music communities are always formed and determined by certain social settings in relation to issues of participant characteristics, interactions between objectives, knowledge, and teaching-learning strategies, as well as interactions between social context, informal cultural education, and formal. several studies have explained that the relationship between music and community is always related to the process of education and education. even though this concept is the main thing in preserving music, the presence of an inclusive process in a music community carries various roles through the concepts that they bring. so that the discussion of music communities that focus on inclusive concepts is an interesting part to study; apart from that, as a traditional music community that is still relatively new to the presence of the ulahahan babatu orchestra, it is an interesting topic to discuss. from this background, this study aims to describe the concept of inclusion in the babatu orchestra ulahahan group and its role in the ulahahan community, with the hope that the results will further explain that the concept of inclusion in music groups does not only act as education but also plays a role in various other aspects. method toki batu’s musical journey provides ideas in research concepts that can be examined through the qualitative realm with a descriptive presentation. this research is carried out by identifying problems related to the issues or symptoms to be studied, which are then analyzed in depth by creswell (2008). as research seeks to look at art culturally in society, ethnography is used as an approach by entering the research field to bring up a set of representations. ethnographic research seeks to encourage researchers to enter into community interactions that will be studied through the behavior and perceptions that occur (reeves et al., 2008). in the realm of culture, ethnography focuses on a qualitative exploration of people’s lives (barker, 2003). observation, interviews and literature study carried out data collection. in this study, the stages of ethnographic research used the opinion of spradley (2016), first, define research informants; the resource person in the study was anez latupeirissa, a music composer who formed the ulahahan babatu orchestra music community. then, other sources will be adjusted to data needs in the field. second, conducting interviews; after obtaining the informants, the research entered into the initial stages of the interview. the initial questions were asked clearly to avoid misunderstandings. in conducting questions as an introduction to culture, the initial questions need to be done, such as the history of the occurrence of culture, processes, and general things. this is done to trigger new questions later. third, recording results (ethnographic); when conducting interviews, researchers made notes that had been obtained from interviews with informants. in this case, direct research analyzes the answers and can ask odd and interesting questions. fourth, ask descriptive questions; descriptive questions were asked to strengthen these findings. descriptive questions are asked to ask the specific meaning of an event that occurs in that culture. fifth, conduct an analysis of the results of the interviews; after conducting interviews and getting unstructured writings, the next step is to do an analysis. according to milles & huberman (1992), data analysis consists of three activities that occur simultaneously, sixth, perform domain analysis; the process of domain analysis is carried out to make terms conveyed by informants. the term has a close relationship with the legitimacy of data and results in precise semantics. seventh, asking structured questions as a complement; structured questions are used to complete small questions or citra aryandari et al., ulahahan babatu orchestra: concept and functional role of inclu43 descriptive questions. this question is asked to justify and add proper results, not more questions. eighth, make a taxonomic analysis; taxonomic analysis is an attempt to focus on the questions that have been asked. there will be many findings as sub-objects from the interview results that are not yet focused on, so this analysis is carried out to focus on several sub-objects that will be used as research material. ninth, ask contrasting questions; contrasting questions are asked when getting a statement that is not clear; for example there are two or more different statements, but the meaning is the same or vice versa. this question aims to strengthen findings that are still ambiguous. the tenth is identification by component analysis; component analysis is carried out when entering and after leaving the field. the component analysis aims to avoid missing or missing data. if the data obtained is still lacking, the interview must be done again. eleventh, determine the theme; determining cultural themes in ethnographic research is the culmination of ethnographic analysis. research must bring up themes that can attract the attention of the reader and become a novelty of studies that other researchers have not done to achieve success in ethnographic research. twelfth, writing ethnography; the theme that has been determined with the results obtained is then written ethnographically, where ethnography flows like telling a story. the storyline is written according to the journey to find phenomena that occur in the cultural realm. result and discussion purpose and structure of inclusion in babatu orchestra devotion toki batu music, which was developed by anez, has actually been known by the ulahahan people for a long time, only as a game played by children after returning from their gardens. the idea of birth of stone music is one of the traditional musical instruments made from the creativity of its people. art can be realized through skill in demonstrating something or multidimensional expertise in creating something inventively (marianto, 2017). this music was originally part of the community’s self-entertainment when crossing the river. the children played on the bank of the river, hitting the rocks around them. as a young composer, anez latupeirissa tries to develop toki batu’s music through his creativity. one form of development is by forming a community. since appearing for the first time as performer at the pesparawi event in 2018, the toki batu group has increasingly existed and been active in various pieces of training conducted and scheduled by anez. initially, this group was given the name “babatu music” group, then changed its name to “beta ulahahan ethnic music,” but over time and with various considerations through suggestions and input from several music artists, it was finally agreed to change the name. from “beta ulahahan ethnic music” to “ulahahan babatu orchestra” or ubo for short on october 7, 2021. figure 1. ulahahan babatu orchestra (source: personal document, 2021) before forming the community, anez trained several people in ulahahan village who were still in school until they were adults to play toki batu music. after training them, then groups are formed from members who have been trained by bringing common goals in the concept of community. the emergence of a community is based on existing goals as a community concept, as stated by siagian (2016), who explained that community is a form harmonia: journal of arts research and education 23 (1) (2023): 40-5244 of group that works together to achieve certain goals. every member of the community has demands to follow all existing processes and rules in achieving goals (puspawatie, 2019). the purpose of the ulahahan babatu orchestra is to become a traditional music group to prove that traditional music belonging to ulahahan village is able to compete with other wellknown music globally. the group wants to introduce ulahahan village as a village in the interior of seram island through toki batu music so that it is more widely known by the local community even outside the maluku region. this goal provides an understanding that the ulahahan babatu orchestra group seeks to strengthen a regional identity through toki batu music. another goal of the ulahahan babatu orchestra community is to accommodate the creativity of young people in the ulahahan church congregational sunday school and develop their musical abilities. the group teaches the younger generation to preserve traditional music, which is still relatively new. the younger generation is the most important part of the concept of preserving and teaching them to play an active role in maintaining local wisdom values (suparno et al., 2018). the enthusiasm that is still high and the abilities that must be improved for young people are the foundation for them to continue carrying out activities that must be preserved. as a group with artistic elements, the ulahahan babatu orchestra community plays a role in the concept of education for the community. members who are members of it have the desire to learn and can play toki batu music. as most of its members are not from people who are experts in the field of music, in the community they are taught and nurtured to be able to play babatu music. they can develop their creativity and express themselves in toki batu music by becoming members. the concept of education and training carried out in the ulahahan babatu orchestra community is a form of non-formal education. irwan (2017) said that training is included in nonformal education, which provides practical, usable skills related to needs, business opportunities, and economic or industrial potential for the community. non-formal education is an alternative to empowering and providing training for people outside of school. therefore, in this case, the ulahahan babatu orchestra community plays a role in improving society’s quality in the non-formal education concept. figure 2. toki batu musical instrument practice activities (source: personal document, 2021) out of the several goals of the community, the most important part is that the group was created to become an expectation of the group that together achieve goals. the group hopes to show ulahahan village’s potential as a village with toki batu music and to introduce it to the wider community. this hope is embodied in the music group, which continues to be held as a symbol of preservation. kay (2000) said that preserving artistic activities collectively is looking at oneself about selfimage and the image of a region. the development of some members, which initially consisted of 29 people when it was formed, has now increased to 75 people from various backgrounds in 2021 (table 1). the increase in the number of members shows that more and more people are interested in the existence of the ulahahan babatu orchestra community. according to kapoyos, suharto & syakir (2022), the people’s enthusiasm for supporting the preservation of traditional music is to use it as entertainment. however, besides placing it as entertainment, enthusiasm can also be shown by contributing and being involved in playing the citra aryandari et al., ulahahan babatu orchestra: concept and functional role of inclu45 music group. the ulahahan babatu orchestra group began to be in demand by the ulahahan community from children to adults and developed into a musical ensemble group consisting of; a group of inflatable bamboo (kuma tiplam), a group of toki batu (pele vatwam) and a group of choirs (talioro kumi). with an inclusive concept in groups, members come from various ages and gender with the following categories (table 1). the group has members consisting of students. music lecturer, music student, government doctor on duty at the telutih district health center, ukim ambon theology degree graduate, two church servants, one congregational council member, and a church building guard (tuagama). in playing musical instruments, each member has their role in using instruments such as bamboo flute, water feather flute, bamboo toki, bamboo toki, stone toki, and choir. meanwhile, the youth and the elderly play musical instruments toki batu, bamboo flute, bamboo winding, bamboo string blowing, sariki, rumba fruit, guitar, ukulele, cajon, string bass, and others. furthermore, this pele vatwam stone music is often played in sunday worship activities at churches on seram island, and has also appeared on tvri center jakarta activities in the tree house club program, tvri ambon in the program maluku today, music concerts made by maluku provincial cultural park. to be involved as a member of the ulahahan babatu orchestra, there are no requirements or selection like the system used by other musical groups. in principle, the community only brings together children who want to develop their god-given potential and talents. anez (2021) says: “even though we have to train them diligently and painstakingly, from not being able to read notation until they can finally play songs, that’s where our pride is.” table 1. number of members of the ulahahan babatu orchestral music community in 2021 age 5 6 years age 7 12 years age 13 -15 years age 16 18 years age 1930 years age over 30 years amount m f m f m f m f m f m f 2 7 31 8 7 3 3 5 2 7 2 38 15 6 7 7 75 table 2. distribution of the ulahahan bababatu orchestra music group the bamboo blow band “kuma tiplam” consists of musical instruments: a. bamboo flute sounds 1, 2, 3, 4 b. water feather flute (bass flute) c. bamboo tofu d. tabea (alifuru row bamboo blow) e. kuma tiplam (inflated bamboo) the music group “pele vatwam” toki batu consists of musical instruments: a. guitar b. ukulele c. kajon d. sariki e. rum fruit f. bamboo sticks g. pele vatwam (toki batu) choir group “talioro kumi” harmonia: journal of arts research and education 23 (1) (2023): 40-5246 embracing diversity, inclusion, and equality is one step in shaping community culture by aligning goals, group styles, and change (sahir et al., 2022). group members in the community participate in learning and move in the way learning communities are formed and how individuals are divided into work (henley, 2009). the inclusive concept of the community is freedom which does not limit anyone from being able to join the group because the more people who want to be involved, the more people who are proud of traditional music in maluku, especially in the village of ulahahan. inclusiveness in the community as a pattern for musical groups, is used as a way to position all members equally regardless of background, age and gender (arasli et al, 2020). social inclusion is a process that empowers certain individuals or groups to participate in social life (simarmata, 2017). the concept of inclusiveness in the ulahahan babatu orchestra can be identified with various members from various ages and different backgrounds; even some members are not from a class of musicians who are good at playing music. another influence that occurs in the inclusion process is the emergence of opportunities to utilize the music community in various activities. group members who come from the church can use music as accompaniment for religious activities or members who come as lecturers will have the opportunity to invite the community to present toki batu music performances at events at their university. this thinking has become an opportunity in inclusive ownership to promote mutual support (roffey, 2013). leadership as control leadership is an important part of the nature of a leader. this gives the role of how a leader manages and controls a community to achieve goals. leadership is one of the success factors in the community, the better the pattern of leadership, the better the quality of the community they lead (marwan et al., 2020). so, the policy of a leader has a big influence on the community. the inclusive concept of this orchestra illustrates that leadership is open to accepting members from various backgrounds. in this case, the community can be considered an “act of hospitality” (higgins & lee, 2010). in which community leaders welcome someone with open arms without seeing or measuring their musical abilities and experience. the ulahahan babatu orchestra music group has a “cultural” pattern. that is, leadership is based on who is older, he must be respected. as a community that was born in an environment with a cultural structure, the island of seram has a culture that guides its life. society upholds respect for elders who are more experienced in life. the culture that exists in the environment is then brought into the community by arranging personnel based on age. the culture in the ulahahan environment adopted by this community provides space for the formation of individual behavior as members, especially for younger members. according to utaminingsih (2014), the environment significantly influences the formation of one’s personality. so that in the community, children will be taught to respect elders, as is the culture in ulahahan. respect for parents is part of the culture in ulahahan, which must be maintained and preserved. traditional parents play an important role in the ulahahan community. for every problem that occurs, indigenous parents are involved in finding solutions to problems that occur. therefore, this orchestra group teaches this so that future generations will still adhere to this culture as a daily life value in ulahahan village. for the ages of paud children up to grade 3 elementary school, they will be responsible for playing musical instruments that are played easily, such as hitting stones and bamboo only as a rhythm. elementary school children from grades 4 to high school are responsible for playing the bamboo flute in the form of a flute group. furthermore, the young men are given the role of playing the bass flute or water feather flute. this group is catecitra aryandari et al., ulahahan babatu orchestra: concept and functional role of inclu47 gorized as a kuma tiplam (blowing bamboo) music group, but in their children’s flute group, they are also a choir group (talioro kumi). the toki batu group (pele vatwam) is a musical group consisting of adult musicians entrusted with playing more than one musical instrument for each player. a leader or elder must have the ability to motivate its members. they believe that fostering a community by maintaining the quality of music is not just training children to read musical notation (number notes), sing, and play musical instruments but also motivating them to keep their enthusiasm in playing music. the method used by the group is to use musical experiences from musical groups that already exist in art. musical groups are shown to children through video media to encourage them to make music and work well together because the music community can help develop trust when they learn to listen to others and learn to work together (higgins & lee, 2010). apart from that, other motivations are also given to members who are still studying by encouraging them not to forget their education. in motivating education, namely by providing opportunities for children to read textbooks before starting to practice playing music. even in training processes, practice activities are temporarily stopped when children are in the school exam period. education is an activity that children should not abandon as group members. because basically, playing music is a complementary science in the world of education which acts as a creative process. this is in line with the opinion of jaffurs (2004), who said that the music community is an informal music learning space, therefore, informal pedagogy can go beyond the direct physical environment. the role of music groups: art and society the life of the ambonese people, who have been in contact with music since their ancestors, certainly sparked other areas around them to join in making music. this influence cannot be overcome, let alone music as an expression and an expression that gives a sense of comfort to those who play music or those who listen to it. supported by regional unity that forms a brotherhood among the people of maluku, which strengthens music and lights up in various regions, even in small villages like ulahahan. anez’s life, through music in ambon city, inspired him to develop music in the land of ulahahan. it was well received by the community and created a concept culturally. anez’s strong determination to build this band represents the uniqueness of the ulahahan region. the name of the toki batu musical instrument originates from a local story. in the past, in ulahahan, telutih, seram island, when people came home from work from the forest and crossed the river, they would rest on the edge of the river. while resting, they will sound the small stones on the river’s banks, and the stones are sounded as a rhythmic sound to determine the tempo of the song when they whistle or sing. everything was done to entertain themselves from feeling tired and exhausted after a long day of work. this habit makes them accustomed to the sound of music and feel comfortable. shwartz & fouts (2003) say that the tendency to listen to one type of music turns out to have an effect on a person’s identity or characteristics in everyday life. culturally, local maluku musical instruments are created both by utilizing the sounds of objects in nature, such as stone, wood, bamboo, and snail shells, as well as by receiving musical instruments from outside maluku, which is a tradition in maluku (tamaela, izaac, 2015). in human life, art has become a part of channeling its expression and function in everyday life. toki batu music was formed as a need for self-expression through creativity influenced by local wisdom. the community has understood that nature provides everything that can be utilized, so toki batu’s music comes through the natural potential of ulahahan village. after art is formed, the art activity is managed by forming groups with goals and concepts. toki batu music managed in the harmonia: journal of arts research and education 23 (1) (2023): 40-5248 community has functionally shown its role in society, from an art that then influenced several individuals to form a group that became the ulahahan babatu orchestra community. the group is formed by the behavior of each member who wants space for the creative process. group members realize that there is potential that must be shown as a common property. therefore, toki batu music plays a role as a space that functions to influence people’s behavior. the influence of behavior occurs through the learning process through the inclusive concept. as welch et al. (2014), the higher the normalized singing ability, the more positive the self-concept and sense of inclusive social involvement, regardless of age, gender, or ethnicity. thus, learning music in this orchestra group is an important part of improving the ability of its members to play toki batu music. apart from studying music, the music community teaches togetherness and solidarity in playing music because toki batu music cannot be played individually. music must play simultaneously to create harmony in the rhythm, so the members will feel compelled to cooperate. a group that involves various groups of people provides space for them to interact with each other. members from multiple circles can get to know each other and establish kinship. the relationship is shown in one purpose and one concept so as to form a strong group of togetherness. the community serves as a means to share ideas, solve common problems, and acknowledge and support one another. role in the community is a combination of selfconcept and social recognition determined by others (wehner, 2014). someone who enters a group with a sense of belonging wants recognition that they also belong to that part so that those around them want to be recognized as agents who contribute to it. the babatu orchestra ulahahan community brings this concept into group work. as nugent and flynn (2020) say, that tradition contributes to the meaningfulness of social relations with other people. another opinion by netsinghe (2013) states that in practice maintaining musical traditions can be done through an authentic transmission, such as teaching and learning by involving experts from a culture to maintain its authenticity. as an art born in ulahahan village through local wisdom, of course, toki batu music is a regional art not owned by other regions. this has the potential to introduce ulahahan village as a creative and unique village through babatu music created with the creativity of its people. as the aim is to introduce babatu music and bring out regional identity, babatu music has been expressed as a concept of community identity through music and shown to the wider community. in this case, the social function has been validated in its role as art in society. in line with anderson’s opinion (2016), the emergence of a community helps present identity with its ideology. the work of babatu orchestra as a creative space that teaches people how to play music certainly makes them feel comfortable and safe. through playing music, the members create creations with various materials used in playing babatu music. the concept of music provides a happy atmosphere for those who play and those who listen, so toki batu’s music functions as a recreation for players and those who listen to it. it is because music provides a sense of security and comfort in unfavorable situations (denora, 2004). art is a medium of expression. art is shown to convey concepts and feelings in a person. music can be a medium for conveying feelings. this is inseparable from the existence of communication. as the people of maluku cannot be separated from music and singing, both communicate with each other to convey feelings of happiness, happiness, anger or sadness. toki batu music is one of the parts of community expression as a medium of communication to the wider community through the identity that is formed. through babatu music, the ulahahan people try to show the wider community that they have potential in the field of music. later, this music group also became an accompaniment in worship citra aryandari et al., ulahahan babatu orchestra: concept and functional role of inclu49 activities at the ulahahan village church which played christian spiritual music. the babatu orchestra ulahahan community is also a non-formal educational facility. as a community that teaches babatu music to its members, of course, babatu’s music is a medium to improve the creativity and skills of members, especially the children in ulahahan village. from these findings, the orchestra’s role in society has functions in the fields of recreation, communication, education, and religion. this role was formed due to management within the orchestra ulahahan community which influenced the emergence of this perception. the success of a community in achieving its goals depends on good management, so it is determined by how the community manages all available resources to create effective activities in achieving goals (sabariah, 2017). the concept of inclusiveness in the community provides a role in building ulahahan village through empowerment, thus preventing social exclusion from occurring. conditions of social exclusion often appear as triggers for conflict and violence, poverty, indifference to groups, and so on (warsilah, 2015). social exclusivity separates the distance between various communities, causing a loss of ability to mingle with each other (gutama & widiahseno, 2020). therefore, inclusive development is important to prevent the separation of the social strata of society. because the history of ulahahan is formed from several ethnicities which of course gives many perceptions and colors in the concept of culture. this means that the babatu ulahahan orchestra community plays a role in uniting good relations so that the community can unite even though they come from different ethnic backgrounds. management influences societal roles, such as applying cultural values adhered to by groups as the basis for rules to respect older people. inclusion within groups prevents exclusion from occurring in society, the existence of a motivation to learn for children, and group goals to empower the community. since the emergence of toki batu music, the people in ulahahan village have understood this as a phenomenon of local wisdom which is managed to become an art with positive potential. thus, it forms a community as a space for interaction. then the community plays a role in the interaction of members who demand each individual in toki batu’s musical arts activities. members are required to be proactive, reflexive, and creative in the concept of an inclusive group as belonging together and affirming identity. because building music is one way of strategy to assert self and group identity (denora, 2004), then of all the benefits that exist from forming a community, it is in line with the opinion of laing & mair (2015) that forming local community groups, they are the communities that benefit the most from an inclusive process. conclusions music community the ulahahan babatu orchestra adheres to an inclusive concept that accepts members from various backgrounds. the concept was attended as an understanding that toki batu’s music is a common property and that all people should have a sense of pride in that music. the concept of inclusion has an impact on the assimilation of people from various backgrounds, both ages, gender, and ethnicity so as to avoid exclusivity. the ulahahan babatu orchestra music group is a musical ensemble group consisting of; the bamboo inflatable group (kuma tiplam), the toki batu group (pele vatwam) and the choir group (talioro kumi). in the group’s leadership, ulahahan babatu orchestra adheres to local culture by adopting respect for elders so that a leader is not one who masters music but who is older and more experienced in managing the community. functionally the role of the ulahahan babatu orchestra music community revives community creativity in the world of non-formal education. members, with the majority of school children as the younger generation, are taught how to play toki harmonia: journal of arts research and education 23 (1) (2023): 40-5250 batu music so that they can continue the tradition and as a preservation of the local wisdom of the ulahahan village community. the ulahahan babatu orchestra community is a space for interaction for its members to exchange ideas and unite the common goal of making toki 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(2019). from inclusion to inclusivity: a scoping review of community music scolarship. internasional journal of community music, 12(2), 169-188. http://doi: 10.1386/ijcm.12.2.169_1 95 biola dalam seni pertunjukan gandrung banyuwangi irfanda rizki harmono sejati universitas negeri semarang, kampus sekaran gunungpati semarang e-mail: irfan_rizky@yahoo.com abstrak gandrung adalah salah satu seni pertunjukan tradisi yang cukup populer di kalangan masyarakat banyuwangi jawa timur. bentuk gandrung merupakan perkembangan dari seni pertunjukan seblang yang juga terdapat di banyuwangi. terdapat beberapa instrumen unsur-unsur gamelan yang digunakan untuk iringan musik gandrung banyuwangi, antara lain: kendang, ketuk, kempul, gong, kluncing (triangle), angklung, dan saron. dalam perkembangannya, instrumen biola dimasukkan sebagai tambahan musik iringan dalam seni pertunjukan gandrung bersama dengan masuknya kebudayaan barat yang dibawa pada masa kolonial belanda. pola permainan instrumen biola pada iringan gandrung banyuwangi mempunyai ciri khas tersendiri yang sangat berbeda dengan pola permainan instrumen biola pada musik barat. dalam perkembangannya juga, instrumen biola menjadi salah satu instrumen pokok pada seni karawitan banyuwangi pada umumnya dan seni pertunjukan gandrung pada khususnya, sehingga instrumen biola dianggap penting dalam musik iringan seni pertunjukan gandrung. adapun fokus penelitian dalam penulisan ini mengulas instrumen biola dalam seni pertunjukan gandrung, antara lain: (1) latar belakang dan bentuk penyajian kesenian gandrung banyuwangi, (2) teknis permainan biola pada seni pertunjukan gandrung banyuwangi, dan (3) fungsi atau kegunaan pemain biola pada seni pertunjukan gandrung banyuwangi. violin in gandrung performing art at banyuwangi abstract gandrung is one of popular traditional performance arts among banyuwangi people at east java. the form is a modification of seblang performance art, which is popular at banyuwangi. among several musical instruments used in gandrung include kendang, ketuk, kempul, gong, kluncing (triangle), angklung, and saron. in its following performances, violin was included as additional musical accompaniment in gandrung along with the incoming western culture brought by the dutch colonialists. the pattern of violin instrument has its own typical features different from that of western violin musical performance. in the following times, violin becomes one of core instruments in banyuwangi musical performance in common and gandrung performance art in particular, so that it is considered being important in gandrung music accompaniment. the focus of the research includes (1) background and form of gandrung musical performance at banyuwangi, (2) techniques of violin performance in gandrung, banyuwangi, (3) function or use of violinists in gandrung performance art, banyuwangi. kata kunci: biola, karawitan banyuwangi, gandrung banyuwangi. harmonia, volume 12, no. 2 / desember 201296 pendahuluan seni pertunjukan gandrung adalah merupakan salah satu lambang dari sisa perkembangan seni budaya dari kehidupan jaman kekeratonan blambangan. gandrung adalah bentuk perkembangan dari seblang sebuah seni pertunjukan adat bagi masyarakat blambangan. seblang adalah sebuah tarian tradisi di banyuwa ngi yang sudah ada sejak kebudayaan prahindu. tari seblang adalah sebuah tarian yang mengandung sebuah unsur trance yang dilakukan oleh gadis kecil atau wanita dewasa dalam melakukan pertunjukan tidak sadarkan diri karena kemasukan roh atau hyang. adapun kemiripan kesenian antara banyuwangi dengan bali yaitu tari seblang dengan tari sang hyang yang ada di bali, yang juga ada di daerah banyuwa ngi dengan sebutan tari sanyang. dalam hal ini, semua mempunyai nilai fungsi ritual yaitu untuk keselamatan warga, kesuburan, dan penyembuhan. gandrung adalah salah satu seni pertunjukan tradisional di banyuwangi yang sudah mengalami banyak perkembangan menjadi sebuah bentuk tari hiburan sekuler. kata gandrung diartikan sebagai terpesona atau tergila-gila. dimaksudkan adalah terpesonanya masyarakat blambangan yang agraris kepada dewi sri yaitu dewi padi yang membawa kesejahteraan bagi masyarakat. ungkapan rasa syukur masyarakat setiap habis panen mewujudkan suatu bentuk kegembiraan sebagaimana penampilan gandrung sekarang ini. pementasan kesenian gandrung biasanya diselenggarakan pada malam hari mulai pukul 21.00 hingga 04.00 pagi. untuk memenuhi kebutuhan suatu acara tertentu pementasan seni gandrung dapat juga dilakukan siang hari. bentuk dari seni pertunjukan gandrung adalah tarian tradisional dengan iringan musik gamelan banyuwangi. dalam hal ini penari gandrung sebagai media penerima tamu bagi tuan rumah atau yang punya hajat didalam menjamu tamu. awal dari bentuk penyajian seni pertunjukan gandrung lebih dikenal sebagai tari keliling atau ngamen yang dilakukan oleh penari laki-laki dengan mengenakan pakaian wanita dan dikenal sebagai gandrung lanang atau laki-laki. penari gandrung laki-laki yang terakhir kali dikenal adalah marsan dan rogojampi pada tahun 1890. menurut catatan sejarah, seni pertunjukan gandrung pertama kalinya ditarikan oleh para lelaki yang didandani seperti perempuan dan, menurut laporan scholte (1927), instrumen utama yang mengiri ngi tarian gandrung lanang ini adalah kendang. pada saat itu, biola telah digunakan. namun demikian, gandrung laki-laki ini lambat laun lenyap dari banyuwangi sekitar tahun 1890an, yang diduga karena ajaran islam melarang segala bentuk transvestisme atau berdandan seperti perempuan. namun, tari gandrung laki-laki baru benar-benar lenyap pada tahun 1914, setelah kematian penari terakhirnya, yakni marsan. menurut sejumlah sumber, kelahiran gandrung ditujukan untuk menghibur para pembabat hutan, mengiringi upacara minta selamat, berkaitan dengan pembabatan hutan yang angker. pada iringan gandrung banyuwangi terdapat beberapa alat musik seperti kendang, ketuk, kempul, gong, triangle (kluncing), angklung, saron, dan biola. biola adalah alat musik yang berasal dari eropa (western music). pada mulanya biola digunakan dalam bentuk-bentuk penyajian musik orkestra, tetapi fenomena yang ada di banyuwangi, biola dijadikan juga sebagai alat musik pengiring gandrung. gamelan banyuwangi khususnya yang dipakai dalam tari gandrung memiliki kekhasan dengan adanya instrumen biola, yang salah satunya dijadikan sebagai pantus atau pemimpin lagu. menurut sejarah, pada sekitar abad ke-19, seorang dari eropa menyaksikan pertunjukan gandrung yang diiringi dengan seruling. kemudian orang tersebut mencoba me nyelaraskannya dengan biola yang dia bawa waktu itu, pada saat dia mainkan lagu-lagu gandrung tadi dengan biola, orang-orang sekitar terpesona dengan irama menyayat yang dihasilkan biola terirfanda rizki harmono sejati, biola dalam seni pertunjukan gandrung banyuwangi 97 sebut. sejak itu, biola mulai menggeser seruling karena dapat menghasilkan nadanada tinggi yang tidak mungkin dikeluarkan oleh seruling. tentang penggunaan biola di dalam seni pertunjukan gandrung, adalah merupakan salah satu usaha untuk menyesuaikan kebutuhan permainan pada tiap-tiap gending yang kemudian dirasakan perlu peningkatan agar lebih sesuai dengan usaha peningkatan unsur dinamis dari keadaan sebelumnya. selain itu, gamelan ini juga menggunakan kluncing (triangle), yakni alat musik berbentuk segitiga yang dibuat dari kawat besi tebal, dan dibunyikan dengan alat pemukul dari bahan yang sama. kemudian terdapat kendang yang jumlahnya bisa satu atau dua. kendang yang dipakai di banyuwangi hampir serupa dengan kendang yang digunakan dalam gamelan jawa, sunda maupun bali. fungsinya adalah menjadi komando dalam musik, dan sekaligus memberi efek musikal di semua sisi. alat berikutnya adalah kethuk. terbuat dari besi, berjumlah dua buah dan dibuat berbeda ukuran sesuai dengan larasannya. kethuk estri (feminine) adalah yang besar, atau dalam gamelan jawa disebut slendro. sedangkan kethuk jaler (maskulin) dilaras lebih tinggi satu kempyung (kwint). fungsi kethuk disini bukan sekedar sebagai instrumen penguat atau penjaga irama seperti halnya pada gamelan jawa, namun tergabung dengan kluncing untuk mengikuti pola tabuhan kendang. sedangkan kempul atau gong, dalam gamelan banyuwangi (khususnya gandrung) hanya terdiri dari satu instrumen gong besi. kadang juga diselingi dengan saron bali dan angklung. pemain biola sangat berperan penting dalam setiap pertunjukan gandrung. pemain biola mempunyai fungsi sebagai pembawa melodi pada tiap-tiap lagu yang dimainkan. hal ini membuat pertunjukan gandrung tidak bisa dipisahkan dengan instrumen biola. instrumen biola pun juga sudah menjadi identitas bagi masyarakat banyuwangi bahwasannya seni pertunjukan banyuwangi tidak bisa terpisah dengan instrumen biola. sejarah seni pertunjukan gandrung tahun 1890, di banyuwangi terdapat sebuah kesenian yang bernama gandrung, yaitu kesenian yang dimainkan oleh seorang laki-laki perjaka dengan diiringi musik kendang dan terbang, setelah menari mereka mendapat imbalan berupa beras. kesenian gandrung laki-laki ini serupa dengan kesenian sedati dari aceh, runding dari madura, gemblang dari jawa tengah dan gandrung dari bali. gandrung laki-laki ini banyak diundang dalam upacara-upacara pesta. pigeaud (1938) menjelaskan bahwa tari gandrung di banyuwangi sedikit banyak telah dipengaruhi oleh seni bali, karena banyuwangi atau kerajaan blambangan di zaman dulu selalu mengadakan hubungan erat dengan bali. daerah pengaruh kerajaan-kerajaan bali sampai pertengahan abad ke-18 meliputi sebagian besar dari ujung timur pulau jawa. mengenai arti kata gandrung yang menjadi sebutan pada kesenian gandrung banyuwangi sudah banyak yang menafsirkan. joh scholte, dalam makalahnya yang berjudul ”gandroeng van banyoewangi” congres java institut soerabaya 1926. pada bab ”kata gadroeng” menjelaskan gandrung yang berarti tontonan atau melihat kepadanya atau jatuh cinta dan terpikat. dalam bahasa jawa dewasa ini artinya semakin diperjelas menjadi jatuh cinta sampai tergila-gila atau menangis tersedusedu. haryadi bs, dalam tulisannya yang berjudul ”gandrung dan sejarahnya, asal muasalnya yang membingungkan” menjelaskan gandrung yang artinya edan/kedanan (tergila-gila) karena sesuatu yang merangsang. dijelaskan bahwa setiap ada pertunjukan gandrung pasti banyak kaum laki-laki yang tergila-gila atau nggandrungi terhadap para penarinya. k. sardjono dalam naskahnya yang berjudul ”pengembangan seni gandrung sebagai atraksi wisata” yang diterbitkan oleh badan pengembangan pariwisata daerah tingkat ii banyuwangi, agustus harmonia, volume 12, no. 2 / desember 201298 1981. dijelaskan tentang kata gandrung mempunyai arti terpesona, yang dimaksud sebagai terpesonannya masyarakat daerah blambangan yang umumnya hidup sebagai masyarakat agraris, terhadap anugerah dewi sri yaitu dewi padi, atau terpesonanya masyarakat daerah blambangan terhadap kesuburan yang diharapkan serta membawa kesejahteraan kehidupan masyarakat blambangan itu sendiri. dari beberapa pendapat di atas jelas untuk arti kata gandrung untuk kesenian daerah banyuwangi bisa diartikan bermacam-macam menurut pandangan penulisnya. pada umumnya kesenian gandrung hanya dilihat dari penari atau yang disebut dengan gandrungnya, busana, instrumen musik, tarian, dan para lelaki yang ikut maju atau menari. joh scholte (1927) menjelaskan gandrung adalah bentuk kesenian tari yang pertama kalinya ditarikan oleh para lelaki lanjut usia yang dirias seperti layaknya perempuan. gandrung laki-laki ini lambat laun menghilang dari banyuwangi pada sekitar tahun 1890, hal ini diduga karena ajaran islam melarang segala bentuk transvestisme atau berdandan seperti perempuan. kesenian gandrung laki-laki baru benar-benar menghilang pada tahun 1914 setelah kematian dari seniman tari laki-laki yang terakhir yang bernama marsan. tahun 1895 sebenarnya sudah ada penari wanita yang bernama semi di dukuh cungking. berawal dari nadzar mak midah, ibu dari semi yang berjanji akan menjadikan putrinya seorang seblang jika semi sembuh dari sakitnya. semi pada usia 10 tahun menderita sakit yang berat dan tidak ada obat yang bisa menyembuhkan, dari nadzar ibunya itu, semi bisa sembuh. melalui prosesi dengan cara hindu jawa (siwais) semi dijadikan seblang. hingga saat ini seblang menjadi sebuah upacara tolak bala (mencegah musibah) di desa olehsari, kecamatan galagah, banyuwa ngi. pelakunya adalah keturunan dari semi. upacara seblang saat ini merupakan pertunjukan tari yang diiringi dengan musik gamelan laras slendro banyuwangi, dengan membawakan gending-gending banyuwangi kuno, seperti: seblang-seblang, cengkir gading, padha nonton, pudak sempal. penari seblang menari dengan keadaan tidak sadar (trance). kepercayaan warga setempat berangggapan keadaan tidak sadar tersebut merupakan kerasukan roh-roh nenek moyang. joh scolte menerangkan bahwa dari kesenian seblang ini yang menghidupkan kembali kesenian tari gandrung wadon (gandrung wanita) di banyuwangi setelah matinya gandrung lanang (gandrung lakilaki). masyarakat tertarik dengan adanya tarian yang dibawakan oleh wanita tersebut, sehingga dalam perkembangannya, masyarakat melakukan perubahan untuk gandrung dengan menjadikannya sebuah pertunjukan tari dan musik. adapun perubahan musiknya adalah instrumen musik yang digunakan tidak hanya kendang, kethuk, kenong, gong, tetapi digunakan juga instrumen biola atau baolah dan kluncing atau kloneng (triangle), adanya instrumen barat ini diperkirakan dibawa oleh imperialis barat, yaitu belanda yang berpengaruh besar terhadap musik pengiring tari gandrung banyuwangi. gending-gending yang dibawakan berlaras slendro. gending-gending yang dibawakan diambil dari gending-gending seblang dan gending-gending yang dibawa oleh gandrung lanang,antara lain: widodari, ayun-ayun, jangkung kuning, sonte pare, ma inang, ladrang dan celang mogok. bentuk pertunjukan gandrung seni pertunjukan gandrung biasanya diselenggarakan pada malam hari mulai dari jam 21.00 sampai jam 05.00 pagi. pada pertunjukan gandrung jaman dahulu masih menggunakan tradisi sehingga pertunjukan gandrung benar-benar berjalan dari malam sampai pagi, akan tetapi pada jaman sekarang pertunjukan gandrung biasanya hanya sampai antara jam 24.0001.00 dikarenakan menyesuaikan kebutuhan dari yang punya hajat atau bisa juga melihat dari para tamu yang hadir. kadang-kadang pertunjukan kesenian gandrung dilaksanakan pada siang hari menyesuaikan dengan kebutuhan suatu acara irfanda rizki harmono sejati, biola dalam seni pertunjukan gandrung banyuwangi 99 menjadi rangkuman seluruh pertunjukan gandrung dari awal hingga akhir pada waktu menjelang pagi. biola pada seni pertunjukan gandrung dalam iringan musik seni pertunjukan gandrung banyuwangi terdapat beberapa instrumen musik salah satunya adalah instrumen pembawa melodi pada iringan gandrung banyuwangi. instrumen pembawa melodi tersebut telah mengalami banyak perkembangan sehingga menjadi instrumen biola yang saat ini digunakan dan semakin populer pada seni pertunjukan gandrung. sebagian narasumber menjelaskan bahwa sebelum adanya instrumen biola, sebagai pembawa melodi pada saat itu adalah instrumen tiup yaitu suling. suling yang digunakan pada iringan seni pertunjukan gandrung menggunakan enam nada yaitu 6 1 2 3 5 atau masyarakat banyuwangi menyebut dengan nada lado-re-mi-sol. pada saat itu instrumen suling tidak lagi digunakan karena dirasa kurang dapat memberikan warna suara yang keras dan jangkauan nada yang tidak luas. dalam hal ini masyarakat seni pertunjukan gandrung mengganti instrumen tiup suling dengan instrumen gesek yang menggunakan dua dawai dan pada saat itu yang digunakan adalah sejenis rebab, masyarakat banyuwangi menyebut dengan istilah rebab arum manis. disebut dengan rebab arum manis karena rebab tersebut digunakan oleh para pedagang arum manis dalam menjual dagangannya dengan memainkan rebab. rebab arum manis sedikit berbeda bentuknya dengan rebab yang digunakan pada instrumen gamelan jawa, lebih menyerupai erhu atau rebab dari cina. rebab arum manis menggunakan dua dawai yang mempunyai nada 3 dan 6 atau masyarakat banyuwangi biasa menyebut dengan nada mi dan la. secara fisik, biola yang digunakan seniman gandrung banyuwangi tidak berbeda dengan biola yang digunakan pada musik barat. biola yang digunakan dalam seni pertunjukan gandrung mempunyai bentuk dan bagian-bagian yang sama dengan biola barat. bagian-bagian yang tertentu. sejak awal adanya kesenian gandrung sudah mempunyai struktur penyajian, yaitu setiap pertunjukan kesenian gandrung selalu disuguhkan dalam lima babak yang masing-masing disebut: topengan, penyajian tari jejeran, penyajian ngrepen atau repenan, penyajian pajuan, seblang-seblangan. topengan merupakan salah satu tarian yang disajikan pada sebelum pertunjukan gandrung dimulai, yaitu penari gandrung dengan menggunakan busana tari khusus topengan menarikan tarian dengan gerak-gerak tari yang menggambarkan seorang ksatria. penyajian berikutnya adalah jejeran, fungsi dari penyajian jejeran itu sendiri adalah sebagai tari pembuka acara dalam memberikan ucapan selamat datang kepada para tamu undangan di suatu acara tertentu. penyajian tari jejeran selalu diawali dengan melagukan puisi yang berjudul podo nonton yang terdiri dari 32 bait, namun biasanya puisi tersebut selalu dilagukan hanya sampai delapan bait saja dan untuk melagukan delapan bait berikutnya selalu dimainkan dua atau tiga gending lainnya sebagai selingan. penyajian berikutnya adalah repenan atau biasa disebut dengan ngrepen. setelah gandrung selesai membawakan tari jejer gandrung dan gending-gending yang berkaitan dengan tarian itu maka dengan diantar seorang pramugari yang disebut gedhog penari gandrung turun dari atas panggung dan mendatangi para tamu sesuai dengan yang dipilih oleh gedhog. penyajian berikutnya setelah ngrepen adalah penyajian pajuan atau maju gandrung. kata paju dalam seni pertunjukan gandrung mempunyai maksud bahwa gandrung memberi kesempatan kepada para tamu atau penonton untuk maju masuk ke dalam arena panggung dan menunjukkan ketrampilan dalam menari, berpantun dan seni bela diri pencak silat. penyajian berikutnya adalah bentuk tarian seblang-seblangan. tari seblangseblangan tersebut penyajiannya di bagian paling akhir pertunjukan gandrung yang harmonia, volume 12, no. 2 / desember 2012100 seperti biola musik barat yaitu nada g-da-e. konsep instrumen biola di banyuwangi terdapat sebuah sistem yang disebut dengan istilah prapatan, atau dalam bahasa musikal disebut konsep kwart. prapatan yaitu sebuah lompatan nada yang berjarak empat nada pada satu oktaf dalam teknik penggunaan senar biola. posisi memainkan biola dalam seni pertunjukan gandrung banyuwangi dilakukan hanya dengan posisi duduk bersimpuh, tidak duduk dengan kursi ataupun berdiri. teknik memegang biola tidak sama dengan posisi orang barat dalam memegang biola, yaitu tidak ditempel di rahang sebelah kiri akan tetapi cenderung lebih ke bawah dekat dengan siku tangan kiri. posisi ini mereka lakukan karena dengan duduk bersimpuh mereka dapat memegang biola dengan nyaman dan tidak merasa kelelahan apabila sedang dalam pertunjukan semalam suntuk. walaupun teknik yang digunakan tidak sama dengan teknik barat, namun bukan hal yang penting bagi masyarakat banyuwangi karena mereka memang tidak mempunyai sistem standarisasi tertentu dalam teknik memegang biola. akan tetapi semakin lama semakin berkembang posisi bermain biola di banyuwangi banyak ditiru oleh generasigenerasi berikutnya sehingga menjadi ciri khas banyuwangi dalam posisi bermain biola. gambar 1. posisi biola pada seni pertunjukan gandrung terdapat pada biola di banyuwangi tidak ada yang berbeda sama sekali mulai dari yang disebut dengan badan biola depan, belakang dan samping mempunyai bentuk yang sama. menurut pengelompokan pada jenis alat musik gesek, yang digunakan dalam seni pertunjukan gandrung banyuwangi adalah jenis biola sopran dengan ukuran 4/4. bagian-bagian di biola seperti scroll, chinrest, tailpiece, bridge, pegs and peg box, nut, fingerboard, neck, soundpost juga sama dengan biola yang digunakan di banyuwangi. bagian yang sama lagi dengan biola di barat yaitu pasangan dari biola itu sendiri adalah bow. dalam memainkan biola di banyuwangi juga menggunakan bow untuk menggesek, bow yang digunakan sama dengan bow yang di barat dengan menggunakan rambut ekor kuda. masyarakat banyuwangi lebih mengenal istilah stick untuk penyebutan bow. instrumen biola yang terdapat di banyuwangi mempunyai teori-teori sendiri dalam memainkan biola dan teknikteknik yang hampir tidak sama dengan pemahaman teori dan teknik biola musik barat. contoh-contohnya adalah mulai dari penyeteman, penggunaan senar, teknik permainan, cara memegang biola, cara memegang bow (penggesek biola), posisi dalam bermain biola semua teknik berikut hampir tidak sama dengan biola pada gaya musik barat. dalam hal ini, yang membedakan bahwa biola di banyuwangi berbeda dengan biola di barat yaitu sistem penggunaan senarnya. pada instrumen biola barat seperti dijelaskan di atas senar yang digunakan untuk biola sopran adalah senar g-d-a-e dengan ukuran yang paling besar sampai ukuran senar e yang terkecil. dalam seni pertunjukan gandrung, biola tidak menggunakan senar g-d-a-e layaknya biola yang digunakan dalam musik barat tetapi menggunakan sistem senar g-d-d-a dan tidak menggunakan senar yang paling terkecil yaitu senar e. walaupun demikian, biola yang digunakan dalam pertunjukan gandrung tetap menggunakan system tunning atau penyeteman irfanda rizki harmono sejati, biola dalam seni pertunjukan gandrung banyuwangi 101 biola diletakkan di atas siku tangan sebelah kiri, tidak dijepit dengan rahang. dalam hal ini bagian yang dinamakan chinrest biola atau tempat rahang diletakkan tidak berfungsi. sementara tangan kiri memegang leher biola sambil menggerakkan jari tangan dalam menekan senar untuk menghasilkan nada-nada yang diinginkan. pada teknik penjarian (fingering) fals dan tidaknya nada biola yang dimainkan bergantung pada jejepan yang artinya penekanan pada senar nada. teknik jejepan mempunyai persamaan dengan teknik pada biola musik barat yaitu teknik intonasi. intonasi adalah teknik ketepatan dalam memainkan tiap-tiap nada. teknik intonasi dapat dilakukan pada semua instrumen yang bernada dan vokal. dalam memainkan teknik-teknik penjarian pada biola, orang banyuwangi sangat peka dalam menggunakan perasaan. fungsi tangan kanan adalah memegang penggesek biola (bow) yang digerakkan untuk memberi dorongan dalam posisi naik dan turun. posisi dalam memegang bow, pemain biola di banyuwangi juga berbeda dengan gaya orang barat, dalam memegang bow orang banyuwangi tidak mempunyai teknik-teknik khusus. dalam memainkan biola diperlukan suatu keseimbangan antara tangan kiri yang memegang leher biola (fingerboard) sambil menggerakkan jari dengan tangan kanan yang bertugas menggerakkan penggesek biola (bow). keseimbangan akan didapatkan melalui proses latihan yang secara teratur, rutin, dan disiplin. tiap-tiap pemain biola di banyuwangi mempunyai kualitas permainan yang berbeda-beda dan mempunyai karakter gesekan yang berbeda-beda juga, hal ini dikarenakan karena proses latihan yang juga berbeda dan banyaknya perbendaharaan lagu yang mereka kuasai. dalam pengamatan yang dilakukan para pemain biola dalam seni pertunjukan gandrung memegang leher biola dengan tangan kiri, leher biola lalu diletakkan di antara ibu jari dan jari telunjuk. untuk menghasilkan nada maupun melodi, senar biola ditekan dengan ujung-ujung jari yang disebut dengan jejepan. proses penekanan senar diawali dengan jari telunjuk (1), jari tengah (2), jari manis (3), dan jari kelingking (4). selanjutnya untuk menghasilkan teknik kuat lemahnya dalam menggesek senar biola, pemain biola banyuwangi selalu menggesek dua senar dalam memainkannya dan disesuaikan dengan kondisi ruangan dan kebutuhan garap lagu. biasanya mereka memainkan biola menurut konsep gending gandrung banyuwangi sebagai pembawa melodi atau balungan. teknik gesekan dua senar pada biola di banyuwangi tidak terdapat istilah, fungsi dari menggesek dua senar hanya untuk memperkeras suara biola. teknik gesekan dua senar yaitu salah satu senar ditekan dengan jari dan senar yang kedua digesek senar kosong atau tidak ditekan dengan jari dan harus senar diatasnya. salah satu contoh yaitu dalam memainkan senar a gesekan harus didobel dengan senar d, begitu juga dalam memainkan senar e gesekan harus disobel dengan senar a tanpa ditekan jari. gesekan dua senar pada biola musik barat disebut dengan teknik double stops. terdapat pula istilah drone dari india yaitu efek yang menimbulkan suara harmonik atau monofonik yang membentuk sebuah akord yang terus berjalan. dalam proses penjarian, pemain biola dapat menghasilkan nada-nada improvisasi dari melodi aslinya. beberapa dari para pemain biola di banyuwangi mengenal konsep variasi melodi dengan beberapa istilah teknik yang biasa disebut dengan rageman, ngrangin, ngembat. ngrangin adalah salah satu sebutan istilah dari teknik permainan biola banyuwangi. teknik ngrangin mulai dimainkan pada saat bagian-bagian tertentu dari seni pertunjukan gandrung yang hanya dimainkan oleh sindhen dan pemain biola. pemain biola mengiringi sindhen saat menyanyikan sebuah pantun dengan menggunakan teknik ngrangin tersebut. hal ini, dimaksudkan ngrangin karena pemain biola sangat banyak melakukan improvisasiimprovisasi dari nada-nada balungan. teknik permainan biola berikutharmonia, volume 12, no. 2 / desember 2012102 nya adalah teknik ngembat. teknik ngembat merupakan sebuah teknik permainan vibrasi pada tiap-tiap nada. pada teknik ngembat mempunyai persamaan dengan teknik pada musik biola barat, istilah bagi biola barat adalah teknik vibrato. fungsi dari tangan kiri salah satunya adalah memainkan teknik vibrato atau ngembat setelah melakukan teknik intonasi atau teknik jejepan. vibrato atau ngembat adalah teknik menggerakkan jari-jari dengan cepat atau lambat, yang ditekan pada salah satu senar sehingga menghasilkan getaran suara yang bergelombang. pada teknik biola banyuwangi tidak ada standar khusus untuk melakukan teknik ngembat, semua dilakukan bebas menurut selera tiap-tiap pemain. setelah melakukan teknik jejepan dengan benar, para pemain biola mulai melakukan gaya permainan improvisasi lain dengan istilah teknik kriwilan. kriwilan jika meminjam istilah teknik biola barat adalah sebuah teknik memainkan nadanada pada biola dengan trill. trill adalah sebuah nada yang dimainkan secara bergantian dengan nada terdekat di atasnya, dan dimainkan secara cepat. ornament trill jika pada penulisan notasi biola musik barat dilambangkan dengan huruf “tr” di atas notasi nada yang dimaksud. teknik kriwilan dimainkan sesuai selera improvisasi tiap-tiap permainan biola pada pertunjukan gandrung. sistem penyeteman (tunning) senar biola di banyuwangi disebut dengan istilah nglaras. nglaras adalah suatu proses melakukan pelarasan senar biola dengan tujuan untuk mendapatkan nada-nada yang dii nginkan. setelah dilakukan pelarasan senar biola, tahap kedua yaitu pemain biola melakukan teknik yang dinamakan rageman. dalam hal ini, rageman dan nglaras sangat berbeda. rageman adalah bermain secara improvisasi untuk menemukan nada-nada pada penjarian masih ada yang fals atau tidak, sekiranya masih ada senar yang fals perlu dilakukan penyeteman ulang dan setelah itu dilakukan rageman lagi sampai dirasa oleh pemain biola sudah cukup. kontekstual biola dalam seni pertunjukan gandrung walaupun tujuan utama bangsabangsa eropa menjajah nusantara untuk memonopoli perdagangan rempah-rempah dan terakhir menjajah fisik, namun mereka juga baik disadari atau tidak turut membawa kebudayaan yang berasal dari eropa, termasuk salah satu di antaranya adalah pemakaian alat musik biola yang menjadi bagian integral dari salah satu seni pertunjukan di banyuwangi. kebudayaan banyuwangi, biola secara perlahan-lahan menggantikan peran musikal melodis yang pada masa sebelumnya pernah dibawakan oleh seruling dan rebab masyarakat banyuwangi biasa menyebut rebab arum manis. sebagai akibat akulturasi dengan sentuhan peradaban barat, alat musik biola tetap menjadi bagian yang integral dalam kebudayaan musik banyuwangi. instrumen biola yang mereka akulturasikan disesuaikan dengan kondisi daerah dan masyarakat banyuwangi. kemudian tak heranlah bahwa teknik-teknik memainkan dan konsepkonsep musikal biola dalam musik tradisi banyuwangi mengalami perkembanganperkembangan yang berbeda dengan tradisi biola pada musik barat atau biola pada daerah nusantara yang lain. sebagai contoh akulturasi yang tidak sama de ngan yang terjadi di daerah nusantara yang lain yaitu bahwa masyarakat banyuwangi hanya mengenal biola sopran (violin) dalam rangkain keluarga alat musik gesek dan mempersepsikan biola dengan satu sebutan yaitu baolah. dalam proses akulturasi yang terjadi, mereka tidak menggunakan teknik dan konsep bermain biola dengan pendekatan (perspektif) musik barat, walaupun ada sedikit teknik bermain biola yang hampir sama dengan gaya musik barat dengan ketidak sengajaan. di sisi lain mereka juga menciptakan teknik dan konsep-konsep yang baru. teknik-teknik seperti cara memegang biola juga berbeda dengan pemain biola yang menggunakan teknik di barat. menurut informan mereka dapat irfanda rizki harmono sejati, biola dalam seni pertunjukan gandrung banyuwangi 103 memainkan biola dengan tidak ditempel di rahang, tetapi lebih turun mendekati siku tangan kiri. selain itu pemain biola di banyuwangi selalu duduk bersimpuh dalam memainkan biola, tidak seperti di barat harus duduk di kursi atau berdiri. biola di barat umumnya pada masa abad ke 16 sampai sekarang lebih cenderung disajikan dalam bentuk ansamble atau orkestra, maka dalam seni pertunjukan gandrung biola hanya sebagai pembawa melodi polifoni, dengan selalu menggesek dua senar atau istilah barat disebut dengan teknik double stop (menggesek dengan dua senar). dalam hal ini, biola dalam iringan seni pertunjukan gandrung lebih mengutamakan melodi dan variasi, maupun ornamentasi yang membentuk karakter dan identitas musiknya. pada masa kini masyarakat banyuwangi mengakui bahwa biola adalah sebagai salah satu alat musik tradisionalnya. mereka mengakui hal ini karena ciri khas musik banyuwangi dapat dirasakan dari melodi-melodi yang dihasilkan sehingga terlihat berbeda dari musik gamelan di jawa dan bali. diakui bahwa sistem akulturasi biola dalam seni pertunjukan gandrung banyuwangi ini akan terus mengalami perkembangan-perkembangan sesuai dengan perkembangan zaman pada masa sekarang. baik itu dari segi teknis maupun konsep musikalnya. dalam hal ini, yang menjadi kendala perkembangan itu bukan datang dari luar tetapi dari dalam masyarakat banyuwangi itu sendiri, misalnya tidak ada proses alih generasi yang menjaga kualitas permainan biola khususnya dan seni pertunjukan gandrung pada umumnya. menjadi sebuah tantangan bagi masyarakat banyuwangi bahwa sistem akulturasi yang tepat hanya dapat dilakukan oleh masyarakat banyuwangi sendiri, bukan sebuah tuntutan yang datang dari luar. bagaimana menjaga dan melestarikan sebuah akulturasi agar dapat selalu bertahan dan menjadi identitas yang kuat bagi masyarakat banyuwangi dan seniman seni pertunjukan gandrung. di dalam konsep adat banyuwangi telah diatur bagaimana menerima unsurunsur asing tanpa harus menghilangkan bagian dari kebudayaan dan adat banyuwangi. selanjutnya unsur-unsur kebudayaan asing diberdayakan untuk menambah keharmonisan dan kekayaan budayanya. dalam kasus akulturasi biola, dengan kehadiran instrumen biola tidak menghilangkan eksistensi budaya dan stratifikasi masyarakat. selanjutnya dalam tradisi adat banyuwangi bermakna bahwa dengan diterimannya biola ke dalam kebudayaan banyuwangi tidak merusak asas kehidupan. artinya perubahan bukan pada asas tetapi pada ragam budaya. dalam konsep adat istiadat bermakna bahwa dengan kehadiran alat musik biola tidak membawa kerusakan dalam berbagai aktifitas upacara adat banyuwangi. masyarakat banyuwangi dengan senang hati menerima kehadiran instrumen biola sehingga dianggap penting dalam seni pertunjukan tradisi di banyuwangi khususnya gandrung banyuwangi. sistem pembelajaran biola banyuwangi berdasarkan penelitian kebanyakan pemain biola di banyuwangi tidak mendapatkan pendidikan musik secara formal. mereka menjelaskan belajar biola secara non formal karena belum ada satu institusi yang mengajarkan instrumen biola gandrung banyuwangi secara formal. mereka juga mengakui bahwa musik yang mereka mainkan tidak secara tertulis. pada kenyataan yang ada kebanyakan seniman tradisi di banyuwangi tidak mengenal musik secara tertulis, kecuali para seniman yang mempunyai latar belakang pendidikan seni musik barat atau musik tradisi. dalam kajian ilmu etnomusikologi, ilmu musik yang tidak tertulis ini disebut dengan musik non literate, sehingga mereka belajar memainkan musik dengan cara tradisi oral dari satu generasi ke generasi berikutnya. tradisi oral adalah suatu sistem belajar musik tradisional melalui seorang guru atau orang lain dengan cara mengamati, meniru, dan memperagakan dari seorang guru tersebut. seniman baharmonia, volume 12, no. 2 / desember 2012104 nyuwangi menyebut cara belajar seperti ini dengan cara belajar menurut perasaan. kehidupan pemain biola banyuwangi dari hasil pengamatan terhadap beberapa informan pemain biola banyuwangi, umumnya mempunyai latar belakang yang berbeda-beda, baik dari segi pendidikan, pengetahuan, pekerjaan sehari-hari dan pengalaman mereka dalam hidup. dilihat dari segi pendidikan, pemain biola banyuwangi kebanyakan hanya sebatas pendidikan setingkat sd ataupun paling tinggi setingkat smp. dalam hal ini, walaupun mereka hanya sampai pada pendidikan tingkat sd atau smp, mereka mempunyai pe ngetahuan yang cukup luas tentang musik yang mereka mainkan dan pengetahuan tentang budaya di banyuwangi. dari segi ekonomi dan pekerjaan mereka tidak menggantungkan pekerjaan dari bermain musik saja. mereka juga mempunyai aktivitas lain pada saat tidak melakukan kegiatan pementasan. kehidupan sehari-hari mereka adalah bertani di sawah atau ladang yang berlatar belakang seorang petani. ada juga seorang peternak dan seorang jasa pengambil sampah atau barang-barang bekas. mereka biasanya melakukan pementasan apabila mendapat panggilan dari pimpinan grup gandrung yang mereka ikuti, atau mendapat undangan pementasan pada saat ada hajatan atau pesta perkawinan. fungsi pemain biola gandrung malinowski dalam teori fungsi tentang kebudayaan menjelaskan tentang fungsi dari unsur kebudayaan yang merupakan segala aktivitas kebudayaan yang bertujuan untuk memuaskan suatu rangkaian dari sejumlah kebutuhan naluri manusia yang berkaitan dengan kehidupannya. berdasarkan teori tersebut, biola yang berkembang di banyuwangi adalah sebagian dari salah satu unsur-unsur kebudayaan, yang terjadi karena manusia ingin memenuhi kebutuhan akan nalurinya tentang keindahan. masyarakat banyuwangi sebagai pemilik dari seni pertunjukan gandrung sangat mengakui bahwa biola dapat dijadikan sebagai salah satu instrumen yang dapat memenuhi kebutuhan naluri keindahan dari sebuah pertunjukan gandrung. sebagai tambahan untuk menciptakan suasana atmosfer sebuah lakon, musik memiliki dua fungsi dramatik utama dalam sebuah pertunjukan. musik dapat mengiringi nyanyian atau resitasi dan mengiringi action di panggung termasuk tari. kepentingan dari setiap fungsi bervariasi dari satu tempat dengan tempat yang lain, dan dari bentuk satu pertunjukan dengan bentuk pertunjukan yang lain. setelah diakulturasikan oleh tradisi banyuwangi dalam kebudayaan musiknya, maka dalam pengamatan yang dilihat biola adalah instrumen yang biasanya dimainkan dalam format ansambel. dalam ansambel, instrumen biola dapat mengiringi atau diiringi dengan instrumen lain secara konseptual. bentuk seni pertunjukan ansambel gesek pada musik barat, para pemain berkonsentrasi dengan partitur atau teks notasi yang dimainkan pada tiap-tiap instrumen yang dipimpin oleh seorang conductor di depan. posisiposisi pemain pun juga sudah diatur sesuai dengan tiap-tiap kelompok instrumen. tiap kelompok masing-masing instrumen terbagi menjadi formasi biola sopran satu, formasi biola sopran dua, formasi biola alto, formasi cello, dan formasi contra bass. masing-masing kelompok formasi mempunyai tugas dan fungsi yang berbeda-beda dalam memainkan karya musik sehingga menjadi satu harmoni. dalam seni pertunjukan gandrung banyuwangi instrumen biola juga dimainkan dalam format ansambel yang berfungsi sebagai musik pengiring tari. tiap-tiap instrumen mempunyai tugas dan fungsi yang berbeda-beda dalam memainkan gending-gendingnya. dalam struktur penyajian biola menjadi komponen paling utama yaitu berfungsi sebagai pembawa gending atau pembawa melodi dan kadang juga menjadi pembuka pada sebuah gending. maka, satuan instrumen biola sangat penting dan berperan sekali dalam jalanirfanda rizki harmono sejati, biola dalam seni pertunjukan gandrung banyuwangi 105 nya seni pertunjukan gandrung. pada saat pertunjukan gandrung, biasanya terdapat dua orang pemain biola. fungsi dari dua pemain biola adalah satu orang memainkan melodi dan satu orang lagi memainkan imbal-imbalan dari melodi atau memainkan secara improvisasi. fungsi berikutnya adalah salah seorang pemain biola bisa menggantikan peran pemain kluncing untuk memainkan kluncing, apabila ada bagian-bagian dari pertunjukan pemain kluncing diharuskan untuk ikut menari. fungsi berikutnya yaitu dua pemain biola dapat bergantian untuk istirahat apabila salah seorang pemain ada yang merasa kelelahan, karena pertunjukan gandrung dilaksanakan biasanya dari malam sampai pagi. fungsi yang terakhir dari dua pemain biola adalah mengantisipasi apabila salah satu pemain biola mendapat kendala kerusakan alat atau stem nada biola ada yang turun. hal ini dapat dilihat bahwa dalam seni pertunjukan gandrung banyuwangi peran pemain biola sangat penting dan tidak bisa tergantikan dengan pemain instrumen yang lain, kecuali memang diperlukan untuk kebutuhan gandrung kreasi baru. karya-karya gandrung kreasi baru tetap menyesuaikan kondisi dan tidak meninggalkan ciri khas tradisi gandrung yang asli. simpulan bagi masyarakat banyuwangi, biola banyuwangi atau disebut dengan baolah dianggap sebagai bagian terpenting dari kebudayaannya dan merupakan bagian dari musik tradisi banyuwangi. hal ini disebabkan proses akulturasi instrumen biola pada seni pertunjukan gandrung sudah dikenal sejak tahun 1890 dengan teknik atau gending yang disajikan adalah gending-gending gandrung bukan musik barat. dalam hal ini, sebagian masyarakat telah lama mengenal biola tidak hanya mengetahui permainan biola dengan menggunakan sistem teknik biola musik barat. di banyuwangi kita dapat menemukan permainan biola tanpa menggunakan teknik disiplin ilmu musik barat. hal ini, dapat disimpulkan bahwa teknik musik barat untuk permainan biola tidak selamanya digunakan. terbukti dengan adanya salah satu seni pertunjukan tradisi di banyuwangi jawa timur yang menggunakan biola dengan konsep, teori dan teknik yang diciptakan masyarakat banyuwangi yaitu pada seni pertunjukan gandrung. mengenai rasa indah, tidak semua masyarakat indonesia mengakui bahwa rasa musikal dengan disiplin ilmu musik barat nyaman untuk didengar, enak diperagakan, dengan kata lain sebagian dari masyarakat indonesia mempunyai teknikteknik tersendiri untuk dapat mengungkapkan rasa musikalnya walaupun mereka menggunakan alat musik yang berasal dari barat seperti biola. dari sinilah biola dapat menciptakan ciri khas dan karakter bagi seni pertunjukan banyuwangi yang tidak dapat tergantikan dengan instrumen yang lain. biola atau baolah sudah menjadi identitas bagi budaya banyuwangi khususnya seni pertunjukan gandrung, baik itu seni pertunjukan gandrung klasik maupun seni pertunjukan yang sudah dimodifikasi menjadi seni pertunjukan kreasi baru, biola atau baolah akan selalu digunakan. sebagai seni yang sudah melekat pada masyarakat, peranan dan fungsi seni pertunjukan gandrung tidak berakhir pada saat masa perjuangan, namun semakin lebih berkembang seiring perkemba ngan jaman dan memberikan nuansa yang lebih indah bagi kehidupan seni budaya masyarakat osing banyuwangi. hampir semua jenis seni pertunjukan yang hidup dan berkembang di banyuwangi mendapat banyak inspirasi dari seni pertunjukan gandrung. hal ini terbukti bahwa sampai sekarang masyarakat banyuwangi terutama para seniman tradisi dan para pakar budayawan banyuwangi tetap berusaha mempertahankan dan melestarikan seni pertunjukan gandrung. demikian juga pemerintah kabupaten banyuwangi turut memberikan perhatian khusus dan mengangkat gandrung sebagai maskot pariwisata di banyuwangi. harmonia, volume 12, no. 2 / desember 2012106 daftar pustaka anoegrajekti, novi. ”seblang using: studi tentang ritus dan identitas komunitas using”. 2003. jember: jurusan sastra indonesia fakultas sastra universitas jember. arifin, 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martinus nijhoff. lamb, norman. 1971. guide to teaching strings. california state university, sacramento. lekerkerker, c. t.t. blambangan. indische gids ii/ 1923: 1030-1067, terj. pitoyo boedhy setiawan. banyuwangi: perpustakaan daerah banyuwangi. luthan, deddy. 1990. kadung dadi gandrung wis. jakarta: bilik budaya kasitha smarandhana. malm, william p. 1967. music cultures of the pacific, the near east, and asia. new jersey: prentice-hall englewood cliffs. margana, sri. 2007. javas last frontier, the strunggle for hegemony of blambangan c. 1763-1813. leiden: universiteit leiden. merriam, alan p. 1964. the antrophology of music, usa: northwestern univer-usa: northwestern university press. munardi, a.m dan koesdiono, dkk. 1983. pengetahuan karawitan jawa timur. surabaya: departemen pendidikan dan kebudayaan. murgiyanto, sal m., a.m. munardi. t.t. ”seblang dan gandrung dua bentuk tari tradisi di banyuwangi”. jakarta: proyek pembinaan media kebudayaan. nettl, bruno. 1983. the study of 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t.t.”blambangan selayang pandang”. banyuwangi: pemerintah daerah tingkat ii kabupaten banyuirfanda rizki harmono sejati, biola dalam seni pertunjukan gandrung banyuwangi 107 wangi. wolbers, paul arthur. 1992. ”maintaining using identity through musical performance; seblang and gandrung of banyuwangi, east java (indonesia)”. urbana, illinois: university of illinois at urbana-champaign. zulfahmi, muhammad. 2008. biola melayu dalam kebudayaan musik melayu pesisir timur sumatera utara. yogyakarta: tesis sekolah pascasarjana univesitas gadjah mada. sumber lain wawancara dengan bapak sunardi, minggu 12 februari 2012, pukul 10.00, kalibaru banyuwangi. wawancara dengan bapak rajuli, minggu 12 februari 2012, pukul 19.00, desa mangir, rogo jampi banyuwangi. wawancara dengan bapak buang, minggu 12 februari 2012, pukul 21.00, desa mangir, rogo jampi banyuwangi. 161 the use of laras in contemporary gamelan music iwan gunawan, rita milyartini, juju masunah universitas pendidikan indonesia, indonesia submitted: 2022-03-08. revised: 2022-05-22. accepted: 2022-06-20 abstract gamelan instruments, which have a distinctive tone system (scale) or are called laras, are a challenge for contemporary composers in their working techniques. in contrast to western music which uses a “well-tempered” system, gamelan music has a distinctive phenomenon in its tone system, including the absence of standardization of basic notes and tone intervals. this article aims to analyze the concept of garap and the phenomenon of the use of laras) in contemporary gamelan music. the method used is content analysis, by taking four contemporary gamelan works that use the concept of garap on the use of a new scale, which is auditorily difficult to identify the scales in conventional musical knowledge. the content used is in the form of audio recordings and notations, which are then analyzed by various parametric musical aspects. the results show that there were two directions of garap on the tone systems (scale) in contemporary gamelan music. first, the direction of the garap is done by limiting the tones of the tone systems used in constructing the sound both vertically and horizontally. as in supanggah’s “thongkleng,” only five of the seven notes are used in the laras pelog. meanwhile, in mack’s “crosscurrent,” only four tones are used out of the five notes in the laras degung. the direction of the second interpretation is to expand the tone by mixing other tones to build the impression of a new tone. in o’neil’s “lesson of garden” and gunawan’s “noname and nothing,” there is a chromatic approach to melodic contours to obscure the impression of conventional tone. o’neil focuses more on melodic tone processing, while in gunawan’s work, the tone processing is more rhythmic and random. keywords: gamelan, contemporary music, garap concept, laras how to cite: gunawan, i., milyartini, r., & masunah, j. (2022). the use of laras in contemporary gamelan music. harmonia: journal of arts research and education, 22(1), 161-173 harmonia: journal of arts research and education 22 (1) (2022), 161-173 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i1.35483 rence will affect the music’s atmosphere. in this case, sugiarta (2022) suggests that the laras slendro has an atmosphere that is happy, cheerful, light, sad, miserable, or even romantic, while the laras pelog generally produces an atmosphere that gives the impression of being dashing, majestic, and sacred. in sundanese music, one of the figures who developed the theory of laras, namely rd. macyar angga kusumadinata. the theories he put forward became a reference for reviewers of karawitan (instruintroduction various formulations of the laras (traditional scale) in gamelan music have been widely discussed to this day. in the javanese gamelan laras, risnanda (2018, 99) suggests that in a set of gamelans, each ricikan (instrument) has a different embat. when played separately (independently), it will feel uncomfortable, but when sounded together with other instruments, it will blend and produce a laras with its own embat. in balinese gamelan, the tone diffecorresponding author: e-mail: iwan_gunawan@upi.edu p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (1) (2022): 161-173162 mental and vocal music) not only in sundanese musicals but also used as a reference in researching the tone phenomenon in javanese and balinese music. sasaki (2021:318) has written about the review of the theory of tones in sundanese music. one of the peculiarities of sundanese music is the presence of a scale (laras) called sorog. in javanese and balinese music, only two types of laras are recognized, namely slendro and pelog, while in sundanese music, there are three types of laras: salendro, pelog, and sorog. these three scales are all clearly pentatonic. fundamentally, what was formulated by kusumadinata (1969) in his book entitled “ilmu seni raras”, presented the differences in the intervals of the pitch and the relevance between the tones used in sundanese karawitan. this is very helpful for musicians or singers in processing or using various tone differences in practice. however, even what kusumadinata has formulated can inspire artists in his garap with new aesthetics. garap is a system in traditional arts such as karawitan or wayang in working on their creativity (supanggah, 2009). an example of a case in implementing this theory is the work of gamelan music by koko koswara (mang koko) and nano suratno. these two artists are known as karawitan reformers. on the other hand, the theory of system formulated by kusumadinata, especially related to the formulation of intervals of the pitch in sundanese musical tones, has been criticized by several parties. hermawan et al. in saepudin (2015) and also in sasaki (2019) showed their disagreement on the basis of their research based on a sample of 52 waditra (musical instruments) throughout west java. meanwhile, sasaki (2019) questioned kusumadinata’s statement which states that “…sorog and pelog are scales derived from salendro (gamelan salendro).” in his conclusion, sasaki (2019:128) stated that “…pelog cannot be considered a scale derived from salendro (gamelan salendro)”, while another assumption states, “therefore, it can be presumed that sorog is a scale derived from salendro (gamelan salendro). what sasaki said, for the authors, is a misunderstanding of the terminology of the term pelog in the context of sundanese karawitan. whereas sasaki (2019:126) himself stated as follows. to see the relationship between salendro, sorog (which he terms madenda), and pelog (which he calls degung), kusumadinata developed the salendro scale into ‘rakitan salendro (salendro assembly)’ by imbedding tones in between the five salendro tones, i.e. raising or lowering the five salendro tone. in the theory formulated by kusumadinata, the term pelog referred to is laras degung. this is because, in the society of sundanese karawitan, the laras degung is considered to be more or less the same as the laras pelog of javanese gamelan. thus, to mention the laras degung, sundanese nayaga (musicians) often use the term pelog or melog (such as pelog). however, if we measure in detail the interval structure between the laras degung of the degung gamelan (sunda) and the laras pelog of the javanese gamelan, there is a significant difference. therefore, based on kusumadinata’s theory, there are four different interval structures in sundanese karawitan arranged in cents, namely: salendro t . . s . . g . . p . . l . . t 240 240 240 240 240 the smallest interval unit is 80 cents degung 1 . . . . 5 4 . . 3 . . . . 2 1 400 80 240 400 80 the smallest interval unit is 80 cents madenda/sorog 1 . . . . 5 . . 4 3 . . . . 2 1 400 240 80 400 80 the smallest interval unit is 80 cents pentatonic pelog (jawar) 1 . . . . 5 4 3 . . . . 2 1 400 1331/3 1331/3 400 1331/3 iwan gunawan, et al., the use of laras in contemporary gamelan music 163 the smallest interval unit is 1331/3 cents the interval relation is very clear for the interval structure of the laras degung and madenda/sorog. therefore, kusumadinata formulated this laras into a surupan system based on the basic tone in the salendro laras. thus, there are various possibilities for using these laras based on differences in their interval structure. however, among these possibilities, saepudin (2015: 53) suggested that sundanese karawitan has five laras, namely salendro, pelog, degung, madenda or sorog, and mataraman or mandalungan. what saepudin stated above reemphasizes kusumadinata’s formulation regarding the relevance of the interval structure of the degung and madenda laras with the salendro laras based on the surupan system so that there are other laras, mataraman or mandalungan. in the theory formulated by kusumadinata, the mataraman laras have the same interval structure as the degung laras, the only difference is the basic tone. therefore, kusumadinata formulated that there are two systems in the laras of the gamelan, namely degung dwi suara (two-voice degung) and degung trisuara (tri-voice degung) the two-voice degung laras means that two notes are crushed (same) with the salendro laras. while in the tri-voice degung laras, three tones are crushed (same) with the salendro laras. thus, the mataraman laras is the degung laras 3 = t, meaning that the 3 (na) tone on the mataraman laras is the same as the tugu tone (t) on the salendro laras. the mataraman laras, based on kusumadinata’s theory, is included in the tri-sound degung laras, so the three tones that hit are 3=tugu, 4=loloran, and 1=galimer. if the surupan principle is applied to the interval structure of the madenda laras, then in fact there is still one laras that saepudin, namely the wisaya laras have not mentioned. in kusumadinata’s theory, it is referred to as the madenda laras 4 = p, or the tone 4 (ti) on the madenda laras is the same as the tone panelu (p) on the salendro laras. in addition, the authors agree with saepudin stated above that the degung laras are actually different from the pelog laras. and this is the misunderstanding in the study conducted by sasaki. kusumadinata’s intention to use the term pelog, which means degung laras has been interpreted as the pelog laras in the context of javanese gamelan. however, there are interesting statements made by sasaki (2019) regarding the use of pelog and salendro in gamelan music. however, in reality, the form of ‘salendro with pelog’ is a rare case. there are also no classical pieces found whose original melody has a pelog scale. the form of ‘salendro with pelog’ is only found in new compositions or as a variation in the performances of pieces whose original melody has a salendro scale. therefore, it can be assumed that the form of ‘salendro with pelog’ is a new phenomenon. sasaki’s statements become interesting to study in the development of contemporary gamelan music. apart from the debate about the differences in findings in the study of laras (laras), there is an interesting phenomenon in the way composers work on contemporary gamelan music. in the view of society in general, gamelan music is always seen as traditional musical work. this is because, for ordinary people, seeing the aesthetics of the music is always based on the musical instruments used. of course, we agree that judging from the physical form, the color of the sound, the way of playing, as well as the conception of the laras used in gamelan instruments, there are strong indications of the values of traditional cultural heritage. however, in the process of musical creativity, whatever instrument is used is only a medium. what characterizes the aesthetic is how the musical instrument is worked out. thus, the traditional gamelan instrument is very possible to develop and change aesthetically in new ideas or concepts so that it can be called a contemporary gamelan work. hardjana (2004:482) stated that, gamelan has the potential to develop further harmonia: journal of arts research and education 22 (1) (2022): 161-173164 beyond the boundaries of its own cultural nursery. however, it must be freed from its sense of inferiority as just an ethnic culture. the theories must be developed. the concepts need to be updated. in connection with the above opinion, there are various theories and concepts developed in understanding the phenomenon of the laras in gamelan music. sindusawarno and hardjosubroto in sumarsam (1995) formulate the form of a chart about the interval relation between pelog, diatonic, and slendro systems, as follows. figure 1. sindusawarno interval relation chart in the chart (figure1), it is very clear that there are two similar tones in the pelog and slendro laras, whereas due to the difference in the structure of the tone intervals between slendro and pelog, the different tones complement each other, especially when compared with a diatonic structure. thus, the chart can represent the difference in the tone of the three laras. the difference in the distance between the notes in gamelan laras often has a psychoacoustic impact. because every note on some waditra has a different overtone structure, depending on the quality of the material, size, and others. in the research conducted by risnandar (2018:104) on gamelan tone explains that the embat also determines the characteristics of the laras. embat arises from setting the pitch and the high and low notes on the gamelan tone. in the javanese gamelan laras, there are two types of embat: embat prenes and embat luh. the embat issue raised by risnandar is a phenomenon and an interesting challenge for composers in working on gamelan music. contemporary gamelan composers have made various attempts to question the uniqueness of the laras in each of their compositions. this can be seen in various cases. in a study conducted by angkasa (2015:44) on the synchronization of eastern and western cultures of lou harrison’s work entitled “concerto for piano with javanese gamelan,” it is explained how the american composer approached and adapted the different laras between gamelan and piano used in this work. in that case, harisson adjusted the piano notes based on the gamelan laras used. a similar case happened to the band krakatau from indonesia. wallach (2013, p. 121) suggested that based on an analysis of the band’s works, several western musical instruments are adjusted to the laras used for the tones of traditional sundanese gamelan. meanwhile, there are cases where the opposite occurs to find a solution to the problem of differences in the laras between western instruments and gamelan. in ramaer (2004:30), sinta wullur, a dutch composer, stated the problems regarding her artistic concept. each time i made a composition, i searched for a creation that could carry the identity of indonesian as well as western culture. but when i composed for a traditional gamelan orchestra i missed the possibilities of the 12 tones in an octave and felt limited by the tone problems when combining western instruments with the gamelan. to find a solution to this problem, wullur was inspired by her experience when she visited her friend, a danish percussionist who had ordered a set of balinese gamelans with chromatic laras. based on this, she then ordered a javanese gamelan with a similar idea which was later called the multifoon gamelan. the idea of adapting the diatonic scale to the gamelan can also be found in several regions in indonesia. yuliana (2013) in her research, suggested that in the deiwan gunawan, et al., the use of laras in contemporary gamelan music 165 velopment of gamelan creations, there is a group called “degung dedikasi.” this group designed gamelan with a diatonic scale to accompany pop songs with grammatical tonal music for commercial purposes. some of the cases presented above are the ideas of composers who have thought of adjusting the dichotomy of the difference in laras between the welltempered system and the laras on gamelan instruments. however, among contemporary gamelan composers, some composers do not really care about differences in laras in the context of eastern and western culture, but all these differences in laras are used as a vehicle for finding new ideas, namely combining various tones. this concept has been implied in traditional gamelan work, especially the gamelan music of pelog salendro in sunda. in this case, suparli (2010, p. 158) argued that …laras contained in the gamelan pelog salendro mean that those that are manifested in the gamelan only consist of two laras, namely laras salendro and laras pelog. meanwhile, laras degung and laras madenda (sorog) in the context of the gamelan salendro pelog are only played on vocals, or waditra rebab, using gamelan laras salendro. suparli’s view is in line with what was stated by sasaki (2019) that “…there is an interesting phenomenon, that is the fixed pitch instruments of gamelan are in the salendro scale, but its vocal and rebab often modulate into sorog scale or pelog scale.” based on the principle of combination of laras or scales in traditional sundanese gamelan, kusumadinata in santosa (2016) has formulated the dasa nada system based on the salendro tone which consists of five notes with each tone interval of 240 cents, and then each interval is divided two to 120 cents, to one gembyang to 10 tones. these various concepts or theories open various possibilities for composers to seek new ideas in gamelan music creativity. for example, one of the composers who focused on working on tone combinations on balinese gamelan was i made arnawa. arnawa (2010, p. 11) asserted that the idea of his work entitled “penndro ii” is a work that was inspired when reading the book of prakempa, namely a balinese gamelan lontar translated by i made bandem. in his work, the laras used is a mixture of tones between pelog and slendro tones. based on the various examples above, the paradigm of contemporary gamelan music can not only be seen in the context of local culture but must be viewed as part of global musical culture in the context of mutual influence between cultures and the artists who perform them. of the many contemporary gamelan composers, some works attract the authors’ attention to be discussed in more detail; how do composers make garap of tone system/laras in contemporary gamelan music? method we need an appropriate method to know the concept of garap on a piece of music. the method used is content analysis. according to krippendorf in white et al. (2006), the content analysis method is a research technique to make conclusions that can be replicated and valid from text or other meaningful material within the context of its use. based on observations of contemporary gamelan works that have issues regarding the use of a laras that is considered interesting, four works with unique working concepts were selected, namely: (1) thongkleng by rahayu supangga; (2) “crosscurrent” by dieter mack; (3) “lesson of the garden – water way” by michael o’neil; and (4) “noname & nothing” by iwan gunawan. these works were selected based on observations and auditive analysis of the garap concept’s uniqueness in the laras. the uniqueness of the selected works is the impression of using a new tone that has never been heard in previous gamelan works. data were collected through the study of audio-visual documents and scores harmonia: journal of arts research and education 22 (1) (2022): 161-173166 for the selected works. documents and scores were analyzed for parametric musical aspects to determine the concept of garap on the laras/laras. results and discussion limitation of the number of tones in describing the analysis process of the four works mentioned above, they can be grouped into two parts based on each composer’s technique of garap. the first garap technique is the technique of limiting the use of tones, as in “thongkleng” by rahayu supanggah and “crosscurrent” by dieter mack. the concept of limiting the tones available in gamelan has actually been formulated by kusumadinata, especially regarding the application of pelog (javanese) tones in sundanese gamelan. kusumadinata’s theory is reaffirmed by suparli (2010) that, of the seven tones contained in the pelog, only three tones always function as the main notes, namely the tugu, loloran, and galimer tones. the number of tones on the pelog of the sundanese gamelan is limited to only five tones. kusumadinata’s theory is known as “jatuligasopa”, jawar starts from the tone of tugu, liwung starts from galimer, and sorog starts from panelu. in work “thongkleng,” there are things in the use of tone. from a quick observation, it can be assumed that this work uses a mixture of two laras namely pelog and slendro. this is because there is no strong indication of a particular laras to be felt auditively. however, after the authors tried to make a notation transcript of the work, authors were deceived. it turns out that this work only uses the pelog. is this phenomenon due to the authors’ hearing limitation? or is there another reason? in general, this work presents a dialogue about two characteristics of instruments with different sound colors due to the material characteristics of the instruments, namely the pencon instrument and the bilah instrument. but other than that, the texture of the melody made is very clear about the impression of dialogue. for more details, please see the transcript of the notation below. figure 2. excerpt from the work “thongkleng”, transcript by the authors. if we look at the examples of notation above, it can be concluded that the concept of a “sahut-sahutan” melody (question and answer/dialogue) is the basic principle of this work. the concept can be divided into two; first, “sahut-sahutan” alternately, and second, “sahut-sahutan” simultaneously like the kotekan principle in balinese gamelan. however, the authors’ concern is how to organize the tones. the number of tones used in this work is five tones out of seven (laras pelog). the tones are 6 (nem), 5 (mo), 4 (pat), lu (3), 2 (ro) in the javanese kepatihan system or 1 (da), 2 (mi), 3(ni), 3 (na), 4 (ti) in the sundanese damina system. for more details, please see the example notation below. note: the tone symbols (numbers) use the javanese and sundanese systems figure 3. the tones used in the work “thongkleng” however, the three tones (marked by squares), namely 5, 4, 3 or 2, 3-, 3, are very dominant, while the other tones, namely 6 (nem) or 1 (da) and 2 (ro) or 4 ti) sound very rarely. because the melody swirls in the closely spaced interval region, the impression of the melody feels like floating around for nothing. furthermore, iwan gunawan, et al., the use of laras in contemporary gamelan music 167 if we try to play these notes improvised, it will be felt a new tone. this attracted the authors’ attention, that through the work “thongkleng”, supanggah as a composer has offered a new technique in working on the existing tones without making new tones. the gamelan used in this work still uses the gamelan laras pelog as the gamelan instruments used in traditional works. meanwhile, the technique of limiting the number of tones in the work “crosscurrent” has a different case. this work uses the degung gamelan, but auditorily the characteristics of the gamelan tones as in the traditional context can no longer be felt. this is due to the unique and unusual processing of the melody as the sundanese artists process the melody in the laras. for example, please see the example notation below. figure 4. excerpt of tutti melody in “crosscurrent” if we look at the notation above, there is a distinctive interval movement in processing the melody in the degung laras. the movements of these intervals are small seconds, large septime, and more quarts. the example of the notation is presented. figure 5. analysis of intervals in tutti melody of “crosscurrent” the movement of these intervals really colors this section, while other intervals are less prominent. in addition, the processing of the melody in this section seems to be horizontal, but because the sound is left long (let ring), certain chords are formed vertically. the chord is like the notation example below. figure 6. melody vertically/chords on melody processing “crosscurrent” in the aesthetics of traditional gamelan music, processing melodies that have the impression of a chord is perceived as a “dissonant” sound, so that in processing the melody, the vertical sound impression is often avoided. the processing of these four tones becomes the basis for various sound processing in the next section, coupled with the sound colors of gongs and jenglongs which are often played on the side and produce other tones based on the overtone structure of the instrument. thus, the way of beating the waditra gong and jenglong can auditorily disguise the identity of the conventional degung laras. in addition, interval jumps that are more than one gembyang (octave) bring a new impression to the technique of processing the melody in the degung laras, because in traditional degung laras such extreme interval jumps are rarely found. the musical phenomenon that the authors have mentioned above is a small part of the whole work of “crosscurrent” because it is too complex, the authors cannot fully describe it in this paper. however, the things that the authors found harmonia: journal of arts research and education 22 (1) (2022): 161-173168 can at least prove that innovative efforts to work on the laras on the degung gamelan can be done using one of the melodic processing techniques as mack did in his work “crosscurrent.” expanding the number of tones the second technique is to expand the number of tones by combining pelog and slendro tones, as in michael o’neil’s “lesson of garden” and iwan gunawan’s “noname and nothing.” in the work “lesson of garden,” the laras use a mixture of gamelan with pelog and slendro laras simultaneously. thus, the mixture of the two laras auditorily produces new laras characteristics. one of the reasons for this is the technique of melody processing which deliberately hides the character of the pelog and slendro laras as in traditional gamelan music. before going any further, look at an example of the notation below. figure 7. excerpt of rewards from “lesson of the garden-water way”. transcript by iwan gunawan if we look at the notation above, we can be sure that the striking pattern in this work generally has the same concept as the striking pattern in traditional gamelan. this can be seen from the slentem striking pattern as the main musical composition (gendhing) of the song and the slendro and pelog beats as an interlocking. however, the concept of interlocking in this work is different from that interlocking of the traditional gamelan style. the difference lies in the “typical” intervals (micro-intervals from a mixture of pelog and slendro laras) and flows so that auditorily builds a new sense of laras. technically, the interlocking in this work is built in two ways. the first is a melody with a static repetition (played by a slendro bilah instrument), and the second is a melody with a progressive repetition (played by a pelog bilah instrument). thus, the changes in the melody line can be felt differently if the repetition of the melody in the pelog laras makes changes while the beat of the slendro melody continues. through this technique, the texture of the melody can be felt to have a distinctive interval jump. after the writer conducts further analysis, there are certainly similarities between the interlocking described above and the melodic contours of steve reich’s “piano phase”. the texture of the melody is like the notation example below. figure 8. an example of a melody contour “piano phase” by steve reich. transcript by iwan gunawan the similarity of the interlocking concept with the work “lesson of the garden-water way” can be seen in the following example of the notation. figure 9. the melodic texture section of the work “lesson of the gardenwater way.” transcript by iwan gunawan however, there are fundamental differences between these two works. in the work “piano phase,” the change in melody texture is principally due to tempo processing, while in the work “lesson of the garden” the change in melody texture is iwan gunawan, et al., the use of laras in contemporary gamelan music 169 caused by processing the notes themselves (based on micro intervals) which are a mixture of slendro and pelog laras. regardless of the relationship between the two works, what michael o’neil did in his work “lesson of the garden” has the issue of offering a new concept in gamelan music. the three examples of works above are examples of cases that, in the authors’ opinion, are works that can prove efforts to innovate the laras in gamelan music. many composers still carry out similar work concepts but produce very different works, including works by composers i made arnawa and wayne vitale using balinese gamelan. all the works mentioned are a source of reference and inspiration for writers in the creative process of creating new works. meanwhile, the work “noname and nothing” has a similar idea: combining pelog and slendro laras. however, the technique of treatment is very different. in this section, the authors would like to briefly describe the authors’ own efforts in working on the laras in gamelan. the authors present the result of studies and observations made some time ago regarding the phenomenon of the laras, especially the laras/scales on sundanese karawitan. from these experiences, the authors found a laras that was applied to our own work entitled “noname and nothing”. however, before discussing the work, the authors would like to convey the chronology and the framework as the basis for the emergence of the idea of the garap concept on the laras in the work. in addition to making observations about the phenomenon of the laras in the context of sundanese culture, the authors also have the experience of learning about the laras in the context of western culture, especially about the modal, tonal, and tonal systems. based on this experience, some things really attract the authors’ attention, especially the phenomenon of western music that has occurred from the early 20th century until now. various musical phenomena in the dodecaphony or serialism systems in the works of schonberg, webern, ligeti, stockhausen, and others to the concept of “preferred piano” from john cage greatly give a discourse on the creative process of authors in creating gamelan and non-gamelan music. one thing that the authors have seen and realized as a result of observing several works by these western composers is the creation of the concept of a laras on the bonang and rincik instruments (bonang panerus) in the works “fonem” and “nyurup” (2005). the laras on the instrument is a mixture of pencon laras pelog and slendro arranged randomly based on the high and low of the sound. for clarity, please see the image below. note: tone symbols (numbers) using the sundanese system (damina) figure 10. the laras of the bonang and rincik instrument in the work “fonem” from the arrangement of pencon bonang and rincik as shown above, the order of the tones is no longer arranged linearly (from lower to higher notes or vice versa) but arranged randomly. thus, even though in the notation system, it seems that the notes are moving in steps, the notes are jumping auditorily. the next thing, the authors are interested in the micro interval difference between 3 pelog notes with 3 slendro notes and 4 pelog notes with 4 slendro notes. this phenomenon of micro-interval differences is also seen in the laras of balinese gamelan, including the pangumbang-pangisep. it is just that in the work of “fonem” this aspect is not presented vertically (as in balinese gamelan) but horizontally. for clarity, please see the example notation below. harmonia: journal of arts research and education 22 (1) (2022): 161-173170 figure 11. the example of bonang and rincik melodies in the work “fonem” through the concept of the laras on the bonang/rincik instruments as described above, it can be said that the way of playing the melodic texture on the bonang/rincik instrument in the work of “fonem” is technically the same as playing the traditional gamelan, but the sound is very different. this became the authors’ starting point in developing the laras in their subsequent gamelan works. when one of the authors was commissioned to arrange steve reich’s “six marimbas” for the international gamelan festival amsterdam in 2010, he was confused when he adapted the laras used. the problem is that in the work “six marimbas” the laras use a “well-tempered” system while the laras in gamelan is not. various attempts and experiments have been carried out by the author to find solutions to these problems. the results of these efforts include the author finding a 10-laras from a mixture of pelog and slendro laras. and this is following the theory formulated by sindusawarno in the description above. the following is a sequence of 10 tones that became the author’s basic concept in working on gamelan music with a slendro pelog laras. gamelan slendro pelog tumbuk nem dasa nada from a mixture of gamelan laras pelog slendro note: number notation using javanese and sundanese karawitan systems figure 12. tones in the dasa nada system the explanation above can be concluded that there are four tones, namely “5/1”, “4/2”, “3/3”, and “2/5”. in terms of the use of symbols and terms for both pelog and slendro laras, they are always the same, but the sounds are actually different. for the comparison of the pelog and slendro sounds on the notes “5/1” and “2/5” the difference is very clear. while the other two tones, namely the tone “2/4” and “3/3” when compared the sound between the pelog and slendro laras have very slight differences due to the microinterval aspect. the author’s two experiences in working on the work of “fonem” and the arrangement of “six marimbas” as described above, coupled with various references to contemporary music from western composers, resulting in a new work entitled “noname and nothing”. the application of the dasa nada system in this work will be described in detail. the work “noname and nothing” uses instruments with configurations, namely, saron and peking slendro, saron and peking pelog, demung and slentem slendro, demung, and slentem pelog, bonang “eusleum” (a mixture of pencon pelog and slendro), gong slendro, and kendang and kulanter. the initial idea for this work came when the author watched brian ferneyhough’s “bone alphabet” on youtube. this work uses a variety of percussion instruments played by one person. the percussion instruments that do not have a laras move randomly but the high and low sounds of these instruments compositionally make the impression of a certain laras (although this impression is very difficult to describe). in general terms, it can be said that a laras used in musical works such as major, minor, pelog, degung, slendro, dorian, and so on, always brings a certain impression/atmosphere. therefore, in the process of interpretation, musical works that use the laras will be easier to interpret than musical works that do not have a laras. this phenomenon occurred when the author heard the music “bone alphabet” by brian ferneyhough. when the author iwan gunawan, et al., the use of laras in contemporary gamelan music 171 first heard the work, it was a bit difficult to accept it psychologically, but after hearing it over and over and trying to understand this work, he finally found interesting things. that is the initial motivation of the author in working on the work “noname and nothing”. in the work “noname and nothing,” the nine-laras used are arranged in such a way that it has a variety of sound textures, ranging from melodic, to percussive sounds, both horizontally and vertically. to make it clearer, please see an example of notation from the beginning of this work in figure 13. figure 13. the beginning of the work “noname and nothing” with gamelan slendro pelog tumbuk a if we look at the notation above (especially the beginning), each striking instrument has an independent melodic texture. in this section, the beats on each instrument are not related to each other except at the end of the melodic sentence which emphasizes the difference in the sound of the tone “3 (na/lu) between the waditra with the laras pelog and the waditra with the laras slendro. another aspect is that the pitch is far and random, and the articulation of long and short notes gives the impression of a more percussive sound. in the next section, the sound texture can be divided into two parts, namely the melody and the chord. the melodic part of the bonang instrument still presents the impression of a “random” melody because of the concept of the laras. meanwhile, the chords played by the gong, demung, and saron/peking seem to respond to the bonang melody with vertical and dissonant tones. another thing that will be described in this work is tone processing at the end. in this section, almost all instruments play short sounds to produce a percussive sound and avoid a melodic impression. in addition, the dialogue tone “2 (ro)/4 (ti)” and “3 (lu)/3 (na)” from the two tones is very dominant, to question the micro-interval differences between the two tones. for clarity, please see the example notation in figure 14. figure 14. the texture of the percussive sound at the end of the work “noname and nothing” the garap concept of the dasa nada system in this work is based on music processing, including 1) creating a melodic texture with a random impression based on the high and low of the sound, the duration of the sound, and the sound color of the instrument used, 2) processing the horizontal and vertical tones, 3) considering the micro-interval tones, 3) creating “percussive” sounds from the configuration of harmonia: journal of arts research and education 22 (1) (2022): 161-173172 the instrument and the laras used. conclusion the results of the analysis process can be concluded that there are two directions of garap of the composers in using the tone system (laras) in gamelan music, namely limiting the number of tones, and expanding the number of tones. these two things are done to specifically affect the characteristics, characters, embat, and emotions of the contemporary music produced. in supanggah’s work, laras pelog, which has seven tones, only uses five tones, while in mack’s, the five-tone laras degung, only four tones are used. meanwhile, in the works of o’neil and gunawan, they use a “chromatic” approach based on a mix of 10 tones of pelog and slendro laras. in developing the aesthetics of gamelan music, the use and processing of tones with techniques that limit the use of tones can produce the impression of a new tone even though using a conventional tone. the analysis of the four works in this study is only a case or phenomenon of compositional techniques that focus on the use of laras in gamelan music. to understand more deeply the uniqueness of the four works, further research is still needed to obtain a more detailed picture of musical concepts and phenomena. however, this paper can inspire other composers to work on contemporary gamelan music. references angkasa, l. 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(2013). degung kreasi: kreativitas dalam fenomena karawitan sunda [universitas gadjah mada]. http:// etd.repository.ugm.ac.id/penelitian/detail/58806 vol.pdf � ��!� ���������" ���� �� ����#��������� ���������� ��� ������� ������ ������� ������ ��� ����������� ���� �3���� ��"������6 ���� ��'������������� ���#��������'����#������� �7��$ � �� � � � �$������� ���� �� ������ ������ ������� ����������� �����-�������������-�����9������ ����� ������������� � ����� ����� +� ��:�� ; ������� -����� ���� +� ��� ���� � ���� ������ �&���� ����� ���� ����� � ���� ������ -����� ���� � ���� * ������������ � ��� �������� ������ �� �� � �� ������� ���� � ���� � � ����� -����� ����� �� �� � �� ������� ���� � ��� ������� ����� ��������� � ��� �������� � ���� �� ������ �&���� ������+� ����������+� ��� ������ ��� �� ������� �� ��-������� � ������ -����� ����� �������� � ������ ����� -����� �&���� �&���� �� � ���� � �� � �������� ����� ������ ���������� � ������ ������ ������ ����� ���������������� 3��� � 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��!������6�*�������� *�������� � ;��� ���������������./2?��40��� � ���&������ �$����"������"������6�40������� *� ���� �"�������8��� ������*� ���� � ;��� ����� � ���� � �� ./1?�� " �9�� %������� c������� � � e�� &� "��� �� ���� -���� ���� � ���� ������� ��� �����./2@��40��a���@�� ��&������ �$����"��,���� ���"����� ���� 5�����6�4�& ������*������ ��5� �� ��� � ��� ���� ,��&�� ./22�� 4�������0,(�����$� "����� ��� #������������� � � ! �� �6� *� ���& �"�����,��� ����7�� ��� � ���&� ��&������"�"��� ./0=��4�������0�(�����$�"������� �e���6�4&a�� �"���� -����7� ������ � ���������*������%�n���'4������,������������������nn3'��!������6��� � ���;?�!���� .//<�� � ���������'4������������������� �.0���������./>1��-���6�8 ��������;<��������� )--;�� � +�� +��� ����� ./21�� a�� �� 8�� $ � 4� ��� � �� 8 � �/� �������� � �� � � ���=�� � !������6�@� ��� �� � � � � � � � � � � � � � 60 preserving gambang semarang music through the process of enculturation in the society eko raharjo, soesanto, tjetjep rohendi rohidi, udi utomo universitas negeri semarang, indonesia submitted: 2020-12-12. revised: 2021-02-17. accepted: 2021-05-09 abstract this study was devoted to investigating the preservation of gambang semarang music through the enculturation process comprehensively. two basic strategies were employed in examining research problems: using theoretical approaches in traditional music, preservation, and enculturation and a qualitative approach. further, the target and site comprised gambang semarang music preservation through the enculturation process among semarang people. the data were collected from observation, interviews, documentation, and library research. data validity applied source, time, theory, and researcher triangulation. the collected data and information were then analyzed inductively by relying on an interactive analysis model with the following steps: data reduction, display, and verification. it was suggested that the enculturation process of gambang semarang music within three generations in the nang nok gambang semarang group served as the activity of cultural awareness of society, artists, and performers. it was to carry out the enculturation process towards young generations, even children, as the future generations. the approaches to the teaching and learning process were modeling, conditioning, and internalization. such an enculturation process was proven to function effectively as the cultural mechanism and enculturation model in preserving gambang semarang music as the cultural identity of semarangan. keywords: enculturation; gambang semarang music how to cite: raharjo, e., soesanto, rohidi, t. r., & utomo, u. (2021). preserving gambang semarang music through the process of enculturation in the society. harmonia: journal of arts research and education, 21(1), 60-67 harmonia: journal of arts research and education 21 (1) (2021), 60-67 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i1.27722 and even extinction (harlenda, 2016; hendriawan & astuti, 2017; triyanto, 2015). according to (goertzen & bohlman, 1991), the impact of music modernization is the loss of traditional music or folk music. this resonates with stokes (stokes, 2018), pointing out that music modernization is more likely to be westernization with a variety of genres that are massively spread over mass and social media, making traditional music pressed. gambang (a xylophone-like instrument) semarang music as one of the semaintroduction entering the fourth industrial era makes various traditional arts often reported to experience alienation. some arts being expressed for decades and even hundreds of years ago have increasingly ceased to exist, along with the decreasing number of artists and art enthusiasts. the current development resulting from modernization or industrialization makes countless traditional art go through “negative” changes towards deterioration, marginalization, corresponding author: e-mail: raharjoeko1965@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 eko raharjo et al., preserving gambang semarang music through the process of encultur61 rang arts is among the traditional arts and parts of culture that goes through unstable development. the process to become one of the semarangan cultural identities is still carried out by the society, art performers, academics, gambang semarang music enthusiasts, government, arts groups, and formal and non-formal educational institutions (chasanah, 2009; raharjo & arsih, 2019). several studies have always been conducted to complete literacy repertoire regarding gambang semarang music. danang respati puguh (danang respati puguh, 2012), through the research in 1999, attempted to fully reconstruct the art of gambang semarang after going through a temporary slowing of development in previous eras. other studies from different disciplines in connection with the art of gambang semarang have also been done, including photography, law, broadcasting program, forms of performance, creativity, existence, and culture (annikmah, 2019; chasanah, 2009; linardi et al., 2013; mayasari, 2016; riyandri, 2016; sadtiti, 2016; septiyan, 2016; wicaksono et al., 2014). nevertheless, the aforementioned studies solely discuss gambang semarang art in general. meanwhile, studies that specifically examine gambang semarang music are forms and functions of presentation (mayasari, 2016), cultural hybridization process (widjajanti & bramantyo, 2012), and gambang semarang music as the semarangan cultural identity (raharjo & arsih, 2019). gambang semarang music, if viewed from cultural concepts, is a small part of the holistic meaning of culture. culture (or budaya in indonesian) is derived from sanskrit, i.e., buddhayah, as the plural form of the word buddhi that means intellect or mind. budaya also comes from the word “culture” in english (april, 2018; brown, 1998; clarke, 2008; cragoe, 2004; koentjaraningrat, 2002; reicher & hopkins, 2011). culture relates to human minds passed from generation to generation. the elements of culture consist of language, religion, belief, technology, family, economic system, government politics, art, tools and utensils, knowledge system, skills, livelihood, and others. as part of semarangan culture, gambang semarang music is still in self-actualization through many cultural activities. gambang semarang community is a society-based activity that pays great attention to the existence of gambang semarang and its music. besides, a non-formal educational institution, merby semarang club, also supports the gambang semarang music by forming a group called nang nok gambang semarang. today, the presence of such an art group undergoes ups and downs in its development (chasanah 2009; septiyan 2016), given that members who join and leave the group are directly proportional to the existing students in participating in the skill courses at merby semarang club. nang-nok group also plays a significant role in supporting the art of gambang semarang as one of the semarangan cultural identities. this cultural phenomenon is of interest to the researchers to further discuss, despite the challenges of unmoving modern and digital art groups. this matter raises a fundamental question of how art performers in gambang semarang music groups and nang nok group perform the cultural mechanism to maintain and preserve gambang semarang art in general and gambang semarang music in particular. drawing upon the above question, background of the study, and review on studies about gambang semarang music, no studies have discussed the enculturation process in preserving such music as the semarangan cultural identity. it is expected that the present research can produce an enculturation model in preserving gambang semarang music as the semarangan cultural identity through formal and non-formal education, or directly to the people by artists and family members. method this study relied on a cultural approach that was operationally actualized by elaborating a qualitative method (creswell, 2014; merriam & grenier, 2019). it harmonia: journal of arts research and education 21 (1) (2021): 60-6762 was conducted in the city of semarang, central java province. the main target was the enculturation process of gambang semarang music from the non-formal education perspective. subjects as data sources involved students, artists, bureaucrats, prominent figures playing gambang semarang instrument that consisted of the players of bonang, gambang, saron demung, gong, kendang, kong ah-yan musical instruments, and singers joined in nan-nok group of gambang semarang music, as well as key informants (instructor, the leader of gambang semarang group, and the manager of merby club). the required data or information were retrieved from an involved observation, in-depth interview, individual’s life history (cohen et al., 2005; jones et al., 2006; patton, 2014; sgier & sunday, 2012; willis, 2012), visual recording, and documents that included archives of art potential, culture, and welfare of semarang, photos and videos of practices and performances by nang-nok group, along with the findings of gambang semarang. in addition, the data validity test used source triangulation (sugiyono, 2013). the collected data were then analyzed inductively by applying an interactive analysis model by huberman (creswell, 2014; miles & huberman, 1994) through the following stages: data reduction, display, and verification. result and discussion education serves as the enculturation medium carried out systemically within a family, school, and community. as the enculturation medium, every formal and non-formal educational institution is expected to inherit and instill the systems of knowledge, belief, ideas, and community cultural values where the education takes place. merby semarang club, a non-formal educational institution in semarang, has organized some skill courses: english, mandarin, tutoring, chess, drama, painting, dance, drawing, modeling, music, public speaking abacus, singing, and wushu (chinese kungfu). merby club has skilled and professional instructors in their field from 2004 to these days. this is proven until this research was conducted that 500 students with different skills have joined the club. apart from managing various skills courses, the merby club is also the sole non-formal educational institution in semarang that still cares about the original semarang art, i.e., gambang semarang. it is actualized by forming an art group of gambang semarang called nang-nok group. the members are students participating in the skill courses and having dance and music as their hobbies. a discussion regarding gambang semarang music as among the semarangan cultural identities is undoubtedly inseparable from nang-nok group because it is one of the art groups of gambang semarang that remains existed. nang-nok gambang semarang is a youth community with the same goal, i.e., preserving the art of gambang semarang, including the music. this group is present as the regeneration of gambang semarang art. nang nok is an open art group, meaning that it allows all people, especially young adults, to join and have the common goal, i.e., nurturing (nguri-nguri in javanese) the culture, specifically the traditional art of gambang semarang. krisna (2019, january 19) opines that the nang nok group does not only consist of music artists, singers, and dancers, but also the general public, particularly young adults, who take into account and want to expand the art of gambang semarang. the idea of forming this group was initially from the owner of merby club art college, grace w. susanto. in 2004, grace met jayadi, an artist of gambang semarang art. at that time, jayadi and other artists were performing at someplace. grace was interested in music, and ended up talking about gambang semarang with jayadi. being intrigued by such an art, grace and gambang semarang artists finally reformed gambang semarang art by purchasing some gambang semarang instruments from jayadi and those originally from rembang. eko raharjo et al., preserving gambang semarang music through the process of encultur63 the practice space of nang nok gembang semarang is located at jl. mataram no.653, wonodri, semarang selatan district, semarang; the whole practice is done at the merby club. nang nok gambang semarang is an open group, making the members varied. this group is formed as a medium for young adults passionate about art and willing to preserve gambang semarang art. from year to year, nang nok gambang semarang regenerates its members to make all people, young adults, in particular, take part to preserve it. figure 1. nang nok gambang semarang at the workshop in oudetrap building, kota lama semarang (photo: eko raharjo 2019) enculturation process enculturation is a gradual process, and culture is a social inheritance. culture is passed from generation to generation through a learning process, both formally, non-formally, and informally. formal learning is mainly carried out in educational programs of educational institutions, such as schools, academies, universities, and job and skill training centers. here, all forms of spiritual and material culture, i.e., notions, ideas, norms, patterned activities, and any objects, are provided in lessons and curricula arranged and given systematically (triyanto 2015). non-formal education, on the other hand, is for people who need educational services functioning as a substitute, addition, or complementary of formal education in order to support lifelong education. among the administrators of non-formal education, merby club establishes gambang semarang group called nang nok. the process of member regeneration of nang nok group has constantly been experiencing twists and turns. the first crossgeneration in 2007 was coordinated by anugerah. it was called cross-generation because the members contrasted starkly in terms of age; some were older adults and some were young adults. this first generation of nang nok was trained by dimyanto jayadi and marjuri, senior artists of gambang semarang. as the ones who understood the history of gambang semarang music at that time, mr. jayadi and mr. manjuri trained the employees and merby semarang club each gambang semarang musical instrument. they all liked music, despite different educational backgrounds. limited insights of mr. jayadi on pedagogical science enabled the learning system to be done by directly giving examples of song notation being played verse by verse in each gambang semarang musical instrument. the players then modeled and played the notation being taught. further discussion about this process comprises several experts’ ideas stating that enculturation can be performed with three methods, as follows: (1) conditioning, (2) modeling, and (3) internalization/learning to cope (konnert & tieu, 2015; mapana, 2011; triyanto, 2015; zhang & moradi, 2013)la plupart des mesures d’acculturation sont uni-dimensionnelles, avec peu de données psychométriques pour les immigrants plus âgés. cette étude a évalué une mesure bidimensionnelle, l’indice d’acculturation vancouver (iav; ryder, alden, et paulhus, 2000. the learning model explained earlier can be theoretically considered modeling learning. the next step mr. jayadi did was repeating the notation until the learners memorized and were ready to have other notations. such a concept, if associated with the enculturation theory, falls under the conditioning method. according to the great dictionary of the indonesian language (here and after, kbbi), kelaziman (conditioning) comes from the word lazim, which means being accustomed to, becoming custom, the process of making harmonia: journal of arts research and education 21 (1) (2021): 60-6764 something become accustomed, custom, and accustoming. after the players had mastered all the song notations, mr. jayadi exemplified how the musical instruments sounded harmonious by showing expressions or fully living and breathing the music. if this stage is adjusted to the theory, it is considered internalization; according to kbbi, internalization means inner experience. through the process of enculturation (augros & stanciu, 1991; bing & mcneal, 1997; hannon & trainor, 2007; kong & pearson, 2005; konnert & tieu, 2015; zhang & moradi, 2013), (schönpflug, 2008) notes that culture is learned by children who grow in the society and find how their parents and surrounding people interpret their lives. living among the community enables the children to learn how to distinguish various matters, classifying and doing actions, evaluating the goodness and badness of something and the appropriateness of an action. (scupin, 2012) highlights that the absence of enculturation will cause humans to not think, behave, and develop oneself to function in society. different backgrounds of the members lead to numerous knowledge differences in terms of arts, especially music. based on such differences, one goal is discussed so that few creative ideas are raised (guilford, 1957; pope, 2005; runco, 2007; sternberg, 1998), and eventually resulting in enjoyable work. nang nok members themselves are male and female young adults who are passionate about learning the arts and preserving traditional arts of semarang. the first generation of nang nok lasted until 2013, along with the decline in mr. jayadi’s health as the main instructor. however, the long process of enculturation brought forth the successors of great artists of gambang semarang. besides practicing in merby semarang, the members of nang nok group also practiced at an art group “sobokart” semarang, under the coordination of mr. totok pamungkas. for approximately three years, nang nok group went through ups and downs in its development. the “sobokarti” art group was also completely devoid of art activities, causing the members to only practice at the merby club on saturdays and sundays. in 2016, nang nok group formed the second generation coordinated by johanis adityawan. the members included university students, catur as the kendang instrument player and majoring in mechanics, johanis adityawan as the gambang instrument player and studying at the department of communication, wulan as the demung player and majoring in psychology, maya as the saron player and studying at the department of marine, resa as the bonang player and majoring in fine arts, universitas negeri semarang. the process of learning or enculturation of gambang semarang music in the second generation was the same as of the previous generation with the following order: modeling, conditioning, and internalization/ learning to cope) (downey, 2008; kong & pearson, 2005; triyanto, 2015) the enculturation process in nonformal education at merby semarang club did not stop here. in 2018, the third generation of nang nok group was formed by involving course members interested in music. the club also spread out its range to schools to introduce gambang semarang art, specifically the music, to the students as the future generations. by this, they could love their own traditional arts and strengthened gambang semarang music as one of the semarangan cultural identities. nang nok gambang semarang group exceptionally maintains solidarity. until today, the group members participate and uphold a sense of community by regularly practicing on saturdays and sundays. on that ground, the enculturation process of gambang semarang music within the nang nok group can be depicted as an enculturation model in preserving gambang semarang music (see figure 2). eko raharjo et al., preserving gambang semarang music through the process of encultur65 figure 2. enculturation model in preserving gambang semarang music nang nok as a cultural group under nonformal education is excellent that is also supported by the well-managed art group. this is proven by a large amount of performance by nang nok group since its establishment until now, e.g., performance at trade office of central java, warung semawis (2007), anniversary and launching of “berapung-apung” book by dr. abu suud at great mosque convention hall of central java, medical symposium and seminar on neurosurgery at the hotel (2008), presidential inauguration of jokowi at mcc (2014), art market at raden saleh cultural park, mikom undip gathering, exhibition opening of the life and work by thomas karsten (2016), performing with the gambang semarang gambang group on one stage “srawung semarangan”, gki youth gathering (2017), and enlivening the launching of “peranakan tionghoa indonesia, sebuah perjalanan budaya” book, collaborative performance of gambang semarang art, mini concert of gambang semarang (2018), conclusion the present study concludes that the enculturation process of gambang semarang music within three generations in the nang nok gambang semarang group serves as the activity of cultural awareness of society, artists, and performers. it is to carry out the enculturation process towards young generations, even children, as the successors. the approaches to the teaching and learning process are modeling, conditioning, and internalization. such an enculturation process is proven to function effectively as the cultural mechanism and enculturation model in preserving gambang semarang music as the cultural identity of semarangan. it is suggested that all parties who concern the preservation of traditional art potentials can adopt the inheritance pattern as a development strategy towards performing arts in their regions. references annikmah, f. p. 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(2013). asian american acculturation and enculturation. the counseling psychologist, 41(5), 750–790. 23 church music inculturation by way of an experiment of arrangement of dolo-dolo mass ordinarium accompaniment composed by mateus weruin for woodwind quintet yohanes ruswanto, juanita theresia adimurti department of music, universitas kristen satya wacana, salatiga, indonesia received: january 13, 2017. revised: march 10, 2017. accepted: may 13, 2017 abstract inculturation of church music in an experiment of creating this arrangement aims to bring a different form of musical ordinarium accompaniment form of dolo-dolo mass from flores, with a different media that uses the woodwind quintet (flute, oboe, clarinet, french horn, and basson). the experiment took one of the ordinary songs from madah bakti “tuhan kasihanilah kami”. the harmonization fine-tunes to the chorus arrangement composed by mateus weruin. the literature study was conducted through collecting references on the art of dolo-dolo and woodwind quintet so it can be used to create an idea for this arrangement. the result shows that a rhythmic character that characterizes the traditional flores music lies in a dotted sixteenth pattern. the richness of sounds and agile characters coming from each instrument creates a percussive atmosphere of flores folk music. the result of the arrangement experiment can be used to enrich the reference of accompaniment music to the general public and specifically, the catholic church. keywords: inculturation of church music and woodwind quintet how to cite: ruswanto, y., & adimurti, j. t. (2017). church music inculturation by way of an experiment of arrangement of dolo-dolo mass ordinarium accompaniment-composed by mateus weruin for woodwind quintet. harmonia: journal of arts research and education, 17(1), 23-30. doi:http://dx.doi.org/10.15294/harmonia.v17i1.8467 harmonia : journal of arts research and education 17 (1) (2017), 23-30 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i1.8467 of holy service in which each service has a different function from the other. ordinarium is a term used to make it easier to refer to the five songs in eucharist whose lyrics never change, i.e. lord have mercy on us (kyrie eleison), glory (gloria in excelsis deo), i believe (credo), holy (sanctus), and the lamb of god (agnus dei). (martasudjita, 1998, p. 43) the term inculturation comes from a background of missionary theology that began to develop after vatican ii along with other terms, such as: accommodation, adaptation, acculturation, indigenization etc. the term inculturation appeared to stem from a conception in anthropointroduction the catholic church uses a classic term for singing or praising included in the order of mass (tpe), as proprium and ordinarium. the term proprium refers to a part of mass chanting that changes/alternates or commonly known as thematic. for example, on every sunday of the year, the church shall use different themes of eucharistic, and this is automatically associated with the choice of singing. the theme refers to a liturgical calendar drafted and established by leaders of the worldwide catholic church and the ordinarium refers to a fixed mass. ordinarium is a part p-issn 2541-1683|e-issn 2541-2426 corresponding author: jl. diponegoro, no. 52-60, salatiga, jawa tengah 50714 e-mail: yohanes.ruswanto@gmail.com harmonia : journal of arts research and education 17 (1) (2017): 23-3024 logy: an enculturation which is a personal adjustment of a person to a particular culture, with the intention to become part of a culture, and acculturation i.e. a meeting between a culture and an acceptance of cultural elements of a foreign culture (martasudjita, 2009, p. 62). inculturation of the ecclesiastical liturgical music is always closely related to traditional music, especially the songs used during rituals and celebrations in a church. the inculturation or “indigenization” of liturgical music aims to celebrate the church liturgy in a manner and atmosphere that is in harmony with the cultural flavor of the worshippers. in other words, the worshippers are invited to live the song, the prayer, the symbols/embellishments, and rituals through the use of the “language” they understand (prier, 1995, p. 3) the inculturation of ecclesiastical music takes place over a process of development throughout several stages (prier, 1994, p. 18), i.e. the four stages of inculturation, namely: 1) translation, a process of lyrics translation from any foreign languages (dutch, german, latin, english) into indonesian language and/or local languages is done while preserving the original song (foreign); 2) transfer, the element of original culture is unchanged; however, it is mainly taken over. in this stage, an outward migration occurs, because the transferred cultural element remains the same as before. it is like a local song is taken over and the verses are replaced; 3) adjustment, an adjustment is a cultural element that undergoes a modification, adjusted to a place or a new role in worship. for example, a form of ladrang (large gendhing with 2 musical sentences and 2 gongs) is used as a refrain, turned into 8 bars (1 gong). this adjustment is difficult, because the lyrics must be adapted to a regular musical sentence; 4) new creation, cultural elements must be created or a new element must be formed, especially, for worship that is based on local culture. at this stage, a music inculturation has been accomplished in accordance with the goal of inculturation. the basis of liturgical inculturation (prier, 1995, p.3) is the recognition of culture indirectly created by god through his creation. christians believe that a culture is a form of god in christ “incarnation” who turned himself to be human and showed god’s kindness to the world. the presence of christ in the world is represented by a culture i.e. hebrew, however, his presence in the world has inspired the inculturation of local culture and liturgy. nonetheless, inculturation must follow the paschal mystery pattern; on the one hand the church must dare to abandon the cultural color it carries when it comes to a place. the church must dare to abandon the old cultural dress, and then put on a new outfit that is in harmony with local cultural customs. that’s where the church will rise up and come up with a new face that is allround fine-looking and harmonious in the local socio-cultural context. on the other hand, local culture must be ready to die to be raised again. elements that are not aligned with faith must be removed, while the good elements are retained. local culture when combined with the christian faith will display new wealth amid the traditions of the nation. the inculturation of church music as the above example is not an attempt by the church to simply adopt a regional song and replace its lyrics with new spiritual lyrics. the inculturation of church music should be understood as an endeavor to seek the pattern, style, atmosphere, and rhythmic patterns of traditional music and then process them into new songs. but inculturation itself also needs to be studied carefully as it can potentially divide the church into churches with local nuances. inculturation must therefore always be balanced with the effort to preserve the old church tradition of the western church (prier, 1995, p. 5). the use of western wind brass ensembles (metal wind or woodwind) as a musical accompaniment in eucharistic mass, especially the ordinary singing is not a common practice of the catholic church in indonesia. based on this conyohanes ruswanto & juanita theresia adimurti, church music inculturation by way ... 25 sideration, the authors are interested in experimenting arranging an arrangement of an accompaniment for a choir using a media of woodwind quintet ensemble. the richness of sound and character in each of these woodwind instruments is expected to help bring up the atmosphere of flores percussive folk music. the experiment arrangement of this musical accompaniment refers to harmonization of a choir already composed by mateus weruin. mateus weruin is the composer of dolo-dolo ordinarium. the material of this experiment refers to the indonesian catholic church eucharist celebration, especially in java island, i.e. the ordinary songs which consist of: lord has mercy on us, the glory, the holy and the lamb of god. the idea of this experimentation in the formation of woodwind quintet ensemble comes from the motivation to involve a section of the wind instrument in liturgical music. the use of instruments other than organs is needed, to open the minds of people about liturgical music. the above has been written that the ordinary is part of a holy mass with each part having different functions. one song to be taken as an example in this analysis is “tuhan kasihanilah kami (lord have mercy on us)” method the research method used in this experiment is literature study, an exploration through references related directly or indirectly to the object of this material. in this study, the authors perform three stages of data collection, data processing and data analysis. data collection includes collecting reference books on eucharistic celebrations, dolo-dolo art and woodwind quintet. data processing in question creates an arrangement of ordinary accompaniment with reference to the collected data. the result of the arrangement is analyzed after data processing phase is completed. results and discussion east nusa tenggara is one of the provinces in indonesia that has a wide variety of tribes, languages, arts, religions, and customs. the local traditional art in east nusa tenggara is usually presented in a series, performed together with traditional musical accompaniment. art-dolo dolo is an art that presents the art of music, dance and literature. in addition to the above, dolo-dolo is also an oral tradition amongst the natives in east flores, which include giving advice, instruction, as well as allusions to the lives of locals. the said art takes the form of ‘pantun’ which is sung with music that is profane or secular. the dance is presented in a circular motion. songs and traditional dances are an expression of life, capable of inspiring repertoire of hymn; one example is the creation-dolo dolo singing to the chorus in the form ordinarium. it started in 1974, when the diocese of larantuka, east flores had a new bishop, monsigneur (mgr) darius nggawa. determined by the pride of the appointment of a local native son as the local bishop, mateus weruin, a music teacher who was quite famous across east flores, composed a mass using idiomatical local culture to create a dolo-dolo mass (prier, 1995, p.7) the soul of the percussive local folk music is very strong in the composition of this choir. this creation by mateus weruin seemed to be in line with the decision of vatican ii in 1965 to produce indonesian liturgical music based on the (local) ambiance. every member of the woodwind instrument has a different sound and character. many of the classical and romantic composers used woodwind instruments as the solo instruments in their works. when arranged properly, woodwind instruments can create a festive atmosphere but also solemn one. the character of woodwind instrument that is agile and dynamic, is very much in line with the lively dolo-dolo rhythmic character auditory information as regards to the rhythmic patterns of dolo-dolo music was acquired through the sound recorharmonia : journal of arts research and education 17 (1) (2017): 23-3026 dings which are then transcribed into notation. figure 1. rhythmic patterns of dolo-dolo in the book of madah bakti accompaniment, published by yogyakarta liturgical music center, the writing of the above rhythmic pattern converts as follows: figure 2. writing of rhythmic pattern converts the change of time signature from 6/8 to 2/4 is intended to make it easier for people to sing it. in the experimentation of mass-musical accompaniment arrangement dolo-dolo, a cheerful percussive pattern emerges through the sixteenth dotted rhythmic pattern. based on this consideration, the woodwind instrument with a lively character was selected as the media for writing a music arranger accompaniment mass-dolo-dolo. in the new grove dictionary music and musicians, malcolm boyd defines the arrangement as follows: the reworking of a musical composition, usually for a different medium from that of the original (stanley sadie 1980, p. 627) (writing back a musical composition for a different medium than the original). in the new college encyclopedia of music, ja westrup and fii hurrrison thought an arrangement as: …the adaptation of a piece of music so as to make it suitable for performance by the forces of which it was originally composed. (westrup and hurrison, 1960, p. 34) (adaptation of a song so as to make it suitable to be presented in a different formation than the original composition). both have the same meaning or interpretation, i.e. rewriting an existing piece of music to be suitable for presentation in a different musical instrumentation formation. based on the above explanation, the experimentation of creating an arrangement of musical accompaniment for dolodolo mass is more inclined to the opinion of hurrrison ja westrup and fii. analysis of lord have mercy on the us (dolodolo mass) the song ‘lord have mercy on us’ was selected from several songs in this ordinarium, and serves as an example in the work analysis. in analyzing or studying the song, the authors refer to the following books: science shape music, madah bakti choir, madah bakti accompaniment (organ). the terms used in the analysis include the following: 1) period, uses uppercase like a, b, c and so on, and if the sentence/period is repeated with accompanying changes, then the capital letters are accompanied with accent marks ( ‘ ) such as aa’; 2) phrase/clause, distinguishes between question phrases and answer phrases, the code used is lowercase, such as a, b, and if the clause/phrase is repeated with accompanying changes, then lowercase is accompanied with accent marks ( ‘ ) as aa’; 3) song pattern is a song element consisting of a number of tones that are united by one idea/thought, the code used is lowercase such as m, n, and so on, and if the pattern is repeated with the change, then the lowercase is accompanied by an accent mark ( ‘ ) such as m, m ‘. melody form the scheme: period a: 0 /2 16/1 question phrase 0/2 – 9/1 answer phrase 9/2 – 16/1 period a: 16 / 2 32 / 1 question phrase 16/2 – 25/1 answer phrase 25/2 – 32/1 period a: 0 / 2 16 / 1 question phrase 0/2 – 9/1 answer phrase 9/2 – 16/1 yohanes ruswanto & juanita theresia adimurti, church music inculturation by way ... 27 third bar, it now uses a special arrangement. in the first notation french horn plays the main melody (cantus firmus). oboe in a large third distance as above has a function to thicken and ascertain the main melody. flute, clarinet and bassoon function to form a parallel harmony. one sixteen tone of french horn and oboe aims to illustrate the rhythmic pattern of traditional flores dances sung by simple percussion instruments. the chord progression on the intro section is as follows: v7 – i – iv – i. the tempo sign at the beginning of the intro uses the mm 80 moderato, while the dynamic sign is as follows: zero bar of the second tap is a hanging tap played rather softly (mezzopiano), then gradually becomes louder (poco a poco crescendo) until it reaches its peak on the third bar. on the fourth bar, it softens (decrescendo) up to the seventh bar back to the sign of the dynamic of the mezzopiano before getting into the main song. figure 4. notation (intro arrangement structure) based on the form structure scheme, it can be concluded that the song “tuhan kasihanilah kami” consists of one part with the formula a a’ a. the period a consists of sixteen bars divided into nine bars of question phrases and seven bars of answer phrase. the nine bars of question phrase consists of a four-bar of pattern m and a five-bar of pattern n, while the seven bars of answer phrase consists of a two-bar of pattern m and a five-bar of pattern n the period a’ consists of sixteen bars divided into nine bars of question phrase and seven bars of answer phrase. the nine bars of question phrases consist of a fourbar of pattern m2 and a five-bar of pattern n, while seven bars of answer phrase consists of a two-bar of pattern “m” and fivebar pattern “n”. therefore, the melody form scheme can be elaborated into: period a: question phrase (m, n); answer phrase (m ‘, n’) period a ‘: question phrase (m2, n); answer phrase (m ‘, n’) intro intro is a section at the beginning of a composition or a song that serves as an intro to the main song. the intro to the song “tuhan kasihanilah kami” was created using a melody from the answer of period a namely the sixteenth bars of the second tap up to the twenty-third bars of the first tap, the total number of bars is seven bars i.e. bar zero of the second tap to seventh bar of the first tap. although the main song is the same as the sixteenth to the twentytuhan kasihanilah kami figure 3. the song “tuhan kasihanilah kami” taken from madah bakti 184 book, madah bakti mix choir volume i and madah bakti accompaniment (organ) volume i harmonia : journal of arts research and education 17 (1) (2017): 23-3028 period a on the seventh bar of the second tap, the flute along with the soprano and tenor sound play the main melody, while the other instruments play the accompaniment. the first note on the eighth bar was played simultaneously with a loud accent and then softened. on the ninth to the eleventh bar, oboe, clarinet, french horn and bassoon together with the soprano affirm the question phrase. the lyric at the beginning of the song is a prayer, namely “tuhan kasihanilah kami.” the first part of the question phrase to the ninth bar, using the mezzoforte dynamics sign, while the ninth to tenth bar using the decrescendo dynamics sign. although oboe, clarinet and french horn on the ninth to the tenth bar, play a different rhythm and serves as a companion, the three instruments also serve to emphasize the question phrase. bassoon continues to play its function as bass, in addition to occasionally appear affirming the question phrase. figure 5. second notation, bar 7/2 to 11/1 on the eleventh bar of the second tap, the clarinet serves as a transposition instrument that has a distinctive sound and takes over the main melody from the flute and continues the question phrase sentence until the sixteenth bar of the first tap. this section uses the dynamics sign of mezzoforte and on the long tone, the dynamics sign turns into decrescendo. flute, oboe, french horn and bassoon on the twelve bars still function as the accompanist, although sometimes perform as a parallel harmony as seen on the fourteenth bar. the dynamic sign for flute, oboe and french horn is the piano, which then with the addition of crescendo became mezzoforte the sixteenth bar of the first tap of the phrase is the end of the question phrase. figure 6. third notation, bar 11/2 to 16/1 on the sixteenth bar of the second tap to the twenty third bar of the first tap, the french horn plays the main theme as the answer statement. this melody is the same repetition of the music theme in the intro. the dynamic sign is used, namely: mezzoforte and poco a poco crescendo. on the eighteenth bar of the second tap, there is a variation of tone that moves to its climax on the nineteenth and twentieth bars. the bassoon on the seventeenth to the nineteenth bar remains to play the accompaniment by using long tones in the dynamic sign of mezzopiano. after playing long tones, flute, oboe and clarinet on the twentieth bar, it helps to thicken the peak of the response sentence. on the twenty-first bar of the second tap to the twenty-third of the first tap, the flute, oboe, clarinet and bassoon repeat the same pattern to establish the response statement as well as ending this sentence. figure 7. fourth notation. bar 16/2 to 23/1 period a’ oboe, together with the soprano and tenor voice start the interrogative sentence in the sign of dynamics of mezzoforte and decrescendo. on the twenty-fourth bar of the second tap to the twenty-seventh bar of the first tap, french horn and bassoon play the long-accented tone in the crescendo yohanes ruswanto & juanita theresia adimurti, church music inculturation by way ... 29 dynamic sign. on the twenty-fifth bar up to the twenty-seventh, the clarinet answers the question by playing a different pattern in the form of one-sixteenth tone passage note showing its agility. the flute strengthens the soprano’s voice from the twentyseventh bar of the second tap to the thirtysecond bar of the first tap that at the same time ended the interrogative sentence. figure 8. fifth notation, bar 23/2 to 32/1 on the thirty-second bar of the second tap, the clarinet plays the response sentence. other musical instruments support the creation an atmosphere of submission with a clarinet through a simple melody. figure 9. sixth notation, bar 32/2 to 39/1 conclusion the inculturation of church music can be a process of reciprocity between the local cultures and the style of church observance. the media to apply inculturation can be performed in many ways or forms. a literature study of reference book collection on inculturation of church music, dolo-dolo art, and wood wind-instruments create a musical idea realized in the experimentation of ordinaries musical arrangements, especially in “tuhan kasihanilah kami”. the rhythmic character that characterizes the traditional flores music lies in a dotted one-sixteenth pattern, the author expressed it in various sounds and the characters of a woodwind-instrument. one example of the use of flores percussive musical idiom is in the song intro of ‘tuhan kasihanilah kami’. the use of a one-sixteenth rhythm dotted on 0/2 to 2/1 bars continued by 2/2 to 3/1 by developing the pattern of rhythm played by a french horn. a similar pattern of rhythm is played by the flute and oboe which serves as a fill in the empty space of the rhythm, and at the same time enriching the sound. a one-sixteenth rhythm pattern and its variations will always appear in the song. references adimurti, j. (2011). inkulturasi musik gereja di batak toba dan simalungun (inculturation of church music in batak toba and batak simalungun). harmonia: journal of arts research and education, 6(3). boyd, m. (1980). the new grove dictionary of music and musicians. london: macmillan publisher ltd. hardawiryana, r. (1993). konstitusi tentang liturgi, translation. jakarta: dokpen kwi. kennan, k. & grantham, d. (1997). the technique of orchestration. new jersey: pretice-hall, inc. martasudjita, e. (1998). paham dasar perayaan liturgi uma, dalam musik gereja zaman sekarang. yogyakarta: pusat musik liturgi. martasudjita, e. (1998). penyajian musik gereja dalam perayaan liturg dalam musik gereja zaman sekaran.yogyakarta: pusat musik liturgi. prier, k. e. (1996). ilmu bentuk musik. yogyakarta: pusat musik liturgi. prier, k. e. (1995). inkulturasi nyanyian liturgi. yogyakarta: pusat musik liturgi. prier, k. e. (1988). kedudukan nyanyian dalam liturgi. yogyakarta: pusat musik liturgi. prier, k. e. (1998). musik gereja dari abad ke abad, dalam musik gereja zaman sekarang. yogyakarta: pusat musik harmonia : journal of arts research and education 17 (1) (2017): 23-3030 liturgi. prier, k. e. (1993). sejarah musik jilid. yogyakarta: pusat musik liturgi. pml. (1988). ordinarium dolo-dolo, madah bakti–buku iringan jilid i. yogyakarta: pusat musik liturgi. weruin, m. (2000). ordinarium dolo-dolo, madah bakti 2000 – buku kor campur jilid i edisi baru. yogyakarta: pusat musik liturgi. rowley, g. (1999). the book of music. london: chancellor press, octopus publishing group ltd. westrup, j. a. & hurrison, f. i. i. (1960) arrangement, the new college encyclopedia of music. new york: w.w. norton & company inc. yampolsky, p. (1994). seri musik indonesia 8 – musik vokal dan instrumental dari flores timur dan tengah. buklet kaset mspi: smithsonian/folkways 123 teaching and learning music in digital era: creating keroncong music for gen z students through interpreting poetry hery supiarza, irwan sarbeni universitas pendidikan indonesia, indonesia submitted: 2021-01-19. revised: 2021-03-23. accepted: 2021-04-26 abstract this study aims to examine the ability of ‘z generation’ students to interpret poetry. the z generation lives in the digital technology era where they tend to possess liberal and intelligent character. poetry was chosen since this literature type has historical closeness to keroncong music, especially in the keroncong stambul and keroncong eras in the 1950s. the issue of keroncong, whose development has been stagnant since the 1980s, is expected to trigger the z generation to emerge a solution in the form of keroncong music. the action research model used in this research was implemented through 6 stages: preparation, implementation, production, mixing and mastering, discussion and evaluation, upload, and publication. this project was applied to 33 students who were divided into five groups of 6 to 7 members each. each group received a different poem. the project resulted in 5 keroncong works and emerged a new keroncong music genre called ‘kroncongisasi puisi.’ the study found that the learning achievements of the z generation were achieved due to several factors: (1) their brilliant abilities in accessing various information digitally; (2) the digital age contains all the information they need; (3) their liberal nature makes them open to modernity. regarding the process of creating keroncong, the researcher found ten steps in the composting process: 1) interpretation, 2) composing song melody, 3) implementing the melody with accompanying musical instruments, 4) creating harmony framework, 5) practicing, 6) recording, 7) mastering, 8) shooting, 9) editing, 10) publishing. this study result was recommended to the keroncong community, government, and education community. keywords: teaching and learning, z generation students, keroncong music, interpreting poetry how to cite: supiarza, h., & sarbeni, i. (2021). teaching and learning music in digital era: creating keroncong music for gen z students through interpreting poetry. harmonia: journal of arts research and education, 21(1), 123-139 harmonia: journal of arts research and education 21 (1) (2021), 123-139 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i1.28585 by this, the students – which were categorized as the z generation – were supervised to create a keroncong song based on poetry. this subject is typically a prerequisite. students start taking this course in the second semester. the course is called history of nusantara music analysis i. the subject discusses the dissemination of music around nusantara, which is affected by other cultures like tanjidor, introduction composing keroncong music through interpreting poetry was applied to the students of the department of music education, faculty of arts and design education, universitas pendidikan indonesia (fpsd upi). the project was served through the 3rd semester’s subject, ‘the history of nusantara music analysis ii.’ corresponding author: e-mail: herysupiarza@upi.edu p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 21 (1) (2021): 123-139124 tarling, gambus, and malay. in the process, the history of nusantara music analysis provides theory and practice to students to analyze basic music scattered throughout the archipelago. meanwhile, in the history of nusantara music analysis ii, students only explore keroncong music as a unit of nusantara music through practice. according to the author’s observation, the practices held previously in the history of nusantara music analysis ii were limited only in imitating the existing keroncong songs. the students played the song in their groups. this practice seemed to be less developed and done as just a subject completion. therefore, students were willing to do it. after getting their score on the subject, the practice was stopped and discontinued. hence, through this project, the author tried to serve students the opportunities to comprehensively deepen the important elements of keroncong (both its composition and lyric) and encourage them to make brand new creations and innovations. another reason for carrying out this research was that keroncong was currently deemed a preserved type of music and suffered a lack of development. not so many keroncong music works have been made today. the creation is mostly imitations and less acceptable to today’s youth flavor (fauziah & rachman, 2017; rachman, 2013; rachman & utomo, 2017, 2019; ramadhani & rachman, 2019). the characteristics and elements of keroncong music are the basics that the student should comprehend to understand keroncong music. this is also the main requirement to allow the student to understand keroncong music. keroncong is an acculturated music that emerged through the invasion of a foreign nation to indonesia, mainly portuguese and dutch (ganap, 2006). besides, in the musicology context, keroncong is distinguished from the other sorts of music. the specific characteristic can be identified from its instrument repertoire, which consists of cak, cuk, cello, guitar, bass, violin, and flute (sanjaya, 2018). the cuk and cak are transformed from the ukulele instrument which is played in rasgueado (sanjaya, 2018). the cuk and cak may be called in various terms in some keroncong music. in keroncong tugu, for instance, they are called prounga and machina (ganap, 2011), while in keroncong jakarta, they are called ‘keroncong’ and ‘tenor’ (supiarza, setiawan, & sobarna, 2019). keroncong is divided into some kinds, which are resulted from the hybrid process (ganap, 2000). in addition to keroncong’s characteristics, one of the important elements in keroncong music is its lyric. in keroncong music, the development of lyric has gone through a long journey that began from the 1880s where it was first taken from the text of stambul comedy. its initial story was written in the malay language, and the text was composed of 2 ‘formals,’ poems, and poets. pantun can achieve a high level of literature, but the verses sung with keroncong melody are folk poems. it is not always polished and smooth (yampolsky, 2010). theoretically, the poem has its own music, one of the literature where the sound and pattern contain concept and reference (green, 2011). but the need of poem musicality depends on its current period’s aesthetics (green, 2011), according to the mentioned description, in this research we try to interpret the poetry which align with the z generation current aesthetics. the poetry selected in this project was poetry of hasta indriyana titled ‘piknik yang menyenangkan’ (an exciting picnic), which was selected considering its resemblance to a common song lyric and representing youth. hasta is a poet figure with who the author closes with. this opportunity allowed the author to be more cooperative in having permission and coordination in composing keroncong music from his poetry (this act is called a ‘kroncongisasi puisi’). poet is a sound. in a poet, the sound is aesthetics and related to the elements of music, song, melody, rhythm, etc. (pradopo, r, 2009). likewise, music as a culture of sound, one of the important elements of a poet is sound, so the poet and music have a strong relatihery supiarza & irwan sarbeni, teaching and learning music in digital era: creating ker125 on. through this supervision, the students were directed to learn keroncong song lyrics and poetry that would underly their brand new keroncong song creation and created a new discourse of keroncong music within students, particularly the youth generally. therefore, it was necessary to supervise the kroncongisasi puisi (illustrating poetry reading with keroncong music) process. based on the background mentioned above, there identified some issues as follows: (1) the lack of students skills to deepen the keroncong song lyric, (2) the minimum of keroncong song repertoire mastered by the students, (3) the lack of students skill to learn poetry, (4) matter of students bravery to create a keroncong song based on the poetry, (5) the need of developing a new form of keroncong music that is adaptive to the today’s sense. ultimately, this research and supervision aimed to give the z generation students space in the history of nusantara music analysis ii subject to compose a keroncong music work out of poetry. kroncongisasi puisi is a new offer in the development of keroncong music in indonesia. it is expected to raise a new spirit for the practitioners of keroncong music, especially the z generation, and ultimately contribute to the renewal of keroncong music, which is considered just ancient music that enjoyed mainly by an elder. in addition, it also can be considered as the z generation’s conceptual contribution to the development of keroncong in the digital era. the development of digital technology or the digital era has changed people’s mindset and field of education and stated that the digital revolution had changed our works, association, and schedule. it also affects how teenagers and children play, require the information, communicate with one another, and learn (srinivasan et al., 2017: p. 10). yet, the development doesn’t change most colleges or teaching and learning processes in the class. the colleges are demanded to perform an alteration in the context of the digital era, and so is music learning. the examination of the digital creative impact in the music education of the 21s century was ever done (gouzouasis & bakan, 2011). in the last decade of their research, it is found that digital technology has fundamentally changed the making, sharing, teaching, and learning of music and these were rapidly developed. then, they conclude that music educators should be able to follow the emerging trend to keep relevant with the youth culture. yet their research just contributes an exclamation of the future curriculum revolution without demonstrating a concrete example. responding to the previous research, this research contributes more a concrete example of music learning struggle in colleges with the music keroncong as the media. the theory which the students had learned in the history of nusantara music analysis i subject was then implemented through music practice in the history of nusantara music analysis ii where selected genre of the practice was keroncong. based on the researcher’s analysis, the students could feasibly comprehend what they were learning about by practicing it. in this context, the students themselves experienced their musical practice immediately. in the final semester, they played the keroncong and explained their play to the audience. on the contrary, they previously used to imitate the existing keroncong song to be played, and consequently, they could only play based casually. the students involved in this project were those 2017 batch who were mostly born in the 2000s and categorized as the z generation – as linnes (2017) stated that 1995 to present birth year is the z generation birth year. in addition, it is found that the production of keroncong music went significantly lower from the 80s to the present – comparing with its victory around 30s, 50s, 60s and 70s. the keroncong music had actually reached the top of its popularity around 1920 through the gramophone recording industry of beka company, odeon, colombia, polyphone, ultra, edison bell, tio tek hong, yktj & pplr, angsa, harmonia: journal of arts research and education 21 (1) (2021): 123-139126 delima, canary, triplex, and extra. it was ranked at 2nd and 3rd most popular among other music genres (yampolsky, 2013); the following illustrates keroncong popularity in that year: table 1. malay/straits region (m/s ) popular music category, 1920–42 *(m/s) popular music (mspm) % of mspm m/s popular music (unspecified) 1606 55.55 melayu repertoir (tentative) 738 25.53 3. kroncong 378 13.08 4. stambul 45 1.56 5. kembang kacang 2 <0.00 6. hawaiann 30 1.04 7. jazz accompaniment 3 0.10 dei popular music issued in m/s dei a. malay language 14 0.48 b. dei regional languages (acehnese, toba, ambon, bawean) total 75 2891 2.59 99.93 *the dutch east indies (dei) was a colony of the netherlands, while the malay/straits region (m/s) was a british colony. table 2. the dutch east indies (dei) popular music category, 1920–42 dei popular music (ipm) % of ipm dei popular music (unspecified) 1414 34.79 kroncong 1424 35.04 stambul 226 5.56 hawaiian 261 6.42 melayu repertoir (tentative) 206 5.07 jazz accompaniment 98 2.41 kembang kacang 14 0.34 military 2 <0.00 nationalist 18 0.44 popular music dei regional languages (manado,javanese, sundanese, ambon, sangir, batak, banjar, aceh, bugis, makasar) 374 9.20 m/s popular music issued in dei total 27 4064 0.67 99.94 in 1930s, through nirom, voro, vorl, pprk radio broadcasts (suadi, 2017), keroncong came to be a great vogue for indonesian. it proves that 1930s was the glory period of keroncong music. this popularity can also be seen in the research, which was written as a dissertation titled music and media in the dutch east indies: gramophone records and radio in the late colonial era, 1903-1942 (philip bradford yampolsky, 2013) – as a researcher has explored from sorts of existing literature such as books and keroncong anthems which were popular in every keroncong music festival. the researcher acquired this data from a literature study (philip b. yampolsky, 2010), which discussed keroncong in the 1920s and the data of keroncong production from a book ‘rupa-rupa musik keroncong tahun 1940-1970an’ (b, 1979). the bellow table shows the amount of keroncong song based on its period: table 3. production estimation of keroncong music based on its period: period keroncong (kr) langgam (lgm) stambul (stb) total 1920-1942s 1424 226 1650 1950-1970s 157 95 15 267 1980-present table 3, 1920-1942 is an estimation of research record (yampolsky, 2013) researcher concluded from gramophone recording production. for the 1950-1970 period, it was counted manually. keroncong song production in 1950-1970 was filtered based on its popularity within the keroncong community, where they played the song and took place to record. for the period 1980s, no keroncong song creation was found. even if it was, it was excluded from the criteria required in this research (supiarza, 2019). the dissertation states that keroncong works were legitimated neither by the music industry nor keroncong community. this means that keroncong works did exist but with poor legitimation. keroncong music keroncong music, in other words, is an identity of indonesian struggle, spirit, and pluralism entity of this nation. keroncong music began in the early 20th century; hery supiarza & irwan sarbeni, teaching and learning music in digital era: creating ker127 some speculate keroncong music to have been brought by the portuguese in the 16th century (ganap, 2006) when indonesia was under portuguese colonialism. keroncong is a combination of music, acculturation, and crossbreeding that produces a hybrid culture (ganap, 2011). the acculturation is not only with portuguese as ganap mention in his article “pengaruh portugis dalam keroncong tugu”, but ducth also held an important role to this acculturation (barendregt, bart. bogaerts 2016). the phenomena of naming such this music were limited in the meaning of the keroncong music itself, but it meant more as an identity in the development of keroncong music with its aesthetics paradigm. according to (sullivan, 1993) a paradigm is a process of forming a concept, model, or conventional point of view to a fact. according to this definition, aesthetics paradigm in this research approach processing of creating an image or aesthetics model to be conventionally agreed by all keroncong music players, as to how the forming of keroncong music performance concept in a global era that is interpreted by bandung youth generation to embody the role model as a proposal for millennials (supiarza, h. sobarna, c. sukmayadi, y . mulyadi, 2018). this research aims to emerge the new composition of keroncong music by z generation as their song product and extend the keroncong song collection in response to the decreasing production of the keroncong song. even the literature which talks about keroncong production had been hardly found since 1990 until today. according to the various concept of developing keroncong music, some playing styles underlies keroncong music repertoire. there have existed keroncong asli, stambul, langgam keroncong, langgam jawa, keroncong tugu, and keroncong extra (harmunah, 1996). in addition to those conventional keroncong music genres, keroncong music contains sets of regulation called ‘pakem’. for instance, in singing context, the terms gandul, gregel, or alike are known as characters of singing keroncong (b, 1979), as well as in composition rule which employs terms such as poorspel, senggahan, overhang, bar amount, and harmony framework (kusbini, 1970). those indications – the musicology rules that are conventionally agreed as ‘pakem’ – are largely referred to by keroncong musicians in indonesia today. however, the fact shows that those styles have undergone the development by the influence of other rhythm styles such us pop, dangdut, jazz, rock, and others. the styles are then termed as ‘di-keroncongkan’ (widjajadi, 2005). those genres indicate that there is still an opportunity to develop keroncong music that can adapt to the current situation. thus there will emerge new styles of keroncong. as can be learned, the ‘jamaican sound keroncong’ is a result of the collaboration of two music genres, ska and keroncong, by siriyai band in bandung city (supiarza, h. sobarna, 2019; a’yun & rachman, 2019). to achieve that goal, it is necessary to conduct guidance (supervising) to the students of the department of music education in order to get clear direction (of their learning and practice). this research is an effort to create another type of keroncong, that is, by creating a keroncong song based on poetry. the author called this practice ‘keroncongisasi puisi.’ in addition to this effort, the research is also held to create a new atmosphere from basic principles of keroncong music on developing the old aesthetics paradigm which was longstanding controlling the keroncong by its musicological rules and made it stayed unprogressive. by identifying the old keroncong lyric – the metaphoric lyric that worth high literature value, mainly the popular one in around 1940s during the period of revolution and effort to indonesia independence (nugraha, 2016) – within that period, the metaphoric lyric was purposed to distract, particularly, the colonial audience from the fact that the lyric was written to burn indonesian spirit to fight against the colonial (nugraha, 2016). but according to the researcher, this metaphor lyric had been even existing since early keroncong music development in the form of traditional harmonia: journal of arts research and education 21 (1) (2021): 123-139128 poetry for drama purpose which ultimately called as ‘stambul keroncong’ (yampolsky, 2010). in this writing context, metaphor is defined as artist self-expression that is conveyed in supposition sentences. the words which come to be a lyric in keroncong music are wrapped in metaphor under-covering the words’ aim and purpose. this is one of keroncong music characters which is instead lost today. regarding the high literature value of the old lyric, literature experts claimed this to be included in text analysis. text analyzing was held to comprehend the analyzed works; it has been developed further with its various approach (mukmin, 2008). all approaches were done to understand the meaning behind the literature work and to appreciate its beauty. in the creation of the text works such as lyrics, the term ‘licentia poetica’ expresses the poet’s freedom or poetry language deviation. however, licentia poetica may not be arbitrarily used to deviate the language (mohd azam bin sulong, 2015). for the students, the deep study of the meaning of poetry was a new experience, moreover when this should be interpreted to be music works for the purpose of kroncongisasi puisi. learning and teaching challenge in z generation the future of indonesia is in the hand of the young generation today; it is including the development and conservation of keroncong music. indonesia has plenty of young generations full of achievement in music proven from the awards they achieved nationally or internationally. music has been integrated into the internet. the digital era and the existence of internet labels (netlabel) have given new hope in the development of modern music and potentially could turn to be a changing agent of culture (kusumawardhani, 2015). the dense global development supported by technology that is getting closer to the children’s life marked the age of a z generation, also known as a net generation, digital generation, or gen next (linnes, 2017). z is a generation who has been familiar with technology since their born. such a great fact that it has been a lot of children who have been able to operate technology devices since their childhood such as smartphone, tablet, mp3 player and digital camera (unicef, 2017). those technology devices have been fitted out with applications or software which may support children’s education. thus, these support their learning process and help parents and teachers guide and filter the information from the internet that is not suitable for them. every generation – start from pre-millennium to millennium generation – has different needs (smith, travis. nichols, 2015). this difference is influenced by technology development, which also changes the agent’s structure to adapt to the time. generation can be defined as a group that is identifiable through its birth date, age, location, and important event that forms its personality (a. guha, 2010). in the last sixty years, three generations are dominating the workplace: baby boomer, x generation, and millennium (kaifi, nafei, khanfar, & kaifi, 2012). baby boomer generation are those who were born between 1943 and 1960. at that time, a lot of men returned home from world war ii, contributing to the increase of demography through birth; this was what created the baby boom effect. baby boomers were grown when the economy was in its prosperous. this generation was independent of technology, unlike in the present (kaifi et al., 2012). x generation (also called gen x, or xers) were born between 1961 and 1979, where their birth marked the significant decrease of previous demography fluctuation as well as to the next generation (kaifi et al., 2012). z generation is nurtured within the social network. ultimately, they are the digital, and technology is their identity (dangmei & singh, 2016). the students who participated in this research project were classified as the z generation because they were born between 1996 and 2012 as defined (schwieger & ladwig, 2018). indonesia is open to the advancehery supiarza & irwan sarbeni, teaching and learning music in digital era: creating ker129 ment of digital technology. unfortunately, the government does not really concern to control this advancement, mainly to the information technology (facebook, twitter, instagram, and youtube) (furqon et al., 2018), and this cause a new generation with liberal character somewhat, individualistic, and in the music context, they tend to like diverse music genre. this tremendous revolution of the z generation affecting how we approach society. in purpose of planning and opening a new way of education, the awareness of “the rise of the new generation that aware of their around and speaking a technology language” (cilliers, 2017). the students involved in this research were college students of the 3rd semester. as the z generation, they have a different character from their predecessors. this character is strongly related to the advancement as an effect. this is also significantly impacting the teaching and learning process in university structure (cilliers, 2017), demanding lecturers a special strategy to teach this z generation who have already mastered their own high technology. learn, and learning are two related concepts: tied and inseparable; both are the main activities in the education process. learn means a process of behavior change as a result of individual interaction with the environment. this result will be continuous, positive, active, and directed (hanafy et al., 2014). the environment factor is the main condition to create a strategy of learning and learning activity. in this context, the author uses the learning concept of the relation between stimulus and s-r response from skinner (goddard, 2018). z generation can easily find any kind of information on youtube as experienced by this research students through digital development. the z generation can see sorts of genres, thereby taking them as their references without going to a formal education institution, music shop, or music library. through youtube, they can practice the music at home. even in some contents, there found the instructor interactively guide the audience live through teleconference. in addition, the z generation can use google to help them find the relevant reference in the scope of keroncong; they can also have correspondence to keroncong experts via email, facebook, twitter, instagram, or alike personally. these simplicities possibly allow the z generation to know everything very quickly. dauksevicuite and rothman (in cilliers, 2017: p. 190) argue that z generation is the first generation to have been connected globally through the internet and stay alive and breathing. likewise happened in the college where the z generation count more on the recording device than taking a note; they also tend to ask any question online. studying in their college is just a routine. they tend to demand information and communication instantly instead of waiting for it coming. according to our analysis, the literature has shown that the keroncong music needs treatment from the z generation on behalf of its preservation and development. yet the literature also remains the gap where there has been no research that concerns z generation supervision in creating keroncong music through poetry as an approach. through the learn and learning, this research aims to create keroncong of a poet based on the z generation’s interpretation in this digital era. the research questions are stated as follows: 1) are the z generations able to create keroncong music based on their interpretation?; 2) how is their process in creating keroncong music of a poet?. method the project of compossing keroncong music through interpreting poetry was applied to the students of the department of music education, faculty of arts and design education, universitas pendidikan indonesia (fpsd upi). the project was served through the 3rd semester’s subject ‘the history of nusantara music analysis ii’. by this, the students were supervised to create a keroncong song which based on poetry. this subject is typically harmonia: journal of arts research and education 21 (1) (2021): 123-139130 a prerequisite subject. students should have begun to take this subject since their second semester in ‘the history of nusantara music analysis i’ course which discusses about the dissemination of music around nusantara which affected by other cultures as tanjidor, tarling, gambus, and malay. the qualitative method with the action research model used in this research, specifically participatory action research, is considered appropriate because the researchers were also involved rightly in the research. participatory action research is a qualitative research methodology that fosters collaboration among participant and researcher (macdonald, 2012)equitable, liberating, and life-enhancing qualitative inquiry that remains distinct from other qualitative methodologies (kach & kralik, 2006. richard winter (in o’brien, 1998) suggests six comprehensive summaries from the main principle of action research, those are: 1) reflective critique; 2) dialectical critique; 3) collaborative resources; 4) risk; 5) plural structure; 6) theory, practice, transformation. in this research context, the researchers emphasized the principle stated in the third point where the participants – according to action research – are the researchers’ members. the principle of resource collaboration considers that every personal idea is the resources that are equally significant in establishing the classification of analysis interpretation negotiated among participants (hasan, 2009). logically, the stages in the research are explained as follows: the data sources were the students of department of music education fpsd upi. the action research participatory context is considered democratic, equitable, liberating, and life-enhancing qualitative inquiry that remains distinct from other qualitative methodologies (macdonald, 2012)equitable, liberating, and life-enhancing qualitative inquiry that remains distinct from other qualitative methodologies (kach & kralik, 2006. the students were those who engaged in the history of nusantara music analysis ii subject, with 2 sks which managed to be done in one semester, particularly in the 3rd semester. the selected method for this project was guidance in the form of a workshop and implementation of keroncong song creation or ‘kroncongisasi puisi.’ this project was done in two months respectively, september and december 2018, and the result was recorded in audio and video format. the stages can be described as follows: table 4. project phases preparation implementation production and evaluation forming of groups schedule management audio-videorecording process selecting the poetry guidance of playing technique mixing and mastering instrument repertoire poetry interpretation discussion upload and publication preparation the division and formation of orkes keroncong the first step was dividing the 40 students into small groups of orkes keroncong; each consists of five to six personnel according to the amount of musical instrument available: cuk, cak, bass, cello, flute/ violin, and vocal. the poetry selection after the formation, students were offered to choose one of the selected poetries. each group would hand poetry as their composition base. instrument preparation the preparation was made by checking carefully available instruments on campus, whether the instruments were ready to be used or need a repairment. the students were also asked if they owned additional instruments to support the guidance project. hery supiarza & irwan sarbeni, teaching and learning music in digital era: creating ker131 implementation due to the fact that this guidance project was a practice, and amount of the music instrument available in department was limited, it was necessary to firstly set the training schedule in order each group could have their turn use the keroncong music instruments effectively and efficiently. the guidance of music playing technique this guidance took place to accelerate the process of music creation knowing that few students had no experience yet of playing keroncong music instrument. this guidance focused on the playing technique application of cuk, cak, and cello which are the main elements in keroncong music. the guidance of poetry interpretation in the process, the students were given guidance scheduled to interpret the poetry for keroncong’s musical purpose, they were guided as they had turned the poetry into a keroncong music melody and sounded in midi or sibelius. production after the creation of the song, they came to the technical training both individually or in a group until 18 december 2018, when they started to record their song in the department of music education studio. the recording process was taken place live, capturing the audio and video. the recording was scheduled at 19.30 to get a quiet moment anticipating possible noise during the recording process. all groups who got their turn were managed to finish the recording in one night. mixing dan mastering mixing and mastering were the processes taken to get an adequate recording result; this process consumed a lot of time. regarding this, students have obtained six workdays from 18th to 24 december 2018 discussion and evaluation discussion and evaluation were held on 24 december 2018 rightly after the mixing and mastering session, followed by all participants of the guidance project to discuss the recording result, poetry interpretation, composition, and the decision to upload and publish strategy. upload and publication upload and publication were disseminating recording products via social media such as youtube, instagram, twitter, and facebook. the purpose was to publish the ‘kroncongisasi puisi’ to hear audience feedback. results and discussion for a reason mentioned above, this project was managed to supervise that z generation to utilize their skill to create a keroncong music with a poetry script as its song lyric as well as to create a new keroncong music called kroncongisasi puisi. another supporting reason is the fact that keroncong music remains conservated and get lacks revitalization. consequently, this state-led keroncong music drawn and died among other music genres managed in the capital system (supiarza, h. sobarna, c. sukmayadi, y . mulyadi, 2018). as far as the researcher can concern, this research is essential to do. the z generations should be directed to empower their liberal character and their ability as the dwellers of the digital era in reflecting and creating a new sort of keroncong music. this research is also meant to demonstrate a concrete example of learning media of the digital era, perfecting previous research result in the field of digital era learning media as done by the previous researchers such as srinivasan et al. (2017) gouzouasis & bakan (2011), srinivasan (2017), and gouzouasis (2011). hopefully, through kroncongisasi, the students’ work could emerge a new discourse among the z generation, mainly those who are liberal (rattie, 2002), to modify and create keroncong music work that freely offers up to date musical taste. harmonia: journal of arts research and education 21 (1) (2021): 123-139132 table 5. group and poetries group’s name poetries title merasuk hati di taman partere harapan kasih penyeberangan penyejuk jiwa komering rayuan malam sayap-sayap laron cahaya malam mahoni early process this project was carried out in early september 2018 by first observing the learning process of nusantara music analysis ii followed by presenting the project plan to the class, offering renewal of keroncong music classes called poetry chronology, project compromise, and the formation of keroncong groups. each group was determined to have consisted of 6 to 7 members. there formed five groups out of 33 total class members. a discussion then followed this formation to name the groups and divide the poetry into groups. the result is reported as table 6. table 6. group’s name and poetry title group’s name amount of student poetry title merasuk hati (a) 7 students di taman partere harapan kasih (b) 7 students penyeberangan penyejuk jiwa (c) 7 students komering rayuan malam (d) 6 students sayap-sayap laron cahaya malam (e) 6 students mahoni after forming, naming the group, and dividing the poetry texts, each group were asked to independently compose the base melody for a week deadline from 1 to 6 december 2018. the results were sounded to be evaluated together. umb lapis legit assisted this evaluation, a student’s organization of keroncong music lovers, consisting of students of the department of music education fpsd upi. this help was purposed to solve any rising technical problem such as synchronizing the melody to the poetry, difficulties in playing the instrument, and the basic framework of keroncong music. in this step, the researcher suggested the students ignore a valid rule of playing keroncong (such as asli, langgam, stambul, and extra) temporarily. in addition, they were also taught a brief sight about hasta indriyana’s poetry. the supervisor continually carried out a discussion of comprehending the poetry. in every meeting, the supervisor used to associate the writer’s intent in his poetry and the student’s interpretation. overall, this step ran well, and surprisingly the students could compose the suitable keroncong melody that met the writer’s expectation as hasta indriana himself admitted this suitability after listening to the melody the group had composed. at this stage, the poetry interpretation process is carried out by students with group members to determine the main melody frame. at first, the melody was not written in the form of scores, but students did recordings via cellphones. the task of determining the melody of the song is given to one of the predetermined group members. prior to this determination, the groups had tried to interpret the poetry they had chosen. in the interpretation process, each group conducted an interview with hasta indriana about the meaning of the poem he created (who was currently an interpretation student). the results of the interview were then elaborated and collaborated with the group’s interpretation. in the view of the researcher, the students’ interpretation refers to the essence of the poetry said by (richard 1997), namely: 1) sense, 2) feeling, 3) tone, 4) intention. based on the researcher’s analysis, the process of creating this poem consists of 1) interpretation, 2) making a song melody (horizontal), 3) implementing with musical instrument accompaniment, 4) making a harmony framework, 5) practicing, 6) recording, 7) mastering, 8) shooting, 9) editing, 10) publishing. hery supiarza & irwan sarbeni, teaching and learning music in digital era: creating ker133 kroncongisasi puisi: a keroncong music reproduction of z generation after nearly two months of intensive supervision, the kroncongisasi puisi was ultimately made. five keroncong music works were created of five keroncong groups. before coming to the keroncong works recording, the researcher shared an example to social media. facebook was chosen to be shared with where keroncong musicians and letters experts mainly accessed it. hereby, the researcher could see the commentaries from qualified experts and any anonymous commentators who might concern about this working prototype. in summary, 90% of commentators responded to the work positively; those commentators were mostly musicians and letter experts who possessed objective evaluation and qualified background. while the rest 10% were those non-experts and musicians who simply appreciate ‘good’ to work. the following step after sharing the prototype with facebook was to record the works in audio-video format. the notion of the recording process was completely trusted to the students to see how they would overcome potential issues during the process. amazingly, the result of their process was very interesting. firstly, the z generation had already possessed a digital technology intelligence that they had learned intuitively from social media. they were already skilled at sound engineering, cinematography, and arrangement – see the following link for the detail https://drive.google.com/open?id=133h p1senkplkc2w0f80mlvxzjqopoltg. secondly, only in two months total, they factually could compose keroncong music of the poetry well. this ‘well’ term could be concluded from the positive commentaries given by the letter experts and the keroncong musician during sharing sessions on facebook as well as appreciated by poets and keroncong practitioners in workshop events. thirdly, the z generation possessed a liberal character where they freed themselves from the keroncong musicology rules or pakem. they liked to collaborate various kinds of music in their works as an impact of their intensity of exploring youtube that provided them lots of instant information and applicable knowledge, and consequently, it formed their musical character away from the pakem. these characters appeared as (one of the song work) in ‘penyeberangan’ song which could depict four other songs’ character and was taken as a prototype shared earlier in social media. besides, this song was composition more complex by adding blow instruments supporting other standard instruments (cuk, cak, cello, guitar, and bass). figure 1. video clip o.k. harapan kasih this group could present exciting cinematography and consciously write a film script before creating the video for the audio-visual context. therefore, their video appearance looked to be well-made and was able to narrate the meaning of the poetry. as recorded in the video, they visualized the word ‘penyeberangan’ by showing a person walking on the stair, which appeared in the beginning, middle, and end of the video. google and youtube inspired those audio-visual creativities. this was all the z generations who are aware of where they are and understand the language of technology (cilliers, 2017) to create adequate visualization according to the current technology language. for the music context, their music character could not be categorized into any conventional keroncong music. in the matter of instrument, they had added two western blow instruments saxophone and trombone. they composed the song freely out of the existing conventional rule. the interesting part was that they had been https://drive.google.com/open?id=133hp1senkplkc2w0f80mlvxzjqopoltg https://drive.google.com/open?id=133hp1senkplkc2w0f80mlvxzjqopoltg harmonia: journal of arts research and education 21 (1) (2021): 123-139134 quite concerned about the relation between lyric and melody; they carefully managed every word to be synchronized with the music melody. the following example will illustrate how the lyrics are applied in the melody: penyeberangan di tepi itu //aku membayangkan kau// menungguku//// di sini waktu/ seperti mistar/yang kuurut////. dan daratan// di telapak kakimu/ barangkali//angka terakhir/ yang mesti kucatat////pada perjalanan// penghabisan/ di tepian/ nanti mata/ bakal menatap pasir//. dan karang/menungguku jadi batu//. menjelma batu//ditimpuki/ batu, diguyur / bunga kamboja//lalu di tepi itu //melayar kapal-kapal masa lalu.// in detail, this partiture is composed as the main melody by o.k. harapan kasih; in the harmony framework, this is transcribed as follows: intro: (toegoe style) iii(m) . . . iv(m) . . . iii(m) . . . iv . . . v . . . song 1: (toegoe style) i . . . iii(m) . . . iv . . .v . . . i . . . iii(m) . . . (flute as bridge) i . . . iii(m) . . . iv . . . v . . . i . . . i (7) . . .( septim cord aims to step ) reff: iv . . . v . . . i . . . vi(m) . . . ii(m). . . v . . . i . . . i (7) . . . iv . . . v . . . iii(m) . . . vi(m) . . . ii(m) . . . v . . . iv(m) . . . (brass in) i . .(rubatto) . i . . . (break only cuk and cak for engkel style) . . . ii . . . iv. . . iv(m). . . iii(m) . .(trombone solo) . vi(m) . . . ii(m) . . . iv(m) . (flute in)..vi(m)...ii(m)... song 2: (engkel style) i . . . iii(m) . . . iv . . .v . . . i . . . iii(m) . . .(brass as brigde) i . . . iii(m) . . . iv . . . v . . . i . . . i (7) . . .(brass) reff (double style) iv . . . v . . . i . . . vi(m) . . . ii(m). . . v . . . i . . . i (7) . . . iv . . . v . . . iii(m) . . . vi(m) . . .( ii(m) . . . v . . . iv(m) . . .i . . .)2x coda i . . . ii . . . v . . . v(m) . . . i . . . ii . . . v . . . v(m) . . (ritt) .i . . . three styles were applied in this play and were adopted from the ukulele cuk and cak play style as the important elements of keroncong. the first style was toegoe style, known as kemprong, which the rhythm illustrated in figure 2: figure 2. toegoe style rhythmic pattern toegoe style play patterns are played on ‘penyeberangan’ starting from the intro to the last song. the play was also colored by strumming and rasgueado effect. in keroncong toegoe style these colors were heard along with the song composition. the rhythmical pattern of ukulele cak and ukulele cuk is matrical; the cord played the second inversion with the same or different register of an octave (ganap, 2011). in the penyeberangan song of harapan kasih, there found a similar hit style to keroncong toegoe, but the chord did not perform the second inversion as it should; they were all out of playing a progressive chord rather than a formal pattern of keroncong toegoe. the toegoe pattern was played in penyeberangan song from intro to one last song part then moved to surakarta patterns, engkel and doable. these patterns were also known as sawilet and kering in sunda, or tunggal and ganda (rangkep), which means a doubled-rhythmical pattern, the pattern this is used to gain play spirit and live the song playing (harmunah, 1996). figure 4 is a partiture that illustrates the double style. syncope style fills the space of ukulele cuk play by rasgueado picking – played in double rhythm. hery supiarza & irwan sarbeni, teaching and learning music in digital era: creating ker135 figure 3. surakarta style rhythmic pattern figure 4. ukulele cuk dobel play pattern from the five groups made, o.k. harapan kasih was one who demonstrated the innovation by playing the most complete hit pattern. the group inserted the main music rhythm aspect, toegoe (also known as jakartaan style or tempo doeloe style) and surakarta. while the rest four groups played only the surakartan hit pattern. the researcher considered that their knowledge led to the z generation’s creativity level that they acquired from information technology. they knew various music from youtube. by the internet support, they could quickly access the science that hereby it could be proven that z generation has possessed a liberal character and excited to electrical things for their intelligence enabled them to operate the digital technology. the followed image illustrates how the group managed the poetry, which became the song lyric synchronizing the music composition. this song tonality in d major consisted of standard music instruments of keroncong: cuk, cak, cello, bass, and guitar – completed by three additional blow instruments: trombone, saxophone, and flute. for the conventional keroncong song, the addition of saxophone and trombone is somewhat less appropriate. at the same time, the flute is roled as a melodic instrument and is a mandatory instrument in the keroncong repertoire besides the violin. as seen in the group’s keroncong composition, the word quotation is more concerned compared with its music melody. the melody follows and even adapts the meaning and purpose of the poetry’s words. the group also managed to interpret the word ‘past’ minor accord expression, as written in the late paragraph, in the word “masa lalu” (see image 6). figure 5. penyeberangan song’s complete notation figure 6. accord form as the lyric adaptation the picture in bar 27 is the g minor chord as an interpretation of the word ‘lalu=past’ to confirm a past event as a keyword in this poem by inserting the gm chord, which is intended as a confirmation for the next closed complete cadence, i.e., d major as the closing. as the z generation, their intelligence is shown through the syllabic style they use. every pic they sing contains the art of harmonia: journal of arts research and education 21 (1) (2021): 123-139136 song words (mohd azam bin sulong, 2015) to place the existing words in the melody in order to get the word quotation more exact. the group even avoids a melismatic style in which the song is played in a single syllable with many notes (citron, in mohd azam bin sulong, 2015), as can be read in figure 7. figure 7. syllabic style song melody with the use of rhythmic triol, to give the impression of swing like swinging can explain each syllable. the following example is the rhythmic triol used. besides, the group also uses a rhythmic pattern of triol to defend important words in the poetry to keep the words’ meaning. according to the researcher, the triol has a firm character as if it is an exclamation mark or underline (in writing) which marks the main sentence. by the use of triol, a swing impression resulted out of it may describe each syllable. here is the triol sample used (figure 8). figure 8. the example of the triol rhythmic use almost the entire song takes triol rhythmic. from the intro to the part of coda rhythmic, the triol dominates to bound the lyric to keep its meaning. in the past, lyric in keroncong music was written in metaphor in order not to let people notice (the lyric meaning explicitly) (kusbini, 1956). according to the researcher, the lyric was composed in the era of the indonesian struggle against colonial, and it was written so in purpose as the media to throw the critics and fight against the colonials in which there identified a secret code behind the lyric meaning addressed to independence fighter (nugraha, 2016), it was a strategy in the war of independence. the language power was one the last bullets in performing war strategy. the lyrics in the keroncong song were purposed to entertain and burn fighters’ spirit, and thus it was understood only by the fighters instead of colonials. hasta indriyana stated (interview, 1 january 2019) “awesome! i myself as a poet feel so glad! how they could compose such that song! how they might interpret exactly as what i meant!”, this commentary is evidence of deep appreciation from the poet and a form of legitimation that this project has made it to stimulate the students in their learning process, and the learning on behalf of motivating z generation students’ creativity to emerge a new discourse in the scope of keroncong music by the term “kroncongisasi puisi”. this project, finally, resulted in five works of kroncongisasi puisi, each with its musical form. group a with langgam keroncong, group b with keroncong asli, while the rest group c, d, e were classified as out of the category of keroncong genre (no genre). table 7. music form of each group group’s name keroncong genre no genre merasuk hati (a) harapan kasih (b) penyejuk jiwa (c) rayuan malam (d) cahaya malam (e) langgam keroncong asli free free free the prospect of its continuation the important aspect of this research lies in the prospect of its continuation. the continuation of this poetry ‘kroncongisasi’ project has formed the new generation z keroncong group; they were the five groups who specifically used poetry as their creation media which constituted a new style for the movement of keronconger indonesia. this movement is assigned to diffuse information to practitioners and appreciators of youth keroncong all over indonesia. through this movement, a number of future programs were set to hery supiarza & irwan sarbeni, teaching and learning music in digital era: creating ker137 take place in the form of collaboration performance with the poet, discussion, and the concert of kroncongisasi puisi. the continuation of the kroncongisasi puisi is also believed to be going to support some aspects such as 1) collaboration of interdisciplinary. when students could successfully compose the song based on the poetry, they have demonstrated interdisciplinary language and music collaboration. this collaboration may result in musical works with adequate lyrics and full of responsibility; 2) social and cultural. as they could understand and practice the local culture treasure, which in this context are keroncong and poetry, they actually acted to support the existence of the kroncongisasi puisi as the indonesian culture within a discourse of western modernization. conclusions this research project resulted in a sort of new style of keroncong music called kroncongisasi puisi. this term means the production of keroncong music, which is derived from poetry. the project was carried out to the students of the history of nusantara music analysis ii class, department of music education, fpsd, universitas pendidikan indonesia. through series of guidance within two months, the practice was supervised strictly through workshops and discussion. the project resulted in five original works of keroncong music out of student’s independent pure notion and idea, which represents the z generation. as its continuation, the project is engaged in the partnership program with indonesian kerongconger to carry out a concert, discussion, workshop program with credible poets incorporation with language association bandung. in addition, by the initiation of the association, the partnership program also resulted in an annual year competition event of kroncongisasi puisi with the participant from senior high school. the event is expected to be a national-level competition that becomes a model of a conservation and development effort of keroncong music in the modern era. references a’yun, w. q., & rachman, a. 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(2013). music and media in the dutch east indies: gramophone records and radio in the late colonial era, 1903-1942 (doctoral dissertation). harmonia vol vii no 3 2006.pdf !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345 2&& %3'65 7189:8;<8= >'/8?8;<8='@aab !"#$%&'("%#)"*+,-#."/*#0123(423#'2+,4,"#5,-,3 $/(263,("7#82344,3("#92*+6,3#$/,(#9&'"%#:6&* (acoustic test of roentgen film waste as an alternative material of drum musical instrument) slamet haryono dan langlang handayani staf pengajar jurusan sendratasik dan jurusan fisika unnes abstrak penelitian ini bertujuan untuk mengetahui karakter akustik dari membran snare drum yang dibuat dari limbah film roentgen dan karakter akustik membran snare drum yang beredar di pasaran, yang berupa pola gelombang, frekuensi dan amplitudonya. dengan menggunakan metode eksperimen, data-data yang diperlukan diperoleh dengan menggunakan seperangkat alat uji akustik berbasis mbl (microcomputer based laboratory). dari keseluruhan rangkaian kegiatan penelitian diperoleh simpulan bahwa kedua jenis membran memiliki pola gelombang yang berbentuk gelombang kompleks dengan masing-masing variasi amplitudo, frekuensi nada dasar dan harmonik yang menyertainya. disarankan untuk mengadakan penelitian lebih lanjut berkaitan dengan daya tahan membran yang dibuat dari bahan ini terhadap pukulan, untuk mengetahui kelayakan limbah film roentgen sebagai alternatif pengganti membran alat musik drum. kata kunci: uji akustik, film roentgen, alat musik drum a. pendahuluan penggunaan film dalam bidang kesehatan telah lama dikenal, terutama setelah teknologi sinar-x merambah dunia kesehatan. dengan media bahan ini, bagian tubuh penderita yang tidak dapat terlihat dengan mata telanjang, dapat terekam dalam bentuk negatif foto, sehingga memungkinkan seorang dokter untuk mengetahui lebih lanjut kondisi penderita yang bersangkutan. setelah digunakan oleh dokter untuk menganalisis penyakit penderita, hasil foto ini biasanya disimpan kembali, baik oleh penderita sendiri maupun oleh pihak rumah sakit. sebagai akibatnya, jumlah lembaran–lembaran foto di rumah sakit yang hampir setiap hari melayani pemrosesan foto ini, semakin hari akan semakin menumpuk. permasalahan muncul kemudian manakala dengan semakin bergulirnya waktu, ternyata banyak penderita yang dengan berbagai sebab, tidak menggunakan / mengambil kembali hasil foto roentgen-nya. hal ini menyebabkan ruang penyimpanan menjadi penuh, sehingga harus dilakukan proses seleksi untuk “membuang” lembaran – lembaran foto ini. foto-foto yang telah memenuhi kriteria “usang” (lama) dan tidak digunakan lagi, akan “dibuang” agar tidak memenuhi ruang penyimpanan. pada dasarnya, film roentgen terdiri dari beberapa lapisan penyusun, yakni supercoat, emulsi film, substratum dan alas film (film base), yang tersusun secara berurutan pada kedua permukaan, atau pada satu permukaan saja (rasad, 2000). alas film terbuat dari polyester (polyethylene terephthalate) dengan ketebalan 0,18 mm. lapisan dengan bahan ini sangat kuat namun ringan, keras dan tidak mudah berkerut, tidak !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345 2&& %3'65 7189:8;<8= >'/8?8;<8='@aab mudah sobek dan menunjukkan stabilitas yang tinggi, meski dalam kondisi pemrosesan film setelah pemotretan (ball & price, 1999: 64, fibersource, 2005 dan lastique, 2005). alat musik drum adalah salah satu alat musik yang sering dipakai di sekolah-sekolah sebagai media pembelajaran musik, baik intra maupun ekstra kurikuler. alat musik ini biasanya digunakan dalam bentuk kegiatan band, drum band ataupun marching band. ketiga bentuk kegiatan tersebut merupakan kegiatan bermain musik yang sangat menarik bagi siswa di sekolahsekolah di berbagai tingkatan. alat musik drum adalah alat yang dibunyikan dengan cara dipukul. alat musik ini terdiri dari berbagai jenis, seperti bass drum, snare drum, tom-tom dan lainlain. semua jenis instrumen ini menggunakan membran sebagai sumber suara. dilihat dari cara memainkannya, alat ini cenderung memiliki tingkat kerusakan yang relatif tinggi, apabila penggunaannya tidak sesuai dengan tata cara yang benar. pukulan yang terlalu keras misalnya, akan menyebabkan membran menjadi cepat rusak (pecah). dengan pecahnya membran, maka alat tidak akan bisa difungsikan lagi. untuk memfungsikan kembali alat yang telah rusak, diperlukan penggantian membran baru. sampai saat ini belum ada “bengkel“ yang mau mengerjakan perbaikan membran rusak ini. kalaupun ada, biasanya mereka hanya mau mengganti membran yang dibeli di toko-toko musik dengan harga yang relatif mahal, bahkan hampir sama dengan harga unit alat yang baru. hal tersebut jelas merugikan konsumen (dalam hal ini pihak sekolah), sebab konsumen dihadapkan pada pilihan yang menyulitkan. di satu sisi ingin tetap melaksanakan kegiatan musik di sekolah yang tetap memadai dengan cara memperbaiki drum yang rusak, namun di sisi lain harga spare part (membran) ternyata terhitung mahal. kondisi demikian tentunya berdampak negatif pada usaha pengembangan kreatifitas siswa melalui kegiatan musik di sekolah. sesuai dengan fungsinya sebagai penghasil suara, maka karakteristik akustik yang dimanfaatkan dari membran alat musik drum adalah karakteristik yang berkaitan dengan efek vibrasi yang ditimbulkannya setelah dipukul. karakteristik akustik ini diantaranya meliputi pola gelombang, frekuensi, dan amplitudo yang dihasilkan oleh membran yang bergetar. suara yang dihasilkan akan bergantung pada jenis membran. pada awalnya membran snare drum terbuat dari kulit hewan. namun seiring dengan perkembangan jaman, umumnya membran snare drum terbuat dari plastik (randel, 1986: 243). apabila dilihat dari bahan dasarnya, maka bahan membran jenis ini relatif sama dengan bahan film roentgen, yakni termasuk bahan polimer. yang masih menjadi pertanyaan adalah apakah karakteristik akustik dari bahan film roentgen ini relatif sama dengan karakteristik bahan membran yang sudah dipakai pada alat musik drum yang telah beredar di pasaran. apabila karakteristik akustik dari kedua bahan relatif sama, maka limbah film roentgen dapat digunakan sebagai bahan alternatif pengganti membran alat musik drum, baik untuk memperbaiki yang telah rusak maupun untuk membuat unit alat yang baru. dengan demikian akan diperoleh suatu sinergi yang saling menguntungkan dari dua bidang, yakni termanfaatkannya limbah film roentgen dan terpenuhinya kebutuhan akan perbaikan dan !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345 2&& %3'65 7189:8;<8= >'/8?8;<8='@aab pengadaan alat musik drum untuk keperluan pendidikan musik di sekolah dengan harga yang relatif murah dan terjangkau. berdasarkan uraian di atas, maka dilakukan penelitian tentang kelayakan limbah film roentgen sebagai bahan alternatif pengganti membran alat musik drum. kelayakan limbah film roentgen sebagai bahan alternatif ini ditentukan melalui karakterisasi akustik dari limbah film roentgen. penelitian dilakukan dengan permasalahan bagaimanakah karakter akustik limbah film roentgen dan karakter akustik membran alat musik drum yang beredar di pasaran saat ini? karakterisasi dilakukan dengan menggunakan microcomputer based laboratory (mbl) untuk mengetahui pola gelombang, frekuensi, dan amplitudo dari limbah film roentgen. pengukuran tentang hal yang sama (karakter akustik) kemudian dilakukan pada membran alat musik drum yang beredar di pasaran saat ini. untuk pemilihan jenis drum-nya, penelitian difokuskan pada snare drum, mengingat snare drum merupakan alat musik penentu ketukan pada sebuah komposisi lagu (andestro, 2004: 23). b. metode penelitian ini dilaksanakan di laboratorium musik fbs dan laboratorium fisika fmipa unnes. penelitian eksperimen yang dilakukan menggunakan alat dan bahan: limbah film roentgen, gunting pemotong, satu unit snare drum lengkap dengan stick, membran snare drum yang beredar di pasaran, merek maxtone®, dan seperangkat alat uji akustik berbasis mbl. adapun jenis data yang dikumpulkan adalah berupa data akustik limbah film roentgen dan data akustik membran alat musik drum yang beredar di pasaran merek maxtone® yang meliputi pola gelombang, frekuensi, dan amplitudo. analisis dari masing-masing data kemudian dilakukan dengan mengacu pada literatur yang tersedia. masing-masing sampel tersebut di atas diteliti dengan merujuk pada diagram alir pada gambar 1 berikut. gambar 1: diagram alir pelaksanaan penelitian c. hasil penelitian 1. hasil dari keseluruhan rangkaian penelitian diperoleh hasil sebagai berikut. data akustik membran snare drum bermerek maxtone® yang berupa frekuensi dan amplitudo ditunjukkan penyiapan sampel karakterisasi bahan set up komputer kalibrasi sensor dan set up perlengkapan perekaman data analisis data pola gelombang frekwensi ampitudo !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345 2&& %3'65 7189:8;<8= >'/8?8;<8='@aab dalam tabel 1, dan pola gelombangnya ditunjukkan dalam gambar 2 berikut. tabel 1: data akustik membran snare drum merek maxtone® no frekuensi nada dasar (hz) lebar frekuensi (hz) amplitudo (v) 1 402,78 371 – 489 33,41 2 402,78 371 – 489 16,90 3 403,02 371 – 489 32,20 gambar 2: pola gelombang vibrasi membran snare drum merek maxtone® sementara itu, data akustik limbah film roentgen yang berupa frekuensi dan amplitudo ditunjukkan dalam tabel 2 dan pola gelombangnya ditunjukkan dalam gambar 3 berikut. tabel 2: data akustik membran dari limbah film roentgen no frekuensi nada dasar (hz) lebar frekuensi (hz) amplitudo (v) 1 443,57 410 528 18,82 2 443,57 410 – 528 21,86 3 443,57 410 – 528 20,12 gambar 3: pola gelombang vibrasi membran dari limbah film roentgen !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345 2&& %3'65 7189:8;<8= >'/8?8;<8='@aab b. pembahasan berdasarkan tampilan grafik variasi tekanan gelombang terhadap waktu dari kedua membrane yang tercantum dalam gambar 2 dan gambar 3 dapat diketahui bahwa kedua jenis membrane snare drum ini menunjukkan bentuk gelombang kompleks yang relative sama. gelombang ini tidak hanya memiliki frekuensi nada dasar tetapi juga mengandung frekuensifrekuensi harmonic lainnya, seperti layaknya gelombang yang ditimbulkan oleh jenis alat musik yang lain. seperti dinyatakan oleh tipler (1998), bentuk gelombang yang sangat mendekati gelombang sinus murni biasanya hanya dihasilkan oleh garpu tala, yang hanya memiliki frekuensi nada dasar saja, sedangkan alat-alat musik akan menghasilkan gelombang kompleks dengan berbagai variasi frekuensi yang dimilikinya. sementara itu, dari data lebar frekuensi yang ditampilkan dalam kedua tabel, tampak bahwa frekuensi gelombang yang dihasilkan oleh kedua membrane termasuk dalam jangkauan gelombang suara yang dapat didengar (audible range), yaitu 20 hz – 20.000 hz (halliday & resnick, 1987). jenis gelombang yang dapat didengar ini bermula dari adanya selaput membran yang bergetar karena dipukul. elemen membran yang bergetar ke depan dan belakang kemudian merenggangkan udara disekitarnya, dan pada gilirannya akan mentransmisikan gangguangangguan ini keluar dari sumber sebagai gelombang bunyi. gelombang bunyi inilah yang selanjutnya merangsang telinga dan otak manusia kepada sensasi pendengaran (halliday & resnick, 1987). selanjutnya, dari tabel 1 dan tabel 2 di atas nampak adanya selisih frekuensi nada dasar yang dimiliki oleh kedua membrane, yakni sekitar 40 hz. menurut kinsler, et al.(1980), selisih harga frekuensi nada dasar ini dimungkinkan terjadi karena perbedaan kondisi pembatas (rim) membran. membran yang terkunci dengan kuat akan menghasilkan efek suara dengan frekuensi yang relative lebih tinggi jika dibandingkan dengan membrane yang kendor. jika ditilik ulang saat pengujian, ternyata proses penguncian kedua membrane dapat dikatakan memang tidak dalam kondisi ideal sama. penguncian tidak dilakukan dengan kualitas dan kuantitas yang sama, sehingga sangat dimungkinkan membrane yang satu memiliki tegangan yang lebih besar dari membrane yang lain. seperti diketahui, dalam penelitian ini hanya digunakan satu unit snare drum, sehingga pengujian karakteristik akustik masing-masing membran !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345 2&& %3'65 7189:8;<8= >'/8?8;<8='@aab dilakukan dengan cara membongkar pasang membran. apabila membran yang satu telah selesai diuji maka membran tersebut kemudian dilepas dan diganti dengan membran yang lain. cara kerja demikian memungkinkan terjadinya perbedaan tegangan pada membran yang disebabkan oleh kekuatan penguncian rim. penguncian yang relative lebih kuat akan menyebabkan membran menjadi teregang lebih kuat, sehingga frekuensi getaran yang ditimbulkan ketika dipukulpun menjadi berbeda. kemungkinan lain yang menjadi penyebab timbulnya perbedaan frekuensi nada dasar adalah efek posisi snare drum pada waktu dibunyikan. cara bongkar pasang sangat memungkinkan terjadinya pergeseran posisi titik pada membrane yang dikenai pukulan, yang menyebabkan terjadinya perbedaan bunyi yang dihasilkan. seperti dinyatakan oleh halliday & resnick (1987), jika membrane drum dipukul, maka sebuah denyut berdimensi dua berjalan keluar dari titik-titik pukulan dan direfleksikan berulang-ulang di batas membrane. jika suatu titik membrane dipaksakan bergetar secara periodik, maka deret kontinu dari gelombang akan berjalan keluar sepanjang membrane sehingga terbentuklah gelombang tegak di dalam membrane berdimensi dua tersebut. masing-masing gelombang berdiri ini mempunyai frekuensi alami yang merupakan ciri dari membrane, berupa frekuensi nada dasar dan frekuensi nada atas yang pada umumnya muncul bersama bila membrane bergetar. lebih lanjut dikatakan oleh halliday & resnick (1987), bahwa pada membrane berbentuk lingkaran yang tepi-tepinya dibuat tetap, getaran yang mungkin terjadi sangat bervariasi tergantung pada kedudukan titik-titik simpulnya (dalam hal ini berupa garis-garis simpul). berbagai ragam getaran yang pertama dari membrane berbentuk lingkaran yang dijepit sekelilingnya diperlihatkan dalam gambar 4 berikut ini. dari gambar nampak garis-garis yang menyatakan titik-titik simpul. tanda + dan tanda – menyatakan pergeseran-pergeseran yang berlawanan; pada suatu saat bila daerah + dinaikkan, maka daerah – akan tertekan. pada gambar 5 berikut diperlihatkan sketsa membrane yang bergetar dengan model terakhir (υ 6 ). gambar 4: variasi getaran pertama dari membrane yang berbentuk lingkaran yang dijepit di sekelilingnya (sumber: halliday & resnick, 1987). gambar 5: sketsa membrane yang bergetar dengan model υ 6 (sumber: halliday & resnick, gambar 5. sketsa membran yang bergetar dengan model υ 6 (sumber : haliday & resnick, 1987) !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345 2&& %3'65 7189:8;<8= >'/8?8;<8='@aab sementara itu, jika diperhatikan amplitudo getarannya, kedua jenis membran menunjukkan harga yang bervariasi, yang berkisar antara 18, 20 dan 21 v untuk membran dari limbah film roentgen dan 16, 32 dan 33 v untuk membrane merek maxtone®. perbedaan ini dimungkinkan terjadi karena kekuatan pukulan yang diperkirakan relative berbeda, sehingga pada saat mengenai membrane menimbulkan suara yang tidak sama kerasnya. suara yang tidak sama keras ini menandakan adanya berberbedaan pula pada amplitudonya. seperti diketahui bahwa amplitude suatu gelombang akan bergantung pada bagaimana gelombang itu dihasilkan. gelombang yang dihasilkan oleh usaha yang lebih besar akan menghasilkan gelombang dengan amplitude yang lebih tinggi pula. sebagai contoh, angin yang kuat akan menghasilkan gelombang air laut yang lebih tinggi dari pada angin yang sepoi-sepoi saja. dengan demikian, apabila dikehendaki munculnya gelombang dengan amplitude yang sama maka langkah yang dapat dilakukan adalah dengan mengupayakan kekuatan pukulan yang sama pula pada kedua membran. dari hasil-hasil penelitian dan pembahasan di atas maka dapat dikatakan bahwa dengan memperhatikan kondisi-kondisi pengujian tertentu akan dapat diperoleh karakteristik akustik dari membran limbah film roentgen, yang berupa pola gelombang, frekuensi dan amplitudo, yang memiliki kesamaan dengan karakteristik akustik membran merek maxtone yang beredar di pasaran. kondisi-kondisi pengujian yang dimaksud diantaranya adalah 1) tempat pengujian yang lebih representative, yakni diusahakan di dalam ruang yang kedap suara, sehingga dapat meminimalkan gangguan bising yang muncul; 2) kekuatan pukulan yang sama, yaitu mengupayakan adanya pukulan yang sama kuat pada kedua jenis membrane sehingga dapat diperoleh amplitudo getaran yang sama besarnya, yang ditunjukkan dengan suara yang sama kerasnya; 3) untuk mengatasi permasalahan pergeseran posisi titik pada membran yang dikenai pukulan, dalam proses pengujian diusahakan untuk menempatkan pukulan pada tempat yang relative tetap, yaitu dengan cara menggunakan dua unit snare drum dengan membran yang berbeda, yang selalu tetap ditempat (tidak berpindah) selama proses pengujian; dan 4) mengatur kekuatan penguncian rim untuk memperoleh frekuensi nada dasar yang relative sama dari kedua jenis membrane. d. simpulan 1.simpulan dari analisis data dan pembahasan yang telah dilakukan dapat diambil simpulan sebagai berikut: karakter akustik membran limbah film roentgen yang diketahui adalah berupa pola gelombang, frekuensi dan amplitudo gelombang, dengan perolehan sebagai berikut: (1) pola gelombang yang dihasilkan oleh getaran membran limbah film roentgen berbentuk gelombang kompleks,(2) lebar frekuensi yang muncul berkisar pada nilai 410 hz sampai dengan 528 hz, dengan frekuensi nada dasar dominan pada nilai 443,57 hz, (3) amplitudo gelombang bervariasi dengan kisaran nilai 18 – 22 v. karakter akustik membran alat musik drum yang beredar di pasaran dengan merek maxtone® diketahui adalah berupa pola gelombang, frekuensi !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345 2&& %3'65 7189:8;<8= >'/8?8;<8='@aab dan amplitudo gelombang, dengan perolehan sebagai berikut: (1) pola gelombang yang dihasilkan oleh getaran membran maxtone® berbentuk gelombang kompleks, (2) lebar frekuensi yang muncul berkisar pada nilai 371hz sampai dengan 489 hz, dengan frekuensi nada dasar dominan pada nilai 402,78 hz, (3) amplitudo gelombang bervariasi dengan kisaran nilai 16 34 v. 2. saran perlu dilaksanakan penelitian lebih lanjut yang berkaitan dengan efek pukulan terhadap kekuatan membran limbah film roentgen sehingga dapat diketahui daya tahan membrane terhadap pukulan. untuk penelitian lebih lanjut disarankan lebih memperhatikan factor presisi alat musik yang dipakai untuk mendapatkan hasil yang lebih optimal. daftar pustaka andestro, 2004, snare drum selayang pandang, dalam audiopro ed. 07 juli 2004, ball, john dan price, tony, 1999. chesneys’ radiographic imaging, fifth ed, oxford: blackwell scientific publications baker, richard, 1990, the hamlyn illustrated encyclopedia of music, london: the hamlyn publishing group limited bayy, 2004, sound drum studio rekaman vs panggung live, dalam audiopro ed. 07 juli 2004. ben, 2004, miking drum, dalam audiopro ed. 07 juli 2004, fibersource: 2005, (on line) http://www.fibersource.com/f. tutor/polyester.htm (24 maret 2005) griffith, dave, 1996, physics labs with computers, volume 2, pasco catalog number ci7010, roseville: pasco scientific halliday, david & resnick, robert, 1987, fisika, jakarta: penerbit erlangga kinsler, lawrence e., et al., 1982, fundamentals of acoustics, third ed, new york: john wiley & sons lastique, 2005, (on line) http:// www.lastique.com/pet.htm (24 maret 2005) pasco scientific, 1996, user’s guide science workshop version 2.2, usa pasco scientific, 1996, teacher’s guide science workshop version 2.2, usa randel, don michael, 1986, the new harvard dictionary of music, london: the belknap press of harvard university press rasad, sjahriar; kartoleksono, sukonto dan ekayuda, iwan, 2000, radiologi diagnostik, pencitraan diagnostik, jakarta: subbagian radiodiagnostik fkui tipler, paul a., 1998, fisika untuk sains dan teknik, jakarta: penerbit erlangga. 121 development of artistic and creative activities for design students lin zhu1, jiachang lu2 1dhurakij pundit university, thailand 1beijing normal university-hong kong baptist university united international college, china submitted: 2023-04-07. revised: 2023-05-24. accepted: 2023-06-24 abstract the main purpose of this scientific study is to identify key areas for the development of the artistic and creative activity of students studying the basics of design in higher educational institutions, which contributes to improving their creative abilities and developing the ability to create an innovative product design. the basis of the methodological approach in this scientific study is a combination of methods of systematic analysis of the key principles of teaching design in modern higher educational institutions with a comprehensive study of the real prospects for the introduction of innovative solutions in the process of teaching design in order to develop artistic and creative activity among future specialists in this profession. the results are the importance of developing modern students’ artistic and creative activity for design departments of higher educational institutions to improve their skills in creating artistic product design and the ability to develop innovative design were obtained. also, the results illustrate the success of applying specific methods of training designers to implement the tasks. the practical significance of the results obtained in this research work lies in the possibility of their application in the process of teaching students of design departments of modern higher education institutions to develop their understanding of the principles of artistic design and the ability to transfer such skills to the creation of modern products with innovative design. keywords: art design, innovative product design, innovative teaching method how to cite: zhu, l. & lu, j. (2023). development of artistic and creative activities for design students. harmonia: journal of arts research and education, 23(1), 121-131 harmonia: journal of arts research and education 23 (1) (2023), 121-131 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i1.43806 cesses in the world economy, to make nonstandard decisions in the design and creation of innovative design products that can subsequently attract significant demand. pipinato (2021) draws attention in his handbook on innovative bridge design to the fact that modern approaches to creating the design of created architectural structures require non-standard design solutions that meet the design requirements established worldwide. therefore, introduction the problem of this scientific research lies in the urgent need to search for and implement the latest technologies in teaching modern design students in higher educational institutions. such a need is determined by the growing need for highly qualified specialists in the field of design technologies, who are able, in the context of the development of globalization procorresponding author: e-mail: linzhu744@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (1) (2023): 121-131122 according to the researcher, creating such projects requires, in addition to purely engineering training, developed skills of nonstandard design thinking, which are laid down at the stage of specialist training in an educational institution (pipinato, 2021). for his part, taura (2016) drew attention in his study of the principles of creating modern creative design projects to the fact that as modern technologies develop, the consumer no longer has an urgent need for certain products, which causes the designer’s problem in creating a product that is really in demand in the current situation. according to the author, the solution to this kind of problem lies in the application of an engineering approach to the current situation, which, in turn, implies that designers have significant skills in artistic and creative activity, the ability to develop and implement non-standard solutions in the course of their activities, and this kind of activity is being developed still at the stage of studying at a higher educational institution (taura, 2016). at the same time, thompson & jacque (2017) concluded in a scientific study of the principles of the development of creativity in the context of the role of an individual performer in this process that the degree of influence of a particular performer on creativity in a certain area as a whole is largely determined by his ability to bring innovative, creative ideas and justify their usefulness and viability. according to the authors, the development of the creative activity of performers is possible if there are prospects for implementing their innovative ideas and concepts, which open up significant prospects for the implementation of one or another creative idea (thompson & jaque, 2017). buck (2020) noted in an independent study of the problematic aspects of the design and development of the finished product that the process of creating the design of the finished product is quite laborious and requires the display of outstanding design and engineering abilities. the designer should be well aware of the product itself, its characteristic properties, and distinctive features, which should be favorably emphasized in the design elements. at the same time, such skills are not always present in a design specialist initially they can be developed in the process of studying at an educational institution, especially if there is a special emphasis on their development by the provisions of the curriculum (buck, 2020). this requires the manifestation of creative activity on the students’ part, their interest in obtaining high-quality skills in creating design projects, and mastering the basics of design skills. corazza et al. (2021) conducted a joint scientific study of the principles of the formation of creative activity in the educational space, during which it was found that the process of formation of specific creative developments with regard to students has a clear dependence on the level of creative tasks assigned to them and specific efforts aimed at their implementation. at the same time, the development of students’ artistic and creative activity is less related to their natural abilities since, in this context, the main emphasis should be placed on the efforts of the students themselves to implement a particular creative task and master the specific skills and techniques, which are necessary for its successful implementation (corazza et al., 2021). this research aims to determine the main directions and methods for developing design students’ artistic and creative activity at the stage of their education in a modern higher educational institution. methods the basis of the methodological approach in this research work is a combination of methods of system analysis of the fundamental principles of teaching design in modern educational institutions with a comprehensive study of the objective prospects for introducing innovations in the process of learning designers to form and develop their artistic and creative activity. the method of comparative analysis of the lin zhu et al., development of artistic and creative activities for design students 123 results obtained in this scientific study was also used with the results and conclusions of a number of scientific papers on related topics. the main research is preceded by the creation of a theoretical base, which includes an analysis of a number of scientific works by modern scientists who have studied the problematic aspects of the development of the artistic and creative activity of students in the design departments of modern higher educational institutions. the application of the system analysis method of the main aspects of teaching design in modern higher educational institutions made it possible to determine the basic principles for developing artistic and creative activity among students of modern educational institutions. in addition, real methods of its development were identified, one of which should be considered the method of infographic projects. the specific stages of the implementation of innovative product design using the infographic method are determined; it is recommended for use at the stage of training design students in a modern higher educational institution. conducting a comprehensive study of the real prospects for the introduction of innovative solutions in the process of training a modern student-designer made it possible to formulate the key principles for creating an educational and cognitive environment that can provide all the required conditions for the development of students’ creativity and increase the general level of their artistic perception. at the same time, specific factors must be taken into account in order to introduce the infographic method into the process of teaching design students in order to develop the proper level of artistic and creative activity in them, which is necessary for the future of the development and practical implementation of products created on the basis of artistic ideas design solutions have been formulated. the selected combination of scientific research methods determined the presence of certain stages of scientific work. at the initial stage of this scientific research, the main aspects of the development of the artistic and creative activity of students of design departments of modern higher education institutions were considered, which are of fundamental importance in terms of improving their skills in perceiving artistic design and subsequently creating products with innovative design. in addition, competencies are identified that are of key importance in developing the skills of design students to develop innovative designs for finished products. at the next stage of the research work, the prospects for introducing the infographic method into the training program for design students in a higher educational institution were considered to develop their artistic and creative skills. some student works are also presented with a description of the methods of their creation, which are of key importance in solving the problems of activating students’ artistic creativity and revealing their ability to create. at the final stage of this scientific study, an analytical comparison of the results obtained with the results and conclusions of several scientific papers on related topics was carried out. this made it possible to clarify the results obtained and to formulate, on their basis, the final conclusions that serve as their logical reflection and to sum up the entire complex research work performed. results and discusion in modern conditions, with the current development of industrial, economic, and social relations, there is a real need to make changes in the educational process of modern higher educational institutions to develop the artistic and creative activity of design students. this is required for students to develop the ability to create technological innovations that provide the products which are subsequently produced, with their participation a real advantage in today’s competitive environment (björklund et al., 2020). in addition, the process of teaching students the principles harmonia: journal of arts research and education 23 (1) (2023): 121-131124 of creating artistic designs of products is important in terms of the development of creative innovation and artistic and creative activity of students in general. the development of the artistic and creative activity of students of modern higher educational institutions requires increased attention to the following aspects: (1) stimulation of independent work of students in the classroom and extracurricular activities (outside activities); (2) formulation of tasks that require non-standard approaches to the solution for their implementation; and (3) creation of an educational and cognitive environment conducive to the development of artistic and creative activity of design students. independent work of students in the classroom and extracurricular activities contribute to the development of their competencies, which should be considered key from the point of view of the prospects for the formation of artistic and creative activity skills in the future. these should include the following: (1) the ability to make independent decisions when choosing a specific concept for the implementation of a task issued by a professor; (2) the development of skills in creating an artistic design of the finished product, using innovative solutions; (3) development and improvement of creative abilities, stimulated by developing the skill of finding nonstandard solutions in the course of performing program tasks. preparation and issuance of assignments to students, the solution of which requires the use of non-standard approaches, involve their subsequent independent work with specific search tasks that stimulate the creative activity of students. when organizing independent work of students, the professor monitors all stages of such work and also controls the process of completing tasks and obtaining new knowledge and competencies for students. for this, it is necessary to set specific tasks, the qualitative solution of which requires a creative approach to the application of all the information received. the educational and cognitive environment, which is conducive to the development of the artistic and creative activity of design students, must meet the following criteria: (1) represent a certain complex of socio-cultural, psychological, and pedagogical conditions that ensure the effective interweaving of the cognitive, personal, emotional and volitional beginnings of each student; (2) have a set of special pedagogical conditions, which are required to create and maintain the student’s interest in the development of his artistic and creative abilities; (3) be able to fully ensure the development of the processes of cognition of the individual and their adjustment, in accordance with the provisions of the program of the higher educational institution. to create an effective educational and cognitive environment that can contribute to the development of the artistic and creative activity of students of design departments of modern higher education institutions, a number of key tasks need to be solved, namely the proper provision of the educational, methodological and material base, which is required for the implementation of a wide range of tasks set in the curriculum; introduction of modern computer technologies into the educational process, which contributes to a visual illustration of creative solutions developed in the learning process; a rational combination of software products used with traditional forms of education allows developing innovative design solutions when creating a finished product and illustrating them using modern computer technology’s capabilities. one of the most effective ways to develop artistic abilities and creative activity of students of design departments of modern higher education institutions is the project method aimed at creating an innovative, artistic design of the finished product using the principles of infographics. the creation of an iconographic project involves the mandatory independent work of students, developing their skills of creative, artistic activity by creating an innovative design of the finished product, lin zhu et al., development of artistic and creative activities for design students 125 which has a pronounced artistic component (nguyen & mougenot, 2022). the infographic is a variant of the graphic presentation of information, with the aim of the fastest, most objective, and most reliable presentation of data of any complexity. this method has found wide application in the field of education and journalism when submitting a variety of technical information. the infographic method allows not only to transmit information in large volumes but also demonstrates specific trends and the real relationship of facts and objects in space and time. the development of the artistic design of the finished product using the infographic method requires the obligatory consideration of a whole range of factors, namely historical, artistic, scientific, and logistical. in this context, the personal characteristics of the project developer are of primary importance: his perseverance, the level of development of the creative activity, the ability to feel the images of artistic design and display them in the completed project, the presence of artistic taste, practical experience in the development of the innovative design of finished products, the desire to develop their own artistic, creative activity. the process of developing the artistic and creative activity of design students through the development of projects in the style of infographics can be represented as a sequence of certain stages, namely (1) definition of the final task of the project. formulation of the terms of reference for the creation of the project, taking into account the general concept of its artistic design; (2) preliminary design study. artistic search for an innovative design concept; (3) preparation of sketches, taking into account the addition of innovative solutions to the proposed design; (4) final fine-tuning of the finished material in graphic editor programs, with subsequent implementation in the material; output the finished project in infographics achieving ultimate success in the development of the artistic and creative activity of design students through the use of the infographic method is possible if there is a favorable combination of a number of factors that directly impact the construction of the educational process. these should include (1) the presence of a sufficient level of professionalism in the teaching staff, who is responsible for the organization of training sessions and the selection of methodological material, the study of which will lead to the development of students’ skills in creating samples of artistic design: (2) a high-quality technological base, which is sufficient for its use in the process of creating an innovative product design during practical exercises, using modern computer technology; (3) development of independent work skills among design students at the stage of training at a higher educational institution, sufficient to develop the artistic design of an innovative product; (4) direct desire of students to master the method of infographics in order to develop the competencies in question; and (5) students’ understanding of the essence of innovative design solutions and the features of their practical creation. figures 1-2 show the work that could be done by design students using the infographics method in the process of studying at a higher educational institution. at the same time, the possibility of their special development is allowed in order to develop students’ perception of artistic design as a result of the activation of the process of their artistic creativity. harmonia: journal of arts research and education 23 (1) (2023): 121-131126 figure 1. work in the style of infographics “size comparison of vessels” source: braquelaire and strandh (2004) in developing the infographic shown in figure 1, a comparison of different types of ships was made, and methods were used to combine different colors and styles of color combinations in the image. such tasks are aimed at developing the perception of the principles of constructing the artistic design of the finished product among design students through the activation of artistic creativity figure 2. work in the style of the “louvre museum” infographic source: braquelaire and strandh (2004) the work presented in figure 2 was created using vector and raster graphics methods. in the first case, the drawing includes separate geometric objects: lines, points, and polygons. as a rule, vector graphics allow the creation of relatively simple infographic images in svg format. in the second case, in order to create an infographic image, a system of pixels is used, the colour difference of which creates a certain graphic image, which the human eye perceives as a single picture. the main bitmap formats are png, jpeg, tif, gif, and bpm. the considered methods for creating ready-made images suggest using proprietary libraries containing many options for creating various types of images (roy and warren, 2019). to ensure that students can access them, the professor should use paid and free repositories during classes. using the above possibilities for creating art design patterns using iconography methods is a clear example of developing innovative product design by activating the artistic creativity of students of design departments of modern higher education institutions. in this case, the design’s innovativeness is expressed through the color-coding method, which allows visual determination of the differences between the individual pieces of information in the text. the development of ability to develop an artistic design, which is necessary for the preparation of an innovative design concept for a finished product, is fully consistent with the preparation of terms of reference for the development of an iconography sketch, which includes the following mandatory steps: (1) alignment of the finished composition on the area, which is limited by specific geometric parameters; (2) the typical character of the silhouettes of figures placed on the final composition is created in a form that is as close as possible to the simplest geometric shapes; (3) it is necessary to maintain a complete static or dynamic balance for all the constituent elements of the composition; and (4) two key options for displaying figures on a sheet are used the dominant figure is located in the center of the composition, while all the others are perceived in approximate relation to it; all figures completely lose their own identity, being located in the established rhythmic alternation of final forms. the stage of developing a finished model contributes to the formation of skills for creating innovative product design. at this stage, students are tasked with independently searching for the final form of lin zhu et al., development of artistic and creative activities for design students 127 the finished product and designing its final proportions. at the same time, the professor monitors the rationality of the methods used by students and their ultimate effectiveness in implementing the general concept of artistic design. the selection of a more rational model is mandatory at this stage in terms of educating students’ ability to find and implement non-standard methods for solving a typical problem, which in the future will be crucial if it is necessary to develop an innovative product design already in solving problems of professional activity (kumar et al., 2021). the organization of practical classes on the creation of infographics and products based on innovative graphic design should be implemented by professors using an activity approach, which involves the sequential implementation of the stages of preparing and issuing technical specifications, creating a sketch of a future product project, modeling it using the available software and creating a finished product model. teaching future designers the basics of infographics is very relevant at this stage since it contributes to the consistent formation of their competencies necessary to effectively create various combinations of artistic images that form the concept of the innovative design of the finished product (booker et al., 2001). at the same time, design students are activating the desire to continue learning in the chosen direction, which, in turn, ensures an increase in overall creative activity in the process of learning activities as a whole. creating an innovative product design requires a design professional to develop the ability to build art forms within a given design concept. a characteristic example of creating an innovative product design is the use of a color-coding method that allows highlighting colour fragments with various kinds of information. this is fully facilitated by the development of the artistic and creative activity of students of design departments of modern higher educational institutions at the stage of preparation for mastering the profession. at the same time, conducting independent practical exercises aimed at developing innovative designs for finished products within the framework of creating projects in the style of infographics contributes to the development of skills in creating graphic images of any degree of complexity using modern software tools (cather et al., 2001). this helps develop the spatial imagination of future designers, as well as a number of other skills and competencies necessary to develop a wide variety of design innovations. thus, the development of the artistic and creative activity of design students through the introduction of practical tasks for the development of product models using the iconography method in the program of higher educational institutions proves its practical effectiveness due to the presence of a wide range of opportunities for improving the skills of creating samples of the artistic, innovative design of finished products. the skills acquired during practical training will be very useful for future designers in their professional activities and will determine their significant competitive advantages in the labour market. maclean-blevins (2017) notes in a scientific study to review the general principles for constructing effective plastic products that any design decision made at each stage of creating a finished product allows the designer to optimize and verify the finished design thoroughly. in this context, the author pointed out that to bridge the fundamental gap between the industrial designer and the finished product developer, the designer should apply creativity at every stage of designing the finished product. this requires thorough training aimed at developing the creative abilities of a design specialist, as well as his personal efforts at all stages of the learning process. in general, the researcher’s conclusions are fully correlated with the results obtained in this scientific study, significantly supplementing them in the context of assessing the areas of application of the creative abilities of a modern designer in practice (maclean-blevins, 2017). harmonia: journal of arts research and education 23 (1) (2023): 121-131128 for their part, ashby and johnson (2009) came to the conclusion that materials are the basis of any design project in a joint scientific study of the features of the use of various materials in the process of implementing a design project. today there is a wide variety of different materials for all possible forms and contemporary design trends. in addition to it, scientists note that the problem of choosing materials for creating a design project is unique in its own way since a technical designer has access to any information related to all the nuances of the project. the question is the level of training of the designer himself and his ability to select the required information from all the available variety, which, in turn, necessitates high-quality training of specialists in this field. the researchers’ conclusions can be challenged on the grounds that a designer with a developed creative ability should not have problems finding information on issues of interest to him in the implementation of any project (ashby & johnson, 2009). the topics raised are developed by lu et al. (2021) in a joint study of the key principles of joint planning, design, and installation of finished products. according to the authors, implementing a certain design concept involves taking certain steps to prepare a draft of this concept and its consistent implementation, using all available opportunities for assembling and picking finished products. it is also noted that with the development of modern computer technology, there has been an evolution of traditional methods for assembling and designing finished products, which in general, has contributed to the acceleration of their development process. the methodology of combining the principles of planning, designing and assembling finished products should be taught to future designers at the stage of preparation for future professional activities (lu et al., 2021). the researcher’s conclusions complement the results of this scientific work in the context of the importance of the practical application of modern computer technologies in creating a finished innovative design of the finished product. becker (2016) examines this subject from a slightly different angle; he raised a number of problematic aspects of choosing a colour scheme for creating a finished product design in his scientific research. the scientist expressed the opinion that colour sets the key mood when evaluating the finished product, which necessitates carefully selecting its colour scheme when creating a design concept. product design innovation is largely determined by the designer’s ability to choose a palette of colours that not only distinguish the product from competitors and creates a unique experience for the end user (becker, 2016). a designer needs to have a good understanding of the world of colour makers, while a formula needs to have a better understanding of design concepts. the researcher’s conclusions require additional clarification regarding the interaction between the designer and the developer of colours to create a high-quality and effective artistic design of the finished product. in turn, best (2012) noted in his study of the features of colour selection in the implementation of the design concept of the finished product the fact that colour design is the basis for the perception of the product, emphasizing its advantageous competitive advantages and creating a truly innovative design of the finished product. according to the researcher, the ability to select a colour scheme to create real creative innovations should be brought up in a future designer at the stage of learning a profession since, in practice, it may not always be possible to improve the skill of selecting the optimal colour combination when creating a finished product (best, 2012). in general, the conclusions of the researcher fully coincide with the results obtained in this scientific work in the context of assessing the importance of choosing a colour scheme for creating an innovative design of the finished product. pouzada (2021) considered in his scientific research the selection of materials and the creation of design concepts for producing plastic products on an inlin zhu et al., development of artistic and creative activities for design students 129 dustrial scale. the author notes that the creation of innovative products requires thorough training of designers in the development of plastic products, as well as the choice of materials and their application in the creation of design forms (pouzada, 2021). according to the researcher, comprehensive training of qualified designers should include training in the principles of thermoplastic molding, studying the latest advances in the field of plastic tools, as well as the impact of processing options for finished molds on the subsequent performance of the finished product. the presented results are interesting in the context of the results of this scientific study by emphasizing the need for an integrated approach to creating the artistic design of the finished product. at the same time, a group of authors represented by frishberg & lambdin (2015) conducted a scientific study of the principles of studying the target audience’s needs when creating various innovative products. as a result, scientists concluded that creating an innovative product design requires a clear understanding of the user’s needs and the practical ability to implement a product that can fully satisfy these needs. this implies the need to develop the creative activity of future designers at the stage of their training in the profession, as well as to improve their artistic taste and ability to implement the main design ideas in the finished creative concept of the product (frishberg & lambdin, 2015). in essence, the researcher’s conclusions are fully consistent with the results obtained in this scientific work in terms of assessing the importance of developing the creative activity of future designers to develop their ability to create an innovative product design. the topic is being developed by staines (2012), who conducted a scientific study of the general principles of creating interiors for academic libraries, teaching, learning, and conducting various research. the author noted that the ability to create innovative design concepts allows for giving the surrounding workspace unique, incomparable characteristics, which as a result, will positively affect the results of people working in this space. the artistic expressiveness of the workroom is largely determined by the creative abilities of the designer who has undertaken to create the interior (staines, 2012). the researcher’s conclusions can be challenged on the grounds that the designer’s creativity alone cannot significantly impact the workspace’s internal expressiveness without his interaction with other specialists involved in the process of creating this space. at the same time, leary (2019), who considered in his research work the key principles for the development of design concepts for additive manufacturing, drew attention to the fact that the creation of any design concept requires significant effort, both on the part of the designer himself and on the part of other specialists, involved in the process. according to the author, much depends on the ability of the entire team to combine creative efforts in one direction in order to obtain the final result, which is expressed in the creation of a single creative concept of additive manufacturing, which includes various options for optimizing the parameters of the entire process (leary, 2019). fundamentally, the conclusions of the scientist do not contradict the results of this scientific work, supplementing them in the context of assessing the importance of team interaction for creating a final high-quality product. thus, in general, the results of this scientific study essentially coincide with the conclusions of the reviewed scientific papers, emphasizing their objectivity and scientific validity. conclusions the development of the artistic and creative activity of students of design departments of modern higher education institutions is aimed at developing the artistic perception of students, which is necessary to create competencies, sufficient for them to develop innovative designs harmonia: journal of arts research and education 23 (1) (2023): 121-131130 of finished products in their subsequent professional activities. the solution to this kind of educational task requires the fulfillment of a number of key conditions for the organization of the educational process, among which it should be noted the presence of the required level of competence of the teaching staff of the educational institution, sufficient material and technical equipment, as well as the consistent development of students’ skills of independent work when performing their educational tasks. an effective solution to this kind of problem is possible by introducing tasks for the development of design projects using the infographic method into the curriculum of the design department of a modern higher education institution. this method is highly effective in creating a visual picture of educational information and developing students’ creative and artistic abilities, increasing their overall level of creative activity and developing their practical skills in creating artistic design concepts. this is facilitated by the students’ performance of tasks aimed at selecting the optimal combination of colours, objects, and shapes in a given composition and choosing the option for arranging the figures in it. furthermore, improving students’ skills in independent work is of great importance in this context; it contributes to the development of creative thinking and the search for innovative solutions in building the design concept of the finished product. the result is an increase in students’ general level of artistic and creative activity, the development of artistic perception, as well as the ability to make innovative decisions when developing the concept of the design of the finished product. such competencies are essential from the point of view of the subsequent professional implementation of future design students since the ability to find innovative, creative solutions when developing design concepts for typical products determines their significant competitive differences and acts as a certain guarantee of their future demand as representatives of the field of design developers in any economic situations. references ashby, m., & johnson, k. (2009). materials and design. oxford: butterworthheinemann. becker, d. (2016). color trends and selection for product design. norwich: william andrew. best, j. (2012). colour design. cambrige: woodhead publishing. björklund, t. a., keipi, t., & maula, h. (2020). crafters, explorers, innovators, and co-creators: narratives in designers’ identity work. design studies, 68(c may), 82-112. booker, j. d., raines, m., & swift, k. g. (2001). designing capable and reliable products. oxford: butterworthheinemann. braquelaire, a., & strandh, r. (2004). a color model for rendering linear passive graphic 2d objects. graphical models, 66(2), 71-88. buck, c. h. (2020). problems of product design and development. oxford: pergamon. cather, h., morris, r., philip, m., & rose, k. (2001). design engineering. boston: newnes. corazza, g. e., reiner-palmon, r., beghetto, r. a., & lubart, t. (2021). intelligence and creativity in the space-time continuum for education, business, and development. journal of creativity, 31, 100003. frishberg, l., & lambdin, c. (2015). presumptive design. burlington: morgan kaufmann. kumar, k., zindani, d., & davim, p. (2021). sustainable manufacturing and design. cambridge: woodhead publishing. leary, m. (2019). design for additive manufacturing. oxford: elsevier. lu, c., fuh, j. y. h., & wong, y. s. (2021). collaborative product assembly design and assembly planning, 3 edition. cambridge: woodhead publishing. lin zhu et al., development of artistic and creative activities for design students 131 maclean-blevins, m. (2017). designing successful products with plastics. norwich: william andrew. nguyen, m., & mougenot, c. (2022). a systematic review of empirical studies on multidisciplinary design collaboration: findings, methods, and challenges. design studies, 81, 101120. pipinato, a. (2021). innovative bridge design handbook. oxford: butterworthheinemann. pouzada, a. (2021). design and manufacturing of plastics products. norwich: william andrew. roy, r., & warren, j. p. (2019). card-based design tools: a review and analysis of 155 card decks for designers and designing. design studies, 63, 125-154. staines, g. (2012). universal design. oxford: chandos publishing. taura, t. (2016). creative design engineering. london: academic press. thompson, p., & jaque s. (2017). creativity and the performing artist: behind the mask. london: academic press. 101 forms, development and the application of music media in the kindergartens: a comparative study of two kindergartens totok sumaryanto florentinus study program of art education post graduate program, semarang state university, indonesia e-mail: totokunnes@yahoo.co.id udi utomo music department, semarang state university, sekaran campus, semarang 50229, indonesia e-mail: udi_utomo_unnes@yahoo.com received: october 18, 2015. revised: november 29, 2015. accepted: november 29, 2015 abstract this study was aimed at investigating the form of music media employed in the teaching and learning process (tlp) in the kindergartens, and the teachers’ effort to develop and apply music media in the tlp. the researchers used a qualitative approach. the research was conducted in tk hj. isriati baiturahman and tk negeri pembina semarang. the subjects of the study were principals, teachers, staffs and students. in collecting the data, the researchers used three different techniques: interview, observation and documentation. then, the researchers used data reduction, categorization and data interpretation to analyse the data. the result shows that the teachers in both schools have utilized varied music media in the tlp. in tk hj. isriati, the teachers used music media in the form of music composition and electronic equipment; and the new music instruments were used by the teachers in extracurricular activities. meanwhile, the teachers in tk negeri pembina utilized music media, including music composition, music instruments and electronic equipment. the development of music made by the teachers was done by modifying lyrics, composing simple songs, utilizing rhythmical music instruments and employing electronic equipment in the tlp. keywords: form; media; music; kindergarten how to cite: sumaryanto f., t., & utomo, u. (2015). forms, development and the application of music media in the kindergartens: a comparative study of two kindergartens. harmonia: journal of arts research and education, 15(2), 101106 doi:http://dx.doi.org/10.15294/harmonia.v15i2.4099 harmonia : journal of arts research and education 15 (2) (2015), 101-106 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v15i2.4099 p-issn 1411-5115 e-issn 2355-3820 musical activities, as a kind of teaching and learning processes in the kindergarten and a combination of the various areas are expected to support the outcome of teaching and learning objectives in the kindergarten. to create musical activities such as listening to music, singing, playing simple music instruments and others which introduction the implementation of teaching and learning process (tlp) in kindergartens has never been apart from musical activities, even though it is still in the form of singing. this activity is conducted either inside or outside of the classroom (see syahrul, 2010; moeslichatoen, 2009, p.12-13). harmonia : journal of arts research and education 15 (2) (2015): 101-106102 are meaningful to the students, it needs teachers’ skills to develop a plan and an implementation in the tlp. some of the critical issues related to the teachers’ skills concern: (1) the ability to determine the appropriate music experiences which relate to the themes and development aspects in the kindergarten, (2) the ability to design musical activities to be implemented, (3) the ability to determine kinds of music and songs that will be used as teaching media, and (4) the ability to define and use musical instruments that support the learning process. based on the explanation above, the research questions are outlined as follows: (1) how is the music media used in the tlp to be implemented in the kindergarten? and (2) how do the teachers develop and apply music media in the tlp in the kindergarten? musical activity is an important role in the kindergarten education program. froebel, an expert of kindergarten believes the values of musical experiences for the students as written in his book, mother play and nursery songs. based on his opinion, the students should be given as much singing and playing experiences through singing activities. moreover, anderson (2004, p. 2) states that the kindergarten students are the most original composers. they create more music, explore it carefully, use more consistent and spontaneous music, and have a stronger motivation on music compared to the students in the higher level (adolescence). music, as one of the important activities in the tlp in the kindergarten is considered to be affected the child’s personal development which involve some development aspects such as motoric, language, emotional, social, and intelligence. in addition, it is also due to the music as a part of children’s life, cultural heritage, and it is as tools to express themselves (moeslichatoen, 2009, p. 12-13). the scope of the tlp in the kindergarten involves behavior formation through the implementation of moral development of pancasila, religion, discipline, feelings/ emotions, and social skills, as well as the development of basic skills through activities prepared by the teachers which include the development of language skills, critical thinking, creativity, skill, and physic. to achieve the goals of the tlp in the kindergarten, the teachers have established varied themes. the themes are (1) i, (2) senses, (3) family, (4) houses, (5) schools, (6) food and drink, (7) clothing, (8) cleanliness, (9) plants, (10) vehicles, (11) occupation, (12) recreation, (13) water and air, (14) fire, (15) countries, (16) communication tools, (17) natural phenomena, (18) sun, moon, stars, and earth, and (19) life in cities, villages, coastal areas and mountain (moeslichatoen, 2009, p. 13-14). the varied themes are delivered to the students through integrated activities by including music as one of the components. music activities such as listening music, responding music with its rhythmical motion, singing, reading music notation, and playing simple musical instruments are the activites in the tlp, the purpose of which is to establish behavior (especially through messages of the lyrics), and to develop their basic skills such as creativity, language, thinking, skill, and physic (through melody, rhythm, harmony, lyric and expression) (safrina, 1999, p. 125-166). in order to achieve its objectives, it needs the teachers’ skills to develop and apply the existing music media. the media are anything (hardware and or software) which relate to music, applied as teaching media since they can stimulate the students’ thinking, feeling, attention and willingness to promote effective and efficient tlp. in the context of teaching and learning process in the kindergarten, it emphasises on the process (not the goal). music media can be devided into three main forms: music composition, music instruments and electronic equipment. the composition of music is in the forms of vocal music, works of instrumental music, or a mixture of both. based on the mohd sawari rahim, et al., comment and comics artwork by mohd yaman ahmad ... 103 character, the instrument can be classified into two types: musical rhythmic and melodic instruments. the rhythmic musical instrument is a musical instrument that can only be used as a rhythmical support. for example, it can be seen from drums, drum, tambourine, castanyet, guiro, cymbals, and others. furthermore, the melodical music instrument can function not only to support but also to play melody. for example, it can be in the forms of flute, pianika, glockenspiel, guitar, harmonica, and others. based on the sound sources, music instruments can be divided into several groups: (1) an instrument derived from human (limbs) such as clapping, pounding feet, excerpting fingers, and others, as well as human voice for more specific, (2) idiophone instruments such as calung, xylophone, marimba, glokenspiel, chimes, maracas, tambourine, castanyet, triangle, guiro, etc., (3) aerophone instrument, such as flute, clarinet, saxophone, trumpet, trombone, pianika, harmonica, etc., (4) membranophone musical instruments such as stringed drum, bass drum, bongo, conga drum, drums, terbang, etc., (5) cordophones instrument such as guitar, mandolin, violin, zither, piano, harp, fiddle, etc., and (7) electrophone musical instruments such as elerctronic organ, electone, syntesizer, sound effects, electric guitars, and others (safrina, 1999, p. 15-18). electronic equipment included as music media (hard ware) are radio, tape recorder, television, cassettes music recorder, music cds, music vcd, mp3, ld music, sound system and others. some of those can be used as media for listening or watching music (rinanto, 2005, p. 44-63). method the study used a qualitative approach. the setting of the study was at tk hj. isriati baiturahman and tk negeri pembina semarang. the principals, teachers, staffs and students became the subject of the study. to collect the data, the writer used interview, observation, and documentation. the qualitative data was analysed for its validity using the degree of trustworthiness, triangulation and also theory. the technique to analyse data used three phases. they were data reduction, categorization, and data interpretation (verification / conclusion). result and discussion the application of music media in the tlp in tk hj. isriati baiturahman the forms of music media including: (1) music composition, (2) music instruments, and (3) electronic equipment have been implemented as a part of the tlp in tk hj. isriati baiturahman. the utilization of those music media could be seen from their varied activities. vocal works like children’s songs have always been used as teaching media in the pre activity for 30 minutes started from 07:00 to 07:30. it was held in the hall attended by all students in class a at the same time (a1, a2, a3, and a4). not only to support pre activity, the children’s songs were also used for other purposes such as to strenghthen messagges for the students and to improve students’s vocal skills (singing lesson). in addition, there were also some other tlp that utilized music composition such as musical composition and instrumental mixture. based on the data, the use of music instrument as teaching media in tk hj. isriati was implemented in the extracurricular activities. classroom teachers or the students only used clapping hands in their pre activity, main activity, post activities and singing activity to support the tlp. there were various numbers of musical instruments used in the extracurricular activities, among others were: (1) a set of musical instrument drum band, (2) a set of angklung musical instrument, and (3) keyboard to support singing activities. there were some activities in which electronic equipment was used in tk hj. isriati such as (a) before the class began around 6:00 to 7:00, the teachers used music media to welcome the students’ arrival and when harmonia : journal of arts research and education 15 (2) (2015): 101-106104 students were playing outside while waiting for the bell rang. it was the recording of children’s songs in the form of either instrument or mixture (vocal with musical accompaniment). in doing so, the teachers played the songs using a tape deck with its sound system in order all students could listen, (b) teachers also used electronic equipment as the teaching media in the tlp on pre-activity, main activity and post activity. the electronic equipment used by the teachers during the pre activity in the hall were a mic wereles and a big tape functioning as sound control. when the tlp was held in the classroom, the teachers also used loudspeakers such as mic wereles, amplifier and speaker. those employing electronic equipment as music media in the tlp in tk hj. isriati were the teachers teaching dance and music. on the dancing activity, the electronic equipment used as music media was tape and cassette recorder as musical accompaniment. while in the music learning activities, there were a keyboard (roland em 25) and two electrical equipments, a tape as sound control and mic wereles for students to sing in turns. the effort of teachers to develop and apply music media in the tlp in tk hj. isriati baiturrahman semarang an effort to develop music media in the tlp undertaken by the teachers in tk hj. isriati was still by using music composition media in the forms of childrens’s songs and sound system. the development of children’s songs could be seen while the teachers were doing improvisation of the lyrics and the tlp. it happened when they found interesting things or events that needed appropriate songs with their proper lyrics to reinforce the atmosphere of the tlp. beside modifying the lyrics, the teachers also created their own songs. on the other hand, to develop electronic equipment in the form of sound system as teaching media in the pre-activity, main activity and post activity the teachers always utilized the existing sound system. it was due to its precision tone, rhythm and articulation in reciting the lyrics by the teachers in order the students could hear and follow. the implementation of music media in tk negeri pembina semarang. similar to tk hj. isriati, music media were in the forms of (1) music composition, (2) music instruments, and (3) electronic equipment which have become an important part of the tlp. the details are as follow: the utilizaion of music compositions as teaching media in tk negeri pembina involved vocal, instrument and mixture works. vocal works in the forms of children’s songs were always used as teaching media while the students were doing pre-activity at 07:00 in the morning. moreover, the teachers also used mixture works in the main activities. for example, the students were doing some ativities such as drawing, coloring and sticking. meanwhile, the teachers also played children’s songs to accompany the students’ activities. then, the teachers of tk negeri pembina kalso utilized music composition both instrumenal and mixture music especially by those teaching dance. they used it as accompaniment “move and song” for class a. furthemore, the teachers used folk and “dolanan” songs to accompany “move and song” learning for the male students of class b.. for the female students of class b, musical composition for gamelan (gending) was used as learning accompaniment since the teaching material was the new dance creations. both classroom teachers in their main classes and art teachers in their classes in tk negeri pembina used isntrumental music. the classroom teachers in their pre-activity, main activity and post activity in the classroom utilized a number of music instruments such as (1) castanet, (2) maracas, (3) triangle, and (4) tambourine. meanwhile, the art teachers used two main music instruments: a set of kulintang and angklung instruments. there were two main activities which utilized electronic equipment in tk negeri pembina: (1) at mohd sawari rahim, et al., comment and comics artwork by mohd yaman ahmad ... 105 rang. music media in the forms of vocal, instrument and mixture works have been done by the classroom teachers in the tlp in tk hj. isriati baiturahman semarang. otherwise, music media in the forms of instrument was still limited only by the use of natural instrument such as clapping. the use of musical instruments avaliable in the school was only conducted by extracurricular teachers such as singing, angklung and drumband. electronic equipment such as sound system, tape recorder, cassette recorder have already been used by the classroom teachers both before the class started and in the tlp inside the classroom started by pre activity, main activity and psot activity by utilizing sound system as the loud speaker. to develop the utilization of music media by the teachers in tk hj. isriati can be seen by their courage to modify the original lyrics based on the learning situations. beside, they also created new songs based on the school needs and creations to utilize electronic equipment in many tlp. on the other hand, music media in the forms of vocal, instrumet and mixture works have also been utilized by the classroom teachers in the tlp in tk negeri pembina semarang. it was not only limited to use the natural instrument such as clapping, but also rhytmic instrument such as (1) castanet, (2) triangle, (3) maracas, and (4) tambourine. then, the other music instrument was still used by those teaching music art. finally, tape and cassette recorders as electronic equipment were used during rhytmic activities performed in the pre-activity, main activity and post activity. the effort to develop the utilization of music media in tk negeri pembina was shown by the courage to modify the lyrics, to create simple songs, and to utilize rhytmic music instrument in the rhytmic and singing activities. not only tape and cassette recorders, music media was also utilized to support the tlp in the classrooms. the tlp conducted by all classroom teachers and (2) at the tlp of music. the details are outlined as follows: the use of electronic equipment as music media by the classroom teachers were conducted in the pre-activity, main activity and post activity. mini compo as one of electronic equipment was used not only to play children’s song recording to accompany the students while they were doing several acticities such as drawing, coloring, cutting, etc. but also to play cassette recorder either instrumental or mixture works in the rhythmic and physical activities. the use of electronic equipment as music media in the art learning was conducted by the art teachers. the equipment was a tape deck or tape mini compo available in each class. it was to play music as accompaniment in the motion and song tlp, “dolanan” dance and new dance creations. the effort of teachers to develop and apply music media in the tlp in tk negeri pembina semarang to develop music media which related to problems of choosing media, the use of varied media and teachers’ creation in utilizing music media in tk negeri pembina were conducted by modifying the lyrics of the existing children’s songs and creating simple songs of their own. the lyrics were adapted based on the existing themes in the tlp. finally, to develop the utilization of music media was done by developing rhythmic instrument including: 1) castanet, (2) triangle, (3) maracas, and (4) tambourine as well as tape recorder while the students were doing a number of activities such as drawing, sticking, cutting, coloring, printing and others. conclusion the use of music media in the forms of: (1) music composition, (2) music instrument, and (3) electronic equipment has been conducted by the teachers both in tk hj. isriati and tk negeri pembina semaharmonia : journal of arts research 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(2011). pembelajaran musik di taman kanak-kanak (music learning in child school). harmonia: journal of arts research and education, 5(3). doi:http://dx.doi.org/10.15294/ harmonia.v5i3.824. 96 visual aesthetic of petta puang theater group performance in south sulawesi andi baetal mukadas1,2, tjetjep rohendi rohidi2, totok sumaryanto florentinus2 1universitas muhammadiyah makassar, indonesia 2postgraduate of art education, universitas negeri semarang, indonesia received: march 3, 2017. revised: april 19, 2017. accepted: may 17, 2017 abstract this study aims to provide a description of the visual aesthetics contained in the show puppet theater petta puang in south sulawesi in connection with the network of symbolic meaning inherent in it. the method used is descriptive-interpretivime method symbolic, with data collection techniques through direct observation, interviews, and documentation. the result of the research shows that in the performance of petta puang puppet theater there is a visual aesthetic that characterizes the main character «petta puang» in every appearance that is jas tutup, songkok guru (songkok to bone), and lipa ‘sabbe’. some visual aesthetics have symbolic meaning directly related to the socio-cultural values of the people of south sulawesi. lipa ‘sabbe (silk sarong) is a bugis sarong which has a fine texture as a representation of the tenderness and social politeness of bugis tribe, while vertical and horizontal lines are markers of human relationship with god and human relationships in the social system. jas tutup originally consists of two colors, namely black and white. two elements of color is a neutral color that confirms the impression of depth and sanctity that became the patron of bugis tribe values. keywords: theater; petta puang; visual aesthetic how to cite: mukadas, a. b., rohidi, t. r., & florentinus, t. s. (2017). visual aesthetic of petta puang theater group performance in south sulawesi. harmonia: journal of arts research and education, 17(1), 96-104. doi:http://dx.doi. org/10.15294/harmonia.v17i1.9009 harmonia : journal of arts research and education 17 (1) (2017), 96-104 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i1.9009 as “kondo buleng”, and “koa koayang” theater. on the ujung pandang tv, a puppet theater entitled “wa ‘mappe” is presented each afternoon with which the cultural values of the people of south sulawesi is raised. the aforementioned theater group often presents critiques of social criticism as the theme of the show and has its own aesthetic in every performance. although thye have ever lived and got their triumph, some of them do not last long, even some of them do not exist anymore. in the era of the 80s, a theatre group introduction in south sulawesi theater or drama performances have been presented since the colonial period. from the stories told by elders who have lived in that era, there has been a community of performances such as “baco puraga”, a type of puppet theater that displayed chinese community using makassar language mixed. there is also a play “ember bocor” featured at several family events such as wedding, sunatan and night fair, as well as folk theater such p-issn 2541-1683|e-issn 2541-2426 corresponding author: jalan kalimanatan no. 37, sumbersari, jember, indonesia e-mail: aemas.madangkara@yahoo.com andi baetal mukadas et al., visual aesthetic of petta puang theater group performance ... 97 petta puang was founded by bahar merdu. this group is able to win the hearts of the audience from any realm by raising the concept of comedy shows with social themes. the petta puang theater group has its own aesthetic in every show, both from stage, makeup, lighting, property and costume. thanks to the shrewdness of bahar merdu concocted his show to make this group survive and experience rapid development, it can be proved with the intensity of the show that always presents in every event or in the program of local television station. the uniqueness of the petta puang in each show is marked by its consistency in displaying local characteristics of south sulawesi, such as the use of costumes, the style of language used, the local characterization representation, the locality of the scenario and the typical narrative of the story. in each scenario of the story of petta puang, there is a message or ‘paseng’ of local wisdom as a representation of the noble testament contained in the area of south sulawesi. besides that, the other uniqueness of petta puang is its involvement in situations and circumstances that do not look at the class, social strata, place, space and so on, so that the petta puang can be present anywhere that is not bound by political interests and power around. in addition, petta puang has its own aesthetic in every appearance. it is characterized by a not-rigid staging, unfaithfulness to the script, casual dialogue with a variety of occasional inprovisions using bugis and makassar, and every turn of the scene is marked by a musical instrument of tradition in the form of kacapi , sinrilik, pui-pui and tanjidor music. the most prominent aesthetics in every show is that the main character in petta puang always wear the traditional costume of south sulawesi that is; songkok guru (songkok recca), jas tutup and lipa ‘sabbe (silk sarong). since 1985, they have already had approximately 100 shows, and until now the main character of petta puang remains faithful using the costume and property mentioned above. this is then of interest to the author thoroughly related to the visual aesthetics (costumes) contained in the show of petta puang in south sulawesi. actually, when we talk about the visual aesthetics of a theater performance, then we will be dealing with various aesthetics contained in it such as; layout, lighting, makeup, motion and properties. but in this paper the authors focus more on the costumes used by the character of petta puang which are loaded with symbolic meaning because it is related to the socio-cultural values of the people of south sulawesi. furthermore, in the search of various sources, the author did not find a special study that discusses the aesthetics of petta puang alhough this theater group has various cultural values as an identity, including aesthetic values that require philosophical affirmation, which is not just a show. therefore, the authors try to conduct research on “aesthethic visual of petta puang performance in south sulawesi” as a cultural movement that can provide understanding of the discourse to the wider community, as well as the cultural identity of south sulawesi. this study aims to provide a description of the visual aesthetics contained in the show of petta puang in south sulawesi in connection with the network of symbolic meaning inherent in it. method this study focuses its attention on the visual aesthetics contained in the costumes worn by petta puang figures in the performance of petta puang theater group in south sulawesi. the underlying reason for focusing attention is that: petta puang has performing traits on each stages of traditional costume (bugis-makassar traditional dress), consisting of songkok guru, jas tutup dan lipa sabbe. this whole element is not only worn, but besides its aesthetic value, it also has a symbolic meaning related to the cultural socio-culture of south sulawesi. in collecting data, the authors did direct observation of the show, interview and documentation. the direct observation here is to watch the show of petta puang harmonia : journal of arts research and education 17 (1) (2017): 96-10498 entitled “adong pulang” at al amien auditorium of muhammadiyah university of makassar in 2016. in interviewing technique, the authors ask bahar merdu directly as the director and owner of petta puang related to the costumes worn by petta puang. in the documentation technique, the authors collect data relating to costumes and properties in the show by using a image or video recorder (handycam and digital camera), voice recorder and notepad. data analysis was done to find answers from the problems in the research by using the parameters of observation, documentation and interviews related to visual aesthetics on the performance of petta puang specifically related to the costume as well as analyzing the symbolic meaning that was built in the show. results and discussion performance form watching the performance of petta puang, then the audience can guess the shape of the show very easily. patterns of petta puang show rely on elements of traditional culture with comedy frames/ jokey style of the innocent people, closely with the typical bugis makassar. but it does not necessarily close the opportunity to insert contemporary elements that are full of symbolic, poetic and suggestive including the elements of advertising as in one of the x gula script performances. the key of petta puang show is in the populist character, familiar with the audience that they always create and this makes the show very popular with south sulawesi society, so petta puang got much invitation to enliven various events (yudistira, 2001, p.59). the observers found that theatrical phenomena of petta puang’s performances are seen as a form of transition to indonesian theater; a form of theater that does not comply with the rules of the western theater. for example, in terms of practice, every player can be a director, at least for himself. in addition, the story they play, if implemented at different times, it will change and adjust to the situation. petta puang realized that without continuous exploration, they would eventually drown the idea. figure 1. one of petta puang show styles as mc (master of ceremony) in kalla group anniversary (rspp document, 2008) figure 2. petta puang theater group adapting a traditional south sulawesi theater, “kondo buleng” (rspp document, 2005) figure 3. one of the scene in adong pulang in the beginning of the show, where the main character of petta puang accompanied by conga’ and gimpe greeted the audience (andi etal document, 2016). to anticipate that, then they are focusing the exploration only on the distinctive colors of bugis makassar culture, especially how the portrait of makassar bugis andi baetal mukadas et al., visual aesthetic of petta puang theater group performance ... 99 society that interact with the progress of time. petta puang presents as a personal figure of feudalism bugis makassar who tried to adapt themselves in global culture. the style of expressing their thoughts sometimes becomes intriguing analytics. petta puang avoids the style of play as srimulat style. manuscripts played by petta puang is very flexible. even some script numbers are made on the spot. this means adjusting to the circumstances in which the story will be performed. they memorize the dialogues as well, but the actualization depends on improvisation of players or direction of the director in the context of the exercise. the dialogue played by the plot and the standard of dialogue comes from the script; the rest improvised. the language used is the average of the lower community languages. sometimes bugis language, makassar is mixed with indonesian with bugis accent. the number of sentence improvised is adjusted to body motion/ gesture. such tendency is seen in almost all the performances of petta puang, including its performance in jakarta when invited by one of organizations participated in election, in surabaya and balikpapan. (yudhisthira, 2005) the audience of petta puang is always happy, as the audience is deliberately involved in the story. the goal breaks the boundaries of communication barriers as well as people’s theater techniques that tend to promote friendship. because of that concept, they are often called the concept of urban theater. petta puang has become one of the media capable of laughing at ourselves, for our own psychological well-being. because the figure of petta puang can still be found around us. the acting style of petta puang absorbs the acting community of kondo buleng theater. they offer folk style acting unaffected on the dramaturgi concept of the west. their body movements absorb the daily movement as what it is; only the accent that always brings bugis ethnic nuances. if in srimulat’s slapstick, they often treat the head in an unappropriate way. petta puang never does that. the reason is that in makassar bugis culture, head is a symbol of honor. visual aesthetic of petta puang performance in the realm of science, aesthetics is often referred to as a science that serves to assess the problems associated with the beauty of artwork. substantially aesthetically dealing with all branches of art. agus sachari (in sahid, 2013; 14) says that aesthetics is a philosophy that addresses the essence of the totality of aesthetic and artistic life that is in line with the times. often the aesthetic is also called the theory of beauty that is contained in a work of art. in this sense aesthetics discusses aesthetic objects, the quality of artwork and its effect on the human psyche, that is feeling, imagination, mind, and intuition. because art has different mediums such as lines, shapes, colors, language, tone, motion and the like, the beauty usually appears after the relationship between the medium, the essence and the element of that element of beauty. although the medium of art is different, but in essence has the same substance value about beauty. almost no works of art does not attach importance to beauty. monroe c. breadsley states that something beautiful in the work of art contains at least three main points which include: a) unity (unity), ie every work of art is structured according to the rules of the art rules concerned and has a perfect form; b) complexity, ie the elemental elements that build the artwork show the diversity, so that the work has its own peculiarities and charms; c) sincerity (intensity), ie good works of art must have its own qualities, so it is different from other works. meanwhile, the liang gie says that there are five conditions that must be fulfilled to say that something is beautiful, that is: a) unity, totality (unity), b) harmony, c) symmetry, d) balance), e) contradiction (contrast), (sahid, 2013). furthermore, the existence of the artwork is analyzed based on the aesthetic theory of edmund burke feldman; how the meaning of symbols towards aesthetic harmonia : journal of arts research and education 17 (1) (2017): 96-104100 gesture, motion, makeup, hair style, costume, property, setting, lighting, music and sound effects. then kowzan uses the distinction between audible marks and visual signs. but in the show of petta puang, not all elements will be discussed. however, it focuses more on the costumes worn as they relate to the socio-cultural values of people in south sulawesi. according to nur sahid (2004), the costume worn by an actor includes a sign system that is quite important. this is because the costumes worn by the actor more easily perceived by the audience. it is not surprising that the initial identification of the audience of a performance usually begins with the costume. costumes and roles are closely related. the theater costume functions largely on the functions derived from social life. in theater, the costume includes a special system to create meaning whose units are determined by material, color and shape. with the form of units, the costumes can create a set of different meanings all related to the identity of the story character (lichte in nur sahid, 2004). berikut estetika visual serta makna ke-khas-an kostum tradisional dan beberapa property yang di gunakan tokoh petta puang meliputi: jas tutup, songkok guru (songkok to bone), lipa’ sabbe’ tongkat dan kursi. the following are the visual aesthetics as well as the unique meaning of traditional costume and some of the properties used by petta puang, includig: jas tutup, songkok guru (songkok to bone), lipa ‘sabbe’ sticks and chairs. jas tutup, a special clothes of bugis-makassar jas tutup actually resembles the traditional costumes of chinese ethnic costume. what distinguishes is the type of fabric and thickness. jas tutup generally uses a rather thick cloth with good quality. inside, it has a thin and smooth fabric layer. the pocket is on the top left side. the buttons used are generally only two colors, namely gold and silver color. the color of gold usually means that the person has a manifestations is described based on the structure of the form which includes elements of art and composition. feldman’s theory classifies the function of art in three major groups: personal functions of art, the social functions of art, and the phisycal functions of art. these functions are placed in accordance with the role and usefulness of art in community groups. when attributed to feldman’s theory above, the presence of petta puang in south sulawesi certainly has its own function and role in line with the view of community life that supports the presence of the elements of art. art and aesthetic theories are needed at the level of understanding, analysis and interpretation. this theory departs from the assumption that every area of art can be considered to have a number of basic aesthetic elements that are universal. in the performance of petta puang, we can find the following elements: wiraga (element of motion), wirasa (appreciation element), wirama (musical element), wirupa (visual aesthetic diversity element: costume, property, space, etc). furthermore, each universal element has distinctive embodiments in every cultural and sub-cultural sphere, included in the cultural sphere of south sulawesi. in relation to this research, borrowing aesthetic theories such as the use of visual visual art elements supported by feldman’s theory, then related to the form, appearance, or form of art contained in the performance of petta puang in south sulawesi can be described, analyzed, and reviewed in depth. related to this research, then the resulting art is a form or a real form of art that is applied with all the supporting elements that have the value of art and its own aesthetic value. the visual structure in the performance of petta puang has the link with the socio-cultural value system of bugis makassar. its aesthetic markers affirm the symbolic meaning of several aspects. in kowzan’s theory, he classifies or makes the segmentation of a theatrical system by highlighting the centrality of actors on the thirteen sign systems: word, tone, mime, andi baetal mukadas et al., visual aesthetic of petta puang theater group performance ... 101 high social status. in the pocket, there is a small chain connected to jas’s button. jas tutup has become a tradition in every ceremony and local art performances to the bugis and makassar. the colors used vary like red, yellow, blue, white and so on. in each performance of petta puang, petta puang’s character always wear jus tutup based on the show material, but on another occasion, they wear more dominant brown. brown color is believed to be the mark of nobility, friendship, and visual sanctity. some of jas tutup that are used then experience design enrichment because aesthetic factors are now a necessity in a show. picture 4. one of brown jas tutup worn by petta puang on their performace, combined with songkok to bone and lipa sabbe (silk sarong) to show a very harmonious color combination songkok to bone songkok is the identity of men as the crown. in addition to reflecting one’s virtue, songkok is also often used as a symbol of the identity of the customs and culture of a region. in bone district itself, there is a songkok that became the identity as well as complementary when someone is wearing customs bugis, and it will reveal the charisma of its user, but we should know the rules when we will wear this king relic songkok. the songkok which has become bone bugis identity has three different names, namely songkok recca, songkok pamiring ulaweng and songkok to bone, but the meaning of the three names are generally the same. songkok recca refers to the process of making and the raw materials used to make the songkok as the material used is made of palm leaf ladar leaves which is called direcca or ure’cha in bugis. songkok pamiring refers to the tip or the bottom of the songkok which is decorated in golden color. usually if the bottom is decorated with gold thread, it is called songkok pamiring, but when it is using real gold, it is called songkok pamiring ulaweng (gold-clad songkok). songkok to bone is a name that many people say outside bone, south sulawesi; it is related to the history of the maker or the user of the songkok, the bone people. regarding the rules of use, people are divided into several groups, like the high nobility status or position as the king of a great kingdom and for the child king who descended from maddara takku (blue blood), child mattola, children matase ‘, they can wear songkok pamiring made entirely of pure gold or in term bugis ulaweng bubbu. for other nobles, they can wear songkok pamiring with a width of three-quarters of gold. for arung matola menre, anak arung manrapi, anak arung sipuwe and anakarung, they can wear songkok pamiring with a three-fifths. bagi rajeng matasa and rajeng malebbi, they can wear songkok pamiring with a half of the height cap. for arung maddapi, anak arung sala, and anak cera’, they can wear songkok pamiring with a quarter of high cap. for tau deceng, tau maradeka, and tau sama, they can wear songkok pamiring with golden angle, while ata class is not allowed to wear songkok pamiring at all. for arung lily and karaeng lili under the kingdom of luwu, gowa and bone, they can wear songkok pamiring salaka; it is similar to songkok pamiring above, but the decoration is silver, not gold, as the use of songkok pamiring decorated with gold in the nobility of great empires before, the level of decoration above songkoknya accordance with the degree of arung lily and karaeng lili concerned. but along with the development in society, this is no longer seen as a caste distinction, the rules are no longer valid and everyone may wear them. but this songkok is harmonia : journal of arts research and education 17 (1) (2017): 96-104102 still special because it shows the charisma of the wearer. the privilege will be seen if this songkok is above the heads of people or important and famous figures, officials, descendants of nobility, the rich, and the like only that will be the difference is the authority of the wearer. songkok pamiring no longer belongs to kings or nobles only, but for those who understand the philosophy of songkok pamiring, they will not carelessly wear it. in addition to showing the charisma of the wearer, songkok pamiring also shows who actually the person who wear them. in the performance of petta puang, the characters always wear songkok wherever or whenever they are as a symbol of descendants of nobility although they wear different motifs on each performance. figure 5. one type of songkok to bone used by petta puang in “adong pulang” (andi etal document, 2016). lipa‟ sa’bbe (sarung bugis) lipa ‘sa’bbe or bugis sarong is a kind of traditional bugis cloth which has beautiful stripe lines, and made of silk produced by bugis community itself. bugis community from the village of tajuncu, south sulawesi. in addition to being a day-to-day wear, bugis sarongs are worn for sacred ceremony, as well as gifts for the bridegroom. lipa ‘sa’bbe has a variety of shades of small box box called balo renni. meanwhile, the big box-like pattern of scottish tartan cloth is called balo lobang. after the pattern box, there is also a zig-zag pattern that is named bombang style. this style describes ocean waves. in the performance of petta puang, the main characters of petta puang wear lipa’sa’bbe with a large black-andcream boxed box motif. while conga ‘and gimpe has a large box motif as well but the type of fabric is not from silk. this shows that there is a difference in status between petta puang and conga ‘and gimpe coming from ordinary people. while the characters of puang beddu wear a small-checked sarong. although puang beddu is the descendants of nobility but the type of cloth used is different from that worn by petta puang, it is as a differentiator in terms of work. figure 6. several types of lipa sabbe ‘(sarung bugis) are worn in performing arts in south sulawesi. each motifs has a meaning based on the social status it uses, but now, it no longer characterizes certain people (andi etal document, 2016). figure 7. lipa ‘sa’bbe (sarung bugis) with various motifs worn by four characters in the performance of “adong pulang”. motif used is in accordance with the status in society (andi etal document, 2016). conclusion based on the above description, it can be concluded as follows: first, that the visual aesthetic of the show of petta puang in south sulawesi always raised the values of bugis-makassar tradition which is characterized by its consistency in displaying local characteristics of south sulawesi. the visual aesthetic in this discussion includes: the use of costumes, which consists of songkok guru, lipa sabbe and closing andi baetal mukadas et al., visual aesthetic of petta puang theater group performance ... 103 suit. these three visual elements become social-cultural markers of the bugis tribe as its use is closely related to adaptation and symbolic communication. it can be described as follows: 1). songkok guru, hat (head cover) typical bugis tribe made from natural lontar leaves made with traditional methods with the priority of quality materials. songkok guru has an opal with a combination of black, gold and silver. while the composition of gold thread is a marker of social strata bugis, the higher the gold is, the higher the social strata attached to a person. what is interesting in the findings of this research that not only the symbolic form found, but the use of songkok became a symbolic communication in every element of its use. basically, the position of the hat above the head becomes the most important requirement in the delivery of communication and symbolic adaptation in this performance. 2). lipa ‘sabbe (silk sarong) is a bugis sarong which has a subtle texture as a representation of the tenderness and social politeness of bugis tribe, while vertical and horizontal lines are markers of human relationship with god and human relationships in the social system. the colors contained in silk sarongs emphasize the colors of contrast and light, the subject indicates the character of the bugis tribe who opposed each other binner in certain situations and circumstances. furthermore, the sarong made of silk is dominantly produced by the bugis community itself, especially sengkang, bone and sidrap areas. 3). jas tutup (typical jas bugis), another character that distinguishes the other suit is a form that almost covers all parts of the torso on the human body, its elegant form affirming the attitude that upholds the dignity and dignity of the bugis. jas tutup originally consists of two colors: black and white. two elements of color is a neutral color that confirms the impression of depth and sanctity that became the patron of bugis tribe values. along with the development of the times and the social dynamics, the use of color of jas tutup also varied; it is influenced by a considerable aesthetic needs in displaying elegance and conjugation in major events of bugis tribe. references ahmadin. 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(2001). profil 5 teater di makassar. makassar, potika press vol. 8 no.2 mei-agustus 2007.pdf harmonia jurnal pengetahuan dan pemikiran seni harmonia jurnal pengetahuan dan pemikiran seni fungsi mitos dalam kehidupan sosial budaya masyarakat pendukungnya (the function of myth in social cultural life of its supporting community) sri iswidayati stafpengajar jurusan sent rupa, fakultas bahasa dan seni universitas negeri semarang abstrak kebudayaan sebagai abstraksi pengalaman manusia bersifat dinamis dan cenderung untuk berkembang sejalan dengan perkembangan masyarakat pendukungnya, di sisi lain mitos juga mencerminkan kebudayaan dan cenderung menyampaikan pesanpesan yang bersifat transformative, yang terpadu dalam satu mitos, ataupun bisa terwujud dalam versi baru dalam mitos yang sama. fungsi mitos dalam kehidupan sosial budaya masyarakat pendukungnya adalah: (1) untuk mengembangkan simbolsimbol yang penuh makna serta menjelaskan fenomena lingkungan yang mereka hadapi; (2) sebagai pegangan bagi masyarakat pendukungnya untuk membina kesetiakawanan sosial di antara para anggota agar ia dapat saling membedakan antara komunitas yang satu dan yang lain ; dan (3) sebagai sarana pendidikan yang paling efektif terutama untuk mengukuhkan dan menanamkan nilai-nilai budaya, norma-norma sosial dan keyakinan tertentu. pada umumnya mitos-mitos dikembangkan untuk menanamkan dan mengukuhkan nilai-nilai budaya, pemikiran maupun pengetahuan tertentu, yang berfungsi untuk merangsang perkembangan kreativitas dalam berpikir. kata kunci : mitos, pesan terselubung, budaya, kreatifitas berpikir a. pendahuluan mitos dalam kontelcs mito logi-mitologi lama mempunyaii pengertian suatu bentukan dari masyarakat yang berorientasi dari masa lalu atau dari bentukan sejarah yang bersifat statis, kekal. mitos dalam pengertian lama identik dengan sejarah / historis, bentukan masyarakat pada masa nya. di sisi lain mitos (roland barthes) diartikan sebagai tuturan mitologis bukan saja berbentuk tuturan oral, tetapi tuturan yang dapat berbentuk tulisan, fotografi, film, laporan ilmiah, olah raga, pertunjukan, iklan, lukisan, pada dasarnya adalah semua yang mempunyai modus representasi dan mempunyai arti (meaning) yang belum tentu bisa ditangkap secara langsung, misal untuk menangkap arti atau meaning sebuah lukisan diperlukan inter pertasi. tuturan mitologis dibuat untuk komunikasi dan mem punyai suatu proses signifikasi sehingga dapat diterima oleh akal. dalam hal ini mitos tidak dapat dikatakan hanya sebagai suatu volume viii no.2 / mei-agustus 2007 180 harmonia jurnal pengetahuan dan pemikiran seni objek, konsep, atau ide yang stagnan tetapi sebagai suatu modus signifikasi. manusia dalam masyarakat dan lingkungan sebagai pen dukung mitos berada dalam lingkup sosial budaya. mereka senantiasa berusaha untuk memahami diri dan kedudukan nya dalam alam semesta, sebelum mereka menentukan sikap dan tindakan untuk mengembangkan kehidupannya dalam suatu masyarakat. dengan seluruh ke mampuan akalnya, manusia berusaha memahami setiap gejala yang tampak maupun yang tidak tampak. dampaknya setiap masyarakat berusaha mengem bangkan cara-cara yang bersifat komunikatif untuk menjelaskan berbagai perasaan yang mem punyai arti bagi kehidupannya. kendatipun manusia sebagai mahluk yang mampu mengguna kan akal dan mempunyai derajat yang lebih tinggi daripada mahluk lainnya, namun ia tidak mampu menjelaskan semua fenomena yang ada disekitarnya. senyampang untuk dapat me nguasai fenomena tersebut, di perlukan pemahaman terhadap kehidupan dengan cara me ngembangkan simbol-simbol yang penuh makna. simbol-simbol tersebut berfungsi untuk men jelaskan fenomena lingkungan yang mereka hadapi, terutama fenomena yang tidak tampak tetapi dapat dirasakan kehadiran nya. secara kasat mata, manusia melambangkan legenda/ dongengdongeng suci, yang dimitoskan untuk memberikan penjelasan terhadap fenomena yang tidak tampak , sehingga dongeng-dongeng suci itu mengandung pesan, walaupun pesan tersebut adakalanya sulit diterima akal, karena pada mulanya legenda-legenda itu terbentuk secara tidak rasional. di sisi lain masyara kat mempercayai isi atau me nerima pesan yang terkandung dalam mitos dengan tanpa mempertanyakan secara kritikal. bagi masyarakat, mitos berfungsi sebagai pernyataan tentang kenyataan yang tidak tampak secara kasat mata (jiwo katon). b. mitos dalam budaya seperti yang telah dibicara kan di atas bahwa manusia dalam menjelaskan kenyataan yang tidak tampak, cenderung mengacu pada kebudayaan sebagai seperangkat simbol yang dapat memperjelas fenomena lingkungan yang di hadapinya. seperti lazimnya, manusia senantiasa berusaha memahami dan menata gejala /fenomena yang ada di lingkungannya demi kelangsu ngan hidupnya. dengan cara mengacu kebudayaan sebagai abstraksi pengalamannya dimasa lampau, manusia mencoba untuk mengklasifikasikan fenomena yang ada dan menertibkan dalam alam pikirannya. upaya peng kalsifikasian tersebut tidak ter lepas dari kebudayaan yang menguasai pola pikir dan sikap mental yang dimiliki. seolaholah manusia hanya melihat, men dengar dan memikirkan fenomena di sekitarnya berdasarkan ground yang dimiliki, sehingga mitos merupakan cermin dari suatu kebudayaan pendukungnya. misal mitos tentang dewi sri dengan segala variasinya dengan tepat mengambarkan nilai-nilai budaya yang tercermin dalam sikap dan pola tingkah laku para aktor yang terlibat dalam dongeng tersebut. demikian pula mitos ter sebut telah mengungkapkan pe ngetahuan budaya jawa tentang dunia gaib dan dunia nyata yang dijembatani oleh perwujudan seorang "wanita jawa" dalam bentuk yang tidak tampak secara pisikal (tidak kasunyatan). dalam alam pikiran masyarakat petani jawa pada umumnya mempunyai volume viii no.2 / mei-agustus 2007 181 harmonia jurnal pengetahuan dan pemikiran seni pemikiran antara dunia nyata dan dunia lain ( dunia gaib) yang keduanya saling mengisi, yakni dunia nyata sebagai tempat kehidupan dan dunia gaib sebagai sumber kehidupan. untuk menghubungkan dua dunia tersebut diperlukan sarana untuk menjembatani yakni perwujudan kesuksesan panen sebagai symbol penjelmaan "dewi sri" yang meninggalkan dunia nyata dan kembali kedunia gaib, sehingga setiap pasca panen bagi masyarakat jawa harus melakukan ritual yang dipersembahkan kepada dewi sri, sebagai ucapan syukur kapada yang maha kuasa dengan harapan agar hasil panen mendatang lebih melimpah. 1. mitos sebagai sarana fendidikan: berbagai dongeng suci ataupun legenda, sering kali secara tidak langsung dianggap sebagai doktrin atau dianggap pesan yang datang dari tuhan, sehingga tidak perlu di pertanyakan secara kritikal. keyakinan terhadap mitos tersebut menjadikan mitos sebagai sarana pendidikan yang paling efektif terutama untuk mengukuhkan dan menanamkan nilai-nilai budaya, norma-norma sosial dan keyakinan tertentu. selanjutnya mitos juga digunakan sebagai pegangan bagi masyarakat pendukungnya untuk membina kesetiakawanan sosial di antara para anggota. demikian halnya beberapa sekte-sekte agama di jepang misalnya, telah memegang teguh mitos tertentu, sehingga mereka dapat saling membedakan antara komunitas yang satu dan yang lain. sebaliknya dalam cara penyebarannya mitos bisa me lintasi batas dari suatu komunitas, sehingga dengan mudah dapat menggalang kesetiakawanan sosial dalam masyarakat yang lebih luas. berkaitan dengan fungsi mitos sebagai sarana pendidikan, maka tidaklah mengherankan jika dongeng-dongeng yang bernafas kan petuah atau mengarah pada nilai-nilai moral/ etika "suci" yang terdapat pada setiap komunitas, berfungsi sebagai peraga untuk mempererat keyakinan masyarakat terhadap keluhuran budayanya dan memperkokoh kesetiawanan sosial mereka seperti yang tersirat dalam dongeng-dongeng suci yang berkembang di masyarakat. tentu nya masyarakat dapat menyerap pesan-pesan budaya dengan tanpa merasakan kejemuan. missal dalam dongeng malin kundang yang ingin menyampaikan pesan untuk masyarakat indonesia, dan khususnya masyarakat sumatra, tentang sumpah serapah seorang ibu yang mengakibatkan kefatalan hidup bagi anak kandungnya, dilain sisi akibat kebruntalan anak terhadap orang tuanya, dan masih banyak lagi cerita cerita serupa yang terdapat di masing-masing daerah maupun bangsa. tentunya masyarakat dapat menyerap pesan-pesan budaya yang berkembang sesuai dengan zaman nya. 2. mitos: perangsang kreatifitas dan pemikiran baru barthes dalam bukunya mengatakan bahwa tuturan mitologis dibuat untuk ko munikasi dan mempunyai suatu proses signifikasi sehingga dapat diterima oleh akal (1972). dalam hal ini mitos tidak dapat dikatakan hanya sebagai suatu objek, konsep, atau ide yang stagnan tetapi sebagai suatu modus signifikasi atau pemikiran baru. artinya pengkajian secara mendalam terhadap isi atau pesan maupun pengkajian perbandingan sangat diperlukan guna me volume viii no.2 / mei-agustus 2007 182 harmonia jurnal pengetahuan dan pemikiran seni pemikiran maupun pengetahuan tertentu, dan juga bisa digunakan untuk merangsang perkembangan kreativitas dalam berpikir. kebudayaan sebagai abstraksi pengalaman manusia adalah bersifat dinamis dan cenderung untuk berkembang sejalan dengan perkembangan masyarakat pen dukungnya, karena itu mitos yang mencerminkan kebudayaan juga cenderung menyampaikan pesan-pesan yang bersifat transformatif. pesan-pesan transformatif itu bisa terpadu dalam satu mitos, atau bisa juga terwujud dalam versi baru pada mitos yang sama. hal tersebut jelas tergambar dalam cerita atau dongeng-dongeng masyarakat yang me legenda, sehingga bisa digunakan sebagai tuntunan dan tontonan. misal dalam cerita rama dan shinta dalam pewayangan sebagai lambang/ simbol kesetiaan. mitos tentang rama-shinta atau dewi sri, timun emas dst juga tidak terbebas dari sifat atau ke cenderungan pengulangan se hingga melahirkan sejumlah versi yang berbeda. versi tersebut dianggap benar, dan banyaknya versi yang menambahkan keyakinan penduduk akan kebenaran fakta yang diceritakan. pada umumnya orang tidak lagi peduli akan kelainan versi yang berkembang, bahkan dihadapkan pada banyak pilihan versi tersebut, kreatifitas masyarakat bisa te rangsang. bagi mereka yang kritikal tidak dapat menefima apa adanya, melainkan akan melihat keterkaitannya dengan kondisi serta perkembangan zaman dalam menentukan pilihan versi dan interpertasinya. hal ini dimungkin kan karena mitos sebagai tradisi lisan terbuka terhadap segala kemungkinan sisipan pesan yang dianggap perlu oleh komunikator dan komunikan. di sisi lain para cendekiawan di masa lampau dengan mudah mengembangkan kreatifitasnya melalui berbagai macam versi dan interpertasinya untuk membina masyarakat dan mengembangkan kebudayaan. di samping itu banyaknya versi yang berlainan juga mengundang pemikiran lebih lanjut guna menentukan apa yang sesungguhnya menjadi inti pesan mitos itu sendiri. penutup fungsi sosial mitos sebagai tradisi lisan perlu dipertahankan, walaupun saat ini pula tradisi tulis telah digalakkan. karena mitos berfungsi untuk me nampung dan menyalurkan aspirasi, inspirasi dan apresiasi masyarakat yang sedang mem bangun. kendatipun segala versi mitos tentang nyai roro kidul, rama shinta, dewi sri atau lainnya telah dibukukan, kebiasaan orang mengembangkan tradisi bisa tidak akan berhenti, karena mitos merupakan sarana komunikasi yang merakyat dan dinamis. barthes juga menggaris bawahi bahwa tuturan mitologis dibuat untuk komunikasi dan mempunyai suatu proses signifikasi yang dapat diterima oleh akal sesuai dengan situasi dan kondisi masingmasing kehidupan sosial budaya masyarakat pendukungnya. daftar pustaka barthes, roland, 1972, mythologies noondy press, new york. 1967, denotation conotation dalam element semiology, london, volume viii no.2 / mei-agustus 2007 183 harmonia jurnal pengetahuan dan pemikiran seni 1967 elements of semiology, london jonathan , cape. leach, edmund 1067 geneis as myth, in myth and cosmos. texas press, source books in antropology, austin. volume viii no.2 / mei-agustus 2007 184 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carnival costume in the context of locality deni setiawan primary school teacher education program, semarang state university, indonesia karanganyar campus, semarang indonesia e-mail: denijusmani@gmail.com received: october 22, 2015. revised: november 29, 2015. accepted: december 4, 2015 abstract jogja fashion week carnival (jfwc) is held in order to promote the development of costume creative industry in indonesia, especially in yogyakarta. woven and batik (javanese traditional fabric) as products of indonesia is reproduced into art costumes. it may add the value of both the product and the price of the product itself as the core of the continuity of the creative industry economy in indonesia. the eastern value of the costume design worn during the carnival may reflect the traditional value of society. the concept of the costume making is rooted from indonesia folklores, legends and myths that are still being developed in present society. throughout the event, exploration done by the artists is seen as a genuine attempt to support the government in promoting costume industry both in national and international scale. costumes worn in jfwc were analysed using aesthetic theory by adopting the point of view of dewitt henry parker. the point of view comprises three main aesthetic principles, i.e.: an intact unity, thematic principle, as well as balance principle. those three concepts can be used to find out the basic locality value of a costume that later can be used as the art education’s source of material. finally, it is concluded that the theme of jfwc costume creation concept is sourced from the rich tradition of indonesian society. keywords: costume; intact unity principle; theme; balance how to cite: setiawan, d. (2015). jogja fashion week carnival costume in the context of locality. harmonia: journal of arts research and education, 15(2), 126-132. doi:http://dx.doi.org/10.15294/harmonia.v15i2.4567 harmonia : journal of arts research and education 15 (2) (2015), 126-132 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v15i2.4567 p-issn 1411-5115 e-issn 2355-3820 including using the carnival costume as learning resources. in addition to the event, other countries’ cultures are also promoted, i.e. cosplay costume exhibition, which allow diplomacy and culture learning to occur. the creation concept of jfwc costume is related closely to social events and several stories or folklores that are developed in society, such as costume design that is based on the myth of nyi roro kidul, dewi lanjar, ratu ular, as well as costume worn by kings and queens of indonesian ancient kingdom. in each event, the theme of costume worn in the carnival is introduction jogja fashion week carnival (jfwc) was firstly held in 2007. the event is aiming at exhibiting costume design as an artwork in an outdoor area. besides, for the long term purposes, this event also aims at increasing clothing industry productivity, promoting traditional fabric potential, reducing the rate of import clothing, and popularizing folklorebased traditional culture to indonesian society (http://jogjanews.com). later, in this context, jfwc is expected to be able to be used as one source of art education material and content, deni setiawan, jogja fashion week carnival costume in the context of locality 127 usually varied from one event to another. it depends on the committee’s provision. the theme chosen by the committee is usually used to limit the concept as well as to become the ground of thinking of the participants. costume in jfwc has its specific standards that will be then limited to the dress code which is followed by the entire participants (designers). according to desmond morris (2002, p. 320), clothes have three fundamental functions. first, it gives comfort, it shows politeness, and it serves as the center of attraction. based on the three functions mentioned above, several clothes’ styles are invented. there are clothes for general consumption (casual), for specific purposes, as well as for expressive purposes (an artwork). in some clothes styles that are created by designers, aesthetic aspects are always taken for granted, except for the comfortable and politeness aspects. clothes’ styles are varied. it depends on the geography and topography aspects that are underlined it. in addition to those aspects are denotative and connotative values, as well as custom code in a social situation that also attach in the costume design decision (2010: p. 256-257). the style of clothes can also be referred to a code of attire that sets style based on age, gender, and social class (status) (danesi, 2010, p. 267). the research statement of the present study is how decorative ornament and design aspect in jogja fashion week carnival (jfwc) are. one of the study that is considered to important as the study basis of the present study is a research entitled “kajian visual harajuku style di indonesia ditinjau melalui pendekatan unsur-unsur fashion: studi kasus bandung dan jakarta” (the visual study of harajuku style in indonesia from fashion elements approach: a case study in bandung and jakarta) by bunga sari siregar in 2008. the research by sari siregar had successfully compared harajuku style in indonesia with the style’s origin, japan. further, the research is employed here as the model or scientific guidance to see, discuss, and break down problems of research that is related to the costume worn in jogja fashion week carnival. method historical method was employed in this study. by using the method, periodicity of carnival costume style could be seen, while to analyse the costume design itself, aesthetic principle was applied. during 2009-2014, primary data was collected through direct observation, while data about the carnival in 2007-2008 was collected from written sources as well as interviews. another approach implemented here was literature method that was based on both printed and electronic data. printed data was gathered from magazines, tabloids, journals, and newspapers, whereas electronic data was collected from television and electronic mass media that can be accessed from the internet. interviewees interviewed in this study as well as primary data source were taken from people who were in charge in the event, comprises the costume designers, carnival participants, as well as the steering committee. in addition to this was secondary data that referred to several articles taken from mass media (printed and electronic), observations and photo results from other photographers or other sources who did not relate directly to the steering committee. further, data was analyzed by using text analysis pattern about aesthetic theory based on dewitt henry parker point of view through three aesthetic principles, there are: the principle of unity intact, the principle of theme, as well as the principle of balance. lastly, data was validated by using source data triangulation technique. result and discussion since 2007, yogyakarta has held a street fashion event known as jogja fashion week carnival (jfwc). this event is a part of another bigger event named jogja fashion week (jfw). during the year of 20072014, the event was always held annually. harmonia : journal of arts research and education 15 (2) (2015): 126-132128 jfwc invites designers, government institutions, schools, public education institutions, as well as art education institutions to take part in the occasion. one mission of the event is to support the equitable development of clothing or costume business and arts in other areas of indonesia, so that the business will be not only centered in the capital. in the first year of jfwc, a specific term had not been applied. a committee was focusing more to formulate the event’s structure and arrangement. in 2007, however, the committee had had a specific theme for the event; that was essentially global. the theme was chosen in order to facilitate the society products of arts, i.e. batik, knitting, and woven that are spread in several islands throughout indonesia. the fabrics are processed and combined with other materials, such as: plastics, parachute fabrics, as well as matting that were transformed into jfwc costume and cosplay. the theme culturally plural was used in 2008, by showing the riches of ethnical clothing in indonesia. the theme of boedaja in motion in 2009 explores batik throughout the nation. typical fabrics from several regions of indonesia were modified into jfwc or fantastic cosplay costume as an attempt to preserve traditional values in modern clothing. the theme that was used in 2010 was save our planet. here, used materials were transformed into a set of jfwc and cosplay costumes. the narrower concept was recycling fashion. the theme of sparkling in vintage in 2011 exploits batik with the touch of vintage impression. “in vintage” itself means to present old fashion style. further, in 2012, the theme of gempita sukma raya, presents the riches of nusantara tradition. the theme semarak katulistiwa in 2013 was divided into several sub themes, there were: hamparan laut di katulistiwa (taken from indonesian legends that contains maritime aspect), gugusan pulau di katulistiwa (adapting legends with the element of historical buildings), and ragam budaya katulistiwa (adapting legends with the element of characteristics dan philosophy). in addition in 2014, jfwc was named with beruga jenggala nusantara that means “the majestic congregation of kingdoms in nusantara” that shows the glory of kingdoms in nusantara, i.e. javabali, kalimantan, sumatera, sulawesi, and papua. the principle of full entity of jfwc costume full entity here means to not distinguishing character and content or organic entity (full entity). organic theory tells that an artwork is now seen as an organic system, and no longer as a mechanic system. in an organic system, each element cannot take part of its own, but needs to be in an internal bound with other elements. an artwork is a symbol and the art value of it is depended on its position as a symbol (sahman, 1993, p. 34) judging or assessing the pattern of jfwc costume, one needs to see it as a whole or full entity. for instance, for cosplay that is adapted from traditional clothing and wayang, visually, it will have traditional ornament, as well as roots and leaves stylization. while the shape of ukel, the use of crown, the use of cloth, dan ornament are dominated by brown colour. the use of batik is considered as an important symbol for cosplay of wayang story since batik is a traditional product that contains variety of learning value. in the characterization of gatotkaca, for example, a harmony and stylized form of repetition could be seen in several parts, i.e. the crown, arm, and belt ornaments. all ornaments employed the same shapes and colours. for the visual accessories look, gold for the main colour is chosen. gold symbolizes strength and dignity. besides gold, there is also black and white to illustrate a noble character and harmonize the colour of gold itself. entity means to see as a whole, started from the main costume, accessories, as well as make up to strengthen the characterization of the character. the element of a full entity cannot be separated from the visual package of jfwc costume. improvisation (costume deni setiawan, jogja fashion week carnival costume in the context of locality 129 design with textual transformation) that has been done by the designers is a form of creativity in order to produce a high quality art costume that has a high market value. each costume theme that is created is also strengthened by colour entity and ornaments. in addition, the chosen of make up also becomes a significant part of a whole jfwc costume. it acts as main element to form themes. another example is the costume that is often worn by nyi roro kidul that always wears crown, shawl, and gold accessories as the ornament. the costume can represent the idea of the costume designer and the story sources as a whole entity, so it will not create an abstract impression to the audience. the principle of theme in jfwc costume this principle is closely related to the dominant character that is shown physically by the art works. in every art work, there is one idea or more stripes pattern, form, or colour that is central where the typical of a whole artwork is concentrated. this phenomenon allows one to understand or appreciate artworks (sutrisno, 2005, p. 218). the context of the theme is an attempt to produce an accentuation of a character to create centre of attention of an artwork. according to dharsono sony kartika (2004, p. 63) center of attention can be formed by creating accentuation, process in repeating size and contrast between colours, line, space, shape, or motives. in the costume of wiro sableng, pendekar kapak maut naga geni 212, a typical center of attention cannot be found since the dominant colour of the costume is white. the only attraction of the character is the presence of black tattoo “212” in the character’s chest and a silver naga geni 212 axe. for the costume style with pewayangan theme (javanese traditional folktale), the dominant colour used is brown and black; accessories worn are ringlet wig, batik on the shawl, skirt, and a shirt. the typical style of pewayangan is placed on face make up, accessories, and batik costume worn by the character. different from the costume with the theme plural, as in the adoption of flora and fauna characters, the use of colour and shapes are varied, and the costume is more expressive. in a social context, style can be interpreted as a competition manifestation. here, the competition is created by jfwc committee and agreed by all participants in order to create popularity for the designer’s brand. the event, in this context, will finally represent designers’ costumes in certain social contexts. therefore, in terms of look, argyle divides the aspects into two: voluntary aspect (hair, costume, skin, skin colour, and jewellery) and uncontrollable aspect (height, weight). look is also used to send messages about personality, social status, and conformity (fiske, 2007, p. 96). mass media through advertisement creates fashion style, including all accessories attached to it. since the advertisement shows it actively and dynamically, as a result one buys a product for the sake of style and not for fulfilling need purposes. in other words, people as consumers purchase the symbolic meaning of a fashion or clothing. here, consumers are in the position of being fascinated by the symbolic meaning of a fashion and not to the utility function of a product that they purchase (piliang, 2003, p. 287). the principle of balance in jfwc costume based on the thought concept of rizali (2000) the type of fashion is divided into four: special fashion, high fashion, medium fashion, and standard fashion. throughout its development, four types are developed in eight. there are: classic and new classic genre, houte couture and trendy genre, new waves and cycle genre, as well as fads dan ready to wear genre (rizali, 2000). based on the concept, jfwc costume belongs to special fashion. special fashion can be interpreted as clothing used only in a specific time, place, and situation. according to kartika (2004), balance comprises of formal and informal balance. the ornament determination and disposition on a harmonia : journal of arts research and education 15 (2) (2015): 126-132130 ses deformative and style forms that are sourced from forms of flora and fauna, animals, and several other forms referred to local reference. part of the ornament went through series of transformation process. the process is initiated by the reality phenomenon that is developed into ideas and later to the visual. the picture formulated from the process is varied. this is caused and limited by certain roles that turn into a guidance to create an applicative ornament of jfwc costumes. besides, forms of ornament shown in cosplay with variety of materials, i.e. plastic, paper, matting, and several additional fabrics. it realizes the idea of using materials to create a costume in eastern nuance. some of the design aspects in eastern perspectives are shown in jfwc costume. among all, the main aspects are physics and fine arts. what belong to physical aspects are the materials used to produce the costume (clothing). in visual form, the arrangements of design elements that suit eastern aesthetic principle are existed. eastern aesthetic itself relates closely to the ornament of batik as well as the creation of cosplay by referring to indonesian superhero. here, the mental aspect as the manifestation of indonesian local culture is emphasized. artwork shown during the carnival shows realization and soul which are combined with the sense and emotion, memory, experience, and thought. these are the reflection of the reality of life since human expresses their energy through artwork. references barnard, m. 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(2010). pesan, tanda, dan makna: buku teks dasar mengenal semiotika costume cannot be separated from balance matter that can be visualized through the character of texture, colour, scope and space, including grouping of certain pattern. the principle of balance is in line with what mudji sutrisno and christ verhaak called as harmonic structure (conformity) which manifests into a general artwork structure (sutrisno and verhaak, 1993, p. 138). the functions of harmony in an artwork are to affirm and classify the elements of aesthetic language, so that the artwork may have uniqueness. as a result, these elements become one possibility of comparison or several spectrum of possibility. the example is the comparison between traditional and contemporary artwork, traditional and comic references; between myths, legends, and fantasies that create harmony in the jfwc costume work. besides, harmonization structure emphasis and underlines elements of the comparison. for example, there is a repetition style in several ornaments that attracts attention as well as becomes the aspect of balance of jfwc costume. it also includes comparison and the use of contrast colour, warm colour, or harmonious colour that considered as essential for jfwc costume. balance can be also seen from the perspective of rhythmic structure that shows movements and impressions so that the artwork is seen as alive. a good rhythm can be achieved during the joint point of softening and time management without reveals or reduces it bluntly in a monotonous repetition (sutrisno and verhaak, 1993, p. 139). in this context, the implementation of ornament repetition through a good aesthetic is believed to result in a good jfwc costume. the structure of rhythm is aiming at creating life nuance in the design of jfwc costume. it does not only depend on the ornament of the costume, but also the use of the appropriate colour, and not to mention the accessories used in the costume. conclusion ornament in jfwc costume comprideni setiawan, jogja fashion week carnival costume in the context of locality 131 dan teori komunikasi. yogyakarta: penerbit jalasutra. danto, a. 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(2014). jarog dance for children with special needs: case study in the celebration of international dance day in surakarta. harmonia: journal of arts research and education, 13(2). doi:http://dx.doi.org/10.15294/harmonia.v13i2.2776 harmonia : journal of arts research and education 15 (2) (2015): 126-132132 91 representation of local styles in cingcangkeling performance at the international choir festival as a reflection of sunda cultural identity susi gustina, farhan reza paz, zakarias s. soeteja universitas pendidikan indonesia, indonesia submitted: 2022-11-09. revised: 2023-02-12. accepted: 2023-05-11 abstract this research was conducted to figure out the representation of local styles in cingcangkeling performance at the international choir festival as a reflection of cultural identity. there are several studies on folksong, but generally, they only focus on music analysis; and do not explain the representation of local styles in folksong performances at the international choir festival. this research aims to figure out: a) the local style representation in the cingcangkeling performance at international choir festivals; b ) the relationship between local styles represented in the cingcangkeling performance with sundanese cultural identity. it uses a qualitative method with a performance ethnographic approach as the design of the study which combines music and non-musical elements. the subject of this research is the cingcangkeling performance (west java) which was performed by psm upi at the 8th bali international choir festival (bicf) in 2019. data collection techniques were obtained through preliminary study, audio and video analysis, and interviews. the results of this study indicate that: 1) the representation of local styles in the cingcangkeling song, both musically and non-musically, involves the bodor character (comedy) that is identical to sundanese culture (west java); 2) the choir does not only act as performers but also reflects the uniqueness and beauty of the sundanese culture. the conclusion shows that the representation of local styles in the cingcangkeling performance at international level festivals, both musically and non-musically, not only reflects sundanese cultural identity but also shows the role of choir groups as ‘cultural ambassadors’ who introduce the uniqueness of sundanese culture in the international world. keywords: representation of local styles, folksong, cingcangkeling, international choir festival, cultural identity how to cite: gustina, s., paz, f. r., & soeteja, z. s. (2023). representation of local styles in cingcangkeling performance at the international choir festival as a reflection of sunda cultural identity. harmonia: journal of arts research and education, 23(1), 91-104 harmonia: journal of arts research and education 23 (1) (2023), 91-104 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i1.40029 tenor, and bass. informal amateur groups or professional singers can do choir. choir can also be classified according to the social location in which they are rooted (e.g., community choir, church choir) and the type of music they perform (e.g., gospel choir, folk choir) (kirrane et al., 2017. different from choir festivals in the introduction choir is one of the most popular musical activities in the world. a choir consists of a group of singers who sing together with or without supporting instruments. choirs usually involve mixing several voices, for example, soprano, alto, corresponding author: e-mail: gustina@upi.edu p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (1) (2023): 91-10492 previous period, many choir groups involved creative ideas by involving both musical and non-musical aspects in their performances to increase audience appreciation. in accordance with this phenomenon, green explained that non-musical aspects can actually be added to increase the quality of performances, including choir performances. involving in choir activities has several benefits, especially for the choir members. rutter pointed out several benefits of participating in a choir, such as being able to express oneself, forming social units that have the potential to become microcosms of an ideal society, and at the same time, emphasizing the idea that a diverse world can ‘celebrate’ its diversity but still be one.’ since the last few years, choir festivals have been often held, both at the local, national, and international levels. it is unsurprising that more choir groups have appeared in the children, youth, and adult categories. bartleet & carfoot argues that students who attend choir programs at local, national, or international levels, knowingly or unknowingly, are involved in inter-cultural mobility that offers them opportunities to learn through life experiences (bartleet et al. (bartleet et al., 2020), especially cultural diversity. programs of intercultural mobility in music, including choral festivals, have the potential to be a powerful catalyst for deepening and enhancing students’ musical abilities and identity. interestingly, many choir festival organizers at international level have started to include the folksong category in their programs. pohjola stated that the involvement of folksongs can be understood because folksongs are seen as expressing the essence of a culture, which gives images, and impressions, and touches emotions. this view of folksong stimulates an understanding of differences and diversity in human life (van aswegen & potgieter, 2010). in his research, van aswegen and potgieter (van aswegen & potgieter, 2010) focused on folksong in the repertoire of the university of pretoria jacaranda’s children choir in south africa. the study mentioned that the involvement of folksongs in the choir’s repertoire has important benefits to offer, especially in bridging the differences between various cultural groups in south africa (van aswegen & potgieter, 2010). bartolome (2018), who also focuses his research on choir groups in south africa, concludes that the choir emerges as a resource that bridges social capital, encourages cooperation among participants from various racial and cultural backgrounds, promotes inter-cultural understanding and trust, as well as fostering a broader sense of south african national identity. wolfe jr. also researched the choir as a symbol of cultural or national identity in his dissertation on choral theater (wolfe jr., 2016). the choral theater is an aesthetic performing form of the university singers which presents the cultural identity of the jamaican people through staging, lighting, gestures, costumes, and instrumentations. research on folksong performances from one region in indonesia at international choir festivals is still rare. even if there is, the explanation is generally done partially and less comprehensively. research that analyzes the folksong cingcangkeling (arranged by farhan reza paz), for example, is focused on understanding the arranger’s musical identity. this research only explains the musical aspects, namely the arrangement technique performed by the arranger and some local styles in sundanese culture used by the arranger in his arrangement. focusing on the musical aspect was also carried out in research on the folksong yamko rambe yamko (arranged by agustinus bambang jusana) (harahap & sinaga, 2021). this study, however, only focuses on its musical analysis from the perspective of western harmony science. unfortunately, research on the representation of local styles in folksong performances from a region in indonesia, both musical and non-musical, at international choir festivals that reflect the cultural identity from which the folksongs come from has never been carried out. therefore, this susi gustina et al., representation of local styles in cingcangkeling performance at the 93 study seeks to fill the gap by focusing on the representation of local styles in folksong performances at international choir festivals that reflect certain cultural identities in indonesia. liliweri explained that cultural identity is a characteristic or characteristic of a culture born in a community environment that is different from the characteristics of the culture of other communities (syakir et al., 2022). in this research, the writer chose cingcangkeling, one of the folksongs from west java. the selection of folksongs is based on the uniqueness of the musical and nonmusical aspects. viewed from the musical aspect, this folksong arrangement involves local characters that are commonly found in traditional sundanese music. from a non-musical aspect, these folksongs are performed with choreography that involves movements commonly found in traditional dances as well as traditional costumes and props for the sundanese people. this study aims to figure out: a) the representation of local styles in cingcangkeling performances at the international choir festivals, both musical and non-musical aspects; b) the relationship between the representation of local styles in the cingcangkeling performance and sundanese cultural identity. method the method used in this research is a qualitative method (denzin & lincoln, 2018). this study uses a performance ethnographic approach. through this approach, knowledge will be gained to explore expressive cultural elements, a focus on embodiment as an important component of cultural analysis, and as a tool for representing scientific engagement. in some cases, performance ethnography can make performance per se an object of study (hamera, 2018). one of the orientations in performance ethnography is interdisciplinary because this approach depends on and connects various fields of study, such as music and anthropology, music and cultural studies, or music and performance studies. therefore, an ethnographic approach to the performance is used because the creative ideas displayed in the cingcangkeling performance at festivals at the international level is a collaboration between musical and non-musical aspects. the location of the research was conducted in the city of bandung. the research subject was the cingcangkeling (west java) performance (arranged by farhan reza paz) performed by upi choir at the 8th bali international choir festival (bicf) in 2019, conducted in bali. the data collection technique was obtained through a preliminary study in the form of a documentation study supported by a literature review to understand the explanation of the cingcangkeling folksong and sundanese culture. the documentation study being used in this study is the video documentation of the cingcangkeling performance shown by psm upi at the 8th bali international choir festival (bicf) 2019 in bali. music performance video documentation is considered important because video recordings contain important data about the physical movements of participants in music events and the performances that can be heard (clayton, 2007). this video documentation can also be obtained via youtube (sobarudin, 2019). it is undeniable that teachers and researchers have made a lot of use of video documentation obtained through the youtube application, which is used as a medium for education and research. mullen & wedwick explains that youtube emerged in 2005 and is a relatively recent video-sharing phenomenon. teachers and researchers have begun to pay attention to its possibilities in educational and research settings. based on the video analysis, it was found that the musical aspect was carried out through local characters and ornaments that are often found in traditional sundanese vocals and the application of unique arrangement techniques, which impresses the playing of gamelan music. this local character reflects the style of bodor (joke) which is often identified with one of the characters of the sundanese harmonia: journal of arts research and education 23 (1) (2023): 91-10494 people, namely funny and humorous. the presence of drums complements the musical aspect as an instrument in traditional sundanese music. the non-musical aspect is carried out through choreography in the form of small pieces of movement originating from several traditional sundanese dances. non-musical aspects are also shown through the costumes and props used in the choir performance. in accordance with this phenomenon, tracey and blacking have argued that conductors and choirs are faced with the challenge of maintaining the original character of folk music. van aswegen & potgieter also explained that factors such as correct pronunciation and knowledge of textual meaning, appropriate movements, and instrument accompaniment must be taken into account. interviews were conducted with the arranger to gain an in-depth understanding of local styles in musical arrangements, and the choreographer to gain an understanding of the movements, costumes and props performed in the performance. results and discussion local style in cingcangkeling performance based on the video analysis, psm upi, which represents the arrangement of the song cingcangkeling, appears in a local style that is identical to a certain ethnic group in indonesia, namely the sundanese people. ekajati explained that the moral values of sundanese culture are sundanese ethnic identity which originates from sundanese values, customs, beliefs, and cultural heritage which are used as references in behaving in society (purwanti & sapriya, 2017) . sundanese local wisdom is known for its culture, which highly upholds the values of courtesy. the character of the sundanese people is warm-hearted (someah), smiling, gentle, loving, obedient, and respecting their parents (sesepuh). in addition, the characters of the sundanese people who are widely known are funny and humorous, polite, with a distinctive dialect, and relaxed. funny and humorous character, polite, distinctive dialect, and easy-going were very clear in the performance of upi choir when representing cingcangkeling (arranged by farhan reza paz) at the 8th bali international choir festival 2019 in denpasar, bali. local style in cingcangkeling arrangements cingcangkeling (the silent cangkeling bird) cingngkeling manuk cingkleung cindeten, (the silent cangkeling bird, the birds that are free and calm) blos ka kolong bapa satar buleneng (get under, fat man bust down) kleung dengklek buah kopi rarang geuyan, (kendang sound) .... coffee fruit stalks) keun anu dewek ulah pati diheureuyan (leave it mine, don’t bother much) cingcangkeling song is a form of kakawihan kaulinan barudak lembur (village children’s playing song). this cingcangkeling song is a game song intended for counting before the children play a game of cat and mouse or a touch game running around. the lyrics of the cingcangkeling song which are considered to have no meaning and are only a joke, actually have an extraordinary depth of meaning about peace of mind. the song cingcangkeling means that humans must have a sense of humility and vigilance; people do not suppose to feel big or high for what they have because it is only a gift from god (sopiah, 2017). therefore it can be said that the lyric of this song can only be understood by the supporting community, namely the sundanese people. games have an important role in a child’s life. one aspect that is often used in the game is music. music often takes the form of games, but music is often used for other purposes as well. games do not only provide excitement in the form of complex mental activity but also provide training susi gustina et al., representation of local styles in cingcangkeling performance at the 95 for the next life. researchers’ attention to games in children’s lives is still being carried out today. copple & bredekamp argues that playing game is an important component in children’s lives; that is how they learn about the world around them (yi, 2021). based on these statements, it can be said that games are not just playing activities for children but have a role as a very important source of knowledge in children’s lives which is needed in the process of their next life. musically, the cute and humorous character of the children who are playing in the arrangement of the song cingcangkeling is shown in a ‘ bodor ‘ style. bobodoran or bodor (joking) in the dictionary of the sundanese means purah nyieun pikaseurieun batur (behavior that makes others laugh). in the culture of the sundanese people, bodor , is like joking habit in chatting, both in daily and official meetings. bodor seems to be ingrained in sundanese society, so bodor is one of the characteristics of sundanese people with humorous characteristics. many musical cultures emphasize vocal music and develop unique styles and techniques. all singing activities are learned behaviors and are usually culturally specific; that is, each culture sets standards for the quality of its singer’s voice. as a result, certain vocal timbres may be accepted by one ethnic group but not at all by other ethnic groups. there are no absolute rules that define vocal behavior. many asian singers, for example, prefer a vocal style that is tense, high-pitched, and sometimes nasal. according to kitahara, nasal voice is a nasal sound quality. nasal voice refers to the use of the nasal cavity as an antiresonance (decrease) in the sound spectrum, reducing the sound’s acoustic strength. according to siregar, nasal voice is one of the processing of vocal techniques articulated with air coming out of the nose to produce a nasal or sharp sound. in fact, the sound produced with the timbre of the nasal voice is almost like the timbre of a shrill voice. however, the processing of the nasal voice’s timbre in this song’s arrangement is made brighter and wider than the shrill sound. the use of a timbre nasal voice is also intended to support the atmosphere of ‘ joke ‘ (funny) or heureuy (joking) in accordance with the natural situation created in the village children’s games and gives the impression of childish. the musical style of bodor in the arrangement of the cingcakkeling song is carried out with variations in local styles in sound production and the arrangement techniques used. local style in sound production is seen in the use of nasal voice, shrill, and ornaments in traditional sundanese vocals, such as senggak and cengkok. in the arrangement technique, there is the use of body percussion, especially hand clapping, the use of call and response techniques, interlocking or hocketing, and onomatopoeia. ornamentation in traditional sundanese songs, such as senggak and cengkok , are also found in this folksong arrangement. sedak can be interpreted as irregular tones with syllables like “ eu-a-eu-euy “ and, in this arrangement, are written in cross-notes, as seen in the sounds of bass 1 and 2. in this part, the sounds of bass 1 and bass 2 shouted to each other with the words “eu-a-eu-eu y” and a little free shouting like someone who was playing around. figure 1 shows an example of a nasal voice and senggak: harmonia: journal of arts research and education 23 (1) (2023): 91-10496 figure 1. nasal voice in tenor and senggak in the sound of bass 1 and bass 2 which is shouted to each other with the syllables “eu-a-eu-euy “ and little screams that are free, like people who are are playing around. apart from the use of the nasal voice, you can also find the use of shrill voice characters in this folksong arrangement. sinaga explained that the character of a shrill voice is produced by widening the shape of the mouth to the side without opening the inside of the oral cavity. like the use of the nasal voice’s timbre, the shrill voice’s character is done to add to the ‘joke’ (funny) impression. one of the uses of a shrill voice is done with dynamics f which can be interpreted as an invitation to play because, in this section, the original melody of the cingcangkeling song begins to be sung. the character of the shrill voice and other ornamentations, such as hand clapped body percussion, sweeten and add a childish impression to the part. figure 2 shows an example of shrill and body percussion: figure 2. the use of shrill and hand-clapped in all types of voices cengkok (written with a ) is used to give a distinctive sundanese touch, as shown in figure 3: figure 3. cengkok ( ) in soprano and alto cengkok in the figure above can be practiced as follows: written sung susi gustina et al., representation of local styles in cingcangkeling performance at the 97 figure 4. the use of local styles in sound production, such as nasal voice, cempreng, senggak, cengkok, and arrangement techniques in cingcangkeling performances, is supported by choreography and props to create an atmosphere of ‘ bodor ‘ (comedy), ‘ joke ‘ (funny) or heureuy (joking) according to the natural situation that is created in kaulinan barudak lembur (village children’s game) the call and response techniques are also used in the cingcangkeling arrangement. call and response forms can be repeated randomly, and often the leader creates variations that can be understood only by the choir member. sometimes the overlapped melody creates multipart types of music. in call-and-response songs, the response often begins before the call or solo ends, resulting in two melodic lines. figure 5 shows an example call and response: figure 5. overlapped call and response on soprano, alto, and bass, followed by tenor there is also the implementation of the hocketing technique, which is similar to the interlocking technique. hocket is a technique that provides melodic lines through coordination with many people. each individual produces one to three notes which are timed with the other players so that the ensemble delivers a full range of melodies (kaemmer, 1993). hocketing has also been described as a medieval term for a 13thand 14th-century contrapuntal technique, which affects the harmony of sounds and silences through the use of a silence signal between two or more sounds. or, there is a ‘concurrent stop-and-go technique’ (sanders, 1995) . it can be said that hocketing or interlocking is a “stopand-go device” technique. hocketing or interlocking techniques are often found in gamelan games. following are some of the hocketing or interlocking techniques contained in the cingcangkeling arrangement in figure 6: figure 6. interlocking or hocketing between soprano and alto another local style used in this arrangement of cingcangkeling is onomatopoeia. etymologically, the term onomatopoeia comes from the greek, onomatopoiia , which means “creation of a name or word” (by imitating the sound associated with something named). barnet, berman & burto also explained that onomatopoeia occurs when a word is used to imitate certain sounds. in music, the term onomatopoeia is defined by nyman as the use of sound from a nonmusical environment; dahlhaus defines it as imitation of non-musical sound and simple imitation of acoustic phenomena from the outside world; berger defines the use of everyday sounds; and harley defines the term as an appropriate representative tropes (castelőes, 2014). in other words, onomatopoeia can be interpreted as a vocal imitation of a sound harmonia: journal of arts research and education 23 (1) (2023): 91-10498 source associated with something named. for example, the sound of drums is imitated by the word ‘dung ‘ or ‘dang ‘. in the arrangement of this song, the use of onomatopoeia is used to imitate the sounds of several gamelan instruments, such as the demung , saron , kendang , and ukulele . the onomatopoeia of demung uses the word “ ding-dang-ding ” which suppose to describe the atmosphere of darkness when the sun rises in the morning because of the character of the demung sound having the impression of ‘dark’. figure 7 is an example of the onomatopoeia of demung : figure 7. the onomatopoeia of demung with the sound “ ding-dang-ding “ in soprano, alto, and bass. the onomatopoeia of the ukulele uses the word “ cung-cung-cu-ku “ which supports a relaxed atmosphere when a group of young people are playing together because the ukulele is often played at leisure time. figure 8 is an example of the onomatopoeia of ukulele: figure 8. onomatopoeia of the ukulele sound with the sound “ cung-cung-cu-ku “ in soprano and alto. the onomatopoeia of saron by using the word “ ning-nang-ning-nang ” supports the impression of being humorous (funny) and happy because the song is sung with a nasal voice technique. the timbre processing when singing the onomatopoeia uses the timbre of the nasal voice to further strengthen the ‘character’ of the loud saron sound. figure 9 is the example of the onomatopoeia of saron : figure 9. the onomatopoeia of saron sound with “ ning-nang-ning “ and “ kling-kling “ sounds in soprano and alto as well as the onomatopoeia of kendang in bas the onomatopoeia of drums using the words ‘ding-dang-ding ‘ and ‘ du-da-du-ding ‘ as shown in figure 10. figure 10. the onomatopoeia of kendang sounds with the sound “ ding-dang-ding “ or “ du-da-du-ding “ in soprano, alto, tenor and bass the cingcangkeling arrangement made for the unaccompanied choir (acapella) is complemented by playing kendang, one of the instruments in gamelan, and accompaniment for the jaipong dance (west java). wiresna (2020) explains that kendang is a symbol or cultural representation used in the jaipongan dance. tracey and blacking once explained that in order to maintain the original character of folk music, in addition to paying attention to correct pronunciation, knowledge of textual meaning, and appropriate movements, conductors and choirs must also take the accompaniment of instruments into account (van aswegen & potgieter, 2010 susi gustina et al., representation of local styles in cingcangkeling performance at the 99 (van aswegen & potgieter, 2010). figure 11. kendang (https://de.wikipedia.org/wiki/kendang) local style in choreography local styles are visible musically and in choreography dominated by movements in dances from west java (sunda). in general, the movements in sundanese dance are divided into several parts based on the body part moving: head, hands, body, and legs. choreographer uses small sundanese classical dance, jaipong and new creation dance pieces in this cingcangkeling performance. however, there are also pieces of movement found in central javanese dances. the choreography in the cingcangkeling performance begins with the opening movement, as shown in figure 12. figure 12. opening movements performed by all female members movement on head, for example gilek (moving head to the left and right) and galier (turning the head). movements on the hands include nangreu , ukel , ngepeul , sembada (right and left), nyawang (right and left), lontang (left and right), and overlapping ropes . figure 13 shows nyawang movement pattern. figure 13. nyawang movement (right and left) figure 14 shows the movement pattern of nangreu palm and batara rubuh which are one of the movements in classical sundanese dance. figure 14. movement pattern of nangreu palm and batara rubuh movements of the body, is for example bahuan (right and left), gibrig (moving the shoulders up and down), torsoan (moving the upper chest to the right and left). figure 15 shows the torsoan movement. figure 15 . torsoan harmonia: journal of arts research and education 23 (1) (2023): 91-104100 movements on the legs, for example adeg-adeg, sirig, gedig, sonteng (right and left), trisi, and calik ningkat (sitting position with the right leg higher) as shown in figures 16, 17, and 18. figure 16. calik ningkat figure 17. sirig figure 18. sirig besides small pieces of movement in sundanese dances, the choreographer also uses movement pieces in traditional dances from other regions, such as central java. for example, figure 19 is ulok-ulokan movement in traditional central javanese dance which is usually used in helaran events (parades) in cingcangkeling performances. figure 19. ulok-ulokan local style in costumes and props figure 20. the costumes and props used by students choir of upi when representing local styles in the cingcangkeling performance at the 8th bali international choir festival 2019 in denpasar, bali . the costumes and props used by the students choir of upi are identical to the costumes and props of mojang jajaka in sundanese culture. based on the video analysis conducted, the costume worn by the male members ( jajaka ) is beskap or black closed coat. the uniqueness of the male costume is the use of a patterned sarong. the addition of this sarong element seems to reflect one of the funny, innocent, relaxed, and simple but resourceful figures well known to the sundanese people, namely kabayan. kabayan is a legendary figure in sundanese society. in addition, the use of sarong is also identical to ‘clothing’ when worshiping in islam. in other words, even though this folksong describes children’s play (kaulinan barudak), remembering the creator by worshiping is an obligation that cannot be abandoned. the costumes and props used by the female members (mojang) are those jaipong dancers: apok, sampur, and sinjang. apok is an upper costume worn by jaipong dancers. apok’s characteristics can be seen susi gustina et al., representation of local styles in cingcangkeling performance at the 101 in ornaments and knick-knacks, which are not much different from kebaya. the apok used is black with a gold ornament on the left chest. sampur is a shawl or long cloth. in the jaipong dance, sampur is the main property that dancers must use. the sampur used by female members is in the form of a long scarf pinned on the shoulder hanging down to the dancer’s ankles. sinjang is a long cloth in dark golden typical songket used as a bottom. local style representation in cingcangkeling performances as a cultural identity pohjola has argued that there is a renewed interest in folk music worldwide, because folk music is seen as ‘the expression of the essence of culture’. folk music shapes cultural images, gives cultural impressions, and touches human emotions. these experiences open up opportunities to accept differences and diversity in human life (van aswegen & potgieter, 2010). the music or folksongs in the choir’s repertoire have important benefits, especially in bridging cultural differences. children who are part of the choir, the conductor and arranger of the songs involved, and the audience can be influenced in positive ways by performances of folksong or folk music from various cultural groups (van aswegen & potgieter, 2010). folksong generally uses the native language of the area where the song originates. therefore, the pronunciation of the lyrics must be mastered by all members of the choir. meerholz and spaumer explained that the correct pronunciation of the lyrics plays an important role when performing folksongs in the original language and reflects the choir’s respect for certain cultural groups (van aswegen & potgieter, 2010). in addition to texts in the original language, choir administrators must also consider other non-musical components, such as the use of movement in choir performances. therefore, it is highly recommended that each choir group have an instructor who knows the culture (local language or movement/dance or visual art) where the folk song being sung comes as an effort to help the choir group with dances or movements when singing folksongs. the non-musical components actually enrich and enhance the audience’s appreciation of the choir performance. green explained that the existence of nonmusical components can actually improve the quality of choral performances. in accordance with mugovhani, national choir competitions can actively foster a new generation of indigenous choir musicians of a community group whose mission is to preserve and promote the indigenous choir culture of that community. the choir shows its role as cultural ambassador for their country through folksong performances at international festivals involving musical and non-musical aspects, such as lighting, instrumentation, stage, costumes, and choreography. the involvement of musical and nonmusical aspects improves the quality of folksong performances and shows an exploration of musical culture, community, and identity. in a children’s choir group, for example, folksong performances aim to connect children’s emotional experiences with their culture and society. therefore, the choir has a significant role in cultural learning and identity formation. choir is seen as having various roles, including showing the diversity of a country’s musical culture and affirming national identity. choir can be the source of bridging social capital, supporting cooperation among participants from different racial and cultural backgrounds, demonstrating intercultural understanding and trust, and strengthening a sense of national identity (bartolome, 2018 ) . conclusions folk songs or folk music performances in an international music festival can be seen as a way for a group to build and maintain their identity. kaemmer (kaemmer, 1993)even asserts that music often serves to emphasize ethnic identity or the harmonia: journal of arts research and education 23 (1) (2023): 91-104102 main characteristics of a distinct ethnic group within the larger society. the presence of the upi psm group at the 8th bali international choir festival (bicf) 2019 in bali for attending an international level competition by singing cingcangkeling as one of the folksongs from west java society was analyzed from its musical and non-musical aspects. these two aspects clearly represent local styles in sundanese culture. this local style can be seen in the use of vocal characters and unique arrangement techniques, which give the impression of being humorous (fun) viewed from the musical aspect. the term funny and humorous are often associated with the character of the sundanese people who are generally known to the public. this local style can be seen in the use of movements in the form of choreography as well as costumes and props that match the theme of the folksong being sung viewed from the non-musical aspect. therefore, it is understandable if the preparation for the performance of this choir group is not only supported by a voice coach but also the choreographer and costume designer, as an effort to optimize the performance or to present the song authentically in relation to the folksong being sung, the meaning of the text, the choreography or movements, and instrumental accompaniment. the totality of the upi psm group representing the local sundanese style in the cingcangkeling performance at the international choir festival significantly affects audience appreciation. the performance of the choir group not only increases the international community’s appreciation of the uniqueness of sundanese culture but also adds to the audience’s insight into the diversity of cultures in indonesia. by representing the local sundanese style in the cingcangkeling performance at international choir festivals, the psm upi choir group is seen as playing a role in ‘expressing the essence of culture’ or informing cultural images of the sundanese (west java) community in indonesia. therefore, this choir group can be seen as a ‘cultural ambassador’ who reinforces sundanese cultural identity in the international world. references acker, a., & nyland, b. 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(2016). kumpulan terlengkap lagu daerah. media pusindo (grup puspa swara). harm vol ix no 2 2009.pdf mengenal lebih dekat musik orkestra fu’adi jurusan seni musik fakultas bahasa dan seni universitas negeri yogyakarta e-mail: fuadi_uny@yahoo.com abstract orchestra is the most popular instrumental music group in western. as other big cities in the world, jakarta also has some orchestras as the result of cultural diffusion influence. the growth of orchestra in indonesia is not as good as that in western, however, the presence of orchestra in indonesia has aroused various cultural phenomenons. the gathering of sixty to seventy musicians and even more in an orchestra can form a new community. the cooperation intertwined within the community can create a beautiful and fascinating musical performance. a high music quality of an orchestra will not emerge unintentionally without adeguate mastery of the skill. some of these issues will be important point in this discussion. kata kunci: orkestra, komunitas, penampilan pendahuluan pada saat ini musik memang tidak mungkin lepas dari kehidupan kita sehari-hari, setiap saat kita selalu bersinggungan dengan musik, entah dimulai dari rumah, di jalan, di toko, bahkan hingga kembali ke rumah pun kita selalu ditemani dengan musik. kenyataan di atas, menunjukkan bahwa musik semakin diterima bahkan dibutuhkan masyarakat sebagai hiburan agar pikiran yang terbebani oleh pekerjaan rutin sehari-hari dapat menjadi segar kembali. perkembangan musik yang pesat di indonesia menumbuhkan berbagai jenis musik seperti musik keroncong, pop, dangdut, bahkan musik klasik yang dianggap serius oleh sebagian orang. bentuk penyajian musik terus mengalami perluasan, apabila dahulu musik keroncong hanya dimainkan cukup dengan tujuh alat musik saja yaitu biola, seruling, cuk, cak, gitar, cello, dan bass, maka sekarang telah berkembang menjadi sebuah orkestra keroncong, yaitu dengan memasukkan alat-alat musik orkestra standar seperti oboe, fagot, klarinet, penambahan jumlah biola dan sebagainya. nampaknya grup-grup band di indonesia saat ini yang secara umum hanya terdiri dari gitar, bass, keyboard, dan drum ikut terpengaruh untuk memasukkan alat-alat musik orkestra seperti penambahan instrumen strings (biola, cello, contra bass), woodwind (flute, oboe, clarinet), brass (terompet, trombone) bahkan percussion (timpani, bell tree, dan lain-lain). sebagai contoh bisa didengar dalam album badai pasti berlalu (chrisye) yang diaransir oleh erwin gutawa dengan melibatkan orkestra dari australia. trend memasukkan unsurunsur orkestra ke dalam berbagai jenis musik yang lain menjadi hal yang biasa kita temui sekarang ini. namun hal yang cukup penting dalam perjalanan orkestra itu sendiri, adalah terjadinya masa pasang-surut sejak keberadaannya di indonesia sebagai pengaruh difusi kebudayaan. graebner menyatakan dalam buku sejarah teori antropologi i oleh koentjaraningrat (1980: 112-113) bahwa unsur-unsur kebudayaan masa lampau adalah dengan membuat klasifikasi bendabenda menurut tempat asalnya, dan menyusunnya berdasarkan persamaan unsur-unsur tersebut. sekumpulan lokasi tempat ditemukan benda-benda yang sama sifatnya disebut sebgai kulturkreis. alat-alat musik yang dipergunakan orkestra di indonesia mempunyai kesamaan unsur dengan alat-alat musik orkestra di barat. mengenal musik orkestra pengertian orkestra istilah orkestra menurut john spitzer (stanley sadie. ed. 2001: 530) pada masa yunani dan romawi kuno menunjuk tentang tingkatan dasar dari sebuah panggung terbuka, yang digunakan kembali pada jaman renaissance untuk menunjukan tempat di depan panggung. pada awal abad xvii tempat ini digunakan untuk menempatkan para pemain musik yang mengiringi nyanyian dan tarian. pada abad xviii arti dari istilah orkestra diperluas untuk para pemain musik sendiri dan sebagai identitas mereka sebagai sebuah ansambel. sebelum istilah orkestra menjadi mapan di dalam bahasa eropa yang beragam, muncul berbagai ungkapan yang digunakan untuk mengindikasikan kelompok pemain musik yang besar. di italia kelompok pemain musik yang serupa disebut dengan capella, coro, concerto groso, simfonia atau gli stromenti. hal serupa juga dapat ditemukan di roma pada awal sampai akhir tahun 1679. demikian pula di perancis, juga terdapat istilah les violons, dan les concertantes. analisis tentang orkestra sejak abad xviii sampai sekarang mengungkapkan sebuah rangkaian ciri-ciri yang saling berhubungan, yang antara lain; a) orkestra didasarkan atas alat musik gesek yang terdiri dari keluarga biola dan double bass, b) kelompok alat musik gesek ini disusun ke dalam bagian-bagian di mana para pemusik selalu memainkan not yang sama dalam satu suara, c) alat musik tiup kayu, tiup logam, dan perkusi tampil dalam jumlah yang berbeda sesuai dengan periode dan lagu-lagu yang ditampilkan, d) orkestra sesuai dengan waktu, tempat, dan daftar lagu yang dimainkan selalu memperlihatkan standar instrumentasi yang luas, e) biasanya orkestra yang telah berdiri terorganisasi dengan anggota-anggota yang mapan, mengadakan latihan dan pentas yang rutin, mempunyai struktur organisasi dan dana, f) karena orkestra membutuhkan banyak pemain musik, untuk memainkan hal yang sama dalam waktu yang bersamaan, orkestra menuntut tingkat kecakapan musikal yang tinggi untuk memainkan dengan tepat pada nada-nada yang tertulis, g) orkestra dikoordinasi langsung dengan satu pusat, yang berawal pada abad xvii dan xviii oleh pemain utama biola pertama atau oleh pemain keyboard, yang selanjutnya mulai awal abad xviii dikoordinasi oleh seorang conductor. kelompok pemain alat musik yang mempunyai ciri-ciri seperti di atas dapat menunjukkan dengan jelas sebagai sebuah orkestra, dimana pun mereka ditemukan dan apapun sebutan mereka. kelompok dengan jumlah banyak namun tidak memiliki ciri-ciri ini secara keseluruhan setidaktidaknya dapat dikatakan mempunyai kedudukan yang sama dengan orkestra. orkestra selanjutnya dapat dikategorikan ke dalam beberapa jenis, termasuk di dalamnya adalah orkestra teater, orkestra symphony, orkestra gesek, orkestra kamar, orkestra café dan salon, orkestra radio, orkestra studio dan sebagainya. instrumen musik yang dimainkan para musisi dalam sebuah orkestra modern terdiri dari empat seksi atau golongan jenis instrumen, yaitu seksi gesek, seksi tiup kayu (woodwind section), seksi tiup logam (brasswind section), dan seksi perkusi (percussion section). perkembangan awal orkestra yaitu pada jaman barok (1720) terdapat sebuah bentuk orkestra kecil yang hanya terdiri dari instrumen gesek (6 biola, 3 viola, dan 2 cello) dan continuo (harpsichord, merupakan instrumen yang berbunyi terus menerus dalam sebuah komposisi). pada jaman klasik (1790) instrumen terumpet, timpani, dan horn mulai digunakan walaupun masih jarang. ciri tertentu dari orkestra klasik adalah tanpa menggunakan continuo, tapi diganti dengan seksi gesek yang lebih besar (14 biola, 6 biola, 4 cello, dan 2 double bass) dan 2 pemain untuk setiap instrumen flute, oboe, clarinet, horn, terumpet, dan timpani. bentuk orkestra jaman romantik (1850) memiliki seksi gesek yang lebih besar lagi (30 biola, 12 biola, 10 cello, dan 8 double bass), woodwind dan brass. muncul instrumen musik baru seperti tuba dan harpa. dua orang komposer terkenal yaitu wagner dan berlios adalah tokoh yang banyak menulis karya-karya untuk format orkestra yang sangat besar tersebut. orkestra mempertahankan bentuknya yang besar ini sampai awal tahun 1900an, ketika kemudian mulai dikurangi karena alasan artistik dan ekonomi. sejarah perkembangan orkestra di indonesia hadirnya musik orkestra di indonesia disebabkan oleh adanya kontak dengan bangsa-bangsa barat. pengaruh barat dalam hal seni telah banyak terjadi seperti yang diungkapkan oleh r.m. soedarsono berikut ini, pengaruh barat (eropa) yang berawal sejak datangnya para pedagang portugis, yang kemudian disusul oleh hadirnya orang-orang belanda pada akhir abad xvi, sampai sekarang bisa kita saksikan dalam berbagai bentuk seni (soedarsono, 2002: 61). kontak awal musik barat di pulau jawa dapat diamati dari uraian sumarsam yang menyebutkan adanya pelaut-pelaut eropa yang merapat di pulau jawa berikut ini, pengenalan musik eropa yang paling awal di jawa dapat ditelusuri akarnya dari musik yang dibawa oleh pelayar-pelayar kapal yang singgah di pulau jawa pada abad xvi. francis drake adalah contohnya, mendarat di pantai selatan jawa, ia menuliskan dalam buku perjalanannya bahwa musisi kapal memainkan musik untuk seorang raja (atau penguasa setempat), lalu seorang raja membalas dengan permainan musiknya. tidak ada identifikasi musik lokal ini, apakah gamelan atau ansambel musik yang lain. musisi kapal terdiri dari 1 pemain trumpet dan empat orang (kemungkinan pemain gesek). trumpet adalah instrumen penting di kapal, untuk tanda-tanda penghormatan. tahap kedua adalah musik yang dibawa oleh pedagangpedagang portugis . musik mereka dibawa dan dimainkan oleh budakbudak mereka yang terdiri dari orang-orang india, afrika dan asia tenggara (sumarsam, 2003: 94). musik barat juga mengalami perkembangan di lingkungan keraton, sebagaimana dikemukakan soedarsono dalam buku seni pertunjukan indonesia di era globalisasi di bawah ini: pengaruh barat terhadap musik sangat menonjol…di istana-istana jawa tengah (termasuk daerah istimewa yogyakarta), musik barat juga menyusup ke ansambel gamelan. dalam beberapa komposisi gending atau lagu yang mengiringi tari putri bedaya dan serimpi dari keraton yogyakarta, menyusup beberapa instrumen musik barat, seperti genderang, trombone, terompet, dan kadang-kadang juga klarinet (soedarsono, 2002: 61-62). pertunjukan musik di keraton yogyakarta mengalami kemajuan pesat pada masa pemerintahan sultan hb viii (1921-1939), dengan kehadiran walter spies pada akhir november 1923. spies mempunyai peran yang sangat besar terhadap perkembangan kehidupan musikal di yogyakarta. spies mendapat pekerjaan tetap sebagai instruktur musik dan dirigen kraton orkest jogja dengan gaji 100 founsterling per bulan (john stewell 1980: 21). selain kraton orkest jogja terdapat pula orkes societet de vereeniging yang didirikan oleh tahun 1822 oleh pengusaha perkebunan di yogjakarta. orkes ini dipimpin oleh attilio genocchi dari italia dan carl gotsch dari austria (butenweg 1966: 139-152). perkembangan musik orkestra di indonesia memang mengalami masa pasang-surut, pada tahun 50-an di jakarta pernah menjadi jaman keemasan musik orkestra, namun sayang tidak ada bukti-bukti rekaman maupun catatan fisik tentang musik orkestra tersebut, seperti yang pernah diutarakan oleh conductor twilite orchestra addie ms dalam pengantar buku twilite orchestra yang ditulis oleh ninok leksono (2004). atas dasar kenyataan inilah twilite orchestra mendapat inspirasi untuk segera membuat album rekaman dan buku tentang perjalanan twilite orchestra selama sepuluh tahun sejak berdirinya. krisis ekonomi yang melanda indonesia pada tahun 1998 membuat keterpurukan di sana-sini, termasuk kelangsungan hidup musik orkestra. pada waktu itu twilite orkestra tercatat hanya melakukan konser sekali saja yaitu di gedung teater tanah airku, tmii, padahal pada tahuntahun sebelumnya mampu menggelar konser sebanyak lima kali dalam setahun.seiring dengan perkembangan politik dan ekonomi yang semakin membaik, keadaan musik orkestra juga mengalami pertumbuhan kembali. beberapa grup orkestra yang lain seperti nusantara symphony orkestra (nso) yang dikoordinasi oleh miranda goeltom hadir di tengah masyarakat dengan membawakan repertoar musik klasik barat, mulai dari komposisi karya bach, mozart dan sebagainya. kekayaan suara yang dimiliki orkestra membuat addie ms tergerak untuk mensosialisasikan musik simfonik ke kalangan masyarakat yang lebih luas, karena ada anggapan bahwa musik orkestra identik dengan musik yang hanya dikonsumsi oleh kalangan atas saja. twilite orchestra berusaha menjembatani apresiasi masyarakat menengah ke bawah tentang musik orkestra dengan menggelar konserkonser di tempat umum seperti di mall, mengunjungi sekolah-sekolah, kampus-kampus seperti di itb (bandung), ugm (jogjakarta), dan its (surabaya). dalam program mengunjungi sekolah-sekolah, para siswa diperkenalkan dengan alat-alat musik orkestra, seperti biola, cello, contrabass, flute dan sebagainya. mereka juga diajarkan secara singkat bagaimana teknik memainkan alat-alat musik tersebut. apresiasi musik orkestra masyarakat sebagai penikmat seni, mendapat pengalaman dengan melihat pertunjukan musik orkestra, diistilahkan dengan pengalaman seni atau respon estetik. seperti dalam kehidupan sehari-hari, maka pengalaman seni juga merupakan sebuah pengalaman yang melibatkan perasaan, pikiran, penginderaan, dan berbagai intuisi pada manusia. namun pengalaman seni berlangsung dalam kualitas pengalaman tertentu yang kadang berbeda dengan kehidupan sehari-hari. jakob sumardjo (2000:16) menjelaskan, di dalam pengalaman seni, unsur perasaan merupakan kekuatan pokok yang dapat menggerakkan serta mendasari unsurunsur potensi manusia yang lain. dalam pengalaman seni, seseorang yang sedang menikmati karya seni kehilangan jati dirinya karena larut dalam nilai-nilai yang ditawarkan oleh benda seni. hal ini disebut sebagai empati, yaitu melibatkan perasaan diri ke dalam sesuatu, atau memproyeksikan perasaan ke dalam benda seni lalu timbul perasaan senang. di dalam proses empati ini, terjadi pengalaman dalam aliran dinamika kualitas seni yang menghasilkan kualitas seni yang mendatangkan rasa kepuasan, rasa penuh, rasa utuh, dan rasa sempurna dalam keselesaian. konser tour music ademia yang digelar oleh twilite orchestra di kampus-kampus apabila ditinjau dari pengalaman seni, menghasilkan sebuah respon estetik. para penonton khususnya mahasiswa, ikut larut dalam pertunjukan musik simfonik tersebut. persembahan orkestra dengan lagu-lagu daerah pilihan dapat mendukung apresiasi penonton. ketika konser di ugm, twilite menyuguhkan lagu cublak-cublak suweng yang diaransemen ke dalam orkestra, melodi lagu cublak-cublak suweng yang telah akrab di telinga masyarakat dimainkan dengan berbagai alat musik dalam orkestra secara bergantian. penonton juga dilibatkan untuk berkolaborasi dengan orkestra dalam lagu dance trepak, di mana penonton diminta untuk bertepuk tangan sesuai dengan aba-aba dari conductor. bunyi tepuk tangan yang seirama dengan musik orkestra membuat pengalaman estetik tersendiri bagi penonton sehingga timbul perasaan senang dan gembira. terkadang dari pihak penonton timbul permintaan lagu, yang disimbolkan dengan tepukan tangan yang tiada henti, sebuah orkestra harus tanggap dengan hal tersebut untuk segera memainkan encore (lagu tambahan) yang terdiri dari beberapa lagu sebagai wujud rasa terima kasih atas apresiasi yang telah diberikan penonton. kemampuan penguasaan teknik dalam memainkan alat musik mutlak diperlukan dalam sebuah orkestra, karena daya tarik utama dari musik adalah bunyi sebagai sumber estetik yang terus digali. keindahan bunyi yang mempesona hanya bisa dimunculkan dengan teknik permainan yang baik pula. hal tersebut sesuai dengan pendapat alfred gell (2005: 43) berikut ini: i consider the various arts-painting, sculpture, music, poetry, fiction, and so on as a components of a vast and often unrecognized technical system, essential to the reproduction of human societies, which i will be calling the technologi of enchantment. pertunjukan musik orkestra ketika menampilkan 25 pemain biola yang bermain dengan gerakan serempak memunculkan pesona audio visual tersendiri. permainan melodi yang lincah dan cemerlang oleh flute seperti burung yang berkicau dengan riangnya. gerakan tangan conductor untuk memberikan aba-aba merupakan bagian dari pertunjukan orkestra. yang bertugas memberikan stimulus kepada para musisi orkestra dalam upaya mengekspresikan ide-ide musikal kepada pendengar, dan para musisi pun bertindak sesuai perintah conductor dengan memainkan alat musiknya. hal ini selaras dengan pendapat jakob sumardjo (2000: 74) yang menyatakan bahwa mereka (para musisi) berjuang dengan medium (alat musik) yang dipakainya, di sini dituntut ketrampilan atau penguasan teknik atas mediumnya itu. seniman terkadang cenderung mempergunakan teknik seni yang telah baku untuk menuangkan gagasan nilai-nilai seninya. namun perlu diingat bahwa teknik itu mempunyai keterbatasan dalam kaitannya dengan material seninya. maka penguasaan teknik seni yang sudah baku hanya dapat merampungkan isi gagasan seni yang dibatasi oleh tekniknya. karena terikat oleh teknik seninya, seniman hanya dapat berkutat dengan gagasan yang terbatas pula. inilah sebabnya lahir berbagai teknik seni yang baru akibat adanya gagasan baru yang tidak mungkin dituangkan dalam teknik yang itu-itu saja. teknik seni bukanlah hal yang statis, teknologi terus berkembang demikian juga teknik seni juga terus mengalami perkembangan. sebagai contoh pada abad xvii di italia teknologi pembuatan senar biola yang mulai menggunakan bahan senar dengan lilitan metal. penggunaan lilitan metal mampu membuat senar lebih kuat dalam ketegangan yang tinggi. hal tersebut berdampak pada munculnya teknik permainan biola yang baru, seperti teknik gesekan martelle (gesekan dengan tekanan seperti pukulan martil/ palu), teknik gesekan ponticello (gesekan di dekat kam biola untuk menghasilkan suara yang sengau) yang sebelumnya tidak dapat dilakukan pada senar yang bahannya masih terbuat dari usus binatang. orkestra sebagai bentuk komunitas orkestra merupakan gabungan dari sekelompok musisi yang kemudian membentuk menjadi sebuah komunitas. wartaya winangun (1990:40) menyatakan bahwa komunitas itu bercirikan anti struktur, dalam arti bahwa relasi-relasi yang terjadi itu bercirikan tak terbedakan, equalitarian, langsung, ada, non-rasional, eksistensial dan i-thou (buber). hubungan mereka dalam komunitas adalah hubungan antar pribadi yang tak terbedakan, berbeda dengan kehidupan sehari-hari di mana perbedaan amat menonjol. perbedaan itu disebabkan oleh struktur sosial yang telah menempatkan orang pada posisinya sendiri-sendiri, misalnya perbedaan antara orang kaya dan miskin, pejabat tinggi dan pejabat rendah, antara pegawai dan petani dan sebagainya. dalam komunitas hal tersebut tidak ada. individu-individu yang tergabung dalam orkestra berasal dari berbagai latar belakang kelompok sosial yang berbeda, ada yang berstatus pelajar, mahasiswa, guru, dan sebagainya, mereka berkumpul untuk satu tujuan yang sama yaitu menghadirkan sebuah pertunjukan musik. ciri komunitas yang lain adalah adanya kesamaan. situasi dan kondisi yang ada dalam komunitas mengantar pada hubungan pribadi yang mengalami dan merasakan kesamaan. masing-masing individu berada pada tingkat yang sama. simbol-simbol yang dipergunakan menunjuk pada kesamaan tingkat, misalnya mereka sama-sama mendapat instruksi dari pimpinannya. demikian juga halnya dengan komunitas orkestra, bahwa mereka para individu yang tergabung merasakan adanya perasaan, perlakuan dan instruksi yang sama dari pimpinan, dalam hal ini yang bertindak selaku pimpinan adalah conductor. hubungan antar pribadi dalam sebuah komunitas bersifat langsung, dalam arti bahwa hubungan pribadi satu dengan yang lain terjadi tanpa perantara. mereka berhadapan satu dengan yang lain, kontak yang terjadi lebih hidup, karena suasana keterbukaan dan ketulusan senantiasa dipelihara. hubungan mereka menjadi anti struktur karena terlepas dari status sosial yang ada dalam kehidupan sehari-hari yang menjadi latar belakang mereka. dalam komunitas orkestra, hubungan antara individu menjadi lebih terbuka tanpa ada unsur formal di dalamnya, senda gurau yang kental senantiasa mewarnai komunitas tersebut. non-rasional yang terjadi dalam hubungan antar individu dalam sebuah komunitas lebih menunjuk kepada dominannya fungsi perasaan dan intuisi. yang berkembang adalah segi afektif dan voluntatif, sedangkan fungsi rasio kurang dominan karena orang lebih digerakkan oleh aspek kesadaran dan kehendak. hubungan yang seperti ini mengandalkan perasaan sebagai modal utamanya. ciri spontan dalam hubungan pribadi itu masing-masing mengungkapkan dirinya secara spontan sebagai suatu ‘happening’. hal ini dapat diamati apabila komunitas orkestra sedang beristirahat di sela-sela latihan, seseorang melontarkan joke maka yang lain akan segera menimpali secara spontan dengan joke yang lebih menggigit pula. dalam komunitas ciri eksistensial juga turut memberi warna, karena hubungan antar pribadi menyangkut eksistensi manusia. kesadaran akan being-nya menjadi dominan dan juga diwarnai oleh hubungan yang kongkret, dan yang lebih penting adalah adanya kesatuan pribadi. lebih ditegaskan lagi oleh wartaya winangun (1990: 50-51) bahwa komunitas itu terjadi ketika struktur sosial tidak ada, aturan-aturan dan kategori dalam struktur tidak berlaku, spontanitas dan anti struktur, seolah-olah tanpa aturan. dari ciri-ciri itu terlihat bahwa model hubungan yang terjadi dalam komunitas berbeda dengan model dalam hubungan masyarakat sehari-hari. pengalaman manusia ternyata tidak bisa dipisahkan dengan pengalaman komunitas. pengalaman komunitas dalam sebuah orkestra merupakan salah satu contoh dari berbagai macam pengalaman komunitas yang ada. persoalan menyangkut gender juga ikut mewarnai liku-liku sebuah orkestra, bahkan di negara maju seperti yang terjadi pada berlin philharmonic orchestra, semua anggotanya adalah pria, tanpa satu pun adanya musisi wanita. mereka mempunyai argumen bahwa jadwal konser selama setahun yang sangat padat membutuhkan fisik yang kuat, apabila terdapat musisi perempuan dikhawatirkan akan mengganggu jalannya program konser. kesimpulan orkestra yang saat ini mulai dikenal masyarakat luas ternyata menarik untuk dibahas. kekayaan bunyi yang dimiliki sebuah orkestra memunculkan pesona tersendiri. alat musik yang terdapat dalam orkestra dapat dibagi dalam empat golongan besar, yaitu strings (alat musik gesek), woodwind (alat musik tiup kayu), brass (alat musik tiup logam), dan percussion (alat musik pukul). dengan bunyi yang khas dari masing-masing alat musik tersebut, ternyata mampu menyatu dalam sebuah harmoni yang indah. apresiasi seni dengan menikmati pertunjukan musik orkestra membuat larut para penonton ke dalam suasana gembira dan rasa puas. dari para anggota yang tergabung dalam sebuah orkestra akhirnya terbentuk sebuah komunitas baru. dalam komunitas berlaku sifat anti struktur, di mana struktur yang ada dalam masyarakat sehari-hari lepas dan tidak berlaku dalam sebuah komunitas dalam hal ini komunitas orkestra. masalah gender juga tak lepas dari komunitas orkestra. di luar negeri yang telah maju seperti jerman pun, kaum perempuan mendapatkan perlakuan diskriminasi gender bahkan sejak berabad-abad lalu. daftar pustaka gell, alfred. 2005. the technology of enchanment and enchanment of technology. dalam jeremy coote and anthony shelton. ed. anthropology art and aesthetics. new york: clarendon pressoxford. koentjaraningrat. 1980. sejarah teori antropologi i. jakarta: penerbit universitas indonesia press (uipress). leksono, ninok. 2004. twilite orkestra. jakarta: pt. gramedia pustaka utama. spitzer, john. 2001. the new grove dictionary of music and musicians. london: macmillan publishers limited. sumardjo, jakob. 2000. filsafat seni. bandung: penerbit itb. winangun, wartaya. 1990. masyarakat bebas struktur, liminalitas dan komunitas menurut victor turner. yogyakarta: penerbit kanisius. r.m. soedarsono, 2002. seni pertunjukan indonesia di era globalisasi. yogyakarta: gadjah mada university press. sumarsam. 2003. gamelan: interaksi budaya dan perkembangan musik di jawa. yogyakarta: pustaka pelajar. hans, rhodius and john darling. 1980. walter spies and balinese art, dalam john stewel (ed.). amsterdam: tropical museum, tera zuthpen. hein, buitenweg. 1966. soos en samenleving in tempo doeloe. den haag: servire. harmonia : journal of arts research and education 15 (2) (2015), 113-118 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v15i2.4428 p-issn 1411-5115 e-issn 2355-3820 strengthening vocal register through tembang jawa ornament practice diah latifah department of music education, indonesia university of education, indonesia e-mail: diah.singer@gmail.com received: november 15, 2015. revised: november 30, 2015. accepted: december 4, 2015 abstract this study analyzes javanese’s song ornament luk to strengthen vocal register. the movement of luk is either upward or downward has similarity to western vocal technique portamento. portamento ornament is usually used in strengthening the switching technique of vocal register. register is a vocal technique that has an advantage in maintaining timbre, so that the timbre sounds homogenous when the changing of register occurs. the results of the study show that the javanese’s song ornament luke has successfully strengthened the vocal register on the practice of register intensification in western vocal disciplines. keywords: luk; vocal register intensification how to cite: latifah, d. (2015). strengthening vocal register trough tembang jawa ornament practice. harmonia: journal of arts research and education, 15(2), 113-118 doi:http://dx.doi.org/10.15294/harmonia.v15i2.4428 introduction this study is composed based on a specific background of experience. specifically, the idea of this study is initiated when two students of music education program at indonesia university of education (upi) are using javanese’s song ornament while attending western vocal instrument course. during the process, it was resulted that the technique used by the students were effective and able to strengthen their vocal technique. this phenomenon was then followed up by conducting research that might put variety of ornament in nusantara together in order to strengthen students’ western vocal technique. tembang jawa or javanese song is one of vocal arts in javanese culture. the position of tembang in javanese culture is depicted in the picture of javanese’s life. tembang jawa, especially mocopat (javanese traditional song), is composed from stanzas in pupuh or javanese ancient poem pattern. kunst (1973, p. 122) states that “to the javanese, singing and poetry are one in the same thing; poems are always recited in the song form”. in other words, it means that for javanese people, songs and poems are a form of unification, that a poem is always recited in a form of song. tembang jawa, specifically mocopat, is categorized into sekar alit. it has a special ornament that beautifies the melody of its song pattern. kusnadi (2011) argues that ”the aesthetic strength of a tembang is placed on its literature and song ornament”. here, in tembang jawa, one of the ornaments beautifying the song is luk. kusnadi (2011) states that “luk is two or more notes that are sung in one syllable, or in other words, luk is the arch or voice. the tone, direction of luke is varied. some are upward, downward, and others are upward, then downward and back to its initial position.” apart from luk is gregel that has a more complex ornament form. gregel is 113 114 harmonia : journal of arts research and education 15 (2) (2015): 113-118 considered as a combination between several luk ornaments that moves upward to downward and is usually fast. according to kusnadi (2011), ”gregel is a combination between several luks that are sung fast and hard to be denoted”. interview results with prof. suwardi on 31st may 2015 found that “the ornament movement of gregel is more twisted and flicker”. the movement of luk, that is twisted upward (high) or downward (low) has similarity with the ornament of western vocal that is termed by the name of portamento. pilotty (2009) in his thesis argues that: should be used “sparingly for expressive purposes” (stark 1999 p 165). in bel canto,portamento plays such an important role that it has become completely associated with the style. however, it is not only a decoration, but a means to maintain the position (‘open throat’) throughout the vocal range. this gives an unbroken feeling of legato and a homogenous timbre (interview with nordfors). paparone in milyartini, latifah dan virgan (2015) states that ”in italian porta means bring and armento means the art of portamento is the art of bringing one note to the next. the first note shifts gracefully to the next”. the notation of portamento can be seen in the following: the vocal ornament as can be seen above is theoretically able to strengthen the register technique as delivered by pilotty. there are three main categories of register according to ploog (2004, p. 109). he argues that “the 3-register voice building approach aims at a homogeneous and balanced vocalization by mixing the voices during the passaggios”. the position of high register, middle register, and low register as vocal technique can be seen from the following figure: the register distribution for soprano and tenor is clearly seen from the figure above. the line of tone that forms a straight line to the chest belong to the low register. meanwhile, for the point line that forms a straight line from the area above the mouth up to the forehead considered as middle register, and six tones placed at figure 1. paparone (2006) in milyartini, latifah dan virgan (2015) figure 2. the sensation of voice register for soprano and tenor. source: lehman. (1993, p. 44) diah latifah, strengthening vocal register trough tembang jawa ornament practice 115 the head categorized as high register. the existence of the ornament of luk that has similarity to portamento ornament will be analyzed here in order to strengthen the register technique. therefore, te problem arised in this study is whether or not the ornament of javanese song (tembang jawa) that is luk has an advantage in strengthening register. in other words, this study aims at observing the advantage of javanese ornament, luk, to strengthen vocal register. method approach and method of the research a research approach that is implemented in this study is monodiscipline art research. steps of the research can be seen from the following figure 3. research method implemented in this study was narrative inquiry and narrative explanation in a form of investigation. data collected from the existed phenomena, as well as explanation from variety of findings related to the emergence of vocal technique register mastery that was shown when ornament luk on the etude that was created by researcher was sung by the research subject. the etude itself was having the characteristic of javanese song. five third semester students of western vocal instrument 2 course of the music education department of indonesia university of education became the research subject of this study. research results and discussions data description the research of luke had strengthened the vocal register as experienced by five students of western vocal instrument 2 as respondents in this study. details of the result are described, as follows: for student number one (respondent 1) that had the low timbre or bass type of voice, had the register technique to occur from the middle to the high register. this student felt anxious when the register shift occurred, and asked for the instructor to repeat the etude he sang until the student (respondent 1) felt comfortable and flexible in singing the tone. eventhough the students had been able and flexible in singing the tone up in the high register, however, there were times when the student had difficulties in singing the tones during the register shifting. here, he experienced out of register, sound off, and mispositioned. after doing the practice twice with the instructor guidance, the student provenly could achieve the high register well eventhough the student’s voice production was still less sonor or round. figure 3. rohidi (2011, p. 63) monodiscipliner approach note: a: vocal disciplines b: vocal technique theory focusing on vocal ornament of both western tradition and javenese song in luk ornament c: narrative inquiry and narrative explanation research method d: problem (ontological facts) on the indication of tendency on the emergence of the mastery of vocal technique register through the implementation of ornament luk on javanese song 116 harmonia : journal of arts research and education 15 (2) (2015): 113-118 student number two (respondent 2) with limited breathing management found difficulties while maintaining his register technique. in the level of middle register, tension was found, and out of register happened several times. all tensions in sound production that were sung with limited breathing techniques, produced rigid and less flexible sound since there was muscle tension around the neck. it was due to the lack of breath that might support the voice to run high up to the position head voice. after repeating the song several times with the instructor’s guidance, this student was finally able to accomplish the etude and the register technique flexibly. however, still, the best result of the student was still in the middle register. both high register and head voice were slightly accomplished. student number 3 (respondent 3) constrained in the detention of voice, due to the limited breath support that was by all means needed to continue the long phrase. with the limited breathing technique management, it affected the register management technique of this respondent. sometimes, register shifting went well both in the low and middle register position. however, for this student, out of register phenomenon was occurred when the voice position was actually still in register position, and was separated from the position of head voice. the position of head voice had been achieved after six times practicing etude eventhough the voice was still full of tension and resulted to thin voice production. student number four (respondent four) had enough ability in maintaining register only when he positioned the voice in head voice (high register) through register technique management. there was tension during the practice and the position of head voice was finally accomplished with a thin production quality and tended to produce when the register was positioned in the middle. this student also produced nasal placement several times. after trying to practice for several times, this student made some improvements. the instructor had been successfully guiding the respondent to the head voice position and achieved the high register well, eventhough, the voice production had not been fully sonor or round. student number five (respondent 5) experienced obstruction in producing the tone stability. breathing technique had been mastered by the respondent even when it was the first time he practiced. however, while producing luk, breath detention was hard to be produced because of the music’s slow tempo. the middle register mountain and head voice were accomplished, but, stability was hard to be achieved due to the lack of stabil tone production. discussion the results of the study show that javanese song ornament luke has a power to build up the technique register on vocal practice. register technique can be achieved by all five respondents, even though, to achieve fully head voice and around donor has not achieved perfection. high register has been mastered by four students well. meanwhile, one student (respondent number three) still produced high register sound with strain. therefore, respondent number three still considerably needs an attempt to practice for three more times until voice stability and high register are achieved. the strengthening register for several respondents that have limited vocal technique was not perfect enough due to the lack of respondent’s awareness to maintain the register shifting technique. when the respondent produced luk in interval area, from the middle into high register, generally, middle to high register shifting was occurred. during the process, respondents usually experiences inadvertence. the inadvertence was shown when respondents were usually not ready to maintain their breathing technique or lack in supporting breath power while luk was sung and the register shifting occurred. as a result, it became the main cause of register technique imperfection. diah latifah, strengthening vocal register trough tembang jawa ornament practice 117 figure 4. partitur etude number 1 composed by researcher the voice type of five respondents are bass, alto, and mezzosopran. the register shifting is different for each respondent. it depends strongly on voice range of every individual. therefore, bass, alto, and mezzosopran singer will have different register shifting as well. in general, all respondents had strengthen their register technique. in general, the movement of the best register achievement is placed in low and middle register, and the register movement moves from chest up to the forehead. further, eventhough the high register has been achieved, however, the voice quality is not fully round with proper volume or sooner. one of the students, even though he had been able to achieve the high register, however, the voice was usually less stable. further, respondent number one to five experienced problems in middle to high register, as can be seen from the following scores. the problem occurred when the voice moved from tone b’ to see”, as illustrated in bar shifting three to four. besides the register shifting, the etude tempo is considerably slow. therefore, tension is frequently occurred if the breathing technique is not ready to support the movement of upward luk (luk tangi) as written in figure 4. conclusion research results and discussion show that the practice of singing luk ornament has proven to be effective in strengthening the vocal register. it is due to the character of luk ornament, that has the western vocal ornament character portamento, presents a smoother extreme interval voice. this happened because of the interval leaps from one tone to another town with a swing of the voice stream. this performance will eliminate tension of the sound production. the activity of register strengthening vocal will be achieved well if the breath power can be used by the vocalist well. the sound production process as explained above is proven to be successfully produce a good vocal register management technique. the changing of timbre happened along with the register shifting. this is not considerably pronounced, however, it seems to be blended and produces the same timbre. references budiarti, m. 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(2011). metodologi penelitian seni. semarang: cipta prima nusantara widodo, b.s. (2000) slendro pelog: suatu keterasingan di dunia anak. harmonia journal of arts research and education, 13 (1), 30-38. widodo, b.s. (2006). nuansa laras diatonik dalam macapat semarangan. harmonia journal of arts research and education, 7(1), 41-49. preludium harmonia jurnal pengetahuan dan pemikiran seni �� � ������ � ������ 2��� �&��� ��������: ��������&���'������,�� � � �������������������������������������������������������������������������>���=�� ������� ����� ���∗ ��"$#�! 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desember 2001 82 harmonia jurnal pengetahuan dan pemikiran seni ������ � �������"�� � � �(� � ��4��(����� � ��"��(���� � ���������� �� ������#��������(��� �"����������4����(�����"��� �� �"� ���� �������4��� ������������9������"�4�(�&����������� �� ����� � ���������(���(���� �������"��� �"9"� � �"� ��&�9 ��"� � ��(�"���� �� ��� ���� ����"����������4����(�� �"�������:� �� ������(����� �"�(��� �,�" ��&����4���� ���� ��-����� ����� !�9���+���(�(�:���!4(����� �������..�����=�����. � ����� �� �� �� 1�� �=��8�"�� �b�2� ��������� ����� !��� � � � ����� � � �.)5 � = �&�� � '���� ����� � �� � #����=: � j��;���g� 0�� ,�� �������<���� &� ����:� �� ��� ��&�"� ����(������ �4���;���c!�9k��e������.5.��� � �!�9k����� (��� ����� ���&�:8�"�� �g � n�&���� � ��&���������� �� ���� ��� ��� ������!�9k��e��:� 2�>��4�: ���(�� ��.55�=� �� �� �� 1�� ������ ���$����� �=: � 8�"�� �b� +�����+�� ��� oooo����.))��=1�� ��� ��$����� �=�:�8�"�� �b� �� �"��!�93����� ��(�������..)��!"�� ��������4�������"���� �� ���4������ � ���������������4�(�&������(��� ��7-�������;�� ���� ���������677i� =jjj�=����������n��&�"�� ��g�+ h�(��� ��� �� �(����(��������� ���� ���������� ���.)5��#��������������������� ��$�� �� � � � ��� 8�"�� �b� ���2�� �(��� 0��� ��� � : � 3����� � �.)1�= �1�� � � .����� � � � �� � -��� � � � '� ��=�� 8�"�� �g����<���� �����(����������9 ������ 0����:���&&�(�3��1�����..*�=� ����� ��� ��� �������1�� �=���+��(���g ����������������>���� ��� ��:� �-� ��� �� � ��..1�� � �= �&���#������d��'�� �=�� ���� ����g� �����(�2�� ��;�:� -���(�: � ��-� � �$$$� � =$����� � � . � � � ������ � � � $���� � �=�� +��(����������� ����� ��(&�,� �:��(����.)���=������. � ��# �� � � ��1������� =��8�"�� �g� ���2�� �(�� �� ��(�:�! �"�(""���..���7,�� � �-��� ��� ��-� ���*�8�"�� �g������� ��4�(�&��������8�"�� �� %��&�:����������.)*�?-��� ���,�� � ��" � �� �/� e�5 � ��� vol. 2 no. 3/september – desember 2001 83 vol. 8 no.2 mei-agustus 2007.pdf harmonia jurnal pengetahuan dan pemikiran seni kethoprak humor: kajian kerja sama dalam dialog antarpemain dalam membentuk cerita ketoprak gobyok h.m. syakirun lakon "jaka kendhil" (humour ketoprak: joint reseachn in inter player dialogue in forming kethoprak gebyok h.m syakiran tittle "foko kendil") restu lanjari stafpengajarjurusan sendratasik, fakultas bahasa dan seni, universitas negeri semarang abstrak di tengah maraknya jenis hiburan modern seperti sinetron, ketoprak sebagai salah satu bentuk kesenian tradisional tak pelak harus bersaing dengan jenis hiburan modern tersebut untuk memperoleh perhatian di hati masyarakat. terutama karena adanya perubahan selera masyarakat terhadap kesenian tradisional semacam ketoprak kesenian tradisional memang harus berkompromi dan beradaptasi agar bisa bertahan. ketoprak humor, ketoprak canda, ketoprak jampi stres, atau ketoprak plesetan relatif berhasil melakukannya melalui televisi. agar tontonan ini tidak cepat membosankan, maka pihaknya membalutnya dengan humor segar. apa yang dilakukan kethoprak humor ini menjadi inspirasi bagi kethoprak gobyok pimpinan h.m. syakirun, yakni mengemas kethoprak dengan menonjolkan sisi humor, hanya saja kethoprak gobyok masih memakai bahasa jawa sebagai media penyampai pesannya. kethoprak sebagai sebuah teater tradisional terikat oleh hukum panggung. hukum panggung ini menyangkut bagaimana akting diahir secara baik dan bagaimana dialog mampu menjadi sarana untuk menyampaikan lakon kepada penonton. agar dialog dapat benar-benar hadir secara baik sehingga penonton dapat menikmati cerita secara uttth perlu ada kerjasama yang baik antarpemain. namun demikian pada praktiknya prinsip kerja sama yang terjaun bagus dalam kethoprak pada umumnya, dalam konteks kethoprak humor justru sering dilanggar. hal ini dilakukan untuk menciptakan efek humor, penciptaan efek humor ini dilakukan dengan cara melanggar kebenaran dan melanggar kelaziman. namun demikian, meski menonjolkan sisi humor, kethoprak gobyok masih berusaha menjaga agar alur cerita tidak menyimpang, dan humor yang dilontarkan tidak mengganggu dialog antarpemain. hal ini membuktikan bahwa kerjasama sangat penting untuk dipatuhi dalam membentuk cerita kethoprak, sementara itu pelanggaran dilakukan untuk memberi sentuhan-senuihan humor dalam rangka menarik minat penonton. kata kunci: dialog, kethoprak gobyok, pelanggaran, pematuhan, prinsip kerja sama a. pendahuluan pada era globalisasi saat ini, eksistensi atau keberadaan kesenian rakyat berada pada titik yang rendah dan mengalami berbagai tantangan dan tekananteanan baik dari luasr maupun dari volume viii no.2 / mei-agustus 2007 128 harmonia jurnal pengetahuan dan pemikiran seni dalam. tekanan dari pengaruh luar terhadap kesenian rakyat ini dapat dilihat dari pengaruh berbagai karyakarya kesenian populer dan juga karyakarya kesenian yang lebih modern lagi yang dikenal dengan budaya pop. di tengah maraknya jenis hiburan modern seperti sinetron, ketoprak sebagai salah satu bentuk kesenian tradisional tak pelak harus bersaing dengan jenis hiburan modern tersebut untuk memperoleh perhatian di hati masyarakat. terutama karena adanya perubahan selera masyarakat terhadap kesenian tradisional semacam ketoprak. pun jika ada, penggemarnya lebih terbatas pada generasi-generasi tua. jika pengaruh barat itu tidak segera diimbangi dengan promosi dan pertunjukan budaya tradisional, maka suatu saat masyarakat indonesia akan merasa asing dengan budayanya sendiri. kesenian tradisional memang harus ber kompromi dan beradaptasi agar bisa bertahan. ketoprak humor, ketoprak canda, ketoprak jampi stres, atau ketoprak plesetan relatif berhasil melakukannya melalui televisi. agar tontonan ini tidak cepat membosankan, maka pihaknya membalutnya dengan humor segar. kethoprak lazimnya me mentaskan kethoprak lakon-lakon yang berkaitan dengan sejarah setempat, yaitu yang berkaitan dengan kisah-kisah kerajaan di jawa pada masa lalu. sebagai kesenian rakyat masyarakat jawa, kethoprak tampil dalam percakapan ke-seharian masyarakat jawa, dengan meng gunakan bahasa jawa sebagai penyampai pesan. terobosan kreatif yang kemudian dipelopori oleh kethoprak humor adalah pementa san kethoprak dalam konsep kethoprak yang menonjolkan sisi humor, penggunaan teknologi, hadirnya selebriti sebagai bintang tamu, dan disajikan dalam bahasa indonesia. kethoprak humor kemudian menjadi acara favorit di sebuah stasiun televisi swasta. apa yang dilakukan kethoprak humor ini menjadi inspirasi bagi penggagas kethoprak yang lain untuk bertahan, seperti yang dilakukan oleh kethoprak gobyok pimpinan h.m. syakirun, yakni mengemas kethoprak dengan menonjolkan sisi humor, hanya saja kethoprak gobyok masih memakai bahasa jawa sebagai media penyampai pesannya. kethoprak sebagai sebuah teater tradisional terikat oleh hukum panggung. hukum panggung ini menyangkut bagaimana akting diatur secara baik dan bagaimana dialog mampu menjadi sarana untuk menyampaikan lakon kepada penonton. agar dialog dapat benar-benar hadir secara baik sehingga penonton dapat menikmati cerita secara utuli perlu ada kerjasama yang baik antarpemain. sebagai-mana layaknya, kethoprak gobyok juga terikat hukum panggung meskipun dalam praktiknya kethoprak ini tidak banyak menggunakan pemakaian bahasa jawa standar, baik karma, ngoko, apalagi basa bagongan atau kraton yang hanya muncul dalam adegari "kerajaan medhangsawit", justru yang banyak digunakan adalah bahasa jawa sehari-hari, bahkan cenderung kasar. penelitian mengenai prinsip kerja sama telah banyak dilakukan sebelumnya. ihda khoiri dalam peneh'tiannya yang berjudul volume viii no.2 / mei-agustus 2007 129 harmonia jurnal pengetahuan dan pemikiran seni "pelanggaran maksim sopan santun dalam acara panggung humor di sctv" (2000) menemukan bahwa untuk menciptakan efek humor para aktor melakukan pelanggaran maksim sopan santun yang meliputi pelanggaran maksim kedermawa-nan, pelanggaran maksim pujian, pelanggaran maksim kesepakatan, dan pelanggaran maksim simpati. namun demikian penelitian me ngenai pematuhan dan pelanggaran prinsip kerja sama dalam dialog antarpemain dalam membentuk cerita ketihoprak belum pernah dilakukan, karenanya penelitian yang berjudul kerja sama dalam dialog antarpemain dalam membentuk cerita kethoprak gobyok lakon "jaka kendhil" dianggap sangat menarik untuk diteliti. kethoprak sebagai bentuk teater tradisional merupakan seni narasi karena mengetengahkan cerita melalui lakuan para aktor diatas panggung. dengan demikian ia memiliki cirri-ciri narasi pula, yaitu: tema, alur, tokoh dan latar (culler, 1977:192). dalam terminologi analisis wacana hal semacam ini disebut konteks wacana, bahkan lakuan aktor di atas panggung menciptakan pula tindak tutur. namun demikian pada praktiknya prinsip kerja sama yang terjalin bagus dalam kethoprak pada umumnya, dalam konteks kethoprak humor, justru sering dilanggar. proses pematuhan dan pelanggaran dalam menjalin dialog untuk membentuk cerita dalam kethoprak gobyok lakon jaka kendhil inilah yang akan dikaji lebih dalam. prinsip kerja sama (pks) dikemukakan oleh groce untuk mengarahkan aktor pada proses komunikasi yang baik, lancar, jelas, tanpa salah paham. pada dasarnya, setiap dialog menghendaki tindakan yang wajar antarpemain. wajar dalam arti sesuai dengan yang diinginkan aktor. reaksi yang diberikan lawan main harus sesuai dengan yang diharapkan oleh aktor. oleh karena itu, pks menghendaki sumbangan percakapan yang sesuai dengan yang diperlukan atau tidak berlebihan sehingga kedua aktor tidak kehabisan bahan pembicaraan. dialog yang bersifat kooperatif mensyaratkan adanya kerjasama sehingga tujuan percakapan terpenuhi. wijana (1996: 46) mengungkapkan bahwa bila terjadi penyimpangan, ada implikasi-implikasi tertentu yang hendak dicapai oleh aktornya. bila implikasi itu tidak ada, maka aktor yang bersangkutan tidak melaksanakan kerjasama atau tidak bersifat ko operatif. pks ini menurunkan empat bidal yang harus dipatuhi aktor. empat bidal ini ialah bidal kuantitas, bidal kualitas, bidal relevansi, dan bidal cara. di dalam dialog yang komunikatif, aktor harus memenuhi paling sedikit satu diantara keempat bidal tersebut. 1. bidal kuantitas dan bidal kualitas menurut leech (1993:128) kedua bidal ini dapat dibahas bersama-sama, pelanggaran bidal kuantitas terjadi bila aktor berdialog tidak se-inforinatif atau justru menjawab secara berlebihan terhadap lawan mainnya. sementara itu pelanggaran bidal kualitas terjadi bila aktor sengaja mengucapkan sesuatu yang tidak benar, sengaja berbohong, atau tidak memiliki bukti yang me volume viii no.2 / mei-agustus 2007 130 harmonia jurnal pengetahuan dan pemikiran seni yakinkan bahwa apa yang dituturkan itu benar. 2. bidal relevansi kriteria bidal relevansi adalah adanya keterkaitan dialog antar pemain dengan dialog yang sebelumnya. 3. bidal cara bidal cara adalah bagaimana agar dialog yang terjalin mudah dimengerti. artinya, sang aktor perlu mengatakan sesuatu dengan jelas. selanjutnya grice juga menjabarkan bidal cara ini sebagai berikut: menghindari perkataan yang samar, ambigu, bertele-tele dan tidak teratur. dilihat dari perspektif teori pragmatik, dialog dalam kethoprak dapat dikaji menggunakan teori grice tentang prinsip kerja sama (pks). pks sangat penting dalam membentuk cerita kethoprak, agar lakon tetap berjalan sesuai dengan alur cerita. pada konsep kethoprak yang menonjolkan sisi humor, pks akan mengalami banyak pe langgaran, apa dan sejauhmana pelanggaran serta dampaknya pada dialog antarpemain untuk membentuk cerita kethoprak inilah yang akan dikaji lebih jauh. berdasarkan hal tersebut, permasalahan penelitian ini adalah "bagatmanakah kerjasama para pemain dalam dialog membentuk cerita dalam kethoprak gobyok lakon jaka kendhil?". masalah penelitian ini terbagai atas : 1. bagaimanakah pematuhan prinsip kerja sama (selanjutnya: pks) dalam dialog antarpemain untuk membentuk cerita dalam kethoprak gobyok lakon jaka kendhil, 2. bagaimanakah pelanggaran pks dalam dialog antarpemain untuk membentuk cerita dalam kethoprak gobyok lakon jaka kendhil. untuk itu tujuan penelitian ini adalah: 1. mendeskripsikan pe matuhan pks dalam dialog antar pemain untuk membentuk cerita dalam kethoprak gobyok lakon jaka kendhil, yang meliputi memerikan bidal yang banyak dipatuhi, pola pematuhan, dan fungsi pematuhan pks dalam dialog antarpemain untuk membentuk cerita dalam kethoprak gobyok lakon jaka kendhil, 2. mendeskripsikan pelanggaran pks dalam dialog antarpemain untuk mem bentuk cerita dalam kethoprak gobyok lakon jaka kendhil, yang meliputi memerikan bidal yang banyak dilanggar, pola pelanggaran, dan fungsi pelanggaran pks dalam dialog antarpemain untuk membentuk cerita dalam kethoprak gobyok lakon jaka kendjiil, b. metode penelitian penelitian ini menggunakan pendekatan kualitatif deskriptif, hal ini mensyaratkan adanya ling-kungan alamiah pada subyek penelitian, dalam arti subyek penelitian tidak mendapat intervensi dari peneliti dalam melakukan aktivitasnya yakni pementasan kethoprak. adapun analisis data bersifat induktif dan hasil penelitian berupa deskripsi masalah, interpretasi serta inferensi penggu-naan dan pelanggaran prinsip kerjasama. sumber data penelitian ini adalah para pemain kethoprak gobyok dalam lakon jaka kendhil. data penelitian ini berwujud dialog antarpemain kethoprak gobyok volume viii no.2 / mei-agustus 2007 131 harmonia jurnal pengetahuan dan pemikiran seni lakon jaka kendhil. teknik pe ngumpulan data dilakukan dengan teknik dokumentasi, dokumentasi yang dimaksud adalah merekam pementasan kethoprak gobyok lakon jaka kendhil dengan pengarah acara reza wullur dan sytradara h.m. syakirun. selain itu penelitian ini juga menggunakan teknik observasi. teknik observasi ini di sebut pula sebagai teknik simak (sudaryanto, 1993). data yang berupa dialog tersebut disimak untuk dikaji pematuhan dan pelanggaran prinsip kerjasama-nya, kemudian hasil simakan tersebut dicatat ke dalam kartu data. berikut adalah contoh dari kartu data: teknik analisa data yang digunakan dalam penelitian ini mengacu pada analisa miles dan huberman (1994 :10), dimana proses analisa data yang digunakan dilakukan secara serempak dengan langkah-langkah: (1) mereduksi data, (2) mengklasifikasi data, (3) mendeskripsikan kemudian menginterpretasi data, dan yang terakhir peneliti juga me lakukan pemeriksaan keabsahan data dengan teknik ttiangulasi data yakni teknik pemeriksaan keabsahan data yang memanfaatkan sesuatu yang lain di luar data itu untuk keperluan pengecekan atau sebagai pern banding terhadap data itu. (moleong, 2002:178). peneliti melakukan triangulasi peneliti yaitu dengan membandingkan hasil pekerjaan seorang analisis dengan analisis lainnya. c. hasil penelitian dan pembahasan berdasarkan reduksi dan klasifikasi data dengan instrument kartu data maka akan dianalisis pelaksanaan prinsip kerja sama antarpemain dalam membentuk cerita kethoprak gobyok lakon jaka kendhil. kerjasama tersebut bisa merupakan pematuhan ataupun pelanggaran terhadap empat bidal yang harus dipatuhi agar suatu aktoran menjadi komunikatif yakni bidal kuantitas, kualitas, bidal relevansi, dan bidal cara. pematuhan dan pelanggaran ditentukan oleh konteks dan tujuan dialog. pembahasan dilakukan adegan per adegan dengan diawali oleh konteks cerita. pada penelitian ini terdapat tujuh adegan yang membangun cerita kethoprak gobyok lakon jaka kendhil. yaitu : adegan 1 : jaka kendhil bertapa, adegan 2 : widowati bertemu jaka kendhil, adegan 3 : jaka kendhil bertemu paman, kakek-nenek, dan ibunya, adegan 4 : melamar widowati di kerajaan medhangsawit, degan 5 : jaka kendhil di dalam taman kerajaan medhangsawit, adegan 6 : saudarasaudara widowati masuk ke tamansari, adegan 7 : jaka kendhil mengusir para raja pelamar. hasil penelitian ini menunjuk-kan bahwa para pemain dalam menjalin dialog untuk membentuk cerita dalam kethoprak gobyok lakon jaka kendhil, sangat mematuhi bidal relevansi. pematuhan bidal relevansi menunjukkan bahwa, walaupun kethoprak gobyok merupakan jenis kethoprak humor, para pemain masih menjaga kegayutan antar dialog demi memenuhi fungsi membangun lakon secara kronologis dan jelas. kemudian pelanggaran pks yang paling banyak dilakukan oleh pemain untuk memben-tuk cerita dalam kethoprak gobyok lakon jaka volume viii no.2 / mei-agustus 2007 132 harmonia jurnal pengetahuan dan pemikiran seni kendhil yaitu pada bidal kualitas. hal ini dilakukan untuk mencipta-kan efek humor, penciptaan efek humor ini dilakukan dengan cara melanggar kebenaran dan melanggar kelaziman. selanjutnya, pola dialog yang dipakai dalam pelanggaran berdasarkan analisis diatas, disimpulkan bahwa meskipun menonjolkan sisi humor, kethoprak gobyok masih berusaha menjaga agar alur cerita tidak menyimpang, dan humor yang dilontarkan tidak mengganggu dialog antarpemain. bahkan di dua adegan terakhir, humor sengaja dihilangkan agar cerita tidak berkembang lagi. hal ini mem buktikan bahwa kerjasama sangat penting untuk dipatuhi dalam membentuk cerita kethoprak, sementara itu pelanggaran dilakukan untuk memberi sentuhansentuhan humor dalam rangka menarik minat penonton. d. kesimpulan dan saran berdasarkan hasil penelitian ini disarankan agar sebuah percakapan dapat berlangsung secara komunikatif, masingmasing pemain harus mengindahkan pks. memang agar kethoprak tidak cepat mem bosankan, bisa dibalut dengan humor segar, namun, modifikasi yang terlalu jauh bisa disalahartikan sehingga harus diupayakan bagai-mana agar kemasan kesenian tradisional bangsa indonesia dapat diterima dan berkembang secara global, walaupun tetap mengacu pada kekuatan nilai-nilai asli /lokal. selanjutnya untuk mem perkaya pengetahuan, para pemerhati dan peneliti bahasa juga disarankan mengkaji pks dalam teater tradisional lain, misalnya: ludruk, kentrung, wayang orang. daftar pustaka brakel-papenhuyzen, clara. 1991. senitari jawa. jakarta: ildep brown, gillian dan george yule, 1996. analisis wacana. jakarta: gramedia culler, jonathan. 1975. structuralist poetics: structuralism, linguistics and the study of literature. london: routiedge & keagan paul, ltd. fairclough, norman. 1988. languange and power. london: longman grimes, joseph e. 1975. the thread of discourse. the hague: moulton khoiri, ihda. 2000. pelanggaran maksim sopan santun dalam acara panggung humor di sctv. tesis (tidak dipublikasikan).surabaya: unesa kridaiaksana,hai'imurti.l984. kamus linguitik. jakarta: gramedia leech, geofrey. 1993. prinsip-prinsip pragmatik. jakarta: universitas indonesia press lubis, hamid hasan. 1993. analisis wacana pragmatik. bandung: angkasa moeliono, anton m. & soenjono dardjowidjojo, 1988. tata balwsa baku bahasa indonesia. jakarta: perum balai pustaka volume viii no.2 / mei-agustus 2007 133 harmonia jurnal pengetahuan dan pemikiran seni ludruk, kentrung, wayang orang. daftar pustaka brakel-papenhuyzen, clara. 1991. senitari jawa. jakarta: ildep brown, gillian dan george yule, 1996. analisis wacana. jakarta: gramedia culler, jonathan. 1975. structuralist poetics: structuralism, linguistics and the study of literature. london: routiedge & keagan paul, ltd. fairclough, norman. 1988. languange and power. london: longman grimes, joseph e. 1975. the thread of discourse. the hague: moulton khoiri, ihda. 2000. pelanggaran maksim sopan santun dalam acara panggung humor di sctv. tesis (tidak dipublikasikan).surabaya: unesa kridaiaksana,hai'imurti.l984. kamus linguitik. jakarta: gramedia leech, geofrey. 1993. prinsip-prinsip pragmatik. jakarta: universitas indonesia press lubis, hamid hasan. 1993. analisis wacana pragmatik. bandung: angkasa moeliono, anton m. & soenjono dardjowidjojo, 1988. tata balwsa baku bahasa indonesia. jakarta: perum balai pustaka volume viii no.2 / mei-agustus 2007 134 kata pengantar harmonia: jurnal pengetahuan dan pemikiran seni penerapan management seni pertunjukan pada teater koma (management aplication of performing art in teater koma ) sutarno haryono (staf pengajar jurusan tari stsi surakarta) abstrak teater koma merupakan salah satu komunitas seni teater di indonesia yang kreatif dan produktif, pencarian bentukbentuk inovatif yang selalu dilakukan, dan kerja keras dari seluruh para anggota. kreativitas sangat mewarnai pada setiap hasil karya dan mencirikan dengan gaya bahasa, gerak, musik, penjiwaan pada setiap karakter, dan tema yang diangkat betorientasi pada kehidupan budaya keseharian. kecermatan dalam usahanya mengangkat tema menjadi perhatian utama melalui proses yang panjang dan melibatkan para aktor maupun aktris untuk terjun langsung di lingkungan sosial masyarakat yang menjadi objek. semua proses dilakukan dengan penuh kesadaran bahwa pembelajaran maupun pembentukan diri menjadi aktor maupun aktris yang berhasil (berkualitas) perlu adanya peleburan diri ke berbagai kehidupan sosial masyarakat. peran utama seorang manajer yang sekaligus sebagai sutradara sangat menentukan, tampak adanya usahausaha untuk karya seninya. manajer ahli dalam mengatur sebuah komunitas (teater koma) agar tetap eksis, satu visi, kebersamaan, keutuhan, satu tekat yang bulat. sifat keterbukaan, cara memenegemen tentang; produksi, pemsaran, dan pergelaran menjadi bagian utama kehidupan organisasi. kata kunci: seni, managemen, produksi, pemasaran, pergelaran a. pendahuluan kelangsungan hidup sebuah organisasi sebagian besar tergantung dari penanganan manajerialnya. managemen dalam sebuah organisasi merupakan jiwa atau roh untuk menggerakkan roda organisasi, dengan kata kin antara managemen dan organisasi sangat lekat dan selalu berkaitan. teater koma sebagai sebuah organisasi atau komunitas teater yang berada di jakarta tetap memiliki eksistensi di tengah-tengah kehidupan seni pertunjukan lain yang marak bermunculan. eksistensi teater koma terbangun melalui pimpinan dan para pengelola, serta anggotanya yang selalu respek dalam bidangnya masingmasing. kondisi semacam ini yang terus dipertahankan dalam menjaga eksistensinya dalam kehidupan organisasi, ketika proses produksi, maupun dalam mencapai sukses pergelaran. bertolak dari pendekatan managemen moderen teater koma terus melangkah menyesuaikan gerak langkah kehidupan seni pertunjukan di tengah kota metropolis yang sangat heterogen. prinsip managemen moderen sangatlah tepat untuk mensiasati keselarasan antara hasil atau produk karya seni dengan keberadaan pasar yang plural. sadar atau tidak sadar pendekatan managemen moderen sangatlah vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni perlu untuk terciptanya kondisi harmonis antara keberlangsungan teater koma dengan kehidupan masyarakat kota metropolis. sangatlah penting peningkatan kreativitas para seniman untuk mendukung roda aktivitas berkesenian komunitas teater koma, hal ini menjadi tiang pancang untuk selalu sinergi dengan kehidupan masyarkat kota. selain dari pada itu bila kondisi ini tidak tercipta maka hilanglah peluang dan kesempatan untuk eksis. pada kondisi plural tantangan dan hambatan menjadi suatu kenyataan yang harus dihadapi dan bahkan harus ditaklukkan. ini penting artinya dengan menggunakan konsep managemen moderen teater koma tetap dapat bertahan dan menunjukkan jati dirinya melalui keberhasilan-keberhasilan pada setiap pementasan hasil karyanya. hubungannya dengan pengelolaan, sudah barang tentu banyak hal yang terkait, seperti sisrim organisasi, ekonomi/ keuangan, hubungan sosial, dan elemenelemen lain di luar seni. pada kenyataannya dilapangan kesenian sering melibatkan elemen penonton sebagai penerima dari apa yang hendak di-sampaikan oleh seniman lewat pertunjukan-nya. dilihat dari satu sisi yakni keterlibatan para penonton dengan sebuah karya seni maka dengan sendirinya atau secara tidak langsung membawa dampak kepada elemen-elemen lain untuk terlibat. bila kita pahami, karya seni yang dipertunjukkan memiliki orientasi apa, siapa saja penonton yang datang dan seterusnya, maka jawabnya akan sangat luas, artinya kita berhadapan dengan masalahmasalah yang kompleks (riantiarno, 1993). pada tulisan ini penulis berusaha membuat pengelompokan menjadi permasalahan seni di satu sisi dan permasalahan non seni di sisi lain. ditarik ke lingkup yang lebih sempit lagi, dalam sistem produksi seni pertunjukan, komponen-komponen pendukung dan penunjang produksi terdiri dari urusan artistik dan non artistik. pendukung urusan artistik adalah orangorang yang memiliki kemampuan dan keahlian dalam bidang seni meliputi: sutradara, penulis naskah, pemain, pemusik, penata pentas, teknisi cahaya, teknisi sound, penata rias busana, property. sedangkan pendukung non artistik adalah orang-orang yang bekerja di luar bidang seni seperti: sekretaris, keuangan, humas, transportasi, akomodasi, perlengkapan. (jazuli, dalang pertunjukan wayang kulit, 1999). kesenian adalah produk kreativitas masyarakat. kesenian ditopang beragam faktor, tidak hanya intrinsik tetapi sekaligus juga yang ekstrinsik. hal senada, umar kayam mengisyaratkan bahwa dalam kerangka pemikiran yang lebih luas membicarakan keberadaan suatu kesenian tidak bisa tidak harus juga melibatkan unsur yang ada di luar kesenian. kehadiran dan perkembangannya ditentukan oleh adanya faktor yang disebut penyangga budaya, salah satunya adalah masyarakat dari tempat di mana kesenian itu berada, baik dalam arti kolektif/ komunitas maupun atas nama individu/ pribadi (umar kayam, 1995). permasalahan lebih dalam yang perlu dipahami adalah bagaimana menjalankan organisasi dengan menggunakan konsep managemen modern serta aspek apa yang diperlukan agar sebuah komunitas teater selalu sukses dalam sedap pergelaran yang dilakukan. b. sekilas teater koma teater koma berdiri pada 1 maret 1977, merupakan sebuah perkumpulan atau organisasi seni yang bersifat non profit, yang memiliki landasan idiil semangat, kekompakan, dan pengalaman. adapun konsep artistiknya bersumber pada seni pertunjukan rakyat, yang menyertakan masyarakat sebagai nara sumber bagi proses kreatifnya. didukung sumber daya manusia yang kwantitasnya terus vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni berkembang, pada mulanya ketika perkumpulan ini didirikan berjumlah 30 orang kemudian berkembang menjadi 120 orang dan pada lima tahun tcrakhir mencapai kurang lebih 300 orang seniman sejak berdiri tahun 1977, dengan diawali pementasan lakon "rumah kertas" hingga kini era tahun 2000an hasil produksi karya dari teater koma sudah mencapai kurang lebih 44 produksi karya yang telah digelar dengan sekitar 63 kali pertunjukan. disamping itu ada 20 lakon yang diproduksi untuk televisi (tvri). dari lakon-lakon yang pernah diproduksi, ada dua lakon yang paling banyak dipentaskan, yaitu "opera kecoa" dan "sampek engtay" masing-masing sebanyak lima kali pementasan. sejak produksi yang pertama berjudul rumah kertas yang disutradarai oleh n. riantiarno digelar di pusat kesenian jakarta taman ismail marzuki pada bulan agustus 1977, menjadi tonggak sejarah bagi teater koma dalam menapaki petjalanan proses kreatifnya. sejak itu produksi demi produksi dihasilkan dan semakin memantapkan eksistensi teater koma sebagai salah satu kelompok teater di jakarta yang produktif menghasilkan karya karyanya. tentunya dalam perjalanan kreatifnya tidaklah selalu lancar, namun dalam pelaksanaannya di lapangan banyak juga hambatan, rintangan, bahkan sampai ancaman, tetapi itu semua dihadapi sebagai tantangan untuk mewujudkan eksistensi jati diri teater koma, kondisi-kondisi semacam ini, dalam kondisi semakin tertekan bukannya menjadi lemah, tetapi bagi kelompok teater koma malah dijadikan inspirasi untuk mendobrak dan dialirkan melalui proses kreatif berkesenian. salah satu contoh tekanan yang pernah dialami kelompok teater koma adalah adanya pelarangan pementasan karya produksi yang berjudul sampek eng tay kerika pertunjukan di medan, dengan judul sukeksi dan opera kecoa ketika pentas di jakarta (wawancara: budi ros, 2 april 2001) memasuki era tahun 1980 an, teater koma di jakarta berkembang dengan menambah warna baru yaitu menggunakan media bahasa dengan cara berbeda. ternyata upaya ini dapat diterima oleh publik di kota besar seperti jakarta bahkan semakin diminati penonton. bagi penonton yang menarik dari pertunjukan teater koma adalah upayanya mengadopsi ragam bahasa urban masyarakat kota yang dikemas menjadi dialog-dialog banyolan. teknik semacam ini ternyata mampu memudarkan ketegangan antara keresmian bahasa formal dengan sifat plastis bahasa keseharian, bahasa yang riang tergurat tebal dari sikap pemihakan. pada penampilan hasil karyanya teater koma selalu menyuguhkan kritik dengan cara memupuk sentimen publik secara tersurat, efek banyolan dan ledakan tawa yang dihasilkan diartikan sebagai pemuas kolektifnya. teater koma berusaha melawan retorika represif lewat olok-olok, parodi, dan bentukbentuk nyanyian yang bersemangat membela komunitas tertindas. walaupun demikian teater koma tidaklah berpolitik, kehadirannya hanyalah menjual isuisu politik yang sudah melebar dan cair sebagai bahan gosip sehari-hari. misalnya persoalan jurang kaya miskin, kebobrokan mental penguasa, elegi komunitas pinggiran, karikatur tokoh-tokoh publik, dan ledakan hasrat humor dari nalar yang tertekan. c. managemen seni pertunjukan managemen dalam bahasa inggris ditulis managemen (dari kata kerja to manage) yang asainya dari bahasa latin managiare atau dalam bahasa itali maneggio yang artinya mengurusi, mengendalikan atau menangani sesuatu (murgiyanto, t.t.: 27). menurut ratna sebagai pcngelola yang menjalankan vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni managemen teater koma, mengartikan bahwa managemen adalah koordinasi atau mengelola (wawancara, 16 april 2001). pada perkembangannya managemen lebih cenderung diartikan mengelola, mengendalikan, dan mengkoordinasikan. pada seni pertunjukan aplikasi managemen terbagi menjadi dua wilayah, yaitu managemen yang terkait dengan seni (artistik) dan wilayah non seni (non artistik), tetapi kedua wilayah tersebut menjadi satu kesatuan yang saling bersinergi. menurut ratna selaku manajer teater koma mengungkapkan bahwa managemen merupakan alat untuk mencapai tujuan, dan bukan tujuan itu sendiri. pada penerapannya di teater koma managemen harus sanggup membantu para seniman untuk sampai pada pencapaian mutu artistiknya, bukan malah sebaliknya menjadi penghambat. produk seni (artistik) adalah sumber dan sekaligus muaranya, sedangkan pasar harus diciptakan (wawancara; ratna, 21 april 2001) penerapan sistem managemen pada teater koma dilakukan secara transparan, walaupun secara formal tidak terlihat susunan secara sistematis, tetapi pada prinsipnya sistem managemen berpengaruh besar terhadap jalannya roda organisasi. kondisi demikian terjadi karena penanganan di dalam aktivitas berkesenian memerlukan pendekatan yang berbeda dibandingkan sistem yang dipakai pada organisasiorganisasi non seni lainnya. pada teater koma, pengelolan organisasi menerapkan sistem pembagian kerja dalam dua wilayah utama untuk memudahkan atau memilahkan operasional kerja yang terfokus, hal ini dilakukan supaya tidak terjadi tumpang tindih antar kepentingan dari dua wilayah yang berbeda pendekatannya. wilayah pertama yaitu pada pengelokan dalam proses berkesenian dalam hal ini penanganan proses produksi seni. sedangkan yang kedua adalah pengelokan organisasi yang menangani proses kerja diluar seni, dalam hal ini yang dilakukan adalah pada wikyah administrasi, keuangan, dan pemasaran. pembagian menjadi dua wilayah ini dilakukan karena dirasa penting untuk terjadinya aktifitas kerja yang tervokus, lebih-lebih pada penanganan proses produksi seni, harapannya tidak terjadi intervensi dan pihak lain wakupun dalam satu wilayah kerja organisasi. kesadaran akan perlunya managemen kaitannya dengan seni pertunjukan mulai terasa setekh kesenian semakin banyak bersinggungan dengan sistem ekonomi. ini terjadi karena keberadaan seni pertunjukan lebih-lebih yang yang bersifat tradisional mulai terhimpit dan tertekan dalam kehidupan masyarakat yang semakin dinamis, sehingga mau tidak mau harus mempertimbangkan juga sistem ekonomi yang sedang terjadi. hal ini dilakukan karena persaingan-persaingan faktor kehidupan di luar kesenian semakin tajam. managemen adalah upaya bersama untuk mendapatkan hasil yang diharapkan dengan tenaga dan biaya yang relatif kecil. managemen modern menekankan adanya efisiensi dan efekrifitas untuk mencapai sasaran produksi yang optimal. hubungannya dengan menegemen/ pengelokan seni pertunjukan di indonesia, sal murgiyanto menyebutkan ada tiga kelemahan dalam managemen teater tradisi kita: 1. rapuhnya sistem organisasi pertunjukan 2. tidak adanya jaminan sosial dan upah yang memadahi 3. tidak adanya organisasi profesi yang melindungi seniman seni pertunjukan dari kejadian-kejadian semacam inilah maka dewasa ini pengelolaan seni pertunjukan dengan managemen modern mulai dilakukan, harapannya untuk memberikan keseimbangan dalam kehidupan di masyarakat dan terhadap vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni tuntutan yang semakin komplekas. (murgiyanto, 1993). 1. managenen seni wilayah artistik pada wilayah pengelolaan seni yang diterapkan teater koma, posisi seorang sutradara menjadi pusat pengendali dari proses kerja produksi seni, sejak terbentuknya teater koma posisi sutradara ditangaru oleh riantiarno, seorang seniman yang produktif mencipta karya seni diantaranya penulisan naskah teater, sutradara pementasan teater. prinsip kerja seorang sutradara adalah mengelola proses kerja produksi teater, yang meliputi sejak pengadaan naskah, baik naskah hasil karya sendiri, menyadur naskah yang sudah ada, atau mengambil naskah yang sudah jadi. selanjutnya dilakukan pengkestingan (pembagian peran) dilanjutkan proses latihan, dan sampai akhknya diper-gelarkan. dari seluruh wilayah kerja inilah seorang sutradara bertanggung jawab penuh atas terselenggaranya sebuah proses produksi hingga mempertanggungjawabkan pada publik penonton atas hasil karya pergelaran. pola kerja seorang sutradara menjadi sentral untuk mencapai keberhasilan proses produksi teater, untuk itu riantiarno selaku sutradara selalu berusaha menerapkan prinsip managemen secara ketat. sadar akan posisinya selaku sutradara sekaligus manager pada wilayah produksi, maka riantiarno bertindak dengan cermat. sikap ini diterapkan sejak pengadaan naskah yang akan dimainkan, naskah sering ditulis sendiri scsuai dengan ide-idenya seperti pada naskah yang berjudul "rumah kertas". selain itu kadang juga menyadur naskah yang sudah ada dengan berbagai pertimbangan, diantaranya bila suatu naskah cocok untuk dimainkan karena sesuai dengan kondisi aktual yang sedang terjadi. selanjutnya pada tahap kasting (pembagian peran), riantiarno berusaha memilih pemain yang tepat untuk suatu peran, hal ini dilakukan dengan cara pendekatan yang intensif dengan mengamati kemampuan dan kejiwaan dari masing-masing calon pemeran. pendekatan antar pribadi yang dibingkai dalam suasana kekeluargaan diharapkan akan menemukan kecocokan dan kepuasan bagi sutradara dan juga para pemain, dan akhirnya tertuang dalam keberhasilan pada saat pementasan. langkah lain dalam kasting yaitu disertakan juga pemain (aktor/aktris) dari luar anggota teater koma, dengan pertimbangan karena kemampuan dan mungkin juga memiliki daya tarik lebih, misalnya bintang film. pada tahap proses latihan riantiarno menerapkan ketentuan-ketentuan dengan disiplin tinggi. dimulai dari kesediaan para anggota atau pemain untuk menyediakan waktu secara penuh, mereka tinggal di sanggar dalam 24 jam. situasi demikian akan mengkondisikan seluruh pemain untuk dapat latihan dengan intens, dan halhal lain dalam proses latihan dapat dikontrol dengan cermat oleh riantiarno selaku sutradara. setiap pemain (aktor/aktris) sadar bahwa latihan merupakan cara untuk belajar dan meningkatkan kemampuan diri. pada saat latihan baik secara kelompok maupun keseluruhan, bagi yang sudah atau yang akan mendapat giliran, hampir tidak ada waktu yang disiasiakan, mereka secara serius memperhatikan arahan dari sutradara. pola kerja semacam ini tampaknya difungsikan sebagai wahana belajar, baik dalam mengatur ritme emosional yang muncul pada setiap adegan, sehingga dapat membangun ekspresi emosional yang utuh. berbicara mengenai produksi (teater), mustahil untuk tidak membicarakan managemen. sejak awal riantiarno bekerja di dalam teater, ia sudah menganggap managemen itu penting. pengertian yang paling sederhana bahwa managemen teater adalah "perencanaan sebuah produksi teater hingga sampai ketangan konsumen vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni (penonton)". menurut riantiarno sebuah grup teater harus punya managemen, baginya dalam kerja proses produksi membutuhkan koordinasi dan adanya keteraturan. bisa dibayangkan jika sebuah produksi teater dikerjakan secara serabutan, tanpa rencana yang jelas dan hanya bersandar kepada sikap "apa kata nanti" (coba-coba) belaka. memang sutradara tidak selalu mengurusi managemen, tetapi ia tetap saja harus memperhitungkannya (riantiarno, 1993) orientasi produksi teater koma tidak kepada market. melainkan lebih kepada "bagaimana mewujudkan ekspresi seni teater secara perfect. prosesnya adalah timbulnya kebutuhan untuk mengucapkan sesuatu. sebuah ide, kemudian ide itu ditungkan ke dalam tulisan/naskah, kemudian dibikinlah studi kelayakan. perkkaan biaya dikalkulasi, problemproblem teknis pelaksanaannya diperhitungkan, kualitas para pekerjanya ditimbang-timbang, kemudian pasar disurvai. adapun yang kemudian dilakukan adalah bagian publikasi harus sanggup menemukan strategi yang dianggap bisa membuat calon penonton tergugah keinginannya untuk datang dan menonton. rasa butuh untuk menonton harus dibangkitkan, sisi inilah yang akan digarap, baik lewat media massa ataupun secara gethok tular. semua kegiatan marketing ini, sama sekali tidak boleh mengganggu jalannya proses kreativitas artistik. masing-masing memiliki jalannya sendiri, meskipun sumbernya jelas sama: produksi. muaranya sejajar, tetapi tetap tidak bersinggungan. bagian artistik bermuara kepada optimalisasi "hasil artistik", bagian pemasaran bermuara kepada maksimalisasi "hasil keuangan". semenjak terbentuknya teater koma, riantiarno menangani secara menyeluruh yang terkait dengan setiap pergelaran karya teater. sejak tahun 1991 ada usaha untuk menerapkan pola baru, dalam hal ini untuk menentukan pemeran, pemilihan tematik, pengadaan naskah, proses produksi, melibatkan secara total seluruh elemen pada teater koma. mulai saat itulah muncul warna baru dengan hadirnya sutradarasutradara baru, penulis-penulis naskah baru, dan lainnya lebih memberikan semarak pe-ningkatan dari eksistensi teater koma. kompetisi sesama anggota semakin terbuka, langkah yang ditempuh yaitu dengan mem-berikan kesempatan pada semua anggota untuk tampi1 mempresentasikan ide-denya di depan anggota lain, dengan cara demikian maka banyak masukan-masukan yang menjadikan lebih dinamis. menurut riantiarno pekerjaan lapangan memberi pengalaman, menurutnya ada lima hal yang selalu menjadi pedoman dalam bekerja. ketika hendak menggelar sebuah produksi teater maka harus mempertimbangkan bahwa apa yang akan digelar itu: 1. lahir dari sebuah perenungan serta keinginan untuk mengucapkan sesuatu, dan terutama memiliki concern yang tinggi terhadap masalah-masalah disekitarnya. 2. dikerjakan dengan baik dan perfek. baik, artinya benar berdasarkan hati nurani. perfek, artinya memenuhi kriteria dramaturgi/artistik yang diyakini. 3. menarik minat untuk ditonton dan komunikatif 4. bermanfaat serta menerbitkan keinginan untuk bercermin diri pada masyarakat penikmatnya 5. merangsang rasa keindahan, serta menberitahu (secara tersirat maupun tersurat) kunci-kunci untuk membuka sebuah ruang yang bernama kebahagiaan sempurna (riantiarno, 1993). 2. managemen seni wilayah non artistik vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni pada sebuah organisasi seni, pengelolaan wilayah non artistik adalah bagian penting yang menangam masalahmasalah di luar aspek-aspek kesenian, antara lain mengenai pekerjaan administrasi perkantoran, keuangan, kehumasan, pemasaran, dan aspek-aspek lain yang tidak berhubungan langsung dengan permasalahan kesenian (estetika). aspek-aspek pekerjaan wilayah non artistik dalam satu organisasi yang menyeluruh menjadi tumpuan vang harus bersinergi dengan wilayah seni itu sendiri, sehingga mengarah pada tujuan yang sama atau tujuan yang satu untuk suatu keberhasilan organisasi. begitu pula dalam sistem organisasi yang dijalankan pada teater koma, pengelolaan wilayah ini dilakukan secara cermat dan transparan, sehingga dapat mendukung jalannya proses produksi karya teater sejak awal hingga akhir pergelaran dengan lancar dan berhasil. teater koma sejak awal berdirinya sudah menerapkan managemen terbuka, khususnya menyangkut permasalahan keuangan. pada setiap menjalankan produksi karya, selalu diakhiri dengan pertanggung-jawaban masalah keuangan secara transparan kepada semua pengurus dan anggota. hal ini dilakukan agar semua anggota mengetahui posisi yang sebenarnya tentang kondisi keuangan yang ada, sehingga tidak timbul kecurigaan dalam pengelolaan keuangan. gaya managemen yang dijalankan teater koma adalah managemen terbuka open management, semua anggota punya hak untuk memeriksa keluar masuknya uang, dan berhak tahu siapa dibayar berapa. komplain bisa diajukan, jika terasa ada penyimpangan (walaupun hal ini belum pernah tcrjadi). setiap anggota jika sudah berikrar untuk ikut dalam kegiatan produksi, maka dia harus memberikan energinya secara total. dia tidak akan diikat oleh kontrak hitam putih. diapun tidak akan tahu akan diberi "honorarium" berapa. sesudah pertunjukan berakhir, semua pengeluaran dan pemasukan dihitung sisa pendapatan kemudian dibagi. baru pada saat itu masing-masing anggota tahu akan mendapat bagian berapa. sistem mi sudah berjalan selama 16 tahun pertama sejak berdiri teater koma. kondisi keuangan pada organisasi non profit sangatlah berbeda dengan suatu organisasi yang memiliki tujuan bisnis atau berorientasi untuk mendapatkan keuntungan. pada pengelolaan keuangan yang orientasi non profit, maka penggunaan keuangan lebih diperuntukkan pembiayaan ke dalam, artinya berupaya supaya kerja produksi seni dapat berhasil dengan optimal dari sisi kualitas yang ideal. kondisi ini di akui oleh ratna selaku manager teater koma, bahwa dalam menjalankan roda organisasi, managemen merupakan alat untuk mencapai tujuan managemen harus sanggup membantu para seniman untuk sampai kepada pencapaian mutu artistik, dan bukan sebaliknya menjadi penghambat. (wawancara: ratna, 21 april 2001). dukungan dana pribadi juga sering dilakukan, terutama dari keluarga rianriarno. tetapi kelemahan para seniman dalam keuangan juga sering terjadi di teater koma, dimana kontrol terhadap dana sering kurang ketat. di sinilah peran ratna menjadi penting dalam mengelola dana, terutama untuk kepentingan produksi. seringkali tuntutan artistik dari para seniman meminta dana yang besar. dalam kondisi semacam ini ratna harus mendiskusikan dengan para anggota, mana yang masih bisa diakali dan mana yang mutlak harus dipenuhi, sehingga pengurangan kebutuhan dana bisa dilakukan. sementara dana dari pihak donatur/sponsor seringkali lebih vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni digunakan untuk peningkatan mutu pertunjukan (kostum, dekor, property, stage technology), bukan untuk honor (kelola project, 1999) teater koma yang dipimpin oleh riantiarno (nano) dibantu oleh manajer. manajer ini kemudian dibantu oleh beberapa orang untuk mengurusi administrasi, keuangan, perpustakaan, dan riset, pemasaran (termasuk promosi dan tiketing), dan umum (pengadaan logistik, kebersihan). uniknya walaupun teater koma dipimpin oleh keluarga riantiarno (riantiarno sebagai pemimpin dan ratna sebagai maanajer), tetapi prinsip pengelolaannya tidak didominasi keluarga seperti dalam bisnis keluarga, pendapat riantiarno bahkan seringkali dikalahkan oleh pendapat anggota lain yang bukan dari keuarga riantiarno. sistim pemasaran yang dilakukan oleh teater koma adalah suatu upaya bagaimana cara merangkul penonton?. satu setengah bulan sebelum hari pertama pementasan, teater koma sudah mengirimkan direct mail kepada yang dianggap sebagai calon penonton. semacam pemberitahuan bahwa kelompok teater koma tengah menyiapkan sebuah produksi baru. di dalam direct mail itu ditulis judul lakon, synopsis, kapan dan di mana lakon dimainkan, berapa hari waktu pementasannya, namanama pemain, pengarang lakon dan sutradara. cara pemberitahuan semacam ini terbukti ampuh, teater koma telah memiliki kurang lebih 3000 nama dan alamatnya. meteka bisa dianggap penonton tetap teater koma, dan semakin lama namanama itu semakin bertambah. sebab setiap pembeli karcis selalu ditanya: apakah sudah menerima pemberitahuan? jika belum, maka mereka akan segera mendaftarkan namanya untuk bisa dikirim direct mail pada pertunjukan yang akan datang. beberapa hari setelah direct mail disebar, pemesanan karcis biasanya mulai mengalir, padahal publikasi di media massa belum ada. jadi tidak heran kalau karcis pada hari-hari libur, seperti sabtu dan minggu, sudah terpesan lama sebelum pementasan (riantiarno, 1993). c. simpulan bagi masyarakat indonesia (terutama di pulau jawa), nama teater koma sudah dikenal masyarakat luas. namun untuk menghadapi masa depan banyak hal yang telah berubah. ibaratkan teater koma sebagai ikan, maka sekarang dan di masa datang tetap akan berada di dalam air (baca masyarakat) yang selalu mengalami perubahan atau pergantian temperatur. untuk itu dalam dinamika perkembangan kehidupan masyarakat kiranya teater koma haruslah menentukan strategi, pertama yang perlu dijalankan untuk menemukan pola pendekatan pengelolaan seni pertunjukan (teater) secara moderen yaitu dengan cara melakukan perencanaan strategis. perencanaan tersebut meliputi juga mengidentifikasi jurang pemisah antara budaya lama organisasi dengan budaya baru yang dikehendaki. lebih penting lagi yang harus ditekankan adalah kesadaran kolektif dari yang terlibat pengelolaan teater koma. diantaranya sutradara, tim artistik, dan tim produksi pendukung. kesadaran kolektif yang dimaksud adalah bagi seniman pencipta (sutradara) harus menyadari perlunya prinsip managemen, dua wilayah kerja harus memiliki visi dan misi yang sama. wilayah kerja tim artistik harus mampu bekerja sama dengan sutradara demi lancarnya proses produksi, begitu juga wilayah kerja tim non artistik dalam keterlibatannya pengelolaan sebuah vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni proses produksi harus harus memahami keperluan-keperluan dari seniman pencipta, sebaliknya bukan menjadi penghambat. dengan demikian akan terjadi keselarasan kerja dalam satu tim kerja kolektif yang selaras dan kompak selama proses dilakukan. � daftar pustaka benny, yohanes, 1999, "oposisi bahasa dalam teater orba, dalam teater indonesia: konsep, sejarah, problema," jakarta: dewan kesenian jakarta. black dan champion, 1992, metode dan masalah penelitian sosial, bandung: eresco. esthu, soedarsono, 1993, "manajemen moderen dan pengelolaan teater", makalah seminar, surakarta: tamkan budaya jawa tengah. handari nawawi (et. a/.)., 1992, instrumen penelitian bidang sosial, yogyakarta: gajah mada university press. hasan bisri, m., 2000, "pengelolaan organisasi seni pertunjukan," harmonia jur-nal pengetahuan dan pemikiran seni, vol. i no. 1 mei agustus, jurusan sendra-tasik, fbs, unnes. jazuli m., 1995, managemen produksi seni pertunjukan, surakarta: yayasan resi tujuh satu. kayam umar, 1981, seni tradisi masyarakat, jakarta: sinar harapan koentjaraningrat, 1984, metode-metode penelitian masyarakat, jakarta: gramedia. ________, 1999, dalang pertunjukan wajang kulit, surabaya: universitas airlangga. murgiyanto, sal, 1985, managemen pertunjukan, jakarta: departemen pendidikan dan kebudayaan. ________, 1993, "managemen moderen dan pengelolaan teater", makalah seminar, surakarta: taman budaya jawa tengah. riantiarno, 1993, “perjalanan teater pasar harus diciptakan”, makalah seminar, surakarta, taman budaya jawa tengah rustandi, aton, 1999, “menimbang keberadaan ‘non artis’ dalam studi kesenian”, makalah seminar, surakarta: stsi. soedarsono, 1999, seni pertunjukan indonesia dan pariwisata, bandung: masyarakat seni pertunjukan indonesia. timpe, a., dale, 1999, kinerja, seri managemen sumber daya manusia, jakarta: gramedia. n.n., 1999, managemen organisasi budaya (angkatan i kelola project), jakarta: lembaga managemen ppm. vol. vi no. 3/september-desember 2005 1 the effect of music-based intervention on linguistic skills: a systematic review ow su sinn1, poon chiew hwa1, cheong ku wing2, shelly cooper3 1universiti malaya, malaysia 2ucsi university, malaysia 3university of nebraska omaha, united states submitted: 2022-03-31. revised: 2022-04-26. accepted: 2022-06-13 abstract music-based approaches, including singing and movement, have received an extensive examination by researchers. previous study results have revealed that music-based approaches improved young children’s music skills and enhanced social, linguistic, and logical thinking skills. this review characterizes and compares existing studies to investigate the use of music and movement to improve linguistic skills. this systematic review followed the spider search tool by investigating the samplings (s), the phenomenon of interest (pi), design (d), evaluation (e), and research type (r). this systematic review includes studies published between 2001-2018 with participants ranging from 4 to 12 years old. the authors investigated the designs of 20 articles. keywords: music and movement, young children, linguistic skills, song-based, music education how to cite: ow, s. s., poon, c. h., cheong, k. w., & cooper, s. (2022). the effect of music-based intervention on linguistic skills: a systematic review. harmonia: journal of arts research and education, 22(1), 1-14 harmonia: journal of arts research and education 22 (1) (2022), 1-14 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i1.36313 laban incorporated various approaches and methods that utilizing music and movement in their curricula. music-based approaches which included singing and movement have received an extensive examination by researchers. various researchers investigated the effectiveness of music and movement intervention on young children’s abilities. michelaki and bournelli (2016) examined how creative movement improved kinesthetic skills among preschool children. anna (2016) claimed that musical activities were beneficial in early childhood education, especially in the development of linguistic, mathematical, and communication skills. bharathi, venugopal, and vellingiri (2019) studied the orffschulwerk approintroduction in ancient greek, plato and aristotle articulated the importance of music and gymnasium within their music education philosophy. plato claimed that infants started to learn music and movement by singing and dancing with their mothers. the balance of music and movement played a crucial role in young children’s music knowledge and in “cultivating their souls” (stamou, 2002). aristotle elaborated and recognized the “gymnasium” approach as physical training (burkholder, grout & palisca, 2019; stamou, 2002). lewis (1998) defined the music and movement approach as the combination of music and dance. educators such as dalcroze, orff, and corresponding author: e-mail: chiewhwa.poon@um.edu.my p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (1) (2022): 1-142 ach on social skills among children with autism. they identified that music and movement approaches successfully improved the participants’ understanding, responding, and interactions with their peers. linguistic skills play a crucial role in children‘s growth development. according to the multiple intelligence (mi) theory by gardner (1999), linguistic intelligence involved communication skills that allowed learners to engage in society and utilize language to achieve goals. from the existing research studies, many researchers identified that the music and movement approach significantly improved language skills. however, many studies involved children with special needs as their subjects, such as children with down syndrome (pienaar, 2012), children with dyslexia (katsarou, 2018), and children with autism (bharathi, venugopal & vellingiri, 2019). in general, few studies exist that focus on typical young children (moorehead-carter, 2015; davis & fan, 2016). further, linguistic skills play a crucial part in children’s developmental cognitive abilities. from the existing studies, the proliferation of the music and movement intervention should be well explored by identifying the appropriateness of music-based intervention in different settings of the classroom. this study aimed to contribute to the music education industry by allowing future researchers or educators to compare the interventions and designs listed in this systematic review. the purpose of this systematic review was to investigate existing studies involving music-based intervention on linguistic skills among young children using the spider search strategy tools to address the research questions by investigating the following criteria: samplings, the phenomenon of interest, design, evaluation, and research type on this particular research topic. method the method used in this systematic review was adopted according to the spider search strategy tools which included the sample (s), phenomenon of interest (pi), design (d), evaluation (e), and research type (r) (cooke, smith & booth, 2012). the main purpose of this review was to identify the purpose, methodology, and inclusion criteria to evaluate the validity of conclusions (higgins & gren, 2005). search strategy the systematic literature search was conducted from five online databases: semantic scholar, research gate, sage, science direct, and jstor. additionally, the authors utilized a manual search through google scholar to detect any additional related literature. the following search terms were used: music and movement, singing and dancing, young age children, linguistic skills, and language learning. as the search revealed a large number of recent studies, the authors then limited the studies to those using participants from kindergarten to elementaryage children with typical physical and cognitive abilities published between 2001 to 2018. inclusion and exclusion criteria studies selected were based on the following inclusion criteria: (1) involved participants who were kindergarten age to elementary age with typical physical and cognitive abilities; (2) researchers examined the effects of music intervention, either music-based or music and movementbased, on linguistic skills; (3) methodology included prepost-test experimental or quasi-experimental. the focus of this review aimed to study the effects of music and movement intervention on linguistic skills among children. therefore, the studies compiled various researches design which included quantitative, qualitative studies, and mixed-mode articles that evaluated participants who were not english native speakers, articles that involved various dependent variables which also included linguistic skill variables, or articles that used other interventions combined with music. ow su sinn et al., the effect of music-based intervention on linguistic skills: a systematic 3 the study excluded studies that failed to provide completed demographic data about the participants and others with a focus on special needs children and teenagers. studies with the non-experimental design were also excluded. table 1. data analysis sample group age small sample size n<30 (%) large sample size n>30 (%) kindergarten 20 40 elementary 10 25 kindergarten and elementary 5 0 from our coding of the data found in the literature, few studies investigated the effectiveness of the music-based intervention on young age children’s linguistics skills. this study only focused on musicbased intervention with typical children. from the selected studies, there were various methods of music-based intervention discussed to improve linguistic skills. in addition, different dimensions of linguistic skills were evaluated, and a wide range of methodologies were investigated. thus, the review aimed to review the samplings, phenomenon of interest, design, evaluation, and research type of the studies which focused on music and movement intervention on young children’s linguistic skills. the samplings involved children of kindergarten age through elementary age; the range of music-based interventions included (a) music, movement, and play strategies, (b) song-based intervention, (c) existing music-based method, (d) rhythm-based intervention, and (e) music instrumental program; the dimensions of linguistic skills involved (a) reading achievement, (b) pronunciation and fluency, (c) communication skills, (d) vocabulary acquisition, (e) grammatical understanding, and (f) immediate recalling; the different measurements of linguistic skills included (a) daily observation, (b) survey form, (c) vocabulary test, (d) language development test, (f) interviews, and (g) teacher and parent reports; there were three methodologies were conducted which were (a) quantitative method, (b) qualitative method, and (c) mixed-mode case study result and discussion the search identified 103 articles, with 20 that met the inclusion criteria. data analysis and comparison between the 20 articles were conducted to investigate the effectiveness of the music-based intervention on linguistic skills. table 1 lists the selected articles according to the spider method. samplings (s) tables 2 and 3 show the participants’ samplings from the twenty existing studies. these studies were categorized by investigating the age group of participants and the sample size. table 2. the age group of the samplings sample group age n percentage (%) kindergarten 11 55 elementary 8 40 kindergarten and elementary 1 5 table 3. the sample size of the samplings sample group age small sample size n<30 (%) large sample size n>30 (%) kindergarten 20 40 elementary 10 25 kindergarten and elementary 5 0 eleven studies involved kindergarten children ages four to six as their study participants. four studies conducted small group samples with less than 30 participants, and eight studies included large group small group samples with more than 30 participants. most small sample sizes involved qualitative methods such as interviews and observation. the authors conducted daily observations and tracked each participant’s daily progressiharmonia: journal of arts research and education 22 (1) (2022): 1-144 on (cochran, 2008; loell, 2001). the large sample groups mostly utilized quantitative methods which involved assessment and test (davis & fan, 2016; lee & lin, 2015; linnavalli, putkinen, lipsanen, huotilainen & tervaniemi, 2018). compared to the samples using only kindergarten-age participants, most other studies involved larger samples. coban and dubaz (2011) involved 52 students and 52 students’ parents, schellenberg, corrigall, drys, and malti (2015) included 83 participants, maneshi (2017) included 300 students, and reifinger (2018) involved 170 participants. two studies with smaller sample sizes which were not more than 30 participants (carter, 2015; long, 2014) included recommendations for future studies to use a larger sample size study to increase the data’s generalizability. seven studies involved elementary-age participants but included different participant age ranges. studies involving a broad age range of participants such as long (2014) selected participants ages 9 to 13 which had affected the reliability and accuracy of the result due to the different ability and growth development of participants. the intervention was also unsuitable for broad age group participants as it might be overly easy or challenging. some studies involved a limited age range. for example, schellenberg, corrigall, drys, and malti (2015) examined 3rd to 4th-grade participants, and maneshi (2017) had participants who grade 5 and 6. these studies had minimized the participants’ age range, presenting more reliable results as it showed the efficiency of the intervention with specific age group participants. three studies only involved one grade level of participants: grade 3 (moorehead-carter, 2015), grade 2 (reifinger, 2018), and grade 1 (cochran, 2008). these studies presented more focused and accurate data on the effectiveness of the intervention. however, there was a study that had not stated the age group of participants specifically but only stated elementary-age children (coban & dubaz, 2011). this might confuse future researchers with the effectiveness of the intervention on specific age group participants. one study involved kindergarten and elementary-age children. maroti et al. (2018) had gathered six to seven years old participants. the study involved 63 participants, and the participants were assigned to three experimental groups: creative playing with music and movement intervention, creative music appreciation with movement method, and kodaly’s singing-based method. the authors provided a clear view of the effectiveness of different interventions on young children’s linguistic skills. the phenomenon of interest (pi) various music-based interventions were introduced from the selected studies. the two main interventions were song-based. the song-based intervention was utilized in seven studies, and the participants were guided to sing without movement (cochran, 2008; good, russo & sullivan, 2015; maneshi, 2017; moorehead carter, 2015; reifinger, 2018; ritblatt, longstreth, hokoda, cannon & weston, 2013; zhou & li, 2017). there were differences existed between the song-based intervention applications. some researchers involved singing activities (good, russo & sullivan, 2015; moorehead-carter, 2015; ritblatt, longstreth, hokoda, cannon & weston, 2013; reifinger, 2018) or listening activities (maneshi, 2017). researchers also used a combination of song-based with other designed activities. cochran (2008) infused singing, discussion, questionanswer session, and word chanting game to encourage participants to practice vocabulary and word structure. zhou and li (2017) taught the participants through a song-based storybook and encouraged participants to sing along. this intervention showed a positive effect for the songbased intervention on linguistics skills among young children. the positive effect had enhanced the statement from previous researchers, jensen (2005) and governor, who agreed that singing could be an effective teaching tool for transferring knowow su sinn et al., the effect of music-based intervention on linguistic skills: a systematic 5 ledge and information. yet, the one-based interventions limit the possibilities of including other music activities. children should not be taught to sit still, sing along, or play instruments in the music classroom. kihoro (2017) claimed various music activities create an environment where students are engaged. undoubtedly, they would be more engaged with the class and more energetic and enthusiastic in class. therefore, there were more studies that had applied the music and movement intervention in their studies. the music and movement intervention involved a combination of singing and movement activities. music games played an essential role in engaging participants and provide an enjoyable learning environment. thirteen studies infused a variety of music and movement interventions with specific approaches/curriculum such as education through music (etm) (loell, 2001), heidi’s songs (loell, 2001; martin, 2017), orff (coban & dubaz, 2011), dalcroze (long, 2014), and kodály method (schellenberg, corrigall, drys and malti, 2015). the flexibility of using music and movement allowed teachers and researchers to plan and design curriculum according to the participants’ ages, classroom settings, and linguistic skill levels. therefore, self-designed music and movement approaches have been implemented as interventions. yazejian and peisner-feinberg (2009) designed a simple music game titled “start-stop,” which required participants to incorporate singing with movement. runfola, etopio, hamlen, and rozendal (2012) involved “circle time, “ including vocal exploration, singing, and creative movements. lee and lin (2015) encouraged participants to use facial expressions and gestures to respond to music activities. the researchers composed a hello song, letter song, and goodbye song to teach participants social skills and required the children to move to the songs. linnavalli, putkinen, lipsanen, huotilainen & tervaniemi (2018) involved singing, game playing, rhyming, and instrument playing. data showed that music and movement interventions yielded benefits to young children’s linguistic skills. however, some study descriptions did not provide details regarding the self-designed curriculum or specific music games and songs used in the intervention. some researchers compared songbased intervention and music and movement intervention to investigate and compare their effectiveness (davis & fan, 2016; maroti et al., 2018). this provided efficient and clear results. davis and fan (2016) noted the combination of music and movement intervention and songbased intervention was equally effective in improving linguistic skills. maroti et al. (2018) also claimed that both experimental groups exposed to music and movement intervention significantly improved working memory and verbal skills more than the singing-based intervention. songbased and music and movement intervention improved young children’s linguistic skills; however, the music and movement intervention was more effective by providing an energetic and enjoyable learning environment through musical play. the effectiveness of music and movement intervention implemented in the existing studies has enhanced previous researchers’ statements in highlighting the importance of music and movement intervention (lewis, 1998; stamou, 2002). design (d) table 4 shows the different designs of the 20 articles. the selected studies mainly utilized a pre-post-test experimental design. there were five studies which involved kindergarten participants had, included an experimental group and a control group, to investigate the effectiveness of music-based intervention (linnavalli, putkinen, lipsanen, huotilainen & tervaniemi, 2018; lorenzo, herrera, candelas & badea, 2014; ritblatt, longstreth, hokoda, cannon & weston, 2013; runfola, etopio, hamlen & rozendal, 2012; yazejian & peisner-feinberg, 2009). however, the results did not allow for comparisons between the music interventions on the participants‘ harmonia: journal of arts research and education 22 (1) (2022): 1-146 table 4. summaries of selected studies author(s), date sampling (s) phenomenon of interest (pi) design (d) evaluation (e) research tyoe (r) 1. coban and dubaz, 2011 52 elementaryage children and 52 parent music and movement intervention two experimental groups pre-posttest experimental design assessment, personal information form, and observation form quantitative method 2. cochran, 2008 23 kindergarten children song-based intervention two experimental groups pre-posttest experimental design assessment, daily observation, and interactions mixed-mode method 3. davis and fan, 2016 64 kindergarten children music and movement intervention two experimental groups and a control group pre-posttest experimental design self-designed assessment quantitative method 4. good, russo and sullivan, 2015 38 elementaryage children song-based intervention two experimental groups pre-posttest experimental design self-designed assessment quantitative method 5. lee and lin, 2015 23 kindergarten age children music and movement intervention single group pre-posttest experimental design standardized assessment and interview mixed-mode method 6. linnavalli, putkinen, lipsanen, huotilainen and tervaniemi, 2018 66 kindergarten children music and movement intervention single experimental group and a control group pre-posttest experimental design standardized assessment quantitative method 7. loell, 2001 25 kindergarten children music and movement intervention single group pre-posttest experimental design daily observation, interactions, and formal and informal assessment qualitative method 8. long, 2014 15 elementaryage children music and movement intervention an experimental group and a control group pre-posttest experimental design standardized assessment quantitative method 9. lorenzo, herrera, candelas and badea, 2014 213 kindergarten children music and movement intervention an experimental group and a control group pre-posttest experimental design standardized assessment quantitative method 10. maneshi, 2017 300 elementaryage children song-based intervention three experimental groups and a control group pre-posttest experimental design standardized assessment quantitative method 11. maroti et al., 2018 63 kindergarten-age and elementary-age children music and movement intervention two experimental groups pre-posttest experimental design standardized assessment quantitative method 12. martin, 2017 18 kindergarten children music and movement intervention single group pre-posttest experimental design standardized assessment and teacher research journal mixed-mode method 13. moorehead carter, 2015 29 elementaryage children song-based intervention single group pre-posttest experimental design survey and assessment quantitative method 14. reifinger, 2018 170 elementaryage children song-based intervention single group pre-posttest experimental design standardized assessment quantitative method 15. ritblatt, longstreth, hokoda, cannon and weston 2013 102 kindergarten children song-based intervention an experimental group and a control group pre-posttest experimental design standardized assessment, teacher and parent report quantitative method 16. runfola, etopio, hamlen, and rozendal, 2012 165 kindergarten children music and movement intervention an experimental group and a control group pre-posttest experimental design standardized assessment quantitative method 17. schellenberg, corrigall, dys and malti 2015 83 elementaryage children music and movement intervention an experimental group and a control group pre-posttest experimental design standardized assessment quantitative method 18. walton, 2014 93 kindergarten children music and movement intervention two experimental groups pre-posttest experimental design standardized assessment and self-designed assessment quantitative method 19. yazejian and feinberg 2009 207 kindergarten children music and movement intervention an experimental group and a control group pre-posttest experimental design standardized assessment, teacher survey and parent survey quantitative method 20. zhou and li, 2017 106 kindergarten children song-based intervention two experimental groups pre-posttest experimental design self-designed assessment quantitative method ow su sinn et al., the effect of music-based intervention on linguistic skills: a systematic 7 linguistic skills. for example, linnavalli, putkinen, lipsanen, huotilainen, and tervaniemi (2018) compared the effectiveness of music games and simple instrument playing intervention to the control group participants’ linguistic skills. the results revealed that the music games and instrument-playing intervention group significantly improved linguistic skills. it could not conclude that either intervention‘s effectiveness enhanced the participants’ linguistic skills. three studies included two experimental groups with different interventions: song-based music and movement with regular language programs (walton, 2014) and a song-based storybook with listening and reading (zhou & li, 2017). in addition, davis and fan (2016) compared two experimental groups which included song-based intervention and choral repetition intervention, to the control group. three studies investigated the preand post-test results with an experimental group (lee & lin, 2015; loell, 2001; martin, 2017). the studies involving more experimental groups presented detailed and specific effects of different interventions. for example, davis and fan (2016) identified that the experimental groups using the music and movement intervention or the song-based intervention improved equally on linguistic skills when compared to the control group. the implementation of music played an essential role in improving participants‘ linguistic skills. there were two studies that investigated elementary-age participants in an experimental research design utilizing a control group (long, 2014; schellenberg, corrigall, drys & malti, 2015). there were also two studies that involved two or more experimental groups utilizing different interventions. cochran (2008) designed singing and chanting-based intervention with traditional reading instruction. coban and dubaz (2011) involved active learning-based education with music infusion, and the other experimental group was conducted with normal education lessons. good, russo, and sullivan (2015) designed song-based intervention with spoken form intervention. maneshi (2017) included three experimental groups and one control group. each experimental group was assigned to listen to the song at different frequencies. these studies presented detailed results of the differences of various interventions. for example, maneshi (2017) concluded that participants who were listened more times to the songs showed an increase in linguistic skills among the two experimental groups and one control group. on the other hand, there were two studies that had infused single group pretestpost-test design by comparing the result of pretest and post-test to seek the effectiveness of the intervention (moorehead-carter, 2015; reifinger, 2018). these studies did not present an accurate result as participants may have improved through other external influences other than the music-based intervention. comparisons among multiple experimental groups or control groups presented a more specific result regarding each intervention. the duration of the treatment plays a crucial role when investigating the effectiveness of music-based approaches on children’s linguistic skills. zhou and li (2017) suggested that longer intervention durations present more convincing results. researchers can explore the longterm effectiveness of the treatment and can avoid interactions with other conditions. the duration of the existing studies ranged from two weeks to two years. two studies involved one to two weeks, limiting the treatment‘s long-term applicability (good, russo & sullivan, 2015; zhou & li, 2017). seven studies ranged in duration from four to ten weeks (coban & dubaz, 2011; davis & fan, 2016; loell, 2001; long, 2014; maneshi, 2017; martin, 2017; moorehead-carter, 2015). in comparision, eleven studies lasted longer than four months (cochran, 2008; lee & lin, 2015; linnavalli, putkinen, lipsanen, huotilainen & tervaniemi, 2018; lorenzo, herrera, candelas & badea, 2014; maroti et.al,2018; reifinger, 2018; ritblatt, longstreth, hokoda, cannon & weston 2013; runfola, etopio, hamlen & rozenharmonia: journal of arts research and education 22 (1) (2022): 1-148 table 5. design of the selected studies author(s), date experimental group 1 experimental group 2 control group curation of the treatment 1. coban and dubaz, 2011 active learning model and orff’s method conventional education no treatment 8 weeks 2. cochran, 2008 singing and chanting traditional reading instructions n/a 1 year 3. davis and fan 2016 songbased with games and activities choral repetition no treatment 7 weeks 4. good, russo and sullivan, 2015 singing based spoken form with the rhythm of the poem n/a 2 weeks 5. lee and lin, 2015 musical storytelling, musical movement and instrument playing n/a n/a 18 weeks 6. linnavalli, putkinen, lipsanen, huotilainen and tervaniemi, 2018 musical games, simple instrument playing n/a no treatment 2 years 7. loell, 2001 waldorf summer institute and education through music (etm) and heidi songs approach n/a n/a 10 weeks 8. long, 2014 dalcroze’s rhythmic based n/a no treatment 6 weeks 9. lorenzo, herrera, candelas and badea, 2014 singing, movement and instruments playing n/a no treatment 2 years 10. maneshi, 2017 song listening n/a no treatment 5 weeks 11. maroti et.al, 2018 creative playing with music and movement creative playing appreciation with movement singingbased 8 months 12. martin, 2017 singing, movement and heidi song’s approach n/a n/a 4 weeks 13. moorehead-carter, 2015 singingintegrated reading instructions n/a n/a 8 weeks 14. reifinger, 2018 pitch sight singing skills n/a n/a 24 weeks 15. ritblatt, longstreth, hokoda, cannon and weston, 2013 song singing n/a no treatment 1 year 16. runfola, etopio, hamlen and rozendal, 2012 vocal exploration, creative movement and singing n/a no treatment 2 years 17. schellenberg, corrigall, dys and malti, 2015 group music training n/a no treatment 10 months 18. walton, 2014 music and movement regular language and literacy programs n/a 12 weeks 19. yazejian and peisner-feinberg, 2009 music, movement and musical games n/a no treatment 6 months 20. zhou and li, 2017 shared of singing pictured book instruction story listening and reading n/a 1 week ow su sinn et al., the effect of music-based intervention on linguistic skills: a systematic 9 dal, 2012; schellenberg, corrigall, dys and malti, 2015; walton, 2014; yazejian & peisner-feinberg, 2009). however, the effects of maturity threat might cause participants to lose interest and patience with the intervention. besides, the improvement or failure of the participants’ linguistic skills might be affected by other conditions such as the availability of english classes at their school. evaluation (e) table 5 shows the evaluation of the selected studies. the evaluation category refers to the measurement instruments and measurement criteria for linguistic skills. linguistic skills were defined differently by researchers. for example, gardner (1999) noted that linguistic skills involved communication skills, including communication awareness and the potential to utilize language to achieve goals. erlina et al. (2019) claimed that linguistic skills helped learners understand information easier and clearer. in addition to different definitions, linguistic skills also included verbal skills, vocabulary acquisition, reading comprehension, pronunciation, reading fluency, and more. from the selected studies, linguistic skills were measured and evaluated from different dimensions (see table 5). vocabulary acquisition was widely evaluated (davis & fan, 2016; good, russo & sullivan, 2015; linnavalli, putkinen, lipsanen, huotilainen & tervaniemi, 2018; maneshi, 2017; martin, 2017; runfola, etopio, hamlen & rozendal, 2012; schellenberg, corrigall, drys & malti, 2015; zhou & li, 2017). the vocabulary acquisition evaluated participants’ vocabulary understanding skills and used standardized assessments such as peabody picture vocabulary test-iii (yazejian & peisner-feinberg, 2009) and word recognition in isolation and word recognition in context (moorehead-carter, 2015). the standardized assessments were reliable and suitable for children, with most of the assessments using pictured-based material and oral questioning. young children weremore developmentally appropriate with the oral-based assessement than the written test. researchers also utilized self-designed vocabulary assessments to address participant backgrounds (davis & fan, 2016; maneshi, 2017; zhou & li, 2017). davis and fan (2016), and zhou and li (2017) involved participants who were not native english speakers and viewed a standardized vocabulary acquisition assessment as overly challenging for the participants. the phonological awareness dimenaison was wdiely evaluaed in the selected studies (good, russo & sullivan, 2015; linnavalli, putkinen, lipsanen, huotilainen & tervaniemi, 2018; maroti et.al, 2018; walton, 2014; yazejian & feinberg, 2009). phonological awareness focused on participants’ pronunciation while speaking or reading. participants were required to read with structured passages or sentences and were rated by the examiner. reading skills were also defined as a component of linguistic skills and involved reading attitudes (carter, 2015; cochran, 2008; lee & lin, 2015; long, 2014) and reading comprehension (cochran, 2008; lee & lin, 2015; long, 2014; reifinger, 2018). according to hagan (2013), reading attitudes evaluate participants’ feelings about reading and aim to develop positive reading habits. reading comprehension evaluates the understanding of the content within text. both dimensions’ measurements were designed with statements or story passages followed by questions or opinions asked afterward. the researchers mainly utilized standardized assessments to test participants’ reading abilities; cochran (2008) and carter (2015) infused elementary reading attitude survey (eras) and long (2014) utilized neale‘s analysis of reading ability (nara). there were also various dimensions of linguistic skills evaluated within the studies: grammatical understanding (long, 2014; runfola, etopio, hamlen & rozendal, 2012), sentence recalling (good, russon & sullivan, 2015; maroti et al., 2018 runfola, etopio, hamlen & rozendal, 2012, zhou & li, 2017), and commuharmonia: journal of arts research and education 22 (1) (2022): 1-1410 table 6. evaluation of the selected studies author(s), date measurement criteria measurement instrument 1. coban and dubaz, 2011 multiple intelligence which included linguistic skills multiple intelligence development assessment scale, personal information form, and observation form 2. cochran, 2008 reading attitudes and reading achievement elementary reading attitude survey (eras), star reading test 3. davis and fan, 2016 vocabulary acquisition self-designed english vocabulary assessment 4. good, russo and sullivan, 2015 sentence recall, pronunciation, and vocabulary translation self-designed assessment 5. lee and lin, 2015 english understanding and expression semi-structured observation form 6. linnavalli, putkinen, lipsanen, huotilainen and tervaniemi, 2018 phoneme processing, vocabulary subtests, perceptual reasoning skills, and inhibitory control neurocognitive assessments 7. loell, 2001 student engagement and language development daily observation, interactions, formal and informal assessment 8. long, 2014 reading comprehension, reading accuracy, reading rate, reading fluency, reading behavior, grammatical structures, and phrase contours neale analysis of reading ability (nara) 9. lorenzo, herrera, candelas and badea, 2014 the initiative, social relations, creative representation, music and logical thinking highscope spanish version of the child observation record (cor) 10. maneshi, 2017 vocabulary acquisition multiple-choice vocabulary assessment 11. maroti et al., 2018 working memory, phonological processing, verbal skills 3dm-h test of phonological awareness, wechsler intelligence scale for children iv and empathy index of bryant 12. martin, 2017 sight word acquisition qualitative journal and self-designed assessment 13. mooreheadcarter, 2015 academic, composite reading attitudes, fluency and reading rate elementary reading attitude survey (eras), qualitative reading inventory-5, words per minute (wpm) 14. reifinger, 2018 linguistic reading fluency and comprehension dynamic indicators of basic early literacy skills 15. ritblatt, longstreth, hokoda, cannon and weston, 2013 language and reading skills kindergarten readines survey 16. runfola, etopio, hamlen and rozendal, 2012 vocabulary acquisition, grammatical understanding, sentence recalling, and oral language skills test of language development: primary (3rd edition) 17. schellenberg, corrigall, dys and malti, 2015 vocabulary acquisition peabody picture vocabulary test — fourth edition 18. walton, 2014 phonological skills, pronunciation and word reading selfdesigned rhyming test, sound isolation test, letter sound knowledge, and self-designed reading test. 19. yazejian and peisner-feinberg, 2009 language skills and phonological awareness skills peabody picture vocabulary testiii and early phonological awareness profile 20. zhou and li, 2017 sentence recalling and vocabulary acquisition self-designed assessment 2009). however, there were studies that did not state a specified dimension of linguistic skills but presented general data of language development (coban & dubaz, nication skills (lorenzo, herrera, candelas and badea, 2014; runfola, etopio, hamlen & rozendal, 2012; yazejian & feinberg, ow su sinn et al., the effect of music-based intervention on linguistic skills: a systematic 11 2011; loell, 2001). most studies included several dimensions to investigate a broad scope of linguistic skills among participants. for example, cochran (2008) explored reading achievement, fluency, prosody, phrasing, and choral reading. yazejian and feinberg (2009) investigated participants‘ communication skills, language understanding skills, and phonological awareness. on the other hand, some studies focused on one dimension of linguistic skills. coban and dubaz (2011) infused multiple intelligence development assessment scales to evaluate elementary-age participants’ multiple intelligence skills and linguistic skills. martin (2017) studied participants’ sight word acquisition. research type (r) sixteen studies applied utilized the quantitative methods of standardized or self-designed assessments, surveys, questionnaires, and observation forms. from the existing studies, researchers involved numerous standardized assessments and surveys according to the participants’ age group, sample size, and classroom setting. self-designed assessments were also incorporated. the quantitative data allowed researchers to present numerical data to generalize the effectiveness of the intervention on a specific age group of participants. it avoids biases and subjective interpretation by examiners and researchers. the mixed-mode case study involved a combination of assessment, questionnaire, parent report, and interview. the qualitative data presented a deeper understanding to support the numerical data. due to the participants’ young ages, interviews, surveys, and questionnaires may not be developmentally appropriate; therefore, the interviews and surveys were completed by parents or teachers (lee & lin, 2015; yazejian & peisner, feinberg, 2009). parents‘ and teachers’ reports clarified the progression of the participants (martin, 2017; ritblatt, longstreth, hokoda, cannon & weston, 2013). a mixed-mode study helps researchers to investigate the data in-depth as participants’ linguistic skills might improve or regress due to other variables. parents and teachers are familiar with the children and able to identify the participants’ daily progression. table 7. research type of the selected studies research type n percentage (%) quantitative method 16 80 qualitative method 1 5 mixed-mode method 3 15 from the selected studies, only one study used a qualitative method. loell (2001) included daily observation investigation and formal and informal assessment. the lesson observation showed daily progression, whereas participants might be nervous completing formal assessments. the daily observation presented a clear, detailed progression throughout the duration of the intervention. conclusions the authors reviewed and discussed 20 studies focused on the effectiveness of the music-based intervention on linguistic skills. overall, the music and movement intervention was the most frequently implemented intervention. due to the flexibility of the music-based intervention, few studies examined the effects of combining music-based intervention with other interventions. future research is suggested in this area. however, the variety of interventions and duration lengths among the studies made generalizability difficult. data showed that music-based intervention significantly improved linguistic skills among kindergarten-age and elementary-age children. by comparing the songbased intervention and music and movement intervention, music and movement intervention was more effective to enhance students’ linguistic skills by engaging their muscle memory. besides, musical play which had been highly infused in music and movement intervention had encouharmonia: journal of arts research and education 22 (1) (2022): 1-1412 raged students to practice their language skills with their peers. these studies supported previous researchers‘ statements claiming that music can enhance linguistic skills through song-based and music and movement interventions. however, music and movement intervention was more effective than the song-based intervention as it presented a comfortable and relaxed learning environment of musical play. students engaged in memorization with the learned knowledge by experimenting and experiencing music activities. yet, scarce studies investigated and compared the effectiveness between song-based interventions and music and movement interventions. it is strongly recommended that future studies would compare the different effectiveness between song-based interventions and music and movement interventions to explore a more reliable and appropriate music intervention. the intervention, measurement, and assessment should be carefully considered when evaluating children. intervention and assessment should not be too complicated and challenging for kindergarten-age children. older elementary-age children can be exposed to more complex curriculum and advanced assessments. future research that focuses on the effectiveness of specific interventions and measurements for children of different ages is warranted. references anna, a. 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(2017). the effects of shared singing picture book instruction on chinese immersion kindergarteners’ spoken vocabulary recall and retention. frontiers of education in china, 12(1), 29-51. 193 entrepreneurship and art education tourism: a study on results of management skills training program for students trianti nugraheni, agus budiman, yudi sukmayadi department of dance art education, faculty of arts and design education, universitas pendidikan indonesia received: september 26, 2019. revised: november 16, 2019. accepted: december 24, 2019 abstract entrepreneurship, in the context of the development of art education tourism programs in higher education, is regarded as a serious concern in reflecting the role of universities in developing the tourism industry. this is considered as the universities’ efforts of innovation and creativity to improve the competitiveness of higher education goals through the development of entrepreneurship in the field of educational tourism. this paper discusses the role of tertiary institutions in developing educational tourism entrepreneurship, which in its implementation empowers potential students by providing entrepreneurship training for them to be able to manage art education tourism program events. the data were obtained by test and questionnaire were given to 30 students at universitas pendidikan indonesia who were involved in the activities of entrepreneurial training programs in the management of tourism education through the art business. the program was established by cooperating with universities, the local government, as well as non-governmental institutions. keywords: entrepreneurship; art education tourism; skills management training how to cite: nugraheni, t., budiman, a., & sukmayadi, y. (2019). entrepreneurship and art education tourism: a study on results of management skills training program for students. harmonia: journal of arts research and education, 19(2), 193-203. harmonia: journal of arts research and education 19 (2) (2019), 193-203 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i2.22674 rent entrepreneur-based global economy (kodrat & hindarto, 2012). moreover, advanced entrepreneur education should instead be regarded as a necessity rather than a formality (maryanti, 2017). related to the notion, universitas pendidikan indonesia (upi) requires to take into account the development of entrepreneurial courses in existing programs as a means of preparation for the students to compete in the work field and global economic society. entrepreneurship and tourism education is currently growing as one of the most demanded aspects to be developed in education field (ndou et al., 2018) in all introduction efforts of nurturing and developing students’ entrepreneurial characteristics are most effective to begin from the university (hidayat & alhifni, 2017). a higher education institute should be the vessel in embedding entrepreneurial skills to students (widyana, et al., 2018). that being said, it is essential to establish a course specifically designed to teach entrepreneurial skills to students and to incorporate it into the curricula of higher education programs. entrepreneur education in higher studies is critical to adapt to the curcorresponding author: e-mail: yudi.sukmayadi@upi.edu p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 19 (2) (2019): 193-203194 levels, including upi as a higher education institute. along with the change in the university’s status from higher education institution as state-owned legal entity (pt bhmn) to state higher education institution as legal entity (ptn-bh) as stipulated by higher education institution law no. 12/2012 regarding changes in higher education institutions’ management system, upi is granted the authority and autonomy to manage its own business in either academic and non-academic aspects. when a state higher education institution (henceforth, ptn) possess academic autonomy, it is granted the independent authority to develop its academic coverage, upgrade the curriculum, establish new majors and facilities, improve assessment systems, and conduct other activities without interference from any parties. in addition to academic affairs, a ptn is also allowed to make financial decisions independently in determining the budget allocation and finding new financing sources. the ptn is also able to determine the management system of students’ affairs, organizations, infrastructure, and employment. in this regard, students bear a central role in the university’s strategic policies through students’ organization. following the status change, the upi is required to implement a proper paradigm shift in managing the autonomy granted. the incorporation of proper mechanisms in the effort of optimizing the university’s potentials, e.g., physical infrastructure and human resources are essential to support the achievement of the university’s vision and missions that are embedded in the university’s policy program and the university’s 2016-2020 strategic plans. among the new potentials in newly-stipulated regulation regarding upi’s authority and autonomy, it is interesting to take into account the financial management aspect; this includes the university’s autonomy to develop and generate new funding sources e.g., from products of education and partnership services as additional income to the university’s treasury. therefore, the university needs to formulate policy on business unit developments in its institutions. the previously-mentioned duties and responsibilities a university bears are reflected in the graduates’ quality and competitiveness in the work field. within this regard, one of the success indicators of a university in implementing education is the graduates’ rate of employment. therefore, innovations in educational approaches, both intra and extracurricular activities, are highly required in producing university graduates with high competence and competitiveness. grade point average (gpa) is no longer adequate as the only indicator of students’ competence; one should also consider the students’ technical competence and competitive attitude prior to entering the work field. the faculty of arts and design education at upi offers three specialized programs in art, i.e. dance, musical, and fine arts. the fine arts program also offers a specific course in design art. the faculty’s vision, missions, and objectives, in general aim to prepare graduates with high competence in attitude, knowledge, and skills as future educators in their respective fields. in reality, the faculty graduates’ job profile is quite varied, not only as art teachers in formal education institutions, but also as the owners of self-established art studios (e.g., dance studio, makeup studio, and fashion studio) that offer packages of art services to the consumers. the graduates who choose non-education oriented jobs are highly competitive as well compared to those who teach art in schools. the current demands of the global economy posits new challenges in efforts of improving human resources quality to produce graduates with an entrepreneurial and independent mindset in instigating new job opportunities rather than expecting to work in existing job fields. the idea of an entrepreneurial mindset highly relates to an individual’s self-confidence in one’s own survival in a highly competitive community. in establishing new job optrianti nugraheni, agus budiman, yudi sukmayadi, entrepreneurship and art educa195 portunities, one is compelled to possess an adequate set of skills regarding the respective business fields; in this regard, strategic support from universities in terms of the development of higher education business is needed to nurture students’ entrepreneurial skills. in line with that, one of the ways to enhance students’ competence in business management of art services is by providing programmed and sustainable entrepreneurial training of prerequisite skills and knowledge, e.g., event planning, marketing, event organization, up to program evaluation. the rationale of the training program lays its basis on the notion that students in faculty of arts and design education are highly potentials in terms of art skills; a training program in soft skill management is considered as key supporting factors in improving their skills as well as providing practical experiences in art event management. the training program focuses on the specific set of competencies: 1) creative economy and tourism competence, regarding concepts of educational tourism events management as essential business development strategy; 2) entrepreneurial skills, regarding concepts of planning, marketing, organization; 3) public relation (pr) skills, regarding proper marketing and distribution strategies of products and services to consumers in various segments. entrepreneurship is considered the proactive mental attitude one possesses to improve his/her creativity to increase business income. in addition, it is the creative and innovative capability as the basis and resources to achieve success. the aforementioned concepts are crucial as the basis for sparking creative and innovative ideas to nurture the students’ entrepreneurial motivation. on the other hand, the empowerment of students as the university’s assets and potentials will result in a tangible contribution to the institutional development. mitchell (2006) argues that empowerment is the internal quality of an individual or organization in adapting oneself with the dynamic environment in its effort of survival and sustainability. the notion of ‘empowerment’ is embedded within the eight e’s, i.e., educate (self-improvement through education), eliminate (problem-solving ability), express (state ideas properly), equip (complement selfweakness), evaluate (evaluation of one’s performance), and expect (expectation for a promising future). a sustainable training program is essential in supporting the improvement efforts of students’ quality; therefore, every graduate is expected to be competitive in finding jobs or instigating new work opportunities. based on the elaborated problem above, this study attempts to conduct an entrepreneurship training program to the students as an extracurricular practical experience regarding art events management by approaches that involve disciplines of management sciences, entrepreneurship, tourism, public relations, and creative arts industry. the training program employed an entrepreneur-based creative economy approach, i.e., the concept of a future economy that relies on human’s creativity and competitiveness globally. the students are prepared through a sustainable training and development program; it is viewed as a tangible contribution to the university in actualizing education business-based art events. on that ground, the university requires to optimize all its assets, e.g., infrastructure and human resources to support the implementation of the development program of students’ skills and competences in organizing art events. method training program aims to increase an individual’s competencies (winardi, 2016). training program on entrepreneurial skills, in particular, intends to provide experience, knowledge, and comprehension to an individual as a means of innovation in one’s business; this is particularly related to technical skills, business management skills, and personal entrepreneurial skills (sugiarto et al., 2015). the training program implemented harmonia: journal of arts research and education 19 (2) (2019): 193-203196 e3 learning concept related to retailing that aims to enhance students’ understanding in following aspects: (1) the market needs; (2) the significance to work in a team to achieve the common goals; (3) the significance of the location of the business; (4) the role of creativity and product and business model innovation; (5) how to manage people; (6) the essence of persistence in achieving the goal; and (7) the proper business practices (bernardus, 2012). as the program’s output, the students were expected to be competent in: 1) analyzing the market’s need, 2) organizing the program plan, 3) instigating innovative and creative ideas to adjust with the market trends, 4) managing people and public affairs, and 5) upholding principles of an entrepreneur that is persistent, honest, and responsible. the training was implemented to students in the department of dance arts education, department of musical arts education, and department of fine arts education in the faculty of arts and design education in upi. the students were given practical experiences regarding art events management by approaches that involve disciplines of management sciences, entrepreneurship, tourism, public relations, and creative arts industry. the training program employed an entrepreneurbased creative economy approach, i.e., the concept of a future economy that relies on human’s creativity and competitiveness globally. the students were prepared through sustainable training and development program; it is viewed as a tangible contribution to the university in actualizing education business-based art events in accordance with optimization efforts of all its assets to support the implementation of the development program of students’ skills. the training model applied a fourstep model developed by crone & hunter. the model comprised steps i.e.: 1) planning, 2) identification of training program requirements, 3) analysis in the implementation of training program, and 4) evaluation. the model was adopted to adjust to the concept of art events developed by the researcher team. based on the model by crone & hunter (wijaya, 2013), the steps were elaborated as follows: the first step comprised the preparation and arrangement of training program participants. this activity intends to explore the participants’ expectations regarding the program’s process and output, to nurture intimacy and cooperation between training participants, and to divide training participants into groups and sub-groups. the second step involved the identification of leaning requirements and analysis of training program objectives. the activities intended to acquire data on the learning requirements from the training participants, the participants’ workplace, and/or the training program staff as well as the local community. moreover, analysis of program objectives was conducted based on the requirements, potentials and possible obstacles discovered throughout the program. the third step involved the analysis and establishment of the program curriculum by also taking into account the learning outcomes evaluation. the activities focused to analyze and compare between patterns of behavior model the participants displayed throughout the training and the expected participants’ behavior after the program. the fourth step comprised the evaluation of program organization and outcomes. the activity analyzed evaluation strategy on training objectives and processes. a strategy is a well-designed method implemented to ensure that one can achieve the expected objectives in an accurate manner. in this case, the trainers implemented varied teaching methods and strategies within the program, e.g., demonstration, drill, group project, lecture, question session, and practice. such innovative methods were expected to contribute significantly to the participants’ comprehension of the learning materials. considering that the learning was intended for adults, therefore, the program implemented problemtrianti nugraheni, agus budiman, yudi sukmayadi, entrepreneurship and art educa197 based participatory learning that as well incorporated the participants’ experiences into the learning process. results and discussion implementation of edutourism-based entrepreneurship training program the organization of edutourism management-based entrepreneurship training program is divided into several core materials. the training materials are elaborated in the table 1. entrepreneurial skills the incorporation of this topic aims to: 1) develop the participants’ business and entrepreneur competencies; 2) train the participants in establishment process of a sustainable business by utilizing existing potentials within the program; and 3) develop the students’ ability in creating new job opportunities for themselves and for other people to adjust to the future’s career demands. developing motivation to be a successful entrepreneur in the art business the topic discusses tips to be a successful entrepreneur in art business by disseminating best practices materials by the resource person. the participants were introduced examples of successful young entrepreneurs in their respective fields. edutourism concepts this material discusses the basic concepts of edutourism management that combine visiting activities as well as learning activities for tourists. the basic concept of the edutourism program revolves around the notion of “something to see, something to do, something to buy, and something to learn”. educational tourism is a program that combines elements of tourism activities with educational content. the educational tourism program aims to provide education and information to tourists about the objects/attractions they visit. techniques of art material packaging for tourists this material discusses the concept of tourist attractions packaging. tourist attractions can be interpreted as a tangible or intangible thing that can attract someone to travel to access it. activities in tourist attractions aim to provide satisfaction to tourists who visit the place. regarding tourism material packaging, tourist attractions should be able to maintain its sustainability. roles of public relations in art events this material discusses the importance of public relations as a major part of the marketing aspect. specifically, this material discusses the relationship of pubtable 1. entrepreneurship training material material competence entrepreneurship entrepreneur developing motivation to be a successful entrepreneur in the art business entrepreneur tips on being a successful entrepreneur in the art business entrepreneur edutourism concepts edutourism edutourism management edutourism edutourism marketing strategy edutourism roles of public relations in art events public relation management and ethic codes of public relations public relation public relations and marketing service public relation concepts of art presentation for education tourism tourism art techniques of art material packaging for tourists tourism art formulating program of art education tourism tourism art harmonia: journal of arts research and education 19 (2) (2019): 193-203198 lic relations with concepts of increasing the public’s positive perception of one’s business, such as advertising, delivering organizational missions, publications and campaigns in the mass media, as well as promotional skills on various occasions such as seminars or workshops. management and ethic codes of public relations this material discusses the importance of public relations skills to highlight the organization’s positive image in shaping public opinion. in this regard, public relations practitioners must also pay attention to the code of ethics that applies to each place and situation. public relations activities undertaken by organizations should also prioritize ethics, social responsibility, and sustainability. public relations and marketing service this material discusses the relationship between public relations and marketing service management. participants are taught about marketing communication skills in public relations, such as sales promotions. in this activity, a public relations practitioner can provide innovations in organizing sales promotion activities in addition to sales promotion, a public relations staff must also master publicity skills, manage good relationships, and maintain a positive image of the company in the public eye. this can be done by sponsoring positive activities, engaging in csr activities, and participating in activities held by the community. through this material, participants are also taught to maintain a good impression on consumers. ways to build a mindset of excellent management concepts in this material, a mindset involves more advantageous things and prioritizes desires to make a person have a better condition. a positive mindset is required to achieve life success, leading a person to a huge passion. besides, it will raise preferable behaviors, build strong characteristics and mature personalities to be braver and stronger to face challenges and life problems. a positive mindset comes from a firm reliance and belief of oneself, in which it is able to change one’s life to become what s/he wants to, as well as convincing him/her that s/he can be better than others. such concepts of mindset are what people look for and enable them to be more professional. art event management this material explains some examples of how to manage event managementbased arts that have become a trend of today’s art events. event management can be defined as a process of organizing or managing an event professionally, systematically, efficiently, and effectively that the event includes the concepts of planning, implementation, and supervision. every related party involved in the event management should work hard with the same vision to result in the event that meets the expectation. marketing strategies this is an important material for participants to understand (1) goals and definitions of marketing; (2) how to create an offer that can increase pleasure/perceived value towards the product and service to be sold; (3) how to create an offer that reduce or eliminate unwillingness to buy the product to be sold; (4) how to ease the transaction, so that the buyer will choose your product over others; (5) how to give an interesting and reliable offer. arranging the activities of art education tourism program the material discusses basic skills in developing an art education tourism program, in which students are given an understanding of how to arrange a quality education tourism program. an example of the best practice in such a program is delivered to them as a reference in developing the program. the instructor directs participants to recall the material that has been explained, and then communicates with and confirms each participant. the trianti nugraheni, agus budiman, yudi sukmayadi, entrepreneurship and art educa199 material is delivered for ± 3 hours until the participants can make their own study groups. the evaluation in this art edutourism-based entrepreneur training conducted pre-test and post-test, along with distributing questionnaires. in the evaluation, participants and the authors do an assessment to measure the training effectiveness based on the quality of resource persons, participants, organizing committees, and the whole training implementation. the evaluation instrument comprises several questions that can measure students’ absorption ability in scrutinizing the materials, the training and resource persons’ quality, and the utilized facilities and infrastructure. the evaluation result shows that the training process has run effectively following the predetermined plans and goals. the participants feel enthusiastic and can greatly understand and absorb training materials, so that they can apply these directly by following the instruction. moreover, the final evaluation is carried out to measure the success level of the training process, starting from the planning to the follow-up stages. the whole process of education and training has been wellimplemented. however, the participants find the duration too short, and they need any further activities to practice. the final evaluation done by distributing a questionnaire instrument to participants reveals that 90% of them have mastered the materials, by which there is a quite significant change before and after the edutourism management-based entrepreneur training. figure 1. the stages of entrepreneur training activity an entrepreneur has some characteristics that relate to innovation, proactiveness (able to see market opportunities), and risk-taking, or in other words, an entrepreneur is not afraid of failure in running his/her business (ranto, 2016). in a scientific approach, management skills can be approached in three primary competencies. in the first place, a conceptual competence is one’s ability to plan a business; secondly, humanity competence refers to a manager’s competence in interacting with other people; lastly, technical skill is a provision for managers at lower levels. this skill is more emphasized on the competence to drive facilities or people involved in the activity (widjaya et al., 2014). the training program intends to develop students’ entrepreneurial skills in managing the art education tourism program. therefore, the developed materials are divided into three disciplines, i.e., art, tourism, and entrepreneurship. tourism education, in some developed countries, has been integrated with entrepreneurship education due to the fact that tourism and entrepreneurship education has become an essential aspect for students (daniel et al., 2017)the number of tourism education courses has grown significantly in the last decades in order to meet the demands of the qualified workforce. nevertheless, students who enter this sector will need different skills to face the challenges of this highly competitive and demanding industry. in this case, entrepreneurial skills are of paramount importance. the aim of this paper was to understand the perspective of tourism students on the relevance of entrepreneurship education within their courses. this study aims at describing an innovative teaching program called ‘learning to be’, focused on fostering entrepreneurial attitudes and skills, through a project based learning methodology inspired in the design thinking process (daniel et al., 2016. the impact of the training program is based on the initial and final evaluation to find out the effectiveness of the program in growing the spirit of entrepreneurship harmonia: journal of arts research and education 19 (2) (2019): 193-203200 to students at the faculty of arts and design education, upi. the table 2 shows that the training outcomes arrive at a very good category. the strength analysis in the training is that the students participate in the training attentively by scrutinizing materials, discussing, doing a question-and-answer session, and practicing to make dance costumes and accessories. however, the training program has no sufficient facilities and infrastructure, making it difficult to practice flexibly. in addition, pre-test data show that 63% of students still lack knowledge and understanding of entrepreneurship. nevertheless, this percentage continues to increase, in which 77.5% of students have mastered and understood entrepreneurship, as presented in the post-test data. of the result, it is expected that entrepreneurial behaviors, i.e., self-confidence, task and outcome-oriented, risk-taking, challenge seeker, leadership, originality, and future-oriented, will be instilled. table 2. the evaluation of training outcomes from test instrument students score total average pre-test post-test 1 60 85 145 72.5 2 65 75 140 70 3 45 60 105 52.5 4 65 75 140 70 5 65 85 150 75 6 85 90 175 87.5 7 65 90 155 77.5 8 65 70 135 67.5 9 65 75 140 70 10 35 55 90 45 11 65 85 150 75 12 35 65 90 45 13 45 50 95 47.5 14 70 70 140 70 15 70 85 155 77.5 16 70 70 140 70 17 75 90 165 82.5 18 85 90 175 87.5 19 55 65 120 60 20 55 60 115 57.5 21 70 75 145 72.5 22 70 90 160 80 23 75 80 155 77.5 24 60 90 150 75 25 65 85 150 75 26 60 80 140 70 27 60 85 145 72.5 28 65 85 150 75 29 60 80 140 70 30 60 85 145 72.5 sum 1885 2325 4200 2100 average 63 77.5 140 70 the result of training and education implementation the success of the training and education implementation is measured by the following components: resource persons, program quality, implementation and service, participant participation. these components in the implementation of management skill training are elaborated below. participant assessment towards resource persons the figure 1 provides the detail of participant assessment towards the resource persons. figure 1. participant assessment towards resource persons based on the figure 1, 24 participants and six participants state that the resource persons achieve a very good and good category, respectively. further, all participants are satisfied with the resource persons of the training in making dance costutrianti nugraheni, agus budiman, yudi sukmayadi, entrepreneurship and art educa201 mes and accessories. they also think about adding other materials to improve their understanding of entrepreneurship and the development of art education tourismbased management given during the training process. participant assessment towards training program quality the figure 2 provides the detail of the quality of management skill training program. figure 2. participants’ satisfaction with the training materials based on the figure 2, 23 participants claim that the quality of the training program reaches a very good category, and the other seven participants state that the training has a good quality. the majority of the participants can follow the training materials as in accordance with the goals of the program delivered in the initial activity. however, the participants need a longer time to enhance their mastery. participant assessment towards training implementation and service the figure 3 provides the detail of the implementation and service of management skill training. figure 3. participant assessment towards training implementation and service based on the above figure, five participants opine that the quality of the training implementation and service gets a very good category, and the other five participants state that the training has a good implementation and service. accordingly, most participants give a good assessment towards the implementation and training, although there is one thing that needs to be improved, i.e., a bigger room for participants to join the training more comfortably. participant participation in the training the following figure provides the detail of student participation in management skill training. figure 4. participant participation in the training the above figureic presents that 26 and four students reach very good and good participation in the training activities, respectively. their participation in the art education tourism management-based entrepreneur training mostly arrives at a very good category, in which there is no obstacle faced during the process. conclusion the training is designed to develop students’ entrepreneurial skills in managing the art education tourism program. the given materials are more directed to the development of student competences in understanding concepts, theories, and practices of entrepreneurship, education tourism, public relation, and tourism art. such materials are provided to make students have the competence to manage art education tourism program that will be developed at the faculty of arts and deharmonia: journal of arts research and education 19 (2) (2019): 193-203202 sign education, universitaspendidikan indonesia. the two-day training results in a change in students’ competencies as shown by the results of the preand post-test given before and after the training process. data processing results also reveal that almost 90% of the participants experience a change in entrepreneurial behaviors in answering every question during the evaluation stage. besides, this program gets positive responses from the assessment of participants towards resource persons, resource persons towards participants, and participants towards the implementation with a very good assessment on average. acknowledgment the authors would like to thank all related parties who have helped the process of conducting the training program at the faculty of arts and design education, upi through community service, writing the activity report and this scientific paper to be published in this journal. we also owe a debt of gratitude to the head of research and community service institute (lppm) for approving the training proposal and assisting the process of composing the training report for financial support from the university in the 2019 fiscal year. references bernardus, 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(2016). analisis penerapan metode [an analysis of method application]. kediri: universitas nusantara pgri kediri. 14 training of choreographers in higher education institutions liudmyla androshchuk1, tetiana medvid1, tetiana blahova2, oleksandr zhyrov2, olha bykova3 1borys grinchenko kyiv university, ukraine 2poltava v.g. korolenko national pedagogical university, ukraine 3pavlo tychyna uman state pedagogical university, ukraine submitted: 2023-04-04. revised: 2023-05-04. accepted: 2023-06-24 abstract the relevance of the study is determined by the active development of the pedagogical art branches, where the professional competence development of future choreographers and the development of their creative views becomes the main aspect of specialists training in higher education institution and involves the creation of the necessary conditions on the way to their creative growth and professionalism. in this regard, the purpose of the research work is to determine the features of the training of choreographers in higher education institution, their professional development in the context of educational activities, the professional competence development in the process of practical professional training, as well as to determine possible ways to overcome the professional crisis and destruction. the basis of the theoretical and methodological approach in this article is a qualitative combination of system analysis methods of choreographer training in higher education institutions with an analytical study of the professional competence development of future specialists in the art of dancing, where the use of modern approaches involves the use of innovative forms and means of learning to implement the educational concept regarding the professional development of choreographers. the article presents the results that reflect the problem of implementing the training of choreographers in higher education institution on the way to the professional qualities development of future specialists, their motivation for self-education, the development of creative abilities and creativity, as well as the necessary skills development for future productive professional activity. the obtained results of the research work are of practical value for educators of higher education institutions that train the specialists in the art of dancing, for the perspective of introducing and implementing the latest training approaches in the educational process, as well as for practical purposes for determining the development of professional qualities of future choreographers in higher education institutions. keywords: the art of dancing; professional development; professional competence; personality professionalisation; self-education how to cite: androshchuk, l., medvid, t., blahova, t., zhyrov, o., & bykova, o. (2023). training of choreographers in higher education institutions. harmonia: journal of arts research and education, 23(1), 14-27 harmonia: journal of arts research and education 23 (1) (2023), 14-27 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i1.43559 scientific and european area involves ensuring the motivational competence development in the context of personal and professional development of future specialists who meet modern educational demands introduction effective training of choreographers in higher education institution in modern conditions of rapid development of the corresponding author: e-mail: androsh.myla@ukr.net p-issn 2541-1683|e-issn 2541-2426 liudmyla androshchuk et al., training of choreographers in higher education institutions 15 and are capable of productive activities in the art and cultural area and in various forms of the educational process. comprehensive training of future choreographers is based on the specific professional competencies development, pedagogical qualities, professional culture, self-organisation and critical thinking development, as well as an individual, creative work style and continuous professional growth in choreographic activities (scherak & rieckmann, 2020). the main purpose of choreographers training in higher education institutions is based on the aimed development of a set of competencies of education seekers, which are intended to ensure the implementation of organisational, managerial and research work, as well as pedagogical and choreographic activities. educational activities of higher education institutions are regulated by law of ukraine no. 1556-vii “on higher education” (law of ukraine, 2014), which provides for the promotion of sustainable development of society in the context of training competitive specialists, and is based on the principles and basis of accessibility, independence, process continuity, state support, international integration and openness in development of the scope and structure of professional and educational training of future specialists. the organisation of the educational process provides the competencies development of education seekers, which is determined by successful socialisation and training, as well as the implementation of professional activities based on a combination of abilities, skills, knowledge, ways of thinking and personal values. the studies by romanchuk (2019) indicates that professional competence is a combination of a person’s personal qualities and professional knowledge mastered by them during training that synthesises the fundamental, psychological, subject and pedagogical competences of an individual on the way to their professional development. kordunova and dmytriuk (2020), to the set of abilities, knowledge and skills in the professional competence development, add the ways of an individual’s activity and their professional psychological qualities. the authors note that professional competence is based on components of a value and semantic, motivational, emotional, behavioural, as well as reflexive, functional and informative nature, and is the result of the choreographer’s readiness for professional activity and implies a conscious dedication of the individual to carry it out. studying the issue of training of choreographers in modern institutions, croy (2019) notes that for the development of choreographic potential the following are necessary: a combination of classes in improvisation, composition and dance; the study of creative elements of movements in the context of style, music and modern cultural influences; autonomy in the ability to create one’s own dance, to be both a producer and a choreographer at the same time; attend classes on business perspectives that help master financial management skills to gain an advantage in the labour market. studying improvisation in training young choreographers, dou et al. (2021) note the importance of the psychological factors development in the professional competence development. the authors emphasis the complexity of mental activity during the creation of a choreographic performance, where psychological barriers on art and creativity slow down the processes of professional competence development, and improvisation is a method of getting rid of barriers and means of developing the creative abilities of an individual. the transformational educational process was caused by the covid-19 pandemic, which became the impact for changing educational activity and its transition to distance learning, where alternative approaches to the educational process and the introduction of innovative teaching methods into it made it possible to adapt to the new reality of educational activity. thus, the study of winship (2020) indicates that for choreographic education seekers, classrooms and auditions in great britain have moved to online space and received a positive experience of evaluation harmonia: journal of arts research and education 23 (1) (2023): 14-2716 and graduation of specialists, so the training of future choreographers in the art of dancing education institutions can be in a combination of studio and online learning. the professional development of the future choreographer specialist masters special importance in the period of transformational processes of the educational policy of ukraine, informatisation and technologyisation of educational processes, and it becomes a current problem to determine the features of the training of specialists in the art of dancing, the development of their professional qualities on the way to become a competitive and competent specialist, who is focused on self-development in professional activity, self-improvement of mastered abilities and skills, as well as the necessary qualities development for the effective implementation of professional functions in the chosen profession. the main purpose of the scientific study is to determine the professional qualities of a choreographer in the process of educational activity and ways of professional competence development in higher education institutions. methods the basis of the methodological approach to the study problem was a qualitative combination of a systematic analysis of the issue of psychological and pedagogical conditions of training of choreographers higher education institution, a generalisation of the previous experience of studying the professional competence development of future specialists in the context of higher education with an analytical study of the personal and professional qualities development of education seekers in the aspect of the competence approach of studying training problems of specialists in the art of dancing. the scientific study of the problem of choreographers’ professional development involved the search for a generalised understanding of the development conditions of future specialists’ personal capabilities based on content and procedural components, where the mobility of knowledge, critical thinking and methods flexibility create a multi-level stable structure of the psychological values development of future specialists in the art of dancing. the planning and implementation of this study were carried out on the basis of studying the theoretical basis of training of choreographers in educational institutions that became the fundamental basis for further study of the professional development problem of choreographers in the context of obtaining higher education. the study of the theoretical components of the training choreographers problem in higher education institutions made it possible to analyse the long-term experience of studying this issue by researchers of ukraine, the usa, china, great britain, germany, italy, which led to the identification of problematic aspects connected with the development of the personal qualities of education seekers, their professional development in the process of training and conditions for the professional competences development during professional education in institutions. the stated purpose of scientific study determined three stages of the work. the first stage involved the study and analysis of theoretical aspects of training of choreographers in higher education institutions, which became the foundation for the next stage implementation of research work. as a result of the analysis of the legislative framework of the education system of ukraine, psychological and pedagogical sources on the study problem and the study of scientific literature on the education management on the topic of a scientific work, the main questions and provisions of the problem of training of choreographers in ukrainian educational institutions and educational institutions of other countries were substantiated, which are the request basis for the innovative methods and approaches implementation in the training of specialists in the art of dancing for their effective use in the educational process in a higher education institution. the second stage of the research liudmyla androshchuk et al., training of choreographers in higher education institutions 17 work was aimed at the analytical study of approaches to the training of specialists in the art of dancing and the development of their professional competences in the process of educational activity. at this stage, an analytical comparison of the obtained results with the conclusions of other researchers engaged in practical study of the problem of training choreographers, their self-education, the creative abilities development and the professional skills development for carrying out professional activities was also carried out, which contributed to the obtained results clarification in determining the features of choreographic education. at the final stage of the scientific study, the final conclusions of the theoretical and experimental stages of the study were made. the obtained results of the study of the training of choreographers in a higher education institution can be used as a basis for further issue study of the professional development of choreographers in the higher education system, the development of their professional competences, and possible ways of solving the issue of professional deformation and crisis situations in the practical training and activities of future choreographers. results and discussion the conducted analysis of scientific studies on the training of choreographers in higher education institutions and the development of their professional competences shows that this issue has been studied for a long time by ukrainian researchers, as well as scientists from the usa, germany, china, great britain, peru, spain, italy, and taiwan. however, the development of effective training models at the current stage in the conditions of the covid-19 pandemic, and for ukrainian society in the period of the current realities of martial law, the topic of educational activities, in particular the training of specialists in the art of dancing, becomes a current issue among the educational process participants and provides the determination of the features of the professional competence development of future choreographers for the effective implementation of innovative teaching approaches and the educational process technology in the educational process. an important aspect of scientific study is the determination of the psychological features of the professional competence development of specialists in the art of dancing in the process of training in a higher education institution, where progressive changes in personality occur due to the external social influence of the environment, one’s own activity and the dedication for self-realisation, self-improvement and professional activity of an education seeker. the professional development involves the professional direction development, development of professional competencies and personality qualities that precede professionalisation and are characterised by individual and psychological features of the future specialist (martínez et al., 2022). the professional growth stages can be conventionally divided into five stages that overlap, repeat and can occur simultaneously during studying in higher education institution. this division is presented in a more informative way table 1. professional development, in particular, the change of professional development stages of education seekers is characterised by a change in social status, where the disturbance of professional activity content is made, a new social role and professional behaviour are learned. these changes cause certain difficulties and can provoke internal and external (interpersonal) crises and conflicts (pytlyuk-smerechynska, 2013). the areas of training of future choreographers include the development of professional abilities, growth of professional direction, improvement of psychological processes, development of professional responsibility and independence, desire for self-realisation in practical activities, as well as interest in exchanging of professional experience, growth of moral and spiritual maturity and readiness for practical professional activities (stolyharmonia: journal of arts research and education 23 (1) (2023): 14-2718 archuk & sergeenkova, 2019). the specificity of the art of dancing consists in the realisation of a choreographic performance that conveys the ideological author’s idea that is manifested through body movements and acting. however, the professional activity of a choreographer is not limited to the profession of a dancer, but also provides the opportunity to express oneself in collective work, perform of a dance, manage a children or professional team, as well as be a ballet master or director of ballet performances, which involves a combination of pedagogical, choreographic and coaching functions in the choreographic activity (dou et al., 2021). thus, the professional training of future choreographers is a multifaceted educational process, where all components of educational activities should be implemented in accordance with modern conditions, which leads to an increase in the professional training quality, in particular, the education of competitive specialists in the context of professional training in a higher education institution. the professional competence development of choreographers is an important condition of modernity within the social procurement of society regarding the professional training of specialists in the art of dancing, where the need for significant changes in the educational and training processes plays an important role for the expansion of interdisciplinary relationships, as well as the use of didactic and educational and training methods for their deepening resources. special attention in the training of choreographers in higher education institution is paid to the study of psychological disciplines, and psychological competence is considered as a component of professional awareness and pedagogical skill on the way to professional and personal development. however, the definition of the development indicators of these competencies currently remains open. the analysed the previous studies made it possible to form the components of important qualities of the future specialist of the choreographic art. for clarity, these results are presented in figure 1. table 1. professional development stages stage purpose task a knowledge base creation obtaining new information and knowledge and forming a conceptual understanding of it development of professional intentions and self-determination, as well as awareness of the profession choice observations (examples, models) study of professional examples to develop a study practical understanding development of professional direction and system of social and professional direction of knowledge, abilities, skills, gaining experience in solving professional tasks comprehension of one’s own practical activity educational practical activity analysis based on new obtained knowledge adaptation to professional activity, social role mastering, gaining experience in professional activity, mastering the profession technologies primary and secondary professionalisation (change of practice) implementation of new gained knowledge in individual and collective training program and instruction through development of curriculum, mentoring, practical studies development of a professional mindset, transformation of social and professional qualities and abilities into professionalism gaining new experience and sharing the gained ones improvement of educational professional practical activity in the team full realisation of professional skill, creative potential in the context of psychological new formations on the way of professional development and professionalism source: prepared by the authors based on (pytlyuk-smerechynska, 2013). liudmyla androshchuk et al., training of choreographers in higher education institutions 19 the individualisation of the educational path for the development of choreographic skills of an education seeker under the art of dancing program requires allowance with the role and features of practical training, where creative self-realisation for the future choreographer during practical classes allows solidifying knowledge and projecting a model of future professional activity. the main factor in the educational activity of future choreographers is gaining of versatile experience and professional competences, and the main condition for this is an effective combination of theoretical training with practical choreographic activity, which contributes to the development of a creative worldview and the expansion of the personal potential of education seekers (androschuk, 2019). practical activities help to deepen theoretical knowledge, to develop the necessary skills for pedagogical, choreographic and performance work, as well as to develop the professional competences of future specialists in the art of dancing. the purpose of practical training is mastering modern methods and forms of choreographic activity and, based on them, the professional skills and abilities development, where the main tasks of practice are deepening knowledge, development, consolidation and adaptation to independent professional activity and the development of the need for continuity of training, self-education and self-improvement. the increase and complexity of the amount of information flows, as well as the transience of social and economic processes cause changes to the professional training requirements, which creates comfigure 1. a model of professional and personal qualities of an education seeker in a higher education institution. source: prepared by the authors based on (scherak, & rieckmann, 2020; romanchuk, 2019; kordunova, & dmytriuk, 2020; pytlyuk-smerechynska, 2013; stolyarchuk, & sergeenkova, 2019). harmonia: journal of arts research and education 23 (1) (2023): 14-2720 petition in the labour market and increases the development level of professional competencies of future choreographers during the study in higher education institutions. the need for the professional mobility development of education seekers, which involves flexibility, agility, adaptability to changes and innovations, becomes an important aspect in the modern environment of choreographers and requires the newest methods of creating and reproducing works of choreographic art in accordance with the digitalisation of the modern world and transformational educational processes (mead, 2020). in addition, the activity of a modern choreographic specialist is based on their multifunctionality, which allows them to effectively act in various unusual situations and occupy teacher, dancer, manager, researcher position in the field of the art of dancing, and to be personally and professionally able to quickly change their own activity (lusdoc & namoco, 2019). the analysed scientific sources indicate that the priority in the training of choreographers in higher education institution belongs to the competence approach implementation, in particular the development of special professional abilities, skills and knowledge, but the issue of consistency and purposefulness in the choreographer’s professional mobility development still remains open. modern choreographic practice includes a large variety of dance types, ways of structuring dance material and social interaction levels, which allows the choreographer to realise themselves in a broad, dynamic and balanced approach to teaching choreography and develop their own professional abilities, become more effective and stronger in the context of developing their own awareness of the chosen choreographic direction parameters and master professional competence during studying in higher education institution (butterworth, 2004). thus, dance education in china is the most common additional education in the country, but the largest part of the market is children’s dance training, which requires choreographers to know the psychological characteristics of the younger generation. in accordance with the internal study in the country conducted by zhiyan consulting in 2020, the dance education market has achieved economic growth, and the number of dance schools exceeds 38 thousand institutions. in italy, in particular in rome, higher choreographic education, in addition to the basic principal disciplines, offers students to master the teaching and study activities in the process of obtaining an academic qualification, which are based on dance education academic programs. to strengthen and modernise the educational offer for education seekers, universities are expanding the academic programs of their courses by exchanging experiences with other countries, integrating the experience and skills in the art of dancing from different cultures and adding educational modules in video directing and music informatics to the educational process, which allows higher education institutions to make a significant contribution to the modern view development of the choreographer’s profession, which is increasingly subject to a multicultural direction, where the application of the advanced practices expands cooperation on the international platform and creates the quality of choreographic education at the institutional and european levels. in germany, the program of higher choreographic education has been developed in accordance with the growing conditions and requirements in the professional dance field and helps to train skills and implement the latest approaches to education. however, the main direction of educational activity is based on the comparative methodology of modern dance, group processes and somatic practices, where the theoretical direction is focused on science, physical studies and artistic documentation, and the purpose of the educational choreographic program is the training of teachers of the art of dancing who are capable of multifunctionality, direction and possibility to be a choreographic assistant. the professional activity of a choliudmyla androshchuk et al., training of choreographers in higher education institutions 21 reographer involves the development and production of ideas, honing the movements fluency in accordance with the music, discussing economic and organisational conditions, creating costumes, approval on the musical program, also this profession also requires spending a lot of time on self-education and rehearsals, making notes on movements, creating joint projects with others professional choreographers of the acrobatic direction and the opportunity to engage in several dance projects at once (сhoreographer, 2022). choreographic activity involves the mastering of special skills by the choreographer, in particular, the need for their use is due to filming in films, music videos, stage musical plays, cooperation with dancing groups, which determines the choreographer duties to coordinate dance programs and physical movements, to have knowledge of dance styles and steps, to observe principles of constructing a choreographic performance, rhythm, balance and musicality. the development of leadership skills, creativity, discipline and persistency plays an important role in the professional choreographer activity, and ensuring a clear organisational process helps to focus on the dance projects development (windermere, 2021). higher education institutions of ukraine are under the law of ukraine no. 1556-vii “on higher education”which provides citizens with access to higher education, which ensures the development of aggregate systematised knowledge, abilities and practical skills, as well as promotes the development of ways of thinking, professional qualities, worldview and social positions, moral and ethical values, gaining of professional competences in accordance with the chosen qualification at all levels of higher education. in accordance with the standard of higher education of ukraine. the purpose of the educational process based on the bachelor of choreography is to train specialists in the field of performing arts, choreography, and teaching activities, as well as conducting methodical work on elementary, specialised, professional advanced art education. the subject area of training of choreographers involves the study of the theoretical program content, in particular, familiarisation with the basic concepts, principles, choreographic art concepts, and their connection with social and cultural phenomena, the history of choreography and specialised activities. the teaching technology is aimed at the study of cultural disciplines and art study, which requires the use of appropriate methods in the educational process designed to teach education seekers to reproduce a choreographic text, develop the ability to analyse different situations and find alternative solutions, develop professional knowledge, abilities and skills, model professional reality, reproduce practical actions of a choreographer, to design artistic and creative products (from conception to play). to achieve the purposes of choreographic education, institutions should be equipped in accordance with the approved standard, in particular with computer hardware and software, multimedia tools, information and communication technologies, equipment for study and storage of artistic works. the standard also provides for the development of integral, general and professional competencies at the end of the training course. the conducted scientific study made it possible to distinguish a number of professional competencies that a future choreographer should master during their studies at a higher education institution, in particular (scherak & rieckmann, 2020; romanchuk, 2019; kordunova & dmytriuk, 2020; pytlyuk-smerechynska, 2013): to analyse, assess, interpret and identify patterns of social and cultural historical aspects of the art of dancing (styles, genres), to be able to argue one’s own positions and beliefs; to produce creative ideas, implement them, cooperate in a team and effectively solve tasks connected with discussed projects; to have choreographic technology in accordance with the requirements of professional training at the levels of performing, teaching, choreographic activity harmonia: journal of arts research and education 23 (1) (2023): 14-2722 and organisational activities; to use one’s own pedagogical and artistic potential for realisation in professional activity; to carry out study work, project educational and methodological support and develop innovative and educational technologies in the context of artistic activity; to use interdisciplinary connections in accordance with the elementary, specialised and professional educational process in relation to professional knowledge and creative approach for solving professional situations; to understand new dance practices concepts, accumulate, process, analyse and combine new information on the way to creating a dance composition; to apply alternative technologies (filming, directing, editing, etc.); to ensure a high level of mastery of choreographic technique, selfdevelopment and self-improvement in accordance with professional activity; to observe tolerance in choreographic work and be able to take into account organisational, economic and legal aspects of professional activity. the world practice of professional training of choreographers in higher education institutions shows that in the process of learning, a future specialist in the art of dancing should master certain personal qualities and professional competence in accordance with different types of professional activity, in particular pedagogical, organisational, choreographic and creative activities. higher education institutions create conditions and opportunities for education seekers to master significant professional competencies that precede future successful professional activity. the obtained results of the study indicate that innovative approaches in the field of culture and art are at the stage of developing effective models and technologies of high-quality training of choreographers in a higher education institution, where ideas of exchange of social and cultural experience become relevant on the way to the professional development of a choreographer that is able of multifunctional activity, critical thinking, self-education and self-improvement. professional training of a choreographer in a higher education institution involves practical and theoretical studies, the search for creative ideas, as well as the development of analytical and critical thinking skills. the requirements for the development of professional competence and professional qualities of future choreographers have grown significantly over the past decades, which led to the search for new innovative ideas and approaches in teaching of special disciplines and a change in the model of conventional education. law of ukraine no. 1556-vii “on higher education” at the educational and creative level, it is provided to master the methodology of pedagogical and artistic activity, to master practical skills in the production and implementation of new creative ideas, as well as to solve theoretical and practical issues in a creative artistic environment, where scientific, artistic and innovative work is carried out with the aim of integrating educational activities, deepening professional competences and innovative activities in art. the professional development of the future choreographer is inseparably conected with the professional definition of the individual and involves a step-by-step individual and personal development. the first stage is characterised by the beginning of professional training, the second stage is the active development of methods of mastering methodological skills and abilities, and the third stage is designed to professionally orient the education seeker in practical activities, which allows using the gained knowledge and improve their own professionalism, which is caused by changes in the professional training process. the main component of professionalism is professional competence, which is based on personal qualities and practical skills that precede the future specialist readiness for professional activity (pytlyuk-smerechynska, 2013). guerreroa and de los rіos (2012) divides competencies into three main groups, in particular, competencies as a list of tasks, competencies as a set of features and competencies as a holistic or integliudmyla androshchuk et al., training of choreographers in higher education institutions 23 rated relationship. the author states that the competence model is a basic aspect of general psychology and includes skills, motivations, abilities, self-esteem and knowledge, and is also subject to assessment and measurement in accordance with the gained knowledge during education and daily practice. thus, the author emphasises that the defining characteristics of competencies can be generalised and considered in terms of the basic characteristics of a certain activity performance. the author refers to the components of professional competence as a set of personal qualities, in particular, abilities, motives, inclinations, values, etc., which are synthesised with gained knowledge, skills, certain of behaviour model, gained experience and practical activities. the study of kordunova and dmytriuk (2020) efines professional competence as readiness for purposeful activity in accordance with the requirements, the ability to solve various issues in an organised and independent way, to assess one’s own professional activity, where during professional training, the knowledge, skills, and abilities necessary for effective future professional activity are developed. the basis of personal and professional growth and success, the authors indicate the professional qualities of education seeker, as well as the development of various types of combinations of knowledge, experience and skills within the framework of professional competence. the main component of the competency approach, as noted by clements and nordin-bates (2022), are the key competencies, which are characterised as constant components of personality qualities that help a specialist to successfully implement their own activities and master intercultural and interdisciplinary skills and knowledge, properties necessary for adaptive and effective activity. the author notes that in the pedagogical aspect, the key competencies reflect the teacher’s culture and are divided into professional and pedagogical, informational, creative, communicative, and social and motivational. modern higher choreographic education is designed to form a theoretical base of knowledge, practical skills and abilities, where the training of a future choreographer requires an innovative approach to the professional development of a specialist. the specificity of teaching the art of dancing in higher education institution is reflected in the forms of the educational process organisation, in particular, these are lectures, practical and individual classes, where, in accordance with the standard of higher education of ukraine classroom lessons are reduced and time for independent study of discipline materials is increased. the shortage of classroom lessons leads to an increase in the rate of mastery of educational material, however, independent study can cause difficulties for education seekers and lead to a professional development crisis. experiencing the crisis causes a change in the psychological structure and restructuring of the social and professional direction of an education seeker. thus, kokun (2012) otes the crises of qualification formation as a group of psychological crises that can occur at all stages of mastering a professional activity and reflect specific patterns in personal and professional development. the author distinguishes overtime activity in professional activities, social and economic living conditions, psychophysiological and age-related changes, stressful situations in the context of obtaining a new position, participation in evaluations, immersion in professional activities, restructuring of ways of implementing professional activities and changes in personal life, as the main crises factors of professional development. thus, pytlyuk-smerechynska (2013) onsiders the professionalization process as a crisis. the stage of professional training can serve as a certain lever for disappointment from the received profession, in particular, there can be dissatisfaction both with individual professional subjects and doubts about the chosen profession, that is, a certain revision and correction of the profession choice takes place, which harmonia: journal of arts research and education 23 (1) (2023): 14-2724 allows distinguishing this crisis as a crisis of professional personality development. in addition, the completion of professional education involves further professional activity characterised by an adaptation stage. at this stage, there is a radical change in the professional situation, where the actual performance of professional functions during the first weeks or months may cause difficulties, however, the initial perception of the profession and the real understanding of its professional aspects after the completion of educational activities in a higher education institution may cause psychological differences and create conditions for a professional crisis (kordunova & dmytriuk, 2020). options for the crisis resolution include constructive problem solving (activation of professional motivation, adaptation to conditions, gaining experience) and destructive problem solving (resigning, change of profession, decrease in the quality of professional functions performance). crisis periods, as noted by rabow et al. (2013), can contribute to the development of a person or lead to the processes of their personal degradation. the author states that the destructive ways of the crisis recovery are inherent in the search for opportunities for self-realisation outside of professional activity, as well as the public demonstration of undesirable professional qualities, while in the constructive way of the crisis recovery these qualities are overcome personally. stress and mental tension act as certain incentives for the professional development of an education seeker, where crisis recovery phenomena require the involvement of professional action and a competent attitude towards oneself. training classes in the direction of personal and professional growth, seminars with the possibility of developing alternative approaches to professional development, as well as drawing up a professional development path are effective means of crises recovery. the analysed previous scientific studies indicate that in the process of professional training, future choreographers are faced with the need to develop the skills of self-education, self-regulation and the development of critical thinking, which allows objectively assess one’s own professional educational activity and understand the basics and risks of the future profession. however, in the context of many years of professional choreographic activity, these aspects can lead to the occurance of professional fatigue, the emergence of psychological barriers, a decrease in work capacity and a partial loss of certain professional skills and abilities. the process of professionalisation at certain moments of mastering a professional activity can cause professional destruction, which is characterised by a change in the formed structure in the professional and personal areas and can affect the performance of the choreographer and their communicative processes (kokun, 2012). the previous studies analyses [10; 24-26] (pytlyuk-smerechynska, 2013; kokun, 2012; rabow et al., 2013) identified possible ways to overcome professional destruction in the professional activity of a choreographer, in particular: increase in psychological and social competence; diagnosis of professional deformation and development of individual strategies to overcome it; prevention of professional disadaptation; development of alternative programs for professional and personal potential implementation; attending trainings on professional growth and personal development; the methods of self-regulation; development of the ability to the professional deformations self-correction; increase in qualification category or position. kokun (2012) also includes the phenomenon of professional burnout, which is characterised by a negative consequence of interpersonal communications in choreographic activity and manifests itself in mental tension (professional difficulties, conflicts) and feeling of anxiety, frustration, and discomfort. the current conditions of active social processes in ukraine require the reorganisation of the educational system, where the need for innovative changes is the modernisation of liudmyla androshchuk et al., training of choreographers in higher education institutions 25 choreographic education (medvid, 2018; medvid & tereshenko, 2021). the study of the international experience of providing choreographic educational services indicates that the countries are intensifying cooperation with international organisations and communities that contribute to the intercultural development of the art of dancing through the exchange of choreographic experience, educational and cultural programs are being developed in accordance with the modern requirements of the choreographer’s professional activity, the material and technical base is being improved in view of the spread of distance learning, as well as the decrease in the number of classroom lessons and the increase in the choreographer’s mobility and multifunctionality importance. the conducted scientific analysis of the problem of training of choreographers in higher education institutions shows that the need to improve choreographic education at the national, institutional and international levels, which will allow modernising professional activity in accordance with the demands of modern society and the labour market, is a promising direction of using world experience for educational institutions of ukraine. so, it becomes obvious that the professional training of future choreographers needs to ensure the development of integral, general and professional competencies of education seekers, which is based on the mastery of artistic, technical, physical skills and special knowledge. the development of experience, knowledge, skills and abilities, as well as developed abilities during the professional development of a choreographer, actualise the understanding of important priorities of practical training and lead to the integration and systematic improvement of requirements for the training of choreographic specialties, where priority is given to the development of value and semantic aspects, selfdetermination and personal development on the way to the future choreographic activity implementation. conclusions the conducted scientific study on the given problem shows that the search for innovative approaches to improve the professional training of choreographers in a higher education institution is based on the competence approach of the professional training of the future specialist. the practical activity of education seekers is a necessary aspect on the way to deepening theoretical knowledge, development of pedagogical skills and choreographic activities, as well as the formation and development of professional competencies of the future choreographer. the professional activity of a modern choreographer is based on their polyfunctionality, where for a specialist in the artistic area, the development of professional competences plays an important role. the professional development of the future choreographer, the development of their professional direction, socially significant qualities and their integration into practical activity involves the search for optimal ways to form highquality, artistic and creative activity in accordance with the individual and psychological characteristics of education seeker. practical training of future specialists in the art of dancing in higher education institution creates opportunities for mastering significant professional competences, which are necessary for the successful professional realisation of a choreographer. the professional duties of a choreographer include the implementation of an artistic concept, the use of various expression means, the improvement of dance elements and steps in accordance with the dance style. the professional competence of the future choreographer should be formed on the basis of knowledge, skills, and cognitive competence, which involves the actualisation of the value connection with choreographic and pedagogical activity in educational institutions, as well as the development of motivational aspects, communicative activity and creative potential in the professional and social and cultural area. having analysed modern scientific harmonia: journal of arts research and education 23 (1) (2023): 14-2726 studies on the training of choreographers in higher education institution, it can be distinguished that the use of a competence approach in educational activities is an important and necessary step towards updating the education content, which involves the professional development of future choreographers who will meet the educational demands of the present time. prospective areas of further studies of the problem of training of choreographers in higher education institution are the analysis of the complex of educational technologies, content, forms and methods of professional training specialists of the art of dancing in the 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https://www.theguardian.com/stage/2020/jul/08/british-dance-schools https://www.theguardian.com/stage/2020/jul/08/british-dance-schools https://www.theguardian.com/stage/2020/jul/08/british-dance-schools vol. 8 no.2 mei-agustus 2007.pdf harmonia jurnal pbngetahuan dan femhoran seni jejak campursari (the history of campursari) joko wiyoso stafpengajar jurusan sendratasik, fakultas bahasa dan seni, universitas negeri semarang abstrak seiring popularitas campursari, berkembang pula pertanyaan siapa sebenarnya penggagas ataupun penemu campursari tersebut seiring pula dengan semakin merosotnya popularitas campursari, pertanyaan tersebut belum mendapat jawaban yang pasti. berangkat dari pertanyaan tersebut, penulis berusaha mencari jawaban tentang jejak campursari dengan harapan dapat member! kepastian tentang awal-mula atau asal-usul capursari tersebut, berdasar penelusuran yang penulis lakukan, campursari diperkenalkan pertama kali oleh para seniman rri semarang yang dipelopori oleh r.m samsi yang tergabung dalam kelompok campursari rri semarang pada tahun 1953-an. sejak diperkenalkan pertama hingga kurun waktu tahun 70-an, tidak banyak aktivitas yang dilakukan kelompok ini kecuali secara rutin mengisi siaran rri semarang setiap rabu malam. memasuki tahun 70-an, kelompok ini bekerja sama dengan perusahaan rekaman swasta ira rekord, berhasil menyelesaikan 9 album casset rekaman campursari. biarpun sudah menelorkan 9 album, ternyata tidak berpengaruh banyak terhadap eksistensi campursari rri semarang. keberadaannya hanya bersifat lokal dan tidak dikenal secara luas oleh masyarakat memasuki tahun 90-an, berkat sentuhan tangan kreativ manthous, campursari muncul kembali denagn format yang berbeda dengan campursari rri semarang. kemunculan campursari pada era ini ternyata mendapat sambutan yang luar biasa dari masyarakat, dan akhirnya campursari ini dikenal secara luas tidak hanya bersifat lokal, tetapi lebih luas lagi yakni nasional dan bahkan dunia. kata kund: campursari, jejak. a. pendahuluan musik campursari pada era akhir melenium i (tahun 90-an) dan awal-awal melenitun ii (tahun 2000an) mengalami masa-masa ke emasannya. panggung pertunjukan musik di daerah jawa tengah dan diy, lebih didominasi pertunjukan campursari, tidak tertutup ke mungkinan terjadi juga di luar dua daerah tersebut. keberadaan campursari saat itu tidak lagi bersifat lokal, akan tetapi sudah meluas dalam lingkup nasional atau bahkan dunia. indikasi yang memperkuat argumen tersebut anatara lain, ketika campursari gunung kidul (csgk) pimpinan manthous diminta me-meriahkan hari jadi kota jakarta yang ke 473 dalam panggung hiburan di pantai festival ancol jakarta (suara pembaharuan 2000). kelompok vol yin no.2 / mei agustus 2007 108 harmonia jurnal pengetahu an dan pemikiran seni data yang diperoleh diharapkan secara akurat dapat dipakai pijakan atau acuan guna menjawab permasalahan penelitian ini. untuk mendapatkan data yang bersumber dari stunber lisan akan ditempuh dengan melakukan wawancara baik secara bebas serta mendalam kepada para rtara sumber yang terpilih, hal ini sejalan dengan yang dikemukakan thompson (1978) apabila yang digali sumber lisan, wawancara merupakan cara atau usaha yang harus ditempuh untuk mendapatkan data tersebut kemudian untuk mendapatkan data-data dari sumber tertutis dan rekaman, akan ditempuh dengan mengkaji dokumen-dokumen yang tersedia di lapangan baik yang berupa tulisan maupun rekaman. setelah semua data terkumpul selanjutnya dianalisis dengan mengacu teknik analisis data kualitatit yang diajukan rohidi (1992 : 10), yakni dengan langkah mereduksi keseluruhan data, mengklasifikasi sesuai kategorinya, menginterpretasi sesuai dengan tujuan penelitian, kemudian langkah berikutnya penyajian data dan diakhiri verifikasi atau penarikan simpulan. c. hasil penelitian dan pembahasan untuk mengawali penelusuran asal-usul campursari, penulis berusaha mengumpulkan informasi guna menentukan "sasaran yang tepat baik mengenai lokasi atau daerah maupun perorangan ataupun kelompok dan bahkan instansi, yang terkait erat dengan awal kemun-culan campursari tersebut. manthous (1999 : 2) sebagai penggagas campursari era 90-an menyebutkan bahwa campursari pertama kali muncul di rri semarang pada pertengahan tahun 60-an. kemudian kelly puspita seorang seniman semarang, juga menyebut bahwa rri semarang yang pertama kali memperkenalkan campursari pada tahun 60-an. selanjutnya anjar ani walaupun menyebut bahwa yang pertama kali memperkenalkan campursari adalah s.darmanto pada tahun 69-an, tetapi bila ditelusuri ternyata s.darmanto sebelum hijrah ke jakarta merupakan anggota orkes rri semarang. sudah barang tentu s.darmanto juga terlibat dalam pemunculan campursari di rri semarang tersebut seperti yang disebutkan dalam dua informasi di atas. berbekal informasi awal tersebut, penulis memfokuskan penelusuran campursari di rri semarang. berdasar keterangan dari beberapa karyawan rri semarang yang penulis temui, memang di rri semarang memiliki acara rutin yaitu siaran campursari yang diisi oleh kelompok campursari rri semarang sendiri setiap hari rabu malam pada minggu i (pertama) dan minggu iii (ke-tiga) selepas acara varia nusantara pukul 21.15 wib sampai dengan pukul 24.00 wib. sayangnya siaran ini dimulai sejak kapan tidak ada dokumen yang menjelaskan hal ini. perlu diketahui bahawa siaran rutin ini masih berlangsung hingga kemunculan campursari era 90-an, namun karena departemen penerangan dibubarkan oleh pemerintah pada tahun 1999, siaran itu mulai tersendat-sendat dan akhirnya berhenti sama sekali pada tahun itu pula. berdasar informasi dari siaran rutin campursari rri semarang tersebut, diperoleh vol viii no.2 / mei agustus 2007 harmonia jurn al pengetahu an dan pemimran sen! data yang diperoleh diharapkan secara akurat dapat dipakai pijakan atau acuan guna menjawab permasalahan penelitian ini. untuk mendapatkan data yang bersumber dari sumber lisan akan ditempuh dengan melakukan wawancara baik secara bebas serta mendalam kepada para nara sumber yang terpilih, hal ini sejalan dengan yang dikemukakan thompson (1978) apabila yang digali sumber lisan, wawancara merupakan cara atau usaha yang haras ditempuh untuk mendapatkan data tersebut. kemudian untuk mendapatkan datadata dari sumber tertulis dan rekaman, akan ditempuh dengan mengkaji dokumen-dokumen yang tersedia di lapangan baik yang berupa tulisan maupun rekaman. setelah semua data terkumpul selanjutnya dianalisis dengan mengacu teknik analisis data kualitatit yang diajukan rohidi (1992 : 10), yakni dengan langkah mereduksi keseluruhan data, mengklasifikasi sesuai kategorinya, menginterpretasi sesuai dengan tujuan penelitian, kemudian langkah berikutnya penyajian data dan diakhiri verifikasi atau penarikan simpulan. c. hasil penelitian dan pembahasan untuk mengawali penelusu-ran asal-usul campursari, penulis berusaha mengumpulkan informasi guna menentukan sasaran yang tepat baik mengenai lokasi atau daerah maupun perorangan ataupun kelompok dan bahkan instansi, yang terkait erat dengan awal kemun-culan campursari tersebut. manthous (1999 : 2) sebagai penggagas campursari era 90-an menyebutkan bahwa campursari pertama kali muncul di rri semarang pada pertengahan tahun 60-an. kemudian kelly puspita seorang seniman semarang, juga menyebut bahwa rri semarang yang pertama kali memperkenalkan campursari pada tahun 60-an. selanjutnya anjar ani walaupun menyebut bahwa yang pertama kali memperkenalkan campursari adalah s.darmanto pada tahun 69-an, tetapi bila ditelusuri ternyata s.darmanto sebelum hijrah ke jakarta merupakan anggota orkes rri semarang. sudan barang tentu s.darmanto juga terlibat dalam pemunculan campursari di rri semarang tersebut seperti yang disebutkan dalam dua informasi di atas. . berbekal informasi awal tersebut, penulis memfokuskan penelusuran campursari di rri semarang. berdasar keterangan dari beberapa karyawan rri semarang yang penulis temui, memang di rri semarang memiliki acara rutin yaitu siaran campursari yang diisi oleh kelompok campursari rri semarang sendiri setiap hari rabu malam pada minggu i (pertama) dan minggu iii (ke-tiga) selepas acara varia nusantara pukul 21.15 wib sampai dengan pukul 24.00 wib. sayangnya siaran ini dimulai sejak kapan tidak ada dokumen yang menjelaskan hal ini. perlu diketahui bahawa siaran rutin ini masih berlangsung hingga kemunculan campursari era 90-an, namun karena departemen penerangan dibubarkan oleh pemerintah pada tahun 1999, siaran itu mulai tersendatsendat dan akhirnya berhenti sama sekali pada tahun itu pula. berdasar informasi dari siaran rutin campursari rri semarang tersebut, diperoleh vol viii no.2 / mei agustus 2007 110 harmonia jurnal pengetahuan dan pemikiran seni sebagai vokalis utama musik keroncong rri semarang. campursari rri semarang mulai saat itu juga secara rutin mengisi siaran radio di rri semarang dengan nama acara musik campursari, yang disiarkan setiap hari rabu malam, pada minggu i dan iii mulai pukul 21.15 wib setelah siaran varia nusantara sampai dengan pukul 24.00 wib. keberadaan musik campursari rri semarang kala itu tentunya tidak sepopuler musik campursari era 90an ini, hal irti terkait erat dengan perkembangan teknologi terutama dalam bidang elektronika sebagai media siar, seperti tv, tape recorder, juga radio(swasta). kala itu tentunya belum berkembang sepesat di era 90an sampai sekarang ini, barang barang tersebut di masa itu masih tergolong barang mewah, hanya orangorang yang betul-betul mampu secara ekonomi yang memeliki barangbarang tersebut. namun demikian keberadaan musik campursari rri semarang kala itu juga dikenal masyarakat di luar semarang, hal ini terbukti campursari rri semarang pernah ditanggap di daerah rembang dan pati terutama oleh etnis cina. di daerah semarang sendiri kala itu jarang masyarakat yang meminta pentas (nanggap ), hanya sesekali waktu secara pribadi bapak munadi gubernur jawa tengah saat itu minta campursari rri semarang untuk pentas di gubernuran. selama kurun waktu 20 tahun sejak berdiri tahun 1953 sampai dengan pertengahan tahun 1970, aktivitas musik campursari rri semarang selain secara rutin mengisi siaran radio di rri semarang sendiri, juga sesekali menerima permintaan pentas di luar oleh masyarakat. memasuki tahun 1978, kelompok musik campursari rri semarang berusaha menyebarluas kan keberadaannya agar lebih dikenal secara luas oleh masyarakat dengan jalan memasuki dunia rekaman. perusahaan rekaman yang bekerja sama dengan campursari rri semarang adalah ira record semarang. berdasar data yang ter simpan di perusahaan rekaman ira record menunjukan bahwa pada tahun 1978 hingga tahun 1980 pihak ira record berhasil memasarkan sembilan album rekaman musik campursari rri semarang. berdasar dokumentasi pihak ira record, rekaman-rekaman tersebut dilaksa-nakan masing-masing (1) pada tanggal 21 juli 1978, (2) pada tanggal 10 september 1978, (3) pada tanggal 18 mei 1979, (4) pada tanggal 25 januari 1980, dan (5) pada tanggal 15 februari 1980. rekaman pertama meng-hasil kan dua buah album cassette yaitu, (1) album cassette berkode kmb 001 dengan lebel "resepsi" album rekaman ini berisi 10 lagu yaitu, kencono katon wingko, bawa dhandlianggula dhawah paman doplang, resepsi, mesem, sundari, kenya madura, pangatag, pawarta, sumpah palapa, dan gula klapa. (2) album cassette berkode kmb 022 berlebel "ngalamuning ati". cassette ini berisi 11 lagu yaitu, ngalamuning ati, jineman uler kambang dilanjutkan buta-buta galak dan luruluru widara , putri gunung, swara suling dilanjutkan sopir becak, jani rukun, aja lamis, ngimpi, nawala, wuyung, potretmu, dan sekar gadung. rekaman kedua menghasilkan dua buah album cassette yaitu, volume viii no.2 / mei-agustus 2007 111 harmonia jurnal pengetahuan dan pemikiran seni sebagai vokalis utama musik keroncong rri semarang. campursari rri semarang mulai saat itu juga secara rutin mengisi siaran radio di rri semarang dengan nama acara musik campursari, yang disiarkan setiap hari rabu malam, pada minggu i dan hi mulai pukul 21.15 wib setelah siaran varia nusantara sampai dengan pukul 24.00 wib. keberadaan musik campursari rri semarang kala itu tentunya tidak sepopuler musik campursari era 90-an ini, hal ini terkait erat dengan perkembangan teknologi terutama dalam bidang elektronika sebagai media siar, seperti tv, tape recorder, juga radio(swasta). kala itu tentunya belum berkembang sepesat di era 90-an sampai sekarang ini, barang barang tersebut di masa itu masih tergolong barang mewah, hanya orang-orang yang berul-betul mampu secara ekonomi yang memeliki barang-barang tersebut. namun demikian keberadaan musik campursari rri semarang kala itu juga dikenal masyarakat di luar semarang, hal ini terbukti campursari rri semarang pernah ditanggap di daerah rembang dan pati terutama oleh etnis cina. di daerah semarang sendiri kala itu jarang masyarakat yang meminta pentas (nanggap ), hanya sesekali waktu secara pribadi bapak munadi gubernur jawa tengah saat itu minta campursari rri semarang untuk pentas di gubernuran. selama kurun waktu 20 tahun sejak berdiri tahun 1953 sampai dengan pertengahan tahun 1970, aktivitas musik campursari rri semarang selain secara rutin mengisi siaran radio di rri semarang sendiri, juga sesekali menerima permintaan pentas di luar oleh masyarakat. memasuki tahun 1978, kelompok musik campursari rri semarang berusaha menyebarluas kan keberadaannya agar lebih dikenal secara luas oleh masyarakat dengan jalan memasuki dunia rekaman. perusahaan rekaman yang bekerja sama dengan campursari rri semarang adalah ira record semarang. berdasar data yang ter simpan di perusahaan rekaman ira record menunjukan bahwa pada tahun 1978 hingga tahun 1980 pihak ira record berhasil memasarkan sembilan album rekaman musik campursari rri semarang. berdasar dokumentasi pihak ira record, rekaman-rekaman tersebut dilaksa-nakan masing-masing (1) pada tanggal 21 juli 1978, (2) pada tanggal 10 september 1978, (3) pada tanggal 18 mei 1979, (4) pada tanggal 25 januari 1980, dan (5) pada tanggal 15 februari 1980. rekaman pertama meng-hasil kan dua buah album cassette yaitu, (1) album cassette berkode kmb 001 dengan lebel "resepsi" album rekaman ini berisi 10 lagu yaitu, kencono katon wingko, bawa dhandhanggula dhawah paman doplang, resepsi, mesem, sundari, kenya madura, pangatag, pawarta, sumpah palapa, dan gula klapa. (2) album cassette berkode kmb 022 berlebel "ngalamuning ati". cassette ini berisi 11 lagu yaitu, ngalamuning ati, jineman uler kambang dilanjutkan butabuta galak dan luru-luru widara , putri gunung, swara suling dilanjutkan sopir becak, jani rukun, aja lamis, ngirnpi, nawala, wuyung, potretmu, dan sekar gadung. rekaman kedua menghasil-kan dua buah album cassette yaitu, volume viii no.2 / mei-agustus 2007 112 harmonia jurnal pengetahuan dan pemikiran seni (1) album cassette berkode kmb 026 dengan lebel "lela ledhung". cassette ini berisi 10 lagu yaitu, lela ledhung, putra sala, sefya tuhu, panjenina, putra nusantara, yen ing tawang ana lintang, wanita sulistya, ngelam-elami, saputangan mu, dan andheng-andheng. (2) album cassette berkode kmb 033 denagn lebel "jenang gula". cassette ini hanya side a yang berisi rekaman campursari rri semarang, untuk side b berisi rekaman lagu-lagu keroncong oleh o.k. suara kencana. side a yang berisi rekaman campursari rri semarang berisi 5 lagu yaitu jenang gula, ondheondhe, kuwi opo kuwi, impenku, marikangen, dan piwelingku. rekaman ketiga menghasilkan sebuah album cassette yaitu, album cassette berkode kmb 029 berlebel "ager-ager cao". cassettte berisi 11 lagu yaitu, ager-ager cao, ledhung-ledhung dilanjutkan walang kekek, jangan terong, nusul, pariwisata, petis manis, kecik-kecik, payungan, ngundha layangan, kacu, dan asrining ratri. rekaman keempat menghasil kan dua buah album cassette yaitu, (1) album cassette berkode kmb 052 berlebel "bengawan sala". cassette ini berisi 11 lagu antara lain, bengawan sala, putri gunung, gethuk lindri, sepur truthuk, andhe-andhe lumut, tanjung perak, tandha mata, welasana, getun, manis, dan widuri. (2) album cassette berkode kmb 052 berlebel "rahayu". cassette ini berisi 9 lagu antara lain, sekar gadhung, rahayu, bawa dhandhanggula turu lare dhawah putri gunung, jula-juli, payungan, potretmu, wedang rondhe, dhingklik oklak-aklik, dan pangkur lamba. rekaman kelima menghasil kan dua buah album cassette yaitu, (1) album cassette berkode kmb 050 berlebel "mbulan ndhadhari". cassette ini berisi 10 lagu antara lam, tlingsingan, oglangan, impenku, rembulan ndhadhari, langensari, sri sadono, manuk-manuk, peuyeum bandung, ketemu maneh, dan pangkur kuwi apa kuwi. (2) album cassette berkode kmb 042 berlebel "mendem katresnan". cassette ini berisi 12 lagu antara lain, pring ireng, mendem katresnana, pangling, elinga bebaya marga, jamujamu, sandhang pangan, sepining ratri, "putri kediri, kowe melu sopo, tetesing waspa, labeling tatu, dan panglinga wonge ora pangling swarane. biarpun musik campursari rri semarang mampu menembus dapur rekaman, akan tetapi musik campursari rri semarang pada waktu itu / tahun 1970-an, keberadaannya masih belum dikenal secara luas oleh masyarakat, di jawa tengah saja pada kurun waktu yang sama masih kalah populer dengan irama langgam keroncong dan gendinggending kreasi ki nartosabdo. hal ini diakui oleh saah seorang vokalis capursari rri semarang era 70-an yang juga seorang pesinden terkenal ngatirah (wawancara 2001), bahwa aktivitas campursari rri semarang kala itu lebih terfokus pada acara siaran rutin radio dan jarang sekali pentas di luar. hal senada dikemukakan kely puspita (wawancara 2001), bahawa keberadaan campursari rri semarang kala itu masih bersifat lokal dan belum dikenal secara luas oleh masyarakat. fenomena ini nampaknya juga tidak menarik perhatian media masa setempat (suara merdeka) untuk mengekspos volume viii no.2 / mei-agustus 2007 113 harmonia jurnal pengetahuan dan pemikiran seni ke dalam berita-beritanya. berdasar penelusuran penulis di lab. suara merdeka, koran-koran terbitan tahvin 70an tidak satupun yang memuat tentang aktivitas campursari rri semarang. salah satu faktor penyebab mengapa campursari kala itu tidak begitu populer seperti langgam kroncong dan gending-gending kreasi ki nartosabdo menurut hemat penelti adalah, bahwa tahuntahun ke munculan musik campursari juga masa-masa semaraknya langgam jawa dan semaraknya gending-gending kreasi baru karya ki nartosabdo. apalagi kalau kita perhatikan dari perbendaharaan lagu-lagu campur sari kala itu, adalah lagu lagu yang diarnbil dari lagu-lagu langgam keroncong, dan gending yang sebagian besar juga mengambil gending-gending kreasi ki nartosabdo. selain itu tidak pernah musik campursari kala itu mempopulerkan sebuah lagu atau dengan kata lain sebuah lagu menjadi terkenal dan dikenal luas oleh masyarakat dari format musik campursari. ketidakmampuan musik campursari mempopulerkan sebuah lagu, mungkin disebabkan oleh tidak adanya seorang pencipta lagu yang secara khusus mencipta lagu khusus untuk musik campursari seperti musik campur sari era 90-an sekarang ini. di ira record semarang sampai saat ini menyimpan rekaman cassette campursari rri semarang yang terdiri dari sembilan album tersebut yang tidak terjual. hal ini bisa juga dijadikan sebuah indikasi bahwa campursari rri semarang kala itu "tidak diminati masyarakat". 2. campursari era 90-an. setelah hampir empat dasawarsa keberadaan musik campur sari kurang dikenal masyarakat secara luas, pada era tahun 90-an musik campursari kembali hadir dengan format yang berbeda dengan musik campursari yang telah ada baik mengenai penggunaan instrumen musik maupun garap musiknya. musik campursari era 90-an memasukan instrumen keyboard dan &ass gitar ekktrik yang tidak digunakan dalam campursari sebelumnya. dari segi garap musik mengakomodasi garap langgam keroncong, gending, dangdut, jaipong. kehadiran musik campursari era 90-an yang dipelopori oleh seorang musisi kelahiran playen gunung kidul yogyakarta yaitu manthous, mendapat sambutan yang luar biasa dari masyarakat dan perkembangan selanjutnya kebera daan musik campursari tidak lagi dikenal secara lokal (daerah ), akan tetapi dikenal secara nasional atau bahkan di era global sekarang ini melalui piranti telekomunikasi yang serba canggih tidak mustahil dunia luarpun sudah mengenai musik campursari. kemunculan musik campursari di era 90-an menurut pengakuan manthous ( wawancara 2001) yang juga penggagas dan pelopor musik campursari era 90-an, diawali dengan kesuksesannya melempar lagu-lagu pop jawa di jakarta. lagu-lagu tersebut antara lain lagu gethuk yang dinyanyikan oleh nur af ni oktavia, serta di susul kesuksesan evi tamala pada tahun 1992 membawakan lagu pop jawa di antaranya kangen. berbekal kesuksesan melempar lagu pop jawa tersebut, manthous kembali ke daerah asalnya playen gung kidul volume viii no.2 / mei-agustus 2007 114 harmonia jurnal pengetahuan dan pemikiran seni dan mencoba mengidupkan kembali musik campursari yang telah lama tenggelam dan tidak pernah mampu berbicara di blantika musik indonesia. dengan fonnat yang berbeda dengan musik campursari yang telah ada baik dari segi penggunaan instrumen maupun garap musik, manthous pada tahun 1993 membentuk kelompok atau group musik campursari yang diberi nama campursari gunung kidul atau csgk. di tahun itu pula manthous dengan biaya sendiri berspekulasi membuat master cassette ke jakarta dengan memboyong seluruh anggota musik campursari yang dipimpinnya. kemudian master cassette yang diberi judul kanca tani tersebut ditawarkan kepada rekannya di semarang yang kebetulan memiliki saudara yang mengelola studio rekaman pusaka record. walaupun bersifat spekulatif, ternyata rekan manthous menerima tawaran manthous untuk menggandakan dan menjual ke pasar. di luar dugaan ternyata pasar menyambut positif dengan ditandai terjualnya kaset ini hingga ribuan kaset. berbekal kesuksesan album pertama yang sifatnya spekulasi tersebut, rekan manthous memintanya untuk membuat album ke-2, merasa kurang memiliki modal yang cukup untuk membiayai rekaman pembuatan master kaset ke jakarta, maka dalam pembuatan album ke-2 yang diberi judul nyidam sari, manthous menggandeng sponsor tunggal yaitu perusahaan bus maju lancar. perjanjian yang disepakati kedua belah pihak adalah, seluruh anggota campursari diangkut ke jakarta wonosari pulang pergi gratis untuk membuat master kaset, dan pihak perusahaan minta dibuatkan dua buah lagu yang judulnya sama dengan nama perusahaan bus tersebut atau semacam lagu promosi. album ke-2 ternyata laku sangat keras dan terjual 1 juta kaset. sejak beredarnya lagu nyidam sari tersebut di masyarakat, sejak itu pula musik campursari mulai digemari dan digandrungi masyarakat serta eksistensinya mulai diakui sebagai sebuah genre musik setara dengan genre musik yang lebih dulu eksis seperti pop, dangdut, rock, keroncong dan yang lain. perubahan merupakan indi kasi terjadinya dinamika kehidupan, campursari nampaknya juga tidak bisa lepas dari proses perubahan itu. selama para pendukung menghenda ki maka tidak ada pula yang mampu mencegah proses situ, karena para pendukung sebenarnya pemilik sekaligus pemberharu campursari itu sendiri. seperti ungkapan kayam (1981 : 39) bahwa masyarakat sebagai penyangga kebudayaan kesenian termasuk di dalamnya, mempunyai peran sebagai pencipta, pemberi peluang untuk bergerak, pelestari, penyebar luas, pengembang dan sekaligus pencipta kebudayaan baru. proses-proses perubahan akan selalu terjadi seiring dinamika kehidupan mayarakat pendukung campursari tersebut, perubahan akan menuju ke arah yang lebih baik atau sebaliknya juga masyarakat sendiri yang bisa menyeleksi, semakin banyak mengalami proses seleksi alam tentunya akan semakin matang pula penampilannya. d. penutup para seniman rri semarang yang dipelopori oleh r.m. samsi merupakan penggagas dan pencetus paduan musik dengan gamelan dengan nama campursari kurang volume viii no.2 / mei-agustus 2007 115 harmonia jurnal pengetahuan dan pemikiran seni lebih pada tahun 1953. di rri semarang pula istilah campursari diperkenalkan untuk menyebut paduan dua buah musik yang berlatar budaya berbeda tersebut. oleh karena itu dapat dikatakan bahwa campursari yang muncul setelah kemunculan campursari rri semarang (campursari era 90-an) merupakan proses continuitas dan perubahan campursari itu sendiri. sekelumit penelusuran campursari ini, mudah-mudahan sedikit memberi informasi kepada para budiman tentang jejak campursari, saelanjutnya bisa digunakan sebagai pijakan ataupun acuan awal untuk penelusuranpenelusuran campursari lebih lanjut. e. daftar pustaka. kayam, umar 1981. seni tradisi masyarakat. sen esni. jakarta: sinar harapan manthous. 1999. "campursari harus pener dan bener." makalah, disampaikan dalam sarasehan musik campursari tanggal 22 februari 1999, di purna budaya yogyakarta rihidi, tjetjep. 1992. "analisis kualitatif" dalam lembar penelitian ikip semarang, no lth.vffl. soedarsono. 2001. metode penelitian seni pertunjukan dan sent rupa. bandung: mspi suara merdeka. 1999. campursari merebak dangdut tergeletak." editorial. suara pembeharuan. 2000. musik campursari makin laris.” editorial. volume viii no.2 / mei-agustus 2007 116 thompson, paul. 1978. the voice of the past: oral history. london : oxfort university press. tabloit struktur. 2000. "campursari semakin diminati". editorial. bahasaan, karena suatu kescnian pada dasarnya adalah ekspresi p ��������� ������ �� ��� �������� ��������� �� �������� ����� ���������� ���������� �� !�����"���#� �� ���!�� ������� �� � ���$�%��� ���� �� �$����� ��$�� � ����� %�#� ������ 3�.'������8�$�����1�$.'���)8��11'+7��/����)����8�$$����#��# �$��8$�����;�8$������$��$.'��'�1��&��8' �1�$.'���&6��*�����6�-����8'����7�����4'�$���� �%�5 ��'.�0������#�.�< ������� �'�'�*(�����#'-��.�-'�$�(��'�6�2����$���,���$���������2�(���)��&�$'��� $����6��)���&�-'�$�(�(�&��#�#��*'��(�#'8�����$�.,���������$��,�&�#�(�����*��,� )�� � ���# � #'�$� � -�#��� � 6��* �&'�)�(��* � �'�6�2��� � $��� � �$�� � �'�6�2��� � $���� *�&-6��*�� � $�6�� )� � 7���� � ���)� � �8���+�8��� � �'&'�$�#�� � �'#&� � #'����� �'�*(��, �)���&���$� � $'��. �&'�**���(���(�&��#�#� �*'��( �#'8�����$�., ������ ���$�� �6��*�#'��#�, �&�#�(� ����*��� �6��*� $'�$�$�, �)������#�#'�$��-�#����6��*� 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6��* � ���� � #����*� -'�.�-��*���#'8����1��*#������������*��6�#���.�#�$����#���6��*��)�,� ��(��� &'�*�(�-�$(�� � ('���8��*�� � #'-��. � �'�6�2��� � $���� � �'$��� � -�*��� � )���&� �'�6�2��� � $��� � 6��* � )�&�(#�), � �&#��*+&�#�� �&�#�. �&'&���6�� � #�� �*���� 6��*�&'&-'�$�(�#$��($�� �-���� �7'�(��$ �)'�*��� ��� ���$�( �('�'�����������#�#� �'-�. �)'���, �-�#� �#'$���#��-�*��� �#�&��� � ('-�*��� �6��* � $'�('8�� �)������#�#� #'8����$'�#'�)��� �#'.��*��(')'$�����������#�#�$��� � �$��#'(�������&'�**���(��� �'�)'(�$���$'����6��*�-'��#���)���������$'�����'�**������#�'-��.�#�2����$���� )���$�)���(�(�����'����#$��($�����1��*#������ ���)8��11'+7��/��)����)�#��������&�� ��$������*��#�#����)���$�)�2�)�(���#���.�#�$���'�$�&-��*����'�)'(�$���6��*� ��$�$�)��'�.$��*(�����$�(�)�2�)�(������$������#�#� �������������� ��������������� !!" ��������� ������ �� ��� �������� ��������� �� �+&�� ���&�)� ���*%'�$, ���(�' ����, � �@@d� � ��#����*� � ��#6���(�$ � �')��* � 7'�('&-��*� � �(��$��0���2�����1��)���'�#�)�, �.��&�,�������@ab����(�(+��(�(���$������*��7)��6��� �(��$��0����&')��� ����'��,��@ab�� �'&'�+'�'&'���#�����&��#�#��������f�*6�(��$��0���*���*� �����#�.,��@@�����������'�'��$����3$�.����5��������6�-�)�� �/���'�*�.�0���2���� $'�$��*��'��$���������)�����#�(���'&����*�0��'&��$�������'&����*� +++++++++++, � �@@@� �������� ��'�'��$��� � 3$�.�� � ��5� � $��� ���6��)� � �/���'�*�. � 0� ��2����$'�$��*��'��$���������)�����#�(���'&����*�0�������'&����*� +++++++++++,� !!!�����������'�'��$���������#�#����$�#���$�#���)���������&-6��*��� ��6�-�)��9���6�.� �/���'�*�.����'&����*�0�������'&����*� ���*�6��$�,�������@ac�����'�*��1��� �(��$��0��'�)�(-�)� �������������� ��������������� !!" 58 smart kinesthetic measurement model in dance composision dinny devi triana department of dance education, universitas negeri jakarta, indonesia received: december 19, 2016. revised: march 29, 2017. accepted: april 15, 2017 abstract this research aimed to discover a model of assessment that could measure kinesthetic intelligence in arranging a dance from several related variable, both direct variable and indirect variable. the research method used was a qualitative method using path analysis to determine the direct and indirect variable; therefore, the dominant variable that supported the measurement model of kinesthetic intelligence in arranging dance could be discovered. the population used was the students of the art of dance department and were chosen by using purposive sampling technique so that the kinesthetic intelligence could be well measured. the result of this research was that the correlation between the ability in perceiving movement and the ability in conveying movement was 3.8048. the correlation between the ability in perceiving movement and kinesthetic intelligence was 0.3137. the correlation between the ability in perceiving movement and arranging a dance was -0.3751. the correlation between conveying movement and kinesthetic intelligence was 0.1333. the correlation between conveying movement and arranging a dance was -0.2399. the correlation between kinesthetic intelligence and arranging a dance was 0.8529. these result proved that kinesthetic intelligence has significant influence to the ability in arranging a dance. it could be concluded that a smart assessment model of kinesthetic intelligence in arranging a dance that was needed should measure the kinesthetic intelligence first while the ability to perceive and convey movement became the supporting element to strengthen the kinesthetic intelligence in arranging a dance. keywords: measurement; perceiving movement; conveying movement; kinesthetic intelligence; arranging a dance how to cite: triana, d. d. (2017). smart kinesthetic measurement model in dance composision. harmonia: journal of arts research and education, 17(1), 58-67. doi:http://dx.doi.org/10.15294/harmonia.v17i1.8257 harmonia : journal of arts research and education 17 (1) (2017), 58-67 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i1.8257 that is used to determine and to accurately respond and is used as a stimulus), and 2) time movement (mt – the time that is related to censoric and motoric control). a similar result was also found by almeida et al., (2010) in her research that stated the importance of education psychology, psychometric test, and culture in evaluating human intelligence by doing contextual assignment because the human intelligence consists of various cognitive aspects not only the verbal aspect and logic. both introduction kinesthetic intelligence cannot stand alone; it has a close relation to the cognitive ability of the human brain. a previous study related to the research had been done by roberts, stankov, pallier, dolph (1997) that categorized cognitive ability as kinesthetic ability inside human intelligence structure. this construction is actually a combination of two factors of mental velocity, they are: 1) time decision (dt – time p-issn 2541-1683|e-issn 2541-2426 corresponding author: jl. rawamangun muka, rt.11/rw.14, rawamangun, jakarta timur, 13220 e-mail: dinnydevi@unj.ac.id dinny devi triana, smart kinesthetic measurement model in dance composision 59 results proved that human intelligence is a complex cognitive structure and one of which is kinesthetic intelligence. according to bulmenfeld-jones (2009) kinesthetic intelligence in dancing is not the ability to do a difficult movement, to memorize a sequence of movement, accuracy of movement, nor it is the ability to create a movement, but it is an ability of the human body to move in the way of thinking. dancing and developing kinesthetic intelligence is self-actualization process, not the product of it. talent and multi-intelligence that support cognitive, affective, and psychomotoric are part of the ability in arranging a dance because there are sense, feeling, and trial inside of it. according to gardner (2003) kinethetic inttelegence is the ability to finish a problem or product using whole or half parts of someone’s body. then, according to amstrong (2002) kinesthetic intellegence consists of spesific physical abilities such as coordination, balance, skill, strength, flexibility, and speed. it also includes the ability to receive stimulus and jobs that involve touch such as craftman, scluptor, mechanic, surgeon. based on the explanation above, it can be concluded that the core elements of the bodily-kinesthetic intelligence are control of one’s bodily motions and capacity to handle objects skillfully (grow, 2011) in which the core element of kinesthetic intellegence is the control of the movement to handle the object skillfully. the kinesthetic intellegence is one of a psychological measurement tool that can be measured through attitude, stankov (1999) revealed that someone’s intelligence could be seen by judging his movement ability by using psychometry. this measurement is determined based on a particular unit of measure that is combined with a certain fact of the empirical object. as explained by cangelosi (1995) measurement is a process of collecting data through empirical observation. measurement is a set of rules for assigning numbers to represent objects, traits, attributes or behavior (reynolds, ronald, victor, dalam reynold, 2009). according to sumadi (2000) the benefits of psychological measurement using quantitative approach are: 1) the measurement can be described clearly and accurately, 2) the order of thinking and work is systematic and consistant, 3) the measurement can be analyzed by using statistic, and the result can be predicted, 4) the degree of interchangeability is high because it is an open activity so it can be re-tested (reynold, 2009). however, one of the disadvantages of quantitative-qualitative measurement is that it does not reflect the real condition, and even deviate from it. to resolve this problem, the measurement tool must guarantee the suitability of the qualitative data and the condition of the represented attribute. measuring the kinesthetic intelligence in arranging a dance is needed because the process of dance creation is related to the process of resolving the problem that is revealed through movement; therefore, the choreographer is responsive in solving the problem and creating new dance arrangement as the result of his creative thinking as described by bloom (1979) in the theory of psychomotor. meanwhile, harrow described the kinesthetic as the ability in perceiving movement based on the purpose of the movement itself (harrow, 1972). in perceiving movement, integrating a physical function that coordinate between brain as the center of information and control is needed, in which the information is received and processed, then transferred by the motoric neurons to create movement. hence, the interpretation captured as the information is known as interpretation. the ability to perceive movement is very useful in developing the achievement of cognitive, affective, and psychomotor domain in learning, especially in arranging a dance or choreography. this is an ability to interpret stimulus so that the decision making in facing the environment is easier. the stimulus received by the neurons to observe various movement variations in developing the perceptual ability depends on the ability to perceive information. rahantoknam (1968) in dwiyantoro harmonia : journal of arts research and education 17 (1) (2017): 58-6760 (2009) explained that there are two types of processing information, they are 1) the perception of given information. 2) the decision to do the motoric activity. perception is a process of gathering, selecting, combining, organizing, and interpreting information. the function to perceive something efficiently is to develop effective, cognitive, and psychomotor domain that can support stimulus interpretation. someone is able to adjust to his environment because the existence of the cognitive and psychomotor activity that refers to the ability in perceiving. it is clear that people should have maximum ability to act through stimulus and a chance to explore various movements as a medium to develop the perceptual ability in perceiving everything. in dancing, this process is needed when responding to information that can divert control from perception to feeling so that it becomes a meaningful movement and has aesthetic and artistic value, in accordance with the definition of dancing as a rhythmic and beautiful movement. based on that, in dancing, especially regarding the ability in arranging a dance, movement perception is needed. because when information from the outside is captured as a movement response, the movement will be flawless, has characteristic, and even a theme. similar to the statement of blumenfeld-jones, gress, & purpel (2009) that movement response is not only needed to show movement, but it includes also the need to move, to feel the movement, and to think of a movement. relevant to the essence of dancing as a movement related to the psychomotor, the ability to perceive a movement (perceptual ability) according to harrow (1972) combined cognitive ability and movement. the perceptual ability in dancing is related to stimulus and the ability to solve the problem with movement so someone that has kinesthetic intelligent needs to have sensory sensitivity to respond to action and chance in exploring movement variations. besides the ability to perceive movement, a choreographer needs to convey the movement in the form of dancing so that the meaning can be understood, communication is the basic of problem solving, the ability to communicate is the ability in conveying a message, both verbally and non-verbally. communicating can be interpreted as conveying and gathering facts as well as the concept of knowledge in the form of voice, visual (dimyati dan mudjiono, 1999). similarly, according to cartono, funk in dimyati dan mudjiono (1999) the ability to communicate can be identified as: 1) the ability to express the argument in writing, 2) the ability to explain the result of observation, 3) the ability in arranging and delivering work result. communicating can be interpreted as conveying and gathering facts, concepts, principle of knowledge in the form of writing, picture, and movement or performance; for example, by discussing, declaring, performing, expressing, reporting (in the form of verbal, written, movement, or performance) according to baroody (1993) there are five aspects of communication, one of them is related to movement. this aspect is representing, it is (a) the form as a result of problem translation or idea, (b) translation of a diagram or physical model inside a movement symbol or words, (c) translation of words into a table, diagram or graphic. representation is useful for explaining a concept or idea, and can be used to find a strategy to solve a problem. dancing is a communication that can be expressed through movement. a good dance movement is a movement that can be understood by other people in the form of representative movements or symbols and movement meaning. harrow (1972) described it as: non-discursive communication is the classification level composes of behaviors which can be labeled forms of movement comunication. these forms of movement behavior encompass a wide variety of conveying movements ranging from facial expresion, postures, and gestures to sophisticated modern dance choreographies. dinny devi triana, smart kinesthetic measurement model in dance composision 61 this shows that communication in dance movement is a level of classification that is arranged and can be made meaningful so that it can be communicated. the forms of conveying movement attitude include various movements such as facial expression, posture, and body movement for the choreography of sophisticated modern dancing. based on that, the major ability that is required for a choreographer in arranging a dance is kinesthetic intelligence but it is not the only one. kinesthetic intelligent is also related to the time that is needed to be done through movement, but one of the abilities that is related to cognitive is movement perception. meanwhile on the domain that is related to the affective result of the dance arrangement will be related to the ability to communicate the movement, because dance is a non-verbal expression that is used as a medium of communication. based on that, this research aimed to find an assessment model that can assess kinesthetic intelligence in arranging a dance from several influencing variables, both directly and indirectly. those variables are movement perception, movement communication, dance arrangement ability, and kinesthetic intelligence. method the research method used was quantitative correlation technique in order to give clear description between direct variable and indirect variable that influence the dependent variable. the associative hypothesis test was done to test the relation between movement perception, movement communication, kinesthetic intelligence, and arranging a dance. the double correlation test was used when the ability of movement perception and the ability of movement communication and kinesthetic intelligence influenced the ability to arrange a dance simultaneously. to predict how the ability of movement perception, the ability of movement communication variable, and kinesthetic intelligence influenced on the dance arrangement, regression analysis test was done. meanwhile, to find out the contribution of each variable to the dependent variables, partial correlation test was used. research design figure 1. structure of the influence on the hypothesized research variable description: x1: the ability of movement perception x2: the ability of movement communication x3: kinesthetic intelligence x4: dance arrangement ρ : path coefficient ɛ: error or other factor (another variable) population and sample population and sample in this research were collected by using purposive sampling technique. the sample was taken from the population that had suitable characteristics based on the specified requirement. the number of the sample was 17 people, taken from student population who took dance composition knowledge and choreography ii class which consisted of 26 students, so it was around 80% of the population. the technique of sample collection was done by using formula (bungin, 2005, p.105): 1)( 2 + = dn nn description: n = the required number of the sample n = number of population d = precision number (90% or a = 0,1) harmonia : journal of arts research and education 17 (1) (2017): 58-6762 p.72) was the score of the students that was obtained from observation test using measurement scale to find out (1) skill development that showed basic movement to discover physical movement ability, (2) the ability to receive stimulus (physical abilities) to measure the ability in responding to various reponses, (3) the ability to express, solve or create a problem solution through movement (perceptual ability) to discover perceptual ability from various themes, and (4) the ability to express idea and emotion through movement (nondiscursive communication). plan the result of the instrument test was 1) movement perception instrument, 7 points valid with α = 0.92, 2) movement communication instrument, 10 points valid with α = 0.98, 3) kinesthetic intelligence movement instrument, 11 points valid with α = 0.92, 4) arranging a dance instrument, 8 points valid with α = 0.92. pre-requirement test was done by using lilliefors test to test the normalizathe technique of collecting data was done through observation by providing observation sheet. the instrument sheet consisted: 1) dance arrangement instrument, 2) kinesthetic intelligence, 3) movement communication, and 4) movement perception. those instruments were the variables that were predicted can be a smart kinesthetic measurement in dance arrangement. kinesthetic intelligence instrument conceptual definition kinesthetic intelligence was the ability to process, interpret, and express by using the whole or half of someone’s body skillfully, based on the idea or emotion that can be expressed through movement, including handling things quickly and accurately to create a thing (triana, 2012, p. 71). operational definition operationally kinesthetic intelligence in arranging a dance (triana, 2012, table 1. the plan of kinesthetic intelligence instrument variable dimension indikator point number kinesthetic intelligence basic movement abilities movement reorganization creating a coordinated sequence of movement of the head, feet, and hand 1,2 3, 4 2 2 2. physical abilities 1. doing sequence of movement using property 2. respond to the given stimulus quickly and accurately 6, 7, 8 9, 10 3 2 3. perceptual abilities 1. themed movement performance with music 2. movement performance based on specified dramatic 12, 13 14, 15,16 2 3 nondiscursive communication internalization of movement based on the theme of the dance 19 1 dinny devi triana, smart kinesthetic measurement model in dance composision 63 tion of the data. after the test was done, then regression linearity test was conducted. this test was conducted if the data and regression equation fulfilled the requirement. after that, path analysis was done by using path coefficient between exogenous variable and endogenous variable. path coefficient hypothesis test was conducted using t-test to find out the influence of direct variable. results and discussion pre-requirement test the data were the ability of movement perception (x1), the ability of movement communication (x2), kinesthetic intelligence (x3), and dance arrangement (y). in this research, the endogenous variable was arranging a dance (y) and the intervening variable were kinesthetic intelligence (x3) and the ability of movement communication (x2), while the exogenous was the ability of movement perception (x1). the result of the statistic of prerequirement test through normalization test showed: 1) the normalization test of measurement error regression of y on x1 was = 0.0848, 2) the normalization test of measurement error regression of y on x2 was = 0.1092, 3) the normalization test of measurement error regression of y on x3 was = 0.1434, 4) the normalization test of measurement error regression of x3 on x1 was = 0.1347, 5) the normalization test of measurement error regression of x3 on x2 was = 0. 1465, 6) the normalization test of measurement error regression of x2 on x1 was = 0.1549. the result of error normalization test showed that it has smaller value than (n=17; α = 0,05), the amount of the result was 0.206. therefore, the distribution of the data from each variable tended to form normal curve. the next step was conducting correlation analysis by observing the distribution and signification of the relationship between exogenous variable pair and endogenous variable. linearity test and regression signification were conducted through un-variant regression test, a linearity test and regression coefficient signification based on the constructed path. below was the result of linearity test and signification test. discussion overall, there are six hypothesizes that were tested in this research and it was proven that there were two hypothesizes that showed linear relationship and significant influence, they were x4 on x3, and x2 on x1, moreover there were four hypothesizes that showed linear correlation but the influence among the variables were insignificant, they were x4 on x1, x4 on x2, x3 on x1, and x3 on x2. the hypothesis test was 1) regarding direct influence of movement perception ability (x1) on arranging a dance (x4), 2) regarding direct influence of movement communication ability (x2) on arranging a dance (x4), 3) regarding direct influence of kinesthetic intelligence (x3) on arranging a dance (x4), 4) regarding direct influence of movement perception ability (x1) on kinesthetic intelligence (x3), 5) regarding direct influence of movement communication ability (x2) on kinesthetic intelligence (x3), and 6) regarding direct influence movement perception ability (x1) on movement communication ability (x2). the result of the research showed that movement perception ability, movement communication variable had an indirect influence on dance arrangement while kinesthetic intelligence has direct influence on dance arrangement. it would be discussed based on the finding and the result of hypothesis test as follow: there was a correlation between movement perception ability and dance arrangement. the research result showed that there was an influence of movement perception on dance arrangement. this explained that movement perception ability was one of the abilities that supported psychomotor ability which was an ability to integrate physical function that coordinated brain as the center of information and control (stankov, 1999), in which these information were received and processed, harmonia : journal of arts research and education 17 (1) (2017): 58-6764 table 2. the result of linearity test and regression signification test reg equation signification test linearity test conclusion fhitung ftabel α = 0,05 fhitung ftabel α = 0,05 x4 on x1 x̂4 = 127.325 – 0.519x1 2.456* 4.543 0.636ns 4.735 insignificant/ linier regression x4 on x2 x̂4 = 154.297 – 0.206 x2 0.916* 4.543 0.475ns 4.099 insignificant/ linier regression x4 on x3 x̂4 = 164.257 – 0.257x3 40.039** 4.543 4.611ns 8.745 very significant/ linier regression x3 on x1 x̂3 = 112.903 – 0.278 x1 1.637* 4.543 1.476ns 4.735 insignificant/ linier regression x3 on x2 x̂3 = 104.880 – 0.151 x2 0.272* 4.543 0.624ns 4.099 insignificant/ linier regression x2 on x1 x̂2 = 50.613 + 0.550 x1 14.535** 4.543 1.425ns 4.735 very significant/ linier regression description: **: very significant *: insignificant ns: non-significant (linier regression) table 3. result recapitulation of hypothesis test hypothesis statistic test thitung ttabel decision conclusion movement perception ability directly influenced dance arrangement h0 : β41 ≤ 0 h1 : β41> 0 -0.572 2.110 h0 accepted had no influence movement communication ability directly influenced dance arrangement h0 : β42 ≤ 0 h1 : β42 > 0 -0.287 2.110 h0 accepted had no influence kinesthetic intelligence directly influenced dance arrangement h0 : β43 ≤ 0 h1 : β43 > 0 5.493 2.110 h0 rejected had direct influence movement perception ability directly influenced kinesthetic intelligence h0 : β31 ≤ 0 h1 : β31 > 0 -1.024 2.110 h0 accepted had no direct influence movement communication ability directly influence kinesthetic intelligence h0 : β32 ≤ 0 h1 : β32 > 0 0.290 2.110 h0 accepted had no direct influence movement perception ability directly influence movement communication ability h0 : β21 ≤ 0 h1 : β21 > 0 3.570 2.110 h0 rejected had direct influence of it, and not only the ability to intergrate the brain function that was expressed in movement. arranging a dance needed a complex ability, not only an ability to perceive movement but also other influenced variables. the ability to perceive movement was a part of psychomot taxonothen transferred by motoric neurons into a movement (harrow, 1972). however, movement perception ability did not directly influence or relate on dance arrangement, this was similar to the statement of blumfeld-jones (2009) because this ability was a process self-actualization, not a product dinny devi triana, smart kinesthetic measurement model in dance composision 65 mi that was stated by harrow (1972), that was shown in the third level in theory of psychomotor. therefore, arranging a dance was not an ability that directly related to psychomotor even though psychomotor was one of the supporting elemnt in arranging a dance. there was a correlation between movement communication ability and arranging a dance. ability to communicate 1) expressing a written idea, 2) ability to explain the result of obeservation, 3) ability to arrange and deliver work result. in dancing, the movement was a tool of communication that was needed to be understood by other people in form of representational movement or symbols and meaning of movement. conveying movement was the sixth level of the psychomotor theory that was stated by harrow (1972), this level was the highest level of psychomotor. however, in arranging a dance, psychomotor was one of the supporting parts. hence, the movement communication ability had a correlation toward arranging a dance even though it had no direct influence. there was kinesthetic intelligence in arranging a dance. kinesthetic intelligence was one of the intelligences that according to gardner (2003) was an ability to solve problem or product by using the whole or half part of the human body that was usually possessed by a dancer, an athlete, a surgeon, and a craftman. this intelligence was needed by a choreographer in arranging a dance; therefore, in could be said that kinesthetic intelligence has correlation and direct influence toward dancing arrangement. this was similar to the statement of roberts, stankov, pallier, dolph (1997) that classified cognitive as the kinesthetic ability inside the structure of intelligence, according to them, one’s ability could be measured through his kinesthetic ability. there was a correlation between movement perception ability and kinesthetic intelligence. as stated by harrow (1972) that movement perception ability was one of the abilities that intgrate phsycal function that coordinated brain as the center of information and control, in which this information were received and processed, then transferred by motoric neurons to become a movement. brain function was a mental ability that involved process of thinking rationally. therefore, there was a relation between movement perception and knesthetic intelligence even though it had no direct influence. this was in line with the statement from bulmenfeld-jones (2009) as a choreographer, that kinesthetic intelligence was not only the ability to do a difficult movement, memorize the sequence of movement, or the ability to create movement, because there were a process of self-actualization toward the need to do a movement. there was a correlation between movement communication and kinesthetic intelligence. kinesthetic intelligence allowed human to build an importan relationship between mind and body so that it allowed the human body to manipulate object, create movement, and ability to communicate using movement such as facial expression (harrow, 1972). based on that, there are connections between conveying movement and kinesthetic intelligence even though it had no direct influence. there was a correlation between movement perception ability and conveying movement. the ability to perceive a movement was a result of brain function that was expressed into a movement pattern, the process that was perceived need to be communicated. therefore, according to lwin (2008) this was a psychomotor ability that combined mental interpretation with a physical response. a dance was often a result of a response that was resulted from the stimulus, then it was expressed through movement (dinny, 2012). therefore, movement perception ability had a direct influence on conveying movement. conclusion this research aimed to find variables information that connected perceiving movement ability, communicating ability, kinesthetic intelligence, dance arrangement, both directly and indirectly. the correlatiharmonia : journal of arts research and education 17 (1) (2017): 58-6766 on could be used as the basic of kinesthetic measurement in arranging dance. based on the result of the research, it can be concluded that: there was a correlation between perceiving movement ability and arranging a dance. the ability to perceive movement was the third level of psychomotor theory, because psychomotor was not directly related to the ability to arrange a dance so it could be concluded that perceiving movement ability had a correlation with arranging a dance but had no direct influence on it. there was a correlation between conveying movement and arranging a dance. conveying movement ability was the highest level of psychomotor theory, because psychomotor was not directly related to the ability to arrange a dance so it can be concluded that conveying movement ability had correlation with arranging a dance but had no direct influence there was a correlation between kinesthetic intelligence and arranging a dance. kinesthetic intelligence was related to a profession that closely involved psychomotor ability, in this case choreographer. therefore, it can be concluded that there was a significant correlation between kinesthetic intelligence and arranging a dance. there was a correlation between perceiving movement ability and kinesthetic intelligence. perceiving movement ability was needed by human brain work the same as intelligence, the difference was in the movement, kinesthetic intelligence was closely related to speed and accuracy in expressing movement that was related to dance, so the expressed movement became meaningful. so, it can be concluded that there was correlation between perceiving movement ability and kinesthetic intelligence even though it was not significant or had no direct influence. there was a correlation between conveying movement ability and kinesthetic intelligence. in dancing, the conveying movement ability was related to a visual expression that needed to be understood by people. so, there was correlation between conveying movement ability and kinesthetic intelligence even though it had no direct influence there was a correlation between perceiving movement ability and conveying movement. both abilities could be found in psychomotor theory so the result of the human brain in perceiving movement then was communicated through visualization to become a dance. therefore, there was a significant direct correlation between perceiving movement ability and conveying movement. based on the finding from the analysis of the variables, there was direct correlation such as perceiving movement with conveying movement variable, and kinesthetic intelligence variable with arranging a dance. therefore, it was suggested to not only pay attention to the perceiving and conveying movement ability but also on kinesthetic intelligence when measuring one’s ability in arranging a dance. however, kinesthetic intelligence could be improved by practicing and structural mentoring through perceiving and conveying movement ability. references amstrong, t. 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(2001). tactile and kinesthetic perceptual processes within the taxonomy of human cognitive abilities. intelligence, 29(1), 1-29. triana, d. d. (2012). disertasi: pengaruh penilaian kinerja dan penguasaan pengtahuan komposisi tari terhadap kecerdasan kinestetik peserta didik dalam menata tari (eksperimen pada peserta didik unj dan upi bandung), jakarta: pascasarjana universitas negeri jakarta. 103 development of the religious character of the nation through learning religious songs: teachers’ perception and challenges j. julia, tedi supriyadi, prana dwija iswara universitas pendidikan indonesia, indonesia submitted: 2022-02-13. revised: 2022-05-22. accepted: 2022-06-01 abstract songs as learning media provide an aesthetic experience for students and can also teach character. academics in many countries pay little attention to this issue because songs are mostly used to memorize foreign language vocabulary. this study investigates teachers’ perceptions of using songs to build students’ character. this study focuses on exploring teachers’ perceptions of the development of religious character as a core character in the curriculum in indonesia through songs. the case study design was employed by involving 45 elementary school teachers spread over several districts in west java province. this research was carried out in several stages; first, by preparing questionnaires distributed online; second, by following up the answers to the questionnaire by conducting in-depth interviews; third, by analyzing the data in an inductive-thematic manner in relation to learning problems, psychological and social issues arose. the research resulted in themes related to teachers’ perceptions of developing students’ religious character through religious songs. four themes were explored in-depth related to teacher appreciation for songs, the benefits of religious songs, teacher challenges, and instructional design. it can be drawn that the song function was not only limited to developing a cognitive domain that functioned to remember and collect facts and data but could also be a means of developing students’ characters, especially religious characters. from the teacher’s perspective, religious songs were able to develop students’ religiosity dimension, including students’ beliefs, worship, appreciation, knowledge, and morals. hence, this study contributes to the importance of developing songs related to religious themes to develop national character. keywords: character education, religious, song learning, teachers’ perception how to cite: julia, j., supriyadi, t., & iswara, p. d. (2022). development of the religious character of the nation through learning religious songs: teachers’ perception and challenges. harmonia: journal of arts research and education, 22(1), 103-118 harmonia: journal of arts research and education 22 (1) (2022), 103-118 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i1.35031 oxford, 2014; mizener, 2008; pérez-carmona et al., 2021) and the findings tend to be less strong (albaladejo et al., 2018). therefore, exploring the use of songs by teachers in shaping students’ character is important. this is in line with the context of education in indonesia that currently runs the 2013 curriculum (hermayawati, 2020; retnawati et al., 2016; rumahlatu et al., 2016; suyanto, 2018). the main feature introduction thre is little attention from empirical studies regarding the use of songs as a strategy to achieve learning goals in schools in shaping students’ character. research related to songs as a learning medium is more focused on efforts to enhance foreign language learning, especially in mastering vocabulary (boothe & west, 2015; kao & corresponding author: e-mail: juli@upi.edu p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 22 (1) (2022): 103-118104 of the 2013 curriculum, which focuses on character building, is an integrated thematic learning approach (maba, 2017; muhtar et al., 2020; nur & madkur, 2014; suherman et al., 2019). implementation of the thematic curriculum can’t be done without music activities (sinaga et al., 2018). through the thematic curriculum, teachers are required to use songs as a medium in delivering teaching materials in class (azimah & utomo, 2018; nugroho, 2021). the consequences of all that require the creativity of teachers to thematically comprehend and compose songs in the learning process as a medium to improve students’ ability to understand the material well and develop imagination, morals, and religious values (ariffin et al., 2019; azimah & utomo, 2018; yeni, 2017). the dilemma is that the results of studies in the field show that only a few teachers in elementary schools, especially in indonesia, have music competence or have a background in music education. this fact also influences the lack of understanding and mastery of the elements contained in the art of music itself (julia et al., 2019, 2020). on the one hand, teachers are required to teach with a thematic approach that is full of character development and musical activities. on the other hand, judging from the educational background of primary school teachers in indonesia, only a few have competence in the field of music. therefore, exploring the strengthening of character education through songs as a demand from the curriculum in elementary schools is interesting to study. several search results related to the use of songs as a learning medium for character development can be found in the research by mahmudah (2019). the results of her research revealed that the folk song entitled manuk dadali can foster the spirit of nationalism. batara (2016) argues that religious songs can be a medium for shaping prosocial behavior. regarding song as a learning medium, supartini et al. (2020) study shows that the song-based learning method has a level of validity, practicality, and efficacy above the benchmark for developing children’s cognitive and psychomotor elements. however, their research does not explore the improvement in affective aspects. some of the research findings only analyze the song material and use the song as a learning method but have not analyzed from the teachers’ perspectives who use the song as a medium in learning. teachers have a significant role in the learning process and student development. in contrast to previous studies, this study was motivated to explore the elementary school teachers’ perceptions of the use of songs to strengthen character education in schools. this study focuses on teachers’ perceptions of strengthening religious characters in the learning process as a core competency in the indonesian curriculum through spiritual songs. theoretical framework at the concept level, perceptions are believed to be an individual’s ability to think and comprehend information or the world we live in through their senses (anderson & stillman, 2013; eggen & kauchak, 2001; ward et al., 2010). perceptions are considered as an information-gathering process based on personal experience or recognizing, organizing, and interpreting information (eggen & kauchak, 2001; karaca & bektas, 2021). this concept implies that the teacher’s perception is the key to the learning process. the context of this research ‘perception’ refers to the understanding or awareness of teachers in doing things that can increase students’ knowledge (nguyen & nguyen, 2020). teachers’ involvement in the learning process in the classroom is critical and strategic. the teachers are no longer the focal point of learning; rather, they serve as a facilitator and motivators. (grasha, 1994). one way teachers might manage learning is to make learning media a vehicle for teachers and students to investigate scientific concepts. the media referred to in this research is the use of music or songs as audio learning media. this becomes important to explore, j. julia, et al., development of the religious character of the nation through learning reli105 considering that music or songs are things that affect life, including children’s life (arief & isnan, 2020). many teachers use songs to help students store and remember information (bradt et al., 2019; tamminen et al., 2017). in addition, music and the voice of the singer have a psychological power to move people’s emotions, making them joyful, sad, calm, comfortable, quiet, and tranquil (livingstone & russo, 2018; peyee et al., 2021). therefore, a song can be motivating, attention-getting in intrinsic ways, and fun for learners of all ages, and it can help them learn better (ludke, 2018; ma et al., 2020). giving musical activities to children is significant to allow them to discover and express their feelings by using several ways that can support it, including explaining children’s musical experiences individually or in groups (sinaga et al., 2018). this indicates that the function of the song is not only to provide an aesthetic experience but also as a means of educating the nation’s character. moreover, mintargo (2018) reveals that song does not only educate a nation’s character, but also in building national awareness, work ethic, and the spirit of national discipline in facing global competition. kim (2017) states that music is an important part of the early childhood curriculum because it helps children improve their cognitive and social-emotional development and aesthetic appreciation. in addition, musical experiences in early childhood education can aid in the development of critical and creative thinking, teamwork, and communication, all of which are necessary skills for success in the twenty-first century (cipta & gunara, 2020). furthermore, a good song needs to establish reciprocal communication with its fans’ environment (puspitasari & herdiati, 2020). for example, children’s songs as songs listened to by children (preschool and elementary school) must be designed according to their thoughts because songs have a significant role in the development of thinking (barrett, 2016). the term “children’s songs” refers to music that is frequently performed by children and poetry that depicts the everyday activities of children (adachi et al., 2004). they addressed how to love god almighty, fellow humans, parents, brothers and sisters, and the beauty of nature expressed in simple language according to the nature of the children’s thinking and can be used to develop ideas, persuade, and educational or moral counsel (gunawan & zulaeha, 2017). therefore, children’s songs are cheerful songs reflecting high ethics (arief & isnan, 2020; gunawan & zulaeha, 2017; muwati & mutasa, 2008). the lack of attention of academics in exploring research on the use of songs as a medium of learning in strengthening student character has become the burning issue of this research. therefore, exploring the teachers’ perception of strengthening religious character through religious songs is novel to fill the research gaps.. therefore, this research is motivated to analyze how the teacher’s perception of religious songs in relation to the character learning process, considering that education is not only a transfer of knowledge but a transfer of values (kosasih et al., 2021; taja et al., 2021). method design this study employs a case study design and a qualitative approach to get and look at the data in a specific context or phenomenon (aliyyah et al., 2020). in some cases, people, students, or school staff who are part of the school community could be chosen (creswell, 2011). case study data were gathered to explain a reallife situation (yin, 2018) thoroughly and to provide participants with an opportunity to voice their opinions and thoughts through narratives and/or self-reflection (given, 2008). this design was quite relevant to the context of this research because it sought to explore in-depth the teacher’s perception regarding the use of songs as a medium of learning in building students’ character. harmonia: journal of arts research and education 22 (1) (2022): 103-118106 a literature review was done to establish the conceptual and operational definitions for the topic of the research, which was data about music or song activities (snyder, 2019). the data collection instrument was developed in line with the operational definition, and the instructions were divided into three major sections: instructions, psychological issues, and social issues. data collection begins with online questionnaires and is completed with semi-structured interviews to elicit more detailed information. analyses of the data were carried out in line with established procedures for examining items and observation indicators (braun & clarke, 2006). participants this research involved 45 elementary school teachers from west java province who came from 6 regencies and two cities: bandung regency, west bandung regency, bekasi regency, sumedang regency, and majalengka regency, and garut regency; also cirebon city and bogor city. the participants were 16 men and 29 women with an average teaching experience of more than ten years, in which 41 teachers had bachelor’s degree and the rest four teachers had master’s degree. the purposive sample technique was applied by distributing online questionnaires via google forms to collect data from colleagues who had access to elementary schools in west java province. when the questionnaires were handed out, 45 teachers (all of them) said they were willing to take part in the research. for reasons of ethics, participants were required to sign a consent form guaranteeing their privacy about their participation in the research project (hett & hett, 2013; shamim & qureshi, 2013). data collection the data was gathered in two steps. to begin, a questionnaire was administered to primary school teachers who were utilizing the 2013 curriculum, which was thematically organized and included music or song activities in the learning process as responses. eleven open-ended questions were included in the survey, which was conducted through the use of google forms. following a review of literature pertaining to our research aims, we came up with questions based on what we learned about how songs might help kids develop their religious character. from august 1 to 25, 2021, a survey was conducted. each participant’s responses were recorded, and the initial code was constructed after the survey data had been gathered. the second stage of data collection was carried out using semi-structured open-ended questions, with 8 of the 45 primary school teachers participated in filling the questionnaire. a semi-structured interview guide was developed to collect in-depth data and keep participants on topic (kavenuke, 2021; muthanna, 2019). the interview guide was created based on the initial cp. the interviews were carried out to collect more meaningful data. from september 1, 2021 to september 3, 2021, interviews were done online for 1.5–2 hours per respondent using the zoom application. two people were interviewed every day, and each of them had a pseudonym and guaranteed confidentiality. data analysis inductive and thematic analyses were used to identify, evaluate, and create themes expressed by participants (galloway & jenkins, 2009). the participants’ responses gathered from the first stage were coded using keywords to avoid overlapping. the nvivo 12 plus program was used to develop coding and categorization. data from surveys and interviews were entered into nodes and cases to be grouped into data with certain codes (jackson & bazeley, 2019; kosasih et al., 2021). in order to understand how concepts were arranged on different levels, thematic maps were used to identify possible connections between concepts (aliyyah et al., 2020). the study team then analyzed all codes and categorization and the idea of integrating codes in order to simplify them. this inductive technique enabled the discovery of themes from responses to research questions proj. julia, et al., development of the religious character of the nation through learning reli107 vided by participants (liu, 2011). based on the results of data analysis related to the perception of school teachers in developing religious characters through religious songs, four major themes, namely teacher appreciation regarding religious songs, the benefits of religious songs, learning strategies and teacher challenges in teaching character through religious songs. this research considered credibility and dependability. the preparation of research instruments refers to representative literature sources involving input from experts in designing instruments, such as character education experts, music experts, and pedagogic experts. this study uses member checking for data accuracy. it is a form of clarification from the research team to the respondents. this shows that the contribution of the data given by the participants has been reflected in the previous data. furthermore, to reduce bias, triangulation is carried out in two stages. triangulation was carried out in two stages to reduce bias in this study. first, researchers were triangulated by involving three researchers at all research stages through regular conferences or focus group discussions on increasing research dependencies. second, the involvement of three researchers in examining the same issues provided different points of view in the investigation, thereby supporting the findings’ integrity(aliyyah et al., 2020). result and discussion teachers’ appreciation of religious songs there were three components of the teachers’ appreciation of religious songs in the context of this research. first are teachers’ views of the concept of religious songs, second, the urgency of religious songs in the context of a teachers’ life, and third is the form of teachers’ appreciation for religious songs as the impact of the first and second components. figure 1 is the concept map. figure 1. concept map of teachers’ appreciation of religious songs appreciation is a process carried out by someone to find or determine the value of an object or event (belke et al., 2010; seabolt, 2001). value is a quality or potential that exists in objects or events that are considered valuable and important to the appraiser (halstead & taylor, 2005). religious songs had an important role in teachers. they were not only something of artistic value but also something full of god’s messages in growing religious awareness. if it is seen from the teachers’ perspective, religious songs were understood as messages wrapped in poetry and music that are able to motivate someone to take religious actions. three teachers expressed the following opinions. for me, religious songs are very important and have an effect on me because religious songs are basically god’s calls in form of poetry and music. (teacher 14) i understand religious songs as works of art that are important to be preserved because they are full of moral values and can motivate a person to do good deeds according to the guidance of his religion. (teacher 21) in my opinion, religious songs are a form of appeal to god’s way (da’wah) from songwriters whose mission is to raise awareness of the listeners to carry out god’s messages. (teacher 27) conceptions related to religious songs and their urgency in these teachers’ harmonia: journal of arts research and education 22 (1) (2022): 103-118108 perspectives determine the way they appreciated works of art. the forms of artistic appreciation for works of religious songs from the standpoint of the teachers were expressed in the form of interpretation of the values contained even more deeply. the interpretation process was carried out in various forms of activities. first, the religious values were explored in a song to find out if it had a creedal, ritual, or moral dimension. second, the value information obtained from the first stage had implications for the process of understanding these values, whether they are in the forms of divine values (theistic values), true and false values (ethical values), or good and bad values (aesthetic values). third, the effects of the values in the song were felt, such as feelings of happiness, calm, serenity, affection, and motivation. fourth, these values were implemented by practicing the values in themselves and connecting them with the material in the learning process related to their profession as a teacher. the benefits of religious songs in the learning process learning media used by teachers during the learning process certainly has its own benefits for teachers: time and energy efficiency (kemp & dayton, 1985). the three benefits were to condition students’ readiness to receive learning materials, comprehensively implement teacher duties, and become a means of teaching religious values. the three benefits are visualized from the data processing results in figure 3. figure 2. concept map of benefits and functions of songs seen from the teachers’ perception, religious songs were able to help them in conditioning students’ readiness to accept the material to be given easily. moreover, starting learning activities with the activity of singing religious songs was able to stimulate students’ psychology in their readiness to receive knowledge transfer. therefore, it had an impact on the focus of students’ attention. some teachers said that: before i deliver the teaching materials, i started the learning activities by singing religious-themed songs to make the students ready and to be more focused. (teacher 5) at the beginning of the learning activity, i invited them to sing songs with religious nuances so that their psychological atmosphere became cheerful and happy. therefore, religious songs became stimuli for students to better prepare themselves for receiving lessons. (teacher 7). the teacher’s perception regarding the use of religious songs as a technique in conditioning students’ readiness to carry out the learning process was in line with what was stated by good et al. (2015) and ludke, (2018), that singing a song can motivate students, make students focus, and build a pleasant atmosphere for students. in addition, in the teachers’ perception, carrying out singing activities with the selection of religious songs at the beginning of learning activities was government’s real effort in carrying out the duties and roles of teachers as educators to carry out the character education strengthening program (ppk, penguatan pendidikan karakter) that had been conducted by the indonesian government (kemendikbud, 2017). one of the main characters developed in the kdp was a religious character (suherman et al., 2019). at the same time, bringing religious songs into the learning process was a form of embodiment of teachers in implementing the demands of the 2013 curriculum, where teachers were required to develop character in relation to religion that students believed as core competencies in j. julia, et al., development of the religious character of the nation through learning reli109 each subject. moreover, for teachers who worked in schools with religious characteristics, religious songs were a necessity. these opinions were submitted by three teachers. for me, the selection of religious songs as a medium in the learning process is not only a learning strategy but a form of my appreciation for government programs related to strengthening character education. in fact, the main character of the indonesian nation is a religious nation as reflected in the first philosophy of the country, which is belief in the one and only god. (teacher 1) in the 2013 curriculum, teachers are required to provide students with core competencies in the learning process in all subjects. the core competence is related to religion, so the use of religious songs is the right choice. (teacher 3) for me, choosing religious songs for early learning activities in addition to being a follow-up form of prayer activities as reinforcement is also a demand from the school that incidentally has religious characteristics. (teacher 6) from the opinions of these teachers, it could be interpreted that the use of religious songs in the learning process contributed to meeting the demands of the duties and responsibilities of teachers as educators. therefore, in teachers’ perception, religious songs were used as a medium in instilling the values of religious teachings where religious teachings generally included three dimensions: the creedal, ritual, and moral dimensions (supriyadi et al., 2019, 2020). in the teachers ‘ perception, creedal values or beliefs instilled in students through religious songs were aimed at growing and strengthening trust. therefore, the themes of the songs chosen were the existence of god, god’s love, god’s power, the angels both in name and in their duties, the prophets, whether related to their biography, history, for example and the doomsday and god’s judgment. in the teachers ‘ perception, the ritual values instilled in students through religious songs were aimed at fostering a strong commitment to the tasks carried out by humans as servants of god. therefore, the themes of the songs chosen were such as cleanliness, worshipping, fasting, zakat, hajj, and praying. likewise, the moral values instilled in students through religious songs were aimed at fostering commendable behavior in human relationships. therefore, the theme of the songs chosen as the theme of kindness to humans included the kindness of parents or peers and songs with the theme of goodness in nature. these opinions were expressed by three teachers. i used religious songs to grow students’ belief in the creator so that they believe in his existence, his power, and god’s day of judgment for every human action, and also to encourage students to do good. (teacher 2) religious songs were useful for growing belief in god and the prophets as messengers of god, and also for strengthening students’ commitment to all obligations from god in order to give birth to virtues (teacher 4) i used religious songs to cultivate the moral ethics of students to display commendable behaviors to both fellow humans and the environment. (teacher 8) regarding the three opinions, which refer to the questionnaire question, “name at least three song titles, maybe more, which you think are appropriate as learning media that can improve the religious character of elementary school students”, we found that at least the answers given by the teacher were sufficient confusing. these songs used foreign languages such as english, for example, number one for me, and insha allah by solo singer maher zein, and ya maulana, deen salam, and ya habibal qolbi from the sabyan gambus music group, whose lyrics are all arabic. if the songs were assumed to be for foreign language learning, they might be relevant. however, if they were used to instill values, when they were translated, the diction was complex enough to be understood by students of elementary school age. in addition, the songs given by the teachers had long lyrics, so the time used by the teachers was questionable. in addiharmonia: journal of arts research and education 22 (1) (2022): 103-118110 tion, we did not find the song from the teachers’ answers that those teachers made. this also indicated that the teacher only used ready-made works. however, among teachers, there had been an opinion that religious songs made a significant contribution to teachers in the learning process, especially in developing religious character as a core competency in every subject. instructional strategy for character development through song an instructional strategy is a set of instructional elements used in instructional activities to attain instructional goals (dijkstra et al., 2013). the learning strategies found in this research were objectives, learning steps, methods, media, time, and learning assessment as presented in the following figure 3. figure 3. concept map of instructional strategy as in the previous point, the songs were used in an effort to grow religious character as a core competency in each subject. to achieve this goal, learning media were required. the use of learning media is aimed at making students easier to comprehend the subject matter (abdo & semela, 2010) by facilitating different learning situations to boost students’ interest and motivation to learn (aini, 2013). the simple media that teachers often used were songs downloaded from youtube or on cds. the time allocated for learning the songs was 10-15 minutes at the beginning of the learning activity. the learning method used by the teachers was to demonstrate the song using a media player guided by the teachers, and followed by the students. to master one song, it took an average of 2-3 meetings at the beginning of the learning activity. in every meeting, the teacher always discussed the content of the song or in a quiz form to explore students’ understanding of the content of the song. then, after that, the teachers explained the values that needed to be practiced by students, and the teacher considered those values to have a correlation with the core material to be studied. several teachers expressed this opinion: the song material that i had chosen and downloaded from youtube was then delivered to students in the initial learning activities by demonstrating directly or through a media player, which was then followed by students. after that, i discussed with the students the moral message in the song. (teacher 5) the religious songs that i got from youtube were then demonstrated in front of the students at the beginning of the learning activity. then, the contents of the songs were discussed and i informed the values that needed to be practiced. these values were then linked with the material to be studied. (teacher 7) i instructed students to listen to the song and memorize it repeatedly until the students mastered the song. at the 3rd meeting, after the students mastered the song, the moral message that students understood was then explored. after the students explained it, i then explained these values to clarify the student’s understanding. (teacher 8) regarding the evaluation, the teachers conducted evaluations in three domains: the cognitive domain to measure knowledge of religious values, the affective domain to measure appreciation and belief, and the psychomotor domain to measure students’ worship practices and j. julia, et al., development of the religious character of the nation through learning reli111 moral behavior. challenges found by teachers in developing religious characters through song some of the challenges faced by elementary school teachers in developing characters through songs could be seen from three aspects: teacher competence, carrying capacity, and student conditions. those challenges are illustrated in the following figure: figure 4. concept map of teachers’ challenges teacher competence is fundamental as it affects students’ motivation to achieve learning goals (ghozali, 2020; symeonidis, 2019; werdayanti, 2008). in the teacher’s perception, the challenge for elementary school teachers in teaching songs was musical competence, which was an insight into chords, rhythms, tones, and vocal techniques. the teachers realized that they did not have a music education background while the current curriculum could not be separated from music activities. in addition, this was also worsened by the lack of mastery of ict that could support teachers in improving music literacy and choosing the right song material. in addition, the support capacity of the school leadership regarding the minimal availability of equipment to support song learning in class and the same interests as colleagues in need of tools made song learning just a routine. this fact had an impact on the lack of student motivation for religious songs, so this could have implications for the achievement of the goal of learning character through the song. some teachers expressed the following opinions: currently, i need to improve my knowledge and skills in music such as chords suitable for elementary school students for both boys and girls to support my activities as a teacher (teacher 2). teachers need to master ict for the learning process involving music activities like now, such as getting good and appropriate song materials, converting songs from one format to another, or finding information to increase teachers’ insight related to music activities. this needs to be supported by school leaders, especially in terms of the availability of tools that support it (teacher 5). teachers need to improve their music skills because they only get a little music material in lectures. this is important because the teachers’ mastery of music can teach songs in an interesting and varied way so that it can increase students’ motivation for the song material (teacher 6) the findings above provided a new viewpoint regarding the use of songs as learning media. in the perspective of elementary school teachers, songs were more than just a medium that functions to explore and express students’ feelings or motivate and focus students’ attention in the learning process (good et al., 2015; ludke, 2018; ma et al., 2020). they also serve as a strategy for instilling, growing, and developing student character. these findings also strengthened the results of research from mintargo (2018), which revealed that one of the functions of the song was to educate the nation’s character. one of the main characters of the nation developed in the context of this research was the religious character. in the teachers’ perception, this character was a constitutional and institutional mandate that every student needed to have as a core competency that had to be possessed as a graduate profile of educational institutions in indonesia for all levels of education. therefore, one of the products of education policy in indonesia was rolling out a program to strengthen character education at the basic education level. the program focused on developing five national characters, one of which is the religious character (muhtar et al., 2020; suherman et al., 2019). harmonia: journal of arts research and education 22 (1) (2022): 103-118112 the formation of a common understanding among teachers regarding songs to strengthen and develop students’ religious character indicated consistency and coherence between government policies related to strengthening national character and teachers’ understanding of these policies at the implementation level (setyawan & dopo, 2020). this indicated the direction of the succession of the government program because teacher knowledge and understanding were strong achievement predictors (helmke, 2009; hattie, 2008; kunter et al., 2013; stahnke et al., 2016) in achieving learning objectives according to the development of the nation’s religious character. however, teacher knowledge alone was not enough. teacher skills were needed in developing songs to develop students’ religious character. this was based on the findings of this research. teachers had not yet reached the level of ability to compose a song or choose the right song based on the level of thinking development or thinking nature of students at elementary school age. referring to piaget’s theory (2013), the substance of the song that is sung by the teacher as a means of moral or character development ideally is a song that is able to stimulate children’s awareness of the consequences of actions, on rules that cannot change and can change. this also included songs that stimulated the understanding that sanctions for violations were automatic and songs whose content was to consider the purpose of moral behavior (see piaget, 2013). a good song is a song that establishes reciprocal communication with the environment of the fans (puspitasari & herdiati, 2020) and is designed according to the child’s mind (barrett, 2016). therefore, it became a challenge for teachers to compose and create songs that were in accordance with the moral development of children in developing their religious character. to address these challenges, teachers needed to improve musical competence. the ability of teachers to compose or create songs in the learning process based on developing students’ religious character implied that teachers also had to possess literacy skills by investigating studies that were able to enhance their abilities. this also indicated the importance of liberal arts as an educational program that had to be implemented in every educational institution that produced prospective elementary school teachers. a liberal arts program is one that is required by all at some level. it is important to develop shared values, attitudes, understanding, and skills for the needs of all prospective teachers (see alberty & alberty, 1962). one of the contents of liberal arts is to equip someone with musical competence (zakaria, 2015). that is, liberal arts programs through music content organized by educational institutions must be oriented to equip prospective elementary school teachers to develop and create songs for learning materials in elementary school based on character development. as for the songs in developing the religious character of students, the contents should refer to the five dimensions of religion and the theory of moral development. the five religious dimensions in question were belief, worship, appreciation, knowledge, and morals (clayton & gladden, 1974; glock & stark, 1970; pelters & roxberg, 2018). conclusion this study concludes that the function of songs in the learning process is not only limited to developing the cognitive domain or only limited to remembering and collecting a collection of facts and data, but also as a means of developing student character, especially in religious songs. the importance of the existence of religious songs in the perspective of school teachers indicates the teacher’s high appreciation of the existence of religious songs. this has implications for the need for abundant development and materials to enrich religious songs to enhance students’ characters during the learning process. thus, teachers need to improve musical competence in composing and developing songs based j. julia, et al., development of the religious character of the nation through learning reli113 on character development relevant to elementary school learning materials. this also requires encouragement from various parties, both schools, and policymakers, in improving the competence of these teachers through various forms of meaningful activities. limitation this research has limitations both in its research focus, which only explores teachers’ perceptions regarding the development of religious character or the research locus, which is only in the scope of the province of west java. therefore, this research can be developed with a broader focus related to the development of national character, such as nationalism, integrity, cooperation, and so on. it is also in terms of locus both across provinces and nations to realize research collaboration in building academic diplomacy. acknowledgments the authors of this paper extend their gratitude to the universitas pendidikan indonesia for funding this research. the grant reference number is decree of rector of universitas pendidikan indonesia no: 508/un40.d/pt/2020 and kementerian pendidikan dan kebudayaan no: 10/e1/ kp.ptnbh/2021. references abdo, m., & semela, t. 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(2015). in defense of a liberal education. ww norton & company. 132 peningkatan kemampuan menggambar bebas siswa b1 melalui strategi pembelajaran pemberian motivasi endang widiyastuti universitas negeri surabaya, jl. ketintang, surabaya 60231 e-mail: endangwidiyastuti@gmail.com abstrak tujuan penelitian untuk mengetahui, mengidentifikasi, dan mendeskripsikan strategi pembelajaran ”pemberian motivasi” bercerita/berdialog untuk membangkitkan perhatian dan merangsang lahirnya motif yang dapat dijadikan dasar dalam berkarya; serta strategi pembelajaran ”pemberian motivasi” tiga cara untuk meningkatkan kualitas hasil kemampuan menggambar bebas pada peserta didik. penelitian tindakan kelas dilakukan dalam 3 siklus. teknik pengumpulan data dengan observasi partisipasif; wawancara informal secara mendalam terhadap guru; dan kumpulan karya (portofolio kerja) peserta didik. uji validitas data digunakan triangulasi sumber data, triangulasi metode, dan diskusi bersama guru dengan peneliti untuk membahas kemajuan yang telah dicapai. hasil penelitian menunjukkan hasil: a). strategi pembelajaran pemberian motivasi melalui bercerita/berdialog yang dirancang lebih atraktif dan menarik dapat membangkitkan perhatian dan rangsangan lahirnya motif yang dapat dijadikan dasar dalam berkarya (kegiatan menggambar bebas) pada peserta didik. b). strategi pembelajaran ”pemberian motivasi” dinyatakan dapat meningkatkan penguasaan peserta didik akan teknik, bahan/alat, dan mengenalkan warna dalam kegiatan menggambar bebas, serta meningkatkan kualitas hasil kemampuan menggambar bebas peserta didik. improvement of free drawing aptitude of b1 students through motivation-rewarding learning strategy abstract the goals of this research are to find out, identify, and describe learning strategy of “motivation rewarding” in retelling/making dialogs to evoke students’ attention and stimulate their motives for drawing; and to use three ways of “motivation rewarding” to develop their aptitude in a free drawing. the action research was conducted in three cycles. techniques of collecting data were implemented by participatory observation; a thorough informal interview with teachers; and students’ portofolio. data validity test used data source triangulation, method triangulation, and discussion with teachers and researchers to evaluate the achieved progress. the findings show: (a) learning strategy of motivation rewarding through a more attractively designed retelling/making dialogs could evoke students’ attention and stimulate their motives to make free drawings; (b) learning strategy of motivation rewarding could improve students’ mastery of techniques, materials/tools, and colors in free drawing activity, and enhance the quality of their free drawing aptitude. kata kunci: pendekatan, strategi, menggambar bebas, pemberian motivasi. endang widiyastuti, peningkatan kemampuan menggambar bebas siswa b1 ... 133 pendahuluan pada pengimplementasian program kegiatan seni, guru dituntut untuk mengetahui secara benar tentang perkembangan anak didik yang berkembang sesuai dengan usianya, yaitu masa kanak-kanak. masa ini disebut juga sebagai usia bermain, usia kelompok, usia menjelajah, usia bertanya, usia meniru, usia kreatif, usia bermasalah. beberapa ahli mengemukakan tahap-tahap perkembangan yang berbeda, yaitu: 1) tahap perkembangan individu berdasarkan perkembangan seksualnya menurut sigmund frued (dalam sukmadinata, 2005:117) perkembangan anak usia prasekolah (tk: usia 4-6 tahun) termasuk dalam masa falik (phalic stage), usia 4-6 tahun masa toilet training (keras kepala, timbul kemauan meniru, imitasi) dan, masa latensi (latency stage) usia 6-12 tahun, masa membatasi ego, menolong diri sendiri. 2) pada fase perkembangan kognitif atau kemampuan berpikir oleh jean piget (dalam sukmadinata, 2005:118) termasuk dalam tahap pemikiran intuitif (intuitive thought) usia 4-7 tahun masa berpikir khayal, pada tahap pra-operasional ini anak belum dapat berpikir abstrak, jangkauan waktu dan tempatnya masih pendek. 3) ciri umum lukisan anak-anak sesuai waktu (usia) dan tahap perkembangan sosial intelektual anak dalam seni rupa menurut victor lowenfeld (lihat santosa 1994: sanggar melati suci) di dalam bukunya creative and mental growth (1947) suatu telaah dan analisis perihal periodisasi, anak tk (usia 4 sampai 7 tahun) termasuk pada masa prabagan (pre schematic period). perlu dicermati oleh guru bahwa tipologi karya dalam daya cipta gambar pada diri peserta didik dan observable berbentuk dua tipe yaitu: peserta didik dengan karya gambar yang bertipe visual, anak yang mampu mengungkapkan perasaan melalui bentuk, dapat memperhatikan proporsi atau perbandingan dengan tepat, dapat menempatkan warna-warna dengan tepat, dan hasil keseluruhan gambar cenderung kearah benda nyata yang dilihat; dan peserta didik dengan karya gambar yang bertipe haptic sebagai suatu karya gambar yang observable, ditandai dengan: keadaan karya murid yang menggambarkan segala sesuatu yang ada di luar dirinya digambar sesuai dengan reaksi emosionalnya, menerapkan proporsi nilai, dan warna dikemukan untuk mengungkapkan reaksi emosionalnya (andayani, 2002: 81). melihat fase perkembangan anak tersebut di atas dan terkait dengan implementasi pendidikan seni rupa (kegiatan menggambar bebas). guru tk dituntut untuk mengerti dan memahami secara benar implementasinya. suatu asumsi yang mendasar, bahwa dengan pendekatan dan metode pembelajaran seni yang tepat serta pembinaan seni yang sesuai dengan perkembangan usia anak, maka akan dapat menjembatani dan meningkatkan sensitivitas, kreativitas, dan kepercayaan diri anak. observasi awal oleh peneliti diperoleh fenomena di lapangan, bahwa guru kelompok b1 di tk pembina kecamatan jaten kabupaten karanganyar mengalami kesulitan dalam kegiatan menggambar bebas dikarenakan kurangnya minat dan kompetensi guru dalam bidang pendidikan seni rupa. ini berdampak pada pemilihan strategi belajar mengajar yang kurang tepat, sehingga mengakibatkan pemberian kegiatan menggambar bebas, dan kesempatan anak dalam berolah seni serta berkreasi seni menjadi kurang maksimal. ditemukan pula, adanya keberagaman kemampuan motorik halus peserta didik kelompok b, ini diakibatkan bekal kemampuan yang beragam karena perbedaan waktu anak masuk menjadi peserta didik di taman kanak-kanak. dengan perincian 46 anak lama yang sudah memiliki bekal dan terlatih motorik halusnya dari kelompok a, dan 28 anak baru dengan asumsi belum memiliki bekal dan terlatih motorik halusnya. sehingga belum dikuasainya kompetensi motorik halus menjadikan kendala bagi anak dalam menggambar bebas. hasil wawancara dengan guru diperoleh strategi pengelompokkan peserta harmonia, volume 12, no. 2 / desember 2012134 didik berdasarkan kondisi anak. peserta didik dibagi menjadi 3 kelompok, yaitu 24 anak baru pada kelompok b1, 26 anak lama pada kelompok b2, dan 24 anak campuran lama dengan baru pada kelompok b3. pengelompokkan peserta didik kelompok b ini merupakan strategi bagi guru untuk mempermudah dalam memberikan bekal kemampuan yang sama. namun pada kelompok campuran dibutuhkan pendekatan khusus terhadap anak yang baru sehingga tidak ketinggalan dengan anak lama. guru kelompok b1 juga merasakan bahwa proses pembelajaran dalam kegiatan menggambar bebas terasa belum mencapai hasil yang maksimal. pembabaran peserta didik akan tema pada karya yang muncul dalam kegiatan menggambar bebas dirasakan masih perlu bimbingan dalam menggoreskan bentuk (motif/bagan) dan pewarnaan. hal ini, dilihat pada hasil gambar (karya) masih tampak belum maksimalnya kemampuan peserta didik dalam berkarya sesuai tema yang muncul pada setiap kegiatan menggambar bebas dan kualitas hasil kemampuan menggambar bebas pada peserta didik. kurang maksimalnya kemampuan membabarkan tema dalam menggoreskan bentuk dan pewarnaan, serta kurang maksimalnya kualitas hasil kemampuan menggambar bebas pada peserta didik, dapat juga dilihat dari data hasil lomba menggambar yang pernah diikuti oleh tk negeri pembina kecamatan jaten kabupaten karanganyar. selama ini, dari tahun 2000 sampai 2007 belum pernah mendapatkan juara, walau ini bukan indikator utama dalam keberhasilan pembinaan yang telah dilaksanakan. namun sesungguhnya hal tersebut memperlihatkan minimnya pembinaan dalam kegiatan menggambar. sementara itu, kegiatan menggambar hanya didapatkan peserta didik ketika kegiatan menggambar (bidang seni) muncul dalam satuan kegiatan harian (skh) yang disusun oleh guru. strategi pembelajaran yang diterapkan oleh guru masih dengan metode peserta didik mencontoh gambar yang dibuat guru di papan tulis. sehingga hasil bentuk (motif/bagan) gambar peserta didik menjadi seragam seperti contoh yang ada. ketika peserta didik diharuskan menggambar sendiri tema pada karya, maka hasilnya masih belum maksimal dan merasa kesulitan. berdasarkan refleksi diri, guru kelompok b1 merasa perlu adanya perbaikan strategi pembelajaran dalam kegiatan menggambar bebas yang selama ini telah diterapkan. berdasarkan fenomena dan refleksi guru di atas, maka diperlukan adanya suatu penelitian tindakan kelas untuk memperoleh strategi pembelajaran yang sesuai dengan karakteristik peserta didik dan dapat diterapkan oleh guru kelompok b. guna perbaikan proses dan hasil dalam kegiatan menggambar bebas di tk. guru perlu menerapkan pendekatan ekspresi bebas secara terarah melalui strategi pembelajaran ”pemberian motivasi” untuk merangsang dan memberikan motif berekspresi kepada anak. dapat dilakukan dengan berbagai cara, antara lain: (1) bercerita atau berdialog dengan anak untuk membangkitkan perhatian dan rangsangan lahirnya motif yang dapat dijadikan dasar dalam berkarya; (2) memberikan anak pengalaman kontak langsung dengan alam secara sadar; dan (3) mendemontrasikan proses penciptaan karya seni rupa yang akan diajarkan (salam, 2005:13). pembangkitan motivasi dalam bentuk kontak langsung dengan alam secara sadar yang memerlukan waktu relatif lama dapat dirangkai dengan kegiatan, antara lain: kegiatan jalan-jalan. sehingga tidak perlu mengambil waktu yang tersedia untuk praktik di kelas. penerapan pendekatan ekspresi bebas secara terarah melalui strategi pembelajaran ”pemberian motivasi” tersebut, merupakan strategi pembelajaran yang berpola intregrated (andayani, 2002). pendekatan ini merupakan pengajaran yang berpusat pada peserta didik, memberikan pengalaman langsung pada peserta didik, tidak ada pemisahan dengan bidang studi lain, menyajikan konsep dari berbagai bidang studi di dalam sebuah unit proses pembelajaran, dan hasil belajar dapat berendang widiyastuti, peningkatan kemampuan menggambar bebas siswa b1 ... 135 kembang sesuai dengan minat dan kebutuhan peserta didik. menyajikan konsep dari berbagai bidang studi di dalam sebuah unit proses pembelajaran. dalam penelitian tindakan kelas yang dilaksanakan ini terdiri dari beberapa kegiatan, antara lain: (1) dalam bidang bahasa, peserta didik dapat bercerita tentang gambar yang tersedia atau yang dibuat sendiri dengan urut dan bahasa yang jelas; (2) dalam bidang konitif, peserta didik dapat memahami konsepkonsep sains sederhana yaitu mencoba dan menceritakan tentang apa yang terjadi jika warna dicampur; dan (3) dalam bidang seni, peserta didik dapat menggambar bebas dengan berbagai media (krayon, cat air) dengan rapi, dan mewarnai bentuk gambar sederhana dengan rapi. permasalahan dalam penelitian ini adalah sebagai berikut: (1) apakah strategi pembelajaran dengan pemberian motivasi bercerita/berdialog dapat membangkitkan perhatian dalam berkarya (kegiatan menggambar bebas) pada peserta didik kelompok b1 tk negeri pembina kecamatan jaten kabupaten karanganyar ?; (2) apakah strategi pembelajaran dengan pemberian motivasi bercerita/berdialog dapat merangsang lahirnya motif yang dapat dijadikan dasar dalam berkarya (kegiatan menggambar bebas) pada peserta didik kelompok b1 tk negeri pembina kecamatan jaten kabupaten karanganyar ?; dan (3) apakah strategi pembelajaran dengan pemberian motivasi melalui tiga cara, yaitu: bercerita/berdialog, kontak langsung dengan alam secara sadar, dan demonstrasi dapat meningkatkan kualitas hasil menggambar bebas pada peserta didik kelompok b1 tk negeri pembina kecamatan jaten kabupaten karanganyar ? meninjau konsep pendidikan seni dalam permasalahan di atas, merupakan suatu pendidikan seni yang bentuk penyampaiannya secara formal dalam lembaga pendidikan pada jenjang prasekolah (tk) yang diselenggarakan oleh pemerintah. suatu upaya sadar untuk menyiapkan peserta didik melalui pembimbingan, pembelajaran, dan pelatihan sehingga peserta didik memiliki kemampuan dalam berkesenian. disamping itu, upaya sadar untuk penyeimbang dalam pola berpikir antara otak kanak dan otak kiri yang masing-masing memiliki keistimewaan dan keduanya harus diperlakukan sama dalam pertumbuhan dan perkembangannya. serta menumbuhkan potensi kecerdasan dan aktualisasi potensi yang melekat pada diri peserta didik. melalui pendidikan seni memunculkan pengalaman estetis dalam tanggapan, menampilkan, dan menciptakan sesuatu yang baru melalui pengungkapan ide dan aktualisasi diri peserta didik. serta menanamkan nilai-nilai estetis guna pengembangan dirinya menjadi manusia yang berwatak mulia dan berbudi pekerti luhur yang tercermin dalam tingkah laku. kesemua itu perlu untuk dibelajarkan dan dibiasakan pada setiap individu peserta didik. karena penyampaian pendidikan seni ini berbentuk formal dalam lembaga pendidikan tk. maka penyampaian pendidikan seni dirumuskan dalam kurikulum dan rencana pembelajaran yang telah baku dalam program semester yang dijabarkan pada satuan kegiatan mingguan dan satuan kegiatan harian. implementasinya muncul dalam pendekatan tematik. dilakukan oleh seorang guru yang memiliki kompetensi dan mampu membelajarkannya. ditinjau dari sasaran dan orientasi pendidikan seni dalam penelitian ini adalah peserta didik, maka faktor utama adalah peserta didik dan seni hanya sarana dalam pembelajaran. guru memegang peranan penting untuk memperhatikan bakat (minat) peserta didik, dengan prinsip-prinsip: metode bermain sambil belajar atau belajar sambil bermain dan memberikan kebebasan berekspresi pada peserta didik. konsep pendidikan seni berbasis anak diberikan pada anak usia paud sampai dengan sd kelas 3 (tiga). mengingat kisaran usia anak tersebut dan usia anak tk termasuk di dalamnya, maka pendidikan seni yang diberikan pada tk hendaknya mengacu pada pendekatan ekspresi bebas dan atau memberikan kebebasan bereksharmonia, volume 12, no. 2 / desember 2012136 kan. tujuan mengajar adalah membelajarkan siswa, yang berarti meningkatkan kemampuan siswa untuk memproses, menemukan, dan menggunakan informasi bagi pengembangan dirinya dalam konteks lingkungannya. pendekatan ekspresi bebas terarah yang diterapkan dalam kegiatan menggambar bebas ini. merupakan suatu strategi belajar mengajar yang berpusat pada peserta didik yang menjamin kebebasan peserta didik dalam berfantasi, berkreasi, dan membabarkannya. kebebasan tersebut dibimbing atas dasar kesadaran, rasa tanggung jawab, dan disiplin sehingga bermanfaat dalam pembentukan dan perkembangan pribadi peserta didik yang baik. pengajaran dan bimbingan yang wajar secara teratur merupakan suatu proses pembelajaran untuk mengembangkan nilai-nilai imajinasi, intuisi, pikiran, kreativitas, dan kepekaan rasa. implikasi nilainilai tersebut menuju pada perkembangan siswa ke arah kedewasaan, pembentukan manusia yang kreatif dan berinisiatif, serta menjadi manusia yang dapat menghargai karya-karya seni, berwatak mulia, berbudi pekerti luhur, bersikap jujur, rendah hati, disiplin, setia, terbuka, toleransi, penuh perhatian, welas asih, dan adil. kesemua secara menyeluruh tercermin dalam sikap, kata, dan tindakan yang perlu dibelajarkan dan dibiasakan pada peserta didik. peranan guru membimbing perkembangan peserta didik secara wajar sesuai dengan sifat-sifat yang dimiliki oleh manusia pada umumnya. memberikan dasar untuk kegiatan-kegiatan selanjutnya bagi peserta didik secara bebas dan memuaskan dorongan untuk mencipta. melalui strategi yang dapat berupa kegiatan ”pemanasan” (strategi pembelajaran dengan pemberian motivasi), sehingga anak tetap dapat mengekspresikan dirinya sesuai dengan apa yang diharapkan. pemberian motivasi tersebut dapat berupa: pertama dengan bercerita atau berdialog dengan anak untuk membangkitkan perhatian dan rangsangan lahirnya motif yang dapat dijadikan dasar dalam berkarya. tema ceritera atau dialog tentu saja yang mepresi pada anak. pendidikan seni di tk merupakan pendidikan yang diberikan kepada anak untuk merangsang timbulnya kesenangan anak dalam berolah seni. dengan seni anak dapat mengekspresikan keinginannya untuk mengkomunikasikan apa yang ada dalam pikiran dan pengalamannya. sehingga kebebasan dalam mengungkapkan semua itu, perlu diberi ruang yang seluas-luasnya tanpa campur tangan orang dewasa yang bisa menghambat bahkan menghilangkan ekspresi individu sang anak. melalui strategi pembelajaran yang inovatif dan menyenangkan diharapkan anak memiliki kepercayaan diri (termotivasi) untuk mengungkapkan pengalaman pribadinya dan mengembangkan potensi yang melekat pada individu peserta didik. terkait fokus masalah dalam penyelesaian persoalan pokok memilih strategi belajar mengajar (strategi pembelajaran), yaitu suatu rencana untuk membawakan pengajaran dalam kegiatan menggambar bebas di kelas yang dirancang sedemikian rupa. melalui metode pengajaran yang mempertimbangkan dan memperhatikan ciri-ciri khusus anak usia tk serta minat anak dalam bermain. sehingga tujuan yang telah ditetapkan dapat dicapai secara efektif dan efisien, maka diperlukan suatu pendekatan sebagai titik tolak atau sudut pandang dalam memandang seluruh masalah yang ada pada program belajar mengajar kegiatan menggambar bebas. sesuai dengan perkembangan usia anak di tk, maka diperlukan strategi belajar mengajar yang berpusat pada peserta didik atau student centre strategies. strategi belajar mengajar yang berpusat pada peserta didik atau student centre strategies disebut juga sebagai pendekatan ekspresi bebas. yaitu usaha menciptakan suasana belajar bagi siswa secara optimal, yang menjadi pusat perhatian dalam proses belajar mengajar adalah siswa atau peserta didik. peranan guru dalam kegiatan belajar mengajar adalah berusaha secara terus menerus untuk membantu peserta didik membangun konsep bagi dirinya sendiri, maka potensipotensi yang dimiliki peserta didik perlu diketahui, dirangsang, dan dikembangendang widiyastuti, peningkatan kemampuan menggambar bebas siswa b1 ... 137 nyentuh kehidupan anak. cerita atau dialog akan menjadi menarik bila guru memperlihatkan foto, gambar atau film; kedua, memberikan anak pengalaman kontak langsung dengan alam secara sadar, misalnya dengan mengajak anak untuk mencermati keadaan sekelilingnya yang mungkin selama ini diabaikan seperti bunga-bunga yang tumbuh di sekeliling sekolah, kawat listrik dan telepon yang simpang siur, pejalan kaki serta kendaraan yang lalu lalang. untuk mengarahkan perhatian anak guru dapat mengajukan pertanyaan, seperti: ”warna bunga melati yang tumbuh di halaman sekolah dan berapa jumlah bunga yang sudah merekah, bagaimana sikap pejalan kaki yang menyeberang jalan, berapa meter tinggi tiang listrik”, dan sebagainya. ketiga, mendemontrasikan proses penciptaan karya seni rupa yang akan diajarkan. metode pendekatan penelitian yang digunakan adalah penelitian tindakan kelas. penelitian dilaksanakan di tk negeri pembina kecamatan jaten kabupaten karanganyar yang terletak di jalan manggis 10 perumnas ngringo kecamatan jaten kabupaten karanganyar kode pos 57772. subjek penelitian adalah peserta didik kelompok b1 yang berjumlah 24 anak baru. dengan asumsi belum memiliki bekal dan terlatih motorik halusnya. belum dikuasainya kompetensi motorik halus menjadikan kendala bagi anak dalam menggambar bebas, sehingga akan menjadi suatu hambatan guru dalam memberikan pembelajaran dalam kegiatan menggambar bebas. model penelitian tindakan kelas yang dilakukan secara garis besar terdapat empat tahapan yang dilalui (arikunto, 2006:16-19), yaitu: (1) perencanaan (planning); (2) pelaksanaan (acting); (3) pengamatan (observing); dan (4) refleksi (reflecting). model tahapan (siklus) dalam penelitian tindakan kelas yang dilaksanakan ini terdiri dari 3 siklus. peneliti juga melakukan pengungkapan (enquiring) dengan wawancara informal secara mendalam terhadap guru pada saat penelitian ini dilakukan, yaitu tentang kemampuan yang telah dicapai oleh peserta didik dalam menggambar bebas dan mengidentifikasikan kesulitan-kesulitan setelah penerapan pendekatan ekspresi bebas dilaksanakan. teknik pengumpulan data lainnya adalah pembuktian (examining), dilakukan dengan mencari bukti-bukti dokumenter, seperti: dokumen arsip, jurnal, peta, audio dan video tape, benda-benda bersejarah, dan catatan lapangan. dalam penelitian tindakan ini merupakan sekumpulan karya atau portofolio kerja yang dihasilkan oleh peserta didik dalam melaksanakan tugas dan latihan yang diberikan. sehingga dapat diukur tingkat kemampuan peserta didik dalam menggambar bebas, seperti kemampuan peserta didik dalam menggoreskan bentuk (motif/bagan) di atas kertas gambar yang telah disediakan dan mewarnai bentuk (motif/bagan) tersebut. uji validitas data menggunakan triangulasi sumber data dari data tentang kesulitan-kesulitan yang dialami oleh peserta didik dalam melaksanakan tugas dan latihan, yang selanjutnya dikonfirmasikan kepada guru ataupun sebaliknya. di samping itu juga digunakan triangulasi metode, seperti pengamatan terhadap sikap peserta didik selama proses pembelajaran, juga mengidentifikasikan kesulitan-kesulitan atau kelemahan yang ada dari wawancara dengan guru, serta analisis dokumen yang berupa sekumpulan karya atau portofolio kerja yang dihasilkan oleh peserta didik. hasil dan pembahasan hasil pelaksanaan tindakan pada siklus i hingga iii di atas dapat dibuat rekapitulasi seperti tabel 1. harmonia, volume 12, no. 2 / desember 2012138 pembahasan hasil yang dicapai setelah penerapan strategi pembelajaran dengan ”pemberian motivasi” tiga cara sesuai dengan tujuan yang telah ditetapkan adalah sebagai berikut. melihat pencapaian hasil tindakan pada siklus i dan siklus ii, dapat dinyatakan bahwa penerapan strategi pembelajaran pemberian motivasi melalui bercerita/ berdialog yang dirancang lebih atraktif dan menarik dapat membangkitkan perhatian dan rangsangan lahirnya motif yang dapat dijadikan dasar dalam berkarya (kegiatan menggambar bebas) pada peserta didik kelompok b 1 tk pembina kecamatan jaten kabupaten karanganyar. dengan kata lain, tahapan aktivitas dalam strategi pembelajaran pemberian motivasi melalui bercerita/berdialog yang dirancang lebih atraktif dan menarik oleh guru dapat meningkatkan kemampuan menggambar bebas pada peserta didik. tahapan dalam penerapan strategi pembelajaran pemberian motivasi melalui bercerita/ berdialog tersebut sebagai berikut: di awal kegiatan, untuk menambah apresiasi peserta didik tentang tema (misalkan tema binatang) guru mengajak peserta didik untuk mengamati gambar sesuai tema (macam-macam binatang), dan mendeskripsikan tema (macam-macam binatang) yang diamati. guru bercerita/berdialog dengan peserta didik tentang tema (macam-macam binatang) yang telah diamati untuk membangkitkan perhatian dan rangsangan lahirnya motif yang dapat dijadikan tabel 1. rekapitulasi persentase capaian tiap siklus no unit analisis persentase yang dicapai siklus i siklus ii siklus iiia siklus iiib 1 cerita/dialog yang dibawakan guru dapat membangkitkan perhatian peserta didik dalam berkarya 57% 78% 82% 87% 2 cerita/dialog yang dibawakan guru dapat merangsang lahirnya motif yang dapat dijadikan dasar dalam berkarya 22% 57% 77% 87% 3 kualitas hasil menggambar bebas peserta didik dapat meningkat. 39% 52% 41% 78% keterangan: : jumlah peserta didik 23 anak. : jumlah peserta didik 17 anak, 6 anak tidak hadir dalam kegiatan. siklus i & ii : bahan yang digunakan kertas putih, pensil, dan krayon. siklus iiia : bahan yang digunakan kertas putih, cat air, kuas, dan pensil. goresan bentuk (motif/bagan) menggunakan pensil dan pewarnaan dengan kuas. siklus iiib : bahan yang digunakan kertas putih, cat air, dan kuas. goresan bentuk (motif/bagan) dan pewarnaan langsung dengan kuas. endang widiyastuti, peningkatan kemampuan menggambar bebas siswa b1 ... 139 dasar dalam berkarya. menggali kembali ingatan peserta didik tentang tema (binatang) yang telah diamati; macam-macam binatang yang berkaki dua ataupun empat, berdaun telinga atau tidak, bertelur atau beranak, makanannya, tempat tinggalnya, dan sebagainya. guru juga mengajak peserta didik untuk menyanyikan lagu anak-anak yang sesuai tema (binatang) diikuti dengan gerakan untuk menciptakan suasana yang lebih rileks dan menyenangkan. pada saat kegiatan menggambar berlangsung, guru mendampingi dan membimbing serta memberi rangsangan agar minat peserta didik menjadi lebih besar, terutama pada peserta didik yang memiliki karakter lebih aktif. sehingga konsentrasinya dalam kegiatan lebih maksimal dan bisa menyelesaikan kegiatan serta tidak menganggu teman. guru juga membimbing peserta didik dalam mewarnai bentuk (motif/ bagan) gambar, sehingga keberagaman komposisi warna dari setiap peserta didik tercipta sesuai dengan kebebasan berekspresi dalam berkarya dari setiap individu peserta didik. sentuhan pemberian penguatan dan motivasi oleh guru terhadap hasil gambar peserta didik dapat meningkatkan rasa percaya dirinya dalam membuat bentuk (motif/bagan) gambar. sehingga peserta didik dapat berekspresi secara bebas dalam membuat bentuk (motif/bagan) sesuai tema yang muncul dalam kegiatan menggambar bebas. guru selaku pembimbing tidak perlu banyak mencampuri kegiatan peserta didik dalam menggambar, sehingga kebebasan peserta didik terjamin dalam berfantasi, berkreasi, dan membabarkannya. di akhir kegiatan guru memperlihatkan hasil karya terbaik dari peserta didik di depan kelas untuk menumbuhkan apresiasi dan penghargaan terhadap karya sendiri dan orang lain (teman). hal ini menunjukkan tahapan aktivitas dalam penerapan strategi pembelajaran pemberian motivasi melalui bercerita/ berdialog yang dirancang lebih atraktif dan menarik oleh guru berpengaruh terhadap hasil yang dicapai. fenomena tersebut dapat dibenarkan jika dikaitkan dengan apa yang diungkapkan oleh franz cizek (dalam salam, 2005) bahwa ”seni rupa anak adalah seni rupa yang hanya bisa diciptakan oleh anak dan gambar anak haruslah diberi kebebasan untuk tumbuh bagaikan kembang bebas dari gangguan orang dewasa”. tugas guru adalah memberikan pengalaman kepada anak yang dapat merangsang munculnya ekspresi pribadi sang anak. cara yang ditempuh guru antara lain dengan memberikan beragam pengalaman atau membantu anak untuk mengingat pengalaman pribadinya yang tersembunyi. temuan tersebut juga sejalan dengan pendapat herbert read (dalam salam, 2005) yang menekankan bahwa naluri berolah seni rupa anak adalah sesuatu yang universal, sesuatu yang tumbuh secara alamiah pada diri anak dalam mengkomunikasikan dirinya. orang dewasa tidak seyogyanya mengintervensi hal tersebut dengan berbagai dalih demi adat istiadat, persaingan kerja, pembentukan karakter atau pendisiplinan jiwa. menurut herbert read, semua itu akan secara nyata menggusur minat alamiah anak yang akan berarti merusak kebahagian dan kesenangan anak dalam menikmati kebebasan. artinya, bahwa ekspresi diri tidak bisa diajarkan dan peranan guru hanyalah sebagai fasilitator. guna perbaikan dan penyempurnaan strategi pembelajaran yang ditetapkan. pada siklus iii penerapan strategi pembelajaran pemberian motivasi melalui tiga cara, yaitu bercerita/berdialog, kontak langsung dengan alam secara sadar, dan mendemonstrasikan proses menciptakan karya seni rupa yang akan diajarkan. penerapan strategi pembelajaran pemberian motivasi melalui tiga cara ini merupakan strategi pembelajaran yang berpola terintregrasi dalam bidang bahasa, bidang kognitif, dan bidang seni. pada pelaksanaan tindakan lebih ditekankan pada cara mendemontrasikan proses menciptakan karya seni rupa yang harmonia, volume 12, no. 2 / desember 2012140 diajarkan. dilihat dari hasil tindakan kegiatan menggambar dengan teknik basah yang proses pewarnaannya menggunakan cat air dan kuas menunjukkan bahwa peserta didik, (1) lebih meningkat minat dan antusiasnya pada kegiatan menggambar bebas. proses pencampuran warna dari warna primer yang disediakan dan hasil warna yang muncul menimbulkan kesenangan tersendiri bagi peserta didik. di samping itu, peserta didik tidak mendapatkan kesulitan dalam menjabarkan dan mengoreskan bentuk (motif/bagan) menggunakan kuas langsung. (1) yang energi aktifnya lebih, maka permainan warna bisa memberikan motivasi untuk lebih konsentrasi pada kegiatan menggambar bebas. ini disebabkan permainan warna dengan mencampur warna sendiri lebih memberikan tantangan dan dapat menjadi ajang untuk menyalurkan rasa keingintahuannya tentang warna yang dihasilkan, (1) yang memiliki kecenderungan susah mengoreskan secara visual dari bentuk (motif/bagan) dalam karya, maka permainan warna dengan mencampur sendiri warna-warna tersebut bisa menjadi ajang untuk menuangkan ekspresi seni yang ada dalam dirinya. jika melihat pencapaian hasil tindakan pada kegiatan menggambar yang langsung menggunakan kuas untuk mengores bentuk (motif / bagan) dan mewarnainya, maka penerapan strategi pembelajaran pemberian motivasi melalui tiga cara dinyatakan dapat meningkatkan penguasaan peserta didik akan teknik dan bahan/alat yang digunakan dalam kegiatan menggambar bebas, dan mengenalkan warna (hasil campuran warna) dalam kegiatan menggambar bebas, serta meningkatkan kualitas hasil kemampuan menggambar bebas peserta didik. maka fenomena tersebut dapat dibenarkan jika dikaitkan dengan apa yang diungkapkan oleh andayani (2002: 81) bahwa hasil belajar murid pada hakikatnya dapat memperoleh pengaruh dari segala sesuatu yang dilakukan guru. dengan demikian, daya cipta murid dalam bentuk gambar dapat pula digali, dikembangkan, bahkan dimodivikasi oleh suatu pembelajaran yang strategis dan terpola. hal ini, juga dipertegas oleh andayani (2002: 87) dalam penelitiannya yang menunjukkan hasil, bahwa penerapan strategi instruksional berpola integrated lebih efektif bagi daya cipta gambar murid tk yang mencipta gambar bertipe visual dan haptic. simpulan dan saran simpulan berdasarkan uraian hasil yang dicapai dari penelitian tindakan kelas dan pembahasan, dapat disimpulkan penelitian tindakan kelas ini menunjukkan hasil sebagai berikut: strategi pembelajaran dengan ”pemberian motivasi” bercerita/berdialog yang dirancang lebih atraktif dan menarik dapat membangkitkan perhatian dan rangsangan lahirnya motif yang dapat dijadikan dasar dalam berkarya (kegiatan menggambar bebas) pada peserta didik kelompok b 1 tk negeri pembina kecamatan jaten kabupaten karanganyar. strategi pembelajaran dengan ”pemberian motivasi” melalui tiga cara, yaitu: bercerita/berdialog, kontak langsung dengan alam secara sadar, dan demonstrasi pada strategi belajar mengajar dengan pendekatan ekspresi bebas secara terarah dinyatakan dapat meningkatkan penguasaan peserta didik akan teknik dan bahan/alat yang digunakan dalam kegiatan menggambar bebas, dan mengenalkan warna (hasil campuran warna) dalam kegiatan menggambar bebas, serta meningkatkan kualitas hasil kemampuan menggambar bebas peserta didik kelompok b 1 tk negeri pembina kecamatan jaten kabupaten karanganyar. guna perbaikan dan penyempurnaan penerapan strategi pembelajaran pemberian motivasi melalui tiga cara, yaitu bercerita/berdialog, kontak langsung dengan alam secara sadar, dan mendemonstrasikan proses menciptakan karya seni rupa yang akan diajarkan. seyogyanya strategi pembelajaran tersebut berpola integrated dalam beberapa bidang kegiatan endang widiyastuti, peningkatan kemampuan menggambar bebas siswa b1 ... 141 (seperti bidang bahasa, bidang kognitif, dan bidang seni). untuk meningkatkan penguasaan peserta didik akan teknik dan bahan/alat serta mengenalkan warna dalam kegiatan menggambar bebas. maka pada pelaksapada pelaksanaan kegiatan menggambar bebas (tindakan) lebih ditekankan pada cara mendemontrasikan proses menciptakan karya seni rupa yang diajarkan. bagi peserta didik kegiatan menggambar dengan teknik basah yang proses pewarnaannya menggunakan cat air dan kuas akan lebih meningkat minat dan antusias peserta didik pada kegiatan menggambar bebas. proses pencampuran warna dari warna primer yang disediakan dan hasil warna yang muncul menimbulkan kesenangan tersendiri bagi peserta didik. di samping itu, peserta didik tidak mendapatkan kesulitan dalam menjabarkan dan mengoreskan bentuk (motif/bagan) menggunakan kuas langsung. bagi peserta didik yang energi aktifnya lebih, maka permainan warna bisa memberikan motivasi untuk lebih konsentrasi pada kegiatan menggambar bebas. ini disebabkan permainan warna dengan mencampur warna sendiri lebih memberikan tantangan dan dapat menjadi ajang untuk menyalurkan rasa keingintahuannya tentang warna yang dihasilkan. saran berkaitan dengan hasil yang dicapai dari penelitian tindakan kelas beberapa saran dapat disampaikan sebagai berikut ini. hendaknya peserta didik dimungkinkan mendapat kesempatan dalam berolah seni dan berkreasi seni secara maksimal, utamanya dalam kegiatan menggambar bebas. sehingga kreativitas dan kemampuan menggambar bebas mereka meningkat. seyogyanya guru selaku pembimbing perlu meningkatkan hasil belajar peserta didik dalam kegiatan menggambar bebas dengan suatu pembelajaran yang strategis dan terpola. salah satunya dengan penerapan secara optimal strategi belajar mengajar dengan pendekatan ekspresi bebas secara terarah yang merupakan strategi pembelajaran yang berpola terintregrated. pendekatan ekspresi bebas secara terarah dapat dilakukan melalui strategi pembelajaran dengan ”pemberian motivasi” yang terdiri dari tiga cara, yaitu: bercerita /berdialog, kontak langsung dengan alam secara sadar, dan demonstrasi. daftar pustaka andayani. 2002. terapi strategis pembinaan daya cipta gambar murid taman kanak-kanak di kodya surakarta . varidika varia pendidikan, vol. 14 no. 25 desember 2002: 79-88. departemen pendidikan dan kebudayaan. 1992. bahan dasar peningkatan wawasan kependidikan guru tk program kegiatan belajar pengembangan agama islam . jakarta: departemen pendidikan dan kebudayaan direktorat jenderal pendidikan dasar dan menengah. departemen pendidikan nasional. 2003. undang-undang republik indonesia nomor 20 tahun 2003 tentang sistem pendidikan nasional. jakarta: kaldera pustaka nusantara. gulö, w . 2002. strategi belajar mengajar . jakarta: pt. grasindo. hurlock, elizabeth b. 1980. psikologi perkembangan suatu pendekatan sepanjang rentang kehidupan . edisi kelima . jakarta: penerbit erlangga. moeslichatoen r. 2004. metode pengajaran di taman kanak-kanak . jakarta: pt. rineka cipta. pusat bahasa departemen pendidikan nasional. 2001. kamus besar bahasa indonesia. jakarta: balai pustaka. salam, sofyan. 2005. ”paradigma pendidikan seni berbasis anak, disiplin, dan multikultural” . makalah disampaikan pada perkuliahan paradigma dan masalah pendidikan seni, unnes semarang. sanggar melati suci. 1994. sanggar melati suci (1979-1994) . yogyakarta: aquarius offset. harmonia, volume 12, no. 2 / desember 2012142 soedarsono, fx . 1997. pedoman pelaksanan penelitian tindakan kelas (ptk) bagian kedua rencana, desain dan implementas. yogyakarta: direktorat jenderal pendidikan tinggi departemen pendidikan dan kebudayaan proyek pendidikan tenaga akademik, bp-gsd, up-sd, ukmp-sd sukmadinata, nana syaodih. 2007. metode penelitian pendidikan. bandung: pt remaja rosdakarya sulistyo, edy tri. 2004. ”penerapan teori konstruktivistik dalam pembelajaran seni lukis anak” . paedagogia, �i-paedagogia, �ilid 7 no. 1 pebruari 2004: 23-34. sumarwati. 2008. penelitian tindakan kelas (ptk) bagaimana menyusun proposal dan laporannya? makalah disampaikan pada pendidikan dan pelatihan profesi guru (plpg) rayon 13 surakarta, fkip uns surakarta. sumaryanto, totok. 2006. konsep pendidikan seni. makalah disampaikan pada perkulihan konsep pendidikan seni, unnes semarang. harmonia edisi khhusus.pdf perkembangan konsep koreografi tari karna tinandhing dwiyasmono a. pendahuluan tari karna tinandhing mulai disajikan pada masa pemerintahan mangkunegara iv (1853 – 1881), pada saat hajatan menyupitkan kedua putranya: kanjeng pangeran prang wedana dan kanjeng gusti pangeran adipati aria mangkunegara v tahun 1868. mangkunegara iv pada saat itu mendatangkan penari dari pakualaman yogyakarta dengan tariannya karna tinandhing dan tari wireng bondoboyo. melihat pertunjukan tari karna tinandhing, mangkunegara iv merasa tertarik untuk membuat koreografi karna tinandhing yang baru. dalam manuskrip yang berjudul wireng yasan dalem ringgit madya, yang tertulis sekitar tahun 1930-an, disebutkan setelah mangkunegara iv selesai memugar pendapa mangkunegaran tahun 1866, beliau menyusun beberapa jenis tari wireng. di antara tulisan yang terkenal antara lain: karna tinandhing; keratarupa; harjuna sumantri; palgunadi, jayeng sari; bandawala; wirun (wireng yasan dalem ringgit madya, manuskrip no. g2). sumber data lain dalam buku serat anggitan dalem kanjeng gusti pangeran adipati aria mangkunegara iv jilid i, di dalam buku terdapat petunjuk adanya pertunjukan tari karna tinandhing pada jaman mankunegara iv. peristiwa berlangsung pada tanggal 31-8-1877. ketika mangkunegara iv menikahkan putranya pangeran prang wedana dengan saudara sepupuhnya r.a. kusmardiyah, putri dari pangeran hadiwijaya iii surakarta, tari karna tinandhing kembali dipergelarkan. dalam pupuh i tembang macapat kinanthi yang terdiri 37 bait dilukiskan bahwa suatu malam menjelang acara panggih terdapat kelompok tari wireng yang dipentaskan yaitu: bandabaya, bandawasa, bandawala, lawung, palgunadi, sasrabahu, dan karna tinandhing. kelompok tari wireng tersebut terlukis dalam bait 28: gagahan dumunung pangkur, tumangkar ngarsa lit, alit, bandawala, bandawasa, tuwin paris, lawung, pagluna, sasrabahu, karna tinandhing (mn vii, 1927:196). tari karna tinandhing menggunakan kostum kembar, dengan properti dhadhap wayang karna dan arjuna. jaman pemerintahan mangkunegara v kostum diganti seperti wayang orang yang memacu pada busana wayang kulit (r.m. sayid, 1984:109). dalam perkembanganya, tari karna tinandhing banyak mengalami perubahan sesuai dengan selera seniman penerusnya. perubahan yang terjadi terletak pada gerak tari, properti maupun musik tarinya. perubahan merupakan kebutuhan untuk melestarikan tari karna tinandhing, diaransir oleh seorang empu tari s. ngaliman. menurut penuturan kepada cantrik-cantriknya, bahwa tari karna tinandhing pernah diperoleh dan dipelajari dari seorang guru tari tumenggung kusuma tanaya seorang abdi dalem, kusus pada bagian beksan/tarinya saja. selanjutnya untuk bagian perangan digarap oleh s. ngaliman sendiri (wawancara, 17-61983). gubahan tari karna tinandhing kemudian diajarkan pada para mahasiswa jurusan tari stsi surakarta sebagai bahan perkuliahan hingga sekarang menjadi institut seni indonesia (isi) surakarta. permasalahan adalah bagaimana konsep perubahan koreografi karya tari karna tinandhing ? konsep koreografi tari karna tinandhing meliputi: filosofi karna tinandhing, konsep/ide yang melatar belakangi dan bentuk garap atau koreografinya. b. filosofi seni tari karna tinandhing karna dalam kamus bausastra jawa (1994) berarti telinga. dalam ceritera pewayangan ( padmosoekotjo, 1984) karna adalah putra dari bathara surya dengan dewi kunthi yang dilahirkan melalui telinga. karna seorang satria dan juga senapati astina. dia adalah raja dari kerajaan awangga. tinandhing berasal dari kata dasar tandhing yang berarti perang adu kekuatan. dari kata dasar tandhing mendapat sisipan in yang berarti kedalam. karna tinandhing berarti seorang satria yang berperang melawan seorang ksatriya yang seimbang (babag). dalam pandangan jawa, dapat ditafsirkan seseorang ksatria yang berperang melawan dirinya sendiri/hawa nafsu untuk tegaknya kebaikan/kebenaran sekalipun harus mengorbankan fisik maupun perasaannya. tari karna tinandhing bersumber dari ceritera versi mahabarata , episude karna parwa. dalam konsep koreografi tari karna tinandhing, ditampilkan sosok kepahlawanan karna seorang senapati kurawa dan arjuna senapati pandawa. karna sejak kecil hingga dewasa dibesarkan oleh keluarga kurawa sehingga ingin selalu mengabdi kepada kurawa. karna merasa kurawa telah berjasa bagi kelangsungan hidupnya. oleh karena itu bersumpah untuk mengabdi kepada bumi yang telah membahagiakan, sampai titik darah yang penghabisan. karna sesuai dengan sumpah satria membela kurawa dengan bertaruh nyawa dan tidak tergoyahkan bujuk rayu baik dari ibunya dewi kunthi maupun prabu kresna untuk berpihak pada pandawa. dibalik sumpahnya karna, terdapat sanggit lain bahwa kegigihan karna adalah untuk ikut melestarikan dunia dengan berperan serta mengenyahkan angkara murka yang ada di muka bumi yang diwakili kurawa termasuk karna sendiri sebagai salah satu korbannya. negara tidak akan tenang apabila angkara murka masih meraja lela di muka bumi. karna memiliki sifat keteguhan hati untuk berkorban sekalipun dirinya sendiri ikut hancur demi tegaknya kedamian dunia. karna merupakan salah satu contoh yang baik bagi seorang ksatria. arjuna senapati pandawa berperang sebagai utusan keadilan untuk menegakkan kebenaran dengan tidak mengenal lawan yang dihadapinya baik para sesepuhnya, gurunya mapun saudara kandungnya sendiri(bhagavadgita 1966: 101) arjuna timbul semangat berperang setelah mendengarkan ajaran kresna tentang hakikat hidup seorang ksatria sebagai utusan dewa untuk menegakkan keadilan dengan cara mengenyahkan angkara murka dari muka bumi. karna dan arjuna sama-sama memegang prinsip sumpah satrianya masing-masing. dalam tari karna tinandhing diungkapkan dua karakter tokoh yang berbeda yaitu karakter alus luruh antep pada tokoh arjuna dan alus lanyap pada tokoh karna. garap tari didukung oleh ragam gerak sebagai media serta garap konsep-konsep tari yang ada pada hastasawanda (delapan unsur yang menjadi satu kesatuan yang harus diterapkan oleh seorang penari yang terdiri dari: pacak, ulat, pancat, lulut, luwes, wilet, irama dan gendhing), yang dipadukan dengan triwiro yaitu wiraga, wirama, dan wirasa. keseluruhan konsep gerak dan tekhnik gerak merupakan satu kesatuan yang harus diungkapkan oleh penari. c. bentuk garap/koreografi tari karna tinandhing garapan tari karna tinandhing merupakan bentuk pethilan yang mempunyai struktur maju beksan, beksan perangan, dan mundur beksan. kesatuan garap gerak tari merupakan gambaran dari ide penciptaan koreografer. adapun struktur tari karna tinandhing secara rinci sebagai berikut: cakepan ada-ada dengan notasi slendro sanga (lampiran 1). kemudian, masuk iringan srepeg slendro sanga (lampiran 2). selanjutnya, masuk bagian perangan iringan srepeg slendro sanga. iringan notasinya seperti pada lampiran 4. struktur gerak tarinya: diawali tawing kiri lilingan dilanjutkan nyabet, panggel adu kanan, besut kipat srisig. srisig satu lingkaran adu kiri kebyok kiri pentang kanan (gerakan karna dan janaka/arjuna sama). gerakan selanjutnya: untuk karna 1. tusuk lawan seret kaki kanan, tangkis kebyak sampur kiri, tusuk maju 2x (lempeng kanan, kiri), menghindar mundur seret kaki kanan, kiri. tusuk mata kanan, tangkis atas (trek keris), tusuk bawah, tangkis bawah (trek keris), tusuk mata kanan diputar ke kanan adu kiri tusuk bersama. ngembat nglawe pentang kanan njujut kaki kiri, ingsetan tanjak kiri. erek-rekan maju lerek kaki kanan tanjak kiri, mundur kiri, kanan, tanjak kiri. erek-erekan maju nyudut kanan, tanjak kiri, mundur kembali tajak kiri. 2. perang ke-2 sama dengan perang pertama namun setelah tangkis mata kanan dengan trak keris dilanjutkan tusuk mata kiri lawan, tangkis lempeng, tusuk lempeng jeblos pindah gawang adu kanan srisik mengejar arjuna. 3. tusuk maju 2x, tusuk mata kanan (trak keris), tangkis keris atas, tusuk luar, tangkis luar, tusuk dalam, tangkis dalam, tusuk lempeng kanan, jeblos adu kanan kipat srisik, srisik ganti dikejar. gerakan arjuna sama kebalikan dari karna. 4. gerakan sama dengan no. 3, di sini arjuna yang mengejar dan menusuk duluan. srisik satu putaran ke gawangnya sendiri, berhadapan besut tanjak sawega keris. ngancap maju bersama, adu kiri, tanjak kebyok sampur kiri, dimulai karna tusuk seret kaki kanan, tangkis kebyak sampur kiri, tusuk maju diputar ke kiri, ganti memutar lawan, ngembat tusuk bersama. kengser menjauh, besut sawega memasukkan keris. panahan (perang panah) kedua penari jengkeng meletakkan dhadhap, trap jamang kiri ambil busur (gendewa), berdiri tanjak tancep kiri adu kiri. ambil anak panah dan memasangnya pada busur, giyul kaki kanan embatan srimpet kaki kiri ngancap maju dua kali, kengser menjauh dan melepaskan anak panah. karna trecet di tempat, jengkeng nikel warti. arjuna tawing kiri. gending ayak-ayak slendro sanga dengan notasi iringannya dapat dilihat dalam lampiran 5. struktur tarinya : arjuna: ulap-ulap tawing kiri dilanjutkan nyabet hadap ke karna. lumaksana redong sampur jajak tiga kali. srimpet kiri hadap kiri srisik satu putaran melewati karna dan kembali ke gawang sendiri, nikel warti. karna: silantaya diam di tempat. iringan sampak slendro sanga notasi iringannya dapat lilihat pada lampiran 6. struktur tarinya karna dan arjuna sama, diawali udar sembahan wireng, berdiri sabetan, lumaksana bangbangan jajag tiga kali, ombak banyu, srisik kebyok sampur satu putaran kembali ke gawang beksan menghadap belakang, srisik menuju gawang sopana menghadap depan besut tanjak panggah nikel warti. tata rias dan tata busana tari karna tinandhing tata rias yang digunakan pada tokoh karna dan arjuna menggunakan tata rias karakter wayang orang. tata rias karna menggunakan rias alus lanyap dengan pola corekan alis pada ujungnya agak naik segaris dengan sogokan. tata rias tokoh arjuna menggunakan tata rias berbentuk bagusan alus luruh dengan menebalkan alis penari sendiri. busana yang digunakan pada tokoh karna meliputi: irah-irahan topong karawistha, sumping, kalung kace, praba, endong beserta nyenyep, klat bahu, gelang, epek timang, sabuk, sampur, celana panjen, uncal, kain lereng putih motif kecil yang dibentuk berpola supit urang, keris dan binggel. busana pada tokoh arjuna meliputi: irah-irahan gelung keling, sumping, kalung ulur, epek timang, sabuk, keris, kain lereng coklat dengan pola cancutan, sampur, uncal. pola lantai yang digunakan pada tari karna tinandhing di antaranya: gawang sopana, gawang beksan, gawang perang, dan terakhir gawang mundur beksan. pada gawang sopana menggunakan gawang berbentuk sejajar sampai maju beksan. gawang beksan menggunakan pola gawang berhadapan dan gawang prapatan gawang perangan meliputi gawang berhadapan, prapatan, gawang jeblos. gawang mundur beksan kembali ke gawang sopana (gawang awal menari). gawang berhadapan gawang prapatan gawang mundur beksan kembali ke gawang sopana (gawang awal menari). alat bantu : tari karna tinandhing menggunakan alat bantu berupa keris, dhadhap, panah dan anak panah. d. penutup tari karna tinandhing merupakan tari pethilan yang mengambil tema kepahlawanan. tarian sumber ide dari cerita mahabarata pada bagian bharatayuda episude karna parwa bagian peperangan antara karna senapati kurawa dan arjuna senapati pandawa. ada dua karakter dalam tarian tersebut yaitu alus lanyap untuk karna dan alus lurus untuk arjuna. sekaran yang digunakan untuk kedua tokoh tersebut di atas sama yang membedakan karakter kedua tokoh adalah penyajiannya. konsep garap tarian kedua tokoh, menggunakan pedoman garap yang ada pada hasta sawanda dan triwiro. tari karna tinandhing mulai disajikan di surakarta masa pemerintahan mangkunegara iv (1853 – 1881) pada saat hajatan menyupitkan kedua putranya kanjeng pangeran prangwedana dan kanjeng gusti pangeran adipati ario mangkunegara v tahun 1868. tari karna tinandhing oleh s. ngaliman pada tahun 1971 digubah pada bagian perangan, hal itu dilakukan karena pada saat belajar tari karna tinandhing perangannya tidak ada. secara garis besar penyajian tari karna tinandhing dapat dikategorikan menjadi 3 bagian yaitu: maju beksan; beksan yang di dalamnya ada perangan, dan yang ketiga mundur beksan. maju beksan menggunakan iringan: ada-ada slendro sanga, dan dilanjutkan srepeg slendro sanga. bagian beksan dan perangan menggunakan iringan: pathetan slendro sanga jugag, dilanjutkan ketawang gending ganda kusuma, ladrang cluntang, srepeg slendro sanga. mundur beksan menggunakan iringan gendhing ayak-ayak slendro sanga dan sampak slendro sanga. daftar pustaka kamajaya, 1984, tiga suri teladan kisah kepahlawanan tiga tokoh cerita wayang, yogyakarta: u.p. indonesia. gawang berhadapan gawang prapatan gawang jeblos kats. j, 1984, wayang purwa, suatu bentuk pertunjukan jawa. cordrecht-holland/cinnamin: son, u.s.a, foris publications. lal, p. 1981, mahabarata, jakarta, pustaka jaya. padmosoekotjo, 1986, silsilah wayang mawa carita. surabaya: citra jaya murti papenhuyzen, clara brakel, 1991, seni tari jawa tradisi surakarta dan peristilahannya. alih bahasa oleh mur sabyo, jakarta. pendit nyoman, s. 1980, mahabharata, sebuah perang dahsyat di medan kurusetra. jakarta: bhratara karya aksara. -------------- 1966. bhagavadgita. jakarta: depag. lembaga penyelenggara penterjemah dan penerbit kitab sutji weda dan ghamamapada. prawiro atmodjo. 1994. bau sastra jawa, kababar.surabaya. dening yayasan “djoyo boyo” purwadi, 1994, serat pedhalangan jangkep lampahan karna tinandhing, solo, amigo. sayid, r.m, 1984, babad sala, mangkunegara. surakarta: reksa pustaka. sri mulyono, 1978, tripama waak satria dan sastra jendra, jakarta: gunung agung. sujamto, 1992. wayang dan budaya jawa. semarang: dahara prize. wahyu santoso prabowo. 1990. bedhaya anglir mendhung monumen perjuangan mangkunegaran i, 1757 – 1988. yogyakarta: universitas gajah mada. zoetmulder, p.j. bekerjasama dengan s.o. robson, 1995, kamus jawa kuna – indonesia. yogyakarta pt. gramedia pustaka jakarta utama, lampiran 1: @ @ @ @ @ @ @ @ @ @ ! ! 6 ka dang mu pa da aran den a be cik 1 1 1 1 x!x̂x% 5 @ be suk a men dhe ma o ! ! ! ! x!x6x5 5 ba ris kang pra yit na 1 1 1 1 1 1 1 1 1 gya sa ran ta neng dwa ra wa ti 3 3 2 3 3 3 3 3 3 3 x3x2x1 x1x2 1 ti num pes pa ni ku pa nga wak pan da wa e keterangan penari duduk bersila pada gawang awal menari (gawang sopono) sampai cakepan selesai. lampiran 3: bk: 2 . 3 5 6 . 6 . 1 . 2 . y z.xx3xx.xcg5 udar nyembah z.xxwxx.xxexx.xxtxx.xcy z.xx2xx.xx1xx.xxyxx.xc5 turun asta jengkeng jengkeng z.xx2xx.xc3 z.xx5xx.xc6 z.xx2xx.xc1 z.xx6xx.xc5 gedeg pentang kanan tengadah kanan silih ungkih gatuk asta nyembah lampiran 2: 6 5 6 5 2 3 2 g1 2 1 2 1 3 2 x3xx2xx5xx6xx1xxg6 z1xx6xx2xx3xx2xgc1z2xx1xx3xx5xx6xcg5z6xx5xx6xx5xx3xx2xx1xc2 z3xx2xx3xx5xx6xcg5 turun asta gedeg jengkeng sembahan z6xx5xx2xx3xx2xgc1z2xx1xx3xx2xx1xcg2z3xx2xx3xx2xx6xx5xx1xcg6z1xx6xx2xx3xx2xcg1 turun asta gedeg berdiri candakan z2xx1xx3xx5xx6xc5 z6xx5xx3xx2xx1xc2 z3x2x3x2x3xx5x6xgx5x6xx5xx6c5 z2xx3xxx2x cg1 panggel besut lumaksana jajak 3x obak banyu kiri z2xx1xx3xx2xx1xgc2z3xx2xx3xx6xx1xcg6z1xx6xx1xx6xx2xx1xx2xc1 z3xx5xx6xcg5 ombak banyu besut srisik srisik maju beksan kebyok kiri kanan tanjak kiri 6 5 6 5 3 2 1 2 3 2 2 3 3 5 6 5 6 5 6 5 3 2 3 5 jengkeng nike warti gedeg kembali duduk silantaya keterangan: bentuk gerakan sekaran tari karna dan arjuna sama. z.xx2xx.xc1 z.xx2xx.xc6 z.xx2xx.xc1 z.xx6xx.xc5 turun asta diputar ukel asta seleh asta ke dada dibawa tengadah kanan ke kiri z.xx2xx.xc1 z.xx2xx.xc6 z.xx2xx.xc1 z.xx6xx.xcg5 ukel ambil dhadhap berdiri besut tanjak tengadah panggel tancep dhadhap kanan z.xx.xx6xc5 z!xx6xx5xc3 z2xx3xx2xc1 z6xx5xx3xc5 pentang ngigel laras pentang ingset pentang tengadah kanan tengadah kiri giyul kiri kanan kanan z.xx.xx6xc5 z!xx6xx5xc3 z2xx3xx2xxj1c2 zj3x5xxjx6x1xxj.x2xcg1 ukel lerek ukel ngembat berhadapan tengadah kiri pentang asta kiri sampir sampur kiri kiri kiri pentang kanan gantung kaki kiri z.xx.xx3xc2 z.xx1xx6xc5 z.xx2xx.xc1 z.xx6xx.xc5 tanjak kiri ukel tengadah kanan ingset tanjak kanan asta kanan trap dada kiri ingset tanjak kiri pentang kiri ingset tanjak kanan leyek kiri z2xx2xx.xxj3c5 zj6x1x xj.x6xx x1xc5 z.xx2xx.xc1 z.xx6xx.xcg5 ogek lambung tawing kiri pentang ukel tengadhah kiri lepas sampur kiri z2xx2xx.xxj3c5 zj6x1x xj.x6xx x1xc5 z.xx2xx.xc1 z.xx6xx.xc5 pentang asta kiri ukel tengadhah tanjak kiri ngigel laras pentang ukel tengadhah kanan giyul kanan pentang kiri z.xxwxx.xce z.xxtxx.xcy z.xx2xx.xc1 z.xx6xx.xcg5 lerek kiri pentang kiri ukel penuh ngembat asta kiri glebak kanan kebyok kiri pentang kanan z.xxwxx.xc3 z.xxtxx.xcy z.xx2xx.xc1 z.xxyxx.xc5 tanjak kiri ukel tengadhah kanan ingset seret tanjak kanan asta kanan tekuk trap dada kiri ingset pentang kanan tanjak kiri leyek kiri tanjak kanan ngembat asta kanan (kebyak sampur kiri) z.xx2xx.xce z.xx5xx.xc6 z.xx2xx.xc1 z.xxyxx.xcg5 mbandul junjung kaki kiri ngembat seblak sampur balik kiri panggah besut tanjak kanan z.xx2xx.xx1xx.xx2xx.xcy z.xx2xx.xx1xx.xxyxx.xct hoyok ngembat pentang kiri njujut kanan balik kanan ukel asta kiri pentang kanan tanjak panggah z.xx2xx.xx1xx.xx2xx.xc6 z.xx2xx.xx1xx.xx6xx.xcg5 hoyok ngembat njujut kaki kiri pentang asta kanan ukel tekuk asta kanan seret kanan midak jempol kiri trap dada kiri asta kanan z.xx.xx5xx6xx!xx6xx5xc3 z2xx3xx2xx1xx6xx5xx3xc5 ogek lambung kicatan tanjak kanan pentang ukel kiri hadap kanan, sangga nampa kicat kaki kiri z.xx.xxtxx6xx!xx6xx5xc3 z2xx3xx2xxj1x2x xj6x1x x.xx2xcg1 ngancap nylekentung kedua asta pentang asta kiri nampa kanan junjung kaki kanan glebak kanan trecet mundur adu pundhak kiri, balik kanan berhadapan besut tanjak panggah z .xx.xx#xx@xx.xx!xx6xc5 z.xx2xx.xx1xx.xx6xx.xc5 hoyog ngembat asta kiri njujut kanan ukel kiri maju kanan tanjak kiri pentang asta kanan (tanjak panggah) z2xx2xx.xxj3x5xxxj6x1x xj.x6xx1xc5 z.xx2xx.xx3xx.xx2xx.xc1 hoyog ngembat asta kanan njujut kiri maju kiri kengser ke kanan tukar gawang berhadapan, tanjak kebyak kiri pentang kanan ladrang cluntang z.xx5xx.xx6xx.xx2xx.xc1 z.xx5xx.xx6xx.xx5xx.xc6 sidangan kebyok kebyak sampur ngracik maju kaki kanan adu kiri tanjak kiri sidangan kebyok ngracik, tanjak kanan, seret giyul kanan kicatan ogek lambung z.xx5xx.xx6xx.xx3xx.xc5 z.xx2xx.xx1xx.xxyxx.xcgt seleh kaki kanan ukel tengadhah asta kiri hadap kanan songgo nampa kicat kaki kiri balik kanan berhadapan trecet mundur ukel kembar di depan puser balik kanan besut tanjak panggah z.xx1xx.xxyxx.xxexx.xct z.xx1xx.xxyxx.xxexx.xct seret kaki kanan balik kanan ngenceng dhadap trap cetik asta kiri ingset tanjak kiri leyek kanan kembali tanjak kanan (lilingan) z.xx1xx.xxyxx.xxexx.xct z.xx2xx.xx3xx.xx2xx.xcg1 pentang asta kiri ukel tengadhah kiri kedepan ukel penuh pindah dhadap ukel penuh asta kanan di depan, gedek z.xx5xx.xx6xx.xx2xx.xc1 z.xx5xx.xx6xx.xx5xx.xc6 ingset tanjak kiri leyek kanan ambil keris ngembet ngunus keris ke kiri njujut kaki kanan tanjak kiri kebyok sampur kiri z.xx5xx.xx6xx.xx3xx.xc5 z.xx2xx.xx1xx.xxyxx.xcgt hoyog ngembat lepas sampur besut sawega keris nyabet, panggel, besut nggroda z.xx1xx.xxyxx.xxexx.xct z.xx1xx.xxyxx.xxexx.xct pacak gulu, embatan keris maju kanan kicat kiri njujut kiri kembali nggrodha z.xx1xx.xxyxx.xxexx.xct z.xx2xx.xx3xx.xx2xx.xcg1 pacak gulu adu kanan srisik satu putaran z.x5xx.xxxx6x.x2x.xx1x xx.x5x.x6x.xx5x.x6xxx.x5x.x6x.x3x.x5xxxxx.x2x.x1x.xyx.xxcgt adu kiri tusukan kengeseran 3x karna ngoyak tusuk, arjuna ganti kengser ngoyak tusuk terakhir (yang ketiga tusuk bersama) besut tancep kanan methok, jeblos tawing dadap kiri tanjak kanan z.xx1xx.xxyxx.xxexx.xxtxx.xx1xx.xxyxx.xxexx.xc5 kesetan menjauh kekanan 3x z.xx1xx.xxyxx.xxexx.xct z.xx2xx.xx3xx.xx2xx.xcg1 hadap kanan (saling membelakangi) sangga nampa kicat kaki kiri ngancap adu kanan z.xx5xx.xx6xx.xx2xx.xc1 z.xx5xx.xx6xx.xx5xx.xc6 mrenjak tinaji hadap kanan sangga nampa kicat kaki kanan hebat ngancap naga wangsul adu kanan, hadap kanan berhadapan, pentang embatan keris kicat kaki kiri, napak njujut kanan tanjak kiri z.xx5xx.xx6xx.xx3xx.xc5 z.xx2xx.xx1xx.xxyxx.xct hoyogan njujut kiri sawega kanan nyabet, panggel, besut sawega keris lampiran 4: 6 5 6 5 2 3 2 g1 2 1 2 1 3 2 3 2 5 6 1 g6 ! 6 ! 6 2 1 2 1 3 5 6 g5 6 5 6 5 3 2 1 g2 3 2 3 2 3 5 6 g5 lampiran 5 : 2 . 1 . 2 . 1 . 3 . 2 . 6 . g5 ! 6 5 6 5 3 5 6 5 3 5 6 3 5 6 g5 3 2 3 5 3 2 3 5 ! 6 5 6 5 3 2 g1 2 3 2 1 2 3 2 1 3 2 1 2 5 6 ! g6 5 3 5 6 5 3 5 6 2 3 2 1 y t e gt e w e t e w e t 3 2 1 2 3 5 6 g5 suwuk: 2 3 2 1 y t e gt 5555 1111 1111 222g2 22666g6 661g1 1111 5555 55222g2 22555g5 551g1 1111 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���""# 172 the musical structure and meaning of go laba in the context of people’s life philosophy in ngadha culture, flores, east nusa tenggara florentianus dopo1, yudi sukmayadi2 1department of music education, stkip citra bakti, indonesia 2department of music education, universitas pendidikan indonesia received: june 10, 2018. revised: october 8, 2018. accepted: december 19, 2018 abstract art is an integral aspect of culture. almost all aspects of human life are always wrapped in some form of art. indonesia is a country that has diverse artistic expressions. different from western arts that emphasize the element of aesthetics, traditional arts in various cultures in the eastern world display elements that are more than just aesthetics. other intended elements include the values or the life philosophy of the owner community. traditional music always has two components that can not be separated from one another: textual and contextual aspects. understanding a musical tradition should cover both aspects in their entirety. this paper aims to expose the contextual aspects of a musical tradition of ngadha, flores, ntt called go laba. the contextual aspect in question is the values or life philosophy of the community represented through this traditional music. keywords: traditional music; values; musical meaning how to cite: dopo, f., & sukmayadi, y. (2018). the musical structure and meaning of go laba in the context of people’s life philosophy in ngadha culture, flores, east nusa tenggara. harmonia: journal of arts research and education, 18(2), 172-179. harmonia: journal of arts research and education 18 (2) (2018), 172-179 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v18i2.9976 dience during an art presentation. textual elements are those such as the composition of music embodied in rhythm, melody, harmony, musical structure, lyrics, tempo, dynamics, expression, instruments, and arrangements. meanwhile, contextual aspects are matters relating to the message or values to be conveyed through the appearance of art such as meaning, function, purpose, essence or the role of art in the life of the community. the contextual aspect relates to the beliefs, ideas, values or life philosophy of a community group that is revealed through the presentation of traditional music. unlike the textual aspects that can be introduction indonesia is a country with a variety of art. almost all aspects of the cultural life of the people in various cultures in indonesia are always wrapped in art. history has proved that there is no society without art, because art is always present in human life and has a very important role (prestisa & susetyo, 2013). in traditional arts always have 2 (two) aspects that can not be separated from one another, namely the textual and contextual aspects. according to susetyo (2009), the textual aspect is the elements of art that are enjoyed directly by the audience or the aucorresponding author: jl. bajawa-ende, malanuza, kec. golewa, kab. ngada, flores, ntt e-mail: yudi.sukmayadi@upi.edu p-issn 2541-1683|e-issn 2541-2426 florentianus dopo et al., the musical structure and meaning of go laba ... 173 obtained directly in the moment of an art presentation, it is not so with the contextual aspect. the contextual aspect requires further examination. the presentation of art only displays the symbols to be searched for further meaning. the presentation of traditional music will always trigger a deeper curiosity from the audience. therefore, appreciating a traditional art should not stop at the textual aspect only. the beauty and meaningfulness of traditional music lie in the combination of both aspects. textually, we may find a traditional art similar to different ethnic groups such as the similarity of motion patterns when dancing or the similarity of a musical composition. however, the similarity of textual expression of a readable traditional art cannot be concluded that both have the same contextual meaning. contextual meanings have a correlation with the beliefs, values held or philosophy that is lived by a limited group of people. the similarity in textual expression of an art entity still has a different meaning. therefore, the best way to understand or appreciate a traditional art is to place the textual and contextual aspects in the same position. textually, go laba music is still well known by almost all in the ngadha community, including children, adolescents and adults. however, the textual knowledge of go laba music possessed by ngadha people is inconsistent with their knowledge of its contextual aspect. this is not only apparent with the younger generation, but the older generation also almost no longer knows what the contextual meanings are contained in the music of go laba. one reason for the occurrence of this situation is that the inheritance pattern is not intact. the inheritance of go laba music only emphasizes the textual aspect of how to playi go laba music, but is not accompanied by the inheritance of knowledge about its meaning. therefore, children and the younger generation in general continue their lives in ignorance about the meaningfulness of go laba music in their lives as part of ngadha tribe. departing from the conditions above , this study of go laba music is part of an attempt to reconstruct a written document on go laba music in the context of the life philosophy of the ngadha community that can help to rebuild the understanding of go laba music in its entirety. go laba, which is a rich of life values, should be used as a source of learning values for students in school formally. through learning go laba music, students can begin as early as possible to learn to reinforce the local as well as universal values that are represented through the music of go laba. based on the background research the purposes of this research are to describe the musical structure of go laba and the meaning of go laba in the context of people’s life philosophy in ngadha culture. method the research approach used is qualitative. scott w. vanderstoep and deirdre d. johnston (2009) argue that a qualitative approach focuses on building a narrative on the phenomena based on observations. the data collected is the result of the researchers’ observation and interviews. alwasilah (2000) states that observation is a systematic and planned observation to obtain data with controls for validity and reliability. meanwhile, according to esteberg (2002), an interview is a meeting between two people to exchange information and ideas through question and answer so that meaning can be constructed. result and discussion musical structure of go laba go laba is the traditional music of the ngadha culture; it is often used in traditional ceremonies such as traditional house construction. aside from being as music for rituals, go laba is a traditional ja’i dance accompaniment. the structure of music is a structural arrangement in the sentence of music in which there are motif and ujud (linggono, 1993). in contrast to the structure of music in general, playing of every musical instrument in a go laba ensemble harmonia: journal of arts research and education 18 (2) (2018): 172-179174 is a rhythmical exploration. the go laba ensemble is comprised of eight instruments: fve go (gongs) and three laba (drums). each go (gong) has its own name. they are wela/ ro’i-ro’i-roi (gong 1), uto-uto/ute-ute (gong 2), dhere/bheme (gong 3), and doa, which consists of two go (gong 4 & 5). similarly, the three laba (drum) is named laba dera (1 piece) and laba wa’i/dawi (2 pieces). these two types of laba are different in size. figures 1. go (gong) instruments figure 2. a laba dera, b laba wa’i/dawi besides being named, each go (gong) also has a different tone. the tones of the five go are arranged using diatonic scales, ranging from do to sol. meanwhile laba is a musical instrument that is not pitched. each player plays a rhythmic pattern on a single instrument, except the doa (2 pieces of gong), which is played by one person. the tool used to play the go are called sora go, which is a wood with a length of about 30-35 cm and 1-2 cm in diameter. each instrument is played by beating. the rhythmic pattern that is played on each instrument differs. different rhythmic patterns of each instrument, both go and laba, are played together in a go laba music ensemble performance. thus, go laba music can be described as polyrhythmic. below is an example of a rhythmic beating motive/ musical structure of the five go (gong). different from the go, the laba dera and laba wa’i/dawi play more varied rhythmic motifs. for that reason, we have separated the description of the musical structure of laba dera and laba wa’i/dawi. however this separation does not mean that laba is played separately apart from go. the separation of the description here only intends to clarify some of the varied rhythmic motives played by laba. types of rhythmic motives played by laba are described as follows. the first motif is called meju the second motif is called meru the third motif is called degude the fourth motif is called rada ke’ o florentianus dopo et al., the musical structure and meaning of go laba ... 175 the music structure of go laba above gives a very simple sketch when compared with the understanding of music in general that has many complex components. therefore, the music must be understood in its cultural context. in the context of traditional music, music must be understood as a part of community life that is preserved because of its benefits for current life (okpala, 2016). john blacking, for example, believes that every traditional music should be analyzed in its social and cultural context (blacking, 1973). if related to the understanding of modern music, the music structure of go laba above only shows some components such as motifs. sometimes traditional music appears in a form that is difficult to understand based on knowledge of modern music. this is because the purpose of music in the tradition’s culture is not intended for aesthetic purposes, but as a medium of cultural inheritance or ritual needs (okapala, 2016). musical meaning of go laba in context of life philosophy of ngadha culture the presence of traditional music gives meaning to the existence of a culture and the life of the members of the community. the musical traditions have meaning, function and usefulness that vary by type, place, time and need (supanggah, 1996). therefore, in the context of cultural understanding, music must be understood as part of the community life which has benefits for current life (okpala, 2016). deane l. root (2005, p. 7) said that music is a mirror of society’s events and systems of beliefs, the fifth motif is called reto the length or the shortness of a motive played by laba depends on the coordination between the two types of laba. the sequence of motives played by laba during a performance of go laba music is displayed in table 1. table 1. a sequence of motives played by laba laba wa‘i/dawi 1 laba wa’i/ dawi 2 laba dera meru meju meju degude degude meru meru meju meju meju meru meju rada ke’o/ nosi rada ke’o/ nosi meju meju meju meru meru meju meju degude degude meru meru meru reto in the table 1, the column number is the order of rhythm played by the laba. the column labeled “laba wa’i 1” is a sequence of rhythmic motives played by the laba wa’ i/dawi 1 from start to finish. the laba wa’ i/ dawi 2 column is the sequence of rhythmic motives played by laba wa’ i/dawi 2. the laba dera column is the sequence of rhythmic motives played by laba dera from beginning to end. when go laba ensemble music starts to be played, at the first, laba wa’i/dawi will play the motive of meru, while at the same time laba wai/dawi 2 and laba dera will play the meju motif. so on, with the order of 3, 4, and the rest. so the playing of every rhythmic motif by the three pieces instruments of laba must run synchronously in accordance with motives sequentially. the playing of go laba sequentially from beginning to end can be illustrated as follows. harmonia: journal of arts research and education 18 (2) (2018): 172-179176 and that each piece can be a richly packed time capsule from its period. hidayat (2014) describes that music contains values and norms that are part of the process of cultural enculturation, both informally and informally. this statement reveals that the existence of music has an important meaning as a medium for representing the values, beliefs or ideas about life owned by a person or a group of people. go laba is a reflection of the values, principles of life or life philosophy in ngadha culture. the life principle or life philosophy of ngada culture is mainly represented in the role played by each go (gong) and also laba (drum). the philosophy of ngadha society’s life as reflected in go laba music can be described as follows. go 1 (wela/ro’i-ro’i) that wela has a higher tone than the other go has several meanings. first, wela is an opening or a greeting. a greeting with a high tone is a form of hospitality in the context of ngada culture. an exciting greeting will make the one greeted feel invited, accepted, acknowledged and confirmed. the use of go laba to greet guests in non-adat ceremonies can be presumed based on this understanding of wela. when the go laba ensemble is played to greet the guest, then indirectly the guest has been accepted, acclaimed and confirmed in the community that is being visited by the guest. second, wela is a symbol of honesty, truth and sincerity. this is revealed in a special term “wela ghoa” which means to do what it is or say as it should be said. saying something must be expressed vividly. there is also an old adage: “ghoa moe alu koda, netu moe alu beru.” this proverb is an affirmation of honesty that is symbolized by a plain bamboo segment without content. what is said in a closed place should be the same as what is said in an open place. honesty, truth, and sincerity must be voiced in the loudest tone so that everyone can distinguish right and wrong. truth can not be hidden only for oneself, but must belong to everyone. these three virtues must always be upheld and held firm. third, wela is also a symbol of passion and perseverance to do something for achieving what is aspired. when the wela begins to sound, everyone should rush against all laziness to get to work immediately. wela is a personal symbol of the spirit and ready to reach the ideals. go 2 (uto-uto/ute-ute) uto-uto/ute-ute has a lower tone than wela. in later go laba ensemble packages, uto-uto/ute-ute is set up in such a way as to produce the tone “fa.” uto-uto/ute-ute starts playing following the wela with a different rhythmic motive. second, go (utouto) must always be understood in relation to the first go (wela). according to interviewees, uto-uto is referred to as “go gani wela,” which means a friend or wela (first gong). in the context of life, uto-uto is associated with a supportive friend. the importance of friends who support us in life is expressed in the traditional adage “ngai bodha nee gani, pio bodha nee go sipo, go wela bodha nee uto.” this phrase has the meaning that this life must have friends, just like wela must be with uto-uto. if associating with wela (first gong), uto-uto becomes the symbol of a faithful friend of wela to jointly voice truth, honesty, or justice. as long as we live in the world, we can not walk alone. we need others as friends or friends in order to create a harmonious life. even if we are strong, it will not last long if it is not supported by others. even if we are great, our greatness does not produce many benefits if we do not include others. therefore, involving others in any endeavor or struggle to achieve the ideal is not proof that we are weak, but it is a part of being human nature for the harmony of the world. go 3 (dhere/bheme) dhere/bheme has a lower tone than uto-uto/ute-ute. in today’s go laba ensemble, the dhere/bheme is arranged in such a way as to produce the sound of mi in the sense of diatonic scale. in the context of go laba as an ensemble, dhere/beme is the controller. in cultural terminology, dhere/bheme is called go mima, which means balancing the moveflorentianus dopo et al., the musical structure and meaning of go laba ... 177 ment of wela and uto-uto rhythms. slightly different from the wela and uto-uto that are hit with strong or hard pressure, a typical dhere/bheme is played with slightly weak or soft pressure. although sound with a soft dynamic, dhere/bheme has a very important role as a regulator of the tempo of go laba ensemble playing. therefore, every player of each instrument must always pay attention to the tempo of the dhere/bheme. the performance of go laba will not sound harmonious if dhere/bheme is not played well. all people who live in ngadha culture consider the dhere/bheme as a personal symbol of a mediator, giver of advice, or controller of the life rhythm and the rhythm of our work. an arbitrator is a wise man and a solution giver in every problem for everyone for living in harmony with others. therefore dhere/bheme is often associated in cultural understanding as the mosa kisa. mosa kisa is a person who always stands neutral for human, a person who is an example to all about how to living well while still in the world. mosa kisa is the source of virtue and wisdom. thus, everyone will always want to hear him. the wise person (mosa kisa) is a person who always gives advice with soft language, and not with harsh words . why act as a controller but be beaten with soft pressure? in the belief of the ngadha people, a wise man does not appear in a strong and powerful figure over others. an arbitrator is manifested in humble and selfless personalities. their presence is sometimes not taken into account, but their words are always heard. providing wise counsel to others should not be conveyed in loud tones, but should be expressed and conveyed in soft language. it is expressed in the adat adage of ngadha “bodha le soro ho nee mazi mawe.” this adage has the meaning that peace over a dispute can only be achieved through a soft discussion. in other words, advising others must be conveyed in soft language. a gentle conversation will cool the heart and clear the mind to find solutions easily. therefore, the sound of the dhere/bheme heard in a soft sound is actually the sound of “denge, denge, denge ... etc ....”. meaning listen! listen! listen! listen to me (dhere/bheme) so that the steps you have taken, the plan you have designed, the spirit that you have started, is still on the right track. go 5 (doa/ridhu) doa/ridhu consists of 2 gongs. go doa 2 has a lower tone than dhere/bheme, and go doa 1 has a lower tone than go doa 2. in today’s go laba ensemble, doa 2 is arranged in such a way as to produce the tone re, while doa 1 produces the tone do. in ngadha culture, doa/ridhu is a meaningful symbol. first, it symbolizes the need for interaction with others in a harmonious rhythm. in the adat proverb, doa/ridhu is called “go dai wa’i dhepo logo.” this statement means that we need others to share our experiences or to share our joys and sorrows. the habit of sharing experiences will strengthen unity and inseparable unity. the atmosphere of unity is expected to be revealed in the adat adage “ili wi ma’e tiki, woe ma mae boe.” this means, “what you have and what i love, let us have together. the second meaning of doa/ridhu is a call to equate perception or a positive understanding. so the principle of life symbolized through the doa/ridhu is about the need for communication or dialogue. in life together we need to share positive thoughts to build and keep alive and in order to always be good. communication of good ideas will open up new horizons for everyone to grow and develop to be useful people for others. the causes of distress and difficulty of life are sometimes not caused by economic factors, but also because people do not want to share thoughts with others. laba (gendang) in general the variation of the beat motive played by laba, both laba dera and laba wa’ i/ dawi, is the symbol or the tempo of life. the meru motif illustrates that in this life we need to live life with a very fast tempo. for various reasons, at certain moments we are harmonia: journal of arts research and education 18 (2) (2018): 172-179178 required to do everything quickly. the degude motif is a symbol of the rhythm of life that we live with a moderate tempo. there are times in this life where we need to live with a moderate rhythm. no need to hurry too much. the meju motif is a rhythm in laba playing that describes the rhythm of life as quite relaxed. life needs to be enjoyed in ease. enjoying the fun can also be understood as an opportunity to gather new energy for when we must change our rhythm of life to a moderate or fast tempo. rada ke’o motif symbolizes a joke. jokes are needed to live life in a relaxed way. actually, the reto motive is more a pure musical motif; it functions as a sign that the go laba perfomance will soon be completed. hence the reto motive is placed near the end of a go laba music perfomance. laba dera is a symbol of a mosa meze who has the power and the authority to regulate others. the mosa meze is represented through the heads of villages or woe. why must the three types of laba play different motifs at the same time? because this way of playing is the symbol of a complementary lifestyle. in a community that always lives together, the life rhythm of every community member should not be homogeneous. if there are members of the community who are living life with a very fast rhythm, other members are expected to live with a more relaxed rhythm. such arrangements are intended to keep the rhythm of life in general running normally with a steady rhythm. if at any given moment all are forced to move quickly, then when the energy is exhausted, the rhythm of life can stop running. therefore the rhythm of life must be complementary. conclusions and recommendations for value education from the discussion above, there are some values of life that can be used as the basis for character educating: first, the value of honesty, firmness. through the playing music of go laba, students can learn how to be honest and assertive as symbolized through go 1 (wela). second, the value of loyalty for being a faithful friend symbolized through go 2 (uto-uto/ute-ute). third, the value of wisdom. being a wise man should not be a strong person and power, but always low-day and gentle in every speech as displayed by dhere/bheme. fourth, the value of openness. the harmonization of life requires the attitude of mutual openness in order to occur. fifth, work ethic. students are invited to help each other’s rhythm of life in order to keep this life going well. another important value is the responsibility for each task that is given. when it comes to moving fast, we are required to follow it by moving slower, and vice versa. conclusion traditional music is one of the cultural elements which has a very big role in people’s lives. in contrast to western music that emphasizes the aesthetic aspect of art, traditional music is always present as a symbolic entity to express the important values to human life and humanity’s relationships with its creator, the universe, neighbors and oneself. traditional music is a reflection of the soul system, the social situation of a society, the way of thinking, the philosophy of life or belief. in the context of education, traditional music should be used as a medium to reinvent the noble values of the culture that are abandoned by the younger generation. perseverance to explore the virtues in every cultural element, including traditional music, must begin to be done by various stakeholder to restore a civilized and cultured identity. not all values of the tradition are ancient, since the ancestors have proven themselves to live in harmony on the basis of those values. therefore there is no reason to ignore these values, for throughout human life the values of goodwill remain useful for human life. florentianus dopo et al., the musical structure and meaning of go laba 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mandala pendidikan seni (the mandala of art education) m. jazuli ketua program studi pendidikan seni program pascasarjana unnes abstrak pendidikan seni memiliki peranan krusial dalam membantu pendewasaan peserta didik, dalam kerangka the values of education in the context of nation and character building'. pendidikan seni merupakan pendidikan nilai yang berdimensi mental (moral), analisis, dan sistesis sehingga dapat membantu kecerdasan emosional dan intelektual, menghargai pluralitas budaya dan alam semesta, menumbuhkan daya imajinasi, motivasi dan harmonisasi peserta didik dalam menyiasari dan menanggapi setiap fenomena sosial budaya yang muncul ke permukaan. atas dasar itulah, pendidikan seni mempunyai tujuan seperri halnya tujuan pendidikan umumnya, pengembangan pribadi secara utuh. perbedaannya di dalam tujuan pendidikan seni hal-hal yang berkaitan dengan norma dan sistem nilai tidak bisa diamari secara langsung (intangible). gejala rohani dan sistem nilai hanya dapat direfleksikan secara filosofis, dalam arti dapat ditangkap makna simbolisnya berdasarkan aktualisasi sikap dan perilaku lahiriah. untuk itu, pendekatan teoreris dan metodologik 'mandala' menjadi strategi pilihan guna memetakan dan mendekonstruksi khasanah pendidikan seni. kata kunci: pendidikan seni, pendidikan nilai, pengembangan pribadi. a. pendahuluan berangkat dari suatu keprehatinan atas kondisi bangsa kita, yang belum sepenuhnya lepas dari lingkaran krisis-krisis nilai atau dalam terminologi f. capra ‘krisis eksistensial’, ‘krisis multikultural’ menurut habermas. krisis nilai ini tercermin dari merebaknya berbagai macam peristiwa dan tindak kekerasan yang cenderung melecehkan martabat manusia sa tu dengan lainnya. misalnya: perampok an, pemerkosaan, tawuran antar pelajar maupun antar kampung, serta bentuk tin-dakan korupsi, manipulasi, sampai men-jamurnya pornografi dan porno-aksi. se-mua ini dapat kita simak pada kehidupan sehari-hari, terutama tayangan media massa baik cetak maupun elektronik. me dia massa yang seharusnya melayani ma-syarakat tentang kebutuhan informasi, hiburan, dan pendidikan secara seim-bangkan, ternyata lebih menekankan segi hiburan segar, komersial, glamour, kocak dan sensasional. pada sisi lain, dunia pendidikan kita cenderung menekankan aspek kognitif yang bermuara pada kecerdasan intelektualitas semata, sehingga kecerdasan emosional terasa terpinggirkan. padahal, vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni pengetahuan yang baik belum tentu menjamin perilaku baik. kecerdasan intelektual hanya akan melahirkan manusia ro bot, sumber daya manusia yang tak pu nya ruh dan kurang berkarakter, manusia terampil yang kering etika, moral dan spiritual, serta melahirkan manusia yang berpikiran pragmatis dan berselera ins tant, dalam arri mencari sesuatu dengan cara relatif mudah dan pintas, cepat di-nikmati, dan cepat pula dibuang. atas dasar inilah, kecerdasan intelektualitas perlu diimbangi dengan kecerdasan emo-sional dalam hal ini pendidikan nilai, yang salah satunya dapat dilakukan melalui pendidikan seni. dalam quantum learning (bobbi dan mike hernacki,1999), pendidikan nilai merupakan wacana utama dan kompo nen pendidikan seni menempati posisi strategis pada metode dan proses pengajarannya. hal ini barangkali pendidikan seni dipandang dapat membantu sese orang untuk mengembangkan imajinasi dan harmonisasi dalam menyiasati ber bagai masalah kehidupan. persoalan yang muncul kemudian adalah, seberapa jauh kah pendidikan seni dipahami sebagai pendidikan nilai? apa dan bagaimana pendiikan seni memberi kontribusi terha dap dunia pada umumnya? nilai-nilai macam apa saja yang mampu diberikan oleh pendidikan seni kepada pendidikan generasi muda bangsa ini? deretan pertanyaan seperti ini dapat diperpanjang dan dipertajam lebih jauh lagi, karena pendidikan seni merupakan keniscayaan dari sebuah perpectual grappling (pergulatan terus-menerus) terutama dalam bentuk kegiatan experience dan experiment-exploration. tulisan ini hendak mencoba memetakan dan mendekonstruksi pendidikan seni dalam perspektif ‘mandala’ pendekatan teo-retik dan metodologik. b. mandala dalam tulisan ini ’mandala’ dimengerti sebagai ’diagram magis’, artinya sebuah peta pembagian ruang, wilayah, kawasan kehidupan guna menentukan bagian-bagian mana yang memiliki ke kuatan mistis-magis yang lebih daripada yang lainnya. dengan pemahaman ter sebut menandakan mandala berada pada tataran filosofis (jazuli, 2004). mandala sebagai diagram magis mempunyai satu titik tengah sebagai inti atau pusatnya sebagai sumbu dari garis garis imajiner yang membentang ke po ros horizontal dan poros vertikal untuk menghubungkan tata ruang atau kawasan dalam mandala. sungguh pun secara kosmologis kedua garis itu mempunyai jangkauan tak terhingga atau tak terbatas, (pada gambar disimbolkan huruf s). titik pusat inilah secara kualitatif merupakan kristalisasi power, substansi otoritas, sumber energi, sekaligus simbol ‘aku’ yang dapat memercik (bagai percikan api) ke berbagai dimensi ruang-waktu. apa yang dimaksud inti merupakan simbolisasi dari sesuatu yang dianggap suci, dianggap paling tinggi, paling penting, substansial. mandala pada dasarnya merupakan se buah peta dari rekonstruksi teori jawa, sadular papal kalima pancer. spirit mandala adalah kearifan, wisdom, humanis, dan bukan pengkultusan atau pengagungan. spirit ini dimaksudkan agar orang mam pu memahami posisi dan perannya ma singmasing dalam kerangka memayu ha-yuning bawana. dengan cara pandang se-perti ini akan tercipta kesadaran menda lam tentang siapa jati dirinya, sehingga tertubuhkan kebanggaan dan keterlibatan yang penuh tanggung jawab. oleh karena itu, apa pun bila hendak dilihat melalui konsep mandala harus dipandang dalam bentangan alam budaya (cultural landscape), bukan bentangan vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni politik kekuasaan maupun tata ekonomi kapitalis liberal (jazuli, 2004). kearifan itu dapat dimak nai sebagai rambu-rambu planologi, ram bu-rambu sikap dan aktivitas pengem-bangan, maupun ramburambu bagi pe-ngembangan proyek atau program apa pun yang tengah digeluti. adapun pola dasar mandala saya rumuskan pada diagram berikut ini. pola dasar mandala adalah berben tuk lingkaran konsentris. di dalam lingkaran ada satu titik pusat dua garis ordi nat yang membentang poros vertikal dan horizontal. pada poros vertikal terkan dung tiga lingkaran berjenjang (tahapan), yang menunjuk pada tingkat kualitas capaian bersifat transen-den, metaphisik (habluminallah). lingkaran 1 digambarkan sebagai kawasan bawah dengan kualitas dasar, lingkaran 2 adalah kawasan tengah dengan tingkat kualitas di antara kualitas dasar dan tinggi, dan lingkaran 3 adalah kawasan puncak dengan kualitas terting gi. ketiga lingkaran berjenjang itu berhubungan secara sintagmatik, yakni sam bung-menyambung bagaikan mata rantai. pada poros horizontal, dari titik pusat konsentris terbagi menjadi empat dalam bentuk wilayah, zone sesuai de ngan arah mata angin, yang pada konteks ini saya sebut dengan istilah ‘jagat’. wilayah timur identik dengan jagat timur (2), wilayah selatan identik dengan jagat selatan (3), wilayah barat dengan jagat barat (4), dan wilayah utara identik dengan jagat utara (5). masing-masing jagat secara struktural mempunyai kedu-dukan sebagai subsistem, dan secara fungsional mempunyai sistem sendiri yaitu memiliki titik pusat yang memben-tang ke poros horizontal dan vertikal. dengan kata lain bahwa kedudukan se tiap jagat merupakan subsistem dari kese-luruhan sistem mandala yang bersifat kuantitatif, imanen (habluminannas). untuk menapaki tahapan menuju puncak kualitas sasaran (garis vertikal), masing-masing jagat harus berputar searah jarum jam, yang dimulai dari timur (angka 2) sebagai awal orbit sekaligus simbol awal kehidupan. ibarat nginteri (jawa) atau tha-waf (berlari kecil mengelilingi ka’bah). akselerasi dan keseriusan putaran meru-pakan simbol kedinamisan sistem yang hidup untuk menemukan ketenangan esensial, sebagaimana kisaran kipas angin atau kekhusukan berdzikir. keempat ja gat ini dapat disimbolisasikan bumi yang berfungsi sebagai ‘penyangga’ tiga ling-karan vertikal mandala atau simbolisasi angkasa. berikut ini hendak dipaparkan peta pendidikan seni yang meliputi konsep, visi, misi, refleksi pada poros horizontal, serta tahapan kualitas yaitu pengajaran, kompe-tensi, dan pembentukan karakter pada poros vertikal. vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni c. konsep pendidikan seni suatu kecerdasan yang matang barangkali hanya bisa ditunjukkan dengan cara mengimbangkan (equilibrium) antara kemampuan mengoptimalkan fungsi otak belahan kanan dan kiri. hal ini ber arti bahwa kecerdasan intelektual yang bersumber pada pengoptimalan fungsi otak belahan kiri harus sebanding dengan pengembangan fungsi otak belahan kanan sebagai sumber potensi emosi dan seni. pada konteks inilah peranan pendidikan seni sangat krusial dalam memban tu pendewasaan peserta didik. asumsi tersebut cukup beralasan, mengingat di dalam pendidikan seni berdimensi mental (moral), analisis, dan sistesis sehingga dapat membantu kecerdasan emosional dan intelektual, menghargai pluralitas budaya dan alam semesta, menumbuhkan daya imajinasi, motivasi dan harmonisasi pe serta didik dalam menyiasati atau menanggapi setiap fenomena sosial budaya yang muncul ke permukaan. oleh karena itu, pendidikan seni mempunyai tujuan seperti halnya tujuan pendidikan umum nya. perbedaannya di dalam tujuan pendidikan seni hal-hal yang berkaitan dengan norma dan sistem nilai tidak bisa diamati secara langsung (intangible). gejala rohani dan sistem nilai hanya dapat direfleksikan secara filosofis, dalam arti dapat ditangkap makna simbolisnya berdasar kan sikap dan perilaku lahiriah. berdasarkan perspektif di atas, pendidikan seni harus mengarah pada suatu hal yang paling mendasar tentang kebutuhan dasar manusia untuk mengembangkan diri secara alamiah mau pun ilmiah berdasarkan kompetensi se tiap individu. dengan demikian, kedu dukan pendidikan seni akan memiliki arti penting dalam usaha pengembangan kecerdasan emosional (eq) dan intelektual (iq), serta merupakan bentuk pendidikan yang mampu memberikan keseimbangan (equilibrium) antara kebutuhan intelektualitas dan sensibilitas kehidupan sese orang. dengan pertimbangan tersebut, konsep pendidikan seni harus mencakup perencanaan dan pelaksanaan secara sistemik dan sistematik guna menunjang fungsi pendidikan pada umumnya, pendidikan nasional, di antaranya ikut mengembangkan kemampuan dan membentuk watak dan peradaban bangsa yang bermartabat dalam rangka mencerdaskan kehidupan bangsa. dengan kata lain, da sar pendidikan seni harus dilandasi oleh kemampuan rasional, keserasian dan keseimbangan, kesadaran tujuan hidup dan pandangan hidup yang menghendaki ada-nya pengendalian diri dan kepentingankepentingannya dalam upaya mencapai kebahagiaan bersama. 1. visi dalam rangka mewujudkan pembangunan nasional di bidang pendidikan, maka upaya peningkatan dan penyempurnaan penyelenggaraan pendidikan nasional khususnya pendidikan seni, hendaknya disesuaikan dengan tuntutan situasi, yakni perkembangan ilmu pengetahuan, teknologi dan perkembangan masyarakat serta kebutuhan pembangunan. visi pendidikan seni perlu meng arah kepada: pemahaman terhadap pe vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni ranan seni dalam kehidupan manusia yang beradab dan berbudaya; membantu kemampuan persepsi dan sensitivitas terhadap berbagai fenomena sosial bu daya yang tumbuh dan berkembang di masyarakat dan lingkungannya; meningkatkan kemampuan menilai (justifycation) dan berpengalaman seni yang bermakna dalam kerangka kehidupan berbudaya dalam kapasitas pribadi maupun kelom pok; meningkatkan kompetensi untuk menggali, mengungkap, dan mengkomunikasikan gagasan, pandangan, perasaan melalui media seni. dengan visi pendidikan seni terse but, peserta didik memperoleh peluang untuk mengungkapkan segenap pengalaman cipta, karsa, dan rasa estetikanya, serta kese-luruhan aspek kemampuan manusia dapat terjangkau dan terbina secara utuh dan harmonis. 2. misi misi pendidikan seni yaitu mendidik dan membelajarkan peserta didik melalui media seni dalam kerangka untuk: mengembangkan sikap, pengetahuan dan keterampilan bidang seni (musik, tari, rupa) untuk memenuhi kebutuhan dasar estetika, serta mempersiapkan peserta di dik (sd, sltp, smu) untuk mengikuti pendidikan selanjutnya; meningkatkan kesadaran dan kepekaan sensoris sehing ga peserta didik memiliki daya persepsi memadai terhadap fenomena yang terjadi di sekitarnya; memberikan kebebasan untuk berekspresi kreatif sehingga mampu menumbuhkan dan mengembangkan rasa percaya diri, tanggung jawab dalam kehidupan bersama (bermasyarakat); membangun kebersamaan dalam perbedaan, pluralitas budaya (tim fbs unnes, 2001; jazuli, 2005). dengan misi pendidikan seni semacam itu, dalam diri peserta didik dapat ditanamkan hal-hal yang berkaitan de ngan konsep diri; pemahaman terhadap orang lain, budaya lain, dan lingkungan yang beragam; kehendak untuk belajar dan keterampilan belajar; tanggung jawab sebagai anggota masyarakat dan bangsa; kearifan dalam menggunakan ilmu pengetahuan dan teknologi; dan kesadaran terhadap berbagai perubahan yang ter jadi. 3. tujuan seni mempunyai peran yang sangat penting, sebagai: kebutuhan dasar pendidikan manusia (basic experience in education), sarana berkomunikasi kepada orang lain maupun lingkungan budayanya, pengembangan sikap dan kepribadian, determinan atau memberi peluang terhadap kecerdasan lainnya (lansing, 1990; holden, 1977). oleh karena itu, pengembangan tujuan pendidikan seni hendak nya mendasarkan nilai-nilai, gagasan (cita-cita dan tingkat kedewasaan) peserta didik, dan pola-pola hidup kreatif melalui latihanvol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni latihan. dengan kata lain bahwa tujuan tersebut hendaknya diarahkan ke-pada pemahaman sepenuhnya terhadap seni berdasarkan nilai-nilai sosial budaya, sehingga memberikan peluang bagi pe serta didik untuk melakukan kegiatan kreatif. kegiatan kreatif tersebut merupakan manifestasi dari kemampuannya berkomunikasi dengan sesama dan lingkungannya, serta merupakan bentuk aktualisasi diri dalam kehidupannya. atas dasar itulah pendidikan seni perlu me mfokuskan perhatian kepada kebutuhan dan kemampuan peserta didik beserta berbagai fenomena (tuntutan dan tan tangan zaman) yang sedang berlangsung di sekitarnya. keberhasilan kegiatan pendidikan di sekolah perlu memperhatikan berbagai dimensi perilaku. brent g. wilson menafsirkan tiga dimensi perilaku dari bloom, yaitu kognitif, afektif dan psikomotorik menjadi tujuh dimensi perilaku seni, meliputi: 1) persepsi, 2) pengetahu an, 3) pemahaman, 4) analisis, 5) evaluasi, 6) apresiasi, 7) produksi. ketujuh aspek tersebut bersifat berjenjang dan perlu dipelajari peserta didik melalui seni yang beragam. untuk itu dalam penyusunan peta kompetensi dasar pendidikan seni perlu digariskan perilaku yang akan dicapai, dengan mempertimbangkan visi, mi si, jenjang pendidikan, dan perkembang an peserta didik (surono, 2001). 4. refleksi berdasarkan pemahaman semacam itu pendidikan seni diharapkan dapat merefleksikan empati, pengendalian diri, kemandirian, dan kenikmatan hidup. em pati dapat ditimbulkan melalui kegiatan seni yang melibatkan banyak peserta di dik agar senantiasa bekerjasama untuk mencapai tujuan kegiatan seni yang bersangkutan. kerjasama itulah akan mam pu menumbuhkan kesetiakawanan, toleransi, dan komunikasi sosial yang kondusif. pengendalian diri dapat dipupuk dan dikembangkan melalui aktivitas seni kreatif yang melibatkan sensitivitas peser ta didik dalam merespons suatu fenome na. kemandirian tidak jarang mampu menimbulkan sikap percaya diri. kemandirian dapat dilatih dengan cara memberikan peluang seluas-luasnya untuk berekspresi kreatif dan keberanian menampilkan diri. kemampuan untuk menik mati hidup merupakan pengalaman yang perlu dibiasakan. sebab kenikmatan hi dup hanya bisa dirasakan oleh peserta didik atau orang yang telah mampu menunjukkan ketenangan, kepercayaan diri, toleransi, sikap sopan dan perilaku san tun, serta cerdas dan kreatif mengan tisipasi masa depan. kenikmatan hidup yang dirasakan peserta didik menandakan pada pembentukan dan pengembangan pribadi peserta didik secara utuh. jika keempat refleksi tersebut bisa terpenuhi, maka pendidikan seni dapat menjadi wahana pembentukan dan pengembang an sumber daya manusia yang kualitas, manusia yang selalu berusaha untuk mengaktualisasikan diri, serta menjadi wahana pelestarian nilai-nilai budaya bangsa, khususnya nilai-nilai etis dan es-tetis seni-budaya bangsa yang muaranya dapat memperkuat bagi pembentukan identitas diri, budaya lokal, dan identitas budaya vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni nasional. dengan demikian, im-plikasi pendidikan seni berada pada the values of education in the context of nation and character building. d. pengajaran seni pembelajaran seni pada dasarnya merupakan upaya untuk membelajarkan peserta didik dengan menggunakan seni sebagai media (education through art), seni sebagai alat, seni sebagai materi ajaran, dan seni sebagai bentuk rekreasi bagi peserta didik. seni sebagai media (wahana) untuk menggali subject matter melalui aspek-aspek seni dari suatu konsep mata pelajar an, seperti belajar matematika menggunakan perlengkapan yang berbentuk dan bernilai seni. seni sebagai alat dalam arti untuk memahami subject matter dari suatu mata pelajaran tertentu. misalnya belajar anatomi manusia dengan cara mengupas fungsi dan struktur bentuk manusia seba gai ciptaan tuhan, meskipun bentuknya sama tetapi rupanya berbeda-beda. seni sebagai materi ajaran, yaitu menggali, memahami, mencipta dan mengekspresikan berbagai konsep dan prinsip seni dalam karya seni. seni sebagai bentuk rekreasi, artinya dalam pengajaran seni hendaknya selalu menumbuhkan rasa senang pada diri peserta didik harus merasa menik mati kegiatan belajar. berangkat dari rasa senang dan nikmat inilah merupakan modal dasar untuk pengembangan priba di peserta didik. dengan strategi pengajaran seperti itu diharapkan agar peserta didik memperoleh pengetahuan dan pengalaman baru. pengetahuan dan pengalaman baru itu tidak selalu harus bersifat fungsional atau lang-sung bermanfaat dalam kehidupan nyata, melainkan lebih merupakan perpetual grappling (pergulatan terus-menerus) deng-an pengetahuan yang ada. artinya pergulatan tersebut dipahami sebagai pemikiran kritis, konstruktif, dan inovatif terhadap gagasan yang telah ada sebelumnya. oleh karena itu, bentuk kegiatan seni harus be-rupa penggalian experience dan experiment-exploration. adapun metode pendekatan yang dipilih dan dikembangkan hendaknya berupa pemberian bimbingan kepada peser ta didik dalam mempelajari hal-hal yang bersifat praktis ke teoretis, konkret ke abstrak, dan inderawi ke intelektual (creative problem solving). dengan demikian, dalam pembelajaran seni di sekolah (sd sampai smu) harus diarahkan pada: 1) pengembangan kreativitas dan sensitivi as pribadi peserta didik; 2) pembentukan dan pengembangan pribadi peserta didik; 3) pemberian kesempatan yang luas ke pada peserta didik untuk berekspresi dan berapresiasi lewat aktivitas-aktivitas seni yang mampu mengungkapkan pengalam an yang telah diperoleh peserta didik. hal tersebut secara konkret dapat ditem puh melalui berbagai macam pcndekatan. misalnya: (1) stimulus-respons, (2) nonindoktriner, (3) meningkatkan motivasi terus menerus, (4) kritik konstruktif, (5) kecukupan alokasi waktu yang sesuai atau proporsional (2 jam per minggu untuk tiap bidang seni musik, tari, rupa), (6) peniruan (imitation) untuk peserta didik sd, (7) eksplorasi atau penemuan untuk smu. pengajaran seni (baik materi mau pun metode) disesuaikan dengan taraf perkembangan (psikologis) peserta didik. pengenalan elemen-elemen musikal, elemen-elemen tari dan elemen-elemen rupa melalui kegiatan yang diawali dengan kegiatan meniru (imitation), dan kemudian dikembangkan pada kegiatan yang mengarah kebebasan berekspresi dan berapre vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni siasi sesuai dengan taraf perkembangan peserta didik. e. pendidikan nilai sebuah pendidikan nilai mensyaratkan adanya kompetensi dasar. kompe tensi dasar adalah kemampuan yang memadai atas pengetahuan, keterampilan, serta sikap dan nilai yang harus dimiliki dan dikem-bangkan pada diri peserta didik (yulaelawati, 2001). kompetensi dasar yang penting dikembangkan mela lui pendidikan seni adalah kemampuan yang mampu menjebatani dan mendu kung tercapainya tujuan pendidikan (art education should be the basic of education). dengan kata lain bahwa pendidikan seni sebagai education throught art. berdasarkan hal tersebut, kompe tensi dasar yang harus dimiliki peserta didik di antaranya adalah: (1) kemam puan menganti-sipasi masa depan secara kritis dengan men-dasarkan kepada pengetahuan dan pengala-mannya; (2) kemampuan dalam mengatasi permasalahan yang dihadapi; (3) kemampuan mengako-modasi atas perubahan-perubahan yang terjadi; (4) kemampuan mengaplikasikan dan mengembangkan nilai-nilai, sikap, pikiran sesuai dengan identitas diri dan budayanya. untuk sampai pada kompetensi tersebut, maka setiap peserta didik perlu dilatih dan dibimbing dengan kegiatan seni yang mengarah kepada: kemampuan dan keterampilan menyajikan bidang seni yang diminati, seperti musik, tari, dan atau rupa; kemampuan berekspresi dan berapresiasi untuk keperluan aktualisasi diri; kemampuan untuk mengembangkan gagasan sebagai dasar berkreasi; dan kemampuan merefleksikan fenomena sosial budaya yang terjadi di sekitarnya. dari sinilah diperlukan standar materi dan standar pencapaian hasil belajar. standar materi merupakan bagian dari struktur keilmuan yang menyajikan suatu bahan kajian yang dapat berupa ba-han ajar, gugus isi, proses, keterampilan, konteks, dan atau pengertian konseptual yang dipilih untuk mencapai kompetensi dasar yang ditentukan. standar penca paian hasil merupakan ukuran dan tingkatan kemampuan, pengetahuan, keterampilan, dan sikap yang telah ditetapkan untuk dipahami, dilakukan dan dihayati oleh peserta didik agar mampu memberdayakan dirinya dalam kegiatan belajar yang efektif. contoh standar materi, seperti peserta didik memiliki pengeta huan dan keterampilan dasar menguasai elemen-elemen bidang seni tertentu, se perti elemen musikal (seni musik), komposisi gerak, ruang dan waktu (elemen dasar seni tari), dan elemen dasar seni rupa (garis, bentuk, warna dan seba gainya), serta mampu mengaktualisasikan dalam bentuk ekspresi kreatif dan apre siasi. disamping itu peserta didik me miliki sikap dan kepribadian yang positif yang tercermin pada perilaku atau tindakannya. standar pencapaian hasilnya bergantung pada kriteria-kriteria yang te lah ditetapkan dalam perencanaan pembelajaran sebelumnya. f. pembentukan karakter bertolak dari pemahaman pendidik an seni sebagai salah satu bentuk pendidikan nilai berarti telah menunjukkan pada the values of education in the context of nation and character building. tingkat persepsi dan aktualisasi peserta didik terha dap nilai-nilai yang termuat dalam visi, misi, tujuan pendidikan seni merupakan wahana utama pembentukan karakter. sebab, nilai-nilai semacam itu akan menvol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni jadi daya dan spirit kekuatan guna melahirkan sebuah pemikiran, tindakan, dan pemikiran positif dan konstruktif. oleh karena itu, amat disayangkan sebagian besar guru masih sering terjebak pada kompetensi akhir (produksi) saja di da lam proses pembelajaran seni, sehingga cenderung mengesampingkan kepekaan indrawi. cara pengajaran semacam itu jelas tidak sesuai dengan tujuan pembentukan karakter, meskipun mungkin peser ta didik sangat terampil, tetapi cenderung tidak mempunyai kepekaan estetis, imajinatif, dan kreatif. demikian pula dalam kegiatan apresiasi seni, peserta didik ha nya diberi pengetahuan teoretis, hafalan, cara berkarya seni, tetapi tidak dengan serta merta diberi bagaimana berempati, merenungkan, merasakan, mengevaluasi, dan menghargai. dengan demikian, pro ses dari kompetensi itu sendiri sangat penting, bahkan lebih utama dari produk akhir. oleh karenanya, materi pendidikan seni harus dirancang sesuai dengan ting kat kemampuan dan keterampilan, minat, kematangan pemahaman dan imajinasi, serta kebutuhan peserta didik. misalnya: untuk usia 12 tahun bisa dimulai dengan materi pembelajaran berupa pengenalan konsep, gagasan, dan pemikiran; untuk usia 17 tahun dengan materi yang berupa topik-topik berhubungan dengan sensory experience with concrete rather that abstract learning, dan sebagainya. pengembangan materi sebagai subsistem kurikulum hendaknya taat asas atau kontinu, artinya dari tingkat kelas ke tingkat kelas yang lain (jenjang studi berikutnya) harus ada kesinambungan materi ajar. dengan kata lain, bahwa materi ajar untuk sd, sltp, dan smu harus berkesinambungan dan perbedaanya terletak pada ke-luasan, kedalaman, dan tingkat abstraksinya. pemilihan dan pengem bangan materi juga harus memperhatikan signifikansi, daya tarik atau perhatian, dan kemampuan belajar peserta didik. semua itu dalam usaha untuk menum-buhkan karakter peserta didik agar dapat berkembang secara alami dan sesuai dengan cara-cara dan potensi-potensi yang ada pada setiap peserta didik. g. simpulan berdasarkan pemetaan pendidikan seni yang telah dipaparkan, dapat dike-mukakan implikasi-implikasi sebagai beri-kut. pertama, pendidkan seni merupakan salah satu bentuk pendidikan nilai yang sangat diperlukan bagi pembentukan karakter seseorang agar memiliki kepriba dian yang relatif kokoh. oleh karena itu, pema-haman guru agar senantiasa menanamkan nilai-nilai yang termuat dalam visi, misi, tujuan, dan refleksi pendidikan seni kepada peserta didik menjadi persoalan penting dan mendesak. tingkat persepsi peserta didik terhadap nilai-nilai tersebut, yang kemudian diaktualisasikan dalam sikap dan tindakan merupakan to lak ukur sebuah pendidikan nilai. kedua, pendekatan dalam pendidikan seni harus selaran dengan minat dan kemampuan peserta didik, serta kondisi sosial budaya ekonomi lingkungan belajar. ketiga, kepekaan etik dan estetis serta kemampuan berimajinasi dan berkreasi dapat dikembangkan dengan cara belajar dengan seni, belajar melalui seni, belajar tentang seni, dan belajar dengan senang dan enak. dari ketiga rumusan tersebut berimplikasi pula terhadap peranan dan kompetensi guru seni. guru seni ditun tut dapat memenuhi persyaratan terten tu, di antaranya adalah: 1) berwawasan luas, terampil, dan bertanggungjawab terhadap profesinya; 2) menguasai bidang ilmu (seni) dan kreatif dalam mengem-bangkan vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni materi ajar; 3) memahami ma-turitas dan perkembangan peserta didik dalam belajar seni; 4) menguasai teori dan prakrik dalam kerangka pembelajaran seni; 5) mampu merancang dan menge lola pembelajaran seni; (6) dan yang lebih utama adalah guru harus benar-benar memahmi bahwa pendidikan seni meru-pakan pendidikan nilai yang terus berproses dan berubah sesuai dengan situsi dan kondisi lingkungan sosial, budaya, dan ekonomi, lingkungan sekitarnya. � daftar pustaka deporter, bobbi, dan mike hernacki, 1999, quantum learning, diterjemah-kan oleh alwiyah aburrahman, bandung: kaifa. golberg, merryl, 1997, arts and learning: an integrated approach to teaching and learning in multicultural and multilingual settings, new york: longman. holden, d.c., 1977, ”the art in general education: aethetic education”, dalam rubin, l. (ed.), curriculum handbook, boston: allyn and bacon, hal. 122-132. jazuli, m, 2000, ”tiada keunggulan tanpa kekuasaan”, makalah kongres pendidikan nasional, hotel indonesia jakarta 11-20 september 2000. ---------------, 2001, ”mempertimbangkan konsep pendidikan seni”, harmo nia: jurnal pengetahuan dan pemikiran seni, vol 2, no. 2/mei-agustus 2001, sendratasik, fbs, universitas negeri semarang. -------------, 2005, ”membangun kecer dasan melalui pendidikan seni”, dalam meningkatkan kualitas pendidikan tinggi, semarang: lustrum viii unnes. lansing, k.m., 1990, art, artists and education, london: msgraw-hill book company. read, herbert, 1982, the meaning of art, new york: faber and faber. salam, sofyan, 2001, ”pendekatan ekspresi-diri, disiplin, dan multikul tural dalam pendidikan seni rupa”, wacana sent rupa, vol. 1 no. 3, hal. 12-22. shapiro, lawrence e. 1997. mengajarkan emotional intelligence pada anak. alih bahasa alex tri kantjono. jakarta: gramedia surono, cut kamaril, 2001, ”konsep pendidikan seni tingkat sd-sltpsmu”, makalah semiloka pendidikan seni, jakarta 18-20 april 2001. tim pengembang pendidikan seni fbs semarang, 2001. ”konsep pendidikan seni di indonesia”, makalah semiloka pendidikan seni, jakarta 18-20 april 2001. yulaelawati, ella, 2001, ”pendekatan kompetensi dalam perubahan kurikulum nasional pendidikan seni”, makalah semiloka pendidikan seni, jakarta 18-20 april 2001. aru, yogyakarta: pustaka pelajar. william vol. vi no. 3/september-desember 2005 29 mimicry and hybridity of “congrock musik 17” in semarang sunarto sunarto, irfanda rizki harmono sejati, udi utomo department of drama, dance, and music, faculty of languages and arts, universitas negeri semarang, indonesia submitted: may 23, 2020. revised: june 9, 2020. accepted: july 4, 2020 abstract keroncong, a slow and crooning music, serves as the art and culture that reflects indonesian identities. this music style still exists today, particularly in semarang that is widely known as an urban area. the resistance of such music is actualized with the process of mimicry and hybridity of keroncong and rock music, causing pros and cons that lead to a crisis. the performed mimicry and hybridity is a negotiation in identity construction that takes place in ambivalent behavior as a strategy to survive from the crisis. building an identity of congrock (keroncong and rock) is carried out to explore the mediation form in the third space, enabling the outlining of the position of congrock identity in semarang. a case study, an art research method, and historical reading were employed to interpret the existing phenomenon. the result indicated that the congrock identity was the result of mimicry and hybridity that was formed due to the hegemony in indonesia. mimicry and hybridity had become the most important point because they took place in an urban area, such as semarang. the integration of local and global cultures in congrock generated a new identity in society as the third space and created a gray zone in congrock, i.e., the area between the form of imitation and cross-cultural music integration. the position of congrock in semarang became a symbol of freedom in negotiating locality while partially articulating modernity. keywords: congrock; hybridity; mimicry; semarang; urban area how to cite: sunarto, s., sejati, i. r. h., & utomo, u. (2020). mimicry and hybridity of “congrock musik 17” in semarang. harmonia: journal of arts research and education, 20(1), 29-38. harmonia: journal of arts research and education 20 (1) (2020), 29-38 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i1.24563 keroncong music that still last until today, and are given media of preservation by the local government (rachman & pribadi, 2019; rachman & utomo, 2018). nevertheless, due to the consumerism of western cultures and the power of dominant cultures that cause an identity crisis, the art of keroncong has increasingly developed (rachman, 2013). the impact of such identity politics urges local artists to create innovations in keroncong music to develop its identity, one of which is by combining introduction as written in a book entitled indonesia heritage: seni pertunjukan [indonesian heritage: performing arts] (sedyawati, 2002), semarang includes in the area of the keroncong music spreading map in indonesia. this city is also considered one of the barometers for keroncong development in the homeland. the rapid development of this music in semarang is proven by the existence of several communities of corresponding author: e-mail: sunartofbs@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (1) (2020): 29-3830 keroncong and rock genres to become a new contemporary genre called congrock (rachman & utomo, 2018). congrock is derived from the words keroncong and rock. the mixed genres of music between keroncong and rock rhythms in semarang came into an identity of a student community in universitas 17 agustus 1945 on march 17th, 1983. there were mutual agreement and mission to create innovations towards keroncong music to maintain the existence of this music as local culture. the innovations were seen by a variety of instruments, tone, tempo, and harmonization played by a group called “congrock musik 17” (rachmawati, et al., 2016; zahrotul & rachman, 2020). according to kartika (2015, p. 36), indonesian society as a post-colonial society, which referred to the historical period of post-independence at that time, had empiricism towards the practices of fascist colonialism or the racist administration. this issue also affects the existence of “congrock 17” group that invites the pros and cons of its genre of music. the works created by “congrock 17” is considered to be out of the keroncong music, in terms of the standard rhythm patterns and musical instruments. figure 1. double rhythms of cak (four-stringed instrument) cuk (three-stringed instrument), cello, and bass of keroncong (source: abel, 2019) standard keroncong rhythm patterns are characterized by recognizable patterns, although they are varied. nonetheless, the basic rhythmic form does not change; only does the tempo, accentuation, and tone color (utomo & rachman, 2019). based on the above idea, purwanto (2015) opines that a crisis of identities causes a shift in characters in cultural politics as a result of the hegemony of the dominant group until an agreement comes from a marginalized minority to show/build their identities. building identities in cultural diversity is now a problem occurring in the ex-colonized nation, including indonesia. this is a sign of colonialism in the modern era, which its agreement raises an ambivalence; such a phenomenon is known as identity politics (dini, et al., 2018). on that ground, the phenomenon of identity politics is utilized to see the factors influencing the “congrock 17” group in choosing the rock genre. further, the analysis of the works and performances of the group is used to answer the question regarding the position of congrock identity in “congrock 17 semarang” with mimicry and hybridity in a postcolonial study. in this context, keroncong has become an in-depth study in finding out the issue of the diversity of values in the process of forming the art itself. along with technological advancements, the phenomenon serves as the montage of time-image that relates to the complexity of social relations that starts looking for new identities amidst the authority, politics, and ideology (aryandari, 2018). keroncong is a type of music that goes through an integration, mixing, and re-interpretation of a culture (lestari & rachman, 2012). the mimicry and hybridity of keroncong are essential, considering their never-ending existence and consistency. interestingly, when mimicry and hybridity take place in keroncong, the development is neverceasing, leading to some innovations to the music itself. congrock has been the most-requested music by society. the diversity and continuous development of keroncong make this type of music more attractive (zahrotul & rachman, 2020). this paper will mix and match the concepts of mimicry and hybridity in explaining the congrock music, specifically in the “congrock 17” group in the level of urban society in sunarto sunarto et al., mimicry and hybridity of “congrock musik 17” in semarang 31 semarang. congrock has become very interesting with its diversity, particularly its existence, which has been continually exposed and becoming public consumption of indonesian people in the past few years. grounding from the above discussion, the problem of this research is the concepts of mimicry and hybridity in the “congrock 17” group in the phenomenon of identity politics. this study is theoretically significant in terms of finding out the forms of identities in a postcolonial study. practically, this study is useful for opening up the view of the society, local musicians, and government that the hybrid identity of congrock can be an icon for its group in the context of arts in semarang, so that it will become a sustainable local art. method this research relies on case studies, historical research methods, and art in interpreting the process of mimicry and hybridism of keroncong. to make it easier, an in-depth reading of the problem can be done with this method. qualitative data collection is the best choice in collecting research data. data collection techniques used in this study were observation, interviews (interviews), and documentation. the data analysis technique used is data reduction: all data is summarized, data from literature studies, interviews, observations, and research locations. data presentation: collected data is sorted according to the category, broken down, then interpreted according to needs. verification of data: data that has been interpreted and then concluded, checked again for correctness, then sorted, after all, is correctly concluded; in this study descriptive data helps the analysis of research and development data. draw conclusions: this analysis activity is very important because, from the beginning of data collection, a qualitative analyzer starts looking for the meaning of objects, noting the regularities, patterns, explanations, possible configurations, causal flows, and prepositions. in addition, reading historical events also serve as valid data in finding out the existence of congrock in semarang that can be specifically seen in the “congrock 17 semarang” group. art reading, which is devoted to notation correlation, is considered capable of responding to art explicitly. this finding will be a reflection in seeing urban mimicry and hybridity in viewing art as a cultural manifesto. result and discussion postcolonialism speaking of postcolonialism, being traditional and modern is the same two sides, and it is almost impossible to speak of it without involving the western and eastern countries, especially those with a history of colonialism. one of the strategies to deal with the dominance of colonizing culture is through mimicry and hybridity that is usually called a process of imitating and integrating cultures. many other strategies can be applied in media that look for innovations to vocalize equality and selfidentity in the dominance of the interest of western-style companies. among the innovations is exploring indonesian local culture as an icon (laksono, et al., 2015; widiastuti, 2015). the part of postcolonial identity complexities is related to the process of how the colonized society or culture absorbs the meaning for themselves by the creation and coercion of the colonizers’ power (easton, 1964). when colonized countries become independent politically and militarily from colonialism, their new sovereign status is usually the integration between elements and forms of previous identities (pre-colonial times) which are created during the colonization (clayton & gregory, 1996). postcolonialism, in its turn, refers to the situation of a society or culture after being colonized by those who intend to conquer, control, exploit, and even fix the society or culture itself. although the use of postcolonialism normally refers to the aftermath of colonialism as mentioned earlier, this term has urged analytic values harmonia: journal of arts research and education 20 (1) (2020): 29-3832 regarding the condition of the subject, society, or culture immediately after the initial colonial contact came about (chatterjee, 1993). urban area and popularity every developing region desires an establishment of becoming an urban area, especially when the regional development is carried out massively. the advancement and concept of urban areas are what the society has been dreaming of, and its value has become a stigma. the society craves for a concept of urban areas, i.e., borderline of values in the society. clark (2003) states: seeing urban areas as spaces that have been conceptualized, and more importantly, signified in particular ways towards particular ends, can provide insight into the manner in which old, new and fluid cultural identities emerge, are negotiated or contested within and between these urban spaces. urban spaces become a negotiation place in building old, new, and emerging identities with mixing and integration that is introduced as hybridity. urban areas become the level of an arena in the occurrence of the hybridity. looking at the previous concept of urban areas, weirtheim (1964) claims “cities used to be the center of the kingdom, religious activities, or harbor”. it is implied that cities are the place of power over something, such as suzerainty in a kingdom, god’s power in religion, and trade power in a harbor. there come values that are referred to and controlled, causing a new concept that is different from rural areas in general. urban arts have more quantities in forming a performance with a strong existence, and quantities with high frequency create values of popularity. turner (1984) indicates that the culture of popularity acts as a domain of production, and come a negotiation with the consent of the society. turner also asserts that popularity is mass and the other way around. popularity has a huge power on the demand of the society. popular things come from conscious or unconscious habituation. a popular understanding of a culture is expressed as the biggest demand and desire of people in negotiating social and cultural aspects. there are many collaborative concepts in their application, which can be concluded as hybridity efforts. in the art domain, hauser (1982) points out, “boredom is what underlies the presence of popular arts, and such boredom raises restlessness”. the boredom of the previous art has triggered people to look away to popular arts, and even initiate new arts that come from the regional or global scope. the categorization of arts is stated in popular music. usman (2000) argues that from the perspective of social aspect, three important factors influence people’s appreciation to popular music, including 1) introduction refers to a contact with certain popular music products; 2) habituation is the frequency of the contact; and 3) intensity of association with the popular music. more basic knowledge about the aspects and involvement in activities that use popular music is one of its main means. usman’s theory strengthens the idea that the popularity of arts is based on its introduction, frequency, contact, and association. if applied to keroncong, the popularity of this music has been of a certain object. keroncong is created as a natural reflection of the society over the resistance to the type of music coming from outside; this is the counterwork to the new culture. people make an interpretation by mixing and matching all developing cultures. keroncong according to paeni (2009), in the book sejarah kebudayaan indonesia: seni pertunjukan dan seni media (history of indonesian culture: performing and media arts), in the 1970s, keroncong music had been regarded as modern music because it played pop music. this type of music was considered the first pop music in indonesia that always involved in a music competition held by rri and tvri (indonesian tv channels). keroncong, in the 1990s, alsunarto sunarto et al., mimicry and hybridity of “congrock musik 17” in semarang 33 ready had a huge position in its event (darini, 2012; rachman, 2013). moreover, the keroncong community that brings hybrid keroncong or combines keroncong with other types of music to create new types of keroncong music, such as congdut (keroncong and dangdut / melodious music genres in indonesia), congpop (keroncong and pop), and congrock (keroncong and keroncong stone) began to appear (rachman, et al., 2018; rachman & utomo, 2019). as opined by ganap (2006), keroncong is a hybrid music, a genre resulted from the accumulation of western elements (from portuguese and netherlands) and non-western elements (from saudi arabia, africa, india, china, oceania, betawi, and java). in this case, keroncong turns into neutral and multicultural music due to its strong relation with various local and even global cultures. as seen in its development, keroncong music has proven that it has characteristics different from other genres of music (alfian, 2013). keroncong has currently grown and developed, showing indonesian identities and personalities, so that this music may be proposed to be the world heritage (alfian, 2013). in addition, darini (2012) mentions that the development of keroncong music in indonesia can be periodized into before independence, independence, and the present time. keroncong still stands with more creative innovations, music compositions and arrangements. keroncong community still grows in some cities, such as semarang, solo, and yogyakarta. according to mintargo (2017), keroncong also serves as a form of acculturation between western and eastern cultures. this is characterized by the unique acculturation process of keroncong with functional transfer from gamelan musical instrument (traditional music of javanese, sundanese, and balinese) to a western musical instrument. the process of acculturation takes place during the play of keroncong in the form of the philharmonic, indicating that this form is the acculturation model developed by the nirom (privately funded territorial broadcaster in the netherlands) and jos cleber in the cosmopolitan orchestra. the conventional form and way developed in this type of keroncong orchestra are that all the instrumentalists use block notation with the western music system (mintargo, 2017). the development of technological media makes keroncong music still acceptable by and more popular in society until today. construction of keroncong and rock (congrock) genre the formation of the congrock genre in semarang as the urban area is seen by the identity of the “congrock 17 semarang” group which is formed through two theoretical approaches, i.e., primordialism and constructivism. as stated by susanto (2003), the perspective of primordialism describes that identities are formed naturally from generation to generation, which are also personally handed down by some of the parents of the “congrock 17” members in semarang. this becomes the strong factor causing some members to be familiar with keroncong genre since childhood, and have more personal ties with this music. the constructivism approach views identities as a product that is produced by a thorough social process seen in the selection of rock genre by “congrock 17 semarang”. this selection is through continuous social interaction with the society, as well as media exposure that massively popularizes rock music at the time. “congrock 17” group inevitably brings forth inspiration for the presence of groups of keroncong derivatives, e.g., congjazz (keroncong and jazz), congdut (keroncong and dangdut), and congyang (keroncong and goyang/shaking). for this reason, the music committee in semarang arts council immediately creates an appreciation place named “warung keroncong” (keroncong shop). the shop is open every wednesday in cultural park of raden saleh, semarang, where the youth gathers and has a small talk while listening to keroncong music. besides indonesia, “congrock 17” is also sometimes invited overseas, such as malaysia, and attends seharmonia: journal of arts research and education 20 (1) (2020): 29-3834 veral international keroncong festivals. “congrock 17” itself was chosen as the name of the music group because the members studied at the universitas 17 agustus 1945 (untag), semarang. however, an audience who watched one of their performances stated that their keroncong music mixed with the rock genre. marco and other members indeed combine two genres of music, i.e., keroncong and rock, in their performances as a form of freedom of expression without binding standards. the rock genre does not necessarily refer to producing loud, blaring, and thumping sounds from electric musical instruments, yet bringing up some unique parts of the rhythm, gesture, intonation, and sometimes humor. the emergence of the “congrock 17” group on the music scene in semarang was initially unacceptable because many people thought that their performance broke up the standards of classical keroncong. among the standards was seven musical instruments, in which more or less than this number must not be called as keroncong; that was stated by the audience. nevertheless, the keroncong music community finally started enjoying the performance of this group. there are now 15 members of this group by adding musical instruments of brass, saxophone, trumpet, trombone, drum, and keyboard. the effect of media in building rock identity in “congrock 17 semarang” lasts for quite a long time. the continuous spread of keroncong by the media has become one of the strong factors in forming the genre of rock in the group. further, social interaction between group members and the society who likes rock also plays a big role in building rock identities until it reaches popularity at this time (nasional kompas, 2008; metro semarang, 2015). identities of keroncong and rock (congrock) genre in postcolonial study a postcolonial theory put forward by bhabha (1984) elaborates that building identities are inseparable from cultural hybridity and mimicry; contemporary products provide and create an “intermediate”/”third” space to actualize marginalized local cultures (wirawan, 2017). the construction of the congrock identity in semarang is viewed through the process of mimicry and hybridity done by the “congrock 17 semarang” group. mimicry the process of composing music with keroncong and rock (congrock) genres by the “congrock 17 semarang” group is regarded as a form of mimicry. the mimicry in this context is viewed as an action (performance) that shows the artificiality of all forms of symbolic expressions of power. “congrock 17 semarang” group shows ambivalence because, on the one hand, they want to build an identity similarity by maintaining keroncong, but on the other hand, they want to show a difference by including rock genre. colonialism, in this context, is defined as a role of a dominant group that employs globalization strategies to spread a culture, or rock music in this case. the imbalance in disseminating information or discourse by the media affects the position of local cultures, or in this case, keroncong music being marginalized. this is different from what has happened to rock music brought by the dominant group that is massively spread by the media over a long period of time in order that it has a major impact on society. one of the mimicries undertaken by the “congrock 17 semarang” group is the adoption of rhythm patterns in rock music, which then inserted with keroncong rhythm as the local culture until it brings up new music known as congrock. “congrock 17 semarang” group did mimicry in the process of imitating rock music style spread by the media, particularly in terms of its rhythm patterns. nonetheless, by carrying out the mimicry, this group had also mocked/made a game of rock music at that time. although this group is now also mocked by some groups of keroncong, yet the music of the congrock they have brought has become sarcasm for sunarto sunarto et al., mimicry and hybridity of “congrock musik 17” in semarang 35 global music trends that are not completely able to conquer the attitude towards the music of local musicians. “congrock 17 semarang” group also shows that they can create a new ‘market’. congrock music presented by this group has vaguely removed cultural boundaries between rock as a global culture and keroncong as local culture. the action of mimicry or imitation in the congrock identity done by the “congrock 17 semarang” group further brings forth hybridity. hybridity hybridity is not only about mixing culture, but it also has cultural political issues that underlie its presence. the identity of the congrock genre is the hybridity that is formed due to the media hegemony in indonesia. congrock as hybrid music is inextricable from identity politics that has a significant effect on the creation of the works by the “congrock 17 semarang” group. there is also a process of imitation and mimicry in the process of congrock hybridity. figure 2. sheet music of block notation of the intro in “gambang semarang” song (source: abel, 2019) hybridity in the congrock can be clearly seen in the performance and music in the works of the “congrock 17 semarang” group. however, the hybridity is not only about the combination of local and modern elements, but also the subject formed by the dominant group through the media that can apply and play modernity in discourse or daily life without losing their cultures or traditions entirely. when the subordinate group has become modern people, they are, in fact, not taking, adopting, and applying completely the truth of modern knowledge ideology that is massively disseminated through programs of readings on popular media (bhabha, 1984) “congrock 17 semarang” also comes up with a different reality, so that it creates a gray zone contained in the congrock music. a zone between exoticism and modernity, a form of imitation and shrewdness in integrating cross-cultural music, self-awareness of bringing local wisdom, and creating cross-cultural entertainment appears in the congrock music of the group. the group does not place rock music as a symbol of capitalist power; rather, it is a symbol of freedom to negotiate locality along with partially articulating modernity. third space rock music is a cultural product owned by the dominant group in a long period and popularized by the media (tolah & utomo, 2014). “congrock 17 semarang” group as this research subject unwittingly gets the consequences of media exposure that spread rock music continuously. rock music, which has become a trend among adolescents, has influenced the “congrock 17 semarang” group in imitating the cloth, style, and gesture that are shown on the stage. “congrock 17 semarang” group also carries out mimicry by adopting rock genre in stage performances. the group decides to keep preserving the local culture, specifically keroncong music as a cultural strategy to oppose capitalists in employing globalization strategies through the media. harmonia: journal of arts research and education 20 (1) (2020): 29-3836 figure 3. the performance of “congrock 17 semarang” (source: “congrock 17 semarang” group) figure 4. the performance of “congrock 17 semarang” (source: “congrock 17 semarang” group) congrock identity of the “congrock 17 semarang” group is then regarded as the third space or ‘intermediate’ space, in which there is a negotiation in congrock hybridity. the group members do not refuse identities or cultures brought up by the dominant group through the media. instead, they show the dynamics of building an identity that continues to change, as well as a strategy to ‘survive’ from the rock genre exposure as the dominant culture. congrock genre of the group serves as the form of negotiation of cultural identities in the third space mediation. the negotiation between rock and keroncong is a hybridity discourse taking place in ambivalence, i.e., imitating and mocking, and is not completely subdued in cultural discrimination that occurs in globalization strategies done by the media. the performances and works of the “congrock 17 semarang” group presented on the stage show a negotiation of cultural identities between rock and keroncong music that encompasses continuous crosscultural encounters. conclusions keroncong and rock (congrock) is a mimicry and hybridity behavior that is shaped in cultural identity politics. the relation of this phenomenon in the congrock genre used by the “congrock 17 semarang” group is seen by the huge impact of media hegemony that strongly contributes to the choice of rock genre by the group. the unification between keroncong and rock genres in the group’s works is due to identity formation in the concept of primordialism and media hegemony as the primary factors of the genre selection. nevertheless, the group does not completely realize that the factors behind choosing rock genre are the consequences of media influence in carrying out globalization strategies. the establishment of the congrock is analyzed by using mimicry and hybridity to find out the gap in the third space, i.e., the society that becomes a space of integration, mixing, and re-interpretation of a culture. what has been done by this group is a form of keroncong actualization that is risen with new meaning. the group shows ambivalence between imitating the performance styles and rhythm patterns of the rock genre and disobeying the standard to play akin keroncong accompaniment music. choosing congrock music as the identity of the “congrock 17 semarang” group is a form of negotiation of the local cultures that are clearly seen in their works and performances on stage. the group members do not refuse the identities or cultures brought up by the dominant group through the media. instead, they show the dynamics of building an identity that continues to change, as well as a strategy to ‘survive’ from the dominant culture exposure. this study finally concludes that congrock music in semarang serves as the cultural identity that is formed in society as the third space, along with comprising continuous cross-cultural encounters. congrock, like free music, refers to how one’s creativity is used in processing keroncong music, not a selection of sunarto sunarto et al., mimicry and hybridity of “congrock musik 17” in semarang 37 a particular type of music. references alfian, m. 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(2020). aransemen vokal sebagai identitas o.k congrock 17 di semarang. gondang: jurnal seni dan budaya, 4(1), 38-46. microsoft word harmonia vol viii no1 2007 harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 tari slawatan angguk rame ngargatantra : kajian sosiologis (slawatan angguk rame ngargatantra dance : the sociology study) soemaryatmi staf pengajar jurusan tari stsi surakarta abstrak slawatan angguk rame merupakan kesenian rakyat yang bertemakan ke islaman. kesenian rakyat merupakan seni bagi komunitas pedesaan. slawatan muncul di tengah masyarakat, berfungsi untuk mengikat solidaritas pendukungnya. keterkaitan kesenian rakyat slawatan angguk rame dengan hidup dan kehidupan masyarakat terjelma melalui kebudayaan. sifat-sifat bersahaja, spontan, responsif dan sederhana, sebagai cermin dari sebagian sifat masyarakat pedesaan, terjelma dalam slawatan angguk rame. kata kunci : kesenian rakyat, kislaman, solidaritas. a. pendahuluan slawatan angguk rame merupakan salah satu kesenian rakyat yang ada di desa ngargatantra, kecamatan dukuh kabupaten magelang. desa ngargatantra terletak di sebelah barat daya kaki gunung merapi, kira-kira berjarak 25 kilometer dari kota muntilan, 45 kilometer dari kota magelang dan 65 kilometer dari kota yogyakarta. untuk menuju desa ngargatantra belum ada transportasi umum, perjalanan dapat ditempuh dengan menggunakan ojek, sepeda motor atau ikut truk yang akan ke lereng merapi untuk keperluan tertentu. sebagian besar penduduk ngargatantra yang telah lanjut usia rata-rata lulus sekolah dasar bahkan ada yang sama sekali tidak sekolah. berbeda dengan generasi yang tua, generasi mudanya di samping menempuh pendidikan formal sd, ada juga yang lulus sltp dan smu, mereka juga belajar mengaji di sebuah mushola. desa ngargatantra termasuk berpenduduk padat, antara satu rumah dengan rumah yang lain saling berhimpitan. pada umumnya penduduk bekerja sebagai petani, sebagian besar penduduk beragama islam, namun mereka masih sangat percaya dengan kekuatan gaib, sing mbaurekso bumi, para wali sanga, dahyang dan ada pula yang masih sering membakar kemenyan. di ngargatantra terdapat beberapa jenis kesenian diantaranya; gangsir ngentir, katrini, reog, topeng hitam, jathilan dan yang paling populer slawatan angguk rame. bentuk-bentuk kesenian yang ada tidak semuanya lahir dari harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 ngargatantra, tetapi setelah masuk dan berkembang kemudian menjadi bentuk yang berbeda dengan aslinya. hal ini karena sifat konsumtif, sikap adaptif serta kreatif masyarakat pendukungnya. seni pertunjukan rakyat kebanyakan merupakan kesenian kolektif, artinya kesenian tersebut bukan hasil karya seseorang, akan tetapi hasil karya bersama, milik bersama. kesenian yang ada muncul atas kesepakatan bersama, maka tumbuh berkembang dan matinya kesenian tergantung oleh kelompok masyarakat pendukungnya. kesenian slawatan angguk rame ngrgatantra telah tumbuh sejak tahun 1920 dan hingga sekarang sudah mengalami empat generasi. kesenian ini semula bernama keplakan, kemudian pada tahun 1975 namanya diganti dengan slawatan angguk rame. pergantian nama atas dasar pertimbangan bahwa kata keplakan mempunyai konotasi jelek, yaitu berkelahi saling menampar kepala (muhamad, 1977: 25). pemilihan nama slawatan angguk rame didasarkan kesepakatan bersama, berdasarkan gerakan para pemain yang mengangguk-anggukan kepala saat bermain slawatan. adapun kata rame (bahasa jawa) karena efek nyanyian dan bunyi trebang yang ramai atau riuh. ada dua jenis bentuk penyajian kesenian slawatan angguk rame, yaitu penyajian di halaman dan penyajian di dalam rumah. untuk penyajian di dalam rumah dilakukan dengan duduk bersila berjajar sampil menyanyikan lagu-lagu syair islam sekaligus memainkan instrumen terbang. syair-syair yang digunakan dalam kesenian slawatan angguk rame berasal dari kitab al barzanji. untuk pementasan di halaman, para pemain menyanyikan lagu, membawa instrumen sambil menari. soedarsono mengatakan, dari sudut pandang sosiologis, tari-tarian merupakan kebudayaan tradisional memiliki fungsi sosial dan religiomagis, untuk keperluan sosial (soedarso, 1987:5). demikian juga kesenian slawatan angguk rame, bagi masyarakat ngargatantra pementasan dilakukan untuk keperluan memperingati hari-hari besar keagamaan dan hari besar nasional, nadzaran, bersih desa dan keperluan lain yang berhubungan dengan daur kehidupan manusia setempat. jumlah penari dalam setiap kali pementasan biasanya sekitar 10 orang penari. pertunjukan diawali dengan keluarnya beberapa penari dengan berjalan berbaris dua dua, masing-masing penari membawa terbang di tangan kiri. pada kelompok ini salah seorang penari bertindak sebagai pemimpin dengan memberi aba-aba dalam setiap pergantian gerak tari, syair dan sikap kaki. abaaba dalam slawatan angguk rame menyerupai aba-aba komando berbaris, menggunakan bahasa khusus yang diduga bersal dari bahasa belanda tetapi diucapkan dengan ujaran yang salah. diantara penari terdapat salah seorang penari yang juga bertugas membawakan syairsyair yang bernada islami. sebelum nyanyian dibawakan penari, terlebih dahulu dimulai dengan buka lagu yang dibawakan oleh pembowo. setiap kali syair lagu dinyanyikan selalu diakhiri dengan suwuk (berhenti). pada saat berganti syair lagu selalu dimulai dengan buka lagu yang dibawakan oleh pembowo lagu. harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 pembowo adalah seorang laki-laki yang memimpin dan mengatur pertunjukan dan penyajian slawatan angguk rame, pembowo juga berperan sebagai modin, yaitu seorang yang memimpin do'a (jawa: ngujupke dongo). dalam pementasannya, gerak tari yang dilakukan selalu mengulang-ulang dengan bentuk yang sama dan pola lantai yang sama pula, sedangkan syair lagu hampir selalu berbeda-beda antara syair dengan berikutnya. pola lantai yang digunakan selalu berbaris berjajar dua. sikap penari kebanyakan menghadap rumah pertunjukan. pada setiap pertunjukan slawatan angguk rame selalu disertai dengan sesaji. adapun sesaji yang disiapkan adalah : sega tumpeng, sega golong, jajan pasar, rokok, dan dupa. dengan sesaji diharapkan pertunjukan angguk rame dapat berjalan dengan lancar dan selamat. sesaji dengan dimanterai do'a merupakan salah satu ciri jenis seni kerakyatan secara umum yang bersifat religius. sebagai suatu seni angguk rame dalam setiap pertunjukan selalu menggunakan tata rias dan tata busana sekalipun relatif sederhana. busana tari slawatan angguk rame adalah iket mondolan seperti blangkon yogya, topi, baju putih, beskap hitam, sabuk, kain, sampur, epek timang dan celana panji. tata rias pada para pemain angguk rame nyaris tidak nampak. permasalahan yang lebih mendalam adalah konteks sosial seni slawatan angguk rame sebagai kesenian rakyat yang sejak dahulu hingga sekarang masih berfungsi bagi masyarakat pendukungnya. b. konteks sosial seni angguk rame seni dan masyarakat berbeda dalam pengertiannya, tetapi keduanya memiliki interaksi psikis. seni sebagai salah satu karya cipta seniman di satu pihak memiliki subyektivitas seniman, seni juga dapat dipandang sebagai salah satu cara dalam mencari bentuk penyesuaian dengan lingkungan masyarakat, di lain pihak masyarakat merupakan satu organisasi atau satu kesatuan yang memiliki bentuk penyesuaian secara internal dan eksternal. hassan shadilly menyatakan bahwa yang dimaksud masyarakat adalah golongan besar atau kecil dari beberapa manusia, yang dengan atau karena sendirinya bertalian secara golongan dan pengaruh mempengaruhi satu sama lain (hasan shadilly, 1983: 47). di dalam masyarakat relatif banyak kebutuhan spiritual yang terpenuhi melalui sajian seni. pada saat sajian angguk rame terjadi konteks sosial seni yang berlangsung secara spontan, dinamis dan bermakna. 1. hubungan antar anggota kesenian di dalam kelompok kesenian slawatan angguk rame secara sosiologis terdapat komunikasi yang saling berkaitan antara anggota kesenian. hubungan yang dimaksud adalah antara penari dengan penari, penari dengan pembowo, penari dengan pengurus organisasi dan penari dengan sesepuh. apabila dilihat secara cermat, dalam slawatan angguk rame terdapat hubungan yang horisontal dan vertikal. angguk rame tidak semata-mata menciptakan hubungan manusia dengan manusia, tetapi juga harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 merupakan hubungan manusia dengan tuhan, manusia dengan rohroh nenek moyang/kekuatan gaib lainnya, manusia dengan lingkungan sosial, manusia dengan alam maupun manusia dengan dirinya sendiri. hubungan secara vertikal tercipta pada saat pembacaan doa mohon keselamatan sebelum pementasan berlangsung dan juga saat pentas melalui syair-syair lagu yang bernafaskan keislaman. hubungan penari dengan penari, terlihat dalam latihan-latihan rutin sebelum pentas. mereka saling komunikasi untuk kencan dan menyamakan gerak, menghafal lagu, mengkompakkan aba-aba maupun kekompakan keseluruhan gerak dalam tim. bentuk hubungan yang bersifat kekerabatan banyak terjadi saat latihan sebelum pentas maupun saat pentas. hubungan penari dengan pembowo, diatur sesuai dengan posisinya. pembowo merupakan seseorang yang memimpin jalannya pertunjukan, maka segala kencan-kencan dan kesepakatan yang berhubungan dengan pilihan lagu, cepat lambatnya irama, saat mulainya sajian pada tiap-tiap bagian, kapan berakhir, semuanya akan bisa berjalan dengan baik apabila terdapat keharmonisan antara penari dan pembowo. hubungan antar anggota kesenian seperti contoh tersebut dapat dipastikan ada dalam semua jenis tari rakyat di daerah ngargatantra, dukun. hubungan kekerabatan (gemeinschaften) relatif lebih menonjol jika dibandingkan dengan hubungan atas dasar kepentingan (geselschaften) pada pertunjukan angguk rame. hal ini karena hidupnya pertunjukan tari rakyat adalah pada kesatuan dari berbagai unsur, dan unsur-unsur tersebut akan selalu bersama sesuai dengan sifat masyarakat pendukungnya yaitu masyarakat pedesaan. proses hubungan antar anggota kesenian sebenarnya sudah dimulai dari hubungan keseharian, bagaimana mereka membuat kesepakatan atau pranata-pranata, baik pranata hukum, adat, sosial maupun kesenian. dalam kesenian, sangat tampak ketika mereka berlatih, bagaimana mereka membuat kesepakatan-kesepakatan baik hal yang teknis kesenian maupun yang non teknis, mengadakan perubahanperubahan yang kesemuanya untuk mencapai kwalitas sajian yang diinginkan, hal ini terus disepakati sampai pada saat pertunjukan dilaksanakan. hubungan yang akrab kekeluargaan tidak saja saat pentas, akan tetapi juga dalam kebutuhan sehari-hari. hubungan dalam kegiatan kesenian jelas nampak pada saat mereka latihan persiapan maupun di waktu pementasan berlangsung. hubungan dalam keseharian, terlihat bagaimana masyarakat saling membantu apabila ada salah satu kelompok kesenian yang sedang mempunyai hajat atau sibuk bekerja ataupun sedang kesusahan. oleh karena itu, bentuk kelompok kesenian dapat berguna sebagai alat pemersatu dan membentuk kerukunan. sebaliknya dalam kondisi masyarakat yang rukun, bersatu, guyub maka kwalitas kerampakan, kekompakan, serta semangat berkesenian pun akan semakin baik. 2. hubungan antara anggota kesenian dengan masyarakat harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 keberadaan kesenian sangat terkait dengan pendukungnya walaupun masing-masing mempunyai peranan yang berbeda. misalnya kelompok penari, pengrawit, pengurus, sesepuh desa, pendukung dana dan sebagainya. dari setiap kelompok terdapat hubungan yang bukan saja dalam kesenian, akan tetapi juga dalam berbagai kepentingan. bentuk situasi sosial dalam sebuah kesenian merupakan sebuah perkumpulan yang anggotaanggotanya mempunyai hubungan yang lebih mendalam, baik hubungan saat berkumpul untuk suatu kepentingan maupun diluar perkumpulan. w.a. gerungan menyatakan : bentuk situasi sosial ini merupakan situasi di dalam kelompok, dimana kelompok sosial tempat orang-orangnya berinteraksi itu merupakan satu keseluruhan tertentu, misalnya suatu perkumpulan, suatu partai dan anggota-anggotanya sudah mempunyai saling hubungan yang lebih mendalam antara yang satu dengan yang lainnya, saling hubungan yang tidak berlaku tidak pada hari itu saja. mereka berkumpul, tetapi saling hubungan itu sudah terdapat sebelumnya. selain hubungan-hubungan pribadi antara orang-orang dalam kelompok sosial, terdapat juga hubungan struktural dan hierarkis, yaitu antara orang-orang yang menjadi pemimpin dan staf kelompok serta anggotaanggotanya, yang menuju ke suatu kepentingan bersama. selain itu kelompok sosial sudah mempunyai ciri-ciri dan peraturanperaturannya yang khas baginya, sehingga merupaka suatu keseluruhan tertentu (w.a.gerungan, 1986:72). hubungan penari dan pengurus, terlihat bagaimana pengurus mengatur organisasi, regenerasi, menyiapkan segala sesuatunya yang berkaitan dengan kebutuhan pentas. hubungan antara anggota kesenian dengan pengurus merupakan hubungan yang utuh, sehingga keberhasilan pementasan yang dilaksanakan juga merupakan keberhasilan kelompok. hubungan ini tidak saja terjadi pada saat akan pementasan, akan tetapi dalam kehidupan sehari-hari diluar hubungan pementasan, hubungan antara anggota kelompok dengan pengurus masih tetap terjalin atau berlangsung. walaupun diantara mereka tidak ada tali persaudaraan, tetapi dalam interaksinya mereka sudah seperti keluarga. dengan demikian keberadaan sebuah kesenian dapat berguna sebagai upaya mempertebal rasa solidaritas dan kerjasama kelompok. kebaikan hubungan dalam kelompok tidak saja dalam kesenian yang membicarakan tentang kesenian, akan tetapi dalam pertemuan-pertemuan saat berlatih terjadi hubungan dengan warga. sambil berlatih mereka mengadakan pembicaraan-pembicaraan untuk memecahkan berbagai permasalahan yang terjadi di masyarakat seperti, masalah pribadi, keluarga, keamanan desa, peningkatan penghasilan pertanian, peternakan, maupun masalah yang menyangkut kebutuhan warga masyarakat secara umum. dengan demikian frekuensi komunikasi antar warga semakin bertambah melalui sarana kesenian yang dimiliki. gotong royong adalah salah satu ciri dari masyarakat pedesaan, harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 demikian pula dengan warga desa ngargatantra yang selalu dengan tindakan gotong royong dalam mengerjakan sesuatu untuk kepentingan masyarakat umum. sikap gotong royong dilakukan bersama misalnya melaksanakan kerja bakti pada sebuah proyek, membangun rumah salah satu penduduk, gotong royong juga sangat terasa dalam persiapan pertunjukan. dengan suka rela para anggota kesenian dan masyarakat pendukung kesenian slawatan angguk rame secara langsung menyiapkan kebutuhan yang diperlukan, seperti pakaian, konsumsi, tempat pentas, sesaji, menyetrika pakaian, sound system, dan sebagainya. dalam kaitannya dalam pementasan di luar daerah, semua koordinasi pergelaran, mulai dari persiapan sampai selesainya pementasan selalu dilakukan dengan sukarela ikut datang sebagai penonton. dengan demikian, keberadaan seni slawatan angguk rame menjadikan rasa gotong royong, rasa kebersamaan, rasa kekeluargaan sesama warga semakin kokoh sehingga membuat semakin mempunyai rasa handarbeni terhadap kesenian desanya yang sangat dibanggakan. hubungan para pendukung slawatan angguk rame dengan masyarakat dusun ngargatantra saling membaur dan menyatu, sehingga sebutan seniman bagi pelaku kesenian hampir tidak dikenal masyarakat setempat. hal ini karena semua warga merasa memiliki dan sudah menganggap kesenian angguk rame sebagai bagian dari hidupnya. sehubungan dengan rasa kepemilikan yang cukup tinggi, dan sifat seni yang kolektif oleh rakyat untuk rakyat, maka setiap kali pentas tidak untuk dikomersilkan. para pemain bukan penari bayaran seperti pada bentuk masyarakat modern yang profesional, mereka bermain untuk memperkokoh solidaritas kelompok, untuk kepuasan bersama serta untuk menunjukkan jati diri masing-masing pemain. lewat kesenian mereka dapat menunjukkan kebolehannya, dengan demikian dapat menunjukkan eksistensi dirinya. apabila dalam setiap kali pentas mereka mendapatkan uang, maka uang akan dimasukkan kas dan digunakan untuk kepentingan kelanjutan pentas mereka. hal inilah yang menandai adanya ciri khas sebagai bentuk kesenian rakyat. masyarakat desa ngargatantra memiliki mata pencaharian yang beragam antara lain : buruh petani, petani, buruh bangunan, pegawai negeri sipil, dan pedagang. mereka akan melebur apabila berada dalam komunitas keseniannya. dengan kesatuannya dalam kesenian mereka hamprhampir tidak ada jarak antara pemain dan penonton. sesepuh adalah figur orang yuang dituakan di sebuah desa, karena mempunyai kemampuan khusus yaitu mampu sebagai penghubung antara dunia manusia dengan para leluhur, dahyang, dan alam roh halus lainnya. peran sesepuh sangat vital dalam kesenian rakyat. apabila akan dilakukan pentas sesepuh sudah mengadakan persiapan lebih awal. mulai dari membersihkan tempat dari roh-roh jahat, menyiapkan sesaji, menolak hujan, sampai pada menyembuhkan apabila para pemain kesurupan atau kemasukan roh halus. dalam keseharian, bagi masyarakat desa harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 sesepuh akan bertindak sebagai penasihat, mengobati warganya yang sakit serta keperluan sosial lainnya. c. fungsi kesenian bagi masyarakat hubungan masyarakat dengan kesenian akan terlihat lebih nyata ketika masyarakat memfungsikan kesenian dalam khidupannya. sartono kartodirdjo (1988) melihat bahwa seni budaya mempunyai dua aspek yaitu, spiritualitas (kejiwaan) yang kreatif dan aspek kehidupan sosial. aspek spiritualitas mengarah pada hubungan kesenian yang berfungsi untuk kegiatan ritual, dan aspek sosial mengarah pada fungsi seni untuk kemasyarakatan. fungsi tari rakyat sebagai upacara biasanya dilakukan untuk tujuan memohon keselamatan, baik pribadi, keluarga, maupun semua warga masyarakat setempat. pentas untuk keperluan ritual biasanya ada beberapa persyaratan yang harus dipenuhi antara lain tempatnya yang khusus seperti di punden, sendang, makam, candi, dan lain-lain. waktunya juga ditentukan berdasarkan kesepakatan dan kebiasaan tradisi daerah masingmasing. untuk daerah tertentu juga terdapat persyaratan yang berbeda seperti macam sesaji, penarinya, dan persyaratan lain menurut adat setempat. salah satu contoh fungsi ritual adalah untuk bersih desa, bedah bumi, sedekah bumi. inti dalam acara ritual adalah ungkapan syukur masyarakat desa karena telah panen serta memohon senantiasa desa mereka dibersihkan dari gangguan roh-roh jahat. dalam fungsi sebagai upacara ritual, kesenian dimitoskan dibentuk menjadi kesenian religiomagis. dengan atribut untuk kepentingan ritual diberi sesajian, kembang menyan, menunjukkan bahwa pada kebanyakan masyarakat pedesaan masih menjunjung tinggi kekuatan gaib yang tak tampak, yang dianggap baik maupun jahat. makhlukmakhluk tak nampak yang dianggap baik misalnya malaikat, roh-roh para nabi, roh leluhur. adapun makhluk tak nampak yang dianggap jahat seperti setan, iblis, lelembut, roh penghuni alam nyasar. roh-roh yang jahat dipercaya dapat mengganggu warga desa apabila kehendaknya tidak dipenuhi. untuk itu maka disajikan pementasan kesenian dengan berbagai kelengkapan upacaranya untuk keperluan keselamatan. dengan demikian seni akan berguna sebagai sarana menentramkan jiwa, menjaga keseimbangan masyarakat agar efektif berkomunikasi dengan makhluk daya adikodrati guna bersahabat dan menaklukkan keganasan bahaya, bencana dan segala petaka. dalam kontek ini kesenian merupakan sarana pencapaian keadaan harmonis dengan semua lingkungan, baik lingkungan sosial maupun alam fisik. masyarakat yang demikian akan dikatakan sebagai masyarakat yang memayuhayuning bawana (membuat kebahagiaan dan kesejahteraaan dunia). adapun bentuk pentas upacara ritual lainnya biasanya berhubungan dengan lingkaran hidup atau daur hidup manusia seperti, kaulan, tingkepan, tetesan, dan mantenan. fungsi slawatan angguk rame yang sangat menonjol adalah sebagai hiburan bagi warga masyarakat pedesaan, mereka membutuhkan pelepasan dari harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 rutinitas keseharian. bagi masyarakat yang setiap kali bergaul dengan pekerjaannya yang terus menerus, dengan adanya pertunjukan maka mereka akan dapat melakukan pelepasan, dengan melihat kesenian mereka bisa terhibur, berkumpul, tertawa, menari, menyanyi, membicarakan kesenian dan kesulitan bersama. dengan demikian mereka akan mendapatkan hiburan dan pelepasan guna menemukan pencerahan kembali. berfungsi sebagai alat pendidikan, melalui syair dalam tembang-tembang yang dilantunkan kebanyakan berisi petuah-petuah, ajaran moral dan budi pekerti yang baik untuk dicontoh dan diterapkan dalam kehidupannya. tembangtembang dari pertunjukan slawatan angguk rame bersumber dari kitab al barzanji, sekalipun kitab ini sekedar bacaan salawat, atau pujipujian kepada nabi muhammad, tetapi unsur yang terpenting adalah syair-syair yang memuji kepribadian dan akhlakul karimah atau budi utama nabi akan bermakna sebagai tauladan atau panutan. dalam hal fungsi, budhi santoso mengutip pendapat keesing bahwa kesenian itu memiliki delapan fungsi sosial. kedelapan fungsi sosial itu di antaranya adalah (1) sarana kesenangan, (2) sarana hiburan, (3) sarana pernyataan jatidiri, (4) saran integratif, (5) sarana terapi, (6) sarana pendidikan, (7) sarana pemulihan ketertiban, dan (8) sarana simbolik yang mengandung kekuatan magis (budhisantoso dalam willed, 1994: 9). pendapat yang seksama juga dinyatakan oleh robert k. merton yang dikutip karel j. veeger dalam bukunya pengantar sosiologi (1997) menyatakan bahwa kebudayaan itu mempunyai dua fungsi yaitu fungsi sembunyi (latent function) dan fungsi nyata (manifest function). fungsi nyata adalah fungsi yang diharapkan terjadi, dimaksudkan, setidak-tidaknya diketahui sedang fungsi sembunyi adalah fungsi yang tidak selalu diketahui (veeger, 1997:87). dalam kehidupan masyarakat justru fungsi sembunyi adakalanya lebih banyak berpengaruh pada sebuah kelompok kesenian rakyat. slawatan angguk rame sebagai sebuah kesenian rakyat dapat digunakan dalam berbagai sarana seperti pendapat budhisantosa sehingga memiliki arti atau bermakna bagi kehidupan pendukungnya. adapun fungsi manifes terlihat dalam memberikan hiburan kepada masyarakat disamping untuk kepentingan ritual sedang fungsi sembunyi menjaga keharmonisan dan solidaritas masyarakat pendukungnya. d. penutup keberadaan kesenian rakyat slawatan angguk rame, lahir dan berkembang di pedesaan yang jauhd ari adiluhung budaya keraton. komunitas kesenian pedesaan yang akrab, homogen, bersahaja, spontan, sederhana, irama dinamik, banyak pengulangan-pengulangan sebagai cerminan dari masyarakat pendukungnya. dengan demikian ciri-ciri masyarakat pedesaan akan terlukis dalam bentuk keseniannya sebagai personifikasi dari tata nilai masyarakat pemiliknya. dalam angguk rame terjadi interaksi dari berbagai kelompok. hubungan antara masing-masing anggota kesenian, hubungan antara anggota kesenian dengan masyarakat. dalam kesenian rakyat harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 slawatan angguk rame dapat terlihat berbagai norma hubungan diantara senimannya, hubungan antara kelompok kesenian dan masyarakat umum, hubungan seniman dengan para sesepuh desa dan hubungan fungsi kesenian rakyat bagi masyarakatnya. dalam pengamatan ternyata latar belakang budaya masyarakat banyak mempengaruhi bentuk keseniannya. kehadiran angguk rame dirasa penting bagi masyarakat, oleh karena memiliki makna/arti berkaitan dengan suatu tata adat dan upacara-upacara tertentu. dalam memfungsikan kesenian rakyat, tiaptiap daerah berbeda-beda. fungsi ritual, fungsi sosial dan fungsi sembunyi adalah fungsi yang cukup menonjol dalam kesenian slawatan angguk rame. daftar pustaka budhisantoso. 1994. “kesenian dan kebudayaan”. wiled : jurnal seni, edisi i juli, 1994, stsi. surakarta. edy setyawati. 1981. pertumbuhan seni pertunjukan, jakarta : sinar harapan. edy setyawati dan sapardi jaka damono. 1991. seni dalam masyarakat indonesia, jakarta : gramedia pustaka utama. ensiklopedia nasional indonesia, 1988. jakarta : pt. cipta adi pustaka. gerungan, w.a. 1986. psikologi sosial, bandung : eresco. hadi subagyo. 1994. “ragam gerak dan komponen-komponen dalam tari tradisional”. laporan penelitian.tidak dipublikasikan. proyek opf surakarta tahun 1993/1994. stsi. hari mulyatno. 1996. “tari rakyat jawa potensi seni pertunjukan wisata yang cukup besar”. tesis, tidak dipublikasikan. yogyakarta: ugm. hassan shadily. 1983. sosiologi untuk masyarakat indonesia, jakarta : bina aksara. holt, claire. 1967. art in indonesia : continuitas and change. terj. soedarsono. new york state : cornell university ithaca press. joko surya. jaka sukiman, soedarsono. 1985. gaya hidup masyarakat jawa di pedesaan : pola sosial, ekonomi dan kebudayaan. jakarta : departemen pendidikan dan kebudayaan. koentjaraningrat. 1984. kebudayaan jawa, jakarta : balai pustaka. kuntowijoyo, et al. 1987.tema islam dalam pertunjukan rakyat : kajian aspek sosial, keagamaan dan kesenian. yogyakarta : departemen pendidikan dan kebudayaan mubyarto dan sartono kartodirdjo. 1988. pembangunan pedesaan di indonesia, yogyakarta : liberty. sajogyo dan pujiwati sajogyo. 1982. sosiologi pedesaan, yogyakarta : gadjah mada university press. soedarso sp. 1999. “revitalisasi seni rakyat dalam mengantisipasi milinium iii”, makalah seminar dalam rangka lustrum iii 1999, institut seni indonesia yogyakarta : isi yogyakarta. harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 soedarsono. 1998. seni pertunjukan indonesia di era globalisasi, jakarta : direktorat jenderal pendidikan tinggi departemen pendidikan dan kebudayaan. _________. metodologi penelitian seni pertunjukan dan seni rupa, 1999. bandung, masyarakat seni pertunjukan indonesia. _________. 1976. ed. mengenal tari rakyat di daerah istimewa yogyakarta, yogyakarta : gadjah mada university press. sumandiyo. 2005. sosiologi tari, yogyakarta : pustaka. umar kayam, 1981, seni tradisi masyarakat, jakarta : sinar harapan. veegre j. karel, dkk. 1997. pengantar sosiologi, jakarta : gramedia pustaka utama. 171 razak abdul aziz’s pepatah episodes: re-imaging the malay proverbs through piano music mohd fairuz bin zamani universiti sains malaysia, malaysia submitted: 2022-09-29. revised: 2023-02-08. accepted: 2023-05-09 abstract proverb sits under the umbrella of figurative language and is used to sweeten speeches. in malay, pepatah is the equivalent of this form of figurative language. razak abdul aziz, a malaysian composer, selected a set of malay proverbs and adapted them into his piano work, pepatah episodes. the composer follows the tradition of piano programme music that uses figurative language elements championed by composers such as alexander scriabin, claude debussy, and maurice ravel. this paper aims to investigate the pepatahs chosen to be paired with the written music, expounding the programme in the movements for piano. using the programme music analysis framework by burkholder et al. (2014) and kregor (2015), the finding shows that the composer chose the pepatahs for one of the three (3) portrayals: (i) imageries in the pepatah (ii) imageries in the meaning, and (iii) imageries in pepatah and meaning. the programme analysis shows that from the nine (9) movements written for piano, four (4) movements portray imageries in the pepatah, three (3) movements portray imageries in the meaning, and two (2) movements portray imageries in the pepatah and meaning. razak abdul aziz challenges the conventions of programme music by having the pepatah set after the music is written, demanding the performer to read it aloud before performing and having the portrayal of the pepatah in the mentioned ways. this provides a different perspective for other composers to produce works using similar frameworks and scholars to analyse musical works. keywords: proverb, piano programme music, razak abdul aziz, programme music analysis, malaysian contemporary composer how to cite: zamani, m. f. (2023). razak abdul aziz’s pepatah episodes: re-imaging the malay proverbs through piano music. harmonia: journal of arts research and education, 23(1), 171-186 harmonia: journal of arts research and education 23 (1) (2023), 171-186 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i1.39275 on this composer, citing scholarly and nonscholarly sources. proverb, pepatah, and razak abdul aziz what is a proverb? various scholars have made many attempts to define proverbs through time. mieder (1996) defines proverbs as: concise traditional statements of apparent truths with currency among the folk. more elaborately stated, proverbs are introduction this section provides the necessary background for this paper. it begins with an introduction to proverbs according to scholars from the english and malay context and recognising it as part of a bigger literary umbrella – figurative language. it is then followed by briefly mentioning razak abdul aziz’s pepatah episodes and short biography, and related past studies corresponding author: e-mail: fairuzzamani@usm.my p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (1) (2023): 171-186172 short, generally known sentences of the folk that contain wisdom, truths, morals, and traditional views in a metaphorical, fixed, and memorisable form and that are handed down from generation to generation (p. 597). winick (2003) agrees with mieder (1996, p. 595), stating that proverbs are “brief (sentence-length) textualized utterances which derive a sense of wisdom, wit, and authority, from explicit and intentional intertextual reference to a tradition of previous similar wisdom utterances.” as “proverbs are part of the language medium of every culture, certainly of every literature culture” (honeck et al., 2019, p. 128), they are an important tool of communication as “proverbs sweeten speeches” (amuah & wuaku, 2019, p. 134). proverb belongs to a larger literary body called figurative language. katz (1998) stated that among the prominent and most studied forms of figurative language are metaphor, irony, idioms, and indirect requests, though roberts and kreuz (1994) listed eight (8) commonly used forms of figurative language: (i) hyperbole, (ii) idiom, (iii) indirect request, (iv) irony, (v) understatement, (vi) metaphor, (vii) rhetorical question, and (viii) simile. in malay literature, pepatah is the equivalent of a proverb. according to kamus dewan bahasa dan pustaka, pepatah is defined as an “idiom that contains wisdom and the teachings of the elderly.” mat piah (1986) characterized pepatah as containing lessons, representations, and the values of the malays (p.25). bakar et al. (1981) stated the word pepatah derives from the doubling of patah (to break). hence pepatah in malay literature is a delicate way to “break off” arguments (usually opposing) using sarcasm and/or representation (p.6). in short, pepatah is a malay proverb that holds wisdom, lesson, and representation, which is used as a delicate way to break arguments that typically contain sarcasm. these qualities of pepatah are made clear in razak abdul aziz’s pepatah episodes. further discussion on this piece can be found in the latter part of this research. razak abdul aziz (1959 ) is a malaysian contemporary composer. possibly the earliest of its kind in malaysia (zamani et al., 2019), he has been composing contemporary music since the 1980s (hall, 1988, p.30). among his notable compositions include 10 pantun settings, maria zaitun, for violin and piano, etudes for piano solo, and 5 early songs. his works have been performed on local and international platforms (zamani et al., 2019). however, full-scale recitals consisting of works by this composer alone only took place in 2019 and 2020, as zamani (2021) reported. last served at universiti sains malaysia (usm) before retiring in november 2019, razak abdul aziz is still active in composing new music and revising his older works. pepatah episodes, which this paper intends to investigate, was first written in 2019 and revised in 2020, after the composer thought that he needed to make improvements to the work as his musical directions had slightly changed and matured over this period (abdul aziz, 2 august 2021). the idea of incorporating malay proverbs in a piano composition derives from his knowledge and understanding of the standard piano repertory of western classical music, where past composers had used figurative language (mainly short and long poems) as their source of inspiration in writing programme music. however, instead of using poems, razak abdul aziz wanted to be different and incorporated another form of figurative language – pepatah. the composer wrote the piano music by re-imagining a set of pepatah to be suited to the written music. further discussion on this will be revealed further down this paper. literature on the use of figurative language in piano to position pepatah episodes in the piano literature, the author would like to continue this discussion by reviewing the standard piano repertory of western classical music. the review contains a brief overview of programme music and figurative language in music and discussions on several significant piano works by past mohd fairuz bin zamani, razak abdul aziz’s pepatah episodes: re-imaging the malay 173 composers that had used figurative language (poem) in their thought processes. the author chooses poems instead of proverbs because the use of proverbs in the standard piano repertory does not exist (at least to the knowledge of the author). since poems and proverbs are under the umbrella of figurative language, the author believes this commonality shall do justice to the reader’s comprehension of figurative language in piano programme music. finally, the review will reveal how pepatah episodes is positioned in the piano literature in the context of programme music locally and globally. programme music and figurative language the use of figurative language in the standard piano repertory probably became prominent from the romantic era, when programme music was adapted into the musical vocabulary. programme music refers almost exclusively to works in the european classical music tradition (new world encyclopaedia, 2019). kamien (2011) stated that “romantic composers were particularly attracted to program(me) music – instrumental music associated with a story, poem, idea, or scene (p. 238).” though the tradition of using the element of programme in writing instrumental music had existed as early as the renaissance through the classical eras, the author would not be discussing it in this review as piano (as a musical instrument) did not exist during the renaissance era and was not a prominent instrument in the baroque era. though piano started to gain more attention in the classical era, this musical period was known for its peak in musical forms and absolute music (new world encyclopaedia, 2019). there is an array of programme music in the piano literature. however, the number of piano works that incorporated figurative language in the music literature is relatively small. this statement might be controversial if one were to conduct a cursory examination on this matter, only to be confused perceiving works such as franz liszt’s three sonetto of petrarca, chopin’s ballades, or pyotr tchaikovsky’s the seasons as using figurative language elements when the fact is liszt wrote piano transcriptions after his art songs of the same title. in contrast, chopin, though deemed as “poet of the piano,” never intended his music to be programmatic. the seasons uses epigraphs from various russian authors that were chosen by the magazine editor, not the composer. the author would like to continue the discussion by reviewing a few programmatic piano works that used figurative language (poem) in their creative processes. this is vital to position the use of this element to understand the thought and creative processes in the selected works from the perspective of composers and scholars, which would be an important component to link towards the centrepiece of this paper. scriabin, debussy, and ravel composers alexander scriabin (1875-1915), claude debussy (1862-1918), and maurice ravel (1875-1937) were known to have written some of the most notable piano works that incorporated poems as part of the compositional body. the author chose these composers and their selected works to represent the entirety of this category, as these works could demonstrate the general idea of how poems are being translated into music, as discussed and analysed by various scholars. scriabin was known to write his poems and set them to his piano compositions. for example, bowers (1974) stated that scriabin intended to write a piano ballade based on his first poem. “oh country of visions!/ how different from life,/ where i have no place,/ but there, i hear voices,/a world of beatitudinous souls,/i see.” however, this work was left unfinished and later adapted into his fourth prelude from preludes op. 11. this feeling of “not belonging to the country of visions” yet appreciating the world of utmost bliss and happiness is translated into the music with beautiful melodies on both hands, harmonia: journal of arts research and education 23 (1) (2023): 171-186174 indicated with tenutos, with the left-hand melody being perceived as the most exquisite between the two (hinson, 2003). scriabin also wrote a poetic programme for his fourth piano sonata. possibly his most played sonata, scriabin set the said work to the following poem (scriabin, 1903-1904, in ballard & bengston, 2017): in a light mist, transparent vapor lost afar and yet distinct a star gleams softly. how beautiful! the bluish mystery of her glow beckons me, cradles me. o bring me to thee, far distant star! bathe me in trembling rays sweet light! sharp desire, voluptuous and crazed yet sweet endlessly with no other goal than longing i would desire but no! i vault in joyous leap freely i take wing. mad dance, godlike play! intoxicating, shining one! it is toward thee, adored star my flight guides me. mad dance, godlike play! intoxicating, shining one! toward thee, created freely for me to serve the end my flight of liberation! in this play sheer caprice in moments i forget thee in the maelstrom that carries me i veer from they glimmering rays. in the intensity of desire thou fadest o distant goal. but ever thou shinest as i forever desire thee! thou expandest, star! now thou art a sun flamboyant sun! sun of triumph! approaching thee by my desire for thee i lave myself in they changing waves o joyous god. i swallow thee sea of light. my self-of-light i engulf thee! ballard and bengston (2017) describe the poem and sonata as erotic. buranaprapuk (2013) expounds on the correlation between the poem and this sonata. she concluded that the structure of the poem is similar to the structure of the piano work, stating “the contrasting affects (effects) of the poem – the first part sounds static, while action occurs in the second part – correspond with the characters of two attacca movements of the sonata (p.44).” buranaprapuk also explained how the colouristic elements in the poem were transformed into music using various harmonic procedures combined with scriabin’s condition as a synesthete. debussy was regarded as the first french impressionist composer, though he rejected the label (nichols, 1998). the composer had written several programmatic works using descriptive titles that are considered significant to the standard western music repertory such as prelude to the afternoon of a faun (1894), reflection in the water and and the moon descends on the temple that was from images (1901-1905), the sounds and fragrances swirl through the evening air, footsteps in the snow, what the west wind has seen from preludes for solo piano book 1 (1909-1910), and moonlight (clair de lune) from suite bergamasque (1905). he was also inspired by works written by stéphane mallarmé (1842-1898) and paul verlaine (1844-1896), who were among the great french poets. possibly debussy’s most-played solo piano piece that was inspired by the poem is clair de lune from suite bergamasque (debussy, mohd fairuz bin zamani, razak abdul aziz’s pepatah episodes: re-imaging the malay 175 2007). based on a poem of a similar title by verlaine, the music stands out from the rest of the set as it is the only piece in the suite that is not using dance form. guo (2019, p. 28) concluded that clair de lune’s beauty lies in its “simple musical texture, filled with delicate and romantic feelings, depicting the beauty of the moonlight.” a musical translation of verlaine’s poem, debussy stated, “it is inscribed in nature. it must be in intimate accord with the scenery” (schmitz, 1950, p.53). ravel was another french composer who was associated with the impressionistic movement alongside his elder contemporary, debussy. known to have written a vast number of musical works for various mediums of instrumentation, his contribution to piano music repertory is undeniable, although he only composed fewer than 30 piano works that demonstrated his wide range of musical language (orenstein, 1991). possibly the most substantial set of work in the standard piano repertory to date, gaspard de la nuit (1908) has a beauty and originality with a deeper inspiration “in the harmonic and melodic genius of ravel himself” (sackville-west & shawetaylor, 1951, p.613). this three-movement solo piano work is a musical depiction of two (2) mystical creatures (ondine [water nymph] and scarbo [goblin]) and one (1) disturbing visual (le gibet [the gibbet]), portrayed in aloysius bertrand’s poems gaspard de la nuit (1846). tomić (2020) found that ravel uses “diverse harmonisations of thematic materials to manipulate the formal and harmonic outlook” to portray the water spirit in ondine (p.84). the disturbing visual in le gibet is depicted in music using unclear harmonic progression and tonal ambiguity (p.85) while the mischievous scarbo is characterised through impressionistic harmony combined with spanish musical folklore (p.92), concluding that ravel’s gaspard de la nuit employs timbre as its fundamental component (p.190). from the examination of scriabin’s fourth prelude and fourth piano sonata, debussy’s clair de lune, and ravel’s gaspard de la nuit, one could observe how each work translated the figurative language (poems) into musical elements. understanding that figurative language could be translated into music through the composer’s personal musicality is essential to appreciate how razak abdul aziz translated figurative language (pepatah) into his pepatah episodes, which would be examined later in this writing. research background and problem this section provides a brief description of pepatah episodes, a table consisting of the pepatahs chosen with their respective literal translations and meaning (as provided by the composer in the piano score), and the background problem for this study. providing this information is vital to aid the reader’s comprehension in understanding the succeeding sections, which are methodology and result and discussion.brief description of pepatah episodes as mentioned earlier, pepatah episodes was written in 2019 and revised in 2020. zamani (2021) reported its premiere in early 2020, where he performed the 2019 version as part of his academic recital, as the revised version was only completed in october 2020 (abdul aziz, 2 october 2020). the revision consists of 12 short movements, with one (1) pepatah assigned to each. the pepatahs, their literal translation, and their meaning (as written by the composer in the score) are as table 1. research problems razak abdul aziz has been consistent throughout the interviews (2 october 2020; 2 august 2021; 4 august 2022), stating that each pepatah was only chosen after he had completed writing the music. though the composer had already planned to use pepatah during the initial creative process, he had yet to determine the exact pepatahs to use. only after scoring the music in 12 short movements the composer took a second look at the work, listened closely to the written music, and then determined and assigned one pepatah to each movement. this is true for both versions harmonia: journal of arts research and education 23 (1) (2023): 171-186176 table 1. pepatahs, literal translation, and meaning pepatah literal translation meaning alah bisa tegal biasa. poison loses its potency when one is accustomed to tackling it. custom makes things easy. air dicincang tak akan putus. water does not break up when diced. blood ties do not break. kalau tak dipecahkan ruyung, manakan dapat sagunya? if you don’t break the kernel, how are you to obtain the sago? if you don’t expend effort, how will you reap the reward? yang bulat tidak datang bergolek, yang pipih tidak datang melayang. round things do not come rolling, flat things do not come flying. nothing good comes from not putting in any effort. kuman di seberang lautan nampak, gajah di depan mata tidak kelihatan. a germ across the ocean is seen, (but) the elephant in front of one’s eyes is not. we see someone else’s small faults, but not our big shortcomings. hendak seribu daya, tak hendak seribu dalih when we want something, we’ll expend a thousand energies. when we don’t something, we’ll give a thousand excuses. kokok berderai-derai, ekor begelumang tahi. the cock crows loudly, though its tail is coated with faeces. someone who proudly proclaims his qualities but is unaware of his shortcomings. ikut resmi padi, makin berisi makin tunduk. jangan ikut resmi lalang, semakin tegak tiada berisi. follow the way of the rice stalk, the fuller it becomes, the more it hangs down. do not follow the way of the weed, whilst the blade grows taller, the content stays empty. the more successful one becomes, the humbler one should be. melentur buluh biarlah dari rebungnya. bend the bamboo while it is still sprouting. as the twig bend, so grows the tree (start young). alang-alang menyeluk pekasam, biar sampai ke pangkal lengan. if you’re putting your hand into the pickle jar, you may as well put in your arm. if you’re undertaking a task, do it wholeheartedly. alang-alang berdakwat, biar hitam. if you’re using ink, let the colour be dark (black). if you are intending to perform a task, do it as best you can. terlajak perahu boleh diundur, terlajak kata buruk padahnya. an overpassing boat can be towed back, an unfiltered word causes harm. a word once spoken cannot be recalled. ted that “one should be able to hear and imagine this without my help” and stood by this in the remaining interviews with the author. his stance may cause problems for other musicians in understanding the programme within the piano piece. hence, this opens an opportunity for the author to analyse pepatah episodes using the framework of programme music within the figurative language, offering one way to approach this work towards understanding the “re-imagining the selected malay proverbs through piano music” process, (2019 and 2020). the first nine (9) movements are to be played on the piano while the last three (3) movements of this work require the performer to either partially sing the music or play the written music on any surface or a percussion instrument of choice. although the composer mentioned that he had retrospectively chosen the pepatahs, he never specified which section(s) from each movement inspired him to assign the selected pepatah. in the first interview (2 october 2020), the composer stamohd fairuz bin zamani, razak abdul aziz’s pepatah episodes: re-imaging the malay 177 which would be explained in the following section. methods as this is a qualitative study, the author had chosen a case study as the research approach in analysing the programme of pepatah episodes by razak abdul aziz. hence, the research instruments used are non-directive interviews, document analysis, and archival research. the author interviewed the composer razak abdul aziz on three separate occasions, as mentioned earlier. these interviews were centred around understanding the composer’s creative process in both score versions. the author chose the 2020 version for this study as the composer has finalised it. the author also did adequate archival research to help in analysing this piece, mainly using burkholder et al. (2014) and kregor (2015), while being supported by beard and gloag (2005) and parker and abate (1989). the author chooses the movements that consist of music written for piano only, as this is the focus of the study. this includes the works’ first nine movements – from alah bisa tegal biasa to melentur bulu biarlah dari rebungya. the last three (3) movements (alang-alang menyeluk pekasam biar sampai ke pangkal lengan, alang-alang berdakwat biar hitam, and terlajak perahu boleh diundur terlajak kata buruk padahnya) are not analysed as the first two (2) of these three (3) movements require the performer to partially sing and the last demands the performer to play the notated rhythms on any surface or using a percussion instrument of choice. to understand the correlation between the chosen pepatahs to the written music, the author would be using music analysis defined by beard and gloag (2005) and parker and abate (1989), within the framework of programme music as proposed by burkholder et al. (2014) and kregor (2015). music analysis is the result of an interaction between the music itself, music theory, aesthetics, and history (beard & gloag, 2005, p. 9). however, to go beyond mechanical conversions of musical notation into written words, the analysis must uncover something beyond or behind the mere sonic surface (parker & abate, 1989, pp.1-2). this includes analysing musical effects that can express ideas and programmes, which often involve harmonic and melodic innovations and instrumental colour. there have been discussions on the distinctions in programmatic music. hoffmann (1810) in burkholder et al. (2014) categorized music with programmes into two (2); programme music and character piece. the earlier recounts a narrative of a sequence of events, often spelt out in an accompanying text, while the latter depicts or suggests a mood, personality, or scene, usually indicated in its title. kregor (2015) gave more details on the definition of programme music. he stated that the building blocks of programme music are topics (a gateway through which music expresses and creates meaning) and character pieces, as programme music sought a dialogue with other arts, especially literature, a pursuit that led to depictive character pieces, programmatic symphonies, symphonic poems, and tone paintings (kregor, 2015). this is apparent in the examples of programme analysis on henselt’s etude no. 6 and dittersdorf’s ovid symphony in kregor (2015). result and discussion using the framework of programme music analysis, the author would begin by quoting the composer razak abdul aziz in one of the interviews. he claimed that the pepatahs were only chosen after the music had been written out, while quoting schumann, as mentioned in burkholder et al. (2014), saying: “(schumann) did not always know the title of a piece until the music was written, making clear that the title is itself part of the composition, one that can be decided at any stage from initial conception to final finish. the main function of titles for character pieces was not to specify meaharmonia: journal of arts research and education 23 (1) (2023): 171-186178 nings but to indicate possible avenues for exploration, inviting the player and listener to enter the composer’s musical world and become in one sense cocreators of that world by devising their own narratives to explain how the music justifies the title and vice versa (p. 610)” (abdul aziz, 4 august 2022). having this in mind, the composer also claimed that the chosen pepatahs are represented in either one of the three (3) ways: (i) imageries in the pepatah (ii) imageries in the meaning, or (iii) imageries in the pepatah and meaning. alah bisa tegal biasa as this is the first movement of the piece, it introduces the harmonic language that is used in the entire work – non-functional, non-tonal harmony and non-pitch centric. this could be estranged for some listeners as this type of harmony is not something the general audience is accustomed to. hence, the movement acts as an introduction, aurally paving the way into the audience’s ears. it is written at a moderate speed, chordal texture, simple note values, and utilises relatively loud dynamics (as shown in figure 1). this combination aids in fashioning the music easier to be perceived, making the composer choose this pepatah for its meaning to represent this movement. figure 1. an excerpt from alah bisa tegal biasa air dicincang tak akan putus. the second movement begins with two voices, each melodically, moving independently in 2nds, and using various rhythmic divisions (quaver triplet, semiquaver triplet, semiquaver quintuplet, etc.) to create polyrhythm, as shown in figure 2. this creates the effect of interlocking, mimicking an attempt to “dice water.” the “attempt” later occurs at a higher register, written on the treble clef, as shown in figure 3. figure 2. the first three (3) bars of air dicincang tak akan putus figure 3. the attempt to “dice water” recurring in treble clef this attempt to “dice water” intensifies when four (4) layers of voice are sounding simultaneously in both staff in treble and bass clefs, each voice having its own rhythmic pattern (as shown in figure 4), creating intense rhythmic interlocking while these voices melodically move independently in 2nds with a loud dynamic, emulating an intensified effort to “dice water.” figure 4. the attempt to “dice water” intensifies regardless of the recurring, multipmohd fairuz bin zamani, razak abdul aziz’s pepatah episodes: re-imaging the malay 179 le attempts to “dice the water”, these attempts ultimately failed as it is within the nature of water not to break. this can be seen in the last bar of this movement (as shown in figure 5). despite the continuous attempt to “dice” until the end, all four (4) voices finally come together at the end of the movement. with this programme, it is concluded that the composer chose this pepatah for its literal imagery, imagining the act of “dicing water” when listening to this movement. figure 5. the “diced water” finally comes together kalau tidak dipecahkan ruyung, manakan dapat sagunya. musically, this movement is quite like the first being a continuity, where it reiterates the harmonic materials in chordal texture using a moderate pace, simpler note values, and loud dynamics. this is to regain the attention of the listeners, harkening back to the ideas at the beginning of this piece. by gauging their attention to continue listening to the work, the composer is preparing for what is to come in the later movements of the composition, which, the composer believes, is rewarding. hence, this pepatah was chosen for its imagery in the meaning to describe the listeners’ effort to continue listening to this work and the reward that awaits the listeners in the following movements. figure 6. the reiteration of harmonic materials alla the first movement. yang bulat tidak datang bergolek, yang pipih tidak datang melayang. there are two (2) distinctive imageries portrayed in this movement – bulat (round thing) and pipih (flat thing). bulat is attempting to roll, but the movement is somehow halted. this is portrayed in the music with the melodic movement on the lh, which begins smoothly in 2nds (as demonstrated in figure 7) at a lower register, within a range of an octave, and using small note values, creating the rumbling effect and imagery of a round object rolling back and forth. figure 7. the portrayal of bulat on lh however, this smooth-moving line on the lh becomes increasingly disjunct with rapid changes of note register within almost two (2) octaves compass, with more rhythmic play, creating interruption – an attempt to halt the rolling movement of the bulat (figure 8). figure 8. the interruption of bulat movement on lh and introduction of pipih on rh one could observe that a new material is introduced in figure 8 (rh of bar 72), portraying pipih – written using notes in a higher register and smaller, more intricate note values than bulat. pipih (on rh) gradually begins to exist concurrently with harmonia: journal of arts research and education 23 (1) (2023): 171-186180 bulat (on lh), before dominating the conversation later, with more rhythmic play and notes of the higher register, imitating “small, flying things” (possibly small aviaries), as shown in figure 9. figure 9. pipih dominating the conversation based on the programme analysis made, it is concluded that the composer had chosen imageries of objects (bulat and pipih) in the pepatah to pair this proverb to the movement. kuman di seberang lautan nampak, gajah di depan mata tidak kelihatan. two (2) distinctive imageries are mentioned in this pepatah – kuman (germ) and gajah (elephant). as kuman is diminutive and gajah is enormous by comparison, these imageries represent sarcasm – one noticing someone else’s small fault but not their own big weakness. the composer translated these imageries using two (2) contrasting note registers – low to represent gajah and high to represent kuman – playing in loud dynamics (f, ff, piu ff), as shown in figure 10. figure 10. gajah in the low register and kuman in the high register these imageries occur alternately and respond to each other as antecedents and consequents (question and answer) throughout most parts of this movement. this continuous alternation is to portray bickering between two parties – both yelling out each other’s weaknesses without acknowledging their shortcomings, as exemplified in figure 11. figure 11. the continuous alternation between gajah and kuman, portraying bicker between two (2) parties mohd fairuz bin zamani, razak abdul aziz’s pepatah episodes: re-imaging the malay 181 ultimately, both parties fail to overpower the other. instead, they decide to bicker louder, gradually accentuating their arguments until they reach their peak. this is represented by the voices moving outward in contrary motion – ascending movement (kuman) and descending movement (gajah) – with both voices increasing their dynamics reaching ff. figure 12. the voices getting louder and moving outward in contrary motion based on the programme analysis made, we can determine that the composer had chosen this pepatah for its imageries of objects (gajah and kuman) in the pepatah and imageries depicted in the meaning when reflecting on this movement. hendak seribu daya, tak hendak seribu dalih two (2) contrasting situations are portrayed in this pepatah – daya (energy/ effort) and dalih (excuse). dalih occurs first in this movement. it is portrayed with the use of long, sustained chords, passive inner voices, and soft dynamics to depict minimal effort/energy, as shown in figure 13. figure 13. the portrayal of dalih using long, sustained chords, passive inner voices, and soft dynamics a new material is immediately introduced, with more active rhythmic gestures, louder dynamics, and frequent chords changes. this material represents daya, which would later be further developed. figure 14. the introduction of daya material into the movement harmonia: journal of arts research and education 23 (1) (2023): 171-186182 the daya material grows exponentially with more complexity. the rhythmic gesture becomes significantly more active in all voices while the dynamic used is generally loud (f and piu forte). this material is also developed using a contemporary rhythmic notation called feathered beam, as shown in figure 15 at piu forte. feathered beams are used to notate the gradual transition from one note duration to another in accelerando or ritardando mode (lombardi, 2021, p.65). figure 15. daya material gets developed daya gets more potent with a wider range of dynamics (from mf to piu forte), rapid change of register in chordal pattern, and more feathered beams at the climax of this movement. this is a depiction of the “thousand energies” described in the pepatah, which could also be observed from the visual perspective of the performance. figure 16. the climax of daya from the programme analysis, the author deduced that the composer chose this pepatah for the imageries portrayed in the pepatah to accompany this movement – one being passive and soft, representing dalih, and the other being aggressive and loud, representing daya. kokok berderai-derai, ekor bergelumang tahi similar to many previous movements, this pepatah has two (2) distinctive imageries; (i) cock (rooster) crowing loudly (ii) tail feathers coated (covered) with faeces. the first imagery of this pepatah is portrayed in two (2) ways – (i) a 4-part voice in the middle and high registers (figure 17) and (ii) a 2-part-highly-chromatic voice (rh of figure 19) – both being very loud in dynamic (ff). the second imagery is also portrayed in two (2) ways; (i) notes on the low register in chordal pattern in moderately soft dynamic (mp) (figure 18) and (ii) 2-part-highly-chromatic voice (lh of figure 19) in very loud dynamic (ff). figure 17. the first portrayal of “cock crowing loudly” figure 18. the first portrayal of “tail feathers coated with faeces” the second portrayal of both imageries begins to occur concurrently starting from bar 146 (as shown in figure 19) and gets more intense for the next 12 bars, before calming down at bar 157 onwards until the end of this movement (bar 164), getting rhythmically and dynamically more passive with time, as shown in figure 20. this is to depict the scene where the crowing mohd fairuz bin zamani, razak abdul aziz’s pepatah episodes: re-imaging the malay 183 rooster finally realises that the tail is getting heavier due to the amount of faeces that gradually increases with the intensity of the crow and starts to tone down. figure 19. the second portrayal of both imageries happening concurrently figure 20. the crowing rooster starts to calm down after realising the condition of its tail feathers from the programme analysis made, the author deduced that the composer “heard” the imageries in the pepatah when he reflected on this movement – rooster crowing and the faeces-coated tail feathers happening alternately in the beginning and eventually become concurrent – hence decided to choose the pepatah to accompany this movement. ikut resmi padi, makin berisi makin tunduk; jangan ikut resmi lalang, semakin tegak tiada berisi this pepatah is like many previous ones; having the portrayal of two (2) contrasting imageries in its words: (i) rice stalks hanging low (ii) weed grass blades growing taller. these imageries are representations of two (2) types of personas. as the full rice stalk is a representation of a positive persona (successful, knowledgeable, and humble), the weed grass blade represents the opposite – a negative persona (empty-headed and arrogant). the positive persona is portrayed as “full and laying low” using chordal writing and moderately soft dynamic (mp) on both hands, as shown in figure 21. figure 21. the portrayal of the persona with substance using chordal writing and moderately soft dynamic on the other hand, the negative persona is portrayed as “empty-headed and arrogant” with the use of a single-line melody at a high register in a loud dynamic (f). this persona “talks over” the positive persona, having the former’s voice (the single-line melody) over a chordal passage as demonstrated in figure 22. figure 22. the negative persona “talks over” the positive persona the negative persona then takes over the conversation. this is translated into music by continually using loud dynamics, the addition of three (3) lower voices with these voices mimicking each other (bass mimics soprano, tenor mimics alto), with each voice using a very narrow range of notes, describing this persona as being full of itself yet shallow. figure 23. the negative persona is full of itself and shallow harmonia: journal of arts research and education 23 (1) (2023): 171-186184 this continues until the end of this movement, gradually getting softer to a soft dynamic (p). possibly the superficial person is eventually ignored but persists in staying arrogant. figure 24. the negative persona remains arrogant despite getting ignored from the programme analysis, the author deduced that the composer “heard” the imageries portrayed in the meaning when he reflected on this movement – two (2) contrasting personas; one of positive and the other, negative – hence decided to choose the pepatah to accompany this movement. melentur buluh biarlah dari rebungnya this pepatah mentions two (2) different stages of growth of bamboo – a mature bamboo (buluh) and a bamboo sprout (rebung), which is a representation of two stages of growth of man – mature and young, respectively. buluh is materially hard and very difficult to shape and bend – an analogy of a mature person that is already set with their habit. changing the habit would be a monumental and delicate task to undertake. this is translated into music using loud dynamics (f and piu forte), rapid passages, heavy chordal patterns, and big leaps; all to be executed smoothly (legato). figure 25. the portrayal of undertaking the task of bending buluh (changing the habit of a mature person) unlike the hard buluh, rebung is young and still sprouting, hence shaping and bending it would be a much easier task, comparatively. this is an analogy for a young person, who is still growing and learning, hence shaping their habit and behaviour is (although still a delicate matter) facile. musical translation for this is made using softer dynamics (p, mp, mf), a calm chordal passage which begins quite passively with longer note values that gradually becomes more intricate as the movement progresses to portray the gradual shaping process, and smooth articulation (legato). figure 26. the portrayal of bending rebung (shaping the habit and behaviour of a young person) figure 27. the music becomes progressively more intricate, portraying the gradual shaping process from the programme analysis, the author deduced that the composer had imageries portrayed in the pepatah and meaning when he reflected on this movement – buluh and rebung, and a mature and young person – hence decided to choose this pepatah to accompany this movement. conclusions the programme analysis conducted in all nine (9) movements for piano found that four (4) movements inspired the composer to choose their respective pepatah for the imageries portrayed in the pepatah, mohd fairuz bin zamani, razak abdul aziz’s pepatah episodes: re-imaging the malay 185 three (3) for the imageries portrayed in the meaning, and two (2) for both. razak abdul aziz’s pepatah episodes challenges the convention of programme music in three (3) ways: (i) the pepatah is to be recited aloud before performing each movement, as other programme music does not require the performer to read out the programme (ii) the choice of pepatah is made in a retrospective manner rather than setting the music to predetermined pepatahs (iii) the portrayal of imageries in the music is either from the pepatah, its meaning, or both. this offers possibilities for other composers to explore music composition using a similar framework and compositional process utilised by this composer. it also provides opportunities for scholars to investigate and study works by razak abdul aziz and/or other composers that are unique and worthy of scholarly attention. acknowledgments the author would like to thank the composer, razak abdul aziz, for permitting the use of the music scores (2019 and 2020 versions) and to conduct this study. this work is supported by short-term grant of universiti sains malaysia with project no.: 304/pseni/6315693. references amuah, j. a., & wuaku, h. m. 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(2021). music of razak abdul aziz: preparing chosen solo and collaborative piano works for two academic recitals. wacana seni journal of arts discourse, 20, 79-85. doi:10.21315/ws2021. 20. 7 16 significant influences of violin extracurricular achievement to emotional intelligence nafik salafiyah student of postgraduate program of gajahmada university, indonesia jln. bulaksumur yogyakarta e-mail: nafik.salafiyah@yahoo.co.id received: july 2013. accepted: februari 2014. published: maret 2014 abstract this research aims to find out (1) whether there is an influence between student’s achievements of learning violin toward their emotional intelligence, (2) whether there is a correlation between student’s achievement of learning violin and their emotional intelligence, and (3) how much contribution of student’s achievement of learning violin to their emotional intelligence. it is a qualitative research which is defined as a research method based on positivism philosophy which is used to study particular sample and population. the sample and population are drawn randomly using research instruments to collect data, and the data are analyzed statistically. this aims to examine the hypothesis defined. the finding shows that there is a significant influence between student’s achievement of learning violin and their emotional intelligence about 76.1%, while the rest of it 23.9% is influenced by other factors which are not studied in this research. it proves that learning violin influences student’s emotional intelligence very much and emotional intelligence is influential in increasing student’s achievement. from the data, it shows that most of the students participating in violin extracurricular are able to increase their learning achievement. © 2014 sendratasik fbs unnes keywords: achievement; violin; emotional intelligence harmonia : journal of arts research and education 14 (1) (2014): 16-21 available online at http://journal.unnes.ac.id/nju/index.php/harmonia permalink/doi http://dx.doi.org/10.15294/harmonia.v14i1.2786 p-issn 1411-5115 e-issn 2355-3820 music can be affected in an academic field through the forming of learning pattern, overcoming bored, avoiding a disturbingexternal-noise. in addition, music makes us feel powerful, confident, reduce sorrow, erase anger, relieve stress, and reduce fear and worry. music should introduce in the very beginning so it is able to stimuli a music genre that can develop the students’ intelligence, it is classical music which is played by using violin at extracurricular program. the skills of reading a violin notation can improve the students’ understanding in terms of training their emotional intelligence. in practical, reading music notation means that the students have already had their loved-song-bank. besides, they have introduction one of the government’s efforts to educate the nations is by education. education plays an important role to guarantee long life of the nation and the country. the constitutional foundation of education has been clearly stated in the preamble of the 1945 constitution of the republic of indonesia that one of the main goals of the republic is to establish intelligent life of the nation. thus, education is an effort to improve and develop the quality of human resources. music is important because it is a good thing, music is a part of life and one of human culture magnificent, by developing the music the best of it will be gained. nafik salafiyah, significant influences of violin extracurricular achievement ... 17 to understand music elements that have been discussed through music theory, have sense and a strong enough rhythm. the students are able to read the rhythm pattern in the notation in which using music notation, and also they have to have a strong imagination of the tone, so that they can play the song with its tone, notation, and appropriate melody. some skills above can be gained to train the students’ emotional intelligence by playing or using the learning aids in a music extracurricular program at school, as the instrument is a violin because the students are easier to feel the song so the result will be better. in fact, while having a violin extracurricular program, the time is limited. in contrary, in learning violin through reading the notation needs a theoretical understanding about music notation. for the time is limited so the students are supposed to study it at home to train their intelligence. learning will result some changes in a person. to find out how far the changes are there must be an assessment. this kind of assessment to measure how far their achievement of learning is, called the result of learning. learning process at school is one of complex and whole process. many people argue that to get the highest achievement in terms of education, people should have high intelligence quotient (iq), that intelligence question (iq) is a potential that will help the students to gain the optimal result. winkel (1997) stated that the nature ofintelligence is the ability to state and defend one aim, to a just in terms of gaining the goal, and to do a self assessment critically and objectively. in fact, in teaching-learning process at school we often find many students who could gain their achievement as equal as their intelligence. some students have a high intelligence but on the other hand their achievement is relatively low. in contrary, there are some students who have relatively low intelligence but could achieve good achievements. grade of intelligence is not the only factor that determines a successful person. there are other factors that determine the case. goleman (2002) argued, someone’s intelligence (iq) only represents 20% of his/ her success, while the other 80% are presented by other factors such as, eq. emotional quotient (eq) is the ability to motivate his/ herself, overcome frustration, control a desire, control mood, and the ability to cooperate with others. an iq learning process could not function well without any participation of the emotional sensestoward the lesson that is delivered. however, those two intelligences will complete each other. the balance of iq and eq are the students’ successful key at school (goleman, 2002). education at school not only need to develop rational intelligence, in which a model that is usually understood by students, but also emotional intelligence of the students. the result of some researches in university of vermont about analysis of the human brain neurology structure and behaviourshow that in a very important event in people’s life, eq will come first before rational intelligence. a good eq can determine individual success in academic achievement to build a carrier, develop a harmonious relationship between husband and wife, and to reduce an aggressive attitude of teenagers (goleman, 2002). it is undeniable fact that for those who have low iq and mental backwardness will be difficult, even they cannot follow their formal education for their age. however, in fact, a few people with high iq has low educational achievement and vice versa. the occurrence of the term emotional intelligence in education, for most people perhaps can be defined as the answer of the gaffe. daniel goleman according to his book defined a new definition of intelligence. although eq is relatively a new thing compare to iq, but some researches indicated that emotional question is also important to compare to iq (goleman, 2002). based on goleman (2002), emotional intelligence is someone’s ability to manage his/ her emotional life and to keep the apharmonia : journal of arts research and education 14 (1) (2014): 16-2118 propriateness of emotion and its expression through skills, self realization, self control, self motivation, empathy, and social skills. goleman (2002) stated that especially for those who have high intelligences, they tend to be worry without any reason, too critical, fussy, introvert, and hard to express annoyance and anger appropriately. if it is supported by a low emotional intelligence, so those people tend to be troublemakers. parallel with the characteristics above so they tend to be seen as a hard person, unadaptable, insensitive with surrounding, difficult to trust anyone else, and tend to easily to give up if get stressed. in contrary to those who have a high iq, those who have average iq but have high intelligence. walgito (1993) divided some factors that influence the emotional intelligence, those are: (1) internal factor, is a factor within the individual that influences the emotional intelligence. this internal factory has two sources, physically and psychologically. in terms of physics, it means that physical factor and individual health. if someone’s physic and psychology are disturbed, perhaps it can influence his/ her emotional intelligence. moreover, in terms of psychology, it consists of experience, feeling, senses, thinking ability and motivation. (2) external factor including: (a) stimuli itself, the stimuli saturation is a factor that influences the success of someone in organizing his/ her intelligence without distortion. (b) environment or situation especially the one that becomes the background of the emotional intelligence process. environmental object as the background of the situation is a unity that cannot be separated. a school that held an orchestra extracurricular is smp domenico savio, semarang, so the researcher directly visited the school to make sure the news. in fact, it is true that at the school is held an orchestra program. instruments that are played are violin, cello, piano, and classical guitar. the teaching-learning process is divided into different rooms depends on the instrument used. however, even though the activities are held in different rooms, the material given is similar, with the same song title, that has been arranged before based on the agreement of the couches. at a particular time, they will play the instruments together. in this case, the researcher was very interested in the teaching-learning process of the orchestra extracurricular program in smp domenico savio semarang especially the violin. trine (2007) stated that the result of the learning process is an attitude that is gained by the learner after having the learning process. the gained of the aspect depends on what they learn. thus, when the learner learned about the concept, the change of attitude gained is the mastery of the concept. in terms of the learning process, the change of learner’s attitude that should be gained after having the learning activity can be formulated as the goal of learning. the formulation of learning aim is the result that is wanted by the learner, and it is rather complicated compare to the others aim because the aim of learning process cannot be measured directly. the aim of the learning process is a form of hope that is communicated through statement by showing the changes that is wanted by the learners after finishing the experience of learning. what is meant by the result of learning the violin is a result of maximum effort in learning violin so that the learner gain a change from the phase that the learner cannot play the violin into the phase that the learner can play the violin. it can be measured by using some indicators including reading rhythm and melody. extracurricular is an activity of learning that is held outside of formal teaching-learning process, indoor or outdoor. this activity gives skills that are not included in the curriculum. this activity is held to develop the students’ talent, interest, and creativity so it can produce a skillful person and independent in a case of art lesson especially music. this activity is one of a suggested activity because the consideration activity in which emphasize an apnafik salafiyah, significant influences of violin extracurricular achievement ... 19 preciation, limited time and the program to hold the show, needs a proper solution by holding the extracurricular program, and aim to develop and settle the students’ knowledge especially in a talent development, interest and skill to create art work, and having the characteristics of consisting the material given before. this research aims to find out (1) whether there is an influence between student’s achievements of learning violin toward their emotional intelligence, (2) whether there is a correlation between student’s achievement of learning violin and their emotional intelligence, and (3) how much contribution of student’s achievement of learning violin to their emotional intelligence. the result of the research is hoped to give contribution to (1) teacher by helping to improve the quality of the school and can be used as the reference for the teachers who need it, (2) students by giving motivation to participate in an extracurricular activity and students are supposed to increase their motivation and learning achievement, (3) can be used as a medium for the school to improve the knowledge of the violin influence toward students’ intelligence. the result of learning violin is needed to achieve emotional intelligence optimally. if someone is seriously and optimally learn a violin so he/ she probably has an optimal emotional intelligence. many theories have been argued by specialist about emotional intelligence, it can be assumed that there is a correlation, relation, and contribution of extracurricular learning result of violin toward students’ emotional intelligence. method quantitative method can be defined as a research method that is based on positivism, used to examine toward a population or certain samples. according to the aim of the research, this research is a correlation research which means a research that aim to find out the relation among variables that are examined (arikunto, 2006). correlational research is aimed to find out the explanation of a problem. in this research, the aim is to find the influence of extracurricular activity of learning violin toward students’ emotional question in junior high school (smp) domenico savio, semarang. the collection of the data was done by using: (1) questionnaire technique. the questionnaire is sets of written questions used to gain information from the respondents in terms of their private life or their common knowledge (arikunto, 2006). in this research, the researcher used likert scale as the emotional intelligence. this emotional intelligence consists of an aspect of self emotional realization, self motivation, empathy, cooperation (goleman, 2002) that are useful to measure how far is the emotional intelligence that is understood by the students of smp dominico savio, semarang. (2) the test method is questioned or rehearsal or another way used to measure the skills, intelligence, individual talent or group (arikunto 2006). that test method is in the form practical tests that are used to find out the ability of the students who join an extracurricular program of violin instrument in smp domenico savio, semarang in terms of their mastery of violin instrument. the analysis used to find out the solution is divided into two, (1) regression analysis, (2) correlation analysis, and (3) determination analysis. the analysis used is by using percentage descriptive analysis and simple regression analysis. results and discussion the correlation between learning violin and emotional intelligence based on the analysis, the early hypothesis stated as “there is a correlation between learning violin and emotional intelligence” is accepted. thus, by accepting the hypothesis it can be inferred that there is a significant correlation, it means that higher the result of learning violin, higher the emotional intelligence will be in smp harmonia : journal of arts research and education 14 (1) (2014): 16-2120 ricular activity and emotional intelligence of violin in smp domenico savio semarang. according to the research analysis that y = 62.852+1.052x1 means that the result of learning (x) increases one point, so the emotional intelligence of the students who learn violin in smp domenico savio semarang will also increase (1.052) and vice versa. if the result of learning is lower one point, so the emotional intelligence of the students who learn violin in smp domenico savio semarang will also decrease (1.052). the other 39% factors are the factors that influence the result of learning violin. those factors based on physical and physiological aspect. physical aspect is an aspect that is influenced by body health of the individual. if someone’s physical and soundness are disturbed, perhaps it can influence the emotional process. psychological aspect consists of experiences, feeling, ability to think, motivation, and environmental factor. thus, the researcher invites the reader to do other research relates to those factors. conclusion according to the result of the research and the discussion above, it can be conclude that: (1) there is a significance influence between the result of violin extracurricular and tje students’ emotinal intelligence in smp domenico savio semarang, (2) there is a significance relation between violin extracurricular and the students’ emotinal intelligence in smp domenico savio semarang, and (3) the contribution given by the result of violin extracurricular toward students’emotional intelligence in smp domenico savio semarang is 76.1% and the rest 23.9% is influenced by another factors that are not taken into account in this research it can be proven that learning a violin is very iportant in giving an influence toward emotional intelligence and it is verry important in giving influence in increasing students’ achievement. by those evidences, the researcher suggests that almost of the students are supposed to pardomenico savio, semarang. the significant influence of learning violin toward emotional intelligence referring to the analysis above, from the calculation it can be seen that y = 62.852 + 1.052x which means if a variable of violin extracurricular program in smp domenico savio semarang is higher one point so the students’ emotional intelligence who learn violin in smp domenico savio semarang will be higher 1.052 point in constant point of 62.852. it shows that the increase of learning violin will give influence of the increase of emotional intelligence. hence, learning violin can influence to emotional intelligence. contribution of learning violin toward emotional based on the analysis, it presents that the determination coefficient (r2 ) is equal 76,1%, which means that the emotional intelligence is equal 76.1% that is determined by the result of learning violin, and the rest is determined by another factor that is not directly influenced to the research. emotional intelligence can be increased by developing a high commitment of self development. emotional intelligence is a psychological ability in understanding and using emotional information. as an individual, we have a different ability in doing something since we were born and we can learn from our life the ways to make our emotional intelligence be better through practices and experiences. however, the variable of violin extracurricular in smp domenico savio semarang gives significance influence toward the students’ emotional intelligence that clearly can be seen from the data analysis tcount> ttable equal (7.579>2.00), and the simultaneously contribution from variable of violin extracurricular 7.61% in which it shows that violin extracurricular in smp domenico savio semarang has influence on students learning activity as many as 76.1%. based on regression coefficient that signs positive, it shows that there is a positive relation between the result of extracurnafik salafiyah, significant influences of violin extracurricular achievement ... 21 ticipate in violin extracurricular to develop their achievement in terms of academic. to gain the best result, the researcher suggests: (1) teacher should give motivation to the students who join and participate in violin extracurricular, (2) teacher should give reward for those who have high achievements in the extracurricular activity, (3) school should hold a home concert so it will be easier to attract other students to participate in a violin extracurricular. hence, by these activities can produce the students with good achievement. references amstrong, t. 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(2017). lawet dance and ebleg dance: the term analysis towards its movement qualities. harmonia: journal of arts research and education, 17(1), 31-40. doi:http://dx.doi.org/10.15294/ harmonia.v17i1.7805 harmonia : journal of arts research and education 17 (1) (2017), 31-40 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i1.7805 set of knowledge arise in a certain group or community, either originated from the past generation or originated from an experience that is related to other environments and communities to solve problems and challenges that are being faced. djawanai (2011) states that to dig and to search for local wisdom in order to reveal the identity awareness, one can review the development paradigm that initiates top down policy−which means the government knows best what a community needs. further, society empowerment is also needed to explore potentials and abilities had by the society. the main material object in this study is the existence of a variety of traditiointroduction indonesian culture consists of variations of many local cultures. this diversity does not only generate differences and variations but also may enrich and strengthen the national culture. ethnic group is a group of people which are bound by consciousness in sharing identity to keep togetherness alive. according to koentjaraningrat (1990, p. 264), the similarities may comprise of ideas, ways of thinking, conceptualization systems, and meanings which underlie the way of living of society. this awareness will trigger a typical form of ethnicity which will later call as identity. the local wisdom or local genius is a p-issn 2541-1683|e-issn 2541-2426 corresponding author: bulaksumur, caturtunggal, kec. depok, kabupaten sleman, yogyakarta 55281 e-mail: djarot_gg@yahoo.com harmonia : journal of arts research and education 17 (1) (2017): 31-4032 nal art forms, especially traditional dances in kebumen regency in central java province, indonesia. the supporting object, on the other side, is the role of society in exploring the potency of traditional art and the government policy of kebumen regency in its relation to art and culture sector. analysis and study towards the existence of cultural art in this present research are done by looking from the perspective of linguistics. it means that the linguistic terms in both traditional dances in this study will be discussed and revealed in order to find out the function and meaning of its existence. thus, this study is specifically directed to two main purposes, the linguistic study and the performing art study. in addition to this, problems arisen in this study that will be discussed further will be about the origin, the form, the function, and the meaning of terms used to refer to qualities of movement in typical traditional dances from kebumen regency, lawet dance and ebleg dance. the specific aim is to produce an analysis of the existence of traditional cultural art, especially traditional dances, and to produce a critical analysis towards the importance of getting to know the potential of the ownership of traditional art and culture in order to discover local wisdom. data used in this study was gathered from field observation, interview, and documentation study related to the popular forms of arts that exist in kebumen region. the folk dance of kebumen regency namely lawet dance is very typical since it tells about the natural resources of kebumen regency that are hardly found in other regions, that is the swift’s nest (the nest of lawet bird). another kebumen folk dance that is used as the research subject in this study is ebleg dance. in javanese society, the dance is similar to jathilan dance. it is believed by kebumen society that the dance is a typical traditional folk dance inherited from the ancestors. even though the dance also exists in other regions within central java province, however, the ebleg dance performance in kebumen is very typical since it can reflect the social expression of its society well. to analyze the dance further from the perspective of linguistics, regarding the terms used to refer to the qualities of movements in both lawet dance and ebleg dance, two theories are needed as the ground of discussion. the two theories that are told here are the morphology and semantic theory. according to poedjosoedarmo, et al. (1970, p. 2), morphology is the branch of linguistics that studies about words and sentence pattern in general. thus, basically, the morphology analysis concerns with words and all rules with all terms of formation and its amendments. furthermore, the structural linguistic theory with the analysis of word forms in morphological processes will be able to explain the formation process of terms that are now known as the label or the names to refer to kinds of movements in the dances as well as the sub qualities of movement of lawet dance that are rooted from the javanese language. according to verhaar (2012, p. 385), semantics is the branch of linguistics that studies meaning. meaning will be always presented in every grammatical rules or pattern in the form of morphological and syntactical process, so that can be concluded that the branch of linguistics that is used to study about form is morphology. whereas, semantics is used to understand every name of movement quality in dancing and the sub variations of movement in lawet dance after the morphological processes in the form of word formation was exist. morphological-semantical analysis or study is based on the elements of word formation of javanese language in the form of a morpheme. javanese language that can stand alone and can have its own meaning and also its own morpheme may produce new meaning because of a linguistic process namely affixation. besides, there are also reduplication, acronymic, sound alteration, productivity, frequency, as well as morphemic alterations. moreover, the word also has the ability that refers to extraordinary elements. this is known as djarot heru santosa et al., lawet dance and ebleg dance: the term analysis towards ... 33 a reference. this may give an illustration that in the level of morphology-semantic there is a correlation between the process of word formation with the meaning that is being produced. besides, there is also a correlation between meanings with references that exist beyond the language itself. the analysis of morphology-semantic is needed to explain the process of word formation and the meaning that is being produced as the name of terms which refer to the names of qualities of the dance movements as well as its dance movement variation and its reference. the morphological study is used to discuss the data that is being analyzed, specifically one that deals with the morphemes as well as the process of word formation that belongs to the morphological process. according to poedjosoedarmo (1979, p. 6), the morphological process tells about the word formation of javanese language. the javanese language consists of a free and bound morpheme. the example of a free morpheme is like ngulèt or stretching body right after waking up from sleep, dhidhis or sitting while looking for one’s own or other’s lice, èrèk or walking closer, and giring or getting married, etc. besides the free morpheme, there is also bound morpheme, the examples of a bound morpheme are prefixed n-, the suffix -an, and also infix -um. the free morpheme in the javanese language can be formed since it experiences affixation. besides also experiencing reduplication, vowel change, consonant change, compounding, as well as abbreviating acronym. after the morphological analysis, discussion will be about aspects of meaning from the morphemes that are being analyzed. in this research, analysis employs semantical lexical analysis that is concerned with lexical meaning (verhaar, 2012, p. 388). the field of research dealing with semantical lexical is known as lexicology. the lexical meaning in the linguistic description is usually marked by single quotes. for example, the word ngulèt has the meaning of ‘stretching body right after waking up from sleep’. the lexical semantics in lexicology includes many aspects, among them are: a) meanings and reference, b) denotation and connotation, c) extensional analysis and intentional analysis, d) componential analysis, e) meanings and its usage, and f) synonymy, antonymy, homonymy, and hyponymy. this study itself employs lexical semantics that encompasses the first part mentioned, that is meaning and reference. according to verhaar (2012, p. 389), the lexical meaning usually refers to the lexical aspect of the nature of the word. for example, the word angklingan has the meaning of ‘jumping with one foot’, however, besides of this meaning, angklingan also has another nature named as a reference. reference is the ability of a word to refer to certain things. the referred thing is known as the referent. the referent of the word angklingan is the illustration of the angklingan movement. thus, it is clear that reference has a clear relation to meaning, so that reference belongs to one of the nature of lexical meaning. the term reference itself brings two different meanings. the first reference belongs to extra lingual reference since the referent comes from the thing outside the language. this study is inspired by several research results and studies related to the discussed topic. among the study is one created by the center of law and indonesian policy studies entitled kerangka kajian hukum untuk kegiatan kesenian dan kebudayaan (pshk;, 2009). it tells about the government policy about culture that is written in legal formalities (law). the study result is considered important since it may become the significant and important source for this present study since it emphasizes on the problems appear that is related to cultural art studies, specifically for the purpose of existence preservation, that can be seen from many aspects of perspective. the novelty of the present research is in the description and the attempt to reveal in detail about two local culture products, especially from kebumen regency, the lawet dance and ebleg dance. results of this writing are aiming at revealing the harmonia : journal of arts research and education 17 (1) (2017): 31-4034 relationship and showing the use of traditional art potential in order to strengthen the identity of its owner. another aim of this paper writing in academic field is to produce an analysis towards the existence of traditional cultural art, specifically the one which is in the form of traditional folk dances. besides, the result of this research can be also used as a media or a means to find out the ownership potential of traditional cultural art in order to obtain the local wisdom in this globalization era. method based on the aim and theoretical ground of the research, this study employs qualitative method with multidiscipline principle. the further step of the study is analyzing data which is gathered from the written sources as well as field interview. this study is qualitative research which specifically categorizes as analytical-descriptive. the data that is being gathered, comprises the data of culture-art potential, institutional data in the level of regency government; data in the form of policy product, the process data of the culture-art policy implementation, and the activity data of working program or activity implementation. for this reason, the data can be seeking in the regency government, especially in the institution that is responsible for the culture-art management. whereas, data about self-potential in the field of cultural art, especially traditional dances from the field, group, or individual artist, and interviews from local society. data needed for the research was gathered from documentation study, interview, and observation. documentation study is done in the related institution; while the interview is done to the institution staff that manages the culture-art management in a local institution, the city council of art, as well as local artists. observation, therefore, was done in all activities related to the policy of culture-art and its implementation. results and discussion the morpho-semantics analysis of terms used in kebumen regency’s lawet dance movement qualities the term lawèt dance consists of two morphemes, the morpheme ‘dance’ and morpheme ‘lawèt’. it is clear that dance and lawèt are two kinds of free morphemes since it can stand alone as words. according to poerwadarminta in the dictionary of baoesastra djawa (1939, p.264). lawèt means ‘the swifts’. swift is a kind of bird who is well-known in kebumen as lawèt, which is in other regions are generally known as walet. the lawèt dance is a typical dance of kebumen region. it can be danced by a solo dancer, in a pair, and even in a big mass of dancers and is used as an entertainment dance. the movements of lawèt dance are taken from several local styles, like, banyumas style, surakarta style, and balinese style. the movement of lawèt dance is divided into three motives, there are: the opening, the main, and the closing motives. the opening motive was initiated by the movement known as ngulèt. then, the main movement consists of seven different movements. the names of the movement, are: angklingan, dhidhis, loncat égot, lenggut maju sérong, ukel nyucuk, lincak nyucuk, and képétan. the last is closing motives which depend on four movement qualities. the names of the qualities are tranjalan, ngasah cucuk, èrèk or giring, and the nest-making movement. thus, in performance, there are twelve different of dance movements. then, it is broken down into twentyeight sub-sub qualities, among them are: ngrayung, aburan, ukel mlumah, seblak, ndhaplang, mabur, jinjit, srisig, singgetan, sèlèh, nekuk, ugel-ugel nekuk, tolèhan, napak, nyèngklèh, nyengklèk, kirig, mendhèk, muter, njumbul, ngigel, gèdhèg, manthuk, ngawet, sileman, panggel, gejug, and égotan. the movement qualities of lawèt dance belong to two rhythms, the lancaran and dadi rhythms (sardjoko, 1996, p. 9). the same source mentions that in lancaran rhythm, the lancaran is divided into djarot heru santosa et al., lawet dance and ebleg dance: the term analysis towards ... 35 sekolah menengah pertama negeri 1 kebumen, sekolah menengah pertama negeri 2 kebumen, sekolah menengah pertama negeri 3 kebumen, sekolah menengah pertama negeri 7 kebumen, sekolah dasar negeri 2 karangsari, sekolah dasar negeri 1 banyu, sekolah dasar negeri 2 pejagoan, etc. the analysis of morphology and semantic process is the core of this present research. based on the analysis of word and meaning formation process, the form of words and meaning will be known and understood in the scoop of names of movement qualities used in lawèt dance, as well as reference derived from the term, specifically one contained in the eleven names of lawèt dance movement along with 28 sub qualities of movement of lawèt dance in kebumen regency. the names of the variation of movement of lawèt and the sub qualities are further divided into two, the monomorphemic and polymorphemic forms. in the polymorphemic forms, the morphology process is in the form of affixation, compounding as well as morphophonemic change. word in the form of monomorphemic are words manifested as monomorphemic morphemes and free morphemes. here, the words consist of one morpheme only, can stand alone, and has meaning. the examples are in table 1. the polymorphemic form of the word is a word manifested as morphememorpheme polymorphemic. the polymorphemic form of words which are found is in the form of affixation, compounding, and morphophonemic change. here, the affixation form of words can be made and formed from the process of adding affixes. further, the affixes comprise of adding prefix, suffix, and infix. based on the gathered data, the affixed word contained in the names of movement qualities of a dance and its sub qualities, comprised of the polymorphemic form originated from the additional prefix n-, combination of prefix nand a-, suffix -an, combination of prefix aand the suffix -an. the examples are in table 2. two a) the lancaran rhythm i and b) lancaran rhythm ii. the movements in lancaran i rhythm belongs to ngulèt. then, the movement of dadi rhythm is originated from the variation of angklingan, dhidhis, loncat égot, lenggut maju sérong, ukel nyucuk, lincak nyucuk, and kèpètan. the movement of lancaran ii rhythm belongs to the variation of tranjalan, ngasah cucuk, èrèk or giring, and the nest-making movement. in 1993, when bupati amin sudibyo ruled the government, the lawèt dance received a high response and appreciation so that it is used as an extra subject at school as one of the art teaching material in primary school in kebumen regency (sardjoko, 1996, p. 5). the same source also mentioned that the spreading of lawèt dance is well-known until the corner part of villages. even, almost in every event, both in regency and the lower level, always take lawèt dance as the entertainment dance. some of the occasions that used lawèt dance as the entertainment were the anniversary of indonesia’s independence day, the opening ceremony of art and sport competition, the closing ceremony of art and sport competition, the opening of quran recital competition, the grand opening of candranimuka stadium, festivals, drama performance, as well as the theme of dance competition for children. around 2000, lawèt dance was no longer used as the elementary school extra-subject since the rebana art was developing and replaced the position of lawèt dance. since that year, the government only gave policies in the form of ownership of lawèt dance, but never made it into one of extra-subject for students at the school. these evidence showed the journey of lawèt dance since it was very well-known till now. currently, only several regions admitted lawèt dance and used the dance as an entertainment dance, among the regions were: kecamatan kebumen, kecamatan petanahan, kecamatan adimulyo, dan kecamatan prembun. it was also used only on certain occasions, like some school performances held in some schools around kebumen. the schools who were often used the dance as their entertainment are: harmonia : journal of arts research and education 17 (1) (2017): 31-4036 referring to the theory by sudaryanto (1992, p. 51), the data that is being analyzed by the compounding process belongs to part b), which is the presence of new meaning that closely related to the basic meaning means that the presence of basic meaning happened to be given for the compound words which the root is words. based on the gathered data, the compound words existed in the names of movement qualities as well as the sub qualities comprise the combination of roots with roots, a combination between roots and affixed words, a combination of affixed words with roots, and combinations of root and root. the examples are in table 3. the morphemic change can also be found in the data in the data of morpheme along with the allomorphs and the distribution requirement with its phonology requirement determiner. the examples are in table 4. the analysis of names of the movement variation of the lawèt dance explains the lexical and reference meaning of the eleven names of movement variation as well as its 28 sub qualities. the lexical meaning contained in words are followed by its movement reference. there are 11 names of movement in the lawèt dance and 28 sub qualities of lawèt dance. the semiotic analysis of movement qualities in kebumen regency’s ebleg dance ebleg dance is a typical folk dance from kebumen with a special property of kuda kepang, a wooden bamboo horse used as the dancing property. this art illustrated the bravery of horsemen army with all the attractions. usually, in its performance, the dance is followed by the attraction of barongan, penthul and cepet, other kinds table 1. words manifested as monomorphemic morphemes and free morphem form meaning ngulèt ‘stretching body right after waking up from sleep’ dhidhis ‘sitting while looking for one’s own or other’s lice’ èrèk atau giring ‘walking closer atau ‘getting married’ table 2. word contained in the names of movement qualities form afixation process meaning ngrayung {n-}+{rayung} ‘pointing and bending fingers ’ mabur {n-}+{a-}+{bur} ‘flying’ angklingan {angkling}+{-an} ‘jumping with one leg’ aburan {a-}+{bur}+{-an} ‘flying around’ table 3. compound words existed in the names of movement qualities form affixation process meaning loncat égot {loncat}+{égot} ‘jumping followed by the movement of shaking bottom’ ukel nyucuk {ukel}+{n-}+ {cucuk} ‘the movement of mematuk to the right and left’ ngasah cucuk {n-}+{asah}+ {cucuk} ‘the movement of sharpening the beak’ ugel-ugel nekuk {ugel-ugel}+{n-} +{tekuk} ‘the movement of bending the wrist’ table 4. morpheme along with the allomorphs and the distribution requirement form affixation process meaning képétan {kèpèt}+{-an} ‘shaking tails’ tolèhan {tolèh}+{-an} ‘looking to the back side’ djarot heru santosa et al., lawet dance and ebleg dance: the term analysis towards ... 37 of traditional arts. ebleg dance is usually also accompanied by a special music instrument known as bendhe with the typical voice of the traditional singer singing a traditional song. this folk-art performance is usually performed in many celebrations, like, circumcision party, independence day celebration, etc. in other regions outside banyumas and kebumen regency, the ebleg dance is usually known as jaran kepang, kuda lumping, jathilan, etc. there are many different versions of the origin of ebleg dance. it is estimated that the age of this dance is considerably old. this dance is a dance born in the middle of village society. with its simplicity, the dance movement is relatively easier to be followed. since it is formed naturally in the village, there is no literature that recorded the origin of the dance. however, in the beginning, it is sure that ebleg dance is a sacred dance that is used in many religious activities. in its development, since the 19th century till after the independence day, the dance was started to be added to magic and sacred elements and was used as entertainment as an entertaining dance. in ebleg dance performance, there are many typical terms known, both in its movement variation types, the music accompaniment, and meanings contained in ebleg dance. dance as the valuable and meaningful production of culture can be known as a symbol system (is created by human conventionally and is used orderly). dance is the expression of human or artist subjectivity and is a significant symbol of the system. it means that dance contains meanings and invites reaction. therefore, the relationship between signifier and signified is clearer and togetherness is established (hadi, 2005, p. 24). in kebumen, kuda lumping is well known as ebleg. it is a traditional javanese dance showing soldiers while riding horses. this dance uses horse made of bamboo that is woven and cut then is modified to resemble a horse. this woven horse is given an ornament with paint and cloth in colorful color. the performance of kuda lumping also shows the attraction which shows magical supernatural ability, like, the attraction of chewing glasses material, cutting his own arm with the blade, burning oneself, walking on the broken glass, etc. these attractions are considered as reflecting the supernatural power which in the past was developed in the javanese kingdom environment and is a non-military aspect that is used to attack the netherland warrior. the typical of kebumen’s ebleg dance, among all is the existence of barongan, a symbol of a king named sultan agung hanyakrakusuma, who is known as the lion of mataram. barongan of ki singa mataram symbolizes sultan agung hanyokrokusumo, one of mataram’s hero. jaran kepang (in black and white color); the symbol of brave horsemen. the color of white symbolizes turangga/ the seta horse, while the black color symbolizes turangga/ the congregation horse are mythology from ancient javanese mythology as the symbol of power that has to be united, solid, and balance. while turangga/ the seta horse is a symbol of power that is a kind of pure divinity (soul) while turangga / the congregation horse is the example of natural power. several movement qualities of ebleg that never can change (the yudha cakrakusuma dance performance) and its philosophical study is described, as follows: the formation of kusuma mijil which symbolizes the journey of mataram troops to the battle field. the offering formation (puja cakrakusuma), is expressed in which two hands are bended on the head and lowered down up to the front of eye/nose, headed to the four directions of wind and moved clockwise. in the first obeisance, the barongan lead in the front (the obeisance movement of barongan is by looking up and nodding to the earth/ prostration. the caplokan barongan or kendang, the javanese traditional music instrument, is used as the obeisance commando of the horsemen troops). philosophy: the position of obeisance while hands are positioned up on the head symbolizes the worship of the living things harmonia : journal of arts research and education 17 (1) (2017): 31-4038 to the god, while worshiping position to the front of eye and nose symbolizes the attitude of respecting others (wherever the javanese people are, they are always respecting their god and respecting other human living, as well as the environment). the hands are moving clockwise symbolizes the astronomy of javanese society that is “jatingarang” that naga dina (the daily rotation), naga sasi (the monthly rotation), naga taun (the yearly rotation) and naga windhu (the moon rotation) lakune mesti manenge (are rotating clockwise). the formation of marching horse/ turangga jejer (the horse soldiers are facing face to face). barongan takes the up front, middle, and back position of the horsemen soldier. philosophy: this formation symbolizes the military exercise and formation of mataram troops lead by sultan ageng hanyakrakusuma. barongan takes a position in the front, middle, and backside of the horse trips symbolizes a leader who has the spirit of ing ngarsa sung tuladha, ing madya mangun karsa, dan tut wuri handayani, which means a leader has to be wise in placing themselves and taking part in a certain condition. the formation of sa (javanese traditional and typical font) contains the philosophy: sa in javanese font symbolizes sultan agung as the main subject of ebleg dance. the formation of kusuma lampah symbolizes the journey of mataram troops to the battle field. the formation of margi ewuh symbolizes the journey of mataram troops to the battle field which is usually hard and narrow, so that requires them to stand in one line. the troops led by senopati margi ewuh, which the graveyard is currently still well-cared in panjer. the cross formation/ kusuma sungsang contains the philosophy and illustration of the war strategy had by the mataram troops in keeping their healthy stamina in the battlefield which is far from the main kingdom by giving shift schedule to the member of the troops. the formation of lumbungan badranala (the horsemen troops in odd line turning to the right side, while the even number troops are turning to the left side continuing the line of the odd line troops. lumbungan is done three times with pausing time and the dancers are singing, led by the vice-regent horse number 1, when doing lumbungan, penthul is placed in the middle. this condition symbolized the journey of mataram troops to the battlefield where they found a granary in panjer owned by ki badranala (panjer is the name of region in kebumen in past time), then, the name of the region is used as the center of logistic as well as the center of attacked strategy quarters under the instruction of a military advisor. barongan which places in the outer circle symbolizes that king has full trust to his advisor as the reflection of good governance, democratic, and harmonious. the movement of moving and grouping into a small circle is followed by the formation of spacing or stretching the line that is repeated several times symbolizes the maturity or readiness of the war strategy had by the mataram troops. the formation of sleeping horse/ turangga sirep (in the third lumbangan with kendang as the commando, forming the formation of a sleeping horse). the white horse number 1 wakes up and walks around controlling the troops for one cycle. this formation symbolizes the mataram troops which slowly comes and moves near to the enemy land (voc). the formation of sleeping horse symbolizes the gerilya strategy had by the mataram troops where they slowly attack the enemy in the middle of the night. the white horse number 1 wakes up and moves around symbolizes the general of mataram troops who checks and makes sure that all his subordinates have been up and ready for the attack. the formation of awakening horse/ turangga lurug (with the commando by kendang, the troops wakes up together at the same time). the philosophy of the presence of kendang symbolizes the commando of the general to make the attack. mendem/ janturan/ trance/ cakrakudjarot heru santosa et al., lawet dance and ebleg dance: the term analysis towards ... 39 suman. this movement formation symbolizes the war of the mataram troops that is full of faith, with the glory of the spirit, and brave in order to fight for their mother land till the end of their life. conclusion based on the results and analysis about the morpho-semantics of the terms used to refer to movements of lawèt dance, it can be concluded that the lawèt dance is one of typical dance from kebumen regency that illustrates the act of the swift bird known as lawèt. the lawèt dance belongs to the type of folk creation dance which movements were originally adapted from classical javanese dance. the lawèt dance can be categorized as a solo dance, duet dance, as well as mass. the lawèt dance is created from twelve different dance movements. the terms used to refer to some movement qualities in lawèt dances are angklingan, dhidhis, loncat égot, lenggut maju sérong, ukel nyucuk, lincak nyucuk, and képétan. the closing movement, in addition, consists of four qualities of movement, tranjalan, ngasah cucuk, èrèk or giring, and bulding nest. thus, in one performance, there are 12 different movement qualities. in addition is 28 sub-sub qualities of the movements, namely: ngrayung, aburan, ukel mlumah, seblak, ndhaplang, mabur, jinjit, srisig, singgetan, sèlèh, nekuk, ugel-ugel nekuk, tolèhan, napak, nyèngklèh, nyengklèk, kirig, mendhèk, muter, njumbul, ngigel, gèdhèg, manthuk, ngawet, sileman, panggel, gejug, and égotan. the names of the movement qualities and the sub qualities are in the form of monomorphemic and polymorphemic. the monomorphemic is a kind of free morpheme. while, the polymorphemic contains affixation and compound sentence. the affixation is prefix n-, combination of prefix nand suffix -an, suffix -an, and combination of prefix asuffix -an. the aspect of meaning on qualities of movement contained in lawèt dance comprises of lexical meaning that refers to reference of the lawèt dance. the names of the sub variation are ngulèt, angklingan, dhidhis, loncat égot, lenggut maju sérong, ukel nyucuk, lincak nyucuk, képétan, tranjalan, ngasah cucuk, èrèk or giring, ngrayung, aburan, ukel mlumah, seblak, ndhaplang, mabur, jinjit, srisig, singgetan, sèlèh, nekuk, ugel-ugel nekuk, tolèhan, napak, nyèngklèh, nyengklèk, kirig, mendhèk, muter, njumbul, ngigel, gèdhèg, manthuk, ngawet, sileman, panggel, gejug, and égotan. furthermore, the ebleg dance belongs to the traditional dance that is originated from kebumen regency. this dance is very popular among the society in kebumen regency, especially in the northern part of kebumen. the popularity of this dance is proven by the numbers of ebleg dancers in this region. this dance has typical characteristics and unique in every performance, among them are the magical element or trance, as well as its music and songs accompanying the performance. it also has a unique costume. based on the condition described above, therefore, it appears clearly that the potential of local cultural art still needs to be explored from various resources and several approaches as explorative activity needs to be done to record the national culture resources. references djawanai, stephanus.(2011). “kemanusiaan sebagai pemandu dan penjaga kehidupan” disampaikan dalam fokus group discussion dengan majelis permusyawaratan rakyat ri. yogyakarta: fakultas ilmu budaya ugm. geertz, clifford. 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(2013). data kebudayaan kabupaten kebumen. kebumen: dinas pariwisata dan kebudayaan kabupaten kebumen. verhaar, j.w.m., (2012). asas-asas linguistik umum. yogyakarta: gadjah mada university press. kata pengantar harmonia: jurnal pengetahuan dan pemikiran seni telaah karakterisasi tari randai ilau di nagari saningbakar sumatera barat (characteristic review of randai llau dance in nagari saningbakar, west sumatera) daryusti staf pengajar jurusan tari sekotah tinggi seni indonesia (stsi) padangpanjang abstrak tulisan ini mengungkapkan dan mengkaji karakterisasi tari randai ilau dalam budaya masyarakat nagari saningbakar sumatera barat. hal yang menarik pada tari randai ilau ialah karakterisasi tari ini sampai saat sekarang tidak terjadi perubahan karakter. walaupun tari tersebut telah diperlajari di perguruan tinggi dan pada masyarakat lainnya. karakterisasi tari randai ilau dapat dilihat dari segi ruang, waktu, tenaga, dan busana. karakter ruang yang dimiliki tari ini bervolume besar. karakter waktu menggunakan rampak simultan yaitu gerak sama dalam waktu yang sama. tenaga yang dimiliki tari randai ilau yaitu intensitas geraknya sedang. busana yang dikenakan secara visual memiliki busana flowing, decoration, historical form, dan attribut. maka dengan itu tari randai ilau dapat dikatakan memiliki karakter pria gagah yang bersifat maskulin dan jantan. kata kunci: karakterisasi, tari randai ilau, sumatera barat a. pendahuluan kesenian atau masing-masing seni pertunjukan itu memiliki fungsi dan kedudukan dalam komunitasnya terutama dalam upacara-upacara adat. sehubungan dengan hal itu, dapat ditihat dari salah satu seni pertunjukan di nagari saningbakar sumatera barat yaitu tari randai ilau yang sampai saat ini memiliki fungsi dan kedudukan dalam masyarakatnya. tari randai ilau menurut kepercayaan masyarakat nagari saningbakar dahulunya merupakan tari adat yang berfungsi sebagai sarana ritual atau upacara adat, yaitu (1) matinya seekor harimau; dan (2) mambuek penghulu (mengangkat kepala suku). jika ada mati seekor harimau baik di nagari saningbakar maupun di nagari (gabungan dari desa-desa paling sedikit 4 desa) sekitarnya, bangkai harimau yang akan dibawa ke kuburan diharuskan melalui nagari saningbakar diberitahu pada salah seorang penghulu yang ada di nagari atau tuo (sesepuh) tari randai ilau. setelah itu dipertunjukkan tari randai ilau yang bertepatan tempatnya dipersimpangan jalan. satu hal yang penting diketahui dipertunjukkan tari randai ilau untuk matinya seekor harimau karena masyarakat nagari saningbakar percaya bahwa harimau tersebut mempuvol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni nyai kawan. seandainya tidak ditertunjukkan tari randai ilau temannya yang lain akan mengganas (daryusti, 2001:22). upacara mambuek penghulu (menobatkan penghulu), adalah upacara untuk mengangkat penghulu oleh suku atau kaumnya. untuk memperkenalkan penghulu baru kepada khalayak ramai dapat dilakukan (1) dihalaman rumah gadang (rumah adat); dan (2) arakiring penghulu yang baru diangkat ke desa-desa di sekitar nagari saningbakar. pada peresmian penghulu di halaman rumah gadang (rumah adat) dipertunjukkan tari randai ilau. begitu pula halnya peresmian penghulu dengan arakiring dipertunjukkan tari ini di setiap persimpangan jalan. sebelum tari randai ilau dipertunjukkan disediakan beberapa perangkat pakaian wanita yang disebut pakaian puti bungsu. pakaian wanita yang dipersiapkan tersebut disebut pangalan panjang, terdiri atas selen-dang, baju kurung, dan kain panjang. dalam pertunjukan tari randai llau-pangalan panjang sangat penting, tanpa kehadirannya pertunjukan tari itu tidak dapat dilangsungkan. di sisi lain, dapat tidaknya tari randai ilau dipertunjukkan dalam upacara adat tergantung pada tuo tari dan penghulu. tuo tari artinya guru (sesepuh penari tari randai ilau) dan yang rrielengkapi pangalan panjang. setelah pangalan panjang dilengkapi, tuo tari meminta izin pada salah seorang di antara 8 penghulu yang ada di nagari saningbakar. pertunjukan tari tersebut dilaksanakan pada bulan naik jatuh antara tanggal 1 sampai dengan 15 tahun hijriyah. upacara pengangkatan dan peresmian penghulu diadakan di halaman rumah gadang (rumah adat) ini merupakan acara adat terbesar di minangkabau sumatera barat. besarnya upacara ini bergantung pada kemampuan keluarga kaum yang mengadakan acara tersebut. tari randai ilau ini telah terjadi kuantitatif perluasan fungsi yakni sebagai (1) matinya seekor harimau; (2) mambuek penghulu (mengangkat penghulu); (3) pesta pernikahan; (4) menyambut tamu agung yang datang ke nagari saningbakar; dan (5) pada acara-acara hari besar nasional, dan lain-lain. perubahan kuantitatif perluasan fungsi tari randai ilau merupakan dari sudut kepentingan penguasa yang dalam hal ini anjuran pemerintah daerah tingkat ii kota solok. hal ini dapat dilihat pada tahun 1978 tari randai ilau diundang ke jakarta untuk disajikan di taman ismail marzuki yang diketuai oleh salmurgianto. kepen-tingan penguasa tersebut dapat disebut sebagai kekuasaan legal, yang terbagi dua, yaitu hukum objektif dan hukum subjektif. hukum objektif dapat diartikan sebagai kekuasaan yang mengatur, se-dangkan hukum subjektif adalah kekua-' saan yang diatur. hukum subjektif dalam kaitan dengan aturan tari randai ilau tidak menonjol hanya berupa keinginan dan harapan masyarakat nagari sanin-gbakar akan perubahan tari tersebut. ar-tinya masyarakat tidak berkeinginan tidak berkeinginan mengatur perubahan. perubahan fungsi kuantitatif tari randai ilau yang dilakukan pemerintah daerah tingkat ii kota solok hingga sampai sekarang tetap diacu oleh masyarakat nagari saningbakar. di samping itu, tari randai ilau telah dimiliki oleh stsi padangpanjang sejak tahun 1980. tetapi sampai sekarang masih merupakan pemilikan keterampilan belaka. dalam pemilikan tersebut belum lagi dikaji karakteristik yang dimiliki tari randai ilau. b. keberadaan dan pengertian tari randai ilau vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni salah satu peninggalan seni pertunjukan di nagari saningbakar kabupaten solok sumatera barat yang masih dapat dijumpai sampai sekarang adalah tari randai ilau. untuk menentukan kapan munculnya tari randai ilau sangat sulit karena buktibukti, terutama bukti tertulis mengenai siapa penciptanya dan kapan tari itu diciptakan belum ditemukan. hal ini sesuai dengan pepatah adat minangkabau, yaitu: dimano disalai palito, dibaliak telong nan batali, dimano turun niniak kito, dart ateb gunuang marapi. (dimana dinyalakan pelita, di balik gelongan yang bertali, dimana turun ninik kita, dari atas gunung merapi) (yasman, 2002: 2). berdasarkan pepatah di atas jelaslah bahwa asal-usul atau keberadaan tari randai ilau tidak jelas keberadaannya. dengan kata lain, dapat dikatakan mencari tahu awal keberadaan tari randai ilau sama halnya mencari tahu keberadaan legenda minangkabau. karena legenda minangkabau sejak dahulu hanya diceritakan dari orang-orang (imran, 2002:148). maka demikian pula halnya dengan tari randai ilau yang hanya diceritakan secara turun menurun dari tuo (sesepuh tari) ke penari berikutnya sampai kini. tari randai ilau dahulu biasanya dibawakan oleh 8 orang penari laki-laki secara berpasangan. penari yang berjumlah 8 tersebut menggambarkan bahwa penghulu atau kepala suku yang ada di daerah nagari saningbakar ada berjumlah 8 orang dan jumlah genap tersebut sudah mentradisi dalam nagari saningbakar sumatera barat. namun sekarang dengan terjadinya kuantitatif perluasan fungsi tari randai ilau kini tari tersebut telah dapat disajikan oleh penari empat, enam, delapan, dua belas, dan lain-lain laki-laki atau wanita secara berpasangan. hal ini harus dilakukan seizin tuo atau salah seorang penghulu yang ada di nagari saningbakar. dahulunya penari laki-laki mengenakan baju lapang atau longgar hitam, celana galembong (celana besar) hitam, deta atau destar hitam, dan sisampiang atau sisamping kain sarung hitam. busana itu sampai sekarang masih tetap digunakan baik dalam pementasan secara ritual atau upacara adat maupun sajian estetis. tetapi warna busananya telah dapat dimodifikasi asal mengacu pada warna marawal atau bendera minangkabau, yaitu hitam, merah, dan kuning. adapun busana wanita terdiri atas baju kurung, "kodek", dan kepala memakai suntiang atau perhiasan kepala atau tingkuluak tanduak atau tengkuluk tanduk (selendang yang dibentuk di kepala penari seperti tanduk kerbau). dengan adanya busana seperti tersebut akan terlihat karakter yang dimiliki oleh tari itu (hadi, 2001:71). adapun gerak yang terdapat pada tari randai ilau, yaitu gerak sambah pam-bukak (gerak sembah pembuka), gerak tanduak buang (membuang tanduk), gerak alang tabang (gerak elang terbang), gerak tabang kalurah (gerak terbang ke lurah), gerak galombang (gerak gelombang), gerak buang angin (gerak membuang angin), gerak tilik (gerak melihat), gerak liok (gerak lamban), gerak manguak padi (gerak me-nguak padi), gerak balai (gerak berlayar), gerak batuduang (gerak berpayung), gerak cabiak (gerak merobek), gerak guntiang (gerak gunting), dan gerak sambah panutuik (gerak sembah penutup). vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni pola lantai tari randai ilau untuk pertunjukan matinya seekor harimau dan mambuek penghulu yang baru diangkat berbentuk lingkaran. ditengah-tengah lingkaran diletakkan harimau yang mati atau penghulu yang baru diangkat. para penari mengelilingi harimau yang mati dan atau penghulu yang baru diangkat. pertunjukan tari randai ilau selain fungsi yang tersebut di atas sampai saat ini tetap dilakukan pola lantai lingkaran. musik yang digunakan untuk mengiringi tari tersebut yaitu dedang atau vokal yang dibawakan oleh penari. dilihat dari nama tari randai ilau terdiri atas dua kata yaitu randai dan ilau. randai berasal dari kata rantai. hal ini berkaitan dengan pola lantai yang berbentuk lingkaran dalam pertunjukan randai (ahmad, (at. al.) tt: 38). selain itu, kata randai diartikan sebagai tarian yang dibawakan oleh sekelompok orang yang berkeliling membentuk lingkaran dan menarikannya sambil bernyanyi dan bertepuk tangan, dengan membentuk pola lantai lingkaran (daryusti, 2001:20). selanjutnya ilau diartikan dendang atau lagu yang disampaikan oleh penari dengan tujuan untuk menyampaikan perasaan yang terjadi saat itu (daryusti, 2001:13). berdasarkan beberapa pemikiran yang telah dikutip di atas ternyata dapat dijadikan acuan dan pendapat tersebut masih dapat disempurnakan dengan berdasarkan pada jumlah penari, penari, pola lantai, dan busana tari tersebut. tari randai ilau adalah tari yang disajikan penari laki-laki secara berkelompok yang terdiri atas enam, delapan, sepuluh, atau dua belas orang dalam pola lingkaran dengan diiringi dendang (vokal) yang dibawakan oleh penari. busana yang dikenakan penari laki-laki mengenakan baju lapang atau longgar hitam, celana galembong (celana besar) hitam, deta atau destar hitam, dan sisampiang atau sisamping kain sarung hitam. busana wanita terdiri atas baju kurung, "kodek", dan kepala memakai suntiang atau perhiasan kepala atau tingkuluak tanduak atau tengkuluk tanduk (selendang yang dibentuk di kepala penari seperti tanduk kerbau). c. karakterisasi tari randai ilau mengkaji karakterisasi suatu tari merupakan setitik harapan yang terbesit dibenak diri penulis. dalam mengkaji karakterisasi dari suatu tari ddak dapat terlepas dari gerak dan busana. 1. karakterisasi gerak identitas akan dapat memberikan ciri khas seseorang (liliweri, 2003:84). satu ciri khas tari jawa kjasik setiap tarinya pasri menggambarkan atau tipe karakter tertentu yaitu apakah pria gagah, karakter pria halus, dan karakter wanita (soedarsono, 1999:162-164) karakter tari gagah, yaitu sikap gerak tangan setinggi bahu, pandangan kurang lebih lima meter, angkatan kaki setinggi lulut dan sikap tanjak kedua kaki berjarak kurang lebih dua "pacak". posisi tungkai kaki terbuka dan sikap badan "mendak" (pitunggue). karakter wanita dengan langkah kecil, tungkai tertutup, lengan tidak boleh terangkat tinggi. tari halus mempunyai ketentuan-ketentuan sebagai berikut: sikap gerak tangan tidak melebihi ketinggian bahu. pandangan mata kurang lebih tiga kali ketinggian badan, angkatan kaki setinggi lutut, dan sikap tanjak (pitunggue kanan), kedua kaki berjarak kurang lebih satu setengah pacak. posisi tungkai kaki terbuka dan posisi badan mendak. lain dari pada itu, garis-garis tari juga dapat dibedakan menjadi dua, yaitu garis-garis silang atau akan bertemu vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni mempunyai watak penuh energi dan vitalitas. sedangkan garis-garis yang terpisah atau searah mempunyai watak halus dan lembut. selain itu, volume gerak tari dapat pula dibedakan menjadi tiga yaitu volume besar atau terbuka mempunyai watak kelaki-lakian; volume kecil atau tertutup mempunyai watak kewanitaan, dan volume sedang memberikan kesan kelaki-lakian yang halus (soedarsono, 1999:172-173). berdasarkan pendapat ahli tersebut di atas dapat dilihat watak gerak tari randai ilau, melalui volume gerak, sebagai berikut: a. gerak sambah pambukak (gerak sembah pembuka), memiliki volume gerak besar, angkatan kaki tinggi, angkatan lengan tinggi, dan garis gerak silang atau bertemu. b. gerak tanduak buang (membuang tanduk), memiliki volume gerak besar, angkatan kaki tinggi, angkatan lengan tinggi, dan garis gerak silang atau bertemu. c. gerak alang tabang (gerak elang terbang), memiliki volume gerak besar, angkatan kaki tinggi, angkatan lengan tinggi, dan garis gerak silang atau bertemu. d. gerak tabang kalurah (gerak terbang ke lurah), memiliki volume gerak besar, angkatan kaki tinggi, angkatan lengan tinggi, dan garis gerak silang atau bertemu. e. gerak galombang (gerak gelombang), memiliki volume gerak besar, angkatan kaki tinggi, angkatan lengan tinggi, dan garis gerak silang atau bertemu. f. gerak buang angin (gerak membuang angin), memiliki volume gerak besar, angkatan kaki tinggi, angkatan lengan tinggi, dan garis gerak silang atau bertemu. g. gerak tilik (gerak melihat), gerak liok (gerak lamban), memiliki volume gerak besar, angkatan kaki tinggi, angkatan lengan tinggi, dan garis gerak silang atau bertemu. h. gerak manguak padi (gerak menguak padi), memiliki volume gerak besar, angkatan kaki tinggi, angkatan lengan tinggi, dan garis gerak silang atau bertemu. i. gerak balai (gerak berlayar), memiliki volume gerak besar, angkatan kaki tinggi, angkatan lengan tinggi, dan garis gerak silang atau bertemu. j. gerak batuduang (gerak berpayung), memiliki volume gerak besar, angka-tan kaki tinggi, angkatan lengan tinggi, dan garis gerak silang atau bertemu k. gerak cabiak (gerak merobek), memiliki volume gerak besar, angkatan kaki tinggi, angkatan lengan tinggi, dan garis gerak silang atau bertemu. 1. gerak guntiang (gerak gunting), memiliki volume gerak besar, angkatan kaki tinggi, angkatan lengan tinggi, dan garis gerak silang atau bertemu. m. gerak sambah panutuik (gerak sembah penutup) memiliki volume gerak besar, angkatan kaki tinggi, angkatan lengan tinggi, dan garis gerak silang atau bertemu. selanjutnya membahas karakter gerak dalam tari randai ilau akan dapat dilihat dari ruang, waktu, fenaga, dan busana, sebagai berikut. 2. karakterisasi ruang dalam kehidupan manusia ruang merupakan salah satu faktor yang penting, karena dengan adanya ruang manu-sia dapat bergerak. apabila ruang tersebut besar maka manusia akan dapat bergerak leluasa atau bergerak secara lebar. tetapi apabila ruang yang tersedia kecil vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni maka manusia tersebut akan dapat bergerak dengan ruang yang kecil pula. begitu pula hal dengan tari ruang merupakan unsur yang penting sebab aktivitas dalam tari adalah gerak, sedangkan gerak akan hadir di dalam ruang. ruang bagi seorang penari merupakan elemen yang penting. ruang dapat berupa level, yaitu tingkatan-tingkatan gerak dalam tari yang meliputi tinggi, sedang, dan rendah. level akan memperlihatkan tinggi rendahnya seorang penari terhadap lantai pentas, ruang sebagai lingkup gerak yang meliputi pola lantai dan arah garis. dengan demikian, maka dalam pembahasan ini, ruang akan dibagi menjadi dua, yaitu ruang sebagai lingkup gerak dan ruang sebagai ruang gerak tubuh. ruang sebagai desain gerak tubuh, pada dasarnya meliputi posisi tinggi rendah seorang penari terhadap ruang pentas, yang dalam dunia tari lazim disebut dengan istilah level. namun demikian, level dapat dipengaruhi oleh volume gerak, sehingga dapat diketahui secara jelas apakah suatu gerak dapat dilakukan seca-ra melebar atau menyempit. disamping itu, bagi seorang penari, bergerak, dalam menciptakan desain ruang, akan menimbulkan kesan tertentu, misalnya penari dengan gerak yang serba besar dalam bentuk tarian kelompok yang jumlah penarinya genap, apabila dilakukan di tempat yang tidak terlalu luas, gerak yang dilakukan oleh penari tersebut akan tampak jelas. akan tetapi sebaliknya, apabila tarian tersebut dilakukan di tempat yang terlampau luas, akan memberikan kesan tidak jelas dalam setiap gerak yang dilakukan. hal tersebut berlaku pula dalam arah garis gerak seorang penari. apabila penari bergerak dengan pola lantai lingkaran, maka posisi tubuhnya akan kelihatan lebih kecil bila dibandingkan dengan bergerak kedepan mendekati penonton. gerak tari di dalam ruang tentunya tidak terlepas dari dimensi panjang, lebar, luas atau tinggi. kaitannya di dalam gerak tari ialah bahwa suatu bentuk tari merupakan suatu karya seni yang memiliki tiga dimensi. hal ini berarti bahwa suatu gerak tari dapat dilihat dari arah depan, samping kanan, atau samping kiri. berdasarkan ukuran tersebut, tari sebagai komposisi gerak yang sudah mengalami penggarapan tidak akan lepas dari ukuran besar kecilnya gerak yang harus dilakukan, yang disebut volume gerak, yakni saat suatu gerak harus dilakukan. secara menyempit agar memberikan kesan kecil, dan saat suatu gerak dilakukan secara melebar agar menimbulkan kesan lebih besar. di samping itu, tentu harus pula terdapat keseimbangan dengan level yang diguna-kan. ruang sebagai arah lingkup gerak. gerak yang diarahkan penari sehingga terbentuk suatu formasi akan menciptakan garis lantai yang dilalui oleh penari, disebut desain lantai. dalam menciptakan desain lantai bentuk ruang pentas sangat menentukan. pada dasarnya bentuk arena pentas setiap tari tidak jauh berbeda, baik bagi tari minangkabau, atau tari jawa dan tari bali. ruang pentas, sangat berkaitan erat dengan pola lantai. pada dasarnya pengolahan pola lantai pada setiap tari dibagi jadi dua garis gerak, yaitu garis lurus dan garis lengkung. kedua garis tersebut mempunyai sifat yang berbeda. garis lurus memberikan kesan kuat, sedangkan garis lengkung mempunyai dua sentuhan emosional yang berbeda. apabila dilihat atas pertimbangan magis, maka garis lengkung akan memberi kesan kuat. akan tetapi apabila dilihat atas pertim bangan estetis, garis lengkung akan memvol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni beri kesan lemah. kedua bentuk garis tersebut dapat digunakan dalam berbagai bentuk variasi dalam tari. misalnya garis lurus dapat digunakan untuk gerak maju, mundur, ke samping kanan atau kiri. selain itu garis lurus juga dapat digunakan untuk membentuk arah gerak diagonal. sedangkan untuk garis lengkung dapat digunakan untuk gerak ke depan, ke belakang atau ke samping. selain itu berdasarkan garis lengkung juga dapat dibuat bentuk lingkaran. penggunaan garis-garis tersebut, di dalam tari, akan memberikan pengaruh terhadap figur penari berkaitan dengan ruang gerak. misalnya penari bergerak ke depan mendekati penonton, maka figurnya akan tampak lebih menonjol, akan tetapi sebaliknya apabila penari bergerak ke belakang menjauhi penonton maka figurnya akan tampak lebih kecil. berdasarkan pembagian pola lantai yang telah diuraikan di atas, tari randai ilau menggunakan pola lantai garis lengkung atau pola lantai lingkaran. 3. karakterisasi waktu peranan waktu dalam tari randai ilau tidak jauh berbeda dengan ruang. suatu bentuk tari yang menggunakan tenaga untuk bergerak dalam mengisi ruang hanya dapat dilakukan jika ada waktu. oleh sebab itu, waktu dapat menentukan saat suatu gerak harus dimulai dan saat mengalami perpindahan, serta saat untuk diakhiri. waktu juga mencakup lamanya acara pementasan tari secara keseluruhan. karena waktu inheren pada gerak, maka penari bekerja terus menerus dengan melakukan gerak dan memerlukan waktu (hadi, 1996:30). gerak dapat dilakukan karena ada waktu, maka waktu dalam tari adalah waktu yang digunakan untuk pengolahan gerak jadi berbagai variasi sesuai dengan gerak yang ditentukan. lamanya waktu pementasan tari randai ilau kurang lebih 10 menit. hal ini didasarkan pada geraknya yang sering berulang-ulang. lamanya waktu pementasan tari ini dapat diperpanjang dan dapat diperpendek sesuai dengan kebutuhan. tari randai ilau, termasuk pada penggunaan waktu rampak simultan, yaitu gerak sama dalam waktu yang sama. 4. karakterisasi tenaga di samping ruang dan waktu, dalam tari randai ilau dibutuhkan pula tenaga. tenaga merupakan elemen pokok dalam tari; sebab tanpa tenaga, gerak tidak dapat dilakukan, karena pada dasarnya tari memerlukan gerak. gerak di dalam tari merupakan motif gerak yang disusun melalui pola-pola gerak. gerak dalam tari adalah gerak yang sudah diberi bentuk ekspresif dan estetis, dengan pengertian bahwa gerak dalam tari merupakan ungkapan imajinatif. ge-rak imajinatif tersebut mengalami distorsi, deviasi, dan stilisasi terhadap motif-motif geraknya, sehingga mengesankan keindahan. di atas disebutkan bahwa terwujudnya gerak pada tari randai ilau karena adanya tenaga. tenaga dalam gerak meliputi penekanan kekuatan gerak atau intensitas, yang meliputi penggunaan energi yang besar, sedang, dan kecilnya gerak yang dilakukan, dan kualitas geraknya. untuk intensitas tampak pada kesan lembutnya gerak yang dilakukan, dan besar kecilnya tekanan. sedangkan untuk kualitas gerak tari randai ilau tampak pada sifat gerak yang lincah dan dinamis. gerak akan hadir apabila ada tenaga. penggunaan tenaga dalam tari merupakan suatu usaha untuk mengawali dan menghentikan atau mengindahkan gerak. oleh sebab itu, tari randai ilau vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni selalu mengalami perubahan pada gerak, sehingga tenaga yang dibutuhkan tidak tetap. pada saat tertentu, suatu gerak harus dilakukan dengan halus dan mengayun, sehingga hanya sedikit tenaga yang dibutuhkan dan pada suatu saat gerak dilakukan dengan tajam dan kuat, sehingga menggunakan banyak tenaga yang dibutuhkan dalam bergerak. berdasarkan uraian karakter gerak tari randai ilau sebagaimana pendapat para pakar terdahulu, tari ini memiliki karakter gerak pria gagah yang bersifat maskulin. akan tetapi sesuai dengan penentuan karakter suatu tari gagah atau halus tergantung menurut tari yang ada di daerah tempat tumbuhnya. selanjutnya laki-laki gagah menurut seseorang akan belum tentu gagah menurut orang lain. maka dari itu penulis di sini dapat mengatakan bahwa tari randai ilau memiliki karakter gerak pria gagah yang bersifat maskulin. hal ini didasarkan pada gerak tari randai ilau yang terlihat dengan volume gerak besar, angkatan tangan tinggi, gerakan kuat, dan keras, serta sifat geraknya yang dinamis. 5. karakterisasi tari lewat busana busana tari adalah segala perlengkapan yang dikenakan pada tubuh penari, baik yang terlihat langsung maupun ridak langsung. karena itu, busana memegang peranan penting untuk mendukung penyajian tari secara utuh. dengan demikian, busana harus disesuaikan dengan karakter atau watak tari tersebut yang akan diekspresikan lewat muka penari. busana tarian merupakan bagian dari dunia penari yang paling intim (ellfeldt/ carnes, (1971:76). selanjutnya busana da-pat berfungsi dalam tari adalah (1) untuk dapat membangkitkan daya ilusi, artinya dengan melihat busana yang diperankan, maka si penonton dapat secara cepat mengingat atau membayangkan terhadap tokoh yang diperankan, dipentaskan, artinya seorang tokoh tersebut menjadi lebih tampak perannya saat menyajikan suatu pertunjukan; (2) dapat membentuk garis-garis tubuh si penari, artinya kalau menginginkan penari tersebut untuk menjadi penari yang ramping, bajunya dijahit di bagian pinggang atau diberi kopnat, dan pinggul kelihatan lebih menonjol diberi sampal pinggul sehingga penari tersebut akan tampak seperti gitar; dan (3) sebagai keindahan (estetis), arti-nya busana itu hanya sebagai pelengkap saja (daryusti, 2001:43). secara visual busana memiliki empat komponen: (1) mass; (2) silhouette; dan (3) dekoration (ellfeldt/carnes, 1971: 8084). mass adalah posisi dari pakaian dalam hubungannya dengan badan serta volume bahan atau besar kecilnya bahan, yang terdiri dari: (a) flowing ialah posisi pemakaian busana yang memberikan kemungkinan pakaian itu dapat digerakkan secara leluasa, sebagai contoh bagian bawah celana besar, kodek dibuat besar, dan baju besar; dan (b) thick/thin adalah posisi pakaian yang ada hubung-annya dengan tebal tipisnya bahan, con-toh catton, beludru. silhouette ialah suatu bentuk hotline atau garis besar dari seorang penari di atas pentas, yang terdiri dari: (a) historical form ialah jenis bentuk busana yang sesuai dengan periode sejarahnya. sebagai contoh, garapan mengenai pengangkatan penghulu disesuaikan dengan busana penghulu; (b) geometrical ialah jenis bentuk busana yang menggunakan garis geometris yang menjadi pokok; (c) animal plan ialah busana yang desainnya mengarah pada bentuk binatang atau tumbuh tumbuhan; (d) distorsi, maksudnya mela-kukan perubahan atau perombakan busa-na vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni secara besar-besaran sehingga bentuk tidak kelihatan aslinya; (e) abstraksi, maksudnya menelanjangi busana aslinya atau mencari sifat busana aslinya atau mencari sifat busana yang paling tepat; dan (f) stilisasi adalah melakukan penghalusan busana yang telah didistorsi dan diabs-traksi. decoration, yaitu penggunaan warna pada permukaan busana, di antaranya (a) warnanya yang menyatu adalah kombinasi warna yang dipakai hendaknya serasi; (b) tekture adalah pengisian susunan warna antara terang dan gelap; dan (c) patten ialah bentuk sulaman yang terdapat pada permukaan busana, contoh sulaman yang berbentuk burung dan bunga. dalam penyajian tari busana, hal-hal yang harus diperhatikan ialah: (1) mass,yang mencakup: (a) tebal tipisnya bahan tergantung flowing-nya yang diinginkan oleh penata tari; (b) euit, yaitu bahan yang elastis, dapat digerakkan ke segala arah dengan leluasa; (c) warna yang dipilih ialah warna teaterical, seperti warna merah, hitam, dan kuning akan menimbulkan daya tank penonton; pemilihan warna busana disesuaikan dengan kualitas pada lighting yang dapat menimbulkan efek tertentu (d) sifat bahan, yaitu sifon, caton, dan sebagainya. (2) membuat desain, sangat menolong dalam pembuatan pakaian, terutama bagian torso dengan ukuran s, m, dan l. di samping itu, keserasian warna dengan dasar konsep estetis timur perlu juga dilatih pembuatannya. (3) menentukan atribut. atribut bagian dari busana yang dianggap dapat memiliki karakter dari suatu tarian. contoh penghulu di minangkabau dapat diketahui melalui "saluaknya" dan pendekar melalui "destarnya". warna dengan tata busana akan terlihat keterkaitan dan ketergantungan dalam kebutuhan suatu karya tari yang tampak pada simbol-simbol dan karakter tari yang disajikan. dari pendapat para ahli tersebut di atas dapat dianalogikan pada tari randai ilau, yakni memiliki karakter pria gagah yang bersifat maskulin dan jantan. hal ini dapat dilihat dari busana yang dikenakan oleh penari laki-laki, baik dulu maupun sekarang, dengan warna marawal atau bendera minangkabau, yaitu: merah, hitam, dan kuning. baju yang dikenakan berupa baju lapang atau longgar mewah, celana galembong hitam, deta merah, dan sisampiang (sisamping) dan ikat pinggang. deta atau destar bentuk persegi empat. ketika dikenakan deta atau destar itu dilipat membentuk segi tiga dan ada pula yang berbentuk tanduk sapi dan busana wanita sebagaimana yang telah diuraikan terdahulu. sehingga dapat dikatakan bahwa tari randai ilau secara visual merniliki busana flowing, decoration, historical form, dan attribut. d. simpulan karakterisasi yang terdapat pada tari randai ilau dapat dilihat dari segi gerak yang terdiri dari gerak, ruang, waktu, dan tenaga, serta busana. garis gerak yang dimiliki tari randai ilau adalah garis silang atau akan bertemu yang mempunyai watak penuh energi dan vitalitas. volume gerak tari ini adalah besar. vol. vi no. 3/september-desember 2005 harmonia: jurnal pengetahuan dan pemikiran seni waktu yang dimiliki tari ini menggunakan aspek waktu rampak simultan. tenaga yang dimiliki adanya kekuatan gerak atau intensitas dengan penggunaan energi yang besar. busana yang dikenakan penari dimodifikasi dari busana penghulu dan busana bundo kanduang minangkabau sumatera barat, yang terdiri atas: celana galembong atau celana besar hitam, baju lapang (baju besar hitam), sisampiang (sisamping) hitam, ikat pinggang, dan destar. busana wanita baju kurung, "kodek", dan kepala memakai suntiang atau perhiasan kepala atau tingkuluak tanduak atau tengkuluk tanduk (selendang yang dibentuk di kepala pe-nari seperti tanduk kerbau). tari randai ilau memiliki karakter gerak pria gagah yang bersifat maskulin. hal ini dapat dilihat dengan volume gerak besar, angkatan tangan tinggi, gerakan kuat dan keras, serta sifat geraknya yang dinamis dan ekspresif. gerak yang demikian dirancang lebih dari sekedar untuk mendapatkan gerak yang ekspresif (murgianto, 2002: 11). dengan kata lain tari randai ilau dapat dikatakan merniliki karakter pria gagah yang bersifat maskulin dan jantan. � daftar pustaka ahmad, a, kasim, (et. al.) tt, ungkapan beberapa bentuk kesenian (teater wayang, dan tari), jakarta: direktorat kesenian, proyek pengembangan kesenian jakarta, departemen pendidikan dan kebudayaan. daryusti, 1996, interdependent seni tari dengan seni lainnya, padangpanjang: akademi seni karawitan indonesia. ————, 2001, kajian tari dari berbagai seni, pustaka indonesia, bukittinggi. ____f 2001, "telaah karakterisasi tari randai ilau di nagari saning bakar sumatera barat", laporan penelitian, dibiayai oleh proyek kualitas sumber daya manusia jakarta, padangpanjang: sekolah tinggi seni indonesia padangpanjang. ellfedt, lois, dan carnes edwin, 1971, dance production hand book or later is too late, university of sautber, california. hadi, y. sumandiyo, 1996, aspek-aspek dasar koreografi kelompok, yogyakarta: manthili. ________, 2001, pasang surut tari klasik goya yogyakarta, pembentukanperkembangan-mobilitas, yogyakarta: lembaga penelitian institut seni indonesia (isi) yogyakarta. imran, amrin, (et. al.), 2002, menelusuri sejarah minangkabau, padang: yayasan citra budaya indonesia dengan lkaam sumatera barat. loliweri, alo, 2003, dasar-dasar komunikasi antar budaya, yogyakarta: pustaka pelajar. murgiyanto, sal, 2002, kritik tari, bekal dan kemampuan dasa, jakarta: masyarakat seni pertunjukan indonesia (mspi). soedarsono, 1999, seni pertunjukan indonesia dan pariwisata, bandung: masyarakat seni pertunjukan indonesia. yasman, 2002, "bentuk tari alang babega di desa tambangan kabupaten tanah datar sumatera barat", jurnal penelitian, stsi padangpanjang, vol 2, no 1 mei 2002. vol. vi no. 3/september-desember 2005 105 training in nigerian art schools: a critique of gender distribution johnson adelani abodunrin department of fine and applied arts, ladoke akintola university of technology, nigeria received: may 22, 2017. revised: august 3, 2017. accepted: september 6, 2017 abstract training is indispensable in all facets of life in order to further knowledge and skills irrespective of gender difference, yet this disparity has become a phenomenon in artistic practice in nigeria. the study aimed at examining art training in relation to gender distribution into various areas of specialization in art schools in nigeria. there has been a gender imbalance in various areas of specialization which has left certain areas for male and female. data for this study were collected in art school in southwestern nigeria between 2011/2012 to 2014/2015 academic sessions using archival materials to know the gender affinities. the university selected as sample size within the geographical scope of the study is ladoke akintola university of technology, ogbomoso. the selection was based on the orientation of their training and admission criteria which differs tremendously. descriptive analysis was adopted to know the gender affiliation in the practice. finding reveals that the total enrollments of students are more of females (55.8%) than male (45.2%) are admitted to study art. the result has also shown that more female (93.3%) specializes in textile while more male (84%) students are in sculpture. this perhaps could be attributed to the nature and the demands of each area of specialization. textile design attracts more female artist because of; the socio-cultural affiliation of the discipline, interest in fashion; the readily available market for textile wares across all social class and the less demand on draughtsmanship skills as compared to other forms of arts. keywords: training; art school; gender; nigeria how to cite: abodunrin, j. a. (2017). training in nigerian art schools: a critique of gender distribution. harmonia: journal of arts research and education, 17(2), 105-112. doi:http://dx.doi.org/10.15294/harmonia.v17i2.9826 harmonia: journal of arts research and education 17 (2) (2017), 105-112 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i2.9826 help to increase the knowledge and skills of the trainees to change in the environment. it develops the technical know-how so as to increase the operating skills for performing a specific job with proficiency. therefore, it can be said that training refers to a systematic procedure designed to improve performance at the individual, group or organizational level. in educational setting such as schools, training of different subjects’ area is done introduction training generally, is an on-going process of teaching the basic skills to perform certain task effectively and efficiently. it focuses on teaching operational skills to the technical persons. the training program is arranged in order to provide basic knowledge and skill, especially for vocational training. the training arrangement involves systematic procedures that corresponding author: p.m.b 4000, ogbomosho rd, nigeria e-mail: jaabodunrin@lautech.edu.ng p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 17 (2) (2017): 105-112106 to improve the technical skills of the participants such as in art practice. art institutions are established to cater for various training in an area such as painting, sculpture, textile, graphics, ceramics and other art courses, with skill development and acquisition. as higher institutions were being set up in the country, the curriculum of each art school is tailored towards the aspiration of the society at large. prospective art students are admitted into various art institutions in nigeria having met the minimum requirements for admission into such institutions. at this level, gender distributions were not considered paramount; students are dispersed into their various course of choice depending on the nomenclature of such art school. the study is to examine gender distribution in nigeria art schools with aim of looking at gender biases and specialization affinities and it is limited to painting specialization within the southwestern nigeria. the university selected as sample size within the geographical scope of the study is ladoke akintola university of technology, ogbomoso. the selection was based on the academic orientation of their training and admission criteria which differs tremendously from any other institution in nigeria (yahaya, 2004). the university, which started as a third generation university, and precisely as the number thirtieth (30) universities in nigeria, grew rapidly in academic standards to become one of the best university in the country (national university commission report, 2003). such phenomenal growth is largely attributable to the university’s peculiar philosophy, academic orientation and the strength derived from joint ownership by the two states, as well as the geographical circumstance and context of the university’s location. the university runs bachelor’s degree, postgraduate diploma and postgraduate degree in more than thirty (30) disciplines which include fine and applied arts. arising from all these academic programmes, the university currently enrolled over 26,000 students for its matriculation programmes and about 49,000 students the non-matriculation, the pre-degree programmes, the bachelor’s’ degree part-time programmes, and the postgraduate enrolment at the professional degree level (university annual report, 2010/2011). the university has enrolment pattern and criteria for admission that is unique to every discipline; this has made this study highly expedient. methods primary data were collected through oral interview of various students of art in lautech’s fine and applied art’s department to know their perception towards the area of specialization and practice while the secondary data are the list of collation of specialized students between 2010 and 2015; a period of five years. the demographic data reveals five (5) consecutive sets of students; of whom three (3) sets have graduated, and two (2) sets are currently in 400 and 500 levels respectively. data of students’ enrolment into fine and applied arts between 2011/2012 to 2014/2015 academic sessions were collected using archival materials to know the gender affinities. this period recorded a large number of students’ enrolment in lautech’s fine and applied arts. the selection is based on the location and the orientation of their training. the admission criteria were also considered paramount in this study. qualitative and quantitative approaches are adopted through descriptive analysis which includes tabulations and cross-tabulations, percentages and pie-chart. gender and artistic training in nigeria training for gender equality is a transformative process that aims to provide knowledge, techniques, and tools to develop skills and changes in attitudes and behaviors. it is a continuous and longterm process that requires political will and commitment of all parties in order to create inclusive societies that recognize the need to promote gender equality (usha & johnson adelani abodunrin, training in nigerian art schools: a critique of gender ... 107 toby, 2004). training is offered in schools through courses module and direction which is aimed at achieving specific goals at different levels of educational training. in nigeria, art curriculum is also developed to meet aspiration and intention of various art institutions without bias for gender affiliation. gender is a broad analytical concept, which has grown out of attempts to understand the equality between men and women. the concept not only concerns women but also highlights women’s roles and responsibilities in relation to those of men. various scholars have worked on issues relating to gender. according to unesco (2005), gender disparity in education is so central to the performance of the millennium development goals. ekezie (1994) pointed out that through school enrolments in africa have increased in the last few decades, girls’ education still lags behind than that of boys especially after primary school. this is because an equal opportunity in male and female enrolment in schools is still far from being accomplished. in another study by unesco (2005), in a critical analysis of the data on female access to and participation in education shows that the situation is worst in the northern part of nigeria, a situation which has been in existence for nearly a century with little improvement. however, female artists have been involved in making art throughout history; their work often has not been as well acknowledged as that of men. often, a certain area of specialization is associated with female artists such as textile arts (nelson et al., 2005). women’s roles in relation to art, of course, vary in different culture and communities. many art forms considered to be created predominantly by women have been historically dismissed from the art canon as a craft, as opposed to fine art which is widely studied by men. women in nigeria have had various challenges in order to obtain an equal education in all forms of formal education in nigeria as education is identified to be a basic human right and has been recognized as such since 1948 through the adoption of the universal declaration on human rights. the genesis of women in art in nigeria can be traced to the traditional arts been engaged in the area of pottery, weaving and other craft works. pottery has been described as one of the cheapest arts being practiced and heavily dominated by women, also women in southern nigeria are popularly known for cloth weaving or textile making, while this is mostly done by men in northern nigeria (kriger, 1993). similarly, in modern periods more women are found often in textile, graphics, and ceramics, except in few cases where they are involved in painting and sculpture, an example of such is ndidi dike and others, who are working in sculpture and mixedmedia. the attempt of women in every aspect of visual training and practice will develop their interest in visual art, and provide unimpeded opportunities for the expression of their perspectives and reactions. with their involvement, new talent, new art forms, and the diversity of women who are exploring ways to express themselves through visual art. the gender distribution in nigeria from early education up till the highest levels of decision-making is to be taken seriously as it has created gender imbalance in the structure of events (omoregie & abraham, 2009). this is not limited to the political structure alone, but to all aspect of human endeavor. in nigeria art institutions, students are distributed to various departments on gaining the admission without attention to gender balance. this has enabled imbalance in gender distribution which later created for more participation of men or women in the certain profession. art training curriculum in nigeria art curriculum was created to cater for the differences in talents opportunities and roles posed by or open to students after their graduation. to achieve this goal, various areas of the artistic practice were initiated to further knowledge and develop skills to cater for the aspiration of the harmonia: journal of arts research and education 17 (2) (2017): 105-112108 society. in nigeria art institutions, different nomenclatures were used to describe the nature of their training and the general orientation of their programs. some art department uses fine art while others combine fine and applied arts or industrial and designs. students have been admitted are subjected to different criteria for admission, some are purely science based or art subjects. this study looked at the enrollment, admission criteria and specialization of students in art with gender affinity in training and enrolment in the department of fine and applied arts, ladoke akintola university of technology, ogbomoso. the department of fine and applied arts, lautech was established to serve as an agency for artistic, cultural, technological and industrial development through research and modernization of indigenous art concepts and technology in relation to social, economic and cultural realities of the world. it was also to educate students with adequate academic background integrated with sufficient technological training necessary for the challenges of environmental development as well as management of cultural and industrial matters. the department was conceived to train the individual to acquire artistic skills in painting, sculpture, ceramic, graphic design and textile design without a call for gender imbalance. the admission criteria have been so unique that it accommodates science students’ opportunity to study fine and applied arts; this is in no measure to improve the aesthetic and technological growth in the country. admission to the first year is through the joint admissions and matriculation board’s unified tertiary matriculation (utme). the prospective candidate must have a minimum of 5 credits passed at not more than two sitting at the senior secondary school certificate level or its equivalent. subjects must include english language, fine art/visual art, mathematics and any two science subjects (faa undergraduate curriculum, lautech) the duration of the programme is five years for ume candidates and four years for the direct entry candidates. for the first one year, students are expected to offer the compulsory university courses, while they are given an intensive and broad-based exposure to the major areas of fine and applied arts in year two before going into a specialization in their third year. students specialize in one of the following areas: painting, sculpture, ceramics, graphic design, and textile design. students are awarded the bachelor of technology (honours) degree in fine and applied arts after completing the required courses which lasted for a minimum of five years (faa undergraduate curriculum). nature and demands of faa courses visual art courses enable students to be capable of facing challenges that associates with an area of specialization in art. to ensure both breadth and depth of knowledge and understanding, the student must choose one area of specialization from the available areas, depending on the school. in lautech, students specializing in 300level having been exposed to the general arts at 200level; they specialize in the following areas: painting, sculpture, ceramics, graphic design, and textile design. each of this has its own peculiarities of forms which differentiate them from the other. painting, for example, is the art of creating pictures by applying colour to a surface. it can record events; capture a likeness of a person, place, or object; tell stories; decorate walls; illustrate texts. paintings can express emotions and ideas, or simply be enjoyed for their beauty. painting is also a mode of creative expression, and the forms are numerous among other aesthetic modes, may serve to manifest the expressive and conceptual intention of the practitioner. the forms of painting can be in the use of media, subject matter, and styles. the media are the vehicle used in achieving the expressive quality such as water colour, oil colour, acrylic, pastel (both chalk and oil) and others. each of this medium has different peculiarities which make the masonry of the medium. subject matter suggests the intention or johnson adelani abodunrin, training in nigerian art schools: a critique of gender ... 109 found objects. ceramics are classified as inorganic and nonmetallic materials that are essential to our daily lifestyle. this category of materials includes things like tile, bricks, plates, glass, and toilets ware. all these areas with their peculiarities and nature are studied in different art schools by both male and female. results and discussion the total number of students enrollment within 2010 and 2015 is 385 out of which 215 (55.8%) students are female while 170 (44.2%) are male. this shows that more of female are admitted to study fine and applied arts in lautech which is an indication that the admission criteria favors the intakes of female students into the department (table 1-5). while distribution into various areas of specialization indicates that 153 (40%) students specialized in graphics, 119 (31%) in textile, 57 (15%) in painting, 31 (8.1%) in ceramic and 25 (6.1%) in sculpture respectively (figure 1). this is a hint that majority of the students in the department are interested in studying graphics while painting, ceramics, and sculpture are for a limited number of students as been shown in the finding. also, gender distribution were measured in this study and it was indicated that 45 (78%) students are male while 12 (21.1%) are female in painting; graphics recorded 83(54.2%) male and 70 (45.8%) female, while textile have 8 (6.7%) male and 111 (93.3%) female, sculpture is 21 (84%) male with 4 (16%) female and ceramics is 13 (41.9) male and 18 (58.1%) female (figure 1). this however shown that more female specializes in textile and graphics while more male students are in sculpture and painting. this perhaps could be attributed to the nature and the demands of each area of specialization. textile attracts more female artist because of; the socio-cultural affiliation of textile with women artist; the high level of interest in fashion; the readily available market for textile wares across all social class and the less demand goal of the painting which could be in form of still-life, landscape, nature, figural and non-figural expression while styles represent the pattern of expression which is constant and reoccurring. it can be naturalistic, expressive, realistic, abstraction, stylization, cubism and various other ways of representation. these forms of painting require competence which makes the discipline exclusively restricted. painting is one of the art forms that are taught in most of the nigerian art schools and the criteria for studying it is seen in the interest and competence displayed by each student. student shows interest and competence in the enrollment and distribution into this particular area of specialization. textile design is essentially the process of creating designs for woven, knitted or printed fabrics. textile designers are involved with the production of these designs, which are used sometimes repeatedly. it also involves various techniques of batik tie and dye; the production of decorative textile materials and designs for use in homes and public places. graphic design, also known as communication design, is the art and practice of planning and projecting ideas and experiences with visual and textual content. the form of the communication can be physical or virtual and may include images, words, or graphic forms. the experience can take place in an instant or over a long period of time. the work can happen at any scale, from the design of a single postage stamp to a national postal signage system, or from a company’s digital avatar to the sprawling and interlinked digital and physical content of an international newspaper. it can also be for any purpose, whether commercial, educational, cultural, or political. sculpture, an artistic form in which hard or plastic materials are worked into three-dimensional art objects. the designs may be embodied in freestanding objects, in reliefs on surfaces or in the environment. an enormous variety of media may be used, including clay, cement, wax, stone, metal, fabric, wood, plaster, rubber and harmonia: journal of arts research and education 17 (2) (2017): 105-112110 on draughtsmanship skills as compared to other forms of arts. table 1. distribution of students by specialization and gender affinities in painting s/n session painting m(%) f(%) t 1 2010/2011 10 (76.9) 3 (23.1) 13 2 2011/2012 4 (80) 1 (20) 5 3 2012/2013 13 (86.7) 2 (13.3) 15 4 2013/2014 6 (60) 4 (40) 10 5 2014/2015 12 (85.7) 2 (14.3) 14 total 45 (78.9) 12 (21.1) 57 source: author’s fieldwork (2017) table 2. distribution of students by specialization and gender affinities in graphics s/n session graphics m(%) f(%) t 1 2010/2011 6 (46.2) 7 (53.8) 13 2 2011/2012 13 (56.5) 10 (43.5) 23 3 2012/2013 21 (72.4) 8 (27.6) 29 4 2013/2014 22 (52.4) 20 (47.6) 42 5 2014/2015 21 (45.7) 25 (54.3) 46 total 83 (54.2) 70 (45.8) 153 source: author’s fieldwork (2017) table 3. distribution of students by specialization and gender affinities in textile s/n session textile m(%) f(%) t 1 2010/2011 1 (20) 4 (8) 5 2 2011/2012 1 (12.5) 7 (87.5) 8 3 2012/2013 1 (4.3) 22 (95.7) 23 4 2013/2014 0 (0) 43 (100) 43 5 2014/2015 5 (12.5) 35 (87.5) 40 total 8 (6.7) 111 (93.3) 119 source: author’s fieldwork (2017) table 4. distribution of students by specialization and gender affinities in sculpture s/n session sculpture m(%) f(%) t 1 2010/2011 2 (100) 0 (0) 2 2 2011/2012 5 (83.3) 1 (16.7) 6 3 2012/2013 6 (85.7) 1 (14.3) 7 4 2013/2014 4 (80) 1 (20) 5 5 2014/2015 4 (80) 1 (20) 5 total 21 (84) 4 (16) 25 source: author’s fieldwork (2017) table 5. distribution of students by specialization and gender affinities in ceramics s/n session ceramics m(%) f(%) t 1 2010/2011 2 (66.7) 1 (33.3) 3 2 2011/2012 3 (33.3) 6 (66.7) 9 3 2012/2013 2 (33.3) 4 (66.7) 6 4 2013/2014 1 (20) 4(80) 5 5 2014/2015 5 (62.5) 3 (37.5) 8 total 13 (41.9) 18 (58.1) 31 source: author’s fieldwork (2017) figure 1. total student enrolment in fine and applied arts (lautech). source: author’s fieldwork (2017) figure 2. gender distribution in fine and applied arts (lautech). source: author’s fieldwork (2017) johnson adelani abodunrin, training in nigerian art schools: a critique of gender ... 111 conclusion based on the findings of the study, more females are admitted to study fine and applied arts in lautech between 2010/ 2011 and 2014/2015 academic session with a high number of them specialized in textile design. it was also discovered that the gender distribution in nigeria from early education up till the highest levels of decision-making is to be taken seriously as it has created gender imbalance in the structure of events. art as a field of study has not been left out in this occurrence with certain areas of specialization dominated by a particular sex. on the account of the foregoing that this study recommends that any category of students can specialize in any field of arts and that no area of specialization has been designed for gender bias, therefore, prospective students can cope or succeed in any field of their interest. references archival materials – examination and records, fine and applied art department, ladoke akintola university of technology, ogbomoso, oyo state, nigeria. annual report. (2010/2011). the reawakening. nigeria: ladoke akintola university of technology ogbomoso. ekezie, a. i. (1994). the role of evaluation and research in competent agricultural educator preparation in nigeria. studies in educational evaluation, 20(2), 201-206. kriger, c. (1993). textile production and gender in the sokoto caliphate. the journal of african history, 34(3), 361401. nelson, n. j., labat, k. l., & williams, g. m. (2005, august). more than ‘just a little hobby’: women and textile art in ireland. women’s studies international forum, 28(4), 328-342. omoregie, n., & abraham, i. o. (2009). persistent gender inequality in nigerian education. delta, 18(301), 450786. unesco. (2005). dealing with gender issues in nigeria colleges of education. afri j. paris, (1), 15-20. undergraduate curriculumfine and applied art department, ladoke akintola university of technology, ogbomoso, oyo state, nigeria. usha, v. & toby m. (2004). training and development: an examination of definitions and dependent variables. the academy of human resource development international conference. (ahrd) (austin, tx, mar 3-7, 2004) p 850-857 (symp. 39-2) yahaya, l. a. (2004). disparity in enrolment of male and female undergraduates in science and technology based faculties at university of ilorin: implication for counselling. nigeria journal of counselling and applied psychology, 2(1), 186-201. oral interview abina, j. (2017). personal communication; painting specialization; 400 level, lautech. alagbede, b. (2017). personal communication; painting specialization; graduate, lautech. alli, a. (2017). personal communication; painting specialization; graduate lautech. adekunle, d. (2017). personal communication; painting specialization; 400level, lautech. adekunle, t. (2017). personal communication; painting specialization; graduate, lautech. adeyemo, e. (2017). personal communication; painting specialization; 300 level, lautech. ayobami, a. (2017). personal communication; textile specialization; 300 level, lautech. bunmi, a. (2017). personal communication; textile specialization; graduate lautech. fetuga, a. (2017). personal communication; textile specialization; 300 level, lautech. harmonia: journal of arts research and education 17 (2) (2017): 105-112112 igbayilola, w. (2017). personal communication; painting specialization; 400 level, lautech. mpamah, c. (2017). personal communication; textile specialization; 400 level, lautech. omola, d. (2017). personal communication; painting specialization; graduate, lautech. ogunlama, b. (2017). personal communication; textile specialization; 400 level, lautech. owoade, i. (2017). personal communication; painting specialization; 400 level, lautech. oyedele, a. (2017). personal communication; sculpture specialization; 400 level, lautech. oyesanmi, f. (2017). personal communication; ceramics specialization; 300 level, lautech. roselyn, b. (2017). personal communication; graphics specialization; 500 level, lautech. sharaibi, d. (2017). personal communication; graphics specialization; 500 level, lautech. temileyi, o. (2017). personal communication; textile specialization; 500 level, lautech. tolulope, k. (2017). personal communication; graphics specialization; 300 level, lautech. harm vol ix no 2 2009.pdf pengembangan materi pembelajaran seni musik berbasis seni budaya berkonteks kreatif, kecakapan hidup, dan menyenangkan bagi siswa sd/mi udi utomo* syahrul syah sinaga** *jurusan sendratasik, fakultas bahasa dan seni universitas negeri semarang semarang *jurusan sendaratasik, fakultas bahasa dan seni, universitas negeri semarang e-mail: sinagaunnes@yahoo.com; u_utomo@gmail.com abstrak education unit level curriculum (ktsp) in elementary school / mi, the level of implementation still meet many difficulties and obstacles experienced by the teachers. the research objective is to find information to develop teaching materials based music arts and culture for elementary school children / mi that can support the development of students' creative thinking, provide supplies to the students life skills, and create a pleasant learning atmosphere (joyful learning). based on the data obtained, it can be concluded that the current primary school teachers / mi are still experiencing difficulties and obstacles in learning the art of music. difficulties and obstacles are: (1) the ability to translate the contents of the education unit level curriculum (ktsp) competency-based music, (2) the ability to optimize your child's music potential, (3) apply the method, (4) use of education tools and media (5) utilisation of the potential of cultural and natural environments around, and (6) develop an evaluation form. in this study developed a textbook model of music teaching materials that are expected to be implemented at the same time teachers are able to stimulate and motivate teachers to develop further music learning. suggestions proposed is that the institutions associated with the development of learning in primary schools can develop training programs, development of sourcebook and textbook which considers the potential of art, culture, and the needs of teachers. kata kunci : seni budaya, kreatif, kecakapan hidup dan menyenangkan pendahuluan guru sd/mi dalam melaksanakan pembelajaran kesenian sampai saat ini masih ada yang menggunakan kurikulum kerajinan tangan dan kesenian. mata pelajaran tersebut disajikan dari kelas 1 sampai dengan kelas 6. pada umumnya para guru sd/mi tidak dapat menyelenggarakan kegiatan-kegiatan belajar itu sebagaimana mestinya. berdasarkan penelitian, menunjukkan bahwa para guru merasa tidak memiliki kemampuan yang memadai untuk mengajarkan materimateri seni, lebih khusus seni musik. mereka merasa tidak berbakat, dan mereka berpendapat bahwa guru yang mengajar pendidikan seni musik harus guru yang berbakat. disamping itu, pada umumnya mereka juga berpendapat bahwa pendidikan seni merupakan pelajaran yang tidak penting. alasan mereka karena pelajaran seni tidak termasuk yang di-ebtanas-kan. bahkan ada sebagian dari mereka yang setuju jika mata pelajaran seni dihapus dari struktur program kurikulum (syafii 2003: 13). kondisi tersebut menunjukkan betapa buruknya kegiatan pembelajaran seni lebih khusus seni musik saat ini. pelaksanaan pembelajaran seni lebih khusus seni musik, di sd/mi pada umumnya masih menggunakan pende-katan subject-centered curriculum. tidak jelas, kompetensi apa yang harus dicapai oleh peserta didik setelah mereka mengikuti serentetan pelajaran tersebut. tidak jelas pula artikulasi isi mata pelajaran antara jenis dan jenjang pendidikan, sehingga sering dijumpai ucapan yang terlontar dari pendidik yang penting kegiatan pembelajaran seni musik ada, sehingga terjadi pengulangan-pengulangan pelajaran sebelumnya. link and match lemah, sehingga terjadi pemborosan (slamet 2001: 3). karena kurangnya pemahaman para pendidik terhadap seni musik lebih khusus lagi tentang pendidikan seni musik, menyebabkan pelaksanaan pembelajaran kehilangan kelenturannya untuk disesuaikan dengan keadaan lingkungan setempat dan kebutuhan batin anak (garha 1995: 4). pendidikan seni musik dengan pendekatan seni budaya merupakan suatu alternatif solusi dan antisipasi pada persaingan global yang kompetitif. pendidikan berbasis seni budaya penekanan kompetensi adalah pendidikan seni musik yang menitikberatkan pada penguasaan kemampuan atau kompetensi untuk mengerjakan atau melakukan sesuatu (ability to do something). tentu untuk bisa mengerjakan sesuatu yang dimaksud, diperlukan penguasaan pengetahuan, keterampilan, dan sikap yang dipersyaratkan untuk mengerjakan sesuatu tersebut. misalnya untuk bisa menyanyi, diperlukan penguasaan kompetensi yang terdiri atas pengetahuan, keterampilan, dan sikap terhadap musik. pendeknya, untuk dapat melakukan pekerjaan-pekerjaan seni musik, diperlukan kom-petensi yang mencakup aspek-aspek kognitif, psikomotor dan afektif (slamet 2001: 4). dalam kaitannya dengan pendidikan seni, nursito (2000: 9-11) menyatakan bahwa permasalahan rendahnya pengembangan kreatifitas siswa lebih banyak disebabkan oleh ketidakmampuan guru dalam mengembangkan kreativitas siswa. keadaan ini lebih diperburuk dengan kekurangmantapan keterampilan dalam berkarya seni dan minimnya wawasan guru terhadap materi, tujuan dan hakikat pendidikan seni, serta kurangnya sarana yang ada di sekolah. kelemahan ini seringkali menyebabkan pengambilan keputusankeputusan kurikuler atau kependidikan menjadi kurang tepat. dalam rangka mencapai tujuan pendidikan nasional, pendidikan seni musik sangat memberi kontribusi yang besar dalam pembentukan manusia indonesia seutuhnya. untuk itu perlu merumuskan materi pembelajaran seni musik yang lebih matang. tujuan pendidikan seni musik berbasis seni budaya adalah salah satu alternatifnya, karena bertujuan untuk: (1)mendekatkan pendidikan seni dan dunia kerja seni; (2) menjamin adanya common basis pendidikan seni; (3) memfokuskan pada hasil dan proses sekaligus; (4) mengenalkan pembelajaran yang luwes; (5) mengakui pembelajaran sebelumnya; dan (6) menjamin adanya multiple entry and exit (slamet, 2001: 4). konsep pendidikan seni berbasis seni budaya untuk sd/mi, telah diaktu-alisasikan dalam bentuk desain kuriku-lum pendidikan seni musik tingkat satuan pendidikan (ktsp) sd/ mi yang diterbitkan oleh pusat kurikulum badan penelitian dan pengembangan departemen pendidikan nasional. tentunya kita menyambut baik dan menaruh harapan yang sangat besar dengan dimunculkannya kurikulum tersebut. selanjutnya dengan dimunculkannya kurikulum seni budaya ini dipandang perlu untuk mengetahui sejauh mana kemungkinan optimalisasi penerapannya dalam pembelajaran seni. oleh karena itu melalui penelitian ini, peneliti akan mengkaji secara lebih mendalam aplikasi kurikulum seni budaya di sd/mi yang dapat mendorong creative thinking siswa, memberi bekal life-skills kepada siswa, dan menciptakan suasana belajar siswa yang menyenangkan (joyfull learning) dengan memperhatikan (1) kemampuan guru menterjemahkan isi kurikulum tingkat satuan pendidikan (ktsp) seni musik berbasis kompetensi, (2) kemampuan guru mengoptimalkan potensi seni musik anak (menjadi kreatif dan aktif), (3) metode guru yang digunakan dalam pembelajaran seni musik, (4) kemam-puan akademis musik anak, (5) ketersediaan sarana pembela-jaran musik (6) pemanfaatan lingkungan alam sekitar dalam menunjang kegiatan pembelajaran musik, (7) evaluasi yang digunakan dalam pembelajaran musik. pendidikan seni musik sd/ mi pendidikan kesenian, sebagaimana yang dinyatakan ki hajar dewantara (dalam bastomi, 1993: 20), merupakan salah satu faktor penentu dalam membentuk kepribadian anak. pendidikan seni di sekolah, dapat dijadikan sebagai dasar pendidikan dalam membentuk jiwa dan kepribadian (berakhlak karimah). hal ini sejalan sebagaimana yang dinyatakan oleh plato (dalam rohidi, 2000: 5), bahwa pendidikan seni dapat dijadikan dasar pendidikan, karena untuk membentuk suatu kepribadian yang baik dilakukan melalui pendidikan seni. arti lainnya yaitu bahwa kesenian merupakan elemen yang esensial dalam pembentukan watak setiap individu dan faktor yang mendasari setiap penciptaan karya seni, oleh kaena itu pendidikan seni; sebagai subsistem dalam pendidikan nasional tidak dapat diabaikan. pendidikan seni sebagai mata pelajaran di sekolah karena pendidikan seni memiliki sifat multilingual, multidimensional, dan multikultural. multilingual berarti seni bertujuan mengembangkan kemampuan mengekspresikan diri dengan berbagai cara seperti melalui bahasa rupa, bunyi, gerak dan paduannya. multidimensional berarti seni mengembangkan kompetensi kemampuan dasar siswa yang mencakup persepsi, pengetahuan, pemahaman, analisis, evaluasi, apresiasi dan produktivitas dalam menyeimbangkan fungsi otak kanan dan kiri, dengan memadukan unsur logika, etika dan estetika, dan multikultural berarti seni bertujuan menumbuhkembangkan kesadaran dan kemampuan berapresiasi terhadap keragaman budaya lokal dan global sebagai pembentukan sikap menghargai, toleran, demokratis, beradab dan hidup rukun dalam masyarakatdan budaya yang majemuk (depdiknas 2001: 7). pendidikan seni di sekolah memiliki fungsi dan tujuan untuk mengembangkan sikap dan kemampuan agar siswa mampu berkreasi dan peka dalam berkesenian, atau memberikan kemampuan dalam berkarya dan berapresiasi seni. kedua jenis kemampuan ini menjadi penting artinya karena dinamika kehidupan sosial manusia dan nilai-nilai estetis mempunyai sumbangan terhadap kebahagiaan manusia di samping mencerdaskannya. materi pen-didikan seni di sekolah mencakup seni musik, seni tari, seni drama, dan seni rupa. dalam kurikulum tingkat satuan pendidikan (ktsp) tahun 2006 pendidikan kesenian di sd/mi dilaksanakan melalui mata pelajaran seni budaya dan ketrampilan, yang didalamnya mencakup sub mata pelajaran seni rupa, seni musik, seni tari, dan ketrampilan. sedangkan standar kompetensi lulusan pembelajaran seni musik sebagai salah satu mata pelajaran seni budaya dan ketrampilan di sd/mi adalah: (1) mengapresiasi dan mengekspresikan karya seni musik dengan memperhatikan dinamika melalui berbagai ragam lagu daerah dan wajib dengan alat iringan alat musik sederhana daerah setempat; (2) mengapresiasi dan mengekspresikan karya seni musik dengan ansambel sejenis dan gabungan terhadap berbagai musik/ wajib, daerah, dan nusantara; dan (3) mengapresiasi dan mengekspresikan karya seni musik dengan menyanyikan lagu wajib, daerah, dan nusantara dengan memainkan alat musik sederhana daewrah setempat (tim pustaka yustisia 2007: 95-96). oleh karena itu setelah mengikuti pembelajaran seni musik sebagai salah satu aspek dalam mata pelajaran seni budaya di sd/mi, siswa diharapkan memiliki kemampuan untuk menguasai olah vokal, memainkan alat musik, apresiasi karya musik serta berketerampilan yang mencakup segala aspek kecakapan hidup (life skills) yang meliputi keterampilan personal, keterampilan sosial, keterampilan vokasional dan keterampilan akademik. seni budaya seni budaya sebagaimana yang diamanatkan dalam peraturan peme rintah republik indonesia nomor 19 tahun 2005 tentang standar nasional pendidikan tidak hanya terdapat dalam satu mata pelajaran karena budaya itu sendiri meliputi segala aspek kehidupan. dalam mata pelajaran seni budaya dan keterampilan, aspek budaya tidak dibahas secara tersendiri tetapi terintegrasi dengan seni. karena itu, mata pelajaran seni budaya dan keterampilan pada dasarnya merupakan pendidikan seni yang berbasis budaya. pendidikan seni budaya dan keterampilan memiliki peranan dalam pembentukan pribadi peserta didik yang harmonis dengan memperhatikan kebutuhan perkembangan anak dalam mencapai multi kecerdasan yang terdiri atas kecerdasan intrapersonal, visual spasial, musikal, linguistik, logik matematik, naturalis, kecerdasan adversitas, kecerdasan kreativitas, kecerdasan spiritual dan moral, dan kecerdasan emosional. bidang musik, memiliki kekhasan tersendiri sesuai dengan kaidah keilmuan kesenimusikan. dalam pendidikan aktivitas berkesenian, harus menampung kekhasan tersebut yang tertuang dalam pemberian pengalaman mengembangkan konsepsi, apresiasi, dan kreasi. semua ini diperoleh melalui upaya eksplorasi elemen, prinsip, proses, dan teknik berkarya dalam konteks budaya masyarakat yang beragam. mata pelajaran seni budaya bertujuan agar peserta didik memiliki kemampuan : (1) memahami konsep dan pentingnya seni budaya dan keterampilan; (2) menampilkan sikap apresiasi terhadap seni budaya dan keterampilan; (3) menampilkan kreativitas melalui seni budaya dan keterampilan; dan (4) menampilkan peran serta dalam seni budaya dan keterampilan dalam tingkat lokal, regional, maupun global. standar kompetensi dan kompetensi dasar pembelajaran seni musik di sd/mi standar kompetensi seni musik untuk sd/mi yaitu mengapresiasi karya seni musik dan mengekspresikan diri melalui karya seni musik. sedang kompetensi dasar seni musik mencakup (1) mengidentifikasi unsur/elemen musik dari berbagai sumber bunyi yang dihasilkan tubuh manusia; (2) mengelompokkan bunyi berdasarkan sumber bunyi yang dihasilkan tubuh manusia; (3) menunjukkan sikap apresiatif terhadap sumber bunyi yang dihasilkan tubuh manusia; (4) menampilkan permainan pola irama sederhana; (5) mengekspresikan diri melalui vokal; (6) mengekspresikan diri melalui alat musik atau sumber bunyi yang dihasilkan tubuh manusia; (7) melafalkan lagu anak-anak; (8) menyanyikan lagu anak-anak secara individual, kelompok maupun klasikal. sedang elemennya terdiri atas empat unsur yakni: (1) pitch (nada, melodi, harmoni); (2) tempo (irama); (3) warna suara; dan (4) dinamika(keras-lembut). dinamik adalah semua hal yang berhubungan dengan perbandingan volume nada (keras lembut). sumber bunyi yang dihasilkan tubuh manusia adalah siulan, tepukan tangan, dsb. alat musik: alat musik dapat dibedakan atas: (1) alat musik nusantara atau biasa pula disebut alat musik tradisional yakni alat musik yang dianggap milik etnis di wilayah nusantara seperti suling bambu, talempong, dsb.; (2) alat musik konvensional yakni alat musik nontradisional seperti gitar, piano, biola, drum, saxophone, dan lain-lain (3) alat musik non konvensional yakni segala alat/bahan yang dapat menjadi sumber bunyi seperti batu, kayu, logam, plastik, dan sebagainya. kompetensi dasar lain untuk tingkatan lebih tinggi: (1) mengidentifikasi unsur/elemen musik dari berbagai sumber bunyi yang dihasilkan alam; (2) mengelompokkan bunyi berdasarkan sumber bunyi yang dihasilkan alam; (3) mengidentifikasi irama dan melodi sederhana; (4) menampilkan permainan pola irama dan melodi sederhana, (5) memeragakan dinamik sederhana; (6) mengekspresikan diri melalui vokal, alat musik atau sumber bunyi sederhana; (7) menyanyikan lagu anak-anak dan lagu wajib. sumber bunyi yang dihasilkan alam: bunyi tetesan air, kicauan burung. dari uraian tersebut, maka dapat disimpulkan bahwa pada hakekatnya kompetensi yang diharapkan dari pendidikan seni musik untuk siswa sd/mi adalah: (1) agar siswa mampu memadukan unsur etika, logika dan estetika, meliputi: pengetahuan, pemahaman, persepsi, analisis, evaluasi, apresiasi, dan berproduksi; (2) memiliki kepekaan inderawi, perasaan estetis dan artistik melalui pengalaman bereksplorasi, berekspresi dan berkreasi dalam mendukung kecerdasan emosional, intelektual, moral, spiritual dan adversitas sesuai dengan kebutuhan dan perkembangan anak; (3) mampu berkreasi dalam mengembangkan kemampuan perseptual, pemahaman, apresiasi, kreativitas, dalam berproduksi; (4) memiliki keterampilan dasar dan mampu berkreasi berdasarkan inspirasi yang bersumber pada alam dan lingkungan sekitar anak dalam mengolah medium seni musik; (5) mampu menghargai karya sendiri dan karya orang lain serta keragaman seni budaya setempat dan nusantara; (6) mampu mempergelarkan, menyajikan karya seni dan atau merancang, memamerkannya di kelas dan atau di lingkungan sekolah (depdiknas, 2001: 8) metode penelitian pengembangan model ini di lakukan dengan menggunakan desain reaearch and development. penelitian ini dilakukan di jawa tengah, sedangkan wilayah yang dipilih ditentukan secara purposive. subyek penelitiannya adalah para guru, kepala sekolah, dan pakar yang berkompeten dalam pembelajaran seni musik. teknik pengumpulan data dilakukan dengan menggunakan angket, pengamatan, dan wawancara. sedangkan teknik analisis data dalam penelitian ini dilakukan dengan menggunakan metode analisis deskriptif-kualitatif. hasil dan pembahasan meskipun sejak tahun 2006 telah diberlakukan kurikulum tingkat satuan pendidikan (ktsp) di sd/mi, namun demikian berdasar data yang diperoleh dalam penelitian ini menunjukkan bahwa pola pembelajaran pendidikan kesenian khususnya pembelajaran seni musik tidak jauh berbeda dengan masa pemberlakuan kurikulum sebelumnya. pada umumnya para guru sd/mi mengalami kesulitan dan kendala dalam mengembangkan pelaksanaan pembelajaran seni musik. kesulitan dan kendala yang yang dialami mencakup : (1) kemampuannya dalam menterjemahkan isi kurikulum tingkat satuan pendidikan (ktsp) seni musik berbasis kompetensi; (2) kemampuannya dalam mengoptimalkan potensi seni musik anak (anak menjadi kreatif dan aktif); (3) menerapkan metode yang digunakan dalam pembelajaran seni musik; (4) memanfaatkan sarana dan media pembelajaran musik, (5) memanfaatkan potensi lingkungan budaya dan alam sekitar dalam pembelajaran musik, dan (6) mengem-bangkan bentuk evaluasi dalam pembe-lajaran musik. kemampuan guru menterjemahkan isi kurikulum tingkat satuan pendidik-an (ktsp) mata pelajaran seni budaya materi kajian seni musik standar kompetensi dan kompe-tensi dasar menjadi arah dan landasan dalam mengembangkan materi pokok, kegiatan pembelajaran, dan indikator pencapaian kompetensi belajar. oleh karena itu pemahaman guru dalam menterjemahkan kurikulum tingkat satuan pendidikan (ktsp) yang diberla-kukan pada saat ini menjadi sangat penting. berkaitan dengan kurikulum tingkat satuan pendidikan (ktsp) khususnya dalam pembelajaran seni musik berdasarkan data yang diperoleh menunjukan bahwa para guru pada umumnya memiliki pemahaman yang posistif. kurikulum tersebut sebagai pedoman pembelajaran yang memberi-kan arahan dalam proses pengembangan pembelajaran dari segi tujuan, standar kompetensinya, dan kompetensi dasarnya dinilai sangat jelas. bahkan karena karakteristik fleksibilitasnya mereka menganggap kurikulum tingkat satuan pendidikan (ktsp) memberi keleluasaan bagi guru dalam pengembangan pembelajarannya. meskipun demikian, karena keterbatasan pengetahuan dan ketrampilan para guru, maka pada saat menetapkan materi dan indikator keberhasilan belajarnya pada umumnya mengalami kesulitan kemampuan guru mengoptimalkan potensi seni musik anak (anak menjadi aktif dan kreatif ) kemampuan guru dalam mengoptimalkan potensi seni musik siswa yang ditandai dengan kemampuan guru dalam merancang dan melaksanakan pembelajaran seni musik menjadi tuntutan dalam implementasi-kan kurikulum tingkat satuan pendi-dikan. keduanya sekaligus menjadi prasarat apabila pembelajaran seni musik diharapkan dapat menumbuhkan dan mengembangkan kreatifitas siswa, yang tentu saja dalam prosesnya ditandai dengan proses pembelajaran siswa aktif. berkaitan dengan kemampuan tersebut berdasarkan data yang diperoleh ternyata menunjukkan bahwa para guru pada umumnya masih mengalami kesulitan dalam melaksanakan pembe-lajaran seni musik yang diharapkan mampu menciptakan kondisi tersebut. hambatan yang mendasar mencakup: (1) penguasaan materi pelajaran; (2) merancang kegiatan pembelajaran;dan (3) memanfaatkan dan mengembangkan media pembelajaran yang diperlukan dalam pembelajaran seni musik. metode yang digunakan dalam pembelajaran seni musik pemilihan metode pembelajaran diperlukan oleh guru pada saat merancang proses kegiatan belajar mengajar. karena, ketepatan pemilihan metode pembelajaran akan berdampak terhadap efektifitas pencapaian kompetensi pembelajaran yang telah ditetapkan. dalam pembelajaran seni musik gabungan dari berbagai metode sangat diperlukan, apalagi kalau pembelajaran yang dilakukan menekankan pada pemberian pengalaman musik kepada siswa. pemilihan metode pembelajaran yang dilakuakan oleh para guru berdasarkan hasil penelitian menunjuk-kan bahwa pada umumnya mereka menggunakan metode ceramah, de-monstrasi, dan latihan (drill). metode ceramah digunakan oleh para guru pada saat menyampaikan berbagai informasi yang terkait dengan materi pembelajar-an. sedangkan metode demonstrasi, dilakukan oleh para guru pada saat membelajarkan materi praktek musik baik pada saat kegiatan bernyanyi maupun praktek instrumen musik. karena proses pembelajaran praktek musik yang berlangsung lebih menekankan pada strategi ear training, maka pada saat ada materi baru siswa sangat tergantung pada contoh guru yang dilakukan dengan metode demonstrasi. kemampuan akademis musik anak kesulitan guru dalam pelaksana-an pembelajaran seni musik yang disebabkan karena keterbatasan kemam-puan guru dalam menginterpretasi kurikulum serta kendala-kendala yang menyangkut terbatasnya sarana dan media pembelajaran musik yang ada mempengaruhi pencapaian hasil belajar siswa. akibatnya setiap guru dengan kemampuannya masingmasing secara berbeda menentukan kompetensi yang harus dicapai oleh siswa. sehingga jenis materi dan kedalaman materi yang dicapai siswa pada setiap kelas dan setiap sekolah pun berbeda. kriteria ketuntasan minimal (kkm) pembelajaran seni musik yang ditentukan oleh para guru berkisar antara 60 sampai dengan 70. sedangkan hasil belajar yang dicapai siswa berkisar antara 60 sampai dengan 90. dari ana-lisis data yang ada menunjukan bahwa beberapa kelas ada yang hasil akhir pencapaian belajar siswa di bawah kriteria ketuntasan minimal yang ditentukan oleh guru. sedangkan upaya perbaikan yang dilakuakan melalui pembelajara remidial terhadap para siswa yang mengalami kesulitan dalam pembelajaran seni musik hanya dilakukan oleh beberapa orang guru saja. ketersediaan sarana pembelajaran musik ketersedian sarana pembelajaran sangat diperlukan guru dalam meran-cang dan melaksanaan pembelajaran. apalagi dalam pembelajaran seni musik, yang mana berdasarkan karakteristik dan standar kompetensi menuntut kreatifitas guru dalam memanfaatkan dan mengembangkannya. berkaitan dengan sarana pembelajaran seni musik yang dikaji dalam dalam penelitian ini, berikut ini akan diuraikan tentang ketersediaan buku sumber dan buku ajar, alat musik, dan media pendukung pembelajaran seni musik lainnya. buku sumber dan buku ajar pemberlakuan kurikulum tingkat satuan pendidikan di sekolah saat ini memberikan otoritas sekolah dan guru dalam mengembangkan kurikulum. sehingga sebagai konsekuensinya diper-lukan adanya kemandirian sekolah dan guru dalam menentukan materi pem-belajaran yang sesuai dengan stándar kompetensi, kebutuhan siswa, dan sum-ber daya yang ada. oleh karena itu ketersediaan buku sumber dan buku ajar sebagai salah satu kebutuhan guru harus harus menjadi prioritas pertama bagi sekolah. untuk mata pelajaran matematika, bahasa indonesia, ilmu pengetahuan sosial, sains, pendidikan agama, dan bahasa jawa, berdasarkan data yang diperoleh dalam penelitian ini menunjukan bahwa beberapa penerbit telah menyusunnya dalam bentuk buku ajar maupun lembar kerja siswa (lks). namun demikian untuk pembelajaran seni budaya dan ketrampilan termasuk di dalamnya pendidikan seni musik belum mendapat perhatian. akibatnya para guru mengalami kesulitan dalam mengembangkan materi pembelajarn seni musik yang sesuai dengan stándar kompetensi dan kompetensi dasar yang ada. beberapa buku sumber yang dimiliki sekolah pada umumnya hanya berupa buku kumpulan lagu dan buku paket pembelajaran kesenian yang diterima pada saat masa pemberlakuaan kurikulum sebelumnya. sehingga para guru mengalami kesulitan ketika harus memanfaatkannya dalam mengembang-kan pembelajaran seni musik yang sesuai dengan tuntutan kurikulum tingkat satuan pendidikan. alat musik apabila dikelompokan, jenis alat musik yang diperlukan dalam pembe-lajaran seni musik di sd terdiri atas kelompok alat musik ritmis dan kelompok alat musik melodis. alat musik ritmis digunakan mulai dari kelas 1 sampai dengan 6, sedangkan alat musik melodis mulai digunakan mulai dari kelas 4 sampai dengan kelas 6. ketersedian alat musik sebagai sarana pembelajaran di sekolah dasar yang di jadikan sampel dalam penelitian ini sangat beragam. beberapa sekolah ada yang memiliki dua jenis kelompok alat musik tersebut, sedangkan diantaranya hanya memiliki salah satu jenis alat musik. alat musik ritmis yang dimiliki antara lain seperti seperangkat alat musik rebana, seperangkat alat musik drum band, snar drum dan bas drum. sedangkan kelompok alat musik melodis yang dimiliki diantaranya seperti recorder sopran, pianika, belira, dan keyborad. sarana pendukung lainnya ada beberapa sarana pendukung yang diperlukan guru dalam pelak-sanaan pembelajaran seni musik seperti ruang praktek musik, perlengkapan elektronik (tape recorder , cd/vcd play-er, televisi, dan lain-lain ). ketersedian sarana pembelajaran tersebut berdasar-kan data yang diperoleh menunjukkan bahwa semua sekolah yang dijadikan sampel dalam penelitian tidak memiliki ruang khusus pembelajaran seni musik. sedangkan perlengkapan elektronik yang ada seperti tape recorder, cd/vcd player , dan televisi yang dimiliki oleh beberapa sekolah keberadaannya tidak pernah digunakan sebagai sarana apalagi media dalam pembelajaran seni musik. hal ini terbukti bahwa pada umumnya sekolah-sekolah tersebut tidak memiliki kaset maupun cd/vcd yang dapat dijadikan sebagai media pembelajaran musik. pemanfaatan lingkungan budaya dan alam sekitar dalam menunjang kegiaatan pembelajaran musik muatan mata pelajaran seni budaya dan keterampilan sebagaimana yang diamanatkan dalam peraturan pemerintah republik indonesia nomor 19 tahun 2005 tentang standar nasional pendidikan tidak hanya terdapat dalam satu mata pelajaran karena budaya itu sendiri meliputi segala aspek kehidupan. dalam mata pelajaran seni budaya dan keterampilan, aspek budaya tidak dibahas secara tersendiri tetapi terintegrasi dengan seni. karena itu, mata pelajaran seni budaya dan keterampilan pada dasarnya merupakan pendidikan seni yang berbasis budaya. pemanfaatan lingkungan budaya dan alam sekitar dalam kegiatan pembelajaran seni musik tentu saja diperlukan adanya kreatifitas guru. karena betapapun besarnya potensi budaya dan alam di sekitar sekolah manakala guru tidak mampu me-nangkap dan mengaktualisasikannya ke dalam desain pembelajaran, maka pelaksanaan pembelajaran seni musik sebagai salah satu pendidikan seni budaya menjadi kurang bermakna. pemanfaatan lingkungan budaya dan alam sekitar dalam menunjang kegiatan pembelajaran musik belum banyak dilakukan oleh para guru. hal ini terbukti bahwa kekayaan lagu-lagu daerah di jawa tengah, jenis-jenis instrumen musik tradisional (calung, angklung, gamelan jawa dan lain-lain), serta potensi alam yang ada belum mendapatkan perhatian di kalangan para guru. meskipun diantaranya ada yang telah memanfaatkan salah satu perangkat alat musik tradisional (rebana). sayangnya, instrumen musik tersebut hanya digunakan dalam kegiatan ekstrakurikuler yang tentu saja hanya diikuti oleh beberapa orang siswa. padahal sebagai salah satu jenis alat musik ritmis, sebenarnya secara leluasa alat tersebut dapat pula digunakan sebagai media pembelajaran di dalam kelas (intrakurikuler). evaluasi yang digunakan dalam pembelajaran musik evaluasi pembelajaran merupakan kegiatan guru yang dimaksudkan untuk mengetahui apakah proses pembelajaran yang dilakuakan dapat mencapai kompetensi yang diharapkan. salah satu diantaranya dapat dilakukan dengan mengukur (asess) tingkat penca-paian belajar siswa yang dilakukan pada ujian tengah semester maupun pada ujian akhir semester. keberhasilan siswa dalam pembelajaran seni musik di sekolah yang sesuai dengan standar kompetensi dan kompetensi dasar yang ditentukan tentu saja bergantung pada kemampuan guru dalam menginter-pretasi kurikulum, penguasaan materi pembelajaran, pemanfaatan media pem-belajaran, dan rancangan proses kegiat-an belajar-mengajar. oleh karena itu kesulitan dan kendala yang dialami guru dalam pelaksanaan pembelajaran seni musik menyebabkan keberagaman strategi guru dalam melakukan penilaian hasil belajar. keragaman tersebut baik dalam hal penetapan kompetensi pembelajaran yang akan di ukur mapun jenis tes yang digunakan. kompetensi yang diukur berdasarkan hasil penelitian dapat dijelaskan bahwa para guru dalam menetapkan kompetensi yang akan diukur menyesuaikan dengan penge-tahuan dan ketrampilan musik yang dimilikinya. bagi guru yang mengalami kesulitan dalam melaksanakan pembe-lajaran seni musik pada umumnya hanya memfokuskan pada kompetensi bernyanyi. namun demikian pilihan jenis lagu yang dijadikan materi pembe-lajaran tetap mengacu pada lagu-lagu yang ditetapkan oleh kurikulum. se-dangkan bagi guru yang tidak menga-lami kesulitan dalam pembelajaran seni musik, kompetensi yang diukur menca-kup materi teori musik dan praktek musik. meskipun pengembangan penca-paian kompetensi yang ditetapkan belum memenuhi standar kompetensi dan kompetensi dasar yang ada. jenis tes berkaitan dengan kompetensi yang akan diukur dalam pembelajaran seni musik sebagaimana telah diuraikan, maka jenis tes yang dipilih oleh guru mencakup tes tertulis dan praktek. tes tertulis dilakukan oleh para guru untuk mengukur pengetahuan seni musik siswa terhadap materi pembelajaran yang di kembangkan. sedangkan tes praktek dilakukan oleh guru untuk mengetahui tingkat pencapaian siswa dalam penguasaan materi praktek ber-nyanyi dan praktek instrumen musik yang dikembangkan oleh siswa. tes tertulis dilakukan oleh para guru mulai dari guru kelas 1 sampai dengan kelas 6, sedangkan tes tertulis mulai dilakukan oleh para guru kelas 4 sampai dengan kelas 6. sedangkan yang melakukan bentuk penilaian pembela-jaran dengan menggunakan kedua jenis tes tersebut hanya dilakukan oleh beberapa guru kelas 4, 5, dan kelas 6. berkaitan dengan hasil penelitian tersebut maka untuk mengembangkan buku ajar seni musik sd/mi berbasis seni budaya yang diharapkan dapat mendukung pengembangan creative thin-king siswa, memberi bekal life skill kepada siswa, dan menciptakan suasana belajar joyful learning harus bertolak dari berbagai kesulitan dan kendala yang dialami para guru. sedangkan dalam proses pengembangannya harus mempertimbangkan potensi lingkungan budaya, alam sekitar, sarana yang tersedia di sekolah, serta kondisi dan kebutuhan guru. sehingga buku ajar yang dikembangkan akan mudah diimplementasikan oleh guru sd/mi (aplicable), dapat memberikan panduan pembelajaran yang komperhensif, serta berguna sebagai media dan sumber belajar bagi guru. simpulan dan saran simpulan pada saat ini para guru sd/mi masih mengalami kesulitan dan kendala dalam pembelajaran seni musik. kesulitan dan kendala tersebut menca-kup (1) kemampuannya dalam men-terjemahkan isi kuruikulum tingkat satuan pendidikan (ktsp) seni musik berbasis kompetensi, (2) kemampuan-nya dalam mengoptimalkan potensi seni musik anak (anak menjadi kreatif dan aktif) (3) menerapan metode yang digunakan dalam pembelajaran seni musik, (4) memanfaatan sarana dan media pembelajaran musik (5) memanfaatkan potensi lingkungan budaya dan alam sekitar dalam pembelajaran musik, dan (6) mengembangkan bentuk evaluasi dalam pembelajaran musik. bertolak dari temuan tersebut maka dalam penelitian ini dikembangkan sebuah model buku ajar materi pembelajaran seni musik yang diharapkan dapat diimplementasikan oleh para guru sekaligus mampu menstimulasi dan memotivasi guru dalam mengembangan pembelajaran seni musik selanjutnya. saran berdasarkan berbagai kesulitan dan kendala yang dialami guru sd/mi dalam pembelajaran seni musik tersebut maka disarankan agar lembaga-lembaga yang terkait dengan pembinaan dan peningkatan mutu pembelajaran di sekolah dasar mengembangkan pro-gram-program peningkatan kemampuan guru dalam pembelajaran seni musik. programprogram tersebut dapat berupa kegiatan pelatihan, bantuan sarana dan media pembelajaran seni musik, pengembangan buku sumber dan buku ajar yang sesuai dengan 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)!%'/!%'+,#&0&"!%'1,%& 2345 2&& %3'65 7189:8;<8= >'/8?8;<8='@aab @<%a)./$%&#,#$/;/), a: !"#$%&'('&)*' udjo ngalagena dilahirkan di bandung jawa barat pada tanggal 5 maret 1929 dari pasangan bapak mas wiranta dan ibu nyi mas imi sarmi. un wafat tanggal 23 maret 2000. udjo ngalagena merupakan anak keenam dari pasangan mas wiranta dan nyi mas imi sarmi, dari kecil namanya hanya udjo saja, kemudian ditambah dengan nama ngalagena. menurutnya ngalagena memiliki tiga arti yaitu: enak, harapan, dan mandiri, sehingga nama tersebut enak didengar, dan bagi dirinya mempunyai harapan untuk dapat hidup mandiri dalam mengembangkan alat musik bambu. udjo ngalagena dimasa hidupnya dari semenjak kecil sudah bermain di lingkungan asri yang berada di pedesaan. bermain sebagaimana layaknya anak desa yang tidak lepas dengan lingkungan sawah dan ladang, dari semenjak kecil sudah mendapatkan keasyikan tersendiri ketika ia bersama teman-temannya bermain di lingkungan kebun bambu. tumbuhan yang satu ini agaknya sudah merupakan bagian dari kehidupan dimana ia awal untuk mempelajari angklung tahun 1933 dan sampai dikenal sebagai seniman angklung, dengan terus menerus mempelajari tentang seluk-beluk bambu untuk mencari kemungkinankemungkinan terbaik dalam membuat angklung yang berkualitas. kesehariannya udjo ngalagena sewaku masa remaja tidak lepas dari kehidupan yang berhubungan dengan bambu, diibaratkan selalu berdampingan dengan bambu. e)*&'*$ 1)&8&8='**5'$ 6)#.'*& !"#$5'*&$4).3)*&='68('*$6)4'&'8$&/./ 3'!'$ 6''7$ 87/>$ !'*$ !87'24'=$ !'.8 3)*"/'('*$ ='68($ 1.)'78;*5'$ !)*&'* 2)24/'7$'('7$2/681$!'.8$4'='*$4'24/> 2'1'$ 3)*&='68('*3/*$ 6)!8187$ !)28 6)!8187$ 4).7'24'=$ 7)./7'2'$ /*7/1 2)*&)24'*&1'*$'('7$2/681$4'24/$!'* 6'*&&'.*5':$ e'('2$ 1.)'78;87'6$ 2/681 4'24/*5'$ 87/$ 4)(8'/$ 2)24/'7$ '('7 2/681>$!'*$5'*&$3).7'2'$!84/'7$'!'('= 6)3).'*&1'7$ 2/681$ '*&1(/*&$ 5'*& 4).61'('$ *'!'$ 3)*7'7#781$ +3)(#&$ !'* 6'()*!.#,:$ 6'='$3)24/'7'*$")*86$2/681 4'24/$ 8*8$ 6)4)7/(*5'$ 6/!'=$ !8.8*786 6)"'1$ 7'=/*$ aisl>$ *'2/*$ 4'./$ 7'=/* aimm$486'$ 7)..)'(86'681'*>$!'*$!'.8$ 6)"'1 87/$ 7)./6$ 2)*)./6$ !"#$ %&'('&)*' 2)*&)24'*&1'*$ 1)2'23/'**5' !'('2$ 2)*&)24'*&1'*$ 7)./7'2' 3)24/'7'*$ 2/681$ '*&1(/*&*5': e86'238*&$ 2)24/'7$ 0*&1(/*&$ 5'*& 4).7'*&&'$ *'!'$ 3)*7'7#*86$ !87'24'= 2)24/'7$ 0*&1(/*&$ 5'*&$ 4).7'*&&' *'!'$ !8'7#7#*86>$ !'*$ ")*86$ ('8*$ 6)3).78 3)24/'7'*$ y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c'68$2/681$'*&1(/*&>$5'*& 1)2/!8'*$ !81)*'($ !)*&'*$ 2/681 '*&1(/*&$ -/*!'$ 1.)'68$ !"#:$ -'*&&'. %$ 5'*&$ 2)./3'1'*$ 3)24'='./$ ")*86 2/681$ '*&1(/*&$ 7)('=$ 2)*"'!81'* !"#$%&!'()"%!*'+,%-,.! 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)!%'/!%'+,#&0&"!%'1,%& 2345 2&& %3'65 7189:8;<8= >'/8?8;<8='@aab f< % -./0%1,20$-,2%3-,")%4+#)./ istilah kreasi [dalam angklung sunda kreasi] sama dengan kreativitas atau kemajuan dalam pengembangan dalam berolah musik, terutama kemajuan yang berkaitan dengan alat musik bambu, khususnya musik angklung dan pembelajarannya. maka dengan itu bahwa musik angklung udjo ngalagenan yang dalam perkembangannya lebih maju, dan mengikuti perkembangan zaman, dibanding dengan jenis angklungangklung yang berkembang di daerah jawa barat lainnya, maka dengan demikian musik angklung ala udjo ini disebut dengan musik angklung sunda kreasi. jenis angklung yang dikembangkan di sanggar udjo ngalagena ini berbeda dengan jenis musik angklung yang ada di daerahdaerah, musik angklung kreasi udjo ini lebih berfariasi, dari mulai jenis-jenis angklung, dan model pembelajarannya. maka dengan demikian musik angklung buatan sanggar un lebih dikenal dengan tabel 1. beberapa jenis musik angklung di jawa barat jenis angklung daerah jenis peralatan fungsi ciri musikal aklung dogdog lojor ciptarasa cisolok sukabumi dua buah dogdog lojor, empat buah angklung ritual dalam konteks pertanian -nyalendro -ostinato -teknik interlocking -unsur vokal angklung badeng desa sanding malangbong garut tiga orang vokalis sembilan buah angklung, 1 kecrek 4buah dogdog lojor 2 buah terbang medium penerangan seni tontonan -nyalendro -ostinato -teknik interlocking -vokal lebih mandiri angklung badud cijulang ciamis enam buah dodog, delapan angklung, 1 buahkempul seni pertunjukan unsur teater -nyelendro -ostinato -teknik interlocking dengan hasil yang lebih melodis angklung buncis desa baros arjarsari banjaran bandung tiga buah dogdog, satu tarompet sembilan angklung kecrek, kempul, gong, sinden seni pertunjukan hiburan vokal lebih mandiri ada melodi tarompet pukulan dogdog lebih menonjol angklung sunda modern saung angklung udjo ngalagena padasuka di bandung beberapa jenis ensambel, jumlah alat angklung 17100 lebih,ditambah alat lain -angklung dgn alat gamelan -angklung dgn alat musik barat seni pertunjukan penyesuaian dengan persepsi modern menggunakan beberapa jenis laras unsur melodi diutamakan lebih orkestra sumber : juju masunah, 1999 !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345 2&& %3'65 7189:8;<8= >'/8?8;<8='@aab sebutan musik angklung sunda kreasi. dikatakan musik angklung kreasi karena jenis-jenis musik angklungnya berfariasi dan dalam proses pembelajarannya disamping mengunakan sistem nomor ditambah dengan metode khusus yaitu dengan menggunakan simbol kode tangan, adanya penambahan alat-alat musik atau mengkomposisikan dengan alat-alat musik seperti kendang, alat musik bas betot dan juga ditambah dengan alat musik gamelan salendro khususnya pada pementasan angklung yang bertangga nada pentatonis [laras salendro]. yang jelas bahwa jenis musik angklung yang di kembangkan di saun itu sudah dimodifikasi dan menyesuaikan dengan majunya tekhnologi modern dan perkembangan zaman. transformasi ini tampaknya tidak bisa dihindari. perbedaan sifat atau fungsi pertunjukan berpengaruh kuat pada kehidupan seni pertunjukan musik angklung udjo ngalagena. dalam sudut pandang wujud budaya, transformasi musik angklung sunda kreasi ini secara signifikan berlaku pada pengalihrupaan dalam tataran pikir, sikap, dan fisik. biasanya musik angklung dipentaskan dalam acara upacara-upacara yang berhubungan dengan padi dan dipentaskan secara arak-arakan, kemudian diangkat kedalam bentuk seni pertunjukan persenium yang bisa ditonton setiap saat bahkan bisa ditonton setiap hari. dalam pembuatan angklung di sanggar udjo ini bisanya dilakukan atau diproduksi setelah bahan bambunya sudah betul-betul kering, disamping untuk supaya kualitas angklungnya bagus terutama suaranya dan yang lebih penting lagi kekuatannya. dalam proses pembuatan angklung disanggar angklung udjo ngalagena ini dilakukan atau dikerjakan secara bertahap yaitu dari mulai pembuatan bahan dasar, pembuatan tiang penyangga, penyeteman awal sebelum di rakit, perakitan atau pengikatan, penyeteman kedua setelah dirakit dan terakhir penyeteman setelah angklung itu disimpan selama kurang lebih tiga bulan. ?).!'6'.1'*$ ;/*&68$ 2/681'(*5' '*&1(/*&$ 5'*&$ !84/'7$ #()=$ 6'*&&'. !"#$ 87/$ 6)('8*$ 2/681$ '*&1(/*&$ 5'*& 4).*'!'1'*$ 3)*7'7#*86$ +3)(#&$ !'* 6'()*!.#,$ "/&'$ '*&1(/*&$ 5'*& 4).*'!'1'*$!8'7#*86:$0*&1(/*&$!8'7#*86 8*8('=$ 5'*&$ 3'(8*&$ 4'*5'1$ !84)(8$ #.'*& 7)./7'2'$ /*7/1$ 6)1#('=96)1#('=$ '7'/ /*7/1$!83).1'*7#.'*: 0*&1(/*&9'*&1(/*&$ 5'*& 4).7'*&&'*'!'$ !8'7#*86$ 8*8$ 3'!' !'6'.*5'$ 7).4'&8$ 2)*"'!8$ !/' 1)(#23#1>$ 5'87/ 5012%)01& @$%"#+6)4'&'8$3)24'g'$2)(#!8,$!'* 5012%)01 52"@h50*$@$0$+6)4'&'8$3)*&8.8*&,: ': 0*&1(/*&$d)(#!8 0*&1(/*&$ 2)(#!8$ !86/6/ 4).!'6'.1'*$ /./7'*$ *'!'9*'!'$ 38'*#> 5'*&$ 6)4)*'.*5'$ 2)./3'1'*$ 7'*&&' *'!'$ 1.#2'781$ +ab$ $ *'!'$ !)*&'*$ "'.'1 6)1#*$ 1)<8($ '7'/$ 4)."'.'1$ 6)7)*&'=$ +arr y)*7,>$ !)*&'*$ g8('5'=$ 6/'.'$ 6'23'8 !)*&'*$78&'$6)7)*&'=$#17';>$!'.8$*'!' ] 6'23'8$*'!' yj$'!'$ "/&'$5'*&$!82/('8 !'.8$ *'!' a86>$ *'2/*$ 3'!'$ /2/2*5' 5'*&$!8&/*'1'*$6)1'.'*&$!82'65'.'1'7 2)*&&/*'1'*$*'!' o$6'23'8$*'!' yj: *7/1$ 2)23).2/!'=$ 686g' 4)('"'.>$ 6)78'3$ '*&1(/*&$ !84).8$ *#2#. /./7>$ !'.8$ *#2#. r$ +*'!' o,$ 6'23'8 *#2#. jr$+*'!' yj,:$%'2/*$'!' 3/('$'*&1(/*&$5'*&$78!'1$!84).8$*#2#.> 7)7'38$='*5'$!84).8$7'*!'$6)6/'8$!)*&'* *'2'$ *'!'$ 2/('1*5'>$ 6)3).78$ a> a86xo)6>$o>$o86x06>$0$!'*$6)7)./6*5': 0*&1(/*&$ 2)(#!8$ 5'*&$ !84).8 *#2#.$ !81)(#23#1'*$ 6)4'&'8 !"#$%&!'()"%!*'+,%-,.! 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)!%'/!%'+,#&0&"!%'1,%& 2345 2&& %3'65 7189:8;<8= >'/8?8;<8='@aab 87/$ &/./$ '7'/ 3)*&'"'.$ ='./6 2)23/*5'8$ 3'7#1'*$ 2)*&)*'8 3)*'238('*$ 686g'$ 5'*& !8'*&&'3$ 7)('=$ 2)2'!'8>$ 4'81 6)('2'$2'/3/*$6)7)('=$8'$4)('"'. 2).)1'$ 4'=1'*$ 5'*&$ /7'2' 6)7)('=$ 2)(/1'*$ /"8 1)7).'238('*$ !)*&'*$ <'.' 3)2)*7'6'*$ 2/681$ '*&1(/*& 6)<'.'$1)6)(/./='*: bc$[*7).'168$&/./$!'*$2/.8! e'('2$ 3)*&)(#(''*$ 1)('6*5' 3)24)('"'.'*$ '*&1(/*&$!'.8$ 78*&1'7 !'6'.$+0,$6'23'8$78*&1'7$2'=8.$3'!' 1)(#23#1$ ?$ !'*$ y$ !8$ -0 %$ 8*8 2)23/*5'8$ <'.'9<'.'$ 6)4'&'8 4).81/7k • y'.'$ 3)*5'23'8'*$ 2'7).8$ &'5' %>$ 6)4'&'8$ 3)*&'*7'.$ 68*&1'7> 48'6'*5'$ &/./$ 2)23).1)*'(1'* !'*$ 2)*")('61'*$ ")*869")*86 2/681$ '*&1(/*&>$ 7'*&&'*'!' 3)*7'7#*86$ d'.'6$ q)(#&$ !'* -'()*!.#$!)*&'*$*#7$ '*&1'$ +!'9 289*'9789(',>$ !'*$ 4).81/7*5' 2'7).8$ ('&/$5'*&$4).7'*&&'*'!' !8'7#*86$ !)*&'*$ 2)*&&/*'1'* *#7$'*&1'$!#9.)928: • -86g'$ 7).()48=$ !'=/(/ !84).8 1)4)4'6'*$ /*7/1$ 2)*<#4' 2)2'8*1'*$ '7'/ 2)24/*581'**5'$ 6)<'.' 4).6'2'96'2': • o/./$ '7'/$ 3)*&'"'.$ 2)24).8 <#*7#=$ 7)1*81$ 2)24/*581'* 2/681$'*&1(/*&>$!'*$6)7)./6*5' 2)24).8$ 2'7).8$ ('&/$ !)*&'* *#7'68$ '*&1'>$ !'*$ !'('2$ <'.' 3)*5'23'8'**5'$'*&1(/*&$5'*& !8&/*'1'*$ !84).8$ *#2#.$ 6)6/'8 *'!'$ !'6'.$ ('&/$ 5'*& !83)('"'.8*5':$ -'('=$ 6'7/$ <#*7#= 4)('"'.$('&/$?/./*&$v'1'7/': • q'!'$ 3.'17)1$ 8*8>$ &/./$ ='./6 4)./3'5'$ '&'.$ !'('2$ 3.#6)6 ('78='*$ 4)./('*&$ 1'(8>$ 1)7)3'7'* *'!'$ ('&/$ 8*8$ 6)2'18*$ 7).<'3'8> 6)=8*&&'$3'!'$ '1=8.*5'$3.'17)1 8*8$486'$7).<'3'8$!)*&'*$4'81 • -)7)('=$ 686g'$ 2)*&/'6'8$ ('&/ 686g'$ !'3'7$ !8'.'=1'*$ /*7/1 2)2c'.8'681'**5' 2)*&&'4/*&1'*$!)*&'*$ 8.8*&'* 2/681$ ('8*$ 286'(*5'$ 8.8*&'* 2/681$ 0./24'$ '7'/$ o'2)('* -'()*!.#: • e'('2$ )c'(/'68$ $ !8$ ('16'*'1'* !)*&'*$ 6)<'.'$ 3)2)*7'6'* 6)<'.'$1)6)(/./='*: ?)('"'.$ 2/681$ '*&1(/*&$ !)*&'*$ 6867)2 *#2#.$ !'3'7$ !8(8='7$ 3'!'$ <#*7#=$ d'&/ ?/./*&$v'1'7/'$4).81/7$k 8-+-,2%4)0)0;-) e$`$!#>$e 0!'&8# 0 0 5 5 . 3 1 . 3 2 . . 0 0 3 4 . 6 0 0 3 3 . 1 3 . 1 7 . . 0 0 1 2 . 4 5 . 4 3 . . . 0 5 5 . 3 1 . 3 2 . . 3 . 2 1 . . . 0 3 3 . 1 3 . 1 7 . . . 7 6 5 . 4 3 . 2 1 . . . 0 5 3 . 5 . 4 4 4 . 4 7 . 7 5 . . . 0 3 1 . 3 3 . 5 6 6 6 6 . 4 2 . 4 2 . 4 5 5 5 1 . 3 4 4 4 4 . 2 7 . 2 5 . 2 3 3 3 5 . 5 3 . 5 3 . 5 6 6 6 2 . 1 7 . 5 3 . 3 1 . 3 1 . 3 4 4 4 4 . 4 3 . 4 6 . 7 1 . . 4 . 4 3 . . unit angklung yang dipakai dalam lagu burung kakatua sesuai nomor angklung seperti pada tabel 2 di bawah. !"#$%&!'()"%!*'+,%-,.! 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universitas negeri semarang email : widodo_unnes@ymail.com abstract children folksongs laras slendro and pelog are full of noble values of national cultures. nowadays, they are abandoned. children as the subjects and appreciators of the songs get more unfamiliar with the songs. the songs are less often heard in the family, schools, playground and the place of living environments and other places of gathering for children. the lack of new creation of folksongs worsens the condition. new creation of the songs is badly needed to introduce, preserve, and plant the noble values of national cultures. when the songs and their values can get to more and more children, the character development of the children will be colored with the values of national cultures. they may grow and become generations that respect values of national cultures. kata kunci: lelagon dolanan anak, pendidikan karakter, pelog dan slendro pendahuluan lelagon dolanan anak pernah hidup dekat dengan anak-anak. setidaknya hingga sekitar tahun 1980-an kondisi demikian masih dirasakan. kita, terutama yang pernah tinggal di pedesaan yang pada masa itu telah seusia anak-anak tentu memiliki kenangan indah. anakanak dengan riang gembira bermain sembari melantunkan lelagon dolanan anak di halaman rumah, ruas-ruas jalan, lingkungan sekolah, dan di tempattempat berkumpul anak. di sekolah, bapak dan ibu guru sering mengajarkan lelagon dolanan anak, nembang macapat, mendongeng cerita rakyat, legenda, dan pewayangan. di rumah, kakek, nenek, bapak, dan ibu juga sering melakukan hal serupa sebagai pengantar tidur. gobang sodor, tikupan (dhelikan), kendhi gerit, dhakon, benthik, egrang, sudhah mandhah, lodrong, dan masih banyak lagi adalah jenis-jenis permainan tradisional yang mewarnai kehidupan masa anakanak. rasanya hampir semua orang terutama yang pernah tinggal atau berasal dari wilayah pedesaan mengenal dan memiliki kenangan indah tentang beragam permainan tradisional dan lelagon dolanan anak. pengalaman indah tersebut terkenang hingga sekarang. lelagon dolanan anak menjadi bagian dari permainan anak-anak tradisional. di sela-sela permainan, lelagon dolanan anak sering dilantunkan. hal ini membuat suasana permainan semakin semarak, akrab, indah, dan menyengangkan. menthok-menthok, kupu kuwi, gundhul pacul, cublak suweng, kate dipanah, sarsur kulonan, buta galak, montor cilik, bocah dolan, jambe thukul, ilir-ilir, pitik jambul, pitik tukung, sluku bathok, sapi, gugur gunung, gajah-gajah, dan lain-lain adalah sebagian dari repertoar lelagon dolanan anak karya leluhur yang telah dikenal dan disajikan oleh anak-anak pada saat itu. karena sering disajikan dalam berbagai kesempatan maka anak-anak menjadi bagian dari kehidupan lelagon dolanan anak. tertanamnya rasa budaya tradisi bangsa kepada anak-anak membuat mereka merasa memiliki terhadap seni budaya bangsanya. bagi kita yang berkesempatan mengenal, mengalami, dan merasakan indahnya permainan tradisional, lelagon dolanan anak, dongeng rakyat, cerita pewayangan, serta nembang macapat tentu dapat merasakan betapa banyak nilai luhur budaya bangsa yang terkandung di dalamnya. kesadaran pentingnya hidup bersama, santun, arif, toleran, religius, hormat pada sesama, cinta lingkugan hidup, dan cinta pada budaya bangsa banyak diajarkan oleh seni tradisi. karena sering diajarkan, didengar, dan disajikan dalam berbagai kesempatan maka nilai-nilai luhur yang tersimpan ikut andil dalam pembentukan kepribadian. berbagai kenangan indah pada masa anak-anak teringat kembali manakala menyaksikan anak-anak sekarang bermain. jenis-jenis permainan anak-anak masa kini merupakan produk teknologi dan industri yang cenderung bersifat individual, materialistik, sekuler, konsumtif, di samping praktis, ekonomis, dan glamour. vidio game, play station, otomotif, robot, senjata api, dan lain-lain adalah jenis-jenis permainan anak sekarang yang memenuhi toko-toko dan tempat-tempat bermain anak. karena memiliki daya pikat luar biasa maka anak-anak pun menjadi kecanduan untuk terus mencoba dan memilikinya. budaya memang terus berubah karena pengaruh berbagai faktor baik ekternal maupun internal. memasuki era gobalisasi lelagon dolanan laras slendro dan pelog semakin menjadi barang asing di kalangan anak-anak. dewasa ini jarang dijumpai anak-anak melantunkan lelagon dolanan anak laras slendro dan pelog. bagi para pecinta karawitan jawa keadaan demikian mengkhawatirkan. salah satu aset seni budaya warisan leluhur bangsa yang dikenal adiluhung terancam kehilangan pendukung. kelangsungan hidup laras slendro dan pelog ditentukan oleh para pelaku dan pendukungnya. karawitan jawa mampu hidup hingga kini karena ada pelaku maupun pendukung hasil bentukan masa lalu. keterasingan anak-anak terhadap laras slendro dan pelog karena banyak sebab. lingkungan sekitar anak baik keluarga, tempat bermain, sekolah, maupun tempat-tempat berkumpul anak lainnya langka didengar, dikenalkan, dan disajikan laras slendro dan pelog. kebiasaan anak-anak dalam bermain melalui media dengan jenis-jenis mainan produk industri yang didukung oleh musik non slendro dan pelog semakin mengasingkan mereka dari laras karawitan. intensitas bermain dan menonton media tinggi semakin menghilangkan memori anakanak dari tangga nada slendro dan pelog. semakin sempitnya ruang untuk bermain di samping kesibukan anak yang relatif padat dalam menyiapkan proses belajar pada pendidikan formal, serta tidak adanya upaya serius dari berbagai pihak untuk mengenalkan, menanamkan nilai luhur budaya bangsa, dan mereaktualisasi aset seni tradisi budaya bangsa sesuai perkembangan jaman juga menjadi faktor-faktor penyebab lain semakin jauhnya jarak pisah anak-anak dengan seni budaya bangsanya. apabila kondisi demikian dibiarkan maka kekhawatiran akan hilangnya rasa kebangsaan, kecintaan, dan kebanggaan pada bangsa dan seni budayanya tidak mustahil dapat terjadi. beberapa butir permasalahan berkait dengan kondisi lelagon dolanan anak laras slendro pelog dalam lembaga pendidikan sd/mi dan upaya mewujudkan generasi berkharakter yakni: 1) kondisi pengenalan lelagon dolanan anak laras sléndro pélog di sd/mi di jawa tengah; dan 2) nilai-nilai luhur lelagon dolanan anak laras slendro dan pelog sebagai elemen penyumbang pembentukan kharakter. karawitan merupakan seni suara baik vokal maupun instrumental yang berlaras slendro maupun pelog (martopangrawit, 1975:1). secara etimologis, karawitan berasal dari kata rawit mendapatkan awalan ka dan akhiran an. kata rawit berarti halus, rumit. karawitan dimaknai sebagai janis musik tradisi nusantara yang memiliki kehalusan, kompleksitas, dan keindahan garap musikal tingkat tinggi. dalam budaya karawitan di indonesia, gamelan digunakan untuk menyebut seperangkat alat musik karawitan. seperangkat ricikan (instrumen) gamelan sebagaian besar terdiri atas alat musik perkusi yang dibuat dari bahan utama logam (perunggu, kuningan, besi atau logam lainnya) dan dilengkapi dengan beberapa alat dari bahan kayu, kulit maupun campuran dari ketiga bahan tersebut. (supanggah, 2002: 12-13) lagu dalam dapat berarti melodi dan ganding. gending adalah komposisi musikal karawitan atau musik gamelan. (sumarsam, 2003: 345 ). semula istilah gendhing digunakan untuk menyebut bentuk komposisi musikal karawitan di lingkungan istana (keraton) surakarta dan yogyakarta. tetapi dalam perkembangan gendhing juga digunakan oleh masyarakat luas untuk menyebut komposisi karawitan yang berasal dari tradisi karawitan istana maupun rakyat pedesaan tanpa deferensiasi (rustopo, 2000:34). dalam arti khusus gendhing adalah susunan nada dalam karawitan (jawa) yang telah memiliki bentuk. terdapat beberapa macam bentuk gendhing, yakni: kethuk 4 arang, kethuk 8 kerep, kerhuk 2 arang, kethuk 4 kerep, kethuk 2 kerep, ladrang, ketawang, lancaran, sampak, srepeg ayak-ayak, kemuda dan jineman. (martopangrawit, 1975:3). gendhing juga berarti balungan (dasar, kerangka, sketsa) gendhing yang dimainkan bersama. komposisi karawitan yang ditulis atau dinotasikan dalam buku-buku atau catatan-catatan lain yang disebut notasi gendhing sebenarnya bukan notasi gendhing melainkan notasi balungan gendhing. balungan gendhing dapat disebut gendhing apabila telah dimainkan secara bersama-sama oleh para penyanyi dengan segenap kreatifitasnya. (supanggah, 2000:6). laras selain digunakan untuk menyebut nada juga tangga nada. laras 1 berarti nada 1, laras 2 berarti nada 2, dan seterusnya. sedangkan laras pelog berarti tangga nada pelog, laras slendro berarti tangga nada slendro. laras dalam arti nada adalah bunyi yang dihasilkan oleh sumber bunyi yang bergetar dengan kecepatan getar teratur. (jamalus, 1988: 16). jika sumber bunyi bergetar dengan cepat maka bunyi yang dihasilkannya tinggi. jika getaran sumber bunyi itu lambat, maka bunyi terdengar rendah. semua nada musikal terdiri atas empat unsur, yakni: (1) tinggi-rendah nada, (2) panjang-pendek nada, (3) keras-lemah bunyi nada, dan (4) warna suara. (miller, 2001: 24). dalam dunia karawitan notasi sebagai simbul laras disebut titilaras. tangga nada atau laras oleh jamalus (1988: 16-17) diartikan sebagai serangkaian nada berurutan dengan perbedaan tertentu membentuk sistem nada. penotasian laras (nada) dalam karawitan jawa menggunakan sistem notasi kepatihan. sistem penotasian karawitan jawa ini dimunculkan oleh adipati sasradiningrat iv pada jaman pakubhuwana x. nada-nada pada gamelan jawa ditulis dengan menggunakan simbul angka satu sampai tujuh. pembacaan notasi tersebut secara berurutan yakni: 1 dibaca ji, 2 dibaca ro, 3 dibaca lu, 4 dibaca pat, 5 dibaca ma, 6 dibaca nem, dan 7 dibaca pi. dalam laras slendroterdapat lima nada, yakni: 1, 2, 3, 5, dan 6, sedang pelog tujuh nada yakni: 1,2, 3, 4, 5, 6, dan 7. (pradjapangrawit, 1990: 169). hardjosoebroto (1980 :83) dalam perbandingan delapan sistem musik dunia: antara lain: laras pelog, laras purba, musik tailand, laras chr hugens, musik internasional, laras musik 17 nada, musik hindu, dan laras slendro mengatakan bahwa laras slendro dan pelog merupakan kebanggaan bangsa indonesia. pada skema perbandingan laras ke 8 laras musik dunia tersebut, tempat kedua laras kita itu paling berjauhan. laras pelog mempunyai kwint yang terkecil yakni, 666 2/3 cent, sedang laras slendromempunyai kwint yang terbesar yaitu 720 cent. hardjito (2001 :4) mengatakan bahwa laras slendro memiliki padantara 5 nada per oktaf (jawa gembyang). interval atau jarak nada antara kelima nada pada laras slendro relatif sama. bila satu oktaf (gembyang) berjarak 1200 cent, maka interval nada-nada laras slendro kurang lebih 240 cent. interval nada yang demikian itu menjadikan laras slendro memiliki rasa laras yang khas, amat berbeda dengan tangga nada musik dunia lainnya. sedangkan laras pelog memiliki 7 buah nada dengan interval yang berbedabeda. lelagon merupakan kata bentukan la-lagu-an. dalam bahasa jawa la-la biasa dibaca le-la. sedangkan gu-an digarba (digabungkan) menjadi gon. kata lalagon juga sering ditulis lelagon. lelagon dapat diartikan sebagai kumpulan atau melagukan lagu-lagu. sedangkan kata dolanan berasal dari kata dasar dolan. dolan berarti bermain. dolanan dapat diartikan permainan. dolanan anak artinya permainan anak-anak. lagu/lelagon dolanan anak adalah komposisi musikal karawitan jawa baik vokal maupun instrumental yang dirancang sedemikian rupa untuk memenuhi keperluan musikal anak-anak. tema teks, bahasa, dan garap musikal lelagon dolanan anak disesuaikan dengan kondisi pisik dan psikis anak. malvin rader dalam buku arti nilai dan seni (terj. johny prasetyo, 1976:1) mengatakan bahwa nilai adalah hasil yang dicapai atau kepuasan yang diperoleh dari adanya kepentingankepentingan. mengejar kepentingan hidup menjadi menarik, dan kepuasan yang diperoleh dari berbagai kepentingan tersebut menjadikan hudup lebih indah. beragam kepentingan hidup melahirkan bergam nilai. kepentingan hidup yang bermacam-macam seperti: kesehatan, keamanan, ekonomi, persahabatan, sepritual, kekuasaan, estetik, dan lain-lain melahirkan bermacam-macam nilai pula seperti: nilai keamanan, kekuasan, ekonomi, persahabatan, kesehatan, dan nilai sepiritual, serta nilai estetik. jakob sumarjo (2000:135) mengatakan bahwa nilai adalah sesuatu yang bersifat subjektif bergantung pada manusia yang menilainya. karena subjektif, maka setiap orang, kelompok orang atau masyarakat memiliki nilainilainya sendiri-sendiri. sesuatu dikatakan mengandung nilai seni atau tidak amat bergantung orang di luar dirinya atau kelompoknya yang menilai. nilai juga berkonteks praktis. dalam hal ini sesuatu dianggap bernilai karena dianggap memiliki kegunaan dalam kehidupan. faktor kebudayaan turut menentukan pandangan seseorang terhadap seni. dengan demikian seni sebenarnya kontekstual karena nilainilainya bersifat kontekstual berhubungan dengan keperluan praktis dan fungsioanl. pendidikan adalah upaya untuk mencapai kedewasaan subjek didik yang mencakup baik segi intelektual, jasmani dan rokhani, sosial maupun emosional. rohidi (1994) menyatakan bahwa pendidikan mempunyai peranan yang penting atau strategis untuk mengembangkan rasa percaya diri, sikap dan perilaku yang inovatif, serta kreatif. kementerian pendidikan nasional telah menetapkan program pendidikan berkarakter. uu sisdiknas tahun 2003 pasal i menyatakan bahwa di antara tujuan pendidikan nasional ialah mengembangkan potensi peserta didik untuk memiliki kecerdasan, kepribadian, dan akhlak mulia. amanah uu itu bermaksud agar pendidikan tidak hanya membentuk insan cerdas namun juga berkepribadian atau berkarakter sehingga kelak lahir generasi bangsa dengan karakter yang bernafas nilai-nilai luhur budaya bangsa. terdapat sembilan pilar karakter yang berasal dari nilai-nilai luhur universal, yaitu: pertama, karakter cinta tuhan dan segenap ciptaan-nya; kedua, kemandirian dan tanggungjawab; ketiga, kejujuran/amanah, diplomatis; keempat, hormat dan santun; kelima, dermawan, suka tolong-menolong dan gotong royong/kerjasama; keenam, percaya diri dan pekerja keras; ketujuh, kepemimpinan dan keadilan; kedelapan, baik dan rendah hati, dan; kesembilan, karakter toleransi, kedamaian, dan kesatuan (suyanto, 2010) pendidikan seni budaya pendidikan seni budaya di sekolah, sebagai dasar dalam membentuk jiwa dan kepribadian. pendidikan seni dapat dijadikan dasar pendidikan. untuk membentuk kepribadian yang baik dapat dilakukan melalui pendidikan seni. kesenian merupakan elemen yang esensial dalam pembentukan watak setiap individu dan faktor yang mendasari setiap penciptaan karya seni, oleh karena itu pendidikan seni; sebagai subsistem dalam pendidikan nasional tidak dapat diabaikan. (rohidi, 2000:5). melalui pendidikan seni budaya dengan bentuk kegiatan berupa aktivitas fisik dan cita rasa keindahan, yang tertuang dalam kegiatan berekspresi, bereksplorasi, berkreasi dan berapresiasi melalui bahasa rupa, bunyi, gerak dan peran (depdiknas, 2001: 7). melalui pendidikan seni anak dilatih untuk memperoleh keterampilan dan pengalaman mencipta yang disesuaikan dengan lingkungan alam dan budaya setempat. serta untuk memahami, menganalisis, dan menghargai karya seni. metode tujuan akhir penelitian adalah tercipta media audiovisual lelgon dolanan anak laras slendro pelog ciptaan dan garapan baru dilengkapi buku ajar. untuk itu dilakukan berbagai tahap penelitian, seperti pemetaan kondisi pembelajaran lelagon dolanan anak di sd/mi di jawa tengah, harapan para pengguna dan pakar karawitan jawa dan penyediaan media dan buku ajar. dalam konteks penelitian untuk pembuatan produk maka pendekatan adalah reaearch and development (r&d). borg dan gall (1983:775-776) mengatakan pendekatan reaearch and development sebagai berikut: 1) kaji situasi & identifikasi pendekatan; 2) kembangkan produk baru; 3) uji coba produk; 4) revisi hingga berhasil; dan 5) terapkan. ada 10 langkah dalam pelaksanaan r&d yakni: 1) research and information collecting, 2) planing, 3) develop prenliminary form of product, 4) preliminary field testing, 5) main product revision, 6) main field testing, 7) operational product revision, 8) operational field testin, 9) final product revision, dan 10) dominition and implementatation. sumber dan teknik pengumpulan data sumber data terdiri atas: pertama, nara sumber yakni orang-orang yang terlibat secara langsung maupun tidak dalam proses pembelajaran lelagon dolanan anak slendro-pelog antara lain: 1) guru seni budaya atau pelatih seni karawitan jawa anak-anak sd/mi; 2) kepala sekolah sd/mi sebagai penentu kebijakan; 3) pakar seni karawitan jawa sebagai pemberi sumbang saran; dan 4) nara sumber lain seperti panitia pekan seni pelajar sd/mi cabang seni karawitan diknas propinsi jawa tengah. kedua, proses pembelajaran seni budaya lelagon dolanan anak di sd/mi. ketiga, dokumen yang berkaitan dengan penelitian ini berupa: data sekolah, guru, siswa, serta sarana prasarana pembelajaran seni budaya di sd/mi di jawa tengah. data penelitian diperoleh melaui angket, pengamatan, dan wawancara. angket digunakan untuk mendapatkan data tentang respon pengguna terhadap lelagon dolanan anak slendro pelog yang telah dibuat. angket deberikan kepada para guru pengampu mata pelajaran seni budaya, anak-anak sd/mi, serta pelaku seni karawitan jawa. dari angket ini diharapkan mendapatkan informasi tentang hal-hal yang diperlukan dan tidak diperlukan dari kalangan pengguna. pengamatan dilakukan antara lain: 1) melalui lomba karawitan anak dalam rangka pekan seni sd/mi baik di tingkat kabupaten/kota, eks karesidenan, maupun propinsi jawa tengah yang menggunakan materi lomba lelagon dolanan anak slendro pelog khususnya ciptaan peneliti; 2) proses pelatihan karawitan anak-anak khususnya yang menggunakan materi latih lelagon dolanan anak slendro pelog; dan 3) proses pelaksanaan pembelajaran seni budaya di sd/mi. sedangkan metode wawancara dilakukan melalui percakapan langsung dengan narasumber sebagaimana telah disebut.. populasi dan sampel populasi penelitian adalah anakanak dan guru sd/mi sebagai pelaku pembelajaran. sampel dilakukan dengan menentukan wilayah kawasan budaya strategis di jawa tengah, yakni: pantura, surakarta (keraton), dan banyumas. pantura dipilih dengan asumsi masyarakatnya memiliki pemahaman terhadap seni budaya khas. selain diambil dari proses pembelajaran di beberapa sd/mi di wilayah ini, pemenang lomba pekan seni sd baik eks karesidenan pati, pekalongan dan semarang juga menjadi fokus pencermatan. kawasan budaya kedua adalah surakarta (keraton) sebagai pusat dan sumber budaya jawa. selain beberapa sd/mi di kota tersebut, sd/mi pemenang lomba karawitan pekan seni sd/mi di tingkat eks karesidenan surakarta juga merupakan sumber data mewakili kawasan budaya setempat. ketiga adalah banyumas yang dikenal memiliki gaya karawitan khas disebut banyumasan. selain beberapa sd di kabupaten banyumas dan sekitarnya, sd/mi pemenang lomba karawitan pekan seni sd/mi tingkat eks karesidenan banyumas merupakan sumber data penting. lokasi dan objek lokasi penelitian adalah jawa tengah dengan penentuan antara lain: 1) kawasan budaya pantura (pantai utara jawa), 2) kota surakarta (keraton); dan 3) kawasan budaya banyumas. fokus pencermatan dilakukan pada peserta pemenang lomba cabang seni karawitan anak-anak pada pekan seni pelajar sd/mi tahun 2008, 2009, dan 2010 tingkat kabupaten/kota maupun eks karesidenan di wilayah masing-masing. objek penelitian adalah kegiatan lomba seni karawitan anak, proses pelatihan karawitan anak dan proses belajar mengajar seni budaya di sekolah khususnya yang menggunakan materi lelagon dolanan anak slendro-pelog terutama ciptaan dan garapan baru. objek penelitian juga lelagon dolanan anak yang telah dibuat dan digunakan sebagai bahan dan materi ajar oleh pihak pengguna. subjek penelitian adalah guru dan atau pelatih karawitan jawa anak-anak serta siswa-siswi sd/mi sebagai peserta didik. teknik analisis data teknik analisis data menggunakan metode deskriptif-kualitatif, yaitu data yang terkumpul dideskripsikan secara rinci dalam bentuk paparan kalimatkalimat. langkah-langkah analisis data penelitian ini setelah mendapatkan masukan yang didasarkan pada logika, teori, pengalaman, dan fenomena yang ada. langkah selanjutnya adalah menganalisis data dengan mengidentifikasi kasus, membandingkan antar kasus, interpretasi, dan kemudian melakukan verifikasi. hasil dan pembahasan lelagon dolanan anak di sd/mi pada bagian ini disampaikan kondisi pengenalan lelagon dolanan anak di sd/mi di jawa tengah. paparan dilakukan secara deskriptif atas dasar data 90 sd/mi di kawasan budaya pantura, banyumas, dan keraton surakarta jawa tengah. guru/kepala sekolah, pelatih, serta siswa merupakan sumber informasi yang terkait dengan kebijakan sekolah, kompetensi guru dan metode pengajaran serta tanggapan siswa terhadap mata ajar lelagon dolanan anak. ketersediaan sarana-prasarana pembelajaran juga menjadi objek yang dicermati. harapan sekolah lembaga pendidikan formal sd/mi merupakan tempat strategis untuk menanamkan nilai-nilai luhur budaya bangsa. pada umumnya fihak sekolah sd/mi seperti: kepala sekolah, guru/pelatih, dan siswa menganggap perlu lelagon dolanan anak laras slendro dan pelog sebagai aset budaya bangsa yang menyimpan nilai-nilai luhur diajarkan di sd/mi. namun untuk mewujudkannya ditemukan beberapa kendala seperti: kompetensi guru, sarana dan prasarana termasuk materi dan media ajar. harapankepala sekolah busri efendi, kepala sekolah sd bandung rejo i mranggen, demak mengatakan bahwa lelagon dolanan anak merupakan lagu-lagu yang dinyanyikan oleh anak-anak sambil bermain. beberapa lelagon dolanan anak pernah dinyayikannya antara lain: pitik walik jambul, buta galak, jambe tukul, ilir-ilir, dan lain-lain. ia berharap lelagon dolanan anak yang sarat nilai luhur dapat dilestarikan. di sekolahnya lelagon dolanan anak sléndro pélog dikenalkan melalui mata ajar bahasa jawa dan seni suara daerah. pernyataan yang mirip disampaikan oleh wasup sp., kepala sekolah sd negeri buaran 01 jati barang, brebes. ia mengatakan bahwa lalagon dolanan anak merupakan lagu-lagu yang baik dan menyenangkan untuk dimainkan oleh anak-anak. di dalam teks lagu juga terdapat pitutur (ajaran) luhur yang perlu dikenalkan kepada siswa sd/mi agar mereka tumbuh menjadi warga bangsa yang berbudi pekerti luhur serta cinta tanah air. sumarno, kepala sekolah sd n patihan 01 jetak tani desa jetak sidoharjo, sragen juga pelaku dan pelatih karawitan jawa mengatakan bahwa sejak tahun 1994 di sekolahnya telah diajarkan tembang macapat dan lelagon dolanan anak melalui mata ajar seni suara daerah. repertoar lelagon dolanan anak lama terpaksa digunakan sebagai materi ajar walaupun tema, bahasa, dan makna teks telah asing bagi anak karena sulit ditemukan materi baru yang baik untuk anak. ia berharap dapat disediakan lelagon dolanan anak slendro pelog baru dengan tema teks aktual bagi anak-anak. bahasa pada cakepan lelagon sebaiknya dibuat komuniukatif dan mengandung pesan budi pekerti luhur. agar anak-anak mampu menyajikan, nada-nada yang tersusun tidak merambah pada nada terlalu tinggi atau terlalu rendah. juremi hadi, kepala sekolah sd n seren, sulang, rembang juga pemain gamelan dan ketoprak mengatakan bahwa bahasa pada lelagon dolanan anak sebaiknya mudah dimengerti oleh anakanak. apabila terpaksa menggunakan bahasa asing perlu diberi penjelasan melalui buku ajar. ajakan cinta pada budaya sendiri, hormat pada orang tua dan nenek moyang serta cinta taanah air perlu ditekankan. koesnendi, kepala sekolah sd n keramat 02 desa sewaka pemalang, tokoh karawitan jawa di daerah setempat memberikan beberapa masukan dalam lelagon dolanan anak sléndro pélog ciptaan baru, yakni: 1) lelagon dolanan anak dibuat dalam bentuk audiovisual disertai buku ajar; 2) tema lelagon tentang budaya jawa tengah; 3) musikalitas lelagon sesuai kondisi fisik dan psikis anak-nak; 4) lelagon dolanan anak dapat dikolaborasikan dengan tari agar dapat digunakan sebagai musik tari anak; 5) teks lelagon dolanan komunikatif dan berisi pitutur luhur. selanjutnya koesnendi berharap lelgon dolanan anak dapat disampaikan kepada anak agar nilai-nilai luhur budaya bangsa tertanam di hati generasi penerus. harapan para kepala sekolah sd/mi pada umumnya hampir sama yakni lelagon dolanan anak sléndro pélog perlu dikenalkan kepada siswa agar nilai-nilai luhur budaya bangsa yang tersimpan dapat dikenal oleh oleh anak-anak. mempelajari lelagon dolanan anak secara tidak langsung menginternalisasi nilai-nilai luhur budaya bangsa dalam diri anak-anak. harapan guru dan pelatih beberapa guru/pelatih yang dimintai masukan orang yang memiliki pengetahuan dan keterampilan bidang karawitan jawa dan terlibat langsung dalam proses pembelajaran seni budaya dan persiapan lomba pekan seni pelajar sd/mi bidang karawitan. surawan, guru sd n sempor, kebumen, pelatih karawitan jawa anak-anak yang beberapa kali menjuarai lomba karawitan anakanak pada pekan seni pelajar di tingkat eks karesidenan kedu dan propinsi jawa tengah memberikan saran antara lain: 1) tema teks lagu aktual dan dikenal oleh anak-anak, misalnya: game, komputer, film kartun, dan lain-lain. tetapi tema tentang ketuhanan, moral, budi pekerti juga penting dalam lelagon dolanan anak. ciri khas daerah yang berkenaan dengan hasil produksi pertanian, pariwisata, makanan, seni budaya, dan lain-lain dapat dipertimbangkan sebagai tema teks lelagon; 2) bahasa pada teks lelagon mudah dimengerti oleh anak; 3) bentuk gendhing cukup lancaran, srepeg, ketawang atau paling besar ladrang; 4) garap musikal lelagon dinamis sesuai kondisi anak. 5) nada lagu paling tinggi 2 cilik paling rendah nada 5 gedhe.1 indrawan nur cahyono, pelatih tembang dan karawitan jawa di sd citarum i, ii, ii kota semarang merasa kesulitan untuk mendapatkan materi dan media ajar lalagon dolanan anak sléndro pélog yang sesuai kondisi anak-anak sekarang. repertoar lelagon dolanan lama seperti gundhul-gundhul pacul, sluku-sluku bathok, jambe-jambe thukul, ilir-ilir, cublakcublak suweng, pendhisil, dan lain-lain dari aspek teks lagu sulit dimengerti. ia berharap dapat disediakan lelagon dolanan anak yang mempertimbangkan kondisi anak-anak dan jaman. tanggapan para guru dan pelatih seni di sd/mi umumnya hampir sama yakni bahwa nilai-nilai luhur budaya baik yang tersimpan perlu disampaikan kepada anak-anak agar kelak mereka tumbuh menjadi generasi yang berkepribadian. pelatih yang berlatar belakang karawitan memberi masukan konstruktif untuk untuk menyediakan media dan bahan ajar lelagon yang sesuai kharakter anak, antara lain tema lagu aktual, bahasa teks komunikatif, ambitus disesuaikan dengan kemampuan fisik anak, dan garap musikal energik serta dinamis. harapan murid beberapa siswa sd/mi peserta lomba di berbagai tingkat dan tempat di jawa tengah dimintai tanggapan mengenai beberapa lelagon dolanan anak ciptaan peneliti seperti: tari bali (sebagai materi lomba pekan seni pelajar tahun 2008), nonton wayang (materi pekan seni pelajar tahun 2009), dan swara kewan (materi pekan seni pelajar tahun 2010). mereka senang dalam menyajikannya. siswa-siswa sd/mi peserta lomba karawitan anak pekan seni pelajar umumnya berharap agar lomba tahunan yang diselenggarakan oleh diknas kota/kabupaten maupun provinsi tetap dilakukan selain sebagai wahana silaturahmi antar kelompok peserta lomba, mereka juga merasa senang dapat bermain gamelan jawa dan nembang jawa, kenal bahasa jawa melalui teks tembang, dapat mengenakan busana adat jawa dan berkesempatan pentas di hadapan kalayak. lelagon dolanan anak harapan pakar karawitan jawa lukas danasmara, pencipta, penggarap dan penyaji karawitan jawa, pegawai taman budaya jawa tengah surakarta (tbs) mengatakan bahwa sepeninggal ki nartosabdho maestro karawitan jawa yang produktif mencipta gending pada era 1950-an hingga 1980-an, serta komponis-komponis lain se-jaman seperti: ki martapangrawit dan ki cakrawarsito hingga kini belum muncul pencipta karawitan dan karya gendhinggendhing jawa baru yang memasyarakat. lukas danasmara memberi masukan untuk lelagon dolanan anak ciptaan baru, antara lain: 1) tema teks lagu aktual; 2) isi teks menumbuhkan kecintaan pada lingkungan alam, budaya, dan bangsa; 3) bahasa teks lagu komunikatif; 4) potensi dapat dipikirkan sebagai tema atau judul lagu; 5) teba wilayah lagu mempertimbangkan kemamampuan fisik anak; 6) garap musikal gendhing dinamis. sugiarto, pegawai di dinas pariwisata kabupaten cilacap dan tokoh karawitan jawa didaerah setempat mengatakan bahwa kehidupan musik lokal termasuk lelagon dolanan anak sléndro pélog memprihatinkan, terdesak oleh produk seni industri hiburan modern yang melimpah. agar musik daerah mampu hidup di tengah era global perlu dilakukan upaya pelestarian dan pengembangan yang sungguh-sungguh dari berbagai fihak. wuryanto, pelatih karawitan anak sd n bandungan 01 jatinom klaten sebagai pemenang pada lomba pekan seni pelajar tingkat propinsi jawa tengah tahun 2008, mengatakan bahwa hal-hal yang perlu diperhatikan dalam penciptaan lelagon dolanan anak antara lain: tema, bahasa, dan musikalitas gendhing disesuaikan dengan kondisi pisik dan psikis anak. tema teks lagu dikenal oleh anak, bahasa teks lagu komunikatif, musikalitas lelagon dinamis, atraktif dan ambitus dapat dijangkau oleh anak. juwandi, pelatih karawitan jawa kelompok anak-anak dari sragen sebagai juara i pekan seni pelajar tingkat jawa tengah tahun 2009, guru seni di sd fransiskus jl. rokan sragen mengatakan bahwa selama bahan dan media ajar lelagon dolanan anak juga tembang macapat untuk sd langka. ia menyambut baik penciptaan dan penyusunan lelagon dolanan anak sléndro pélog sebagai bahan dan media ajar di sd/mi sebagai referensi. anak-anak sebagai generasi penerus perlu dikenalkan lebih awal pada seni budaya bangsa agar kelak memiliki rasa cinta pada bangsa sendiri. ahli karawitan jawa sebagai narasumber berjumlah 18 orang. mereka dipilih bukan hanya karena pakar dalam bidang ini melainkan juga terlibat langsung dalam proses pembelajaran/pelatihan lelagon dolanan anak sléndro pélog di kelas maupun di luar kelas untuk mempersiapkan berbagai keperluan pentas termasuk lomba. golongan masyarakat inilah yang bekerja paling keras dalam upaya melestarikan dan mengenalkan lelagon dolanan anak laras slendro pelog berikut nilai-nilai luhur yang tersimpan di dalamnya kepada anak-anak. atas perjuangan mereka lelgon dolanan anak sléndro pélog kini masih tertunda kepunahannya. kendala proses pengajaran lelagon dolanan anak terdapat beberapa hambatan pada proses pembelajaran lelagon dolanan anak sléndro pélog di sd/mi antara lain: 1) kompetensi guru/pelatih kurang memadai; 2) keterbatasan bahan dan media ajar; 3) keterbatasan waktu pembelajaran; 4) keterasingan anak terhadap laras slendro dan pelog; dan 5) keterbatasan kemampuan berbahasa jawa. keterangan selengkapnya tentang berbagai kendala sebagai berikut. kompetensi guru kendala utama untuk mengajarkan lelagon dolanan anak laras slendro dan pelog adalah kompetensi guru. dari 56 guru sd/mi yang dimintai keterangan, sisi penguasaan terhadap lelagon dolanan anak laras slendro pelog lemah. mereka dapat menyebut judul repertoar lelagon dolanan anak sléndro pélog tetapi umumnya kurang paham terhadap teks dan lagu beberapa lelagon yang disebut-sebut antara lain: gundhul pacul, ilir-ilir, buta galak, sluku bathok, pitik walik jambul, pitik tukung, wajibe dadi murid, tikus pithi, kate dipanah, dan lainlain. aspek lelagon yang dianggap paling sulit adalah lagu dengan laras slendro dan pelog. laras slendro dan pelog berikut pembacaan notasinya juga asing di kalangan guru. laras slendro bagi mereka merupakan laras yang amat sulit disuarakan. karena guru kurang menguasai slendro dan pelog maka tembang, lelagon dolanan anak, dan karawitan jawa langka terdengar di sekolah. mata ajar tembang baru diberikan di sd/mi manakala di sekolah tersebut memiliki guru yang relative menguasai laras slendro dan pelog. atas dorongan ingin mengajarkan tembang jawa pada siswa untuk berbagai persiapan keperluan utamanya lomba, maka sekolah kemudian mengangkat pelatih dari luar sekolah yang dianggap memiliki kemampuan karawitan dan tembang jawa. tetapi untuk melakukan tindakan demikian tidak semua sd/mi memiliki kemampuan terutama secara finansial. sekolah yang tidak memiliki kemampuan finansial lebih memilih tidak mengajarkan tembang-tembang jawa. keterbatasan bahan dan media ajar buku dan media ajar lelagon dolanan anak untuk sd/mi amat langka. kadang-kadang ditemukan buku atau media berjudul lagu atau tembang dolanan anak namun setelah dilihat ternyata bukan dalam arti lelagon dolanan anak laras slendro dan pelog melainkan laras diatonik musik barat. pada lain kesempatan kadang ditemukan literatur lelagon dolanan anak laras slendro dan pelog namun dalam bentuk yang sangat sederhana, yakni tulisan tangan kumpulan notasi gending-gending dolanan lama tanpa keterangan. untuk dapat mengaksesnya pun tidak mudah. pemiliknya biasanya seorang pengrawit, pesindhen, dalang atau anggota masyarakat lain yang menekuni karawitan jawa. kepemilikan notasi lelagon dolanan anak tersebut digunakan untuk kalangan sendiri. keterbatasan waktu pembelajaran pelajaran seni budaya di sekolah biasanya diberi alokasi waktu 2 jam pelajaran dalam seminggu yang terintegrasi dengan mata ajar keterampilan. mata pelajaran seni budaya di beberapa tempat bernama seni suara daerah. pada mata pelajaran inilah karawitan dan tembang jawa dikenalkan. materi dan media ajar dipersiapkan atas inisiatif dan kreatifitas guru pengajar. bagi sekolah yang tidak memiliki guru yang menguasai bidang tembang dan karawitan jawa umumnya pelajaran seni budaya diisi dengan lagu-lagu daerah non slendro dan pelog dengan bantuan alat-alat musik diatonik, seperti: pianika, gitar, suling, atau lainnya. bahkan ada pula sd/mi yang mengajarkan lagu bernuansa islamik atau berbasis agama tertentu lainnya kepada anak didik. karena keterbatasan waktu, bagi sd/mi yang memiliki guru yang memiliki kemampuan pada bidang karawitan jawa umumnya melakukan pelatihan di luar waktu pelajaran sekolah secara ekstra kulikuler. sekolah-sekolah sd/mi peserta lomba karawitan anak dalam rangka pekan seni pelajar baik di tingkat kabupaten/kota, eks karesidenan, maupun provinsi umumnya melakukan pelatihan karawitan jawa di luar jam pelajaran sekolah karena durasi waktu pelajaran seni budaya di kelas tidak amat terbatas. pada menjelang penyelenggaraan lomba karawitan anak maupun tembang macapat pada berbagai tempat dan keperluan, umumnya sekolah yang akan mengirimkan peserta mengalokasikan waktu khusus dengan jumlah dan durasi pertemuan bervariasi. tambahan frekuensi dan waktu pertemauan dilakukan untuk mempersiapkan calon peserta lomba sebaik mumngkin agar memperoleh nominasi dalam lomba. keterasingan anak terhadapllaras slendro dan pelog tidak banyak anak-anak yang dapat menyuarakan laras slendro pelog dengan baik. hal ini dapat dilihat pada antara lain lomba nembang macapat anak-anak untuk berbagai keperluan. anak-anak sebagai peserta lomba yang dianggap sebagai wakil terbaik dari sekolah pun banyak yang tidak dapat menyuarakan laras slendro dan pelog dengan baik, apalagi anak-anak kebanyakan lainnya. akibatnya adalah tembang, karawitan jawa, dan lelgon dolanan anak yang berlaras slendro pelog semakin jauh dari dunia anak-anak. anak-anak pada umumnya lebih akrab dengan lagu-lagu popular non slendro pelog yang didapat dari berbagai referensi terutama media masa elektronik walaupun secara musikal tidak tepat untuk konsumsi mereka. anak-anak menyanyikan lagu-lagu untuk orang dewasa bertema percintaan, perselingkuhan, perceraian, kritik sosial, dan lain-lain telah menjadi pemandangan yag biasa. latar belakang murid mempengaruhi kemauan dalam menerima mata ajar lelagon dolanan anak slendro pelog. bagi murid yang pernah mengenal lelagon dolanan anak slendro pelog memalui berbagai cara, misalnya lewat mata pelajaran di sekolah, lewat lingkungan bermain, lingkungan tempat tinggal, maupun lewat lingkungan keluarga, umumya mempunyai kemauan lebih baik daripada murid yang asing sama sekali terhadap bidang seni ini. murid dari lingkungan masyarakat pedesaan, pinggiran kota yang masih menggunakan bahasa jawa sebagai bahasa ibu umumnya mempunyai kemauan lebih kuat dalam menerima pelajaran lelagon dolanan anak, karawitan dan tembang jawa. keterbatasan kemampuan berbahasa jawa kemauan dan kemampuan anakanak dalam berbahasa jawa tidak lebih baik dari daripada keterampilan mereka dalam menyuarakan laras slendro dan pelog. bahasa jawa pun semakin titinggalkan oleh anak-anak. di rumah terutama di perumahan wilayah perkotaan, bahasa jawa bukan lagi menjadi bahasa ibu. komunikasi keseharian dalam lingkungan keluarga menggunakan bahasa indonesia. di sekolah bahasa jawa juga menjadi mata pelajaran yang menakutkan. mempelajari bahasa jawa juga dianggap oleh sebagian kalangan kurang “bergensi”, kuna, tidak modern, konservatif, dan lain-lain. beberapa alasan inililah yang menjadikan pihak-pihak pemangku kepentingan kurang sungguh-sungguh dalam mengajarkan bahasa jawa. pada umumnya teks lelagon dolanan anak slendro dan pelog menggunakan bahasa jawa. karena merupakan karya seni, sering kali bahasa jawa dalam teks lelagon dolanan dibuat secara puitis. telah diketahui bahwa dalam bahasa puitis selain makna keindahan susunan kata juga diutamakan. karena itulah maka sering dijumpai teks lelagon dengan susunan kata yang indah tetapi makna sulit dimengerti. keterbatasan kemampuan anak-anak dalam memahami bahasa jawa tersebut juga melemahkan kemauan anakanak dalam mempelajari lelagon dolanan anak laras slendro dan pelog. mewujudkan pendidikan berkharakter kesenian merupakan elemen esensial dalam pembentukan watak setiap individu dan faktor yang mendasari setiap penciptaan karya seni. seni budaya sebagai mata pelajaran di sekolah didasarkan pada: pertama, pendidikan seni memiliki sifat multilingual, multidimensional, dan multikultural. multilingual berarti seni bertujuan mengembangkan kemampuan mengekspresikan diri dengan berbagai cara seperti: melalui bahasa, rupa, bunyi, gerak, dan paduannya. multidimensional berarti seni mengembangkan kompetensi kemampuan dasar siswa yang mencakup persepsi, pengetahuan, pemahaman, analisis, evaluasi, apresiasi, dan produktivitas dalam menyeimbangkan fungsi otak kanan dan kiri dengan memadukan unsur logika, etika, dan estetika. sedangkan multi kultural berarti seni bertujuan menumbuh-kembangkan kesadaran dan kemampuan berapresiasi terhadap keragaman budaya lokal dan global sebagai pembentukan sikap menghargai, toleran, demokratis, beradab, dan hidup rukun dalam masyarakat yang majemuk. melalui pendidikan seni anak dilatih untuk memperoleh keterampilan dan pengalaman mencipta sesuai dengan lingkungan alam dan budaya setempat serta untuk memahami, menganalisis, dan menghargai karya seni. pendidikan seni sebagai mata pelajaran di sekolah dapat menjadi media yang efektif dalam mengembangkan pengetahuan, keterampilan, kreativitas, dan sensitivitas anak dalam pembentukan kepribadian. lelagon dolanan anak laras slendro pelog dapat ikut andil dalam pembentukan kepribadian yang baik bagi anak didik karena di dalamnya sarat kandungan nilai luhur budaya bangsa. beberapa nilai luhur tersebut antara lain: nilai religius teks lelagon dolanan bernilai religius ada yang disampaikan secara tersirat maupun tersurat. contoh teks lelagon dolanan yang muatan nilai religiusnya disampaikan secara tersirat antara lain ilir-ilir yang konon ciptaan sunan kalijaga. teks lagu ilir-ilir. ilir-ilir tandure wus sumilir tak ijo royo-royo tak sengguh penganten anyar bocah angon penekna blimbing kuwi lunyu-lunyu peneken kanggo mbasuh dodot ira dodot ira kumitir bedhah ing pinggir domana jlumatana kanggo seba mengko sore mumpung gedhe rembulane mempung jembar kalangane ya suraka surak hore terjemahan: ilir-ilir (bergoyang diterpa angin sejuk) tanamanya telah mulai tumbuh tampak hijau kemilau dikira penganten baru anak penggembala panjatlah pohon blimbing itu walaupun licin panjatlah untuk membersihkan pakaianmu pakaianmu bergerak-gerak (karena) sobek di pinggir jahitlah perbaikilah untuk menghadap nanti sore selagi terang bulan dan luas kesempatan mari bersorak-sorak hore tafsir makna teks: telah datang kabar gembira masuknya agama islam di jawa. dalam teks lagu ditunjukan oleh kata ilir-ilir, terpaan angin sejuk. kedatangan agama islam diterima baik oleh masyarakat, tandure wus sumilir. penyebaran agama islam lambat laun semakin menggembirakan ibarat penganten baru, tak ijo royo-royo tak sengguh penganten anyar. masyarakat seyogyanya menjalankan ke lima rukun islam, dalam teks lagu diibaratkan buah blimbing yang permukaannya bergerigi 5, bocah angon penekna blimbing kuwi. walaupun berat perlu dilakukan (lunyu-lunyu peneken) sebagai upaya untuk membersihkan diri dari segala perbuatan yang tidak baik atau kepercayaan yang dianggap menyimpang (kanggo mbasuh dodotira). segala perbuatan mungkar menjadi penghalang dalam menghadap allah swt. perbuatan mungkar atau keyakinan menyimpang, dodotira kumitir bedhah ing pinggir, perlu segera diperbaiki, domana jlumatana, selagi terbuka kesempatan, mumpung gedhe rembulane mempung jembar kalangan, marilah bersorak gembira, yo suraka surak hore. nilai kebersamaan, kegotong-royongan bngsa indonesia memiliki sifat kolektif, bersama, bergotong-royong dalam mengatasi persoalan hidup. masyarakat sadar hidup sebagai makluk sosial. manusia tidak dapat hidup tanpa batuan orang lain. lelagon dolanan yang teks lagunya mengajak hidup bergotong royong dalam menyelesaikan tugas antara lain lelagon gugur gunung. teks vokal lelagon “gugur –gunung” ayo kanca ayo kanca ngayahi karyane praja kene-kene kene-kene gugur gunung tandang gawe sayuk-sayuk rukun bebarengan ro kancane lila lan legawa kanggo mulya ning negara siji loro telu papat maju papat-papat diulang ulung ake pamrih enggal rampunge holobis kontul baris holobis kontul baris holobis kontul baris holobis kontul baris terjemahan : marilah kawan mengerjakan tugas negara kemarilah bahu-membahu untuk bekerja menyatu, rukun bersama-sama dengan kawan bekerja dengan ikhlas untuk kejayaan negara satu dua tiga empat (aba-aba) maju empatempat dilakukan secara estafet agar ( pekerjaan ) segera selesai aba-aba: holobis kontul baris holobis kontul baris teks lagu di atas mengajak kita semua untuk melakukan tugas-tugas bangsa dan negara. sejak kalimat pertama teks vokal menunjukan betapa pengarang memiliki kecintaan besar terhadap bangsa dan negara. orang lain diajak untuk melakukan hal yang sama dengan cara mengerjakan tugas dan membuat karya sesuai keahliannya. bersatu, rukun, bahumembahu, bergotong-royong, dan ikhlas menjadi kekuatan besar dalam rangka mencapai kejayaan bangsa. nilai kebangsaan indonesia adalah bangsa pejuang. hal demikian antara lain terbukti dalam upaya untuk merebut kemerdekaan bangsa pada 17 agustus 1945. rakyat indonesia secara bahu-membahu, bersatu, bersama para pemimpin membebaskan diri dari kaum penjajah. pengorbanan yang diberikan bukan hanya harta benda dan tenaga melainkan juga nyawa. dalam lelagon dolanan tema perjuangan merebut kemerdekaan bangsa antara lain dapat dilihat dalam teks lagu empat lima sebagai berikut. teks lagu empat lima galo kae genderane kumlebet angawe-awe abang putih sang dwi warna iku lambang sejatine negara kita wus merdika kang adhedhasar pancasila dumadi kalaning tanggal pitulas agustus sasine nuju tahun sewu sangang atus patang puluh lima ramabate ratahayu, holobis kontul bari ramabate ratahayu, holobis kontul baris tumandang bareng maju nungal tekad rahayu merdeka merdeka merdeka bumi klahiranku merdeka merdeka merdeka wus tetp merdeka. terjemahan lihatlah (itulah) bendera kita berkibar-kibar melambai-lambai merah putih sang dwi warna sebagai lambang yang sejati negara kita telah merdeka yang berdasarkan pancasila lahir pada tanggal 17, agustus bulannya pada tahun 1945 aba-aba pemberi semanat: ramabte ratahayu, holobis kontul baris bekerja bersama-sama untuk maju satu tekat ( pasti ) selamat merdeka merdeka merdeka, bumi kelahiran kita merdeka merdeka merdeka (sekali merdeka) tetap merdeka betapa dalam teks lagu empat lima mengingatkan kita pada peristiwa bersejarah bangsa indosesia. kata-kata yang tersusun dalam teks lagu kiranya mudah dipahami. teks lagu berupa berita kemerdekaan indosesia tangal 17 agustus 1945. bendera sang merah putih telah berkibar sebagai tanda kemerdekaan bangsa berdasarkan pancasila. untuk mempertahankan kemerdekaan kita mesti bersatu dalam tekad maju dan merdeka. nilai estetik sebagai karya seni lelagon dolanan amat memperhatikan keindahan seni baik aspek garap musikal maupun teks lagu. susunan kata dalam teks lagu mempertimbangkan aspek keindahan sastrawi. sedangkan aspek lagu mengutamakan keindahan musikal. teks sastra yang indah semakin terasa manakala dilagukan dengan musikalitas tertentu. apabila disajikan bersama gamelan jawa garap musikal instrumen mengutamakan keindahan musikal sesuai kaidah garap musikal yang berlaku. lelagon ronda kampung . 6 . . ! 6 5 @ . 5 . ! . . @ 6 ken – thong-an im bal tan dha ron dha 6 6 . . 6 5 6 ! @ .! @ . 5 5 kam-pung a ja we-gah yo a yo kan-ca . 6 5 6 ..2 1 1 1 . . . 5 6 ! mbok a ja lem-bon pa-dha sing tang-gon . @ ! @. x5x x! 6 6 6 .. j5j 6 ! 6 5 kam-pung-e nya ta a doh a-doh dur-ja-na . ..... 2 5 5 . 2 5 5 . ! 6 sak i ki wan -ci ne ngli-lir . . ... . @ ! ! . @ 6 j5jj j 6 ! 6 sing pa-dha tu ru wancine ngli-lir terjemahan teks : bunyi kentongan imbal-imbalan sebagai pertanda siskamling jangan malas marilah kawan janganlah seperti lembu (malas) yang tegu (agar) kampung jauh dari penjahat sekarang saatnya bangun yang sedang tidur saatnya bangun teks dan musikalitas lelagon di atas digarap sedemikian rupa selain “enak” dirasakan secara estetik musikal juga mengandung pesan moral yang bermanfaat bagi kehidupan bermasyarakat. melalui teks lagu pesan moral dapat diketahui. lelagon rondha kampung mengajak masyarakat agar rajin melakukan siskamling sehingga kampung aman dan terhindar dari tindak kejahatan. dari keterangan di atas dapat dinyatakan bahwa dalam lelagon dolanan tersimpan beragam nilai luhur yang berakar pada budaya bangsa indonesia khususnya jawa. dalam upaya untuk membangun jatidiri dan karakter bangsa, lelagon dolanan perlu dikenalkan kepada generasi muda khususnya anak-anak. mereka adalah pemegang tongkat estafet perjalanan kehidupan berbaangsa dan bernegara. bila mereka kurang pemahaman dan pengalaman pada potensi seni budaya bangsa dikhawatirkan kelak bangsa ini akan kehilangan jatidiri dan karakter yang “budi lu daftar pustaka compbell, don. efek moart memanfaatkan kekuatan musik untuk mempertajam pikir, meningkatkan kreativitas, dan menyehatkan tubuh. jakarta: gramedia putaka utama. 2001. depdiknas. kurikuum berbasis kompetensi mata pelajaran pendidikan seni sekolah dasar. jakarta : depdiknas, 2001. depdiknas. 2010. kurikuum berbasis kompetensi mata pelajaran pendidikan seni sekolah dasar. jakarta : depdiknas. djohar, ms. 1999. "menuju otonomi pendidikan", makalah. mencari paradikma baru sistem pendidikan nasional, menghadapi milenium ketiga. yogyakarta: ispi. harjito, priadi. 2001. ”kebinekaan laras, keserupaan laras, dan metode penetapannya”. makalah. bandung: stsi. hastanto,sri.1986.’’the concept of pathet in central javanese gamelan musik’’.disertation.durham university. jamalus. 1988. pengajaran musik melalui pengalam musik. jakarta : depdikbud. miller, hugh m. tt. apresiasi musik. terjemahan bramantyo,t. yogyakarta: lentera budaya. rader, malvin. 1976. terjemahan : arti nilai dan seni. new jersey: prentice hall englewood dliffs. rohidi, t.r., 1992. “pendidikan seni rupa sebagai pengembangan potensi dan pelestarian nilai-nilai estetik”, makalah: semarang. rohidi, t. r., 2000. kesenian dalam pendekatan kebudayaan, stsi bandung, bandung. rustopo. 2000. bangun jatuh industri rekaman (musik) gending karawitan jawa. jurnal ilmu dan seni vol ii no.2. surakarta : stsi. sedyawati, edi. 2002. ”di depan dan dibalik pentas: dialog tersembunyi di dalam seni pertunjukan. soemarjo, jacob. 2000. filsafat seni. bandung : itb. semiawan, conny. 2001. “pendidikan guru di masa yang akan datang”, makalah reformasi pendidikan nasional, yogyakarta, 16-17 maret 2001. sumarsan. 2003. gamelan interaksi budaya dan perkembangan musikal di jawa. supanggah, r. 2002. bothekan karawitan i. jakarta: mspi. slamet ph., “model pengembangan kurikulum pendidikan seni”, makalah lokakarya dan seminar nasional pendidikan seni, jakarta, 18-20 april 2001. sunaryo, aryo, “peranan guru pendidikan seni rupa yang berkualitas dalam pendidikan”, makalah pada seminar dan pameran seni lukis sanggar budaya kab. tegal, 13-15 november 1992. suwarsih, madya. “mencari paradigma baru sistem pendidikan nasional menghadapi milenium ketiga”, makalah seminar pendidikan nasional , yogyakarta, 1999. uu ri nomor 2 tahun 1989, sistem pendidikan nasional, media wiyata, semarang. yusuf, samsu, l. n., 2000. psikologi perkembangan anak dan remaja, pt. remaja, bandung, peningkatan hasil belajar seni musik dengan media audio visual melalui metode bervariasi lidya fita kusumadewi* suharto** microsoft word isi harmonia x no 2 2010 pendidikan seni tari melalui pendekatan ekspresi bebas, disiplin ilmu, dan multikultural sebagai upaya peningkatan kreativitas siswa eny kusumastuti staf pengajar sendratasik, fbs, unnes, email: eny_unnes@yahoo.com abstract the problem of the study is how the process of the implementation of dance education through the approach of free expression, disciplines and multicultural as an effort to increase students' creativity. the study employed qualitative approach with the researcher herself as the research instrument. data collection techniques included focused interviews, participant observation, and study documentation. data analysis was done by reducing, clarifying, describing, concluding, and interpreting all the information selectively. the results show the process of implementation of dance education is inseparable from the teaching-learning process, which covers: curriculum, objectives, teaching materials, methods of teaching and learning activities, facilities and infrastructure, and evaluation. free expression approach in learning the art of dance is done by providing opportunities for students to develop movements, done through observing objects, image and music. the implementation process of learning the art of dance through discipline approach is done by giving the subject matter theoretically based on scientific viewpoint. the implementation process of learning the art of dance through a multicultural approach is done by introducing, practicing, and doing reformation to the students about the diversity of cultural arts of their homeland. kata kunci: pendidikan seni tari, pendekatan ekspresi bebas, multikultural, kreativitas pendahuluan kreativitas adalah sebuah ciri kehidupan manusia. kemampuan kreatif ini dapat dipupuk dan dikembangkan salah satunya melalui media pendidikan. pendidikan sebagai sarana pemupukan dan pengembangan kreativitas siswa, harus dikelola dengan sebaik mungkin. oleh karena itu, guru sebagai ujung tombak pendidikan harus dibekali kemampuan yang memadai mengenai bagaimana membelajarkan anak didiknya. dengan kemampuan yang memadai, diharapkan kreativitas siswa dapat dirangsang dan akhirnya siswa memiliki kemampuan memecahkan masalah secara kreatif. namun dalam kenyataannya, strategi pembelajaran yang diterapkan di sekolah tampak masih lebih mengutamakan pengembangan intelektual daripada pemupukan krativitas siswa (munandar 1983: 84-85). demikian pula de bono (dalam sumaryanto 2001: 2-3) melihat bahwa dalam pendidikan, kemampuan berpikir vertikal (intelektual) siswa lebih dipentingkan daripada kemampuan berpikir lateral (termasuk kreativitas), meskipun seharusnya kedua kemampuan berpikir tersebut saling menunjang. berdasarkan pengamatan awal, pembelajaran seni untuk siswa berjalan sendiri-sendiri, dan tidak ada kesinambungan serta keterkaitan antara 101 seni yang satu dengan seni yang lain. penyebabnya adalah salah satunya karena ketidakmampuan guru dalam mengembangkan kreativitas siswa (nursito 2000: 11). keadaan ini lebih diperburuk dengan kekurangmantapan keterampilan dalam berkarya seni dan minimnya wawasan guru terhadap materi, tujuan dan hakekat pendidikan seni dan kurangnya sarana yang ada di sekolah. pada hakekatnya pembelajaran seni jika dikelola dengan baik akan dapat memberikan banyak kontribusi dalam meningkatkan kreativitas anak didik. karena pentingnya pembelajaran ini, maka perlu dipersiapkan kondisikondisi yang memberikan kemungkinan pada anak didik untuk dapat menyalurkan bakat dan kreativitasnya secara optimal. untuk itu, bukan saja diperlukan sarana yang memadai tetapi juga kesiapan pihakpihak yang bertanggung jawab terhadap pendidikan tari, termasuk guru sebagai pengelola sistem instruksional. oleh sebab itu, disamping menguasai teori-teori yang melandasi pendidikan seni, guru-guru yang mengajar seni juga dituntut untuk mampu menerapkan strategi-strategi pembelajaran seni yang tepat. guru harus mampu memahami kurikulum yang sedang digunakan saat ini, mampu menjabarkan secara lebih terperinci lagi, mampu merancang dan mengaplikasikan strategi instruksional yang tepat serta dapat memacu dan mengembangkan kreativitas anak didik. dari hasil pembelajaran seni tari, terlihat bahwa siswa hanya dapat menerima materi gerak dari gurunya dan menirukan, tanpa ada kesempatan untuk mengolah dan menunjukkan kreativitasnya. sehingga dapat disimpulkan bahwa pendidikan seni yang diterima oleh siswa merupakan kreativitas guru, bukan merupakan hasil dari kreativitas siswa sendiri. hal ini sangat bertentangan dengan tujuan pendidikan seni itu sendiri, bahwa seni merupakan salah satu wadah untuk melatih siswa agar dapat mengekspresikan jiwa melalui media gerak. oleh karena itu perlu adanya perubahan strategi pembelajaran seni di sekolah menengah pertama, agar seni mampu mengembangkan kreativitas siswa sejalan dengan tingkat usianya. salah satu strategi yang tepat dalam pembelajaran seni untuk memupuk dan mengembangkan kreativitas siswa adalah pendekatan ekspresi bebas, pendekatan disiplin ilmu, dan pendekatan multikultural yang sifatnya terarah. pendekatan ekspresi bebas merupakan strategi pembelajaran yang melibatkan siswa dalam memecahkan masalah secara bersama-sama, pendekatan disiplin ilmu adalah strategi pembelajaran dengan menggunakan ilmu sebagai kerangka berfikir, pendekatan multikultural merupakan strategi pembelajaran yang mengenalkan siswa dengan bermacam seni budaya dari berbagai daerah. untuk itu, perlu kiranya dilakukan penelitian untuk mengkaji secara mendalam bagaimana proses pelaksanaan pendidikan seni tari melalui pendekatan ekspresi bebas, disiplin ilmu dan multikultural sebagai upaya peningkatan kreativitas siswa. kreativitas adalah kecenderungan untuk mengaktualisasi diri, mewujudkan potensi, dorongan untuk berkembang dan menjadi matang, kecenderungan untuk mengekspresikan dan mengaktifkan semua kemampuan organisme (roger, 1962 dalam munandar 1999: 18). sedangkan clark moustakis (dalam munandar 1999: 18) menyatakan bahwa kreativitas adalah pengalaman mengekspresikan dan mengaktualisasikan identitas individu dalam bentuk terpadu dalam hubungan dengan diri sendiri, dengan alam dan dengan orang lain. ausebel (dalam sumaryanto 2001: 4) membedakan istilah kreativitas sebagai suatu ciri perbedaan individual yang mencakup rentang lebar dan berkesinambungan, dengan istilah “orang kreatif” yang hanya digunakan secara terbatas untuk menyebut individu unik yang memiliki ciri yang langka dengan kadar luar biasa, yaitu suatu kadar tertentu yang menempatkannya secara kualitatif berbeda dari kebanyakan individu lainnya. menurut santrock (dalam sumaryanto 2001: 4) kreativitas adalah kemampuan untuk berfikir tentang sesuatu dengan cara yang baru dan tidak umum untuk dapat menemukan pemecahan masalah yang unik. lebih lanjut dikatakan bahwa pada tingkatan tertentu intelegensi dibutuhkan untuk dapat kreatif, namun anak-anak yang sangat tinggi intelegensinya bukanlah anak yang sangat kreatif. guilford (dalam vogel 1986 ; dalam sumaryanto 2001) mengatakan bahwa paling sedikit terdapat dua kemampuan yang terlibat dalam berfikir kreatif, yaitu kemampuan produksi-divergen dan kemampuan transformasi. sedangkan vogel (1986: 192) berpendapat bahwa kreativitas tampaknya berkorelasi dengan fleksibilitas dalam proses berfikir, yaitu adanya gagasan-gagasan yang lebih mengarah pada kompleksitas dalam berfikir. karena itu vogel mendefinisikan kreativitas sebagai proses berfikir yang menghasilkan pemecahan masalah. manusia memiliki potensi untuk menjadi kreatif. bila manusia terlibat dalam tindakan kreatif, maka hal tersebut akan lebih menumbuhkan konsep diri yang dimilikinya akan menurun dan ini akan mengakibatkan gangguan terhadap kesehatan mental (carin dan sund 1978: 77). hal ini hampir sama dengan apa yang dikemukakan oleh munandar (1983: 7076) bahwa kreativitas akan dapat ditingkatkan jika ada dukungan budaya kreatif atau yang diistilahkan sebagai creativogenic. demikian juga bower, bootzin dan zajonc (1987: 232) mengemukakan bahwa dukungan sosial merupakan sesuatu yang dapat meningkatkan kreativitas anak. munandar (1983: 78-79) mengklasifikasikan proses kreatif dalam empat tahapan yaitu persiapan (preparation), inkubasi (incubation), iluminasi (illumination) dan verifikasi (verification). tidak setiap proses kreatif melibatkan empat langkah tersebut. primadi (2000: 24-33) mengemukakan bahwa proses kreasi pada dasarnya terdiri dari dua tahap, yaitu tahap ide dan tahap pelaksanaan ide. kedua tahap tersebut berisi delapan tingkat proses kreasi. proses ide adalah hasil integrasi proses imaginasi, dari tingkat biasa sampai tingkat tertinggi, dari ketiga jenis dan sumber image yang kita miliki, dari semua indera, dalam penghayatan. tahap ide meliputi (1) persiapan, (2) pengumpulan bahan, (3) empathy menuju pra ide, (4) pengeraman pra ide, (5) penetasan ide. selanjutnya tahap pelaksanaan adalah proses pelaksanaan sebagaimana mengejawantah keluar. proses pelaksanaan terdiri dari: (6) aspek luar pelaksanaan, (7) aspek integral pelaksanaan, (8) tingkat kreasi tertinggi. tingkat-tingkat dalam proses kreasi tersebut tidak harus berurutan pelaksanaannya, dapat meloncat-loncat, berubah urutannya, saling overlapping, berintegrasi dan sebagainya. pembelajaran seni untuk siswa idealnya diberikan saling keterkaitan antara seni musik, seni tari, seni rupa dan drama. sebagaimana yang telah dirumuskan oleh depdiknas (2001: 7) bahwa pembelajaran seni meliputi semua bentuk kegiatan tentang aktivitas fisik dan cita rasa keindahan, yang tertuang dalam kegiatan berekspresi, bereksplorasi, berkreasi dan berapresiasi melalui bahasa rupa, bunyi, gerak dan peran. seni diajarkan saling berkaitan antara seni suara, gerak, rupa dan drama karena seni memiliki sifat multilingual, multidimensional, dan multikultural. seni yang multidimensional pada dasarnya dapat mengembangkan kemampuan dasar manusia seperti fisik, perseptual, intelektual, emosional, sosial, kreativitas dan estetik (v. lowenfeld dalam kamaril 2001: 2-3). seni yang multilingual dapat mengembangkan kemampuan manusia dalam berkomunikasi secara visual atau rupa, bunyi, gerak dan keterpaduannya (golberg 1997: 8). seni yang multikultural berarti seni yang bertujuan menumbuhkembangkan kesadaran dan kemampuan berapresiasi terhadap keragaman budaya lokal dan global sebagai pembentukan sikap menghargai, toleran, demokratis, beradab dan hidup rukun dalam masyarakat dan budaya majemuk (kamaril 2001: 4). tujuan yang paling utama pendidikan seni tari adalah membantu siswa melalui tari untuk menemukan hubungan antara tubuhnya dengan seluruh eksistensinya sebagai manusia. dengan demikian pendidikan tari berfungsi sebagai alternatif pengembangan jiwa anak menuju kedewasaannya. melalui penekanan kreativitas anak diberi kesempatan yang seluas-luasnya di dalam proses pengungkapan gerak tarinya, sehingga hasil akhir bukanlah merupakan tujuan utama. di samping itu, anak mempunyai kesempatan untuk mendapatkan pengalaman estetis dan mengenal berbagai budaya daerah lain, serta mampu melakukan interaksi sosial dalam lingkungan sosial masyarakat. pembelajaran tari pada umumnya dilakukan dengan metode imitatif, dimana guru hanya mendemonstrasikan gerak tari yang kemudian ditirukan oleh anak. dengan metode imitatif ini, anak hanya boleh bergerak sesuai dengan gerakan gurunya tanpa adanya kesempatan untuk mengeluarkan kreativitasnya sendiri. metode ini mempunyai kelemahan, yaitu anak tidak bisa mengeluarkan kreativitasnya dan lebih cenderung pasif, menunggu perintah dari gurunya. untuk mengatasi hal-hal yang demikian, ditawarkan sebuah strategi pengajaran yang melibatkan anak dalam proses kegiatan belajar mengajar, yaitu pendekatan ekpresi bebas. pendekatan ekspresi bebas dalam pendidikan seni tari pendekatan ekspresi bebas merancang kegiatan pembelajarannya dengan menggunakan model emerging curriculum yaitu kegiatan pembelajaran yang tidak dirancang sebelumnya tetapi berkembang sesuai dengan keinginan anak. dengan cara ini, guru menanyakan kepada siswa, kegiatan apa yang ingin dilakukannya dan kemudian menyiapkan segala sesuatunya untuk memberikan kemudahan bagi siswa untuk melaksanakan kegiatannya. ada kemungkinan oleh satu hal tiba-tiba siswa berubah fikiran, maka guru pun harus segera menyesuaikan diri dengan keinginan sang siswa. implementasi pendekatan ekspresi bebas semacam ini cocok dilakukan di sanggar tari yang bersifat non formal, sedangkan untuk sekolah yang memiliki kurikulum serta jadwal yang ketat, sulit untuk dilakukan. karena sulitnya menerapkan pendekatan ekspresi bebas secara murni di sekolah, maka pendidik seni rupa mengembangkan pendekatan ekpresi bebas secara lebih terarah. dengan pendekatan terarah ini, guru melaksanakan kegiatan pembelajaran sesuai dengan jadwal yang ditetapkan tetapi dengan siasat tertentu agar supaya siswa dapat mengekpresikan dirinya sesuai dengan apa yang diharapkan. siasat tersebut berupa kegiatan pemanasan untuk merangsang dan memberikan motif berekspresi kepada siswa. kegiatan pemanasan atau biasa pula disebut pemberian motivasi dapat dilakukan dengan berbagai cara, antara lain:(1) bercerita atau berdialog dengan anak untuk membangkitkan perhatian dan merangsang lahirnya motif yang dapat dijadikan dasar dalam berkarya. (2)memberikan kepada siswa, pengalaman kontak langsung dengan alam secara sadar, misalnya dengan mengajak siswa untuk mencermati keadaan sekelilingnya yang mungkin selama ini diabaikan, seperti detail bunga-bungaan yang tumbuh disekeliling sekolah, hewan yang berkeliaran mencari makan, pejalan kaki serta kendaraan yang lalu-lalang. (3) mendemonstrasikan proses penciptaan karya seni tari yang akan diajarkan. pendekatan disiplin ilmu dalam pendidikan seni tari dipandangnya seni sebagai disiplin ilmu merupakan asumsi pokok yang mendasari konsep pendekatan ini. disiplin ilmu dalam pengertian ini sebagaimana yang diungkapkan oleh dobbs (1992: 9) adalah bidang studi yang bercirikan (1) memiliki isi pengetahuan (body of knowledge), (2) adanya masyarakat pakar yang mempelajari ilmu tersebut, serta (3) tersedianya metode kerja yang memfasilitasi kegiatan eksplorasi dan penelitian. chapman (1978) berpendapat bahwa pendidikan seni yang memberikan kesempatan pada anak untuk mengekspresikan emosinya adalah penting, tetapi jangan karena itu, kegiatan mempelajari ilmu seni diabaikan. menurut eisner (1987/1988) bahwa pendidikan seni berbasis disiplin bertujuan menawarkan program pembelajaran yang sistematik dan berkelanjutan dalam empat bidang yang digeluti orang dalam dunia seni yaitu bidang penciptaan, penikmatan, pemahaman dan penilaian. keempat bidang tersebut haruslah tercermin dalam kurikulum. anak hendaknya tidak hanya diberi kesempatan berekspresi/menciptakan karya seni tetapi mereka juga perlu mempelajari bagaimana caranya menikmati suatu karya seni, dan memahami konteks dari sebuah karya seni. keempat bidang tersebut hendaknya diajarkan secara terpadu. perbedaan antara pendidikan seni berbasis disiplin dengan pendekatan ekspresi bebas tidak hanya terletak pada kekomprehensifan cakupan kegiatan yang ditawarkan, tetapi juga pada bagaimana filosofi program dan cara membelajarkan anak. pada pendekatan ekspresi bebas, anak diperlakukan secara istimewa dengan membiarkannya untuk secara bebas menyatakan apa yang ingin diekspresikannya. guru tidak diijinkan mengintervensi. peran guru hanyalah memberikan kemudahan bagi anak dalam berekspresi. maka lahirlah kurikulum yang dikenal dengan emerging curriculum, suatu kurikulum yang tidak siap pakai tetapi disusun mengikuti kehendak anak pada suatu kegiatan pembelajaran. anaklah yang menentukan mengenai pengalaman belajar apa yang akan dilakukannya. berdasarkan keinginan sang anak, maka guru pun menyiapkan fasilitas. pada pendidikan seni berbasis disiplin, kurikulum yang digunakan bersifat siap pakai dengan program yang tersusun secara sistematis. dengan mengacu pada kurikulum siap pakai inilah, guru melaksanakan pembelajaran. jeffers membandingkan kedua pendekatan ini dengan menggunakan metafora pertumbuhan alamiah dengan metafora pembentukan. metafora pertumbuhan alamiah mengandaikan anak sebagai sekuntum bunga atau tanaman, guru sebagai tukang kebun dan sekolah sebagai kebun. guru sebagai tukang kebun haruslah menciptakan suasana sedemikian rupa sehingga anak sebagai tanaman tumbuh secara subur dan alamiah. pada sisi lain, metafora pembentukan memandang anak sebagai tanah liat dan guru sebagai pematung. anak sebagai tanah liat berada pada posisi untuk memilih atau menolak bentuk akhir dari dirinya sendiri. pendekatan multikultural dalam pendidikan seni tari pendidikan seni multikultural merupakan pendekatan pendidikan yang mempromosikan keragaman budaya melalui kegiatan penciptaan, penikmatan dan pembahasan keindahan rupa (visual). pendidikan seni multikultural lahir sebagai salah satu bagian dari pendidikan multikultural. ada beberapa faktor yang secara bersama-sama melatar belakangi kelahiran pendidikan multikultural yaitu: (1) ketidakadilan dalam masyarakat, (2) kebutuhan akan identitas, (3) keadaan geografis yang berubah, (4) keinginan untuk menghilangkan prasangka buruk, (5) konsekuensi munculnya seni rupa posmodernisme. pendidikan seni multikultural pada dasarnya merupakan sebuah filosofi, gagasan besar atau pendekatan, di atas mana beragam program pembelajaran dikembangkan. karena sifatnya yang demikian maka pendidikan seni multikultural tidak identik dengan model pembelajaran tertentu. cirinya yang esensiil hanyalah pada semangat untuk mempromosikan keragaman budaya melalui kegiatan seni. spektrum pendidikan multikultural secara faktual tercermin pada kegiatan pendidikan seni yang dikelompokkan atas tiga model yaitu model pengenalan, model pengamalan, dan model perombakan. metode penelitian ini menggunakan pendekatan kualitatif, dengan sasaran utama penelitian proses peningkatan kreativitas siswa dalam pendidikan seni tari melalui pendekatan ekspresi bebas, disiplin ilmu, dan multikultural. penelitian ini mengambil lokasi di sekolah menengah pertama kota semarang dengan asumsi di sekolah menengah pertama fasilitas yang menunjang kegiatan belajar-mengajar dan kualitas maupun kuantitas tenaga pengajar lebih lengkap, serta dalam setiap perolehan informasi lebih awal baik informasi tentang akademis maupun non akademis. teknik pengumpulan data menggunakan wawancara terarah dan tidak terarah, observasi partisipan dan studi dokumentasi. analisis data yang digunakan dalam penelitian ini mengacu pada analisa miles dan huberman (1994: 10) dimana proses analisis data yang digunakan secara serempak mulai dari proses pengumpulan data, mereduksi, mengklarifikasi, mendiskripsikan, menyimpulkan dan menginterprestasikan semua informasi secara selektif. pemeriksaan keabsahan data dalam penelitian ini, memakai dependabilitas dan konfirmabilitas (lincoln dan guba dalam jazuli 2001: 34). hasil dan pembahasan proses pelaksanaan pendidikan seni tari di sekolah menengah pertama proses pelaksanaan pendidikan seni tari tidak terlepas dari proses belajar mengajarnya, yang meliputi: kurikulum, tujuan, materi pembelajaran, metode kegiatan belajar mengajar, sarana dan prasarana, dan evaluasi. kurikulum kurikulum yang digunakan dalam pembelajaran di sekolah menengah pertama adalah kurikulum tingkat satuan pendidikan. struktur kurikulum smp/mts meliputi substansi pembelajaran yang ditempuh dalam satu jenjang pendidikan selama tiga tahun mulai kelas vii sampai dengan kelas ix. struktur kurikulum disusun berdasarkan standar kompetensi lulusan dan standar kompetensi mata pelajaran dengan ketentuan sebagai berikut: (1) kurikulum smp/mts memuat 10 mata pelajaran, muatan lokal, dan pengembangan diri. muatan lokal merupakan kegiatan kurikuler untuk mengembangkan kompetensi yang disesuaikan dengan ciri khas dan potensi daerah, termasuk keunggulan daerah, yang materinya tidak dapat dikelompokkan ke dalam mata pelajaran yang ada. substansi muatan lokal ditentukan oleh satuan pendidikan. pengembangan diri bukan merupakan mata pelajaran yang harus diasuh oleh guru. pengembangan diri bertujuan memberikan kesempatan kepada peserta didik untuk mengembangkan dan mengekspresikan diri sesuai dengan kebutuhan, bakat, dan minat setiap peserta didik sesuai dengan kondisi sekolah. kegiatan pengembangan diri difasilitasi dan atau dibimbing oleh konselor, guru, atau tenaga kependidikan yang dapat dilakukan dalam bentuk kegiatan ekstrakurikuler. kegiatan pengembangan diri dilakukan melalui kegiatan pelayanan konseling yang berkenaan dengan masalah diri pribadi dan kehidupan sosial, belajar, dan pengembangan karir peserta didik; (2) substansi mata pelajaran ipa dan ips pada smp/mts merupakan “ipa terpadu” dan “ips terpadu”; (3) jam pembelajaran untuk setiap mata pelajaran dialokasikan sebagaimana tertera dalam struktur kurikulum. satuan pendidikan dimungkinkan menambah maksimum empat jam pembelajaran per minggu secara keseluruhan; (4) alokasi waktu satu jam pembelajaran adalah 40 menit; (5) minggu efektif dalam satu tahun pelajaran (dua semester) adalah 34-38 minggu. dalam proses pelaksanaan kurikulum tingkat satuan pendidikan, terlebih dahulu perlu pemahaman dan penjabaran kurikulum tingkat satuan pendidikan dalam mata pelajaran seni budaya. pembelajaran seni budaya termasuk dalam kategori rumpun mata pelajaran estetika. kelompok mata pelajaran estetika dimaksudkan untuk meningkatkan sensitivitas, kemampuan mengekspresikan dan kemampuan mengapresiasi keindahan dan harmoni. kemampuan mengapresiasi dan mengekspresikan keindahan serta harmoni mencakup apresiasi dan ekspresi, baik dalam kehidupan individual sehingga mampu menikmati dan mensyukuri hidup, maupun dalam kehidupan kemasyarakatan sehingga mampu menciptakan kebersamaan yang harmonis. muatan seni budaya sebagaimana yang diamanatkan dalam peraturan pemerintah republik indonesia nomor 19 tahun 2005 tentang standar nasional pendidikan tidak hanya terdapat dalam satu mata pelajaran karena budaya itu sendiri meliputi segala aspek kehidupan. dalam mata pelajaran seni budaya, aspek budaya tidak dibahas secara tersendiri tetapi terintegrasi dengan seni. karena itu, mata pelajaran seni budaya pada dasarnya merupakan pendidikan seni yang berbasis budaya. pendidikan seni budaya dan keterampilan diberikan di sekolah karena keunikan, kebermaknaan, dan kebermanfaatan terhadap kebutuhan perkembangan peserta didik, yang terletak pada pemberian pengalaman estetik dalam bentuk kegiatan berekspresi/berkreasi dan berapresiasi melalui pendekatan: “belajar dengan seni,” “belajar melalui seni” dan “belajar tentang seni.” peran ini tidak dapat diberikan oleh mata pelajaran lain. pendidikan seni budaya memiliki sifat multilingual, multidimensional, dan multikultural. multilingual bermakna pengembangan kemampuan mengekspresikan diri secara kreatif dengan berbagai cara dan media seperti bahasa rupa, bunyi, gerak, peran dan berbagai perpaduannya. multidimensional bermakna pengembangan beragam kompetensi meliputi konsepsi (pengetahuan, pemahaman, analisis, evaluasi), apresiasi, dan kreasi dengan cara memadukan secara harmonis unsur estetika, logika, kinestetika, dan etika. sifat multikultural mengandung makna pendidikan seni menumbuhkembangkan kesadaran dan kemampuan apresiasi terhadap beragam budaya nusantara dan mancanegara. hal ini merupakan wujud pembentukan sikap demokratis yang memungkinkan seseorang hidup secara beradab serta toleran dalam masyarakat dan budaya yang majemuk. pendidikan seni budaya dan keterampilan memiliki peranan dalam pembentukan pribadi peserta didik yang harmonis dengan memperhatikan kebutuhan perkembangan anak dalam mencapai multikecerdasan yang terdiri atas kecerdasan intrapersonal, interpersonal, visual spasial, musikal, linguistik, logik matematik, naturalis serta kecerdasan adversitas, kecerdasan kreativitas, kecerdasan spiritual dan moral, dan kecerdasan emosional. bidang seni rupa, musik, tari, dan teater memiliki kekhasan tersendiri sesuai dengan kaidah keilmuan masingmasing. dalam pendidikan seni budaya, aktivitas berkesenian harus menampung kekhasan tersebut yang tertuang dalam pemberian pengalaman mengembangkan konsepsi, apresiasi, dan kreasi. semua ini diperoleh melalui upaya eksplorasi elemen, prinsip, proses, dan teknik berkarya dalam konteks budaya masyarakat yang beragam. bentuk penjabaran kurikulum tingkat satuan pendidikan dimulai dari standar kompetensi dan kompetensi dasar. guru smp harus betul-betul memahami standar kompetensi dan kompetensi dasar, kemudian menjabarkan dalam materi belajar satu semester. dalam satu semester, guru menentukan jumlah minggu efektif, dan dari minggu efektif ini kemudian dijabarkan menjadi hari efektif. sedang setiap mata pelajaran mempunyai waktu pertemuan selama 45 menit dalam satu hari efektif. tujuan pembelajaran yang direncanakan harus sesuai dengan standar kompetensi dan kompetensi dasar. setiap tujuan pembelajaran akan muncul satu pokok bahasan materi pelajaran. materi pelajaran ini harus sesuai dengan standar kompetensi dan kompetensi dasar. standar kompetensi dan kompetensi dasar menjadi arah dan landasan untuk mengembangkan materi pokok, kegiatan pembelajaran dan indikator pencapaian kompetensi untuk penilaian. dalam merancang kegiatan pembelajaran dan penilaian, perlu memperhatikan standar proses dan standar penilaian. selanjutnya guru menentukan langkah-langkah pembelajaran yang dituangkan dalam bentuk kegiatan belajar mengajar. tujuan pembelajaran seni tari mata pelajaran seni budaya bertujuan agar peserta didik memiliki kemampuan memahami konsep dan pentingnya seni budaya, menampilkan sikap apresiasi terhadap seni budaya, menampilkan kreativitas melalui seni budaya, menampilkan peran serta dalam seni budaya dalam tingkat lokal, regional, maupun global. mata pelajaran seni budaya meliputi aspekaspek: (1) seni rupa, mencakup pengetahuan, keterampilan, dan nilai dalam menghasilkan karya seni berupa lukisan, patung, ukiran, cetak-mencetak, dan sebagainya; (2) seni musik, mencakup kemampuan untuk menguasai olah vokal, memainkan alat musik, apresiasi karya musik; (3) seni tari, mencakup keterampilan gerak berdasarkan olah tubuh dengan dan tanpa rangsangan bunyi, apresiasi terhadap gerak tari; (4) seni teater, mencakup keterampilan olah tubuh, olah pikir, dan olah suara yang pementasannya memadukan unsur seni musik, seni tari dan seni peran. di antara keempat bidang seni yang ditawarkan, minimal diajarkan satu bidang seni sesuai dengan kemampuan sumberdaya manusia serta fasilitas yang tersedia. pada sekolah yang mampu menyelenggarakan pembelajaran lebih dari satu bidang seni, peserta didik diberi kesempatan untuk memilih bidang seni yang akan diikutinya. tujuan pembelajaran seni tari yang terdapat di sekolah menengah pertama yaitu siswa diharapkan memiliki pengetahuan tentang hakekat karya seni dan prosedur penciptaannya, memiliki kepekaan rasa yang memungkinkannya untuk mencerap nilai-nilai keindahan yang ada di sekelilingnya serta membuat penilaian yang sensitif terhadap kualitas artistik suatu karya seni, memiliki keterampilan yang memungkinkannya untuk berekspresi melalui media rupa, bunyi, gerak, atau lakon secara lancar atau menciptakan karya seni untuk kehidupan pribadi dan sosialnya. tujuan tersebut menunjukkan bahwa pendidikan seni tari yang diselenggarakan di sekolah menengah pertama tersebut berorientasi pada siswa. disini terlihat bahwa siswa merupakan faktor yang utama, sedangkan seni tari tidak lebih sebagai alat. dengan tujuan pembelajaran seni tari tersebut, mengharuskan guru tari agar berhati-hati memperlakukan siswa untuk berekspresi, sehingga perlu mengenal siswa dengan baik dalam mengembangkan potensi minat bakatnya. perlakuan guru tersebut nantinya akan membentuk dan mengembangkan kreativitas siswa. pada hakekatnya pembelajaran seni tari di sekolah menengah pertama bertujuan untuk memberikan pengarahan dan bimbingan yang benarbenar mampu mengarahkan siswa melakukan proses apresiasi, eksplorasi, dan kreasi. pembelajaran seni tari di lingkungan sekolah menengah pertama diharapkan dapat memberikan kesempatan kepada siswa untuk mengolah kemampuannya dan kreativitasnya. untuk membantu siswa dalam mengolah kemampuannya dan kreativitasnya, perlu dilakukan latihan secara berkelanjutan dengan bimbingan dari guru. diharapkan dengan latihan yang terus menerus dengan bimbingan dari guru, anak mampu meningkatkan kemampuan dan kreativitasnya. kemampuan siswa dapat dilihat pada keberhasilan siswa dalam melakukan gerakan menari, sedangkan kreativitas siswa dapat dilihat dan dirasakan pada proses penciptaan secara sederhana karya tari. materi pembelajaran menentukan materi pembelajaran seni tari bagi siswa sekolah menengah pertama tidaklah mudah. dibutuhkan pengetahuan dan kecermatan dari guru dalam pemilihan materi pembelajaran seni tari bagi siswa sekolah menengah pertama, yang sesuai dengan kurikulum tingkat satuan pendidikan, yang dapat memberikan rangsangan, motivasi, bimbingan dan kreativitas siswa. proses belajar mengajar di lingkungan sekolah menengah pertama tentu saja mempunyai tingkat kesulitan sesuai dengan karakteristik awal siswa. materi pembelajaran tari di sekolah menengah pertama mengacu pada kurikulum tingkat satuan pendidikan. metode kegiatan belajar mengajar metode yang digunakan guru dalam proses pembelajaran seni tari di sekolah menengah pertama adalah metode ceramah, metode tanya jawab, metode meniru dan metode demonstrasi. metode ceramah adalah metode mengajar guru yang dilakukan guru dengan cara menjelaskan materi pelajaran. metode ini biasanya digunakan untuk menjelaskan materi teori. metode tanya jawab digunakan guru dalam pembelajaran seni tari dengan tujuan untuk mengetahui sejauhmana pengetahuan siswa dalam menyerap pelajaran melalui proses tanya jawab. metode imitasi atau meniru adalah metode mengajar yang dilakukan guru dengan cara guru memberi contoh gerakan, siswa menirukan gerak yang diberikan guru. metode demonstrasi adalah memberikan pengalaman belajar melalui mendemonstrasikan/mempraktekan. sarana dan prasarana kelancaran proses pembelajaran seni tari di sekolah menengah pertama didukung oleh adanya sarana dan fasilitas yang cukup memadai, diantaranya adalah sebagai berikut: gedung yang cukup representative, ruang kelas yang luas dan tertata rapi, ruang aula sebagai tempat latihan menari, tape recorder, video player, dan tv. peranan dari masing-masing sarana di atas, dapat memberikan kesempatan kepada siswa untuk beraktivitas yang lebih luas dalam berbagai kegiatan bermain dan belajar. evaluasi evaluasi yang digunakan guru dalam pembelajaran seni tari di sekolah menengah pertama adalah evaluasi proses. evaluasi proses adalah evaluasi yang dilakukan pada saat proses pembelajaran berlangsung. yang diutamakan dalam evaluasi proses adalah proses apresiasi siswa terhadap seni tari, dan bukan pada hasilnya. siswa mampu menirukan gerak, mampu melakukan gerak dengan musik, mampu merasakan menari dengan riang gembira tanpa dibebani harus melakukan gerak tari dengan teknik yang bagus. proses pelaksanaan pendidikan seni tari melalui pendekatan ekspresi bebas kreativitas sangat penting sekali bagi perkembangan siswa. kreativitas akan terbentuk dari pengalamanpengalaman yang diperoleh siswa dalam kehidupan sehari-hari. dalam pembelajaran tari, kreativitas dapat terbentuk melalui pendekatan espresi bebas. pendekatan ekspresi bebas dalam pembelajaran seni tari dilakukan dengan cara memberikan kesempatan bagi siswa seluas luasnya untuk mengembangkan gerakan-gerakan yang dilakukannya. salah satu upaya untuk menumbuhkan kreativitas siswa, adalah melalui rangsang melihat, cerita dan musik. dengan melalui melihat sebuah obyek, mendengarkan sebuah cerita dan mendengarkan musik, diharapkan imajinasi siswa akan berkembang sesuai dengan pribadi masing-masing. obyek sebagai media pengembangan imajinasi dan kreativitas siswa dapat ditemukan di sekitar siswa. obyek tersebut bisa berupa manusia, keadaan lingkungan sekitar, tumbuhan dan binatang. pada proses pembelajaran seni tari, dengan menggunakan obyek sebagai media pengembangan kreativitas, guru memberikan materi pembelajaran seni tari dengan cara memberikan tugas kepada siswa untuk melakukan pengamatan terhadap obyek yang dipilih siswa. siswa dapat mengamati semua yang berkaitan dengan aktivitas obyek tersebut, kemudian menirukan kembali sesuai dengan imajinasi mereka masingmasing. sehingga hasilnya akan berbeda antara siswa yang satu dengan siswa yang lain meskipun obyek yang dilihatnya sama tergantung pada kreativitas masing-masing siswa. guru harus menghargai setiap gerakan yang dimunculkan siswa dengan memberikan pujian, sehingga siswa merasa dihargai dan untuk selanjutnya tidak akan pernah takut lagi untuk kreatif. cerita juga bisa dijadikan media pengembangan imajinasi dan kreativitas siswa. cerita ini bisa berupa cerita fiksi, kepahlawanan, kerakyatan/dongeng, kisah nyata, misteri, dan humor. dalam proses pembelajaran seni tari melalui pendekatan ekspresi bebas, cerita bisa digunakan untuk memancing pengembangan imajinasi dan kreativitas siswa. guru memberikan tugas kepada siswa untuk mencari sebuah cerita, kemudian menyuruh siswa untuk memahami cerita tersebut. dari hasil pemahaman cerita tersebut, siswa menuangkan kembali isi cerita ke dalam gerak tari sesuai dengan imajinasi dan kreativitasnya. hasil dari penuangan kembali isi cerita ke dalam gerak tari tersebut didemonstrasikan di hadapan teman-temannya. guru dan siswa lainnya memberikan masukan untuk perbaikan karya tari tersebut. musik dapat digunakan sebagai media dalam proses pembelajaran seni tari di sekolah menengah pertama. dalam proses pembelajaran dengan menggunakan pendekatan ekspresi bebas, musik digunakan untuk merangsang gerak dan kreativitas siswa. sebelum siswa melakukan eksplorasi gerak berdasarkan jenis musik yang diperdengarkan, maka guru terlebih dahulu menerangkan jenis musik. kemudian siswa diminta untuk melakukan gerak-gerak sesuai dengan musik yang diperdengarkan. siswa diberi kebebasan untuk bergerak sesuai dengan ritme lagu yang diperdengarkannya. pelaksanaan pembelajaran seni tari berdasarkan pendekatan ekspresi bebas ini, sesuai dengan materi kurikulum, yaitu pengenalan tari daerah setempat baik tunggal maupun berpasangan/kelompok, tari nusantara baik tunggal maupun berpasangan/kelompok, dan tari mancanegara baik tunggal maupun berpasang-an/kelompok. dalam proses berkreasi baik dengan menggunakan media obyek, cerita maupun musik selalu berpijak pada materi pembelajaran yang ada dalam kurikulum tingkat satuan pendidikan. proses pelaksanaan pendidikan seni tari melalui pendekatan disiplin ilmu proses pelaksanaan pembelajaran seni tari melalui pendekatan disiplin ilmu dilakukan dengan cara pemberian materi pelajaran secara teoretis dengan berbasis pada sudut pandang keilmuan. materi pelajaran ini meliputi identifikasi jenis karya seni tari tunggal daerah setempat, eksplorasi pola lantai gerak tari berpasangan/ kelompok daerah setempat, identifikasi jenis karya seni tari tunggal nusantara, eksplorasi gerak tari kreasi berdasarkan tari nusantara, dan identifikasi jenis karya seni tari mancanegara di luar asia. materi pelajaran tersebut diberikan secara sistematis yang mencakup kegiatan ekspresi/kreasi, teori dan kritik/apresiasi seni tari. pelajaran tersebut membangun pengetahuan, pemahaman, dan keterampilan dalam disiplin seni yang memungkinkan dievaluasi secara tepat. dalam proses pembelajaran seni tari berbasis disiplin ilmu ini, kemampuan anak dikembangkan untuk mampu menghasilkan karya seni tari (produksi seni); menganalisis, menafsirkan dan menilai kualitas karya seni tari (kritik seni); mengetahui dan memahami peran seni tari dalam masyarakat (sejarah seni) serta memahami keunikan karya seni dan bagaimana orang memberikan penilaian dan menguraikan alasan penilaian tersebut (estetika). proses pelaksanaan pendidikan seni tari melalui pendekatan multikultural proses pelaksanaan pembelajaran seni tari melalui pendekatan multikultural dilakukan dengan cara mengenalkan, mengamalkan, dan melakukan perombakan kepada siswa tentang keberagaman seni budaya tanah air. model pengenalan model pengenalan bertujuan untuk memperkenalkan seni tari secara teoretis, apresiatif dan praktis dari berbagai kelompok suku, ras, agama, kelas sosial, jenis kelamin, pandangan, atau kondisi tertentu. pengenalan ini dimaksudkan untuk memperluas wawasan siswa agar dapat memahami orang lain dan karya seni yang diciptakannya yang mungkin saja sangat berbeda dengan keyakinan dan tradisi yang dianut oleh siswa. pembelajaran yang dilakukan dapat berupa kegiatan kurikuler atau ekstra kurikuler. pembelajaran kurikuler disampaikan oleh guru seni budaya sesuai dengan kurikulum tingkat satuan pendidikan. pembelajaran ekstra kurikuler diberikan oleh guru seni tari yang bukan guru tetap sekolah tersebut, yang diadakan di luar jam sekolah yaitu setelah pelajaran sekolah selesai atau pada sore hari. materi pelajarannya pun bervariasi mulai dari tari daerah setempat, tari nusantara, maupun tari mancanegara. pembelajaran ini dapat diterapkan pada sekolah atau kelas yang bersifat monokultur maupun kelas yang siswanya memiliki latar belakang suku, ras, agama atau kondisi sosial yang beragam (multietnis/multikultur). metode pembelajaran dapat digunakan oleh guru untuk memperkenalkan seni tari dengan segala aspeknya dari berbagai kelompok masyarakat ini adalah ceramah yang dilengkapi dengan media pandang dengar, diskusi, tanya jawab, praktik studio, dan studi lapangan. model pengamalan model pengamalan secara khusus diterapkan pada kelas yang bersifat multikultur. disebut model pengamalan, karena model ini mengakui adanya keragaman dan berusaha untuk mengamalkan ide persamaan dalam keragaman tersebut secara sistemik dan sistematis dalam kegiatan pembelajaran. kegiatan pembelajarannya dirancang sedemikian rupa sehingga setiap murid yang berasal dari berbagai latar belakang suku, ras, agama, kelas sosial, jenis kelamin, pandangan , dan kondisi tertentu, mendapatkan kesempatan yang sama untuk belajar. jika pada model pengenalan, guru masih dapat melaksanakan kegiatan pembelajaran secara tradisional karena ia sekedar memperkenalkan wajah seni tari dari berbagai latar, maka pada model pengamalan, guru tidak hanya memperkenalkan keragaman serta persamaan hak dalam keragaman yang diperjuangkan oleh kaum multikulturalis, tetapi mengimplementasikan cita-cita tersebut secara nyata di kelas. di sini, masalah teknis pembelajaran hanyalah faktor sekunder, sedangkan faktor primer adalah adanya sikap yang positif dari guru tentang persamaan dalam keragaman yang ditandai oleh semangat untuk mengamalkannya. agar supaya model pengamalan ini dapat terlaksana dengan baik maka lingkungan sekolah pertama-tama harus dibuat kondusif, misalnya tidak adanya perlakuan deskriminatif atas dasar latar belakang siswa. untuk membangun suasana yang non-deskriminatif ini, maka guru dan pegawai yang menjadi fasilitator di sekolah merefleksikan pula keragaman latar belakang siswa. demikian pula dengan kebijakan sekolah, yang tercermin pada aturan dan kurikulum, semuanya bersifat serba melingkupi sehingga siswa merasakan bahwa keyakinan tradisi keluarga, dan kondisi sosialnya diterima dan dihormati. pada model pengamalan, konsep yang digunakan dalam merancang kegiatan pembelajaran adalah konsep yang bersifat terbuka. artinya guru menggunakan konsep seni tari yang dimaknai dan difungsikan secara beragam. dalam kehidupan nyata, seni tari memang memiliki arti dan fungsi yang bervariasi seperti: mengekspresikan perasaan, memperindah sesuatu, menceritakan pengalaman, mendokumentasikan kejadian, mengkritik, menghibur, memperingati peristiwa, menampilkan simbol budaya, merangsang imajinasi, menghasilkan nilai ekonomis, dan lainnya. dengan demikian menjadi tantangan bagi guru seni untuk memilih tema pembelajaran yang dapat ditafsirkan secara bebas oleh siswa sesuai dengan pengalaman, tradisi, dan keinginannya masing-masing. penerapan model pengamalan ini dalam praktik studio (penciptaan karya seni tari) dapat dimulai dengan memilih tema penciptaan. salah satu cara yang disarankan adalah dengan menggali tema dari siswa. dengan demikian tema penciptaan tidak seragam tetapi bervariasi sesuai dengan latar belakang siswa. selain itu tema dapat dipilih dengan menggali budaya dan karakteristik lokal tempat sebuah sekolah berada. tema yang sudah dipilih kemudian diwujudkan secara visual dengan menggunakan media gerak sesuai dengan keinginan siswa. tidak ada media yang lebih unggul dari media lainnya, demikian pula tidak ada teknik mengolah media yang lebih baik dari teknik lainnya. penerapan model pengamalan ini dalam pembelajaran yang bersifat teoretis (estetika, sejarah seni) atau apresiatif (kritik seni) juga harus berpijak pada keragaman seni dengan prinsip bahwa tiap karya seni memiliki makna, dan kriteria keindahannya masing-masing. menjadi tugas guru untuk memperkenalkan makna dan kriteria keindahan setiap karya yang dibahas dalam setiap kegiatan pembelajaran. upaya pengenalan ini dapat dilakukan dengan cara menginformasikan secara langsung, menyiapkan bahan bacaan atau menghadirkan orang yang berkompeten mengenai masalah yang dibahas. dengan pemahaman yang baik, maka siswa dapat memiliki bekal yang relevan dalam merasakan nilai artistik yang dimiliki oleh sebuah karya seni. model perombakan dalam model perombakan pada proses pembelajaran seni tari melalui pendekatan multicultural ini, guru mengidentifikasi lima langkah dalam mengembangkan kurikulum pendidikan seni multikultural yaitu: (1) guru menganalisa dan memperbaiki sikap negatif yang dimiliki terhadap pluralisme sosial dan keragaman suku, (2) guru dan siswa melakukan analisis situasi agar akrab dengan masyarakat, (3) guru dan siswa memilih bahan kurikulum yang relevan dan sekaligus menarik, (4) guru dan siswa secara berkolaborasi menyelidiki persoalan yang berkaitan dengan bahan kurikulum yang telah dipilih, (5) guru melaksanakan program evaluasi baik baik formatif maupun sumatif. simpulan dan saran simpulan proses pelaksanaan pendidikan seni tari tidak terlepas dari proses belajar mengajarnya, yang meliputi: kurikulum, tujuan, materi pembelajaran, metode kegiatan belajar mengajar, sarana dan prasarana, dan evaluasi. pendekatan ekspresi bebas dalam pembelajaran seni tari dilakukan dengan cara memberikan kesempatan bagi siswa seluas luasnya untuk mengembangkan gerakan-gerakan yang dilakukannya. salah satu upaya untuk menumbuhkan kreativitas siswa, adalah melalui rangsang melihat obyek, cerita dan musik. proses pelaksanaan pembelajaran seni tari melalui pendekatan disiplin ilmu dilakukan dengan cara pemberian materi pelajaran secara teoretis dengan berbasis pada sudut pandang keilmuan. proses pelaksanaan pembelajaran seni tari melalui pendekatan multikultural dilakukan dengan cara mengenalkan, mengamalkan, dan melakukan perombakan kepada siswa tentang keberagaman seni budaya tanah air. saran berdasarkan simpulan di atas, saran yang dapat disampaikan adalah sebagai berikut: bagi sekolah, hendaknya lebih memberikan dukungan bagi pelaksanaan pembelajaran seni tari baik berupa pemenuhan sarana prasarana maupun kesempatan yang seluas-luasnya bagi guru dan siswa dalam melakukan proses pembelajaran seni tari, dan bagi guru seni budaya, hendaknya lebih kreatif dalam menyiapkan materi pelajaran bagi siswa. daftar pustaka de bono, edward. 1990. berpikir lateral (terjemahan budi). jakarta: binarupa. golberg, merryl. 1997. arts and learning. an integrated approach to teaching and learning in multicultural and multilingual settings. new york: longman. kamaril, cut. 2001. konsep pendidikan seni tingkat sd-sltp_smu. makalah. seminar dan lokakarya nasional pendidikan seni. 18-20 april 2001. jakarta: hotel indonesia. lasky dan mukerji, 1984 . art: basic for young children. washington dc: the national assosiation for the education of young children. munandar, s.c.u. 1983. kreativitas. jakarta: dian rakyat. -------------------- 1999. pengembangan kreativitas anak berbakat. jakarta: rineka cipta. nursito, 2000. kiat menggali kreativitas. mitra gama widya. primadi. 2000. proses, kreasi, apresiasi, belajar. bandung: itb. rusyana, yus. 2000. tujuan pendidikan seni. gelar: jurnal ilmu dan seni stsi surakarta: stsi press. harm vol ix no 2 2009.pdf peran semar dalam pertunjukan wayang kulit jawa gaya surakarta randyo institut seni indonesia surakarta, e-mail: randy_isi@yahoo.com abstract semar is the mysterious puppet charaters and vague. semar is present in all versions of leather puppet theater performances. stories in puppet shows, semar is present in two main roles, first as a supporter of the birth of the holder of the most important role in the play, namely the presence of seeds that will take a decisive position in the theater, preceded by his presence because, seond semar become major stakeholders in play as an example: kilat buana, semar kuning, semar papa, semar mbarang jantur. semar represent sudra figures, also represent the people in general. in the play lebet containing about philosophy of life, the presence of semar preceded by events because it is an extraordinary event. garagara in the puppet shows are usually marked by a major event in the universe caused by a variety of puppet characters. it appeared to subside after semar figure. as the atmosphere conditioning, semar comes with poise, dignity many illustrations that can be interpreted from him. semar restore the harmony of the play that ended mulih play according to plan. things returned to normal play semar sometimes even appear as a fresh air carriers and the humorous seasoning with punakawan others, can be used to establish rapport with the audience. semar is a symbol characters will be elected to the presence of a knight, who has a genuine spirit of struggle, and the birth of world harmony. kata kunci: semar, pertunjukan, wayang kulit jawa, gaya surakarta. pendahuluan sebutan semar dapat dijumpai dibeberapa wilayah untuk memberikan nama pada sesuatu obyek atau simbol dalam kehidupan masyarakat jawa. di surakarta, semar digunakan untuk memberikan salah satu nama produk batik yang terkenal yaitu batik semar. di wonogiri, nama semar juga dikenal banyak masyarakat sbagai sebuah bukit yang bulat seperti bentuk wayang kulit semar. di karanganyar, juga terdapat sebuah tempat untuk samadi yaitu patung semar. pemberian nama sebutan menggunakan nama semar, terdapat kemungkinan bahwa yang memberikan nama menginginkan agar mendapat berkah/angsar dari tokoh semar. nama semar secara pasti sulit untuk dilacak oleh karena kurangnya tradisi tulis dalam masyarakat jawa. tradisi jawa biasanya lebih tebal dalam budaya lisan yaitu ditransformasikan dari mulutkemulut sehingga mudah berubah sesuai dengan daya penangkapan kesan penerima pesan. kesimpangsiuran arti dan makna semar tersebut, melahirkan banyak versi dan pendapat yang beragam, dalam konteks filosofis hal demikian tidak menghilangkan makna yang sebenarnya akan tetapi justru menambah khasanah yang lebih mendalam serta makna yang luas. di dalam pertunjukan wayang kulit purwa jawa, nama tokoh wayang semar merupakan tokoh yang ada dan tetap hidup sepanjang jaman. semar dalam pewayangan jawa ada kemungkinannya mirip dan diangkat dari semar pada beberapa karya sastra jawa. pada pertunjukan wayang kulit jawa versi arjuna sasra, tokoh semar hadir mengikuti tokoh pemegang peran sumantri yang oleh karena ketulusan pengabdiannya kepada negara, kemudian menjadi mahapatih suwanda di kerajaan mahespati. semar mengikuti suwanda hingga akhir hayatnya. pada lakon versi ramayana, tokoh semar selalu mengikuti tokoh senapati yang sakti mandraguna yaitu hanuman putera anjani. hanuman mengabdi kepada sri ramawijaya hingga akhir hayatnya. pada lakon versi mahabarata tokoh semar mengabdi kepada keturunan wirata yaitu manumayasa. setelah manumayasa meninggal, semar mengabdi kepada pandudewanata raja astina. setelah pandu meninggal, kemudian mengabdi kepada anak keturunannya yaitu arjuna dan adakalanya mengikuti puteranya angkawijaya atau abimanyu hingga parikenan. terdapat garis pengabdian semar yang sama dari seluruh lakon yang ada yaitu, semar selalu mengabdi pada ksatria yang selalu ingin menegakkan keadilan, penuh pengabdian, dan penjaga keharmonisan dunia. tokoh semar ternyata dapat muncul diberbagai versi wayang dan merupakan tokoh misterius. dari berbagai versi lakon wayang, tokoh semar lebih lengkap dan memiliki makna yang mendalam dalam mahabarata, akan tetapi dalam sumber cerita mahabarata yang berasal dari karya satera besar india sebenarnya tokoh semar tidak dapat diperoleh, sehingga menimbulkan penafsiran bahwa tokoh semar berasal dari kebudayaan jawa. asal mula semar dan wondo wayang asal mula semar dalam pertunjukkan wayang kulit purwa jawa tokoh wayang semar sekalipun samara juga memiliki asal mula kelahirannya. kelahiran tokoh semar dalam karya sastera berbeda dengan asal mula semar dalam pertunjukan wayang. demikian pula asal mula semar dalam wayang versi lakon arjunasasra, ramayana berbeda dengan asal mula dalam wayang versi mahabarata. didalam pertunjukan wayang kulit purwa suran, untuk keperluan ritual menghormati dahyang mayak tahun 2003, berlangsung di pasar ngemplak surakarta, dengan lakon turunnya wahyu trimadya daya disajikan oleh ki joko santosa dari debegan mojosongo. terjadi dialog antar tokoh hanuman dengan semar. hanuman memohon semar menerangkan kejadian kelahirannya. semar menjawab bahwa dirinya terlahir sebelum pulau jawa terbentuk. semar ada sebelum masa jawawut artinya lebih dahulu dirinya dari pada pulau jawa. dirinya lebih tua dari pulau nusantara. semar termasuk jalma tan kena kinaya ngapa artinya tidak terpikirkan atau misterius. pada pengamatan lakon lahirnya semar yang disajikan oleh ki purba asmara pada bulan maret 2009 di pendopo keraton surakarta, semar lahir dari hasil perkawinan dewa sanghyang tunggal rekatawati. kelahirannya berupa sebuah telur. oleh sanghyang tunggal telur dihaturkan kepada orang tuanya yaitu sang hyang wenang. di depan sanghyang wenang telur dipuja oleh sanghyang tunggal sehingga pecah menjadi tiga yaitu kulit luar, putih telur, dan kuning telur. dari ketiga bagian tercipta tokoh yaitu tejamantri/antaga, ismaya dan manikmaya. ketiga tokoh memperebutkan yang paling berkuasa di dunia ini. sahyang wenang melemparkan sayembara kepada ketiga cucunya yaitu barang siapa yang dapat menelan dan dapat memuntahkan kembali gunung mahameru adalah yang berwenang memerintah triloka. triloka meliputi jagar arcapada atau jagat manusia, mayapada atau jagat jin dan kahyangan. tejamantri adalah berasal dari kulit luar telur mencoba pertama kali untuk menelan gunung mahameru. baru sampai pada mulut, antaga merasa tidak mampu sehingga mulut robek dan menganga. pada giliran yang kedua, ismaya dapat menelan gunung mahameru sampai ke mulutnya namun tidak dapat mengeluarkan kembali, sehingga tubuhnya membesar seperti gunung. ahirnya manikmaya dapat menelan gunung mahameru dan dapat mengeluarkan dari tubuhnya sehingga bentuknya wayang lurus dari bagian atas kepala sampai bawah telapak kaki. manikmaya yang berhak menguasai triloka yaitu arcapada, mayapada, dan kahyangan. menurut ki suratna dalang kartasura semar terjadi dari kulit telur pada bagian putihnya adalah simbol dari kulit dunia. semar menjadi tokoh yang jika terjadi ketidakharmonisan dunia dapat melakukan pelurusan untuk menjaga harmoni dunia, bahkan dunia seisinya dapat ditelannya (wawancara 21 april 2009). tokoh wayang semar mengandung unsur mistis yaitu jiwanya berasal dari dewa ismaya yang diturunkan ke dunia untuk mendukung para ksatria sedang jasadnya meminjam dari seorang abdi dari wirata yaitu badranaya. munculnya tokoh semar bersamasama dengan cikal bakal kelahiran keluarga wirata yaitu pada tokoh manumayasa. dalam lakon perkawinan semar, semar badranaya pada suatu ketika dikejar-kejar oleh dua ekor macan putih, oleh karena ketakut-annya kemudian meminta bantuan pertapa sakti yaitu manumayasa. kedua macan putih dipanah sehingga berubah ujud menjadi dua bidadari yaitu kaniraras dan kanastri atau kanestren. dewi kanestren kemudian diperisteri semar sedang kaniraras diperisteri manumayasa. sejak saat itu semar badranaya menjadi punakawanan keluarga manumayasa beserta seluruh keturunannya (1999: 1171). wondo wayang semar dalam satu kotak wayang biasanya tersedia dua sampai tiga tokoh wayang semar. tokoh wayang yang kedua atau yang ketiga biasanya untuk menjaga jika wayang rusak atau untuk pemilihan lakon kembar atau rangkap seperti misalnya semar kembar tiga, semar kuning. tokoh wayang semar dibuat rangkap adakalanya sedikit berbeda, sehingga menimbulkan kesan karakter berbeda. untuk memberi nama semar yang berbeda sering disebut wondo wayang semar. dalam pewayangan, tokoh wayang semar memiliki banyak wondo wayang. beberapa wondo yang sudah ditemukan diantaranya adalah semar wondo ginuk, dumuk, brebes dan miling untuk wayang gaya surakarta (ens wayang jilid iii 1999: 1176). disamping keempat wondo itu, semar juga memiliki wondo dukun untuk wayang gaya yogyakarta. wondo wayang miling dan brebes untuk adegan biasa atau pada saat jejer, wondo dukun untuk wejangan dan dumuk untuk kegunaan semar waktu berperang melawan musuhnya. keterangan ciri-ciri ujud wondo tergantung para seniman dalang yang memahaminya, sedang terbentuknya wondo wayang kemungkinan pada saat mbedah wayang atau meterani yaitu ingin membuat wayang semar yang baru dengan cara ngeblat dengan menggaris/mempola pada bentuk luar wayang lama, kemungkinan sedikit bergeser, sehingga dapat terjadi dan menyebabkan kesan penanggap juga berbeda-beda. peran semar dalam gara-gara gara-gara dapat berarti keributan, kegemparan, kehebohan (poerwadarminta, 1968: 289). gara-gara dalam pertunjukan wayang merupakan pertanda peralihan situasi, biasanya dilakukan pada patet sembilan. dalam pertunjukan wayang semalam suntuk yang memakan durasi waktu sekitar tujuh jam, yang biasanya dimulai pada jam 21:00wib dan berakhir jam 04:00 wib, gara-gara terjadi sekitar pertengahan lakon yaitu sekitar pukul 01.00 dini hari atau tiga jam setelah mulai pertunjukan dan tiga jam menjelang akhir pertunjukan. jika dalam pertunjukan semalam dikelompokkan menjadi tiga patet yaitu patet nem, patet sembilan, dan patet manyura, maka gara-gara terjadi pada saat akhir patet sembilan. gara-gara menandakan akan terjadi perubahan menuju inti lakon. pada awal pertunjukkan berupa pendahuluan, kemudian pada patet sembilan inti dan patet manyura terjadi penutup lakon. jika dapat dianalogkan dengan perkembangan hidup manusia, maka hidup manusia kodratnya terjadi dari kelahiran, dewasa, kemudian mati. gara-gara terjadi pada siklus kehidupan yaitu saat menginjak usia dewasa. dalam kehidupan sering disebut ritus peralihan hidup pada saat terjadi demikian maka rawan gangguan sehingga diperlukan pengarahan yang tepat. gara-gara dalam pertunjukan wayang didahului dengan pertanda khusus yaitu kayon ditancapkan di-tengah-tengah gedebog pisang sebagai lemahan kemudian dalang melakukan pocapan gara-gara. begitu pocapan selesai, kayon diambil dimainkan secara terbalik dan ditancap dibagian samping dengan terbalik yaitu sisi merah pada bagian yang berhadapan dengan dalang. gending iringan biasanya lebih dinamis dan dalam pertunjukan wayang muncul beberapa tokoh panakawan seperti gareng, petruk dan bagong. ketiga tokoh itu biasanya melakukan pengenalan diri dengan penonton, alam alaman, saring pendapat disertai dengan kritik social (anom sukatno 1996: 24-31). pada saat itu terjadi dialog antara wayang dengan tokoh wayang dan wayang dengan masyarakat penonton. terjadilah komunikasi dan interaksi seni antara dalang dengan penonton. biasanya isi dialog tentang pembangunan, kritik sosial, dan dendang lagu-lagu favorit. gara-gara berhenti dengan munculnya tokoh semar. dalam kutipan sri mulyono (1982:89-91): dalam pewa-yangan, kalau semar muncul, boleh dikatakan bahwa munculnya selalu pada tengah malam. kyai lurah semar sebenarnya dewa yang menjelma menjadi manusia, semar adalah hyang ismaya, juga hyang asmarasanta, dewa berujud manusia, di dunia ini merupakan pamong keturunan brahma dan wisnu. semar kelihatannya jelek tanpa rupa tapi sebenarnya melebihi para dewa. semar memang pamong, melindungi dunia alam semesta dengan isinya, melindungi para ksatrian penegak kebenaran, keadilan dan kejujuran dan penuh pengorbanan. dengan hadirnya semar maka gara-gara berhenti dan lakon kembali berjalan harmonis dan kemenangan selalu dipihak yang benar, yang adil dan yang disertai dengan pengorbanan. dalam pertunjukan wayang kulit purwa gaya surakarta, semar sebagai pengabdi kepada para ksatria amarta. semar sebagai pemegang peran dalam lakon wayang hampir semua lakon yang dipergelarkan dalam pertunjukan wayang kulit purwa jawa pasti ada adegan garagara. pada lakon yang mengambil serial perang besar baratayuda, adegan garagara biasanya lebih singkat dan tidak terjadi dialog humor yang berhubungan dengan penonton. hal itu, berbeda dengan lakon biasanya. pada pertunjukan yang biasa, gara-gara sekarang telah mengalami perkembangan pesat yaitu diselingi dialog segar dengan penonton, menghadirkan pelawak, pilihan lagulagu. gara-gara, adakalanya menyita waktu lebih dari satu jam guna memuaskan penonton. pada lakon yang melibatkan tokoh pemegang peran terpenting semar, adegan gara-gara tetap dipentaskan. beberapa lakon yang melibatkan tokoh semar diantaranya adalah kilat buana, tali rasa rasa tali dan tali buana, gatutkaca sungging, semar gugat semar, minta bagus, bathara wisnu krama, semar tambak, manumayasa rabi, pandu lahir, pandu karma, mintorogo, semar kuning/badranaya, semar mbangun klampis ireng, semar mbangun khayangan, semar mbarang jantur. disamping lakon yang sudah disebutkan masih banyak lakon lain yang melibatkan tokoh semar sebagai pemegang peran akan tetapi biasanya cenderung humoris dan relative kurang popular. dari beberapa lakon yang sering dipertunjukan kepada masyarakat tentang peran karakter semar dapat dikelompokkan pada: (1) semar lebih berkuasa dari pada para dewa termasuk manikmaya atau guru dewa, yang dalam pewayangan sering disebut dengan sebutan bathara guru, biasanya semar marah karena kurang bijaksana atau berbuat kekeliruan; (2) semar pergi meninggalkan karang kedempel sebagai tempat tinggalnya oleh karena para ksatria sudah banyak meningalkan keutamaan sehingga diperlukan pengarahan/pelurusan jalannya lakon agar tujuan yang baik tercapai dan ketiga semar sebagai abdi/pamong kehadiran tokoh penting yang akan menjadi pemimpin. sebagian ringkasan lakon adalah sebagai berikut. lakon kilat bhuana dalam pertunjukan wayang kulit purwa dengan lakon ini, bethara guru (guru dewa) menjadi pendeta di astina bernama kilat bhuana. guru dewa bermaksud mengurungkan perang bharatayuda. kilat bhuana datang ke astina menemui duryudana dan mengundang keluarga pandawa. kilat bhuana menerangkan bahwa perang diantara dua bersaudara adalah kurang terpuji, keduanya harus rukun. untuk maksud perdamaian kilat bhuana membutuhkan sesaji/tumbal orang boga sampir. tokoh boga sampir tidak lain adalah semar. arjuna mendapat tugas untuk membubuh semar. tokoh semar mengetahui maksud jelek guru dewa sehingga marah dan merubah bentuknya menjadi ksatria bagus bernama cahya bhuana penjelmaan ismaya. kehendak untuk membunuh semar tidak terlaksana dan kilat buana badar ujudnya menjadi guru dewa dapat dikalahkan oleh semar yang bergelar cahya bhuana. lakon gatotkaca sungging dalam lakon gatotkaca sungging, betara guru marah kepada gatutkaca oleh karena membangun pringgodani mirip khayangan. untuk melampiaskan kemarahannya, guru dewa merubah ujud menjadi pendeta raksasa dengan nama begawan nilayaksa. guru dewa akan membunuh gathutkaca yang sedang melakukan latihan perang di mandala yudha. gatutkaca adalah tokoh yang sakti dikawatirkan tidak ada senjata yang ampuh untuk membunuhnya. guru dewa juga akan membunuh semar oleh karena mendukung gatutkaca. dalam peperangan hampir semua tokoh pandawa tidak ada yang memenangkannya. keadaan menjadi tegang, untung kresna memahami kejadiannya, untuk itu kemudian memerintahkan semar untuk maju perang. semar marah besar karena guru dewa dalam perang baratayuda menginginkan pihak kurawa berperang melawan semar yang mendapatkan kemenangan. nilayaksa yang ingin membantu kurawa berperang melawan semar, akhirnya terbuka kedoknya menjadi guru dewa karena dikalahkan oleh semar badranaya. lakon tali rasa-rasa dan tali buana pada lakon ini, guru dewa dan narada turun kebumi menjadi tokoh rasa tali dan tali rasa, dua ksatria bagus seperti tokoh samba. kedua tokoh itu kemudian pergi ke astina menggoda lesmanawati. kurawa kemudian marah terhadap kedua tokoh itu, akan tetapi mereka tidak mampu mengusirnya. sangkuni kemudian mempunyai ide untuk melaporkan kepada pandawa dengan tipu muslihat bahwa arjuna berada di astina dan selingkuh dengan lesmanawati. arjuna mendengar laporan sangkuni tampak tenang saja oleh karena itu hanyalah ulah sangkuni. semar mencoba menyadarkan keutamaan ksatria kepada arjuna, justru semar diusir arjuna bersama gareng dan petruk. pada suatu gua, gareng dan petruk menemukan busana guru dewa dan narada. gareng dan petruk kemudian berubah ujud untuk kamuflase menjadi dewa. semar sadar, oleh karena menemukan busana dua dewa, kemudian merubah rupa menjadi kesatria bagus bernama tali buana. tali buana kemudian bertapa ngrame, menolong bagi yang membutuhkannya. oleh karena arjuna merasa bersalah dan tidak dapat mengu sir rasa tali dan tali rasa, dapat dikalahkan badar ujud aslinya yaitu guru dewa dan narada sedang tali buana badar menjadi semar. setelah guru dewa merasa bersalah kemudian minta maaf kepada semar, keduanya disuruh kembali ke kahyangan. terkejut guru dewa oleh karena di kahyangan sudah ada guru dewa palsu dan narada palsu. dengan pertolongan semar kedua dewa palsu dapat dikalahkan badar menjadi gareng dan petruk. lakon makuta rama dalam lakon ini betara guru ingin membunuh arjuna, betara guru berusaha menghalang-halangi arjuna menerima wahyu makuta rama dari begawan kesawasidi. maksud tidak baik dari betara guru ini kemudian diketahui oleh semar sehingga betara guru di hajarnya sampai kalah. semar minta bagus dalam kisah ini dikisahkan bahwa semar telah meninggalkan negeri amarta, karena merasakan sakit hati diremehkan dan dihina oleh arjuna. arjuna berani meludahi kunjungnya. arjuna tidak sadar bahwa kejadian itu membuat sakit hati semar. betapa tersinggung perasaannya, semar sebagai orang tua yang telah mengasuh arjuna sejak kecil dan membimbingnya menjadi satria yang tak ada bandingnya, kini diperlakukan sebagai budak yang tak ada harganya. semar segera mengadu kepada begawan abiyasa di saptaraga. begawan abiyasa ikut sedih hatinya, mencoba memintakan maaf atas kesalahan arjuna. semar yang masih merasa terhina ingin membalas dan membuktikan bahwa dirinya mempunyai kekuasaan yang melebihi para ksatria. abiyasa sangat khawatir akan kepergian semar dari negeri amarta, karena tanpa bimbingan semar negeri amarta akan rusak. usaha abiyasa untuk mencegah kepergian semar tidak berhasil. semar yang diliputi kemarahan segera pergi ke kahyangan mengadukan nasib yang dialaminya di bumi. semar menuntut agar guru dewa mengembalikan wujud dirinya yang gagah perkasa seperti dahulu kala. guru dan para guru lainnya tak ada yang mampu menyadarkan hati semar, karena berdasarkan kodrat hal itu tidak mungkin dilaksanakan. oleh karena itu dengan sangat terpaksa kehendak semar diturutinya tetapi hanya untuk sementara saja. semar kemudian berubah menjadi seorang ksatria bagus, tampan dengan sebutan bambang dewa lelana, sedang anaknya bagong menjadi bambang lengkara. bambang dewa lelana dan bambang lengkara segera kembali ke bumi kemudian menaklukkan prabu setyawijaya dan menjadi raja di negeri pudak setegel, memerintahkan prabu setyawijaya dan maha patihnya dasapada untuk mencuri serat jimat kalimasada. dengan kesaktiannya, patih dasapada dapat berubah menjadi sri kresna dan berhasil mencuri jimat kalimasada. tetapi akhirnya tipu muslihat itu dapat diketahui oleh sri kresna asli yang datang tak lama kemudian. dengan dihantar oleh sri kresna, para pandawa pergi ke negeri pudak setegel menghadap bambang dewa lelana yang tak lain adalah semar sendiri untuk meminta jimat kalimasada kembali. bambang dewa lelana yang telah berubah menjadi semar kembali dengan senang hati menyerahkan jimat kalima sada kepada para pandawa. pandawa sadar bahwa tanpa perlindungan semar keadaan amarta akan menjadi rusak. semar papa dalam lakon semar papa, abimanyu diperintahkan oleh abiyasa palsu untuk membunuh semar, agar negeri amarta terhindar dari bencana dan mala petaka. ketika para pandawa mendengar perintah abiyasa, mereka menjadi bingung dan sedih. oleh karenanya tak ada pilihan lain kecuali melaksanakannya. untuk itu diperintahkannya kepada angkawijaya agar melaksanakannya. angkawijaya sedih membunuh pamongnya sendiri. semar seorang dewa yang menyamar, semar adalah sang hyang ismaya, maka semar sudah tak samara dan ragu lagi segala apa yang dihadapinya. dengan tersenyum sejuk semar memerintahkan angkawijaya agar membunuh dengan jalan membakarnya. bersamaan dengan pembakaran semar, pandawa mendapat berita bahwa candi sapta arga telah rusak dan dikuasai oleh para raksasa dari negeri setragandamayit. para pandawa segera pergi ke saptaarga untuk menyelamatkannya. semua ksatria pandawa gagal bertindak. bima yang terkenal gagah perkasa ternyata kalah berperang melawan cantrik penjelmaan raksasa siluman kala jaramea dan jurumea. bima harus jatuh bangun dan terlempar jatuh ke dalam rawa-rawa yang berlumpur dan hampir tenggelam seluruh badannya. dalam keadaan bima mengerang, kesaktian semar menolong bima dari cengkeraman maut. pada saat itu pula para pandawa datang dari saptaarga dan bertemu dengan semar yang berhasil menolong bima. mereka sangat gembira, karena ternyata semar masih hidup. semar bersama semua ksatria pandawa pergi ke saptaarga untuk membebaskan dari kekuasaan raksasa siluman. dengan bantuan semar para siluman dapat dikalahkan. abiyasa palsu dapat dikalahkan oleh semar badar menjadi durga. begawan palsu berubah ujud aslinya yaitu menjadi durga. dalam serial ceritera lakon ini, mengingatkan kepada para ksatria untuk tetap waspada dan hati-hati. semar sebagai abdi pamong mengandung hikmah kebijaksanaan yang harus ditaati oleh ksatria. lakon semar menggugat di negeri astina terjadi kekisruhan oleh karena dihuni oleh dua penguasa yang serakah yaitu resi wisuna dan dewa wisuna. semar meninggalkan karang kedempel sehingga menyebabkan para ksatria pandawa hatinya cemas. semar pergi ke kahyangan menggugat, menghadap sanghyang wenang, menanyakan siapa yang berani merusak astina. sahyang wenang memberi tahu bahwa yang dapat mententeramkan astina adalah semar. jika masih berujud semar maka akan banyak hambatan, maka semar harus berubah ujud menjadi pendeta yang bernama begawan mayaretna. mayaretna harus tapa ngrame yaitu membantu pada para ksatria yang memerlukan bantuan. di tengah perjalanan, mayaretna bertemu dengan abimanyu, gareng, petruk dan kresna. kresna meminta bantuan mayaretna agar dapat membantu para pandawa yang sedang mengalami bencana. para pandawa sebelum diwejang dibawa ketengah hutan di suruh mandi terlebih dahulu dengan darahnya sendiri. baru setelah selesai mandi, resi wisuna akan menusukkan senjata trisura. sebelum terlaksana menusukkan trisura, semar datang kemudian menantang resi wisuna dan dewa wisuna. resi wisuna badar menjadi guru dewa sedang dewa wisuna badar menjadi jaramaya. guru marah besar terhadap mayaretna. guru dewa menghantamkan trisura kepada mayaretna sehingga badar menjadi semar. peperangan antara semar dan guru dewa dipisah oleh sanghyang wenang. guru dewa diminta memohon maaf pada semar. dalam lakon ini, semar menggugat oleh karena guru dewa yang seharusnya menjadi panutan justru melakukan perbuatan yang melanggar aturan. lakon semar mbarang jantur semar mbarang jantur merupakan lakon semar sebagai pengamen. dalam lakon semar menjadi pengamen, dewi irawati putri prabu salya dari negeri mandakara telah hilang diculik kartapiyoga raja dari negeri tirtakandasan. arjuna yang masih muda bersama punakawan, semar, gareng, dan petruk ingin menolong mencari irawati, tetapi bukan untuk mengikuti sayembara yang diadakan oleh prabu salya. arjuna melihat kecantikan banowati, hatinya bergetar sehingga dalam perjalanan mencari dewi irawati tergoda. gejala percintaan arjuna dengan banowati diketahui oleh surtikanti adik banowati. arjuna disumpah surtikanti bahwa akan mengalami penderitaan akibat kelakuannya. arjuna kemudian merasa lapar dan haus tidak tertahankan. suatu ketika arjuna terjatuh pingsan di tengah hutan dan ternyata termakan sumpah surtikanti. untuk mengatasi rasa lapar arjuna memerintahkan semar, gareng, dan petruk untuk mbarang jantur/bermain sulap pada suatu daerah yaitu desa widarakandang. di widarakandang dihuni oleh seseorang pendeta muda yang bernama wasi jaladara yang ditemani oleh adik perempuannya bernama bratawijaya. untuk bermain sulap, semar, petruk, dan gareng minta syarat-syaratnya yaitu berupa nasi tumpeng dan jajan pasar. setelah tersedia persyaratannya, semar, gareng, dan petruk mempertunjukan keahliannya. setelah pertunjukan selesai, semar akan kembali sambil membawa berkat sebagai upah, berbagai nasi tumpeng dan jajan pasar ditumbuk menjadi satu dengan alasan agar mudah dibawa. berkat kemudian diberikan kepada arjuna. oleh karena rasa laparnya, arjuna segera membuka bungkusan berkat. arjuna marah mengamuk ke widarakandang, tetapi ketika berhadapan dengan wasi jaladara, arjuna tak dapat berbuat banyak. setelah saling tegur sapa, ternyata mereka masih bersaudara. semua kejadian itu dikarenakan perbuatan semar. dalam lakon ini, semar kemudian memberi penjelasan, pertama atas kesalahan perbuatannya, kedua agar arjuna yang mengemban tugas mencari irawati tidak boleh makan di sembarang tempat. ketiga, banowati bukan jodohnya. arjuna kemudian meminta pertolongan kepada wasi jaladara untuk mencari dewi irawati yang dicuri pencuri. dengan kesaktiannya wasi jaladara dapat menangkap pencuri yang kembali untuk melakukan aksinya keduakalinya. jaladara dapat membunuh kartapiyaga. semar dalam lakon ini, berperan untuk mengingatkan para ksatria agar teduh menjalankan tugas serta tidak tergoda rayuan bujuk manis dari penggoda perempuan. lakon semar kuning dalam lakon semar kuning, semar bertapa pada suatu bukit tidar yang mengeluarkan cahaya kuning. awal mula ceritanya demikian. semar merasa sakit hatinya oleh karena melihat keadaan para ksatria dan para dewa telah berbuat menyimpang dari paugeraning keutamaan. semar merasa sakit hati oleh karena abimanyu menghina dengan berani memegang kuncungnya. subadra pergi bertapa di gunung ardi arjuna dengan sebutan arjuna jalur bersama dengan gareng, petruk, dan bagong. tak lama kemudian datanglah kresna dengan gatutkaca yang meminta tolong untuk mengusir guntur wasesa, guntur dahana, dan guntur maruta yang menguasai astina. kehadiran mereka di astina oleh karena didukung oleh raja besar aji gineng dan patih kendhitmimang dari kerajaan ujung tiris. semua prajurit astina kalah dan tunduk. dalam peperangan ini, ternyata arjuna jalur kalah dan badar subadra. kresna kemudian bingung dan akhirnya pergi ke gunung tidar meminta bantuan kepada semar kuning. semar tidak langsung ke astina akan tetapi pergi ke negara ujung tiris yang dikuasai oleh ajigineng dan tejalaku badar naradha. semar kuning kemudian pergi ke astina mengusir guntur wasesa, guntur dahana dan guntur maruta. semua tokoh terbongkar kedoknya sebagai kamuflase dari dewa. guntur wasesa badar menjadi endra, guntur dahana menjadi brama dan guntur maruta menjadi bayu sedang guntur ketuk menjadi sambu. semar kuning akhirnya berubah ujud menjadi semar. semar menjadi pengayom dunia untuk menghindarkan kerusakan. simpulan semar dalam pertunjukan wayang kulit purwa gaya surakarta versi lakon mahabarata mempunyai makna yang penting. semar berperan sebagai abdi/pamomong para ksatria yang akan menumbuhkan biji keutamaan yang menjaga keharmonisan, keselarasan, dan keseimbangan perjalanan hubungan antara manusia, alam semesta para dewa. semar dalam kebiasaan biasa dapat berlaku tokoh yang kemunculannya disertai oleh peristiwa gara-gara yaitu keadaan yang serba kacau dan bingung serta keadaan alam yang terguncang oleh karena ulah sebagian tokoh dunia yang ingin merusak suasana alam. dengan kehadiran semar, lakon kembali normal dan menuju akhir yang baik. dalam pewayangan, jika tokoh semar menjadi pemegang peran karakter, maka semar memiliki peran utama, tanpa semar keadaan menjadi tidak tenteram dan menjadi malapetaka. semar serba misterius, tidak pernah memiliki kepentingan pribadi. semar sebagai ksatria yang setia keutamaan, kebahagiaan, kejujuran dan penuh pengorbanan. jika semar marah, maka kekuasaannya melebihi semua tokoh termasuk guru dewa kalah dengan semar. kemarahan semar dengan tujuan agar peristiwa dunia menjadi normal kembali. tokoh semar hidup sepanjang masa dalam lakon sehingga merupakan tokoh yang banyak berpengaruh pada penonton. daftar pustaka bastomi, sueaji. 1995. gemar wayang. semarang: dahara prize. branen, julia. 2002. memadu metode penelitian kualitatif dan kuantitatif. yogyakarta: pustakapelajar. budi prasetya, hanggar. 2005. konsep badar dalam lakon carangan pewayangan tradisi yogyakarta dalam harmonia jurnal pengetahuan dan pemikiran seni. semarang: unnes. kodiron, 1967. serat pakem pedalangan. solo: pelajar. padmosoekotjo. 1986. silsilah wayang purwa mawa carita. surabaya: bp balai pustaka. masinambow, e.k.m dan rahayu s. hidayat. 2001. semiotik mengkaji tanda dalam artifak. jakarta: balai pustaka. mulyono, sri. 1982. apa dan siapa semar. jakarta: gunung agung. 1979. simbiolisme dan mistikisme dalam wayang. jakarta: gunung agung. santosa. 2004. mencermati seni pertunjukan ii perspektif pariwisata, lingkungan dan kajian seni pertunjukkan. surakarta: the ford foundation dan program pasca sarjana stsi. 58 adaptation of the wiruncana murca play in the wayang topeng jatiduwur (jatiduwur mask puppet) jombang performance setyo yanuartuti, anik juwariyah, peni puspito, joko winarko department of drama, dance, and music arts, faculty of languages and arts, universitas negeri surabaya, indonesia submitted: may 6, 2020. revised: june 9, 2020. accepted: july 4, 2020 abstract wiruncana murca play is the only panji play in the mask puppet performance in jatiduwur jombang which still performances its dramatic structure after the mask puppet is extinct. wiruncana murca play in the wayang topeng jatiduwur performance in the past was used for nadzar rituals. when the mask puppet was rebuilt, the wiruncana murca play was performed in a different context, the panji festival. this study aims to analyze the transformation process of the wiruncana murca play with an adaptation approach. the scope of this research includes text and context. the research method is descriptive qualitative analytical. the data collection used is observation, interview, and document study. the analysis uses an analytical descriptive method. the results performance that the adaptation of wiruncana murca in the wayang topeng jatiduwur performance was carried out because there was a different contextuality from the ritual cultural context of the jatiduwur village community to the context of the national panji festival performance in 2017 in kediri. the transformation was carried out by the stages of identification of story ideas, the embodiment of the text, the embodiment of the dramaturgy, and staging. adaptation to the process of intellectual transformation is based on a new contextual approach using fidelity or maintaining the originality of the source. the original uniqueness of the existing art is still used as a source of inspiration or a source of reference used as material to develop new performance products. the adaptation of the wiruncana murca play in the context of the wayang topeng jatiduwur performance at the 2017 national panji festival performances the creative process of mask artists. while the result is a manifestation of a new product from mask puppet in jatiduwur jombang. keywords: adaptation; mask puppet performance; wiruncana murca play how to cite: yanuartuti, s., juwariyah, a., puspito, p., & winarko, j. (2020). adaptation of the wiruncana murca play in the wayang topeng jatiduwur (jatiduwur mask puppet) jombang performance. harmonia: journal of arts research and education, 20(1), 58-72. harmonia: journal of arts research and education 20 (1) (2020), 58-72 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i1.24807 lang mask puppet and madura dhalang mask. both mask performances have been studied and written by researchers since the 1980s. in those years soenarto timoer, b soelarto then followed by sal murgiyanto and a.m munardi had written the book “topeng madura dan wayang topeng malang”. in his book, soedarsono also introduction in east java, there are several mask puppet performances, namely malang mask puppet, madura dhalang mask, jombang mask puppet, situbondo kerteh mask, and tengger mask puppet. among the famous mask performances are macorresponding author: e-mail: setyoyanuartuti@unesa.ac.id p-issn 2541-1683|e-issn 2541-2426 setyo yanuartuti et al., adaptation of the wiruncana murca play in the wayang topeng 59 explained two performances in east java, namely wayang topeng malang and topeng dhalang madura (soedarsono, 2011). meanwhile, wayang topeng jombang, topeng kerteh, and wayang topeng tengger have not been widely publicized, because research has only been carried out on a local scale. wayang topeng jombang is a mask act performance with a mask as the main media, and a story told by a puppeteer. wayang topeng jombang only exists in jatiduwur village, kesamben district. the existence of this mask performance can be traced from the pigeaud’s writing that the performance in jombang is a traveling amen performance. pigeaud explained that “mask performances in the jombang area are in the wirasaba and kaboh areas in the ancient. in jombang, in the chinese new year, masked performers were traveling around. they are called ‘amen’ or caravan in that area; they went from one house to another and gave a brief performance” (pigeaud, 1938). supriyo also explained that in the past, the mask performance in jatiduwur village was also a traveling amen which later developed into a performance for nadzar. this mask puppet performance has experienced extinction. in 1996, there was an attempt to revitalize. at the time of revitalization, only one story could be made, namely wiruncana murca. the wiruncana murca play is panji’s poem. to provide another play, the jatiduwur mask artist tries to adopt the panji story play from wayang topeng malang such as patah kuda narawangsa (yanuartuti, 2018). cerita panji (panji story) is a product of east java that emerged during the kediri kingdom in the 12th century and flourished in the 14th century during majapahit. kakawin nagarakertagama has performancen a performance called raket which carries cerita panji (soedarsono, 2011). sumaryono explained that cerita panji, if examined and observed, had similarities with serat babad. prapanca, in nagarakertagama, seems to glorify hayam wuruk as a great and authoritative king who specializes in performing arts. in its telling, cerita panji resembles serat babad, so it is elastic and adaptive to the elements of legend and myth (sumaryono, 2011a). cerita panji always experiences a process of adaptation and acculturation with the local culture. it is this elastic and adaptive nature that causes cerita panji to have various versions according to the region where the story is in the archipelago and even reaches foreign countries. thus, throughout cerita panji can develop following the wishes, tastes, and creativity as well as the development of ideas from artists and poets in composing this panji story. versions of the panji story have been spread with the malay version as in java, for example in serat jaya kusuma which is different from the panji story in serat kudanarawangsa (sumaryono, 2011a). in bali, the panji story is known as cerita (satwa) malat, which is mentioned that prabu jenggala who had a son, mantri koripa (raden putra) who was very handsome. the plays originating from the panji story, observers of balinese performing arts call it arja, as well as gambuh, as a panji drama (dibya, 2014). the panji story version performancen in the mask puppet generally performances the panji plays or siklus panji (the panji cycle) or roman panji designations, namely: malat, wasing, wangbang-wideha, and angraeni story. malang mask puppet performance has developed various panji plays, the famous panji reni, mbalike pusaka gedhong samara denok, walang sumirang, panji semirang, rabine panji, and so on (hidajat, 2005). pudjaswara explained that the panji story is an inspiring story, full of values, both asceticism or spiritual values, knowledge of perfection, heroism, loyalty, devotion, marriage, and friendship. the dissemination of the panji story is at the same time followed by the enculturation process so that the story values originating from java are internalized into the new cultural environment and are considered to belong to the cultural environment (pudjasworo, 2014). in line with what was said by pudjasworo, nasrulil ilahi in the book seharmonia: journal of arts research and education 20 (1) (2020): 58-7260 jarah budaya jombang said that the wiruncana murca play was panji play that only exists in wayang topeng jatiduwur jombang. it means that the wiruncana murca play is a play belonging to the people of jatiduwur village, jombang regency so that the values in it have performancen the characteristics of the cultural environment of the people (nanang & yanuartuti, 2012). the wiruncana murca play is a legacy of the jatiduwur mask puppet ancestors. the only local play whose structure can still be traced, so that the revitalization process carried out by jombang artists can be demonstrated again. with the rebuilding of this play, making people who have not watched the mask puppet performance for a long time, want to reminisce and utilize the mask puppet again with this wiruncana murca play as a nadzar ritual art. as a nadzar ritual art, the wayang topeng performance with this play prioritizes its spiritual aspect, while the performance aspect is less of a concern. the head of the jatiduwur mask group (tri purwa budaya) is very eager to introduce this mask puppet to a wider audience. the effort to introduce the wayang topeng performance received a response from the east java tourism office, which was then asked to be performancen at the 2017 national panji festival in kediri. the wiruncana murca play was chosen to be presented at the performance. in the process of preparing for the panji festival performance, artists try their best to develop aspects of their performances. if previously the mask puppet paid less attention to aspects of the performance outside the ritual context, at that time it was demanded to transform and fuse the ritual art idioms into idioms of the festival performance art form. to be able to realize the performance, it requires artists who have insight about festival performances. it was then that the head of the jatiduwur mask group collaborated with academic artists from unesa surabaya. the most difficult element to change is the understanding of old artists (even though there are only 3 people left) in the form of fanaticism in their meaning ties. on one hand, mask artists want to introduce their art to the outside world, but on the other hand, the bond of the meaning of art in their understanding is still very close. in this condition, the right approach and method are needed so that it still does not disappoint senior artists, but the effort to introduce the toeng performance in the national arena is realized. based on the agreement of various parties, reorganization must be carried out. the reorganization is done by recruiting new players. teenagers from jatiduwur village are less interested in participating as players, instead, those who are interested are school-age children. there are various levels of age, of these interested children, many of which are elementary and junior high, and there are 2 of them from high school level. the children of the new players are new mediums who are not familiar with the motion techniques and also do not know the story in detail. these children are also a new medium that has different characteristics from adult dancers both physically and psychologically. physically it is clear that children have limited range of motion, while psychologically children must be positioned according to their age. however, as a new medium, these children have the advantage of having the characteristics of love to play, enthusiasm, and high activity, high curiosity, and tend to be creative. these strengths should be considered as approaches and methods. psychologically what needs to be adapted is the theme of the story, if in general, the panji story has a romance story, this process must be transformed into a story of friendship. two things need to be transformed in the preparation process of the jatiduwur puppet performance for the 2017 national panji festival, namely the preparation of the dancer’s body media, and the transformation of the play structure consisting of themes, plot, and settings. this condition requires the director and the puppeteer to strive to redraft the storyline and the cultivation of the staging. this is where the setyo yanuartuti et al., adaptation of the wiruncana murca play in the wayang topeng 61 transformation is carried out with adjustments, with the abilities and characteristics of the players, as well as with the context of the panji festival performance. the transformation of wiruncana murca’s play is interesting to be studied more deeply, both related to the change in form (text) and its relation to the context. research on mask puppets has been done by other researchers. sumaryono has conducted a research in the form of a dissertation entitled “peran dalang dalam kehidupan perkembangan wayang topeng pedhalangan yogyakarta” in 2011. the perspective of this research is historical research. the findings made by sumaryono are historical traces of mask performances in java from the mataram hindu period to mojopahit in the xv century. during the ancient mataram period, the terms ‘mask’, hatapukan in inscriptions, and the term ‘raket’ were found in kakawin sumanasantaka. then, it was found that the period of the history of the mask performing arts in java was in the late majapahit period until the demak period, the pajang period, the islamic period before giyanti, and after the giyanti agreement. the development of the yogyakarta pedhalangan mask (topeng pedhalangan yogyakarta) is not far from the development of the klaten mask puppet. the existence of puppeteers in javanese society is not only due to their artistic competence, but also their social status. it was also found in this study that the text of the wayang topeng pedhalangan performance has an art style that refers to the arts and culture of yogyakarta style. wayang topeng pedhalangan yogyakarta is influenced by the involvement of the puppeteers in maintaining, preserving, and developing specific styles of mask performance art as a puppetry style (sumaryono, 2011b). roby hidajat has researched malang mask puppet. his thesis research took the title ““wayang topeng malang di dusun kedungmonggo: kajian strukturalisme simbolik pertunjukan tradisional di malang” in 2004. this study uses the perspective of levie’straus’s structuralism. the study found that the structure of malang puppet performance in kedungmonggo hamlet symbolizes kamituwo, land and space, pundhen of belik kurung village (as the center), river, and mountain. such structural construction has a functional relationship with cosmology about nature which includes three things, namely the three kingdoms which the locals call triloka, which includes (1) the upper world, (2) the middle world, and (3) the underworld (hidajat, 2004). hidajat also researched the adaptation of the wayang topeng malang performance art to the changes in people’s lives in kedungmonggo village, malang regency. this study looked at changes in the mask puppet performance from generation to generation starting in 1930 to 2018. the results of his research performance that there are three social transformation patterns of mask puppet support, namely: 1) adaptation of farmers to dancer; 2) adaptation of organizational management systems, and 3) adaptation over gender. it was explained in this study that mask puppet dancers were farmers and all-male dancers who were members of the pucangsono tumpang association. in its development of mask puppet has been organized in the kedungmonggo wayang topeng group, performances are not only held in kedungmonggo village as a ritual but have become popular performances that are also staged in festival events or performances with mask puppets. thus, there is a change in the gender of dancers, which in the past for the role of female figures performed by men changed by female dancers (hidajat, 2018). robby also conducted research related to the adaptation of mask puppet characters in the ritual of ruwatan. in this paper, it is found that there are adjustments to the characters in the ruwatan ritual such as bathara kala, dewi ismaya, dewi uma, and so on in the form of topeng panji. for example, the character of bethara kala used the sabrang mask to be brought closer to his physiognomy. “the character of batara kala itself physiognomically adopts the character of harmonia: journal of arts research and education 20 (1) (2020): 58-7262 sabrang; round face, round eye, hooked nose, eyebrow in balarak sineret ngombak form, thick mustache (kepelan), singobarong style in the mouth and lips, and siung prengesan for the teeth. the physiognomy characteristics of the character illustrate a rough and destructive nature. kala means time. the society of duwet villege them selves understands the character as sangat (the proper time), naas (danger/ bad luck), or kala (time/ change of the year)…(hidajat, 2016) in robby hidajat’s writing about adaptation in the malang mask puppet performance, it can be analyzed that understanding the concept of adaptation can mean changes that occur, the second adaptation is interpreted as character adjustment through the form of a mask. the two concepts of adaptation can be different because the discussion is less based on theoretical adaptation concepts. if this is grounded research, it will be able to find new concepts that will then become theoretical findings. this research can open up insights that in the wayang topeng malang performance and also its development, there have been forms of adaptation so that its existence is maintained in community. so far no one has done in-depth research into the wayang topeng jatiduwur jombang performance. in 2015-2018, some researchers conducted a research about the conservation of jombang mask puppet performance with a variety of perspectives and qualitative methods as well as development methods. this paper is part of the results of this research with a focus on research on the transformation of the wiruncana murca play in the wayang topeng jatiduwur jombang performance with an adaptation approach. some undergraduate students (guidance of researchers) also examined portions of the performance such as the analysis of the wiruncana murca play by ezzil presti agustin (2014); ezil in his research explained that the wiruncana murca play had a forward flow, the theme of the play was in the panji story, the characterization was determined based on the shape of the mask, the setting was the social condition of the people of jatiduwur village, jombang as an arena performance. players perform without written scenarios and can perform several roles that can be identified through the form of the mask used. the puppet mask play wiruncana is performed very simply, as is folk art (agustin, 2014). meanwhile, mega discussed “bentuk dan gaya tari topeng klana jaka dalam pertunjukan wayang topeng jatiduwur jombang” by mega anugrah ramadani (2017). the findings performanceed that the topeng klana jaka dance is the opening dance in the wayang topeng jatiduwur performance. klana mask is still being myth by the people of jatiduwur village. based on the shape of the mask it can be interpreted that this mask is a relic of mojopahit which was inherited by mbah purwa (grandpa purwa). the form and pattern of motion that was presented by the klana jaka mask dance was influenced by the style of the individual dancer, moh. yaud, and the social conditions of the people of jatiduwur village (ramadhani, 2017). the previous studies performance that research on adaptation of wiruncana murca play in the wayang topeng jatiduwur jombang performance has not been discussed by other researchers. the phenomenon of the transformation made by mask artists in collaboration with unesa to work on the form of the mask puppet performance of wiruncana murca play in festival events deserves to be studied more deeply. therefore, the focus of this research is to examine the processes and forms of adaptation in the transformation of the wiruncana murca play in the wayang topeng jombang performance. this research is very important to be carried out so that the existence of wayang topeng jatiduwur jombang re-exists and is widely known in the community. besides, the adaptation process that has been carried out can be the basis for developing the wayang topeng jatiduwur jombang performances into the future. setyo yanuartuti et al., adaptation of the wiruncana murca play in the wayang topeng 63 method this research is a descriptive qualitative analysis of the results of research on the creation and study of art about the conservation of wayang topeng jatiduwur jombang. the object of this research material is the process and form of wiruncana murca performance in the wayang topeng jatiduwur jombang performance which was performancen at the 2017 national panji festival in kediri. the data source comes from direct observations in the process of working on the play, and during the wayang topeng jatiduwur performance in the 2017 national panji festival in kediri, east java. besides, the source of data also came from interviewees such as moh yaud (puppeteer), yayak (dancer), mbah sumarni (current heir of topeng jatiduwur), sulastri widyanti (chair of sanggar topeng jatiduwur purwo budaya), and henri nurcahyo as the observer of the national panji festival. data collection uses observation, interviews, and document study techniques. data analysis techniques are carried out with the stages of data reduction, data presentation, and data verification. the validity of the data uses insulated sources and methods, and the forum group discussion. result and discussion the wayang topeng jatiduwur performance is generally presented within 2-3 hours and is performed to be responded to or requested by the community members who have the intention to release nadzar. in connection with this function, every mask puppet performance has a presentation structure of the klana dance as the opening of the mask puppet, the presentation of the play, and is closed with an mbatek kupat luar ritual as a ritual of releasing the nadzar promise by the puppeteer and the host as the intention owner. the structure of the wayang topeng performance as a means of nadzar ritual always stays from the mask smoking ritual, klana jaka mask dance as the opening dance, the presentation of the miruncana murca play, the mbatek kupat luar ritual as a symbol of the release of nadzar. the structure of the performance cannot be applied to the wayang topeng jatiduwur performance in the 2017 national panji festival performance. therefore, the adaptation process is carried out following the contextuality of the national panji festival event. the adaptation process is carried out by the method of transformation of the play and elements of dance movement as the main media and other performance elements. the following is a description of the process and form of the wayang topeng jatiduwur of wiruncana murca play performance which was staged at the panji festival in kediri. illustration of the plot of wiruncana murca play the wiruncana murca play is a story that tells the disappearance of raden panji inukertapati, who then disguises himself by using the name raden wiruncana. the disappearance of raden panji made his father anxious and finally a competition was made that whoever could defeat raden carang aspo, he would be arranged for dewi kumudaningrat. the competition had invited kings and knights to follow it. it is said that raja rancang kencana sent patih sundul mega to participate in the carang aspo competition, to marry dewi kumudaningrat. on the way, patih sundul mega met with raja sewu and raden wiruncana, who had the same goal. a battle ensued and was won by patih sundul mega. raden wiruncana faced begawan sidik wacana to strengthen his supernatural powers. in the kingdom of java, raden carang aspo and dewi kumudaningrat were visited by the kings who were going to participate in the competition. but of all the kings no one defeated raden carang aspo. raden wiruncana came and followed the competition. when raden wiruncana and raden carang aspo were fighting, raden wiruncana changed to become raden panji. the return of raden panji has become a peace harmonia: journal of arts research and education 20 (1) (2020): 58-7264 for the kingdom of java (agustin, 2014). in this performance, wiruncana murca play is performed with a forward flow starting at around 21.00 till 00.00 wib, or if during the day starting at 09.00 till 12.00 wib. the plot can be seen in balungan lakon or outline of the following scene. scene i : jejer sepisan (jejer of sabrang kingdom) scene ii : bodholan sabrang soldiers scene iii : bambangan (raden panji and bancak doyok) scene iv : a failed war between sabrang soldiers and raden panji scene v : jejer kepindo (padepokan/hermitage) scene vi : jejer ketelu (jejer of jawa kingdom) scene vii : brubuh war adaptation in the transformation of wiruncana murca play the 2017 national panji festival is a series of activities organized by the east java tourism office to awaken the panji culture. as being written by previous researchers, the panji story has a historical setting in majapahit. archaeological evidence performances that the panji story originates in reliefs in east java, including in miri gambar temple in tulungagung, surawana temple in kediri, lxv temple in mt. bekel penanggungan, perwara tegawangi temple, and many more in the form of panels reliefs in several other temples in east java (munandar, 2014). based on this history, the east java tourism office preserved it through the panji story and built the panji culture in several places in east java. nusantara panji festival is one form of activity that encourages the emergence of the panji story and develops panji culture in the form of performances. the national panji festival was participated in by art groups throughout the archipelago, to introduce panji culture from their respective regions. performances in the national panji festival event are a different context to the social context of rural communities. the jatiduwur mask puppet in jombang was previously exhibited in the context of the social life of the people in jatiduwur village through the nadzar ritual, when it had to be staged in the national panji festival event, it requires adaptation in several elements. adaptation is done through a process of transformation both from the elements of the play and the main media, namely children’s dancers. adaptation is done so that the form of performance text used is following the context of festival performances. hutcheon explains that adaptation is redecorating with variations without imitating or tracing, adapting means regulating, changing to be appropriate (hutcheon, 2006). this concept of adaptation is following the process that has been carried out in wiruncana murca play in the jatiduwur mask puppet performance. in detail, the stages of adaptation in the transformation of the jatiduwur mask puppet performance are carried out in the following stages. identification of story ideas the process of identifying ideas is carried out by conducting observations and interviews with resource persons about the wiruncana murca play that has been previously staged. the result is information about the uniqueness of the wayang topeng jatiduwur performance, namely the scene of a meeting between patih sabrang (patih sundul mega) and raja sewu. the presence of raja sewu is never in the panji story anywhere. the presence of the raja sewu scene is influenced by the environment of jatiduwur village, which is on the banks of the brantas river. jatiduwur people believe that raja sewu is around jatiduwur village. for example, the figure of raja bajul sengara came from the girikadasar kingdom. raja bajul sengara is believed to be the king of crocodiles at the bottom of the brantas river. uniqueness like this is a local value that is very important to be used as a strength of value when doing the transformation. adaptation which is done by referring to the strength of values which is the uniqueness of wayang topeng jatiduwur is an adaptation that prioritizes the originality of values. setyo yanuartuti et al., adaptation of the wiruncana murca play in the wayang topeng 65 the embodiment of the text the second stage of adaptation is done by creating a new text. the new text intended is wiruncana murca’s scenario. the new screenplay contains a storyline in the form of scenes complemented by character determination, dance moves, plotting, and settings. the scenario arrangement is adjusted to the performance time given by the panji festival committee, which is 1 hour. the scenario transformation process is done by compacting the play. parts of the scene that did not appear were the jejeran sabrang and bodolan scene. the scene immediately starts from the meeting of patih sabrang, with raja sewu and wiruncana in the urawan royal square. the reason for the meeting was because they both wanted to take part in the carang aspo competition. the scene of the meeting in the square is made with a lively atmosphere, competing for skills that are illustrated through kiprah movements. this kiprah movement encourages the emergence of an initial conflict called a failed war. raja sewu and wiruncana suffered defeat in this failed war. wiruncana’s defeat led to the appearance of the hermitage scene. the hermitage scene was preceded by gara-gara (bancak doyok). this scene is a decrease in the atmosphere from frightening to peaceful. this is where wiruncana was given knowledge and magic by begawan sidik wacana. the next scene is the jejer of urawan kingdom. this scene was developed by beginning with jogetan bedayan cenik. this bedayan dance was raised to provide a cheerful atmosphere, to cheer up dewi kumudaningrat who was sad. the next scene is the brubuh war. starting with a battle between patih sabrang (sundul mega) and raden carang aspo, and won by raden carang aspo. the next match was between raden wiruncana and raden carang aspo. this war caused raden wiruncana’s disguise to fade into raden panji inukertapati. if the original purpose of the competition was to get dewi kumudaningrat as a wife, in this process of cultivation wiruncana’s struggle to participate in the competition to defend the country. because wiruncana or raden panji understood that the competition aimed to help the urawan state struggle from the war against the enemy. the adaptation carried out in the preparation of this text still holds the original value of the text of the play that has existed, only that there is an adjustment in the strengthening of the value of love into the value of struggle and friendship. adaptation is done only by compaction, reduction of the scene which is not the core scene, and given the addition of dance variations in the urawan scene to build dynamics to make it more varied. this adaptation effort is still relevant to the opinion of sander (2006) about the limitations of the originality of the work in the development process. ardianto in his research on the existence of film adaptation in indonesia which was transformed from the novel also mentioned that in adapting art from medium to another medium it still departs from the original value of the story in the novel even though the form of the text is different. adaptation like this can be said as an adaptation by focusing on fidelity at the source of adaptation (ardianto, 2016). the embodiment of dramaturgy the realization of dramaturgy is done by applying scenarios in existing art media, such as arranging dance movements, structuring gending, developing dialogues by the puppeteer. this process is a more complex adaptation process, which is visualizing the text of the scenario text into dramaturgy. in the realization of dramaturgy, there is a new medium, namely children. therefore, the transformation of the play’s message from romance to the struggle to defend the country must be carried out. the initial preparation for this process is to prepare the children’s body medium. the process of preparing the ability to move skills is done by body training. the goal is for children’s bodies to have flexibility, balance, and strength. in addiharmonia: journal of arts research and education 20 (1) (2020): 58-7266 tion to bodywork, children are provided with basic moving skills in the jatiduwur mask, through drill techniques. cultivation of patterns and forms of motion following the scenes in the puppeteer’s scenario and dialogue. cultivation of motion is done by developing new motifs based on the motifs of the klana jaka mask dance (opening dance). the patterns and forms of motion in the klana jaka mask dance have various motifs (ramadhani, 2017). the development of this new motif was applied to the movements of the warriors, patih sundul mega and raja sewu in scenes on the square. in these scenes, motives are also added gestures. the development of motion motifs was also carried out in the scene of the decision of the kingdom of urawan. motifs of motion developed are female motifs in the form of bedayan motion. bedayan dance is called bedayan cenik because these princesses are performed by children. the development of movement patterns is also carried out on war motion techniques such as ngereki, gaprukan, and jaguran. if the war technique is usually only done by one character with another character, here it is developed with a group war system with variations in floor patterns, levels, and direction to face. strengthening the technique is also carried out by strengthening the children’s skills in dancing, with the concept of joint movement patterns, adjusted to the children’s movements. the process of adaptation that occurs in the transformation of motions from simple motifs to varied motifs, and also the transformation of motion from the shapes and patterns of adult dancers’ movements to the shapes and patterns of children’s movements. transformation of motion does not change the form of motion, but some add variations in motifs of motion and simplify the technique of motion, and some strengthen the position of gestures. this form of adaptation is also in line with indra bulan’s expression in his research on the transformation of the sword dance which still originates from the kuttau motion in pencak silat in lampung. the form of the sword dance when viewed from its movements is the same as the movement in the kuttau, but it experiences addition, subtraction, and change to other streams. this process is included in the transformation process which is also part of the adaptation (month, 2017). the development of dance movements is also carried out to adjust the motion with the puppeteer’s dialogue. this process results in the integration of a sense of motion with the sound of the puppeteer. a dancer must memorize the sound of a puppeteer who performances the characteristics of a character. this cultivation of movement is the development of motion to strengthen the expression of the puppeteer’s voice. this process is done repeatedly so that at least the child understands who the characters and characteristics are taught by learning the voice of the puppeteer. structuring the gending is done in conjunction with the preparation and training of dance movements. cultivation of gending is done by making a written notation and then applying it in practice. gending was developed with both time and beat patterns. at the end of the training process, a merger is carried out among motion and kerawitan music, and antawecana puppeteer. in this merging process, adjustments occur in both the beat rhythm and the dynamics. the adaptation process occurs between dance moves with gending, dance moves with puppeteer’s dialogue, and synchronization of all these dramaturgy elements. hidayat explained that in the wayang topeng performance, gending and dance moves were a unity that had to be united. the sound of gonseng from the dancer’s foot which was pounded guided the sound of the drum in the wayang topeng performance (hidajat, 2018). staging the stages of staging are the stages of preparation for the supporting elements of the presentation, up to the performance. the process carried out at this stage is the setyo yanuartuti et al., adaptation of the wiruncana murca play in the wayang topeng 67 development of clothing designs and lighting fixtures needed. as it is known that the wayang topeng performance, players use everyday clothes, plus cloth (batik) complete with sampur. strengthening of the character can be seen from the mask, and jamang (headwear). the fashion design was developed from the interpretation of the mask characters, with the coloring approach and the types and motifs of jombangan style dance clothing. for example, the panji figure used a type of prominent green clothing, dewi sekar taji with black, raja sabrang, and the governor, and his soldiers were reddish, and so on. for the type of clothing for male characters in general they use a type of leather head war, kace necklace, shoulder belt, belt and keris, 2 sampur, long cloth, ¾ or long pants, and gongseng. the stage performance has been provided by the festival organizer, complete with the lighting arrangement. to produce optimal performances, players are adapted to the existing stage forms. adjustments are made by stage blocking exercises before performing. in this stage, the transformation of the play has not occurred, because it is more on the adaptation of the form of work that has been prepared with the conditions of the stage as contextual performances. the dancers are trained to be able to adjust where to enter and exit the stage and must adjust the pattern of the floor or plotting to the stage area. the final stage of the adaptation process is a performance. the performance was held in kediri regency, precisely at simpang gumul at the 2017 national panji festival. the exact schedule of the wayang topeng jombang was held on july 20, 2017, from 19:00 to 20:00 wib. the adaptation that occurs in this performance is how the performers, both dancers and performers, and puppeteers, can control their fear, worry, and confidence because they have to present the mask puppet in front of an audience outside jatiduwur village. the audience came from various regions not only from artists and performance experts from east java but also from other regions outside java. at this time, there was an audience reception of the performance presented by the jatiduwur mask puppet team. wiruncana murca play textual in the wayang topeng jatiduwur performance at the 2017 national panji festival the play is a story dramatized and written to be performed on stage by several players. in a puppet performance, mask play is a story that is manifested in the form of a masked drama. this story or visualization is visualized through text elements in mask drama performances such as plot, dance moves, mask shape characters, gending patterns, fashion, and supporting aspects of the stage. the textual elements in the performance are called textual performances. this textual will be adjusted according to the context. the text of the wiruncana murca play in the wayang topeng jatiduwur performance at first was strongly bound by the socio-cultural context of the people of jatiduwur village, such as performing rituals before the opening dance was performed. the form of the ritual is the ignition of charcoal coals that have been given incense so that the smoke rises to the top and gives off a fragrant scent that carries a sacred impression. incense embers are used to smoke the masks that have been prepared on the table. as a folk art, wayang topeng jatiduwur is simple, performed on the home page of the audience, with the condition of the audience surrounding the performance arena. the nature of being one with the community feels thick in the wayang topeng jatiduwur performance. the contextual performance of the wayang topeng jatiduwur as folk art can be seen in the figure 1. wiruncana murca play ended with the end of raden wiruncana disguising and turning into raden panji. the return of raden panji as a sign of the coming of the rays of light that will illuminate the kingdom to preserve human life in this world. this performance is also connected with the nadzar ritual function which is carried harmonia: journal of arts research and education 20 (1) (2020): 58-7268 out after the performance ends. nadzar rituals are performed with salvation marked by sesajen and nasi tumpeng (rice cone) and kupat luar with money and yellow rice inside. the nadzar release ritual is manifested by the mbatek kupat luar (the inviting person holds the edge of the rhombus, and the other hand is held by the puppeteer who is believed to be able to help release the nadzar’s promise). these symbols are the text of wayang topeng jatiduwur in the context of community life in jatiduwur village. wiruncana murca is believed by the community to have a functional relationship with their ancestors and social structure, in line with robby hidajat’s research that the mask puppet in kedungmonggo hamlet is one of the social phenomena that are related to the social structure of the community, this is understood as a reality composed of life units that are complex and have functional relationship (hidajat, 2005). figure 1. raden wiruncana’s scene facing begawan sidik wacana when staged in front of the front yard of a resident’s home in jatiduwur village, jombang the 2017 national panji festival is a national scale performance event. this event is a new context for the wayang topeng jatiduwur performance. the purpose of the performance in the national panji festival is 1) to introduce the existence of panji culture in the wayang topeng performance; 2) to performance the uniqueness and beauty of the wayang topeng jatiduwur performance form. based on these objectives, it is clear that the wayang topeng jatiduwur performance at the panji festival has changed its function, from the nadzar ritual to the performance function. the form of the stage is complete with the arrangement of the lights, the distance of the audience from the arena, and the direction of the one-on-one audience performances the context of the performance that is different from the context of the performance in the social community of jatiduwur. the contextual festival has changed the text of the wiruncana murca play in the wayang topeng jatiduwur performance. the textual performance of pure wayang topeng jatiduwur is arranged and packaged for the performance function, with a duration of 1 hour. wiruncana murca play which was previously performed in 3 hours was worked on and packed into 1 hour. this change in the duration of time demands the development of the wiruncana murca play. compaction of the play becomes a method in the transformation of this play. as a result of the compaction process, wiruncana murca play in the mask puppet performance at the panji festival event only consisted of 4 (four) scenes. the four scenes of the wiruncana murca play can be seen in the table 1. with the compactness of the plot of this play, puppeteer antawecana is an element that must be able to provide a picture of the scene’s atmosphere. for example, in the scene on the square, the puppeteer gives an illustration that there is the aspo carang competition. this competition provoked the kings of sabrang and raja sewu to take part in the competition because if they won, they would get dewi kumudaningrat’s friend. not only the kings who lured to join the competition, but also raden wiruncana. because of that, the kings and raden wiruncana came to the urawan square to take part in the competition. puppeteer antawecana is realized in the form of a janturan. the interwoven story in the plot built in this play was built not straight and broken. it is said not to be straight because the scene does not begin with the sabrang scene as in the plot of the wiruncana murca play in the past. the scene was immediately taken with a meeting between setyo yanuartuti et al., adaptation of the wiruncana murca play in the wayang topeng 69 raja sabrang and patih with raja sewu, and also raden wiruncana who had the same goal of participating in the aspo carang competition. this meeting sparked a dispute and there was a magical battle, which ended with the retreat of raden wiruncana murca and raja sewu. the next scene is a direct scene of gara-gara and sidik wacana’s hermitage. the break-up also occurred in the urawan kingdom’s jejer scene. this scene is only represented by scenes of bedayan cenik princesses with dewi kumudaningrat and carang aspo. here, the scene is abridged only keputren scene. the scene directly continues to the fight between raden carang aspo with raja sabrang and wiruncana, which ends with the change of raden wiruncana’s disguising to raden panji. the scene closes with a sign of reuniting raden panji, raden carang aspo, and kumudaningrat. interwoven events that are worked with not straight and broken are categorized by episodic plot. this is as explained by sudikan that the episodic plot is a small plot. the events woven in this flow are episodes of a long story (sudikan, 2000; wiratama, 2019). the integrity of wiruncana murca’s presentation in the wayang topeng jatiduwur performance at the 2017 national panji festival is supported by other mediums such as the cultivation of dance motifs and floor designs and their top designs. the motif for the motion was developed from what was originally just a moving motion (the act of ngencik, gantungan, tancep) to move to and from the arena, into several motifs such as motion motifs of cawukan, sekaran (trap ali-ali, trap sumping, usap rawis), arranged using variations in floor patterns and facing directions and letable 1. the four scenes of the wiruncana murca play scene atmosphere summary scene i a depiction of the atmosphere of the urawan square crowded scenes in the square (the kings and knights who will follow the aspo carang competition, have gathered at the urawan square). it is depicted that raja sewu and sabrang (patih sundul mega) competed with each other as illustrated by the motion of kiprah. a battle ensued and was won by patih sundul mega. scene ii (jejeran padepokan) joyful this scene begins with the release of bancak and doyok to entertain themselves. raden wiruncana faces the begawan sidik wacana hermitage together with bancak and doyok. this is where raden wiruncana was trained and prepared for his miracle. scene iii (jejeran urawan kingdom) calm and sad scenes of the bedayan cenik dance (dance of the little princesses of dewi kunudaningrat’s caretakers). this dance begins with a row of javanese. it is described that dewi kumudaningrat was sad and restless because her sister raden carang aspo would soon compete with the followers of the competition. if raden carang aspo loses, he must be friends with the king of sabrang. come raden carang aspo to appease dewi kumudaningrat. scene iv brubuh war – tancep kayon tense peace the competition begins between raden carang aspo and the raja sabrang who participate in the competition. the magic competition is won by raden carang aspo. the next competition was rade wiruncana and raden carang aspo. the war ended with the change of raden wiruncana to raden panji. the aim of the raden carang aspo competition has succeeded in luring raden panji to return to the kingdom. the return of raden panji brings hope of the return of peace in the javanese kingdom. . harmonia: journal of arts research and education 20 (1) (2020): 58-7270 vel variations. the development of motifs, patterns, and forms of motion is supported by the patterns of east java javanese gending. as it is known that the gending used previously was only jula-juli and ayak-ayak slendro wolu in this cultivation used other east-javanese gending such as cokronegoro, blendrong, and also new gending by developing rhythmic patterns such as ¾, 2/4, and also 4/4. the development of gending notation is based on the atmosphere of the plot that has been arranged in the scenario. strengthening the characteristics of the character that was raised in wiruncana murca play continues to be manifested by the form of the original psychology of the jatiduwur mask and there is the addition of a new mask which is for the cenik bedayan character. raden wiruncana figure uses a golden-brown mask when turned into raden panji inukertopati using a green mask. raden wiruncana’s mask of physiognomy is a rather thin eyebrow shape, the shape of a small nose is pointed, the shape of the eye is smooth (like grain), the shape of the mouth is closed, wearing a long thin moustache. headdress ornament uses flower picture. the shape of the physiognomy of this mask depicts raden wiruncana’s character who has an unpretentious but authoritative character, a subtle character somewhat lanyap. for the green panji mask, the shape of a thin eyebrow, the guardian’s nose is tilted, the shape of the eye is smooth, the shape of the mouth is closed, it does not have a moustache. this form of physiognomy mask depicts the character of a knight, alus luruh (suprihatin, endang wara, 2016). examples of the forms of raden wiruncana and raden panji masks as well as cenik bedayan can be seen in the figure 1. the cultivation of wiruncana murca play plot in the form of a compact play visualized through dance patterns and dance forms adapted to the puppeteer’s antawecana, variations in the musical notation patterns that accompany it, the cultivation of choreography that is supported by lighting and stage settings create a new form of puppet mask. this is a form of creation that has been done by the director and the puppeteer in arranging the new structure of the wiruncana murca play. the creative process is carried out by transforming wiruncana murca play in the wayang topeng performance by using a new medium, which is the dancers of school-age children. the development of work like this is a creative process that requires careful and new aesthetic considerations. such a transformation process is included in the adaptation as a creative process. this creative process produces creative products, in the form of textual-contextual performances. this is as expressed by hutcheon dividing adaptation into as a product, as a creative process, and as a reception process. adaptation as a product is interpreted as a transposition from one work medium to another work medium, adaptation as a creative process means that there is a process of reinterpretation and re-creation, whereas as a reception process is a form of the intertextuality of literary works (hutcheon, 2006). figure 2. raden wiruncana’s mask figure 3. raden panji inukertopati’s mask setyo yanuartuti et al., adaptation of the wiruncana murca play in the wayang topeng 71 dancers of school-age children in the context of the transformation of wiruncana murca play in the wayang topeng performance are a new medium. thus, in this transformation, there is a change in shape from the medium of the adult dancer to the medium of the children. denny tri ardianto in his article explained that the process of adaptation as a product is a process of transposition from one medium to another. denny found in research that product adaptation can also be done by transposing texts from novel texts to film texts. many films in indonesia are adapted from novels, such as the 1926 loetoeng kasaroeng film which has been directed by dutch nationals and played by native actors and actresses who have succeeded in realizing a new film form (ardianto, 2016). figure 4. soldier scenes in the first scene in the javanese royal square, kings of kiprah (photo. setyo, 2017) figure 5. scenes of princesses bedayan cenik while entertaining dewi kumudaningrat (photo. setyo, 2017) this new wayang topeng performance received appreciation from observers as a form of the success of the tri purwa budaya mask group in revitalizing the wayang topeng jatiduwur performance in jombang. this was revealed by henri nurcahyo in the book “festival panji nasional 2017”, that the tri purwa budaya studio had succeeded in regenerating wayang topeng jatiduwur, through the cultivation of the wiruncana murca play by staging the national panji festival due to the assistance of universitas negeri surabaya lecturers. the appearance of children as dancers in the wayang topeng performance, as a result of the revitalization process, is quite interesting as to rebuild the life of traditional arts (nurcahyo, 2017). the following are examples of pictures of the wayang topeng jatiduwur of wiruncana murca play. conclusion based on the analysis, it performances that the adaptation process has occurred in the transformation of the wiruncana murca play in the wayang topeng jatiduwur jombang performance from the context of folk performances with its function as a nadzar ritual to the context of the 2017 national panji festival performance art form. the transformation is carried out by the stages of identification of story ideas, the embodiment of the text, the embodiment of dramaturgy, and staging. this adaptation process is categorized as fidelity adaptation or by maintaining the originality of the source and placing the source of the art as inspiration for developing new performance products. the textual form of the wiruncana murca play has been adjusted to the context of the wayang topeng jatiduwur performance at the 2017 national panji festival. adaptation of the wiruncana murca play is a new product from the wayang topeng jatiduwur jombang. acknowledgments this article is the result of research funded by the directorate general of strengthening research and technology ministry of research, technology, and higher education (drpm) in 2017-2018. therefore, the writers express their gratitude to the drpm as a donor of the institute for research and community services harmonia: journal of arts research and education 20 (1) (2020): 58-7272 (lp2m), universitas negeri surabaya. in addition to the resource person, mrs. tri sulastri widyanti, as the chief of wayang topeng jatiduwur jombang. references agustin, e. p. 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(2018). wayang topeng jatiduwur. unesa university press. vol. 8 no.2 mei-agustus 2007.pdf harmonia jurnal pengetahuan dan pemikiran seni dampak tayangan lagu anak-anak di televisi pada pendidikan seni di sekolah (the effect of children song show on television toward art education in school) kusrina stafpengajar jurusan sendratasik fakultas bahasa dan seni universitas negeri semarang abstrak pendidikan tidak hanya diperoleh dari pendidikan formal, tetapi juga dari pendidikan informal dan nonformal. sekolah menentukan hasil pendidikan yang dicapai oleh para siswa, namun demikian hasil pendidikan dari sekolah tersebut juga dipengaruhi oleh lingkungan sosial yang lain. lingkungan keluarga dan lingkungan masyarakat juga ikut andil besar dalam menentukan hasil pendidikan siswa. saat ini lingkungan budaya fisik seperti benda hasil teknologi beserta perangkat penggeraknya juga sangat luar biasa pengaruhnya bagi pendidikan anak. kegiatan bermusik dan atau berlagu atau bernyanyi para siswa sekolah yang diwadahi dalam mata pelajaran kesenian, juga banyak dipengaruhi oleh tayangan lagu-lagu di televisi. siswa tidak hanya bisa berapresiasi dan berkreasi yang luar biasa, yang didapat dari pembelajaran luar sekolah seperti keluarga, masyarakat, terlebih lagi televisi. utamanya pengaruh televisi disinyalir sangat luar biasa dampaknya pada kegiatan bermusik/ berlagu/ bernyanyi anak. untuk itu diperlukan pengarahan untuk menuju tercapainya pendidikan seni diharapkan oleh sekolah secara optimal. kata kund: pendidikan seni, menyanyi, lagu, televisi, apresiasi, kreasi. a. pendahuluan mengamati lagu-lagu anak yang sering ditayangkan di televisi akhir-akhir ini, muncul banyak kritik yang menganggap bahwa lagu anak-anak yang berkembang sekarang ini baik secara langsung maupun tidak langsung. muatan pesan yang tertuang dalam link atau syairnya kurang memperhatikan unsur pedagogik dan atau pun kemampuan berbahasa anak. melalui tayangan audio visual (televisi) lagu-lagu anak menjadi cepat mengkhalayak atau memasya-rakat, tetapi lagu yang relatif “baik.” untuk anak, kita rasakan semakin langka ditayang-kan atau secara ekstrim kalau boleh dibilang, bisa dikatakan "tidak pernah terfikirkan" untuk ditayangkan. pertelevisian sebagai salah satu produk teknologi dan industri, sejak kelahirannya sudah memiliki karakteristik sebagai hiburan. kultur baru yang dibawa televisi melalui program siarannya tumbuh begitu cepat dan mempengaruhi masyarakat pemirsa. hal ini sebenarnya tidak mengejutkan karena kebudayaan televisi mem-punyai substansi yang sebetulnya volume viii no.2 / mei-agustus 2007 148 harmonia jurnal pengetahuan dan pemikiran seni sudah dikenal sejak lama sebelum kebudayaan tulis atau cetak menggesernya. substansi dari kebudayaan adalah ekspresi dengan menggunakan bahasa verbal dan visual sekaligus. substansi serupa terdapat dalam kebudayaan lisan. masa itu disebut oleh walter oong dalam wibowo (2000;7) sebagai kebudayaan lisan pertama, sementara jaman lahirnya teknologi audio visual sekarang ini disebut sebagai kebudayaan lisan kedua. sebuah lagu bisa mem pengaruhi pendengar, apalagi jika pendengarnya adalah anak-anak yang sedang dalam masa pertumbuhan dan perkembangan. bagi anak, menyanyi adalah hal yang menyenangkan, dan merupa-kan salah satu sarana untuk mengekspresikan diri. sementara link lagu barat ibarat sumber informasi yang mampu me-ngajarkan tentang ke indahan alam, macam binatang, lingkungan keluarga maupun lainnya yang berkaitan dengan lingkungan di mana mereka tinggal. seto mulyadi menurut setyorini (1993; 39) psikolog yang akhir-akhir ini rajin mencipta lagu anak-anak mengakui, semula lagu-lagunya tidak langsung melejit di pasaran. hal ini di-karenakan semua link atau syair lagunya masih berorientasi pada lingkungan informal pada anak-anak yang duduk dalam bangku sekolah. lepas namun tetap berkait dengan apa yang telah diuraikan tadi, permasalahan pokok dalam dunia pendidikan secara umum dan pen didikan seni pada khususnya, sebenarnya di antaranya karena di berlakukannya sentralisasi yang meng hasilkan pendidikan yang mem belenggu dan tidak humanis. hak-hak anak terampas untuk memenuhi standar. kurikulum di sekolah jauh dari kepentingan anak yang gunanya untuk menanggapi tuntutan hidup dan lingkungannya yang justru lebih realistis. dan pada akhirnya anak mengikuti globatisasi musik dan budaya yang tak tentu arahnya, yang seharusnya lebih kita cermati sehingga lahir anak-anak yang mempunyai budi dan daya yangbaik. akibat adanya standarisasi maka timbul gerakan ranking anak. anak sekolah tidak untuk mem-peroleh pengalaman hidup/ akan tetapi justru untuk mem-peroleh ranking atas. ukuran ke-berhasilan pendidikan bukan tumbuh dewasa-nya anak agar mampu menghadapi hidup dan mampu mem-pertahankan eksis-tensinya dalam kehidupan di masyarakat nanti. berikut akan dicoba untuk di-kemukakan tayangan musik / lagu anak di televisi dan idealitas keinginan pendidik. b. penayangan lagu anak-anak di televisi dan idealitas keinginan pendidik suatu idealitas keinginan pendidik, semestinya televisi sebagai media yang paling akrab dengan masyarakat, dapat memilih materimateri tayangan yang benar-benar. dapat digunakan untuk mendidik dan atau dapat digunakan untuk ke pentingan kemajuan masyarakat luas. dalam hal me-nayangkan musik hiburan yang dutujukan untuk anak-anak, mesti-nya juga memilih materi-materi yang dapat mendorong perkembangan mental anak dengan lagu-lagu yang mudah dicerna dan bisa dijadikan alat ungkap/ ekspresi yang sesuai dengan usia dan volume viii no.2 / mei-agustus 2007 149 harmonia jurnal pengetahuan dan pemikiran seni perkembangan mental dan atau kondisi anak. dalam kaitan dengan itu, paling tidak diharapkan lagu-lagu itu mampu diserap anak, hingga anak yang masuk dalam usia menuju remaja itu bisa terdorong tingkat kreativitasnya menuju pada suatu kreativitas yang positif.(read, 1970; 30) secara tegas mengatakan, seni secara umum dalam hal ini juga dapat kita interpretasi termasuk lagu-lagu, dapat digunakan sebagai alat pendidikan. alat pendidi kan itu bisa pendidikan apresiasi yang ditujukan untuk ke pentingan perkembangan pertumbuhan kepekaan rasa/kematangan emosi anak atau pun pendidikan kreativitas anak. perlu diperhatikan juga pendapat para ahli pendidikan seperti merritt dalam dharma (2003; 102), buzan yang dikemukakan oleh suharto dalam jurnal bahasa dan seni lingua artistika (2000; 9), serta deporter dan hernacki yang ditulis kembali oleh sumaryanto dalam jurnal bahasa dan seni lingua artistika (2002; 11), yang mengatakan dalam banyak hasil penelitian diketahui bahwa musik-musik yang berirama dinamis dapat digunakan secara efekuf untuk membantu kecerdasan emosi pada manusia, yang emosi itu pada struktur otak manusia terletak di otak/benak sebelah kanan, yang sekaligus juga dapat digunakan secara efektif untuk membantu kecerdasan intelektual yang pada struktur otak manusia terletak di struktur otak/benak sebelah kiri. oleh karena itu kebutuhan anak akan seni untuk berbagai kepentingan pendidikan luar biasa besarnya. bagaimana fenomena pendidikan seni di sekolah berkait dengan itu semua, berikut akan dikemukakan sebatas pengamatan global dan kasar untuk pendidikan seni musik di taman kanak-kanak, sekolah dasar, dan sekolah menengah perta 1. fendidikan seni musik di taman kanak-kanak pendidikan seni untuk taman kanak-kanak, telah di-aktualisasikan dalam bentuk kurikulum lengkap pendidikan taman kanak-kanak yang telah diterbitkan oleh pusat kurikulum badan penelitian dan pengembang-an departemen pendidikan nasional tahun 2004. tentunya kita menyambut baik dan menaruh harapan yang sangat besar dengan dimunculkannya kurikulum tersebut. belum seluruh sekolah dapat rnenjalankan kurikulum tersebut, namun kurikulum tersebut telah disempurnakan lagi menjadi kurikulum 2006 tanpa semua tahu di mana kekurangan dan atau mungkin kelebihannya. . dimunculkannya kurikulum pendidikan seni yang terbaru dari mata pelajaran kerajinan tangan dan kesenian menjadi mata pelajaran seni budaya dipandang perlu seluruh insan pendidik dan masyarakat luas mengetahui sejauhmana kemungkinan optimali-sasi penerapannya (termasuk utamanya untuk pendidikan taman kanakkanak ini). hal ini menjadi perhatian yang serius karena anak pada masa taman kanakkanak merupakan masa emas dalam perkembangan anak yang senantiasa harus dan mutlak untuk men-dapatkan perhatian lebih. stimulasi pendidikan diperlukan guna memberikan perangsangan terhadap seluruh perkembangan anak. selain itu berfungsinya otak adalah hasil interaksi dari cetak biru (blue print) genetic dan pengaruh lingkungan volume viii no.2 / mei-agustus 2007 150 harmonia jurnal pengetahuan dan pemikiran seni nya yang untuk itu kurikulum tetap hams dijalankan di lapangan dengan memperhatikan latar lingkungan yang pas. pendidikan seni pada umumnya dan pendidikan musik pada khususnya mempunyai peran yang sangat penting, yaitu sebagai (1) kebutuhan dasar pendidikan manusia, (2) memenuhi kebutuhan dasar estetika, (3) pengembangan sikap dan kepribadi an, (4) determinan terhadap kecerdasan lainnya. implikasi pendidikan musik tidak mungkin terlepas dari kondisi masyarakat dan lingkungan pendukung nya sebagaimana yang telah dikemuka kan pada bagian awal tulisan ini. oleh karena itu pula pengembangan tujuan pendidikan seni musik hendaknya berdasarkan nilai-nilai gagasan (citacita dan tingkat kedewasaan) siswa, dan pola-pola hidup kreatif melalui latihan-latihan. dengan kata lain tujuan pendidikan seni musik hendaknya diarahkan pada pemaha-man sepenuh nya terhadap seni berdasarkan nilainilai budaya, sehingga memberi peluang pada siswa untuk melakukan kegiatan kreatif. kegiatan kreatif merupa-kan manifestasi dari kemampuan berkomunikasi siswa dengan sesama maupun dengan ling-kungannya. pendidikan seni musik perlu memfokuskan per-hatian pada kebutuhan dan kemampuan/ bakat siswa beserta fenomena yang sedang berkembang di masyarakat atau mengikuti tuntutan jaman. untuk itu pelaksanaan dilapangan untuk anak taman kanak-kanak, pendidikan musik ini harus bisa lebih fleksibel, dalam arti tidak harus terpatri pada tuntutan formal yang ortodok dan konservatif. unsur-unsur musik se materi yang harus di-kembangkan seperti irama, melodi, dan harmoni perlu ditetapkan dan atau diaplikasikan pada bentuk musik/ lagu yang benar-benar sesuai dengan kegunaan bagi pembentu-kan karakter dan pembentu kan perkembangan jiwa anak didik dengan pesan-pesan yang sesuai. seni suara (musik vokal dan instrumental) adalah bagian dari kehidupan dan perkembangan jiwa anak. sejak anak dilahirkan sebenarnya telah memiliki beberapa unsur musik seperti irama, melodi, dan harmoni sebagai pembentukan musik yang utuh. materi seni musik yang diberikan untuk siswa taman kanakkanak tidak berbeda dengan materi umum seni musik dalam artian musik yang telah memenuhi unsure-unsur musik/ lagu seperti yang telah dikemukakan tersebut di atas yang meliputi irama, melodi dan harmoni. namun demikian kadang sekali apa yang diberikan oleh guru kepada anak didik jauh kalah popular dengan yang dikenal oleh anak didik yang didapat dari tayangan televisi yang kadang oleh orang tua anak dilanjutkan dengan disediakannya kaset untuk disetel/ diputar melalui tape rekorder. di sini lah pengaruh media televisi memang sangat luar biasa yang kadang hasilnya melampaui pendidikan formal. kehidupan suatu generasi sangat berpengaruh dalam pendidikan anak yang merupakan tanggung jawab orang tua dan masyarakat. sejalan dengan perkembangan musik sebagai bagian dari siaran televisi seperti saat ini mengandung banyak keterkaitan dengan lembaga masyarakat, yang ini menjadikan musik atau lagu volume viii no.2 / mei-agustus 2007 151 harmonia jurnal pengetahuan dan pemikiran seni sebagai bagian dari budaya masyarakat yang memiliki unsur-unsur pendidikan sikap dan tingkah laku anak dalam mengadaptasi budaya mereka. menurut royce (1990; 22) beberapa faktor penting berkaitan dengan lagu yang dianggap sebagai alat penting bagi dunia pendidikan anak, mempunyai unsur potensial pula yang ideal di masyarakat untuk menghasilkan banyak nilai positif. keterkaitan dengan pendidikan anak dalam keluarga sangat bergantung pada fungsi keluarga dalam masyarakat dan fungsi tersebut di antaranya adalah fungsi psikologis, pendidikan, dan rekreatif. fungsi psikologis di-pandang sangat penting karena di sini lah pada perkembangan personalitas dan watak anak akan terbentuk. keluarga merupa kan unsure pertama tempat terjadinya kontak social anak. sampai dengan usia 10 tahun anak sangat terpengaruh dengan pola kehidupan keluarga. keluarga akan mem-pengaruhi tingkah laku dan pertumbuhan emosional anak termasuk dalam berkesenian. fungsi pendidikan keluarga adalah sutnber awal kehidupan budaya anak. keberhasilan menanamkan pola ini akan memberikan pengaruh bagi anak untuk mampu me-ngembangkan dirinya dengan pasti dan teratur. fungsi kreatif dalam masyarakat modern, sangat diperlu-kan dan diharapkan. kemampuan anak harus berkembang sesuai dengan potensi dan kreativitasnya. perlu di ketahui bahwa, fasilitas rekreasi saat ini salah satunya adalah dengan adanya sarana televise yang menyiarkan lagu-lagu yang diberikan oleh guru melalui pendidikan formal di sekolah. anak akan .begitu fasih dan begitu ekspresif manakala menyanyikan lagu yang menirukan lagu-lagu yang ia kenal di televisi. berkaitan dengan peng ekspresian anak dalam menyanyikan lagulagu yang ia kenal, menurut pakar teori perkembangan anak, lawrence (1998; 123) sangat bermanfaat bagi perkembangan anak. melalui peng ekspresian syair lagu itu, anak menjadi menempuh tahap-tahap dalam menggunakan kemampuan berbahasa, yakni muls-muls dialog pribadi, kemudian ditujukan ke pihak lain, bertanya atau memberi perintah kepada diri sendiri sambil mengerjakan sesuatu, lalu mengatakan sesuatu menjadi pikiran yang tidak dikeluarkan / tanpa suara atau dialog dengan diri sendiri tanpa suara. fenomena kehidupan seni untuk anak prasekolah atau taman kanak-kanak telah lama digunakan sebagai alat pendidikan sampai saat sekarang dan saat sekarang semakin mendapat perhatian khusus dari pihak-pihak terkait utamanya dinas pendidikan. berikut akan dikemukakan fenomena krativitas/ ekspresi musik/ lagu anak-anak tingakat sekolah dasar serta fenomena pendidikan seni musik di tingkat sekolah menengah pertama akibat adanya pengaruh dari tayangan musik/lagu di media televise dan media yang lain. 2. pendidikan seni musik di tingkat sekolah dasar musik/lagu anak-anak untuk sekolah dasar pada umumnya adalah jenis musik/ lagu dengan ciri-ciri syair yang mudah dinyanyikan, mudah dihafal, dan bentuk melodi maupun harmoninya masih sangat sederhana. ekspresi musik/ lagunya lebih banyak volume viii no.2 / mei-agustus 2007 152 harmonia jurnal pengetahuan dan pemikiran seni berekspresi tentang keindahan alam, lingkungan keluarga, komunikasi umum, serta tema-tema yang berorientasi pada perkembangan anak. ekspresi dari syair yang mudah ditiru terdapat pada syair lagu yang diikuti gerakan alur melodi yang tidak melompat dengan memanfaatkan ritmis yang diulang-ulang (mahmud, 1994; 1). dalam hubungannya dengan lingkungan keluarga anak, orang tua dari kelompok status ekonomi menengah ke atas merasa bahwa menyanyi adalah sangat penting untuk ketrampilan seni anak dan kepentingan kemajuan anak di aspek lain seperti aspek kemampuan berbicara anak sehingga mereka metnacu anakanaknya untuk menyanyi lebih baik dengan memperbaiki setiap ucapan yang salah, memperbaiki kesalahan tata bahasa dan mendorong untuk berperan serta dalam setiap pembicaraan yang bersifat umum. tayangan nyanyian dan/ atau lagulagu di televise atau mungkin juga radio memberi contoh yang baik bagi penambahan kosa kata anak yang lebih besar sebagaimana anak-anak sekolah. radio dan televise juga mendorong pendengar/pemirsa untuk mau mendengarkan secara seksama sehingga kemampuan untuk mengerti apa yang dikatakan oleh orang lain melalui media radio dan/ atau televise itu meningkat. setelah anak belajar membaca (menyanyi), ia menambah kosa kata baru dan terbiasa dengan bentuk kalimat yang benar. melalui sekolah, kata-kata yang salah/ keliru/ tidak sesuai dengan pengertian yang sebenarnya dan penambahan kosa kata umum yang terjadi secara tidak teratur, biasanya cepat diperbaiki guru (hurlock, 1994:151). televisi sebagai salah satu darimedia pendidikan merupakan media yang cukup efektif dalam menyerap berbagai informasi. tanpa disadari sebagian besar anak gemar menonton televisi dari bermain sendiri. penelitian ter-hadap anak yang menonton televisi menyimpulkan bahwa kegiatan menonton televisi menimbulkan pengaruh yang baik, seperti meningkatnya pengetahuan dan meluasnya minat berbagai aspek kehidupan sesuai potensi yang dimiliki anak (hurlock, 1994: 136). sebaliknya akibat buruknya adalah kurangnya latihan fisik/ aktivitas gerak, ketegangan syaraf, tidak dapat tidur, dan menerima pola-pola perilaku yang tidak sesuai dengan norma (hurlock, 1994:137). media tanpa membaca seperti televisi ini, tampaknya akan jauh lebih efisien dibandingkan media baca tulis. artinya cara yang paling efisien dan mudah untuk memberdayakan bangsa ini kenungkinan adalah melalui media suara gambar seperti radio dan televisi yang lebih mudah dicerna mereka, baik yang berpendidikan rnaupun tidak berpendidikan. concept community televisi dapat dijadikan alternatif solusi -bagi pemberdayaan bangsa menuju knowledge based society. berdasar kondisi dan/ atau fenomena yang demikian menjadi semakin disadari bersama bahwa, media televisi memang mempunyai pengaruh yang luar biasa pada pendidikan anak, termasuk penguasaan lagu-lagu dari sisi berbagai aspek yang ada pada lagu atau nyanyian tersebut. pada dasarnya, musik sebagaimana juga lagu secara umum juga merupakan bahasa. oleh karena itu menjadi tidak aneh manakala siswa atau volume viii no.2 / mei-agustus 2007 153 harmonia jurnal pengetahuan dan pemikiran seni orang siapa pun menjadi jauh begitu lebih respek terhadap apa yang di dapat melalui media televisi. sebagairnana yang telah dikemuka-kan pada sesi awal, bahwa pada dasarnya televisi adalah budaya lesan yang kedua setelah dari tahapan bahasa verbal non media. berkait dengan itu maka untuk anak-anak tingkatan sekolah dasar iru pun dalam berkesenian atau berseni musik atau nyanyi juga banyak dipengaruhi oleh pergaulan-nya dengan media televisi. 2. pendidikan seni musik di sekolah menengah pertama pendidikan seni musik untuk anak tataran usia sekolah lanjutan pertama, yang nota-bene peralihan menuju ke masa remaja, secara khusus kreativitas musiknya dapat dimasukkan sebagai kreativitas musik / seni yang digunakan untuk mencari jati diri. salah satu usaha untuk menunjukkan jati dirinya memang bisa melalui bermusik tersebut. bisa berlagu, bermusik instrumentalia, dan atau mungkin berkesenian yang lain. berkait dengan ekspresi musikalnya, berbagai jenis musik, baik yang berasal dari musik indonesia seperti kelompok band zamrud, edane, sheila on seven, padi serta musik luar dengan lirik berbahasa inggris, spanyol, meksiko maupun berbahasa mandarin, realitanya mampu ditiru dan dipelajari oleh tataran sekolah lanjutan pertama ini. salah satu kebutuhan anak dalam mengembangkan kemampu-an meniru atau sebagai kemampuan kreativitasnya di bidang musik khususnya musik-musik populer, proses dari meniru lagu-lagu popular, didapatkannya bukan dari lingkungan sekolah seperti yang diajarkan oleh guru seni musik. lagu-lagu yang ditiru umumnya didapatkan dari lingkungan masyarakat di mana siswa tinggal, maupun melalui media elektronik seperti cd/ vcd, radio, dan/ atau media lain, terutama televisi. pesan-pesan dari lagu yang dipelajari dan diperoleh dari hasil meniru, realitanya masih terbatas pada kemampuan anak dalam meniru pada unsur-unsur lagu seperti halnya pola irama, melodi lagu, maupun harmonisasi lagu, sementara teks atau lirik dari lagu dan kemampuan memainkan maupun. mengolah lagu-lagu yang dipelajari masih kurang mendapatkan perhatian. secara jujur, kemampuan dari proses meniru sebenarnya merupakan salah satu dari kemampuan kreativitas siswa di bidang musik baik yang positif maupun yang negative tergantung dari sisi mana kita memandang. untuk menuju halhal yang positif, sangat dibutuhkan arahanarahan, maupun wadah yang tepat baik di sekolah maupun lingkungan masyarakatnya. pertanyaan yang cukup mendasar, mampukah sekolah sebagai salah satu pusat informasi dan pendidikan bagi anak mampu menampung dan ikut mengembang kan kemampuan kreativitas anak didiknya di sekolah, baik melalui pembelajaran intrakurikuler maupun ekstrakurikuler ? jawabannya tentu ada pada ke mampuan guru dan sekolah, serta sarana dan prasarana yang dimiliki di tiap-tiap sekolah dalam meningkatkan kemampuan emosional dan intelejensi anak didiknya. yangjelas pada kenyataannya, kemampuan sekolah sebagai lembaga yang berkewajiban mendidik anak melalui seni sebagai alat pen volume viii no.2 / mei-agustus 2007 154 harmonia jurnal pengetahuan dan pemikiran seni didikannya, mayoritas dilakukan masih sebatas untuk menjalankan tugas melalui rambu-rambu kurikulum yang ditelaah oleh guru dan sekolah secara kaku. berhasil dan tidaknya berpijak dari tujuan yang mendasar dari diberikannya pendidikan seni di sekolah, masih perlu diteliti lebih lanjut tampaknya pengaruh media umum dan utamanya televisi adalah luar biasa. bahkan kadang-kadang materi pelajaran seni musik di sekolah pun harus mengikuti perkembangan musik atau lagu yang ditayangkan di televisi. lagu kopi dangdut yang begitu tenar melalui tayangan di televisi, tidak ada siswa yang tidak mengenal. bahkan saat ini lagu kucing garong juga mendapat sambutan khusus dari masyarakat luas termasuk siswa sekolah menengah pertama. setiap kali guru mau memberi materi musik atau lagu, siswa melakukan usul minta lagu-lagu yang telah ia kenal dari televise. berkait dengan respek yang demikian dapat kita interpretasi sebagai suatu tanda, bahwa media televisi begitu besar pengaruhnya dalam memberi isi dan warna serta harapan yang diinginkan oleh siswa dan tentunya juga termasuk masyarakat luas. guru sendiri kadang terobsesi oleh tayangantayangan televise dalam mem-berikan materi pelajaran pada siswa. seolah fenomena ini menjadi gayung bersambut antara keinginan siswa, inspirasi guru, tuntutan sekolah, dan kebutuhab masyarakat secara umum. dilema bagi guru adalah materi pelajaran harus mengacu pada kurikulum yang cenderung di interpretasi kaku oleh guru sendiri dan oleh sekolah serta tuntutan moral bahwa materi pelajaran harus mencapati tujuan yang digariskan oleh kurikulum. c. penutup kesenian memiliki peranan penting dalam menumbuhkan ke seimbangan logika dan rasa. berbagai aktivitas seni dapat menumbuhkan kepekaan rasa yang sekaligus merangsang kecerdasan logika. salah satu aktivitas seni dalam bahasan ini utamanya adalah menyanyi. menyanyi merupakan hal yang inenyenangkan dan paling mudah dalam meng ekspresikan jiwa musik pada anak. lirik-lirik lagu yang disampaikan pun bisa beragam, bisa keindahan alam, macam binatang, lingkungan keluarga, dan lain sebagainya yang berkaitan dengan lingkungan di mana siswa tinggal. lirik lagu dapat digunakan sebagai sumber informasi yang masuk ke dalam memori anak sehingga secara psikologis mempengaruhi perkembangan anak. fenomena nyata yang kita lihat, liriklirik lagu populer di televisi banyak pengaruhnya terhadap inspirasi para siswa dan banyak aspek positif yang diambil dari pengaruh tayangan televisi. dalam hal ini tentu juga tidak menafikkan dampak negatif dari pengaruh tayangan televisi tersebut. semua dampak negative di harapkan bisa dieliminer melalui benhtk pengembangan yang dilakukan oleh guru sebagai pendidi daftar pustaka depdiknas. 2004. kurikulum berbasis kompetensi & basil belajar rumpun pelajaran kesenian. jakarta: pusat kurikulum balitbang depdiknas. volume viii no.2 / mei-agustus 2007 155 harmonia jurnal pengetahuan dan pemikiran seni hurlock. l994. psikologi perkembangan suatu pendidikan sepanjang rentang kehidupan, jakarta: erlangga. lawrence, e. 1998. mengajarkan emotional intelligence pada anak. jakarta: ft gramedia pustaka. mendiknas. 2006. "tandar isi dan standar kompetensi lulusan tingkat sekolah menengah tingkat pertama dan madrasah tsanawiyah" dalam model kurikulum tingkat satuan pendidikan (ktsp). jakarta: binatama raya. setyorini, lies. 1993. musik dan perkembangan psikologi anak. jakarta: ayahbunda. suharto. 2000. "peran seni dalam pengoptimalan otak" dalam lingua artistika jurnal bahasa dan seni fbs universitas negeri semarang no. 3 th. xxiii september 2000. sumaryanto, totok, f. 2002. :peran musik untuk meningkatkan kecerdasan anak usia sekolah dasar dalam lingua artistika jurnal bahasa dan seni fbs universitas negeri semarang no. 1 th. xxv januari 2002. mahmud, at. 1994. musik i. jakarta: depdikbud. merrit, stephanie dalam dharma, lala herawati. 2003. simfcmi otak. bandung: kaifa. royce. 1980. the antropology of dance. indiana: bloomingto read, h. 1970. education through art london: faber and faber. wibowo, f. 2000. seni pertunjukan dan media, makalah seminar nasional stsi surakarta volume viii no.2 / mei-agustus 2007 156 harmonia vol vii no 1 2006.pdf !"#$%&'"()*#&"+(,-&.-/"!*"&(0"&(,-$'1'#"&(2-&' 1 !"#$"%&$'#&()*+,.'/+'#&0"#0'#1&.2#*0%),*+&3"%'#&4',+56',+&$'#&3"%"78)'#&$'6'7&3%2*"* 3"#$+$+,'#&()*+, 9!"#$"%&'#$&()*+,-&."*"'%,/&01&("#2*&'#$&304"#2*&.05"&60#*7%),7+0# +#&7/"&()*+,&8$),'7+0#&9%0,"** : ;$+&;0272 !"#$%&'()#*#+%,-+-.#(%&'(/0/01#(%!'(/+#"#.012%34!2%5(06'+.0"#.%7')'+0%!'8#+#()9 <= 3"#$'>)6)'# ,34536778( 789747( :7;<=:7;<( 678 >343?>@78(a3b747(7:7?<(c5<d:de<af((67:7? 53457e7<( ;d893;a( 5@67g7( a34<8e;7:<(?38= 67a74<( 6<h3438a<7a<( >3478( c/060.0:(% :$% ;#<:+f g78e( 767i ";<5798g7( a34<8e( 934j76<( ;3= 9<67;a3<?578e78( >3478( 789747( :7;<=:7;< 678( >343?>@78( g78e( 67:7?( 535347>7 ;7a@a( 67>79(?3?@8b@:;78( 7678g7( 6d?<= 87a<(:7;<=:7;<(797a(>343?>@78i +7;<=:7;<( 638e78( b<44<=b<4< 5<d:de<a8g7( a3497( a<h79=a<h798g7( a38789<7a7 6<<6389<;;78( 638e78(d4<3897a<( <8a94@?38= 97:k( g7;8<( 7;9<hk( >38d8jd:78( 6<4<k( >3:<8= 6@8ek( 678( >3?<?><8i( 23678e;78( l78<97 638e78( b<4<=b<4<( 5<d:de<a8g7( 6<<6389<;;78 638e78( a<h79( h3?<8<8k( g7;8<( 534;7<978 <?*0%', ,34536778(789747(:7;<=:7;<(678(>343?>@78((a3b747(7:7?<(c5<d:de<af(67:7?(53457e7< ;d893;a(5@67g7(a34<8e;7:<(?3867a74<(6<h3438a<7a<(>3478(c/060.0:(%:$%;#<:+f(g78e(767i "49<;3:( <8<( ?34@>7;78( m7a<:( >383:<9<78( g78e( ?38e;7j<( 938978e( 57e7<?787 ;d8a94@;a<( >3478( :7;<=:7;<( 678( >343?>@78( 67:7?( 6@8<7( >386<6<;78k( ;m@a@a8g7 5<678e( >386<6<;78( a38<( ?@a<;i( $39d63( g78e( 6<e@87;78( 67:7?( >383:<9<78( <8< 767:7m( ?39d63( ;@7:<979<hi( /3;8<;( >38e@?>@:78( 6797( g78e( 6<e@87;78( ?3:<>@9< l7l78b747k( 78e;39k( d5a34n7a<k( 678( 6d;@?3897a<i( /3;8<;( 787:<a<a( 6797( g78e 6<e@87;78( g7;8<( 638e78( ?38e3?578e;78( 63a;4<>a<( ;7a@ak( g78e( >4da3a8g7 6<:7;@;78( 638e78( 97m7>( 436@;a<( 6797k( ;793ed4<a7a<k( 678( >387ha<478( 6797 cn34<h<;7a<o>3874<;78(;3a<?>@:78fi!7a<:(>383:<9<78(?38@8j@;78(57ml7(;d8a94@;a< >3478( :7;<=:7;<( 678( >343?>@78( 67:7?( >4da3a( >386<6<;78( ?@a<;( 934j76<( >767 :<8e;@8e78( ;3:@74e7( 678( :<8e;@8e78( ?7ag747;79i( #37:<97a( d5g3;9<h( g78e ?38b7;@>(53457e7<(>78678e78k(a<;7>k(>34<:7;@k(678(>3?534<78(?7;87( 934m767> 6<h3438a<7a<( >3478( :7;<=:7;<( 678( >343?>@78( 53467a74;78( 5@67g7( c(-+"-+'f( g78e 93467>79(67:7?(:<8e;@8e78(;3:@74e7(?3?<:<;<(>3478(g78e(?38d8jd:(67:7?(>4da3a ;d8a94@;a<( >3478( 6<;7:78e78( a<al7( 678(?7m7a<al7( >343?>@78i( 23678e;78( 57e< a<al7( 678( ?7m7a<al7( :7;<=:7;<k( >4da3a( ;d8a94@;a<( >3478( a3:7<8( 934j76<( 6<( 67:7? :<8e;@8e78( ;3:@74e7( j@e7( 934j76<( 6<( 67:7?( ( :<8e;@8e78( ada<7:( ?7ag747;79i( p<7a e38634(g78e(934j76<(67:7?(>4da3a(;d8a94@;a<(>3478(:7;<=:7;<(678(>343?>@78(67:7? >383:<9<78( <8<( 6<9@8j@;78( 638e78( ?7a<m( 7678g7( >78678e78 ."'+':"=>'( e38634( 6< ;7:78e78(d478e(9@7k((a<al7k(678(?7m7a<al7(?@a<;i .'0' ,)#@+(q(.38634k($@a<;k(1d8a94@;a<k(,3478k(,386<6<;78i !"#$%&'"()*#&"+(,-&.-/"!*"&(0"&(,-$'1'#"&(2-&' rd:i(r'' (&di(s o)78@74<=">4<:(tuuv 2 638e78( d4<3897a<( 3?da<d87:( a3>349<( >7a<hk 534;d4578( @89@;( ;3>34:@78( d478e( :7<8k 934e789@8ek(>3?534< b<897k(678(>38e7a@mi ,34536778(>78678e78(934a35@9(?38b<>97= ;78( b3:7m( >38g3;79( g78e( ?3?<a7m;78 789747( >3478( >343?>@78( a357e7<( adad; 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(b) pengatur jarak antara joged dan penayub. (c) tidak diperbolehkan memakai minum-minuman keras yang beralkohol. (d) bagi penayub harus bertindak sopan terhadap jogednya upaya-upaya yang yang lain adalah dari diri si joged itu sendiri, yaitu dengan membentengi dirinya sendiri dari hal-hal yang berakibat negatif, misalnya selalu berhati-hati dalam bertindak. selalu waspada dan membatasi diri, dan yang lebih penting adalah mempertebal rasa keimanan. sedangkan dalam hal berbusana (memakai kostum) hendaknya yang sopan dan tertutup. kata kunci: citra wanita, pertunjukan, kesenian tayub. a. pendahuluan kesenian tayub merupakan seni tari tradisional yang sampai sekarang masih banyak diminati oleh masyarakat di beberapa daerah di wilayah jawa tengah, seperti blora, purwadadi, sragen, wonogiri, bahkan ada juga di wilayah propinsi jawa timur. meskipun demikian sering kali terdengar kesan-kesan yang kurang baik dari dalam masyarakat tentang kesenian tayub. hal ini tentunya berkaitan erat dengan keberadaan seni tayub dalam masyarakat. rafles (dalam depdikbud kab, blora, 1994) mengemukakan bahwa tari hiburan yang sangat digemari oleh kalangan rakyat adalah tari tayub yang disajikan oleh para penari ronggeng atau ledhek. penari tayub atau ledhek memiliki perilaku yang kurang terhormat, sehingga istilah ronggeng atau ledhek selalu diasosiasikan dengan pelacur. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 sementara itu cliford geertz (1960), bahwa penari tayub memiliki citra yang kurang baik, bahkan hampir semua bisa diajak tidur bersama oleh pria yang berduit. menurut umar kayam (1981) bahwa ledhek yang digambarkan dalam sri sumarah dan bawuk, juga tetap sama seorang penari ledhek, yang mau dicium, bahkan selalu siap dibawa menari di kamar tidur. dari berbagai pandangan tentang penari tledhek atau tayub, terangkum bahwa tayub merupakan tari hiburan bagi kaum pria serta menempatkan penari ledhek atau joged tidak ubahnya sebagai wanita penghibur. namun demikian, dibalik citra yang kurang mengenakkan, tayub tetap dianggap milik masyarakat jawa. bahkan pemerintah daerah blora pun mengangkat tayub sebagai salah satu aset wilayah setempat yaitu aset wisata dan sebagai ciri khas kabupaten blora. yang menjadi pertanyaan adalah: setelah adanya campur tangan dari pemerintah daerah setempat serta dijadikannya tari tayub menjadi kesenian ciri khas kabupaten blora jawa tengah, apakah image penari tayub yang dianggap sebagai penghibur lakilaki masih melekat pada era reformasi sekarang ini. apakah dalam tari tayub yang terkenal dan dibanggakan masih terdapat pemberdayaan perempuan. untuk menjawab semua permasalahan yang ada perlu diteliti lebih mendalam. melihat kenyataan yang ada bagaimana kedudukan penari tayub (joged) dalam pertunjukkan kesenian tayub, maka pokok permasalahan yang akan dikaji adalah sebagai berikut: (1) bagaimana perwujudan kesenian tayub di kabupaten blora? (2) bagaimana citra wanita penari tayub dalam pertunjukkan kesenian tayub? (3) upaya apa sajakah yang bisa dilakukan untuk mengangkat kedudukan citra wanita dalam pertunjukan kesenian tayub? berdasarkan pada pokok kajian yang telah dirumuskan dalam permasalahan, maka penelitian ini bertujuan untuk menganalisis citra wanita yang terekspresikan dalam pertunjukkan kesenian tayub, serta untuk mencari jalan keluar serta mencari upaya-upaya apa saja yang dilakukan untuk mengangkat kedudukan citra penari tayub. b. tinjauan pustaka untuk membahas permasalahan kedudukan wanita dalam kebudayaan jawa, teori yang digunakan adalah gender dari berbagai perspektif (sulastuti, 1999), dalam mengisi berbagai kegiatan di dalam masyarakat, wanita jawa pada khususnya, menunjukkan berbagai sikap dan sifat terhadap masalah-masalah yang dihadapi, antara lain dalam mengisi perannya sebagai ibu, istri, maupun anggota masyarakat pada umumnya. kita juga dapat mengamati bagaimana berbagai kegiatan wanita jawa yang telah memancing konflik, baik antara suami-istri, antara sesama wanita, maupun pada diri wanita itu sendki. hal ini berhubungan dengan kenyataan bahwa berbagai peranan yang diisi wanita cukup banyak yang masih baru bagi lingkungan sosial kita, sehingga belum dapat diterima oleh seluruh anggota masyarakat. sedangkan untuk mengupas karakteristik wanita penari tayub, sumber yang digunakan adalah dari wahyu m.s dan indriyani l. wanita penari tayub disebut joged atau ledhek adalah seorang wanita yang menggeluti bidang seni khususnya seni tradisional tayub yang dalam penampilannya di atas panggung dengan menggunakan busana kain dan kemben dan berselendang dengan menggunakan geharmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 rak-gerak yang erotis (wahyu, 2001: 9) latar belakang wanita penari tayub tidaklah sama antara satu dengan yang lainnya. ada yang menari tayub dijadikan pekerjaan tetap, yaitu mencari tambahan penghasilan atau bahkan menjadikannya sebagai profesi utama, ada pula hanya untuk menyalurkan bakat. pada golongan ini biasanya dipengaruhi oleh keturunan keluarga yang sebelumnya menekuni bidang yang sama. selain itu ada juga sebagian penari tayub yang hanya sekedar hobi dan sebatas ikut-ikutan saja (indriyani, 2001: 13) adapun untuk mengupas konsep pemberdayaan perempuan, sumber yang digunakan adalah triwijati dalam marheni (1997) berdasarkan penelitian kepustakaan, proses pemberdayaan mengandung dua kecenderungan. pertama, proses pemberdayaan yang menekankan kepada proses memberikan atau mengalihkan sebagian kekuasaan, kekuatan atau kemampuan kepada masyarakat agar individu menjadi lebih berdaya. kecenderungan kedua, menekankan pada proses menstimulasi, mendorong, dan memotivasi individu agar mempunyai kemampuan atau keberdayaan untuk menentukan apa yang menjadi pilihan hidupnya melalui proses dialog. pemberdayaan perempuan sebagai mitra sejajar laki-laki adalah kondisi di mana perempuan dan laki-laki memiliki kesamaan hak dan kewajiban yang terwujud dalam kesempatan, kedudukan, peranan yang dilandasi sikap dan perilaku saling membantu dan mengisi semua bidang kehidupan. perwujudan kemitrasejajaran yang harmonis merupakan tanggung jawab bersama perempuan dan laki-laki. untuk mencapai kesetaraan perempuan dan laki-laki diperlakukan transformasi nilai yang berkaitan dengan hubungan jender dan keseimbangan kekuasaan antara lakilaki dan perempuan (triwijati, 1996 dalam marhaeni, 1997). c. metode penelitian untuk mengkaji masalah yang diteliti, secara metodologis, penelitian ini menggunakan pendekatan yang bersifat kualitatif. lokasi yang dipilih adalah kelompok kesenian tayub di desa padaan kecamatan japah, dan kelompok kesenian tayub di kecamatan bogoreja kabupaten blora jawa tengah. lokasi dipilih karena masyarakat desa pandaan semuanya bila punya kerja secara turun temurun selalu tayub sebagai hiburannya. sasaran kajian penelitian adalah mengenai citra wanita dalam pertunjukkan kesenian tayub serta upaya-upaya yang dilakukan untuk mengangkat kedudukan (citra) penari tayub di tengah-tengah masyarakat. teknik pengumpulan data dan infbrmasi yang digunakan adalah; observasi (pengamatan), wawancara mendalam serta studi dokumentasi. observasi dilakukan dua tahap, tahap pertama dilakukan pada saat pertunjukan kesenian tayub. hal-hal yang diamati antara lain perwujudan pertunjukan kesenian tayub serta perlakuan pengibing (penari laki-laki) terhadap joged (penari wanita). untuk memperoleh pemahaman yang menyeluruh, dilakukan pula pengamatan yang kedua, yaitu pada beberapa pertunjukan kesenian tayub di kabupaten blora. pengamatan ini dilakukan untuk memperoleh data mengenai kedudukan seorang wanita dalam perannya sebagai penari dalam pertunjukan tayub. wawancara dilakukan dengan mewawancarai pelaku seni (penari tayub maupun pengibing), 5 orang tamu seharmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 kaligus sebagai pengibing, pengarih, pengrawit serta beberapa penonton. teknik pengumpulan data studi dokumentasi merupakan cara pengumpulan bahan dokumen berupa hasil-hasil penelitian tentang tayub, artikel-artikel, dan berita-berita dari surat kabar. selain itu dokumentasi juga berupa gambar/foto, catatan-catatan/ tulisan, rekaman-rekaman baik menggunakan tape recorder maupun video. teknik analisis data merujuk dari miles dan huberman yang telah diterjemahkan oleh rohidi (1992), yaitu melalui proses reduksi data, sajian data dan penarikan kesimpulan atau verifikasi. d. hasil penelitian dan pembahasan 1. bentuk pertunjukkan tayub pelaku pementasan seni tayub ada beberapa pemeran yaitu: pengarib, joged, penayub, pengguyub dan pengrawit. secara rinci masing-masing pelaku tayub akan dijelaskan, sebagai berikut: 1.1 pengarih adalah orang yang mengatur jalannya pertunjukkan tayub dari awal sampai akhir. selain itu juga bertugas mengatur urutan giliran kehormatan penari bagi para tamu, melerai perkelahian yang mungkin terjadi, mencegah hal-hal yang tidak diinginkan misalnya; keonaran, mabuk-mabukan dan pelanggaran asusila lainnya. pengarih berjumlah satu orang 1.2 joged adalah penari wanita dalam tayuban yang selain bertugas memberikan sampur kepada tamu, juga menyanyi dan menari bersama pengibing. seorang joged dalam penampilannya selain menari, juga harus bisa menyanyikan tembang. selain bermodalkan paras cantik seorang joged harus memiliki suara yang bagus dan menguasai berbagai macam lagu. jumlah joged dalam pertunjukan tayub tidak pasti, ada yang 2, 4,6 bahkan ada yang 8 orang penari, tergantung dari penanggap dan biasanya disesuaikan dengan banyaknya tamu yang diundang. 1.3 penayub atau pengibing adalah sebutan bagi tamu yang diberikan kehormatan untuk menari bersama joged dalam acara tayuban yang ditentukan oleh pengarih secara berurutan atau bergilir. adapun urutan penayub ditentukan berdasarkan status sosial, pangkat, kekayaan, dan pengaruh dari kalangan pegawai pemerintah (camat, lurah, polisi, tentara dan pamong desa), pemuda-pemuda desa, pengusaha dan para petani. 1.4 pengguyub yaitu beberapa penari yang dipersilahkan oleh pengarih untuk menyertai menari dengan penayub. hampir sama pengguyub dengan penayub karena sama-sama bisa menari di arena pentas tayub. hanya saja kalau penayub sebelum menayub diberikan sampur oleh pengarih atau oleh joged terlebih dahulu, sedangkan pengguyub tidak mendapatkan sampur, jadi menari tanpa menggunakan sampur. pertunjukan tayuban dibagi dalam tiga bagian pertunjukan yaitu sliring, panembromo atau bowo kemudian ngibing. a. sliring yaitu para joged tetap duduk sedang joged yang lain berjalan di belakang pengarih untuk memberikan atur sampur kepada tuan rumah yang duduk di kursi kehormatan. b. panembromo yaitu kedua joged kembali duduk mengapit tamu kehormatan kemudian para joged harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 melagukan satu lagu. pengarih menari dengan gaya alusan yang sifatnya menghibur. c. ngibing yaitu setelah proses panembromo selesai dilanjutkan adegan ngibing dengan para joged yang ada, pada umumnya acara ngibing merupakan inti dari acara tayuban dan yang sangat ditunggu-tunggu oleh penonton, tamu maupun pengibing. 2 pemberdayaan wanita dalam pertunjukan tayub seni tayub sangat digemari oleh masyarakat kabupaten blora. sejak awal tayub sering dikonotasikan sebagai kesenian yang selalu diwarnai kemesuman, mabuk-mabukan dan perbuatan tercela lainnya. bahkan penari atau jogednya ada yang mengatakan bahwa penari tayub harus melayani tuan rumah yang mengundangnya seusai pertunjukan. bahkan bukan itu saja, penari atau jogednya inipun bisa dibawa oleh setiap orang yang membayarnya. ketika orang mendengar kata tayub atau tayuban hampir tak ada gambaran lain kecuali seks dan alkohol. masyarakat terlanjur akrab dengan gambaran tayub, karena itu ketika melihat pentas tayub, orang yang yang menonton bukan karena tertarik keindahan joged sang penari atau semaraknya gending iringannya, akan tetapi lebih tertarik dengan kemolekan tubuh penari serta kemontokannya, yaitu pinggul, betis dan kerling mata serta senyum yang seolah menggoda, itulah yang menimbulkan daya tarik tersendiri. celakanya anggapan masyarakat tentang tayub, tidak selalu salah, bahkan kadang-kadang ada pentas tayub tanpa bau alkohol diibaratkan seperti sayur kurang garam, kurang lengkap dan kurang menarik. akibatnya wujud pentas tayub seperti yang sering terlihat di daerah pedesaan selalu bau alkohol akibat dari minuman keras. masuknya minuman keras ke dalam seni tayub menjadi titik awal kemunduran seni tayub yang kemudian lebih jauh membawa akibat buruk. sejak itu minuman keras seolah-olah sudah menjadi satu sarana pendukung yang tidak terpisahkan dengan tayub. kebiasaan mabuk, setengah mabuk atau pura-pura mabuk di tengah-tengah pentas tayub telah menghilangkan kesadaran para pengibing, sehingga mudah terdorong untuk melakukan perbuatanperbuatan di luar batas kesusilaan kepada para penari atau ledheknya, misalnya saja memeluk, mencolek pipi atau pantatnya mencium dan mendudukkan ledheknya di pangkuan penari pria dengan tanpa rasa malu sedikitpun. dalam pentas kadang-kadang terjadi perkelahian antara kelompok penonton atau tamu yang pada umumnya terdiri dari para pemuda, karena memperebutkan giliran untuk menari dengan para joged atau ledhek. apalagi jika para pemuda dalam keadaan mabuk, perkelahian dapat lebih seru dan membahayakan keamanan dan ketertiban dalam suatu pertunjukan seni tayub. gambaran seperti tersebut di atas, masih banyak dijumpai pada setiap pertunjukan tayub di kabupaten blora, khususnya di kecamatan pandaan dan kecamatan bogoreja. mereka masih me-mandang kedudukan seorang penari wanita yang disebut dengan istilah joged dalam pertunjukan tayub sangat penting dan mempunyai daya tarik tersendiri. kedudukan seorang penari atau joged dalam pertunjukan tayub merupakan daya tarik yang sangat kuat, karena bagi masyarakat sebagai penonton dan sekaligus sebagai penayub dan pengguyub, menganggap seorang joged harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 merupakan obyek penghibur dan pemuas serta sebagai obat pelepas lelah setelah sehari bekerja. pertunjukan tayub, peran joged sangatlah penting, dia harus bisa memuaskan penonton dan berpenampilan prima dimata penonton, seorang joged dipandang sebagai penari tayub yang sempurna yaitu berparas cantik, pandai berdandan dan berhias, pandai menari serta pandai menyanyi dengan suara merdu. setiap penampilannya, joged juga dituntut untuk selalu ramah dan seakan menebarkan pesona lewat senyum yang tak lepas dari bibirnya yang merah. para joged pasrah saja ketika dirinya dicolek, dipeluk, dirangkul bahkan dicium oleh pengibing yang terlalu berani dan kebanyakan sudah mabuk berat. seperti yang dituturkan oleh salah satu joged yang bernama parsi berasal dari bogoreja, bahwa parsi pernah dicubit pantatnya, dicolek pipinya. hal ini menurutnya suatu hal biasa karena pekerjaannya memang berhadapan dengan orang-orang yang mabuk dan dia menyadari keberadaannya sebagai seorang joged. fenomena seperti di atas selalu dan selalu dihadapi oleh seorang joged dalam setiap pentas tayub. yang ada dalam pikiran para joged adalah menari dengan sebaik-baiknya dan bisa menghibur dan bisa memuaskan semua orang. para joged tidak sadar, kalau sebenarnya diberdayakan, dilecehkan martabatnya sebagai kaum perempuan serta diinjak harga dirinya. para joged tidak sadar kalau dirinya dijadikan sebagai obyek pemuas laki-laki. 3. upaya-upaya untuk mengangkat citra penari tayub pertunjukan seni tayub yang identik dengan mabuk—mabukan dan minuman keras, mendorong seorang penayub untuk berbuat sesuka hati. hal ini diakibatkan karena pengaruh minuman keras yang diminum oleh penonton saat akan menjadi penayub. setelah penonton mabuk dan menari sebagai penayub, gerakannya tidak sesuai dengan iringannya dan terkesan hanya mau mengumbar nafsunya saja untuk dekat-dekat dengan jogednya. pada akhirnya tindakan penayub kurang terkontrol dan menyebabkan tindakannya kurang menyenangkan, misalnya mencolek, merangkul serta mencium jogednya. sebagai kaum wanita sangat risih melihat kenyataan yang terjadi. untuk itu perlu dipikirkan bagaimana caranya mengangkat citra wanita dalam pertunjukan tayub, tanpa mengurangi kemeriahan pertunjukan tayub. upaya yang bisa ditempuh misalnya bekerjasama antara pemerintah daerah kabupaten blora dengan kabin kebudayaan kabupaten blora, berupa pembinaan-pembinaan serta penataran-penataran seni tayub. kerjasama antara kantor dinas pendidikan dan kebudayaan kabupaten blora dengan seniman-seniman yang ada di kabupaten blora yang berupa mengemas pertunjukan tayub yang disesuaikan dengan jaman sekarang. upaya-upaya tersebut misalnya dengan dikeluarkan kebijakan baru dari pemda bahwa: a. ada aturan yang mengatur tentang pembatasan jam yang tidak boleh melampui jam 24.00 wib. b. jarak antara joged dan penayub tidak boleh terlalu dekat minimal 1 m. c. tidak diperbolehkan memakai rninum-minuman keras yang beralkohol. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 d. bagi penayub yang mabuk, tidak diperbolehkan melanjutkan tayubannya. e. bertindak sopan terhadap jogednya. upaya-upaya yang bisa mengangkat harkat dan martabat atau citra seorang penari tayub adalah bisa dari diri si joged. seorang penari harus bisa membentengi dirinya sendiri dari halhal yang berakibat negatif, misalnya selalu berhati-hati dalam bertindak, terutama pada setiap kali pentas, karena posisi dirinya sebagai penari yang harus bisa menghibur dan bisa memuaskan penonton maupun penayub. untuk itu dalam menjalankan tugasnya harus waspada dan membatasi diri, dan yang lebih penting adalah mempertebal rasa keimanan. hal ini penting karena biasanya bagi penari atau joged yang laris dan terkenal sering diundang keluar daerah dan pentasnya malam hari. untuk itu demi keselamatannya perlu mengajak tcman atau keluarga yang menemanimya. hal yang berkaitan dengan penampilan di atas pentas adalah kostum. untuk menghindari halhal yang bisa menurunkan derajad sebagai wanita, hendaknya berpakaian yang sopan, tertutup namun tetap indah dan menarik, misalnya jangan menggunakan kostum yang dadanya terbuka, namun bisa diganti dengan kebaya yang tertutup lengannya e. simpulan dan saran dari uraian yang telah dikemukakan pada bab-bab terdahulu dapat ditarik simpulan dan saran, sebagai berikut: 1. bentuk pertunjukan tayub pertunjukan tayub meliputi beberapa hal yaitu : a) pelaku, yang terdiri dari joged, pengarih, pengibing/ penayub, pengguyub, pengrawit. b) urutan pertunjukan tayub yaitu klenengan sebagai tanda tayuban akan segera dimulai, gambyongan yaitu menyambut para tamu, sliring, panembromo, dan ngibing sebagai acara puncaknya. 2. citra wanita dalam pertunjukan tayub citra seorang penari atau joged dalam pertunjukan tayub merupakan daya tarik yang sangat kuat, karena bagi masyarakat sebagai penonton dan sekaligus sebagai penayub dan pengguyub, menganggap seorang joged merupakan obyek penghibur dan pemuas serta sebagai obat pelepas lelah setelah sehari bekerja. sebagai seorang joged pasrah saja ketika dirinya dicolek, dipeluk, dirangkul bahkan dicium oleh pengibing yang terlalu berani dan kebanyakan sudah mabuk berat. bagi joged atau ledhek tujuan utamanya menjadi seorang penari tayub adalah semata-mata mencari nafkah untuk menghidupi keluarganya. mereka rela menari tayub semalaman, atau seharian hanya sekedar mendapatkan upah yang bisa untuk mencukupi kebutuhan sehari-hari. 3. upaya-upaya untuk mengangkat citra penari tayub upaya-upaya yang bisa ditempuh untuk mengangkat citra penari tayub adalah mengadakan kerjasama yang baik dengan pihak-pihak yang terkait dan yang berkepentingan. yaitu misalnya kerjasama antara pemerintah daerah kabupaten blora bekerja sama dengan kabin kebudayaan kabupaten blora, harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 berupa pernbinaan-pembinaan serta penataran-penataran seni tayub. kerjasama antara kantor dinas pendidikan dan kebudayaan kabupaten blora dengan seniman-seniman yang ada di kabupaten blora yang berupa mengemas pertunjukan tayub yang disesuaikan dengan jaman sekarang. upaya-upaya tersebut misalnya dengan dikeluarkan kebijakan baru dari pemda bahwa: (a) ada aturan yang mengatur tentang pembatasan jam yang tidak boleh melampui jam 24.00, (b). jarak antara joged dan penayub tidak boleh terlalu dekat minimal 1 m. (c) tidak diperbolehkan memakai minum-minuman keras yang beralkohol. (d) bagi penayub/ pengibing yang mabuk, tidak diperbolehkan melanjutkan tayubannya. (e) bertindak sopan terhadap jogednya. upaya-upaya yang bisa mengangkat harkat dan martabat atau citra seorang penari tayub dari dki si joged itu sendiri. yaitu dalam menjalankan tugasnya harus waspada dan membatasi diri, dan yang lebih penting adalah mempertebal rasa keimanan. hal yang berkaitan dengan penampilan di atas pentas adalah kostum, hendaknya berpakaian yang sopan, tertutup namun tetap indah dan menarik, misalnya jangan menggunakan kostum yang dadanya terbuka, namun bisa diganti dengan kebaya yang tertutup lengannya. saran yang diajukan adalah (1) pemda kab blora hendaknya mengadakan kerjasama dengan dinas pendidikan dan kebudayaan supaya lebih meningkatkan usaha-usaha pembinaan khususnya untuk meningkatkan derajat dan martabat penari putri (joged).(2) sebagai penari tayub yang terkenal hendaknya bisa membawa diri dengan membentengi diri dari tindakantindakan yang kurang mengenakkan. (3) perlu adanya penelitian lanjutan mengenai model pertunjukkan kesenian tayub yang tidak memberdayakan perempuan. daftar pustaka departemen pendidikan dan kebudayaan kabupaten blora, 1994, "tayuban kesenian tradisional khas daerah kab.blora", laporan penelitian. pemda blora. indriyani, lilis, 2001, "nilai-nilai estetis dan makna simbolis bentuk pertunjukan tayub di desa padaan kecamatan japah kabupaten blora", skripsi jurusan pendidikan sendratasik fbs unnes. marhaeni, tri, 1997, "pengambilan keputusan penggunaan alat kontrasepsi: studi tentang pemberdayaan perempuan pada masyarakat marjinal di semarang", penelitian ikip semarang. miles, m.b., dan a.m. hubberman, 1992, analisis data kualitatif, diterjemahkan oleh tjetjep r.r., jakarta: ui press. notopuro,harjito, 1984, peran wanita dalam masa pembangunan di indonesia, jakarta: ghalia indonesia. nurdadi, herawaty t., 1984, studi wanita: suatu paradigma baru emansipasi wanita, jakarta: yis susilastuti, dewi, 1993, “gender dalam berbagai perspektif”, makalah seminar di yogyakarta 26 juni 1993. umar kayam, 1981, seni tradisi, masyarakat, jakarta: sinar harapan. wahyu m.s., 2001, “perkembangan tari tayub di desa prantaan kaharmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 camatan bogorejo kab. blora”, skripsi jurusan pendidikan sendratasik fbs unnes. microsoft word isi harmonia x no 2 2010 model pembelajaran tari pendidikan pada siswa sd/mi semarang m. jazuli staf pengajar sendratasik, fbs, unnes, email: muhjaz@ymail.com abstract the underlying problem of this study is what learning model of educational dance is used for elementary school students in semarang. this study employs qualitative approach using library research, interview, and direct observation as the methods of data collection. the subject of the study is the learning model of educational dance at elementary schools in semarang district. data analysis was conducted through descriptive analysis method. the study shows that learning model used for educational dance at elementary school is explorative model using observation evaluation technique. the learning model includes: first, materials of movement lesson that covers body realization, mastery of basic movements, and movement development. second, movements that reflect thought, feeling, and communication medium. third, the direction of dance lesson covers aspects such as delight, creativity, communication, and aesthetics. fourth, students’ character development that embeds in the learning process implicates in students’ attitude, such as the growing self-confidence, concern, tolerance, and responsibility. it is then concluded that the components of learning model of educational dance for elementary school, based on regulation number 19 article number 19 year 2005, are met in the explorative model because it shows the existence of dimensions that are interactive, inspiring, fun, challenging, motivating students to actively participate, and giving rooms necessary for initiative, creativity, and autonomy in accordance to students’ talent, interest, physical and psychological development. kata kunci : model pembelajaran, tari pendidikan pendahuluan tari pendidikan merupakan suatu model pembelajaran tari yang menekankan kepada kebebasan berekspresi gerak kreatif pribadi siswa dalam aktivitas belajar menari di sekolah umum, khususnya di sekolah dasar (sd). model ini dicetuskan sekitar tahun 1938 oleh seorang koreografer inggris keturunan hongaria bernama rudolf laban (1879-1958) dengan nama modern educational dance atau lebih dikenal educational dance. di indonesia dipromosikan sejak tahun 1970-an dengan istilah tari pendidikan. dalam tari pendidikan mencakup dua hal, yaitu tari kreatif (creative dance) dan tari ekspresif (expresive dance). tari kreatif, di amerika dikenal dengan istilah movement education dan diterapkan sebagai bagian dari pendidikan jasmani khususnya di sekolah dasar. menurut laporan kraus (1977: 325) bahwa movement education merupakan kegiatan penting dalam pelajaran pendidikan jasmani. burton (dalam kraus 1977) mengemukakan pembelajaran movement education dalam pendidikan jasmani merupakan pelajaran terpadu yang mampu memberi kontribusi berupa pengembangan respon gerak yang efektif, efisien, dan ekspresif dalam diri siswa untuk mengungkapkan pikiran dan perasaan yang dikomunikasikan kepada orang lain. proses pembelajarannya menekankan pada kesadaran tubuh dan diri siswa, penguasaan keterampilan gerak dasar maupun pengembangan geraknya. eksplorasi menjadi metode utama dengan pendekatan berpusat pada siswa sebagai individu yang secara spontan mampu untuk menemukan sendiri (self discovery). fenomena ini menunjukkan betapa pentingnya peranan guru dalam memotivasi dan menggerakkan daya kreasi tari pada para siswanya. di sini, guru bukan saja dituntut pemahaman praktik tari (gerak, ruang, waktu), melainkan juga memiliki kompetensi dalam pedagogik. menurut laban (1976: 12) pembelajaran tari di sekolah umum (non kejuruan) harus lebih menekankan pada pembelajaran tari kreatif yang mampu menyumbangkan kepada perkembangan kepribadian siswa. pembelajaran tari kreatif tidak berorientasi pada hasil akhir atau menghasilkan sebuah pertunjukan yang bernilai seni tinggi, sebagaimana yang diciptakan oleh seorang koreografer. laban menyatakan seperti berikut ini: ”in school, where are education is fostered, it is not artistic perfection or the creation and performance of sensational dance which is aimed aat, but the beneficial effect of the creative activity of dancing upon the personality of pupil.” pernyataan laban tersebut cukup beralasan, karena setiap anak memiliki dorongan alamiah untuk menampilkan gerakan-gerakan seperti ’tarian’ dan secara tidak disadari hal itu merupakan cara yang baik untuk memperkenalkan tari sejak dini pada diri anak, serta memberi kesempatan kepada anak untuk mengembangkan kemampuan berekspresi secara spontan melalui gerakannya (free dance). tugas sekolah (guru) dalam menyelenggarakan tari kreatif mencakup dua hal, yaitu pertama membimbing siswa untuk menumbuhkan spontanitas gerak, dan kedua membimbing siswa belajar memahami prinsip-prinsip untuk melakukan dan menguasai geraknya. autard dalam the art of dance educational (1994) menegaskan bahwa tari pendidikan atau tari kreatif memiliki karakteristik yang sangat penting bagi proses pembelajaran tari yang bermakna karena mampu memberikan kontribusi terhadap perkembangan individu siswa dalam perasaan dan gerak tarinya. pernyataan autard tersebut juga mengindikasikan, bahwa dalam pembelajaran tari, hasil akhir kurang mendapatkan perhatian yang signifikan, sebaliknya justru proseslah yang lebih diutamakan, mengarah kepada perkembangan pribadi siswa. artinya pendidikan seni harus mampu menunjang misi pendidikan umum, yaitu menumbuhkembangkan keparibadian siswa, memelihara rasa estetik siswa, dan memperkaya kehidupan siswa secara kreatif (jazuli 2008). persoalannya adalah konsep tari pendidikan kurang dipahami oleh sebagian besar guru tari di indonesia, sehingga para guru cenderung mengajarkan tari bentuk yang sudah ada baik jenis tradisional, kreasi, maupun tari modern. metode yang digunakan adalah imitatif atau meniru contoh gerak tari yang diberikan oleh guru. beberapa hasil penelitian yang mengungkap pendidikan tari kreatif di antaranya adalah penelitian setyowati, dkk (2001) tentang ”alat peraga sebagai sarana meningkatkan kreativitas anak dalam menari” menginformasikan bahwa alat peraga tari (property) mampu menjadi sarana untuk menguasai dan mengembangkan gerakan anak ke dalam berbagai aktivitas kreatif dan variatif dalam belajar. anak yang mampu menggunakan jenis permainan adalah anak yang mampu mengembangkan alat peraga tari untuk menguasai gerak yang diekspresikan serta variasi gerakan yang diciptakan oleh anak itu sendiri. penelitian atip nurharini tahun 2003 menginformasikan bahwa pembelajaran tari mampu menimbulkan rasa percaya diri anak yang berupa tumbuhnya perasaan bangga, memiliki sifat pemberani, mampu mengendalikan emosi dan mengasah kehalusan budi, menumbuhkan rasa bertanggung jawab dan rasa mandiri, mudah berinteraksi dengan orang lain, memiliki prestasi lebih baik, berkembang imajinasinya dan kreativitasnya. namun demikian kedua penelitian tersebut belum mengulas tentang metode pembelajaran tari pendidikan, dan lebih memfokuskan pada materi pembelajaran tari pendidikan. selain itu model pembelajaran juga belum jelas. oleh karena itu dalam tulisan ini hendak dibahas model pembelajaran tari pendidikan di sekolah dasar (sd) yang dapat mendukung pengembangan creative thinking siswa dan menciptakan suasana belajar yang menyenangkan (joyful learning). pembelajaran merupakan proses usaha yang dilakukan untuk memperoleh perubahan tingkah laku sebagai hasil belajar. pembelajaran dalam konteks ini terfokus pada siswa, tidak terbatas di dalam kelas saja, dan mencakup semua kondisi dan peristiwa yang mempunyai pengaruh terhadap proses pembelajaran. menurut undang undang sisdiknas no 20 tahun 2003, pembelajaran adalah proses interaksi antara siswa dengan pendidik dan sumber belajar pada suatu lingkungan belajar. pembelajaran terdiri atas komponen tujuan, materi, pendekatan, strategi, metode, sarana, sumber belajar, serta penilaian hasil belajar (evaluasi). dalam standar proses (pp no. 19 pasal 19 tahun 2005), bahwa proses pembelajaran pada satuan pendidikan diselenggarakan secara interaktif, inspiratif, menyenangkan, menantang, memotivasi siswa untuk berpartisipasi aktif, serta memberikan ruang yang cukup bagi prakarsa, kreativitas, dan kemandirian sesuai dengan bakat, minat, dan perkembangan fisik serta psikologis siswa. dalam proses pembelajaran seni di sekolah umum agar dapat menumbuhkembangkan potensi kreatif perlu mempertimbangkan tiga prinsip, yaitu: (1) pembelajaran seni di sekolah harus memberi kebebasan kepada siswa untuk mengolah potensi kreatifnya; (2) pembelajaran seni di sekolah harus dapat memperluas pergaulan dan komunikasi siswa dengan lingkungannya; (3) pembelajaran seni di sekolah harus dilakukan dengan cara yang menyenangkan (joyfull learning) (jazuli 2008). pendekatan pembelajaran dapat dimengerti sebagai titik tolak atau sudut pandang terhadap proses pembelajaran. pendekatan dapat diartikan bagaimana seseorang melihat sesuatu yang dipengaruhi oleh pengetahuan dan pemahaman seseorang terhadap sesuatu dilihatnya. pendekatan pembelajaran tari dalam penelitian ini adalah pendekatan kreatif dengan metode eksploratif. sebagai landasan pendekatan pembelajaran tari adalah kurikulum ktsp (kurikulum 2006) yang masih berlaku sampai sekarang. pendekatan kreatif adalah pembelajaran yang berpusat pada siswa, yang menyakup tentang: persepsi dan keterbukaan kepada pengalaman baru, fleksibel (mudah diarahkan), sensitivitas estetis, energik (berkemuaan keras), dan imajinatif (banyak idea) (lihat hawkins, 1988). metode eksploratif yang dimaksud adalah cara pembelajaran tari yang bersifat penjajakan untuk menemukan suatu (motif) gerak maupun bentuk tari secara utuh. adapun teknik pelaksanaan eksplorasi melalui pengamatan improvisasi gerak yang dilakukan oleh para siswa. improvisasi adalah penciptaan secara mendadak tanpa dipikirkan lebih dahulu, suatu bagian yang esensial dari setiap seni kreatif. improvisasi merupakan bagian utama dari latihan tari dan menjadi pengalaman berharga bagi setiap orang untuk memperkaya pengalaman dan mengembangkan imajinasi (cheney 1999). memperkaya pengalaman karena tiada dua improvisasi yang sesungguhnya sama, dan pengalaman itu akan muncul/tumbuh dalam perasaan. oleh karena itu tidak ada formula yang tepat untuk diikuti, tetapi ada bidang-bidang tertentu yang menyediakan untuk pengalaman, perasaan, intuisi, dan untuk kepentingan memori. improvisasi dapat melahirkan sebuah orisinalitas. tujuan mengembangkan imajinasi akan terlihat dari kemampuan merespons lingkungan di sekitarnya karena dalam pengalaman dasar manusia akan selalu bereaksi, merespons, dan beradaptasi dengan lingkungannya. dengan improvisasi akan membebaskan siswa mempunyai pengalaman baru. dengan demikian pengetahuan siswa sendiri merupakan salah satu dari fungsi improvisasi. selain itu, improvisasi adalah penting sebagai perantara untuk pengembangan kepekaan. hasil improvisasi akan mampu mengembangkan kepekaan terhadap gerak, ruang dan waktu, terhadap diri sendiri maupun orang lain. menurut cheney (1999), improvisasi dapat mencapai status seni karena akhir dari improvisasi dapat memiliki tujuan artistik. improvisasi adalah suatu spontanitas karya seni karena mempunyai perasaan yang benar-benar utuh. improvisasi dibedakan menjadi dua, yaitu terstruktur dan bebas (nonstruktur). improvisasi bebas adalah tanpa pokok persoalan, tanpa peralatan yang terlarang, dan tanpa membatasi ketentuan. dalam improvisasi terstruktur, guru akan memberikan komando atau arahan gerak yang harus dilakukan siswa. misalnya melalui tema (seperti menirukan binatang, mengekspresikan gerak orang sedih dan gembira, dan alam lingkungan), melalui bagian anggota tubuh yang harus digerakkan siswa, bisa juga dari menirukan/mengembangkan gerak yang dicontohkan oleh gurunya. dengan demikian siswa akan memiliki pengalaman bagus dalam keterampilan berimprovisasi dan menirukan, serta menyadari bahwa dirinya bekerja dalam keterbatasan-keterbatasan. berbeda dengan improvisasi bebas, siswa berusaha mengarahkan diri sendiri bergerak terus menerus tetapi tetap dalam kesadaran untuk membentuk gerak menjadi tari. dalam konteks ini guru berperan mengarahkan agar siswa bisa menyusun gerak improvisasinya menjadi sebuah bentuk tari. dalam pembelajaran terdapat berbagai model dengan pengkategorian yang beragam. misalnya pengkategorian model pembelajaran dengan nama model interaksi sosial, model pengolahan informasi, model personal-humanistik, dan model modifikasi tingkah laku. ada pula yang mengklasifisikan model pembelajaran dengan sebutan tidak langsung (nondirective teaching), pelatihan kesadaran (awareness training), dan pertemuan kelas (classroom meeting). sungguhpun demikian, model pembelajaran pada dasarnya merupakan bentuk pembelajaran yang tergambar dari awal sampai akhir yang disajikan secara khas oleh guru (uno, 2009). jadi model pembelajaran merupakan bungkus atau bingkai dari penerapan suatu pendekatan, materi, metode dan teknik, serta evaluasi pembelajaran. laban (1976) mengemukakan 16 tema dalam mencipta gerak tari sebagai kegiatan kreatif untuk anak, yaitu (1) tema tentang kesadaran badan (tubuh), (2) tema tentang kedasaran bobot dan waktu, bahwa gerak yang dilakukan dari seluruh bagian tubuh manapun, seperti kuat dan ringan, (3) tema kesadaran terhadap ruang, yakni perbedaan antara gerak yang sempit dan luas, (4) tema kesadaran tentang alur dan berat badan dalam ruang dan waktu, (5) tema menyesuaikan dengan pasangan, seperti respon satu individu/kelompok bergerak dengan pasangan lawannya, (6) tema penggunaan dan kegunaan anggota tubuh, (7) tema tentang tindakan sendiri yang pengembangan kemampuan. satu urutan berhenti mendadak, sedangkan gerak lain terus dijalankan secara berangkai, (8) tema tentang ritme, yakni kepekaan irama yang diperkuat dengan gerak penuh tenaga, (9) tema tentang bentuk gerakan, seperti membuat polapola yang kecil dan luas, (10) tema tentang kombinasi delapan tindakan usaha dasar, yaitu tema yang berisi antara dua atau beberapa tindakan dengan tujuan meremas, menekan, meluncur, mengapung, menyentuh dan sebagainya, (11) tema dengan orientasi ruang, misalnya membuat pola bentuk sudut, lingkaran, segitiga, zigzag, dan anak diberi arahan, (12) tema tentang bentuk dan usaha yang menggunakan bagian tubuh yang berbeda, seperti kombinasi gerak kaki, lengan, kepala kemudian berubah dan bervariasi dalam satu rangkaian tindakan, (13) tema mengangkat badan dari bawah (tanah), seperti gerak meloncat tinggi, melompat jauh sebagai kegiatan tari melewati udara, (14) tema tentang merasakan bersama dalam gerak, (15) tema formasi kelompok, (16) tema dengan kualitas ekspresi atau merasakan gerakan. misalnya ungkapan gerak dapat dipahami sebagai ekspresi dari suasana hati, gerak ekspresi tergantung dari beberapa faktor lokasi ruang, bentuk, isi, dinamika, dan usaha. tari sebagai suatu pengalaman kreatif adalah ekspresi manusia yang paling dasar. manusia berpikir dan merasakan ketegangan dan ritme alam sekitarnya melalui tubuh sebagai instrumennya. dorongan manusia untuk berkomunikasi lewat gerakan, tindakannya dikendalikan oleh motivasi-motivasi yang kadangkala bersifat sosial dan pada saat lain bersifat ekspresif. unsur utama dalam tari adalah dorongan mencipta. dorongan untuk merasakan, menemukan, berhubungan, mencapai puncak dalam kegiatan kreatif. penari selama proses mencipta, membutuhkan eksplorasi dunia inderanya, kognitifnya, dan afektifnya. dari eksplorasi itu muncul ekspresi unik dalam bentuk tari (hawkins 1988). lebih jauh hawkins juga berbicara tentang pengembangan kreativitas, peningkatan kesadaran estetis, bergerak dengan kontrol dan mencipta dengan membentuk. konsep dari hawkins tersebut sangat berguna untuk pembelajaran tari siswa, terutama konsep pembentukan tari bagi konsumsi siswa sekolah dasar. berikut ini dikemukakan kerangka berpikir model pembelajaran tari pendidikan seperti berikut ini. model pembelajaran tari pendidikan penjelasan diagram di atas adalah : kotak tengah pembelajaran tari pendidikan melalui metode eksploratifimprovisasi. materi pembelajaran gerak mencakup: kesadaran tubuh adalah kesadaran siswa terhadap bagian tubuh yang bergerak; penguasaan gerak dasar artinya siswa memahami teknik dalam bergerak; dan pengembangan gerak adalah kemampuan siswa membuat variasi dari gerak yang dikuasainya. gerak tari yang merefleksikan maksud pikiran, perasaan yang dikehendaki siswa, dan untuk tujuan komunikasi atas maksud dan kehendaknya. arah pembelajaran tari meliputi 4 aspek, yaitu: menyenangkan artinya ada kegairahan siswa dalam mengikuti pelajaran dari awal sampai akhir dan tidak bosan; kreatif dalam arti terampil melakukan gerak dan variatif, pengungkapannya ekspresif, memiliki persepsi, pengetahuan, mampu menganalisis gerak yang ke dalam bentuk gerak estetis; komunikatif artinya mudah dipahami/dihayati dan runtut; dan estetis dalam arti gerakannya menarik dan indah. pengembangan kepribadian, yaitu percaya diri adalah mempunyai rasa bangga, berani, mampu mengendalikan emosi, berkembang imajinasi dan kreativitasnya. kepedulian artinya memiliki perhatian terhadap segala sesuatu (orang, benda) di sekitarnya dan tidak sombong. toleransi yakni memiliki sikap selalu menghargai orang lain. tanggung jawab adalah memiliki kemandirian, konsekuen, dan mudah berinteraksi. keempat kotak materi pembelajaran gerak: • kesadaran tubuh • penguasaan gerak dasar • pengembangan gerak gerak tari yang merefleksikan: • pikiran • perasaan • media komunikasi metode eksplorasi (improvisasi) arah pembelajaran tari: • menyenangkan • kreatif • komunikatif • estetis perkembangan kepribadian siswa: • percaya diri • kepedulian • toleransi • tanggung jawab dikelola dengan metode eksplorsiimprovisasi. metode penelitian ini bersifat kualitatif, yaitu ingin mendeskripsikan berbagai fenomena yang berhubungan dengan model pembelajaran tari pendidikan pada sekolah dasar di kabupaten semarang. sumber data penelitian meliputi: (1) nara sumber atau orang yang terlibat langsung maupun tidak langsung dalam peroses pembelajaran tari, yaitu guru kelas, guru tari, kepala sekolah; (2) proses pembelajaran tari mencakup materi tari, kemampuan guru, perilaku siswa, dan sumber daya lingkungan. data penelitian diambil dari hasil studi pustaka, wawancara, dan pengamatan langsung terhadap proses pembelajaran tari di sekolah dasar (sd). semula penelitian ini akan dilakukan pada sepuluh sd yakni sd isriati ungaran, sd leyangan ungaran, sd negeri karangjati 03 dan 04 bergas, sd negeri 02 dan 04 ungaran, sd negeri sidomulyo 3 ungaran, sd negeri sidomulyo 4 ungaran, sd negeri candirejo ungaran, sd negeri gedanganak 1, tetapi karena ada masalah teknis sehingga hanya tiga sd yang diteliti, yaitu sd negeri karangjati 03 dan 04 bergas, dan sd negeri gedanganak. masalah teknis yang dimaksud adalah ada beberapa sd yang guru seni tari sama, artinya bila guru kelas tidak memiliki kemampuan mengajar tari meminjam guru tari dari sd lain. sasaran penelitian ini adalah model pembelajaran tari pendidikan pada sekolah dasar di kabupaten semarang. model pembelajaran tari pendidikan mencakup materi pembelajaran gerak (kesadaran tubuh, penguasaan gerak dasar, pengembangan gerak); gerak yang merefleksikan pikiran, perasaan, dan media komunikasi; arah pembelajaran tari (menyenangkan, kreatif, komunikatif, dan estetis); perkembangan kepribadian siswa yang muncul dalam proses pembelajaran (percaya diri, kepedulian, toleransi, dan tanggung jawab). teknik pengumpulan data dilakukan melalui studi pustaka, observasi, dan wawancara. studi pustaka difokuskan untuk memperoleh informasi yang berkait langsung dengan sasaran dan objek penelitian, terutama konsep yang dapat dimanfaatkan sebagai kerangka pemikiran. studi pustaka berupa hasil penelitian dan literatur lain yang berhubungan dengan persoalan pendidikan seni, seperti jurnal dan laporan hasil penelitian. bahan informasi dari media cetak dicek relevansinya dengan data primer dan diperiksa keakuratannya. pengamatan dilakukan secara langsung pada proses pembelajaran tari di sekolah dasar, baik pengamatan pada siswa belajar maupun guru mengajarkan tari. fokus pengamatan meliputi materi pembelajaran gerak (kesadaran tubuh, penguasaan gerak dasar, pengembangan gerak); gerak yang merefleksikan pikiran, perasaan, dan media komunikasi; arah pembelajaran tari (menyenangkan, kreatif, komunikatif, dan estetis); perkembangan kepribadian siswa yang muncul dalam proses pembelajaran (percaya diri, kepedulian, toleransi, dan tanggung jawab). wawancara dilakukan untuk melengkapi informasi yang telah diperoleh dari sumber tertulis maupun hasil pengamatan. hal ini dimaksudkan untuk memperoleh keakuratan data atau bila ada informasi yang meragukan. wawancara dilakukan secara langsung dan terbuka guna mendapatkan data primer. nara sumber yang dipilih adalah para pengajar tari di sekolah dasar dan kepala sekolah. kegiatan wawancara dilakukan di luar maupun di dalam kelas. analisis data dilakukan dengan menggunakan metode analisis deskriptif kualitatif. adapun langkah analisis data dimulai dari pengumpulan data. data yang telah terkumpul dikelompokkan dan diorganisasikan sesuai sifat dan kategori data. untuk mengantisipasi data yang bias dilakukan pemeriksaan keabsahan data. keabsahan data dilakukan dengan cara menyinkronkan antara data pengamatan proses pembelajaran tari di kelas dan data wawancara. dengan demikian antara apa yang diperintahkan oleh guru dengan apa yang dilakukan siswa harus sesuai dengan tujuan pembelajaran yang sudah ditetapkan. kesesuaian tersebut tentu telah mengindikasikan model macam apa yang telah diterapkan oleh guru dalam pembelajaran tari di kelas. selanjutnya dilakukan empat tahapan analisis, yaitu reduksi data, penyajian data, penarikan simpulan, dan verifikasi penelitian secara simultan. dengan demikian model analisis yang digunakan dalam penelitian ini adalah analisis interaktif (miles dan huberman, 1984). hasil dan pembahasan materi pembelajaran gerak tari sasaran pembelajaran gerak tari meliputi kesadaran siswa tentang eksistensi dan fungsi anggota tubuhnya, penguasaan gerak dasar, dan pengembangan gerak yang dilakukan oleh siswa. kesadaran eksistensi dan fungsi anggota tubuhnya hasil pengamatan menunjukkan bahwa tari pendidikan yang diajarkan di sd lebih menekankan pada tari ekspresif (expresive dance), sedangkan pembelajaran tari kreatif (creative dance) porsinya hanya sedikit. jika dibandingkan, diperkirakan 70% untuk tari ekspresif (bentuk tari yang sudah ada) dan 30% untuk tari kreatif (tari pengembangan kreativitas siswa). hal ini tampak dari cara guru dalam mengajar tari dengan memberikan tari bentuk baik tari yang sudah ada maupun tari hasil susunan (koreografi) dari guru, seperti lagu anak yang diberi gerakan tertentu. gerak tari yang diajarkan memang telah disesuaikan dengan tingkat perkembangan siswa sd, yaitu gerak-gerak sederhana seperti melambaikan tangan disertai jalan kemudian menggelengkan kepala dan memutarkan badan. dengan gerakan yang sederhana seperti itu dimaksudkan agar siswa mampu menyesuaikan diri selaras dengan kesadaran terhadap anggota tubuh yang dimilikinya. sebagaimana yang dikemukakan oleh seorang guru bahwa: saya mengajarkan tari untuk anakanak dengan gerak yang sederhana dan akrab dengan gerakan permainan yang biasa mereka lakukan, seperti berlari, memutar, jongkok, mengacung-acungkan tangan, menggelengkan kepala dan sebagainya. saya mencari lagulagu anak kemudian saya beri gerak-gerak tari dan kemudian saya ajarkan kepada anak-anak. mereka menirukan contoh gerakan yang saya berikan (wawancara dengan ibu ratna, 28 juni 2010). pembelajaran seperti itu menunjukkan respons siswa atas gerak tari yang dicontohkan oleh guru sangat baik. artinya siswa mampu melakukan gerak yang diberikan oleh guru. sebaliknya guru tampak mampu menyadarkan siswa terhadap potensi kesadaran dan ekspresi atas anggota tubuh mereka yang diungkapkan melalui gerak tari. ekspresi gerak yang mereka ungkapkan tentu saja tidak terlepas dari cara berpikir dan merasakan menurut tafsir setiap siswa. kenyataan ini tampaknya sesuai dengan pendapat burton (dalam kraus 1977) bahwa proses pembelajaran tari menekankan pada kesadaran tubuh dan diri siswa, penguasaan keterampilan gerak dasar maupun pengembangan geraknya merupakan pelajaran terpadu yang mampu memberi kontribusi berupa pengembangan respon gerak yang efektif, efisien, dan ekspresif dalam diri siswa untuk mengungkapkan pikiran dan perasaan yang dikomunikasikan kepada orang lain. sungguh pun demikian untuk mencapai kemampuan keterampilan tari yang diharapkan, siswa belum sepenuhnya bisa mencapainya. hal ini lebih disebabkan oleh terbatasnya waktu pelajaran seni tari yang rata-rata hanya satu sampai dua jam setiap minggu. selain itu juga kompetensi guru dalam memotivasi dan berkomunikasi dengan para siswa. kendala terakhir ini terutama terjadi pada guru kelas yang cenderung kurang memiliki kompetensi dalam bidang tari. tari kreatif diajarkan guru melalui cerita-cerita yang menarik dan kemudian siswa diminta untuk mengembangkan cerita yang bersumber dari lingkungan sekitarnya. contohnya ketika guru bercerita tentang kehidupan binatang (menthok, anjing, kucing, burung) beserta karakteristiknya. secara spontan (improvisasi) siswa merespon dengan cara bertanya, berceloteh, tertawa, bahkan sedikit ribut dengan temannya ketika seorang teman mempunyai pendapat lain. bentuk respons siswa tampak dari ungkapan berikut ini. ”aman berceletuk, wulan di rumahmu apa ada (binatang) menthok? gak ada, yang ada bebek”. tiba-tiba linda menyahut dengan berkata ” kalau di tempatku yang banyak ayam tapi aku suka kucing”. inilah salah satu bentuk respons siswa atas cerita guru. setelah guru selesai bercerita kemudian guru meminta tiga atau empat siswa untuk berdiri di depan kelas dan mencoba menirukan gerakan menthok, tentu dengan gerak improvisasi menurut tafsir siswa yang sedang maju di depan kelas, sedangkan siswa lainnya menyanyikan lagu menthok-menthok, seperti syair berikut ini: menthok menthok tak kandhani. mung rupamu angisin-ngisini. mbok ya aja ngetok ana kandhang wae. enak-enak ngorok ora nyambut gawe. menthok menthok ......mung lakumu megalmegol gawe nguyu fenomena yang terjadi dalam proses pembelajaran tari kreatif tersebut di atas relevan dengan pernyataan laban (1976), bahwa pembelajaran tari kreatif tidak berorientasi pada hasil akhir atau menghasilkan sebuah pertunjukan yang bernilai seni tinggi, karena setiap anak memiliki dorongan alamiah untuk menampilkan gerakan-gerakan seperti ’tarian’ dan secara tidak disadari hal itu merupakan cara yang baik untuk memperkenalkan tari sejak dini pada diri anak, serta memberi kesempatan kepada anak untuk mengembangkan kemampuan berekspresi secara spontan melalui gerakannya (free dance). tugas sekolah (guru) dalam menyelenggarakan tari kreatif mencakup dua hal, yaitu (1) membimbing siswa untuk menumbuhkan spontanitas gerak, dan (2) membimbing siswa belajar memahami prinsip-prinsip untuk melakukan dan menguasai geraknya. namun demikian, selama penelitian belum ditemukan data yang mengungkap tentang bagaimana guru membimbing siswa belajar memahami prinsip-prinsip untuk melakukan dan menguasai geraknya. guru kurang memperhatikan secara detail gerakan yang dilakukan para siswanya yang indikasinya guru tidak pernah mengecek atau membenarkan bagaimana sebaiknya gerakan tertentu itu dilakukan. ketidak pedulian ini barangkali menurut guru yang penting siswa mau mengikuti dan terlibat belajar tari. padahal sesungguhnya model pembelajaran tari kreatif harus lebih besar prosentasenya daripada model pembelajaran tari ekspresif karena lebih sesuai dengan tujuan pendidikan seni bagi anak setingkat taman kanak-kanak dan sekolah dasar. penguasaan gerak dasar selama pengamatan penelitian berlangsung, guru hampir tidak pernah memberikan contoh gerak-gerak dasar menari, artinya guru langsung memberikan materi tari yang sudah tersusun (tari bentuk) maupun yang disusun dari hasil koreografi sang guru. kenyataan ini tentu kurang tepat bila guru ingin menerapkan jenis maupun bentuk tari ekspresif, yang sudah ada koreografinya. tari ekspresif membutuhkan kepatuhan dan kesesuaian dengan materi tari yang dibelajarkan. misalnya ketika guru mengajarkan tari prajuritan, maka siswa dituntut bisa memeragakan kaidah tari prajuritan, seperti tata urutan, sikap dan bentuk geraknya, kesesuaian iringan, pola lantai yang telah ditetapkan dalam koreografi tari prajuritan. untuk bisa menarikan tari prajuritan dengan baik harus menguasai dasar geraknya terlebih dahulu, kemudian mengikuti atau mematuhi kaidah-kaidah koreografi tari prajuritan sebagaimana dituturkan seorang guru berikut ini: “saya mengajarkan tari kepada anak-anak sesuai dengan kurikulum yang berlaku sekarang. saya mencoba memahami dan mempraktikkan sesuai dengan pemahaman saya. jadi yang saya ajarkan ya keterampilan gerak meskipun saya tidak menuntut anak mampu (terampil) seperti gerakan yang saya contohkan, tapi bila bentuk geraknya sudah jelas itu sudah cukup” (wawancara 6 oktober 2010). penguasaaan dasar gerak yang kurang memadai tentu berdampak pada bentuk gerakan yang dilakukan siswa. boleh jadi siswa secara spontan bergerak menurut kehendak dirinya sendiri sehingga bentuk dari gerak siswa tampak kurang estetis bila dilihat dari keindahan sikap dan gerak tari. hal itu bisa bermasalah untuk jenis materi tari ekspresif karena tidak sesuai dengan koreografi tarinya. pengembangan gerak yang dilakukan oleh siswa pengembangan gerak yang dilakukan oleh siswa tampak dari respons siswa ketika guru selesai bercerita tentang tema alam, binatang, dan lingkungan. sebagai contoh ketika guru bercerita tentang kehidupan binatang menthok. setelah selesai bercerita beberapa siswa diminta maju ke depan kelas untuk mencoba memeragakan atau mengekspresikan gerak menthok menurut tafsir masingmasing siswa. sebagaimana penuturan seorang guru berikut ini. ”anak-anak sudah mendengar cerita ibu, sekarang coba kalian praktikkan dengan gerakan ... kepala juga digerakkan jangan hanya kaki dan tangan saja”. dalam pengembangan gerak ini guru memilih menerapkan metode bermain dalam pembelajaran tari. hal ini terlihat dari perilaku guru yang sering ikut melibatkan diri ke dalam gerakan spontan yang dilakukan siswanya. guru juga sering mengamati gerakan siswa seraya melihat dari segi kesadaran terhadap anggota tubuh siswa, respons antarsiswa dalam melakukan gerakan (saling menyesuaikan antarteman), kesadaran ruang, kesadaran ritme, bentuk geraknya. bila guru menemukan gerakan siswa yang kurang sesuai dengan iringan, irama, guru langsung berteriak untuk mengingatkan. misalnya dengan mengatakan ”ayo anggota tubuh yang lain juga digerakkan, jangan hanya kaki dan tangan saja tetapi juga badannya, kepalanya, coba lihat gerakan temanmu yang berada di depanmu”. pengembangan gerak yang dilakukan oleh para siswa tersebut di atas bila dianalisis atau dihubungkan dengan 16 tema yang dikemukakan oleh laban (1976) dalam mencipta gerak tari sebagai kegiatan kreatif untuk anak sudah bisa dilaksanakan meskipun belum sepenuhnya. dari keenam belas tema dari laban, guru sekolah dasar (sd) telah mampu menyadarkan siswa untuk mengerti dan memahami tentang kesadaran badan (tubuh). bagi anak yang sedang berkembang cenderung untuk bermain dengan menggunakan kaki, tangan kepala, dan bagian daerah tubuh yang lain untuk bergerak dan menari. guru juga telah memberikan arahan tentang ruang, irama, kerja sama saling menyesuaikan dengan di antara para siswa ketika bergerak tari. mengenai ritme, yakni guru mampu menumbuhkan kepekaan irama yang diperkuat dengan gerak penuh tenaga dan bentuk gerakan, seperti membuat pola-pola yang kecil dan luas. sebaliknya siswa telah mampu mengembangkan kemampuan melalui peragaan gerak yang dilakukannya. satu urutan berhenti mendadak, sedangkan gerak lain terus dijalankan secara berangkai, tentang bentuk dan usaha yang menggunakan bagian tubuh yang berbeda. formasi kelompok dengan kualitas ekspresi atau merasakan gerakan tertentu juga telah diterapkan kepada siswa. sungguhpun belum bisa melakukan semua yang diusulkan laban tetapi guru telah berupaya untuk membelajarkan siswa secara kreatif. refleksi isi gerak refleksi isi gerak adalah gerak yang dilakukan para siswa merefleksikan alam pikiran, perasaan, dan media komunikasi bagi diri mereka. sebagaimana telah dipaparkan di depan bahwa siswa mampu menirukan atau mengikuti gerakan yang dicontohkan oleh gurunya meskipun bentuk gerakannya tidak selalu bisa sama persis dengan apa yang dicontohkan oleh gurunya. ini terutama terjadi pada materi tari ekspresif (bentuk tari yang sudah ada). setiap siswa mempunyai bentuk gerak dan cara bergerak menurut gaya pribadi masing-masing siswa. ekspresi gerak yang mereka ungkapkan tentu saja tidak terlepas dari cara berpikir dan merasakan menurut tafsir setiap siswa. kegiatan meniru atau mengikuti contoh juga merupakan aktivitas belajar yang memerlukan daya pikir, daya rasa, dan kemampuan persepsi dan apresiasi siswa atas hasil komunikasinya dengan gurunya. hal ini tampak pada diri siswa yang sangat menikmati iringan kemudian merespons dengan gerak. dari sini pula komunikasi antarsiswa terlihat sangat baik karena di antara siswa ada kepedulian untuk saling mengingatkan. sebagaimana celoteh siti “e linda gerakmu tidak sama dengan gerak bu guru“. linda yang semula melihat gerakan temannya kemudian mengalihkan perhatiannya kepada gurunya. berbeda komentar maman yang mengontrol gerakan aman, “he aman ayo geraknya disamakan dengan gerak kita (linda, siti, maman)”. aman segera melihat teman yang lain untuk menyamakan gerakannya. dalam konteks komunikasi ini memang ada dua atau tiga siswa yang kurang peduli dengan contoh yang diberikan oleh guru. boleh jadi mereka lelah, bosan sehingga asyik bermain sendiri. dalam membangun kreativitas berpikir, kemampuan berkomunikasi, dan pengenalan gerak estetis kepada siswa. guru membelajarkan tari kreatif melalui cerita-cerita yang menarik dan kemudian siswa diminta untuk mengembangkan cerita yang bersumber dari lingkungan sekitarnya (creative thinking), ketika guru bercerita tentang kehidupan binatang (menthok, anjing, kucing, burung) beserta karakteristiknya. setelah guru selesai bercerita kemudian guru meminta tiga atau empat siswa untuk berdiri di depan kelas dan mencoba memeragakan gerakan menthok, sedangkan siswa lainnya menyanyikan lagu menthok-menthok. fenomena ini jelas menunjukkan ada proses pembelajaran tari kreatif tersebut relevan dengan upaya memberi kesempatan yang luas kepada siswa untuk mengembangkan kemampuan berekspresi secara spontan melalui gerakannya (free dance). kemampuan berekspresi inilah merupakan bentuk refleksi kemampuan siswa dalam hal berpikir, merasakan, dan berkomunikasi lewat ekspresi gerak tarinya. sebab pembelajaran tari kreatif memang tidak berorientasi pada hasil akhir atau menghasilkan sebuah pertunjukan yang bernilai seni tinggi, melainkan usaha untuk memperlihatkan dorongan alamiah para siswa. barangkali kegiatan pembelajaran tari kreatif ini merefleksikan pernyataan hawkins (1988) tentang eksplorasi dari para siswa itu mampu memunculkan ekspresi unik dalam bentuk tari. dorongan untuk merasakan, menemukan, berhubungan, mencapai puncak dalam kegiatan kreatif. penari selama proses mencipta, membutuhkan eksplorasi dunia inderanya, kognitifnya, dan afektifnya. bagi hawkins pengembangan kreativitas, peningkatan kesadaran estetis, bergerak dengan kontrol, dan mencipta dengan membentuk merupakan hal penting dalam pembelajaran tari kreatif. arah pembelajaran tari di sekolah pembelajaran tari adalah proses pembelajaran tari yang senantiasa mengutamakan pembelajaran yang menyenangkan, kreatif, komunikatif, dan estetis. dengan model pembelajaran seperti itu mampu mengembangkan kepribadi siswa terutama berkaitan dengan nilai-nilai kepercayaan diri, kepedulian, toleransi, dan nilai tanggung jawab. pembelajaran tari di sekolah dasar diselenggarakan secara intrakurikuler dan ekstrakurikuler. namun penelitian ini lebih memfokuskan pada kegiatan intrakurikuler karena lebih berorientasi kepada pengembangan kepribadian siswa, sedangkan pembelajaran tari pada ekstrakurikuler lebih mengutamakan siswa terampil menari. pembelajaran tari yang menyenangkan terlihat dari respons siswa yang sangat bergairah dan aktif merespon perintah guru. berdasarkan pengamatan, menunjukkan bahwa setiap ada pelajaran menari, siswa terlihat sangat antusias mengikuti, bahkan situasi kelas terlihat hidup dan dinamis (ramai, rileks, dan menyenangkan). siswa seolah-olah merasa seperti bermain dengan teman ketika belajar menari. oleh karena itu mereka terlihat tidak pernah bosan mengikuti, hanya beberapa siswa yang kurang bergairah karena memang sedang merasa lelah dan tidak suka dengan tari. seperti kata andi yang mengaku “saya tidak suka menari karena menari hanya cocok untuk perempuan, laki-laki ya olah raga”. pembelajaran kreatif terutama tampak ketika guru memberi perintah kepada siswa agar mencoba mengekspresikan gerak menurut apa yang mereka pikirkan. guru hanya memberikan aba-aba seperti bagaimana gerak angin, gerak gelombang, bagaimana gerak pohon yang tertiup angan, bagaimana katak melompat, dan sebagainya. siswa berusaha keras untuk menggambarkan gerakan berdasarkan aba-aba dari sang guru. pembelajaran motorik seperti itu tentu sangat bermanfaat untuk membangkitkan kesadaran siswa dalam hal berpikir, berkehendak, dan merasakan tentang sesuatu yang menarik perhatian diri mereka. pembelajaran komunikatif tampak dari perhatian siswa terhadap perintah guru yang kemudian merespons dengan cara berusaha memahami dan melakukan gerak tari secara runtut. aspek komunikatif juga terjadi antarsiswa, indikasinya bahwa antarsiswa saling terjadi komunikasi, seperti saling mengingatkan bila gerakan tidak sama, mengingatkan ketika salah menirukan gerak yang dicontohkan gurunya. pembelajaran estetis terungkap ketika para siswa tertarik dengan gerak yang dicontohkan oleh guru dan berupaya untuk menirukan sepenuh hati. keinginan untuk meniru mengindikasikan adanya ketertarikan pada gerak yang dicontohkan, bila tidak ada ketertarikan kiranya tidak mungkin siswa mau menirukan. ketertarikan inilah merupakan aspek estetik dalam belajar tari, apalagi bila gerakan tari memiliki kelucuan yang mampu membangkitkan semangat siswa. jadi terdapat indikasi bahwa siswa belajar tari seolah-olah mereka juga merasa bermain dengan teman-temannya. pengembangan kepribadian siswa pengembangan kepribadian siswa merupakan upaya pembelajaran yang mengarah kepada perkembangan kepribadian siswa yang muncul dalam proses pembelajaran, seperti percaya diri, kepedulian, toleransi, dan tanggung jawab. nilai dan makna percaya diri, kepedulian, toleransi, dan tanggung jawab bisa muncul dalam jenis tari ekspresi maupun jenis tari kreatif. rasa percaya diri siswa tampak dari kondisi pembelajaran yang rileks, pemberian motivasi dan perasaan bangga, memberikan peluang yang luas kepada siswa untuk berekspresi dan bersosialisasi. kondisi belajar tari harus rileks, artinya tidak ada ketegangan dalam belajar, bahkan perlu selalu berusaha menghadirkan suasana yang menyenangkan, seperti bermain. hal ini penting agar ada komunikasi yang akrab antara guru dan siswa, sebagaimana telah dicontohkan mengenai perilaku guru yang seakan-akan sebagai teman bermain para siswa. apabila seorang guru tari mengharapkan bahwa dengan belajar menari siswa akan memperkaya pengalaman sehingga mampu memacu kemampuan siswa, maka guru harus memberikan berbagai rangsangan yang terkait dengan minat siswa. jika siswa telah berminat pada kegiatan menari, guru harus bisa memberikan gerakan tari yang menarik beserta iringan yang membangkitkan selera siswa. hal ini telah dilakukan guru dengan memilih lagu anak untuk mengiringi gerak tari yang disusunnya, seperti lagu burung kuthilang, menthok, dan lagu alamku yang indah. sosialisasi dapat muncul ketika siswa belajar tari secara berkelompok karena selain di antara siswa dalam kelompok menari itu harus saling mengenal, saling menyesuaikan perasaannya, saling menjaga hubungan komunikasi yang baik. bila itu tidak terjadi dapat dipastikan bahwa mereka tidak mungkin bisa kompak dalam menari. tindakan guru untuk menumbuhkan rasa percaya diri pada para siswa seperti itu nampaknya tidak jauh berbeda dengan hasil penelitian nurharini (2003), bahwa percaya diri dapat dipupuk dengan cara memberikan anak suasana rileks, memberi peluang yang luas kepada siswa agar berani dan mampu berekspresi, berkreasi, bersosialisasi, dan tidak henti-hentinya memberikan motivasi. kepedulian sering tampak ketika siswa belajar menari secara bersama atau berkelompok. menari secara berkelompok (tiga atau empat orang) di antara teman mereka sering saling mengingatkan, bahkan siswa yang tidak sedang menari juga sering menegur temannya bila ada di antara kelompok yang menari itu melakukan kesalahan. seperti aman dengan teriak mengatakan: “hai siti gerakanmu disamakan dengan ani dan dwi”. toleransi terlihat ketika ada siswa menari yang seharusnya memakai property tetapi tidak memakainya, tidak jarang teman yang lain ikut mengingatkan, bahkan memberikan property yang seharusnya dikenakan. demikian juga bila ada salah seorang siswa belum maju ke depan kelas untuk menari, maka teman yang lain selalu menyuruh untuk menari, dan kalau tidak mau ada saja teman lain melaporkan kepada gurunya. seperti yang dinyatakan oleh maman. “bu guru, budi belum maju, itu di belakang”. sang guru pun menjawab “ayo budi maju ke depan tidak usah takut dan malu karena pasti kamu bisa”. contoh tersebut cukup memberikan petunjuk bahwa belajar menari secara bersama dapat menumbuhkan sikap toleransi kepada siswa melalui pembelajaran tari. tanggung jawab merupakan sikap yang memungkinkan seseorang memiliki keberanian melakukan sesuatu yang dinilainya baik, dan berani menanggung resiko apapun, yang timbul setelah yang bersangkutan melakukan suatu perbuatan (halim 2002). rasa tanggung jawab dapat terbentuk melalui kegiatan menari, seperti ketaatan terhadap perintah guru dan keikutsertaannya menari itu sendiri. ketaatan yang dimaksud tampak ketika guru memerintah siswa untuk berbaris, berjajar, dan menirukan contoh gerak tari dari sang guru. keikutsertaan menari tampak ketika siswa berusaha keras agar dapat mengikuti gerak yang dicontohkan oleh gurunya. apabila siswa tidak bertanggung jawab, yang muncul adalah keributan atau ramai sendiri di dalam kelas. jika hal itu terjadi, guru tidak perlu menghukum dengan berbagai bentuk kekerasan, tetapi cukup memberi penjelasan apa saja yang akan terjadi bila ada anak tidak bertanggung jawab dalam menciptakan kondisi belajar yang tertib. dengan kata lain rasa tanggung jawab akan tumbuh seiring dengan tumbuhnya kesadaran terhadap perilaku yang diekspresikan dalam menciptakan kondisi belajar yang tenang dan menghargai sesama teman yang sedang belajar menari. evaluasi evaluasi guru terhadap siswa dalam pembelajaran tari meliputi observasi terstruktur maupun nonstruktur. evaluasi terstruktur untuk mengevaluasi jenis tari ekspresif, sedang evaluasi nonstruktur untuk mengevaluasi jenis tari kreatif. evaluasi pada tari ekspresif (observasi terstruktur) dapat dijelaskan ketika siswa menirukan gerakan gurunya, dalam hal ini tari yang sudah ada (tari bentuk). di antara para siswa banyak yang mampu mengikutinya meskipun masih terlihat global, artinya bentuk gerakan yang ditirukannya tidak selalu bisa sama persis dengan apa yang dicontohkan oleh gurunya. dari praktik tari ekspresif ini bisa teramati sikap dan perilaku siswa yang mencerminkan rasa percaya diri (keberanian tampil di depan kelas), kepedulian (antarsiswa selalu mengingatkan teman yang salah gerak atau tidak menggunakan property), toleransi (saling membantu bila ada teman yang kesulitan, meminjami peralatan), dan tanggung jawab (keseriusan dan kepatuhan melaksanakan tugas guru). evaluasi tari kreatif (observasi nonstruktur) terlihat ketika guru bercerita tentang kehidupan binatang dan alam lingkungan kemudian siswa diminta untuk mengembangkan cerita yang bersumber dari binatang dan lingkungan sekitarnya melalui gerak tari. hal ini dimaksudkan agar siswa menyadari anggota tubuhnya, penguasaan gerak, dan pengembangan gerak. tentu saja guru tetap menjaga agar suasana pembelajaran tari tetap menyenangkan, kreatif, komunikatif, dan estetis bentuk geraknya. dari tari kreatif inilah guru dapat mengamati dan mengetahui tingkat pemikiran, perasaan, dan tingkat komunikasi siswa yang diekspresikan melalui gerak tari yang ditampilkan. dengan demikian guru dalam mengevaluasi terhadap kemampuan menari siswa menggunakan teknik observasi. kriteria evaluasi bertolak dari kompetensi yang telah ditentukan dalam kurikulum (sebagai landasan penilaian), yaitu berkait dengan kompetensi siswa dalam hal kesadaran tubuh, penguasaan gerak, pengembangan gerak. kompetensi tersebut secara serta merta merefleksikan pikiran, perasaan, dan gerak sebagai media komunikasi. dari kompetensi itu juga bisa dilihat perkembangan kepribadian siswa (tingkatan kepercayaan diri, kepedulian, toleransi, dan tingkat tanggung jawabnya). metode eksplorasi berdasarkan data penelitian metode eksplorasi yang diterapkan pada sekolah dasar kabupaten semarang terdiri dari bercerita, meniru, bermain, dan demonstrasi. bercerita (mendongeng, bertutur kata) merupakan suatu cara yang manjur yang dilakukan sejak lama (nenek moyang) untuk memberikan petuah atau nasehat dalam mengarahkan anak untuk berperilaku lebih baik. cara mendongeng ternyata siswa lebih mudah diberi nasehat, diarahkan, dan dapat mempengaruhi perasaan mereka. kebiasaan mendongeng tidak hanya dilakukan oleh orang tua dalam lingkungan keluarga, tetapi telah berkembang fungsinya sebagai sebuah metode yang digunakan guru dalam kegiatan pembelajaran. metode bercerita dilakukan secara lisan yang disertai dengan gerakan yang melibatkan tangan, kaki, kepala, badan, dan mimik wajah sesuai dengan tema ceritanya. apalagi bila dalam bercerita atau mendongeng dibumbui dengan hal-hal yang lucu dan pesan tertentu. cara guru bercerita dimaksudkan agar siswa dapat mengetahui suatu hal baru yang sebelumnya tidak diketahui oleh siswa sehingga bisa menambah pengalaman siswa. jadi metode bercerita mengandung tujuan untuk menambah pengalaman siswa, menarik perhatian siswa, menasehati siswa, dan mempermudah siswa menerima materi tari yang dibelajarkan. pengajaran tari di sekolah yang dilakukan guru tari dengan cara memberi contoh gerak dan kemudian ditirukan oleh para siswanya lazim disebut metode meniru (imitation). artinya guru dapat mengarahkan siswa untuk melakukan tiruan gerak tari yang dicontohkan oleh guru tari. kemampuan siswa dalam meniru dapat meningkatkan motivasi dan menumbuhkan rasa percaya diri siswa karena merasa bisa mengikuti dan dapat melakukan seperti yang dicontohkan (diperagakan) oleh gurunya. meniru merupakan metode yang paling mudah dilakukan guru dalam pembelajaran dan bersifat informatif tetapi sangat bermanfaat untuk memberikan suatu pengenalan, penggambaran, dan pemahaman sehingga memudahkan siswa menerima materi. bermain menurut dworetzky (dalam fowler 1995) harus memenuhi lima hal, yaitu (1) memotivasi instrinsik, yaitu tingkah laku anak yang dimotivasi oleh diri sendiri, (2) pengaruh positif, artinya tingkah laku itu dapat menyenangkan dan menggembirakan, (3) tingkah laku bermain yaitu tingkah laku berpura-pura atau tidak sebenarnya, (4) cara bermain lebih diutamakan dari pada tujuannya, anak lebih suka dengan tingkah laku itu sendiri daripa hasilnya, (5) kelenturan, bermain tidak kaku atau tegang, artinya santai dalam hal bentuk maupun hubungan yang sesuai dengan situasi dan kondisi apa pun. mengacu pada batasan tersebut, para guru yang mengajar tari di sd menempatkan diri sebagai guru dan teman para siswa. penjelasan materi tari disampaikan dengan santai, sabar, dan lentur. guru kadangkala terlihat sebagai contoh tarian dan kadangkala sebagai teman sepenarian. pada metode bermain sikap dan perilaku guru terlihat pada ekspresinya yang penuh senyum keakraban mengajak siswa untuk menari bersama. guru juga mengajak siswa untuk tersenyum ketika menari, bahkan dengan menyanyi bersama sebagaimana nyanyian lagu menthok. selain itu guru mengajak siswa melakukan gerak tari yang dikemas dengan suatu permainan tertentu. prinsip utama metode bermain adalah suasana santai dan bergembira. oleh karena itu sangat bermanfaat untuk mengkondisikan siswa agar tidak tegang (rileks), menciptakan suasana yang menyenangkan, dan mempermudah siswa menerima materi. demonstrasi dimaksudkan untuk memberikan pengalaman belajar melalui melihat dan mendengarkan yang diikuti dengan menirukan materi yang didemonstrasikan atau diperagakan. dengan metode demonstrasi dapat memudahkan siswa menguasai materi sehingga dapat memupuk motivasi dan rasa percaya diri siswa dalam mengikuti kegiatan menari yang dijarkan oleh guru. selain itu mampu memberikan pengalaman siswa (melihat, mendengarkan, memeragakan, merasakan). perilaku guru dalam menggunakan demonstrasi yakni: pertama, ketika hendak memulai kegiatan menari guru melakukan demonstrasi sambil mengarahkan siswanya untuk duduk sambil memperhatikan, dan kemudian meminta siswa berdiri melakukan gerakan. kedua memberi pengertian terhadap masingmasing gerakan, yaitu menjelaskan gerak tubuh yang terbagi menjadi empat bagian kepala, badan, tangan, dan kaki. masing-masing bagian harus menyatu dan serasi. dengan kesatuan dari gerakan bagian tubuh tersebut diharapkan tarian yang dimaksudkan dapat berbentuk indah dan tercapai dengan baik. ketiga, untuk menjaga pemahaman siswa terhadap tarian yang telah diberikan. di sini guru memberikan contoh gerakan per bagian anggota tubuh, seperti gerak tangan dulu, kaki dulu, dan sebagainya. setelah siswa mengerti gerakan per bagian kemudian guru menyatukan gerakan sesuai dengan musik iringannya. simpulan dan saran komponen model pembelajaran tari pendidikan pada sekolah dasar di atas menandakan bahwa standar proses pembelajaran (pp no. 19 pasal 19 tahun 2005) telah terpenuhi karena model tersebut menunjukkan ada aspek interaktif, inspiratif, menyenangkan, menantang, memotivasi siswa untuk berpartisipasi aktif, serta memberikan ruang yang cukup bagi prakarsa, kreativitas, dan kemandirian sesuai dengan bakat, minat, dan perkembangan fisik serta psikologis siswa. ditinjau dari filosofi pendidikan seni, model eksplorasi telah mengindikasikan adanya pemberian pengalaman estetis kepada para siswa. penggunaan metode mengajar para guru tari di sd sudah baik karena selalu mengkolaborasikan antar metode, seperti bercerita, bermain, meniru, dan berdemonstrasi. selain itu, ditinjau dari tujuan pembelajaran seni budaya dan keterampilan di sd model eksplorasi sekurang-kurangnya telah memenuhi tiga tujuan, yaitu siswa memiliki kemampuan untuk menampilkan sikap apresiasi terhadap seni budaya dan keterampilan, menampilkan kreativitas melalui seni budaya dan keterampilan, dan kemampuan menampilkan peran serta dalam seni budaya dan keterampilan dalam tingkat lokal dan regional. sungguh pun demikian kelemahan penelitian ini adalah hasilnya tidak bisa digeneralisir untuk kepentingan pembelajaran tari pendidikan secara nasional karena objek dan subjek penelitiannya masih setingkat kabupaten, apalagi sampelnya relatif belum proporsional akibat kendala teknis dalam proses penelitian. ada beberapa saran yang perlu dikemukakan guna menunjang kegiatan lebih lanjut terutama yang berkait dengan pembelajaran seni (tari) di sekolah. pertama, perlunya keseimbangan antara materi tari ekspresif dan tari kreatif dalam pembelajaran seni di sekolah dasar (sd). barangkali akan lebih baik kalau tari kreatif lebih diperbesar proporsinya. kedua, mengingat guru sd merupakan guru kelas tetapi akan lebih proporsional bila guru tari di sd juga memiliki keahlian di bidang seni tari. ketiga, observasi guru terhadap materi gerak tari khususnya bentuk gerak maupun gerak dasar tari perlu dilakukan lebih rinci atau detail karena menyangkut segi estetis dan ekspresif gerak yang ditampilkan oleh setiap siswa. daftar pustaka cheney, gay. 1999. basic concepts in modern dance: a creative approach. terjemahan y. sumandiyo hadi. yogyakarta: manthili. fowler, james w (ed). 1995. teori perkembangan kepercayaan. alih bahasa agus cremes. yogyakarta: kanisius. hawkins, alma m. 1988. creating through dance. princeton, new jersey: princenton publishers. jazuli. 2008. paradigma kontekstual pendidikan seni. surabaya: unesa press. kraus, richard. 1977. history of the dance. englewood, new jersey: prentice, inc. laban, rudolf. 1976. modern educational dance. ny: mcdonald and evans ltd. miles, matthew b and huberman, a michael. 1994. qualilative data analysis. thousand oaks, london, new delhi: sage publications inc. nurharini, atip. 2003. “pembelajaran seni tari sebagai sarana pengembangan rasa percaya diri anak di taman kanakkanak pangudi luhur bernadus semarang”. tesis program studi pendidikan seni pascasarjana universitas negeri semarang tahun 2003. setiawati, dkk. 2001. ”alat peraga sebagai sarana meningkatkan kreativtas anak menari.” laporan penelitian. jakarta: lembaga penelitian universitas jakarta. smith, jaqueline. 1994. the art of dance in education. london: blach publisher limeted. uno, hamzah b. 2009. model pembelajaran: menciptakan proses belajar mengajar yang kreatif dan efektif. jakarta: bumi aksara. d:\harmonia\2003\3\vol. 4 no 3 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�z�� � �� �c��8:�������j���9n��;�=������@"�% " �w"%x��(% b�*���(�t#"�#"�+#�� �(#"#�� �1��8���[���������5���7��\��*�#b�c�)�"$�� "$ "�o��% �]� �� b "�̂�)�%c ����/ c � �_ �v%̀�y"a ���t�*.��� 0d��e��7�;���b7������<�*�"�� % �c���a#$b c � �_%"s�%���c# .�� 0d��d��5�����e;���������7<�@"�% " �w"%x��(% b�*���(���##�%"$ #"� "��@�% " )#�%(�fghgijklmnhop ]'q��+�o �%�%�q#"�#c�(�� ����)�� �%�] (�" ""�+�� c � ��c$��+�-% %��p�)�� �%�] (�" " "�+�� c � 9 advocating for the sustainability of semai indigenous music through the collaborative creation of new traditional music: a participatory action research (par) methodology clare suet ching chan, zaharul lailiddin saidon universiti pendidikan sultan idris, malaysia submitted: 2020-11-24. revised: 2021-01-26. accepted: 2021-02-26 abstract this article provides a critical reflection on the participatory approach methodology and the collaborative creation approach used in an advocacy project to sustain the musical heritage of the indigenous semai community in malaysia. these approaches were examined through the medium of an advocacy project that aimed to stimulate the interest of semai youth in traditional music through relevance, engagement, and connection with their current musical interest and skills. the intention of the project was to also co-create new traditional music with the semai youth through live musical interaction, improvisation and jam sessions with the research team. this article explored the research team’s use of the “participatory action research” (par) method, which involved planning, action, observation, reflection, and revision during the initial stages of our advocacy project. our findings suggest a narrative style in discussing advocacy processes because they occur in a lateral than the linear or cyclical format used in current action research models. findings also reveal that any attempts to advocate change in the community would firstly require an established relationship of trust, respect, and belief in the research team. the research team would have to have had prior involvement, commitment, and dedication to the community before members of the team could influence change among the community. a self-review of the research team’s effort to co-create new traditional music with semai youth led to the conclusion that co-creation between musicians of different musical training would require a “new” compositional method that negotiates western musical composition techniques with the oral tradition of creating music. keywords: applied ethnomusicology, orang asli, participatory approach, participatory action research, semai, sewang, music sustainability how to cite: chan, c. s. c., & saidon, z. l. (2021). advocating for the sustainability of semai indigenous music through the collaborative creation of new traditional music: a participatory action research (par) methodology. harmonia: journal of arts research and education, 21(1), 9-22 harmonia: journal of arts research and education 21 (1) (2021), 9-22 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i1.28715 mat, the elderly pawang (shaman)of the village, swoops up the microphone and sings a jenulak to this accompaniment. he is a musical and versatile musician who is keen on exploring new musical styles. when our research team first approached bah kang a/l (son of) bah mat on introduction the semai music band comprising western and semai musical instruments renders the basic rhythmic pattern of a jenulak, a traditional semai song sung during sewang. bah kang a/l (son of) bah corresponding author: e-mail: clare@fmsp.upsi.edu.my p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 21 (1) (2021): 9-2210 the idea of singing traditional jenulak in a musical style popular with the semai youth, he presented us with the performance described above, during our following visit. performing songs sung to the accompaniment of a typical four-piece band including a drum set, bass guitar, lead guitar and vocals has replaced jenulak as a form of entertainment during festive events. these music bands perform thai, hindustani, indonesian, malay and western songs that are popular among semai children, teenagers, adults, and even the village elders (chan, 2012). bah kang’s versatility, spontaneity, and openness to merging traditional and new musical styles, and his family’s adeptness as self-taught musicians encouraged the research team to explore the idea of musical sustainability through relevance and current interest. motivated by the nation’s national heritage act 2005, no. 645, our research team explored a collaborative approach in co-creating new jenulak arrangements with bah kang’s family. through spontaneous improvisations, jam sessions, and interactive exploration of musical ideas with the semai musicians, we hoped that new versions of jenulak that would interest the semai community and beyond would emerge. jenulak refers to songs that are sung during sewang, a singing and dancing tradition that accompanies healing rituals or festive celebrations among the indigenous semai communities of malaysia. the singing is led by the halaq (shaman) and repeated by the centong (bamboo stamping tubes) chorus. sewang has become a generic term that refers to the singing and dancing tradition of the orang asli. it occurs in two different contexts—1) festive celebrations and recreation, or 2) healing ceremonies. sewang for festivities occur during harvest celebrations or rites of passage. healing ceremonies are conducted when the causes of illness are believed to be related to the supernatural world (mohd jalaludin & abdullah, 2020). the semai believe that the breech of tulah (rules) between the human realm and the supernatural realm will incur malaise and catastrophes. concepts such as pehunan (unfulfillment), hoin (to be sated) and gernhaq (unwillingness to share) maintain social justice and peace among the communities (nicholas, chopil, & sabak, 2010). over the past decades, the semai came to rely more on western medicine for the treatment of illnesses. even though western medicine is preferred, there are illnesses in the community that still cannot be resolved by western medicine. therefore, healing rituals are still carried out at a smaller scale in these villages. today, jenulak survives as songs that accompany sewang for tourism events (figure 1). figure 1. bah kang and his extended family performing for tourists at the selangor international arts festival (29 july 2017) at the local level, sewang represents the semai ethnic identity as distinct from other orang asli communities. at the international level, sewang presents the orang asli as a homogenized indigenous group in malaysia. as sewang evolves from a communal activity to a commodity, semai children and youth become less acquainted with jenulak as part of the soundscape of their villages. today, jenulak has been replaced by popular music rendered by semai musicians as western music bands. as popular music replaces jenulak and western medicine replaces healing rituals, competency in singing jenulak also declines. many semai youth are millennials and generation z born in the age of clare suet ching chan et al., advocating for the sustainability of semai indigenous music 11 familiarity with the internet and digital technology. traditional semai music is losing its appeal to the orang asli youth generation who are more interested in popular music and global popular culture. their musical interests, aesthetics and exposure are largely dependent on their individual interests. inspiration to advocacy project the research team needs to state their initial reasons for conducting this advocacy project in order to avoid any misperception that will lead to criticism of top-down directives or other forms of coloniality on the part of research team members. the research team is comprised of academicians who are passionate about the musical heritage of malaysia. they are also involved with traditional and popular musical compositions at their own universities. while traditional music is sustained at the university level, the research team engages in projects of musical innovation with their students to facilitate their entry into the creative industry. the research team is well aware that adaptation and change in traditions are important means of heritage sustainability. the adaptation of indigenous music to world music has sparked much controversy and critique in the academic world due to issues revolving around cultural imperialism, authenticity and appropriation. world music composed for commercial and tourism purposes often positions indigenous music as having been appropriated by western music composers. however, nettl (1983) notes that the ways in which world cultures adapt and change to achieve some kind of survival marks the uniqueness of each culture (p. 436). these changes present the real, live social-cultural situations these cultures engage in at specific points of time. our research team is inclined to agree with nettl’s view that music is enriched when different cultures come into contact with each other. this value is the driving principle that leads us to engage in this advocacy project. we are passionate about the beauty and aesthetics in each cultural group’s traditional music, yet open to addressing new approaches to sustain indigenous heritage in adaptation to the current situation. some pioneers have already for example in the next section, and we present a literature review from audio-visual recordings that have inspired the research team on ideas for musical sustainability. in 2002, an album titled akar umbi: songs of the dragon combined the songs of the temuan of pertak community in kuala kubu baru with instrumental music performed by contemporary malaysian musicians (antares, 2002; mohd jalaludin, 2003). songs presented in a modern setting and using instruments such as the keyboard, guitar, and world music idioms helps the younger generation to connect and engage with modernity (tan, 2005). the online accessibility of this album today promotes visibility and accessibility to temuan musical heritage. the memory of mak minah and her mesmerising voice is “kept alive through her beautiful songs, which encourages the younger generation of orang asli to cherish and value their traditional songs” (tan, 2014). in the ‘asia got talent’ contest in 2015, sada borneo, a group of young musicians from sabah integrated music from sape (plucked lute) and instruments that produced sounds from the rainforest such as frog croaking, birds chirping, and thunder roaring with music from the western acoustic, bass guitar, and a percussion box. their performance received a grand applause from the audience and positive feedback from the judges including anggun, david foster, melanie c, and vanness wu.1 the leader of sada borneo stated, “our journey is to let people know about borneo traditional music and to appreciate it especially the young generation” (asia’s got talent, 2015). much research related to the semai focuses on examining the meaning, symbolism and processes in conducting sewang. mohd jalaludin (2020) states that the baj luj group performs sewang as a cultuharmonia: journal of arts research and education 21 (1) (2021): 9-2212 ral performance during government, private and corporate functions (p. 1). chan and saidon (2019) published a songbook that documents the music notation, song text and meaning of jenulak. both of these research efforts document the sewang ritual and jenulak in writing via music scores but they do not advocate its sustainability through practical and applied approaches. there is an urgency for applied approaches to sustaining musical heritage. this urgency to sustain musical heritage spurred our project. statement of problem this research delves into two problems involving methodology, 1) participatory approach methodology used to convince semai youth that integrating traditional with popular music is a means toward refreshed interest in jenulak, a potential for revenue generation, and the sustainability of their musical heritage, and 2) our methods in facilitating the creation of new music through a collaborative approach. one of the biggest challenges for academicians involved in applied ethnomusicology through advocacy projects is the bridging of understanding between the research team and their community. this problem is noted by cancian (1993), who states that academicians who undertake participatory and action-oriented research must bridge “two conflicting social worlds” (p. 92). the academicians’ exposure to different approaches to sustainability may not be shared by the community. members of the indigenous community might also not have a desire to sustain their musical heritage. their musical heritage has evolved naturally through the years. sustainability is often an outsider’s desire; therefore, advocacy projects seen as being conducted within the scheme of government policies are denoted as “top down” approaches that seek to change the cultural heritage of the community the second problem that the research team did not realise it would encounter is the issue of, “how do two differently trained musical groups co-create new traditional music?” members of the research team are formally trained in western art music and have some knowledge of world music traditions, while semai youth learned music through the oral tradition. their skills were acquired by learning through listening and observing, and they are also adept at improvising. objectives of the research this research aims to critically reflect upon the research team’s approaches to the participatory approach and collaborative creation method of new traditional music used in an advocacy project to sustain the musical heritage of the semai community. these approaches were examined through the medium of the advocacy project conducted to stimulate interest of the semai youth in traditional music through relevance, engagement and connection with their musical interest and skills, and to co-create new jenulak through live musical interactions, improvisation and jam sessions with the research team. we hoped to excite the young musicians about the possibilities of jenulak becoming popular and appealing to the nation and beyond. producing a musical style that was unique and new would position the semai to having a more competitive advantage especially during music band competitions. method participatory approach in applied ethnomusicology the project advocated the “participatory approach” that cultivated ownership of creative work and a “bottom up” approach to musical sustainability. the participatory action research (par) involves planning, action, observation, and reflection, a novel approach to applied ethnomusicology, and was utilised to monitor our methodology. in recent decades, ethnomusicologists have engaged in advocating the sustainability of traditional music through education, empowerment and encouragement. some ethnomusicologists have clare suet ching chan et al., advocating for the sustainability of semai indigenous music 13 moved from being “shadows in the field” (cooley & barz, 2015) to actors or cultural advocators in their own research areas on music. the ethnomusicologists’ involvements and perspectives bring potential strengths and unexpected insights to the field. (schippers & grant, 2016). today, applied ethnomusicology has paved a path for researchers to advocate for the sustainability of traditional musical forms on the verge of decline. as outsiders to the tradition, the ethnomusicologists’ role is to motivate and inspire culture bearers to sustain their musical tradition in creative ways (bendrups, 2019; pettan & titon, 2019; summit, 2015). while conventional ethnomusicology methods that involve fieldwork, data collection and analysis and reports continue as important ways of documentation, social intervention requires participatory approaches to nurture the self-esteem, confidence, self-expression, interaction and involvement of stakeholders (tan, 2019, p. 127). the current trend in “applied ethnomusicology” raises the involvement of researchers with the communities in rejuvenating the cultural heritages of indigenous communities. this research utilised the “participatory approach” in advocating the sustainability of jenulak. this is an approach used in applied ethnomusicology whereby ethnomusicologists and other stakeholders collaborate with communities toward producing creative works that “empower communities to make transformation in their own lives” (tan, 2019, p. 110). the participatory approach involves an empowerment through a “bottom up” approach, cultivation of ownership of musical heritage and a sense of inclusivity. inclusion enables stakeholders to feel that they are proactive agents of cultural sustainability. hence, a feeling of “ownership” is engendered (tan, 2019, p. 118). this is emphasised by tan (2019) who states that there is a need to: democratise research and to promote collaboration between the researcher and the community in the planning, training, research, mapping of issues, analysis, and presentation, so that the community is engaged and empowered in the entire process for change and is enabled to take ownership of the project. (tan, 2019, p. 111). in applied ethnomusicology, ethnomusicologists act as facilitators or catalysts, providing tools for participatory research, spaces, a forum for dialogue and methods for capacity building. participatory action research (par) there are two different terms used in the following discussion—participatory approach and participatory action research (par). the participatory approach is commonly used in applied ethnomusicology. however, the use of participatory action research (par) is still novel in this field. our research team used the participatory action research (par) approach in advocating the sustainability of traditional music through new musical arrangements created from live musical interactions, reflection and discussions. while many research projects present findings, this research shares the complex issues faced by the research team during the advocacy process using the participatory action research methodology. we believe that it is important to share our experiences and critical evaluation of our approaches as knowledge for future advocators. par involves three components: 1) active participation of researchers and participants in the co-construction of knowledge, 2) the promotion of self and critical awareness, 3) building of alliances between researchers and participants in the planning, implementation, and dissemination of outcomes (mcintyre, 2008, p. ix). mcintyre’s model is based on a recursive or cyclic process of questioning, reflecting, investigating, developing, implementing and refining (mcintyre, 2008, p. 7). researchers conducting par have to constantly negotiate between their status as outsiders with different ideas about sustainability different from sustainability ideas of their participants. par provides a framework to assist researchers when they come to harmonia: journal of arts research and education 21 (1) (2021): 9-2214 crossroads, dilemmas, and uncertainty over responses required during the advocacy process. the application of par in different communities and regions has its own complications, challenges, unpredictability and inconclusive results (cooke & kothari, 2001; greenwood, 2002). the par approach enables transparency by revealing the complexities and frustrations interjected with moments of enlightenment, revelation, and resolution during the advocacy processes. sharing these processes helps other advocates understand their own challenges, conflicts, unsuccessful attempts and so on (mcintyre, 2008). our research team encountered our own set of problems with encouraging a participatory approach to the advocacy project. we did not receive much support from the semai youth and community in our aims to sustain their musical heritage through a collaborative approach. our participant action research (par) model many par methodology models describe a systematic cyclical process of planning, acting, observing and reflecting. we found it difficult to group our actions into these four categories. our actions did not occur in a systematic linear or cyclic process but a more lateral process. an observation could skip reflection and be followed by action, or a reflection could lead to action before planning. planning could also come together with observing and reflecting at the same time. these actions occurred singly and even simultaneously and in different sequences. therefore, we present our par during the advocacy projects in a narrative style making references to actions through words such as “we observed…”, “after some reflection…”, “our plans to…”, “we implemented…” in order to describe the par processes. this article discusses our par approaches during our recci trip, initial fieldwork observations and three advocacy workshops. the research team and the young semai musicians this research project was conducted among a family of musicians known as the bah luj musical group. they live in kampung orang asli bukit terang, in the town of kampar located in the state of perak (figure 2). figure 2. location of research project: kampung bukit terang, kampar, perak (near kampung batu berangkai) in perak. the research team was comprised of three music lecturers and a student assistant from a university in malaysia. the lecturers’ areas of expertise were ethnomusicology, music education and guitar performance, while the student was studying for a master’s degree in music technology. there were seven semai participants in our project who were self-taught musicians on western musical instruments such as the acoustic guitar, bass guitar and drum set. throughout the remainder of this article we refer to the participants as ‘young musicians’. the young musicians were sallynie, ebby, bah yasri, halsis, saiful, endiayana and jofressemo. their ages ranged from 17-30 years old. these young musicians have full-time and parttime jobs. halsis, saiful and jofressemo are self-taught guitarists and are competent at improvising jenulak on an acoustic guitar. ebby and bah yaris played the traditional centong (bamboo stamping tubes) while sallynie and endiayana sang as part of the centong chorus. the following section provides an clare suet ching chan et al., advocating for the sustainability of semai indigenous music 15 overview of the competency of singing jenulak among three semai generations in bah kang’s family involved in our advocacy project. bah kang a/l (son of) bah mat bah kang, aged 81, is recognised as a pawang, a shaman of the highest rank in his village, after the rank of halaq and bomoh. the bomoh is a shaman who can only conjure spells. but the halaq is different from the bomoh, the spirit can enter the halaq… the pawang is of higher status, they have more power, they can request for things from those we cannot see (bah kang a/l bah mat, personal communication, july 17, 2018) a pawang acts as an intermediary between the human and spiritual world and is able to summon his/her guniq (spirit guides) through jenulak to “combat evil spirits, cure illnesses and strengthen the morale of the group” (nicholas, chopil & sabak, 2010, p. 48). bah kang allowed the research team to record, learn and sing four of the jenulak he learned from his guniq. during our fieldwork sessions, bah kang also demonstrated skills on singing semai folk songs and self-accompanying himself on a kereb (plucked bamboo zither). in addition, he played the harmonica to tunes from songs popular in the 1960s such as “nona singapura”, “terang bulan” and “joget pahang” (chan, saidon & mustafa, 2018). he is a versatile musician who is able to adapt his singing to current musical trends and styles. bah kang’s children bah kang has ten children between the ages of 40 and 60. his children’s musical interests were founded on western musical traditions inspired by the mass media. they formed western music bands that performed music from popular songs from the radio, cassette tapes and compact discs circulated for sale at nearby towns. among his children, only alang was interested in playing the pensol (nose-flute) (alang bah kang, personal communication, january 14, 2017). bah kang’s children grew up performing sewang for tourist events organised by government cultural organisations. they learned jenulak when bah kang and their community sang during healing rituals and festivals. as emphasized by irawati (2019) and phattanaphraiwan & fairfield (2019)—listening, watching and imitating were the ways the traditional communities learned and internalised their community’s songs. bah kang’s grandchildren in the last decades, bah kang’s children have passed on the task of performing sewang during tourism events to their children (bah kang’s grandchildren) who are between the ages of 17 to 30 years old. unlike their parents who were surrounded by the frequent singing of jenulak, these grandchildren have less of an enculturative experience of jenulak through the oral tradition. as the sounds of jenulak in the village environment is replaced by popular songs, the semai younger generation become less acquainted with jenulak. bah kang’s grandchildren are also self-taught musicians on the acoustic guitar, bass guitar and drum set. they like to listen to popular songs transmitted via radio, television and especially through the internet and that they listen to through their handphones (chan, 2012). they are interested in musical styles such as kugiran, slow rock, joget, dangdut musical styles and have formed bands to compete in music band competitions such as the ‘battle of the bands’ held during the ‘hari orang asal 2019’ event in tapah, perak (hd black rv, 2019). results and discussion recci trip the aims of the recci trip were to discuss the potential of our ideas on musical sustainability and obtain feedback from the members of a semai musician family on the level of their interest in our ideas. on 18 december 2016, the research team met with with bah kang and his family and discussed the idea of giving a “fresh take” to their jenulak by adapting it to the harmonia: journal of arts research and education 21 (1) (2021): 9-2216 semai youth’s musical interest and adeptness at the musical instruments of their choice. as outsiders of the tradition, we expressed our interest in the semai’s rich musical heritage and its potential to be popularised to the public. alang, bah kang’s son said that our research project was an opportunity to develop their traditional music for the public (alang a/l bah kang, personal communication, 18 december, 2016). alang informed us that some of bah kang’s children, aged between 35-55, had formed their own music bands and they work in towns beyond the village such as gopeng, tapah, cameron highlands and kuala lumpur. however, it would not be easy to gather all of them on the same days and times for consistent workshops and compensate them for the loss of work income. after some reflection, we agreed that the most appropriate participants would be bah kang’s grandchildren (aged 17-30) as they lived in the village. while bah kang nodded in agreement, we observed that his grandchildren remained silent and compliant. in applied ethnomusicology there is a “delicate relationship between empowerment of the community and the role of the ethnomusicologist researcher… a balance between the ethnomusicologists’ needs and the needs of the community needs to be established (tan, 2019, p. 128). upon reflection, the members of our research team reminded ourselves to nurture an environment that encouraged bah kang’s grandchildren to speak their opinions. preliminary workshop on the 14 january 2017, we began our preliminary workshop with the aim of observing the level of complexity of bah kang’s jenulak and the young musician’s competency of performing jenulak. bah kang sang four jenulak—”wak genamun”, “sangkut dipulai yang debor”, “wak jenudi” and “tok barat” (chan & saidon, 2019). the young musicians who attended the session—sallynie, endiayana, ebby, bah yasri and halsis repeated each line of text after bah kang finished his line of singing. ebby and bah yasri sang while stamping specific rhythm patterns on the centong we observed that the young musicians were familiar only with the song text to “sangkut di pulai yang debor”. the research team’s prior knowledge of jenulak was that the centong chorus, which is usually comprised of women, were skilful at ‘singing in overlap’ with the halaq (shaman) toward the ending of his phrases. this overlap would create a heterophonic texture in the singing of the centong chorus and halaq. the young musicians did not present this technique of singing as they sang only after bah kang ended his phrases. the young musicians informed us that they have heard their elders perform these jenulak and that they were relatively new to performing them. in order for the research team to expedite the teaching and learning of jenulak, we thought it would be best that we learn these jenulak. therefore, we asked bah kang for permission to record, document, transcribe and sing his jenulak. bah kang granted us permission and stated that he would inform the respective guniq (spirit guides) that we had berguru (studied) under him, so that the guniq would not be hairan (curious) when we sang these jenulak. most importantly, he said that we were performing jenulak in the context of education, re-creation and sustainability of semai musical heritage. we asked the same question on several occasions and his answer was usually: boleh… dari saya lah tu, kebenaran saya, terbuka, dia orang tak hairan. it is permissible… with permission from me, i am open, the guniq will not be surprised. (bah kang a/l bah mat, personal communication, july 29, 2017) reflecting on our first fieldwork visit with this family, the research team felt that we were still unable to convince the young musicians of the potential of rearranging jenulak to a musical style that could potentially attract a wider audience. therefore, we still needed to work hard on cultivating clare suet ching chan et al., advocating for the sustainability of semai indigenous music 17 the “bottom up” approach. analysing the music transcription, we discovered that the song text of the two jenulak that the young musicians could not remember were complicated as they involved nonsensical syllables, melismatic singing style, a wide vocal range and inconsistent melodic phrasing. on reflection, we decided to focus on only one jenulak— “sangkut di pulai yang debor”. we shared our transcription of the music and song text as a guide for the young musicians (figure 3). the research team blended the oral tradition and literary approach to learning the song text of jenulak. second, we observed that the centong players exhibited only a few problems with stamping the rhythm for each jenulak. however, they were not able to sing while stamping the centong. traditional semai centong players were skilled in singing and stamping the centong simultaneously. upon reflection, we believe this was due to the infrequency of opportunities to perform sewang. during the workshops, we noticed that sallynie had a good voice and that she had inherited the semai style of singing jenulak. we encouraged sallynie to take the lead as a soloist in the group but she remained shy even though bah kang encouraged her to lead. we decided to continuously coax and persuade her sallynie in the following workshops. figure 3. excerpt from “sangkut di pulai yang debor” (chan & saidon, 2019) interviews with the young musicians concerned that the young semai musicians were not actually speaking up about what they would like to happen to their musical heritage, we decided to interview them. among their responses, here are a few excerpts: kalau boleh, lebih menarik lagi, macam alat muzik centong, rangot, kereb and gendang, kalau boleh end itu kena ada if possible, it should be more catchy, include musical instruments such as centong, rangot, kereb and gendang. (note: these are mainly semai music instruments) (halsis bin long, personal communication, may 6, 2017) tak kira rock ke, rap ke, rock ke, dangdut ke, tak kira la, asalkan lagu ini lebih menarik dan lebih seronok didengar oleh orang muda, terutama orang muda it does not matter whether it is rock or rap or dangdut…as long as the younger generation find it attractive and good to listen to. (sallynie a/p buleng, personal communication, may 6, 2017) the interviews with the young musicians revealed that they would like jenulak to be more interesting and attractive to the younger generation. they envisioned it to include some traditional semai instruments such as the suling (flute), rangot (jew’s harp) and centong (bamboo stamping tubes). the young musicians also appear to be open to integrating rap, reggae, rock or dangdut songs with jenulak. summary of reflection of preliminary workshop. from this workshop we observed that the young musicians preferred to remain in the role of follower rather than lead. even though bah kang encouraged his grandchildren to lead, they were reticent. we realised that the shaman is the beholder of the jenulak. halsis said they were afraid to take the lead as they were unfamiliar with the world of shamanism. they still depended on their grandfather, the halaq, to negotiate situations with the harmonia: journal of arts research and education 21 (1) (2021): 9-2218 spiritual realm. it was ironic that bah kang had given permission to the research team to learn and teach his jenulak to the public, but his grandchildren were very reluctant to perform jenulak without him. this was a situation that we could not solve at this point of time. we could only control our side of the advocacy project by ensuring bah kang that granted us permission to perform his jenulak. we also observed one subtle but interesting phenomenon that unintentionally emerged during ethnographic observation. the young musicians took agency in learning their musical tradition by video recording bah kang’s singing on their hand phones. from this observation, we realised that younger musicians were developing ways to sustain their musical heritage through current technology. we realised that we did not put much emphasis on the young musicians’ interest during the research period. however on reflection, we felt that we could have brought some of the younger music students from our faculty for jam sessions with the young musicians, using the musical styles mentioned in the interview. creative improvisation workshop 1 in our second advocacy workshop, the research team began to initiate the young musicians into collaborating with each other in rearranging jenulak to their musical interests and within the level of competency on musical instruments of their choice. cultivating arrangement and improvisation skills the same five members ebby, bah yasri, sallynie, endiayana and halsis attended this session with daiful, an additional participant. in traditional jenulak, the centong chorus usually plays the same rhythmic pattern simultaneously. during this workshop we asked one of the two centong players to play a rhythm that is different from the original rhythm pattern of jenulak “sangkut di pulai yang debor” (figure 4). self-taught guitarists, halsis and saiful, improvised the melody and strummed the chords to “sangkut di pulai yang debor” on the acoustic and electric guitar respectively (figure 5). figure 4. diversifying the rhythm for “sangkut di pulai yang debor” summary reflection on creative workshop 1 the participatory action research yielded some success in cultivating a “bottom up” approach whereby semai musicians began to develop their song arrangements, taking ownership of developing their music. the young musicians contributed their improvisation skills on the guitar and created rhythm variations on the centong. since “sangkut di pulai yang debor” is about the siamang, a black-handed gibbon from the rainforest, bah kang imitates the animal by adding the vocables “mong mong mong”. figure 5. improvisation of melody between electric and acoustic guitar clare suet ching chan et al., advocating for the sustainability of semai indigenous music 19 figure 6. young musician playing the rebana (frame drum), centong (bamboo stamping tubes) and recorder. creative improvisation workshop 2 during this workshop on 19 august 2019, the research team continued cultivating live arrangement and improvisation skills. bah kang and four young musicians, sallynie, endiayana, ebby and bah yasri attended this workshop but halsis and saiful, the two guitarists, had to work and could not attend. therefore, we had to restart the entire creative process. after some thought, sallynie brought out a recorder that she had learned to play during her primary school days. one of our research team members showed her how to play the tune to “sangkut dipulai yang debor” and wrote down the pitches in alphabet letters for her. instead of using the notes, sallynie videoed the researcher playing the recorder with her handphone. in addition, ebby brought a rebana (frame drum) to accompany us (figure 6). although our personal interests are to promote semai musical instruments in the new arrangements, the young musicians were not familiar with playing any of the semai music instruments, namely, the rangot (jew’s harp), kereb (bamboo zither) and pensol (nose flute). we decided to capitalise on their current knowledge on musical instruments at this point in time. since we were working in collaboration, one of the research team members attempted to play the rangot (jew’s harp) as inspiration to the young musicians. summary reflection on creative improvisation we experienced difficulty in assembling the same young musicians together for continuous progress in the development of the new arrangements. these musicians were away on the saturdays, the days that we could take time off from our work schedules and their job schedules were not entirely fixed. this affected our aim to cultivate a participatory action research and “bottom up” approach to the musical arrangement. sallynie’s move to record our recorder demonstration rather than refer to the notes written down, showed that she and perhaps the others prefer to learn from listening and observing, or through the oral tradition. this workshop also showed us that technology is significant in the young musician’s approach to mobilising semai musical sustainability. these are subtle ways the young musicians are taking agency in sustaining the continuity of their own musical heritage. secondly, although using the recorder occurred through the research team’s provocation, the young musicians’ themselves initiated ornamentations to the melody of the jenulak that they played. the “bottom up” approach and sense of ownership showed some progress during this workshop. creative improvisation workshop 3 sallynie, endiayana and bah yasri did not attend our final workshop on 26 august 2019. nyah, bah kang’s wife and an elder experienced centong player, volunteered to join the workshop. the family called for jofressemo who happened to be home on a holiday from work. he was a first-time participant to our workshop and a self-taught guitarist. jofressemo improvised the melody to “sangkut di pulai yang debor” and our student assistant spontaneously strummed the guitar in accompaniment to his plucking. bah kang added the cries of the siamang during the introduction. nyah stamped the centong and sang while ebby alternated between playing the rebana (frame drum) and the harmonia: journal of arts research and education 21 (1) (2021): 9-2220 recorder while a research team member plucked the rangot (jew’s harp). we arranged the sequence for the entry of each musical instrument during this session. the piece ended with each instrument ‘staggering off’ and the diminishing plucking of the rangot. summary reflection on creative improvisation workshop 3 on reflection, we realised that it would be difficult to get the same level of cooperation of all the young musicians as they had different priorities. the lack of consistent attendance by family members affected the progress of the new arrangement that we wanted to refine and enhance for recording. the final workshop produced an intergenerational arrangement of jenulak that combined the current musical competency of the elder and younger musicians. it was not an arrangement composed by a single composer but emerged from a collaborative effort. the final recorded arrangement belonged to the semai and research team. conclusion the strength of par is that it enabled us to understand some of the reasons behind the semai youths’ half-hearted participation in our project. the cyclic process of planning, action, reflection and revision of the par is problematic because many issues occurred randomly during the project. some issues can be solved spontaneously without too much reflection or planning. thus, a lateral process would be more realistic. this makes documentation of par via writing a challenge. from our advocacy project with the semai young musicians, we observed two significant phenomena. firstly, the semai young musicians were occupied with parttime jobs in order to earn income after high school. upon reflection, we believe that this age group would not be the most appropriate group for our advocacy project. secondly, the semai youth have good improvisation skills in music, are flexible in embracing new musical styles and are using technology such as their phones to learn traditional music. their musical talents can be nurtured and guided toward a fruitful direction through talent management during the early years of school. we recommend that future musical sustainability projects that involve collaboration with the indigenous community should be conducted among semai children either at the community level or as part of the primary school music education curriculum. creativity and performance in music are skills that require a longer period to develop. these skills have to be developed at a young age. combining the knowledge of traditional and western music, performance and composition skills will equip the semai children with knowledge to create and develop new musical compositions in the future. on the part of the research team, we believe that our partial success toward achieving our research aims lie in our approach to the participatory methodology and collaborative creations. we believe that prior to attempting to influence the semai communities with our ideas for sustainability and revenue generation, we must begin with a lengthy period of active engagement on behalf of the community’s welfare. the researcher team will have to commit to the social well-being of the community. our entry into the community through some acquaintance from previous research efforts was not adequate in building trust. therefore, the semai youth were not fully engaged with our project. problems can occur with attempting to create an understanding between the academician and the community and their respective, different views. while we on the research team were consciously reminding ourselves to trigger the “bottom up” and participatory approach, we still encountered problems with lack of responses as researchers may still be perceived as outsiders who are not necessarily championing the semai cause. our aims may be noble but it may be perceived otherwise. this problem has been experienced by otclare suet ching chan et al., advocating for the sustainability of semai indigenous music 21 her researchers who used this participatory approach—“… far from circumventing power, participatory approaches (even when done ‘properly’/deeply) are themselves forms of power which differs little from other externally imposed forms of research (cooke and koltari, 2001, kesby, kindle and pain, 2007, p. 19). therefore, as long as there is no mutual understanding on the reasons and purposes for the advocacy projects through development of trust, it will be difficult to achieve success. secondly, we discovered that co-creation of new jenulak between musicians of different musical training would require a compositional method that negotiates western music composition techniques with the oral tradition of creating music. this co-creation needs to be carefully planned through a discussion with the semai community on compositional concept, style, form and others. the research team should also involve a composer who understands the needs of co-creation and who is open to experimenting with a different method in creating new music. currently, there is very little work conducted in this area of applied ethnomusicology. lastly, the most important component to achieving some level of success in this project lies in the reasons behind the research team’s intention to conduct this project. advocacy projects require lengthy periods of dialogue with semai and other indigenous people and can be a lifetime project. it would require much commitment and dedicated involvement. a fulltime job comprising teaching, researching, publishing and consulting already requires tremendous commitment. therefore, the research team must re-evaluate their aims toward this project before attempting to further pursue their own recommendations. references antares. 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(2002). action research: unfulfilled promises and unmet challenges. concepts and transformation, 7(2), 117-139. hd black rv. (2019, september 16). battle of the band finale, g-lost band—hari orang asal 2019 [video]. youtube. retrieved from https://www.youtube.com/watch?v=c7i4--t1yku irawati, e. (2019). a transmission of kêlèntangan music among the dayak bênuaq of east kalimantan in indonesia. malaysian journal of music, 8, 108-121. kesby, m., kindon, s., & pain, r. (2007). participatory action research: origins, approaches and methods. in s. kindon, r. pain, & m. kesby, participatory action research: connecting people, participation and place. routledge. mcintyre, a. (2008). participatory action research. sage publications. mohd jalaludin, n. (2003). akar umbi (songs of the dragon). wacana seni: journal of arts discourse, 2, 155-159. mohd jalaludin, n. & abdullah, m. h. (2020). perubahan dalam ritual siwang kumpulan bah lut, kampung bukit terang, kampar, perak, kemanusiaan, 27 (1), 25-43. nettl, b. (1983). the study of ethnomusicology: thirty-one issues and concepts (new edition). university of ilinois press. nicholas, c. , chopil, t. y., & sabak, t. (2010). orang asli women and the forest the impact of resource depletion on gender relations among the semai. center for orang asli concerns. pettan, s. , & titon, j. t. (eds.). (2019). the oxford handbook of applied ethnomusoicology. oxford university press. phattanaphraiwan, s., & fairfield, b. (2019). the instrument as instrumental: pgaz k’nyau bamboo musicking and karen eco-friendliness. malaysian journal of music, 8, 68-85. schippers, h., & grant, c. (eds.). (2016). sustainable futures for music cultures: an ecological perspective. oxford university press. summit, j. a. (2015). advocacy and the ethnomusicologist: assessing capacity, developing initiatives, setting limits, and making sustainable contributions. in s. pettan, & j. t. titon (eds.), the oxford handbook of applied ethnomusicology. oxford university press. tan, s. b. (2005). akar umbi songs of the dragon, indigenous identity and temuan rights to the forest. retrieved from https://aliran.com/archives/monthly/2005a/5g.html tan, s. b. (2014). modernizing songs of the forest: indigenous communities negotiate tensions of change in malaysia. in b. barendregt (ed). sonic modernities in the malay world: a history of popular music, social distinction and novel lifestyles (1930s-2000s). brill. tan, s. b. (2019). cultural engagement and ownership through participatory approaches in applied ethnomusicology. in s. pettan, & j. t. titon, the oxford handbook of applied ethnomusicology. oxford university press. vol. 8 no.2 mei-agustus 2007.pdf harmonia jurnal pengetahuan dan pemikiran seni kemampuan guru sd/mi dalam menterjemahkan mata felajaran (sbk) seni budaya dan kerajinan (the ability of elementary school teacher in translating art culture and craft subject) hartono staf pengajar jurusan sendratasik, fakultas bahasa dan seni, unioersitas negeri semarang abstrak konsep pendidikan seni berbasis kompetensi untuk sd/mi, telah diaktualisasikan dalam bentuk desain kurikulum pendidikan seni sd/mi dan telah diterbitkan oleh pusat kurikulum badan penelitian dan pengembangan departemen pendidikan nasional. harapan yang sangat besar dengan dimunculkannya kurikulum tersebut. selanjutnya dengan dimunculkannya kurikulum tingkat satuan pendidikan pada mata pelajaran seni budaya dan kerajinan ini dipandang perlu untuk mengetahui sejauh mana kemungkinan optimalisasi penerapannya dalam pembelajaran seni di sd/mi yang dapat mendorong creative thinking siswa, member! bekal life-skills kepada siswa, dan menciptakan suasana belajar siswa yang menyenangkan (jayfull learning) dengan memperhatikan kemampuan guru dalam menterjemahkan isi kurikulum berbasis kompetensi mata pelajaran (sbk) seni budaya dan kerajinan. kata kunci: ktsp, sbk, konsep mata pelajaran seni latar belakang beberapa kajian terdahulu telah menemukan bahwa apabila anak jarang disentuh, perkembangan otaknya 20-30% lebih kecil dari ukuran normal anak seusianya (depdiknas 2002). hasil penelitian sinaga (1999) menunjukkan bahwa kemampuan anak dalam belajar menyanyi sangat mendukung pada kemampuan berbahasa anak serta peningkatan keterampilan motorik anak dengan bimbingan dan demontrasi peragaan guru. hasil penelitian lain juga menemukan bahwa anak yang memiliki kesenangan berseni lebih ceria dan mudah bergaul. dalam sebuah tinjauan komprehensif teirhadap ratusan studi yang berbasis empiris antara 1972 dan 1992, tiga pendidik yang berasosiasi dengan future of music project menemukan bahwa pelajaran musik membantu membaca, bahasa (termasuk bahasa asing), matematika dan prestasi akademis keseluruhan. para peneliti juga menemukan bahwa musik dapat meningkatkan kreatih'tas, memperbaiki kepercayaan diri murid, mengembangkan keterampilan sosial, dan menaikkan per kembangan keterampilan motorik persepsi dan perkembangan psikomotor (compbell, 2001:220). kurangnya pemahaman sebagian besar guru terhadap seni, di antaranya mencakupi pengetahuan, wawasan, konsep, pemikiran, vol viii no.2 / mei agustus 2007 100 harmoni a jurn al pengetahuan dan pemikiran sen! penyusunan kurikulum seni, menentukan dan memilih materi pengajaran kesenian; sehingga sangat mempengaruhi anak didik dalam persepsi dan apresiasi seninya. hal ini diperparah lagi dengan sekolah sebagai lembaga atau organisasi sosial; serta lingkungan, baik lingkungan keluarga, teman sebaya dan masyarakat yang kurang mendukung terciptanya pern belajaran seni.. pelaksanaan pembelajaran seni, khususnya di sd/mi masih menggunakan pendekatan subjectcentered curriculum. tidak jelas, kompetensi apa yang harus dicapai oleh peserta didik setelah mereka mengikuti serentetan pelajaran tersebut. tidak jelas pula artikulasi isi mata pelajaran antara jenis dan jenjang pendidikan, sehingga sering dijumpai ucapan yang terlontar dari pendidik yang penting kegiatan pembelajaran seni ada sehingga terjadi pengulangan-pengulangan pelajaran sebelumnya. link and match lemah, sehingga terjadi pemborosan (slamet, 2001: 3). karena kurangnya pemahaman para pendidik terhadap seni lebih khusus lagi tentang pendidikan seni, sehingga pe laksanaan pembelajaran seni ke hilangan kelenturannya untuk disesuaikan dengan keadaan lingkungan setempat yang ber interaksi dengan anak-anak serta pula dengan kebutuhan batin mereka (garha, 1995:4). pendidikan seni dengan pendekatan kompetensi merupakan suatu alternatif solusi dan antisipasi pada persaingan global yang kompetitif. pendidikan berbasis kompetensi adalah pendidikan yang menitikberatkan pada penguasaan kemampuan atau kompetensi untuk mengerjakan atau melakukan sesuatu (ability to do something). tentu untuk bisa mengerjakan sesuatu yang dimaksud, diperlukan penguasaan pengetahuan, keterampilan, dan sikap yang dipersyaratkan untuk mengerjakan sesuatu tersebut. misalnya untuk bisa menari, diperlukan penguasaan kompetensi yang terdiri atas pengetahuan, keterampilan, dan sikap terhadap tari, atau untuk bisa melukis, diperlukan pengetahuan, keterampilan dan sikap untuk melukis. pendeknya, untuk dapat melakukan pekerjaan-pekerjaan seni rupa, musik, tari, teater dan sastra, diperlukan kompetensi yang mencakup aspek-aspek kognitii, psikomotor dan afektif (slamet, 2001:4). dalam kaitannya dengan pendidikan seni, nursito (2000:9-11) menyatakan bahwa permasalahan rendahnya pengembangan kreati vitas siswa lebih banyak disebabkan oleh ketidakmampuan guru dalam mengembangkan kreativitas siswa. keadaan ini lebih diperburuk dengan kekurang mantapan keterampilan dalam berkarya seni dan rninimnya wawasan guru terhadap materi, tujuan dan hakikat pendidikan seni, serta kurangnya sarana yang ada di sekolah. kelemahan ini seringkali menyebabkan peiigambilan keputusan keputusan kurikuler atau kependidikan menjadi kurang tepat. pendidikan, menurut djohar (1999), seharusnya mampu meng intervensi anak ke arah perubahan integral mereka, yakni bertambah pengetahuan dan kemampuannya dalam memandang dan memecahkan masalah, wawasan dan kemampuan sosialnya, kemampuan untuk me-ngendalikan emosi, serta ber kembang moralnya. semakin tinggi jenjang pendidikannya, seharusnya menja-dikan anak semakin terdidik, semakin berilmu dan berpengetahu an, serta semakin kreatif dalam menghadapi setiap problema. oleh karena itu, maka . diperlukan upaya untuk memandirikan peserta didik untuk belajar, berkolaborasi, membatu teman, mengadakan pengamatan, dan penilaian diri untuk suatu refleksi, yang semua itu akan mendorong anak untuk memvol viii no.2 / mei agustus 2007 101 harmonia jurnal pengetahuan dan pemikiran seni dan penilaian diri untuk suatu refleksi, yang semua itu akan mendorong anak untuk membangun pengetahuannya sendiri. dengan demikian akan diperoleh pandangan baru melalui pengalaman langsung secara lebih efektif. dalam hal ini, peran utama guru adalah sebagai fasilitator belajar. berkaitan dengan hal tersebut pendidikan seni yang juga member! kontribusi sangat besar dalam pembentukan manusia indonesia seutuhnya, perlu meperumuskan tujuan pendidikan seni yang lebih matang. tujuan pendidikan seni berbasis kompetensi adalah salah satu alternatif untuk: (1) mendekatkan pendidikan seni dan dunia kerja seni; (2) menjamin adanya common basis pendidikan seni; (3) memfokuskan pada hasil dan proses sekaligus; (4) mengenalkan pembelajaran yang luwes; (5) mengakui pembelajaran sebelumnya; dan (6) menjamin adanya multiple entry and exit (slamet, 2001: 4). konsep pendidikan seni berbasis kompetensi untuk sd/mi, telah diaktualisasikan dalam bentuk desain kurikulum pendidikan seni sd/mi dan telah diterbitkan oleh pusat kurikulum badan penelitian dan pengembangan departemen pendidikan nasional. tentunya kita menyambut baik dan menaruh harapan yang sangat besar dengan dimuncuikannya kurikulum tersebut. selanjutnya dengan dimunculkannya kurikulum berbasis kompetensi ini dipandang perlu untuk mengetahui sejauh mana kemungkinan optimalisasi pene-rapannya dalam pembelajaran seni. oleh karena itu melalui penelitian ini, peneliti akan mengkaji secara lebih mendalam berkenaan guru sebagai pelaksana kurikulum, lebih khusus lagi cara pandang guru sd/mi terhadap mata pelajaran sbk (seni budaya dan kerajinan) dengan memperhatikan kemampuan guru dalam menterjemahkan isi kuruikulum berbasis kompetensi pembelajaran seni. metode penelitian metode penelitian yang digunakan dengan pendekatan reaearch and development menurut borg dan gall (1983:775-776). sumber data (1) nara sumber, yakni orangorang yang kerkompeten atau terlibat secara langsung maupun tidak langsung dalam proses pembelajaran seni, (2) proses pembelajaran seni. pengumpulan data dilakukan dengan angket, pengamatan, dan wawancara. populasi penelitian ini adalah anak dan para guru sd/mi. sampel penelitian dengan menentukan tiga wilayah yang dapat mewakili kehidupan di jawa tengah. (1) wilayah perkotaan (2) wilayah industri/kerajinan, dan (3) wilayah yang jauh dari kota propinsi mupun kota kabupaten. objek penelitian kegiatan belajar mengajar seni dan lingkungan alam sekitar sekolah. subjek penelitian guru dan anakanak sd/mi. analisis data dalam penelitian ini dilakukan dengan menggunakan metode analisis deskriptif-kualitatif. hasil penelitian a. mata pelajaran seni sekolah dasar (sd) dan madrasah ibtidaiyah (mi) mata pelajaran seni untuk sekolah dasar (sd) dan madrasah ibtidaiyah (mi) masuk dalam mata pelajaran seni budaya dan keterampilan. seni budaya dan keterampilan tidak hanya terdapat dalam satu mata pelajaran karena budaya meliputi segala aspek kehidupan. maka, mata pelajaran seni budaya dan keterampilan pada dasarnya merupakan pendidikan seni yang berbasis budaya. pendidikan seni budaya dan keterampilan diberikan di sekolah karena keunikan, kebermaknaan, dan kebermanfaatan terhadap kebutuhan perkembangan peserta didik, yang terletak pada pemberian' vol viii no.2 / met agustus 2007 102 103 harmoni a jurnal pengetahuan dan pemjkiran seni berapresiasi melalui pendekatan: "belaiar dengan seni," "belajar melalui seni" dan "belajar tentang seni." peran ini tidak dapat diberikan oleh mata pelajaran lain (ktspsd/mi2006). harapannya dalam pendidikan seni budaya dan keterampilan memiliki peranan dalam pem-bentukan pribadi peserta didik yang harmonis dengan mem perhatikan kebutuhan per kemba ngan anak dalam mencapai multikecerdasan yang terdiri atas kecerdasan intrapersonal, interperso nal, visual spasial, musikal, linguistik, logik matematik, naturalis serta kecerdasan adversitas, kecerdasan kreativitas, kecerdasan spiritual dan moral, dan kecerdasan emosional (ktsp sd/mi2006). mata pelajaran seni budaya dan keterampilan terdiri dari : bidang seni rupa, musik, tari, dan keterampilan. bidang-bidang seni tersebut memiliki kekhasan tersendiri sesuai dengan kaidah keilmuan masing-masing. dalam pendidikan seni dan keterampilan, aktivitas berkesenian harus menampung kekhasan tersebut yang tertuang dalam pemberian pengalaman mengembangkan konsepsi, apresiasi, dan kreasi. semua ini diperoleh melalui upaya eksplorasi elemen, prinsip, proses, dan teknik berkarya dalam konteks budaya masyarakat yang beragam. b. tujuan dan ruang lingkup mata pelajaran seni dimasukkannya mata pelajaran seni budaya dan keterampilan bertujuan agar peserta didik memiliki kemampuan: (1) memahami konsep dan pentingnya seni budaya dan keterampilan, (2) menampilkan sikap apresiasi terhadap seni budaya dan keterampilan, (3) menampilkan kreativitas melalui seni budaya dan keterampilan, .(4) menampilkan peran serta dalam seni budaya dan keterampilan dalam tingkat lokal, regional, maupun global. ruang lingkup mata pelajaran seni budaya dan keterampilan meliputi aspek-aspek sebagai berikut. 1. seni rupa, mencakup pengetahu an, keterampilan, dan nuai dalam menghasilkan karya seni berupa lukisan, patung, ukiran, cetakmencetak, dan sebagainya 2. seni musik, mencakup kemampu an untuk menguasai olah vokal, memainkan alat musik, apresiasi karya musik 3. seni tari, mencakup keterampilan gerak berdasarkan olah tubuh dengan dan tanpa rangsangan bunyi, apresiasi terhadap gerak tari 4. seni drama, mencakup ke terampilan pementasan dengan memadukan seni musik, seni tari dan peran 5. keterampilan, mencakup segala aspek kecakapan hidup (life skills ) yang . meliputi keterampilan personal, keterampilan sosial, keterampilan vokasional dan keterampilan akademik. di jelaskan dalam latar belakang ktsp sd/mi bahwa keempat bidang seni yang ditawarkan, minimal diajarkan satu bidang seni sesuai dengan kemampuan sumberdaya manusia serta fasilitas yang tersedia. pada sekolah yang mampu menyelenggara kan pembelajaran lebih dari satu bidang seni, peserta didik diberi kesempatan untuk memilih bidang seni yang akan diikutinya. pada tingkat sd/mi, mata pelajaran keterampilan ditekankan pada ke terampilan vokasional, khusus kerajinan tangan. sedang arah pengembangan mata pelajaran seni budaya dan keterampilan yaitu dengan adanya standar kompetensi dan kompetensi dasar menjadi arah dan landasan untuk mengembang kan mated pokok, kegiatan pembelajaran, dan indikator pen capaian kompetensi untuk penilaian. dalam merancang kegia tan pem belajaran dan penilaian vol viii no.2 / mei agustus 2007 109 harmonia jurnal pengetahuan dan pemikiranseni penilaian. dalam merancang kegiatan pembelajaran dan penilaian perlu memperhatikan standar proses dan standar penilaian. c. kemampuan guru dalam menterjemahkan isi kurikulum berbasis kompetensi bidangseni setiap guru sd/mi harus memahami betul standar kompetensi dan kompetensi dasar setiap mata pelajaran yang akan diajarkan termasuk mata pelajaran sbk. dari standar kompetensi dan kompetensi dasar ini kemudian dijabarkan dalam satu semesteran. satu semester guru menentukan berapa minggu efektif, dari minggu efektif ini kemudian dijadikan berapa jumlah jam, yang akhirnya diketemukan dalam harian. sedang setiap hari jam pelajaran 60 menit. salah satu bentuk penterjemahan kts mata pelajaran seni di sekolah dasar (sd) dan madrasah ibtidaiyah (mi) masuk dalam mata pelajaran seni budaya dan keterampilan. mata pelajaran seni budaya dan keterampilan terdiri dari : bidang seni rupa, musik, tan, dan keterampilan. dalam pendidikan seni dan keterampilan, tertuang dalam pemberian pengalaman mengembangkan konsepsi, apresiasi, dan kreasi. melalui eksplorasi elemen, prinsip, proses, dan teknik berkarya. mata pelajaran seni budaya dan keterampilan bertujuan agar peserta didik memiliki kemampuan: (1) memahami konsep dan pentingnya seni budaya dan keterampilan, (2) menampilkan sikap apresiasi terhadap seni budaya dan keterampilan, (3) menampilkan kreativitas melalui seni budaya dan keterampilan, (4) menampilkan peran serta dalam seni budaya dan keterampilan dalam tingkat lokal, regional, maupun global. ruang lingkup mata pelajaran seni budaya dan keterampilan meliputi aspekaspek seni rupa, musik, tari, drama, keempat bidang seni yang ditawarkan, minimal diajarkan satu bidang seni sesuai dengan kemampuan sumberdaya manusia serta fasilitas yang tersedia. sekolah yang mampu menyelenggarakan pembelajaran lebih dari satu bidang seni, peserta didik diberi kesempatan untuk memilih bidang seni yang akan diikutinya. pada tingkat sd/mi, mata pelajaran keterampilan ditekankan pada keterampilan vokasional, khusus kerajinan tangan. sedang arah pengembangan mata pelajaran seni budaya dan keterampilan yaitu dengan adanya standar kompetensi dan kompetensi dasar menjadi arah dan landasan untuk mengembangkan materi pokok, kegiatan pembelajaran, dan indicator pencapaian kompetensi untuk penilaian. dalam merancang kegiatan pembelajaran dan penilaian perlu memperhatikan standar proses dan standar penilaian. setiap guru sd/mi harus memahami betul standar kompetensi dan kompetensi dasar setiap mata pelajaran yang akan diajarkan termasuk mata pelajaran sbk. dari standar kompetensi dan kompetensi dasar ini kemudian dijabarkan dalam satu semesteran. satu semester guru menentukan berapa minggu efektif, dari minggu efektif ini kemudian dijadikan berapa jumlah jam, yang akhirnya diketemukan dalam harian. sedang setiap hari jam pelajaran 60 menit. salah satu bentuk penterjemahan ktspguru dari rancangan yang dibuat guru pada dasarnya dalam rangka untuk mencapai standar kompetensi lulusan, kemudian guru melakukan penyusunan silabi yang di dalamnya memuat standar kompetensi, kompetensi dasar, materi pokok, kegiatan belajar, alokasi waktu, dan terakhir menentukan sumber belajar. penutup dan saran untuk mata pelajaran sbkvol viii no.2 / mei agustus 2007 104 harmonia jurnal pengetahuan dan pemikiran semi satu arau dua pilihan.disesuaikan dengan kemampuan guru dan sarana prasarana yang tersedia di sekolah. berkaitan dengan hal tersebut bagi guru tidak terlalu dituntut untuk meningkatkan kemampuan bahkan kurang memberikan penekanan pada guru untuk lebih meningkatan pengetahuan, wawasan, dan keterampilan seninya. artikata lain apa yang di mtuki sebelumnya itulah yang diberikan. selain hal tersenut bagi siswa yang memiliki ke-mampuan seni yang berbeda dengan gurunya bakat seninya tidak dapat berkembang. dengan demikian ciri pembelajaran seni yang kreatif, ekspresif, dan estetis jauh dari harapan.saran-saran yang di ke mukakan adalah sebagai berikut: bagi guru sd/mi: (1) saat pertemuan kelompok kerja guru (kkg) baik tingkat gugus, kecamatan, maupun kabupaten dalam rangaka kegiatan me rumuskan mala pelajaran sbk hendaknya mendatangkan ahli dalam bidang pendidikan seni rupa, seni musik, seni tari, dan kerajinan. (2) upaya meningkatkan seni anak, a. hendaknya guru untuk lebih meningkatkan potensi seni yang dianggapnya paling dikuasai dan di senangi. b. meminta bantuan pada guru lain yang lebih menguasai pada bidang seni tertentu untuk mengajar. c. memberikan dorongan pada anak agar lebih semangat dan giat dalam berseni. (3) pembelajaran seni untuk lebih memaksimalkan dalam memanfaatkan potensi alam sekitar sangat diperlukan teknik/ metode dalam penyampaian. (4) evaluasi hendaknya dilakukan dengan lebih mempertimbangkan proses dari pada hasu. bagi kepala sekolah sd/mi (1) kegiatan seni hendaknya dilakukan sebagaimana yang diamanaatkan dalam ktsp, (2) perlu mendatangkan nara sumber untuk membahas. matapelajarn sbk. bagi dinas pendidikan baik dari tingkat kecamatan, kabupaten, propinsi, .dan pusat (1) sangat diperlukan pendalam bagi guru sd/mi berkaitan drngan ktsp pada mata pelajaran seni budaya, (2) diperlukan peningkatan wawasan, pengetahuan, dan apresiasi seni, (3) mata pelajaran sbk dimasukkan dalam ujian akhir nasional (uan) daftarpustaka compbell, don. ejek moart memanfaatkan kekuatan musik untuk mempertajam pijdr, meningkatkan kreativitas, dan menyehatkan tubuh. jakarta: gramedia putaka utama. 2001. depdiknas. kurikuum berbasis kompetensi mata pelajaran pendidikan seni sekolah dasar. jakarta: depdiknas, 2001. depdiknas. kurikuum berbasis kompetensi mata pelajaran pendidikan seni sekolah dasar. jakarta: depdiknas, 2001. die w dan caarey, l. the systematic desig of intruction. glen-view. scoot, foresman and company. 1985. djohar, ms. "menuju otonomi pendidikan", makalah. mencari paradikma baru sistem pendidikan nasional, menghadapi milenium ketiga. yogyakarta: bpi1999. garha, oho. corak pendidikan seni indonesia, dalam warta sdenta, edisi khusus, januari 1990. garha, oho, "mata pelajaran menggambar dan pelaksanaannya di sekolah dasar", makalah seminar nasional konsep dan implementasi pendidikan, dalam rangka lustrum vi ikip semarang, semarang, 7 april 1995. kasbulah, kasihani, penelitian tindakan kelas, depdikbud, direktorat jenderal pendidikan tinggi, jakarta, 1999. 105 harmonia jurnal pengetahuan dan pemikiran seni kasbulah, kasihani, penelitian tindakan kelas, depdikbud, direktorat jenderal pendidikan tinggi, jakarta, 1999. mamannoor, "mencari orientasi pendidikan seni rupa di indonesia", makalah seminar nasional konsep dan implementasi pendidikan, dalam rangka lustrum vi ikip semarang, semarang, 7 april 1995. milles dan huberman. analisis data kualitatif, terj'emahan tjetjep rohendi rohidi. jakarta : universitas indonesia press. munandar, s.c. utami, mengembangkan bakat dan kreativitas anak sekolah, gramedia, jakarta, 1987. nopirin. "organisasi universittas" makalah seminaar nasional manajemen pendidikan tinggi. yogyakarta : universitas gajah mada, 1999. nursito, kiat menggali kreativitas, mitra gama widya, 2000. priyono, andreas, "prosedur pelaksanaan penelitian tindakan kelas", makalah seminar action research, semarang, 1999. rohidi, t.r., "pendidikan seni rupa sebagai pengembangan potensi dan pelestarian nilainilai estetik", makalah, semarang, 26 september 1992. rohidi, t.r., "pendekatan sistem budaya dalam penelitian seni dan pendidikan seni (sapuan kuas besar dalam kerangka ilmu sosial)", makalah seminar nasional pendekatan-pendekatan dalam penelitian seni dan pendidikan seni, dalam rangka dies natalis xxix ikip semarang, semarang, tanggal 11 april 1994. rohidi, t.r., pendekatan sistem sosial budaya dalam pendidikan, ikip semarang press, semarang, 1993. rohidi, t. r., "fungsi seni dan pendidikan serta implikasinya dalam pengembangan kebudayaan", makalah dalam penlok pengembangan bahan ajar pendidikan seni rupa. 1416 april, 1999. rohidi, t. r., kesenian dalam pendekatan kebudayaan, stsi bandung, bandung, 2000. semiawan, conny. 2001. "pendidikan guru di masa yang akan datang", makalah reformasi pendidikan nasional, yogyakarta, 16-17 maret 2001. slamet ph., "model pengembangan kurikulum pendidikan seni", makalah lokakarya dan seminar nasional pendidikan seni, jakarta, 18-20 april 2001. sudarso, buku petunjuk metode mengajar seni rupa di sekolah dasar, proyek pkmm, yogyakarta, 1972. sunaryo, aryo, "peranan guru pendidikan seni rupa yang berkualitas dalam pendidikan", makalah pada seminar dan pameran seni lukis sanggar budaya kab. tegal, 1315 november 1992. suwarsih, madya. "mencari paradigma baru sistem pendidikan nasional menghadapi milenium ketiga", makalah seminar pendidikan nasional, yogyakarta, 1999. usman. kompetensi guru. semarang : ikip semarang press. uu ri nomor 2 tahun 1989, sistem pendidikan nasional, media wiyata, semarang. vol viii no.2 / mei agustus 2007 106 harmonia vol vii no 3 2006.pdf harmonia jurnal pengetahuan dan pemikiran seni vol. vii no 3 / september – desember 2006 !"#!$%#"&'!(%)"$*+"$!%,"#"$-!$%."#-#-/%0%,!1-!$%2$3"/!4#5-+&*6-4%!$3!/!%."+!-$%7!$%."$*$3*$ !"#$"%&'"'()#%*+#%*%'*,'-#".)'/01$ 2''/'31456'*,'36+7*89.':%1#0".19*%'7#1;##% '<)#'(8"6#0$'"%5'/459#%.#$= 8$9%,'#'+!#3'3staf pengajar jurusan sendratasik fbs unnes abstrak laesan adalah salah satu kesenian tradisional kerakyatan masyarakat pasisir desa bajomulyo, kecamatan juwana, kabupaten pati, jawa tengah, dengan fenomena trance yang merupakan bagian paling pokok dalam kesenian itu. masalah dalam penelitin ini adalah (1) bagaimanakah bentuk penyajian kesenian laesan ? (2) bagaimanakah proses terjadinya interaksi simbolik antara pemain dan penonton? (3) simbol-simbol apakah yang dapat membentuk terjadinya proses interaksi simbolik antara pemain dan penonton? tujuan penelitian ini adalah untuk mengetahui, memahami dan menjelaskan : (1) bentuk kesenian laesan, (2) proses terjadinya interaksi simbolik antara pemain dan penonton, (3) simbol-simbol yang ada dan digunakan untuk membentuk interaksi simbolik antara pemain dan penonton.teknik pengumpulan data yang digunakan adalah teknik observasi partisipan, wawancara dan studi dokumentasi. analisis data dilakukan dengan cara mereduksi, mengklarifikasi, mendiskripsikan, menyimpulkan dan mengiterpretasikan semua informasi secara selektif. teknik pemeriksaan data menggunakan dependabilitas dan konfirmabilitas. hasil penelitian menunjukkan bahwa laesan mempunyai bentuk penyajian yang meliputi (a) tiga bagian penyajian yaitu awal pertunjukan, inti pertunjukan, akhir pertunjukan, (b) unsur-unsur perlengkapan pentas; (c) iringan; (d) rias dan busana; (e) gerak tari representasional dan non representasional. proses interaksi simbolik terjadi pada setiap bagian pertunjukan. simbol-simbol yang membentuk proses interaksi simbolik meliputi dupa, sesaji, nyanyian pengiring, makna trance dalam laesan. kata kunci : laesan, interaksi simbolik, simbol, trance :;%."$7!('6'!$ !"!#$%#& '%!"%#& %(%)%*& +!"!#$%# ,-%($"$.#%)& /%"0%-%+%,& (!"%& 1%2./3)0. 0%#4&/3#53)&"!6%4%$&3#4+%7%#&-%"%&,!-$/% +%"$*&+!7%(%&&-.*&#!#!+&/.0%#4&7!#43%"% )%3,&0%#4&,!)%*&/!/6!-$+%#&*%"$)&)%3,&0%#4 /!)$/7%*8& !"!#$%#& '%!"%#& $#$& /!/$)$+$ +!3#$+%#&,!-"!#($-$9&0%$,3&%(%#0%&7!/!-%# )%+$:)%+$& "!6%4%$& /!($%& /%"3+#0%& -.* #!#!+& /.0%#4& 0%#4& ($"!63,& 6$(%(%-$9 "!*$#44%&,!-2%($)%* 10"%.#8&;$&(%)%/&%(!4%# 10"%.#& $#$)%*9& /3#53)& "$/6.):"$/6.)& 0%#4 ,!-"$-%,&(%)%/&7!-,3#23+%#&'%!"%#8&<$/6.): "$/6.)& $#$& ,%/7%+& 7%(%& "!,$%7& "0%$-& 0%#4 /!#4%#(3#4& /%#,-%& 3#,3+& /!#4$-$#4$ "!,$%7& %(!4%# 10"%.#9& "!"%2$9& 4!-%+:4!-%+ 7!)%+3& ,%-$#0%9& "%/7%$& (!#4%#& "!4%)% 7!-)!#4+%7%#& 7!-,3#23+%#8& & <$/6.):"$/6.) $#$& 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besar islam, tasyakuran, walimatul urusy, walimatul khitan, walimatul hamli, maupun perayaan yang lain. bentuk penampilan kesenian rabana dapat dikategorikan dalam bentuk tradisional maupun modern. perbedaan rebana tradisi terletak pada peralatan musik yang digunakan yaitu berupa alat musik terbang dan lagu-lagu yang dibawakan umumnya diambil dari kitab albarjanzi, kitab dziba, kitab simbud durror, dan kitab kuning lainnya, sementara rebana modern terdapat penambahan peralatan musik yang bertangga nada diatonis seperti key board dalam mengiringi lagu-lagu mulai dari musik pop, musik dangsut, musik campur sari dan lainya, dengan menggunakan teks lagu dengan bahasa arab, bahasa jawa, dan bahasa indonesia yang semuanya menggunakan seperangkat alat musik rebana sebagai rirngan lagu. bentuk penampilan rebana tradisional maupun modern, masing-masing mempunyai wilayahnya sendiri-sendiri yang menjadi cirikhas dari daerahnya seperti salafudin pekalongan, semarangan, dan demak. !"!#$%&'() 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/%,0!(#%^%(&)!,$/$%#7&0!(,%$#+%3d4 !,-)$%#& $%& 0!(,%$#+%34& h%+k0-& i%/%(& ,%"-/7& 2%)$"& $'-.-# '!(-"&0!(,%$#7&/!,-)$%#&n",%# ,%"-/7& 2%)$"& $'-& '!(-"& 0!(,%$#4 k/3$(#1%&n,%(&,%"-/7&,%/%& $% ,!,%"-//%#& (!0%#%& $'-& )$ 0%8%3& .$#22-+#1%7& +%+)$)-)-/$#1%4& f%/%& 0!(/%'% g%"-++-+%3&"4%48&d&i%38%&"1%$'%# $'-& "-#22-3& '%/-'& .%)%,-7& 3%$ n,%(d4 x$($8%1%'/%#& d0#-& f%e%3& )%($ k#%"& 0$#& f%+$/7& 0%38%& [%0$& =4k4] 0!(+%+-& <0!(e%+%#6e%+%#c& )$& "!0%2$%#& /*'% f%)$#%34&;$0%6'$0%& <'!(+$3%'&*+!3&0!+$%-c "!(*,0*#2%#& 2%)$"& 1%#2& "!)%#2 0!(,%$#& (!0%#%& )%#& 0!(#1%#1$7& )!#2%# ,!#2-5%./%# /j)k&-4& %,$& $#$& 2%)$"6 2%)$"& 0%#$& [%ee%(7& %+%#2/%3& 0%$/#1% f-3%,,%)& "!0%2%$& bl)-d& <e$(%#c4& h%+g%"-++-+%3& 0!(/%'%>& bk++%3& '%3-& 0%38% k/-& "%1%#2& /!.%)%& /%+$%#& "!,-%d4 <l%^%+0%>&?@uuv?q@c e. bentuk penampilan rebana kelompok pemain rebana di pantura pada umumnya terdiri dari orang dewasa dan muda-mudi yang terpisah antara laki-laki dan perempuan dengan mengambil kiblat pada versi atau gaya harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 3 / september – desember 2006 salaffuddin pekalongan, versi semarangan dan versi demak. h%'%(& 0!+%/%#2& /!"!#$%#& (!0%#% 1%#2& %)%& )%#& 0!(/!,0%#2& )$& ,%"1%(%/%' .!#)-/-#2#1%& )$& "%,.$#2 ,!#2!,0%#2/%#& /!6'$2%& j!("$7& %)%& .-+% 1%#2& ,!#22%0-#2/%#& )-%& j!("$& 0%3/%# )!,$& -#'-/& ,!,!#-3$& .!(,$#'%%#& .%"%(7 /%)%#2&,!#22%0-#2/%#&e-2%&)!#2%#&+%2-6 +%2-&1%#2&"!)%#2&.*.-+!(&)%#&0!(/!,0%#2 )$& ,%"1%(%/%'& +-%"7& 0%$/& +%2-& 1%#2 0!(#%p%"/%#& d"+%,& "!.!('$& =3*+%8%'%#7 :$)*(7& l%,0-"& %"$)%3&,%-.-#& +%2-6+%23$0-(%#& "!.!('$& +%2-& /%"$)%3& f*)!(#7 )%#2)-'7& 5%,.-("%($& ,%-.-#& '!,0%#2 e%8%4& x%($& -#"-(& ,-"$/*+*2$"#1%& 0!#'-/ .!#%,.$+%#& /!"!#$%#& $#$& '!(.%)-& %#'%( 0!0!(%.%&/-+'-(&0-)%1%&"!.!('$> @6 .-/("( '("&a,b7(3(1(" x%+%, :,'5);)%)#& 0$%"%#1% ,!#22-#%/%#&/$'%0&f%-+$)4&f%-+$)&0!(%('$ 8%/'-& %'%-& "%%'& /!+%3$(%#7& 1%$',!($8%1%'/%#& .!($"'$8%& )%#& /!e%)$%#6 /!e%)$%#& 1%#2& '!(e%)$& )$& "%%'6"%%'& %'%"!.-'%(& /!+%3$(%#& 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yang diadakan oleh warga yastrik (madinatul munawaroh) untuk menyambut dan menghormati bagi nabi yang disayanginya, muhammad rasullallah saw dan para pengikutnya. dengan kebahagiaan dan syukur para warga untuk mengunjungi maupun menjemput nabi muhammad dengan menyanyi kaside/qasidah yang mengandung makna sambutan, puji-pujian, dan penghormatan serta kekaguman yang mendalam kepada nabi dan pengikutpengikutnya yang senantiasa menyertai perjalanan-nya. x%+%,& .!#%,.$+%##1%& %"$)%3 i%(^%#e$& ,!,.-#1%$& !,.%'& 0%0%/4 i%0%/& /!6?4& h%2-& "*+*& )%#& +%2-& z% f%(3%0%#7& $#$& .!(#1%'%%#& -#'-/ ,!#1%,0-'&)%#&,!,-e$&0%2$&.%(%&'%,)!#2%#& 3%(%.%#& %/%#& ,!,.!(*+!3 /!+$,.%3%# -&>?&&<,%/,-(c&0%2$&"!,-% i%0%/& /!6b4& 9!(#1%'%%#& "1-/-( )%#& 3*(,%'& %'%"& '-#'-#%#& )%#& e%+%# 3$)-.& )%($& #%0$& /%(!#%& ,!,0-%' ,!(!/%& ,!(-0%3& *($!#'%"$& %2%,%#1% )%($& /!.!(5%1%%#& /-#*& ,!#-e-& %2%,% 0%(-& <d"+%,c49%)%& 0%0%/& $#$& )$'%#)%$ )!#2%#&+%2b#%)(:j)g/"i&j i%0%/&/!6a4&x!#2%#&/!2!,0$(%%# 1%#2& ,!,-#5%/& 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microsoft word harmonia_vol.6 no.2_mei_agustus 2005 harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 peran seni proses pembelajaran pendidikan luar sekolah (the role of art in the learning process in out of school educational) tri joko raharjo staf pengajar pada fakultas ilmu pendidikan, universitas negeri semarang abstrak peran seni dalam konteks pendidikan umum adalah membantu tujuan pendidikan dan menjadi metode pendekatan belajar dengan cara: belajar dengan seni artinya seni sebagai alat untuk memahami subjek matter, dari suatu mata pelajaran, belajar melalui seni artintya seni sebagai wahana atau media untuk menggali subject matter, dan belajar tentang seni yaitu seni sebagai materi ajaran, pendidikan luar sekolah (pls) adalah salah satu bentuk pembelajaran yang memiliki ruang lingkup dan sasaran yang berbeda dengan pembelajaran formal (persekolahan). sasaran yang dibidik dan yang menjadi warga belajae bukan anak-anak usia sekolah, melainkan para pemuda dan orang dewasa. dari sinilah urgensi peranan seni sebagai media dan alat pembelajaran diperlukan agar proses pembelajaran dapat mencapai tujuan. namun pencapaian tujuan pembelajaran sendiri sangat bergantung kepada kemampuan tutor dalam menguasai seni sebagai alat dan media untuk berkomunikasi, berinteraksi, dan mencapai materi kepada warga belajarnya. kata kunci: seni sebagai media dan alat, tutor pls, warga belajar. a. latar belakang seni dalam dunia pendidikan mempunyai peran yang sangat penting, yaitu sebagai: 1) kebutuhan dasar pendidikan manusia (basic experience in education), 2) memenuhi kebutuhan dasar estetika, 3) pengembangan sikap dan kepribadian, 4) determinan terhadap kecerdasan lainnya (holden, 1977; lansing, 1990; jazuli, 2005). implikasi dari peran strategir tersebut, kegiatan seni dalam pendidikan harus dirancang secara sistematis dan sistemik agar mampu mengimbangkan fungsi otak kiri dan otak kanan, meningkatkan produktivitas, membantu mengatasi kekerasan (pengendali diri), mendukung intelegensia lainnya, mempromosikan pembelajaran yang nikmat (juifull learning), memiliki peluang bisnis, mengajarkan budaya mendengar, melihat dan merasakan, serta mengembangkan apresiasi, kreasi dan toleransi (jazuli, 2005; bandingkan de porter dan mike hinarcki, 1999). bahkan jauh sebelumnya hebert read (1982) telah menegaskan tentang education through art yang menekankan naluri berolah seni bagi setiap orang dalam mengkomunikasikan dirinya. pembelajaran dengan seni pada dasarnya merupakan upaya untuk membelajarkan peserta didik dengan menggunakan seni sebagai media, seni sebagai alat dan senin sebagai materi ajaran. seni sebagai media (wahana) untuk mengharmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 gali subject matter melalui karya seni dari suatu konsep mata pelajaran, seperti belajar matematika menggunakan perlengkapan yang berbentuk yang bernilai dan berbenrk seni, se perti pemilihan model ataupun warna, agar terlihat estetik dan artistik. seni sebagai alat dalam arti untuk memahami subject matter dari suatu mata pelajaran tertentu. misalnya belajar anatomi manusia dengan cara mengupas fungsi dan struktur bentuk manusia sebagai ciptaan tuhan, meskipun meskipun bentuknya sama tetapi rupa berbeda-beda, namun tetap memiliki keindahan masing-masing. seni sebagai materi ajaran, yaitu menggali, memahami, mencipta dan mengekspresikan berbagai kosep dan prinsip seni dalam karya seni. konsep dan prinsip dalam seni tersebut bisa dimanfaatkan untuk menganalisis fenomena lain, seperti prinsip keutuhan, keharmonisan, (golberg, 1977; jazuli, 2001). strategi itu diharapkan agar peserta didik yang bersangkutan memperoleh pengetahuan dan pengalaman baru. pengetahuan dan pengalaman baru itu tidak harus selalu bersifat fungsional atau langsung bermanfaat dalam kehidupan nyata, melainkan lebih dari itu yaitu sebagai partetul graping (pergulatan terus menerus) dengan pengetahuan yang ada, artinya pergulatan tersebut dipahami sebagai pemikiran kritis dan rekonstruktif terhadap gagasan yang telah ada sebelumnya. oleh karena itu, bentuk kegiatan seni harus berupa penggalian experience dan experiment-exploration (jazuli, 2005). pembelajaran luar sekolah (pls) adalah salah satu bentuk pembelajaran yang menggunakan pendekat an dan strategi yang berbeda dari pembelajaran yang digunakan oleh pembelajaran formal (persekolahan). pls memiliki ruang lingkup dan sasaran yang berbeda dari pembelajaran formal. dalam proses pembelajaran diperlukan seni bagi tutornya, sebab sasaran yang didik dan yang menjadi peserrta didik (warga belajar) bukan anak-anak usia sekolah lagi, melainkan para pemuda dan orang dewasa. oleh karena itu dalam menghadapi warga belajar diperlukan pendekatan seni, terutama sebagai media dan alat pembelajaran agar proses pembelajarannya dapat berjalan secara baik dan dapat berhasil dengan tujuan orang dewasa belajar. (raharjo, 2004). berdasarkan wacana di atas, tulisan ini hendak memaparkan tentang peran senisebagai media dan alat da lam proses pembelajaran pada pendidikan luar sekolah (pls). b. seni sebagai alat media bagi tutor ada sekitar empat puluh ahli estetika berpendapat bahwa seni sebagai proses kreatif adalah suasana hati, dan jiwa. dari kesepakatan ini ada dua hal yang perlu dicatat, yaitu pertama, seni adalah ungkapan, komunikasi, gaya, strategi, kedua, seni ada lah jiwa, imajinasi, suasana hati yang diungkapkan (e.f. carrit dalam sachari, 1986). ungkapan dalam seni adalah ungkapan apa yang diketahui tentang perasaan manusia. pengeta huan tentang perasaan manusia inilah menjadi faktor penting untuk menyampaikan materi pembelajaran, agar proses belajar mengajar menjadi kondusif seperti pendapat lestari (1998: 11) yang menyatakan bahwa seni tari dapat membentuk budi pekerti luhur dan kedisiplinan. misalnya penyampai an materi penuh dengan kondisi riang, canda yang normatif diperlukan seni harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 tersendiri yaitu pemahaman tentang etika dan estetika mengajar, dan dengan mengajukan joke-joke yang segar sehingga warga belajar merada "kekerasan" dalam proses interaksi pembelajaran yang sedang berlang sung. menciptakan situasi pembelajar an seperti tersebut di atas tidak mudah dan tidak setiap tutor mampu melakukannya. oleh karena itu agar proses pembelajaran bagi orang dewasa berjalan sesuai dengan tujuan dan harapan semua warga belajar, maka diperlukan kemampuan seni pembelajaran yang dimiliki oleh tutor pls (sihombing, 1999). seni lain yang diperlukan dalam pewmbelajaran pls adalah seni mengajukan pertanyaan dan menjawab pertanyaan dari warga belajar. hal ini bagi tutor hendaknya dipahami bahwa mengajuikan pertanyaan kepada warga belajar diperlukan seni tertentu seperti intonasi, volume suara, dan gaya ba hasa serta bahasa atau simbol-simbol gerak anggota tubuh yang menarik, agar warga belajar tidak merasa diperlakukan seperti anak-anak seko lah dengan menyampaikan pertanyaan secara kaku, lugas dan memojokkan. dengan kata lain, perasaan warga belajar perlu diperhatikan dengan gaya (seni) penuh canda, cinta kasih dan penuh pengertian sehingga warga belajar mampu memahami pertanyaan tersebut tidak dengan merasa takut, malu, dan penuh keterpaksaan. demikian juga seni menjawab pertanyaan warga belajar, soorang tutor harus mampu menjawab pertanyaan warga belajar dengan seni yang penuh senyum, seni kebapakan/keibuan dan seni yang bisa menjadikan warga belajar tidak merasa ditutori dan tidak merasa menjadi orang bodoh, maka tutor hendaknya benar-benar memahami seni/gaya menjawab pertanyaan agar warga belajar tidak tersinggung dan patah semangat atas jawab yang disampaikan oleh para tutor. (iskandar, 1990). selain itu, penting bagi tutor adalah seni dalam memotivasi warga belajar dalam kelompok agar warga belajar tetap bersemangat dan merasa bahwa pembelajaran yang mereka lakukan adalah hal yang bermanfaat. untuk itu seorang tutor tidak boleh terlepas dari seni memberi motivasi warga belajarnya. dengan motivasi yang diberikan secara pelan dan pas sehingga para warga belajar merasa terbentuk jiwa dan nuraninya yang pada akhirnya para warga belajar benar-benar merasa terayomi dan terbimbing sehingga warga belajar akan dapat belajar dalam kegiatan kepls-an benar-benar karena kesadaran demi masa depan dirinya dan keluarganya (iskandar, 1992). kelangsungan progranm ke pls-an dapat berjalan secara baik dan sesuai dengan tujuan serta harapan warga belajar secara baik dan sesuai dengan tujuan serta harapan warga secara empiris banyak tergantung pada kemampuan tutor dalam menjalankan perannya dan penguasaan seni pembelajaran pada warga belajar pemuda dan orang dewasa maka keberhasilan program-program ke_pls-an akan sangat berkurang karena para tutor tidak paham seni dalam pembelajaran pls. oleh karena itu harapan tutor yang akan membimbing wqarga belajar pada program=program ke-pls-an harus memiliki jiwa seni dan interaksi pembelajaran pls ( sujana d, 1996). c. seni komunikasi tutor dalam interaksi pembelajaran harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 untuk memahami tugas dan fungsi seorang tutor mestinya para tutor mengerti benar peran mereka adalah fungsi sentral bagi warga belajarnya. hal ini membawa konsekuensi logis bahwa tutor harus memiliki sekurang-kurangnya dua faktor yang tidak dapat dilepaskan dari seorang tu tor dalam menciptakan "peristiwa pembelajaran". yaitu faktor eksternal dan internal. 1. faktor eksternal faktor eksternal terdiri atas seni pendekatan (contigrity), seni pengulang an (repetisi), seni penguatan (reinforcement), dan penampilan (performance). seni pendekatan, seorang tutor harus mampu mendekatkan diri de ngan kurikulum, hal ini penting untuk memahami apa yang harus diberikan kepada warga belajar, maka seseorang tutor harus tahu benar kurikulum yang memuat program yang akan disampaikan. kedekatan dengan kurikulum yang benar-benar oleh tutor diharap kan tutor memahami isi dan makna program yang disampaikan kepada warga belajar, sehingga akan terjadi komunikasi yang transasional antar tutor dan warga belajar. disamping dekat dengan kurikulum, tutor harus dekat dengan warga belajarnya, hal ini sangat penting dalam proses pembelajaran, tutor harus memahami latar belakang warga belajar, baik ekonominya maupun sosial budaya warga belajar, kemampuan warga belajar dan lain sebagainya yang terkait dengan keberadaan warga belajar yang diajar, tutor telah mampu melakukan kedekatan-kedekatan tersebut, maka dalam proses pembelajaran diharapkan akan menghasilkan apa yang diharapkan dari pembelajaran dan tutor dipastikan telah melakukan profesinya sebagaimana layaknya. (sujana, 2000). seni pengulangan, seorang tutor yang professional layaknya melaku kan pengulangan-pengulangan materi yang diberikan kepada warga belajarnya, apabila ada warga belajar mengalami kesulitan dalam menerima pembelajaran dari tutor. hal ini perlu dipahami semua tutor, sebab bagaimanapun juga dalam suatu kelompok kemampuan warga belajar tidaklah sama, oleh karena itu perlu adanya perlakuan yang khusus bagi mereka yang kurang mampu tersebut dengan mengadakan repetisi tutor yang menganggap bahwa warga belajar yang kesulitan tanpa diakomodir oleh tutor dituntut untuk lebih bersikap sabar, penuh pengertian dan kasih sayang, agar warga belajar tidak merasa takut rendah dki dan merasa kurang mampu dibandingkan dengan teman-teman nya. melakukan pengulangan adalah tugas tutor agar tujuan dalam proses pembelajaran dapat tercapai oleh semua pihak, paling tidak antara tutor dan warga belajar akan mendapatkan kepuasan karena apa yang diberikan kepada warga belajar dapat dipahami dimengerti oleh warga belajar. manakala semua tutor mampu melakukan pengulangan dengan baik dan penuh kesabaran dan cinta kasih dapat dipastikan bahwa hasil belajar akan lebih baik dan tutor merasa puas dan sudah melakukan hal yang profe ssional. seni penguatan (reinforcement). dalam proses pembelajaran di kelompok, tutor semestinya mampu melakukan reinforcement terhadap warga belajar yang dianggap mampu melakukan tugas-tugas yang diberikan oleh tutor secara sempurna/baik. untuk membangkitkan motivasi warga belaharmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 jar, maka tutor semestinya mampu membuat rangsangan/stimulus menggunakan alat pembelajaran yang bersifat normative. andaikan tutor terpaksa menghukum warga belajar semestinyalah tutor tersebut dalam menghukum harus mengandung nilainilai pembelajaran, agae akan tidak merasa tersinggung dan patah se mangat oleh tindakan tutor. pemahaman tutor terhadap alat pembelajaran yang bersifat normative harus dikuasai oleh semua tutor sebab hal ini merupakan dasar dan kekuatan tutor dalam melakukan reinforcement/ penguatan kembali terhadap warga belajarnya. sudah barang tentu bagi warga belajar yang mampu melaksanakan tugas dengan baik, tutor harus memberikan reaksi yang positif dan memberi "bimbingan" kepada warga belajar agar lebih termotivasi dan terangsang untuk lebih baik lagi. sebaliknya bagi warga belajar yang malas, kurang berhasil dalam belajar, sering "mbolos" dan sering tidak mengerjakan pekerjaan rumah dengan baik, mestinya mampu pula memberikan hukuman yang tetap mengandung nilai-nilai pembelajaran. dalam dunia pembelajaran tidak diperkenankan menghukum warga belajar disertai dengan rasa "gemes", rasa dendam, apalagio diwarnai rasa benci. tutor dalam melaksanakan reinforcement seyogyanya selalu mengedepankan rasa kasih sayang, cinta kasih terhadap warga belajarnya, dengan bermodalkan hal tersebut di atas diharapkan hasil pembelajaran akan tercapai secara optimal, dan tutor telah melakukan perannya sebagai pendidik yang professional dalam arti yang luas. seni penampilan (performance art). seorang tutor hendaknya paham betul akan penampilannya, karena tutor bekerja dihadapan warga belajar, maka setiap kali berhadapan dengan warga belajar harus selalu tampil menarik agar menjadi lebih percaya diri (pd), untuk tampil pd tentunya harus didukung oleh pemahamannya tentang gaya busana mulai dari model, pemilihan bahan sampai pada pemilihan warna, sehingga sni busana yang dipakainya tampak harmoni dan serasi, enak dipandang mata, yang dapat dimulai dari ujung kaki (pemakaian sepatu yang mengkilap) sampai pada penataan rambut yang sesuai. model busana yang dikenakan tidak bisa dianggap sepele, perlu pengetahuan khusus bagi para tutor, keserasian warna maupun aksesoris yang dipakai, seperti ikat pinggang, tempat hp jika ada, atau bollpoint yang terselip di saku baju, merupakan sesuatu yang tampak menempel di tubuh tutor, sehingga apabila hal tersebut diperhatikan akan membawa ke seni penampilan yang menarik, indah dan enak dipandang. 2. faktor internal faktor internal yang harus dimiliki oleh tutor dalam menciptakan peristiwa pembelajaran yang terdiri atas kemampuan intelektual (intellectual skill), seni informasi verbal, dan seni strategi cognity. a. kemamfuan intelektual kemampuan intelektual tutor dalam proses pembelajaran yang tidak dapat diabaikan adalah kemampuan penguasaan bahan atau kemampuan intelektual, disamping kemampuan menguasai bahan tutor dapat terlepas dari penguasaan keterampilan dan sikap yang dapat "ditularkan" atau ditransfer kepada warga belajar harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 dimana tutor itu memberikan pembelajaran. bisa dibayangkan apabila seorang tidak memiliki. pengetahuan, keterampilan dan sikap, cara penyampaian yang disertai gerakan-gerakan anggota tubuh, tangan, gerak bahu dalam penyampaian, yang merupakan lambang-lambang gerak yang menarik yang baik dalam arti yang luas, maka apa yang akan diberikan kepada warga belajarnya. pastikan tutor tersebut akan mengajarkan hal-hal yang kurang atau bahkan tidak normatif, dan tutor datang ke kelompok akan memberikan pembelajaran tetapi akan marah, cepat tersinggung, dan akan berbuat hal yang aneh-aneh. kemampuan tutor dalam hal menguasai pembelajaran merupakan faktor yang pokok dalam menciptakan proses pembelajaran, tutor tanpa pengetahuan akan mempengaruhi terjadinya peristiwa pembelajaran pada kelompok, jika hal itu terjadi maka dapat dipastikan bahwa hasil pembelajaran bagi warga belajar akan sangatlah minimal sekali. menguasai bahan ajar bagi tutor merupakan salah satu kewajiban yang harus dimiliki sesuai dengan tugas dan tanggung jawab sebagai tutor yang harus pula menguasai sepuluh kompetensi tutor. dengan menguasai bahan pelajaran seorang tutor sekurang-kurangnya telah perperan sebagaimana seharus nya. sudah barang tentu seperti telah disinggung di depan tidaklah cukup seorang tutor hanya menguasai bahan pelajaran saja, namun tutor tidak boleh terlepas dari kemampuan memiliki keterampilan. tutor yang professional dituntut memiliki keterampilan yang memadai dengan perkembangan jaman, sebab saat ini warga belajar menuntut adanya keterampilan yang dapat dijadikan sebagai suplemen dalam kahidupan di masa yang akan datang, oleh karenanya tutor tidak mengabaikan kemampuan keterampilan dalam proses pembelajaran (sujana,1991). disamping memiliki pengetahuan, keterampilan seorang tutor tidak dapat terlepas dari pemilihan sikap yang baik dalam arti yang luas. tutor merupakan seorang fasilitator bagi warga belajarnya, oleh karena itu tutor dituntut memiliki sikap yang dapat diteladani dan ditku oleh warga belajarnya, tanpa sikap yang dapat diteladani oleh warga belajarnya seperti sikap santun, ramah dan murah senyum kandungan dalam etika dan estetika, maka seorang tutor akan tampak berwibawa, dan berhasil dalam proses pembelajaran. seorang tutor mestinya bisa memberikan contoh yang baik, untuk itu tutor dituntut dapat bersikap baik, baik dalam tutur kata, baik dalam bertingkah laku, berpakaian dan baik dalam bergaul, sehingga sikap tutor dapat mewarnai kehidupan sehari-hari bagi warga belajarnya. jika hal ini yang terjadi pada warga belajar maka dapat dipastikan bahwa tutor telah berhasil dalam memberikan pembelajaran bagi warga belajarnya, dan pada akhirnya apa yang diharapkan dan proses pembelajaran akan tercapai secara optimal, dan hasil pembelajaran dapat dirasakan baik oleh warga belajar dan tutornya. b. seni informasi ferbal seorang tutor yang baik dan professional salah satunya dapat dilihat dari cara mengajar di depan kelompok dan menyampaikan materi secara lisan. tutor tidak dapatterlepas dari metode ceramah dalam memberikan materi kepada warga belajarnya, harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 untuk itu tutor dituntut untuk menguasai/ melakukan informasi verbal; secara gamblang dan jelas, artinya tutor harus mampu berbicara secara tegas, jelas, lugas, dan dapat dipahami apa yang disampaikan, baik bagi warga belajar yang duduk di depan maupun warga belajar yang duduk di meja belakang. tutor mestinya mampu menjelaskan materi secara lugas., didukung oleh olah vocal yang baik dari segi intonasi maupun volume suara yang jelas. kemampuan melakukan informasi verbal bagi warga belajar merupakan hal yang sangat penting dan menjadi salah satu faktor yang menentukan akan keberhasilan warga belajarnya. sebab bagaimanapun juga warga belajar memerlukan proses pembelajaran yang banyak diwarnai dengan informasi dari tutor. seorang tutor harus mampu melakukan berbicara/komunikasi secara jelas dan mengerti apa yang dikatakan oleh tutornya. kemampuan ngomong di depan kelompok secara lugas dan jelas menjadi tuntutan bagi tutor, artinya seorang tutor haras mempu sebagai nara sumber yang dapat menyam paikan materi secara lisan yang dapat didengar semua warga belajar yang ada dalam kelompok dimana tutor memberi pembelajaran. kemampuan berbicara di depan kelompok bagi tutor merupakan fak tor yang dapat mempengaruhi hasil belajar bagi warga belajar, oleh karena itu kemampuan melakukan informasi verbal bagi tutor menjadi sangatlah penting keberadaannya. dapat dibayangkan apa yang terjadi manakala seorang tutor tidak mampu melakukan informasi verbal saat tutor berada di depan kelompok, dan hasil belajar bagi warga belajar dapat diketahui hasil yang akan diperoleh, hasil belajar anak tidak akan optimal. c. seni strategi cognity faktor yang tidak kalah pentingnya yang harus dimiliki oleh seorang tutor sekolah adalah kemam puan tutor memilih strategi dalam proses pembelajaran bagi warga belajarnya. bagaimanapun juga yang namanya tutor memberikan pembelajaran dapat dipastikan akan menggunakan strategi agar bahan ajar yang disampaikan kepada warga belajar dapat diterima dengan mudah dan bahan ajar dipahami secara komprehensif oleh warga belajarnya. hal yang sangat tidak mungkin seorang tutor dalam melaksanakan tugasnya terlepas dari strategi pembelajaran, sebab strategi merupakan hal yang sangat menentukan dalam proses pembelajaran, apa lagi pembelajaran berbeda pa da kelompok satu dengan kelompok lainnya, maka strategi belajar mengajar tidak dapat dilepaskan. proses belajar mengajar sangat lah tergantung dari strategi yang digunakan oleh para tutor dalam melaksanakan tugasnya, untuk itu tutor sangat dituntut dalam menguasai strategi belajar mengajar di depan kelompok. ketepatan dalam memilih strategi belajar, tutor diharapkan memahami benar kelebihan dan kekurangan suatu strategi yang akan digunakan di depan kelompok, sebab bagaimanapun jua kesalahan dalam memilih strategi akan mengurangi hasil yang diperoleh warga belajar. dalam proses pembelajaran tidak dapat terlepas dari aturanaturan yang telah lazim dilakukan dalam pembelajaran atau seorang tutor tidak bisa memberi pelajaran tanpa persiapan yang matang (rifa'i dkk, 1995). harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 jika peristiwa pembelajaran ini telah tercipta dengan baik dapat dipastikan bahwa akan menghasilkan peruibahan-perubahan yang diharap kan dari proses pembelajaran, hasil tersebut adalah warga belajar akan berubah pengetahuannya, berubah sikapnya, dan berubah pula keterampilannya. disamping dua faktor yang telah diuraikan terdahulu, seorang tutor masih dituntut memahami prinsipprinsip pelaksanaan pembelajaran dan memahami tentang batas-batas pembelajaran. dua hal menjadi penting artinya, manakala tutor tidak memahami, maka akan mengalami kesulitan dalam melaksanakan tugasnya. memahami prinsip-prinsip pelaksanaan pembelajaran terkait erat dengan pemahaman keberadaan warga belajar di mana warga belajar merupakan subjek dalam proses pembelajaran, oleh karena jika tutor tidak memahami benar, akan mengalami banyak hambatan yang akan ditemui di depan kelompok. prinsip-prinsip pelaksanaan pembelajaran yang perlu dipahami adalah: (1) warga belajar, merupakan individu yang berkembang, sesuai hukum-hukum perkembangan, (2) kebebasan dan keterkaitan warga belajar, (3) faktor motivasi dalam pembelajar an, (4) azas aktivitas dalam pembelajaran, (5) kewibawaan dan tanggung jawab tutor. untuk lebih memperkuat kemampuan profesional tutor sangatlah diperlukan memahami teori yang terkait dengan kepembelajaran yang menjadi kaidah-kaidah dalam melaksanakan tugasnya di lapangan. tutor yang berhasil sudah barang tentu tidak akan mengabaikan kaidah-kaidah yang telah menjadi dasar dalam proses pelaksanaan pembelajaran. salah satu hal pentingnya untuk memahami dan dihayati sebelum melakukan tugas adalah memahami batas-batas pembelajaran sebab dalam batas-batas pembelajaran banyak hal yang menjadikan tutor akan melaksanakan tugasnya akan merasa "happy" karena mengerti benar keterbatasan-keterbatasan yang ada di dalam proses pembelajaran. faktor-faktor yang menyebab kan terbatasnya hasil pembelajaran adalah (1) faktor warga belajar, (2) faktor tutor, (3) faktor jarak antara warga belajar dan tutor, (4) faktor alam lingkungan. faktor penting yang hasrus dikuasai olaeh tutor adalah kemampuan menguasai prinsip-prinsip belajar orang dewasa antara lain: belajar berpusat pada masalah, belajar harus berarti bagi warga belajar yang menjadi sasaran program, belajar harus bebas mencari pengalaman, belajar harus diarahkan kepada warga belajar dan warga belajar harus mempunyai umpan baik tentang kemajuan pencapaian tujuan. brookfield (1987) menyatakan bahwa seorang tutor menguasai dari pokok orang dewasa belajar, cara-cara membantu orang dewasa belajar. oleh karena itu, agar para tutor lebih profesional dan memahami teori pembelajaran orang dewasa tidak bisa terlepas dari kemampuan menguasai pedoman yang berkaitan dengan belajar dalam ling kup informal, belajar mandiri dan jaringan belajar informasi serta pemahaman tentang aktivitas masyarakat. kemampuan yang lain yang harus dikuasai adalah menyusun program-program kebutuhan dan kemampuan war ga belajar dan menentukan prioritas untuk program pembangunan, serta menguasai pemahaman tentang fasi litas sebagai teori praktis. manakala para tutor telah menguasai dan harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 memahami apa dan bagaimana seperti telah dibahas di atas, maka tugas-tugas dan kepercayaan kepada tutor akan dapatdilaksanakan yang baik dan penuh rasa tanggung jawab, yang pada muarannya adalah dapat membawa warga belajar akan mengangkat kehidupannya dalam arti yang luas (derektorat penmas 1983). d. simpulan sekurang-kurangnya ada tiga simpul yang dimajukan dari paparan di atas, yaitu: pertama, untuk meningkatkan kualitas kemampuan pembelajaran, seorang tutor selain harus meningkatkan substansi bidang tugasnya juga harus memahami dan menguasai secara benar tentang seni sebagai alat dan media pembelajaran yang baik dalam arti luas. kedua, pembelajaran sebagai peristiwa seni pertunjukan (performing art) perlu dijiwai dan dihayati oleh seorang tutor dengan cara menguasai dua faktor yang utama, yaitu: (1) faktor eksternal yang melekat pada pribadi tutor antara lain: mampu melakukan pendekatan dengan ber bagai gaya, mampu melakukan reinforcement penguatan kembali kepada warga belajarnya, (2) faktor internal yaitu, kemampuan intelektual, kemampuan melakukan informasi verbal dan mampu melakukan strategi cognity. kedua faktor tersebut sangatlah penting dikuasai agar dalam proses pembelajaran dapat berjalan dengan penuh kesungguhan sehingga memperoleh hasil belajar yang optimal, dengan indikasi adanya perubahan pengetahuan, sikap dan keterampilan sesuai dengan tujuan pembelajaran. ketiga penguasaan tutor terhadap seni sebagai pendekatan pembelajaran (alat dan media) perlu diselaraskan dengan prinsip-prinsip belajar orang dewasa dalam lingkup informal, dan mampu menegaskan program-program kebutuhan dan lingkup informal, dan mampu menegaskan program-program kebutuhan dan kemampuan warga belajar.� daftar pustaka brookfield, 1987, understanding and fascilitating aduld learning, diterjemahkan oleh roesminingsih, 1990 malang: ikip malang depoerter, bobbi dan mike" hemacki. 1999, quantum learning, diterjemahkan oleh alwiyah aburahman, bandung: kaifa direktorat pendidikan masyarakat, 1983, risalah buku paket a, jakarta: dittimas ditjen diklusepora golberg, merryl, 1997, art and learning: an integrated approach to teaching and learning in multicultural and multilingual setting, new york: longman holden, d.c., 1977, "the art in general education: aestetic education", dalam rubin, l., (ed.), curriculum handbook, boston: allyn and bacon, hal. 122-132. iskandar a., 1990, "pemberantasan buta huruf di indonesia", makalah pada seminar tundak lanjut kompetensi dunia tentang pendidikan bagi semua, jakarta: 13-15 maret 1991 --------------, 1992, "pendidikan luar sekolah dalam sistem pendidikan nasional", makalah disam paikan pada seminar dan temu kolegial nasional v di yogyakarta tanggal 16-17 januari 1992 harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 jazuli m., 2001, "mempertimbangkan konsep pendidikan seni", harmonia: jurnal pengetahuan dan pemikiran seni, vol 2 no 2 meiagustus 2001, sendratasik fbs unnes -----------, 2005, "membangun kecerdasan melalui pendidikan seni, dalam peningkatan kualitas pendidikan tinggi", lustrum universitas negeri semarang lansing k.m., 1990, art artistits and education, london: msgraw-hill book company lestari, wahyu, 1998, "proses sosialisasi, enkulturasi dan internalisasi pengajaran tari di sltp n se kab. sleman diy", thesis, (unpublish) yogyakarta: ikip yogyakarta raharjo, tri joko, 2004, proses interaksi pendidikan luar sekolah, semarang: unnes press read, hebert, 1982, the meaning of art, new york: faber and faber rifa'i, dkk, 1995, "bahan kuliah pembelajaran". sachari, agus, 1986, seni, desain, dan teknologi, bandung: pustaka sihombing, h., 1999, pendidikan luar sekolah kini dan masa depan, jakarta: pd mahkota sujana. d., 1996, pendidikan luar sekolah wawasan perkembangan falsafah dan teori pendukung azas, bandung: nusantara press --------------, 2000, strategi pembelajaran dalam pendidikan luar sekolah, bandung: nusantara press. d:\harmonia\2003\1\vol. 4 no 1 jan_april_2003.pdf ���������� ��� ���� ���� �������������������������������������������� ��������������!"#!$� 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�]i[gjwx[gffgliĵxj�nikgyifgijvi�îjyiff[ij\iy�k\izij�y\eyxfgim�n969�;97�_�9�3r�9 �s9��9:�}�b������c �yemegefm�ab�969�;�7��r�<���r��2� ��cd���n9:b9�� �� ��������������������������������� vol. 8 no.2 mei-agustus 2007.pdf harmonia jurnal pengetahuan dan pemikiran seni nilainilai budaya dalam kesenian tutor pmtoh nilai-nilai budttya dalam kesenian tutur pmtoh (cultural values in art of pm toh) taat kurnita yeniningsih stafpengajar universitas syah kuala banda aceh abstrak salah satu kesenian aceh dalam bentuk tutur (cerita) adalah pmtoh yang hidup dan berkembang dalam masyarakat. kesenian tersebut dalam penyajiannya didukung oleh satu penyaji saja dengan membawa pesan yang berbeda, pola penyajian yang dinamis dari kesenian ini dapat melalui simbol-simbol tertentu yang memformulasikan perasaan dan fungsi bahasa sebagai media komunikasi simbolik dan berbentuk puisi. kesenian pmtoh lahir sekitar tahun 1800, kesenian ini disebut dengan kesenian pmtoh karena menurut para pendengar dan pengemarnya hidung dari bapak adnan itu mirip klakson pmtoh. kesenian itu terus digemari oleh masyarakat aceh, hal ini terbukti dengan semakin banyaknya permintaan tayangan kesenian tersebut di tvri yang penayangannya sudah lebih dari dua tahun lalu. kesenian tersebut dari hari ke hari terus mendapat tempat di hati rakyat, kesenian tersebut mengandung nilai-nilai budaya yang tinggi dan sangat berpengaruh bagi masyarakat penikmatnya. pmtoh merupakan seni tutur yang penampilannya menggunakan atribut-atribut yang mendukung cerita. atribut tersebut berupa benda-benda yang ada dalam kehidupan seperti; gayung air, panci, sendok, wig, baju, topi, palu, dan beberapa peralatan lain yang biasanya telah disesuaikan dengan cerita. kata kunci: kesenian, teather, dinamis, penyaji, puisi, tutur, simbolik a. pendahuluan kebudayaan merupakan suatu aktivitas masyarakat yang dikerjakan secara turun temurun dari generasi ke generasi berikutnya. di samping itu edward burnetto tylor abad ke-19 (dalam ensiklopedi indonesia 1992:125), secara jelas menyatakan bahwa kebudayaan itu merupakan suatu keseluruhan yang kompleks yang mencakup pengetahuan, keyakinan, kesenian, moral, hukum, adat istiadat dan segala kebiasaan kebiasaan masyarakat. setiap daerah mem-punyai kebudayaan yang bervariasi menurut kepercayaan masing-masing. aktivitas kebudaya-an itu dapat dilihat dalam bentuk ke-seniannya, yang merupa-kan bagian dari kebudayaan itu sendiri. teater rakyat yang merupakan bagian dari kesenian, sejak dulu telah digunakan sebagai sarana untuk melibatkan rakyat secara langsung dalam berbagai bentuk. hal ini disebabkan sifat teater rakyat yang mempunyai ke volume viii no.2 / mei-agustus 2007 214 harmonia jurnal pengetahuan dan pemikiran seni istimewaan yang dapat "berkomuni-kasi" secara langsung dengan masyarakat lingkungannya dalam bahasa yang sederhana sehingga dengan cepat dapat diterima dalam pikiran pendengar-nya. oleh karena itu teater rakyat tidak dapat melepaskan diri dari tata hidup dan kehidupan masyarakat lingkungannya. secara tidak langsung, masyarakat di lingkungan tersebut merupakan sumber ilham cerita-cerita yang akan ditunjukkan. dengan demikian teater rakyat merupakan bidang kesenian yang paling dekat untuk meng ekspresikan cara hidup dalam lingkungan masyarakat. kesenian tradisional merupakan pusaka budaya yang diterima secara turun-temurun dan harus tetap dijaga kelestariannya. pada hakekatnya fungsi kesenian itu sendiri akan member! hiburan, akan tetap! dalam menghibur itu seringkali mengandung maksud untuk menyampaikan suatu pesan tertentu. pesan-pesan yang di-sampaikan tersebut dapat berupa ajaran keagama an, tata kehidupan, kritik terhadap ketidakadilan dalam masyarakat dan lain sebagainya. salah satu kesenian aceh dalam bentuk cerita (tutur) adalah pmtoh yang hidup dan berkembang dalam masyarakat. kesenian tersebut dalam pe-nyajiannya didukung oleh satu penyaj! saja dengan membawa pesan yang berbeda, pola penyajian yang dinamis dari kesenian ini dapat melalui simbol-simbol tertentu yang memformulasikan perasaan dan fungsi bahasa sebagai media komunikasi simbolik dan berbentuk puisi. kesenian pmtoh lahir sekitar tahun 1800. kesenian ini disebut pmtoh karena menurut para pendengar dan peng gemarnya hidung dari bapak adnan itu mirip klakson pmtoh. kesenian itu terus digemari oleh masyarakat aceh, hal ini terbukti dengan semakin banyaknya permintaan tayangan kesenian tersebut di tvri yang penayangannya sudah lebih dari dua tahun lalu. kesenian tersebut dari hari ke hari terus mendapat tempat dihati rakyat, ini dikarenakan kesenian tersebut mengandung nilai-nilai budaya yang tinggi dan sangat berpengaruh bagi masyarakat penikmatnya. "kesenian" berasal dari kata "seni" yang berarti kesanggupan akan menciptakan sesuatu yang bernilai tinggi, keahlian membuat karya tertentu, keindahan seperti tari, lukis dan ukir, dan lain sebagainya (depdikbud 1989:816). disamping itu schopenhauer dalam koentjaraningrat (1985:35) ber-pendapat seni adalah sesuatu usaha untuk menciptakan bentuk bentuk menyenangkan. fungsi seni menurut salmurgianto (1982:11) dapat digolong kan dalam dua bagian yaitu: a. fungsi individual yang terdiri dari (1) fungsi secara psikis dapat berupa pengalaman estetis, dan (2) fungsi secara fisik dapat berupa alat-alat peraga. b. fungsi sosial yang terdiri dari (1) fungsi sosial dalam rekreasi dapat berupa taman, artistektur, pagelaran, bioskop, wayang, tonil dan sebagainya. (2) fungsi sosial seni dalam bidang komunikasi berguna untuk mengadakan interaksi dengan pihak luar. (3) fungsi sosial seni dalam bidang volume viii no.2 / mei-agustus 2007 215 harmonia jurnal pengetahuan dan pemikiran seni interaksi dengan pihak luar. (3) fungsi sosial seni dalam bidang keagamaan diilhami oleh pengalaman religi. (4) fungsi sosial seni dalam bidang pendidikan dibedakan menjadi dua yaitu fungsi secara psikis dan fisik. dilihat dari segi penggunaan media, menurut oswald (dalam abdullah / 1993:3) seni dapat dibagi atas tiga kelompok yaitu: a. seni yang dinikmati dengan media pendengaran (auditory art), yaitu seni musik (dengan nada), seni sastra (dengan kata), dan seni suara (dengan nada dan kata). b. seni yang dinikmati dengan media penglihatan (visual art); (1) bentuk dua matra dengan memanfaatkan unsurunsur garis, warna, bentuk irama dan cahaya yaitu seni rupa dan seni gerak. (2) bentuk tiga matra yaitu seni patting (tanpa gerak) dan seni pantomim (dengan gerak). c. seni yang dinikmati dengan media penglihatan dan pendengaran (auditory visual art), yaitu seni tari (dengan gerak dan nada), seni drama (dengan gerak, kata, dan visual), dan seni opera (dengan gerak kata dan visual). seni tutur (cerita) tradisional pmtoh ialah suatu bentuk kesenian yang menggunakan media audio visual sebagai sarana penyampaian ke seniannya. cerita dalam seni tersebut berbentuk puisi. pada sekitar tahun 1800, seni teater pmtoh sudah mulai disampaikan oleh seorang tokoh pada masa itu yang bernama tok tek, dengan nama gelarnya tok dang. tok dang berasal dari jeuram (kabupaten aceh barat), tempat terjadinya cerita tersebut. sesudah itu berturut-turut orang yang menceritakan dang deria itu ialah pang kaum, waki nu, udan dan m. yahya dengan gelarnya yang lebih di kenal dengan sebutan mak lape. generasi penerusnya seka-rang yang sangat terkenal adalah adrian pmtoh yang merupakan anak didikan dari mak lape. pada mulanya seni tutur dang deria diceritakan pada satu atau dua orang saja diwaktu-waktu senggang atau sambil bekerja. kemudian karena ceritanya menarik dan bagus bagi pendengar, maka dari.hari ke hari makin mendapat sambutan dari masyarakat ramai dan sampai saat ini kesenian tersebut menjadi suatu cabang kesenian yang digemari masyarakat. sastra usan adalah jenis atau kelas karya tertentu (shipk), yang dituturkan dari mulut tersebar secara lisan, anonim, dan meng-gambarkan kehidupan masa lampau, (arifin 1994:17). salah satu sastra lisan ini adalah cerita prosa rakyat. menurut cerita prosa rakyat dapat dibagi dalam tiga bagian besar yaitu:mite, lagenda dan dongeng. mite adalah cerita rakyat yang dianggap benar-benar terjadi serta dianggap suci oleh yang punya cerita. mite ditokohkan oleh para dewa atau makhluk setengah dewa. peristiwa terjadi di dunia lain pada masa lampau. sebagai karya seni sastra dapat berfungsi sebagai fungsi sosial dan fungsi estetika. fungsi sosial sastra adalah menampilkan karya sastra dalam kehidupan sosial, volume viii no.2 / mei-agustus 2007 216 harmonia jurnal pengetahuan dan pemikiran seni yang dapat memberikan kenikmatan dan rasa keindahan bagi para pembacanya. dalam sastra lisan dongeng misalnya, mungkin masyarakat tidak dapat memberinya sebagai pencerminan kehidupan nyata, kalau tidak ada tata nilai yang berlaku dalam masyarakat/ tempat sastra baru itu tumbuh dan berkembang dalam sastra lama. strukturalisme selalu me-ngacu dalam penelitian ini sebatas pada pengertian dasar yang dirumuskan pada strukturalisme dinamik: suatu teori yang yang memandang bahwa karya sastra tidak lain merupakan produk proses komunikasi dan budaya yang luas. sebagi hasil proses yang demikian maka dapat dikatakan bahwa sastra tidak lahir dari kekosongan. kehadiran karya sastra tidak terlepas dari kerangka sejarah sastra dan latar belakang sosial budaya tempat sastra itu dihasilkan. hal itu juga berarti bahwa karya sastra yang diciptakan pengarang tidak sama sekali terlepas dari konfensi-konfensi artistik yang berlaku pada masanya. oleh karena itu jika karya sastra dipandang sebagai sesuatu yang memiliki struktur itu sebaiknya dilihat dalam konteks latar belakang konfensi artistik, asalkan dengan me-nempatkan tradisi artistik itu dalam kerangka kesadaran pengarang dan penikmatnya. berbicara mengenai nilai tidaklah bisa dilepaskan dari manusia penciptanya. karena nilai adalah sebagai wujud alat pikiran manusia yang bersifat abstrak yang menduduki tempat terpenting dalam kehidupan manusia. sebelum terlalu jauh berbicara tentang nilai maka terlebih dahulu kita melihat apa nilai itu. menurut ambroise (dalam suwando, 1994:20), "nilai merupakan realitas abstrak. nilai kita rasakan dalam diri kita sebagai daya pendorong atau prinsip yang menjadi pedoman dalam hidup, oleh sebab itu nilai menduduki tempat yang paling penting dalam kehidupan seseorang". drijarkasi (1986:38) mengata-kan bahwa "nilai adalah sesuatu yang dapat memuaskan kebutuhan manusia atau hasrat". nilai adalah sesuatu yang dipentingkan manusia sebagai subjek, menyangkut segala sesuatu yang baik atau yang buruk sebagai abstraksi. b. hikayat adnan pmtoh dalam kehidupan masyarakat aceh hikayat aceh dari zaman yang lampau ditulis dalam huruf arab melayu, memakai bentuk puisi menyerupai syair. kenyataan ini memberi pertanda bahwa tulisan arab dan bentuk syair telah dimanfaatkan untuk publikasi hikayat. kata hikayat sudah cukup mewarnai pengaruh islam, sebab kata tersebut baru dikenal setelah masuknya islam dan kebudayaan-nya, (adnan pmtoh, 10 februari 2002). hal ini memberi pengarahan kepada kita mengenai keadaan masyarakat pada saat itu. kedatangan islam dengan ke-budayaannya yang menurut catatan sejarah dalam abad ketiga belas masehi, telah ikut memperluas sayap pemakaian hikayat. kesimpulan itu tidaklah berarti menutupi perasaan agama dan kebudayaan lain sebelum itu. volume viii no.2 / mei-agustus 2007 217 harmonia jurnal pengetahuan dan pemikiran seni kesimpulan itu tidaklah berarti menutupi perasaan agama dan kebudayaan lain sebelum itu. pengaruh hinduisme kepada bahasa arab dan peradaban aceh sebelum kedatangan islam, tidak diragukan lagi, hal ini dapat terlihat pada adat istiadat dan bahasa yang digunakan. dan, yang lebih penting diketahui bahwa nilai-nilai hinduisme itu sendiri masih tercermin di dalam beberapa hikayat. dengan demikian membuka mata kita bagaimana hikayat berpaut dengan kehidupan masyarakat. suatu hal yang perlu kita ingat dalam masa-masa permulaan islam itu, terjadinya suatu pergeseran nilai budaya masyarakat dari hinduisme ke arah islamisasi. pada saat itu hinduisme berada pada saat yang sangat merosot, sebaliknya islam sedang memperkuat pengaruhnya pada masyarakat. dalam usaha memperkuat itulah hikayat memegang peranan penting. tidak ada laporan sejarah yang memberi keterangan bahwa, peralihan itu telah menimbulkan ketegangan dalam masyarakat. jika demikian halnya, masalah terletak pada kebudayaan yang adajtulah sekelumit latar belakang masyarakat dalam masamasa permulaan kedatangan islam. dengan demikian dapat kita lihat betapapun kehadiran islam tetap saja nilai-nilai yang sudah tertaman diawalnya masih tetap melekat dan terus dipakai oleh masyarakatnya. sedangkan pertumbuhan dan perkembangan hikayat ditentukan atau diukur berdasarkan sumbangan nilainilai yang akan disarankannya. dalam pembacaan hikayat dalam masyarakat temyata mempunyai jangkauan yang sangat luas, yang di sebabkan oleh pemakaian arab-melayu, dan sekaligus me-nyebabkan hikayat dipakai sebagai alat pelajaran membaca dan menuus. sehingga bisa dijadikan sebagai salah satu alat pemberantas buta huruf. c. peranan kesenian tutur pmtoh dalam menyebarkan nilai-nilai budaya. peranan menurut berry (1983:100) adalah "apa yang diharapkan dan dituntut oleh masyarakat". peran juga diartikan "perilaku yang diharapkan dari seseorang yang mempunyai status,' sehingga kita dapat juga me-ngatakan bahwa status sebagai perangkat hak dan kewajiban". para ahli sosiologi se-pendapat bahwa setiap individu dalam kehidupannya di masyarakat telah mendapatkan dirinya pada kedudukan dan fungsi tertentu baik didasarkan oleh jenis pekerjaan dan status sosial di dalam masyarakat, maka seseorang telah menjalankan kehidupannya masing-masing tanpa disadarinya yang tidak bisa terlepas dari norma-norma yang dianut oleh masyarkat setempat. seperti halnya kesenian pmtoh yang telah mendapat tempat dihati rakyat aceh, mempunyai peranan penting dalam menyebarkan nilai-nilai budaya tidak dapat dipisahkan dari tatanan kehidupan masyarakat aceh khususnya yang watak dan karakternya sangat sesuai dengan tradisi yang ada. volume viii no.2 / mei-agustus 2007 218 harmonia jurnal pengetahuan dan pemikiran seni (2) nilai pendidikan, (3) nilai adat dan sejarah, (4) nilai sosial,dan (5) nilai hiburan. 1. nilai agama nilai agama merupakan nilai yang menyentuh penghayatnya yang bersifat mistik dan transendental dalam usaha manusia untuk mengerti dan member! arti bagi kehadirannya dimuka bumi. selanjutnya manusia akan melihat alam semesta sebagai jelmaan sesuatu yang maha besar yang menguasai dan memenuhi segala sesuatu yang penuh rahasia, penuh kegaiban. nilai agama berfungsi sebagai sumber moral bagi segenap kegiatan. nilai agama tersebut diantaranya antara lain: (1) tanggung jawab orang tua terhadap si anak, (2) tidak boleh durhaka terhadap orang tua, (3) menjadi guru agama. nilai agama yang penekanannya pada anak tidak boleh durhaka pada orang tua, karena pada dasarnya orang tualah yang telah melahirkan kita dan membesarkannya dengan penuh kasih sayang dan tanpa mengharap balasan apapun. dan allah sangat marah dan dalam dunia ini memberikan teguran secara langsung. dalam hikayat rhang manyang terdapat nilai ini yaitu: "..............sumpah dikabulkan tuhan karena sumpah itu dituntut untuk membuktikan kebenaran. sumpah bekerja sekejap mata, sehingga tidak lama kemudian hancurlah isi semua kapal dengan amukan topan yang sangat dahsyat. setelah angin reda barulah diketahui kapal ahmad sudah menjadi batu. saat ini menurut hikayat kutukan itu dapat dilihat di krueng ray a". tanggung jawab orang tua terhadap si anak sangat besar, tidak sama seperti tanggung jawabnya terhadap yang lain. anak merupakan titipan tuhan yang suatu saat diminta pertanggung jawabannya, disamping anak juga cerminan dari orang tua. nilai-nilai itu dapat dijumpai pada hikayat/ cerita rhang manyang yang berbunyi: ".......seorang anak dalam masyarakat tradisional zaman itu tidak terlepas dari kehidupan sosial budaya atau singkatnya sikap atau tingkah laku ibu bapak anak tersebut. anak dan ibu bapaknya seakan-akan identik, karena cukup jelas dinyatakan dalam pepatah aceh: pakriban u menunan minyeuk, pakriban du menan aneuk (bagaimana kelapa begitu minyaknya, bagaimana bapak pula anaknya)". nilai agama yang ditanamkan selanjutnya adalah menjadi guru agama. maleem diwa yang berusaha menampilkan sosok guru yang menjadi panutan bagi santri dan masyarakat dilingkungan nya. nilai ini terdapat dalam cerita/hikayat maleem diwa berbunyi: "........di kayangan dia menyamar sebagai guru nteunasah, seorang daripada muridnya kebetulan adalah anaknya sendiri. dari anaknya ini tahulah ia tentang keadaan putri bungsu yang rupanya memang sebentar lagi akan melangsungkan perkawinan dengan seorangraja....". 2. nilai pendidikan nilai pendidikan adalah nilai nilai yang terkandung di dalamnya unsur pendidikan dan mengajar kepada orang lain tentang apa yang volume viii no.2 / mei-agustus 2007 219 harmonia jurnal pengetahuan dan pemikiran seni melangsungkan perkawinan dengan seorangraja....". 2. nilai pendidikan nilai pendidikan adalah nilai nilai yang terkandung di dalamnya unsur pendidikan dan mengajar kepada orang lain tentang apa yang tidak diketahuinya menjadi tahu. nilai-nilai yang terdapat dalam tutur pmtoh sesuai dengan nilainilai pendidikan yang terdapat dalam cerita atau hikayat yang dibawakan oleh adnan pmtoh. berdasarkan hasil observasi atau wawancara, dijumpai jenis nilai pendidikan itu antara lain: (1) mendidik generasi muda untuk berusaha keras, tabah, dan tahan cobaan. (2) mendidik si anak bahwa harta dan wanita tidak selamanya membawa bahagian, karena harta dan wanita dapat mempengaruhi tingkah laku sosial, (3) untuk selalu menghormati orang tua. pendidikan bagi generasi muda bertujuan agar selalu berusaha keras, tabah dan tahan cobaan. hal ini berarti generasi muda tidak boleh lemah dan menyerah dengan keadaan. berusaha dan tabah merupakan kewajiban, dan cobaan merupakan ujian dari allah swt. nilainilai ini dijumpai dalam cerita/hikayat rhang manyang, sebagai berikut "..........di rantau orang ternyata si ahmad sangat tabah menahan penderitaan. dia berusaha sekuat tenaga hingga berangsur-angsur mencapai kemajuan. dari saat itu juga dia merubah nasibnya. tidak lama kemudian jadilah si ahmad seorang hartawan. sebagaimana halnya setiap orang kaya yang mudah mencapai maksudnya, demikian pula halnya ahmad, dengan mudah mem-persunting seorang perempuan cantik............". nilai pendidian yang kedua adalah harta dan wanita dapat mempengaruhi tingkah laku sosial. ahmad, sewaktu ia masih miskin merupakan seorang anak yang baik, rendah hati dan hormat kepada kedua orang tuanya. setelah menjadi hartawan dan mempunya istri yang cantik, berubah tingkah lakunya. timbul sikap sombong dan harga din yang berlebihan. pengaruh dan perubahan tingkah laku sosial ini telah menyebabkan timbulnya benturan dengan nilai-nilai yang lain. nilai-nilai ini dijumpai dalam cerita/hikayat rhang manyang. kutipan dari cerita tersebut sebagai berikut: "............kapal berlabuh dan si ibupun sampai pula ke tepi kapal. segera ia mencari anaknya untuk melepaskan rindu yang telah terpendam selama bertahun-tahun. tetapi apa yang hendak dikatanya, begitu si ibu hendak merangkul sang anak, begitu pula sang anak mengelak dan berkata: " kau buka ibuku". si anak sangat merasa malu kepada istrinya dan kepada anak buahnya untuk memperkenalkan sang ibu, yang ternyata sekarang sudah tua bangka, dan berpakaian compang-camping pula. dengan tragedi itu sang ibu menganggap bahwa anaknya mungkin lupa kepadanya, maklum karena sudah berpisah selama bertahun-tahun. dia lalu menceritakan masa yang volume viii no.2 / mei-agustus 2007 220 harmonia jurnal pengetahuan dan pemikiran seni nilai pendidikan yang ketiga adalah menghormati orang tua. orang tua(ibu) adalah orang yang telah melahirkan dan mem-besarkannya dengan segenap kasih sayangnya. akan sangat berdosa bila dia membantah, apalagi mengakuinya bukan ibu kandung. allah akan murka dan mengutuk si anak. nilai-nilai ini dijumpai dalam cerita/hikayat srang manyang, kutipan dari cerita tersebut sebagai berikut: ".............habis segala usaha dan putus semua harapan seta impian ibu untuk berkumpul kembali bersama dengan anaknya. kekecewaan dan penyesalan datang silih berganti memenuhi lubuk hatinya, sehingga akhirnya me-ledaklah dada yang panas itu. maka lahir sebuah sumpah dari sang ibu. sumpah yang menuntut bukti sekarang juga atas kebenaran yang disangkal anaknya. sumpah di-kabulkan tuhan karena sumpah itu dituntut untuk membuktikan kebenaran. sumpah bekerja sekejap mata, sehingga tidak lama kemudian hancurlah semua isi kapal dengan amukan topan yang sangat dahsyat. setelah angin reda, diketahui kapal ahmad sudah menjadi batu. sekarang menurut hikayat kutukan itu dapat dilihat dikrueng raya.........". 3. nilai adat dan sejarah nilai adat dan sejarah dalam hikayat maleem diwa dapat dipilahkan menjadi dua yaitu: 1. nilai agenda, 2. nilai perkawinan nilai adat merupakan nilai yang sudah mentradisi di suatu daerah dan sudah diyakini keabsahannya. nilai adat itu berupa legenda tersebut tidak terlepas dari sejarah dari cerita ityu sendiri. nilai legenda dalam cerita/hikayat pmtoh tersebut terdapat dalam hikayat maleem diwa dan srang manyang. berikut kutipannya: srang manyang adalah sebuah hikayat yang menceritakan sebuah kejadian di daerah aceh, tepatnya di krueng raya, aceh besar. sepasang suami istri bernazar minta anak. mareka memperoleh seorang anak, di beri nama ahmad. kurang lebih umur si anak tiga tahun, meninggal ayahnya, tinggal si ibu dengan anaknya, yang hidup dalam kemiskinan tetapi berada dalam kasih sayang. setelah ahmad menginjak dewasa, timtrul keinginan hendak merantau, hendak mencoba merubah nasib. keinginan yang demikian disampaikan kepada ibunya,............". "menurut hikayat di daerah pasai, tujuh orang putri dari kayangan sering mandi-mandi jika datang bulan purnama. maleem diwa mencuri pakaian terbang yang dirniliki oleh seorang putri kayangan itu. akibatnya putri yang kecurian itu (putri bungsu), tidak dapat kembali kekayangan. dalam keadaan yang sulit seperti ini putri bungsu terpaksa menerima lamran maleem diwa. demikianlah keduanya kawin dan tinggal di rumah ibu maleem diwa. dari perkawinan itu mereka memperoleh seorang anak laki-laki. anak itu lasak dan banyak tingkah sehingga sering pula enjadi pangkal perselisihan antara putri bungsu dengan mertuanya.dengan tidak disangka-sangka si anak mendapatkan pakaian terbang yang di curi itu. putrii bungsu sangat volume viii no.2 / mei-agustus 2007 221 harmonia jurnal pengetahuan dan pemikiran seni rumah ibu maleem diwa. dari perkawinan itu tnereka memperoleh seorang anak laki-laki. anak itu lasak dan banyak tingkah sehingga sering pula enjadi pangkal perselisihan antara putri bungsu dengan mertuanya.dengan tidak disangka-sangka si anak tnendapatkan pakaian terbang yang di curi itu. putrii bungsu sangat gembira, karena segera akan dapat kembali kekayangan........". nilai adat dan sejarah yang kedua adalah nilai perkawinan. perkawinan yang di maksud adalah perkawinan putro bungsu dengan maleem diwa. berikut kutipannya: ".............dalam keadaan yang sulit seperti ini putri bungsu terpaksa menerima lamaran meleem diwa. demikianlah keduanya kawin dan tinggal di rumah ibu maleem diwa. dari perkawinan itu mereka memperoleh seorang anak laki-laki. anak itu lasak dan banyak tingkah sehingga sering pula menjadi pangkal perselisihan antara putri bungsu dengan mertuanya.........". 4. nilai sosial nilai sosial adalah nilai yang berorientasi kepada hubungan antar manusia dan penekanan segi-segi kemanusiaan yang luhur. dalam hal ini nilai sosial terbentuk dan interaksi manusia dalam ber-masyarakat yang di pengaruhi oleh status, pengalaman, kekerabatan, dan generalis dan masingmasing anggota masyarakat. berdasarkan hastt observasi dan wawancara, dijumpai jnis nilai pendidikan itu antara lain: 1. perkawinan yang berlatar kehidupan sosial ynag berbeda 2. konflik sosial. perkawinan yang berlatar belakang kehidupan sosial yang berbeda adalah pekawinan antara maleem diwa dengan putri bungsu merupakan perkawinan yang kurang lazim dalam peristiwa kehidupan sosial. ketidaklaziman itu pertama terlihat dari peristiwa perkenalan mereka serta dalam posisi putri bungsu dalam kejadian itu. berikut hasil; wawancara nya: ".........setelah putri bungsu itu kecurian pakaiannnya, dia berada dalam kesulitan. malah sebenarnya dalam keadaan yang kritis, dia ditinggalkan oleh saudarasaudaranya dalam keadaan yang tidak berdaya sama sekali. akibatnya tawaran maleem .diwa merupakan "penolong" baginya dab harus diterima, karena tidak adad pilihan yang lain. jadi,kendatipun dalam hatinya putri itu tidak menyukai lamaran tersebut,tetapi karena tidak ada jalan lain, akhirnya diterima juga. ini berarti ia sudah terpaksa kawin dengan maleem diwa. perjodohan maleem diwa dengan putri bungsu merupakan perkawianan antara dua makhluk yang berbeda dunianya. maleem diwa merupakan manusia dari bumi aceh (menurut pandangan masyarakat aceh), sedangkan putri bungsu makhluk kayangan. dengan ini hikayat memberilcan suatu lukisan perkawinan antara dua makhluk yang berbeda latar belakang sosialnya......". nilai sosial yang kedua adalah konflik sosial. konflik sosial selanjultnya adalah mengenai perbuatan maleem diwa mencuri pakaian putri bungsu. tingkah laku volume viii no.2 / mei-agustus 2007 222 harmonia jurnal pengetahuan dan pemikiran seni terhadap dirinya sudah dikuburkan demikian rupa. hanya bagaimanapun juga, nilai itu masih tetap dapat dibaca dari jalannya bikayat. dengan di temukan kembali pakaian terbang itu, maka terbuktilah serta terbalas kecura-ngan maleem diwa, soe nyang khianat, meuwoe la'nat u ateuh droe (siapa yang berkhianat kutukan laknat kembali atas dirinya). berikut kutipan cerita/hikayatnya: "........ malem diwa mencuri pakaian terbang yang dimiliki oleh seorang putri kayangan itu. akibatnya putri yang kecurian itu (putri bungsu ), tidak dapat kembali ke kayangan. dalam keadaan yang sulit seperti ini putri bungsu ter[paksa menerima lamaran maleem diwa. demikianlah kedua-nya kawin dan tinggal di rumah ibu maleem diwa...........". 5. nilai hiburan masyarakat aceh juga memandang hikayat sebagai alat pelipur lara (hiburan). ketika uraian kita sampai di sini, cukup terasa pandangan itu tidak berlebihan. banyaknya peminat dan luasnya pemakaian, jangkauan hikayat serta begitu lamanya ia bertahan sebagai bukti bahwa hikayat salah satu hasil budaya dalam jumlah cukup besar dan mempunyai fungsi hiburan. dalam pembacaan hikayat melalui baris puisi dengan suara yang merdu dan indah, serta unsur humoris yang tinggi, sehingga membuat nilainilai itu akan lebih dalam lagi dihayati. apalagi juru hikayat adnan pmtoh sendiri selalu membawa bahan-bahan perlengkapan pendukung serta baju, kapal mainan, bonka sebagai penggambaran tokoh yang dilakoni. selanjutnya, nilai-nilai budaya dan jenisnya serta hikayat yang mengandung nilai-nilai itu dapat disajikan pada label di bawah ini. rincian nilai tersebut adalah sebagai berikut tabel 1. nilai budaya, jenis, dan hiburan yang di sebarkan melalui pmtoh n o nilai aspek nilai jenis cerita (hikayat) 1 nilai pendidl kan a. mendidik generasi muda untuk berusaha keras, tabah dantahancobaan. b.mendidik si anak bahwa harta dan wanita tidak selamanya membawa bahagia, karena harta dan wanita dapat mempengaruhi tingkah laku sosial. c.untuk selalu menghormati orangtua. srang manyang • 2 nilai agama a.tanggung jawab orang tua terhadap si anak b.tidak boleh durhaka terhadap orang tua c.menjadi guru agama maleem diwa srang manyang 3 nilai adat dan sejarah a.legenda b.perkawinan maleem diwa 4 nilai sosial nilai hiburan a.perkawinan yang berlatar belakang kehidupan sosial yangberbeda b.konfllik sosial a.cara menyampai dari si penutur itu sendiri maleem diwa maleem diwa srang manyang e. penutup kesenian tutur pmtoh adalah salah satu kesenian tradisional aceh yang dituturkan langsung oleh dalangnya teungku adnan pmtoh. kesenian ini digolongkan ke dalam jenis kesenian rakyat, menggunakan media audio visual. volume viii no.2 / mei-agustus 2007 223 d:\harmonia\2003\3\vol. 4 no 3 sept_desem_2003.pdf ���������� � ������� ������������� ���������� �� ������������������������������ ��!�"� �#��$�%��&�'(&�)*****************************************************************+,-./012345678�9:;<=>?,7@0a4b4cd062,e@0f25a40g-5.2g2cd4c0-54@03-cd4c0f4c34cd4c0.e32f0754cd0h4a4i0?,7@034f4@03e,e.4@0f4340f-jg4de4c0k� ��( k04@4l0@ed40������03e034,4j0f-5@2cm264c0a4b4cd0b46ce0������0c-jn0#� k�034c0o� %�p�0b4cd0g-5.2g2cd4c03-cd4c0f4c34cd4c0.e32f0754cd0h4a40@-c@4cd0f4.4j0j4c2le4034,4j0l4@20f2@454c0.e32f0�ha/0j4c2cdl40l425ef4cq034c0f4.4j0l4cd64c0f454cecd032j43ei��p� k�r�os� 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)!%'/!%'+,#&0&"!%'1,%& 2345'2&& '%35'6 7(89:8;<=!>;<4'?@@a 36 d<je8cd:d<9<9k;:gl' 1;<' "3th898' 6ppr5 h+b;ibgf89k89' .8;<' -8gfe39k -8e8' 1:;8i8;d8' 6py@=6ppr 039d<9:<d8c' j89' +b;:f8h899e85` <&-0-' :9d:i' gb9t8>8<' jb;8u8d 18;u898' 1=?' >8j8' a8i:4d8c' 18d;8 )9<wb;c<d8c'-8ju8h'#8j85 1 the concept of panutan in governance festival lima gunung in magelang central java indonesia joko aswoyo1, sularso sularso2 1faculty of performing arts, institut seni indonesia surakarta, indonesia 2faculty of teacher training and education, universitas ahmad dahlan yogyakarta, indonesia submitted: february 7, 2020. revised: april 9, 2020. accepted: june 4, 2020 abstract this research is based on fieldwork at a five mountain festival held in magelang, central java, indonesia. this festival presents performing arts in the regions of mount merapi, merbabu, andong, menoreh, and mount sumbing. this study intends to explain the concept of panutan in festival governance. modeling is a significant factor in keeping the five mountain festival alive and sustainable. this study suspects that panutan are one of the guardians of the existence of the five mountain festival. issues discussed are related to how the panutan concept works, as well as knowing how the implications resulting from the use of the panutan concept in festival governance systems. this study uses qualitative methods with analytical descriptive analysis. research data were collected through literature studies, documentation studies, interviews, and field observations. the results showed that panutan as organic intellectuals not only created new forms and processes of festival governance but also resulted in the achievement of the advancement of village culture. keywords: festival; governance; lima gunung community; mountain culture; panutan how to cite: aswoyo, j., & sularso, s. (2020). the concept of panutan in governance festival lima gunung in magelang central java indonesia. harmonia: journal of arts research and education, 20(1), 1-9 harmonia: journal of arts research and education 20 (1) (2020), 1-9 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v20i1.24818 lived on the slopes of the five mountains (merapi, merbabu, sumbing, andong, and menoreh mountains) as a mountain cultural reality that has existed for hundreds of years ago (irianto, 2016). this study says if the celebration is the purest form of a festival in the villages. the purity of the festival is marked by the spirit of mutual cooperation that belongs to the farming community on the slopes of the mountain. mutual cooperation from the perspective of the festival is also for them as a means of getting to know one another about the arts that exist in each village. this study provides a definition of this as an art srawung, namely efforts to establish social relations introduction mountain culture has a variety of folk arts that continue to develop and always live side by side with the community owners. these various arts performed during joint celebrations, both as ritual and entertainment performance arts (carr, 2004). we say if the art is a public art which in 1980 has been debated as a significant force in economic and social regeneration, even though it has been stated in the policy of the village government. still, the results are not really felt by the village art community (pollock & paddison, 2010). in fact, the celebration of traditional village art life has corresponding author: e-mail: joko.aswoyo@gmail.com p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 20 (1) (2020): 1-92 through art more closely. strengthening mutual cooperation in the festival, making money is not the only major capital in the organization, but the main capital is the presence of panutan who always maintain the spirit of mutual cooperation as the power of organizing the festival. panutan means wong sing di-nut or the person who is followed and becomes the main figure in organizing the festival because of its sincerity and sincerity. this festival takes place every year and turns from village to village, from one mountain to another. by the village farmers’ community organizing the festival, they called the celebration the festival lima gunung (five mountains festival). its members include the art community on the slopes of mount merapi, merbabu, sumbing, andong, and the menoreh mountains. in organizing the festival, panutan are a significant factor in the success of the festival. this raises the question of how can festival governance run regularly every year without putting money as the main component? how does the panutan concept work within the festival lima gunung governance system? these problems are the basis of this research. this study departs from the argument if stable governance in the organization of the festival lima gunung is inseparable from the panutan concept. many anthropologists, ethnomusicologists, and performance art scientists have not addressed this issue. even the literature on the culture of mountain art governance has never revealed and alluded to the subject of the panutan concept as a source of strength in organizing festivals. nearly the majority of the attention given by scholars, or other researchers, is more towards the approach of modern festival governance , festival governance that integrates with tourism governance (rodgers, 2007). harnish’s study did not provide valuable information about the locality as a festival governance system. whereas song’s research is more about the issue of satisfaction, and the impact of a festival. song’s approach is a new integrative. studies conducted to provide information if the festival can be a capital for sustainable tourism. according to song, it is necessary to double-check the influence of the festival on a tourism perspective and how to manage the local community. according to song, local residents are a source of strength of support so that the festival’s goals can be achieved, without their support the festivals cannot survive (song et al., 2015). song’s study does look offensive to the locality. still, it does not address the concept of festival governance based on the more conceptual power of community, as offered in this study. savinovic investigated the problem of audience members’ motivation, satisfaction, and intention to re-visit ethnic minority cultural festivals. the results of a savinovic study identified eight main motivational dimensions of a person attending an ethnic minority cultural festival. these include “community support,” “escape,” “knowledge/education,” “food, wine, and entertainment,” “novelty,” “family togetherness,” “marketing,” and “socialization.”(savinovic et al., 2012). savinovic’s study did not reveal the concept of local governance concepts, although his opinion of the festival stems from traditional events celebrated in the local community. still, savinovic does not explain more deeply what is contained in these localities, savinovic provides conclusions on the impact of the festival, as a tourism destination. the topic of the panutan concept is new in this study, so it needs to be revealed in order to obtain information about how the panutan influence the governance system of the festival lima gunung. this study considers that panutan (role models) are a typical concept in the festival lima gunung governance system. this uniqueness can be seen from the vital role of panutan as a living resource for the five mountain peasant communities, panutan as well as agents. they pay attention to the principles of the locality that live in the five mountainous cultural areas. conceptually, figure 1 explains what elements are interconnected with the panutan concept so that joko aswoyo, sularso sularso, the concept of panutan in governance festival lima ... 3 they can influence the festival’s governance system. figure 1. panutan concepts in influencing the festival lima gunung governance panutan is the reference center of the five mountains farming community when the community carries out artistic activities. panutan understands well the potential of agriculture, art, and ritual ceremonies as capital for empowering the mountain culture community. all the mountain cultural activities are united in a series of activities called the festival lima gunung. panutan is to provide unique insights about art, culture, and everything else about the life of art for the five mountain farmers community so that festival activities can be maintained for continuity. the concept of this panutan is hardly found in the results of previous studies. the significance and contribution of this research lead to the discovery of local concepts in the performing arts governance system called panutan. one of the benefits of this research is knowing how the panutan concept can have implications for the discovery of a community-based arts governance education approach. through this study, it is also hoped that it can provide stimulants for other researchers to be able to conduct further research on art governance education based on local concepts. method this study uses an ethnographic approach to the performing arts. this approach requires researchers to build a high sensitivity to what is observed. researchers must have cultural sensitivity and political sensitivity as the principal capital (bagley & castro-salazar, 2012). political sensitivity is also used in this method to obtain accurate information, whether the marginalization of folk art due to political practices also occurs (lanjari, 2017). our methodological approach tries to get an “insider” perspective on performance texts (paltridge et al., 2012); besides, this approach also continues to work to provide separate data groups, such as the grouping of five mountain artists’ data, networks owned by the five mountains community, and intellectual actor data that provides support for the lima gunung community and the five mountains festival. interpretative data reflectively so that data can be identified rigorously. this stage can help find the novelty and authenticity of the data without changing the substance (bagley, 2008). this ethnographic method is not a requirement but is placed as a soft framework used to see the actual circumstances. this method is used to try out performing arts research (morton, 2005). as for obtaining data on panutan, the researchers approached active participation, namely by placing themselves as friends and together in art activities organized by the lima gunung community. the main objective is to strengthen the relationship to be more intimate and hope to enter the socio-cultural area with the aim of obtaining complete data. the effort to be accepted as a friend by the community members studied is indeed the most important part, as a strategy to be accepted by “insiders”. this study analyzes insiders by paying attention to the culture in which they live. the aim is to get complete information (bird, 2011). individual details highlight the figure of sutanto mendut, as a key figure who is used as an influential actor for the five mountains community because it can move the culture of villages in the five mountains community area. an analysis of sutanto mendut’s self is then harmonia: journal of arts research and education 20 (1) (2020): 1-94 linked to the life of the village tradition, which still holds the tradition tightly if the intelligent, influential, and broad-minded person must be respected and put as the central figure to set an example. at this stage, the panutan concept was thoroughly analyzed until it was revealed how much influence it had on the five-mountain festival management system. result and discussion the lima gunung communities the art life around the slopes of mount merapi, merbabu, andong, sumbing, and menoreh has quite a good ecosystem of arts. this is due to almost the same art function, namely, as a village ritual ceremony (permana et al., 2017). this background is one of the reasons why the mountain art network can be formed so well. it can be interpreted if community empowerment through the artistic movement is quite strategic. this is based on the awareness that art is an entry point for overall community participation (sardu et al., 2012). on the cultural side, collective knowledge and the same feelings as village farmers who live on the slopes of the mountain is an embryo for the formation of the five mountains community. this community is a milestone in the birth of an activity known as the festival lima gunung, which is an annual festival that is held continuously and moves from one village to another, and from one mountain to another. lima gunung community, from the beginning, did not have a compl ete organizational structure like other social community organizations. the position of chairman in the community structure is only a structural symbol of the organization. the reality in activities organized by the community, almost all put forward an equal attitude. the values carried from each hamlet remain upheld without negating the values possessed by other hamlets. they have the same degree so that they help each other in realizing their shared ideals and goals in art. the tradition of managing the community by making the value of togetherness a binding, causes the chairman’s role to be less significant. even in the extreme, without a chairman, the lima gunung community art activities can continue. in figure 2, there is a discussion situation conducted by members of the lima gunung community. figure 2. discussion between members of the lima gunung community the formation of the five mountains community was carried out informally, with no special meeting planned. the basis used is the strength of the intercommunication between farmers and the maintenance of a network of cross-hamlets in the five mountain regions. it was not stated by those who were the critical initiators in the formation of this community. the basis of strength in the structure of the five mountains community is the spirit of brotherhood, love, and intimacy among all members of the five mountains community. familiarity is the main foundation in building harmony among the five mountain communities. peace in the five mountains community is bound by visiting each other activities by displaying art in every village ritual ceremony. the routine of the event continues every year, until finally the event is in the spotlight of the mass media, and becomes their news material. the mass media reporting on the activities of the lima gunung community art activities by the mass media made the farmers increasingly aware of how important the existence of the community was to their survival. this makes them strengthen joko aswoyo, sularso sularso, the concept of panutan in governance festival lima ... 5 the spirit of collectivity so that the wider community can recognize. the popularity of the five mountains community which received the spotlight from the mass media is inseparable from the role of sutanto mendut. sutanto mendut never stopped introducing farmers, and art to journalists as one of its networks. the actor of sutanto mendut is quite essential here so that the five mountains community is considered as a panutan; thus it is necessary to know more about who sutanto mendut is and how the role that sutanto mendut has for the five mountains community as a panutan and how sutanto mendut influences the five festival governance system mountain. this issue will be discussed later in this study. sutanto mendut and mountain culture sutanto mendut was previously a teacher. since he was young, he had a particular interest in village life on the mountain slopes. sutanto mendut obtained information about the life of the village art community on the slopes of the mountain through his students. at the age of 26 years, sutanto mendut often kluyuran (playing somewhere, from the beginning without specifying a destination) in and out of villages in the merapi, merbabu, sumbing, andong, and menoreh mountains. sutanto mendut was interested and continued to fade even though he felt like he was lost, sutanto mendut never resigned. instead, he also felt more engrossed, happy, sénéng, and made fame a lifestyle. in figure 3, is sutanto mendut’s figure. figure 3. sutanto mendut after marriage, sutanto mendut, with his wife, still chose to live in the village. this decision made sutanto mendut closer to village culture and able to understand the various types of village culture, such as traditional ceremonies, arts, to village myths thoroughly. sutanto mendut’s experience in recognizing village culture and sutanto mendut’s ability to contribute thoughts to the village community were highly appreciated and recognized by many parties. in 2009 sutanto mendut was awarded along with the 22nd anniversary of the aesthetic science and technology foundation (set) at taman ismail marzuki. the award was given by the leaders of science, aesthetics, and technology (set) as well as film director garin nugraha because sutanto mendut’s persistence empowered villagers in the arts in the five mountain regions. garin nugroho, if positioned like suntanto mendut, will not be able to do what sutanto mendut did. for garin nugroho, this country needs many role models to develop community participation in the arts without becoming a project. then, in 2014 sutanto mendut was awarded the cultural award and the maestro art tradition award in 2014, after that in 2016, sutanto mendut received an award from the gus dur award for his services in empowering the community and arts in the five mountain villages. betah and seneng (comfortable and happy or happy) are sutanto mendut’s principal capital in living life together with village art. sutanto mendut found many village arts that had local insights and knowledge. sutanto mendut obtained the experience through the process of contemplation of human beings, trees, water, rocks, and the natural environment of the mountains. the whole element that sutanto mendut reflected was a representation of local knowledge that has historically been embedded for thousands of years. by sutanto mendut, the encyclopedias of mountain cultural knowledge were strengthened again. sutanto mendut indirectly inventories various types of arts and knowledge harmonia: journal of arts research and education 20 (1) (2020): 1-96 that live in the life of the five mountains community. the art is used for entertainment and traditional ceremonies in the village. in a series of traditional village ceremonies that have been passed on for generations, art has always had an important position, so that this tradition makes the mountain culture can continue to survive well (yampolsky, 2001). sutanto mendut gave a view if the life of hamlet art had actually grown and developed hundreds of years ago before the government rolled out the concept of conservation. this shows that the dusun community already has a model of caring for art in its own way and method. sutanto mendut also made the village an art laboratory. he nurtures, develops, and experiments with farmers and colleagues or networks. sutanto mendut became an essential figure for all members of the five mountains community to conduct exploration, research, and tracking and formulate cultural strategies on the slopes of the five mountains in the future. seeing this, the hamlet became an organic library and became a workshop in the arts. the practice of artistic life and the way of survival of the hamlet community in preserving their traditions have inspired sutanto mendut to give birth to an event called the five mountains festival. the community also actively participates in supporting the five mountain festivals from year to year. the governance of the five-mountain festival and sutanto mendut as panutan have become essential topics in this study, so they need to be heard. the question is on what basis the community voluntarily became the main subject in organizing the five mountain festival, and in particular, this study put forward the notion that the panutan concept is one of the sources of strength in formulating the governance of the five mountain festival. panutan and governance five mountain festival for decades sutanto mendut has lived with village communities on the slopes of five mountains. sutanto mendut was also actively involved and directly involved in the empowerment of the arts in the five peaks. as a result, sutanto mendut was trusted by the villagers. evidence that can be enjoyed by residents of the hamlet of trust given to sutanto mendut is the recognition of the hamlets on the slopes of five mountains by the wider community. this is thanks to the network owned by sutanto mendut. we can see how the role of garin nugraha, and catharine kati basset (director from france) as sutanto mendut’s network that involved the villagers in the program they organized. garin nugraha, for example, in the film “opera java,” almost entirely included the residents of gejayan hamlet, banyusidi, gunung merbabu in its film production. catharine kati basset (director from france), also included the ngisor hamlet community as the performing cast. catharine made a work whose idea for the show was inspired by william shakespeare, entitled “a midsummer night’s dream.” the story was composed in the hamlet version with the title impen sewengi ing merapi (dream overnight at merapi). the actor of sutanto mendut in involving his network for the benefit of villages in five mountains makes the villagers feel happy, because they have received outside attention. they call this feeling happy with the term remen, rumangsa disapa, digatekake (happy, feel greeted, and get attention). likewise, the mass media that are part of the sutanto mendut network. media crews get news sources, and can even get to know mountain culture. this can be seen from their involvement in certain events, as shown in figure 4, a photo exhibition of a five-mountain community show. sutanto mendut’s network has a significant role to play in the creativity of the five mountains community. villagers increasingly have a good trust in sutanto mendut, making sutanto mendut a panutan. panutan is an actual personal figure, someone who is not only involved and shapes activities, but panutan must have a broad view of the life force of mountain communities. the ability to express idejoko aswoyo, sularso sularso, the concept of panutan in governance festival lima ... 7 as to produce creativity to encourage the vitality of the mountain community becomes an elemental force. panutan are role models used by the community as a source of reference in creating works. panutan contains life value, in the role model profile is attached to expertise, or the mountain community needs people who have specific knowledge and the figure. as a panutan, sutanto mendut can present himself, both physically, emotionally, socially, and culturally in the middle of the five mountains community. the panutan have sufficient experience and ability to understand the village community, such as understanding various kinds of knowledge, potential, and uniqueness of the hamlets, each hamlet, is different. this experience is enough as capital for the community to encourage them to organize a five mountain festival. figure 4. photo exhibition by cultural journalists panutan must understand the concept of sustainability of a festival. the panutan competency that must be possessed is the ability to communicate or exchange ideas with various parties involved in organizing the festival and to have creative thoughts that are full of new ideas. in terms of character, someone who is charismatic and puts forward a cultural mission is very suitable to be a panutan. panutan in five mountain festival governance plays a vital role in opening social networks capable of providing festival support. this support is in the form of show participation and participation as an art connoisseur. by presenting participants and art connoisseurs, efforts to foster the trust and pride of farmers for their artistic activities are formed. the role of panutan is vital in the design of the festival. the panutan provides awareness if the togetherness and emotional ties between lima gunung community members are the main capital of the festival so that the issue of the cost of organizing festival production is not placed as the main problem. the funding and committee are fully delegated to the organizer, especially the lima gunung community members. sutanto mendut, as a panutan, conveyed the idea that the festival of the five mountains can take place sustainably because of a long love affair. according to sutanto mendut, this festival happened because of a spirit that was cohesed by familiarity with the community. the explanation shows that panutan provides space for organizers to get freedom in preparing for the festival. in another context, panutan does not devote much energy to the decision making phase. if the concept of modern performance management is very considerate aspects of financial and human resources, but at the five mountain festival, such considerations are not needed. all members of the lima gunung community have a paradigm if the show can definitely continue or “the show must go on”. this means that even though financial resources are not available, this does not matter, and does not affect the organization of the festival. panutan has given strength in the form of confidence if the social capital of the five mountains community has been freely available as the main capital for organizing the festival. gotong-royong (mutual values) that are still attached to rural communities are the most important social capital. panutan thus has a strong influence on the festival’s governance system, this shows that panutan are the main drivers of the process of forming, growing, and developing the vitality of the lima gunung community. the panutan is so influential in shaping the concept of independence of the festival’s governance system because the community still has a stronghold on traditional village traditions and ethics. harmonia: journal of arts research and education 20 (1) (2020): 1-98 they are very respectful and give great appreciation to community leaders, or smart people who have an important role in traditional life. the village community has a belief that panutan is believed to be the basic mediators in reviving the power of tradition. a panutan is an individual or organic intellectual who understands the various problems of a village community due to emotional or ‘heart’ involvement. conclusions the panutan as organic intellectuals are not only creating 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(2001). can the traditional arts survive, and should they? indonesia, 71(1), 175-185. microsoft word harmonia vol viii no1 2007 harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 perkembangan tari ritual menuju tari pseudoritual di surakarta (the development of ritual dance toward pseudoritual dance in surakarta) moh. hasan bisri staf pengajar jurusan sendratasik fbs universitas negeri semarang abstrak seni tari merupakan cermin dari realitas manusia yang dicoba dikemas lewat "gerak-musikal". kekuatan seni tari terletak pada makna di belakang setiap gerakan yang dipandu dengan alunan iringan musik. realitas alam fisik maupun non fisik ditampilkan seni tari dengan gerakan yang mempunyai arti bagi manusia itu sendiri. sejak jaman prasejarah telah diketahui bahwa tari lahir didasari oleh kegunaannya pada masyarakat jamannya. pada masyarakat primitif sangat dirasakan tari sebagai sarana atau media untuk mencapai suatu kebutuhan, mereka sangat percaya dengan menari akhirnya apa yang diinginkan akan tercapai. tari upacara sebagai media persembahan dan pemujaan terhadap kekuasaan yang lebih tinggi dengan maksud untuk mendapatkan perlindungan, demi keselamatan, kebahagiaan dan kesejahteraan hidup masyarakat. dengan demikian, tari upacara juga disebut tari ritual. pada tari upacara (ritual) faktor keindahan adalah sekunder, yang mengutamakan kekuatan yang dapat mempengaruhi kehidupan manusia sendiri ataupun hal-hal di luar diri manusia. keindahan jiwa manusia itu sendiri dimanifestasikan menjadi bentuk gerak tari. tari dilaksanakan untuk mendapatkan makanan, menghormati orang mati, atau untuk menjamin tertib yang baik dalam kosmos. tarian tersebut dilangsungkan pada kesempatan inisiasi, upacara magis-religius, perkawinan, dan sebagainya. kata kunci : perkembangan, tari ritual, psiuduritual. a. pendahuluan tari ritual merupakan ungkapan jiwa manusia, dijelmakan melalui medium gerak, sebagai sarana hubungan antara pribadi manusia dengan kekuatan-kekuatan gaib melalui upacara ritus. orang jawa kususnya surakarta, baik secara individu maupun secara berkelompok, sejak dahulu hingga sekarang sebagian masih percaya terhadap kekuatan-kekuatan gaib yang bersifat adikodrati/supranatural. orang jawa percaya, berhubungan dengan kekuatan gaib akan mendatangkan keselamatan, ketenteraman, kesejahteraan dan kebahagiaan. menurut pandangan hidup jawa, orang jawa percaya terhadap hubungan yang selaras serasi dan harmonis antara manusia, alam semesta dan tuhan. hidup manusia akan selamat apabila perilaku manusia selaras, serasi dan menyesuaikan hukum yang berasal dari tuhan (suseno, 1996:85). manusia dalam perikehidupanya, selalu terkait dengan lingkungan alam dan masyarakatnya. mereka membentuk kelompok-kelompok, harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 bersatu untuk saling membantudemi mencapai tujuan bersama. masyarakat surakarta, merupakan kelompok masyarakat yang menjujung adat istiadat, budaya warisan leluhur dan seni tradisi/keraton. masyarakat surakarta mengalami perubahan yang relativ cepat sejak tiga dasa warsa terakhir. perubahan suatu masyarakat merupakan keadaan yang pasti terjadi, sebagai konsekuensi perkembangan sosio budaya, baik yang muncul dari dalam maupun yang berasal dari luar. akumulasi dari segenap nilai dengan berbagai bentuk manifestasinya, berupa olah pikir masyarakat, yang diwarisi dari masyarakat sebelumnya, selalu dijaga, dilestarikan dan dikembangkan selaras dengan perjalanan waktu. perubahan yang dapat terjadi adakalanya merubah, menambah dan adakalanya mengembangkan untuk menyesuaikan dengan kebutuhan jamannya. perkembangan yang terjadi adakalanya merupakan suatu tuntutan yang harus dilakukan, dan adakalanya pula dicapai dengan jalan tranformasi, cenderung merubah sebagian, atau sama sekali merubah dari bentuk-bentuk yang dahulu, disesuaikan dengan bentuk sekarang, meskipun sering masih menggunakan tema yang sama. menurut edward shils bahwa budaya tradisi tidaklah dapat berubah dengan sendirinya, terdapat potensi-potensi yang memberikan kesempatan untuk dirubah oleh manusia baik dengan sengaja ataupun tidak, demikian pula perubahannya dapat terjadi baik karena pengaruh yang berasal dari dalam, maupun dari luar. perubahan yang terjadi dapat disebabkan oleh faktor intern maupun oleh faktor ekstern. perubahan suatu masyarkaat yang disebabkan oleh faktor dari dalam disebut endogenous change, yaitu perubahan yang terjadi dalam budaya yang disebabkan oleh faktor dari dalam diri masyarakat sendiri misalnya dilakukan oleh pelakupelaku kebudayaan itu sendiri. perubahan yang berasal dari luar masyarakat pendukungnya disebut exogenous changes, yaitu perubahan kebudayaan yang disebabkan oleh faktor dari luar masyarakat itu sendiri (soedjono, 1997:323). masyarakat surakarta mobilitasnya relatif dinamis, semua terlibat dalam berbagai kegiatan kehidupan masyarakat kota. masyarakat dari kabupaten/kota lain datang ke surakarta sebagian pegawai pemerintah, dan sebagian bekerja di sektor swasta: usaha produksi, berdagang, buruh banguan, buruh pabrik dan menjual jasa, ikut menambah dinamika kehidupan kota surakarta. pembangunan rumah-rumah ibadat, pertokoan, plasa, maal, square, pasar tradisi, pasar seni, shelter perdagangan merupakan salah satu bentuk perkembangan dalam bidang fisik. munculnya berbagai perguruan tinggi baik negeri maupun swata seperti uns. stsi. unisri. utp. aub. uniba, dan lembaga pendidikan lain, besar sekali sumbangannya bagi perkembangan kota di surakarta. solo menjadi modern tanpa meninggalkan jatidiri (solo berseri, tabloid pemkot, ed ii, feb.-maret 2006). perkembangan pertumbuhan penduduk relatif cepat akibat dari harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 urbanisasi ke kota surakarta, hampir setiap tahun pertambahan penduduk surakarta mencapai 5%. di bidang seni budaya, ditetapkannya surakarta menjadi pusat kesenian jawa tengah (pkjt) pada tahun 1970, diperkuat dengan kebijakan tri krida utama kota surakarta yang salah satunya mencanangkan sebagai kota budaya dan pariwisata, menyebabkan perkembangan seni pertunjukan tradisi dan populer, seni modern dan kontemporer, beserta kesenian yang lain, berkembang dengan cepat, menambah pesatnya kemajuan dibidang non fisik. makin bertambahnya penduduk kota, semakin berpengaruh terhadap perkembangan orientasi masyarakat. menurut pengamatan sepintas di surakarta terdapat kelompok otoritas yang berkopenten dalam bidang seni. pertama otoritas keraton melalui yayasan pawiyatan keraton, kedua kelompok otoritas mangkunegaran melalui sanggar tari surya sumirat, ketiga kelompok otoritas lembaga pendidikan seni profesi seperti stsi dan smki, keempat kelompok otoritas pengelola ajang kreatifitas budaya masyarakat jawa tengah yang berpusat di taman budaya surakarta dan masyarakat seniman yang secara individual mendirikan sanggar sebagai pusat pembinaan . hingga sekarang tari untuk kepentingan ritual masih banyak dilakukan di surakarta. tari di keraton kasunanan, dan pura mangkunegaran selalu dikaitkan dengan kekuasan penguasa. tari ritual merupakan sarana untuk melegitimasikan kekuasan raja. tari selalu diciptakan dan disajikan pada peristiwa tertentu yang berhubungan dengan daur hidup manusia. dalam hal ini yang dipentingkan adalah makna tarinya meskipun unsur estetik juga memperoleh perhatian. berdasarkan hal tersebut timbulah masalah yaitu, (1) bagaimanakah perkembangan tari ritual di surakarta?, dan (2) mengapa tari ritual masih sering disajikan pada peristiwa tertentu atau yang berhubungan dengan fasefase perjalanan hidup manusia landasan ritual keagamaan masyarakat jawa khususnya surakarta, adalah sesuai dengan pikiran masyarakat tradisonal yang lain bahwa landasan ritual keagamaan merupakan penyangkalan terhadap kecukupan sufficiency aktivitas non religius. yang ditolak dari kelahiran adalah penciptaaannya, dan kematian adalah keberakhirannya. kedua hal tersebut amat terkait dalam sebuah penyangkalan total terhadap kerangka waktu dari produksi dan reproduksi manusia. sebaliknya melalui drama ritual, diciptakan sebuah tatanan yang abadi dimana kehidupan manusia, kelahiran dan tindakannya bersifat tidak relevan. dalam keyakinan agama hindu tradisional, sebuah imaji diciptakan berdasarkan lingkaran mistik agung, sebuah lingkaran yang tidak dapat diperbandingkan dengan lingkaran biologis kehidupan manusia. lingkaran ini, tidak seperti sejarah manusia, diwujudkan sebagai landasan riel dari kosmos. imajiimaji religius melibatkan upaya mengidentifikasi kehidupan ini dengan kematian dan dekomposisi, dan dunia lain dengan kemenangan atas kematian, karena dunia religius tidak mengenal waktu dan bersifat tetap dalam rentang waktu harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 kehidupan manusia yang tidak berarti. untuk menyampaikan pesan ini, ritual mempermainkan ide kematian dan kelahiran dengan menciptakan imagi kematian yang memberi kehidupan. dunia yang diciptakan oleh ritual sangat samarsamar. ritual tercipta melalui drama, bukan melalui penafsiran. sebagai konsekuensinya, ketika ada teologi profesional berusaha mengorganisasi dan mensistematisasi keyakinan, ide mereka tampaknya sangat berbeda dengan kehidupan sehari hari (geertz 1960). oleh karena itu beberapa ahli antropologi membedakan dua tipe agama yaitu agama rakyat folk religion dan agama teologis resmi offisial theological religion. pesan ritual sangat spesifik tentang apa yang bukan dunia nyata tetapi jauh lebih samar lagi tentang apa sebenarnya dunia itu yang paling penting bagi semua agama adalah deklarasinya tentang pembatasan terhadap tindakan sadar manusia (ensiklopedi ilmu-ilmu sosial,1996: 917) konsep yang demikian ternyata sesuai dengan agama-agama besar di dunia yang diakui syah oleh pemerintah republik indonesia. masyarakat surakarta pada hakikatnya seperti masyarakat jawa pada umumnya atau sebagian besar beragama islam. agama islam merupakan agama terbesar yang dianut oleh masyarakat surakarta, namun intensitas pendalaman agamanya relatif rendah. terdapat berbagai tingkatan kedalaman agama bagi pemeluknya. hal ini terdapat di sebagian masyarakat yang sudah benar-benar mendalami agama islam dan ada juga yang sekedar mengaku islam akan tetapi kurang mengetahui ajarannya. hingga kini kurang lebih tercatat sekitar 42 macam aliran yang berdasarkan islam, dari yang fanatik hingga yang modern dan cenderung agak radikal. golongan yang beragama islam dan taat biasanya disebut santri/putihan sedang yang lain disebut abangan. di samping agama islam sebagai pendukung utama masyarakat surakarta, juga terdapat berberapa penganut agama lain yang pemeluknya relatif sedikit yaitu kristen protestan, kaholik, hindu, budha, kong hu chu. terdapat beberapa tempat ibadah yang khusus bagi setiap pemeluk agama di surakarta. beberapa gereja kristen protestan seperti gereja kristen indonesia di kelurahan manahan, di kelurahan sangkrah, di margoyudan, gereja katholik di.gendengan. pengikut agama kong hu chu memiliki tempat ibadah seperti di jalan honggowongso, di gedung gajah warung pelem, jalan serenan. untuk pengikut agama hindu, budha terdapat tempat peribadatan antara lain di lingkungan kampus uns kentingan. b. metode penelitian ini menggunakan metode deskriptif kualitatif dengan pendekatan filosofis, simbolis, intertekstual dan kontekstual. metode ini merupakan studi yang melukiskan secara verbal objek yang bersifat gejala yaitu tari, yang unsur-unsurnya terdiri dari gerak, tata risa, tata busana, properti dan iringan tari sebagai pendukung dalam rangkaian kegiatan ritual. tari dalam hal ini sebagai sarana dan juga bagian dari ritual. harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 teknik pengambilan data menggunakan observasi, wawancara, dan studi pustaka. langkah penelitian yang dilakuykan adalah sebagai pengambilan data, pengolahan data dan analisis data. analisis data digunakan dengan model analisis interaktif dari miles dan huberman (1984), yang dimulai dari pengambilan data, redusi data, sajian data, dan penarikan kesimpulan. c. hasil penelitian dan pembahasan 1. istana sebagai cikal bakal tari ritual seni tari keraton muncul bersama dengan keberadaan keraton yang menjadi sumbernya. tari tradisi keraton mataram muncul sejak jaman mataram. banyak seni keraton yang diciptakan baik yang berbentuk tari gagah, alus, putrid, tari ritual merupakan tari yang dipergunakan untuk kepentingan ritual yaitu menjadi bagian dari upacara keagamaan keraton. di surakarta beberapa genre tari yang banyak digunakan untuk kepentingan ritual biasanya genre tari putri seperti contohnya bedhaya dan srimpi, sedang genre tari putra adalah tari gagah seperti wireng dan tari alus. dalam perkembangan selanjutnya genre tari putri lebih banyak digunakan untuk kepentingan ritual. terdapat bermacam macam bentuk tarian yang biasanya ditarikan oleh pegawai istana yang mengabdi kepada raja. pegawai istana wanita di samping mengerjakan perintah raja juga membentuk kelengkapan upacara. tari ritual diciptakan untuk mengiringi dan bagian dari upacara itu sendiri. dalam lingkungan gereja, hubungan antara persembahan gereja dengan seni terutama musik dan atau tari merupakan hubungan yang saling melengkapi. (sumandiyo hadi, 2005: 94). dalam lingkungan keagamaan yang lain seni juga memiliki hubungan dengan agama. biasanya seni sebagai alat dakwah. hampir semua tari istana yang diciptakan untuk kepentingan ritual, berhubungan dengan mistik dan simbolis. dalam perkembanganya setelah paku buwana x., seni tari ritual juga digunakan untuk kepentingan lain, seni tari ritual relatif berkembang menjadi semacam hiburan yang disajikan hampir setiap bulan. pb x sendiri memiliki penari bedhaya lebih dari seratus orang yang terbagai dalam tiga kelompok. kelompok pertama yang memiliki tingkat paling tinggi adalah tari bedhaya dodotan, kedua bedhaya pinjungan clan yang paling rendah tari bedhaya sabuk wala. hal itu ditandai dengan gaji yang diperoleh setiap bulan relatif paling tinggi yaitu tiga kali lipat dibanding dengan penghasilan yang diperoleh dari penari bedhaya sabuk wala dan dua kali lipat dibanding bedhaya pinjungan (nora, 2006). tari ritual telah berubah atau berkembang ke arah pseudoritual yang dapat diartikan sebagai tari ritual semu, samar-samar bahkan juga tidak nyata ritual. penghargaan untuk bedhaya dodotan di dalam lingkungan keraton paling tinggi jika dibandingkan dengan tari bedhaya yang lain, yaitu kurang lebih lima harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 kali lipat jika dibanding dengan bedhaya sabuk wala dan 2 hingga tiga kali dibanding dengan bedhaya pinjungan. menurut soedarsono ciri tari ritual yang masih murni di antaranya adalah 1) waktu pertunjukan diselengggarakan pada saat yang terpilih, 2). pada saat disajikan sultan atau penguasa wilayah duduk menghadap ketimur menghadap matahari sebagai simbol wisnu, 3). doa-doa selalu diucapkan pada setiap akhir pertunjukan (soedarsono, 1990: 177). dalam tari bedhaya yang masih clan digunakan untuk kepentingan ritual memiliki sifat-sifat di antaranya adalah; 1). ditarikan oleh penari yang terpilih, 2). waktu pertunjukan pada hari had tertentu bersamaan dengan peristiwa sakral, 3). selalu dilakukan doa-doa, 4). tersedianya sesaji untuk menghormat ratu kidul. setelah pb x.seni tari ritual berubah oleh karena perubahan cara pandang masyarakat keraton pada saat itu. mulai pb x. keturunan raja surakarta sudah bukan suami nyai rara kidul, akan tetapi sudah menjadi putera atau seorang anak (nora, 2006). tari ritual yang disajikan kemudian tidak lagi besifat ritual murni akan tetapi menjadi ritual semu dan adakalanya berbeda sama sekali dengan makna tari ritual. 'tari ritual jenis ini misalnya tari bedhaya untuk menghibur para tamu pada suatu acara pesta yang diselenggarakan oleh kerabat keraton. seni tari ritual yang kemudian berkembang diluar keraton menjadi pseudoritual yang kadangkadang dapat ditafsirkan sebagai seni ritual, kadang-kadang juga untuk ceremoni atau bahkan sebagai hiburan. beberapa penari bedhaya pada jaman sunan pakubuwana x seperti contohnya laksmintorukmi yang semula bernama sumiyatun adalah salah satu dari sekian banyak penari bedhaya yang berasal dari kalangan rakyat biasa. penari bedhaya pada jaman sunan pakubuwna x lebih dari seratus orang dan mereka adalah pegawai istana. di samping menjadi pegawai istana, mereka juga penari yang setiap hari belajar menari bedhaya. dari beberapa penari bedhaya yang dipandang bagus diambil isteri raja atau isteri punggawa yang lain. relatif banyak penari bedhaya yang berasal dari luar keraton, bahkan menurut lakmintorukmi sebenarnya penari bedhaya itu dipersiapkan untuk menjadi pendamping raja di pelaminan. masyarakat dengan sukarela dan senang hati jika mendapat kehormatn untuk menjadi penari bedhaya, bahkan menjadi cita-cita untuk menjadi penari bedhaya, oleh karena itu mereka mengganggap penari bedhaya itu mempunyai derajat yang paling tinggi dan sangat dihormati di tengah masyarakatnya. tari ritual keraton surakrta hingga kini masih dipandang sebagai cikal bakal tari ritual yang lain yang hidup di tengah masyarakat surakarta. tari ritual yang ada biasanya dipengaruhi oleh bentuk tari ritual dari keraton. tari-tarian ritual telah menjadi pseudoritual. tari tarian pseudoritual banyak diciptakan oleh para seniman yang berasal dari masyarakat di luar keraton yang bekerja pada instansiintansi pemerintah atau lembaga harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 pendidikan seperti di smp negeri, smki dan stsuisi surakarta. biasanya tarian pseudoritual diciptakan berkaitan dengan peristiwa yang dianggap penting oleh lembaga. penciptanya biasanya juga oleh seniman akademis dan atau seniman profesional dibantu oleh beberapa orang penari atau seniman tari dalam penyajiaannya. 2. ragam bentuk tari tradisi seni tari adalah seni menggerakan tubuh secara berirama, biasanya sejalan dengan musik. gerakan-gerakan itu dapat sekedar untuk dinikmati sendiri, pengucapan sesuatu gagasan atau emosi, atau penceritaan suatu kisah, dapat pula digunakan untuk mencapai keadaan semacam trance atau tak sadar bagi yang menarikannya. di surakarta terdapat berbagai ragam bentuk seni tari yang hidup dan berkembang hingga sekarang. seni tari yang paling banyak diminati masyarakat adalah seni tari yang berasal dari keraton. seni tari yang berasal dari keraton sering disebut seni tari tradisi, sering juga dikenal tari klasik, seni yang adi luhung. disamping seni tari tradisi, ada juga seni tari yang berasal rakyat atau masyarakat pada umumnya, seni ini sering dikenal tari rakyat. seni ini disajikan ditengah masyarakat, dan keberlangsugan hidupnya tergantung oleh masyarakat pendukung di sekitarnya. tarian rakyat dan seni tradisi menurut clara braskel papenhuyzen tidak terdapat pembedaan yang tegas. banyak tarian yang dimainkan di keraton di jawa yang berasal dari tari-tari rakyat untuk upacara desa, dan banyak penari keraton pun lahir dan belajar di desa, sebelum mereka mengabdi di istana (1991:28 ). seni tradisi menjadi bagian dari upacara kenegaraan yang bersifat ritual. hampir semua kesenian produk keraton biasanya diciptakan untuk kepentingan ritual sehingga seni keraton bersifat mistis. seni merupakan bagian dari upacara religi. seni tari ritual keraton lambat laun mengalarni perubahan fungsi seiring dengan perubahan keraton sendiri. dahulu keraton sebagai pusat pemerintahan dan kebudayaan sehingga semua yang berasal dari keraton selalu diikuti oleh masyarakat pendukungnya. kondisi keraton kemudian berubah, keraton bukan lagi menjadi pusat pemerintahan, menjadi semacam keluarga besar yang memelihara budaya tradisi. keraton telah kehilangan pengaruhnya pada masyarakat. raja tidak lagi menjadi raja binatara, raja tidak lagi menjadi penguasa, raja sekarang relatif sbagai pemangku adat dan budaya. masyarkat meniru seni tari keraton seolah-olah seperti tari keraton dahulu pada jaman republik indonesia belum merdeka yan bersifat ritual akan tetapi sudah dalam kondisi yang berbeda. kondisi masyarkat lebih maju, rasional dan demokratis sehingga bentuk seni tarinya pun juga berbeda. fungsi tari sekarang berubah sesuai dengan kebutuhan masyarakat di surakarta sendiri tumbuh dua konsep budaya yang didukung oleh dua keluarga besar keraton yaitu kasunanan dan mangkunegaraan. dahulu mangkunegaran merupakan sebagian dari wilayah kasunanan, akan tetapi setelah perjanjian harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 giyanti pengaruh mangkunegaraan mulai terasa. pecahnya kasunanan menjadi kasunanan di surakarta clan kasultanan di yogyakarta memacu usaha perpecahan dan munculah mangkunegaran. daerah mangkunegaran merupakan daerah kadipaten yang otonom dipimpin oleh seorang adipati yang merdeka lepas dari pengaruh kasunanan dan menyelenggarakan adat dan budayanya sendiri. patokan seni tari di istana mangkunegaran dengan ilustrasi gambar pose gerak dari salah seorang tokoh dicantumkan untuk lebih memperjelas maksud dari pelestari seni. jika dibandingkan dengan tari gaya kasunanan maka seni tari gaya mangkunegaran lebih mendekati pada seni rakyat. seni tari gaya mangkunegaran lebih banyak menerima masukan dan perubahan dari lingkungan masyarakat sehingga lebih cepat berkembang. seni tari gaya mangkunegaran sering disajikan untuk hiburan para tamu clan untuk menarik wisatawan (jazuli, 2002) dalam kegiatan yang berhubungan dengan upacara ritual dan kegiatan lain, seni tari selalu disajikan dan melibatkan banyak tamu undangan, sehingga kesan yang diperoleh merupakan hiburan bagi kalangan tertentu sekalipun kegiatan yang dilakukan adalah upacara ritual. seni tari yang semula ritual berubah menjadi pseudoritual atau juga sering disebut ritual semu. 3. fungsi dan makna tari ritual tari sering memainkan peranan penting didalam peristiwa ritual melalui makna hubungan yang luas dalam komunikasi dengan kenyataan gaib. di surakarta tari ritual dan pseudoritual masih sering disajikan pada kegiatan penting seperti upacara wisuda, mendapatkan peningkatan status, pembukaan gedung baru atau bangunan penting lainnya. dapat juga tari ritual disajikan jika seseorang/lembaga akan memulai suatu kegiatan yang besar dan juga pada acara tertentu yang jika dilakukan akan mendatangkan keselamatan, kebahagian dan kesenangan. tari ritual sepanjang masih dipercaya memberikan berkah, akan tetap lestari. tari ritual dan pseudoritual akan selalu dipelihara, dikembangkan oleh masyarakat pendukungnya. ini berarti tari ritual bermakna dalam kehidupan manusia. dengan kata lain, tari ritual clan pseudoritual akan tetap disajikan pada peringatan atau upacara yang bersifat keagamaan jika berfungsi bagi pendukungnya. pendukung seni ritual dapat berupa lembaga-lembaga clan dapat pula berupa individu yang memiliki kemampuan untuk mengadaptasi semua seni yang disajikan. pengertian fungsi lembaga itu sendiri terdapat dua macam yaitu fungsi manifes clan fungsi laten. fungsi manifes adalah fungsi yang jelas, diakui dan biasanya dipuji. fungsi yang oleh banyak orang dipandang dan diharapkan akan dipenuhi oleh lembaga itu sendiri ( horton, 1993: 251). fungsi laten adalah konsekuensi lembaga yang tidak dikehendaki dan tidak dapat diramalkan. adakalanya fungsi laten justru menjadi penghambat atau dapat disebut harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 disfungsi laten karena cenderung meruntuhkan lembaga atau merintangi terhadap tujuan yang ingin dicapai dalam fungsi manifes (1993:252). seni tari ritual sebagai karya cipta mempunyai fungsi bagi seniman pencipta maupun penghayatnya. tari ritual sebagai bagian dari seni memiliki banyak fungsi disamping fungsi ritual. teori tentang fungsi unsur-unsur kebudayaan dari malinoswski dalam bukunya koetjaraningrat, menyebutkan bahwa segala bentuk aktivitas kebudayaan sebenarnya bermaksud untuk memuaskan suatu rangkaian dari sejurnlah kebutuhan naluri manusia yang berhubungan dengan seluruh kehidupannya, seperti kesenian, terjadi karena pada awalnya manusia ingin memuaskan kebutuhan nalurinya akan keindahan (koetjaraningrat 1980:171). kurath dalam artikelnya yang berj udul panorama of danced ethnology (kurath, 1960) secara rinci menyebutkan terdapat 14 fungsi tari dalam kehidupan manusia. fungsi tari itu adalah; 1) untuk inisiasi kedewasaan; 2) percintaan; 3) persahabatan; 4) perkawinan; 5) pekerjaan; 6) pertanian; 7) perbintangan; 8) perburuan; 9) menirukan binatang; 10) menirukan perang; 11) penyembuhan; 12) kernatian; 13) kerasukan; 14) lawakan (soedarsono, 2002:121). menurut soedarsono sendiri fungsi seni tari itu meliputi; 1) seni sebagai sarana ritual; 2) seni sebagai hiburan pribadi dan ; 3) seni sebagai presentasi estetis (soedarsono, 2002: 122-123). pada pertunjukan seni ritual penikmatnya adalah para penguasa dunia atas dan dunia bawah, sedangkan manusia sendiri lebih mementingkan tujuan dari upacara itu sendiri. seni tari ritual merupakan bagian dari upacara itu sendiri, manusia terlibat di dalamnya. tari ritual di surakarta sejak dahulu hingga kini masih dipertahankan oleh sebagian masyarakat, meskipun pola berpikir masyarakat sudah maju. tingkat kehidupan budaya masyarakat surakarta telah berkembang. menurut c.a. van peursen terdapat tiga fase perkembangan budaya masyarakat yaitu; pertama tingkat mitologis, kedua tingkat ontologis dan ketiga tingkat fungsional (peursen, 1976: l8). alam berpikir mitologis, sebagian masyarakat masih termasuk berkebudayaan mistis yaitu pecaya kepada kekuatan gaib. mitos adalah sebuah ceritera yang memberikan pedoman dan arah tertentu kepada seklompok orang. inti ceritera itu adalah lambang-lambang yang mencetuskan pengalaman manusia purba. lambang-lambang kebaikan, kejahatan, hidup dan kematian, dosa dan pensucian, perkawinan dan kesuburan, firdaus dan kernatian. fungsi mitos adalah pertama menyadarkan manusia bahwa ada kekuatan kekuatan gaib/ajaib. mitos tidak memberikan bahan informasi mengenai kekuatankekuatan itu, tetapi membantu manusia agar dapat menghayati dayadaya itu sebagai sesuatu kekuatan yang mempengaruhi dan menguasai alam dan kehidupan sukunya. kedua mitos berkaitan erat dengan jaminan bagi kehidupan masa kini (peursen, 1976: 39). alam berpikir ontologis sebagian masyarakat lagi sudah mengambil jarak antara dirinya dengan alam sekelilingnya. alam berpikir fungsional, memandang harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 segala bentuk budaya ditafsirkan sesuai dengan fungsinya. dalam berpikir yang funsionail sebagian besar lagi pada tingkat ontologi yaitu mereka memiliki pikiran yang mengambil jarak antara obyek dengan subyeknya (peursen, 1976: 55). perkembangan seni tari ritual ternyata juga dipengaruhi oleh orientasi masyarakat terhadap obyek yang dihadapinya. seni tari ritual di surakarta sekarang telah mengalami tranformasi, yaitu perubahan yang kadang bersifat sebagian, adakalanya seluruhnya dan mungkin juga bersifat sebaliknya. berbagai ragam seni tari ritual keraton yang berkembang di luar istana di surakarta, telah mengalami penafsiran yang baru. penafsiran itu berjalan sesuai dengan kepercayaan masyarakat terhadap makna tari itu bagi pendukungya. perkembangan tari ritual di surakarta hingga sekarang sudah pasti terjadi. seni tari ritual untuk kepentingan seremonial kadang mengurangi kesan ritual. perubahan juga dapat terjadi yaitu semula seni tari ritual menjadi pseudoritual, hal itu disebabkan tuntutan terhadap kebutuhan akan hayatan manusia. seni tari ritual mengalami profanisasi. perubahan dapat disebabkan oleh dua faktor yaitu faktor dari dalam yang juga disebut faktor intern dan faktor yang berasal dari luar yang disebut faktor ekstern. faktor yang berasal dari dalam dinamakan faktor endogenous change sedang faktor dari luar disebut exogenous change. faktor perubahan yang berasal dari dalam antara lain; 1) perubahan makna tradisi; 2) perubahan tujuan fungsi; 3) perubahan bentuk secara parsial maupun keseluruhan; 4) perubahan sistematika atau susunan tahapan; 5) perubahan identitas atau kenyataan diri. di samping beberapa macam itu terdapat varian yang saling mempengaruhi, sehingga terjadi perubahan. perubahan juga berasal dari luar atau exogenous. perubahan ini misalnya akibat dari pengaruh suatu aliran agama misalnya islam, tekhnologi, pemerintah setempat melalui dinas pariwisata dan faktor sejenis lainnya (soedjono, 1997: 324). menurut sorokin perubahan itu terjadi oleh karena pengaruh dari faktor internal yang ada didalam sistem itu sendiri. dengan kata lain berasal dari luar sistem itu sendiri (koentjaningrat, 1980). tari ritual di surakarta mengalami perubahan baik kualitas maupun kuantitasnya. perubahan kualitas berupa penggarapan gerak yang lebih rumit, multi tafsir dan memiliki pesan yang lebih mendalam. perubahan kuantitas berupa munculnya berbagi kreatifitas tari ritual yang setiap saat berubah sesuai dengan tuntutan situasi. 4. tari tradisi ciptaan baru kreatifitas seniman mulai berkembang pesat setelah berdirinya lembaga pendidikan formal di surakarta, yaitu smki dan aski. surakarta. pada tari tradisi ciptaan baru, pengertian baru dalam penciptaan ini yang dimaksud adalah munculnya karya cipta yang memiliki konsep baru yang relatif berbeda dengan konsep sebelumnya. ujud karya tari ciptaan baru bukan berarti baru sama sekali dalam arti, vokabuler gerak, irama, iringan dan tata busananya, yang lain dari sebelumnya. tari ciptaan baru, vokabuler gerak, masih tetap harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 menggunakan gerak yang lama, tata rias dan tatabusana juga menggunakan pola yang lama. baru dalam penciptaan adalah baru dalam arti makna dan konsep, yang melatar belakangi penciptaannya. kehadiran ciptaan baru sangat dibutuhkan demi pelestarian seni tari sendiri. a. beberapa tari psiudoritual sebuah tari ritual yang diciptakan dapat saja memiliki kesan bukan ritual bagi sesuatu kalangan tertentu, akan tetapi dalam tari ritual terdapat perkembangan baru yang relatif dapat dikatakan ritual clan sekaligus non ritual atau ritual semu, dalam istilah kusus disebut pseudoritual. kebutuhan masyarakat dalam pergaulan hidup, kebutuhan akan hayatan dan perbedaan kepentingan mempunyai pengaruh yang kuat dalam penciptaan tari ritual yang baru. menurut peursen perkembangan kebudayaan itu melalui tiga tahap. tahap pertama adalah tahap mitologis, tahap kedua tahap ontologis dan tahap ketiga adalah tahap fungsional (peursen, 1976: 18). bagi masyarakat jawa kususnya masyarakat surakarta, ketiga tahap perkembangan itu relatif bercampur aduk. jika dahulu sebelum proklamasi kemerdekaan republik indonesia masyarakat surakarta lebih banyak memiliki konsep berfikir yang mistik artinya selalu mendekatkan diri dan berhubungan dengan kekuatan gaib, pandangan itu lebih mendekati banyak kebenaranya. hal itu didukung oleh kepercayaan jawa yang masih dekat dengan dahyang yang baurekso pada suatu daerah tertentu yang dipercaya akan memberikan keselamatan jika manusia memberikan sesaji untuknya. dewasa ini setelah awal abab 21 masyarakat jawa sudah relatif maju dan sebagian masih tradisional. sebagian masih ada yang bersifat mistik dan sebagian lain masih percaya pada tahayul. hal itu dapat dilihat pada acara selamatan yang banyak dilasanakan di tengah masyarakat. acara perkawinan juga biasanya masih disertai dengan sesaji dan doa-doa, mantera gaib. adakalanya masyarakat jawa meskipun sudah menganut agama tertentu akan tetapi perilakunya masih agak berbahu mistik seperti selamatan dalam rangka maulid dan yang selalu disuguhkan sesaji pada suatu sudut ruangan didalam dan diluar pendapa atau rumah milik kerabat keraton. masyarakat surakarta merupakan singkretisme antara pengikut budaya hindu, budha dengan islam, sehingga hingga kini masih banyak perilaku yang menggabungkan kedua aliran agama itu (erawati, 1983:113). pada penciptaan tari yang bersifat ritual pengaruh kepercayaan itu masih terasa. karya tari yang lahir biasanya diilhami dengan peristiwa gaib dan berhubungan dengan daur kehidupan manusia. di surakarta penciptaan tari, dilakukan olch para seniman dalam lingkungan pendidikan formal dan untuk kepentingan tertentu misalnya untuk mengiringi dalam rangka hajad penganten. b. tari karonsih tari karonsih clan diciptakan oleh s. maridi salah seorang anggota masyarakat harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 surakarta yang berprofesi menjadi guru pada salah satu sekolah menengah pertama di surakarta. tari karonsih dipesan atas keinginan keluarga besar kerabat mangkunegaran yang bedomisili di kalitan. tari karonsih semula akan diberi nama tari lironsih oleh penciptanya, akan tetapi oleh pemesanya diberi nama karonsih. tari karonsih diciptakan pada tahun 1970. ide garapan tari karonsih diangkat dari salah satu ceritera panji yaitu panji inu kertapati raja kediri yang berpasangan dengan galuh candrakirana. isi cerita panji dituangkan dalam berbagai ragam bentuk gerak yang berisi ajaran/tuntunan dalam menghadapi hidup berkeluarga baru. tari karonsih ternyata banyak memikat para seniman dan anggota masyarakat di surakarta sehingga menjadi terkenal. tari karonsih kemudian diajarkan pada lembanga pendidikan tinggi seni yaitu aski. yang kemudian berkembang menjadi stsi dan sekarang menjadi isi surakarta. pada tahun 1975/76 tari karonsih mendapat sentuhan garap dari para seniman dari aski surakarta ketika itu. oleh wahyu santosa p, dan kawan-kawan, gerak tari karonsih diperhalus/dibesut ditambah dengan uran-uran, geraknya menjadi seperti gerak tari yang dipengaruhi oleh garap tari bedhayan, tata rias dan tata busananya berubah yang semula seperti wayang gedog, berubah menjadi penutup kepala menggunakan blangkon mataram atau menggunakan mondolan, diatas mondolan adakalanya diletakan hiasan seperti sisir atau dadap, menggunakan kalung panjang. tatarias menjadi diperhalus atau seperti tokoh bambangan alus, kain juga tidak menentu adakalanya dengan motif parang, tetapi bisa juga motif lain. perkembangan tari karonsih dapat menyebar ke penjuru wilayah jawa tengah, jogja dan dki (daerah khusus ibukota) serta jawa timur. faktor yang mendukung meluasnya tari karonsih, antara lain : 1) seringnya dipentaskan pada acara-acara resepsi perkawinan. 2) sering ditayangkan lewat televisi, baik stasiun jogjakarta maupun surabaya 3) diberikan sebagai materi kuliah di akademi seni karawitan indonesia (aski) 4) surakarta tahun 1977-1980, di mana mahasiswa berasal dari berbagai daerah 5) terutama pulau jawa. 6) digunakan sebagai materi penyajian paket di stsi (sekolah tinggi seni 7) indonesia) surakarta sejak tahun 1988 sampai sekarang. 8) beredarnya kaset-kaset iringan tari karonsih yang dijual di tokotoko kaset 9) terutama di kota. wujud tari karonsih telah mengalami perkembangan baik mengenai iringan, vokabuler sekaran maupun rias dan busana. c. tari lambangsih tari lambangsih, diciptakan pada tahun 1973 atas permintaan keluarga besar keraton surakarta yaitu yosodipuro. tari lambangsih ditarikan pertamakali untuk mengiringi hajad perkawinan salah seorang abdidalem panji. jika tari harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 karonsih diminta keluarga mangkunegaran maka tari lambangsih diminta oleh kerabat kasunanan. tari lambangsih ide garapan berasal dari angan-angan pencipta yang diilhami oleh cerita wayang yaitu percintaan kumajaya dan kumaratih. dalam dunia pewayangan, kumajaya dan kumaratih adalah dewa clan dewi asmara yang berada di khayangan suralaya. tari lambangsih juga pernah mengalami perubahan pada tahun 1993. oleh pencitanya sendiri (s maridi), perubahan itu dibuat untuk menyesuaikan dengan kondisi clan demi pelestarian seni tari itu sendiri agar tetap diminati oleh masyarakat. perubahan itu terjadi baik pada gerak, tata rias maupun dalam tata busananya. tari lambangsih merupakan bentuk tari berpasangan yang melambangkan cinta kasih dua orang berlainan jenis. tari lambangsih sebagai salah satu tari untuk kepentingan ritual perkawinan. tari berbentuk pasihan, di antara seorang lelaki dengan seorang perempuan yang menggambarkan percintaan. tari lambangsih sarat dengan nasehat, tergambar dalam koreografi yang ditata sedemikian rupa. kesan yang muncul dalam tarian, memberikan nasehat yang diharapkan dapat diserap sebagai petuah yang berisi pendidikan kepada penganten disamping sebagai hiburan bagi hadirin. pesan yang diungkapkan dalam tarian lambangsih dapat ditangkap oleh semua orang dengan kedalaman arti yang berbeda tergantung kecerdasan estetika penikmat seni. tari lambangsih dalam upacara pemikahan adat jawa merupakan makna simbolik kehidupan rumah tangga, dari proses manusia muda hingga memasuki gerbang rumah tangga dengan segala permasalahannya. penggarapan koreografi tari lambangsih, diciptakan atas anjuran yasadipura, ide muncul dari permasalahan dalam rumah tangga. tari lambangsih menggambarkan beberapa suasana di antaranya: suasana keceriaan yang diwujudkan dalam sekar macapat dan dhandanggula, rasa cinta kasih diwujudkan pada ketawang tumadhah, suasana konflik diwujudkan pada pathetan kemuda, suasana manembah diwujudkan pada gendhing ketawang gandamastuti, clan suasana keceriaan menuju pada keharmonisan diwujudkan dalam gendhing ketawang ilir-ilir. gendhing kodok ngorek adalah merupakan penggambaran tujuan utama dari perkawinan yaitu untuk memperoleh keturunan (anak). koreografi yang mencerminkan suasana kehidupan dari sejak masih muda hingga memasuki bahtera kehidupan diwujudkan melalui gendhing clan sekaran tari lambangsih. d. tari sesaji kreativitas seniman stsu/si surakarta relatif maju dan menjadi tolok ukur bagi penciptaan seni ditengah masyarakat. setiap tahun tercipta beberapa bentuk tari baik yang berupa tari ritual hingga yang pseudoritual. setiap dies natalis dan wisuda, selalu dicitpakan tari yang baru. dua tahun terakhir yaitu tahun 2005 dan 2006, tari sesaji sering dipentaskan. pada tahun 2006, dipentaskan tari sesaji dengan harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 beberapa bentuk gerak yang relatif baru. pada bulan juli dipentaskan tari sesaji untuk memperingati dies natalis stsi. surakarta yang ke 62 dengan busana berbentuk dodotan alit. pada peresmian isi pada bulan september dipentaskan tari sesaji kusus, dengan dodotan dan tata rias dan busana yang menggunakan warna almamater (dominasi warna ungu/nila). pada pengukuhan guru besar waridi pada bulan nopember 2006 dipentaskan tari sesaji yang mempunyai nuansa yang lain, dan juga pada pengukuhan guru besar sri hastanto bulan nopember 2006 juga disajikan tari sesaji yang diciptakan secara kusus. menurut hegel karya seni adalah penjelmaan dari pencitanya pola perilaku seniman berubah menurut keadan dan situasi, demikian juga karya seni akan mati sesudah selesai diciptakan. oleh karena itu seni tari ritual juga akan mati setelah karya itu diciptakan. sekalipun terdapat kemiripan, maka karya tari ritual sifatnya selalu baru dan tercipta terus menerus. d. simpulan tari ritual merupakan sebuah bentuk tarian yang berhubungan dengan ritus, yaitu tata cara dalam upacara keagamaan. kepercayaan terhadap kekuatan gaib/adikodrati, sering diwujudkan dengan berbagai cara misalnya menggunakan sesaji, pengucapan doa-doa, menyajikan lagu-lagu sakraldan dengan taritarian. pengertian ritual di sini lebih bersifat suci dan keramat. tari ritual sering disajikan pada peristiwa peringatan atau upacara yang bersifat keagamaan jika berfungsi bagi pendukungnya, pendukung tari ritual dapat berupa lembaga-lembaga formal pemerintahan, kelompok masyarakat, dan dapat pula berupa individu yang memiliki kemampuan untuk mengadaptasi semua seni yang disaj ikan. perkembangan tari ritual dipengaruhi oleh orientasi masyarakat terhadap obyek yang dihadapi. di surakarta tari ritual telah mengalami transformasi, yaitu perubahan yang kadang bersifat sebagian, adakalanya seluruhnya, dan bahkan bersifat sebaliknya. perubahan dapat disebabkan oleh factor intern dan factor ekstem. tari ritual di surakarta berlula dari keraton dan kemudian berkembang di masyarakat luas luar kraton. sebuah tari ritual yang diciptakan dapat saja memiliki kesan bukan ritual bagi sesuatu kalangan tertentu, akan tetapi dalam tari ritual terdapat perkembangan baru yang relatif dapat dikatakan ritual dan sekaligus non ritual atau ritual semu, dalam istilah kusus disebut pseudoritual. kebutuhan masyarakat dalam pergaulan hidup, kebutuhan akan hayatan dan perbedaan kepentingan mempunyai pengaruh yang kuat dalam penciptaan tari ritual yang baru. daftar pustaka ahimsa, heddy shri., 2000. ketika orang jawa nyeni. yogyakarta: galang press. adshead, janet., (ed.) 1988. dance analysis. london: cecil court. amin, darori., (ed). 2002. islam dan kebudayaan jawa. yogyakarta: gama media. askari, hasan., 2003. lintas iman: dialog spiritual. yogyakarta: lkis. bagus, harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 dillistone, f.w.,2002.the power of symbols (terjemahan). yogyakarta: kanisius. endraswara, suwardi., 2003. mistik kejawen. jogjakarta: narasi. 2003. metodologi penelitian kebudayaan. yogyakarta: gajah mada university press. ………1996. ensiklopedi llmu-ilmu sosial eliade, mercea., 2002. mitos gerak kembali yang abadi (terjemahan). yogyakarta: lkonteralitera. geertz, clifford [1960] 1989. abangan santri priyayi dalam masyarakat jawa. jakarta: pustaka jaya hadi, sumandyo, 2005. sosiologi tari. yogyakarta: pustaka pelajar hamersma, harry., 1983. tokohtokoh filsafat barat modern. jakarta: pt gramedia. hidajat, robby., 2003. mozaik koreografi. malang: gantar gumelar. kaplan, david., 2002. teori budaya (terjemahan). yogyakarta: pustaka pelajar. koentjaraningrat, 1975.manusia dan kebudayaan di indonesia. jakarta: jambatan. ………1994. kebudayaan jawa. jakarta: balai pustaka. koesbyanto, j.a., dhanu., 2003. memahami realitas hidup apa adanya. jakarta: obor. papenhuyzen, clara b., 1991 peursen, van c.a., 1988. strategi kebudayaan. yogyakarta: kanisius. piliang, yasraf amir., 1999. hiperrealitas kebudayaan. yogyakarta: lkis. rustopo, (editor), 1991, gendhon humardani, pemikiran dan kritiknya. surakarta: stsi press. ritser, george., 2003, teori sosial posmodern, (penerjemah m. taufik), yogyakarta: kreasi wacana. schechner, richard, 1993. the future of ritual: writing on culture and performance. new york: routladge. supartha, ign., dkk., 1981. pengantar pengetahuan tari. jakarta: proyek dikdasmen. soedarsono, rm., 1978. pengantar pengetahuan dan komposisi tari. (diktat). yogyakarta: asti. sususeno, magnis f., 1999. etika jawa. jakarta: pt gramedia pustaka utama pals, daniel l., 2001. seven theories of religion (terjemahan). yogyakarta: qalam turner,victor., 1982. from ritual to theater. new york: paj publication. 1986. the antropology of performance. new york: paj publication. nara sumber: 1. nora konstantina dewi maret 2006. dosen tari di stsi surakarta, penata tari, penari surakarta 2. wahyu santoso prabowo mei 2006. dosen tari di stsi surakarta, penata tari, penari surakarta komponen-komponen dalam budaya-musik harmonia edisi khhusus.pdf makna simbolik dan ekspresi musik kotekan siti aesijah abstrak musik kotekan adalah sebuah permainan instrumen musik tradisional kerakyatan yang hidup di desa ledok kabupaten blora jawa tengah yang memiliki keunikan. kesenian ini sudah hampir punah di kabupaten blora, dan hanya terdapat di desa ledok. banyak palsafah hidup yang bisa ditarik dalam permainan musik kotekan ini. pendekatan yang digunakan adalah kualitatif deskriptif. teknik pengumpulan data dengan studi pustaka, observasi , wawancara dan dokumentasi. teknik analisis data dengan analisis interktif dari milles dan hubermann. hasil penelitian ini menunjukkan bahwa musik kotekan memiki bentuk penyajian yang sangat sederhana yang meliputi: 1) alat yang digunakan alu dan lesung, 2) unsur musik ; permainan pola ritmik yang saling mengisi dan pemain tunggo omah pengatur birama, duduk tengah, duduk wingking, kempyang dan tirir, 3) bentuk penyajian dengan peralatan dan pakaian yang digunakan ibu tani dalam mengolah hasil panen. 4) makna simbolik kehidupan para petani antara kaum lelaki dan perempuan, 4)ekspresi estetik pada poli ritmik, 5) nilai pendidikan yang terkandung yaitu kesatuan dalam keberagaman-konsetrasi dan tenggang rasa. berdasarkan hasil penelitian, saran yang disampaikan adalah musik kotekan perlu dikemas kembali baik dari segi musikalitas maupun penampilan agar menjadi lebih menarik dan memiliki nilai jual tinggi, perlu dilestarikan dan diwariskan kepada generasi berikutnya. kata kunci: musik kotekan/lesung, makna simbolik, ekspresi estetik a. latar belakang permainnan musik ini berawal dari kejenuhan para ibu-ibu tani dalam mengolah hasil pertanian mereka. kegiatan ini biasanya dilakukan pada malam menjelang pagi hari, siang setelah aktifitas kegiatan di sawah maupun rumah tangga selesai , sore ataupun malam hari. musik yang digunakan sebagai selingan untuk mengusir rasa lelah dan ngantuk pada saat mengolah padi tersebut, dimainkan antara 2 sampai 10 orang. permainan musik ini berpasangan (jika menggunakan lumpang maka satu lumpang hanya 2 orang, sedang jika menggunakan lesung maka dapat dimainkan oleh 4 sampai 10 orang tergantung panjang lesung). permainan lesung/kotekan pada saat ini telah jarang terdengar. baik di desa apalagi di kota. jika kita bertanya pada masyarakat tentang musik lesung/ kotekan ada sebagian yang tahu tetapi lebih banyak yang tidak tahu. keberadaan musik tradisi ini hampir punah. musik tradisional pada saat ini makin hari makin menyusut, kepunahan seni musik tradisi dalam era transformasi budaya dari – masyarakat agraris ke semi industrialterutama akibat minimnya kesempatan genre ini untuk eksis menjadi bagian yang dulu seolah tak terpisahkan dari masyarakat pendukungnya (bramantyo, 2000 : 103) musik tradisional yang dulu merupakan kebanggaan bagi masyarakatnya, kini mulai ditinggalkan. penggemar musik tradisional sebagian besar dari kalangan generasi tua, yang menikmati dan bernostalgia dengan masa lalunya. pada tahun 1985 (depdikbud, 1985) telah melakukan penelitian dan pencatatan di beberapa daerah di indonesia,menemukan beragam musik lesung yaitu; di jawa tengah dan jawa timur dengan nama kotekan, di aceh dengan nama ale tunjang, di kalimantan barat dengan nama alu’ galing dan di nusa tenggara barat dengan nama kareku kandei dan kareku necu. keberadaan musik lesung/kotekan yang hanya dikenal sebagian masyarakat ini perlu disosialisasikan, ada pepatah mengatakan ‘ tak kenal maka tak sayang’ ini mungkin juga terjadi pada musik lesung/kotekan. masyarakat tidak mengenaltidak mengerti makna simbolik di dalam kesenian tersebut sehingga mereka tidak tertarik. seni sebagai alat ungkap manusia atas segala kejadian yang di alami, demikian pula para petani dapat mengungkap perasaannya lewat seni. selanjutnya ada pemikiran bramantyo (2000) yang menawarkan dalam menghidupkan dan mengembangkan musik tradisional yang memiliki persfektif kemasa depan yaitu melalui transmisi formal dan pelaksanaan program penelitian besar-besaran dalam kesinambungan yang terpadu (integratid continuity). proses ini sekaligus akan mendorong dunia penciptaan karya seni dengan teknik yang lebih sophisticated (canggih), dan sekaligus akan diikuti landasan estetika yang lebih raesonable. di desa ledok kecamatan sambong kabupaten blora yang merupakan masyarakat agraris pada jaman penjajahan belanda hingga sekitar tahun 60-an merupakan masyarakat yang sejahtera karena terdapat sumur minyak bumi dan merupakan daerah yang subur, sehingga di desa ini ada petani penggarap dan petani pemilik sawah. alat untuk membantu petani dalam mengolah hasil panen khususnya padi sebagai makanan pokok masyarakat yaitu lesung, karena tiap rumah memiliki lesung dan atau lumpang makan permainan kotekan hampir setiap saat terdengar, tetapi seiring dengan perkembangan jaman dan beralih teknologi dalam pemrosesan hasil panen dengan sebuah mesin giling padi maka lesungan tidak terdengar lagi di desa ledok. beruntung ada seorang pemerhati kesenian yang hampir punah di desa ledok tersebut yaitu bapak sisworo yang mendirikan herytage club sehingga dengan bentuk sederhana musik kotekan dapat ditampilkan untuk mengiringi jamuan makan para turis manca negara. musik kotekan merupakan seni tradisi yang hampir punah, tetapi di desa ledok kecamatan sambong kabupaten blora masyarakatnya melestarikan kesenian ini ( lihat suara merdeka 14 mei 2005 ). sekelompok ibu-ibu yang ada di desa ini dapat menampilkan kesenian tersebut dengan bagus sehingga dapat mempesona tamu-tamu mancanegara yang berkunjung ke kabupaten blora. pola permainan ritme dengan pembagian tugas antara lain ; thinthil (arang loro), arang (arang siji), kerep, dhundhung dan gendhong. pola ini kadang di tidak lengkap tergantung banyaknya pemain. bila dalam satu lesung terdapat 10 orang / 5 pasang, maka permainan lengkap,tetapi bila kurang maka yang ada hanya arang kerep. dari pola permainan ini ada makna simbolik di dalamnya, hal ini yang belum terungkap oleh peneliti sebelumnya termasuk juga ekspresi estetik dari pola permainan dan perpormance yang ditampilkan kelompok musik kotekan terutama yang berada di desa ledok. fungsi musik kotekan dari waktu ke waktu mengalami perubahan menurut kebutuhan masyarakat setempat. mulamula digunakan sebagai alat penghibur dikala menumbuk padi, kemudian sebagai penanda saat ada bahaya antara lain bencana alamgerhana , sebagai penanda berkumpul bagi masyarakat pada saat ada upacara ; panen padi, perhelatan, bersih desa . dalam penelitian ini belum dikaji secara mendalam mengenai makna dan ekpresi estetiknya karena penelitian baru berkisar pada bentuk alat musik lesung, lagu-lagu yang digunakan sebagai pengiring serta fungsinya dalam kegiatan sosial masyarakat setempat. bentuk lesung atau lumpang berbeda-beda tergantung kreatifitas pembuat, demikian pula bentuk alunya. yang unik dari permainan musik ini, para pemain diberi kebebasan untuk berimpropisasi seluas-luasnya tergantung dari kemahiran mengatur keserasian dengan pasangan pemain maupun pasangan lainnya. dalam permainan musik ini ada istilah ‘bersama dalam keberagaman’ dan ‘berbeda dalam kebersamaan’. dalam permainan musik kotekan ini ada nilai tertentu yang perlu digali. berdasarkan hasil penelitian astono (2002:1) musik kotekan lesung dilihat dari bentuk gendingnya memiliki beberapa simbol bila dilihat dari siklus kehidupan manusia yaitu: simbol wanita mencari teman (gd; rando katisen), simbol laki-laki mencari pasangan (gd;duda njaluk lawang), simbol bersatunya laki-laki & wanita ( gd; kuputarung). selain dari gendingnya maka dapat pula diungkap makna simbol-simbol lain baik yang berhubungan dengan keyakinan/kepercayaan masyarakat, falsafah hidup maupun pola pikir praktisnya. dari fenomena di atas dapat ditarik suatu kesimpulan; bahwa banyak permasalahan yang dapat digali dari keberadaan musik kotekan yang merupakan musik tradisional kerakyatan yang hampir punah . untuk kali ini yang ingin dikupas yaitu: (1) pemaknaan musik kotekan/ musik lesung oleh masyarakat desa ledok kecamatan sambong kabupaten blora, (2) bentuk interaksi sosial musik kotekan pada masyarakat di desa ledok kecamatan sambong kabupaten blora? (3) proses penyempurnaan pemaknaan musik kotekan pada masyarakat agraris di desa ledok kecamatan sambong kabupaten blora? b. metode penelitian ini menggunakan pendekatan kualitatif dengan telaah tekstual dan kontekstual dalam lingkup antropologi budaya. secara heurmeneutik suatu bentuk kesenian seperti musik kotekan dianggap sebagai sebuah teks yang dapat dibaca atau ditafsirkan. penafsiran makna terhadap kesenian tersebut berada ditangan peneliti tentu saja dengan melihat konteks yang ada pada masyarakat penggunanya. dalam proses pemaknaan peneliti menggunakan berbagai konsep antropologi budaya yang berhubungan dengan permasalahan yang dikaji. peneliti memaparkan hasil temuan kemudian menganalisis temuan-temuan tersebut dengan sasaran penelitian ini adalah : 1) makna simbolik musik kotekan bagi masyarakat agraris di desa ledok kecamatan sambong kabupaten blora, 2) bentuk ekspresi estetik masyarakat agraris di desa ledok kecamatan sambong kabupaten blora, 3) nilai yang dapat digunakan sebagai media pendidikan dari ekspresi estetik dan makna simbolik musik kotekan pada masyarakat agraris di desa ledok kecamatan sambong kabupaten blora . teknik pengumpulan data menggunakan : 1) studi pustaka, 2) observasi non partisipan maupun observasi partisipan pada masyarakat di desa ledok khususnya yang berpartisipasi melakukan kegiatan berkesenian musik kotekan maupun penikmat/apresian untuk mengungkap makna, pola perilaku, latar budaya termasuk keyakinan yang mempengaruhi dan bentuk kreatifitas; 3) wawancara terbuka maupun tertutup, 4) dokumentasi. c. hasil penelitian dan pembahasan 1. sejarah musik kotekan masyarakat agraris adalah masyarakat yang bermata pencarian pertanian biasanya hidup didaerah-daerah yang subur. bermula dari kehidupan berpidah-pindah kemudian menetap untuk menggarap lahan yang ada. sejak jaman prasejarah seni pertunjukan sudah dikenal masyarakat agraris yang pada waktu itu hidup berpindah-pindah seperti kaum imigran cina yang sebagian menjadi asal-muasal orang jawa. untuk menopang kehidupannya mereka menenanam padi yang merupakan makanan pokoknya, mereka memiliki masa-masa senggang yaitu setelah panen. masa senggang ini merupakan hal esensial untuk kreasi seni pertunjukkan dari setiap kecanggihan ( brandon dalam soedarsono, 2003 : 1011) panen padi dirayakan sebagai sebuah festival masyarakat utama yang mendorong pertunjukan tari-tarian, nyanyian, musik dan pembacaan cerita. diseluruh asia tenggara (termasuk indonesia) lakon-lakon khusus yang menghormati roh padi masih dipertunjukan pada waktu panen. kedekatan lesung dengan budaya agraris tampak pada tiap ritus kehidupan masyarakat desa yang umumnya petani. di dalam budaya agraris, dewi sri (mbok sri, nyi pohaci) adalah dewi pelindung atau dewi kesuburan yang sangat dicintai petani jawa sejak mereka mengenal padi menurut sindunata (astono.2002:1) para petani melakukan ritual persembahan pada setiap panen terutama panen padi sebagai tanaman pokok. lesung digunakan pula pada upacara ini, sebagai alat ungkap rasa dalam bentuk sesuatu yang mengandung nilai keindahan. ekspresi estetik masyarakat agraris dalam menyambut datangnya kesukacitaan tercermin dalam permainan musik kotekan. musik kotekan adalah sebuah permainan musik yang menggunakan instrumen pokok alu dan lesung, dari suara yang terdengar klotekan itulah asal mula kata kotekan. musik ini digunakan masyarakat untuk berbagai keperluan antara lain untuk mengusir rasa lelah pada saat menumbuk padi, mengusir roh jahat (pada gerhana bulan / matahari), tanda berkumpul hingga ungkapan syukur pada dewi sri (astono 2002: 1-17 ) permainan musik kotekan di desa ledok menurut hadi dan rakib (wawancara 26-27 juni dan 21 agustus 2007) dimulai pada sekitar tahun 1930 sebagai selingan menumbuk padi, kemudian digunakan untuk tanda orang yang punya kerja /hajatan, untuk mengirim pindang bol ( isi perut kerbau/sapi) pada panjak /penabuh gamelan. pertarungan lesung dengan nama ‘pakso yudho’ pernah dilakukan di desa ini yang dilakukan oleh kaum laki-laki untuk menguji ketangguhan. pada saat penjajahan jepang th 1948 di daerah ledok dan sekitarnya pernah diadakan lomba permainan musik kotekan. pada waktu itu di desa ledok banyak yang memiliki lesung terutama orang kaya yang memiliki sawah luas/banyak. panjang lesung menunjukkan strata ekonomi pemiliknya, makin panjang lesung maka makin tinggi strata ekonomi orang yang memilikinya. dengan kata lain orang yang rendah strata ekonominya maka memiliki lesung yang kecil atau biasa disebut lumpang. perjalanan kesenian dan kehidupan masyarakat desa ledok mengalami masa suram yaitu pada saat pki bergejolak pada tahun 1949 hingga 1965. dan setelah tahun 1965 kehidupan masyarakat desa ledok berubah 180 derajat, dari masyarakat yang makmur karena pertambangan minyak bumi menjadi masyarakat yang miskin karena semua yang ada dibumi hanguskan . setelah kehidupan masyarakat dapat bangkit maka kesenianpun mulai tumbuh tetapi tidak sebaik sebelumnya. musik kotekan mulai ada lagi tetapi tidak banyak , bahkan lama-lama menjadi langka. pada sekitar tahun 1975 di dusun paingan desa ledok mulai dirintis pelestarian musik kotekan oleh sisworo salah seorang pengelola hertage club cepu. musik kotekan dipentaskan tiap kali ada turis yang singgah di cepu. para turis mancanegara tertarik dengan permainan musik kotekan, biasanya musik tersebut disajikan pada saat istirahat dengan disertai jamuan makan. hingga saat ini kegiatan tersebut rutin dilakukan tentu saja jika ada turis yang singgah di cepu. 2. bentuk musik kotekan musik kotekan adalah permainan musik dengan instrumen pokok lesung dan alu/antan. permainan musik kotekan di desa ledok dimainkan oleh 3 hing 4 orang .kesenian ini sangat sederhana baik dari bentuk musik maupun penampilan pemainnya, tetapi bunyi yang dihasilkan sangat indah terdengar dan didalamnya sarat akan makna. untuk memahami lebih lanjut tentang musik kotekan maka dikupas sebagai berikut: 2.1. instrumen musik kotekan lesung yang digunakan untuk permainan musik kotekan memiliki panjang sekitar 2 hingga 3 meter berbentuk kotak dengan lebar 25-30 cm dan tinggi 3040 cm. dengan lubang panjang 1 hingga 2 meter , lebar 20 cm dan tinggi 20 cm. kayu yang digunakan adalah kayu jati tua, nangka, mangga dan trembesi. kekeringan kayu yang digunakan sekitar 60 hingga 75 % sebab jika terlalu kering akan pecah, demikian pula jika terlalu basah akan perjadi penyusutan sehingga bentuknya berubah dan suara yang dikeluarkan tidak bagus. alu atau antan berbentuk selinder dengan panjang sekitar 1,5 hingga 2 meter dengan diameter sekitar 6-8 cm pada bagian tengah agak ke bawah diameter lebih kecil yaitu sekitar 4-5 cm untuk pegangan tangan pemain agar tidak naik atau turun. panjang alu disesuaikan dengan tinggi badan pemain musik kotekan. alu terbuat dari katu yang kuat seperti kayu petai cina (mlandingan), pinus, dan nangka. 2.2. pola permainan musik kotekan pemainan musik kotekan merupakan permainan poli ritmik dengan susunan sebagai berikut: a) tunggu omah sebagai pengatur birama b) duduk tengah pengisi tengah atau gejog tengah c) duduk wingking pengisi akhir atau gejog akhir d) kempyang pengisi antara atau senggakan atau arang e) titir pengisi penuh atau kerep intro (wiwit) dimainkan oleh tunggu omah sebanyak tiga kali. permainan musik kotekan ini ada awalan (intro) tetapi tidak memiliki akhiran (coda), oleh sebab itu cara berhenti pada permainan musik kotekan ini mendadak tanpa ada aba-aba antar pemain. jika para pemain telah lelah maka beradu langsung selesai. permainan musik kotekan ini memiliki dua kelompok birama yaitu: 1) kelompok 2 ( satu ruas birama memiliki 2 ketukan ) seperti lagu; kodok ngorek, kanganten, jangan menir, goreng-goreng gosong, jaran dor dan bayan mider. yang dimainkan oleh 3 orang. 2) kelompok 4 (satu ruas birama memiliki 4 ketukan ) seperti lagu; sekar lempang, bluluk ceblok, lambang sari, kutut manggung dan barongan diminkan oleh 4 orang. perbedaan yang sangat terlihat untuk membedakan antara lagu yang satu dengan yang lainnya terletak pada tunggu omah. dan selingan pada duduk tengah dan duduk wingking. karena pemainnya hanya 3 hingga 4 orang maka dalam permainan musik kotekan di desa ledok ada yaang satu orang pemain memainkan dua bagian musik, misalnya duduk wingking + titir, duduk tengah + kempyang. 2.3. penampilan musik kotekan penampilan musik kotekan dalam bentuk pementasan menggunakan segala sesuatu yang bersifat sangat sederhana. pakaian menggunakan pakaian kerja para ibu tani dengan kain sebatas lutut, kebaya dengan lengan di tarik hungga dibawah siku, tutup kepala menggunakan caping. demikian pula dengan rias yang digunakan seperti riasan sehari-hari hanya ditambah pemerah bibir. tata suara menggunakan tata suara alami dengan tanpa pengeras suara, karena suara lesung dapat terjangkau hingga sekitar 200 m lebih. suara akustik memiliki eksotisme yang tinggi, karena dari suara yang dikeluarkan terdapat terdengar keriuhan dan keriangan para petani setelah menuai panen padi. tata panggung tidak ada, hanya menggunakan alas tanah dengan 2 batang kayu sebagai alas/dudukan lesung agar suara yang terdengan menjadi nyaring. pementasan dilakukan di tempat terbuka maupun tertutup. jika di tempat tertutup maka ruangan harus agak lebar agar suara dapat keluar dan tidak memekakan telingga. ada lampu penerang walau hanya menggunakan lampu neon saja, sehingga penonton dapat melihat aktivitas para pemain. seperti terlihat di bawah (dari kiri mbok kasiem, mbok karti dan mbok samilah ) sedang memainkan lagu kangaten pada malam hati dengan penerangan lampu neon. musik kotekan jika ditampilkan pada saat ada suatu acara, misalnya acara bersih desa, 17 agustus, hajatan dll ditampilkan pada awal acara sebagai tanda untuk berkumpul (mengundang masyarakat berkumpul di tempat asal suara kotekan). lagu biasa dimainkan dan disenangi masyarakat adalah sekar lempang, kanganten, bluluk ceblok dan lambang sari. khusus untuk acara pertemuan penganten menurut hadi (wawancara 21 agustus 2007) maka lesungan dengan lagu kanganten dilanjutkan gamelan dengan gending kodok ngorek. 3. makna simbolik dalam musik kotekan menurut geertz (triyanto, 2001 : 20) simbol adalah segala sesuatu (benda material, peristiwa, tindakan, ucapan, gerakan manusia) yang menandai atau mewakili sesuatu yang lain atau segala sesuatu yang telah diberikan makna tertentu. simbol atau lambang memiliki makna atau arti yang dipahami atau dihayati bersama dalam kelompok masyarakatnya. simbol atau lambang memiliki bentuk dan isi atau disebut makna. bentuk simbol merupakan wujud lahiriah, sedangkan isi simbol merupakan arti atau makna (kusumastuti, 2005 : 10) simbol adalah sarana untuk menyimpan atau mengungkapkan maknamakna, apakah itu berupa gagasangagasan (ideas),sikap-sikap (attitudes), pertimbangan-pertimbangan (judgement), hasrat-hasrat (longis)atau kepercayaankepercayaan (biliefs), serta abstraksiabstraksi dari pengalaman tertentu (abstractions from experience fixed) dalam bentuk yang dapat dimengerti (geertz dalam triyanto, 2001 :21) 3.1. alat/instrumen dan perlengkapannya dari instrumen yang digunakan menurut hadi, rakib dan maksum ( wawancara 27 juni, 21 agustus 2007) merupakan perwujudan dari laki-laki dan perempuan. alu sebagai perwujudan lingga/laki-laki yang perkasa sehingga dapat memecah gabah menjadi beras. dalam kebudayaan jawa laki-laki disimbolkan dengan sesuatu yang kuat salah satunya yaitu dengan alu atau antan. sesuai dengan penelitian astono pada musik lesung banarata maka dalam musik lesung di desa ledok memiliki makna simbolik yang serupa. hal ini dimungkinkan karena berada dalam lingkup budaya yang sama yaitu budaya jawa serta obyek penelitian yang sama yaitu masyarakat agraris. yang berbeda di daerah ini adalah bentuk lesung yang menyerupai perahu yaitu di tengah agak melengkung (seperti terlihat dalam gambar 1) sedang di desa banarata bentuknya lurus seperti balok. perbedaan ujud tidak menyebabkan perbedaan dalam pemaknaan. lesung yang digunakan sebagai simbol perempuan maka masyarakat desa ledok memiliki mitos jika lesung tidak digunakan maka harus dibalik dengan alasan agar tidak digunakan untuk bersembunyi roh jahat (bahasa jawa go ndelik bajul buntung) simbolisme sebagai media budaya jawa seperti dikemukakan budiono (2001: 78-79) media adalah sarana atau perantara, sedangkan medium bahan yang dipakai sebagai perantara. budaya sebagai hasil tingkah laku atau kreasi manusia memerlukan bahan materi atau alat penghantar untuk menyampaikan maksud. medium budaya dapat berbentuk bahasa, benda, warna, suara tindakan yang merupakan simbol-simbol budaya. lesung dan alu berupa benda yang disimbolkan sebagai perwujudan manusia yaitu perempuan dan laki-laki. dalam kehidupan budaya jawa dalam kehidupan ada tatanan yang mengatur tingkah laku yang berlaku dalam lingkup kehidupannya. demikian pula dengan kehidupan masyarakat desa ledok yang berada dalam lingkup budaya jawa. lesung dan alu yang disimbolkan sebagai perempuan dan laki-laki ada aturan yang mengatur untuk pergaulan, karena lesung diibaratkan sebagai perempuan maka perlu dijaga agar tidak terkena gangguan yang tidak baik. dalam hal ini lesung yang diibaratkan sebagai perempuan jika tidak digunakan harus dibalik atau lubangnya agar tidak untuk bersembunyi bajul buntung mengandung makna bahwa perempuan yang telah bersuami jika tidak ada suaminya harus menjaga kehormatan, dalam arti jangan sampai dinodai oleh orang lain. perlengkapan yang digunakan oleh para pemain musik kotekan berupa pakaian sehari-hari (kebaya, kain dan caping) menunjukkan bahwa para ibu tani sangat bersahaja dalam segala hal ( dalam bahasa jawa ra neko-neko) artinya apa yang ada dalam hati maka itulah yang dapat diwujudkan secara fisik atau yang diekspresikan. para pemain musik kotekan merasa lebih nyaman dengan menggunakan busana seperti apa adanya itu. hal inilah yang membedakan kehidupan orang yang hidup di kota dengan di desa. 3.2. lagu yang dimainkan dari lagu yang dimainkan memiliki makna yang berkisar pada kehidupan para petani di desa ledok terutama berhubungan dengan kehidupan kaum perempuan. ada lagu sedih, lagu gembira tetapi yang tersurat semua menggunakan irama yang riang dengan saling bersahutan (ostinato dengan sinkop). hal ini menggambarkan kehidupan masyarakat petani yang hidup di desa ledok selalu menghadapi kehidupan dengan ikhlas, artinya seberat apapun kehidupan yang dijalankan akan dihadapi dengan lapang dada. makna dari berbagai lagu yang ada adalah sebagai berikut : 1. lagu kanganten : penciptaan lagu kangnten diilhami oleh kehidupan calon mempelai laki-laki yang sebelum menjadi suami harus ngaulo atau ngenger (bekerja di tempat calon istri sebagai tenaga serabutan) sehingga laki-laki tersebut menjadi akrab dengan calon istrinya. setelah dirasa calon istri telah cukup umum maka laki-laki tersebut baru dapat meminang calon istri. oleh sebab itu maka kehidupan suami istri tersebut seperti pertemanan, karena memang rata-rata penganten perempuan di desa ledok pada saat itu berkisar antara usia 11 hingga 14 tahun. permainan musik kotekan pada lagu kanganten terdengar seperti musik gojegan/bersenda gurau. (wawancara dengan hadi, ngadiman, rakib, marto pada 27 juni-16 agustus-30 oktober 2007) -6 5 5 -6 5 5 -3 22 -3 22 kangantenkanganten jukgendong jukgendong musiknya: dung egleng dung egleng dung dung dong dung dung dong 2. lagu sekar lempang : lagu sekar lempang, penciptaan lagu ini diilhami oleh kehidupan seorang gadis yang sehari-hari hanya bekerja disekitar lumpang. lagu ini mengisahkan kesedihan seorang gadis yang hidup hanya melakukan rutinitas menumbuk padi. 5 6 6 5 . . . 3 2 2 3 . . . 6165 3 . . . bapak bapak rekasane wong ngaulo 123 3 . . . 6 -16 -5-5 5 . . . melu bapak disentak sen tak 1 23 3 . . . 65 3 21 1 . . . melu ibu ditundung tun dung musiknya: teng prak teng dung teng prak teng dung pada lagu ini memiliki makna kesedihan tetapi dalam permainan musik kotekan berirama cepat hal ini mendakan bahwa dalam keadaan sedih maka kehidupan para petani dapat menyembunyikan kesedihannya. daftar lagu dan makna simbolik dapat di lihat pada lampiran. d. simpulan dan saran 1. simpulan musik kotekan adalah sebuah permainan musik yang mengunakan instrumen lesung dan alu sebagai penghasil bunyi dan sebagai media untuk interaksi sosial. dalam musik kotekan terdapat simbol-simbol dan ekspresi yang menggambarkan kehidupan para petani jawa yang sederhana baik lewat bentuk instrumen, penyanyian maupun lagu nyang diciptakan. musik kotekan memiliki fungsi sebagai alat: komusikasi yang menandakan untuk berkumpul, pengusir roh halus pada saat terjadi gerhana dan hiburan untuk mengusir kejenuhan. bentuk musik kotekan merupakan permainan poli ritmik dengan pengulangan. permainan musik kotekan terdiri dari : tunggu omah sebagai pengatur birama, duduk tengah sebagai gejog tengah, duduk wingking sebagai gejog akhir, kempyak sebagai pengisi senggakan arang dan titir sebagai pengisi senggakan kerep. mulai dari masing-masing pemain secara sinkop tidak bersamaan (menyela diantara). dalam permainan musik kotekan terkandung nilai kehidupan: sabar, temen, ikhlas, mituhu dan budi luhur yang merupakan anutan kehidupan masyarakat jawa. hal tersebut dapat diturunkan kepada generasi berikutnya melalui kegiatan yang menyenangkan yaitu permainan musik sehingga pendidikan yang dilakukan tidak terasa. 2. saran berdasarkan hasil penelitian, maka ada beberapa hal yang perlu mendapatkan perhatian dari pengelola dan pemerintah daerah setempat baik yang berkaitan langsung maupun tidak langsung, sebagai berikut: 1. musik kotekan perlu dijaga kelestariannya dan dikembang untuk diturunkan kepada generasi penerus kerena mengandung nilai-nilai pendidikan 2. musik kotekan sebagai salah satu bentuk seni pertunjukkan perlu dikemas dan digarap baik dari segi musik, bentuk penyajian tata pentas dll dengan tidak merubah atau meninggalkan bentuk aslinya. sehingga memiliki nilai jual baik untuk turis dalam maupun manca negara. 3. perlu perhatian langsung dari pemerintah yang berwenang untuk mengangkat musik kotekan sebagai aset daerah menjadi kesenian khas kabupaten blora. perlu disosialisasikan lewat jalur pendidikan agar regenerasi dan kelestariannya lebih terarah dan dapat terjaga karena merupakan seni daerah setempat sesuai dengan muatan ktsp untuk mata pelajaran seni dan budaya daftar pustaka astono, sigit. 2002. lesung banarata karawitan di akar rumput. dalam “keteg” jurnal pengetahuanpemikiran & kajian tentang bunyi. volume 2 no.1 mei. surakarta : stsi. bramantyo, triyono. 2000. revitalisasi musik tradisi dan masa depan. dalam “mencari ruang hidup seni tradisi”. yogyakarta: bp fasper isi dan yayasan untuk indonesia. brandon, james, r. 2003. jejak-jejak seni pertunjukan di asia tenggara. terjemahan sudarsono,r,m. bandung: p4st upi. departemen pendidikan dan kebudayaan. 1985. ensiklopedi musik indonesia a-e. jakarta : peroyek penelitian dan pencatatan daerah. ensiklopedi musik indonesia k-o. jakarta : peroyek penelitian dan pencatatan daerah. herusatoto,budiono.2001.simbolisme dalam budaya jawa. yogyakarta: henindita graha widia. kusumastuti, eny. 2007. ekspresi estetik dan makna simbolik kesenian laesan di desa bajomulyo kecamatan juwana kabupaten pati. semarang: lemlit unnes. muiz, abdul. 2005. lesung disuguhkan lantaran keunikannya. “suara merdeka” 14 mei. hal. 24. mills dan huberman. 1992. analisis data kualitatif. terjemahan tjetjep rohendi rohidi. jakarta : ui press. triyanto.2001. makna ruang dan penataannya dalam arsitektur rumah kudus. semarang: kelompok studi mekar. lampiran : daftar lagu dan makna simbolik musik kotekan n0 judul lagu makna simbolik banyaknya pemain 1. kanganten keakraban suami istri 3 orang 2. sekar lempang kesedihan seorang gadis yang hidup di sekitar lumpang/lesung 4 orang 3. bluluk ceblok gadis belia (usia 11-13 tahun) tetapi telah dipersunting/jadi manten dengan istilah masyarakat desa ledok “kawin gantung” 4 orang 4. lam-bang sari gadis yang mulai ranum/dewasa (menurut ukuran masyarakat desa ledok) yang siap dipersunting/dikawinkan 4 orang 5. kutut manggung laki-laki dewasa yang siap menikah 4 orang 6. jangan menir keakraban dan kerekatan hubungan antar masyarakat di desa ledok yang saling membantu pekerjaan baik untuk menumbuk padi pada kehidupan seharihari maupun pada saat ada yang punya hajat(misal; mantu, supitan dll) 3 orang 7. jaran dor panji semirang yang sedang berperang melawan belanda 3 orang 8. bayan mider kegiatan perangkat desa yang sedang 3 orang d:\harmonia\2003\2\vol. 4 no. 2 mei_agustus 2003.pdf ���������� ��� ���� ���� ������������������������������������������������������ 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��!����!���2!�����'(9:/9;*+.</9=9>�?�&!"�@'�abbc'�defgghidejklmlnioeplidgklqi1�#�����r�stsu�u��$$@���!�"�>�2�'�abvw'�xpmkjyz[mljpimjimhei\gp[eqi]�&!%���!�r�u�!��!��!7��̂�&&"�s�7'172�72���"�4!72���'�ab__'�̀ekajkbgp[eidhejkcqid�3�e��������f�����r�4���&����'1�����$���'�abbg'�hgcgpiihjpijidheiomgmeiklmzgfi\gp[ei\kgbgilpimheiljzkmijaimjicgngkmgqie���������r�o�� �2�@����p�!q��$!���u��$$�������������������������������������r� s�tr��us�vw�xy�z��{|}~|}�v������������������������������������ harmonia vol vii no 3 2006.pdf harmonia jurnal pengetahuan dan pemikiran seni !"#$#%&'()*$+&,)-#.&(#-/#*#0#$&1!%!%20+3!4 5#-6#&1)78#&9!7+&:)0$;%+0&3+&,#)*#<&=-$+7)"#&>;2/#0#*$# !"#$%$&'()'*"&"&+,-."/'0(1-2%3'4)%25 '621%(&-1'7$5%89"$,2 -&'0:21-$/';5(<-&12'() '=(+3$,$5%$> ?#</!&@)-$#*+ 0%$)';2&+$?$5'@"5"a$&'02&.5$%$a-,'bc0'd&-<25a-%$a'e2+25-'02f$5$&+ abstrak merti desa merupakan salah satu upacara ritual yang sudah mentradisi pada masyarakat jawa khususnya. merti desa sebagai bentuk upacara ritual oleh masyarakat gunungkidul dilaksanakan pada setiap tahun sekali, sebagai tradisi dan ungkapan rasa syukur kepada tuhan yang maha esa. merti desa juga merupakan ritual untuk mengucapkan terimakasih atas hasil panen yang telah diterimanya, serta sebagai wahana melestarikan budaya nenek moyang yang dilaksanakan secara turun temurun kepada generasi selanjutnya kepada nenek yang berujud ritus sosial masyarakat. merti desa dilaksanakan dalam berbagai rangkaian acara seperti upacara yang melibatkan seluruh lapisan masyarakat, dipimpin oleh pemerintah daerah pada wilayah desa tertentu, diikuti oleh warga masyarakat setempat, oleh pemerintah atau pamong desa upacara merti desa juga sekaligus dapat digunakan sebagai wahana mengajak masyarakat melestarikan dan nguri-uri tradisi warisan nenek moyang serta mengajak masyarakat mengambil hikmah dan nilai-nilai yang terkandung dalam upacara tradisi merti desa. diharapkan masyarakat dapat menikmati hiburan atau tontonan serta mendapat tuntunan dan 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x$*$7)$p( k&9)$*$( i',$7 u$7$#$,b e,@!79+,(c!!,!@'j)(_>(e( >(/222> n-%(/(+.$&' 6(/25$&a-' p5$&+' @$#$l =(+3$,$5%$p(k!,!7%')(g$.$" c$-&9(m+7!,9>(qss3> k$f"a'b-/a$)$%l(x$*$7)$p 7$"!@'$(k&9)$*$(y)$"$ 6$,$,@a$a$>(x$"!9>(qsvr> b(/,,/(5'q&.(&2a-$r q/f"' *$-jl' s(&+2&+l' .$&' /$-&o/$-&l x$*$7)$p( 7$l')'#!79b 6',$9( k$7':'9$)$( @$,( c&@$4$b( /22o> n"%-$5$' g-a$%$' .$&' c".$3$> ;+-4$*$7)$p( 6',$9( k$7':'9$)$( @$, g!%&@$4$$,b !!7)t>( u>( qs3w> q&.(&2a-$&' t"/%"52a' $&. t(ff"&-%-2a>( c!:( u$]!,p( ;$.! y,']!79')4(k7!99b u$74+,+( f'"%&.>( qss3> g$3$&+' .$/$f ;25a:2,%-)' h-a%(5-a' .$&' 7%-aob-/(a()-al ;+-4$*$7)$p( 1$*$.$5( 4$,@'9$"#$'*$,( #$@$( 9!"',$7 :$4$,-(#$@$( )$,--$.( /w(1!'( qss3 @'( e&.$( _!-7'9)7$9'( fk8ki( 8g8k ;+-4$*$7)$b i!,$:$,-'>( qsss> 7&a-,/(:2.-' g$3$&+ q&.(&2a-$' u>l x$*$7)$p( i$*$7',@+ k7',)$"$b i&#$@a$7( 6$"$7@a$)'>( /22/> e$#$&+' 0$5-> ;+-4$*$7)$p(f$a$7(k&9)$*$(c$7& i+!)$7,+>( /22o> ;25%"&?",$&' g$3$&+' .$& n$,&$' 0-fj(/-af2>( i&7$*$7)$pifi8 k7!99b 23 gendhing, king, and events: the creation of gendhing panembrama during pakubuwana x joko daryanto1, rustopo2, bambang sunarto2 1universitas sebelas maret, indonesia 2institut seni indonesia surakarta, indonesia submitted: 2021-02-15. revised: 2021-03-29. accepted: 2021-05-01 abstract gendhing panembrama was a creative and innovative product when paku buwana x reigned in the negari surakarta. gendhing panembrama emerged when the dutch east indies government imposed restrictions on political and economic activities in karaton surakarta. the restriction aimed to remove paku buwana x’s legitimacy from the political and economic side. gendhing panembrama became one of the symbols of paku buwana x’s resistance to the dutch east indies government policy. resistance through the creation of gendhing panembrama resulted in the enforcement of the king of surakarta’s sovereignty and legitimacy. this study aims to reveal the background of the gendhing panembrama creation and the events surrounding the gendhing panembrama creation. this study employed a historical approach and symbolic interpretation. from the study conducted, it was concluded that the creation of gendhing panembrama was a means for paku buwana x in maintaining his sovereignty and legitimacy. the intelligence of paku buwana x in managing the musical arts amid the political pressure of the dutch east indies government, in the end, could radiate his majesty, authority, and power and maintain the javanese tradition of the karaton surakarta. keywords: gendhing panembrama, cultural symbols, paku buwana x how to cite: daryanto, j., rustopo, r., & sunarto, b. (2021). gendhing, king, and events: the creation of gendhing panembrama during pakubuwana x. harmonia: journal of arts research and education, 21(1), 23-34 harmonia: journal of arts research and education 21 (1) (2021), 23-34 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v21i1.29099 the suluk architectural aesthetic principles that consider regularity, beauty, and harmony (santosa 2007, 120). the existence of karaton surakarta is also supported by the activities of various arts that are still alive within the palace. one of the arts that are still alive in the karaton is karawitan [musical instrument] art. karaton surakarta’s karawitan is a musical institution part of the karaton surakarta entity that carries out its activities in the palace environment. it is run by palace officials called abdi dalem niyaga is tied by the norms and rules that apply in karaton surakarta. introduction karaton surakarta (surakarta palace) is one of the mataram kingdom’s successors divided by the giyanti agreement (1755). the agreement contents stated that mataram was divided into two, namely surakarta and yogyakarta. the giyanti agreement was signed on february 13, 1755, known as the palihan nagari (division of mataram territory) incident (joebagio 2002, 182). the existence of the karaton surakarta is still quite strong, marked by the form of a physical building with corresponding author: e-mail: jokodaryanto@staff.uns.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 21 (1) (2021): 23-3424 the karawitan activities of karaton surakarta performed by the abdi dalem niyaga resulted in a product in the form of gendhing (songs). abdi dalem niyaga is a creator and musician who plays gendhing for various purposes in the karaton. gendhing in the reality of javanese life is interpreted and functioned in various ways. gendhing is used to meet an aesthetic need and is also used for various purposes: social rituals, religious expressions, and related functions with various art branches. gendhing is employed to refer to musical compositions in javanese karawitan. musical composition is decoded as a unified system that includes the relationships between musical elements that are united and harmoniously integrated (sunarto 2020, 106). these elements comprise instrumental and vocal melodies, rhythm, laya (tempo), tuning, pathet (tone setting), instrument selection, dynamics, and form. gendhing is understood as an imaginary musical expression full of aesthetic, ethical, symbolic, and philosophical values (waridi 2003, 300-301). the karaton surakarta’s karawitan places gendhing as one of the pillars of the karaton surakarta’s karawitan life. the creativity of the gendhing creation is one of the parameters for the progress of karaton surakarta’s karawitan. the karawitan life of the karaton surakarta reached its peak during pakubuwana x’s reign (priyatmoko 2019, 120). at that time, gendhing with various functions was created. karaton surakarta’s karawitan are grouped according to its function; for example, gendhing beksan, which are gendhing used to support dance performances, gendhing pakeliran to refer to the gendhing that support wayang performances, and so on. one of gendhing created during pakubuwana x’s reign was gendhing panembrama. it is called the gendhing panembrama because gendhing in this category was created to honor an important event involving the king, empress, king’s son, and people considered essential by the karaton surakarta community. gendhing panembrama was created to mark important events, such as awarding honorary stars or other honors to the king and his relatives. gendhing panembrama’s creation is also related to visiting events from domestic and foreign guests. during pakubuwana x’s reign, gendhing that was categorized as gendhing panembrama emerged. at this time, pakubuwana x received many honorary stars and other honors from the partner or fellow countries. at the behest of pakubuwana x, abdi dalem niyaga ordered to perpetuate the event of giving honorary stars or other honors from karaton surakarta’s partner or fellow countries to pakubuwana x. the innovation of karaton surakarta’s karawitan works resulted from masters’ and musical creators’ thoughts at that time. gendhing panembrama functions as a gendhing in honor of sunan (the king’s term for karaton surakarta) or royal guests visiting karaton surakarta. the karawitan works in the form of gendhing panembrama during the reign of pakubuwana x was motivated by the many awards received by sunan. the event of receiving an award in the form of an honorary star (especially from abroad) is vital for the karaton community. the giving of the award strengthens the belief of the karaton people and surakarta in general that sunan is the most respected king (larson 1990, 45). gendhing panembrama work during pakubuwana x’s reign was reported by pradjapangrawit, as the following quote: sajumeneng dalem sampeyan dalem ingkang minulya saha wicaksana paku buwana x wau, tansah anampeni pisungsung bintang saking manca nagari (manca praja liyan nagri) ngantos kathah, andayani saya tambahing kaluhuran dalem. saben mentas tampi lajeng dipun pengeti, inggih punika wonten ing serat panembrama ingkang tinrap ing geronganing gendhing. (pradjapangrawit 1990, 150) [since the throne of becoming king, pakubuwana x has often received star awards from abroad, which has resulted in increasing the king’s authority. every time receiving an honorary star is commemorated in the serat panembrama in the form of gerongan song lyrics, a gendhing.] joko daryanto et al., gendhing, king, and events: the creation of gendhing panembrama 25 based on pradjapangrawit’s notes, it can be ascertained that gendhing panembrama appeared during pakubuwana x’s reign as a marker of receiving an honorary star award event from abroad to pakubuwana x. the naming of gendhing panembrama was based on the function of creating gendhing, namely, to honor and mark the event of awarding an honorary star award to pakubuwana x. the period of pakubuwana x’s reign was marked by the issuance of the dutch east indies government’s policies, which did not take sides with karaton surakarta. pakubuwana x was likened to a prisoner in his palace due to the dutch east indies government’s political policies (kuntowijoyo 1999, 85). activities related to politics were restricted by the dutch east indies government. the dutch east indies government also limited the economic activities of karaton, so that pakubuwana x lost legitimacy in politics and economy. pakubuwana x’s position was that of a king but was no longer in full power. pakubuwana x only had the status of the dutch administrator (houfhoudende) for surakarta (kuntowijoyo 2004, 22). if a king’s political and economic authority and power are limited, it can be said that the legitimacy of the king’s power has run out. the dutch east indies government’s limitation of authority and power resulted in a reduction in the king’s political power and a decline in the economic field. the limitation of political and economic activities and the glorious karawitan life of the karaton surakarta during the pakubuwana x’s reign are two opposing sides. the restrictions imposed by the dutch east indies government did not dampen abdi dalem niyaga’s creativity in creating gendhing as an event marker or gendhing panembrama. two opposing sides between the limitation of political and economic activities and the glory of the karawitan life of the karaton surakarta raises the question of the problem formulation in this research. why did, in a situation where political and economic activities were restricted, give rise to creativity in the form of gendhing panembrama? sunarto (2005), waridi (2006), and rustopo (2007) wrote about the karaton surakarta musical during the reign of paku buwana x, but the studies did not mention the creative process of creating gendhing panembrama. sumarsam (2003) mentioned the emergence of the gendhing panembrama creation during the reign of paku buwana x. however, the research has not revealed the background of the gendhing panembrama creation. santosa (2007), kuntowijoyo (1999, 2004), joebagio (2017), and soeratman (2000) wrote about the karaton surakarta during the reign of paku buwana x. nevertheless, the creative process of creating gendhing panembrama and the events surrounding it has not been revealed in these studies. therefore, the background of the gendhing panembrama creation process is interesting to reveal until an answer is found to the question of why paku buwana x initiated the creation of gendhing panembrama. method this qualitative research applied a historical approach so that historical research procedures, including heuristics, source criticism, interpretation, and historiography, were conducted in this study. the data sources in this study were historical data, which had different qualities in providing information, so a classification of data sources was required. the source of historical data used in this research was the archives. the use of archives as a data source in this study is because archives occupy the highest position than other historical sources (lohanda 2011, 2). the data collection techniques employed literature study methods, document studies, and interviews. historical analysis, which is identical to the interpretation of historical data, was used in this study. interpretation is the interpretation of facts to be written so that they have meaning in the context of a study. these facts are viewed as being related, then adjusted to the study’s focus and use so harmonia: journal of arts research and education 21 (1) (2021): 23-3426 that they really deserve to be used as a basis for writing history. historical interpretation or analysis is carried out by synthesizing a number of facts obtained from historical sources and supported by appropriate theories so that the facts found can be interpreted as a whole by including a framework that comprises the concepts and theories that will be used in making the analysis (kartodirdjo 1992, 2). the data obtained were interpreted and analyzed based on the theoretical framework used to produce facts that were relevant to the research objectives. result and discussion gendhing panembrama and the king’s sovereignty ”tuhu lamun nugraha dhatêngi, dènnya madêg katong, sri narendra ping sadasa dene...” (gunamardawa 1936, 33-35). a sentence cut from one of the gendhing panembrama, namely ladrang mijil ludira laras pelog pathet barang, tells that since he became king of surakarta, paku buwana x often received honorary stars or awards. the event when paku buwana x received an honorary star was always commemorated by gendhing panembrama. paku buwana x used gendhing panembrama as a monument or marker of events. every time he received an honorary star, paku buwana x ordered abdi dalem niyaga to make a new piece specially used as an event marker called gendhing panembrama (pradjapangrawit 1990, 154). gendhing panembrama was specially made when paku buwana x received an honorary star, received guest visits from outside the surakarta area, and commemorated essential events at the karaton surakarta. for the palace’s people, visiting guests from outside surakarta was a form of recognition of the king of surakarta’s power. the arrival of the king of siam, namely king rama vii, and his consort to the karaton surakarta on sunday, july 30, 1901, or akad pahing, 11 mulud 1831 dal, was interpreted as a form of recognition of paku buwana x’s sovereignty as the king of surakarta. ladrang siyem laras slendro pathet nem was a marker of this important event. the ability of paku buwana x to establish relations with foreign countries was increasingly seen by awarding honorary stars from several countries on the european continent. the countries that gave paku buwana x an honorary star apart from the netherlands included germany, cambodia, africa, and china. the star of honor from germany was ridder der tweede klasse met de ster der orde van verdiensten van sint michael ban beieren, awarded to paku buwana x in june 1904. gendhing panembrama ladrang sri wibawa laras slendro pathet sanga marked the star’s award from bavaria, germany. another star of honor originating from germany was ridder der tweede klasse met de ster der orde van de rooden adelaar van pruisen. ridder der tweede klasse met de ster der orde van de rooden adelaar van pruisen honorary star was awarded to paku buwana x in june 1905 or the year alip 1834. besides, ridder der tweede klasse met de ster der orde van de rooden adelaar van pruisen. gendhing panembrama ladrang sri kuncara laras pelog pathet nem honorary star was created to event that paku buwana x received an honorary star from king wilhelm ii (pradjapangrawit 1990, 155-156). ridder der tweede klasse met de ster der orde van de rooden adelaar van pruisen honorary star received by paku buwana x from germany was a gift from king wilhelm ii, emperor of germany and the last king of prussia. the newspaper darma kandha reported a procession in august 1905 to celebrate ridder der tweede klasse met de ster der orde van de rooden adelaar van pruisen honorary star awarding from germany (darma, 1905). grootkruis der orde van cambodja honorary star was received by paku buwana x from cambodia on july 27, 1901. gendhing panembrama ladrang utama laras slendro pathet manyura marked paku buwana x receiving an honorary star from cambodia (pradjapangrawit 1990, 154). joko daryanto et al., gendhing, king, and events: the creation of gendhing panembrama 27 the good relations between paku buwana x and rulers in foreign countries caused foreign rulers to sympathize with paku buwana x. china and austria also awarded paku buwana x an honorary star. in dal 1839 or august 1909, paku buwana x received an honorary star from china. gendhing panembrama ladrang sri kaloka laras slendro pathet manyura by mas lurah prawiramlaya became a sign that paku buwana x received the honorary star ridder van den tweeden graad der tweede klasse van den dubbelen draak van china. besides, austria, one of the countries in the europe continent, awarded the star commandeur met de ster der oostenrijksche orde van frans jozeph to paku buwana x. pradjapangrawit said that the austrian star of honor with komandur medster saking ing nagari tanah ostentrik. gendhing panembrama ladrang sri widada laras pelog pathet barang was created to sign that paku buwana x received an honorary star from austria. ladrang sri widada laras pelog pathet barang was the work of brm. ngabehi sujanapura (kanjeng wiryadiningrat). another european star of honor was ridder der eerste klasse der orde van onze heere jezus christus van portugal. ketawang sri kacaryan laras slendro pathet manyura by r. ng. atmamardawa marked the occasion of awarding honorary stars from portugal. paku buwana x’s friendship did not stop with the countries of europe and asia. an honorary star from africa, grootkruis der orde van nichan iftinkhar van tunis was awarded to paku buwana x in jimakir 1858. ketawang sri raharja laras pelog pathet barang by r ng atmamardawa became gendhing panembrama marking the event of receiving an honorary star from africa. additionally, the honorary star from tunisia on the african continent was pinned to paku buwana x in jimakir 1858 (pradjapangrawit 1990, 154-160). the palace cultural placement, including the creation and sounding of gendhing panembrama, was an indicator of paku buwana x’s sovereign consciousness as a king. gendhing panembrama as a marker of the event was sounded at the same time the ceremony was held for the awarding of an honorary star to paku buwana x. during the reign of paku buwana x, almost every ceremony was always held on a large scale. the ceremony, which was held on a large scale, involved the presence of karawitan to sound the gendhing panembrama. the sounding of gendhing panembrama in the ceremony of awarding the honorary star was one of the ways paku buwana x showed his power. various regulations made by the dutch east indies government that narrowed the space for paku buwana x were not visible when gendhing panembrama sounded amidst the splendor of the ceremony. paku buwana x was still seen as a king who had all the power and authority during the ceremony. the sound of gendhing panembrama during the ceremony of awarding the honorary star also showed that paku buwana x had a sovereign consciousness as a king. the number of honorary stars from abroad also indicated that paku buwana x had excessive ability to manage good relations with foreign countries. paku buwana x could position himself in the association with rulers from abroad. paku buwana x’s emotional intelligence made him a king who had advantages in socializing or had social skills. skills in social relationships caused paku buwana x to build good relations with foreign rulers. the skills to socialize and develop good relationships with foreign rulers could indicate that paku buwana x had high emotional intelligence, even said to be someone who was a genius in emotional intelligence (kuntowijoyo 2004, 8). paku buwana x’s skills in managing good relations with foreign countries earned him appreciation in the form of honorary stars from rulers in parts of europe, asia, and africa. the ability of paku buwana x to manage good relations with foreign rulers and friends was noted by wangsaleksana in biwadha nata, as quoted below: kathah sangêt para luhur măncapraja saha sanèsipun ingkang dados mitra dalêm, amargi pitêpangan dalêm namung sarwa lêgawa, sinartan manis sarta rumakêting panharmonia: journal of arts research and education 21 (1) (2021): 23-3428 gandika dalêm, para mitra dalêm wau têmtu pinaringan tăndha katrêsnan warni-warni. wondene tumrap para mitra dalêm, katarik saking rumaos kaleban kadarman dalêm, dados inggih kathah ingkang gêntos angaturi angsulipun misungsung warni-warni……. ………tumrap kalihan nagari sanès: kaparêng ambiyantu adêgipun tèntosêtèling agêng: awit saking kawontênan-kawontênan makatên wau, dados sampun pantês sangêt bilih sarira dalêm lajêng anampèni bintangbintang maneka warni ngantos pintên-pintên. (wangsaleksana 1936, 12) [there are so many foreign dignitaries who have become friends of paku buwana x because their friendship is based on mutual acceptance and good speech. paku buwana x’s colleagues are always given various souvenirs. therefore, paku buwana x colleagues do not hesitate to give various signs of respect .... …… for friendly countries, paku buwana x often helps to establish extensive art galleries. therefore, it is natural that paku buwana x often receives honorary stars ...] the quote from biwadha nata shows that paku buwana x could manage relationships with his friends and fellow rulers from abroad. it can be seen that paku buwana x always gave a sign of katresnan (a sign of love) to his friends and colleagues. moreover, paku buwana x also took part in building an art gallery for friendly countries. the kindness of paku buwana x caused colleagues and friendly countries to award honorary stars in return for the kindness. gendhing panembrama as a symbol of hidden resistance the dutch east indies government, which oversaw the vorstenlanden region, acknowledged that paku buwana x was a king who was obedient to the dutch east indies government. paku buwana x never showed open resistance to the dutch east indies government. during the reign of paku buwana x (1893-1939), the resident of surakarta had changed 13 times. however, there are no reports that paku buwana x reneged on the verklaring corte, which he had signed before ascending to the throne. paku buwana x’s obedience to the dutch east indies government was shown by paying tribute to the queen of the netherlands at the coronation of the queen of the netherlands, the 25th anniversary of the queen of the netherlands, and the 25th anniversary of the queen of the netherlands (wangsaleksana 1936, 12). for his attitude, paku buwana x received many honorary stars from the dutch east indies government. among the honorary stars from the netherlands were commandeur der eerste klasse met de ster der orde van hendrik der leeuw van brunswijk. pradjapangrawit called commandeur der eerste klasse met de ster der orde van hendrik der leeuw van brunswijk with komandur medster orde pan endrakde leo pan broswik. the honorary star was awarded to paku buwana x in march 1910 or 1830 be in the calculation of the javanese calendar. gendhing panembrama ladrang sri kretarta laras pelog pathet nem was made as a mark of star awarding commandeur der eerste klasse met de ster der orde van hendrik der leeuw van brunswijk. gendhing panembrama ladrang sri kretarta laras pelog pathet nem was a joint work of m. lr. prawiramlaya, m. lr. purwapangrawit, and raden riya gunapangrawit (pradjapangrawit 1990, 157). ridder grootkruis in de orde van oranje nassau met de zwaarden honorary star from the netherlands was awarded to paku buwana x in 1952 ehe (javanese calendar) or march 1912. gendhing panembrama ladrang sri nasao laras pelog pathet barang the work of rm. ngabehi praja busana marked the awarding of groot kreis oranye nasao star. the next honorary star from the netherlands was grootkruis van der keizerlijke orde van annam. r ng atma mardawa’s gendhing panembrama ladrang sri kawentar laras slndro pathet manyura work marked the awarding of grootkruis van der keizerlijke orde van annam honorary star. ladrang sri kawentar laras slndro pathet manyura was originally named ladrang sri kasusra laras slendro pathet manyura. when paku buwajoko daryanto et al., gendhing, king, and events: the creation of gendhing panembrama 29 na x received the grootkruis van der keizerlijke orde van annam honorary star, with the permission of kanjeng wiryadiningrat, ladrang sri kasusra laras slendro pathet manyura was renamed to ladrang sri kawentar laras slendro pathet manyura (pradjapangrawit 1990, 158). gendhing panembrama dominated karawitan work during the reign of paku buwana x. paku buwana x, who ruled from 1893-1939, fought against the dutch east indies government through cultural symbols. the optimization of cultural symbols, including musicals, was carried out by paku buwana x because of the awareness that culture was the remaining sovereignty and was not intervened by the dutch east indies government. adapting to political realities through cultural paths made paku buwana x arrange surakarta residents to conform to the prevailing protocol when a cultural event was held at the karaton surakarta. resistance through this cultural path made the resident, who should have been above sunan in the context of subordination domination, could be managed by paku buwana x (kuntowijoyo 2004, 9495). resistance through this cultural route signified the success of paku buwana x in maintaining his existence and legitimacy as the king of surakarta. gendhing panembrama as a symbol of legitimating paku buwana x’s power the rapid development of karawitan during pakubuwana x’s reign, which was marked by the emergence of innovation and creativity in the creation of gendhing, could not be separated from the king’s interests in karawitan. a king, of course, wants his position to be recognized by all. therefore, all efforts were made to ensure that the king who reigned was most entitled to occupy the kingdom’s throne. phrases in javanese literature describe the king as ratu gung binathara (deified king), ber bandha ber bandhu (rich in property and relatives), mbaudhendha nyakrawati (having the power to punish and rule the world). it indicates that the king’s position is above all. in the traditional javanese leadership system, a king must have elements as in the phrases as the country’s leader. apart from that, a king must also have four other elements: sekti, mandraguna, mukti, and authority. sekti means having supernatural powers, mandraguna means proficient in all fields, mukti means having a high position, and authority means having a strong influence. if a king owns these elements, his power becomes solid. for this reason, various means or tools are needed so that the king’s position is recognized by the people to obey and submit to all his orders (kasdi 2003, 18). the next elements that can be used to strengthen the position of a king are called king legitimacy tools. soemarsaid moertono used the term the cult of pomp to refer to a means of legitimacy or means of strengthening the position of a king and classified it into two types: the cult of pomp, which is immaterial or abstract, and the cult of pomp, which is material or more concrete and visible. however, the two means ultimately lead to the same goal: the disclosure of the microcosmic and macrocosmic relationships that make a king a replica of government in heaven. the javanese consider heaven’s kingdom to have incomparable advantages and abundant wealth apart from having advantages in the spiritual realm (moertono 1985, 73). in this case, gendhing is a means that can be used to strengthen the king of surakarta’s position. the creative process in the form of the development of the work, wilet (sound connection), and instrument play patterns boil down to the gendhing creation. at karaton surakarta, the creative process was carried out by empu (masters) and abdi dalem niyaga. the role of abdi dalem niyaga in the development of the karaton surakarta’s karawitan is huge. karaton surakarta’s abdi dalem niyaga are people who have an inner inclination and fully attentive to life and bring to life the musical culture of karawitan through the aesthetic format of gamelan sounds (bambang soenarto, 2005: 16). they are the creators and the music organizers capable of thinking about karawitan development forharmonia: journal of arts research and education 21 (1) (2021): 23-3430 mat from time to time. abdi dalem niyaga played such a vital role that the karaton’s karawitan could last for so long. it even reached the golden age during pakubuwana x’s reign. the importance of karawitan’s role in the traditional life of the karaton, in the end, made the musical one of the legitimacy tools for the karaton surakarta king’s power. gendhing panembrama, the result of innovation and creativity of the karaton surakarta’s abdi dalem niyaga, was a means of affirming the legitimacy of pakubuwana x’s power. gendhing panembrama marked the awarding of service stars and other honors to pakubuwana x from fellow countries. gendhing panembrama’s creation denoted that pakubuwana x still had a lot of power and authority. surakarta people during pakubuwana x’s reign often referred to surakarta as negari gung (the great state). a great state was formed because there was a close relationship between the kingdom, the king, and the people. on the other hand, the great country placed the kingdom at the center of the government cosmology. meanwhile, the relationship between the king and the people in the kingdom’s political language was called manunggaling kawula gusti. the relationship between the king and the people (kawula-gusti) showed the relationship between the high and the low; it indicated the close interdependence between two different but inseparable elements, two elements that are actually two aspects of the same thing (moertono 1985, 25). it can be seen that the king and the people are one unit and have interdependent characteristics. in this case, the javanese likens the unity of this relationship to a ring (sesupe). the king was the sesotya (gemstone), and the people were as the embanan (bond). in a ring, the two parts found a symbiotic mutualism. the cosmology concept as the basic concept of the javanese king’s power, of course, was reflected in the king’s mind and produced various means of strengthening power, one of which was karawitan. in other words, the cosmology concept entered the realm of javanese traditional music that developed in the karaton, namely karawitan. the gamelan’s function to legitimate the king’s power was not only seen from the gamelan instruments as heirlooms. when the gamelan is played, the javanese gamelan’s music system is also related to strengthening the king’s position. in javanese karawitan, various structures were found, for example, the lancaran structure, the ketawang structure, the ladrang structure, the merong structure, and the inggah structure. the structure was determined by the interweaving of the structural ricikan (instrument) wasp patterns, namely the kethuk, kenong, and kempul. structural ricikan is ricikan whose wasp patterns (play) with one another link to form a structure according to the gendhing form, or in other words, the structure of the wasp pattern of structural ricikan determines or is determined by the gendhing form (supanggah 1984, 6). the javanese karawitan knows a group of ricikan whose task is to play the main melody, namely the ricikan balungan group. the ricikan balungan category includes saron barung, saron penerus, demung, slenthem, and bonang panembung. these ricikans play the main melody, which can then be identified with a dot. when gendhing runs for a certain amount of time, the structural ricikan weaves a wasp pattern to form a particular structure. the points where the structural ricikan comes into play can hereafter be called salient points. the salient points on the several horizontal lines, in the end, meet at the same place. the greater the number of horizontal lines that meet at a certain point, the more influential the position of that point is in the formal structure. in this case, the gong’s seleh (sound) is the central point used as the center or estuary of all instrument playing. hierarchically, the gong is the most salient point, namely the meeting of all parts of the kenong points contained in the gendhing structure. kenong is a meeting between kethuk and kempul. this analysis reveals that in the javanese gendhing structure, there are two forms of the cycle: a large cycle and a smaller cycle. the cycle joko daryanto et al., gendhing, king, and events: the creation of gendhing panembrama 31 that occurs in the gendhing structure is the repetition of large cycle forms and smaller cycle encounters in the form of larger cycles, or cycles in cycles. this gamelan music system ultimately leads to strengthening cosmological concepts and king position (becker 1980, 26-29). it is said to strengthen cosmological concepts and the position of a king because such a music system was built with stringent rules according to javanese musical karawitan principles such as pathet, structure, form, and laras principles. gong’s seleh, which is the most crucial point in the javanese music system, is personified as a king because it occupies the highest hierarchy. meanwhile, the small dots that form small cycles can be personified as people (kawula). the presentation of javanese gendhing reflects the relationship between the king and the people or manunggaling kawula gusti. the closeness between the king and the people can be seen from the length of the gendhing composition. thus, not all people can be close to the king even though the closeness between each subject and the king has a different degree. however, the relationship between the king and the people is well established. in general, the relationship between the king and the people can be formulated in three main concepts: the relationship as a person, the relationship between the abdi dalem and the bendara (lord), and the relationship between officials and the people (moertono 1985, 32). the personal relationship between the king and his people does not necessarily eliminate the boundaries between kings and kawula. the relationship is still accompanied by feelings of mutual respect and love. the relationship between a king as a bendara and a kawula with the status of abdi dalem implies a predestined order, whether he is born as abdi dalem or as a bendara or a lord. the result is that humans have no other choice but to carry out their obligations as determined by fate. it is what ultimately resulted in a model of government. the third relationship is that the king is the ruler of the whole kingdom, including the kawula. as an official from the side of wisdom, a king cares for his people. thus, in fact, the rulers have an attitude of protective superiority; meanwhile, those who are ordered to have an attitude of sincere devotion. the relationship between the king and the people can be said to be two sides that cannot stand alone. the close relationship between the king and the people means that both must be able to position themselves properly and realize their respective positions with all the consequences. the relationship between the king and the people (kawula) in the context of the karaton surakarta life can be identified with the relationship between the king and abdi dalem niyaga. the position of abdi dalem niyaga is the subordinate who is in charge when the palace holds a ceremony and involves the gamelan’s sounding at the ceremony. besides, on certain days, they are obliged to come at the time of pisowanan padintenan. their main task is to sound the gamelan according to the ceremonial needs. abdi dalem niyaga is the most important element in the gamelan playing activity in the karaton. gendhing will be realized when the gamelan has been played by the abdi dalem niyaga. the sense of taste raised is also very dependent on the abdi dalem niyaga who sounds it. in other words, the taste raised depends on how the abdi dalem niyaga expresses it through the ricikan beating. the karawitan tradition does not provide details on the provisions made by the composers regarding the ricikan wasps. the role of abdi dalem niyaga is an essential factor in realizing a sense of gendhing through the concept of garap (working). garap is an action that concerns imagination, interpretation, and creativity in traditional arts. working in a karawitan context can be interpreted as an activity or creative action in interpreting gendhing. how will the shape and feel of a gendhing appear when it has been worked on. this garap is what will determine the taste of a gendhing. of course, creative action or work requires specific devices called tools or elements of harmonia: journal of arts research and education 21 (1) (2021): 23-3432 garap. the elements of garap include ricikan, gendhing and balungan gendhing, vocabular (cengkok and wiledan), and a pengrawit (gamelan musician) or a karwitan artist (supanggah 2009, 4-6). when interpreting or working on a gendhing, every pengrawit with his imagination, all provisions, and interpretative skills has the freedom to translate the results of the interpretation into the ricikan play, which is his responsibility. however, the freedom to translate is still framed in unwritten rules called conventions. the importance of the pengrawit’s role in realizing the feeling of a gendhing places him in the most important element in the activity of working on an endhing. in the context of karaton’s karawitan, the karaton’s karawitan actor or artist’s role, namely the abdi dalem niyaga, is essential. a gendhing can function as a means of legitimating the king’s power and authority when the abdi dalem niyaga positions himself as kawula ingabdekaken mring ratu, namely the people who devote themselves entirely to the king. abdi dalem niyaga’s dedication strengthens the king’s power to make karaton the center source of musical work. working on the karaton’s karawitan, which was initiated by the abdi dalem niyaga, is proof of the abdi dalem niyaga’s responsibility in carrying out his obligations. the karaton people call the implementation of the duties and obligations of the abdi dalem with the expression netepi gawa gawene abdi dalem (carrying out obligations as abdi dalem). when abdi dalem carry out their duties and obligations, it is ensured that there is a harmonious relationship between the king and abdi dalem. a harmonious relationship between the king and abdi dalem can be interpreted as a well-established relationship between the king and the people. a well-established relationship between the king and the people has implications for the success of strengthening power through abdi dalem. as a continuation of the mataram dynasty, which adheres to the religious magic concept, karaton surakarta used abdi dalem as a means of enforcing power through a harmonious relationship between those who govern and are governed and the relationship between the king and his people even though the king, the people, and abdi dalem are in different classes. karaton surakarta’s karawitan, which is run by abdi dalem niyaga, requires a king figure as a patron and protector in carrying out their duties and obligations. the relationship between the king and the karaton’s karawitan carried out by the abdi dalem niyaga can be identified as class harmony. between the king and the karawitan carried out by the abdi dalem niyaga, it is bound by regulation or angger-angger that have been agreed upon in karaton surakarta. it is that the king and the abdi dalem niyaga have a different class or position altogether. the king is the highest leader who holds the sole power in karaton surakarta, while the abdi dalem niyaga is the king’s employee. the strata difference between the king and abdi dalem niyaga gave rise to a relationship called class harmony. there is an interdependent relationship between the two, even though the karawitan is run by the abdi dalem niyaga, and the king is at different strata or classes. class harmony occurs because the king and abdi dalem niyaga have a vital function in the customary life of karaton. the king needs a means of legitimacy through karawitan in the form of the creation and sounding of gendhing by abdi dalem niyaga. on the other hand, abdi dalem niyaga needs the king as a patron and creative space in karaton surakarta. conclusions the existence of karawitan in the karaton surakarta was not just enlivening the atmosphere with the sounds produced through the gamelan. more than that, the role of gamelan was vital. karawitan acted as a means of political articulation of paku buwana x through gendhing panembrama’s creation and sounding. the existence of this karawitan, which was marked by the creativity of gendhing panembrama’s creation, was essentially also one of the means for paku buwana x joko daryanto et al., gendhing, king, and events: the creation of gendhing panembrama 33 to state and confirm his power. besides, the creation of gendhing panembrama was a manifestation of paku buwana x’s sovereign consciousness. the pressure and coercion of the dutch east indies government caused paku buwana x to find a way to keep his sovereignty and power visible. also, gendhing panembrama became one of the tools for fighting paku buwana x against the dutch east indies government. since it was physically impossible to fight against the dutch east indies government, paku buwana x empowered karaton surakarta’s karawitan as a symbol of his resistance. moreover, the creation and sounding of gendhing panembrama 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)!%'/!%'+,#&0&"!%'1,%& 2345'2&& %35'6'7 #89 : !;<=><= 6??@ macb3f9'b<=9e' ma4' 9f9' 'b8b<f;e9feafl ac>9fha' n9d8cj348meaf' =84aba' >9nae b8c<jam' ae3cfha )"32-75' &><4am =8jajfha' na4ab' 4a;<' n9e8fa4 9bdc3s9=a=9l' ha9><'b8bj<a>'sac9a=9' a;ac >8cn8f;ac' 48j9m' sac9a>9k' >8>ad9' =8oaca =>c<e><ca4' >9nae' b8c<jam' macb3f9=a=9 a>a< )"32haf;' n9>8>adeaf' d8f;;<jam 4a;<'t*22*,/#2w5 +8f849>9af' 1<mac>3' t6??zw' haf; j8cm<j<f;af' n8f;af' ae=8f' 4a;<' na4ab =ha9c'4a;<'b8bj<e>9eaf'jamqa'=8ja;9af j8=ac' t[\l]v' ^w' >8eafaf' ' ea>a' na4ab =ha9c' haf;' j8cjama=a' &f;;c9=' ' =8=<a9 n8f;af'ae=8f'4a;<fha5'&f9'b8bj<e>9eaf daca' d8f<49=' 4a;<' nac9' d8f<><c' a=49 t,*0(?#$ 'e#*;#2w' =84a4<' b8bd8cma>9eaf ma4' >8c=8j<>5' pa;a9bafa' n8f;af' 4a;< j8cjama=a' &f;;c9=' haf;' n9j<a>' 348m d8f<49=' ' j<eaf' d8f<><c' a=49' >8cba=<e d8f8cg8bam' 4a;<r' +8f<49=' b8f;aba>9 j8jacada' j<e<' >8cg8bamaf' 4a;<' afaei afae' haf;' 9=9fha' ba=9m' =af;a> j8c>8f>af;af' n8f;af' ea9namiea9nam >8c=8j<>5'%ab<f'n8b9e9af'ana'g<;a'j<e< 4a;<i4a;<'j8cjama=a'&f;;c9='nac9''d8f<49= j<eaf' d8f<><c' a=49' ' haf;' o<e<d' ja9e' 5 pa;a9bafaeam' =8j8facfha' m<j<f;af af>aca b<=9e' >8c<>aba' 9caba' 4a;< n8f;af' 9caba' 4a;<' =ha9c' 4a;<fha' r .<49=af'9f9''aeaf''b8f;<4a='ma4'>8c=8j<>5 ;:)7!3!"-$,3$()$(3$"$);$'$%$<)*+%,.$();+.$=$ p8j8cada' af;;adaf' daca' am49 ja9e' j9naf;' jama=a' ba<d<f' b<=9e jafhae' haf;' j8cd8fnada>' >8f>af; e8>8cea9>af' af>aca' jama=al' b<=9e' nafl j<nahal' qa4a<d<f' =8j8facfha' >9nae b8bj9oacaeaf' em<=<=' d8f8cg8bamaf eac8fa' b8c8ea' mafha' am49' n9' j9naf; ba=9f;iba=9f;5' ' ' #<=9e' naf' jama=a =8c9f;ea49' ' n9fha>aeaf' =8ja;a9' n<a' ma4 haf;'j8cb9c9daf5'_af;'da49f;'b8f3fg34 naf' =8c9f;' n9d8cj9foaf;eaf' ana4am =>c<e><cfha5' ' ' 08n<afhal' b<=9e' naf jama=al' n9=<=<f' nac9' haf;' e9>a' =8j<> m<j<f;af' =9f>a;ba>9=' naf' dacan9;ba>9e tp8oe8c' u' v[[?uvzw5' _af;' n9bae=<n n8f;af' m<j<f;af' =9f>a;ba>9=' ana4am m<j<f;af' e8>8cea9>af' ' =8d8c>9' dana caf;ea9af'ba>a'caf>a9l haf;'=a><'b8f;a9> n8f;af'haf;'4a9fl'naf'j8;9><'=8>8c<=fha5 `<d49eaf'4a;<'j8c9e<>'nada>'b8fg84a=eaf m<j<f;af'9><5 !f>aca'ea>a'haf;'=a><'n8f;af'ea>a'haf; 4a9f' =a49f;' j8cm<j<f;af' naf b8bj<><meaf' =<daha' b8b949e9' baefa ja9e' na4ab' >a>acaf' ea>al' kca=al' ba<d<f ea49ba>5' p8;9><' g<;a' n8f;af' b<=9efha5 089fnamaf'b843n9''>ae'j8cac>9'>afda'ana b843n9' =8j84<b' naf' =8=<namfha5 !c>9fhal' fana' >9nae' j9=a' j8cn9c9' =8fn9c9 <f><e'b8fgan9eaf'=8j<am'b<=9e5'#843n9 >8cn8f;ac' 9fnam' eac8fa' ana' d8c;8caeaf a>a<' 43bda>afi43bda>af' haf;' j8c=9ka> n9fab9=5 _af;' n9bae=<n' n8f;af m<j<f;af' dacan9;ba>9e' ana4am m<j<f;af'n9'af>aca'ea>a'a>a<'fana' haf; j8cj8naij8na' haf;' nada>' =a49f; b8f;;af>9eaf5'+ana'=ha9c'4a;<'a!d(,;#+c 0d(,;+#c$+(00+#$'0*2b'n9'a>a='b9=a4fhal'ea>a g+(00+#$ '0*2f nada>' n9;af>9' n8f;af' ' x+(00+# 533,f a>a<' haf;' 4a9f5' p8;9><' g<;a n8f;af' ea>a ghf nada>' n9;af>9' n8f;af ea>a' x63&y' ' naf' >8>ad' b8b949e9' baefa5 %3>a=9fha' d<f' nada>' n9;af>9' n8f;af haf;' 4a9f' a>a<' n9>abjaml' haf;' >8>ad b8f9bj<4eaf' =<aca' macb3f9=5 +8fabjamaf' f3>a=9' n8f;af' fana' 4a9f haf;' b8f9bj<4eaf' fana' macb3f9=' 9f9 n9fabaeaf' ae3c' t)"32-w5' !e3c' ana4am ;aj<f;af' j8j8cada' fana' haf;' j8cj8na naf' >8cn8f;ac' macb3f9=5' !e3c' ana4am <f=<c'b<=9e' haf;'b8bj8f><e' macb3f95 !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345'2&& %35'6'7 #89 : !;<=><= 6??@ #843n9' naf' ae3c' ana4am' <f=<c' <>aba na4ab' b<=9e5' #8f<c<>' 08ff8nh' naf p3<cf8l' tna4ab' 1<mac>3l' 6??zu' cvw b843n9' n9=8j<>' g<;a' j<fh9' b<=9e' haf; j8c=9ka>' m3c9d3f>a4l' =8naf;eaf' macb3f9 j8c=9ka>' s8c>9ea45' _af;' g84a=l' qa4a<d<f e8n<afha' b8b949e9' e8b9c9daf' >8>ad9 =8j8facfha'e8n<afha'j8cn9c9''=abai=aba e<a>l' eac8fa' e8babd<affha' <f><e b8f;<f;eadeaf' =9ada' e9>a' 9f9' tp8oe8cl v[[?uv@w5 pama=a' >8cdae<' dana' e3f>8efhal >8c9ea>' dana' =8e843bd3e' 3caf;' haf; b8b949e9' >a>a' f94a9' haf;' =abal' oaca m9n<d' haf;' =abal' d8f;a4abaf' haf; =aba5'#8=e9d<f'n8b9e9afl'jama=a'nada> n9>8cg8bameaf' <f><e' nada>' n9b8f;8c>9 348m' 3caf;' 4a9f' haf;' b8bd<fha9' >a>a f94a9'haf;'j8cj8nal''ba<d<f'd8f;a4abaf haf;' j8cj8na' d<4a5' ea4a<d<f' jama=a >9nae' =8oaca' =8bd<cfa' nada> n9>8cg8bameafl' fab<f' <=ama b8f8cg8bameaf' <f;eadaf' n9' na4ab jama=a' e8' jama=a' 4a9ffha' nada> n9ea>aeaf' j8cma=945' pa;a9bafa' n8f;af b<=9er' ' ' #<f;e9f' =aga' b<=9e' nada> n9>8cg8bameaf' g9ea' mafha' =8ja>a= 49c9efha'=aga' =8naf;eaf'b843n9fha' >8>ad >afda' b8f;;af>9' n8f;af' =9=>8b' b<=9e 4a9ffha5' %ab<f' e8fna4a' >8>ad' aeaf n9manad9' daca' d8f8cg8bam' 4a;<' eac8fa =>c<e><c' 49c9e' haf;' b8fh8c>a9 4a;<' 9>< j8cj8na' af>aca' jama=a' =a><' n8f;af jama=a'4a9ffha5 18gae' gabaf' _<faf9' 0<fa =8j8facfha' ba=9m' ana' dafnaf;af >8f>af;' mae8ea>' b<=9e5' +afnaf;af d8c>aba' ana4am' haf;' n9=8j<>' >83c9 ab<=9e' aj=34<>y5' #8f<c<>' >83c9' 9f9 b<=9e' =8mac<=fha' >9nae' b8b949e9 e8>8cea9>af' n8f;af' >8bda>' >8c>8f><l n8f;af' qae><' >8c>8f><l' naf' >9nae' d<4a n9b949e9' 348m' jaf;=a' >8c>8f><5' #<=9e b8f<c<>' ' >83c9' 9f9' ana4am' >9nae e3f>8e=><a4l'b<=9e'j<eaf4am'ja;9af'nac9 j8cja;a9' m<j<f;af' 8e=dc8=9k' =8d8c>9 jama=a5' #<=9e' j8cn9c9' =8oaca' >8cd9=am nac9' e8j<nahaaf' naf' j8c=9ka>' <f9s8c=a45 1>cafs9f=ehl' tv[@6uzvw' ana4am' d8f;af<> a49caf' 9f9' haf;' j8cdafnaf;af' jamqa ca=al'=9ead'j<n9l'e8anaaf'e8g9qaafl''naf =8ja;a9fhal' g9ea' b<=9e' nada> b8f;<f;eadeaf' =8=<a><' 9><' =8j8facfha mafha4am' 94<=9' =aga5' +afnaf;af' e8n<a ana4am' jamqa' b<=9e' b8f;<f;eadeaf 8b3=95' +afnaf;af' 9f9' 48j9m' e<f3' >8>ad9 48j9m' d3d<4ac' jameaf' =abda9' =aa>' 9f95 18gae' ajan' ' f&2' ' =8j84<b' ba=8m9l k943=3k' _<faf9' !c9=>3>848=l' =<nam j8cdafnaf;af' jamqa' b<=9e' nada> b8f;<f;eadeaf' 8b3=9' baf<=9a5' #<=9e nada>' b8bd8f;ac<m9' ;8g34ae' g9qa t-c3<>l' v[\cu\w5' 08n<a' dafnaf;af' ' 9>< b8bd8f;ac<m9' b<fo<4fha' j8cja;a9 g8f9=' b<=9e' naf' k<f;=9fha' ba=9f;i ba=9f;5''18>9ad'e8j<nahaaf'=a><'n8f;af 4a9ffha'd<f'j8cj8na'na4ab'b8bafnaf;5 !na' haf;' b849ma>' b<=9e' =8ja;a9' a4a> <f><e' b8foada9' e8=8bd<cfaaf' m9n<d =8m9f;;a'nada>'=8ja;a9'a4a>' 9janam5'!na haf;' b8f;af;;ad' b<=9e' =8ja;a9' a4a> j8c8e=dc8=9' naf' b8f;<f;eadeaf d8ca=aaf5' /afl' jafhae' d<4a' haf; b8bd8c4ae<eaf' b<=9e' mafha' =8ja>a= j9=f9='naf' 9fn<>c9l' =8ja;a9' a4a>' 8e3f3b9 haf;'j8ce8bjaf;' 'b8f;9e<>9' gabaffha5 (9ea'n8b9e9afl'j9=aeaf'd8f8cg8bam' 4a;< b8fhanac9'naf'nada>'b8faf;ead'ma4ima4 >8c=8j<>' n9' a>a=' =8m9f;;a' babd< b8f;a49meaf' d8=af' =8ea49;<= b8f;a49meaf'8k8e'haf;'=aba'd<4a5 >:)?$-,-$3) !(!"1!#$'$( 18oaca'<b<b''d8f8cg8bamaf''ana4am e8;9a>af' d8f;a49maf jama=a' nac9' jama=a =a><' e8' jama=a' 4a9ffha5' ' p8c9e<>' 9f9 ana4am'j8j8cada'n8k9f9=9'nac9'daca'daeac haf;'n9e<>9d'348m'1<dacbafl't6??]uv][w5 i7 !2*,'+*0(3,$ ('$ 0"#$ 2#e+*)#5#,0$ 3b 0#j0&*+$ 5*0#2(*+$ (,$ 3,#$ +*,/&*/# '3&2)#$ +*,/&*/#7$ 46$ #k&(?*+#,0 0#j0&*+$ 5*0#2(*+$ (,$ *,30"#2 !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345'2&& %35'6'7 #89 : !;<=><= 6??@ +*,/&*/#l0*2/#0$ +*,/&*/# m*0b32-c$inonpqr7s q7 !2*,'+*0(3,$)3,'('0$3b$ 2#e23-&)(,/ (,$ 0"#$ 2#)#e032$ +*,/&*/#$ 0"# )+3'#'0$ ,*0&2*+$ #k&(?*+#,)#$ 3b$ 0"# '3&2)#$ +*,/&*/#$ 5#''*/#c$ b(2'0$ (, 0#25'$ 3b$ 5#*,(,/$ *,-$ '#)3,-+6$ (, 0#25'$ 3b$ '06+#$ @(-*$ *,-$ !*4#2c inonpiq7 t7 !2*,'+*0(3,$ ('$*$e23)#''$3b$ b(,-(,/ *$!.$#k&(?*+#,0$b32$*$:.$&00#2*,)# 1(,)&"&);c$inuuptv7s w7 !2*,'+*0(3,'$('$*$)2*b0$)3,'('0(,/$(, 0"#$ *00#5e0$ 03$ 2#e+*)#$ *$ d2(00#, 5#''*/#$ *,-l$ 32$ '0*0#5#,0$ (,$ 3,# +*,/&*/#$ 46$ 0"#$ '*5#$ 5#''*/# *,-l$ 32$ '0*0#5#,0$ (,$ *,30"#2 +*,/&*/#$ @#d5*2;c$invipu7 18j8facfha' ba=9m' jafhae' n8k9f9=9' 4a9f nac9' daca' am49' haf;' =8c9f; n9d8cj9foaf;eaf' na4ab' n<f9a d8f8cg8bamaf5'%ab<f'n8b9e9af'n8k9f9=9 n9'a>a='nada>'b8fo8cb9feaf'jamqa'dana mae9ea>fha' d8f;8c>9af' d8f8cg8bamaf >8c=8j<>' >9nae4am' j8c>8f>af;af5' 0a>a x#k&(?*+#,0f n9;<faeaf' `a>s3cnl' %9nal naf'+9fm<oe' '<f><e'b8f8eafeaf'jamqa d8foac9af' xdanafafy' e8' na4ab' jama=a =a=acaf'ana4am'ma4'<>aba'e8;9a>af'dc3=8= d8f8cg8bamaf5' 18naf;eaf' #o-<9c8 b8f;;<faeaf' ' ea>a' x'(5(+*2f haf;'dana mae9ea>fha' >9nae' ga<m' nac9'bae=<n' ea>a danafaf' na4ab' d8f8cg8bamaf5 184afg<>fha' ea>a 0#j0&*+$ 5*0#2(*+ t`a>k3cnwl'a:.$0#j0f t#o-<9c8wl''xd2(00#, 5#''*/#f$ %8qbacew' naf' x:.$%#''*/#f t%9naw' ana4am' =8=<a><' haf; n9>8cg8bameaf'348m'd8f8cg8bam'e8'na4ab jama=a'=a=acaf'tp=aw5 #8f8cg8bameaf' ana4am b8c8dc3n<e=9' e8' na4ab' jama=a' =a=acaf tp=awl'danafaf'haf;'=8oaca'qagac'da49f; n8ea>' n8f;af' d8=af' na4ab' jama=a =<bj8c' tp=<wl' n8b9e9af' ea>a' %9na' naf .aj8c5' #8f<c<>' b8c8eal' d8f8cg8bamaf mac<=' >8c48j9m' nam<4<' b8bdc3n<e=9 d8=afl' j<eaf' e8=abaaf' af>aca' ea>al <f;eadaf' nac9' jama=a' =a><' e8' jama=a 4a9ffha5'+8f8cg8bamaf'haf;'ja9e'ana4am d8f8cg8bamaf' haf;' >9nae' j8cja< d8f8cg8bamaf' =8m9f;;a' =834ami34am eacha'd8f8cg8bam'=8fn9c95 @:a+(0%,)/,",-).$&$#)74#b4%,%, *9c9e' a>a<' =ha9c' 4a;<' =8oaca =8n8cmafa' ana4am' ea>aiea>a' dana' 4a;<5 *9c9e' dana' =8j<am' 4a;<' j8cd8caf' >9nae mafha'=8ja;a9'd848f;ead'4a;<'>8>ad9'g<;a =8ja;a9' ' ja;9af' d8f>9f;' 4a;<' haf; b8f8f><eaf'>8ba'4a;<l'eacae>8c'naf'b9=9 4a;<' 9><5' *9c9e' nada>' b8fo9d>aeaf ca=a >8c>8f><' =8d8c>9' =8faf;l' =8n9ml' =8baf;a> ja;9'haf;'b8fn8f;aceaffha'n9'=abd9f; b<=9efha' 9><' =8fn9c95' *9c9e' g<;a' nada> b8f;;abjaceaf' baefa' nac9' 4a;<' 9><5 )f><e'b8f;8>am<9'baefa' 9><' e9>a' mac<= b8ca=aeaf' 9cabal' b843n9l' macb3f9' naf =<aca' s3ea4' =8c>a' 9=9' 49c9e' n8f;af' oaca b8fhafh9eaf' a>a<' b8fn8f;aceaf' 4a;< 9><5 *9c9e' =8j8facfha' b8c<daeaf <f=<c' f3fib<=9ea4' na4ab' =8j<am' 4a;<5 %ab<f'n8b9e9af'49c9e''b8bj<a>'n9b8f=9 jac<'haf;'<f9e'na4ab'=8j<am' 4a;<'haf; b8bd8ceaha' e8b8;amaf' naf e8macb3f9=af' =8j<am' b<=9e' t19>3bd<4l v[g@u[@w5' *9c9e' b8f<c<>' 19>3bd<4 ana4am'ja;9af' 4a;<'haf;'b8b949e9'd8caf d8f>9f;'<f><e'b8f;8e=dc8=9eaf'd8ca=aaf =8=83caf;' ja9e' d8fhafh9l' d8f<49=l ba<d<f'd8fn8f;acfha5 18j8facfha' e3bd3=9=9' b<=9e >9nae' ' mac<=' n9=8c>a9' n8f;af' >8e=5 03bd3=9=9' 9f9' haf; >afda' 49c9e' 9f9 n9=8j<>' ' b<=9e' 9f=>c<b8f>a49a5 03bd3=9=9' b<=9e' haf;' n9=8c>a9' n8f;af 49c9e'''j9a=a'n9=8j<>'fhafh9af't'3,/7s 1ag9af' b<=9e' na4ab' j8f><e fhafh9af' b8f;afn<f;' a=d8e' jac<' haf; =af;a> b8fac9es !=d8e' >8c=8j<>' ana4am jama=a5' *9c9e' ' na4ab' =8j<am' e3bd3=9=9 nada>' n9o9d>aeaf' ' =8oaca' j8c=abaaf !"#$%&!'()"%!*'+,%-,.! 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1>c8==' !fa4h=9=' 3f ,f;49=m' 13f;' *hc9o=b' ac>9e84 acb3f9a'234'25'%3']5 28cmaacl' (5e5#5 ^'*'x*'*'$ .(,/&('0(; >5&55 _3;haeac>au' -angam #ana')f9s8c=9>h5 f9a3=m<l' 13f;l' afn' /3f;b9f;l' `m8f;5 .caf=4a>93f' 3k' *9>8cach' 1>h485 !c>9e84' &4b9am !2*,'+*0(3, 93&2,*+ t)"*um>>du77aoo<ca9n5o3b7 g3<cfa476]=>h485m>b5 *a=>'<dna>8n 3f'uv676]7?z'?@uz]u]gw5 1 the forging of a “singapore sound” in saxophone compositions of zechariah goh leslie wong kah ho1, rattanai bampenyou2 1nanyang academy of fine arts, singapore 2mahidol university, thailand submitted: 2023-01-03. revised: 2023-03-18. accepted: 2023-04-10 abstract the main objective of this study is to examine two of goh’s saxophone works that demonstrate how the composer realized singaporean identity through the synthesis of western, tibetan, and indian musical elements. the research design of this qualitative case study is narrative research with data collection carried out by semi-structured questions, email interview with the composer and review of text, videos, and journal articles that relate to the government policies of racial integration and multiculturalism in singapore, followed by analysis of two of the recent works that evolved from the fusion of eastern and western styles. the two works for this qualitative study are images of tibet for soprano saxophone and piano, and confluence for saxophone ensemble and mridangam. the findings show that 1) images of tibet uses western formal structures, the technique of thematic development, and tibetan musical idioms; and 2) confluence for saxophone ensemble and mridangam employs the indian tala, motivic modification technique used in the fugues of johann sebastian bach, and pandiatonicism as employed in impressionistic works of debussy and ravel. this study reveals the two ways in which the composer uses to intertwine the east and west in his connection to his cultural roots. keywords: saxophone music; singapore sound, singapore composition how to cite: ho, l. w. k. & bampenyou, r. (2023). the forging of a ”singapore sound” in saxophone compositions of zechariah goh. harmonia: journal of arts research and education, 23(1), 1-13 harmonia: journal of arts research and education 23 (1) (2023), 1-13 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v23i1.41647 portunities in the singapore saxophone symposium. this, in turn, allows young saxophonists of singapore to experience firsthand the instrument’s virtuosic capabilities (which is not prevalent in the early stages of saxophone education in singapore), encouraging them to pursue serious saxophone training. regarding his artistic excellence in the field of composition, goh received the young artist award (music) from the national arts council in september 2003. this award was presented to zechariah goh by the president of the republic of singapore introduction zechariah goh toh chai is senior lecturer in composition at the nanyang academy of fine arts (nafa), where he hosts the singapore saxophone symposium. it is an annual saxophone event that attracts both international and local artists. his compositions for saxophone are also pivotal to the development of both saxophone music and its status as a solo instrument in singapore. goh’s works are usually premiered by renowned saxophonists whom he provided performance opcorresponding author: e-mail: khwang@nafa.edu.sg p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 23 (1) (2023): 1-132 at istana (music education global, 2021). goh was awarded the artistic excellence award from the composers and authors society of singapore in 2013 and the distinguished alumni medal from nafa in 2014 (music education global, 2021). he has written over 60 choral works and was commissioned to write the spirit rejoices, the compulsory set piece for the final of the inaugural world choral conducting competition that took place in hong kong in july 2019 (music education global, 2021). to date, goh has written six works for the saxophone: concertino for alto saxophone and wind ensemble (2004), suite for alto saxophone and piano (2006, 2010-2011), homage for saxophone quartet (2012), concerto for alto saxophone and wind ensemble (2013), images of tibet for soprano saxophone and piano (2015) and confluence for saxophone ensemble and mridangam (2018). among his works, concerto for alto saxophone and wind ensemble, homage for saxophone quartet, and images of tibet for soprano saxophone and piano are performed regularly by saxophonists in asia and the united states, such as the recording of homage for saxophone quartet by h2 quartet in their album infinity mirror. his suite for alto saxophone and piano was also chosen as one of the choice pieces for the second asia saxophone congress competition. in a video interview conducted by project idiom, a website supported by yale-nus that featured composers who write concert music in singapore and explores their preoccupations, motivations, stories, and music, goh commented that it has become very helpful for him to think about music that is related to his roots and tradition (project idiom, 2019). to the composer, folk music is a means of reconnecting with one’s heritage, especially as a citizen of an emerging country with a short history; however, it is just the starting point for this process, which goh would decide what folk elements he would employ in a particular composition, followed by treatment of the music with traditional western composition techniques (project idiom, 2019). in goh’s saxophone music, his approach of inter-mingling of elements from both western classical and traditional tibetan and indian music into his composition, such as time signature and traditional elements is apparent in his two latest works for saxophone, images of tibet and confluence for saxophone ensemble and mridangam. images of tibet was written in 2015 as a request of ao kun, the saxophone professor of the wuhan conservatory of music, who specifically requested goh to compose a saxophone work incorporating chinese folk elements, in which tibetan elements were selected for this composition (wong, 2020, p. 51). here, the composer uses western classical formal structures, but the music is filled with traditional tibetan and chinese folk music elements such as employing grace notes and “bisbigliando” to mimic the production of the short drawl and “shan” in traditional tibetan speech and chinese music respectively. confluence for saxophone ensemble and mridangam was composed for nafa and mahidol university students to perform together at the 18th world saxophone congress in zagreb, croatia (wong, 2020, p. 56). the use of carnatic material is interesting for this composition at this particular event as southern india music is often viewed as having a close correlation to gaining new prominence due to the emerging presence of south asia (kalmanovitch, 2005, p. 136). this composition follows the formal structure of a tala (a metric cycle with a specific number of beats) and incorporates compositional ideas from indian vedic literature. for example, goh employs the elements of yajur veda (a collection of mantras and verses that forms part of the ancient sacred literature of india) in the construction of the second thematic material by using the chant syllabus of four notes—two main notes and two accents as the source material of the second thematic material (young, 1998, p. 6). more examples are provided in the following section regarding this composition. the fusion of eastern and western styles that goh employs can be seen as his leslie wong kah ho et al., the forging of a “singapore sound” in saxophone composi3 embrace of multiculturalism in singapore. this socio-political movement initiated by singaporean government promotes liberal ideas such as tolerance and acceptance of diversity among singaporean citizens, and it also influences the singaporean concept of sound (lizeray & lum, 2019, p. 20). born in 1970, goh is one of the first generations of singaporeans that was brought up in this imaginary national-building exercise conceived by the singapore government to build an identity for its nation. the populations of modern-day singapore are mostly descendants of laborers recruited by the british from china, india, and malaya (ang & stratton, 1995, p. 71). it is precisely this cultural hybridity that singapore finds itself neither east nor west (ang & stratton, 1995, p. 71). the national identity matter was of utmost importance to the singaporean government after it left the malaysia federation in 1965 to begin its journey as a sovereign country (ang & stratton, 1995, p. 73). with no pre-colonial past, singapore embraced its multiculturalism as a form of inventing its nativity from a mish-mash of different groups of immigrants (ang & stratton, 1995, p. 73). the validation of each group of immigrants is done through the celebration of the different cultures that they bring from their respective homelands but in a delimited form that they can also experience in their new home in singapore (ang & stratton, 1995, p. 78). it should be pointed out that the government policy was not to assimilate but to integrate each different community to build up common attributes such as one common working language, same loyalties, similar values, and attributes so as to make the different communities more cohesive nation (ang & stratton, 1995, p. 79). the use of traditional tibetan and indian elements in these two works is in line with goh’s interview with project idiom sg. here, he mentions his early attempt to channel the influences of traditional western classical and traditional chinese, indian, and malay music, to which he was exposed in his childhood through television programs, in his compositional process over the past ten years (project idiom, 2019). despite the popularity of goh’s works, there has been no scholarly work on his music for the saxophone. much of his biographical information for this paper was gathered from his interviews with project idiom sg and music education global. this study aims to provide insights into goh’s fusion of western music composition techniques with traditional tibetan and indian music elements in two of his saxophone works: images of tibet for soprano saxophone and piano, and confluence for saxophone ensemble and mridangam. also, it discusses in detail how the singaporean composer realizes his own “singapore sound,” which coincides with the national trend emerging out of the singaporean government’s attempts to characterize a cohesive and overarching national identity after its independence in 1965. method the research design of this qualitative case study is narrative research to discover the social constructivist that enabled an artist in singapore to develop his own unique sound concepts and composition direction. data collection methods employed were email interview employed with semistructured questions with the composer to provide context for each of his musical works for the saxophone. text, videos, and journal articles that relate to the policies of racial integration and multiculturalism by the government and its influence on the arts were also reviewed, followed by an analysis of two of the composer’s recent works that evolved from the fusion of eastern and western styles. result and discussion scope and context of multiculturalism in singapore this section deals with how the singapore government’s policies on promoting a multiracial society significantly imharmonia: journal of arts research and education 23 (1) (2023): 1-134 pact the country’s fusion of western and eastern musical elements. as there is no published scholarly writing on goh or his music, this study will serve as a pioneer study on the singaporean composer and as a companion for future research on saxophone or other instrumental works by singaporean composers. the scope of this paper would be limited to: giving an overview of how the government’s policies since the founding of singapore to modernday singapore influenced the diversity of different races in singapore; the study of two of zechariah goh’s latest two pieces of work: images of tibet for soprano saxophone and piano, confluence for saxophone ensemble and mridangam and illustrated how his music is influenced by multiculturalism in singapore, allowing him to have a perspective. the context of multiculturalism in singapore singapore is a multicultural southeast asian nation with rich traditions, forged by complex processes of migration and settlement (lizeray & lum, 2019, p. 1). it is also a country that is rapidly changing. its economic policies promote free trade and the free movements of capital have led to the high penetration rate of technologies and cultural influences from the rest of the world (lizeray & lum, 2019, p. 1). as a result of these historical processes, singapore is often taken to be at once to be hyper-globalized yet firmly grounded in asian traditions (lizeray & lum, 2019, p. 1). these phenomena are characterized as two forces that pit themselves against one another, and the struggle to synthesize the two continues to preoccupy singapore’s leaders in their attempt to form a cohesive and overarching national identity (lizeray & lum, 2019, p. 1). however, the coexistence of globalization and traditionalism has raised the important question of how singaporeans and the singapore art scenes can best experience and reconcile the dichotomy between the contemporary and the traditional in the construction of their identity (lizeray & lum, 2019, p. 1). singapore invests enormously in the official validation of three separate reified cultures—chinese, malay, and indian—as it is through these three “asian high cultures” that singapore aims to forge its unique and quintessential multiracial asian-ness (ang & stratton, 1995, p. 78). as a result, ethnicity has been lifted out of the realm of un-self-conscious, lived culture and into the sphere of ideology. in the singaporean context, chinese-ness, malay-ness, and indian-ness are constructed as sites of authentic asian-ness, designed to provide the national culture with substance and original solidity (ang & stratton, 1995, p. 78). this coexistence of culture began with the founding of modern singapore by sir stamford raffles, and music has always been an integral part of this heritage, as the british brought along western music entered the island to join the indigenous malay musical traditions of the region (dairianatha & phan, 2005, p. 2). an influx of chinese and indian immigrants also contributed their own musical heritage to an already rich multicultural mix of western and malay influences, as well as the surviving portuguese traditions dating back to the pre-colonial occupation (dairianatha & phan, 2005, pp. 2-3). with the culmination of the rich diversity in cultures, singaporean music developed into what today can broadly be divided into two categories: 1) “traditional singaporean music,” which is comprised of malay, chinese, and indian music, and 2) “western-based musical compositions” by singaporean composers (dairianatha & phan, 2005, p. 3). a government policy to foster multiculturalism is the ethnic integration policy (eip), which was introduced in 1989 (chan & chong, 2021). as mentioned by the minister for national development of singapore, when singapore was still under british rule, the raffles town plan, also known as the jackson plan, designated separate geographical zones to ethnically separate the living areas of malays, chinese, indians, and europeans (chan & chong, 2021). this segregation was not conducive to promoting interaction and integration leslie wong kah ho et al., the forging of a “singapore sound” in saxophone composi5 between the races (chan & chong, 2021). when singapore gained its independence in 1965, its founding fathers were determined to build a cohesive, multiracial society that was based on the idea of one united people, regardless of race, language, or religion (chan & chong, 2021). the government encouraged this through its public housing policies (chan & chong, 2021). for instance, when new towns and estates were built to provide public housing for singaporeans, the government consciously allocated flats in such a way that every hdb block and precinct all over singapore reflected the ethnic mix of the general population for new apartments. as a result of eip, public housing estates remained inclusive and diverse, even beyond initial flat allocation (chan & chong, 2021). by the late 1980s, there was an increasing concentration of ethnic enclaves in the resale market (chan & chong, 2021). as a result, it capped the proportion of flats in each government housing block and neighborhoods that can be owned by households of each ethnic group (chan & chong, 2021). while singapore’s diversity lends itself to unique musical and artistic expressions, that very diversity also poses a significant challenge for those who seek to define the music of singapore (dairianatha & phan, 2005, p. 1). it also makes the challenge of chronicling the music of singapore a difficult one, as the writer must contend with the questions of where and how to begin as well as which type, genre, or tradition of music to feature (dairianatha & phan, 2005, p. 1). the confluence of past and present, of the traditional and the contemporary, and of local singularity is the direction that many singaporean composers take in their creative route (lizeray & lum, 2019, p. 1). goh’s recent compositions for saxophone also reflect this. when he was a child, the composer was highly influenced by music television programs featuring indian, chinese, and malay traditional music (project idiom, 2019). such exposure allowed goh to develop a “sound library” of sorts in his mind and also serves as a reference when composing music related to his roots and local traditions (project idiom, 2019). he also stressed that thinking about national identity has facilitated him in developing his composition process. goh mainly employed chinese elements in his compositions in his earlier days, but over the past decade, the composer has increasingly used malay and indian music in his writing (project idiom, 2019). notably, obvious components such as tunes or scales from traditional malay and indian music are not present in his works. goh, rather, incorporates carnatic ideas and rhythmic structures in his work confluence for saxophone ensemble and mridangam. therefore, audiences might not be able to recognize malay and indian musical influences in his works. (project idiom, 2019). images of tibet for soprano saxophone and piano most of goh’s saxophone compositions include a fairly western usage of formal structure and thematic material. however, in 2015, he began to employ elements of traditional asian music in his writing. this new direction manifested in images of tibet for soprano saxophone and piano. the work consists of four short movements based on tibetan folk songs: “song from the prairie” (草原上的歌), “a toast” (敬酒歌), “lullaby” (催眠曲) and “young friends” (年轻的朋友) (wong, 2020, p. 51). this is in line with goh’s interview with project idiom sg; he discussed borrowing elements of traditional folk music and their formal structures and how he applies them to music he has written in the last ten years (project idiom, 2019). the incorporation of traditional tibetan elements by goh into images of tibet is not haphazard and superficial. in each individual movement, the composer strives to use western structural organizations as platforms to showcase the elements of tibetan folk music evident in images of tibet. goh’s fusion of traditional western elements and traditional tibetan materials embodies this construct of the forging harmonia: journal of arts research and education 23 (1) (2023): 1-136 of his personal “singapore sound.” for example, the four movements of images of tibet are governed by western formal structures such as modified strophic form, binary form, through-composed form, and bar form respectively, as shown in tables 1-4. table 1. overall strophic formal structure of “song from the prairie” from images of tibet. measure 5-10 11-14 15-19 2022 23-27 27-35 key f maj pentatonic f maj pentatonic f major – c major c major c major section verse 1 verse 2 verse 3 verse 4 verse 5 “song from the prairie” (草原上的歌) depicts a singing in the vast plain of the tibetan plateau. in this movement, goh uses the modified strophic form to evoke the sense of romantic longing in many german lieder. this structure is also used in schubert’s lieder such as gute nacht from witerreise, schwanengesang, ständchen, and die forelle (roman, 1996, 372). while the lied is considered to be a 19th century art form, strophic songs were long regarded as a native german genre, popular from at least the end of the 16th century (dellal, 2014, p. 363). this use of the modified strophic form is an appropriate choice as it also represents the simplistic and poetic nature of the lied. interestingly, goh’s use the form in a very flexible manner. the demarcation between each section is seamless and one phrase follows after another, contributing to the reciting quality of the movement. the composer achieves the poetic quality of the lied by creating the main thematic idea in “song from the prairie” from four elements: a long note followed by a short ascending melisma, a descending triplet gesture, an ascending pentatonic scale in sixteenth notes, and a final descending pentatonic motive, as presented in figure 1. the use of feathered beaming effectively creates a sense of urgency while long notes the sense of space. the composer uses all four elements throughout the movement, either repeating them literally or subjecting them to variations of range and direction. this main theme is used in both its entirety and short fragments throughout the movement. figure 1. “song from the prairie” from images of tibet, mm. 6-10. this piece’s treatment of formal structure and thematic material is very much grounded in western classical music tradition. the secular influences of these four short movements are extracted from different aspects of the tibetan population and different regions and dialects; some of these songs have a ceremonial purpose, for use at weddings and other social occasions, while other songs have an occupational association, and others still are simply emotive in character (lhalungpa, 1969, p. 8). tibetan folk songs provided entertainment for everyone who knew them (lhalungpa, 1969, p. 8). they provided a feeling of company for those engaged in lonely journeys across the great plateau; they also brought consolation to those in sorrow and helped to lighten the burdens of a working life (lhalungpa, 1969, p. 8). thus, to effectively perform and appreciate images of tibet, both the performer and audience must have a slight understanding of the context of the music of tibet, as the musical interpretation of this piece is very ethnic in nature. the music is written in a very simplistic and western-notated way and there are many examples across the piece that evokes traditional tibetan folk music. “song from the prairie” includes an example of polyrhythm in measure 13, with eighth, sixteenth, and sextuplet-sixteenth notes in the soprano saxophone part set against a quarter note triplet pattern in the piano part (figure 2). in the context of this music, it is suggested to perform this measure as expansively as possible to portleslie wong kah ho et al., the forging of a “singapore sound” in saxophone composi7 ray an image of the vastness of a prairie. figure 2. “song from the prairie” from images of tibet, mm. 13. table 2. overall binary formal structure of “a toast” from images of tibet. measure 36-46 47-58 5970 71-73 7485 8697 section introduction a b transition a’ b’ in “a toast” (敬酒歌), the song-like element depicts the performers as though they are singing in front of a bonfire in the middle of the tibetan fields. the form that “a toast” follows is a binary form that follows an abab structure. in “a toast,” the saxophone entry in measure 47, serves as a basis for thematic development in the return of the second a section, as illustrated in figure 3. goh then employs important compositional principles from european art music when developing thematic material in images of tibet (frisch, 1982, 215). variation of melodic elements is used to create musical variety and contrast (frisch, 1982, 215). in order to create cohesion within his music, goh mixes and matches different motives and themessetting one as melody and another as counter-melody, for example. he also uses western techniques of augmentation and diminution to vary melodic ideas like rhythmically stretching or compressing them, respectively. the thematic material is developed by traditional western composition techniques of augmentation, displacing the rhythms and employing embellishment in measures 51-54 as shown in figure 4a. in the return to the a section in return of the a section in measure 78-81 as shown in figure 4b, the same thematic material is augmented and fragmentized to provide variation. figure 3. a toast from images of tibet, mm. 47-50. figure 4a. “a toast” from images of tibet, mm. 51-54 (augmentation and embellishment). figure 4b. “a toast” from images of tibet, mm. 78-81 (augmentation and fragmentation). although this is a contemporary, westernized version of traditional folk tunes, there are many instances where the music mimics the authentic traditional performance practices of its source material (yang yang et al., 2010, pp. 20-21). one example is the use of grace notes in “a toast and lullaby,” which is very reminiscent of the short drawl, which is an extension and twisting of the vowel in tibetan speech and singing (figure 5 and 6) (cheng, 2014, p. 55). figure 5. “a toast” from images of tibet, mm. 53-54. harmonia: journal of arts research and education 23 (1) (2023): 1-138 figure 6. “lullaby” from images of tibet, mm. 104-105. “lullaby” (催眠曲) is in contrast to the previous two movements, where it is quiet and more reflective, as though staring into the vast clear skies. “lullaby” consists of four phrases presented by the soprano saxophone, following a twomeasure introduction or interjection from the piano. the first statement is an eightmeasure lyrical phrase (figure 7) and the second statement is a six-measure phrase (figure 8). the third and final statement of this section is a six-measure phrase from (figure 9). although simplistic in nature, there are many exchanges of rhythm between the soprano saxophone and piano, as seen in figures 8 and 9 to produce a rhythmic call and response. table 3. overall through-composed form of “lullaby” from images of tibet. measure 98-99 100105 106-107 108-111 key eb eb eb f major section piano introduction phrase 1 piano break phrase 2 measure 112-113 114117 118-119 120--132 key section eb dorian piano break eb phrase 3 eb piano break (recapitulation) eb phrase 4 figure 7. “lullaby” from images of tibet, mm. 98-105. figure 8. “lullaby” from images of tibet, mm. 106-111. figure 9. “lullaby” from images of tibet, mm. 112-117. the final “lullaby” measure has a timbral trill that decrescendos to niente (figure 10). timbral trills are often indicated by the term “bisbigliando,” which refers to a trill using two or more alternate fingerings (weiss & netti, 2015, p. 35). the difficulty in executing this measure lies in creating the aural sense of an echo, similar to the production of “shan” in traditional chinese music (yang yang et al., 2010, p. 16). figure 10. “lullaby” from images of tibet, mm. 132. table 4. overall bar form of young friends from images of tibet. measure 133-154 155-176 177-198 199-211 section a1 a2 b coda “young friends” (年轻的朋友) is the concluding movement and begins with a robust and chirpy style which becomes more chaotic before finally settling down in a three-measure cadenza that ends off resoundingly potraying the musical depiction of friends engaging in vibrant conversation. the structure of “young friends” is a aab+coda form which is known as the bar form, a term in musicology denoting this particular form (brunner, 2001). the leslie wong kah ho et al., the forging of a “singapore sound” in saxophone composi9 origins of the usage of the term can be traced to the 15th to 18th centuries by german meistersinger (brunner, 2001). these forms are taken from medieval german song, but are also generally applicable and could be found in the early middle ages as gregorian chant repertories and later in many hymns (brunner, 2001). in a more expanded form, it became particularly important in the songs of the provençal troubadours, the northern french trouvères, and the german minnesinger, sangspruchdichter and meistersinger (brunner, 2001). in more history of german songs, it saw a significant revival in the songs of schubert, schumann, and brahms (brunner, 2001). “young friends” follows the structure religiously. in the first a section, it is broken up into three phrases, respectively from measure 133-136 (figure 11), 137-143 (figure 12), 144-153 (figure 13), and transition in measure 154. the second a section sees the composer developing from the first a section with variations on the melodies, ornamentations, and the use of canonic texture for distinguishing the two a sections (figure 14). figure 11. “young friends” from images of tibet, mm. 133-136. figure 12. “young friends” from images of tibet, mm. 137-143. figure 13. “young friends” from images of tibet, mm. 144-153. figure 14. “young friends” from images of tibet, mm. 155-176. confluence for saxophone ensemble and mridangam traditional indian music is divided between the hindustani (northern) and carnatic (southern) schools (young, 1998, p. 8). in indian classical music, raga is the basis of melody and tala is the basis of rhythm (pudaruth, 2016, pp. 2-3). in the past, hindustani music has dominated the western concept of indian music (kalmanovitch, 2005, p. 136). this reflects the influence of 14th century muslim rulers and the traffic in culture and materials along the silk road (kalmanovitch, 2005, p. 136). therefore, it is not surprising that the tabla and sitar of hindustani music, and not the mridangam and vina of carnatic music, have underscored western fantasies of an exotic india (kalmanovitch, 2005, p. 136). this has seen a change as the south asian diasporic presence has emerged worldwide, allowing carnatic music to harmonia: journal of arts research and education 23 (1) (2023): 1-1310 assume new prominence (kalmanovitch, 2005, p. 136). this fact is attested by the widespread presence of south indians as a main influence for indian musical practice in singapore (dairianatha & phan, 2005, p. 204). classical traditions and music, by implication, appear in the early films of the 20th century in the form of folk and hindu mythology and are also prevalent in temple grounds and in rituals throughout the year (dairianatha & phan, 2005, p. 204). confluence for saxophone ensemble and mridangam was composed based on carnatic (konokol) rhythm, with an improvised part by the ethnic instrument the mridangam (wong, 2020, pp. 77-78). the mridangam is perhaps the most highly developed and ancient of all percussion instruments and an indispensable accompaniment to vocal and instrumental music in carnatic music (krishnaswami, 1971, pp. 36-37). the drum is hollowed out of a block of wood almost cylindrical in shape and 1.52 feet in length, with the right head of the mridangam covered with three concentric layers of calf and sheepskin and the left side with two layers of buffalo and sheepskin (krishnaswami, 1971, pp. 36-37). in confluence for saxophone ensemble and mridangam, the formal structure is governed by a tala of 8 cycles of 12 measures in 5/4 time with its thematic material, tempo, and rhythmic structure derived from elements of vedic literature (figure 5). the tala is important in this composition, as goh employs the strict tala structure of carnatic music in cyclic patterns (pudaruth, 2016, p. 3). the use of carnatic material is interesting because it mirrors kalmanovitch’s (2005) argument that the carnatic music of south india is becoming increasingly interesting to musicians due to its comparatively more elaborate rhythmic (tala) system (136). the specific utility of carnatic rhythmic systems for western professional musical education now provides musicians with a clear framework and specific tools to incorporate carnatic elements into their improvisation and composition (kalmanovitch, 2005, p. 136). table 5. tala formal structure of confluence for saxophone ensemble and mridangam. measure 1-12 13-24 25-36 37-48 cycle/tala 1 2 3 4 section theme 1 + 2 theme 1 + theme 2 augmentation theme 3 theme 3 + theme 1 fragments + staccato gesture measure 49-60 61-72 73-84 85-95 cycle/tala 5 6 7 8 section theme 3 + staccato gesture melodic staccato+ theme 2 fragments + 16th notes theme 2 + theme 1 conclusion in the analysis of this composition, it is clear that goh uses the ideas of indian carnatic music and infuses them with western ideas of thematic development. in confluence, there are some references to vedic literature which can be traced back to the four vedas, an ancient compilation of sacred and religious texts, prayers, hymns, chants, and rituals dedicated to various gods (young, 1998, p. 6). one characteristic of vedic literature is the use of percussion and the use of odd and even meters (young, 1998, p. 6). the use of the mridangam in this composition and the use of the meter in 5/4 conform to these points. another characteristics of vedic literature are usually first recited as a monotone and then later developed into three notes—a main tone with one tone higher and one below—which can be seen in the first thematic material (figure 15) (young, 1998, p. 6). in the yajur veda, the chants develop into four notes—two main notes and two accents—which is also represented in the second thematic material (figure 16) (young, 1998, p. 6). leslie wong kah ho et al., the forging of a “singapore sound” in saxophone composi11 figure 15. confluence for saxophone ensemble and mridangam, mm. 1-3. figure 16. confluence for saxophone ensemble and mridangam, mm. 9-11. the tempo of confluence for saxophone ensemble and mridangam are also borrowed from the samagana, a part of the sama vedas, with importance given to tempo using druta (fast), laghu (short), guru (long), and pluta (lengthen) (young, 1998, p. 6). each of these characteristics is represented in the piece, with the quarter note = 150 tempo, the staccato gestures throughout, the augmentation of theme 2 and the long phrase of theme 3, and finally, the extension of the thematic material from measures 73-97 respectively corresponding to these characteristics of the samagana. some western elements we can observe from confluence are the johann sebastian bach influence. we can see the thematic material being imitated by canonic texture often seen in johann sebastian bach’s fugues and adding a perfect fourth skip in the middle of the motives (figure 17, 18). secondly, we can observe the use of pandiatonicism to create a texture that is reminiscent of impressionistic works such as debussy’s la mer, maurice ravel’s pièce en forme de habanera, aaron copland’s appalachian spring, bela bartok mikrokosmos, among others (figure 19). figure 17. confluence for saxophone ensemble and mridangam, mm. 22-24. figure 18. confluence for saxophone ensemble and mridangam, mm. 12-14. figure 19. confluence for saxophone ensemble and mridangam, mm.25-28. conclusions since the founding of modern singapore by sir stamford raffles, the british, preexisting malay, chinese, and indian immigrant populations, and their respective musical traditions have always coexisted like was the norm since it began its standing as a free trading port. after singapore broke away from malaysia to become an independent country on august 9, 1965, the country tried very hard to maintain the cultural balance between the three major races of chinese, malay, and indian but, at the same time, presented itself as one singapore. this resulted in a significant challenge for those who seek to define the music of singapore, and the result is the confluence of past and present, of tradition and the contemporary, and of local singularity as the direction that many harmonia: journal of arts research and education 23 (1) (2023): 1-1312 singaporean composers take in their creative route in their merging of the traditional and the contemporary. the saxophone is also a young instrument that is very deeply rooted in the tradition of french repertoire written in the 1900s, but at the same time, it is also highly involved in avant-garde music. this also sees the instrument taking the creative route of merging traditional and contemporary. furthermore, with the rising importance of the asian market and the economy growing in the region, the appearance of more music that is written for the saxophone that reflects this change would also surface. goh’s saxophone music seamlessly fuses singaporean cultural heritage with western music practices. this unique synthesis reflects his personal interpretation and concepts of the “singapore sound,” which is successfully achieved by the instrument still seeking new possibilities in the musical world. references ang, i., & stratton, j. 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(2021). music: a very short introduction second edition. oxford university press. dairianathan , e., & phan, m. y. (2005). a narrative history of music in singapore 1819 to the present. retrieved from https://repository.nie.edu.sg/handle/10497/4539 dellal, p. (2014). the songs of c. p. e. bach: a performer’s perspective. early music, 42(3), 363-377. retrieved from http://www.jstor.org.ejournal.mahidol.ac.th/stable/43307081 frisch, w. (1982). brahms, developing variation, and the schoenberg critical tradition. 19th-century music, 5(3), 215–232. https://doi.org/10.2307/746461 green, d. (1979). form in tonal music. holt, rinehart and winston. kalmanovitch, t. (2005). jazz and karnatic music: intercultural collaboration in pedagogical perspective. the world of music, 47(3), 135–160. http:// www.jstor.org/stable/41700010 krishnaswami, s. (1971). musical instruments of india. asian music, 2(2), 31– 42. https://doi.org/10.2307/834150 lhalungpa, l. p. (1969). tibetan music: secular and sacred. asian music, 1(2), 2-10. https://doi. org/10.2307/833907 lizeray, j. y.-m., & lum, c. h. (2019). semionauts of tradition music, culture and identity in contemporary singapore. springer. music education global. (2021, march 1). zechariah goh: an interview with the singaporean composer. ttps://musiceducation.global/zechariah-gohan-interview-with-the-singaporeancomposer/. project idiom. (2019). conversation with composers: zechariah goh toh chai. https://www.projectidiomsg.com/zechariah-goh. pudaruth, s. k. (2016). a reflection on the aesthetics of indian music, https://www.projectidiomsg.com/zechariah-goh https://www.projectidiomsg.com/zechariah-goh leslie wong kah ho et al., the forging of a “singapore sound” in saxophone composi13 with special reference to hindustani raga-sangita. sage open, 6(4), 215824401667451. https://doi. org/10.1177/2158244016674512 roman, z. (1996). the strophic form in literary criticism and musical analysis: problems in theory and application. studia musicologica academiae scientiarum hungaricae, 37(2/4), 365382. https://doi.org/10.2307/902381 weiss, m., & netti, g. (2015). the techniques of saxophone playing = die spieltechnik des saxophons. bärenreiter-verlag karl vo ̈tterle gmbh & kg. wong, l. (2020). a performance guide of selected music by dr. zechariah goh toh chai (dissertation). mahidol university, phuthamonthon, thailand. young, l. (1998). konnakol, the history and development of solkattuthe vocal syllables of the mridangam [unpublished master’s thesis, victorian college of the arts, the university of melbourne]. harm vol ix no 2 2009.pdf perkembangan bentuk penyajian dan fungsi eine kleine nachtmusik k.525 karya wolfgang amadeus mozart irfanda rizki hs praktisi musik alumni institut seni indonesia yogyakarta email: irfan_rizki@yahoo.com abstrak wolfgang amadeus mozart is a genius figure and professionals in the field of music composition. in addition to a composition he is also an expert in playing musical instruments, violin and harpsichord. he have many works of instrumental music composition, vocal, even to the form of a symphony orchestra with choir produced. some great works that have been created is a composition for string quartet chamber music. eine kleine nachtmusik k.525 is one of his works, which is still often heard in the corners of the world. the composition of this string quartet has a character and characteristics of light music and lively, so well known in the community. in this case, the author tried to assess eine kleine nachtmusik in the development and function of the presentation is still sound and well-known in this modern era. to discuss this paper used qualitative methods with descriptive analysis, the approach to musicology. the results of this paper is the development and function of serving an increasingly wide of the form and format of presentation of original work. kata kunci: musik, eine kleine nachtmusik k.525, w.a mozart pendahuluan musik adalah susunan nadanada, pola ritme, akord, melodi yang membentuk suatu harmoni lagu yang biasa di dengar dalam kehidupan sehari-hari. musik mempunyai makna yang luas dalam ungkapan bahasa dan jiwa karena musik adalah bahasa universal yang pengungkapannya menggunakan bahasa verbal. musik merupakan bagian yang tak terpisahkan dari kebudayaan. dari semua karya seni, mungkin sekali musiklah yang paling mempengaruhi tradisi budaya untuk menentukan patokanpatokan sosial dan patokan-patokan individu, mengenai apa yang disukai dan apa yang diakui. musik dapat mencerminkan nilai-nilai dan prinsip-prinsip umum yang mendasarinya, yang menghidupkan kebudayaan tersebut secara menyeluruh. dunia pertunjukan musik adalah sasaran utama para musisi atau pelaku musik dalam berapresiasi seni dan berkarya. pertunjukan musik mempunyai beberapa fungsi yaitu sebagai hiburan pada masyarakat, sarana bagi para musisi dan komposer menampilkan karya-karyanya, dan sebagai pusat legitimasi masyarakat terhadap dunia sosial. sehingga dengan sebuah pertunjukan konser musik terciptalah suasana yang seimbang dan saling membutuhkan antara para pelaku musik dan masyarakat atau penonton. bentuk penyajian karya musik terus mengalami perkembangan dari jaman ke jaman. begitu banyak karya musik yang lahir dari para komposer-komposer terkemuka, dengan gaya, teknik, dan bentukbentuk musik yang sesuai dengan jamannya. musik kamar adalah jenis musik yang paling disukai pada jaman barok. bentuk sonata trio merupakan bentuk utama musik kamar jaman barok yang kemudian mengalami perkembangan hingga musik periode awal klasik. musik kamar tanpa instrumen piano, khususnya kuartet gesek termasuk jenis musik kamar yang dihasilkan pada periode klasik, mengalami perkembangan pada setiap jaman, baik dari ritme, melodi, maupun harmoni. repertoar musik kamar untuk kuartet gesek merupakan karya musik yang sangat mengesankan. kuartet gesek “eine kleine nachtmusik k525“ adalah karya wolfgang amadeus mozart yang menjadi salah satu master piece (karya agung), dalam bentuk kuartet gesek. karya tersebut dibuat pada tahun 1787 ketika w.a mozart berusia 31 tahun. kombinasi kombinasi teknik pada instrumen gesek yang digunakan, menjadikan karya tersebut terkesan unik dan mempunyai nuansa dengan jangkauan yang lebih luas. karyakarya mozart begitu mendominasi dan populer sekali, sehingga mozart masuk dalam kategori komposer jaman klasik yang dikenal sampai sekarang ini. karya mozart yang berjudul “eine kleine nachtmusik”, banyak dikenal oleh masyarakat luas. di indonesia masyarakat juga mengenal karya tersebut, meskipun mereka kebanyakan tidak mengetahui tentang judul dan buah karya siapa, namun setidaknya mereka pernah atau bahkan sering mendengarkannya, baik melalui pertunjukan-pertunjukan orkestra musik yang menampilkan lagu tersebut, mendengarkan melalui media elektronik televisi dan atau radio sebagai musik background dalam acara-acara tertentu, dan bahkan sebagai ringtone hand phone. bentuk penyajian “eine kleine nachtmusik” terjadi perubahan dari waktu ke waktu meskipun bentuk lagunya tetap. hal ini dikarenakan fungsi atau tema penyajian yang berbeda. seiring dengan hal itu, karya mozart yang satu ini mempunyai fungsi yang cukup berperan penting dalam mempengaruhi gejala-gejala sosial pada masyarakat seperti perubahan pola pikir masyarakat yang pada klimaksnya melahirkan suatu masyarakat dengan pola-pola pikir yang baru. meskipun begitu terdapat fungsi yang ideal, yang tidak terpengaruh oleh perubahanperubahan tersebut, yaitu: “bahwa musik yang berjudul “eine kleine nachtmusik” karya mozart berfungsi sebagai alat untuk mengundang atau mengumpulkan masa.” untuk mengetahui, memahami dan mendalami musik klasik, banyak hal yang harus dibahas dan dikaji, terutama tentang bentuk musik, sejarah karya tersebut serta riwayat hidup sang komposer. dengan menyajikan karya tulis yang berjudul bentuk penyajian dan fungsi eine kleine nachtmusik karya w.a mozart, penulis mengharapkan tidak hanya sekedar apresiasi, tetapi lebih jauh lagi merupakan suatu pemahaman tentang musik kamar dalam bentuk kuartet gesek, perkembangan bentuk penyajian dari kuartet gesek dan fungsi dari karya tersebut mulai awal tercipta sampai masa kini. kuartet gesek dalam g mayor k 525 bagian 1 karya wolfgang amadeus mozart yang berjudul eine kleine nachtmusik, adalah sebagai salah satu karya besar pada abad 18. untuk itu penulis mencoba mengangkat kuartet gesek dalam g mayor k 525 bagian 1 karya wolfgang amadeus mozart yang berjudul eine kleine nachtmusik sebagai obyek penelitian dalam karya tulis ini. sejarah mozart sumber utama tentang kesejarahan wolgang amadeus mozart diambil dari buku mozart simfoni hidup sang maestro dan sejarah musik 2 (prihantoro, 2005:7). pada suatu tinjauan dalam sejarah musik bahwasanya beberapa masyarakat yang berbeda pandangan mempunyai idealis yang sangat kuat dia adalah mozart. mozart adalah seorang komposer jenius yang dalam membuat sebuah karya tidak perlu merevisi nada sedikit pun. mozart adalah musisi dan komposer terbesar jenius yang sama dengan ludwig van beethoven dan johann sebastian bach. sebagian masyarakat menyebutnya salah satu jenius terbesar dalam peradaban barat. selama tiga puluh lima tahun masa hidupnya, mozart telah menghasilkan karya kurang lebih 600 karya musik. dalam usia tiga puluh lima tahun mozart telah berhasil menempatkan diri sejajar dengan para komposer besar yang tidak banyak jumlahnya. wolfgang amadeus mozart lahir dari keluarga musisi pada 17 januari 1756 di salzburg, austria, sebagai anak ketujuh dari leopold dan anna maria mozart. wolfgang amadeus mozart menjadi sosok fenomenal (neill, 1998:24). pada usia tiga tahun dia telah belajar musik, dengan cepat dan cerdas dia dapat memahami pelajaran yang diberikan. pada usia lima tahun dia telah menciptakan beberapa karya dan akord-akord yang menarik. pada saat berumur enam tahun dia telah menulis sejumlah karya untuk instrumen harpsichord dan berupaya menciptakan sebuah konserto. mozart adalah seorang pemain harpsichord dan biola pada waktu itu. sudah banyak karyakarya yang dia buat antara lain simfoni-simfoni, konserto-konserto piano, sonata-sonata piano dan biola, musik kamar (chamber music), divertimento, opera-opera, aria-aria konser, dan misa-misa. di masa kehidupan mozart, ada sebuah kota besar yang pada saat itu berpenduduk sekitar tujuh belas ribu orang. kota itu adalah salzburg. salzburg merupakan wilayah kecil yang berada di antara baavaria sebelah barat dan daerahdaerah hapsburg di sebelah timur. sebagaimana salzburg adalah bekas kerajaan romawi di eropa tengah, sehingga mempunyai adat dan pola pikir yang sama dengan wina bahwa seakan termasuk bagian dari negara austria. kota salzburg dipimpin oleh seorang pangeran uskup, yang mempunyai keahlian dalam bidang keuangan, pendidikan, serta hubungan gereja dan negara, dengan penuh kepatuhan dari wali kota dan dewan kota. pangeran uskup ini juga yang menentukan apa saja tentang pertunjukan musik, teater, atau festival yang dapat dinikmati oleh rakyat jelata. salzburg adalah sebuah kota dagang yang dominan dengan aktivitas bisnis. di antara para penduduknya, yang dianggap sebagai warga kota hanyalah para kepala keluarga dengan pekerjaan yang terjamin secara finansial, bankir, importir, grosir, pemilik pabrik rempahrempah dan kain. semasa kehidupan mozart, ada sekitar lima ratus keluarga yang mempunyai status burger. status ini memberi mereka wewenang untuk menduduki jabatan-jabatan pemerintah dan menguasai pemerintahan kota. dalam hal ini status hukum burger yang istimewa ini setidaknya sebagian kalah oleh pamor orangorang yang berbakat dan terampil, terutama para ahli musik, karena kecintaan pada musik merupakan karakter autentik umum penduduk salzburg. keluarga mozart tidak berstatus burger, tetapi mereka bergaul secara egaliter dengan orang-orang burger. keluarga mozart selalu memegang teguh nilai-nilai borjuis lokal yaitu kerja keras, jujur, dan setia (prihantoro, 2005:9). pada saat mozart berusia lima tahun, mozart melakukan sebuah lompatan dari seorang pemain musik menjadi pencipta musik. karyanya adalah dua musik pendek yang dimainkannya dengan clavier dan mungkin merupakan karyakarya mozart yang pertama. karena begitu cintanya dengan musik, mozart sampai tidak punya banyak waktu atau ketertarikan pada hal-hal lain, bahkan menjadikan musik sebagai permainan anak-anak. agar keterampilannya terus meningkat, mozart berlatih bermain biola secara tekun untuk tampil solo di depan publik dengan cukup baik. sampai pada usianya yang akan beranjak enam tahun, mozart mengadakan konser tur selama tiga minggu ke munich pada tahun 1762. konser tur pendek ini diadakan sebagai konser pemanasan bagi tur-tur yang lebih besar lagi di masa selanjutnya. keberhasilan tur-tur ini mendorong mozart tinggal di wina lebih lama, untuk memenuhi perintah menggelar pertunjukan-pertunjukan di istana. atas dukungan ayahnya mozart dituntut untuk mempersiapkan dan menampilkan diri dengan sebaik-baiknya agar dapat memberikan karya-karya musiknya yang terbaik untuk para ratu, raja, dan putri. ratu inggris mendapatkan persembahan enam sonata harpsichord dari mozart, oleh karena itu dihadiahkan lima puluh keping uang emas kepada mozart. keluarga mozart juga merancang pakaian khusus yang akan selalu dikenakan mozart ketika konser dengan mengikuti adat masyarakat tersebut. di mana pun keluarga mozart tampil mereka mendapati bahwa hampir semua penggemar mereka hanya sebagai pendengar musik saja. musik belum menjadi kebiasaan yang mendarah daging. saat itu kebanyakan musik selain musik sakral hanya sekedar hiburan. posisi terhormat musik sebagai pengalaman semi-religius mendalam yang harus dinikmati dengan tenang dan khidmat baru akan terjadi beberapa dekade mendatang meskipun sudah ada tanda-tanda ke arah itu pada tahun-tahun terakhir mozart. mozart menghabiskan banyak waktu pada usia mudanya untuk mendengarkan karya-karya sejumlah komposer yang sedang digemari pada masa itu. sebagaimana musisi-musisi baru lainnya, dengan tekun ia meniru karya-karya tersebut. mozart cukup cepat dan cerdas untuk menyerap materi-materi baru yang ia pelajari. ia secara bebas mengambil gayagaya yang dominan dan ide-ide musik para komposer ternama waktu itu mewarnai karya-karya mozart. sikap disiplinnya yang keras berusaha membuat mozart untuk terus berlatih dan mendapatkan orisinalitas musiknya dengan mempelajari karya-karya pendahulunya. pada saat usianya yang masih muda mozart sering mengunjungi pusat-pusat musik di eropa. di sana, ia dapat mendengar dan bertemu dengan para komposer yang ia anggap sebagai guru-gurunya. pada kunjungannya ke inggris, mozart berkenalan dengan johann christian bach, seorang komposer profilik musik gereja, opera, dan simfoni. simfoni-simfoni bach inilah yang paling banyak mempengaruhi mozart muda. mozart memulai kariernya dengan genre simfoni dan yang akan segera disusul dengan beberapa genre yang lainnya. asal usul simfoninya bermula dari karya overture gaya italia. sebuah karya musik orkestral yang dirancang sebagai pengantar opera atau oratorio dan secara konvensional dibagi jadi tiga bagian:cepat, lambat, dan sangat cepat. simfoni pertama mozart yang molto allegro, andante, dan presto tidak menyimpang dari pola ini meskipun ia segera mengadopsi gaya modern, yakni menambahkan bagian keempat. di italia, mozart memperoleh banyak pelajaran dari pengalamanpengalaman barunya dalam bermusik. pelajaran paling berharga didapatnya di bologna dari padre giovanni battista martini, seorang komposer italia dan guru termasyhur. darinya, mozart belajar suatu pengetahuan yang sulit tentang kontrapung, yakni komposisi musik dengan beberapa melodi yang berbeda yang dimainkan bersamaan. martini memberikan pelajaran dan latihanlatihan kontrapung secara sempurna dan versi kontrapung paling formal, yaitu fuga. pada pertengahan tahun 1780, mozart mendapat sebuah pesanan opera seria yang berjudul idomeneo untuk munchen. opera ini dipentaskan tanggal 29 januari 1781 oleh orkes dan para penyanyi dari mannheim yang telah pindah ke munchen. oleh karena latihan-latihan dan pementasan opera tersebut, mozart berada di luar salzburg selama lima bulan dan meraih kasuksesan yang cukup besar. kemudian mozart pergi ke wina untuk ikut dalam penobatan kaisar joseph ii. ketika di wina mozart diperlakukan oleh uskup tersebut sebagai hamba biasa dan ia tidak diizinkan untuk mengadakan konser-konser di wina. setelah merasa tidak di anggap, mozart minta diberhentikan dari istana (neill, 1998:30). pada 20 november 1785, mozart mengajukan sebuah permintaan sederhana kepada seorang anggota freemason, pemilik penerbit dan komposer, franz anton hoffmeister. sebenarnya pada tahun tersebut mozart hidup berkecukupan secara ekonomis, namun kesulitan keuangan yang dihadapi terus berlanjut, bahkan kehidupannya semakin mengenaskan sampai pada tahun kematiannya 1791, masa ketika perekonomiannya sedikit pulih dan semangatnya pun bangkit. penguasa hapsburg tidak bisa berbuat banyak untuk membantu mozart. pada november 1787, mozart diangkat sebagai kammermusicus di istana joseph ii. kammermusicus adalah orang yang bertugas sebagai komposer musik untuk format musik kamar atau musik dalam kelompok kecil (banoe, 2003:209). namun, pada akhirnya ia meninggalkan pekerjaannya karena mendapat gaji yang sedikit dan tidak cukup untuk memenuhi kebutuhan hidupnya. bantuan yang diberikan oleh joseph tidak sesuai dengan yang diharapkan oleh mozart. mozart mendapatkan tugas tidak banyak hanya menciptakan tariantarian untuk pesta tahunan di redoutensaal. saat itu meskipun para musisi amatir yang memiliki banyak jaringan di wina dan para pecinta musik di praha sangat menghormati dan memuji komposer pujaan mereka, dan raja memberi sanjungan, mozart tidak mempunyai pekerjaan yang lebih baik dari pada kammermusicus. oleh karenanya, ia memberikan pekerjaan sambilan yaitu les-les musik. aktivitas tersebut ia lakukan untuk para anakanak dan perempuan yang ingin belajar musik dengan mozart, mulai dengan musik instrumen sampai dengan musik vokal ia ajarkan. perubahan minat musik mozart juga berpengaruh pada pendapatannya. pada pertengahan 1780-an, ia beralih minat pada genre musik yang paling banyak disukai pada saat itu, yaitu opera-opera. dalam hal ini, secara signifikan mengurangi pendapatannya yang bertumpu pada konser-konser yang di dalamnya ia memainkan konserto-konsertonya sendiri. seperti kita ketahui, mozart menggubah banyak genre musik, misalnya konserto, kuartet, sonata, bahkan opera secara kelompok. dengan perkataan lain, mozart sering berubah-ubah minat. akibatnya, pendapatan dari pekerjaan utamanya tetap kecil meskipun ia dapat memperoleh banyak penghasilan tambahan dari pementasan-pementasan karyanya. sebagai komposer ia menerima 450 florin untuk karyanya, le nozze de figaro, dan jumlah yang sama untuk untuk don giovanni dan cosi fan tutte. namun, ia mendapatkan 600 florin untuk pementasan don giovanni di praha. penghasilan yang diperoleh mozart cukuplah besar, tetapi pada saat itu dia masih merasa kesusahan dalam hidupnya dan selalu menderita. oleh karena itu, penyebab pokok dari depresinya pastilah bukan masalah keuangan saja, melainkan penyebab pokok dari penderitaannya ini adalah perseteruan sepanjang hidupnya dengan ayahnya. selama masa-masa penciptaan karya-karyanya yang agung dan masa yang suram ini, perseteruan mereka semakin tajam. sikap kasar dan egois leopold mozart, bukannya melunak seiring dengan bertambahnya usia, tetapi justru semakin menjadi-jadi. w.a mozart mengalami puncak kejayaannya pada masa 1784-1786. masa yang bergembira ini dicerminkan dalam 12 konserto untuk piano dan orkes yang dianggap musik instrumental mozart yang paling penting. semua karya konserto mozart dimainkan dalam pertunjukan yang diselenggarakan oleh mozart sendiri (neill, 1998:33). pada sekitar tahun 1788-1790, mozart dalam kariernya sebagai komponis tidak mengalami banyak kesuksesan. karya-karya utama termasuk simfoni-simfoni terakhirnya, yaitu 39, 40, dan 41 (yupiter), yang diciptakannya sekitar enam minggu selama tahun 1788. belum diketahui dengan persis apakah simfoni-simfoni ini dipentaskan sebelum mozart meninggal atau tidak. karya musik kamar termasuk tiga buah kuartet gesek yang diciptakan selama tahun 1789-1790 untuk memancing jabatan dati raja prussia yang dapat bermain cello dengan baik, dan rencana mozart tersebut ternyata tidaklah berhasil. tahun 1790, mozart mendapat pesanan dari kaisar joseph untuk menciptakan sebuah opera buffa, yaitu cossi fan tutte. namun, setelah lima pertunjukan, kaisar joseph ii meninggal dunia sehingga pertunjukan-pertunjukan lain dibatalkan selama masa perkabungan. selain sebuah konserto untuk piano (k. 595), sebuah konserto untuk klarinet (k. 623), dan sebuah kuintet gesek, mozart menciptakan dan mementaskan dua opera besar. opera pertama, sebuah opera seria yang berjudul la clemenza di tito, diciptakan untuk merayakan penobatan kaisar leopold ii sebagai raja bohemia di praha bulan september 1791. opera kedua, yang sebenarnya diselesaikan sebelum la clemenza, sebuah singspiel berjudul die zauberflote (“suling ajaib”), dipentaskan untuk pertama kalinya pada akhir bulan september 1791. pada bulan berikutnya, die zauberflote mulai disambut dengan baik. karya terakhir yang diselesaikan mozart adalah kantata untuk upacara masonik yang dibawakan mozart sendiri di tempat pertemuan serikatnya, pada tanggal 18 november 1791. mason adalah anggota perhimpunan yang memperjuangkan persaudaraan dan kebebasan (al-barry, 2003:486). setelah mozart kembali dari praha ke wina, ia juga memusatkan perhatiannya pada sebuah misa requiem. misa requiem tersebut dipesan secara rahasia oleh seorang pangeran yang ingin menyebutkan karya tersebut sebagai ciptaannya sendiri, akan tetapi karya tersebut tidak sempat diselesaikan oleh mozart. wolgang amadeuz mozart mempunyai penyakit yang didiagnosis oleh dua dokter terkenal di wina bahwa mozart menderita sakit demam rematik. penyakit rematik yang dideritanya mengakibatkan mozart tidak dapat bekerja dan menyelesaikan karyakaryanya lagi. pada tanggal 4 desember mozart mengundang beberapa temannya untuk memainkan beberapa halaman requiem yang telah diselesaikan. pada tanggal 5 desember 1791 jam satu pagi, mozart meninggal dunia pada usianya yang ke tiga puluh lima tahun. kematiannya disambut dengan mengadakan misa requiem dan pertunjukan konser-konser untuk menolong kehidupan keluarga konstanze mozart dan kedua anaknya. bentuk penyajian eine kleine nacht musik k. 525 awal tercipta eine kleine nachtmusik berasal dari serenade nomor 13 untuk instrumen gesek dalam g mayor biasanya lebih dikenal sebagai eine kleine nachtmusik k.525. serenade adalah musik petang hari yang diperdendangkan di lapangan terbuka biasa juga disebut musik malam hari. sebuah karya serenade dalam abad ke 18 dirancang dalam bentuk sonata form. salah satu di antara karya tersebut adalah eine kleine nachtmusik k.525 yang berarti musik malam kecil. kuartet gesek pada jaman klasik, mozart menciptakan salah satu karya kuartet gesek yang berjudul eine kleine nachtmusik k. 525 yang berarti musik kecil di malam hari. sebuah karya yang indah untuk dipersembahkan kepada raja istana wina pada waktu itu. keindahan dari kuartet gesek klasik yang seimbang dan selalu mengikuti polapola yang teratur dapat kita dengarkan dalam karya tersebut. sehingga memberikan suasana yang gembira dan bersemangat. eine kleine nachtmusik k. 525 diciptakan mozart menjadi empat bagian yaitu: 1) bagian pertama allegro yang berarti cepat atau penuh dengan keriangan. 2) bagian kedua romanze dengan tempo andante yang berarti lagu atau komposisi musik yang memberikan suasana romantik dengan tempo yang lambat dan mengalun. 3) bagian ketiga menuetto allegreto yang berarti cepat tetapi tidak secepat allegro 4) bagian keempat rondo allegro pada tema bagian satu ini ke empat instrumen memainkan pola ritme yang sama dalam tangga nada yang sama. berikut adalah notasi tema bagian satu pada biola satu: (www.free-scores.com) karya tersebut menggunakan tangga nada dalam g mayor. pada tema bagian satu ini ke empat instrumen memainkan pola ritme yang sama dalam tangga nada yang sama. berikut adalah notasi tema bagian satu pada biola dua: notasi 2 ( www.free-scores.com) berikut adalah notasi tema bagian satu pada biola alto : (www.free-scores.com) berikut adalah notasi tema bagian satu pada cello : ( www.free-scores.com) ansamble gesek semakin berkembangnya jaman, karya-karya musik mozart jadi lebih dikenal oleh masyarakat banyak. selain mudah diingat musik mozart juga mudah dicerna karena mempunyai tekstur musik yang sangat indah. mengalami banyak perluasan dalam bentuk penyajiannya dan komposisi musik aransemen yang baru. karya mozart yang berjudul eine kleine nachtmusik, sekarang mengalami perluasan dalam bentuk penyajiannya. awal tercipta dari karya ini hanya untuk format kuartet gesek, yang kemudian berkembang dan dimainkan dalam format ansambel gesek. jumlah pemain dalam ansambel gesek lebih banyak dari pada kuartet gesek. pada format kuartet gesek hanya ada dua biola, satu biola alto, dan satu cello. dalam hal ini, ansambel gesek memberikan suasana yang baru dan lebih megah karena dimainkan oleh banyak pemain. meskipun demikian, secara bentuk musik dari karya eine kleine nachtmusik tidak mengalami perubahan sedikitpun dari estetika dan harmoni lagunya. hanya saja mempengaruhi suasana dari penyajiannya yang awalnya dimainkan di dalam ruangan yang kecil, untuk format ansambel dimainkan di dalam ruangan yang lebih luas atau biasa disebut dengan concert hall. penyajian dari ansambel gesek sedikit berbeda dengan kuartet gesek. dalam format ansambel gesek permainan musiknya dipimpin oleh seorang kondaktor (pemimpin pertunjukan orkes atau paduan suara), berbeda dengan kuartet gesek yang tidak dipimpin oleh seorang kondaktor. tugas dari kondaktor adalah memimpin suatu pertunjukan musik dengan memberikan aba-aba tangan atau tongkat pengaba. fungsi dari kondaktor dalam pertunjukan musik, supaya para pemain lebih bisa seimbang antara pemain satu dengan yang lain. memberikan ekspresi terhadap pemain yang dipimpinnya sehingga dalam ansambel gesek, setiap pemain mempunyai emosi yang sama. formasi dalam ansambel gesek menjadi lebih banyak sebagai contoh antara lain, 6 biola satu, 4 biola dua, 2 biola alto, 3 cello, dan 1 kontra bass. format instrumen piano musik kamar pada jaman romantik mengalami pergeseran makna, juga sedikit memberi permasalahan pada jaman romantik. struktur kuartet gesek tentang estetika pada jaman klasik dan pola yang teratur, merupakan hambatan untuk mengekspresikan emosi mereka, karena dengan bentuk kuartet gesek klasik ekspresi mereka dibatasi oleh aturan yang berlaku pada jaman klasik. sonata atau concerto yang biasanya dengan bentuk penyajian untuk solo biola atau instrumen gesek, pada jaman romantik dimainkan oleh piano dalam bentuk musik kamar. karena para komposer-komposer jaman romantik melihat jangkauan piano yang lebih luas. pada sonata piano biasanya dimainkan dengan instrumen pendukung lainya, seperti biola, flute, clarinet, cello, dan lain-lain, menjadi sebuah bentuk musik kamar yang baru pada jaman romantik dan diterima oleh masyarakat dengan baik. akan tetapi, bentuk musik ini tidak memenuhi syarat sebagai musik kamar karena instrumen yang digunakan bukan dari satu keluarga. meskipun demikian, karya-karya trio, kuartet, dan kwintet, ditangan para komposer-komposer era romantik seperti mendelshon, schubert dan brahms akan menjadi sebuah karya yang sangat megah dan mengagumkan. karya eine kleine nachtmusik, sedikit demi sedikit mempunyai perluasan dalam bentuk penyajiannya. dalam hal ini, format yang dari awal diciptakan dalam bentuk musik kamar atau kuartet gesek berubah menjadi bentuk untuk solo piano. komposisi dari karya tersebut tidak mengalami perubahan sedikit pun dari karya awal yaitu kuartet gesek, melainkan karakter suara yang akan dihasilkan mengalami perubahan. dari dua biola, satu biola alto, dan satu cello dikemas dan di gubah menjadi satu instrumen yaitu piano. berikut adalah contoh beberapa notasi eine kleine nachtmusik untuk instrumen piano: (edition peters nr. 3078 w.a mozart fur pianoforte zu 4 handen) format instrumen gitar perjalanan waktu yang panjang dari jaman klasik sampai sekarang ini tentu sangat banyak fenomena-fenomena yang mempengaruhi gejala sosial masyarakat pada karya musik. pada jaman klasik, manusia lebih cenderung bersifat statis atau penuh dengan aturan-aturan yang membelenggu hidupnya untuk melakukan sebuah apresiasi terhadap karya seni khususnya musik. era ini mewarisi dan mengembangkan klasikisme secara total melalui pikiran positif, sikap tenang, seimbang antara rasio dan rasa, dan struktur yang jernih. setelah memasuki abad modern banyak para komponis yang berusaha untuk mengembangkan karya-karyanya. mereka berapresiasi dan berekspresi dengan sangat bebas. banyak karya-karya para komposer terdahulu yang ditranskrip ulang oleh para komposer abad modern ke dalam bentuk instrumen lain. biasanya para komposer membuat transkrip ulang berdasarkan instrumen yang mereka perdalam. sebagai contoh berikut adalah eine kleine nachtmusik k. 525 karya w.a mozart yang bentuk penyajiannya dipentaskan dalam bentuk ansambel gitar. secara tekstual karya ini tidak digubah sedikitpun, hanya saja bentuk teknik permainan dari karya ini ditranskrip untuk instrumen gitar, sehingga menimbulkan suasana yang sedikit berbeda dari bentuk penyajian awal yaitu kuartet gesek. tema dan struktur dari karya ini juga tidak banyak perubahan karena hanya ditinjau dari segi bentuk penyajian dan teknik permainan. berikut adalah contoh partitur eine kleine nachtmusik k. 525 untuk format bentuk penyajian instrumen gitar, yang berjudul “ eine kleine nachtmusik serenade fur 3 gitarren “. karya ini sudah ditranskrip oleh siegfried behrend untuk tiga instrumen gitar. eine kleine nachtmusik dalam crossover classical music seiring dengan perkembangan jaman, musik klasik selalu mempunyai esensi dalam sebuah musik seni. pada era modern sekarang ini musik klasik tidak kalah pentingnya dengan musik populer. banyak para komponis musik klasik yang mempunyai ide-ide untuk mengaransemen atau mendaur ulang karyanya supaya menjadi lebih populer. gaya dan format dalam bentuk penyajiaanya menjadi lebih luas, dari teknik permainan, instrumen yang digunakan, dan music style yang mereka pakai. musik klasik sekarang banyak diaransemen ulang dengan menggunakan format band, dengan didukung teknologi digital yang semakin modern dan dikolaborasikan dengan gaya-gaya musik pop, jazz, rock dan lain-lain. kemasan seperti ini dibuat supaya pendengar dikalangan sekarang lebih mudah menerima musik klasik dan lebih familiar untuk didengarkan atau biasa disebut easy listening. fenomena yang terjadi pada musik klasik sebenarnya tidak akan pernah luntur karena justru akan semakin menjadi populer dengan bentuk penyajian yang lebih luas dan modern. akan tetapi gaya dari musik klasik yang sesungguhnya sudah keluar dari aturan-aturan musik klasik yang asli yaitu, estetika, performance, dan bentuk musiknya. musik klasik yang dimodifikasi seperti sedemikian rupa dikenal dengan nama baru yaitu crossover classical music (www.wikipedia.com, 14 maret 2009). para musisi atau komponis crossover classical music adalah vanessa mae, bond, maksim, richard clayderman, dan masih banyak grup-grup band lain yang menjadi crossover classical music. vanessa mae adalah seorang violist yang memainkan musik klasik dengan bentuk penyajiannya menggunakan format band yang sudah di aransemen dengan gaya musik pop dan rock. bond adalah contoh komposisi format kuartet gesek yang juga memainkan musik klasik dengan menggunakan format band dengan gaya musik pop dan rock. bond tidak menggunakan instrumen akustik lagi melainkan menggunakan instrumen elektrik yaitu violin, viola, dan cello elektrik. maksim dan richard clayderman adalah seorang pianis yang dalam performancenya sama seperti vanesa mae dan bond, yang bentuk penyajiannya menggunakan gaya musik pop dan rock, tetapi maksim lebih banyak menggunakan gaya rock dan techno music. musisi-musisi tersebut semuanya mempunyai keahlian atau skill dalam bermain musik klasik. akan tetapi, karena tuntutan pangsa pasar produksi musik di jaman modern mereka menggunakan skillnya untuk dijadikan crossover classical music. bentuk penyajian dengan modifikasi dan aransemen yang baru musik klasik jauh lebih dikenal oleh masyarakat luas. format musik yang dibentuk dengan gaya musik pop pada umumnya membuat masyarakat lebih familiar terhadap musik klasik. dengan ditambahkan unsur-unsur musik yang menggunakan teknologi digital crossover classical music menjadi serupa dengan musik-musik pop pada umunya. kemasan dan bentuk penyajian dalam crossover classical music tersebut merupakan strategi untuk menarik pangsa pasar. format bentuk penyajian yang serupa dengan musik populer pada umumnya membuat masyarakat lebih familiar dan tertarik. strategi ini dilakukan dengan tujuan untuk memperluas pasar, supaya masyarakat luas yang bukan penggemar musik klasik tertarik dan menyukainya. eine kleine nachtmusik dalam pertunjukan crossover classical music dikemas dalam bentuk penyajian yang lebih spektakuler. bentuk penyajian yang awalnya dimainkan dengan kuartet gesek yang terdiri dari 2 biola, 1 biola alto, dan 1 cello dan hanya ditampilkan di sebuah ruangan yang kecil. kini eine kleine nachtmusik berkembang dalam bentuk penyajiannya menggunakan format band yang sudah dikemas dan diaransemen ulang dengan gaya musik jazz, dengan pertunjukan yang ditampilkan pada sebuah gedung pertunjukan musik yang spektakuler. nada-nada atau notasi yang di mainkan sesuai dengan karya aslinya, yang membuat berbeda adalah penempatan nadanada ke instrumen yang dimainkan. eine kleine nachtmusik dalam ring tone handphone seiring berjalannya waktu, dunia seni khususnya musik dirasakan semakin lama semakin semarak. apalagi ditambah dengan kemajuan teknologi yang semakin modern dengan peralatan komputerisasi yang sangat mendukung dalam berkarya di bidang musik. sudah sangat banyak para komposer-komposer musik yang berhasil menciptakan karyakarya musiknya dengan dukungan kemajuan dari ilmu teknologi yang semakin modern. kemajuan dari teknologi bisa dirasakan dari semakin berkembangnya instrumen musik yang semakin maju. sebagai contoh, instrumen keyboard yang mempunyai perkembangan dari jaman ke jaman mulai bentuk instrumen harpsichord, organ, samapi dengan piano. di dukung dengan kecerdasan dan intelektual dari manusia yang mencipatakan, keyboard semakin lama mempunyai nilai fungsi seperti cara kerja komputer. sistem dari komputerisasi sendiri sudah banyak perkembangan dan kemajuan yang baik. cara kerja komputer bahkan melebihi kecerdasan manusia dengan adanya program-program atau softwaresoftware yang sudah semakin semarak di jaman modern ini. akan tetapi, komputer tidak akan maju dan berkembang apabila tidak ada seorang pelaku yang menciptakan. kemajuan dari sistem komputer dimanfaatkan dengan baik oleh manusia dalam budaya perkembangan ilmu pengetahuan dan teknologi. sudah banyak ilmuilmu yang dibantu dengan komputer dan hampir semua proses dikerjakan oleh komputer. pada ilmu musik komputer sangat berperan penting dalam membantu proses penciptaan karya musik. beberapa program atau software-software sudah banyak diciptakan seperti sibelius, finale, encore, dan lain-lain. program atau software-software yang ada dapat bekerja sesuai dengan apa yang kita harapkan dalam penciptaan karya musik. di antaranya adalah, program penulisan not balok, aransemen lagu, komposisi, editing lagu, program musik digital. program pembelajaran musik, dan masih banyak lainnya. dengan adanya program-program musik dalam komputer seakan sangatlah mudah bagi kita untuk belajar dan berkarya di bidang musik, bahkan orang awam sekalipun juga bisa belajar musik dengan fasilitas komputerisasi. kemajuan teknologi seperti ini membuat kita seakan terlupakan bahwasanya bidang musik sebenarnya dalam proses pembelajarannya tidaklah mudah hanya dengan waktu yang singkat. esensi dari musik akan hilang dengan adanya perkembangan teknologi yang semakin canggih. teknologi yang sudah ada membawa para pelaku musik menjadi masuk dalam suatu budaya instan yang cepat untuk dibawa ke masyarakat yaitu produksi musik. budaya instan seperti ini ada segi nilai positif dan negatif. salah satu karya musik yang masuk dalam produk teknologi adalah ringtone handphone. proses penciptaannya dengan menggunakan midi yang ada pada komputer. midi adalah musical digital interface, yang mempunyai spesifikasi pada organ elektrik yang mempunyai fungsi memindahkan data antar alat musik elektronik dengan menggunakan komputer (banoe, 2003:276). sudah banyak karya musik dari jaman klasik sampai sekarang yang telah dimodifikasi dan di transformasikan ke dalam bentuk musik midi atau musik digital. salah satu di antaranya adalah eine kleine nachtmusik karya w.a mozart yang menjadi karya populer dalam bentuk kuartet gesek yang sampai sekarang masih tetap sering terdengar dan sangat familiar di telinga pendengar musik. eine kleine nachtmusik dimanfaatkan untuk menjadi salah satu penunjang kualitas dan kuantitas media komunikasi seperti hand phone. bentuk penyajian karya mozart yang berjudul eine kleine nachtmusik tidak hanya ditampilkan dalam pertunjukan orkestra. dalam media-media elektronik misalnya, demi menarik perhatian masa, eine kleine nachtmusik senantiasa diperdengarkan sebagai musik background untuk siaran berita-berita, iklan, maupun acara-acara yang lain. bahkan, demi menarik daya beli masyarakat terhadap hand phone di era sekarang ini, lagu eine kleine nachtmusik dimasukkan dalam nada dering atau ring tone di kebanyakan hand phone yang beredar di masyarakat. selain dari pada itu, penyebaran atau modifikasi lain pada eine kleine nachtmusik juga masuk dalam ring back tone yang sekarang sedang semarak dan populer sekali. fungsi dari ring back tone adalah penyajian bentuk musik yang diperdengarkan saat menunggu jawaban dari panggilan telepon. program-program ini sengaja dibuat oleh para produksi teknologi dan produksi musik demi menarik kemasan suatu produk digital seperti hand phone dan kartu gsm yang sudah beredar banyak sekali. dalam hal ini, akan menjadikan persaingan dalam penemuan-penemuan produk teknologi yang akan terus semakin berkembang dan lebih maju. akan tetapi para pelaku musik atau komponis-komponis musik menjadi kalah dan terbelakang karena sudah dikuasai oleh dunia perdagangan dan industri. ada beberapa contoh produk digital seperti handphone sudah dikemas secara sempurna demi menarik perhatian masa mulai dari fitur-fitur program yang semakin canggih dan ring tone yang beraneka jenis musik untuk melengkapi kecanggihan dari hand phone. misalnya, ringback tone kartu gsm untuk telkom (www.djwirya.com). bentuk penyajian karya eine kleine nachtmusik sudah ada dalam produk handphone dengan tipe siemens c60, siemens m55, samsung sgh n620, samsung sgh t 100. eine kleine nachtmusik dalam format game kebudayaan industri telah menghasilkan kebudayaan masa yang serba instan. hiburan kini menjadi prinsip kebudayaan masa. bila seni mempunyai fungsi kritis yang menjernihkan dan membawa pada kesadaran, hiburan mempunyai fungsi kesenangan individu. kebudayaan industri menciptakan isi hiburan yang digunakan untuk kepentingan dirinya sendiri. akhirnya, implikasi yang paling baik adalah kontrol monopolistik atas sarana-sarana hiburan yang membuat industri kebudayaan juga mampu memegang kendali struktur kesadaran massa (soetomo, 2003: 80). esensi dari musik akan berubah secara total apabila sudah diambil alih oleh dunia industri. dalam sejarah perubahan musik pada mulanya menawarkan insight untuk menahan laju kebudayaan industri. dalam tahap-tahap awal, musik klasik memberikan sesuatu yang positif. pada saat itu musik klasik mengawali terobosan irama baru yang mengandaikan bahwa sebagai penikmat musik harus dengan penuh perhatian mengamati hubungan berbagai unsur yang menyusun keseluruhan. namun demikian, ketika musik klasik berubah menjadi industri kultural masa, musik klasik mengalami kemunduran nilai sebagai seni. memasuki dalam berbagai dunia industri tentunya dikenal dengan produk game pada sebuah teknologi terkini. game adalah sebuah permainan atau pertandingan yang diciptakan menggunakan teknologi digital. sudah banyak permainanpermainan dalam game yang telah diciptakan seperti dalam bidang olah raga, petualangan, musik, dan lainlain. setiap produk dalam sebuah game pasti diciptakan pula musik background pada tiap-tiap game. dalam hal ini, musik berperan penting dalam penciptaan sebuah produk game karena sangat berpengaruh pada nilai jual dan daya tarik masyarakat. pertama kali untuk menghasilkan musik pengiring atau musik background pada game, cukup memakai alat sederhana seperti sebuah chip khusus. awal dari musik ini disebut dengan chiptune, yang di dalamnya mengandung empat frekuensi dasar yaitu, wave, noise, square, dan pulse. dalam hal ini, musik yang masih diciptakan sederhana itu dapat menghasilkan musik yang lebih lucu dan unik seperti pada game mario bross dan contra. selain itu, para musisi teknologi tidak terpaku pada nadanada yang ada pada game-game lainnya, karena mereka lebih dituntut untuk kreatif dalam mengeksplorisasi. sudah banyak media-media yang dapat digunakan seperti nintendo, game boy, play station, dan lain-lain. kemasan-kemasan yang diciptakan dari produk game sangat menarik, mulai dari produk game yang dibuat secara khusus maupun yang masuk pada teknologiteknologi yang lain. pada produk teknologi yang lain, game mulai masuk pada handphone, vcd dan dvd player, ipod, komputer, dan masih banyak produk-produk yang lain. selain itu, game sudah mulai populer sekali di kalangan masyarakat, dari anak-anak sampai orang dewasa semua pasti mengenal game player. akses yang digunakan untuk mendapatkan game player sangat mudah karena sudah semakin populer dengan menggunakan fasilitas internet. musik mulai masuk dalam produk teknologi game player yang digunakan sebagai musik background. banyak para komponis atau seniman-seniman musik di dunia ini yang sudah bergabung pada sebuah dunia industri. mereka melakukan tindakan eksplorasi, ekspansi dan inovasi yang cukup ekstensif dan menarik terhadap musik. game player adalah salah satu bentuk inovasi yang dibuat oleh para seniman musik yang bekerja pada dunia industri membuat eksplorasi demi menarik masa dan daya tarik masyarakat luas. pada dasarnya, produk yang akan dijual dan dipasarkan kepada masyarakat adalah produk game player bukan produk musiknya. eksplorasi yang ada pada musik game player diambil pada lagu-lagu yang sudah populer dan dikenal oleh masyarakat luas. bentuk penyajiannya sudah menggunakan program musik digital yang dimasukkan pada sebuah game player untuk musik background. eine keine nachtmusik adalah contoh musik klasik yang di eksplorasi dan di aransemen ulang menggunakan musik digital sebagai bentuk penyajian musik pada game player. kemasan dari eine kleine nachtmusik dibuat secara menarik, penuh dengan hiburan dan humor. eine kleine nachtmusik terdapat pada game player mario bross yang berjudul “ dance-dance revolution mario mix “. bentuk musik dan karakter dari eine kleine nachtmusik yang awalnya dari kuartet gesek diubah menjadi lebih riang dan spektakuler sesuai dengan karakter mario pada game player. dalam penggarapan musik eine kleine nachtmusik pada game player mario bross banyak menggunakan efek-efek suara digital yang bervariasi. bentuk musiknya sudah berubah dari karya yang asli melainkan tetap menggunakan idiom-idiom dari karya yang asli. karakter dari bentuk penyajian “dance-dance revolution mario mix” yang berjudul eine kleine nachtmusik dalam game adalah pop yang sudah dikolaborasikan dan dikembangkan dengan techno music. pada jenis musik ini, alat-alat bermain game itu berubah menjadi alat musik yang setiap tombolnya bisa mengeluarkan bunyi-bunyi yang unik dan khas. musik background eine kleine nachtmusik yang terdapat pada game mario bross banyak sekali yang sudah mengalami development dengan menggunakan music techno. fungsi eine kleine nachtmusik 525 eine kleine nachtmusik sebagai sarana sosial di manapun di dunia ini, tampak jelas bahwa musik mempunyai peran yang kuat dalam mengungkapkan suasana hati seseorang. pengungkapan suasana hati itu dapat bersifat spesifik seperti halnya pada lagu yang bernuansa politis maupun lagu-lagu percintaan yang mau mengungkapkan perasaan dan kepuasan diri. apapun jenis suasana hati yang diekspresikan dalam proses pembuatan musik, akan menggugah reaksi dari para pendengar dan reaksi itu tidak lepas dari pementasannya. maksudnya adalah nuansa lagu yang dibawakan disesuaikan dengan suasana pesta. sebagai contoh, untuk pesta perkawinan, pesta panen dan pesta meriah lainnya tentu sangat berbeda nuansa musiknya dengan suasana kematian atau kesedihan. salah satu faktor yang dianggap penting dalam menentukan reaksi suasana hati terhadap musik di kalangan masyarakat wina pada saat itu adalah tempo musik yang dibawakan. untuk menunjukkan suasana gembira, maka dipakai tempo sedang hingga tempo cepat. sedangkan tempo lambat umumnya dipakai untuk yang berhubungan dengan hal-hal musibah, kekecewaan, kesedihan dan kerinduan hati. dalam kehidupan sehari-hari, manusia pada umunya suka dengan musik. pola hidup manusia diikuti seiring dengan sebuah gaya musik. bahkan karakter seseorang dapat diketahui dengan selera musik yang di dengarkan sehari-harinya. mengapa demikian, di karenakan musik tidak bisa lepas dari esensi musik yang sesungguhnya. musik pada hakikatnya adalah bagian dari seni yang menggunakan unsur bunyi-bunyian. segala macam bunyi dapat kita dengar setiap hari disekitar kita seperti televisi, radio, tape, handphone dan segala macam bunyi tentunya yang mengelilingi kita. manusia secara disadari sudah atau bahkan setiap hari akan selalu mendengarkan musik. kenikmatan dalam karya musik sangat utama dalam suatu pengalaman sosial. musik mempunyai peranan dan fungsi yang sangat luas dari banyak kegiatan di masyarakat, seperti musik untuk acara pernikahan, upacara pemakaman, kebaktian gereja, upacara kenegaraan, kegiatan politik yang memakai pawai musik, dan lain-lain. musik menjadi suatu contoh yang bermanfaat dari hubungan timbal balik di mana pengaruh musik dapat dipengaruhi oleh perilaku sosial (hargreaves and north, 1997:67). menurut plato musik hasil karya seni yang baik dan tinggi nilai estetikanya adalah musik. karya seni musik ini mampu berpengaruh di bidang politik dan moral (susantina, 1995:21). eine kleine nachtmusik sebagai musik overture awal tercipta eine kleine nachtmusik berasal dari serenade nomor 13 untuk instrumen gesek dalam g mayor biasanya lebih dikenal sebagai eine kleine nachtmusik k.525. serenade adalah musik petang hari yang diperdendangkan di lapangan terbuka biasa juga disebut musik malam hari. sebuah karya serenade dalam abad ke 18 dirancang dalam bentuk sonata form. beberapa dari karya-karya mozart awalnya hanya sebagai musik hiburan saja untuk kalangan masyarakat pada saat itu. berbeda dengan salieri yang selalu mempersembahkan karya-karyanya untuk kalangan istana. salieri adalah tokoh seorang musisi yang bekerja di istana pada waktu itu, dan selalu mengabdikan diri untuk istana. sampai pada suatu ketika karyakarya mozart lebih banyak mendominasi dan populer dibandingkan karya-karya salieri untuk kalangan masyarakat. sehingga karya mozart lebih banyak pendukungnya. oleh sebab itu terdapat kemungkinankemungkinan juga tentang mengapa dia kemudian diangkat menjadi seniman musik untuk istana dan karya-karyanya juga dimasukkan dalam kategori klasik. sebagai awal penyajian “eine kleine nachtmusik”, w.a mozart menampilkan karyanya tersebut dalam bentuk konser musik kamar dengan format kuartet gesek, yang pada saat itu fungsi dari karya tersebut adalah sebagai musik hiburan malam untuk para kalangan istana. kemudian mozart mengembangkan untuk karya opera sebagai overture dengan bentuk ansamble gesek. dari hal ini, kita mengetahui bahwa “eine kleine nachtmusik” berfungsi sebagai overture, di mana overture merupakan kumpulan karya-karya lagu yang bersifat mengundang masa. musik overture bersifat instrumental sebagai pengantar untuk suatu karya musik yang besar, seperti opera, dan oratorium. musik pengantar pada opera-opera sebelum abad ketujuh belas fungsinya tidak lebih dari sekedar pemberi isyarat bahwa pertunjukan akan dimulai. akan tetapi semenjak awal abad ketujuh belas, khususnya di dalam opera “orfeo“ karya claudio monteverdi, musik overture itu sudah mulai merupakan suatu ciptaan yang bagus dan mempunyai struktur yang baik dengan operanya. karya overture dimainkan saat para penonton bersiap untuk menghadiri dan menyaksikan sebuah karya opera di sebuah concert hall. fungsi dari karya overture dimainkan sebelum acara opera dimulai adalah mengundang atau mengumpulkan massa untuk menghadiri sebuah konser opera. pada abad modern overture dimainkan tidak hanya sebagai musik pengantar atau pembukaan untuk sebuah karya opera saja, melainkan pembukaan dalam sebuah konser musik orkestra dan lain-lain. mengikuti perkembangan jaman yang ada, karya instrumen orkestra untuk overture sebuah konser musik tidak lagi memakai karya overture asli tetapi memakai karya-karya musik yang mempunyai karakter agung, megah, dan bersifat mengundang masa. dalam hal ini, lambat laun overture menjadi bentuk susunannya yang standar, terutama dengan masuknya pengaruhpengaruh dari musik-musik seperti sonata, sehingga terdapat juga ciptaan-ciptaan overture yang merupakan karya tersendiri terlepas dari suatu opera atau oratorium. eine kleine nachtmusik selain mempunyai perluasan dalam bentuk penyajiannya, juga mempunyai perluasan dalam bentuk secara fungsi. kembali bahwasanya karya tersebut pada awal tercipta pada jaman klasik fungsinya sebagai musik kecil yang di mainkan pada malam hari, semakin lama karena bentuk penyajian yang semakin luas, berkembang pula secara fungsi menjadi karya overture yang dapat dimainkan pada sebuah konser besar. eine kleine nachtmusik sebagai salah satu alat legitimasi karya-karya mozart pada dasarnya masuk dalam kategori klasik pada jaman klasik. bagaimanapun, karya-karya mozart sudah diakui sebagai karya-karya musik istana sentris pada masa kerajaan wina. hal inilah yang merupakan landasan utama sebagai legalitas yang menyatakan bahwa karya-karya mozart adalah klasik. namun terdapat kemungkinankemungkinan bahwa karya-karya mozart mendapat legalitas dari istana wina setelah mozart meninggal dunia mengingat dalam sejarah bahwa karya-karya mozart sulit atau bahkan tidak mendapat pengakuan dari istana semasa hidupnya oleh karena dukungan masyarakat wina terhadap karyakarya mozart waktu itu, akhirnya istana wina memberikan legalitas terhadap karya-karya mozart sebagai kategori klasik demi meraih kecintaan masyarakat wina atau legitimasi atas kedaulatan wina. dari hal tersebut, fungsi “eine kleine” mengalami perubahan, yaitu berkembang yang semula hanya sebagai musik kamar, ternyata dapat dipakai alat legitimasi istana, meraih dukungan masyarakat wina atas kedaulatan istana wina. eine kleine nachtmusik sebagai salah satu materi pendidikan musik dalam ilmu pendidikan musik selain didapatkan materi tekstual yaitu secara ilmu teori musik, harmonisasi lagu dan notasinotasi musik, juga mempelajari kajian secara kontekstual yaitu sejarah musik mulai dari musik abad pertengahan, jaman renaissance, jaman barok, jaman klasik, jaman romantik sampai dengan jaman modern sekarang ini. “eine kleine” karya mozart ini merupakan salah satu materi pada jaman klasik yang dipelajari dalam ilmu pendidikan musik. pola pendidikan seperti itu rupanya tidak hanya di winaaustria saja, melainkan di kebanyakan negara-negara di seluruh dunia termasuk indonesia. dalam hal ini, “eine kleine nachtmusik” mengalami perluasan fungsi yaitu:(1). salah satu sarana/prasarana pendidikan musik secara global; (2). “eine kleine” karya mozart dikenal sebagai produk budaya wina-austria di hampir seluruh dunia yang mempunyai peranan penting bagi pendidikan musik di dunia. bentuk musik dengan format kuartet gesek tersebut mendukung pula bagi para pengajar dan siswa khusunya pada instrumen gesek dalam pendidikan musik, karena eine kleine nachtmusik mempunyai tingkat kesulitan dalam bentuk musiknya sehingga dapat menjadi acuan dalam bermain musik klasik pada sebuah dunia pendidikan musik. sebagai contoh dalam dunia pendidikan musik di indonesia adalah sekolah menengah musik yogyakarta yang memasukkan eine kleine nachtmusik sebagai salah satu materi dalam pendidikan musik untuk instrumen gesek. menurut hasil wawancara pada salah satu pengajar instrumen gesek yaitu bapak sapta ksvara kusbini mengatakan bahwa: karya eine kleine nachtmusik karya w.a mozart tidak sebagai materi yang wajib di mainkan pada siswa-siswi sekolah menengah musik, akan tetapi karya eine kleine nachtmusik tetap masuk dalam silabus atau kurikulum pada pendidikan sekolah menengah musik yogyakarta. dalam dunia pendidikan musik, eine kleine nachtmusik terkenal sebagai salah satu bentuk karya musik yang mempunyai tingkat kesulitan yang tinggi. menurut sapta ksvara kusbini bahwasanya eine kleine nachtmusik sebenarnya mempunyai karakter karya musik yang ringan, lincah, dan ceria. bentuk-bentuk dari bagian satu karya eine kleine nachtmusik mempunyai karakter memberikan semangat, sehingga pada bagian satu karya tersebut cenderung lebih populer dan easy listening. karya eiene kleine nachtmusik mempunyai tingkat kesulitan yang tinggi karena dalam pembelajarannya perlu juga diperhatikan dan diperdalam sebagaimana awal terciptanya karya tersebut. sebagai contoh pada sekolah menengah musik yogyakarta juga diajarkan dalam bentuk estetika, sejarah, analisa musiknya, dan lain-lain. sehingga dalam memainkan karya eine kleine nachtmusik siswa dituntut tidak hanya bisa memainkan dengan benar tetapi mengerti dalam estetika, interpretasi, dinamika, dan lain sebagainya. karena dalam karya musik jika memainkan atau membawakan karya orang lain, kita dituntut untuk dapat menjadi komposer ke dua yaitu membawakan karya tersebut dengan gaya yang kita pelajari. selain dalam hal ini, karya eine kleine nachtmusik juga pernah dimainkan oleh siswa-siswi sekolah menengah musik yogyakarta sebagai musik overture dalam sebuah pertunjukan musik. format yang digunakan adalah bentuk orkes gesek sehingga terlihat lebih megah dan agung karena adanya pengaruh dari penambahan instrumen yaitu contra bass pada orkes gesek. eiene kleine nachtmusik sebagai musik overture pada sebuah pertunjukan musik dimainkan semua bagian yaitu dari bagian satu sampai empat dengan tujuan menarik massa atau penonton dalam sebuah pertunjukan musik di sekolah menengah musik di yogyakarta. karya eine kleine nachtmusik k.525 karya w.a mozart menurut para siswa-siswi sekolah menengah musik yogyakarta yang paling populer dan lebih easy listening bagi mereka adalah pada bagian satu dan empat. sehingga para siswa khususnya mayor instrumen gesek lebih sering membawakan eine kleine nachtmusik bagian satu dan empat. eine kleine nachtmusik sebagai hiburan hiburan atau biasa disebut dengan entertaiment adalah suatu kegiatan yang bersifat memberikan kesenangan hati kepada seseorang atau masyarakat publik. musik adalah salah satu sarana atau media dari berbagai seni yang mempunyai fungsi dalam memberikan kepuasan atau kesenangan pada seseorang. sifat dan karakter dari musik sebagai hiburan adalah dari melodi, irama, ritme dan keteraturan dari harmoninya. musik sebagai hiburan dapat dipahami tidak hanya dari teks musik tetapi dari pola-pola melodi atau pola-pola ritme dari irama musik tertentu. apabila dari pecinta musik klasik sangat senang dan terhibur dengan struktur musik dan orkestrasinya, maka para pecinta musik populer lebih terhibur dengan syair, melodi-melodi yang indah, aksi panggung yang spektakuler, dan atau hanya popularitas dari para musisinya saja. hal ini mempengaruhi bahwasanya musik lebih banyak mempunyai fungsi sebagai musik hiburan karena industri musik yang semakin berkembang dengan tuntutan pasar yang semakin cepat. pada awal terciptanya eine kleine nachtmusik k. 525, karya tersebut dibuat oleh w.a mozart dalam bentuk musik serenade. eine kleine nachtmusik mempunyai arti sebuah musik kecil yang disajikan pada malam hari disebuah rungan yang kecil dengan pengunjung yang terbatas. dalam hal ini, dapat diketahui bahwasanya karya musik eine kleine nachtmusik pada jaman klasik sudah mempunyai fungsi sebagai musik hiburan di kalangan istana sentris masyarakat wina. musik populer mempunyai struktur dan gramatik sebagai musik rakyat, karena diketahui dan dikenal oleh banyak orang dengan konotasi dan arti tertentu (mack, 1995:11). eine kleine nachtmusik sebagai contoh karya mozart yang sangat terkenal dan populer sekali di kalangan masyarakat wina saat itu sampai pada jaman sekarang khususnya di indonesia. penutup awal karir w.a mozart dalam bermusik sangat singkat, mozart meninggal di usianya yang masih muda pada umur 35 tahun. pada usianya yang masih sangat muda mozart sudah banyak menciptakan karya musik kurang lebih 600 karya. mozart adalah sosok seorang jenius dan komponis besar dunia, yang membentuk sebuah gravitasi musik dunia menjadi bernilai tinggi. mozart juga seorang yang penting dan berbakat dalam penyempurnaan sebuah musik kamar menjadi sangat populer. sebuah kuartet gesek yang berjudul eine kleine nachtmusik k. 525 yang berbentuk serenade diciptakan pada tahun 1787. bentuk penyajian dari komposisi ini adalah untuk musik instrumental kuartet gesek yang menggunakan: 2 biola, 1 biola alto, dan 1 cello. komposisi ini menggunakan bentuk serenade dan terdiri dari empat bagian. sejauh ini hanya bagian pertamalah yang penulis analisis dalam bentuk perkembangan penyajian dan fungsinya. eine kleine nachtmusik kemudian diperluas dalam bentuk penyajian yaitu menggunakan format orkes gesek. orkes gesek menggunakan 6 biola satu, 4 biola dua, 2 biola alto, 3 cello, dan 1 kontra bass. tema dan bentuk musiknya sama sekali tidak ada perubahan hanya saja bentuk penyajian dan format yang lebih diperluas dan fungsi yang semakin berkembang. eiene kleine nachtmusik berkembang bentuk penyajiannya menjadi format untuk instrumen solo piano dan ansambel gitar. format dengan bentuk penyajian yang baru tetap tidak menghilangkan tema-tema dari bentuk komposisi yang asli. crossover classical music adalah bentuk musik yang sudah di modifikasi menjadi bentuk musik yang baru dan lebih spektakuler dalam bentuk penyajiannya. eine kleine nachtmusik dalam dunia modern sudah menjadi bagian dari bentuk penyajian crossover classical music yaitu, dengan format band jazz atau kuartet gesek yang menggunakan instrumen elektrik dengan musik digital yang sudah diaransemen dan di modifikasi menjadi lebih populer atau easy listening di masyarakat. peranan ilmu teknologi juga ikut dalam dunia perkembangan bentuk penyajian musik klasik. seperti contoh pada ringtone handphone yang memberikan bentuk penyajian eine kleine nachtmusik di beberapa handphone. bentuk musiknya tidak mengalami banyak perubahan, tetapi dari segi suara yang dihasilkan sudah banyak pengurangan yaitu penggabungan dengan midi atau musik elektronik. pada ringtone handphone bentuk musik eine kleine nachtmusik bagian pertama tetap menggunakan tema yang sama dengan aslinya. bentuk penyajian eine kleine nachtmusik digunakan sebagai musik background dalam game mario bros dengan menggunakan efek-efek musik digital sehingga menciptakan kesan humor dalam permainannya. secara fungsi eine kleine nachtmusik mengalami perluasan dari segi kualitas dan kuantitas dalam bidang-bidang tertentu. pada masa klasik eine kleine nachtmusik menjadi alat legitimasi masyarakat wina menjadi masuk dalam kategori karya klasik terbesar. eine kleine nachtmusik juga berubah fungsi menjadi sebuah karya overture dalam suatu pertunjukan musik dengan format yang lebih besar dan ruangan yang lebih luas. semakin berkembangnya jaman, berkembang pula dunia pendidikan musik di dunia. salah satu dunia pendidikan musik yang menggunakan eine kleine nachtmusik sebagai materi pembelajaran adalah sekolah menengah musik yogyakarta. sekolah menengah musik memberikan salah satu materi pendidikan musik bagi siswa-siswi instrumen gesek dengan eine kleine nachtmusik. daftar pustaka banoe, pono. 2003. kamus musik yogyakarta: penerbit kanisius. dahlan, m y.al-barry. 2003 dan lya sofyan, l yacub. kamus induk istilah ilmiah. surabaya: target press. david j. hargreaves and adrian c. north. 1997. the social psychology of music. new york: oxford university press, gay, peter. 2005. simfoni hidup sang maestro. yogyakarta: bentang. kamien, roger. 2004. music an appreciation eigth edition amerika, mc graw hill, mack, dieter, apresiasi musik musik populer, yogyakarta: yayasan pustaka nusatama. mc.neill, rhoderick. 1998. sejarah musik 2, jakarta: bpk gunung mulia. moleong, lexy, metodologi penelitian kualitatif, bandung, penerbit pt remaja rosdakarya, 2000. soetomo, greg. 2003. krisis seni krisis kesadaran. yogyakarta: penerbit kanisius. susantina, sukatmi. 2004. nada-nada radikal perbincangan para filsuf tentang musik. yogyakarta: phanta rhei books www.ensiklopediumum.com, diakses tanggal 2 maret 2009. www.republikaonline.com, diakses tanggal 15 februari 2009. www.wikipedia.com, diakses tanggal 14 maret 2009. www.bondmusic.net.htm, diakses 14 maret 2009. www.free-scores.com, diakses tanggal 20 januari 2009. www.siemensc60.htm, diakses tanggal 16 maret 2009. www.siemensm55.htm, diakses tanggal 16 maret 2009. www.samsungsgh-t100-_e.htm, diakses 16 maret 2009. www.djwirya.com, diakses 16 maret 2009. nara sumber : sapta ksvara kusbini 45 tahun guru orkestra dan biola sekolah menengah musik yogyakarta. 41 aesthetics and functions of craft art in public art space alvi lufiani, setiawan sabana, achmad haldani postgraduate program, institut teknologi bandung, indonesia received: april 1, 2017. revised: may 15, 2017. accepted: may 29, 2017 abstract the problem in this research is about how to assess the aesthetics and functions of craft art in indonesian city public space compare to other cities in other countries. it is also about how these craft arts can be used to improve the aesthetics and strength a city’s identity. approaches used in this research are aesthetic theory and sociology of art. aesthetic theory is used to assess the craft art textually or intra aesthetics. sociology of art theory is used to see how craft art role can fulfil its function as a medium for craftsperson to participate in creating an art work that is useful to the society, so the existence of craft art in public space can give positive impacts towards the urban society. results of this research is a positive impact of the craft art existence in some indonesian public places where craft art becomes a city icon or identity with a special symbol attached to it; as a sign of historical or contemporary works. it also creates the aesthetics of a city design to be more humanist and healthy for all citizens. keywords: craft art; aesthetics; public space; urban society how to cite: lufiani, a., sabana, s., & haldani, a. (2017). aesthetics and functions of craft art in public art space. harmonia: journal of arts research and education, 17(1), 41-47. doi:http://dx.doi.org/10.15294/harmonia.v17i1.7469 harmonia : journal of arts research and education, 17 (1) (2017), 41-47 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: 10.15294/harmonia.v17i1.7469 rohidi (2015) stated that craft art is reflected the culture and geography of where those crafts are being created. it means that in the process or technic of making that craft art, shape of the work, and the use of that work, there is a reflection of beauty values, moral, and thought that become a reference for the maker and also being a natural-physic environmental resources and social culture that can be used by the creator. as time goes by, craft art was also facing the change that gives impact to the craft art that is being created. in the west part of the world, there are some terms used by the craft-person/ craft-people to explain about their craft art that they do. there are contemporary craft, new craft, studio craft, craft object, and other terms of crafts. the main idea is that craft art that introduction historically, craft art was developing from the humans’ necessity to get along with their environment. this necessity becomes more developed since there was a kingdom influence that wanted the craft art product to be used not only as a tool that had practical function, but also had aesthetic, artistic, philosophic, and symbolic functions. art work was also used as a sign of social status like what they had in jewellery, kris (indonesian special traditional sword), or batik. as widely known by indonesian people, every kris created by a kris master has plenty of philosophies which is represented by its pamor (fame) contained in numbers of luk, shape of the warangka, and etc. p-issn 2541-1683|e-issn 2541-2426 corresponding author: jl. ganesha no.10, lb. siliwangi, coblong, kota bandung, jawa barat 40132 e-mail: alufiani1@gmail.com harmonia : journal of arts research and education 17 (1) (2017): 41-4742 is being made is not only used to fulfil the primary needs of human living, but it has already upheld the importance of aesthetic and artistic values that sometimes overrides the practical functional aspects. as stated by tjetjep, besides the function to fulfil the social need, the creation of craft art is also used to fulfil cultural need. for instance, the creation and selection of good craft art supports one or group’s prides and dignity. as in kris example above, one’s social status, especially from javanese ethnics, is often determined from the kris collection that he has. the same rule is also applied in batik. until now, there are some kinds of batik that only can be owned and wore by the kingdom members. in indonesia, the society knows craft art as a product of a handicraft and has strong relation with everything that has ethnical value. the term of contemporary craft is sometimes still unfamiliar to most people because they are accustomed to associate it with pure art. only in some big cities that has strong culture like jakarta, bandung, surabaya, and yogyakarta that the society will know and understand that the shape and variety of the modern craft art is different from the old craft art. it is also influenced by the existence of schools and arts colleges that influence the surrounding community a bit more to be literate on the latest work of craft art. in yogyakarta, one of the art work centre in indonesia, craft art created by the craft-person is still in the form of existing traditional craft art concept. till recent days, arts shown in public places of this city (as in other big cities in indonesia as well), is dominated by pure art work, like, statue, or street art as in mural and graffiti. the existence of craft art in urban places can be categorized into a new phenomenon not only in yogyakarta, but also in other big cities in indonesia. this is interesting since in other countries craft art as an element in public place is a common thing. it can attract people attention and usually get very positive respond. in osaka, japan, the city government often works together with the artists or craft persons to create a craft work to be placed in city’s public place. it is definitely having a lot of requirements that should be fulfilled by the craft-persons, so their works are suitable to be placed in the public place and become a public property along with the consequences. some of the requirements are that the art works should have connection with the public places and not ahistorical. it also needs to be able to become a representative or a city symbol, able to be accessed by its people easily, able to be used as an interaction tool among citizens, able to bring many benefits, able to minimize chaos, etc. as stated by jack berker in public art monograph that placing an art work or statue in a public place is not the same as planning an art work that will be placed in a specific place since the audiences’ aspects, environmental condition and history of the place have to be considered (baker, 2010). thus, it can be understood that to put an art work, whether it is craft art or pure art, a serious consideration and good cooperation among all sides are needed to be done. these considerations comprise intra aesthetic perspective or textual and extra aesthetic or contextual, in this case is the function of an existing craft work. therefore, the the problem to be discussed in this paper is how to determine the aesthetics and functions of craft work placed in public place of several cities in indonesia compared with other cities of other countries, and also how this craft art can improve the aesthetics and strengthen the identity of a city. method approach and method employed in this study, respectively, are cultural study and interdisciplinary. operationally, this approach and method place the culture as a form of behaviour, attitude, idea, and work of the society as something that is dynamic, routine, and complex. therefore, culture cannot be understood in mono discipline perspective (puspitasari, 2016, p. 58). aesthetic theory and sociology of lvi lufiani, setiawan sabana & achmad haldani, aesthetics and functions of craft art ... 43 art are used to discuss craft art in public space. sociology of art theory is then used to see what is the role of craft art to fulfil its function. among the functions are as a medium for craft-person to participate in creating work that will be useful for all society. the implication is that the existence of the craft art can give a positive impact on the urban society. this is in line with wellek and warren in jazuli who stated that one of the sociology of art approach is an evaluation of social influence in art work, especially from the audience perspective (jazuli, 2014, p. 25). results and discussion gordon and knox, director of arizona state university of art museum in his writing crafting a continum: what is enduring in craft? what is its future?(tahun?) stated that as in language, art and craft related to the society. craft relates with society from its relation to the object and more frontal making process compares to the pure art. the main difference of the making process in craft may become one thing that differentiates craft with pure art. however, the relation and similarity between craft art and pure art become more important in relation to their similarity (in their relations with the society), as in expression, idea and aesthetic exploration. knox emphazises that either craft art or pure art have a strong relation between them and more important, with the society. those factor of relation and interest to the society at the end will become one thing that cannot be separated from art work and its application in public place in the city. the reason is that at the end, the society should and will get the most benefits from the existence of an art work in the public space. of course, there are various factors that will define the success level, one of that is aesthetic or artistic value in the art work. craft art in the public place of a city at least expected to be improving the dialogue between community and citizens, call the attention of the society and stimulate economy sector, relate the artists, craftperson and society, and improving public appreciation to the craft art (berker, 2010). in addition to this, berker added that, from art work in public place, a craft-person could directly deliver his/her message to the public, without using an art gallery mediator or other media. creative expression that they have can be sent to everyone started from an executive, downtown citizens, suburbs, children, teenagers, elderly, city government, common people, and other people. therefore, a craft work in a public place has democratic character since it comes from, by and for the society. craft art that will be discussed in this paper will use aesthetic theory to determine its textual side. based on dick hartoko, aesthetic is from greek aesthetis means perception, experience, feeling, and view. baumgarten, a germany philosopher used it for the first time to refer to a philosophy branch that has a relation with art and beauty. based on him, there are two kinds of beauty, the objective and subjective beauty. subjective because the beauty is in the human mind and objective since it is outside of human mind, as in situation or thing. the differences are on the beauty of nature and beauty of human making things that contained on an art work. craft art is object making by a human that contained in an art work. craft art is an object created by a human that has objective aesthetic value (hartoko, 1984, p.15). the first craft art to be discussed is an art phenomenon from miami, the us, created by a craft-person kim brandell. kim’s work categorizes as street furniture, that has one strong craft characteristic that is a bench that is practically functional. one of kim’s famous work is a bench located in miami coconut grove, a city park in the city centre of miami, florida. from the textual side, this bench is artistic, since in the place to sit there is a piece of leave and that bench looks as if it is sustained by a coconut tree that also has functioned as a shade since miami is well known of its sun shines. this place is different from other states in the us. the bench, in addition, is harmonia : journal of arts research and education 17 (1) (2017): 41-4744 made from stainless steel, so it looks strong and long last, safe to be seated by people with different sizes, even it does not have a problem if it is stood by the children. the selection of grey colour for the bench is intended to give the futuristic and neutral impression to the surrounded area. it is an interesting juxtapose, since from the colour side, that bench looks futuristic, but from the shape side it is all look naturalistic. the coconut shape choice for the bench sustain makes the bench the icon of miami. miami itself is famous for the beauty of the beach completed with the coconut tree and the city is decorated with palm tree that lined up neatly as if it welcomes every citizen and every people coming there. looking at kim’s bench, people will understand and directly associate it with the icon of the city of miami. citizens are happy with the bench and visitors usually use it as a property to have a picture. placement of bench in miami coconut grave city park also a thing that had already thought carefully, since this place becomes a place that is always visited by the citizens or visitors. the size of palm bench that can be occupied by three people makes it be one of the citizen media to do interaction. they could talk and become closer even if they had not known each other before. kim’s palm bench is a craft work that fulfils the requirement as an ideal public place craft work. visually, it looks artistic and can be a representation of a city identity. palm bench also has function as a bench that is safe and comfortable to be seated and used for children to play. palm bench as a street furniture becomes a part of design element vocabulary that widen the concept of a place or room. as stated by ronald lee fleeming in the art of placemaking, interpreting community through public art and urban design that sometimes a street furniture work can be associated strongly with a city that when it becomes the symbol of its city (ronald, 2007, p. 246). palm bench has been a success in doing its job; as a representation of city interaction and fulfil its function as an interaction medium among the citizens. figure 1. palm bench, created by kim brandell in miami coconut grove, florida, us (source: the art of placemaking: interpreting community through public art and urban design). craft work which has existed in other country’s public area is not only street furniture, or art work that has practical functions only. there are many craft works that can attract society attention since it is prominence with the craftsmanship side that is applied to that work besides, of course, its functions for the public. an art work that should not be neglected is a phenomenal art work by an architect who is also an artist from india named sanjeev shankar. from the side of its making process, it needs deep patience. this work can be classified as a craft work. sanjeev creates an art work entitled jugaad, coming from hindi and refer to how to create an object using materials which is available around us. jugaad is a canopy, or roof protection which is made from waste cooking oil tins. around less than three months, these tins are optimized as a media to explore an idea about sustainability, recycle and reuse by using the help from 90 citizens of rajokri, a suburban of new delhi, india. around 945 old tins are processed and become a 70 meters square canopy. the canopy firstly showed to the public at the art festival in new delhi in 2008 with goethe institute and german technical cooperation (www.sanjeevshankar.com) as the sponsor. jugaad attracts public attention as lvi lufiani, setiawan sabana & achmad haldani, aesthetics and functions of craft art ... 45 its lights. here, jugaad is a proof and combination of society effort in creativity and improvisation when they are making use of old stuff to be useful in valuable in the middle of the arising of consumptive culture. jugaad project indicates the starting point of simple into radical steps of designing a public room for the community by upholding the spirit of democracy. from the perspective theory of sociology of art, jagaad can be categorized as a success in creating social interaction between society or citizen by being facilitated by the work. as explained by wadiyo (2006, p. 1) that if an art work is able to create action and reaction between the creator and appreciator, social interaction also automatically will happen. below are some pictures of jagaad, from its visualization in the afternoon and night, the process of collecting the materials, and until the making process. figure 2 & 3. jagaad canopy in the afternoon and evening by sanjeev shankar (source: www.sanjeevshankar.com/jugaad). figure 4 & 5. process of collecting and cleaning the wasted tins figure 6 & 7. citizens are opening the tins’ cover to put the colours and assemble the parts of the tin to be one as a canopy. (source: www.sanjeevshankar.com/jugaad). indonesia has a different situation. well as many awards from art institution and architecture in england and the us. the creator, sanjeev said that global issues like recycle, reuse, reduce or sustainability only can touch the society, especially the low-class society, if it is connected directly with their daily life. if not, this thing will only be an imagination and just a rhetorical. through the deep involvement, there is a change of perspective from the society and they see the benefits from the project that is worked. citizens also see the big potential from something that has been used before and only becomes a trash. as the time goes by, almost all of the community is influenced to use the old stuff (cooking oil tin), making the object to another product that has value and is useful. patiently, citizens are involved in jagaad making process started from collecting, cleaning, drilling, painting and uniting every part of tin into one. from the aesthetic side, jugaad also looks unique and harmony because of its neat composition between one part. the colour is used, that is pink on the top and sorrel in the bottom also supports it. colour material used is from a traditional material named gulal that usually applied in the colour festival holi in india. the craft work becomes more interesting and loved by the citizens when it is blown by the wind. the canopy will move beautifully and looks like it is flying slowly. it also produces a rhythmic sound. it is really a combination of art work that is not only functional, but also satisfying for the eye and ear of the audiences. it is interesting on how an architect and craft-person like sanjeev is optimizing the use of old material, traditional colour maker and citizens to work hand in hand in creating a work that is not only artistic, economical, but also functional the benefit of this jugaad canopy is also felt by whole society. the temperature in new delhi that usually reaches up to 40 degrees in the afternoon, makes the society feels how comfortable it is to put their shelves under the canopy. at night, jugaad is very artistic and attracts people to enjoy harmonia : journal of arts research and education 17 (1) (2017): 41-4746 even if indonesia has strong traditional craft art, the reality showed that there is no −or not yet− many craft works that we can find, if it is compared to other countries. one of the aspects influencing this is because the art placed in the public area usually are dominated by the pure art like a statue. it is also influenced by society understanding on the perception that craft art is usually a small object with mass production and not to be used to be placed in public area. craft art made by the craft-person in indonesia generally is made as a filler or interior element of a room or other small needs. yogyakarta as a centre of art and culture becomes the pioneer by starting the tradition of outdoor craft art. it is initiated by timbul raharjo, a craft-person, academics and also a businessman with craft work entitled kuda egrang. this kuda egrang can be stated as a phenomenal craft art since it is a topic of conversation, discussion, and debate which is quite debatable among artists, humanist, curator and yogyakarta society. some of them actually do not care if the works are categorized as craft work, but what makes it interesting is that how society responds to kuda egrang as the art object from their own perspectives and their opinion towards this work; whether it can fulfil its function as an art work that represented yogyakarta as a city of art and culture (lufiani, 2016). aesthetically, kuda egrang looks attractive with the use of hundred iron pipes which is cut in relatively similar small sizes. the pieces of these pipes then being placed on an iron frame that has been made to sustain the kuda egrang. setting that has been made neatly showed the high artistic from the craft work of kuda egrang. kuda egrang, even if it not fully represents or becomes an identity of yogyakarta, still becomes one of the icons of a city with strong javanese culture. in javanese culture, there is a requirement that should be fulfilled by someone so he can be a knight, here is javanese knight. five requirements to be javanese knights are wisma, turangga, kukila, waspada, and wanita. the second requirement is turangga which means horse. in the old time, the horse is a daily transportation, so it is functioning as a vehicle or “tungganggan”. nowdays, turangga can be translated as a permanent job since it becomes one of the requirements for a man who wants to be respected in the family. this javanese philosophy then becomes the basic thought of timbul raharjo in creating kuda egrang as an outdoor craft work that does not only have aesthetic, but also philosophical meaning especially in javanese philosophy (personal interview with timbul raharjo). in this case, kuda egrang represents identity symbol of yogyakarta that is based on javanese culture. figure 8. kuda egrang, craft work in yogyakarta public space by timbul raharjo (picture of personal documentation, 2015). the emergence of talks among artists, academics and people about the presence of kuda egrang in the public space of yogyakarta also deserves appreciation since one of the functions of public art is to activate dialogue among the citizens and provide a means for the whole city community to voice their opinions and express their identity. conclusion craft works that exist in the public space both abroad and in indonesia, especially the city of yogyakarta proved to be a positive tool both for the creator and audience and citizens as a medium of expression, voicing opinions, means of interaction, enhancer artistic taste and identity markers of the city, in addition to the practical functional aspects that are owned by lvi lufiani, setiawan sabana & achmad haldani, aesthetics and functions of craft art ... 47 the craft such as street furniture in the park or urban public space. for audiences or craft art lovers who are citizens as well as visitors, the presence of artwork creations can enhance and train the sensitivity and sense to love and appreciate an art object, in this case craft art. citizens, from the lower to the middle layer, old and young are also educated by the existence of existing artworks and become more literate to craft art (craft art awareness). they become more appreciative to the profession of the craft-person with all their works, love the culture, understand their own identity and are trained to maintain the work of craft arts that exist by not doing damage or conducting vandalism activities towards the craft art. it is generally known that beautiful and correlated artworks with the surrounding environment can make the soul and feeling of a person become more subtle, sensitive and automatically able to filter things that are good for themselves. the citizens become civilized people because the city is able to become an air-conditioning oasis in the middle of the dry and tough life through artworks of intelligent, artistic, distinctive, innovative, and sensitive work in the environment. references becker, j. (2010). an essential component of creativity communities. retrieved on october 9, 2015. www. americanforthearts.org fleeming, r. l. (2007). the art of placemaking. interpreting community through public art and urban design. london: merrell publishers limited. hartoko, d. (1984). manusia dan seni. yogyakarta: penerbit kanisius. jazuli, m. (2014). sosiologi seni. pengantar dan model studi seni. yogyakarta : graha ilmu. knox, g. (2013). crafting a continum: what is enduring in craft? what is its future? dalam peter held, ed. crafting a continuum. rethinking contemporary craft. temple: arizona state university art museum. lufiani, a. (2016). karya kriya seni di ruang publik perkotaan. makalah seminar nasional hasil riset inovatif. institut seni dan budaya bandung. puspitasari, d. g., sabana, s., & ahmad, h. a. (2016). the cultural identity of nusantara in a movie entitled sang pencerah by hanung bramantyo. harmonia : journal of arts research and education, 16(1), 57-65. rohidi, t. r. (2015). catatanringkastentangpotensidan tantangan pengembangan seni warisan nusantara dalam proceeding 4th international seminar of nusantara heritage, upsi, malaysia. shankar, r. ( 2008). jugaad canopy. public art installation, india. retrieved on april 22, 2016. www.rajeevshankar. com/jugaad. wadiyo. (2006). seni sebagai sarana interaksi sosial. harmonia : journal of arts research and education, 7(2), 72-79. harm vol ix no 2 2009.pdf meningkatkan prestasi belajar seni budaya melalui tugas mandiri pada materi ensambel musik kuntomo* suharto** *sekolah menengah pertama negeri 2 watumalang, wonosobo **jurusan sendratasik, fakultas bahasa dan seni, universitas negeri semarang e-mail: kuntomo@ymail.com; info@thesuharto.com abstract this study aims to find out and describe the extent to which provision of independent tasks can improve learning achievement at the cultural arts ensemble material. the method used in this study is the class-action research using a descriptive approach to quantitative and qualitative. the model was used with step cycle: planning, action, observation and reflection. data was analyzed in each cycle of observation and reflection. the results showed that: independent task method can enhance students' learning achievement 8th-grade students of watumalang junior high school, was seen from the increase in the percentage of success from all cycles. in cycle i, the success of students only 10.7% good, cycle ii, the success of students increased to 82.1% good, and the third cycle of increased student success more to 96.4%. suggestions in this research are: (1) teachers can socialize independent assignment method and implementing these methods in learning and cultural arts as far as the condition of their students with students who have the condition in this study that students have the responsibility, discipline, willingness and enthusiasm for learning high. kata kunci : prestasi belajar seni budaya, tugas mandiri, ensambel musik. pendahuluan pendidikan mempunyai peranan yang sangat penting bagi kelangsungan kehidupan bangsa dalam meningkatkan sumber daya manusia pada berbagai tingkat kehidupan. pendidikan nasional bertujuan untuk meningkatkan kualitas manusia indonesia. oleh karena itu, perlu dikembangkan iklim belajar dan mengajar yang dapat menimbulkan rasa percaya diri serta sikap dan perilaku yang inovatif dan kreatif. untuk melaksanakan hal tersebut maka setiap manusia indonesia harus diberikan kesempatan yang seluas luasnya untuk memperoleh kesempatan pendidikan. penggunaan metode yang tepat akan turut menentukan efektifitas dan efisiensi proses belajar mengajar. dalam memberikan pelajaran di dalam kelas, guru harus benar-benar mampu memilih metode yang tepat sesuai dengan keadaan siswa dan materi kegiatan belajar mengajar sehingga anak lebih mudah menangkap materi yang disampaikan dan mampu menyimpan dalam ingatannya. dalam kurikulum tingkat satuan pelajaran lebih menekankan pada pendekatan kontekstual/ contekstual teaching and learning (ctl) yaitu merupakan konsep belajar yang membantu guru mengaitkan antara materi yang diajarkan dengan situasi dunia nyata siswa dan mendorong siswa membuat hubungan antara pengetahuan yang dimilikinya dengan penerapannya dalam kehidupan mereka sebagai anggota keluarga dan masyarakat. dengan konsep itu, hasil pembelajaran diharapkan lebih bermakna bagi siswa. proses pembelajaran berlangsung alamiah dalam bentuk kegiatan siswa bekerja dan mengalami, bukan transfer pengetahuan dari guru ke siswa. pendekatan kontekstual mendasarkan diri pada kecenderungan pemikiran tentang belajar tidak hanya sekedar menghafal, siswa harus mengkonstruksikan pengetahuan dibenak mereka sendiri. siswa belajar dari mengalami, mencatat sendiri polapola bermakna dari pengetahuan baru dan bukan diberi begitu saja oleh guru. para ahli sepakat bahwa pengetahuan yang dimiliki seseorang itu terorganisasi dan mencerminkan pemahaman yang mendalam tentang sesuatu persoalan. pengetahuan tidak dapat dipisah-pisahkan menjadi faktafakta atau proposisi yang terpisah, tetapi mencerminkan keterampilan yang dapat diterapkan. manusia mempunyai tingkatan yang berbeda dalam menyikapi situasi baru. siswa perlu dibiasakan memecahkan masalah, menemukan sesuatu yang berguna bagi dirinya, dan bergelut dengan ide-ide. pendidikan seni budaya di smp hanya diberi alokasi waktu dua jam pelajaran (2 x 40 menit) dalam seminggu, sehingga untuk mencapai tujuan yang telah ditetapkan dalam pembelajaran serta untuk meningkatkan prestasi belajar sangat sulit mengingat tujuan pembelajaran mata pelajaran seni budaya sangat komplek. seni budaya di smp meliputi apresiasi, ekspresi dan kreasi. maka dengan pemberian tugas mandiri, diharapkan siswa bisa dapat lebih mengapresiasikan, mengekspresikan dan mengkreatifitaskan daya seninya. untuk dapat mengapresiasikan suatu karya seni dengan baik bahkan sampai dengan siswa dapat mengkreasikan suatu karya seni sangat kurang sekali apabila waktu dua jam tatap muka tersebut digunakan. maka perlu sekali adanya tambahan jam belajar agar siswa dapat mencapai hasil yang lebih baik. tambahan jam belajar bisa diwujudkan dengan jalan pemberian tugas mandiri (belajar mandiri) yang dilaksanakan sebagai tugas diluar jam pelajaran. dalam belajar mandiri guru memberikan tugas yang dapat dilakukan siswa diluar jam pelajaran dan siswa langsung mengalaminya. misalnya siswa diberi tugas mengamati kesenian yang ada di daerahnya, siswa diberi tugas membuat alat musik sederhana dan memainkannya sekaligus mempagelarkannya. berdasarkan hal tersebut diatas, pemberian tugas mandiri dalam pembelajaran seni budaya dimaksudkan: 1) pemberian tugas mandiri sebagai bentuk belajar mandiri bagi siswa dapat meningkatkan prestasi belajarnya pada mata pelajaran seni budaya. 2) pemberian tugas mandiri perlu dikembangkan untuk memacu semangat dan motivasi belajar siswa lebih intensif. 3) dengan pemberian tugas mandiri siswa langsung mengalami. dengan siswa mengalaminya mereka bisa merasakannya dan kemudian mereka dapat tumbuh daya seni dan kreatifitas seninya. pemberian tugas mandiri ensambel musik, selain karena jam tatap muka pelajaran seni budaya yang terbatas juga dimaksudkan untuk memberikan dorongan kepada siswa agar bisa lebih giat dan aktif belajar. apabila diamati keadaan dan kondisi siswa smp 2 watumalang dalam belajar, sebagian besar mereka belum memiliki kesadaran dan motivasi belajar yang jelas. mereka belajar di sekolah hanya sebatas belajar saja, mengenai apa tujuan dan kegunaan dari belajar di sekolah itu mereka banyak yang tidak tahu bahkan tidak memikirkannya. dengan pemberian tugas mandiri ini dimungkinkan anak dapat lebih termotivasi dalam belajarnya sehingga dengan motivasi belajar yang tinggi tersebut anak dapat lebih kreatif dan berprestasi. di smp 2 watumalang juga diterapkan pembagian kelas secara unggulan, artinya pada setiap jenjang kelas dibuat satu kelas yang terdiri dari siswa didik yang memiliki prestasi cukup baik dari sekian banyak siswa didik yang ada. kelas unggulan selalu diletakkan pada kelas a pada setiap jenjangnya. demikian juga pada kelas viii a, semua siswanya merupakan siswa yang memiliki prestasi cukup baik dari seluruh siswa kelas viii yang ada. siswa kelas viii a sangat memiliki kedisiplinan, tanggung jawab, kemauan dan semangat yang tinggi dalam mengikuti pelajaran. berdasarkan latar belakang dan permasalahan di atas, maka penelitian ini terfokus merumusan masalah pada sejauh mana pemberian tugas mandiri ensambel musik dapat meningkatkan prestasi belajar seni budaya siswa kelas viii a smp 2 watumalang . belajar didefinisikan sebagai aktifitas tingkah laku, dari tidak tahu menjadi tahu, dari tidak memiliki sikap menjadi memiliki sikap, dari tidak punya ketrampilan menjadi punya ketrampilan (harry, 1986:3). lebih lanjut dikatakan bahwa belajar adalah suatu proses usaha yang dilakukan individu untuk memperoleh suatu perubahan tingkah laku yang baru secara keseluruhan sebagai hasil pengalaman individu itu sendiri dalam interaksinya dengan lingkungan (surya, 1990:1). dalam teori behaviorisme, belajar merupakan perubahan tingkah laku yang terjadi berdasarkan paradigma s-r (stimulus – respon), yaitu suatu proses yang memberikan respon tertentu terhadap yang datang dari luar. behaviorisme menekankan pada apa yang dapat dilihat yaitu tingkah laku, serta tidak memperhatikan apa yang terjadi di dalam pikiran karena tidak dapat dilihat, oleh karena itu tidak dianggap ilmiah (toeti s,1997:13). proses belajar menurut behaviorisme lebih dianggap sebagai suatu proses yang bersifat mekanistik dan otomatik tanpa membicarakan apa yang terjadi selama itu di dalam diri siswa yang belajar (galloway dalam toeti s, 1997:13) prestasi belajar adalah penguasaan pengetahuan atau keterampilan yang dikembangkan oleh mata pelajaran, yang lazimnya ditunjukkan dengan nilai tes atau angka dari guru (poerwadarminto, 1995 : 3 ). prestasi belajar adalah taraf prestasi yang dicapai dari bermacam-macam pelajaran yang diikuti (sukardi, 1983 : 101). hasil yang telah dicapai setelah siswa melakukan aktifitas belajar atau sesuatu tingkah laku tertentu dalam melakukan tugas akademik. prestasi belajar siswa dilambangkan dalam bentuk nilai (angka) yang dihasilkan dari pengukuran prestasi belajar berupa tes sebagai alat ukurnya. mandiri, menurut kamus besar bahasa indonesia adalah keadaan dapat berdiri sendiri ; tidak bergantung pada orang lain (tim penyusun kamus, 2003 : 710). dari pengertian belajar di atas, dapat dijelaskan bahwa aktifitas siswa dalam melaksanakan belajar mandiri adalah suatu proses kegiatan yang mengakibatkan perubahan tingkah laku yang dilakukan sendiri, tidak bergantung kepada orang lain. dalam belajar mandiri dapat berbentuk pemberian tugas mandiri. tugas mandiri adalah kegiatan kesiswaan yang harus dilakukan diluar jam pelajaran yang ditetapkan didalam struktur pelajaran dan wajib dikerjakan dengan penuh tanggung jawab. pemberian tugas belajar biasanya dikaitkan dengan resitasi. resitasi adalah suatu persoalan yang bergayut dengan masalah pelaporan anak didik setelah mereka selesai mengerjakan suatu tugas. tugas yang diberikan bermacam-macam, tergantung dari kebijakan guru yang penting adalah tujuan pembelajaran tercapai. pemberian tugas dapat mengikuti fase-fase berikut : (1) fase pemberian tugas tugas yang diberikan kepada tiap anak didik harus jelas dan petunjuk petunjuk yang diberikan harus terarah. (2) fase belajar dalam fase ini anak didik belajar (melaksanakan tugas) sesuai tujuan dan petunjuk-petunjuk guru. (3) fase resitasi dalam fase ini anak didik mempertanggungjawabkan hasil belajarnya, baik berbentuk laporan lisan maupun tertulis. kelebihan metode pemberian tugas antara lain, (1) pengetahuan yang anak didik peroleh dari hasil belajar sendiri akan dapat diingat, (2) lebih lama; dan (2) anak didik berkesempatan memupuk perkembangan dan keberanian mengambil inisiatif, bertanggung jawab, dan berdiri sendiri. pengertian ensambel berasal dari kata ensemble (perancis) yang berarti bersama-sama. dengan dasar arti tersebut, musik ensambel dapat dimaknai sebagai sebuah sajian musik yang dilakukan secara bersama-sama dengan menggunakan satu jenis alat musik atau beberapa jenis alat musik (sugiyanto, 2004 : 89). suharto (1990 : 51) memberikan batasan bahwa ensembel adalah sekelompok pemain musik yang memainkan alat-alat musik sekeluarga, misalnya ensambel tiup, ensambel musik sekolah. astuti (2001: 16) mengelompokkan ensambel musik berdasarkan jumlah pemain dan alat musik yang dipergunakan dalam 3 kelompok yaitu : 1) ensambel kecil yaitu ensambel musik yang jumlah pemain antara 2 sampai dengan 8 orang pemain, baik vokal maupun instrument (alat musik). 2) ensambel sedang yaitu ensambel musik yang jumlah pemainnya antara 10 sampai dengan 30 orang pemain. 3) ensambel besar yaitu ensambel musik yang jumlah pemainnya lebih dari 30 orang pemain. ensambel besar juga disebut orkes atau orkestra. akan tetapi jika jumlah pemainnya melebihi 120 orang pemain disebut orkes simphoni. musik ensambel secara garis besar digubah atas : pendahuluan, tema, bagian akhir. bagian tersebut dapat dikembangkan dengan variasi : (1) melodi berselang nada oktaf, (2) melodi susul-menyusul, (3) kontra melodi, dan (4) melodi pengisi. prosedur bermain musik ensambel adalah (1) menyajikan tema dengan irama iringan alat musik, (2) mempelajari dan memainkan tema bagian demi bagian dengan alat musik sesuai dengan gubahan, (3) mempelajari dan memainkan bagian-bagian variasi, (4) mempelajari dan memainkan bagian pendahuluan, dan (5) mempelajari dan memainkan bagian akhir. metode penelitian ini merupakan “penelitian tindakan” yang dilaksanakan dalam proses belajar mengajar, oleh sebab itu metode penelitian yang digunakan adalah penelitian tindakan kelas (classroom action research). kemmis (dalam riyanto, 2001) menyatakan bahwa penelitian tindakan merupakan upaya menguji cobakan ideide ke dalam praktek untuk memperbaiki atau merubah sesuatu agar memperoleh dampak nyata dari situasi. classroom action research adalah penelitian yang dilaksanakan oleh guru di dalam kelas yang pada hakekatnya merupakan “riset – tindakan – riset – tindakan .......” yang dilakukan secara siklik dalam rangka memecahkan masalah, sampai masalah itu terpecahkan. langkah penelitiannya bersifat refleksi tindakan dengan pola “ proses pengkajian berdaur (siklus)”. langkah ini berlangsung berulang-ulang yang terdiri dari perencanaan – tindakan – observasi – refleksi. kemmis dan taggart menggambarkan daur penelitian tindakan kelas sebagai berikut : gambar 1. kajian berdaur 4 tahap penelitian tindakan kelas tiap siklus menurut kemmis dan taggart. sasaran dalam penelitian ini adalah pelaksanaan tugas mandiri pada pembelajaran ensambel di kelas 8 a smp 2 watumalang dalam upaya meningkatkan prestasi belajar seni budaya pada materi ensambel. teknik pengumpulan data yang digunakan antara lainteknik observasi, teknik dokumentasi, dan teknik tes. data yang telah diperoleh dalam penelitian ini dianalisis secara kuantitatif dan kualitatif. data kuantitatif ini diperoleh dari hasil tes memainkan alat musik dalam bentuk kelompok ensambel. data-data hasil tes tersebut dianalisis menggunakan deskriptif persentase yaitu penghitungan dengan menggunakan persentase dan dideskripsikan. langkah-langkah perhitungan data tes yaitu: (1) merekap skor yang diperoleh kelompok , (2) menghitung skor komulatif dari semua aspek, (3) menghitung skor rata-rata, (4) menghitung persentase. hasil dan pembahasan sebelum mendapatkan hasil penelitian baik secara kualitatif maupun kuantitatif terlebih dahulu dilakukan pembagian kelompok siswa (kelompok ensambel) sebagai obyek penelitian untuk memperoleh data yang akurat. dari 29 siswa dalam satu kelas dibagi menjadi 7 kelompok ensambel yang masing-masing kelompok terdiri dari 4 siswa tapi ada satu kelompok yang terdiri dari 5 siswa. untuk menentukan kelompoknya, siswa diberikan kebebasan untuk memilih teman dalam kelompoknya. hal ini dimaksudkan supaya dalam bermain ensambel anak dapat lebih leluasa dan nyaman karena dengan teman yang dianggap cocok. karena dalam suatu permainan yang bersifat kelompok apabila dalam satu kelompok tersebut tidak ada kecocokan pasti akan memberikan dampak yang kurang baik dalam permainannya atau hasilnya. di samping itu, guru juga ikut mengarahkan apabila ada siswa yang mengalami kesulitan dalam menentukan kelompoknya. untuk menentukan urutan kelompok berkaitan dengan penampilannya dilakukan dengan jalan pengundian. hal ini untuk memperoleh keadilan sebab siswa merasa tidak setuju jika urutan kelompoknya ditentukan oleh guru atau urutan nomor absen saja. setelah diperoleh pembagian kelompok ensembel siswa, dilakukan pelaksanaan tindakan kelas pada siklus i sesuai dengan rencana pembelajaran yang telah dipersiapkan. rencana pembelajaran pada siklus i adalah sebagai berikut : (1) guru/peneliti menjelaskan tentang pembelajaran ensambel dengan tugas mandiri dan kegiatan yang harus dilakukan siswa berkaitan dengan ensambel yang harus mereka nantinya bentuk, (2) guru/peneliti menjelaskan lagu yang nanti harus mereka mainkan secara ensambel yaitu lagu kampuang nan jauh di mato, (3) guru/peneliti menjelaskan secara ringkas teknik permainan alat musik recorder, (4) guru/peneliti menjelaskan secara ringkas mengenai tangga nada dan urutan nada-nadanya, (5) siswa diberi tugas untuk mencoba berlatih recorder dengan nada dasar yang sesuai dengan lagu kampuang nan jauh di mato, (6) kemudian, ditugaskan pula memainkan lagu kampuang nan jauh di mato tersebut dengan menggunakan recorder secara kelompok (ensambel), (7) evaluasi siklus i dengan aspek penilaian keantusiasan siswa dalam berlatih (melaksanakan tugas), penguasaan alat recorder, penguasaan lagu yang dimainkan (kampuang nan jauh di mato), dan kebersamaan atau kekompakan dalam bermain musik. sesudah mendapat pembelajaran dengan pemberian tugas mandiri pada siklus i diperoleh hasil yaitu antusias dari siswa dalam belajar terlihat ada 6 kelompok yang menunjukkan keantusiasan cukup atau 85,7%, dan 1 kelompok menunjukkan keantusiasan kurang atau 14,3%. kelompok yang memiliki keantusiasan sangat baik dan baik tidak ada atau 0 %. dalam penguasaan alat musik (recorder) terlihat ada 5 kelompok memiliki kemampuan cukup atau 71,4%, 2 kelompok memiliki kemampuan kurang atau 28,6%. sedangkan kelompok yang memiliki kemampuan penguasaan alat sangat baik dan baik tidak ada atau 0%. dalam penguasaan lagu, ada 4 kelompok yang memiliki kemampuan cukup atau 57,1%, 3 kelompok memiliki kemampuan kurang atau 42,9%. kelompok yang memiliki kemampuan penguasaan lagu sangat baik dan baik tidak ada atau 0%. demikian pula dalam kebersamaan atau kekompakan kelompok terlihat ada 4 kelompok memiliki kemampuan cukup atau 57,1%, 3 kelompok memiliki kemampuan kurang atau 42,9%. kelompok yang memiliki kekompakan sangat baik dan baik tidak ada atau 0%. dari hasil yang dicapai pada masing-masing aspek penilaian di atas dapat disimpulkan bahwa pada siklus i menunjukkan prestasi bermain ensambel siswa dengan tugas mandiri langkah–langkah yang dilakukan dalam siklus ii adalah seperti berikut ini : (1) guru/peneliti menugaskan kembali kepada masingmasing kelompok siswa (ensambel) untuk mempelajari lagu kampuang nan jauh di mato menggunakan alat musik recorder, (2) masing-masing kelompok ensambel ditugaskan untuk secara bebas memberikan/menyediakan alat musik yang lain seperti alat musik ritmis ataupun harmonis, (3) apabila semua kelompok ensambel sudah siap dengan alat yang mereka tentukan sendiri mulai ditugaskan untuk belajar secara mandiri kelompok memainkan lagu kampuang nan jauh di mato dengan menentukan sendiri bentuk irama maupun musiknya, (4) setelah semua kelompok dianggap sudah siap pada waktu yang telah ditentukan maka dilakukan evaluasi. hasil yang diperoleh selama tindakan kelas berlangsung (siklus ii) yaitu terlihat antusias siswa meningkat apabila dibandingkan dengan siklus i, antusias siswa kategori sangat baik ada 2 kelompok atau 28,6%, kategori baik ada 4 kelompok atau 57,1 %, kategori cukup ada 1 kelompok atau 14,3 % , dan kategori kurang tidak ada atau 0%. demikian juga kemampuan penguasaan alat musik bila dibandingkan dengan siklus i mengalami peningkatan, kemampuan penguasaan alat musik kategori sangat baik ada 1 kelompok atau 14,3%, kategori baik ada 5 kelompok atau 71,4 %, kategori cukup ada 1 kelompok atau 14,3 %, dan kategori kurang tidak ada atau 0%. kemampuan penguasaan lagu juga mengalami peningkatan bila dibandingkan dengan siklus i, kemampuan penguasaan lagu kategori sangat baik ada 1 kelompok atau 14,3 %, kategori baik ada 6 kelompok atau 85,7%, kategori cukup tidak ada atau 0%, dan kategori kurang tidak ada atau 0%. demikian juga pada aspek kebersamaan atau kekompakan kelompok juga terlihat adanya kenaikan apabila dibandingkan dengan siklus i, kebersamaan atau kekompakan kelompok kategori sangat baik ada 1 kelompok atau 14,3 %, kategori baik ada 3 kelompok atau 42,85%, kategori cukup ada 3 kelompok atau 42,85%, dan kategori kurang tidak ada atau 0%. dari hasil yang dicapai pada masing-masing aspek penilaian di atas dapat disimpulkan bahwa pada siklus ii menunjukkan prestasi bermain ensambel siswa dengan tugas mandiri mengalami peningkatan bila dibandingkan dengan siklus i, masuk pada kategori baik (17,9% sangat baik, 64.2 % baik, 17,9% cukup). dari hasil kegiatan siklus ii, kegiatan pembelajaran pada siklus iii lebih relatif dengan pengalaman belajar siklus ii. untuk itu peneliti mempersiapkan rencana pembelajaran dengan bahan ajar berupa lagu model atau lagu yang dimainkan diberikan kebebasan untuk memilih, dan alat musik yang dipakai atau dimainkan siswa diberi kebebasan menentukannya sendiri tetapi untuk alat melodis yang dipakai membawakan lagunya tetap memakai alat musik recorder. adapun aspek yang dinilai pada siklus iii ini masih sama dengan siklus ii yaitu keantusiasan siswa dalam melaksanakan tugas mandiri, kemampuan penguasaan alat, kemampuan penguasaan lagu, dan kebersamaan atau kekompakan dalam kelompoknya. hasil yang diperoleh selama tindakan kelas berlangsung (siklus iii) yaitu terlihat antusias siswa meningkat apabila dibandingkan dengan siklus ii, antusias siswa kategori sangat baik ada 4 kelompok atau 57,1%, kategori baik ada 3 kelompok atau 42,9%, kategori cukup tidak ada atau 0 % , dan kategori kurang tidak ada atau 0%. begitu juga kemampuan penguasaan alat musik bila dibandingkan dengan siklus ii mengalami peningkatan, kemampuan penguasaan alat musik kategori sangat baik ada 2 kelompok atau 28,6%, kategori baik ada 5 kelompok atau 71,4%, kategori cukup tidak ada atau 0%, dan kategori kurang tidak ada atau 0%. kemampuan penguasaan lagu juga mengalami peningkatan bila dibandingkan dengan siklus ii, kemampuan penguasaan lagu kategori sangat baik ada 2 kelompok atau 28,6%, kategori baik ada 5 kelompok atau 71,4%, kategori cukup tidak ada atau 0%, dan kategori kurang tidak ada atau 0%. demikian juga pada aspek kebersamaan atau kekompakan kelompok juga terlihat adanya kenaikan apabila dibandingkan dengan siklus ii, kebersamaan atau kekompakan kelompok kategori sangat baik ada 2 kelompok atau 28,6%, kategori baik ada 4 kelompok atau 57,1%, kategori cukup ada 1 kelompok atau 14,3%, dan kategori kurang tidak ada atau 0%. dari hasil yang dicapai pada masing-masing aspek penilaian di atas dapat disimpulkan bahwa pada siklus iii menunjukkan prestasi bermain ensambel siswa dengan tugas mandiri mengalami sedikit peningkatan bila dibandingkan dengan siklus ii, tetapi masih masuk pada kategori baik (35,7% sangat baik, 60,7% baik, 3,6% cukup). dalam penelitian ini jika dilihat dari hasil yang diperoleh pada tiap-tiap siklus atau tiap-tiap tindakan kelas dapat dibahas bahwa dalam antusias siswa untuk mengikuti penugasan dari guru mengalami peningkatan yang cukup baik. di sini terlihat pada siklus i antusias siswa masih terlihat dalam taraf sedang karena sebagian siswa masih belum menguasai atau mengetahui lagu yang dimainkan dan sebagian siswa kurang bisa memainkan alat musik recorder dengan baik. karena itulah antusias siswa menjadi biasa-biasa aja.. pada siklus ii antusias siswa sudah mulai terlihat meningkat untuk melaksanakan penugasan yang diberikan oleh guru, dikarenakan pada siklus ini siswa mulai tertarik dengan perlakuan yang diberikan dimana siswa bebas untuk menggunakan alat musik walaupun lagu yang dimainkan masih tetap sama dengan siklus i. dengan diberikan kebebasan menggunakan alat musik, siswa merasa tidak terbebani sehingga antusias mereka dapat tumbuh. terlebih lagi pada siklus iii, antusias siswa kelihatan semakin meningkat lagi karena pada siklus ini siswa betul-betul diberikan kebebasan untuk bermain ensambel dimana alat musik dan lagu yang dimainkan bebas memilih sesuai dengan pilihan lagu yang ada atau yang telah ditentukan oleh guru. peningkatan keantusiasan siswa dapat kita lihat pada tabel 1 berikut ini : tabel 1. keantusiasan siswa siklus i, ii dan iii pada penguasaan alat dapat pula kita lihat ada perkembangan yang meningkat dimana pada siklus i yang semula penguasaan alat masih ada sebagian kelompok ensambel kurang baik penguasaan alatnya dikarenakan siswa masih asing dengan alat recorder lebih-lebih mereka kurang bisa latihan karena tidak memiliki sendiri alat recorder di rumah. kemudian pada siklus ii penguasaan alat agak meningkat dengan perlakuan yang diberikan oleh guru yaitu siswa ditugaskan harus memiliki alat sendiri di rumah dan belajarnya lebih sering lagi. selain itu pada siklus ini siswa membawakan ensambel masih tetap lagu yang dibawakannya. karena lagu yang dibawakan masih sama maka siswa otomatis semakin paham dengan lagunya dan semakin sering pula mereka mempelajarinya. sehingga penguasaan alat musiknyapun semakin meningkat. pada siklus iii penguasaan alat juga terlihat semakin meningkat. hal ini dikarenakan mereka semakin sering berlatih alat musik baik secara individu maupun dengan kelompok ensambelnya. apa lagi pada siklus ini guru memberikan penugasan yang berupa kebebasan untuk memainkan ensambel baik alat musiknya maupun lagu yang dibawakannya. pada siklus iii terlihat 0% 10% 20% 30% 40% 50% 60% 70% 80% prosentase keberhasilan siklus i 0% 14.30% 71.40% 14.30% prosentase keberhasilan siklus ii 28.60% 57.10% 14.30% 0% prosentase keberhasilan siklus iii 57.10% 42.90% 0% 0% sangat baik baik cukup kurang penguasaan alat sudah tidak ada yang kurang bahkan terlihat baik sekali. ini bisa kita lihat dari tabel 2 berikut ini : tabel 2. penguasaan alat siklus i, ii dan iii. pada penguasaan lagu terlihat peningkatannya sangat tinggi terutama dari siklus i ke siklus ii. pada siklus i masih banyak kelompok ensambel yang kurang menguasai lagu bahkan tidak ada sama sekali yang dapat menguasai lagu dengan benar. tapi pada siklus ii justru sebaliknya, tidak ada kelompok ensambel yang kurang menguasai lagu mereka sebagian besar dapat menguasai lagu dengan baik. hal ini dikarenakan lagu yang mereka mainkan masih sama, sehingga pada siklus i mereka baru kenal lagu pada siklus ii mereka semakin kenal dan paham. selain itu juga mereka mempelajari lagunyapun semakin lama otomatis semakin memahami. sedangkan pada siklus iii penguasaan lagu hanya sedikit mengalami peningkatan sebab waktu yang mereka gunakan latihan tidak lama tetapi lagu yang mereka pelajari adalah lagu yang mereka sudah bisa karena siswa diberi kebebasan untuk memilih lagu. pada siklus ini sebagian besar kelompok ensambel menguasai lagu dengan baik dan benar seperti yang bisa kita lihat dari tabel 3 berikut ini: tabel 3. penguasaan lagu siklus i, ii dan iii. untuk kekompakan atau kebersamaan dalam bermain ensambel masih terlihat kurang sekali terutama pada siklus i. hal ini dikarenakan mereka belum bisa merasa satu kesatuan sebab mereka baru bergabung menjadi satu kelompok ensambel baru. apalagi kemampuan mereka dalam bermain musik jelas berbeda-beda satu sama lain. mereka harus mencoba untuk belajar bisa merasa satu kesatuan terlebih dahulu, dimana hal ini perlu waktu sesuai dengan karakter dan pribadi dari masing-masing siswa yang berbeda-beda tersebut. maka itu pada siklus i jelas terlihat sebagian besar kekompakan atau kebersamaan kelompok ensambel siswa kurang. akan tetapi pada siklus ii kekompakan kelompok ensambel sudah mulai terlihat meningkat walaupun tidak begitu banyak. hal ini sudah terlihat dengan tidak adanya kelompok yang kurang kompak. walaupun demikian masih 0% 10% 20% 30% 40% 50% 60% 70% 80% prosentase keberhasilan siklus i 0% 14.30% 57.10% 28.60% prosentase keberhasilan siklus ii 28.60% 57.10% 14.30% 0% prosentase keberhasilan siklus iii 28.60% 71.40% 0% 0% sangat baik baik cukup kurang 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% prosentase keberhasilan siklus i 0% 0% 71.40% 28.60% prosentase keberhasilan siklus ii 14.30% 85.70% 0% 0% prosentase keberhasilan siklus iii 28.60% 71.40% 0% 0% sangat baik baik cukup kurang banyak juga kelompok yang hanya cukup kekompakannya. lalu lebih terlihat meningkat lagi kekompakanya pada siklus iii. mereka sebagian besar sudah baik kekompakan atau kebersamaannya. hal ini dikarenakan mereka sudah sering atau lama bersama dalam satu kelompok, sehingga mereka satu sama lain bisa saling menyesuaikan diri dengan teman sekelompoknya. selain itu mereka juga sudah semakin baik dalam permainan musiknya berkat belajar secara bersama-sama dalam satu kelompok ensambel. kita lihat tabel 4 berikut ini : tabel 4. kebersamaan/kekompakan siklus i, ii dan iii simpulan dan saran simpulan berdasarkan hasil penelitian yang diperoleh dapat dikemukakan kesimpulan sebagai berikut : metode tugas mandiri dapat meningkatkan prestasi belajar (hasil belajar) siswa kelas viiia smp negeri 2 watumalang. ini dapat dilihat dari pencapaian keberhasilan pada setiap siklusnya, dari siklus i, siklus ii dan siklus iii yang terus meningkat secara signifikan. pada siklus i diperoleh keberhasilan dengan prosentase 10,7% baik, 60,7% cukup, 28,6% kurang. ini menunjukkan bahwa anak yang tuntas sebesar 71,4%, tapi yang tuntas dengan baik hanya 10,7%. sedang pada siklus ii terlihat ada kenaikan keberhasilan bila dibandingkan dengan siklus i. pada siklus ii diperoleh keberhasilan dengan prosentase 17,9% sangat baik, 64,2% baik, 17,9% cukup. ini menunjukkan bahwa anak yang tuntas dengan baik (memuaskan) ada 82,1%. demikian juga terlihat ada peningkatan pada siklus iii; 35,7% sangat baik, 60,7% baik, 3,6% cukup. ini menunjukkan anak yang tuntas dengan baik (memuaskan) ada 96,4%. saran berdasarkan kesimpulan diatas, dapat diberikan saran sebagai berikut : guru hendaknya dapat mensosialisasikan metode tugas mandiri dan mengimplementasikan metode tersebut dalam pembelajaran seni budaya berkoordinasi dengan kepala sekolah sejauh kondisi siswanya sama dengan kondisi siswa yang ada pada penelitian ini yaitu siswa memiliki tanggung-jawab, kedisiplinan, kemauan dan semangat belajar yang tinggi. untuk memperlancar proses pembelajaran seni budaya dan kelancaran belajar mengajar pelajaran yang lain, hendaknya sekolah menyediakan ruangan khusus musik (lab musik) sehingga tercipta suasana belajar yang nyaman. untuk lebih meningkatkan kemampuan siswa dalam penguasaan alat, perlu 0% 10% 20% 30% 40% 50% 60% prosentase keberhasilan siklus i 0% 14.30% 42.85% 42.85% prosentase keberhasilan siklus ii 14.30% 42.85% 42.85% 0% prosentase keberhasilan siklus iii 28.60% 57.10% 14.30% 0% sangat baik baik cukup kurang sekali ditambah atau diperbanyak frekwensi latihannya. daftar pustaka arikunto , suharsimi. 1996 . prosedur penelitian suatu pendekatan praktik. jakarta: penerbit rineka cipta. astuti, kun s. 2001. pertunjukkan musik sebagai fokus pembelajaran ansambel musik untuk mencapai prestasi hasil belajar musik yang penuh makna. tesis. yogyakarta : pps uny. depdikbud. 1990. petunjuk proses belajar mengajar. jakarta: departemen pendidikan dan kebudayaan. depdiknas. 2006 . model silabus mata pelajaran seni budaya smp / mts . jakarta : bsnp depdiknas. ----------------.2006. modul i panduan penyusunan ktsp jenjang pendidikan dasar dan menengah. bsnp depdiknas. ----------------.2003. kamus besar bahasa indonesia. edisi ke-iii jakarta: balai pustaka. djamarah, syaiful bahri. 2005. guru dan anak didik dalam interaksi edukatif suatu pendekatan teoretis psikologis. jakarta: pt rineka cipta. ------------------.2006. strategi belajar mengajar. jakarta: pt. rineka cipta. moleong, lexy j. 2008. metodologi penelitian kualitatif. eedisi revisi. bandung: pt. remaja rosdakarya. nur muhamad. 1996. pembelajaran 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d-!&!.5" /"*.$ /;'(";+ h2%a20(/(&+ i2& >6/(%.$;+y$'=(4(%.(z+<><; n(&&/2*08 @(%5;+ "" ; k<&;@;(.$ <"' l!;%.";+y$'=(4(%.(z+@(&*1*61; >(/0(&8+ p0(%+ ""x; d-!&!.5"$ /&@""= .-!&8.5$ $ <"'$m.-!;*.5; >20(%(&'z <@<#+-%211; >6/(%.$8+i2&;+ """; /"?,7j$e&*!,'),5"' <"'$ n.!,-$ >&-,7,*"';+ i(&,6&'z @2%a(1(0(+ n>#<+ ,2&'(&+ g$%, g$6&,(.*$& harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 menelusuri sarana penyebaran musik keroncong (exploring a dissemination medium of keroncong music) r. agoes sri widjajadi staf pengajar]urusan musik, fakultas seni pertunjukan, isi yogyakarta abstrak keberadaan dan keberlangsungan musik keroncong di indonesia hingga kini masih tampak jelas sebagai suatu genre musikal yang menjadikan tipikal musik indonesia. menyimak pada tahun 1920-an musik keroncong sudah mendapat tempat di hati masyarakat, selain itu lagu-lagu keroncong pun sudah menyebar luas dan digemari masyarakat luas, kendatipun pada waktu itu perbendaharaan lagu-lagu keroncong masih kurang. dengan demikian persoalan tersebut tak lepas dari suatu proses penyebaran dengan melalui berbagai sarana yang ada. musik keroncong yang semakin terjaga keberadaannya, berkembang pada berbagai aspek musikal, serta meluas daya jangkaunya. oleh karena itu ada beberapa peran sarana penyebaran yang ditelusuri, yaitu pola penyebaran melalui: (1) lomba musik keroncong; (2) media cetak; (3) media rekam; (4) radio dan televisi; (5) layar lebar; (6) pementasan; (7) pertumbuhan kelompok orkes keroncong. kata kunci: penyebaran, musik keroncong a. pendahuluan kehidupan seni pertunjukan musikal tak akan lepas dari sendi kehidupan manusia. keberadaan seni musikal berlangsung seiring pula dengan kondisi serta struktur sosial maupun budayanya. tak pelak lagi bahwa perkembangan dan perubahan struktur sosial dan budayanya akan melibatkan pula struktur serta bentuk seni pertunjukan musikal. proses komunikasi dalam masyarakat dapat dilakukan melalui aktivitas sosial, yaitu dengan adanya interaksi sosial sebagai suatu proses sosial, dan interaksi sosial (budaya, penulis) tersebut merupakan hubungan sosial yang dinamis (soekanto, 1990: 67). kenyataan menunjukkan bahwa keberadaan dan keberlangsungan musik keroncong adalah merupakan salah satu seni musik yang hidup, tumbuh, serta berkembang di buminusantara indonesia, khususnya di jawa merupakan pusat pengembangan yang utama dalam abad ke-20 ini (kornhauser dalam kartomi (ed.), 1978: 107). dengan demikian, hal tersebut merupakan suatu hasil dari interaksi sosial yang dinamis dalam masyarakat. proses sosial yang dinamis dalam masyarakat senantiasa memiliki suatu proses komunikasi pula, yaitu dapat tampak pada pola penyebaran sebagai proses komunikasinya. mengamati di awal abad ke-20, kendatipun musik keroncong belum harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 menemukan bentuk yang sempurna, namun sudah mendapat tempat di hati masyarakat. hal ini diungkap pula oleh tancil paleo yang menyatakan bahwa pada tahun. 1920-an lagu-lagu keroncong sudah menyebar luas dan digemari orang, walaupun pada waktu itu perbendaharaan lagu-lagu keroncong masih kurang, namun musik keroncong di semarang atau jawa tengah mulai merintis lagu daerah yang dimainkan keroncong (dalam budiman b.j., 1979: 76, 101). menyimak hal tersebut di atas, tanpa disadari dan tak terelakkan, bahwa proses komunikasi pada pola penyebaran musik keroncong sebenarnya telah dilakukan dengan berbagai cara. oleh karena itu penulis menatap perkembangan musik keroncong dengan menelusuri langkah-langkah pola penyebaran musik keroncong mulai di awal abad ke-20 yang telah merambah keberadaannya serta kehidupannya di masyarakat dari berbagai profil penyebaran. b. penyebaran musik keroncong guna menapaki langkah-langkah penyebaran musik keroncong mulai di awal abad ke-20 yang telah merambah keberadaannya serta kehidupannya di masyarakat, maka akan diuraikan beberapa tentang profil penyebarannya, yaitu : 1. profil penyebaran melalui lomba musik keroncong di awal abad ke-20, musik keroncong menyebar dengan cepat -antara lain dengan concours yang diadakan di pasar-pasar malam -dan semakin dirasakan sebagai "warisan budaya". sejak itu pula pusat-pusat dunia keroncong berkembang di daerah kebudayaan jawa (judith becker, 1975: 15; tim lrkn-lipi, 1986: 138,139). demikian pula pola penyebaran melalui lomba keroncong (kroncong concours) yang pernah diadakan di surabaya pada tahun 1924 (kusbini, 1972:19). pada tahun 1925 diadakan di tegal, pekalongan, cirebon (budiman bj.,1979: 132,134,157). abdullah, seorang pimpinan orkes keroncong "lief java" [sic] mengatakan, bahwa sejak tahun 1920-an hingga terakhir di zaman jepang, setiap tahun selalu mengadakan fandel concours. pada waktu itu dikenal dengan sebutan "fandel concours pasar gambir", yang juga di tempat-tempat hiburan seperti prinsenpark [sic] (sekarang lokasari) (budiman b.j., 1979: 84), 'fandel concours' yang diadakan oleh perusahaan rokok perahu layar di alun-alun kota semarang (budiman b.j.,1979: 107). contoh kegiatan yang lain adalah diselenggarakannya lomba keroncong catur tunggal/tri tunggal yang meliputi rri yogyakarta, surakarta, semarang, dan purwokerto (budiman bj.,1979: 109); lomba atau festival vokal saja dalam acara bintang radio di rri (hingga kini masih berlangsung dan berkembang menjadi bintang radio dan televisi); diadakan lomba grup musik keroncong di taman ismail marzuki, yang diprakarsai oleh dewan kesenian jakarta (budiman b.j.,1979: 89); kemudian, festival keroncong tingkat nasional yang pertama kali diadakan adalah pada tanggal 28, 29, dan 30 nopember 1978 di taman mini indonesia indah, jakarta. lomba yang diprakarsai oleh direktorat pengembangan kesenian ini diikuti oleh setiap propinsi di harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 indonesia dengan mengirimkan satu perkumpulan musik keroncong, kecuali dari propinsi timor timur dan irian jaya tidak mengirimkan wakilnya (budiman b.j., 1979:96). kendati lomba tidak sesemarak masa-masa silam, namun masih banyak pihak yang menyelenggarakan lomba musik keroncong khususnya yang diprakarsai oleh para penikmat musik keroncong maupun pengelola radio amatir. 2. profil penyebaran melalui media cetak sebuah publikasi melalui media cetak merupakan sarana yang sangat langka pada saat itu, namun suatu kenyataan bahwa upaya tersebut dapat terlaksana kendati memiliki banyak keterbatasan pada sistem publikasi. media cetak yang dilakukan adalah menotasikan musik atau lagu-lagu keroncong melalui media cetak "tio tek hong company, batavia' yang telah mencetak dan mempublikasikan lagulagu keroncong yang dibuat oleh paul seeking dan fred belloni (bronia kornhauser dalam margaret j. kartomi (ed.), 1978: 133); "himpunan lagu-lagu djenis krontjong", tjiptaan para olah musik krontjong indonesia, diterbitkan oleh swasta (kusbini, 1976: 4); penerbitan "lagoe-lagoe kroncong asli" susunan andy muljo, diterbitkan penerbit gunung agung djakarta; kemudian "rangkaian melati" oleh fa. chien hsing, serang; "himpunan lagu keroncong", jakarta, 1978; "jantung hati i, lagulagu keroncong indonesia, up indonesia, yogyakarta, 1978; kusbini membuat "lagu-lagu keroncong indonesia i, dan ii", dan "solo gitar irama klasik indonesia i" (harmunah, 1987: 74). judul "verzameling van diverse krontjong liederen" diterbitkan oleh muziekhandel naessens & co [sic] di surabaya (kusbini, 1976: 13). perkembangan melalui media cetak telah berkembang derigan meningkatkan kualitas materi maupun bahannya dan telah tersebar di berbagai toko buku. selain itu sudah banyak penerbit yang menerbitkan buku repertoar musik keroncong yang dilengkapi pula oleh sistem penulisan notasi angka yang diserta notasi balok serta akornya. 3. profil penyebaran melalui media rekam langkah penyebaran musik keroncong yang lain adalah melalui media rekam dalam bentuk piringan hitam, atau pita kaset, bahkan media rekam kini sudah menjadi lebih berkembang, yaitu dalam bentuk cassette video, compact disc, laser compact disc, dan video compact disc. perusahaan yang pada waktu itu mengedarkan musik keroncong melalui pita kaset di antaranya adalah perusahaan "indah musik" tahun 1974; dan piringan hitam di antaranya adalah "beka" semarang, "columbia" jakarta, cap "anjing hitam" tahun 1932, "his master's voice" pada tahun 1934, "kenari", "odeon", "kuda dua" (delima) " (budiman bj:, 1979: 126, 147), piringan hitam dari n. v. handel my "hoo saen hoo" (kusbini, 1972: 19). bila mengamati penyebaran melalui media rekam, maka bentuk piringan hitam sudah beredar lagi namun bentuk vcd atau mp3 musik keroncong semakin banyak peminatnya. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 4. profil penyebaran melalui siaran radio dan televisi lagu-lagu keroncong selanjutnya populer dengan pola penyebaran melalui radio ketika radio mulai mengudara tahun 1925 di jawa (bronia kornhauser dalam margaret j. kartomi (ed.), 1978:133). kusbini sebagai tokoh dan pelaku yang berkecimpung dalam perjalanan musik keroncong telah melakukan penyebaran musik keroncong melalui siaran radio di surabaya dari tahun 1933 sampai 1939 di n.i.r.o.m. (nederlandsch indische radio omroep maatschappy) di surabaya dan di c. i. r.v.o. (chineesche inheemsche radioluisteraars vere-niging oost java), kemudian di djakarta pada tahun 1942-1945 di radio hosokanxikyoku dan di keimin bunka sidosho (budiman b.j., 1979:113). kegiatan siaran radio lain yang menyelenggarakan acara musik keroncong, di antaranya pada tahun 1920-an adalah s.r.v. (solo radio vereeniging) [sic], s.r.i. (solo radio indie), nirom (surabaya, semarang, bandung, jakarta) (budiman bj.,1979: 113), kemudian di semarang adalah radio midden java i, midden java ii, radio dokter (budiman bj.,1979: 105), sedangkan di zaman jepang antara lain adalah p.p.r.k. (pusat penyiaran radio ketimuran), radio v.o.r.o. (radio rakyat atau sekarang sering disebut radio amatir) (budiman bj.,1979: 143). hingga sekarang siaran radio pemerintah dan swasta masih melangsungkan siaran musik keroncong. selain melalui siaran radio, secara rutin pula siaran melalui televisi, khususnya televisi pemerintah yang terprogam kendati memiliki formasi pemain lebih lengkap dalam bentuk orkestra maupun televisi swasta pada umumnya. betapa luas jangkauan penyebaran musik keroncong melalui siaran radio kepada masyarakat. hingga kini pun masih terdengar siaran musik keroncong yang dapat didengar di tempat-tempat umum, yaitu di beberapa pusat pertokoan, rumah sakit, rumah makan, dan di spbu (stasiun pengisian bahan bakar umum). 5. profil penyebaran melalui layar lebar suatu kenyataan bahwa pola penyebaran musik keroncong melalui layar lebar sudah jarang diproduksi dan senantiasa jarang pula dindnati oleh masyarakat selain itu mungkin kurang menguntungkan dari aspek bisnis pada masa kini. kendati demikian pernah pula diproduksi seperti halnya kusbini berolah musik dalam film "djantung hati", "air mata ibu" di malang/ djakarta pada tahun 1940-1942 dengan pruduser majestic film co (kusbini, 1972: 19). 6. profil penyebaran melalui pementasan pola penyebaran musik keroncong telah dilakukan pula dengan adanya kegiatan pementasan musik keroncong dalam acara hiburan atau pun dalam acara lomba di pasarmalam (tim lrkn-lipi, 1986: 130). pasar malam (aight bazaar) merupakan bagian penting dari kegiatan atau aktivitas komersial di kota pelabuhan. sebagai contoh bahwa pasar malam di jakarta dan semarang selalu mempunyai sebuah tempat (stand) sebagai tempat untuk pertunjukan musik keroncong atau pertandingan tinju (becker, 1975: 15). pertunjukan harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 musik keroncong yang lain, misalnya di semarang diadakan di pasar malam tuan manuk, pasar malam sentiling, pasar malam krido martoyo (budiman b.j.,1979: 105), di sri wedari, solo setiap bulan romadhon diadakan dalam acara perayaan.yang disebut maleman (budiman h.j., 1979: 111-113), di balai kesenian pasar malam sekaten yogyakarta dan di gedung pertunjukan ppbi yogyakarta (kusbini, 1972:67). pengaruh keberlangsungan interaksi sosial-budaya merambah dunia musik keroncong hingga kini. hal tersebut tampak pada pergeseran musik keroncong sebagai musik rakyat menjadi musik populer yang merupakan salah satu hasil pengaruhnya. sebenarnya hal ini suatu proses yang galib bahwa tradisi populer paling mudah dipengaruhi oleh budaya asing modern (brandon, 1967: 112). persentuhan budaya dari interaksi sosialbudaya tersebut tampak terefleksi pada musik keroncong di sekitar tahun 1960, yaitu kesadaran komersialisasi seni musikal telah memberikan penampakan yang lain dalam musik keroncong, yakni dengan menambahkan alat musik gesek dengan berbagai aransemen serta tanpa meninggalkan inti musik keroncong lama. hal ini sudah merupakan suatu modernisasi pola garap dalam musik keroncong. inovasi semacam ini dipertunjukkan pertama kali di world's fair pada tahun 1961 oleh grup orkes keroncong pimpinan brigadir jenderal pirngadi dan aransemen baru ini disebut keroncong beat (becker, 1975: 17). langkah berikutnya adalah menembus pada arena night club di negara-negara asia yang tak dapat dielakkan, bahwa grup pertama yang mendapatkan sukses adalah grup "the step" (becker, 1975: 19). seiring dengan perkembangan zaman yang senantiasa diikuti oleh perkembangan pola garap (arrangement) dan instrumentasi, maka masih pula musik keroncong mendapatkan kesempatan dalam dunia pertunjukan, misalnya sebagai hiburan pada acara perhelatan nasional maupun regional, acara rutin di hotel, maupun sarana tempat yang difasilitasi oleh radio amatir. 7. profil penyebaran melalui pertumbuhan grup dalam awal abad ke-20, penyebaran serta perkembangan musik keroncong dapat kita simak pula melalui pertumbuhan grup atau kelompok musik keroncong. pada waktu itu, kondisi perkampungan masih dalam suasana penjajahan, sehingga di wilayah perkampungan timbul pula keinginan-keinginan untuk berkelakar, serta perasaan ingin menghibur diri sekedar menghilangkan rasa jenuh dan risau. perasaan demikian dicurahkan dan diungkapkan pula dengan keterlibatan diri dalam dunia seni yang ada, di antaranya adalah seni musik. secara berkelompok terdapat kelompok-kelompok yang membawa gitar dan alat musik keroncong yang memainkan dan menyanyikan lagulagu keroncong. mereka berjalan semalaman di kampung-kampung tanpa merasakan lelah sambil membawakan berbagai lirik cinta yang memungkinkan menggoda gadis-gadis yang berada di sekitarnya. apalagi bila di antaranya ada yang sedang dirundung cinta, maka dapat dikatakan setiap malam berjalan di depan rumah wanita yang telah menjadi idaman hatinya. umumnya mereka bertiga dengan membawa harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 gitar dan alat musik yang disebut keroncong sambil berjalan menyanyikan lagu keroncong dan stambul dengan memilih pantun-pantun yang mengena di hati. saat bulan purnama dianggap sebagai puncak keindahan bermain keroncong. pemain dan penyanyi keroncong dalam kelompok seperti ini sering disebut "buaya keroncong" (bronia kornhauser, dalam margaret]. kartomi (ed.), 1978: 129; judith becker, 1975: 1). pada umumnya buaya keroncong ini adalah keturunan indo-eropa, dan beberapa yang lain dari india dan china, sementara sisanya adalah melayu (bronia kornhauser, dalam margaret j. kartomi (ed.), 1978: 130). di batavia, kendati hampir di setiap kampung terdapat grup keroncong (misalnya di kampung glodok), namun ada pula beberapa grup keroncong yang teroganisasi dengan baik dann dikenal dan menonjol pada waktu itu, yaitu antara lain: keroncong tugu, orkes ras (rukun agawe santosa) yang akhirnya dirubah dengan nama lief java yang didirikan pada tahun 1918, jong java, de gulden [sic], orkes keroncong sinar bulan, orkes keroncong aroma, orkes keroncong puspa kemala, orkes keroncong lief souvenir, orkes keroncong m. sagi, orkes keroncong satria (budiman b.j., 1979: 78). grup-grup keroncong yang tumbuh di semarang di antaranya adalah: orkes de wiete, orkes keroncong mrapi, s.o.v.l.a.s.o. (strijk orkest vereeniging langen agawe santosa oetomo) [sic], jong indie, himalaya, de bllum, na sirine, matahari, tujuh guru, the vocel, muria, s.o.v. mas (budiman b.j., 1979:1 01-105). grup keroncong yang dikenal di surakarta di antaranya adalah: orkes keroncong sinar muda, orkes nachtegaal [sic], orkes monte carlo, orkes marco (budiman b.j., 1979:111 113). demikian pula di yogyakarta dengan adanya orkes keroncong cempaka putih (budiman b.j., 1979: 96). demikian halnya dengan anggota orkes keroncong pada periode tahun 1930-an di semarang, bukan saja orang tua yang menyenangi lagu keroncong, namun juga anak-anak kecil pun juga menyenangi. penyanyi cilik pada waktu itu di antaranya adalah kasran dari sovlaso, darman dari sov rapi, mulyani dari midden java, jaswadi dan ginglam dari sov mas (budiman b.j., 1979: 105), bahkan annie landouw ketika berusia 11 tahun sudah memberanikan diri untuk mengikuti fandel concours di solo pada tahun 1927 (budiman b.j., 1979:129). demikian pula pada tahun 1947-1950, kelompok orkes keroncong "penglipur lara" mempunyai anggota pemain yang terdiri dari anak-anak yang berusia sekitar sembilan sampai belasan tahun. nama anak tersebut di antaranya adalah sugiarto, suroto, s. dharmadi, s dharyono, dan budiman. di kota-kota besar masih banyak tumbuh kelompok musik keroncong yang bersifat amatk sehingga formasi pemain senantiasa berganti-ganti. kelompok tersebut lazimnya dilandasi atas dasar rasa kegotong-royongan dan gagasan penyatuan rasa guyub yang terjadi sesaat. namun semua ini merupakan salah satu pola penyebaran yang khas atas keberadaan musik keroncong. c. penutup harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 pada awalnya tak pernah terusik bahwa musik keroncong telah memiliki perjalanan yang unik serta sangat kompleks terhadap masyarakat atas keberadaan dan keberlangsungannya. komunikasi pun telah tampak sangat gigih upayanya guna menebar kekuatan genre nya. hal tersebut dapat ditampakkan oleh hasil dari beberapa peristiwa pada langkah pola pengembangan dan penyebarannya, yaitu di antaranya adalah: (1) profil penyebaran melalui lomba musik keroncong; (2) profil penyebaran melalui media cetak yang sudah semakin banyak menghasilkan publikasi yang memuat notasi untuk repertoar rrmsik keroncong; (3) profil penyebaran melalui media rekam yang telah berkembang seiring dengan perkembangan ilmu pengetahuan dan teknologi canggih; (4) profil penyebaran melalui radio dan televisi yang telah menyediakan menu acara khusus musik keroncong dengan siaran langsung; (5) profil penyebaran melalui layar lebar; (6) profil penyebaran melalui pementasan; (7) profil penyebaran melalui pertumbuhan kelompok orkes keroncong. seiring kedudukan musik keroncong dalam budaya masyarakat dengan perkembangan ilmu pengetahuan dan budaya teknologi tinggi dalam komunikasi melalui berbagai pola penyebaran, namun pada akhirnya hingga kini musik keroncong merupakan satu genre musikal senantiasa memiliki eksistensi yang cukup tangguh, bahkan musik keroncong menjadikan serta identik sebagai salah satu khazanah musik indonesia yang bersahaja. daftar pustaka becker, judith, 1975, "kroncong, indonesian popular music", dalam asian music vis, volume i. southeast asia issue. brandon, james r., 1967, theatre in southeast asia, cambridge, massachusset harvard university press. budiman b.j., 1979, mengenal kroncong dari dekat, jakarta: perpustakaan akademi musik lpkj. harmunah, 1987, musik keroncong. sejarah, gaya dan perkembangan, yogyakarta: pusat musik liturgi. kornhauser, bronia, "in defence of keroncong", dalam margaret. j. kartomi (ed), 1978, studies in indonesia music, clayton, victoria, australia: the centre of southeast asian studies, monash university. kusbini, 1972, krontjong indonesia, musika, jakarta: brosur ilmu musik & koreografi, no.l, lmk. ____, 1976, "sejarah kehidupan per-kembangan dan asal-usul seni musik keroncong indonesia", dalam ceramah kata, nada (musik), dan rupa (peragaari), yogyakarta: cr. soerjono soekanto, 1990, sosiologi: suatu pengantar, jakarta: rajawali press. tim lrkn-lipi, 1986, kapita selekta manifestasi budaya indonesia, bandung: penerbit alumni. harmonia vol vii no 3 2006.pdf harmonia jurnal pengetahuan dan pemikiran seni vol. vii no 3 / september – desember 2006 !"#$%$&'()'$*+,+()-+'(').$&/(/(0+&)1$&( !"#$%&%'()*+,**+**-+,.(*"/*01&,*234(+&."'5 2+3"(/+)1$%(+4+%( 6&+/*7%'8+9+1*:414,+'*6%'.*;+1.*<-6*='.>%1,.&+,*?%8%1.*:+@+1&+ abstrak kebijakan pendidikan nasional selama ini cenderung mengedepankan pendidikan sains dan teknologi sehingga pendidikan seni tampak terpinggirkan. dampak dari kebijakan semacam itu di antaranya adalah muncul krisis moral, budaya, dan mudah timbul kekerasa. dalam konteks inilah pendidikan seni yang berdimensi moral menjadi sebuah alternatif yang dapat membantu orang guna mencerdaskan emosional dan intelektual, menghargai pluralitas budaya dan alam semesta, menumbuhkan daya imajinasi, motivasi dan harmonisasi dalam menyiasati atau menanggapi setiap fenomena sosial budaya yang muncul ke permukaan. pengembangan tujuan pendidikan seni hendaknya mendasarkan nilai-nilai, gagasan peserta didik, dan pola-pola hidup kreatif melalui latihan-latihan. oleh karena itu, kompetensi dasar yang penting dikembangkan melalui pendidikan seni adalah kemampuan yang mampu menjebatani dan mendukung tercapainya tujuan pendidikan secara umum. dari sinilah guru seni dituntut mampu memenuhi persyaratan, di antaranya adalah: berwawasan luas, terampil, dan bertanggungjawab terhadap profesinya; menguasai bidang ilmu (seni) dan dapat mengembangkan materi ajar; mamahami maturitas dan perkembangan peserta didik dalam belajar seni; menguasai teori dan praktik dalam kerangka pembelajaran seni; mampu merancang dan mengelola pembelajaran seni. kata kunci: pendidikan seni, kompetensi dasar a. pendahuluan !"#$ %&"'&($ )!*+!*&"$ ,&-&. .!.!"/0#$ 1!)/(/0&"$ ,&%&*$ +!",#,#1&" .&"/%#&$ 2-+,.(* 2a$%1.%'(%* .'* 234(+&."'34 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./"5/-$ 1*#%#%$ .9*&-4 )/,&6&4$ ,&"$ ./,&0$ (#.)/-$ 1!1!*&%&" 2-#0&($ +/-&$ b&c/-#4$ deee37$ a&-&.$ 19"(!1% #"#-&0$ +!",#,#1&"$ %!"#$ 6&"'$ )!*,#.!"%# .!"(&-$ 2.9*&-3$ .!*/+&1&"$ %!)/&0 &-(!*"&(#<$ 6&"'$ ,&+&($ .!.)&"(/$ 9*&"' '/"&$ .!"5!*,&%1&"$ !.9%#9"&-$ ,&" #"(!-!1(/&-4$.!"'0&*'&#$+-/*&-#(&%$)/,&6& ,&"$ &-&.$ %!.!%(&4$ .!"/.)/01&"$ ,&6& #.&:#"&%#4$ .9(#;&%#$ ,&"$ 0&*.9"#%&%# harmonia jurnal pengetahuan dan pemikiran seni vol. vii no 3 / september – desember 2006 ,&-&.$.!"6#&%&(#$&(&/$.!"&"''&+#$%!(#&+ <!"9.!"&$ %9%#&-$ )/,&6&$ 6&"'$./"5/-$ 1! +!*./1&&"7$ f-!0$ 1&*!"&$ #(/4$ (/:/&" +!",#,#1&"$ %!"#$ %!+!*(#$ 0&-"6&$ (/:/&" +!",#,#1&"$ /./."6&$ :/'&$ )!*1&#(&" ,!"'&"$"9*.&$,&"$%#%(!.$"#-&#$6&"'$(#,&1 )#%&$ ,#&.&(#$ %!5&*&$ -&"'%/"'$ 2.'&+'8.dc%37 g!:&-&$ *90&"# ,&"$ %#%(!.$ "#-&#$ 0&"6& ./"'1#"$ ,&+&($ ,#*!<-!1%#1&"$ %!5&*& <#-9%9<#%4$ ,&-&.$ &*(#$ ,&+&($ ,#(&"'1&+ .&1"&$ %#.)9-#%"6&$ )!*,&%&*$ +!*#-&1/ -&0#*#&07$ h!*,&%&*1&"$ <&1(&$ #(/$ .&1& +!",#,#1&"$ %!"#$ .!.!*-/1&"$ 1&:#&" 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@!1/&%&&"]7 q&1&-&0$ @9"'*!% 8!",#,#1&"$ _&%#9"&-4$ >9(!`",9"!%#&$ b&1&*(&$ llide$ !+(!.)!* deee7 aaaaa7$deel7$[q!.+!*(#.)&"'1&"$@9"%!+ 8!",#,#1&"$ !"#]7 b/*"&-$>&*.9"#&4 j9-$ d4$ $ $ _97$ dbq!#i='/%(/%$ deel7 !",*&(&%#1$ ch $ x"#;!*%#(&%$ _!'!*# !.&*&"'7 s&"%#"'4$ @7q7$ ltte7 01&i* 01&.,&,* +'3 234(+&."'7$ s9",9"k$ q%g*&?i>#-h991$y9.+&"67 /*9"94$ y/($ @&.&*#-7$ deel7$ [@9"%!+ 8!",#,#1&"$ !"#$ r#"'1&($ ai sr8i qx]7 j+@+c+f* 6%#.c"@+* 7%'3.3.@+' 6%'.4$b&1&*(&$ldide$=+*#-$deel7 z/-&!-&?&(#4$ \--&7$ deel7$ [$ 8!",!1&(&" @9.+!(!"%#$ ,&-&.$ 8!*/)&0&" @/*#1/-/.$ _&%#9"&-$ 8!",#,#1&" !"#]7 j+@+c+f* 6%#.c"@+* 7%'3.3.@+' 6%'.4$b&1&*(&$ldide$=+*#-$deel7 g9-)!*'4$ q!**6-7$ lttu7 01&,* +'3* k%+1'.'8l 0'* m'&%81+&%3* 0$$1"+(f* &"* ;%+(f.'8 harmonia jurnal pengetahuan dan pemikiran seni vol. vii no 3 / september – desember 2006 +'3* k%+1'.'8* .'* j4c&.(4c&41+c* +'3 j4c&.c.'84+c* ,%&&.'8,7$ _!?$ z9*1k s9"'.&"7 makalah, semarang, 26 september 1992. rohidi, t.r., “pendekatan sistem budaya dalam penelitian seni dan pendidikan seni (sapuan kuas besar dalam kerangka ilmu sosial)”, makalah seminar nasional pendekatanpendekatan dalam penelitian seni dan pendidikan seni, dalam rangka dies natalis xxix ikip semarang, semarang, tanggal 11 april 1994. rohidi, t.r., pendekatan sistem sosial budaya dalam pendidikan, ikip semarang prees, semarang, 1993. rohidi, t. r., “fungsi seni dan pendidikan serta implikasinya dalam pengembangan kebudayaan”, makalah dalam penlok pengembangan bahan ajar pendidikan seni rupa. 14-16 april, 1999. rohidi, t. r., kesenian dalam pendekatan kebudayaan, stsi bandung, bandung, 2000. slamet ph., “model pengembangan kurikulum pendidikan seni”, makalah lokakarya dan seminar nasional pendidikan seni, jakarta, 18-20 april 2001. tarwiyah, tuti. musik betawi dalam permainan anak. makalah. seminar nasional pud jakarta 22 agstus. 2003. d:\harmonia\2003\1\vol. 4 no 1 jan_april_2003.pdf ���������� ��� ���� ���� ��������������������������������������������������������� 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�$�%���)�����&��"�#���%������,����������������������������������%��� �-��������������+���%���)�����&��"�#������&���.(��#��������%���(��#����*��/�����,�����'�%���&��%�����#��+����#'�������'�%��������(�������!����%�����������'����&���'���(��&�����������0���������������'"��1"���� 233245647389:64;4!��%��+�<�=�%� �>?@abacdefghdeigbdj�k"#(������l�m����&���$�������+�nooo �p���q���+�r�" �sg?hgtcg?hgeiauv@dwgxdey@?ghzv[g\gj�("#(������l�m������m���)��+�noo] �m��%)�+�<�̂!_ �̀gha@ce[dègbdaebd?d@cgvebghdedecdefd?vgbe[g@egehweuzg@cg@@\gedezgcgdede@degeh?v@cvwg@j�h�������l�m�"(���-������!���+�]ijkl]ijm �nnnnnn +������ �>@xdwbaoe[depvxdwe[g@efghdebgehgqègbdj�r������sh����������m��%�%�����%���$�&�%�(����m�"(���m����&�����!����!������%���-������<�%"������%���%����'+�]ijt -"�%���"�"+�u = �de@degeh?v@cvwg@ev@[a@exdge[g@egghdwdxg?gj�!��%��#l=��(�������-����m�����)�����<�%"�����+�]iii nnnnnn �de@degeh?v@cvwg@e[de>hgesbazgbdxgxdj�("#(��"���l�̂�%)�'=�%��x��0�����(�m����+�noon �-��(�'�%�+�yj�r#��# �yz"���#�z��%���"����!���{�%�����yh?dx?g|epgcgbgqv@}ahugxdede@de[g@ege@[d[dwg@ede@d~�_"�"��n+��"������+�r#�����,����"&��+�noon �� ��������������������������������� harmonia vol ix no 1 tahun 2009.pdf abstrack the aim of this research are to explain implementation of ktsp in music learning in sma citischool semarang consists of planning, implementation of learning, and learning evaluation. this research uses qualitative-descriptive approach. techniques of data collection aree literature studies, interview, observation, and documentation. in analyzing data, the researcher use descriptive and interactive analysis from milles, which consists of data collection, data reduction, data presentation, and conclusion. research result shows that music learning in sma citischool semarang 2008/2009 are appropriate with ktsp : (a) learning plan have been conducted by teachers by making: develop syllabus and evaluation, annual program, semester program, and plan of learning, (b) learning process is appropriate with ktsp (competence standard) consists of appreciation and creation, but the quality of learning is needed to be increased, and (c) evaluation is still influenced by curriculum evaluation before that consist of three aspects: cognitive, psychomotor, and affective aspects. suggestion in this research: quality of teachers’ administration should be increased, optimize learning process, and learning evaluation should be appropriate with appreciation and creation aspects in activities. harmonia vol vii no 3 2006.pdf harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 3 / september – desember 2006 !"#$%&'#()*+$&,&-."/.0$!&1#2*3%#2*&45(6*#02#0 !"#$%&'($)*+,%'-''./0''12#32"0)'24'5$6)%26%7'829:"; 7#(8#0$&9: 86$4'509:$<$)'=+)+"$9'809%'(+"%,'>85'!8!'?2:@$,$)6$ ;<!=(#+ !"#$#%& '()*+& ,-./-!)*#& .*0#$-#*& .!-1#-& 2#-3#+-3#& 4#1(54#1(& 6#7$*/7*+& 3#-1 .*1(2#%& /4!%& 2!2!$#6#& +/'6/-*)& 7!$+!'(+#8 )#4#%& )!/$#-1& .*& #-7#$#-3#& ,)'#*4 9#$:(+*;& & ,#& '(4#*& '!-11(2#%& 4#1(& 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�&'o�\�'j)+2�&3'�:��7��6?�x7�=:>�]�a:���75;�;5�f���̂�>��:��_:w�f�=����àbacdefghbc�̂7u:�g�i����d����e������j:��5��k:�66:7��̂:;��4��c�7u�7��_:l�������t�;�u��65�_�w�j��:��v5k�l�j��m�u��l�7�����66�k��n�o>��w:7�p��p�q�f5�4���6g�ir���d����e������x:��5��4�fd����̂:;��4��c�7u�7��_:l�������t�;�u��6��_�w�j��:��v5k�l�j��m�u��l�7�����66�k��n�o>��w:7�p��p�_��j5g�nr���d����1)+� *'s)+22) ��̂ :;��4��c�7u��7��_:l�������t�;�u��6��_�w�j��:��v5k�l�j��m�u��l�7�����66�k��n�o>��w:7�p��px�7��f5>�7=��������d��g�̂:;��4��c�7u��7��_:l�������t�;�u��6��_�w�j��:��v5k�l�j��m�u��l�7�����66�k��n�o>��w:7�p��p�������������������������������������t� u�vt��wu�xy�z{�|��}~��~��x�����������������������������������v� microsoft word harmonia vol x no 1 2010.docx pemanfaatan dan pengembangan lagu anak-anak dalam pembelajaran tematik pada pendidikan anak usia dini / tk syahrul syah sinaga email : sinagaunnes@yahoo.com fakultas bahasa dan seni universitas negeri semarang abstract learning activity in kinder garden (tk) has never get out of music activity, although in general only singing activity. as one of learning media form, the children songs can be exploited to teach a various development area, including in it development language ability. language ability is related to the song lyric. based on that, the research contains about the developing theme learning of kids songs in kindergarten. this research is done with qualitative research. while research location determined randomly. the data was collected by interview, questionnaire, observation, and documentation. the data analysis is done by developing case description, that the process is data reduction, data categorization, and interpretation of data (verification / withdrawal of conclusion). base of the observation, we know that the teachers in both of kindergarten (tk) becoming research location used the children songs as learning media of indonesian vocabulary. children songs as learning media of indonesian vocabulary was assumed beside can facilitate vocabulary learning, multiply words knowledge and enrich children language expression, also can used as learning media that support message of learning material, so children as learner can understand the contain of material learning and make learning process become more pleasant. sometimes teachers get difficulties in choosing the songs of theme learning that consist of eleven songs. the real difficulty was found when teacher try to create songs and their lyrics. they can not find easily some matching words to built a song that according to learning material. others difficulties are to match the phrases with the song melody, to match the syllables of the words with song melody and song sentence. in other side, melody, teachers difficulty are in the problem of ability to determine high or lower tone, tone value, and writing of song notation. base of the research result, we suggest that institutes related to the early childhood education can continue the theme learning by plan and develop the training for teachers. kata kunci: pengembangan, pembelajaran tematik, anak usia dini latar belakang pendidikan anak usia dini (tk) sebagai salah satu bentuk pendidikan pra sekolah pada dasarnya turut berperan dalam pencapaian tujuan pendidikan nasional. berperan sebagai pelaksana dalam penyelenggaraan taman kanak-kanak yang bertujuan untuk memberikan berbagai kemampuan dasar yang sangat penting kepada anak usia 4 sampai dengan 6 tahun dalam mengembangkan sikap, pengetahuan, keterampilan, dan daya cipta yang kelak akan sangat diperlukan dalam upaya menyesuaikan diri dengan lingkungan, pertumbuhan serta perkembangan selanjutnya. bertolak dari tujuan pendidikan anak usia dini (tk) serta memperhatikan kebutuhan perkembangan jiwa anak pada usia pra sekolah (4 s.d 6 tahun), pelaksanaan pendidikan pada anak usia dini (tk) menganut prinsip bermain sambil belajar atau belajar seraya bermain. berbagai bidang pengembangan yang ada diajarkan dengan cara memadukan ke dalam satu program kegiatan belajar yang utuh berupa program pembentukan perilaku dan program pengembangan kemampuan dasar (depdikbud, 1996). program pembentukan perilaku bertujuan untuk mempersiapkan anak sedini mungkin untuk mengembangkan sikap dan perilaku yang didasari oleh nilai-nilai moral pancasila dan agama. sedangkan program pengembangan kemampuan dasar adalah segala kegiatan yang ditujukan untuk mencapai kemampuan tertentu yang sesesuai dengan tahap perkembangan anak. kemampun tersebut mencakup daya cipta, daya pikir, ketrampilan, kemampuan jasmani, dan bahasa. untuk membantu para guru dalam melaksanakan berbagai program kegiatan pembelajaran pada pendidikan anak usia dini / tk, telah ditetapkan berbagai tema yang dapat dijadikan sebagai acuan dalam pengembangan selanjutnya. agar aktivitas bermusik seperti mendengarkan musik dan bernyanyi menjadi sebuah proses yang berarti bagi anak, maka diperlukan kemampuan guru dalam mengembangkan perencanaan dan pelaksanaan kegiatan pembelajarannya. beberapa hal penting berkaitan dengan kemampuan guru tersebut antara lain menyangkut masalah: (1) kemampuan menentukan kegiatan pengalaman musik yang sesuai dengan tema pembelajaran dan aspek pengembangan yang ada di taman kanak-kanak; (2) kemampuan merancang bentuk kegiatan pengalaman musik yang akan dilakukan; (3) kemampu an menentuan jenis karya musik dan lagu model yang akan dijadikan sebagai media pembelajaran; dan (4) kreatifitas guru dalam mengembangkan dan berkreasi musik. masa prasekolah (usia 2-6 tahun) merupakan usia yang ideal untuk mulai belajar berbagai keterampilan yang berguna bagi anak serta sebagai dasar bagi keterampilan-keterampilan yang lebih tinggi dikemudian hari. pada masa ini anak merasa senang mengulang-ulang sesuatu kegiatan ketrampilan melalui latihan-latihan tertentu, sampai ia benar-benar menguasainya. agar proses latihan ketrampilan yang diperlukan dapat berlang sung secara efektif, maka setiap prosesnya harus dirancang secara terarah, sehingga peningkatan dalam kecepatan dan ketepatan melakukan sesuatu dapat dicapai oleh anak. masa taman kanak-kanak merupakan periode yang penting dalam pola pengembangan bahasa anak. kemampuan memahami arti apa yang diucapkan orang lain berkembang dengan cepat pada masa ini. anak mulai menyadari bahwa bahasa merupakan alat yang penting untuk berkomunikasi dan bersosialisasi . masa prasekolah merupakan periode memuncaknya emosi yang ditandai dengan munculnya rasa takut, dan perasaan lain yang berlebihan, serta peledakan emosi tanpa alas an. pada masa ini mulai terlihat perbedaan dalam emosi yang terlihat pada pola ekspresi tertentu. aktivitas musik merupakan bagian penting dalam program pendidikan taman kanak-kanak. dalam buku mother play and nursery songs, froebel seorang tokoh bapak taman kanak-kanak percaya terhadap nilai-nilai pengalaman musikal bagi anak-anak (lihat bayless dalam jatmiko, 1996). di sarankan bahwa anakanak harus diberikan sebanyak-banyaknya pengalaman bernyanyi dan bermain. berkaitan dengan hal tersebut, lebih lanjut mc donald (dalam jatmiko,1996) mengemukakan bahwa anak-anak usia taman kanak-kanak merupakan pencipta musik yang paling orisinal. mereka mencipta musik lebih banyak , menjajagi dengan teliti, menggunakan musik lebih konsisten dan spontan, serta memiliki motivasi yang lebih kuat terhadap musik jika dibandingkan dengan anak-anak dalam tingkat usia selanjutnya (usia memasuki masa remaja). musik sebagai salah satu aktivitas yang penting dalam pelaksanaan pembelajaran di taman kanak-kanak dianggap mampu mempengaruhi perkembangan pribadi anak, baik menyangkut aspek perkembangan motorik, perkembangan bahasa, perkembangan emosi, perkembangan sosial, dan perkembangan intelegensi. selain itu juga karena beberapa hal, antara lain sebagai berikut : musik sebagai bagian dari dunia sekitar kita, dibuktikan melalui kenyataan bahwa, sejak peradaban manusia yang paling primitif sampai kepada peradaban manusia yang paling maju pun menunjukkan bahwa musik menjadi bagian yang penting dalam kehidupan manusia. sejarah musik dari abad ke abad merupakan sejarah kemanusiaan. ungkapan musik yang ada hingga saat ini merupakan ungkapan pengalaman hidup manusia, dalam mengekspresikan diri terhadap lingkungan yang dirasakan begitu berharga, serta dilihat begitu penting bagi keberadaannya. musik sebagai alat ungkapan diri karena musik mampu meng ungkap kan pengalaman hidup manusia, baik yang telah dialami, maupun ide dan gagasan yang diinginkannya (depdik bud, 1996: 170-171; moeslichatoen, 1999: 12-13). taman kanak-kanak sebagai salah satu bentuk pendidikan prasekolah, dalam melaksanakan kegiatan pembelajarannya berbeda dengan pelaksanaan pembelajaran di sekolah dasar maupun di sekolah-sekolah tingkat berikutnya. hal tersebut disebabkan karena tujuan institusi onal taman kanak-kanak adalah hanya membantu meletakkan dasar ke arah perkembangan sikap, perilaku, pengetahuan, ketrampilan dan daya cipta yang diperlukan oleh anak didik dalam menyesuaikan diri dengan lingkungannya dan untuk pertumbuhan serta perkembangan selanjutnya (depdikbud, 1994:2; moeslichstoen, 1999: 3). ruang lingkup program kegiatan belajar di taman kanak-kanak men cakup; pembentukan perilaku melalui pembiasaan dalam pengembangan moral pancasila, agama, disiplin, perasaan/emosi, dan kemampuan bermasyarakat, serta pengembangan kemampuan dasar melalui kegiatan yang dipersiapkan oleh guru meliputi pengembangan kemampuan ber bahasa, daya pikir, daya cipta, keterampilan, jasmani dan seni.. kata media berasal dari kata medium (latin) yang berarti antara. istilah tersebut menunjukkan segala sesuatu yang membawa atau menyalurkan informasi antara sumber atau pemberi pesan dan penerima pesan (rumampuk, 1988: 3). pengertian media dalam konteks pembelajaran, oleh zaenudin (1985: 42) dikatakan bahwa media dipandang sebagai segala sesuatu yang dapat yang dapat menyalurkan pesan, dapat merangsang pikiran, perasaan, perhatian, dan kemauan siswa sehingga mendorong terjadinya proses belajar pada dirinya. dari aspek bahasa dari sebuah lagu, anak akan mendapatkan pengalaman bahasa yang berupa perbendaharaan kosakata tentang berbagai hal seperti : (1) arti hormat kepada orang tua; (2) sayang sesamanya; (3) kebesaran tuhan; (4) cinta tanah air; dan (5) nilainilai. selain itu melalui nyanyian pula, membantu diri anak menuju kedewasaan dalam hal menumbuhkembangkan aspek fisik, intelegensi, emosi dan rasa sosial anak ( mahmud dan fat, 1994 : 1-2 ). sedangkan dari unsur melodi, ritme, harmoni, ekspresi, dan struktur lagunya bila dikaitkan dengan kompetensi berbahasa dapat digunakan sebagai media untuk mengembangkan kemampuan membaca dan sastra khususnya berkaitan dengan masalah intonasi, vokalisi/ artikulasi, ekspresi/mimik, dan pemaham an kalimat. pembelajaran tematik menekankan pada penerapan konsep belajar sambil melakukan sesuatu (learning by doing). oleh karena itu, guru perlu mengemas atau merancang pengalaman belajar yang menunjukkan kaitan unsur-unsur konseptual sehingga menjadikan proses pembelajaran lebih efektif. sebagai suatu model pembelajaran pada pendidikan anak usia dini/tk, pembelajaran tematik memiliki karakteristik seperti : (1) berpusat pada siswa (student centered); (2) memberikan pengalaman langsung; (3) pembelajaran berlangsung secara terpadu; (4) menyajikan konsep dari berbagai pengetahuan; (5) bersifat fleksibel; dan (6) hasil pembelajaran sesuai dengan minat dan kebutuhan siswa (tim pustaka yustisia, 2007:254-255). untuk mencapai tujuan pembelajaran di taman kanak-kanak dalam prosesnya telah ditetapkan berbagai tema yang dapat dikembangkan lebih lanjut oleh guru. tema-tema tersebut seperti : (1) diri-sendiri; (2) kebutuhan (3) lingkungan; (4) tanaman; (5) binatang; (6) transportasi; (7) komunikasi; (8) rekreasi, (9) pekerjaan atau profesi; (10) air, udara, dan api; dan (11) negaraku. dalam pelaksanaannya berbagai tema yang ada tersebut disampaikan kepada siswa melalui kegiatan yang terpadu dengan memasukkan kegiatan musik sebagai salah satu komponenya. sebagai sebuah proses, aktivitas bermusik seperti mendengarkan musik, merespon musik dengan gerak berirama, bernyanyi, membaca notasi musik, dan memainkan alat musik sederhana merupakan merupakan aktivitas pembelajaran di taman kanak-kanak yang bertujuan untuk pembentukan perilaku (khususnya melalui pesanpesan syair lagunya), dan pengembangan kemampuan dasar seperti daya cipta, bahasa, daya pikir, ketrampilan, dan jasmani (melaui unsur melodi, ritme, harmoni, syair, dan ekspresinya) (jamalus, 1984: 5; safrina, 1999: 125-166). berkaitan dengan pembelajaran tematik tersebut di atas maka penelitian tentang pemanfatan dan pengembangan lagu anak-anak pada pendidikan anak usia dini/tk ini akan difokuskan pada : (1) upaya guru dalam pemanfaatan lagu anak-anak sebagai media pembelajaran; dan (2) upaya guru dalam memperkaya perbendaharaan lagu anak-anak yang sesuai dengan tema pembelajaran yang ada. upaya guru dalam memperkaya perbendaharaan lagu meliputi upaya guru dalam berkreasi syair lagu, memodifikasi lagu, dan mencipta lagu baru yang sesuai dengan tema pembelajaran pada pendidikan anak usia dini/tk, (3) kendala yang dihadapi guru dalam menentukan tema lagu seperti tema alat komunikasi dan beberapa tema lainnya, sementara lagureferensi guru masih ada keterbatasan dalam mengkoleksi lagu anak-anak sesuai dengan tema yang akan diajarkan. pembelajaran tema-tema merupakan suatu strategi pembelajaran yang melibatkan beberapa bidang pengem bangan untuk memberikan pengalaman yang bermakna bagi anak. keterpaduan dalam pembelajaran ini dapat dilihat dari aspek proses atau waktu, aspek kurikulum, dan aspek belajar mengajar. pembelajaran tema-tema diajarkan kepada anak karena pada umumnya mereka masih melihat segala sesuatu kebutuhan yang menyeluruh (holistic) perkembang an fisiknya tidak pernah dapat dipisahkan dengan perkembangan mental, sosial, dan emosional (semiawan, 2002 : 257). hal-hal yang perlu diperhatikan dalam pembelajaran tema-tema adalah pembelajaran tematik dimaksudkan agar pelaksanaan kegiatan belajar mengajar menjadi lebih bermakna dan utuh. dalam pelaksanaan pembelajaran tematik perlu mempertimbang-kan antara lain alokasi waktu setiap tema, memperhitungkan banyak dan sedikitnya bahan yang ada di lingkungan (semiawan, 2002 : 259). tema merupakan wahana yang berisikan bahan-bahan yang perlu dikembangkan lebih lanjut oleh guru menjadi program pengembangan yang operasional. ada 11 macam tema yang telah ditetapkan di taman kanak-kanak. berdasarkan tujuan program pendekatan pembelajaran yang tematis operasional, maka musik anak-anak dapat dikembangkan menurut sebelas tema yang dimaksudkan, metode penelitian ini menggunakan pendekatan kualitatif deskriptif dengan subyek penelitian para guru yang melanjutkan ke jenjang s1 pada pendidikan usia dini di pg paud universitas negeri semarang yang nota bene berasal dari berbagai daerah di jawa tengah. metode pengumpulan data dengan menggunakan metode wawancara, observasi dan dokumentasi. analisis data mengunakan analisis interaktif dari miles dan hubermann (1992) hasil dan pembahasan pilihan lagu tema binatang dari karakteristik guru taman kanak-kanak (tk) yang sudah memiliki pengalaman musik yang didapatkan pada saat memperoleh materi musik 1, umumnya mereka menyampaikan pengalaman materi lagu yang diperolehnya untuk disampaikan kepada teman sejawat di yayasan atau tk maupun kelompok bermain seperti lagu di bawah ini: kunangkunang do = c | 1 2 3 | 1 . 1 | 1 2 3 | 2 . . | ku nang ku nang hen dak ke ma na | 2 3 4 | 2 . 2 | 2 3 4 | 3 . . | ke lap ke lip in dah se ka li | 6 . 6 | 5 . . | 6 . 6 | 5 . . | ber si nar ge mer – lap | 4 3 2 | 4 3 2 | 4 3 2 | 1 . . || se per ti bin tang di ma lam ha ri lagu model di atas adalah salah satu dari pilihan tema lagu yang dipilih oleh guru dalam aktifitas pembelajaran di kelompok bermain. menurut lina kristiana salah seorang responden yang mengajar di paud setia bakti skb kota semarang, alasan pilihan lagu kunang-kunang sebagai lagu model, dikarenakan lagu kunang-kunang mempunyai kelebihan dari alur melodi, yaitu susunan nadanya melangkah yaitu perpindahan nada yang melangkah, mulai dari nada do bergerak ke nada re lalu nada mi, dan seterusnya, sangat memungkinkan untuk diajarkan lebih cepat karena memiliki karakteristik melodi yang melangkah. dari syair mampu menyampaikan pesan tentang kunang-kunang yang umumnya tidak dimengerti oleh sebagian murid di perkotaan, seperti tertuang pada syair lagu ”seperti bintang dimalam hari”. alasan lain dari pemilihan lagu model dikarenakan temanya sesuai untuk pembelajaran di kelompok bermain, birama yang digunakan adalah ¾ bukan birama gantung yaitu lagu yang dimulai bukan pada ketukan pertama, jangkauan wilayah nada hanya berkisar dari nada do yaitu nada yang terendah dan nada la sebagai nada yang tertinggi. dilihat dari bentuk lagunya merupakan lagu satu bagian yaitu lagu yang terdiri atas dati frase atau kalimat tant dan satu kalimat jawab. tema keluarga pesan-pasan dari tema lagu dengan judul keluarga berisi hubungan kekerabatan dari lingkungan yang paling dekat mulai dari orang tua dari ayah, ibu, adik, paman, bibi, kakek, nenek, serta kebahagiaan yang diperoleh dari huhungan yang harmonis dari saudara terderkat. syair yang digunakan sudah menggunakan bahasa indonesia sebagai bagian dari komunikasi sehari-hari di mana penggunaan sebutan ayah, ibu, untuk pengembangan kreativitas guru tk dimungkinkan pada penggunaan lirik dengan sebutan yang lain seperti, papa dan mama, opa dan oma, om dan tante dan lain sebagainya tergantung pada lingkungan di mana tempat dan lingkungan setempat peserta didik tinggal alasan pemilihan lagu dengan tema keluarga menurut miranti hadiani seorang guru play grup di aisiyah 01 banyumanik semarang adalah walaupun lagu keluarga merupakan lagu dengan birama gantung, lagu ini sangat mudah dimainkan oleh anak didiknya, hal ini dikarenakan pada lagu keluarga, dilihat dari pergerakan meladi, selalu berulang-ulang, dan dari isi syairnya sudah dipahami oleh anak didiknya, hany pengertian ayah disesuaikan dengan kondisi mereka sehari-hari seperti dengan mengganti sebuta papa dan mama, dan sebagainya seperti contoh sebagai berikut. keluarga do : c 5 | 3 . 2 1 | 3 . 5 | 4 . 3 4 | 2 . 4 | a yah dan i bu ser ta a dik ku pa | 2. 1 7 | 2 .5 | 5 4 5 | 3 . 5 | man dan bi bi sa-yang pada ku ka | 3 . 2 1 | 3 . 3 | 3 4 5 | 6 . 6 | kek dan ne nek tem pat ku man-ja a | 4 2 1 | 7 . 7 | 2 4 7 | 1 0 || lang kah senang ber-sa ma-sa ma pada lagu model keluarga ada tingkat kesulitan terutama pada nada si rendah. pada akhir pertemuan ke dua, para peserta sudah mulai diperkenalkan dengan lagu berbirama 2/4 dan pada praktek pelaksanaan lagu bertepuk tangan dapat pula dilakukan dengan meng gunakan pola lagu yang berbirama 4/4. dengan demikian, ada penambahan wilayah nada mulai dari nada si rendah sampai ke nada la yaitu nada yang tertinggi pada wilayah nada tema anggota badan dalam pelaksanaan pembelajaran tema diri sendiri, lagu pilihan tema yang sesuai relatif lebih banyak dibandingkan dengan lagu denga tema yang lain seperti, bangun tidur, dua mata saya, aku anak sehat, aku seorang kapiten, jari dan jempol, aku si badut. hasil wawancara dengan salah seorang responden dengan lily salah seorang guru di kb hj isriyati munadi pemilihan lagu bertepuk tangan dijadikan pemilihan tema diri sendiri, hal ini dikarenakan pada lagu tepuk tangan, pada saat menyanyikan bisa dibarengi dengan gerakan tepuk tangan sesuai dengan isi pesan yang tertuang pada tema lirik syair lagu. lagu di bawah biasanya dinyanyikan pada awal pembelajaran sebelum siswa memasuki kelas, dan pada saat setelah jam istirahat atau melakukan aktifitas lain, setelah menyanyi bersama diharapkan para siswa mulai tertib dan mampu mengkondisikan anak agar tidak ramai. alasan lain dari pemilihan lagu bertepuk tangan dikarenakan melodi yang digunakan pada lagu ini terdiri dari nada yang terendah adalah nada mi sedangkan nada yang tertinggi adalah nada do oktav. lagu tepuk tangan jenis melodinya merupakan repetisi atau pengulangan terdiri atas satu bagian dimana awal mulai menyanyikan lagu pada ketukan pertama. jenis birama yang digunakan adalah 2/4 seperti lagu cicak di dinding. tangga nada natural yaitu nada do = c. karena lagu bertepuk tangan terdiri atas pengulangan syair, melodi dan aktifitas dengan gerakan bertepuk yang dilakukan semua anak, maka lagu ini cenderung disujai anak-anak. bertepuk tangan at mahmut do = c | 5 5 | 5 . 6 | 5 4 | 3 . | ber te puk te puk ta ngan | 6 6 | 6 . 1 | 7 6 | 5 . | ber te puk se mu a nya | 1 1 | 1 . 3 | 4 5 | 6 . | ber ma in te puk ta ngan | 7 6 5 4 | 3 5 | 5 5 | 1 0 | alangkah senang nya ber ka-wan lagu bertepuk tangan merupakan contoh lagu model dengan menggunakan birama 2/4 dan bisa juga dimainkan dengan menggunakan pola birama 4/4. pada lagu ini pelaksanaannya para peserta bisa memperagakan gerakan bertepuk tangan sambil bernyanyi sesuai dengan pesan yang tertuang pada lirik syair lagu bertepuk tangan jika kita merujuk pada lagu-lagu ciptaan bapak at mahmud, maka kita bisa mengenal beberapa lagu dengan diiringi gerakan badan ataupun menirukan suara suara benda yang nyata seperti pada lagu gendang dan terompet, dengar suara bebek, naik kereta api, merupakan jenis lagu yang mampu membawa anak mampu mengekspresikan rasa emosionalnya, contoh lagu kepala pundak lutut kaki do: c, 4/4 allegro n.n 55 5.5 65 35 3 5 3 5 3 55 5 .5 65 35 35 35 3 3 2 kepalapundaklututkakilututkakikepalapundaklutut kaki lutut kaki daun 1 11 3 5 1 1 7 1 6 6 6 6 .7 15 67 15 67 1 telinga mata hidungdan pipi kepala pundak lutut kaki lutut.ka ki. menurut salasa elen pagi, sekilas apabila dinyanyikan lirik syairnya sangatlah mirip dan merupakan repetisi atau pengulangan, tetapi ada perbedaan yang tidak terlalu signifikan pada notasinya. itu dikarenakan penyesuaian notasi dengan syair yang dipakai kedua lagu tersebut, walaupun arti dari syair kedua lagu tersebut sama. dalam bernyanyi, guru mempraktekan kepada siswa dengan memegang bagian tubuh sesuai dengan syairnya. contohnya, saat syair head (kepala) dinyanyikan, guru sambil memegang head (kepala), kemudian pindah ke menuju arah pundak, kemudian kearah lutut, terus menuju kaki. guru dengan direncana mampu mengajak semua anak didiknya mampu mengenal bagian mana dari posisi tubuh yang diberi sebutan kepala, pundak, lutut, kaki, dan anggota badan lainnya, serta siswa diajak untuk menggerakkan badannya dengan harapan semua anak bisa bernyanyi sambil menggerakkan badannya dengan kata lain anak tanpa disengaja juga melakukan aktivitas berolah raga dan melatik motorik anak secara teratur, sesuai dengan alur melodi maupun lirik yang tertuang pada syair lagu. gundul-gundul pacul do: c, 4/4 moderato r.c. hardjosubroto 1 3.1 34 55 .7 1.7 1.7 5.1 31 34 55 .7 1.7 1.7 5 1 gundhulgundhul paculcul gelelengan nyunggi nyunggi wakulkul gem belengan wa 3 5 4 4 54 31 43 2 .1 3 5 44 54 31 43 1 0 kulngglimpang segane dadi ndakrantan wakul ngglim pang se gane dadi sakrantang menurut trisnani pertiwi, dari paud mawar prodomulyo kendal, lagu gundul pacul merupakan lagu yang berasal dari jawa tengah dengan ciri notasi lagu menggunakan tangga nada atau notasi kepatihan. alasan guru memanfaatkan lagu di atas dikarenakan latar belakang siswa umumnya menggunakan bahasa jawa dalam berinteraksi di sekolah, selain dari itu anak sudah memiliki pengalaman dan sudah mengenal lagu daerah yang diperoleh anak saat berada pada lingkungan di sekitar tempat tinggal. dalam penyampaiannya, guru membacakan isi syair atau lirik lagu kemudian mengajak siswa untuk menggerakan anggota badan dan mengekspresikan bagaimana aktifitas si gundhul sesuai dengan isi syair yang sedang dinyanyikan, kemudian . pesan yang disampaikan kepada anak dilakukan melalui cerita yang menggambarkan dan pesan agar seorang anak yang tidak boleh sombong, dengan kesombongan anak diibaratkan dengan sebuah wakul atau tempat nasi diletakkan di atas kepala kemudian tumpah tema rekreasi menurut ibu marbathi dari tk pembina jalan kelud raya no 07 semarang, pemilihan lagu gembira dalam proses pembelajaran di tk, mampu mengajak anak untuk bernyanyi secara bersama, sambil mengeksresikan diri dengan ungkapan hore secara bersama, kemudian gerakan bertepuk tangan secara bersama, serta mencoba dan melatih anak untuk bersiul gembira | 3 2 1 2 3 5 | 5 6 5 . | 1 . 6 5 3 | 3 2 1 3 2 . | bernyanyi kita bernyanyitandanya bergiranghati bersiul ki taa bersi ul tanda nya ki taberkumpul | 5 5 3 1 . | 1 1 6 5 . | 3 . 1 3 5 | 2 . . . | ber sorak ber te puk ber a rak a rak ber si ul bersi ul ber si ul si ul | 5 5 3 1 . | 1 1 6 5 . | 3 . 1 3 2 | 1 . . . | ber so rak be te puk bera rak a rak ber si ul bersi ul ber si ul si ul tema lagu gembira sangat terkait dengan perasaan dan emosi anak agar selalu ceria. pada lagu ini peserta diharapkan mampu menyanyikan lagu dengan mengekspresikan sesuai dengan pesan lagu seperti bergembira dengan ekspresi ? teriakan kata ”hore”, dan pada bait yang kedua dengan melakukan aktifitas bagaimana cara seseorang bisa bersiul struktur lagu gembira merupakan lagu satu bagian dimana terdiri atas satu kalimat tanya yang ditandai dengan nada 2 (re) yang merupakan penanda kalimat tanya dan ditandai pula dengan akor tingkat v, serta satu kalimat jawab yang ditandai dengan nada 1 ( do) sebagai penanda bahwa lagu selesai atau dengan akor tingkat i. jika dilihat pada pertimbangan wilayah nada yang digunakan pada lagu gembira, anak sudah mulai dilatih untuk menirukan nada yang lebih tinggi seperti pada ekspreasi kata hore yang ditandai dengan menggunakan nada do tinggi atau nada oktaf. dalam pelaksanaan pembelajaran untuk mencapai tujuan pembelajaran sesuai denga tema juga melibatkan komponen pembelajaran dalam pencapaian tujuan pembelajaran. salah satunya anatara lain, metode yang digunakan ada tiga macam yaitu metode demonstrasi, metode tanya jawab, metode pemberian tugas. metode pembelajaran yang digunakan meliputi metode praktek langsung (demonstrasi), metode tanya jawab, dan metode pemberian tugas (resitesi). kelebihan metode praktek langsung ialah tiap anak dapat mengenal secara langsung tematik maupun lagu-lagu yang hendak dibawakannya. sedangkan kelemahan dari metode praktek langsung adalah guru merasa kesulitan untuk mengatur kelas dikarenakan pemberian tugas ialah siswa akan kesulitan memahami tematik apabila kurang didukung dengan tersedianya alat peraga. aktifitas guru dalam menyampaikan dengan metode praktek langsung atau pembelajaran interaktif atau pendekatan keterampilan proses, tampak pada upaya guru mengajak siswa melakukan gerakan tangan, kepala, badan, dan kaki dengan maksud menyampaikan pesan tersirat kepada siswa terkait tema lagu yang diajarkan. sedangkan peran serta melalui metode pemberian tugas dan metode tanya jawab, diantaranya guru memberi pertanyaan yang merangsang anak untuk berfikir aktif selain itu guru meminta siswa untuk maju kedepan untuk menyanyikan lagu di depan siswa yang lain ataupun memberikan tugas lainnya. hasil dari pembelajaran tematik yang melalui lagu sebagai medianya rata-rata mengalami peningkatan terbukti anak dapat lebih mudah memahami materi yang diajarakan. sebagai contoh, pada saat tema hewan yang diajarakan, anak diminta oleh guru untuk menunjukan hewan sesuai pertanyaan yang diajukan guru dan hasilnya sangat tepat ataupun anak dapat memberanikan diri untuk bertanya kepada guru tentang hal yang belum mereka ketahui yang berkaitan tema yang sedang diajarakan. upaya guru dalam mengembangkan lagu anak dalam pembelajaran tematik pada pendidikan anak usia dini / tk metode pembelajaran yang digunakan meliputi metode demonstrasi, metode tanya jawab, dan metode pemberian tugas (resitesi) evaluasi yang diterapkan di sini adalah individu, dengan dievaluasi akan tampak mana yang mampu menyerap materi dengan baik. meskipun ada juga siswa yang kurang mampu menerima materi seperti yang diharapkan. mengatasi kasus seperti ini, guru akan melatih siswa yang bersangkutan tersendiri dengan memberi materi lagu yang relatif mudah. walaupun begitu dalam praktek pembelajaran seni suara belum memperkenalkan penggunaan baik notasi angka maupun notasi balok. hal itu dikarenakan kondisi siswa yang masih sangat belia dan daya tangkap yang dimilikinya masih sangat terbatas, serta kondisi sosial maupun lingkungan anak kurang begitu mendukung. pengembangan lagu anak-anak yang dilakukan guru antara lain terlihat pada saat guru melakukan improvisasi perubahan syair dalam proses pembelajarannya. selain itu guru juga mencari referensi lagu anak-anak berbahasa inggris lainya melalui internet, terbukti sangat membantu pembenda haraan lagu bagi guru sehingga lagu yang digunakan tidak hanya itu-itu saja. sedangkan pengembangan pemanfaatan perlengkapan elektronik yang berupa sound system yang ada, baik pada tahap pembelajaran motivasi, prosedur maupun evaluasi. penggunaan alat tersebut sangat membantu, karena mempengaruhi ketepatan nada, irama, dan artikulasi dalam melafalkan syair lagu yang dinyanyikan oleh guru benar-benar bisa terdengar jelas oleh siswa, sehingga siswa lebih mudah dan terbantu saat mengikutinya. berikut ini bentuk lagu-lagu berbahasa inggris yang digunakan dalam pembelajaran tema-tema di myschool, antara lain seperti yang diungkapkan salasa elen pagi:dari my schole dan rice liana dari tk tunas rimba cepu tema “my body” dengan model lagu head shoulders knees and toas adalah tema diri sendiri dengan mengganti lirik lagu yang sudah ada dengan menggunakan bahasa inggris sekilas apabila dinyanyikan sangatlah mirip tetapi ada perbedaan yang tidak terlalu signifikan pada notasinya. itu dikarenakan penyesuaian notasi dengan syair yang dipakai kedua lagu tersebut, walaupun arti dari syair kedua lagu tersebut sama. dalam bernyanyi, guru mempraktekan kepada siswa dengan memegang bagian tubuh sesuai dengan syairnya. contohnya, saat syair head (kepala) dinyanyikan, guru sambil memegang head (kepala). gembira do: c, 2/4 conbrio nn 5 5 1 1 1 1 1 1 7 1 2 . 2 5 5 kalau kau su ka ha ti te puk ta ngan kalau 2 2 2 2 2 2 1 2 3 . 3 2 3 kau suka ha ti petik ja ri kalau 4 4 4 3 2 1 2 3 3 3 2 1 7 1 kau suka hati ma ri ki ta laku kan kalau 2 2 2 1 7 7 6 7 1 . 1 0 kausu ka ha ti u lang la gi tidak setiap proses pembelajaran penguasaan kosakata yang tertuang pada lirik lagu selalu disertai dengan pemanfaatan lagu anak-anak. hal ini disebabkan karena menurut para guru lagu anak-anak yang ada dan dikuasainya belum tentu mendukung tema pembelajaran yang ada, dan pembelajaran lagu belum tentu sesuai dengan kondisi lingkungan siswa salah satunya adalah dalam penyampaian materi apapun guru masih menggunakan bahasa daerah. hal ini terlihat bahwa pilihan lagu yang pernah digunakan para guru dalam pembelajaran penguasaan kosakata bahasa indonesia masih sangat terbatas, hanya beberapa guru yang mengajar pada daerah perkotaan dimungkinkan mengganti syair atau lirik lagu dengan menggunakan bahasa inggris. dari sebelas tema yang ada hanya lima tema pembelajaran yang secara khusus dilakukan dengan memanfaatkan lagu anak-anak sebagai media pembelajaran. bahkan pada tema kebutuhanku, rekreasi, komunikasi, dan alam semesta tampak sekali adanya keterbatasan guru dalam memilih lagu yang yang digunakan sebagai media pembelajaran. keterbatasan penguasaan lagu anak bahkan lebih khusus lagu yang sesuai dengan tematema pembelajaran. kendala yang dialami guru dalam memanfaatkan dan mengem bangkan lagu anak-anak dalam pembelajaran tematik kesulitan dalam mengembangkan pemanfaatan lagu anak-anak dalam pembelajaran tematik pada pendidikan anak usia dini/tk dialami oleh para guru yang sedang mengikuti program paud di fip unnes. dari hasil wawancara dan angket, ada sebagian guru yang mampu mengganti lirik syair lagu dengan tema yang sesuai dengan yang akan dilaksanakan seperti pada aktivitas guru dalam mengembangkan lagu anak-anak dengan cara mengubah syair lagu yang dikuasainya dengan syair lagu yang sesuai dengan kebutuhan tema pembelajaran. sebagai contoh guru tersebut mengubah syair lagu ”balonku” menjadi ” jariku”. meskipun dalam penerapannya syair lagu baru yang dikembangkan guru masih terbingkai dalam satu tema pembelajaran yakni tema ”diri sendiri” namun menurut guru tersebut syair lagu baru yang dikembangkan guru mampu menarik perhatian siswa, sehingga proses pembelajaran berlangsung dengan suasana yang lebih menyenangkan. karena anak dihadapkan kepada sesuatu pengalaman yang baru. kendala yang dihadapi dalam pilihan sebelas macam tema, tidak semua diajarkan dalam kegiatan program harian maupun mingguan. dalam penyampaian tema guru lebih memilih untuk disampaikan dalam bentuk cerita maupun kegiatan menggambar. keterbatasan dalam pengajaran tema melalui lagu anak-anak dikarenakan adanya keterbatasan guru dalam perbendaharaan lagu, kesulitan dalam membaca notasi musik yang berupa notasi angka dalam sebuah lagu yang baru dikenal, minimnya sarana kaset maupun cd lagu anak-anak dan keterbatasan dalam memilih lagu sesuai dengan tema seperti tema alat komunikasi. alat transportasi, tanaman, tumbuhan maupun bunga. kendala ini mestinya ada tukar pengalaman pada saat perkuliahan di mata kuliah musik dua. contoh lagu yang dapat ditukar pengalaman seperti lagu kreta apiku kreta api | 5 6 5 4 3 5 | 4 5 4 3 2 . | 4 5 4 3 2 6 |5 654 3 .| kreta api ku lari dengan kencang melintas sawahbu kit ser ta la dang lajulah laju hai kreta apiku bawalah serta ketempat ku tu ju | 5 6 5 4 3 5| 1 1 21 6 . | 67 16 51 | 7 1 2 7 1 . | angin mengejar mencoba menghalang kreta api ku la ri ba gai terbang di sa na a da kam pung halamanku bunyikannyaring se ruling kreta mu pembahasan dalam proses pembelajaran tema-tema, terdapat tahap-tahap pembelajaran yang digunakan yaitu motivasi, prosedur, evaluasi. pada awal pembelajaran guru melakukan kegiatan melalui pembacaan teks atau lirik lagu dan anak menirukan kemudian diteruskan dengan geran tepuk tangan sebagai pemberi ketukan pulsa maupun tepuk birama sesuai dengan isi tema yang akan diajarkan yang pelaksanaanya dilakukan dengan berulang kali. walaupun kebiasaan setiap hari dari guru dan siswa sebelum memulai pelajaran pada pukul 08.30 wib selalu menyanyikan lagu-lagu yang sudah mereka kenali sembari guru menerangkan tema materi baru pada anak. kegiatan rutin ini dilakukan agar dapat membangkitkan semangat pada diri anak untuk selanjutnya anak dapat dengan mudah menerima materi yang akan diajarkan oleh guru. pemanfaatan tema-tema lagu pada umumnya diperoleh melalui kegiatan pertemuan dabin yang dilaksanakan sekali dalam satu minggu. berbagi dalam materi pembelajaran umumnya masih terprogram pada pembelajaran tema nelalui kegiatan bercerita (dongeng) dan pada saat kegiatan makan bersama usaha penyampaian tema-tena pembelajaran dilakukan guru dengan melakukan kegiatan mengganti lirik lagu yang sudah ada dengan mengganti dengan teks sesuai dengan tema yang akan diajarkan. kendala dalam kegiatan mengganti teks umumnya belum mempertimbangkan jumlah suku kata yang semestinya disesuaikan dengan pergerakan melodi lagu aslinya. pemanfaatan dan pengembangan lagu anak-anak dalam pembelajaran tematik di paud/tk yang menjadi subyek penelitian telah dilakukan oleh para guru. pemanfaatan lagu anak-anak dalam proses pembelajaran selain dianggap dapat memudahkan dan memperbanyak jumlah lagu anak-anak yang sesuai dengan 11 macam tema pembelajaran, dapat pula dijadikan sebagai media pembelajaran yang mendukung pesan tema pembelajaran, sehingga membantu anak dalam memahami materi pembelajaran dan menjadikan proses pembelajaran berlangsung dalam situasi yang lebih menyenangkan. bahkan beberapa guru seringkali memanfaatkan lagu anak-anak untuk kepentingan pengelolaan kelas. pemilihan lagu anak-anak yang digunakan dalam proses pembelajaran tematik senantiasa dikaitkan dengan tema yang ada dan lagu model yang sudah dikuasai guru..para guru ada beberapa yang mengalami kesulitan dalam memilih lagu yang sesuai terutama dari lagu baru yang harus dipelajari melalui melodi lagu secara utuh, meskipun ketika untuk kepentingan pengelolaan kelas lagu yang dipilih tidak selalu menyesuaikan dengan tema pembelajaran. meskipun para guru di kedua tk tersebut tidak mengalami kesulitan dalam memilih lagu yang dapat digunakan sebagai media pembelajaran penguasaan kosa kata namun beberapa di antaranya mengalami kesulitan dalam upaya pengembangannya. kesulitan yang dialami para guru ketika mereka harus mencipta syair dan lagu sendiri. dalam mencipta syair lagu kesulitan yang dialami menyangkut masalah pemilihan kata yang sesuai dengan tema pembelajaran, pemenggalan kalimat, dan pemenggalan suku kata yang sesuai dengan melodi lagu dan kalimat lagu. sedangkan dari segi melodi kesulitan yang dialami menyangkut masalah kemampuan menentukan tinggi rendah nada, nilai nada, dan penulisan notasi lagu. saran berkaitan dengan hasil tersebut maka disarankan sebagai berikut: 1. bagi para guru disarankan agar mencoba mengembangkan syair lagu atau lagu baru dengan model pengembangan tema syair seperti alur cerita. sehingga syair lagu atau lagu baru yang diciptakan mendukung penggunaan teks syair lagu baru yang sesuai tema atau pesan pada lagu model yang sering digunakan sebagai strategi pembelajaran penguasaan tema-tema lagu baik dengan menggunakan bahasa daerah maupun bahasa inggris. 2. agar terjadi relevansi antara program-program pembinaan guru pendidikan anak usia dini paud ( tk ) dengan kebutuhan nyata di lapangan, maka bagi lembega-lembaga yang terkait dengan masalah pembinaan peningkatan pendidikan anak usia dini ( tk ), penelitian ini dapat dijadikan sebagai pijakan dalam merencanakan dan mengembangkan bentuk-bentuk kegiatan pembinaan guru yang akan di lakukan. 3. meningkatkan kualitas mengajar guru dalam hal pengetahuan akan tema lagu anakanak berbahasa inggris yang akan digunakan, dikawatirkan apabila guru menggunakan lagu yang tidak sesuai dengan tema serta lagu yang digunakan hanya itu-itu saja atau tidak bervariasi. agar lagu yang digunakan dapat sesuai dengan tema melalui penambahan pembendaharaan lagu dengan mencari di buku-buku lagu anak yang dapat ditemui di berbagai toko buku. daftar pustaka anderson, r.h. 1994. pemilihan dan pengembangan media untuk belajar. jakarta: raja grafindo persada. depdikbud, 1996. musik dan anak. jakarta: proyek pendidikan tenaga akademik depdikbud. jamalus. depdikbud, 1986. musik. jakarta: proyek pendidikan tenaga akademik depdikbud jatmiko, t, dan utomo, u. 1996. musik sebagai sarana mengembangkan kemampuan mendengar. media fpbs ikip semarang, no. 3 th. xix des. 1996, hal 69 s.d 82. mahmud, at. dan fat. 1994. musik dan anak . jakarta: proyek pendidikan tenaga akademik depdikbud. miles & huberman. 1992. analisis data kualitatif. jakarta: ui press, moeslichatoen, r. 1999. metode pengajaran di taman kanak-kanak. jakarta: rineka cipta. moleong, l.j. 2000. metode penelitian kualitatif. bandumg: remaja rosdakarya. rumampuk, d,b. 1988. media instruksional ips. jakarta: proyek pengembangan lembaga kependidikan depdikbud. safrina, r. 1999. pendidikan seni musik. jakarta : depdikbud. sudjarwo, 1988. beberapa aspek pengembangan sumber belajar. jakarta: mediatama sarana perkasa. tim pustaka yustisia, 2007. panduan lengkap ktsp. yogyakarta: pustaka yustisia. vol. 1 no 2 sept_des 2000.pdf harmonia : jurnal pengetahuan dan pemikiran seni peran lokal genius dalam kesenian lokal (the role of local genius in the local art) oleh: wahyu lestari* abstrak lokal genius yang sangat beragam dan dimiliki oleh suku-suku yang ada di setiap kawasan nusantara merupakan tolok ukur peradaban di indonesia. lokal genius menjadi berarti jika dapat dipahami dan dihargai oleh orang-orang yang menggelutinya, sehingga menjadi suatu kebanggaan masyarakat pendukung maupun pelestarinya. jika lokal genius masyarakat kuat, tak perlu ada yang dikhawatirkan akan masuknya unsur budaya luar yang tidak sesuai dengan kepribadian bangsa indonesia. bahkan, lokal genius dari budaya luar dapat dimanfaatkan sebagai pengendali ataupun pemacu kualitas lokal genius yang ada di indonesia. (kata kunci : lokal genius, kebudayaan, kesenian, masyarakat) a. pendahuluan kebudayaan yang berkembang dan menjadi tolok ukur kebudayaan indonesia tidak lepas dari pengaruh budaya lokal, yakni budaya tempatan yang telah terjadi sejak mana pra-hinduisme. pembentukan budaya lokal tidak lepas dari peran para local genius yang menciptakan serta memiliki kemampuan memberikan warna dan nuansa kebudayaan indonesia, yang memiliki 3 ciri pokok, yaitu: pertama, tidak melepaskan unsur asli yang bersifat lokal; kedua, memiliki percampuran dengan budaya religius (hindu, islam, maupun agama lainnya);dan ketiga, kepribadian khas bangsa baik yang dapat diamati secara terbatas (lokal), maupun secara nasional (bangsa) (alfian, 1985). dalam masyarakat majemuk heterogen di indonesia, sangatlah sulit untuk membicarakan satu budaya nasional. akan tetapi hampir semua budaya lokal yang tersebar di setiap kawasan nusantara dapat dinikmati; diterima oleh kawasan di luarnya, bahkan terdapat berbagai budaya lokal yang telah dimiliki oleh suku bangsa lainnya, lebih jauh lagi dianggap sebagai budaya nasional (kartodirdjo, 1993). budaya vol. 1 no. 2/september – desember 2000 29 harmonia : jurnal pengetahuan dan pemikiran seni *staf pengajar jurusan sendratasik/fbs/unnes lokal dari sumatera barat, sangat digemari hampir di seluruh wilayah nusantara (seni tari serampang dua belas; susastra tambo, bahkan seni suara/musik); budaya lokal batak, budaya lokal jawa (sunda, jawa); budaya lokal bali, dan sebagainya, banyak dipelajari dan dimiliki oleh orang-orang yang bukan asli suku bangsa pemilik budaya tersebut. b. tentang local genius peran local genius amat besar arti untuk memahami dan menghargainya sesuai dengan profesinya dalam menghasilkan berbagai bentuk budaya kesenian, tari, musik, bangunan, (terutama bangunan kuno seperti candi), yang dalam tataran kebangsaan kita merupakan kebanggaan bangsa, dan dikagumi oleh masyarakat dunia (wales, 1951). para orientalis memang berpendirian bahwa local genius sangat dipengaruhi oleh pengaruh asing, atau tergantung oleh pasang surutnya pengaruh asing. pendapat itu tidak sepenuhnya benar, sebab sejak masa lampau sampai kini, kesenian lokal tetap bertahan, walaupun pengaruh asing silih berganti, mulai dari pengaruh: hinduisme, budhisme, kristen, islamisme, westernisasi setelah bangsa inggris dan belanda menjajah, bahkan bangsa jepang pada masa perang pasifik menguasai nusantara. dengan demikian peran local genius merupakan potensi lokal yang menentukan jalannya perkembangan untuk suatu daerah tanpa harus menyandang predikat pra-india, sebelum pembaratan, dan sebagainya (soekmono, 1986: 244-245). local genius, yang sering juga disebutkan sebagai pencipta kebudayaan pribumi dengan demikian merupakan konsep budaya suatu sistem yang mencakup berbagai dimensi kehidupan masyarakat bangsa indonesia. salah satu faktor penggeraknya adalah ethos, yang dipandang sebagai suatu faktor yang meresap dalam kompleksitas kebudayaan sehingga dapat menciptakan suatu koherensi antar berbagai unsur, yang selanjutnya menjiwai kebudayaan tersebut dan menimbulkan struktur tersendiri dengan membentuk identitas tersendiri pula. para ahli budaya indonesia, berpendirian, bahwa tidak perlu dimasalahkan bagaimana masuknya unsur budaya luar. unsur budaya yang sekarang ada di dalam kebudayaan daerah secara potensial dapat dianggap sebagai ciptaan tokoh local genius, yang telah teruji kemampuannya untuk bertahan sampai masa kini. tinggal dipilih budaya local genius mana yang vol. 1 no. 2/september – desember 2000 30 harmonia : jurnal pengetahuan dan pemikiran seni dapat dijadikan ukuran dalam pembangunan budaya bangsa. muhardjito (1980: 40) menuliskan hakekat makna lokal genius, antara lain: 1. mampu bertahan terhadap budaya luar 2. memiliki kemampuan mengakomodasi unsur-unsur budaya luar 3. mempunyai kemampuan menginterogasi unsur-unsur budaya luar ke dalam kebudayaan asli 4. memiliki kemampuan kemampuan mengendalikan 5. mampu memberikan arah pada perkembangan budaya mungkin akomodasi muhardjito tersebut masih kurang meyakinkan, maka perlu pula ditambahkan beberapa hal yang dapat dialami dalam naskah ini, misalnya terbina secara komulatif, terbentuk secara evolusioner, tidak abadi (dalam artian tidak beku, tidak memiliki daya berkembang), dapat selamanya nampak secara wantah. dengan mengacu pendapat wales (1951: 2 – 32), sebenarnya local genius secara luas dapat diartikan sebagai proses cultural characteristics, yakni perkembangan dari proses fenomenologis ke sifat kognitif, memiliki dasar: 1. menunjukkan pandangan hidup dan sistem nilai dari masyarakat (orientation) 2. menggambarkan tanggapan masyarakat terhadap dunia luar (perception) 3. mewujudkan tingkah laku masyarakat sehari-hari (attitude dan pattern of life) 4. mewarisi pola kehidupan masyarakat (life style) keterkaitan local genius dengan perkembangan kesenian lokal dapat didekati dengan pendekatan-pendekatan sederhana, sebagai tinjauan pokok-pokok yang bersifat kualitatif dan juga bersifat subyektif, demikian pula dengan dasar berpikir bahwa kesenian lokal, secara local genius dapat ditelusuri orientalitas dan kekuatan ekspresinya yang terkandung dalam karya-karya seni tersebut. pendekatan yang dimaksud, adalah: a. pendekatan unsur : gejala kesenian dirinci atas dasar unsur-unsurnya. jumlah dan komposisi unsur tersebut pada kesenian suatu bangsa dibandingkan dengan yang dimiliki bansga lain yang dianggap sebagai sumber pengaruh. seandainya terdapat unsur yang tidak ada dalam seni bangsa yang mempengaruhi, akan tetapi terdapat dalam unsur bangsa yang dipengaruhi, maka disitulah letak local genius, (misalnya unsur morfologis, unsur yang mudah diamati). vol. 1 no. 2/september – desember 2000 31 harmonia : jurnal pengetahuan dan pemikiran seni b. pendekatan kualitas : dibandingkan antara ekspresi seni “asli” dari kesenian yang memberikan pengaruh dengan ekspresi “lokal” dari kesenian penerima, atas seni yang sama. perbedaan antara keduanya adalah pernyataan local genius pada bangda penerima pengaruh. (dalam tari: msialnya memperhatikan basic stance, jangkauan gerak kaki, jangkauan gerak tangan, kecepatan dan kualitas gerak estetika, kostum rias, dan sebagainya). c. pendekatan fungsi : bentuk budaya kesenian yang sama, yang berasal dari kebudayaan pemberi dapat berganti atau ebrgeser fungsi apabila diambil oleh eksenian penerima (tokoh nima dan arjuna dari legenda india, berubah transformasinya sebagai panji dan kartala). c. local genius dan kesenian guna memahami local genius yang diperlukan dalam rangka mendukung proses modernisasi, perkembangan ilmu pengetahuan, teknologi, dan seni secara wajar, diperlukan pemahaman tentang permasalahan dan tantangan yang dihadapi dewasa ini, terutama dalam bidang kesenian (puspowardjojo, 1986). pada saat mas akedatangan para pedagang hindu, sebagian besar hanya memperdagangkan barangbarang kerajinan saja, sehingga tidak secara langsung merubah tatanan masyarakat tempatan. artinya, kehidupan masyarakat indonesia tidak berubah karena industri kerajinan. hal ini mempermudah masyarakat indonesia untuk tetap mempertahankan local genius yang berlaku ke dalam struktur kehidupan yang telah ada. berbeda dengan perdagangan yang dilakukan oleh orang barat. sifat perekonomian yang kapitalis ditandai dengan beberapa kriteria, yakni produksi masal berdasarkan pasaran kerja yang bebas, sistem keuangan yang memungkinkan arus perdagangan pasar, dan terjadinya persaingan bebas. perdagangan barat ini lambat laun dan secara langsung akan dapat mempengaruhi struktur kehidupan masyarakat, sehingga akulturasi tidak senantiasa menumbuhkan local genius yang berlaku dalam tradisi atau bahkan mungkin akan menghilangkan nilai-nilai mendasar masyarakat tempatan. proses akulturasi seperti ini tentunya akan dirasakan jauh lebih sulit dan berat, seperti masyarakat di asia pada umumnya, di indonesia khususnya. sifat perdagangan yangt erbuka, dan menggunakan teknologi tinggi akan terjadi akulturasi yang bersifat alih teknologi, sehingga masyarakat mampu membuat sendiri sarana dan alat teknologi vol. 1 no. 2/september – desember 2000 32 harmonia : jurnal pengetahuan dan pemikiran seni perdagangan, dengan kualitas yang tinggi dan menciptakan masyarakat yang tidak hanya konsumtif akan tetapi juga masyarakat yang mencoba meniru budaya dan kehidupan barat. di indonesia hal ini cenderung terjadi, dengan bergesernya nilai-nilai tradisional ke nilai-niai modern barat. di indonesia hal ini cenderunga terjadi, dengan bergesernya nilainilai tradisional ke nilai-nilai modern barat. di wilayah asia lainnya terjadi perkembangan yang berbeda. mereka nampaknya berhasil menjalankan proses akulturasi dengan menyerap orientasi, eprsepsi, serta sistem teknologi barat untuk memperkuat ketahanan serta kemampuan dalam memanfaatkan dunia lingkungannya. di indonesia terjadi sebaliknya, pengaruh-pengaruh barat sering dirasakan berhadapan dengan permasalahan disorientasi, disintegrasi, dan disfungsionalisasi dalam bidang-bidang kehidupan masyarakat. masyarakat indonesia memiliki sifat yang cenderung pada sikap eksoteris dan mudah berorientasi pada alam transdental. dan jika orientasi ini tidak diimbangi dengan keterbukaan ke dunia luar, suatu eksoteris, dan ke arah dunia nyata dan konkrit, akan ditemui kesulitan dalam mendorong masyarakat untuk ebrsikap produktif, maju, dan positif terhadap teknologi. untuk ini diperlukan local genius yang merupakan ciri-ciri kebudayaan masyarakat tempatan untuk dijadikan pernagkat dasar proses modernisasi. pengembangan local genius disini dimaksudkan baik secara batiniah (subyektif) maupun obyektif (lahiriah) (puspowardjojo, 1986). kemajuan masyarakat melalui modernisasi, ditentukan oleh dua kriteria (tonybee, 1978), yaitu penguasaan terhadap dunia lingkungannya elalui ilmu pengetahuan, teknologi dan seni (lahiriah), dan melalui perkembangan kemampuan masyarakat untuk menentukan sendiri (self determination). kedua kriteria tersebut merupakan kriteria yang berjalan secara dialektis. kuat dalam pemanfaatan teknologi. akan tetapi lemah dalam self-determination. hanya akan menjadikan masyarakat tergantung pada masyarakat lain. sehingga untuk indonesia diperlukan perkembangan yang seimbang, selaras antara ipteks, dengan sikap-sikap positif dan self-determination. oleh karena itu dalam rangka modernisasi kesenian lokal sangat perlu diupayakan dan ditemukan local genius manakah yang secara endogen berkembang dan tumbuh dalam masyarakat, yang dapat dipupuk dan diungkapkan dalam orientasi, persepsi, sikap, dan pola hidup yang sesuai dan mampu mendukung proses modernisasi tanpa kehilangan kepribadian bangsa dan kesenian sendiri. setiap pertumbuhan kebudayaan dan kesenian selalu berhadapan pada dua paradigma yakni tantangan dan respon. jika vol. 1 no. 2/september – desember 2000 33 harmonia : jurnal pengetahuan dan pemikiran seni tantangan terlalu besar, akan tetapi kemampuan merespon kecil, maka kesenian akan terdesak. sebaliknya jika tantangan kecil, dan respon besar, maka kesenian masyarakat tidak akan tumbuh. dalam kehidupan ebrbangsa, indonesia dewasa ini dihadapkan pada tantangan modernisasi yang besar dan canggih, oleh karenanya masyarakat harus mempunyai kemampuan untuk merespon (menjawab) tantangan tersebut dengan baik. kemampuan merespon tantangan ini hanya akan terbentuk jika local genius dalam segenap kehidupan (orientasi, persepsi, sikap dan pola hidup) dihidupkan, baik bathiniah maupun lahiriah. pusat semua kegiatan tersebut ada pada faktor manusia dan kemanusiaan. mengikuti alur pikiran wales maka terdapat dua alat kaji yang dapat digunakan dalam menganalisis penciptaan seni budaya local, yang dapat memberikan dasar pengamatan jati diri sesuatu kelompok masyarakat, baik bagi kepentingan sosial, ekonomis, kesenian (pertunjukan, tari, musik, arsitektur, seni rupa, dan sebagainya), legenda (cerita rakyat) dan sebagainya. pendekatan ini adalah 1) alat kaji historis difusionis, dan 2) alat kaji strukturalis (danandjaja, 1986: 91). pendekatant ersebut dapat mengungkapkan hipotesis watak kepribadian sesuatu kelompok masyarakat (terutama pada masyarakat jawa). alat kaji historis-difusionis, merupakan langkah pengaamtan bahwa setiap bentuk ciptaan daapt ditelusuri pengaruh-pengaruh awalnya. dalam sejarah indonesia, terutama jawa, hampir semua bentuk ciptaan masyarakat tempatan pendapat pengaruh dari hinduisme, yang erat hubungannya dengan kerajaan jawa hindu dari abad ke-7 sampai abad ke-13. dan kenyataan sejarah, bahwa terdapat juga bentukan local genius yang mirip di kawasan asia tenggara lainnya, yang dipengaruhi oleh budaya hinduisme. contoh yang dekat adalah bangunan candi, bentuk istana, struktur tata kota, cerita legenda, cerita rakyat, kesenian wayang, seni pertunjukan, dan seni musik dan tari. ciptaan-ciptaan tempatan ini, tidak terdapat dalam wilayah sebelah timur, oleh karena tidak ada hubungan dengan kebudayaan hindu. kelemahan pendekatan ini seringkali terjadi bahwa tidak dapat menjelaskan secara rinci bagaimana ciptaan-ciptaan berhubungan dengan kebudayaan tempat mereka kini berada, walaupun sebaliknya dapat juga mempengaruhi mereka. sebagian besar kelemahan ini, jika yang dikaji adalah cerita rakyat atau dongeng. banyak ditelaah, vol. 1 no. 2/september – desember 2000 34 harmonia : jurnal pengetahuan dan pemikiran seni misalnya: cerita fables, cerita panji, hikayat hang tuah, wayang dan sebagainya (geertz, 1963). alat kaji stukturalis, dapat menganalisis kepribadian rakyat setempat, yang mendukung kebudayaan atau kesenian lokal tersebut. sehingga dapat diketahui seberapa jaug penanaman nilai-nilai, sikap, etika dan estetika baik di masyarakat itu sendiri, maupun masyarakat di luarnya yang ikut terpengaruhi. dalam kedua kaji ini, penjiwaan ciptaan local genius selalu terjadi difusi, baik yang difusi hindu dan islam, maupun difusi pengaruh kesamaan bentuk ciptaan. misalnya, seni wayang, mempunyai karakteristik tersebut. kebudayaan yang sangat kuat sifat hindusimenya, dalam tataran penyebaran islam oleh para wali pada jaman kerajaan demak digunakan dengan efektif oleh raden patah. seni wayang yang merupakan jenis seni pertunjukan yang didalamnya memuat jenis-jenis seni yang telah ada, yang semuanya secara seimbang diciptakan sehingga merupakan satu kesatuan yang lengkap. oleh para wali, bentuk manusia yang tidak boleh diujudkan sesuai dengan larangan agama islam, maka diciptakan bentuk wayang kulit yang bersumber pada bentuk wayang raja jayabaya. gambar atau ujud manusia digubah dan disteril sedemikian rupa sehingga bentuk manusianya hilang tinggal wujud yang menggambarkan watak manusia. dalam seni bangunan, bentuk candi yang ada di wilayah asia tenggara memiliki kesamaan fungsi hinduisme, atau kuil pada budhisme. akan tetapi peran penciptaan budaya pribumi dalam ujud local genius, merupakan bentuk dan ragam khas sesuai dengan alam lingkungan masyarakatnya. difusi yangt erjadi adalah maknanya, sebagai tempat pemujaan, makam, ataupun kisah-kisah relief yang merupakan ragam hias seninya. kekayaan alam lokal dibentuk sedemikian rupa sehingga sifat religinya tidak hilang. bangunan masjid kudus, terjadi difusi hindu-islam, tidak menghilangkan makan sebagai tempat ibadah umat muslim. difusi di wilayah kudus inipun terjadi pada tatanan adat kehidupannya. hewan sapi yang dianggap suci oleh umat hindu tidak dijadikan nilai konsumtif, dan diganti dengan kerbau. difusi terjadi juga pada beberapa bentuk tarian klasik jawa, dimana sifat ragam seni hindu diberikan kejiwaan lokal (kejawen) dan juga pandangan-pandangan filsafat islam. vol. 1 no. 2/september – desember 2000 35 harmonia : jurnal pengetahuan dan pemikiran seni d. kesimpulan dari uraian di atas, maka dapat disimpulkan bahwa peran local genius memberikan keterbukaan transformasi strukturalis, dan historis, yang mempunyai fungsi untuk menopang strukturalis kelompok-kelompok masyarakat baru berdasarkan keseimbangan nilai dan sikap serta solidaritas menurut kepentingan bersama. struktur baru cenderung akan mendukung terciptanya sistem jaringan sosial baru sesuai dengan sistem masyarakat yang berkembang kemudian. seni lokal atau kebudayaan lokal dalam ujudnya tidak eprnah menyimpang dari kepentingan yang lebih luas, dikarenakan faktor difusinya yang kuat. karena suatu masyarakat maju, yang berkembang dalam budaya politik modern, terujud dalam nilainilai naisonalismenya budaya nasionalisme dapat diekstralokasikan dalam prinsip-prinsip: persatuan dan kesatuan, kebenaran, persamaan, kepribadian, dan prestasi. sehingga dengan demikian peran local genius, yang esensinya adalah intelektual professional, dan tokoh-tokohnya, selalu berdifusi dalam satu kelompok nation tertentu. sehingga bentuk local personality akan terujud dalam nasional personality. proses kelembagaan ini sangat menentukan karakter baik individual maupun kelektif. daftar pustaka alfian (ed), 1985, persepsi masyarakat tenrang kebudayaan, jakarta: pt. gramedia. bastomi, suwadji, 1992, seni dan budaya jawa, semarang: ikip semarang press danandjaja, james, 1984, folklor indonesia: ilmu gaib, dongeng, dan lainlain, jakarta: grafitipers geertz, h, 1963, “indonesian cultural and communities”, indonesia : 2496, new haven: yale university press kartodirdjo, prof. drs. sartono, 1993, pembangunan bangsa : tentang nasionalisme, kesadaran dan kebudayaan nasional, yogyakarta: aditya media. vol. 1 no. 2/september – desember 2000 36 harmonia : jurnal pengetahuan dan pemikiran seni mahardjito, 1980, hakekat lokal genius dan hakekat data arkeologis, jakarta: pustaka sinar harapan. puspawardjojo, dr. soeyanto, 1986, “pengertian local genius dan relevansinya dalam modernisasi”, makalah yang disajikan pada diskusi ilmiah arkeologi, 1984. soekmono, r., “lokal genius dan perkembangan bangunan sakral di indonesia”, dalam ayat rohendi, 1989, kepribadian budaya bangsa, jakarta: pustaka jaya toynbee, arnold b, 1978, a study of history, tokyo wales, h.g, 1951, “cultural change in greater india”, in jurnal of royal asiatic society. vol. 1 no. 2/september – desember 2000 37 microsoft word harmonia vol x no 1 2010.docx pemanfaatan tari barongsai untuk parisiwata agus cahyono bintang hanggoro putra dosen seni tari fbs universitas negeri semarang email: agus_cahyono69@yahoo.com bintang_hp@yahoo.com abstrak the problem studied is the form of performance and barongsai choreography elements that are applied to help offering dan increasing the selling point of cultural tourism in semarang. the objective of the study is to describe the form of performance and choreography elements of barongsai as cultural tourism so that it can help the selling point of cultural tourism in semarang. the result of the study, in general, is expected to be of beneficial as a theoretical and practical input to the related parties. in particular, the result of the study can provide empirical input for the artists, art observers, policy makers related to the cultural tourism. the method of the study uses qualitative approach. the study site was in semarang. the data was collected by using controlled observation technique, deep interview, and documentary research. the data acquired is analyzed qualitatively by using interactive cycle model through reduction, presentation and verification process. the validation of the data and the analisys was done through trianggulation among research team. the result shows some findings. first, the form of barongsai performance as cultural tourism is solid coreoragphy. second, the coreography of barongsai dance contain attractive elements and environmentally sound. kata kunci: tari barongsai, pariwisata, koreografi padat, attractive, berwawasan lingkungan pendahuluan pertunjukan barongsai dalam upacara ritual tahun baru imlek sarat akan beragam simbol yang dipergunakan dan tertata di dalamnya. bermacam-macam simbol yang tidak selalu dapat diinterpretasikan sejalan dengan pemahaman pikiran, bahkan cenderung dikatakan abstrak mengandung aspek-aspek seni pertunjukan. simbol-simbol yang beragam ini yang menjadi tempat bersandar bagi para jamaahnya untuk maksud serta keperluan tertentu, mengetengahkan sajian seni pertunjukan yang berangkat dari kepentingan tidak serupa. aspek-aspek seni pertunjukan yang memiliki kadar estetis terkandung di dalam upacara ritual tahun baru imlek yang dilangsungkan dengan cara arak-arakan. keindahan yang terwujud pada upacara ritual tahun baru imlek sebagai bentuk tontonan yang menyajikan aspek-aspek estetis di dalamnya. aspek-aspek yang divisualkan dan diperdengarkan mampu mendasari suatu perwujudan yang disebut sebagai seni pertunjukan (kusmayati 2000:75). berkaitan dengan hal tersebut, maka sebenarnya potensi yang ada di lingkungan kampung semawis dan kelenteng sam po kong gedong batu di kota semarang, khususnya tari barongsai, dapat dikembangkan dan disajikan sebagai komoditas unggulan dalam wisata budaya. pada hakikatnya, wisatawan mengunjungi tempat-tempat wisata, di samping ingin melihat, juga ingin ikut merasakan atau bersentuhan dengan kehidupan masyarakat setempat, seperti adat dan perilaku, makanan khas, kerajinan atau cindera mata, dan pertunjukan tari (budihardjo 1995: 8). dengan demikian, untuk menjawab permasalahan di atas tentu saja para seniman tidak lagi harus terpaku dengan konsep-konsep yang diajukan oleh para pengusaha pariwisata saja, tetapi juga mempunyai kedudukan yang kuat untuk merumuskan bagaimana bentuk ideal kemasan wisata dalam dunia seni pertunjukan tari. dalam konteks tari untuk pariwisata dengan segala keunikan implementasinya, tari barongsai dapat dimanfaatkan sebagai alternative para pelaku seni dan komunitas masyarakat pendukung seni untuk menunjukkan kreasi barunya yang berbentuk sajian padat, attractive, dan berwawasan lingkungan. untuk mengetahui bagaimana aspek-aspek dan bentuk penyajian koreografi tari barongsai, yang dapat membantu menawarkan dan meningkatkan nilai jual khasanah seni budaya kota semarang sebagai objek daya tarik wisata budaya, maka perlu dikaji secara mendalam: (1) aspek-aspek koreografi tari barongsai dan (2) bentuk penyajian tari barongsai yang dapat diimplementasikan sebagai seni wisata. seni pertunjukan tari penciptaan tari melibatkan aktivitas dengan beberapa tahapan yaitu eksplorasi, improvisasi, komposisi, yang mengkomunikasikan pikiran, perasaan, dan gambaran. penciptaan tari didukung oleh perkembangan fisik dan kemampuan ekspresi dengan dukungan kecermatan penginderaan dan kepekaan rasa. kemampuan mencipta tari berkembang sejalan dengan perkembangan kesadaran dan pemahamannya tentang unsur-unsur dan proses pembentukan koreografi. unsur koregrafi adalah sebagai berikut : (1) gerak, (2) ruang dan (3) waktu. dalam mengorganisasikan dan membentuk struktur tari, unsur-unsur koreografi yakni gerak, ruang, dan waktu, ditentukan oleh proses pembentukan. perangkat pengorganisasian tari antara lain repetisi, simetri/asimetri, keserempakan, kontras, dan pakem (kaedah). perangkat pembentukan tari adalah motif, naratif, pola repetisi, klimaks, dan improfisasi. makin banyak seseorang memperoleh pengalaman berkarya, makin mampu mengolah unsur-unsur koregrafi dan proses pembentukan untuk mengekspresikan gagasannya. seni pertunjukan wisata wisata budaya memiliki potensi yang besar untuk dikembangkan, apalagi jika melihat kekayaan seni budaya yang dimiliki bangsa indonesia sangat beragam, dengan ciri khas dari masing-masing daerah. keunikan budaya masyarakat seringkali menarik minat wisatawan, oleh karena itu keunikan budaya tersebut perlu dijaga agar nilai-nilainya tidak berubah atau menurun mutunya. keunikan budaya dapat diwujudkan dalam bentuk cindera mata untuk lebih memberi kesan yang khas dan mengingatkan wisatawan pada daerah wisata yang dikunjungi (hutama 2006: 90). seni pertunjukan yang dimanfaatkan untuk kepentingan kegiatan pariwisata, oleh j. maquet (dalam hersapandi 2003: 128) disebut art by metamorphosis (seni yang telah mengalami perubahan bentuk, atau art of acculturation, atau peudo-traditional art, atau yang lebih populer tourist art (seni wisata). bentuk seni dalam kemasan wisata membawa konsekuensi logis adanya interpretasi dan kreativitas yang disesuaikan dengan selera atau kebutuhan wisatawan. konsep seni wisata di negara berkembang dirumuskan dengan lima ciri, yaitu: (1) tiruan dari aslinya; (2) singkat, padat, atau bentuk mini dari aslinya; (3) penuh variasi; (4) ditanggalkan dari nilai-nilai sakral, magis, serta nilai-nilai simbolisnya; dan (5) murah harganya menurut ukuran wisatawan (hersapandi 2003: 128). format seni wisata tentu saja akan dipengaruhi oleh kualitas intelektual pelaku pariwisata sebagai operator pariwisata. koreografi padat, attractive, dan berwawasan lingkungan menempatkan seni tari dalam komoditas pariwisata merupakan satu pelebaran fungsi yang sementara ini diemban oleh seni tari. tari bukanlah karya seni yang dengan mudah berubah bentuk ketika harus berhadapan dengan satu misi yang berbeda. untuk mendukung program pariwisata, tari hanyalah sebagai objek yang perlu didandani sesuai dengan misi yang harus diembannya, bahkan tari terpaksa harus mengurangi dan bahkan merelakan kekuatan komunikasinya dan kekuatan informasinya akibat tuntutan teknis seperti durasi waktu dan pemindahan konteks lingkungan hidupnya. sebagai satu alternative yang sementara ini diperhadapkan dengan nilai jual adalah bagaimana menjadikan satu bentuk sajian koreografi padat. pengertian padat diarahkan pada durasi sajian yang tidak membutuhkan waktu yang panjang, yang oleh karenanya seringkali tidak mampu lagi menjaga keutuhan karya seni, tetapi lebih mengarah pada sekedar keindahan mengolah gerak dan kemolekan pelaku geraknya (suprihono 1992: 72-73). koreografi kemasan wisata semestinya merupakan koreografi yang tidak terlalu membutuhkan waktu sajian panjang. hal ini disebabkan oleh kepentingan wisatawan yang kegiatannya senantiasa dibatasi oleh waktu kunjungan, atau lebih tepat lagi barangkali karena jadwal kunjungan yang sudah diatur, diperketat guna kepentingan perusahaan yang mengelola dengan pengaturan paket yang akan diikuti oleh para wisatawan. dalam kriteria pada waktu dan sajian ini, pelaku seni haruslah menyadari arti pentingnya waktu bagi dunia usaha. untuk itu sangatlah penting bagi seniman tari menghitung kembali berbagai proses kreasinya yang harus disesuaikan dengan nilai-nilai ekonomis, yang disyaratkan oleh para pengusaha pariwisata (suprihono 1992: 72-73). penciptaan koreografi padat tentu tidak semestinya untuk meninggalkan unsur-unsur estetik lainnya seperti kekuatan komunikasi antara penonton dan karya seni, disamping juga kualitas karya seni yang senantiasa harus dijunjung tinggi oleh para pelaku seni. unsur-unsur estetik karya seni kemasan haruslah tetap menjadi pertimbangan penting bagi seorang atau sekelompok orang pelaku seni pertunjukan wisata. karya seni wisata haruslah mencerminkan kondisi budaya dimana kesenian hidup. selanjutnya, koreografi mampu membuat daya tarik tersendiri dengan menyajikan model-model akrobatik yang pantas untuk dilihat. penonjolan akrobatik yang disajikan merupakan sentral interes yang menguntungkan bagi sajian pentas di lingkungan dimana tari hidup. berbagai uraian di atas diharapkan mampu memberi pemahaman akan pentingnya menyatukan koreografi dengan lingkungan pergelarannya. setiap koreografi yang disajikan tetaplah memiliki daya pikat yang berada dalam penataan tari yang tepat baik penempatan misi dan pengolahan temanya. idealisme seniman semestinya tampil menentukan arah bagi seni kemasan yang padat tetapi aktraktif dan tidak meninggalkan lingkungannya (suprihono 1992: 72-73). metode penelitian pendekatan penelitian yang digunakan adalah pendekatan etnografi, dengan lokasi penelitian di kota semarang. teknik pengumpulan data menggunakan studi dokumen, wawancara mendalam, dan observasi. teknik analisis data dilakukan dengan merujuk model analisis siklus interaktif sebagaimana disarankan oleh miles dan huberman (1992). hasil dan pembahasan pelaksanaan pertunjukan barongsai di semarang pada masa lalu berbentuk arak-arakan dari kelenteng gang lombok menuju kelenteng gedong batu yang diakhiri dengan demonstrasi di depan kelenteng. pada masa sekarang, upacara itu masih tetap dilaksanakan, bahkan penampilan barongsai tidak hanya satu tetapi berbentuk parade barongsai dari beberapa grup. di semarang terdapat beberapa grup barongsai, di antaranya adalah: naga sakti, hoo hap, satya budi dharma, teratai putih, kaipang, dinasti, chilung whan, dharma hangga taruna, taichi master, dragon master dan lain-lain. masing-masing grup memiliki anggota sekitar 15 sampai 20 orang yang terdiri dari anak-anak (usia 7-11 tahun) dan remaja (usia 15-25 tahun). aspek-aspek koreografi pertunjukan barongsai ada berbagai cara untuk memainkan barongsai, namun masingmasing mengikuti pola dasar yang sama. delapan elemen dasar barongsai adalah: tidur, membuka, bermain, mencari, berkelahi, makan, penutup, dan tidur. tidur biasanya urutan tarian tidur dibagi ke dalam tiga bagian, yaitu: tidur, bangun, dan membersihkan/cuci. tari yang diawali dengan bangun dari kesadaran/tidur merupakan kesadaran roh, memulai sesuatu dari yang baru. pembersihan yang memberikan arti hal-hal yang kotor, sial atau yang lama, disegarkan kembali atau dibersihkan. membuka hal pertama yang singa lakukan adalah membungkuk tiga kali sebagai simbol pembawa berkat. pada budaya lain, mengangguk 3 kali mempunyai arti hormat. dalam budaya cina, tiga kali membungkuk/mengangguk adalah tanda dari penghormatan yang dalam terhadap seseorang atau sesuatu. angka tiga dapat ditemukan berulang pada seluruh rutininitas dan sering terlihat pada tradisional numerologists sebagai "nomor sempurna," atau jumlah kelengkapan. tiga anggukan kepala barongsai setelah pembersihan juga dapat diinterpretasikan sebagai tanda yang sempurna atau telah selesai pembersihan yang tidak hanya membersihkan tubuh, tapi roh dan jiwa juga. bermain setelah menunjukan hormat terhadap sesuatu yang akan diberkati, singa mulai bermain. singa dapat bermain dengan apa yang ada di sekitarnya, seperti melompat di atas sesuatu, atau melakukan tindakan penyeimbangan dalam menunjukkan kemampuan yang besar. singa itu menunjukkan kemampuan dan kualitas sebagai pahlawan dengan melakukan pertunjukan yang luar biasa kepada penonton. hal yang paling umum untuk singa bermain adalah menggunakan bola, atau mutiara. menurut dr franz von ml, lingkaran dianggap sebagai simbol "totalitas dari jiwa dalam semua aspek, termasuk hubungan antara manusia dan seluruh alam" (jung, 266). lingkaran jung menunjukkan, juga dapat foto penyembuhan, atau keutuhan (jung, 285). bola merupakan perwakilan dari tiga dimensi lingkaran. sejak barongsai dilakukan untuk mengembalikan sesuatu yang bersih, murni/suci, ini nampaknya foto yang sedang diproyeksikan singa yang mengejar pembersihan dari roh jahat dan pemulihan hubungan antara manusia dan alam. yang ideal, atau tujuan diproyeksikan sebagai mutiara yang besar, menunjukkan bahwa pembersihan yang baik dan berharga. pencarian setelah singa selesai bermain, ia mulai mencari makanan. singa terlibat dalam peperangan secara spiritual dan membutuhkan sesuatu untuk mempertahankan diri. singa menjadi "pahlawan pada quest" (jung, 101). ini merupakan ujian yang ia harus lulus satu inisiasi ritual kesal. dalam kompetisi dan penampilan tradisional, terdapat berbagai kendala yang harus diatasi singa untuk mendapatkan makanan. singa harus sangat terampil dalam rangka mencapai tujuan untuk mendapatkan makanan. penampilan keterampilan ini juga berfungsi untuk memperkuat presepsi singa yang lebih besar-daripada-kehidupan tokoh pahlawan. berkelahi perkelahian singa akan terlihat jika terdapat lebih dari satu singa dalam melakukan ritual. setelah makanan ditemukan, yang berperang adalah dimulai dari seluruh singa yang menjadi hambatan di masa lalu. meskipun singa berasal dari kelompok yang sama, mereka akan tetap berjuang untuk menentukan mana yang akan mendapatkan hadiah. sekali lagi, ini adalah contoh dari singa menunjukkan kebolehan atau kualitasnya. saat ini singa mengalahkan kompetitornya. dalam hal ini sebagai bagian dari tari barongsai, singa harus menunjukkan semangat dan kekuatan untuk mengatasi lawannya. makan makanan singa biasanya ditemukan pada bagian akhir tali/ranting. dapat terdiri dari hampir semua makanan, tetapi paling umum adalah daun selada dan jeruk keprok. daun selada atau chin adalah simbol dari kekayaan dan keberuntungan. jeruk keprok/jeruk bali yang melambangkan umur panjang, dan ini dapat dijelaskan dalam bentuk yang bulat. singa memakan semua itu ke dalam mulutnya dan setelah mengoyak selada dan menyebarkan kepada penonton. menyebarkan ini melambangkan kekayaan dan berkat yang sebenarnya pada bagian tari barongsai ini. singa meludah yang secara tradisional dilakukan tiga kali. setelah ke kiri, kemudian ke kanan, kemudian ke tengah. ini adalah berkat, berkat yang sempurna. empat jeruk yang dapat dilihat sebagai "mandalas," atau lingkaran, persegi, merupakan simbol lain keutuhan (jung, 280). pengantungan pada tali merah adalah amplop merah berisi uang sebagai korban ke singa. seperti di banyak agama, yang berzakat atau menawarkan atau menumbang sangat diperlukan sebagai tanda terima kasih untuk berkat. penutup penampilan telah selesai dan berkat telah diberikan, sehingga singa datang ke akhir nya ceirta. ia membersihkan diri dan janggut-nya sekali lagi membuat tiga anggukan. seperti sebelumnya setelah selesai membersihan diri dilakuakn3 kali anggukan lagi yang melambangkan akhir pada bagian akhir penampilan. setelah menyelesaikan tugas-nya, ia sendiri mencuci dan memberikan 3 anggukan hormat. tidur singa kembali dalam mimpi menutup cerita, dan kembali menjadi tenang. setelah melakukan apa yang disebut diatas, singa kembali ke dalam dunia mitos. semua telah kembali normal dengan pengecualian yang diberikan berkat, iblis takut dan pergi. dengan berakhirnya upacara, maka pengamat kembali dari perjalanan suci dalam waktu dan dapat terus hidup, tetapi dengan kehidupan diperpanjang. musik musik dari barongsai dipimpin oleh drum dan disertai dengan gong dan gembrengan. barongsai menggabungkan kedua insturmen menjadi alat ritual. dalam alkitab, gong dan gembrengan sering digunakan dalam perayaan dan juga sebagai pujian kepada tuhan (1 tawarikh 13:8, mazmur 150:5, dll). dalam seni tari barongsai, musik yang membangunkan singa dan dia memberikan berkat. masing-masing tiga (angka sempurna) instrumen mempunyai dasar yang sama bentuk lingkaran (simbol selesai dan pemulihan). petasan kebisingan dari bunyi petasan, bersama dengan musik dan keganasan dari singa diduga untuk menakuti roh jahat. pentingnya simbol api dapat dilihat tidak hanya pada petasan, tetapi juga dilukis pada kepala singa dan peralatan lainnya. asap dari petasan berkaitan dengan asap dari dupa. banyak agama menggunakan kemenyan, karena asap naik ke dalam surga bersama-sama dengan permohonan dari doa, harapan. bentuk pertunjukan barongsai pertunjukan barongsai pada dasarnya merupakan seni pertunjukan arak-arakan. namun, tidak menutup kemungkinan pertunjukan barongsai berupa demonstrasi atraksi di suatu tempat. pertunjukan barongsai selalu diawali dengan penghormatan, dilanjutkan permainan bendera, permainan barongsai, dan penutup. masing-masing bagian merupakan bagian yang menyatu dan saling mendukung. penghormatan penghormatan merupakan bagian paling awal dalam setiap pertunjukan barongsai. penghormatan dilakukan oleh pemandu atau ketua tim kepada sesepuh kelenteng (apabila permainan barongsai dilakukan di kelenteng) atau kepada pemilik rumah yang memberi derma berupa angpau serta kepada penonton di tengah arena. sikap penghormatan pemandu atau ketua tim dilakukan dengan cara membungkukkan badan dan menelangkupkan kedua tangan di depan dada. anggukan dengan membungkukkan badan itu dilakukan tiga kali berturut-turut, yang dilanjutkan oleh pemain bendera. sikap penghormatan pemain bendera adalah dengan memegang bendera dengan kedua tangan kemudian berjongkok. tangkai bendera disentuhkan pada tanah dan menundukkan kepala tiga kali. penghormatan berikutnya dilakukan oleh barongsai dengan cara berjalan ke tengah arena. sesampai di tengah arena barongsai menganggukkan kepala sambil menggerakkan kaki kanan depan tiga kali, kemudian mundur, dan meninggalkan arena. penghormatan ini dilakukan dengan tujuan untuk memberikan rasa hormat kepada penonton, pimpinan kelenteng, atau pemberi derma. selain itu penghormatan juga ditujukan kepada para leluhur dengan harapan agar permainan barongsai dapat berjalan lancar tanpa gangguan. permainan bendera permainan bendera dilakukan oleh satu atau dua orang pemain bendera. bendera yang dibawa dan dikibarkan yang terikat pada tongkat adalah bendera perguruan atau bendera simbol masing-masing grup barongsai yang kebanyakan berwarna dasar hitam dan berbentuk segitiga sama sisi dengan rumbai-rumbai yang berada di tepi alas segi tiga. selain bendera perguruan, biasanya dimainkan pula bendera persatuan seni dan olah raga barongsai indonesia (persobarin). bendera persobarin juga berbentuk segi tiga sama sisi dengan warna dasar merah. permainan bendera dilakukan dengan melakukan gerakan-gerakan cepat dan dinamis. bendera diputar-putar dengan kedua tangan di depan dada, kemudian secara cepat dipegang tangan kanan melingkari punggung dan ditangkap oleh tangan kiri. gerakan-gerakan cepat juga dilakukan dengan memutar bendera melingkari kaki, punggung, dan dada. permainan barongsai bagian inti dalam pertunjukan barongsai adalah permainan barongsai. pada bagian ini ditampilkan atraksi barongsai baik di lantai maupun di atas tonggak. permainan barongsai di lantai adalah atraksiatraksi yang dimainkan oleh para pemain barongsai tanpa menggunakan alat peraga bantu. demonstrasi gerak di lantai biasanya dilakukan dengan gerak singa berdiri, yaitu sebuah atraksi yang dilakukan dengan mengangkat pemain bagian depan yang memegang kepala oleh pemain belakang yang menjadi badan dan ekor. selain itu dilakukan pula gerakan berguling, yaitu pemain depan dan belakang berguling bersama-sama ke arah yang sama, sehingga terlihat seperti singa yang sedang bergulingguling. atraksi-atraksi di lantai divariasikan dengan pameran gerakan ekspresif, yang dilakukan dengan posisi diam, dan hanya kepala yang sedikit bergerak sambil kelopak matanya berkedip-kedip serta telinga yang digerak-gerakkan. variasi ini dapat menghidupkan suasana karena apabila pemain barongsai itu trampil maka, penonton akan melihat seolah-olah benar-benar seperti seekor singa yang sedang duduk, atau jongkok bahkan, dapat berkesan seperti singa yang sedang merunduk akan menangkap mangsanya. permainan barongsai di atas tonggak adalah permainan yang menggunakan alat peraga bantu berupa tonggak-tonggak besi yang dijajarkan. kadang kala antara tonggak-tonggak itu diberi tali berukuran besar yang digunakan untuk meniti. dalam permainan ini dituntut keterampilan pemain, kedisiplinan gerak, serta kekompakan kedua pemain depan dan belakang. permainan barongsai di atas tonggak menunjukkan gerakan akrobatik dengan melompat di antara tonggak-tonggak yang berketinggian satu meter sampai tiga meter. variasi yang sering dilakukan dalam permainan ini adalah meniti seutas tali. penutup sebagai penutup seluruh acara dalam pertunjukan barongsai, biasanya ditampilkan gerakan singa berdiri dan berjalan berkeliling arena pentas. bagian ini dimaksudkan sebagai tanda, bahwa grup barongsai itu mohon diri, mohon pamit kepada penonton maupun para sesepuh kelenteng. simpulan dan saran simpulan hasil penelitian menunjukkan hal-hal sebagai berikut. pertama, bentuk pertunjukan barongsai sebagai seni wisata adalah koreografi padat, artinya dikemas secara singkat dan padat tetapi tidak mengurangi alur koreografinya. pertunjukan barongsai selalu diawali dengan penghormatan, dilanjutkan permainan bendera, permainan barongsai, dan penutup. kedua, koreografi tari barongsai mengandung unsur yang attractive, dan berwawasan lingkungan, yakni penuh kombinasi akrobatik yang menarik bagi penonton dan dapat dilakukan dengan baik oleh penarinya serta tetap menjaga dan memanfaatkan lingkungan sekitar sebagai setting pertunjukan yang terdiri dari tidur, membuka, bermain, mencari, berkelahi, makan, penutup, dan tidur. saran berdasarkan hasil penelitian saran penting yang dapat dikemukakan adalah perlu kerjasama yang baik dalam penggarapan koreografi yang berpijak pada komposisi tari modern dan tradisional dan keseriusan dalam berlatih baik penguasaan dasar-dasar tari maupun penggarapan koreografi. daftar pustaka kusmayati, a.m. hermin. 1999. “ seni pertunjukan upacara di pulau madura 1980-1998”. disertasi untuk meraih gelar doktor dalam ilmu sastra, universitas gadjah mada, yogyakarta. ,. 2000. arak-arakan seni pertunjukan dalam upacara tradisional di madura. yogyakarta: tarawang press. miles, m.b. dan a.m. huberman. 1992. analisis data kualitatif. terj. t.r. rohidi. jakarta: u.i press. suprihono, arief e. 1992. “tari untuk pariwisata format baru seni pertunjukan indonesia”. dalam seni jurnal pengetahuan dan penciptaan seni.vol.ii/03-juli 1992.bp isi yogyakarta _______, 1992. “ tari untuk pariwisata koreografi padat, attractive, dan berwawasan lingkungan”. dalam seni jurnal pengetahuan dan penciptaan seni.vol.ii/04-oktober 1992.bp isi yogyakarta 62 the development of the indonesian culture gunungan design: wayang godhong “smoking violated” agus purwantoro1, nadia sigi prameswari2, roziani binti mat nashir @ mohd nasir3 1universitas sebelas maret, indonesia 2universitas negeri semarang, indonesia 3universiti teknologi mara cawangan kelantan, malaysia submitted: 2022-05-16. revised: 2022-06-05. accepted: 2022-06-28 abstract this study explores the development of innovative wayang craft designs in magelang, central java, indonesia. this is necessary research because wayang functions as a medium of contextual communication between the puppeteer and an audience by transmitting the values of life through entertainment. however, it is rare to find all-night-long wayang performances currently; there is a considerable probability of this craft going extinct in the next few years. this is a research and development method. the type of research and development uses the addie model. data collection techniques were carried out through interviews, observations, and documentation of wayang godhong. the respondents were tobacco farmers and puppeteers in magelang city, central java province, indonesia. the result led to the development of wayang godhong design which adopts the structures and shape of tobacco leaves. despite the use of this leaf, the message “smoking is violated” is boldly written on its body. the researcher also implemented the wayang godhong product through a puppet show entitled “smoking violated” performed on youth and social activists in magelang regency. the message from the show is social criticism to the public of the prohibition on smoking in public places, which is still being violated. the results showed that the public accepted the wayang godhong performance and positively impacted public knowledge and awareness regarding the prohibition of smoking in public places. keywords: design innovation, indonesian culture, gunungan, wayang, performance how to cite: purwantoro, a., prameswari, n. s., & nasir, r. b. m. n. m. (2022). the development of the indonesian culture gunungan design: wayang godhong “smoking violated”. harmonia: journal of arts research and education, 22(1), 62-77 harmonia: journal of arts research and education 22 (1) (2022), 62-77 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v22i1.36525 diversity and social character, packaged in the control system of nationality, also promote the birth of new cultures. the indonesian culture has become part of the world heritage hornell (1934) due to its thick uniqueness in providing new insights for foreigners (heryanto, 1998). this uniqueness has made it even more popular in the modern era (yulianti et al., 2020). this culture introduction many academics and intellectual figures consider social phenomena as part of cultural products (frederick, 1982). according to rianti et al. (2018), geographical areas and plural societies promote cultural diversity in the community. meanwhile, efferin & hopper (2007) stated that ethnic corresponding author: e-mail: goespoer13@staff.uns.ac.id p-issn 2541-1683|e-issn 2541-2426 agus purwantoro, et al., the development of the indonesian culture gunungan design 63 is also an identity that needs to be preserved by breaking the post-modernism paradigm through local traditions (yudhistira & fatmawati, 2020). hence, cultural diversity needs to be the people’s responsibility josefine (2019), along with the heated issue of cultural claims from foreign countries (chong, 2012). indonesia is historically full of noble cultural and traditional values (herlambang et al., 2021). various cultures create diversity, including wayang, an epic show that generally tells about the heroism of good characters against flawed characters. puppets have become a part of people’s lives, especially javanese people, through several historical events with their current existence in indonesia (nurgiyantoro, 2011). besides, unesco has officially labeled it as a masterpiece of oral and intangible heritage of humanity (bogie et al., 2008). this is based on cultural treasures that are full of messages and moral values in society (purwantoro et al., 2021). wayang has gone through several historical events with its current existence as part of the life of the indonesian people, especially the javanese (nurgiyantoro, 2011). unesco officially labelled wayang as a masterpiece of oral and intangible heritage of humanity (bogie et al., 2008). it is based on the cultural treasures full of moral messages and values in society (purwantoro et al., 2021). wayang is currently an identity and part of the formation of the nation’s character. therefore, it is essential to preserve this culture (ajidarma, 2017). it has grown with traditional societies in the post-colonial era, the dutch east indies (downes, 2012). it even has its place as a medium for preaching in the walisongo era (anggoro, 2018). edward gordon craig describes wayang as becoming popular in the early 19th century until richard teschner adapted it for staging purposes on european stages (cohen, 2007). the crowd of wayang puppets has occurred since its popularity in the post-colonial era which then continued until it was played by the legendary puppeteer ki nartosabdo in the 1980s (jazuli, 2009). in the past, wayang performances contained stories from the wayang world, and the show was done all night long. hence the location became noisy. but along with the times, wayang performances have transformed into a medium to convey teaching (purwantoro et al., 2021). in the modern era, the wayang journey has gradually sunk with the introduction of more exciting and addictive global media (lis, 2014). according to nurgiyantoro (2011), the stage is usually quiet nowadays, with only indigenous people and a handful of youngsters still in love with wayang performances. the younger generation in the 2000s started to decline in their interest in watching wayang shows due to many factors (gusti, 2013). therefore, this tradition faces threats from developing a western culture that seems more attractive and modern to the public (agustin, 2011). on the other hand, most youth generations consider this performance ancient and conventional (samptaningtyas et al., 2019). innovation and novelty are needed without abandoning the traditional values (irianto, 2017) to preserve the existence of this culture. according to wahyudi (2016), wayang needs adequate attention through design innovation to attract the younger generation and help preserve this noble culture. a more modern, unique, and contextual design is expected to be able to educate and become an incentive in stimulating wayang in this sophisticated era (arsyad, 2009). therefore, one of the media developed to help boost knowledge of this tradition is the wayang godhong, a unique and modern (lestaningrum & jayanti, 2019) tool made from leaves (akmal, 2018). contemporary puppets made from teak godhong (leaves), cloves, and coffee are part of the ideas of agus purwantoro (known as gus pur). gus pur’s communication through wayang godhong aims to transform the function of wayang, which was initially only a character in the show, then turned into an educational medium to convey stories about virtue and messages about life. since 2010, gus pur has perforharmonia: journal of arts research and education 22 (1) (2022): 62-7764 med many performances related to educational activities using wayang godhong. one of which is a performance of wayang godhong at the pengayoman pavilion in temanggung at a book discussion about giharu’s novel “trilogi kehidupan sederhana.” another show performed by him was the wayang godhong show entitled “guru kencing berdiri, murid kencing berlari” which was carried out as a medium for transforming education to love culture and nature from an early age at harapan bunda kindergarten, magelang regency. in 2021, agus purwantoro (gus pur) also conducted training on making wayang godhong made from dried leaf waste and performed it in a simple way with children at the mijilan art studio, pringapus village, kalisalak, salaman, magelang regency, central java. based on previous research conducted by lestaningrum & jayanti (2019), it is known that wayang godhong is an alternative learning media that utilize the surrounding environment and is fun for children to be able to explore various kinds of new knowledge that can be applied in daily life. meanwhile, lestari & wulansari (2018), in their study of the use of puppet shows as a media for health promotion, it is known that puppet shows can become interactive media in providing motivation and knowledge to adolescents regarding smoking, drugs, and promiscuity problems. furthermore, another study conducted by kursista et al. (2009) stated that the health promotion method by using innovative balinese puppet media and speech methods could improve the knowledge and perception of the head of a family in hiv/aids prevention. in this research, the authors developed a wayang godhong design inspired by tobacco leaves as a form of resistance from its farmers. tobacco leaves were chosen because of their texture, which symbolizes the aesthetic elements of fire and smoke, and its similarity to the foundation of the puppet gunungan. it is expected to increase the motivation of young people to understand the philosophy of wayang, which is part of indonesia’s cultural history, and as a health, promotion media to invite the youth generation to stop smoking in public places. method this research is a qualitative approach with the type of research using research and development. qualitative research is a research method used to examine the condition of a natural object where the researcher is the crucial instrument (sugiyono, 2014). qualitative research is suitable for solving a research problem whose unknown variables need to be explored (creswell, 2013). meanwhile, the development model used in this research is addie. this model is considered simpler and allows developers to revise the process (nova et al., 2021). this process helps focus on the goal achieved by quantitative and qualitative research in the art media development process (aruna et al., 2021). this research focuses on developing the “smoking violated” wayang godhong product design and its implementation in wayang performances for the younger generation. there are five steps in the development of wayang godhong. this model consists of five steps, namely: (1) analysis, (2) design, (3) development, (4) implementation, and (5) evaluation. in the first stage, an analysis of the cultural and environmental conditions of the community; (2) puppet structure analysis; (3) tobacco leaf structure analysis; and (4) image “no smoking” analysis. a sketch of the gunungan wayang godhong was drawn in the second stage. in the third, the development of making wayang godhong using wood is carried out. in the fourth stage, product implementation is carried out through a wayang godhong performance performed by agus purwantoro (gus pur). meanwhile, all researchers evaluated the wayang godhong products in the fifth stage. the data collected through the implementation of formative evaluations are grouped into two parts, namely: (1) the first stage of evaluation data in the form of agus purwantoro, et al., the development of the indonesian culture gunungan design 65 wayang godhong design from tobacco farmers, (2) second stage evaluation data in the form of wayang godhong design from puppeteers expert test results, and (3) third stage of evaluation data in the form of wayang godhong design from chairman of the ketoprak association of temanggung regency. data collection was carried out through interviews, observation, and gunungan wayang godhong product documentation. interviews were conducted with puppet experts and tobacco farmers. observations were made by observing the environment where the puppeteers lived, tobacco plantations, and tobacco farmers in the magelang area, central java province, indonesia. the respondents in this study consisted of two people, namely: (1) sutopo, a tobacco farmer, a wayang kulit puppeteer, and chairman of the ketoprak association of temanggung regency; and (2) ki eko sunyoto mulyowarjoyo, a puppeteer. the interview with sutopo was conducted to obtain information related to the structure of the tobacco leaf. in contrast, the interview with ki eko sunyoto mulyowarjoyo aimed to obtain information about the structural design of the gunungan wayang in general. the instruments were used observations and questionnaire. the questionnaire sheet was used to collect data from the review results from farmers and puppeteers experts. figure 1. conceptual framework scheme result and discussion analysis in the first stage, activities were done such as: (1) analyzing the cultural and environmental conditions of the community; (2) wayang structure analysis of the structure of gunungan wayang form; (3) tobacco leaf structure analysis; and (4) image “no smoking” analysis. analysis result of this step is self-evaluated and continued evaluation with respondents to improve analysis results analysis of the cultural and environmental conditions of the community demographically, the people of magelang are predominantly farmers and belong to a cultured society. they work on many plantations and agricultural land, planting varieties of crops, such as tobacco, as a means of living. magelang is one of the tobacco producers, which is a staple ingredient for kretek cigarettes. the planting covers the mount merapi slopes and is distributed to the sleman, bantul, kulonprogo, and several other areas. this plant grows in the lowlands with 200-700 masl (paiman, afriany, a. n. kusumastuti, c. t. & kusberyunadi, 2016). generally, the tobacco cultivation process takes 3 to 4 months before finally harvesting. the nursery process starts from sowing the seeds independently and cultivating and fertilizing arable land. magelang tobacco farmers are independent communities capable of seedlings independently (kurniawan, 2020). the people of magelang still hold tight to their ancestral culture, which makes them enthusiastic about watching many cultural performances. one of the numerous cultures still preserved in this area is the wayang event. this event has become one of the cultural legacies in java since the mid-ages. wayang performances in magelang generally started in the 1990s and became a medium of public entertainment and a momentum for self-reflection. it became popular from early 2008 to 2015, with many stages used for wayang perforharmonia: journal of arts research and education 22 (1) (2022): 62-7766 mances, thereby encouraging the birth of a new or local puppeteer. however, many entertainers of wayang are increasingly losing their jobs due to the rise in competition and the effect of media publications, which tend to publicize local puppeteers. there has also been a shift in the meaning of wayang from education to entertainment in the last few decades. in the 90s, this show started spreading to television. hence it was watched more widely. however, the enthusiasm of the audience towards wayang shows has significantly changed. in the past, a performance recorded an audience of more than 200 and was carried out all night long. however, it has experienced a decline in recent years, and several stage performances are no longer held. furthermore, audiences have decreased to around 100 people or even less in the last few years. in its golden era, wayang shows in magelang were generally held two times a week. however, there has been a decline in recent years, and sometimes they were not even held at all. in contrast, when entering the 21st century, wayang shows intersect with the modern culture, which is more persuasive and addictive. it is a challenge for the magelang people. the audience’s enthusiasm for wayang shows has decreased, especially when entering the pandemic era, which has made the younger generation turn to gadgets and social media content that are currently popular as tiktok, instagram, youtube, etc. the results of the analysis show that the magelang people, who still make a living as farmers, still hold tightly to their ancestral culture. one of the ancestral cultural heritage that is still preserved is the puppet show. however, the longer the public’s enthusiasm decreases, this is due to the inclusion of technology-based entertainment. the research results reinforce rosana (2010), which states that all aspects of human life have changed along with the rapid advancement of information technology. furthermore, developments in information and communication technology (ict) have significantly impacted all aspects of human life, including academic, social, and cultural life (munawaroh, 2020). form of gunungan wayang structure analysis puppetry is very thick with the culture of representative symbols as a sociocultural product of the community, including the presence of gunungan as one of the parts that appear at the start of the wayang show. gunungan in wayang kulit performances is a session or scene performed by the puppeteer at the beginning, middle, or between the performances and the end of the puppet show. the gunungan puppet (kayon) is a tool used in the gunungan scene. gunungan is also called kayon because the main element in the gunungan is a picture of a tree (wharapsari, 2018). on one side, at the bottom, is a picture of a gate guarded by two giants holding swords and shields. it symbolizes the palace gate, and when playing, the gunungan is used as a palace. at the top of the mountain, there is a tree of life (kalpataru) which a dragon entangles. on the tree branch depicted several forest animals, such as tigers, bulls, monkeys, and birds. the picture as a whole depicts the situation in the wilderness. this side symbolizes the state of the world and its contents. on the other side, a blazing fire is depicted. it symbolizes chaos and hell. ki eko sunyoto mulyowarjoyo stated that the role of gunungan is a symbol of the universe, which is similar to the opening and closing of situations or scenery, as well as markers of pathet or transitions. ki eko sunyoto mulyowarjoyo also stated that wayang contains symbols of the universe and four attributes, namely the bumi-geni-banyu-angin. there are also animals, trees, two giants, joglo house, and dragon banaspati. the gunungan structure is shown in figure 2. agus purwantoro, et al., the development of the indonesian culture gunungan design 67 figure 2. gunungan structure in the wayang purwa performance (source: loita, 2018) figure 2. shows the structure and shape of the gunungan in the wayang are divided into the top (peak), middle, and bottom (palemahan-ground, earth). the shape is tapered upward at the top part, starting in the middle, called genukan (sticking out) and lengkeh (niche). when viewed horizontally, the gunungan structure contains dualistic images and symbols facing each other from the bottom up (loita, 2018). there is usually no decoration at the bottom, and whenever there is any, the motif is simple without a complex base. wadag, as a symbol of the material world, means that all human beings essentially know the meaning of their lives on earth. human life consists of physical and spiritual aspects, which leave the mortal world full of materialism when separated from the body. therefore, it is stated that the gunungan is a representative symbol of the mystical world and human life, which is full of mystery that leads people into an external realm. it manifests the spirit itself and describes the human transcendental experience. the results of the analysis show that there is a structure in the form of wayang puppets; this result is strengthened by loita (2018), who states that in her research on visualizing the gunungan wayang there is a gunungan structure. dunia atas (upper part of world) dunia tengah (middle part of world) dunia bawah / world of human (bottom part of world) tobacco leaf structure analysis the structure of the part of the tobacco leaf is similar to the gunungan in the wayang. it is generally oval-shaped, with tapered, smooth, wavy, thinner edges and pinnate leaf bones. the stalk is attached to the stem, and the position of the leaves is upright. the size and thickness of its morphology are dependent on variety and the growing environment. as an essential element of the origin of the creation of cigarettes, tobacco farmers have long stories and extensive experiences with tobacco. this experience has been carried out for a long time hence their skills in producing tobacco commodities are optimal. however, the process also takes quite a long time, 3 to 4 months. in addition, the nursery process is carried out by self-seeding. based on the interview with a tobacco farmer, sutopo, stated that the stages involve cultivating the land, fertilizing and planting tobacco seeds, which are sown independently. in this context, tobacco leaves are the subject of study because they are considered an inspiration for wayang godhong craftsmen from a motive and philosophical perspective. figure 3. morphology of tobacco leaf (source: authors) the morphological arrangement has several elements consisting of leaf fibers. the greater the ability of the leaves to form an angle with the stem, the smaller the upward angle. furthermore, the curves on the branches of various varieties differ, harmonia: journal of arts research and education 22 (1) (2022): 62-7768 although they are generally classified as sharp. tobacco leaves have a large shape ranging from 15 x 25 cm, and the largest is 20 x 30 cm. due to their size, these leaves are easily blown by the wind, thereby causing a combing sound. its core has extensive and robust leaf bones underneath; therefore, it is sufficient to support the perching on the twig. in addition, the presence of pinnate leaf bones makes the surface fibrous and finned. in harvesting, sutopo stated that after harvesting, the leaves are ripened in a closed room until they turn yellow, then chopped and immediately dried in the sun for 3 to 4 days. the texture and morphology of tobacco leaves have many similarities with the gunungan in wayang. it is the same as the result of an interview with sutopo, tobacco farmers, that the structure of the tobacco leaf is shaped like gunungan in wayang, which has a handle and a lead texture like srintil tobacco that is sticky and contains nicotine (honey). moreover, the colors change from green to yellow and blackish-brown. this similarity implies many things of a philosophical nature. furthermore, tobacco leaves have a lot of content asides from nicotine and tar, such as honey (jantor), and lelet. apart from being used for cigarettes, it is also used for health therapy and repelling pests (fleas). finally, semprul tobacco has the most unpleasant taste, suitable for lansi and talao cigarettes. the analysis results show that the structure of the tobacco leaf has similarities with the shape of the gunungan wayang purwa, where the shape of the tobacco leaf is generally oval-shaped, the tip is tapered and is getting thinner. this result is reinforced by the research of rochman & hamida (2018), which examined six varieties of tobacco leaves and displayed the shape and characteristics of tobacco leaves. image analysis “no smoking” figure 4. no smoking symbol (source: authors) this study includes a philosophical element of the no-smoking rule in developing wayang designs. indonesia has many cigarette consumers as a pluralistic country with approximately 270 million inhabitants. there are already several rules regarding the prohibition of smoking in public places. various types of cigarettes are prohibited in public places because they are considered disturbing, such as cigarettes, e-cigarettes, and vaping, as shown in figure 4. regional regulations in several regions have listed areas that stipulate a smoking ban. based on the statutory regulation, article 115 paragraph (1) urged the public and workplaces to provide particular smoking areas. this implies that people are not allowed to smoke in public places because it is considered a nuisance. in this regard, tobacco leaves are part of the rapid development of cigarettes in indonesia. the cigarette rolled using tobacco leaves shaped, dried, and fermented is a cigar. the local government has established a law prohibiting people from smoking in public and air conditioning areas. unfortunately, smokers tend to ignore this policy. according to dauvergne (1998), smoking has been a culture for a long time in indonesia, which causes environmental damage, increases the temperature in an area, and is capable of causing forest fires (cigarette “butts”). these are some of agus purwantoro, et al., the development of the indonesian culture gunungan design 69 the reasons for banning smoking in some regions. however, in the past 30 years, there has been an increase in the number of smokers in indonesia by 57%. data released by the institute for health metrics and evaluation (imhe) and published in the american health journal in 2014 listed indonesia as the country with the secondhighest number of smokers (sutha, 2016). the presence of a person in an environment that supports smoking encourages others to smoke, especially in non-smoking areas. when an individual neglects a smoking prohibition regulation, it leads to a domino effect which results in the loss of the supremacy rule in that area (leventhal & cleary, 1980). the author used the word “smoking violated” in designing the wayang godhong for indonesians with the habit of consuming cigarettes in public places. figure 5. the similarity of the structure of the gunungan and tobacco leaf (source: authors) gunungan, as the holder of the wayang, is an essential part of the show, which is similar to the structure and morphology of the tobacco leaf as the basic medium for making wayang godhong. from its shape, the tapered tip of the gunungan is also owned by that of the tobacco leaf. the hilt of the gunungan, which rises vertically to the belly, is also owned by tobacco leaves, also known as leaf bones. the various gunungan motifs symbolizing the contents of the wayang purwa are also owned by tobacco leaves, which are called leaf lamina. at the bottom, there is a gunungan handle which is also owned by the tobacco leaf handle/petiole. designs the second step focuses on material choice activities relevant to wayang godhong characteristics. in this step, wayang godhong are sketched. the result will be evaluated with the experts to improve design results. before designing the wayang, the craftsman first sketches paper media by thickening fine lines using a marker. during sketching, the craftsmen pour out their ideas and creations to be actualized before switching to wood media. a distinctive identifier is associated with making gunungan in wayang godhong, which is not tied to the wayang purwa standards. this sketch is carried out through various line-by-line stages using a pencil until the perfect idea is determined and thickened using a marker. agarwal (2012) stated that illustrations enable people to solve their problems using imaginative and artistic ideas. the design of wayang godhong’s body appears to be the form of fire and smoke, which symbolizes the shape of the tobacco leaves that dried up due to the sun’s scorching heat. figure 6 is more dynamic and tends to be a form of reliance on nature. as a principle, the wayang godhong sketch has a leaf base that communicates something in a performance topic. the creation of wayang godhong is a form of creativity of researchers by combining the form of gunungan wayang purwa, with the shape of tobacco leaves (see figure 6). this is reinforced by pratama (2015), who states that the creation of wayang is based on creative inspiration from other previously existing puppets with several adjustments to the form to follow developments and existing knowledge in society. harmonia: journal of arts research and education 22 (1) (2022): 62-7770 figure 6. sketch of gunungan in wayang godhong (source: authors) development the activities done in the development stage were to develop the design into the natural form of gunungan wayang godhong with carving, coloring, and smoothing methods to make wayang godhong look more attractive and realistic. the process and steps of using wood as a medium are similar to the wayang kulit or wayang purwa coloring processes. several instruments are needed to optimize the sketch representation in transferring sketches to wood. a pencil and an eraser are required to layout the design lines before engraving to produce a wayang godhong gunungan with an average length of 90 cm and a width of 60 cm. the nail chisel is another piece of equipment used in the design stage. it is used as a carving tool or ornament, generally in the form of a curve, circle, concave or convex. this chisel is included as a staple tool used in carving, with the dimensions ranging from 1.5 mm to 360 mm, while the length varies from 1600 mm to 2600 mm. in addition, this chisel is also used to carve straight, triangular, zigzag, or rectangular ornaments and acts as bases used with silencers. in addition to using this tool to create ornament lines, a hammer or ganden fire effect is also needed to hit the chisel to emphasize and develop carvings on the wood’s body (gunawan, 2013). after the carving process, a palm fiber brush is used to clean up the dregs or detail between wood carvings. other tools used in the engraving process include a carving table, a small diameter machine drill, clamps, jigsaws, etc. these tools are also utilized incidentally when the craftsman has difficulty in the engraving process. based on the interview with ki eko sunyoto mulyowarjoyo stated that it does not have a standard size as it can be smaller or bigger. after the sketching process, the craftsman thickens the chisel and carving lines, which is carried out using shoe polish to obtain a sharp and shiny color. in wooden structures, shoe polish provides bold and strong colors to make the lines glossy. its use is optimal for cleaning the wood engraving media with the thickening step by gently rubbing the surface and then drying it in the sun to ensure the line made with the shoe polish dries completely. meanwhile, the staining of wood media is carried out using acrylic paint, which provides perfect coloring. apart from being considered water resistance paint, it also has strong adhesion. acrylic paint adheres perfectly and does not leave any cavities, preventing insects and fungi from getting into the gaps that could potentially damage the puppet foundations. crafters also only need a short time to dry the results obtained by coloring using acrylic, in contrast to some other paints, which take more than 12 to 24 hours (gumulya, 2018). in addition, the use of acrylic gives a more dynamic touch to work by showing each brushstroke. finally, the results of the puppet coloring are coated with a special varnish for acrylic paints, such as watercolor, to give an intense color effect (see figure 7). agus purwantoro, et al., the development of the indonesian culture gunungan design 71 figure 6. sketch of gunungan in wayang godhong (source: authors) development the activities done in the development stage were to develop the design into the natural form of gunungan wayang godhong with carving, coloring, and smoothing methods to make wayang godhong look more attractive and realistic. the process and steps of using wood as a medium are similar to the wayang kulit or wayang purwa coloring processes. several instruments are needed to optimize the sketch representation in transferring sketches to wood. a pencil and an eraser are required to layout the design lines before engraving to produce a wayang godhong gunungan with an average length of 90 cm and a width of 60 cm. the nail chisel is another piece of equipment used in the design stage. it is used as a carving tool or ornament, generally in the form of a curve, circle, concave or convex. this chisel is included as a staple tool used in carving, with the dimensions ranging from 1.5 mm to 360 mm, while the length varies from 1600 mm to 2600 mm. in addition, this chisel is also used to carve straight, triangular, zigzag, or rectangular ornaments and acts as bases used with silencers. in addition to using this tool to create ornament lines, a hammer or ganden fire effectfigure 7. the design of the wayang godhong gunungan from various image perspectives (source: authors) before reaching the finishing stage, the surface of the wayang is coated with acrylic paint and then compiled with coloring using watercolors. it aims to provide a more glossy color. to make a more realistic wayang texture, craftsmen use the impasto technique with acrylic and watercolor to make it look shinier. furthermore, sands are added by smoothing a little on the painted wood surface. according to arsana (2013), this is a painting technique with paint media scratched and coated with a sufficient thickness, thereby making the direction of the scratches visible. in this context, the impasto technique places a thicker stain that enables the craftsmen to sand it, making it smoother and creating a more realistic impression. it is carried out repeatedly until an ideal shape is obtained and the surface of the wayang looks more attractive and natural. generally, the structure of gunungan wayang purwa, has several standards such as lutung, or evil spirit with a high level of black magic similar to fire), squirrel, leafworm, tree branch, a blooming flower, various types of birds, snakes, bulls, tigers, makara/winged bledegan (two giants with broad-mouthed and winged eagles), closed-door gates, etc (irawan, 2015). however, the wayang godhong developed in this study has different characteristics from those in purwa. figure 8. gunungan in wayang godhong (source: authors) the development of wayang godhong’s character designs is unique compared to wayang purwa. the motif depicted on the body of the gunungan in wayang godhong is a symbol of ‘no smoking’ (see figure 8). this is inspired by the contextual scope and smoking prohibition in certain areas. the godhong (leaf) character is the peasants and landlords, representing a social relationship full of life values and moral messages. more specifically, the structure of gunungan in wayang godhong is similar to wayang purwa. however, the texture and medium used are tobacco leaves. interestingly, the motifs and designs developed in the body of the gunungan are different from the standards set in wayang purwa. implementation in this stage, implementation research is applied to wayang performances to determine the effectiveness and attractiveness of using wayang godhong. implementation is also applied to the community to determine how far the community accepts wayang godhong if implemented in wayang performances in general. this research is a development of the previous works of wayang godhong. if in previous studies, wayang godhong performances still used creations using natural leaves, then for harmonia: journal of arts research and education 22 (1) (2022): 62-7772 research, wayang godhongs were not only made from leaves but developed using wood. wayang godhong has existed for a long time. wayang godhong is a contemporary wayang made from teak godhong (leaves), cloves, coffee, tobacco, and other types of leaves. gus pur’s idea is a form of social criticism of social issues, mainly social, cultural, and nature issues. gus pur uses his wayang performances as a medium for transforming education to love culture and nature for the younger generation. in figure 9, one of gus pur’s godhong puppet shows entitled “ijo royo-royo” which was held on december 8, 2017 at the solo technopark incubator building. figure 9. wayang godhong performance entitled “ijo royo-royo” at the solo technopark incubator building on december 8, 2017 (source: authors) students, academics, and policymakers saw the performance above. the primary purpose of this puppet show is to invite students and policymakers to preserve plants, specially protected plants, from illegal logging activities. in essence, all farming activities will lead to utilization for future generations. gus pur as the creator of this wayang is determined to awaken people to respect nature. gus pur who spoke through wayang godhong tried to raise the issue of environmental problems, especially illegal logging. people in indonesia often do this problem, as happened in aceh and kalimantan (kalimantan). this area is the lungs of the world, where forest fires often occur due to human activities that cause damage to the earth. when the wayang godhong performance “ijo royo-royo” was held, students and policy makers felt strange and foreign because the wayang godhong performance was constantly changing from a technical point of view. however, on the other hand, the audience is pleased and satisfied because the show is an innovation in the arts. figure 10. a performance of wayang godhong entitled “tirta amarta”, held on june 1, 2022 (source: authors) in figure 10, the wayang godhong “tirta amarta” performance was held in ngapus village, salaman district, magelang regency, central java province, indonesia, with the young generation’s primary target. “tirta amarta” is taken from the javanese language, which means water of life. the wayang godhong show “tirta amarta” adopts a story from dewa ruci (a dwarf (mini) god who was met by bima or werkudara on a journey in search of the liquid of life), which is correlated with the issue of scarcity of clean water at this time. for two hours and 30 minutes, the audience was presented with stories about the importance of water treatises in human life. gus pur, as the mastermind of the wayang godhong show, tries to educate the audience regarding nature conservation, especially clean water sources, which are currently increasingly scarce. on the same occasion, gus pur invited the community to reforestation, urged people not to do illegal logging, and use leaves as plants rich in benefits. to emphasize the story, gus pur uses the original wayang godhong from the banyan tree next to the wooden wayang godhong. the wayang godhong show “tirta agus purwantoro, et al., the development of the indonesian culture gunungan design 73 amarta” gives a positive impression to the audience. the younger generation who watched the show stated that they were happy and raised awareness in themselves to preserve the plants so that the water source is maintained. in addition, they realize that the philosophy of human life is like a falling leaf. it begins with lush green leaves and ends with dry leaves that fall to the ground, just as human life begins with birth and ends with death. figure 11. wayang godhong “smoking violated” performance, held on june 1, 2022 (source: authors) in figure 11, the wayang godhong “smoking violated” performance was held in ngapus village, magelang regency, central java, indonesia. the target audience for the “smoking violated” wayang godhong performances are youths and social activists. the wayang godhong performance, “smoking violated” was carried out in the context of the declaration of ngapus village as pancasila village. the show tells about the problem of smoking in public places, which is still a scourge in society. based on that problem, gus pur, as the puppeteer, is concerned about the indonesian people who are reluctant to obey government regulations not to smoke in public places. therefore, gus pur criticizes people for stopping smoking in public places in his play. in addition, smoking is harmful to health; the smoke generated from smoking activities also causes air pollution. the local community well received the show. they were happy because there was a puppet show that was not boring and could educate the public to be more concerned with health and the surrounding environment. evaluation the first evaluation was conducted to know wayang godhong influence on wayang performance itself. meanwhile, the second evaluation was conducted to determine the public’s response to the wayang godhong performance “smoking violated” and its influence on daily life. the puppet show is one of indonesia’s traditional art performances in various forms and functions that have been developing for a long time. puppet shows have a tremendous appeal in their presentation for both supporters and audiences. by traversing a long historical experience, wayang is not only a beautiful art but full of life teachings that are beneficial to society. to increase the existence of wayang performances, the way to do this is to create an innovation in wayang performances. these innovations are in the form of discovery in ideas, shapes, materials, and the core story of wayang performances, as found in wayang godhong. the wayang godhong “smoking violated” performance by gus pur aims to educate the people of magelang about the love for culture, nature, and health promotion to increase knowledge and public awareness so they are not smoking in public places. the novelty of wayang godhong is expected to be used for wayang performances, which aim to make the audience more enthusiastic and curious about the characters of this puppet show. the title “smoking violated” conveys a message of social criticism against the prohibition of smoking in public places, which is continuously violated by the community. wayang godhong’s design development innovation is not only from the physical form of the puppet, instead, it also includes content on issues and topics that attract the audience’s attention. the evaluation results show that the wayang godhong performance is beneficial for the community, both in cultural preservation and education. furthermore, hutahaean et al. (2020) state that wayang art harmonia: journal of arts research and education 22 (1) (2022): 62-7774 performances can be psychosocial-educational media to convey proper life values. conclusion in conclusion, the design of gunungan wayang godhong “smoking violated” develops the design of gunungan wayang purwa as a form of renewal in the media for wayang performances. the difference between the gunungan wayang kulit purwa and the gunungan wayang godhong “smoking violated” lies in the materials, shapes, and stories behind the gunungan wayang itself. suppose wayang kulit purwa is made of buffalo skin which is inlaid and colored according to the rules of puppetry. in that case, the wayang godhong made of leaves, such as tobacco, coffee, etc. especially, wayang godhong “smoking violated” is made of wood that adopts the structure and shape of tobacco leaves. the story of the wayang kulit purwa usually comes from the ramayana or mahabharata, but the wayang godhong shows more about social, cultural, and natural issues that exist in society. however, the structure of gunungan and coloring process in wayang godhong is similar to wayang purwa. wayang godhong was created as an innovation in the creation of wayang art. its design adopts the structures and shape of tobacco leaves. despite this leaf, the message “smoking violated” is social criticism to the public of the prohibition on smoking in public places. the wayang godhong “smoking violated” performance shows that it has received a positive response from the public to increase public knowledge and awareness, closely related to the prohibition of smoking in public places. references agarwal, v. 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(2020). do i have intercultural competence as language learning outcomes? cultural-self awareness in indonesian-japanese workplace. in brawijaya international conference on multidisciplinary sciences and technology (bicmst 2020). https://doi. org/10.2991/assehr.k.201021.046 d:\harmonia\2003\1\vol. 4 no 1 jan_april_2003.pdf ���������� ��� ���� ���� �������������������������������������������������� ��!���"������������ ��!�#����$��������%�������"���!�������%&'()*+),-.(/01*2-345)67*38*90:30)7/,0*;<7/.*9:)0=/=>*'(-3<1(*=()*+=<:>*38*?,6)5,0@,0:*a)-30.301*b/7=3->c 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�#����%����)�@\]$̂_̀abcdefgp�%�%���"���"�����������#���#����������&��d���&�����,���'�����"��������d"�����������#��#����������#�#�����o�� �����*���&��&�����"������%�'���)������'���"����#������!�"�������#�#���������o�� �����*�����&�&���"�����&���)��������#�"��'�����)��������������� ��%���������������"� �����#��h���'���"����#�%�����������"�#����&����������&�����#��#��������������������#�#���������o�� ��������������"�����@p���%�'�������#�����&�������������������&�������������#������)��"������"�#����d"�#������#���#� �����#������!�"��������"�%���#��#����������o�� �����*���%�����������������#������)��"���������&���������)��&��&���������%�'�����i� j��i��kj�l�m��nopnqr�s��tqru�vwwx ���������� ��� ���� ���� �������������������������������������������������� ������ � ���������!��"������������������#��������"��$%�&�����'�������������������������(� �"��� �� �������� � ���������!��"�����)�������� ������*�����(�$�� �� �� �������$�������� ������ ��$���(�#����$���(�������(��� "��������$��"���"$������������'���(�����)������"$"��)������"��"$"��%+,-./0.1,2340.5.6����7�������)�89:;)�<=>?@a@abcda@ebf=gh=ia@>j�k���� �l�7%m%�7�� '��&�� �%���"�n��)�o%�6%�p%)�89:q)�rsdg@btdg>u>bv>a>wj�x������l�7������ �6$����%�y"��#"�p%�x�*( �"�)�o� �$���)�����y��#� ��&"�����")�89:z)�tdg>u>bg>=c>=da@>bf=gh=ia@>j�#"�#���� �l�7%m%�y������ ��[\\�� %� �$� $$)�x���")�89:z)�]̂ib_iasiw=bf̀a>bsbh=b_hw?gbcda@bj�c�n�d"��e�6f�g���"��"\�o�*��$$��)�!�*%�&"*(��)�k�*������k�����hg���"$�)�89i8)�]̂ib<wsbhjbrhd=gkb<=bf=swhgdbs@h=bshbcda@bj�l���h�� �"�)�c�n�k����#l�7��� �*�my�$$)!�*%)�89i8% n� o��n��po�q�r��stusvw�x��yvwz�{||} harmonia vol ix no 1 tahun 2009.pdf barongsai is a traditional art of chinese ethnic in semarang, which comes from china. that art still exists and develop until nowadays although have lot of pressures both from orde lama and orde baru. research studies were: (1) origin of barongsai, (2) form of barongsai art performance, (3) function of barongsai art, (4) meaning of barongsai art for chinese ethnic in semarang. applied research method is qualitative method. techniques of data collection are observation, interview, and documentation studies. technique od data analysis are reducing, clarifying, decrypting, concluding, and interpreting all information selectively. techniques of checking relevance data were dependability and conformability. research result shows that barongsai is an art comes from china entered semarang by chinese merchant. form of barongsai performance are divided into three stages, those are flag play, barongsai play, and ending. function of barongsai art for chinese ethnic in semarang are ritual, entertainment, and politic function. whereas meaning of barongsai art for chinese ethnic in semarang are symbolic meaning and strategy meaning. permainan bendera dilakukan dengan melakukan gerakan-gerakan cepat dan dinamis. bendera diputar-putar dengan kedua tangan di depan dada, kemudian secara cepat dipegang tangan kanan melingkari punggung dan ditangkap oleh tangan kiri. gerakangerakan cepat juga dilakukan dengan memutar bendera melingkari kaki, punggung, dan dada. permainan barongsai permainan barongsai di atas tonggak menunjukkan gerakan akrobatik dengan melompat di antara tonggaktonggak yang berketinggian satu meter sampai tiga meter. variasi yang sering dilakukan dalam permainan ini adalah meniti seutas tali. penutup makna strategis 1. 2. 3. vol vii no 2 2006.pdf !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& !"#$ %%$&!#'()*+ , -./01/0$'223 !"#$%&'()*+,'-*-%"*./0/#% *1#/%2*+.*3/4/-/(% !"#$ !"#$%&'"(%()*+,-.)/,)*%0-+&)"1)*+,-.)2%/(#-#34 54!)%6))7%8*)('9/)# 5$/1 6%#3/7/()8+(+,/#)5%#-)*+,-9 :;5 5%#-)<#-=%(,-$/,)>%3%(-)8/9/($/ :.")-/$ )/0+4$ 4!51*67!8*8$ 6*8/79495$ 09"9:$ 091/$ ;/</=$ 0+497$ 48*91+>$ 4!67!5+0 =9"96$7*8"/9095$.89691+49$6/0+4$=98+$6909$4*$6909#$?!67!5+0$6909$4+5+ =+1/51/1$ /51/4$ 6*6+"+4+$ .9@9$ 0*5=+8+$ @95.$ 4:90$ a+$ =9"96$ 6/0+4 4!51*67!8*8$ 1*8495=/5.$69459b69459$7*5=+=+495$@95.$=+18950>*8$6*5<9=+ 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"9.+$498*59$9495$d*8/d9:$6*5<9=+$d9:909 6/0+4$@95.$!1!5!6# mpq )*5..9897$ +=*$ 4*$ d9:909$ d/5@+# k/5@+$ !6d94$ "9/195$ @95.$ 1*"9: =+18950>*8$ 6*5<9=+$ +=*$ 6/0+49"$ =95 6*5<9=+$ d9:909$ d/5@+$ =9791 =++51*878*190+495 =*5.95$ 6*5+/7$ d!1!" @95.$ 6*5.:90+"495$ 0/989$ 1+5..+$ =95 8*5=9:#$ r+5...+5@9$ .*"!6d95.$ !6d94 d+09$ =+;/</=495$ 6*"9"/+$ 0/989 "*5.4+5.95$ 0*8/"+5.#$ ?+895@9$ 690+: d95@94$ >*5!6*59$ 9"96$ =95$ 4*:+=/795 !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& !"#$ %%$&!#'()*+ , -./01/0$'223 @95.$ =9791$ =+18950>*8$ 4*$ =9"96$ d9:909 d/5@+# m]q )*5.4!6d+590+495$ d9:909$ d/5@+# t*895.49+95$ +=*$ 6/0+49"$ 9.98$ d+09 6*5<9=+$ d/5@+$ 6/0+4$ @95.$ 1*891/8$ =95 :986!5+$ =9791$ =+1*67/:$ =*5.95$ e989 6*5.4!6d+590+495$ d9:909bd9:909 d/5@+#$k9:909$d/5@+$6*67/5@9+$6*"!=+ =95$ "9./$ 1*81*51/j$ 0*!"9:b!"9:$ d*8d+e989 0*5=+8+#$ c9"$ +5+"9:$ 7*8"/$ =+!"9:$ 6*"9"/+ 0/91/$ e989$ 6*5.4!6d+590+495$ 9.98 6*5<9=+$0*d/9:$498@9$6/0+4$48*91+># moq )*5.97"+490+$ 79896*1*8$ 6/0+49"$ 4* =9"96$ 4!67!0+0+$ 6/0+4#$ g9896*1*8 8+16+0$ 0*8+5.$ 6*8/79495$ :9"$ 7!4!4 =9"96$ 6*5..9897$ 498@9$ 6/0+4#$ f51/4 +1/$ =+7*8"/495$ "91+:95b"91+:95$ +51*50+> d9.+$ 7989$ 0+0;9#$ )+09"5@9$ =*5.95$ e989 6*69+5495$ 7*8d*=995$ 8+16*b8+16*$ =98+ n'$ 4*1/495j$ 4*6/=+95$ 3$ 4*1/495j$ =95$ y 4*1/495$ @95.$ =+"94/495$ !"*: 0*4*"!67!4$ 0+0;9j$ 0*7*81+$ e!51!: d*8+4/1$+5+# #$$$#$$$#$$$#$$$# #$$$# #$$$#$$$# #$$$#$$$# #$$$$#$$$# #$$$#$$$# #$$$# #$$$# #$$$# #$$$# # # # # #$$$# t*1+97$1+1+4$:+196$md!"*:$"96d95.$"9+5q$=+ 9190$ 6*5*51/495$ </6"9:$ 4*"!67!4 4*1/495$ md!"*:$ =*5.95$ 940*5$ 09<9q# g9896*1*8$ 1+5..+b8*5=9:$ 59=9$ =9791 =+;/</=495$=*5.95$6*6d/91$4"90+>+490+ d/5@+$@95.$1+5..+$=95$@95.$8*5=9:$"*;91 9"91$ @95.$ =+./59495#$ g9896*1*8$ 1*67! =9791$ =+;/</=495$ =*5.95$ 6*5.!"9: 7*869+595$ +8969$ e*791b"96d91# g/</=495$ 79896*1*8b79896*1*8$ =*5.95 9"91$6/0+4$@95.$1*8"9:$4+19$7+"+:$=95$4+19 1*51/495# mn2q )*5@+6d!"+090+$ d/5@+$ 4*$ =9"96 1/"+095#$ t!6d!"$ =+$ 0+5+$ 0*d9.9+$ 9"91 7*595=9$ =95$ 6*=+9$ /51/4$ 6*5.+5.91 0*0/91/:9"#$t+6d!"$=9"96$6/0+4$=+0*d/1 5!190+j$@95.$d+09$d*8/79$1/"+095$979$09<9j 1*8.951/5.$ 4*0*7949195#$ t+6d!"$ d/5@+ 1+5..+j$ 8*5=9:j$ 6*"*5.4+5.$ d+09 =+;/</=495$ =*5.95$ 5!190+$ 0*d/9:$ .98+0 "*5.4/5.$ 4*$ 9190j$ 4*$ d9;9:$ =*5.95 4*1*d9"95$ .98+0$ 1*81*51/#$)+09"5@9$ 0/989 695/0+9$ @95.$ 59+4b1/8/5$ d+09 =+;/</=495$ =*5.95$ .98+0$ "*5.4/5.$59+4 =95$d*8d9.9+$4*6/5.4+595$"9+55@9# 5#(1/$ @/(4!) ? a9"96$ 7*5.9<9895$ 6/0+4$ 0*d9.9+6959 1*"9:$=+79798495$=9791$=+4*6d95.95495 6*"9"/+$ 4*.+9195b4*.+9195$ 6*5.!"9:j 6*6+"+:j$ =95$ 6*5*51/495$ =98+$ 7989 0+0;9$ 0*e989$ d*84*"!67!4# g*5.*6d95.95$ "9+55@9$ =9791$ d*8/79 6*5.+=*51+>+490+$ 6*"9"/+$ e!51!:be!51!: 498@9$ @95.$ 8*"*h95j$ =95$ 4*6/=+95 6*5=+04/0+495$=+$951989$7989$0+0;9# a<%2*(!)!, )/0+4$ 4!51*67!8*8$ 6*8/79495 09"9:$091/$;/</=$0+497$48*91+>$4!67!5+0 =9"96$ 7*8"/9095$ .89691+49$ 6/0+4$ =98+ 6909$ 4*$ 6909#$ ?!67!5+0$ 6909$ 4+5+ =+1/51/1$ /51/4$ 6*6+"+4+$ .9@9$ 0*5=+8+ @95.$4:90#$u"*:$498*59$+1/j$095.91$;9<98 d+"9$ 0*!895.$ 4!67!5+0$ 6*8909$ 7*8"/ 6*5.*19:/+$ 7*84*6d95.95$ 6/0+4$ =+ 0*4+1985@9#$ f*5!6*59$ +5+"9:$ =9791 6*5<9=+$ =9098$ =9"96$ 78!0*0 7*6d*"9<9895$ 6/0+4$ /51/4$ 7*5=+=+495 0+0;9#$ g*6d*"9<9895$ 6/0+4$ 6*"9"/+ 6*=+9$ 6/0+4$ 4!51*67!8*8$ =9791 6*69e/$ 48*91+h+190$ 0+0;9#$ -79d+"9 78!0*0$ 48*91+>$ +5+$ d+09$ =+19596495 4*79=9$ 7989$ 0+0;9$ =9791$6*5/6d/:495 0+497$7*8e9@9$=+8+$=95$695=+8+$79=9$=+8+ 0+0;9# b/c)/-%2!")/$/ v+5=09@j$ _*55+>*8#$ noon# a?/,-9b) a-$,.cb 9"#$%&'"(%(d h!.@949819i$fd) )9e4j$a+*1*8#$ '22n9# 6%#0-0-9/#)*+,-9 e#$/(/) f/(/'/#) 0/#) g%/?-$/,# _949819j$ k95=/5.i$ %?%g$ k95=/5. f5+h*80+1@$g8*00# !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& !"#$ %%$&!#'()*+ , -./01/0$'223 iiiii#$ '22nd# *+,-9) a"#$%&'"(%() 0/# 6%(,"/?/#) h#$%(9+?$+(/,-d k95=/5.$-81+#"+5*# )*@*8ba*546955j$d*818/=#$nop'# 5$(+9$+()+#0)6(/i-,)>%+%()*+,-9 -&)<#$%((-.c$#$g+*5i$f5+h*809" l=+1+!5# t/795..9:j$^9:9@/#$noo3# j-#/&-9/ 5%#-)k(/0-,-b)*"0%(#b)0/# a"#$%&'"(%()0/?/&)a"#$% vol. 1 no 2 sept_des 2000.pdf harmonia : jurnal pengetahuan dan pemikiran seni filsafat seni : antara pertanyaan dan tantnagan (philosophy of art : between question and challenge) oleh : sukatmi susantina* abstrak pemikiran filsafat hanya akan berhenti apabila pemikiran non filsafat juga berhenti. filsafat selalu bersifat terus-menerus (perenial). kehidupan segi dalam dan lingkungan intelektualnya menghadapkan seorang filsuf kepada bentuk persoalan-persoalan yang selalu berubah dan tidak akan membebaskannya dari tugas berfikir lagi. (kata kunci : filsafat seni, filsuf, simbolisasi ekspresif) a. pendahuluan: kontekstualisasi filsafat pada hakekatnya manusia adalah seorang filsuf. dengan kat alain seperti yang dikatakan aristoteles, manusia harus berfilsafat (hommer and hunt, 1982: 4). pernyataan ini menunjukkan dua hal pokok dalam hidup manusia. pertama, adanya pengakuan mengenai kemampuan manusia untuk berfilsafat. filsafat merupakan ciri khas manusia. kedua, semua masalah dapat difilsafatkan. filsafat dengan metodenya yang khusus, dapat dipakai sebagai pisau menganalisis pengalaman. dengan demikian, adalah sah bahwa kita mempertanyakan masalah keindahan seni pada umumnya ataupun musik khususnya dari segi filsafat. filsuf adalah seorang yang saja puas selalu resah, karena ia tidak menerima begitu saja hal-hal yang berlangsung disekitarnya. ia mengamatinya, ia tidak begitu saja puas dengan mengamati fenomena-fenomena yang tampak pada panca inderanya, tetapi ia terdorong oleh kehausan akan pengetahuan untuk menyelidiki fenomenafenomena tersebut. dalam arti tertentu, bagi orang filsuf atau ahli filsafat, berfilsafat merupakan sebuah panggilan. hal ini pernah ditekankan oleh socrates yang hidup lebih dari dua ribu tahun yang lalu (ia terkenal sebagai “bapak filsafat seni/keindahan”). ia mengatakan “hidup yang ti*staf pengajar jurusan musik/fsp/isi yogyakarta vol. 1 no. 2/september – desember 2000 4 harmonia : jurnal pengetahuan dan pemikiran seni dak digugat, tidak layak dihayati” (hommer, 1982: 1). para filsuf dengan metode filosofis menggugat kehidupan. panggilan filosofis itu dalam konteks filsafat seni, menuntut kerelaan, keterbukaan, dan tidak pernah prasangka apriori. artinya, persoalan seni (musik) dapat dibahas dari sudut disiplin ilmu manapun. bukankah musik bukan barang beku? musik sebagai karya seni harus dilihat sebagai kultur manusia. bila dicari sebang merah menginduk yaitu hasil budaya, tentunya tak ada kebudayaan yang dibayangkan tanpa bentuk estetis. ketika kita berbicara tentang istilah estetika yang dimaksudkan sebagai filsafat seni ini merupakan hal yang antik dan unik, seantik sejarah pemikiran manusia, dan seunik persoalan yang dikandungnya. menurut eksistensi seni dari sudut filsafat, kita dapat berguru kepada beberapa filsuf. kesabaran dan bekerjasama dengan ilmu-ilmu lain, merupakan model guna mencapai pemahaman filsafati. tidak jarang beberapa pendapat dari para filsuf tentang seni saling kontradiktif. hal demikian sering membingungkan. mana tandingan pemikiran filsafati dan mana tandingannya, sehingga dapat melahirkan interpretasi baru dalam bentuk pemikiran yang reflektif, muncul perlahan-lahan. seperti dikatakan hegel, “baru pada larut malam ruang dibubuhi minerva mencari udara”. filsafat seperti kita lihat pada jaman yunani, pada abad pertengahan pada abad modern dan kontemporer, selalu bersifat kontekstual. plato (428 – 348 sm) membagi dunia menjadi dua : dua ide sejati dan dunia semu (dunia yang jasmani). pendapat ini diteruskan oleh aristoteles (384 – 322 sm) walaupun titik pendekatannya berbeda. pada jaman patristik dan skolastik, peranan agama kristen begitu besar. sehingga filsafat merekapun bertaut pada kristenisme. pada jaman modern, semangat ilmu pengetahuan mengalami kemajuan. jaman kontemporer yangt erlihat: fenomenologi, dan personalisme. tekanan reflektif filosofis diberikan pada manusia yang unik, bebas, berekspresi, dan pribadi. berbicara tentang filsafat seni, simbol-simbol perlu mendapat perhatian untuk mempertahankan segi “misteri” pengalaman manusia. manusia bukanlah semat amanusia ilmu pengetahuan, tetapi manusia yang sadar lingkungan dan tidak terkungkung oleh rumusan ilmiah yang berpretensi begitu pasti dan meyakinkan (susantina, 1996: 4). filsafat seni dengan pergaulan diantara para filsuf seni, berbicara mengenai ide, makna, pengalaman, intuisi, semua menunjukkan sifat simbolik dari seni. vol. 1 no. 2/september – desember 2000 5 harmonia : jurnal pengetahuan dan pemikiran seni b. berguru pada beberapa filsuf salah satu cara yang layak diikuti untuk memahami filsafat seni, yaitu dengan melacak jejak pemikiran para filsuf. dalam tulisan ini tidak semua filsuf dapat ditampilkan. tulisan ini hanya mencoba mengemukakan beberapa filsuf yang dipandang mewakili jamannya. untuk itu masih terbuka kesempatan yang lebih luas bagi yang berminat meneliti lebih jauh. filsafat sebagai salah satu bentuk pemikiran reflekstif membutuhkan pemikiran refleksi. pemikiran refleksi yang manual dari kesehariannya dijadikan titik tolak. tidak puas dengan penjelasanpenjelasan dasar yang diberikan oleh intuisi pertama, pemikiran berusaha mengkonstruksikan seluruh proses kerjanya berdasarkan basis pemikiran. pemikiran tentang seni yang tertua dikemukakan oleh plato pada awal abad ke – 4 sm, dan aristoteles pada eprtengahan abad ke 4 sm. dalam realitasnya persoalan seni sudah menjadi salah satu kesibukan dalam dunia filsafat. plato menekankan seni sebagai keindahan intuisi dan kontemplasi. dalam konsep filsafat, plato melahirkan teori mimesis yang melihat dunia materi hanya sebagai bayangan dari dunia nyata yang ada di atas, yaitu alam idea-idea yang bersifat rohani murni “ (plato, 1955: 138). melalui teori mimesis tersebut plato berpendapat bahwa : seorang seniman merupakan penjiplakan kelas dua, karena ia menjimplak dari sebuah jiplakan. atau karya seni adalah meniru dari barang tiruan (mimesis dari mimesis). bagi plato, musik mer upakan hasil karya seni yang baik. musik mempunyai kedudukan yang mutlak dalam pemerintahan, sebab mampu berpengaruh pada bidang moral dan politik. namun, seniman tidak mendapat tempat di hati plato, sebab kedudukan seniman dipandang lebih rendah dibanding dengan kedudukan seorang negarawan. negarawan mampu menimbang, menganalisa, serta mengarahkan masyarakat berdasarkan idea-idea kebaikan, keadilan, keberanian, maupun ide keindahan. sedangkan seniman hanyalah meniru keindahan yang ada di dunia ini. inilah tesis plato tentang seni yang hanya merupakan imitasi dari imitasi. akibat dari imitasi ini terdapat banyak perubahan dari yang asli : plato dalam dialognya yang berjudul symposium, mengatakan bahwa seorang sastrawan, dan vol. 1 no. 2/september – desember 2000 6 harmonia : jurnal pengetahuan dan pemikiran seni seniman mampu berekspresi dengan keindahan karena seniman mampu ekstase menuju alam idea, untuk melihat keadaan yang sebenarnya. aristoteles, dalam beberapa hal berbeda dengan gurunya, plato. namun, filsafat aristoteles merupakan penyusunan sistematis terhadap persepsi plato. menurutnya, seni memang imitasi dari alam, namun sebenarnya dari luar alam. imitasi dari seni membawa kebaikan. karakter seni menjadi tugas filsafat untuk mencapai keharmonisan yang sempurna. bagi aristoteles keharmonisan musik merupakan campuran dari anasiranasir yang bertentangan tetapi terpadu dengan perbandingan tertentu. anasir-anasir dalam musik terdiri dari : ritme, harmoni, nada, persenyawaan, semua dapat dikembalikan kepada keselarasan, keindahan (estetis). ini bukan hal yang mnegherankan, sebab musik memang berangkat dari kata-kata yang kurang mencukupi. dalam persepsi tentang seni, terdapat pandangan yang bertolak belakang antara plato dan aristoteles. seorang seniman, menurut aristoteles, harus berfikir secara logis dan psikologis. karya musik terkait, dihubungkan oleh benang-benang logika. namun, hal ini tidak berarti bahwa seorang seniman tidak dapat memasukkan hal-hal bersifat mustahil atau bahkan irrasional. kemustahilan yang masuk akal dapat lebih baik dari pada hal-hal yang mungkin tidak masuk akal. aristoteles berdiri dengan bijaksana pada simbolisme keindahan musik. ia mempersoalkan : apa sebabnya bunyi dalam irama dan melodi bersatu sesuai dengan suasana-suasana perasaan manusia? secara psikologis aristoteles menganggap musik sebagai ucapan dari tenaga batin dan tenaga khsyal, dari gerak pperasaan. dalam urutan bunyi yang berirama dan dihidupkan oleh pengalaman jiwa, didorong oleh ilham lalu diterima pendengar sebagai permainan yang menjiwai sehingga bukan hanya kesadar proyek rational, sekedar perbandingan nada semata (susantina, 1987: 12). pada abad pertengahan, kita mengenal seorang filsuf dari orde daminika, thomas aquinas (1225 – 1274). banyak karya aquinas lebih cenderung ke pemikiran teologis ketimbang ke pemikiran dunia seni. karya utamanya berjudul summa theologia (ihtisar teologi) . (k. bertens, 1990: 35). dari segi kesusastraan karya ini lebih lekat berisi tentang kesusastraan kristiani. sedangkan dari segi filsafat karya tersebut dipandang penting karena komentar-komentarnya atas karya-karya aristoteles. vol. 1 no. 2/september – desember 2000 7 harmonia : jurnal pengetahuan dan pemikiran seni thomas aquinas menggarap semua sumber inspirasi menjadi suatu sintesa yang betul-betul patut dikagumi dengan pendekatan tradisi filosofis dan teologis. pokok-pokok pikiran filsafat dari thomas aquinas yang patut dicatat adalah : penciptaan, pengenalan akan allah, hilemorfeisme (materi dan bentuk), dan manusia. meminjami pokok-pokok pikiran dari thomas aquinas ini, nampaknya pencitaan karya seni dapat dilakukan dengan tema-tema pokok yang religius, sesuai nafas abad pertengahan. untuk menentukan berakhirnya abad pertengahan tidaklah gampang. tapi dapat dikatakan bahwa abad pertengahan setidaknya sudah berakhir dengan renaissance pada abad ke 15 – 16. untuk segala bidang kultural, pada jaman renaissance ini kembali mendewa-dewakan kebudayaan yunani dan romawi. ddi bidang seni sastra, melahirkan era humanisme; yaitu gerakan yang mencari inspirasi humanis (sunarto, 2000: 40 -41). sedangkan di ladang seni rupa, renaissance menghasilkan seorang pelukis, pemikir, dan arsitek yang bernama michelangelo (1475 – 1565), disamping leonardo da vinci (1452 – 1519). johanes kepler (1571 – 1630), galileo galilei (1564 -1642). eera renaissance ini menampakkan cahaya kebebasan berekspresi. di bidang filsafat pada era ini juga ditandai lahirnya jaman modern (abad 17 – 19). sebagai filsof modern dapat dikemukakan antara lain :rene descartes (1596 – 1650), dan immanuel kant (1724 – 1804). secara umum dapat dikemukakan bahwa cita-cita descrates yang utama yaitu : ingin mencapai kebenaran dengan melulu memakai akal budi. bagi descrates yang paling penting yakni menjalankan kegiatan akal budi sebaik-baiknya agar mendapatkan pengetahuan yang memuaskan. kerja yang pokok dari akal budi yang dimaksud olehnya adalah intuisi dan dedukasi (copleston, 1958_ 75). ia mnegartikan intuisi sebagai konsepsi yang timbul dari penerangan akal budi semata-mata tanpa keraguan. maksudnya, intuisi berasal dari kegiatan intelektual murni. sedangkan deduksi yakni semua perumusan yang perlu dibuat dari fakta yang telah diketahui dengan pasti. sebagai seorang filsuf rasionalisme ia juga sering disebut “bapak filsuf modern” (sutrisno dan hardiman, 1992: 55-61). baginya ada satu hal yang tidak dapat diragukan, yaitu bahwa “aku ragu-ragu”. dalam keraguan aku berfikir, dan oleh karena aku berfikir, maka aku ada (cogito ergo sum). maksudnya: memang, apa yang saya pikirkan, dapat saja suatu khayalan, vol. 1 no. 2/september – desember 2000 8 harmonia : jurnal pengetahuan dan pemikiran seni akan tetapi bahwa aku berfikir bukanlah khayalan (sutrisna dan hardiman, 1992: 56 -57). meminjam cara kerja descrates, kebanyakan orang jarang berpikir bahwa kebebasan karya seni (musik) tidak lagi hanya melalui permainan musik itu saja. untuk itulah nampaknya perlu untuk dirunut ulang pemikiran-pemikiran musikologi terhadap kebesaran musik. dengan lahirnya era modern yang menampilkan revolusi pemikiran serta pendobrakan di bidang nilai-nilai kultural mampu berpengaruh di bidang musik. dalam kurun waktu yang hampir bersamaa dengan era modern tersebut, kita ingat periode dalam dunia musik yang disebut :jaman barok” (sunarto, juli 1997: 214-215). disini pengaruh rasionalisme dapat diteliti lebih mendalam. bahkan descrates dalam bukunya compedium musicue (1618) berusaha mengungkapkan beberapa pengaruh rasionalisme dan skeptisisme metodis dalam roh musik (weiss and taruskin, 1984: 189). dari era rasionalisme kemudian menuju era kritisme dengan filsuf immanuel kant. gagasan-gagasan muncul akibat bentrokan yang timbul dari pemikiran-pemikiran filsuf sebelumnya (rasionalisme, empirisme). filsafat kant disebut filsafat kritisne, sebab tiga karyanya yang besar disebut “kritik”, yaitu : kritik der reinen vernunft (kritik atas rasio murni), kritik der praktischen vernunft (kritik atas rasio praktis), dan kritik der urteilskraft (kritik atas daya pertimbangan). kant dengan filsafatnya bermaksud membongkar sifat obyektifitas dunia dan ilmu pengetahuan. agar maksud init erlaksana, orang harus menghindarkan diri dari sifat dualisme, yaitu tidak condong ke rasionalisme dan empirisme. adapun yang dimaksud dengan keindahan dalam filsafat seni, adalah bahwa secara hakiki bagi manusia hal itu terpaut dengan indera. tetapi apakah keindahan merupakan sesuatu yang eksklusif kegiatan inderawi? bila keindahan hanya soal inderawi sematamata perlu dipertanyakan apakah hal itu dapat dikatakan pengetahuan manusiawi? keindahan yang murni inderawi merupakan sesuatu yang janggal bagi manusia. manusia dalam dirinya mempunyai akal budi. ia mampu mengatasi hal-hal yang singular yang ditangkap oleh indera. dalam setiap kegiatan manusia, termasuk kegiatan inderawi, akal budi tetap berperan. demikian juga dalam menghayati filsafat keindahan, indera dan akal budi berperan bersama. vol. 1 no. 2/september – desember 2000 9 harmonia : jurnal pengetahuan dan pemikiran seni karya besar kant yang akan dikemukakan di sini adalah kritik der urteilskraft (kritik atas daya pertimbangan). diharapkan dari karya ini kita dapat belajar memahami ide-ide yang dikandungnya, selanjutnya sebagai bahan refleksi ketika seniman hendak berkarya. di sini kant sebenarnya bersifat dualistis dalam filsafat kritisnya. hal ini disebabkan karena metode yang digunakan penginderaan dan akal budi dipandang sebagai dua sumber pengenalan yang berbeda yang hanya secara sepintas lalu saja diduga, bahwa keduanya mungkin memiliki akar yang sama. di dalam kritik atas daya pertimbangan ini kant berusaha mendamaikan perbedaan tadi. pendamaiannya terdapat dalam suatu “daya pertimbangan yang merefleksikan atau yang meninjau kembali”. akal memiliki daya untuk membuat pertimbangan, dengannya akan menempatkan hal-hal yang khusus di bawah hal-hal yang umum. akan tetapi masih ada suatu keinginan lain untuk mmepertimbangkan dengan merefleksikan atau meninjau kembali untuk mencari yang umum dalam gejala-gejala yang khusus. kant bukan menggunakan cara deduksi, melainkan sebaliknya. metode induksi ini bermanfaat bagi persoalanpersoalan yang menghubungkan pengenalan teoritis dengan rasio praktis. ketika alexander gottlieb baumgarten (1714-1762) mengemukakan istilah “estetika”, yang dimaksudkan adalah “filsafat seni,” menurutnya seluruh deretan pengalaman (empiris) memiliki susunan atau struktur yang dirinci serta bersatu dalam seni (bagus, 1991). hal senada inilah yang dirunut kant dlam filsafat seninya gaya pendekatan smepiris ini juga dalam pembahasan tentang keindahan dan karya seni selama jaman modern. sehubungan dengan ide-ide penciptaan, proses mencipta (the creative process), beberapa tokoh filsafat inggris sangat suka membicarakan kemampuan manusia untuk berangan-angan atau berimajinasi. misalnya, francis bacon (1561 – 1626), thomas hobbes (1588 – 1679), dan john locke (1632 – 1704). sementara david hume (1771 – 1776) membahas karya seni dengan mendasarkan diri pada ideaidea (association of ideas) sebagai akar daya cipta keindahan. ide-ide penciptaan karya seni tidak saja didominasi oleh rasionalisme, empirisme, maupun daya pertimbangan rasio-empiris, namun juga oleh rasa, emosi, dan selera si subyek yang lebih dominan. pandangan demikian nampak kentara pada aliran romantik yang berpengaruh luas. salah se vol. 1 no. 2/september – desember 2000 10 harmonia : jurnal pengetahuan dan pemikiran seni orang tokoh yang terkenal di era ini, yaitu johann wolfgang von goethe (1749-1832). ia menekankan pentingnya emosi pribadi pencipta karya seni. di perancis romantik berlebihan bersemboyan “l'art pour i'art” (seni demi seni itu sendiri). berkenaan dengan era romantik ini dalam lingkungan para filsuf bidang seni, antara lain : arthur schopenhauer (1788-1860) dan friendrich nietzsche (1844-1900). schopenhauer mengemukakan : music is ding an sich it self”, lebih lanjut ia kemukakan bahwa :”music is thus by no means like the other arts, the copy of the ideas, but the copy of the will it self, whose objectivity the ideas are (carrol, 1954: 228). ia mempertanyakan mengapa pengaruh musik begitu besar bahkan ada semacam penetrasi terhadap diri pribadi dibandingkan dengan seni yang lain (santra, misalnya) yang hanya merupakan bayang-bayang ucapan. namun, musik mampu mengungkapkan makna lebih dari sekedar perasaan dan ucapan. musik mampu berpengaruh disebabkan filsafat shopenhauer bersifat pesimistis. menurut dia ada dua cara manusia lepas dari tekanan-tekanan hidup. pertama melalui musik sebagai suatu “penghentian” penetrasi. kedua melalui pengingkaran diri (askese). friedrich nietzche, filsuf pesimistis ini dalam karya-karyanya banyak dipengaruhi oleh shopenhauer. khusus perspesinya tentang musik ia berpendapat, bahwa hanya musik yang mampu memberikan makna bagi kehidupan manusia. dalam salah satu tulisannya yang berjudul the burth of the tragedy out of the spirit of music (1872) (lahirnya tragedi dari musik)berisi suatu teori tentang asal usul sandiwara tragedi yunani (susantiana, 1991: 55). bagi nietzche, karya seni dapat dikatakan bermutu disebabkan adanya konsepsi saling bertentangan namun saling meresapi antara dua tendensi. sebagai motivasi pendorong untuk berjarya, seseorang harus memiliki daya nafsu yang cukup banyak. daya nafsu hidup rohani juga tidak dipungkiri. segala macam nafsu inilah yang nenampilkan diri sebagai roh berkarya. filsuf abad ke-19 – 20 yang cukup terkenal di bidang seni adalah susanne k. langer (1895-19...). bidang seni baginya tidaklah asing lagi. untuk membicarakan ide penciptaan karya seni dalam hal ini musik, ia menilainya dari filsafat seni pada umumnya. ekspresi seni, menurutnya, adalah sama, vol. 1 no. 2/september – desember 2000 11 harmonia : jurnal pengetahuan dan pemikiran seni namun bentuk ekspresi itulah yang berbeda-beda. hal ini untuk menguatkan bahwa pemahaman seni tidak mungkin didekati secara menyeluruh. karya langer yang terkenal, yaitu philosophy in a new key (1942). dalam buku ini ia mengemukakan teorinya yang ia beri nama dengan “teori simbol”, oleh sebab itu ia mendefinisikan seni senagai kreasi bentuk-bentuk simbolis dari perasaan manusia. sebagai bentuk simbolis, seni merupakan universalisasi dari pengalaman. seniman dalam mencipta karya seninya, tentu diawali dengan perenungan hasil simbolisasi ekspresif. khusus bidang musik, langer berpendapat bahwa musik bukanlah seni yang paling universal, paling tinggi, dan yang paling ekspresif. alasan apa ia berpendapat demikian? pertanyaan ini merupakan tantangan untuk meneliti lebih jauh tentang pandangannya terhadap karya seni. dalam musik, bunyi merupakan medium ini kita belum dapat mencapai tujuan yang tertinggi. sebab bagi langer tujuan tertinggi yang dapat mengungkap karya seni haruslah melalui simbolisasi. dalam problem of art (1957), langer menjelaskan prinsip pembentukan seni dengan membandingkannya dengan prinsip pembentukan simbol pada ilmu pengetahuan. pembentukan simbol adalah abstrak dan tidak melalui generalisasi yang bertahap-tahap. abstraksi pada seni merupakan abstraksi yang total menyeluruh, karena seni bersifat kreatif dan bukannya konstruktif (penyusunan). secara tegas langer mengemukakan bahwa seni adalah kreasi bentuk-bentuk simbolis dari perasaan manusia. filsuf yang ekspresif mengingkari adanya geist dan memberi tekanan pada simbolisasi adalah langer. dalam bukunya bahwa ia pernah “bersahadat” bahwa manusia tidak lain adalah suatu struktur kemis yang mempunyai kebutuhan yang khas manusiawi, yaitu simbolisasi, pembentukan simbolis (langer, 1942: 50). sebagai suatu bentuk simbolis, seni sudah mengalami transformasi, yang merupakan universalisasi dari pengalaman. simbol merupakan tindakan esensial dari “mind”. suatu karya seni, seniman tidak saja menterjemahkan pengalamant ertentu dalam karya seni, seniman tidak saja menterjemahkan pengalaman tertentu dalam karyas neinya. di sini ktia dapat mempertanyakan, mengapa demikian? sebab, jika seni merupakan terjemahan pengalaman si seniman, seni lantas merupakan isi pengalaman sendiri yang langsung diungkapkan dari apa yang dialami. dengan form of simbolic dimaksudkan bahwa seniman dalam menciptakan karya seni sudah harus merenungkan dan merasakan pengalaman bahwa seniman dalam vol. 1 no. 2/september – desember 2000 12 harmonia : jurnal pengetahuan dan pemikiran seni menciptakan karya seni sudah harus merenungkan dan merasakan pengalaman yang langsung itu, dan mentransfer menjadi pengalaman universal (umum) yang mampu dicerna oleh orang lain. jadi menurut langer, bentuk simbolis itu tidak menuju pada gejala secara langsung, melainkan pada pengalaman yang sudah disimbolkan. untuk itulah karya seni tercipta akibat ungkapan simbolis, dan kegiatan ekspresi ide-ide ini terungkap cukup mencolok dalam tulisan langer (langer, 1942: 51). selain para filsuf yang telah dikemukakan, nampaknya masih banyak filsuf-filsuf yang berbicara tentang filsafat seni, estetika pada khususnya dan seni pada umumnya. mereka itu antara lain : paul ricoeur (1913 ), emmanuel livinas (1906-1995), michael foucault (1926-1984), dan jacques derrida (1930 ). ini merupakan tantangan bagi kita yang sekaligus sebagai sandingan ketika seniman hendak berkarya. boleh jadi ide-ide penciptaan dapat diilhami oleh cara kerja para filsuf yang kadang mengganggu, memuakkan, namun menjernihkan rasio, empiris, rasa, dan emosi kita. c. konklusi : refleksi filosofis bertamasya dengan ide-ide serta karya-karya para filsuf, ternyata tidak segampang dari apa yang sebelumnya terbayangkan ketika terlontar pertanyaan :”apa relevansi filsafat dan seni? dan bila dipertajam lagi mengarah pada pertanyaan :”apa kaitan filsafat denga kehidupan seniman? selagi kita mendengar diskusi-diskusi, dialog-dialog yang mempertajam dan mempertanyakan eksistensi filsafat di suatu perguruan tinggi kenyataan demikian, belumlah dapat membuka tabir ketidakmengertian, bahkan ketakacuhan masyarakat seni, untuk apa sebenarnya kita peduli akan filsafat. seni merupakan proses cipta, rasa, dan karsa. seperti juga sains dan teknologi. seni tidak akan ada bila manusia tidak dihadiahi daya cipta. adapun yang membedakan proses cipta antara seni dengan sains dan teknologi adalah bahwa kreatifitas seni amat dipengaruhi oleh rasa (feeling emotion) sedemikian hebatnya, sehingga rasio yang hakekatnya hadir pada setiap manusia, kadang kurang mendapat tempat bagi seniman. hal ini bukan berarti bahwa seniman tidak pernah bekerja secara rasional. vol. 1 no. 2/september – desember 2000 13 harmonia : jurnal pengetahuan dan pemikiran seni filsafat seni atau sering disebut “estetika”, semenjak jaman kuno sampai abad modern, bahkan kontemporer ini dalam mengkaji seni dari sudut pandang filsafat, justru rasio sering dominan. bahkan beberapa filsuf berpendapat bahwa seni bukan semata-mata milik rasa, tetapi juga milik rasio. hal ini menunjukkan bahwa seni sungguh manusiawi. adalah descrates yang mengatakan ,”cogito ergo sum”: kant, “kritik der urteriskraft: langer, “logika simbolik”. semuanya mengarah bahwa skeptis yang metodis, membangun adanya keseimbangan rasio dan empiris dalam tingkat kesadaran yang menyertakan kreasi bentuk-bentuk simbolis dan perasaan manusia guna berkarya seni. filsafat dan seni sebagai komunikasi yang kreatif, tetapi cara dan tujuannya berbeda. filsafat adalah : usaha mencari kebenaran, sedangkan seni lebih pada kreasi dan menikmati nilai. bahkan bila seni menggunakan bahasa seperti dalam sastra, penggunaan ini tidak sama dalam filsafat. tujuan dari seni adalah membangkitkan emosi estetik, sementara dalam filsafat, bahasa adalah alat untuk mengucapkan kebenaran. melalui filsafat seni, pemahaman tentang seni akan lebih kaya. banyak hal yang dapat dipertanyakan. namun, pertanyaan sebagai tantangan, bahwa filsafat seni bukan sekedar sejarah seni dan atau sejarah musik. ketika kita bergelut dengan axiologi seni, pikiran-pikiran kita tertantang dengan pertanyaan “bagaimana dengan epistemologi seni” mungkinkah?” melihat premis-premis seperti telah dikemukakan, dapatlah kita berkesimpulan, adanya filsafat seni merupakans esuatu yang sah; pemikiran-pemikiran kefilsafatan tentang seni merupakan tandingan dan sekaligus agar seni tidak berkembang secara naif. daftar pustaka bertens k. 1990, ringkasan sejarah filsafat, yogyakarta: kanisius bagus lorens, 1991, metafisika, jakarta: gramedi. copleston, 1958, a history of philosophy, jilid iv, london hammer, san ley h & hunt, thomas c, 1982, invitation to philosophy, california: wadsworth, belmount. vol. 1 no. 2/september – desember 2000 14 harmonia : jurnal pengetahuan dan pemikiran seni langer, s.k., 1942, philosophy in a new key, cambridge, massachusetts: harvard university press. ___________, 1957, problem of art, new york: charles scribner's sons pratt c, carrol, 1954, the form and function of music, (in aesthetic inquiry), california: dickenson publisher company. plato, 1955, the republic : musical requirements (terj. h.d.p. lee), usa: penguin books ltd, baltimore sutrisno, f.x. mudji, dan f. budi hardiman, 1992. para filsuf penentu gerak zaman, yogyakarta: kanisius. ____________, 1993, estetika, kanisius, yogyakarta sutrisno, f.x. mudji, dan f. budi hardiman, 1992. para filsuf penentu gerak zaman, yogyakarta: kanisius. sukatmi susantina, 1987, tinjauan filosofis tentang estetika musik, laporan penelitian, yogyakarta: lembaga penelitian isi yogyakarta. ____________, 1991. “berbagai pandangan para filsuf tentang musik” laporan penelitian, lembaga penelitian isi yogyakarta ___________, 1995., filsafat, ilmu pengetahuan, dan seni, ceramah ilmiah, dies natalis xi isi yogyakarta sunarto, “humanisma dalam kolom ekspresi di harmonia : jurnal pengetahuan dan pemikiran seni, vol. 1 no 1/mei – agustus 2000, hal 40 – 41, semarang: jurusan sendratasik/fbs/unnes. ___________, “kebangkitan musikologi”, dalam seni : jurnal pengetahuan dan penciptaan seni, v/02-03 juli 1997, yogyakarta: bp isi yogyakarta. vol. 1 no. 2/september – desember 2000 15 harmonia : jurnal pengetahuan dan pemikiran seni titus horold h, 1979, living issues in philosophy, new york: d. van nostrand company. weiss, piero, and taruskin, 1984, music in the western world: a history in document, new york : a division of macmillan, inc. vol. 1 no. 2/september – desember 2000 16 microsoft word isi harmonia x no 2 2010 bias gender koreografer wanita dalam karya tari hasan bisri staff pengajar sendratasik fbs, unnes, email:hasan_bisri@ymail.com abstract this study examines how the construction of gender roles in the world of dance artists, particularly female choreographer. the purpose of this study is to understand and explain: (1) the construction of gender roles that took place in the work of dance by female choreographer, and (2) gender bias that occurred in the work of dance by female choreographer. qualitative method is employed in the study which is located in semarang city. the subjects consisted of the female dance stylist (choreographer), dancers, musicians, and audiences. data collection techniques used included interviews, questionnaires, observation, and documentation. data analysis was done by developing case description, conducted through data reduction, categorization, and interpretation (verification/drawing conclusions). the result showed that the construction of gender roles in the process of dance works choreographed by woman happened in family and community setting. objective reality that includes a variety of views, attitudes, behaviors, and meaning giving to the differentiation of the roles of men and women based on culture (nurture) contained in family environment plays a prominent position in role construction process among female dancer and choreographers. as for male dancers, the process of role construction went on within the setting of family and social environment of society. gender bias that occurred in the construction of gender roles in this study is indicated by the existing presence of gender stereotype views among dancers, choreographers, audience, and dance lovers community. kata kunci: kunstruksi, bias gender, proses karya tari pendahuluan belakangan ini pembicaraan mengenai wanita dan permasalahannya terasa makin marak di masyarakat. pembicaraan itu bukan saja melibatkan para tokoh pemimpin atau pakar ilmu, tetapi juga banyak melibatkan tokoh organisasi, tokoh agama, tokoh pendidikan, seniman, atau para praktisi lainnya. perjuangan untuk menyuarakan dan menempatkan hak dan kewajiban, status dan peran kaum wanita sejajar dengan kaum pria sesuai dengan kodratnya sebagai wanita, merupakan focus permasalahan yang dibicarakan oleh para pemimpin atau para ahli tersebut, terutama dari kaum wanita. tampak gencar dan kerasnya perjuangan kaum wanita untuk memperoleh kesejajaran dengan pria, dilatarbelakangi oleh sinyalemen “merajalelanya” budaya dominasi pria terhadap wanita. ada semacam perlakuan diskriminatif terhadap wanita oleh pria dalam mengakses berbagai hak dan kewajiban atau status dan peran baik dalam kehidupan berkeluarga, bermasyarakat, dunia pendidikan ataupun dalam berkesenian. di kalangan masyarakat, kuatnya pengaruh budaya patriarki yang membedakan antara kekuasaan laki-laki dengan perempuan yang didasarkan pada peran gender tradisional, masih tetap melingkupi berbagai aspek kehidupan yang ada. meskipun gerakan emansipasi telah mampu menjadi lokomotif penggerak masuknya peran perempuan ke berbagai sektor publik (pendidikan, ekonomi, industri dan lain-lain) namun, kenyataan yang ada masih memperlihatkan bahwa di antara mereka banyak yang hanya terlibat pada bidang-bidang yang merupakan kepanjangan dari peran gender tradisional. penelitian ini akan mencoba mengungkap keterlibatan laki-laki dan perempuan dalam dunia keseniman tari, khususnya dalam aktivitas karya tari. ketertarikan peneliti terhadap permasalahan tersebut antara lain karena berdasarkan fenomena yang dapat diamati memperlihatkan bahwa wanita dan kewanitaannya banyak menjadi objek dan subjek dalam kesenian, khususnya dalam proses karya tari. berkaitan dengan uraian di atas, maka permasalahan muncul sebagai berikut : bagaimanakah konstruksi peran gender berlangsung dalam proses karya tari koreografer wanita? adakah bias gender di kalangan koregrafer wanita dalam karya tari? laki-laki dan perempuan dalam teori nature dan nurture perbedaan antara laki-laki dengan perempuan dapat dipahami melalui dua pendekatan, yakni pendekatan nature (alami) dan pendekatan nurture (budaya). dalam teori nature perbedaan antara keduanya didasarkan atas perbedaan jenis kelamin (sex) yang dalam hal ini mengandung pengertian sebagai pensifatan atau pembagian dua jenis kelamin berdasarkan aspek biologis yang secara permanen tidak mengalami perubahan atau sering dikatakan sebagai ketentuan tuhan (kodrat) (fakif 1999: 9). teori nurture, perbedaan lebih dikaitkan dengan diferensiasi peran (division of labor) antara laki-laki dan perempuan berdasarkan faktor budaya, yang dalam hal ini dikenal dengan istilah gender (utomo 2005: 175). perbedaan antara jenis kelamin laki-laki dan perempuan sudah mulai diungkap secara ilmiah oleh charles darwin dalam bukunya the descent of man. menurut pendapatnya pria berbeda dengan wanita dalam hal ukuran fisik, kekuatan tubuh, pemikiran dan lain-lain. pendapat tersebut selanjutnya diikuti pula oleh beberapa ilmuwan berikutnya antara lain seperti hardaker (1882) yang dalam salah satu tulisannya mengungkapkan bahwa wanita mempunyai kemampuan berpikir dan kreativitas yang lebih rendah jika dibandingkan dengan laki-laki, namun demikian dalam hal intuisi dan persepsi terjadi sebaliknya. selaras dengan perbedaan antara laki-laki dan perempuan tersebut selanjutnya edward torndike (1914) berpendapat bahwa walaupun anak laki-laki dan perempuan diberikan lingkungan yang sama, pada akhirnya tetap akan menghasilkan perbedaan kemampuan mental dan aktivitas di antara keduanya. dari beberapa pendapat tersebut akhirnya dapat disimpulkan bahwa perbedaan antara laki-laki dan perempuan secara biologis seperti misalnya fisik dan otot pria yang rata-rata lebih besar dari pada wanita serta adanya perbedaan hormon pada laki-laki dan perempuan diyakini mempengaruhi perbedaan tingkah laku atau peran di antara keduanya (megawangi 1999: 95-97). berlainan dengan teori nature, dalam pandangan teori nurture, diferensiasi peran (division of labor) antara laki-laki dan perempuan lebih dipengaruhi oleh budaya. dalam kaitan ini dikenal dengan adanya konsep gender, yakni sebuah konsep yang menjelaskan mengenai perbedaan perilaku antara laki-laki dan perempuan yang dikonstruksi secara sosial. perbedaan yang ada bukan merupakan ketentuan tuhan, melainkan diciptakan dan dikonstruksi oleh manusia melalui proses sosial dan kultur yang panjang (fakih 1997: 9-10). berkaitan dengan teori nurture, misalnya sebelum adanya teknologi alat-alat kontrasepsi, perempuan mempunyai tugas utama melahirkan, menyusui, dan segala aktivitas yang berkaitan dengan pengasuhan anak serta pekerjaan-pekerjaan yang dapat dilakukan di sekitar rumah. keadaan tersebut telah menjadi institusi ketika division of labor menjadi suatu norma yang berlaku dalam masyarakat tersebut. dalam hal ini wanita berperan sebagai figure ekspresif (peran domestik), sedangkan laki-laki sebagai figure instrumental yang bertugas melindungi keluarga, serta mencari nafkah keluar rumah (peran publik). pada saat mulai ditemukannya teknologi modern, seperti alat-alat kontrasepsi dan susu botol pengganti air susu ibu (asi), pembagian kerja tersebut akhirnya berubah. kaum perempuan mulai dapat mengatur jumlah anak yang dilahirkan serta tidak perlu menyusui lagi, sehingga waktunya tidak habis untuk urusan pengasuhan anak. kendala biologis yang semula menghambat mereka untuk berkiprah di sektor-sektor yang semula didominasi oleh kaum pria akhirnya menjadi hilang (megawangi, 1999: 95-100). dari uraian tersebut dapat disimpulkan bahwa peran gender tradisional perempuan seperti harus tinggal di rumah, memasak, merawat anak dan mengatur rumah tangga dan lain-lain merupakan sebuah budaya atau tradisi yang dapat berubah karena teknologi. gender dalam prilaku berkesenian perbedaan peran antara lakilaki dan perempuan secara nurture (gender) dalam kontek perilaku berkesenian pada sebuah masyarakat tentu selalu terkait dengan berbagai pandangan serta nilai-nilai budaya masyarakat yang bersangkutan. dari beberapa temuan sebelumnya terungkap bahwa perbedaan peran gender yang ada tercermin melalui berbagai wujud karya seni, proses pengajaran, proses pertunjukan seni dan lain-lain. pada jaman renaissance, para pelukis lebih suka menggambar tubuh pria telanjang karena ada anggapan yang kuat bahwa tubuh perempuan pada jaman itu dianggap inferior. sedangkan sebaliknya mulai abad 17 lukisan tubuh perempuan mulai digemari, tubuh perempuan di kalangan pelukis digambarkan sebagai dewi venus yang melambangkan kecantikan, serta merupakan obyek cinta yang ideal meskipun dari sudut pandang lakilaki. dalam venus coelestis, perempuan digambarkan dalam romantisme, sedangkan dalam venus naturalis perempuan digambarkan sebagai obyek seksual laki-laki (hidajadi 2000: 9-10). dalam tari, masalah stereotype gender antara lain dapat dilihat pada penokohan tari gaya surakarta. meskipun arjuna adalah tokoh lakilaki, namun pada prakteknya diperankan oleh perempuan dengan tujuan untuk menampilkan karakter halus yang dimiliki oleh arjuna (nakagawa 2000: 85-86). karya tari sebagai ekspresi budaya kesenian sebagai salah satu unsur kebudayaan, dalam berbagai perwujudannya senantiasa hadir dalam bentuk simbol-simbol yang secara estetis mengungkapkan nilainilai budaya suatu masyarakat. dalam kehidupan masyarakat yang dikerangkai oleh nilai-nilai budaya patriarkhat, berbagai karya seni banyak yang menampilkan wanita dan kewanitaan sebagai objeknya. secara empirik, banyak ditemui penggambaran objek wanita dan kewanitaan dalam karya seni merefleksikan nilai-nilai budaya dominasi pria atas wanita. simbolsimbol yang terbentuk dalam penggambaran seperti, mengekspresikan nilai atau makna yang menegaskan posisi subordinate wanita atas pria (triyanto 1998: 70). kegiatan berkesenian yang dilakukan oleh para pendukungnya dalam kehidupan masyarakat, disadari atau tidak, senantiasa diatur, diarahkan, atau dikendalikan secara budaya. hal ini berarti bahwa kesenian dalam berbagai bentuk dan ungkapannya adalah ekspresi budaya yang secara estetis-simbolis menyuarakan atau menyampaikan realitas kondisi lingkungan alam, sosial, dan budaya suatu masyarakat di mana kesenian itu muncul (geertz: 1983). sebagai ekspresi budaya, kesenian mewujudkan dirinya dalam berbagai bentuk sesuai dengan media perbentukan yang digunakan. perwujudan bentuk kesenian itu, sesuai dengan media yang digunakan dapat berupa seni rupa/visual, seni sastra, dan seni pertunjukan (musik, teater, dan tari). terlepas dari apa perwujudan bentuknya, dalam setiap bentuk karya seni terdapat unsurunsur yang memungkinkan terwujudnya bentuk tersebut. unsurunsur ini disusun sedemikian rupa dengan menggunakan prinsip-prinsip estetikanya sendiri, demikian halnya dengan karya tari. konstruksi sebuah karya tari selalu mengandung elemen gerak, ruang, dan waktu. artinya bentuk karya tari secara konseptual berkaitan dengan keberadaannya, yakni gerak yang terjadi dalam ruang dan waktu. namun demikian, penampilan tari sebagai seni pertunjukan akan selalu memerlukan perlengkapan artistik guna menambah pesonanya di hadapan penikmatnya (jazuli 1994: 86). analisis teoretik untuk mengkaji permasalahan penelitian, peneliti akan menempatkan fakta sosial (fait social) sebagai pokok kajiannya. sebagaimana diungkapkan oleh emile durkheim fakta sosial tersebut menyangkut tentang berbagai cara bertindak, berpikir dan berperasaan yang berada di luar individu namun mempunyai kekuatan memaksa dan mengendalikan individu. cara pandang tersebut akan digunakan sebagai alat untuk memahami keterkaitan antara aspek-aspek sosial dan budaya dengan diferensiasi peran laki-laki dan perempuan dalam karya tari. selanjutnya untuk memahami proses konstruksi peran gender dalam karya tari akan digunakan teori konstruksi sosial (pembentukan realitas secara sosial), yakni sebuah teori yang berpandangan bahwa realitas sosial itu pada dasarnya bermakna ganda. pada teori tersebut, peter berger mengakui adanya realitas obyektif sebagai bagian penting dalam proses pembentukan realitas sosial, akan tetapi makna terhadap realitas yang ada tetap berasal dari dan oleh hubungan subyektif individu dengan dunia obyektif itu sendiri (poloma 1984: 305). sebagai konsekuensi dari penggunaan teori di atas, secara metodologis untuk memahami fenomena yang menjadi fokus dari kajian penelitian ini, peneliti akan berusaha melakukan proses interpretasi dan melihat segala sesuatu dari sudut pandang orang yang diteliti. akhirnya hasil yang akan dicapai melalui penelitian ini benar-benar akan merupakan obyektivitas subyek (zeitlin 1995: 279-282; susanti 1995: 204; dan oetomo 1995: 146). metode pendekatan yang digunakan dalam penelitian ini adalah pendekatan kualitatif. alasan digunakannya pendekatan kualitatif dalam penelitian ini adalah agar lebih mudah apabila peneliti menghadapi kenyataan ganda yang tidak dapat dibayangkan sebelumnya tentang keadaan lapangan yang terkait dengan permasalahan yang akan diteliti. selain itu, dengan pendekatan ini data-data yang diperoleh dari nara sumber, informan, dokumen yang ada, serta perilaku yang diamati akan lebih bersifat utuh (holistik). penelitian ini akan dilakukan di kota semarang, sedangkan setting yang dipilih sebagai latar yang selanjutnya dijadikan sebagai pusat perhatian dalam kegiatan pengamatan akan ditentukan secara purposive, yakni dengan menentukan karyakarya tari koreografer wanita yang ada di kota semarang. subyek penelitian adalah para koreografer wanita yang ada di kota semarang. dalam rangka menjaga tingkat keabsahan data, dalam penelitian ini juga akan digali informasi-informasi pendukung dari para penari, pengamat tari, penikmat tari atau penonton, dan pengrawit atau pemain musik. adapun jumlahnya bergantung pada kelayakan informasi maupun data yang diperlukan dalam pembahasan permasalahan penelitian. sehubungan dengan karakteristik pendekatan penelitian ini, maka untuk mengumpulkan data dan berbagai informasi yang berkaitan dengan masalah tersebut di atas digunakan beberapa teknik, meliputi wawancara, observasi, dan dokumentasi (moleong 2000: 125-165). penggunaan tiga macam teknik pengumpulkan data tersebut berarti pula bahwa peneliti telah melakukan triangulasi data baik melalui sumber maupun melalui metode, sehingga keabsahan data yang diperoleh dalam proses penelitian tetap terjaga (lihat moleong 2000: 178). strategi analisis yang digunakan dalam penelitian ini adalah dengan mengembangkan deskripsi kasus. sebagaimana diungkapkan oleh robert k. yin (1997: 134-139) bahwa dengan strategi kasus maka hasil analisis penelitian dipaparkan dalam bentuk topik-topik dan sub-topik yang relevan dengan permasalahan penelitian. dalam operasionalnya proses analisis dilakukan dengan alur reduksi data, kategorisasi, dan penafsiran data. hasil dan pembahasan konstruksi peran laki-laki dan perempuan dalam proses karya tari berdasarkan data yang diperoleh, menunjukan bahwa konstruksi peran laki-laki dan perempuan dalam proses karya tari terjadi pada lingkungan keluarga dan lingkungan masyarakat. untuk mengetahui kapasitas kedua setting sosial tersebut dalam mengkonstruksi peran laki-laki dan perempuan dalam proses karya tari maka akan diuraikan sebagai berikut. konstruksi sosial lingkungan keluarga keluarga dalam konteks budaya masyarakat kita merupakan lingkungan pertama yang sangat penting bagi individu sejak ia dilahirkan. pada lingkungan keluarga seseorang mulai mempelajari berbagai nilai, pengetahuan, dan ketrampilan yang sesuai dengan kebudayaannya. keluarga sebagai agen sosialisasi yang pertama dan paling lama dalam kehidupan seseorang merupakan play stage dalam proses pengambilan peranan orang lain. lingkungan keluarga seseorang akan memulai mengidentifikasikan dirinya sebagai anak laki-laki atau anak perempuan. kekuatan lingkungan keluarga sebagai agen sosialisasi bagi seseorang dalam penelitian ini dapat dijelaskan dengan beberapa hasil temuan yang ada. dalam proses pembuatan karya tari di lembaga pendidikan tari pada program studi pendidikan seni tari, fakultas bahasa dan seni, universitas negeri semarang pada setiap kegiatan pergelaran atau pertunjukan tari selalu didominasi oleh koreografer wanita. jumlah koreografer laki-laki pada setiap pergelaran di luar acara perkuliahan tidak pernah lebih dari 25 %, bahkan pada angkatan tahun 2010 dari 37 mahasiswa yang ada dan sebagai penata tari atau koreografer berjumlah 0%. dari angka-angka tersebut, ternyata diperoleh data bahwa kekuatan lingkungan keluarga sebagai realitas obyektif justru dialami oleh mahasiswa laki-laki. hasil wawancara dengan para subyek penelitian terungkap bahwa pilihan mereka untuk menekuni sebagai koreografer dan melakukan proses karya tari pada program studi pendidikan seni tari fakultas bahasa dan seni universitas negeri semarang lebih dipengaruhi oleh lingkungan keluarga mereka. pada saat sebelum mereka masuk ke lembaga pendidikan tersebut, pada umumnya mereka sudah bergelut dengan aktivitas bidang karya tari seperti sebagai peraga tari dalam garapan tari, penata busana, penata rias dan berada dalam lingkungan keluarga yang menyukai atau menekuni tari. ada diantaranya karena orang tua atau saudaranya yang bisa menari, menata tari, guru tari, seniman tari, dan lain-lain. berkaitan dengan temuan data pada lembaga pendidikan seni tari pada jurusan pendidikan seni drama tari dan musik fbs unnes tersebut, ternyata data yang diperoleh peneliti pada sanggar-sanggar tari di kota semarang pun menunjukkan bahwa orang tua sebagai agen sosialisasi yang pertama bagi kehidupan anak sangat dominan perannya dalam menentukan proses karya tari bagi para koreografer tersebut. dari beberapa kegiatan pergelaran tari yang diselenggarakan di lembaga tersebut, 35 orang koreografer yang aktif pada saat ini, 27 koreografer adalah perempuan, sedang laki-lakinya hanya 8 orang. perbandingan yang mencolok antara koregrafer perempuan dan laki-laki tersebut berdasarkan data yang diperoleh peneliti menunjukan bahwa otoritas anggota keluarga pada anak perempuan dalam proses karya tari sudah dimulai sejak usia anak-anak. terbukti bahwa keikutsertaan para koregrafer wanita pada pergelaran karya tari tersebut pada umumnya karena inisiatif dan dukungan orang tua yang mengetahui potensi penciptaan karya tari yang dimiliki anaknya. aktivitas berkarya tari di kalangan mahasiswa dalam lingkungan keluarga selain dikonstruksi oleh orang tua, juga di antaranya oleh anggota keluarga lain seperti saudara kandung, kakek, nenek, paman, dan bibi. namun demikian ada juga yang karena konstruksi orang lain yang masuk dalam lingkungan keluarga mereka seperti pembantu atau baby sitter. konstruksi sosial lingkungan masyarakat selain pada lingkungan keluarga proses konstruksi peran laki-laki dan perempuan dalam proses karya tari juga berlangsung pada lingkungan sosial masyarakat. proses tersebut terjadi karena interaksi seseorang dengan temannya, masyarakat di sekitarnya, atau situasisituasi lain yang berada di luar lingkungan keluarga. melalui lingkungan sosial tersebut di antara mahasiswa tari ada yang baru mulai mengenal berbagai aktifitas penciptaan tari sehingga pada akhirnya tertarik untuk belajar mencipta tari seperti mulai belajar menari, menata tari, bermain alat musik iringan tari, dan pada akhirnya memasuki lembaga pendidikan tari. berlainan dengan dominannya konstruksi lingkungan keluarga dalam proses karya tari pada mahasiswa perempuan, konteks lingkungan sosial masyarakat sebagai agen sosialisasi ternyata memiliki arti penting dalam mengkonstruksi peran laki-laki dalam proses penciptaan karya tari di kalangan para mahasiswa tari. banyak para mahasiswa pada lembaga pendidikan tari yang ingin menekuni bidang penciptaan karya tari karena interaksinya dengan teman bermain baik tetangga atau teman kuliah. beberapa aktifitas karya tari yang mengkonstruksi keinginan para mahasiswa pada lembaga pendidikan tari dalam lingkungan sosial masyarakat ini antara lain seperti maraknya aktifitas kelompok tari di kalangan remaja, banyaknya aktivitas pertunjukan tari, festival dan lomba garapan tari. aktifitasaktivitas tersebut sebagai fakta sosial mampu mempengaruhi individu dalam memberikan sikap, pandangan, pemberian makna pada karya tari sebagai salah satu bidang keahlian yang pantas ditekuni. selain teman bermain, agen sosialisasi yang mengkonstruksi peran laki-laki dalam proses karya tari juga dilakukan oleh kampus. kampus sebagai satu-satunya sistem pendidikan formal mengkonstruksi individu tentang berbagai hal. disinilah seseorang mempelajari halhal baru yang belum dipelajari dalam keluarga atau pun lingkungan masyarakat yang lain. melalui mata kuliah pergelaran tari serta aktivitasaktivitas kegiatan tari yang diselenggarakan oleh lembagalembaga seni tari seperti sanggar tari, group tari latar, tari kreasi, tari klasik, dan pentas seni tari yang lain, mereka ada yang baru mulai mengenal, terlibat, dan akhirnya tertarik untuk mempelajari karya tari lebih lanjut. realitas subyektif peran laki-laki dan perempuan dalam proses karya tari berdasarkan data yang diperoleh ternyata dapat disimpulkan bahwa di kalangan para orang tua penari, mahasiswa tari dan koregrafer yang menjadi subyek penelitian ini terdapat tiga makna karya tari sebagai realitas subyektif yang merupakan hasil dari hubungan subyektif individu dengan dunia obyektif. berbagai perilaku, sikap, pandangan, dan pemberian makna terhadap karya tari, serta diferensiasi peran laki-laki dan perempuan berdasarkan budaya (gender) sebagai sebuah realitas obyektif, dalam konteks proses karya tari ternyata dimaknai secara beragam. sebuah proses karya tari bagi mereka antara lain bermakna sebagai media ekspresi, media untuk menambah wawasan dan pengetahuan, dan profesi. karya tari sebagai media ekspresi berekspresi merupakan salah satu kebutuhan manusia yang tergolong ke dalam kebutuhan integratif. kebutuhan ini muncul karena adanya dorongan dalam diri manusia yang secara hakiki senantiasa ingin merefleksikan keberadaannya sebagai makhluk yang bermoral, berakal, dan berperasaan (rohidi 1993: 51). proses karya tari sebagai sarana berekspresi, karena diantara para koreografer dan mahasiswa lembaga pendidikan tari di antaranya mengungkapkan bahwa melalui aktivitas berkarya tari mereka mendapatkan kesempatan untuk mengekspresikan pikiran dan perasaannya melalui susunan gerakgerak tari yang diciptakan maupun yang dikomposisikannya, baik dengan vokal rangsang gerak visual maupun rangsang gerak auditif yang dipelajarinya. karya tari sebagai media untuk menambah wawasan, pengetahuan dan ketrampilan wawasan, pengetahuan, dan ketrampilan karya tari pada saat ini ternyata telah menjadi kebutuhan penting di kalangan masyarakat. hal ini terbukti bahwa meskipun di kalangan para koreografer telah memiliki berbagai aktivitas seperti sebagai pelajar, mahasiswa, maupun bekerja ternyata mereka mau meluangkan waktu dan mengeluarkan biaya untuk mengikuti berbagai kegiatan berkarya tari. kondisi tersebut dapat diamati pada kegiatan pergelaran tari temu koregrafer wanita, baik kota semarang maupun di luar kota semarang, baik pergelaran lokal maupun nasional karya tari sebagai media profesi perkembangan teknologi pada saat ini telah mampu mensinergi perkembangan kary atari dan daya apresiasi di kalangan masyarakat kita. munculnya berbagai produk teknologi seperti perangkat tari modern, media audio, audio-visual, vcd, dvd, dan lain-lain menyebabkan semakin maraknya berbagai bentuk pertunjukan tari baik langsung (live) maupun tidak langsung. akibat perkembangan dunia hiburan tari tersebut secara otomatis membuka peluang profesi baru dalam berbagai bidang tari seperti penari, penata tari atau koreografer, penata busana dan rias, pelatih tari, guru tari, dan lain-lain. para mahasiswa program studi pendidikan seni tari fbs universitas negeri semarang mengungkapkan bahwa menempuh pendidikan tari merupakan upaya untuk menjadi guru tari, dan di antaranya bahkan ingin menjadi penari dan penata tari yang profesional. sedangkan di sanggarsanggar sangat jelas berkeinginan untuk menyalurkan hoby bahkan menjadi seniman tari profesional. perlawanan dan adaptasi gender gender sebagai identifikasi biologis dan identifikasi sosial yang dikaitkan dengan perilaku pria dan wanita dalam masyarakat merupakan konstruksi sosial yang mengacu pada sistem nilai dan idiologi yang ada. seiring dengan perubahan sosial yang ada nilai-nilai dan idiologi tersebut akan berbeda dari waktu ke waktu, sehingga penentuan kedudukan, peran, dan tingkah laku perempuan dan laki-laki yang selanjutnya akan menciptakan pembagian kerja yang ada pada gilirannya akan membedakan pekerjaan-pekerjaan yang hanya dianggap pantas dilakukan oleh perempuan atau lakilaki (caturwati 2003: 24-25). hingga saat ini ideologi patriarkhi yang menempatkan kedudukan laki-laki di atas kedudukan perempuan dan stereotype gender yang memberikan pelabelan atau penandaan tertentu terhadap laki-laki dan perempuan masih tetap mengakar dan meresap dalam berbagai aspek kehidupan masyarakat kita. namun demikian dalam konteks penelitian ini diperoleh data bahwa keberadaan lembaga pendidikan tari baik yang formal maupun nonformal ternyata mampu berperan sebagai salah satu agen sosialisasi sekaligus sebagai agen perubahan dalam mengkonstruksi peran laki-laki dan perempuan. adanya kesempatan dan terbukanya peluang keterlibatan perempuan dalam proses karya tari pada kedua lembaga pendidikan tari yang dijadikan setting dalam penelitian ini menunjukan bahwa secara struktur tidak ada pembatasan wilayah sosial antara laki-laki dan perempuan. dalam lembaga-lembaga pendidikan tari tersebut juga tidak terdapat adanya upaya–upaya membedakan peran laki-laki dan perempuan melalui berbagai pembedaan jenis tari atau bentuk tari, pembedaan materi garapan tari, maupun struktur gerak tarinya. bentuk-bentuk perlawanan gender yang terjadi pada kedua lembaga pendidikan tari tersebut antara lain dengan melihat adanya sikap keterbukaan di kalangan orang tua dalam memberikan peluang/kesempatan berkarya tari yang lebih luas kepada anak perempuannya. sedangkan di kalangan mahasiswa pendidikan seni tari jurusan pendidikan seni drama tari dan musik fbs universitas negeri semarang bentuk perlawanan gender tersebut terlihat dari adanya keterlibatan para mahasiswa perempuan dalam pemilihan bentuk dan jenis garapan tari. bentuk dan jenis garapan yang dalam konteks stereotype gender diidentikkan sebagai elemen gerak tari yang cocok dan biasa dimainkan oleh laki-laki ternyata banyak pula diikuti dan diminati oleh koreografer perempuan. selain adanya perlawanan gender tersebut ternyata di kalangan para koreografer perempuan juga melakukan tindakan-tindakan adaptasi gender. tindakan-tindakan tersebut khususnya dapat dilihat dari cara berbusana di kalangan mahasiswa perempuan dalam berbagai aktifitas perkuliahan yang senantiasa mengenakan celana panjang (biasanya celana jean) meskipun diantaranya juga tetap berkerudung (berbusana muslim). bias gender konstruksi peran lakilaki dan perempuan dalam proses karya tari bias gender yang terjadi dalam proses konstruksi peran laki-laki dan perempuan dalam proses karya tari pada penelitian ini antara lain dapat dijelaskan melalui (1) masih adanya pandangan stereotype gender di kalangan para orang tua, seniman, dan mahasiswa tari; dan (2) masih adanya berbagai sikap, pandangan, nilai-nilai, dan perilaku di kalangan masyarakat kita yang sengaja atau tidak sengaja telah melanggengkan adanya perbedaan ruang sosial antara laki-laki dan perempuan dalam proses karya tari. stereotype gender dalam proses pemilihan bentuk garapan tari stereotype dalam konteks gender merupakan pelabelan atau penandaan yang diberikan kepada laki-laki dan perempuan dengan mengacu pada ciri-ciri biologis dan perbedaan alami yang ada. laki-laki dengan ciri-ciri biologisnya serta sifatsifatnya senantiasa diidentikkan dengan orientasi instrumental, yakni aktif, penonjolan diri, pelindung, dan pemimpin. sedangkan perempuan dengan ciri-ciri biologisnya diidentikkan dengan sifat feminin yang berkaitan dengan orientasi emosional seperti pasif, berkorban untuk keperluan orang lain, tergantung, pemberi cinta, dan pengasuh. bentuk stereotype gender seperti uraian di atas, berdasarkan fakta di lapangan ternyata juga terjadi dalam proses karya tari, wujudnya adalah berupa pelabelan terhadap bentuk garapan tari yang mengacu pada perbedaan ciri-ciri biologis dan sifat antara laki-laki dan perempuan. berkaitan dengan materi gerak karya tari di antara mereka masih ada yang menganggap bahwa untuk menggarap karya tari harus ada perbedaan jenis dan bentuk garapan tari antara yang diberikan kepada perempuan dengan yang diberikan kepada laki-laki. perbedaan wilayah sosial antara laki-laki dan perempuan dalam proses karya tari adanya perbedaan antara kekuataan realitas obyektif yang dialami para koreografer dalam proses konstruksi peran yang terjadi di dalam lingkungan sosial keluarga dan msyarakat memberikan bukti bahwa dalam masyarakat kita masih meresap dengan kuat berbagai sikap, pandangan, nilai-nilai, dan perilaku yang menyebabkan berbedanya wilayah sosial antara laki-laki dengan perempuan. perempuan dalam berbagai konteks sosial yang ada masih memiliki keterbatasan dalam melakukan berbagai interaksi sosial, sedangkan laki-laki dengan berbagai sikap, pandangan, nilai-nilai, dan perilaku masyarakat kita lebih memiliki kesempatan untuk melakukan inetraksi sosial dengan realitas obyektif yang ada. dominannya jumlah koregrafer perempuan dalam kegiatan pergelaran-pergelaran tari, di satu sisi merupakan salah satu bukti yang menunjukan adanya peningkatan partisipasi perempuan dalam ranah publik. namun demikian berdasarkan data yang diperoleh peneliti dalam kasus tertentu memberikan informasi bahwa keterlibatan perempuan dalam lembaga pendidikan tari tersebut hanya merupakan upaya orang tua menjadikan lembaga pendidikan tari sebagai tangan kedua dalam membatasi ruang sosial anak. simpulan hasil penelitian menunjukkan bahwa konstruksi peran laki-laki dan perempuan dalam proses karya tari terjadi pada lingkungan sosial keluarga dan lingkungan sosial masyarakat. realitas obyektif yang mencakup berbagai pandangan, sikap, perilaku, dan pemberian makna terhadap diferensiasi peran laki-laki dan perempuan berdasarkan budaya (nurture) yang terdapat dalam lingkungan keluarga memiliki peran yang menonjol dalam proses konstruksi peran di kalangan koregrafer perempuan. sedangkan bagi koregrafer laki-laki, proses konstruksi peran selain terjadi di dalam lingkungan keluarga juga terjadi di dalam lingkungan sosial masyarakat. pada proses konstruksi peran tersebut terjadi pula bentukbentuk perlawanan dan adaptasi gender. perlawanan gender dilakukan oleh para koregrafer perempuan yang memilih jenis dan bentuk karya tari. sedangkan adaptasi gender ditunjukkan dengan cara berpakaian di kalangan koregrafer perempuan yang pada umumnya berpenampilan tomboy. bias gender yang terjadi dalam proses konstruksi peran laki-laki dan perempuan dalam penelitian ini ditunjukkan dengan masih adanya pandangan stereotype gender di kalangan orang tua, seniman, dan mahasiswa tari. stereotype gender tersebut berupa pelabelan terhadap jenis dan bentuk karya tari yang mengacu pada perbedaan ciri-ciri biologis dan sifat antara laki-laki dan perempuan. selain itu bias gender ditunjukkan pula dengan adanya berbagai sikap, pandangan, nilai-nilai, dan perilaku di kalangan masyarakat yang menyebabkan tetap berlangsungnya perbedaan ruang sosial dalam proses karya tari antara laki-laki dan perempuan. daftar pustaka fakih, m. 1997. analisis gender dan transformasi sosial. yogyakarta: pustaka pelajar. geertz.h. 1983. local knowledge. new york: basic books. hidajadi, m. 2000. “ tubuh: sejarah perkembangan dan berbagai masalah”. jurnal perempuan edisi 15. jakarta: yayasan jurnal perempuan. iryanti, eny.dkk. 2006. “konstruksi peran gender dalam proses pendidikan seni tari”. laporan penelitian universitas negeri semarang. jazuli, m. 1994. “segi-segi artistik dalam pergelaran tari”. dalam media fpbs ikip semarang no. 2 tahun xvii agustus 1994 issn 0215-9007. megawangi, r. 1999. membiarkan berbeda. bandung: mizan pustaka. nakagawa, shin. 2000. musik dan kosmos: sebuah pengantar etnolomusikologi. jakarta: yayasan obor indonesia. triyanto. 1998. “ seni sebagai ekspresi budaya: fenomena wanita dan kewanitaan dalam karya seni”. dalam lingua artistika jurnal bahasa dan seni fbs ikip semarang no. 1 tahun xxi . ______. 2001. “penggambaran visual profil wanita dalam karyakarya pelukis indonesia”. dalam lingua artistika jurnal bahasa dan seni fakultas bahasa dan seni universitas negeri semarang. no. 1 th xxiv januari 2001. hal. 115. utomo, udi. 2000. “musik klasik dan penggemarnya”. tesis pada program pascasarjana universitas airlangga surabaya. ______. 2005. “perilaku berkesenian: kajian dalam analisis gender”. dalam imajinasi jurnal seni fakultas bahasa dan seni universitas negeri semarang. volume 2 januari 2005. hal.177178. valdes, a. dan halley, j.a.1996. “gender in the culture of mexican american conjunto music”. dalam gender & society. vol.10.no.2 april 1996, hal.148167. vol. 8 no.2 mei-agustus 2007.pdf harmonia jurnal pengetahuan dan pemikiran seni profil pura mangkunagaran dalam struktur organisasi dan pengelolaan organisasiseni (mangkunegaran profile in organisation structure and art organisation management) malarsih stafpengajar jurusan sendratasik, fakultas bahasa dan seni, universitas negeri semarang abstrak pura mangkunagaran adalah eks pusat pemerintagan kadipaten atas pembagian kekuasaan dari kasunanan surakarta yang hingga kini tetap menjaga kelestarian budaya leluhur dengan membentuk struktur organisasi dan mengelolanya dengan model manajemen khusus. permasalahan yang diangkat dalam penelitian ini berkait dengan struktur organisasi dan pengelolaan organisasi seni di pura mangkunagaran.. metode penelitian yang diterapkan adalah kualitatif. lokasi penelitian, pura mangkunagaran. teknik pengambilan data dilakukan dengan observasi, wawancara, dan dokumentasi. langkah analisis data bergerak dari saat pengambilan data, penyajian data, reduksi data, dan verifikasi sebagai suatu siklus sampai temuan penelitian oleh peneliti diyakini kebenarannya. teknik keabsahan data dilakukan dengan triangulasi, yakni mencocokkan data hasil wawancara, observasi, dan dokumentasi. hasil penelitian menunjukkan: srtuktur organisasi pura mangkunagaran dibuat sedemikian rupa yang menjadikan budaya mangkunagaran tetap terpelihara. ada empat bagian yang dominan dalam struktur organisasi di pura mangkunagaran, yakni bagian sekretariat, kabupaten mandra kumara, reksa budaya, dan kawedanan satria. keempat bagian tersebut saling fungsional dengan bagian yang lain hingga menjadikan struktur organisasi itu dapat menjaga kelestarian budaya mangkunagaran. pengeloaan organisasi seni secara khusus diberikan pada sub bagian langen praja dibawah bagian reksa budaya. kepercayaan penuh untuk mengelola organisasi seni yang menjadi milik mangkunagaran kepada sub bagian langen praja menjadikan seni budaya mangkunagaran tetap eksis di masyarakat sekalipun yang menonjol utamanya hanyalah seni tail. kata kunci : organisasi, struktur organisasi, pengelolaan organisasi, organisasi seni. a. pendahuluan masyarakat yang akrap dengan pengetahuan budaya keraton, sejarah kehidupan keraton utamanya keraton surakarta dan juga mereka yang sedikit banyak mengenal seni budaya jawa, rasanya tidak asing mendengar sebutan seni mangkunagaran atau seni gaya mangkunagaran. namun demikian masyarakat awam tentu banyak yang tidak mengerti mengapa seni budaya mangkunagaran ini sampai sekarang masih dikenal. peran apa yang dilakukan oleh pihak mangkunagaran sebagai pemangku dan/ atau pemilik seni budaya mangkunagaran hingga seni budaya mangkunagaran sampai saat volume viii no.2 / mei-agustus 2007 118 harmonia jurnal pengetahuan dan pemikiran seni sekarang masih eksis dan/ atau dikenal oleh masyarakat luas. jika dilihat dari sejarahnya, mangkunagaran berdiri sejak tanggal 16 maret 1757 masehi sebagai daerah kadipaten pecahan keraton surakarta. berdirinya pura mangkunagaran karena desakan keras dari raden mas said melalvii peperangan yang sangat panjang dan melelahkan (tahun17411757). hasil dari jerih payah raden mas said melalui peperangan itu lah, akhirnya raden mas said diberi daerah sendiri yang akhirnya dinobatkan sebagai adipati bergelar pangeran adipati mangkunagara atau mangkunagara i (ricklefs, 1978; radjiman, 1984). mengenai siapa sebenarnya raden mas said itu, raden mas said adalah putra sulung kanjeng gusti pangeran arya adipati (kgpaa) mangkunagara di kartasura, kemudian dikenal sebagai raden mas arya pangeran suryakusuma atau pangeran samber nyawa, yang kemudian menjadi adipati bergelar pangeran adipati mangkunagara i itu (reksa pustaka mangkunagaran, 1970). permasalahan yang diangkat dalam penelitian ini, difokuskan pada struktur organisasi yang diciptakan oleh pihak pura mangkunagaran hingga menjadikan seni budaya mangkunagaran tetap terpelihara. berkait dengan itu dipermasalahkan pula bagaimana pengelolaan organisasi seni di pura mangkunagaran hingga seni budaya mangkunagaran hingga sekarang masih dikenal oleh masyarakat luas" pemahaman struktur organi sasi dalam ilmu sosial berhubungan erat dengan aspek statis dari suatu organisasi yang di dalamnya merupakan posisi-posisi yang/ di mana masingmasing dari posisi tersebut mengambil peran (soekanto, 1993). pengelolaan suatu organisasi berkait erat dengan manajemen. menurut koontz & adonnel ( 1997) manajemen berhubungan dengan pencapaian sesuatu tujuan yang dilakukan dengan orang-orang lain. manajemen yang dikemukakan itu dititikberatkan pada usaha meman faatkan orang-orang lain dalam pencapaian suatu tujuan. untuk mencapai tujuan tersebut, orang-orang di dalam organisasi harus jelas wewenang, tanggung jawab dan tugas pekerjaannya. di sisi lain yang kurang lebih masih mempunyai pengertian yang berkait, dike mukakan oleh makharita (dalam handayaningrat, 1986) bahwa manajemen adalah pemanfaatan sumber-sumber yang tersedia atau yang berpotensial di dalam pencapaian tujuan. di sini manajemen itu dititikberatkan pada usaha menggunakan / meman-faatkan sumber yang tersedia atau yang berpontensi dalam pencapaian tujuan. dalam pemahaman lebih lanjut ada yang menggunakan istilah dengan menyebutnya sebagai management resources (sumber/ sarana manajemen) dengan pengertian, orang, uang, material, peralatan, metode, waktu, dan prasarana lainnya seperti tanah, gedung, dan alat-alat. degenaars (dalam handayaningrat, 1986) memberikan penjelasan, manajemen seperti ini sebagai suatu proses yang berhubungan dengan bimbingan kegiatan kelompok dan berdasarkan atas tujuan yang jelas yang harus dicapai dengan menggunakan sumber-sumber tenaga manusia dan sumber-sumber tenaga yang bukan tenaga manusia. titik berat manajemen seperti ini lebih fokus volume viii no.2 / mei-agustus 2007 119 harmonia jurnal pengetahuan dan pemikiran seni pada bimbingan kegiatan kelompok, yang pencapaian tujuanya lebih banyak menggunakan sumber daya manusia sekalipun sumber-sumber daya lainnya tidak diabaikan. terry (1986) menjelaskan, manajernen seperti itu lebih menekankan suatu proses yang membeda-bedakan atas peren canaan, pengorganisasian, pengge rakan pelaksanaan dan pengawasan, dengan memanfaatkan baik ilmu maupun seni, agar dapat menyelesaikan tujuan yang telah ditetapkan sebelumnya. fungsi dari itu semua menurut terry sebagaimana pula sugandha (1986) mempunyai pengertian yang hampir sama dengan prosesnya, yaitu : perencanaan, pengorganisasian, pengumpulan sumber, pengen-dalian kerja, dan pengawasan. berkait dengan pemahaman dan/ atau konsep struktur organisasi serta pengelolaan suatu organisasi, ada satu teori yang secara dominan akan digunakan untuk menjawab dan/ atau menjelaskan permasalahan pene-litian ini, yakni teori struktural fungsional dari robert k. merton sebagaimana dikemukakan oleh ritzer (dalam alimandan, 1992). teori ini menekankan kepada keteraturan dan mengabaikan konflik serta perubahan-perubahan dalam masyarakat. konsep-konsep utamanya adalah fungsi, disfungsi, fungsi laten, fungsi manifes, dan keseimbangan. menurut teori ini, masya rakat/ lembaga/ organisasi atau apapun dalam suatu kehidupan kelompok di masyarakat meru-pakan suatu sistem sosial yang terdiri atas bagian-bagian atau elemen yang saling berkaitan dan saling menyatu dalam keseimbangan. perubahan yang terjadi pada satu bagian akan membawa perubahan pula terhadap bagian yang lain. asumsi dasarnya adalah setiap struktur dalam sistem sosial, fungsional terhadap yang lain. secara ekstrim penganut teori ini beranggapan bahwa semua peristiwa dan semua struktur adalah fungsional bagi suatu masyarakat. kalau terjadi konflik, penganut teori ini memusatkan perhatiannya kepada masalah bagaimana cara menyelesaikannya sehingga masyarakat tetap dalam keseimbangan. teori ini juga mengakui, selain ada fungsi juga ada disfungsi. ada fungsi manifes (fungsi yang diharapkan) ada juga fungsi laten (fungsi yang tidak diharapkan). peristiwa yang ada dalam kelompok sosial/ masyarakat adalah fungsional dalam artian positif dan negatif. kelompok sosial/ masyarakat dilihat dalam kondisi dinamika dalam keseimbangan. b. metode penelitian penelitian ini menggunakan metode kualitatif, yaitu seluruh data yang ada dideskripsikan dalam bentuk katakata yang kata-kata itu tidak diangkakan seperti lazimnya dalam penelitian kuantitatif. cara kerja dan berpikir untuk mendapatkan data yang benar pun melalui proses kerja dan berpikir induktif bukan deduktif sebagaimana halnya yang dilakukan dalam penelitian kuantitatif. penentuan lokasi, sasaran kajian, teknik pengumpulan data, dan langkah analisis data secara umum akan dijelaskan berikut ini. 1. lokasi penelitian lokasi penelitian ini adalah pura mangkunagaran. alasan pemilihan tempat ini karena yang volume viii no.2 / mei-agustus 2007 120 harmonia jurnal pengetahuan dan pemikiran seni menyebakan seni gaya mangkunagaran masih tetap eksis sampai sekarang. 2. sasaran kajian sasaran kajian dalam penelitian ini adalah mengenai struktur organiasi dan pengelolaan organisasi seni di pura mangku-nagaran. struktur organisasi meliputi bagian-bagian yang saling berhubtingan antara satu dengan lainnya sehingga mewujudkan suatu struktur organisasi yang kokoh. pengelolaan organisasi seni berkait dengan manajemen yang ada pada organisasi di pura mangkunagaran yang menjadikan seni mangku nagaran tetap eksis dan/ atau dikenal oleh masyarakat luas sampai saat sekarang. 3. teknik pengumpulan data teknik pengumpulan data yang digunakan dalam penelitian ini adalah wawancara, observasi, dan dokumentasi. dalam wawancara ini yang diwawancarai adalah sebagian dari para kerabat dan abdi dalem yang terlibat dalam struktur organisasi dan aktif dalam kepengurusan di pura mangkunagaran serta sebagian dari komunitas di lingkungan pura mangkunagaran yang tidak ikut terlibat secara langsung dalam struktur organisasi resmi di pura mangkunagaran. observasi dilak sanakan dengan melihat wujud nyata dari suatu kegiatan organisasi. dokumentasi diambil dari gambargambar, catatan-catatan, dan rekaman yang berkait dengan kegiatan di pura mangkunagaran. 4. teknik analisis dan keabsahan data analisis data dilakukan dengan mengikuti alur analisis miles dan huberman (dalam rohidi, 1992 dan nasution, 19%). langkah yang digunakan terdiri dari: 1) pengumpulan data, 2) reduksi data, 3) penyajian data, dan 3) verifikasi yang bergerak terus sebagai suatu proses siklus sampai setiap poin kecil yang dianggap sebagai hasil penelitian diyakini kebenarannya. keabsahan data dilakukan dengan triangulasi, yakni mencocokkan data dari hasil wawancara, observasi, dan dokumentasi. c. hasil penelitian dan pembaha san sebagai upaya memberikan gambaran hasil penelitian secara jelas mengenai struktur organisasi dan pengelolaan organisasi seni di pura mangkunagaran, maka antara hasil penelitian yang berkait dengan struktur organisasi dan pengelolaan organisasi seni akan disajikan secara terpisah. namun demucian perlu diberikan suatu penjelasan di sini bahwa, hasil penelitian yang disajikan ini nanti tidak akan dibahas secara khusus meng gunakan bab terpisah sebab hasil penelitian yang dipaparkan telah menggunakan pijakan konsep dan teori sebagaimana yang dituangkan dalam pendahuluan. pendeknya, pembahasan hanya akan tampak implisit di dalam hasil penelitian. 1. struktur organisasi pura mangkunagaran organisasi pura mangku nagaran dikelompokkan menjadi 4 bagian, yaitu bagian sekretariat, bagian kabupaten mandrapura, kantor kawedanan satria, dan kantor reksa budaya. a. bagian sekretariat sekretariat, dipimpin oleh seorang koordinator dan dibantu volume viii no.2 / mei-agustus 2007 121 harmonia jurnal pengetahuan dan pemikiran seni oleh kepala bidang perencanaan teknis/ non teknis, kepala bidang keuangan, kepala bidang personalia, dan kepala bidang humas/ protokol. sekretariat, di dalam tugas sehari-harinya bertanggung jawab kepada sri paduka mangkoenagoro ix. tugas pokok kesekretaritan utama nya adalah menjalankan/menyim-pan arsip serta menjalankan surat-surat dinas sri paduka mangkoenagoro ix, menyiapkan dan membukukan (arsip) surat keputusan dan sejenisnya. koordinator menjadi penghubung sri paduka mangkoenagoro ix dengan semua pihak. b. bagian kabupaten mandrapura kabupaten mandrapura dipimpin oleh seorang pengageng yang dibantu oleh seorang wakil, seorang bendaharawan, dan seorang sekretaris. di dalam tugas sehari-harinya bertanggung jawab kepada sri paduka mangkoenagoro ix. tugas utama kabupaten mandra pura, adalah: 1) mengatur dan mengelola rumah tangga istana, penataan dan pemeliharaan pura mangkunagaran, 2) merawat pusaka, gedung, halaman, taman, instalasi listrik, dan instalasi air, 3) mengelola urusan ulama, 4) menjaga keamanan istana, dan 5) pariwisata/ museum, yang di dalam opera-sionalnya ditunjuk biro pariwisata. c. kantor kawedanan satria kantor kawedanan satria dipimpin oleh seorang pengageng dibantu oleh wakil pengageng, bendaharawan, dan sekretaris. di dalam tugasnya bertanggung jawab kepada sri paduka mangkoenagoro ix. tugas kantor kawedanan satria adalah: 1) menggali dan memper tahankan tata cara, tata busana, dan tata upacara serta adat istiadat mangkunagaran pada umumnya dan pura mangkunagaran pada khususnya, yang memiliki nilai-nilai positif, 2) menerima laporan kelahiran, perkawinan, dan kematian putra sentana dalem, 3) mengelola buku induk silsilah keturunan para kerabat yang jumeneng mangkoenagoro dan mengeluarkan piagamnya, 4) mengelola buku induk silsilah keturunan para punggawa baku dan mengeluarkan piagamnya, 5) mengelola makam-makam dan pesanggrahan, 6) mengeluarkan pepanci sentana dalem, dan 7) menjalankan tata cara, adat istiadat di pura mangkunagaran. d. kantor reksa budaya kantor reksa budaya dipim pin oleh seorang pengageng, dibantu oleh seorang wakil, staff ahli (nara sumber), bendahara, dan sekretaris. di dalam menjalankan tugasnya sehari-hari bertanggung jawab langsung kepada sri paduka mangkoenagoro ix. tugas utama kantor reksa budaya adalah menjadikan pura mangkunagaran sebagai pusat pengembangan budaya mangkunagaran. di dalam menjalankan tugas sehariharinya dibantu oleh reksa pustaka, langen praja, dan barawiyata. secara rinci tugas bagian-bagian tersebut sebagai berikut: 1) reksa pustaka tugas reksa pustaka menggali, mengembangkan, menginventarisasikan, mengalih bahasakan, dan memeuhara bukubuku perpustakaan serta menyelenggarakan pengarsipan surat-surat utama. 2) barawiyata tugas barawiyata, memeuhara dan mengusahakan kehidupan volume viii no.2 / mei-agustus 2007 122 harmonia jurnal pengetahuan dan pemikiran seni tugas barawiyata, memelihara dan mengusahakan kehidupan lembagalembaga pendidikan, balk pendidikan umtun maupun pendidikan khusus yang berkait dengan seni budaya. 3) langen praja tugas langen praja, melaksa nakan gladen (latihan) dan pergelaran seni tari, karawitan, seni suara yang bersumber pada khasanah dan hasil penggalian budaya mangkunagaran serta melaksanakan kaderisasi dibidangnya. 2. pengelolaan organisasi seni. organisasi seni di pura mangkunagaran, utama sekali adalah organisasi seni tari yang dikelola oleh langen praja. organisasi pasinaon dalang mangkunagaran atau biasa dising kat pdmn juga ada, namun keberadaannya tidak begitu solit. berdasar gambaran struktur organisasi pura mangkunagaran diketahui bahwa, seni tari masuk dalam sub struktur langen praja yang merupakan bagian dari struktur reksa budaya. melalui langenpraja inilah seni tari gaya mangkunagaran dipertahankan, diperkembangkan, dan disebar luaskan. berikut akan dikemukakan bagaimana langenpraja sebagai bagian dari struktur pemerintahan mangkunagaran mempertahankan, memperkembangkan, dan menye barluaskan tari gaya mangku nagaran. a. mempertahankan pihak pura mangkunagaran melalui reksa budaya dan langen praja sesuai dengan tugasnya sangat berkepentingan mempertahankan aset seni budaya yang dimiliki dengan tetap menjaga keasliannya. oleh karena itulah reksa budaya melalui sub struktur langen praja ini melakukan kegiatan-kegiatan kesenitarian gaya mangkunagaran dengan rutinitas yang sangat tinggi. ini semua langsung dipimpin oleh tetindih atau pelatih tari gaya mangkunagaran secara langsung yang memang dalam struktur langen praja ia bertugas melakukan kegiatan mempertahankan dan menggah seni tari asli gaya mangkunagaran yang dirasa telah punah. perlunya seni tari gaya mangkunagaran ini dipertahankan sesuai aslinya, karena seni tari ini merupakan ciri khas mangkunagaran, kebanggaan mangkunagaran, dan dapat dianggapnya sebagai bagian dari budaya mangkunagaran yang diaktuali-sasikan dalam wujud seni tari gaya mangkunagaran. seni tari gaya mangkunagaran ini oleh pihak pura juga dilihatnya sebagai sesuatu yang dapat menggugah rasa sebagai orang mangkunagaran, dapat dijadikan alat ekspresi, indah, dan enak dinikmati. untuk itu, maka menjaga keasliannya adalah penting. dalam usaha menjaga dan memper tahankan keaslian tari gaya mangkunagaran ini, pihak pura melalui sub struktur langen praja mengadakan pelatihan rutin setiap hari senin sore, rabu pagi, dan sabtu sore. latihan rutin yang diadakan setiap hari senin sore pukul 16.30 18.00 bertempat di pendapa bagian bawah joglo pura mangkunagaran. peserta yang mengikuti latihan setiap hari senin sore ini terdiri dari para siswa slta, mahasiswa, dan warga negara asing. volume viii no.2 / mei-agustus 2007 123 harmonia jurnal pengetahuan dan pemikiran seni selain latihan rutin setiap had benin sore, juga diadakan pula latihan rutin setiap hari rabu pagi dan sabtu sore. latihan yang diadakan setiap hari rabu pagi pukul 10.00 12.00 diikuti oleh para abdi dalem bersama dengan para penari umum yang dianggap sudah memiliki kemampuan yang baik. penari umum di luar pura yang terlibat latihan tadi sebagian besar terdiri dari personilpersonil yang kebanyakan berasal dari para siswa sanggar tari, sekolah seni seperti smki surakarta, perguruan tinggi seni seperti stsi dan isi yogyakarta, seniman surakarta, serta mahasiswa umum. latihan yang diadakan setiap sabtu sore pukul 16.30 18.00 yang dahulu diprioritaskan untuk penggalian tari gaya mangku nagaran oleh ibu sutarwo dan ibu umi (tetindih tari), sekarang sudah berubah menjadi latihan rutin seperti yang diadakan setiap hari senin sore. latihan bertempat di pendapa bagian bawah pura mangkunagaran. peserta yang mengikuti latihan setiap hari sabtu sore ini terdiri dari para siswa slta, mahasiswa, dan warga negara asing. b. memperkembangkan semula di dalam pura, tari gaya mangkunagaran hanya diper-gunakan atau difungsikan untuk upacara-upacara adat, seperti jumenengan, suran, dan perkawinan. sekarang ini pihak pura, yang dalam hal ini ditangani oleh sub bagian langenpraja telah memper kembangkannya, utamanya untuk sajian wisata sekalipun sedang tidak ada upacara-upacara tertentu. selain itu saat sekarang di luar pura, tari gaya mangkunagaran jauh lebih banyak dipergunakan oleh masyarakat, seperti untuk kepentingan upacara perkawinan, tontonan atau hiburan, festival, dan juga pertukaran budaya. dalam banyak kesempatan tari gaya mangkunagaran ini juga diper-tunjukkan di mancanegara seperti yang pernah dilakukan di paris, inggris, dan jepang. semuanya ini tidak lepas dari usaha pihak pura mangkunagaran agar seni tari gaya mangkunagaran ini, keberadaannya tidak hanya digunakan untuk kepentingan di dalam pura saja. mengenai kepentingan wisa ta, upacara perkawinan di luar pura oleh masyarakat pendukung, tontonan atau hiburan, dan festival akan dikemukakan berikut ini. 1) wisata di dalam pura mangkunaga ran, tari gaya mangkunagaran' dijadikan paket wisata oleh bagian biro pariwisata. di sini ada kerjasama antara bidang biro pariwisata dengan bagian langen praja. penyelenggaraan pementasan tari gaya mangkunagaran yang digunakan untuk suguhan wisata, biasanya diadakan pada waktu malam hari mulai pukul 20.00 (sesudah makan malam), karena acara tersebut diselenggarakan setelah para turis makan malam. 2) upacara perkawinan bagi masyarakat umum lingkungan masyarakat luar pura mangkunagaran juga sering menyeleng-garakan perkawinan dengan mementaskan tari gaya mangkunagaran ini. tari gaya mangkunagaran dipentaskan di luar pura mangkunagaran kebanyakan bukan merupakan bagian upacara yang disakralkan, melainkan tari tersebut digunakan sekedar untuk disuguhkan kepada para tamu agar suasana upacara perkawinan volume viii no.2 / mei-agustus 2007 124 harmonia jurnal pengetahuan dan pemikiran seni tersebut menjadi lebih hidup, megah, ada nuansa estetiknya dari gemulainya tarian yang bercorak gaya\ mangkunagaran, menye nangkan, serta menghibur. 3) hibturan/ tontonan sebeharnya seni tari gaya mangkunagaran difungsikan se-bagai tontonan atau hiburan tersebut pelaksanaannya di masyarakat umum maupun di pura mangkunagaran sendiri menyatu dengan kepentingan yang lain. ketika pura mangkunagaran dan atau masyarakat umum menye-lenggarakan upacara dengan menggunakan tari ini misalnya, masyarakat atau siapa pun yang terlibat di dalamnya tidak melihat kesakralannya. yang dilihat adalah gemulainya gerak para penari, gemerlapnya busana yang dikena-kan penari kecantikan para penari putri baik kecantikan alami maupun kecantikan karena pengaruh rias, kemolekan tampilan dipadu dengan alunan gamelan yang mengiringi tari tersebut, dan lain sebagainya. 4) festival seni tari gaya mangkunagaran selain difungsikan untuk upacaraupacara sakral dan non sakral di pura mangkunagaran, untuk upacara perkawinan bagi masyarakat umum, suguhan wisata, dan lain sebagainya, perkembangan sampai saat ini telah sampai pada mengikuti festival keraton. pe-ngiriman tari gaya mangkunagaran pada acara festival keraton telah tiga kali dilakukan. pertama, di cirebon dengan menyajikan materi tari wirun dan tari srimpi muncar. kedua, di jakarta dengan menyajikan tari bedaya bedah madiun dan srimpi muncar. ketiga, di bali dengan menyajikan tari srimpi muncar yang dipentaskan secara lengkap dengan gamelan dan pengrawit yang dikirim langsung dari pura mangkunagaran. 5) pertukaran budaya dalam acara pertukaran budaya, mangkunagaran juga mengirimkan kontingen tari. penguiman pertama, pada tahun 1989 ke paris dengan materi tari putri bedaya bedah madiun dan wireng bandawala. kedua, tahun 2005 ke maroko dengan materi tari bandabaya, kelana topeng, srimpi muncar, gambyong retna kusuma, dan sendratari panji sekartaji. selain fungsi tari yang telah mengalami perkembangan, materi tarinya pun juga telah mengalami perkembangan. perkembangan materi tari, terutama terletak pada iringan yang digunakan untuk mengiringi tari gaya mangkunagaran. hal ini dikarenakan untuk memudahkan siswa dalam belajar dasar-dasar tari gaya mangkunagaran. beberapa bentuk tari yang dicoba oleh tetindih untuk dasar-dasar tari gaya mangkunagaran yang menggunakan iringan bukan gaya mangkunagaran, adalah tari bondan, tari golek sulung dayung, dan tari golek montro. jelasnya, ketiga tari tersebut gayanya adalah gaya tari mangkunagaran tetapi iringan yang digunakan gaya surakarta. selain itu salah seorang penari dari pura juga telah menyusun tari wireng bisma dan srikandi dengan mencoba mengkolaborasikan tari gaya mangunagaran dengan tari gaya surakarta. c. menyebarluaskan dalam usaha menyebar-luaskan tari gaya mangkunagaran, pihak pura melalui sub struktur langen praja tidak hanya volume viii no.2 / mei-agustus 2007 125 harmonia jurnal pengetahuan dan pemikiran seni menyebarluaskan melalui sajian tari atau pelatihan tari secara langsung tetapi juga dilakukan penyebar luasan menggunakan pengetahuan dan pembelajaran tari dalam bentuk tulisan. dalam gerak langkah menyediakan pengetahuan dan materi tari dalam bentuk tulisan atau deskripsi tari yang telah dibukukan, langen praja bekerja samadengan bagian reksa pustaka. secara khusus peranan reksa pustaka dalam hal membantu menyebar-luaskan materi tari gaya mangkunagaran dalam bentuk tulisan ini adalah mengin venta risasikannya serta memin jamkan nya untuk digandakan bagi yang memerlukan. melalui cara ini, diharapkan siapa saja yang memerlukan akan sangat mudah terbantu. dengan kemudahan itu, diharapkan banyak orang tertarik untuk membaca dan mempe-lajarinya. hanya sampai sebatas itu reksa pustaka dapat membantu menyebarluaskan tari gaya mangkunagaran. selain bagian reksa pustaka, sangat sulit pada bagian-bagian lain ikut serta secara langsung membantu menyebarluaskan seni tari gaya mangkunagaran ini ke masyarakat umum karena memang bukan bagiannya. yang jelas usaha penyebarluasan tari gaya mang kunagaran ke masyarakat luas lebih . banyak dilakukan oleh langen praja. langen praja selain selalu menyediakan para penari yang setiap saat siap pentas, para penarinya dan juga para tetindih banyak mengajarkan tari gaya mangkunagaran ini kepada banyak orang, baik di dalam pura maupun di luar pura. d. simpulan berdasar hasil penelitian yang telah dipaparkan dapat diketahui bahwa, pura mangkunagaran memilki struktur organisasi yang jelas. sruktur organisasi yang ada dibentuk berdasar kebutuhan untuk tetap menjaga kelestarian budaya mangkunagaran. oleh karena itulah dibentuk bagian-bagian seperti bagian sekretariat, bagian kabupaten mandrapura, kantor kawedanan satria, dan kantor reksa budaya yang semua itu berhubungan secara fungsional dan/ atau saling bergantung satu sama lain sehingga struktur organisasi itu hingga sekarang tetap utuh dalam menjaga kelestarian budaya mangkunagaran. penge-lolaan organisasi seni dilakukan dengan melibatkan satu bagian khusus yakni langen praja, yang dari langen praja itulah, utamanya seni tari gaya mangkunagaran dapat dilestarikan dengan memperta-hankan yang asli atau tetap menjaga agar yang asli tidak punah, memperkembangkan dengan pija kan yang asli, serta menyebarluaskan ke masyarakat luas. e. saran berdasar simpulan hasil penelitian disarankan, hendaknya struktur organisasi di pura mangkunagaran tetap dipertahan kan agar kelestarian budaya mangkunagaran tetap terpelihara. begitu pula hendaknya pengelolaan organisasi seni juga dipertahankan agar seni budaya mangkunagaran tidak punah namun perlu ada regenerasi yang diambil dari orang-orang yang profesional dengan dedikasi yang tinggi. daf tar pustaka handayaningrat, soewarno. 1986. pengantar ttmu adminisfrasi dan volume viii no.2 / mei-agustus 2007 126 harmonia jurnal pengetahuan dan pemikiran seni manajemen.jakarta:gunung agung o, donnel/ koonz. 1997. manajemen. jakarta: gramedia pakempalan ngarang serat ing mangkunagaran, 1970. serat babad panambangan. surakarta : reksa pustaka mangkunagaran radjiman. 1984. sejarah mataram kartasura sampai surakarta hadiningrat. surakarta: krida. ricklefs, mc. 1978. modern javanese historical tradition: a study of an original kartasura chronicle and related materials. london: university of london. ritzer, george, 1992. sosiologi ilmu pengetahuan berparadigma ganda. penyadur alunandan. jakarta: rajawali pers. soekanto, soerjono. 1993. beberapa teori sosiologi tentang struktur masyarakat. jakarta: raja grafindo persada. sugandha. 1986. manajemen administrasi suatu pendekatan sistem dalam manajemen perkantoran. bandung: sinar baru. terry, woworuntu. 1986. manajemen untuk sekretaris. jakarta: gramedia. volume viii no.2 / mei-agustus 2007 127 harmonia vol vii no 1 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(2019). development of assessment instrument for singing skills and playing musical instrument for the music teacher candidates of general schools. harmonia: journal of arts research and education, 19(2), 185-192. harmonia: journal of arts research and education 19 (2) (2019), 185-192 available online at http://journal.unnes.ac.id/nju/index.php/harmonia doi: http://dx.doi.org/10.15294/harmonia.v19i2.23616 lum improvement, while the professional aspect is done through the development of the teaching profession. furthermore, through the education management aspects, efforts to improve the quality of education are carried out by developing the role of decision-making centers and educational control at a level closer to the teaching-learning process (zamroni, 2000). efforts to develop the professionalism of teachers have basically started when teacher candidates take education (pre-service) and continue when teachers introduction improving the quality of education as an effort to pursue progress and face global competition at this time is an inevitable demand for our nation. education quality improvement can be done through three pillars of education, namely through regulatory aspects (curriculum), professional aspects (teachers), and education management aspects. through the regulatory aspect, improving the quality of education is done by emphasizing aspects of curricucorresponding author: e-mail: udiutomo@mail.unnes.ac.id p-issn 2541-1683|e-issn 2541-2426 harmonia: journal of arts research and education 19 (2) (2019): 185-192186 occupy these positions (in-service). in the context of education, the implementation strategy is carried out both through improvements in content standards, process standards, and assessment standards. related to the assessment problem, adjusting the model and content of the teacher competency standard assessment as a consequence of an outcome needs to be done (fitzsimons, 1997). for example in the united states in the interests of education accreditation ncate (national council for accreditation of teacher education) has revised existing standards into a new standard that emphasizes aspects of knowledge and practice, performance, new forms of assessment, inter-school collaboration, technology, and the diversity of program evaluations in various contexts on an ongoing basis. in a different context, there is also an example that in new zealand the enforcement of teacher competency standards includes efforts to (1) assist the government in the management of education; (2) teacher assessment; (3) improvement of instructors, and (4) improvement in student achievement standards and quality of learning. previous studies have shown that learning music in public schools is not entirely as expected. the use of teachercentered lecture and drill methods is still very dominant, so it does not prepare students to develop critical, appreciative, creative, imaginative, and innovative abilities that support further education and life in society (yoseph, 2009; sinaga et al., 2010). in order for the implementation of music learning in schools to be a meaningful process for students, the implementation must be done through musical experience. as a form, every form of learning activity must be carried out through integrated activities that include musical activities as one of its components (action learning). these musical activities can be in the form of listening to music, responding to music with rhythmic movements, singing, reading music notation, playing musical instruments, creating music, analyzing music, recording music and others (jamalus, 1988; regelski, 1981). the process of learning music in public schools has the main characteristic of flexibility, which means learning music must be able to accommodate the broad differences between student interests, learning styles, abilities, and flexibility in accommodating social changes that occur in society. the statement is in accordance with the basic philosophy of high school, namely: (1) as an important agent in the transmission and modification of culture; (2) fostering individuals to learn as early as possible in order to be able to develop rapidly over time and maturity; (3) implementing various techniques to help early teens become problem solvers and creative thinkers; (4) providing a balance in educational experience; (5) utilizing various patterns of learning organizations; (6) integrating all efforts and responsibilities of school personnel in developing educational programs; and (7) developing various technological assistance (regelski, 1981). music as one of the learning materials in schools is a branch of art in the form of sound which contains elements of rhythm, melody, harmony, and timbre (reed, & sidnell, 1978). rhythm in music is a simple or double metric count which forms the basic pattern of melodic movements, whereas melody is a series of notes that form musical motifs and sentences. harmony as part of the musical element is the harmony of sound, and timbre is the color or character of the sound. complementing this understanding, jamalus (1988) states that music is the result of sound art in the form of songs or musical compositions, which express the thoughts and feelings of the creator through the elements of music, namely rhythm, melody, harmony, form or structure song, and expression in a single unit. action-based music learning as an alternative comprehensively can only be achieved if the teacher is able to organize learning that can directly provide experiences to students (learning by doing). therefore, as one of the efforts in developing teacher professionalism, this research aims udi utomo, abdul rachman, moch. usman wafa, development of assessment instrument 187 to develop instruments for evaluating singing skills and playing musical instruments for music teacher candidates in public schools. previous research conducted by researchers revealed that, in the implementation of music learning in elementary schools, teachers experienced difficulties and obstacles in various ways, such as: (1) ability to translate the contents of competencybased educational unit curricula (ktsp); (2) the ability to optimize children’s potential (active and creative); (3) applying appropriate learning methods; (4) utilizing the means and media of music learning; (5) utilizing the potential of the natural and cultural environment; and (6) developing forms of assessment that are appropriate to the characteristics of music learning (utomo, 2013). these findings are not much different from what happened in music teachers in junior high schools which showed that among music teachers there were still differences in priorities in setting goals and learning outcomes for their students. 20% of teachers think that students’ skills in playing a musical instrument or singing become the main priority to be achieved in learning the art of music. while some other teachers that think the importance of music knowledge and its relation to various aspects of culture are 30%. even so, the majority (50%) of teachers prioritize that the aim and results of learning the music are mastery of musical concepts and symbols obtained through various musical experiences (utomo, 2013). this finding was also strengthened when the researcher conducted a needs analysis activity in the development of teaching materials in the subject of music education study programs in the context of action learning-based. in this study, two important data were obtained: (1) the competencies needed by music teacher candidates; and (2) obstacles experienced by junior high school teachers in carrying out music learning in schools. the results of these studies indicate that an increase in the professionalism of music teachers conducted both when taking education (pre-service) or when after occupying the position of the teacher (in-service) is very necessary. in the context of educational institutions, latifah’s findings revealed that the learning process of existing musical instruments did not fully meet the needs of music teacher candidates in schools (utomo, 2013; latifah, 2012). methods the process of collecting data is done by interviews, questionnaires, assessment sheets and suggestions, task items, guidelines for observation and measurement. data analysis was performed by combining qualitative and quantitative methods (creswell, 2003; tashskkori & teddlie, 2010). qualitative technique was used to analyze and describe the data obtained through interviews, questionnaires, assessment sheets and suggestions obtained at the time of the study. while the quantitative analysis technique was carried out by the researcher when analyzing the data obtained through an assessment sheet and suggestions as well as the trial results of the developed assessment instruments. the quantitative analysis used to analyze the reliability of the instruments developed was the intraclass correlation coefficient (icc) test in the type of consistency definition and absolute agreement definition conducted using the spss program. this research was conducted with a development research approach that was adapted from a design model developed by (borg & gall, 1989) and (cenamo & kalk, 2005). the research phase consists of two stages, namely: (1) the development phase in which consists of the activities of planning the assessment instrument model, designing, and testing of the developed assessment instruments; and (2) the dissemination stage carried out through seminar activities. results and discussion descriptions and task items of asharmonia: journal of arts research and education 19 (2) (2019): 185-192188 sion notation with a drum set; (4) accompanying the song with a harmony musical instrument (keyboard or guitar); and (5) accompanying songs with percussion instruments (drum sets and drums). based on the description of the task, the task items needed in the assessment of teacher competency consist of nine assignments. the formulation of the assignment items is sequentially described in the following table. based on table 1 it can be explained that the task items number 1, 2, 3, 5a, 5b, and 5c are task items that emphasize the ability to read music notation in the form of number notation, and beam notation using vocal, melodic musical instruments, and sessment instruments of music teacher candidates competency in singing and playing musical instruments the assessment instrument for teacher candidates’ competency in singing and playing musical instruments developed in this study was a performance assessment model with a practice test technique for singing and playing musical instruments (russell, 2014). the object of the study is a performance process based on the specified competency test material. the job description in this competency includes the teacher’s competence in (1) reading the song notation with vocals; (2) reading song notation with melody based on the chosen musical instrument; (3) reading percustable 1. task items of assessment instrument for teachers’ competency in singing and playing musical instruments. task item task item formulation description 1 read the following song notation and sing it according to the song’s characteristics notation marked with bar 3/4 along the 10 segments of the bars in number notation 2 read the following song notation and sing it according to the song’s characteristics notation marked with bar 4/4 along the 10 segments of the bars in beam notation 3 read the following song notation and play using the melodic instrument of your choice according to the characteristics of the song the song notation g = 1 (1 #) marked bar 4/4 along 8 bars in beam notation. 4 accompany the following song sentences using the harmony musical instrument (keyboard or guitar) in accordance with the characteristics of the song and the chord progressions. the song notation c=1 marked bar 4/4 along 9 bars in number notation accompanied by cord progressions and audio recordings. 5a read the following rhythmic notation and play using the drum set in accordance with the characteristics of the rhythmic pattern rhythmic notation marked bar 4/4 along 4 bars. 5b read the following rhythmic notation and play using the drum set in accordance with the characteristics of the rhythmic patterns. rhythmic notation marked bar 3/4 along 4 bars. 5c read the following rhythmic notation and play using the drum set in accordance with the characteristics of the rhythmic patterns. rhythmic notation marked bar 2/4 along 4 bars. 6 accompany the following song sentences using a rhythmic musical instrument (drum set) according to the characteristics of the song. the song notation c=1 (1 #) marked bar 4/4 along the 9 bars in the number notation with an audio recording. 7 accompany the following song sentences using a rhythmic musical instrument (drum) in accordance with the characteristics of the song. the song notation g=1 (1 #) marked bar 4/4 along the 18 bars in the number notation with an audio recording. udi utomo, abdul rachman, moch. usman wafa, development of assessment instrument 189 rhythmic musical instrument. whereas the task items number 4, 6, and 7 are task items which in addition to emphasizing the ability of teacher candidates to read music notation, also requires listening skills, and the ability to create music. the difference in characteristics between the two groups of task items has implications for the form of the assessment rubric which is used as an alternative in the assessment process. based on the results of the trial and the revision process that has been carried out, aspects or indicators, and the rubric type of the assessment instruments of the competency for singing and playing musical instruments developed are explained in the table 2. table 2 shows that the task items 1, 2, 3, 5a, 5b, and 5c which emphasize the ability to read music notation, the assessment process is done using analytic rubrics. whereas in task items 4, 6, and 7 with the table 2. task item formulation, aspect or indicator, and types of assessment rubrics task item task item formulation aspect or indicator types of rubric 1 read the following song notation and sing it according to the song’s characteristics accuracy of tone (pitch and duration). fluency analytic 2 read the following song notation and sing it according to the song’s characteristics accuracy of tone (pitch and duration). fluency analytic 3 read the following song notation and play using the melodic instrument of your choice according to the characteristics of the song accuracy of tone (pitch and duration). fluency analytic 5a accompany the following song sentences using the harmony musical instrument (keyboard or guitar) in accordance with the characteristics of the song and the chord progressions. accuracy of a beat. fluency analytic 5b read the following rhythmic notation and play using the drum set in accordance with the characteristics of the rhythmic pattern accuracy of the beat. fluency analytic 5c read the following rhythmic notation and play using the drum set in accordance with the characteristics of the rhythmic patterns. accuracy of beat. fluency analytic 4 read the following rhythmic notation and play using the drum set in accordance with the characteristics of the rhythmic patterns. chord progression chord tone; beat and tempo accompaniment pattern variation; improvisation dynamic; fluency holistic 6 accompany the following song sentences using a rhythmic musical instrument (drum set) according to the characteristics of the song. accompaniment pattern beat and tempo; accompaniment variation; fill in dynamic; fluency holistic 7 accompany the following song sentences using a rhythmic musical instrument (drum) in accordance with the characteristics of the song. accompaniment pattern beat and tempo accompaniment variation sound variation dynamic; fluency holistic harmonia: journal of arts research and education 19 (2) (2019): 185-192190 many competency indicators available, the assessment process is more suitable to use a holistic rubric. the task items 1, 2, 3, 5a, 5b, and 5c each have two aspects that are assessed using a rubric that will produce two scores of observations. on the other hand, the items 4, 6, and 7 of the competency indicators are assessed using a rubric holistic that will produce an observation score. determination of aspects or indicators in the process of assessing music skills becomes an important decision in the preparation of the task items and rubric of the assessment. because both of these represent the purpose of the assessment that is considered important (zdzinski & barnes, 2002). the difference in accuracy in the assessment process for teacher candidates in singing and playing musical instruments the complexity of the observation objects in the performance assessment is very influential on the rater’s accuracy and objectivity. therefore, to have the right choice of the process of observing whether it should be analytic or holistic, it must pay attention to the characteristics of the observation object. a very detailed observation is certainly very good for an assessment of a performance. however, the many performance indicators that must be observed in detail, with limited observation time, make the foresight of the rater very difficult to maintain. the results of trials conducted on the assessment model of teacher candidate competency in singing and playing musical instruments show that the results of observations of the performance process carried out with analytic models are more accurate when being compared with the holistic model. analysis of the nine task items tested finds the reliability coefficient is 0.817 in the type of consistency definition and 0.810 in the type of absolute agreement definition. however, analysis conducted separately between task items using analytic rubric models (1, 2, 3, 5a, 5b, and 5c) and holistic rubrics (4, 6, and 7) show that task items using analytic rubrics have the level of reliability better. the difference can be seen in the table 3. the data in table 3 shows that the number of the reliability coefficient of task items number 1, 2, 3, 5a, 5b and 5c with the analysis of consistency definition and absolute agreement definition of the reliability coefficient has fulfilled the specified criteria; 0.836 and 0.821. on the other hand, the task item number 4, 6 and 7 in the reliability coefficient are still below the specified criteria. the result of the analysis in the consistency definition test is less than 0.70 and in absolute agreement definition test is less than 0.60. the results of the analysis carried out separately on task items number 4, 6 and 7 show that the task item number 7 is a task item whose reliability coefficient does not meet the specified criteria. the result of the analysis in the consistency definition test is 0.547 (less than 0.70) and in the absolute agreement definition test is 0.277 (less than 0.60). after evaluating the results of the table 3. reliability of competency test instruments for teachers candidates in singing and playing musical instruments based on rubric characteristics task item intraclass correlation coefficient (icc) single measures average measures consistency absolute agreement consistency absolute agreement 1, 2, 3, 5a, 5b dan 5c 0.836 0.821 0.939 0.932 4, 6, dan 7 0.629 0.529 0.836 0.771 4 0.725 0.707 0.888 0.879 6 0.770 0.733 0.909 0.892 7 0.547 0.277 0.784 0.534 udi utomo, abdul rachman, moch. usman wafa, development of assessment instrument 191 competency test with the rater and revising the rubric of task item number 7, only then can achieve the expected results. task number 7 which was originally the result of the consistency definition test was 0.547 and in the absolute agreement definition test was 0.277, it increased to 0.726 in the consistency definition test and 0.700 in the absolute agreement definition test. the increase in the reliability coefficient of task item number 7 has an effect on the increase in the reliability coefficient of the task item group of the teacher competency in singing and playing musical instruments. it was proven before the rubric was improved, the reliability coefficient (single measures) of the task item group of the teacher competency in singing and playing musical instruments in the type of consistency definition test was 0.783 and in the type of absolute agreement definition test was 0.775. after the rubric has been improved on task number 7, the reliability coefficient increased to 0.817 in the type of consistency definition and 0.810 in the type of absolute agreement definition. the increase in the reliability coefficient of the task items of the teacher’s competency in singing and playing musical instruments is summarized in the table 4. the difference in the level of consistency obtained based on the results of the reliability test between items using analytic rubric and holistic rubric is very reasonable. the level of complexity of aspects or indicators of competency in the skills of singing and playing musical instruments and measurement criteria are important components that need to be considered. nevertheless, the preparation of an adequate rubric of the two types of task items can harmonize the results of the assessment conducted. so that the assessment instruments developed reliably and fairly (carpente & gattino, 2018; guntur et al., 2014). conclusion the instruments for evaluating the competency in singing and playing musical instruments can be applied in an effort to increase the professionalism of music teachers in institutions that prepare educational staff. substantial and structured application can be integrated in relevant courses. the development of task items in singing and playing musical instruments for teacher candidates can be done by considering the complexity of the objectives of the assessment and the observation object. therefore, the performance process that is not complex and requires detailed information on every aspect can be done using analytic rubrics as a measurement guide. on the other hand, when observing every performance indicator in a complex performance process, it is suggested to use and implement holistic rubric as the measurement standard and guide. to develop the task items and assessment rubrics for singing and playing musical instrument skills, the reliability testing process can be carried out using the intraclass correlation coefficient (icc) test of the type of consistency definition and absolute agreement definition involving three raters. based on the results of trials that have been carried out through this analysis, it is obtained information that gives clues to the quality of the task table 4. the increase of reliability coefficient in the task item group for teachers’ competency in singing and playing musical instruments measures intraclass correlation coefficient (icc) prior remedial after remedial consistency absolute agreement consistency absolute agreement single measures 0.783 0.775 0.817 0.810 average measures 0.915 0.912 0.931 0.928 harmonia: journal of arts research and education 19 (2) (2019): 185-192192 items, aspects, indicators, scoring, and assessment criteria. as a follow-up, studies are still needed specifically to examine the characteristics of the task items, aspects, indicators, the range of scoring, and assessment criteria in performances in music learning in public schools. acknowledgment this article is part of the findings of research funded by the directorate of research and community service (drpm) kemenristekdikti. therefore, we express our gratitude because, through this research program we can conduct research in the field of assessment for the benefit of the professional development of the music teacher at our institution. references borg, w. r. & gall, m. (1989). education research: an introduction (fifth edit). london: longman. carpente, j. a., & gattino, g. s. (2018). interrater reliability on individual musiccentered assessment profil for neurodevelopmental disorder (imcap-nd0 for autism spectrum disorder. nordic journal of music therapy, 27(4), 297-311. cenamo, k, & kalk, d. (2005). real world instructional design. boston: thomson learning, inc. creswell, j. w. (2003). research design: qualitative, quantitative, and mixed methods approaches (second edi). new york: sage publications ltd. fitzsimons, p. (1997). the governance of teacher competency standards in new zealand. australian journal of teacher education, 22(2), 2-7. guntur, g., sukadiyanto, s., & mardapi, d. (2014). pengembangan asesmen hasil belajar penjasorkes siswa sma pada permainan bolavoli. jurnal penelitian dan evaluasi pendidikan, 18(1), 13-29. jamalus. (1988). pembelajaran musik melalui pengalaman musik. jakarta: dirjendikti depdikbud. latifah, d. 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(2000). pendidikan untuk demokrasi: tantangan menuju civil society. semarang: bigraf publishing. zdzinski, s. f., & barnes, g. v. (2002). development and validation of a string performance rating scale. journal of research in music education, 50(3), 245-255. harmonia edisi khhusus.pdf campursari: suatu bentuk akulturasi budaya dalam musik joko wiyoso abstrak kebudayaan selalu elastis dan lebih bersifat adaptif, oleh karenanya tidak ada sebah kebudayaan yang mandek kecuali pendukungnya musnah tanpa sisa. begitu juga musik, selalu dan selalu bergerak mengikuti arus pergeseran waktu. campursari salah satu jawaban akan tidak mandek-nya sebuah kebudayaan khususnya musik tersebut. musik ini baik dilihat dari segi instrumentasi maupun musiklitasnya, merupakan musik hasil dari perpaduan beberapa genre musik yang berbeda-beda. berdasar wujud campursari tersebut nampaknya campursari menarik untuk dikaji dari sudut pandang antropologi khususnya pada perubahan kebudayan pada proses akulturasi. oleh karena itu penelitian ini mencoba mengkaji campursari berdasar pada sebuah genre musik yang muncul akibat dari proses akulturasi tersebut.metode penelitian ini mengnakan metode kulitatif, data dikumpulkan dengan teknik wawancara, observasi dan dokumentasi. selanjutnya data dianalisis berdasar analisis kuitatif mengikuti alur huberman. hasil penelitian menunjukkan bahwa campursari dapat dikategorikan sebuah genre musik yang lahir akibat dari proses akulturasi pada kategori sinkritisme. di kategorikan demikian karena, campursari merupakan sebuah genre musik yang terbentuk atau dibangun dari perpaduan beberapa genre msik yang berbeda latar budayanya baik dilihat dari segi fisik atau instrumentasi maupun dari segi musikalitasnya. selanjutnya dapat di jelaskan bahwa musik-musik yang berakulturasi membentuk campursari tersebut adalah, langgam keroncong, gamelan jawa beserta ragam garap yang bersifat kedaerahan, jaipongan dan dangdut. kata kunci: campursari, akulturasi, sinkritisme 2 3 4 5 6 7 8 harmonia vol ix no 1 tahun 2009.pdf the research problems are about nyadran ceremonial processes, functions of janggrung in that ceremony, and special musics in janggrung offbeat. results and discussions: (1) nyadran ceremony can be concluded in ritual ceremony since day, time, place, head, and congregation chosen by janggrung performance. (2) in nyadran ceremony, janggrung functioned as an emotional expression, an entertainment, means of communication, a symbolic representation, a physical response, a legalization of social and ritual religion organization, to keep continuity of culture, and as a prop of social integration. moreover, janggrung also functioned as extrication of one’s vow. janggrung dancers (tledhek) who functioned in nyadran ceremony have several prohibition that cannot be broken, that is one of those dancers must be a virgin. (3) there are five special music to accompany janggrung those are lung gandhung, sekar gandhung, kinanthi sandhung (called kinanti boyong by door-keeper), cangklek and kebogiro gangsaran. the beat that accompanies janggrung is javanese barreled orchestra slendro without using garap ngajeng instrument. it is because there is no need to present lirihan instrument in janggrung performance instrumentation. harmonia jurnal pengetahuan dan pemikiran seni vol. vii no.2/mei – agustus 2006 skala pengukuran sebagai alat evaluasi dalam menilai tari karya mahasiswa (measurement scale as instrument of evaluation in assessing student’s piece of dance) dinny devi triana staf pengajar program seni tari fbs universitas negeri jakarta abstrak paparan ini hanyalah sebuah wacana dan pemikiran yang mungkin dapat diterima, khususnya bagi para pendidik di institusi kependidikan, karena penilaian terhadap satu bentuk seni masih sulit diukur secara kuantitatif. penilaian mata kuliah koreografi sebagai hasil proses pembelajaran yang komprehensif bagi mahasiswa tari seringkali dirasakan sangat subjektif, bahkan keputusan tim penguji tidak lagi melihat kepada produk yang dihasilkan sebagai penilaian performance, tetapi juga dipengaruhi oleh penilaian proses. penilaian performance lebih kepada penilaian penampilan tari itu sendiri yang harus dipahami sebagai kesatuan bentuk atau gagasan kreatif yang divisualkan. oleh karenanya dibutuhkan alat evaluasi sebagai pedoman observasi untuk penilaian tersebut, sehingga hasil akhir dapat berupa nilai secara kuantitatif yang dapat mempengaruhi terhadap indeks prestasi mahasiswa dan tentu saja nilai performance dapat dipertanggungjawabkan. pedoman observasi dengan skala pengukuran yang tepat dapat memperkecil pengaruh unsur subjektivitas dan sense of art penguji. kata kunci : penilaian, performance,eevaluasi, psikomotor, skala pengukuran a. pendahuluan penilaian dalam ranah psikomotorik, khususnya seni tari terkadang sulit untuk diukur. penilaian sebagai proses dari kegiatan evaluasi terhadap performance (karya tari) yang terkait dengan hasil pembelajaran, seringkali tidak objektif lagi, karena berbagai hal yang dapat mempengaruhi penampilan. misalnya penilaian pada : siapa yang melakukannya, bentuk seni yang ditampilkan atau aspek-aspek yang mendukung terhadap penampilan seseorang. pelaksanaan tes pada performance dalam hal ini tari karya mahasiswa (koreografi) lebih sukar dibandingkan dengan tes pengetahuan, terutama saat pemberian skor yang ditetapkan sesuai dengan kriteria penilaian. seperti yang diungkapkan charles c. denova (1979: 83) bahwa ada beberapa masalah dalam menilai performance yang objektif, salah satunya yaitu mengidentifikasi kriteria dalam performance serta menyepakati hasil pengamatan melalui tingkatan yang dapat diterima. harmonia jurnal pengetahuan dan pemikiran seni vol. vii no.2/mei – agustus 2006 dengan demikian penilaian hasil belajar yang bersifat keterampilan pada umumnya sulit diukur dengan tes. untuk itu diperlukan alat ukur yang dapat memberikan informasi melalui pengamatan yang berupa non tes, baik dengan pedoman observasi, skala sikap, daftar cek, catatan anekdotal dan jaringan sosiometrik (zainul & nasution, 1997: 92). dengan kata lain alat pengukuran seperti itu sangat berhubungan dengan penampilan yang diamati dengan indera. alat evaluasi yang digunakan pada non tes umumnya menggunakan observasi. observasi dapat berbentuk eksperimental yaitu observasi yang dilakukan dalam situasi yang dibuat dan non-eksperimental yaitu observasi yang dilakukan dalam situasi yang wajar (djaali, 2000:25). observasi dari penguji dapat mempengaruhi penilaian karya tari mengingat karakteristik penguji itu sendiri yang mempunyai sudut pandang, sistem serta cara yang berbeda dalam menilai karya tari. tari karya mahasiswa merupakan hasil proses belajar mata kuliah koreografi yang harus disajikan dan dipertanggungjawabkan. penilaian pada tari karya mahasiswa seringkali menimbulkan pertentangan di antara penguji. salah satu penyebabnya adalah tidak adanya pedoman alat ukur dalam penilaian karya tari, khususnya dalam menentukan skor. penilaian melalui observasi atau pengamatan hanya disepakati dengan angka yang secara kualitas kurang mewakili, sehingga perhitungan secara kuantitatif pun tingkat realismenya masih rendah. hal ini dapat dilihat melalui tes ulang dengan bantuan dokumentasi yang berupa video rekaman, di mana hasil penilaian akan berubah dan berbeda pula. pengamatan melalui alat bantu berupa video rekaman sesungguhnya diperlukan untuk menguji ulang penilaian atau mempresentasikan karya tari. bahkan pada event tertentu penilaian dengan cara ini dibutuhkan karena adanya festival tari llintas budaya antar negara. berdasarkan uraian tersebut, maka dibutuhkan alat ukur yang efektif untuk menetapkan sistem evaluasi yang standar dalam menilai tari karya mahasiswa sebagai acuan penguji melalui observasi, baik secara eksperimental maupun non-eksperimental, sehingga alat ukur yang digunakan dalam menilai karya tari benar-benar valid dan dapat dipertanggungjawabkan. b. pembahasan menilai performance sangat sulit dalam menentukan indikatornya untuk dideskripsikan pada lembar observasi yang kemudian dikonversi ke dalam bentuk skala pengukuran. pertimbangan dalam menetapkan indikator tentu saja dapat dikaji melalui filosofi yang mendasari dari beberapa sudut pandang mengenai tari karya mahasiswa sebagai hasil proses pembelajaran dari mata kuliah koreografi. 1. menilai karya tari untuk menilai kemampuan keterampilan psikomotor ada satu bentuk tes yang dapat digunakan yaitu tes penampilan (performance test). tes penampilan ditentukan oleh hasil belajar yang hendak diukur dan mutu tes itu akan semakin tinggi kalau prosedur pengembangan tes yang sistematik dituruti (gronlund, 1982:81). artinya, orang yang dinilai adalah keterampilannya, dalam hal ini berupa karya tari harus dapat menampilkan atau melakukan keterampilan yang dimiliki dengan persyaratan tertentu. harmonia jurnal pengetahuan dan pemikiran seni vol. vii no.2/mei – agustus 2006 tes penampilan sebenarnya juga mengukur kemampuan siswa dalam menerapkan pengetahuan atau informasi dalam tugas praktik. agar penilaian dapat seobjektif mungkin dan mengukur apa yang seharusnya diukur, maka diperlukan kriteria yang dapat digunakan untuk membandingkan keberhasilan atau kegagalan siswa dalam praktik. kriteria pengetahuan dapat berorientasi pada taksonomi psikomotor, di mana tari merupakan gerak dari tubuh sebagai media di dalam ruang. anita j harrow (1972) membagi tingkatan dalam taksonomi psikomotorik, yaitu : 1.gerakan refeleks (reflex movement) adalah respon gerakan yang tidak disadari yang dimiliki sejak lahir. 2.gerakan-gerakan dasar adalah gerakan-gerakan yang menuntun kepada keterampilan yang sifatnya kompleks. 3. perceptual abilities adalah kombinasi kemampuan kognitif dan gerakan. 4. physical abilities adalah kemampuan yang akan diperlukan untuk mengembangkan gerakan-gerakan keterampilan tinggi. 5. skilled movement adala gerakangerakan yang memerlukan belajar dan ketekunan dalam mempelajarinya. 6. non-discursive communication adalah kemampuan untuk berkomunikasi dengan menggunakan gerakan, misalnya ekspresi wajah (arikunto, 1992:118-119). psikomotorik menurut bloom (1977) meliputi kemampuan meniru, melakukan suatu gerak, memanipulasi gerak, merangkai berbagai gerakan dan melakukan gerakan dengan tepat dan wajar (atwi suparman, 1991:68). begitu pula dengan konsep ranah psikomotorik yang dikemukakan elizabeth simpson yang diadaptasi dari winkel (1991), dapat dijadikan sebagai dasar dalam mengevaluasi kriteria psikomotor. mengacu pada teori psikomotor yang dikemukakan oleh bloom, anita j. harrow dan elizabeth simpson, maka kriteria penilaian dapat ditentukan berdasarkan beberapa teori psikomotor tersebut . berikut teori psikomotor yang dikemukakan elizabeth simpson : tinggi 7. kreativitas kemampuan mencipta pola baru 6. penyesuaian kemampuan meng-ubah, yang kom-pleks dan mengatur kembali 5. gerakan berketerampilan lu-wes, terbiasa, lancar, gesit, lincah 4. gerakan keterampilan yang berpegang, terbimbing pada pola 3. gerakan kemampuan meniru contoh 2. kesiapan kemampuan bersiap diri secara fisik 1. persepsi kemampuan memi-lah-milah dan kepe-kaan terhadap berba-gai hal rendah penilaian tari karya mahasiswa sebagai hasil dari proses belajar, selain tidak terlepas dari aspek ranah psikomotor, juga akan terkait dengan keterampilan pengetahuan komposisi tari atau pengetahuan koreografi, yaitu harmonia jurnal pengetahuan dan pemikiran seni vol. vii no.2/mei – agustus 2006 pengetahuan yang berhubungan dengan bagaimana memilih dan menata gerakangerakan menjadi sebuah bentuk tari (sedyawati,1986: 121). 2. skala pengukuran dilihat dari bentuk instrumen dan pernyataan yang dikembangkan dalam instrumen, maka dikenal berbagai bentuk skala yang dapat digunakan dalam pengukuran bidang pendidikan. alat ukur untuk menilai penampilan (karya tari) digunanakan instrumen nontes yang umum digunakan yaitu participation charts, chek list, rating scale dan attitude scale. pada penilaian karya tari mahasiswa alat ukur yang dipakai dan dibandingkan adalah skala numerik dan skala thurstone. dari ke-dua skala tersebut, akan terlihat mana yang lebih efektif sehingga dapat dijadikan pedoman dalam setiap menilai karya tari mahasiswa pada matakuliah koreografi. a. skala likert skala likert ialah skala yang dapat dipergunakan untuk mengukur sikap, pendapat dan persepsi seseorang atau sekelompok orang tentang suatu gejala atau fenomena pendidikan (djaali, 2000:40). skala likert digunakan untuk mengukur sikap positif dalam bentuk pernyataan positif, dan mengukur sikap negatif dengan bentuk pernyataan negatif. pernyataan dalam skala likert diberi skor 5,4,3,2, dan 1. b. skala thurstone skala thurstone ialah skala yang disusun dengan memilih butir yang berbentuk skala interval. setiap butir memiliki kunci skor dan jika diurut, kunci skor menghasilkan nilai yang berjarak sama. skala thuerstone dibuat dalam bentuk sejumlah (40 – 50) pernyataan yang relevan dengan variable yang hendak diukur kemudian sejumlah ahli (20 – 40) orang menilai relevan pernyataan itu dengan konten dan konstruk variable yang hendak diukur (djaali 2000:43). skala thurstone bertujuan untuk mengurutkan responden berdasarkan suatu kriteria tertentu. skala ini sering disebut equal-appearing interval atau equal interval scale, karena skala thurstone disusun sedemikian rupa sehingga interval antar-urutan dalam skala mendekati interval yang sama besarnya (singarimbun, 1989:114). 3. alat evaluasi observasi merupakan alat evaluasi yang banyak digunakan untuk menilai tingkah laku individu atau proses terjadinya suatu kegiatan yang dapat diamati (popham, 1981:317-318). secara umum pengertian observasi adalah cara menghimpun bahan-bahan keterangan yang dilakukan dengan mengadakan pengamatan dan pencatatan secara sistematis terhadap fenomena yang dijadikan obyek pengamatan. observasi yang dilakukan dalam penilaian karya tari melalui observasi eksperimental dan observasi noneksperimental. pada observasi eksperimental, penguji melakukan pengamatan dalam situasi yang dibuat yaitu melalui dokumentasi rekaman (video). hal ini biasa digunakan ketika penguji menilail karya tari lintas budaya antar negara, misalnya pada event international dance festival (idf). sedangkan observasi non-eksperimental, penguji melakukan pengamatan dalam situasi yang wajar atau sesungguhnya. pada observasi eksperimental, proses penilaian karya tari dikenai perlakuan, maka diperlukan persiapan yang benar-benar matang, sedangkan harmonia jurnal pengetahuan dan pemikiran seni vol. vii no.2/mei – agustus 2006 pada observasi non-eksperimental pelaksanannya lebih sederhana dan dapat dilakukan secara sepintas lalu (djaali, 2000:25-26). kesulitan penilaian melalui observasi non-eksperimental adalah respon observasi dalam proses kejadian yang berlangsung cepat, oleh karena itu pelaksanaan observasi harus sistematis dan alat ukur yang digunakan pun harus sesederhana mungkin. sedangkan observasi eksperimental dapat dikondisikan sesuai dengan kebutuhan dan keperluan. salah satu kelemahan pada tes penampilan yaitu memerlukan waktu lebih banyak untuk mempersiapkan dan melaksanakannya, serta pemberian skor yang sering subyektif dan terbebani. untuk itu diperlukan observasi baik secara eksperimental maupun non-eksperimental dengan skala pengukuran yang dapat menghilangkan unsur subyektivitas dalam penskorannya. c. simpulan skala pengukuran dan alat evaluasi dalam performance masih menjadi suatu pemikiran yang pro dan kontra, karena sulitnya diukur secara kuantitatif serta mengingat kompleksnya yang diamati dalam karya tari. namun demikian sebagai hasil proses pembelajaran, diperlukan penilaian yang objektif, agar justment yang disepakati penguji dapat diterima mahasiswa menjadi suatu prestasi belajar. indikator dan jabaran deskriptor disusun berdasarkan kesepakatan penguji yang kompeten dibidangnya, sehingga keterbacaan terhadap lembar observasi penilaian dipahami penguji tanpa adanya persepsi ganda (menghindari adanya hallo efek). bahkan idelanya lembar observasi disiapkan dari beberapa sudut pandang, seperti dari sisi komposisi, tata rias busana, tata pentas dan lighting sehingga pengamatan akan lebih focus pada apa yang akan dinilai, agar penilaian valid dan dapat dipercaya. untuk kepraktisan lembar observasi, validitas muka sangat diperlukan, dengan memperhatikan deskriptor yang kemudian dikonversi ke dalam bentuk skala baik likert maupun thu-rstone. ada baiknya lembar observai dipelajari sebelum penguji melakukan pengujian, hal ini selain untuk menghilangkan hallo efek, juga membantu kecepatan penguji dalam proses chek list dari skala yang diukur karena penilaian observasi kejadiannya berlangsung cepat dan tidak bisa diulang. pada tahap analisis penilaian dapat lebih dipertanggungjawabkan karena perhitungan dilakukan dengan sistem komputerisasi, selain cepat juga akurat, sehingga dari sisi pengadminstrasian proses penilaian tersebut dapat dikaji ulang dengan melihat data atau file yang ada. langkah-langkah penyususnan instrumen lembar observasi tentu saja diawali dengan menetapkan tujuan dan membuat kisi-kisi dengan memperhatikan dimensi dan indikator yang akan dinilai dan disepakati atau dipanelkan oleh tim penguji (expert). berikutnya menyusun butir observasi dan skala pengukuran yang sesuai dengan tujuan, sedangkan deskriptor sebagai penuntun dalam menetapkan skala dapat disepakati oleh tim penguji atau tim ahli dibidangnya. pada perhitungan untuk menentukan nilai akhir dapat pula digunakan pembobotan dalam bentuk persentasi, karena dari masing-masing indikator yang diamati akan memiliki bobot nilai yang berbeda pula, tentu saja harmonia jurnal pengetahuan dan pemikiran seni vol. vii no.2/mei – agustus 2006 bobot ini ditentukan pula oleh banyaknya butir observasi. demikian pula dengan skala pengukuran yang digunakan, karena banyaknya option dari ukuran akan dikalikan dengan jumlah butir observasi. berikut contoh kisi-kisi instr-umen penilaian tari karya mahasiswa yang dapat dikembangkan sesuai dengan teori dan aspek yang akan diamati. dime n-si indikat or k ode no. butir tiap indikato r jm l bu tir i. originalita s ii. kualitas iii. deskripsi bentu k 1. sumber gerak 2. spesifikasi 1. dinami ka 2. desain 3. gerak 1.pola lantai 2. dramatik 3. musik a 1 a 2 b 1 b 2 b 3 c 1 c 2 c 3 1,2. 3,4. 5,6 7,8,9. 10,11 12,13,14. 15,16,17, 18. 19,20,21. 2 2 2 3 2 3 4 3 jumlah total 21 keterbatasan ruang dalam tulisan ini tidak memungkinkan memuat semua instrumen yang dijadikan pedoman observasi penilaian tari karya mahasiswa, karena terdapat 21 aspek pengamatan, uraian deskriptor serta kriteria skala yang cukup rinci. pedoman penilaian yang digunakan dapat berbeda tergantung dari tujuan dan kesepakatan expert berdasarkan kajian teori yang digunakan. untuk itu hanya dua butir aspek pengamatan saja yang dipaparkan sebagai contoh yaitu instrumen penilaian tari karya mahasiswa yang diambil dari dimensi originalitas (lihat lampiran) berikut contoh perhitungan akhir dengan menggunakan skala 1 – 5. dengan masing-masing bobot dimensi i (originalitas) 20%, dimensi ii (kualitas) 50%, dimensi iii (deskripsi bentuk) 30%. rumus perhitungannya dapat dibuat sebagai berikut. jumlah skor yang didapat pada bagian i skor = x 20% jumlah aspek yang diamati pada bagian i x 5 jumlah skor yang didapat pada bagian ii skor = x 50% jumlah aspek yang diamati pada bagian ii x 5 jumlah skor yang didapat pada bagian iii skor = x 30% jumlah aspek yang diamati pada bagian iii x 5 ( dimensi iii ) jadi nilai akhir adalah dimensi i + dimensi ii + dimensi iii = 100 % tentu saja penilaian performance tari karya mahasiswa tidak hanya sebatas gerak, tetapi juga ada aspek lain seperti harmonia jurnal pengetahuan dan pemikiran seni vol. vii no.2/mei – agustus 2006 musik, kostum (tata rias dan busana), jenis tari, tata teknik pentas dsb, tetapi agar instrumen benar-benar mengukur apa yang seharusnya diukur, maka dari masing-masing aspek tersebut perlu dibuat instrumen secara rinci. demikian pula dengan penguji, dosen pengampu mata kuliah tata rias & busana tari dapat membuat dan menggunakan instrumen untuk menilai dari sisi tata rias dan busananya saja, dosen pengampu iringan tari membuat sekaligus menggunakan instrumen untuk menilai musik, dosen tata teknik pentas harus membuat sekaligus menggunakan instrumen untuk menilai dari sisi tata teknik pentas, begitu seterusnya, sehingga penilaian menjadi fokus dan tidak saling mempengaruhi untuk menjaga validitas penilaian. hasil akhir, nilai dari masingmasing aspek tersebut diakumulasi dan dikonversi sehingga mendapatkan nilai sesuai dengan ketentuan yang berlaku di institusi. daftar pustaka arikunto, suharsimi. dasar-dasar evaluasi pendidikan. 1992. jakarta : bumi aksara. denova, charles c. test construction for training evaluation. 1979. new york: society for training and development madison, wisconsin. djaali, dkk.pengukuran dalam pendidikan. 2000. jakarta: program pasca sarjana universitas negeri jakarta. gronlund, norman e. constructing achievement test. 1982. london : prentise-hall, inc. popham, james w. modern educational measurement. 1981. london : prentice-hall, inc. sedyawati, edi. pengetahuan elementer tari dan beberapa masalah tari. 1986. jakarta : di-rektorat kesenian proyek pengem-banagan kesenian jakarta, departemen pendidikan dan kebudayan. singarimbun, masri; effendi, sofian. metode penelitian survai. 1989. jakarta : lp3es. suparman, atwi. desain instruksional.1991.jakarta: departemen pendidikan dan kebudayaan direktorat jendral pendidikan tinggi. dan kebudayaan direktorat jendral pendidikan tinggi. zainul, asmawi; nasoetion, noehi. penilaian hasil belajar. 1997. jakarta :bahan ajar universitas terbuka. harmonia jurnal pengetahuan dan pemikiran seni vol. vii no.2/mei – agustus 2006 lampiran: instrumen penilaian tari judul tari :……………………… petunjuk : pilihlah dan lingkari hasil pengamatan saudara pada kolom rating sesuai dengan kriteria skala ! no. (1) aspek yang diamati (2) deskriptor (3) kriteria skala (4) rating (5) bobot (6) i originalitas : a. sumber gerak 1. gerak yang dilakukan bersumber dari tari tradisi. 2. gerak yang dilakukan mengacu pada gaya tari tertentu.  mempunyai pa-tokan (pakem) sebagai pola gerak.  kesederhanaan dalam pola garapan.  nuansa tradisi yang kental, baik dari iringan, ide garapan, gaya tari atau pola lantai. 1 = apabila ke3 deskriptor tidak terpenuhi. 2 = apabila hanya 1 deskriptor yang terpenuhi. 3 = apabila 2 deskriptor terpenuhi. 4 = apabila ke-3 deskriptor terpenuhi. 5 = apabila ke3 deskriptor terpenuhi dan sangat rapi dalam penggarapnnya. 1 2 3 4 5 1 2 3 4 5 20 % harmonia vol vii no 3 2006.pdf harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 3 / september – desember 2006 !"!#$%&!'(!") *+*,$-$!+'.*+$ !"#$"%#&'(')*+,#-.#/(01#2"1"'(3!! /!"$'0!"-121 40'.#&"5+'6'(#78(81'5#981*:#;':8<0'1#4"5*#&"(08568:'5#=4=#>-+?':'(0' 345-"!6 "#$%&'()* +(,(-.#./,* &(,.* 0.* -.,123,1/,* +()13)3/,* 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g9q>h r98aa9c4'x3aq8b8ap8'['.3<b9=k'&a !=9c5' #cf' 66i6`n' 6??65 3a;e3a;'1!"5 #1+&5' u^^^5 &'2$ %&*!,'),e"' h'0;'&-2"5 d3;fcecb>c[' !b> 49a85p3k 138dcb=3a3n' "5#5' u^^^5 &'2 %&*!,'),e"'$ h'0;'&-2"$ 02$ o*" q<;8"<2-"-25' (cecb>c[/9bm8a' /9e>9 /8jd9el<d .b9f3a3'1 5'6??u5 !"!2-!2e$i&0"!"'("' l,*2-$ 02$ i"8,@"!&'$ k"(&<"'(j #c;84ca;[' /9ac=' +cb9w9=c>c 0cl<jc>8a'#c;84ca;5 4'0"'(b,'0"'($ p!;';72$ n"&*"/ g&@,8<2e$ h'0;'&-2"$ 6;j 66' 7 l"/,'$rsssj jcm<49n' #3hckkcd5' u^^z5 l&<""/ l&;*2!2-$ &'2$ l"*2j &7"*"'( [ &0&+'+b8==5 t9acb>9n+<m95' 6??65 .&'!,e$ 0"'$ 3,'(-2 i&-&'2"'$ i,0"$ t,7@2'( +"2@;'("'$ 02$ n&-" i&0,'(,!&* i&a"7"!"'$ .*&8&-$ i"8,@"!&' .*&8&-5'18kcbca;[gr1i)%%,1 harm vol ix no 2 2009.pdf perubahan perilaku kecerdasan emosional anak usia dini melalui pendidikan seni tari eny kusumastuti jurusan sendratasik, fakultas bahasa dan seni, universitas negeri semarang email: eny_unnes@yahoo.com abstract education with a dimension of eq (emotional quotions) can be found in the concept of dance education. this study examined how the implementation process, and changes in emotional intelligence behaviour of young children through learning the art of dance. the approach is qualitative. data collection techniques used interviews, participant observation, and study documentation. techniques of data analysis used reducing, clarifying, describing, concluded, and interpret all the information selectively. the results showed that the process of implementation of dance education in early childhood can not be separated from teaching and learning process, which includes: objectives, teaching materials, teaching methods and learning activities, facilities and infrastructure, evaluation, social and cultural conditions. emotional intelligence behaviour change early childhood through learning the art of dance can be seen through: (1) a sense of pride, (2) has a brave nature, (3) able to control emotions, (4) able to hone refinement, (5) be able to nurture a sense of responsible, (6) able to nurture a sense of self, (7) easy to interact with others, (8) has a good performance, (9) are able to develop imagination, and (10) becomes a creative child. kata kunci : pendidikan seni tari, kecerdasan emosional, anak usia dini. pendahuluan dunia pendidikan saat ini begitu mudah terpengaruh, oleh monolitisme/rasio modern–kapitalistik, yang menempatkan materi sebagai justifikasi dan kaukus orientasinya, sehingga wajah dunia pendidikan telah sedemikian jauh tereduksi maknanya dari konsep pendidikan sebagai proses humanisasi (freire 1973) menjadi semata-mata persoalan teknis dan administratif yang tersubordinasikan ke dalam mainstream kapitalisme maupun jargon developmentalism. ekspansi kapital dan industri telah memaksa institusi pendidikan menyesuaikan diri dengan “kebutuhan pasar” yang akibatnya adalah proses pendidikan tidak lagi diselenggarakan dalam nuansa intens yang penuh kedalaman makna (in depth quality), melainkan cenderung parsial dan dangkal, semata-mata agar match dengan kebutuhan dan instrumen pasar. bidang kajian yang menjanjikan muatan makna yang mendekatkan pada segmentasi pasar, kemudian menjadi primadona dan seolah-olah segala-galanya, dan sebaliknya pendidikan yang berdimensikan kekentalan pada nuansa nilai-nilai menjadi marjinal–negasi. dari sinilah hulu perihal konsep penomorsatuan iq (intelectual quotions) yang kemudian menjadi jargon segala-galanya dalam ekspansi sistem dan kinerja pendidikan menjadi “kegilaan” pada decission maker dan pendidik. sedangkan pada sisi lain, konsep pendidikan pada dimensi eq (emotional quotions) “diketepikan” dan bahkan nyaris dipersepsi tanpa adanya ikon, kebermaknaan. pendidikan dengan dimensi eq (emotional quotions) dapat ditemukan dalam konsep pendidikan seni, termasuk didalamnya seni tari. pendidikan seni dapat mengolah kecerdasan emosi seorang anak, karena di dalam pendidikan seni mengolah semua bentuk kegiatan tentang aktivitas fisik dan cita rasa keindahan, yang tertuang dalam kegiatan berekspresi, bereksplorasi, berkreasi dan berapresiasi melalui bahasa rupa, bunyi, gerak dan peran. pendidikan seni dapat mengembangkan kemampuan dasar manusia seperti fisik, perseptual, intelektual, emosional, sosial, kreativitas dan estetik (v. lownfeld, dalam kamaril, 2001: 2-3). pendidikan seni lebih efektif apabila diberikan sejak anak usia dini, sejalan dengan proses perkembangan intelektual dan emosional anak. fenomena tersebut menjadi suatu hal yang menarik bagi peneliti untuk melakukan pengkajian lebih mendalam lagi dan menemukan jawaban bagaimana perubahan perilaku kecerdasan emosional anak usia dini melalui pendidikan seni tari terjadi. tujuan penelitian ini adalah untuk mengetahui, memahami dan menjelaskan (1) proses pelaksanaan pendidikan seni tari pada anak usia dini yang meliputi : tujuan, materi pembelajaran, metode, kbk, sarana dan prasarana, evaluasi, kondisi sosial dan budaya, (2) proses perubahan perilaku kecerdasan emosional anak usia dini melalui pembelajaran seni tari. manfaat praktis penelitian ini adalah (1) bagi anak, dapat mengembangkan kecerdasan emosionalnya melalui proses pembelajaran seni, (2) bagi guru, penelitian ini menjadi bahan pertimbangan untuk perbaikan proses pembelajaran seni tari bagi anak usia dini, (3) bagi kepala sekolah, penelitian ini sebagai bahan pertimbangan untuk menentukan kebijakan pendidikan berkaitan dengan proses pendidikan seni. manfaat teoritis adalah hasil penelitian ini dapat dijadikan bahan rujukan guna penelitian lebih lanjut. justifikasi personal pendidikan seni studi terhadap dunia anak yang secara gencar dilakukan pada penghujung abad ke 19 (mac donald, 1970: 38) menyadarkan orang bahwa anak merupakan pribadi unik yang memiliki kebutuhan dan kemampuan yang berbeda dengan orang dewasa. salah satu bentuk dan kemampuan anak yang khas tersebut adalah dalam hal mengekspresikan diri. disadarinya kebutuhan anak untuk mengekspresikan rasa keindahan, mendorong pendidik untuk menyediakan fasilitas berupa kegiatan yang memungkinkan anak untuk secara lancar dapat mengungkapkan rasa keindahan serta juga dapat mengapresiasikan gejala keindahan yang ada disekelilingnya. kegiatan untuk memfasilitasi anak dalam diri inilah yang ditawarkan oleh pendidikan seni, khususnya di sekolah. jelaslah, pendidikan seni dalam konteks ini, hadir untuk memenuhi kebutuhan anak yang azasi yang tidak mampu diemban oleh kegiatan lain. pendidikan seni yang diajarkan di sekolah saling suara, gerak, rupa dan drama, karena seni memiliki sifat multilingual, multidimensional dan multikultural. pendidikan seni dapat mengembangkan kemampuan dasar anak seperti fisik, perseptual, intelektual, emosional, sosial, kreativitas dan estetik (v. lowenfeld, dalam kamaril, 2001: 2-3). pendidikan seni juga dapat mengembangkan kemampuan manusia dalam berkomunikasi secara visual atau rupa, bunyi, gerak dan keterpaduannya (goldberg, 1997: 8). selain itu, pendidikan seni juga dapat menumbuhkembangkan kesadaran dan kemampuan berapresiasi terhadap keragaman budaya lokal dan global sebagai pembentukan sikap menghargai, toleran, demokratis, beradab dan hidup rukun dalam masyarakat dan budaya majemuk (kamaril, 2001: 4). pendidikan seni sangat penting diberikan sejak anak usia dini. perkembangan anak usia dini dapat dibagi menjadi lima fase, yaitu fase orok, fase bayi, fase prasekolah (usia taman kanak-kanak), fase anak sekolah (usia anak sekolah dasar) dan fase remaja (yusuf 2001: 149). salah satu fase perkembangan yang berlangsung dalam kehidupan anak adalah tahap prasekolah yang berlangsung sekitar 2-6 tahun, ketika anak mulai memiliki kesadaran tentang dirinya sebagai pria atau wanita, dapat mengatur diri dalam buang air (toilet training) dan mengenal beberapa hal yang dianggap berbahaya (mencelakakan dirinya) (yusuf, 2001: 162-163). pada masa usia prasekolah ini, berbagai aspek perkembangan anak sedang berada pada keadaan perubahan yang sangat cepat, baik dalam kemampuan fisik, bahasa, kecerdasan, emosi, sosial dan kepribadian. perkembangan motorik anak pada usia ini, ditandai dengan bertambah matangnya perkembangan otak yang mengatur sistem syaraf otot (neoromuskuler), sehingga memungkinkan anak lebih lincah dan aktif bergerak. dalam masa ini tampak adanya perubahan dalam gerakan yang semula kasar menjadi lebih halus yang memerlukan kecermatan dan kontrol otot-otot yang lebih halus serta terkoordinir. untuk melatih ketrampilan dan koordinasi gerakan, dapat dilakukan dengan beberapa permainan dan alat bermain yang sederhana seperti kertas koran, kubus-kubus, bola, balok titian, dan tongkat. menurut yusuf (2001:164), kemampuan motorik anak dapat dideskripsikan seperti pada tabel 1. tabel 1. tahapan kemampuan motorik anak usia kemampuan motorik kasar kemampuan motorik halus 3 – 4 tahun 1. naik turun tangga 2. meloncat dengan dua kaki 3. melempar bola 4. meloncat 1. menggunakan krayon 2. menggunakan benda 3. meniru bentuk (meniru gerakan orang lain) 4. menggunakan pensil 4 – 6 tahun 5. mengendarai sepeda anak 6. menangkap bola bermain olah raga 5. menggambar 6. memotong dengan gunting 7. menulis huruf cetak sementara itu, gerakan yang sering dilakukan anak-anak dapat dibedakan menjadi tiga golongan, yaitu (1) motorik statis, yaitu gerakan tubuh sebagai upaya memperoleh keseimbangan gerak pada saat berjalan, (2) motorik ketangkasan, yaitu gerakan untuk melakukan tindakan yang berwujud ketangkasan dan ketrampilan, (3) motorik penguasaan, yaitu gerak yang dilakukan untuk mengendali kan otot-otot tubuh sehingga ekspresi muka terlihat jelas (zulkipli, 1992: 32). menurut piaget (dalam yusuf, 2001:6) ada 4 tahap dalam perkembangan kognitif anak, seperti dalam table 2. tabel 2. tahapan perkembangan kognitif periode usia deskripsi perkembangan 1. sensorimotor 0-2 tahun pengetahuan anak diperoleh melalui interaksi fisik, baik dengan orang atau obyek (benda). skema-skemanya baru berbentuk reflek-refleks sederhana, seperti menggenggam atau menghisap. 2. pra-operasioal 2-6 tahun anak mulai menggunakan simbol-simbol untuk mempresentasikan dunia (lingkungan) secara kognitif. simbol-simbol itu seperti : kata-kata dan bilangan yang dapat menggantikan obyek, peristiwa dan kegiatan (tingkah laku yang tampak) 3. operasi konkret 6-11 tahun anak sudah dapat membentuk operasi-operasi mental atas pengetahuan yang mereka miliki. mereka dapat menambah, mengurangi dan mengubah. operasi ini memungkinkannya untuk dapat memecahkan masalah secara logis. 4. operasi formal 11 tahun sampai dewasa periode ini merupakan operasi mental tingkat tinggi. di sini anak (remaja) sudah dapat berhubungan dengan peristiwa-peristiwa hipotesis atau abstrak, tidak hanya dengan obyek-obyek konkret. remaja sudah bisa berpikir abstrak, dan memecahkan masalah melalui pengujian semua alternatif yang ada. james mark baldwin (dalam suryabrata, 1993: 182-183) menerangkan perkembangan sebagai proses sosialisasi dalam bentuk imitasi yang berlangsung dengan adaptasi dan seleksi. adaptasi dan seleksi ini berlangsung atas dasar hukum efek (law of effect). juga tingkah laku pribadi diterangkan sebagai imitasi. kebiasaan adalah imitasi terhadap diri sendiri, sedangkan adaptasi adalah peniruan terhadap orang lain. mengacu pada pendapat tersebut, baldwin (dalam suryabrata, 1993: 183-184) membagi proses peniruan menjadi tiga tahap, yaitu : (1) tahap proyektif (projective stage) ada-lah tahap dimana anak mendapatkan kesan mengenai model (obyek) yang ditiru, (2) tahap subyektif (subjective stage) adalah tahap dimana anak cenderung untuk meniru gerakan-gerakan, atau sikap model atau obyek-nya, (3) tahap efektif (efective stage) adalah tahap dimana anak telah menguasai hal yang ditirunya, dia dapat mengerti bagaimana orang merasa, berangan-angan, dan berfikir. john martin dalam soedarsono (1978: 1) menyatakan bahwa substansi baku tari adalah gerak dan ritme. gerak tidak hanya terdapat di dalam denyutan-denyutan seluruh tubuh manusia untuk tetap dapat memungkinkan manusia hidup, tetapi gerak juga terdapat pada ekspresi dari segala pengalaman emosional. sach dalam soedarsono, (1978: 1) menya-takan bahwa substansi dasar tari adalah gerak, tetapi gerak-gerak yang ada di dalam tari itu bukanlah gerak yang realistis, melainkan gerak yang telah diberi bentuk ekspresif. langer (1988: 14) menekankan bentuk ekspresif itu adalah sebuah bentuk yang diciptakan manusia untuk bisa dirasa-kan (dinikmati dengan rasa). pada dasarnya gerak terungkap atau ter-wujud dengan adanya elemen-elemen dasar dari gerak yang membuat tari dapat menjadi ekspresi seni. doris humprey (1983: 23) mengatakan bah-wa ruang, waktu dan tenaga adalah elemen-elemen dasar dari gerak. disamping elemen-elemen dasar ge-rak, tari juga mengandung nilai-nilai keindahan. nilai-nilai keindahan ini terletak pada wiraga, wirama dan wirasa (rusliana, 1984: 14-15). pendidikan seni tari sebagai proses pembentukan kecerdasan emosional dari sejak awal perihal kehadiran dan keberadaan pendidikan seni (tari) dalam konteks sekolah umum di indonesia, yang dalam sepanjang sejarahnya sering mengalami perubahan (baca:pembaharuan) nama, paradigmanya lebih diorientasikan da-lam perspektif pemaknaan seni seba-gai media atau alat pendidikan. dalam artian, lewat atau melalui kegiatan atau aktivitas berkesenian, diyakini dapat difungsikan sebagai media yang cukup efektif untuk membantu pertumbuhan dan perkembangan segenap potensi individu secara optimal dalam format kesetimbangan (equilibrium) yang penuh. disini, yang menjadi orientasi dan streching point-nya dari pemaknaan aktivitas berkesenian bukan berada pada persoalan produk karya atau hasil, melainkan lebih pada dimensi proses (goedberg, 1997: 17-20). proses yang terbingkai dalam makna pendidikan seni, yang lebih dikenal dengan sebutan “pengalaman estetik” (aesthetic experience) menurut pendapat dan hasil penelitian para pakar pendidik-an (plato, herbert read, victor lowenfeld, malcom ross, elizabeth hurlock, ki hadjar dewantara), ternyata mempunyai korelasi positif terhadap berkembangnya berbagai potensi diri individu, misalnya : imajinasi, intuisi, berpikir, kreativitas, dan juga rasa sensitivitas. dalam pandangan psikologi kontemporer tentang belajar (konstruktivisme), diisyaratkan bahwa belajar adalah mengkonstruksikan pengetahuan yang terjadi from within. jadi tidak dengan memompakan pengetahuan itu ke dalam kepala pembelajar, melainkan melalui suatu dialog yang ditandai oleh suasana belajar yang bercirikan pengalaman dua sisi (two sided experience), untuk memberikan pemahaman dan menyulut minat dalam mengadakan eksplorasi lebih lanjut tentang apa yang ingin di-jadikan perolehannya (buber 1970 dalam semiawan dalam sindhunata, 2001). ini berarti bahwa, penekanan belajar tidak lagi seharusnya pada kuantitas materi, melainkan pada upaya agar siswa menggunakan peralatan mentalnya (otaknya) secara efektif dan efisien, sehingga tidak di-tandai oleh segi kognitif belaka, melainkan terutama juga oleh keter-libatan emosional dan kreatif. daniel goleman, dari harvard university, melalui hasil action research di dalam bukunya emotional intelligence (1995) dan working with emotional intelligence (1999), mengisyaratkan bahwa manusia memiliki dua segi mental, yang satu, yang berasal dari kepala (head) yang cirinya kognitif, dan yang satu yang berasal dari hati sanubarinya (heart), yaitu segi afektifnya. kehidupan afektif ini sa-ngat mempengaruhi kehidupan kog-nitif yang dikelola oleh otak, yang memiliki dua belahan (kiri dan kanan) dan disambung oleh segumpal serabut yang disebut corpus callosum. berpikir holistik, kreatif, intuitif, ima-jinatif, dan humanistik merupakan tu-gas serta ciri dan fungsi belahan otak kanan (right hemisphere), dan berpikir kritis, logis, linier, serta mememorisasi terutama yang terkait dengan respon, ciri, dan fungsi belahan otak kiri (left hemisphere) (semiawan, 1999). pengalaman belajar yang menjanjikan adanya kualitas equilibrium pada pengembangan otak secara optimum, baik pada belahan kiri dan kanan akan memberikan kebebasan aktivitas mental (free mental work) pebelajarnya, dan hal ini kiranya merupakan quality assurancy yang perspektifnya sangat strategis bagi keberadaan individu secara holistik dalam kehidupan dan masyarakatnya. sebaliknya pembelajaran yang hanya dan terutama membebankan berfung-sinya belahan otak kiri, terutama dengan mememorisasi fakta atau rumus tertentu, yang menurut hasil penelitian, diantaranya akan mensu-press dirinya sangat mendorong adanya hostile attitude (sikap permusuhan) (semiawan, 1999). tindak agresivitas massa dan konflik multidimensional yang menjadi salah satu beban ter-berat bangsa akhirakhir ini, adalah salah satu kemungkinan akibat dari kehidupan yang tidak sehat dan terkait erat dengan cara pembelajaran yang salah, sebagaimana diisyaratkan oleh penelitian tersebut. namun, jauh sebelum gole-man melakukan penelitiannya itu, bapak pendidikan nasional ki hadjar dewantara bahkan sudah sejak lama menjadikan unsur rasa sebagai poros trilogi pendidikan dalam bentangan pikir (cipta)–rasa–karsa. ki hadjar dewantara secara intens menekankan pentingnya olah rasa disamping olah pikir dan olah raga. melalui olah rasa inilah akan memekarkan sensitivitas hingga terbentuk manusia-manusia yang berwatak mulia, seperti : terintegrasinya antara pikir, kata, dan laku, sikap jujur, rendah hati, disiplin, setia, menahan diri, bertenggang rasa, penuh perhatian, belas kasih, berani, adil, terbuka, dan sebagainya. oleh karenanya proses internalisasi atau pengakaran, pengasahan dan pemekaran rasa seyogyanya menjadi perhatian sejak pendidikan di tingkat dini. ketika pendidikan moral dan nilai-nilai yang tersaji dalam format pendidikan agama baik formal mau-pun informal, ternyata dalam ekspresinya berkecenderungan lebih mengedepankan pengasahan aspek kognitif dan bukannya penajaman dan penghayatan pada dimensi religiousitas, maka sesungguhnya nilai-nilai yang termuat dalam pendidikan yang berbasiskan seni dan sastra merupakan salah satu alternatif oasis. sayangnya selama ini tidak pernah mendapatkan perhatian yang besar dalam sistem pendidikan formal kita, karena para decission maker pendidikan kita sampai saat ini begitu gandrung dengan ranah pendidikan yang berbasiskan kemampuan intelektual semata sebagaimana dimaksud diatas. pendidikan seni yang pada hakekatnya merupakan pembelajaran yang menekankan pada pemberian pengalaman apresiasi estetik, disamping mampu memberikan dorongan ber-“ekstasi” lewat seni, juga memberi alternatif pengembangan potensi psikis diri serta dapat berperan sebagai katarsis jiwa yang membebaskan. ross mengungkapkan bahwa kurikulum pendidikan seni termasuk kuri-kulum humanistic yang mengutamakan pembinaan kemanusiaan, bukan kurikulum sosial yang mengutamakan hasil praktis (ross, 1983). sedangkan menurut read (1970) pendidikan seni lebih berdimensikan sebagai “media pendidikan” yang memberikan serangkaian pengalaman estetik yang sangat besar pengaruhnya bagi perkembangan jiwa individu. sebab melalui pendidikan ini akan diperoleh internalisasi pengalaman estetik yang berfungsi melatih kepekaan rasa yang tinggi. dengan kepekaan rasa yang tinggi inilah nantinya mental anak mudah untuk diisi dengan nilai-nilai religiousitas, budi pekerti atau jenis yang lain. istilah lain dari konsep “kearifan”. definisi dan pemaknaan “kearifan” diperlukan syarat-syarat: pengetahuan yang luas (to be learned), kecerdikan (smartness), akal sehat (common sense), tilikan (insight), yaitu mengenali inti dari hal-hal yang diketahui, sikap hatihati (prodence, discrete), pemahaman terhadap norma-norma dan kebenaran, dan kemampuan mencernakan (to digest) pengalaman hidup (buchori, 2000 dalam sindhunata, 2001: 25). semua nilai-nilai itu terkandung dengan sarat dalam dimensi pendidikan seni, karena berorientasi pada penekanan proses pengalaman olah rasa dan estetis. metode penelitian ini menggunakan pendekatan kualitatif dengan menggunakan pendekatan ethnomethodology. teknik pengumpulan data menggunakan : (1) wawancara terarah dan tidak terarah (2) observasi partisipan dan (3) studi dokumentasi. data yang terkumpul berupa tulisan, hasil rekaman wawancara dan foto. sumber data dalam penelitian ini terdiri dari (1) guru dan kepala tk, anak tk, pakar seni anak dan nara sumber lainnya yang terkait, (2) proses pem-belajaran seni tari yang mencakup : tujuan, materi pembelajaran, metode, evaluasi, kemampuan guru, perilaku anak, sarana dan sumber daya ling-kungan yang tersedia, (3) dokumen yang terkait dengan penelitian ini. analisis data yang digunakan dalam penelitian ini mengacu pada analisa miles dan huberman (1994: 2125) melalui dua prosedur, yaitu: (1) analisis selama proses pengumpulan data, dan (2) analisis setelah pengumpulan data. prosedur pertama dilakukan dengan langkah-langkah: (1) reduksi data, (2) sajian data, (3) pengambilan simpulan. langkah terakhir dari analisis data dalam penelitian ini adalah veryfikasi atau pemeriksaan keabsahan data. pemeriksaan keabsahan data dalam penelitian ini, memakai depen-dabilitas dan konfirmabilitas (lincoln dan guba dalam jazuli 2001: 34). data yang didapat dari hasil observasi, wawancara dan dokumentasi selanjutnya ditafsirkan hingga penarikan kesimpulan lewat pembimbing dalam proses penelitian, dan melakukan pengecekan dan pengkajian silang dengan pakar atau teman sejawat. di samping itu juga menggunakan member checking, yakni meminta pengecek-an dari guru dan kepala sekolah. untuk mengecek sumber informasi secara rinci, cara yang ditempuh peneliti, yaitu (1) membandingkan data hasil pengamatan dari berbagai pihak yang terlibat dalam pelaksana-an pembelajaran seni dengan data hasil wawancara, (2) membandingkan apa yang dikatakan dari subyek penelitian dengan informasi pendu-kung, (3) membandingkan keadaan dengan perspektif guru dan anak, (4) membandingkan hasil wawancara dengan isi suatu dokumen pelaksana-an pengajaran seni. hasil dan pembahasan proses pelaksanaan pendidikan seni tari pada anak usia dini proses pelaksanaan pendidik-an seni tari pada anak usia dini tidak terlepas dari proses belajar mengajarnya, yang meliputi: tujuan, materi pembelajaran, metode kegiatan belajar mengajar, sarana dan prasarana, evaluasi, kondisi sosial dan budaya. tujuan tujuan pembelajaran seni tari yang terdapat di taman kanak-kanak pangudi luhur bernardus adalah pendidikan seni tari untuk memenuhi kebutuhan yang mendasar bagi anak dalam rangka mengaktualisasikan di-ri. tujuan tersebut menunjukkan bah-wa pendidikan seni tari yang diselenggarakan di taman kanak – kanak tersebut berorientasi pada anak. disini terlihat bahwa anak merupakan faktor yang utama, se-dangkan seni tari tidak lebih sebagai alat. dengan tujuan pembelajaran se-ni tari tersebut, mengharuskan guru tari agar berhatihati memperlakukan anak untuk berekspresi, sehingga perlu mengenal anak dengan baik dalam mengembangkan potensi minat bakatnya. perlakuan guru tersebut nantinya akan membentuk perilaku kecerdasan emosional anak. materi pembelajaran menentukan materi pembelajaran seni tari bagi anak usia dini tidaklah mudah. dibutuhkan pengetahuan dan kecermatan dari guru dalam pemilihan materi pembelajaran seni tari bagi anak usia dini, yang sesuai dengan karakter anak, yang dapat memberikan rangsangan, motivasi, bimbingan dan kreativitas anak. me-nurut aminudin (wawancara 15 sep-tember 2008) pembelajaran seni tari untuk anak yang dianggap tepat adalah materi tari yang bersifat gem-bira dan ekspresif sesuai dengan jiwa anak. bentuk tarian ini tergolong pada materi tari kreatif/kreasi dan materi tari ekspresif. penetapan kedua ben-tuk materi tarian tersebut untuk menghindari tingkat kesulitan, kebo-sanan pada anak, serta menumbuhkan rasa percaya diri pada anak. bentuk materi yang menggembirakan dan menarik perhatian anak adalah materi tarian yang tidak menyusahkan dan dapat diikuti anak dengan sepenuh penjiwaan, karena anak mampu melakukannya. materi tari kreatif/kreasi adalah bentuk tarian bergembira yang di dalamnya mengandung bentukbentuk gerakan yang indah dan lucu, diikuti oleh irama musik yang sesuai. bentuk materi tarian ini seperti: gerak pinggul bergoyang, kaki berjalan, kaki jinjit, tangan diputar dan sebagainya. materi tari ekspresif adalah bentuk materi bergembira yang mengandung permainan tertentu. biasanya tari yang bersifat ekspresif ini memun-culkan kebebasan ekspresi anak, se-hingga dijadikan pedoman guru tari dalam membuat sebuah tarian. penciptaan tari ekspresif ditentukan oleh kondisi dan situasi anak dalam me-ngikuti kegiatan belajar dan bermain. ekspresi anak benar-benar dituangkan melalui gerakan tarian. bentuk eks-presi ini dapat terlihat dari gerakan anak menirukan aktivitas anak dalam kehidupan sehari-hari. bentuk pengajaran yang diberikan pada anak tidak lepas dari pemberian contoh kepada anak dalam setiap gerakan. materi yang diajarkan tidak sekaligus diberikan kepada anak secara keseluruhan melainkan dengan cara bertahap. agar materi tarian lebih mudah dihafalkan oleh anak, guru tari sengaja memilihkan irama tarian sesuai dengan lagu kegemaran anak-anak misalkan lagu bolo-bolo, ini indonesiaku, naik kereta api. irama dan syair lagu yang dikenal anak akan lebih mudah disenangi dan dihafalkan. dalam proses pemberian gerak, guru juga mengajarkan syair lagunya, sehingga anak-anak menari sambil menyanyi. selain itu, materi tari juga bisa merupakan penggam-baran dari syair lagu. ini akan sangat memudahkan anak untuk melakukan gerak dengan penuh ekspresi. metode kegiatan belajar mengajar metode yang digunakan guru dalam proses pembelajaran seni tari di taman kanak-kanak pangudi luhur bernardus adalah: metode imitasi atau meniru, bercerita dan demonstrasi. sarana prasarana kelancaran proses pendidikan di taman kanak-kanak pangudi lu-hur bernardus didukung oleh adanya sarana dan fasilitas yang cukup memadai, diantaranya adalah sebagai berikut: gedung yang cukup representative, walaupun masih satu lokasi dengan sd pangudi luhur bernardus, ruang kelas yang luas dan tertata rapi, ruang aula sebagai tempat latihan menari, alat peraga pendidikan, ruang komputer, perpustakaan, ruang uks, ruang kepala sekolah, arena tempat bermain yang cukup luas dilengkapi dengan alat permainan yang edukatif, kamar mandi, dapur, kantin, antar jemput sekolah. evaluasi evaluasi yang digunakan guru dalam pembelajaran seni tari di ta-man kanak-kanak pangudi luhur bernardus adalah evaluasi proses. evaluasi proses adalah evaluasi yang dilakukan pada saat proses pembela-jaran berlangsung. yang diutamakan dalam evaluasi proses adalah proses apresiasi anak terhadap seni tari, bukan hasilnya. anak mampu me-nirukan gerak, mampu melakukan gerak dengan musik, mampu merasakan menari dengan riang gembira tanpa dibebani harus melakukan gerak tari dengan teknik yang bagus. kondisi sosial dan budaya taman kanak-kanak pangudi luhur bernardus adalah prasekolah yang berada di bawah naungan se-buah yayasan katholik pangudi lu-hur. yayasan ini membawahi pra-sekolah, sekolah dasar, sekolah lan-jutan pertama, sekolah lanjutan umum dan perguruan tinggi yang tersebar di berbagai pelosok nusan-tara. di semarang, taman kanak-kanak pangudi luhur bernardus ber-ada satu lokasi dengan sekolah dasar pangudi luhur bernardus i, ii, iii dan sekolah menengah pertama pangudi luhur domenico savio. anak-anak yang bersekolah di yayasan pangudi luhur rata-rata keturunan cina dan beragama katolik. meskipun demikian banyak juga anak yang dari kalangan jawa atau suku lain serta beragama lain yang sekolah di sana. melihat kondisi anak tersebut, dapat dikategorikan berasal dari golongan menengah ke atas. di sisi lain, yayasan juga tidak menolak bagi anak yang berasal dari golongan menengah ke bawah selama prestasinya bagus. bagi anak yang kurang mampu diberikan subsidi silang. dengan latar belakang ekonomi orang tua anak yang menengah ke atas, sangat mendukung pembelajaran seni tari. hal ini bisa dilihat apabila ada pementasan-pementasan dan lombalomba tari. orang tua akan dengan sangat antusias mendukung kegiatan tersebut. sementara itu, latar belakang budaya orang tua anak yang berbeda beda tidak menghambat berlangsungnya proses belajar mengajar. proses perubahan perilaku kecerdasan emosional anak usia dini melalui pembelajaran seni tari perubahan perilaku kecerdas-an emosional anak usia dini melalui pembelajaran seni tari dapat dilihat melalui: (1) timbulnya perasaan bangga, (2) memiliki sifat pemberani, (3) mampu mengendalikan emosi, (4) mampu mengasah kehalusan budi, (5) mampu menumbuhkan rasa bertanggung jawab, (6) mampu menumbuh-kan rasa mandiri, (7) mudah berin-teraksi dengan orang lain, (8) memi-liki prestasi yang baik, (9) mampu mengembangkan imajinasi, dan (10) menjadi anak yang kreatif. timbulnya perasaan bangga perasaan bangga pada anak dapat dilihat pada saat anak tampil menari dengan ekspresi tersenyum, tenang, dan gembira. seorang anak membutuhkan kesepakatan pujian dari orang yang dikagumi, dicintai dan dihormatinya. mendapat pujian dari orang yang dicintai, dikagumi, akan dapat membuat anak menjadi merasa lebih berarti dan berguna. pujian tersebut bisa berupa kalimat verbal maupun non verbal sebagai pernyataan kekaguman atas diri anak. pujian yang disampaikan kepada anak akan menimbulkan sugesti positif bagi anak, sehingga anak terpengaruh untuk menjadi lebih tenang, gembira, aman, optimis dan sebagainya. perasaan bangga pada anak dapat dilihat melalui penampilan anak dalam melakukan gerakan tari yang selalu disertai dengan se-nyuman, kelincahan dan kegembi-raan. kemampuan menari dan pe-ningkatan gerak motorik anak dapat menimbulkan perasaan bangga pada anak, yang menunjukkan anak memiliki kecerdasan emosional yang baik. kecerdasan emosional anak terbentuk pada saat anak memulai belajar menari dari gerakan awal yang tidak begitu dikuasai, sampai akhirnya menguasai gerakan tari secara keseluruhan. memiliki sifat pemberani proses pembelajaran seni tari mengajarkan anak berani bergerak dengan bebas, berani bertanya, berani melakukan perintah gurunya, berani menunjukkan kemampuannya, berani untuk tampil di hadapan orang lain. sikap berani anak ditunjukkan mela-lui cara anak menari dengan bebas tanpa tekanan, selalu tersenyum, tatapan mata yang penuh percaya diri. selanjutnya dalam kehidupan sehari-hari sikap pemberani anak dalam menari tersebut tercermin dari sikap anak yang berani untuk bertemu dengan orang lain, berani menjawab per-tanyaan orang lain, berani ber-tanya, berani bermain dengan teman sebayanya, berani berada di ling-kungan yang baru dan berani me-ngikuti perintah guru. mampu mengendalikan emosi perilaku anak baik itu meliputi perilaku yang baik ataupun buruk merupakan bagian dari pengembangan kecerdasan emosional anak. sesungguhnya anak cenderung memiliki emosi yang lebih kuat daripada orang dewasa, karena anak belum mampu mengembangkan kemampuan menalar sampai dengan usia 9 tahun. anak yang memiliki kecerdasan emosional kuat akan mampu menciptakan dan mempertahankan hubungan sehat dengan orang lain dan dengan dirinya sendiri. kecer-dasan emosional anak terlihat pada anak yang benar-benar dididik dan diarahkan untuk menjiwai dan menghargai terhadap kemampuan dalam melakukan suatu tarian. anak yang secara rutin belajar tari, secara tidak langsung anak telah belajar berbuat, merasa, dan menghargai orang lain. kemampuan anak tersebut sangat berguna bagi dirinya sendiri maupun bagi orang lain. sementara itu, perlu diperhatikan pula, bahwa faktor dukungan dari sekolah, orang tua dan masyarakat juga mempengaruhi pengendalian emosi anak yang sudah terarah dan terbentuk dengan baik, senantiasa akan berubah dan luntur oleh lingkungan dimana anak berada. mampu mengasah kehalusan budi pelaksanaan pembelajaran se-ni tari tidak hanya mengajarkan, me-latih dan membimbing anak untuk bergerak mengikuti alunan musik, melainkan dapat juga membimbing dan mengarahkan perilaku anak de-ngan etika yang baik. seni tari me-ngajarkan anak untuk dapat menye-suaikan gerakan dengan musik se-hingga anak secara tidak langsung berlatih untuk menggunakan kepeka-an dan kehalusan budi/perasaannya agar dapat bergerak sesuai dengan musik. anak belajar untuk mentaati dan melaksanakan perintah guru da-lam pembelajaran seni tari, yang tercermin pada saat guru memberikan contoh gerak dan menyuruh anak untuk memperhatikan, menirukan dan mempraktekkan. anak belajar untuk mengingat gerakan yang di-berikan guru, sehingga anak juga belajar mengasah kognitifnya. selain kognitifnya terasah, anak juga belajar menanamkan nilai-nilai etika yang mengasah kehalusan budinya melalui kegiatan menari dengan cara belajar menghargai teman, bekerjasama dengan teman, menolong sesama teman, mengikuti perintah guru, menghor-mati guru, dan memiliki sopan san-tun. mampu menumbuhkan rasa bertanggung jawab anak yang bertanggungjawab adalah anak yang mampu melakukan apa yang diinginkannya sekaligus juga mampu melakukan apa yang diinginkan orang lain, mampu memi-lih mana yang baik dan buruk serta berani menanggung resiko. untuk menanamkan rasa tanggung jawab kepada anak harus dilakukan dengan lemah lembut, halus, tegas tetapi penuh pengharapan. bentuk tang-gungjawab yang diajarkan guru kepada anak melalui pembelajaran seni tari adalah: (1) belajar mentaati waktu, apabila waktunya belajar tari sudah tiba maka anak-anak diminta segera untuk menuju ruang berlatih, (2) belajar mengatur dirinya sendiri melalui berbaris rapi, berjajar dengan teman-temannya pada saat mengikuti pelajaran tari, (3) belajar memperhati-kan guru pada saat guru menerang-kan dan mengikuti semua perintah guru, (4) belajar menghafalkan gerak-an yang diberikan guru. mampu menumbuhkan rasa mandiri salah satu ciri anak yang mempunyai kecerdasan emosional yang tinggi adalah mempunyai sifat mandiri. sifat mandiri pada anak da-pat ditanamkan melalui pembelajaran tari, caranya dengan mengajarkan anak untuk melakukan tugas-tugas-nya secara mandiri. tugas-tugas anak tersebut antara lain yaitu: mencari tempat di dalam barisan pada saat belajar menari, berjalan tertib menuju ruang latihan menari, menirukan gerak yang diberikan oleh gurunya tanpa disuruh, berani menari sendiri tanpa diberi contoh, berani mengambil tempat minum sendiri, berani me-nari didepan banyak orang tanpa di-dampingi gurunya. mudah berinteraksi dengan orang lain dalam pembelajaran seni tari, anak diajarkan untuk berinteraksi dengan orang lain, misalnya menjawab pertanyaan guru, memperhatikan gu-ru dalam menjelaskan materi, menirukan gerak yang diberikan oleh guru, mempraktekkan gerak yang diajarkan guru, bertanya pada guru apabila mempunyai kesulitan, menyapa te-man, berbaris rapi bersama teman, menari bersama teman, mau berbagi dengan teman. kebiasaan yang diajar-kan guru dalam proses belajar menari tersebut dapat diterapkan di dalam perilaku sehari-hari, misalnya mau menjawab pertanyaan orang lain, memperhatikan orang lain yang berbicara dengannya, bertanya atau menyapa pada orang lain, mau bermain dengan teman, berbagi dengan teman, membantu teman yang dalam kesulitan. memiliki prestasi yang baik belajar menari tidak hanya membuat anak mempunyai tubuh yang lentur dan bugar, akan tetapi lebih jauh lagi, menari mampu mem-bentuk kecerdasan emosional dan logika anak yang dibuktikan dengan prestasi yang baik di dalam pelajaran lainnya. berdasarkan wawancara de-ngan heny guru kelas a2, bahwa anak-anak yang suka menari dan sering mengikuti pentas menari cen-derung memiliki prestasi yang tinggi jika dibandingkan dengan anak yang tidak suka kegiatan menari. anak yang suka menari mempunyai sifat mudah diajak berkomunikasi, mudah tanggap terhadap materi pelajaran yang diberikan oleh guru dan cepat selesai mengerjakannya. anak juga mempunyai konsentrasi yang baik dalam mengikuti pelajaran. hal ini disebabkan karena di dalam proses belajar menari, anak tidak hanya dituntut untuk bisa menghafalkan gerak, tetapi juga dituntut untuk mampu mempraktekkannya sesuai dengan iringan dan mampu meng-eskpresikan gerak tersebut dengan baik. artinya di dalam proses belajar menari, anak belajar 3 hal sekaligus yang tidak didapatkan dalam mata pelajaran lain, yaitu menghafalkan, menyesuaikan gerak dengan musik, dan menjiwai gerakan tersebut. mampu mengembangkan imajinasi dalam pembelajaran tari, pengembangan imajinasi anak dilakukan melalui cerita yang disampaikan oleh guru sebelum memberikan con-toh gerak. selain cerita, foto, gambar, film, keadaan disekeliling anak juga dapat menjadi media pengembangan imajinasi anak. misalnya, guru akan mengajarkan tari burung, terlebih dahulu anak diberikan cerita me-ngenai burung, bagaimana burung itu mencari makan, minum, terbang, bertengger, berjalan dan tidur. kemu-dian anak diajarkan menirukan peri-laku burung tersebut sesuai dengan imajinasi anak sendiri. guru hanya mengarahkan gerakan yang dibuat anak berdasarkan imajinasinya terse-but supaya menghasilkan gerak yang baik. guru harus menghargai karya anak tersebut, tidak boleh mencela atau mengatakan buruk, karena hanya akan mematahkan daya imajinasi anak. menjadi anak yang kreatif proses pengembangan daya imajinasi anak, akan mengarah atau membentuk perilaku kreatif anak. hal ini dapat dilihat dari hasil karya anak. dalam proses belajar tari, anak cenderung menjadi lebih kreatif, karena anak diberi kebebasan untuk ber-gerak, menirukan gerak, menafsirkan gerak sesuai dengan kemampuannya. artinya dalam proses belajar tari, tidak ada istilah benar dan salah, sehingga anak bebas menirukan gerak yang diberikan gurunya. bebas arti-nya gerakan yang dilakukan anak tidak harus sama persis yang dilaku-kan gurunya, misalnya gerak tangan ke atas, seharusnya gerak tangan ter-sebut dilakukan dengan lurus ke atas, tetapi anak bisa melakukannya tidak lurus mungkin agak serong. selain itu, anak juga diberikan kebebasan untuk menafsirkan cerita yang diberikan guru untuk mengekspresikannya ke-dalam gerak sesuai dengan imajinasi-nya. dengan membiarkan anak mela-kukan gerak tari sesuai dengan ke-mampuan dan imajinasinya, guru secara tidak langsung sudah mengajar-kan anak untuk mengembangkan kreativitasnya. kreativitas gerak yang dimiliki anak, merupakan salah satu ciri kecerdasan emosional anak. simpulan dan saran simpulan proses pelaksanaan pendidik-an seni tari pada anak usia dini tidak terlepas dari proses belajar mengajarnya, yang meliputi: tujuan, materi pembelajaran, metode kegiatan belajar mengajar, sarana dan prasarana, eva-luasi, kondisi sosial dan budaya. perubahan perilaku kecerdasan emosional anak usia dini bisa dilakukan melalui pembelajaran seni tari. proses perubahan itu terjadi ber-samaan dengan berlangsungnya proses pembelajaran. guru sangat berpe-ran penting dalam perubahan kecerdasan emosional anak yang ditunjukkan dalam proses pembimbingan setiap waktu. bimbingan sebagai dasar perubahan perilaku kecerdasan emosional anak usia dini melalui cara : (1) pemberian sentuhan, (2) pengkondisian relaksasi, (3) melatih anak berekspresi, (4) melatih anak ber-kreasi, (5) melatih anak bersosialisasi, (6), memotivasi anak untuk maju, (7) melatih anak untuk bertanggung jawab, (8) mengembangkan bakat anak (9) memberikan stimulasi. hasil perubahan perilaku kecerdasan emosional anak usia dini melalui pembelajaran seni tari dapat dilihat melalui: (1) timbulnya perasa-an bangga, (2) memiliki sifat pemberani, (3) mampu mengendalikan emosi, (4) mampu mengasah kehalusan budi, (5) mampu menumbuhkan rasa bertanggung jawab, (6) mampu menumbuhkan rasa mandiri, (7) mudah berinteraksi dengan orang lain, (8) memiliki prestasi yang baik, (9) mampu mengembangkan imajinasi, dan (10) menjadi anak yang kreatif. saran berdasarkan simpulan hasil penelitian diatas, saran yang disampaikan sebagai berikut : a. bagi sekolah, hendaknya lebih memperhatikan dan mendukung proses pembelajaran seni tari pada anak usia dini dengan cara menyediakan sarana dan prasarana yang diperlukan, memberkan kesempatan bagi anak untuk menampilkan hasil dari pembelajaran seni tari baik dalam lombalomba tari ataupun dalam kegiatan pementasan sekolah, memberikan kesempatan bagi guru untuk meningkatkan kemam-puannya di bidang seni tari. b. bagi guru seni tari, hendaknya lebih meningkatkan kemampuannya di bidang tari. c. bagi anak, hendaknya lebih rajin mengikuti pembelajaran seni tari sehingga kecerdasan emosional-nya semakin meningkat. d. bagi orang tua anak, hendaknya lebih mendukung proses pembelajaran seni tari dengan cara mengikut sertakan anak dalam kegiatan menari, lomba-lomba tari maupun pementasan tari baik yang diadakan pihak sekolah maupun luar sekolah. daftar pustaka ahmadi, h.a. 1992. psikologi perkembangan. jakarta: rineka cipta. freire, paulo. 1973. pedagogy of the oppressed. london: penguin books (ir. myra bergman ramos). goldberg, merryl. 1997. arts and learning. an integrated apprach to teaching and learning in multicultural and multilingual setting. new york: longman. humprey, doris. 1983. seni menata tari. terjemahan. sal murgianto. jakarta: dewan kese-nian jakarta. jazuli m. 2001. metode penelitian kualitatif. semarang: universitas negeri semarang. kamaril, cut. 2001. ”konsep pendidikan seni tingkat sd-sltp-smu.” makalah seminar dan lokakarya nasional pendidikan seni. 18-20 april 2001. jakarta: hotel indonesia. langer, susane k. 1988. problematika seni. terjemahan. fx. widaryanto. bandung: asti bandung. mac donald, smart. 1970. history and philosophy of art education. new york: american elsevier. miles, mattew b dan huberman, a. michael. 1992. analisis data kualitatif. buku sumber tentang metode-metode baru. terjemahan. tjetjep rohendi rohidi. jakarta: ui. read, herbert. 1970. education through art. new york: faber and faber culure macmillan. rohendi, tjetjep rohidi. 2001. ekspresi seni orang miskin, adaptasi simbolik terhadap kemiskinan. bandung: penerbit nuansa. ross, malcolm. 1983. the aesthetic impuls. oxford: pergamon press. rusliana, iyus. 1984. seni tari untuk kpg. jakarta: departemen pendidikan dan kebudayaan. semiawan, cony. 1999. pendidikan tinggi: peningkatan kemampuan manusia sepanjang hayat seoptimal mungkin. jakarta: grasindo. sindhunata. 2000. menggagas paradigma baru pendidikan: demokratisasi, otonomi, civil society, dan globalisasi. yogyakarta: kanisius. --------------------. 2001. membuka masa depan anak-anak kita: mencari kurikulum pendidikan abad xxi. yogyakarta: kanisius. soedarsono. 1978. pengantar pengetahuan tari. yogyakarta: asti. suryabrata, sumadi. 1993. psikologi pendidikan. jakarta: pt. raja grafindo perkasa. yusuf ln, syamsu. 2001. psikologi perkembangan anak dan remaja. bandung: pt. remaja rosdakarya offset. zulkipli. 1992. psikologi perkembangan. bandung: pt. remaja rosdakarya offset. d:\harmonia\2003\1\vol. 4 no 1 jan_april_2003.pdf ���������� ��� ���� ���� ������������������������������������������� ����������������!�� 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s��r��ts�u�v��wxywz{�|��}z{~����� ���������� ��� ���� ���� ���������������������������������������� �! �"��#�����$�%&'���(��)*���������"�+��,�"����� ,���*�����.��������/������� �"(��� � �%'0���(��)*���������"�+��,�"���������,��1��*�����.����$����-����� �%23���(��)*���������"�+��,�"����� ,���*�����.����$�4��"1�5$�/�+���%''���(��)*�6��,�7����88$�9���� �!�"�6*�����.����$:� ;��:��<;�=�>��?@a?bc�d��ebcf�ghhi microsoft word harmonia vol x no 1 2010.docx metafora dalam cakepan tembang -tembang jawa s. hesti heriwati email :hesti_herawati@yahoo.com abstract the problem of metaphor is the reality of creative power of language and in the metaphor there is something spoken and compared. there is a distance between tenor and vehicle which is very interesting. the more distant the tenor and vehicle, the more expressive the meaning of metaphor is. there are four kinds of metaphors; they are anthropomorphic, animal, abstract to concrete and the opposite, and sinesthetic. these kinds of metaphor are for knowing how the perception about static space predicted as human being, animal or other creatures and there is the change of concept causing the resemblance of the perceptual and physical meanings. metaphor is still interesting for the linguists because it is viewed as a process of transference between two conditions or experiences based on the association of each others. several kinds of the metaphor are found in lyric of java’s tembangs. they are tembang gedhe, tengahan, macapat, maupun tembang dolanan kata kunci : ekspresif, cakepan, tembang jawa pendahuluan bahasa dapat membantu manusia dalam berpikir secara teratur dan mengomunikasikannya kepada orang lain. melalui bahasa, orang dapat mengekspresikan sikap dan perasaan. seseorang yang berbakat dalam hal sastra dapat mengekspresikan perasaannya melaui bait-bait puisi, cerpen, novel, atau karya sastra lainya. apa yang dilakukan pada dasarnya menggunakan media bahasa. dengan bahasa manusia hidup dalam dunia pengalaman nyata dan dunia simbolik. manusia mengatur pengalaman nyata dengan berorientasi kepada manusia simbolik. jacobson (dalam tarigan 1987:11) membeberkan bahasa sebagai fungsi emotif yaitu memusatkan perhatian pada keadaan seorang pembicara; dan serta fungsi puitik yaitu memusatkan perhatian pada bagaimana cara suatu pesan disandikan. sebagai perwujudan komunikasi di dalam pemakaian bahasa akan dijumpai cara-cara tertentu yang dipakai oleh pembicara atau penulis untuk melahirkan buah pikirannya. hal ini dapat memberikan suatu nilai dalam kehidupan sehingga membawa dampak adanya rasa batin yang puas dan senang. menurut russel (dalam suriasumantri, 1999:174) “dunia tanpa kesukaan dan kemesraan adalah dunia tanpa nilai”. cara mengungkapkan bahasa ada beberapa macam salah satunya melalui gaya bahasa. gaya bahasa yaitu cara mengungkapkan pikiran melaui bahasa secara khas yang memperlihatkan jiwa dan kepribadian penulis atau pemakai bahasa (keraf, 1995:113). salah satu gaya bahasa yang membahas ketidaklangsungan makna adalah metafora. metafora bukan hanya dapat menambah kekuatan pada suatu ungkapan kebahasaan, melainkan juga sebagai lukisan yang berdasarkan persamaan atau perbandingan yang dapat membantu seseorang dalam melukiskan realitas yang sesungguhnya dengan gagasan-gagasan abstrak. dalam karya sastra jawa seperti: mahabharata, ramayana, wedhatama, tripama, centhini, babad tanah jawi banyak dijumpai gaya bahasa metafora. mantra merupakan karya sastra bahasa jawa berbentuk puisi yang tercermin hakikat sesungguhnya dari puisi, yakni terdapatnya pengkonsentrasian kekuatan bahasa yang dimaksudkan oleh penciptanya untuk menimbulkan daya magis atau kekuatan gaib. selain mantra terdapat bentuk-bentuk karya sastera lainnya yakni: pantun, syair, parikan, wangsalan, puisi jawa/geguritan, dan tembang jawa. karya puisi khususnya tembang, dapat menggunakan metafora untuk menyatakan keekspresifan dan keefektifan dalam karya puisi atau tembang yang didasarkan atas keserupaan emosi dan perseptual penyairnya terhadap dunia sekitarnya. subroto (1989) berpendapat bahwa wajar saja jika puisi atau tembang kaya akan ungkapan-ungkapan metaforis karena beberapa ciri dunia nyata telah dialihkan ke dunia imajinasi di dalam karya puisi termasuk tembang. tembang memiliki kharisma tersendiri baik sebagai media pendidikan maupun hiburan. tembang kaitannya dengan seni pertunjukan tidak saja dimiliki oleh masyarakat jawa akan tetapi masyarakat bali dan sunda. tembang-tembang jawa meliputi sekar ageng (tembang gedhe), sekar tengahan (tembang tengahan), sekar macapat (tembang macapat) dan tembang dolanan menarik untuk dikaji karena di dalamnya terkandung ajaran atau nilai yang menurut masyarakat pendukungnya dapat dijadikan acuan dalam menjalankan kehidupan. pemakaian bahasa dalam cakepan tembang banyak menggunakan keindahan unsur bunyi seperti aliterasi dan asonansi sesuai dengan rumusrumus tembang. kehadiran tembang melalui cakepan (syair) terdapat pemakaian bahasa yang tidak mudah untuk dimengerti karena di dalamya banyak mengandung samudana. sehubungan dengan masalah tersebut di atas maka tulisan ini akan mengetengahkan jenis-jenis metafora dalam beberapa tembang jawa. tujuannya adalah untuk mendeskripsikan jenis-jenis metafora yang terdapat di dalamnya. tulisan ini bersifat kualitatif. data diperoleh secara simak dan catat. sedangkan analisis data terhadap beberapa tembang jawa menggunakan teknik padan referensial. metafora dan tembang metafora sering digunakan untuk menyatakan keekspresif dan keefektifan pemakaian bahasa. dalam karya puisi atau tembang metafora didasarkan atas keserupaan emosi dan perseptual penyairnya terhadap dunia sekitarnya. subroto (1991) dalam metafora dan kemetaforaan terhadap analisis pada beberapa puisi indonesia, antara lain menjelaskan bahwa tipe-tipe metafora dapat dilihat berdasarkan pada hubungan tenor dan wahana serta membagi tingkat keekspresifan ungkapan metaforis dalam dua hal. ullman (1972) dalam semantics an introduction to the science of meaning, mengetengahkan istilah tenor dan vehicle sebagai ciri-ciri umum untuk membentuk dasar metafora. susunan dasar metafora relatif sederhana. terdapat dua istilah yakni yang dibandingkan dan hal yang membandingkan, tenor dan wahana (vehicle). ullmann (1972:218) menyebut subjek-subjek metafora dengan barang yang sedang dibicarakan dan diperbandingkan. ullman selanjutnya menguraikan tentang kedua hal dengan istilah tenor dan vehicle. terdapat beberapa jenis kemetaforaan antara lain: anthropomorphic metaphors (metafora antropomorfis), metafora kehewanan (animal metaphors), metafora yang timbul karena perpindahan pengalaman dari yang konkret ke abstrak atau sebaliknya (from concrete to abstract); dan synaestetic metaphors (metafora sinestetik). secara lebih jelas jenis-jenis kemetaforaan dari ullmann diuraikan sebagai berikut. 1) anthropomorphic dengan the greater part an expressions refering to inanimate objects are taken by transfer by human body and its, from human sense and a human passions; 2) animal metaphors adalah another perennial source of imagery is the animal kingdom, sumber terbesar lain dari perbandingan ini adalah dunia hewan; 3) from concrete to abstract yaitu timbul karena perpindahan pengalaman dari konkret ke abstrak atau sebaliknya ditegaskan sebagai berikut one of the basic tendencies in metaphor is to translate absract experiences into concrete terms. salah satu dasar kecenderungan dalam metafora ini adalah dengan menerjemahkan pengalaman abstrak ke dalam pengertian yang konkret. 4) synaethetic metaphors, dasar penciptaannya adalah pengalihan tanggapan, a very common type of metaphor is based on transpositions from one sense to another from sound to sight; from touch to sound etc, tipe metafora yang sangat umum didasarkan pada pengalaman pengertian satu ke pengertian yang lain; dari bunyi ke pandangan atau penglihatan dari rabaan atau sentuhan ke pendengaran dan sebagainya. tembang menurut martopangrawit (1967) dalam buku tetembangan adalah vokal yang berhubungan dengan karawitan (musik jawa) seperti: sindhenan, bawa, gerong, sulukan, sekar ageng, sekar tengahan, dan sekar macapat. pengertian tembang dapat diartikan vokal pria atau wanita yang menyertai gendhing atau solo (menyanyi sendiri tanpa iringan karawitan) dalam suatu sajian karawitan. adapun beberapa karya sastera yang termasuk tembang antara lain: sekar ageng, sekar tengahan, sekar macapat dan tembang dolanan. jenis-jenis metafora dalam tembang jawa metafora merupakan pemakaian bahasa yang efektif dan berdaya ekspresif. hal demikian banyak dijumpai pada pemakaian bahasa kreatif terutama tembang atau puisi. keekspresifan metafora didasarkan atas keserupaan emosi atau perseptual penyair terhadap dunia sekitarnya. oleh sebab itu suatu tembang wajar bila di dalamnya kaya akan ungkapan-ungkapan metaforis. berikut ini jenis-jenis metafora dalam beberapa tembang jawa yang dimaksud. metafora anthropomorphic metafora anthropomorphic atau antropomorfis lebih banyak berbicara tentang sesuatu yang banyak berhubungan dengan masalah kehidupan manusia. hal-hal yang berkaitan dengan makhluk hidup yang meliputi tingkah laku, sifat, watak/karakteristik manusia. bagian yang lebih besar dari ekspresinya menjunjuk pada objek-objek benda mati yang diambil dengan jalan memindahkan dari tubuh manusia dan bagian-bagiannya serta dari perasaan dan nafsunya. berikut ini metafora antropomorfis yang terdapat dalam sekar ageng candra asmara. dhuh nyawa dene tan asung pisungsung sangsangan sari sarireng sru marlupa lir pepes bayu ngong tapis terjemahan: aduh sukma yang tidak memberi pemberian kalung bunga badanku lelah sekali bagaikan luluh semua tulangnya kata nyawa pada contoh tembang di atas dimiliki oleh manusia dan makhluk hidup lain yang dianggap bisa berbuat sesuatu, seperti: memberi ketenangan, meminta perhatian, memilih dan memutuskan. perbuatan demikian dapat dilakukan oleh manusia yang berakal sehat. ungkapan nyawa tan asung telah terjadi ungkapan metaforis yang tergolong antropomorfis. kata nyawa dianggap bisa berbuat sesuatu dan dipadankan sebagai manusia. dengan demikian cakepan tersebut dapat disebut sebagai metafora dengan tujuan untuk memberikan daya kuat terhadap objek yang dihadapi. perilaku nyawa dipersepsikan sebagai manusia layaknya yang dianggap dapat diperlihatkan akan perilakunya. berikut ini metafora antropomorfis yang terdapat dalam cakepan sekar macapat pocung. nenging swara sawer musna tan kadulu gara-gara prapta jawah lesus kilat thathit aliweran baledheg dhar-dhor tan pegat (centhini i:75). terjemahan: heningnya suara ular musnah tidak terlihat gara-gara angin hujan angin disertai halilintar bergemuruh suara halilintar tiada henti ungkapan pada contoh tembang di atas yang bertindak sebagai tenor atau sesuatu yang dibandingkan adalah baledheg (halilintar) yang dipersepsikan sebagai manusia yang dapat bertindak, misalnya: berlari, berdiam, berkeliaran. adapun wahana atau sesuatu yang membandingkan adalah aliweran (berkeliaran) artinya baledheg yang aliweran. halilintar yang berkepanjangan dan menggema juga merupakan suatu pertanda dalam suasana hujan, gelap, mencekam. baledheg dhar-dhor tan pegat (kilat yang bergemuruh tiada henti) menggema secara terus–menerus. makna tan pegat adalah tidak sekedar putus tetapi selalu berkelanjutan. makna secara metaforis pada baledheg tan pegat merupakan ungkapan makna bunyi kilat yang berkepanjangan. apabila dihubungkan dengan suasana pada kilat yang bergemuruh tentu saja dalam musim penghujan. persepsi kata pegat ‘cerai’ hanya bisa dilakukan oleh manusia tetapi dalam larik aliweran baledheg tan pegat telah terjadi persamaan persepsi. baledheg dianggap dapat melakukan pegat. makna secara metaforis adalah gambaran di waktu hujan deras dengan disertai kilat yang bergemuruh. dalam istilah perhitungan astronomi jawa hal demikian biasanya ditemukan pada mangsa kasanga. pada musim ini ditandai dengan banyaknya suara halilintar yang berkepanjangan dan bergemuruh. metafora antropomorfik dalam tembang dolanan dapat ditemukan dalam cakepan witing klapa tembang dolanan berikut ini. witing klapa jawata ing arcapada salugune wong wanita adhuh ndara kula sampun njajah praja ing ngayogyakarta surakarta terjemahan: pohon kelapa dewa di dunia sederhananya seorang wanita aduh, ndara saya sudah melanglang buawana di yogyakarta surakarta sebagai tenor dalam tembang di atas adalah wit klapa (pohon kelapa) yang dipersepsikan sebagai makhluk hidup (manusia) yang dapat melakukan segala aktivitas, misalnya: bertahta, sebagai raja, sebagai ratu, sebagai kepala negara, sebagai menteri, dan lain-lain. adapun wahana atau sesuatu yang membandingkan adalah jawata (dewa) yang berdiam diri bertahta di arcapada (dunia). ungkapan antropomorfis terletak dalam ungkapan witing klapa jawata ing arcapada; pohon kelapa dipersepsikan sebagai makhluk manusia seperti dewa yang dapat bertahta di dunia. artinya secara metaforis adalah pohon kelapa yang banyak tumbuh di bumi seakan-akan mendominasi di samping nilai guna yang ada pada pohon tersebut. metafora animal (binatang) sumber terbesar dari perbandingan ini adalah dunia binatang atau hewan. metafora ini didasarkan atas dunia binatang dengan segala sifatnya. dalam metafora ini yang terpenting adalah asosiasi dalam membandingkan sifat-sifat binatang dengan sifat manusia yang menyerupai. sehubungan dengannya yang diperbandingkan tidak saja terbatas pada sifat-sifat yang dimiliki akan tetapi juga unsur-unsur tubuh. metafora kebinatangan dibentuk berdasarkan pada dunia binatang sehingga banyak melibatkan bagian anggota tubuh, sifat dan tingkah lakunya. metafora animal berkaitan erat dengan metafora antropomorfis karena mengaktualisasikan sesuatu makhluk bernyawa (dunia fauna) yang sebagaimana layaknya manusia. berikut ini uraian tentang metafora animal yang terdapat dalam sekar ageng dalam cakepan sekar ageng candra asmara urang gung kang pariswaja mung sathithik cacatipun wong ayu ngungkurken tresna terjemahan: udang besar yang berperisai baja hanya sedikit celanya orang cantik tidak menghiraukan cinta sbagai referen-1 (tenor) pada contoh cakepan tembang urang gung kang pariswaja di atas adalah adalah urang gung. sedangkan sebagai referen-2 (wahana) adalah pariswaja (perisai baja). dalam cakepan tembang di atas, sifat pada manusia diasosiasikan dengan dunia kebinatangan yaitu urang gung (udang besar) yang mengenakan perisai baja. keadaaan demikain dikatakan mengandung metafora animal. penulis tembang (pujangga) tampaknya ingin mengekspresikan suatu kenyataan yang luar biasa melalui urang gung. tentu saja urang gung sebagai binatang besar yang memakai perisai baja sebagai layaknya manusia dideskripsikan dengan kepala yang mempunyai fitur sangat keras sekeras baja. penggambaran metafora animal lewat gambaran udang berkepala keras bagaikan memakai perisai baja. ungkapan metafora animal dalam cakepan sekar macapat gambuh. si kidang suka ing panitipan pan si gajah alena patinireki si ula ing patinipun ngandelake upase mandos (wulangreh :4) terjemahan: si kijang senang dalam pengumpanan dan si gajah tidak menghiraukan kematiannya si ular dalam kematiannya mengandalkan bisanya yang berbahaya/mujarab ungkapan si kidang suka ing panitipan, si gajah alena patinireki, serta si ula ing patinireki ngendelake upase mandos merupakan metafora animal. metafora animal ditunjukan pada penyebutan si kidang, si gajah, si ula yang masing-masing mempunyai kehebatan dalam membuat celaka pihak lain. kijang selalu mencelakakan seseorang atau lawan dengan memberi pancingan atau umpan terhadap barang-barang yang menjadi tujuan. gajah merupakan binatang besar yang mengandalkan kekuatan badannya yang besar untuk mencelakakan lawan. sedangkan ular mengandalkan racun atau bisanya untuk mencelakai makhluk hidup lainnya. ungkapan metafora ini menganggap bahwa binatang dianggap mempunyai kekuatan sebagai layaknya manusia yang bisa berbuat atau bertindak. ungkapan secara metaforis adalah adanya sifat sombong; adigang yakni menyombongkan kekayaaan/kesaktian, adigung menyombongkan kekuasaan, serta adiguna menyombongkan kepandaian. berikut ini tipe metafora animal yang ungkapan metaforisnya mirip dengan contoh (3.2.1.) yang terdapat dalam cakepan sekar tengahan jurudemung. kidang banget nggone umbag marang kebat lumpatipun gajah ngendelake iku si ula sru denya umuk marang mandining kang wisa wekasane bareng lampus. (wulangreh : 40) terrjemahan: kijang sangat sombong dengan segala lompatannya gajah mengandalkan juga ular yang sangat sombong dengan racun yang berbahaya yang akhirnya semua mati gajah dalam dunia fauna merupakan hewan yang dikenal besar dan malas. hal ini sering digunakan dalam cerita atau lagu dolanan anak-anak. karena tubuhnya besar maka gajah untuk berjalanpun sangat lambat. sifat atau perangai gajah dipersepsikan oleh pujangga bisa berperilaku seperti manusia. gajah ngendelake artinya secara metaforis gajah sebagai binatang besar mempunyai watak ngendelake (menyombongkan, mengandalkan) dirinya. gajah dipersepsi sebagai manusia yang dapat berbuat sesuatu layaknya orang. makna yang terdapat dalam metafora itu adalah sikap adigang, yakni mengandalkan akan kebesaran tubuhnya. metafora dari keadaan konkret ke abstrak atau dari abstrak ke konkret metafora ini timbul karena terdapat perpindahan pengalaman dari konkret ke abstrak atau sebaliknya. salah satu kecenderungan dalam metafora ini adalah adanya penterjemahan pengalaman yang abstrak ke pengertian konkret. pada dasarnya metafora jenis ini untuk menghidupkan suasana yang tidak atau belum nyata menjadi nyata agar mudah dimengerti. berikut contoh dan penjelasan tentang metafora ini dalam cakepan tembang dolanan kembang mlath, seperti dalam penjelasan di atas. tak kedhep-kedhepe katon rumangsa gumantung ing telenging jantung tindak tanduke nengsemake mugi langgeng adadi rewange budidaya amrih mekaring kabudayan angembangrembaka terjemahan: saya kedipkan tampak seperti menggantung di tengah jantung tingkah lakunya mempesona semoga abadi menjadi teman berkembang demi tumbuhnya kebudayaan yang berkembang subur kata ngembangngrembaka (berkembang/tumbuh-kembang)’ merupakan kelompok kata yang bukan jenis kata kelompok tanaman. pembentukan kata itu secara metaforis berdasarkan fitur-fitur pengalaman bahwa tanaman yang tumbuh subur, rindang menjadikan tempat teduh bagi yang berada di bawahnya. akarnya yang kuat membuatnya tidak mudah tumbang. sehubungan dengan uraian di atas maka ada persepsi dari keadaan konkret ke abstrak. dari keadaan konkret terlihat dalam ungkapan angembangangembraka kemudian dipersepsi menjadi katagori abstrak yakni dalam ungkapan budaya. kata angembang angrembaka diterapkan untuk kata kebudayaan dengan diartikan bisa tumbuh subur seperti halnya tanaman. ungkapan metafora pada contoh berikut ini menggambarkan suasana peperangan antara sri harjuna sasra dengan raden sumantri yang memiliki kekuatan berimbang. untuk memperjelas dapat dilihat pada kutipan sekar ageng banjaransari berikut ini. denira campuh prang sri harjunasasra lawan raden sumantri aliru prabawa tan ana kasoran terjemahan: mereka dalam perang sri harjanasasra melawan dengan raden sumantri, bertukar wibawa tak ada yang kalah pemakaian kata aliru prabawa (bertukar kewibawaan) merupakan ungkapan yang mengandung metafora dari konkret ke abstrak. kata aliru (tukar) dianggap kelompok kata benda mati dan dapat dipegang atau dilihat/dirasakan. prabawa dianggap sebagai kata konkret, dengan demikian persepsi makna aliru diterapkan untuk memaknai prabawa (kewibawaan). ungkapan metaforis pada kata tersebut adalah saling adanya tukar kekuatan sehingga di antara keduanya tidak ada yang kalah dan menang. kata aliru prabawa dipersepsi sebagai tukar wibawa. kata tukar dipersepsikan dalam kata prabawa seperti halnya kata-kata aliru kalpika (tukar cincin). terdapat kesan bahwa dalam ungkapan aliru prabawa bisa ditukarkan antara barang satu dengan lainnya. kata prabawa sebagai kata abstrak dipredikasikan sebagai kata konkret seperti kata kalpika. ungkapan lainnya terdapat dalam sekar tengahan yakni kata ngemban kendhine (membawa tempat air) sebagaimana tertulis dalam contoh di bawah ini. dalam kata-kata berikut terjadi perpindahan konsep. kata ngemban (membawa-menimang) biasanya digunakan bayi, tetapi di sini digunakan untuk kata kendhi, dengan demikian telah terjadi perpindahan konsep yang semula dan seharusnya kata ngemban digunakan untuk menggendong bayi namun dalam hal ini diperlakukan untuk kendhi. kata kendhi merupakan sesuatu hal yang dianggap penting dalam kehidupan sebagai tempat/wadah air. telah diketahui bahwa air merupakan sumber kehidupan manusia. contoh sekar sebagaimana dimaksud adalah sekar tengahan balabak. nggendhong cething manggul sumbul sarwi ngemban kendhine gya umangkat semparet agegancangan lampahe (wulangreh : 34) terjemahan: menggendong ceting memanggul (sumbul) serta membawa kendi segera berangkat secepat langkahnya metafora sinestetik dasar penciptaan metafora ini adalah pengalihan tanggapan yang didasarkan pada pengalaman pengertian yang satu ke pengertian yang lain. di samping itu perpindahan terjadi dari bunyi ke pandangan atau pengelihatan dan rabaan atau sentuhan. cakepan tembang sekar ageng bangsapatra berikut ini terdapat empat metafora sinestetis. agar lebih jelas simak contoh berikut. wong kuning nemu giring dhuh jiwengsun paringa usada esemira lir gebyaring thathit terjemahan: orang kuning langsat, aduh belahan jiwaku berikanlah pengobatan senyummu bagaikan halilintar yang bersinar ungkapan di atas terjadi pengalihan tanggapan dari referen-1 yang berdasar pada pengertian tanaman atau biji temu giring (nama biji sebangsa kunyit) yang berwarna kuning keemasan terhadap referen-2 yaitu manusia. tidak semua orang mempunyai jenis warna kulit yang kuning. sementara ada pula orang yang memiliki kulit warna kuning bersih keemasan bagaikan biji temu giring. ungkapan metaforis makna yang ditimbulkan adalah sosok seseorang yang berkulit halus, kuning, memancarkan sinar yang menjadikannya dicintai dan dikagumi oleh orang lain. metafora sinestetik lainnya terdapat pada sekar macapat megatruh sebagai berikut. jayengsari angandika manis arum inggih paman tembe manis wus kerit marang ki buyut lajeng tumameng ing panti nyai buyut gupoh-gupoh (centhini iii:43) terjemahan: jayengsari berkata manis harum ya paman di kemudian hari menemui kemudahan semuanya pergi ke ki buyut lalu tiba di panti nyai buyut segera bergegas kalimat metafora dalam cakepan tembang di atas telah terjadi peralihan konsep rasa manis-bau harum diterapkan pada bicara seseorang. kata manis dan harum selalu berkaitan dengan cita rasa makanan atau minuman yang bisa ditelan. sedangkan bau harum banyak berhubungan dengan aroma yang dihirup. kata manis dan harum lalu diambil alih untuk menyatakan suatu pembicaraan atau perkataan seseorang dalam hal ini jayengsari. dalam jayengsari angandika manis arum terdapat makna metaforis bahwa angandika (perkataan) jayengsari terasa manis dan harum. makna yang lainnya secara metaforis adalah pembicaraan yang selalu mempesona, sopan, dan sangat mengesankan bagi setiap yang mendengarkan. ungkapan metafora sinestetik juga terdapat dalam cakepan sekar macapat mijil sebagai berikut. ri jumungah apan den sajeni kembang miwah konyoh kinutugan kalawan patanen pinasangan kajang sirah adi pasren denarani tinutup kalambu (centhini iii:71). terjemahan: pada hari jumat diberi sesaji bunga dengan perelengkapannya membakar kemenyan dalam kamar dipasangnya kayu kepala (bantal) yang baik pasren disebutnya tertutup tirai pemakaian kata pinasangan kajang sirah adi sebagai ungkapan yang mengandung metafora dari konkret ke abstrak. kata pinasangan kajang (dipasangkan kayu) lalu dihubungkan dengan sirah adi (di atas kepala) maknanya menjadi abstrak. ungkapan metafora ini telah terjadi peralihan dari makna konkret ke abstrak. dalam pinasangan kajang sirah adi berarti dipasangkan kayu di atas kepala, artinya yaitu diberi pembatas kayu, maksudnya bantal. benda tersebut diatur sedemikian rupa diletakkan pada semacam ruang khusus untuk tempat sesajian itu berada. melihat terjemahan keseluruhan dari larik sekar macapat ini mendapatkan gambaran pada setiap hari jumat ada ruang khusus yang selalu diberi sesaji berupa bunga-bungaan dan membakar kemenyan di dalam ruang yang berisi persediaan padi, yang diberikan di dalam ruang khusus dengan pembatas kayu. hal ini bisanya disebut dengan pasren (pa + asri + an), tempat mbok dewi sri berada yang biasanya ditutup dengan kain kelambu. pada contoh lain yakni penggalan cakepan tembang dolanan ilir-ilir berikut ini terdapat metafora sinestetis. tak ijo royo-royo tak sengguh temanten anyar bocah angon-bocah angon penekna blimbing kuwi lunyu-lunyu peneken kanggo masuh dododira terjemahan: kehijau-hijauan saya kira pengantin baru anak penggembala panjatlah belimbing itu walau licin panjatlah untuk membasuh kainku ungkapan metafora sinestetik pada cakepan tembang tersebut yaitu peralihan tanggapan dari referen-1, tak ijo royo-royo (kehijau-hijauan), sebagai kelompok warna yang dapat dilihat, ke referen-2 yakni segala sesuatu yang menimbulkan pandangan pada sepasang pengantin baru. kata pengantin anyar (pengantin baru) selalu diidentifikasikan dengan segala sesuatu yang berhubungan dengan bermekarnya tumbuh-tumbuhan seperti bunga, padi, rumput yang mulai bersemi. pemakaian daun kelapa yang masih muda (janur) sebagai lambang kedamaian, dipersepsi juga terhadap keberadaan pengantin yang dianggap masih serba baru yang penuh kedamaian. peralihan yang dimaksud dalam cakepan tembang terletak dalam penyebutan warna hijau yang dianggap sebagai pengantin baru. di samping itu ada pula yang memaknai sebagai perjuangan dalam menempuh ilmu yakni dalam larik lunyu-lunyu peneken ‘walau licin panjatlah’. simpulan . metafora anotropomorfik banyak berbicara tentang kehidupan manusia. sebagian besar menunjuk pada objek benda mati dengan jalan memindahkan dari tubuh manusia dan bagian-bagiannya. metafora animal yaitu perbandingan atas dunia binatang dengan sifat manusia yang menyerupai. metafora sinestetik dasar penciptaannya adalah pengalihan tanggapan. metafora dari keadaan konkret ke abstrak atau sebaliknya yaitu menerjemahkan pengalaman abstrak ke dalam pengertian konkret atau sebaliknya. bermacam jenis metafora sebagaimana disebut banyak ditemukan dalam cakepan tembang-tembang jawa baik tembang gedhe, tengahan, macapat maupun tembang dolanan. daftar pustaka aminuddin. 1988. semantik: pengantar studi tentang makna. bandung: sinar baru. budiono, heru satoto. 1991. simbolisme dalam budaya jawa. yogyakarta : hanindita. hadiwidjaja, tardjan. 1976. serat centhini. yogayakarta: up indonesia. henri guntur, tarigan. 1987. pengajaran pragmatik. bandung: angkasa jabrohim (ed). 2001. metode penelitian sastra. yogyakarta: pt hanindita graha indira keraf, gorys. 1995. diksi dan gaya bahasa. ende flores: nusa indah. lyons, john. 1995. linguistics semantics: an introduction. oxford: cambridge university press. ortony, andrew. 1980. metaphor and thought. london: cambridge university press. pakubuwono xii, sisks. 2001. “implementasi budaya jawa dalam menjaga keutuhan dan persatuan bangsa” dalam seminar nasional bertemakan konsep budaya jawa mengembangkan kecerdasan emosional dalam membangun jiwa nasional. surakarta, 21 agustus 2001. rahmad rien t. segers. 2000. evaluasi teks sastra yogyakarta: adi cita. paku buwono iv. tth. wulangreh. sukoharjo: cendrawasih soetomo, we. .2002. sri mangkunegara iv sebagai penguasa dan pujangga 18931881. semarang: aneka ilmu. sugiarto, a. 1995. kumpulan gendhing nartosabdo. semarang pkjt. suria sumantri, jujun. 1999. filsafat ilmu. jakarta: erlangga. ullmann, stephen. 1972. semantics an introduction to the science of meaning. oxford: basil blackwell. widdowson, h.g. 1975. stylistics and the teaching of literature. london: longman. d:\harmonia\2002\vol. 3 no2 mei_agustus 2002.pdf ���������� ��� ���� ���� �������������������������������� �!����"�#�$��������#�!�%�&�������%���'�&��()*+,-./01+.2+,34//1546.,6/,71542,86,9:;<=48:.> 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����� �� ��� ������&�� �� ������ ������� ���������� ��������� ���� ������ ������� ������!��������� �� � ������� ������� ����������� ����������������� ��������������� ��������� �� �� ! ���������������� ��� ������ �� ������ ���� ��o �& ���p �� ��k�� ���� ��� ���� ����������� �� ������������ ���!�� ������� � �q���� ����r�� ����� ���*�������������!���������� ��������� ����� � ������������ � �� ��������������������������� !�"�#�$�%"&!'��(�)��'*�** ��+����,-./�0��1�2 �34����5�36���777��8�9( &:"*;(��< 61�0��<=��>����,-./�0��1��?�03@��a��6���������# *b(�(���� !�"�#�c"* �;&"9*�(��&�(*b��< 61�0��<=��>����,-./�0��1��?�=�=�3d0��efgf���7h���ij@-4�����4������+@=�k��.� 1�l1/�=m� 6n=-o�p-�1=4n-���/����-�=63��6�<-n ����p �1 �=i������4m�q*rst !& ��(*��u-f�vw�5-=�1>����3�.��1�����7h�����x� :* y*"��tb9'��# y"&%&b&:(����j3�=0����p3n1�z�0��1��[-@������af���7hv��ik��.� 1m�l=� �@�<=�d��3�����=�131�6�\+3�>� ���o1���3�<=�0=4���.���g361-�36]i�������4fm�̂f�l=�/���13�����lkk�4-�-���� (�!*b*9�q*�_*"̀�*y�t !& ��(*��l��4=�3���z�0��1��l 63�-��,f�̂�@3��ik��3�a=��/ �0=�k��.� 1�\l=� �@�+���64363]i����0a��%"��(b&c����+�@ ����l=n1=4�=�������e��3/-���77���ia 630�<-n����-�=63 �����5=4 �.03����<=�.. ���������4���<=��3�30�����l=�3���a 630����3���l=0-1�@i��������4m���q�yl=4����.m�?<2l��5�<�l=4����. harmonia vol ix no 1 tahun 2009.pdf aesthetic is not only presents beauty that give pleasure without any interest of the sense, but also gives an recognition for people in terms of developing social, economic, politic, and culture phenomenon. aesthetic which gives beauty has essence of recognition social and culture phenomenon changes system and culture, changes value system in society. reality life is imagination, fantasy, and absurd dreams, whereas the truth and kindness of beauty only occur in ideas which create beauty of life management and the value of culture system itself. art as a media of freedom is an effective alternative as a means of massage delivery about situation of social life that grow attempts of policies of decision maker and global capitalism who create system of culture value in society for capitalist interest. harmonia edisi khhusus.pdf seni ornamen dalam konteks budaya melayu riau purwo prihatin abstrak tulisan ini untuk mengungkapkan seni ornamen dalam konteks budaya masyarakat melayu riau. berkaitan dengan itu maka pelacakannya dilakukan dengan mengetahui bagaimana fungsi dan makna seni ornamen dengan kontekstual masyarakat melayu riau. bahwa seni ornamen melayu riau merupakan suatu hasil budaya yang diwariskan dari tradisi leluhurnya yang telah mengalami proses perjalanan yang panjang sehingga pada akhirnya membentuk identitas budaya. pengaruh luar serta kedinamikaan yang ada pada masyarakat melayu riau telah membawa seni ornamen melayu riau sebagai bagian dari historis perilaku yang pernah diwariskan oleh pendahulunya. kreativitas dalam penciptaan seni ornamen tidak terlepas dari pola perilaku masyarakat melayu riau. sebagai hasil budaya tradisi seni ornamen melayu riau menjadi identitas budaya (cultural identity) dari local genius atau kearifan lokal bagi masyarakat penciptanya. seni ornamen dalam konteks budaya melayu riau ternyata memiliki fungsi serta makna bagi masyarakat melayu riau. keanekaragaman bentuk memunculkan motif-motif seperti jenis tumbuh-tumbuhan, hewan, geometris, nama alam benda maupun gabungan motif. seni ornamen melayu riau yang merupakan pengalaman dan pelajaran yang didapat dari alam dan didukung oleh kreatifitas masyarakat sehingga melahirkan seni ornamen yang mengandung muatan estetis dan etis yang sarat akan nilai-nilai tradisi yang berlaku dalam budaya melayu riau. kata kunci : seni ornamen, budaya dan melayu riau. a. pendahuluan seni ornamen melayu riau merupakan salah satu hasil dari proses kebudayaan suku etnis yang sampai sekarang masih bertahan dan memiliki hubungan yang kuat dengan tradisi pendukungnya. seni ornamen bagi masyarakat melayu riau tidak hanya bahasa gambar saja melainkan manifestasi jiwa yang terkandung makna dan filosofis hidup yang mendalam yang mengakar pada masyarakat tersebut. perlu diketahui bahwa secara kronologis sejarah panjang dan latar budaya yang membentuk masyarakat melayu bersentuhan dengan pengaruh animisme, india, cina, arab, eropa bahkan amerika. akan tetapi kehadiran agama islam di tengah kehidupan masyarakat melayu, pada akhirnya merasuk dengan begitu dalam, baik secara kualitatif maupun kuantitatif, sehingga nilai-nilai islam mereka jadikan landasan ideal kebudayaannya ( mahdi bahar, 2004 : 27). masyarakat melayu adalah sebuah masyarakat yang kreatif, inovatif, dinamik dan menjadi bagian dari kebudayaan dunia pada umumnya. maka tak heran apabila kita dapati berbagai pengaruh budaya luar di kawasan ini. pengaruh tersebut biasanya disesuaikan dengan cita rasa budaya masyarakat dunia melayu. diantara pengaruh luar itu yang sering diadopsi oleh masyarakat rumpun melayu diantaranya budaya islam, india, cina dan barat. pada saat ini, dalam dunia melayu yang sangat dominan diadopsi oleh masyarakat melayu yaitu islam ( muhammad takari, 2006 : 196). dalam hal ini pengaruh islam dalam adat-istiadat melayu sangat menentukan, hal mana jelas terlihat dalam pilar utama adat melayu “adat basandi syarak, syarak bersandi al-quranul qarim”. kenyataan itu membuktikan bahwa adat melayu adalah budaya yang bernuansa keislaman. adat-istiadat melayu terkait erat dengan nilai dan norma ajaran agama islam (r. hamzah yunus, dkk. 1991 : 1). bukti adanya pengaruh agama budha adalah adanya penemuanpenemuan yang diketemukan oleh holle pada tahun 1873 berupa prasasti pasir panjang di tanjung balai karimun dengan aksara dewanegeri yang pendapat moh. yamin prasasti yang diketemukan tersebut memperlihatkan sifat budha mahayana yang berbunyi mahayanika cola yantrita sri gautama sri pada yang berarti penganut mahayana, bola dunia yang berseri-seri, kaki gautama yang berseriseri. bahkan agama budha tidak hanya dianut oleh kalangan istana kerajaan, tetapi juga oleh rakyat di daerah-daerah. penemuan prasasti ini telah memperkuat keyakinan bahwa agama budha memegang peranan penting di daerah ini antara abad ke-v masehi sampai dengannya kedatuan sriwijaya. bukti seni rupa adanya pengaruh agama budha yang masih ada adalah kompleks percandian muaratakus yang berukuran 74x74 meter. candi-candi ini adalah bekas kebesaran agama budha mahayana. kompleks ini terletak beberapa kilometer di sebelah selatan dan barat kampung muaratakus, kecamatan muaramahat, masuk wilayah kabupaten kampar. tiga buah diantara bangunan yang masih dijumpai sampai kini candi mahligai, candi tua dan candi bungsu. pada umumnya kompleks percandian ini menunjukan langgam yang ada persamaannya dengan candi-candi syailendra di jawa tengah, kecuali langgam candi mahligai (bambang suwondo, 1977/1978 : 68-73). bukti-bukti masyarakat melayu riau memeluk agama islam yang menjadi pandangan dalam kehidupan masyarakat adalah banyak berdiri kerajaan-kerajaan islam di wilayah riau yang diperintah oleh seorang sultan. bahwa islam masuk ke indonesia melalui pulau sumatra. pulau sumatera adalah yang pertama yang didatangi oleh agama islam. terutama raja dan orang-orang besar beserta saudagar melayulah yang terlebih dahulu memeluk agama islam oleh karena golongan inilah yang banyak bergaul dengan saudagar-saudagar gujarat dan parsi yang sambil berdagang juga menjadi mubalig islam. kebanyakan saudagarsaudagar ini kawin dengan penduduk asli dan langsung mendirikan perkampungan islam. bahwa islam masuk pertama kali di daerah riau adalah daerah kuntu yang sekarang kampar pada abad xii dan xiii yaitu pada saat memuncaknya kesultanan mesir (fatimiyah) dan masa kemunduran kerajaan sriwijaya dan aceh berdiri kerajaan islam dayah dibawah sultan johan syah, sebagai bawahan kesultanan fatimiyah. kerajaan ini mempunyai hubungan dagang yang erat dan dengan disponsori oleh kerajaan dayah itu berdirilah kerajaan islam di kampar ( tengku m. lah husni, 1972 : 43 dan lihat juga bambang 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��'��(����)(�%��*�+!�"������,--.*�/01234567013589127351:8;<4=<>358?2@0abca3abc518d<0<2251=53e8��"�!��f�� ����g���+� �!%�����+��h#�i�jk� �!"�#�l�g�f�)(�%��*�+!�"����*�,-mn*�o3=1p812q8@c<8d<0<2251=8dc5=a3abcr:�s�!�����t&g�f�+�&"�u�g�$%vg�&���j�w�fx��k�y"��)(�%��*�+!�"����*�z[%��ff���t&��\%!%����]*�,--̂*�o3=1p8q128_5=3141@8d<0<2251=:8��"�!��f�� ����g���̀��f����a&"%"�*�b���%�j#�[�h���.(�%��*�+!�"�����*�,--n*�c̀��j �&���[�"���&� ��k��j�t�"�j!�gc*���g�f�a�f���\�!f��$�!f�"��z�!�]*�d<0<2251=53p<89<=1d1>8e<f1>8_5=3141@8?g1q5:�i�jk� �!"�#�h��!��s�(����)k�!��*ijkijkl�,-mn*�?ga7@8omg1=812q8n538/ca76c@e�y���!�#�t�&"�"%"�����t&g�f�(�w%g"%!���i%&%����f�g*�,-op*�omg1=8/<2@1268/7c128q128q<52q1c12e�b���%�j#�[�h��� r� s��r��ts�u�v��wxywz{�|��}z{~����� harmonia edisi khhusus.pdf musik sebagai media terapi eko raharjo abstrak kata kunci : terapi, tunagrahita, media terapi, aktivitas d. simpulan dan saran reed,h.o. and sidnell, r.g.1978. the materials of music composition. philippines: addison wesley publising company, inc. twentieth century music. new yor: mc gra-hill book company. microsoft word harmonia vol viii no1 2007 harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 peranan komunitas mangkunagaran dalam meperkembangkan tari gaya mangkunagaran (role of mangkunagaran community to develop dance of mangkunagaran style) malarsih dosen jurusan sendratasik fbs universitas negeri semarang abstrak tari gaya mangkunagaran merupakan jenis tari klasik jawa yang masih banyak digunakan untuk berbagai kepentingan oleh masyarakat pendukungnya. komunitas mangkunagaran diprediksi mempunyai andil besar dalam menjaga keeksistensian tari gaya mangkunagaran tersebut. masalah yang diangkat dalam penelitian ini, adalah bagaimana peranan komunitas mangkunagaran dalam memperkembangkan tari gaya mangkunagaran. metode penelitian yang diterapkan adalah kualitatif deskriptif. lokasi penelitian, pura mangkunagaran. teknik pengumpulan data dilakukan dengan wawancara, observasi, dan dokumentasi. teknik analisis data yang digunakan adalah analilisis interaktif mengikuti alur analisis miles dan huberman. hasil penelitian menunjukkan, komunitas mangkunagaran berperan penting dalam usaha memperkembangkan tari gaya mangkunagaran. usaha memperkembangkan utamanya berkait dengan fungsi dan materi tari gaya mangkunagaran, yaitu tari itu sebagai sarana upacara perkawinan bagi masyarakat umum, penyambutan tamu, pariwisata, festival, dan pertukaran budaya dengan negara sahabat. perkembangan materi dilakukan dengan cara mencipta materi tarian baru namun pijakan garapannya menggunakan sebagian dari unsur tari gaya mangkunagaran. selain itu, juga melakukan pelatihan-pelatihan pada masyarakat umum. berdasar hasil penelitian, disarankan: (1) hendaknya komunitas mangkunagaran dalam memperkembangkan tari gaya mangkunagaran tetap menggunakan pijakan tari gaya mangkunagaran yang asli, (2) perlu adanya regenerasi untuk pelatih dan juga penari tari gaya mangkunaran yang loyal terhadap perkembangan tari gaya mangkunagaran. kata kunci: peranan, gaya tari, komunitas, fungsi tari, interaksi. a. pendahuluan mangkunagaran adalah sebuah pemerintahan setingkat kadipaten, akan tetapi konsep kekuasaan yang digunakan pada saat itu berorientasi pada konsep raja. untuk itu ia dalam menjalankan pemerintahannya tidak ada bedanya dengan pemerintahan yang dipegang oleh raja secara langsung. senyatanya ia oleh rakyatnya juga dianggap sebagai raja, dalam arti orang yang didewakan dengan kekuatan menghukum dan menguasai seluruh dunia (moertono dalam suharji, 2001: 45). dengan inilah pura mangkunagaran mempunyai ciri tersendiri yang sangat berbeda dengan kadipaten-kadipaten lain. dalam perkembangan lebih lanjut semenjak pemerintahan sri mangkunagara vii pura mangkunagaran juga mempunyai kesenian dengan ciri tersendiri yang berbeda dengan daerah-daerah lain, dan juga berbeda dengan keraton surakarta dan keraton yogyakarta. harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 kesenian yang dimaksud adalah seni tari, yang sampai saat sekarang orang mengenalnya dengan sebutan tari gaya mangkunagaran. wujud tarinya merupakan perpaduan antara tari gaya yogyakarta dengan tari gaya surakarta, yang memang berdasar sejarahnya tari tersebut diciptakan oleh para penari mangkunagaran yang mempelajari tari gaya yogyakarta dan tari gaya surakarta. dengan ini lah pura mangkunagaran memiliki jenis tari khusus yang dianggap sebagai milik mangkunagaran. tari ini memang oleh pihak pura mangkunagaran sendiri dan atau masyarakat umum biasa dikenal dengan sebutan tari gaya mangkunagaran. tari gaya mangkunagaran mempunyai gerak khas, yang dilihat dari jenisnya ada jenis tari putri, tari putra halus, dan tari putra gagah (suharti, 1990: 91). pembedaan ketiga jenis tari tersebut terdapat pada volume geraknya. volume gerak tari putri adalah sempit, tari putra halus adalah sedang, dan tari putra gagah adalah lebar. unsur kesamaan dari ketiga jenis tari tersebut terdapat pada sikap dan teknik geraknya. tari gaya mangkunagaran mestinya sampai saat sekarang masih dikenal oleh masyarakat pendukungnya secara umum. namun demikian karena perubahan kondisi sosial budaya dan makin banyaknya jenis kesenian yang hidup saat ini, mungkin tari gaya mangkunagaran saat sekarang hanya menonjol dikalangan pura atau komunitas mangkunagaran saja. sekalipun demikian kita masih mengerti bahwa, masyarakat pendukung masih ada yang mempelajari dan bahkan juga masih ada yang menjadikannya sebagai sarana berksenian sehari-hari, atau setidaknya digunakan sebagai sarana berkesenian pada acara-acara tertentu. ini semua tampaknya di samping karena diambil nilai estetika serta keluhungannya yang dirasa sangat bermanfaat, juga karena pura mangkunagaran beserta komunitasnya sendiri masih aktif tetap melestarikan seni tari gaya mangkunagaran ini. keaktifan pelestarian itu salah satunya dapat kita lihat dengan masih digunakannya tari gaya mangkunagaran sebagai sarana upacara-upacara ritual di pura mangkunagaran serta keperluankeperluan lain baik di dalam maupun di luar pura mangkunagaran. berkait dengan itu semua, tampaknya menjadi daya tarik tersendiri untuk kita kaji secara lebih jauh mengenai peranan komunitas mangkunagaran sendiri dalam usaha memperkembangkan tari gaya mangkunagaran ini sehingga tari gaya mangkunagaran sampai saat sekarang keberadaannya masih tetap diakui oleh masyarakat umum. masalah yang diangkat dalam penelitian ini adalah “bagaimana peranan komunitas mangkunagaran dalam memperkembangkan tari gaya mangkunagaran?” berdasar pada rumusan masalah yang dikemukakan, dapat dikemukakan tujuan dari penelitian ini, yakni untuk menggambarkan peranan komunitas mangkunagaran dalam memperkembangkan tari gaya mangkunagaran. sesuai dengan tujuan penelitian yang dikemukakan, maka penelitian ini diharapkan mempunyai kegunaan teoritis dan kegunaan praktis, yang dapat dikemukakan sebagai berikut : harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 1) kegunaan teoritis, dari hasil penelitian ini diharapkan dapat dijadikan bahan untuk dikaji lebih dalam mengenai peranan komunitas mangkunagaran dalam memperkembangkan tari gaya mangkunagaran. 2) kegunaan praktis, dari hasil penelitian ini diharapkan dapat memperoleh masukan berupa informasi khususnya mengenai peranan komunitas mangkunagaran dalam memperkembangkan tari gaya mangkunagaran, untuk kemudian dapat dimanfaatkan oleh pihak-pihak yang berkepentingan untuk keperluan berbagai hal yang berkait dengan usaha memperkembangkan kesenian daerah. peranan adalah pola kelakuan yang dikaitkan dengan status atau kedudukan. status dan peranan individu maupun kelompok senantiasa muncul dalam pelbagai bentuk perikelakuan. di dalam kehidupan sehari-hari, manusia juga mempunyai pelbagai peranan, yang tidak jarang saling bertentangan. unsur-unsur pokok dari suatu peranan adalah: (a) peranan yang diharapkan dari masyarakat, (b) peranan sebagaimana dianggap oleh masing-masing individu, dan (c) peranan yang dijalankan di dalam kenyataan (soekanto, 1993: 54-55). peranan merupakan aspek dinamis kedudukan. payung bangun (dalam taneko, 1994: 136) mengemukakan, kedudukan dalam pelapisan sosial mempunyai pengaruh dalam perikehidupan para anggota masyarakat. pengaruh tersebut setidak-tidaknya terlihat dalam tingkah laku, sosialisasi, partisipasi dalam kehidupan kemasyarakatan dan gaya hidup. menurut soekanto ( 1990: 268) apabila seseorang melaksanakan hak dan kewajibannya sesuai dengan kedudukannya maka dia menjalankan suatu peranan. keduanya tak dapat dipisahpisahkan, karena yang satu tergantung dengan yang lain dan sebaliknya. tak ada peranan tanpa kedudukan atau kedudukan tanpa peranan. sebagaimana halnya dengan kedudukan, peranan juga mempunyai dua arti. setiap orang mempunyai macam-macam peranan yang berasal dari pola-pola pergaulan hidupnya. hal itu sekaligus berarti bahwa peranan menentukan apa yang diperbuatnya bagi masyarakat atau kelompok masyarakat atau komunitas suatu masyarakat serta kesempatankesempatan apa yang diberikan oleh masyarakat atau kelompok masyarakat atau suatu komunitas kepadanya. tidak berbeda dengan pengertian peranan yang telah diuraikan secara panjang lebar di atas, dijelaskan pula oleh garna (1996: 172) bahwa, jika berbicara mengenai peranan yang berkait dengan hubungan antar individu atau kelompok masyarakat atau masyarakat secara umum, berarti yang dimaksudkan adalah suatu peranan sosial. di sini mengandung pengertian sebagai suatu pola tingkah laku yang diharapkan, yang terkait dengan status sosial seseorang dalam suatu kelompok atau dalam suatu situasi sosial tertentu. masyarakat itu menurut garna dilihat sebagai suatu sistem interaksi sosial yang pola interaksinya harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 berdasar pada ketentuan timbal balik para pelaku sosialnya. setiap status itu memiliki hak dan kewajibannya, karena itu seseorang akan memainkan peranannya dalam melaksanakan hak dan kewajiban tersebut. dengan demikian status dan peranan adalah dua cara yang terkait erat serta saling tergantung untuk menunjukkan suatu situasi yang sama. berkait dengan pengertian peranan adalah pengertian tentang komunitas dalam hubungannya dengan peranan komunitas mangkunnagaran dalam memperkembangkan tari gaya mangkunagaran. dikemukakan oleh osborn dan neumeyer dalam taneko (1993: 59) bahwa komunitas lebih bisa dimengertiÿÿebÿÿaiÿÿuatuÿÿelompo k sosial yang dapat dinyatakan sebagai “masyarakat setempat”, suatu kelompok yang bertempat tinggal dalam suatu wilayah tertentu dengan batas-batas tertentu pula, yang kelompok itu dapat memenuhi kebutuhan hidup dan dilingkupi oleh perasaan kelompok serta interaksi yang lebih besar di antara para anggotanya. dengan demikian pemahaman terhadap komunitas mangkunagaran di sini setidaknya bisa dimengerti adanya perasaan kelompok sesama orang mangkunagaran sekalipun untuk saat sekarang bisa tinggal berjauhan dan tidak harus selingkup. lepas dengan konsep atau pengertian tentang peranan dan komunitas, perlu dipaparkan pula di sini tentang konsep tari berpijak dari difinisi dan pengertian tari yang dikemukakan oleh para ahli tari. menurut lois ellfelat (1977: 3) yang dimaksud dengan tari, adalah gerakgerak yang mengandung daya hidup, indah, dan kadang-kadang aneh. dalam banyak hal ia menggambarkan gerakan-gerakan yang direncanakan secara ritmis. soedarsono (1976 : 10) berpendapat bahwa tari adalah ekspresi jiwa manusia yang diungkapkan dengan gerak-gerak ritmis yang indah. curt sachs (1975 : 3) mengemukakan tari adalah gerak yang ritmis. berpijak dari pendapat para tokoh tari tersebut, najamuddin (1983: 13) akhirnya berpendapat bahwa, pada prinsipnya tari mempunyai elemen yang mendasar, yakni gerak, ritme, dan keindahan. dalam bahasa yang lain najamuddin mengungkapkan, tari adalah tekanan emosi dalam tubuh dan ekspresi jiwa manusia yang diproyeksikan melalui keteraturan gerak tubuh yang ritmis serta indah yang disesuaikan dengan irama iringan musik di dalam suatu ruang dan waktu tertentu. tari tidak akan dapat dipisahkan dari gerak. dikatakan demikian, karena substansi baku dari tari adalah gerak (soedarsono, 1976 : 31). gerak yang dimaksud di sini adalah gerak-gerak yang telah mendapat pengolahan secara khusus berdasarkan perasaan, fantasi, persepsi, interpretasi atau gerak-gerak yang merupakan hasil dari perpaduan pengalaman estetis dengan intelektualitasnya. dari penelaahan ini dapat dijelaskan bahwa tari adalah gerak-gerak yang telah digayakan (distilir) dan ritmis. gerak-gerak yang telah digayakan ada dua macam bentuk. pertama gerak murni, yaitu gerak dari hasil olahan gerak wantah yang dalam pengungkapannya tidak memperhitungkan pada gerak tarinya saja. kedua gerak maknawi, yaitu gerak wantah yang telah diolah harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 menjadi suatu gerak tari yang dalam pengungkapannya mengandung pengertian atau maksud, di samping keindahan gerak tarinya. selanjutnya, sasmintamardawa (1983:9) menjelaskan bahwa tari merupa-kan salah satu cabang seni yang dilukiskan dalam bentuk gerak yang berirama, serta dipancarkan menggunakan ekspresi muka yang disesuaikan dengan isi atau maksud yang diungkapkan dalam tari. jadi tari mengandung tiga unsur pokok atau aspek dasar, yaitu wiraga, wirama, dan wirasa. wiraga adalah gerak seluruh anggota badan yang serasi antara sikap gerak, perubahan gerak, dan perpindahan geraknya. wirama adalah gerak yang teratur dan selaras dengan pola iringan atau musik. wirasa adalah persesuaian antara wiraga dengan ekspresi dalam mengungkapkan isi tari yang dibawakan. dalam cakupan yang lebih luas, di dalam suatu tampilan tari, dikenal adanya gaya tari. pengertian gaya secara umum mengacu pada pengertian kesenian yang menampilkan ciri-ciri individual maupun kelompok, yang dihasilkan dalam periode tertentu dan kawasan geografis tertentu. dalam pengertian ini dapat dimengerti bahwa, gaya berarti cara-cara yang tidak sama yang membedakan dan membawa ciri antara satu dengan yang lain (murgiyanto, 1985: 23). pada umumnya kata gaya dipergunakan dalam tiga aspek, yaitu gaya perseorangan, gaya zaman, dan gaya nasional kebangsaan atau kedaerahan (sumaryo, 1978: 69). namun gaya dapat merupakan sifat tersendiri dari perwujudan seni yang terlepas dari penilaian-penilaian estetis yang dipakai untuk menghasilkan seni, dan juga terlepas dari tujuannya. apakah seni itu indah atau tidak indah bukanlah masalah. gaya dalam seni biasanya ditentukan dengan tiga macam kriteria, yaitu : 1) gaya dalam tempo, adalah sifat/ watak seni yang menunjukkan persamaan suatu waktu tertentu dalam sejarah. misalnya di indonesia ada seni waktu penjajahan belanda, jepang, dan zaman perjuangan tahun ’45; 2) gaya daerah, adalah sifat-sifat seni yang menunjukkan daerah tertentu, seperti di indonesia terdapat gamelan jawa, bali, sunda dan sebagainya; 3) gaya perseorangan (individu) adalah sifat-sifat dari seni yang menunjukkan seorang pencipta atau pelaku tertentu yang terlepas dari tanda-tanda gaya dalam tempo maupun gaya kedaerahan atau nasional (pasaribu, 1983: 2-3). dalam hubungannya dengan itu yang dimaksud dengan gaya tari di sini adalah sifat pembawaan tari, menyangkut cara-cara bergerak tertentu yang merupakan ciri pengenal dari gaya yang bersangkutan. misalnya, dapat dibedakan gaya yogyakarta dan gaya surakarta karena ada sejumlah gerak khas terdapat dalam tari yogyakarta yang tidak terdapat dalam tari surakarta, dan demikian pula sebaliknya (sedyawati, 1981: 4). dengan demikian pula pengertian tari gaya mangkunagaran di sini bisa dimengerti sebagai adanya ciri yang khas yang ada dan melekat pada tari gaya mangkunagaran dan tidak dimiliki sama persis oleh gaya tari di luar gaya mangkunagaran. b. metode harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 penelitian ini menggunakan metode kualitatif deskriptif. lokasi penelitian, sasaran kajian, teknik pengambilan data, tekik analisis data, dan keabsahan data sebagai berikut : 1. lokasi penelitian lokasi penelitian yang dipilih dalam penelitian ini adalah mangkunagaran surakarta. alasan pemilihan tempat ini karena tari gaya mangkunagaran adalah berada/ milik istana mangkunagaran yang banyak digunakan untuk kepentingan pura mangkunagaran. selain itu mangkunagaran dianggap sebagai domisili mayoritas komunitas mangkunagaran yang nota bene sebagai pendukung seni budaya mangkunagaran termasuk seni tari gaya mangkunagaran ini. 2. sasaran kajian sasaran kajian dalam penelitian ini adalah mengenai peranan komunitas mangkunagaran dalam memperkembangkan tari gaya mangkunagaran. tari gaya mangkunnagaran di sini dalam fokus pengembangan fungsi dan pengembangan materi termasuk penyebarluasan materi. 3. teknik pengumpulan data teknik pengumpulan data yang digunakan adalah wawancara, observasi, dan dokumentasi. dalam wawancara ini yang diwawancarai adalah sebagian dari para kerabat dan abdi dalem yang terlibat dalam struktur organisasi dan aktif dalam kepengurusan di pura mangkunagaran serta sebagian dari komunitas mangkunagaran yang tidak ikut terlibat secara langsung dalam struktur organisasi resmi di pura mangkunagaran. observasi dilaksanakan saat latihan dan persiapan serta pementasan tari gaya mangkunagaran berlangsung di pura mangkunagaran. selain itu observasi juga dilakukan saat para abdi dalem yang berhubungan dengan pengembangan seni tari gaya mangkunagaran melakukan kegiatan sehari-hari sesuai dengan tugasnya. dokumentasi diambil dari gambar-gambar, catatan-catatan, dan rekaman masa lalu yang berkait dengan kegiatan di pura mangkunagaran dalam hubungannya dengan pementasan tari gaya mangkunagaran di pura mangkunagaran. 4. analisis data dan keabsahan data analisis data yang diterapkan adalah analisis interaktif sebagaimana dilakukan oleh miles dan huberman dalam rohidi (1992). proses kerja analisisnya dimulai dari pengumpulan data, reduksi data, penyajian data, dan verifikasi/ penarikan kesimpulan. keabsahan data dilakukan dengan cara melakukan kroscek data dari hasil data yang dikumpulkan oleh tim, yaitu ketua dan anggota sebagai bentuk triangulasi data dan kemudian ditunjukkan kepada informan/ subjek penelitian agar dicermati kebenarannya. selain itu dilakukan pula konsultasi dengan para pakar agar kebenaran data-data tersebut dapat dipertanggungjawabkan secara akademik sampai hasil penelitiannya. semua ini ditempuh agar peneliti betul-betul menggunakan data-data yang benar, cermat terhadap setiap data yang didapat, sumber datanya jelas, dan tidak salah menginterpretasi data. harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 c. hasil dan pembahasan pada sesi bagian hasil penelitian dan pembahasan ini, antara hasil penelitian dan pembahasan tidak di pisah. di sini mengandung pengertian, pembahasan hanya akan tampak implisit dalam uraian hasil penelitian tersebut. berikut adalah hasil penelitian dan pembahasan berkait dengan masalah yang diangkat dalam penelitian ini, yakni bagaimana peranan komunitas mangkunagaran dalam mengembangkan tari gaya mangkunagaran, baik berkait dengan fungsi maupun materi. 1. pengembangan fungsi tari dalam usaha memperkembangkan fungsi tari gaya mangkunagaran agar tari gaya mangkunagaran dapat dimanfaatkan oleh masyarakat seluas-luasnya, pihak pura mangkunagaran menyerahkan sepenuhnya pada komunitas mangkunagaran sendiri utamanya melalui sub struktur pura mangkunagaran yang diserahi mengurusi bidang seni budaya. sub struktur seni budaya yang langsung mengurusi seni tari itu sendiri adalah reksa budaya. pihak reksa budaya tidak mungkin bisa bekerja sendiri tanpa melibatka pihak lain atau sub struktur yang lain dalam “pemerintahan pura mangkunagaran”. di dalam struktur reksa budaya ada sub bidang yang disebut langen praja. pada sub bidang langen praja ini lah seni tari gaya mangkunagaran ditumbuhkembangkan lebih luas. usaha langen praja memperkembangkan tari gaya mangkunagaran tersebut, beberapa di antaranya dilakukan dengan cara, yang semula tari gaya mangkunagaran hanya dipergunakan atau difungsikan untuk upacara-upacara adat di dalam pura, seperti jumenengan, suran, dan perkawinan, saat sekarang telah diperkembangkan misalnya untuk sajian wisata sekalipun sedang tidak ada upacara adat resmi di pura. selain itu saat sekarang di luar pura, tari gaya mangkunagaran jauh lebih banyak dipergunakan oleh masyarakat, seperti untuk kepentingan upacara perkawinan, tontonan atau hiburan, festival, dan juga pertukaran budaya. bergeser dan berkembangnya fungsi tari gaya mangkunagaran yang semula hanya dipergunakan untuk kepentingan upacara di pura dan sekarang telah melebar untuk berbagai kepentingan baik di dalam pura maupun di luar pura, membuktikan bahwa tari gaya mangkunagaran itu benar-benar telah mengalami perkembangan fungsi. berkembangnya fungsi ini bisa menjadi lebih luas tentunya karena tari gaya mangkunagaran oleh komunitas atau para pendukungnya bisa digunakan untuk berbagai kepentingan. dalam pemikiran lebih luas dapat dimengerti bahwa, tari gaya mangkunagaran itu sampai dimanfaatkan oleh masyarakat umum tentu tidak lepas dari peranan komunitas mangkunagaran dalam memperkembangkan seni tari gaya mangkunagaran itu setidaknya dari sisi fungsinya. buktinya dari fungsi ritual di pura bisa digunakan juga untuk fungsi ritual bagi masyarakat umum. di sini pihak pura membuka luas kepada masyarakat umum harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 tentang apa yang dimiliki oleh pura untuk dimiliki pula oleh masyarakat umum. dari segi materi tari yang disajikan, tentunya juga tidak lepas dari peranan warga komunitas mangkunagaran utamanya para penari atau pelatih tari yang berjasa sampai materi itu bisa disebarluaskan ke masyarakat umum. masih ada hubungannya dengan penggunaan tari itu sebagai upacara perkawinan baik di dalam pura maupun di luar pura sebagai sesuatu yang bersifat sakral, adalah unsur hiburan atau tontonan yang melekat pada sajian tari itu. di sini mengandung arti bahwa selain tari itu disajikan untuk kepentingan upacara yang diambil kesakralannya, juga dibalik kesakralan itu ada aspek lain yang melekat pada tari itu, yaitu keindahan untuk dinikmati oleh penikmat atau penonton. di luar pura utamanya di lingkungan masyarakat umum, kesakralan itu justru tidak terlalu penting. kepentingan masyarakat umum menggunakan tari ini justru diutamakan sebagai tontonan atau hiburan. selain tari gaya mangkunagaran difungsikan untuk berbagai kepentingan seperti untuk kepentingan upacara-upacara tertentu yang bersifat sakral, suguhan wisata, dan hiburan atau tontonan seperti yang telah dikemukakan di atas, tari gaya mangkunagaran ini juga banyak dimanfaatkan oleh komunitas mangkunagaran dan para pendukung budaya mangkunagaran untuk festival dan pertukaran budaya. ini dilakukan oleh komunitas dan para pendukung budaya mangkunagaran karena seni tari gaya mangkunagaran itu dilihatnya sebagai sesuatu seni tari yang indah dan enak dinikmati, dapat menyentuh rasa bagi para pemirsa, membangkitkan imajinasi, dan merupakan suatu ekspresi budaya masyarakat yang bernilai. 2. pengembangan dan penyebarluasan materi tari dalam hal materi tari, komunitas mangkunagaran juga banyak me-manfaatkan gaya luar mangkunagaran dikembangkan menjadi gaya mangkunagaran. sebagai misal tari golek sulung dayung, dan tari bondan gaya surakarta diubah menjadi gaya mangkunagaran. ada pula yang membuat garapan baru berbentuk wireng berjudul bisma dan srikandi. bentuk garapannya menggunakan materi campuran, yakni gaya mangkunagaran dan surakarta. ini membuktikan mangkunagaran tidak menutup diciptakannya tari baru dengan nuansa gaya mangkunagaran sebagai bentuk cerapan dari gaya lain luar mangkunagaran. usaha lain yang dilakukan oleh komunitas mangkunagaran utamanya melalui organisasi resmi langen praja adalah dengan cara membuat tulisan dalam bentuk deskripsi tari. satu-satunya bagian atau kantor yang sampai saat ini membantu menyebarluaskan tari gaya mangkunagaran dalam bentuk tulisan atau deskripsi tari adalah kantor reksa pustaka/ perpustakaan pura mangkunagaran. penyebarluasan dalam bentuk penyajian dan pelatihan atau pembelajaran materi tari juga banyak dilakukan oleh komunitas mangkunagaran. misalnya, pihak pura menyuguhkan seni tari gaya harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 mangkunagaran ini dalam suatu sajian wisata di pura mangkunagaran. berangkat dari ini akhirnya tari gaya mangkunagaran menjadi dikenal oleh pewisata atau masyarakat luas yang menyaksikan. penyebarluasan yang dilakukan oleh pihak pura dan komunitasnya tidak sebatas di dalam pura tetapi meluas dari sekup pura sampai ke banyak negara. penyebarluasan dalam bentuk penyajian kadang lebih sering dilakukan berkait dengan tari itu difungsikan untuk kepentingan upacara perkawinan dan penyambutan tamu. lain halnya jika penyebarluasan dalam bentuk penyajian ini dilakukan di luar negeri. pengalaman yang telah banyak dilakukan oleh pihak pura, penyajian di luar negeri lebih banyak sebagai bentuk pertukaran budaya. penyebarluasan dalam bentuk pelatihan juga banyak dilakukan oleh pura mangkunagaran dan komunitasnya. pelatihan, utamanya dilakukan oleh para tetindih tari dan para penari. pelatihan tari yang dilakukan oleh tetindih, ada yang bersifat perorangan, ada pula yang berbentuk kelompok. tujuan pelatihan yang bersifat perorangan biasanya digunakan untuk bekal mengajar di tempat lain. oleh karena itu, biasanya mereka minta latihan yang tidak terlalu memakan waktu atau tidak terlalu lama namun dapat menguasai materi cukup banyak. selain itu mereka juga ingin menguasai teknik belajar tari gaya mangkunagaran dengan baik dan benar, serta cukup detail. pelatihan bersifat perorangan tidak hanya datang dari masyarakat sekitar mangkunagaran tapi juga banyak yang dari mancanegara. mereka tahu dan membutuhkan tari gaya mangkunagaran itu berdasar dari interaksinya dengan orang lain, seperti melihat penyajian tari gaya mangkunagaran sampai mereka merasa perlu membutuhkan belajar tari ini secara khusus. selain itu juga informasi-informasi berkait dengan keberadaan tari gaya mangkunagaran ini, yang semuanya disadari bahwa ini mewujudkan suatu nilai budaya yang tinggi dengan bukti sedemikian banyak orang mempelajari jenis tari ini yang banyak disajikan dimana-mana. keindahan dan atau keartistikan tari gaya mangkunagaran juga menjadi daya tarik tersendiri sebagai satu jenis tari yang enak dinikmati. pelatihan tari secara kelompok juga dilatihkan oleh tetindih bersama-sama dengan para penari yang sudah mempunyai kemampuan untuk menjadi pelatih, baik di dalam pura maupun di luar pura. pelatihan ini diselenggarakan oleh pihak pura mangkunagaran tetapi ada juga yang diselenggarakan oleh pihak luar pura mangkunagaran. animo masyarakat cukup banyak yang belajar tari gaya mangkunagaran ini sekalipun dalam bentuk kelompok. khusus bagi penyelenggara, pelatihan dalam bentuk kelompok ini dimaksudkan agar masyarakat luas dapat belajar tari gaya mangkunagaran ini dengan lebih semarak serta sekali latihan dapat menangani orang banyak. penyebarluasan dalam bentuk pembelajaran tari secara formal juga dilakukan oleh para penari mangkunagaran. tentang ini misalnya materi tari gaya mangkunagaran ini dijadikan materi harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 pelajaran di sekolah seni yang khusus mempelajari seni tari seperti yang dilakukan di smki (sekarang smk) dan diberikan pula sebagai salah satu mata kuliah praktek tari di stsi surakarta. lembaga resmi seperti smki dan stsi menjadikan tari gaya mangkunagaran ini sebagai materi yang diajarkan, tentu karena tari tersebut dianggap sebagai suatu materi yang mengandung nilai artistik serta nilai budaya yang luhur serta secara teknik dilihat sebagai seni yang tinggi. d. simpulan dan saran berdasar hasil penelitian yang telah dipaparkan, dapat disimpulkan dan disarankan sebagai berikut : 1. simpulan komunitas mangkunagaran berperanan penting dalam usaha mem-perkembangkan tari gaya mangkunagaran. dalam usaha memperkembangkan fungsi, dapat dilihat misalnya di dalam pura mangkunagaran sendiri. semula di dalam pura, tari gaya mangkunagaran hanya dipergunakan untuk upacaraupacara adat seperti jumenengan, suran, dan perkawinan, sekarang pihak pura telah memperkembangkannya misalnya untuk sajian wisata sekalipun sedang tidak ada upacara-upacara tertentu. di luar pura mangkunagaran, tari gaya mangkunagaran benarbenar telah jauh dipergunakan untuk berbagai kepentingan, baik itu yang mempergunakan pihak pura sendiri atau bagian dari komunitasnya atau pun masyarakat umum di luar pura. kepentingankepentingan itu, seperti untuk upacara perkawinan, tontonan, hiburan, dan festival. dalam banyak kesempatan tari gaya mangkunagaran juga dipertunjukkan di mancanegara. ini antara lain merupakan bentuk penyebarluasan tari gaya mangkunagaran yang bisa dilakukan oleh pihak pura mangkunagaran dan komunitas mangkunagaran secara umum. mengenai materi tari, pihak pura mangkunagaran telah berusaha kuat mempertahankan melalui pelatihan-pelatihan dan sajian yang dilakukakan oleh pihak pura melalui sub struktur yang membidangi, yakni langen praja. sekalipun keasliannya dipertahankan namun juga berusaha diperkembangkan agar yang asli tetap ada namun juga muncul yang lain dalam bentuk pengembangan. 2. saran berdasarkan simpulan yang ada mengenai peranan komunitas mangkunagaran dalam memperkembangkan tari gaya mangkunagaran dapat disarankan, hendaknya komunitas mangkunagaran dalam memperkembangkan tari gaya mangkunagaran tetap menggunakan pijakan tari gaya mangkunagaran yang asli. selain itu perlu adanya regenerasi untuk pelatih dan juga penari tari gaya mangkunagaran yang loyal terhadap perkembangan tari gaya mangkunagaran. 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tari indonesia. soekanto, soejono. 1990. sosiologi suatu pengantar. jakarta: raja grafindo persada. _______. 1993. beberapa teori sosiologi tentang struktur masyarakat. jakarta: raja grafindo persada. suharji. 2001. bedhaya suryasumirat di pura mangkunegaran surakarta. sebuah tesis untuk memenuhi sebagian persyaratan guna mencapai derajat sarjana s-2 program studi pengkajian seni pertunjukan dan seni rupa jurusan ilmu-ilmu humaniora universitas gadjah mada yogyakarta. suharti, theresia. 1990. tari di mangkunegaran suatu pengaruh bentuk dan gaya dalam dimensi kultural 19161988. sebuah tesis untuk memenuhi sebagian persyaratan yntuk mencapai derajar sarjana s-2 program studi sejarah jurusan ilmuilmu humaniora universitas gadjah mada yogyakarta. sumaryo, le. 1978. komponis, pemain musik, dan publik. jakarta: dunia pustaka jaya. taneko, soleman b. 1993 struktur dan proses sosial. jakarta: raja grafindo persada. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 efektifitas penggunaan metode solfegio untuk pembelajaran keterampilan bermain musik di sekolah dasar ( the efektivity of use of solfigio method to teaching of music skill in elementary) f. totok sumaryanto staf pengajarjurusan sendratasi, fakultas bahasa dan seni, universitas negeri semarang abstrak pelaksanaan pembelajaran kerajinan tangan dan kesenian (kertangkes) sd harus diciptakan pbm secara aktif, kreatif dengan memanfaatkan sarana/sumber belajar yang ada. didukung kompetensi guru untuk menciptakan, menggunakan metode solfigio untuk pembelajaran keterampilan bermain musik. kondisi sd menunjukkan belum digunakan metode solfogio untuk meningkatkan pembelajaran keterampilan musik, termasuk di sdn sekaran 01 semarang. oleh k'arena itu perlu dilakukan penelitian tindakan kelas melalui kolaborasi dosen dengan guru sd. tujuannya adalah mendeskripsikan efektifitas penggunaan metode solfegio untuk pembelajaran bermain musik menggunakan metode solfegio diharapkan dapat meningkatkann bermain musik siswa. metode penelitian tindakan kelas menggunakan pendekatan kualitatif model siklus dengan langkah: perencanaan, tindakan, observasi dan refleksi. subjek penelitian adalah siswa kelas v sdn sekaran 01 semarang, dan waktu pelaksanaan pada semester gasal 2004/2005. pengurnpulan data dengan observasi partisipatif dan observasi penampilan bermain musik siswa. hasil penelitian menunjukkan, bahwa: (1) untuk pembelajaran keterampilan bermain musik di sd dibutuhkan metode solfigio sesuai standar kompetensi kurikulum pendidikan seni 2004: (2) penggunaan metode solfegio dapat meningkatkan keterampilan bermain musik siswa kelas v sdn sekaran 01 semarang; (3) kendala yang dihadapi dalam pbm adalah keterbatasan waktu, bahan/alat musik, kemampuan bakat musik guru dan siswa. rekomendasi dari hasil penelitian ini, adalah: model siklus melalui penggunaan metode solfegio dalam pembelajaran keterampilan musik dapat diterapkan di sd untuk siswa kelas v. kata kunci: efektivitas, solfegio, bermain musik, siswa sd. a. pendahuluan tidak dapat disangkal bahwa seni merupakan bagian yang tak terpisahkan dari kehidupan manusia. salah satu implementasi dari ketakterpisahan ini adalah berupa peran seni dalam mempengaruhi perkembangan jiwa manusia. pemanfaatan ini tentunya dalam arti positif, yaitu pengkajian seni untuk mengembangkan aspek estetis yang dimiliki manusia. usaha untuk mencapai tujuan-tujuan tersebut antara lain melakui pendidikan harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 kesenian yang diselenggarakan di sekolah. pembelajaran unsur-unsur seni dfi sekolah dewasa ini dilakukan melalui mata pelajaran kerajinan tangan dan kesenian (kertangkes). kurikulum sd 1994 salah satu isi program pengajarannya adalah mata pelajaran kertangkes, fungsinya adalah untuk menumbuhkan keterampilan dalam rangka membekali siswa berkarya serta menumbuhkan cita rasa keindahan dan kemampuan menghargai seni (depdiknas, 1994). berdasarkan gbpp dan rambu-rambu yang ada, maka dalam pelaksanaannya harusalah diciptakan kondisi pembelajaran kertangkes secara aktif, kreatif dan efektif dengan memaksimalkan pemanfaatan berbagai sarana dan prasarana yang ada. keragaman materi dan teknik pengajaran keterampilan berkesian menuntut digunakannya berbagai metode belajar kesenian (musik) yang dapat dilaksanakan untuk keberhasilan pembelajaran. hal ini berdampak pula pada corak pembelajaran keterampilan bermain musik (ansambel musik sekolah) belum memadai. berdasarkan survai awal di sd sekaran 01, dari sejumlah 40 siswa kelas v, hasil belajar keterampilan bermain musik (ansambel) menunjukkan hanya 40% siswa yang menguasai keterampilan bermain musik, sedang sisanya 60% siswa mengalami kesulitan. berdasarkan hasil penelitian tentang "metode belajar dan intensitas pemanfaatannya dalam pengajaran kesenian di sd negeri kecamatan gondokusuman jogjakarta" oleh wiyono, dkk (2000), menunjukkan bahwa: 1) beberapa metode untuk keterampilan musik telah tersedia; (2) pemanfaatan metode belajar musik yang ada hanya kadang-kadang saja dipakai oleh guru; (3) kendala pemanfaatan metode belajar metode belajar musik. demikian pula penelitian tentang: "upaya guru kelas untuk memanfaatkan berbagai metode belajar musik sebagai sumber belajar dalam pengajaran ktk di sd negeri kabupaten sleman" oleh pradopo, dkk (2001), yaitu guru kelas telah berupaya memanfaatkan metode belajar musik meskipun belum seluruhnya sesuai dengan kurikulum 1994. kendalanya disebabkan oleh berbagai faktor baik guru, siswa, biaya, waktu iklim sekolah maupun sumber belajar (metode) sebagai pendukungnya. gambaran pelaksanaan mata pelajaran ktk di sd sebagaimana uraian di atas, juga akan dialami oleh guru kelas v di sd sekaran 01 kecamatan gunungpati semarang. hal ini didukung hasil pengamatan awal dan wawancara dengan guru kelas v sd sekarang. permasalahannya adalah masih kurang penerapan metode solfegio dalam mengajarkan musik sekolah sehingga tumbuhnya cita rasa keindahan pada siswa kurang. hanya saja kondisi lapangan seperti ini belum pernah dilakukan tindakan kelas melalui penggunaan metode solfe-gio secara edukatif. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 oleh karena itu, untuk mengetahui permasalahan di atas secara tepat dan akurat diperlukan penelitian tindakan kelas (ptk) sebagai upaya perbaikan pelaksanaan pendidikan ktk di sd. mengingat keterbatasan dari segi dana, tenaga, waktu. pengalaman, maka masalah penelitian ini dibatasi dengan judul: efektifitas penggunaan metode solfegio untuk pembelajaran keterampilan bermain musik di sd sekaran 01 semarang. secara umum permasalahan dalam penelitian ini adalah sejauh manakah efektivitas penggunaan metode solfegio dalam pembelajaran ktk kelas v di sd sekaran 01 gunungpati semarang? masalah umum tersebut selanjutnya dirinci sebagai berikut: (1) hambatan apa sajakah yang menyebabkan keterampilan bermain musik siswa kelas v sd sekaran 01 kurang berhasil dengan baik?; (2) sejauh manakah metode solfegio dapat meningkatkan keterampilan bermain musik bagi siswa kelas v sd sekaran 01 semarang?; (3) sejauh manakah teknik sight reading dapat meningkatkan keterampilan bermain musik bagi siswa kelas v sd sekaran 01 semarang?; (4) sejauh manakah teknik ear training dapat meningkatkan keterampilan bermain musik bagi siswa kelas v sd sekaran 01 semarang?; (5) dapatkah metode solfegio digunakan untuk meningkatkan kualitas pembelajaran ktk siswa kelas v sd sekaran 01 semarang? belajar adalah suatu proses mental yang mengarah pada penguasaan pengetahuan, kecakapan, kebiasaan atau sikap yang diperoleh, disimpan dan dilaksanakan sehingga menimbulkan tingkah laku. dengan kata lain belajar adalah proses perubahan tingkah laku sebagai hasil dari pengalaman (winkel, 1984: 151). good & bropy (1990: 124) menyatakan bahwa belajar adalah istilah yang digunakan untuk menggambarkan proses yang diikuti oleh perubahan. hal ini merupakan proses mendapatkan perubahan yang relatif tetap dalam pengertian, sikap, pengetahuan, informasi, kemampuan dan kete-rampilan. selanjutnya dinyatakan bahwa belajar merupakan perubahan perangai atau kemampuan seseorang yang berlangsung lama dan bukan merupakan akibat dari perubahan. dari rumusan masalah yang tampak para ahli sependapat bahwa belajar ditandai adanya perubahan. namun demikian tidak semua perubahan merupakan proses belajar, karena perubahan dapat juga terjadi sebagai akibat dari proses kematangan. ciri-ciri kegiatan belajar adalah: (a) aktivitas yang menghasilkan perubahan pad indivisdu yang sedang belajar, baik aktual maupun potensi, (b) perubahan itu pada pokoknya adalah didapatkannya kemampuan baru yang berlaku dalam waktu yang relatif lama, dan (c) perubahan itu terjadi karena latihan dan usaha (suryabrata, 1983: 5). selanjutnya dinyatakan bahwa terdapat dua persoalan pokok dalam belajar: pertama, persoalan mengenai masukan, yaitu bagaimana proses belajar itu berlangsung dan harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 prinsip-prinsip apa yang mempengaruhi proses belajar. dan kedua, persoalan mengenai keluaran, yaitu mengenai hasil belajar. persoalan ini berkaitan dengan tujuan pendidikan yang selanjutnya dijabarkan dalam tujuan pengajaran. prestasi adalah bukti keberhasilan yang dicapai seseorang (winkel, 1984: 162). dua kata prestasi dan belajar dapat diartikan sebagai banyaknya tingkah laku yang dapat dicapai dari satu pengalaman yang mengacu pada penguasaan pengetahuan, kecapan dan kebiasaan. dengan demikian prestasi belajar vokal adalah hasil usaha belajar yang berujud pengetahuan, sikap, dan keterampilan yang telah dicapai dari usahanya belajar vokal selama waktu tertentu. musik adalah rangkaian bunyi ekspresif yang disusun dengan maksud membangkitkan respons manusia (delone 1975: 1). bunyi ekspresif disini mengandung makna suatu spektrum kemungkinankemungkinan yang luas dari nada, termasuk juga noise, dan kombinasinya dengan kesenyapan. pengertian lain menyatakan bahwa musik merupakan sarana yang dapat mengkomunikasikan sesuatu kepada pendengar (bray 1978: 7). menurut hoffman seperti dikutip olah hendric dan bray (1978:22) sesuatu yang dikomunikasikan melalui musik yaitu ekspresi emosi. dankworth (1978: 244) menegaskan bahwa bunyi adalah bahan dasar keberadaan musik, musik adalah pengaturan bunyi. lebih lanjut hoffer (1985: 22) menegaskan ada dua ciri utama bagi suatu bunyi dapat disebut musik, yaitu pengorganisasian bunyi dan artinya. musik adalah pengorganisasian bunyi dan memiliki arti, terjadi dalam rentang waktu tertentu dan biasanya mempunyai pitch. hal pokok yang harus diperhatikan adalah bahwa aktivitas musikal melibatkan aspek pendengaran (auditif) sebagai dasarnya. jamalus (1988: 44) mengemukakan bahwa semua bentuk kegiatan musik memerlukan kemampuan mendengar, oleh karena itu kegiatan musik didasarkan pada dua kemampuan penting, yaitu penguasaan unsur-unsur musik dan faktorfaktor yang berhubungan dengan pendengaran. berdasarkan beberapa pengertian tersebut dapat ditegaskan bahwa musik mempunyai ciri-ciri (1) adanya unsur bunyi, (2) adanya pengorganisasian bunyi, (3) adanya makna musikal. solfegio adalah istilah yang mengacu pada menyanyikan tangga nada, interval dan latihan-latihan melodi dengan sillaby zolmization, yaitu menyanyikan nada musik dengan menggunakan suku kata (stanly, 1980: 454). dalam perkembangan selanjutnya solfegio tidak hanya menyanyikan saja tetapi juga mendengar nada. kemampuan mendengar not desebut dengan istilah ear training dan kemampuan membaca nada disebut sight reading. ear training adalah latihan kemampuan pendengaran atau ketajaman pendengaran misuk, baik ketepatan ritmik maupun ketepatan nadanya. kemampuan ini merupaharmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 kan gabungan dari dua faktor, yaitu faktor kebiasaan dan faktor pembawaan (benward 1989: 9). faktor kebiasaan dapat dikembangkan melalui latihan teratur disamping faktor lain yang tidak dapat dipisahkan darinya yaitu faktor pembawaan atau musikalitas. musik adalah karya seni yang terbentuk dari gabungan unsurunsur yang terdiri dari irama, melodi, harmoni, bentuk atau struktur lagu dan ekspresi. dari ke lenam unsur yang paling penting adalah irama/ritme, melodi dan harmoni. irama adalah panjang pendeknya nada, sedang melodi adalah nada-nada yang bergerak baik turun maupun naik. akibat dari gerakan nada-nada tersebut menimbulkan selang nada yang disebut dengan interval nada, yaitu pembedaan ketinggian antara dua buah nada. proses mempelajari sebuah lagu untuk dapat dinyanyikan/ dimainkan, perlu ditanamkan pengertian tentang rasa irama/ritme. hal ini amat penting agar seseorang dengan tepat menyanyikan/memainkan suatu karya musik dalam irama yang sesuai. selain itu perlu juga ditanamkan pengertian tentang bayangan nada, interval dan melodi, terasa sulit bagi seseorang untuk menyanyikan/memainkan karya musik. musik adalah bahasa emosi yang bersifat universal. melalui pendengaran musik dapat dimengerti dan dirasakan makna dan kesan yang terkandung di dalamnya. manusia normal sejak lahir sudah dibebani dengan kemampuan reaksi terhadap bunyi atau musik, sehingga tanpa kegiatan mendengar, manusia-manusia tidak dapat memberikan reaksi terhadap rangsangan yang berbentuk bunyi qamalus, 1981: 49). selanjutnya dikemukakan pula bahwa mempelajari teori musik, harus diberikan melalui bunyinya, sehingga siswa dapat mendengar dan menghayati apa yang disebut dengan tangga nada, in teval, melodi dan kord. selain bunyi, kegiatan mendengar merupakan hal yang sangat penting dalam belajar musik, karena kegiatan mendengar dapat dilihat sebagai kegiatan yang harus dilaksanakan dengan baik. larihan pendengaran musik biasanya dilakukan dalam bentuk dikte yang berupa nada yang dinyanyikan dan kemudian ditulis atau ditirukan. pelajaran dikte harus didahului dengan latihan pendengaran dan latihan daya ingat. dikte tersebut berupa melodi, akord, dan ritme. latihan dikte diperlukan konsentrasikan yang sungguh-sungguh agar kesan musiknya dapat dimengerti. mempelajari lagu melalui mendengar secara berulangulang dapat dijadikan dasar menuju tahap pelajaran membaca notasi musik. menurut latifah kodiyat (1983: 68) ear training adalah latihan pendengaran secara sistematis, latihan vokal tanpa perkataan dan hanya dengan suku kata terbuka. pendengaran tersebut dapat dilatih dengan cara menselaraskan dengan not-not yang dihadapi. semakin banyak siswa berlatih akan semakin tinggi pula kemampuan siswa dalam harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 membayangkan nada, tepat atau tidaknya lompatan nada dan interval. florentinus (1997: 62) membagi lebih lanjut kemampuan mendengar not (ear training) ke dalam tiga indikator kemampuan, yaitu: (1) kemampuan mendengar ritme/ irama, (2) kemampuan mendengar melodi/rangkaian nada dan (3) kemampuan mendengar akord/ keselarasan gabungan nada. sight reading adalah membaca not tanpa tanpa persiapan (last 1980: 135). selanjutnya dinyatakan bahwa sight reading adalah kesanggupan sekaligus untuk membaca dan memainkan notasi musik yang belum pernah dikenal sebelumnya. hal ini sering disebut dengan istilah prima vista. michael kennedy (1985: 667) mendefinisikan sight reading sebagai berikut: the reading of music at first sight in order to performance it. selain berfungsi untuk meningkatkan kemampuan membaca dan menambah pengetahuan tentang bahasa musik, sight reading juga berfungsi untuk menemukan hal-hal baru dalam musik dan memberikan kenikmatan dalam bermusik bagi pemain atau penyanyi musik hingga pada tingkat keterampilan (kemahiran) yang tinggi. untuk dapat menguasai sight reading dibutuhkan banyak latihan yang teratur. namun demikian bukan banyaknya latihan yang penting melainkan latihan-latihan (meskipun sedikit) yang dilakukan tiap hari secara teratur dan terus menerus akan lebih dirasakan manfaatnya (last 1980: 136). apabila seseorang sejak awal belajar musik dilatih membeca not secara sight reading, maka tidak akan diragukan lagi siswa akan menjadi sight reader yang baik. melalui sight reading diharapkan siswa dapat membaca notasi musik dengan cepat dan tepat. dalam hal ini, aspek kognitif memegang peranan penting. florentinus (1997: 60) membagi lebih lanjut kemampuan membaca not (sight reading) ke dalam tiga indikator kemampuan, yaitu: (1) kemampuan membaca ritme/irama, (2) kemampuan membaca melodi/ rangkaian nada, dan (3) kemampuan membaca akord/ keselarasan gabungan nada. berdasarkan penjelasan di atas, yang dimaksud dengan kemampuan membaca not (sight reading) adalah tingkat kelancaran atau kesanggupan sekaligus untuk membaca dan memainkan/ menyanyikan unsur-unsur musikal tanpa persiapan sebelumnya. unsur musikal tersebut (sebagai indikator adalah (1) kemampuan membaca ritme/ irama, (2) kemampuan membaca melodi/rangkaian nada, dan (3) kemampuan membaca akord/keselarasan gabungan nada. hipotesis tindakan dalam penelitian ini adalah: (1) penggunaan metode solfegio dapat meningkatkan efektifitas pembelajaran keterampilan bermain musik siswa kelas v sd sekaran 01 semarang; (2) penggunaan teknik ear training dapat meningkatkan efektifitas pembelajaran keterampilan bermain musik siswa kelas v sd sekaran 01 semarang; (3) penggunaan teknik harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 sight reading dapat meningkatkan pembelajaran keterampilan kualitas pembelajaran ktk siswa kelas v sd sekaran 01 semarang. hasil penelitian diharapkan dapat memberi kontribusi dalam rangka: (1) bagi guru kelas menfaatnya untuk mengembangkan kemampuan merencanakan dan menggunakan sumber belajar/metode ktk kreatif dan fungsional; (2) bagi kepala sekolah manfaatnya sebagai masukan dalam rangka mengefektifkan pembinaan dan pengelolaan penmanfaatan metode mengajar dalam pelaksanaan pendidikan sd; (3) bagi pembina mata kuliah pendidikan seni menfaatnya untuk meningkatkan pengetahuan dan penguasaan keterampilan pembelajaran ktk di sd melalui ptk, sehingga akan tercipta kemitraan para dosen sendratasik dengan guru sd guna memecahkan masalah pembelajaran ktk bernuansa ke-sd-an. b. metode penelitian model dalam penelitian tindakan kelas dipilih model spiral: kemmis dan taggart (1988) dengan langkah-langkah sebagai berikut: (1) perencanaan/persiapan, meliputi permintaan izin, observasi dan wawancara untuk mendapatkan gambaran awal, identifikasi permasalahan dalam pelaksanaan pengajaran ktk, dan merumuskan spesifikasi metode solfegio untuk setiap pertemuan dan pokok bahasan, melatih guru kelas/musik dalam membuat dan menggunakan metode solfegio, menyusun rencana penelitian antara dosen dengan guru ktk, dan menyusun/menetapkan teknik pemantauan pada setiap tahapan penelitian dengan menggunakan alat format observasi dan tes solfegio. (2) siklus i, meliputi pembelajaran musik ansambel menggunakan teknik ear training yang diikuti aktivitas siswa secara individual maupun kelompok. melakukan observasi/pemantauan pen ktk yang dilakukan oleh guru kelas dengan dosen dan kepala sekolah, melakukan evaluasi kemampuan bermain musik, dilanjutkan analisis data berdasarkan hasil pemantauan, serta refleksi tahap pertama. (3) siklus ii, meliputi penggunaan teknik sihgt reading, melakukan hasil praktek bermain musik dan hasil pemantauan/ observasi melakukan perbaikan teknik dalam metode solfegio berdasarkan evaluasi tiap siklus, (3) variabel out put meliputi kondisi siswa berkaitan dengan peningkatan keterampilan bermain musik (ansambel) tiap siklus. pengumpulan data diperoleh melalui: (1) observasi partisipatif yang dilakukan dosen bersama guru kelas/musik selama metode solfegio digunakan sebagai cara pembelajaran keterampilan bermain musik di sd sekaran 01; (2) dokumentasi hasil belajar musik siswa setelah pembelajaran; (3) angket balikan yang diisi langsung oleh siswa berkaitan dengan hambatan keterampilan bermain musik setelah pbm ktk selesai. data yang diperoleh diolah dengan: (1) pengecekan kelangkapan data; (2) pentabulasian data; dan harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 (3) analisis data. analisis yang dipergunakan adalah teknik deskriptif dengan persentase. selanjutnya dari hasil analisis data dideskripsikan dalam tindakan: (a) efektivitas penggunaan metode solfegio untuk pembelajaran keterampilan musik: (b) hambatan dalam proses pembelajaran ktk di sd. c. hasil penelitian dan pembahasan 1. kondisi awal pembelajaran mengenai kondisi awal pembelajaran keterampilan bermain musik di sdn sekaran 01 semarang menunjukkan yaitu: (1) pembelajaran seni di sdn sekaran 01 semarang diisi dengan keterampilan bermain musik (ansambel musik); (2) pengajarnya adalah guru khusus bidang pendidikan seni musik yang mengajar dengan sistem honorer; (3) materi pelajaran yang diberikan mengacu pada standar kompetensi keterampilan bermain musik untuk kelas v sd; dan (4) faktor yang menyebabkan hambatan pembelajaran keterampilan bermain musik adalah keterbatasan bahan, peralatan, belum tersedianya media pembelajaran, model pembelajaran musik yang tepat, dan keterbatasan kemampuan terampil dan kreativitas siswa. 2. pelaksanaan tindakan kelas pada siklus i, pembelajaran materi keterampilan bermain musik dengan metode solfegio (sight reading) dengan menggunakan model notasi angka dan notasi balok. hasil monitoring selama tindakan berlangsung adalah dapat meningkatkan kualitas proses dan hasil belajar keterampilan bermain musik. aktivitas individu siswa lebih baik dan bersemangat, meskipun tingkat kemajuannya berbeda-beda/bervariasi. dari hasil observasi penampilan bermain musik, hasilnya adalah 49% telah menguasai dengan sangat baik, 17,5 % menguasai dengan tingkat baik, 20 % menguasai pada tingkat sedang, dan 22,5% belum bisa mengusai atau pada tingkatan buruk. hambatannya adalah keterbatasan waktu dan keterampilan siswa. pada siklus ii, pembelajaran keterampilan bermain musik dengan metode solfegio (ear training) baik dengan notasi angka maupun balok. dari hasil observasi kegiatan belajar mengajar (kbm) hasilnya adalah: (1) penggunaan metode ear training dapat meningkatkan kualitas proses dan hasil pembe-ajaran keterampilan musik. siswa terampil memainkan lagu "mother how are you to day" tanpa kesulitan yang berarti meskipun sebagian masih kurang cermat dalam ketepatan membidik nada dan pernafasan yang tidak sama; (2) dari hasil observasi penampilan bermain musik, hasilnya adalah 60% telah menguasai dengan sangat baik, 28% menguasai dengan tingkat baik, 14% menguasai pada tingkat sedang, dan 8% belum bisa menguasai atau pada tingkatan buruk; (3) pembelajaran bermain musik dengan metode ear training dapat efektif meningkatkan keterampilan bermain musik siswa kelas v sd n sekaran 01 semarang dalam memainkan lagu model; (4) kendala penelitian tindakan kelas harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 ini adalah keterbatasan kemampuan keterampilan dan kreativitas guru dan siswa, waktu, lagu model, biaya dan pengalaman dalam penelitian tindakan kelas. d. rekomendasi dan saran penerapan model siklus dalam pembelajaran keterampilan bermain musik dengan metode solfegio (sight reading dan ear training) kriterianya adalah: (1) dapat diterapkan pada setiap materi praktik berolah keterampilan musik yang diajarkan di sd; (2) harus dapat meningkatkan kreativas dan keterlibatan belajar siswa dan dapat mengatasi kendala-kendala yang dihadapi dalam pembelajaran keterampilan bermain musik; (3) dapat memberikan kesempatan berekspresi, berkreasi, sesuai dengan minat musik; (3) dapat memberikan kesempatan berekspresi, berkreasi, sesuai dengan minat alat musik untuk perbaikan kualitas proses pembelajaran musik di sd khususnya kelas v; (4) metode solfegio harus berfungsi sebagai alat bantu / strategi mengajar guru dan sebagai sumber belajar siswa dalam keterampilan bermain musik. kelayakan penerapan/implementasi metode solfegio pada tiap siklus dengan alur: (1) observasi kondisi awal proses belajar mengajar keterampilan bermain musik; (2) perencanaan tindakan; (3) pelaksanaan pbm sesuai dengan rencana tindakan, dan (4) pendeskripsian kondisi akhir proses belajar mengajar keterampilan bermain musik. untuk mencapai keberhasilan pembelajaran keterampilan bermain musik di sdn sekaran 01 semarang, disarankan: (1) agar guru musik berkoordinasi dengan sekolah dan dinas pendidikan berupaya menyediakan sarana, media pembelajaran sesuai keragaman materi seni yang diajarkan di sd; (2) pembelajaran kertangkes di sd sebaiknya diajarkan oleh guru mata pelajaran atau guru kelas yang mengajar seni di semua kelas; (3) guru kertangkes harus berupaya meningkatkan kompetensinya melalui kkg, pelatihan pembelajaran seni, dan pemanfatan sumber belajar yang tersedia; (4) kolaborasi guru dan dosen lptk dapat dikembangkan secara terprogram dan melembaga terus-menerus; (5) perlu dilakukan penelitian berikutnya untuk melihat efektifitas metode lainnya dalam pembelajaran keterampilan bermain musik siswa sd kelas v. daftar pustaka ausubel, d.p., 1962, the psychology of meaningful verbal learning: an introduction to school learning, new york: grune and staton. de bono, edward, 1990, berpikir lateral, diterjemahkan oleh budi, jakarta: binarupa. gordon, e.e., 1990, a music learning theory for 'newborn and young child, chicago: gsa publishing. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 johnson, m.d., 1993, "delcroze skill for all teachers", music educator journal, london: oxford university press. kennedy, m., 1980, the concise oxford dictionary of music, london: oxford university press. munandar, s.c.u., 1983, kreativitas, jakarta: dian rakyat. pratt, w.s., 1960, new encyclopedia of music and musician, new york: macmillan company. regelski, t.a., 1981, teaching general music, new york: schirmer books. santrock, j.w., 1988, psychology: the sciene of mine and behavior, iowa: wmc brown publisher. treffinger, d.j., 1980, encauraging creative learning for the gifted and talented, califonia: ventura country superintendent of school office. wisbey, a.s., 1980, music as the source of learning, baltimore: university park press microsoft word harmonia vol x no 1 2010.docx pertunjukan tari campur bawur dalam tradisi syawalan desa lencoh sela boyolali soemaryatmi e-mail : mamik-isi@yahoo.com abstract campur bawur dance is one of the folk art that has been born, alive and developing in the society of cangkol atas and has been acclaimed to be lencoh’s. the performance of campur bawur dance is a media to express feeling and thoughts of the artist and involvement of the supportive society. the performance of campur bawur dance in lencoh is one of the completion of the syawalan tradition dan village cleaning ceremony. the dance performance is the embodiment of validation or the belief of the lencoh society in the existance of the power of the spirit of the dead. the spirits as the ancestor of the society, is considered to be able to protect and provide safety for the society. syawalan tradition is a system of belief of the upcoming hapiness after one month fully fasting. syawalan tradition is a media to strenghten the bond of friendship. campur bawur dance has simple motions and dinamic illustration. in every performance it is illustrated with the blend of javanese gamelan in slendro harmony, added by other isntruments, suc as: drum, keyboard, adn cymbal. the research on campur bawur is conducted with textual and contextual aproach. the textual research is to reveal campur bawur dance performance as a cultural product. the contextual research is conducted to reveal the background of why the campur bawur performance is held, the bevaviour pattern of the supportive society, and to analyze the cause of why the society hold such performance for the entertainment sake. the performance of campur bawur dance strengthen special characteristi of syawalan tradition. kata kunci: campur bawur, tradisi, tari rakyat pendahuluan kesenian rakyat merupakan salah satu bentuk pertunjukan yang dipentaskan secara berkelompok, berpasangan, dengan tema bervariasi seperti misalnya keprajuritan, kepahlawanan dan legenda. seperti kesenian rakyat pada umumnya, kesenian campur bawur didukung oleh kelompok masyarakat yang homogen (selaras), pencerminan sifatsifat solidaritas yang kuat di tengah masyarakat pedesaan. bentuk garapannya kelompok, pola geraknya tidak beragam, tidak halus dan tidak rumit dalam arti tidak ada aturanaturan atau pedoman pelaksanaan vokabuler secara ketat, seperti pelaksanaan sikap adeg atau tanjak, pacak gulu, ukel, penthangan asta, polatan mata dan junjungan kaki seperti dalam tari tradisi istana surakarta dan yogyakarta. penguasaan terhadap bentuk tidak melalui latihan-latihan khusus. peralatannya sederhana dan terbatas apabila diamati secara seksama ragam gerak yang digunakan dalam tari campur bawur, telah terpengaruh akulturasi sehingga menyerupai ragam gerak dalam tari gaya istana, misalnya pola kiprahan dengan ulap-ulap, pacak gulu, nyingsetke sabuk, nyirik, pincangan, tayungan, ombak banyu, sabetan dan sebagainya, namun demikian kualitas gerakanya tidak dituntut sepenuhnya dalam pelaksanaan penyajiannya. tarian kelompok dengan kesan gerak tari prenes, alus, gagah, dan gecul. kesenian rakyat dukuh cangkol atas yang berupa tari campur bawur telah menjadi milik desa lencoh, kecamatan sela, kabupaten boyolali. dalam penyajiannya menggunakan beberapa instrumen gamelan jawa jenis bonangan yang terdiri dari kendang, bonang, demung, saron, kenong, kempul dan gong, ditambah beberapa instrumen musik, seperti: drum, keybot, tamburin, dan simbal, dengan lagu-lagu sragenan, banyumasan, surakartan, dan campursari. keberadaan seni pertunjukan tari rakyat memiliki latar belakang dengan fenomena sosial budaya beragam. seni pertunjukan tari dalam konteks sebagai kelengkapan tradisi dalam kaitannya dengan ritus kepercayaan seperti nadaran, upacara inisiasi, upacara tolak bala, diselenggarakan pada tempat dan waktu yang khusus, dan berbagai sarana atau peralatan yang khusus pula. oleh karena itu setiap kali pementasan tari rakyat selalu dilengkapi dengan sesaji dengan berbagai tujuan, yang intinya adalah agar semua pelaku selamat dan orang yang mempunyai hajad dapat terkabulkan cita-citanya. kesenian rakyat di desa lencoh ada lima macam, tari campur bawur relatif paling sering digunakan untuk menyemarakkan suasana dalam upacara-upacara tertentu di masyarakat seperti bersih desa, nadaran dan syawalan. melalui kesenian rakyat, masyarakat desa lencoh dapat mengekspresikan dirinya sebagai bagian dari fungsinya dalam masyarakat. tradisi syawalan selalu diselenggarakan oleh karena mempunyai makna penting yaitu merupakan bentuk solidaritas warga untuk selalu hidup bergotong royong, saling menghormati dan menghargai, sehingga tidak ada penonjolan satu dengan yang lainnya, baik tokoh masyarakat, pegawai negeri, petani maupun buruh, semua terlibat dalam kegiatan desa. hal itu tercermin dalam bentuk kesenian rakyat tari campur bawur, meskipun terdapat tokoh-tokoh namun dalam pelaksanaan gerak tarinya sama tidak ada perbedaan ataupun penonjolan. di sisi lain meskipun kesenian rakyat campur bawur tidak mempuyai aturan-aturan yang ketat, namun didalam pertunjukannya tersirat adanya penggarapan meskipun bukan tujuan utamanya. sebelum dipentaskan para pendukung tari juga mengadakan latihan-latihan secara sederhana. sadar atau tidak, ketika pertunjukan tari, sifatnya terancang seperti halnya pertunjukan-pertunjukan seni yang lainnya. kesenian rakyat campur bawur selain sebagai wujud budaya aktivitas masyarakat yang berhubungan dengan sosial, di dalamnya juga terkandung makna simbolis yang ingin dicapai oleh masyarakat setempat. ekspresi tari campur bawur dalam tradisi syawalan yaitu upacara mewujudkan rasa syukur kepada tuhan yang maha esa serta para leluhurnya. keberadaan tari rakyat campur bawur desa lencoh, kecamatan sela kabupaten boyolali, merupakan warisan budaya yang didalamnya banyak mengandung unsur-unsur kebudayaan yang merefleksikan kepribadian masyarakat pendukungnya. dilihat dari bentuk pertunjukannya, cara pengungkapannya, pelaksanaannya dan unsur-unsur pendukung lainnya, menjadi ciri khas yang melekat dan merupakan cerminan alam pikiran maupun nilai yang berlaku di masyarakat. berdasarkan pengamatan, pertunjukan tari bampur bawur sebagai tari rakyat memiliki makna dalam kegiatan adat desa, sehingga terdapat alasan segera dilakukan penelitian. pertama bentuk pertunjukan tari rakyat bagi masyarakat desa yang mayoritas sebagai petani, adalah bentuk pertunjukan yang kehadirannya sangat diharapkan. oleh karena itu setiap pertunjukan selalu dihadiri oleh penonton baik dari desa setempat maupun dari berbagai desa tetangga. mereka datang berkelompok dari desa-desa sekitarnya yang jaraknya relatif cukup jauh. kedua, meskipun berada dalam wilayah yang sama yaitu kecamatan selo, namun masyarakat masing-masing desa berusaha untuk mewujudkan bentuk seni tari yang berbeda. ketiga kesenian campur bawur dalam pertunjukannya dikaitkan dengan upacara adat desa yang bersangkutan. permasalahannya adalah: pertama bagaimana bentuk pertunjukan tari campur bawur? kedua mengapa masyarakat desa lencoh kecamatan sela, kabupaten boyolali menyelenggarakan tradisi syawalan dengan pertunjukan tari campur bawur? penelitian perlu dilakukan agar dapat menjelaskan keberadaan tari campur bawur sebagai ekspresi seni pertunjukan rakyat desa lencoh kecamatan sela, kabupaten boyolali.adapun tujuan dan manfaat yang dapat diperoleh dalam penelitian antara lain; a). mengungkap tari campur bawur yang masih eksis dan digunakan sebagai pelengkap tradisi syawalan masyarakat di desa lencoh, kecamatan sela, kabupaten boyolali. b). untuk mengungkap faktor-faktor pendukung pertunjukan tari campur bawur. metode penelitian. penelitian pertunjukan tari campur bawur sebagai sarana tradisi syawalan di desa lencoh kecamatan selo, adalah penelitian diskriptif interpretatif. pada tahap penelitian awal yang dilakukan adalah melakukan observasi dengan maksud untuk memilih dan menentukan lokasi sebagai obyek penelitian. observasi juga untuk mengamati faktorfaktor pendukung masyarakat desa lencoh. pada waktu observasi dilakukan dokumentasi dengan audio visual. pengumpulan data tentang pertunjukan tari campur bawur sebagai sarana tradisi syawalan dilakukan melalui wawancara baik wawancara bebas maupun terprogram dengan tokoh kesenian, sesepuh dusun dan masyarakat setempat. pada waktu wawacara dilakukan pencatatan tertulis, dan pendokumentasian. dengan melalui catatan, gambar maupun audio visual agar memudahkan untuk melacak dan pendemonstrasian. data yang sudah terkumpul ditulis secara sistematis dan kemudian diklasifikasikan untuk memudahkan dalam penafsiran. tahap penelitian selanjutnya adalah mengolah data dengan analisis kualitatif. dengan pendekaan tekstual diperoleh gambaran bentuk pertunjukan campur bawur, sedangkan pendekatan konstektual diperoleh data relasi antara tari dengan tradisi syawalan, antara penari dengan masyarakat pendukung tari. adat istiadat sebagian besar masyarakat beragama islam, bermata pencaharian sebagai petani, berpendidikan menengah kebawah, cara hidupnya masih dipengaruhi oleh budaya yang hidup dimasa lalu. mereka pada umumnya masih mempertahankan adat istiadat warisan nenek moyang yang dilakukan secara turun temurun. contohnya: syawalan, ruwahan, puputan, rejeban, ruwatan, tingkeban, sedekah bumi, dan selamatan orang yang meninggal. masyarakat desa lencoh memandang alam sebagai suatu rahasia yang menyimpan misteri. oleh karena itu masyarakat mengadakan berbagai upacara serta mengadakan berbagai bentuk penghormatan pada para roh agar memelihara keselamatan dan kesuburan alam lingkungannya. untuk memperoleh sesuatu mereka berusaha memikat roh-roh dengan cara menghidangkan sesaji (wartaya, wawancara, cangkol atas, 17 agustus 2007). berbagai sesaji yang dipersembahkan kepada roh para leluhur setempat dengan maksud agar masyarakat terlindungi dari segala marabahaya. selamatan atau slametan merupakan upacara yang terpenting. pada acara upacara selalu diadakan makan bersama. adapun sesaji yang dihidangkan umumnya berupa minuman, makanan, tembakau, rokok, bunga, kemenyan serta hasil bumi. dalam tindakan-tindakan mereka selalu dibayangi rasa tergantung pada alam gaib. pikiran masyarakat tertuju pada arwah yang mereka yakini. konsep yang demikian menjadi suatu tradisi, jika tidak dilakukan maka warga masyarakat kurang tenang hatinya. pesan-pesan nasehat orang tua yang telah meninggal sangat dipegang teguh masyarakat secara turun temurun. upacara yang mendapat perhatian khusus misalnya bersih desa yang jatuh pada bulan sapar pada penanggalan jawa sehingga disebut dengan saparan. upacara bersih desa yang dilakukan penduduk desa lencoh memiliki maksud dan tujuan mendapatkan keselamatan. seperti pendapat clifford geertz (1981) menjelaskan bahwa bersih desa/dusun merupakan upacara yang berhubungan dengan tujuan untuk keselamatan dusun. oleh sebab itu upacara untuk pelaksanaannya terbatas pada suatu teritorial tertentu yaitu dusun/desa. adapun upacara bersih dusun dilengkapi dengan cara menghaturkan makanan-makanan yang dibuat oleh penduduk kepada danyang desa atau dusun. selain upacara selamatan, juga melakukan upacara berhubungan dengan hari-hari besar agama islam dan rentetan kegiatan yang menyertai antara lain dengan pesta seni. pelaksanaan yang berhubungan dengan agama islam adalah tradisi syawalan. pelaksanaan tradisi syawalan dilakukan oleh semua warga secara gotong-royong. pada tradisi syawalan selalu menampilkan tari-tarian yang mereka miliki, diantaranya adalah tari campur bawur. tari-tarian yang digarap rakyat, berkembang di pedesaan disusun untuk kepentingan rakyat setempat. masyarakat desa lencoh mementaskan taritarian lebih didasari oleh dorongan kebutuhan naluri yang menyangkut kepercayaan dan perayaan-perayaan adat. persiapan upacara pelaksanaan tradisi syawalan disesuaikan dengan hasil kesepakatan dalam musyawarah yang dipimpin oleh ketua panitia dengan seluruh warga dan dukuh yang lainnya. sebulan sebelum tradisi syawalan perangkat desa mengumpulkan warga untuk membicarakan perencanaan upacara meliputi waktu, hari, tanggal, tempat, selamatan, dan membentuk panitia pelaksana. pada tahun 2007 disepakati perayaan tradisi syawalan untuk dukuh cangkol atas mendapat bagian hari ke delapan jatuh pada hari senin paing, tanggal 22 oktober 2007. bagi masyarakat desa lencoh perayaan tradisi syawalan tidak mantap apabila tidak di ikuti dengan pementasan kesenian, oleh karena itu dalam musyawarah dengan warga juga dibicarakan tentang kesenian yang akan ditampilkan. adapun pementasan kesenian biasanya lebih dari satu repertoar. perlu diketahui bahwa setiap dukuh memiliki lebih dari satu repertoar, misalnya dukuh cangkol atas mempunyai kesenian bendrong, tablo, legong dan campur bawur. untuk keperluan acara syawalan pada tahun 2007 dukuh cangkol atas mementaskan tari campur bawur. tata cara tradisi syawalan pelaksanaan tradisi syawalan yang dilakukan satu minggu setelah hari raya idul fitri, diikuti oleh seluruh warga. perayaan diawali dengan selamatan yang dilakukan secara bersama-sama seluruh warga di rumah kepala rk plalangan dan cangkol atas dan dari masing-masing rumah warga. sesaji yang digunakan untuk selamatan selain yang dibuat oleh kepala rukun kampung juga yang dibawa oleh masing-masing warga. adapun sesaji yang digunakan terdiri dari kupat, kothok yang berisi tempe goreng dipotong kecil-kecil, tauge dan sambel kelapa. selain sesaji yang dibawa ke tempat dimana warga berkumpul, setiap warga juga menyiapkan sesaji di rumah masing-masing. acara selamatan dirumah rukun kampung dimulai pada pukul 10.00 wib, dipimpin oleh rois, yaitu orang yang bertugas atau yang telah ditunjuk untuk memimpin acara selamatan sekaligus membacakan doa-doa. setelah acara selamatan selesai, dilanjutkan pertunjukan kesenian. menurut wartoyo kadus cangkol atas, kesenian ini adalah sebagai puncak perayaan tradisi syawalan. biasanya dilaksanakan dua kali yaitu pada siang hari kurang lebih pukul 14.00 sesudah luhur sampai dengan pukul 18.00 dan malam hari yaitu kurang lebih pukul 21.00 s/d 24.00 tengah malam. semua pertunjukan untuk memberikan hiburan pada masyarakat agar para penduduk gembira setelah kerja membanting tulang di sawah. tari campur bawur, adalah sebagai hiburan untuk masyarakat, disamping untuk sarana ritual tetap dengan ketat dilakukan. hal ini terlihat sebelum pementasan kesenian, untuk pertunjukan campur bawur di dukuh cangkol atas, di dahului dengan doa disamping sesaji yang memang khusus dipersiapkan untuk kepentingan upacara tradisional. adapun doa-doanya adalah sebagai berikut: bismillahir rahmaanir rahiim ........ menyan putih, opor menyan, sandhang jati opor menyan susuhunan hyang maha suci..... asung bekti anggenipun kula caos ngurmat kayu ganda arum dinten..... konjuk dumateng pepundhen cikal bakal cangkol: yaitu mbah buyut mbentrokan pasar gedhe jogja: kanjeng gusti hamengku buwana ix pasareyan lencoh: ki iragati, nyi iragati pepundhen pasar selo: kyai fajar sidik, pojok gusti diponegoro, kyai mintogati, nyai mintogati.,nyai ajar saloka, kyai darmawan pasareyan mekorok: kyai brojolamatan, nyai brojolamatan, nyai gulugito kanjeng nabi sulaiman pasareyan bayat: ki pandhan arang, nyi sudomo, ki jingwilangan, ki dam aking pasareyan tinom: ki sunan kalijogo, nyai giribig, ki joko dholog, dan ki goraswara gunung tugel: ki singobarong dan nyi singobarong. sendhang toya: mbah gabus tempuk pundhen merapi: mbah nyai ro kidul, mbah wulanmadi, mbah ki semar, mbah ki gareng, mbah ki petruk, mbah ki bagong mbah ki sapujagad, mbah nyi sapujagad, mbah simbar jiwo, mbah singo amijoyo, sing ana selo pangarep inggil; mbah gembong sa wadya balane mugi kersoa maringi berkah pangestu, amin! (wartoyo, wawancara 25 septeber 2007, dilakukan sambil membakar kemenyan) menyimak isi doa yang dipanjatkan, menunjukan bahwa masyarakat mempercayai dan menghormati para pepundhen dan leluhur yang dianggap sebagai cikal bakal oleh masyarakat setempat, termasuk tempat-tempat yang dianggap sakral yaitu kuburan dan mata air. isi doa pada intinya mohon berkah dan keselamatan dari para leluhur. untuk kelengkapan pertunjukan tari campur bawur masyarakat menyediakan sesaji, dan sebelum pertunjukan dimulai dibacakan doa ataupun mantra yang bertujuan untuk menghadirkan kekuatan-kekuatan leluhur yang diundang dan mohon keselamatan bagi seluruh pendukung pertunjukan tari campur bawur. doa atau mantra dibacakan oleh sesepuh yang biasanya adalah pemimpin atau ketua kelompok perkumpulan kesenian. dalam pertunjukan tari campur bawur hal yang menarik sebagai klimaknya yaitu pada adegan "ndadi" atau trance. trance adalah adegan atraksi penuh dengan gerakan-gerakan akrobatik diluar logika manusia sehari-hari. trance atau kesurupan adalah situasi dimana seseorang secara sederhana kehilangan kesadaran manusianya yang tetap ada hanyalah raganya, tubuhnya, sementara rohnya, diyakini telah dirasuki mahkluk-mahkluk halus. dalam situasi kesurupan berbagai adegan yang mengerikan, menyeramkan, dan mencekam seperti menirukan gerak bintang buas, memakan sesaji yang telah di sediakan, minum air kembang setaman, makan rokok, bergulung-gulung di arena pentas serta adegan ajaib lainnya digelar dengan memukau sekaligus mencekam. para penari juga menari-nari dengan gaya peperangan dan berputar-putar mengitari arena pertunjukan. sementara pemain berhenti dan istirahat, akan tetapi ada pemain lain terus bergerak ditengah arena. mata mulai tertutup dan kalau terbuka menyala bersinar. dalam ketidak sadarannya penari meminta-minta sesuatu seperti ikan ayam utuh yang masih mentah, kaca untuk dimakan. menurut pengamatan, iringan musik turut mendorong proses trance, tempo musik kian lama makin cepat dan keras akan mempercepat ke situasi ekstasi. soedarsono (1977) menjelaskan bahwa penari yang menyajikan dalam keadaan tidak sadarkan diri pada umumnya berfungsi sebagai media untuk memanggil arwah nenek moyang yang diharapkan dapat menolong orang-orang yang masih hidup. kepercayaan masyarakat desa lencoh orang mengalami trance atau kesurupan sampai bergerak menirukan binatang, karena orang tersebut dimasuki oleh arwah leluhur yang menunggu gunung merbabu atau merapi. selain penari yang mengalami trance juga kadangkala terjadi pada para penonton yang hadir dalam pertunjukan. penari yang mengalami kesurupan biasanya mengambil salah satu makanan yang ada dalam sesaji, seperti telur mentah, pisang, ikan, minum kopi, teh, dawet dan sebagainya. maksud mengambil makanan adalah untuk menghormati kedatangan arwah leluhur yang masuk ke dalam tubuh penari tari campur bawur. untuk menyembuhkan dari keadaan kesurupan, sesepuh atau dukun dengan caranya sendiri menggunakan alat/ media tertentu dan diyakininya menjalankan perannya, mengeluarkan roh halus yang memasuki tubuh penari. unsur-unsur pertunjukan tari campur bawur unsur-unsur sajian dalam pertunjukan campur bawur dengan lakon “sayembara dewi sanggalangit” meliputi; gerak, musik tari, pola lantai, tata rias, tata busana dan property. gerak gerak yang disajikan dalam kesenian campur bawur menggunakan perbendaharaan gerak tari tradisi garapan rakyat yang dikembangkan, sesuai dengan ekspresi budaya lokal. 1).lumaksono lembehan kanan, 2).lumaksono lembehan kiri, 3).singgetan, 4).lumaksono junjungan kaki kanan, 5).lumaksono junjungan kaki kiri, 6).sabetan, 7).jalan glebagan,8).lumaksono lembehan tangan di depan dada kanan, 9).lumaksono lembehan tangan di depan dada kiri, 10).perangan tangan, 11).perangan senjata musik tari instrumen musik tari yang digunakan untuk pertunjukan tari campur bawur adalah seperangkat gamelan jawa yang berlaras slendro. musik tari dalam pertunjukan campur bawur sangat penting keberadaannya yaitu untuk memperkuat karakter tokoh dan mendukung suasana yang ditampilkan. menurut sukarto, seorang sesepuh kesenian campur bawur, sebelum pertunjukan dimulai, seluruh pemainnya tampil dan duduk berjajar diatas pentas. kemudian salah satu pemain melantunkan tembang pembuka sebagai ucapan selamat datang yang ditujukan kepada para penonton, selanjutnya seluruh pendukung melantunkan tembang bersama. adapun bentuk tembang yang dilantunkan berupa bowo sekar tepi kawuri dhawah sekar macapat kinanthi. contoh bowo sebagai pembuka dan sekar kinanthi yang dilantunkan oleh para pemain kesenian campur bawur sebagai berikut : bowo ulun caos atur, yen pinuju karso, mugi keparenga, kalinana nyekar, ananging tepi kawuri, tibeng montro slendro, wimbo sukeng driyo, kang supaya bisoa golong sadaya. rujakan kembang mlati rinonce kinarya adi, yen pinuji kang putra ja nguciwani. kembang nangka wijang wujuting prasaja, aja nguja keng putra mundhak daluya kinanthi kanti hascaryaning atur, ngaturken puji basuki, dumateng pra rawuh sami, nyuwun gunging pangaksama, sadaya lepat wak mami, mugi-mugi keparenga, sadaya den estreni. rujakan kembang puthat sedhompol megar mung papat, lamun limpat kudu ngerti ing pangembat. kembang waru sedhompol megar mung telu, yen diliri mrana mrene meh rahayu. kinanthi nadyan asor wijilipun, yen kelakuane becik, utawa sugih carita, carita kang dadi misil, iku becik raketana, daropono ndhak ing budi. setelah tembang dilantunkan, pertunjukan tari campur bawur segera dimulai. instrumen musik yang digunakan dalam pertunjukan campur bawur terdiri dari beberapa jenis ricikan gamelan jawa, yaitu: 3 buah bendhe, bernada 6, 1 dan 5, 1 buah bedhug, 1 buah dhodog, 1 buah kendang , 1 buah demung dan 1 buah gong, ditambah beberapa instrumen musik, seperti: drum, keybot, tamburin, dan simbal, dengan lagu-lagu sragenan, banyumasan, surakartan, dan campursari. tata rias dan tata busana pada pertunjukan tari campur bawur, semua penari tidak menggunakan rias wajah, namun ada beberapa penari yang menggunakan topeng. busana yang dikenakan sesuai dengan peran atau karakter tokoh masing-masing, adapun busana yang dikenakan terdiri dari : (1) tokoh bugis busana yang dikenakan meliputi celana hitam, baju hitam, kain polos, kalung kace berbentuk segi tiga panjang, sampur, iket, sabuk, epek timang, kaca mata dan sepatu olah raga. (2) tokoh anoman menggunakan celana panjang ketat putih, kaos ketat panjang putih, kain poleng hitam putih, irah-irahan gelung putih, sabuk, epek timang, kalung kace, kacamata, sampur dan sepatu olah raga. (3) tokoh buto ambal menggunakan celana merah, baju merah, topeng merah, rambut gimbalan, kain atau jarik, sabuk, epek timang, kalung kace panjang dan sepatu. (4) tokoh jetayu atau garuda menggunakan baju kembangan hitam putih, celana panjang kembangan hitam putih, irah-irahan burung, sabuk, kain, kalung kace, sampur, kaca mata dan sepatu. (5) tokoh bugis pesisir menggunakan celana hitam, baju hitam, kain polos, kalung kace bentuk segi tiga panjang , iket yang dibentuk tegak , sabuk, epek timang, sampur, kaca mata dan sepatu. (6) tokoh anggodo menggunakan celana merah panjang, kaos merah panjang, sabuk, sampur, epek timang kain poleng merah putih, kalung kace, kaca mata dan sepatu. (7) tokoh klana menggunakan kaos putih lengan pendek, celana pendek sebatas lutut, kain batik, sabuk, sampur, epek timang, probo, irah-irahan tropongan, kaca mata dan sepatu (8) tokoh rahwana menggunakan baju panjang warna merah, celana panjang merah, sabuk, sampur, epek timang, kalung kace, irah-irahan tropongan, probo atau badhong, cangkeman buto kain batik, kaca mata dan sepatu. (9) tokoh baladewa menggunakan kaos putih lengan panjang, celana pendek sebatas lutut, sabuk, sampur, epek timang, kalung kace, kain batik, irah-irahan tropongan, probo, kaca mata, dan sepatu. (10) tokoh panji menggunakan celana pendek sebatas lutut, baju panjang polos, kain batik, sabuk, sampur, epek timang, kalung kace , irah-irahan panjen, topeng panji, kaca mata dan sepatu. (11) tokoh pengapit jaran kepang menggunakan celana pendek sebatas lutut, baju polos panjang, kain batik, jamang, sumping, kalung kace, sabuk, sampur, kaca mata dan sepatu. (12) tokoh penthul dan tembem menggunakan celana pendek sebatas lutut, baju panjang motif kembangan, topeng, kain , sabuk, sampur, epek timang , kaca mata dan sepatu. (13) tokoh barongan menggunakan topeng kepala berujud barong, dan seluruh badan ditutupi kain hitam yang dibentuk hewan. property property yang digunakan dalam kesenian campur bawur adalah jaran kepang, tongkat kayu pendek berukuran 75 cm dan pedang. jumlah property jaran kepang tergantung dari jumlah penari pengapit jaran, bisa berjumlah 6 atau 8 buah. property jaran kepang terbuat dari kulit bambu. sedangkan jumlah properti pedang juga tergantung tokoh yang menggunakan yaitu tokoh baladewa, rahwana dan pengapit jaran itu sendiri. urutan sajian tari campur bawur tari campur bawur adalah bentuk tari kelompok dengan lakon “sayembara dewi sanggalangit”. dalam pertunjukannya dibagi menjadi empat bagian atau adegan. bagian pertama, para kesatria yang ingin melamar dewi sanggalangit. diawali dengan keluarnya penari dengan membentuk 2 baris ke belakang berjalan ke depan dengan menggunakan gerak lembehan kanan dan kiri bergantian dengan membentuk pola lantai lingkaran. urutan penari yang keluar dimulai dari tokoh bugis kemudian anoman, buto. jetayu atau garuda, anggodo, bugis pesisir, klana, rahwana raja, baladewa, buto gimbal, tokoh panji, pengapit jaran kepang, penthul tembem dan barongan. bagian kedua, perang tanding antara para satria. para penari membuat pola lantai lingkaran dengan menggunakan gerak lumaksono lembehan kanan singgetan kemudian lumaksono lembehan kiri di tempat. gerakan selanjutnya lumaksono junjungan kaki kanan dan kiri bergantian maju kearah depan membentuk pola lantai dengan bentuk huruf “s”, gerak yang dilakukan lembehan tangan di tempat dan sabetan. bagian ketiga, perang tanding antara singo barong dan kelana sewandana. penari melakukan jalan glebagan dengan menggunakan gerak lumaksono lembehan tangan di depan dada, urutan gerak selanjutnya berjalan biasa membuat pola lantai lingkaran. gerak yang ditampilkan meliputi gerak lumaksono angkat kaki kanan dan kiri bergantian. kemudian para penari melakukan gerak gladen perang yang dilakukan oleh tokoh baladewa dan bugis. bagian keempat, singa barong disabda menjadi jathil berubah nama singolodra. para penari membentuk pola lantai lingkaran yang besar, adegan gladen perang dimulai diawali dengan tampilnya 2 tokoh baladewa perang dengan menggunakan pedang diapit oleh 2 penari jaran. adegan terakhir perang antara 2 tokoh bugis dengan menggunakan stik atau kayu panjang berukuran kurang lebih 75 cm juga diapit oleh 2 penari jaran. dalam adegan ini kelompok penari yang lain berada di pinggir membuat lingkaran. gerak yang digunakan bebas sedangkan tokoh yang sedang gladen perang berada di tengah lingkaran. pertunjukan diakhiri dengan penari membuat 2 baris berjalan melingkar satu lingkaran kemudian keluar dari arena pentas dengan melakukan gerak lembehan tangan kanan dan kiri secara bergantian. pada bagian klimak biasanya ada beberapa penari yang mengalami trance atau kesurupan faktor-faktor yang menyebabkan tari campur bawur digunakan untuk tradisi syawalan faktor internal. tari campur bawur melibatkan banyak penari untuk memerankan tokohtokohnya, anggauta masyarakat merasa puas jika dapat berperan aktif menjadi paraganya. para penari merasa terhibur sehingga lebih menambah semangat untuk selalu berusaha mempertahankan tari ini oleh karena memuaskan banyak anggauta masyarakat. tari campur bawur selalu berubah pemeranya sehingga dapat menampung perkembangan selera anggauta masyarakatnya, dalam menari yang penting penarinya senang dan juga penontonnya puas sehingga tarian tetap menarik. penari dan pendukung tari banyak melibatkan tokoh masyarakat dan orang penting bagi masyarakat sehingga merupakan alat pergaulan yang baik. penari dilakukan tidak terbatas pada warga cangkol atas akan tetapi juga warga dukuh lain diwilayah desa lencoh , sehingga menambah semaraknya tarian. anggauta tari telah menganggap bahwa tari campur bawur sebagai identitas desa sehingga setiap syawalan selalu digunakan untuk memeriahkan sebagai hiburan dan sarana silaturahmi. faktor eksternal. masyarakat desa lencoh merasa lebih mantap jika setiap tradisi syawalan selalu dimeriahkan dengan kesenian rakyat yang diperagakan oleh masyarakat sendiri. warga masyarakat relatif puas jika dapat menyokong dana untuk beaya kesenian yang dilakukan anggautanya sendiri. pemerintah desa lencoh memberikan bantuan dan pengarahan kepada warga untuk nguri-uri kesenian rakyat dan setiap tahun selalu mengirimkan delegasi kesenian ke tingkat kecamatan untuk pentas di kecamatan selo. dinas pariwisata kecamatan selo pada bulan mei hingga nopember setiap minggu kedua dan keempat selalu mengundang berbagai kesenian rakyat untuk pentas di pendapa dinas pariwisata kecamatan selo, dinas memberikan bantuan sebagai transport dan fasilityas yang jumlahnya terbatas namun telah merangsang setiap desa untuk ambil bagian dalam menyumbang kepariwisataan daerah. banyaknya penonton dari luar daerah selalu menambah gairah bagi anggauta tari campur bawur untuk selalu berusaha memperbaikai pertunjukanya. upacara tradisi syawalan di desa lencoh telah dilaksanakan sejak dahulu hingga sekarang, dalam tradisi selalu disertai dengan pesta seni untuk menghibur dan merapatkan jalinan silaturahmi antar warga masyarakat. sukarto sebagai sesepuh kesenian desa lencoh mengatakan bahwa pelaksanaan tradisi syawalan seperti sekarang ini merupakan warisan leluhur, dan telah dilakukan oleh orang-orang tua terdahulu. hal serupa juga dinyatakan oleh hadi sutarjo sesepuh warga desa lencoh, bahwa mereka hanya sebagai penerus tradisi dari leluhurnya. penyelenggaraan upacara memiliki maksud sebagai ungkapan rasa syukur kepada sang pencipta atas berkah yang diberikan dengan melimpahnya hasil bumi. tradisi syawalan dengan pentas tari campur bawur juga merupakan ungkapan terima kasih dan mohon kepada dhanyang untuk menjaga keselamatan warga maupun membersihkan lingkungan desa lencoh secara lahir dan batin dari ganguan roh jahat. upacara tradisi syawalan merupakan suatu tingkah laku yang ditujukan untuk menghadapi kekuatan di luar kekuatan manusia. kekuatan yang dimaksud adalah tumbuh dari alam bawah sadar sebagai perwujudan dan keterbatasan manusia untuk menghadapi tantangan hidup baik yang berasal dari diri sendiri maupun alam sekitar. upacara selamatan merupakan unsur terpenting dalam sistem religi orang jawa. upacara selamatan yang terkait dengan tradisi syawalan bagi masyarakat desa lencoh merupakan salah satu tindakan manusia untuk berkomunikasi dengan sang pencipta. melalui tradisi syawalan masyarakat merasa yakin bahwa tujuan yang dicita-citakan akan terlaksana dan mereka merasa puas telah memenuhi kewajibannya. simpulan pertunjukan tari campur bawur yang digunakan sebagai pelengkap tradisi syawalan dilakukan siang dan malam hari. pada waktu siang dimulai setelah jam 14.00 siang hingga sore hari, kurang lebih sampai jam 18.00 wib. pertunjukan pada malam hari dilaksanakan mulai sekitar jam 21.00 hingga jam 24.00 wib. pertunjukan tari juga bertujuan untuk melestarikan kesenian yang ada di daerah sebagai bentuk tari tradisional rakyat. tari sejak awal pertunjukan diciptakan terutama tari campur bawur untuk menghibur dan mempererat tali silaturahmi kususnya warga masyarakat yang telah selesai melaksanakan puasa sebulan lamanya. sebagai puncak peringatan idul fitri dilaksanakan pentas seni yang telah turun menurun sehingga dikenal dengan tradisi syawalan. dipercaya masyarakat dengan tari campur bawur akan mendatangkan keselamatan dan keberuntungan. di sisi lain tari campur bawur merupakan hiburan untuk melepas lelah setelah masyarakat bekerja keras untuk mencukupi kebutuhan hidupnya di ladang. penonton yang hadir dalam acara hiburan berdatangan sejak siang, sore dan semakin malam semakin penuh sesak, mereka kebanyakan berasal dari luar daerah. bagian akhir dari keseluruhan kegiatan tradisi syawalan dengan selesainya semua rangkaian pertunjukan. semua pendukung akan merasakan kepuasan tersendiri karena mereka baik sebagai panitia, penari, pengrawit maupun dari semua anggauta masyarkat yang merasa telah terlibat dalam menyemarakan tradisi syawalan yang selalu dilaksanakan setiap tahun sekali. pelaksanaan upacara tradisi syawalan di desa lencoh adalah salah satu sarana untuk mendekatkan diri kepada tuhan yang menciptakan bumi beserta isinya juga sebagai penguat jalinan sosial. hal ini dapat dilihat sebagai tindakan simbolis, seperti adanya doa maupun sesaji yang selalu dipersiapkan oleh segenap warga masyarakat. sesaji yang meliputi sesaji selamatan dirumah rukun kampung, sesaji dirumah masingmasing warga dan sesaji untuk pesta seni. pertunjukan tari campur bawur memiliki berbagai aspek diantaranya aspek ritual, aspek hiburan, aspek sosialekonomi dan juga aspek religius dengan adanya saling kegiatan bersilaturohmi. pada saat terjadi komunikasi antar warga masyarakat selalu dipanjatkan doa yang merupakan ungkapan batin melalui kata-kata yang berisikan tentang permohonan dan ucapan syukur pada tuhan. sesaji berupa makanan maupun bahan mentah diperuntukkan para dhanyang, leluhur agar membantu menyampaikan keinginan masyarakat kepada pencipta alam. antara kepercayaan terhadap sang pencipta, dhanyang, leluhur menjadi sistem kepercayaan yang membaur menjadi satu, dipercaya dan dijadikan tuntunan hidup masyarakat. hal ini dilakukan masyarakat desa lencoh sebagai langkah untuk mencapai suatu kesejahteraan hidup serta keselamatan jiwa. daftar pustaka anton m. moeliono, dkk, (ed.) 1989 kamus besar bahasa indonesia. jakarta: departemen pendidikan dan kebudayaanbalai pustaka. ben suharto, 1999 pertunjukan dan ritus kesuburan. bandung: mspi – ari line. bintarto. 1984. interaksi desa-kota dan permasalahannya. jakarta: ghalia indionesia. budiono herusatoto, 1987simbolisme dalam budaya jawa. yogyakarta: hanindita brown. ar. radcliffe, 1980. struktur dan fungsi dalam masyarakat primitif. terj. ab rajak. kualalumpur: dewan bahasa dan kementrian pelajaran malaysia djelantik, a. a.m., dr., 1992. pengantar dasar ilmu estetika: falsafah 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1981. koreografi. jakarta: dewan kesenian jakarta. sartono kartodirdjo, 1982 pemikiran dan perkembangan historiografi indonesia: suatu alternatif. jakarta: gramedia. seyyed hossein nasr. 1993. spiritualitas dan seni islam. bandung: mizan. soedarsono, r.m. 1985. “peranan seni tradisi dalam sejarah kehidupan manusia kontinuitas dan perubahannya”. yogyakarta: universitas gajahmada, dalam pidato pengukuhan guru besar pada fakultas sastra ugm. __________. 1999. seni pertunjukan indonesia dan pariwisata. bandung: masyarakat seni pertunjukan indonesia. sumandya hadi. 2005. sosiologi tari: sebuah pengenalan awal. yogyakarta: pustaka turner, victor. 1967. the forst of simbols of ndebu ritual. itaca: cornell university press. umar kayam. 1981 seni, tradisi dan masyarakat. jakarta: sinar harapan. microsoft word harmonia vol x no 1 2010.docx identifikasi dekulturasi sebagai teori perubahan kebudayaan dalam musik indonesia : kajian proses perubahan rebana menjadi kasidah modern di kota semarang bagus susetyo tenaga pengajar sendratasik, fbs, unnes email : bagus1962@gmail.com at present, modern "kasidah" music has been known as a type of music that performs moslem culture especially of people in semarang. this type of music has become a phenomenon of musical art in the society in accordance with the development of other moslem musical arts. since there are many kinds of moslem musical performances, and that they have similarities between one another, this study is meant to find out how the form of composition and the mode of performance of the music are presented, and also to identify the form of the music as a whole. this type of music wasn't formerly so popular in semarang as it is today, but it has been developing gradually through a long process of acculturation. this music was considered to derive from moslem musical tradition called "rebana" that has been acculturated into a modem "kasidah" music in semarang. this study also highlights on how the acculturation went on, and on how the music gives benefit and function to the people. to reveal the problems mentioned above, the writer uses ethno musicological, anthropological, and historical approaches. the research method that the writer uses is qualitative-descriptive method as well as library research, observation, interview and documentation for research object. the target of the research is some musical groups of "kasidah" in semarang and one of them is chosen as the sample of the research object. from the research, the writer found that the form of the musical composition consists of rhythm, melody, harmony, interval dynamics, expression, instruments, lyrics, and music analysis. whereas, the modes of performance consist of stage production, costume, makeup, lighting, sound system, musical players, instruments, and times of performance. the benefits of the music for the society are corresponding with some aspects such as economical interest, social institution, aesthetic value, and language expression. kata kunci : dekulturasi, musik kasidah pendahuluan dalam bidang ilmu antropologi banyak teori yang membahas tentang penyebaran dan perubahan kebudayaan manusia, baik perubahan budaya di masa lalu maupun perubahan budaya di masa sekarang. perubahan kebudayaan itu terjadi hampir, pada semua aspek kehidupan manusia, seperti : aspek sosial, ekonomi, agama, hukum, adat istiadat, pendidikan, kesenian dan sebagainya. peristiwa kontak budaya, penyebaran dan perubahan kebudayaan, banyak yang dikemukakan oleh para ahli antropologi dikenal dengan istilah akulturasi, proses akulturasi terjadi apabila terdapat dua kebudayaan atau lebih yang berbeda sama sekali, berpadu sehingga proses penyebaran unsur-unsur kebudayaan asing lambat laun diolah sedemikian rupa ke dalam kebudayaan asli dengan tidak menghilangkan identitas maupun keasliannya (harsoyo, 1988 : 4). istilah akulturasi telah digunakan pada akhir abad xix, tetapi definisi yang sistematis tentang akulturasi dikemukakan baru pada tahun 1935 oleh sebuah komite dari social science research council sebagai suatu memorandum, adapun anggota komite tersebut adalah redfield, linton, dan hercovit yang berusaha menyusun suatu definisi akulturasi, bunyi definisi dari memorandum tersebut adalah bahwa akulturasi meliputi fenomena yang timbul sebagai hasil, jika kelompok kelompok. manusia yang mempunyai kebudayaan yang berbeda beda bertemu dan mengadakan kontak secara langsung dan terus menerus, yang kemudian menimbulkan perubahan dalam pola kebudayaan yang original dan salah satu kelompok atau pada kedua-duanya (harsoyo, 1988 : 163 164). dalam peristiwa kontak budaya, sering kali terjadi perubahan dan perkembangan kebudayaan pada masyarakat tertentu, yang pada prosesnya dapat menimbulkan masalah, baik yang berpengaruh secara positif maupun negatif, yang sekaligus merupakan sub bagian dari proses akulturasi, proses-proses tersebut adalah adisi, sinkretisme, subtitusi, rejeksi maupun, dekulturasi. pengertian dari akulturasi itu sendiri adalah tumbuhnya unsur-unsur kebudayaan yang baru, untuk memenuhi kebutuhan baru, yang timbul karena karena perubahan situasi (kodiran, 1998 : 90). dalam penelitian ini pendekatan antropologi yang akan digunakan adalah dekulturasi, yaitu suatu teori perubahan kebudayaan secara umum yang dipindahkan dalam konteks perubahan kebudayaan musik. kebudayaan musik di indonesia pada awal kehadirannya juga mengalami suatu kontak budaya akulturasi yang panjang terhadap kebudayaan lain, baik dari dalam maupun luar indonesia. perubahan-perubahan itu dapat terjadi pada tekstual maupun kontekstual, makna, fungsi bahkan bisa terjadi pada komposisi maupun elemen-elemen musikalnya, sehingga saat ini ada seni pertunjukan di indonesia yang telah mengalami suatu proses akulturasi yang panjang, yang sebelumnya berasal dari bentuk seni pertunjukan musik yang berbeda tetapi mempunyai elemen-elemen musikal yang sama. kasidah atau qasidah berasal dari kata qaside yang berarti sambutan atau puji-pujian dan penghormatan atau kekaguman yang mendalam pada nabi dan pengikutnya yang senantiasa menyertai perjalanannya musik kasidah yang biasanya di sertai kata "modern" menjadi kasidah modern adalah suatu fenomena yang terjadi di masyarakat sekarang, dimana suatu bentuk pertunjukan seni pertunjukan islam dengan syair-syair bertemakan islam. komposisl kasidah musik modern terdiri dari instrumen dasar yang berupan empat buah terbangan/genjiring, empat buah kempling/tambur dan tiga buah bas drum dan kemudian adanya penambahan gitar, bas elektrik, biola. syair dapat dalam bahasa indonesia, daerah maupun. arab, namun tetap bertemakan islam, tema lagu sholawatan, pop, dangdut maupun campursari. dari fenomena di atas, timbul pertanyaan, apakah musik kasidah modern hadir begitu saja sudah dalam bentuk sekarang ? apakah mendapat pengaruh dari musik barat? pengaruh dari kebudayaan arab? mengingat komposisi musik, peralatan dan syairnya yang begitu beragam. pemahaman sementara dapat diperkirakan bahwa musik kasidah modern berasal dari bentukbentuk pertunjukan musik islam yang jauh sebelumnya sudah ada seperti : kentrung, barzanji, kuntulan, opak abang, zapin, simthuduror, gambus, dengklung dan lain-lain, yang mengalami proses akulturasi yang panjang yang membentuk "rebana", kemudian rebana mengalami proses dekulturasi, yang kemudian menjadi musik, "kasidah modern", seperti yang ada sekarang. untuk itu dalam penelitian ini ditelaah, diidentifikasi dan dikaji teori dekulturasi, sebagai petunjuk adanya poses perubahan kebudayaan musik dalam musik indonesia, dan ditelusuri bagaimana proses dekulturasi tersebut terjadi pada peristiwa perubahan bentuk musik rebana menjadi musik kasidah modern di kota semarang. metode jenis penelitian ini adalah penelitian kualitatif, pada kategori penelitian dasar dengan pendekatan deskriptif. cara pengambilan datanya adalah : 1) studi pustaka, pada beberapa referensi tentang musik kasidah rebana dari aspek antropolgis, historis maupun etnomusikologis; 2) observasi, pada beberapa lokasi, obyek, dan subyek penelitian; 3) wawancara, pada beberapa tokoh musik kasidah rebana di kota semarang dan 4) dokumentasi yaitu mendokumentir beberapa obyek dan komponen bentuk pertunjukannya. analisis data yang digunakan dengan memakai teori moleong (2000 : 190) yaitu proses analisis data secara mendasar dimulai dengan menelaah data yang tersedia dari beberapa sumber dengan melalui observasi, wawancara dan dokumentasi yang kemudian di reduksi, klasifikasi, interpertasi secara sistematik dan kemudian di verifikasi atau kesimpulan. hasil penelitian dan pembahasan kajian proses dekulturasi musik kasidah modem di kota semarang dalam mengkaji proses dekulturasi musik kasidah modern di kota semarang diperlukan suatu tahapan penelusuran dari awal adanya musik islami yang hadir di indonesia, terutama yang ada di sekitar kota semarang sampai terbentuknya musik kasidah seperti yang ada saat ini. kajian proses dekulturasi ini tak ubahnya seperti merekonstruksi suatu fenomena sejarah, yaitu sejarah bagaimana terbentuknya musik kasidah modern di kota semarang. dalam metode sejarah untuk merekonstruksi suatu fenomena sejarah secara ilmiah dapat dilakukan dengan empat tahapan pokok yang merupakan suatu proses kajian sebelum suatu kebenaran sejarah atau fenomena sejarah dapat ditulis dalam bentuk tulisan atau karya sejarah. tahapan-tahapan tersebut meliputi:. (1) heuristik, yaitu mencari dan menemukan sumber-sumber sejarah, (2) kritik, menilai otentik atau tidaknya suatu sumber sejarah dan seberapa jauh kredibilitas sumber tersebut, (3) auffassung, sintesis dari fakta yang diperoleh melalui kritik sumber atau analisis sumber, (4) darstellung, yaitu penyajian dalam bentuk tertulis. tahapan diatas dapat dilakukan melalui suatu penelitian, pengamatan di lapangan, kajian pustaka, analisis data-data sumber fenomena sejarah tentang proses terbentuknya musik kasidah modern di kota semarang, melalui proses akulturasi yang panjang, dengan pendekatan multidisipliner yaitu dengan kajian etnomusikologi, metode antropologi dan metode sejarah. langkahlangkah pertama yang harus dilakukan dalam mencari. william a. haviland (1985) dalam bukunya antropologi jilid 2, bahwa akulturasi terjadi bila kelompok-kelompok individu yang memiliki kebudayan yang berbeda saling berhubungan secara langsung dengan intensif, dengan timbulnya kemudian perubahanperubahan besar pada pola kebudayaan dari salah satu atau kedua kebudayaan yang bersangkutan. diantara variabel variabel yang banyak itu termasuk tingkat perbedaan kebudayaan, keadaan, intensitas, frekuensi dan semangat persaudaraan dalam hubungannya siapa yang dominan dan siapa yang tunduk, dan apakah datangnya pengaruh itu timbal balik atau tidak. menurut kodiran, akulturasi akan terjadi apabila terdapat dua kebudayaan atau lebih yang berbeda sama sekali (asing dan asli) berpadu sehingga proses-proses ataupun penyebaran unsure unsur kebudayaan asing diolah sedemikian rupa ke dalam kebudayaan asli dengan tidak menghilangkan identitas maupun keasliannya., ini berlaku pada semua aspek kehidupan seperti: sosial, ekonomi, hukum, adat-istiadat, politik, agama, pendidikan dan termasuk kesenian. dengan demikian akulturasi juga dapat diterapkan pada perubahan budaya musik, termasuk perubahan budaya musik dalam musik indonesia yaitu musik kasidah modern di kota semarang. akibat kontak kebudayaan atau peristiwa akulturasi, sering terjadi perubahan dan perkembangan kebudayaan pada masyarakat setempat, yang prosesnya dapat menimbulkan sejumlah masalah baik yang positif maupun negatif. adapun masalah-masalah tersebut merupakan bagian dari akulturasi itu sendiri, masalah-masalah tersebut adalah adisi (addition), sinkretisme (syncretism), subtitusi (subtitution), dekulturasi (decu itu ration), rejeksi (rejection). dari beberapa akibat akulturasi tersebut yang paling sesuai dengan perubahan kebudayaan musik yaitu bagaimana berubahnya musik rebana menjadi musik kasidah modern, adalah peristiwa dekulturasi. dekulturasi adalah tumbuhnya ansur kebudayaan yang baru untuk memenuhi kebutuhan baru, yang timbul karena perubahan situasi. musik rebana adalah jenis musik yang berasal dari musik yang bercirikan islam yang ada sebelumnya, karena berakulturasi secara lokal dan budaya arab, kemudian dalam kurun waktu yang panjang musik rebana mengalami proses dekulturasi yaitu mengalami perubahan pada elemen-elemen musiknya untuk memenuhi kebutuhan penyajian yang baru karena situasi yang baru, maka terbentuklah musik kasidah modern. teori-teori antropologi diatas memang sesuai apa yang terjadi pada musik kasidah modern di kota semarang, untuk itu akan dibahas lebih lanjut pada uraian di bawah ini. proses perabahan budaya musik musik kas idah modern adalah j en is musik yang diperkirakan berasal dari bentuk musik yang ada sebelumnya yaitu musik rebana, musik rebanapun diperkirakan berasal dari bentuk-bentuk musik bercirikan islam yang ada sebelumnya, bentuk-bentuk musik tersebut adalah, (1) salawatan, yaitu bentuk puji-pujian terhadap kebesaran nabi muhammad saw pada acara-acara ritual keagamaan masyarakat semarang, salawatan ini berkembang di kota semarang dan sekitarnya, ,(2) barzanji, seni vokal bercirikan islam yang berkembang di kota semarang dan sekitarnya, (3) kentrung, yaitu musik bercirikan islam yang diperkirakan paling awal kehadirannya di pulau jawa, musik ini berkembang di kabupaten blora, pati, jepara, dan purwodadi, (4) zapin pesisiran, yaitu kesenian tari yang diiringi oleh musik terbangan, kesenian ini berkembang di demak dan semarang, (5) opak abang, yaitu kethoprak dan terbangan, berkembang di kendal, boja dan pinggiran kota semarang, (6) kuntulan, yaitu tari yang diiringi musik terbangan yang berkembang di daerah kendal, kabupaten temanggung dan pemalang, (7) simtuduror, yaitu kesenian musik salawatan dengan membaca kitab maulid yang bernama simtuduror, dengan diiringi musik terbangan, kesenian ini berkembang di pekalongan, kendal dan semarang, (8) kesenian dengklung, yaitu kesenian yang dimainkan oleh 10 12 orang dengan peralatan: jidur, terbangan, kendang, kemung dan tamborin. untuk mengiringi suatu tartan, kesenian ini berkembang di daerah batang, (9) gambus, yaitu musik bercirikan islam yang mendapat pengaruh dari arab dengan alai musik gambus, berkembang di daerah pantura pulau jawa(sinaga.2003:31). jenis jenis musik bercirikan islami ini diperkirakan kehadirannya di tanah jawa khususnya semarang bersamaan dengan kehadiran islam di jawa yang dibawa oleh para wali dan penyebar agama islam. bentuk bentuk seni pertunjukan ini masih bersifat individual, ansambel sejenis dan mempunyai struktur komposisi kecil sederhana, kemudian berkembang dalam kurun waktu yang lama cenderung untuk membentuk bentuk komposisi yang lebih kompleks dan mengalami proses akulturasi antar sesamanya. akulturasi yang bersifat lokal dan berpengaruh dari kebudayaan arab, serta proses yang panjang, maka diperkirakan terbentuklah musik rebana, terbentuknya disebabkan oleh dua hal pokok yaitu (1) karena mempunyai elemen-elemen musikal yang sama, terutama adanya instrumen terbangan, (2) mempunyai bentuk syair ke-islaman yang sama. musik rebana mempunyai bentuk penyajian dengan bentuk ansamble yang lebih besar dan mempunyai aspek menghibur yang lebih baik, tetapi elemenelemen dasar musik islamnya masih ada, diperkirakan musik rebana mulai berkembang di pantura. jawa, termasuk semarang dan sekitarnya sekitar abad xvi sampai sekarang. proses terjadinya musik reban adalah akibat karena perkembangan zaman, musik bercirikan islami yang harus merubah din karena. situasi yang baru untuk memenuhi kebutuhan yang baru, situasi yang baru tersebut tak lain adalah nilai-nilai hiburannya, selain nilai sakral ke-islamannya tak bisa dihindari adalah suatu fenomena masyarakat akan nilai-nilai hiburan yang diharapkan dari sebuah seni pertunjukan, tentu saja melalui proses akulturasi yang sangat panjang.menurut thurnwald (1932) mengatakan bahwa : "aculturation is a process, not and isolated event", sebagai implikasi dari pernyataan itu, is menekankan suatu proses yang terjadi pada tingkat individual, karenanya suatu proses adaptasi terhadap kondisi kehidupan baru itulah yang disebut akulturasi. demikian pula yang terjadi pada terbentuknya musik rebana adalah suatu proses yang panjang dengan kurun waktu yang lama (purwantoro, 2000:16). saat ini perkembangan musik sedemikian maju, musik barat tak terbendung masuk ke indonesia dengan jenis musik hiburan yang modern dengan peralatan dan bentuk penyajian yang menarik, seperti: musik pop, jazz, rock, blues, dangdut, keroncong bahkan campursari dan sebagainya, maka musik rebana dianggap sebagai musik bercirikan islam pedesaan yang ketinggalan zaman, budaya pesantren tradisional, sehingga dianggap kurang representatif, kuno dan tidak diminati kaum muda. dengan keadaan yang demikian, musik rebana mengalami perubahan diri, atau sebuah evolusi kecil dalam hal komposisinya sehingga la mengalami proses akulturasi, yaitu membuat suatu perubahan bentuk dirinya dengan membuat perubahan baru dengan mengambil hal-hal yang baru. selanjutnya musik rebana mengambil elemen-elemen musik barat, terutama peralatan, bentuk penyajian, syair dan meninggalkan sebagian elemenelemen musik rebananya, tetapi tetap mempertahankan ciri islamnya, maka terbentuklah musik kasidah modern di kota semarang. musik kasidah modern sebagai musik yang berbeda dari musik rebana, tetapi berasal dari musik rebana yang mengalami proses dekulturasi, di suatu sisi ia kehilangan nilai-nilai sakral islaminya, pada sisi lain ia mempunyai nilai hiburan yang lebih menarik dari pada musik rebananya. kehilangan nilai sakralnya karena dalam musik kasidah syair yang ia gunakan dapat dalam bahasa arab, bahasa indonesia dan bahasa daerah, sedangkan pada rebana syair yang digunakan hanya dalam. bahasa arab, selain itu bentuk penyajian, cara menyanyi, kostum, rigs, dan sebagainya lebih bernilai hiburan, walaupun tema-tema lagu tetap dalam koridor keislaman. mengenai peralatan terjadi perubahan yang besar dengan meninggalkan peralatan-peralatan yang dianggap sangat tradisional, seperti: bas rebana, kempling, yang diganti dengan bas listrik dan drum set. gagasan penulis yang memperkirakan bahwa musik kasidah modern secara umum maupun yang ada di kota semarang berasal dari musik rebana yang mengalami proses dekulturasi, dan musik rebana itu sendiri berasal dari jenis-jenis musik bercirikan islam yang ada sebelumnya, sesuai dengan yang ditulis oleh peneliti barat helene bouvier (2002), dalam disertainya yang berjudul "lebur : seni musik dan pertunjukan dalam masyarakat madura". bouvier meneliti seni pertunjukan pada masyarakat madura, salah satunya adalah seni pertunjukan yang bercirikan islam, dalam tulisannya dikatakan bahwa landasan dari semua jenis musik bercirikan islam adalah kasidah yang merupakan pujipujian kebesaran untuk allah swt dan nabi-nya dalam bahasa arab, seluruh corpus nyanyian/kesenian islam dapat ditentukan berdasarkan penggunaan qasidah: apakah qasidah ini diiringi musik apa tidak, apakah ditarikan apa tidak, serta apakah tercampur di dalam bahasa indonesia atau madura, hasilnya sebagai berikut: (1) diba', adalah doa dan ayat al quran yang dibacakan atau diucapkan secara lisan berselang-seling dengan kasidah yang dinyanyikan tanpa koreografi dan musik, (2) samman, adalah ayat al quran dan qasidah yang kadang-kadang diiringi musik dan disertai koreografi sederhana berupa lingkaran, bait-bait dalam bahasa madura, kadang-kadang di tengah terdengar bait-bait bahasa arab, (3) haddrah, ialah qasidah dengan iringan musikal dan koreografi yang besar, kadang-kadang di desa tertentu ditambahkan beberapa bait dalam bahasa madura, (4) samroh, ialah qasidah dengan iringan musikal dan lagu bertemakan moral, dalam bahasa indonesia. atau madura, tanpa koreografi, (5) gambus, ialah beberapa qasidah diiringi musik dan ditarikan dengan nyanyian cinta dalam bahasa indonesia atau. madura (bouvier. 2002: 210). penelitian bouvier (2002) yang dilakukan pada masyarakat madura tentang musik yang bercirikan islam adalah sama dengan musik-musik bercirikan islam yang ada di kota semarang dan di sekitar kota semarang, yang kesemuanya dikatakan sebagai musik kasidah sebagai lagu, baik yang ditarikan maupun yang tidak, dan saat ini bermuara sebagai komposisi musik qasidah yang di kota semarang disebut sebagai musik kasidah modern. proses akulturasi pada perubahan budaya musik dalam musik kasidah modern, terjadi pada banyak hal, baik menerima elemen-elemen musik barat maupun meninggalkan pengaruhpengaruh arab, menerima budaya lokal, maupun pengurangan nilainilai sakral islami, baik pada bentuk komposisinya maupun bentuk penyajiannya. bila meminjam konsep pemahaman dari margaret kartomi (2000), tentang pertemuan kebudayaan yang terdapat dalam artikelnya berjudul: "the process and result of musical contact : a discussion of terminology and concept", dikatakan bahwa proses-proses perubahan kebudayan dapat terjadi dalam enam bentuk, yaitu: (1) penolakan secara tugas musik (virtual rejection of an impinging music), (2) pengambil alihan ciri khusus musik ( transfer of discrate musical traits) , (3) pluralisme musik yang hidup berdampingan (pluralistic co existence of music),kebangkitan unsur musik lokal (navistic musical revival), penghapusan musik (musical abandonment), (6) pemiskinan musik (musical improvetishment) (nakagawa, 2000 : 18). demikian w*d yang terjadi pada musik kasidah modern di kota semarang dan proses perubahannya dari musik rebana, walaupun saat ini kedua-duanya tetap ada, eksis dan tetap diminati para pengemarnya. simpulan berdasarkan hasil penelitian dan pembahasan dapat disimpulkan bahwa dekulturasi adalah proses perubahan kebudayaan musik yang terjadi pada musik indonesia. dekulturasi itu sendiri adalah istilah dalam antropologi sub – akulturasi, proses tersebut ternyata sama dengan apa yang terjadi pada perubahan kebudayaan musik rebana yang membentuk musik kasidah di semarang, perubahanperubahan tersebut terjadi pada aspek komposisi musiknya, bentuk penyajiannya sampai pada aspek perubahan fungsi pada masyarakat pendukungnya. daftar pustaka alfian, ibrahim. "paradigms dalam merekonstruksi suatu fenomena se jarah", makalah pads seminar seni pertunjukan indonesia tanggal 3 4 juli 2002 di stsi surakarta. surakarta: stsi, 2002. al-sukohardi. teori musik umum. yogyakarta : pusat musik litargi, 1978. arikunto, suharsimi. prosedur penelitian : suatu pendekatan praktek. jakarta: penerbit rineka cipta, 1991. bandem i made. "etnomusikologi penyelamat musik dania" dalam selonding, no : 1, vol i tahun 2001. yogyakarta: masyarakat etnomusikologi indonesia, 2001. banue, pono. kamus isidah musik. jakarta: cv. baru. 1995. berkhofer, robert jr. a. behavioral approach to historical analysis. new york: the free press, 1969. bouvier, helene. 'lebur : seni musik dan pertunjukan dalam masyarukat madura" terjemahan : rahayu s. hidayat dan jean coauteau. jakarta: yayasan obor indonesia, 2002. brandon r. james. jejak-.iejak seni pertunjukan di asia tenggara. bandung: p4st, upi, 2003. departemen pendidikan dan kebudayaan. deskripsi kesenian kentrung. semarang: bagian proyek pembinaan kesenian propinsi jawa tengah, 1997. edmund, prier. sejarah musik aid l yogyakarta : pusat musik liturgi, 1991. handayani puthot tunggal. kamus lengkap bahasa indonesia, surabaya: giri utama. 2002 haviland, a. william. antropologi jilid 1, terjemahan r. g. soekardijo. surakarta : erlangga, 1985. holt. claire. melacak jejak perkembangan seni di indonesia, diterjemahkan dari "art in indonesia : continuitas and change" oleh r. m. soedarsono. bandung : masyarakat seni pertunjukan indonesia, 2000. kaplan, david. teori budaya, terjemahan dari "the theory of culture" oleh landung simatupang. yogyakarta : pustaka pelajar offset, 2002. kodiran, "akulturasi sebagai mekanisme peruhahan kebudayaan" dalam humaniora, no : 8 tahun 1988. yogyakarta : bppf dan psi, fakultas sastra ugm, 1988. koentjaraningrat. sejarah teori antropologi 1. jakarta: universitas indonesia press, 1987. mack dieter. sejarah musik jilid 4. yogyakarta: pusat musik liturgi, 1995. liturgi. 1995 merriam p. alan. the anthropology of music. north western university press, 1964 moleong j. lexi. metodologi penelitian kualitatif . yogyakarta penerbit rake sarasin, 2000. nakagawa, shin. musik dan kosmos, etnomusikologi. jakarta yayasan obor indonesia, 2000. purwanto, hari. kebudayaan dan lingkungan: dalam yogyakarta: pustaka pelajar, 2000, perspektif antropologi. sedyawati, edy. pertumbuhan seni pertunjukan jakarta: penerbit sinar harapan, 1976. sinaga syahrul syah. "kesenian rebana di pantura jawa tengah : sebuah kajian musikologis", tesis sebagai syarat untuk mencapai derajat s-2 pada program studi pengkajian seni pertunjukan dan seni rupa, pascasarjana ugm. yogyakarta, 2002. soodarsono r. m. seni pertunjukan indonesia di era globalisasi. yogyakarta: gadjah mada university press, 2002. ___________________ metodologi penelitian seni pertunjukan dan seni rupa. bandung: masyarakat seni pertunjukan inodenesia, 2001 ______________ . seni pertunjukan : dari perspektif politik, sosial dan ekonomi. yogyakarta: gadjah mada university press, 2003. sukanto, soejono. fungsionalisme imperatif. jakarta: cv. rajawali, 1986. soepandi, atik. rebana burdah dan biang. jakarta: dias kebudavaan dki, 1992. supanggah, rahayu (ed.). etnomusikologi. yogyakarta: yayasan benteng budaya, 1995. zoest, van art. semiotika, terjemahan ani sukowati. jakarta harmonia: journal of arts research and education focus and scope manuscript template author guidelines publication ethics indexing & abstracting editorial team contact   0.9 2023citescore     85th percentile powered by       view counter home about login search current archives announcements home > vol 24, no 1 (2024) harmonia: journal of arts research and education harmonia starting in 2024 migrates from ojs 2 to ojs 3 to better secure from various unwanted things, including journal hacking and so on. to submit, the author please visit the new website page of our journal at the link https://journal.unnes.ac.id/journals/harmonia migration official statement here harmonia [p-issn 2541-1683 | e-issn 2541-2426] is published by departement of drama, dance, and music, faculty of language and arts, universitas negeri semarang in cooperation with asosiasi profesi pendidik sendratasik indonesia (ap2seni)/the association of profession for indonesian sendratasik educators. harmonia published scientific papers on the results of art research and art education (see focus and scope). editor accepts the article has not been published in other media with the writing format as listed on page manuscript writing guidelines (see author guidelines & template). the journal has been indexed in scopus, asean citation index, google scholar, microsoft academic, doaj with green thick, dimension, ebsco, sinta 1 and published twice a year, on june & december. announcements   no announcements have been published.   more announcements... vol 24, no 1 (2024): june 2024 table of contents articles stambul comedy exploration in early 20th-century semarang: meaningful teaching about colonialism doi 10.15294/harmonia.v24i1.44083 abstract 2383 times pdf 778 times syaiful amin(1), sariyatun sariyatun(2), gunarhadi gunarhadi(3), hieronymus purwanta(4), (1)&nbspuniversitas sebelas maret, indonesia (2)&nbspuniversitas sebelas maret, indonesia (3)&nbspuniversitas sebelas maret, indonesia (4)&nbspuniversitas sebelas maret, indonesia pdf 1-17 changes in funeral music practices of vietnamese people in the northern delta, vietnam doi 10.15294/harmonia.v24i1.47436 abstract 1718 times pdf 736 times nguyen dinh lam(1), (1)&nbspvietnam national university, vietnam pdf 18-35 innovation of form and function of banyumulek pottery craftsmanship in lombok as heritage of traditional culture doi 10.15294/harmonia.v24i1.44787 abstract 1383 times pdf 756 times i ketut muka(1), i wayan suardana(2), (1)&nbspinstitut seni indonesia denpasar, indonesia (2)&nbspinstitut seni indonesia denpasar, indonesia pdf 36-50 tegalan song: an expression of musical culture identity of the coastal communities of northern coast of java doi 10.15294/harmonia.v24i1.42383 abstract 1274 times pdf 532 times eka titi andaryani(1), udi utomo(2), (1)&nbspuniversitas negeri semarang, indonesia (2)&nbspuniversitas negeri semarang, indonesia pdf 51-61 differences in affective domain development music learning between indonesia, the netherlands, and france doi 10.15294/harmonia.v24i1.44034 abstract 1064 times pdf 475 times kun setyaning astuti(1), marlene belly(2), ridwan maulana(3), alice armini(4), (1)&nbspuniversitas negeri yogyakarta, indonesia (2)&nbspethnomusicology of university of poitiers, france (3)&nbspuniversity of groningen, netherlands (4)&nbspuniversitas negeri yogyakarta, indonesia pdf 62-76 an aesthetic “touch” for the development of rattan bag handicraft products in indonesia: a systematic literature review doi 10.15294/harmonia.v24i1.43311 abstract 1509 times pdf 740 times dwi cahyadi(1), siti haida ismail(2), roslina mohammad(3), mohd yusof md daud(4), muh irwan(5), (1)&nbspuniversiti teknologi malaysia, malaysia; politeknik negeri samarinda, indonesia (2)&nbspuniversiti teknologi malaysia, malaysia (3)&nbspuniversiti teknologi malaysia, malaysia (4)&nbspuniversiti teknologi malaysia, malaysia (5)&nbsppoliteknik negeri samarinda, indonesia pdf 77-87 awakening philippine cultural consciousness in the youth through amelia lapeña-bonifacio’s papet pasyon doi 10.15294/harmonia.v24i1.46462 abstract 2104 times pdf 726 times amihan bonifacio ramolete(1), sir anril pineda tiatco(2), (1)&nbspuniversity of the philippines diliman, philippines (2)&nbspuniversity of the philippines diliman, philippines pdf 88-104 music for hospitalized children in service-learning: academic and personal implications for teachers in training doi 10.15294/harmonia.v24i1.43375 abstract 1084 times pdf 390 times desirée garcía-gil(1), laura cuervo(2), carolina bonastre(3), celia camilli(4), (1)&nbspcomplutense university of madrid, spain (2)&nbspcomplutense university of madrid, spain (3)&nbspcomplutense university of madrid, spain (4)&nbspcomplutense university of madrid, spain pdf 105-121 tiger dance: transformation and cultural property rights discourse in kerinci, indonesia doi 10.15294/harmonia.v24i1.42508 abstract 1128 times pdf 470 times febby febriyandi ys(1), anastasia wiwik swastiwi(2), (1)&nbspbadan riset dan inovasi nasional, indonesia (2)&nbspuniversitas maritim raja ali haji, indonesia pdf 122-133 the acculturation of malay-islamic elements in the dabus dance ritual in the malay community of perak, malaysia doi 10.15294/harmonia.v24i1.46744 abstract 1193 times pdf 460 times abdul hamid chan(1), muhammad fazli taib saearani(2), salman alfarisi(3), (1)&nbspsultan idris education university, malaysia (2)&nbspsultan idris education university, malaysia (3)&nbspsultan idris education university, malaysia pdf 134-148 an analysis of spatial construction in pictorial art from the perspective of formalism doi 10.15294/harmonia.v24i1.42152 abstract 1062 times pdf 536 times hanping feng(1), safrizal shahir(2), (1)&nbspuniversiti sains malaysia, malaysia (2)&nbspuniversiti sains malaysia, malaysia pdf 149-157 oscar wilde’s moral philosophy: a synthesis between aestheticism and the picture of dorian gray doi 10.15294/harmonia.v24i1.39377 abstract 2686 times pdf 1170 times linus oluchukwu akudolu(1), ikechukwu k. okwuosa(2), ifeanyi j. okeke(3), charles n. okolie(4), francis c. ofoegbu(5), valentine n. ojiegb(6), christopher o. akpa(7), kingsley c. solomon(8), hillary o. eze(9), chinwe jane okolo(10), (1)&nbspalex ekwueme federal university, nigeria (2)&nbspalex ekwueme federal university, nigeria (3)&nbspalex ekwueme federal university, nigeria (4)&nbspalex ekwueme federal university, nigeria (5)&nbspalex ekwueme federal university, nigeria (6)&nbspalex ekwueme federal university, nigeria (7)&nbspalex ekwueme federal university, nigeria (8)&nbspalex ekwueme federal university, nigeria (9)&nbspalex ekwueme federal university, nigeria (10)&nbspalex ekwueme federal university, nigeria pdf 158-164 siriah gadang cultural values in galombang dance in pariangan, west sumatra doi 10.15294/harmonia.v24i1.39447 abstract 1007 times pdf 391 times afifah asriati(1), as hardy shafii(2), yuliasma yuliasma(3), irdhan epria darma putra(4), desfiarni desfiarni(5), (1)&nbspuniversitas negeri padang, indonesia (2)&nbspuniversiti sains malaysia, malaysia (3)&nbspuniversitas negeri padang, indonesia (4)&nbspuniversitas negeri padang, indonesia (5)&nbspuniversitas negeri padang, indonesia pdf 165-176 the existence of aesthetic transformation in traditional batik colors based on the review of memetics theory (case study: traditional batik in tuban, east java, indonesia) doi 10.15294/harmonia.v24i1.43243 abstract 1442 times pdf 639 times fajar ciptandi(1), arini arumsari(2), (1)&nbspuniversitas telkom, indonesia (2)&nbspuniversitas telkom, indonesia pdf 177-191 pragmatic and semiotic studies: a new perspective on bakaran batik legend motif, juana district, pati regency, indonesia doi 10.15294/harmonia.v24i1.49148 abstract 1210 times pdf 671 times slamet supriyadi(1), abd rasid ismail(2), esterica yunianti(3), (1)&nbspuniversitas sebelas maret, indonesia (2)&nbspuniversiti teknologi mara, malaysia (3)&nbspuniversitas sebelas maret, indonesia pdf 192-207 development of professional competencies of the future costume designer in the design system doi 10.15294/harmonia.v24i1.50298 abstract 972 times pdf 297 times elvira faizulina(1), aliya yessengaliyeva(2), venera jumagaliyeva(3), (1)&nbspmakhambet utemisov west kazakhstan state university, kazakhstan (2)&nbspmakhambet utemisov west kazakhstan state university, kazakhstan (3)&nbspmakhambet utemisov west kazakhstan state university, kazakhstan pdf 208-220 play-based learning with games as a dance teaching tool doi 10.15294/harmonia.v24i1.43479 abstract 1983 times pdf 1195 times nurafiqah diyanah azmi(1), sang woo ha(2), (1)&nbspuniversiti malaya, malaysia (2)&nbspuniversiti malaya, malaysia pdf 221-235 this work is licensed under a creative commons attribution 4.0 international license. vol vii no 2 2006.pdf !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345'2&& %35'6'7 #89 : !;<=><= 6??@ !"#$%&'()*!+%*'(%,-.-/'*''((0'%*#% '"0'/'$'+%1 2#(3'!'(%*'/#%4-)#%4-3'/'5%*'(%6-/$-7.'()'((0' a !"#$%&'!"$''(&)'*+,)&-".-',"'&/-'01.,-&2'34/-'5-6,-7 18'(&)'9,)&1:2'!"$' -6-;1<=-"&'> 859% !++':#( 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e8c9f<hbc' l<ck9' ;8cdbc; kb9><adbc;a' dbc' bd<>an' d8c;bc' =<b>< <c;hbgbc' 'dbc'g8fb=bbc'kbc;'e8c;i9cb dbf9' 4bg9=bc' eb=kbfbhb>' b>b=5' /b4be *"),d;1<-$,' c%),d' j atww6rw]y d9=8l<>hbc' lbiqb' ' dbc;d<>' e8f<gbhbc =8l<bi' 9=>94bi' kbc;' h8>9hb' 4bi9f d9;<cbhbc' <c><h' e8c;8j8h' >8fibdbg m3fbh' e<=9h' #84bk<' kbc;' d9=8f>b9 d8c;bc &!i;!/n' =8g8f>9' 4bc9eckb' ' db4be e<=9h' &cd9b5' &=>94bi' 8j8hbc' 9c9' d9l<b> 348i'z944k'di<c;n'=83fbc;'g8ckbck9'dbc ;9>bf9=' >8fh8cb4' d9' zbcd<c;' gbdb g8f>8c;bibc' db=bqbf=b' @?obcnbc;;3>b h<;9fbc k1%"#' l:-).-"$1n' dbc' =83fbc; qbf>bqbc'dc'hf9>9h<='ebjb4bi !d&%,; dbc hf9>9h<=' e<=9h5' 18e8c>bfb' 9><n' db4be *"),d;1<-$,' m!),1"!;' ("$1"-),! atww6r66@y' d9=8l<>hbc' lbiqb' dbc;d<> e8f<gbhbc' j8c9=' e<=9h' lbf<' kbc; e<cm<4'gbdb'>bi<c'tw`?obc5 /bf9' l8l8fbgb' <fb9bc' >8f=8l<> h9fbckb'dbgb>'d9hb>bhbc'lbiqb'dbc;od<> e8f<gbhbc' =8l<bi' 9=>94bi' kbc;' e<cm<4 d9'=8h9>bf'>bi<c'tw`?obc5'&=>94bi'>8f=8l<> g8f>bebo>beb' d9ebh=<dhbc' =8lb;b9 <c;hbgbc' e8c;8j8h' b>b<' lbibc' 8j8hbc >8fibdbg' =8l<bi' m3fbh' e<=9h' #84bk< kbc;' >8c;bi' l8fh8elbc;' gbdb' =bb>' 9><5 /b4be' hb9>bcckb' d8c;bc' =8l<bi' j8c9= e<=9hn' 9=>94bi' dbc;d<>' d9d<;b' l8fb=b4 dbf9' l<ck9' =8gb=bc;' ;8cdbc;' kbc; d9eb9chbc' d8c;bc' >8hc9h #;,))!"$1 =8i9c;;b' >8fd8c;bf' l<ck9' bdbc;a' dbc bd<>a5' 184bcj<>ckb' 9=>94bi' >8f=8l<> d9;<cbhbc'<c><h'g8cbebbc'm3fbh'e<=9h #84bk<' kbc;' l84bhbc;bc' l8fh8elbc; d8c;bc'cbeb'e<=9h'dbc;d<>5 @9 ;"'=a!"!=%*'(%6-/$-7.'()'( !"#$%%&'()*!+ /b4be' e8c;beb>9' =8jbfbi g8fh8elbc;bc' e<=9h' dbc;d<>n =8>9dbhckb' bdb' d<b' >bibgbc' kbc;' dbgb> d9>bcdb9n'kb9><'8fb'&fbeb #84bk<'dbc'8fb /bc;d<>5' &fbeb' #84bk<' e8f<gbhbc =b4bi' =b>< #-":e<=9h' kbc;' gbdb' e<o !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345'2&& %35'6'7 #89 : !;<=><= 6??@ 4bckb' d9h8elbc;hbc' d9' db8fbi'#84bk<n kb9><' ' h8d<b' l84bi' gbc>b9' 1<eb>fb agbc>b9' =8l84bi' lbfb>' dbc' >9e<fy' dbc .bcbi' 18e8cbcj<c;' a.9e' *8elb;b "8=8bfmi' 08l<dbkbbc' %b=93cb4o *&+&ntww`rtuxy5 /9' gbc>b9' =8l84bi' lbfb> 1<eb>fbn' =<b><' db8fbi' >8egb>' e<=9h #84bk<' l8fh8elbc;n' e<=9h' 9c9' e8eo g8f348i' m3fbh' kbc;' 48l9i' hi<=<=' kb9>< -beb>5'18e8c>bfb'9><n'd9'gbc>b9'=8ol84bi >9e<f'1<eb>fb'hi<=<=ckb'd9'db8fbi'/849 dbc' .bcbi' 18e8cbcj<c;n' e<=9h' 9c9 d9h8elbc;hbc' g<4b' =8i9c;;b' >8fh8cb4 d8c;bc' cbeb' e<=9h' #84bk<' /8495' d9f9 hib='e<=9h'#84bk<'/849'9c9'bdb4bi'b=g8h g8fh<=9ckbn' >8f<>beb' >9c;hbibc' l<ck9 h8cdbc;5' 184b9c' 9><n' <c=<f' g8c>9c; 4b9cckb'd9'db4be'e<=9h'#84bk<'/849' 9c9 bdb4bi' bdbckb' bh3fd83c' dbc' l934b' kbc; d9eb9chbc' 348i' =8j<e4bi' g8eb9c5 /9g8fh9fbhbc'lbiqb'h8>9hb'8>c9='#84bk< l8fe9;fb=9' h8' g<4b<' (bqb' gbdb' bqb4 g8f93d8'h343c9b4n'e8f8hb'j<;b'e8elbqb >fbd9=9' e<=9hb4ckb' kbc;' l84bhbc;bc >8fh8cb4' d8c;bc' =8l<>bc' 9fbeb' #84bk< (bhbfo>b7z8>bq95' &fbeb' #84bk<' 9c9n' d9 =beg9c;' e84bcj<>hbc' e<=9h' >fbd9=9 e84bk<' /849' j<;b' e8c;8elbc;hbc h8hi<=<=bc'>8f=8cd9f9'=8i9c;;b'e<=9h'9c9 48l9i' d9cbe9=' dbc' f8=8g>9p' >8fibdbg bcb=9f'lbf<5 !db' =8d9h9>' g8c;8>bi<bc' >8c>bc; 9fbeb' #84bk<' gbdb' 8fb' =8l84<e' dbc =8h9>bf' eb=b' h8e8fd8hbbc5 +bdb' bqb4 >bi<c' twv?obcn' bdb' >9;b' fb;be' e<=9h kbc;' <>beb' dbc' g3g<4bf' kb9>< h8f3cm3c;n' ;bel<=n' dbc' ibqb9bc' =84b9c j<;b' e<=9h' h4b=9h' dbc' h4b=9h' 3fh8=>fb a1<=bc'+bg8f' dbc'1bq3c' (bl3n' tw]`rwy5 08f3cm3c;n' kbc;'e8f<gbhbc' g8fgbd<bc g8c;bf<i' #84bk<n' (bqbn' dbc' d9cbn d9eb9chbc' 348i' eb=kbfbhb>' &cd3c8=9b hb4bc;bc'e8c8c;bi' h8' lbqbie'-bel<= e8ebd<hbc' g8c;bf<i' !fbln' +8f=9bn d8c;bc' #84bk<n' e8e949h9' g8c;;8ebf kbc;' h<b>' d9' hb4bc;bc' &=4bee' bqb9bc e8cjbd9'e<=9h'd9'hb4bc;bc'b>b=5'-bel<= =8lb;b9' m9hb4' lbhb4' dbc;d<>n' gbdb' =bb> 9><' e8e949h9' d<b' =<el8f' kb9><' #84bk< dbc'qbfcb'e9c3f' dbf9' 'e<=9h'!fbl' dbc !=9b' zbfb>' kbc;' 4b9c5' +bdb' eb=b g8cd<d<hbc' (8gbc;n' g8c;bf<i' fbd93 e<4b9' l8fh8elbc;' ckb>b5' "bd93' d9 =beg9c;' =8lb;b9' b4b>' h3e<c9hb=9n gf3gb;bcdb' g8fbc;n' j<;b' d9p<c;=9hbc =8lb;b9' b4b>' g8ck8lbf e<=9h5' 189f9c; jbebc'9><n'4bi9f'4b;<o4b;<'l8flb<'(8gbc; =8g8f>9 f%"#!' 0!d%:! m9g>bbc' &=eb94 #bfc<h9n' dbc' 4b;<o4b;<' l8f>8eb' g<jbbc >8fibdbg' h89cdbibc' b4be' &cd3c8=9bn =8g8f>9 f-"#!7!"'01;1b'4,:&1"!$,b'n;!= 5,!b' f,),d!"' n"#,"b' ,' f!7!/' 0,"!: f%;!"' ?%:"!=!o +bdb' eb=b' >8f=8l<>n e8=h9g<c'lbckbh'4b;<'lbf<'kbc;'e<cm<4 cbe<c' e<=9hckb' =8cd9f9' >8feb=<h 9c=>f<e8c>b=9ckb' >9dbh' lbckbh e8c;b4be9'g8f<lbibc5 /8c;bc' d9h<ebcdbc;hbcckb gf3h4beb=9' d9=<=<4' d8c;bc' g8f8l<>bc h8h<b=bbc' ' d8c;bc' (8gbc;n e8c<el<ihbc' =<b=bcb'e<=9h' kbc;' 4b9c d8c;bc'e<cm<4ckb' 4b;<o4b;<'#bf='kbc; e8c;;8fbhhbc' =8ebc;b>' =8g8f>9r 9!;;1h /!;;1'f!"$%"#b'01:!dh)1:!d'f-:#-=i,:! kbc;'e8c;;belbfhbc' fb=b'h8;8el9fbbc e8ckbel<>'h8e8fd8hbbc5'+bdb'=9=9' 4b9c e<=9h' fbd93'eb=9i' l8fjb4bc5' +bdb' >bi<c twx?obcn'&cd3c8=9b'e8eb=<h9'8fb'e<=9h fbd93' kbc;' =84bcj<>ckb' d9=<=<4' d8c;bc d9bdbhbcckb' g8e949ibc' l9c>bc;' fbd93' & gbdb' >bi<c' twxt5' z8l8fbgb' g8ckbck9 pb\3f9>' dbc'l9c>bc;' fbd93' >bi<c'twx?obc d9' bc>bfbckbr' %3feb' 1bc;8fn' !d8 .983b4<n' #98c' 13<cdbhin' 1be' 1b9e<cn z9c;' 14be8>n' dbc' 4b9co4b9ca+bg8f' dbc (bl3ntw]`rt?y' /9' 4<bf' l9c>bc;' fbd93n -bel<= e8f<gbhbc' e<=9h' kbc; l8fh8elbc;' g8=b>5' +bdb' eb=b' 9><n -bel<=' lbckbh'e8ck8d3>' <c=<f' e<=9h #84bk<' =8i9c;;b' qbfcb' e<=9h' #84bk< l8;9><' h<b>' db4be' e<=9h' -bel<=5 z8l8fbgb' 3fh8=' -bel<= o kbc; !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345'2&& %35'6'7 #89 : !;<=><= 6??@ h8e<d9bc' e8cjbd9' 3fh8=' #84bk<o kbc; >8fh8cb4' gbdb' =bb>' 9><' d9' bc>bfbckbr p:d-)' c-;!2%' qpoco> f%d,&' 0,#%"&!"#b poco' 0,"!:' r-=!;!b' poco' r-"!"#!"n dbc'4b9co4b9c5a'#bmhn'twwxrx]vy'/9>9cjb< dbf9' =8;9' g8fb4b>bcckbn' d9' db4be l8c><hckb' kbc;'gb49c;' =8d8fibcbn'3fh8= >8f=8l<>'e8c;;<cbhbc :-i!"! a=8ebmbe df<e' h8m94yn d-=%"# a;3c;' h8m94y' dbc bh3fd83c5' 18e8c>bfb' j9hb' d949ib>' dbf9 =8;9' l8c><h' 49f9hckbn' dbgb>' d9hb>bhbc lbiqb'l8c><h'49f9ho49f9hckb'e9f9g'd8c;bc e3d84'gbc><cogbc><c'#84bk<'kbc;'>9dbh e8c;;<cbhbc' f8pf89c' a19eb><gbc;n tww@r@uy' +bdb' >bi<c' twx?obcn' h8>9hb p94eop94e' &cd9b' lbckbh' l8f8dbf' d9 &cd3c8=9bn' g8c;bf<i'e<=9h' &cd9b' =8mbfb >9dbh' >bc;;<c;o>bc;;<c;' eb=<h' db4be e<=9h' #84bk<' a19cd<=bqbfc3ntw]`rt6y +8c;bf<i' h<b>' p94e' e<=9h' &cd9b' 9c9 d9;belbfhbc' d8c;bc' j84b=' db4be' =kb9fo =kb9f' 4b;< f1"-d!' $!:,' ("$,! m9g>bbc <=89c' zbqbp98' kbc;' d9ckbck9hbc' 348i ,44kb'0ibdbe'gbdb' =8h9>bf' g8f>8c;bibc >bi<c' twx?obc' a19eb><gbc;ntww@r]uyn kbc;'l84bhbc;bc'4b;<'>8f=8l<>'d9g8fmbkb =8lb;b9' 4b;<'dbc;d<>'g8f>beb'e8=h9g<c 9=>94bi' dbc;d<>' gbdb' =bb>' 9><' l84<e e<cm<45 +8c;bf<i' e<=9h' &cd9b' j<;b >8fjbd9' d9' db4be' 9c=>f<e8c' e<=9h #84bk<5' !qbl' bf9=n' g8e9eg9c poco ?%:"!=!n' e8e3d9p9hb=9' df<e &cd9ba&!i;!y' dbc' e8c;;<cbhbcckb' d9 db4be' e<=9h' a19eb><gbc;ntww@r@uy /f<e' kbc;' =8ebmbe' 9><4bi' kbc; e848hb>' d9' db4be' e<=9h' dbc;d<>5' /9 =beg9c;' ,44kb' kbc;' e8elbqbhbc' >bf9 dbc' 4b;<' l8f;bkb' &cd9b' =8f>b e8c;8cbhbc' h3=><e' b4b' &cd9b' d9' db4be hbfbh>8fckbn' g8c;bf<i' p94e'e<=9h' &cd9b j<;b' e<cm<4' db4be' =8j<e4bi' g8ckbck9 4bh9o4bh9' l8f9h<>ckb' =8g8f>9' !5' "bp9f5 +bdb'eb=b'9><n'qbfcboqbfcb'&cd9b'e<4b9 l8fmbeg<f'db4be'9fbeb'#84bk<5 08>9hb' g3g<4bf9>b=' e<=9h 08f3cm3c;' e<4b9' g<dbfn' gbdb' >bi<c tw@?obc' e<=9h' 9fbeb' #84bk<' e8cjbd9 =8ebh9c' g3g<4bf' d9' hb4bc;bc' hb<e <flbc' (bhbf>b' a_f8d8f9mhntw]6rt?@y5 #<=9h' kbc;' =8mbfb' f84b>9p' e8fbhkb>' 9c9 gbdb' bqb4' >bi<c' tw@?obc e8e949h9 l8l8fbgb' h8<c><c;bc' d9>9cjb<' dbf9 h8l8fbdbbcckb'=8lb;b9'e<=9h'kbc;'>9dbh e8c;bfbi' h8' l3fj<9=' 7zbfb>n d9lbcd9c;hbc'd8c;bc'e<=9h'g3g'4b9cckb kbc;' d9g8c;bf<i9' 348i' e<=9h' f3mh !e8f9hb' dbc' &c;;f9=' dbc' e<=9h 08f3cm3c;5' &c9' bdb4bi' =8l<bi' g8f93d8 h8>9hb lbc;=b' &cd3c8=9b' 9c;9c e8c;ibg<=' g8c;bf<iog8c;bf<i' zbfb> dbc'_f8d8f9mh'e8cmb>b>' lbiqb'd9'db4be g8f93d8'>8f=8l<>'1<hbfc3'e84bfbc;'lbcd f3mh' zbfb>' 038=' z8f=b<dbfb5 a_f8d8f9mhntw]6rt?`y' zb;b9ebcbg<cn cbegbhckb' lbiqb' h8hbmb<lb4b<bc 8h3c3e9' &cd3c8=9b' gbdb' eb=b 9><' >9dbh e8e<c;h9chbc' 9fbeb' #84bk< l8fh8elbc;5 +bdb' bqb4' g8f93d8' $fd8' zbf<n =89f9c;' d8c;bc' g8cb>bbc' h8elb49' 8h3o c3e9' &cd3c8=9b' dbc' d9l<hbckb' h8elb49 g9c><'lb;9'9c\8=>b=9'hbg9>b4'zbfb>n'e<=9h zbfb>' e<4b9' ><el<i' 4b;9' d9' &cd3c8=9b5 +8c;bf<i' e<=9h' zbfb>' e8cmbgb9 g<cmbhckb' gbdb' gbf<i' &' >bi<c' tw`?obc5 +bdb'eb=b'9><n';8eb'>f8cd'e<=9h'zbfb> : kb9><' =8l<bi' 8fb' e<=9h' h843eg3h =8lb;b9' g8c;;bc>9' 8fb' g8ckbck9' =343 : =bc;b>' >8fb=b5 b4' 9c9' e8ebm< e<cm<4ckb' ;f<go;f<g' e<=9h' lbf<' lb9h kbc;'l8fb49fbc'g3gn'=8g8f>9r'+bcl8f=n .i8 #8fmkg=n' /g*3kdn' eb<g<c' ;f<go;f<g 4b9c' ib=94' f8c3\b=9' =8g8f>9r' 038=' +4<=n kbc;'e8f<gbhbc'p3feb=9'lbf<'dbf9'038= z8f=b<dbfb5' z8l8fbgb' ;f<g' e<=9h' f3mh !e8f9hb' =8g8f>9 --<' ?%:<;-b s:!"$8%"db' 5!,;:1!$b' f;!.d' 0!ii!&/b t-$' u-<<-;,"b =bc;b>' >8fh8cb4' d9 hb4bc;bc' bcbh' e<db' hb4bc;bc' <flbc h84b=' e8c8c;bi5' -f<go;f<g' >8f=8l<> e8el8f9' 9c=g9fb=9' h8gbdb' gbfb' g8e<db >8f=8l<>' <c><h' e8el8c><h' lbcdolbcd !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345'2&& %35'6'7 #89 : !;<=><= 6??@ e<=9h' f3mh' =8g8f>9 s1$' f;-))b' s,!"& 0&-<b' 51;;,-)b' f-"&1-;' f!"$b' nrnb' 0n0n dbc 4-:".-= d8c;bc'g8f4b>bc' b4b'e<=9h f3mh' zbfb>' dbc' =8f9c;' e8ckbj9hbc f8g8f>3bfof8g8f>3bf' zbfb>5' 03cd9=9' 9c9 e8f<gbhbc'>bc>bc;bc'lb;9'$fh8='#84bk< kbc;' h8e<d9bc' e8c8egb>hbcckb' gbdb g3=9=9' =<49>' <c><h' l8fh8elbc;5' /9' =b>< g9ibhn' gbfb' h843eg3h' e<=9h' d9' 4<bf 3fh8='#84bk<' 48l9i'e<dbi'e8eg8f348i lbc><bc p9cbc=9b4' dbf9' gblf9h' =8e8c>bfb 3fh8=' #84bk<' l8fbcjbh' =8cd9f9' >bcgb d<h<c;bc5' (bd9n' 3fh8=' e84bk<' >8>bg =8lb;9' e<=9hckb' h843eg3h' <flbc lbqbi5' /9>9cjb<' dbf' =8;9' 9c=>f<e8c>b=9n ;8eb' e<=9h' f3mh' zbfb>' 9c9' e8elbqb g8c;bf<i' h8' db4be' 3fh8='#84bk<' kbhc9 d8c;bc'd9;<cbhbcckb'9c=>f<e8c'848h>f9h db4be' 3fh8=' #84bk<5' b4' 9c9' dbgb> d949ib>'gbdb'8fb'$eb'&fbeb5 #8fb=b'>9dbh'=<h=8='d8c;bc'lbcd kbc;' d9d9f9hbcckb' gbdb' >bi<c' tw@un $eb' &fbeb' l8f;bl<c;' d8c;bc poc ?%:"!=! gbdb' >bi<c' tw@]5' d9' db4be ;f<g' 9c9n' $eb' &fbeb' e8cjbd9' >8fh8cb4 48qb>' 4b;< r-' f,"!:,! kbc; d9ckbck9hbcckb'l8f=beb',4\98'1<hb8=9i5 18>84bi'e84b4<9'g8f93d8'=9c;hb> &:,!; !"$ -::1: =8qbh><' 9b' l8fj<bc;' <c><h e8ckbegb9hbc' ;b;b=bco;b;b=bcckb l8f=beb' h843eg3h' e<=9h'#84bk<' kbc; 4b9cn' bhi9fckb' gbdb' >bi<c' tw`t' 9b e8cd9f9hbc ;f<g' 3fh8=' #84bk<' =8cd9f9 kbc;'d9l8f9'cbeb p:d-)'c-;!2%'01"-&!o a_f8d8f9mhntww`r6@uy' 18h9>bf' >bi<c tw`6otw`u'$eb'&fbeb'e8cm9g>bhbc'4b;< !"#$%& db4be' =b4bi' =b><' b4l<eckb5 zb;b9ebcbg<cn' bhi9fckb' gbdb' >bi<c tw`x' $eb' &fbeb' e8c8e<hbc' ;bkbckb =8cd9f9' db4be' ' e<=9hckb' ' kb9>< e8ebd<hbc' bc>bfb' f3mh' dbc' dbc;d<>5 /bgb>' d9hb>bhbc' lbiqb' j9hb' e<=9h #84bk<' bdb4bi' l9b=bckb' d9i9b=9' d8c;bc i8c>bhbc'hbh9n'ebhb'dbc;d<>'9c9'ibeg9fo ibeg9f' e8c;;3cmbc;hbc g8c;;8ebfckbn' hb<e' e<dbn' e8ebh=b e8f8hb'e8cbc;;b4hbc7'e848gb=hbc' b4b= hbh9'dbc'l8f;3kbc;'gbdb'e<=9h'>8f=8l<>5 a_f8d8f9mhntww`rtt?y' 18jbh' =bb>' 9>< =begb9' g8f>8c;bibc' tw]?obcn' $eb &fbeb : kbc;' h8e<d9bc' e8c;<lbi cbebckb'e8cjbd9' "i3eb' &fbeb' =8>84bi g8f;9' h8' #8hhbi : e8cjbd9' 48l9i g3g<4bf' >9dbh' ibckb' e84b4<9' 4b;<o 4b;<ckb' ' >8>bg9' j<;b' e84b4<9' p94eop94e e<=9hb4' kbc;' >84bi' d9l<b>ckb' =84beb qbh><' 9><' a=8h9>bf' 66' j<d<4' p94ey a19eb><gbc;ntww@r@vy 08elb49ckb' g3g<4bf9>b=' e<=9h #84bk<'=8jbh'tw`xobc'>9dbh'=8eb>boeb>b d9=8lblhbc' 348i' g3g<4bf9>b='$eb' &fbeb l8f=beb' $5#' 13c8>bckb' >8>bg9' j<;b hbf8cb' bdbckb' h89h<>=8f>bbc' lbcdolbcd zbfb>' b49fbc' g3g' =8g8f>9 vt12$b' r1-) ?;%)b' ?!"i-:)b' c-:.2v)b dbc e!61:,&#:%< db4be' e8egf3d<h=9' 4b;<o4b;< l8f;bkb'e84bk<'d8c;bc' 9f9c;bc'b4b>ob4b> e<=9h'zbfb>'=8g8f>9'df<e'=8>'zbfb>n';9>bf e843d9' dbc' lb=' 848h>f9hn' =8f>b' h8l3d gbdb' >bi<co>bi<c' >8f=8l<>5 -f<go;f<g lbcd' 9c9'e8el8f9' cbeb' 4b;<o4b;<' kbc; d9gf3d<h=9ckb'=8lb;b9'4b;< ?1<'c-;!2%o 1<h=8=' $eb' &fbeb' kbc; e8elbqbckb'e8cjbd9' >8fh8cb4' l8f=beb h8o43eg3h' $5#' 13c8>bckbn' e8e949h9 g8c;bf<i' kbc;' =bc;b>' l8=bf' gbdb' ;f<go ;f<g' e<=9h' dbc;d<>' 4b9cckb5' +8c;bf<i 9c9' dbgb>' d9beb>9' hi<=<=ckb' g8c9f<bc db4be'ib4'g8cbeg94bc'dbc'3fh8=>fb=9'b4b zbfb>' 348i' ;f<go;f<g' e<=9h' dbc;d<> 4b9cckb5' +8c;;<cbbc' ;9>bf' 848h>f9h d9=8f>b9' e8=9coe8=9c' 8p8h =<bfbnebcd349cn' g8fh<=9n' ebc9g<4b=9 f9>e9h'd9cbe9h'kbc;'d9;b;b='$eb'&fbeb e8el8f9'9c=g9fb=9'gbdb';f<go;f<g'e<=9h dbc;d<>' 4b9cn' =8e8c>bfb' 49f9ho49f9h'e3fb4 dbc' dbhqbi' &=4be' dbf9' 4b;<o4b;<ckb h<fbc;'l8fg8c;bf<i5 +bdb'g8f>8c;bibc'>bi<c'tw]?obcn ibd9f' =8l<bi #-":lbf<' db4be' e<=9h dbc;d<>5 s-":9c9'e8ebd<hbc'dbc;d<> d8c;bc'e<=9h' .9e<f' .8c;bi' dbc' "3mh !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345'2&& %35'6'7 #89 : !;<=><= 6??@ a19>3f<=ntwwvry s-":lbf<' 9c9' d9e3>3f9 348i poc'4!:!"&%;! kbc;'d9d9f9hbc'348i "8kc34d' +bc;;bl8bcn' =83fbc;' ebc>bc bc;;3>b' ;f<g c-:.2v) d8c;bc' g8ckbck9 qbc9>bckbn' 0be849b' #b49hn' =83fbc; g8cbf9' >8fh8cb4' ;bkb' (b9g3c;bcn' d8c;bc cbeb' /bc;d<>' *b>9c5' 08ibd9fbc poc 4!:!"&%;! dbc'0be849b'#b49h'd9'l4bc>9hb 3fh8=' #84bk<' =8>9dbhckb' d9g8fh9fbhbc e8e949h9' g8c;bf<i' d9' db4be e8c;b>bfhbc' dbc;d<>' gbdb' eb=kbfbhb> <flbc' e8c8c;bi5' 09fbckb' >9dbh4bi >8f4b4<' d9l8=bfhbc' <c><h' e8c;b>bhbc lbiqb'0be849b'dbc'dbc;d<>'(b9g3c;ckb =8lb;b9' b;8c' g8fmbeg<fbc' bc>bfb dbc;d<>' d8c;bc' e<=9hoe<=9h' dbc' >bf9o >bf9bc' 8>c9hn' >8>bg9' bdb4bi' l8cbf' lbiqb h3el9cb=9' =8g8f>9' 9c9' =8ebh9c' 4bc9e d94bh<hbc' d9' =8h9>bf' g8c;i<j<c;' >bi<c tw]?obc' dbc' bqb4' >bi<c' tww?bc5 /bc;d<>' 1<cdb' e<4b9' ><el<i' =<l<f5 /8e9h9bc' ib4ckb' kbc;' d94bh<hbc' ' gbdb g8fmbeg<fbcckb' d8c;bc' 8>c9h' kbc;' 4b9c =8g8f>9'(bqbn'#9cbc;hblb<n'dbc'.bgbc<9 184b>bc5' +8fmbeg<fbc' >8f=8l<>' l9=b e8c;bel94' l8c><h' db4be' g8c;;<cbbc lbib=b' db8fbi' db4be' 49f9ho49f9hckbn >bc;;bcbdb7' e843d9 4b;<o4b;<ckbn =>f<h><f' 4b;<n' g8c;;<cbbc' b4b>ob4b> e<=9h' db8fbi' =8lb;b9' g8c;9f9c;' 4b;< b>b<' l8flb;b9' h3el9cb=9' dbf9' =8e<b b=g8h'>8f=8l<>5 +bdb' >bi<c'tww?obcn'e<cm<4' =8l<bi )%i' #-":lbf<' kb9><' /9=m3' dbc;d<> =8lb;b9' bh9lb>' g8c;bf<i' i3<=8' e<=9m a19>3f<=ntwwvy5' )e<eckb' ;8cf8' 9c9 bdb4bi'=8l<bi'g8fmbeg<fbc'dbf9'l8l8fbg 4b;<' e8d48k' dbc;d<>5' b4' 9c9' l8fbf>9 <c><h'd9eb9chbc'd9'db4be'd9=m3n'd8c;bc e8c;bel94' l8l8ofbgb' g8ck8=<b9bc' kbc; d9l<><ihbc' d9' db4be' >bf9bc' d9=m35 +8ck8=<b9bc' 9><' e9=b4ckb' g8c8egb>bc hb>bohb>b' dbf9' g8c;b><f' g9f9c;bc i9>be74b;<' a:!<y' dbc' =9=9gbc' a<e<eckb db4be'lbib=b' &c;;f9=yn'g8c;<lbibc'b>b< g8cd3l84bc' ' df<e' dbc;d<>' h8' db4be df<e'zbfb>5' d<h<g' d9kbh9c9' lbiqb' =<l #-":9c9'>9dbh'l8f3f98c>b=9'h8'h843eg3h <flbc' lbqbi5' /9' db4be' =<l #-":9c9n 4b;<o4b;< dbc;d<>' >9dbh' ibckb' d9=bj9hbc d9' d9=h3>8hod9=h3>8h' kbc;' 4bc9eckb l8fbdb' d9' h3>boh3>bn' >8>bg9' j<;b d9ckbck9hbc' 348i' lbckbh' hb4bc;bc g8ckbck9' kbc;' gbdb' e<4bckb' l<hbc g8ckbck9'dbc;d<>5 v5 !"#$%&'()*!+%*'='7% '"0'/'$'+ #8c;beb>9' bh>9\9>b=' e<=9h dbc;d<>' d9' eb=kbfbhb>n' >9dbh' 48gb=' dbf9 g8fbcn'p<c;=9n'dbc'h8d<d<hbcckb5'#<=9h dbc;d<>' kbc;' l8fg8fbc' bh>9p' db4be h3e<c9>b=' >8f>8c><' =8f>b' d9;8ebf9' 348i eb=kbfbhb>' d9' l8flb;b9' db8fbi' ebeg< l8fg8fbc' =8lb;b9' =b><' g8f><cj<hbc ><c;;b4' b>b<' l8fd9f9' =8cd9f9' =8g8f>9 ib4ckb #-":e<=9hb4'4b9cckb5'/8e9h9bc ib4ckb' d8c;bc' h8l8fbdbbc' e<=9h dbc;d<>'d9'eb=kbfbhb>'=8lb;b9'=b4bi'=b>< g8f><cj<hbc' e<=9h' kbc;' d9;8ebf9' 348i eb=kbfbhb>n' j<;b' e8e949h9' p<c;=9' lb;9 eb=kbfbhb>' >8f=8l<>' kbc;' gbdb <e<eckb'=8lb;b9'i9l<fbc'b>b<'>3c>3cbc5 #8c;beb>9' p<c;=9' g8f><cj<hbc e<=9h' dbc;d<>' db4be' eb=kbfbhb> =8lb;b9' i9l<fbc7>3c>3cbc' =8>9dbhckb dbgb>' d9p3fe<4b=9hbc' h8' db4be' d<b' ib4 kbc;' <>beb' kb9><' =8lb;b9' i9l<fbc gf9lbd9' dbc' i9l<fbc' eb=kbfbhb>5 ty 9,i%:!"' ?:,i!$,e' _<c;=9' h8ibd9fbc e<=9h' dbc;d<>' =8lb;b9' i9l<fbc' gf9lbd9 9c9' >begbh' 48l9i' g8f=3cb45' 18mbfb gf9lbd9n' h8g<b=bc' bhbc' 48l9i' >8fm9g>b bgbl94b'=8=83fbc;n'lb9h'=8lb;b9'g8e<=9h eb<g<c' g8ckbck9' kbc;' >8f49lb>' db4be =8l<bi' ;f<g' e<=9h' dbc;d<>' ebeg< e8c;8h=gf8=9hbc'=8;b4b'h8ebeg<bcckb db4be' l8feb9c' e<=9hn' l8fckbck9n e8cbf9n' lb9h' gbdb' =bb>' 4bo>9ibc' <c><h g8f=9bgbc' =8l<bi' g8c>b=' eb<g<c' gbdb =bb>' g8f><cj<hbc' l8f4bc;=<c;e' 6> 9,i%:!"' =!)2!:!d!&w<:,i!$,' <-"1"&1"e _<c;=9'h8ibd9fbc'e<=9h'dbc;d<>'=8lb;b9 !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345'2&& %35'6'7 #89 : !;<=><= 6??@ i9l<fbc' eb=kbfbhb>' kbc;' gbdb ibh8hb>ckb' e8f<gbhbc' =8l<bi' i9l<fbc lb;9' =8>9bg' gf9lbd9' g8c3c>3c' kbc; e8ckbh=9hbc' g8f><cj<hbc' e<=9h dbc;d<>n' d9q<j<dhbc' db4be' l8c><h g8e8c>b=bc' lb9h' <c><h' =<b><' ibjb>bc kbc;' 9c=9d8c>b4' =9pb>ckbn' =8g8f>9r'ibjb>bc g8fhbq9cbcn'hi9>bcbcn'=k<h<fbcn'eb<g<c kbc;' >84bi' =8c;bjb' d9bdbhbc' d9' >8egb>o >8egb>' kbc; >84bi' d9=8d9bhbc' =8g8f>9' d9 i3>84oi3>84n'hbp8oh8p8'b>b<'h8db9'e9c<en eb<g<c' >8egb>' hi<=<=' g8f><cj<hbc e<=9h' dbc;d<>5' 0i<=<=' g8f><cj<hbc e<=9h' dbc;d<>' kbc;' d9=848c;;bfbhbc' d9 >8egb>o>8egb>' hi<=<=' kbc;' >8f=8d9bn p<c;=9'9c9'=<dbi'e8f<gbhbc'=<b><'l8c><h jb=b' =8i9c;;b' h8m8cd8f<c;bc' h3e8f=9b4 =<dbi'e8cjbd9'ibfbgbcckb5 #8ck9ebh' h8d<d<hbc' e<=9h dbc;d<>' =8lb;b9' =b4bi' =b>< #-":e<=9hb4'kbc;'i9d<g'd9'eb=kbfbhb>n'dbgb> d9hb>bhbc' lbiqb' e<=9h' dbc;d<> e8e949h9' h8=8jbjbfbc' d8c;bc #-":e<=9h' 4b9cckbn' d9' bc>bfbckb' e<=9h h8f3cm3c;'dbc'jbcc5 #8cbgbh9' h8l8f4bc;=<c;bc e<=9h' dbc;d<>' d9' eb=kbfbhb>' kbc; >begbh' =8ebh9c' l8fh8elbc;' dbc =8ebfbhn' ebhb' h8d<d<hbc' e<=9h dbc;d<>' kbc;' =8e<4b' d9bc;;bg' =8lb;b9 e<=9h' hfbhkb>g' kbc;' <e<eckb' d9=<hb9 348i' ;343c;bc' e8c8c;bi' h8' lbqbin cbe<c'db4be'g8fh8elbc;bcckb'e8cjbd9 e<=9h' g3g<4bf' kbc;' e<4b9' lbckbh d9;8ebf9'348i';343c;bc'e8c8;bi'h8'b>b= a1bg<>f3ntwwvy5 !dbckb' g8fh8elbc;bc 9c9n' e<=9h' dbc;d<>' =8ebh9c' >begbh =8cbc>9b=b' d9e9cb>9' dbc' d9c9heb>9' 348i =8;8cbg' 4bg9=bc' eb=kbfbhb>' dbf9 l8flb;b9';343c;bc5' b4 9c9'dbgb>'d9=9ebh dbf9' bdbckb' l8flb;b9' g8e8c>b=bc'e<=9h dbc;d<>' lb9h' kbc;' d9=848c;;bfbhbc' d9 >8egb>o>8egb>' hi<=<=' =8g8f>9' d9' >bebc i9l<fbc'+<fbq9=b>bn'eb<g<c'd9'hbp8ohbp8 dbc'd9'i3>84oi3>84'l8fl9c>bc;'kbc;'=8f9c; d9h<cj<c;9' 348i' ;343c;bc'e8c8c;bi' h8 b>b=5 zbihbc' e8c<f<>' g8c<><fbc =8==3fbc;' hb=9f' d9' =b4bi' =b><' hbp8' kbc; e8ckbj9hbc' g8f><cj<hbc' e<=9h' dbc;d<> lbiqb' j<e4bi' g8c;<cj<c;' hbp8' kbc; db>bc;'gbdb'eb4be'=bb>'bdb'=bj9bc'e<=9h dbc;d<>'bdb4bi'gb49c;'lbckbh'd9lbcd9c; d8c;bc'eb4beoeb4be'4b9cckb5 08>9hb' g8fbcn' p<c;=9n' dbc h8d<d<hbc' >84bi' e8c;b4be9 g8fh8elbc;bc' dbc' g8f<lbibcckb' kbc; l8fbf>9' db4be' eb=kbfbhb>n' cbe<c h8l8f4bc;=<c;obcckb' eb=9i' >begbh ibckb' d9e949h9' dbc' d9d3e9cb=9' 348i eb=kbfbhb>'l8f=>b><='=3=9b4'e8c8c;bi'h8 lbqbi5 x5 6-(!+!b /bc;d<>' e8f<gbhbc' =b4bi' =b>< j8c9=' e<=9h' kbc;' g8el8f9bc' cbebckb d9g8fh9fbhbc'l8fb=b4'dbf9'l<ck9'=8gb=bc; h8cdbc;' kbc;' d9eb9chbc' =8mbfb' hi<=<= d9' db4be' e<=9h' >8f=8l<>5' /be4be g8fjb4bcbcckb' e8cjbd9' e<=9h' dbc;d<> e<=9h' #84bk<' >84bi' e8c;b4be9 g8fjb4bcbc' gbcjbc;' d8c;bc' e8eg8f348i g8c;bf<i' dbf9' l8flb;b9' j8c9='e<=9h' 4b9c kbc;' >8c;bi' l8fh8elbc;' d9' &cd3c8=9b kbc;' gbdb' bhi9fckb' e8cjbd9hbcckb e<=h' 9c9' =8ebh9c' l8fh8elbc;' d8c;bc e<cm<4ckb' l8flb;b9' qbfcb' lbf<' kbc; e8eg8fhbkb'e<=9h'dbc;d<>5 #849ib>' h8l8fbdbbc' e<=9h dbc;d<>'d9'eb=kbfbhb>n'=8>9dbhckb'dbgb> d9hb>bhbc'lbiqb'e<=9h'9c9'>84bi'ebeg< e8ep<c;=9hbc' d9f9ckb' =8lb;b9' =bfbcb 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"1o^^w(( tv 18g>8el8f' tww@r /&&<3 ww=<o.)o",6o-$%w_/-":2 .;%))=%;&./w$!"#$%&o/&=j #bmhn' /98>8fntwwxn0-@!:!/' c%),d (]n[3;kbhbf>br+<=b>' #<=9h *9><f;95 #84b48>3bn' [<c<=' db4be' /43kbcb 08=<ebin' &' #bd8' +<fcbn' dbc 1<h9kbin' twwxn?-)!"h<-)!" f%$!2!' t!#%h;!#%' ?1<' !"#$%& $!"' ?-"#!:%/"2!' &-:/!$!< ?-:,;!d%' 01),!;' 5-=!@! r1&!b(bhbf>br+f3k8h' +8c;hbj9bc dbc'+8el9cbbc'%94b9oc94b9'z<dbkbn +<=b>'/9f8h>3fbh'18jbfbi'dbc'%94b9 .fbd9=93cb4' /9f8h>3fb>' (8cd8fb4 08l<dbkbbc5 19eb><gbc;n' *3c3' *5na/bc;d<>' 9= \8fki\8fki&cd3c8=9br' .i8 18bfmi' 3p' d<4><fb4' %b>93cb49=e' 9c &cd3c8=9bc' #3d8fc' +3g<4bf #<=9man' db4be f%;;-&," n"&:1<1;1#, .i5j&7tww@ +8fg<=>bhbbc' (<f<=bc' !c>f3g343;9 )-#'[3;kbhbf>b5 kkkkkkkktww6n*"),d;1<-$,' m!),1"!; ("$1"-),!' ]1;o^n(bhbf>br+.5' d9g>b !d9'+<=>bhb5 kkkkkkkktww6n*"),d;1<-$,' c%),d ]1;5tn(bhbf>br+.5 d9g>b' !d9 +<=>bhb5 +bg8fn' 1<=bc' dbc' 1bq3c;' (bl3na#<=9h &cd3c8=9b' dbf9' twx?obc' i9c;;b tw]?obcan' db4be ?:,)=! c35x .bi<c'j2&'#89'tw]`5 19cd<=bqbfc3n' /bfe3k3nadb>b>bc +8fjb4bcbc' #<=9h' d9' &cd3c8=9b twv?otw]uan' db4be ?-:@!;!"!" c%),d' $,' ("$1"-),!' 0-i-;%=' $!" 0-)%$!/' ?-:!"#n(bhbf>br+bc9>9b +8ck848c;;bfb'+8c=9ntw]u5 19>3f<=n' 1<=bc>9' 1na/bc;d<>' #b=<h -8d3c;bca' db4be e-=,"! 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"9+6# >*b%*'(,$3%*2* </c98a96i.$%&'(") 6)4:+-4* 7",d$,1e 8$,1* 3:+-* vw 479:9819\$ =u 5+6901+6>!$ ->+c*8:909$ %61#i effbj# !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& !"#$ %%$&!#'()*+ , -./01/0$'223 td+c0i$ c)*6.*69"$ 5*0:1!cid 7+b+0+! h$%&'(")* #ba6< 4s>#xi 79:9819\ =u# s"*v$ )*>+9$ l!ac/1+6>!i 7/"+i$effwj# %61*86*1i$ c?"8($&* 7'845* b+,-:$$hdi #+h"/+0hi d11c\((t9:*h9":#n!a# l!8.i i/,")q8*7+,'+0*ro?sro< 479c96\ 5um$79c96i$effyj# %61*86*1i$ c?"8($&* 7'845* b+,-:$$hdi #+h"/+0hk t9:*h9:i #+h"/+0h* 6)$* 3'-4$* '8") g'4-"i$ 4r<-\$ uh*"q*$ u!6* <@01*a0i$%6n#i$efffj$m9"#$ %%kx# `9/nd6*8i$ -"b*81$ >96$ -<$ =891+01!# c)*ab*"+$ </989$ $ ?96.$ %6>9did 7+b+0+!* h$%&'(")* #ba6< 4s>#xi 79:9819\ =u#$ s"*v$ )*>+9$ l!ac/1+6>!i$ 7/"+i effwj# %61*86*1i$ c !"*#$%&+,ddi #+h"/+0hi$ ey <*c1#$ effwi d11c\((t9:*h9":#n!a(t!ac96@=8 !p+"*#d1a# %61*86*1i$ c#+h"/+0h* 3/+)-8[i #+h"/+0hi$ e'$ ;*b8/98+$ efffi d11c\(( t9:*h9":#n!a(=8!>/n10( -h98>0#d1a# !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& !"#$ %%$&!#'()*+ , -./01/0$'223 c*"#1'*+(d(: *%*$ m/b/6.96$)%5%$$0*>*8d969$0*819$o*6+0$:9b*"$)%5%$>96$01*:*8$@96.$>+./69:96 c*"#1'*+ e: =*80!69"$l!ac/1*8$)%5% harmonia vol vii no 3 2006.pdf harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 3 / september – desember 2006 !"#!$%!&'$(!#)*!#+,!-.#+$/!-!0$12!3!&!$4.#.#+!# /'$5&!)6#$7.&!"!&)! !"#$%#&'(')$$*+$,&'-"&')&'$.&'/#$('$01'1')&'$,#2#3*'4 $('$512&6&2-&$,&7-#89 dwi wahyudiarto staf pengajar jurusan seni tari sekolah tinggi seni indonesia surakarta abstrak dalam upacara gerebeg gunungan di surakarta dan yogyakarta canthangbalung merupakan penari di barisan paling depan yang bertindak sebagai pemimpin upacara. berbagai atribut, rias busana yang unik serta gerak-gerik yang lucu, membuat orang menjadi gembira. sebagai pemimpin upacara, canthangbalung tidak saja memimpin rombongan secara fisik, akan tetapi juga bertanggungjawab keselamatan semua rombongan. dalam budaya jawa bertugas untuk nyingkirke godho rencana dan sarap sawan, baik yang kasat mata maupun yang tidak kasat mata. kehadiran tari canthangbalung dalam gerebeg gunungan memiliki makna ganda yaitu disamping sebagai hiburan, juga penjaga keselamatan serta makna-makna yang sangat filosofis, berkait dengan masyarakatnya. simbol sebagai fenomena fisik, terlihat dalam bentuk fisik dari tari canthangbalung dengan berbagai atribut gerak dan asesorinya. pemaknaan simboliknya dipahami oleh masyarakat pendukung sudah diyakini semenjak jauh generasi sebelumnya. kata kunci : makna tari, canthangan, gunungan, gerebeg, a. latar belakang bagi masyarakat surakarta perayaan sekaten merupakan suatu peristiwa tradisional yang sangat populer serta menarik ribuan pengunjung baik dari dalam maupun luar kota. upacara sekaten dilaksanakan setahun sekali yang dimulai tanggal 5 bulan rabbiulawal dalam penanggalan jawa. acara dimulai pada jam 16.00 dengan ditandai dibunyikannya dua perangkat gamelan sekaten. beribu-ribu pengunjung hadir menyaksikan acara gerebeg sekaten. menurut kepercayaan sebagian masyarakat, barang siapa yang memakan sirih tepat pada waktu gamelan sekaten pertama kali dibunyikan akan menambah semangat awet muda. demikan pula bagi kaum petani, barang siapa membeli pecut (cambuk) pada saat gamelan dibunyikan hari pertama malem sekaten, maka hasil panen serta ternaknya akan berkembang dengan baik serta terhindar dari penyakit ( 1990: 32). puncak acara dari sekaten adalah dengan diadakannya upacara selamatan oleh sinuwun paku buwana yang disebut sedekah gunungan. gunungan merupakan perangkat upacara yang dibuat dari hasil bumi, ditata menjulang tinggi seperti gunung. gunungan adalah alat komunikasi, hubungan dengan tuhan yang mengandung beberapa pengertian, diantaranya adalah, bentuk yang menyerupai gunung menunjukkan kesakralan. gunung dianggap sakral, karena dipercaya sebagai tempat tinggal para leluhur serta mahluk halus yang baik. terdapat empat arah mata angin yang dipercaya sehingga selalu dihormati.gunung adalah tempat dewa bersemayam dan laut dipercaya tempat tinggal buta dan kala. gunungan dibuat di magangan, salah satu tampat yang dianggap mempunyai kekuatan magis. gunungan berisi buahbuahan, sayuran, telur, daging, aneka makanan dari beras serta masakan dari daging melambangkan suatu negara agraris. kesemuanya dibuat dan dipersembahkan kepada tuhan yang maha esa sebagai ucapan rasa syukur atas karunia yang telah diberikan harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 3 / september – desember 2006 berupa kesuburan, murah sandang, murah pangan serta dijauhkan dari segala mala petaka. gunungan juga untuk memperingati hari lahir nabi muhammad s.a.w, yakni setelah 7 hari sekaten berlangsung, tepatnya tanggal 12 rabbiulawal dalam penanggalan jawa. acara selamatan ini dimulai dengan prosesi membawa gunungan dari dalam kraton menuju masjid besar melewati beberapa ruangan di dalam kraton. dibelakang gunungan, secara berurutan ikut serta mengiringi kirap semua kagunan dalem prajurit kraton. dengan keluarnya prajurit, merupakan tontonan yang sangat menarik bagi pengunjung. prosesi dipimpin oleh kelompok penari yang bernama canthangbalung. dalam penampilan dan gerak geriknya, canthangbalung unik dan atraktif. perjalan gunungan melewati kamandungan, kemudian melewati depan sinuwun, alun-alun utara dan berakhir di masjid besar. setelah rombongan sampai di mesjid besar maka pepatih dalem memberitahukan hajat ingkang sinuwun kepada penghulu untuk dido'akan. begitu upacara selesai, gunungan dan tumpeng dibagikan kepada semua masyarakat yang hadir. canthangbalung kaitannya dengan upacara gunungan adalah sebagai pemimpin upacara dan juga termasuk abdi dalem golongan kridastama. dengan memakai berbagai atribut serta rias busana yang unik serta gerak-gerik yang lucu membuat hadirin menjadi gembira. pakaian pemimpin utama canthangbalung mengenakan dodot bermotif tumpal, sedang canthangbalung pembantu mengenakan kain bermotif sindur, kampuh, bertutup kepala memakai kuluk ala brahmana, mengenakan sumping untaian bunga melati, tangan memegang tombak. gerak-geraknya cenderung bebas, mengarah kepada gerakgerak lucu, dan menarik keunikan tari canthangbalung yang menggunakan gerak-gerak nyleneh dan busana yang unik, menarik untuk didekati/meneliti tari tersebut dari sisi simbolis. upacara religi seperti gunungan, pada hakekatnya tidak sekedar dihayati secara estetis semata, kehadirannya lebih merupakan kesatuan kompleksitas yang total, dalam arti penampilannya disamping untuk manusia, juga ditujukan untuk zad adi kodrati. oleh karenanya, maka semua yang terjadi padanya pemaknaanya akan rumit dan penuh perhitungan. b. tari canthangbalung. kehadiran suatu upacara di dalam suatu masyarakat, merupakan ungkapan tertentu yang berhubungan dengan bermacammacam peristiwa yang dipandang penting bagi komunitasnya. bentuk ungkapan yang disajikan sehubungan dengan peristiwa penting relatif terdapat bermacam macam sesuai dengan kepercayaan dan tradisi yang sudah dijalani secara turun temurun. kata canthangbalung berasal dari dua kata canthang dan balung. canthang artinya sakit dan balung artinya tulang. dalam setiap kali penampilannya mereka selalu membawa kepyak dari tulang yang diselipkan pada jarijari dan dibunyikan dengan suara crek,crek,crek( darsiti suratman 1989:144). hadiwijaya menduga, bahwa asal mula canthangbalung adalah seorang brahmana, pemimpin arak-arakan yang membawa sesaji ke tempat ibadat suci, yaitu candi. hal ini didasarkan pada pakaian yang dikenakannya dan tingkah lakunya yang sakral, ritual, bukan seperti tingkah laku badut. purbacaraka mempunyai pandangan yang sama, didasarkan pada pemakaian boreh pada badan canthangbalung seperti yang dilakukan oleh pendeta hindu yang memborehi badannya dengan abu, meminum arak sebagai tiruan soma, yaitu minuman suci bagi bahmana pada zaman dulu. pendapat lain mengatakan bahwa canthangbalung berasal dari sekte bhairawa. dari beberapa pendapat akhirnya sampai pada kesimpulan, bahwa canthangbalung, sangat dekat dengan relief yang terdapat dalam candi borobudur, yaitu sebagai seorang berpakaian brahmana, bertugas memberi irama pada penari wanita. kanjeng pangeran haryo hadiwijoyo maharsi tama menyatakan bahwa di dalam lingkungan kraton, canthangbalung mempunyai derajad setingkat brahmana. pendapat ini didasarkan pada pakaian canthangbalung bentuk dodot ngumbar kunca tak ubahnya seperti busana yang harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 3 / september – desember 2006 dipakai oleh raja. dodot yang dipakai oleh canthangbalung adalah bermotif tumbal atau poleng, adapun dodot kedua jajar adalah sindur yang berwarna merah putih dengan blumbungan (begian tepi kain) diberi warna putih. menurut booklet pergelaran tari canthangbalung dan penyutran 1987,tari canthangbalung dipentaskan secara rutin dalam upacara gerebeg atau sekaten, yang terkenal dengan upacara gunungan, sebagai upacara tradisi kraton yang bernafaskan islam. acara ini dilakukan setiap tahun sekali, untuk mengenang nabi muhammad s.a.w dilakukan setiap bulan maulud. selain sebagai pimpinan upacara gunungan, canthangbalung juga termasuk abdi dalem golongan kridastama, dengan memakai berbagai atribut serta rias busana yang unik serta gerak-gerik yang lucu membuat orang lain menjadi gembira. pada masa pemerintahan sinuhun pakubuwana x, canthangbalung berjumlah empat orang. sepasang canthangbalung berkedudukan sebagai lurah, dan sepasang sebagai jajar. seperti halnya dalam tari-tari tradisi kraton, tari canthangbalung dalam upacara gerebeg di kraton surakarta bertugas sebagai pengawal gunungan yang akan dibawa ke masjid, setelah sampai digapura masjid kemudian kembali ke sitihinggil, bergabung dengan para prajurit lainnya. canthangbalung berada pada posisi paling depan dari sekian kelompok jenis prajurit kraton. berbagai kelompok prajurit yang mengikuti prosesi upacara gerebeg terdiri dari; prajurit prawirotomo, prawiro anom, jayeng astra, jayenggita, doropati, jaya sura, sorogeni, prajurit baki, penyutran, yang masing-masing mempunyai keistimewaan sendirisendiri. c. makna tari canthangbalung kebiasaan sebagian orang jawa dalam mewujudkan pandangan, konsep serta gagasan kesenian dan juga kebudayaannya selelu diungkapakan kedalam lambang-lambang atau simbol-simbol tertentu. simbol yang diwujudkan dengan benda seperti kayon (gunungan) dalam wayang kulit, merupakan simbol jagad raya dan segala isinya. adalagi simbol berupa sanepan, seperti perang kembang, merupakan lambang peperangan pada diri manusia melawan hawa nafsunya sendiri seperti amarah, luwamah, sufiah, dan mutmainah. keterkaitan manusia dengan simbol-simbol sangat erat pertaliannya, hal ini menunjukkan bahwa simbol merupakan salah satu perwujudan budayanya. bagi manusia, simbol merupakan pengejawantahan dari belajar manusia. dengan simbol-simbol manusia dapat menemukan arah perbuatannya dan memberikan keterangan-keterangan tentang pengetahuan dunia. proses belajar manusia dilakukan melalui bahasa, dalam arti luas bahasa adalah alat komunikasi yang bersifat arbiter atau segala bentuk lambang seperti kata, gambar, isyarat, gerak atau tari-tarian. keterkaitan manusia dengan simbol-simbol sangat erat pertaliannya, hal ini menunjukkan bahwa simbol-simbol merupakan salah satu perwujudan budayanya. melalui simbolsimbol manusia saling berinteraksi, sehingga menimbulkan perilaku yang membudaya. dalam lingkup budaya jawa simbol-simbol diwujudkan dalam berbagai bentuk seperti, bahasa dan komunikasi, kesusasteraan, kayakinan keagamaan, ritus, ilmu gaib, kesenian termasuk tarian – tarian dengan segala kelengkapannya (koentjaraningrat 1984: 430). menurut noerid haloei radam 2001,upacara merupakan suatu sistem yang berisikan segala tindakan dan perbuatan manusia dalam rangka usaha menghubungkan dirinya dengan semua obyek yang dipandang sakral, sesuatu yang dikagumi atau ditakutinya, segala sesuatu yang dipandangnya amat mempengaruhi dan menentukan kehidupannya di masa depan. tindakan manusia dalam melaksanakan upacara biasanya menggunakan simbol-simbol yang dipercaya dapat menghantarkan atau memberikan tuntunan kebaikan terhadap tingkah laku manusia. kedudukan simbol atau tindakan simbolis dalam religi adalah merupakan relasi (penghubung) antara komunikasi human-kosmis dan komunikasi relegius lahir dan batin. upacara dilakukan karena ada sistem kepercayaan yang melekat pada masyarakat yang tercermin dalam kelakuan ritual harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 3 / september – desember 2006 gunungan. hal demikian mencerminkan bahwa ujaran laku ritual, dan berbagai jenis laku lain sejumlah manusia yang mengadakan interaksi merupakan suatu sistem simbol dari budaya masyarakatnya. seperti apa yang dilakukan masyarakat surakarta dalam acara gunungan, dapat dikaji dengan teori talcott parsons yang menyatakan bahwa kebudayaan sebagai suatu sistem simbol. dikatakan bahwa kebudayaan merupakan suatu sistem menyeluruh dari aspek-aspek pemberian makna laku manusia dalam mengadakan interaksi antara satu dengan yang lain. menurut talcott parsons sistem simbol dari suatu kebudayaan dibagi menjadi empat katagori, yaitu satu sistem konstitutif yang berbentuk kepercayaan dan biasanya inti dari religi, dua sistem simbol kognitif yang membentuk pengetahuan, tiga sistem simbol nilai moral yang membentuk aturan-aturan dan, keempat sistem simbol ungkapan perasaan atau ekspresi (a h. bakker dalam soeryanto p. 1977:117). guna memahami tentang kandungan makna simbolik yang terdapat dalam tari canthangbalung dalam rangkaian gerebeg gunungan, maka pengamatan bentuk simbol dan perilaku simbolis berhubungan dengan peristiwanya, informasi beberapa narasumber sangat diperlukan. interpretasi atau menafsir simbol yang diungkapkan didasarkan atas dasar kandungan analogi dan asosiasi terhadap konteks upacara dan masyarakat. 1. tata urutan tari canthangbalung keberadaan canthangbalung pada posisi urutan paling depan diantara para prajurit keraton lainnya. dengan memperhatikan posisi menunjukkan bahwa kedudukan canthangbalung sangat terhormat, hal ini karena formasi atau susunan tempat didalam kraton juga menunjukkan herarki kepangkatan. ditinjau dari bentuk penampilannya, ada yang menganggap bahwa canthangbalung adalah sebagai brahmana. oleh karenanya harus dihormati, adakalanya penghormatannya sepadan dengan raja. konsep demikian bukan sesuatu yang asing, karena tempat serta dandannya hampir seperti raja. dalam konsep jawa, brahmana dan atau pujangga menduduki herarki yang cukup penting. kesamaan derajad itu tercermin didalam ungkapan jawa yang sangat terkenal sabdo pandhita, pandhitaning ratu, ora kena wola-wali. artinya bahwa semua apa yang diucapkan oleh brahmana, pandhita dan raja adalah sabda yang harus dilaksanakan, tidak dapat dbantah oleh siapapun. dari sini semakin menampakkan bahwa di dalam struktur kenegaraan hindu (jawa) kedudukan brahmana masih sangat dihormati, disejajarkan dengan raja. keberadaan brahmana sangat diperlukan untuk memperkuat legitimasi raja. dalam lingkungan kraton susunan tempat selain sebagai simbol status juga menunjukkan struktur sosial berdasarkan kepangkatannya. semakin dekat dengan raja maka semakin tinggi derajat keningratannya. dengan posisi pada barisan yang paling depan, dalam upacara gunungan menyiratkan bahwa canthangbalung mempunyai kedudukan yang tinggi. canthangbalung bertindak sebagai pemimpin upacara. sebagai pemimpin, canthangbalung tidak saja memimpin rombongan secara fisik, akan tetapi juga bertanggungjawab keselamatan semua rombongan, dalam bahasa jawa bertugas untuk nyingkirke godho rencana dan sarap sawan, baik yang kasat mata maupun yang tidak kasat mata ( sunarno p.wawancara 15 nopember 2005). dalam arak-arakan keseluruhan prosesi kirap, canthangbalung berada didekat gunungan untuk menghantar gunungan sampai di gapura masjid, lalu kembali ke sitihinggil, menggabung dengan teman niyaga di kawedanan amongraras di bangsal angunangun. semua prosesi kirap dipersiapkan serba suci. kain sebagai pembungkus jempana (tempat gunungan diletakkan) dibungkus dengan kain sindur, berwarna merah dan putih. warna putih terletak di atas warna merah. sindur dalam masyarakat jawa dapat diartikan suci. sajian berupa gunungan dibuat di tempat yang khusus yang bernama magangan merupakan salah satu tempat yang disakralkan didalam lingkngan kraton. bahkan dalam grebeg dal, raja berkenan memasak sendiri nasi yang akan digunakan untuk sesaji dengan menggunakan tempat menanak nasi dandang yang sangat khusus bernama harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 3 / september – desember 2006 dandang kyai duda, konon dandang ini merupakan peringgalan jaka tarup, yang mempunyai istri bidadari. demikian juga pemimpin rombongan, juga menunjukkan atribut orang suci atau juga merupakan figur orang suci. ini menunjukkan bahwa canthangbalung sebagai orang suci dan menghantarkan sesaji yang kesemuanya serba suci. boleh dikatakan bahwa hampir semua perabot dan persiapan prosesi gerebeg gunungan dalam situasi suci. termasuk tempat yang dituju masjid, juga tempat yang sangat suci. 2. simbol jumlah peraga penari canthangbalung berjumlah empat orang, ini juga dapat ditafsirkan sebagai kiblat papat yaitu empat arah mata angin yang mempunyai anasir : api, angin, air dan tanah. keempat wujud itu mempunyai sifat sendirisendiri. lebih jauh dikatakan anasir api terdiri dari nafsu aluamah (hitam) nafsu makan, amarah (merah), supiah (kuning) dan mutmainah (putih). nafsu aluamah terdapat dalam badan manusia mulai dari perut ke kemaluan yang memuat (amot) semua sari-sari kehidupan dalam hal ini seperti bumi sebagai pusat kehidupan. nafsu amarah berada pada badan manusia bagian atas yang isinya tentang keinginan angkara murka, nafsu supiah berada pada rasa atau hati manusia untuk hal-hal bersifat birahi dan putih berada pada hati manusia untuk bertindak kebajikan anasir angin meliputi nafas (nafas yang masuk), ampas (nafas yang dikeluarkan), nufus (nafas yang tidak teratur), tanafas (tanpa nafas). nafas dan ampas merupakan suatu yang tidak dapat dipisahkan mereka bersifat satu atau kembar, sebab nafas yang diambil sama dengan nafas yang dikeluarkan. anasir air meliputi roh jasmani, roh norani, (cahaya), roh kabati (perasaan), dan roh hewani. pengertian ini dapat dipahami bahwa wujud manusia itu terdiri dari bentuk raga dalam hal ini jasmani, kemudian cahaya atau nur illahi, kehidupan dari tuhan yang berupa sukma dan perasaan yang membawa manusia memiliki jiwa atau rasa, serta roh hewani yang membawa manusia memiliki nafsu. anasir tanah meliputi darah, daging, tulang dan sungsum, dan keempat wujud ini merupakan sari-sari kehidupan manusia yang berasal dari tanah, darah merupakan zat pembawa makanan, daging merupakan pembentuk kekuatan karena merupakan kumpulan otot-otot yang memberi energi manusia, tulang merupakan pembentuk kerangka wujud manusia yang di dalamnya terdapat sungsum untuk memberi tenaga atau kehidupan. canthangbalung juga terdiri dari dua pasang, sepasang (dua orang) berada didepan disebut lurah dan sedangkan sepasang lainnya berada dibelakang disebut jajar. jumlah dua bagi orang jawa merupakan sistem klasifikasi simbol dualistik dikaitkan dengan hal-hal yang berlawanan, yang bermusuhan atau dua yang saling membutuhkan. konsep dualistik nampak pada ungkapan-ungkapan: tinggirendah, baik-buruk, laki-perempuan, jauhdakat, kanan-kiri dan sebagainya ( 1984:430). lurah dan jajar, masing-masing berada pada posisi kanan dan kiri. konsep kanan dan kiri bagi orang jawa sudah merasuk dalam pemahaman yang mendalam, seperti dalam tatakrama atau sopan santun, tangan kanan selalu dianggap yang baik dan sopan, sedangkan tangan kiri dianggap kurang sopan dan beradap. 3. busana pemilihan busana dalam sajian pertunjukan untuk upacara akan memiliki maksud-maksud tertentu meskipun sesederhana pakaian yang dikenakanya . kesederhanaan yang kerap dilekatkan sebagai predikat seni pertunjukan masyarakat kebanyakan berlaku pula bagi pakaian yang dikenakan dalam beberapa upacara( a.m.hermin k.200:90). lebih lanjut soedarsono menjelaskan bahwa salah satu ciri pertunjukan ritual adalah diperlukan adanya busana yang khas( 1998:60). tari canthangbalung merupakan pertunjukan ritual, para pemainnya juga menggunakan busana yang dipersiapkan secara khusus. secara lengkap, busana canthangbalung adalah sebagai berikut. harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 3 / september – desember 2006 1) kuluk berupa mathok berwarna putih 2) wok dari rambut ang dibuat sedikit humor 3) sumping gajah oling 4) dodot ngumbar kunca, warna merah dan putih 5) celana panjang berwarna putih polos 6) pembentuk bokong agar terlihat lebih besar 7) pembentuk perut agar terlihat buncit a. kuluk busana canthangbalung dipilih yang mencolok sehingga tampak dari jauh, tangan kiri selalu membunyikan kepyak, tangan kanan memegang gelas berisi minuman. canthangbalung mengenakan busana seperti brahmana, yang terdiri dari tutup kepala berbentuk seperti kuluk dengan warna putih. tutup kepala bentuk kuluk merupakan atribut kebesaran dewa raja, ini merupakan simbol kebesaran, keagungan, kekuasaan sekaligus pengayoman (sunarno, wawancara 29 oktober 2005). tidak semua orang boleh mengenakan tutup kepala berupa kuluk. dalam kalangan tertentu kuluk hanya boleh dipakai oleh raja, brahmana, pandhita, pujanggga, karena merupakan tokoh penting dalam sejarah jawa. kuluk yang dipakai canthangbalung disebut kuluk mathok, berwarna putih, yang merupakan simbol sifat suci dan jujur, bagi pemakainya. kesucian dan kejujuran yang dimiliki canthangbalung sebagai pemimpin prosesi gunungan, diharapkan dapat memberikan keberhasilan segala doa yang disampaikanya terkabul. b. wok dari rambut canthangbalung mengenakan wok, atau jambang yang terbuat dari rambut. pamakaian wok, berarti bahwa tokoh canthangbalung dianggap sudah tua, dalam arti mempunyai kematangan jiwa yang siap dalam fungsinya sebagai pemimpin ritual upacara. bagi masyarakat jawa, keberadaan orang tua dalam memimpin upacara juga dianggap sebagai tiyang sepuh .anggapan tersebut menjadikan apa yang dikatakan atau dilakukan merupakan bisikan gaib yang harus dilaksanakan. sabagai pemimpin upacara, keberadaan canthangbalung merupakan figur pemimpin informal yang disegani. peranan canthangbalung dalam komunitas gerebeg dianggap mempunyai kemampuan serta kualitas kepemimpinan. menurut muhammad said, yang dikutip oleh budiono herusatoto dalam bukunya simbolisme dalam kebudayaan jawa, figur pemimpin jawa hendaknya mempunyai sifat satria dan pinandita. seorang yang satria pinandita, tidak akan menggantungkan hidupnya kepada semat (harta), derajat, kramat, dan hormat. semat (harta), walaupun harta sebagai sarana hidup, tetapi bukan merupakan tujuan utama. tujuan seorang pemimpin adalah sepi ing pamrih, rame ing gawe, sugih tanpa bandha atau giat bekerja, jauh dari keserakahan dan selalu merasa kaya dengan kebijaksanaan (tidak dengan harta), selalu bisa memberi siapa saja yang minta pertolongan. derajat dan kramat atau kekuasaan merupakan sarana untuk menjalankan tugas sebagai pemimpin harus diterima sebagai kepercayaan atas prestasinya bukan sebagai cita-cita yang dikejar. tanpa pangkat pun seorang pimpinan tetap menjalankan kewajibannya, di manapun tugasnya. kramat atau kekuasaan merupakan kepercayaan yang diterima dari masyarakat untuk dilaksanakan bukan alat untuk menguasai rakyat. hormat, penghormatan dari masyarakat terhadap pribadinya hendaknya benar-benar tulus dan bersih dari lubuk hati, karena kepribadiannya juga selalu hormat kepada sesama ( 2001:76). lebih jauh dalam hal kepemimpinan, dikatakan oleh fagg seperti yang dikutip nordholt dalam bukunya ojo dumeh, kepemimpinan lokal dalam pembangunan. didalamnya terdapat lima ciri umum yang berlaku bagi kepemimpinan yang baik. adapun kelima ciri tersebut adalah, (1), orang pintar atau orang cerdas, (2), ingkang ngertos, orang yang berwawasan, (3), orang kuat, kepribadiannya, (4), besar hati, berjiwa besar dan lapang dada, dan (5), tiyang saget, orang yang mempunyai kemampuan, dapat mencapai sesuatu(1987:113). canthangbalung sebagai brahmana diharapkan mempunyai sifat kepemimpinan seperti dalam konsep jawa, sehingga kepemimpinanya bukan sekedar harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 3 / september – desember 2006 fisik, tetapi juga memimpin sampai pada tingkat batin. c. sumping bunga melati gajah oleng sumping gajah oleng dibuat dari bunga melati, dan pada ujungnya diberi bunga kanthil. di kraton sala, sumping bentuk gajah oleng, relatif terbatas dikenakan pada segala pusaka yang cinaket sinuwun. pusaka menurut konsep kraton surakarta berbeda dengan konsep diluar kraton. menurut kraton, pusaka berarti peninggalan para leluhur ratu jawi kraton surakarta yang diturunkan dari ratu ke ratu yang memerintah kraton atau ingkang jumeneng nata. sedangkan pusaka diluar kraton berarti senjata. konsep pusaka tersebut termasuk wangkingan (keris), tombak, pedang, payung, tarian, kereta, abdidalem, ruangan, dan sebagainya. berkaitan dengan keberadaan sumping gajah oleng, krt praja hartaya, salah seorang juru paes kraton mengatakan, bahwa di kraton, apabila ada suatu upacara yang dilakukan secara mirunggan atau khusus atau istimewa, maka semua pusaka akan diberi untaian bunga melati. lebih khusus lagi terhadap pusaka yang cinaket raja, akan selalu diberi untaian atau rangkaian bunga dengan bentuk gajah oleng. maka dalam banyak upacara besar yang dihadiri sinuwun, canthangbalung akan selalu menyertai sinuwun, karena sebagai pusaka yang berfungsi untuk banyak hal terhadap sinuwun. oleh karena itulah maka canthangbalung selalu mengenakan untaian bunga melati yang berbentuk gajag oleng. bunga melati menggambarkan kesucian, artinya bahwa sebagai penari harus suci lahir batinnya. aplikasi dari makna ini adalah bahwa dalam mengemban dan melaksanakan tugas maka harus didasari kesucian, ketulusan, keseriusan dari hati yang paling dalam. bunga melati yang diuntai melambangkan menyatunya kawula lan gusti, dari ini terlihat adanya konsep jumbuhing kawulo gusti atau manungaling kawulo gusti. d. dodot ngumbar kunca yang dimaksud dengan busana dodot atau kampuhan, adalah busana yang menggunakan jarik atau sinjang yang lebarnya dua kali ukuran sinjang dengan panjang 3, 75 m sampai dengan 4 meter. dodot yang dipakai canthangbalung adalah dodot ngumbar kunca, dengan kampuh jenis blumbangan warna merah dan putih. motif blumbangan, maksudnya adalah motif kain atau sinjang yang pada bagian tengah kain terdapat bagian yang tidak dibatik (polos), dibentuk ketupat. bagian polos tersebut berwarna putih, namun ada pula yang warnanya menyesuaikan keinginan. kampuh blumbangan relaif terbatas dikenakan sebagai ageman dalem, raja para dan putra kerabat. canthangbalung mengenakan jenis ngumbar kunca. yang dimaksud ngumbar kunca adalah kain kampuh yang dikenakan untuk kampuhan terdapat bagian yang diklembrehkan pada bagian belakang, dan tidak dipegang (diumbar), ujungnya dilepas hampir menyentuh tanah. kampuh ngumbar kunca, dilingkungan kraton dikenakan oleh kanjeng gusti pangeran adipati anom (kgpaa) atau putra mahkota dan untuk patih dalem, apabila sedang mewakili raja. kunca yang dikenakan oleh canthangbalung sedikit lebih pendek dari yang dikenakan sinuwun. warna yang digunakan dalam dodotan bagi canthangbalung adalah warna merah dan putih, atau gula klapa. makna dari warna gula klapa bagi masyarakat jawa, gula yang mempunyai rasa legi, atau manis dan klapa dengan rasa gurih. dari pengertian ini terkandung maksud gambaran dari kehidupan manusia yang enak dan kepenak. kehidupan demikian pasti mewarnai kehidupan manusia, maka manusia harus siap dalam menghadapi hidup yang kadang enak, tapi harus siap pula menghadapi kehidupan yang tidak enak. perwatakannya, paduan warna merah dan putih atau gula klapa mempunyai watak wibawa, cocok dipakai muda dan mudi, dan cocok untuk siang ataupun malam( kalinggo honggapura 2002:26). warna merah putih juga ada yang mengartikan sebagai kiasan bahwa manusia terjadi dengan perantaraan ibu bapak (ibu bumi bapa kuasa). merah melambangkan ibu, sedangkan putih melambangkan bapak. oleh karena itu, manusia hendaknya selalu ingat kepada bapak ibu, yang tercermin dalam harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 3 / september – desember 2006 ungkapan : mikul duwur mendhem jero, maksudnya sebagai anak harus dapat mengharumkan nama orang tua dengan perbuatan lebih utama dari pada orang tuanya. juga dapat diartikan laki-laki dan perempuan sebagai lambang persatuan. untuk mencapai tujuan harus dilandasi semangat kebersamaan. canthangbalung ada pula yang mengenakan bentuk kain yang dodot bangun tulak dengan motif poleng atau tambal (hitam putih) ini mempunyai makna menolak bala untuk mahluk kasar maupun halus. misalnya gangguan fisik para prajurit (sakit) dan gangguan dari roh halus para abdi dalem kanjeng ratu kencana sari yang ikut serta dalam upacara gunungan. bagi kedua jajar mengenakan kain berupa sindur, yaitu warna merah dengan diberi warna putih pada bagian tepinya. warna merah adalah simbol laki-laki dan warna putih adalah simbol perempuan. kesatuan dari laki-laki dan perempuan merupakan bentuk dari kesuburan untuk kelangsungan hidup. dengan demikian maka ritus kesuburan bagi negara agraris sangatlah penting, karena dengan tanah yang subur akan menghasilkan wuluwetu yang melimpah, sehingga menjadikan negara yang gemah, ripah, lohjinawi, karta, tata raharja. e. celana panjang warna putih canthangbalung mengenakan celana panjang berwarna putih, tidak menggunakan ornamen atau hiasan sama sekali. celana panjang dalam tradisi jawa, biasa dikenakan oleh golongan tertentu. dalam wayang purwa misalnya, tokoh yang biasa mengenakan celana panjang adalah para raja, punggawa, brahmana. demikian pula di dalam kraton, terutama dalam pisowanan, busana juga dapat menunjukkan identitas tinggi rendahnya kepangkatan. berbusana dalam pisowanan di kraton surakarta ada tatanan yang harus diperhatikan. tatanan tersebut berdasarkan pada dhawuh dalem atau perintah raja, yaitu berbusana di dalam kraton harus disesuaikan dengan pangkat yang disandang pemakainya( kalinggo h. 2002: 64). demikian pula dengan busana yang dikenakan oleh canthangbalung, dengan memakai celana panjang adalah menunjukkan derajat yang tinggi dalam herarki di lingkungan kraton. warna putih juga menunjukkan sebagai ciri seorang brahmana, sebagai manusia yang memiliki kemenepan yang cukup. hal ini dikuatkan pula dengan tidak adanya ornamen dalam celana tersebut. dalam filosofis hindu, yang tercermin dalam candi borobudur terdapat salah satu contoh relatif sama. seperti tertera dalam karya lukisannya, borobudur memiliki tiga tingkatan yakni, kamadatu, rupa datu dan arupadatu. dari ketiga tingkatan tersebut, tingkat arupadatu adalah gambaran dari manusia yang sudah memiliki kematangan jiwa yang tinggi, sehingga atribut keduniawiaan akan semakin ditinggalkan. demikian juga gambaran yang muncul dalam busana canthangbalung yang tidak mengenakan pernik-pernik dan atribut lainnya, menunjukkan tingkatan brahmana yang sudah putus saliring reh kadonyan. f. bokongan dan pembentuk perut canthangbalung, selain berbagai fungsi ritual juga sebagai hiburan masyarakat, oleh karenanya busananya dibentuk agar dapat menghadirkan sifat yang lucu dan unik. salah satunya adalah pinggulnya dibentuk besar dan perutnya buncit. dengan pinggul yang besar dan perut buncit, maka tubuh manusia akan berubah bentuk menjadi unik, tidak seperti bentuk orang kebanyakan. apabila digunakan untuk gerak, maka gerakgerknya akan lucu dan menimbulkan tawa. 4. rias rias wajah penari canthangbalung relatif sederhana, jadi cukup tata rias wajah biasa dengan sedikit disaput bedak agar tidak terlihat kotor dan pucat. ada pula yang memakai rias dengan rias yang lucu, seperti misalnya rias wajah yang bentuk mata diperlebar, bentuk bibir dipertebal, alis diperpanjang hal ini untuk membuat wajahnya menjadi wajah yang mengundang tawa. dapat pula tata rias wajah diperkecil untuk mencari kesan yang lucu. hal yang paling spesial adalah dengan mengenakan boreh pada seluruh tubuh. seperti pendapat poerbacaraka yang dikutip oleh harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 3 / september – desember 2006 darsiti soeratman bahwa pemakaian boreh ini merupakan salah satu bentuk peninggalan dari kebudayaan hindu. hal ini seperti yang dilakukan oleh para brahmana agama hindu yang memborehi badanya sebagai tiruan soma. penggunaan boreh di tubuh canthangbalung lebih banyak didominasi warna hitam dan putih. dalam hal warnahitam dan putih, orang jawa telah memilah-milahkan arti dan simbolisme yang terkandung di dalamnya. warna putih melambangkan sifat suci dan jujur. warna hitam adalah melambangkan sifat perwira serta pembela kebenaran. dengan memilih menggunakan warna hitam dan putih, sipemakai dan kerabat yang menyertainya akan selalu mendapatkan keselamatan serta terhindar dari semua godaan dan petaka, baik yang datang dari manusia ataupun bukan manusia. dalam asesoris busananya, canthangbalung juga memakai keris atau curiga yang dalam jarwodosok berasal dari curi lan raga. batu curi atau batu runcing berbahaya bagi raga atau badan manusia ( budiono h.1983:89). tergantung dari manusia yang menggunakannya bisa berbahaya tetapi juga dapat sebagai pelindung terhadap bahaya dari luar. keris adalah simbol dari kepandaian, keuletan, ketangkasan hidup manusia. 5. postur tubuh pemilihan figur atau pustur tubuh sebagai penari canthangbalung, adalah pasangan yang berlawanan. misalnya postur tubuh yang gemuk dipasangkan dengan yang kurus, atau postur yang pendek akan dipasangkan dengan yang tinggi. hingga penelitian ditulis, belum didapatkan informasi apa makna simbolik dari pasangan yang berlawanan. menurut krt praja hartaya, postur tubuh yang gemuk dan yang kecil pasangan demikian untuk lebih manampakkan kesan humor dari sisi dandanannya( wawancara 21 oktober 2005). 6. gerak gerak sebagai medium utama dalam tari dapat dikategorikan menjadi tiga yaitu, gerak representatif (wadhag), non representatif (tan wadhag) serta gerak wantah. gerak representatif dimaksud adalah gerak yang menirukan sesuatu akan tetapi sudah distilir sehingga bentuknya tidak seperti aslinya, seperti gerak ulap-ulap, gerak lumaksana,dan gerak srisik . gerak non representatif dimaksud adalah gerak yang tidak menggambarkan sesuatu seperti, gerak sabetan, gerak besud, garak sekaran laras .adapun gerak wantah adalah gerak yang diambil seperti aslinya tanpa distilir, seperti, gerak menirukan orang mencangkul, gerak menirukan orang makan . menurut penuturan sunarno,gerak canthangbalung tidak terpaku pada satu jenis gerak, akan tetapi ada kebebasan gerak. gerak tarinya lebih menuju pada gerak-gerak lawak yang dapat membangkitkan rasa humor atau lucu. dengan kata lain bahwa gerak-gerik dari canthangbalung sangat leluasa, kadang berjalan biasa, kadang menirukan gerak para prajurit, gerak menyapu, lari serta lebih banyak gerak yang menjilo dan nyleneh dengan harapan dapat membuat tertawa( sunarno, wawancara 29 nopember 2005). jika canthangbalung berhasil dapat membuat tertawa pepatih dalem, maka akan mendapatkan hadiah. tindakan melawak tidak saja dengan gerak tetapi dapat juga dengan menggunakan kata-kata apa saja yang diinginkan, pada lelucon sering juga dilontarkan kritik sosial. perbuatan melawak dapat diinterpretasikan yang membuat orang menjadi senang atau gembira sebagai usaha mengubah situasi kaku yang seakan-akan sangat ketat dengan aturan resmi menjadi sedikit longgar, walaupun berlaku beberapa saat. gerak berjalan, gerak berajalan dilakukan sama dengan bentuk berjalan seperti yang dilakukan oleh orang pada umumnya. tetapi dalam konteks tari canthangbalung karena dalam gerak (jalan) terkait dengan posisinyayang berada didepan, dengan tugas tertentu, maka walaupun hanya gerak berjalan, akan tetapi ada maksud yang bermakna dibalik gerak jalan ini. sesuai dengan tugas mengawal dan menjaga keselamatan rangkaian upacara gunungan, dalam berjalan akan memilih arah selalu berada di seputar harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 3 / september – desember 2006 gunungan, kadang mendahului agak jauh, kembali mendekat, kesamping kanan, kesamping kiri dan sebagainya. menurut penuturan sunarno, hal ini dilakukan untuk selalu mewaspadai akan keselamatan gunungan dari segala ancaman yang mungkin terjadi, baik dari manusia, maupun godaan mahluk halus. didalam pelaksanaan gerak berjalan, penggunaan irama seringkali tidak selalu ikut irama gamelan yang ada. irama gerak lebih banyak menggunakan irama bebas, dengan demikian keterikatan pola geraknya masih bebas, kadang-kadang diselingi dengan gerak lumaksono lembehan, lumaksono magito-gito (jakan cepat), atau bentuk lumaksono lainnya. gerak menyapu, gerak imitatif ini menirukan perilaku orang yang sedang menyapu lantai. gerak menyapu yang dilakukan canthangbalung sudah mengalami stilisasi baik volume, tekanan, tempo maupun bentuknya. ragam geraknya diperhalus, dipercepat atau diperluas volume garaknya. menurut beberapa narasumber, gerak atau sekaran ini merupakan gerak yang sering dilakukan dalam sajian canthangbalung, karena selain bentuknya dirasa unik dan lucu, juga terkandung makna yang khusus berkaitan dengan tugas dan fungsinya. menyapu, dalam konteks jawa sering diartikan dengan membersihkan kotoran, disapu agar lingkungan bersih sehingga tempat dimaksud setelah dibersihkan akan ada dalam kondisi yang suci dan bersih. canthangbalung, yang memangku tugas menjaga rangkaian upacara juga selalu membersihkan tempat dimana sesaji akan lewat. bersih bukan saja fisiknya tetapi juga bersih dari segala godaan mahluk-mahluk halus. dengan demikian gerak menyapu sebenarnya mempunyai makna secara spiritual, walaupun secara penampilan tampak sederhana. 7. penutup pemahaman estetika seni tradisi kraton surakarta tidak bisa lepas dengan konsepkonsep hinduisme, islam serta konsep kejawen yang sudah menyatu dalam tata serta pola kehidupan masyarakat. dalam memahami seni tradisi berekaitan dengan konteks estetika, tidak dapat hanya dipahami dari pendekatan bentuk saja, akan tetapi harus secara total. hal ini karena di dunia timur estetika merupakan bagian totalitas kehidupan berbudaya, oleh karena didalamnya mencakup pandangan tentang keindahan, pendidikan, filosofi, ritual,dan ketuhanan . ungkapan dari estetika diwujudkan melalui berbagai lambanglambang dan simbol-simbol berupa benda, kata, tidakan, dan sanepan. seni tari canthangbalung, sebagai bagian dari upacara ritual, pemaknaannya tidak sekedar untuk tujuan estetis yang dinikmati sebagai seni pertunjukan. canthangbalung merupakan simbol atau alat untuk berhubungan masyarakat dengan raja yang merupakan pengejawantahan dewa, hubungan ini dalam pandangan jawa merupakan simbol dari jumbuhing kawula gusti atau manunggaling kawula gusti, guna mencapai suatu keadaan yang tata tentrem karta raharja. hubungan dengan tuhan sebagai tanda syukur, serta hubungan kepada mahluk adi kodrati yang tidak kasad mata lainnya. oleh karenanya segala yang terlihat dari bentuk tari canthangbalung baik gerak, pakaian, rias, warna, posisi tampat dan sebagainya, penuh dengan makna-makna yang pemahamannya harus menyeluruh secara total. semoga penjelasan sekilas tentang makna simbolis dan filosofi tari canthangbalung menjadi bahan perenungan bagi para seniman khususnya penari jawa serta pembaca yang ingin mengetahui tentang tari jawa. daftar pustaka !"#$% &'!'()% *+, !"#$ %&'&( )!*&%&+&"$ ,-'&()% .#/0'1') *'2"#2,)%0'3#2%4566*+11+()% -7)% 89'2#/:'% "'2% ;:<!=$8) "'$'< !.#/&*$ 0&"1-#&$ 21"3& 4&(+&#$ 5!"/&"3$ 6#'-&7&/ 0&"1-#&)% ;=+(>'20= .=+/?=@'("=>=% % &'1'(0'a% .-bc('<+":')%45ddbudiono herusatoto. simbolisme dalam budaya jawa, pt. hanindito, 1983. harmonia jurnal pengetahuan dan pemikiran seni vol. vii no. 3 / september – desember 2006 darsiti soeratman. kehidupan dunia kraton surakarta 1830-1939, taman siswa, yogyakarta 1989. fagg dalam nordholt, ojo demeh, kepemimpinan lokal dalam pembanunan, jakarta: pustaka sinar harapan, 1987. hermien kusmayati, arak-arakan seni pertunjukan dalam upacara tradisional di madura, yayasan untuk indonesia, yogyakarta, 2000. kalinggo honggopura, batik sebagai busana dalam tatanan dan tuntunan, yayasan peduli karaton surakarta hadiningrat, 2002. koentjaraningrat, kebudayaan jawa, balai pustaka, jakarta, 1984. noerid haloei radam, religi orang bukit, yogyakarta:yayasan semesta, 2001 pamardi, "antara tuhan, mitologi dan legitimasi dalam tari srimpi", makalah dari matakuliah pascasarjana ugm yogyakarta. soedarsono, seni pertunjukan indonesia di era globalisasi, jakarta: direktorat jenderal pendidikan tinggi departemen pendidikan dan kebudayaan, 1998. soewito santoso.penyunting, urip-urip, museum radyapustaka, surakarta,1990 turner, v. the fores of symbols : studies in ndembu ritual, ithaca, n.y. cornel unversity press, 1967. wahyu santoso prabowo. "sosok tari tradisi kraton sebuah pengamatan" makalah seminar tari nusantara, stsi surakarta 1998. white, l.a. " the symbol, the origins and basic of human beharvior", dalam hoebels et al., readings in anthropology, london, taper publications inc, 1955. booklet pertunjukan tari canthangbalung dan penyutran di kraton surakarta, tahun 1987. harmonia vol ix no 1 tahun 2009.pdf this research is aimed to give an image of aesthetic education implementation through art in languages and arts faculty in semarang state university. applied method in this research is qualitative method. data collection technique are done by observation, inter view, and documentation. analyzing data is done by using interactive analysis. technique of checking relevance data done by using triangulation. the result of this research shows that aesthetic education implementation through art in languages and arts faculty are done in form of formal and non-formal aesthetics. formal aesthetic education are done by all of students in languages and arts faculty through art materials. non-formal aesthetics education are done by academic consists of students, lecturers, employees, as well as the head of faculty. non-formal esthetics education mainly are done as a coordinating institution of students’ activity unit. aesthetics education for lecturers, employees, as well as the head of faculty mainly done through art appreciation and creation by watching art exhibition, watching art performances, doing art activities which held by faculties and majors events. harmonia vol ix no 1 tahun 2009.pdf abstrack the interesting study is about appropriateness among content in textbook art material in smp as source in ktsp curriculum, with teachers, students, and school condition. this research uses qualitative approach. data collection techniques are observation, interview, and documentation. analyzing data done by using descriptive-qualitative analysis. techniques of checking relevance data use cross-recheck validity. based on the research result, written textbook, which distributed in schools have fulfilled material scope appropriate with competence expected in the curriculum, but the utilization was not in maximum. there are few textbooks that using utilization guidance organized by “yudhistira” publisher but the explanation of content is less systematically. “erlangga” publisher have explained material systematically but it is not enough to simulate students’ thought, however “tiga serangkai” publisher have presented music material completely but it is presented not interestingly. each publisher has their own superiority but they also have drawback. therefore, teachers can exploit the superiority of each publisher but cover their drawbacks with the other books. tujuan pembelajanr an bahan ajar terdapat dalam buku teks metode dan alat penilaian/ evaluasi microsoft word harmonia vol viii no1 2007 harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 tari ratoh bantai (ratoh bantai dance) ahmad syai staf pengajar program sendratasik universitas syiah kuala aceh abstrak tari ratoh bantai ditampilkan dengan desain lantai berbanjar dari awal tarian hingga akhir, tari ratoh bantai berasal dari aceh selatan, dengan menggunakan bantal kecil sebagai properti, tarian ini mengutamakan keserempakan gerak dalam menepuk-nepuk bantal kecil hingga menimbulkan efek suara yang lebih menarik. ragam tari tradisional aceh ini sangat unik, sampai saat ini kurang diekspose menjadi suatu bentuk tulisan yang dapat dijadikan sebagai rujukan untuk dapat diinformasikan ke pada khalayak ramai guna pengenalan lebih lanjut kesenian tradisional aceh di tingkat nusantara. kesenian tradisi memiliki nilai dan makna yang sangat khusus bagi masyarakat aceh pada umumnya. ratoh bantai merupakan salah satu seni tari tradisional aceh, sebagai salah satu seni pertunjukan dan sebagai media ungkap nilai-nilai religius, sarana komunikasi, sarana kesinambungan kebudayaan, dan pembelajaran budaya. kata kunci: ekspos, rujukan, tradisional, religius, komunikasi. a. pendahuluan wjs. purwadarminta mengartikan seni sebagai sesuatu yang indah, halus (1992:4). keindahan itu sangat relative sesuai dengan tingkat pengetahuan dan latar belakang orang yang mengatakan keindahan tersebut. keindahan dalam seni adakalanya dalam bentuk gerak, suara, dan rupa. seni yang diungkapkan dalam bentuk gerak adalah tari, tari dari dahulu hingga sekarang masih memiliki peranan yang sangat penting. tari sebagai salah satu kebutuhan manusia memiliki fungsi sebagai sarana hiburan dan komunikasi. secara etimologi tari merupakan gerak badan (tangan dan sebagainya) yang berirama dan biasanya diiringi bunyi-bunyian (musik, gamelan, dan sebagainya (lukman, 1992: 10-11). soedarsono menyatakan, tari adalah ekspresi jiwa manusia yang diungkapkan melalui gerak-gerak yang ritmis dan indah (1989: 34). tari dinyatakan sebagai ungkapan perasaan manusia melalui gerakan-gerakan tubuh, sehingga tampak dengan jelas bahwa hakikat tari adalah gerak. di samping unsur dasar gerak, seni tari juga mengandung unsur dasar lainnya seperti irama, ritme, iringan, tata harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 busana, tata rias, tempat serta tema. tari dapat dibagi menjadi dua jenis yaitu tari tradisional dan tari kreasi baru. tradisional, menurut purwadarminta (1992: 1069) bersifat turun-temurun yaitu tentang pandangan hidup, kepercayaan dan tarian. tari tradisional adalah tari yang telah mengalami perjalanan sejarah yang cukup panjang, yang selalu bertumpu pada pola-pola tradisi yang telah ada. tari kreasi baru adalah tari yang mengarah kepada kebebasan dalam mengungkapkan gerak ada kalanya masih terikat pada tradisi, dan ada pula yang lepas dari unsur tradisi. zaman dahulu masyarakat aceh telah mengenal tari. tari-tarian yang ditampilkan bertujuan menyambut tamu kehormatan raja, pesta adat, dan acara perkawinan. hal ini menunjukkan bahwa tarian bukan hal yang asing bagi masyarakat aceh. bila dilihat secara umum fungsi tari menurut soedarsono (1989: 55-56) adalah sebagai beriut: 1) untuk tujuan-tujuan magis, dan 2) sebagai tontonan 3) sebagai refleksi dari organisasi sosial, 4) sebagai sarana ekspresi untuk ritual sekuler dan keagamaan, 5) sebagai aktivitas rekreasi atau hiburan, 6) sebagai refleksi ungkapan estetis serta pengemdoran psikologis, dan 7) sebagai refleksi sebagai kegiatan ekonomis. sampai saat ini aceh masih kaya akan kesenian tradisional yang belum dapat disebarkan secara luas melalui tulisan-tulisan ke berbagai media, kondisi ini mengakibatkan kesulitan bagi aceh sendiri dalam mencari informasi tertulis yang telah raib karena bencana dan karena alasan-alasan lain. melalui penelitian ini diharapkan kembali dapat diukir khasanah seni tari tradisi aceh kepada masyarakat secara umum. tari ratoh bantai merupakan tarian yang menggunakan media (red; properti) bantal dan diiringi oleh syair. ratoh bantai diambil dari kata ratoh, berasal dari kata rateb, dalam bahasa arab berarti ’mengungkapkan kalimat-kalimat yang mengagungkan allah swt’. dan bantai artinya bantal yang berukuran kecil, dalam tarian ini bantal dipergunakan sebagai efek tepukan yang dilakukan saat melakukan gerakan. ratoh bantai dilakukan oleh 11 orang penari pria. pemimpin tarian ini berada di tengah-tengah penari. pemimpin tarian ini disebut syech dalam tari tradisional aceh. syech dipilih berdasarkan kemampuan berolah vokal dan memiliki kecakapan yang lebih dari penari yang lain, sehingga keberadaan syech pada tarian ini menjadi barometer kesusksesan pada setiap penampilan kelompok tari. tari ratoh bantai dilakukan dengan gerakan duduk dan kadangkadang dilakukan dengan menggunakan gerakan setengah berdiri pada gerakan-gerakan tertentu. tari ini tidak menggunakan tempat yang luas, penari berbanjar ke samping membentuk satu banjar rapi. gerakan-gerakan yang terdapat pada tari ini serentak dan gerakan yang sangat menarik adalah saat menepuk-nepuk bantal sehingga menimbulkan efek suara yang unik. ritme tepukan bantal diatur sedemikian rupa sehingga harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 menimbulkan suara yang bergantian dan berkejar-kejaran. variasi tepukan bantal yang atraktif memunculkan nuansa tradisi yang sangat kuat, dalam permainan bantal sering disebut dalam bahasa aceh ”lage lhok” . tari ratoh bantai berasal dari aceh selatan, tarian ini belum berkembang secara merata di nanggroe aceh darussalam. perkembangan tari ini di banda aceh baru dalam taraf pengenalan, beberapa sanggar yang telah mengenal dan telah mampu menarikan dengan baik tarian ini, namun pantauan peneliti baru beberapa sanggar di banda aceh yang dapat menguasai tari ratoh bantai ini. oleh karena itu sangat perlu kiranya adanya suatu pengembangan yang lebih serius untuk keberlanjutan kesenian tradisional ini. bantuk penyajian yang harus ditambah volumenya dan terus dapat diperkenalkan melalui pelatihanpelatihan perlu sekali dilakukan untuk pengembangan seni tari tradisional. upaya beberapa sanggar di banda aceh melalui ngo dan organisasi yang tersebar di banda aceh saat ini belum menghasilkan sesuatu yang lebih, namun sebagai tahap awal pekerja-pekerja seni di aceh telah berbuat banyak untuk kesinambungan kesenian tradisional aceh perlahan tapi pasti telah dilakukan. b. makna ratoh bantai sebagai seni tari tradisi, ratoh bantai memiliki makna yang sangat dalam bagi pemilik tarian ini terutama masyarakat aceh selatan. ada simbol-simbol tertentu yang muncul dan dapat dijadikan sebagai isyarat keberagaman masyarakatnya. ikon ini memaknai pergumulan masyarakat aceh selatan dalam menyongsong hari depan dan tetap mengutamakan agama sebagai sendi kehidupan yang tidak terpisahkan. keramahtamahan masyarakat dimunculkan saat memulai tarian ini. sebagai informasi awal bahwa semua tari tradisi aceh selalu diawali dengan gerak saleuem. walaupun berbeda syair namun pada dasarnya setiap akan memulai sesuatu pekerjaan yang akan dilihat oleh orang banyak atau tidak sama sekali maka saleuem sebagai pemulai sangat wajib diutarakan. jika telah dimulai oleh saleuem maka pekerjaan sudah dapat diteruskan dengan sebaikbaiknya, karena telah disaksikan dan direstui oleh orang banyak. syair saleuem saleuem alaikom po intan buleuen kamoe bri saleuem kewareh lingka karena saleuem nabi kheun sunnat jaroe ta mumat tanda mulia mulia wareh ranub lampuan mulia rakan mameh suara ranub kamoe bri bek temakot pajoh hana kamaoe bri racon ngon tuba (assalamulaikum kami memberi salam untuk semuanya karena salam kata nabi adalah sunah berjabat tangan pertanda suatu kemuliaan kemuliaan saudara bagai sirih di dalam puan kemuliaan saudara semerdu suara sirih kami berikan jangan takut untuk memakannya tiada kami bubuhkan racun yang mematikan) pemaknaan suatu kemuliaan yang harus diberikan kapada semua tamu yang datang baik dari dalam harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 wilayah maupun yang berasal dari luar wilayah aceh. penghormatan yang setinggi-tingginya bagi semua makhluk ciptaan allah, yang notabenenya berada dalam suatu kegiatan atau pertemuan. nuansa keramahtamahan selalu menjadi modal awal untuk memulai suatu kegiatan. makna saleuem bagi masyarakat aceh merupakan kemuliaan dan keharusan dalam memulai suatu aktivitas, sehingga keselamatan akan selalu menyertai pada saat manusia itu melakukan suatu kegiatan. saling mendoakan agar selalu diberikan suatu keselamatan dan selalu dalam ridha allah. nuansa religi segera muncul saat saleuem ini diutarakan oleh seorang aneuk syahi dalam tari ratoh bantai ini. seperti tari tradisional yang lain, maka pada saat mulai ditarikan tarian ini suasana khusuk selalu menyertai, hanya suara aneuk syahi saja yang terdengar saat itu. kondisi ini membawa pengaruh kepada kehidupan beragama di wilayah ini. sehingga tidak heran lagi bila sering disebut-sebut dalam kehidupan sehari-hari ”adat bak po teu meureuhom hukom bak syiah ulama. hukom ngon adat lagee zat ngon sifeut” uraian pepatah petitih dari masyarakat aceh ini secara umum dapat diperjelas. agama dan adat istiadat seperti dua sisi mata uang yang tidak dapat dipisahkan. dalam kehidupan masyarakat aceh dua sisi ini saling melengkapi satu dan lainnya. hukum di sini erat dengan hukum agama islam, dan adat adalah kebiasaan hidup sehari-hari. sampai saat ini di nanggroe aceh darussalam masih tetap mengutamakan agama sebagai pusat perhatian dan pengatur dalam kehidupan sehari-hari. koentjaraningrat menyatakan bahwa ada 7 unsur kebudayaan universal, yaitu 1) bahasa, 2) sistem pengetahuan, 3) organisasi sosial, 4) sistem peralatan hidup dan teknologi, 5) sistem mata pencaharian hidup, 6) sistem religi, dan 7) kesenian. berkaitan dengan itu menurut pengamatan malinowski tentang kebudayaan, bahwa semua unsur kebudayaan akhirnya dapat dipandang sebagai hal yang memenuhi kebutuhan dasar para warga masyarakat. semua unsur kebudayaan bermanfaat bagi masyarakat di tempat unsur kebudayaan itu ditemui. setiap pola kelakuan yang sudah menjadi kebiasaan, setiap kepercayaan, dan sikap yang merupakan bagian dari kebudayaan dalam suatu masyarakat memenuhi beberapa fungsi mendasar dalam kebudayaan yang bersangkutan. fungsi suatu unsur budaya adalah kemampuannya untuk memenuhi beberapa kebutuhan primer dan kebutuhan skunder. bermacam-macam kebutuhan pokok ini di antaranya makanan, reproduksi, merasa enak badan, keamanan, dan pertumbuhan. dalam memenuhi kebutuhan dasar itu muncul kebutuhan jenis kedua yang juga harus dipenuhi kebudayaan. kesenian sebagai salah satu contoh unsur kebudayaan terjadi karena manusia ingin memuaskan kebutuhan nuraninya yang berhubungan dengan keindahan. akan tetapi sekarang di samping untuk memenuhi keindahan, kesenian juga memiliki fungsi yang banyak, baik bagi mereka yang terlibat langsung di dalamnya harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 sebagai pelaku maupun bagi masyarakat pendukungnya di luar pelaku seninya. syair kisah alahai deup pucok reudeuep bek ta lheuep-lheuep luka jaroe that lon karat luka paleuet karna reudeup le that duroe bukon that sayang lon kalon jaloh kayee hana boh si umu masa umpama tanyoe wahe e rakan meutan sembahyang han sakon guna (pucuk-pucuk daun berduri jangan dipetik luka tangan kalau dipaksa juga luka telapak tangan karena batang tersebut banyak duri bukan ku sayang ku lihat jala kayu tak berbuah seumur hidup bagaikan kita hai rekan-rekan jika tidak sembahyang takkan berguna) kisah disampaikan secara utuh kepada penonton biasanya berisikan nasihat-nasihat agama, tentang salat lima waktu, menjaga silaturrahmi dan kegiatan lain yang setiap hari dilakukan oleh manusia. perumpamaan-perumpamaan ini merupakan nasihat (peutuah) jika diperhatikan dengan baik, dapat dirasakan dan dijalankan dalam kehidupan manusia. melalui kisah ini para penonton diharapkan mengerti terhadap sajian yang disampaikan. gerak kisah dapat diuraikan bertukar-tukar tangan kiri dan kanan sehingga membentuk satu kekuatan dan keserentakan yang menarik. maknanya adalah sesuatu pekerjaan, sesulit apapun jika sedikit demi sedikit dilakukan akan menemukan suatu keberhasilan, biasanya cobaan demi cobaan ada di dalamnya, tergantung manusia dalam menjalani setiap cobaan tersebut, semakin tinggi ilmu seseorang dalam sesuatu hal akan semakin tinggi pula cobaan yang dihadapi. inti dari gerak kisah ini memberikan penerangan kepada penonton secara umum tentang bagaimana manusia hidup di dunia dengan penuh kesabaran dan saling menolong satu dengan lainnya. syair ekstra hasrat di hate lon pula bungong hiasan taman keu ayeuem mata lon harap bungong hai bungong rayeuk beurijang lon dodo sayang bungong keumang ngon ie mata (hasrat hati menanam bunga hiasan taman teduh di mata ku harap bunga kembang dan indah awal ku sayang indah, damai di mata) sebagaimana layaknya tari tradisional aceh lainnya, tari ratoh bantai memiliki ekstra. ekstra dalam tari tradisional aceh adalah upaya pengembangan dan penggabungan yang tertata. dengan kata lain kreasi syair dan gerakan selalu ada di ekstra. kondisi ini akan terus dapat diamati, rata-rata ekstra merupakan wilayah pengembangan dari tari tradisional yang ada di aceh. ratoh bantai yang berkembang di banda aceh sedikit berbeda dengan ratoh bantai yang terdapat di aceh selatan, perbedaan ini terletak pada ekstra. pada gerak ekstra ini dapat diamati lebih lanjut kreativitas seniman tari aceh, pengembangan tardisi ada pada gerak ekstra. lebih jauh ekstra dapat dikatakan dengan ”tambahan” ada hal-hal yang perlu penambahan yang membuat sajian tari ratoh bantai lebih atraktif dan menggugah penonton. syair lanie teh ku titeh bunthok mak harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 teh ku timang payong lahilahalah teh ku timang payong keumang boh hate ma lahilohalah ya hohallah alahea laheal-laheal-laheal laho ibarat ranup pat hana mirah di pat peuneurah yang hana bajoe di pat keuh narit yang hana salah meunyoe han awaai teuntee na bak dudoe (yang ku sayang buah hati ibu teh kutimang payong lahilahalah teh kutimang payong bunga buah hati ibu lahilahalah yahoallah allah eha laheal-laheal-laheal-laho tiada sirih yang tidak merah tiada alat pemeras yang tida ada baji tiada kata yang tidak pernah salah jika tidak di awal tentu pada bagian akhir) kebiasaan tari tradisional aceh meletakkan ending tarian pada gerakan terakhir. lanie dalam tarian aceh merupakan penutup tarian. penutup tari tradisional aceh sangat mendadak, jika digambarkan dalam bentuk grafik, grafiknya akan naik pada bagian lanie. pesan-pesan penutup selalu disampaikan dan diperkuat lagi pada bagian ini. syair diuraikan dengan kecepatan vokal tertentu sehingga dapat diulangulang oleh para penari dan akan dapat diikuti oleh penonton, sehingga penonton akan lebih jelas makna yang terdapat pada penyajian tari ratoh bantai ini. permohonan maaf, dan salam penutup mengiringi gerak tari pada bagian lanie. untuk itu jika diulang kembali kesan yang terdapat pada bagian akhir ini merupakan ending yang klimaks, dan akan menciptakan nuansa pertanyaan yang dalam, tibatiba dan berakhir. c. fungsi ratoh bantai fungsi tari dalam kehidupan manusia tidak sekedar sebagai ungkapan/ekspresi spontan tatkala senang dan sedih. tari juga berfungsi sebagai sarana upacara adat maupun keagamaan. tari juga berfungsi sebagai alat pemersatu bangsa. oleh karena itu tari berkembang sesuai dengan kebutuhan sosial sehingga mempunyai fungsi yang lebih penting dalam tata kehidupan bermasyarakat. fungsi tari adalah sebagai sarana upacara keagamaan, adat istiadat, hiburan kerakyatan, pergelaran, dan pendidikan. (sugiyanto, 2004: 145). dalam kehidupan manusia tari sebenarnya memiliki dua fungsi umum yaitu tari yang bersifat sakral dan bersifat profan. tari yang bersifat sakral artinya ditujukan untuk kepentingan sesuatu yang dianggap keramat atau dipujanya atau yang berkaitan dengan sesuatu yang mengandung kekuatan ghaib. sedangkan yang bersifat profan berarti ditujukan untuk kepentingan manusia manusia atau masyarakat secara langsung, baik merupakan hiburan maupun komunikasi seni (arthur, 1999: 10) ratoh bantai bagi masyarakat aceh selatan khususnya memiliki fungsi tersendiri yaitu: 1) media hiburan sudah sewajarnya pergeseran fungsi akan muncul pada tari tradisi yang berkembang saat ini. fungsi tari tidak hanya memberi arti bagi penikmat/ pemiliknya, namun secara umum fungsi itu telah membawa masyarakat pada tingkat apresiasi yang sangat tinggi. menghargai dan mencoba menafsirkan kandungan syair-syair yang terdapat pada tari sebagai seni pertunjukan. harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 seni tari tradisi masih mendapatkan tempat bagi para penimatnya. demikian pula hendaknya dengan tari ratoh bantai dalam kehidupan masyarakat aceh selatan. syair-syair yang diadopsi dari kegiatan hidup sehari-hari menjadi pesan yang tidak dapat dilupakan, hanya bagaimana masyarakat pemilik seni tradisional ini mengaplikasikan dalam kehidupan sehari-hari. seni pertunjukan ini menjadi identitas tersendiri bagi masyarakat aceh selatan. hiburan yang bernuansa religi ini, terus akan berlangsung seiring tarian ini terus dipertunjukkan dalam acara-acara tertentu. masyarakat sebagai pemilik kesenian ini sangat bangga dan antusias terhadap setiap pertunjukannya, oleh karena itu tari ratoh bantai akan tetap dan terus berkembang pada masyarakatnya. dengan demikian tidak menjadi hal yang aneh jika daerah lain di nanggroe aceh darussalam menyenangi dan berupaya untuk mempelajari warisan leluhur yang tetap harus dijaga dan dikembangkan. 2) media komunikasi keindahan logis dari suatu penyusunan struktur dapat memberikan rasa kebenaran yang bersifat universal. nilai-nilai intrinsik seni inilah yang merupakan ciri khas seni yang bersifat otonom. ratoh bantai, sebagai seni pertunjukan pada awalnya juga berfungsi sebagai media komunikasi. komunikasi disini diartikan sebagai penyampai pesan kepada para penonton. pesanpesan yang sengaja diuraikan melalui syair untuk dapat diungkapkan kepada para penikmat, sehingga secara langsung penonton dapat menerima pesan secara utuh dan dapat menyimpulkan pesan-pesan yang sengaja disampaikan melalui syair oleh syech-syech tari ratoh bantai. komunikasi merupakan hal yang sangat penting dalam seni pertunjukan, melalui penonton, seni pertunjukan dapat disosialisasikan menjadi hal yang sangat penting untuk keberlanjutan seni. komunikasi dalam tari ratoh bantai terjadi manakala para penari mulai mempertunjukkan kemampuan dalam menepuk-nepuk bantal dengan syair yang cepat dan ritme yang saling kejar mengejar. penonton diajak untuk konsentrasi dan benar-benar konsentrasi pada tampilan ini, sehingga kekaguman penonton pada bagian ini terus muncul. syair diarahkan kepada penonton untuk dicerna sementara gerakan terus bergantian dan ritme tepukan bantal terus meningkahi gerak dan syair ratoh bantai dengan sempurna. 3) media silaturrahmi ada sesuatu yang berbeda dalam pertunjukan tari ratoh bantai, salah satunya adalah wadah silaturrahmi. silaturrahmi sangat dianjurkan dalam agama islam, pada pertunjukan tari ratoh bantai fungsi ini sangat diutamakan, selain penonton dapat bertemu satu dengan lainnya pada kesempatan ini mereka dapat menikmati hiburan islami yang atraktif dan mempertebal rasa persatuan dengan tali keimanan. syair-syair yang dilantunkan oleh para penari selalu mengingatkan kepada para penonton untuk lebih mendekatkan diri kepada ilahi, mengingat hari akhir. secara tidak harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 langsung selain sebagai media hiburan dan silaturrahmi, tari ini menerangkan kepada penonton bagaimana manusia harus lebih siap dalam menghadapi semuanya. silaturrahmi yang terjalin antar umat mewarnai kehidupan dan perjalanan manusia. oleh karena itu tari ratoh bantai ini diupayakan harus tetap lestari seiring dengan perkembangan zaman. d. proses kreatif pengembangan tari ratoh bantai proses kreatif dalam upaya pengembangan tari ratoh bantai dilakukan dengan berbagai tahap diantaranya: memberikan pengenalan pengalaman tari kepada generasi penerus (peserta latihan). mengajarkan gerak dasar kepada para peserta. mengelompokkan peserta pada kelompoknya masingmasing untuk penyesuaian gerak lebih lanjut. proses latihan secara kelompok dipantau oleh pelatih. memberikan kesempatan tampil bagi kelompok yang dikategorikan baik dan dapat menguasai ratoh bantai lebih atraktif. proses kreatif dalam rangka mengembangkan dan memperkenalkan tari tradisi kepada orang lain dilakukan dalam waktu berkala, artinya tidak sewaktu waktu dilakukan, tetapi membutuhkan kesiapan khusus untuk dapat mengumpulkan peserta dalam jumlah besar (minimal 3 – 5 kelompok). kondisi ini dilakukan agar masing-masing peserta mengalami dengan sendirinya dan mengetahui secara lebih serius tentang pola-pola pembelajaran dan penularan tari secara keseluruhan. proses latihan ini dilakukan oleh satu kelompok sanggar seni dan bekerja sama dengan taman budaya dan dinas pendidikan daerah setempat, sehingga pesertanya lebih serius berlatih dan mendapatkan perhatian yang khusus dari dinas terkait dalam rangka pengembangan kesenian tradisional lebih lanjut. gerak dasar dilakukan saat semua peserta telah mengenal secara singkat sejarah tari yang akan dipelajari, sehingga jika tari ini dilanjutkan pengejarannya kepada orang lain, maka secara langsung sejarah tari dan asal usul tari tradisi yang akan diajaran telah dikenal oleh peserta latihan secara keseluruhan. gerak dasar dilakukan secara menyeluruh, artinya semua peserta melakukan gerakan dengan panduan dan pantauan pelatih yang dibantu oleh para asisten pelatih untuk mengkontrol gerakan para peserta yang mengikuti pelatihan tari ratoh bantai ini. gerakan dipelajari perbagian, seorang pelatih memberikan contoh gerak, kemudian diberikan penjelasan secara detil bagaimana gerak itu dilakukan kemudian dilanjutkan oleh para peserta yang mengikuti latihan tari ratoh bantai ini. latihan perbagian gerakan dilakukan secara berulangulang. setelah para peserta dianggap dapat melakukan gerakan pertama, maka dilanjutkan pada gerakan berikutnya kemudian digabungkan gerak pertama dengan gerak ke dua secara berkelanjutan. pada tahap latihan gerak dasar ini para peserta mulai merasakan, sakit pada bagian kaki, namun tidak menyurutkan semangat untuk terus melakukan gerak demi gerak. pengajaran gerak dasar ini membutuhkan waktu 1 minggu. secara langsung para peserta dapat melakukan gerakan pertama hingga harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 gerakan terakhir pada bentuk tari ratoh bantai. proses selanjutnya adalah membentuk kelompok (3-5 kelompok) sesuai dengan jumlah peserta yang mengikuti proses pelatihan tari tradisi. masing-masing kelompok pada tari ratoh bantai terdiri dari 11 orang, jadi pelatih dapat menentukan siapa yang mampu menjadi syech dalam tarian ini. syech adalah pemimpin yang terdapat pada tari tradisional aceh, pemimpin ini dianggap lebih dalam menarikan tari tradisional, artinya memiliki suara yang baik, gerakan yang baik dan secara langsung dapat memberi semangat kepada para anggotanya pada saat melakukan tarian secara bersama-sama. sehingga pada saat mulai berlatih peserta-peserta pelatihan dapat dipilih secara langsung untuk menjadi syech pada kelompoknya masing-masing. penentuan syech dilakukan berdasarkan pengamatan yang dilakukan oleh para asisten pelatih dan para pelatih sendiri. biasanya dalam penentuan syech ini tidak terlalu mengalami kesulitan, karena kriteria menjadi syech pada dasarnya sudah jelas untuk tari tradisional aceh. warna kelompok dengan sendirinya akan muncul setelah peserta disatukan dalam kelompokkelompok tertentu. saatnya untuk memadukan gerak-gerak yang telah dipelajari selama 1 minggu untuk diwujudkan dalam tiap-tiap kelompok. proses kreatif di sini akan terlihat lebih jelas setelah para peserta dimasukkan ke dalam masing-masing kelompok. tiap-tiap kelompok dibimbing oleh satu sampai dua orang asisten pemantau. asisten pelatih harus lebih aktif dan jeli melihat tiap-tiap gerakan yang harus disusun kembali oleh masingmasing kelompok, sehingga tata urutan pada tari ratoh bantai tidak mengalami perubahan. pembenahan gerak-gerak yang belum maksimal secara detil dapat dilakukan pada tahap ini, kegunaannya adalah kesamaan visi masing-masing peserta. oleh karena itu proses penggabungan gerak dalam kelompok memerlukan pantauan/bimbingan yang lebih serius dari para asisten pelatih maupun oleh pelatih sendiri. dengan demikian setelah proses pengelompokan dilakukan dan latihan secara serius, akan langsung dapat diketahui kelompok-kelompok yang dinyatakan berhasil baik dalam upaya kerjasama kelompoknya dan dapat melakukan gerakan dengan sebaik mungkin sehingga proses pembelajaran tari ratoh bantai yang telah dilakukan berhasil dan sempurna. kelompok yang dinyatakan baik, dapat melakukan gerakan dengan lebih atraktif diberikan kesempatan untuk tampil pada acara penutupan latihan berkelompok sehingga mereka memiliki pengalaman tersendiri saat berada di depan orang banyak dalam mempertunjukkan penampilan tari ratoh bantai. proses pengembangan tari ratoh bantai dilakukan seperti di atas jika memiliki pendanaan yang matang, sering sekali seniman yang ada di banda aceh khususnya tidak memiliki anggaran yang cukup untuk menindaklanjuti kehidupan seni tradisi yang sudah harus membumi. kondisi ini diperparah lagi dengan kurangnya perhaian pemda dalam upaya pelestarian dan harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 pengembangan kesenian tradisional yang ada di nanggroe aceh darussalam umumnya. kreativitas estetis dapat dikatakan manakala ia berperan, tidak hanya involutif, yakni tidak hanya peduli pada kepentingan sendiri, hidup seni itu sendiri atau menghibur diri sendiri. kesenian sejati haruslah berciri transformatif, yaitu menampilkan kepedulian terhadap nasib orang-orang lain terutama mereka yang terdesak oleh yang kuat. kesenian harus mampu menunjukkan jalan kesadaran atau perubahan struktur mana yang seharusnya ditempuh agar terjadi perbaikan nasib, entah dalam keadilan, maupun saling menghormati hak-hak dasar insani (zainal, 2002: 74). daftar pustaka poerwadarminta. 1992. kamus besar bahasa indonesia. jakarta: balai pustaka. koentjaraningrat. 1990. sejarah teori antropologi. jakarta: universitas indonesia lukman. 1992. kamus bahasa indonesia. jakarta: balai pustaka peursen, c.a. van. 1988. strategi kebudayaan. jakarta: kanisius subrana, abay d. 1995. islam dan kesenian. yogyakarta: majelis kebudayaan muhammadiyah universitas ahmad dahlan. arthur. s nalan. 1999. aspek manusia dalam seni pertunjukan. bandung: stsi sumardjo, jakob. 2000. filsafat seni. bandung: itb bandung. d:\harmonia\2003\2\vol. 4 no. 2 mei_agustus 2003.pdf ���������� ��� ���� ���� ��������������������������������������������������������������� 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��8����#�'(�)�8���d�c�k-�c��+,#d��8�$�� ��lm�4� ����������i�;��3�������6��4������������i�4��n�8����#�'(��+,'c�d� microsoft word harmonia vol viii no1 2007 harmonia jurnal pengetahuan dan pemikiran seni refleksi teori kritik seni holistik : sebuah pendekatan alternatif dalam penelitian kualitatif bagi mahasiswa seni (reflection on art criticism and holistic art criticism : an alternative approach of qualitative research for art students) s. suharto staf pengajar sendratasik fbs universitas negeri semarang abstrak kritik seni sudah lama dikenal dalam dalam dunia seni maupun sastra. dalam dunia pendidikan maupun penelitian pun sudah banyak diterapkan. walaupun semula, seperti sifatnya yang evaluatif, pendekatan kritik seni digunakan untuk penelitian evaluatif, namun dalam perkembangannya dapat digunakan untuk jenis penelitian lainnya baik penelitian dasar maupun terapan karena sebenarnya dalam pendekatan ini ada aspek deskriptif, interpretatif, dan aspek evaluatif. pendekatan kritik seni yang dalam analisisnya menggunakan tiga faktor seperti faktor genetik, objektif, dan afektif dapat memecahkan masalah penelitian secara komprehensip seperti sifat penelitian kualitatif yang fenomenologis dan hermeneutik. sifatnya yang lentur, pendekatan ini dirasa sangat aplikatif untuk penelitian-penelitian pada umumnya lebih khusus lagi untuk penelitian dalam cabang ilmu humaniora. kata kunci : pendekatan kritik seni holistik, refleksi, fenomenologi, hermeneutik a. pendahuluan tidak bisa dipungkiri bahwa penelitian naturalistik yang dikenal secara luas sebagai penelitian kualitatif mengalami perkembangan yang sangat pesat dengan berbagai bentuknya. istilahnya pun bisa bermacam-macam misalnya penelitian naturalistik, pasca positivistik, etnografi, fenomenologis, hermeneutik, subjektif, interpretif, humanistik, dan studi kasus. biasanya istilah-istilah ini muncul karena adanya penekanan pandangan yang berbeda yang dianggap lebih penting yang mendorong untuk memilih istilah khusus untuk membedakan dengan azas mereka dengan azas yang lain (lincoln & guba, 1985). menurut sutopo (1995 : 4) pilihan istilah seperti disebut di atassering didasarkan pada bidang ilmu yang menggunakannya, misalnya penelitian naturalistik datang dari sosiologi, etnografi datang dari antropologi, dan studi kasus datang dari psikologi. penelitian kualitatif bersifat sangat lentur sehingga sangat vol. viii no. 1 / januari – april 2007 harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 terbuka bagi bidang-bidang ilmu secara luas.dalam segi disainnya, misalanya, penelitian kualitatif bisa bergerak luwes mengikuti irama interpretasi, refleksi, yang juga bisa bersifat subjektif. penyusunannya bisa disesuaikan dengan kondisi sebenarnya yang dijumpai di lapangan. itulah sebabnya penganut aliran positivisme sangat menentangnya. mereka memandang penelitian kualitatif tidak ilmiah. namun demikian, perdebatan panjang ini malah berdampak positif terutama dalam meningkatkan kemantapan paradigma penelitian kualitatf, terutama dalam metodologinya. guba (1985) adalah salah satu tokoh kualitatif yang banyak mengkritik pandangan positifisme sebagai aliran penelitian kuantitatif yang dianggap kurang memadai. aktivitas penelitian kualitatif sangat kuat diwarnai oleh tafsir hermeneutik yang mengarahkan pada penafsiran ekspresi yang penuh makna dan dilakukan dengan sengaja oleh manusia. setiap karya maupun peristiwa selalu memiliki makna sebagai hasil interpretasi para pelaku atau pembuat karyanya. karya seni misalnya,merupakan hasil interpretasi atas sesuatu, jika sampai pada pengamat karya tersebut harus diinterpretasi pula. dalam penelitian kualitatifalur disainnya mirip dengan proses pengamatan seni yang sering disebut kritik seni. peneliti tidak pernah menganggap bahwa setiap deskripsi bersifat definitif, seperti halnya dalam penelitian kuantitatif. tidak ada kesimpulan yang bersifat general. sesuai dengan sifatnya yang fenomenologis, bisa saja beda tafsir jika ada dua pengamat seni atau peneliti yang mengamati suatu subjek. jika fenomenanya mendukung maka deskripsinya dapat dipertanggung jawabkan. karena menyangkut penafsiran tesebut maka tidak lepas dari penelitinya dan yang diteliti (teks). dalam menafsirkan sebuah karya seni, bisa disebut teks, sebuah hasil penafsiran sepenuhnya ada di tangan peneliti. penafsiran termasuk evaluasi sebuah karya seni memerlukan tahap-tahap dan aspekaspek yang dikaji. tahap-tahap ini sesuai dengan yang ada pada penelitian kualitatif. istilah kritik seni sudah lama didengungkan oleh para peneliti seni, kritikus seni maupun pemerhati sastra. bahkan, dalam bidang ilmu lain, kritik seni dapat digunakan. dalam disiplin ilmu humaniora, misalnya, eliot eisner (1979:1983) menganjuran perlunya penelitian dan evaluasi dengan menggunakan pendekatan kritik seni. seperti halnya sifat kegiatan kritis yang bersifat evaluatif, kegiatan eisner ini lebih memfokuskan kepada aktivitas evaluasi program pendidikan. dari pengalaman penelitian-penelitiannya eisner semakin mantap dan mempertegas bahwa kritik mampu menyajikan tiga aspek pokok dalam evaluasi, yaitu (1) aspek deskriptif, (2) aspek interpretative, dan (3) aspek evaluatif (sutopo : 1995:6). adalah hb. sutopo yang sejak tahun 1990-an lebih gencar mendengungkan kritik seni dan selanjutnya kritik seni holistik di indonesia sebagai sebuah pendekatan penelitian kualitatif. beberapa usaha telah dipaparkannya sekaligus diterapkan dalam penelitianpenelitiannya, di lingkungan harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 akademiknya, maupun masyarakat akademik pada umumnya. pendekatan kritik seni yang dianggap sangat komprehensif dianggap para praktisi penelitian dan akademisi cukup layak diterapkan dalam penelitian kualitatif. pendekatan ini juga sekaligus menutup bebarapa kekurangan yang sering dialami beberapa pendekatan yang masih dianggap berat sebelah dalam memecahkan sebuah masalah misalnya pendekatan historis, formalis, maupun pendekatan lain yang dianggap kurang komprehensif untuk memecahkan suatu masalah penelitian. masalah ini juga sering penulis jumpai pada penelitianpenelitian mahasiswa yang mengupas suatu permasalahan hanya permukaan saja yang juga hanya dilihat dari satu sisi saja tanpa melihat sisi lain yang juga mempengaruhi suatu karya, maupun program, atauperistiwa.namun demikian, dalam perkembangannya ide pendekatan kritik seni ini bukan tidak mendapat hambatan atau pertentangan. masih banyak praktisi penelitian maupun para akademisi meragukan pendekatan ini, apalagi jika diterapkan untuk semua bidang ilmu dalam penelitian kualitatif. pertaanyaan sederhana pernah disampaikan beberapa peneliti seni, “bagaimana jika yang diteliti atau pecipta karya, atau program sudah meninggal dunia?” pertanyaan yang selalu ditanyakan bagi peneliti selain seni adalah “bagaimana mungkin sebuah pendekatan penelitian seni yang memiliki karakter tersendiri bisa diterapkan untuk penelitian pada umumnya?”. tulisan ini sedikit memaparkan teori tentang kritik seni dan kritik seni holistik, dan juga hubungannyadengan penelitian kualitatif. paparan ini juga merupakan refleksi sebuah teori yaitu kritik seni yang dimulai dari definisi, baik dari bagian-bagian teori tersebut dan hubungannya satu sama lain termasuk dalam penelitian kualitatif. b. refleksi teori kritik seni dan kritik seni holistik banyak definisi yang berhubungan dengan kritik seni yang dikemukakan oleh para ahli. wikipedia (2006) mendifnisikan secara umum bahwa “art criticism is the written discussion or evaluation of visual art. art criticism usually criticize art in the context of aesthetics or the theory of beauty. kritik seni merupakan diskusi tertulis atau evaluasi tentang seni visual. kritik seni biasanya mengkritisi seni dalam konteks keindahan atau teori tentang keindahan. menurut wikipedia, kritik seni ini sudah menjadi genre tersendiri yang merujuk pada sebuah studi seni yang sistematik yang diciptakan oleh para ahli. (www.en. wikipedia.org/wiki/art-criticism. up dated ondesember2, 2006) definisi yang lebih rinci juga dikemukakan oleh swarts (2001) yang menjelaskan bahwa “art criticism is the process of analyzing, and interpreting works of art in terms of form, content, and context”. kritik seni adalah sebuah proses menganalisa dan menginterpretasi karya seni dalam hal bentuk (form), isi (content), dan konteks (konteks). bentuk (form) dapat harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 didefinisikan sebagai elemen karya seni yang bebas dari maknanya (misalnya warna, komposisi, atau ukuran pada sebuah bendera). bentuk ini lepas dari emosi maupun simbol yang melekat pada bendera tersebut. jadi, “form is how the works is put together”. isi (content) merupakan jawaban pertanyaan, “what is this artwork about, including iconography, straightforward imagery, and describable facts or actions”. karya seni berbicara tentang apa? misalnya, bendera tadi ; merupakan representatif dari nasionalisme, kebebasan. konteks (context) sebuah karya mengarah pada lingkungan di sekitar seniman, karya seni, dan penikmatnya (audience). misalnya sebuah bendera yang dicipta selama perang dunia ii; seniman atau pencipta karya tadi berusaha menciptakan suasana perasaan (mood) negara pada saat itu. pertanyaan yang timbul sekarang adalah bagaimana kritik seni dapat menganalisa, mengevaluasi, dan menginterpretasi seni dalam hal bentuk, isi, dan konteksnya. pendekatan-pendekatan yang mungkin berbeda menunjukkan perlu adanya aturan dalam metode kritik ini. karena metode kritik seni berkembang sebagai bagian dari sebuah teori, maka kebanyakan kritik jaman sekarang nampaknya setuju bahwa keragaman pendekatan sangat diperlukan (www.zeroland.co.nz /art_theory. up dated on december 3, 2006). stephen c, pepper telah membuat sebuah dampak yang cukup signifikan dalam penggunaan kritik seni dalam pendidikan seni dengan multi-teorinya. ia merujuk pada proses kritik seni yang mengkonsolidasi fakta-fakta tentang form, content, dan context dalam sebuah objek seni sebagai “the world hypothesis” (cromer, 1990:37). ia juga berfikir bahwa setiap aplikasi teori kritik seni dapat menghasilkan interpretasi unik dalam “the world hypothesis”. pepper mendisain empat teori, yang dianggapnya sebagai “proses kritik yang menyeluruh” (holistic processes of criticism). dalam bukunya “the critisism of art”, stolnitz menulis “[art criticism] relates the work of art to the great world and shows its relevance to own experience. in many ways, criticism is educative. it teaches, but it doses not simply impact knowledge. directly or indirectly, it instructs perception, thought, feeling, and imagination, so that (the student) can all learn toward the work of art sympathically and knowingly” (stolnitz, 1960: 494) (kritik seni berhubungan dengan karya seni mengarah kepada dunia yang besar dan menunjukkan relevansinya dengan pengalaman kita sendiri. dalam banyak hal kritik seni bersifat mendidik. kritik seni mengajarkan, tetapi tidak secara sederhana memberi dampak pengetahuan. secara langsung maupun tidak langsung mengajak persepsi, pikiran, perasaan, dan imajinasi, agar supaya (para siswa) dapat belajar dan lebih tahu tentang karya seni dengan simpatik). teori kritik menyokong keterbukaan, yang secara terus menerus berproses sendiri, dan akhirnya memberi kontribusi pada reformasi sosial (swarts, 2006:1). jelaslah bahwa jikakritik seni mengajak persepsi, pikiran, perasaan, dan imajinasi, sementara kritik tersebut menyokong sebuah harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 keterbukaan, dan dengan sendirinya terus menerus berproses, maka bisa hal ini bisa menjadi formula yang baik untuk sebuah pengalaman belajar. menurut stolnitz (dalam swarts, 2006:2) jika pendidikan tidak membicarakan reformasi sosial maka hal itu tidak bisa dikatakan pendidikan. pendidikan memerlukan perubahan yang mensyaratkan peran pendidik ynag tidak hanya mengisi anak didik dengan pikiran dengan informasi, tetapi jauh dari itu harus mengisi pikiran mereka dengan keteramplan bagaimana mendapatkan, menganalisis,dan memprosesinformasi. menurut stolnitz, masadepan sebuah masyarakat tidak menjadikan kemampuan masyarakatnya untuk memiliki pengalaman hidup yang pasif tetapi menjadikan kemampuan mereka ke dalam pengalaman hidup secara aktif. jadi, kemampuan menangkap, berfikir, merasakan, membayangkan seperti dalam proses kritik yang terbuka diperlukan untuk semua profesi. menurut stolnitz (dalam sutopo, 1995:7) kritik seharusnya berupa aktivitasevaluasi yang memandang seni sebagai objek untuk pengalaman estetik. pengalaman itu dihasilkan lewat kajian teliti atas karya seni sejalan dengan pandangan flaccus (1981) yang merumuskan kritik sebagai studi rinci dan apresiatif tentang karya seni. dari pandangan ini, di satu sisi kritik merupakan keyakinan dan semangat yang lebih besar dari logika seorang pecinta seni yang berusaha mendukung karya, sedang di sisi lain ia merupakan analisis cendekia dan teliti atas karya seni disertai berbagai tafsir dengan alasan-alasannya. sudah diakui bahwa di dalam dunia kritik seni terdapat beragam struktur yang sering saling bertentangan. menurut osbone (dalam sutopo, 1995:8): para kritikus sering saling berbenturan tidak hanya penggunaan metode yang dianggapnya sah tetapi juga berbeda mengenai peran yang harus dipenuhinya. perbedaana itu itu kemudian memunculkan kritikus yang cenderung berkelompok untuk menjaga aktivitas kritiknya supaya tetap mencerminkan secara kuat disiplin ilmunya. kritik aliran sosiologis dan psikologis yang selanjutnya pecah menjadi dua arah yaitu aktivitas psikologis senimannya dan aktiviats psikologis penghayatnya, lebih menjelaskan adanya keragaman kritik tersebut. jika diperhatikan, perbedaan kritik yang tampak jelas pada strukturnya terutama disebabkan adanya pemihakan yang berlebihan pada sumber nilai seni yang dianggap paling sah dalam mengevaluasi karya. sumber nilai setiap karya seni pada dasarnya berkaitan langsung dengan tiga komponen utama, yaitu (1) seniman, (2) karya seni, dan (3) penghayat. menurut sutopo (1995 : 8), tidak ada kehidupan seni dalam masyarakat mana pun yang salah satu komponen seni itu ditiadakan. inilah yang menjadikan proses tersebut tidak cukup dengan sebutankritik seni saja tetapi kritik seni holistik. kritik seni harus melibatkan tiga komponen itu dalam satu kesatuan yang saling berkaitan. dalam mengevaluasi sebuah karya seni tidak bisa mengabaikan salah satu komponen sumber nilai tersebut jika harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 ingin mendapatkan pemahaman yang utuh. pepper (dalam swarts, 2006:2) sebenarnya telah memberikan gagasan tentang empat teorinya yang dipercayai sebagai proses kritik holistik (holistic processes of criticism). menurut pepper sistem dalam kritik seni adalah; (1) mechanistic criticism, (2) formalistic criticism, (3) contextualistic criticism, dan (4) organismic critcism. mechanistic criticism berdasarkan pada estetik kesenangan (pleasure aesthetics. formistic criticism berkaitan dengan intelektual, fisik, dan norma budaya yang menyangkut isi karya (content). contextualistic criticism, berarti para para pelaku (contextualist) bekerja dari seluruh karya ke bagian-bagian, agar supaya memahami secara lebih baik. organismic criticism memfokuskan pada hubungan bagian-bagian sehingga menjadi seluruh karya yang menyatu. menurut pepper, walaupun setiap teori dicurahkan ke aspek-aspek yang berbeda dari apa yang disebutnya “what makes art art”, setiap bagian akan menjalinkan sebuah pengungkapan bentuk (form), isi (content), dan konteks (context). dalam sejarah kritik, terjadi perbedaan pandangan mengenai sumber nilai yang paling penting. dalam menyikapi pandangan atau teori-teori seperti di atas setelah mengkaji hal tersebut, sutopo (1988, 1989) membagi tiga aliran pokok yaitu (1) kelompok kritik genetik atau historis, (2) kelompok kritik fomalistik atau kritik intrinsik, dan (3) kelompok kritik emosional. pengikut historisme menekankan pengkajian pada faktor seniman dan latar belakang budayanya, yang disebut nya sebagai faktor genetik. kecenderungan pada historisme dapat dilihat pada kritik seni yang menggunakan asumsi realis dan ekspresionis (osborne,1955) formistik (pepper,1970), instrumentalis (feldman, 1981), dan simbolistrik (read, 1969). kelompok formalisme menekankan nilai pada karya seni itu sendiri, sutopo menjebutnya sebagai faktor objektif. kecenderungan kritik ini menurut pandangan barat dianggap paling rasional. kelompok kritik seni ini bisa dilihat pada pada kritik seni denganasumsi konfigurasional (osborne, 1955) kritik organisti (pepper, 1970), strukturalisme dan formalisme (bell, 1958; feldman, 1982; fry, 1956). kelompok kritik emosionalisme menekankan pada emosi yang timbul pada penghayatnya, sutopo menyebutnya sebagai faktor afektif. kelompok ini bisa dilihat pada kritik yang menggunakan asumsi emosional dan trasedental (osborne, 1955) kritik mekanistik, dan kritik ekspresivisme (read, 1967). faktor genetik, faktor objektif, dan faktor afektif adalah tiga hal yang menjadi pijakan dalam pendekatan kritik seni holistik yang dikemukakan sutopo. seniman dianggap sebagai sumber informasi genetik komponen ini meliputi banyak hal seperti kepribadian senimannya, kondisi psikologisnya, seleranya, keterampilanya, kemampuan dan pengalamannya, latar belakang sosial budayanya, dan juga berbagai peristiwa di sekitarnya yang bekaitan dengan proses penciptaannya karya seni. karya seni dipandang sebagai sumber informasi objektif atau faktor intrinsik yang berupa kondisi objektif karya seni tersebut. jadi faktor objektif meliputi karya itu sendiri harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 yang menurut pandangan barat paling rasional dan sebagai standar yang pantas karena mensyaratkan karya itu sendiri, bukan dari luar karya yang dipandang sebagai faktor ekstra estetik. penghayat sebagai sumber informasi afektif yaitu informasi yang berupa dampak emosional pada diri penghayat. dampak ini timbul setelah menghayati karya dengan beragam tafsir makna nilai akibat melakukan interaksi secara dialektis dengan karya seni di dalam proses penghayatan. c. kritik seni holistik sebagai pendekatan penelitian kualitatif pendekatan dalam istilah penelitian kadang disamakan dengan paradigma, kerangka teori, perspektif, atau kerangka pemikiran. secara sederhana, pendekatan bisa juga diartikan sudut pandang yang bisa berisi model-model suati kegiatan, konsep-konsep, maupun metode-metode. jika pendekatan sama dengan paradigmam misalnya, maka munculah pengertian pendekatan penelitian kualitatif, pendekatan kuantitatif, karena menggunakan paradigma tersebut, walaupun rancu dengan nama jenis penelitian. namun demikianlah yang digunakan sebagian masyarakat penelitian. jika pendekatan disamakan dengan sebuah model, sudut pandang maka pendekatan kritik seni inilah contohnya, karena pendekatan ini menggunakan model, sudut pandang, sebagai batu pijakan untuk melaksanakan penelitian. pendekatan di sini penulis ibaratkan sebagai kaca mata yang akan merubah cara pandang, yang berisi konsep-konsep, model-model untuk mendekatkan suatu permasalahan dengan kaca mata yang kita kenakan, bukan jenis kaca mata yang lain. jika kita menggunakan pendekatan kritik seni holistik, maka ketiga faktor seperti faktor genetik, objektif dan afektif menjadi batu pijakan atau kerangka untuk mencari data, menganalis data sampai pada penarikan kesimpulan. jika pendekatan berisi penerapan teori-teori maka teori-tori itulah yang menjadi cermin dalam mengungkap permasalahan. pendekatan itu misalnya pendekatan antropologis, pendekatan historis, pendekatan sosiologis, pendekatan musikologis, dan sebagainya. beberapa teori kritik seni telah disinggung di atas. beberapa konsepnya dapat digunakan sebagai landasan mengapa kritik seni dapat diterapkan untuk pendekatan penelitian kualitatif. pepper, misalnya, mengemukakan teori yang disebut “the world hypotesis” mengkonsolidasi fakta-fakta tentang form, content, dan context dalam sebuah objek seni. fakta-fakta ini sangat sejalan dengan prinsip penelitian kualitatif yang bersifat kontekstual. menurutnya aplikasi teori kritik seni dapat menghasilkan interpretasi unik dalam hipotesis tersebutd hypothesis”, sehingga ia mendisain empat teori, yang dianggapnya sebagai “holistic processes of criticism.” swarts, walaupun menerapkan kritik seni dalam pendidikan, namun sifat proses kritik ini sangat cocok diterapkan pada penelitian kualitatif. penggunaan persepsi, pikiran, perasaan, dan imajinasi, sehingga menimbulka sifat terbuka, berfikir kritik yang merupakan bagian dari harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 interpretasi subuah karya atau peristiwa, merupakan bagian karakter dalam penelitian kualitatif. tafsir hermeneutik yang juga sangat kuat mewarnai aktivitas penelitian kualitatif, adalah perspektif yang mengarah pada interpretasi ekspresi yang penuh dengan makna dan dilakukan dengan sengaja oleh manusia. menurut smith (1984) melakukan interpretasi atas interpretasi yang dilakukan oleh pribadi atau kelompok terhadap situasi mereka sendiri, adalah tugas penting peneliti kualitatif. setiap peristiwa atau karya selalu memiliki makna sebagai hasil interpretasi atas sesuatu tersebut, selanjutnya menghadapi pengamatnya dan ditangkap dengan interpretasi pula. mengikuti pernyataan gadamer (dalam sutopo, 1995:5), mengenai karya seni bahwa setiap karya akan selalu diciptakan kembali oleh penghayatnya, dan mendapatkan makna baru sebagai ciptaan penghayatnya pula. demikian pula dengan penelitian kualitatif, seorang peneliti hanyadapat menyajian interpretasi atas interpretasi orang lain (subjek yang diteliti) yang juga didasarkan pada nilai, minat, dan tujuannya sendiri (smith & heshusius, 1986). dalam perpektif hermeneutik pula atas fenomena kesenian, sudah lama para antropologis menganggap kesenian tertentu sebagai teks, sesuatu yang harus dibaca dan ditafsirkan. dalam perspektif ini seorang peneliti harus dapat menafsirkan suatu peristiwa pertunjukan, atau karya, dengan lebih dahulu memperhatikan pandangan seniman dan masyarakat penghasil seni tersebut, kemudian memberikan interpretasinya. peneliti bebas menafsirkan berdasarkan persepsi, pandangan, data-data yang mendukungnya. seniman dengan latar belakang dan pandangannya dalam kritik seni holistik termasuk faktor genetik, sementara masyarakat seninya termasuk pengamat dan masuk faktor afektif. dalam perpektif fenomenologi yang merupakan sentral di dalam metodologi penelitian kualitatif, mendorong para peneliti dalam merumuskan masalah yang dikaji di dalam aktivitasnya, dan bagaimana melakukannya di dalam situasi penelitian, sangat tergantung pada perspektif teoritis yang digunakan (bodan & taylor, 1975). karena struktur kritik seni ini dilandasi oleh perspektif fenomenologis dan tafsir hermeneutik, maka setiap kesimpulan akhir selalu dalam sifatnya yang terbuka untuk bisa diperbaharui berdasarkan fenomena baru yang ditemukan kemudian, atau diganti dengan tafsir baru. dengan demikian kritik seni memiliki sifat lentur dan terbuka dan selalu bersifat kontekstual sesuai dengan karaktersistik penelitian kualitatif. menurut sutopo (1995:18), dalam sajian kritikmaka yang tampak adalah tahap penampilan kritik yaitu secara berurutan disajikan(1) deskripsi latar belakang, (2) analisis formal, (2) interpretasi, dan (4) simpulan atau sintesis. penerapan pendekatan ini bisa untuk penelitian selain seni atau penelitian yang biasanya bersifat evaluatif, misalnya penelitian program, peristiwa, bahkan penelitian lain baik penelitian dasar maupun penelitian terapan. penggunaanstruktur kritik holistik dalam penelitian pada harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 umumnya dalam aktivitas penelitian, karya seni bisa digantikan dengan sasaran penelitian, atau dalam penelitian program merupakan program yang dievaluasi. dengan demikian, karya, peristiwa, program, lembaga, atau prilaku, merupakan faktor objektifnya. ini berarti sasaran kajian diarahkan pada faktor genetik dan faktor afektif (dampaknya atau hasil/capaian dalam program). dalam penggunaan pendekatan holistik penuh, misalnya etnografi, di mana fokus penelitian ditemukan dan ditentukan di lapangan, maupun penelitian terpancang yang fokus dan variabelnya sudah ditentukan dalam rancangan sebuah penelitian, pendekan kritik ini bisa diterapkan. demikian pula dengan penggunaaanya pada studi kasus tunggal maupun ganda, baik pada tingkat eksploratif, deskriptif, maupun eksplanatif yang merumuskan hubungan kausal antar variabelnya. dalam pengumpulan datanya baik untuk faktor genetik, objektif, maupun afektif, sama dengan penelitian kualitatif, yang berarti teknik pengumpulan datanya pun tidak berbeda. seperti halnya sifat penelitian kualitatif, teknik sampling yang digunakan yaitu purposive sampling, atau bisa disebut criterion based sampling (goetz & lecompte, 1984). sampling tidak mewakili populasi seperti pada penelitian kuantitatif tetapi mewakili informasi, karena tidak ada generalisisasi, kecenderungannya pada generalisasi teoritik (sutopo, 1995:19). pengembangan validitas dalam penelitian kualitatif bisa memanfaatkan cara-cara kualitatif yang diwarnai pola pikir fenomenologis dengan menggunakan bentuk-bentuk trianggulasi. di samping itu, informant review juga bisa digunakan sebagai usaha pengembangan validitas penelitian. model analisis data yang disajikan oleh miles dan huberman (1984) semua bisa digunakan baik model analisis jalinan (flow model of analysis) maupun model analisis interaktif. namun demikian, analisis interaktif lebih disarankan,yang prosesnya dilakukan bersamaan dengan proses pengumpulan data. yang sedikit berbeda adalah urutan sajian dalam pelaporannya. urutan sajian memperhatikan susunan yang sesuai dengan penampilan kritik holistik yang terbagi menjadi (1) deskripsi latar belakang, (2)konsisi objektif yang diteliti, (3) interpretasi, dan (4) simpulan. yang perlu dicatat adalah pendekatan kritik seni harus tetap mengikuti pola penelitian kualitatif yang bersiffat siklus, untuk tetap menjaga kelenturan dan keterbukaan. d. penutup ketajaman analisis kritik sangat membantu kedalaman analisis dalam penelitian kualitatif yang menggunakan pendekatan kritik seni holistik. hal ini disebabkan adanya penyatuan metodologi yang ada dalam kritik seni yang menurut swarts dapat meningkatkan cara berpikir kritis, terbuka, karena adanya banyak diskusi, dan karakter dalam penelitian kualitatif yang juga bersifat terbuka, lentur, tekstual, dan sebagianya yang akan menjawab permasalahan penelitian. setelah membaca uraian singkat ini diharapkan keraguan yang masih harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 ada dari disiplin ilmu selalin seni, atau mungkin dari peneliti seni sendiri, dapat dihilangkan. keraguan faktor genetik misalnya, yang meragukan bagaimana jika senimannya sudah meninggal, juga bisa dijawab, bahwa catatan senimannya tentang pandangannya, persepsinya, karyanya, dan sebagainya dapat digali dengan dokumen yang menyangkut seniman itu baik yang ditulis oleh orang lain, atau bahkan informasi dari orang lain termasuk keluarganya. akhirnya pengembangan metodologi dengan kritik seni holistik ini minimal dapat memperkaya khasanahpenelitian kualitatif terutama dalam bidang ilmu humaniora. juga, dalam penelitian-penelitian (skripsi) yang dilakukan mahasiswa, tulisan ini bisa menjadi alternatif pendekatan yang bisa digunakan. pengalaman penulis daftar pustaka cromer, j. (1990). history, theory, and practice of art criticism in art education. reston, va:national art education association. flaccus, l.w.1981.the spirit and substance of art (3rd.edition).new york: f.s. crofts and co. danto, arthur c. 1983. “art, phiosophy, and the philosophy of art.” humanities, vol iv, no 1. 1983. eisner, e.w.1983. “can educational research inform educational practice ?” monreat canada : unpabliser paper. gadamer,h.g.1976. philosopycal hermeneuitics. linge berkely dalam mengarahkan beberapa mahasiswa yang diberi tawaran menggunakan pendekatan kritik seni holistik, ternyata selesai lebih cepat dalam penyusunan dibandingkan lainnya. yang lebih penting adalah mereka lebih terfokus dalam menentukan sasaran penelitian, pengambilan datanya, maupun cara melaporkannya. mahasiswa pada umumnya cenderung tidak fokus sehingga analisisnya juga mengambang sehingga kesannya tidak tuntas, hanya permukaannya yang ditampilkan dalam pelaporannya. sekali lagi mungkin pendekatan ini menjadi tawaran yang perlu didiskusikan. : universiyu of calivornia press. goetz, j.p & lecompte, m.d. 1984. ethnography and qualitative design in educational research. new york : adkademic press, inc. licoln, y.s. & guba, e.g..1985. naturalistic inquiry. beverly hills:sage publications. miles, m.b.& huberman, a.m. 1984. qualitative data analysis: a sourchbook of new methods. beverly hills:sage publications. pepper, s.c.1970. the basic of art criticism.cambridge:havaa rd university press. read, h. 1967. art and alienation : the role of the artist in society. new york : horizon press. harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 rina murwani p. 2003. “analisis lagu seriosa pantai sepi karya liberty manik” (sebuah pendekatan kritik seni holistik). skripsi tidak dipublikasikan. jurusan sendratasik. unnes. steinkraus, w. 1983. philosophy of art. new york: university press of america. stolnitz.j.1960. aestetics and philosophy of art criticism: a critical introduction. bostom:the riverside press. sutopo, heribertus. 1988. “kritik seni holistik” makalah dalam seminar sehari menyambut bulan bahasa di universitas sebelas maret, surakarta. , 2002. metodologi penelitian kualitatif. surakarta: sebelas maret university press. . 1989. “a holistic model of art criticism for appreciating the traditional art”. makalah dalam first asean symposium on aestetics di kuala lumpur malaysia. . 1995. “kritik seni holistik sebagai model pendeatan penelitian kualitatif.” makalah disampaikan pada pidato pengukuhan guru besar ilmu budaya. uns tanggal 3 mei 1995. swarts, heather. 2001. reflection on art criticism theory in education. www.zeroland.co.nz/art_th eory.html. up dated on december 3, 2006). wikipedia encyclopedia, 2006. (www.en. wikipedia .org/wiki/art-criticism.html. up dated on desember 2, 2006). harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 lampiran 1 : contoh model penelitian dengan pendekatan kritik seni holistik judul “kajian sematik dan musikal dalam penerjemahan lagu” oleh suharto ( modifikasi dari sutopo, 1995:16) input lagu asli (source language) lagu terjemahan (target language) pendekatan kritik seni holistik informasi latar belakang dan proses informasi objectif lagu (musik dan bahasa) informasi hasil – dampak persepsi analisis kontrastif (bahasa) analisis komposisi (musik) deskripsi latar belakang deskripsi analisis formal interpretasi pembahasan simpulan (output) harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 lampiran 2 : contoh model penelitian dengan pendekatan kritik seni holistik (modifikasi dari sutopo, 1995:16) “analisis lagu seriosa pantai sepi karya liberty manik” oleh rina murwani prihartini, 2003 simpulan analisis laporan : sajian : latar belakang kondisi formal interprestasi : diskusi kesimpulan & rekomendasi deskripsi latar l . manik deskripsi isi,strutur bentuk lagu deskripsi tanggapan penghayat & informasi latar belakang l. manik latar belakang kehidupan l. mank historisme informasi , isi, bentuk dan struktur lagu lagu “pantai sepi” formalisme holistisis informasi hasil, dampak penghayat penghayat emosionalisme jenis data – informasi bahaan analisis hasil: wawancara obsevasi content analysis memilih sumber jenis data: informan tempat/peristiwa-benda dokumen kerangka kerja konseptual harmonia edisi khhusus.pdf relasi dua kepentingan (budaya politik masyarakat minangkabau) zainal arifin dan maulid hariri gani abstrak tulisan ini melihat relasi dua kepentingan yang ada di dalam masyarakat minangkabau didalam konteks budaya politiknya. hal ini tidak bisa dilepaskan dari adat yang dianut oleh masyarakat minangkabau itu sendiri, dimana peranan lareh atau ”aliran” yang ada sangat berperan besar dalam menentukan arah kebijakan yang diambil. disini masyarakat minangkabau secara garis besar terbagi atas lareh koto piliang yang dikembangkan oleh datuak katamenggungan yang bercirikan ”aristokratis”, dimana kekuasaan tersusun pada strata secara bertingkat dengan wewenangnya secara vertikal, sesuai dengan pepatahnya manitiak dari ateh (menetes dari atas). sementara lareh bodi caniago yang dikembangkan oleh datuak perpatih nan sabatang bercirikan ”demokratis”, dimana kekuasaan tersusun berdasarkan prinsip egaliter dengan wewenang bersifat horizontal, sesuai dengan pepatahnya mambusek dari bumi (muncul dari bawah). namun demikian, adat sebagai aturan tidaklah bersifat kaku, bahkan sebahagian besar mempunyai daya lentur yang amat tinggi dengan perubahan yang terjadi, apalagi walaupun mempunyai perbedaan sistem politik, namun keduanya tetap memiliki dasar adat yang sama yaitu sawah gadang satampang baniah, makanan luhak nan tigo, baragiah indak bacaraian (sawah yang luas cuma setampang benih, makanan orang ketiga luhak, saling memberi dan tidak berceraian). oleh sebab itu, akhirnya di setiap nagari cenderung akan terjadi proses ambil mengambil adat lareh yang ada melalui kelompok-kelompok suku dengan aktoraktor yang ada didalamnya. kata kunci: lareh, minangkabau, dualisme, adat. 16 17 18 19 20 21 22 23 24 25 microsoft word harmonia vol viii no1 2007 harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 pengembangan model pembelajaran seni berbasis kompetensi pada anak usia dini (the development of competency based art learning model on the early-childhood children) hartono staf pengajar jurusan sendratasik fbs universitas negeri semarang abstrak tujuan penelitian ini adalah mendeskripikan (1) kemampuan guru dalam mengidentifikasi isi kurikulum; (2) tingkat pola interaksi antara guru dan anak, (3) metode pengajaran yang digunakan, (4) pola-pola pemanfaatan potensi alam sekitar sekolah; (5) tingkat kesulitan anak teknik pengumpulan data dengan metode wawancara, observasi, dan dokumentasi. lokasi di jawa tengah. analisis data dilakukan dengan metode interaktif dari milles dan hubermann. temuan penelitian menunjukkan (1) kemampuan guru dalam mengidentifikasi isi kurikulum, menyusun program pembelajaran mingguan maupun program pembelajaran harian mengacu enam aspek perkembangan.. program perencaaan harian disesuiakan dengan kondisi dan situasi di setiap tk masing-masing. rancangan satuan kegiatan mingguan, yang berkaitan dengan seni menunjukkan bahwa materi seni musik, seni tari, seni drama, dan seni rupa belum adanya saling keterkaitan dan kesinambungan pada setiap tatap muka. (2) tingkat pola intereaksi antara guru dengan anak dalam kegiatan pembelajaran seni terjalin sejak anak sebelum memasuki ruang kelas. (3) pemilihan metode pengajaran seni, guru kurang memadukan dari beberapa metode. (4) pemaksimalan pemanfaat potensi alam sekitar dalam pembelajaran seni, masih dimungkinkan untuk ditingkatkan. (5) tingkat kesulitan anak dalam memahami konsep-konsep seni yang diajarkan oleh guru sangat beragam. (6) terumuskan model pembelajaran seni untuk aud. saran-saran yang disampaikan dalam penelitian ini (1) perlu pendalam materi seni bagi guru-guru tk. (2) guru di setiap tk perlu ditambah, (3) harus lebih berani dan lebih kreatif dalam melaksanakan pembelajaran seni; kata kunci : anak usia dini, pembelajaran, seni, kompetensi a. pendahuluan pemahaman masyarakat terhadap seni, lebih khusus yang berkaitan dengan pendidikan, masih sangat kurang. berkaitan dengan masalah pendidikan seni mencakupi: (1) kurikulum dan materi pengajaran kesenian; (2) peserta didik, mencakupi: kegiatan pembelajaran, kemampuan, apresiasi dan proses kreatif; (3) cara mengajar atau proses belajar mengajar; (4) pendidik berkaitan dengan kompetensi, dan peran sosialnya; (5) sekolah sebagai lembaga atau organisasi sosial; dan (6) lingkungan keluarga, teman sebaya dan masyarakat (tjetjep, 2002). pengembangan pendidikan seni, khususnya di tk masih menggunakan pendekatan subject-centered curriculum. tidak jelas, kompetensi apa yang harus dicapai oleh peserta didik setelah mereka mengikuti serentetan pelajaran seni. tidak jelas pula artikulasi isi mata pelajaran antara jenis dan jenjang pendidikan, sehingga tidak jarang dijumpai pengulangan-pengulangan pelajaran sebelumnya. link and match lemah, sehingga terjadi pemborosan harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 (slamet, 2001: 3). pendidikan seni kehilangan kelenturannya untuk disesuaikan dengan keadaan lingkungan setempat yang berinteraksi dengan anakanak serta pula dengan kebutuhan batin mereka (garha, 1995: 4). pendidikan seni dengan pendekatan kompetensi sebagai salah suatu alternatif solusi dan antisipasi pada persaingan global yang kompetitif. pendidikan berbasis kompetensi adalah pendidikan yang menitikberatkan pada penguasaan kemampuan atau kompetensi untuk mengerjakan atau melakukan sesuatu (ability to do something). tentu untuk bisa mengerjakan sesuatu yang dimaksud, diperlukan penguasaan pengetahuan, keterampilan, dan sikap yang dipersyaratkan untuk mengerjakan sesuatu tersebut. misalnya untuk bisa menari, diperlukan penguasaan kompetensi yang terdiri atas pengetahuan, keterampilan, dan sikap terhadap tari, atau untuk bisa melukis, diperlukan pengetahuan, keterampilan dan sikap untuk melukis. pendeknya, untuk dapat melakukan pekerjaanpekerjaan seni rupa, musik, tari, teater dan sastra, diperlukan kompetensi yang mencakup aspek-aspek kognitif, psikomotor dan afektif. berkaitan dengan hal tersebut pendidikan seni memberi kontribusi sangat besar dalam pembentukan manusia indonesia seutuhnya maka perlu meperumuskan tujuan pendidikan seni yang lebih matang. dimunculkannya kurikulum pendidikan seni berbasis kompetensi ini dipandang perlu untuk mengetahui sejauh mana kemungkinan optimalisasi penerapannya untuk anak usia dini karena masa usia dini merupakan masa emas perkembangan. stimulasi pendidikan diperlukan guna memberikan perangsangan terhadap seluruh aspek perkembangan anak. selain itu berfungsinya otak adalah hasil interaksi dari cetak biru (blu print) genetis dan pengaruh lingkungan. pada saat anak lahir, terdapat 100-200 miliar sel otak (teyler, 1977 dalam clark, 1986), yang siap untuk dikembangkan dan diaktualisasikan mencapai tingkat perkembangan potensi tertinggi. jumlah ini mencakup beberapa miliar jenis informasi dalam hiup manusia. sayang sekali, riset membuktikan hanya 5% yang terpakai dari kemampuan itu (ferguson, 1973 dalam clark, 1986). penggunaan system yang kompleks dari proses pengelolaan otak ini sebenarnya sangat menentukan intelegensi dan kepribadian serta kualitas kehidupan yang dialami seseorang. pendidikan anak usia dini merupakan salah satu bentuk kometmen pemerintah terhadap kerangka aksi pendidikan untuk semua (pus) hasil deklarasi forum pendidikan dunia di dakar, sinegal tahun 2000. oleh karena itu melalui penelitian ini, peneliti mengkaji secara lebih mendalam aplikasi kurikulum berbasis kompetensi di taman kanak-kanak. kemudian dirumuskan model pembelajaran seni berbasis kompetensi bagi anak usia dini. beberapa hasil penelitian menyimpulkan apabila anak jarang disentuh, perkembangan otaknya 2030% lebih kecil dari ukuran normal anak seusianya (depdiknas 2002). selain itu, perkembangan intelektual anak usia 4 tahun telah mencapai 50%, pada usia 8 tahun mencapai 80% dan pada saat mencapai usia sekitar 18 tahun perkembangannya telah mencapai 100%. ini berarti perkembangan yang terjadi pada rentang usia 4 tahun pertama sama besar dengan yang terjadi pada rentang usia 5 hingga 18 tahun atau yang terjadi selama 14 tahun dan pada saat usia 8 harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 tahun, anak telah memiliki kemampuan berfikir yang hampir sempurna. hasil penelitian sinaga (1999) kemampuan anak dalam belajar menyanyi sangat mendukung pada kemampuan berbahasa anak serta peningkatan keterampilan motorik anak dengan bimbingan dan demontrasi peragaan guru. pendidikan merupakan upaya yang dilakukan manusia dalam rangka mencapai kedewasaan subjek didik. pendidikan mencakup seluruh perkembangan pribadi anak, baik segi intelektual, jasmani dan rokhani, sosial maupun emosional. pendidikan mempunyai peranan yang penting atau strategis untuk mengembangkan rasa percaya diri, sikap dan perilaku yang inovatif, serta kreatif (rohidi, dkk, 1994). pendidikan seni sebagai mata pelajaran di sekolah didasarkan pada: pertama, pendidikan seni memiliki sifat multilingual, multidimensional, dan multikultural. multilingual berarti seni bertujuan mengembangkan kemampuan mengekspresikan diri dengan berbagai cara seperti melalui bahasa rupa, bunyi, gerak dan paduannya. multidimensional berarti seni mengembangkan kompetensi kemampuan dasar siswa yang mencakup persepsi, pengetahuan, pemahaman, analisis, evaluasi, apresiasi dan produktivitas dalam menyeimbangkan fungsi otak kanan dan kiri, dengan memadukan unsur logika, etika dan estetika, dan multikultural berarti seni bertujuan menumbuhkembangkan kesadaran dan kemampuan berapresiasi terhadap keragaman budaya lokal dan global sebagai pembentukan sikap menghargai, toleran, demokratis, beradab dan hidup rukun dalam masyarakat dan budaya yang majemuk (depdiknas, 2001: 7). lebih jauh don compbell dalam bukunya yang berjudul “efek mozart” (2001:220) menyebutkan pada introduction to the musical brain, bahwa ia dengan penuh semangat mendukung pendapat bahwa semakin seorang anak mendapat perangsangan melalui musik, gerak, dan kesenian semakin cerdas dia itu nantinya. para peneliti juga menemukan bahwa musik meningkatkan kreatifitas, memperbaiki kepercayaan diri murid, mengembangkan keterampilan sosial, dan menaikkan perkembangan keterampilan motorik persepsi dan perkembangan psikomotor (compbell, 2001:220). menurut piaget anak usia dini 0 1 tahun berada pada tahapan perkembangan sensori motorik. pada usia-usia ini anak melakukan permainan yang bersifat berulang-ulang. anak usia 3-4 tahun. dapat menyanyi dengan merubah sair sesuai yang diinginkan selain itu anak sudah dapat menyanyi sambil melakukan gerakan tangan dan kaki. anak usia 4-5 tahun menyanyi sambil memimpin permainan dan dapat menyanyikan lagu dengan saling mengisi/menjawab dalam lagu yang dinyanyikan oleh teman/orang lain. anak usia 5-6 tahun dalam penguasaan musik anak dapat menyanyi bersama sambil memainkan alat musik sederhana (tarwiyah, 2003). kompetensi yang diharapkan dari pendidikan seni anak usia dini adalah: (1) mampu memadukan unsur etika, logika dan estetika, meliputi: pengetahuan, pemahaman, persepsi, analisis, evaluasi, apresiasi, dan berproduksi melalui bahasa rupa, bunyi, gerak dan peran; (2) memiliki kepekaan inderawi, perasaan estetis dan artistik melalui pengalaman bereksplorasi, berekspresi dan berkreasi secara lintas bidang dalam mendukung kecerdasan emosional, intelektual, moral, spiritual harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 dan adversitas sesuai dengan kebutuhan dan perkembangan anak; (3) mampu berkreasi dalam bahasa rupa, bunyi, gerak dan peran dalam mengembangkan kemampuan perseptual, pemahaman, apresiasi, kreativitas, dalam berproduksi; (4) memiliki keterampilan dasar dan mampu berkreasi berdasarkan inspirasi yang bersumber pada alam dan lingkungan sekitar anak dalam mengolah medium seni; (5) mampu menghargai karya sendiri dan karya orang lain serta keragaman seni budaya setempat dan nusantara; (6) mampu mempergelarkan, menyajikan karya seni dan atau merancang, memamerkannya di kelas dan atau di linglkungan sekolah (depdiknas, 2001: 8) tujuan pendidikan seni berbasis kompetensi adalah salah satu alternatif untuk: (1) mendekatkan pendidikan seni dan dunia kerja seni; (2) menjamin adanya common basis pendidikan seni; (3) memfokuskan pada hasil dan proses sekaligus; (4) mengenalkan pembelajaran yang luwes; (5) mengakui pembelajaran sebelumnya; dan (6) menjamin adanya multiple entry and exit (slamet, 2001: 4). dengan demikian pendidikan seni di sekolah yang mencakup seni rupa, seni musik, tari dan drama, dapat dijadikan sebagai dasar pendidikan dalam membentuk jiwa dan kepribadian (berakhlak karimah).sebagaimana yang dinyatakan oleh plato (dalam rohidi, 2000:5), bahwa pendidikan seni dapat dijadikan dasar pendidikan, karena untuk membentuk suatu kepribadian yang baik dilakukan melalui pendidikan seni. konsep pembelajaran seni untuk aud adalah terintegrasi dari cabang seni tari, musik, rupa, dan drama. dalam proses pembelajaran dengan mempertimbangkan kemampuan guru, kemampun anak, strategi yang digunakn, pemanfaat lingkungan, yang dapat mendukung creative thinking siswa, memberi bekal life kill kepada siswa, dan menciptakan belajar joyful learning serta memperhatikan kompetensi yang hendak dicapai oleh anak. b. metode 1. pendekatan penelitian penelitian ini dilaksanakan dengan menggunakan pendekatan penelitian reaearch and development menurut borg dan gall (1983:775-776), ada 10 langkah dalam pelaksanaan r&d. langkah-langkah tersebut dijelaskan sebagai berikut ini. a. research and information collecting. mengumpulkan informasi dan melakukan penelitian awal terhadap bahan bacaan, pengamatan kelas, dan mempersiapkan laporan. b. planing, melakukan perencanaan termasuk di dalamnya memberikan batasan-batasan kemampuan (skill), membatasi tujuan. c. develop prenliminary form of product, mengembangkan format atau model, termasuk di dalamnya mempersiapkan materi, bahan ajar, dan bahan evaluasi. d. preliminary field testing. mempersiapkan uji coba tes dilapangan. pada bagian ini cukup 1 sampai 3 tk saja, dengan mewawancarai 10-15 siswa tk, melakukan observasi, menyebarkan kuesioner, mengumpulkan data, kemudian melakukan analisis data. e. main product revision. melakukan revisi terhadap tes setelah mendapat masukan dari hasil tes uji coba di lapangan. harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 f. main field testing. melakukan tes di lapangan hanya dengan 8-10 tk atau dengan 400-500 anak tk. selanjutnya, mengumpulkan data, evaluasi, membandingkan antara kelas satu dengan kelaskelas yang lain, mengklasifikasikan, analisi data. g. operational product revision. melakukan revisi setelah mendapat masukan dari tes lapangan. h. operational field testing. melaksankan tes uji coba model/tes pembelajaran. saat ini jumlah tk yang diuji coba sesuai jumlah sample yang direncanakan , yaitu 25-30 tk atau dengan 1500-1800 siswa tk. melakukan pengumpulan data dari tes, wawancara, obsevasi, kuesioner, selanjutnya data tersebut dianalisis. i. final product revision. melakukan revisi terakhir setelah mendapat masukan dari hasil tes dilapangan. j. dominition and implementatation. menyampaikan laporan penelitian ini dalam sebuah seminar hasil penelitian dan juga ke dalam jurnal ilmiah. 2. sumber dan teknik pengumpulan data sumber data dalam penelitian ini terdiri dari: (1) nara sumber, yakni orang-orang yang kerkompeten atau terlibat secara langsung maupun tidak langsung dalam proses pembelajaran seni, yaitu: guru kepala sekolah, pakar ahli dan nara sumber lainnya yang terkait; (2) proses pembelajaran seni yang mencakup: materi pembelajaran, kemampuan guru, perilaku anak, dan sarana dan sumber daya lingkungan yang tersedia; (3) dokumen yang berkaitan dengan penelitian ini. teknik pengumpulan data dengan metode wawancara, observasi, dan dokumentasi. 3. lokasi penelitian lokasi penelitian ini mengambil di jawa tengah dengan penentuan wilayah berdasarkan pertimbangan karakteristik kondisi alam , sosial dan budaya. wilayah yang dijadikan sampel terdiri atas satu kota dan dua kabupaten yang meliputi kota semarang, kabupaten temanggung, dan kabupaten pati. dipilihnya ketiga wilayah tersebut didasarkan pada pertimbangan, semarang sebagai wilayah kota yang berkarakter multikultural, pati sebagai wilayah perbatasan jawa tengah dengan jawa timur, dan kabupaten temanggung sebagai daerah pertanian. 4. teknik analisis data analisis data dalam penelitian ini dilakukan dengan menggunakan metode analisis deskriptif-kualitatif, yaitu data yang terkumpul dideskripsikan. secara rinci langkah-langkah analisis data penelitian ini sebagai berikut. persiapan penelitian, meliputi: a) mengumpulkan data, b) mengorganisasi dan mengelompokkan data yang terkumpul sesuai dengan sifat dan kategori data yang ada. langkah ini juga merupakan langkah reduksi data dan sekaligus penyajian data. untuk menghindari data yang bias dilakukan pemeriksaan keabsahan data melalui empat kriteria, yaitu: derajat kepercayaan, ketralihan, ketergantungan, dan kepastian. analisis data dilakukan melaui empat tahap, yaitu reduksi data, sajian data, penarikan simpulan, dan verifikasi penelitian yang dilakukan saling menjalin dengan proses harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 pengumpulan data. model analisis yang dilakukan adalah analisis interaktif. artinya, empat komponen analisis, yaitu reduksi data, sajian data, penarikan kesimpulan, dan verifikasi penelitian yaitu dilakukan secara simultan sejak proses pengumpulan data (miles dan huberman 1984). aspek-aspek yang dianalisis secara rinci disenaraikan sebagai berikut. c. hasil penelitian dan pembahasan 1. kemampuan guru dalam mengidentifikasi isi kurikulum ruang lingkup kurikulum tk meliputi aspek perkembangan : (1) moral dan nilai-nilai agama; (2) sosial, emosional dan kemandirian; (3) berbahasa; (4) kognitif; (5) fisik/motorik; dan (6) seni. penyederhanaan kurikulum serta untuk menghindari kerancuan dalam implementasinya bagi guru di lapangan, guru dalam menyusun program pembelajaran mengacu pada aspekaspek perkembangan. aspek-aspek perkembangan sebagaimana yang ada dalam kurikulum dipadukan dalam bidang pengembangan pembiasaan dan bidang pengembangan kemampuan dasar. bidang pengembangan pembiasaan, merupakan kegiatan yang dikerjakan secara terus menerus serta berkesinambungan dalam kehidupan sehari-hari anak sehingga sehingga menjadi kebiasaan yang baik. program pembiasaan yang harus dilakukan ini meliputi : pengembangan moral, pengembangan nilai-nilai agama, pengembangan sosial, pengembangan emosional, dan pengembangan kemandirian. pengembangan agama dan moral diharapkan anak mengenal kepada sang pencipta dalam bahasa keseharian untuk meningkatkan ketakwaan anak kepada tuhan yang maha esa serta menjadi pondasi agar anak menjadi warganegera yang baik. menjadi warga negara yang baik yaitu mampu mengendalikan emosi secara wajar dan dapat berinteraksi dengan sesamanya, maka perlunya pembiasaan pengembangan sosial dan kemandirian. pada akhirnya anak dapat menolong diri sendiri dalam rangka penguasaan kecakapan hidup. bidang pengembangan kemampuan dasar, dipersepsikan oleh guru untuk meningkatkan kemampuan dan kreativitas sesuai dengan tahap perkembangan anak. pengembangan kemampuan dasar ini mencakupi : bahasa, pengembangan ini bertujuan agar anak mampu mengungkapkan pikiran melalui bahasa yang sederhana serta tepat, mampu berkomunikasi secara efektif. pengembangan dasar yang lain yaitu kognitif, pengembangan ini bertujuan mengembangkan kemampuan berpikir anak untuk dapat mengolah dari apa yang telah diperoleh selama mengikuti kegaitan belajar. dan dapat menemukan bermacam-macam alternatif pemecahan masalah, membantu anak untuk mengembangkan kemampuan logika matematikanya dan pengetahuan akan ruang dan waktu, serta mempunyai kemampuan untuk memilahmilah mengelompok serta mempersiapkan pengembangan kemampuan berpikir anak. pengembangan fisik/motorik bertujuan untuk memperkenalkan dan melatih gerakan kasar dan halus, meningkatkan kemampuan mengelola, mengontrol gerakan tubuh dan koordinasi, serta meningkatkan keterampilan tubuh dan cara hidup sehat sehingga dapat menunjang pertumbuhan jasmani yang kuat sehat, dan terampil. harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 pengembangan seni bertujuan agar anak dapat dan mampu menciptakan sesuatu berdasarkan hasil imajinasinya, kepekaan, kreativitas, dan dapat menghargai hasil karya sendiri maupun karya orang lain. pengembangan seni ini diharapkan anak menjadi sensitif, kaya gagasan, berinofatif, dan memiliki rasa estetis, kreatif, serta ekspresif. setiap guru taman kanak-kanak selaian harus memiliki perangkat program kegiatan belajar taman kanak-kanak (pkbtk) juga harus menyusun rencana kegiatan mengajar satuan kegiatan mingguan dan satuan kegiatan harian. tugas tersebut tidaklah mudah. karena disamping harus menguasai program kegiatan belajar taman kanak-kanak (pkbt) juga harus mampu menuangkan ke dalam kegiatan mengajar satuan kegiatan mingguan dan satuan kegiatan harian. hal tersebut sangat menyita pikiran, tenaga, dan waktu. nampaknya untuk menyusun satuan kegiatan mingguan dilakukan secara bersama melalui forum kegiatan ikatan guru taman kanak-kanak tingkat kecamatan. kelebihan dilakukan secara kelompok akan sangat meringankan bagi guru yang kurang memiliki waktu dan kemampuan dalam menterjemahkan pkbtk, selain hal tersebut juga sanagat melatih guru taman kanak-kanak dalam mengungkapkan pengetahuan dan wawan dalam forum. namun demikian hal ini juga dapat mengurangi kreatifitas dan semangat bagi individu yang tidak terbiasa melakukan diskusi ataupun tukar pengalaman. melihat beberapa matrik satuan kegiatan mingguan, yang berkaitan dengan seni menunjukkan bahwa materi seni, antara seni yang satu dengan yang lain tidak terintegrasi dan berkesinambungan dari pertemuan satu ke pertemuan berikutnya. bahkan tidak terlau berlebihan jika dikatakan pembelajaran seni masih jauh dari estetis, kreatif, dan ekspresif. hal tersebut dapat dilihat diantaranya dalam pembelajaran drama masuk dalam indikator fisik motorik, tidak untuk ekspresif misal (sedih, senang, gembira, marah, dan lain-lain), tetapi penekanan untuk motorik halus. penggunaan metode dalam hal ini yang dicantumkan hanya metode pemberian tugas (pt) dan hanya satu kali mencantumkan metode demonstrasi. penggunaan berbagaimacam metode dalam pembelajaran seni sangat dimungkinkan sehingga pembelajaran seni nampak lebih menggembirakan bagi anak. selain itu pembelajaran seni akan lebih bermakna bagi anak. 2. tingkat pola interaksi antara guru dan anak tingkat pola interaksi antara guru dan anak yang dimaksud terjadi terjadinya komunikasi anak anak dengan guru pada saat proses pembelajaran berlangsung. interaksi ini berlangsung pada saat anak-anak sebelum memasuki ruang kelas. secara umum bahwa anakanak sebelum memasuki ruangan kelas diajak/disuruh berbaris di depan ruangan yang akan dimasuki. kegiatan pembelajaran seni yang terjadi anakanak dilatih tentang baris-berbaris dengan mendendangkan lagu tertentu, hal ini mempunyai makna bahwa anak diajarkan pembiasaan berdisiplin, kerapian, kesabaran. namun demikian tidak semua tk yang menjadi sasaran pengamatan dalam penelitian melakukan berbaris sambil menyanyi akan tetapi ada yang disertai dengan menai, harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 sehingga anak-anak tampak lebih riang dalam memasuki ruang kelas. nampaknya segala sesuatu sebelum kegiatan dimulai telah dipersiapkan oleh guru. pada hakekatnya pembelajaran untuk anak usia dini sangat erat dengan kegiatan berseni. hal ini terlihat pada aktivitas menebalkan garis, mewarnai, menyanyi, menari. sebelum kegiatan dimulai guru selalu menjelaskan kegiatan yang akan dilakukan, dan penjelasanya diulang-ulang mengingat konsentrasi pada anak tidak dapat selalu terfokus. bahkan penjelasan selalu ditujukan pada setiap individu-individu. jika terjadi kondisi yang tidak dapat terkuasai semuanya guru mengajak anak-anak untuk menyanyi dan lagu yang dinyanyikan agar anak dapat tenang, tidak mengganggung teman yang lain, dan belajar bersama-sama, anak tidak merasa adanya paksaan agar tidak mengganggu teman yang laian, justru melalui lagu yang dinyanyikan dalam diri anak tumbuh kesadarannya. melalui lagu terjadi komunikasi yang sangat efektif anak-anak yang semula mondar-mandir kesana-kemari dengan kesadaran sendiri, anak tersebut menjadi tenang. ketenangan tampaknya tidak berjalan lama karena tugas yang telah diberikan guru pada anak ada sebagian yang telah selesai, kemudian dipergunakan untuk melakukan aktivitas yang lain. kemudian suasana menjadi gaduh dan guru menyanyikan lagu agar anak bersedia tenang dan menempati tempatnya masing-masing. duduk kembali ayo dong duduk kembali ayo dong belajar lagi ayo dong perhatikan lagi nanti bermain kembali pada awal masuk tk anak dikenalkan beberapa anggota tubuh. anggota tubuh bagi anak adalah sesuatu yang paling dekat dengannya dan anak dapat merasakan langsung, karena konsep tentang tubuh bagi anak cepat memahami serta mengahayati. dua mata saya hidung saya satu satu mulud saya untuk berkata-kata dua telinga saya yang kiri dan kanan satu mulut saya tidak berhenti makan 3. metode pengajaran yang digunakan guru semenjak diberlakukannya kurikulum berbasis kompetensi bagi lembaga pendidikan khusus taman kanak-kanak selalu berupaya memahami dan mengkaji agar tidak dikatakan tertinggal dengan tk-tk yang lain. setiap guru berupaya untuk memperbaiki diri dalam melakukan kegiatan belajar mengajar untuk menyesuaikan dengan kbk. adanya yang menyambut positif, dengan harapan akan terjadi perubahan dalam dunia pendidikan di tk ke arah yang lebih maju.. namun ada pula yang berpendapat malah memberatkan bagi lembaga maupun bagi gurunya. hal ini dilihat dari sisi belum tersedianya atau lengkengkapan sarana prasarana, dan di sisi evaluasi sangat menyita waktu bagi guru, sehingga membuat pekerjaan yang lain terbengkelai. sehingga pada akhirnya dalam melakukan evaluasi istilah yang disampaikan dengan di “dengkul mawon”. penguasaan materi adalah mutlak bagi guru. tetapi penguasaan materi saja untuk melaksanakan pembelajaran di tk tidak cukup jika tidak dilakukan dengan harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 persiapan, baik persiapan tempat, ruang, sarana prasarana, media yang akan digunakan untuk kegiatan pembelajaran. selain hal tersebut metode juga memegang peran yang sangat penting. pemilihan metode yang tepat akan sangat efektif bagi anak-anak dalam penguasaan materi yang talah direncanakan oleh guru. pemilihan metode yang baik adalah anak terlibat aktif dalam proses pembelajarannya. dengan pembelajaran aktif menekankan keaktifan anak untuk mengalami sendiri, melakukan aktifitas, sehingga daya piker, emosional, dan keterampilan anak terlatih. pada kegiatan awal hampir setiap guru menggunakan metode bercerita. metode cerita dengan bertutur kata dan menyampaikan penerangan kepada anak secara lisan. dengan metode cerita ini, anak akan terlatih daya tangkap, daya pikir, daya konsentrasi, melatih daya konsentrasi, dan membantu perkembangan imajinasi. metode ini bagi guru yang dapat mengekspresikan diri tercipta suasana yang menyenangkan dan menambah lebih akrab dengan anak. metode bercerita sangat tepat untuk memperkenalkan hal-hal baru maupun untuk menutup kegiatan belajar. bentuk metode cerita sebenarnya akan lebih baik dan menarik dari pada hanya mengandalkan (mimik, pantomim, suara) jika dengan alat peraga baik alat peraga langsung (menggunakan benda asli missal : ayam, kelinci, burung atau yang lainnya). atau dengan alat peraga tidak langsung atau benda-benda tiruan, missal : gambar, papan panel, boneka). metode cerita ini sebenarnya akan lebih tepat pada pembelajaran drama. akan tetapi pelaksanaannya dalam pembelajaran seni tidak dilakukan secara maksimal. beberapa metode yang digunakan tidak dapat berdiri sendiri, tetapi antara yang satu dengan ayng lain saling mengisi dan melengkapi, sehingga tujuan pembelajaran akan tercapai secara efektif dan efisien. pengoptimalan metode tertentu sangat dimungkinkan, namun pelaksanaan di lapangan belum dilakukan, metode pemberian tugas (pt) hampir mendominasi seluruh kegiatan pembelajaran seni. hal ini disebabkan karena sudah terbiasanya guru dalam menyampaikan suatu materi dengan cara atau metode tertentu, sehingga kurang menyadari bahwa sesunguhnya ada yang perlu untuk dikembangkan dan akan menjadi lebih baik dan bermakna baik bagi anak maupun bagi guru itu sendiri. faktor lain guru tidak melakukan inovasi metode pembelajaran dikarenakan terpancang pada seuatu tujuan dalam kurikulum yanag hendak diselesaikan. kurang adanya evaluasi terhadap metode yang telah digunakan, sehingga tidak dapat mengetahui kelebihan dan kekurangannya. hal tersebut dikarenakan juga sudah terlalu banyaknya beban tugas yang harus diselesaikan oleh guru. 4. pola-pola pemanfaatan potensi alam sekitar sekolah alam sekitar sekolah, dapat dikelola dan dimanfaat sebagai bahan dan sumber pembelajaran pada umumnya dan khususnya pembelajaran seni. alam sekitar sekolah terdiri berbagai macam dan ragam bentuknya. namun demikian yang berkaitan dengan pembelajaran diantaranya berupa lingkungan sosial. lingkungan sosial yang dimaksud adalah suasana, kondisi atau lingkungan yang mempengaruhi terjadinya proses pembelajaran seni di taman kanak-kanak. lingkungan sosial yang berpengaruh dalam kegiatan harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 pembelajaran anak di tk adalah : keluarga, teman, dan guru, serta lingkungan alam sekitar. kegiatan pembelajaran seni dengan melibatkan orang tua wali murid yang memiliki potensi di bidang seni. namun demikian pada pelaksanaanya jauh dari harapan pembelajaran seni yang saharusnya. hal ini tampak pada pelaksanaan pembelajaran seni tari, dengan materi tari dansa. materi tari dansa sebenarnya diperuntukkan bagi orang dewasa, tetapi diajarkan oleh anak tk. demikian pula pada pemelajaran seni kulintang hanya diikuti oleh anakanak yang berminat dan memiliki kemampuan melakukan bermain kulintang, dengan demikian akan ada anak yang selamanya tidak akan mengenal atau merasakan bagaimana memainkan instrumen musik yang namanya kulintang. hal ini karena bagi si pengajar tidak ingin repot karena mengurusi anak-anak yang sama sekali tidak memiliki telinga musikal, atau tidak memiliki kemampuan untuk memainkan kulintang. bagi guru proses belajar dan mengajar yang perlu diperhatikan adalah proses yang berorientasi pada kebutuhan anak didik, merangsang anak didik agar berkembang rasa ingin tahunya, berkembang kemampuannya dalam mengemukakan pendapat atau gagasan, berkembang inisiatif dan imajinasinya, berkembang kemampuannya dalam memecahkan masalah secara khas, serta tumbuh sportivitasnya. untuk hal tersebut lingkungan sosial dan alam memberi andil besar untuk kesuksesan kegiatan pembelajaran lebih khusus pembelajaran seni. lingkungan alam dan fisik yang dimaksud adalah pertama, lingkungan yang bersifat alami dan buatan manusia yang bukan semata-mata untuk tujuan pendidikan di tk, namun dapat dimanfaatkan oleh tk untuk mencapai tujuannya, kedua, lingkungan yang secara sengaja dibuat untuk kepentingan proses belajar dan mengajar, yang dirancang sedemikian rupa sehingga memperlancar proses belajar mengajar yang diselenggarakan secara formal di tk. lingkungan kebudayaan adalah lingkungan yang memberi arahan pada seseorang untuk memiliki nilai-nilai, norma-norma, dan pengetahuan serta teknologi untuk mengatasi lingkungannya. lingkungan alam memberikan arahan pada anak untuk memiliki nilainilai, norma-norma, dan pengetahuan guna mengatasi persoalan hidup, hendaknya dapat menciptakan iklim belajar dan mengajar yang mengarahkan tindakan kreatif pada pembelajar. oleh karena itu perlu diterapkan pembelajaran kreatif pada anak tk, agar anak tk berkembang kreatifitasnya yang dapat di gunakan sebagai pedoman untuk bertindak di kemudian hari. 5. tingkat kesulitan anak dalam memahami konsep-konsep seni yang diajarkan oleh guru. setiap manusia tak terkecuali anak usia dini pasti mengali masalah dalam hidup dan kehidupannya. masalah yang dihadapi oleh manusia dengan ditandai keluh kesah. keluh kesah yang diekspresikan manusia sangat beragam. bagi anak tk ketidak mampuan dalam mengerjakan tugas yang diberikan oleh guru yaitu pada waktu. waktu yang dimaksud adalah waktu yang diberikan oleh guru untuk mengerjakan tugas yang diberikan oleh guru. nampak ketika anak-anak mulai mengerjakan tugas tidak terasa bahwa waktunya yang dibarikan kepada anak sangat pendek harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 sedang tugas yang dikerjakan belum selesai. sebagigan anak khusus anak laki-laki yang merasa kurang mampu dalam mengerjakan tugas diekspresikan dengan beragam. ada yang digunakan untuk mengganggu teman, tetapi ada juga berusaha bertanya pada teman terdekat atau pada gurunya. bagi anak yang mengerjakan tugas lebih awal dari waktu yang diberikan oleh gurunya, mereka mendapatkan pujian. “ini bak nita sudah selesai dan bagus, ayo yang lain pasti bias”. secara umum dalam penguasaan materi seni bagi anak tk, setelah selesai guru menjelaskan materi kemudian anak melakukan tugas sangat bergam dalam penguasaannya. ada yang sesui dengan harapan guru yaitu, dalam mengejakan tugas waktu digunakan sebaik mungkin dan karya anak bagus. indikator bagus, waktunya tepat serta karya anak (dalam hal ini seni rupa “membuat fas foto dari kertas) lipatan kertas membentuk garis lurus, dan halus, serta permukaan rata. sehingga hasilnya menyerupai fas foto. materi seni tersebut masih pada tingkat kesulitan yang sedang bagi anak tk. karena aktifitas yang dilakukan tidak banyak memerlukan pengulangan yang memakan waktu banyak. sehingga ketika anak mengalami kesulitan dengan mudah dan cepat dapat diperbaiki. pada materi seni yang lain yaitu berupa membuat lingkaran. materi ini tingkat kesulitanya lebih tinggi jika disbanding dengan materi membuat figura foto. sebab pada materi membuat lingkaran, disamping anak harus teliti, sabar, juga harus memiliki kepakaan ruang. jika tidak memiliki kepekaan ruang anak akan selalu mengulang-ulang pekerjaan dan pada akhirnya waktu yang telah disepakati antara guru dan murid tidak mencukupi. dalam proses pembelajaran ini sebenarnya mengasikkan, tetapi bagi anak yang kurang dalam penguasan teknik pada waktu akhir menjadi panik karena pekerjaannya belum selesai sedang teman yang lain sebagian ada yang sudah selesai. kegiatan seperti ini sebenarnya peran guru sebagai fasilitator. tetapi karena jumlah guru yang sangat terbatas akhirnya anak-anak dalam mengejakan tugas tidak mendapat kesempatan bimbingan yang memuaskan bagi anak. proses penyampaian materi pada awal kegiatan oleh anak dikategorikan dapat dipahami, hal ini nampak adanya anak yang dapat menyelesaikan tugas lebih awal. selain itu anak dalam mengejakan dengan sungguh-sungguh dan antusias, serta disertai rasa tabggung jawab. sehingga anak merasa senang dan tidak tampak adanya beban yang memberatkan pada dirinya. adanya kesulitan bagi anak dalam memahami dan mengerjakan tugas seni yang diberikan oleh gurunya, karena juga terbatasnya jumlah guru. dengan rata-rata setiap kelas 35 dengan satu guru, adalah sesuatu yang tidak rasional. ketika guru sedang melayani anak yang membutuhkan penjelasan, hal ini dimanfaatkan oleh anak lain untuk melakukan aktifitas yang lain. sehingga kelas menjadi gaduh dan tidak kondusif. suasana demikian membuat anak yang lain menjadi tidak konsentrasi dalam mengerjakan tugas. hal semacam tersebut terjadi pada setiap kegiatan pemberian tugas. sekali waktu guru menyebut kelas b, kemudian anak-anak menyaut ucapan yes oke. kemudian suasana hening sesaat, tetapi kemudian gaduh lagi. untuk pembelajaran seni, diperlukan guru yang ahli dalam seni. untuk memenuhi hal tersebut maka didatangkan ahli kulintang, ahli tari, ahli harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 draum band. maka yang dikatan pembelajaran seni adalah bermain kulintang, bermain drum bend, menari, dan menyanyi. sedang drama untuk kegiatan pengenalan keluarga. pemahaman tersebut hampir diyakini oleh sebagian besar guru-guru tk yang menjadi sasaran kajian penelitian ini. daftar pustaka borg dan gall . educational resead and develepment. 1983. compbell, don. efek moart memanfaatkan kekuatan musik untuk mempertajam pikir, meningkatkan kreativitas, dan menyehatkan tubuh. jakarta: gramedia putaka utama. 2001. depdiknas. kurikuum berbasis kompetensi mata pelajaran pendidikan seni sekolah dasar. jakarta : depdiknas, 2001. depdiknas. kurikuum berbasis kompetensi mata pelajaran pendidikan seni sekolah dasar. jakarta : depdiknas, 2001. garha, oho, “mata pelajaran menggambar dan pelaksanaannya di sekolah dasar”, makalah seminar nasional konsep dan implementasi pendidikan, dalam rangka lustrum vi ikip semarang, semarang, 7 april 1995. milles dan huberman. analisis data kualitaatif, terjemahan tjetjep rohendi rohidi. jakarta : universitas indonesia press. rohidi, t.r., “pendidikan seni rupa sebagai pengembangan potensi dan pelestarian nilai-nilai estetik”, makalah, semarang, 26 september 1992. rohidi, t.r., “pendekatan sistem budaya dalam penelitian seni dan pendidikan seni (sapuan kuas besar dalam kerangka ilmu sosial)”, makalah seminar nasional pendekatan-pendekatan dalam penelitian seni dan pendidikan seni, dalam rangka dies natalis xxix ikip semarang, semarang, tanggal 11 april 1994. rohidi, t.r., pendekatan sistem sosial budaya dalam pendidikan, ikip semarang prees, semarang, 1993. rohidi, t. r., “fungsi seni dan pendidikan serta implikasinya dalam pengembangan kebudayaan”, makalah dalam penlok pengembangan bahan ajar pendidikan seni rupa. 14-16 april, 1999. rohidi, t. r., kesenian dalam pendekatan kebudayaan, stsi bandung, bandung, 2000. slamet ph., “model pengembangan kurikulum pendidikan seni”, makalah lokakarya dan seminar nasional pendidikan seni, jakarta, 18-20 april 2001. tarwiyah, tuti. musik betawi dalam permainan anak. makalah. seminar nasional pud jakarta 22 agstus. 2003. harmonia edisi khhusus.pdf musik tradision nawawi, hadari. 1993. metode penelitian bidang sosial. jogjakarta: ugm press. prijono, leka. 1992. seni rakyal, perkembangan dan pengaruhnya terhadap kehidupan masa kini dan masa depan yang akan datang. semarang kanwil depdikbud jateng. rohidi, t.r.1992. ”analisis kualitalif” dalam lembaran penelitian no.1 tahun viii. semarang: pusat penelitian imp semarang __________1993. ”ekpresi orang miskin adaptasi simbolik terhadap kemiskinan”. disertasi doktor bidang antropologi program pasca sarjana universitas indonesia. silbermann, a. 1977. the sociology of music. usa: green wood press. soekanto, soerjono. 1994. sosiologi suatu pengantar. jakarta: rajawali. sunarto, k. 1993. pengantar sosiologi. jakarta: fakultas ekonomi universitas indonesia harmonia vol ix no 1 tahun 2009.pdf learning movement /psychomotor skill in art of movement and body health, both complex and simple one, need such good integration of students’ physical and physic function. to get the maximum result, it needs perseverance, correctness, integrity, concentration and coordination between perception and movement. in fact, students have perceptual and physic ability. efficiency in perceptual ability closely related to students’ development in cognitive, affective, and psychomotor domains. these abilities really help students in interpreting stimulation that come from out side so that students will find it easier to make decision toward their environment. good cognitive and performance in psychomotor activities depend on students’ development of perceptual ability. kata kunci : kecakapan persepsi, pembelajaran keterampilan psikomotoriki, seni gerak 1. 2. 3. 4. 5. harmonia edisi khhusus.pdf eksistensi wanita penari dan pencipta tari di kota semarang microsoft word harmonia vol x no 1 2010.docx pemanfaatan media dalam pembelajaran tari di taman kanak-kanak oleh: hartono email:hartono_sukorejo@yahoo.id abstrak learning the art, especially the art of dancing in the kindergarten (tk), until recently, is generally done conventionally. teachers give examples of motions then were followed by the students, and later accompanied with music. such activity is repeated. learning to dance, as a matter of fact, when packaged with media, besides has optimum result; fun learning can also be obtained. less attractive of media packaging is indicated by the various educational background of the teachers. there are only a few who really possess kindergarten educational fields. consequently, those who have just started teaching own very little special provision relating to learning in kindergarten. it is not surprising that there are deficiencies and limitations of knowledge, skills, and creativity of teachers in utilizing the media as a means of learning in kindergarten, more specifically learning dance. kata kunci : pemanfaatan, media, pembelajaran , taman kanakkanak. pendahuluan pendidikan pra sekolah yaitu taman kanak-kanak (tk) pada dasarnya turut berperan dalam pencapaian tujuan pendidikan nasional. penyelenggaraan pendidikan di tk bertujuan untuk memberikan berbagai kemampuan dasar pada anak. kemampuan dasar sangat penting bagi anak diantaranya untuk mengembangkan sikap, pengetahuan, ketrampilan, dan daya cipta. hal tersebut bagi anak kelak akan sangat diperlukan dalam upaya menyesuaikan diri dengan lingkungannya dan untuk pertumbuhan serta perkembangan selanjutnya. berkaitan dengan pencapaian kemampuan dasar, bidang seni tari menjadi salah satu program yang harus dikembangkan dalam proses pembelajarannya. karena proses pembelajaran di taman kanak-kanak pada kenyataannya tidak pernah terlepas dari aktivitas berseni tari, walaupun pada umumnya para guru kurang menyadarinya (lihat syahrul 1997; moeslichatoen 1999: 12-13). agar aktivitas berkesenitarian seperti mendengarkan iringan tari, bernyanyi mengikuti syair dalam iringan tari, menyaksikan pertunjukan tari secara langsung, menyaksikan pertunjukan tari lewat dvd, dan menirukan melakukan gerak tari, serta lain-lain menjadi sebuah proses yang berarti bagi anak, maka diperlukan kemampuan dan kreativitas guru dalam mengembangkan perencanaan dan pelaksanaan kegiatan pembelajarannya. namun demikian beberapa hasil penelitian seperti yang dilakukan oleh udi utomo (2003) yang meneliti tentang pemanfaatan media musik di taman kanakkanak, dan hartono (2004) yang meneliti tentang pembelajaran seni berbasis kompetensi di tk r.a. al islam gunungpati kota semarang syahrul syah sinaga (1999) yang meneliti tentang pembelajaran di taman kanak-kanak melalui lagu anak-anak, diperoleh informasi bahwa masih perlu adanya berbagai upaya peningkatan sumber daya manusia di kalangan guru tk, khususnya kegiatan yang meningkatan kemampuan dan kreativitas guru dalam pelaksanaan pembelajaran. berdasarkan fenomena tersebut di atas, maka perlu adanya penelitian lebih lanjut bagaimana guru dapat memanfaatkan dan memiliki keterampilan penggunaan media dalam pembelajaran tari. tujuan penelitian ini adalah untuk memahami guru taman kanak-kanak dalam memanfaatkan dan ketrampilan penggunaan media dalam pembelajaran tari. sedangkan manfaat penelitian ini bagi para guru taman kanak-kanak adalah untuk: meningkatkan pengetahuan dan ketrampilan dalam memanfaatkan media sebagai media pembelajaran tari di taman kanak-kanak; dan meningkatkan kreativitas dalam mengembangkan dan mengaplikasikan pemanfaatan media sebagai media pembelajaran tari di taman kanak-kanak. pendidikan seni untuk anak tk merupakan upaya yang dilakukan manusia dalam rangka mencapai kedewasaan subjek didik. pendidikan mencakup seluruh perkembangan pribadi anak, baik segi intelektual, jasmani dan rokhani, sosial maupun emosional. pendidikan mempunyai peranan yang penting atau strategis untuk mengembangkan rasa percaya diri, sikap dan perilaku yang inovatif, serta kreatif (rohidi dkk 1994). pemahaman yang jelas terhadap peran dan hakikat pendidikan seni di sekolah, merupakan bagian yang tidak terpisahkan dengan pelaksanaan pendidikan dalam mencapai tujuannya. dalam kaitan ini, pendidikan seni dapat difungsikan sebagai sarana pendidikan. bentuk pendidikan seni yang dikenal sebagai education through art, merupakan bentuk pendidikan yang berupaya untuk memberikan keseimbangan antara intelektualitas dengan sensibilitas, rasionalitas, dan akal pikiran dengan kepekaan emosi, agar manusia “memanusia”. bahkan dalam batas-batas tertentu, pendidikan seni menjadi sarana untuk mempertajam moral dan watak (rohidi 1999: 3). pendidikan seni di tk meliputi semua bentuk kegiatan tentang aktivitas fisik dan cita rasa keindahan, yang tertuang dalam kegiatan berekspresi, bereksplorasi, berkreasi dan berapresiasi (depdiknas 2001: 7). melalui pendidikan seni anak dilatih untuk memperoleh keterampilan dan pengalaman mencipta yang disesuaikan dengan lingkungan alam dan budaya setempat. serta untuk memahami, menganalisis dan menghargai karya seni. tegasnya pendidikan seni sebagai mata pelajaran di tk dapat menjadi media yang efektif dalam mengembangkan pengetahuan, keterampilan, kreativitas dan sensitivitas anak. pendidikan seni di tk memiliki fungsi dan tujuan untuk mengembangkan sikap dan kemampuan agar siswa mampu berkreasi dan peka dalam berkesenian, atau memberikan kemampuan dalam berkarya dan berapresiasi seni. kedua jenis kemampuan ini menjadi penting artinya karena dinamika kehidupan sosial manusia dan nilai-nilai estetis mempunyai sumbangan terhadap kebahagiaan manusia di samping mencerdaskannya. pendidikan kesenian, sebagaimana yang dinyatakan ki hajar dewantara (dalam bastomi 1993: 20), merupakan salah satu faktor penentu dalam membentuk kepribadian anak. secara kodrati, manusia (termasuk anak tk) telah diberikan kemampuan atau potensi untuk membangun atau membentuk sesuatu melalui kemampuan potensinya. dengan demikian pendidikan tari dapat dijadikan sebagai dasar pendidikan dalam membentuk jiwa dan kepribadian (berakhlak karimah). sebagaimana yang dinyatakan oleh plato (dalam rohidi 2000:5), bahwa pendidikan seni dapat dijadikan dasar pendidikan, karena untuk membentuk suatu kepribadian yang baik dilakukan melalui pendidikan seni. masa kanak-kanak biasanya dibagi atas dua tahapan yakni masa kanakkanak awal dan masa kanak-kanak akhir. masa kanak-kanak awal berlangsung dari usia dua tahun sampai dengan enam tahun. pada masa ini ketergantungan anak semakin berkurang, sedangkan secara perlahan-lahan kemandiriannya semakin bertambah. beberapa hal penting yang terkait dengan perkembangan anak pada usia ini adalah menyangkut perkembangan motorik, perkembangan bahasa, perkembangan emosi, perkembangan sosial, dan perkembangan intelegensi. berkaitan dengan perkembangan anak, aktivitas berkesenitarian merupakan bagian penting dalam program pendidikan taman kanak-kanak. bayless (1986: 34), menyarankan bahwa anak-anak harus diberikan sebanyakbanyaknya pengalaman menyanyi dan permainan dalam bernyanyi. pendapat tersebut juga dipertegas oleh mc donald (1979: 1-2) yang mengemukakan bahwa anak-anak usia taman kanak-kanak merupakan pencipta musik yang paling orisinal. ketika anak mencipta musik secara otomatis berlatih irama, irima bagian unsur dalam tari dan adanya spontanitas dalam bergerak. tari sebagai salah satu aktivitas yang penting dalam pelaksanaan pembelajaran di taman kanak-kanak dianggap mampu mempengaruhi perkembangan pribadi anak, baik menyangkut aspek perkembangan motorik, perkembangan bahasa, perkembangan emosi, perkembangan sosial, dan perkembangan intelegensi. pembelajaran adalah suatu sistem yang terdiri dari berbagai komponen yang saling berkaitan seperti komponen guru, siswa, tujuan, bahan/materi, metode, media dan sumber bahan, serta evaluasi. dalam konsep pembelajaran, siswa dan guru secara bersama dipandang sebagai subyek. siswa dalam hal ini sebagai subyek yang belajar, sedangkan guru adalah subyek yang mengajar. proses pembelajaran bisa dicapai secara secara optimal antara lain bila guru mampu mengelola siswa, media dan sumber bahan, serta mampu menciptakan suasana yang menyenangkan bagi berlangsungnya kegiatan pembelajaran (achsin 1990: 1). taman kanak-kanak sebagai salah satu bentuk pendidikan prasekolah, dalam melaksanakan kegiatan pembelajarannya berbeda dengan pelaksanaan pembelajaran di sekolah dasar maupun di sekolah-sekolah tingkat berikutnya. hal tersebut disebabkan karena tujuan institusional taman kanak-kanak adalah hanya membantu meletakkan dasar ke arah perkembangan sikap, perilaku, pengetahuan, ketrampilan dan daya cipta yang diperlukan oleh anak didik dalam menyesuaikan diri dengan ilngkungannya dan untuk pertumbuhan serta perkembangan selanjutnya (depdikbud 1994: 2; moeslichstoen 1999: 3). ruang lingkup program kegiatan belajar di taman kanak-kanak mencakup pembentukan perilaku melalui pengembangan pembiasaan yang meliputi moral, nilai-nilai agama, sosial, emosional, dan kemandirian, serta pengembangan kemampuan dasar melalui kegiatan yang dipersiapkan oleh guru meliputi pengembangan kemampuan berbahasa, kognitif, fisik/motorik, seni (depdikbud 2004). untuk mencapai tujuan pembelajaran di taman kanak-kanak, dalam prosesnya telah ditetapkan berbagai tema yang dapat dikembangkan lebih lanjut oleh guru. tema-tema tersebut seperti: (1) tema diri sendiri; (2) tema lingkunganku; (3) tema kebutuhanku; (4) tema binatang; (5) tema tanaman; (6) tema rekreasi; (7) tema pekerjaan; (8) tema air, udara, api; (9) tema alat komunikasi; (10) tema tanah airku; dan (11) tema alam semesta. dalam pelaksanaannya berbagai tema yang ada tersebut disampaikan kepada siswa melalui kegiatan yang terpadu dengan memasukkan kegiatan berkesenitarian sebagai salah satu komponenya. sebagai sebuah proses, aktivitas tari merupakan aktivitas pembelajaran di taman kanak-kanak yang bertujuan untuk pembentukan perilaku (khususnya melalui pesan-pesan syair lagunya pengiring), dan pengembangan kemampuan dasar seperti daya cipta, bahasa, daya pikir, ketrampilan, dan jasmani (melaui unsur gerak tangan, kaki, kepala yang berirama, harmoni, dan ekspresinya). media pembelajaran yang dimaksudkan dalam hal ini menyangkut segala sesuatu (hardware dan atau software) yang berhubungan dengan tari yang dapat dijadikan sebagai sumber belajar karena dapat merangsang pikiran, perasaan, perhatian, dan kemauan anak sehingga mendorong terjadinya proses belajar mengajar yang lebih efektif dan efisien. dalam konteks pembelajaran di taman kanak-kanak, tentu saja perhatiannya lebih dititik beratkan kepada pembelajaran tari sebagai sebuah proses (bukan tujuan). metode penelitian pendekatan dalam penelitian ini, dengan maksud untuk memudahkan dalam menjawab permasalahan secara menyeluruh, tuntas, dan mendalam tentang pemanfaatan media untuk meningkatkan kreatifitas guru dalam pembelajaran tari di taman kanak-kanak. oleh karena itu pembahasan permasalahan akan dilakukan dengan meletakkan permasalahan dalam kontek kebudayaan. kebudayaan disisni dipandang sebagai keseluruhan pengetahuan, kepercayaan, dan nilai-nilai yang dimiliki oleh manusia sebagai makhluk sosial. proses pengalihan kebudayaan senantiasa terjadi melalui proses pendidikan. pendidikan dipandang sebagai upaya pengalihan, pengembangan, penciptaan nilai-nilai, pengetahuan, dan keyakinan, yang dilakukan bersama-sama atau antar perorangan, dengan tujuan agar peserta didik dapat memainkan peran sebagai individu di dalam kerangka sistem sosial budaya. pengumpulan data diambil berdasar situasi yang wajar, sebagaimana adanya tanpa dipengaruhi oleh siapapun dengan sengaja. data yang terkumpul berupa tulisan, hasil rekaman wawancara dan foto. sumber data dalam penelitian ini terdiri dari: (1) nara sumber, yakni orang-orang yang berkompeten atau terlibat secara langsung maupun tidak langsung dalam proses pembelajaran tari, yaitu: guru dan kepala tk, pakar seni anak dan nara sumber lainnya yang terkait; (2) persiapan yaitu tujuan, materi, dan setrategi; (3) proses pembelajaran seni yang mencakupi: materi pembelajaran, kemampuan guru, perilaku anak, dan sarana dan sumber daya lingkungan yang tersedia; (4) pengetahuan, ketrampilan, dan kreativitas guru dalam memanfaatkan media sebagai sarana pembelajaran tari di tk (5) dokumen yang berkaitan dengan penelitian ini. pengumpulan data dengan pengamatan, dan wawancara yang ditujukan kepada guru dan kepala tk, serta anak-anak tk. wawancara akan mengungkap bagaimana pengetahuan, ketrampilan, dan kreativitas guru dalam memanfaatkan media sebagai sarana pembelajaran tari di tk. selaian hal tersebut untuk mengetahui kebutuhan, kelebihan, kekurangan, kendala, dan pelaksanaan pembelajaran seni. metode wawancara (cakap ) merupakan metode penyediaan data yang dilakukan dengan cara mengadakan percakapan. percakapan yang dimaksud dilakukan peneliti dengan penutur yang menjadi narasumbernya. teknik yang digunakan, teknik rekam, dan teknik catatguna. adapun panduan pengamatan akan mengupas realitas pelaksanaan pembelajaran seni. analisis data dalam penelitian ini dilakukan dengan menggunakan metode analisis deskriptif-kualitatif, yaitu data yang terkumpul dideskripsikan. secara rinci langkah-langkah analisis data penelitian ini sebagai berikut. persiapan penelitian, meliputi: a) mengumpulkan data, b) mengorganisasi dan mengelompokkan data yang terkumpul sesuai dengan sifat dan kategori data yang ada. langkah ini juga merupakan langkah reduksi data dan sekaligus penyajian data. analisis data dilakukan melalui empat tahap, yaitu reduksi data, sajian data, penarikan simpulan, dan verifikasi penelitian yang dilakukan saling menjalin dengan proses pengumpulan data. model analisis yang dilakukan adalah analisis interaktif. artinya, empat komponen analisis, yaitu reduksi data, sajian data, penarikan kesimpulan, dan verifikasi penelitian yaitu dilakukan secara simultan sejak proses pengumpulan data milles & huberman. pemeriksaan dan pengecekan keabsahan data dengan pengujian validitas menggunakan cross-recheck dan melaluii pertimbangan ahli. validitas pada penelitian kualitatif dinyatakan dalam kredebilitas. kredebilitas dalam penelitian dilakukan dengan teknik (1) perpanjangan keikutsertaan, (2) ketekunan pengamatan, dan (3) trianggulasi. trianggulasi sebagai cara pemeriksaan data dengan pemanfaatan sesuatu yang lain di luar data guna pengecekan atau sebagai pembanding data. untuk mengecek sumber informasi secara rinci, cara yang ditempuh peneliti, yaitu: a) membandingkan data hasil pengamatan dari berbagai pihak yang terlibat dalam pelaksanaan pembelajaran seni dengan data hasil wawancara, b) membandingkan apa yang dikatakan dari subjek peneliti dengan informasi pendukung, c) membandingkan keadaan dengan perspektif guru, dan anak, d) membandingkan hasil wawancara dengan isi suatu dokumen pelaksanaan pengajaran seni. hasil penelitian dan pembahasan beberapa hasil temuan dalam penelitian ini yang berkaitan dengan kemampuan guru taman kanak-kanak pembina kabupaten kendal dalam memanfaatkan dan keterampilan penggunaan media pembelajaran tari, yaitu berkaitan dengan pengetahuan dasar tari dan aktivitas berkesenitarian. pengetahuan dasar tari mencakup gerak tari, fungsi tari, ruang, dan waktu, serta pengertian tari untuk anak tk. aktivitas berkesenitarian maliputi dalam hal menirukan dengan melakukan gerak tari, mendengarkan iringan tari, bernyanyi mengikuti sair dalam iringan tari, menyaksikan pertunjukan tari secara langsung, menyaksikan tari dalam dvd, dan, serta mengoperasikan peralatan yang digunakan untuk pembelajaran tari. pengetahuan dasar tari ditunjukkan dengan menggubah beberapa gerak tari yang disesuaikan dengan tingkat kemampuan anak dalam melakukan gerak tari. kegiatan penggubahan gerak dilakukan dengan eksplorasi bersama-sama dengan anak. tari hasil gubahan terutama tari jaranan dan tari angin rebut. gerak tari jaranan hasil gubahan berupa gerak awal sebagai bagian intruduksi dari sebuah tari jaranan. hasil gerak gubahan laian berupa gerak strans, gerak trans ini sebagai klimak atau gerak akhir sebuah tari jaranan. sedang untuk tari angin rebut, lebih ditekankan pada permainan tempo, yaitu gerak untuk mengungkapkan angin sedang kemudian dilanjutkan angin cepat dan sangat cepat. pada akhir gerak diakhiri dengan menjatuhkan diri kelantai sebagai gambaran dari akibat angin yang sangat cepat. beberapa keterampilan pembelajaran tari berkaitan dengan proses pemberian materi berupa gerak terjadi pada saat anak-anak menirukan dan melakukan gerak tari yang dicontohkan oleh gurunya. misal pada tarian jaranan yang mempunyai ciri enerjik dan menggunakan property kuda kepang dan pecut. oleh karena itu dalam membawakan tarian ini diperlukan enerji berlebih serta keterampilan dalam memainkan propertynya. anak-anak dalam melakukanya nampak berekspresi sebagamana layaknya orang dewasa yang menarikan kuda kepang. tarian ini menuntut gerakan yang berat, otot-otot kaki, tangan, leher, dan seluruh anggota badan anak akan terlatih. berikut beberapa gerakan yang melibatkan koordinasi beberapa anggota tubuh, yaitu: ragam gerak pertama, pada gerakan intro yang berupa gerak dua tangan memegang kuda kepang posisi di depan muka diayunkan ke samping kanan dan kiri kaki berjalan membuat lingkaran. gerakan ini melatih otot-otot tangan karena membawa kuda kepang posisi sejajar dengan badan. otot-otot kaki juga terlatih pada berjalan membuat sebuah lingkaran. ragam gerak yang kedua adalah posisi naik kuda dua tangan memegang kepala kuda kepang kaki berjalan membuat putaran. otot-otot utama yang terlatih adalah otot-otot kaki, yaitu berjalan membuat lingkaran. otot lainnya yaitu otot leher karena pada saat berjalan juga menggerakkan kepala yaitu toleh kanan-kiri. ragam gerak yang ketiga, tangan kiri tetap memegang kepala kuda kepang tangan kanan memutarmutar pecut. otot tangan kanan lebih dominan karena memutar pecut pada posisi diatas kepala, karena setiap gerakan yang dilakukan pada level atas lebih berat jika dibandingkan dengan gerakan pada level datar atau bawah, hal ini karena tidak berlawanan dengan gravitasi bumi. demikian pula otot kaki juga tetap terlatih. ragam gerak yang keempat dua tangan memegang kepala kuda kepang kaki kanan jangkah samping kiri dan samping kanan. pada gerakan ini seluruh otot-otot anggota tubuh terlatih akan tetapi yang lebih dominan adalah otot-otot kaki, karena kaki kiri sebagai tumpuan kaki kanan yang bergerak melangkah ke kiri dan ke kanan. ragam gerak yang kelima melompat ke depan melompat ke belakang jangkah samping kiri jangkah samping kanan kemudian melompat di tempat tangan kanan mecut. regam gerak ini sangat diperlukan enerji berlebih. gerak yang dinamis berupa gerak melompat yang berulangkali kemudian diselingi jangkahan kaki kembali melompat, hal ini nampak sekali bahwa otot-otot seluruh anggota tubuh terlatih. berikut ini bentuk ragam gerak pada saat menaiki kuda dan pada saat memainkan property erupa pecut sebagai berikut di bawah ini: gambar 44. ragam tari jaranan ragam gerak yang keenam adalah pengulangan ragam gerak sebelumnya yaitu posisi naik kuda dua tangan memegang kepala kuda kepang kaki berjalan berputar. ragam gerak ini lebih melatih pada otot-otot kaki. ragam gerak yang ketujuh ini juga mengulangi ragam gerak sebelumnya berupa posisi naik kuda dua tangan memegang kepala kuda kepang kaki berjalan berputar. ragam gerak yang kedelapan mengulangi ragam gerak yang memerlukan enerji berlebih yaitu berupa ragam melompat ke depan melompat ke belakang jangkah samping kiri jangkah samping kanan kemudian melompat di tempat tangan kanan mecut, sudah barang tentu seluruh otot-otot anggota tubuh terlatih dan terkoordinasi sebagai satu kesatuan yang utuh. pemanfaatan dan pengembangan musik dalam pembelajaran tari jaranan ini bahwa penggunaan musik sebagai iringan tari. berlatih menguasai iringan tari berarti berlatih memahami pola irama. pada syair-syair tertentu sesuai dengan keperluan sebagai pengganti hitungan menjadi hal yang dituntut untuk dapat dikuasai anak. misal pada syair gedebug krincing: gerak kaki pada saat mengawali dan berhenti harus pas dengan syair tersebut. demikian pula pada syair gedebug jeder pada saat mecut sesui dengan syairnya. proses pengembangan musik dalam bentuk birama dapat dilihat pada cuplikan birama lagu jaranan di bawah ini: kreativitas dalam pemanfaatan bahasa terletak pada syair lagu yang terdapat pada musik iringan. penggunaan kata-kata biasanya didasari pada sesuatu yang dapat diterima akal dan ada pada lingkungan terdekat dengan kehidupan anak. syair lagu yang terdapat di dalam musik pengiring dalam tari jaranan, sebagai berikut: jaranan jaranan jarane jaran teji: nama kuda adalah kuda teji sing nunggang dara bei: yang menaiki namanya pangeran bei sing ngiring para mantri: pengiringnya semua menteri jek-jek nong jek-jek nong jek-jek nurut lurung: bunyi iringan pada saat melintas di jalan. gedebug krincing gedebug krincing jek-jek gedebug jeder: suara iringan saat kuda berjalan jaranan jaranan jarane jaran teji: namanya kuda teji sing nunggang dara bei: yang naik kuda pangeran bai sing ngiring para mantra: pengiringnya semua menteri jek-jek nong jek-jekno jek-jek nurut lurung: bunyi iringan pada saat melintas di jalan. gedebug krincing gedebug krincingjek-jek gedebug jeder: suara iringan saat kuda berjalan. syair lagu tersebut selalu terdengar oleh anak pada saat iringan musik disetel baik untuk mengiringi tari maupun hanya untuk dinikmati didengarkan. pengembangan gerak tari dengan memanfaatkan musik pengiring (musik gamelan jawa) dan dengan memanfaatkan dvd sebagai sarana dan sumber belajar dalam pembelajaran tari, lebih mengarah pada tari-tarian tradisi, lebih khusus tari tradisi jawa. pengembangan dan pemanfaatan media dalam pembelajaran tari di taman kanak-kanak merupakan sebuah kompetensi terpadu yang mencakup pengetahuan dasar tari, ketrampilan berseni tari, dan kreativitas dalam mengembangkan gerak untuk menyesuaikan dengan iringan serta irama musik. ada beberapa kompetensi mendasar yang sangat penting dalam mengembangan dan memanfaatkan media dalam pembelajaran tari di taman kanak-kanak sesuai dengan kurikulum, yakni: (1) pengetahuan dan ketrampilan baik gerak tangan, kaki, kepala, serta perpaduannya yang berirama dan harmoni; (2) penguasaan ruang dalam penyusunan kommposisi tari. simpulan dan saran a. simpulan berkaitan dengan hasil yang telah dipaparkan tersebut maka dapat disimpulkan bahawa pengembangan dan pemanfaatan media dalam pembelajaran tari di taman kanak-kanak sangat beragam. keberagaman tersebut sebagai acuan dalam pengembangan kompetensi dasar tari lainnya yang bermanfaat dalam mengembangkan pemanfaatan media pembelajaran tari di taman kanak-kanak. keberagaman lain juga tampak dalam teknik penyampaian materi dan penguasaan pengoperasian media. b. saran berdasarkan hasil dan pembahasan maka disarankan sebagai berikut : (1) bagi para guru taman kanak-kanak diharapkan berlatih dan meningkatkan pengetahuan serta ketrampilan dalam pengembangan dan pemanfaatan pembelajaran tari di taman kanak-kanak; (2) bagi lembaga-lembaga yang terkait dengan pembinaan penyelenggaraan pendidikan di taman kanak-kanak diharapkan memiliki program-program pengembangan baik peningkatan sarana dan media pembelajaran tari maupun peningkatan sdm, sehingga mampu menjadi motivator terciptanya kreativitas guru dalam pembelajaran di taman kanak-kanak. daftar pustaka anderson, r.h. 1994. pemilihan dan pengembangan media untuk belajar. jakarta: raja grafindo persada. banoe, p, 1984. “pengantar pengetahuan alat musik”. diktat bahan penataran guru edisi ii. depdikbud, 1996. musik dan anak. jakarta: proyek pendidikan tenaga akademik depdikbud. hartono, 2004. “pembelajaran seni berbasis kompetensi di tk ra. al islam gunungpati kodia semarang”. laporan penelitian pada fakultas bahasa dan seni universitas negeri semarang jatmiko, t, dan utomo, u. 1996. musik sebagai sarana mengembangkan kemampuan mendengar. media fpbs ikip semarang, no. 3 th. xix des. 1996, hal 69 s.d 82. miller, h.m. ………. pengantar apresiasi musik (terjahan triyono bramanto, p.s). institut seni indonesia yogyakarta. moeslichatoen, r. 1999. metode pengajaran di taman kanak-kanak. jakarta: rineka cipta. rinanto, a, 1985. peranan media audi visual dalam pendidikan. yogyakarta: yayasan kanisius. rifai, a, dan sudhana, n. 1991. media pengajaran. bandung: sinar baru. rumampuk, d,b. 1988. media instruksional ips. jakarta: proyek pengembangan lembaga kependidikan depdikbud. safrina, r. 1999. pendidikan seni musik. jakarta : depdikbud. sudjarwo, 1988. beberapa aspek pengembangan sumber belajar. jakarta: mediatama sarana perkasa. syahsinaga, s. 1997. “ pembelajaran di taman kanak-kanak malalui lagu anak-anak: kajian di tk kotamadia semarang”. laporan penelitian pada fakultas pendidikan bahasa dan seni ikip semarang. lagu anak-anak: kajian di tk kotamadia semarang”. laporan penelitian pada fakultas pendidikan bahasa dan seni ikip semarang. microsoft word harmonia vol viii no1 2007 harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 (components in music-culture) sunarto staf pengajar jurusan sendratasik fbs universitas negeri semarang abstrak seorang filsuf wanita dari amerika serikat, susanne k. langer, pernah berucap bahwa, musik telah mampu merasuk ke dalam umat manusia setua umur manusia di bumi ini. musik telah membentuk suatu buaya tersendiri di anara seni-seni yang lainnya. ia hadir di setiap saat dalam suatu budaya di mana pun budaya itu tumbuh. ada semacam universalitas: di mana ada budaya di situ pula musik bereksistensi. rangkaian yang membentuk komunitas dalam musik itu sendiri hadir sebagai sebuah harmonisasi dari alam yang melahirkannya. dalam komponen-komponen budaya-musik terdapat empat yang melingkupinya, yaitu: 1) ide-ide tentang musik (musik dan sistem kepercayaan, estetika musik, konteks musik); 2) organisasi sosial musik ; 3) repertoar musik (gaya, jenis aliran, teks, komposisi, transmisi, gerakan); dan 4) budaya material musik. kata kunci: musik, budaya, sosial, estetika, etnisitas. a. pendahuluan sejauh yang dapat diketahui, setiap masyarakat memiliki musik. musik itu universal; tetapi maknanya tidak. seorang musisi terkenal dari timur dibawa ke sebuah konser simponi eropa kira-kira seratus limapuluh tahun yang lalu. meskipun ia adalah seorang musisi sebenarnya di negaranya, namun ia tidak pernah mendengarkan sebuah pertunjukan musik barat. cerita berjalan dimana setelah konser ia ditanya seberapa ia menyukainya. ia menjawab, ‘sangat baik’. tidak puas dengan jawaban ini, para penjamunya bertanya lagi (melalui seorang penterjemah) bagian mana yang paling ia sukai. ‘bagian pertama,’ katanya. “oh, anda menikmati gerakan pertama?” “tidak, sebelum itu!”. bagi orang asing, bagian pertama dari pertunjukan adalah waktu penyelarasan. itulah musik baginya, dan siapa yang ingin mengatakan sebaliknya? para penjamunya. musik, karenanya, meskipun adalah sebuah fenomena universal (para ilmuwan bahkan mengirimkan musik pada pesawat-pesawat ruang angkasa, dengan harapan bisa berkomunikasi dengan badan-badan cerdas yang ada di sistem tata-surya yang jauh), mendapatkan maknanya dari budaya, dan budaya-budaya berbeda menafsirkannya secara beda. budaya adalah merupakan sebagai cara hidup sebuah masyarakat secara keseluruhan. di sini digunakan istilah budaya-musik (music-culture) untuk menunjuk pada sebuah kelompok dari total keterlibatan masyarakat dengan musik. sesuai hal itu, budaya-musik eropa menentukan bahwa suara atau bunyi yang dibuat oleh para musisi simponi yang selaras bukanlah musik. disebut musik sebagai musik, tetapi tidak semua budaya-musik memiliki kata untuk itu. menulis tentang rosa, sebuah kampung macedonia yugoslavia, nahoma sachs harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 menunjukkan bahwa “rosa-rosa tradisional tidak memiliki persamaan umum dengan ‘musik’ inggris.” mereka membagi tingkatan bunyi yang bisa disebut musik oleh orang-orang amerika menjadi dua kategori: pesni, lagu-lagu, dan muzika, musik instrumental’ (sachs 1975: 27). tentu saja, perbedaan di antara lagu-lagu dan musik ini ditemukan di banyak bagian dunia, bahkan di amerika serikat. para pembabtis di zaman lampau di selatan seringkali mengatakan, “kami tidak memiliki musik pada misa kami,” yang berarti mereka tidak memiliki musik instrumental yang menyertai nyanyian mereka. budaya-budaya musik lain memiliki kata-kata untuk beberapa tipe lagu (lagu ninabobok, syair kepahlawanan, nyanyian historis, dan lain sebagainya) tetapi bukan kata menyeluruh untuk musik. sebagian karena kita memiliki sedemikian luas istilah untuk musik dalam bahasa inggris, maka kita bisa menulis buku seperti ini. pada hakikinya, sebuah budayamusik bersandar pada masyarakat itu sendiriide-ide mereka, tindakan atau gerak mereka, serta bunyi-bunyian yang mereka hasilkan (merriam 1964: 32-33). manusia berpikir bahwa budaya-musik terdiri dari empat komponen yang saling berjalan, yang akan kita uraikan di sini. keempatnya terlebih dulu ditempatkan dalam bentuk pertanyaanpertanyaan yang bisa anda tanyakan tentang suatu budaya-musik tidak dikenal (atau bahkan dikenal). ketika anda membaca artikel ini, dan ketika anda mempersiapkan proyek riset lapangan anda, lihat bagaimana setiap budaya-musik yang anda temui bisa ditinjau melalui jawaban-jawaban khusus anda untuk pertanyaanpertanyaan luas sangat abstrak ini. bahwa sekarang, saat anda membaca artikel ini, pilih budaya-musik yang sudah anda kenal dan terbiasa (klasik, jazz, new-wave rock, dan lain sebagainya) dan lihat bagaimana budaya-musik akan mengukur pertanyaan-petanyaan ini. b. empat komponen budaya-musik 1. ÿÿide-ide tentang musik a. musik dan sistem-kepercayaan apakah musik? apakah musik itu bersifat manusia atau ketuhanan (atau keduanya)? apakah musik itu bagus dan berguna bagi umat-manusia? apakah secara potensial merugikan? pertanyaan-pertanyaan tersebut di atas mencapai ke dalam ide-ide dasar budaya masyarakat manusia, seni dan alam semesta dari budaya-musik. budaya-budaya sangat bervariasi dalam mereka menjawab pertanyaanpertanyaan ini, dan jawaban-jawaban itu seringkali sangat samar, bahkan paradoks; budaya diwujudkan dalam ritual-ritual dimana mereka mencoba untuk menyatukan cinta dan benci, hidup dan mati, alami dan beradap. bahkan di dalam satu budaya-musik, jawaban-jawaban bisa berubah bersama waktu: seorang kristen di abad pertengahan (medieval) akan memiliki pemahaman kacau tentang salah satu massa jazz hari ini. b. estetika musik kapan sebuah lagu disebut indah? kapan sebuah lagu dinyanyikan dengan indah? kualitas suara apa yang menyenangkan, dan apa yang menyenangkan di telinga? bagaimana seharusnya seorang musisi berpakaian? seberapa lama seharusnya sebuah pertunjukan (performance) berlangsung? sekali lagi, tidak semua budaya setuju dengan pertanyaan-pertanyaan estetika yang melibatkan penilaian-penilaian dari apa yang benar dan apa yang harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 indah. beberapa orang amerika menganggap nyanyian-opera china sebagai tegang dan artifisial, tetapi demikian juga beberapa orang china menganggap gaya opera bel canto eropa sebagai tidak tepat dan tidak menyenangkan. budaya-musik bisa dicirikan dengan preferensi-preferensi pada kualitas suara dan praktek performance, yang semuanya merupakan diskriminasi-diskriminasi estetika. c. konteks untuk musik kapan seharusnya musuik dipertunjukkan? seberapa sering? pada kejadian-kejadian apa? sekali lagi, setiap budaya-musik menjawab pertanyaan-pertanyaan tentang hal-hal yang mengelilingi musik ini secara beda. di dunia modern, dimana konteks bisa bergantung pada hanya loncatan dari saklar on-of dan “person-berjalan” (walkperson) yang bisa berpindah, sulit membayangkan masa-masa lalu ketika semua musik muncul dari pertunjukan langsung bertatap-muka. kakek-kakek buyut manusia harus bernyanyi atau memainkan drama, mendengarkan musik, atau menanyakannya pada seseorang yang ada di dekatnya; mereka tidak bisa memproduksinya atas permintaan dari suara radio, televisi, pemain rekaman, tape recorder, atau komputer yang tidak berwujud. bagaimana anda telah mendengarkan seorang penyayi atau sebuah band seratus tahun yang lalu jika anda beranggapan bahwa bisa jadi ini merupakan satu-satunya waktu dalam kehidupan anda, anda dapat mendengarkan musik! tentu saja, tiga kategori ide tentang musik yang baru saja kita bicarakan ini-musik dan sistem kepercayaan, estetika, dan konteks saling bertumpang-tindih. di sebagian besar budaya-musik, musik yang “bagus” (good) terikat dengan musik yang “indah” (beautiful) dan berlangsung dalam konteks yang benar. dengan demikian harus ada pemisahan demi kenyamanan. disamping itu, individu-individu dengan budaya-mudik seringkali berbeda dalam ide-ide mereka tentang musik. ragtime, jazz, dan rock ‘n’ roll, sifatnya revolusioner ketika semua musik ini diperkenalkan. mereka menemui (dan tetap menemui) perlawanan dari beberapa orang amerika ini. perlawanan ini didasarkan pada estetika (musik ini dianggap sebagai suara keras dan mengerikan) dan konteks (gaya-hidup terkait musik dianggap memasukkan narkotika, cintabebas, politik radikal, dan seterusnya). jika musik, dunia-dunia di dalam dunia-musik. dalam kenyataan, sebagian besar budaya-musik bisa dibagi menjadi beberapa sub-budaya, beberapa berlawanan dengan beberapa yang lain: klasik versus rock ‘n’ roll, misalnya, atau (dari era sebelumnya, lagu-lagu pujian suci versus musik dansa dan nyanyian-nyanian untuk minum. seringkali sub-sub-budaya ini bertumpang-tindih: pertunjukan dari sebuah kidung pujian di sebuah gereja minnesota melibatkan wilayah (midwest atas), etnisitas (contoh: jerman), agama (lutheranisme), dan sebagainya – semua dasar untuk subsub-budaya musik. apakah sub-subbudaya musik yang anda identifikasikan paling kuat? apa yang paling tidak anda sukai? apakah preferensi-preferensi anda didasarkan pada konteks, estetika, atau sistem kepercayaan? 2. organisasi sosial musik organisasi sosial menunjuk pada bagaimana sekelompok masyarakat harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 membagi, mengatur, atau memeringkatkan diri. jumlah total dari ide dan pertunjukan (performance) musik terbagi secara tidak merata di antara orang-orang pada suatu budaya-musik. beberapa berperforma lebih sering, beberapa yang lain hampir tidak pernah. beberapa membuat musik untuk mencari nafkah, sedang beberapa yang lain dibayar sedikit atau bahkan tanpa bayaran. karena usia dan gender, anak-anak, wanita, pria, dan orangorang tua menyanyikan lagu-lagu berbeda. kelompok ras, etnis, dan kelompok kerja juga menyanyikan lagulagu spesial mereka sendiri, dan setiap kelompok diberi peran musiknya sendiri. semua maslah ini ada kaitannya dengan organisasi sosial budaya-musik, yang didasarkan pada ide-ide budayamusik tentang musik, seperti yang telah dijelaskan di atas. seringkali pembagian perilaku musik mirip dengan pembagian sosial di dalam kelompok sehingga memperkuat aktivitas-aktivitas biasa budaya itu. misalnya, ketika pygmipygmi afrika bernyanyi sebagai kelompok, setiap orang menjalin bagiannya untuk membangun sebuah kompleks yang secara keseluruhan sangat terpadu. peneliti alan lomax menunjukkan bahwa pertunjukanpertunjukan yang melibatkan kerjasama seperti ini melambangkan tekanan pygmy pada kordinasi kerjasama di bidang-bidang kehidupan lain, seperti pekerjaan sehari-hari (lomax 1976: 41; turnbull 1962 untuk deskripsi jelas kehidupan dan musik pygmy). di lain pihak, musik seringkali berjalan melawan untaian budaya luas, khususnya pada waktu festival, atau pada momen-momen penting dalam siklus kehidupan (inisiasi, perkawinan, pemakaman, dan lain sebagainya). masyarakat pada pinggiran budaya menjadi penting ketika mereka memainkan musik untuk suatu peristiwa, namun juga memahami kekuatannya dan seringkali bahkan melihat keajaiban pada karya mereka. dua ciri musik paling penting dari organisasi sosial musik adalah: status dan peran: prestise pembuat-musik, dan peran-peran beda yang diberikan masyarakat pada budaya-musik. banyak situasi musik pada buku ini bergantung pada aspek-aspek dasar organisasi sosial. 3. repertoar musik repertoar adalah satu kumpulan performance siap, dan repertoar budayamusik adalah apa yang paling kita anggap “musik itu sendiri” (musik itself). repertoar terdiri dari enam bagian dasar, yaitu: gaya, jenis aliran, teks, komposisi, penyebaran, dan gerakan. a. gaya (style) termasuk di sini adalah segala sesuai yang terkait dengan organisasi bunyi musik itu sendiri: elemen-elemen titian nada (skala, mode, melodi, harmoni, sistem penselarasan, dan seterusnya), elemen-elemen waktu (irama, meter), elemen-elemen warna nada (kualitas suara, warna nada isntrumental), dan kepadatan bunyi (keras dan lembut). semua ini bergantung pada estetika budayamusik. secara bersama, gaya dan estetika menciptakan bunyi bisa dikenal yang dipahami oleh kelompok sebagai miliknya. hal dapat dilihat pada kasena, masyarakat yang hidup di negara ghana afrika, lebih menyukai musik mereka sendiri dibanding musik tetangga mereka, frafra yang hidup di jalanan. mereka mengatakan bahwa frafra “hanya memiliki satu cara untuk bermain, sedangkan kami memiliki harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 banyak”. namun bagi kebanyakan masyarakat kasena amerika dan frafra, musik kedengaran sama. apakah musik-musik itu memang sama? tidak, jika setiap kelompok bisa membedakan musiknya. orang luar yang meneliti musik kasena tahu bahwa ia mendapatkan sesuatu jika ia, juga, bisa mengenali perbedaan di antara musik kasena dan frafra dan menempatkan perbedaan itu ke dalam kata-kata-atau musik. b. jenis aliran (genre) jenis-jenis aliran musik adalah unit-unit standard repertoer yang diberi nama, seperti ‘lagu’ dan berbagai macam subdivisinya (misal, lagu ninabobok, nyanyian natal, nyanyian pernikahan) atau banyak tipe musik instrumental dan tarian (jig, reel, wltz, dan lain sebagainya) sebagian besar budaya-musik memiliki banyak jenis besar, tetapi istilah mereka tidak selalu sesuai dengan istilah pada budayabudaya musik lain. di antara kaum yoruba di negara nigeria afrika, misalnya, raja-raja, kepala-kepala suku yang berkuasa, dan kaum bangsawan mempertahankan penyanyi-penyanyi lagu pujian untuk menyanyikan lagulagu pujian bagi mereka (olajubu 1978: 685). lagu-lagu pujian disebut oriki. meskipun dapat mendekati nama inggris untuk mendeskripsinya (nyanyian-pujian), namun tidak ada jenis aliran yang sama saat ini di eropa atau amerika. c. teks (texts) kata-kata untuk sebuah lagu dikenal sebagai teksnya. setiap nyanyian dengan kata-kata merupakan persimpangan dari dua sistem komunikasi manusia sangat besar yang berbeda: bahasa dan musik. lagu dengan kata-kata merupakan jalinan sementara kedua sistem ini, dan demi kenyamanan kita bisa melihat keduanya satu demi satu. setiap teks memiliki sejarahnya sendiri; seringkali sebuah teks tunggal memiliki melodi-melodi terhubung yang berbeda. di lain pihak, sebuah melodi tunggal bisa cukup untuk beberapa teks. pada musik blues, misalnya, teks dan melodi mengarah pada kehidupan independen, dengan memperkuat sebagai keinginan penyanyi. lagu itu sendiri (bahasa dan musik secara bersama) adalah unit bisa dikenal, yang kuat secara emosional dengan haknya sendiri. setiap orang yang telah ada di luar negeri dan tibatiba mendengar sebuah lagu tanah air yang dikenal tahu bagaimana kuatnya pengaruh ini. d. komposisi (composition) bagaimana musik memasuki repertoer budaya-musik? apakah musik terkomposisi secara individual atau oleh kelompok? apakah musik itu tetap, bervariasi di dalam garis batas tertentu, atau diimprovisasikan secara spontan di dalam pertunjukan? improvisasi membuat tercengan banyak etnomusikolog, dan kita tidak terkecuali. barangkali pada level dalam dapat dihargai improvisasi bukan hanya karena ketrampilan-ketrampilan yang dilibatkan tetapi karena hal itu dapat menunjukkan improvisasi sebagai contoh kebebasan manusia. komposisi juga terikat dengan organisasi sosial: apakah budaya-musik memiliki kelas kkomposer speial, atau bisakah seseorang mengkomposisi musik? komposisi terkait dengan ide-ide tentang musik; beberapa budaya-musik membagi musik menjadi lagu-lagu yang dikomposisi oleh manusia dan lagulagu yang “diberikan” (given) kepada manusia dari para dewa, binatang, dan harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 komposer-komposer lain bukanmanusia. e. penyebaran (transmission) bagaimana musik dipelajari atau dipahami dan disebabkan dari satu orang ke orang berikutnya, dari satu generasi ke generasi berikutnya? apakah budaya-musik tergantung pada instruksi formal, seperti di india selatan? apakah ada sisten notasi musik? apakah sebuah badan teori musik mendasari proses instruksi formal? seberapa banyak dipelajari secara informasi, melalui imitasi? apakah musik berubah lewat waktu? jika demikian, mengapa dan bagaimana? beberapa budaya-musik mewariskan musik melalui hubungan guru dan murid yang berlangsung untuk seumur hidup. guru menjadi orang tua, yang mengajarkan nilai-nilai dan etika dan juga musik. situasi musik seperti ini benar-benar menjadi “jalan hidup” (a way of life) dan si murid “dipersembahkan” (devoted) untuk menampilkan musik gurunya. pada budaya-budaya-musik yang lain, tidak ada instruksi formal, dan musisi yang bercita-cita tinggi harus mengumpulkan sedikit demi sedikit dari menonton dan mendengarkan, biasanya lewat waktu bertahun-tahun. dalam situasi-situasi ini, akan sangat membantu jika ia dibesarkan dalam keluarga musikal. ketika repertoar disebarkan terutama dengan contoh dan imitasi dan dijalankan dari memori, kita katakan musik eksis “dalam tradisi oral” (in oral traditional). musik pada tradisi oral menunjukkan variasi lebih besar lewat waktu dan ruang dibanding musik yang terikat dengan skor musik tertulis, definitif. f. gerakan (movement) seluruh tingkatan aktivitas fisik menyertai musik. memainkan sebuah instrumen musik, sendirian atau di dalam kelompok, melibatkan aktivitas musik, tetapi juga menghasilkan gerakan yang ditentukan secara budaya yang tak bisa dipisahkan dari musik itu sendiri. yaitu, musik cukup secara harfiah menggerakkan orang-orang (menari), dan gerakan itu merupakan bagian pokok dari pertunjukan. seberapa ganjil jadinya sebuah band rock berforma tanpa gerakan sebagai tanggapan terhadap musik mereka, dengan cara-cara yang membiarkan penonton memahami apa yang mereka rasakan, diperlihatkan saat ini oleh beberapa band new-wave rock. grupgrup, seperti rolling stone, memproyeksikan imaji yang dalam. dengan satu cara atau cara lain, musik terhitung dengan gerakan di dalam repertoar setiap budaya. 4. budaya material musik budaya material menunjuk pada “hal-hal” (things) material, nyata-obyekobyek fisik yang bisa dilihat, dipegang, dirasa, dan digunakan (non metefisik) -yang dihasilkan oleh budaya. dengan meneliti alat-alat budaya dan teknologi bisa mengatakan pada kita tentang sejarah kelompok dan gaya hidup. demikian juga, riset tentang budaya material musik bisa membantu kita dalam memahami budaya-musik. badan ‘hal-hal’ paling hidup didalamnya, tentu saja , adalah instrumen musik. kita tidak bisa mendengar bunyi aktual dari suatu pertunjukan musik bagi diri kita sebelum 1870-an ketika fonograf ditemukan, sehingga kita bergantung pada instrumen tentang budayabudaya-musik untuk informasi penting di jaman lampau beserta perkembangannya. di sini kita memiliki dua jenis bukti: instrumen yang harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 dipelihara kurang lebih utuh seperti harpa sumeria yang usianya lebih dari 4500 tahun, dan instrumen-instrumen yang digambarkan dalam seni. melalui studi instrumen, dan juga seni lukis, dokumen tertulis, dan sebagainya, kita bisa mengeksplorasi gerakan musik dari timur dekat sampai china lewat ribuan tahun yang lalu, atau kita bisa menguraikan penyebaran pengaruh timur dekat untuk eropa yang disebabkan oleh perkembangan sebag ian besar instrumen didalam orkestra simponi. kita menanyakan budaya-budayamusik hari ini, siapa yang membuat instrumen dan bagaimana instrumeninstrumen ini didistribusikan; hubungan apa yang ada di antara pembuat-instrumen dengan musisi; bagaimana selera dan gaya musik generasi ini, lebih dari selera dan gaya generasi tua, yang direfleksikan di dalam instrumen-instrumen yang dimainkan, dan seterusnya. seringkali instrumen musik menjadi simbol patriotik warisan musik budaya. contohnya adalah instrumen dari kantong-pipa di dataran tinggi skotlandia atau instrumen celtik kuno yang dibangun kembali dari masyarakat britania dan irlandia. kertas musik, juga, adalah budaya material. para sarjana pernah mendefinisikan budaya musik rakyat seperti budaya dimana masyarakata belajar dan menyanyikan musik dengan telinga daripada dari cerita, tetapi riset menunjukkan pengaruh timbal-balik di antara sumber oral dan sumber tertulis pada beberapa abad terakhir di eropa, inggris, dan amerika. versi-versi cetak membatasi beragam jenis karena cenderung memakukan suatu lagu, namun secara paradoks menstimulasi orang-orang untuk menciptakan lagulagu berbeda dan baru. bertrad bronson mengamati bahwa teks-teks balada cetak cenderung memantapkan memori kata-kata pada orang-orang, tetapi gagal mengekang kepentingan mereka dalam variasi melodies (bronson 1969: 61-62). disamping itu, kemampuan untuk membaca notasi musik memiliki efek yang berjangkauan-jauh pada para musisi dan, ketika kemampuan tersebar luas, pada budaya-musik sebagai keseluruhan. satu bagian lebih penting dari budaya metrial musik sebaiknya dipisah-pisahkan: pengaruh media elektronik-radio, alat rekam, tape recorder, televisi, dan video-kaset, dengan komputer bernyanyi dan berbicara yang menjanjikan di masa depan dan perkembanganperkembangan lain. ini semua adalah bagian dari “revolusi informasi” (information revolution), fenomena abad ke-20 sama pentingnya dengan revolusi industri pada abad ke-19. media elektonik ini bukan hanya terbatas pada negara-negara modern; namun juga telah mempengaruhi budaya-budayamusik di seluruh dunia. c. dunia-musik percampuran budaya-budayamusik sedang berlangsung di seluruh dunia, dan fakta ini seringkali membuat sulit kita dalam memisahkan gaya-gaya musik tradisional’ tetapi akan salah jika berasumsi bahwa budaya-budaya musik praelektronik tidak berubah. berbicara tentang eropa timur (eastern europe) lebih dari setengah abad yang lalu, zoltan kodaly berkata: tradisi rakyat tidak dianggap sebagai satu keseluruhan yang homogen seragam, namun bervariasi secara mendasar menurut kondisi usia, sosial dan material, pendidikan, distrik, dan gender. sekitar tahun tahun 1910 perbedaan cukup tajam hadir di antara repertoar-lagu dari tiga usia harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 kehidupan utama. orang-orang berusia baya dan usia tua di pedesaan bukan hanya tidak menyanyikan lagulagu anak muda, tetapi biasanya tidak memahaminya. juga generasi muda tidak memahami lagu-lagu generasi tua… (kodaly 1960: 20). dengan kata lain, perubahan musik dan kontak-budaya (culturecontact) serta saling-pertukaran tidak dimulai dengan media elektronik. lagulagu pujian kristen indian amerika, misalnya, dihasilkan dari karya misionaris yang dimiliki ketika orangorang eropa pertama kali datang ke benua amerika. media telah mempercepat langkah perubahan, dan telah mempengaruhi arahnya demi mendukung budaya-budaya-musik industri. budaya-budaya musik ini siap mengakses media dan musiknya cenderung mendorong musik pedesaan dan musik suku di bawah tanah atau keluar sama sekali. tetapi musik adalah satu unsur budaya yang dinamis dan cair, yang berubah untuk menyesuaikan keinginan ekspresif dan emosional umat manusia, hal yang paling bisa berubah dari hewan-hewan. seperti semua budaya ekspresif, musik adalah adaptasi manusia yang ganjil dengan kehidupan di atas planet bumi. setiap budayamusik ke budaya musik berikutnya, tetapi akan bodoh jika mengatakan bahwa satu budaya-musik “lebih baik” (better) dibanding budaya-musik yang lain. mengapa? karena penilaian semacam didasarkan pada kriteria dari dalam budaya-musik tunggal. menyebut musik suatu budaya-musik “primitif” (primitive) sama dengan memaksakan standarnya yang dimiliki seseorang pada kelompok yang tidak mengenalinya. etnosentrisme semacam tidak memiliki tempat di dalam studi musik dunia. pada tulisan-tulisan di atas, dapat dilihat eksplorasi dari beberapa dunia, di dalam dunia-dunia musik. meskipun setiap dunia bisa tampak aneh pertama kalinya, namun semuanya diorganisir, penuh tujuan, dan koheren. setiap dunia bisa dianggap sebagai sebuah ekologis, dengan kekuatan yang berkombinasi untuk menyusun budayamusik (ide-ide, organisasi sosial, repertoar, gerakan) di dalam keseimbangan yang dinamis. satu perubahan dalam setiap bagian dari ekosistem mempengaruhi keselruhan darinya. pada studi musik dunia kami, sering memisahkan bagian-bagian dari budaya-musik dan memberi kesan bahwa inilah cara atau gaya bagianbagian itu atau bahwa bagian-bagian dari budaya-musik untuk studi adalah penyederhanaan-berlebih; yang terburuk, ketidakbenaran. tetapi dengan adanya kegiatan kursus dan buku pelajaran, ini hanyalah suatu wacana. daftar pustaka bronson, bertrand, 1969, “the interdependence of ballad tunes and texts”, in the ballad as song, berkeley: university of california press. kodaly, zoltan, 1960, folk music hungary, london: barrie and rockliff. lomax, alan, 1976, contometrics: a method in music anthrology, berkeley: university of california extension media center. marriam, alan p., 1964, the anthropolgy of music, eavston: northwestern university press. harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 olajubu, chief oludare, 1978, “yoruba verbal artists and their work”, in journal of ameican folklore 19: 675690. sach, nahoma, 1975, “music and meaning: musical symbolism in a macedonia”, ph.d., dissertasion, princeton university. suhardjo parto, “indonesia”, in ramon p. santos (general editor), 1995, the musics of asean, philippines: asean committee on culture and information. turnbull, colin, 1962, the forest people, new york: clarion books. d:\harmonia\2003\2\vol. 4 no. 2 mei_agustus 2003.pdf ���������� ��� ���� ���� ������������������������������������������� ��!"���������#������!�!��$� 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perubahan menggunakan alat musik pianika dengan teknik jigsaw hardilan sekolah menengah pertama 1 brangsong ; e-mail: hardilano@yahoo.co.id abstract then study was coducted clasroom action research study in which was 8th-grade students. the study was conducted in two cycles beginning with the pre-cycle and followed-up with the cycle ii which each cycle through the for stages, namely planning, implementation of action, observation and reflection. data collection techniques used were technical tests, observations, and interviews. techniques of data analysis using quantitative techniques to process data from the test results of students based on the number of values, while the techniques used to analyze qualitative data such as non-test questionnaire, observation, and interviews. the results showed that an increase in each cycle, from pre-cycle of 38 students who attended by 37 students because of 1 student permit in sick, as many as 24 students or 64.85% complete and as many as 13 students or 35.15% have not completed. in cycle i of 38 students there are 34 students or 89.47% have been completed and 4 students or 10.53% have not finished studying. in cycle ii, an increase of more than 38 students by 36 students or 94.74% and 2 or 5.26% of students have not studied thoroughly. based on the above results it is impotant that learning to cooperate with jigsaw technique is one alternative that can be used to improve the quality of teaching and student learning outcomes. kata kunci: optimalisasi, hasil belajar, melodi, tangga nada perubahan, jigsaw pendahuluan peningkatan hasil belajar siswa sangat tergantung pada peranan guru dalam mengelola pembelajaran. seorang guru berkualitas harus memiliki empat kemampuan dasar (kompetensi) dalam memahami fungsi, peran, dan tugasnya. kualifikasi tersebut mencakup: (1) fungsi sebagai agen pembaharuan yang berperan sebagai komunikator, (2) fungsi pelayanan yang berperan sebagai fasilisator, (3) fungsi profesional yang berperan sebagai motivator, dan (4) fungsi tutor atau sumber informasi berperan sebagai reproduktor (jazuli, 2008) salah satu faktor yang sangat mendukung keberhasilan guru dalam melaksanakan proses pembelajaran adalah kemampuan guru dalam menguasai dan menerapkan metode pembelajaran, guru dituntut untuk menguasai berbagai macam metode pembelajaran yang sesuai dengan karakteristik materi dan siswa. hal ini sangat relevan dengan tugas seorang guru dalam mengenali perbedaan individual siswanya. dalam memilih metode, kadar keaktifan siswa harus selalu diupayakan tercipta dan berjalan terus dengan menggunakan beragam metode. proses pembelajaran di smp negeri 1 brangsong masih sering ditemui adanya kecenderungan meminimalkan keterlibatan siswa dan sebatas hanya didominasi guru. dominasi guru yang sangat besar dalam proses pembelajaran menyebabkan kecenderungan siswa lebih bersifat pasif, sehingga mereka lebih banyak menunggu sajian guru dari pada mencari dan menemukan sendiri pengetahuan, ketrampilan atau sikap yang mereka butuhkan. masalah yang dihadapi guru kesenian (seni budaya) di kelas 8g, siswa mempunyai kecenderungan bersifat pasif atau kurang bergairah untuk menerima pelajaran, sehingga sering terjadi situasi yang kurang menyenangkan dalam mengikuti kegiatan belajar mengajar. meskipun di satu sisi, dalam bidang apresiasi nilai yang diperoleh cukup memuaskan. data yang diperoleh dalam hasil belajar ulangan pada semester i tahun ajaran 2008/2009 untuk kelas 8-g ratarata nilainya mencapai 7,85 sedangkan prosentasi ketuntasan dari 38 siswa hanya 4 siswa yang belum tuntas dari kriteria ketuntasan minimal (kkm) 6,8 atau sekitar 89,47% siswa yang tuntas dan 10,53% siswa yang belum tuntas. tetapi dalam bidang kreasi (ketrampilan) siswa dalam memainkan alat musik melodi, misalnya alat musik pianika hampir semua siswa hanya memahami melodi (urutan nada) dari tangga nada natural (c=do) sedangkan ketrampilan dalam memainkan melodi (urutan nada) dari tangga nada perubahan hanya dua orang siswa yang agak mengerti melodi (urutan nada) dari tangga nada perubahan itupun baru pada tangga nada g mayor (1#), dan dua orang siswa tersebut aktif dalam kegiatan ekstra kurikuler musik band. sehingga pada saat diberikan materi praktek memainkan melodi menggunakan alat musik pianika dalam tangga nada perubahan, kegiatan pembelajaran menjadi terhenti karena mayoritas siswa kurang paham dengan adanya melodi (urutan nada) dari tangga nada perubahan. siswa tidak memahami nada dasar (tangga nada) yang tertera dalam komposisi lagu, yang mereka ketahui bahwa semua melodi (notasi angka) pada komposisi lagu hanya dimainkan menggunakan urutan nada (melodi) yang terdapat pada tut-tut warna putih dalam alat musik pianika atau nada-nada naturalnya saja. sedangkan komposisi lagu diciptakan tidak hanya menggunakan tangga nada natural (c=do) saja tetapi banyak komposisi lagu yang diciptakan menggunakan tangga nada perubahan sesuai dengan karakteristik lagu maupun penciptanya. maka dalam memainkan melodi, lagunyapun harus sesuai dengan tangga nada (nada dasar) yang tertera dalam masing-masing lagunya sehingga akan terlihat perbedaan karakteristik lagu yang satu dengan lagu lainnya karena tangga nadanya juga berbeda-beda. penggunaan metode mengajar sebagian besar dilakukan guru dengan mengedepankan peran guru. hal ini menyebabkan siswa kurang berperan sehingga akhirnya nilai yang diraih terutama dalam praktek memainkan melodi lagu menggunakan tangga nada perubahan kurang dari yang diharapkan. salah satu metode pembelajaran adalah metode pembelajaran pendekatan kooperatif dengan tehnik jigsaw, diharapkan siswa dapat menggali dan menemukan pokok materi secara bersama-sama dalam kelompok atau secara individu, sehingga akhirnya merasa senang dan materi yang dipelajari melekat dalam benaknya karena didapatkan melalui pengalamannya sendiri. uzer usman (1989: 22) mengatakan bahwa pendekatan kooperatif dengan teknik jigsaw adalah salah satu teknik mutakhir yang berkembang saat ini, dan masih jarang digunakan dalam pembelajaran mata pelajaran seni budaya. dasar teknik ini memberikan kesempatan kepada siswa untuk berbagi dengan yang lain, mengajar serta diajar oleh siswa, merupakan bagian yang penting dalam proses belajar dan sosialisasi yang berkesinambungan. mula-mula siswa dibagi dalam kelompok yang terdiri dari lima atau enam siswa, masingmasing anggota membaca dan mengerjakan salah satu bagian yang berbeda dengan yang dikerjakan oleh anggota lain. kemudian mereka berpencar ke kelompok lain, tiap anggota membentuk kelompok baru yang mendapat tugas sama, dan saling berdiskusi dalam kelompok itu. cara ini membuat masing-masing anggota menjadi pemilik unik dan ahli sebelum mereka kembali ke kelompok asalnya untuk mengerjakan tugas utama. pembelajaran teknik jigsaw hasil belajar adalah bentuk yang diperoleh setelah melakukan proses belajar seperti nilai, ketrampilan, pemahaman, dan sebagainya. meningkatkan hasil belajar adalah usaha untuk membuat hasil belajar yang diperoleh lebih baik daripada sebelumnya. jigsaw adalah salah satu bentuk pembelajaran kooperatif di mana seluruh siswa dalam satu kelas dibagi menjadi beberapa kelompok. setiap anggota kelompok diberi tugas yang berbeda antara yang satu dengan yang lainnya dari sebuah tema pelajaran yang dibahas. selanjutnya mereka mendiskusikan dan saling mengajarkan satu dengan yang lainnya, sehingga mereka dapat saling memahami materi secara keseluruhan (ibrahim, 2000 dan sunarsih, 2006). pembelajaran teknik jigsaw adalah usaha guru untuk membantu siswa dalam proses belajar dengan menggunakan pembelajaran kooperatif agar setiap siswa dapat saling memahami materi pelajaran secara keseluruhan. mereka belajar dalam satu kelompok yang heterogen dimana masing-masing individu mendapatkan tugas sendiri-sendiri, setelah menguasai materi yang menjadi tugasnya mereka berpencar membentuk kelompok baru yang memiliki tugas yang sama untuk memperdalam kajian dari materi yang dibebankan, kemudian kembali lagi ke kelompok semula untuk saling mengajarkan materi yang telah dikuasai kepada teman dalam kelompok semula sehingga seluruh anggota dalam kelompok memperoleh keseluruhan materi dengan cara saling mengajarkan materi yang dikuasai satu dengan lainnya. pokok bahasan materi adalah praktek memainkan alat musik melodi meliputi sub pokok bahasan; memainkan alat musik pianika dan memainkan alat musik rekorder, pada mata pelajaran seni budaya yang diberikan kepada siswa kelas 8 semester dua tahun pelajaran 2008/2009, sesuai dengan kompetensi dasar menampilkan sikap apresiatif karya seni musik daerah nusantara baik perseorangan maupun kelompok. tahapan pelaksanaan pembelajaran kooperatif dengan menggunakan teknik jigsaw adalah melalui tahapan cooperative, ahli, dan enam serangkai. dalam tahapan koperative ini, siswa ditempatkan dalam kelompok kecil (beranggota 6 siswa) yang disebut kelompok kooperative, dan menerima sebagian informasi tentang melodi dalam tangga nada perubahan dari 1# (satu kres) 3# (tiga kres) dan dari 1b (satu mol) – 3b (tiga mol) dari satu paket informasi yang harus dibahas/dipecahkan dalam kelompok kooperative tersebut. tahap ahli, siswa a harus menguasai (ahli) dalam bidang yang menjadi tugasnya sebagai anggota yang mendapat tugas tertentu misalnya melodi dari tangga nada 1# (g mayor). untuk itu, siswa a perlu mencari orang-orang yang tugasnya sama dengan tugasnya dari kelompok lain membentuk kelompok baru untuk melakukan hal-hal berikut ini: (1) belajar bersama dan menjadi “ahli” dalam bidang informasi materi yang menjadi tugasnya, dan (2) merencanakan cara “mengajarkan” informasi materi yang telah dikuasai, misalnya melodi dari tangga nada perubahan 1# (g mayor) kepada anggota kelompok kooperative semula. memasuki tahap enam serangkai, kembalilah siswa pada kelompok kooperative menjadi “enam serangkai” yang masing-masing telah menjadi ahli dari tugas yang menjadi tanggung jawabnya. siswa akan mengajarkan informasi materi kepada anggota yang lain, dan pada saat yang sama siswa akan menerima materi pelajaran dari anggota lain. pada akhir tahap “enam serangkai” ini, kelompok siswa menghasilkan pemecahan masalah yang merupakan hasil kelompok kooperatif. dengan sendirinya kualitas pemecahan masalah itu akan lebih baik karena diajarkan bersama oleh para “ahli” dibidangnya. dalam kegiatan ini guru memantau kerja kelompok-kelompok kecil untuk mengetahui bahwa kegiatan berlangsung dengan lancar. selanjutnya guru mengevaluasi hasil belajar siswa. evaluasi dapat dilakukan dengan cara tes unjuk kerja atau tes perbuatan memainkan melodi dalam tangga nada perubahan. teknik jigsaw mempertimbangkan peranan siswa dalam kegiatan belajar mengajar menggunakan kooperatif, serta melihat kebutuhan mengintegrasikan dari teori musik khususnya tangga nada perubahan untuk diterapkan kedalam permainan alat musik pianika, baik bersifat perorangan atau kelompok, dalam pembelajaran seni budaya khususnya seni musik. penerapan teknik jigsaw dalam kegiatan belajar-mengajar seni budaya dapat dijadikan sebagai bahasan wacana. teknik jigsaw dalam kegiatan pembelajaran seni budaya (seni musik) harus difokuskan pada kemampuan memahami teori musik khususnya tentang tangga nada perubahan dari 1# (satu kres) – 3# (tiga kres) dan dari 1b (satu mol) – 3b (tiga mol) kemudian mempraktekkannya menggunakan alat musik pianika. selain itu juga mengembangkan cara berfikir kritis dan menerapkan beberapa pengertian teori musik dan praktek dalam kaitannya dengan kehidupan sehari-hari. peranan guru dalam pembelajaran yang menggunakan metode jigsaw antara lain sebagai berikut: (1) menyampaikan tujuan pembelajaran dengan jelas, (2) menempatkan siswa secara heterogen dalam kelompok-kelompok kecil, (3) menyampaikan tugas-tugas yang harus dikerjakan siswa, baik tugas individu maupun kelompok, (4) memantau kerja kelompok, dan (5) mengevaluasi hasil belajar. metode teknik yang digunakan untuk mendapatkan data dengan dua cara, yaitu teknik tes dan non tes. teknik tes digunakan untuk mengukur hasil belajar, dalam penelitian ini berbentuk soal tes unjuk kerja (memainkan melodi menggunakan alat musik pianika) dan dikerjakan oleh siswa pada akhir pelajaran. langkah-langkah yang ditempuh dalam melaksanakan teknik tes yaitu: (1) menyiapkan bahan tes yang valid, (2) melaksanakan tes untuk mengukur kemampuan siswa dalam menyelesaikan soal-soal, sebelum dan sesudah menggunakan teknik jigsaw, (3) memberi penilaian berdasarkan aspek yang telah ditentukan dan kriteria skor yang telah ditetapkan. teknik non tes digunakan untuk memperoleh data tentang situasi kegiatan belajar di kelas dan kesulitan-kesulitan yang dihadapi siswa dalam meningkatkan motivasi belajar. teknik nontes yang digunakan adalah metode observasi, dan angket. metode observasi digunakan untuk mengambil data kualitatif yang berkaitan dengan proses pembelajaran siswa dan guru selama kegiatan belajar mengajar berlangsung. data yang diambil dari observasi ini antara lain: (1) respon/sikap siswa terhadap pembelajaran kooperatif tipe jigsaw, (2) respon/sikap siswa terhadap situasi proses pembelajaran dengan pendekatan kooperatif tipe jigsaw, (3) perubahan sikap siswa selama proses pembelajaran, (4) korelasi antara perencanaan pembelajaran dengan tindakan di kelas. metode angket dalam bentuk jurnal kegiatan siswa digunakan untuk mengambil data kuantitatif tentang peningkatan motivasi belajar siswa dalam mengikuti pembelajaran memainkan melodi lagu dalam tangga nada perubahan menggunakan alat musik pianika dengan metode pembelajaran kooperatif teknik jigsaw. instrumen penelitian yang digunakan adalah tes perbuatan dengan pokok bahasan memainkan alat musik melodis, ritmis, dan harmonis, sub pokok bahasan memainkan alat musik melodis dalam tangga nada perubahan menggunakan alat musik pianika untuk kelas 8-g semester ii tahun ajaran 2008/2009. tes perbuatan (unjuk kerja) terdiri dari 4 aspek, yaitu : (1) teknik meniup (kualitas suara), (2) teknik penjarian (fingering), (3) intonasi (kesesuaian dengan notasinya), (4) irama (kesesuaian dengan nilai nada). sedangkan format pengamatan motivasi belajar siswa, terdiri dari: (1) keseringan berlatih memainkan pianika, (2) ketekunan berlatih memainkan pianika, (3) keseriusan dalam berlatih alat pianika, (4) kesediaan mendahulukan tugas yang diberikan dari tugas lain. penelitian ini menggunakan prosedur penelitian tindakan kelas dengan menggunakan dua siklus seperti yang tergambar berikut ini: penjelasan penelitian tersebut dalam setiap siklus sebagai berikut : 1. pra siklus : a. perencanaan kegiatan yang dilakukan dalam tahap ini adalah menyiapkan rencana pembelajaran tentang memainkan melodi (urutan nada bertingkat) dari tangga nada perubahan 1# 3# dan dari 1b – 3b, membuat dan melengkapi alat media pembelajaran, membuat lembar, serta mendesain alat evaluasi. b. pelaksanaan tindakan pada tahap ini dilakukan implementasi tindakan yang telah direncanakan pada tahap perencanaan. didalam penyajian sub pokok bahasan memainkan alat musik melodi menggunakan alat musik pianika dalam tangga nada perubahan 1# 3# dan dari 1b – 3b, menggunakan rencana, media pembelajaran, metode pembelajaran klasikal dengan melaksanakan kegiatan pembelajaran yang terdiri dari apersepsi, kegiatan inti, pembahasan materi, kesimpulan, dan pemberian tugas. selama proses pembelajaran, guru mencatat kelemahan – kelemahan siswa dalam mengikuti kegiatan belajar mengajar yang ada sebagai bahan perbaikan pada siklus berikutnya. c. observasi pada tahap ini analisis data dilakukan dengan cara observasi oleh observer dari teman sejawat terhadap aktivitas siswa selama kegiatan proses belajar mengajar, yang meliputi kemampuan siswa menyerap materi pelajaran, kemampuan siswa menyimpulkan materi pelajaran, kemampuan siswa berani mengemukakan kesimpulan secara lisan, kemampuan dan ketrampilan siswa dalam mengerjakan tugas dari materi pembelajaran yang didiskusikan kelompok. dengan demikian pada setiap pembelajaran akan terjadi interpretasi yang dimanfaatkan untuk melakukan penyesuaian dan pada akhir siklus diadakan analisis data secara keseluruhan untuk menghasilkan informasi yang dapat menjawab hipotesis. data hasil dari pembelajaran tehnik jigsaw melalui observasi akan dianalisis secara kualitatif. d. refleksi hasil dianalisis dalam bentuk kualitatif maupun kuantitatif untuk direnungkan dan sebagai acuan pada perbaikan-perbaikan kelemahan dari siklus sebelumnya. maka hasil belajar yang didapat dalam pengamatan dipelajari dengan seksama, dikumpulkan dan dianalisis dalam tahap ini. berdasarkan hasil analisis dapat dilihat apakah kegiatan belajar mengajar dengan menggunakan pendekatan kooperatif teknik jigsaw yang dilakukan telah dapat meningkatkan hasil belajar siswa dan digunakan untuk perencanaan tindakan berikutnya. 2. siklus i : a. perencanaan kegiatan yang dilakukan dalam tahap ini adalah menyiapkan rencana pembelajaran tentang memainkan melodi lagu “ibu pertiwi”, dalam tangga nada perubahan 1# 3# dan dari 1b – 3b, membuat dan melengkapi alat media pembelajaran, membuat lembar, serta mendesain alat evaluasi. b. pelaksanaan tindakan pada tahap ini dilakukan implementasi tindakan yang telah direncanakan pada tahap perencanaan. didalam penyajian sub pokok bahasan memainkan melodi lagu “ibu pertiwi” misalnya dengan nada dasar f = do (satu mol) menggunakan alat musik pianika, menggunakan rencana dan media pembelajaran metode teknik jigsaw, dengan melaksanakan kegiatan pembelajaran yang terdiri dari apersepsi, kegiatan inti, pembahasan materi, kesimpulan, dan pemberian tugas. selama proses pembelajaran guru mencatat kelemahan – kelemahan siswa dalam mengikuti kegiatan belajar mengajar yang ada sebagai bahan perbaikan pada siklus berikutnya. c. observasi pada tahap ini analisis data dilakukan observasi oleh observer dari teman sejawat terhadap aktivitas siswa selama kegiatan proses belajar mengajar. mencatat hasil observasi, apakah siswa mampu menyerap materi pelajaran, apakah siswa mampu menyimpulkan materi pelajaran, apakah siswa berani mengemukakan kesimpulan secara lisan, bagaimana kemampuan dan ketrampilan siswa dalam mengerjakan tugas dari materi pembelajaran yang didiskusikan kelompok. dengan demikian pada setiap pembelajaran akan terjadi interpretasi yang dimanfaatkan untuk melakukan penyesuaian dan pada akhir siklus diadakan analisis data secara keseluruhan untuk menghasilkan informasi yang dapat menjawab hipotesis. data hasil dari pembelajaran tehnik jigsaw melalui observasi akan dianalisis secara kualitatif. d. refleksi hasil dianalisis dalam bentuk kualitatif maupun kuantitatif untuk direnungkan dan sebagai acuan pada perbaikan-perbaikan kelemahan dari siklus sebelumnya. maka hasil belajar yang didapat dalam pengamatan dipelajari dengan seksama, dikumpulkan dan dianalisis dalam tahap ini. berdasarkan hasil analisis dapat dilihat apakah kegiatan belajar mengajar dengan menggunakan pendekatan kooperatif teknik jigsaw yang dilakukan telah dapat meningkatkan hasil belajar siswa dan digunakan untuk perencanaan tindakan berikutnya. 3. siklus ii : a. perencanaan kegiatan yang dilakukan dalam tahap ini adalah menyiapkan rencana pembelajaran tentang memainkan melodi lagu “lenggang kangkung” dalam tangga nada perubahan 1# 3# dan dari 1b – 3b, membuat dan melengkapi alat media pembelajaran, membuat lembar, serta mendesain alat evaluasi. b. pelaksanaan tindakan pada tahap ini dilakukan implementasi tindakan yang telah direncanakan pada tahap perencanaan. didalam penyajian sub pokok bahasan memainkan melodi lagu “lenggang kangkung” menggunakan alat musik pianika misalnya dengan nada dasar es = do (tiga mol), menggunakan rencana dan media pembelajaran dengan metode pembelajaran teknik jigsaw dengan melaksanakan kegiatan pembelajaran yang terdiri dari apersepsi, kegiatan inti, pembahasan materi, kesimpulan, dan pemberian tugas. selama proses pembelajaran guru mencatat kelemahan – kelemahan siswa dalam mengikuti kegiatan belajar mengajar yang ada sebagai bahan perbaikan. c. observasi pada tahap ini analisis data dilakukan observasi oleh observer dari teman sejawat terhadap aktivitas siswa selama kegiatan proses belajar mengajar. mencatat hasil observasi, apakah siswa mampu menyerap materi pelajaran, apakah siswa mampu menyimpulkan materi pelajaran, apakah siswa berani mengemukakan kesimpulan secara lisan, bagaimana kemampuan dan ketrampilan siswa dalam mengerjakan tugas dari materi pembelajaran yang didiskusikan kelompok. dengan demikian pada setiap pembelajaran akan terjadi interpretasi yang dimanfaatkan untuk melakukan penyesuaian dan pada akhir siklus diadakan analisis data secara keseluruhan untuk menghasilkan informasi yang dapat menjawab hipotesis. data hasil dari pembelajaran teknik jigsaw melalui observasi akan dianalisis secara kualitatif. d. refleksi hasil dianalisis dalam bentuk kualitatif maupun kuantitatif untuk direnungkan dan sebagai acuan pada perbaikan-perbaikan kelemahan dari siklus sebelumnya. maka hasil belajar yang didapat dalam pengamatan dipelajari dengan seksama, dikumpulkan dan dianalisis dalam tahap ini. berdasarkan hasil analisis dapat dilihat apakah kegiatan belajar mengajar dengan menggunakan pendekatan kooperatif teknik jigsaw yang dilakukan telah dapat lebih meningkatkan hasil belajar siswa dari pada siklus i. hasil dan pembahasan hasil belajar berdasarkan penilaian hasil belajar dari ketuntasan belajar pada pra siklus yang diikuti oleh 37 orang siswa dari 38 siswa kelas 8-g smp negeri 1 brangsong pada pokok bahasan tentang memainkan alat musik yang alat musik ritmis, alat musik melodis, dan alat musik harmonis pada mata pelajaran seni budaya sub pokok bahasan memainkan melodi (urutan nada) seperti do re mi, re mi fa, mi fa sol, fa sol la, sol la si, dan la si do dalam tangga nada perubahan dari 1# (g = do) atau tangga nada g mayor sampai dengan 3# (a = do) atau tangga nada a mayor dan dari tangga nada perubahan 1b (f = do) atau tangga nada f mayor sampai dengan 3b (es = do) atau tangga nada es mayor dengan alat musik melodis (pianika) dengan menggunakan pembelajaran kooperatif tehnik jigsaw secara umum belum mencapai batas ketuntasan yakni 85% secara klasikal yakni baru 24 orang siswa yang tuntas atau sekitar 64,85% dari 38 siswa secara klasikal. hal tersebut dapat dilihat pada tabel 6. pada siklus i dari 38 siswa kelas 8-g setelah digunakannya metode pembelajaran teknik jigsaw hasil belajar dalam memainkan melodi lagu dengan lagu model ”ibu pertiwi” ciptaan nn (nomennismo) dalam tangga nada perubahan dari 1# -3# dan dari 1b – 3b siswa yang tuntas sudah mencapai 34 orang siswa atau sekitar 89,47% atau terjadi peningkatan sekitar 26,62% dari pra siklus, sehingga sudah melebihi batas ketuntasan yakni 85% secara klasiklal, seperti terlihat pada tabel 6 tersebut di bawah ini. pada siklus ii setelah digunakannya metode pembelajaran teknik jigsaw hasil belajar dalam memainkan melodi lagu dengan lagu model ”lenggang kangkung” dari jakarta dalam tangga nada perubahan dari 1# -3# dan dari 1b – 3b, jumlah siswa tuntas sudah mencapai 94,74% dari 38 siswa atau terjadi peningkatan sekitar 29,89% dari prasiklus (tabel 1). tabel 1. peningkatan hasil belajar siswa jenis kegiatan siswa yang tuntas siswa yang belum tuntas prosentase siswa yang tuntas pra siklus 24 13 64,85 % siklus i 34 4 89,47 % siklus ii 36 2 94,74 % motivasi belajar berdasarkan angket siswa yang disebar pada pra siklus dari 38 orang siswa yang terdiri dari empat butir pertanyaan, yaitu: (1) apakah anda suka dengan mata pelajaran seni budaya, (2) apakah anda suka memainkan alat musik pianika dengan tangga nada natural, (3) apakah anda sering memainkan alat musik pianika, dan (4) apakah anda senang memainkan alat musik pianika jika diberi tugas oleh guru, dengan skor minimal 1 dan maksimal 4 dari masing-masing butir soal diperoleh hasil skor sebanyak 392 atau sekitar 64,47% dari jumlah skor maksimal 608, dengan skor minimal perolehan paling sedikit 4 atau sekitar 25% dari skor maksimal 100% dari masing-masing item sebanyak 1 orang siswa dan skor terbanyak 15 atau sekitar 93,75% dari skor maksimal 100% dari masing-masing item sebanyak 1 orang siswa. angket siswa yang disebar pada siklus i setelah diterapkannya metode pembelajaran teknik jigsw yang diikuti 37 orang siswa dari 38 orang siswa karena 1 orang siswa tidak masuk dengan alasan sakit, dengan empat butir pertanyaan, yaitu: (1) apakah anda sering memainkan alat musik pianika setelah menerima materi tangga nada perubahan, (2) apakah anda tekun berlatih memainkan alat musik pianika untuk memeperoleh ketrampilan memainkan melodi lagu, (3) apakah anda berusaha berlatih memainkan alat musik pianika untuk medmperoleh hasil belajar yang baik, dan (4) apakah anda akan mendahulukan tugas memainkan alat musik pianika jika diberi tugas oleh guru dari pada tugas yang lain, dengan skor minimal 1 dan maksimal 4 dari masing-masing butir soal diperoleh hasil skor sebanyak 412 atau sekitar 69,59% dari jumlah skor maksimal (ideal) 592, sehingga terjadi peningkatan yang tidak begitu signifikan yakni sekitar 1%, dengan skor minimal perolehan paling sedikit 4 atau sekitar 25% sebanyak 1 orang siswa dan skor terbanyak 15 atau sekitar 93,75% sebanyak 1 orang siswa. angket siswa yang disebar pada siklus ii setelah diterapkannya metode pembelajaran teknik jigsw dari 38 orang siswa yang terdiri dari empat butir pertanyaan, yaitu: (1) apakah anda sering memainkan alat musik pianika setelah menerima materi tangga nada perubahan, (2) apakah anda tekun berlatih memainkan alat musik pianika untuk memeperoleh ketrampilan memainkan melodi lagu, (3) apakah anda berusaha berlatih memainkan alat musik pianika untuk memperoleh hasil belajar yang baik, dan (4) apakah anda akan mendahulukan tugas memainkan alat musik pianika jika diberi tugas oleh guru, dengan skor minimal 1 dan maksimal 4 dari masing-masing butir soal diperoleh hasil skor sebanyak 433 atau sekitar 71,22% dari jumlah skor maksimal (ideal) 608 sehingga terjadi peningkatan yang tidak begitu signifikan yakni sekitar 1%, dengan skor minimal perolehan paling sedikit 10 atau sekitar 62,5% sebanyak 1 orang siswa dan skor terbanyak 15 atau sekitar 93,75% sebanyak 1 orang siswa (tabel 2). tabel 2. peningkatan motivasi belajar siswa jenis kegiatan skor perolehan skor maksimal (ideal) persentase motivasi siswa pra siklus 392 608 64,47% siklus i 412 592 69,59% siklus ii 433 608 71,22% simpulan berdasarkan hasil penelitian dan pembahasan dapat disimpulkan bahwa hasil belajar memainkan melodi dalam tangga nada perubahan menggunakan alat musik pianika pada siswa kelas 8-g semester genap tahun pelajaran 2008/2009 smp negeri 1 brangsong kabupaten kendal mengalami peningkatan baik mengenai hasil belajar maupun motivasi belajar memainkan alat musik pianika dalam tangga nada perubahan. hasil belajar siswa dalam memainkan melodi dalam tangga nada perubahan menggunakan alat musik pianika melalui teknik jigsaw mengalami peningkatan. hal ini terlihat pada hasil tes setiap tindakan, pada pra siklus hasil belajar dari 38 siswa nilai rata-rata ketuntasan siswa sebesar 64,85%, pada siklus i nilai rata-rata ketuntasan sebesar 89,47% sehingga terjadi peningkatan sebesar 24,62% , dan pada siklus ii nilai rata-rata ketuntasan sebesar 94,74% sehingga terjadi peningkatan sebesar 29,89%. motivasi belajar siswa dalam memainkan melodi dalam tangga nada perubahan menggunakan alat musik pianika melalui teknik jigsawmengalami peningkatan. hal ini terlihat pada hasil angket siswa setiap tindakan, pada pra siklus hasil belajar dari 38 siswa diperoleh skor sebesar 64,47% dari skor maksimal sebesar 592, pada siklus i skor perolehannya sebesar 69,58% dari skor maksimal sebesar 608 sehingga terjadi peningkatan sebesar 5,12% , dan pada siklus ii diperoleh skor sebesar 71,22% dari skor maksimal 608 sehingga terjadi peningkatan sebesar 6,75%. daftar pustaka arikunto, suharsimi. 2002. prosedur penelitian; suatu pendekatan praktek. jakarta: pt rineka cipta. ibrahim dan sunarsih. 2006. metode pembelajaran edukatif. jakarta: rineka cipta. tim abdi guru. (2004). kesenian untuk smp, kelas viii. erlangga: jakarta. tim mkdk ikip semarang. dalam rusmin 2007: pembelajaran kooperatif tipe jigsaw. semarang: ikip pgri. tim pengembangan mkdk. 1989. kurikulum pendidikan dasar dan menengah. jakarta: depdikbud. tim penyusun kamus pusat pembinaan dan pengembangan bahasa. 1989. kamus besar bahasa indonesia. jakarta: balai pustaka. ---------------1993. upaya optimalisasi kegiatan belajar mengajar. bandung: pt remaja rosdakarya. uzer usman, moh. 1989. menjadi guru profesional. bandung: pt remaja rosdakarya. ----------------, 1994. kurikulum pendidikan dasar, gbpp kesenian sltp. jakarta: depdiknas wjs poerwodarminta, (1984). kamus umum bahasa indonesia. jakarta: balai pustaka. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 motif kawung sebagai simbolisme busana para abdi dalam wayang kulit purwa gaya surakarta (simbolism motive kawung of fashion community on wayang kulit purwa surakarta style) sarwono staf pengajarjurusan karya tekstilfak. sastra dan seni rxpauns sebelas maret surakarta abstrak penelitian ini bertujuan untuk mengkaji tentang latar belakang budaya dalam penggunaan motif kawung, jenis-jenisnya, makna simbolisme serta keterkaitan status, kedudukan dan karakter tokoh abdi dalemdalem wayang kulit purwa gaya surakarta, dan penelitian ini berbentuk kualitatif dengan pendekatan hemeneutik untuk menghasilkan berbagai interpretasi. sumber data berupa penjelasan dari informan tentang karya seni batik dan pewayangan, peristiwa seni pertunjukan, arsip dan dokumen. pengumpulan data dilakukan dengan wawancara, observasi, serta untuk mendapatkan validitas data, maka dilakukan triangulasi data. semua informasi yang diperoleh dianalisis dengan menggunakan cara analisis interaktif. hasil penelitian diperoleh bahwa; surutnya kekuasaan secara politik dan ekonomi mengakibatkan pengembangan budaya keraton sebagai sarana legitimasi kekua-saan raja dalam masyarakat pendukungnya. sehingga seni busana keraton juga termanifestasi ke dalam wujud busana wayang kulit purwa gaya surakarta. salah satu wujud busana tersebut berupa motif batik kawung yang digunakan oleh para abdidalem dalam pewayangan. tiap-tiap jenis motif kawung memiliki makna simbolisme sesuai setatus, kedudukan serta karakter dari tiap-tiap tokoh wayang tersebut. kata kunci: batik, motif kawung, wayang, simbolisme. a. pendahuluan karya seni pewayangan dalam masyarakat pendukungnya merupakan sumber inspirasi yang tidak pernah habis digali dan dikembangkan nilainilainya. semakin ke dalam karya tersebut dipelajari, semakin menakjubkan isi yang ada di dalmnya. di masyarakat memanfaatkan seni pewayangan sebagai media untuk berbagai kepentingan, baik yang bersifat religius, penerangan, pendidikan, metafisis, estetis, bahkan sebagai media politik. oleh karenanya, seni pertunjukan wayang (sering disebut juga pakeliran) juga dikatakan sebagai seni budaya yang pada hakekatnya bersifat kosmopolis dan universal. sehingga seni pertunjukan wayang dapat muncul kapan saja, di mana saja, sepanjang manusia masih ada (cassires, 1944: 23-26). seni pewayangan di dalamnya sarat dengan makna simbolisme, termasuk busana dalam wayang memegang peranan penting dalam menunjukkan kedudukan dan karakter para tokoh yang memakai. juga tiaptiap busana yang dipakai mengandung makna simbolis yang terkandung di dalamnya. misalnya apakah ia seorang raja, patih, ksatria, pendeta, dan punoharmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 kawan (abdidalem). busana seorang raja, di samping kelihatan lebih lengkap, penuh makna sirnbolisnya apabila dibandingkan dengan yang lainnya. busana para tokoh wayang memiliki variasi bentuk maupun motif motif batik. motif batik yang bervariasi memiliki makna simbolisme dari setiap tokoh yang memakainya dan penggunaannya berlainan sesuai status dan tingkatan kedudukan dari tokoh wayang. motif kawung yang diterapkan dalam busana wayang kulit purwa gaya surakarta merupakan karya yang digarap sesuai konteks budaya jawa dan merupakan salah satu busana dalam dunia pewayangan yang banyak mengandung makna simbolisme yang berhubungan dengan pola hidup dan kehidupan yang dianut dalam masyarakat jawa. penelitian ini diharapkan dapat memberikan suatu gambaran yang terfokus tentang latar belakang, jenis motif kawung, makna simbolisme, dan adakah keterkaitan motif kawung dalam busana wayang kulit purwa gaya surakarta dengan kedudukan para tokoh wayang yang menggunakannya. mengingat dalam penggunaan motif batik kawung sebagai salah satu busana dalam wayang kulit purwa yang sarat dengan makna simbolisme dalam kebudayaan jawa pada umumnya. b. landasan teori 1. simbolisme simbol merupakan wujud visual sebagai hasil penbabaran langsung dari ide seseorang (seniman) atas dasar kehidupan feeling yang paling dalam, dengan demikian apa yang terkandung di dalam simbol merupakan nilai-nilai yang mencerminkan kehidupan feeling seniman. simbol merupakan pembabaran langsung dari idea, tentu di dalamnya terdapat perpaduan bersifat hiterogen antara yang spontan diungkapkan oleh jiwa. perpaduan itu tidak hanya dibina oleh rasio belaka tetapi oleh seluruh kehidupan feeling yang paling dalam dan manifestasinya secara spontan atau dengan perkataan lain ekspresif. sebagai wujud visual yang dibabarkan langsung dari idea dan mengandung nilai-nilai kehidupan feeling seniman, maka simbol merupakan suatu kesatuan. di bidang seni, simbol itu terbabar dalam karya seni (langer, 1962). simbolisme merupakan simbolsimbol yang digunakan baik dalam bidang seni maupun bidang lainnya, terutama untuk memberi tanda khusus pada benda atau dengan mensugestikan melalui imaji-imaji yang tidak dapat dilihat oleh indrawi. sebagai contoh penggunaan kain batik klasik oleh seseorang yang dianggap suci atau dimuliakan, untuk menunjukkan kualitas, kekuatan atau derajatnya. menurut pendapat read; simbolisme dapat saja berbentuk karya seni yang unsur-unsur pendukungnya menggambarkan analogi nilai-nilan dari karakter tertentu yang mewakili idea abstrak. nilai-nilai idea abstrak itu akan membentuk kesatuan atau gestalte hubungan kualita, kekuatan dan derajat (read, 1970: 121-130). menurut penulis, pendapat read sangat relevan dijadikan pedoman teoritis, karena karya seni batik klasik memuat dan memenuhi unsur-unsur di atas. seni batik klasik diciptakan berdasar atas interpretasi dalam kesatuan kualitas, kekuatan dan derajat pada waktu itu, yaitu sebagai benda seni untuk melegitimasi kedudukan harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 dan keberadaan kerajaan sebagai pusat kekuasaan (soedarmono, 1990: 10). setiap penciptaan motif batik pada mulanya selalu memiliki makna simbolis berdasarkan falsafah jawa. pada awal motif batik diciptakan, tidak sembarang orang dapat memakai dan biasanya pemakaian motif didasarkan atas kedudukan sosial seseorang di dalam masyarakat, karena apabila ada seseorang melanggar, maka akan terkena sangsi. maksud dari penciptaan motif batik pada awalnya agar memberi kesejahteraan dan kemuliaan serta memberi status sosial bagi si pemakainya. motif tersebut dinamakan motif larangan, namun dewasa ini telah menjadi milik masyarakat. walaupun demikian tata cara pemakaian pada upacara-upacara adat yang resmi di kalangan kraton masih diterapkan. adapun motif batik yang ada hubungannya dengan kedudukan sosial seseorang ialah motif batik klasik. motif batik klasik hanya boleh dipakai oleh golongan tertentu di masyarakat jawa. mengingat motif batik tersebut ada hubungannya dengan arti simbolis dan makna falsafah dalam kebudayaan hindu-budha di jawa (hitchcock, 1991: 83-89). di dalam motif klasik, unsur warna yang ada dalam motif batik klasik memiliki nilai-nilai falsafah. memahami simbolisme dalam visualisasi tatawarna motif batik, terkandung nilai-nilai falsafah hidup orang jawa yang dibentuk menurut kerangka kultur yang religius-magis. kaitannya dengan seni batik klasik, pemakaian tata warna: kuning, putih, merah (soga), biru, hitam, menjadi karakteristik masyarakat jawa yang dianggap memiliki lambang-lambang pemujaan terhadap causa prima yang berada dalam kedudukan tertinggi. pada mulanya simbolisme batik dinyatakan lewat pralampita atau pralambang. warna dasar dalam motif batik klasik nampaknya diilhami oleh lambang-lambang warna dalam kosmologi jawa, yaitu kiblat papat lima pancer (kartosoedjono, 1950: 14-23). 2. busana wayang kulit purwa pada wayang kulit purwa banyak dijumpai berbagai macam busana tokoh wayang tertentu yang memiliki karakter khusus, dan apabila tata busananya diubah dari tokoh yang memakai, maka akan berubah pula sifat dan karakternya. pada umumnya atribut-atribut akan selalu ada dalam wayang, sehingga tiap-tiap tokoh wayang memiliki atribut yang berbeda dan menjadi ciri khas dari tiap tokoh. busana wayang kulit purwa gaya surakarta menurut haryanto, terdiri dari berbagai tutup kepala, berbagai jenis sumping, berbagai macam bentuk kalung, berbagai macam bentuk uncal, badong, praba, berbagai bentuk ikat pinggang, berbagai bentuk sampir atau sampur. busana wayang kulit putren dalam khasanah wayang kulit purwa tidak banyak variasinya. pada gaya surakarta ujung kainnya menjorok ke belakang, seolah-olah wayang tersebut sedang berjalan dan tidak mengenakan gelang kaki. bentuk kain dodot terdiri dari, dodot putren dengan sepatu, dodot putren dengan lungsen, dodot putren dengan kalung ulur, dodot putren dengan kain selimut. bentuk busana bagian bawah tokoh wayang pria menunjukkan kedudukan tokoh wayang, misalnya raja, ksatria, pendeta atau punggawa. bentuk busana seorang raja akan tampak lebih mewah dari pada seorang ksatria atau punggawa, busana harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 seorang punggawa dan dewa biasanya berupa jubah berlengan panjang ditambah dengan kethu atau sorban sebagai tutup kepala. c. metode penelitian berdasarkan rumusan masalah dalam penelitian ini, yaitu mengenai latar belakang, jenis motif kawung, makna simbolisme dan keterkaitan motif kawung dalam busana wayang kulit gaya surakarta, maka bentuk penelitian menggunakan pendekatan hermeneutik dalam kasus tunggal. pendekatan hermeneutik mengarah kepada penafsiran ekspresi yang penuh makna dan melakukan interpretasi atas interpretasi yang telah dilakukan oleh pribadi atau kelompok masyarakat di surakarta terhadap situasi mereka sendiri untuk memahami makna simbolisme motif batik kawung dalam busana wayang kulit purwa gaya surakarta sebagai studi kasus tunggalnya setiap peristiwa karya seni memiliki makna dari interpretasi para senimannya, selanjutnya dari karya seni diinterpretasi lagi oleh pengamat, sehingga makna ekspresi dalam karya seni selalu terikat dari kontek. untuk memahami masalah motif-motif batik, peneliti harus memahami interpretasiinterpretasi individual. hermeneutik mempersyaratkan suatu aktivitas konstan dari interpretasi antara bagian ke keseluruhan yang merupakan suatu proses tanpa awal dan juga tanpa akhir. oleh karena itu dalam penelitian kualitatif, seorang peneliti hanya dapat menyajikan suatu interpretasi atas interpretasi subjek yang diteliti, juga penelitian didasarkan atas nilai, minat, tujuan dari penelitian itu sendiri (gadamer, 1976). sumber data yang digunakan dalam penelitian ini berupa, karya seni wayang kulit purwa gaya surakarta, yang menggunakan busana kain batik motif kawung. informan terdiri dari, para seniman wayang (dalang, pengrajin wayang) di daerah surakarta, para ahli yang mengetahui bidang batik klasik, para pengamat pewayangan. selain itu juga menggunakan sumber dari dokumendokumen yang diketemukan. teknik pengumpulan data dalam penelitian ini dengan jalan wawancara, dalam penelitian kualitatif wawancara bersifat open ended dan mendalam. oleh karena itu wawancara ini sering disebut in-dept-interviewing. observasi dilakukan secara langsung atau disebut juga observasi partisipasi pasif, dan observasi langsung dapat dilakukan dengan berperan maupun tidak berperan. teknik cuplikan yang digunakan lebih bersifat purposive sampling atau merupakan cuplikan dengan criteriation based selection. peneliti memilih informan yang dipandang mengetahui permasalahan dan pilihan dapat berkembang sesuai kebutuhan serta kemampuan dalam memperoleh data (sutopo, 2000: 25-26). penelitian kualitatif memakai cara untuk meningkatkan validitas atau keabsahan data dalam penelitian, yaitu dengan cara trianggulasi data (pattern, 1984). proses analisis dalam penelitian ini terdapat tiga komponen utama yang harus benar-benar dilakukan, yaitu reduksi data, sajian data dan penarikan kesimpulan atau verifikasi. tiga komponen analisis data terlibat dalam proses yang saling berkaitan serta menentukan hasil akhir. d. jenis-jenis motif kawung dan unsur motifnya harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 berdasarkan hasil penelirian di lapangan terdapat beberapa jenis motif kawung gaya surakarta yang memiliki unsur motif, sebagai berikut: 1. unsur motif kawung sari terdiri dari ornamen utama yang berbentuk bulatan lonjong, dan pada setiap bagian motif kawungnya. diberi bentuk garis yang membelah menjadi dua bagian seolah-olah menyerupai bentuk buah kopi pecah. sehingga motif kawung ini sering juga disebut dengan istilah kawung kopi. ornamen utama yang terdiri dari empat bulatan lonjong disusun berdasarkan garis miring yang silang atau garis diagonal miring, juga disusun dengan bentuk garis lurus yang horizontal maupun vertikal. bentuk garis-garis tersebut seolah-olah seperti tanda silang pada bentuk visual dari motif kawung. komposisi warna pada bentuk motif kawung ini terdiri dari warna putih, putih kekuningan, pada ornamen utama, mera soga sebagai warna konturnya, sedangkan warna hitam untuk memberi warna latar dalam motif kawung sari. 2. bentuk kawung sekar ageng, terdiri dari unsur ornamen utama berbentuk empat bulatan lonjong yang telah mengalami perubahan menjadi bentuk agak persegi atau bujur sangkar. pada setiap ornamen utamanya terdapat tiga buah garis (sawut) serta diikuti tiga buah titik (cecek). bentuk tersebut dalam istilah batik sering disebut dengan istilah cecek sawut. unsur motif kawung ini juga terdapat isen motif berupa empat bentuk belah ketupat kecil sebagai variasi dalam komposisi bentuk visualnya. sedangkan komposisi warna terdiri dari warna putih, putih kekuningan sebagai warna pada ornamen utama, merah soga untuk memberi warna kontur motif dan isen motif, serta warna hitam merupakan latar pada motif kawung sekarageng. 3. bentuk kawung sen, terdiri dari ornamen utama yang berbentuk empat bulatan lonjong yang dikomposisikan melingkar menyerupai bentuk mata uang sen di indonesia. pada bentuk bulatan lonjong terdapat isen cecek (titik) sebanyak dua buah dengan arah diagonal, serta di tengah bentuk ornamen utama diberi isen-isen garis garis yang berbentuk belah ketupat. ornamen utama disusun dengan arah sudut miring berbentuk diagonal yang seolaholah motif kawung dibatasi oleh garis lengkung. komposisi warna pada motif kawung sen terdiri dari warna putih, putih kekuningan sebagai warna pada ornamen utama, hitam sebagai warna kontur serta merah soga untuk memberi warna latar pada motif kawung sen. 4. bentuk kawung pecis, terdiri dari ornamen utama berbentuk bulatan lonjong, dan ukurannya lebih kecil apabila dibandingkan dengan ornamen utama pada kawung sen serta bentuk motif batik pada kawung pecis agak persegi lonjong. isen motif kawung pecis terdiri dari dua buah titik (cecek) yang terdapat di dalam ornamen utama. motif kawung pecis disusun berdasarkan garis miring silang atau berbentuk jajaran genjang diagonal, seolah-olah komposisi motif kawung pecis dibatasi oleh garis-garis silang pada keempat bentuk ornamen utama. komposisi warna pada motif kawung pecis terdiri dari warna putih, putih kekuningan sebagai warna sebagai ornamen utama, merah soga untuk, merah soga untuk warna kontur serta hitam ebagai warna latar pada motif kawung picis. 5. bentuk kawung beton terdiri dari unsur ornamen utama yang berbentuk bulatan lonjong seperti bentuk biji pada buah nangka. biji buah nangka dalam masyarakat jawa disebut dengan istilah beton, sehingga motif ini dinamakan harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 motif kawung beton. bentuk ornamen pada motif ini dengan ukuran sangat besar apabila dibandingkan dengan kawung pecis maupun kawung sen, serta agak bulat, tetapi masih dalam keadaan lonjong. isen motif yang terdapat pada ornamen utama berupa cecek (titik) dengan ukuran yang besar serta di tengah-tengahnya terdapat bentuk lingkaran kecil. bentuk lingkaran ini membelah menjadi empat bagian seolah-olah ornamen utamanya dilalui garis silang. komposisi warna pada motif kawung beton terdiri dari warna putih, putih kekuningan sebagai warna pada ornamen utama, hitam sebagai warna kontur, sedangkan merah soga untuk latar motif kawung beton.. 6. bentuk kawung semar terdiri dari unsur ornamen utama yang berbentuk empat bulatan lonjong dengan ukuran besar seperti pada kawung beton, tetapi di dalam ornamen utamanya terdapat bentuk bulatan lonjong dengan ukuran yang lebih kecil. isen motif pada kawung semar terdiri dari bentuk cecek (titik) yang terdapat pada lingkaran di dalam bulatan kawungnya. di tengah-tengah ornamen utama terdapat isen motif yang berbentuk belah ketupat yang diisi dengan cecekcecek (titik-titik) serta beberapa titik berbentuk sederetan yang melingkar. komposisi warna pada motif kawung semar terdiri dari warna putih, putih kekuningan sebagai warna pada ornamen utama, merah soga untuk latar warna motif serta warna hitam sebagai kontur. 7. bentuk kawung buntal terdiri dari ornamen utama yang berbentuk campuran dari kawung pecis dipadu dengan motif bunga. motif bunga yang terdapat pada kawung buntal berupa bunga kenikir, sehingga bentuk dari campuran motif tersebut menjadi ciri khas pada motif kawung buntal. isen motif batik pada kawung buntal terdiri dari bentuk bulat lonjong kecil yang terbagi menjadi dua bagian diletakkan dalam ornamen utamanya, serta bentuk belah ketupat dengan ukuran kecil, sedang, dan agak besar diletakkan pada tengah-tengah ornamen utama. komposisi warna pada motif kawung buntal terdiri dari warna putih, putih kekuningan sebagai warna kawung, merah soga untuk warna latar pada kawung buntal serta hitam sebagai warna kontur dan latar pada motif bunga kenikir. 8. bentuk kawung kembang terdiri dari ornamen utama yang berbentuk empat bulatan lonjong dibuat menyerupai bentuk bunga (kembang), sehingga motif ini dinamakan kawung kembang. ornamen utama yang terdiri dari bulatan lonjong terdapat isen motif ber-bentuk garis diletakkan pada setiap ujung bulatan kawung. di tengahtengah antara bulatan kawung satu dengan yang lainnya terdapat isen motif yang berbentuk deretan titik dengan arah melingkar, serta membentuk lingkaran yang kecil dan empat titik yang berada di luar lingkaran tersebut. komposisi warna pada motif kawung kembang terdiri dari warna putih, putih kekuningan sebagai warna ornamen utama, merah soga sebagai harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 warna kontur dan hitam untuk warna latar pada motif kawung kembang. 9. bentuk kawung seling terdiri dari ornamen utama yang berbentuk hampir sama dengan kawung kembang, yaitu bentuk bulatan lonjong diselingi dengan bentuk bunga. tetapi ukuran serta variasi kembangnya tidak sama serta dibuat dengan perbedaan warna yang menyolok. isen motif pada kawung seling terdiri dari isen titik yang dibentuk seperti garis (sawut), diletakkan pada motif kembang. sedangkan di dalam motif utama di beri isen dua titik pada tiap-tiap bulatan (kawung]. komposisi warna pada kawung seling terdiri dari warna putih sebagai warna pada ornamen utama, hitam sebagai warna motif bunga dan kontur, merah soga untuk warna latar pada motif kawung seling. e. penggunaan motif kawung penggunaan motif kawung dikenakan atau yang berhak mema-kainya adalah para abdi kraton (abdi yang kinasih dan dekat dengan raja serta keluarga raja). abdi dalam hal ini adalah seseorang yang memiliki derajat rendah (emban, punakawan pengiring para ksatria), motif kawung juga digunakan oleh orang yang memiliki derajat tinggi atau tingkat punggawa kraton (tumenggung) dalam lingkup keraton. adapun penggunaan tiap-tiap motif kawung adalah, sebagai berikut: 1. kawung sari: sari memiliki arti inti, pokok atau dalam bahasa jawa disebut dengan istilah "pathi". motif kawung sari ini yang berhak menggunakan adalah abdidalem kraton yang kinasih, terutama abdidalem perempuan yang disebut dengan istilah emban. dalam dunia pewayangan motif kawung sari digunakan oleh abdidalem yang bernama cangik dan limbuk, dua tokoh abdidalem bisa muncul untuk mengiringi para permaisuri dan putri raja. 2. kawung sekar ageng: kawung ini dinamakan sekar ageng, dikarenakan motifnya berbentuk bunga (kembang, sekar) yang berukuran besar (ageng). motif kawung sekar ageng digunakan oleh abdidalem perempuan yang kinasih dan dekat dengan raja serta keluarga raja. abdidalem perempuan yang disebut emban di dalam tokoh pewayangan adalah cangik dan limbuk. 3. kawung sen: disebut juga dengan nama kawung gidril atau bribil, yaitu mata uang logam terbuat dari bahan nekel, yang bernilai lima sen. sen merupakan mata uang indonesia ketika dijajah belanda. motif kawung sen biasa digunakan oleh abdidakm kraton yang memiliki tingkat kepangkatan tumenggung, digunakan dalam upacara atau kegiatan misalnya untuk menghadap raja. 4. kawung picis: picis memiliki arti diiris-iris, arti lain dari picis adalah suatu tempat (wadah) seperti "cis" yang terdapat pada punggung gajah. motif kawung picis hanya digunakan oleh abdidakm yang kinasih, yaitu abdi kraton dari tingkat derajat rendah yang selalu dekat dengan raja dan keluarga raja. pakaian tersebut hanya digunakan pada waktu menghadap raja atau keluarga raja. dalam pewayangan kawung picis dipakai oleh harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 para abdidalem ksatria, seperti semar, gareng, petruk, dan bagong, serta togog, bilung. 5. kawung beton: motif kawung beton digunakan oleh para abdi dalem kraton kinasih yang dekat dengan para putra raja (ksatria), terutama abdidalem laki-laki. di dalam pewayangan digunakan oleh tokoh-tokoh punakawan yang artinya empat saudara, yaitu semar, gareng, petruk, dan bagong. 6. kawung buntal: digunakan oleh para abdidalem perempuan yang tingkatannya di atas para abdidalem derajat rendahan, dalam pewayangan motif kawung buntal dikenakan oleh tokoh emban yang selalu mengiringi raja. 7. kawung kembang: kawung kembang dipakai oleh para abdidalem perempuan yang lebih tinggi tingkatannya dari pada emban, yaitu dipakai oleh abdidalem juru rias kraton. 8. kawung seling: motif kawung seling dipakai oleh para abdidalem perempuan yang tingkatannya lebih tinggi dari pada abdidalem rendahan. f. simbolisme motif kawung motif kawung merupakan simbolisme dari konsep papat kiblat limo pancer, artinya bahwa kawung memiliki makna simbolisme tentang keempat penjuru arah mata angin atau kiblat, dan menjadi inspirasi bentuk empat ornamen utama yang disusun secara diagonal. arah barat memiliki makna simbol tentang sumber ketidak beruntungan, karena arah barat menunjukkan terbenamnya matahari sebagai sumber segala kehidupan dan penerangan. arah timur memiliki makna simbol tentang sumber untuk segala kehidupan, karena arah timur merupakan terbitnya matahari. arah utara memiliki makna simbol tentang arah kematian, dan arah selatan memiliki makna simbol tentang puncak dari segala-galanya, sedangkan titik di tengah-tengah merupakan simbol dari pusat kehidupan manusia di dunia. motif kawung juga memiliki makna simbol tentang "kebulatan tekat" yang digambarkan dalam bentuk lingkaran-lingkaran pada motifnya. maksud kebulatan tekat adalah pengabdian diri dari abdi atau rakyat yang sepenuhnya untuk raja dan kerajaannya, seperti dalam cerita pewayangan, yaitu pengabdian para punakawan terhadap kesatria yang diikuti ke mana kesatria pergi. hal ini dapat dilihat dalam cerita pewayangan bahwa semar, gareng, petruk, dan bagong (punakawan) selalu tampil mengikuti kesatria. misalnya tokoh semar memiliki karakter yang tampil dan siap memberi nasehat, petunjuk kepada yang diasuhnya, sehingga para kesatria yang diasuh selalu melakukan perbuatan dan memiliki niat untuk berbuat kebenaran tanpa ragu-ragu dan selalu menghindarkan perbuatan yang cenderung bersifat jahat. juga para punakawan melakukan kebulatan tekat yang berfungsi sebagai pelipur lara pada waktu ksatria yang diasuh mendapatkan kesusahan serta menghadapi malapetaka. motif kawung juga dapat diinterpretasikan dalam suatu kesatuan atau manunggaling kawula lan raja, artinya kesatuan antara rakyat dengan raja atau merupakan kesatuan antara yang memimpin dan yang dipimpin. hal ini dapat dilihat dalam setiap komposisi motif kawung yang selalu harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 terdapat titik-titik atau lingkaran kecil sebanyak dua buah. titik satu sebagai simbol tentang rakyat (yang dipimpin) serta titik yang lain sebagai simbol raja (yang memimpin). tujuan simbolisme tentang kesatuan manunggaling kawula lan raja untuk mencapai suatu kesejahteraan, ketentraman, kerukunan serta keadilan bersama. sehingga antara rakyat dan raja tahu akan kewajiban masing-masing, yaitu rakyat mempunyai tugas untuk mengabdi dan raja mempunyai tugas memimpin serta melindungi rakyatnya. motif kawung memiliki makna simbol tentang "kesuburan", mengingat sumber ide dalam penciptaannya juga mengambil dari bentuk biji. pada masyarakat jawa memahami bahwa suatu biji pohon dianggap memiliki makna simbol kesuburan, karena biji merupakan tunas dari kehidupan. bentuk biji pada motif kawung dapat dilihat dari pengertian kawung dari biji pohon aren yang dinamakan "kolangkaling" serta biji buah nangka. biji-biji buah aren dan nangka apabila ditanam akan tumbuh, sehingga dapat dimanfaatkan hasilnya, mulai dari akar sampai pada buahnya atau seluruh pohon dapat dimanfaatkan untuk kehidupan manusia makna simbol biji dapat dikaitkan dengan penggunaan motif kawung yang memberi harapan pada yang memakai akan suatu berkah tentang kesuburan. motif kawung memiliki makna simbol tentang harapan sebuah "umur panjang". masyarakat jawa memahami bahwa motif kawung dapat diinterpretasikan sebagai simbolisme "umur panjang" yang diilhami dari proses tumbuh sebuah biji kolang-kaling yang terus tumbuh dan panjang usianya. dengan demikian orang yang menggunakan motif kawung berharap suatu berkah umur panjang, kehidupan yang aman tentram dan damai. g. motif kawung ditinjau dari makna simbolisme yang terdapat pada tiap-tiap jenisnya 1. motif kawung sari: sari dalam bahasa jawa dapat diartikan sama dengan "pathi" (tepung). sari memiliki makna simbol tentang inti manusia hidup untuk menjalankan perbuatan yang baik. perbuatan yang baik berdasarkan dari nasehat orang yang lebih tahu atau orang tua, serta ajakan dan larangan dari orang lain tentang hukum adat yang berlaku, sehingga akan memberi hikma tertentu. namun tentunya perlu adanya penyaringan tentang hal-hal yang baik dan yang buruk dari ajakan kebaikan bagi setiap manusia, sehingga hidupnya akan selalu mendapatkan hikmah dari inti sari yang selalu baik. interpretasi motif kawung sari memberi pengertian tentang simbolisme dari duduknya antara abdidalern atau rakyat yang selalu dekat dengan rajanya. makna simbolisme ini diilhami dari ornamen utama kawung sari yang berbentuk bulatan lonjong. interpretasinya adalah rakyat menyadari sepenuhnya bahwa mengabdi harus memiliki sifat "kamawula", artinya bahwa dirinya merupakan bagian dari kekuasaan serta mempunyai kewajiban untuk mengabdi. sedangkan bentuk garis (sawut) yang berhimpitan lurus dengan warna terang memiliki makna simbolisme tentang sinar yang menerangi, yaitu raja harus selalu menerangi rakyatnya dalam keadaan apapun, sehingga rakyat harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 selalu merasa aman, tentram serta damai dalam menjalankan kewajibannya. 2. motif kawung sekar ageng: memiliki pengertian bunga yang besar berbentuk teratai, yaitu memberi makna simbol tentang segala sesuatu yang besar. interpretasi dari pengertian bunga teratai dimaksudkan bahwa sekar ageng memiliki makna "kewibawaan yang luas", yaitu sebuah harapan dari yang memakai motif kawung akan mendapatkan kewibawaan yang selalu di hormati serta di segani oleh orang lain dalam bermasyarakat. 3. motif kawung sen: memiliki makna simbolisme tentang kesatuan kekuatan di dalam mencapai suatu tujuan. interpretasi kawung sen diilhami dari dua buah bentuk titik pada tiap-tiap ornamen utama pada motif kawung sen. pada titik memberi makna sismbol dari rakyat sedang titik yang lain memberi makna simbol dari raja. maksudnya yaitu kesatuan antara rakyat dan raja yang akan melakukan sesuatu untuk mencapai tujuan ketentram-an, kemakmuran serta keamanan di dalam lingkup kraton. 4. kawung picis: pecis dapat diartikan sebagai wadah atau tempat yang berasal dari pengertian "cis" yaitu tempat duduk yang letaknya di atas punggung binatang gajah. binatang gajah dalam ceritera pewayangan digunakan sebagai kendaraan oleh raja, misalnya gajah dwipangga merupakan kendaraan raja baladewa. pengertian di atas apabila dikaitkan dengan motif kawung picis, terinspirasi dari dua buah titik pada tiap-tiap ornamen utamanya, bahwa makna simbolisme yang terkandung di dalam ornamen memiliki pengertian duduknya antara rakyat dan raja. pengertian duduk di sini dapat diinterpretasikan sebagai duduk bersama-sama dalam satu wadah atau tempat. sehingga dapat diuraikan bahwa segala perbuatan manusia akan terwadahi di dalam suatu takaran tertentu tentang baik buruknya amal perbuatan manusia dihadapan sang hyang jagadnata. 5. motif kawung beton: pengertian beton berasal dari nama biji buah nangka, buah nangka yang berada di dalam memiliki makna simbol tentang perbuatan yang baik tidak selalu ditampilkan di luar. juga di dalam mencapai suatu perbuatan baik, manusia sering mendapatkan berbagai cobaan atau rintangan, seperti halnya jika mengupas buah nangka mesti akan terkena getahnya. artinya bahwa jika manusia mengerjakan sesuatu perbuatan yang baik, tentu akan mendapatkan cobaan-cobaan yang terkadang ringan atau berat. 6. motif kawung semar: nama semar merupakan salah satu tokoh punakawan yang selalu mengikuti kesatria yang baik dalam ceritera pewayangan. semar memberi makna simbol-isme tentang abdi yang selalu memberi nasehat, petuah, petunjuk, serta pengayom kepada kesatria yang diasuhnya. sehingga motif kawung semar memberi makna "pamomong”, artinya seorang abdi dalem harus selalu setia, mengasuh dan mengingatkan kepada orang yang diasuhnya. motif kawung semar juga memberi suatu harapan terhadap si pemakai akan selalu harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 terhindar dari suatu perbuatan yang buruk dan mengerjakan perbuatan yang baik menurut ajaran keyakinan yang dianut, sehingga dapat mengambil intisari dari perbuatannya. 7. motif kawung buntal: buntal dalam istilah orang jawa diartikan bunga yang sering digunakan dalam upacara adat sebagai media tolak balak, yaitu memiliki arti untuk mengusir segala sesuatu yang bersifat jahat atau malapetaka yang akan menimpa pada bayi dan anak kecil. motif kawung buntal sering digunakan untuk upacara adat dalam lingkup kepercayaan masyarakat jawa. 8. motif kawung kembang: kembang (bunga) memiliki makna simbolis suatu harapan tentang cita-cita luhur atau baik yang selalu berbunga. maksud di dalam menggunakan motif kawung kembang memberikan pemahaman tentang suatu cita-cita yang baik, dapat terhindar dari hal-hal yang buruk, sehingga dapat mengharumkan keluarga, juga masyarakat dan kerajaan. h. makna simbolisme warna pada motif kawung makna simbolisme warna pada motif kawung didasarkan pada warna klasik yang umum digunakan dalam motif batik, yaitu warna putih, kekuning-kuningan, merah soga, dan warna hitam. warna putih memiliki makna simbolisme tentang kesucian, kejujuran, kebenaran, dan berhati mulia, sehingga warna putih merupakan simbol dari sifat "mutmainnah" yang digambarkan dengan arah utara dan simbol air. makna simbolisme ini diilhami dari kawung latar putih seperti pada kawung sen, kawung picis, kawung be ton.. warna kuning memiliki makna simbolisme tentang cinta terhadap kemewahan, suka menonjolkan sesuatu yang dimiliki, sehingga warna kuning dalam perhitungan kepercayaan orang jawa (kosmologi jawa) merupakan simbol dari sifat "supiyah" yang digambarkan dengan arah barat, serta simbol dari angin. makna simbolisme ini dapat diilhami dari bentuk motif kawung yang memiliki warna latar kuning pada pola motifnya. warna merah soga memiliki makna simbolisme tentang sifat yang serakah, tamak, sehingga warna merah soga dalam kosmologi jawa memiliki makna simbol akan sifat "amarah" yang digambarkan dengan arah selatan, serta simbol dari api. tetapi apabila manusia dapat menahannya serta dapat melawan, maka akan merubah menjadi sifat yang baik dan bijaksana, suka berderma, serta suka menerima apa adanya. makna simbolisme dari motif merah soga menjadi inspirasi pada motif kawung yang memiliki warna latar merah soga pada pola motif. warna hitam memiliki makna simbolisme tentang watak tenang, bijaksana, suka menolong sesama serta mengamalkan kebijakan. sehingga warna hitam dalam kosmologi jawa memiliki makna simbol akan sifat "lumawah" yang digambarkan dengan arah timur dan simbol dari bumi. makna simbolisme dari motif yang menggunakan warna hitam memberi inspirasi pada bentuk kawung yang memiliki warna latar hitam pada motif. warna-warna pada motif batik klasik secara keseluruhan terkandung harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 konsep tentang "papat kiblat lima pancer”'. artinya bahwa setiap manusia memiliki empat sifat, yaitu: mutmainnah, supiyah, lumawah, dan amarah, tetapi dari keempat sifat manusia salah satu diantaranya ada yang menonjol. penonjolan sifat itulah yang akan mewarnai perbedaan karakter dari tiap-tiap manusia yang hidup di dunia. i. analisis pemberian nama serta makna dalam motif kawung memiliki beberapa konsep yang melatar belakangi, diantaranya: konsep pertama, adanya faham animisme, yaitu sebuah wawasan masyarakat jawa kuna tentang pemahaman alam dan yang diketahui melalui sejarah jaman nenek moyang. masyarakat jawa menempatkan alam (mikrokosmos) bersama-sama dengan pemahaman alam (makro-kosmos). dalam pewayangan mikro-kosmos disebut madya-padya (tempat manusia), sedangkan makro-kosmos disebut maya-padya (tempat para dewa). menurut pendapat purwadi (2003) bahwa seorang raja di jawa mengukuhkan dirinya sebagai "murbuah", yaitu seorang raja merupakan suatu wujud keyakinan dari titisan atau penjilmaan dewa. masyarakat jawa percaya dan memiliki keyakinan terhadap hal titisan dewa, serta percaya adanya roh-roh nenek moyang menyebabkan terjadinya proses-proses alam yang diakibatkan olehnya, sehingga perlu adanya keseimbangan antara mikro-kosmos dan makro-kosmos dengan jalan mengadakan persembahan kepadanya. masyarakat jawa percaya bahwa manusia memiliki jiwa yang dapat meninggalkan tempatnya serta dapat memasuki makhluk atau dunia lain. jiwa manusia merupakan pelaku aktivitas spiritual yang dapat mencapai taraf tertentu atau yang paling tinggi tergantung dari manusianya. persoalan kematian bagi masyarakat jawa inilah menjadi konsep keberlanjutan hidup dan kekekalan yang diyakini selalu ada serta harus dijalankan. wund dan spencer mengatakan bahwa produk psikologis yang tak terelakkan dari kesadaran tersebut menciptakan mitos (freud, 1918: 124). bagi masyarakat jawa produk psikologis yang difahami membentuk sebuah kepercayaan bahwa roh raja akan selalu menjadi dewa-dewa di alam lain (maya-padya), sehingga adat kebiasaan serta berbusana raja di madya-padya akan selalu termanifestasikan ke dalam busana para dewadewa. ini dapat dilihat dalam dunia pewayangan, di mana para dewa mengenakan busana parang barong sama halnya dengan para raja di jawa. konsep kedua, adanya paham dinamisme yang menganggap bahwa roh-roh nenek moyang ada di dalam benda-benda mati, sehingga bendabenda mati memiliki kekuatankekuatan magis serta dapat dimanfaatkan oleh manusia sesuai tujuan dan harapannya. adapun tujuan sangatlah beragam, misalnya ada yang dimanfaatkan untuk tujuan kebaikan, dan ada juga yang memiliki tujuan untuk kejahatan. kedua tujuan ini tidak dapat dipisahkan serta saling menyatu dalam kehidupan. menurut levi strauss (ahimsa, 2000: 70-71), konsep oposisi dinamakan binary oposition, yaitu sebuah konsep oposisi yang berpasangan, misalnya ada siang dan malam, ada gelap dan terang, ada hitam dan putih. dalam cerita pewayangan, konsep tersebut selalu menyertai dalam berbagai hal serta kehidupan masyarakat jawa, juga harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 keyakinan akan magis yang selalu ada di dalam benda magis seperti keris dengan berbagai pamornya dan benda lainnya dapat dilihat dalam konsep pembuatan motif kawung. misalnya kawung sari, kawung sekar ageng, kawung kembang, kesemuanya dimaksudkan adanya kekuatan magis, sehingga yang memakai mengharapkan dapat tercapai tujuan yang diinginkan. konsep ketiga, adanya faham totemisme, yaitu masyarakat jawa kuna mempercayai adanya kekuatan magis yang ada dalam binatang. menurut freud (1918: 183-184) totemisme memiliki sekitar dua belas kriteria dalam pemahaman tentang binatang. lebih lanjut freud mengatakan kriteria totemisme antara lain pada poin (7), yaitu bahwa suku dan individu memakai nama binatang totem, guna mendapatkan kekuatan yang lebih. (8) banyak suku yang menggunakan gambar binatang untuk perisai serta menghias senjata dan memberi gambar pada tubuh dengan binatang totem. (9) jika binatang totem merupakan binatang yang ditakuti dan berbahaya, maka mereka beranggapan bahwa anggota-anggota suku yang memakai nama sama dengan binatang tersebut, maka mereka tidak akan mendapatkan mara bahaya. (10) binatang totem melindungi dan memberi peringatan kepada anggota suku. (11) binatang totem memberi ramalan tentang masa depan untuk orang yang percaya padanya serta menjadi pemimpin suku tersebut. (12) para anggota suatu suku totem, seringkali percaya bahwa mereka memiliki asal-usul yang sama dengan binatang totem. konsep pemberian nama motif kawung dalam masyarakat jawa kuna mengacu pada prinsip kepercayaan tentang adanya kekuatan magis yang ada dalam binatang totem. konsep totemisme dapat dilihat pada motif batik klasik gaya surakarta, yaitu yang memakai mengharapkan akan mendapatkan kekuatan magis dari pemberian nama binatang yang ditotemkan. daftar pustaka ahimsa p. heddy shri, 2000, strukturalisme levi strauss, yogyakarta: galang press. anderson, b.r.o., 1996, mythology and the tolerance of the javanese, cornell modern indonesia, cassires, e., 1944, an essay on man: an introduction to aphilosophy of human culture, jakarta: departemen pendidikan dan kebudayaan. chadwick, c, 1972, symbolism, london: muthuen & co. tld. dillistone., f.w., 1986, the power of symbols, london: scm. press ltd. effendi, z.n., 1977, unsur islam dalam pewayangan, bandung: pt alma arif. freud, sigmund, 1918, totem and taboo, new york: vintage books. gadamer, h.g., 1976, philosophical hermeneutics, berkely, ca: university of california press. hamzuri, 1980, batik klasik, jakarta: djambatan hardjowirogo, sejarah wayang purwo, jakarta: p.t. balai pustaka hazim amir, 1997, nilai-nilai etis dalam wayang, jakarta: pustaka sinar harapan. hitchcock, m., 1991, indonesia textiles, berkeley, singapore: periplus education. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 holt, c., 1967, art in indonesia: continuities and change, ithaca, new york: cornell univercity press. hoop, v.d., 1949, indonesia stermotieven, bandoeng: gedrukt door nv & co. hoben, v.j.h., 2002, kraton dan kompeni, surakarta dan yogyakarta 1830-1870 (terjemahan: e.setyawati alkhatab), yogyakarta: bentang budaya. ismunandar, k., 1985, wayang asal usul dan jenisnya, semarang: dahara prize. kalinggo honggodipuro, krt., 2002, batik sebagai busana dalam tatanan dan tuntunan, surakarta: yayasan peduli kraton surakarta hadiningrat. langer, s.k., 1963, expressiveness and simbolism, london: university of california press. mulder, n., 1996, pribadi dan masyarakat jawa, jakarta; sinar harapan. purwadi, 2003, sosiologi mistik r.ng. ronggowarsito, yogyakarta: persada. sardjono, dw., 1979, "semar apa siapa oleh sri mulyono", jakarta: gatra 2. sastraamidjojo, a.s., 1964, renungan tentang pertunjukan wayang kulit, jakarta: pt kinta. soedarsono, r.m., 1984, wayang wong: the state ritual dance drama in the court of yogyakarta, yogyakarta: gajah mada university press. soekiman, dj. 2000, kebudayaan indis, yogyakarta: yayasan bentang budaya. soetarno, 2002, pakeliran pujosumarto (periode 1996-2001), surakarta: stsi press. sumaryono, e., 1999, hermeneutik (sebuah metode filsafat), yogyakarta: kanisius. susanto, s., 1980, seni kerajinan batik indonesia, yogyakarta: balai penelitian dan pengembangan batik dan kerajinan. tim balai bahasa yogyakarta, 2001, bausastra jawa, yogyakarta: kanisius. yasper, y.e., mas pirngadie, 1916, de batik kunst, nederlandsche indie: s’ gravenhage. d:\harmonia\2003\2\vol. 4 no. 2 mei_agustus 2003.pdf ���������� ��� ���� ���� ����������������������������������������� 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d�ec��fd�gh�ij�k��lmnomn�gppq��������������������������������re microsoft word harmonia vol x no 1 2010.docx pengaruh kecerdasan emosi terhadap prestasi belajar siswa mata pelajaran seni budaya smp arum purnaningtyas jurusan sendratasik, fakultas bahasa dan seni, universitas negeri semarang e mail : andec_squad@yahoo.com suharto suharto jurusan sendratasik, fakultas bahasa dan seni, universitas negeri semarang email: harto1965@gmail.com abstract this research purposes to know : (1) correlation between emotional intelligence and students’ achievement in the culture art lesson study, (2) influence of emotional intelligence to students’ achievement in the culture art lesson study, (3) contribution of emotional intelligence to students’ achievement in the culture art lesson study. the method used in this research is the quantitative correlation action research using ex post facto technique. data collection techniques used were documentary study and questionnaire. techniques of data analyze using product moment correlation, regression correlation, and determination coefficient. the result showed that : (1) there was a significant correlation between emotional intelligence and students’ achievement in the culture art lesson study (2) from the regression y = 60,660 + 0,169x means that if emotional intelligence values progressed 1 point, so the student’s achievement values progressed 0,169 points, (3) contribution of emotional intelligence to students’ achievement in the culture art lesson study were 12,2% and 87,8% supported by other factors. based on the above result, so the teachers and school’s team suggested for giving accommodation, and implementation to emotional intelligence factor in the education. kata kunci : kecerdasan emosi, prestasi belajar, seni budaya. pendahuluan di dalam undang–undang nomor 20 tahun 2003 tentang sistem pendidikan nasional pasal 6 disebutkan bahwa kurikulum untuk jenis pendidikan umum, kejuruan dan khusus pada pendidikan dasar dan menengah terdiri atas : (1) kelompok mata pelajaran agama dan akhlak mulia; (2) kelompok mata pelajaran kewarganegaraan dan kepribadian; (3) kelompok mata pelajaran ilmu pengetahuan dan teknologi; (4) kelompok mata pelajaran estetika; (5) kelompok mata pelajaran jasmani, olahraga, dan kesehatan. selanjutnya dalam pasal 7 undang–undang nomor 20 tahun 2003 tentang sistem pendidikan nasional dijelaskan bahwa seni budaya masuk ke dalam kelompok mata pelajaran estetika dimana didalamnya juga terdapat mata pelajaran lain yaitu bahasa, keterampilan, dan muatan lokal yang relevan. seni budaya sebagai bagian dari pembelajaran di dalamnya mengembangkan semua bentuk aktivitas cita rasa keindahan yang meliputi kegiatan berekspresi, bereksplorasi, berkreasi dan berapresiasi dalam bahasa, rupa, bunyi, gerak, tutur, dan peran. sedangkan tujuan pendidikan seni untuk mengembangkan sikap toleransi, demokratis, beradab, dan hidup rukun dalam masyarakat yang majemuk, mengembangkan keterampilan dan menerapkan teknologi dalam berkarya dan menampilkan karya seni rupa, seni musik, seni tari, dan seni peran dan menanamkan pemahaman tentang dasar–dasar dalam berkesenian (sujadmiko, 2004 : 26). pembelajaran seni budaya di smp negeri 4 ungaran kab. semarang memberikan tiga bidang seni, meliputi seni rupa, seni musik, dan seni tari yang pelaksanaannya diberikan secara bergiliran untuk masing–masing bidang seni. pedoman pelaksanaan pembelajaran mengacu pada standar kompetensi dan kompetensi dasar yang telah ditentukan dalam ktsp. dari penjelasan di atas dapat diketahui bahwa pendidikan seni budaya merupakan suatu bentuk pendidikan kesenian di sekolah dimana di dalamnya terdapat mata pelajaran musik. prier (dalam suryati, 2003 : 1) mengatakan bahwa dengan dasar pendidikan musikal yang baik, seorang pemuda akan dapat mengerti dengan jelas kekurangan dan kekejian yang terdapat pada kelakuan manusia. aris toteles (dalam suryati, 2003 : 1) yang juga seorang filosof juga mengungkapkan pendapatnya yang hampir senada dengan pendapat plato bahwa musik berperan dalam pembentukan watak manusia. dari pendapat dua filosof tadi, maka menguatkan pemikiran kita bahwa pembentukan watak, emosional pada diri seseorang dapat dibantu melalui pendidikan seni budaya khususnya seni musik. seperti kita ketahui di atas, bahwa mata pelajaran seni budaya sangat kompleks dimana di dalamnya terintegrasi dari tiga sub mata pelajaran yaitu seni rupa, seni tari, dan seni musik. oleh karena itu, maka proses pembelajarannya pun sangat variatif antara ketiganya. bertolak dari tujuan pendidikan seni seperti dikemukakan oleh sudjatmiko di atas, maka perlu diadakan penelitian tentang hubungan antara kecerdasan emosi dengan prestasi belajar siswa pada mata pelajaran seni budaya smp karena selama ini faktor bakat sering dianggap sebagai hal yang sangat berhubungan dengan mata pelajaran seni budaya. dalam suatu proses pendidikan, seorang siswa dikatakan berhasil apabila dapat menyelesaikan program pendidikan tepat waktu dengan hasil prestasi belajar yang baik. prestasi belajar yang baik merupakan hal yang paling didambakan oleh setiap siswa yang sedang belajar, prestasi belajar dapat dijadikan indikator keberhasilan seseorang dalam kegiatan belajar (sardiman, 2003 : 49). selama ini banyak orang yang berpendapat bahwa untuk meraih prestasi belajar yang tinggi diperlukan kecerdasan intelektual (iq) yang tinggi. namun, menurut hasil penelitian terbaru di bidang psikologi membuktikan bahwa iq bukanlah satu–satunya faktor yang mempengaruhi prestasi belajar seseorang, tetapi ada banyak faktor lain yang mempengaruhi diantaranya adalah faktor lingkungan, faktor biologis, dan faktor psikologis yang terdiri dari bakat, minat, dan kecerdasan emosional. kecerdasan emosional (ei) adalah sejumlah kemampuan dan keterampilan yang berkaitan dengan pembinaan hubungan sosial dengan lingkungan yang merujuk pada kemampuan mengenali perasaan diri sendiri dan orang lain, kemampuan memotivasi diri sendiri, dan kemampuan mengelola emosi dengan baik dan dalam hubungan dengan orang lain. untuk lebih menjelaskan tentang pentingnya kecerdasan emosi, claude steiner dan paul perry (dalam efendi, 2005 : 65) juga menegaskan dalam bukunya, achieving emotional literacy (1997), bahwa semata – mata iq yang tinggi tidak akan membuat seseorang menjadi cerdas. tanpa kecerdasan emosional, kemampuan untuk memahami dan mengelola perasaan–perasaan kita dan perasaan–perasaan orang lain, kesempatan kita untuk hidup bahagia menjadi sangat tipis. goleman, seorang peneliti dan juga penulis buku best seller tentang kecerdasan emosi juga mengatakan bahwa setinggi–tingginya, iq hanya menyumbang kira–kira 20 persen bagi faktor–faktor yang menentukan sukses dalam hidup, maka yang 80 persen diisi oleh kekuatan– kekuatan lain. kekuatan–kekuatan lain dimaksud salah satunya adalah kecerdasan emosi. selain itu, cooper dan ayman (dalam efendi, 2005 : 65) juga menulis ”voltaire menunjukkan bahwa bagi bangsa romawi, sensus communis dan sensibility (kemampuan), mencakup seluruh penggunaan indera, hati dan intuisi. memang, bisnis berjalan di atas kekuatan otak (brain power). tetapi, untuk berpikir dengan baik dan agar kesuksesan itu bertahan lama, kita harus belajar untuk menyaingi setiap aspek kecerdasan kita, bukan hanya dari kepala saja. di samping itu, bukti–bukti mutakhir neurologis menunjukkan bahwa emosi merupakan bahan bakar yang sangat diperlukan bagi kekuatan penalaran otak...” dari pendapat–pendapat tadi maka semakin menguatkan pemikiran kita bahwa iq bukanlah satu–satunya faktor penentu keberhasilan seseorang. akan tetapi ada hal yang lebih berpengaruh terhadap keberhasilan seseorang, yaitu kecerdasan emosi. kecerdasan emosional adalah kecerdasan yang sangat diperlukan untuk berprestasi. meskipun, seperti dikatakan goleman, kita tidak boleh melupakan peran motivasi positif dalam mencapai prestasi. motivasi positif itu berupa kumpulan perasaan antusiasme, gairah, dan keyakinan diri. kesimpulan ini ditunjukkan oleh hasil berbagai studi terhadap para atlet olimpiade, musikus kelas dunia, dan para grand master catur yang menunjukkan adanya ciri yang serupa pada mereka. ciri yang serupa itu berupa kemampuan memotivasi diri untuk tak henti – henti berlatih secara rutin. keuntungan tambahan atas sukses dalam kehidupan yang didorong oleh motivasi, selain karena kemampuan bawaan lainnya, dapat dilihat pada unjuk kerja yang menakjubkan oleh mahasiswa–mahasiswa asia yang belajar di sekolah–sekolah amerika serta di berbagai bidang pekerjaan. kita termotivasi oleh perasaan antusiasme dan kepuasan pada apa yang kita kerjakan. atau bahkan kadar optimal kecemasan emosi–emosi itulah yang mendorong kita untuk berprestasi. dalam artian inilah kecerdasan emosional merupakan kecakapan utama, kemampuan yang secara mendalam mempengaruhi kemampuan lainnya, baikmemperlancarmaupun menghambat kemampuan–kemampuan itu. dari uraian di atas dapat kita ketahui betapa besarnya peran kecerdasan emosi dalam kehidupan kita. kecerdasan emosi memang merupakan isu hangat yang selalu menarik untuk diteliti dan dikaji lebih dalam. atas dasar pemikiran sebagaimana terurai di atas dapat diasumsikan bahwa kecerdasan emosional mempunyai peran yang sangat besar dalam penentu keberhasilan hidup seseorang khususnya pada waktu mereka masih dalam proses pendidikan formal yang ditunjukkan dengan keberhasilan meraih prestasi belajar. berdasarkan asumsi ini peneliti menduga bahwa kecerdasan emosi berpengaruh terhadap prestasi belajar mata pelajaran seni budaya. untuk membuktikan asumsi tersebut, maka masih perlu dilakukan penelitian tentang pengaruh kecerdasan emosi terhadap prestasi belajar siswa mata pelajaran seni budaya smp. menurut goleman (1999:7), asal kata emosi adalah movere, kata kerja bahasa latin yang berarti ”menggerakkan, bergerak”, ditambah awalan ”e-” untuk memberi arti ”bergerak menjauh”, menyiratkan bahwa kecenderungan bertindak merupakan hal mutlak dalam emosi, emosi memancing tindakan dan akar dorongan untuk bertindak dalam menyelesaikan suatu masalah dengan seketika. menurut goleman (2002:45) kecerdasan emosi merujuk pada kemampuan untuk memotivasi diri sendiri dan bertahan menghadapi frustasi, mengendalikan dorongan hati dan tidak melebih–lebihkan kesenangan, mengatur suasana hati dan menjaga agar beban stres tidak melumpuhkan kemampuan berfikir, dan berempati. cooper dan sawaf (dalam efendi, 2005 : 172) mendefinisikan kecerdasan emosional sebagaimana di bawah ini : ”emotional intelligence is the ability to sense, understand, and effectivelly apply the power and acumen of emotions as a source of human energy, information, connection, and influence.” (kecerdasan emosional adalah kemampuan merasakan, memahami, dan secara efektif mengaplikasikan kekuatan serta kecerdasan emosi sebagai sebuah sumber energi manusia, informasi, hubungan, dan pengaruh). menurut salovey dan mayer (dalam goleman, 2003 : 513) kecerdasan emosi adalah kemampuan memantau dan mengendalikan perasaan sendiri dan orang lain, serta menggunakan perasaan – perasaan itu untuk memandu pikiran dan tindakan. kecerdasan emosional adalah kecerdasan yang sangat diperlukan untuk berprestasi. meskipun, seperti yang dikatakan goleman, kita tidak boleh melupakan peran motivasi positif dalam mencapai prestasi. motivasi positif itu berupa kumpulan perasaan antusiasme, gairah, dan keyakinan diri. kesimpulan ini ditunjukkan oleh hasil berbagai studi terhadap para atlet olimpiade, musikus kelas dunia, dan para grand master catur yang menunjukkan adanya ciri yang serupa pada mereka. ciri yang serupa itu berupa kemampuan memotivasi diri untuk tak henti–hentinya berlatih secara rutin. puncak kecerdasan emosional akan dapat dicapai jika seseorang mencapai keadaan flow, yaitu sebuah keadaan ketika seseorang sepenuhnya terserap ke dalam apa yang sedang dikerjakannya, perhatiannya hanya terfokus ke pekerjaan itu, dan kesadarannya menyatu dengan tindakan. flow merupakan prasyarat penguasaan keahlian tertentu, profesi, atau seni. proses belajarpun memprasyaratkannya. mahasiswa–mahasiswa yang belajar saat memasuki keadaan flow, maka prestasinya akan lebih baik, terlepas dari bagaimana potensi mereka diukur oleh tes–tes prestasi,” tulis goleman (dalam efendi, 2005 : 184). jadi dari uraian di atas dapat disimpulkan bahwa kecerdasan emosional sangat berhubungan dengan prestasi. dengan kecerdasan emosional yang tinggi, misalnya ketika seorang anak berada dalam keadaan flow maka mereka akan lebih mudah dalam menerima pelajaran yang diajarkan oleh guru mereka yang pada akhirnya dapat mencapai prestasi belajar yang memuaskan. adapun ciri orang yang mempunyai kecerdasan emosi adalah mudah bergaul, tidak mudah takut, bersikap tegas, berkemampuan besar untuk melibatkan diri dengan orang lain, konsisten, tidak emosional, lebih mengutamakan rasio daripada emosi, dapat memotivasi dirinya sendiri, dan lebih penting dapat memecahkan solusi dalam keadaan yang darurat. seperti dikatakan oleh doug lennick seorang executive vice president di amerika express financial services (dalam goleman, 2003 : 36) bahwa yang diperlukan untuk sukses dimulai dengan ketrampilan intelektual, tetapi orang memerlukan kecakapan emosi untuk memanfaatkan potensi bakat mereka secara maksimal, jadi kecerdasan emosional dapat membantu seseorang dalam menggunakan kemampuan kognitifnya sesuai dengan potensi yang dimilikinya secara maksimum. jadi dari keterangan di atas dapat disimpulkan bahwa kecerdasan emosi merupakan aspek yang sangat dibutuhkan dalam bidang kehidupan sehari-hari kita baik di lingkungan keluarga, sekolah dan lingkungan masyarakat. selain itu, kecerdasan emosionallah yang memotivasi kita untuk mencari manfaat, potensi dan mengubahnya dari apa yang kita pikirkan menjadi apa yang kita lakukan. dengan demikian kecerdasan emosi adalah sejumlah kemampuan dan keterampilan yang berkaitan dengan pembinaan hubungan sosial dengan lingkungan yang merujuk pada kemampuan mengenali perasaan diri sendiri dan orang lain, kemampuan memotivasi diri sendiri, dan kemampuan mengelola emosi dengan baik dan dalam hubungan dengan orang lain dengan indikator : (1) kesadaran diri, meliputi : kesadaran diri emosi yaitu membaca emosi diri sendiri dan mengenali dampaknya dan menggunakan “insting” untuk menuntun keputusan, penilaian diri yang akurat adalah mengetahui kekuatan dan keterbatasan diri, dan kepercayaan diri meliputi kepekaan yang sehat mengenai harga diri dan kemampuan diri; (2) pengelolaan diri, meliputi : kendali diri emosi yaitu mengendalikan emosi dan dorongan yang meledak–ledak, transparansi adalah menunjukkan kejujuran dan integritas serta kelayakan untuk dipercaya, kemampuan menyesuaikan diri meliputi kelenturan di dalam beradaptasi dengan perubahan situasi atau mengatasi hambatan, pencapaian yaitu dorongan untuk memperbaiki kinerja untuk memenuhi standar–standar prestasi yang ditentukan oleh diri sendiri, inisiatif merupakan kesiapan untuk bertindak dan menggunakan kesempatan, dan optimisme yaitu melihat sisi positif suatu peristiwa; (3) kesadaran sosial, meliputi: empati meliputi merasakan emosi orang lain, memahami sudut pandang mereka, dan berminat aktif padakekhawatiran mereka, kesadaran organisasional adalah membaca apa yang sedang terjadi, keputusan jaringan kerja, dan politik di tingkat organisasi, pelayanan yaitu mengenali dan memenuhi kebutuhan pengikut, klien, atau pelanggan; (4) pengelolaan relasi, meliputi: kepemimpinan yang menginspirasi yaitu membimbing dan memotivasi dengan visi yang semangat, pengaruh adalah menguasai berbagai taktik membujuk, mengembangkan orang lain meliputi menunjang kemampuan orang lain melalui umpan–balik dan bimbingan, katalis perubahan yaitu memprakarsai, mengelola dan memimpin di arah yang baru, pengelolaan konflik yaitu menyelesaikan pertengkaran, membangun ikatan adalah menumbuhkan dan memelihara jaringan relasi, kerja kelompok dan kolaborasi yaitu kerjasama dan pembangunan kelompok. belajar merupakan proses yang dilakukan oleh seseorang untuk memperoleh kecakapan, ketrampilan, dan sikap. belajar dimulai sejak kecil sampai akhir hayat seseorang. melalui proses pendidikan siswa belajar berbagai ilmu pengetahuan. menurut hakim (2005: 1), belajar merupakan suatu proses perubahan di dalam kepribadian manusia, dan perubahan tersebut ditampakkan dalam bentuk peningkatan kualitas dan kuantitas tingkah laku, seperti peningkatan kecakapan, pengetahuan, sikap, kebiasaan, pemahaman, keterampilan, daya pikir, dan lain–lain. prestasi merupakan hasil yang dicapai seseorang ketika mengerjakan tugas atau kegiatan tertentu. menurut tu’u (2004: 75) prestasi belajar adalah penguasaan pengetahuan atau ketrampilan yang dikembangkan oleh mata pelajaran, lazimnya ditunjukkan dengan nilai tes atau angka nilai yang diberikan oleh guru. abdurrohman (1999: 37) prestasi belajar adalah kemampuan yang diperoleh anak setelah melalui kegiatan belajar. selanjutnya nasution (1995: 23) mengatakan prestasi belajar adalah suatu usaha atau kegiatan untuk menguasai bahan–bahan pelajaran yang diberikan guru di sekolah. prestasi belajar adalah istilah yang telah dicapai individu sebagai usaha yang dialami secara langsung serta merupakan aktifitas yang bertujuan untuk memperoleh ilmu pengetahuan, ketrampilan, kecerdasan, kecakapan dalam kondisi serta situasi tertentu. dari berbagai pengertian di atas dapat disimpulkan bahwa prestasi belajar siswa adalah suatu hasil kecakapan atau kemampuan yang diperoleh siswa pada bidang tertentu dalam mencapai tingkat kedewasaan yang langsung dapat diukur dengan tes dimana penilaiannya dapat berupa angka atau huruf. prestasi belajar dipengaruhi oleh faktor–faktor sebagai berikut : a. faktor internal (dari dalam siswa), yaitu faktor fisiologis meliputi keadaan jasmani dan faktor psikologis yang meliputi kecerdasan baik kecerdasan intelektual maupun kecerdasan emosional, kecakapan, bakat, minat, motivasi, perhatian dan kematangan. b. faktor eksternal (dari luar individu), yaitu lingkungan keluarga, lingkungan sekolah, dan lingkungan masyarakat. pembelajaran seni budaya yang dilaksanakan dengan kurikulum tingkat satuan pendidikan (ktsp) memberikan otonomi lebih besar kepada sekolah dan mendorong sekolah untuk melakukan pengambilan keputusan secara bersama untuk memenuhi kebutuhan sekolah dalam rangka meningkatkan mutu pendidikan berdasarkan kebijakan pendidikan nasional (raharjo, 2003 : 5). pembelajaran seni budaya di smp negeri 4 ungaran kab. semarang memberikan tiga bidang seni, meliputi seni rupa, seni musik, dan seni tari yang pelaksanaannya diberikan secara bergiliran untuk masing–masing bidang seni. pedoman pelaksanaan pembelajaran mengacu pada standar kompetensi dan kompetensi dasar yang telah ditentukan dalam ktsp. dalam ktsp, materi bidang seni rupa meliputi seni rupa daerah, seni rupa nusantara, dan seni rupa mancanegara. materi bidang seni tari mencakup tari daerah, tari nusantara, dan tari mancanegara. materi dari seni rupa dan seni tari diberikan secara terstruktur sesuai tingkatan kelas, mulai dari kelas vii sampai dengan kelas ix. materi bidang seni musik meliputi musik daerah, musik nusantara, dan musik mancanegara. musik daerah diberikan kepada siswa kelas vii, musik nusantara diberikan kepada siswa kelas viii dan musik mancanegara diberikan kepada siswa kelas ix. dengan demikian prestasi belajar mata pelajaran seni budaya adalah suatu hasil kecakapan atau kemampuan para siswa dalam mata pelajaran seni budaya yang langsung dapat diukur dengan tes dimana penilaiannya dapat berupa angka atau huruf yang diperoleh dari dokumentasi guru. metode penelitian ini menggunakan pendekatan penelitian kuantitatif korelasional dengan pendekatan ex post facto, yaitu fakta atau segala sesuatunya sudah ada sehingga tinggal diungkap dengan menggunakan instrumen penelitian. obyek penelitian yang dijadikan populasi dalam penelitian ini adalah semua siswa kelas vii smp negeri 4 ungaran tahun pelajaran 2009/2010 yang terdiri dari 7 kelas dengan jumlah total 250 orang siswa. sedangkan sampel dalam penelitian ini diambil dengan teknik sampling acak berimbang (proporsional random sampling). dengan menggunakan teknik (proporsional random sampling) ini, maka dalam menentukan anggota sampel, peneliti mengambil wakil–wakil dari tiap–tiap kelompok yang ada dalam populasi yang jumlahnya disesuaikan dengan jumlah anggota subjek yang ada di dalam masing–masing kelompok tersebut. besarnya sampel ditentukan secara representatif dengan mengambil 15 % dari populasi, dengan besar keseluruhan sampel adalah sebanyak 6 (siswa) x 7 (kelas) = 42 siswa. teknik pengumpulan data dalam penelitian ini dilakukan dengan menggunakan teknik studi dokumenter (documentary study) dan teknik angket. sedangkan teknik analisis data dalam penelitian ini meliputi : analisis koefisien korelasi untuk uji hipotesis (product moment), analisis regresi, dan analisis koefisien determinasi. data yang diperoleh dari responden melalui kuesioner haruslah diuji terlebih dahulu.untuk itu sebelum data yang diperoleh akan diproses untuk menguji hipotesis penelitian, alat pengukurnya harus diuji terlebih dahulu. pengujian validitas dalam penelitian ini dilakukan dengan menggunakan alat uji statistik korelasi product moment angka kasar pearson, sedangkan pengujian reliabilitas dalam penelitian ini dilakukan dengan menggunakan alat uji statistik cronbach. selain uji validitas dan reliabilitas juga perlu diadakan uji persyaratan analisis sebelum analisis data dilakukan. uji persyaratan analisis yang digunakan dalam penelitian ini adalah uji normalitas data dan uji linieritas data. uji normalitas bertujuan untuk menguji apakah dalam model regresi, variable pengganggu atau residual memiliki distribusi normal. uji normalitas data yang digunakan adalah analisis grafik. uji linearitas digunakan untuk melihat apakah spesifikasi model yang digunakan sudah benar atau tidak. uji linearitas yang digunakan dalam penelitian ini adalah uji largrange multiplier. hasil dan pembahasan smp negeri 4 ungaran kabupaten semarang beralamat di jalan erlangga, langensari, babadan, ungaran, kabupaten semarang. walaupun tempat belajar atau gedung sekolah tidak berada di tepi jalan raya, namun kondisi ini tidak menjadikan sekolah ini tidak dikenal oleh masyarakat. lokasi sekolah yang berada di tengah persawahan, jauh dari pemukiman penduduk, sehingga memungkinkan para siswa untuk belajar dengan nyaman. selain itu juga lokasinya cukup strategis karena mudah dijangkau oleh angkutan umum. sebagian besar siswa smp negeri 4 ungaran bertempat tinggal tidak jauh dari lingkungan sekolah. mereka berasal dari keluarga dengan golongan ekonomi menengah ke bawah. rata–rata orang tua siswa mempunyai mata pencaharian sebagai buruh pabrik dengan jam kerja digilir, ada jam kerja pagi antara jam 08.00-14.00, jam kerja siang antara jam 14.00-22.00 dan jam kerja malam antara jam 22.00-08.00. pada tahun pelajaran 2009/2010 siswa smp negeri 4 ungaran berjumlah 708 siswa, dengan rincian : a) kelas vii berjumlah 250 siswa yang terdiri atas kelas vii a sampai dengan kelas vii g, b) kelas viii berjumlah 248 siswa dari kelas viii a sampai dengan kelas viii g, dan c) kelas ix berjumlah 210 siswa yang terdiri atas kelas ix a sampai dengan kelas ix g. prestasi belajar seni budaya smp data prestasi belajar siswa diperoleh melalui daftar nilai pada semester gasal tahun pelajaran 2009/2010. dalam proses pengambilan data tersebut, penulis menggunakan metode studi dokumenter dengan cara mengambil daftar nilai siswa yang dimiliki oleh guru mata pelajaran. setelah mendapat daftar nilai siswa, langkah selanjutnya adalah mengambil nilai sebanyak sampel yang diperlukan. dimana sampel yang digunakan dalam penelitian ini adalah sebanyak 42 orang siswa kelas vii dengan rincian setiap kelas diambil 6 anak secara acak untuk dijadikan sampel penelitian. selanjutnya, dengan dipandu tabel, diperoleh tabel distribusi frekuensi prestasi belajar sebagai berikut : tabel 1 distribusi frekuensi prestasi belajar no interval kriteria frek. absolut frek. relatif (%) 1. 64 69 sangat rendah 2 4,76 2. 70 – 75 rendah 8 19,05 3. 76 – 81 cukup tinggi 8 19,05 4. 82 – 87 tinggi 17 40,48 5. 88 93 sangat tinggi 7 16,67 jumlah 42 100,00 atau dapat pula digambarkan ke dalam diagram batang distribusi frekuensi prestasi belajar seperti di bawah ini : diagram 1 distribusi frekuensi prestasi belajar 60 40 20 17 0 64 69 70 75 76 81 82 87 88 93 sangat rendah rendah cukup tinggi tinggi sangat tinggi % 4.76 19.05 19.05 40.48 16.67 f 2 8 8 17 7 dari tabel dan diagram batang di atas dapat dilihat bahwa terdapat 5 kriteria prestasi belajar siswa berdasarkan tinggi rendahnya nilai yang dicapai oleh siswa. kriteria sangat rendah yaitu siswa yang mendapat nilai 64–69 dengan jumlah 2 orang siswa atau sebanyak 4,76 %, rendah yaitu siswa yang mendapat nilai 70–75 dengan jumlah 8 orang siswa atau sebanyak 19,05 %, cukup tinggi yaitu siswa yang mendapat nilai 76-81 dengan jumlah 8 orang siswa atau sebanyak 19,05 %, tinggi yaitu siswa yang mendapat nilai 82–87 dengan jumlah 17 orang siswa atau sebanyak 40,48 %,sangat tinggi yaitu siswa yang mendapat nilai 88–93 dengan jumlah 7 orang siswa atau sebanyak 16,67 %. kecerdasan emosi siswa data tingkat kecerdasan emosi diperoleh dari nilai angket atau kuesioner. setelah dilakukan pengujian instrumen terhadap 30 responden, maka dilanjutkan dengan pengumpulan data dan pengambilan nilai hasil angket dari 42 responden yang menjadi sampel dalam penelitian ini. dalam angket ini disiapkan 38 item pernyataan yang harus diisi oleh responden. penyebaran angket dilakukan oleh penulis sendiri dengan total angket yang disebarkan sebanyak 42 angket. dari hasil nilai angket kecerdasan emosi siswa maka diperoleh distribusi frekuensi kecerdasan emosi sebagaimana tertera pada tabel berikut : tabel 2 distribusi frekuensi kecerdasan emosi siswa no interval kriteria frek. absolut frek. relatif (%) 1. 38 – 68 sangat rendah 0 0 2. 69 – 99 rendah 1 2,38 3. 100 – 130 cukup tinggi 30 71,43 4. 131 – 161 tinggi 11 26,19 5. 162 192 sangat tinggi 0 0 jumlah 42 100,00 atau dapat pula digambarkan dalam diagram batang distribusi frekuensi kecerdasan emosi berikut ini : 38 68 69 99 100 130 sangat rendah cukup rendah tinggi 131 161 tinggi 162 192 sangat tinggi % 0.00 2.38 71.43 f 0 1 30 26.19 11 0.00 0 diagram 2 distribusi frekuensi kecerdasan emosi 150 100 50 30 0 dari tabel dan diagram batang yang menunjukkan tinggi rendahnya nilai angket kecerdasan emosi yang dicapai oleh siswa di atas dapat dilihat bahwa siswa yang masuk dalam kriteria rendah yaitu siswa yang mendapat nilai 69 99 dengan jumlah 1 orang siswa atau sebanyak 2,38 %, cukup tinggi yaitu siswa yang mendapat nilai 100 130 dengan jumlah 30 orang siswa atau sebanyak 71,43 %, tinggi yaitu siswa yang mendapat nilai 131 161 dengan jumlah 11 orang siswa atau sebanyak 26,19 %, dan tidak ada siswa yang masuk dalam kriteria sangat rendah (dengan nilai 38–68) dan sangat tinggi (dengan nilai 162–192). pengujian hipotesis pada tahap selanjutnya mengadakan penelitian untuk mengetahui ada tidaknya pengaruh kecerdasan emosi terhadap prestasi belajar siswa mata pelajaran seni budaya smp dengan memberikan angket pada siswa untuk diisi. peneliti juga mengambil data dokumentasi prestasi belajar siswa mata pelajaran seni budaya yaitu berupa daftar nilai seni budaya semester gasal tahun pelajaran 2009/2010. hasil angket kecerdasan emosi sebagai x dan daftar nilai mata pelajaran seni budaya sebagai y. dari hasil pengolahan data menggunakan korelasi product moment dengan bantuan program komputer spss versi 15.0. maka diperoleh : a. hubungan antara kecerdasan emosi dengan prestasi belajar siswa dari hasil perhitungan yang disajikan dalam lampiran, dapat dilihat bahwa r hitung adalah sebesar 0,349. harga r tabel untuk taraf kesalahan 5% dengan n = 42 diperoleh hasil r tabel = 0,304. sehingga harga r hitung lebih besar dari r tabel untuk kesalahan 5% (0,349>0,304). karena r hitung lebih besar dari r tabel, maka dapat dikatakan bahwa : ho : tidak ada hubungan antara kecerdasan emosi dengan prestasi belajar siswa pada mata pelajaran seni budaya smp dinyatakan ditolak. ha : ada hubungan antara kecerdasan emosi dengan prestasi belajar siswa pada mata pelajaran seni budaya smp dinyatakan diterima. b. pengaruh kecerdasan emosi terhadap prestasi belajar siswa persamaan umum regresi linier sederhana adalah : y = a + bx dimana : y : nilai yang diprediksi atau kriterium x : nilai variabel prediktor b : bilangan koefisien prediktor a : bilangan konstan setelah data diolah menggunakan bantuan program komputer spss versi 15.0, maka diperoleh a = 60,660 dan b = 0,169. setelah a dan b ditemukan, maka persamaan regresi linier sederhana dapat disusun. persamaan regresi besarnya kecerdasan emosi dan prestasi belajar adalah sebagai berikut : y = 60,660+0,169x dari persamaan regresi di atas dapat diartikan bahwa : 1. konstanta sebesar 60,660 menyatakan bahwa jika variabel kecerdasan emosi dianggap konstan, maka prestasi belajar sebesar 60,660. 2. koefisien regresi kecerdasan emosi sebesar 0,169 menyatakan bahwa setiap kenaikan 1 satuan skor kecerdasan emosi maka akan meningkatkan prestasi belajar sebesar 0,169 pada konstanta 60,660. dengan demikian dapat dikatakan bahwa : ho : tidak ada pengaruh antara kecerdasan emosi terhadap prestasi belajar siswa pada mata pelajaran seni budaya smp dinyatakan ditolak. ha : ada pengaruh kecerdasan emosi terhadap prestasi belajar siswa pada mata pelajaran seni budaya smp dinyatakan diterima. c. kontribusi kecerdasan emosi terhadap prestasi belajar siswa dari hasil perhitungan menggunakan bantuan program komputer spss versi 15.0 maka diketahui koefisien determinasinya (r²) sebesar 0,122. hal ini berarti prestasi belajar siswa mata pelajaran seni budaya sebesar 12,2% ditentukan oleh kecerdasan emosi, sisanya sebesar 87,8% ditentukan oleh faktor faktor lain. faktor–faktor lain yang ikut mendukung prestasi belajar siswa misalnya kecakapan, bakat, minat, motivasi, perhatian dan kematangan, lingkungan keluarga, lingkungan sekolah, dan lingkungan masyarakat. kelengkapan dari keseluruhan faktor tersebut akan dapat menunjang meningkatnya prestasi belajar secara optimal. hubungan antara kecerdasan emosi dengan prestasi belajar siswa melihat hasil analisis penelitian maka dapat disimpulkan bahwa terdapat hubungan yang positif dan signifikan sebesar 0,349 antara kecerdasan emosi dengan prestasi belajar siswa. harga r tabel untuk taraf kesalahan 5% dengan n = 42 diperoleh hasil r tabel = 0,304. sehingga harga r hitung lebih besar dari r tabel untuk kesalahan 5% (0,349>0,304). berdasarkan hasil analisis tersebut, maka hipotesis yang berbunyi ”ada hubungan antara kecerdasan emosi dengan prestasi belajar siswa pada mata pelajaran seni budaya smp” diterima, karena tetap kebenarannya. dengan diterimanya hipotesis, berarti antara kecerdasan emosi dan prestasi belajar siswa mata pelajaran seni budaya smp, terdapat korelasi yang signifikan. korelasi yang signifikan tersebut dapat diartikan bahwa semakin tinggi kecerdasan emosi juga akan semakin tinggi prestasi belajarnya, sedangkan semakin rendah kecerdasan emosi maka prestasi belajar siswa mata pelajaran seni budaya smp juga semakin rendah. pengaruh kecerdasan emosi terhadap prestasi belajar siswa hasil dari perhitungan menunjukkan bahwa a sebesar 60,660 dan b sebesar 0,169, y = a+bx, y=60,660+0,169x dapat diartikan bahwa apabila nilai kecerdasan emosi bertambah 1, maka nilai prestasi belajar siswa bertambah 0,169 atau setiap nilai kecerdasan emosi bertambah 10, maka nilai prestasi belajar siswa bertambah sebesar 1,69. hal ini menunjukkan bahwa apabila kecerdasan emosi bertambah maka nilai prestasi belajar siswa juga akan bertambah, sehingga kecerdasan emosi dapat berpengaruh terhadap prestasi belajar siswa. kontribusi kecerdasan emosi terhadap prestasi belajar siswa hasil perhitungan menunjukkan bahwa koefisien determinasinya (r²) sebesar 0,122. hal ini berarti prestasi belajar siswa mata pelajaran seni budaya sebesar 12,2% ditentukan oleh kecerdasan emosi, sisanya sebesar 87,8% ditentukan oleh faktor lain. faktor–faktor lain yang ikut mendukung prestasi belajar siswa misalnya : a. faktor internal faktor internal yaitu faktor–faktor yang mempengaruhi keberhasilan belajar dari dalam diri siswa yang sedang belajar. yang termasuk dalam faktor internal antara lain : 1) faktor jasmaniah yang termasuk faktor jasmaniah yaitu faktor kesehatan dan cacat tubuh. kesehatan seseorang berpengaruh terhadap belajarnya. proses belajar akan terganggu bila kesehatan seseorang terganggu. demikian juga dengan cacat tubuh, juga dapat mengganggu belajar seseorang. jika hal itu terjadi, hendaknya siswa tersebut belajar pada lembaga pendidikan khusus atau diusahakan alat bantu agar dapat menghindari atau mengurangi kecacatannya itu. 2) faktor psikologis faktor–faktor yang termasuk ke dalam faktor psikologis yaitu : a) faktor intelegensi : kecerdasan seseorang baik kecerdasan intelektual maupun kecerdasan emosional sangat menentukan dalam pencapaian prestasi belajar atau prestasi lainnya. semakin tinggi tingkat kecerdasan siswa, semakin tinggi pula nilai yang diperoleh. semakin rendah tingkat kecerdasan siswa, semakin rendah pula nilai yang diperoleh. b) minat dan perhatian minat adalah kecenderungan yang besar terhadap sesuatu. perhatian adalah melihat dan mendengar dengan baik dan teliti terhadap sesuatu. minat dan perhatian yang tinggi terhadap pelajaran tertentu akan berdampak bagi prestasi belajar siswa. c) bakat bakat adalah kemampuan yang ada pada diri seseorang yang dibawanya sejak lahir, yang diterima sebagai warisannya dari orang tua. bakat–bakat yang dimiliki siswa apabila dibina dan dikembangkan dalam pembelajaran akan dapat mencapai prestasi yang tinggi. d) motivasi motivasi adalah dorongan seseorang untuk berbuat sesuatu. motivasi selalu mendasari dan mempengaruhi setiap usaha serta kegiatan seseorang untuk mencapai tujuan yang diinginkan. 3) faktor kelelahan kelelahan dapat dibedakan menjadi dua macam yaitu kelelahan jasmani dan kelelahan rohani. kelelahan jasmani terlihat dengan kondisi tubuh yang lemah dan kurang bersemangat sedangkan kelelahan rohani dapat dilihat dari adanya kelesuan dan kebosanan sehingga minat dan dorongan untuk menghasilkan sesuatu menjadi hilang. b. faktor eksternal faktor eksternal adalah faktor–faktor yang berasal dari luar yang dapat mempengaruhi belajar. yang termasuk dalam faktor eksternal misalnya: 1) faktor keluarga siswa yang belajar akan menerima pengaruh dari keluarga berupa cara orang tua mendidik, hubungan antar anggota keluarga, suasana rumah tangga dan keadaan ekonomi keluarga, pengertian orang tua dan latar belakang kebudayaan. 2) faktor sekolah faktor sekolah yang dapat mempengaruhi belajar mencakup metode mengajar, kurikulum, hubungan guru dengan siswa, hubungan siswa dengan siswa, disiplin sekolah, alat pelajaran, waktu sekolah, standar pelajaran, keadaan gedung, metode belajar, dan tugas rumah. 3) faktor masyarakat masyarakat merupakan faktor eksternal yang juga berpengaruh terhadap belajar siswa. pengaruh itu terjadi karena keberadaan siswa dalam masyarakat. oleh karena itu, siswa juga harus berkomunikasi dan menjalin hubungan dengan masyarakat. kelengkapan dari keseluruhan faktor tersebut akan dapat menunjang meningkatnya prestasi belajar secara optimal. adanya faktor–faktor lain tersebut dapat digunakan untuk mengundang dilakukannya penelitian–penelitian berikutnya untuk meneliti faktor–faktor lain yang dapat berhubungan dengan prestasi belajar siswa mata pelajaran seni budaya smp. simpulan berdasarkan keterangan–keterangan yang telah dikemukakan di atas, dapat disimpulkan bahwa terdapat korelasi yang signifikan antara kecerdasan emosi dengan prestasi belajar siswa mata pelajaran seni budaya smp karena diperoleh r hitung sebesar 0,349 sedangkan harga r tabel untuk taraf kesalahan 5% (0,349>0,304). hipotesis nol ditolak, artinya ada hubungan antara kecerdasan emosi dengan prestasi belajar siswa mata pelajaran seni budaya smp. dari persamaan regresi y = 60,660 + 0,169x dapat diartikan bahwa apabila nilai kecerdasan emosi bertambah 1, maka nilai prestasi belajar siswa bertambah 0,169 atau setiap nilai kecerdasan emosi bertambah 10, maka nilai prestasi belajar siswa bertambah sebesar 1,69. sehingga kecerdasan emosi dapat mempengaruhi prestasi belajar siswa. kontribusi kecerdasan emosi terhadap prestasi belajar siswa sebesar 12,2%, sisanya sebesar 87,8% ditentukan oleh faktor lain. adanya faktor–faktor lain tersebut dapat digunakan untuk mengundang dilakukannya penelitian–penelitian berikutnya untuk meneliti faktor–faktor lain yang dapat berhubungan dengan prestasi belajar siswa mata pelajaran seni budaya smp. daftar pustaka abdurrohman, mulyono. 1999. pendidikan bagi anak berkesulitan belajar. jakarta : pt. rineka cipta. efendi, agus. 2005. revolusi kecerdasan abad 21 : kritik mi, ei, sq, aq & 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angkatan 1999/2000. skripsi : universitas negeri semarang. tu’u, tulus. 2004. peran disiplin pada perilaku dan prestasi siswa. jakarta : pt. gramedia widiasarana indonesia. d:\harmonia\2002\vol. 3 no2 mei_agustus 2002.pdf ��������������� � ����� �� ����������� �� ����������������������������������������������������� !"��#���$%#&������'����#(�)�*� �+��,� !+�./0��123��4056789�:3214;,�<������ �=�>� !���� !!�?�+�<�!���&��#$#!��@��!�&�� �>� !�<��+�(���a �*��+�b�<�!��#�� !�)�=���c�@+# #�defg"�hh-i�'����?�$�@# �=�>� !�+�$�$a�&� !� �a !�+�@a&?a$� �+�&<#$�a �a@�&�&<� �a@�+�<a���@�+��a� &�@ �i�j�&�@�� ���$ >���� !� �c�@# �������,��&�i�k� a�a��?� �� !� c�*�l'���a+��� �� !�&��#+m�$�@# �=�>� !���?�����n !!�?�+�<�!���+�<a����@+�>� !��������������@�+��a� �+�&<#$�>� !�&� �&?�$@� �=� !����@a��+�@� -�<��<�!����#@#���� �!���@�a �a@�&� !�@+?��+�@� m&� !�o�=� ���@� �?�&�@��� �&�+>���@���)�=���p� �� !@� ��� !� q��&+��hrrd"�ndlnh-i�k�@ ��&�+� !l&�+� !�+�&<#$���$�&�$�@# �=�>� !��?�����$�%�@�&�$�$a��+a�a��?� 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������ v̀ǹ& %���������� '��������� q0i�.��1.c.�000̂3�8�p0bc0t2j12��0q�>0b13��0lkk�pk�0z ���� 5���r [ � \��]���� " ,i j�� z������� ������ v̀uu& ���������� � ������ ������������������������������ ���!�"��#� �$���%�$���& ��#��� ��'��� ��())*��� ������ ����� ������������������������ ����� ��� �$��� �� $�����������+�� �()),���� �!� ���-��.��/0���+���"������� ���� �1����$��� �2�� �/�3�4���5��6��789�:�9�;<���=�;9���5�>�<;9�?@�a�$�+��(b)��c�+�� �d��0�$$"�������+�� �()e)���+���f� "��+������:g;h��i��3;5;gjj@�0�#�� � ��k�l�m��/�� ��#/��()*e���� � ������1�������n�?��o��n��op�q������7��;�r;�4�5��9�9o������st�9������u�o?������@�v�w"� � ��k��� ��'��� ��l��x� ���"�m ���())y� ������������������������������������������������������������� ����$"�����n�?��op�:z�5[4z45��\;5z�6����g���]�z��̂9h���?�@�0� � ��k��_�����#�#̀��#��()ye� harm vol ix no 2 2009.pdf popularitas sindhen m. jazuli jurusan sendratasik, fakultas bahasa dan seni universitas negeri semarang emai:l muhjaz@yahoo.com abstract apparently, the sindhèn life, today, have not been far from celebrities one or other arties with many other styles and beautiful tricked performances. therefore, it is natural, that every sindhèn always wants to be popular, famous, and amazed by many people with the result that they can do the ways to reach what they want to. but, how to be a sindhèn, what trick to get to become a popular sindhèn, and how to hold their existence so that they constantly get interest of wide society. the questions above will be answered in this article which is a research result of popular sindhèn in semarang by using quantitative paradigm. first, the ways to be a sindhèn has four factors, namely the way to learn, its surrounding, social associate, and laku brata. second, the sindhèn popularity is appeared from their high stage-performance (20 to 25 times per month), the stage area reach out of province, quality of artistic trough their special style, having wide influential sponsor, and getting compensation between four to five millions each their stage. third, the ways of sindhèn to maintain their attractive power for society attention are taken on such as : (1) maintaining pattern and increasing quality and its characteristic, namely trough the colour of their soft voices, making gregel and wiledan so that their voices always impress such as tregel, rongêh, renyah, and berak for the listeners; (2) they must be self confidence in pesindhênan, there is no other job except the sindhèn , such as langgam, campursari, and keroncong dangdut; (3) they must plait together social relation to the people who have wide influence as well as art organisations; (4) they always surrender to the god trough laku brata as their belief. key word: sindhén, popularitas pendahuluan fenomena sindhén identik dengan jenis suatu kompetensi pada bidang tarik suara (penyanyi tembang jawa) dalam sajian karawitan. memiliki suara bagus, melankolis, penuh variasi yaitu memiliki céngkok, luk, gregel dan menarik hati (merak ati) yang mampu menghadirkan suasana sedih dan gembira, trenyuh dan sereng. céngkok adalah pola dasar permainan instrumen atau lagu vokal, dan bisa pula diartikan sebagai gaya, satu cengkok sama dengan satu gongan dalam karawitan. luk adalah teknik penyuaraan dari cengkok tertentu dengan cara mengadakan tambahan satu atau dua nada di atas atau di bawah nada lintasan cengkok dasar yang merupakan satu kesatuan. gregel adalah teknik penyuaraan sebagai pengembangan cengkok dasar dengan menambah beberapa nada lintasan. orang yang memiliki suara semacam itu lazim disebut pesindhén, swarawati, waranggana. sindhén adalah solois (biasanya) puteri dalam penyajian karawitan jawa. pesindhén merupakan istilah yang menunjuk kepada personal atau pelaku vokalis utama dalam sajian karawitan, juga biasa disebut waranggana, swarawati, penyanyi wanita (sekarang pria juga). sedangkan sindhénan adalah salah satu bentuk solo vokal dalam karawitan. pada masa lampau (tahun 19601980) kita dapat mengenal maestro sindhén, seperti nyi bei mardusari dengan cengkok mangkunegaranan dan nyi bei mintalaras. sindhén dengan fenomena suaranya yang bagus dan berkarakter memunculkan sebutan yang mengacu pada nama-nama burung, seperti nyi prenjak, nyi podhang, dan sebagainya. pada tahun 1980-an sindhén populer di antaranya adalah nyi tugino, nyi ngatirah dan nyi supadmi, setelah itu sindhén yang populer adalah sunyahni, dan kini muncul sindhén yang tengah menggapai popularitas yakni tessi, dan rusiati. sindhén dalam sejarahnya menjadi bagian tak terpisahkan dengan pertunjukan wayang kulit, klenengan karawitan, maupun taledhek atau ronggeng dalam seni tayub. dalam wayang kulit sindhén bukan saja ber-peran sebagai pendukung pertunjukan, tetapi juga berfungsi sebagai daya pikat. bahkan menjadi bagian dari bentuk kemasan sebuah pertunjukan komersial. tak pelak bila kesejahteraan hidup pesindhén sering bergantung (nunut kamuktèn) kepada sang dalang. sungguh pun sekarang, tidak sedikit pesindhén yang mampu mandiri, bahkan popularitasnya tak kalah dengan dalang. boleh jadi nilai tanggapan dan penghasilannya berbanding lurus dengan dalang, atau sekurang-kurangnya di atas rata-rata penghasilan peng-rawit terutama pengendang. kita bisa melihat kemasan pertunjukan wayang kulit sekarang, di samping dalang, duduk berdekatan pesindhén berparas cantik dengan penampilan bahenol, mengundang syaraf “tegang”, sensual, sehingga menjadi daya tarik tersendiri dan membuat penonton betah menonton semalam suntuk. nyi rio larasati seorang hamba (abdi dalem) sultan yang dulu tersohor sebagai taledhek pernah bercerita tentang pengalamannya. pada setiap mempertunjukan kebolehannya menyanyi, menembang (nyindhén) dan menari selalu berusaha menarik perhatian salah seorang penontonnya. dengan sepenuh hati ia berusaha kontak rasa dengan penonton tadi. setelah ada komunikasi maka seluruh tontonan menjadi menarik dan ber-gairah, sehingga penonton lainnya juga merasakan daya tarik itu. apa yang dilakukan nyi rio larasati itu tidaklah dimaksudkan untuk bersungguh-sungguh agar seorang penonton tadi tertarik terus atau sebaliknya dirinya sendiri yang tertarik pada penonton tadi sampai sesudah pementasan, tidak sama sekali. nyi rio melakukan itu semata-mata untuk membuat penonton bergairah (grengseng) dan sama sekali tidak ada niat lain. meskipun tak jarang terjadi kesalah-pahaman dari para penontonnya sehingga ia dipandang bisa dikencani seusai pementasan. sebagaimana diketahui secara luas, pada umumnya kehidupan wanita talêdhêk identik dengan kehidupan pelacur yang setiap saat bisa dibeli oleh kaum lelaki, meskipun tidak semua demikian, dan fenomena seperti itu juga bisa terjadi pada bidang profesi yang lain. lalu pertanyaan yang muncul, apakah fenomena seperti itu masih berpengaruh terhadap kehidupan pesindhén sekarang? dengan kata lain, apakah popularitas yang dimiliki oleh seorang pesindhén sekarang ada indikasi pada hal-hal yang sesungguhnya tidak berhubungan langsung dengan kompetensi profesi sindhen? jawabnya tentu saja of the record bagi setiap sindhen, meskipun sebagian orang boleh dan sah menjawab ‘ya’. kini kehidupan sindhén agaknya tak lebih dari kehidupan selebritas atau artis lain dengan berbagai gaya dan triktrik penampilannya. oleh karena itu, wajar bila setiap sindhén selalu ingin populer, tersohor, dikagumi sehingga bersedia menempuh berbagai cara untuk mencapai keinginannya itu. secara rasional untuk menjadi sindhén yang baik harus melengkapi diri dengan kemampuan suara/vokal yang dipersyaratkan, dan menghindari berbagai pantangan yang bisa menggangu suaranya. namun de-mikian, konon ada pula cara yang tidak rasional yang dilakukan oleh sebagian sindhén untuk mencapai keinginannya itu, seperti memakai susuk atau sipat kandel pengasihan, dan sejenisnya. jika demikian maka teknologi tradisional “mistik klenik” seperti itu masih tetap mewarnai fenomena modernitas. untuk itu perlu dipertanyakan pula tesis yang mengatakan, bahwa semakin modern suatu bangsa semakin rasional sikap suatu bangsa. kini zaman telah berubah, iklim kesenian pun juga berubah sehingga orientasi terhadap seni dan pasarnya tentu turut bergeser. profesional menjadi sikap yang harus ditempuh oleh pelaku seni demi untuk mempertahankan eksistensinya, apalagi untuk bisa populer dan laku laris (kundaru 2004). untuk itulah penelitian ini mengangkat fenomena sindhén khusus-nya mengenai faktor-faktor yang mendasari popularitas, dan bagaimana cara sindhén mempertahankan suaranya agar tetap merdu, berkarakter, dan mampu membuat orang tertarik untuk mendengarkan suaranya. sejauh pengetahuan penulis, baru tiga orang yang menulis tentang sindhén. darmasti (2001) telah meneliti mengenai otobiografi nyi bei mardusari yang memusatkan perhatian mengenai proses kesenimanan sindhén. hanindawan menulis tentang perjalanan sutarman sebagai seorang guru sindhén, dan sri anita wijayanti menulis otobiografi sindhenan nyi supadmi (2007). namun apa yang telah ditulis oleh ketiga penulis tersebut lebih fokus pada kemampuan kesenimanan, dan bukan kepopuleran. pada hal mengkaji suatu kepopuleran tidak bisa hanya didasarkan pada kemampuan kesenimanan saja, tetapi ada berbagai faktor lain yang ikut terlibat di dalamnya. apalagi untuk kondisi sekarang yang materialistik dan menuntut pentingnya arti relasi dalam profesi apa pun. tentu saja suatu perubahan orientasi, kepentingan, dan tantangan yang dihadapi tentu juga akan berlainan. salah satu perbedaan yang muncul sekarang adalah kecenderungan sindhén tidak hanya melakukan profesi sindhén semata, melainkan telah merambah ke campursari, pop, dang dut, dan profesi lain yang biasanya terkait dengan profesi sindhén. namun apakah harus dengan cara seperti itu agar bisa populer? tulisan ini hendak membahas tentang bagaimana caranya untuk bisa menjadi sindhén? persyaratan apa saja yang diperlukan untuk menjadi sindhén yang populer atau tenar? bagaimana cara sindhén mempertahankan agar tetap menarik perhatian masyarakat pendengarnya? profil sindhén yang dibicarakan dalam tulisan ini adalah nyi ngatirah salah seorang sindhén popular di jawa tengah, terpopular di semarang. metode penelitian penelitian yang bersifat kualitatif ini bertujuan untuk mendeskripsikan berbagai fenomena yang berhubungan dengan popularitas sindhén. data penelitian diambil dari hasil studi pustaka, wawancara dan pengamatan langsung terhadap pementasan dilakukan oleh nyi ngatirah sebagai seorang sindhén populer sebagai sasaran penelitian. data yang terkait dengan cara menjadi sindhén meliputi: (a) cara belajar, (b) lingkungan, dan (c) pergaulan sosial. data yang berkaitan dengan kepopuleran meliputi (a) frekuensi pementasan, yaitu mempunyai frekuensi pentas lebih dari 15 kali setiap bulan, (b) wilayah pentas, yaitu pementasannya menjangkau wilayah lintas propinsi tempat tinggalnya, (c) memiliki gaya pribadi (céngkok, luk, gregel) atau kekhasan dalam olah suara, (d) memperoleh imbalan yang besar pada setiap kali pentas yakni minimal 3 juta sampai 5 juta rupiah. mengenai data yang relevan dengan cara sindhén mempertahankan daya tarik agar tetap memperoleh perhatian masyarakat pendukungnya, meliputi kualitas kepesindhenan dan relasi sosial. studi pustaka berupa hasil penelitian dan literatur lain yang berhubungan dengan persoalan sindhén. teknik pengamatan langsung dilakukan pada pementasan ngatirah di daerah wilayah jawa tengah, khususnya semarang pada tanggal 01 april 2008 dan 18 oktober 2008. pada saat pengamatan difokuskan pada gaya atau cengkok pribadi sebagai model garapan tembang yang dilagukan, ekspresi penampilan, dan hal-hal yang mengundang reaksi pendengar atau penontonnya, seperti permainan wiled, gregel, ambitus suara. wiled adalah suatu teknik penyuaraan sebagai bentuk pengembangan cengkok tertentu dengan variasi melalui satu atau beberapa nada; gaya perorangan yang satu dengan lain tidak bisa sama. selain itu, pengamatan dilakukan pada per-gaulan sosial ngatirah dalam komu-nitas seniman karawitan. teknik wawancara dilakukan secara langsung dan terbuka guna mendapatkan data primer. informannya adalah ngatirah, widodo bs, s.kar., m.sn, seorang praktisi karawitan dan dosen fbs unnes, prof. dr. slamet suparno seorang pakar karawitan dari isi surakarta, dan para pemerhati/ penggemar ngatirah, seperti suparmi dan budi muhanto. semua kegiatan wawancara dilakukan di luar pementasan pada tanggal 10 juli 2008 dan 18 oktober 2008 dan direkam dalam audio record. hasil rekaman kemudian dipindahkan ke dalam tulisan guna memudahkan peneliti pada saat melakukan pengelompokan, reduksi, dan analisis data. analisis meliputi: a) data yang telah terkumpul ditelaah kemudian dideskripsikan dengan cara menggolongkan, mengadakan penajaman, mengarahkan atau mengorganisasikan hasil catatan lapangan yang telah diseleksi, dipilih dan dipilahkan untuk dikelompokkan menjadi empat kategori, yaitu: (1) latar belakang kehidupan, (2) pergaulan sosi-al termasuk di dalamnya cara belajar dan potensi spiritual, (3) kesenimanan terutama pola khas yang dimiliki, (4) cara merintis karier popularitasnya; b) mereduksi data dengan cara membuat dan menyusun satuan data yang kemudian dikategorisasikan yakni memisahkan data berdasarkan topik dan kemudian dianalisis melalui proses interpretasi; c) mengadakan pemeriksaan keabsahan data dan selanjutnya disajikan. pemeriksaan data dilakukan dengan mengecek kembali datadata kepada informan dan mengadakan diskusi dengan teman sejawat (pada 10 juni dan 18 oktober 2008) yang memahami kepesindhénan; d) menyajikan dan menganalisis data secara keseluruhan, kemudian penarikan kesimpulan (verifikasi) untuk memperoleh wawasan umum yang bersifat hipotesis. hasil dan pembahasan pada bagian hasil penelitian dan pembahasan ini akan dipaparkan tentang latar belakang kehidupan ngatirah, kesenimanan ngatirah, dan meniti karir profesional. latar belakang kehidupan ngatirah ngatirah lahir pada tanggal 31 desember 1944 di kampung karangan, sabrang, jurang jero, karanganom, kabupaten klaten. ayahnya bernama djojoredjo, seorang pengrawit (penabuh gamelan jawa). ibunya bernama gladrah seorang wiraswasta yang mempunyai usaha home industry pencetakan genting (atap rumah) di kampungnya. gladrah adalah istri kedua djojoredjo memiliki tiga orang anak, yaitu sugiyem, ngatimin, dan ngatirah. perkawinan djojoredjo dengan istri pertama mbok nyendir tidak dikaruniai anak. untuk memenuhi kebutuhan hidup keluarga dan sekaligus menyalurkan hobinya, djojoredjo bekerja sebagai pengendang ketoprak dan wayang wong tobong (kemidhên). kesenian kemidhên dalam hal ini ketoprak dan wayang wong adalah suatu pertunjukan kesenian yang diselenggarakan di tempat yang tidak permanen, selalu berpindah-pindah dari satu daerah ke daerah lain dalam kurun waktu tertentu. gedung pertunjukannya juga tidak permanen, biasanya terbuat dari anyaman bambu dengan atap dari dedaunan. jangka waktu penyelenggaraan pertunjukan tidak tentu, biasanya antara satu bulan sampai empat bulan karena tergantung pada animo jumlah penontonnya. kemampuan dan kondisi penonton juga merupakan dasar pertimbangan utama pemilihan lokasi pentas kesenian tobong karena biaya produksi pergelaran sangat bergantung dari hasil penjualan tiket. dari hasil penjualan tiket itulah digunakan untuk memenuhi kebutuhan hidup para anggota kelom-pok kesenian tobong serta membiayai segala perlengkapan pergelarannya. ngatirah sejak usia tujuh tahun sudah berafiliasi dengan lingkungan masyarakat seniman, mengikuti ayahnya bergabung dengan kesenian tobong yang senantiasa melakukan pentas berpindah-pindah dari satu daerah ke daerah lain. sebagai konsekuensinya, proses pendidikan ngatirah agak terbengkalai, tidak lancar karena kesulitan membagi waktu antara bersekolah dan berpentas. indikasinya, ngatirah sering tidak masuk sekolah dengan alasan lelah, malas, dan mengantuk. kenyataan itu bisa dimaklumi mengingat durasi pergelaran ketoprak maupun wayang wong relatif lama antara 4 sampai 6 jam, dan biasanya pergelaran dimulai sekitar pukul 20.00. puncak persoalan yang dihadapi ngatirah dalam pendidikan formalnya terjadi ketika wilayah pentas berjauhan dengan lokasi sekolahnya. segala upaya telah dilakukan ngatirah agar tetap bisa bersekolah, di antaranya berpindah sekolah yang dekat dengan wilayah pentasnya. hal ini dilakukan sampai tiga kali berpindah sekolah. namun usaha itu akhirnya kandas sampai di kelas 3 sekolah rakyat (setingkat sd) karena mau tak mau ngatirah harus memilih antara bersekolah atau menjadi pengembara berkesenian. tentu saja hal ini merupakan pilihan yang sulit bagi ngatirah. jika bersekolah butuh biaya dan waktu sedangkan tingkat kemampuan ekonomi keluarga sangat lemah. sebagaimana dia katakan, ”kadospundi badhé sekolah kanggé mangan mawon rekaos, wong tiyang mboten gadhah (bagaimana mau sekolah untuk makan saja sulit, saya orang miskin, wawancara 18 oktober 2008)”. sungguhpun demikian ngatirah merasa bersyukur karena dari pendidikannya yang hanya sampai kelas 3 tersebut dia tidak buta aksara, ngatirah mampu membaca dan menulis. dengan kemampuan membaca dan menulis ngatirah dapat belajar sindhén kepada maestro dalang ki narto sabdo yang selalu memberikan materi gending dan tembang dengan notasi yang memerlukan keterampilan membaca. pada tahun 1956 ngatirah yang berusia 12 tahun pindah ke semarang mengikuti ayahnya bergabung dengan grup wayang orang ngesti pandawa dan hidup satu rumah dengan ibu tirinya wasiyem atau akrab dipanggil mbok welas, istri ketiga djojorejo. meskipun harus tinggal bersama ibu tirinya, ngatirah merasa senang menjalani hidupnya karena wasiyem memahami aktivitasnya berkesenian dan memperlakukan dirinya cukup baik. dari hari ke hari aktivitas seni ngatirah di ngesti pandawa semakin padat baik latihan tari, latihan nyindhén, dan pentas bersama kelompok ngesti pandawa. kepadatan aktivitas tersebut membuat ngatirah tidak sempat membantu pekerjaan rumah mbok welas secara maksimal, bahkan jarang di rumah. meskipun demikian mbok welas tidak mempersoalkan bahkan mendorong ngatirah untuk mengembangkan bakat seninya. kehadiran ngatirah di panggung wayang orang ngesti pandawa memiliki makna penting. berkat bimbingan ki narto sabdo (waktu itu sebagai pakarnya karawitan di ngesti pandawa) ngatirah menjadi seniwati yang bisa diandalkan. kemampuan seni olah vokalnya yang terus meningkat baik, menjadi perhatian teman-temannya, bahkan menjadi sindhén andalan ngesti pandawa. salah seorang yang memberikan perhatian yang lebih kepada ngatirah adalah siswanto seorang pemuda dari boyolali kelahiran tahun 1941 dan bintang panggung spesialis pemeran tokoh gatutkaca dan cakil. siswanto tertarik kepada ngatirah karena suara emasnya, sedangkan ngatirah jatuh hati kepada siswanto karena kepiawaiannya dalam memerankan tokoh gatutkaca dan cakil sehingga menjadi pujaan penggemar wayang wong ngesti pandawa. gayung bersambut, tumbu éntuk tutup, tahun 1960 ngatirah dan siswanto kemudian membina rumah tangga. ketika itu ngatirah baru berusia 16 tahun. kesenimanan ngatirah seniman atau seniwati merupakan predikat yang diberikan kepada orang yang dianggap memiliki kompensasi tinggi dalam bidang seni. kompetensi itu ditandai oleh kemampuan, keterampilan, kepekaan, penghayatan, dan penguasaan pada bidang seni yang spesifik secara baik. kompetensi senantiasa terefleksi pada karya seni yang dihasilkan, diaktualisasikan, dan diakui kualitasnya oleh khalayak luas. ada empat faktor yang mendukung kesenimanan ngatirah, yaitu bakat, lingkungan (pergaulan sosial), pendidikan, laku brata. laku brata adalah upaya mendekatkan diri dengan cara prihatin atau mengekang hawa nafsu, seperti mengurangi makan, tidur, kesenangan, dan dalam bentuk yang lain. ngatirah memiliki bakat seni karena faktor heriditas yakni dilahirkan dari seorang ayah seniman. ngatirah berafiliasi dengan berbagai lingkungan masyarakat seni ketoprak dan wayang wong tobong, grup wayang orang ngesti pandawa, wayang kulit, dan karawitan condhongraos maupun karawitan rri semarang. dalam pendidikan ngatirah memiliki dua pengalaman, yaitu belajar secara autodidak tanpa guru dengan cara sering mendengarkan dan menonton, sedangkan yang kedua melalui bimbingan seorang guru. dari kedua pengalaman pendidikan tersebut, ngatirah merasa cara kedualah yang banyak membuahkan hasil. ki narto sabdo seorang seniman lengkap dengan kemampuan sebagai dalang, pengrawit, aranger, komponis, sastrawan adalah guru ngatirah dalam berolah suara. menurut sutarmi seorang sindhén semarang dan praktisi karawitan budi muhanto, bahwa ngatirah sangat tepat (pas) dan sangat menjiwai terhadap tembang-tembang céngkok semarangan, dan hal itu menjadi salah ciri khasnya. selain itu ngatirah sangat rajin dan percaya diri atas kemampuan sindhenannya, sehingga tidak perlu menekuni bidang lain seperti menjadi penyanyi langgam, keroncong, apalagi dangdut. ngatirah sendiri pernah mengatakan bahwa ”apapun bidang yang digeluti, bila dilakukan dengan sepenuh hati dan penuh ketekunan tentu akan membuahkan hasil.” oleh karena itu, ia sangat senang dan merasa bangga melantunkan tembang jawa, khususnya tembang semarangan, salah satu tembang yang paling ia sukai adalah pangkur semarangan, pélog nem. bahkan menurut para ahli dan praktisi karawitan di jawa tengah cengkok dan wiled ngatirah pada pangkur semarangan tiada duanya, tidak ada yang menandingi keindahannya. pada hal nada-nada tembang tersebut memiliki tingkat kesulitan tinggi sehingga membutuhkan teknik olah vokal yang tinggi pula. mengenai struktur tembang pangkur semarangan, pélog nem dapat dicermati pada contoh berikut ini. ditinjau dari segi hereditas, ngatirah tergolong orang yang memiliki bakat besar dalam bidang seni olah vokal, terutama tembang jawa. hal ini terkait dengan faktor keseniman dari ayahnya yang nota bene seorang seniman karawitan (pengendang) profesional. bertolak dari aspek keturunan itulah proses pergulatan ngatirah pada dunia seni suara menunjukkan bakatnya. faktor lingkungan dapat menciptakan atmosfer tertentu yang mampu mempengaruhi kepribadian seseorang. secara sosiologis lingkungan merupakan konstruksi sosial, yang dapat membentuk dan dibentuk oleh orang per orang, termasuk seni yang bersifat tradisi (jazuli, 2003). sebagaimana telah dikemukakan bahwa pada usia tujuh tahun ngatirah sudah berafiliasi dengan lingkungan seni tradisional, ketoprak dan wayang wong tobong, serta dengan lingkungan masyarakat yang berbeda-beda di sekitar wilayah pentasnya. dengan lingkungan atau pergaulan sosial yang berbeda siapa pun orangnya akan selalu menjalin hubungan sosial, tepatnya pergaulan sosial. demikian pula dengan ngatirah, banyak memperoleh pengalaman yang dapat mempengaruhi dirinya. salah satu contohnya adalah ngatirah sering menjalankan puasa pada setiap hari kelahirannya (pasa weton). bagi ngatirah laku brata pasa weton bukan hanya untuk memperoleh keridhoan atau berkah dari tuhan, melainkan juga untuk mempertajam kepekaan terhadap fenomena hidup dan kehidupan manusia. bagi orang jawa berpuasa pada hari pasaran kelahirannya merupakan bentuk interaksi antara diri pribadi dengan saudaranya yang tak tampak kasat mata (kakang kawah adi ari-ari). jadi, sadar atau tidak, diakui atau tidak, langsung atau tidak langsung, ngatirah tergembleng kedewasaannya dalam interaksi sosial maupun kematangan mental panggungnya. kepekaan seni senantiasa terasah dan terlatih setiap saat karena pergaulan sosial dengan komunitas seniman. intensitas pergaulan sosial dengan lingkungpangkur semarangan, pélog nem 3 5 5 5 3 3 2 z4c3 ming-kar ming-kur ing u ka ra 3 2 3 1 6 5 4 2 4 z4c5 z3x2x.x3x2c1 a – ka –ra –na ka –re –nan mar – di si – wi 4 4 4 5 2 4 z4c3 z4x5x6x4x5x3x 2x4x5x3x2x1 x1x4x3x1x6x5x4c5 si – na –rung res – mi –ning ki – dung z1c4 4 4 4 4 z4c3 z4c3 si – nu – ba si – nu kar – ta 3 2 3 1 6 6 5 4 2 4 z5c6 z3x2x.x4x3x2c1 mrih kre – tar – ta pa –kar –ti – né ngêl – mu lu – hung 1 4 3 z1c6 z5c4 5 z6c5 kang tu – mrap ing ta – nah ja – wi 1 4 4 4 4 z4c3 4 z5x.x6x4x5x3x.x2 x4x5x3x.xc1 an semacam itu menumbuhkan penguatan potensi seninya atau sekurangkurang berpengaruh terhadap kesenimanan ngatirah, baik yang berasal dari grup kesenian tobong, ngesti pandawa, condhongraos, dan rri semarang. sebagai bentuk kematangan, kekuatan, dan kepercayaan diri, ngatirah tidak pernah berpaling dari profesi sindhén untuk menekuni bidang lain yang seirama, seperti keroncong dan langgam yang pada waktu itu juga digemari masyarakat. profesional kesenimanan ngatirah lebih banyak diperoleh melalui proses pendidikan nonformal. potensi kesenimanan ngatirah diperoleh melalui proses belajar dari pengalaman, dia tergembleng dan terbesarkan oleh pengalamannya dalam pergaulan sosial, seperti bergaul dengan para pengrawit, belajar bersama sindhén lain di antaranya dengan supatmi dan sutarmi, serta mendengarkan suara sindhén lain (belajar nguping). exprerince is the best teacher menjadi ungkapan yang tepat bagi perjalanan ngatirah dalam menggapai puncak karirnya sebagai seniwati sindhén. pergaulannya dengan lingkungan seni yang berbeda-beda menuntut cara pemahaman yang berbeda pula agar pengetahuan bisa merasuk ke dalam dirinya. meniti karir profesional proses pencapaian karir ngatirah sebagai sindhén populer melalui jalan yang panjang, relatif tidak mulus, penuh liku-liku, dan butuh jam terbang manggung yang lama. proses seperti itu justru membuat ngatirah besar dan populer. fase-fase penting tempat persinggahan ngatirah dalam perjalanan menapaki profesi sindhén hingga menjadi populer dapat dikemukakan dalam 4 fase, yaitu bergabung dengan grup ketoprak dan wayang wong tobong, grup wayang orang ngesti pandawa, menjadi anggota grup karawitan radio republik indonsia (rri) semarang dan grup karawitan condongraos. ketika bergabung dengan grup ketoprak dan wayang wong tobong, peran pertama yang dia peroleh adalah sebagai penari beksan gambyongan. perlu diketahui bahwa gambyongan biasanya ditampilkan sebelum repertoar ketoprak maupun wayang wong dimulai, dapat dikatakan sebagai ‘adegan pembuka’. pada sajian tari (beksan) gambyong itulah setiap penari tidak hanya menari saja, melainkan juga wajib nyindhéni (melantunkan tembang) gending iringan tarinya. dengan menari beksan gambyong berarti melakukan dua aktivitas seni secara simultan, yakni menari sekaligus melantunkan tembang jawa. ngatirah tergolong orang yang cepat menangkap materi dan rajin berlatih. ketika itu kemampuan seni tari ngatirah lebih menonjol daripada kemampuan olah suara, tembangnya. maka tak pelak bila masyarakat sekitarnya lebih mengenal ngatirah sebagai penarik cilik daripada sebagai pesindhén. meskipun sebenarnya ngatirah juga memiliki bakat yang bagus dalam olah suara. ngatirah memiliki warna suara yang khas yakni halus dan lembut, pandai membuat gregel dan wiledan sehingga kesan suaranya menimbulkan tregel, rongêh, renyah, dan berak. demikian kata widodo seorang praktisi seni karawitan dan staf pengajar fbs universitas negeri semarang (unnes). menurut slamet suparno, ibu ngatirah selain memiliki céngkok yang khas juga mempunyai ambitus suara yang panjang dan tinggi se hingga bisa melagukan sindhenan yang bernada tinggi dan wiledan (variasi yang khas) yang panjang. maka tak heran bila bu ngatirah menjadi kéblat (contoh/ tauladan) para pesindhén muda di jawa tengah. banyak para pesindhén muda yang mencontoh céngkok, wiledan bu ngatirah. pada tahun 1956. ia diajak ayahnya ke semarang bergabung dengan grup kesenian komersial wayang orang ngesti pandawa yang berdiri pada 01 juli 1937. wayang orang ngesti pandawa pernah menjalani kehidupan secara berpindah-pindah (tobong/kemidhen) selama 12 tahun. namun sejak tahun 1949 grup ini menetap di sebuah gedung milik yayasan gris di jalan pemuda semarang, dan kini telah berpindah dan menetap di tbrs jalan sriwijaya semarang. proses adaptasi ngatirah terhadap grup wayang orang ngesti pandawa relatif cepat, terbukti dalam hitungan hari ia sudah dipercaya oleh pimpinan grup yakni ki sastro sabdo untuk tampil di atas panggung. sebagai penari untuk mengisi acara tarian (adegan pembuka) sebelum pergelaran wayang orang dimulai. kemudian ngatirah mulai diberi peran sebagai mbok emban (abdi atau pembantu putri atau istri bangsawan). tugas utama peran mbok emban adalah menghibur sang bendara (tuannya), yang dihibur biasanya istri atau puteri raja atau seorang pangeran. oleh karena itu peran mbok emban harus pandai menembang. agar bisa memenuhi tuntutan peran sebagai mbok emban yang bertugas menghibur bendaranya, ngatirah harus banyak belajar gending dan belajar menembang lelagon (lagu dalam karawitan). gending yang sering ditampilkan untuk peran mbok emban adalah ketawang kinanthi sandung sléndro manyura. ketika ngatirah menembangkan gending tersebut ternyata mampu menarik hati ki narto sabdo seorang dalang yang memulai kirirnya sebagai pengendang ngesti pandawa. kemudian meminta ngatirah untuk bergabung dengan kelompok karawitan, dan ki narto sabdo sanggup mengajari sindhénan kepadanya. menurut ki narto sabdo, ngatirah lebih tepat dan berbakat menjadi sindhén karena sudah memiliki dasar suara yang bagus dan warna suara yang khas. sebaliknya ngatirah kurang memenuhi persyaratan sebagai seorang penari, seperti bentuk tubuh yang kurang proporsional dan paras yang kurang menawan untuk ditampilkan dalam seni komersial. ngatirah masih ingat perkataan ki narto sabdo kepadanya pada waktu itu seperti berikut ini ”ora éntuk rupa, ora éntuk dedeg. wis tak ajari nyindhén waé (tidak memiliki berparas cantik, tidak memiliki bentuk tubuh yang baik untuk menari. sudah saya ajari nyindhen saja)” (wawancara 10 juli 2008). perjumpaannya dengan ki narto sabdo sang maestro seni tradisional (karawitan) mempunyai makna penting dalam sejarah kehidupan ngatirah dalam meniti karir sebagai seorang seniwati. sejak bergaul dengan ki narto sabdo ia merasa dibekali gurunya untuk mengembara dan menelusuri dunia kepesindhénan, ia merasa mendapat petunjuk untuk menemukan jati dirinya sebagai seorang pesindhén atau waranggana yang profesional. ki narto sabdo sangat berarti, berjasa dalam mengorbitkan ngatirah pada kehidupan seninya sehingga ia merasa berhutang budi terhadap gurunya. ketika ki narto sabdo dipanggil kepangkuan tuhan pada hari senin, 07 oktober 1985, ngatirah merasa kehilangan kekuatan yang selalu mengayominya, kaya macam kélangan siyung. namun demikian sampai sekarang ngatirah tetap selalu mengenang dan menaruh hormat atas berbagai jasa kepada dirinya, yang telah menjadikan diri sebagai orang tenar, pesindhén misuwur, sindhén legendaris. ngatirah mengalami masa kejayaan ngesti pandawa pada tahun 1970-1980 an dan masa memprihatikan setelah tahun 1980 hingga sekarang. mengingat jasa gurunya tersebut, sampai sekarang (1966-2008) ngatirah tetap mengabdi kepada grup wayang orang ngesti pandawa sampai selam hayat masih dikandung badan. selama di rri semarang ngatirah banyak melakukan latihan dan aktivitas lain guna mendukung kepentingan rri semarang, seperti siaran langsung atau tidak langsung dan pentas bersama kelompok karawitan rri semarang. sesungguhnya ketika masuk di rri semarang ia telah menjadi seorang pesindhén yang relatif sudah matang berkat bimbingan ki narto sabdo selama 10 tahun. sungguhpun ia telah menjadi karyawati rri semarang, kegiatan bersama ngesti pandawa tetap berjalan. pada siang hari ia masuk kantor untuk memenuhi kewajiban sebagai pns rri semarang, dan pada malam hari ber-gabung dengan ngesti pandawa, baik untuk latihan maupun pentas bersama. melihat kondisi ngatirah yang mendua dalam hal pekerjaan, di satu tembang kinudang-kudang, (slendro sanga) kinudang-kudang tansah bisa leladi narbuka rasa tentrem angayomi tata susilo dadi tepa tuladha sabdane dhe iku sarawungan kudu ngrawuhi luhuring kabudayan tinulat sakehing bangsa manca rahayu sedya angembang rembaka pihak rri semarang dan dipihak lain sebagai pemain ngesti pandawa sangat dipahami dan dihormati oleh ki narto sabdo. dia ingat betul ucapan ki narto sabdo ketika memintanya untuk ikut latihan seperti berikut ini: ”rri ana gawéan apa ora rah, yén ora ana ayo mêlu latihan (di rri ada pekerjaan apa tidak rah, bila tidak ada ayo ikut latihan). namun sesungguhnya seberapa penting arti ngatirah dalam perjalanan kreatif ki narto sabdo? jawaban yang pasti tentu sulit diketahui, tetapi melalui salah satu karya tembang ki narto sabdo yang berjudul kinudang-kudang berikut ini barangkali jawaban dapat ditemukan. tembang tersebut bila dianalisis dari setiap suku kata pertama menunjuk pada bentuk sandiasma (nama yang disandikan, perhatikan kata yang dicetak tebal) dalam penulisan tembang sebagai karya sastra. tembang kinudang-kudang dengan cukup jelas menyiratkan obsesi sang pencipta terhadap seseorang yang dikagumi dari segi kemampuan sindhénan serta dari sikap dan perilaku yang bisa menjadi tauladan bagi orang lain. sebuah pengakuan yang bermakna penting dan sekaligus pengakuan atas kualitas ngatirah sebagai pesindhén yang dapat diadalkan. ngatirah menjalankan kegiatan di rri semarang dengan senang hati dan dijalaninya hingga pensiun. kini di hari tuanya ngatirah menikmati masa tuanya bersama uang pensiunan yang diperoleh selama bekerja di rri semarang. selain itu, setiap sabtu malam masih ikut pentas di ngesti pandawa barangkali hal ini sebagai hiburan, refressing, sekaligus untuk mengabdi atas kecintaannya terhadap grup ngesti pandawa yang membesarkannya. pada tahun 1969 ngatirah bergabung dengan grup karawitan condhongraos yang berdiri pada 01 april 1969 dan dipelopori oleh ki narto sabdo. para anggota pendukung grup karawitan condhongraos mayoritas berasal dari paguyuban karawitan ngripta raras semarang ditambah beberapa orang dari rri semarang dan rri surakarta. latar belakang berdirinya grup karawitan condhongraos adalah untuk kepentingan senimanan ki narto sabdo, khususnya untuk melayani permintaan rekaman dari perusahaan rekaman kaset di surakarta lokananta recording. rekaman pertamakali berlangsung sekitar tahun 1967, ketika itu ki narto sabdo meminta dua orang dari semarang yakni ngatirah dan ponidi sebagai wirasuara atau sindhén dan diiringi oleh grup karawitan rri surakarta. selaian itu juga karena dorongan dari ki sastro sabdo (ketika itu sebagai pimpinan ngesti pandawa). dengan pertimbangan bahwa ki narto sabdo telah tumbuh menjadi dalang wayang kulit purwa yang terpandang dan laku laris. untuk mendukung karir pedalangan ki narto sabdo perlu dukungan kelompok karawitan yang bisa dikoordinasi dengan mudah. apa yang diasumsikan ki sastro sabdo benar adanya. bukan rahasia lagi pada sekitar tahun 1970 sampai 1980-an merupakan era keemasan ki narto sabdo, ia merajai panggung pertunjukan wayang. namanya demikian moncêr (tersohor) dan laku laris tanggapan. sebagaimana yang dikatakan ngatirah sebagai pesindhén utama ki narto sabdo bahwa: ”ing wekdal punika kula dhêrêk bapak ngantos mboten naté wangsul dateng griya, puterputer terus, bebasan njajah desa milangkori, prasasat mboten naté lêrên (pada masa itu saya selalu mengiringi pergelaran wayang bapak sampai jarang pulang ke rumah, pentas terus menerus, ibarat masuk satu desa pindah ke desa lain, hampir tidak pernah istirahat). wilayah pentas yang sering disinggahi ngatirah di antaranya adalah jakarta, surabaya, bandung, kota-kota di wilayah jawa tengah, sedangkan di luar jawa meliputi kalimantan dan sumatera. dalam penjelajahan wilayah pentas, dari pangung ke panggung, dari daerah ke daerah tentu banyak pendapatan yang diperoleh ngatirah. namun ketika ditanya berapa honor setiap pentas, beliau dengan agak tersipu dan sungkan menjawab, pinten nggih mas, pokoké kula saget kanggé nglipur kesenengan kula (berapa ya mas, pokoknya bisa untuk bersenang-senang menyenangkan hati). ketika ditanya lagi beliau baru agak terbuka, nggih menawi kanggé itungan sak menika antawis gangsal ngantos sedosa yutanan (untuk perhitungan uang sekarang sekitar lima juta sampai sepuluh juta setiap pentas). boleh jadi pernyataan itu benar dan bisa dipertanggungjawabkan karena nilai tanggapan dalang ketika itu sekitar rp 2.000.000 – rp 3.000.000 (dua sampai juta rupiah). pada waktu itu nilai satu dolar amerika adalah seribu rupiah sampai seribu lima ratus rupiah. artinya bila nilai tanggapan dalang rp 3.000.000 (tiga juta rupiah) pada saat itu kurang lebih sama dengan rp 30.000.000 (tiga puluh juta rupiah) untuk kondisi sekarang. namun sayang pendapatan yang besar tersebut tidak dapat dinikmati pada hari tuanya karena ternyata ngatirah pada waktu itu mempunyai kesenangan bermain kartu (keplek: jawa) dan merokok, lawan utamanya dalam bermain kartu adalah istri ki nartosabdo. namun demikian kesenangan itu sirna bersama keredupan popularitasnya. pengakuan ngatirah tersebut jika dibandingkan dan diperhitungkan dengan pengalaman pentas dalang sekarang laku laris, frekuensi bisa mencapai 20 kali sampai 25 kali pentas setiap bulan. ki manteb soedarsono dalam suatu kesempatan pernah menceritakan pengalamannya pentas sampai 27 kali setiap bulan sepanjang enam bulan. dalam tradisi pedalangan, para dalang biasa tidak banyak memperoleh tanggapan (dikontrak) pada bulan ramadhan, paceklik (sepi) tanggapan. bertolak dari cerita ki manteb soedarsono tersebut, boleh jadi frekuensi pentas ki narto sabdo dan ngatirah bisa lebih dari itu karena pada masa itu tidak sedikit dalang yang mayang (mendalang) pada siang dan malam hari. pada tahun 1980an ki narto sabdo tampak sudah udzur karena usianya tua, ngatirah yang masih relatif muda semakin menjulang kepopulerannya. ia sering diminta para dalang terkenal pasca ki narto sabdo untuk mendukung pergelaran wayangnya. di antara para dalang itu adalah ki anom suroto dan ki manteb soedarsono (surakarta), ki timbul hadiprajitno, ki suparman, dan ki hadi sugito (yogyakarta). kini ngatirah sudah berusia 64 tahun tetapi masih setia menyumbangkan suara emasnya pada beberapa grup karawitan yang berkembang di semarang, di antaranya ngesti pandawa dan rri semarang. nama ngatirah hingga sekarang masih dikenal oleh masyarakat semarang dan jawa tengah. ngatirah menjadi sindhén legendaris bagi pecinta, pemerhati serta pelaku karawitan dan pedalangan di jawa tengah. beberapa penghargaan berupa uang tali asih yang pernah ia peroleh di antaranya dari mardiyanto gubernur jawa tengah (sekitar tahun 2003), soetrisno wali kota semarang, dan teater lingkar semarang (tahun 2008). penghargaan tersebut sebagai bentuk penghormatan atas jasa ngatirah dalam melestarikan, mengembangkan, loyalitasnya kepada seni dan budaya tradisional jawa. sekarang ngatirah sedang menikmati hari tuanya dengan dukungan uang pensiun pegawai negeri, hidup bersama kedua cucunya di perumahan tlogosari semarang. simpulan berdasarkan hasil penelitian dan pembahasan dapat dikemukakan beberapa simpulan dapat dipaparkan sebagai berikut. pertama, cara untuk menjadi sindhén tidak terlepas dari empat faktor, yaitu cara belajar, lingkungan, pergaulan sosial, dan laku brata. cara belajar ngatirah agar bisa menjadi sindhén melalui dua pengalaman, yaitu belajar secara autodidak tanpa guru dengan cara sering mendengarkan dan mencermati (kupingan) kepada para sindhén lain, sedangkan yang kedua melalui bimbingan seorang guru. untuk menumbuhkan kepercayaan diri ngatirah selalu menjalani laku brata (dalam hal ini berpuasa) pada hari kelahirannya (weton). lingkungan, ngatirah memiliki bakat seni karena faktor heriditas yakni dilahirkan dari seorang ayah seniman, dan sejak pada usia 7 tahun ngatirah sudah berafilias dengan lingkungan seni tradisional, ketoprak dan wayang wong tobong, serta dengan lingkungan masyarakat yang berbeda-beda sesuai wilayah pentasnya. kemudian bergabung dengan grup wayang orang komersial ngesti pandawa, grup karawitan condhongraos, dan grup karawitan rri semarang. beberapa lingkungan tersebut juga merupakan wahana untuk menjalin hubungan sosial sekaligus tempat untuk belajar bagi ngatirah. kedua, kepopuleran ngatirah tampak dari frekuensi pentas, wilayah pentas, gaya pribadi, memiliki sponsor, dan kompensasi (honorarium) yang diterima. frekuensi pentas ngatirah mencapai rata-rata 20 sampai 25 kali setiap bulan. dengan wilayah pentas menjangkau lintas propinsi, bahkan di luar jawa dan di luar negeri. kepopuleran ngatirah tidak terlepas dari gaya pribadi/ kekhasan (céngkok, luk, gregel) dalam olah suara. selain ini mempunyai sponsor yang kuat dan sangat berpengaruh, yakni gurunya sendiri ki narto sabdo. kompensasi atau imbalan yang diperoleh relatif besar pada setiap kali pentas, yakni 4 juta sampai 5 juta rupiah. ketiga, upaya untuk mempertahankan daya tarik agar tetap memperoleh perhatian masyarakat ngatirah memiliki kiat tertentu, yaitu (1) selalu berusaha mempertahankan pola dan meningkat kualitas serta ciri khas sindhénannya, yakni melalui warna suara yang khas halus dan lembut, membuat gregel dan wiledan sehingga kesan suaranya selalu menimbulkan kesan tregel, rongêh, renyah, dan berak bagi penikmatnya; (2) percaya diri pada bidang sindhén, tidak mau merambah ke bidang di luar sindhén, seperti langgam, campursari, dan keroncong-dangdut; (3) selalu menjalin relasi sosial dengan orangorang yang mempunyai pengaruh luas maupun organisasi kesenian, seperti ngesti pandawa, condhongraos, dan radio republik indonesia semarang; (4) selalu berserah diri kepada tuhan yang maha esa melalui laku brata yang diyakini. daftar pustaka darmasti, 2001. ”nyi tumenggung mardusari seniwati serba bisa di lingkungan mangkunegaran: sebuah otobiografi.” tesis program studi pengkajian seni pertunjukan dan seni rupa jurusan ilmu-ilmu humanioran universitas gadjah mada yogyakarta. hanindawan. 1999. tapak langkah sutarman guru sindhén. surakarta: kerjasama taman budaya jawa tengah dan ford foundation. jazuli, m. 2003. dalang, negara, dan masyarakat. semarang: limpad. murtiyoso, bambang. 1995. faktor-faktor pendukung popularitas dalang. tesis pascasarjan universitas gadjah mada. saddhono, kundaru (ed). 2004. pertumbuhan dan perkembangan seni pertunjukan wayang. surakarta: citra etnika. sumandiyo hadi, y. 2000. seni ritual dalam agama. yogyakarta: yayasan untuk indonesia. sumardjo, jakob, tt. sosiologi seniman indonesia. bandung: itb. waridi. 2001. martopangrawit empu karawitan gaya surakarta. yogyakarta: yayasan mahavira. _____. (ed). 2005. menimbang pendekatan pengkajian dan penciptaan musik nusantara. surakarta: stsi press. wijayanti, sri anita. 2007. ”supadmi dalam sindhénan gaya surakarta.” skripsi program studi seni karawitan jurusan karawitan institut seni indonesia surakarta. harm vol ix no 2 2009.pdf nilai-nilai luhur dalam lelagon dolanan widodo jurusan sendratasik,fakultas bahasa dan seni universitas negeri semarang e-mail: mas_wid@yahoo.com abstract lelagon dolanan (children) contains a variety of high values of national culture which is useful for building character and identity of the nation. dewasa ini kondisi lelagon dolanan (anak) ibarat hidup segan mati tak mau. he was surrounded by a variety of industrial art products that appear more glamorous, practical, and economical. to preserve, develop, and distribute it needs to support from various parties both actors musical arts, government, media entrepreneurs, and society. javanese gamelan music art perpetrators should be creative, innovative, creative, and productive working lelagon dolanan (children) who actually follow the new development era. the government is expected to make policy, especially through formal education institutions in favor of the preservation and development of lelagon dolanan. employers can participate in the mass media through the production and dissemination of copyrighted works publicly lelagon dolanan. thus, the public can access easily and cheaply lelagon dolanan products (children) kata kunci: lelagon dolanan, nilai, luhur, pelestarian, pengembangan pendahuluan lelagon dolanan dewasa ini dalam kondisi memprihatinkan. jenis komposisi musikal karawitan jawa itu terkepung oleh berbagai produk seni industri yang tampil glamour, praktis, dan ekonomis. pesona kemasan produk seni industri telah memikat masyarakat luas sebagai alternatif pilihan jenis hiburan yang murah dan mudah didapat. intensitas tayangan produk seni industri di berbagai media masa yang hampir tiada henti pada setiap hari semakin mengibarkan seni industri populer di kalangan masyarakat luas. di lain pihak gending-gending dolanan yang sarat kandungan nilai luhur budaya bangsa semakin terpinggirkan. lambat laun masyarakat semakin jauh dengan lelagon dolanan. bila dicermati, keengganan masyarakat untuk memilih, mementaskan, bahkan sekedar menghargai gending-gending dolanan tidak hanya karena tersedia pilihan seni industri yang tampil dengan kemasan memikat, melainkan juga kurangnya perhatian dari masyarakat seni karawitan untuk melestarikan, mengembangkan, dan menawarkan secara kreatif lelagon dolanan kepada khalayak luas sejalan dengan kebutuhan mereka akan seni pertunjukan. manakala di berbagai media elektronik intensif menayangkan aneka macam seni pertunjukan industri, masyarakat karawitan hanya turut larut sebagai penonton. mereka belum tergugah untuk melakukan tindakan inovatif pada lelagon dolanan agar dapat diterima oleh masyarakat luas. di tengah-tengah ketatnya persaingan produk seni yang berbasis kebutuhan seni masyarakat luas seyogyanya masyarakat karawitan jawa bertindak secara kreatif, inovatif terhadap seni yang digeluti sehingga karya-karya karawitan mampu bersaing dengan produk seni industri. dengan tindakan kreatif, memungkinkan seni karawitan jawa hidup dan berkembang secara wajar serta tidak ditinggalkan oleh masyarakat pendukungnya. orang bijak mengatakan bahwa di tengah kesulitan selalu ada peluang. gending-gending dolanan yang kini ibarat hidup segan mati tak mau menjadi tantangan sekaligus peluang bagi para kreator gending atau seniman karawitan jawa untuk mereaktualisasi dan mempopularisasikan lelagon dolanan di tengah-tengah masyarakat luas. bila hal ini dapat terwujud, maka selain aset seni budaya bangsa ini memiliki masyarakat pendukung juga kandungan nilai luhur pembentuk karakter bangsa dapat dikenal dan tersampaikan kepada masyarakat luas. karawitan dan gamelan istilah karawitan berasal dari kata rawit berarti halus, lembut, lungit, rumit. karawitan merupakan jenis yang memiliki kehalusan dan kompleksitas musikal tingkat relatif tinggi. martopangrawit (1975: 1) menyebutkan bahwa karawitan ialah seni vokal maupun instrumental berlaras sléndro dan pélog. karawitan menunjuk sistem musikal musik gamelan. penjelasan ini untuk membedakan pemahaman antara istilah karawitan dan gamelan. dalam budaya karawitan di indonesia, gamelan digunakan untuk menyebut perangkat alat musik dalam seni karawitan. di manca negara istilah gamelan tidak hanya diartikan sebagai seperangkat alat musik karawitan melainkan juga berbagai aspek baik musikal maupun kulturalnya. seiring dengan semakin banyaknya ahli karawitan jawa sebagai pengajar maupun pembicara di manca negara serta semakin banyaknya kelompok karawitan indonesia mengadakan pentas di luar negeri, pemahaman istilah karawitan dan gamelan hampir sama dengan yang terjadi di masyarakat indonesia (supanggah 2002: 12-13). lagu atau gendhing lagu dalam dunia musik juga sering disebut melodi. miller (2001: 33) mengatakan bahwa melodi adalah suatu rangkaian nada yang bervariasi dalam tinggi rendah dan panjang pendeknya. seperti kata-kata dalam sebuah kalimat, nada-nada dalam sebuah melodi membentuk ide musikal. dalam karawitan jawa lagu dapat diartikan sebagai gending (sumarsam 2003: 345). melodi merupakan salah satu unsur komposisi musikal. unsur-unsur musikal lainnya antara lain: irama, bentuk dan balungan gendhing, pathet, laras, ricikan, dan lainlain. rustopo (2000: 34) mengatakan bahwa istilah gendhing digunakan untuk menyebut bentuk komposisi musikal karawitan di lingkungan istana (keraton) surakarta dan yogyakarta. dalam perkembangan istilah gendhing juga digunakan untuk menyebut komposisi karawitan dari tradisi karawitan istana maupun rakyat pedesaan tanpa deferensiasi. gendhing adalah susunan nada dalam karawitan yang telah memiliki bentuk (martopangrawit 1975: 3). terdapat beberapa macam bentuk gendhing, antara lain: kethuk 4 arang, kethuk 8 kerep, kerhuk 2 arang, kethuk 4 kerep, kethuk 2 kerep, ladrangan, ketewang, lancaran, sampak, srepegan ayak-ayak, kemuda dan jineman. senada dengan martopangrawit, sumarsan (2003: 345) mengatakan bahwa gendhing digunakan untuk menyebut komposisi karawitan dengan struktur formal relatif panjang, terdiri atas dua bagian pokok merong dan inggah. struktur seperti itu menunjuk pada gendhing kethuk 2 kerep ke bentuk lebih besar. di luar bentuk-bentuk gendhing tersebut langsung disebut jenis bentuknya dan nama komposisinya, misal: ladrang mugi rahayu, ketewang sinom parijatha, lancaran manyar sewu, srepeg lasem, sampak manyura dan lainlain. dari sisi lain supanggah (2000: 6) menyebutkan bahwa gendhing ialah balungan (dasar, kerangka, sketsa) gendhing yang dimainkan bersama. komposisi karawitan yang dinotasikan dalam buku atau catatan lain yang disebut notasi gendhing sebenarnya bukan notasi gendhing melainkan notasi balungan gendhing. balungan gendhing dapat disebut gendhing apabila telah dimainkan secara bersama-sama oleh para penyanyi dengan segenap kreatifitasnya. laras sléndro pélog laras dalam dunia karawitan selain untuk menyebut nada juga tangga nada. laras 1 berarti nada 1, laras 2 berarti nada 2, dan seterusnya. sedangkan laras pélog berarti tangga nada pélog dan laras sléndro berarti tangga nada sléndro. laras dalam arti nada adalah bunyi yang dihasilkan oleh sumber bunyi yang bergetar dengan kecepatan getar teratur (jamalus 1988: 16). jika sumber bunyi bergetar dengan cepat maka bunyi yang dihasilkan tinggi. jika getaran sumber bunyi itu lambat maka bunyi terdengar rendah. semua nada musikal terdiri atas empat unsur, yakni: (1) tinggi-rendah nada, (2) panjang-pendek nada, (3) keras-lemah bunyi nada, dan (4) warna suara (miller 2001: 24). dalam dunia karawitan notasi sebagai simbul laras disebut titilaras. tangga nada oleh jamalus (1988: 16-17) diartikan sebagai serangkaian nada berurutan dengan perbedaan tertentu membentuk sistem nada. jika dalam jarak dua nada yang jarak perbandingan frekuensinya dua kali lipat tersusun lima buah nada yang tinggi rendahnya berbeda maka sistem nadanya dinamakan pentatonik, dan urutan nadanya dinamakan tangga nada pentatonik. nada-nada dalam laras sléndro dan pélog dikelompokan atas dasar wilayah rasa seleh yang dikenal dengan istilah pathet. menurut tradisi karawitan gaya surakarta, dalam laras sléndro dan pélog masing-masing terdapat tiga macam pathet, yakni: sléndro pathet nem, sléndro pathet sanga, dan sléndro pathet manyura, dan pélog pathet lima, pélog pathet nem, serta pélog pathet barang. (martapangrawit 1975: 28-44, sri hastanto 1985). pecatatan laras dalam karawitan jawa menggunakan notasi kepatihan yakni sitem notasi gamelan jawa yang muncul pada jaman adipati sasradiningrat iv masa pemerintahan pakubhuwana x. nada-nada pada gamelan jawa ditulis dengan menggunakan simbol angka satu sampai tujuh. pembacaan notasi tersebut secara berurutan yakni: 1 dibaca ji, 2 dibaca ro, 3 dibaca lu, 4 dibaca pat, 5 dibaca ma, 6 dibaca nem, dan 7 dibaca pi. dalam laras sléndro terdapat lima nada, yakni: 1, 2, 3, 5, dan 6, sedang pélog tujuh nada yakni: 1,2, 3, 4, 5, 6, dan 7 (pradjapangrawit 1990: 169). hardjosoebroto (1980: 83) dalam perbandingan delapan sistem musik dunia, yakni: laras pélog, laras purba, musik tailand, laras chr hugens, musik internasional, laras musik 17 nada, musik hindu, dan laras sléndro mengatakan bahwa laras sléndro dan pélog merupakan kebanggaan bangsa indonesia. pada skema perbandingan laras ke-8 laras musik dunia tersebut, tempat kedua laras kita itu paling berjauhan. laras pélog mempunyai kwint yang terkecil yakni, 666 2/3 cent, sedang laras sléndro mempunyai kwint yang terbesar yaitu 720 cent. hardjito (2001: 4) mengatakan bahwa laras sléndro memiliki padantara 5 nada per oktaf atau gembyang. dengan menggunakan sistem notasi kepatihan, kelima nada itu ditulis 1 (ji), 2 (ro), 3 (lo), 5 (ma), dan 6 (nem). interval nada pada kelima nada laras sléndro relatif sama. bila satu oktaf berjarak 1200 cent, maka interval nada-nada laras sléndro sekitar 240 cent. interval nada yang demikian menjadikan laras sléndro memiliki rasa laras khas berbeda dengan tangga nada musik dunia lainnya. kalau sléndro memiliki 5 nada dalam satu gembyang, laras pélog memiliki 7 nada. dengan menggunakan sistem notasi kepatihan, nada-nada itu ditulis 1 (ji), 2 (ro), 3 (lo), 4 (pat), 5 (ma), dan 6 (nem), dan 7 (pi). berbeda dengan sléndro, interval untuk laras pélog tidak berjarak relatif sama, melainkan berbeda-beda. untuk memahami frekuensi dan interval nada secara lengkap periksa hardjosoebroto (1980) dan priadi dwi harjito (2001). lelagon dolanan lelagon merupakan kata bentukan la-lagu-an. dalam bahasa jawa la-la biasa dibaca atau diucapkan le-la. sedang gu-an digarba (digabungkan) menjadi gon. kata lalagon juga sering ditulis lelagon. lelagon selain merupakan kata benda juga kata kerja. sebagai kata benda secara harfiah lelagon diartikan sebagai kumpulan lagu-lagu. sedangkan sebagai kata kerja lelagon berarti melagukan lagu-lagu. istilah dolanan berasal dari kata dolan mendapatkan akhiran an. dolan berarti bermain. sedangkan dolanan memiliki dua pengertian. pertama dolanan sebagai kata benda yang berarti permainan, kedua dolanan sebagai kata kerja yang berarti bermain. dolanan anak dapat diartikan sebagai permainan anak. apabila susunan katanya dibalik misalnya anak (bocah) dolanan artinya menjadi lain yakni: anak (sedang) bermain. anak yang dimaksud dalam tulisan ini adalah fase umur seseorang antara sekitar 6 sampai 12 tahun. lagu dolanan yang dimaksud dalam tulisan ini adalah komposisi musikal karawitan jawa baik vokal maupun instrumental yang teks lagu dan garap musikalnya didesain untuk keperluan dolanan dan atau “enak” sebagai musik pendukung permainan. lelagon dolanan sering dikaitkan dengan dunia anak. dalam hal ini lelagon dolanan anak dicipta dan atau digarap untuk dapat dimainkan atau dinikmati oleh anak. karena ditujukan untuk anak-anak maka komposisi musikal yang dicipta dan atau digarap mempertimbang-kan kondisi pisik dan psikis anak. nilai rader dalam buku arti nilai dan seni (terj. johny prasetyo 1976: 1) mengatakan bahwa nilai adalah hasil yang dicapai atau kepuasan yang diperoleh dari adanya kepentingan. mengejar kepentingan hidup menjadi menarik. kepuasan yang diperoleh dari berbagai kepentingan menjadikan hidup lebih indah. beragam kepentingan hidup melahirkan bergam nilai. kepentingan hidup yang bermacammacam seperti: kesehatan, keamanan, ekonomi, persahabatan, sepritual, kekuasaan, estetik, dan lain-lain melahirkan bermacam-macam nilai pula seperti: nilai keamanan, kekuasan, ekonomi, persahabatan, kesehatan, dan nilai sepiritual, serta nilai estetik. jakob sumarjo (2000: 135) mengatakan bahwa nilai adalah sesuatu yang bersifat subjektif bergantung pada manusia yang menilainya. karena subjektif, maka setiap orang, kelompok orang atau masyarakat memiliki nilai sendiri-sendiri. sesuatu dikatakan mengandung nilai seni atau tidak amat bergantung orang di luar diri atau kelompoknya yang menilai. nilai juga berkonteks praktis. dalam hal ini sesuatu dianggap bernilai karena dianggap memiliki kegunaan dalam kehidupan. faktor kebudayaan turut menentukan pandangan seseorang terhadap seni. dengan demikian seni sebenarnya kontekstual karena nilainilainya bersifat kontekstual berhubungan dengan keperluan praktis dan fungsional. nilai-nilai luhur dalam lelagon dolanan lelagon dolanan (anak) memiliki beragam nilai yang besar gunanya untuk membentuk generasi berkarakter, berjati diri; religius, bermoral, bergotong royong, dan cinta pada bangsa. beberapa nilai luhur dalam lelagon dolanan (anak) dapat dilihat dalam teks lagu. nilai-nilai tersebut sering kali tersimpan secara terselubung di balik teks kalimat lagu. beberapa contoh teks lagu yang mengandung nilai antara lain sebagai berikut. nilai religius indonesia merupakan bangsa religius. religiusitas tersebut antara lain terdapat dalam berbagai karya budaya bangsa dalam bentuk artefak, tata nilai atau norma, seni, kegiatan spiritual, adat-istiadat dan lain-lain. dalam kesempatan ini penulis ingin menunjukan salah satu karya lelagon dolanan yang mengandung nilai religius. teks lelagon dolanan bernilai religius tersebut ada yang disampaikan secara tersirat maupun tersurat. contoh teks lelagon dolanan yang muatan nilai religiusnya disampaikan secara tersirat antara lain ilir-ilir yang konon ciptaan sunan kalijaga. teks lagu ilir-ilir ilir-ilir tandure wus sumilir tak ijo royo-royo tak sengguh penganten anyar bocah angon penekna blimbing kuwi lunyu-lunyu peneken kanggo mbasuh dodot ira dodot ira kumitir bedhah ing pinggir domana jlumatana kanggo seba mengko sore mumpung gedhe rembulane mempung jembar kalangane ya suraka surak hore terjemahan ilir-ilir (bergoyang diterpa angin sejuk) tanamanya telah mulai tumbuh tampak hijau kemilau dikira penganten baru anak penggembala panjatlah pohon blimbing itu walaupun licin panjatlah untuk membersihkan pakaianmu pakaianmu bergerak-gerak (karena) sobek di pinggir jahitlah perbaikilah untuk menghadap nanti sore selagi terang bulan dan luas kesempatan mari bersorak-sorak hore tafsir makna teks telah datang kabar gembira masuknya agama islam di jawa. dalam teks lagu ditunjukan oleh kata ilir-ilir, terpaan angin sejuk. kedatangan agama islam diterima baik oleh masyarakat, tandure wus sumilir. penyebaran agama islam lambat laun semakin menggembirakan ibarat penganten baru, tak ijo royo-royo tak sengguh penganten anyar. masyarakat seyogyanya menjalankan ke lima rukun islam, dalam teks lagu diibaratkan buah blimbing yang permukaannya bergerigi 5, bocah angon penekna blimbing kuwi. walaupun berat perlu dilakukan (lunyu-lunyu peneken) sebagai upaya untuk membersihkan diri dari segala perbuatan yang tidak baik atau kepercayaan yang dianggap menyimpang (kanggo mbasuh dodotira). segala perbuatan mungkar menjadi penghalang dalam menghadap allah swt. perbuatan mungkar atau keyakinan menyimpang, dodotira kumitir bedhah ing pinggir, perlu segera diperbaiki, domana jlumatana, selagi terbuka kesempatan, mumpung gedhe rembulane mempung jembar kalangan, marilah bersorak gembira, yo suraka surak hore. teks lagu mampir ngombe jare bebasane urip iki amung mampir ngombe pira lawase wong ngombe bakal bali nyang ngomahe mulane becik tuimindak sing sae marang sesama-samane tan lali mituhu marang dhawuhe gusti kang anitahake terjemahan menurut (para pujangga) ibarat hidup hanya singgah untuk minum seberapa lama orang minum (pasti) akan kembali ke rumahnya maka dari itu marilah berbuat baik kepada sesama hidup tidak lupa taat kepada perintah tuhan yang menciptakan kita kata-kata dalam teks lagu mampir ngombe mudah dipahami. bila disimak seksama teks tersebut berisi tentang ajakan untuk berbuat baik dan taat kepada perintah tuhan. hal ini dilakukan oleh semua umat karena hidup relatif singkat, ibarat orang singgah sesaat untuk minum. kehidupan yang lebih lama adalah di tempat tinggal sebelumnya, di alam akhirat. nilai kebersamaan, kegotong royongan bangsa indonesia memiliki sifat kolektif, bersama, bergotong-royong dalam mengatasi persoalan hidup. masyarakat sadar hidup sebagai makhluk sosial. manusia tidak dapat hidup tanpa batuan orang lain. lelagon dolanan yang teks lagunya mengajak hidup bergotong royong dalam menyelesaikan tugas antara lain lelagon gugur gunung. teks vokal lelagon gugur –gunung ayo kanca ayo kanca ngayahi karyane praja kene-kene kene-kene gugur gunung tandang gawe sayuk-sayuk rukun bebarengan ro kancane lila lan legawa kanggo mulya ning negara siji loro telu papat maju papat-papat diulang ulung ake pamrih enggal rampunge holobis kontul baris holobis kontul baris holobis kontul baris holobis kontul baris terjemahan marilah kawan mengerjakan tugas negara kemarilah bahu-membahu untuk bekerja menyatu, rukun bersama-sama dengan kawan bekerja dengan ikhlas untuk kejayaan negara satu dua tiga empat (aba-aba) maju empat-empat dilakukan secara estafet agar ( pekerjaan ) segera selesai aba-aba: holobis kontul baris holobis kontul baris teks lagu di atas mengajak kita semua untuk melakukan tugas-tugas bangsa dan negara. sejak kalimat pertama teks vokal menunjukan betapa pengarang memiliki kecintaan besar terhadap bangsa dan negara. orang lain diajak untuk melakukan hal yang sama dengan cara mengerjakan tugas dan membuat karya sesuai keahliannya. bersatu, rukun, bahu-membahu, bergotong-royong, dan ikhlas menjadi kekuatan besar dalam rangka mencapai kejayaan bangsa. nilai kebangsaan indonesia adalah bangsa pejuang. hal demikian antara lain terbukti dalam upaya untuk merebut kemerdekaan bangsa pada 17 agustus 1945. rakyat indonesia secara bahumembahu, bersatu, bersama para pemimpin membebaskan diri dari kaum penjajah. pengorbanan yang diberikan bukan hanya harta benda dan tenaga melainkan juga nyawa. dalam lelagon dolanan tema perjuangan merebut kemerdekaan bangsa antara lain dapat dilihat dalam teks lagu empat lima sebagai berikut. teks lag empat lima galo kae genderane kumlebet angawe-awe abang putih sang dwi warna iku lambang sejatine negara kita wus merdika kang adhedhasar pancasila dumadi kalaning tanggal pitulas agustus sasine nuju tahun sewu sangang atus patang puluh lima ramabate ratahayu, holobis kontul baris ramabate ratahayu, holobis kontul baris tumandang bareng maju nungal tekad rahayu merdeka merdeka merdeka bumi klahiranku merdeka merdeka merdeka wus tetp merdeka. terjemahan lihatlah (itulah) bendera kita berkibarkibar melambai-lambai merah putih sang dwi warna sebagai lambang yang sejati negara kita telah merdeka yang berdasarkan pancasila lahir pada tanggal 17, agustus bulannya pada tahun 1945 aba-aba pemberi semanat: ramabate ratahayu, holobis kontul baris bekerja bersama-sama untuk maju satu tekat ( pasti ) selamat merdeka merdeka merdeka, bumi kelahiran kita merdeka merdeka merdeka (sekali merdeka) tetap merdeka betapa dalam teks lagu empat lima mengingatkan kita pada peristiwa bersejarah bangsa indosesia. kata-kata yang tersusun dalam teks lagu kiranya mudah dipahami. teks lagu berupa berita kemerdekaan indosesia tangal 17 agustus 1945. bendera sang merah putih telah berkibar sebagai tanda kemerdekaan bangsa berdasarkan pancasila. untuk mempertahankan kemerdekaan kita mesti bersatu dalam tekad maju dan merdeka. nilai estetik estetik merupakan kata sifat dari estetika. dalam studi filsafat, estetika digolongkan ke dalam persoalan nilai, sejajar dengan nilai etika. tetapi dalam penggolongan objeknya, estetika masuk dalam bahasan filsafat manusia yang terdiri dari logika, etika, estetika, dan antropologis. sebagai karya seni lelagon dolanan amat memperhatikan keindahan seni baik aspek garap musikal maupun teks lagu. susunan kata dalam teks lagu mempertimbangkan aspek keindahan sastrawi. sedangkan aspek lagu mengutamakan keindahan musikal. teks sastra yang indah semakin terasa karena dilagukan dengan musikalitas tertentu. apabila disajikan bersama gamelan jawa, garap musikal instrumen mengutamakan keindahan musikal sesuai kaidah garap musikal yang berlaku. lelagon ronda kampung .6. . ! 6 5 @ . 5 . !. . @ 6 ken – thong-an im bal tan dha ron dha 6 6 . . 6 5 6 ! @ . ! @ .. 5 5 kam-pung a ja we-gah yo a yo kan-ca . 6 5 6 . 2 1 1 1 .. . 5 6 ! mbok a ja lem-bon pa-dha sing tang-gon . @ ! @ . x5x x! 6 6 6 . . j5j 6 !6 5 kam-pung-e nya ta a doh a-doh dur-ja-na . . . . . . 2 5 5 . 2 5 5 . ! 6 sak i ki wan ci ne ngli-lir . . . . . . @ ! !. @ 6 j5jj 6 ! 6 5 sing pa-dha tu ru wan-ci-ne ngli-lir terjemahan teks bunyi kentongan imbal-imbalan sebagai pertanda siskamling jangan malas marilah kawan janganlah seperti lembu (malas) yang tegu (agar) kampung jauh dari penjahat sekarang saatnya bangun yang sedang tidur saatnya bangun lelagon nonton wayang, sl sanga .... 1 2 3 5 j.j 5 5 ! 6 @ ! 6 5 a yo kan -ca ra – me –ra me non-ton wayang . .! 6 5 6!@ 5 xj6jx x! 5 2 5 ! @ 6 ke ne ce-dhak kot-hak a pa neng mbu-ri ga–me lan . . ..2 3 5 6j.j @ @ @@ ! jx@x x! 6 ! we-lha da la bu ta ne me-tu ki pra han . @ @ @ 5 6 ! @ . @ @ @ ! 6 @ ! jing -krak-jing-krak po-la-he ben-gak-ben-gok swara ne . @ @ @ 5 6 ! @ j.j 2 3 5 6 jx5xjx xjx x6 ! 6 5 plorak-plo-rok mri-pa -te ga we gi ris sak so-la-he sampak bms: 2 j.j 2 2 .6 6 6 g6 1 1 1 1 5 5 5 g5 _2 2 2 2 5 5 5 g5 1 1 1 1 6 6 6 g6 1 1 1 1* 5 5 5 g5 _ j21 2 3 g5 * pada sampak pakai alok. sampak: .j @ . @ @ 5 6 ! @ . x6x x! . 5 ! 6 5 ga lo ka e ca me tu te nan .j @ . @ @ 5 6 ! @ . x6x x! . 2 3 5 6 la ge ha ne ca pu na ka wan . .. . ! 6 @ ! j.j 5 6 ! @ ! jx2xjx x! 6 ! se –mar ga-reng lu rah pe truk la wan ba-gong . . . . @ jx!xjx x@6 5 2 3 5 6 jx5xjx x6 ! mes-thi lu – cu te tem-bang-an ga we gu yu kedua lagu di atas yang pertama, rondha kampung dicipta oleh ki nartosabdho. sedangkan kedua, nonton wayang ciptaan widodo bs. dari kedua lagu dapat dilihat dan dirasakan nuansa estetik musikalnya. teks dan musikalitas kedua lagu digarap sedemikian rupa selain “enak” dirasakan secara estetik musikal juga mengandung pesan moral yang bermanfaat bagi kehidupan bermasyarakat. melalui teks lagu pesan moral dapat diketahui. lelagon pertama, rondha kampung mengajak masyarakat agar rajin melakukan siskamling sehingga kampung aman dan terhindar dari tindak kejahatan. sedangkan lelagon kedua, nonton wayang pengarang mengajak kita semua untuk mencintai wayang sebagai produk budaya bangsa yang adi luhung. simpulan lelagon dolanan (anak) merupakan aset budaya bangsa mengandung berbagai nilai luhur seperti religius, kebersamaan, kebangsaan, cinta lingkungan, cinta pada budaya, bangsa, dan negara, dan nailai luhur lainnya yang berakar pada budaya bangsa. nilai-nilai tersebut disampaikan melalui teks lagu secara tersirat maupun tersurat. sedangkan nilai musikal estetik selain disampaikan melalui teks lagu, juga garap musikal lelagon. nilai-nilai luhur tersebut berguna untuk membangun karakter dan jatidiri bangsa yang cerdas lahir batin, religius, santun, adil, dan beradab. karena dirasa besar gunanya bagi lingkungan hidup, masyarakat, budaya, bangsa, dan negara, maka lelagon dolanan perlu dilestarikan dan dikembangkan. pelestarian dan pengembangan lelagon dolanan dapat melalui beberapa cara antara lain: 1) dikenalkan pada anak melalui pendidikan formal; 2) digunakan sebagai materi latih dan pentas pada berbagai kelompok karawitan jawa; 3) kreatifitas dan produktifitas para pelaku seni karawitan dalam mencipta lelagon dolanan baru yang aktual sesuai perkembangan jaman; 4) kebijakan pemerintah yang peduli terhadap pelestarian dan pengembangan; dan 4) partisipasi para pengusaha terutama yang bergerak dalam bidang usaha media masa elektronik dan cetak untuk memproduksi dan mempublikasikan kepada khalayak. daftar pustaka bastomi, suwaji. 1993. proses apresiasi, kreasi, dan belajar. semarang: ikip semarang press. compbell, don. 2001. efek moart memanfaatkan kekuatan musik untuk mempertajam pikir, meningkatkan kreativitas, dan menyehatkan tubuh. jakarta: gramedia putaka utama. depdiknas. 2001. kurikuum berbasis kompetensi mata pelajaran pendidikan seni sekolah dasar. jakarta: depdiknas. garha, oho. 1990. corak pendidikan seni indonesia, dalam warta scienta, edisi khusus, januari. harjito, priadi dwi. 2001. ”kebinekaan laras, keserupaan laras, dan metode penetapannya”. makalah. bandung: stsi. hastanto, sri. 1986.’’the concept of pathet in central javanese gamelan music’. disertation. durham university. jamalus. 1988. pengajaran musik melalui pengalam musik. jakarta: depdikbud. lindsay, jennifer. 1989. klasik kitsch kontemporer sebuah studi tentang seni pertunjukan jawa. yogyakarta: ugm press. martapangrawit. 1969. 1975. “pengetahuan karawitan”. jilid i dan ii. surakarta: aski. miller, hugh m. tnp thn. apresiasi musik. terjemahan braman-tyo,t. yogyakarta: lentera budaya. munandar, s.c. utami. 1987. mengembangkan bakat dan kreativitas anak sekolah. gramedia. jakarta rader, malvin. 1976. terj. jhony prasetyo. arti nilai dan seni. new jersey: prentice hall englewood dliffs. rohidi, t. r., 2000. kesenian dalam pendekatan kebudayaan. bandung: stsi bandung. rustopo. 2000. bangun jatuh industri rekaman (musik) gending karawitan jawa. jurnal ilmu dan seni vol. ii no.2. sura-karta: stsi. soemarjo, jacob. 2000. filsafat seni. bandung : itb. sumarsan. 2003. gamelan interaksi budaya dan perkembangan musikal di jawa. supanggah, r. 2002. bothekan karawitan i. jakarta: mspi. supanggah, r. 2009. bothekan karawitan ii. surakarta: isi. waridi. 2000. martapangrawit empu karawitan gaya surakarta. yogyakarta: yayasan mahavira. ------------- .2000. “garap dalam karawitan tradisi: konsep dan realitas praktik”. makalah. surakarta: stsi. --------------- 2003. gending dalam pandangan orang jawa: makna fungsi sosial dan hubungan seni. dalam kembang setaman; yogyakarta isi. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 musik sebagai faktor penting dalam penerapan metode pembelajaran quantum (music as important factor in application quantum learning method) hari martopo staf pengajar jurusan musik, fsp, isi yogyakarta abstrak musik adalah seni yang paling abstrak sekaligus juga merupakan realitas fisika bunyi yang memilik banyak keunggulan untuk membantu pendidikan watak halus seseorang. ia telah banyak dikaji oleh para pemikir, kaum agama, pendidik, dan teoretikus seni; selain sebagai seni ia banyak digunakan untuk berbagai keperluan mulai dari tradisi, adat, hiburan, maupun pendidikan. pasca perang dunia ke-2 telah terjadi perkembangan yang menarik dalam dunia pemikiran yang mengadobsi temuan fisika baru yang disebut quantum. metode pembelajaran quantum telah berhasil mengadobsi prinsip-prinsip baru fisika quantum ke dalam metode pembelajarannya yang menempatkan musik sebagai salah-satu faktor penting. kata kunci: paradigma, perspektif, quantum, metode, musik. a. pendahuluan dunia pendidikan kini tengah mengalami masa perkembangan luar biasa dengan ditandai oleh adanya beberapa metode pembelajaran baru, metode-metode pembelajaran yang dikreasi sedemikian rupa secara lebih alami sebagai alternatif daripada metode-metode sebelumnya. jika pendidikan sejak dahulu digunakan sebagai sarana untuk meningkatkan kualitas hidup terutama kecerdasan seseorang maka kini pendidikan tidak lagi sepenuhnya mempercayakan pada skala kecerdasan yang disebut iq (intellegence quotient), melainkan juga menggunakan ukuran kecerdasan rasa yang disebut eq (emotional quotient). mengapa demikian, sekalipun pendidikan kini semakin modern bukan berarti semakin berkualitas, tetapi bahkan banyak menyisakan berbagai masalah karena sering hasilnya kurang sepadan dengan prosesnya yang memakan waktu lama dan biaya tinggi. metode pembelajaran sebagai salah-satu aspek penting dari pendidikan banyak dikembangkan mengikuti filsafat dan teknologi mutakhir, sebagai upaya strategis untuk mencapai keberhasilannya. metode pembelajaran quantum, misalnya, adalah metode pembelajaran yang progresif dan alami, sangat menekankan fungsi musik dalam proses penerapannya. metode itu mula-mula berkembang di amerika, lahir untuk menjawab berbagai masalah pendidikan yang mereka anggap kurang alami dan menyulitkan cara belajar anak didik. di jepang pasca perang dunia ii, metode suzuki (suzuki violin method) ciptaan shinichi suzuki lahir juga untuk menjawab tantangan pendidikan ketrampilan dan harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 rasa. metode suzuki pada dasarnya berupaya mengajarkan musik secara sederhana agar anak kecil usia prasekolah telah dapat mulai belajar musik tanpa melalui tes bakat terlebih dahulu. sifat alamiah metode suzuki karena mengadobsi teknik belajar bahasa ibu (mother-tongue) yang menekankan aspek meniru (imitation), mengulang-ulang (repetition), dan menghafal atau ingatan (memory) dalam penerapannya berdasarkan filsafat pendidikan musik shinichi suzuki nurtured by love yang menekankan pendekatan cinta-kasih. musik similiar dengan quantum, ia merupakan suatu realitas fisika bunyi yang terdiri dari partikel dan gelombang yang mampu menggerakkan dan sekaligus mempengaruhi apa saja. dari sekian banyak metode pembelajaran, metode pembelajaran quantum merupakan salah-satu metode yang menekankan penggunaan musik untuk menciptakan keharmonisan belajar dengan mengaktivaskan otak bagian kanan dan kiri secara seimbang. metode itu mudah dipahami untuk diterapkan oleh siapa saja, karena seseorang dapat meningkatkan kemampuan belajarnya secara menyenangkan (menggunakan musik), cepat, efektif, dan efisien. fisika quantum adalah cabang ilmu fisika yang mempelajari kuantitas-kuantitas materi dan energi yang sangat kecil. john polkinghorne, fisikawan terkemuka amerika, mengatakan bahwa penemuan teori quantum modern pada pertengahan 1920-an membawa perubahan besar pada cara kita memandang sifat fisik dunia. pola pandang atas dunia fisik yang berpijak pada ajaran sebelumnya, isaac newton, runtuh. polkinghorne berpendapat, seharusnya penikmatan gagasan quantum tidak menjadi monopoli fisikawan teoretis saja. meskipun artikulasi utuh teori itu mensyaratkan penggunaan bahasa aslinya, matematika, banyak konsep dasar teori itu dapat dipahami para pembaca awam yang mau sedikit bersusah payah mempelajari kisah penemuan yang luar biasa itu (polkinghorne, 2004: xiv). ia memberikan saran agar orang memanfaatkan esensi-esensi temuan fisika quantum dalam berbagai disiplin baik secara teoretik maupun praktis. dasarnya adalah hakekat fisika sebagai pengetahuan yang berguna untuk menjelaskan tentang semua fenomena, melalui suatu penelitian ilmiah yang bertujuan agar dapat lebih memahami berbagai entitas. saran itu telah membuka kemungkinan penerapan teori quantum dalam berbagai kancah termasuk seni. fisika quantum melahirkan paradigma baru dan filsafat kontekstualisme yang memandang semua realitas berdasarkan prinsipprinsip temuan quantum. istilah quantum mulai diperkenalkan oleh para fisikawan untuk menyebut suatu bentuk realitas seperti istilah yang sebelumnya populer disebut atom. quantum adalah sebuah realitas baru yang ditemukan ilmuwan atas sebuah elektron (photon) yang memiliki sifat realitas ganda yakni sebagai ’gelombang’ dan ’partikel’ dalam suatu kondisi yang sama. zohar dan marshall (1994: 42) mengatakan, sebuah elektron atau photon mampu berganti status baik sebagai gelombang atau sebagai partikel tergantung pada lingkungannya (environment). kondisi unsur fisika tersebut dalam filsafat quantum harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 dinamakan kontekstualisme (zohar, 1994: 43). b. empat prinsip quantum hasil penelitian menunjukkan terdapat empat prinsip quantum meliputi dualitas, omnijektif, indeterministik, dan partisipatori (martopo, 2004: 82). prinsip dualitas (kegandaan) quantum seperti dikatakan oleh danah zohar dan ian marshall (1994: 42) demikian: one of the most revolutionary ideas thrown up by quantum reality is that light is both wavelike and particlelike at the same time. this is known as the “wave/particle duality. prinsip dualisme quantum ternyata mampu memperjelas dengan buktibukti fisis filsafat dualisme yang menegaskan eksistensi dari dua bidang (dunia) yang terpisah, tidak dapat direduksi, dan unik. jauh sebelum itu, teori dualisme tertua telah diajukan plato, yakni dualisme metafisis. sekalipun sebenarnya plato mengakui hanya ada ide-ide, tetapi ia juga mengakui adanya prinsip yang lebih rendah dan bertentangan dengan ide-ide tersebut, sebagai suatu “sifat jahat” yang menentang “sifat baik”. dualisme telah lama diteorikan oleh kalangan agama sebagai sifat baik-buruk dalam manikeisme dan gnostisisme; atau sifat kontras antara yin dan yang dalam toaisme dan neokonfusianisme yang menunjukkan nilai-nilai saling berlawanan ini membentuk suatu dialektik yang perlu untuk pertumbuhan, integrasi, dan perkembangan (anh, 1985: 87). simbol yin-yang terdiri dari satu lingkaran utuh, terdiri dari dua bagian saling berlawanan tetapi sekaligus saling melengkapi, mengandung seluruh filsafat hidup manusia yang mengutamakan keharmonisan dalam segala hal. identik dengan itu, terdapat pula pandangan kaum agama yang disebut okasionalisme dengan tokoh antara lain j. clauberg dan a. geullincx, mereka adalah kelompok yang hendak menjelaskan interaksi yang tak dapat disingkapkan antara jiwa dan tubuh. semua yang bersifat dualis sebenarnya berakar dari makna angka 2 (dua) yang berkembang pada berbagai kebudayaan dan peradaban sepanjang sejarah manusia. angka 2 menurut schimmel (1993: 46) bermakna polaritas dan pembagian (polarity and diviosion) yang melambangkan sifat-sifat: bimbang atau syak (doubt), perpecahan (disunion), perselisihan (discord, dissension), dan banci (hermaphrodite). angka 2 juga dikaitkan dengan kemampuan dari yang ‘tunggal’ itu membagi dirinya sendiri secara mandiri oleh valentine weigel demikian: “creature is twofold in itself”. john storey mengatakan secara eksplisit, bahwa makna dibuat dengan membagi dua dalam beberapa kategori yang saling tergantung: budaya/alam, laki-laki/perempuan, hitam/putih, baik/buruk, kita/mereka, dan sebagainya (storey, 2003: 110). dualitas atau sifat ganda tidak selalu bermakna negatif atau buruk, sebab realitas quantum justru menunjukkan sebaliknya, yakni dualitas partikel/gelombang yang berfungsi tergantung dari pengamatnya (observer) secara aposteriori. sebagai contoh adalah protein, senyawa kimia amorf (padatan bukan kristal) yang merupakan komponen utama semua sel hidup. protein bersifat dualitas karena bagian terpentingnya terdapat asam amino yang memiliki sifat amphoter, senyawa harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 yang bisa berlaku sebagai basa atau asam. dualitas protein ditentukan oleh asam amino dalam keadaan netral yang memiliki sifat ganda dan disebut ion berdwikutub (zwitter ion). asam amino merupakan bagian terpenting protein sehingga banyak menentukan sifat-sifat penting protein dari sel-sel yang hidup. hazrat inayat khan, seorang sufi besar dari india yang sangat mencintai musik lebih besar dari cintanya kepada apapun didunia ini terkecuali kepada tuhan, juga menyatakan beberapa hal berkaitan dengan kegandaan. sejalan dengan pendapat valentine weigel, khan berpendapat: sifat dari ciptaan adalah penggandaan dari yang satu, dan aspek penggandaan inilah yang menjadi sebab dari dualisme dalam hidup. aspek penggandaan ini melambangkan satu bagian positif, dan yang lainnya negatif; yang satu ekspresif, dan yang lain responsif. karena itu, dalam ciptaan dualisme ini, ruh dan alam berdiri berhadaphadapan. dan karena aspek pertama, yang saya sebut bunyi, dan yang kedua, yang saya sebut cahaya, mula-mula dalam aspek-aspek alam yang berlawanan, atau aspek-aspek responsif, bahwa cahaya yang bekerja, dan bila ciptaan masuk lebih dalam, di sanalah bunyi (khan, 2002: 23-24) sedangkan kitab perjanjian lama, kita suci orang kristen, diawali dengan kitab kejadian 1:1-27 tentang allah menciptakan langit dan bumi serta isinya. ayat 1-5 adalah masalah penciptaan dunia. ayat 1 berbunyi: pada mulanya allah menciptakan langit dan bumi. ayat 3, berfirman allah: “jadilah terang.” lalu terang itu jadi. ayat 4, allah melihat bahwa terang itu baik, lalu dipisahkannyalah terang itu dari gelap. ayat 5, dan allah menamai terang itu siang, dan gelap itu malam. jadilah petang dan jadilah pagi, itulah hari pertama. ayat 1, 3, 4, dan 5 menunjukkan dualitas-dualitas seperti langit-bumi, gelap-terang, siangmalam, dan petang-pagi – adalah bentuk yang dihasilkan dari ide-ide allah untuk menciptakan dunia yang harmonis. khan berupaya menjelaskan bahwa bukan hanya kaum sufi saja yang menaruh minat dan percaya pada posisi penting dan manfaat musik sebagai seni sorgawi, tetapi agamaagama lain terutama kristen telah mewartakan hal itu dengan sangat jelas dan mengagumkan. ia percaya bahwa ciptaan pertama adalah ‘kata’ bukan ‘cahaya’, dan ‘kata’ yang dimaksudkan sebagai ciptaan pertama allah itu melalui firman. jika, “allah berfirman”, maka kalimat itu bermakna allah menganugerahkan bunyi atau musik. dualitas menurut khan diciptakan dengan cara menggandakan ‘kata’ dengan ‘cahaya’ sebagai aspek-aspek positif-negatif atau ekspresif-responsif dan lain sebagainya. secara mistis, bunyi dan warna dikategorikan sebagai dwi-aspek kehidupan. kehidupan dan cahaya adalah satu. kehidupan adalah cahaya, cahaya adalah kehidupan, dan dengan demikian warna adalah bunyi, bunyi adalah warna. namun ketika bunyi menjadi warna, ia paling mudah dilihat dan paling sulit didengar, dan ketika warna menjadi bunyi, ia paling mudah didengar dan paling sulit dilihat. pandangan dengan bunyi dan warna sang sufi sesuai dengan prinsip dualitas perspektif quantum. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 m. dwi marianto mengatakan bahwa karya seni dapat dicerna sebagai partikel quantum jika dikenali dari aspek fisiknya saja. misalnya pada lukisan, partikelnya adalah kanvas, cat, goresan, atau teknik sapuan kuasnya, maupun komposisi ruang gambarnya. tetapi lukisan itu juga harus dicerna sebagai karya seni atau gelombang quantum yang dapat memancarkan esensi kejiwaannya kepada penikmatnya (marianto, 2002: 103). prinsip dualitas partikel/gelombang quantum tertentu berlaku pula pada dunia musik, sebab musik adalah suatu realitas yang dikategorikan dalam pembahasan akustik (fisika bunyi) dengan topik utamanya adalah gelombang bunyi. prinsip omnijektif (keseluruhan) dalam quantum dijelaskan oleh michel talbot, bahwa tidak ada pembagian yang tegas antara realitas subjektif dan realitas objektif; kesadaran dan alam fisik dihubungkan oleh suatu mekanisme fisik yang fundamental. hubungan antara pikiran dan realitas ini tidak bersifat subjektif atau objektif, tetapi “omnijektif” (talbot, 2002: 2). kata lain omnis (semua) dalam filsafat agama kristen untuk menyebutkan lima sifat ‘maha’ pada allah yakni: (1) omnibenevolen (maha baik); (2) omnipoten (maha kuasa); (3) omnipresen (ada di manamana); (4) omnisiensi (maha tahu); dan (5) omnitemporal (maha kekal). sebenarnya ada sebuah tradisi filosofis dan metafisis yang luas di balik filsafat bahwa alam semesta ini omnijektif. para mistikus mengatakan inilah yang benar. kaum idealis juga mengatakan inilah yang benar. yang paling mengagumkan adalah para fisikawan yang lagi-lagi mengatakan bahwa inilah yang benar (talbot, 2002: 3). talbot ingin menjelaskan bahwa yang dimaksudkan dengan fisik baru itu adalah fisika quantum. ia berupaya memberikan gambaran yang lengkap bahwa telah terjadi usaha-usaha untuk memahami alami semesta oleh beberapa kalangan berbeda, dan menghasilkan suatu kesimpulan yang hampir sama. pandangan-pandangan tentang alam oleh mistikus yang dahulu dipandang tidak penting, atau oleh filsuf yang diragukan karena bahasanya membingungkan, serta oleh beberapa fisikawan yang menggunakan perhitungan matematis dan rumit – ketiganya mengatakan bahwa alam itu bersifat menyeluruh. prinsip keseluruhan (omnijektif) dalam realitas quantum adalah pengamatan yang bersifat nonlokalitas, tak terbatas pada suatu partikel atau gelombang secara terpisah tetapi pada partikel dan gelombang secara bersamaan, demikian talbot menyatakan: alfred north whithead mendalilkan sifat realitas yang mirip dengan mimpi: “... teori yang sedang saya bantah itu membagi alam menjadi dua bagian, yakni alam yang ditangkap dengan kesadaran dan alam yang menyebabkan kesadaran. di alam yang faktanya ditangkap oleh kesadaran terkandung hijaunya pepohonan, nyanyian burungburung, hangatnya sinar matahari, kerasnya kursi, dan lembutnya kain beludru. alam yang menjadi penyebab kesadaran adalah sistem molekul dan elektron yang sangat mempengaruhi pikiran manusia sehingga menghasilkan kesadaran atas alam yang senyatanya. titik temu antara kedua alam ini adalah pikiran ... (talbot, 2002: 3). harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 prinsip omnijektif quantum tentang alam semesta sebagai sebuah konsep kesatuan (unity) sama sekali bukan konsep yang baru. talbot mengatakan, lebih dari dua ribu tahun yang lampau, tradisi tantra hindu mempostulasikan sebuah filsafat yang serupa. menurut tantra, realitas adalah ilusi atau maya. kesalahan pokok kita yang tidak memahami maya ini, kata tantra, adalah bahwa kita memahami diri kita sebagai bagian terpisah dari lingkungan. tantra sangat eksplisit dalam menegaskan pandangan ini. pengamat (observer) dan realitas objektif adalah satu. prinsip omnijektif quantum dapat disejajarkan dengan berkembangnya paradigma global (pandangan yang mendunia) sebagai akibat dari perkembangan revolusioner teknologi informasi abad ini yang menyeret semua persoalan komunikasi dan teknologi ke dalam gelombang percepatannya yang dasyat. kesadaran tentang alam secara subjektif dan objektif telah digantikan dengan kesadaran omnijektif dalam berbagai lapangan dengan menggunakan teknologi informasi seperti jaringan global. jika tantra berpendapat realitas itu maya, maka fisikawan dan para teknokrat informasi menciptakan dunia maya yang realistis dan semakin mudah dimengerti secara menyeluruh. prinsip indeterministik (ketidakpastian) mulai ditunjukkan pada tahun 1927 oleh werner heisenberg dengan prinsip ketidakpastian-nya yang terkenal dan mengawali sebuah perdebatan filsafati di antara para fisikawan quantum yang masih belum juga terputuskan. teori quantum lebih banyak bergumul dengan kemungkinan daripada kepastian (polkinghorne, 2002: 37). oleh karena itu fisika quantum menggambarkan dunia sebagai sesuatu yang kabur dan tidak pasti. jika prinsip indeterministik itu diterima sebagai suatu prinsip yang bersifat negatif, maka hal itu bukan merupakan tujuan quantum. ketidakpastian bermakna sebagai probabilitas atau keserba-kemungkinan (inggris: probability; latin: probabilis) yang positif untuk memberikan keluasan dalam memandang sesuatu secara tanpa batas (non-lokalitas). probabilitas juga dapat diartikan sebagai teori atau kalkulus tentang peluang suatu peristiwa. menurut talbot, indeterminisme dalam alam mekanika quantum tersebut pasti merupakan salah satu perubahan yang paling mengherankan dalam cara kita memandang realitas yang terjadi pada bidang fisika. indeterministik kini menyerang intuisi kita dan membongkar miskonsepsimiskonsepsi kita tentang keterkaitan antar peristiwa. sebagai prinsip quantum, indeterministik sempat menimbulkan keraguan dan bahkan pertentangan antar para fisikawan. tak kurang, einstein dan de broglie mengatakan bahwa sebuah dunia yang deterministik dan rijid lebih dapat diterima daripada dunia yang serba mungkin. untuk itu pada tahun 1935 einstein berpendapat, barangkali semua informasi yang berkenaan dengan peristiwa-peristiwa mekanika quantum tidak diketahui, dan sebuah “variabel yang tersembunyi” dan belum ditemukan bisa jadi bertanggungjawab atas variasi perilaku dari kedua partikel (talbot, 2002: 41). itulah sikap bijak einstein yang penuh pertimbangan dan kehati-hatian dalam menangani temuan-temuan baru harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 dalam bidang fisika atom yang mulai digemari para fisikawan segenerasinya. prinsip partisipatori (participatory: keikutsertaan) dalam quantum juga penting sebagai proses pengamatan objek. dalam istilah-istilah yang sangat disederhanakan, heisenberg mengatakan bahwa pengamat mengubah apa yang diamati karena tindakan pengamatannya itu (talbot, 2002: 41). fisika baru ini, yakni fisika teori quantum – cabang dari fisika yang mempelajari “kuantitas-kuantitas” materi dan energi yang sangat kecil – telah menemukan bahwa fisikawan dan pikirannya menjadi persoalan dalam pengamatan. dengan alat-alat dan petunjuk yang tepat, seorang fisikawan tidak akan bisa meniru eksperimen dan pengamatan yang dilakukan oleh fisikawan lain. hasil dari suatu pengamatan khusus tidak lagi tampak hanya bergantung pada “hukum-hukum” dunia fisik, tetapi juga bergantung pada kesadaran pengamatannya. sebenarnya, seperti kata fisikawan john a. wheeler, kita harus mengganti istilah “pengamat” dengan “partisipan”. kita tidak dapat mengamati dunia fisik, karena, sebagaimana menurut fisika baru, tidak ada sebuah dunia fisik. kita berpartisipasi di dalam suatu spektrum dari semua realitas yang mungkin. perubahan pandangan dunia yang paling mengejutkan yang telah dilakukan oleh fisika baru adalah pengakuan bahwa kesadaran benarbenar memainkan peran dalam apa yang disebut alam fisik ini. pada zaman newton fisika tidak berpandangan demikian, fisika selalu berusaha mempertahankan pendekat-an yang sangat empiris. raison d’etre dari fisika lama adalah bahwa ada sebuah dunia fisik yang bisa langsung disentuh. inilah mitos lama yang diyakini, bahwa hukum-hukum dunia fisik tidak berubah; dengan alat-alat dan petunjuk yang tepat, seorang fisikawan dapat meniru eksperimen dan pengamatan fisikawan lain. peran empirisme dalam sains selalu menuntut ketidak-berpihakan seorang pengamat dan senantiasa terfokus pada realitas objektif sebagai “sesuatu” yang tunggal dan bisa diamati serta a priori terhadap kesadaran. tidak masalah siapa fisikawan atau bagaimana pikirannya yang melakukan pengamatan. alam semesta yang diamati “sama” dan inilah apa yang diperhitungkan. padahal, secara kontradiktif pada fisikawan quantum menganjurkan agar pengamat justru melakukan keterlibatan yang penuh (partisipatoris) dengan objeknya dan menghasilkan suatu perspektif yang bukan hanya omnijektif saja, tetapi juga pendekatan aposteriori. c. paradigma quantum dan perspektif quantum paradigma quantum adalah realitas quantum yang dijadikan sebagai model untuk memandang, memikirkan, menimbang, atau menciptakan atmosfir yang dibangun berlandaskan teori quantum seperti elemen-elemen, prinsip-prinsip, realitas, karakter, dan tujuan-tujuannya. paradigma quantum adalah cara atau pola berpikir dan bertindak yang telah dipilih oleh sebagian masyarakat dunia pasca perang dunia ii karena ingin merevisi pandangan lama terutama pikiran-pikiran kaum newtonian. kenyataan apa saja menurut hukum quantum sebenarnya merupakan realitas partikel/gelombang yang bersifat ganda secara bersamaan. maka harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 realitas quantum memiliki sifat probabilitas yang besar, tak tertentu, dan tak terbatas. pola berpikir quantum harus menggunakan sikap bijaksana seluas mungkin berlandaskan realitas quantum, jika perlu bersifat melompat jauh (leap thinking), irregular, atau bahkan irrasional. sedangkan perspektif quantum pada hakekatnya adalah cara pandang menurut esensi quantum. perspektif quantum identik dengan sudut pandang khusus filsafat quantum yakni kontekstualisme terutama menggunakan prinsip-prinsip seperti dualisme, omnijektif, indeterministik, dan partisipatori. sudut pandang quantum adalah sudut yang amat luas untuk memandang segala sesuatu secara kreatif, baru, dan unik, serta positif. perspektifk quantum terdiri dari: (1) kondisi lingkungan; plural, holistik, sugestif, akseleratif, gembira, alami, spiritual, tumbuh, komunikatif, dan non lokalitas; (2) sifat individu: cinta, dukungan, perhatian, visi, percaya, partisipatif, fleksibel, humanis, intelektual, dan responsif; dan (3) potensi individu: memiliki komitmen penuh, memiliki program yang jelas, berani ambil resiko, mampu bekerjasama, memiliki rasa percaya diri, berpikiran positif, menggunakan kecerdasan, produktif dan sportif, dan mau mengevaluasi diri. c. metode pembelajaran quantum metode pembelajaran quantum (quantum learning method) awalnya dibangun oleh bobbi de porter dan mike hernacki berdasarkan hasil riset dan pengalaman empirik mereka melaksanakan pendidikan akseleratif di supercamp, california. pada awalnya bobbi bersama rekan-rekan mereka eric jensen dan greg simmons pada tahun 1981, mereka mulai mengalihkan metode pembelajaran yang mereka anggap konvensional ke metode yang lebih natural, yakni dengan cara membawa anak-anak didik ke perkemahan yang mereka sebut supercamp untuk dikenalkan pada pengetahuan praktis: belajar kembali tentang cara belajar (porter, 2002: 1). dilandasi oleh beberapa analisis bobbi dan kawan-kawan tentang ketimpangan antara proses pembelajaran yang semakin berat tetapi hasilnya kurang sepadan, maka mereka mulai mempertimbangkan untuk mencari metode pembelajaran alternatif yang menyenangkan dan bersifat lebih ‘bermain’ (playful); sekaligus menjadi metode yang dapat meningkatkan kemampuan peserta didik secara cepat (accelerated learning). metode pembelajaran quantum yang mereka bangun tergolong baru tetapi telah terbukti kehandalannya; dalam pelaksanannya menggunakan musik sebagai faktor yang penting. kurikulum di supercamp adalah kombinasi dari beberapa unsur, dikembangkan dari suatu falsafah bahwa belajar harus mudah dan menyenangkan, meliputi tiga faktor penting seperti: ketrampilan akademis, ketrampilan dalam hidup, dan tantangan-tantangan fisik (porter, 2002: 9). bobbi de porter dan mike hernacki berusaha membangun suatu trilogi yang meliputi kecakapan pengetahuan yang harus diberikan melalui forum pendidikan formal, penerapan pengetahuan kepada kebutuhan riil, dan pembentukan mental melalui tantangan fisik yang dekat dengan alam. supercamp menggabungkan rasa percaya diri, ketrampilan belajar, dan ketrampilan berkomunikasi dalam lingkungan yang harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 menyenangkan (porter, 2002: 5). metode pembelajaran quantum tidak lain adalah seperangkat metode dan falsafah belajar yang telah terbukti efektif di sekolah dan tempat kerja, untuk semua tipe orang dan segala tingkatan usia. metode itu sebenarnya berakar dari upaya georgi lozanov, seorang ahli pendidikan berkebangsaan bulgaria yang melakukan eksperimen yang disebutnya sebagai suggestology atau suggestopedia. pada dasarnya bahwa dengan sugesti yang baik akan dapat membantu seseorang berhasil dalam belajar atau pun bekerja. untuk itu perlu dilakukan upaya pembelajaran yang nyaman, menyenangkan, menggunakan musik, dan mengembangkan positive thinking di kalangan murid (porter, 2002: 14). porter dan hernacki telah melakukan suatu pengembangan metode pembelajaran yang cemerlang dengan cara mengadobsi teori quantum dalam kancah ilmu fisika modern. realitas quantum dalam bidang fisika modern membawa perubahan besar dan sangat mendasar dalam masyarakat yang semakin global dan capat pada abad millenium ketiga ini, menurut zohar dan marshall hal itu didasari oleh adanya pandangan baru yakni belajar untuk berpikir yang tidak mungkin, yang mereka namakan: learning to think the impossible: basic elements of quantum reality (zohar, 1994: 37). gagasan revolusioner itu dibangun dari realitas quantum yang memiliki sifat adaptatif dan mampu mencapai berbagai kemungkinan tujuan tergantung dari kondisi dan observasi. metode pembelajaran quantum pada dasarnya merupakan pengembangan teknik-teknik pembelajaran yang mencari berbagai kemungkinan yang semula dianggap tidak mungkin menurut pandangan klasik kalangan pendidikan yang deterministik, menjadi metode yang serba mungkin. pendidikan pada dasarnya memiliki tujuan sederhana yakni pemberdayaan manusia. untuk itu pendidikan acapkali diartikan sebagai upaya untuk meningkatkan kemampuan berpikir dan bertindak manusia dalam segala tingkatan usia agar hidup semakin berkualitas dan mampu menghadapi tantangan hidupnya. selain untuk mencerdaskan sekaligus mengembangkan daya ilmu pengetahuan (knowledge) seseorang, pendidikan juga ditujukan untuk memberikan ketrampilan (skill) berkaitan dengan dunia kerja praktis. suzuki (1984: 86) berpendapat bahwa education rather than instruction, pendidikan mengandung dua konsep, yakni ‘mengeluarkan’ (to educe) yang bermakna luas mengeluarkan atau menggali potensi tersembunyi si anak didik (to bring out, develop from latent or potential existence), demikian juga ‘instruksi’ (to instruct). pendidikan umum dan juga musik menjadi sangat penting untuk manusia, karena di dalamnya terkandung pembelajaran bahasa. pendidikan musik tentu lebih menggunakan bahasa seni atau bahasa musikal dalam mentransformasikan pengetahuan musik. manusia secara ontologis adalah mahluk yang unik dan berbeda dengan binatang, karena justru memiliki kemampuan berbahasa. dalam konteks itu suriasumantri mengutip pendapat cassirer bahwa manusia sebagai animal symbolicum, mahluk yang menggunakan simbol, tidak hanya homo sapiens, mahluk yang berpikir (suriasumantri, 2001: 171). bahasa adalah simbol yang mewakili apa saja termasuk benda, pikiran, dan harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 khayalan; menjadi sangat penting dikembangkan pada diri manusia agar mencapai derajat kemanusiaan yang baik. suriasumantri lebih lanjut menjelaskan: tanpa mempunyai kemampuan berbahasa ini maka kegiatan berpikir secara sistematis dan teratur tidak mungkin dapat dilakukan. lebih lanjut lagi, tanpa kemampuan untuk meneruskan nilai-nilai budaya dari generasi yang satu kepada generasi selanjutnya (suriasumantri, 2001: 171). pendidikan seni penting sekali diberikan terutama untuk anak sejak usia dini, karena mengajarkan bahasa seni atau khususnya bahasa musikal yang bersifat lebih emosi dan intuitif daripada bahasa tutur sangat bermanfaat mencerdaskan mereka. jika bahasa disampaikan menggunakan media bunyim, maka musik justru lebih mengutamakan bunyi-bunyi yang teratur, variatif, rumit, dan yang mengandung makna indah. efektivitas dan efisiensi adalah dua kata penting yang harus diperhatikan dalam setiap langkah pendidikan termasuk pembelajaran musik menggunakan metode suzuki. quantum learning adalah kumpulan metode dan filsafat belajar yang mencapai sukses, mencakup aspekaspek penting dalam nlp (neuro linguistic programme), program neurolinguistik, yaitu suatu program penelitian tentang bagaimana otak mengatur informasi. program itu meneliti hubungan antara bahasa dan perilaku dan dapat digunakan untuk menciptakan jalinan pengertian antara siswa dan guru. menurut bobbi, para pendidik dengan pengetahuan nlp mengetahui cara menggunakan bahasa yang positif sebagai faktor penting untuk merangsang fungsi otak yang paling efektif (porter, 2002: 14). metode-metode pembelajaran modern para umumnya bertujuan mengarahkan murid mencapai kecerdasan optimal melalui pemahaman terhadap kondisi dan kemampuan diri sendiri, meningkatkan kemampuan berbagai macam kecerdasan manusia seperti: (1) linguistik; (2) matematika; (3) visual/spasial; (4) kinestetik/perasa; (5) musikal; (6) inter-personal; (7) intrapersonal; dan (8) intuisi (porter dan hernacki, 2002: 31). e. fungsi musik dalam metode pembelajaran quantum dikatakan oleh bobbi de porter dan mike hernacki, bahwa iringan musik adalah kunci untuk menuju quantum learning. alasan mengapa musik sangat penting untuk lingkungan quantum learning adalah karena musik sebenarnya berhubungan dan mempengaruhi kondisi fisiologis anda (porter, 2002: 72). pernyataan itu benar, karena musik adalah serangkaian bunyi indah, yang secaa khusus dikreasi oleh komposer sebagai bentuk ekspresi jiwa sekaligus untuk menyampaikan pengalaman keindahannya kepada orang lain. selain aspek indah, musik juga menyenangkan, atau mendatangkan kenikmatan seperti dikatakan oleh merriam dalam tulisannya tentang music as symbolic behavior (merriam, 1964: 229), menurutnya hal itu sesuai dengan teori hedonistik yang dikembangkan oleh george santayana bahwa seni harus sungguh-sungguh menyenangkan (art exists purely for pleasure), sedangkan cassirer setuju bahwa kenikmatan merupakan bagian dari seni (the pleasure is a part of art). maka musik yang menyenangkan dan mendatangkan kenikmatan menjadi penting dan tepat sekali digunakan harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 dalam proses pembelajaran akseleratif seperti pada metode pembelajaran quantum. musik yang ‘baik’ (setidaknya menurut ukuran klasik) berwujud bangun musikal (musical form) yang teratur, terukur, dan terstruktur; jika didengarkan berulang-ulang akan memberikan efek akustik yang baik kepada pendengarnya dan sekaligus membangun sikap mental dan perilaku yang baik pula. teori itu sebenarnya telah dikembangkan oleh para filsuf yunani kuno seperti plato dalam “dialog”: “kita berwajib memilih musik yang pantas ... supaya kita memperoleh ada yang baik” (prier sj, 1991: 40); sedangkan aristoxenos mengatakan: “musik tempo dulu patut dipuji sebab ia memiliki ethos yang luhur ...” (prier sj, 1991: 44). musik telah digunakan sebagai media pendidikan watak sejak zaman kuno selain sastra lewat mitologi. musik digunakan dalam metode pembelajaran quantum karena menjadi salah-satu faktor atau aspek kecerdasan yang penting. jika dianalisis secara mendalam, maka di dalam musik sendiri terdapat korelasi unik aspek-aspek meliputi bahasa (linguistik), menghitung (matematika), rasa (kinestetik), dan ilham (intuisi). oleh karena itu, keempat kecerdasan itu dapat dikembangkan melalui musik sebagai realitas fisikal quantum, baik sebagai partikel bunyi (particle sound) maupun gelombang bunyi (wave sound) yang dengan langsung mempengaruhi fisik seseorang yang memainkan atau mendengarkannya. sejalan dengan itu, kandinsky dalam teori estetikanya concrete art, mengatakan bahwa gelombang bunyi dan warna sungguh membentuk fondasi daya pengikat fisik, tetapi juga sebagai fondasi psikologis (ross, 1994: 674). musik memiliki kekuatan mempengaruhi perkembangan fisik dan kejiwaan seseorang. manusia secara badaniah sebenarnya adalah partikel quantum, sedangkan kejiwaannya adalah gelombang quantum. musik membantu mencerdaskan orang melalui suatu proses aktivasi otak secara harmonis antara bagian kanan dan kiri secara simultan. jika seseorang memainkan atau mendengarkan musik, maka ia akan memerlukan – baik sadar atau tanpa sengaja – kerja otak secara random. musik yang dinamis dan penuh energi tentu menyebabkan otak berlatih lebih keras daripada msuik yang lembut. tetapi kedua jenis ekspresi musikal itu diperlukan untuk membiasakan otak menjadi aktif setidaknya menggunakan potensinya sekitar 7,5% saja untuk ukuran umum (bukan jenius). hal itu dikatakan oleh roger sperry dari california yang telah mengembangkan riset mengenai selaput otak manusia (cerebral cortex) dan ia menemukan dua bagian otak menjadi otak kanan dan otak kiri dengan fungsi masing-masing yang saling melengkapi. ia menganjurkan kepada setiap orang untuk mengembangkan kecakapan mentalnya (buzan, 1994: 33). buzan dan keene berpendapat karena setiap orang memiliki potensi yang sama besar seperti para jenius sekelas einstein, maka anda pun tidak terkecuali dapat meningkatkan kecerdasan menjadi seorang jenius. shinichi suzuki adalah pribadi yang tepat untuk contoh itu, ia telah membuktikan hal itu. jenius, menurutnya adalah potensi yang dapat dibentuk melalui pendidikan dan pembimbingan, bukan melulu bakat alam, genetik, atau karunia sejak lahir. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 metode bimbingan (nurture) dipandang lebih modern daripada hanya menunggu adanya anak-anak jenius sejak lahir, berkaitan dengan hal itu sekali lagi buzan dan keene menulis: this approach to genius is supported by the japanese musician, inventor, author and teacher shinichi suzuki, who founded his world-famous suzuki music schools based on nurture helping nature. suzuki’s understanding is best described in his own words (buzan, 1994: 9). musik menjadi faktor penting dalam aktivasi otak kanan dalam aspek-aspek ritme, imajinasi, dan dimensi; sedangkan otak kiri meliputi aspek-aspek bahasa, logika, angkaangka, pengulangan, dan analisis. jika seseorang terbiasa mengaktifkan bagian kanan dan kiri otaknya, maka ia akan mencapai hidup dengan keseimbangan fisik dan kejiwaannya. tujuan utama yang hendak dicapai melalui pendidikan dalam konteks metode pembelajaran quantum yakni mengantarkan peserta didik mencapai keharmonisan pribadinya, sehingga seseorang lebih baik berpikir positif daripada sebaliknya. musik-musik barok ciptaan komposer-komposer seperti bach, handel, pachelbel, dan vivaldi menurut lozanov menggunakan ketukan yang sangat khas dan pola-pola yang secara otomatis menyinkronkan tubuh dan pikiran; berbagai efek musiknya digunakan oleh porter dan hernacki dalam metode pembelajaran quantum untuk aktivitas dan tujuan yang berbeda (porter, 2002: 74). jika metode pembelajaran quantum menggunakan efek musik untuk menciptakan keharmonisan otak kanan dan kiri, maka menurut khan, seorang besar india, efek musik tergantung bukan hanya pada kecerdasan, tapi juga pada evolusi orang yang menampilkannya. maksudnya, musik dapat dijadikan sebagai media untuk mengukur kemampuan seseorang untuk meniti kemajuannya, orang yang maju biasanya suka mendengarkan atau belajar musik-musik yang beraneka dan berbeda dengan orang yang tidak mau maju ia hanya terpaku pada selera satu gaya musik saja. orang yang secara perlahan-lahan maju di jalur musik, pada akhirnya sampai pada kesempurnaan tertinggi. musik adalah seni yang tinggi karena tak ada satu pun kesenian lainnya yang bisa mengilhami dan mempermanis kepribadian sepertinya. pencinta musik cepat atau lambat mencapai bidang pemikiran yang paling luhur (khan, 2002: 203). pandangan barat tentang fungsi musik terkait dengan pendidikan yang dimulai sejak filsuf-filsuf yunani kuno tetap diteruskan oleh para pendidikan hingga kini seperti yang dilakukan oleh porter dan hernacki dalam metode pembelajaran quantum. mereka menggunakan musik untuk meningkatkan kecerdasan murid dengan alasan-alasan pedagogis, psikologis, dan musikologis. pilihan pada musik untuk membantu proses pembelajaran ternyata benar dan universal. kebenaran terdapat dalam musik, seperti yang dinyatakan oleh levinson (1990: 279-282) bahwa musik mampu menyatakan kebenarannya secara langsung seperti pada musik absolut (lawan dari musik program) karena tidak terkait dengan ide-ide di luar aspek musikalnya sendiri. musik absolut tidak perlu mempresentasikan hal-hal lain selain melodi, ritme, dan harmoninya sendiri. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 ia tidak perlu menceritakan (narasi) kisah tertentu, bukan untuk melukiskan (deskripsi) pemandangan atau peristiwa, atau untuk menyampaikan pikiran (filosofis) seseorang – seperti pada musik program (sacher, 1971: 224-231). similar dengan hal itu, di timur, musik bahkan ditempatkan pada posisi yang sangat tinggi dalam budaya khususnya ranah kebatinan. musik india didasarkan pada prinsip raga, yang menunjukkan adanya pertalian asali dengan alam. raga disebut tema pria karena sifatnya yang kreatif dan positif, sedangkan ragini disebut tema wanita karena kualitasnya yang tanggap dan halus. turunannya, putra, memiliki kemiripan raga dan ragini yang menjadi asalnya. dunia raga bersumber dari matematika, kebatinan, musik, lirik, dan puisi. raga, ragini, dan putra – merupakan kesatuan potensi yang tepat sekali digunakan dalam pendidikan watak (khan, 2002: 203). di indonesia, orang jawa memiliki dasar keyakinannya sendiri tentang fungsi gamelan atau karawitan yang dapat menggugah perasaan bahagia seseorang melalui lagu yang merdu dan terlebih lagi jika diiringi gamelan yang mendayu-dayu, seperti yang dikatakan oleh pakar karawitan tedjohadisumarto dalam bahasa jawa ejaan lama demikian: sadaja tijang saged kagugah manahipun manawi mirengaken tijang njekar, langkung-langkung manawi ingkang njekar sakétja swantenipun, empuk nurut usuk nengsemaken, saja malih jèn sinarengan ing gangsa ngrangin nganjutanjut. kepekaan musikal menurutnya juga terkait dengan watak halus (fine character) seseorang secara alami yang sebenarnya telah dibawa sejak lahir. jika seseorang tidak menyukai lagu (musik) bukan karena bakat bawaan sejak lahirnya, tetapi karena kurang terdiri saja: ... watek bektan seneng dateng sekar tumrap satunggal-satunggaling tijang sampun wonten wiwit lair mila (tedjohadisumarto, 1958: vi). f. kesimpulan musik merupakan faktor penting dalam konsep metode pembelajaran quantum karangan bobbi de porter dan mike hernacki, karena musik sebagai bunyi baik secara fisikal maupun metafisikal berperan mendukung pembelajaran quantum. musik memiliki kekuatan langsung melalui melodi, ritme, dan harmoninya; untuk menggerakkan apa saja termasuk jiwa seseorang karena faktor-faktor alaminya sendiri. oleh karena musik juga merupakan realitas quantum seperti halnya manusia, maka musik diyakini berguna dalam menyukseskan pembelajaran atau pendidikan dan telah dibuktikan melalui berbagai penelitian empirik maupun laboratoris. dunia barat memandang musik sebagai faktor penting untuk membentuk watak baik seseorang karena alasan-alasan filsafati dan musikologis; sedangkan dunia timur lebih menyajikan catatancatatan atas pengamatan empirik mereka terhadap filsafat, kepercayaan, dan dunia mistisnya. daftar pustaka buzan, tony dan raymond keene, 1994, buzan’s book of genius: and how to unleash your own, london: stanley paul. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 khan, hazrat inayat, 2002, dimensi mistik musik dan bunyi, yogyakarta: pustaka sufi. levinson, jerrold, 1990, music, art, and metaphysic: essays in philosophical aesthetic, ithaca, new york: cornell university press. martopo, hari, 2004, metode pembelajaran biola suzuki ditinjau dari perspektif quantum, tesis pascasarjana institut seni indonesia yogyakarta. merriam, alan p., 1964, the anthropology of music, northwestern: northwestern university press. porter, bobbi de dan mike hernacki, 1992, quantum learning, new york: dell publishing. prier sj, karl-edmund, 1991, sejarah musik jilid 1, yogyakarta: pusat musik liturgi. ross, stephen david (ed.), 1994, art and its significance: an anthology of aesthetic theory, new york: state university of new york press. sacher, jack dan james eversole, 1971, the art of sound: an introduction to music, 2nd edition, new jersey: prentice-hall, inc. schimmel, annemarie, 1993, the mystery of numbers, new york: oxford university press. suriasumantri, jujun s., 2001, filsafat ilmu: sebuah pengantar populer, jakarta: pustaka sinar harapan. suzuki, shinichi, 1984, nurtured by love: the classic approach to talent education, new york: exposition press. talbot, michel, 2002, mistisisme dan fisika baru, yogyakarta: pustaka pelajar. tedjohadisumarto, r., 1958, mbombong manah, jilid 1, jakarta: penerbit djambatan. zohar, danah dan ia marshall, 1994, the quantum society: mind, physics, and a new social vision, new york: quill, william morrow. d:\harmonia\2003\1\vol. 4 no 1 jan_april_2003.pdf ���������� ��� ���� ���� ���������������������������������������������������� �� � �!"#$%&$'()*#$+'#$,&+'(#-#+./&+'&#./+01+23)-#$*45 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�������������������������������������������������� !"���#��!��$���%����&�'�(�(�)�*�+,,-��./012032456272489:;<8=>?@?abcd�e��f�g�hi� �#��j�����#��k!gg����������*�+,lm�no07pqrst/up5v0us0/7p2w�j�'�h&�x�#y"&��h���h��z���k!�[�*�z!��\�j�'!]���̂ �h�%!*�$---��_a:>c̀c?5a/0pw�������bx�# ��)��b'���b�h��z##*�+,c$��d��b���h��!��ecfgh8icbahj8kjclgjlcbcm?cn203op5pp0/01125a2qr245pp011p35n4stprw���h�'�h&�x������u�g&�'��#g����'�v�"���*�+,,m��wcma8e@xyclc8zc:c;8{|c}cmc8~@mbc�ahch8�j<hj8xa8�@mc?gh8i<mcbcm?c8�c>c8~cb<8e<�chc8�8���������d�!b��'�h&�x���)�� "�g�gn���v�&�!�)�h�&�*�$--$���fa;chl<8i<j<md�j�'�h&�x���'��u��b��&�h���%�����v�&�!�)�h�&�*�$--$���fa;chl<8i<j<md���h�'�h&�x���'��u��b��&�h���%�!����h��)���!�!*�+,�,��ia;fg:a>;@8xch8�a>?aba>;@8zc:c;8�clchjd�j�'�h&�x������b�(b��b� �� ��������������������������������  harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 perubahan musik rebana menjadi kasidah modern di semarang sebagai suatu proses dekulturasi dalam musik indonesia (the change of rebana music to became modern kasidah in semarang as a deculturation procces in indonesian music) bagus susetyo staf pengajar jurusan sendratasik, fakultas bahasa dan seni, universitas negeri semarang abstrak musik kasidah modern adalah jenis musik yang bercirikan islam yang ada di masyarakat kota semarang saat ini, dan merupakan suatu fenomena seni pertunjukan yang ada di masyarakat seiring dengan keberadaan seni pertunjukan musik ke-islaman yang lain. jenis musik ini tidak hadir begitu saja seperti yang ada sekarang, tetapi mengalami suatu proses akulturasi, yang diperkirakan berasal dari bentuk-bentuk musik islam yang ada sebelumnya yang membentuk musik rebana, kemudian mengalami proses dekulturasi sehingga terbentuklah musik kasidah modern. pada proses dekulturasi musik rebana mengalami perubahan budaya musik dan perubahan elemen-elemen musikalnya, baik pada komposisi musiknya maupun pada bentuk penyajiannya yang mengakibatkan satu sisi mengalami kemajuan pada aspek hiburannya dan pada sisi lain mengalami perubahan pada nilai-nilai sakral ke-islamannya. kata kunci: perubahan, rebana, kasidah, dekulturasi a. pendahuluan masyarakat memahami bahwa musik kasidah modern di kota semarang merupakan bentuk seni pertunjukan musik yang bercirikan islam sebagai suatu fenomena yang ada di masyarakat sekarang. jenis musik ini tumbuh dan hadir di kota semarang kira-kira baru pada awal tahun 1970-an, hal ini ditunjukkan dengan berdirinya kelompok-kelompok musik kasidah, seperti: bintarin, nasida ria, nida ria dan lain-lain. jenis musik ini tumbuh dan berkembang di kota semarang dan kota-kota di sekeliling kota semarang, seperti: demak, kendal, pekalongan, batang, temanggung, purwodadi, jepara, dan lain-lain. bentuk komposisi dan penyajiannya adalah sebuah nnsnmbel besar dengan pola ritme terbangan, masuk dalam kategori musik tradisi bertangga nada dintonis, memakai peralatanperalatan seperti: terbangan, drum set, ketipung, tamborin, gitar listrik dan bas listrik, seruling, biola dan lain-lain dengan beberapa penyanyi yang menyanyikan lagu-lagu islami dalam bahasa indonesia, arab dan bahasa daerah. musik dan syairnya bertemakan islam dan dipentaskan dalam peristiwa-peristiwa yang bersifat ritual dari hiburan. jenis musik ini diperkirakan berasal dari harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 bentuk-bentuk musik islami yang ada sebelumnya, yang pada awalnya dibawa oleh para wali dan penyebar agama islam bersamaan dengan hadirnya agama islam di indonesia, karena mempunyai elemen-elemen musikal yang sama, berakulturnsi antar sesamanya membentuk musik rebana, yang kemudian mengalami proses akulturasi dengan musik barat dan proses dekulturusi yang akhirnya terbentuklah musik kasidah modern di kota semarang. william a. haviland (1985: 26) dalam bukunya antropologi jilid 2, menyatakan bahwa akulturasi terjadi bila kelompok-kelompok individu yang memiliki kebudayan yang berbeda saling berhubungan secara langsung dengan intensif, yang kemudian menimbulknn perubahan-perubahan besar pada pola kebudayan dari salah satu atau kedua kebudayaan yang bersangkutan. di antara variabel-variabel yang banyak itu termasuk tingkat perbedaan kebudayaan, keadaan, intensitas, frekuensi dan semangat persaudaraan dalam hubungannya siapa yang dominan dan siapa yang tunduk, dan apakah datangnya pengaruh itu timbal balik atau tidak. menurut kodiran (1988: 87), akulturasi akan terjadi apabila terdapat dua kebudayaan atau lebih yang berbeda sama sekali (asing dan asli) berpadu sehingga proses-proses atau pun penyebaran unsurunsur kebudayaan asing diolah sedemikian rupa ke dalam kebudayaan asli dengan tidak menghilangkan identitas maupun keasliannya, ini berlaku pada semua aspek kehidupan seperti: sosial, ekonomi, hukum, adat-istiadat, politik, agama, pendidikan dan termasuk kesenian. dengan demikian akulturasi juga dapat diterapkan pada perubahan budaya musik, termasuk perubahan budaya musik dalam musik indonesia yaitu musik kasidah modern di kota semarang. akibat kontak kebudayaan atau peristiwa akulturasi, sering terjadi perubahan dan perkembangan kebudayaan pada masyarakat setempat, yang prosesnya dapat menimbulkan sejumlah masalah baik yang positif maupun negatif. adapun masalahmasalah tersebut merupakan bagian dari akulturosi itu sendiri, masalahmasalah tersebut adalah adisi (addition), sinkretisme (syncretism)., subtitusi (subtitutiori), dekulturasi (deculturation), dan rejeksi (rejection}. dari beberapa akibat akulturasi tersebut yang paling sesuai dengan perubahan kebudayaan musik yaitu bagaimana berubahnya musik rebana menjadi musik kasidah modern, adalah peristiwa dekulturasi: menurut kodiron (1988: 90) dekulturasi adalah tumbuhnya unsur kebudayaan yang baru untuk memenuhi kebutuhan baru, yang timbul karena perubahan situasi. musik rebana adalah jenis musik yang berasal dari musik yang bercirikan islam yang ada sebelumnya, karena berakulturasi secara lokal dan budaya arab, kemudian dalam kurun waktu yang panjang musik rebana mengalami proses dekulturasi yaitu mengalami perubahan pada elemen-elemen musiknya untuk memenuhi kebutuhan penyajian yang baru karena situasi yang baru, maka terbentuklah musik kasidah modern. teori-teori antropologi diatas memang sesuai apa yang terjadi pada musik kasidah modern di kota semarang, untuk itu akan dibahas lebih lanjut pada uraian di berikut ini. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 b. proses perubahan budaya musik musik kasidah modern adalah jenis musik yang diperkirakan berasal dari bentuk musik yang ada sebelumnya yaitu musik rebana. musik rebanapun diperkirakan berasal dari bentuk-bentuk musik bercirikan islam yang ada sebelumnya. bentuk-bentuk musik tersebut adalah, (1) salawatan, yaitu bentuk puji-pujian terhadap kebesaran nabi muhammad saw pada acara-acara ritual keagamann masyarakat semarang, salawatan ini berkembang di kota semarang dan sekitarnya, (2) barzanji, seni vokal bercirikan islam yang berkembang di kota semarang dan sekitarnya, (3) kentrung, yaitu musik bercirikan islam yang diperkirakan paling awal kehadirannya di pulau jawa, musik ini berkembang di kabupaten blora, pati, jepara, dan purwodadi, (4) zapin pesisiran, yaitu kesenian tari yang diiringi oleh musik terbangan, kesenian ini berkembang di demak dan semarang, (5) opak abang, yaitu kethoprak dan terbangan, berkembang di kendal, boja dan pinggiran kota semarang, (6) kuntulan, yaitu tari yang diiringi musik terbangan yang berkem bang di daerah kendal, kabupaten temanggung dan pemalang, (7) simtuduror, yaitu kesenian musik salawatan dengan membaca kitab maulid yang bernama simtuduror, dengan diiringi musik terbangan, kesenian ini berkembang di pekalongan, kendal dan semarang, (8) kesenian dengklung, yaitu kesenian yang dimainkan oleh 10 12 orang dengan peralatan: jidur, terbangan, kendang, kemung dan tamborin. untuk mengiringi suatu tarian, kesenian ini berkembang di daerah batang, (9) gambus, yaitu musik bercirikan islam yang mendapat pengaruh dari arab dengan alat musik gambus, berkembang di daerah pantura pulau jawa. jenis-jenis musik bercirikan islami ini diperkirakan kehadirannya di tanah jawa khususnya semarang bersamaan dengan kehadiran islam di jawa yang dibawa oleh para wali dan penyebar agama islam. bentuk-bentuk seni pertunjukan ini masih bersifat individual berupa ansambel sejenis dan mempunyai struktur komposisi kecil sederhana, kemudian berkembang dalam kurun waktu yang lama cenderung untuk membentuk bentuk komposisi yang lebih kompleks dan mengalami proses akulturasi antar sesamanya. akulturasi yang bersifat lokal dan berpengaruh dari kebudayaan arab, serta proses yang panjang, maka diperkirakan terbentuklah musik rebana. terbentuknya musik rebana disebabkan oleh dua hal pokok yaitu (1) karena mempunyai elemen-elemen musikal yang sama, terutama adanya instrumen terbangan, (2) mempunyai bentuk syair ke-islaman yang sama. musik rebana mempunyai bentuk penyajian dengan bentuk ansambel yang lebih besar dan mempunyai aspek menghibur yang lebih baik, tetapi elemen-elemen dasar musik islaminya masih ada. diperkirakan musik rebana mulai berkembang di pantura jawa, termasuk semarang dan sekitarnya sekitar abad xvi sampai sekarang. (si naga, 2002: 31-44) saat ini perkembangan musik sedemikian maju, musik barat tak terbendung masuk ke indonesia dengan jenis musik hiburan yang modern dengan peralatan dan bentuk penyajian yang menarik, seperti: musik pop, jazz rack, blues, dangdut, keroncong bahkan campursari dan sebagainya, harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 maka musik rebana dianggap sebagai musik bercirikan islam pedesaan yang ketinggalan zaman, budaya pesantren tradisional, sehingga dianggap kurang representatif, kuno dan tidak diminati kaum muda. dengan keadaan yang demikian, musik rebana mengalami perubahan diri, atau sebuah evolusi kecil dalam hal komposisinya sehingga ia mengalami proses akulturasi, yaitu membuat suatu perubahan bentuk dirinya dengan membuat perubahan baru dengan mengambil hal-hal yang baru. selanjutnya musik rebana mengambil elemen-elemen musik barat, terutama peralatan, bentuk penyajian, syair dan meninggalkan sebagian elemen-elemen musik rebananya, tetapi tetap mempertahnnkan ciri islamnya, maka terbentuklah musik kosidah modern di kota semarang. musik kasidah modern sebagai musik yang berbeda dari musik rebana, tetapi berasal dari musik rebana yang mengalami proses dekulturasi, di suatu sisi ia kehilangan nilai-nilai sakral islaminya, pada sisi lain ia mempunyai nilai hiburan yang lebih menarik daripada musik rebananya. kehilangan nilai sakralnya karena dalam musik kasidah syair yang ia gunakan dapat dalam bahasa arab, bahasa indonesia dan bahasa daerah, sedangkan pada rebana syair yang digunakan hanya dalam bahasa arab, selain itu bentuk penyajian, cara menyanyi, kostum, rias, dan lain sebagainya, lebih bernilai hiburan, walaupun tema-tema lagu tetap dalam koridor keislaman. mengenai peralatan terjadi perubahan yang besar dengan meninggalkan peralatan-peralatan yang dianggap sangat tradisional, seperti: bas rebana, kempling, yang diganti dengan bas listrik dan drum set. diperkkakan bahwa musik kasidah modern secara umum maupun yang ada di kata semarang berasal dari musik rebana yang mengalami proses dekulturasi, dan musik rebana itu sendiri berasal dari jenis-jenis musik bercirikan islam yang ada sebelumnya, sesuai dengan yang ditulis oleh peneliti barat helene bouvier (2002: 210220), dalam disertasinya yang berjudul lebur: "seni musik dan pertunjukan dalam masyarakat madura". bouvier meneliti seni pertunjukan pada masyarakat madura, salah satunya adalah seni pertunjukan yang bercirikan islam, dalam tulisannya dikatakan bahwa landasan dari semua jenis musik berckikan islam adalah kasidah yang merupakan puji-pujian kebesaran untuk allah swt dan nabi-nya dalam bahasa arab, seluruh corpus nyanyian/ kesenian islam dapat ditentukan berdasarkan penggunaan qasidah: apakah qasidah ini diiringi musik apa tidak, apakah ditarikan apa tidak, serta apakah tercampur di dalam bahasa indonesia atau madura, hasilnya sebagai berikut: (1) diba'; adalah doa dan ayat al quran yang dibacakan atau diucapkan secara lisan berselang-seling dengan kasidah yang dinyanyikan tanpa koreografi dan musik, (2) samman, adalah ayat al quran dan qasidah yang kadang-kadang diiringi musik dnn disertai koreografi sederhana berupa lingkaran, bait-bait dalam bahasa madura, kadang-kadang di tengah terdengar bait-bait bahasa arab, (3) haddrah, inlah qasidah dengan iringan musikal dan koreografi yang besar, kadang-kadang di desa tertentu ditambahkan beberapa bait dalam bahasa madura, (4) samroh, adalah qasidah dengan iringan musikal dan lagu bertemakan moral, dalam bahasa indonesia atau madura, tanpa harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 koreografi, (5) gambus, ialah beberapa qasidah diiringi musik dan ditarikan dengan nyanyian cinta dalam bahasa indonesia atau madura penelitian bouvier yang dilakukan pada masyarakat madura tentang musik yang bercirikan islam adalah sama dengan musik-musik bercirikan islam yang ada di kota semarang dan di sekitar kota semarang. kesemuanya dikatakan sebagai musik qasidah sebagai lagu, baik yang ditarikan maupun yang tidak, dan saat ini bermuara sebagai komposisi musik qasidah yang di kota semarang disebut sebagai musik kasidah modern. proses akulturasi pada perubahan budaya musik dalam musik kasidah modern, terjadi pada banyak hal, baik menerima elemen-elemen musik barat maupun meninggalkan pengaruhpengaruh arab, menerima budaya lokal, maupun pengurangan nilai-nilai sakral islami, baik pada bentuk komposisinya maupun bentuk penyajiannya. bila meminjam konsep pemahaman dari margaret kartomi (2000: 18), tentang pertemuan kebudayaan yang terdapat dalam artikelnya berjudul "the process and result of musical contact: a discussian of terminology and cancep", dikatakan bahwa proses-proses perubahan kebudayan dapat terjadi dalam enam bentuk, yaitu: (1) penolakan secara tegas musik (virtual rejection of an impinging music), (2) pengambilalihan ciri khusus musik (transfer of discrate musical traits), (3) pluralisme musik yang hidup berdampingan (pluralistic co existence of music), (4) kebangkitan unsur musik lokal (navistic musical revival), (5) penghapusan musik (musical abandonment), (6) pemiskinan musik (musical impoverishment). demikian pula yang terjadi pada musik kasidah modern di kota semarang dan proses perubahannya dari musik rebana, walaupun saat ini kedua-duanya tetap ada, eksis dan tetap diminati para penggemarnya. enam hal bentuk perubahan diatas terdapat pada proses pembentukan dan keberadaan musik kasidah modern, proses perubahan kebudayaan tersebut dapat dibahas sebagai berikut: 1. penolakan secara tegas musik (virtual rejection of an impinging music) proses penolakan secara tegas musik dalam perubahan budaya musik kasidah modern di koto semarang tidak terlalu jelas terlihat proses perubahannya dapat dikatakan sebagai suatu kemandirian musik kasidah, artinya musik kasidah tidak total berubah bentuk menjadi musik yang kebarat-baratan, walaupun ia mendapat pengaruh besar dari elemen-elemen musik barat. la tetap tidak meninggalkan jauh ciri-ciri keislamannya yaitu dengan tetap mempertahankan sebagian pola ritme syair-syair yang bertemakan keislaman. 2. pengambilalihan ciri khusus musik (transfere of discrate musical traits) musik kasidah modern di kota semarang saat ini dalam setiap pertunjukan tidak hanya menyanyikan lagu musik islami yang berasal dari musik rebana saja atau dari budaya musik islami sebelumnya, tetapi juga menyanyikan lagu-lagu yang biasanya dimainkan oleh jenis musik lain, seperti: lagu-lagu dangdut, campursari, pop dan sebagainya. lagu-lagu ini diambil pada lagu-lagu yang sudah jadi dengan syair yang sesuai dengan musik kasidah atau lagu-lagu ciptaan sendiri yang mempunyai style atau gaya musik harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 lain tetapi kemudian disesuaikan dengan lagu-lagu kasidah. disini menunjukkan bahwa lagu-lagu kasidah telah mengambil ciri-ciri khusus atau gaya musik lain yang dimanfaatkan untuk menambah kemenarikan dan menambah nilai hiburannya agar tetap diminati para penggemarnya, serta mengurangi rasa kebosanan dari pola ritme rebana yang terasa kental dan cenderung monoton. 3. pluralisme musik yang hidup berdampingan (pluralistic co existense of music) keanekaragaman jenis musik di kota semarang cukup merata, masingmasing mempunyai komunitas dan penggemar sendiri-sendiri, hidup berdampingan tidak saling berbenturan baik dalam pertunjukan-pertunjukannya maupun dalam pemasaran produk-produk karya seninya. musik kosidah modern menempatkan dirinya secara khusus sebagai musik yang bercirikan islam, memberi kontribusi kebutuhan masyarakat akan kelengkapan ritual keagamaan. musik kasidah bisa awet dan tetap dibutuhkan karena seolah-olah merupakan keharusan untuk mementaskannya seiring dengan acara-acara keagamaan dan ritual kehidupan masyarakat seperti: khitanan, perkawinan, potong rambut, pengajian dan sebagainya. musik kasidah modern menempatkan diri dalam keaneknragaman musik yang ada di kota semarang, serta menjadi bagian yang cukup berarti dan diperhitungkan. 4. kebangkitan unsur musik lokal (navistik musical revival) pertemuan beberapa kebudayaan musik mengakibatkan terjadi proses perubahan budaya musik, perubahan ini dapat timbul bentuk baru yang merupakan perpaduan antara dua kebudayaan asing dan lokal, keuntungan dapat saja terjadi pada kedua belah pihak, tetapi yang pasti adalah pihak yang menyerap unsur-unsur asing demi kebutuhan akan peningkatan secara alamiah akan kualitas hiburannya. dalam peristiwa ini unsur-unsur lokal yang dahulu tersembunyi dan dianggap kuno kurang representatif akan dimunculkan akibat perpaduan dengan unsur-unsur asing, dan unsur-unsur musik lokal akan dapat terangkat sederajat dengan budaya musik asing yang masuk. 5. penghapusan musik (musical abandonment) dalam peristiwa pertemuan dua kebudayaan musik atau lebih jelas terjadi suatu pemiskinan musik, namun dalam peristiwa perubahan kebudayaan dan terbentuknya musik kasidah modern dari musik rebana, tak begitu jelas terlihat hanya saja mengacu pada proses dekulturasi, ada sebagian unsur-unsur sakral islam yang mengalami perusakan tapi di suatu sisi lain mengalami proses kemajuan. perusakan nilai-nilai islaminya jelas identik dengan penghapusan unsur musik, ada hal yang dihilangkan dari musik rebana dan tidak muncul pada komposisi musik kasidah modern. pada aspek peralatan ada beberapa alat musik yang sudah tidak digunakan lagi yaitu: bas rebana dan kempling, dua alat musik ini tugasnya digantikan oleh bas listrik dan drum set, jadi dalam proses pertemuan kebudayaan yang mengakibatkan timbulnya musik kasidah modern ada elemen-elemen musik lokal yang dihapuskan yaitu aspek instrumentasi. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 6. pemiskinan musik (musical improverishment) pemiskinan musik merupakan bagian dari perubahan kebudayaan akibat pertemuan kebudayaan dalam konteks musik kasidah modern. peristiwa ini nampaknya sukar untuk dianalisis, kemungkinan tidak terjadi aspek ini, atau ada tetapi tidak menjadi penting karena menyangkut pengurangan elemen-elemen musikal yang jumlahnya sangat sedikit. pada musik kasidah modern di kota semarang, yang terjadi adalah penambahan elemen-elemen musikal, sehingga pertunjukannya menjadi lebih baik dan lebih semarak. dengan proses akulturasi dengan musik barat bentuk komposisi musik kasidah modern menjadi lebih kompleks, lebih modern dan lebih menarik, hal ini tentu mempengaruhi pula pada bentuk penyajiannya yang tentu lebih baik. c. proses perubahan elemenelemen musikalnya elemen-elemen musik merupakan unsur-unsur yang terdapat dalam komposisi musik yaitu ritme, melodi, harmoni, syair, instrumen, tempo, dinamik, ekspresi sampai pada analisis bentuk struktur musik dan reportoar. disini dapat dilihat unsur-unsur mana yang mengalami perubahan baik pengurangan atau penambahan struktur bagian-bagiannya dan penyebabnya apa. bentuk penyajian yang meliputi: tata panggung, tata rias, busana, tata lampu, sound system dan sebagainya, apakah ada perubahan secara tehnis, baik penambahan, pengurangan atau pun perpaduan struktur bagian-bagiannya, penyebabnya apa, dan pengaruhnya terhadap bentuk penyajian secara keseluruhan. oleh sebab itu akan ditelaah bagaimana perubahan elemen-elemen musik dari musik rebana ke musik kasidah modern di kota semarang. 1. perubahan aspek komposisi musik pola ritme musik rebana ditentukan oleh pukulan pada alat musik terbangan, kempling dan bas rebana, ritme yong dihasilkan oleh ketiga alat ini betul-betul mewakili jenis musik rebana, manakala ritme ini hilang maka musik rebananyapun hilang, ketika terjadi perubahan budaya musik dari rebana hingga terbentuk jenis musik baru yaitu kasidah pola ritme ini masih ada, namun ada dua alat yang betul-betul sudah tidak dipakai pada musik kasidah yaitu kempling dan bas rebana, bunyi alat musik ini digantikan perannya dengan bas elektrik dan drum set. sedangkan terbangan tetap ada, walaupun kadang-kndang tidak digunakan, disesuaikan dengan lagu yang dibawakan. penambahan peralatan jelas menjadi titik sentral pembentukan musik kasidah modern, penambahan yang merupakan akulturasi dengan musik barat, yaitu berupa atat-alat seperti: bas elektrik, gitar elektrik, drum set, biola, keyboard, dan peralatan-peralatan musik barat lain yang diperlukan,tapi perlu ada yang dicatat bahwa dengan peralatan tersebut jenis musik bercirikan islam ini tidak lantas menjadi bentuk musik barat lain seperti: band-pop, jazz, rock dan sebagainya, jadi ada semacam ciri yang dipertahankan. beberapa peralatan yang tetap dipertahankan atau sebagai ciri musik islami yang utama adalah terbangan, gambus, suling (bambu), mandolin, termasuk tamborin, sebagian alat-alat inipun harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 merupakan akulturasi atau alat yang datangnya dari pengaruh bangsa arab. perubahan-perubahan komposisi musik dari musik bercirikan islam yang terdahulu dan musik rebana menunjukkan bahwa musik kasidah modern adalah betul-betul jenis musik bercirikan islam yang terbaru akibat dari perubahan kebudayaan musik. 2. perubahan aspek benfuk penyajian pada musik-musik bercirikan islam sebelum rebana maupun pada rebana, biasanya dipentaskan pada tempat yang tidak selalu harus ada panggung pertunjukan, dapat di teras rumah, di teras masjid, atau di sudut suatu ruang pertemuan tanpa ada panggung, walaupun jenis musik ini masih tetap ada sampai sekarang perlakuan dalam hal pementasan tetap masih sama, kecuali musik rebana yang pada kesempatan-kesempatan tertentu dibuatkan panggung, hal ini disebabkan karena peralatan-peralatannya yang relatif sedikit dan merupakan ansambel kecil, musik kasidah yang hadir dan terbentuk belakangan mempunyai jumlah peralatan yang lebih banyak dengan penampilan ansambel yang lebih besar dan melibatkan pemain musik dan penyanyi yang lebih banyak, tentu saja perlakuan pementasannya lebih khusus dengan dibuatkan panggung besar, walaupun kadang-kadang juga dapat dipentaskan di mana saja dengan tempat yang seadanya disesuaikan dengan acaranya, tapi yang jelas terjadi perubahan-perubahan tentang tata panggung ketika musik kasidah modern telah ada sekarang dibandingkan dengan musik rebana atau musik-musik yang bercirikan islam sebelumnya. sehubungan dengan tata panggung, tak bisa dipisahkan dengan tata lampu dan sound system, dengan kemajuan zaman tentu saja terjadi kemajuan dalam bidang teknologi tata lampu dan sound system, walaupun jenisjenis musik bercirikan islami tersebut tetap ada pada saat ini, tentu saja berbeda masalah tata lampu dan tata suara, hal ini disebabkan karena bentuk dan kondisi penyajinnnya yang berbeda-beda. untuk tata busana dan tata rias telah terjadi perubahan dan kemajuan yang cukup besar, hal ini disebabkan karena tuntutan zaman yang harus menampilkan sisi hiburan yang harus menarik dan persaingan jenis-jenis hiburan lain agar musik yang bercirikan islam dapat tampil sejajar dengan jenis musik hiburan lain tapi tetap dalam batas-batas aturan keagamaan dan nilai-nilai keislaman. pada jenis musik sholawatan yang berupa vokal keagamaan atau dengklung, yang para vokalisnya tentu berjilbab dan berkain panjang, biasanya satu warna hitam atau putih tanpa tata rias; bahkan kadang-kadang dengan formasi duduk bersimpuh tanpa banyak gerak. formasi pemain diatas panggung juga berubah seiring dengan kemajuan penampilan grup musik jenis lain, kalau bentuk formasi berdiri maupun duduk bersimpuh yang dilakukan para pemain rebana biasanya hanya bentuk satu baris disertai dengan variasi gerakan-geraknn tertentu, hal ini disebabkan karena kurangnya peralatan yang dapat digunakan untuk bermain, oleh karena itu terkesan monoton, terlalu teratur, untuk wanita hampir tak ada gerakan karena diharamkan wanita untuk bergerak lebih banyak: saat ini tanpa mengurangi nilai-nilai ke-islaman dan melanggar aturan agama, para pemain musik kosidah modern dapat bergerak secukupnya deharmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 ngan sopan mengikuti hentakan-hentakan lagu, formasi pemain dan penyanyi pada tata panggung dapat bebas seperti grup-grup musik rock, pop, dangdut dan sebagainya. para pemain musik kasidah modern dapat bebas bergerak yang kadang-kadang dapat sambil bernyanyi dan memegang alat musiknya masing-masing dan sebagian dapat berpindah-pindah tempat karena posisi bermain sebagian besar berdiri, kecuali pemain drum set dan keyboard yang kadang-kadang juga berdiri. d. penutup musik kasidah modern di kota semarang tidak hadir begitu saja di masyarakat, tetapi mengalami proses akulturasi yang panjang yang diperkirakan berasal dari musik-musik bercirikan islam yang ada sebelumnya. karena mempunyai elemen-elemen musikal yang sama, maka terbentuklah musik rebana. musik rebana itu sendiri mengalami proses dekulturasi, yaitu mengambil unsur-unsur baru dari kebudayann yang baru yang timbul karena perubahan situasi yang baru, sehingga terbentuklah musik kasidah modern. pada proses dekulturasi musik kasidah rebana mengalami perubahan pada kebudayaan musik dan perubahan elemen-elemen musikalnya, baik pada komposisi musiknya maupun pada bentuk penyajiannya. kepustakaan bandem, i made, 2001, "etnomusikologi penyelamat musik dunia" dalam selonding, no: 1, vol 1 tahun 2001, yogyakarta: masyarakat etnomusikologi indonesia. bouvier, helene, 2002, lebur. seni musik dan pertunjukan dalam masyarakat madura, diterjemahkan oleh rahayu s. hidayat dan jean coauteau, jakarta: yayasan obor indonesia. garraghan, gilbert j. a., 1963, a guide to historical method, new york: fordham university press. haviland, william a., 1985, antropolagi ]ilid i, diterjemahkan oleh r.g. soekardijo, surakarta: erlangga. kaplan, onvid. 2002, teori budaya. diterjemahkan oleh landung simatupang, yogyakarta: pustaka pelajar. kodiran, akulturasi sebagai mekanisme perubahan kebudayaan, dalam humaniora, no: 8 tahun 1988, yogyakarta: bppf dan psi, fakultas sastra u&m. koentjaraningrat, 1987, sejarah teori antropologi i, jakarta: universitas indonesia press. merriam, alan p., 1964, the anthropology of music, north western: university press, 1964. nakagawa, shin, 2000, musik dan kosmos, jakarta: yayasan obor indonesia. purwanto, hari, 2000, kebudayaan dan lingkungan: dalam perspektif antropologi, yogyakarta: pustaka pelajar. sadie, stanley, 2002, musik nusantara: indonesia sebuah republik di asia tenggara, terjemahan i made bandem, yogyakarta: institut seni indonesia yogyakarta. harmonia: jurnal pengetahuan dan pemikiran seni vol. vi no. 2/mei-agustus 2005 sinaga syahrul syah, "kesenian rebana di pantura jawa tengah: sebuah kajian musikologis”, tesis sebagai syarat untuk mencapai derajat s-2 pada program studi pengkajian seni pertunjukan dan seni rupa, pascasarjana ugm yogyakarta 2002. d:\harmonia\2002\vol. 3 no2 mei_agustus 2002.pdf ��������������� �� ������ ����� ���������������������������������� ���!" 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">:gc( 2?=e:9>j( $4cg>m *c:v9b>:?fj(pdfe6 1=>i:c:6( l1b4c?l4c<( ">5:m6 %!(/"-6 &46pj(0lghgb?gj(pdf76 $gc=>gxgj( "6/m6 ='&0:j&03[+ -#( 6!@/$"/0(:'!6$0:*+-#(+6$#&4/$+$0 -#(+ 3$@-036( bg?gv:gn( b495mgce95 .6(145kk(o(a46j(pdpd6 ,=bd955j( )4gcc9( b6j( gce( #4cg5e( a6 ,=bd9556( l,4b?=<g5n( c45h($=>:dm6 2?gc59f( 2ge:9j( 9e6 n1$+ o$a v'&7$+ s/):/&0-'g+ &.+ %!(/)+ -04 %!(/)/-0(6( 3456p^6( +4ce4cn $gdx:55gc( ,=i5:>m9b>( +:x:?9ej pde@6 #9:>( /m4xggj( +=j>( c:5:r9( c6 b-'#g 2&':!3!$($+ %-#-))-6( /9bl6( cb6 $gc=95( )4gw=:x( ,:c?ge4j( gce $gb:g( ,:g( $4ggb?( 2:5v9:bg6 $gdg=( /9bb:?4b:g5( a4xx:>>:4c k4b( ?m9( a4xx9x4bg?:4c>( 4k( ?m9 ,4b?=<=9>9( 0:>d4v9b:9>j( gce ,45:?9dmc:d( 'c>?:?=?9( 4k( $gdg=j 7@@@6 #:dh59k>j( $9b59( a6 r$j-'-1+ c04&0$(/%&4$'06( /9bl6( 0mgbx4c4 !gbel4`:el4c46( n4<fghgb?gn .gelgm( $geg( *c:v9b>:?f( ,b9>>j pddp6 2gdm>j( a=b?6 \&'#4+ z/(:&'g+ &.+ n1$ s-0)$6( /9bl6( b9>>:9( 2dmpci9b<6 &9`( n4bhn( _6_6( &4b?4c( o a4xrgcf('cd6j(pday6 2dm=dmgbe?j( !=<46( l*9i9b( eg> $g5g:r4b?=<:9>:>dm9( v4c( bg?gv:g =ce( /=<=m6 ='$&#/()1$+ r:!4/$06 3456'qj( "imgce5=c<( q'' a4bb9>r6( $:?<5:9e9( e9b( h9:>j "hge9x:9( e9b( _:>>9c>dmgk?9cj pedp6 _m:??g55j( "bc45e6 l&6-0:/)+ %!(/)6 +4ce4cn( /mgx9>( gce( !=e>4cj pdef6 b%&%-'a7"& p6 #gw=95( $gb<gb:eg( $9e9:b4>j _9>?9bc(!4b:>4c($9e:dg5(.b4=rj ,g5x( 2rb:c<j( ag5:k4bc:gj( *2"s h95gm:bgc( 2gc( $:<=95j( "g4b9>j ,4b?=<g56 76 $geg59cg( ,9b9:bgj( ,4b?=<=9>9 +gc<=g<9('c>?b=d?4bj(-xig>>f(4k ,4b?=<g5j()ghgb?g6 ?,-1*$&%@, *&-2a%j %!(/8!$+ 4!+ %&04$ kpyj l)gvgn( 1b4c?l4c<( e9( /=<=mj ,gb:>j(pdfp6 $2,'j r$'/+ %!(/"+ c04&0$(/34567 l1b4cd4c<j( 0gc<e=?j( +gc<<gx )g`gmj(pddf6 $gb:ggj 5-4&+ $6+ 6/6j( _4b5e a4cc9d?:4cj(7@@p6 .b=r4( c45d5rb:d4( e9( a4:xibgj n'-4/:/&0-#+r&03(+.'&6+2&':!3-#j "#a($=>:d( ,b4e=d?:4c( 'c?6( +?e6 $4ce:g5( e9>( a=5?=b9>( if 0b=xx4cev:559j(agcgegj(7@@^6 microsoft word harmonia vol viii no1 2007 harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 campursari dalam stratifikasi sosial di semarang (social statification of campursari in semarang) wadiyo staf pengajar jurusan sendratasik fbs universitas negeri semarang abstrak penelitian ini bertujuan untuk menguji ada tidaknya perbedaan minat terhadap musik campursari antara masyarakat remaja golongan atas dengan masyarakat remaja golongan bawah di semarang. metode penelitian yang diterapkan adalah kuantitatif. populasi, seluruh remaja semarang. teknik pengambilan sampel menggunakan simple random sampling. ukuran sampel 104 orang, terdiri dari remaja golongan atas 52 orang dan remaja golongan bawah 52 orang. analisis data untuk menguji perbedaan, menggunakan rumus uji beda dua rata-rata (t-tes). analisis data untuk mengetahui kategori besaran minat, menggunakan analisis deskriptif kategoris. hasil penelitian menunjukkan, minat terhadap musik campursari antara masyarakat remaja golongan atas dengan masyarakat remaja golongan bawah, ada perbedaan. kategori besaran minat diketahui, masyarakat remaja golongan atas masuk dalam kategori cukup sedangkan masyarakat remaja golongan bawah masuk dalam kategori besar. disarankan, hendaknya campursari sebagai seni budaya lokal mendapat perhatian yang serius dari semua pihak agar keberadaannya tidak lenyap ditelan jaman. dalam hal ini perlu ditumbuhkan kreatorkreator baru utamanya dari kaum remaja sebagai generasi penerusnya. kata kunci: campursari, stratifikasi sosial, minat, remaja, seni a. pendahuluan campursari merupakan jenis musik jawa campuran yang pernah populer di lingkungan masyarakat jawa termasuk di semarang mulai tahun 1994-an sampai 2004-an. setelah itu kepopuleran musik campursari mengalami surut drastis. jika diukur dari jumlah tahun, kepopuleran musik campursari ini hanya sekitar 10 tahunan. penggemarnya terdiri dari mayoritas kaum tua, remaja akhir, dan sebagian kecil remaja awal. penyebab surutnya kepopuleran musik campursari ini mungkin karena berubahnya selera masyarakat dalam berkesenian atau mungkin karena tidak ada kreator lagi yang bisa menyesuaikan dengan selera pasar, atau mungkin faktor lain lagi yang semuanya ini hanya dugaan karena tidak diketahui melalui hasil penelitian yang pasti. sekalipun musik campursari ini mengalami kemerosotan dari segi kepopulerannya, namun demikian di sana sini masih pula digunakan sebagai sarana berkesenian oleh orang-orang tertentu baik kaum tua maupun kaum muda remaja namun kapasitasnya semakin hari semakin berkurang yang hanya tampak digunakan misalnya, untuk acara hiburan pada orang punya hajad yang itu pun masih dicampur dengan musik hiburan jenis lain seperti dangdut dan musik pop umum. kaum remaja mayoritas entah sebab apa secara pasti minatnya sebagian besar telah pindah ke jenis musik populer umum non campursari. harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 dalam hubungannya dengan itu dapat dikemukakan bahwa, dalam setiap stratifikasi sosial atau kelompok sosial tertentu sekalipun sebuah kesenian itu telah dianggap tidak populer lagi dan atau bahkan telah dianggap mati, selalu masih ada yang merasa memiliki atau meminati. untuk jenis musik campursari ini pun juga demikian halnya. mungkin jenis musik campursari ini masih banyak diminati selain kaum tua juga oleh kaum remaja yang berasal dari golongan masyarakat bawah mengingat nuansa tradisionalnya musik campursari ini cukup kental. sementara seni tradisi biasanya banyak diminati oleh masyarakat golongan bawah sehingga dilihat dari nuansa musiknya dimungkinkan sekali musik campursari ini sebenarnya masih diminati oleh mereka yang berasal dari masyarakat golongan bawah. bisa jadi juga kemerosotan kepopulerannya di lingkungan masyarakat bawah karena ”tertutup terlalu rapat” oleh euvoria jenis seni populer lain yang sedang ngetren saat ini. untuk kaum remaja dari golongan atas jelas karena berbagai faktor yang melingkupinya, biasanya lebih cenderung meminati jenis seni yang tidak berbau tradisional. berdasar latar belakang yang dikemukakan, fokus masalah yang diangkat dalam penelitian ini adalah “adakah perbedaan yang signifikan antara minat masyarakat remaja golongan atas dengan minat masyarakat remaja golongan bawah terhadap musik campursari?” tujuan penelitian ini adalah menguji ada tidaknya perbedaan minat antara masyarakat remaja golongan atas dengan masyarakat remaja golongan bawah terhadap musik campursari di semarang. manfaat yang diharapkan, dapat digunakan sebagai bahan kajian oleh para pengkaji seni dan memberi masukan berupa informasi kepada pihak yang terkait untuk penaganan lebih lanjut berkait dengan minat masyarakat remaja dari golongan atas dan bawah terhadap seni yang bernuansa tradisi yakni musik campursari ini. dilihat dari bentuk komposisinya, campursari merupakan bentuk komposisi musik jawa popular sebagai hasil paduan dari musik jawa pentatonik dengan musik popular umum diatonik (manthous, 1999). pemahaman musik populer untuk kepentingan ini mengacu pada pendapat sylado (1983) yang menghubungkan antara populer dengan populasi. intinya, musik populer adalah musik yang digunakan sebagai sarana berkesenian masyarakat luas atau musik yang mempunyai banyak pendukung. berkait dengan itu yang dimaksud dengan musik pentatonik menurut suryono dan suryo alam (tt) adalah sebuah jenis musik yang berintikan lima buah nada yang dalam masyarakat jawa biasa dikenal dengan sebutan pelog dan slendro. musik diatonik menurut prier (1991), adalah sebuah jenis musik barat yang berintikan dua jarak utama, yakni jarak satu dan jarak setengah yang dalam masyarakat luas biasa dikenal dengan sebutan musik umum. dalam hubungannya dengan minat masyarakat remaja semarang terhadap musik campursari berdasar stratifikasi sosial, secara operasional minat tersebut perlu dijelaskan terlebih dahulu. minat di sini dimaksudkan sebagai kecenderungan psikologis yang melekat pada diri seseorang berkait dengan perasaan suka atau senang, penilaian/ tanggapan positif, perhatian, dan ketertarikan terhadap suatu objek/ kegiatan tertentu baik yang bersifat afektif dan atau pun psikomotorik ( harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 winkel 1986; irawati, 1992; kartono, 1980). masyarakat merupakan kesatuan hidup manusia yang berinteraksi menurut suatu sistem adat istiadat tertentu yang bersifat kontinyu dan yang terikat oleh suatu rasa identitas bersama ( koentjaraningrat, 1984). remaja merupakan batasan suatu istilah masa dalam sebuah generasi yang dapat dikaitkan melalui batasan umur. menurut sarlito (1988) dan mappiare (1982) suatu batasan umur yang dapat dikategorikan remaja adalah rentang usia 13 sampai 21 tahun. dalam hubungannya dengan stratifikasi sosial, yang dimaksud dengan stratifikasi sosial di sini adalah suatu tingkatan dan atau lapisan sosial masyarakat berdasar kriteria tertentu (soekanto, 1990; taneko 1993). sebuah lapisan sosial masyarakat dapat dikategorikan dalam beberapa jenis dan macam lapisan, namun yang paling dominan yang sejak awal mendasari adanya lapisan masyarakat adalah golongan masyarakat yang secara umum dapat digolongkan menjadi golongan atas, menengah, dan bawah atau secara spesifik kadang hanya dilihat sederhananya saja, yakni lapisan masyarakat atas/ golongan atas dan lapisan masyarakat bawah/ golongan bawah. lapisan masyarakat bisa dilihat dari aspek seperti kekayaan/ ekonomi, kekuasaan, kehormatan, dan ilmu pengetahuan/ tingkat pendidikan, namun untuk kepentingan penelitian ini hanya mengambil aspek ekonomi dan pendidikan sebab kekuasaan dan kehormatan secara implisit kadang telah melekat pada kekayaan dan tingkat pendidikan. teori yang diterapkan untuk menjelaskan dan atau menjawab permasalahan yang diangkat dalam penelitian ini adalah perspektif teori interaksionisme simbolik sebagaimana yang dikembangkan oleh blumer. menurut blumer (dalam poloma, 1994), bahwa: (1) manusia bertindak terhadap sesuatu berdasarkan makna-makna yang ada pada sesuatu itu bagi mereka, (2) makna tersebut berasal dari interaksi sosial seseorang dengan orang lain, dan (3) makna-makna tersebut disempurnakan disaat proses interaksi sosial berlangsung. makna dalam dunia seni bagi seseorang menurut sedyawati (1995) menyangkut, seni itu bisa dinikmati atau tidak, menggugah imajinasi atau tidak, menyentuh rasa atau tidak, dan mampu mewujudkan suatu nilai budaya atau tidak. musik menurut irawati (1992) bisa digunakan untuk menunjukkan gaya hidup tertentu dan ini juga bisa untuk menunjukkan dari kelas sosial mana orang tersebut berasal. soekanto (1987) menjelaskan, musik sebagai salah satu simbol, merupakan suatu himpunan aktivitas, suatu gejala khas yang dihasilkan dari adanya interaksi sosial. suatu kehidupan kelompok sosial masyarakat dalam berinteraksi berkecenderungan mengelompok pada kelompok sosial yang sekelas. rapoport (dalam rohidi, 1993) mengemukakan, kebutuhan hidup secara umum dari kelompok suatu kelas cenderung sama. di sini termasuk kebutuhan dalam berekspresi seni dan atau berkesenian. lebih lanjut dijelaskan lagi oleh rohidi (1993) bahwa, ciri seni yang digunakan sebagai sarana berkesenian oleh setiap kelompok selalu ada. manakala sebuah seni yang bentuk wujud fisiknya cenderung bersahaja misalnya, baik ditijau dari gagasan, bahan, dan tekniknya, maka seni itu akan dekat dengan orang-orang bawah. dalam kaitan dengan ini budhisantoso (1994) menjelaskan, sebuah karya seni harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 akan didukung oleh masyarakat jika pesan yang ada pada seni itu sesuai dengan norma sosial dan nilai budaya masyarakat pendukungnya. kebutuhan estetik tiap kelompok masyarakat tidak selalu sama. hal ini dikarenakan oleh kondisi secara umum yang ada pada tiap kelompok masyarakat juga tidak sama. ini lah tampaknya yang menjadikan salah satu sebab mengapa kadang sebuah karya seni hanya didukung oleh satu kelompok sosial tertentu saja. dalam hubungannya dengan remaja, suatu penelitian di amerika yang dilakukan oleh dolf zillmann dari universitas alabama dan azra bhatia dari rhode island college (dalam winantu, 1993) menunjukkan, remaja dalam memilih kawan sebagian besar menyesuaikan dengan selera, pilihan, dan atau minatnya terhadap jenis musik tertentu. berdasar selera, pilihan, dan atau minat terhadap jenis musik tertentu itu akhirnya dapat diketahui dari golongan kelas mana remaja tersebut berasal. berkait dengan minat masyarakat remaja semarang terhadap musik campursari dalam hubungannya dengan kelas sosial masyarakat remaja yang ada di semarang, secara konsep dan teori jelas dimungkinkan ada perbedaan minat antara masyarakat remaja golongan atas dengan masyarakat remaja golongan bawah. berdasar itu hipotesis yang disusun dalam penelitian ini adalah “ ada perbedaan yang signifikan antara minat masyarakat remaja golongan atas dengan minat masyarakat remaja golongan bawah terhadap musik campursari”. b. metode metode penelitian yang diterapkan dalam penelitian ini, adalah metode kuantitatif. alasan penggunaan metode kuantitatif di sini karena penelitian ini menguji ada tidaknya perbedaan antara minat masyarakat remaja golongan atas dengan minat masyarakat remaja golongan bawah terhadap musik campursari. data yang diuji berupa angka-angka hasil penjaringan data melalui kuesioner. logika berpikir yang digunakan adalah deduktif. berkait dengan itu lah dipandang tepat jika menggunakan metode kuantitatif. populasi, teknik pengambilan sampel, variabel, pengumpulan data, validitas data, reliabilitas data, uji normalitas, dan analisis data diuraikan secara singkat dan padat, sebagai berikut : 1. populasi populasi penelitian ini adalah seluruh remaja semarang, baik yang berasal dari golongan masyarakat remaja yang berstratifikasi sosial atas/ golongan atas maupun masyarakat remaja dari golongan masyarakat remaja yang berstratifikasi sosial bawah/ golongan bawah. kategori remaja dalam penelitian ini, adalah mereka yang berusia antara 13-21 tahun dan belum menikah. 2. teknik pengambilan sampel teknik pengambilan sampel yang diterapkan dalam penelitian ini adalah simple random sampling dengan membagi seluruh remaja ke dalam dua golongan, yakni golongan masyarakat remaja yang berstratifikasi sosial atas/ golongan atas dan golongan masyarakat remaja yang berstratifikasi sosial bawah/ golongan bawah. penentuan golongan atas dan golongan bawah merujuk pada konsep stratifikasi sosial masyarakat sebagaimana dikemukakan oleh jeffries dan ransford (1980) yang menyatakan bahwa, stratifikasi sosial masyarakat dapat ditentukan atas dasar lokasi tempat tinggal/ kediaman dan tipe harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 rumah serta pendapatan/ pekerjaan dan pendidikan. berkait dengan ini maka masyarakat remaja yang dijadikan sampel adalah mereka yang tinggal di perumahan elit, yakni perumahan bukit sari dan perumahan semarang mas (sebagai masyarakat yang dipilih sebagai golongan atas) dan masyarakat remaja yang bertempat tinggal di daerah baru tikung, kebon harjo, dan bandarharjo (sebagai masyarakat yang dipilih sebagai golongan bawah). tingkat pendidikan orang tua para remaja untuk golongan atas di ambil dari mereka yang berpendidikan slta ke atas sedangkan tingkat pendidikan orang tua para remaja untuk golongan bawah di ambil dari mereka yang berpendidikan sltp ke bawah. ukuran sampel ditetapkan dengan menggunakan hitungan untuk uji beda dua rata-rata. penghitungan secara konkrit ditetapkan alva = 0, 05 dan beta = 0,5. diasumsikan minat para remaja terhadap musik campursari berdistribusi normal, dengan demikian simpangan baku ditetapkan berdasarkan deming’s empirical rules, simpangan baku = 0,24 r. item pertanyaan menggunakan 5 alternatif jawaban. jumlah item pertanyaan 40. skor tertinggi = 5 x 40 = 200, skor terendah 1 x 40 = 40. simpangan baku = 0,24 (160) = 38,4. meaningful ditetapkan = 25. perbedaan rata-rata skor minat para remaja golongan atas dengan golongan bawah dinilai berarti/ meaningful jika terdapat perbedaan skor minimal 25. ukuran sampel dihitung dengan cara tersebut ditemukan 51,07 dibulatkan menjadi 52. dengan demikian perbedaan skor lebih dari 25 dan dengan demikian pula ukuran sampel ditetapkan, remaja golongan atas 52 dan remaja golongan bawah 52. total ukuran sampel 104. 3. variabel penelitian variabel penelitian ini adalah variabel minat, lengkapnya adalah minat masyarakat remaja semarang terhadap musik campursari. selanjutnya variabel ini dibedakan menjadi 2 sub variabel, yakni minat masyarakat remaja semarang terhadap musik campursari dari golongan atas (x1) dan minat masyarakat remaja semarang terhadap musik campursari dari golongan bawah (x2). minat diartikan sebagai suatu kecenderungan keinginan yang “lebih” dan bersifat agak menetap dalam diri individu terhadap suatu objek tertentu. golongan peminat musik campursari merupakan golongan yang memiliki kecenderungan ketertarikan yang “lebih” dalam mengkosumsi jenis musik campursari. dimensi yang menunjukkan adanya minat ini adalah dimensi kesukaan/ kesenangan, penilaian/ tanggapan positif, dan perhatian/ ketertarikan terhadap musik campursari. 4. prosedur pengumpulan data data yang dikumpulkan dalam penelitian ini adalah data primer dan data skunder. prosedur pengumpulan data primer dilakukan dengan menggunakan kuesioner. pembuatan kuesioner berpijak dari konsep minat terhadap musik campursari yang dijabarkan dalam dimensi-dimensi minat terhadap musik campursari. gerak selanjutnya dari dimensi-dimensi yang ada dirincikan lagi dalam indikatorindikator untuk dibuat pernyataan dan pertanyaan yang harus diisi oleh responden. kuesioner disusun berdasarkan likert summated rating, dengan lima alternatif jawaban yang berskala ordinal. data skunder diperoleh dari dokumen administrasi instansi terkait, berupa informasi tentang identitas responden menyangkut tingkat harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 pendidikan dan kesejahteraan orang tua responden. 5. validitas dan reliabilitas data sebelum instrumen digunakan untuk mengambil data penelitian, terlebih dahulu instrumen tersebut diujicobakan terlebih dahulu kepada 30 remaja dari wilayah penelitian namun bukan para remaja yang akan dijadikan sampel penelitian. uji coba instrumen tersebut dimaksudkan untuk melihat validitas dan reliabilitas instrumen. hasil uji validitas dan reliabilitas instrumen yang benar-benar valid dan reliabel berdasar uji coba tersebut selanjutnya dijadikan instrumen untuk mengambil data dalam penelitian ini. data yang tidak valid dan tidak reliabel tidak digunakan alias dibuang. uji validitas secara manual menggunakan korelasi product moment, namun untuk mempercepat penghitungan, penelitian ini menggunakan bantuan program spss. dikatakan valid jika tingkat keeratan hubungannya signifikan pada taraf lebih kecil atau sama dengan 5%. hasil dari validitas instrumen selanjutnya dihitung untuk dicari reliabilitasnya secara manual menggunakan rumus alpha. untuk mempercepat penghitungan, uji reliabilitas dilakukan dengan bantuan program komputer analisis alpha, yang dari analisis penghitungan itu diketahui cronbach alpha sebesar 95% untuk minat masyarakat remaja golongan atas terhadap musik campursai (x1) dan 91% untuk minat masyarakat remaja golongan bawah terhadap musik campursari (x2). koefisien atau besaran ini menunjukkan bilangan yang lebih besar dari angka 60% berdasar ketentuan statistik. dengan demikian dapat dinyatakan, instrumen penelitian ini reliabel. 6. uji normalitas sebelum ditentukan teknik uji hipotesis, terlebih dahulu dilakukan pengujian data menggunakan uji kenormalan data. jika data berdistribusi normal, maka uji hipotesis menggunakan statistik parametrik sedang jika data tidak berdistribusi normal, maka uji hipotesis menggunakan statistik non parametrik. secara manual uji normalitas data ini menggunakan rumus chi kuadrat. namun demikian untuk mempercepat waktu, dalam melakukan uji normalitas data di sini dilakukan menggunakan bantuan komputer program spss. hasil uji kenormalan data menunjukkan harga x2 data minat masyarakat remaja golongan atas terhadap musik campursari sebesar 6, 63 dan minat masyarakat renaja golongan bawah terhadap musik campursari sebesar 6,54 sedangkan harga x2 tabel untuk taraf signifikansi 5% dengan dk= 6-3 adalah 7,81. berhubung kriteria data berdistribusi normal adalah jika x2 data < x2 tabel, maka data minat masyarakat remaja golongan atas dan bawah terhadap musik campursari tersebut adalah berdistribusi normal. 7. analisis data sehubungan dengan hasil uji normalitas data yang menunjukkan bahwa data yang digunakan dalam penelitian ini berdistribusi normal, maka uji hipotesis penelitian ini menggunakan statistik parametrik. data yang semula ordinal, dalam analisis ini diubah terlebih dahulu menjadi data interval. rumus uji statistik parametrik yang digunakan adalah rumus uji beda ratarata (t-test) dengan bantuan komputer program spss for windows. dalam hal ini hipotesis operasional dapat dirumuskan sebagai berikut: harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 ho : µ1 = µ2 h1 : µ1 = µ2 statistik uji mengikuti distribusui t student dengan derajat bebas, db = n1 + n2 2 kriteria keputusan pengujian adalah: ho ditolak dan h1 diterima jika thitung lebih besar dari pada ttabel. gerak langkah untuk melihat hasil penelitian secara deskriptif, dilakukan pemetaan kategori besaran minat terhadap musik campursari antara masyarakat remaja golongan atas dengan masyarakat remaja golongan bawah. untuk pemetaan kategori yang dimaksud dilakukan analisis secara deskriptif. analisis dilakukan dengan langkah: (1) mentabulasi data sebagai yang telah digunakan sebagai bahan uji hipotesis, (2) menentukan banyaknya kelas yang ditentukan sebanyak 5 kelas, yakni sangat besar, besar, cukup, kecil, dan sangat kecil, (3) menentukan range (r), yaitu selisih antara data terbesar dengan data terkecil, (4) menentukan lebar kelas, dan (5) menentukan kriteria minat remaja yang masuk dalam kategori sangat besar, besar, cukup, kecil, dan sangat kecil. c. hasil penelitian dan pembahasan berikut akan disampaikan hasil penelitian beserta pembahasannya. untuk mempermudah pemahaman pembaca dalam memahami hasil penelitian ini, maka antara hasil penelitian dan pembahasannya akan disajikan secara terpisah sebagaimana yang lazim dilakukan dalam sebuah penelitian kuantitatif. 1. hasil penelitian berdasar hasil kuesioner yang dianalisis menggunakan statistik parametrik, yakni dengan cara mengubah data ordinal ke dalam data interval melalui uji beda dua rata-rata, hasilnya dapat ditunjukkan berikut ini. hipotesis statistik yang diajukan: ho : µ1 = µ2 , tidak ada perbedaan minat antara masyarakat remaja golongan atas dengan masyarakat remaja golongan bawah terhadap musik campur sari. h1 : µ1 ≠ µ2 , ada perbedaan minat antara masyarakat remaja golongan atas dengan masyarakat remaja golongan bawah terhadap musik campur sari. keputusan uji : terima ho jika thitung signifikan pada taraf > 0.05. tolak ho jika thitung signifikan pada taraf lebih kecil atau sama dengan 0.05. dari print out uji beda spss diketahui : thitung = -2.74 signifikan pada taraf 0.007 (lebih kecil dari 0.05). dengan demikian : ho ditolak dan h1 atau hipotesis yang diajukan dalam penelitian ini yang berbunyi ada perbedaan yang signifikan antara minat masyarakat remaja golongan atas dengan minat masyarakat remaja golongan bawah terhadap musik campursari, diterima. skor mean minat masyarakat remaja golongan atas = 105, 65, minat remaja golongan bawah = 113, 46. skor total minat remaja golongan atas = 7013, minat remaja golongan bawah = 7384. selanjutnya untuk mengetahui hasil kuesioner secara lengkap dari sisi skor total untuk mengetahui rata-rata minat terhadap musik jawa campursari antara masyarakat remaja golongan atas dengan masyarakat remaja golongan bawah, dapat ditunjukkan suatu hasil penelitian yang dituangkan dalam tabel dan uraian berikut ini. hasil rata-rata minat masyarakat remaja semarang harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 terhadap musik campursari (berdasar skor total) kriteria minat batas hasil skor golongan bawah atas atas bawah sangat kecil 2080 3743 kecil 3744 5407 cukup 5408 7071 7013 besar 7072 8735 7384 sangat besar 8736 10400 dari tabel di atas dapat dijelaskan, bahwa rata-rata minat masyarakat remaja semarang golongan atas terhadap musik campursari mendapatkan skor angka 7013. angka tersebut dalam penelitian ini mempunyai arti, bahwa secara umum atau secara keseluruhan rata-rata minat masyarakat remaja semarang golongan atas terhadap musik campursari masuk dalam kriteria cukup/sedang. kriteria ini ditunjukkan, bahwa skor total angka 7013 berada di antara angka 5408 sebagai batas bawah dan angka 7071 sebagai baras atas, yang rentang di antara angka tersebut menunjukkan wilayah kriteria minat dalam kategori cukup/sedang. lebih lanjut dapat dibaca bahwa, rata-rata minat masyarakat remaja semarang golongan bawah terhadap musik campursari mendapatkan skor 7384. angka ini mengandung arti, bahwa rata-rata minat masyarakat remaja semarang golongan bawah terhadap musik campursari masuk dalam kriteria besar. kriteria ini ditunjukkan, bahwa skor total angka 7384 berada di antara angka 7072 sebagai batas bawah dan angka 8735 sebagai batas atas, yang rentang di antara angka tersebut menunjukkan wilayah kriteria minat dalam kategori besar. 2. pembahasan dalam hasil penelitian ditemukan, bahwa antara minat masyarakat remaja golongan atas dengan minat masyarakat remaja golongan bawah terhadap musik jawa campursari, menunjukkan suatu perbedaan yang signifikan. secara global dapat disebutkan, bahwa rata-rata minat masyarakat remaja golongan atas terhadap musik jawa campursari masuk dalam kriteria sedang atau cukup, sedangkan rata-rata minat masyarakat golongan bawah terhadap musik jawa campursari ini, masuk dalam kategori besar. mengapa hal ini bisa terjadi, akan dilukiskan menggunakan teori interaksionisme simbolik. dalam teori interaksionisme simbolik sebagaimana dijelaskan oleh blumer, bahwa perbedaan minat terhadap suatu objek, pertamanya disebabkan oleh adanya suatu perbedaan makna yang dirasakan oleh orang-orang yang mengapresiasi objek itu. makna dalam dunia seni menurut sedyawati, berkait dengan seni itu bisa dinikmati atau tidak, dapat menggugah imajinasi atau tidak, menyentuh rasa atau tidak, dan dapat mewujudkan suatu nilai budaya atau tidak. berkait dengan ini mungkin yang dirasakan oleh mereka antara para remaja yang berasal dari golongan atas dan bawah, berbeda. artinya bahwa bagi para remaja golongan bawah, campursari ini bisa dirasakan lebih bermakna dibanding dengan yang dirasakan oleh para remaja dari golongan atas. berkait dengan itu menurut rohidi, sebuah seni yang bentuk wujud fisiknya cenderung bersahaja, baik ditijau dari gagasan, bahan, dan tekniknya, maka seni itu akan dekat dengan orang-orang bawah. orangorang bawah cenderung menggunakan simbol-simbol yang realistik yang dekat harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 dengan kehidupan empiriknya seharihari. musik campursari ditinjau dari gagasan, bahan, dan tekniknya juga bersahaja. oleh karena itu lah sangat mungkin musik itu lebih diminati oleh mereka yang berasal dari golongan bawah. dalam hubungannya dengan ini menurut budhisantoso, sebuah karya seni akan didukung oleh masyarakat jika pesan yang ada pada seni itu sesuai dengan norma sosial dan nilai budaya masyarakat pendukungnya. berdasar pemikiran budhisantoso itu, tampaknya pesan yang ada pada musik atau lagu campursari lebih cenderung dekat dengan norma sosial dan nilai budaya masyarakat golongan bawah. berkait dengan itu maka menjadi sangat wajar jika para remaja yang berasal dari lapisan masyarakat bawah mempunyai minat lebih tinggi jika dibanding dengan para remaja yang berasal dari golongan atas. kembali melihat teori interaksionisme simbolik blumer utamanya premis kedua dari teori itu yang menyebutkan bahwa, makna yang ada pada suatu objek berasal dari interaksi sosial seseorang dengan orang lain. di sini utamanya orang lain yang dianggap cukup berarti. orang lain yang dianggap cukup berarti bagi para remaja, menurut mappiare utamanya adalah kawan sebaya sekelompoknya. berdasar itu mengapa para remaja golongan bawah mempunyai minat terhadap musik campursari itu lebih besar bila dibanding dengan para remaja golongan atas, berdasar teori bumer khususnya pada teori dibagian premis kedua itu berarti karena campursari itu banyak digunakan sebagai sarana berkesenian oleh mereka yang berasal dari golongan bawah. dengan demikian kawan lain menjadi setidaknya ikut mempunyai perhatian dan atau menjadi ikut tertarik dan atau senang pada campursari itu. lebih lanjut teori interaksionisme simbolik blumer pada premis ketiga menyebutkan, makna-makna suatu objek yang ada pada diri seseorang disempurnakan disaat proses interaksi sosial berlangsung. di sini berarti bahwa, makna suatu objek yang dalam hal ini objeknya adalah musik campursari yang ada pada diri para remaja golongan bawah, menjadi lebih sempurna karena adanya dukungan dari kawan-kawan sebaya dalam kelompoknya. dalam pengertian ini, campursari itu juga dijadikan sarana berkesenian oleh kawan-kawan dari kelompok remaja golongan bawah sekalipun mungkin dalam tataran apresiasi pasif tidak harus dan tidak mesti sebagai pelaku aktif. dalam kaitan dengan ini irawati menjelaskan pula bahwa, musik digunakan oleh orang untuk menunjukkan gaya hidup tertentu dan ini untuk menunjukkan dari kelas sosial mana orang tersebut berasal. jenis musik tertentu akan didukung dan atau diminati oleh kelompok sosial masyarakat tertentu pula. apa yang dikemukakan irawati sama dengan apa yang dikemukan oleh dolf zillmann dan azra bhatia, bahwa selera musik yang ada pada diri remaja saat sekarang dapat digunakan untuk mengetahui dari kelas sosial mana orang tersebut berasal. berdasar teori yang dikembangkan oleh blumer serta penjelasan yang dikemukakan oleh irawati, dolf zillmann, dan azra bhatia itu dapat semakin jelas digunakan untuk memahami terjadinya suatu perbedaan minat terhadap musik campursari antara para remaja yang berasal dari golongan atas dengan para remaja yang berasal dari golongan masyarakat bawah. harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 penjelasan dari sisi lain lagi tentang perbedaan minat terhadap musik campursari antara masyarakat remaja golongan atas dengan masyarakat remaja golongan bawah, adalah melalui sisi kebutuhan estetik kelompok mayarakat. menurut rapoport sebagaimana dikemukakan oleh rohidi, kebutuhan estetik tiap kelompok masyarakat tidak selalu sama. hal ini dikarenakan oleh kondisi secara umum yang ada pada tiap kelompok masyarakat juga tidak sama. kebutuhan estetik yang tidak selalu sama pada tiap kelompok masyarakat itu menjadikan minat terhadap jenis musik tertentu seperti minat remaja golongan atas dengan minat remaja golongan bawah terhadap musik campursari juga menjadi tidak sama. d. simpulan dan saran berdasar hasil penelitian yang dikemukakan, dapat disampaikan simpulan dan saran sebagai berikut : 1. simpulan minat masyarakat remaja semarang terhadap musik campursari dalam penelitian ini dibagi dalam dua stratifikasi sosial, yakni masyarakat remaja golongan atas dan masyarakat remaja golongan bawah. melalui hasil uji beda dua rata-rata, minat mereka terhadap musik campursari diketahui ada perbedaan yang signifikan. perbedaan minat ini secara jelas bisa dilihat dari penghitungan perolehan angka yang didapat dari isian kuesioner yang menunjukkan, golongan atas masuk dalam kategori sedang/ cukup sedangkan golongan bawah masuk dalam kategori besar. dimungkinkan perbedaan ini dikarenakan: (1) campursari itu lebih bermakna positif bagi masyarakat remaja golongan bawah dibanding dengan masyarakat remaja golongan atas, (2) campursari itu bisa menjadi simbol ikonnya masyarakat golongan bawah tetapi tidak bisa menjadi simbol ikonnya masyarakat golongan atas, (3) masyarakat remaja golongan atas lebih memiliki fasilitas yang lebih lengkap dibanding dengan masyarakat remaja golongan bawah, yang dengan demikian dalam hal memilih jenis musik, masyarakat remaja golongan atas lebih banyak mempunyai alternatif pilihan. 2. saran berdasar dari hasil penelitian yang telah disimpulkan, dapat disampaikan saran sebagai berikut: (1) adanya perbedaan minat terhadap jenis musik tertentu yang dalam hal ini adalah musik campursari antara masyarakat remaja golongan atas dengan masyarakat golongan bawah, hendaknya bisa dijadikan suatu pemahaman oleh pihak pemerintah agar jenis seni apapun perlu diberi kesempatan berkembang “sebebas-bebasnya” mengingat setiap jenis seni memiliki pendukung sendiri dari berbagai kelompok sosial atau stratifikasi sosial yang ada di masyarakat, (2) campursari perlu diperhatikan khusus oleh berbagai pihak demi perkembangannya, mengingat seni campursari ini berakar dari seni tradisi milik sendiri. harapannya jangan sampai seni milik sendiri ini mati dimakan jaman. karena tidak ada lagi generasi penerusnya, (3). perlunya dimunculkan kreator-kreator baru bidang seni musik campursari, misalnya melalui cara diadakan lomba-lomba yang berkesinambungan dengan diberi imbalan yang cukup oleh pemerintah untuk merangsang munculnya banyak kreator baru. harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 daftar pustaka budhisantosa, s. 1994. “kesenian dan kebudayaan” dalam jurnal seni wiled. surakarta: stsi press. irawati, indera ratna. 1992. “musik jazz dan dangdut dalam analisis stratifikasi sosial” dalam masyarakat jurnal sosiologi. jakarta: gramedia. jeffries, vincent and ransford, edward h. 1980. “basic conceps and theories of class stratification” dalam social stratification a multiple hierarchy approach. boston: allyn and bacon, inc. kartono, kartini. 1980. teori kepribadian. bandung: alumni. koentjaraningrat. 1984. kebudayaan, mentalitas, dan pembangunan. jakarta: gramedia. manthou’s. 1999. manajemen tradisi dalam seni tradisional. makalah disajikan pada serial seminar seri 4 seni pertunjukan indonesia 1998-2000. surakarta: stsi. mappiare, andy. 1982. psikologi remaja. surabaya: usaha nasional. poloma, margaret m. 1994. sosiologi kontemporer. jakarta: raja grafindo persada. prier, karl edmund. 1991. sejarah musik. jilid 1. yogyakarta: pusat musik liturgi. rohidi, tr. 1993. ekspresi seni orang miskin: adaptasi simbolik terhadap kemiskinan (disertasi). jakarta: program pascasarjana ui. sarlito, wirawan s. 1988. psikologi remaja. jakarta: rajawali press. sedyawati, edi. 1995. konsep dan implementasi pendidikan seni. seminar nasional di ikip semarang. soekanto, soerjono. 1987. tinjauan sosiologis terhadap musik. kompas, 24 oktober. soekanto, soerjono. 1990. sosiologi suatu pengantar. jakarta: raja grafindo persada. suryono, gondo m dan suryo alam. tt. pengetahuan karawitan dan kumpulan tembang jawa. surabaya: karya utama. sylado, remy. 1983. menuju apresiasi musik. bandung: penerbit angkasa. taneko, soleman b. 1993. struktur dan proses sosial. jakarta: raja grafindo persada. winantu, a. 1993. pengaruh musik dan kencan. suara merdeka 18 juli halaman vi. winkel, ws. 1986. psikologi pendidikan. jakarta: gramedia. harmonia vol vii no 1 2006.pdf !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& 2345'2&& '%35'6 7(89:8;<=!>;<4'?@@a 56 !"#!$!%&!'!( )*+!'!,%-!)!.%/*0+*"#12!"%%3,2!4%/*"!.,%&!'!( !"#$"%"&'"(")&"* " +"*,-&&./&0$$,$123 4.56"$,.# &,#&&'"(") 7"#-35*8 31(!.5, !"#$$%&'(")"*$+,*,-"'$."*/0$ . 1$ ,*"2"*!" 67 /*"8!(191!" +b9cbd8e:89' db9d89c' dbf9<f' d8;< fe:g:g9h8' d8;<' i8g8;' >b9d<9c' j8c<' >8;8 >bk:48' jb48l8;' d8;<m' 98k:9' >b9d<9c' l:c8 j8c<' kb;bf8' h89c' gbd<8>' e8;<9h8' ng<j:fo ib9c89' d8;<5' ' 0:84<d8g' cb;8f d8;<' gb3;89c >b98;<' g89c8d' db;c89d:9c' >8i8 >b9c:8g889' d8;<'i8g8;m' h89c'j<8g8'i<gbj:d ;89d8h87d8h:9c895 /<' i848k' >b9cb98489' >b;d8k8 jb48l8;' d8;<' d;8i<g<' (8p8' fe:g:g9h8' 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(kata kunci: apresiasi, musik, komponis, pemain, pendengar, media) a. pendahuluan musik hadir di dalam masyarakat sebagai bentuk seni yang bersifat audio, artinya hadir dalam waktu. peran pendengaran dalam menikmati musik mutlak diperlukan. bagaimana mungkin menikmati musik tanpa sarana pendengaran yang baik. ketika musik hadir, ia ada dalam waktu yang berujud frekuensi yang teratur dan dapat sampai kepada penikmatnya. medium musik ada 3 (tiga), yaitu : 1) vokal (suara manusia), 2) instrumen musik (alat musik), dan 3) gabungan dari 1 dan 2. dengan menggunakan medium tersebut musik dapat bereksistensi sebagai salah satu bentuk seni yang mempunyai bentuk seni yang mempunyai ciri khas tersendiri dibanding dengan jenis seni lainnya. eksistensi musik muncul ketika ada elemen-elemen pendukungnya. seperti : pencipta lagu, pemain, dan pendengar. tiga syarat tersebut merupakan syarat minimal yang harus dipenuhi dalam kehidupan musik. faktor ketiga, yaitu pendengar merupakan faktor yang berhubungan erat *staf pengajar jurusan sendratasik/fbs/unnes vol. 1 no. 2/september – desember 2000 17 harmonia : jurnal pengetahuan dan pemikiran seni dengan konsumen musik. kehidupan musik sangat bergantung pada faktor pendengar. apresiasi musik merupakan bentuk pemupukan menuju pada tumbuh suburnya pendengar musik. apresiasi musik dapat merupakan bentuk sivitas yang sangat vital, dimana keberhasilan suatu apresiasi musik akan dapat membangun eksistensi musik itu sendiri, dan hal tersebut berlaku juga sebaliknya. kegiatan berapresiasi musik beranekaragam, dan salah satunya ialah dengan lomba musik. kegiatan lomba musik selama ini dipahami hanya sebagai ajang prestasi para pesertanya. namun, di balik kegiatant ersebut, ada suatu bentuk apresiasi musik yang patut dikembangkan. pengembangan apresiasi musik lewat lomba musik ternyata kurang begitu diperhatikan oleh beberapa pihak terkait. kegiatan lomba musik lebih diarahkan kepada komersialisasi dengan lewat sponsor. b. gambaran umum musik indonesia musik kita, musik indonesia atau musik nasional, selayaknya tidak perlu diperdebatkan dahulu terminologinya. berkenaan dengan hal itu komponis kontemporer slamet abdul syukur pernah mengemukakan gagasannya pada skeitar tahun 1978 di suatu forum pekan komponis muda yang disponsori oleh taman ismail marzuki (tim) jakarta, dalam bentuk puisi berjudul contrapunctus.** sedangkan pendapat serupa datang dari amir pasaribu (1989: 89), yang menulis : segala sesuatunya harus serba nasional, dan serta indonesia asli. segala pengaruh dari luar, karena kita, bangsa timur, berperasaan halus. dan hingga kini segala sesuatunya masih dipandang sebagai timur dan barat, sebagai suatu pertentangan. paul wolbers dalam tulisannya berjudul “national musik” (1985: 9092) mengemukakan bahwa, sebenarnya gamelan dan keroncong adalah merupakan keragaman budaya tradisi etnik. menurutnya, indonesia secara historis memiliki musik gamelan pada sekitar tahun 1500-1800 yang **kurang lebih isinya adalah bahwa : kini kita tak perlu lagi mempertajam perbedaan, mempertentangkan antara barat dan timur, baik dalam aspek-aspek kultural maupun komposisi, sebab semuanya kini telah menjadi semakin universal. vol. 1 no. 2/september – desember 2000 18 harmonia : jurnal pengetahuan dan pemikiran seni berakar pada tradisi raja-raja yang telah lama menjadi simbol feodalisme, kekuasaan, dan berkaitan dengan kekuatan magis. namun pada fase berikut, gamelan ditolak oleh sebagian besar para muslim ortodoks dan para intelektual pelaku revolusi 1945, dengan alasan bahwa gamelan sebagai simbol-simbol tadi tidak cocok lagi dengan jaman. sedangkan keroncong, yang diperkirakan berawal dari tradisi kaum pendatang bangsa portugis, adalah merupakan musik dengan gaya barat (western style). keroncong dikatakan berkembang menjadi musik naisonal pada masa di bawah kekuasaan penjajah jepang, dari tahun 1942-1945. sebelum masa itu, keroncong dimainkan oleh orang-orang eropa dan orang-orang berdarah campuran eropa-asia (europeaneurasian) tetapi karena mereka ditangkapi oleh jepang sebagai tawanan perang maka terjadilah kekosongan pemain dan penyanyi kroncong. kesempatan itu diisi oleh para penyanyi indonesia sekaligus dipakai oleh pihak jepang sebagai satu-satunya musik yang bukan barat untuk kepentingan propaganda mereka. pada akhirnya, indonesia dapat mengalahkan jepang dan keroncong lalu bertemakan protes dan menggunakan bahasa indonesia. keroncong sebagai musik menjadi lengkap beridiom indonesia (sunarto, 1993). keroncong dan dangdut telah terbukti baik sekali akselerasinya untuk melantunkan musk-musik dunia, seperti jazz, rock, rap, dan sejenisnya. bahkan musik pop kita juga telah acapkali mencapai prestasi baik di tingkat internasional, sekalipun masih terbatas pada event-event festival musik pop untuk menyanyi. grup-grup musik latin dan gaya hawaian dengan materi lagu-lagu indonesia mampu melantunkan nyanyian daerah seperti batak, maluku dan lainnya. musik orkestra juga tidak kalah gesitnya, sekalipun itu seperti orang bangun kesiangan, namun jenis ini yang sebenarnya cukup awal munculnya di indonesia sejak sekitar abad ke-18 dengan adanya simfoni di keraton kesultanan yogyakarta (tim peneliti akademi musik yogyakarta, 1978). pada sekitar awal kemerdekaan republik indonesia muncul orkes-orkes radio rri di kotakota besar, seperti jakarta, surabaya, yogyakarta, dan lain-lainnya; juga didirikan sekolah-sekolah kejuruan musik baik yang negeri maupun yang berupa kursus-kursus, dan bahkan akademi musik indonesia sebagai satu-satunya perguruan tinggi musik telah lahir pada tahun 1964. namun, baru pada sekitar tahun 1980-an musik orkes muncul secara berkesinambungan. vol. 1 no. 2/september – desember 2000 19 harmonia : jurnal pengetahuan dan pemikiran seni peranan kursus-kursus musik dan toko-toko alat musik tentu juga membantu dalam proses pertumbuhan musik, disamping yang terlebih dahulu adalah aktivitas lembaga-lembaga pemerintah, seperti: radio republik indonesia (rri), televisi republik indonesia (tvri), gedunggedung kesenian, yayasan seni seperti taman ismail marzuki (tim) di jakarta, taman mini indonesia indah (tmii) di jakarta, radio swasta niaga, juga media cetak seperti koran, majalah, buletin, tabloid sekitar tahun 1970-an majalah pop chord sangat digemari oleh anak-anak muda untuk bermain gitar dengan lagu-lagu barat dan indonesia, dan kemudian muncul majalah aktuil yang populer dengan misinya dalam film, musik, dan humor. banyak pihak yang telah ikut memajukan musik indonesia. secara tidak terduga (maksudnya dengan tanpa konsepsi pengembangan) musik indonesia tumbuh saja dengan sendirinya seiring dengan permintaan pasar atau selera konsumen dan dalam hal ini lebih banyak ditentukan oleh dunia musik rekaman daripada penonton musik panggung. hal itu biasa dimaklumi sebab musik rekaman lebih mudah, lebih murah, dan lebih cepat diproduksi, banyak mendatangkan keuntungan finansial daripada musik panggung atau konser. musik lalu tumbuh dari sisi seni, bukan hanya dikerjakan sebagai kegiatan seni saja. kini prestasi musik biasa diukur dari aspek komoditi, sebagai produk industri rekaman. yang terpenting dari kesemuanya itu adalah bahwa musik indonesia mampu mengiringi laju pertumbuhan berbagai aspek kegiatan masyarakat, meliputi ekonomi, kultur baru yang modern (metropolis), teknologi baru dalam bidang audio visual, tersedianya instrumen musik yang serba digital and computerized. hal tersebut, paling tidak, untuk memenuhi tuntutan komposisi-komposisi “kekinian” (howard, 1942: 4). dalam kancah musik, dikenal setidaknya ada tiga pelaku musikal sebagai penentu kemajuan atau aktivitas, yaitu : komponis (kreator), pemain (re-kreator), dan penikmat (apresiator). ketiganya menempati segmen yang berurutan dari atas ke bawah dalam bentuk piramida. komponis sebagai pencipta musik memang ternyata tidak banyak dan boleh dikatakan langka – menempati posisi yang menentukan dalam pengembangan musik, namun belum tentu paling banyak mendapatkan keuntungan (finansial). sedangkan pelaku kedua ialah pemain musik yang berada di sektor vol. 1 no. 2/september – desember 2000 20 harmonia : jurnal pengetahuan dan pemikiran seni tengah. segmen kedua ini cukup besar dan mungkin yang paling banyak mengenyam keuntungan dari kemajuan musik indonesia dewasa ini. namun, bukannya tanpa ancaman, sebab kini penggarapan musik dapat dilakukan hanya dengan sedikit pemain secara manual dan bahkan cukup dengan seorang rekreator plus alat-alat rekaman yang canggih. dan yang ketiga adalah penikmat sebagai penyumbang finansial adalah masyarakat luas dengan selera yang beraneka dan bertingkat. sebenarnya apresiator masih dapat dirinci, setidaknya meliputi penikmat awam (biasanya penulis di media cetak atau penyiar radiotelevisi), pendidik atau instruktur musik, atau para penyelenggara konser musik yang menguasai menejemen pertunjukan, dan para industriawan rekaman musik. justru oleh para apresiator inilah, pertumbuhan musik indonesia yang memang positif dapat lebih dipacu. mereka seakan memegang kendali pertumbuhan karena menyediakan kesempatan bagi pata pencipta musik dan pemain musik dalam konteks dagang (hukum permintaan-penawaran). musik indonesia seakan berkembang tanpa melalui tahapantahapan yang jelas. sebab secara historis tidak berkembang dari evolusi bentuk komposisi dan praktek musikal, melainkan lebih dekat pada praktek memenuhi kebutuhan akan hiburan musik yang ringan. dan, akhirnya komersial. kita kurang mengenal bentuk-bentuk musik selain bentuk lagu (song form), karena komposisi instrumental juga sangat sedikit. sebagai acuan, sejarah musik barat disusun atas perkembangan teknis komposisi dan praktek memainkan musik yang disusun dalam segmen-segmen jaman dan gaya musik. pada musik indonesia, hal itu tidak dapat dilakukan, berhubunga jenis komposisi musik yang dihasilkan masih berkisar pada musik vokal seriosa yang mendekati art-song (leader) dan musik vokal populer yang terang-terangan berbentuk nyanyian (song form). karya-karya musik instrumental, baik orkestral maupun solistis, jarang sekalit erdengar. mungkin hal itu dapat dipahami, sebab secara historis, pengalaman musikal bangsa indonesia pada masa penjajahan terbatas pada nyanyian lagu-lagu sederhana, lagu kebangsaan belanda, nyanyian-nyanyian kristen untuk kebaktian di gereja, dan sedikit repertoor kecil sejenis lieder bagi segelintir orang pribumi yang dapat dekat dengan kekuasaan kolonial. kemampuan sebagai instrumentalis sepertinya vol. 1 no. 2/september – desember 2000 21 harmonia : jurnal pengetahuan dan pemikiran seni kurang meluas ditimba, kalaupun ada tentu hanya pada segelintir pribadi, seperti: wr supratman, c. simanjuntak, raj soedjasmin, dan lain-lain. dengan demikian dapat diambil kesimpulan sementara bahwa kaum kolonialis tidak bermaksud memperkenalkan kultur barat dalam bidang musik secara utuh, namun hanya sebatas bagi mendukung kepentingan mereka sendiri dalam konteks kolonialisasi. ternyata setelah kita merdeka dan bebas mengetahui musik (dalam kerangka perkenalan kita dengan barat dan kultur dunia) secara lebih langsung dan utuh, baik melalui pendidikan musik, menyaksikan dan mendengarkan langsung melalui konser-konser dan rekaman, atau dari para artis musisi mancanegara yang datang dengan maksud menyumbangkan kemampuan mereka (transfer of knowledge); maka musik barat ternyata sangat luas dan kaya akan gaya dan nuansa. musik, sebagai cabang dari seni secara umum sebenarnya lebih bersifat komersial daripada cabang lainnya, lebih mudah dikomunikasikan melalui berbagai macam media, cukup luwes menjangkau berbagai lapisan masyarakat sesuai dengan seleranya. proses pertumbuhan ini menyangkut perihal keberhasilan pendidikan musik secara meluas. sebab, pendidikan musik yang merupakan aset berharga bagi pertumbuhan musik itu sendiri kelak kemudian hari. kemajuan pertumbuhan musik indonesia memang tidak dapat diukur dari satu aspek musikologis saja. hal ini tidak seperti musik klasik barat yang memang tumbuh dan berkembang dengan amat mengesankan sesuai dengan kulturnya sendiri (dalam ujud bentuk musik maupun jenis musik dan secara penyajiannya), dan pada puncaknya dapat menjadi aset mereka yang tak ternilai. kemajuan musik di indonesia terasa unik, mungkin karena kurangnya figur-figur pemikir untuk urusan kesenian musik, atau mungkin karena kurangnya figur-figur pemikir untuk urusan kesenian musik, atau mungkin masih terlena dalam kenikmatan berbagai macam tradisi klasik dan etnik serta tidak mampu secara baik mengakselerasi dalam komposisi yang ideal berwawasan nusantara (soebandio, 1985: 27). sedangkan sumbangan (sponsorship) untuk membangun musik indonesia melalui pendidikan, konselor, workshop, apresiasi, dan lain sebagainya, sulit diperoleh. lomba musik yang menjadi topik dalam tulisan ini adalah merupakan salah satu ujud apresiasi secara elementer dan merupakan aktivitas umum (bukan pekerjaan para profesional) yang ternyata- setidaknya menurut pengamatan penulis – merupakan aktivitas yang digemari dan dihormati vol. 1 no. 2/september – desember 2000 22 harmonia : jurnal pengetahuan dan pemikiran seni oleh para pencinta musik. ukuran untuk itu tidak ada, sebab kegiatan musik belum diatur secara formal dan institusional, seperti misalnya: olah raga. c. lomba musik dan apresiasi umum perihal masyarakat sebang dengan cara-cara beromba, atau bergaya kompetitif, hal itu bukanlah sesuatu yang merisaukan, dan bahkan positif adanya. orang akan menjadi semakin kritis dan cerdas, sehat dan bugar, bahagia dan sejahtera. televisi merupakan media komunikasi yang cocok untuk mengikui hal itu. terlebih lagi dengan berkiprahnya stasiun televisi swasta yang bebas menayangkan iklan, maka secara lomba dan kuis dengan sponsor produk tertentu semakin digemari umum. pengertian lomba musik dapat meliputi lomba mengarang musik atau lagu, menggubah nyanyian atau menyusun aransemen dan orkestrasinya, memainkan secara instrumental maupun menyanyikannya. sedangkan kaitannya dengan istilah apresiasi, asumsi yang berkembang dalam masyarakat adalah bahwa lomba musik masih dianggap sebagai aktivitas memajukan musik atau menumbuhkan minat terhadap musik secara lebih serius (apresiasi terhadap musik) daripada sekedar mendengarkan melalui rekaman atau menonton langsung. padahal, apresiasi meliputi banyak aspek, diantaranya, seperti: mengalami musik itu sendiri, memahami latar belakang dan kompleksitas komposisi dalam hubungannyad engan komponis, kultur, dan bentuk dan jenis musik, gaya dan hal-hal teknis lainnya. hingga kini, kaitan antara lomba musik dan apresiasi bagi umum masih dianggap sebagai suatu konsep yang paling tepat, sebab murah dan mudah dilaksanakan, abhkan oleh sembarang pihak baik dengan cara langsung maupun cukup melalui media karaoke. kecenderungan menyelenggarakan lomba atau kontes musik dengan cara sederhana mungkin semakin banyak terjadi. apabila dahulu menyanyi lazim diiringi dengan: band, ansambel, atau sekedar piano: kini sudah menjadi biasa tanpa malu-malu lagi, musik iringan dilakukan dengan cara playback dilengkapi dengan penampilan instrumentalis yang memainkan instrumen mereka secara palsu. lomba musik menjadi trend baru kira-kira mulai sekitar tahun 1970an. karena stabilitas politik di tanah air benar-benar baik setelah diguncang pemberontakan g30s/pki yang sempat mengacaukan aspek vol. 1 no. 2/september – desember 2000 23 harmonia : jurnal pengetahuan dan pemikiran seni aspek kehidupan, termasuk ekonomi. pada waktu itu para pemuda dan pelajar-mahasiswa tengah giat-giatnya berorganisasi, mereka masuk ke dalam berbagai macam organisasi kemasyarakatan dan politik dengan tujuan yang beraneka pula. dampak langsung dari banyaknya organisasi tersebut sangat menguntungkan dunia seni, khususnya musik. musik, seperti jenis mars dan himne (march dan hymne) diperlukan oleh organisasi-organisasi sebagai bentuk simbolis dan penumbuh semangat persatuannya. pada waktu itu, sekitar tahun 1966 hingga tahun 1976 juga ditandai menjamurnya disain-disain bendera, pataka, logo, bedge, tanda keanggotaan, kartu anggota, jaket, kaos bergambar, dan lain sebagainya. lomba musik yang seharusnya meliputi semua musik, baik itu diatonik atau bukan, ternyata lebih banyak diselenggarakan bagi musik vokal saja. festival dan lomba nyanyi tunggal lebih banyak tampil daripada festival instrumen seperti permainan gitar atau piano. alasan positif, yakni meningkatkan apresiasi musik bagi masyarakat luas, memang merupakan satu-satunya daya pikat yang paling handal untuk menarik minat dan simpati umum dalam melaksanakan lomba musik dan sejenisnya. ditinjau dari sisi penyelenggaraan, acapkali dalam realitasnya tidaklah demikian, sebab lomba musik kerap sekalit erhenti pada tujuan elementer sebagai bagian dari kegiatan kemasyarakatan lain, sebagai kegiatan rutin dan kesenangan, dan bahkan bisa menjadi ajang promosi instrumen musik atau produk tertentu. sedangkan bila ditinjau dari sisi minat, peserta lomba atau kontes, dapat dipakai sebagai jalan untuk mendapatkan status lebih tinggi, nama menjadi terkenal, merasa lebih unggul daripada sebelumnya, meningkatkan diri dari sekedar amatiran ke jenjang profesional dengan melangkahkan diri ke dunia rekaman dan hiburan (entertainment). seperti telah disebutkan di atas, bahwa lomba atau kontes musik yang lazim diadakan adalah untuk musik vokal dan kelompok permainan musik dengan vokal. bila diklasifikasikan menurut tipe permainan atau formasi penyajian, adalah : 1. nyanyian tunggal (solo vocal) 2. paduan suara (koor, choir) 3. kelompok penyanyi (vocal group) 4. permainan piano tunggal (solo piano) 5. permainan gitar tunggal (solo guitar) vol. 1 no. 2/september – desember 2000 24 harmonia : jurnal pengetahuan dan pemikiran seni 6. grup kolintang (ansemble) 7. grup keroncong (ansemble) 8. grup band (band ansemble) sedangkan apabila diklasifikasikan menurut bentuk dan jenis musik maka yang paling sering dilombakan, adalah: 1. nyanyian tunggal seriosa atau lagu perjuangan, dengan iringan piano atau orkes kecil 2. lagu pop, lagu rakyat, lagu daerah, dengain iringan band (ansambel musik elektirik) atau instrumen akustik. 3. nyanyian paduan suara lengkap satb (sopran, alto, tenor, bas) dengan tema perjuangan, naisonalisme, pendidikan dan kebudayaan, keindahan, gerejani; dengan iringan piano). 4. musik paduan suara sejenis wanita (sopran, mezzo sopran, alto) dengan iringan piano atau kolintang maupun angklung 5. komposisi piano atau organ elektrik tunggal 6. musik ansambel kolintang dengan format seperti satb 7. musik ansambel keroncong asli dan modern dengan format akustikal banyak cara dapat dilakukan untuk membangun musik indonesia, dan sebenarnya lomba musik bukan merupakan satu-satunya cara yang palingtepat untuk itu. istilah-istilah mengembangkan, melestarikan, dan mengerti lebih dalam, perlu diluruskan secepatnya. apresiasi memang bisa menjadi milik siapa saja, namun kalangan profesi musik hendaknya mengingatkan hal itu, bahwa kesempatan menumbuhkan musik indonesia yang berkualitas harus dilakukan dengan cara-cara yang lebih konseptual dan sistematis. misalnya saja, dengan melalui dukungan nyata terhadap sistem pendidikan musik yang ada, menyediakan kesempatan dan dana yang cukup untuk konser-konser musik dalam kancah amatir maupun profesional; membentuk badan-badan penyelenggara pertunjukan yang mandiri (independent) dengan misi kebudayaan dan seni yang jelas, memberikan dukungan bagi kelompok musik yang ebrpotensi dari skala kecil hingga format besar seperti orkestra: mencontoh tradisi music camp seperti tingkat asean yang telah berlangsung dari tahun 1980 hingga kini – untuk tingkat nasional dan daerah atau pendidikant ertentu, mungkin dapat dikembangkan untuk ebrbagai jenis musik lain selain orkes samfoni, vol. 1 no. 2/september – desember 2000 25 harmonia : jurnal pengetahuan dan pemikiran seni seperti: grup musik band, keroncong, musik kamar, paduan suara, dan lain sebagainya. menerbitkan media komunikasi musik yang sedikit lebih musikologis daripada sekedar sebagai bacaan pengisi waktu senggang, akan sangat membantu adanya pertumbuhan musik indonesia yang ebrselera nusantara (dengan idiom daerah), daripada sekedar menjiplak sana-sini yang tentu kurang menguntungkan bagi pergaulan musik indonesia dengan dunia musik internasional. di dalam edisinya dapat dimuatkan tulisan, gagasan, ide-ide musikal, teori baru, notasi baru, teknik komposisi dan aransemen, pandangan estetika terhadap karya musik, dan sejumlah pengalaman keindahan seniman, serta komposisi-komposisi baru, kontemporer atau modern. dari media semacam itu, akan terjadi komunikasi yang tepat dan cepat antara pelaku musikal dan dunia produksi musik sekitarnya, sehingga dapat diharapkan tumbuh dengan baik dan konseptual. apresiasi juga dapat dilakukan dengant erlebih dahulu membentuk organisasi-organisasi profesi atau sekedar perkumplan, yang terdiri para: seniman, pemusik, guru musik, juri musik, penulis masalah musik, penyanyi, kondaktor, dan penggubah lagu. komunikasi internal memberikan masukan dan saran dari ebrbagai pengalaman dan teori. sebab, agaknya kini sudah menjadi suatu kewajaran bahwa untuk bidang atau disiplin tertentu memerlukan wadah yang tertentu pula. hal itu dilakukan oleh hampir semua kalangan dari tingkatan, seperti ikatan dokter indonesia (idi) dan termasuk para 'nyonya' dokter dalam ikatan istri dokter indonesia (iddi), persatuan insinyur indonesia (pii); ikatan sarjana farmasi indonesia (isfi); dan ikatan-ikatan sarjana bidang lain serta perkumpulan isteri, anaik, pemuda dan lain sebagainya dalam konteks yang beragam pula. d. konklusi besar sekali nilai yang ada pada tiap penyelenggaraan lomba musik, namun juga bukannya tanpa kekurangan dan hambatan seperti dalam rincian, berikut ini: 1. manfaat yang didapat a. memasyarakatkan musik secara murah dan meluas (pendidikan masyarakat) b. menyebarkan pengalaman keindahan dengan bebas tanpa paksanaan (estetika) c. menumbuhkan kebiasaan berorganisasi dengan sentuhan seni vol. 1 no. 2/september – desember 2000 26 harmonia : jurnal pengetahuan dan pemikiran seni khususnya pergelaran musik panggung. d. mengisi waktu senggang dengan aktivitas berguna, membangun jiwa sehat dan nilai-nilai luhur bangsa e. lain-lain alasan yang sifatnya lebih spesifik. 2. hambatan yang timbul a. pengalaman yang minim mengorganisasi pertunjukan musik (manajemen) b. kurangnya penegrtian tentang tradisi pertunjukan musik dan pengetahuan musik c. belum ada suatu sistem penilaian musik yang baik untuk komposisi atau penyajiannya. d. lomba musik masih dalam kategori aktivitas seni bukan bisnis (non profit) e. dukungan dana masyarakat atau pengusaha sangat minim (sponsorship) f. publikasi dan komunikasi masa terasa mahal g. impressario hanya berkiprah di kota-kota besar daftar pustaka pasaribu, amir, 1989, analisis musik indonesia, jakata : pt. pantja simpati soebandio, hayati, “pembinaan dan pengembangan kebudayaan nasional “, dalam harsya w. bachtiar (et al), 1985, budaya dan manusia indonesia, malang: yp2lpm sunarto, mei 1993, “musik nasional “ dalam bernas, yogyakarta tim peneliti akademi musik yogyakarta, 1978, penelitian tentang musik diatomik. vol. 1 no. 2/september – desember 2000 27 harmonia : jurnal pengetahuan dan pemikiran seni wolbers, paul. “national music”, dalam brunonettle (ed). 1985, the western impact on world music. london: collier macmillan publisher. vol. 1 no. 2/september – desember 2000 28 microsoft word harmonia vol viii no1 2007 harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 peningkatan kualitas pendidikan seni melalui pengembangan kurikulum pendidikan seni berbasis kompetensi di lembaga pendidikan tenaga kependidikan (lptk) (the increation of art education trought competency basedcurriculum of art education in the institution of teacher training)) muhammad rapi staf pengajar seni rupa fbs universitas negeri makasar abstrak pendidikan seni khususnya pendidikan tinggi seni, diharapkan dapat menjadi wadah pengkajian, pengembangan dan pelestarian seni indonesia secara berimbang dan terus-menerus, baik dalam tataran praktis maupun epistomologi. pendidikantinggi seni memiliki peluang sangat strategis untuk menyiapkan individu-individu yang kreatif dan inovatif jika dirancang dan dilaksanakan berdasarkan pendekatan akademik yang menoleransi lingkungan belajar yang fleksibel, proses pembelajaran yang unik, serta aktivitas dan metode instruksional yang sahih. perjalanan panjang pendidikan tinggi seni di indonesia sejauh ini menunjukkan bahwa pemenuhan fungsi edukasional dan kultural oleh pendidikan tinggi masih belum optimal. sementara itu perubahan sosial yang telah terjadi telah membawa pengaruh yang tidak terhindarkan, baik bagi kehidupan pada umumnya maupun bagi dunia seni itu sendiri, dalam berbagai aspek seperti; makna, proses kreatif, cita rasa, konsep, komunikasi, fungsi dan lain sebagainya. dalam kondisi tersebut, hasil pendidikan seni belum dinikmati oleh seluruh lapisan masyarakat indonesia, dan belum mampu meningkatkan daya saing bangsa indonesia. kata kunci: paradigma baru, kurikulum , dan pendidikan seni a. pendahuluan perubahan sistem pendidikan, sisdik uu no. 20/2003 sistem pendidikan nasional, pasal 38 ayat 3: dinyatakan bahwa kurikulum pendidikan tinggi dikembangkan oleh perguruan tinggi yang bersangkutan dengan mengacu pada standar nasional untuk tiap program studi. pasal 38 ayat 4 dinyatakan bahwa kerangka dasar dan struktur kurikulum pendidikan tinggi dikembangkan oleh pendidikan tinggi yang bersangkutan dengan mengacu pada standar nasional untuk setiap program studi. penjelasan uu no. 20/2003 adalah bahwa pengembangan dan pelaksanaan kurikulum adalah berbasis kompetensi. berdasarkan undang-undang tersebut, maka ditjen dikti depdiknas pada tahun 2006 membentuk tim pengembang paradigma baru pendidikan tinggi seni. paradigma baru ini pada hakekatnya adalah kurikulum berbasis kompetensi, saling melengkapi antara ilmu dan seni tradisi etnis dan tradisi modern, serta lulusan sebagai agen pembaruan. berbeda dengan paradigma lama harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 yaitu, kurikulum berbasis isi, ilmu dan seni tradisi etnis yang terpisah dengan ilmu seni modern, serta lulusan sebagai pewaris budaya. paradigma pendidikan tinggi seni kita selama ini menghasilkan lulusan sebagai pewaris budaya seni moderen dari barat dan pewaris budaya seni etnik tiap daerah yang menguasai materi-materi seni dan ilmu secara terpisah. dan praktek kehidupan seni di indonesia telah muncul beberapa tokoh seniman yang menghasilkan karya-karya seni yang merupakan paduan khasanah seni tradisi etnik dan tradisi modern global. karya-karya mereka bukan saja dikagumi di indonesia, akan tetapi juga di dunia internasional, meskipun terdapat berbagai metode bagaimana mereka memadukan dua budaya seni itu, namun hasilnya tetap merupakan terobosan yang bermakna bagi perkembangan seni dunia. berkaitan dengan hal tersebut maka muncullah pemikiran, bagaimana usaha-usaha kreatif dari individu itu dapat diperluas dalam sikap budaya bersama, terutama pada pendidikan tinggi seni sebagai suatu lembaga. itulah sebab munculnya gagasan menyusun paradigma baru pendidikan tinggi seni di indonesia. paradigma baru ini mencoba meletakkan dasar – dasar transformasi dari kurikulum yang berbais kompetensi (kbk) ini menjembatani antara seni yang berbasis disiplin ilmu dan seni tradisi etnik dengan disiplin ilmu dan seni modern global. kedua pola seni ini saling melengkapi satu sama lain. transformasi lainnya adalah menghasilkan lulusan yang bukan saja mewarisi ilmu dan seni yang saling melengkapi antara seni tradisi etnik dan tradisi modern, tetapi juga merupakan agen-agen perubahan di masyarakat (joko s. 2006:1) dari pengamatan beberapa dekade terakhir, pendidikan tinggi seni yang mewarisi khasanah budaya seni modern cukup kompeten dalam menguasai ilmu seni dan idiomidiom seni mutakhir barat, karena bahan ajar untuk itu amat melimpah yang diambil dari khasanah ilmu dan seni budaya barat. namun, pengetahuan dan penguasaan terhadap ilmu dan seni budaya sendiri tidak seimbang dengan pengetahuan baratnya. sebaliknya pendidikan tinggi seni tradisi etnik sangat menguasai dalam mewarisi pengetahuan dan penguasaan khasana ilmu dan seni etniknya, namun kurang diimbangi oleh pengetahuan dan penguasaan ilmu dan seni modern. keadaan seperti ini diakibatkan oleh kurang berkembangnya ilmu-ilmu seni indonesia modern maupun ilmuilmu seni tradisi etnik. sebahagian besar kajian keilmuan tentang seni indonesia itu berasal dari kaum orientalis. sangat sedikit karya-karya keilmuan seni indonesia, baik modern maupun etnik, yang dikerjakan oleh lulusan pendidikan tinggi seni indonesia. banyak seniman kita di indonesia ini yang secara pribadi telah berhasil menciptakan karyakarya yang bertolak dari dua budaya seni tadi, mereka bukan hanya pewaris dua budaya seni, yakni etnik dan modern, tetapi juga bertindak sebagai agen-agen perubahan seni yang khas indonesia. apakah perlu perubahan kurikulum pendidikan tinggi seni di indonesia? harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 yang menjadi tujuan dan sasaran penulisan adalah : 1) membahas perlunya perubahan kurikulum pendidikan tinggi seni di indonesia 2) membahas landasan pengembangan dan perubahan kurikulum pendidikan tinggi seni. 3) membahas pendekatan yang dianut dalam pengembangan kurikulum pendidikan tinggi seni 4) membahas langkah-langkah pengembangan kurikulum pendidikan tinggi seni di indonsia. b. perlunya perubahan kurikulum pendidikan tinggi di indonesia pada bagian pendahuluan telah dikemukakan bahwa, latar belakang perubahan sisdik uu no. 20/2003 tentang sistem pendidikan nasional pada pasal 28 ayat 3 kurikulum pendidikan tinggi dikembangkan oleh pendidikan tinggi yang bersangkutan dengan mengacu pada standar nasional untuk setiap program studi. pada pasal 38 ayat 4, dinyatakan bahwa kerangka dasar dan struktur kurikulum pendidikan tinggi dikembangkan oleh perguruan tinggi yang bersangkutan dengan mengacu pada standar nasional untuk setiap program studi. penjelasan uu no. 2/2003, bahwa pengembangan kurikulum adalah berbasis kompetensi (depdiknas 2006). dasar hukum pendidikan tinggi seni, adalah kepmendiknas 045/2002 uu no. 2/2003 dan pp. no 19/2005 (dikjen dikti. 2006). berdasarkan keputusan menteri pendidikan nasional no. 045/2002 dan uu no. 20/2003, serta peraturan pemerintah no. 19/2005 telah dipaparkan tujuan pendidikan tinggi, yaitu menjamin mutu lulusan yang memiliki kualitas sesuai dengan rumpun dan tataran kompetensi serta profesi yang diembannya. pendidikan tinggi seni dalam pendidikan di indonesia memiliki peluang yang sangat strategis untuk menyiapkan individu-individu yang kreatif dan inovatif jika dirancang dan dilaksanakan berdasarkan pendekatan akademik yang menoleransi lingkungan belajar yang fleksible, proses pembelajaran yang unik, serta aktivitas dan metode instruksional yang sahih. ( depdiknas 2005 : 2). mengingat peran strategis pendidikan tinggi seni, reformasi terhadapnya menjadi begitu penting untuk segera dilakukan. perancangan kurikulum, proses pembelajaran, pengembangan tenaga pengajar, fasilitas pembelajaran, serta fokus penelitian pendidikan tinggi seni di indonesia memerlukan paradigma baru (depdiknas 2005: 3) berdasarkan permasalahan yang dikemukakan di atas dengan dasar hukum sera latar belakang pengembangan kurikulum pendidikan tinggi seni di indonesia, penulis memcoba membahas permasalahan tersebut. seperti telah dikemukakan bahwa, pendidikan tinggi seni memiliki peluang yang strategis untuk menyiapkan individu-individu yang kreatif dan inovatif jika dirancang dan dilaksanakan berdasarkan pendekatan akademis yang menoleransi lingkungan belajar yang fleksible, proses pembelajaran harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 yang unik, serta aktivitas dan metode instruksional yang sahih. dengan perubahan kurikulum pendidikan seni dapat merespon perkembangan ilmu pengetahuan dan teknologi, dapat merespon perubahan sosial-ekonomibudaya masyarakat, memenuhi kebutuhan dan harapan stakeholder (masyarakat dan mahasiswa), merespon perubahan sistem pendidikan nasional dan internasional. perubahan kurikulum untuk tiap tingkat lembaga pendidikan diperlukan setiap saat. perubahan kurikulum adalah merupakan suatu keniscayaan, tidak boleh terjadi kevakuman dan staknasi dalam kurung waktu yang panjang/lama. kurikulum harus selalu ditinjau ulang dan dibenahi. perubahan kurikulum sangat terkait dengan perubahan zaman, dan sangat terkait dengan perkembangan kebutuhan. pembenahan kurikulum bidang seni sangat diperlukan saat ini karena kesenian menyangkut jati diri bangsa. kesenian mencerminkan karakter bangsa indonesia. walaupun beragam bentuk kesenian yang ada di indonesia, tetapi memeiliki karakter dan ciri khas apabila dibandingkan dengan kesenian negara lain. bidang kesenian masih memiliki nilai yang patut dipertahankan, dilestarikan dan dikembangkan. tidak berlebihan bila dikatakan bahwa, di negara kita indonesia tercinta ini, bidang kesenian belum tergadaikan, kita masih dapat berbangga dengan adanya keperibadian di bidang seni. kita masih mampu memperlihatkan jati diri kita di mata dunia tentang keberadaan kesenian kita. masih banyak bangsa lain yang berbondong-bondong ke negara kita ini untuk melihat kesenian daerah yang bertebaran di seluruh penjuru nusantara. kesenian kita masih mampu eksis dengan tegar dan masih dikagumi oleh mancanegara. c. landasan pengembangan dan perubahan kurikulum pendidikan tinggi seni perubahan dalam kurikulum akan selalu terjadi dan tidak dapat dihindari, karena masyarakat selalu berkembang dan berubah mengikuti perubahan ilmu pengetahuan, teknologi dan seni, perubahan kebutuhan serta perubahan dunia secara global. kurikulum merupakan produk dari masanya, sehingga tidak statis, selalu mengikuti zaman. perubahan kurikulum merupakan evolusi dari pada revolusi. kurikulum akan berubah jika orang dan sistem juga beruba, serta pengembangannya merupakan kegiatan yang sistemik dan kolaboratif. perubahan dan pengembangan kurikulum merupakan suatu keniscayaan, wajib hukumnya, apabila kita mau berkembang. kebutuhan akan perubahan menuntut pembenahan dan pengembangan kurikulum. setiap institusi pendidikan, terutama pendidikan tinggi termasuk pendidikan tinggi seni seyogiayanya selalu menyesuaikan dan berusaha meciptakan pembaharuan dalam segala aspek kesenian. harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 d. pendekatan yang dianut dalam pengembangan kurikulum pendidikan tinggi seni di indonesia dalam pengembangan pendidikan tinggi seni di indonesia, menganut organisasi kurikulum yang mengutamakan, (1) sekuence (urutan), (2) continuity (keberlanjutan), (3) integration (keterpaduan). ada beberapa dasar pendekatan dalam perubahan kurikulum: 1) pendekatan content based approach. dalam pendekatan ini, lulusan harus menguasai subyek keilmuan dengan asumsi akan menunjukkan kinerja yang lebih komprehensip setelah menguasai subyek ilmu, berorientasi pada penguasaan bidang ilmu, seringkali terjadi kesenjangan antara teori dan praktek, kurikulum disusun berdasarkan asumsi dasar ilmu, bukan berdasarkan kebutuhan dan harapan masyarakat. 2) pendekatan competency based approach pendekatan ini disusun berdasarkan tuntutan kompetensi lulusan yang dibutuhkan profesi dalam setting tertentu, asumsi: jika kualitas intelektual dibangun berdasarkan materi tertentu, maka akan dapat mencapai kemampuan kinerja tertentu, serta pendidikan “eksperimen”, dengan setting pembelajaran tertentu akan diperoleh kompetensi yang diharapkan. menurut azas legalitas: sesuai undang-undang, peraturan pemerintah, keputusan menteri dll, kuriulum yang memenuhi syarat legitimasi: disusun dengan model/pendekatan, sistematis dan prosedural yang benar. e. langkah-langkah pengembangan kurikulum dalam penyusunan kurikulum diperlukan langkahlangkah, dimulai dari analisis kebutuhan, kemudian dilanjutkan dengan perumusan kompetensi, lalu mengembangkannya, baik pengembangan kurikulum itu sendiri, kemudian pengembangan garis-garis besar program pengajaran (gbpp), selanjutnya penyusunan satuan acara pembelajaran (sap), silabus, assesmen dan evaluasi. setiap unsur tersebut dapat dijelaskan secara detail untuk lebih dipahami maksudnya. 1) analisis kebutuhan dalam analisis kebutuhan, yang menjadi perhatian utama adalah kebutuhan mahasiswa (calon mahasiswa), kebutuhan masyarakat (profesi) dan kebutuhan bidang lain. unsur-unsur tersebut adalah merupakan sasaran, subjek dan objek pendidikan. setiap usaha pengembangan dan perubahan orientasinya adalah peserta didik dan masyarakat itu sendiri. 2) perumusan kompetensi dalam perumusan kompetensi ini, ada dua hal yang sangat perlu dirumuskan yaitu: 1) rumpun kompetensi; yang terdiri atas: landasan keperibadian, penguasaan ilmu dan ketrampilam, kemampuan berkarya, prilaku berkarya, dan kaidah kehidupan bermasyarakat. sedangkan 2) jenis kompetensi: kompetensi utama, kompetensi pendukung, dan harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 kompetensi lain-lain. antara kompetensi yang satu dengan lainnya tidak hanya berkaitan tetapi saling mendukung dan saling membutuhkan. setiap kompetensi mempunyai andil dan pelengkap dari kompetensi yang lain. 3) pengembangan gbpp dalam pengembangan gbpp untuk setiap mata kuliah kompetensi yang dikembangkan adalah kompetensi utama, kompeensi dasar. selain dari pada itu pengalaman belajar yang berkaitan dengan metode, media, dan interaksi, selanjutnya adalah penentuan pokok bahasan dan sub pokok bahasan serta bobot waktu yang di alokasikan. untuk mencapai suatu tujuan yang lebih kompleks, diperlukan tujuantujuan antara yang dapat mengantarkan kepada pencapaian yang lebih besar. 4) penyusunan silabus, sap, dan pelasanaan pembelajaran dalam penyusunan silabus itu diberlakukan untuk setiap mata kuliah, sedangkan sap untuk setiap pertemuan dan pelaksanaan pembelajaran harus ada lembar kerja mahasiswa ditambah dengan lembar assesmen. kelengkapan perangkat pembelajaran seperti yang disebutkan di atas merupakan prasyarat pencapaian tujuan pembelajaran suatu bidang studi. 5) pelaksanaan pembelajaran dalam pelaksanaan pembelajaran ini ditekankan pada kegiatan individu, walaupun dilaksanakan secara klasikal, selalu memperhatikan perbedaan kecepatan pencapaian individual, lingkungan belajar yang kondusif dan bervariasi dan selalu disediakan waktu yang cukup/optimal. setiap individu dapat menguasai suatu pokok bahasan bila segala perangkat pembelajaran disiapkan dan alokasi waktu yang optimal. 6) asesmen dan evaluasi dalam asesmen dan evalasi harus diperhatikan unjuk kerja, konteks otentik, secara akademik dengan sikap yang baik. baik perkembangan intelektual yang berientasi pada kebenaran, maupun perkembangan sikap yang berorientasi pada kebaikan harus dilakukan secara simultan. demikian juga pengembangan keterampilan motorik, harus maju secara serentak dan berbarengan menuju penguasaan tuntas (mastery learning) f. landasan teori kurikulum berbasis kompetensi penyusunan suatu kurikulum selalu dilandasi oleh suatu prinsip, seperti halnya kurikulum berbasis kompetensi (kbk) ini memiliki landasan, yaitu: 1) pembelajaran kelompok/massal menuju ke pembelajaran individu. 2) belajar tuntas (mastery learning) atau belajar untuk menguasai (learning for mastery) 3) tujuan pembelajaran dapat dicapai secara optimal jika diberikan waktu yang cukup 4) pengertian kompetensi, seperangkat tindakan cerdas, penuh tanggung jawab, yang dimiliki seseorang sebagai syarat untuk dianggap mampu oleh masyarakat dalam melaksanakan tugas-tugas di bidang pekerjaan tertentu (kepmendiknas 045/2002) harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 5) rumpun kompetensi yaitu; landasan kepribadian, penguasaan ilmu dan keterampilan, kemampuan berkarya, sikap dan prilaku berkarya, pemahaman kaidah kehidupan bermasyarakat. 6) karakteristik kompetensi, sistem belajar dengan modular, menggunakan seluruh sumber belajar yang ada, memberikan pengalaman di lapangan, strategi individu personal, kemudahan menggunakan fasilitas sumber belajar, belajar tuntas. 7) g. asumsi kbk, tersedia pendidik yang profesional, pembelajaran bukan sekedar menyajikan materi (transformative), peserta didik bukan tabung kosong, pendidik mengondisikan pencapaian (pendidik ibarat petani), peserta didik berbeda-beda karakteristik, kurikulum berisi kompetensikompetensi yang sistematis. g. penutup pendidikan seni khususnya pendidikan tinggi seni, diharapkan dapat menjadi wadah pengkajian, pengembangan dan pelestarian seni indonesia secara berimbang, dan terus-menerus, baik dalam tataran praktis maupun epistomologi. pendidikantinggi seni memiliki peluang sangat strategis untuk menyiapkan individu-individu yang kreatif dan inovatif jika dirancang dan dilaksanakan berdasarkan pendekatan akdemik yang menoleransi lingkungan berlajar yang fleksibel, proses pembelajaran yang unik, serta aktivitas dan metode instruksional yang sahih. perjalanan panjang pendidikan tinggi seni di indonesia sejauh ini menunjukkan bahwa pemenuhan fungsi edukasional dan kultural oleh pendidikan tinggi di indonesia masih belum optimal. sementara itu perubahan sosial yang telah terjadi telah membawa pengaruh yang tidak terhindarkan, baik bagi kehidupan pada umumnya maupun bagi dunia seni itu sendiri, dalam berbagai aspek seperti; makna, proses kreatif, cita rasa, konsep, komunikasi, fungsi dan lain sebagainya. dalam kondisi tersebut, hasil pendidikan seni belum dinikmsti oleh seluruh lapisan masyarakat indonesia, dan belum mampu meningkatkan daya saing bangsa indonesia. berdasarkan hal tersebut di atas, kepada semua pihak yang bergerak di bidang seni, disarankan beberapa hal sebagai berikut: 1) memunculkan dan mengembangkan potensi pluralitas dan multikultural budaya lokal nusantara agar menjadi daya saing dalam percaturan global dan diapresiasi secara wajar. 2) menciptakan tatanan kehidupan multi kultural yang dapat membangun kualitas harkat dan martabat, jati diri manusia, masyarakat, dan bangsa indonesia 3) menyikapi dan peka terhadap berbagai tantangan perubahan dan perkembangan zaman, serta memiliki kepedulian terhadap permasalahan dalam masyarakat dan lingkungan hidu 4) menyikapi secara kritis, reflektif dan fleksibel terhadap beragam pergeseran paradigma keilmuan dan keprofesian dalam bidang seni. harmonia jurnal pengetahuan dan pemikiran seni vol. viii no. 1 / januari – april 2007 5) melakukan pengembangan metodologi tentang penciptaan, pengkajian, pengelolaan, pembelajaran, serta pemahaman dan penghargaan karya karya seni. daftar pustaka bandem, i m. 1998. peranan pendidikan tinggi kesenian dalam pembangunan nasional” dalam visi dan tatanan berfikir di alam pendidikan memasuki abad ke21 ed w.p. napitupulu: bppn dan balai pustaka. bojonegoro, s.s. 2003. sambutan dirjen dikti dalam pembukaan semiloka peningkatan kualitas pendidikan tinggi seni di stsi surakarta 29-30 2003” jakarta: ditjen dikti. depdiknas, tanpa tahun. profil kompetensi sarjana seni dalam kembang setaman, komisi disiplin ilmu seni di pt jakarta: ditjen dikti depdiknas. depdiknas, 2005. paradigma baru pendidikan tinggi seni di indonesia, jakarta: depdiknas. biro pusat statistik, 1993. statistik industri kecil, jakarta claphan,ronald, 1991. pengusaha kecil dan menengah di asia tenggara, ip3es eng-hock chia, 2000. anda juga bisa menjadi kreatif, prestasi pustakaraya,jakarta faisal,hanafiah, 1981. menggalang gerakan bangun diri, usaha nasional, surabaya gbhn, 1999. ketetapan majelis permusyawaratan rakyat republik indonesia,arkola, jakarta haryadi, dedi dan indrasari tjandraningsi. 1995. buruh anak dan dinamika industri kecil, akatiga bandung. haryadi,dedi, dkk.1998. tahap perkembangan usaha kecil, akatiga, bandung komaruddin, 1985. pengantar untuk memahami pembangunan, angkasa ,bandung sadoko, 1995, pengembangan usaha kecil: pemihakan setengah hati, akatiga, bandung. sinungan, muchdarsyah, 1992. produktivitas apa dan bagaimana, bumi aksara, jakarta sjaifuddin, hetifah. dkk. 1995 strategi dan agenda pengembangan usaha kecil, akatig, bandung. sjaifuddin, hetifah dan erna ermawati chotim. 1994. dimensi strategi perkreditan dan sistem penunjang, akatiga bandung. microsoft word harmonia vol x no 1 2010.docx pendidikan seni sebagai alternatif pendidikan multikultural bambang pratjichno dosen sendratasik universitas negeri jakarta abstract multicultural as one of the art learning approach is essential in one’s character building process in order to own relatively strong personality. multicultural approach should be flexible depending on the ability of the learner, society, and cultural and social condition of the environment. the multicultural approach learning should emphasize on the development of the sensitivity of feeling, esthetics, and ability to imagine and to create. it implies on the role and competence of the art teachers. art teacher is demanded to be knowledgeable, skillful, and responsible of his/her profession; to master art, and to be able to develop teaching material; to master the theories and practices in the frame of art learning; to be able to plan and manage art learning. kata kunci: multikultural, plural, pendidikan seni. pendahuluan sejak awal reformasi (1998) bergulir berbagai bentuk kerusuhan sering terjadi di negeri, seperti kerusuhan antarkampung, tawuran antarpelajar, permusuhan antaretnis, konflik kepentingan yang menimbulkan demonstrasi di mana-mana. kemudian masih hangat dalam ingatan kita tentang kontraversial atas fatwa mui hasil munas pada juli 2005 yang hingga kini masih menjadi polemik di tengah masyarakat, di antaranya menyatakan bahwa doa bersama antara muslim dan nonmuslim secara serentak adalah bid’ah, kawin lain agama adalah haram, aliran ahmadiyah sesat, yang paling seru adalah pluralisme, sekularisme, liberalisme bertentangan dengan ajaran islam. fakta-fakta di atas menunjukkan kebekuan wacana pluralisme dan multikulturalisme di indonesia. pada hal keragaman dan perbedaan dalam hidup manusia dengan segala aktivitasnya merupakan suatu keniscayaan, sebuah anugerah, sunatullah. alih-alih kehadiran manusia di dunia membawa kondrat ganda, yaitu sebagai makhluk individu dan sekaligus sebagai makhluk sosial. kedudukan seperti ini tak jarang memunculkan benturan kepentingan dan keinginan yang berbeda-beda. di dalam sebuah komunitas atau masyarakat bila terjadi kerjasama antarindividu, bisa dipastikan lebih bersifat antagonistic cooperation bentuk kerjasama antara pihak-pihak yang memiliki prinsip yang berbeda, bahkan berseberangan. inilah sesungguhnya akar dari terminologi pluralisme, yakni suatu pandangan atau pemahaman yang mengakui bahwa keanekaragaman terjadi akibat perbedaan ide, keinginan, kepentingan, bahkan latar belakang dalam kehidupan sosial-budaya masyarakat (alison, 1995). pluralitas masyarakat indonesia merupakan keniscayaan sejarah yang membutuhkan perhatian dan keseriusan untuk selalu mengedepankan sikap saling menghormati, toleran, terbuka, inklusif, demokratis dengan substansi siap menerima berbagai konsekuensi akibat perbedaan yang ada (plural society). jauh sebelum kebutuhan ini mencuat ke permukaan mpu tantural dalam kitab sotasoma telah mempromosikan ”bhineka tunggal ika, tan hana dharma mangrwa”. hal ini juga telah terefleksi dalam sejarah kemerdekaan indonesia yakni pada peristiwa sumpah pemuda. jika semangat, ruh, dan perhatian keberagaman maupun perbedaan semacam ini terinternalisasi pada setiap orang untuk meciptakan keserasian dan keselarasan dengan pola hidup saling menghormati dan saling menghargai, maka merupakan landasan terwujudnya multikulturalisme. indikasi pluralisme di indonesia bukan saja tampak keragaman kepulauan beserta kebudayaan yang survival, melainkan juga dari cara hidup dan kehidupan masyarakatnya terutama di kota-kota besar seperti jakarta, surabaya, semarang, dan lainnya. faktor lain yang ikut menentukan keragaman masyarakat di kota besar beserta latar belakang budaya, ras, suku, agama, stratifikasi kelas sosial, jender, dan pandangan tertentu adalah kebijakan politik, desakan ekonomi, serta perkembangan teknologi informasi-komunikasi. faktor inilah berdampak kepada akselerasi mobilitas penduduk di kota-kota besar yang makin tak terbantahkan. apalagi kota-kota besar lebih menjamin ketersediaan berbagai fasilitas sehingga dipandang lebih menjanjikan untuk hidup lebih nikmat. pemukiman menjadi daya tarik bagi orang yang ingin mengembangkan karier atau sekedar mengadu nasibnya di kota besar. ironisnya, pemukiman penduduk asli serta aktivitas budayanya semakin terpinggirkan. fenomena pluralitas dan perubahan komposisi penduduk di kota-kota besar di atas berdampak terhadap dunia pendidikan. program pendidikan yang ditawarkan sangat diharapkan memiliki kepedulian terhadap kondisi dan latar belakang peserta didik. dengan kesadaran atas kondisi dan latar belakang peserta didik berarti perlu mempertimbangkan pendidikan pluralisme dan multikulturalisme pada setiap jenis sekolah baik secara formal maupun nonformal. pada sisi lain, pendidikan pluralisme dan multikulturalisme dipandang sebagai media yang tepat untuk mencairkan kebekuan spirit kesadaran akan perbedaan dan keragaman fenomena kehidupan sosial-budaya. permasalahannya adalah pendidikan multikultural seperti apa yang perlu dikembangkan? bagamana cara menumbuhkan dan mengembangkan pendidikan multikultural? persyaratan apa saja yang dibutuhkan untuk menumbuhkan dan mengembangkan pendidikan multikultural? pada tulisan ini hendak dicoba mengulas pendidikan seni sebagai alternatif pendidikan multikultural. pendidikan multikultural konsep pendidikan multikultural di dunia ketiga (termasuk indonesia) mulai gencar dipromosikan sejak tahun 1980 sampai 1990-an. sungguhpun konsep pendidikan multikultural lahir di amerika serikat pada dekade awal tahun 1960-an yang kemudian berkembang di luar amerika sejak tahun 1970-an. keinginan untuk mempromosikan kembali pendidikan multikultural memang beralasan khususnya pendidikan formal yang sejak awal diwarnai oleh budaya barat. warna budaya barat pada pendidikan formal merupakan peristiwa alamiah karena secara historis memang lahir, tumbuh, dan berkembang dalam tradisi barat. kemunculan pendidikan multikultural terkait dengan sejarah lahirnya multikulturalisme, yaitu dari kondisi plural masyarakat yang berbeda atas dasar suku, ras, agama, kelas sosial, jenis kelamin, pandangan, maupun kondisi tertentu. perbedaan ini sering menimbulkan ketidakadilan ekonomi, rasial, dan jender yang dibawa oleh ideologi dominan kebudayaan barat. oleh karena itu, maksud dan tujuan multikulturalisme untuk melepaskan diri dari dominasi satu budaya (barat) dan selanjutnya berupaya mempromosikan keragaman budaya sebagai sarana untuk memenuhi kebutuhan identitas diri dengan cara membuka diri terhadap berbagai budaya lain. pemahaman seperti ini tidak terlepas dari suatu pemikiran tentang konsep kebudayaan sebagai cara suatu kelompok untuk mempertahankan diri dan beradaptasi dengan lingkungannya (davidman, 1996/1997). definisi pendidikan multikultural telah banyak dikemukakan oleh para ahli pendidikan, di antaranya adalah untuk mengajarkan mengenai keragaman kelompok sosial dan perbedaan cara hidup di dalam masyarakat pluralistik. pendidikan multikultural merupakan gerakan reformasi pendidikan yang memberikan perhatian kepada peningkatan kesetaraan di bidang pendidikan bagi beragam kelompok sosial dan budaya (jazuli, 2008). kedua definisi tersebut memiliki spirit yang sama, yaitu untuk melepaskan diri dari sistem pendidikan yang lekat dengan dominasi satu budaya (budaya barat) atas budaya lain, dan berupaya untuk mempromosikan keragaman sistem pendidikan dari budaya lain. dengan demikian dalam pendidikan multikultural menuntut kesediaan untuk selalu membuka diri terhadap berbagai sistem pendidikan dari budaya lain. pendidikan multikultural dalam konteks tertentu dapat dipandang sebagai sebuah pendekatan pendidikan untuk mempromosikan keragaman budaya. persyaratan pendidikan multikultural untuk menumbuhkan dan mengembangkan pendidikan multikultural diperlukan adanya pandangan dan sikap bukan saja toleran tetapi juga saling menghormati sebagai wacana penting di tengah keberagaman. untuk itu kita perlu mereparasi mindset (kerangka berpikir) yang mampu mendorong untuk duduk bersama, saling mendengar, saling bertukar pikiran, dan saling belajar. seorang multikulturalis tidak menolak perbedaan, yang ditolak adalah membeda-bedakan yang berujung kepada ketidak rukunan. syarat selanjutnya adalah kesediaan untuk selalu berdialog. dialog berarti kesediaan membuka diri dan terbuka bahwa ada kebenaran di luar diri sendiri. dialog adalah pertemuan hati dan pikiran antara berbagai macam kepentingan, jalan bersama menuju kebenaran, partnership tanpa ikatan, tanpa pemaksaan dan tanpa maksud terselubung. hidup bersama dalam suatu masyarakat merupakan bentuk dialog yang sesungguhnya. persyaratan di atas tidak semudah diucapkan karena untuk melakukan tidak jarang menghadapi kendala. misalnya: kesulitan komunikasi karena keterbatasan pemahaman, bila masih ada kecurigaan, kurang peduli terhadap dialog yang dianggap sebagai urusan para pakar, ada peristiwa (sejarah) traumatik yang membayangi. untuk mengatasi beberapa kendala tersebut adalah perlu kesadaran dan kearifan. kesadaran bahwa keberadan kita semula memang berbeda (asal-usul, kelahiran, cara hidup, dsb) tetapi ketika kita bertemu dalam wilayah perjumpaan yang sama dengan orang lain, maka orang yang kita temui tidak selalu sama dengan kita. kearifan dapat diwujudkan manakal setiap orang mampu dan bersedia untuk terbuka, toleran, saling menghormati dan saling menghargai, disiplin, berwawasan luas, serta senantiasa menekankan pada nilai-nilai moral, seperti cinta, kasih sayang, dan sikap kemanusiaan yang mulia lainnya. jika sikap pluralis dan multikulturalis telah terinternalisasi dan menjadi tuntutan dalam kehidupan sehari-hari, niscaya kita dapat hidup rukun tanpa rasa iri dan dengki. pendidikan seni sebagai ppendidikan multikultural pendidikan seni mampu menjadi media alternatif mewujudkan pendidikan multikultural melalui kegiatan apresiasi, kreasi, penikmatan, dan pengkajian nilai-nilai sebuah karya seni. sebab dalam konsep pendidikan seni memuat wacana pendidikan plural dan multikultural, seperti untuk menanamkan suatu pemahaman, penghargaan dan penilaian atas budaya seseorang, serta menanamkan sebuah penghormatan dan keingintahuan tentang budaya etnis orang lain kepada peserta didik. hal ini juga mencakup upaya untuk mencoba memahami bagaimana kebudayaan tertentu dapat mengekspresikan suatu nilai bagi warga pendukungnya. melalui penanaman seperti itu peserta didik dapat mengakui dan melindungi keragaman budaya yang bukan semata-mata berdasarkan etnis, tetapi juga kesetaraan derajat dari kebudayaan yang berbeda. jadi penekanan terletak pada pemahaman dan upaya peserta didik untuk senantia bergumul dengan pihak lain yang berbeda sosial-budayanya, dan kemudian mampu menginternalisasikan ke dalam kehidupannya baik secara individu maupun kelompok (lawrence a blum). sehingga pendidikan seni seperti halnya konsep pendidikan multicultural, yaitu harus memegang prinsip untuk selalu terbuka terhadap pendekatan pendidikan lain yang berasal dari kebudayaan orang lain. konsep pendidikan seni suatu kecerdasan yang matang barangkali hanya bisa ditunjukkan dengan cara mengimbangkan (equilibrium) antara kemampuan mengoptimalkan fungsi otak belahan kanan dan kiri. hal ini berarti bahwa kecerdasan intelektual yang bersumber pada pengoptimalan fungsi otak belahan kiri harus sebanding dengan pengembangan fungsi otak belahan kanan sebagai sumber potensi emosi dan seni. pada konteks inilah peranan pendidikan seni sangat krusial dalam membantu pendewasaan peserta didik. asumsi tersebut cukup beralasan karena pendidikan seni berdimensi mental (moral), analisis, dan sintesis sehingga dapat membantu kecerdasan emosional dan intelektual, menghargai pluralitas budaya dan alam semesta, menumbuhkan daya imajinasi, motivasi dan harmonisasi peserta didik dalam menyiasati atau menanggapi setiap fenomena sosial budaya yang muncul ke permukaan (jazuli, 2005). oleh karena itu, pendidikan seni mempunyai tujuan seperti halnya tujuan pendidikan umumnya. perbedaannya di dalam tujuan pendidikan seni hal-hal yang berkaitan dengan norma dan sistem nilai tidak bisa diamati secara langsung (intangible). gejala rohani dan sistem nilai hanya dapat direfleksikan secara filosofis, dalam arti dapat ditangkap makna simbolisnya berdasarkan sikap dan perilaku lahiriah. berdasarkan perspektif di atas, pendidikan seni harus mengarah pada kebutuhan dasar manusia untuk mengembangkan diri secara alamiah maupun ilmiah berdasarkan kompetensi setiap individu. dengan demikian, kedudukan pendidikan seni akan memiliki arti penting dalam usaha pengembangan kecerdasan emosional (eq) dan intelektual (iq), serta merupakan bentuk pendidikan yang mampu memberikan keseimbangan (equilibrium) antara kebutuhan intelektualitas dan sensibilitas kehidupan seseorang (yulaelawati, 2001). konsep pendidikan seni harus mencakup perencanaan dan pelaksanaan secara sistemik dan sistematik guna menunjang fungsi pendidikan pada umumnya. dalam konteks pendidikan nasional, di antaranya ikut mengembangkan kemampuan dan membentuk watak dan peradaban bangsa yang bermartabat dalam rangka mencerdaskan kehidupan bangsa. dengan kata lain, dasar pendidikan seni harus dilandasi oleh kemampuan rasional, keserasian dan keseimbangan, kesadaran tujuan hidup dan pandangan hidup yang menghendaki adanya pengendalian diri dan kepentingan-kepentingannya dalam upaya mencapai kebahagiaan bersama. visi visi pendidikan seni perlu mengarah kepada: pemahaman terhadap peranan seni dalam kehidupan manusia yang beradab dan berbudaya; membantu kemampuan persepsi dan sensitivitas terhadap berbagai fenomena sosial budaya yang tumbuh dan berkembangan di masyarakat dan lingkungannya; meningkatkan kemampuan menilai (justification) dan berpengalaman seni yang bermakna dalam kerangka kehidupan berbudaya dalam kapasitas pribadi maupun kelompok; meningkatkan kompetensi untuk menggali, mengungkap, dan mengkomunikasikan gagasan, pandangan, perasaan melalui media seni (jazuli, 2008). dengan visi pendidikan seni tersebut, peserta didik memperoleh peluang untuk mengungkapkan segenap pengalaman cipta, karsa, dan rasa estetikanya, serta keseluruhan aspek kemampuan manusia dapat terjangkau dan terbina secara utuh dan harmonis. misi misi pendidikan seni yaitu mendidik dan membelajarkan peserta didik melalui media seni dalam kerangka untuk: mengembangkan sikap, pengetahuan dan keterampilan bidang seni (musik, tari, drama, rupa) untuk memenuhi kebutuhan dasar estetika, serta mempersiapkan peserta didik (sd, sltp, smu) untuk mengikuti pendidikan selanjutnya; meningkatkan kesadaran dan kepekaan sensoris sehingga peserta didik memiliki daya persepsi memadai terhadap fenomena yang terjadi di sekitarnya; memberikan kebebasan untuk berekspresi kreatif sehingga mampu menumbuhkan dan mengembangkan rasa percaya diri, tanggung jawab dalam kehidupan bersama (bermasyarakat); membangun kebersamaan dalam perbedaan, pluralitas budaya (salam, 2001). melalui misi pendidikan seni semacam itu, dalam diri peserta didik dapat ditanamkan hal-hal yang berkaitan dengan konsep diri, pemahaman terhadap orang lain, budaya lain, dan lingkungan yang beragam, kehendak untuk belajar dan keterampilan belajar; tanggung jawab sebagai anggota masyarakat dan bangsa, kearifan dalam menggunakan ilmu pengetahuan dan teknologi, dan kesadaran terhadap berbagai perubahan yang terjadi. tujuan seni mempunyai peran yang sangat penting, sebagai: kebutuhan dasar pendidkan manusia basic experience in education, sarana berkomunikasi kepada orang lain maupun lingkungan budayanya, pengembangan sikap dan kepribadian, determinan atau memberi peluang terhadap kecerdasan lainnya (lansing, 1990). oleh karena itu, pengembangan tujuan pendidikan seni hendaknya mendasarkan nilai-nilai, gagasan (cita-cita dan tingkat kedewasaan) peserta didik, dan pola-pola hidup kreatif melalui latihan-latihan. dengan kata lain bahwa tujuan tersebut hendaknya diarahkan kepada pemahaman sepenuhnya terhadap seni berdasarkan nilai-nilai sosial budaya, sehingga memberikan peluang bagi peserta didik untuk melakukan kegiatan kreatif. kegiatan kreatif tersebut merupakan manifestasi dari kemampuannya berkomunikasi dengan sesama dan lingkungannya, serta merupakan bentuk aktualisasi diri dalam kehidupannya. atas dasar itulah pendidikan seni perlu memfokuskan perhatian kepada kebutuhan dan kemampuan peserta didik beserta berbagai fenomena (tuntutan dan tantangan zaman) yang sedang berlangsung di sekitarnya. refleksi berdasarkan pemahaman semacam itu pendidikan seni diharapkan dapat merefleksikan empati, pengendalian diri, kemandirian, dan kenikmatan hidup. empati dapat ditimbulkan melalui kegiatan seni yang melibatkan banyak peserta didik agar senantiasa bekerjasama untuk mencapai tujuan kegiatan seni yang bersangkutan. kerjasama itulah akan mampu menumbuhkan kesetiakawanan, toleransi, dan komunikasi sosial yang kondusif. pengendalian diri dapat dipupuk dan dikembangkan melalui aktivitas seni kreatif yang melibatkan sensitivitas peserta didik dalam merespons suatu fenomena. kemandirian tidak jarang mampu menimbulkan sikap percaya diri. kemandirian dapat dilatih dengan cara memberikan peluang seluas-luasnya untuk berekspresi kreatif dan keberanian menampilkan diri. kemampuan untuk menikmati hidup merupakan pengalaman yang perlu dibiasakan. sebab kenikmatan hidup hanya bisa dirasakan oleh peserta didik atau orang yang telah mampu menunjukkan ketenangan, kepercayaan diri, toleransi, sikap sopan dan perilaku santun, serta cerdas dan kreatif mengantisipasi masa depan. kenikmatan hidup yang dirasakan peserta didik menandakan pada pembentukan dan pengembangan pribadi peserta didik secara utuh. . jika keempat refleksi tersebut bisa terpenuhi, maka pendidikan seni dapat menjadi wahana pembentukan dan pengembangan sumber daya manusia yang berkualitas, manusia yang selalu berusaha untuk mengaktualisasikan diri, serta menjadi wahana pelestarian nilai-nilai budaya bangsa, khususnya nilai-nilai etis dan estetis seni-budaya bangsa yang muaranya dapat memperkuat bagi pembentukan identitas diri, budaya local, dan identitas budaya nasional. dengan demikian, implikasi pendidikan seni berada pada the values of education in the context of nation and character building. kesimpulan berdasarkan paparan tentang pemebelajaran seni tersebut, dapat dikemukakan implikasi-implikasi sebagai berikut. pertama, pembelajaran seni dengan pendekatan multikultural sangat diperlukan bagi pembentukan karakter seseorang agar memiliki kepribadian yang relatif kokoh. kedua, pendekatan multikultural harus luwes bergantung pada kemampuan peserta didik, masyarakat, dan kondisi sosial budaya lingkungannya. ketiga, pendekatan multikultural harus lebih menekankan pada pengembangan kepekaan rasa, estetika, kemampuan berimajinasi dan berkreasi. dari ketiga rumusan tersebut berimplikasi pula terhadap peranan dan kompetensi guru seni. guru seni dituntut dapat memenuhi persyaratan tertentu, di antaranya adalah: 1) berwawasan luas, terampil, dan bertanggungjawab terhadap profesinya; 2) menguasai bidang ilmu (seni) dan dapat mengembangkan materi ajar; 3) mamahami maturitas dan perkembangan peserta didik dalam belajar seni; 4) menguasai teori dan praktik dalam kerangka pembelajaran seni; 5) mampu merancang dan mengelola pembelajaran seni. upaya selanjutnya untuk mencapai pemikiran yang lebihn yata, maka perlu tindakan yang mengarah pada usaha dengan mempertimbangkan beberapa pertanyaan berikut yaitu: begaimanakah mewujudkan paradigma tata kehidupan budaya yang mampu mengembangkan (sub-sub) kebudayaan dalam kesederajatan dhuwur tan ngungkuli, banter nanging ora nglancangi? bagaimana pula menciptakan arena-arena sosial (ruang publik) yang mampu untuk belajar hidup bersama dalam perbedaan dan berlangsung secara bebas dan damai penuh tanggung jawab dengan memperhatikan kepentingan pihak-pihak yang berbeda? tentu hal ini membutuhkan komunikasi yang intens dan sikap kreatif secara terus-menerus baik pada tataran gagasan, sikap, dan perilaku nyata. daftar pustaka lansing, k.m. 1990. art, artists and education. london: msgraw-hill book company. golberg, merryl. 1997. arts and learning: an integrated approach to teaching and learning in multicultural and multilingual settings. new york: longman. jazuli, m.. 2005. “membangun kecerdasan melalui pendidikan seni”, dalam meningkatkan kualitas pendidikan tinggi. semarang: lustrum viii unnes. _____. 2008. paradigma kontekstual pendidikan seni. surabaya: unesa press lansing, k.m. 1990. art, artists and education. london: msgraw-hill book company. salam, sofyan. 2001. “pendekatan ekspresi-diri, disiplin, dan multikultural dalam pendidikan seni rupa”. wacana seni rupa. vol. 1 no. 3. hal 12-22. shapiro, lawrence e. 1997. mengajarkan emotional intelligence pada anak. alih bahasa alex tri kantjono. jakarta: gramedia yulaelawati, ella. 2001. “ pendekatan kompetensi dalam perubahan kurikulum nasional pendidikan seni”. makalah semiloka pendidikan seni, jakarta 18-20 april 2001. harmonia vol ix no 1 tahun 2009.pdf the problems in this research are teachers’ preparation before dancing lesson concerned with (aims, materials, methods) dancing, patterns of using natural potentials in surrounding, and result of dancing learning with thematic context building on curriculum competition based. this research uses qualitative approach with preparation processes in dance learning, which consisted of aim determination, materials and methods, patterns of using natural potentials in surrounding, and result of dancing studies with thematic context building on curriculum competition based in tk negeri pembina singorojo regency of kendal. data collection techniques are observation, interview, and documentation. analyzing data done by using interactive analysis. the result shows that art education in tk negeri pembina singorojo regency was in the good track. stages to get those results were done by choosing the best method such as speech, drill, imam, ngedhe and garingan. they are also determined materials, appropriate with the theme that would be taught, and determined learning aim as an indicator of succeed students’ learning building on curriculum competition based. using natural potentials in surrounding could add students’ knowledge of worldwide, so that it could motivate students and growed their confidence as a provision to get dance learning thematic context. d:\harmonia\2003\3\vol. 4 no 3 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���""�n��89:;<=>?9<@abc=d@a;be@f=gbehicie<i��k�� ��� l����"�� ��"��+��m ��n ��"��n ������,����3453��yi@<z;ec=eieic@f=89:;<��g #�h"���l���!�� �� ""��� ������������ ����� � ��������������������� �������������� ���� � ��!���" ��#��$� %&�'$�%$���'�()�(�$*� ��+,,-� �#���.� ��/� ��0 �1222 � ����������3�����4� �������5��������67������7������6��8����9�:�5���;65������7����� �<���$ �&�'= �>$�(� ?� vol. 1 no 2 sept_des 2000.pdf harmonia : jurnal pengetahuan dan pemikiran seni programatisme dalam musik instrumental era romantik (programatism of romantic era in instrumental music) oleh : hari martopo* abstrak programatisme diartikan sebagai aliran atau faham yang berkembang sebagai kekuatan baru akibat dari sikap para komposer, seperti : ludwig von beethoven (1770-1827) dan franz peter schubert (1797-1828), yang mencipta musik program pada awal era romantik abad ke-19. sikap eksploratif richard wagner (1813-1883), giussepe verdi (1813-1901), maupun franz liszt (1811-1886), yang memberikan makna baru pada komposisi seakan mengoreksi dan bahkan menentang keterbatasan aliran musik “absolut” yang tetap menekankan pada penggunaan bentuk-bentuk musik sebagai platform komposisi. kandungan makna atau isi, maupun muatan lain dipadukan dengan ide musikalnya sehingga terwujud musik yang lebih ekspresif bahkan sangat dramatis sesuai dengan “semanagt jaman” romantik. (kata kunci: musik, programatisme, era romantik, komposer). a. pendahuluan sebenarnya sejarah musik menyajikan suatu informasi yang luas tentang pertumbuhan musik-musik yang berakar pada masyarakat kultur eropa barat. hal itut ercermin dari keluasan reportase para sejarawan yang menelusuri pertumbuhan musik hingga ke luar eropa barat. dipengaruhi oleh suatu pandangan yang mendasari bahwa musik diatonik ternyata hidup dan berkembang pada masyarakat yang berbudaya eropa sekalipun tempatnya berada jauh dari benua eropa, misalnya amerika serikat. oleh karena kultur barat berkembang ke seluruh penjuru dunia demikian dominan, terutama pada abad ke-19 dan ke-20, maka tak terasa bahwa *staf pengajar mata kuliah sejarah musik dan tinjauan rapertoar musik vol. 1 no. 2/september – desember 2000 38 harmonia : jurnal pengetahuan dan pemikiran seni pada jurusan musik/fsp/isi yogyakarta kultur barat seolah menjadi kultur dunia. menjadi kultur yang dijadikan sebagai tolok ukur keberhasilan dalam banyak bidang seperti ilmu pengetahuan, teknologi, dan juga seni. dijadikan sebagai contoh oleh banyak bangsa seperti, jepang dan di dunia ketiga (negara berkembang), dalam menjalankan pembangunan dalam segala bidang. sekalipun demikian, tidak sedikit pula yang melakukan kritik tajam dan lebih konfrontatif terhadap pengaruh buruk kultur barat bagi dunia. dalam lingkup musikologi (musik diatonik barat dan bukan etnomusikologi), sejarah musik dijadikan sebagai satu dari sekian sumber pengetahuan yang diyakini sangat bermanfaat dan tiada henti ditelusuri berulangkali agar ditemukan konklusi-konklusi baru. sejarawan charles seignobos mengatakan: “sejarah bukanlah suatu ilmu melainkan suatu metode (procede de connaissance)” (gottschalk, 1975: 19). artinya, bahwa metode sejarah dapat diterapkan pada disiplin manapun sebagai sarana untuk memastikan fakta. dengan demikian, untuk mencapai pemahaman musik yang lengkap hendaknya tetap bersumber pada sejarah musik. sejarha musik dan berbagai karangan yang termasuk dalam kategori catatan historis, pada umumnya menyampaikan informasi smeua hal yang berkaitan dengan musik diatonik yang mencapai kesempurnaan gaya dan bentuk pada masa klasik wina. karena meluas ke seluruh penjuru dunia bersama kekuatan hegemoni eropa atas dunia, maka serta merta dianggap pula sebagai 'musik dunia'. sejarah musik memuat catatan historis dan analisis atas gaya musik, bentuk musik, kehidupan komposer, teori dan notasi, evolusi instrumen, lingkungan sosial, pengaruh kekuasaan, kebebasan mencipta, pengaurh seni dan agama, dan lain sebagainya. eropa abad ke-19 ditandai oleh adanya banyak penemuan dalam berbagai bidang, seperti: mesin, teropong, dan alat percetakan. hal itu sangat mempengaruhi cara pandang sosial mereka terhadap dunia, sekaligus memberikan peluang berbagai percobaan termasuk pula pada penciptaan komposisi musik. visi pada sebagian masyarakat eropa mulai bergeser pada hal-hal benruansa timur dan etnik (oriental). misi lain, yakni menggali kembali segala hal yang telah lampau seperti ekbudayaan yunani kuno. permulaan dari apa yang disebut “the european spirit” bisa dicari ketika saat munculnya kota-kota yunani (brouwer, 1984: 94). selain melakukan ekspedisi pelayaran jauh ke timur untuk menemukan tempat dan vol. 1 no. 2/september – desember 2000 39 harmonia : jurnal pengetahuan dan pemikiran seni budaya baru, juga sebagian yang tetap mengekspose nilai-nilai kerakyatan dan tradisi di tempatnya sendiri. ada yang menjadi persoalan lama dalam wacana sejarah musik barat, yakni : pragmatis lawan absolutisme yang secara historis musikologis pada abad ke-19 pernah dijadikan ajang pertentangan faham (baca: “isme”) oleh para teoritikus atau kritikus musik dan sekalian juga oleh para komposer penganut dua faham tersebut. penelusuran secara singkat berbagai nuansa yang melingkupi topik perseteruan tersebut dianggap perlu. sebab, setelah musik program didefinisikan pada abad ke-19 serta dianggap sebagai 'lawan' musik absolut, maka lahirlah suatu medan konfrontasi yang cukup serius bagi kalangan komposer di eropa. terjadi dua kubu kelompok komposer yang saling melontarkan kritik dan mempertahankan faham masing-masing. suatu tujuan pendek ingin dicapai, konklusi baru diperlukan bagi sebagian pembaca sejarah musik agar menjadikan semkain jelas. namun, dalam tulisan ini, penulis hanya mengangkat wacana programatisme dalam musik, khususnya musik instrumental era romantik. b. definisi programatisme definisi musik program adalah musik-musik yang memuat makna lain selain aspek musikal. terdapat tiga kategori, misalnya: yang mengandung aspek pelukisan disebut musik program desktiptif, mengandung aspek penceritaan disebut program naratif, dan yang mengandung aspek pokok pikiran disebut musik program filosofis (sacher and eversole, 1977: 16). sedangkan absolutisme dianut terutama oleh johannes brahms (1833-1897) dan anton bruckner (1824-1896), lebih mengutamakan penggunaan aspek-aspek musikal sebagai ptalform komposisi dan diyakini bahwa keindahan musikal dapat dipresentasikan lewat bentuk musik yang klasik dalam komposisi. hingga era romantik abad ke-19, berbagai bentuk musik instrumental berkembang sangat bervariasi. terdapat 65 bentuk musik dasar mulai dari allemande hingga wlatz (ewen, 1954: 338-372). bentukbentuk musik instrumental tersebut berbasis tarian maupun mars. dimulai musik profan jaman renesans (reneissance), berkembang pada musik instrumental kontrapungtis masa barok, mencapai kesempurnaan bentuk maupun gaya pada periode klasik wina, dan mencapai puncak pada era romantik. vol. 1 no. 2/september – desember 2000 40 harmonia : jurnal pengetahuan dan pemikiran seni perkembangan musik-musik instrumental pada era romantik ditandai oleh penggunaan bentuk sonata (sonata form), secara klasik dalam kerangka gaya emosional yang lebih bebas dalam berbagai macam komposisi, seperti : sinata (solo sonata), konserto (concerto), overtur (overture), simfoni (symphony), simfoni puisi (tone poem/symphonic poem). hal tersebut mungkin sebagai akibat langsung dari keinginan masa romantik untuk menghindari semua hal yang terlalu rasional, seimbang, dan tradisional. sebuah sumber menerangkan kata romantik, sebagai sebuah istilah yang umum dipakai dalam musik untuk menggambarkan jelasnya dominasi perasaan atas tatanan (warrack, 1980: 141). kiranya dapat digunakan sebagai pemahaman bahwa abad ke-19 diwarnai semangat jaman yang eksploratif. c. komposisi-komposisi programatis dari sekian banyak komposisi instrumental pada era romantik agaknya perlu diambil sedikit saja contoh yang penting sekaligus telah menggambarkan betapa musik instrumental dapat mewakili semangat jaman yang maju. sonata, konserto, overtur, dan simfoni, adalah komposisi-komposisi yang sangat dominan, populer, dan standar. hal itu telah terbukti dari banyak komposer yang mencapai puncak ketenarannya secara hidtoris dari komposisi-komposisi tersebut. beethoven, schubert, rossini, berlioz, mendelssohn, brahms, wwagner, liszt, chopin, adalah pencipta-pencipta komposisi instrumental yang handal. beethoven dan schubert acapkali disebut sebagai tokoh peralihan dari tradisi klasik ke romantik, sebab mereka masih mengutamakan unsur betuk daripada unsur ekspresivitas dalam komposisi. simfoni no. 1 dan no. 2 beethoven yang masih absolutis lebih dominan disebut klasik daripada romantik. menggunakan orkes standar yangt erdiri dari susunan gesek lengkap, tiup kayu dan logam, masing-masing sepasang instrumen, dan timpani. beethoven snagat disiplin mengikuti bentuk musik standar seperti sonata form dalam komposisi sonata, simfoni, overtur, atau konserti. sekalipun demikian, hal itu bukan berarti bahwa beethoven termasuk dalam golongan komposer klasik, sebab komposisi-komposisinya mengandung romantisme yang lebih dari cukup sebagai unsur pembaharu bagi jamannya. vol. 1 no. 2/september – desember 2000 41 harmonia : jurnal pengetahuan dan pemikiran seni beethoven harus menyudahi sikap klasiknya tatkala mencipta simfoni no. 3 eroica yang programatis sekali, secara nyata waktanya sangat berbeda dari simfoni-simfoni sebelumnya. sebenarnya, beethoven merencanakan untuk simfoninya tahun 1803 dengan judul “bonaparte”. namun, ia sangat kecewa oleh karena ulah napoleon yangt engah berkuasa dan memproklamasikan diri menjadi kaisar sebagai ekses revolusi perancis (sunarto, 1996: ix-x). stefan kunze mengatakan, “sinfonia eroica ... composta per festeggiare il sovvenire di un grand uomo ...” (composed to celebrate the memory of a great man). simfoni no. 3 eroica sekalipun masih menggunakan orkes standar, namun sudah ditambahkan satu horn. simfoni ini merupakan salah satu lompatan maju paling besar dalam sejarah musik (mcneill, jilid 2, 1998:80). waktu itu menjadi simfoni yang spektakuler dengan durasi hampir 50 menit, terdiri dari eksposisi 152 birama, perkembangan 245 birama, rekapitulasi 159 birama, dan coda 135 birama. romantisisme kompose lebih terlihat pada irama scherzo lebih cepat dari kebiasaan wolfgang amandeus mozart (1756-1791) atau joseph haydn (1732-1809). trio scherzo ini menjadi terkenal karena dimainkan tiga horn secara solo. simfoni-simfoni beethoven selanjutnya juga ternyata lebih programatis daripada absolutis. beethoven adalah komposer yang hingga kini dianggap sebagai seorang tokoh romantik paling berjasa dalam sejarah musik, karena mengekspresikan ide musikal yang semakin bebas, dan bahkan, akhirnya radikal melalui simfoni-simfoni selanjutnya yang juga avertur. seorang musikolog, anthony hopkins, menganggap simfoni no. 4 sebagai puncak orkestrasi beethoven. orkesnya standar namun hanya menggunakan satu flute. pada bagian finale berakhir dengan koda panjang, sehingga sangat menyulitkan para pemain alat musik gesek, khususnya bagi pemain kontrabas. pada simfoni no. 5 beethoven menggunakan orkes standar, namun ditambah 3 trombon, pikolo dan fagot. dalam simfoni ini jelas ada arti (program) di belakang musiknya. ia mengungkapkan sesuatu kepada pendengarnya sebuah motif yang menggambarkan “nasib mengetuk di pintu” sebagai motif yang programatis. ini bukan saja musik yang absolut lagi melainkan sangat programatis. bentuk simfoni no. 5 sering disebut “siklik” karena semua bagian atau gerakan (movement) disatukan oleh vol. 1 no. 2/september – desember 2000 42 harmonia : jurnal pengetahuan dan pemikiran seni bahan motif yang sama. aspek tersebut selanjutnya akan mempengaruhi bagi simfoni-simfoni lain pada abad ke-19. simfono no. 6 “pastoral” karya beethoven menggunakan orkestra standar ditambah dua trombon, pokolo, dan hanya duatrompet. terdiri dari lima bagian atau gerakan yang semuanya diberikan deskripsi secara jelasjelas programatis naratif. bagian pertama, “pembangkitan rasa gembira ketika tiba di daerah pedalaman” : kedua “pemandangan dekat sungai”, ketiga “kumpulan orang desa yang gembira” ; keempat, “badai” ; kelima , “perasaan senang dan berterimakasih setelah badai”. simfoni no. 7 dan 8 karya beethoven lebih mendekatkan kembali gaya absolutis klasik mozart dan haydn, menggunakan orkes standar. anehnya beethoven sendiri menganggap simfoni no. 8 adalah karya terbaiknya. simfoni no. 9 mungkin dari format orkes yang besar dan ditandai paduan suara lengkap. bagian terakhir (finale) dianggap sebagai komposisi yang kontroversial pada jamannya, karena menggunakan penyanyi solo dan [aduan suara. selain durai waktunya sangat panjang untuk ukuran waktu itu, juga menggunakan teks lagu ode an freude (song of joy) atau “nyanyian surga” karangan johann christoph friederich von schiller (175901794). pada schubert, gaya musiknya pernah disebut “romantik/klasik”, walaupun hidupnya penuh dengan sikap romantis namun komposisinya masih berdasarkan tradisi musik klasik wina dari haydn, mozart, dan beethoven (mcneill, jilid 2, 1998: 101). schubert adalah pencipta musik yang dikategorikan sebagai spesialis nyanyian, meskipun juga menghasilkan berbagai simfoni, musik kamar, dan musik piano. sebagai komposer yang dinilai lebih absolutis, ia juga menunjukkan bahwa mampu menulis komposisi programatis misalnya unfinished symphony yang hanya diselesaikan dalam dua bagian saja. gioacchino antonio rossini (1792-1868), seorang komposer italia yang lebih dikenal dari opera0operanya yang ebrgaya parodis dan terkesan neo-klasik, juga menyumbangkan lewat overtur seperti pada opera komedi ii, barbiere di siviglia (tukang cukur dari kora siviglia). opera tersebut merupakan judul sebuah opera komik parodis. kontroversinya diwujudkan dalam karyat ersebut karena ia hendak mengetengahkan bahwa obyek programatis komposisi operanya tidak harus melulu pada tokoh-tokoh bersejarah seperti raja, ratum kaisar, atau pahlawan. namun vol. 1 no. 2/september – desember 2000 43 harmonia : jurnal pengetahuan dan pemikiran seni “seorang tukang cukur dari kota siviglia” pun dapat diangkat dalam karya master obertur yang berhasil. namun, rossini juga mengarang musik dramatis opera epik yang agung berjudul guillaume tell (william tell) tahun 1829 berdasarkan cerita karya sachiller tentang pahlawan gerakan kemerdekaan swiss abad ke14. di presentasikan melalui ballet, dekorasi yang hebat, adegan paduan suara raksasa, dan orkes lengkap (mcneill, jilid 2, 1998: 112). untuk hal itu rossaini menempatkan overture william tell yang kelak menjadi komposisi sebuah pemandangan alam indah pagi hari di pegunungan aplen swiss; kedua, deskripsi yang gamblang adanya badai; ketiga, suatu ucapan syukur berupa nyanyian malaikat karena badai telah berlalu; keempat, musik militer yang menggambarkan kemenangan tentara swiss atas penguasaan australia. hector berliaz (1803-1869) barangkali merupakan komposer yang paling radikal dari antara tokoh musik romantik awal lain. ia bukan berasal dari pusat romantisme di jerman, tetapi perancis. berbeda dengan beethoven yang virtuaso, ia bukan pemain piano sehingga tidak mencipta komposisi piano seperti mendelssohn, schumann, chopin, atau liszt. sedangkan “alat utama” berliaz adalah orkes penuh (full orchestra) untuk menuangkan smeua ide musikalnya yang penuh keindahan warna suara dan rasa dramatis (mcneill, jilid 2, 1998: 116). simfoni berliaz berjudul fantastique (1830), adalah satu dari sekian karya agung orkestra era romantik yang diakui oleh para kritikus setara dengan simfoni-fimsoni beethoven. simfoni ini merupakan simfoni programatis anratif yang melampaui btar norma klasik. terdiri dari 5 babak musik dramatis, mengisahkan tentang mimpi buruk dan halusinasi seorang seniman, dirinya sendiri yang tengah jatuh ke dalam kesengsaraan akibat cinta tak terbalas dan kemudian melarikan diri pada candu. bagian pertama, adalah passions yang merupakan oratorio instrumental yang mengadopsi model oratorio (musik yang bertema sengsara kristus): kedua, adalah a ball, sebuah pesta dansa untuk menggambarkan kegembiraan; ketiga adalah scene in the country sebuah pemandangan alam; keempat, adalah march to the sscaffold atau mimpi buruk akhir pekan. felix mendelssohn (1809-1847) sekalipun sebagai seorang “klasikus” pada era romantik, menyumbangkan repertoar penting seperti overture vol. 1 no. 2/september – desember 2000 44 harmonia : jurnal pengetahuan dan pemikiran seni a midsummer night's dream dan hebridies. kedua komposisi orkestral tersebut sangat programatis sekaligus tetap menggunakan bentuk sonata. robert schumann (1810-1856), seorang romantikus absolutis, tetap menciptakan musik-musik piano yang menjadikan dirinya seorang spesialis untuk itu, sonata piano, etude-etude, siklus piano, seperti: kreisleriana, delapan lagu fantasi tentang seorang pemusik gila. ia dikenal sebagai pewaris murni gaya klasik wina, terutama beethoven; dan ebrtindak sebagai penerus gaya tersebut kepada generasi brahms, bruckner, sampai kepada neo-klasikus, charles camulle saint – soens (1835-1921). frederic francois chopin (1810-1849), dan liszt, dua orang virtuasa piano juga sangat berpengaruh melalui ciptaan mereka kemudian menjadi terkenal karena musik, seperti: bacarolle, polonaise, mazurka, atau hungarian dance. d. konklusi pertama. programatisme muncul menjadi mdoel aru yang dianggap lebih modern dan menjadi lawan dari mdoel absolutisme pada gaya klasik abad ke-18. mencapai perkembangan pada era romantik abad ke-19 khususnya di jerman, perancis, italia, juga eropa timur. aliran init epat disebut sebagai implementasi “semangat zaman” abad ke-19 dan eksploratif. kedua. berdasarkan pada fakta sejarah, komposisi-komposisi sebelum abad ke-19 juga ada yang programatis. eine kleine nacht muzik, sebuah serenada karya mozart termasuk dalam kategori yang programatis deskriptif. untuk itu redefinisi terhadap komposisi musik dapat dilakukan tanpa batas waktu dan tempat. namun, hanya komposerkomposer abad ke-19 tertentu yang dapat dikategorikan sebagai tokoh programatis karena kepeloporannya. ketiga. tokoh-tokoh penting: beethoven, schubert, dan mendelssohn sebagai “pelopor” programatisme yang sekaligus tetap memeprtahankan tradisi klasik absolutis. sedangkan schumann dan rossini adalah “penerus” gaya beethovendan kawan-kawan diteruskan kepada brahms bruckner, dan saint-saens, yang kelak lebih abstutis dalam musiknya. berlioz, liszt, dan wagner, menjadi komposer programatis yang terang-terangan mengagungkan programatisme sebagai musik masa depan atau modern. vol. 1 no. 2/september – desember 2000 45 harmonia : jurnal pengetahuan dan pemikiran seni daftar pustaka a. spectrum book, 1965, the encyclopedia of the classic world, new jersey: englewood cliffs n.j., prentice-hall, inc. brouwer, m.a.w., 1984, studi budaya dasar, bandung: alumni ewen, david, 1954, the book of musical knowledge, new jersey: engliwood clifft, n.j., prentice-halll, inc mcneill, rhoderic j., 1998, sejarah musik jilid i, jakarta: pt. bpk gunung mulia. __________, 1998, sejarah musik jilid 2, jakarta: pt. bpk gunung mulia. sacher, jack, and james eversole, 1977, the art of sound, new jersey: prentice-hall scholes, percy a., 1978, the concise oxford dictionary of music, london: oxford university press sunarto, “melampaui batas kebutuhan sesaat: suatu pendekatan pemanfaatan musik yang lembih manusiawi”, dalam f.x suhaedjo parto, 1996, musik seni barat dan sumber daya manusia, yogyakarta: pustaka pelajar waesberghe sj, f. smith van, 1976, aesthetika musik, yogyakarta: akademi musik indonesia. warrack, john, “romantic”, dalam stanley sadie (ed), 1980, the new grove dictionary of music and musicians, london:macmillan publisher ltd. vol. 1 no. 2/september – desember 2000 46 harmonia : jurnal pengetahuan dan pemikiran seni weiss, pierro, and richard taruskin, 1984, musik in the world: a history in document, new york: schirmer books – a division of mac-millan inc. vol. 1 no. 2/september – desember 2000 47 microsoft word harmonia vol x no 1 2010.docx pelestarian budaya betawi permainan anak cici putri dan ulabang/ wak wak gung : kajian kandungan kecerdasan jamak tuti tarwiyah jurusan musik, fakultas bahasa dan seni universitas negeri jakarta e-mail : tutit_unj@gmail.com abstract the focus of this paper is on betawi’s children traditional games named cici puti and wak-wak gung that are loaded with multiple intelligences content. the objective of this writing is to raise the importance of awareness of teachers in jakarta, especially those who teach early learners, to promote traditional betawi games with all of their advantages. the data collected is based on three previous study results: 1. multiple intelligences in betawi children games that uses songs, 2. educational values in betawi folk songs, and 3. betawi classical songs (lagu dalem); a study of existence, characteristics, and tips of studying them. the study found out that there are educational values in betawi traditional games with songs. based on the recent studies, teachers in jakarta, especially the art teachers and early learners teachers, have not promoted betawi folk songs optimally in learning process, especially the songs coming from traditional games. the main reason is that the art teachers do not fully master betawi art especially the folk songs and songs coming from the traditional games. the games of cici putri and ulabang/wak-wak gung are the decendent of the traditional game of betawi until recently is still played by the children in some communities of betawi. kata kunci: pelestarian, budaya betawi, permainan anak cici putri, permainan anak ulabang/wah-wak gung pendahuluan bermain merupakan kegiatan yang tidak dapat dipisahkan dengan kehidupan anak. bentuk bermain dapat bermacam-macam. ada bermain yang menekankan pada segi hiburan, ada yang dapat melatih dan mengembangkan berbagai macam kecerdasan, ada yang menekankan pada aktivitas bermain itu sendiri, ada pula yang menggunakan media tambahan misalnya media lagu/unsur-unsur musik maupun alat bermain lainnya. bermain yang telah berpola dan menjadi suatu bentuk yang standar dapat dikatakan sebagai permainan. permainan yang menggunakan unsur-unsur musik sebagai medianya, masih amat kurang diangkat ke permukaan. hal ini karena masih sedikit tokoh pendidikan anak yang berlatar belakang seni dan peduli pada usaha peningkatan kecerdasan melalui kegiatan bermain kususnya bermain musik. campbell dalam introduction to the musical brain mengatakan bahwa seorang anak yang mendapat perangsangan melalui musik, gerak, dan kesenian akan semakin cerdaslah dia nantinya (200:220). juga permainan anak betawi yang menggunakan unsur musik/syair, saat ini amat susah dijumpai dan seakan tenggelam di tengah hiruk pikuknya perkembangan permainan music modern kecuali permainan cici putri dan ulabang/wak-wak gung. itupun hanya pada komunitas terbatas. selain faktor tersebut, “kendornya” apresiasi masyarakat terhadap musik dalam permainan anak betawi serta minimnya jumlah fasilitas umum/sarana bermain turut mempengeruhi terhadap keberadaan permainan anak betawi yang menggunakan unsur musik tersebut. vygotsky mendefinisikan bermain sebagai ‘an activity that give pleasure to the children’(1978:92). jo ailwood (2002:22) mengemukakan bahwa bermain adalah kegiatan yang dapat membuat anak belajar how to develop intellectually and society. bahkan montessori mengemukakan bahwa bicara tentang bermain berarti berbicara mengenai anak tentang ‘how to be human’. sandra j. stone dalam playing, a kid’s curriculum mengemukakan bahwa ‘play is real. it is vital. play helps children laern about their world naturally’, (2000:5). menurutnya para ahli mendefinisikan bermain sebagai sebuah kegiatan yang ‘intrinsically motivated, freely chosen, process– oriented as opposed to goal-oriented, enjoyable, ordered, just pretend behaviour’ kolomyjec mengemukakan bermain bahwa:’it support the development of the child’s ability to mediate between thought and action’’ (2003:48). ada dua teori bermain yang utama, yaitu teori bermain klasik dan teori bermain kontemporer (sue docket & marilyn fleer, 2000). teori bermain klasik dibagi dalam lima teori bermain yaitu : (1)teori energi berlebih (teori energi surplus). teori ini beranggapan bahwa manusia bermain apabila mereka memiliki energi berlebih; (2) teori rekreasi. teori ini berpendapat bahwa bermain sebagai aktivitas yang terkait erat dengan rekreasi. teori rekreasi ini biasanya mengacu pada teori relaksasi (pengendoran); (3) teori melaksanakan insting. teori ini mengungkapkan bahwa anak melakukan bermain untuk persiapan kehidupan mendatang setelah dewasa. teori ini diasosiasikan dengan karl groos (1898, 1901) dan kadang kadang dinamakan pre – exercise theory; (4)teori rekapitulasi. teori ini berpandangan bahwa bermain mengaktifkan tahap-tahap perkembangan manusia. teori ini menggambarkan bahwa anak dalam kehidupannya melalui berbagai tahap perkembangan. setiap anak memiliki perkembangan yang berbeda-beda dan perkembangan anak dapat dioptimalkan melalui bermain; (5) teori katarsis. katarsis adalah perasaan tertekan disebabkan oleh sandiwara tragedi, atau suatu ungkapan tentang sesuatu yang tidak menyenangkan kemudian diatasi kembali. inti bermain klasik adalah bahwa anak melakukan bermain disebabkan karena beberapa unsur, yaitu kelebihan tenaga, hiburan, melaksanakan insting, mengaktifkan tahap-tahap perkembangan, juga mempersiapkan diri pada kehidupannya kelak. tipe bermain anak sebagaimana dikemukakan oleh jeffree dkk dalam dorothy dibagi dalam 6 bagian, yaitu: exploratory play, energetic play, skilful play, social play, imaginative play, dan puzzle-it-out play (1994:18). keenam tipe ini mengakomodasi teori bermain klasik. stone mengemukakan bahwa teori bermain yang digunakan smilansky yang diadopsi dari teori bermain kognitifnya piaget sama dengan teori bermain level sosialnya parten. ia mengemukakan bahwa the divisions in this book reflect these play categories: functional, constructive, dramatic, and games with rules. sedangkan teori bermain level sosialnya parten dibagi tiga, yaitu: solitary play, parralel play, and group play. bermain fungsional (funtional play) adalah ‘repetitive muscle movements with or without object’. misalnya berlari, melompat , dan lain–lain. bermain konsrtuktif (constructive play) adalah bermain yang menggunakan objek atau alat permainan untuk membuat sesuatu. bermain dramatik (dramatic play) adalah bermain peran dengan atau pura–pura berubah bentuk. permainan dengan aturan (games with rules) adalah pengakuan dan penerimaan permainan yang diselaraskan dengan aturan – aturan yang telah ditetapkan terlebih dahulu, sebagaimana dikemukakan oleh stone, bahwa permainan dengan aturan adalah ‘recognition and acceptance of and conformity with pre-established rules permainan cici putri dan wak-wak gung termasuk permainan yang termasuk tipe permainan imajinatif, sosial, dan permainan dramatik, musik ialah ungkapan rasa indah manusia dalam bentuk suatu konsep pemikiran yang bulat, dalam wujud nada-nada atau bunyi lainnya yang mengandung ritme dan harmoni (1992:15). para pakar lain yang berbicara tentang musik, mereka di antaranya: (1) stravinsky, musik adalah bahasa pendengaran yang menggunakan tiga komponen dasar: intonasi suara, irama, dan warna nada. (2) howard gardner, musik muncul lebih awal dibandingkan dengan bakat dalam bidang lain pada intelligence manusia. (3) sheila fitzgerald, meskipun banyak guru yang bukan musisi, ia mendorong para guru untuk mempergunakan musik sebagai strategi instruksional. ia mengembangkan pendekatan musik untuk mengajar membaca yang tidak menbutuhkan instruksi musik formal. (4) al bagdadi, musik adalah nada atau bunyi yang dihasilkan dari suara manusia atau suara alat musik (1999:13). (5) sedang menurut hoffman, dalam al bagdadi musik adalah sesuatu yang dikomunikasikan melalui ekspresi emosi. musik mempunyai ciri-ciri (1) adanya unsur bunyi, (2) adanya pengorganisasian bunyi, (3) adanya makna musikal. (6) kamien dalam tarwiyah, membedakan musik dari jenis bunyi lain yaitu adanya elemen yang melekat pada bunyi yang bersifat musikal (2003:7). elemenelemen musik tersebut menurut van ess meliputi: (1) warna nada (timbre), (2) kecepatan/tempo, (3) intensitas/volume, (4) ketinggian nada (pitch) dan (5) durasi. pendidikan seni memiliki sifat multilingual, multidimensional, dan multikultural (2001:7). dengan demikian, pendidikan musik di sekolah, dapat dijadikan sebagai dasar pendidikan dalam membentuk jiwa dan kepribadian. sebagaimana dinyatakan plato dalam rohidi, bahwa pendidikan seni dapat dijadikan dasar pendidikan, karena untuk membentuk suatu kepribadian yang baik dilakukan melalui pendidikan seni. menurut piaget, anak usia dini (0-1 tahun)berada pada tahapan perkembangan sensori motorik. pada usia ini anak dapat merespon bunyibunyian musik sejak lahir. sebagaimana pendapat bronson bahwa young infants can not play musical instruments, they enjoy producing intersting sounds whit bells and rattles, and they respond to music from birth. untuk anak usia 1-2 tahun, bronson mengemukakan bahwa they use the drum as a hammering toy rather than as a musical instruments, usia 2-3 tahun bahwa they are generally interested in sound and repetition. contoh untuk kegiatan ini adalah mengikuti/mengulang nada-nada instrumen ritmik. mereka juga menyenangi lagu-lagu sederhana. selanjutnya, usia 3-4 tahun anak-anak enjoy menggunakan alat-alat musik yang simpel dan berpartisipasi dengan keinginan yang sangat besar (eagerly) pada irama sederhana, nyanyian, dan aktivitas bergerak. ia juga menambahkan bahwa older toddler respond enthusiastically to musical and rhytm instruments. anak usia 4-5 tahun. anak pada usia ini telah dapat menyanyi sambil memimpin permainan. mereka sangat menikmati bereksperimen dengan instrumen-instrumen perkusi dan memainkannya dengan anak-anak lain. mereka juga sudah dapat bermain pada beragram variasi instrumen termasuk kastanyet dan xilopon. anak usia 6-8 tahun: (1) anak dapat mulai belajar memainkan alat musik sederhana yang sesungguhnya (2) anak mulai belajar membaca musik, (3) anak dapat menirukan lagu yang sering didengar disertai gerakan dengan irama lagu yang variatif (4) anak dapat mengkreasi lagu dengan bentuk sederhana disertai gerak-gerak. (5) anak dapat melanjutkan arah melodi yang bersifat kreasi dari penggalan melodi yang dinyanyikan guru atau orang dewasa. (6) anak sudah memainkan instrumen yang menggunakan keterampilan motorik halus. mengacu hal yang dapat dilakukan anak sesuai dengan tahapan usianya dalam bermain musik, dapat diasumsikan adanya jenis-jenis permainan yang menggunakan unsur musik/lagu sesuai dengan tahapan usia tersebut. termasuk dalam hal ini permainan anak betawi di jakarta. seorang profesor pendidikan dari harvard university, howard gardner menemukan sesuatu yang berbeda dengan yang telah menjadi tradisi umum tentang teori kecerdasan. ia menemukan teori kecerdasan jamak. menurutnya ‘the ultimate validation of the idea that individual differences are important (julia jasminne,tt)’. gardner banyak mengingatkan para guru untuk memperhatikan keberbedaan itu. dalam studinya tentang kapasitas manusia, gardner mengembangkan kriteria untuk mengukur bahwa bakat itu benar-benar suatu kecerdasan. baginya setiap kecerdasan seharusnya memiliki ciri perkembangan yang dapat diamati dalam populasi tertentu (linda campbell dkk, 2002). pada awal penemuannya, ia menemukan 7 macam jenis kecerdasan yaitu kecerdasan : linguistik, logikamatematika, spasial, kinestetik tubuh, musik, interpersonal, dan intrapersonal. selanjutnya, ditemukan pula kecerdasan natural yaitu terkait dengan hal-hal yang bersifat alami yang dimiliki anak, termasuk kemampuan mengenal segala yang berada di sekitar lingkungan anak. jadi, dapat dikatakan bahwa kecerdasan jamak adalah kecerdasan yang amat banyak jenisnya, ada pada tiap individu dan digunakan dengan cara-cara yang sangat personal sehingga dapat dikembangkan dengan cara yang berbeda pada tiap individu sesuai dengan latar belakang budaya dan karakternya. metode metode penelitian ini adalah kualitatif yang lebih terfokus pada jenis penelitian etnografi. pertanyaan dalam penelitian ini terdiri dari : (1) bagaimana bentuk permainan cici putri dan wak wak gung/uulabang/la ulabang/uler naga? (2) aspek kecerdasan jamak apa saja yang terdapat pada permainan anak betawi yang menggunakan lagu tersebut? pengumpulan data berdasar pada observasi situasi yang wajar, tanpa dipengaruhi oleh siapapun dengan sengaja. sesuai dengan masalah dan fokus penelitian ini, sumber data penelitian: 1) key informan, dipilih secara purposif. dalam penelitian adalah para orang tua saksi dan pelaku sejarah kehidupan jakarta. di antaranya sunah andreas, jali jalut. 2) peristiwa, berbagai peristiwa khususnya peristiwa anak yang melakukan permainan anak di jakarta dan kota penyangganya. 3) dokumen yang relevan dengan masalah dan fokus penelitian. analisis data dilakukan sejak awal dan sepanjang proses penelitian berlangsung, dengan analisis data kualitatif menurut langkah-langkah pendekatan etnografi yang dikemukakan oleh spradley, dimulai dengan analisis domain, analisis taksonomi, analisis komponen, dan analisis tema. hasil dan pembahasan untuk kali ini akan dibahas dua permainan yaitu cici putri dan wak-wak gung, sebab keduanya sampai saat ini masih bertahan dimainkan anak-anak pada komunitas betawi di jakarta yang masih kental, seperti di daerah jagakarsa, jakarta selatan, dan rawamangun jakarta timur, sedang pada penyangga kota jakarta masih dimainkan di depok dan tangerang. permainan anak betawi cici putri syair: cici putri cilele cilepong, ali-ali pemadatan tiga rubas kesusuban, ma nona ma nona si...(menyebut nama yang ditunjuk) minta kembang apa? (anak yang ditunjuk menjawab) kembang duren pulang pulang dapet laki keren/ pulang-pulang lakinya keren syair versi lain: cici putri tembako lima koli mak none mak none si…minta apa? (jawab) minta duren pulang – pulang lakinya/ayahnya keren permainan cici putri dapat dimainkan oleh sekitar 4-6 anak. permainan diawali dengan proses pemilihan pemimpin permainan (biasanya melalui hompimpah/gambreng). seluruh pemain duduk melingkar sambil menyodorkan dua jari tangan kanan yaitu jari telunjuk dan tengah, sementara jari yang lain ditekuk/dikepalkan ke dalam. pemain yang telah mendapat giliran (sebagai tanda pemain tersebut telah mendapat giliran), harus menyilangkan satu tangannya ke pundaknya. permainan diteruskan sampai semua pemain mendapat giliran untuk kedua jari tangannya. setelah semua mendapat giliran, semua peserta akan meenyilangkan kedua tangannya ke pundak masing-masing, lalu pemimpin permainan akan bertanya satu persatu kepada peserta: (t)ini pintu apa? (j) pintu kayu, (t) kuncinya kemana? (j) kecebur (tenggelam), (t) kecebur di mana? (j) di kali (sungai), (t) (bisa dibuka apa engga (tidak)?, (j) bisa. setelah dijawab bisa, pemimpin akan menarik tangan peserta secara mudah yang disilangkan di depan dada ke pundaknya. namun untuk tangan yang satunya berbeda: (t) ini pintu apa? (j) pintu besi, (t) kuncinya kemana? (j) kecebur, (t) kecebur di mana? (j) di laut, (t) bisa dibuka apa engga? (j) engga (tidak). saat dijawab engga, maka pemimpin akan menarik tangan peserta yang disilangkan namun sambil memegang erat pundaknya supaya pegangannya (yang diidentifikasi sebagai pintu besi) dapat terbuka. hal seperti ini pun dilakukan secara bergiliran hingga seluruh peserta memperoleh giliran. versi cara memainkan permainan cici putri cukup beragam. ada yang hanya sampai pada pemimpin menjawab keinginan peserta yang menyebut nama bunga, adapula yang sampai akhir sebagaimana disebutkan di atas. ulabang/ulabang/wak wak gung syair : la ulabang ... ulabang panjang buntutnya kira-kira barang secabang keong masuk jaga lobang bang bang tut coko cibang....bang bang tut coko cibang.... syair versi lain: u ulabang ... ulabang panjang buntutnya daun lidah daun cupang saya masuk jangan slempang permainan ulabang dengan versi lainnya yang dimainkan sezaman dengan versi ini adalah yang menggunakan lagu wak wak gung. adapun syair lagunya adalah sebagai berikut: wak wak gung nasinya nasi jagung lalapnya lalap kangkung pit alaipit kuda lari kejepit sipit syair versi lain: wak wak gung nasinya nasi jagung lalapnya lalap kangkung pit alaipit kuda lari kejepit kosong...kosong...kosong isi...isi...isi... (diulang-ulang sampai pemain terakhir ditangkap) syair versi lain selengkapnya yaitu: wak wak gung nasinye nasi jagung sarang gaok di po’on jagung gang…ging…gung pit alaipit kuda lari kejepit sipit tam tambuku seleret daon delime patah lembing patah paku trek belimbing tangkep satu analisis kandungan multiple intelligences pada permainan anak betawi cici putri dan ulabang/wak-wak gung permainan cici putri permainan cici putri mengandung delapan aspek kecerdasan jamak, yaitu kecerdasan: musik, berbahasa, interpersonal, intrapersonal, logis matematik, spasial, bodi kinestetik, dan natural. kecerdasan musik dapat dilihat pada penggunaan lagu dalam permainan ini. unsur musik yang menonjol dalam permainan cici putri ini adalah unsur irama yang rata. irama yang rata mengikuti tempo lagu yang ditandai oleh pulsa/denyutan teratur. pulsa dalam permainan cici putri dapat ditandai pada waktu pemimpin permainan menyanyikan lagu cici putri sambil menunjuk jari/tangan pemain dan berhenti seiring habisnya lagu. ditinjau dari sudut melodi, permainan cici putri dapat membuat anak cepat menguasai lagu karena interval yang digunakan dalam rangkaian melodi bersifat melangkah sehingga akan memudahkan anak dalam hal menyanyikannya. nada-nada yang digunakan pun ambitusnya hanya dari 1 (do) sampai 6 (la). sebagaimana diketahui bahwa ciri-ciri lagu anak yang baik adalah yang tidak melebihi satu oktaf. perhatikan melodi lagu permainan cici putri di bawah ini: ___ ___ ___ ___ ___ 2/4 i 5 6 3 i 5 1 3 i 5 6 3 i 5 2 2 2 i ci ci put ri ci le le ci le pong a li a ___ ___ ___ ___ ___ ___ ___ i 2 2 2 5 i 3 3 2 5 i 3 3 2 2 i 1 2 2 i li pe ma da tan ti ga ru bas ke su su pan ma no ___ ___ ====== ___ ___ ___ i 3 2 2 i 3 2 5 i 3 3 3 3 2 2 i 3 2 2 2 i ne ma no ne si a ni mintakembang a pa?(kembang du ___ ___ i 3 2 i 3 2 5 i 3 2 2 i 1 ii ren)’ ka sih la ki nya yang ke ren kecerdasan bahasa dalam permainan cici putri adalah dengan adanya media syair dalam lagu permainannya. ada beberapa versi syair lagu cici putri, namun intinya berisikan tentang diberikannya kesempatan kepada pemain yang beruntung untuk mengajukan permintaan dengan menyebut nama salah satu bunga. pada saat menyebut nama bunga tersebut, ada semacam pembelajaran kepada anak untuk mencari padanan kata berima sama yang mengandung harapan untuk mendapatkan hal positif, (tentang harapan suaminya kelak atau harapan kepada bapaknya agar pulang dari bekerja membawakan sesuatu yang menyenangkan), maka si anak harus cerdas memilih kata (nama bunga) yang bunyi akhirannya akan sama. jadi, dalam kecerdasan bahasa ini anak tidak hanya terlatih karena menggunakan syair semata, melainkan terlatih membuat pantun dengan memadankan nama bunga dengan harapan positif yang diinginkan. kecerdasan interpersonal dapat dilihat dari ketentuan jumlah pemain yang menuntut permainan ini paling tidak 3 orang. adanya ketentua ini akan membuat anak akan berinteraksi dengan temannya. kebersamaan akan membuat mereka terlatih, dan pada akhirnya cerdas berinteraksi. kecerdasan intrapersonal dapat terlatih melalui latihan dialog/cerita dalam permainan ini. contoh anak akan berusaha hapal mengenai nyanyian dan dialog dengan pemimpin permainan agar bisa bermain bersama dan menjawab saat ditanya dalam permainan. di samping itu anak juga jadi pandai membuat pantun/kata-kata berirama. kecerdasan logis matematis dalam permainan ini dapat ditunjukkan melalui syair lagu bagian dialog. anak-anak akan terlatih kekritisan berpikirnya. perhatikan dialog permainan cici putri di bawah ini: t: ini pintu apa? j: pintu kayu t: kuncinya kemana/ kuncinya ada enggak? j: ilang (hilang) t: ilangnya dimana? j: di kali (sungai) t: pintunya bisa dibuka enggak? j: bisa. {kalaupun dijawab tidak, pegangan tangan akan dibiarkan dengan mudah ditarik (dimaksudkan seperti mudahnya membuka pintu)}. t: ini pintu apa? j: pintu besi t: kuncinya kemana? j: ilang t: ilang dimana? j: kecebur (tenggelam) ke laut t: bisa dibuka enggak? j: enggak! (seiring dijawab tidak, maka penanya (pemimpin permainan) akan menarik pegangan tangan pemain secara paksa: main kuat-kuatan. kecerdasan spasial dapat terstimulasi melalui adegan mempertahankan pintu besi saat akan dibukapaksa yang divisualisasikan dengan memegang erat-erat salah satu bahu. usaha mempertahankan terlepasnya pegangan menuntut keterampilan menguasai ruang permainan agar ketika terlepas tidak mengenai anggota tubuh teman mainnya. kecerdasan bodi kinestetik dalam permainan ini dapat dilihat melalui aktivitas adegan tarik menarik dalam dialog” kalo kuncinya kecebur di laut, saya boleh buka pintu ini? yang lalu dijawab ”boleh”. adegan ini akan melatih otot-otot tangan anak. kecerdasan natural dengan sendirinya terstimulasi jika anak melakukan permainan ini. melalui permainan dan syair lagu, anak mengenal tentang sungai, laut, pintu kayu, pintu besi, tentang sebutan ci’ putri (tuan putri) bagi anak raja. kecerdasan natural lainnya adalah ketika anak bermain khususnya bermain yang menggunakan nyanyian dikarenakan, pada dasarnya anak suka bermain dam anak juga suka musik. perhatikan tabel berikut ini: tabel 1a aspek kecerdasan jamak permainan cici putri kecerdasan jamak permainan musik bahasa inter personal intra personal logis matematik spasial bodi kinestetik natural cici putri melodi syair lagu interaksi permainan kepandaian menjawab , usaha menghapal nyanyian syair lagu: pintu kayu mudah dibuka, pintu besi susah dibuka (jika kuncinya hilang) gerak an mem perta hanka n pintu besi tetap tertut up mem butuh kan penga turan ruang gerak yang tepat. tarik menarik anggota badan anak mengen al sungai, laut, pintu kayu, pintu besi pola irama pantun/ rima pantun sungai kecil, laut luas merasakan pulsa ditinjau dari teori bermain klasik, kandungan aspek–aspek kecerdasan jamak permainan cici putri memiliki keselarasan dengan beberapa teori bermain klasik. kandungan kecerdasan musik dan bahasa dalam permainan cici putri selaras dengan teori bermain klasik rekreasi, dimana permainan berfungsi sebagai hiburan. kandungan kecerdasan interpersonal, intrapersonal, dan logis matematis dalam permainan cici putri selaras dengan teori bermain klasik katarsis, karena dalam permainan ini ada adegan membuka pintu tanpa kunci. pada dunia nyata, hal ini tidak mungkin dapat dilakukan anak, dan ini akan membuat anak tertekan. dalam permainan, mereka dapat menunjukkan bahwa mereka mampu hanya dengan mengeluarkan tenaga menahan tangan dari tarikan tangan lawan. kandungan kecerdasan bodi kinestetik dalam permainan ini selaras dengan teori bermain klasik energi berlebih (surplus energy). perhatikan tabel keselarasan permainan cici putri dengan teori bermain klasik di bawah ini: tabel 1b. keselarasan permainan cici putri dengan teori bermain klasik teori bermain klasik energi surplus rekreasi melaksanakan insting rekapitulasi katarsis permainan cici putri tarik menarik anggota badan menyanyi lagu dialog menghadapi masalah harus dipecahkan _ mampu membuka pintu besi tanpa kunci permainan wak wak gung/ulabang permainan ulabang yang dimainkan dalam jumlah besar mengandung delapan aspek kecerdasan jamak, yaitu kecerdasan: musik, bahasa, interpersonal, intrapersonal, logis matematis, spasial, logis matematis, bodi kinestetik, dan natural. kandungan aspek kecerdasan musik setidaknya muncul karena permainan ini menggunakan lagu sebagai pengiring permainan. melalui lagu, anak dapat merasakan denyut pulsa dan ayunan birama juga menjadi terlatih karena saat mereka berjalan mengelilingi penjaga sambil menyanyikan lagu uulabang, anakanak melakukannya dengan menjaga tempo lagu/sesuai irama lagu. ditinjau dari segi ambitus nada (1-5) dan melodinya, lagu ulabang akan membuat anak cepat menguasai lagu. perhatikan melodi lagu permainan ulabang di bawah ini: 2/4 ___ ___ ___ i 5 6 3 i 5 3 3 5 i u u la bang u la bang posisi kaki: kanan kiri kanan kiri ___ ___ ___ ___ i 5 5 6 3 i 5 2 2 2 i pan jang bun tut nya’ ki ra ki posisi kaki: kanan kiri kanan kiri ______ __ ___ ___ ___ i 2 2 2 2 5 i 3 3 2 5 i ra ba rang se ca bang ke ong ma posisi kaki:kanan kiri kanan kiri ___ ___ ____ i 3 3 2 2 i 1 1 1 i suk ja ga lo bang bang bang posisi kaki:kanan kiri kanan kiri ___ ___ ___ i 3 1 3 5 i 1 1 1 i tut co ko ci bang bang bang posisi kaki:kanan kiri kanan kiri ___ ___ i 3 1 3 5 i 1 0 ii tut co ko ci bang posisi kaki:kanan kiri kanan kiri ditinjau dari segi nada dan melodi, lagu ulabang akan membuat anak cepat menguasai lagu. demikian pula penggunaan nada dalam lagu ulabang yang memiliki ambitus 1 (do) sampai 5 (sol) menjadikan lagu ini mudah dikuasai. perhatikan syair awal permainan ini yang berima: u’ulabang ulabang panjang buntutnya kira-kira barang secabang pada syair/lirik permainan ulabang, walau tidak berbentuk pantun secara murni, namun bunyi akhir dari tiap baris lebih didominasi bunyi ”bang”. di samping itu, kecerdasan bahasa dalam lirik permainan ini, dapat menstimulasi rasa estetika bahasa anak yaitu dengan terkondisinya anak mencari, membuat, dan berkreasi membuat pantun. perhatikan pula lirik pada permainan wak wak gung yang notabene sama dengan permainan u’ulabang di bawah ini: wak wak gung nasinya nasi jagung lalapnya lalap kangkung gang ging gung akhir dari baris-baris lagu di atas berbunyi ”ung”. pada syair berikutnya pun demikian, yaitu: pit alaipit kuda lari kejepit sipit akhir dari baris-baris lagu berbunyi pit. kandungan aspek kecerdasan interpersonal muncul karena permainan ini dimainkan oleh banyak anak. dalam permainan ini anak dikondisikan untuk kompak dalam menyanyikan lagu dan mengatur tempo saat mengelilingi penjaga. kandungan aspek kecerdasan intrapersonal muncul pada saat pemain yang ditangkap penjaga harus memilih salah satu di antara kedua penjaga tersebut. walau yang nampak ada unsur guessing saat memilih penjaga yang menangkap, tapi sebenarnya para pemain berikutnya (setelah pemain pertama yang tertangkap) telah mengetahui masing-masing kode kedua penjaga, sehingga pemain umumnya akan memilih penjaga yang dianggap lebih kuat badanya/lebih lincah larinya. kandungan kecerdasan spasial muncul saat pemimpin atau pemain mengatur strategi posisi yang menguntungkan. posisi yang dimaksud adalah posisi menghindari kejaran maupun posisi mengejar lawan main. kandungan aspek kecerdasan bodi kinestetik muncul pada 2 bagian permainan. pertama saat mereka (pemain) berperan sebagai ula (ular) mengelilingi penjaga berkali-kali. bagian lainnya yang tak kalah pentingnya memunculkan kecerdasan bodi kinestetik adalah saat seluruh pemain menjadi 2 kelompok besar yang saling bertarung menjaga/ mempertahankan anggota kelompoknya maupun merebut anggota kelompok lain. para pemain akan berlari kesana kemari dengan lincah agar tidak terlepas kandungan kecerdasan natural dapat dilihat dengan sendirinya jika anak melakukan permainan ini. melalui permainan ulabang ini anak belajar/mengenal tentang hewan ulabang (kelabang), istilah buntut, dan lobang (lubang). jika menggunakan lagu wak-wak gung, anak jadi mengenal/belajar tentang tanaman jagung, tanaman kangkung, hewan gaok (burung gagak), dan hewan kuda. kecerdasan natural pada permainan ini juga terjadi karena pada dasarnya anakanak menyukai permainan dan musik. berdasarkan paparan dan analisis kecerdasan jamak di atas, dapat disimpulkan bahwa permainan ulabang/wak–wak gung mengandung aspekaspek kecerdasan jamak sebagaimana tabel berikut ini: tabel 2b. keselarasan permainan wak – wak gung dengan teori bermain klasik teori bermain klasik permainan energi surplus rekreasi melaksanakan insting rekapitulasi katarsis wak – wak gung berjalan seperti ular memperebut-kan anggota menyanyi lagu dialog memilih pemimpin yang diyakini dapat melindungi bermain sebagai upaya optimalisasi tahap perkembangan keberanian memasuki sarang ular kesimpulan dan saran kesimpulan berdasarkan pada kumpulan data dari lapangan dan analisis data tentang permainan anak betawi cici putri dan ulabang/wak-wak gung, penulis dapat menyimpulkan bahwa: 1) terdapat delapan aspek kandungan kecerdasan jamak dalam masing-masing permainan cici putri dan ulabang/wak-wak gung. adapun kedelapan aspek kecerdasan jamak tersebut adalah: kecerdasan musik, kecerdasan bahasa, kecerdasan interpersonal, kecerdasan intrapersonal, kecerdasan logis matematis, kecerdasan spasial, kecerdasan bodi kinestetik, dan kecerdasan natural. 2) terdapat keselarasan/kesesuaian antara permainan anak betawi yang menggunakan lagu dengan teori bermain klasik. adapun teori bermain klasik yang mendukung permainan anak betawi yang menggunakan lagu tersebut ialah: teori bermain energi surplus, teori bermain rekreasi, dan teori bermain katarsis. kesimpulan utama dalam penelitian ini adalah bahwa permainan anak betawi cici putri dan ulabang/wak-wak gung harus disosialisasikan dan dilestarikan mengingat akan sangat menguntungkan berbagai fihak karena di samping dapat menstimulasi kecerdasan jamak anak, juga membantu pemerintah dalam melestarikan kekayaan budaya bangsa. khusus bagi anak, dapat 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(penerjemah: misbah zulfa elizabeth). yogyakarta: tiara wacana. _______________. 1980. participant observation. new york: holt, rinehart and winston. sumaryanto, totok. 2002. ”tes bakat musik anak sekolah dasar”. laporan penelitian. semarang : ikip semarang press. sudono, anggani. 2000. sumber belajar dan alat permainan (untuk pendidikan usia dini). jakarta: gramedia widiasarana indonesia. stone, sandra j. 1998. playing a kid’s curriculum. scottforesman glenview: goodyearbooks. tarwiyah, tuti. 2003. “nilai-nilai musik betawi” laporan penelitian. jakarta: fbs universatas negeri jakarta. tedjasaputra, mayke s. 2001. bermain, mainan dan permainan untuk pendidikan usia dini. jakarta: gramedia widiasarana indonesia. vygotsky, l. 1978. ‘the role of play in development’, in m. cole at. al, mind in society, the development of higher psychological process, cambrigde: harvard university press. warner, penny. 2003. play & learn: 150 aktivitas bermain dan belajar bersama anak (usia 3-6 tahun). (penerjemah: pangesti atmadibrata & robin bernadus).jakarta: elex media komputindo. wolfberg, pamela j. 1999. play and imagination in children with autism. new york and london: colombia university. harmonia vol ix no 1 tahun 2009.pdf abstrack the aim of this research are to explain implementation of ktsp in music learning in sma citischool semarang consists of planning, implementation of learning, and learning evaluation. this research uses qualitative-descriptive approach. techniques of data collection aree literature studies, interview, observation, and documentation. in analyzing data, the researcher use descriptive and interactive analysis from milles, which consists of data collection, data reduction, data presentation, and conclusion. research result shows that music learning in sma citischool semarang 2008/2009 are appropriate with ktsp : (a) learning plan have been conducted by teachers by making: develop syllabus and evaluation, annual program, semester program, and plan of learning, (b) learning process is appropriate with ktsp (competence standard) consists of appreciation and creation, but the quality of learning is needed to be increased, and (c) evaluation is still influenced by curriculum evaluation before that consist of three aspects: cognitive, psychomotor, and affective aspects. suggestion in this research: quality of teachers’ administration should be increased, optimize learning process, and learning evaluation should be appropriate with appreciation and creation aspects in activities. harmonia: journal of arts research and education focus and scope manuscript template author guidelines publication ethics indexing & abstracting editorial team contact   0.9 2023citescore     85th percentile powered by       view counter home about login search current archives announcements home > vol 24, no 1 (2024) harmonia: journal of arts research and education harmonia starting in 2024 migrates from ojs 2 to ojs 3 to better secure from various unwanted things, including journal hacking and so on. to submit, the author please visit the new website page of our journal at the link https://journal.unnes.ac.id/journals/harmonia migration official statement here harmonia [p-issn 2541-1683 | e-issn 2541-2426] is published by departement of drama, dance, and music, faculty of language and arts, universitas negeri semarang in cooperation with asosiasi profesi pendidik sendratasik indonesia (ap2seni)/the association of profession for indonesian sendratasik educators. harmonia published scientific papers on the results of art research and art education (see focus and scope). editor accepts the article has not been published in other media with the writing format as listed on page manuscript writing guidelines (see author guidelines & template). the journal has been indexed in scopus, asean citation index, google scholar, microsoft academic, doaj with green thick, dimension, ebsco, sinta 1 and published twice a year, on june & december. announcements   no announcements have been published.   more announcements... vol 24, no 1 (2024): june 2024 table of contents articles stambul comedy exploration in early 20th-century semarang: meaningful teaching about colonialism doi 10.15294/harmonia.v24i1.44083 abstract 2383 times pdf 778 times syaiful amin(1), sariyatun sariyatun(2), gunarhadi gunarhadi(3), hieronymus purwanta(4), (1)&nbspuniversitas sebelas maret, indonesia (2)&nbspuniversitas sebelas maret, indonesia (3)&nbspuniversitas sebelas maret, indonesia (4)&nbspuniversitas sebelas maret, indonesia pdf 1-17 changes in funeral music practices of vietnamese people in the northern delta, vietnam doi 10.15294/harmonia.v24i1.47436 abstract 1718 times pdf 736 times nguyen dinh lam(1), (1)&nbspvietnam national university, vietnam pdf 18-35 innovation of form and function of banyumulek pottery craftsmanship in lombok as heritage of traditional culture doi 10.15294/harmonia.v24i1.44787 abstract 1383 times pdf 756 times i ketut muka(1), i wayan suardana(2), (1)&nbspinstitut seni indonesia denpasar, indonesia (2)&nbspinstitut seni indonesia denpasar, indonesia pdf 36-50 tegalan song: an expression of musical culture identity of the coastal communities of northern coast of java doi 10.15294/harmonia.v24i1.42383 abstract 1274 times pdf 532 times eka titi andaryani(1), udi utomo(2), (1)&nbspuniversitas negeri semarang, indonesia (2)&nbspuniversitas negeri semarang, indonesia pdf 51-61 differences in affective domain development music learning between indonesia, the netherlands, and france doi 10.15294/harmonia.v24i1.44034 abstract 1064 times pdf 475 times kun setyaning astuti(1), marlene belly(2), ridwan maulana(3), alice armini(4), (1)&nbspuniversitas negeri yogyakarta, indonesia (2)&nbspethnomusicology of university of poitiers, france (3)&nbspuniversity of groningen, netherlands (4)&nbspuniversitas negeri yogyakarta, indonesia pdf 62-76 an aesthetic “touch” for the development of rattan bag handicraft products in indonesia: a systematic literature review doi 10.15294/harmonia.v24i1.43311 abstract 1509 times pdf 740 times dwi cahyadi(1), siti haida ismail(2), roslina mohammad(3), mohd yusof md daud(4), muh irwan(5), (1)&nbspuniversiti teknologi malaysia, malaysia; politeknik negeri samarinda, indonesia (2)&nbspuniversiti teknologi malaysia, malaysia (3)&nbspuniversiti teknologi malaysia, malaysia (4)&nbspuniversiti teknologi malaysia, malaysia (5)&nbsppoliteknik negeri samarinda, indonesia pdf 77-87 awakening philippine cultural consciousness in the youth through amelia lapeña-bonifacio’s papet pasyon doi 10.15294/harmonia.v24i1.46462 abstract 2104 times pdf 726 times amihan bonifacio ramolete(1), sir anril pineda tiatco(2), (1)&nbspuniversity of the philippines diliman, philippines (2)&nbspuniversity of the philippines diliman, philippines pdf 88-104 music for hospitalized children in service-learning: academic and personal implications for teachers in training doi 10.15294/harmonia.v24i1.43375 abstract 1084 times pdf 390 times desirée garcía-gil(1), laura cuervo(2), carolina bonastre(3), celia camilli(4), (1)&nbspcomplutense university of madrid, spain (2)&nbspcomplutense university of madrid, spain (3)&nbspcomplutense university of madrid, spain (4)&nbspcomplutense university of madrid, spain pdf 105-121 tiger dance: transformation and cultural property rights discourse in kerinci, indonesia doi 10.15294/harmonia.v24i1.42508 abstract 1128 times pdf 470 times febby febriyandi ys(1), anastasia wiwik swastiwi(2), (1)&nbspbadan riset dan inovasi nasional, indonesia (2)&nbspuniversitas maritim raja ali haji, indonesia pdf 122-133 the acculturation of malay-islamic elements in the dabus dance ritual in the malay community of perak, malaysia doi 10.15294/harmonia.v24i1.46744 abstract 1193 times pdf 460 times abdul hamid chan(1), muhammad fazli taib saearani(2), salman alfarisi(3), (1)&nbspsultan idris education university, malaysia (2)&nbspsultan idris education university, malaysia (3)&nbspsultan idris education university, malaysia pdf 134-148 an analysis of spatial construction in pictorial art from the perspective of formalism doi 10.15294/harmonia.v24i1.42152 abstract 1062 times pdf 536 times hanping feng(1), safrizal shahir(2), (1)&nbspuniversiti sains malaysia, malaysia (2)&nbspuniversiti sains malaysia, malaysia pdf 149-157 oscar wilde’s moral philosophy: a synthesis between aestheticism and the picture of dorian gray doi 10.15294/harmonia.v24i1.39377 abstract 2686 times pdf 1170 times linus oluchukwu akudolu(1), ikechukwu k. okwuosa(2), ifeanyi j. okeke(3), charles n. okolie(4), francis c. ofoegbu(5), valentine n. ojiegb(6), christopher o. akpa(7), kingsley c. solomon(8), hillary o. eze(9), chinwe jane okolo(10), (1)&nbspalex ekwueme federal university, nigeria (2)&nbspalex ekwueme federal university, nigeria (3)&nbspalex ekwueme federal university, nigeria (4)&nbspalex ekwueme federal university, nigeria (5)&nbspalex ekwueme federal university, nigeria (6)&nbspalex ekwueme federal university, nigeria (7)&nbspalex ekwueme federal university, nigeria (8)&nbspalex ekwueme federal university, nigeria (9)&nbspalex ekwueme federal university, nigeria (10)&nbspalex ekwueme federal university, nigeria pdf 158-164 siriah gadang cultural values in galombang dance in pariangan, west sumatra doi 10.15294/harmonia.v24i1.39447 abstract 1007 times pdf 391 times afifah asriati(1), as hardy shafii(2), yuliasma yuliasma(3), irdhan epria darma putra(4), desfiarni desfiarni(5), (1)&nbspuniversitas negeri padang, indonesia (2)&nbspuniversiti sains malaysia, malaysia (3)&nbspuniversitas negeri padang, indonesia (4)&nbspuniversitas negeri padang, indonesia (5)&nbspuniversitas negeri padang, indonesia pdf 165-176 the existence of aesthetic transformation in traditional batik colors based on the review of memetics theory (case study: traditional batik in tuban, east java, indonesia) doi 10.15294/harmonia.v24i1.43243 abstract 1442 times pdf 639 times fajar ciptandi(1), arini arumsari(2), (1)&nbspuniversitas telkom, indonesia (2)&nbspuniversitas telkom, indonesia pdf 177-191 pragmatic and semiotic studies: a new perspective on bakaran batik legend motif, juana district, pati regency, indonesia doi 10.15294/harmonia.v24i1.49148 abstract 1210 times pdf 671 times slamet supriyadi(1), abd rasid ismail(2), esterica yunianti(3), (1)&nbspuniversitas sebelas maret, indonesia (2)&nbspuniversiti teknologi mara, malaysia (3)&nbspuniversitas sebelas maret, indonesia pdf 192-207 development of professional competencies of the future costume designer in the design system doi 10.15294/harmonia.v24i1.50298 abstract 972 times pdf 297 times elvira faizulina(1), aliya yessengaliyeva(2), venera jumagaliyeva(3), (1)&nbspmakhambet utemisov west kazakhstan state university, kazakhstan (2)&nbspmakhambet utemisov west kazakhstan state university, kazakhstan (3)&nbspmakhambet utemisov west kazakhstan state university, kazakhstan pdf 208-220 play-based learning with games as a dance teaching tool doi 10.15294/harmonia.v24i1.43479 abstract 1983 times pdf 1195 times nurafiqah diyanah azmi(1), sang woo ha(2), (1)&nbspuniversiti malaya, malaysia (2)&nbspuniversiti malaya, malaysia pdf 221-235 this work is licensed under a creative commons attribution 4.0 international license. vol vii no 2 2006.pdf !"#$%&!'()"%!*'+,%-,.! )!%'/!%'+,#&0&"!%'1,%& !"#$ %%$&!#'()*+ , -./01/0$'223 !"#$%!&'('#$ ')'"'$*"+!)',%#$ -%#'. !"#$%&$%$'(()$(*$+(,-%)$./#0"%,#-(/&1 /'0#1+#%*$20/3%4%"$56"6&%/$+0/7"%#%&-8$9:+$;/-<0"&-#%&$=030"-$+0>%"%/3 2&%+)', %41*5670+$ 0!0+6"$ 8*5/96764$ 7*:/1/;64$ 864/0+6$ 0*:6.6+$ 867;"/7$ <64.$ 0*=656 7!>561+$;64<6$:+06$;+>/9$?+76$:*5;/:/4.64$>*4.64$!564.$"6+4#$@6"68$:*57*0*4+64a 864/0+6$ ?/.6$ 8*8*5"/764$ !564.$ "6+4#$ b*4+$ >+=+916764$ !"*;$ 864/0+6$ 0*:6.6+ :*41/7$ *7095*0+$ :/>6<6$ >64$ /4.76964$ 0!0+6"4<6#$ @6"68$ 9*4.*51+64$ +4+$ 0*4+ 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k��]�����osmhiknoqcsrcswknpiqmk̀nakikrknjkmntgmsxnqatnemssgqrsckrntghgqsntgukqkmh~���~�~���~����~pkmikqsnyzzyx����&2��bccb��k{�����\2��z��2����������[����"������\��""������&��������\�������2��8����{��������8��2��%k�������ggjsknqkwìckrnvgmjsjswkmnakikrknjkmntgmsnxfxvntgukqkmhxntbxn�nvixnwx�xnfgrguhgqn������ ��������������������������������� harmonia vol ix no 1 tahun 2009.pdf ekspresi estetis dan makna simbolis kesenian laesan eny kusumastuti staf pengajar sendratasik fbs unnes, email: eny_unnes@yahoo.com abstrack laesan art is a kind of traditional art, which is a result of aesthetic expression of people with trance phenomenon in side. here, implicit symbols occur in laesan art, then it is interpreted by the audiences and applied in terms of behavior patterns of people in bajomulyo. from that phenomenon, research studies are form of aesthetic expression and meaning of symbols of laesan art. this research uses qualitative approach, with data collection technique done by interview, observation of participants, and documentation study. analyzing data done by reducing, clarifying, decrypting, concluding, and interpreting all information selectively. techniques of checking relevance data were dependability and conformability. research result show that laesan art having aesthetic expression in: a) in the beginning, core, and the end of the show, b) supporting substance of the show consist of performance equipments; dance movement; offbeat; make up and clothing; and stages. symbol that shape meaning in the process of symbolic interaction consists of incense, offerings, accompanied sing, and meaning of trance in laesan. suggested that laesan art need to be repackaged in order to make it better and have a high sale price, it is need to be conserved and inherited to the next generation to avoid extinction. kata kunci : laesan, laes, ekspresi estetis, makna simbolis, trance pendahuluan kesenian laesan merupakan hasil ekspresi estetis masyarakat desa yang hidup dan berkembang dengan menggunakan simbol-simbol tertentu. kesenian laesan ini muncul karena adanya kepercayaan masyarakat kepada roh nenek moyang yang menguasai laut, dan memberi kehidupan pada masyarakat desa bajomulyo. sebagai ucapan syukur atas hasil laut yang melimpah, masyarakat nelayan mengadakan upacara mengundang roh nenek moyang dalam sebuah pertunjukan laesan. kesenian laesan memiliki keunikan tersendiri, yaitu adanya pemeran laki-laki dalam pertunjukan tersebut yang merupakan media masuknya roh nenek moyang yang disebut bidadari, sehingga terjadilah trance. di dalam adegan trance inilah, muncul simbol-simbol yang tersirat dalam pertunjukan laesan. simbol-simbol ini nampak pada setiap syair yang mengandung mantra untuk mengiringi setiap adegan trance, sesaji, gerak-gerak pelaku tarinya, sampai dengan segala perlengkapan pertunjukan tersebut. simbol-simbol ini dipahami sebagai manifestasi kebudayaan masyarakat pantai. persoalan cerita, persoalan pertunjukan dan komunitas masyarakat yang mempertunjukan dan menyaksikan tontonan tersebut saling melakukan interpretasi terhadap simbol-simbol dari produk kesenian tersebut. berbagai konsep seni yang menarik dalam kesenian laesan, mulai dari proses penuangan ekspresi estetis masyarakat, makna simbol laes dalam masyarakat setempat serta masyarakat asal-usulnya, sampai kepada proses lisan teks dan proses pertunjukannya, tentu mempunyai berbagai konsep simbol yang menarik untuk diteliti. penelitian ini bertujuan untuk mengetahui, memahami dan menjelaskan bentuk ekspresi estetis, makna simbolik dan pola-pola kelakuan masyarakat bajomulyo dalam menghayati makna simbolik kesenian laesan tersebut. ekspresi estetis merupakan salah satu kebutuhan manusia yang tergolong ke dalam kebutuhan integratif. dalam pemenuhan kebutuhan estetis ini, kesenian menjadi bagian yang tidak terpisahkan. kesenian merupakan unsur integratif yang mengikat dan mempersatukan pedomanpedoman bertindak yang berbeda-beda menjadi suatu desain yang bulat, menyeluruh dan operasional serta dapat diterima sebagai hal yang bernilai. kedudukan seni menjadi pengintegrasi yang merefleksikan konfigurasi dari desain itu (suparlan dalam rohidi 2000: 29). dilihat sebagai pedoman, kesenian memberi pedoman terhadap berbagai kelakuan manusia yang bertalian dengan keindahan, yang pada dasarnya mencakup kegiatan berkreasi dan kegiatan berapresiasi. yang pertama, kesenian menjadi pedoman bagi pelaku, penampil atau pencipta, untuk mengekspresikan kreasi artistiknya dan berdasarkan pengalamannya mereka mampu memanipulasi media guna menyajikan suatu karya seni. yang kedua, kesenian memberi pedoman pada pemanfaat, pemirsa atau penikmat, untuk mencerap karya seni dan berdasarkan pengalamannya mereka dapat melakukan apresiasi dengan cara menyerap karya seni untuk menumbuhkan kesan estetis tertentu (mills 1971: 68). dalam pengertian ini tersirat bahwa kesenian menjadi pedoman bagi terwujudnya suatu komunikasi estetis antara pencipta atau penampil seni dengan penikmat atau pemanfaat seni melalui karya seni yang diciptakan dalam ruang lingkup kebudayaan yang bersangkutan (wuthnow dkk 1984: 109111). kesenian laesan adalah kesenian tradisional kerakyatan yang merupakan cerutu ekspresi dari masyarakat yang hidup di luar istana atau dari kalangan rakyat jelata. dalam kaitannya dengan seni tari, tarian rakyat ini merupakan alat ekspresi atau bahasa gerak rakyat jelata di luar istana untuk mengungkapkan ide, gagasannya. tari tradisional kerakyatan mempunyai sifat magis dan sakral, mengutamakan ungkapan ekspresi jiwa mereka yang didominasi oleh kehendak atau keyakinan, bahwa dengan imitasi gerak, mereka dapat mengundang roh nenek moyang ( soedarsono 1978: 3). kesenian laesan hidup di masyarakat pesisir, terutama pesisir jawa tengah. masyarakat pesisir adalah masyarakat yang hidup di sepanjang pantai dengan mata pencaharian sebagai nelayan. ada titik wilayah yang menarik, sebagai tempat hidupnya kesenian laesan, seperti pati, pekalongan, pemalang, tegal, brebes. di pesisir bagian barat, kesenian laesan mempunyai perbedaan yang terletak pada pemeran utamanya. pemeran utama pada kesenian laesan adalah seorang laki-laki yang disebut dengan lais, sementara di pesisir barat pemeran utama dalam kesenian tersebut adalah perempuan yang kemudian disebut sintren. persamaannya terletak pada tata urutan penyajian, dan perlengkapan pentas. menurut pembagian kesenian di asia tenggara yang dilakukan oleh brandon (1967), kesenian laesan ini merupakan seni tradisi rakyat, seni yang ada dalam keseharian masyarakat di wilayahnya, sehingga tidak akan dapat dirunut siapa penciptanya, karena seni pertunjukan rakyat ini hidup dalam kolektiva masyarakat. kesenian laesan mengandung simbol-simbol yang mempunyai makna dalam. simbol adalah segala sesuatu (benda material, peristiwa, tindakan, ucapan, gerakan manusia) yang menandai atau mewakili sesuatu yang lain atau segala sesuatu yang telah diberi makna tertentu (geertz dalam triyanto 2001: 20). simbol atau lambang mempunyai makna atau arti yang dipahami dan dihayati bersama dalam kelompok masyarakatnya. simbol atau lambang memiliki bentuk dan isi atau disebut makna. bentuk simbol merupakan wujud lahiriah, sedangkan isi simbol merupakan arti atau makna. proses simbolik terjadi pada saat manusia menciptakan simbol dengan cara membuat suatu kesepakatan tentang sesuatu untuk menyatakan sesuatu. menurut hayawaka (1949: 25), proses simbolik terdapat pada semua tingkat peradaban manusia dari yang paling sederhana sampai pada yang telah maju, dari kelompok masyarakat paling bawah sampai pada kelompok yang paling atas. dalam proses interaksionisme simbolik meletakkan tiga landasan aktivitas manusia dalam bersosialisasi ialah : 1) sifat individual, 2) interaksi dan, 3) interpretasi. substansinya meliputi : 1) manusia hidup dalam lingkungan simbol-simbol, serta menanggapi hidup dengan simbol-simbol juga, 2) melalui simbol-simbol, manusia memiliki kemampuan dalam menstimuli orang lain dengan cara yang berbeda dari stimuli orang lain tersebut, 3) melalui komunikasi simbolsimbol dapat dipelajari arti dan nilai-nilai, dan karenanya dapat dipelajari pula cara-cara tindakan orang lain, 4) simbol, makna dan nilai selalu berhubungan dengan manusia, kemudian oleh manusia digunakan untuk berpikir secara keseluruhan dan bahkan secara luas dan komplek, dan 5) berpikir merupakan suatu proses pencarian, kemungkinan bersifat simbolis dan berguna untuk mempelajari tindakan-tindakan yang akan datang, menafsirkan keuntungan dan kerugian relatif menurut penilaian individual, guna menentukan pilihan (george 1985: 6263). metode penelitian ini menggunakan pendekatan kualitatif dengan telaah tekstual atau simbolik yang biasa juga disebut sebagai telaah hermeneutik. kajian penelitian ini difokuskan pada bentuk ekspresi estetik, makna simbolik dalam kesenian laesan. teknik pengumpulan data menggunakan wawancara, observasi partisipan dan studi dokumentasi. analisis data yang digunakan dalam penelitian ini mengacu pada analisis miles dan huberman (1994 :10), dimana proses analisis data yang digunakan secara serempak mulai dari proses pengumpulan data, mereduksi, mengklarifikasi, mendeskripsikan, menyimpulkan dan menginterpretasikan semua informasi secara selektif . langkah terakhir dari analisis data adalah verifikasi atau pemeriksaan keabsaahan data, dengan menggunakan dependabilitas dan konfirmabilitas (lincoln dan guba dalam jazuli 2001: 34). data yang didapat dari hasil observasi, wawancara dan dokumentasi selanjutnya ditafsirkan hingga penarikan kesimpulan lewat pengkajian silang dengan pakar atau teman sejawat. di samping itu juga menggunakan member cheking yakni meminta pengecekan dari informan, pemain dan penonton. hasil dan pembahasan hasil penelitian ini meliputi: ekspresi estetis dan makna simbolis kesenian laesan. ekspresi estetis kesenian laesan laesan adalah sebuah kesenian rakyat yang tumbuh didaerah pesisir yang merupakan perpaduan antara nyanyian dan tarian. laesan berubah menjadi laisan karena adanya dialek pada masyarakat setempat. apabila ditinjau secara morfologis, laisan berasal dari kata lais yang mendapat akhiran –an. lalis artinya “mati” dan –an berarti “ seperti atau seolah-olah mati” (poerwadarminta 1983: 258). lalis dapat berubah menjadi lais karena adanya peristiwa haplologi yaitu proses perubahan dimana sebuah kata kehilangan suatu silabe atau suku kata ditengah-tengahnya. kata lalis kehilangan satu suku kata sehingga menjadi lais (sundoro wawancara 6 agustus 2006). dalam pementasan laesan, penari utama dilakukan oleh seorang laki-laki yang disebut lais. seperti dikemukakan oleh raflles (dalam koentjaraningrat 1993: 128) bahwa apabila tarian ini ditarikan oleh seorang pria maka disebut dengan laesan sebaliknya apabila tarian ini ditarikan oleh seorang perempuan disebut sintren. pementasan kesenian laesan selalu menggunakan magi (pardi wawancara 20 agustus 2006). menurut kusno (wawancara 20 agustus 2006), apabila ditinjau dari tata cara pementasan tari laesan, yang didahului dengan membakar kemenyan dan mengundang bidadari, dapat diperkirakan bahwa tindakan ini merupakan sisa-sisa upacara religius yang berubah fungsinya menjadi kesenian tradisional. para pendukung kesenian laesan sebagian besar bermata pencaharian sebagai nelayan seperti halnya sastro pardi yang berperan sebagai pelaku utama. menurut pardi (wawancara 20 agustus 2006) bahwa untuk menjadi pemeran utama dalam kesenian laesan tidak memerlukan ilmu tertentu. dengan kata lain kemampuan itu datang dengan sendirinya. kemampuan itu datang secara turun temurun dari generasi tua ke generasi penerusnya. akan tetapi tidak semua orang mampu menjadi pelaku utama dalam kesenian laesan ini, karena kemampuan tersebut bukanlah sebuah ilmu yang dapat dipelajari seperti halnya sihir atau ilmu sulap, tetapi datang dengan sendirinya hanya cukup dengan hening cipta di tengah kepulan asap kemenyan di dalam kurungan. menurut pengakuan sastro pardi, setiap menjadi pelaku utama laesan selalu didatangi oleh empat bidadari dan seorang kakek tua berjenggot putih panjang yang tidak mau disebut namanya. sedangkan empat bidadari tersebut semuanya memakai nama depan pewayangan, yaitu nawang wulan, nawang sari, nawang sasi dan nawangsih. sedangkan kakek tua tersebut selalu mengikuti kemanapun bidadari tersebut pergi. semua bidadari tersebut tidak mengenal tua, karena sejak pertama kali sastro pardi berperan sebagai pelaku utama untuk yang pertamakalinya sampai sekarangpun bidadari tersebut masih tetap muda. kesenian laesan juga mempunyai seorang pemimpin yang bertugas untuk mengatur segala apa saja selama proses pertunjukan berlangsung. tugas seorang pemimpin adalah mempersiapkan kebutuhan laesan, misalnya mengantar laes ke tengah arena pertunjukan untuk menjalankan tugasnya sebagai laes. seorang pemimpin pertunjukan laesan belum tentu menjadi pawang, tetapi tugasnya adalah membakar kemenyan, menyediakan sesaji, mengomando iringan serta nyanyian agar laes bisa menjadi trance. bentuk kesenian laesan sangat sederhana baik dalam garapan maupun cara melakukannya, namun keindahannya tetap menjadi pertimbangan dalam penyajiannya. ekspresi estetis masyarakat bajomulyo yang dituangkan melalui media kesenian laesan tercermin dalam tata urutan penyajiannya yang meliputi aspek-aspek urutan penyajian, dan unsur-unsur pendukung kesenian laesan. urutan penyajian pertunjukan kesenian laesan dimulai dari bagian awal pertunjukan, bagian pertunjukan itu sendiri dan bagian akhir pertunjukan. bagian awal pertunjukan pertunjukan laesan dimulai dengan membakar kemenyan terlebih dahulu. setelah pemimpin pertunjukan membakar kemenyan dan asapnya mulai mengepul, baru kemudian dimasukkan ke dalam kurungan yang sudah dibalut dengan kain. disamping itu, nyanyian pembukaan juga mulai diperdengarkan sehingga mengundang perhatian penonton untuk datang menonton. lagu-lagu yang dinyanyikan misalnya kembang manggar, kembang gedhang, kembang anggrek, rujak cengkir, rujak uni, rujak nanas, dan masih banyak lagu-lagu yang dinyanyikan kelompok penembang sampai penonton berdatangan memenuhi arena pertunjukan. nyanyian-nyanyian tersebut mempunyai nilai yang bermacam-macam yang ditujukan bagi penonton pertunjukan kesenian laesan. bagian pertunjukan setelah penonton berkumpul dan perlengkapan pentas sudah siap, maka pemimpin pertunjukan menjemput pelaku utama laesan untuk memasuki arena pentas. kemudian pemimpin pertunjukan mengambil sesaji yang ada di pinggir untuk dibawa ke tengah arena pentas. laes (pelaku utama) masuk ke tengah arena pementasan kemudian duduk di tengah arena pertunjukan dengan menghadap ke timur dalam keadaan hening dan berkonsentrasi penuh sebelum ditutup dengan kurungan. bersamaan dengan mengalunnya lagu, kurungan yang sudah penuh dengan asap dari kemenyan ditutupkan pada laes tersebut yang dilanjutkan dengan nyanyian untuk mendatangkan roh bidadari. roh bidadari didatangkan dengan maksud agar laes menjadi trance, yaitu melakukan perbuatan di luar kemampuan manusia biasa. menurut suparman (wawancara 13 agustus 2006) bahwa nyanyian yang berupa mantra dalam kesenian laesan itu dinyanyikan secara bersama-sama oleh sekelompok penembang dengan harapan kekuatan gaib yang ada di alam gaib turun di dunia. setelah bidadari datang, pelaku utama (laes) memberitahu pemimpin pertunjukan dengan memberi isyarat kurungan digerakgerakan. apabila kurungan bergerak-gerak, merupakan pertanda pelaku laesan sudah mulai trance, maka kurungan segera dibuka. dalam keadaan mata terpejam, pelaku tersebut berdiri dan berjalan kesana kemari mengitari arena pertunjukan. gerakan yang dilakukan oleh laes bukan atas kemauannya sendiri melainkan karena adanya roh yang memasuki tubuhnya. setelah dianggap cukup dinikmati oleh penonton, laes yang masih dalam keadaan trance dimasukkan lagi ke dalam kurungan sebagai tanda pergantian atraksi selanjutnya. pertunjukan laesan mempunyai beberapa atraksi yang ditampilkan secara acak atau tidak berurutan, tetapi sesuai dengan kemauan atau permintaan laes. setiap atraksi yang akan dilakukan disampaikan kepada pemimpin pertunjukan agar disampaikan kepada penembang (penyanyi) dan penabuh instrumen (gamelan). atraksi-atraksi yang biasa ditampilkan antara lain, yaitu : 1) bandan, 2) uculana bandan, 3) permainan keris. dalam atraksi bandan (diikat), laes yang masih dalam kurungan kemudian diberi seutas tali yang panjangnya kira-kira lima meter oleh pemimpin pertunjukan. kemudian pemimpin pertunjukan meminta kepada penembang agar lagunya berganti dengan lagu bandan (permainan tali). di dalam kurungan, laes mengikat tubuhnya sendiri dengan tali tersebut. setelah kurungan bergerak-gerak, pemimpin pertunjukan membuka kurungan agar laes dapat dilihat penonton. ternyata dalam keadaan mata terpejam, seluruh tubuh laes terikat tali mulai dari leher, badan dan kedua tangannya. posisi ikatan kedua tangan berada dibelakang tubuh. maksud dari atraksi ini untuk menunjukkan bahwa yang mengikat tubuh laes dengan bentuk ikatan demikian adalah bidadari bukan laes itu sendiri. setelah dianggap cukup memuaskan penonton, laes dimasukkan kembali kedalam kurungan untuk melakukan proses melepaskan ikatan tali yang ada di tubuhnya. proses melepaskan ikatan tali tersebut diiringi dengan lagu tertentu. selama kurang lebih lima menit, para penembang menyanyi dengan khidmat dan serempak, setelah itu kurungan dibuka. tampaklah laes sudah terbebas dari ikatan tali yang melilit tubuhnya. selanjutnya laes menari mengitari arena pertunjukan dengan mata terpejam untuk kemudian melakukan permainan berikutnya yaitu atraksi permainan keris. pada atraksi permainan keris, pelaku utama (laes) diberi sebilah keris. laes dalam keadaan tidak sadar menusukkan keris pada tubuhnya sendiri, antara lain pada paha, perut dan dahi. anehnya meski ditusuk, tubuh laes tersebut tidak terluka sedikitpun. persyaratannya adalah menggunakan keris yang bukan luk, karena keris yang mempunyai luk mudah patah apabila ditusukkan pada tubuh laes. apabila keris yang diberikan pada laes masih memiliki kekuatan gaib maka keris tersebut akan hilang pada waktu dipegang oleh laes selama trance (pardi wawancara 20 agustus 2006). bagian akhir pertunjukan sebagai penutup seluruh rangkaian pertunjukan laesan, pemimpin pertunjukan mengembalikan laes agar sadar seperti semula. kemenyan yang ada di tepi arena pentas dikipasi lagi agar asapnya keluar. setelah asapnya mengepul, ditutup lagi dengan kurungan, agar asap tersebut memenuhi kurungan. kemudian laes dimasukkan lagi ke dalam kurungan yang sudah penuh asap kemenyan. kembalinya bidadari ke surga, ditandai dengan sadarnya kembali laes, dan selesailah keseluruhan pertunjukan kesenian laesan. unsur-unsur pendukung penyajian kesenian laesan pemain pemain kesenian laesan terdiri dari perpaduan antara remaja putri dengan orang tua. jumlah penari seluruhnya 27 orang yang terdiri dari penari, pengrawit, penembang dan pemimpin pertunjukan. penari terdiri dari 1 orang sebagai pemeran utama (laes), 1 orang pemain jaran kepang, 9 orang sebagai penari putri, 2 orang penabuh guci dan bambu, 9 orang sebagai penabuh gamelan jawa. pendukung lainnya adalah 3 orang penembang, 1 pemimpin pertunjukan dan 1 orang badhor. perlengkapan pentas perlengkapan pentas yang harus disediakan adalah kurungan, kain polos penutup kurungan, kemenyan (menyan madu atau menyan wangi), arang, sabut kelapa, tali, keris, jaran kepang, dhedhak, padi, tampah lengkap dengan sesajinya yang terdiri dari pisang setangkep, degan, jajan pasar, uang, kembang telon, nasi tumpeng, nasi kuning, merang dan telo bakar. semua perlengkapan ini disiapkan di tengah arena pentas kecuali yang digunakan penari yaitu keris. gerak gerak tari dalam pertunjukan kesenian laesan terdiri dari dua jenis yaitu gerak tari yang representasional dan gerak tari yang non representasional. gerak tari representasional ditunjukkan melalui gerak menusukkan keris ke tubuh penari, gerak menaiki kuda, makan padi, dan menirukan gerak monyet. sedangkan gerak tari non representasional lebih mendominasi pertunjukan kesenian laesan. misalnya sembahan, sindhet, panggel, timpuh, ukel, penthangan, dan tumpang tali. iringan iringan dalam pertunjukan kesenian laesan adalah bambu dan guci yang sudah menjadi ciri khas kesenian masyarakat pesisir, sebab bambu dan guci merupakan alat pokok yang selalu tersedia dalam perahu. guci adalah tempat air minum yang diletakkan di atas perahu, sedangkan bambu adalah alat pengapung bagi perahu-perahu kecil. di samping itu bambu juga berfungsi sebagai keseimbangan perahu agar tidak miring, sehingga disebelah tepi perahu diberi bambu untuk menjaga keseimbangan (sutari, wawancara tanggal 20 agustus 2006). setelah mengalami perkembangan dan penggarapan musik, maka musik yang dipakai dilengkapi dengan kendhang, saron, bonang, kenong, kempul dan gong. instrumen ini adalah instrumen jawa sehingga pola iringan yang muncul adalah gangsaran, lancaran widodari mudhun, lancaran sulasih, sulandono, lancaran bandan, dan lancaran tusuk keris. tata rias dan busana pertunjukan kesenian laesan tidak banyak memakai tata rias dan busana, akan tetapi lebih cenderung pada pemakaian busana sehari-hari saja. pelaku utama kesenian laesan menggunakan sarung dan kain ikat kepala. semua penari tersebut di atas tidak menggunakan tata rias wajah. sementara itu penari pendukung lainnya yaitu penari putri menggunakan rias cantik dengan memakai celana kain sebatas betis kaki warna hitam, kain lereng, kemben dilengkapi dengan rompi hitam dan sampur berwarna kuning, kalung, sabuk, pendhing,dan ikat kepala dari kain berwarna hitam. demikian pula dengan penari pendukung putra, memakai celana kain sebatas betis warna hitam, kain lereng, rompi hitam, sampur berwarna kuning, sabuk, dan ikat kepala warna hitam. ruang pentas atau panggung pada umumnya kesenian tradisional menggunakan bentuk pentas lingkaran atau arena terbuka yang dapat dilaksanakan di segala tempat tanpa membutuhkan dekorasi atau penataan pentas yang rumit. demikian pula halnya dengan kesenian laesan, karena sifatnya sederhana dan kesenian ini diciptakan, ditampilkan oleh masyarakat setempat untuk dinikmati oleh masyarakat setempat pula maka kesenian laesan dipentaskan di arena terbuka sehingga masyarakat dapat merasakan kebebasan dalam menikmati pertunjukan tersebut. makna simbolik kesenian laesan ekspresi estetis masyarakat bajomulyo dalam kesenian laesan, ditandai dengan munculnya simbol-simbol tertentu yang pemaknaannya berdasarkan hasil interpretasi masyarakat itu sendiri. simbolsimbol ini muncul atau tersirat dalam dupa lengkap dengan sesaji, nyanyian, gerak tari, dan trance. dupa (kemenyan) dan sesaji dupa merupakan media penghubung antara manusia dan roh. untuk bisa memanggil datangnya roh nenek moyang, terlebih dahulu harus membakar kemenyan sehingga bau harumnya akan sampai kepada roh yang dituju sehingga mau turun dan masuk ke tubuh laes. disamping dupa, sesaji tidak boleh terlupakan. sesaji yang perlu disiapkan adalah pisang setangkep, degan, tukon pasar, uang, kembang telon, nasi tumpeng dan nasi kuning. sesaji ini dibuat dan dipersiapkan di tengah arena guna keselamatan pelaku utama dan seluruh pendukung kesenian laesan. pisang setangkep melambangkan keutuhan, yang berarti segala uba rampe yang sudah disediakan sudah lengkap. degan melambangkan minuman yang suci untuk minuman makhluk halus. tukon pasar melambangkan perbuatan dan perjalanan ke semua penjuru mata angin agar mendapat keselamatan. uang melambangkan pembeli. kembang telon melambangkan tempat yang tinggi yang berarti kekuasaan yang tertinggi adalah tuhan. nasi kuning melambangkan sifat-sifat kemuliaan. nyanyian dalam kesenian laesan ada beberapa lagu yang mengandung nilai-nilai tertentu serta mampunyai simbol tertentu, misalnya aspek pendidikan, sindiran kepada lelaki, sindiran kepada perempuan, peringatan kepada penduduk terhadap perampok. contoh syair lagu yang mengandung sindiran terhadap lelaki mata keranjang, yaitu : kembang manggar kembang manggar beluluk adhine cengkir (2x) mindho mindho tanggane diaku bojo (bunga manggar beluluk adiknya cengkir (2x) tetangganya diakui sebagai istri) gerak tari gerakan-gerakan tari yang diciptakan dalam kesenian laesan melambangkan kehidupan mereka sebagai nelayan, yaitu gerak lengan dan tungkai. gerak tungkai seperti orang berjalan biasa, sedangkan gerak lengan seperti orang yang mendayung perahu. sementara itu gerak-gerak yang menirukan gerak alam sekitarnya misalnya pohon tertiup angin, pasir yang terbawa gelombang laut mempunyai makna simbolis alam sekitarnya dengan tujuan untuk mendatangkan roh nenek moyang. makna trance bandan trance dalam kesenian laesan mempunyai makna yang dalam, yang tercermin pada permainan bandan yaitu mendekatkan diri kepada tuhan dan bersujud kepada-nya. bandan (ikatan) selalu menunjuk kepada sebuah tali. tali adalah lambang pengikat yang berarti mempererat. kata mengikat berasal dari bahasa latin religare yang berarti mengikat yaitu mengikatkan diri kepada tuhan (herusatoto,1991:21).di dalam religi biasanya mengandung sistem kepercayaan yang mengandung keyakinan serta bayangan manusia tentang sifat tuhan. di samping itu, bertujuan untuk mencari hubungan manusia dengan tuhan, dewa-dewi atau makhluk halus yang mendiami alam gaib. dengan demikian makna trance dalam bandan pada tari laesan adalah mendekatkan diri kepada tuhan dan bersujud kepada-nya, karena tuhanlah yang merupakan jalan menuju keselamatan sejati. makna trance dalam permainan tusuk keris keris dalam kesenian laes merupakan lambang kesaktian yang digunakan untuk menusuk lawan apabila ada bahaya dari musuh yang mengancam. dalam kesenian laesan, keris tidak ditusukkan kearah lawan tetapi kearah diri sendiri. menurut suryadi (1993 : 40), keris mempunyai konsep lingga dan yoni. keris merupakan lambang lingga, sedangkan kerangkanya merupakan lambang yoni. sehingga dapat diambil kesimpulan bahwa makna trance dalam permainan tusuk keris adalah kesuburan, karena keris yang merupakan lambang lingga ditusukkan ke dalam tubuh laes yang sudah kemasukan roh bidadari sebagai lambang yoni. makna trance dalam permainan jaran kepang jaran kepang adalah kuda-kudaan yang terbuat dari anyaman bambu. di dalam konsep hidup jawa terdapat 5 a, yaitu wisma, curiga, kukila, wanita dan turangga. turangga atau kuda tunggangan adalah sebagai lambang kuda tunggangan perang dari para prajurit yang memiliki sifat-sifat gagah, kuat dan lincah (suryadi, 1993 : 150). jaran kepang dalam kesenian laesan memakan padi, rumput dan dhedhak. hal ini menunjukkan bahwa yang makan sebetulnya bukan manusia tetapi roh yang telah masuk ke dalam tubuh pelaku. sementara itu, roh ada yang baik dan ada yang jahat, semuanya diberi makan. dengan demikian makna trance dalam permainan jaran kepang adalah adanya keseimbangan antara roh yang baik dan yang jahat dengan mendapatkan perlakuan yang sama sehingga akan manusia mendapatkan keselamatan. simpulan dan saran simpulan kesenian laesan merupakan kesenian masyarakat pesisir yang dipakai sebagai media untuk mendekatkan diri dengan tuhan dan tempat untuk menuangkan ekspresi estetis masyarakat bajomulyo. ekspresi estetis kesenian laesan terdapat dalam : a) bagian awal pertunjukan, inti pertunjukan yang terdiri dari atraksi: bandan, uculana bandan dan permainan keris dan bagian akhir pertunjukan. b)unsur-unsur pendukung pertunjukan meliputi perlengkapan pentas; gerak tari; iringan; rias dan busana; dan ruang pentas. simbol-simbol yang membentuk makna dalam proses interaksi simbolik meliputi (1) dupa yaitu merupakan media penghubung antara manusia dan roh, (2) sesaji yang terdiri dari : pisang setangkep melambangkan keutuhan, yang berarti segala uba rampe yang sudah disediakan sudah lengkap, degan melambangkan minuman yang suci untuk minuman makhluk halus, tukon pasar melambangkan perbuatan dan perjalanan ke semua penjuru mata angin agar mendapat keselamatan, uang melambangkan pembeli, kembang telon melambangkan tempat yang tinggi yang berarti kekuasaan yang tertinggi adalah tuhan, nasi kuning melambangkan sifat-sifat kemuliaan; (3) nyanyian pengiring mengandung simbol aspek pendidikan, sindiran kepada lelaki, sindiran kepada perempuan, peringatan kepada penduduk terhadap perampok; (4) gerak tari mempunyai simbol alam sekitarnya; (5) makna trance bandan yaitu mendekatkan diri kepada tuhan dan bersujud kepada-nya; permainan keris melambangkan kesuburan, karena keris yang merupakan lambang lingga ditusukkan ke dalam tubuh laes yang sudah kemasukan roh bidadari sebagai lambang yoni; permainan jaran kepang mempunyai simbol keseimbangan antara roh yang baik dan yang jahat dengan mendapatkan perlakuan yang sama sehingga manusia akan mendapatkan keselamatan. saran berdasarkan hasil penelitian, maka ada beberapa hal yang perlu mendapatkan perhatian dari pemerintah daerah setempat baik yang berkaitan langsung maupun tidak langsung dengan kesenian laesan , yaitu : kesenian tradisional laesan perlu dijaga kelestariannya dan dikembangkan untuk diturunkan ke generasi penerus. 1. kesenian laesan perlu dikemas dan digarap, baik dari segi gerak, iringan, tata rias dan busana menjadi lebih baik lagi dengan tidak merubah atau meninggalkan bentuk aslinya sehingga mempunyai nilai jual yang tinggi. 2. perlu adanya penyuluhan dan pembimbingan manajemen produksi yang intensif guna memasarkan kesenian laesan. 3. perlu perhatian langsung dari pemerintah yang berwenang untuk mengangkat kesenian laesan menjadi kesenian khas kota pati. daftar pustaka brandon, james r. 1967. theatre in southeast asia. cambridgemassachusetts: harvad university press. depdikbud. 1992. mengenal laesan seni tradisional nelayan kecamatan juwana kabupaten pati dalam makalah seminar kesenian daerah pati: depdikbud. george, ritzer. 1985. sosiologi ilmu pengetahuan berparadigma ganda . penyadur alimandan. jakarta: cv rajawali. harjawiyana, haryana. 1986. bentuk ulang dalam nyanyian rakyat jawa 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tjetjep rohendi. 1994. pendekatan sistem sosial budaya dalam pendidikan. semarang: ikip semarang press. rosjid, abdulrahman. 1979. seni tari iii. jakarta: aqua press. sedyawati, edi. 1981. pertumbuhan seni pertunjukan. jakarta: pt. djaya pirusa. suryadi, linus. 1993. regol megal megol kosmogoni jawa. yogyakarta: andi offset. soedarsono. 1978. pengantar pengetahuan tari. yogyakarta: asti. soeprapto. 2002. interaksionisme simbolik. malang: pt. averroes press. todorove, tzvetan. 1977. theories of the symbol. itaca. new york: cornel university microsoft word isi harmonia x no 2 2010 permainan anak yang menggunakan nyanyian (kajian wilayah: jakarta, depok, bogor, tangerang, dan bekasi) tuti tarwiyah adi sam jurusan musik fakultas bahasa dan seni, universitas negeri jakarta. email : tutitarwiyah@yahoo.com abstract the study is about an almost extinct form of culture that is traditional game with song. the objective of the study is to identify/gather children game in order to preserve traditional game, specifically betawian children game with song. qualitative method is used as the approach of the study, focusing on ethnographic research. the study takes place in dki jakarta and its surroundings, especially jakarta suburbs, i.e. depok, bogor, tangerang, and bekasi. the data analysis is done from the beginning and throughout the process of the study, employing qualitative data analysis method proposed by miles and huberman. some findings of the study are: one, betawian children games consist of games with equipment and games with song. two, there are three games using songs, they are (1). hompimpah/gambreng, (2). tung keripik, (3). dangdang tut. three, five games for children below three years old using song sang by parents: (1). klung neng nang, (2). laa ilaaha illallaah, (3). gong anggong, (4). cang uncang angge, dan (5). jeg ujeg gantil. four, songs/games with spell, they are: (1). jeg ujeg gantil, (2). urukuruk ujan, (3). pang numpang, (4). cengcorang, (5). rep sirep, dan (6). sep asep. five, 13 betawian children games with song: (1) cici putri, (2) wak – wak gung, (3) keripik jengkol, (4) pung–pung balong, (5) nenek gerondong/ tug–tug gene/tug tug ubi, (6) sim terima kasim, (7) bokeran, (8) umpet batu/titibeni, (9) serondeng kacang tanah, (10) orang kaya orang miskin, (11) deng endengan/sirih tampin/sirih kuning, (12). baris tempetempe, dan (13). caca gulali/dung dung clok. six, there is an appropriateness of children songs with game with the theory of classic games. seven, there are eight games that are rooted and developed from betawian children game with song. kata kunci: permainan anak, , nyanyian pendahuluan penyebab tidak dikenalnya permainan yang menggunakan nyanyian dapat disebabkan oleh beberapa hal, di antaranya karena dampak perkembangan teknologi yang serba canggih menyebabkan anak lebih senang melakukan aktivitas bermainnya di rumah sendiri menggunakan teknologi yang berakibat tidak terlatihnya kecerdasan interpersonal anak. di samping itu, sekolah sebagai rumah kedua anak tidak berkontribusi dalam memperkenalkan/mensosialisasikan permainan tradisi bagi anak. hal ini dapat disebabkan karena guru sekolah sendiri tidak paham permainan tradisi yang seharusnya diajarkan kepada anak dalam kaitan implementasi kurukulum muatan lokal, karena walaupun ada buku permainan tradisi khususnya yang menggunakan nyanyian, tetapi tidak disertai notasi sehingga syair nyanyian hanya sebatas sekelompok kata-kata. belum lagi jumlah permainan yang hanya sedikit. berdasarkan pengamatan awal, dari sejumlah sekolah di dki jakarta, tidak ada satupun sekolah yang dalam pembelajarannya mengajarkan permainan tradisi yang menggunakan nyanyian. kalaupun ada sedikit yang mengajarkan permainan tradisi, hanya sebatas permainan yang tidak menggunakan nyanyian. oleh karena itu, harus ada upaya untuk melestarikan permainan tradisi. langkah pemecahannya adalah: pertama mengidentifikasi ulang permainan tradisi yang menggunakan nyanyian, termasuk perkembangannya yang masih dimainkan anak di wilayah dki jakarta dan sekitarnya. kedua menotasikan seluruh nyanyian permainan tersebut. sedikitnya ada dua teori bermain yang utama, yaitu teori bermain klasik dan teori bermain kontemporer (lihat docket & marilyn). teori bermain klasik merupakan teori yang diambil dari cara permainan pada zaman yunani dan romawi kuno hingga pada akhir abad ke19. sedang teori bermain kontemporer dimulai awal abad 20 hingga kini. pada hakekatnya kedua teori bermain ini memposisikan hak anak untuk dapat menikmati masanya dengan segala sesuatu yang menyenangkan. teori bermain klasik teori bermain klasik dibagi dalam lima teori bermain yaitu teori energi berlebih, teori rekreasi, teori melaksanakan insting, teori rekapitulasi, dan teori katarsis. teori energi berlebih (teori surplus energy) teori energi berlebih beranggapan bahwa manusia bermain apabila mereka memiliki energi berlebih. hal ini terutama berlaku bagi anak-anak. bermain merupakan cara untuk menyalurkan energi khususnya anak yang memiliki semangat penuh sehingga akan hilang beban yang berlebihan pada energi otot yang menyebabkan mereka tidak dapat tinggal diam. teori rekreasi teori rekreasi berpendapat bahwa bermain sebagai aktivitas yang terkait erat dengan rekreasi teori rekreasi ini biasanya mengacu pada teori relaksasi (pengendoran). jadi, bermain itu perlu dilakukan sebagai media/alat/sarana untuk memperkuat dan menyimpan tenaga. teori melaksanakan insting teori melaksanakan insting, mengungkapkan bahwa anak melakukan bermain untuk persiapan kehidupan mendatang setelah dewasa. oleh karena itu bermain diharapkan dapat dijadikan ajang untuk memahami nilai dalam pengembangan kapasitas anak baik fisik maupun mental di tengah-tengah kehidupan masyrakat. teori ini juga berpandangan bahwa melakukan bermain itu sebagai aktivitas mempersiapkan diri anak untuk kehidupan kelak setelah dewasa. oleh karena itu dalam aktivitas bermain terkandung maksud untuk memahami nilai-nilai kehidupan dan mengembangkan kapasitas anak secara utuh, baik fisik maupun mental sehingga bermain mempunyai nilai lebih. teori rekapitulasi teori ini berpandangan bahwa bermain mengaktifkan tahap-tahap perkembangan manusia. teori ini menggambarkan bahwa anak dalam kehidupannya melalui berbagai tahap perkembangan. setiap anak memiliki perkembagan yang berbeda-beda dan perkembangan anak dapat dioptimalkan melalui bermain. teori ini didasarkan pada adanya insting dan minat pada perkembangan spesies manusia. teori ini berpandangan bahwa bermain itu memiliki tujuan untuk mengaktifkan tahap-tahap perkembangan manusia. dalam psikologi perkembangan dijelaskan bahwa anak berkembang melalui berbagai tahap perkembangan. bermain pada anak sebagai upaya untuk mengoptimalkan potensinya pada setiap tahap perkembangannya itu. termasuk di dalamnya perkembangan dalam berpikir. hal ini sejalan dengan yang dikatakan oleh smilansky 1990 dalam bronson yang mengatakan bahwa play reflects and supports the process of socialization and the development of thinking (bronson,1995:2). teori ini didasarkan pada adanya asumsi bahwa spesies manusia itu memiliki insting dan minat untuk beraktivitas. 5) teori katarsis. yang dimaksud dengan katarsis adalah perasaan tertekan disebabkan oleh sandiwara tragedi. katarsis dapat juga berarti suatu ungkapan tentang sesuatu yang tidak menyenangkan kemudian diatasi kembali (semiawan. wawancara april 2009). teori bermain katarsis berpandangan bahwa bermain dianggap sebagai alat yang tepat untuk melatih anak memecahkan masalah (hal-hal) yang riskan dilakukan dalam keadaan senyatanya. dengan demikian dapat dikatakan dalam teori katarsis bahwa bermain mengaktifkan insting dengan cara yang dapat diterima oleh masyarakat. inti bermain klasik adalah bahwa anak melakukan bermain disebabkan karena beberapa unsur. unsur-unsur tersebut adalah kelebihan tenaga, hiburan, melaksanakn insting, mengaktifkan tahap-tahap perkembangan, juga dalam rangka mempersiapkan diri pada kehidupannya kelak saat dewasa. teori klasik ini sampai saat ini masih sangat relevan digunakan, karena unsur-unsur yang terdapat pada teori klasik ini masih ada dan menjadi bagian yang tak terpisahkan pada diri anak sehingga anak suka bermain. kondisi seperti ini berlaku di setiap zaman, kapanpun dan di manapun. teori bermain kontemporer teori bermain psikoanalitik jenis teori psikoanalitik menjelaskan keterlibatan anak dalam bermain sebagai sarana mendapatkan kemampuan untuk pengendalian atas peristiwa-peristiwa yang mereka tidak mampu mengendalikannya di dalam realitas sehari-hari. menurut freud bermain itu bukan sesuatu yang “serius”, tetapi itu sesuatu “realita”. melalui bermain anak dapat menumpahkan segenap dorongan dan keinginan mereka. beberapa tahun lamanya setelah karya freud ini, psikoanalisis yang lain mempertimbangkan peran dan fungsi bermain. dua contoh yang dapat dicatat yaitu erikson dalam bronson yang memfokuskan pada penguasaan unsurunsur teori, demikian juga peller dalam bronson mengatakan bahwa bermain berperan dalam memenuhi keinginan. menurut klein dalam moleong, unsurunsur teori psikoanalitik dapat dipandang sebagai bermain terapi/pengobatan (moleong, 2003:102). pendekatan ini telah diterapkan untuk mengatasi banyak anak yang dideskripsikan menghadapi problem emosional. teori bermain modulasi teori bermain modulasi atau teori membangkitkan semangat (seeking arousal) ini berpandangan bahwa bermain dapat dijadikan sebagai alat mempertahankan tingkat semangat yang seimbang. maksudnya adalah menyeimbangkan antara menumbuhkan semangat dengan mempertahankan semangat yang telah tumbuh tersebut. diasumsikan hadirnya dorongan bermain akan menjaga semangat pada tingkat optimal. teori modulasi ini bersumber dari teori behavioral (perilaku). ia terfokus pada mengasosiasikan antara stimuli dan respon. berlyne yang dikutip pamela juga menjelaskan bahwa bermain itu sebagai sarana untuk menjaga level keseimbangan semangat. teori bermain menurut vygotsky dalam pamela, bermain itu selalu merupakan pengalaman simbolik sosial. bahkan walaupun anak bermain sendirian, mereka menggambarkan tematema, pengalaman, dan peran yang aslinya ada pada kehidupan sosial dan dia menggunakan simbol sosial untuk memperolehnya. 3) teori bermain metakomunikatif. teori bermain metakomunikatif berpendapat bahwa anak memiliki kemampuan untuk menyampaikan pesan, yaitu melalui bermain. bateson (1955) mengatakan bahwa landasan teori bermain adalah suatu gambaran tentang kerangka-kerangka (frames) dan pemerangkaan (framing). kerangka bermain bateson digambarkan sebagai kerangka psikologis yang dirancang untuk terjadinya tindakan di dalam kerangka permainan itu. 4) teori bermain kognitif. teori bermain kognitif berpandangan bahwa terdapat hubungan antara bermain dan perkembangan kognitif. menurut piaget bermain hendaklah ditempatkan sesuai tahap-tahap perkembangan kognitif. vygotsky memberikan sejumlah konsep orientasi tentang bermain. menurut pandangannya bermain menciptakan situasi khayalan yang dibatasi oleh aturan-aturan merupakan gambaran yang penting. piaget berpendapat bahwa bermain itu terkait erat dengan teorinya tentang tahap-tahap perkembangan kognitif anak. masing-masing tahap, yaitu: sensori motor, berpikir pra-operasional dan operasional konkret, digambarkan piaget sebagai karakteristik bentuk bermain. semua permainan anak, oleh piaget, dianggap memiliki peran aktif, menurut teori piaget, dalam bermain anak itu digambarkan sebagai individu yang mengkonstruk/menyusun pengetahuan melaui dua proses, yaitu akomodasi dan asimilasi. proses ini digunakan untuk memperoleh kondisi yang seimbang atau kesamaan, antara apa yang diketahui dan apa yang dialami. mengacu pada teori bermain zaman klasik dan kontemporer, pada dasarnya bermain bagi anak merupakan hal yang alamiah dan naluriah yang tidak dapat dipisahkan dari kehidupan anak. pada dasarnya apa yang ada di zaman kontemporer merupakan pengembangan dan atau komplemen dari apa yang sudah ada di zaman klasik. yang terpenting bagi para orang tua, guru maupun siapa saja yang peduli pada pendidikan anak adalah dengan menyadari tipe-tipe bermain anak yang dapat dijadikan ajang penumbuhkembangan kecerdasan anak. tipe bermain anak sebagaimana dikemukakan oleh jeffree dkk dalam dorothy.dibagi dalam 6 bagian, yaitu: exploratory play,energetic play,skilful play,social play, imaginative play, dan puzzle-it-out play (dorothy m. jeffree, 1994:18). keenam tipe bermain ini semua mengkover teori bermain klasik dan kontemporer. pengertian musik, sebagaimana yang dikemukakan oleh soedarsono bahwa musik ialah ungkapan rasa indah manusia dalam bentuk suatu konsep pemikiran yang bulat, dalam wujud nadanada atau bunyi lainnya yang mengandung ritme dan harmoni (soedarsono, 1992:15). di samping itu musik mempunyai suatu bentuk dalam ruang dan waktu yang dikenal oleh diri sendiri dan manusia lain dalam lingkungan hidupnya, sehingga dapat dimengerti dan dinikmatinya. selama abad pertengahan dan renaissance musik dianggap sebagai salah satu dari empat pilar pendidikan utama. pelajaran musik sejajar dengan pelajaran geometri, astronomi, dan aritmatika. selanjutnya berdasarkan para pakar lain yang berbicara tentang musik, mereka memaparkannya sebagai berikut: 1. plato, irama dan harmoni merasuk kedalam jiwa dan bersamanya dengan kuat di sana, memberikan kenikmatan bagai tubuh dan pikiran yang hanya bisa dinikmati dengan cara yang benar. 2. aristoteles, kita akan mencapai kualitas karakter tertentu dengan menghargai musik. 3. stravinsky, musik mengekspresikan dirinya sendiri, dengan menggarisbawahi kemerdekaan dan bentuk keahlian manusia. musik adalah bahasa pendengaran yang menggunakan tiga komponen dasar: intonasi suara, irama, dan warna nada. 4. howard gardner, musik muncul lebih awal dibandingkan dengan bakat dalam bidang lain pada intelligence manusia. 5. sheila fitzgerald dari universitas negeri michigan, meskipun banyak guru yang bukan musisi, ia mendorong para guru untuk mempergunakan musik sebagai strategi instruksional. dan ini menurutnya amat mudah. ia mengembangkan pendekatan musik untuk mengajar membaca yang tidak menbutuhkan instruksi musik formal. pendapat lain tentang seni musik seperti yang dikemukakan oleh al bagdadi bahwa musik adalah nada atau bunyi yang dihasilkan dari suara manusia atau suara alat musik (seperti drum, gitar, piano, kendang seruling dan lain-lain) (1999:13). termasuk juga suara alam yang ada di sekitar kita. sedang menurut menurut hoffman, dalam al bagdadi musik adalah sesuatu yang dikomunikasikan melalui ekspresi emosi. dia juga mengatakan bahwa musik mempunyai ciri-ciri (1) adanya unsur bunyi, (2) adanya pengorganisasian bunyi, (3) adanya makna musikal. pendapat lain tentang musik sebagaimana yang dikemukakan oleh kamien (dalam tarwiyah, 2008). ia membedakan musik dari jenis bunyi lain yaitu adanya elemen utama yang melekat pada bunyi yang bersifat musikal (2003:7). elemen-elemen musik tersebut menurut van ess meliputi: (1) warna nada (timbre), (2) kecepatan/tempo, (3) intensitas/ volume, (4) ketinggian nada (pitch) dan (5) durasi. gordon dalam sumaryanto mendefinisikan irama/ritme yaitu sebagai suatu perasaan musikal yang bergerak maju sebagai faktor utama bentuk musik dan merupakan hasil dari pergaulan polapola nada dari nilai perbedaan waktu (totok sumaryanto: 2002: 8). unit dasar irama disebut beat, yaitu merupakan kombinasi tekanan berat dan ringan dari irama/ritme yang dapat didengar menurut warna nada alat musik yang digunakan. melodi, menurut van ess dalam sumaryanto adalah rangkaian nada-nada yang disusun ke dalam pola-pola yang beraturan. atau dengan kata lain adalah rangkaian nada-nada secara tunggal yang memberi arti suatu keseluruhan lebih lanjut dikatakan bahwa pembentukan sifat dan karakter melodi sangat ditentukan oleh (1) garis bentuk, (2) pola ritme, (3) interval dan, (4) tonal/contour. melodi memiliki sifat gerak tertentu yang menimbulkan karakter tertentu pada melodi tersebut. lundin mengemukakan bahwa sifat-ifat gerak melodi dapat digolongkan atas: (1). melangkah dan melompat, (2). pengulangan (repetition), dan (3) pengakhiran. harmoni, menunjuk pada cara membentuk berbagai kord (chord) yaitu kombinasi serempak tiga nada atau lebih dan bagaimana kord tersebut ditempatkan. van ess menyatakan bahwa harmoni adalah teknik mengkombinasikan nada-nada dalam bentuk kord, dan nada-nada tersebut secara simultan dapat mendukung aspek musikal secara vertikal (mendukung melodi) maupun secara horizontal sebagai pengiring. wujud penerapan harmoni lebih lanjut dalam musik yaitu berupa rangkaian kord yang mengiringi suatu melodi atau ritme tertentu dan rangkaian kord yang berbeda pada bahagian akhir suatu melodi, frase, atau ritme disebut kadens (cadence). fungsi pembelajaran musik bagi pembelajaran itu sendiri sejalan sebagaimana hasil penelitian campbell di negara bagian washington. ia meminta para pegawai departemen imigrasi memainkan musik mozart dan barok selama pelajaran bahasa inggris bagi para pendatang dari kamboja, laos, dan negara-negara asia lain. dari hasil penelitian tersebut ia melaporkan bahwa perlakuan memainkan musik tersebut mempercepat pembelajaran para imigran (don campbell, 200:16). dengan demikian musik adalah suatu perwujudan ungkapan perasaan atau ekspresi jiwa manusia yang direncanakan yang diwujudkan melalui media (nada atau bunyi lainnya) yang mengandung unsur irama, melodi dan harmoni sehingga menjadi suatu bentuk karya yang dapat dinikmati oleh dirinya maupun oleh orang lain dengan menggunakan alat pendengar, melalui suara atau bunyi-bunyian. permainan anak betawi permainan ada di tiap negara, ada di tiap budaya sebagaimana dikatakan bronson. play in every land. play in every culture. dia juga menambahkan bahwa play in every language. play every where – the children of the world play tiap negara memiliki kultur budaya yang spesifik hingga berbeda dengan negara lain. demikian juga dalam suatu negara yang terdiri dari berbagai suku/etnis, kemungkinan perbedaan kultur selalu ada. betawi sebagai salah satu etnis kota jakarta yang bercikal bakal dari etnis melayu, arab, dan cina memiliki budaya yang khas. budaya betawi ini didominasi budaya melayu. dengan demikian permainan anak yang ada di betawi merupakan akulturasi dari campuran budaya tersebut, yang tentu saja didominasi budaya melayu. permainan anak betawi mengalami tumbuh kembang seiring dengan perkembangan jaman (ardan, 2004:3). hal ini sebagaimana dikatakan ardan salah seorang seniman betawi dalam acara penganugerahan sebagai seniman betawi pada bulan maret 2004. jadi, menurut penulis, permainan betawi terutama yang menggunakan nyznyizn dari tahun ke tahun mengalami perubahan. dari tahun ke tahun semakin berkurang juga gaungnya. perubahan ini lebih disebabkan oleh perubahan jaman sehingga berimbas pada kurangnya apresiasi masyarakat terhadap permainan anak betawi khususnya permainan musik betawi yang semakin tidak terlihat dan terdengar keberadaannya. tujuan dari penelitian ini adalah mengidentifikasi/mengumpulkan permainan anak betawi yang menggunakan nyanyian guna melestarikan permainan tradisi khususnya permainan anak betawi yang menggunakan nyanyian. hasil dan pembahasan berdasarkan pada kumpulan data dari lapangan tentang permainan anak betawi yang menggunakan lagu, penulis dapat menyimpulkan bahwa: 1) permainan anak betawi terdiri dari permainan yang menggunakan alat permainan dan permainan yang menggunakan lagu.yang menggunakan lagu pada umumnya dimainkan oleh anak dalam jumlah yang besar. 2) permainan anak betawi yang tidak menggunakan lagu, baik yang menggunakan alat ataupun tidak menggunakan alat, setidaknya ada 11 permainan, yaitu: (1). cutik, (2). congklak, (3). dampu, (4). tokadal/kalawadi/ongkel, (5). egrang, (6). samsu/samse, (7). galasin, (8). petak umpet benteng, (9). petak umpet ingglo, (10). kuda bisik, (11). kurungan ayam, dan lain-lain. 3) ada tiga permainan yang menggunakan lagu, namun hanya dinyanyikan pada saat akan memulai permainan yang tujuannya untuk menentukan pemain yang menang (main terlebih dahulu), atau pemain yang kalah (jaga terlebih dahulu). ketiga permainan tersebut adalah (1). hompimpah/gambreng, (2). tung keripik, (3). dang-dang tut, dan (4). kacang-kacang panjang. 4) ada lima permainan anak umur batita (bawah tiga tahun) yang menggunakan lagu dan lagunya dinyanyikan orang tua (yang menjaga anak), yaitu: (1). klung neng nang, (2). laa ilaaha illallaah, (3). gong anggong, (4). cang uncang angge, dan (5). jeg ujeg gantil. 5) nyanyian/permainan yang mengandung mantra, yaitu: (1). jeg ujeg gantil, (2). uruk-uruk ujan, (3). pang numpang, (4). cengcorang, (5). rep sirep, dan (6). sep asep 6) sedikitnya ada 13 permainan anak betawi yang menggunakan lagu, yaitu: (1) cici putri, (2) wak – wak gung, (3) keripik jengkol, (4) pung– pung balong, (5) nenek gerondong/ tug–tug gene/tug tug ubi, (6) sim terima kasim, (7) bokeran, (8) umpet batu/titibeni, (9) serondeng kacang tanah, (10) orang kaya orang miskin, (11) deng endengan/sirih tampin/sirih kuning, (12). baris tempetempe, dan (13). caca gulali/dung dung clok 7) terdapat keselarasan/kesesuaian antara permainan anak betawi yang menggunakan lagu dengan teori bermain klasik. adapun teori bermain klasik yang mendukung permainan anak betawi yang menggunakan lagu tersebut ialah: teori bermain energi surplus, teori bermain rekreasi, dan teori bermain katarsis. 8) terdapat sedikitnya delapan permainan yang berakar dan merupakan pengembangan dari permainan anak betawi yang menggunakan lagu, yaitu: (1). uler naga, pengembangan dari wak-wak gung, (2). minta anak/kakak mia, pengembangan dari orang kaya orang miskin, (3). nama-nama hari, pengembangan dari sim terima kasim, (4). domikado, pengembangan dari hompimpah dan sim terima kasim, (5). sedang apa sekarang, berakar dari sim terima kasim, (6). pak tani, berakar dari sim terima kasim , (7). pippo, berakar dan pengembangan dari sim terima kasim dan pong-pong balong, dan (8). koka kola, berakar dan pengembangan dari cici putri dan kuda bisik. simpulan simpulan utama dalam penelitian ini adalah bahwa permainan anak betawi yang menggunakan lagu sebagai bagian dari kekayaan khasanah budaya bangsa harus disosialisasikan dan dilestarikan. pensosialisasian permainan yang menggunakan lagu ini akan sangat menguntungkan berbagai fihak karena di samping dapat menstimulasi kecerdasan jamak anak, juga membantu pemerintah dalam melestarikan kekayaan budaya bangsa. khusus bagi anak, pengenalan permainan yang menggunakan lagu ini juga dapat memberi andil dalam pendidikan multikultural, dimana anak dipersiapkan pada dunia tanpa batas yang berpandangan menghargai banyak budaya, namun juga tidak tercerabut dari akar budaya yang membesarkannya. implikasi setelah dianalisis tentang kandungan kecerdasan jamak dalam permainan anak betawi yang menggunakan lagu, penulis sebagai seorang pendidik dan pemerhati budaya merasa penting untuk memberikan dan menyampaikan temuan ini. penulis mendapatkan beberapa implikasi dalam pembelajaran, di antaranya: 1) para guru di sekolah dapat memperkenalkan permainan anak betawi dalam tiap bidang pembelajaran selama materinya dapat diintegrasikan mulai tk sampai sma. 2) bagi masyarakat, khususnya orangtua dapat memperkenalkan permainan anak betawi sedini mungkin, karena di samping turut berpartisipasi mensosialisasikan permainan anak betawi, khususnya permainan anak betawi yang menggunakan lagu, juga dapat memberi dampak positif bagi pengembangan kecerdasan anak dan penanaman proses apresiasi, juga ikut melestarikan kekayaan budaya bangsa. termasuk dalam hal ini menjadi ajang pengikat kebersamaan keluarga yang dapat mendatangkan kesenangan dan kebahagiaan saran atas dasar hasil temuan penelitian tentang permainan anak betawi dan hasil analisis tentang kandungan kecerdasan jamak yang terkandung di dalamnya, penulis memberikan beberapa saran kepada: 1) pemerintah, agar lebih serius dalam usaha pensosialisasian kesenian betawi, khususnya permainan anak betawi yang menggunakan lagu. pada dasarnya anak menyukai lagu, oleh karena itu jika anak diperkenalkan pada akar budayanya sejak dini, anak pasti akan senang dan diharapkan dengan hal ini anak secara tidak sadar dapat mensosialisasikan budaya tradisinya. tentu ini akan berdampak sangat posisif pada upaya pelestarian budaya betawi. 2) guru, agar tidak ragu untuk mengajarkan kesenian jakarta, khususnya permainan anak betawi, karena memiliki banyak manfaat sekaligus. di antaranya anak pasti suka diajarkan lagu dalam bentuk permainan. pembelajaran dalam suasana joyful learning pasti akan mendatangkan pembelajaran yang lebih bermakna. usaha guru mengajarkan permainan anak betawi berarti juga memberikan kontribusi kepada pemerintah dalam upaya pensosialisasian dan pelestarian budaya betawi. 3) masyarakat umum, agar ikut memberikan dukungan pada anak– anak yang membawa permainan ini kepada masyarakat. 4) pemerhati budaya, agar turut serta mengangkat permasalahan permainan anak, khususnya permainan anak betawi yang berada di ibu kota yang jelas-jelas memiliki kekayaan dan keragaman pada peristiwa-peristiwa budaya. 5) lptk, khususnya universitas negeri jakarta fakultas bahasa dan seni jurusan musik sebagai lembaga pencetak guru seni yang akan terjun langsung ke masyarakat, khususnya masyarakat sekolah agar memasukkan kesenian tradisional khususnya kesenian daerah betawi dalam kurikulumnya. hal ini ditujukan agar guru yang dihasilkan kelak akan menularkannya kepada muridnya. semakin dini diberikan akan semakin baik, karena anak akan terbiasa dan akrab dengan budayanya sendiri, sehingga anak akan lebih apresiatif pada budaya yang melingkupinya. 6) peneliti, khususnya peneliti masalah budaya, agar melanjutkan lebih jauh penelitian ini pada lokasi daerah yang lebih luas mencakup seluruh wilayah jabodetabek, sehingga lebih mewakili masing-masing tempat sebaran budaya betawi, khususnya terkait dengan permainan. peneliti yakin, jika diteliti lebih lama dan luas lagi, maka akan ditemukan keragaman permainan anak betawi yang menggunakan lagu. ini merupakan kekayaan yang tiada terhingga. daftar pustaka al bagdadi, abdurahman, seni dalam pandangan islam, jakarta : gema insani, 1991. ardan. permainan betawi. jakarta: forum budaya betawi. 2004 banoe, pono, pengantar pengetahuan alat musik, jakarta : cv. baru, 1984. bronson, martha b. the right stuff for children birth to 8. selecting play materials to support development. washington: national association for the education. 1995. campbell, don. efek mozart. jakarta: gramedia pustaka utama. 2001. education department of victoria. a guide to music in the primary school, 1981. harmoyo dkk., pendidikan seni musik. jakarta: aries lima, 1991. jamalus. pengajaran musik melalui pengalaman musik. proyek pengembangan lembaga tenaga kependidikan, dirjen dikti, depdikbud, 1989. karl, edmund prier sj. sejarah musik jilid 1. jogjakarta: pusat musik liturgi, 1991. munandar, s.c utami (penyunting), bunga rampai anak–anak berbakat: pembinaan dan pendidikannya. jakarta : rajawali, 1982. vannoy, steven w. 17 anugerah terindah untuk orang tua (diterjemahkan oleh ratih puspasari ) bandung : kaifa , 2000. dorothy m. jeffree, roy mcconkey, simon hewson. let me play. canada: humen horizons series. 1994. milles matthew b., dan huberman, a. michael. “analisis data kualitatif” terjemahan.tjetjep r.r,. jakarta: universitas indonesia press. 1992. moleong , lexy j. 1998. metodologi penelitian kualitatif. bandung : pt remaja rosdakarya. moleong, lexy j. et. play theory. jakata: pasca sarjana universitas negeri jakata. 2003. pamela j. wolfberg. play and imagination in children whit autism. new york and london: colombia university.1999. rohidi, t. r., kesenian dalam pendekatan kebudayaan, stsi bandung, bandung, 2000. shinto b. adelar. teknologi dan permainan anak, sebuah tips untuk orangtua. buletin anak edisi no. 35 tahun x februari 2000 sue dockett & marilyn fleer. play and pedagogy in early childhood. australia : harcourt. 2000. sumaryanto, totok. tes bakat musik anak sekolah dasar.laporan penelitian.semarang : ikip semarang press. 2002 teknologi dalam permainan anak. buletin anak edisi no. 35 tahun x pebruari 2000 tuti tarwiyah. 2008. “lagu klasik betawi ’(lagu dalem)’:suatu kajian tentang keberadaan, karakteristik, dan kiat-kiat mempelajarinya nilai-nilai musik betawi” laporan penelitian. jakarta: fbs universatas negeri jakarta. ____________. “nilai-nilai musik betawi” laporan penelitian. jakarta: fbs universatas negeri jakarta. 2003. ____________. “ pengembangan program pembelajaran musik multiple intelligences untuk anak usia dini” laporan penelitian hibah bersaing. jakarta: dikti.2007. microsoft word isi harmonia x no 2 2010 peningkatan hasil belajar seni musik dengan media audio lidya fita kusumadewi* s. suharto** *jurusan sendratasik universitas negeri semarang email : lidyafitakusumadewi@yahoo.com **jurusan sendaratasik universitas negeri semarang email:harto1965@gmail.com abstract learning the art of music at school aims at introducing students to local music. however, students are less interested in learning the art of music. moreover, the way the teacher teaches are not so attractive, complementing the students' reasons to override music art. this research is a class action research conducted in two cycles. cycle i and cycle ii consist of planning, action observation and reflection. data collection was done through tests, observations, interviews and documentation. data were analyzed descriptive quantitatively and qualitatively. based on data analysis, it is concluded that audiovisual media and varied methods improve learning outcomes of music lesson after the action of the first cycle, 84% of students reached a value greater than or equal to 64. in the second cycle, the percentage increased to 88%. changes in behavior in this study were the students seemed happy, more motivated in learning, enthusiastic in asking questions, and pay full attention to teachers' explanation. considering the result of the study, the researcher suggests teachers use audiovisual media and a variety of methods to generate students’ interest and attraction in appreciating the art of local music. kata kunci: hasil belajar, media audio visual, metode bervariasi. pendahuluan pendidikan selalu mengalami perubahan seiring dengan berkembangnya zaman untuk meningkatkan mutu dan kualitas. untuk itu perlu adanya penyesuaian terkait dengan peningkatan mutu pendidikan di indonesia. terlebih lagi indonesia sempat berada di level yang sangat rendah baik di tingkat asia tenggara maupun dunia. maka dari itu perlu dilakukan penanggulangan sesegera mungkin. kurikulum dianggap menjadi salah satu faktor penyebab merosotnya kualitas pendidikan di indonesia, mengalami perubahan terus menerus. kurikulum adalah seperangkat rencana dan pengaturan mengenai tujuan, isi dan bahan pelajaran serta cara yang digunakan sebagai pedoman penyelenggaraan kegiatan pembelajaran untuk mencapai tujuan pendidikan tertentu (www.docstoc.com, 2009: 1). ktsp (kurikulum tingkat satuan pendidikan) yang sekarang digunakan dalam dunia pendidikan di indonesia memberikan keluasaan pengelolaan pandidikan. kurikulum ini didesentralisasikan terutama dalam pengembangan silabus dan pelaksanaan disesuaikan dengan tuntutan kebutuhan siswa, keadaan sekolah dan kondisi sekolah / daerah. maka dari itu sekolah memiliki kewenangan yang cukup luas dalam menyelenggarakan modifikasi pendidikan dan variasi variasi sesuai dengan keadaan, potensi dan kebutuhan daerah serta kondisi siswa. dalam ktsp terdapat mata pelajaran seni budaya, mata pelajaran ini diajaran dalam kegiatan kurikuler siswa karena memberipengalaman estetik dalam bentuk berapresiasi dan berkreasi. proses pembelajaran seni budaya, terdapat beberapa bidang seni, yaitu seni musik, seni rupa, seni tari dan ketrampilan, serta seni teater. tiap – tiap mata pelajaran seni diarahkan untuk mendekatkan siswa dengan budaya. jadi mata pelajaran seni budaya merupakan pendidikan seni yang berdasarkan pada budaya. pentingnya pendidikan seni diberikan di sekolah, salah satunya untuk memperkenalkan generasi muda indonesia terhadap budayanya. hal ini dimaksudkan untuk menjaga kelestarian budaya masingmasing daerah agar tidak punah. karena jati diri suatu bangsa adalah dari budayanya. generasi muda indonesia, dalam hal ini siswa smp adalah ujung tombak yang diharapkan dapat terus mempertahankan kebudayaan di indonesia. namun dalam kenyataanya, generasi muda saat ini masih sangat jarang dapat menikmati kesenian daerah. hal ini terjadi karena pengaruh lingkungan mereka yang sebagian besar telah terakulturasi dengan kebudayaan lain, terutama kebudayaan luar. pertunjukan seni yang modern jauh lebih mudah diakses ketimbang pertunjukan seni asli daerah. hal ini menjadi tantangan bagi guru seni budaya khususnya, untuk bisa memperkenalkan ragam kesenian khas daerah. berbagai macam masalah yang dihadapi guru dalam pembelajaran seni budaya, salah satunya adalah bagaimana menerapkan kurikulum di dalam kelas secara tepat agar materi dapat dengan mudah diterima siswa dan terhindar dari sikap “verbalisme”. pengajaran dengan menggunakan metode ceramah dirasakan kurang sesuai dengan kebutuhan pengajaran seni budaya khususnya seni musik. hal ini dapat mempengaruhi hasil belajar siswa yang kurang memuaskan. sehingga siswa belum banyak memahami peninggalan budaya daerahnya, khususnya seni musik. padahal dengan musik daerah diharapkan dapat mempengaruhi jiwa dan perilaku anak karena terdapat unsur unsur budaya luhur, sopan santun dan etika moral yang baik. hasil wawancara peneliti dengan siswa smp, sering kali menomerduakan mata pelajran seni budaya di bandingkan mata pelajaran matematika dan sains. hal ini dikarenakan mereka kurang memahami penjelasan guru yang hanya dengan metode ceramah. guru mata pelajaran seni budaya kelas vii a smp n1 jambu juga merasakan dampak kurang maksimalnya dalam proses pembelajaran dengan menggunakan metode ceramah. namun karena latar belakang pendidikan beliau yang kurang mendukung karena kurangnya tenaga pendidik untuk mata pelajaran seni budaya, maka beliau hanya dapat menggunakan metode konvensional. dengan demikian maka nilai rata – rata siswa hanya mencapai 30% dari kkm (kriteria ketuntasan minimum) yang ditentukan. berkaitan dengan hal tersebut penelitian ini akan mengujicobakan media audio visual dan metode bervariasi untuk meningkatkan hasil belajar dan aktivitas belajar seni musik siswa kelas vii a di smp negeri 1 jambu, dengan batasan permasalahan, pada kompetensi dasar apresiasi seni musik daerah jawa tengah. gagne, (dalam ngalim purwanto, 2004: 84) menyatakan bahwa belajar terjadi apabila suatu situasi stimulus bersama dengan isi ingatan mempengaruhi siswa sedemikian rupa sehingga perbuatannya (performance-nya) berubah dari waktu sebelum ia mengalami situasi itu ke waktu sesudah ia mengalami situasi tadi. tidak jauh berbeda, morgan (dalam ngalim purwanto, 2004: 84) merumuskan bahwa belajar adalah setiap perubahan yang relatif menetap dalam tingkah laku yang terjadi sebagai suatu hasil dari latihan atau pengalaman. aktivitas berasal dari kata aktif yang berarti kegiatan, kesibukan (poerwadarminta 2003: 26). dalam proses pembelajaran siswa dituntut untuk selalu aktif secara fisik, intelektual dan emosional. guru harus memperhatikan keaktifan siswa dalam pembelajaran. terutama sikap aktif yang positif dari siswa, karena sangat berpengaruh terhadap kelancaran proses belajar mengajar sehingga dapat diperoleh hasil yang maksimal. setiap guru memiliki pandangan yang berbeda dalam menyatakan suatu proses belajar mengajar dinyatakan berhasil atau tidak. kurikulum merupakan salah satu pedoman yang dapat digunakan untuk menyelaraskan berbagai macam persepsi itu. hasil belajar adalah sesuatu yang didapat setelah melalui proses belajar itu sendiri. audio visual adalah video yang menampilkan bentuk suara dan gambar, aristo rahadi (dalam setiani 2008: 24) pada penelitian ini media audio visual berisi pertunjukan lagu daerah jawa tengah baik lagu rakyat, lagu klasik, dan lagu populer yang di download dari internet. lagu rakyat yang dipakai yaitu cublak – cublak suweng, yo pra konco, jaranan, sue ora jamu, sedangkan lagu klasik yaitu tembang mocopat kinanti dan lagu daerah populer yaitu praon. lagu – lagu ini dirangkai sedemikian rupa dan ditambah dengan deskripsi tiap – tiap lagu daerah, ciri – ciri dan identifikasi elemen – elemennya. djamarah (dalam sutrisno 2007: 28) mengatakan bahwa metode bervariasi adalah metode pembelajaran yang dalam proses belajar mengajar meliputi variasi dalam gaya mengajar, variasi dalam menggunakan media dan bahan pengajaran, serta variasi dalam interaksi antara guru dan siswa. dalam pelaksanaanya guru sudah melakukan 7 macam gaya mengajar menurut marno dan idris, yaitu (1) variasi suara guru, (2) variasi mimik dan gerak, (3) perubahan posisi, (4) kesenyapan atau diam sejenak, (5) pemusatan perhatian, (6) pemusatan perhatian, (7) kontak pandang . variasi lain yang dilakukan guru yaitu menggunakan variasi media selain penggunaan media audio visual sebagai media utama, guru juga menggunakan media lain berupa lembar partitur. variasi lain yang tidak kalah penting yaitu variasi pola interaksi. guru menggunakan lebih dari satu variasi pola interkasi salah satunya yaitu demonstrasi dan tanya jawab. metode teknik analisis data merupakan upaya untuk mengolah data yang telah diperoleh dari hasil tes, observasi, wawancara dan dokumentasi. teknik tes digunakan untu mengetahui hasil belajar siswa. sedangkan observasi, wawancara dan dokumentasi digunakan untuk mengetahui aktivitas siswa dalam pembelajaran. analisis data yang digunakan adalah dengan deskriptif kuantitalif dan deskriptif kualitatif. penelitian ini akan dilakukan dalam 2 siklus, masing – masing siklus terdapat 4 tahap, yaitu; tahapan perencanaan, pelaksanaan, pengamatan, dan refleksi prosedur penelitian rincian penjelasan penelitian tersebut dalam tiap siklus adalah sebagai berikut: siklus 1 siklus 1 dilaksanakan 2 jam pelajaran @ 40 menit. pada siklus ini digunakan media audio visual. uraian setiap siklus sebagai berikut: perencanaan pada tahap perencanaan dilakukan penyusunan rencana pembelajaran, menyusun pertanyaan dan tugas yang akan diberikan, membuat lembar pengamatan siswa, membuat 30 soal obyektif untuk tes akhir siklus. pelaksanaan pelaksanaan dilakukan pada saat pembelajaran berlangsung di kelas. pembelajaran yang dilakukan guru saat pelaksanaan meliputi apersepsi / memotivasi siswa, penyampaikan kompetensi dasar / indikator pembelajaran dan tujuan pembelajaran, menginformasikan langkah – langkah kegiatan, guru memperlihatkan video dari vcd yang berisi materi yang akan diajarkan, siswa memperhatikan penjelasan guru dan mencatat hal – hal yang penting saat melihat tayangan audio visual, dan pada akhir siklus 1 guru memberikan tes siklus 1. pengamatan pengamat mengamati jalannya proses belajar mengajar. pengamatan dilakukan bersamaan dengan pelaksanaan penelitian tindakan kelas, dengan aspek – aspek yang diamati yaitu (1) peneliti mengamati sikap siswa dalam memperhatikan guru saat diberi penjelasan dengan menggunakan media vcd, (2) peneliti mengamati senang tidaknya siswa dalam mengikuti pelajaran, (3) peneliti mengamati keseriusan sikap siswa dalam pelajaran, (4) peneliti mengamati keaktifan siswa dalam bertanya, (5) peneliti mengamati semangat siswa dalam pembelajaran dan menyelesaikan soal refleksi refleksi merupakan analisis hasil pengamatan dan evaluasi dari tahapan– tahapan dalam siklus 1. refleksi dilaksanakan segera setelah pelaksanaan dan pengamatan siklus 1 selesai oleh peneliti dan guru kolaborator. untuk mengetahui tingkat keberhasilan perlakuan agar dapat dilakukan perbaikan pada siklus berikutnya siklus 2 siklus 2 dilaksanakan 2 jam pelajaran @ 40 menit. pada siklus ini digunakan media audio visual dan metode bervariasi. uraian setiap siklus sebagai berikut: perencanaan berdasarkan hasil refleksi siklus1, maka diadakan perencanaan. rencana yang dibuat pada dasarnya sama dengan perencanaan siklus. hanya dilakukan penambahan media sederhana pada siklus 2. pelaksanaan pelaksanaan yang dibuat pada dasarnya sama dengan pelaksanaan siklus 1. pada siklus 2 ini, peneliti mengamati sikap siswa dalam memperhatikan guru saat diberi penjelasan dengan menggunakan metode bervariasi dan media vcd. pembelajaran yang dilakukan guru saat pelaksanaan yaitu (1) apersepsi / memotivasi siswa, (2) guru mengingatkan kembali materi pada pertemuan sebelumnya, (3) guru menyampaikan kompetensi dasar / indikator pembelajaran dan tujuan pembelajaran, (4) menginformasikan langkah – langkah kegiatan, (5) guru memperlihatkan video dari vcd yang berisi materi yang akan diajarkan, (6) guru mengutamakan menggunakan metode bervariasi dalam memberi penjelasan dan menyampaikan informasi, (7) guru menggunakan media lain berupa lembar partitur, (8) guru menerangkan menggunakan papan tulis, (9)guru memberikan latihan soal, (10) pada akhir siklus 1 guru memberikan tes siklus 1 pengamatan pengamatan pada siklus 2 sama dengan pengamatan siklus 1. refleksi dilakukan analisis pengamatan dan evaluasi dari tahapan – tahapan siklus2. segera setelah pelaksanaan dan pengamatan siklus 2 selesai. hasil dan pembahasan hasil belajar untuk mengetahui peningkatan hasil belajar siswa, pada kompetensi dasar apresiasi musik daerah jawa tengah, dilakukan tes penguasaan materi. tes dilakukan sebelum dilakukan tindaka siklus 1 dan siklus 2 (disebut prasiklus) dan tiap berakhir siklus. bentuk soal berupa soal pilihan ganda atau obyektif tes 30 butir soal, dikerjakan dalam waktu kurang lebih 30 menit. hasil belajar siswa pada tes penguasaan pra siklus terlihat sangat rendah. hal ini dikarenakan,sebelum dilaksanakan tindakan, guru hanya memberikan catatan – catatan saja kepada siswa dalam pembelajaran apresiasi seni musik daerah. selain catatan dari guru, siswa tidak memiliki sumber belajar lain, baik lks ataupun buku teks. siswa pun merasa tidak tertarik untuk mempelajari apresiasi seni musik daerah dan hasilnyanya terlihat dari ketuntasan prasiklus siswa yang hanya mencapai 30%. setelah dilakukan tindakan pada siklus 1, 84% siswa telah mencapai kriteria ketuntasan minimum (kkm) yaitu 64. siswa merasa mempunyai pengalaman sendiri dengan menyaksikan pementasan lagu – lagu daerah yang dikemas menarik yang di download dari inetrnet. selain itu dengan menambahkan pengetahuan yang berkaitan dengan lagu daerah tersebut semakin menarik minat siswa. sedangkan pada siklus 2, telah dilakukan refleksi dari siklus 1 agar pembelajaran semakin baik mencapai kkm. peningkatan hasil belajar siswa pada tiap siklusnya tersaji pada table 1 berikut: peningkatan hasil belajar siswa ketuntasan persentase n ps s1 s2 ps s1 s2 1. ≥64 10 27 28 30% 84 88 % % 2. <64 23 5 4 70% 16 12 % % keterangan : ps : pra siklus s1 : siklus 1 s2: siklus 2 aktivitas siswa dari hasil observasi menunjukan bahwa terjadi peningkatan mulai dari siklus 1 dengan kualifikasi cukup. pada siklus 1, siswa terlihat lebih tertarik, aktif bertanya, bersemangat dan antusias mengikuti pembelajaran. meski belum cukup maksimal, namun dibanding pembelajaran sebelum tindakan, suasana pembelajaran lebih kondusif dan cukup interaktif. pada siklus 2, suasana pembelajaran terlihat tidak canggung. siswa terlihat lebih nyaman. siswa juga tidak sungkan lagi untuk bertanya jika ada yang belum jelas. rasa keingintahuan siswa juga meningkat, terbukti saat mengerjakan soal latihan, siswa lebih bersemangat dan sangat antusias. aktifitas siswa meningkat, skor rata – rata 4.02 dengan kualifikasi baik. skor peningkatan siswa mulai dari prasiklus hingga siklus 2 sisajikan pada tabel 8 berikut: peningkatan skor aktivitas siswa pada siklus 2. hasilnya pun terjadi peningkatan meskipun hanya 1 siswa, no. aspek pengamatan ps s 1 s 2 sehingga terdapat 88% siswa telah 1. sikap siswa 3.1 4.4 4.5 3. 5. senang 2. mengikuti pelajaran 3.2 4.4 4.7 pendapat mulyasa (dalam setiani 2008 : 26) yang mengatakan bahwa pembelajaran dapat diartikan sebagaiserius dalam pelajaran 3.5 4.3 4.3 keaktifan suatu proses interaksi antara peserta didik (siswa) dengan lingkungannya, sehingga 4. siswa dalam bertanya 0.2 2.3 2.7 terjadi perubahan perilaku kearah lebih baik. tugas utama guru adalah semangat siswa 2.9 3.7 3.9 jumlah 12.9 19.1 20.1 rata rata 2.58 3.82 4.02 berdasarkan hasil penelitian tindakan kelas, pembelajaran menggunakan audio visual pada mata pelajaran seni budaya khusnya seni musik dapat meningkatkan hasil belajar siswa dan aktivitas siswa kelas vii a smp n1 jambu. dengan demikian hipotesis penelitian telah terbuti. seperti telah disebutkan pada bab terdahulu bahwa media pembelajaran adalah alat, metode dan teknik yang digunakan dalam rangka lebih mengefektifkan komunikasi dan interaksi antara guru dan siswa dalam proses pendidikan dan pengajaran di sekolah (hamalik dalam setiani, 2008: 26), tingkat aktivitas siswa terbukti meningkat menjadi lebih baik. dalam hal ini, media pembelajaran yang digunakan adalah audio visual yang dapat menampilkan gambar dan suara. dengan media ini siswa dapat menangkap informasi lebih baik karena melibatkan dua indra yaitu indra penglihatan dan indera pendengaran. aktivitas ini disebut juga dengan visual aktivitas dan listening akivitas (haryanto 2008 :31). pembelajaran dapat berjalan dengan baik jika terjadi interaksi, interaksi yang dimaksud tidak hanya satu arah atau hanya dari guru kepada siswa. namun terjadi interaksi dua arah, yaitu antara guru dan siswa, antar siswa, serta siswa dengan lingkungan. maka dari itu, guru perlu memfasilitasi siswa. sesuai mengkondisikan pembelajaran sehingga terjadi interaksi antara lingkungan (faktor eksternal) dengan peserta didik (faktor internal) agar menghasilkan perubahan perilaku yang diharapkan. perubahan perilaku inilah yang sering disebut – sebut sebagai hasil dari proses belajar. namun proses belajar itu tidak semuanya berjalan dengan sendirinya. skiner berpendapat bahwa proses belajar memerlukan usaha menimbulkan dan mengembangkan respons sebagai usaha memperoleh “ penguatan”. usaha ini salah satunya, melalui penggunaan audio visual dan metode bervariasi, yang telah terbukti memberikan jalan keluar untuk mengkondisikan interaksi yang diinginkan. siswa menjadi lebih bersemangat suasana belajar menjadi sangat mendukung dan kondusif. kondisi ini sesuai dengan pengamatan dan wawancara peneliti dengan siswa. siswa merasa senang saat pembelajaran. hal ini berbanding searah dengan hasil belajar siswa yang juga ikut meningkat. kenyataan ini didukung teori perkembangan alamiah, (dalam mulyati 2005: 71) yang mengatakan belajar baru akan terjadi dan mendatangkan hasil apabila muncul dari dalam diri anak sendiri ketika ia merasakan kebutuhan untuk belajar. pada saat itu mereka akan melakukannya dengan penuh kegembiraan sehingga mereka mendapatkan pengalaman yang akan melekat pada diri mereka sebagai suatu kecakapan atau ketrampilan. saat dilaksanakan tindakan, guru menggunakan variasi gaya mengajar yang meliputi variasi suara guru, mimik dan gerak, perubahan posisi, kesenyapan, pemusatan perhatian, kontak pandang. selain itu juga menggunakan variasi media baik media audio visual maupun media grafis. dan yang juga tidak kalah penting, guru menggunakan variasi pola interaksi dengan menggunakan variasi pola interaksi demonstrasi dan pola interaksi tanya jawab. suasana baru yang dimunculkan guru dengan menggunakan metode bervariasipun semakin menambah semangat siswa mengikuti pelajaran, yang telah terbukti dengan meningkatnya aktivitas siswa. teori bervariasi dalam pembelajaran menurut sabri (2007: 94) terbukti, yang mengatakan bahwa bervariasi adalah suatu kegiatan guru dalam mengenal konteks interaksi belajar mengajar yang ditunjukan untuk mengatasi kebosanan murid, sehingga dalam situasi belajar mengajar, murid senantiasa menunjukan ketekunan, antusiasme, serta penuh partisipasi. dengan didapatnya hasil dari penelitian ini, maka semakin menguatkan teori – teori yang telah ada sebagai bukti bahwa peningkatan aktivitas dan hasil belajar dapat dilakukan dengan menggunakan media audio visual yang menarik dan metode bervariasi. simpulan berdasarkan hasil observasi dan tes penguasaan kompetensi dasar, maka dapat ditarik kesimpulan bahwa dengan pembelajaran menggunakan audio visual dan metodebervariasi dapat: ( 1 ) meningkatkan hasil belajar siswa kelas vii a smp n1 jambu pada mata pelajaran seni budaya tahun 2009 / 2010. terbuki adanya peningkatan persentase ketuntasan belajar siswa dari 30% pada pra siklus, meningkat menjadi 84% pada ssiklus 1 dan 88% pada siklus 2. ( 2 ) meningkatkan aktivitas belajar siswa kelas vii a smp n 1 jambu pada mata pelajaran seni budaya tahun 2009 / 2010. terbukti dari 33 siswa yang aktivitasnya kurang baik pada prasiklus dengan rata – rata skor 2,58 mengalami peningkatan pada siklus 1 menjadi 3,82 dengan kualifikasi cukup dan pada siklus 2 menjadi 4,02 atau kualifikasi baik. daftar pustaka depdiknas. 2003. kurikulum 2004 stantar kompetensi kesenian untuk sma/ ma. jakarta: departemen pendidikan nasional. haryanto. 2008 . upaya peningkatan hasil belajar ansambel musik melalui metode belajar kelompok pada siswa kelas viiia smp muhammaddiyah terpadu moga pemalang, skripsi. semarang: fakultas bahasa dan seni universitas negeri semarang. hasibuan, j.j, ibrahim dan toenlioe, a.j.e. 1988. proses belajar mengajar ketrampilan dasar pengajaran mikro. bandung: penerbit remadja karya cv. herlanti, y. 2008. kurikulum pendidikan indonesia dari zaman ke zaman. 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sumaryanto, f. totok dan hartono. 2003. metodologi penelitian i (kualitatif dan tindakan kelas). untuk kalangan sendiri. sumaryanto, f. totok, 2001. metodologi penelitian kualitatif. semarang. sutrisno budi. 2007. peningkatan motivasi belajar seni musik siswa kelas xi melalui penggunaan komputer dan metode bervariasi di sma negeri 1 gubug kabupaten grobogan tahun pelajaran 2006/ 2007. skripsi. semarang: fakultas bahasa dan seni universitas negeri semarang. sutrisno hadi. 2007. meningkatkan hasil belajar musik nusantara dengan menggunakan media audio visual siswa kelas viii smp h. israti semarang tahun pelajaran 2006/ 2007, skripsi. semarang: fakultaas bahasa dan seni universitas negeri semarang. d:\harmonia\2002\vol. 3 no2 mei_agustus 2002.pdf ����������������� ����� �������� ����������������������������� ��������������� ����������� ���� ��������������������� ����� �!�"����#�$%�&!���$"�$'���(')���'*�+$��'!,!'-�.����(')�-����/!%��*!����0 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!#�$a�bc�#d$% c"#&#e$@ f#g#�$h%($7�*�/ �i�2-14�*<�433333333333333�������=���a &jegjk$h ke"!$a�b! !$@ f#g#�$l ec#g#�$m"$h#d#e$%#e#k?%#e#k($7�*�/ �i�2-14�*<�48n���0��+��.�������=���o e"$h#�"$pe&jk$%a>(�7�*�/ �i�2-14�*<�49���/�+��q� ��rss����%be! �$a em"m"k#e$o e"$h"eck#&$ot?ouha?olp����*�+�,�4�����*�.�4�+�����-�.�/�:-.4�4�*�.��-.����7�*�/ �i�v,-�w�/4�w��.4� ��.�x,��y�/,������z����a em"m"k#e$o e"$h#�"[$@jkj$>j�j$je&jk$oa>($7�*�/ �i�2-14�*<�40� �,��\.4�.;���������a e"eck#&#e$o&�#& c"$a d] f#g#�#e$> �#k$m#e$u#cj$l f#fj"$l &bm $%� #&"̂"&#!(�:-.;�<4��.�:�4��)��n�/�*� ���_:)i5̀ \̀�0�� �. �������a���o&�#& c"$le c#g#�$l#!#$%"e"[$@ ] �#�#$>#c#!#e$t#!#�($�-��/�.;i�898:��-��/�.;�:/-���v/�n�. ����rss����:-�<-+���/�.�9/-� �6� ���)-+�+���:-.4�4�*�.��-.��0�1��4��v���.�9�.�*39�.�*�4�+���l m"#�5̀ \̀��̀���b�v,�cc8d���-��/�.; harmonia edisi khhusus.pdf 2 perjalanan hidup dan upaya membangkitkan kembali seni opera batak tilhang serindo esra parmian talenta siburian abstrak suatu fenomena menarik yang ada di tanah batak sumatera utara, yaitu keberadaan kesenian tradisional opera batak yang pernah mengalami kejayaannya dan kini hampir mengalami kepunahan. kesenian ini mengalami masa surutnya, bahkan jarang terdengar sejak tahun 1980-an. kesenian tradisional batak ini muncul pada tahun 1925 yang saat kejayaaannya sering dipentaskan secara berkeliling dari desa ke desa bahkan dari kota ke kota. masyarakat batak pada masa itu selalu mengharapkan kehadiran opera ini untuk dipentaskan di desanya opera batak adalah salah satu jenis kesenian rakyat yang terdapat dalam masyarakat batak yang mempunyai nilai-nilai tradisi dan memiliki unsur seni musik, tari, vokal dan drama. kondisi masyarakat batak pada saat itu tidak memiliki seni pertunjukan, kecuali yang menyatu dalam upacara dan yang mempunyai fungsi tertentu dalam masyarakatnya. opera adalah karya musik panggung yang besar yang didasarkan sesuatu cerita drama, atau suatu drama yang dimusikkan. opera batak tilhang serindo memiliki hubungan erat dengan masyarakat batak itu sendiri, yaitu masyarakat yang kokoh memegang adat dan kepercayaan nenek moyang. pertunjukan seni opera batak sangat digemari oleh pendukungnya, pertumbuhannya tidak hanya subur di daerah asalnya namun merambah ke daerah-daerah sekitarnya serta sering mengadakan pertunjukan keliling ke berbagai daerah antara lain tapanuli, sumatera timur, perbatasan aceh, bahkan pernah diundang ke istana negara pada masa presiden soekarno, dan tidak jarang opera ini di tampilkan pada pertemuan-pertemuan berskala internasional. namun sekitar tahun 1970-an pertunjukan opera batak ini mengalami kemunduran yang drastis. munculnya industri-industri rekaman, siaran radio, dan televisi yang menyuguhkan cerita-cerita menarik yang mampu menyerap daya tarik penonton sehingga opera batak ini kehilangan para pendukungnya. marsius sihotang sebagai pengarah lakon opera batak dosroha tidak pernah lagi melakukan pertunjukan sejak tahun 1981. kata kunci : opera batak, tilhang serindo, revitasisasi. upaya revivalisasi yang dilakukan melalui program inovasi belum membawa hasil optimal dan baru lebih dirasakan sebagai sarana memenuhi kebutuhan nostalgia akan seni opera batak yang pernah ada. daftar pustaka dieter evers, sharon sidique, religious revivalism in southeast asia dalam sojourn, social issues in south east asia no.1. febuary, 2: institut of southeast asian studies, (chicago : 1979), 20 edy sedyawati, perkembangan sen ipertunjukan, (jakarta: sinar harapan, 1981), 26 harimawan, dramaturg, (bandung: cv rosda, 1998), 34-35 james r brandon, jejak-jejak seni pertunjukan di asia tenggara, terjemahan r.m. soedarsono, (bandung: p4st upi, 2003), 331 pande nyoman djero pramana, sang hyang jaran, (surakarta: cinika, 2004), 15 sartono, kartodirdjo, ratu adil, (yogyakarta : pt gramedia, 1994), 10 thoha miftah, 2000. perilaku organisasi, konsep dasar dan aplikasi jakarta: pt. raja grafindo persada turner, victor , 1967. the forest of symbol: aspect of ndembu ritual ithaca: cornell university press umar khayam, seni tradisi masyarakat,(jakarta : sinar harapan, 1986), 18 zulhizah, 1996. islam dan kesenian relevansi islam dan seni budaya. jakarta: pustaka kanisius d:\harmonia\2003\2\vol. 4 no. 2 mei_agustus 2003.pdf ���������� ��� ���� ���� ���������������������������������������������������������������� 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